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+{"doc_id":"doc_0","qid":"","text":"Passage 1:Margaret, Countess of BrienneMarguerite d'Enghien (born 1365 - d. after 1394), was the ruling suo jure Countess of Brienne and of Conversano, suojure Lady of Enghien, and Lady of Beauvois from 1394 until an unknown date.LifeMarguerite was born in 1365, the eldest daughter of Louis of Enghien, Count ofBrienne and Conversano, Lord of Enghien, Titular Duke of Athens, and Giovanna of Sanseverino. Marguerite had a brother, Antoine who died at the age ofsixteen, leaving her, the eldest daughter, heir to her father's estates and titles.  She inherited the counties of Brienne and of Conversano, and the Lordship ofEnghien from her father Louis of Enghien on 17 March 1394. She was the wife of John of Luxembourg, Sire of Beauvois and the mother of Peter of Luxembourg,Count of Saint-Pol, Count of Brienne and of Conversano who inherited her fiefs, and John II of Luxembourg, Count of Ligny.ReignMarguerite became the suo jureCountess of Brienne and Conversano, and Dame of Enghien upon her father's death on 17 March 1394. Her husband John also became Count of Brienne and ofConversano by right of his wife.She died on an unknown date sometime after 1394. Her will was dated 19 September 1393. Her eldest son, Peter received hertitles of Brienne and of Conversano.Marriages and issueOn an unknown date, Marguerite married  her first husband, Pierre de Baux, and following his death, shemarried as her second husband, a relative of her mother, Giacopo of Sanseverino. Both of these early marriages were childless. In 1380, after Giacopo's death,Marguerite married her third husband, John of Luxembourg, Sire of Beauvois (1370–1397).  He was the son of Guy of Luxembourg, Count of Saint-Pol andMahaut of Châtillon, Countess of Saint-Pol. By her third husband, Marguerite had five children:Peter of Luxembourg (1390–31 August 1433), Count of Saint-Pol(1430), which he inherited from his aunt Jeanne of Luxembourg, Countess of Saint-Pol and Ligny; he also inherited, on an unknown date, Marguerite's fiefs ofBrienne and of Conversano, thus becoming Count of Brienne and of Conversano. He married on 8 May 1405, Margaret de Baux, by whom he had nine children,including Jacquetta of Luxembourg, mother of Elizabeth Woodville Queen-Consort of Edward IV of England.John II of Luxembourg, Count of Ligny (1392–5January 1441), inherited the title of Beauvois from his father, and the title of Ligny from his aunt, Jeanne of Luxembourg. On 23 November 1418, married Jeannede Béthune, widow of Robert of Bar, Count of Marle and Soissons who had been killed at the Battle of Agincourt on 25 October 1415. John, who was an ally of theEnglish during the Hundred Years War, received Joan of Arc as his prisoner, and subsequently sold her to the English for 10,000 livres.Louis of Luxembourg (died18 September 1443). He was a statesman and a high-ranking churchman. His posts and clerical titles included Cardinal (1439), Archbishop of Rouen (1437),Chancellor of France (1425), Governor of Paris (1436), Bishop of Thérouanne, Administrator of Ely (1437), Bishop of Frascati (1442). He was buried in ElyCathedral.Catherine of Luxembourg (born c. 1393)Jeanne of Luxembourg (died 1420), married firstly, on 8 September 1415, Louis, Seigneur de Ghistelles (killedat the Battle of Agincourt); she married secondly on 28 October 1419, Jean IV, Viscount of Melun, Constable of Flanders.Passage 2:Nocher II, Count ofSoissonsNocher II (died 1019), Count of Bar-sur-Aube, Count of Soissons. He was the son of Nocher I, Count of Bar-sur-Aube. Nocher's brother Beraud (d. 1052)was Bishop of Soissons.Nocher became Count of Soissons, jure uxoris, upon his marriage to Adelise, Countess of Soissons.  Nocher and Adelisa had threechildren:Nocher III (d. 1040), Count of Bar-sur-Aube, had at least two daughters by unknown wife:Adèle (d. 1053), Countess of Bar-sur-AubeIsabeauGuy,archbishop of ReimsRenaud I, Count of SoissonsNocher's son and namesake became Count of Bar-sur-Aube upon his death, and the countship of Soissonsreverted to his wife.  His son Renaud would eventually become the Count of Soissons.Passage 3:Adelaide, Countess of SoissonsAdelaide (died 1105), wassovereign Countess of Soissons from 1057 until 1105.She was the daughter of Renaud I, Count of Soissons, and his wife, whose name is unknown, widow ofHilduin III, Count of Montdidier. .Adelaide became ruler of the County of Soissons upon the death of her father and brother, Guy II, Count of Soissons, in1057.Adelaide married William Busac, Count of Eu, grandson of Richard I, Duke of Normandy.  Adelaide and William had five children:Renaud II, Count ofSoissonsJohn I, Count of Soissons, married to Aveline de PierrefondsManasses of Soissons, Bishop of Cambrai, Bishop of SoissonsLithuise de Blois, married to MiloI of MontlhéryUnnamed daughter, married to Yves le Vieux.William Busac became Count of Soissons, de jure uxoris, upon their marriage.NotesSourcesDormay,C., Histoire de la ville de Soissons et de ses rois, ducs, comtes et gouverneurs, Soissons, 1664 (available on Google Books)Passage 4:Margaret, Countess ofSoissonsMargaret (or Margaretha) of Soissons (died ca. 1350) was ruling Countess of Soissons in 1305-1344. She was the only daughter of Hugh, Count ofSoissons, and Johanna of Argies. In 1306 she succeeded her father as Countess of Soissons.Margaret was married to John of Beaumont, son of John II, Count ofHolland. Margaret and John had five children:Johanna of Hainault (1323–1350), married first to Louis II, Count of Blois, (three sons), and second to William I,Marquis of Namur, no issue.John, Canon of Cambrai.William, Canon of Cambrai, Beauvais and Le Mans.Amalrik, Canon of Cambrai, Dole and Tours.Reinout,Canon of Cambrai.Upon their marriage, John became Count of Soissons, jure uxoris.SourcesDormay, C., Histoire de la ville de Soissons et de ses rois, ducs,comtes et gouverneurs, Soissons, 1664 (available on Google Books)Passage 5:Jeanne of Bar, Countess of Marle and SoissonsJeanne de Bar, suo jure Countess ofMarle and Soissons, Dame d'Oisy, Viscountess of Meaux, and Countess of Saint-Pol, of Brienne, de Ligny, and Conversano (1415 – 14 May 1462)  was a nobleFrench heiress and Sovereign Countess. She was the only child of Robert of Bar, Count of Marle and Soissons, Sire d'Oisy, who was killed at the Battle ofAgincourt when she was a baby, leaving her the sole heiress to his titles and estates. In 1430, at the age of fifteen, Jeanne was one of the three women placed incharge of Joan of Arc when the latter was a prisoner in the castle of John II of Luxembourg, Count of Ligny, Jeanne's stepfather. She was the first wife of Louis ofLuxembourg, Count of Saint-Pol, of Brienne, de Ligny, and Conversano, Constable of France.FamilyJeanne was born in 1415, the only child of Robert of Bar,Count of Marle and Soissons, Sire d'Oisy (1390- 25 October 1415), whose own mother was Marie de Coucy, Countess of Soissons, granddaughter of English KingEdward III of England. Her mother was Jeanne de Béthune, Viscountess of Meaux (c.1397- late 1450).On 25 October 1415, her father was killed in the Battle ofAgincourt, leaving Jeanne, who was a baby, as sole heiress to her father's titles and estates. In 1418, her mother married secondly John II of Luxembourg, Countof Ligny and de Guise (1392 – 5 January 1441), son of John of Luxembourg, Sire de Beauvois and Marguerite of Enghien, Countess of Brienne and of Conversano.The marriage was childless.It was Jeanne's stepfather John who received Joan of Arc as his prisoner, and kept her at his castle of Beaurevoir. Joan, who was threeyears Jeanne's senior, was placed in the care of Jeanne, her mother and Jeanne of Luxembourg, John's elderly aunt. The three ladies did all they could to comfortJoan in her captivity, and unsuccessfully tried to persuade her to abandon her masculine clothing for feminine attire. They earned Joan's gratitude for their kindand compassionate treatment of her. Despite the pleas of Jeanne and the other two women, John sold Joan of Arc to the English, who were his allies, for 10,000livres.Marriage and issueOn 16 July 1435, at the age of twenty, Jeanne married Louis of Luxembourg, Count of Saint-Pol, Brienne, de Ligny, and Conversano,Constable of France (1418 – 19 December 1475). The marriage took place at the Chateau de Bohain. She was Louis' first wife. Louis was the eldest son of Peterof Luxembourg, Count of Saint-Pol, Brienne, and Conversano, by his wife Margaret de Baux. Louis had been brought up by his paternal uncle, who was Jeanne'sstepfather, John II of Luxembourg, Count of Ligny and Guise; therefore the young couple were well-acquainted with one another. John designated Louis as hisheir to the counties of Ligny and Guise, but upon John's death in 1441, King Charles VII of France sequestered the estates and titles. The title of Ligny waseventually restored to Louis. The title and estates of Guise were given to Louis' youngest sister, Isabelle as her dowry, which passed to her husband, Charles,Count of Maine, upon their marriage in 1443.  Jeanne succeeded as Viscountess of Meaux suo jure upon the death of her mother in late 1450.Jeanne and Louishad seven children:John of Luxembourg, Count of Marle and Soissons, Governor of Burgundy (killed at the Battle of Morat on 22 June 1476)Jacqueline ofLuxembourg (died 1511), married Philippe de Croy, 2nd Count of Porcien, by whom she had issue.Pierre II de Luxembourg, Count of Saint-Pol, of Brienne, deLigny, Marle and Soissons (1448 – 25 October 1482), on 12 July 1466, married Marguerite of Savoy (1439 Turin – 9 March 1483 Bruges), the daughter of Louis,Duke of Savoy and Anne de Lusignan of Cyprus, and widow of Giovanni IV Paleologo, Margrave of Montferrat, by whom he had issue, including Marie deLuxembourg (c. April 1467 – 1 April 1547), wife of François de Bourbon, Count of Vendôme, and from whom Mary, Queen of Scots, King Henry IV of France, thesubsequent Bourbon kings of France, and the Lorraine Dukes of Guise were directly descended.Helene of Luxembourg (died 23 August 1488), married Janus ofSavoy, Count of Faucigny, Governor of Nice (1440–1491), the brother of her sister-in-law, Marguerite of Savoy, by whom she had a daughter, Louise of Savoy(1467 – 1 May 1530).Charles of Luxembourg, Bishop of Laon (1447 – 24 November 1509), had several illegitimate children by an unknown mistress.Anthony I,Count of Ligny, Brienne, and Roussy (died 1519), married firstly Antoinette de Bauffrémont, Countess de Charny, by whom he had issue; he married secondly,Françoise de Croÿ-Chimay, by whom he had issue; he married thirdly Gillette de Coélivy. His last marriage was childless. By his mistress, Peronne de Machefert,he had an illegitimate son, Antoine of Luxembourg, Bastard of Brienne, who married and left descendants.Philippe of Luxembourg (died 1521), Abbesse atMoncelDeathJeanne died on 14 May 1462 aged about forty-seven years. Her husband married secondly Marie of Savoy (20 March 1448 – 1475), daughter ofLouis, Duke of Savoy and Anne of Cyprus, by whom he had three more children. Marie was a younger sister of his daughter-in-law Marguerite of Savoy. Louis ofLuxembourg was imprisoned in the Bastille and afterward beheaded in Paris on 19 December 1475 for treason against King Louis XI of France.AncestryPassage"}
+{"doc_id":"doc_1","qid":"","text":"Passage 1:Victoria's Secret Fashion Show 2003The Victoria's Secret Fashion Show is an annual fashion show sponsored by Victoria's Secret, a brand of lingerieand sleepwear. Victoria's Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world's leading fashionmodels, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum, Gisele Bündchen, and Adriana Lima.The Victoria's Secret Fashion Show 2003 wasrecorded in New York City, United States at the 69th Regiment Armory. The show featured musical performances by Sting, Mary J. Blige, and Eve. Angel HeidiKlum was wearing the Victoria's Secret Fantasy Bra : Very Sexy Fantasy Bra worth $11,000,000.Fashion show segmentsSegment 1: Sexy SuperHeroinesSegment 2: Razor Sharp Latex LadiesSpecial PerformanceSegment 3 : Rock Chicks Rockin' OutSpecial PerformanceSegment 4 : Sexy KittensSpecialPerformanceSegment 5 : GlaaaaamaaazonsIndexFinaleAngels: Adriana Lima, Gisele Bündchen, Tyra Banks, Heidi Klum.Returning Models: Michelle Alves,Alessandra Ambrosio, Carmen Kass, Dewi Driegen, Naomi Campbell, Ana Beatriz Barros, Angela Lindvall, Frankie Rayder, Mini Andén, Eugenia Volodina, OluchiOnweagba, Liya Kebede, Lindsay Frimodt, Fernanda Tavares, Letícia Birkheuer, Ujjwala Raut, Karolina Kurkova.Newcomers: Isabeli Fontana, Marcelle Bittar,Jacquetta Wheeler, Margarita Svegzdaite, Deanna Miller.External linksVSFS 2003 GalleryPassage 2:Victoria's Secret Fashion Show 2001The Victoria's SecretFashion Show is an annual fashion show sponsored by Victoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and marketits goods in high-profile settings. The show features some of the world's leading fashion models, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum,Daniela Peštová, Gisele Bündchen, and Adriana Lima.The Victoria's Secret Fashion Show 2001 was recorded in New York, United States at the Bryant Park. Theshow featured musical performances by Andrea Bocelli and Mary J. Blige. Angel Heidi Klum was wearing the Victoria's Secret Fantasy Bra: The Heavenly Star Braworth $12,500,000.Fashion show segmentsSpecial PerformanceSegment 1Special PerformanceSegment 2IndexFinaleAngels: Gisele Bündchen, Heidi Klum,Adriana Lima, Tyra Banks, Daniela Peštová.Returning models: Karolína Kurková, Caroline Ribeiro, Eva Herzigová, Mini Andén, Fernanda Tavares, Trish Goff,Bridget Hall, Aurélie Claudel, Rhea Durham, Alessandra Ambrosio, Inés Rivero.Newcomers: Rie Rasmussen, Maggie Rizer, Alek Wek, Omahyra Mota, Karen Elson,Molly Sims, Audrey Marnay, Diána Mészáros, Anouck Lepere, Emma Heming.External linksVSFS 2001 GalleryPassage 3:List of Victoria's Secret modelsThis is a listof current and former Victoria's Secret Angels and fashion models who have walked in the Victoria's Secret Fashion Show since its inception in 1995.Victoria'sSecret AngelsModels who were chosen as Victoria's Secret Angels are listed in the table below. In June 2021, Victoria's Secret announced that it was ending itsAngels brand.PINK spokesmodelsThe following is the list of models who have been contracted as spokesmodels for Victoria's Secret's PINK brand.NotesPassage4:Victoria's Secret Fashion Show 2002The Victoria's Secret Fashion Show is an annual fashion show sponsored by Victoria's Secret, a brand of lingerie andsleepwear. Victoria's Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world's leading fashionmodels, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum, Gisele Bündchen, and Adriana Lima.The Victoria's Secret Fashion Show 2002 wasrecorded in New York, United States at the 69th Regiment Armory. The show featured musical performances by Destiny's Child, Marc Anthony, and Phil Collins.Karolína Kurková was wearing the Victoria's Secret Fantasy Bra : Star of Victoria Fantasy Bra worth $10,000,000.Fashion show segmentsSpecialPerformanceSegment 1: Religious HolidaySpecial PerformanceSegment 2: Jungle AnimalsSpecial PerformanceSegment 3: Flamenco FrillsSegment 4: NeonAngelsFinaleAngels: Gisele Bündchen, Heidi Klum, Adriana Lima, Tyra Banks, Karolína Kurková.Returning models: Carmen Kass, Bridget Hall, Naomi Campbell,Fernanda Tavares, Alessandra Ambrosio, Frankie Rayder, Caroline Ribeiro, Oluchi Onweagba.Newcomers: Yfke Sturm, Eugenia Volodina, Lindsay Frimodt,Michelle Alves, Nadine Strittmatter, Raquel Zimmermann, Liya Kebede, Dewi Driegen, Ana Beatriz Barros, Caitriona Balfe, Inga Savits, Ujjwala Raut, AnaHickmann, Reka Ebergenyi, Letícia Birkheuer.IndexExternal linksVSFS 2002 GalleryPassage 5:Victoria's Secret Fashion Show 2005The Victoria's Secret FashionShow is an annual fashion show sponsored by Victoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and market itsgoods in high-profile settings. The show features some of the world's leading fashion models, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum,Gisele Bündchen, Adriana Lima, Karolína Kurková, Alessandra Ambrosio, Selita Ebanks, and Izabel Goulart.The Victoria's Secret Fashion Show 2005 was recordedin New York City, United States at the 69th Regiment Armory. The show featured musical performances by Chris Botti, Seal, and Ricky Martin. Gisele Bündchenwas wearing the Victoria's Secret Fantasy Bra : Sexy Splendor Fantasy Bra worth $12,500,000.Fashion Show segmentsSegment 1: Sexy Santa HelpersSegment2: Sexy Shadow DreamsSegment 3: Sexy Crystal PrincessesSegment 4: Sexy DeliciousThis segment was swapped in order of appearance with the fifth segment,Sexy Russian Babes, in the edited TV version.Segment 5: Sexy Russian BabesThis segment was swapped in order of appearance with the fourth segment, SexyDelicious, in the edited TV version.Special PerformanceSegment 6: Sexy ToysFinaleTyra Banks led the finale. == Index ==Passage 6:The Gravity GroupTheGravity Group is a wooden roller coaster design firm based in Cincinnati, Ohio, United States. The firm was founded in July 2002 out of the engineering team ofthe famed but now defunct Custom Coasters International. The core group of designers and engineers at The Gravity Group have backgrounds in civil, structuraland mechanical engineering.  Their experience comes from work on over 40 different wooden roller coasters around the world.  The first coaster designed underthe Gravity Group opened as Hades at Mount Olympus Theme Park in 2005. The Gravity Group also designed The Voyage at Holiday World in Santa Claus,Indiana, which opened in May 2006 and is the second-longest wooden roller coaster in the world.  These first two accomplishments of the team have beenreceived with great success by both the industry and coaster enthusiasts alike.In 2007, The Gravity Group opened Boardwalk Bullet, an intense wooden rollercoaster that was built at Kemah Boardwalk and opened as the only wooden coaster in the Greater Houston area. The Gravity Group designed Ravine Flyer II atWaldameer in Erie, Pennsylvania, which was opened at the start of the 2008 season. In 2009, Wooden Coaster - Fireball was opened at Happy Valley in China,becoming China's first wooden roller coaster. In 2011 Quassy Amusement Park opened Wooden Warrior, the company's sixth wooden roller coaster. The GravityGroup was also involved in the rebuilding of Libertyland's Zippin Pippin at Bay Beach Amusement Park in Green Bay, Wisconsin.In 2008, members of The GravityGroup announced the development of their own wooden coaster trains called Timberliners.  They are being produced by Gravitykraft Corporation, a sistercompany to The Gravity Group.  The Gravity Group promotes their trains as the only wooden coaster trains capable of steering through curves, resulting in amore comfortable and maintenance-friendly ride.  Timberliners were planned to debut on The Voyage at Holiday World for the 2010 season, but after four yearsof delays, Holiday World officially cancelled the project on August 16, 2013.  However, in 2011, the Timberliners appeared on Wooden Warrior at QuassyAmusement Park in Connecticut and on Twister at Gröna Lund in Sweden, and in 2013 were added to Hades as part of its transformation to Hades 360.List ofroller coastersAs of 2019, The Gravity Group has built 28 roller coasters around the world.Passage 7:The Cú Chulainn CoasterThe Cú Chulainn Coaster is awooden roller coaster located at Emerald Park in Ashbourne, County Meath, Ireland. Manufactured by The Gravity Group, the wooden coaster features anoverbanked turn and opened on 6 June 2015.HistoryThe Cú Chulainn Coaster was officially announced by Tayto Park in a press release on 19 February 2015,although construction started earlier in August 2014. Ohio-based company The Gravity Group was selected to build the roller coaster, marking their secondinstallation in Europe following Twister at Gröna Lund in Sweden. Construction was completed in May 2015, and the roller coaster opened on 6 June 2015. It waspart of a €26 million investment at Tayto Park, which also included 7 other new attractions for the 2015 season. Its theme is based on the mythological loresurrounding Irish hero Cú Chulainn, whom the ride is named after.ReceptionPassage 8:Victoria's SecretVictoria's Secret is an American lingerie, clothing, andbeauty retailer known for high visibility marketing and branding, starting with a popular catalog and followed by an annual fashion show with supermodels dubbedAngels. As the largest retailer of lingerie in the United States, the brand has struggled since 2016 due to shifting consumer preferences and controversysurrounding corporate leadership's business practices.Founded in 1977 by Roy and Gaye Raymond, the company's five lingerie stores were sold to Leslie Wexnerin 1982. Wexner rapidly expanded into American shopping malls, growing the company into 350 stores nationally with sales of $1 billion by the early 1990s whenVictoria's Secret became the largest lingerie retailer in the United States.From 1995 through 2018, the Victoria's Secret Fashion Show was an essential part of thebrand's image featuring an annual runway spectacle of models promoted by the company as fantasy Angels. The 1990s saw the company's further expansionthroughout shopping malls along with the introduction of the 'miracle bra', the new brand Body by Victoria, and the development of a line of fragrances andcosmetics. In 2002 Victoria's Secret announced the launch of PINK, a brand that was aimed to appeal to teenagers. Starting in 2008, Victoria's Secret expandedinternationally, with retail outlets within international airports, franchises in major cities overseas, and in company-owned stores throughout Canada and theUK.By 2016, Victoria's Secret's market share began to decline due to competition from other brands that embraced a wider range of sizes and a growingconsumer preference for athleisure. The company canceled the circulation of their famous catalog in 2016. The brand struggled to maintain its market positionfollowing criticism and controversy over the unsavory behavior and business practices of corporate leadership under Wexner and Ed Razek. As of May 2020, with"}
+{"doc_id":"doc_2","qid":"","text":"Passage 1:Henry III, Duke of Münsterberg-OelsHenry III of Münsterberg-Oels (also: Henry III of Poděbrady, Henry III of Bernstadt; German: Heinrich III. vonPodiebrad; Czech: Jindřich III-Minstrbersko Olešnický; 29 April 1542, Oleśnica – 10 April 1587, Oleśnica) was Duke of Münsterberg from 1565 to 1574 and Dukeof Bernstadt.  He also held the title of Count of Glatz.LifeHenry's parents were Henry II of Münsterberg and Oels and Margaret (1515–1559), daughter of Henry Vof Mecklenburg-Schwerin.  Henry III was married to Magdalena Meseritsch of Lomnitz (Czech: Magdaléna Mezeřícká z Lomnice).When his father died in 1548,Henry was only six years old, so he initially stood under the guardianship of his uncle John, who called himself \"Duke of Bernstadt\" from 1548 until his death in1565.  In 1565, Henry III took up the rule of the Duchy of Bernstadt.  He was excessively in debt, and in 1574, he had to sell the Duchy of Bernstadt, includingthe castle and several more villages, to the von Schindel family.Henry III died childless in 1587.  The Duchy of Bernstadt was bought back in 1604 by Henry'sbrother Charles II.References ad sourcesHugo Weczerka: Handbuch der historischen Stätten: Schlesien, Stuttgart, 1977, ISBN 3-520-31601-3, p. 19  andgenealogical tables on p. 602–603.Rudolf Žáček: Dějiny Slezska v datech, Prague, 2004, ISBN 80-7277-172-8, p. 145, 410 and 436.External linksMarek,Miroslav. \"Genealogy of Poděbrady\". Genealogy.EU.Passage 2:Olaf III of NorwayOlaf III or Olaf Haraldsson (Old Norse: Óláfr Haraldsson, Norwegian: OlavHaraldsson; c. 1050 – 22 September 1093), known as Olaf the Peaceful (Old Norse: Óláfr kyrri, Norwegian: Olav Kyrre), was King of Norway from 1067 until hisdeath in 1093.He was present at the Battle of Stamford Bridge in England in 1066 where his father, King Harald Hardrada, saw defeat and was killed in action, anevent that directly preceded his kingship. During his rule, Olaf made peace with regards to earlier royal conflicts with the church, strengthened the power of themonarchy, and is traditionally credited with founding the city of Bergen circa 1070. Around 1225, Snorri Sturluson wrote  Olav Kyrres saga about King Olaf in theHeimskringla.BiographyOlaf was a son of King Harald Hardrada and Tora Torbergsdatter. Olaf joined his father during the invasion of England during 1066.However, he was only 16 years old during the Battle of Stamford Bridge in September 1066. He stayed on a ship and did not participate in the fighting. After theNorwegian defeat, he sailed with the remains of the Norwegian strike force back to Orkney, where they wintered. The return journey to Norway took place insummer 1067.After the death of his father, Olaf shared the kingdom with his brother Magnus II (Magnus 2 Haraldsson) who had become king the previous year.When King Magnus died during 1069, Olaf became the sole ruler of Norway.During his reign, the nation of Norway experienced a rare extended period of peace.He renounced any offensive foreign policy, instead protecting Norway's sovereignty through agreements and marriage connections. Domestically he emphasizedthe church's organization and the modernization of the kingdom. The latter resulted in, among other things, the reorganization of the body-guard and ofmeasures under which key cities, especially Bergen, could better serve as a royal residence. According to the Heimskringla by Snorri Sturluson, Olaf is said tohave founded the city of Bergen (originally called Bjørgvin).The death of Harald Hardrada and the serious defeat suffered by the Norwegians in 1066 tempted theDanish king, Svend Estridsen, to prepare for an attack on Norway. King Svend no longer felt bound by the ceasefire agreement signed with Harald Hardrada in1064, since it would only be valid for the two kings during their own lives. However Olaf made peace with King Svend and married the king's daughter Ingerid.Later, Olav's half sister Ingegerd married King Svend's son  Olaf. Although there were some attacks on England by Danish forces, peace persisted betweenDenmark and Norway. Olaf also made peace with William the Conqueror of England.King Olaf broke with his father's line in his relationship to the church. HaraldHardrada had developed a continuing conflict with the Archbishopric of Bremen due to the archbishop's authority over the Norwegian church. Unlike his father,Olav recognized that authority fully. Political considerations may have been behind this conciliatory attitude, as may have been Olaf's concern with the churchorganization. Until his time bishops had formed part of the king's court and traveled with him around the country to take care of the ecclesiastical affairs while theking took care of worldly matters. The bishops established fixed residence in Oslo, Nidaros and Bergen. King Olaf also took the initiative for the construction ofchurches, including Christ Church in Bergen and Nidaros Cathedral in Trondheim.Olaf strengthened the power of the king and instituted the system of guilds inNorway. There are strong indications that the government of King Olaf began writing secure provincial laws to a greater extent. The Norwegian lawGulatingsloven was probably put in writing for the first time during his reign.King Olaf died of illness on 22 September 1093 in Haukbø, Rånrike, then part ofNorway (now Håkeby, Tanum Municipality, Sweden). He was buried at the Nidaros Cathedral. His marriage to Ingerid did not produce any children. His successoras king, Magnus III nicknamed Magnus Barefoot (Magnus Berrføtt), was acknowledged to be his illegitimate son.Appearance and characterThe Morkinskinna (c.1220) describes Olaf III as:\"[A] tall man, and everyone agrees that there has never been seen a fairer man or a man of nobler appearance.\"\"He had blond hair, alight complexion, and pleasing eyes, and he was well proportioned. He was taciturn for the most part, and not much of a speechmaker, though he was goodcompany after drink.\"Another description is found in the Heimskringla of Snorri Sturluson:\"Olaf was a stout man, well grown in limbs; and every one said ahandsomer man could not be seen, nor of a nobler appearance.\"\"His hair was yellow as silk, and became him well; his skin was white and fine over all his body;his eyes beautiful, and his limbs well proportioned. He was rather silent in general, and did not speak much even at Things; but he was merry in drinking parties.He loved drinking much, and was talkative enough then; but quite peaceful.\"\"He was cheerful in conversation, peacefully inclined during all his reign, and lovinggentleness and moderation in all things.\"MemorialA memorial to King Olaf Kyrre was placed in Bergen, Norway in connection with the city's 900-year anniversary.The abstract equestrian statue by noted Norwegian sculptor Knut Steen was unveiled on 21 May 1998.The \"Maine penny\"The Maine penny - a Norwegian silvercoin discovered in the US State of Maine in 1957 and suggested as evidence of Pre-Columbian trans-oceanic contact - has been dated to the time of Olaf III. Thecircumstances of its arrival from Norway to a Native American village in the present US territory remain unclear and highly disputed.See alsoList of NorwegianmonarchsPassage 3:Ingerid of DenmarkIngerid Swendsdatter of Denmark (also spelt Ingrid; 11th century – after 1093) was a Danish princess who becameQueen of Norway as the spouse of King Olaf III of Norway.Ingerid Swensdatter was the daughter of King Sweyn II of Denmark. It is not known which one of herfather's wives and concubines who was the mother of Ingerid.She was married to Olav Kyrre in 1067 in a marriage arranged as a part of the peace treatybetween Denmark and Norway, and became Queen of Norway upon marriage the same year. To further strengthen the alliance Olav Kyrre's half-sister, IngegerdHaraldsdatter, married  King Olaf I of Denmark, who was the brother of Queen Ingerid.Ingerid Svendsdatter was Olaf Kyrre's official consort and queen. There arenot much information about her personality or her acts as queen.  Queen Ingerid had no children by King Olaf. After the death of King Olav in 1093, queendowager Ingerid, according to unconfirmed tradition, moved to Sogn and married Svein Brynjulfsson of Aurland, with whom she reportedly had a daughter,Hallkattla  She seem to have retired to private life as a widow and there is nothing to indicate that she played any political part after the death of herspouse.AncestryNotesPassage 4:Ingeborg of Denmark, Queen of NorwayIngeborg Eriksdotter (c. 1244 – 24/26 March 1287) was Queen of Norway and the wife ofKing Magnus VI. She was born a Danish princess, daughter of Eric IV of Denmark. As queen dowager, she played an important part in politics during the minorityof her son King Eirik II of Norway in 1280-82.BiographyIngeborg was born to Eric IV of Denmark and Jutta of Saxony. Ingeborg was only about six years-oldwhen her father was killed. Her mother returned to Saxony and married Count Burchard VIII of Querfurt-Rosenburg.  In large part, Ingeborg and her three sisterslived in the court of her uncle King Christopher I of Denmark and Queen Margaret Sambiria.  The four sisters were heirs to substantial lands in Denmark. Thestruggle to claim Ingeborg's inheritance from her murdered father would later involve Norway in intermittent conflicts with Denmark for decades tocome.Ingeborg was promised in marriage by the Danish regency government to Magnus, the son of King Haakon IV of Norway. Ingeborg arrived in Tønsberg on28 July 1261, after she being retrieved  at the instruction of King Haakon from the monastery in  Horsens (dominikanerkloster ved Horsens).  On 11 September1261, she married Magnus in Bergen.   Magnus and Ingeborg were crowned directly after their marriage, and Magnus was given the district of Ryfylke for hispersonal upkeep. The marriage was described as happy.On 16 December 1263 King Haakon IV of Norway died while fighting the Scottish king over the Hebrides,and Magnus became the ruler of Norway. Ingeborg is not known to have played any part in politics as queen. Her two older sons Olaf (1262 – 15 March 1267) andMagnus (b. and d. 1264) died in infancy, but the youngest two would later become Kings of Norway: Eric II (1268 – 13 July 1299) and Haakon V (ca. 10 April1270 – 8 May 1319).In 1280, she became a widow. Ingeborg was an important figure in the leadership of the country during the minority of King Eirik, thoughshe was not formally named regent. Her influence grew after her son was declared adult in 1283. Her principal ally was Alv Erlingsson, who had been a secondcousin of her husband King Magnus and served as the governor Borgarsyssel which today makes up the county of Østfold.During the reign of her cousin King EricV of Denmark, Ingeborg  begun a feud regarding  her inheritance, which she had never received.  This largely private feud caused hostility between Norway andthe German Hanseatic cities and a tense relationship with Denmark. Several Danish nobles, including Count Jacob of Halland, took her side against the Danishmonarch, but she died before the affair was finished.Passage 5:Hallvard TrættebergHallvard Trætteberg (21 April 1898 in Løten – 21 November 1987 in Oslo) wasthe leading Norwegian heraldic artist and the expert adviser on heraldry to the Government of Norway and the Norwegian Royal Family for much of the 20th"}
+{"doc_id":"doc_3","qid":"","text":"Passage 1:The Museums at Washington and ChapinThe Museums at Washington and Chapin are several museums that share a campus in South Bend, Indiana.The name is derived from the location, at the corner of Washington Street and Chapin Street in South Bend. Both museums have one common entrance offThomas Street, one block south of Washington Street. The museums currently include the History Museum and Studebaker National Museum.ExternallinksStudebaker National MuseumThe History MuseumPassage 2:William P. Didusch Center for Urologic HistoryThe William P. Didusch Center for Urologic Historyis a museum and the headquarters of the American Urological Association in Linthicum, Maryland. It is described as encompassing \"a rich and varied collection ofdrawings, photographs, and instruments of historical importance to urology, many displayed in the urological exhibits during the American Urological Association(AUA) conventions.\"BackgroundThe center is named in honor of William Didusch, the museum's founder and first curator. Didusch was a notable scientificillustrator, and Executive Secretary of the AUA. Didusch had begun working at Johns Hopkins University in 1915 as an illustrator and eventually a lecturer.Didusch was an artist but more committed to the drawing of illustrations, rather than paintings, of anatomy. As result he became a legend during his time afterhis work in Johns Hopkins Hospital. Some of his many illustrations were those of the anatomy of the urinary tract and instruments used to treat the urinarydiseases. The museum was formally established in 1971 as the William P. Didusch Museum, following Didusch's gift to the American Urological Association of hismany original urological drawings. It was accommodated within the headquarters buildings of the AUA, then on Charles Street in Baltimore. Didusch curated themuseum until his death in 1981, when he was succeeded by Herbert Brendler. After Brendler's death in 1986, William W. Scott (a colleague of Nobel LaureateCharles Huggins at the University of Chicago) became curator of the museum. When Scott retired in 1993, the post of curator went to Rainer Engel of JohnsHopkins. In 2003 – when the AUA moved to Linthicum, Maryland – the museum also moved. Its scope was extended to relate to the topic of research in urologichistory. Engel remained curator until 2011, when Michael Moran took over the position.CollectionThe museum provides 300 years of the history of urology,beginning from early and extremely dangerous kidney stone surgeries to modern ultra sound treatments that \"pulverizes these jagged mineral clumps withoutany need to enter the body\". It includes illustrations, urological tools such as catheters, cystoscopes (includes Nitze cystoscopes made in 1890 with platinumloops for illumination and rotating cystoscopes), operating resectoscopes, laparoscopes, lithotriptors, and resectoscopes; some of this urologic equipment wassterilized using formaldehyde or cyanide. All was donated by urologists, including Ernest F. Hock of Binghamton, New York, Hans Reuter of Stuttgart, Germanyand Adolf A. Kutzmann of Los Angeles.The Center also aids research in all fields of urologic history in the United States. It contains an extensive urological library,with early urological and medical texts, and the AUA archives.Current AUA Historian Engel considers the museum to show how medical history in urology evolved,and notes that the implements on display frequently scare visitors. Amongst its items are \"long, thick metal tubes that once opened the floodgates between someunfortunate soul's bladder and the outside world\", lassoes and nutcrackers on the end of steel tubes to break bladder stones, and Hugh Hampton Young's\"Prostate Punch\", which resembles a \"massively enlarged and curved hypodermic needle designed for the blind resection of prostate tissues\", used in prostatesurgery (to ream out the tube of prostate tissue blindly); this last implement was used on the wealthy railway magnate Diamond Jim Brady, who—cured of aprostate problem—gave a generous donation to Johns Hopkins which enabled the establishment of the Brady Urological Institute and also the museum.A numberof very large mineral samples of kidney stones are also on display. The collection in the museum also includes more than 30 microscopes dating as far back as the18th century, along with operating manuals; this acquisition on loan from a German urology family.A popular display is the \"spermatorrhea ring\", a device fromthe early 20th century used to prevent ejaculations while sleeping. It is made of a double ring of metal, with the inner ring clipped over the penis and the outerring, which is lined on the inside with an armature of blunt metal teeth, on the shaft. These teeth constitute what could be called the \"medically active ingredient\".In the event of voluntary unknowing erection while sleeping, \"the sensitive skin of the engorged part expands against the spiky outer ring, and the sleeper ispricked into consciousness in time to prevent nature from committing an unspeakable crime against itself\".Passage 3:Lake City-Columbia County HistoricalMuseumLake City-Columbia County Historical Museum is a living history museum at the May Vinzant Perkins House in Lake City, Florida.HistoryThe LakeCity-Columbia County Historical Museum is located in the Vinzant House. The house was built in the 1880s and purchased by John Vinzant Jr. for $450. Vinzanthad come to Lake City after serving in the American Civil War as a sergeant in the 1st Florida Cavalry. Vinzant was the Columbia County Clerk of the Circuit Courtand County Tax Collector. Vinzant also contributed to the Florida Agricultural College Fund when it was established about 1 mile south from the house in 1888.Vinzant was married to Mattie Vinzant and had three daughters: Cronin Ives, Birdie Livingston and May Perkins. John Vinzant died in 1907. Vinzant's youngestdaughter May Perkins was married to Herbert Perkins and moved away to Washington, D.C. In 1912 May Perkins had a son but he died in infancy and then herhusband died shortly afterwards. May Perkins returned to her father's house in Lake City. May Perkins' mother Mattied died in 1926 leaving her to live alone at thehouse until her death in 1981 at 102 years old. Perkins became a notable Lake City poet and historian. Since the death of Perkins in 1981 the house is still calledthe May Vinzant Perkins house. The Historic Preservation Board of Lake City and Columbia County jointly bought the house with the Blue-Grey Army, Inc. in 1983.The two groups wanted to restore the house and make it a historical and cultural center as well as a museum. The house was renovated in 1984 by the Blue-GreyArmy to turn the May Vinzant Perkins house into a museum as well as to save the house from being demolished since it was in poor condition. In 2000 a plaquewas placed on the front of the house commemorating May Vinzant Perkins as a notable Floridian.Lake City holds an annual Battle of Olustee festival in downtown.Events are held at the Lake City-Columbia County Museum related to civil war history such as caring for wounded civil war soldiers or performing plays in relationto the civil war. Due to the COVID-19 pandemic the museum had to close from March to the second week of May 2020.Blue-Grey ArmyThe Blue-Grey Army is anorganization that has collected civil war artifacts and annually sponsors the Battle of Olustee Festival in Lake City. The organization jointly bought the Vinzanthouse with the Lake City Columbia County Historical Society. A room in the museum holds the Blue-Grey Army's civil war artifacts and is called the Blue-GreyArmy room.GalleryPassage 4:Historical Museum of SerbiaThe Historical Museum of Serbia (Serbian: Историјски музеј Србије/Istorijski muzej Srbije, IMUS) is apublic institution dedicated to documentation of history of Serbia from prehistory up to the present. The museum was established in 1963 and today it preservesover 35,000 exhibits in its collection. Over the years the museum was located at different locations around the capital city of Belgrade. In 2020, as a part of theBelgrade Waterfront development project, the museum was granted the historical building of the Belgrade Main railway station as its new permanent base. Themuseum is one of the leading institutions of its kind in the city and the country.HistoryThe first unsuccessful initiative to establish the museum was taken in 1950with the enactment of the Decree on the establishment of the History Museum of the People's Republic of Serbia. The proposal was reinitiated in 1954 with theestablishment of the Serbian Revolution Museum (hosted by the Residence of Prince Miloš) commemorating the 150th anniversary of the First SerbianUprising.The Historical Museum of Serbia was established by the decision of the People's Republic of Serbia authorities on 20 February 1963 with the newinstitution absorbing the Serbian Revolution Museum. The task of the Museum was defined in 1966 as follows: ″to collect, record, store, arrange, study andexhibit material from the history of the Serbian people and Serbia from the earliest times to the present day″.Until 2003 the museum published the  scientificjournal Zbornik Istorijskog muzeja Srbije. Initially, from 1954 to 1965, it was published by the Serbian Revolution Museum.In November 2020 the Serbiangovernment made the decision to relocate the museum to a far bigger building, which formerly served as Belgrade Main railway station.See alsoList of museumsin SerbiaPassage 5:Museum of the Sea (Uruguay)The Museum of the Sea, opened in 1996, is a museum of natural history located in La Barra, in the departmentof Maldonado, Uruguay. It occupies about 2,300 m2 (25,000 sq ft) and is divided into four large halls, which are open to the public all year round.OverviewThemuseum contains over 5,000 specimens of marine fauna, all of which are clearly labelled. Among these specimens are whale skeletons, sea urchins, starfish andturtle shells. In addition, there are old photographs and an old bathing machine used by women in the early days of the 20th century, as well as telescopes andblunderbusses of the period. There is also an exhibit about the most famous pirates. This huge collection of objects, exhibits, photographs and stories is the workof the museum's creator, Pablo Etchegaray. This self-taught collector began his collection of marine-related items many years ago.Exhibit hallsThe Museum of theSea is composed of four museums in one. In the Museum of the Sea, everything is related to marine life: whale skeletons, seashells, a deep sea room, interactiveexhibits, an area where children can draw their own pictures, a section devoted to pirates and another to treasure. The Beach Resort Museum shows the historyof holiday resorts, some of which are now city neighbourhoods, such as Pocitos and Carrasco, while others are tourist destinations, such as Punta del Este, LaPaloma, Piriápolis, Atlántida, Mar del Plata and Copacabana. The Nostalgia Museum holds collections of vintage objects such as jars, tins, radio sets, medicalremedies, photographs, and beach-related items such as beach umbrellas and pails that were used decades ago. Three collections and 38,000 specimens ofinsects are exhibited in the Insectarium. Most of the specimens are beetles, but there are also moths, cicadas, and grasshoppers, among other species.Passage"}
+{"doc_id":"doc_4","qid":"","text":"Passage 1:The Rebel GladiatorsThe Rebel Gladiators (Italian: Ursus il gladiatore ribelle/ Ursus, the Rebel Gladiator) is a 1962 Italian peplum film directed by Domenico Paolella starring Dan Vadis, Josè Greci and Alan Steel.PlotThe newly crowned emperor Commodus kidnaps the beautiful Arminia, who happens to be betrothed to the mighty gladiator Ursus. Obsessed with a desire to physically best all other men, he uses the girl as a hostage to force Ursus to fight him in the arena, but when Ursus beats him up and actually forces the dictator to beg for his life, he accuses Ursus of being in league with a group of usurpers who oppose Commodus' tyrannical rule. Ursus finally leads a slave revolt that overthrows Commodus, who is killed in the uprising, and Ursus is reunited with Arminia.CastDan Vadis as UrsusJosè Greci as ArminiaAlan Steel as Commodo/CommodusTullio Altamura as AntoninoNando Tamberlani as Marco AurelioGloria MillandGianni Santuccio as Emilio LetoSal Borghese as gladiatorBruno ScipioniAndrea Aureli as gladiator instructorCarlo Delmi as SettimioPassage 2:Voice of Free ChinaThe Voice of Free China (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000; pinyin: Zìyóu Zhōngguó Zhīshēng) was the international broadcasting station of the Republic of China from 1949 until 1998. During the Cold War era the station was the source of Chinese Nationalist propaganda largely aimed at discrediting the People's Republic of China and buttressing the Nationalists' claims to be the sole legitimate government of all of China.The Voice of Free China, for many years, was owned by the Broadcasting Corporation of China. This was a private company under a government contract to provide public radio programming. The BCC still exists today, but in 1998 the Voice of Free China and the government-owned Central Broadcasting System merged.With the easing of cross-strait relations and the liberalization of Taiwan's government, the Voice of Free China changed its name to Radio Taipei International in 1998 and also used the name \"Voice of Asia\" for some broadcasts. In 2003, it became Radio Taiwan International reflecting the defeat of the Kuomintang government in 2000 and the new government's orientation towards Taiwan independence from China. Today, this station is now known as Radio Taiwan International.See alsoPropaganda in the Republic of ChinaPassage 3:Ellen BassEllen Bass (born June 16, 1947) is an American poet and author.  She has won three Pushcart Prizes and a Lambda Literary Award for her 2002 book Mules of Love. She co-authored the 1991 child sexual abuse book The Courage to Heal. She received a fellowship from the National Endowment for the Arts in 2014 and was elected a chancellor of the Academy of American Poets in 2017. Bass has taught poetry at Pacific University and founded poetry programs for prison inmates.LifeBass grew up in Pleasantville, New Jersey, where her parents owned a liquor store. Her family later moved to Ventnor City, New Jersey. She attended Goucher College, where she graduated magna cum laude in 1968 with a bachelor's degree. She pursued a master's degree in creative writing at Boston University, where she studied with Anne Sexton, and graduated in 1970. From 1970 to 1974, Bass worked at Project Place, a social service center in Boston.From 1983 to 2003, she worked in the field of healing from childhood sexual abuse: writing the best-selling The Courage to Heal in 1991, developing training seminars for professionals, offering workshops for survivors, and lecturing to mental health professionals nationally and internationally. She is a co-founder of the Survivors Healing Center in Santa Cruz, a non-profit organization offering services to survivors of child sexual abuse.Bass has taught poetry at the low-residency Master of Fine Arts program at Pacific University in Oregon since 2007. She has taught workshops in Santa Cruz, California since 1974 and also nationally. In 2013, she founded the Poetry Program at the Salinas Valley State Prison, which offers a weekly workshop to incarcerated men. In 2014, she also founded the Santa Cruz Poetry Project, which offers six weekly workshops to men and women incarcerated in the Santa Cruz County jails.Among Bass' poetry books are Indigo, (2020) which was a finalist for the Paterson Poetry Prize, the Publishers Triangle Award and the Northern California Book Award; Like a Beggar (2014), which was a finalist for the Paterson Poetry Prize, the Publishing Triangle Award, the Milt Kessler Poetry Award, the Lambda Literary Award, and the Northern California Book Award; The Human Line (2007), and Mules of Love (2002), which won the Lambda Literary Award. Her poems have been published widely in journals and anthologies, including the New Yorker, the American Poetry Review, the Kenyon Review, and Ploughshares.Her nonfiction books include I Never Told Anyone: Writings by Women Survivors of Child Sexual Abuse (HarperCollins, 1983), Free Your Mind: The Book for Gay, Lesbian and Bisexual Youth and Their Allies (HarperCollins, 1996), and The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008), which has been translated into twelve languages.In 2017, Bass was elected as a Chancellor of the Academy of American Poets.Bass was named the Santa Cruz County Artist of the Year in 2019.Bass lives in Santa Cruz, California with her wife, Janet Bryer. She has two children, Saraswati Bryer-Bass and Max Bryer-Bass.AwardsBass was awarded the Elliston Book Award for Poetry from the University of Cincinnati, Nimrod/Hardman's Pablo Neruda Prize, The Missouri Review’s Larry Levis Award, the Greensboro Poetry Prize, the New Letters Poetry Prize, the Chautauqua Poetry Prize, four Pushcart Prizes (2003, 2015, 2017), Fellowships from The Guggenheim Foundation, The National Endowment for the Arts, and the California Arts Council.Indigo, (2020) was a finalist for the Paterson Poetry Prize, the Publishers Triangle Award and the Northern California Book Award. Like a Beggar (Copper Canyon Press, 2014) was a finalist for the Paterson Poetry Prize, the Publishing Triangle Award, the Milt Kessler Poetry Award, the Lambda Literary Award, and the Northern California Book Award. The Human Line (Copper Canyon Press, 2007) was named among the notable books of 2007 in the poetry section by the San Francisco Chronicle, and Mules of Love (BOA Editions, 2002) won the 2002 Lambda Literary Award.Published worksPoetryI'm not your laughing daughter. University of Massachusetts Press. 1973. ISBN 9780870231285.No More Masks! An Anthology of Poems by Women. Co-edited with Florence Howe. Doubleday. 1973. ISBN 9780385025539.{{cite book}}:  CS1 maint: others (link)Of Separateness and Merging. Autumn Press, 1977. ISBN 978-0394734309.For Earthly Survival. A letter press chapbook, Moving Parts Press, 1980.Our Stunning Harvest. New Society Publishers, 1984. ISBN 978-0865710535.Mules of Love. BOA Editions. 2002. ISBN 9781929918225.The Human Line. Copper Canyon Press. 2007. ISBN 9781556592553.Like A Beggar. Copper Canyon Press. 2014. ISBN 9781556594649.Indigo. Copper Canyon Press. 2020. ISBN 9781556595752.NonfictionI Never Told Anyone: Writings by Women Survivors of Child Sexual Abuse. Co-authored with Louise Thornton and others. Harper Collins. 1991 [1983]. ISBN 9780060965730.{{cite book}}:  CS1 maint: others (link)The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse. Co-authored with Laura Davis. Harper Collins. 2008 [1988]. ISBN 9780061284335.{{cite book}}:  CS1 maint: others (link)Beginning to Heal: A First Book for Men and Women Who Were Sexually Abused as Children. Co-authored with Laura Davis. Harper Collins. 2003 [1993]. ISBN 9780062270597.{{cite book}}:  CS1 maint: others (link)Free Your Mind: The Book for Gay, Lesbian and Bisexual Youth—and Their Allies. Co-authored with Kate Kaufman. Harper Collins. 1996. ISBN 9780060951047.{{cite book}}:  CS1 maint: others (link)Children's booksI Like You to Make Jokes with Me, But I Don't Want You to Touch Me. Lollipop Power Books/Carolina Wren Press. 1993 [1981]. ISBN 9780914996279.Passage 4:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 5:Chlorox, Ammonium and CoffeeChlorox, Ammonia and Coffee (Norwegian: Salto, salmiakk og kaffe) is a 2004 Norwegian comedy film written and directed by Mona J. Hoel, starring Benedikte Lindbeck, Kjersti Holmen and Fares Fares. The film follows multiple storylines, and is about having the courage to take chances in life.External linksChlorox, Ammonium and Coffee at IMDbChlorox, Ammonium and Coffee at Rotten TomatoesChlorox, Ammonium and Coffee at Filmweb.no (in Norwegian)Chlorox, Ammonium and Coffee! at the Norwegian Film InstitutePassage 6:Free China: The Courage to BelieveFree China: The Courage to Believe is a 2012 documentary film (61 minutes) about the persecution of Falun Gong, starring Jennifer Zeng and Dr. Charles Lee.DescriptionThe film is based on a true story of a mother and former Communist Party member, Jennifer Zeng, who along with more than 70 million Chinese were practicing Falun Gong, a belief that combined Buddhism and Daoism until the Chinese Government outlawed it. The Internet police intercepted an email and Jennifer was imprisoned for her faith. As she endured physical and mental torture, she had to decide: does she stand her ground and languish in jail, or does she recant her belief so she can tell her story to the world and be reunited with her family?A world away, Dr. Charles Lee, a Chinese American businessman, wanted to do his part to stop the persecution by attempting to broadcast uncensored information on state controlled television. He was arrested in China and sentenced to three years of re-education in a prison camp where he endured forced labor, making amongst other things, Homer Simpson slippers sold at stores throughout the US.With more than one hundred thousand protests occurring each year inside China, unrest among Chinese people is building with the breaking of each political scandal. As China's prisoners of conscience are subjected to forced labor and possibly organ harvesting, but at this time it is unconfirmed. This timely documentary exposes profound issues such as genocide and unfair trade practices with the West. The film also highlights how new Internet technologies are helping bring freedom to more than 1.3 billion people living in China and other repressive regimes throughout the world.Interviewees in the filmJennifer Zeng - author of Witnessing History: One Chinese "}
+{"doc_id":"doc_5","qid":"","text":"Passage 1:Bill Smith (footballer, born 1897)William Thomas Smith (9 April 1897 – after 1924) was an English professional footballer.CareerDuring his amateurcareer, Smith played in 17 finals, and captained the Third Army team in Germany when he was stationed in Koblenz after the armistice during the First WorldWar. He started his professional career with Hull City in 1921. After making no appearances for the club, he joined Leadgate Park. He joined Durham City in 1921,making 33 league appearances in the club's first season in the Football League.He joined York City in the Midland League in July 1922, where he scored the club'sfirst goal in that competition. He made 75 appearances for the club in the Midland League and five appearances in the FA Cup before joining Stockport County in1925, where he made no league appearances.Passage 2:Thomas Scott (diver)Thomas Scott (1907 - date of death unknown) was an English diver.BoxingHecompeted in the 10 metre platform at the 1930 British Empire Games for England.Personal lifeHe was a police officer at the time of the 1930 Games.Passage3:Fred Bradley (rower)Frederick Bradley (1908 – date of death unknown) was an English rower.RowingHe competed in the single sculls at the 1930 British EmpireGames for England and won a bronze medal.Personal lifeHe was listed as having no occupation at the time of the 1930 Games.Passage 4:ParimalaNagappaParimala Nagappa is a politician from the state of Karnataka and wife of Late H. Nagappa. Parimala was elected as M.L.A from Hanur constituency on aJanata Dal (Secular) ticket in the 2004 Karnataka assembly elections. On 16 March 2017, she joined the Bharatiya Janata Party.Passage 5:Albert Thompson(footballer, born 1912)Albert Thompson (born 1912, date of death unknown) was a Welsh footballer.CareerThompson was born in Llanbradach, Wales, and joinedBradford Park Avenue from Barry Town in 1934. After making 11 appearances and scoring two goals in the league for Bradford, he joined York City in 1936. Hewas York City's top scorer for the 1936–37 season, with 28 goals. He joined Swansea Town in 1937, after making 29 appearances and scoring 28 goals for York.After making 4 appearances in the league for Swansea, he joined Wellington Town.== Notes ==Passage 6:Harry Wainwright (footballer)Harry Wainwright (born1899; date of death unknown) was an English footballer.CareerWainwright played for Highfields before joining Port Vale as an amateur in December 1919. Aftermaking his debut in a 1–0 defeat at Barnsley on Boxing Day he signed as a professional the following month. He was unable to nail down a regular place however,and was released at the end of the season with just four appearances to his name.He returned to Highfields before moving on to Doncaster Rovers where hescored in their return to football following WW1, in the 2–1 defeat to Rotherham Town in the Midland League. He scored two more goals that season, and nonethe following season.He then went to Brodsworth Main, Frickley Colliery, Sheffield United, Boston Town, Scunthorpe & Lindsey United and Newark Town.CareerstatisticsSource:Passage 7:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? firstpublished in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guidefor parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has causedcontroversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, Whatis Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and Whatis a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English classat Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York Citypublic school children compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishingoffice there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher whoteaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage8:Harry Johnson (wrestler)Harry Johnson (born 1903, date of death unknown) was an English wrestler.WrestlingHe competed in the welterweight category at the1930 British Empire Games for England.Personal lifeHe was a turner at the time of the 1930 Games and lived in 31 Kambala Road, Battersea.Passage 9:H.NagappaH. Nagappa was a Janata Dal (United) political leader, two term member of the Karnataka Legislative Assembly and minister for agricultural marketing inthe J. H. Patel cabinet.He was abducted by forest brigand Veerappan and his gang members on 25 August 2002 from the Kamagere village of Chamarajanagardistrict. On 8 December 2002, Nagappa was killed by Veerappan or his gang members or by Tamil nadu police at Changadi forest area near M. M. Hills borderingthe state of Tamil Nadu.who killed him is a mystery .Passage 10:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date ofTheodred's consecration unknown, but the date of his death was sometime between 995 and 997."}
+{"doc_id":"doc_6","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland andAustralia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater publicattention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hoodhas one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the AfricanBody, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles:Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written oredited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats:Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with DavisCoakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers(1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe,Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is atrustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the InternationalAssociation of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from LourdesUniversity. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.==Notes ==Passage 2:Only the Lonely (film)Only the Lonely is a 1991 American romantic comedy-drama film written and directed by Chris Columbus, produced byJohn Hughes, and stars John Candy, Maureen O'Hara (in her final film role), Ally Sheedy and Anthony Quinn. The film is a comedic take on the premiseestablished in the 1953 television play Marty and the 1955 film Marty, while the title comes from the song \"Only the Lonely\" by Roy Orbison. The story follows abachelor who is looking to settle down and start a family with a mortuary beautician, while coping with his controlling mother who wants him all toherself.PlotDanny Muldoon, a 38-year-old Chicago policeman, lives with his controlling Irish mother, Rose Muldoon. A lonely bachelor, he falls in love with TheresaLuna, an introverted girl who works in her father's funeral home. On their first date, they have a picnic on Comiskey Park field. Dating becomes difficult as Rosefears Theresa is trying to steal her son away.Danny's brother Patrick tries to convince him to remain unmarried and move to Florida with their mother to take careof her; Salvatore \"Sal\" Buonarte, one of Danny's married friends and a fellow officer, advises him not to settle down just yet, as he did. Danny begins to feelguilty about his relationship, especially towards his mother. This leads to his interrupting dates with Theresa to check on her.When Theresa finally meets Rose ata fancy dinner, Rose immediately begins to put her down, mocking her Sicilian and Polish heritage. Theresa stands up to her, then berates Danny for not doing sohimself. After Theresa leaves, Danny scolds his mother for being so cruel, saying that her way of \"telling it like it is\" hurts people. He reminds her she lost a$450,000 account for his late father's company by making anti-Semitic remarks. He then tells Rose he will propose to Theresa, whether she approves ornot.Danny apologizes to Theresa, proposing to her from the bucket of a Chicago fire truck. She says yes and they are set to be married. However, even thoughRose finally approves, Danny calls to check on his mother in front of Theresa on the night before the wedding. Angered that they might never be alone, she walksoff. Neither of them show up for the wedding. A few weeks later, Danny's friends ask why they called off the wedding, but he gives no answer. When a friend"}
+{"doc_id":"doc_7","qid":"","text":"Passage 1:George AlagiahGeorge Maxwell Alagiah  ( born 22 November 1955) is a British newsreader, journalist and television news presenter.Since 3 December2007, he has been the presenter of the BBC News at Six and was previously the main presenter of GMT on BBC World News since its launch on 1 February2010.BackgroundAlagiah was born in Colombo, Ceylon on 22 November 1955. His parents, Donald Alagiah, an engineer, and Therese, were Sri Lankan Tamil. In1961, his parents moved to Ghana in West Africa, where he had his primary education at Christ the King International School. He has four sisters. His secondaryeducation took place at St John's College, an independent Roman Catholic school in Portsmouth, England, after which he read politics at Van Mildert College,Durham University. Whilst at Durham, he wrote for and became editor of the student newspaper Palatinate and was a sabbatical officer of Durham Students'Union.In 2004, he returned to his grandfather's original home in Sri Lanka in the aftermath of the Asian tsunami to survey the damage. The family's former homehad been destroyed, but he was able to recognise an old well where he had played with his sisters, although the well was unsalvageable.BroadcastingcareerAlagiah joined the BBC in 1989 after seven years in print journalism with South Magazine. Before becoming a presenter, he was Developing Worldcorrespondent, based in London, and then Southern Africa correspondent in Johannesburg. As one of the BBC's leading foreign correspondents, he reported onevents ranging from the genocide in Rwanda to the plight of the Marsh Arabs in southern Iraq to the civil wars in Afghanistan, Liberia, Sierra Leone andSomalia.He was the presenter of BBC Four News from its launch in 2002; the programme was later relaunched as The World and then another edition of WorldNews Today. In January 2003 he joined the BBC Six O'Clock News, which he co-presented with Sophie Raworth until October 2005, and with Natasha Kaplinskyuntil October 2007. Since 3 December 2007, he has been the sole presenter of the Six O'Clock News. Prior to that, he had been the deputy anchor of the BBC OneO'Clock News and BBC Nine O'Clock News from 1999. Since 3 July 2006, he has presented World News Today on BBC World News and BBC Two, which wasrebranded GMT on 1 February 2010. He last appeared on the programme in 2014. He was formerly a relief presenter on BBC News at Ten, presenting mainlyMonday to Thursday when main presenters Huw Edwards and Fiona Bruce were unavailable.A specialist on Africa and the developing world, Alagiah hasinterviewed, among others, Nelson Mandela, Archbishop Desmond Tutu, former Secretary-General of the United Nations Kofi Annan and President Robert Mugabeof Zimbabwe. His other documentaries and features include reports on why affirmative action in America is a 'Lost Cause', for the Assignment programme,Saddam Hussein's genocidal campaign against the Kurds of northern Iraq for the BBC's Newsnight programme and a report on the last reunion of the veterans ofDunkirk.Awards and interestsIn 2000, Alagiah was part of the BBC team which collected a BAFTA award for its coverage of the Kosovo conflict. He has wonnumerous awards including Best International Report at the Royal Television Society in 1993 and in 1994 was the overall winner of the Amnesty International UKMedia Awards. He was appointed Officer of the Order of the British Empire (OBE) in the 2008 New Year Honours.His appearances at literary festivals includeCheltenham, Keswick, Hay-on-Wye and London, and he has spoken at the Royal Geographical Society, the Royal Society of Arts and at the Royal OverseasLeague. He is on the Board of the Royal Shakespeare Company.From 2002 to 2009, Alagiah was a patron of the Fairtrade Foundation from which in July 2009, hewas obliged to resign by BBC Management who claimed professional conflict of interest. Complaints were received at the BBC from members of the public whowere unhappy that Alagiah had been asked to step down. The BBC responded that in keeping with its principles of impartiality, it would be inappropriate for one ofits leading journalists to be seen supporting a movement that clearly represents a controversial view of global trade. He has also been actively involved insupporting microfinance as a tool for development, including recent appearances in support of Opportunity International. He has been a patron of Parenting UKsince 2000.In 2010, he received the Outstanding Achievement in Television award at the Asian Awards.In 2020, his debut novel The Burning Land was shortlistedfor a Society of Authors' award. The book is described as a \"gripping, pacy thriller about corruption and homicide in South Africa\".Personal lifeHe is married toFrances Robathan, whom he met at Durham University. The couple have two children, Adam and Matthew. He lives in Stoke Newington, North London.On 17 April2014, it was announced that Alagiah was being treated for colorectal cancer. A statement from the BBC said: \"He is grateful for all the good wishes he hasreceived thus far and is optimistic for a positive outcome.\" On 28 June, Alagiah announced on Twitter that he was making \"encouraging progress\". In late October2015 he announced on Twitter that the treatment was officially over, and he returned to the BBC on 10 November. In January 2018 it emerged that the cancerhad returned and he would undergo further treatment.In March 2018, in an interview with The Sunday Times, Alagiah noted that his cancer was terminal andcould have been caught earlier if the screening programme in England, which is automatically offered from the age of 60, was the same as that in Scotland,where it is automatically offered from the age of 50.In June 2020 Alagiah said that the cancer had spread to his lungs, liver and lymph nodes, but was not at a\"chronic\" or \"terminal\" stage. In October 2022, Alagiah announced that his cancer had spread further and he took a break from TV to undergo a new series oftreatment.Passage 2:William CrawleyWilliam Crawley, MRIA, is a Belfast-born BBC journalist and broadcaster. He is the presenter of Talkback, a daily radioprogramme on BBC Radio Ulster, and he is a presenter of Sunday on BBC Radio 4. He has also made several television series for BBC Northern Ireland.EarlylifeWilliam Hugh Galloway Crawley was born and raised in North Belfast. He was educated at Grove Primary School, Dunlambert Secondary School, Belfast RoyalAcademy and Queen's University, where he studied Philosophy (B.A., M.Phil.). He read Theology (M.Div.) at Princeton Theological Seminary. In 1999 Crawley wasawarded a PhD by Queen's for a thesis on the epistemology of the American philosopher Alvin Plantinga.Prior to his career in the media, Crawley worked as auniversity lecturer in Philosophy and Theology. Having been licensed, then subsequently ordained into the ministry of the Presbyterian Church in Ireland in themid-1990s, he worked as assistant minister in First Presbyterian Church, New York City, and Fisherwick Presbyterian Church, Belfast, before serving asPresbyterian chaplain at the University of Ulster. He later resigned from the ordained ministry and from membership of the church before beginning his career asa journalist. He has described himself as \"a lapsed Protestant.\"Television programmesBlueprint NI, a three-part series examining Ireland's natural history, firstbroadcast in 2008.The late-night television interview show, William Crawley Meets..., a series of 30 minutes in duration with leading thinkers and social reformersfrom across the world, including the philosopher Peter Singer, the scientist Richard Dawkins, the writer and broadcaster Melvyn Bragg, and the gay bishop GeneRobinson.Frozen North (BBC One, 2008), a documentary examining the possible future impact of global warming.Festival Nights (BBC Two), television coverageof the 2005, 2006 and 2007 Belfast Festival at Queens.Hearts and Minds, a Northern Ireland politics programme.What's Wrong With ...? (BBC One), a six-partround-table current affairs discussion programme.More Than Meets The Eye (BBC Two, 2008), a series investigating folklore in contemporary Ireland.He anchoredthe BBC's live coverage of the Queen's official visit to Northern Ireland in 2008.In 2010, he presented an episode of Spotlight (BBC One NI) concerning theVatican.In 2012, he wrote and presented a 60-minute documentary exploring the history of the Ulster Covenant.In 2013, his series An Independent Peopleexamined the history of Ireland's Presbyterians.His 2013 one-hour documentary It's a Blas followed his year-long effort to learn Irish sufficiently well to present alive radio programme in the language.The 2013 programme The Man Who Shrank The World told the story of the engineering feat carried out by the scientist LordKelvin in the creation of a transatlantic communications cable was made as part of the Groundbreakers series for BBC Four.His 2014 four-part series for BBC TwoNorthern Ireland, It's a Brave New World -- New Zealand, examined the links between Northern Ireland and New Zealand.2015 Brave New World: USA (4 partseries).2016 Brave New World: Australia (4 part series).2017 Brave New World: Canada (4 part series).2018 Brave New World: Bringing It Home (1episode).2019 Spend It Like Stormont.Radio programmesHe presented Sunday Sequence on BBC Radio Ulster from 2002 to 2014.Since 2008, he has presentedSunday on BBC Radio 4.He has presented the daily radio phone-in show Talkback on BBC Radio Ulster since 2015.He has presented Radio 4's Beyond Belief andThe Moral Maze.Awards and membershipsFellow of the Royal Society of the Arts (FRSA).Fellow of the British-American Project.Recipient of Eisenhower Fellowship(2012).Honorary Doctor of Letters (D.Lit.), Queen's University Belfast, 2012, for services to broadcasting.Andrew Cross Award for Speech Broadcaster of the Year2006, and other programme content awards.Thinker and Explainer of the Year, Slugger O'Toole/Channel 4 Political Awards 2011.Aisling Award, 2013, forcontribution to Irish language broadcasting.Patron, Belfast Film Festival.Member of advisory board of Irish Pages: A Journal of Contemporary Writing.2015 RoyalTelevision Society Documentary Award for Brave New World: New Zealand.Member of the Royal Irish Academy.2022 IMRO Speech Broadcaster of the Year (GoldAward).Passage 3:Tim RussertTimothy John Russert (May 7, 1950 – June 13, 2008) was an American television journalist and lawyer who appeared for morethan 16 years as the longest-serving moderator of NBC's Meet the Press. He was a senior vice president at NBC News, Washington bureau chief and also hostedan eponymous CNBC/MSNBC weekend interview program. He was a frequent correspondent and guest on NBC's The Today Show and Hardball. Russert coveredseveral presidential elections, and he presented the NBC News/Wall Street Journal survey on the NBC Nightly News during the 2008 U.S. presidential election.Time magazine included Russert in its list of the 100 most influential people in the world in 2008. Russert was posthumously revealed as a 30-year source forsyndicated columnist Robert Novak.Early lifeRussert was born in Buffalo, New York, the son of Elizabeth \"Betty\" (née Seeley; January 9, 1929 – August 14,"}
+{"doc_id":"doc_8","qid":"","text":"Passage 1:OttakootharOttakoothar (c. 12th century CE) was a Tamil court poet to three Later Chola kings, namely Vikrama Chola, Kulotunga II and Rajaraja II.He wrote poems in praise of these three kings.The poet's memorial is believed to be still in a place known as Darasuram in Kumbakonam, just opposite thefamous Airavatesvara Temple. According to legend, the goddess Saraswati blessed him in Koothanur, then he became a famous poet.FamilyAccording to alegend, there was once a  Chola king called Muchukundan who had his capital at Karur. He is said to have won the favor of God Murugan after deep penances andthe latter is said to have bestowed upon him his personal bodyguards to aid him in his wars. Muchukundan Chola then married Chitravalli, daughter of the warriorchief and Murugan's bodyguard called Virabahu and spawned a new line. The poet Ottakoothar is presented as the scion of the family of this Sengunthar chief inhis work Eeti-elupattu. It is worth mentioning that this Muchukunda Chola figures in the ancestry of Rajendra I as detailed in his Tiruvalangadu copperplates.Literary worksOttakoothar (Tamil: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is renowned for his Ula poems on the three successive kings, Vikrama Chola, Kulothunga IIand Rajaraja II.  The Ula poems are generally written in honor of the king and describe the triumphant procession of the king amidst the people and his subjects.He also authored a work dealing with the Kulottunga II's childhood called Kulottunga Cholan Pillai Tamil.Ottakoothar wrote Uttara Kandam, the seventh (lastchapter) kandam of the Tamil epic Ramayanam. Ottakoothar's works can be found at the open access Tamil literature repository Project Madurai.During thisperiod when he was very popular, the Sengunthar community, the one to which he belonged, requested him to compose a work in their honor. He initially refusedbut then later agreed provided they brought him 1008 heads of their first born sons. Accordingly, 1008 members of the community sacrificed their lives so that hecould write about their history. The poet then wrote, Eeti-elupattu, a poem consisting of seventy verses in honor of the spear and extolled the glorious past of theSengunthar chiefs and soldiers. He later wrote another poem called Elupp-elupattu in order to bring back the 1008 dead members to life. When he sang it theheads are said to have miraculously attached to their bodies and the dead became alive once again. The poet Koothar thus came to be known as Otta Koothar  forhe attached the heads to the bodies and revived them.Popular cultureIn the 1957 Tamil film Ambikapathy, the character of Ottakoothar was portrayed and wasperformed by M. N. Nambiar. The character was also played by Rajesh in Mahasakthi Mariamman, a 1986 Tamil film.See alsoKoothanur Maha SaraswathiTemplePassage 2:Rajaraja IIRajaraja II was a chola emperor who reigned from 1150 CE to 1173 CE. He was made his heir apparent and Co-Regent in 1146 andso the inscriptions of Rajaraja II count his reign from 1146. Rajaraja's reign began to show signs of the coming end of the dynasty.Growing weaknessThe extentof the Chola territories remained as it was during Rajaraja's predecessors. The Vengi country was still firmly under the Chola rule.The Chola central administrationdid show weaknesses with regard to their control and effective administration over the outlying parts of the empire, which became pronounced towards the end ofRaja Raja-II's reign.  However, Rajaraja regained adequate control of provinces like Vengi, Kalinga, Pandya and Chera territories. He probably even invaded SriLanka as is explained in one of the Tamil poems written during his time.  This is borne out by the fact that not just Rajaraja, but also his successors likeKulothunga III bore titles like Tribhuvana Chakravartin attesting to their military capabilities and cultural achievements.During the last years of Rajaraja's reign, acivil unrest as a result of a succession dispute convulsed the Pandya country, further weakening Chola influence there. This was only to be expected as eventhough the Pandyas were subjugated by the Cholas since the time of Aditya I and were firmly controlled until the time of Virarajendra, the Madurai kingdomnevertheless kept making efforts from time to time, for gaining their independence from their occupiers.  Later Pandyas like Maravarman or MaravarambanSundara Pandyan, Jatavarman Vira Pandyan and Jatavarman Sundara Pandyan steadily went on increasing their power and prestige and were to emerge as themost powerful kingdom in South India during the period 1200–1300. These developments were to slowly but surely weaken the Chola kingdom, though there wasa minor revival during the fairly steady rule of Kulothunga III (1178–1218).In as much as the cholas during his time were dominant militarily is noted by someliterature that mention Raja Raja's conquest and his innovative management initiatives.Here is excerpt from an inscription of his from the Rajagopala Perumaltemple:..Having won the heart (of the goddess) of the earth for countless ages, (he) was pleased to be seated on the throne of heroes, (made) of puregold..while the Villavar (Cheras), Telungar, Minavar (Pandyas),..and other kings prostrated themselves (before him). In the 8th year (of the reign) of (this) kingParakesarivarman, alias the emperor of the three worlds, Sri-Rajarajadeva.Death and successionThe last regnal year cited in Rajaraja's inscription is 26. Thatmakes the last year of his reign 1173. Rajaraja was not destined to live long. Rajaraja did not have any suitable direct descendant to ascend the Chola throne sohe chose Rajadhiraja Chola II a grandson of Vikrama Chola as his heir.  According to the Pallavarayanpettai inscription, Rajaraja died four years after he madeRajadhiraja Chola II as heir-apparent.  Since, Rajadhiraja himself was quite young, he would require the help of Pallavarayar to usher the young sons of Rajarajato safety. According to the inscription, Pallavarayar took steps immediately after the death of Rajaraja for the protection of the king's children, aged one and twoyears. According to historian Krishnaswami Aiyangar, Kulothunga Chola III who is widely considered as the last great Chola sovereign was the son of RajarajaII.Socio-Religious AchievementsKUMBAKONAMOne of the most important achievements of Rajaraja II was that despite being considered a weak king, it appearsthat he did enjoy periods of calm and peace especially during the later half of his 26-year rule.  It was during this period that he initiated construction of the veryfamous Airavatesvarar Temple at Darasuram, Kumbakonam .  This royal Siva temple, which is one of the trinity of the Great Living Chola Temples along with theBrihadeeswarar Temple Temples at  Thanjavur and Gangaikonda Cholapuram all of which are World Heritage Sites.  The Airavateswarar Temple was completedeither by the time his rule ended or during the initial period of his successor, Rajadhiraja II. The Airavateswarar Temple is considered an  architectural marvel ofthe Later Chola  period and this tradition was carried on by Kulothunga III who built the Kampahareswarar Temple at Tribhuvanam in commemoration of hisconquest of Madurai, Kalinga, Karuvur and his defeat of the Hoysala King Veera Ballala II  This temple contains innumerable miniature freezes containing storiesfrom Ramayanam, Periya Puranam and other stories devoted to Siva-Parvati, Vinayagar, Karthikeya etc.  The temple is also a symbol of continuing architecturaltradition of the Chola craftsmen for it also has musical stairs called the Saptasvaras near a small shrine for Ganapati. The Mukhamandapam or theMukhyamandapam of this temple is a real architectural marvel containing many great architectural specimen and was a continuation of the Later Chola traditionof building temples in the shape of giant elephant-driven Rathas or Chariots as like as in Melakadambur siva temple built by Kulothunga I, which was also carriedon not just by later Chola kings such as Kulothunga III but also by the kings of Kalinga and culminated in construction of the Sun Temple of Konarak by EasternGanga king Narasinghdeo. This is one of the later Chola temples which have remained unparalleled in terms of architectural excellence to date, that left a lastingimpression on the succeeding dynasties to the Chola rule.Rajaraja also made numerous grants to the temples at Tanjore, Chidambaram, Kanchi, Srirangam,Tiruchy as well as to the temples at Madurai.  He was also believed to be a regular visitor to the temples in Parasurama's country (Kerala), which were alsorecipients of his grants. During his time the chola navies did remain dominant in the western sea as well as eastern sea.Overall he was a benevolent king who didput up good administrative processes, including efficient revenue generation systems as evidenced by his relief measures to the people during the times of boththe famine and civil unrest, which though did take some effort to subdue, but which finally ensured that he retained the loyalty and respect of his ministers,commanders and the general sections of the populace.Extent of the Empire and Summary of the ruleEven though there was a famine which further caused a civildisturbance, Raja Raja-II nevertheless, kept most of his adversaries under control and also succeeded in largely maintaining the Chola territories consisting oftheir possessions in Tamizhagam including Kongunadu, Madurai and Thirunelveli, Nellore-Guntur areas (with Renandu and Telugu Cholas having allegiance toRaja Raja-II but controlling their areas with more authority than before), Visaiyavadai(Vijayawada)-Eluru-Rajahmundry-Prakasham (Draksharama) areastraditionally controlled by Vengi kings, Kalinga (whose King was a tribute paying subordinate and a supportive feudatory to Chola overlordship).. up to the banksof Hooghly.  In addition, he also had Northern Sri Lanka (as was the case during the time of his illustrious predecessor, Raja Raja-I) under his loose control whileas compared to before, even though he had subdued Chera kings, due to the re-emergence of Pandya power, he was forced to allow more autonomy to Malainadukings with whom he was believed to be having marital relations. But somehow, Raja Raja-II proved not strong enough to regain control of the eastern Gangavadiprovince, which was lost to the Hoysalas by his predecessor, the great Vikrama Chola. Possibly, the Hoysalas themselves were trying to free themselves from thecontrol of Western Chalukyas and other rapidly growing adversaries like Kalachuris and Kakatiyas, who were as hostile to the Chalukyas and Hoysalas, as theywere to the Cholas and even the Pandyas, as would be evidenced in the later years.NotesPassage 3:Ali RahumaAli Khalifa Rahuma (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000)  (born May 16, 1982) is a Libyan football midfielder, also a Libyan national. He currently plays for Al-Ittihad, and is a member of the Libya nationalfootball team.External linksAli Rahuma at National-Football-Teams.comSoccerPunter. “Ali Khalifa Rahuma Profile and Statistics.” SoccerPunter. SoccerPunter, n.d.Web. 6 Sept. 2016Passage 4:Nayelly HernándezNayelly Hernández (born 23 February 1986) is a former Mexican professional squash player. She has representedMexico internationally in several international competitions including the Central American and Caribbean Games, Pan American Games, Women's World Team"}
+{"doc_id":"doc_9","qid":"","text":"Passage 1:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.Dance of Death orThe Dance of Death may also refer to:BooksDance of Death, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novel by R. L. StineDance ofDeath (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play by August StrindbergTheDance of Death, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring AliceBradyThe Dance of Death (1912 film), a German silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death (1938 film), crime dramastarring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich vonStroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starring Boris KarloffDance ofDeath (1969 film), a film based on Strindberg's play, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance ofDeath (album), a 2003 album by Iron Maiden, or the title songThe Dance of Death & Other Plantation Favorites, a 1964 album by John FaheyThe Dance of Death(Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead (disambiguation)Danse Macabre (disambiguation)Bon Odori, aJapanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz (disambiguation)Passage2:SennedjemSennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"ThePlace of Truth\"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". He wasburied along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis. His tomb was discovered January 31, 1886. WhenSennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant inthe Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family andwife)Passage 3:Kristján EldjárnKristján Eldjárn (Icelandic: [\u0000k\u0000r\u0000stjaun \u0000\u0000ltjaurtn\u0000]; 6 December 1916 – 14 September 1982) was the third president ofIceland, from 1968 to 1980.BiographyKristján was born in Tjörn, Svarfaðardal, Iceland. His parents were Þórarinn Kr. Eldjárn, a teacher in Tjörn, and SigrúnSigurhjartardóttir. He graduated in archaeology from the University of Copenhagen and taught at the University of Iceland. In 1957 he was awarded a doctoratefor his research into pagan burials in Iceland. He was a teacher at the Akureyri Grammar School and the College of Navigation in Reykjavík, becoming a curator atthe National Museum of Iceland in 1945 and its Director in 1947, a position he held until the 1968 presidential election.In 1966–68 he hosted a series ofeducational TV programs on the (then new) Icelandic National Television (RÚV), in which he showed the audience some of the National Museum's artefacts andexplained their historical context. These programs became quite popular, making him a well known and respected popular figure. This no doubt gave him theincentive needed to run in the 1968 presidential election as a politically non-affiliated candidate.Starting as the underdog in the 1968 presidential election,running against Ambassador Gunnar Thoroddsen who initially had a 70% lead in the opinion polls, Kristján won 65.6% of the vote on a 92.2% voter turnout. Hewas re-elected unopposed in 1972 and 1976. In 1980 he decided not to run for another term, wanting to devote his remaining years entirely to continuing hislifelong academic work.President Kristján Eldjárn died following heart surgery in Cleveland, Ohio on 13 September 1982.His son Þórarinn Eldjárn is one ofIceland's most popular authors, specializing in short stories, but also writing poetry and an occasional novel. His daughter Sigrún Eldjárn is also an author andillustrator of several children's books. Þórarinn's son, Ari Eldjárn, is Iceland's most prominent stand-up comedian.Passage 4:Place of birthThe place of birth (POB)or birthplace is the place where a person was born. This place is often used in legal documents, together with name and date of birth, to uniquely identify aperson. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is usedfor native-born citizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it'sdetermined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is notnecessarily the place where the parents of the new baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries,this also means that the government requires that the birth of the new baby is registered in the place of birth.Some countries place less or no importance on theplace of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept offödelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternityward or other physical birthplace is considered unimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents isautomatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin. A child born toone Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin isstated, not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarily in the Americas), the place of birth automaticallydetermines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attributenationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be some confusion regarding the place of birth if the birthtakes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of thecountries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birthoccurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's \"country of birth\". It is important to determinefrom the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality at birth\". For example, US citizens born abroad whoacquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birthtakes place.Reference list8 FAM 403.4 Place of BirthPassage 5:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu onLoire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in theNapoleonic Wars.PopulationSee alsoCommunes of the Loiret departmentPassage 6:Place of originIn Switzerland, the place of origin (German: Heimatort orBürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipalcitizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence, although two or all three of theselocations may be identical depending on the person's circumstances.Acquisition of municipal citizenshipSwiss citizenship has three tiers. For a person applying tonaturalise as a Swiss citizen, these tiers are as follows:Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such assufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality.Cantonal (state) citizenship,for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.Country citizenship, for which both of the aboveare required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisationwithout having to reside in Switzerland), and involves a criminal background check.The last two kinds of citizenship are a mere formality, while municipalcitizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines the municipality where citizenship is acquired, fora new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely tospecify which municipality held the responsibility of providing social welfare. The law has now been changed, eliminating this form of allocating responsibility to amunicipality other than that of the place of residence. Care needs to be taken when translating the term in Swiss documents which list the historical \"Heimatort\"instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, a third or even more municipal citizenships forprestige reasons or to show their connection to the place they currently live – and thus have several places of origin. As the legal significance of the place of originhas waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality forone or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligationsincumbent on the municipality to grant the citizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whose last namethey hold, so the child gets either the mother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship,and thus the place of origin, of the Swiss parent.International confusionAlmost uniquely in the world (with the exception of Japan, which lists one's RegisteredDomicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder'sbirthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead to administrativeissues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification"}
+{"doc_id":"doc_10","qid":"","text":"Passage 1:Stella's oorlogStella's oorlog (Dutch for Stella's war) is a 2009 Dutch drama film directed by Diederik van Rooijen.CastPassage 2:Don Juan in a Girls'SchoolDon Juan in a Girls' School (German: Don Juan in der Mädchenschule) is a 1928 German silent comedy film directed by and starring Reinhold Schünzel. Itis based on Hans Stürm's play The Unfaithful Eckehart.The film's art direction was by Gustav A. Knauer and Willy Schiller.Two later film versions were TheUnfaithful Eckehart (1931) and The Unfaithful Eckehart (1940).CastIn alphabetical orderErnst Behmer as Studienrat MeiselAdolphe Engers as Fritz StürmerCarlGeppert as Studienrat SchädenElse Groß as Mädchen für alles bei Susanne BachMax Gülstorff as Oberstudienrat Arminius NiedlichJulius E. Herrmann as SalaManderCarola HöhnValerie Jones as EvaMaria Kamradek as Susanne BachLydia Potechina as Frau TiedemannF. W. Schröder-SchromReinhold Schünzel as Dr.Eckehart BleibtreuLotte Stein as Perle im Hause BleibtreuJakob Tiedtke as Herr TiedemannRolf von Goth as Prinz OsramHilde von Stolz as TrudePassage 3:TheUnfaithful Eckehart (1931 film)The Unfaithful Eckehart (German: Der ungetreue Eckehart) is a 1931 German comedy film directed by Carl Boese and starringRalph Arthur Roberts, Fritz Schulz and Paul Hörbiger. The film is based on the play of the same title by Hans Stürm. It was remade in 1940. A silent film wasmade by Reinhold Schünzel in 1928 under the title Don Juan in a Girls' School.SynopsisA man who is faithful to his wife is mistakenly blamed for the philanderingantics of his brother-in-law.CastPassage 4:Diederik van RooijenDiederik van Rooijen (born 26 December 1975) is a Dutch television and filmdirector.CareerFilmVan Rooijen graduated in 2001 from the Netherlands Film Academy with his English-language film Chalk. Chalk was also one of the graduationfilms of cinematographer Lennert Hillege. Van Rooijen and Hillege worked together on many films in the years that followed, including Mass (2005), De bode(2005), Bollywood Hero (2009), Stella's oorlog (2009), Taped (2012) and Daylight (Daglicht) (2013).In 2002, he directed the film A Funeral for Mr. Smitheewhich follows an unnamed girl (Priscilla Knetemann) burying a dead bird. His short film Babyphoned won the NPS Award for Best Short Film at the 2002Netherlands Film Festival.Van Rooijen made his feature film debut with his 2003 film Zulaika. The film is the first Antillean youth film spoken entirely inPapiamento.Van Rooijen won the UNESCO Award Prix Jeunesse for his film Genji (2006).His 2007 film Een trui voor kip Saar was made during the 2007Netherlands Film Festival on request of the guest of honor Burny Bos who asked to adapt his 1986 children's book of the same name.Van Rooijen moved to LosAngeles late 2014 to work on projects in the United States. Van Rooijen made his debut in Hollywood with the 2018 horror film The Possession of HannahGrace.In 2019, the film Penoza: The Final Chapter concluded the story of the television series Penoza that he also directed. The film became the best visitedDutch film of 2019.TelevisionHe directed the Dutch television series Penoza as well as episodes of the television series Meiden van de Wit, Parels & zwijnen,Keyzer & De Boer Advocaten and Spoorloos verdwenen. The television series Penoza was adapted into the 2013 American drama series Red Widow by MelissaRosenberg. Penoza was also adapted into the 2015 Swedish television series Gåsmamman.Van Rooijen also directed many commercials for the Dutchsupermarket chain Albert Heijn featuring Harry Piekema playing the role of a supermarket manager. Van Rooijen also made commercials for other companies andbrands, such as McDonald's, KPN, Ziggo and Unox. He won a Bronze Lion award at the Cannes Film Festival in 2006 for his Volkswagen GTI commercial.In 2019,Van Rooijen worked on the television series Heirs of the Night based on the German book series Die Erben der Nacht written by Ulrike Schweikert. The firstepisode aired in October 2019 and a second season aired in 2020.He also directed the 2023 crime television series Anoniem.FilmographyFilm2001: Chalk2002: AFuneral for Mr. Smithee2002: Babyphoned2003: Zulaika2005: Mass2005: De bode2006: Dummy2006: Genji2007: Een trui voor kip Saar2007: Het bozeoog2009: Bollywood Hero2009: Stella's oorlog2012: Taped2013: Daylight (Daglicht)2018: The Possession of Hannah Grace2019: Penoza: The FinalChapterTelevision2003 – 2005: Meiden van de Wit2005 – 2008: Parels & zwijnen2005: Keyzer & De Boer Advocaten2006: Spoorloos verdwenen2008:Deadline2010 – 2015: Penoza2019 – 2020: Heirs of the Night2023: AnoniemNotesPassage 5:Reinhold SchünzelReinhold Schünzel (7 November 1888 – 11November 1954) was a German actor and director, active in both Germany and the United States. The son of a German father and a Jewish mother, he was bornin St. Pauli, the poorest part of Hamburg. Despite being of Jewish ancestry, Schünzel was allowed by the Nazis to continue making films for several years until heeventually left in 1937 to live abroad.Life in GermanyReinhold Schünzel (or Schuenzel) started his career as an actor in 1915 with a role in the film Werner Krafft.He directed his first film in 1918's Mary Magdalene and in 1920 directed The Girl from Acker Street and Catherine the Great. He was one of Germany'sbest-known silent film stars after World War I, a period during which films were significantly influenced by the consequences of the war. Schünzel performed inboth comedies and dramas, often appearing as a villain or a powerful and corrupt man.He was influenced by filmmakers such as his mentor Richard Oswald andErnst Lubitsch, for whom he worked as an actor in the film Madame Du Barry in 1919.Schünzel's work was very popular in Germany and the Nazi regime gavehim the title of Ehrenarier or Honorary Aryan, allowing him to continue to direct and act despite his Jewish heritage (his mother was Jewish). He found that thegovernment, first under Kaiser Wilhelm II and later under Adolf Hitler, interfered with his film projects, compelling him to leave in 1937. Schuenzel described boththe Kaiser and Hitler \"persons of recognized authority and the worst possible dramatic taste.\"Moving to the United States, he worked in Hollywood, playing Nazisand scientists. One of many examples was the film The Hitler Gang (1944), directed by John Farrow. Made in the style of a gangster film, it depicts the rise ofHitler from a small political adventurer to the dictator of Germany. Reinhold Schünzel played the role of General Erich Ludendorff.FamilySchünzel had a daughterMarianne Stewart, who was born in Berlin, Germany and followed her father by becoming an actress. She appeared in Broadway plays and was known for TheFacts of Life (1960), Hush...Hush, Sweet Charlotte (1964), and Time Table (1956).Schünzel in the United StatesSchünzel came to the United States in 1937, andbegan his American career in Hollywood at Metro-Goldwyn-Mayer. Among the films he directed were Rich Man, Poor Girl (1938), Ice Follies (1939), Balalaika(1939), and New Wine (1941). He also acted in films like The Hitler Gang (1944), Dragonwyck (1946), and The Vicious Circle (1948), among others. His mostmemorable performance was as Dr. Anderson, a Nazi conspirator, in the film Notorious released in 1946. Schünzel went to New York in 1945 to make a debut onBroadway. He acted in Temper the Wind in 1946 and Montserrat in 1949.Among the prizes he received was the Federal West German Film prize for the bestsupporting role in the movie My Father's Horses.He became a U.S citizen in 1943 and he returned to Germany in 1949. Schünzel died of a heart attack in Munich,Germany. Before returning to Germany, he starred in the 1949 Clifford Odets Broadway play The Big Knife.FilmographyGerman filmsAmerican filmsRich Man,Poor Girl (1938, director)The Ice Follies of 1939 (1939, director)Balalaika (1939, director)The Great Awakening (1941, director)Hangmen Also Die! (1943) asGestapo Insp. RitterFirst Comes Courage (1943) as Col. Kurt von ElserHostages (1943) as Kurt DaluegeThe Hitler Gang (1944) as Gen. LudendorffThe Man in HalfMoon Street (1945) as Dr. Kurt van BrueckenDragonwyck (1946) as Count De Grenier (uncredited)Notorious (1946) as Dr. AndersonPlainsman and the Lady(1946) as Michael H. ArnesenGolden Earrings (1947) as Prof. Otto KrosigkBerlin Express (1948) as WaltherThe Vicious Circle (1948) as Baron AradyWashingtonStory (1952) as Peter KralikWest German filmsThe Dubarry (1951, director)Meines Vaters Pferde I. Teil Lena und Nicoline (1954) as Konsul RittinghausMeinesVaters Pferde, 2. Teil: Seine dritte Frau (1954) as Konsul RittinghausA Love Story (1954) as Schlumberger, Schauspieldirektor (final film role)Passage 6:Don Juan(1969 film)Don Juan (Czech: Don Šajn) is a 1969 Czechoslovak short film by Jan Švankmajer, based on traditional Czech puppet plays of the Don Juanlegend.PlotWithin an old dilapidated and seemingly automated theater, human-sized marionettes perform a production of the Don Juan legend without the aid ofpuppeteers or an audience.In the play, Don Juan's fiancée Maria is secretly seeing his brother Don Phillipe. Unbeknownst to the two lovers, Don Juan is watchingthem from one of the balconies. Horrified by the thought of Maria leaving him for Philippe, he calls upon his Jester servant for help. So that he can pay for awedding, Juan sends the Fool into town to ask for money from the Mayor (Juan and Phillipe's father), under the false pretense that Juan needs the money to payoff medical bills. When Juan's father learns about his son's true intentions, he gives the Jester two coins so he and Juan can buy some rope to hang themselveswith. Outraged by this, Don Juan murders his own father backstage and heads over to the garden where Maria and Philippe were planning to meet.Maria arrivesshortly after, but is shocked to discover Don Juan there instead of her true love — Philippe. Demanding that she return his feelings or face the consequences, hechases after Maria but is stopped by her father, Don Vespis, who now realizes Juan is unfit to marry his daughter and threatens to have him arrested. Don Juandispatches of Maria's father by cutting his face off, and as he lay dying, he swears his ghost will haunt Don Juan to exact his revenge.Philippe soon discoversMaria mourning her dead father, and swears to avenge them both. He eventually finds Don Juan and the two engage in a duel which ends with Philippe's gorydemise. The Jester then arrives to tell Juan that there is a spectral man who wants to speak with him in the cemetery. The man turns out to be the spirit ofMaria's dead father, who warns Don Juan that his soul will be dragged to Hell at midnight.As in the traditional Czech puppet plays, Juan urges children not tocommit evil deeds like him.Juan's physical body keels over dead into an open grave, while his spirit is lowered into a trapdoor. Instead of being dragged into Hellas the legend suggests, the lifeless puppet merely falls into a compartment beneath the stage. Upon discovering an inanimate Don Juan, The Jester asks how heis going to get paid with his master dead.Passage 7:Don Juan in Hell (film)Don Juan in Hell (Spanish: Don Juan en los infiernos) is a 1991 Spanish drama film"}
+{"doc_id":"doc_11","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The CraneWife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a personwho belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who is confronting his lover's brother (the singer's\"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-sidedespite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves infront of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recentlyasked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberists on his segment \"Look Who's Riding onMy Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown onDecember 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by AaronStewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", planan escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (the Super ValueInn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neonsign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - variousassassination teams - who sit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band(along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, before theygang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, whileforcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that hesnitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrickin the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with boldfonts being used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (andmore explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used inBottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TVcontaining the green-screened Decemberists video footage.Passage 2:Mimi (song)\"Mimi\" is a popular song written by Richard Rodgers, with words by LorenzHart. It was featured in the movie Love Me Tonight (1932), in which it was first sung by Maurice Chevalier to Jeanette MacDonald, then later reprised by theentire company. Sergio Franchi performed this song January 2, 1964 on the ABC Television special, Victor Borge At Carnegie Hall. Sergio Franchi also recorded\"Mimi\" on his 1963 RCA Victor Red Seal album. Women In My Life.Passage 3:Caspar BabypantsCaspar Babypants is the stage name of children's music artistChris Ballew, who is also the vocalist and bassist of The Presidents of the United States of America.HistoryBallew's first brush with children's music came in 2002,when he recorded and donated an album of traditional children's songs to the nonprofit Program for Early Parent Support titled \"PEPS Sing A Long!\" Although thatwas a positive experience for him, he did not consider making music for families until he met his wife, collage artist Kate Endle. Her art inspired Ballew to considermaking music that \"sounded like her art looked\" as he has said. Ballew began writing original songs and digging up nursery rhymes and folk songs in the publicdomain to interpret and make his own. The first album, Here I Am!, was recorded during the summer of 2008 and released in February 2009.Ballew began toperform solo as Caspar Babypants in the Seattle area in January 2009. Fred Northup, a Seattle-based comedy improvisor, heard the album and offered to play ashis live percussionist.  Northrup also suggested his frequent collaborator Ron Hippe as a keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were theCaspar Babypants live band from May 2009 to April 2012. Both Northup and Hippe appear on some of his recordings but since April 2012 Caspar Babypants hasexclusively performed solo. The reasons for the change were to include more improvisation in the show and to reduce the sound levels so that very youngchildren and newborns could continue to attend without being overstimulated. Ballew has made two albums of Beatles covers as Caspar Babypants. Baby Beatles!came out in September 2013 and Beatles Baby! came out in September 2015.Ballew runs the Aurora Elephant Music record label, books shows, produces,records, and masters the albums himself. Distribution for the albums is handled by Burnside Distribution in Portland, Oregon.Caspar Babypants has released atotal of 17 albums. The 17th album, BUG OUT!, was released on May 1, 2020. His album FLYING HIGH! was nominated for a Grammy Award for Best Children'sAlbum. All 17 of the albums feature cover art by Ballew's wife, Kate Endle.\"FUN FAVORITES!\" and \"HAPPY HITS!\" are two vinyl-only collections of hit songs thatCaspar Babypants has released in the last couple of years.DiscographyAlbumsPEPS (2002)Here I Am! (Released 03/17/09) Special guests: Jen Wood, FysahThomasMore Please! (Released 12/15/09) Special guests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe,Krist Novoselic, Charlie HopeSing Along! (Released 08/16/11) Special guests: Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England,Rachel LoshakHot Dog! (Released 04/17/12) Special guests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released 12/18/12) Specialguests: Steve Turner (Mudhoney), Rachel Flotard (Visqueen), John RichardsBaby Beatles! (Released 09/15/13)Rise And Shine! (Released 09/16/14)Night Night!(Released 03/17/15)Beatles Baby! (Released 09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released08/18/17)Sleep Tight! (Released 01/19/18)Keep It Real! (Released 08/17/18)Best Beatles! (Released 03/29/19)Flying High! (Released 08/16/19)Bug Out!(released 05/1/20)Happy Heart! (Released 11/13/20)Easy Breezy! (Released 11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released 2010) –Compilation of various artistsSongs Stories And Friends: Let's Go Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up, Shake It Off (released2012) – Compilation of various artistsKeep Hoping Machine Running – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – TheHarmonica Pocket (released 2013) – vocals on Monkey LoveSimpatico – Rennee and Friends (released 2015) – writer and vocals on I Am Not AfraidSundrops –The Harmonica Pocket (released 2015) – vocals on Digga Dog KidPassage 4:Dáithí SprouleDáithí Sproule (born 23 May 1950) is a guitarist and singer oftraditional Irish music. He is the grandson of Frank Carney and uncle of singer Claire Sproule.BiographyBorn and raised in Derry, Northern Ireland, at the age of18 he moved to Dublin in Ireland, where he attended university. Growing up, he listened to Bob Dylan, Bert Jansch, the Beatles, British folk songs and traditionalIrish music. It was in Dublin that he entered the music scene which was prominent in Ireland at the time. As a teenager he had met the Ó Domhnaill family duringtrips to the Gaeltacht area of Rann na Feirste in Co. Donegal, and while in Dublin they formed a band, Skara Brae who would go on to have a great effect on Irishtraditional music.Dáithí is well known as a guitarist and was one of the first guitarists to use the DADGAD guitar tuning for Irish music after the originator DavyGraham. In 1992 he joined Irish supergroup Altan with whom he sings and plays guitar. Of his use of DADGAD tuning, Sproule says, it \"just seemed to instantlygel with Irish music. The nature of the tuning meant that you didn't really produce anything that was terribly, drastically, offensively wrong to people. I wasalways a singer, but when I started playing with instrumentalists in sessions and pubs, I was able to develop a style by just playing along with them quietly andtactfully.\" He was deemed \"a seminal figure in Irish music\" by The Rough Guide to Irish Music.Sproule is also a member of various other bands and has recordedfurther solo albums; he also teaches DADGAD guitar and traditional songs at the Center for Irish Music in St. Paul, Minnesota.DiscographySolo albumsThe Crow inthe Sun (2007)Lost River, Vol. 1 (New Folk, 2011)A Heart Made of Glass (1995)with AltanOther bandsBright and Early (with Paddy O'Brien and Nathan Gourley -2015 - New Folk Records)From Uig to Duluth (with Laura MacKenzie and Andrea Stern - 2014)The Pinery (with Laura MacKenzie – 2009 – New FolkRecords)Seanchairde (with Tara Bingham and Dermy Diamond – 2008 – New Folk Records)Fingal (with Randal Bays and James Keane – 2008 – New FolkRecords)Snug in the Blanket (with Jamie Gans and Paddy O'Brien – 2004)Overland (with Randal Bays – 2004)Trian II (with Liz Carroll and Billy McComiskey –1995)A Thousand Farewells (with Martin and Christine Dowling – 1995)Trian (with Liz Carroll and Billy McComiskey – 1992)Stranger at the Gate (with PaddyO'Brien – 1988)The Iron Man (with Tommy Peoples – 1984)Carousel (with Seamus and Manus McGuire – 1984)Spring in the Air (with James Kelly and PaddyO'Brien – 1981)Is it Yourself?  (with James Kelly and Paddy O'Brien – 1979)Skara Brae (Skara Brae – 1971)Guest appearancesFour & Eight String Favorites (BoneTone Records) 2021 - Eric Mohring & FriendsMerrijig Creek - Fintan VallelySpinning Yarns (Two Tap Records) 2015 - Norah RendellHeigh Ho, The Green Holly(New Folk Records) 2015 - Laura MacKenzieMinnesota Lumberjack Songs (Two Tap Records) 2011 - Brian MillerSide by Side (Dawros Music) 2010 - Liz andYvonne Kane40 Acre Notch (New Folk Records) 2008 – the HiBsThe Essential Chieftains (RCA) 2006 – The ChieftainsBlue Waltz 2004 – Julee GlaubEvidence (New"}
+{"doc_id":"doc_12","qid":"","text":"Passage 1:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 2:Trịnh CươngTrịnh Cương (Hán tự: \u0000\u0000; 9 July 1686 – 20 December 1729) was the lord who ruled Tonkin from 1709 to 1729 (his title as ruler was An Đô Vương). Trịnh Cương was born to Trịnh Bính, a grandson of the former lord Trịnh Căn. He belonged to the line of Trịnh lords who had ruled parts of Vietnam since 1545. Like his great-grandfather and predecessor, Trịnh Căn, his reign was mostly devoted to administrative reforms.BiographyTrịnh Cương ruled Việt Nam during a time of external peace but growing internal strife. He enacted many governmental reforms in both financial matters and judicial rules. His main concern was the growing problem of landless peasants. Unlike the Nguyễn lords who were constantly expanding their territory south, the Trịnh lords had little room for expansion. Hence, the land supply was essentially fixed but the population kept growing.Trịnh Cương tried various legislative means to solve the problem. He tried to limit private land holdings. He tried to redistribute the communal fields of the small villages. Nothing really worked and the problem became very serious over the succeeding decades. According to historian R. H. Bruce Lockhart, the governmental reforms enacted by Trịnh Cương and his great-grandfather, Trịnh Căn, made the government more effective but, they also made the government more of a burden to the people. This had the effect of increasing the hatred felt by the people towards the Trịnh rulers in Hanoi.Trịnh Cương passed an edict forbidding people to practice Christianity in 1712. Like previous efforts to suppress Christianity, this had little real effect in Vietnam. However, he tried to offer the people an alternative, and he had many Buddhist pagodas constructed during his rule.As far as the Lê dynasty was concerned, the emperor, Lê Dụ Tông, ruled throughout Trịnh Cương's lifetime. The two men died within a few months of each other in 1729.SourcesEncyclopedia of Asian History, Volume 4. 1988. Charles Scribner's Sons, New York.Annam and its Minor Currency Chapter 16 (downloaded May 2006)See alsoTrịnh lordsLê dynastyPassage 3:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 4:Nguyễn Thị Ngọc DiễmNguyễn Thị Ngọc Diễm (Hán tự: \u0000\u0000\u0000\u0000, 1721–1784), posthumous name Từ Trạch (\u0000\u0000), was a consort of lord Trịnh Doanh.BiographyLady Nguyễn Thị Ngọc Diễm was born in 1721 at Linh Đường village, Linh Đàm commune, Thanh Trì district, Southern of Phụng Thiên prefect. She was commended to Trịnh clan's palace by her father who was Duke Nguyễn Văn Luân (\u0000\u0000\u0000, 1686–1739). She became a concubine of prince Trịnh Doanh and was granted the title Hoa Dung (\u0000\u0000).Passage 5:Zhao ShoushanZhao Shoushan (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhào Shòushān; 12 November 1894 – 20 June 1965) was a KMT general and later Chinese Communist Party politician. He is the grandfather of Zhao Leji.CareerZhao Shoushan was born in Hu County, Shaanxi in 1894. After the foundation of the People's Republic of China, Zhao was the CCP Chairman of Qinghai and Governor of Shaanxi.External links(in Chinese) Biography of Zhao Shoushan, Shaanxi Daily July 9, 2006.Passage 6:Trịnh DoanhTrịnh Doanh (4 December 1720 – 15 February 1767) ruled northern Vietnam (Tonkin) from 1740 to 1767 (he ruled with the title Minh Đô Vương). Trịnh Doanh was the third son of Trịnh Cương, and belonged to the line of Trịnh lords who ruled northern Vietnam. His rule was spent putting down rebellions against Trịnh rule.Trịnh Doanh took over from his brother, Trịnh Giang, who, through financial mismanagement and bad behavior, provoked a wave of revolts against his rule. This was a time of increasing peasant revolts in both the north and the south under the Nguyễn lords. In the north, some of the revolts were apparently led by members of the royal Lê family. The rebellions which broke out in Tonkin during this period, were almost without number. Princes belonging to the royal family, generals, civil mandarins, common people, and out-casts from the hills, all rose in the provinces against the tyranny of the Trịnh, as well as for their personal interests. Chapter 16 (continued) Despite the many revolts, Trịnh Doanh defeated them all and passed the rule of Vietnam to his son, Trịnh Sâm.As far as the Lê dynasty was concerned, there was just one emperor, Lê Hien Tông (1740–1786), who occupied the royal throne in Hanoi.See alsoLê dynastySourcesEncyclopedia of Asian History, Volumes 4. 1988. Charles Scribner's Sons, New York.Annam and its Minor Currency Chapter 16 (downloaded May 2006)Passage 7:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 8:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn ' Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people "}
+{"doc_id":"doc_13","qid":"","text":"Passage 1:La PuntaLa Punta, Spanish for \"the point\" or the promontory and may refer to:La Punta, San Luis, ArgentinaLa Punta District, PeruSan Giovanni laPunta, ItalySan Salvador de la Punta Fortress, CubaSee alsoPunta (disambiguation)Passage 2:Turning PointA turning point, or climax, is the point of highesttension in a narrative work.Turning Point or Turning Points may refer to:FilmThe Turning Point, a 1914 silent film starring Caroline CookeThe Turning Point (1920film), an American film starring Katherine MacDonaldThe Turning Point (1945 film), a Soviet film by Fridrikh Markovitch ErmlerThe Turning Point (1952 film), acrime drama starring Edmond O'BrienTurning Point (1960 film), an Australian TV playThe Turning Point (1977 film), a drama starring Shirley MacLaine and AnneBancroftThe Turning Point (1978 film), a Soviet drama film directed by Vadim AbdrashitovThe Turning Point (1983 film), an East German film by FrankBeyerTurning Point (2009 Hong Kong film), a spin-off to the 2009 Hong Kong television drama series E.U.Turning Point (2009 American film), a documentary filmon the travels of Michelle YeohTurning Point (2012 film), a 2012 drama film by Niyi TowolawiThe Turning Point (2022 film), an Italian filmLiteratureThe TurningPoint (book), a 1982 nonfiction book by Fritjof CapraBatman: Turning Points, a 5-issue limited series of comicsThe Turning Point, a 1942 autobiography by KlausMannThe Turning Point, a 1988 short story by Isaac AsimovMusicTurning Point (American band), an American straight-edge hardcore bandTurning Point (UKband), a late 1970s UK fusion bandAlbumsTurning Point (Benny Golson album) (1962)Turning Point (Mario album) (2004)The Turning Point (John Mayall album)(1969)The Turning Point (McCoy Tyner album) (1992)Turning Point (Lonnie Smith album) (1969)Turning Point (Pink Lady album) (1980)Turning Point (ChuckWicks album) (2016)Turning Point (Paul Bley album)Turning Point, a 1995 album by Rory BlockTurning Point (Dr SID album) (2010)Songs\"Turning Point\" (TyroneDavis song) (1976)\"Turning Point\", a song by Buckwheat Zydeco\"Turning Point\", a 2013 song by Killswitch Engage from Disarm the Descent\"Turning Point\", asong by Mighty Joe Young\"Turning Point\", a 1967 song by Nina Simone from Silk & Soul\"The Turning Point\", a song by Toto from TambuOrganizationsTurningPoint (institute), a training and counseling institute in IrelandTurning Point (charity), a social care organisation in the United KingdomTurning Point Alcohol andDrug Centre, in Melbourne, AustraliaTurning Point USA, an American conservative, right-wing organizationTurning Point UK, an off-shoot of Turning PointUSATelevisionTurning Point (ministry), carried on TBN, broadcast from San Diego County, United StatesTurning Point, an American dramatic anthology seriesbroadcast on NBC from April to October 1958 consisting of two unsold pilots and reruns from other seriesTurning Point (1991 TV series), an Indian sciencemagazine TV seriesTurning Point (TV program) (1994–1999), an American news programTurning Points of History, a History Television seriesImpact WrestlingTurning Point, a professional wrestling pay-per-view event and episode of Impact WrestlingTurning Point (2004 wrestling), the first event in the seriesTurningPoint (2005 wrestling), a professional wrestling pay-per-view eventTurning Point (2006 wrestling), a professional wrestling pay-per-view eventTurning Point(2007 wrestling), a professional wrestling pay-per-view eventTurning Point (2008 wrestling), a professional wrestling pay-per-view eventTurning Point (2009wrestling), a professional wrestling pay-per-view eventTurning Point (2010 wrestling), a professional wrestling pay-per-view eventTurning Point (2011 wrestling),a professional wrestling pay-per-view eventTurning Point (2012 wrestling), a professional wrestling pay-per-view eventTurning Point (2013 wrestling), aprofessional wrestling episode of Impact WrestlingTurning Point (January 2015 wrestling), a professional wrestling pay-per-view event as part of the One NightOnly seriesTurning Point (August 2015 wrestling), a professional wrestling episode of Impact WrestlingTurning Point (2016 wrestling), a professional wrestlingepisode of Impact WrestlingTurning Point (2019 wrestling), a professional wrestling exclusive event on Impact Plus\"Turning Point\" (Amphibia), an episode ofAmphibia\"Turning Point\" (Planetes episode)\"Turning Point\" (Spider-Man), an episode of the 1994 animated series\"The Turning Point\" (The Vampire Diaries), a2009 episode of The Vampire DiariesOther usesTurning Point: Fall of Liberty, a 2008 first-person shooter video gameTurning point, in mathematics: a stationarypoint at which the derivative changes signSee alsoCursus (classical)Turning (disambiguation)Passage 3:Edoardo MulargiaEdoardo Mulargia (10 December 1925 –7 September 2005) was an Italian director and screenwriter.Life and careerBorn in Torpè, Nuoro, Mulargia graduated in Law, first working as a journalist, thendirecting numerous scientific and industrial short films. After being assistant of Pietro Germi and Luciano Emmer, in 1963  he made his feature film debut  with Ledue leggi. As a film director Mulargia specialized in the spaghetti western genre, in which he was usually credited as  Tony Moore and Edward G. Muller. In the1980s he abandoned cinema to work for RAI television.Selected filmographyThe Invincible Brothers Maciste (screenwriter, 1964)Three Swords for Rome(screenwriter, 1964)Night of Violence (screenwriter, 1965)Perché uccidi ancora (director and screenwriter, 1965)Cjamango (director, 1967)The Reward's Yours...The Man's Mine (director and screenwriter, 1969)Shango (director and screenwriter, 1970)W Django! (director, 1971)La figliastra (director, 1976)Orinoco:Prigioniere del sesso (director, 1979) – American re-edited version: Savage Island (1985, with Linda Blair)Escape from Hell (director, 1980)Passage 4:JulieHollandJulie Holland (born December 13, 1965) is an American psychopharmacologist, psychiatrist, and author.  She is the author of five books,including  Weekends at Bellevue: Nine Years on the Night Shift at the Psych ER, a memoir documenting her experience as the weekend head of the psychiatricemergency room at Bellevue Hospital in New York City An advocate for the appropriate use of consciousness expanding substances as part of mental healthtreatment, she is a medical monitor for MAPS studies, which involve, in part, developing psychedelics into prescription medication.Personal backgroundJulieHolland was born on December 13, 1965, in New York City. She grew up in Framingham, Massachusetts, a suburb of Boston.She attended the University ofPennsylvania, where she majored in the Biological Basis of Behavior, a series of courses combining the study of psychology and neural sciences, with aconcentration on psychopharmacology.  She received her medical degree from Temple University; during her residency, at Mount Sinai Hospital in New York, sheserved as Chief Resident of the Schizophrenia Research Ward.  A principal investigator in a research study examining a new medication for schizophrenia, Hollandearned a National Institute of Health Outstanding Resident Award in 1994.While in college, Holland wrote an extensive research paper on MDMA; it became thefoundation for her 2001 book Ecstasy: The Complete Guide.Professional backgroundFrom 1995 through 2004, Holland was an attending psychiatrist in theComprehensive Psychiatric Emergency Program at Bellevue Hospital in New York.   Her national bestseller, Weekends at Bellevue: Nine Years on the Night Shift atthe Psych ER, was published in 2009. In describing the book, The New York Times wrote: \"Dr. Holland brings readers into the psychiatric emergency room, whereshe was in charge on weekends for nine years. She explains the language, characters, policies and politics of the highly charged environment of caring for thosein crisis. At the same, she walks readers through her mind and its substantial struggles. The book is as much a story about her own internal dramas as it is aboutmental health care in New York City.\" Weekends at Bellevue was optioned by Fox for a television pilot in 2011; the pilot was not picked up. In November 2013,The Hollywood Reporter reported that HBO was developing a comedy based on Holland's book Moody Bitches: The Truth About the Drugs You're Taking, the SexYou're Not Having, The Sleep You're Missing and What's Really Making You Crazy.From 1995 through 2012, Holland was an Assistant Clinical Professor ofPsychiatry at the New York University School of Medicine.Now a medical advisor to MAPS, Holland was the medical monitor for several therapeutic studies ofMDMA assisted psychotherapy in the treatment of Post Traumatic Stress Disorder. In addition to serving as a forensic consultant for drug-related cases, Holland isa frequent lecturer, and has appeared as a drug and behavior expert on CNN, National Geographic Channel, Fox, VH1, MTV and Good Morning America. She hasappeared on The Today Show over twenty-five times and is in private practice in New York.Honors and awards2011: Norman Zinberg Award for MedicalExcellenceNational Institute of Health Outstanding Resident AwardPublished worksBooksHolland, Julie (2001). Ecstasy: The Complete Guide: A ComprehensiveLook at the Risks and Benefits of MDMA, New York: Park Street Press, ISBN 0892818573Holland, Julie (2010). The Pot Book: A Complete Guide to Cannabis, NewYork: Park Street Press, ISBN 1594773688Holland, Julie (2010). Weekends at Bellevue: Nine Years on the Night Shift at the Psych ER, New York: Bantam, ISBN0553386522Holland, Julie (2015). Moody Bitches:  The Truth About the Drugs You're Taking, the Sleep You're Missing, the Sex You're Not Having, and What'sReally Making You Crazy,  New York, Penguin Press, ISBN 978-1-59420-580-4Holland, Julie (2020). Good Chemistry: The Science of Connection, from Soul toPsychedelics , New York; Harper Wave, ISBN 978-0062862884PapersFeduccia, A. A., Jerome, L., Mithoefer, M. C., & Holland, J. (2020). Discontinuation ofmedications classified as reuptake inhibitors affects treatment response of MDMA-assisted psychotherapy. Psychopharmacology, 1–8.Mithoefer, M. C., Mithoefer,A. T., Feduccia, A. A., Jerome, L., Wagner, M., Wymer, J., Holland, J. ... & Doblin, R. (2018). 3, 4-methylenedioxymethamphetamine (MDMA)-assistedpsychotherapy for post-traumatic stress disorder in military veterans, firefighters, and police officers: a randomised, double-blind, dose-response, phase 2 clinicaltrial. The Lancet Psychiatry, 5(6), 486–497.Feduccia, A. A., Mithoefer, M. C., Jerome, L., Holland, J., Emerson, A., & Doblin, R. (2018). Response to the consensusstatement of the PTSD Psychopharmacology Working Group. Biological psychiatry, 84(2), e21-e22.Feduccia, A. A., Holland, J., & Mithoefer, M. C. (2018).Progress and promise for the MDMA drug development program. Psychopharmacology, 1–11.Doblin, R., Greer, G., Holland, J., Jerome, L., Mithoefer, M. C., &Sessa, B. (2014). A reconsideration and response to Parrott AC (2013)“Human psychobiology of MDMA or ‘Ecstasy’: an overview of 25 years of empiricalresearch”. Human Psychopharmacology: Clinical and Experimental, 29(2), 105–108.Holland, J.A.; Nelson, L.W.; Ravikumar, P.R. (1998). \"Embalming"}
+{"doc_id":"doc_14","qid":"","text":"Passage 1:Joely CollinsJoely Collins (born Joely Meri Bertorelli; August 8, 1972) is a Canadian actress. She is the daughter of Andrea Bertorelli and of Englishmusician Phil Collins.Early lifeBorn and raised largely in Vancouver, British Columbia, Collins studied at the Vancouver Youth Theatre, and later at London's RoyalAcademy of Dramatic Arts. She was adopted by her mother's husband, Phil Collins, upon their marriage in 1975. They later had one child, son Simon (born in1976). She was named Canada's \"Best Leading Actress\" at the age of 22 for her work on the television series Madison. She appeared on the long-running dramaCold Squad. In 2009, she co-founded StoryLab Productions and produced the award-winning feature film Becoming Redwood.Actress Lily Collins is her half-sister,born to her father Phil Collins and his second wife Jill Tavelman after he and her mother Andrea Bertorelli divorced in 1980.Collins won the award for Best Actressin a Canadian Film at the Vancouver Film Critics Circle Awards 2004 for The Love Crimes of Gillian Guess.Personal lifeCollins married Dutch-born Stefan Buitelaaron August 23, 2008, in Leiden, Netherlands. On October 26, 2009, Collins gave birth to their daughter, Zoë Amelie.FilmographyFilmTelevisionPassage 2:PhilCollinsPhilip David Charles Collins  (born 30 January 1951) is an English singer, drummer, songwriter, record producer and actor. He was the drummer and laterlead singer of the rock band Genesis and also has a career as a solo performer. Between 1982 and 1990, Collins achieved three UK and seven US number onesingles as a solo artist. When his work with Genesis, his work with other artists, as well as his solo career are totalled, he was responsible for more US top 40singles than any other artist during the 1980s. His most successful singles from the period include \"In the Air Tonight\", \"Against All Odds (Take a Look at MeNow)\", \"One More Night\", \"Sussudio\", \"Another Day in Paradise\" and \"I Wish It Would Rain Down\".Born and raised in west London, Collins began playing drums atfive and completed drama school training, which secured him various roles as a child actor, with his first major role at 13 as the Artful Dodger in the West Endmusical Oliver!. He then pursued a musical career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 following the departure of PeterGabriel. Collins began a successful solo career in the 1980s, initially inspired by his marital breakdown and love of soul music, releasing the albums Face Value(1981), Hello, I Must Be Going (1982), No Jacket Required (1985) and ...But Seriously (1989). Collins became, in the words of AllMusic, \"one of the mostsuccessful pop and adult contemporary singers of the '80s and beyond\". He also became known for a distinctive gated reverb drum sound on many of hisrecordings. In 1985, he was the only artist to perform at both Live Aid concerts. He also resumed his acting career, appearing in Miami Vice and subsequentlystarring in the film Buster (1988).Collins left Genesis in 1996 to focus on solo work; this included writing songs for Disney's animated film Tarzan (1999). Hewrote and performed the songs, \"Two Worlds\", \"Son of Man\", \"Strangers Like Me\" and \"You'll Be in My Heart\", the latter of which earned him the Academy Awardfor Best Original Song. He rejoined Genesis for their Turn It On Again Tour in 2007. Following a five-year retirement to focus on his family life, Collins released hismemoir in 2016 and completed his Not Dead Yet Tour in 2019. He then rejoined Genesis in 2020 for a second reunion tour, ending in March 2022.Collins'sdiscography includes eight studio albums that have sold 33.5 million certified units in the US and an estimated 150 million records sold worldwide, making himone of the world's best-selling artists. He is one of only three recording artists, along with Paul McCartney and Michael Jackson, who have sold over 100 millionrecords both as solo artists and separately as principal members of a band. He has won eight Grammy Awards, six Brit Awards (winning Best British Male Artistthree times), two Golden Globe Awards, one Academy Award, and a Disney Legend Award. He was awarded six Ivor Novello Awards from the British Academy ofSongwriters, Composers and Authors, including the International Achievement Award. He received a star on the Hollywood Walk of Fame in 1999, and wasinducted into the Songwriters Hall of Fame in 2003 and the Rock and Roll Hall of Fame as a member of Genesis in 2010. He has also been recognised by musicpublications with induction into the Modern Drummer Hall of Fame in 2012, and the Classic Drummer Hall of Fame in 2013.Early lifePhilip David Charles Collinswas born on 30 January 1951 at Putney Hospital in Wandsworth, south-west London. His father, Greville Philip Austin Collins (1907–1972), was an insuranceagent for London Assurance and his mother, Winifred June Collins (née Strange, 1913–2011), worked in a toy shop and later as a booking agent at the BarbaraSpeake Stage School, an independent performing arts school in East Acton. Collins is the youngest of three children: his sister Carole competed as a professionalice skater and followed her mother's footsteps as a theatrical agent, and his brother Clive was a noted cartoonist. The family moved twice by the time Collins hadreached two; they settled at 453 Hanworth Road in Hounslow, Middlesex.Collins was given a toy drum kit for Christmas when he was five, and later his two unclesmade him a makeshift set with triangles and tambourines that fitted into a suitcase. As Collins grew older, these were followed by more complete sets bought byhis parents. He practised by playing along to music on the television and radio. During a family holiday at a Butlin's, a seven-year-old Collins entered a talentcontest singing \"The Ballad of Davy Crockett\", but stopped the orchestra halfway through to tell them they were in the wrong key. The Beatles were a major earlyinfluence on Collins, including their drummer Ringo Starr. He followed the lesser-known London band the Action, whose drummer he would copy and whose workintroduced him to the soul music of Motown and Stax Records. Collins was also influenced by jazz and big band drummer Buddy Rich, whose opinion on theimportance of the hi-hat prompted him to stop using two bass drums and start using the hi-hat.Around twelve, Collins received basic piano and music tuition fromhis father's aunt. He studied drum rudiments under Lloyd Ryan and later under Frank King, and considered this training \"more helpful than anything else becausethey're used all the time. In any kind of funk or jazz drumming, the rudiments are always there.\" Collins never learned to read or write musical notation anddevised his own system, which he regretted in later life. \"I've always felt that if I could hum it, I could play it. For me, that was good enough, but that attitude isbad.\"Collins attended Nelson Primary School until he was eleven. He was accepted into Chiswick County Grammar School, where he took to football and formedthe Real Thing, a school band that had Andrea Bertorelli, his future wife, and friend Lavinia Lang, as backup singers. Both women would have an impact onCollins' personal life in later years. Collins' next group was the Freehold, with whom he wrote his first song, \"Lying, Crying, Dying\", and played in a group namedthe Charge.Career1963–1970: Early acting roles and bandsCollins quit school at fourteen to become a full-time pupil at Barbara Speake. He had an uncreditedpart as an extra in the Beatles' film A Hard Day's Night (1964), where he is amongst the screaming teenagers during the television concert sequence. Later in1964, Collins was cast as the Artful Dodger in two West End runs of the musical Oliver! He was paid £15 a week, and called the role \"the best part for a kid in allLondon\". His days as the Dodger were numbered when his voice broke during a performance and had to speak his lines for the rest of the show. Collins starred inCalamity the Cow (1967), a film produced by the Children's Film Foundation. After a falling out with the director, Collins decided to quit acting to pursue music.He was to appear in Chitty Chitty Bang Bang (1968) as one of the children who storm the castle, but his scene was cut. Collins auditioned for the role of Romeo inRomeo and Juliet (1968), but the role went to Leonard Whiting. He also travelled the country teaching people the \"crunch\" dance made popular by a Smith'scrisps advertising campaign.Collins's enthusiasm towards music grew during his acting years. He frequented the Marquee Club on Wardour Street so often,eventually the managers asked him to set out the chairs, sweep the floors, and assist in the cloakroom. It was here where Collins saw The Action and newcomersYes perform, which greatly influenced him. When auditions for Vinegar Joe and Manfred Mann Chapter Three were unsuccessful, Collins secured a position in theCliff Charles Blues Band and toured the country. This was followed by a stint in The Gladiators, a backing band for a black vocal quartet, which also featuredCollins's schoolmate Ronnie Caryl on guitar. Around this time, Collins learned that Yes were looking for a new drummer and spoke to frontman Jon Anderson, whoinvited him to an audition the following week. Collins failed to turn up, and later wondered what his life would have been like had he gone ahead with it.In 1969,Collins and Caryl joined John Walker's backing band for a European tour, which also consisted of guitarist Gordon Smith and keyboardist Brian Chatton. The tourfinished, and the quartet formed a rock band, Hickory, which recorded one single (\"Green Light\"/\"The Key\").  Still in 1n 1969, they were later renamed FlamingYouth. They signed to Fontana Records and recorded Ark 2 (1969), a concept album written and produced by Ken Howard and Alan Blaikley that tells the story ofman's evacuation from a burning Earth and its voyage into space. Each member sings a lead vocal.In May 1970, after Flaming Youth split, Collins played congason George Harrison's song \"Art of Dying\", but his contribution was omitted. Years later, Collins asked Harrison about the omission. Harrison sent Collins arecording allegedly containing Collins's performance; Collins was embarrassed to hear that the performance was poor. When Collins apologised, Harrisonconfessed that the recording was a prank, which Collins accepted in good humour.1970–1978: Genesis, later role as lead singer, and Brand XIn July 1970, therock band Genesis had signed with Charisma Records and recorded their second album Trespass (1970), but suffered a setback following the departures ofdrummer John Mayhew and guitarist Anthony Phillips. They decided to continue, and placed an advert in the Melody Maker for a drummer \"sensitive to acousticmusic\" and a 12-string acoustic guitarist. Collins recognised Charisma owner Tony Stratton-Smith's name on it, and he and Caryl went for the auditions. Thegroup, who had been a full-time working band for less than a year, consisted of school friends from Charterhouse School, a private boarding school: singer PeterGabriel, keyboardist Tony Banks, and bassist/guitarist Mike Rutherford. Collins and Caryl arrived early, so Collins took a swim in the pool at Gabriel's parents'house and memorised the pieces the drummers before him were playing. He recalled: \"They put on 'Trespass', and my initial impression was of a very soft and"}
+{"doc_id":"doc_15","qid":"","text":"Passage 1:George IV, Count of Erbach-FürstenauGeorge IV, Count of Erbach-Fürstenau (12 May 1646 – 20 June 1678), was a member of the German House ofErbach who held the fiefs of Fürstenau, Michelstadt, Reichenberg, Bad König and Breuberg.Born in Hanau, he was the eighth child and fifth (but third surviving)son of George Albert I, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg inSchillingsfürst.LifeBecause he and his brothers were still minors at the time of their father's death in 1647, the guardianship and rule over the Erbach domainswere assigned to their eldest half-brother George Ernest, who ruled alone until his death in 1669, without issue. George IV and his surviving younger brothersGeorge Louis I and George Albert II jointly held the Erbach lands until 1672, when  formal division of their possessions was effected: George IV received thedistricts of Fürstenau, Michelstadt, Bad König and Breuberg.George IV pursued a military career, and eventually he was appointed major-general in theNetherlands. He died in the Waal river near Tiel, aged 32, at the end of the Franco-Dutch War, and was buried in Michelstadt.Marriage and issueIn Arolsen on 22August 1671 George IV married Louise Anna (18 April 1653 – 30 June 1714), heiress of Culemborg and daughter of Prince Georg Friedrich of Waldeck by his wifeElisabeth Charlotte of Nassau-Siegen. They had four children:Sophie Charlotte (23 September 1672 – April 1673)Amalie Mauritiana (1674 – 1675)WilliamFrederick (March 1676 – 18 August 1676)Charlotte Wilhelmine Albertine (posthumously; 18 September 1678 – 20 March 1683)Because he died without survivingmale issue, his domains reverted to his brothers, who divided them between themselves.== Notes ==Passage 2:George Albert II, Count ofErbach-FürstenauGeorge Albert II, Count of Erbach-Fürstenau (26 February 1648 – 23 March 1717), was a member of the German House of Erbach who held thefiefs of Fürstenau, Schönberg, Seeheim, Reichenberg and Breuberg.Born in Fürstenau, he was the ninth child and sixth (but fourth surviving) son of George AlbertI, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst. He wasborn three months after his father's death, on 25 November 1647.LifeHe pursued a military career and became an Oberstleutnant of the Imperial army.Followingthe division of the Erbach patrimony in 1672, George Albert II received the districts of Schönberg, Seeheim and 1/4 of Breuberg; in 1678, following the death ofhis brother George IV, he added to his domains the districts of Fürstenau and Reichenberg.George Albert II died in Fürstenau aged 69 and was buried inMichelstadt.== Notes ==Passage 3:George Albert I, Count of Erbach-SchönbergGeorge Albert I, Count of Erbach-Schönberg (16 December 1597 – 25 November1647), was a German prince member of the House of Erbach and ruler over Schönberg, Seeheim, Reichenberg, Fürstenau and since 1643 over all the Erbachfamily lands.Born in Erbach, he was the fourth child and second (but eldest surviving) son of George III, Count of Erbach-Breuberg and his fourth wife Maria, adaughter of Count Albert X of Barby-Mühlingen.LifeAfter the death of their father, George Albert I and his surviving elder half-brothers divided the Erbachdomains in 1606: he received the districts of Schönberg and Seeheim.In 1617 he was captured by pirates and taken to Tunis, but shortly after he wasransomed.In 1623, after the death of his eldest half-brother Frederick Magnus without surviving issue, the remaining brothers divided his domains: George AlbertI received the district of Reichenberg.In 1627, with the death of another half-brother, John Casimir, unmarried and without issue, was made another landdivision; this time George Albert I received Fürstenau. Finally, the death of his last surviving half-brother Louis I in 1643 without living sons, allowed GeorgeAlbert I to reunite all the Erbach family possessions.George Albert I died in Erbach aged 49 and was buried in Michelstadt.Marriages and IssueIn Erbach on 29May 1624 George Albert I married firstly with Magdalena (13 November 1595 – 31 July 1633), a daughter of Johann VI, Count of Nassau-Dillenburg and his thirdwife Johannetta of Sayn-Wittgenstein. They had six children:Ernest Louis Albert (6 October 1626 – 10 May 1627).Louise Albertine (5 October 1628 – 20 October1645).George Ernest, Count of Erbach-Wildenstein (7 October 1629 – 25 August 1669).Maria Charlotte (24 March 1631 – 8 June 1693), married on 15 June 1650to Count Johann Ernest of Isenburg-Büdingen in Wächtersbach.Anna Philippina (15 July 1632 – 16 March 1633).Stillborn son (31 July 1633).On 23 February 1634George Albert I married secondly with Anna Dorothea (1612 – 23 June 1634), a daughter of Albert, Schenk of Limpurg-Gaildorf and his wife Emilie of Rogendorf.They had no children.In Frankfurt am Main on 26 July 1635 George Albert I married thirdly with Elisabeth Dorothea (27 August 1617 – 12 November 1655), adaughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst and his wife Dorothea Sophie of Solms-Hohensolms. They had ninechildren:George Frederick, Count of Erbach-Breuberg (6 October 1636 – 23 April 1653).William Louis (born and died 7 December 1637).Sophie Elisabeth (13 May1640 – 18 June 1641).Juliana Christina Elisabeth (10 September 1641 – 26 November 1692), married on 12 December 1660 to Count Salentin Ernest ofManderscheid in Blankenheim.George Louis I, Count of Erbach-Erbach (8 May 1643 – 30 April 1693).George Albert (14 May 1644 – 27 March 1645).MauritiaSusanna (30 March 1645 – 17 November 1645).George IV, Count of Erbach-Fürstenau (12 May 1646 – 20 June 1678).George Albert II, Count ofErbach-Fürstenau (posthumously 26 February 1648 – 23 March 1717).== Notes ==Passage 4:George Louis I, Count of Erbach-ErbachGeorge Louis I, Count ofErbach-Erbach (8 May 1643 – 30 April 1693), was a German prince member of the House of Erbach and ruler over Erbach, Freienstein, Wildenstein, Michelstadtand Breuberg.Born in Fürstenau, he was the fifth child and third (but second surviving) son of George Albert I, Count of Erbach-Schönberg and his third wifeElisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst.LifeBecause he and his brothers were still minors at thetime of their father's death in 1647, the guardianship and rule over the Erbach domains were assigned to their eldest half-brother George Ernest, who ruled aloneuntil his death in 1669, without issue. George Louis I and his surviving younger brothers George IV and George Albert II ruled jointly the Erbach lands until 1672,when was made the formal division of their possessions: George Louis I received the districts of Erbach, Freienstein and Wildenstein.The death of George IV in1678 without surviving issue forced another division in the Erbach patrimony; this time George Louis received the districts of Michelstadt and Breuberg.GeorgeLouis I died in Arolsen aged 49 and was buried in Michelstadt.Marriage and issueIn Culemborg on 26 December 1664 George Louis I married with CountessAmalia Katharina of Waldeck-Eisenberg (13 August 1640 – 4 January 1697), a daughter of Philipp Dietrich, Count of Waldeck-Eisenberg and his wife MariaMagdalena von Nassau-Siegen. They had sixteen children:Henriette (27 September 1665 – 28 September 1665).Henriette Juliane (15 October 1666 – 27February 1684).Philipp Louis, Count of Erbach-Erbach (10 June 1669 – 17 June 1720).Charles Albert Louis (16 June 1670 – k.a. Dapfing a.d.Donau, 18 August1704).George Albert (born and died 1 July 1671).Amalie Katharina (13 May 1672 – 18 June 1676).Frederick Charles (19 April 1673 – 20 April 1673).A son (bornand died 16 September 1674).Wilhelmine Sophie (16 February 1675 – 20 August 1675).Magdalena Charlotte (6 February 1676 – 3 December 1676).WilhelmLouis (21 March 1677 – 19 February 1678).Amalie Katharina (born and died 18 February 1678).Fredericka Charlotte (19 April 1679 – 21 April 1679).FrederickCharles, Count of Erbach-Limpurg (21 May 1680 – 20 February 1731).Ernest (23 September 1681 – 2 March 1684).Sophia Albertine (30 July 1683 – 4 September1742), married on 4 February 1704 to Ernest Frederick I, Duke of Saxe-Hildburghausen.== Notes ==Passage 5:George Frederick, Count ofErbach-BreubergGeorge Frederick, Count of Erbach-Breuberg (6 October 1636 – 23 April 1653), was a German prince member of the House of Erbach and rulerover Breuberg.He was the eldest child of George Albert I, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of George Frederick II,Count of Hohenlohe-Waldenburg in Schillingsfürst.LifeBecause he and his brothers were still minors at the time of their father's death in 1647, the guardianshipand rule over the Erbach domains were assigned to their eldest half-brother George Ernest, who in 1653 gave George Frederick the district of Breuberg when heattained his majority; however, he died shortly after, unmarried and childless, and Breuberg merged back to the rule of George Ernest.== Notes ==Passage6:John Casimir, Count of Erbach-BreubergJohn Casimir, Count of Erbach-Breuberg (10 August 1584 – 14 January 1627), was a German prince member of theHouse of Erbach and ruler over Breuberg, Wildenstein and Fürstenau.Born in Erbach, he was the eleventh child and fourth (but third surviving) son of George III,Count of Erbach-Breuberg and his second wife Anna, a daughter of Frederick Magnus, Count of Solms-Laubach-Sonnenwalde.LifeAfter the death of their father,John Casimir and his surviving brothers divided the Erbach domains in 1606: he received the districts of Breuberg and Wildenstein. In 1623, after the death of hiseldest brother Frederick Magnus without surviving issue, the remaining brothers divided his domains: John Casimir received the district of Fürstenau.John Casimirdied in Schweidnitz aged 41 and was buried in Michelstadt. Because he never married or had children, his brothers divided his land after his death.== Notes==Passage 7:George August, Count of Erbach-SchönbergGeorge August was the Count of Erbach-Schönberg and an Imperial counselor.BiographyHe was theyoungest son of George Albert II, Count of Erbach-Fürstenau and Countess Anna Dorothea of Hohenlohe-Waldenburg. He was born on Sunday 17 June 1691 inWaldenburg. Georg died on Wednesday 29 March 1758 in Konig, aged 66.FamilyAt the age of 28, Georg married Ferdinande Henriette, Countess ofStolberg-Gedern, aged 20, on Friday 15 December 1719 in Gedern. She was born on Friday 2 October 1699 in Gedern, daughter of Ludwig Christian ofStolberg-Wernigerode and Duchess Christine of Mecklenburg-Güstrow. Ferdinande died on Saturday 31 January 1750 in Erbach, aged 50.IssueCountess Christineof Erbach-Schonberg (b. Schönberg, Starkenburg, Hesse-Darmstadt, 5 May 1721 – d. Eschleiz, Reuss-Juengere-Linie, Thuringia, 26 November 1769), married inSchönberg on 2 October 1742 to Heinrich XII, Count of Reuss-Schleiz (Schleiz 15 May 1716-Kirschkau 25 June 1784).Georg Ludwig II, Count of"}
+{"doc_id":"doc_16","qid":"","text":"Passage 1:Agatha (wife of Samuel of Bulgaria)Agatha (Bulgarian: Агата, Greek: Άγάθη; fl. late 10th century) was the wife of Emperor Samuel of Bulgaria.BiographyAccording to a later addition to the history of the late-11th-century Byzantine historian John Skylitzes, Agatha was a captive from Larissa, and the daughter of the magnate of Dyrrhachium, John Chryselios. Skylitzes explicitly refers to her as the mother of Samuel's heir Gavril Radomir, which means that she was probably Samuel's wife. On the other hand, Skylitzes later mentions that Gavril Radomir himself also took a beautiful captive, named Irene, from Larissa as his wife. According to the editors of the Prosopographie der mittelbyzantinischen Zeit, this may have been a source of confusion for a later copyist, and Agatha's real origin was not Larissa, but Dyrrhachium. According to the same work, it is likely that she had died by ca. 998, when her father surrendered Dyrrhachium to the Byzantine emperor Basil II.Only two of Samuel's and Agatha's children are definitely known by name: Gavril Radomir and Miroslava. Two further, unnamed, daughters are mentioned in 1018, while Samuel is also recorded as having had a bastard son.Agatha is one of the central characters in Dimitar Talev's novel Samuil.Passage 2:Nína TryggvadóttirNína Tryggvadóttir (March 16, 1913 – June 18, 1968) was born Jónína Tryggvadóttir in Seyðisfjörður, Iceland. She was one of Iceland's most important abstract expressionist artists and one of very few Icelandic female artists of her generation.Early lifeNína Tryggvadóttir was born on March 16, 1913, in Seyðisfjörður. In 1920 the family moved to Reykjavik. She studied art from Ásgrímur Jónsson, a close relative on her father’s side. From 1933 to 1935 she also attended classes of Finnur Jonsson and Johann Briem. She moved to Copenhagen in 1935 where she studied art at the Royal Academy of Art. After graduating from the Academy in 1939 she spent time studying in Paris and was quite taken by the city.CareerIn 1942 she and her fellow artist Louisa Matthíasdóttir moved to New York City to study at the Art Students League of New York and develop her art further. There she took an active part in the city’s art scene.In 1949 she married Alfred L. Copley (alter ego: L. Alcopley). Later that year she went to Iceland for a short visit. There she was informed that she was not able to return to the United States because she was suspected of being a Communist sympathizer.During her exile from the United States she lived in various places in Europe, Iceland being one of them. Copley joined her in Paris where they lived for a few years together with their daughter Una Dóra Copley, born 1951. During those years Nina kept making and practicing her art, exhibiting in many places and traveling through Europe. They returned to New York City in 1959 where Nína continued to work on her art and exhibiting mostly in Europe. During all her years abroad Nína kept exhibiting in Iceland and was her input very valuable to the art society in Iceland.Mainly working in painting she also did paper collage, stained glass work, mosaic and more. She frequently based her compositions on nature where Icelandic landscape and the Nordic light played an important role.DeathShe died on June 18, 1968, in New York.Legacy and recognitionIn 2012, a crater on Mercury was named after Tryggvadóttir.In May 2018, the Reykjavík City Council signed a declaration of intent between the city and couple Una Dóra Copley and Scott Jeffries to set up an art museum dedicated to Nína Tryggvadóttir. The couple donated their art collection to the city.In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.See alsoList of Icelandic women artistsPassage 3:Alfred L. CopleyAlfred Lewin Copley (1910–1992) was a German-American medical scientist and an artist at the New York School in the 1950s. As an artist he worked under the name L. Alcopley. He is best known as an artist for his abstract expressionist paintings, and as a scientist for his work in the field of hemorheology. He was married to the Icelandic artist Nína Tryggvadóttir.Work as a medical scientistAs a scientist, Copley studied the rheology of blood. In 1948 he introduced the word biorheology to describe rheology in biological systems.In 1952 he introduced the word hemorheology, to describe the study of the way blood and blood vessels function as part of the living organism.In 1966 he established the International Society of Hemorheology, which changed its name and scope in 1969 to the International Society of Biorheology (ISB).  In 1972 the ISB awarded him its Poiseuille gold medal.Work as an artistIn 1949 he was one of twenty artists who founded the Eighth Street Club. The group also included Franz Kline, Willem de Kooning and Alcopley's close friend, the composer Edgard Varèse.He participated in the Ninth Street Show in 1951 and had a solo exhibition at the Stedelijk Museum, Amsterdam in 1962. His work is held in the collection of the National Museum of Modern Art, Tokyo.See alsoBiorheology, the study of flow properties(rheology) of biological fluids.Hemorheology, the study of flow properties of blood and its elements .Passage 4:James Copley (bobsleigh)James Copley (born October 18, 1951) is an American bobsledder. He competed in the four man event at the 1972 Winter Olympics.Passage 5:Pheonix CopleyPheonix Copley (born January 18, 1992) is an American professional ice hockey goaltender for the  Los Angeles Kings of the National Hockey League (NHL).Playing careerUSHL and CollegeUndrafted, Copley played in the United States Hockey League (USHL) with the Tri-City Storm and Des Moines Buccaneers before committing to play collegiate hockey with Michigan Tech of the Western Collegiate Hockey Association (WCHA). At the conclusion of his sophomore season, Copley opted to turn professional in agreeing to a two-year entry-level contract with the Washington Capitals on March 20, 2014.St. Louis Blues and Washington CapitalsCopley was assigned to AHL affiliate, the Hershey Bears, to begin his first full professional season in 2014–15. In sharing the crease, he impressed with the Bears, earning 17 wins in 26 games. In the off-season, Copley was included in a trade, which also included Troy Brouwer and a third-round pick in 2016, to the St. Louis Blues in exchange for T. J. Oshie on July 2, 2015.In the 2015–16 season, Copley made his NHL debut with the Blues in relief in a defeat to the Nashville Predators on February 27, 2016.During the 2016–17 season, on January 20, 2017, Copley was recalled from the Chicago Wolves of the AHL by the Blues. He made the first start of his NHL career on January 21 against the Winnipeg Jets, where the Blues lost 5–3. After he was returned to the Wolves, on February 27, 2017, Copley was traded back to the Capitals in a deadline trade along with Kevin Shattenkirk in exchange for Zach Sanford, Brad Malone, a 2017 first-round pick, and a conditional second-round pick in 2019. Copley was called up to the NHL during the Capitals' 2018 Stanley Cup playoffs run and although he did not play during the playoffs, he stayed with the team as they won the 2018 Stanley Cup.Copley made the Capitals opening-night roster to begin the 2018–19 season. He recorded his first NHL win in a 4–3 shootout win over the Calgary Flames on October 27, 2018. He spent the 2019–20 and 2020–21 seasons with the Hershey Bears, where he earned the Harry \"Hap\" Holmes Memorial Award with Zachary Fucale for the 2020–21 season's best save percentage.Los Angeles KingsAs a free agent following the 2021–22 season, Copley signed a one-year, $850,000 contract with the Los Angeles Kings on July 13, 2022. After Kings goaltenders Cal Petersen and Jonathan Quick struggled at the start of the 2022–23 season, the Kings called up Copley from the AHL in December 2022. Copley would quickly established himself as the team's starting goaltender, becoming just the fifth goaltender in franchise history to win seven games in a row.Personal lifeCopley was born on January 18, 1992, in North Pole, Alaska, to parents Peter Copley and Mary Sanford. His older brother Navarone also plays ice hockey. At a young age, his family moved to Ohio so his father could pursue an advanced degree. Eventually, his parents divorced and Mary, Navarone and Pheonix moved back to Alaska. In honor of his birthplace, Copley has candy canes on his goaltender mask.Career statisticsPassage 6:Paul CopleyPaul Mackriell Copley (born 25 November 1944) is an English actor and voiceover artist. From 2011 to 2015 he appeared as Mr. Mason, father of William Mason, in 16 episodes of Downton Abbey, and from 2020 to 2021, he appeared in the ITV soap opera Coronation Street as Arthur Medwin.Early lifeCopley was born in Denby Dale, West Riding of Yorkshire, and grew up beside a dairy farm there. His father, Harold, was involved with local amateur dramatic productions, as were the rest of his family. He went to Penistone Grammar School, then to the Northern Counties College of Education in Newcastle upon Tyne, where he received an Associate of the Drama Board (ADB) in Drama. He taught English and Drama in Walthamstow, before he joined the Leeds Playhouse Theatre-in-education Company in 1971.CareerCopley was the male lead character in the four-part BBC series Days of Hope in 1975, which depicted events between the First World War and the General Strike from a family involved in socialist politics.In 1976, Copley won the Laurence Olivier Award for Actor of the Year in a New Play for his role in John Wilson's For King and Country.After appearing as Private Wicks in the film A Bridge Too Far (1977), he played a small but noticeable role in Zulu Dawn (1979) as Cpl Storey in the British Army. He appeared in the then controversial ATV drama Death of a Princess (1980), playing a British witness to the killing of an Arabian princess and her lover. He has played Matthews in Hornblower, Ian in Roughnecks and Jerry in This Life and Peter Quinlan in The Lakes. In the critically acclaimed Queer as Folk he played Nathan Maloney's father. He was in Big Finish's July 2002 Doctor Who story Spare Parts and appeared in Shameless as a water sports enthusiast. In 1980 he appeared in the highly successful comedy drama series Minder playing George Palmer in episode The Old School Tie. He narrates the Channel 4 programme How Clean Is Your House?. He featured in the ITV children's hit show Best Friends in 2005–2006, playing the grandfather.He is a regular actor in Radio 4 drama, usually in gritty or romantic plays or series about hard-working folk set in the north of England, often repeated on BBC Radio 4 Extra. Whenever a genial Yorkshire accent has been cast in the BBC radio drama department, he has often been summoned. Copley played the long-suffering teacher Geoff Long in Radio 4's long running King Street Junior. Covering ten series and some seventy-six episodes, this ran on BBC Radio 4 from 1985 to 1998. He also narrated the Yorkshire Television nine-part serial adaptation of The Pilgrim's Progress (1985) entitled Dangerous Journey.On 13 February 2006, Copley appeared as an angry hostage-taker in an episode of the crime drama Life on Mars. Copley appeared in the TV Soap Coronation Street on 8 August 2007, portraying a character called Ivor Priestley, and in the TV adaptation of The Worst Witch by Jill Murphy, as wizard and "}
+{"doc_id":"doc_17","qid":"","text":"Passage 1:Abe MeyerAbe Meyer (1901–1969) was an American composer of film scores.Selected filmographyPainted Faces (1929)Honeymoon Lane (1931)UnholyLove (1932)A Strange Adventure (1932)Take the Stand (1934)Legong (1935)The Unwelcome Stranger (1935)Suicide Squad (1935)The Mine with the Iron Door(1936)The Devil on Horseback (1936)Song of the Trail (1936)County Fair (1937)The 13th Man (1937)Raw Timber (1937)Roaring Timber (1937)The LawCommands (1937)The Painted Trail (1938)My Old Kentucky Home (1938)The Secret of Treasure Island (1938)Saleslady (1938)Numbered Woman  (1938)TheMarines Are Here (1938)Fisherman's Wharf (1939)Undercover Agent (1939)Passage 2:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. Hewas the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape(1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples (1954)Conspiracy of the Borgias (1959)Passage 3:ThomasMorseThomas Morse (born June 30, 1968) is a composer of film and concert music.Life and composing careerHe began his musical career while in high school,writing his first orchestral work. After receiving a bachelor's degree in composition from the University of North Texas, Morse began a composition master'sdegree at USC in Los Angeles, changing over to the film scoring program in the second year.In the years that followed, Morse composed orchestral scores formore than a dozen feature films including The Big Brass Ring, based on an Orson Welles script, with William Hurt & Miranda Richardson who received a GoldenGlobe nomination for her performance; The Sisters (Maria Bello & Elizabeth Banks); and The Apostate (with Dennis Hopper), as well as the noted orchestral scorefor Jerry Bruckheimer's CBS series The Amazing Race.Working parallel in the field of popular music, he created string arrangements on songs for numerous artistsincluding a posthumous Michael Hutchence release entitled Possibilities.In 2013 he signed a worldwide publishing agreement with Music Sales Group in New York,parent company of G. Schirmer.Notable music for film and televisionNotable music for film and television:2014 Come Back to Me2005 The Sisters2001-2005 TheAmazing Race (69 Episodes)2001 Lying in Wait2000 The Apostate1999 The Big Brass RingOpera2017 Frau SchindlerOther works2013 Code Novus(album)Passage 4:Yandé Codou, la griotte de SenghorYandé Codou, la griotte de Senghor is a 2008 Belgian-Senegalese documentary film written and directed byAngèle Diabang Brener and starring Yandé Codou Sène — two years prior to her death. The documentary is a portrayal of the life and work of Yandé Codou Sène,official griot to President Léopold Sédar Senghor, and one of the most influential Senegalese and Senegambian artists for decades despite not recording her firstalbum until the age of sixty-five. The music is provided by Yandé Codou Sène, Wasis Diop and Youssou N'Dour.SynopsisThe griotte Yandé Codou Sène, who isnow around 80 years old, is one of the last representatives of the Serer polyphonic poetry. This documentary, shot over four years, is an intimate portrait of thediva that traveled through the history of Senegal by the side of one of the country's legendary figures, poet President, Léopold Sédar Senghor. A sweet and bitterstory about greatness, glory and the passage of time.AwardsFestival de Cine de Dakar 2008: Audience Award for Best Documentary (6 December 2008)Passage5:André SenghorAndré Koupouleni Senghor (born 28 January 1986), is a Senegalese footballer who played as a striker. He is currently playing for Chinese SuperLeague team Cangzhou Mighty Lions.Club careerSenghor was loaned to Raja Casablanca, where he scored two goals in his first league match, against CODMMeknès, the second was one of the best of season.Senghor also played an important role in Al-Karamah's run in the AFC Champions League 2007, while he waswith the club on loan during 2007.International careerOn 28 March 2009, he made his debut for the Senegal national football team against Oman.CareerstatisticsAs of 3 January 2023.NotesPassage 6:Bert GrundBert Grund (1920–1992) was a German composer of film scores.Selected filmographyCrown Jewels(1950)Immortal Light (1951)I Can't Marry Them All (1952)We're Dancing on the Rainbow (1952)My Wife Is Being Stupid (1952)Knall and Fall as Detectives(1952)The Bachelor Trap (1953)The Bird Seller (1953)The Immortal Vagabond (1953)The Sun of St. Moritz (1954)The Witch (1954)The Major and the Bulls(1955)Operation Sleeping Bag (1955)Love's Carnival (1955)The Marriage of Doctor Danwitz (1956)Between Time and Eternity (1956)That Won't Keep a SailorDown (1958)Arena of Fear (1959)The Thousand Eyes of Dr. Mabuse (1960)The Count of Luxemburg (1972)Mathias Sandorf (1979, TV series)Die Wächter (1986,TV miniseries)Carmen on Ice (1990)Passage 7:Henri VerdunHenri Verdun (1895–1977) was a French composer of film scores.Selected filmographyNapoléon(1927)The Sweetness of Loving (1930)The Levy Department Stores (1932)The Lacquered Box (1932)The Weaker Sex (1933)The Flame (1936)Girls of Paris(1936)The Assault (1936)Les Disparus de Saint-Agil (1938)The Woman Thief (1938)Ernest the Rebel (1938)Rail Pirates (1938)The Fatted Calf (1939)CampThirteen (1940)The Man Without a Name (1943)The Bellman (1945)My First Love (1945)The Murderer is Not Guilty (1946)Distress (1946)The Fugitive (1947)TheIronmaster (1948)The Tragic Dolmen (1948)The Ladies in the Green Hats (1949)La Fugue de Monsieur Perle (1952)The Lovers of Midnight (1953)The Big Flag(1954)Blood to the Head (1956)Passage 8:Walter UlfigWalter Ulfig was a German composer of film scores.Selected filmographyDas Meer (1927)Venus im Frack(1927)Svengali (1927)Bigamie (1927)Homesick (1927)The Awakening of Woman (1927)The Famous Woman (1927)Alpine Tragedy (1927)The Strange Case ofCaptain Ramper (1927)Assassination (1927)Queen Louise (1927)Homesick (1927)Das Schicksal einer Nacht (1927)The Hunt for the Bride (1927)The Orlov(1927)Serenissimus and the Last Virgin (1928)Mariett Dances Today (1928))The Woman from Till 12 (1928)The Beloved of His Highness (1928)The SchorrsiegelAffair (1928)It Attracted Three Fellows (1928)Miss Chauffeur (1928)The King of Carnival (1928)The Weekend Bride (1928)Honeymoon (1928)Spring Awakening(1929)The Right of the Unborn (1929)The Heath Is Green (1932)Höllentempo (1933)The Two Seals (1934)Pappi (1934)Mädchenräuber (1936)BibliographyJung,Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.External linksWalter Ulfig at IMDbPassage 9:Alonso MudarraAlonsoMudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was aninnovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth isnot recorded, but he grew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in thecompany of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the postof canon at the cathedral in Seville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; manyrecords remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composerFrancisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarrawrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books ofmusic in numbers for vihuela\"), which he published on December 7, 1546 in Seville.  These three books contain the first music ever published for the four-courseguitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", ormode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modernlisteners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish andItalian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs fordifferent tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24,2005), (subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the SixteenthCentury, Mel Bay Publications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)FantasiaVI in hypermedia (Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\".Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral PublicDomain Library (ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 10:Yandé Codou SèneYandé CodouSène (also Yande Codou Sene) was a Senegalese singer from the Serer ethnic group. She was born in 1932 at Somb in the Sine-Saloum delta and died on July15, 2010 at Gandiaye in Sénégal. She was the official griot of president Léopold Sédar Senghor. Most of her music is in the Serer language.CareerYandé Codousings in the old Serer tradition and have had a significant impact on Senegambian music as well as artists including Youssou N'Dour whom she has inspiredimmensely. Although she has been singing since she was a child and have had a profound effect on Senegambia's music scene, she did not record her first album(Night Sky in Sine Saloum) until she was aged 65. Her first recording debut on an album \"Gainde\" was in 1995 that she shared with Youssou N'Dour in which shereceived rave reviews. In that same year, her vocals were showcased on the full-length album Youssou N'Dour Presents Yandé Codou Sène. RootsWorld describedher as someone who:\"can move mountains with her positively poetic voice.\"In Safi Faye's Mossane (a 1996 film), Yandé's powerful vocals received rave reviewswhose song in the film is associated with the evocation of the Serer Pangool (ancestral spirits and Serer Saints in the Serer religion).President Senghor who isfamous for adopting the African griot technique of \"naming\" in his poems is adopted from the Serer tradition as in his poem \"Aux tirailleurs Sénégalais morts pourla France.\"  Yandé Codou who is proficient in this technique used a similar technique in the funeral of President Senghor.AlbumsGainde, Yandé Codou Sène and"}
+{"doc_id":"doc_18","qid":"","text":"Passage 1:Secrets of a Door-to-Door SalesmanSecrets of a Door-to-Door Salesman is a 1973 sex comedy film directed by Wolf Rilla. Also known as NaughtyWives.PlotThe film is about a young man who gets a job as a vacuum salesman and finds that he has to fight off advances from female customers.CastBrendanPrice – David ClydeSue Longhurst – PennyFelicity Devonshire – SusanneVictoria Burgoyne – Sally CockburnGraham Stark - Charlie VincentChic Murray –PolicemanBernard Spear - Jake TripperJean Harrington – MartinaSteve Patterson – Anthony ClydeJacqueline Logan – Mrs. DonovanElizabeth Romilly – NancyJanServais – JaneJacqueline Afrique – RachelJohnny Briggs - LomanKaren Boyes – GirlfriendDavid Rayner – Bruce, the art directorRon Alexander – Ron, theassistantNoelle Finch – Edith Simons, the reporterPassage 2:Bill Porter (salesman)William Douglas Porter (September 9, 1932 – December 3, 2013) was anAmerican salesman, who worked for Watkins Incorporated based out of Winona, Minnesota. Born with cerebral palsy, Porter's background and work was broughtto the public's attention in 1995 when an Oregon-based newspaper published a series of feature stories about him.LifePorter was born in San Francisco,California, and at a young age moved to Portland, Oregon along with his mother. He was unable to gain employment due to his cerebral palsy, but refused to goon disability. Porter eventually convinced Watkins Incorporated to give him a door-to-door salesman job, selling its products on a seven-mile route in the Portlandarea. He eventually became Watkins' top seller, and worked for the company for over forty years.In 1995, the newspaper The Oregonian ran a feature storyabout Porter. The story of his optimistic determination made him the subject of media attention across the United States. He was featured in Reader's Digest andon ABC's 20/20. The 20/20 broadcast received over 2000 phone calls and letters, which was the most ever for a 20/20 story. Porter was the subject of a 2002made-for-TV movie on TNT called Door to Door, featuring William H. Macy, Kyra Sedgwick and Helen Mirren. In 2009 the Japanese TBS network aired a TV movieloosely based on Bill Porter, also called Door to Door. It starred Ninomiya Kazunari and Rosa Kato as fictional versions of Porter and Brady. Porter died of aninfection in Gresham, Oregon, on December 3, 2013, at the age of 81.Passage 3:The Fuller Brush ManThe Fuller Brush Man is a 1948 American comedy filmstarring Red Skelton as a door-to-door salesman for the Fuller Brush Company who becomes a murder suspect.PlotSuccess doesn't exactly stare the unfortunatestreet cleaner Red Jones (Red Skelton) in the eye, and when he decides to propose to his sweetheart Ann Elliot (Janet Blair), who is a secretary at the FullerBrush company, she demands that he makes something more of himself before she can accept the offer. She suggests he should follow the example of asalesman and friend of hers, Keenan Wallick (Don McGuire), who works at her company. Red gets a chance to prove himself worthy sooner than he had expectedwhen he is fired from his job as a cleaner by his boss, Gordon Trist (Nicholas Joy), because he accidentally sets a trash can on fire in the line of duty, andsmashes Trist's car window. Ann gives him a chance to show his skills as a door-to-door salesman for the Fuller Brush company, and he is teamed up with herfriend Keenan. Both Ann and Red are unaware that Keenan himself has a romantic interest in Ann, and wants to get Red out of the way as soon as possible, so hecan pursue Ann without competition. Keenan assigns Red a list of the hardest homes, and Red fails tremendously with his task of selling to an almost impossiblepotential customer. He has a comical run-in with a troublesome small boy, and a beautiful model at another home tries to seduce him.Seeing how unsuccessfulRed's sales attempts are, Keenan comes up with the idea of a bet – the winner gets to pursue Ann without interference of the other man – which he suggests toRed. The bet is that Red won't be able to sell a single brush to the households on their run. Red takes the bet, and the next household on their run is the mansionof his old boss Gordon Trist. After Red tries to hide from Gordon and the groundskeeper, Gordon recognizes Red and sends him packing, but his wife comes afterRed and buys ten brushes from him.Red returns to Anna and Keenan in high spirits, until he realizes he forgot to collect the payment money from Mrs. Trist.When Red comes back to the Trist home, he overhears a conversation between his former boss, Keenan, Gregory Cruckston (Donald Curtis) and a few otherpersons, as they discuss their involvement in a racketeering operation. Red is caught eavesdropping and knocked unconscious after he is brought into the house.When he comes back to life, Gordon has been murdered in the dark, and everyone present in the house is arrested by police lieutenant Quint (Arthur Space), allsuspected of murder.Red is released since there is no evidence pointing to him being the killer, and when he comes home he discovers Mrs. Trist (Hillary Brooke)waiting for him with the money. Soon after, Sara arrives at his home, and shortly after that Freddie Trist (Ross Ford), Gordon's son, with two armed gangsters.The gangsters hold everyone hostage as they search in vain for the murder weapon that killed Gordon. Ann and Red conclude that the weapon must have been aFuller brush, molded into a knife-looking object. Cruckston stops them from telling policeman Quint about the weapon, and it turns out Cruckston, who isGordon's partner in crime, is the murderer. Ann and Red escape from him and his gangsters. Cruckston is arrested and Red is the hero of the day, winning Ann'sheart in the process.CastRed Skelton as Red JonesJanet Blair as Ann ElliottDon McGuire as Keenan WallickHillary Brooke as Mildred TristAdele Jergens as MissSharmleyRoss Ford as Freddie TristTrudy Marshall as Sara FranzenNicholas Joy as Commissioner Gordon TristDonald Curtis as Gregory CruckstonArthur Space asLieutenant QuintProductionThe project had been in development for four years. Producer Simon got permission from the Fuller Brush company and wrote thestory with Skelton in mind but was unable to secure studio interest until the success of Miracle on 34th Street (1947) showed the benefits of commercial tie-insfor feature films. He set the project up at Columbia conditional upon MGM agreeing to loan him out.Producer Edward Small was owed a favour by MGM as heagreed not to make a film called D'Artagnan to clash with their production of The Three Musketeers (1948). Small and Simon then purchased a story in theSaturday Evening Post by Roy Huggins.Fuller Brush gave their final approval provided it was clear in the final movie that the character Skelton played was anindependent dealer and not an employee of the Fuller Brush company.See alsoThe Fuller Brush GirlPassage 4:Wolf RillaWolf Peter Rilla (16 March 1920 – 19October 2005) was a film director and writer of German background, although he worked mainly in the United Kingdom.Rilla is known for directing Village of theDamned (1960). He wrote many books for students, such as The Writer and the Screen: On Writing for Film and Television and The A to Z of Movie Making.Earlylife and careerRilla was born in Berlin, where his father Walter Rilla was an actor and producer. In common with many others in entertainment and the arts,Walter recognised the dangers when Hitler came to power, and the family moved to London in 1934 when Wolf was 14. He completed his schooling at theenlightened co-educational Frensham Heights School, Surrey, and went on to St Catharine's College, Cambridge. In 1942, he joined the BBC External Service'sGerman section, beginning as a script editor, but transferred to television in the late 1940s.Film and television careerRilla left the BBC staff in 1952 to pursue acareer making films, but continued to take on television productions as a freelance. For television, he directed episodes of series such as The Adventures of Aggie,a sitcom, and The Adventures of the Scarlet Pimpernel (both 1956), both produced for ITV, but also aimed at the American market. Later, he wrote episodes ofthe Paul Temple television series.Meanwhile, in the cinema he worked for Group 3, a production company set up by the National Film Finance Corporation withMichael Balcon, John Baxter and John Grierson in charge. The intention was to give young talent a chance to make modestly budgeted films (those costing lessthan £50,000), but the arrangement only survived until 1956. By 1960, Rilla was working regularly for MGM-British Studios.His best remembered film, Village ofthe Damned (1960), dates from his period with the American studio's British subsidiary. Derived from John Wyndham's sci-fi novel The Midwich Cuckoos. As wellas directing the film, Rilla collaborated with producer Ronald Kinnoch (using the pseudonym George Barclay) and Stirling Silliphant on the adaptation. GeorgeSanders co-starred with Barbara Shelley. In his other film for MGM-British, Rilla directed his father, along with George Sanders and Richard Johnson, in Cairo(1963), a remake of John Huston's The Asphalt Jungle, with Tutankhamun's jewels in a Cairo museum now the target of the robbers.His novels included GreekChorus, The Dispensable Man, The Chinese Consortium and one simply entitled Movie.Rilla also wrote an episode of Doomwatch entitled The Devil'sDemolition  however the series was cancelled before it was produced.Personal lifeRilla married the actress and director Valerie Hanson after they appearedtogether in a BBC television production of The Portugal Lady; the couple had a daughter, Madeleine, in 1955. In 1967, he married Shirley Graham-Ellis, a publicistfor tea suppliers Jacksons of Piccadilly and London Films. Rilla and Graham-Ellis had a son, Nico, who has been a filmmaker and chef. His daughter Madeline diedin a car crash in 1985.After Rilla had held office in both the film technicians' union ACTT and the Directors' Guild, he and Shirley moved to the south of France, tobuy and run a hotel at Fayence in Provence.FilmographyNoose for a Lady (1953)Glad Tidings (1953)The Large Rope (1953)Marilyn (US: Roadhouse Girl,1953)The Black Rider (1954)The End of the Road (1954)Stock Car (1955)The Blue Peter (1955)Pacific Destiny (1956)The Scamp (1957)Bachelor of Hearts(1958)Jessy (1959)Witness in the Dark (1959)Die zornigen jungen Männer (1960)Village of the Damned (1960)Piccadilly Third Stop (1960)Watch it, Sailor!(1961)The World Ten Times Over (1963)Cairo (1963)Pax? (1968)Secrets of a Door-to-Door Salesman (1973)Bedtime with Rosie (1974)Passage 5:Lee MiglinLeeAlbert Miglin (July 12, 1924 – May 4, 1997) was an American business tycoon and philanthropist. After starting his career as a door-to-door salesman and thenbroker, Miglin became a successful real estate developer. He was an early developer of business parks. His firm, at one point, proposed the construction of theMiglin-Beitler Skyneedle, which was planned to be the tallest building in the world. Miglin was murdered in his home in May 1997 by Andrew Cunanan, aspreekiller.Life and careerMiglin was one of seven children born to a Roman Catholic family of Lithuanian descent. His father was a Czech immigrant who worked"}
+{"doc_id":"doc_19","qid":"","text":"Passage 1:Karl Wilhelm WachKarl Wilhelm Wach (also Carl Wilhelm or Wilhelm Wach) (11 September 1787 – 24 November 1845) was a German painter.LifeWachwas born in Berlin in 1787, studied art at the Prussian Academy of Arts and was a pupil of painter Karl Kretschmar. At the age of just 20, Wach was commissionedto paint an altar piece for the Paretz village church and produced his \"Christ with four Apostles\" (1807).Five years later came his artistic breakthrough, hispainting of Königin Luise (1812). After spending 1813 to 1815 in the Prussian army, Wach then established himself in Paris. He met William Hensel and the twobecame pupils of the painters Antoine Jean Gros and Jacques-Louis David. In 1817 Wach undertook a longer study trip to Italy, above all  to study artists fromQuattrocento. His strongest influence – according to his own statements – was however Raphael. Two years later Wach returned to Berlin (1819) and set himselfup himself as a freelance artist. His first large commission was a picture for Berlin Concert Hall. Wach created for it a cover painting of the nine Muses. Prussianking Frederick William III made available to Wach premises in which he then furnished a studio. Due to its influence and its many pupils, this studio soon becamea school. By 1837 it had nearly 70 pupils, almost all of whom went on to forge artistic careers. His activity as a teacher did not noticeably impair his artistic work.Wach was honoured with the title professor and appointed a member of Prussian Academy of Arts (1820). To mark his 40th birthday Wach was officially promotedto royal painter (1827).Wach died in 1845.Selected worksChrist with four Apostles (1807)Königin Luise (1812)The Communion and the Auferstehung Christ (inthe Evangelist church of St Peter & Paul, Moscow)The beautiful Velletrinerin, (1820)Madonna picture (1826, for Prince Frederik of the Netherlands)The ThreeHimmlischen Virtues (1830, in Friedrichswerder Church in Berlin)Carl von Clausewitz (1830)Christ at the oil mountainPsyche of Amor surpriseA life-largeNympheBildnis Bettina von Savigny (1834)Johannes in the desert (1838)Judith with the head of the Holofernes (1838)Königin Elisabeth von Preußen(1840)Passage 2:Wilhelm Karl Ritter von HaidingerWilhelm Karl Ritter von Haidinger (or Wilhelm von Haidinger, or most often Wilhelm Haidinger) (5 February1795 – 19 March 1871) was an Austrian mineralogist.Early lifeHaidinger's father was the mineralogist Karl Haidinger (1756–1797), who died when Wilhelm wasonly two years old. The books on mineralogy and the collection of rocks and minerals of his father will almost certainly have raised the interest of young Wilhelm.The collection of his uncle, banker Jakob Friedrich van der Nüll, was by far larger and much more precious, even to such a degree that the famous professorFriedrich Mohs of Freiberg (Germany) had been asked to describe it in detail. Young Wilhelm Haidinger and the professor often met in the house of Wilhelm'suncle. After completing the \"Normalschule\" and the \"Grammatikalschule\" Wilhelm started out his pre-academical training at the local \"Gymnasium\". However,after completing only his first year, the \"Humanitätsclasse\", Wilhelm (now 17 years old) was asked by professor Friedrich Mohs to join him as his assistant at thenewly founded Universalmuseum Joanneum in Graz.Scientific careerDuring the next five years in Graz and the following six years in Freiberg Wilhelm Haidingerremained a devoted assistant and admirer of professor Friedrich Mohs. During these years Haidinger became more and more involved in scientific work. In 1821Wilhelm Haidinger published his first scientific paper: \"On the crystallisation of copper-pyrites\" in the Memoirs of the Wernerian Natural History Society(Edinburgh), volume 4, pp. 1–18. This paper formed the start of a grand total of some 350 scientific publications, all of which are listed in volume 3 of theCatalogue of Scientific Papers (1800–1863) and volume 10 of the same catalogue for the years 1864–1883. Apart from all these papers Wilhelm Haidingerpublished several books: Anfangsgründe der Mineralogie, an account on the collection of the \"k. k. Hofkammer im Münz- und Bergwesen\"; a review ofmineralogical research (which grew into a well-known series edited by Gustav Adolph Kenngott); his Handbuch der bestimmenden Mineralogie; an atlas to thistextbook on mineralogy and the first complete geological map of Austria-Hungary.In 1822 Wilhelm Haidinger accompanied August Graf von Breunner-Enckevoirt(1796–1877) on a six-month trip; they traveled from Linz to Munich, Basel, Paris, London and Edinburgh. In Edinburgh banker Thomas Allan provided Haidingerwith the means to translate Mohs' Grundriss der Mineralogie into English. (The translation appeared in 1823 in three volumes: Treatise on Mineralogy.)In 1823Wilhelm Haidinger left Freiberg to re-settle in Edinburgh, where he stayed until the summer of 1825. In Edinburgh Haidinger met mineralogists Robert Jamesonand Robert Ferguson of Raith, geologist James Hall, chemists Thomas Thomson and Edward Turner, and physicist David Brewster. The years in Edinburgh areamong Haidinger's most productive: The translation of the comprehensive textbook by Mohs appeared in print and 33 scientific papers were written and published(in, for example, The Edinburgh Journal of Science of David Brewster and in the Philosophical Journal of Robert Jameson). While in Edinburgh Haidinger's friendPierre Berthier named a new mineral (an iron antimony sulfide) \"Haidingérite\".Return to AustriaA long journey with Robert Allan (the son of Thomas Allan) in1825 and 1826 brought Wilhelm Haidinger to Norway, Sweden, Denmark, Germany, Austria, and northern Italy. The winter months of 1825 and 1826 were spentby Wilhelm Haidinger in the highest scientific circles of Berlin; here he met for example Gustav Rose and Heinrich Rose, Friedrich Wöhler, Eilhard Mitscherlich,Heinrich Gustav Magnus, and Johann Christian Poggendorff. In the spring of 1826 the journey was continued and visits to Friedrich Mohs in Freiberg, to JohannFriedrich Ludwig Hausmann and Friedrich Stromeyer in Göttingen, Hermann von Meyer in Frankfurt, Carl Cäsar Ritter von Leonhard and Leopold Gmelin inHeidelberg, Christian Gmelin, Franz von Kobell in Munich and Franz Xaver Riepl in Vienna completed their trip.In 1827 Wilhelm Haidinger returned to Austria andbecame one of the directors of the \"Erste (böhmische) Porzellan-Industrie Aktien Gesellschaft (Epiag)\" in Elbogen (now Loket, Czech Republic). Working in theceramics factory owned by his brothers Eugen and Rudolf did not prevent Wilhelm from continuing his mineralogical research and writing scientific papers. In theyears 1827 to 1840 Haidinger published some 24 papers (according to the Catalogue of Scientific Papers), which appeared in such well known journals asPoggendorff's Annalen and the Zeitschrift für Physik. One of the papers described the occurrence of fossil plants in the brown coal and sandstones of thesurroundings of Elbogen (Loket).In 1840 Wilhelm Haidinger moved to Vienna to succeed his tutor Friedrich Mohs as director of the mineralogical collection of the\"Kaiserlich-Königlichen Hofkammer im Münz- und Bergwesen\". How much Haidinger devoted himself to science in general is evident from the fact that he foundeda non-governmental scientific society: the \"Freunde der Naturwissenschaften in Wien\". Becker, in 1871, recalled how Haidinger had been able to organize hisscientific society in spite of serious opposition from the Austrian police. Haidinger, founder and president of the \"Freunde der Naturwissenschaften in Wien\"undertook to publish its proceedings from 1840 to 1850. The last meeting of the \"Freunde der Naturwissenschaften in Wien\" took place on 29 November 1850.After that the learned society ceased to exist. In addition to his work on the collections of the mineralogical museum, his lectures on mineralogy and geology toyoung mining engineers, Wilhem Haidinger found the time to continue his own research and published some 105 papers during the years 1849 to1860.DolomitizationHaidinger's scientific work became more and more concentrated on the phenomenon of \"pseudomorphosis\": that is minerals which havetaken up the outer aspect of another mineral. For example, anhydrite would have changed into gypsum, but the original cleavage planes and crystal habituswould give the impression of anhydrite. Another example given by Haidinger was that of calcium carbonate, which would readily change into calcium magnesiumcarbonate (dolomite). In his own words:... part of the carbonate of lime is replaced by carbonate of magnesia, so as to form in the new species a compound ofone atom each. How this change was brought about, is a difficult question to resolve, though the fact cannot be doubted, as we have in the specimen described ademonstration of it, approaching in certainty almost to ocular evidence.To geologists Haidinger is known especially for his postulate of the \"dolomitization\"reaction that would change calcium carbonate into dolomite at low temperatures (below 100 degrees Celsius). A solution of magnesium sulfate would convertcalcium carbonate into dolomite plus calcium sulfate in solution. Nonetheless, in 1844 Haidinger related how his friends, the well-known chemists FriedrichWöhler, Eilhard Mitscherlich, and Leopold Gmelin had explained to him, that powdered dolomite will react, even at room temperature, with a solution of calciumsulfate to give calcium carbonate plus a solution of magnesium sulfate. (\"Durch meinem verehrten Freund Wöhler wurde ich auf die Beobachtung, die auchMitscherlich und L. Gmelin anführen, aufmerksam gemacht, daß man Dolomit in Pulverform künstlich zerlegen kann, wenn man eine Auflösung von Gyps durchdenselben dringen läßt. Bittersalz wird gebildet und kohlensaurer Kalk bleibt zurück. Dieser Versuch erläutert wohle mit hinreichender Evidenz die Bildung desKalkspathes aus Dolomit bei unserer gewöhnlichen Temperatur und atmosphärischer Pressung\": Haidinger, 1844, p. 250.) It was Haidinger's employee at the\"Kaiserlich-Königlichen Hofkammer im Münz- und Bergwesen\", Adolph von Morlot, who undertook to investigate the formation of dolomite in the laboratory (nodoubt at the request of Haidinger). The outcome of the experiments confirmed what Friedrich Wöhler had predicted in 1843: dolomite does not form from calciumcarbonate plus a solution of magnesium sulfate unless high temperatures (more than 200 degrees Reamur = 250 degrees Celsius) and high pressures wereapplied. Von Morlot used calcite powder soaked in a concentrated solution of magnesium sulfate sealed in a glass tube. Heating the glass tube in an oil bathincreased the pressure inside it to at least 15 bar. The glass tube was able to withstand this high pressure only because it had been placed inside a gun barrelfilled with sand. In this way Von Morlot in 1847 had clearly demonstrated the existence of a minimum temperature for the synthesis of the mineral dolomite.When Von Morlot (1847 A) reacted dolomite powder with a concentrated solution of calcium sulfate at room temperature, the result was (solid) calcium carbonateplus a solution of magnesium sulfate. (\"Wenn man nämlich durch gepulverten Dolomit eine Auflösung von Gyps filtriert, so entsteht die umgekehrte doppelte"}
+{"doc_id":"doc_20","qid":"","text":"Passage 1:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \" obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 3:Richard HalliburtonRichard Halliburton (January 9, 1900 – presumed dead after March 24, 1939) was an American travel writer and adventurer who swam the length of the Panama Canal and paid the lowest toll in its history—36 cents in 1928. He disappeared at sea while attempting to sail the Chinese junk Sea Dragon across the Pacific Ocean from Hong Kong to the Golden Gate International Exposition in San Francisco, California.Early life and educationRichard Halliburton was born in Brownsville, Tennessee, to Wesley Halliburton, a civil engineer and real estate speculator, and Nelle Nance Halliburton. A brother, Wesley Jr., was born in 1903. The family moved to Memphis, where the brothers, who were not close, spent their childhood. Richard attended Memphis University School, where his favorite subjects were geography and history; he also showed promise as a violinist, and was a fair golfer and tennis player. In 1915 he developed a rapid heartbeat and spent some four months in bed before its symptoms were relieved. This included some time at the Battle Creek Sanitarium in Michigan, run by the eccentric and innovative John Harvey Kellogg, whose philosophy of care featured regular exercise, sound nutrition, and frequent enemas. In 1917, following an apparent bout of rheumatic fever, Wesley Jr., thought strong and in fine health, suddenly died.: 8 At 5'7\" (170 cm) and about 140 pounds (64 kg), Halliburton was never robust but would seldom complain of sickness or poor stamina. He graduated from the Lawrenceville School in 1917, where he was chief editor of The Lawrence. In 1921 he graduated from Princeton University, where he was on the editorial board of The Daily Princetonian and chief editor of The Princetonian Pictorial Magazine. He also attended courses in public speaking and considered a career as a lecturer.Career\"An even tenor\"Leaving college temporarily during 1919, Halliburton became an ordinary seaman and boarded the freighter Octorara that July, bound from New Orleans to England.: 19–23 He toured historic places in London and Paris, but soon returned to Princeton in early 1920 to finish his schooling.: 55–57 His trip inspired in him a lust for even more travel; seizing the day "}
+{"doc_id":"doc_21","qid":"","text":"Passage 1:Konstantin LopushanskyKonstantin Sergeyevich Lopushansky (Russian: Константин Сергеевич Лопушанский; born June 12, 1947) is a Soviet andRussian film director, film theorist and author. He is best known for directing the apocalyptic and post-apocalyptic films Dead Man's Letters (1986), A Visitor to aMuseum (1989), Russian Symphony (1994), and The Ugly Swans (2006).In 1997, Lopushansky was awarded the Honored Artist of the Russian Federationhonorary title. In 2007, he was awarded the People's Artist of Russia honorary title, the highest Russian civilian honor for performing arts.BiographyEarlylifeKonstantin Lopushansky was born on June 12, 1947, in Dnepropetrovsk, Ukrainian SSR. His mother was Sofia Petrovna Lopushanskaya, who worked as alinguistic professor at Volgograd State University. His father was Sergei Timofeyevich Lopushansky, a front-line soldier who died in 1953 from wounds hesustained in war.Education and early careerIn 1970, Konstantin Lopushansky graduated from Kazan Conservatory as a violinist, and in 1973 he completed apostgraduate course at Leningrad Conservatory with a Ph.D. thesis in art criticism. Afterwards, Lopushansky taught at the Kazan and Leningrad conservatories forseveral years. Lopushansky took higher courses for scriptwriters and film directors from the director's department at the workshop of Emil Loteanu.Upongraduating from the directorial courses in 1979, Lopushansky assisted Andrei Tarkovsky in directing the legendary film Stalker, based on the novel RoadsidePicnic by Boris Strugatsky.Lopushansky's thesis film Solo made in 1980 was about a musician playing his last concert during the Siege of Leningrad.Since 1980Lopushansky has worked as a production director at the Lenfilm cinema studio.Dead Man's Letters and breakthroughIn 1986, Konstantin Lopushansky made hisfeature film directorial debut with the post-apocalyptic film Dead Man's Letters, which was co-written by Boris Strugatsky. It was screened at the InternationalCritics' Week section of the Cannes Film Festival in 1987 and received the FIPRESCI prize at the 35th International FilmfestivalMannheim-Heidelberg.Lopushanksy's 1989 film A Visitor to a Museum was entered into the 16th Moscow International Film Festival where it won the Silver St.George and the Prix of Ecumenical Jury.Lopushansky's 1994 film Russian Symphony was screened in the Forum section of the 45th Berlin International FilmFestival where it received the Prize of the Ecumenical Jury.Lopushansky made the 2006 film The Ugly Swans, based on the novel by Arkady and Boris Strugatsky.The science-fiction film was about a writer who visits a boarding school for gifted children where the teachers are mutants.Lopushansky's 2013 drama film TheRole told the story of an actor who decides to impersonate a deceased commander of the Red Army. It was shown in competition at the 35th MoscowInternational Film Festival. It received the Nika Award for Best Screenplay.Konstantin Lopushansky's drama film Through the Black Glass was released in2019.FilmographyPassage 2:Vyacheslav RybakovVyacheslav Rybakov (Russian: Вячеслав Михайлович Рыбаков; born January 1954 in Leningrad), is a Russianscience fiction author and an orientalist, interested in the medieval bureaucracy of China. He is a frequent collaborator with science fiction director KonstantinLopushansky. Screenwriting for his films The Ugly Swans, based on the 1972 novel by Arkady and Boris Strugatsky. As well as Dead Man's Letters in 1986, whichhe would later receive a Governmental Award of the RSFSR for the screenplay in 1987 after its premiere at the Toronto Film Festival.BiographyRybakov graduatedfrom the Oriental Studies Department of the Leningrad State University in 1976, mostly focusing on writings about the medieval bureaucracy of China andstarted. Soon after he studied at the Leningrad branch of the USSR Academy of Sciences Oriental Institute where he was able to publish over 40 thesis papers.While studying at Leningrad, the KGB had gained access to rough drafts of his anti-Soviet novel Trust due to Rybakov sending drafts to friends and classmates.This resulted in the copies being seized by the KGB and a warning. Although the KGB has checked in with Rybakov several years later, Rybakov insisted on writingthe final draft of the novel using previous remaining drafts and memory. The novel was later published a decade later. In 1983, Rybakov had met KonstantinLopushansky to discuss writing the screenplay for his film Dead Man's Letters. The process of developing the film allowed both artists to freely express theirvisions for the production of the film and further productions further on, this was a stark contrast to Russia's strict censorship rules at the time.SciencefictionAmong Rybakov's works were first published and include the prize-winning novels: Fireplace on a Tower (Ochag na bashne, 1990), and GravilyotTsesarevitch (1993) which depicts an alternative world featuring a Russian Empire in which communism is merely a religion, and our world is just an insanescientific experiment.His Death of Ivan Ilyich (1997) reveals the inner world of a contemporary person in a moment before his death.The novel Na budushchiygod v Moskve (In the adjacent year in Moscow, 2003) explores a Russia torn apart into small, poor countries, ruled by those idealists of the late Soviet Union whosincerely hated totalitarianism but didn't notice any good features of the nation, ruined the whole system of government and survived with help of the West. Inthe story, space is ruled by Darths and Vaders, and a Russian rocket scientist Ivan Obiwankin attempts to resurrect his people's feelings of nationalism bylaunching his own space ship.Rybakov preaches equality of cultures and states that cultures are often based on restrictions, and that simply removing therestrictions as anti-democratic may ruin the culture. Rybakov's novel also examines the Russian mentality, criticizing its tendency to understand and agree withthe positions of others as an inappropriate way to deal with the encroaching Western civilization. He argues that all living civilizations are unique, and that in thefuture it may become essential to save some other civilization from stagnation, because a world ruled by only one civilization has no future.He shows through anexample of the ruined family of the main character Alexey that, \"the surest way for you to cease being esteemed and appreciated... even just loved... is toimplicitly cede something essential and principal.\"Vyacheslav Rybakov and Igor Alimov were also the authors  of There are no bad people. The work was originallyattributed to Holm van Zaichik but was later proved to be a hoax. The series tells the story of the world of the Orduss, a fictional country with a humane and richculture, that unifies lands of China, Russia and the Near East.English translationsArtist (Story)The Trial Sphere (Story)Passage 3:The Dance of Death (1948film)The Dance of Death (French: La danse de mort, Italian: La prigioniera dell'isola) is a 1948 French-Italian drama film directed by Marcel Cravenne and starringErich von Stroheim, Denise Vernac and Palau. It is based on August Strindberg's The Dance of Death.The film's sets were designed by Georges Wakhévitch.PlotAnegocentric artillery Captain and his venomous wife engage in savage unremitting battles in their isolated island fortress off the coast of Sweden at the turn of thecentury. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, theveritable hell their marriage has been. Edgar, an aging schizophrenic who refuses to acknowledge his severe illness, struggles to sustain his ferocity andarrogance with an animal disregard for other people. Sensing that Alice, together with her cousin and would-be lover, Kurt, may ally against him, retaliates withvicious force. Alice lures Kurt into the illusion of sharing a passionate assignation and recruits him in a plot to destroy Edgar.CastErich von Stroheim asEdgarDenise Vernac as ThéaPalau as Le sergent / Il sergenteMassimo Serato as Stéphane / StefanoPaul Oettly as Le général / Il generaleMarie OlivierHenri Ponsas Le timonier / Il timoniereRoberto VillaGaleazzo BentiMargo Lion as Mathilde - la servanteJean Servais as KurtMaría Denis as RitaRoberto BerteaPassage 4:DeadMan's LettersDead Man's Letters (Russian: Письма мёртвого человека, romanized: Pis'ma myortvogo cheloveka), also known as Letters from a Dead Man, is a1986 Soviet post-apocalyptic drama film directed and written by Konstantin Lopushansky. He wrote it along with Vyacheslav Rybakov and Boris Strugatsky. Itmarks his directorial debut.The film was screened at the International Critics' Week section of the Cannes Film Festival in 1987and received the FIPRESCI prize atthe 35th International Filmfestival Mannheim-Heidelberg.In the aftermath of nuclear apocalypse, a group of people are forced to live underground in bunkers.They cannot go outside their dwellings without wearing protective clothing and gas masks. They try to find hope in the disturbing new world. Among these peopleis a history teacher who tries to contact via letters his missing son.PlotThe film is set in a town after a nuclear war; the town is destroyed and polluted withradioactive elements. The main character, Professor Larsen, played by Rolan Bykov, is a Nobel Prize in Physics laureate, who lives in the basement of a museumalong with his sick wife and several other people who used to work at the museum. He often writes letters to his son Eric, though he has no way of contactinghim. Larsen believes the war has ended and that more surviving humans exist outside the central bunker, but nobody else believes his theories.Larsen visits anorphanage where the current caretaker of the surviving children explains that she's thinking of evacuating to the central bunker, though may have to leave thechildren behind as they likely won't be allowed in since they're sick, to Larsen's disapproval. Larsen is informed that he also might be rejected from entering thecentral bunker due to his old age. With his wife's health declining, Larsen sneaks past several soldiers during curfew hours and attempts to find medicine for hiswife, escaping from a military raid in the process. When he returns to the museum's basement, however, he finds that his wife died. The other museumemployees bury her body.In one of his letters to Eric, Larsen tells a darkly humorous story on how someone failed to prevent the nuclear war. According to him,an operator from an electronics center had a chance to cancel the first missile launch (which happened due to a computer error), but was unable to reach thecomputer in time to abort the launch as he was slowed down by a cup of coffee in his hands. The operator then hung himself in return.Larsen makes a trip to thecentral bunker in an effort to find Eric. After sneaking into a medical facility, he enters the children's department, only to find all the children sick, injured, andscreaming in agony, much to Larsen's horror.After returning to the museum's basement, he finds that a museum employee is about to take his life as he thinksthe history of mankind has ended and that mankind was doomed from the very beginning. He then leaves the group, lies down in a grave, and shoots himself"}
+{"doc_id":"doc_22","qid":"","text":"Passage 1:Thomas Scott (diver)Thomas Scott (1907 - date of death unknown) was an English diver.BoxingHe competed in the 10 metre platform at the 1930British Empire Games for England.Personal lifeHe was a police officer at the time of the 1930 Games.Passage 2:William Jolliffe, 4th Baron HyltonWilliam GeorgeHervey Jolliffe, 4th Baron Hylton (2 December 1898 – 14 November 1967), was a British peer and soldier.Hylton was the son of Hylton Jolliffe, 3rd Baron Hylton,and Lady Alice Adeliza Hervey. He achieved the rank of Lieutenant-Colonel in the Coldstream Guards and also served as Lord Lieutenant of Somerset from 1949to 1964. Lord Hylton married Lady Perdita Rose Mary Asquith, daughter of Katharine and Raymond Asquith, eldest son of Prime Minister H. H. Asquith, in 1931.He died in November 1967, aged 68.He was succeeded in his titles by his elder son Raymond. The writer (of eg. Raymond Asquith: Life and Letters) JohnHedworth Jolliffe is his younger son; his daughter Mary is the wife of John Paget Chancellor, son of Christopher Chancellor of Reuters. Mary and John Chancellorare the parents of the actress Anna Chancellor and the financial historian Edward Chancellor.Passage 3:William Jolliffe, 1st Baron HyltonWilliam George HyltonJolliffe, 1st Baron Hylton  (7 December 1800 – 1 June 1876), known as Sir William Jolliffe, Bt, between 1821 and 1866, was a British soldier and Conservativepolitician. He was a member of the Earl of Derby's first two administrations as Under-Secretary of State for the Home Department in 1852 and as ParliamentarySecretary to the Treasury between 1858 and 1859.BackgroundJolliffe was the son of Reverend William John Jolliffe, the son of William Jolliffe and his wife EleanorHylton, daughter and heir of Sir Richard Hylton, 5th Baronet (who had assumed the surname of Hylton in lieu of his patronymic Musgrave; see MusgraveBaronets) and his wife Anne, sister and co-heiress of John Hylton, de jure 18th Baron Hylton. Jolliffe first served in the Army and achieved the rank of captain inthe 15th Dragoons. He notably took part in the events at St Peter's Field in Manchester in 1819 (the \"Peterloo Massacre\"). In 1821, at the age of twenty, Jolliffewas created a Baronet, of Merstham in the County of Surrey.Political careerJolliffe served a year as High Sheriff of Surrey in 1830 and then sat as a Member ofParliament for Petersfield from 1830 to 1832, 1837 to 1838 and 1841 to 1866 and served under the Earl of Derby as Under-Secretary of State for the HomeDepartment in 1852 and as Parliamentary Secretary to the Treasury from 1858 to 1859. He was admitted to the Privy Council in 1859 and in 1866 he was raisedto the peerage as Baron Hylton, of Hylton in the County Palatine of Durham and of Petersfield in the County of Southampton.CricketJolliffe played a singlefirst-class match for Hampshire in 1825 against Sussex. Jolliffe scored 12 runs in the match.FamilyLord Hylton married, firstly, Eleanor Paget, daughter of theHon. Berkeley Thomas Paget, in 1825. Their eldest son Hylton Jolliffe was a captain in the Coldstream Guards but died from cholera during the Crimean War.Hylton married, secondly, Sophia Penelope, daughter of Sir Robert Sheffield, 4th Baronet, and widow of William Fox-Strangways, 4th Earl of Ilchester, in 1867. Hedied at Merstham House near Reigate on 1 June 1876, aged 75, and was succeeded in his titles by his second but eldest surviving son from his first marriage,Hedworth. His granddaughter Gertrude Crawford became the first commandant of the Women's Royal Air Force.Passage 4:Bill Smith (footballer, born1897)William Thomas Smith (9 April 1897 – after 1924) was an English professional footballer.CareerDuring his amateur career, Smith played in 17 finals, andcaptained the Third Army team in Germany when he was stationed in Koblenz after the armistice during the First World War. He started his professional careerwith Hull City in 1921. After making no appearances for the club, he joined Leadgate Park. He joined Durham City in 1921, making 33 league appearances in theclub's first season in the Football League.He joined York City in the Midland League in July 1922, where he scored the club's first goal in that competition. Hemade 75 appearances for the club in the Midland League and five appearances in the FA Cup before joining Stockport County in 1925, where he made no leagueappearances.Passage 5:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? firstpublished in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guidefor parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has causedcontroversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, Whatis Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and Whatis a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English classat Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York Citypublic school children compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishingoffice there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher whoteaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage6:Henry Hylton, de jure 12th Baron HyltonHenry Hylton, de jure 12th Baron Hylton (1586 – 30 March 1641) was an English nobleman.Hylton was the eldest sonof Thomas Hylton (himself the son of William Hylton, de jure 11th Baron Hylton) and his wife, Anne née Bowes (daughter of Sir George Bowes of StreatlamCastle). In 1600, Hylton inherited the right to the barony of Hylton from his grandfather.SourcesHenry Hylton b.1585 - AncestryUK.comThe Gentlemen'sMagazine, March 1821Passage 7:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown,but the date of his death was sometime between 995 and 997.Passage 8:Hylton Jolliffe, 3rd Baron HyltonHylton George Hylton Jolliffe, 3rd Baron Hylton (10November 1862 – 26 May 1945) was a British peer and Conservative politician.Hylton was the eldest son of Hedworth Jolliffe, 2nd Baron Hylton, and Lady AgnesMary Byng. Henry Paget, 1st Marquess of Anglesey was his maternal great-grandfather.CareerGeorge succeeded the barony in 1899; prior to that he waseducated at Eton college and Oriel College, Oxford. He pursued a brief military career as capital for the Somerset imperial yeomanry, then diplomatic service in1888, then 3rd secretary in 1890 and 2nd secretary in 1894. He became Justice of the peace and county Alderman for Somerset where he sat in politics.Hyltonentered the Diplomatic Service in 1888, but in 1895 he was elected to the House of Commons for Wells. He held this seat until 1899, when he succeeded hisfather as third Baron Hylton and entered the House of Lords. In June 1915 Hylton was appointed a Lord-in-waiting (government whip in the House of Lords) in thenewly formed coalition government, and in 1918 he was promoted him to Captain of the Yeomen of the Guard. The coalition government of David Lloyd Georgefell in 1922, but Hylton continued as Deputy Chief Whip also under Bonar Law and Stanley Baldwin. However, after the first Baldwin government fell in January1924, he never returned to office.He was created Viscount Hylton and owned much of Chaldon, of which he was Lord of the manor.Lord Hylton married Lady AliceAdeliza Hervey, daughter of Frederick Hervey, 3rd Marquess of Bristol, in 1896. He died in May 1945, aged 82, and was succeeded in his titles by his son WilliamGeorge Hervey Jolliffe. Lady Hylton died in 1962.Passage 9:Hedworth Jolliffe, 2nd Baron HyltonHedworth Hylton Jolliffe, 2nd Baron Hylton DL (23 June 1829 – 31October 1899), was a British peer and Conservative Member of Parliament.Birth and educationHylton was the second son of William George Hylton Jolliffe, 1stBaron Hylton, and Eleanor Paget. He was educated at Eton and Oriel College, Oxford.Crimean War serviceIn 1849, he joined the 4th Light Dragoons and served inthe Crimean War, where his older brother was killed at Sebastopol. He was present at the Charge of the Light Brigade. He retired from the Army in 1856,following his election to Parliament.Parliamentary serviceHe was elected to the House of Commons for Wells in 1855, a seat he held until 1868.In 1870 hesucceeded his father as second Baron Hylton and entered the House of Lords.MarriagesLord Hylton married his second cousin, Lady Agnes Mary Byng, daughter ofGeorge Byng, 2nd Earl of Strafford, in 1858. Their divorce was a Cause célèbre. There were children of this marriage, sons and a daughter, Agatha EleanorAugusta Jolliffe, who married Ailwyn Fellowes MP.Lord Hylton married again to Anne, daughter of Henry Lambert, who was the second wife and the widow of thethird Earl of Dunraven.Death and successionHe died in October 1899, aged 70, and was succeeded in his titles by his surviving son Hylton George HyltonJolliffe.NotesPassage 10:William Jolliffe (1745–1802)William Jolliffe (16 April 1745 – 20 February 1802) was a British politician who sat in the House ofCommons  from 1768 to 1802.LifeHe was the eldest son of the politician John Jolliffe and his wife Mary, daughter of Samuel Holden. He was educated atWinchester College and Brasenose College, Oxford.Jolliffe was elected as Member of Parliament for Petersfield in 1768, a seat controlled by his father, who died in1771 leaving him a sitting patron. He held it until 1802.He was a Lord of Trade from 1772 to 1779 and Lord of the Admiralty during 1783.He bought the lease forhis residence on King Street in 1772 for what he called \"very cheap,\" but Edward Gibbon described the place as \"excellent.\" After his death, his son Hylton sold itto Henry Francis Greville, who opened it as the Argyll Rooms.FamilyHe married Eleanor Hylton, daughter and heir of Sir Richard Hylton, 5th Baronet, and Anne,sister and co-heiress of John Hylton, de jure 18th Baron Hylton. Jolliffe died in February 1802, aged 56, after falling through a trapdoor into a cellar at his home.His wife died the same year. Their grandson William George Hylton Jolliffe became a prominent Conservative politician and was created Baron Hylton in1866.Notes"}
+{"doc_id":"doc_23","qid":"","text":"Passage 1:Immilla of TurinImmilla (also Emilia, Immula, Ermengard, or Irmgard) (born c. 1020; died January 1078) was a duchess consort of Swabia bymarriage to Otto III, Duke of Swabia, and a margravine of Meissen by marriage to Ekbert I of Meissen. She was regent of Meissen during the minority of her son,Ekbert II.LifeImmilla was the daughter of Ulric Manfred II of Turin and Bertha of Milan and thereby a member of the Arduinici dynasty. Her older sister wasAdelaide of Susa.Her first husband was Otto III, Duke of Swabia, whom she married c. 1036. After Otto's death in September 1057, Immilla married again(c.1058). Her second husband was Ekbert I of Meissen.In 1067, shortly before his death, Ekbert I attempted to repudiate Immilla in order to marry Adela ofLouvain, daughter of Lambert II, Count of Louvain and the widow of Otto I, Margrave of Meissen. After Ekbert's death in 1068, Immilla spent some time at theimperial court with her niece Bertha, before returning to Italy. It is possible that she acted as regent for her young son, Ekbert II, at this time.Immilla died inTurin in January 10, 1078. She is sometimes said to have become a nun before her death.Marriages and childrenWith her first husband, Otto, Immilla had fivedaughters:Bertha (or Alberada) (died 1 April 1103), married firstly Herman II, Count of Kastl, and married secondly Frederick, Count of KastlGisela, inheritedKulmbach and Plassenburg, married Arnold IV, Count of AndechsJudith (died 1104), married firstly Conrad I, Duke of Bavaria, and secondly Botho, Count ofPottensteinEilika, abbess of NiedermünsterBeatrice (1040–1140), inherited Schweinfurt, married Henry II, Count of Hildrizhausen and Margrave of theNordgauWith her second husband, Ekbert I, Immilla had the following children:Ekbert IIGertrudePassage 2:VolkoldVolkold of Meissen (also Wolcold, Folcold,Folchold, Volhold, Volkhuld, Volchrad, Vocco; died 23 August 992) was the second Bishop of Meissen.LifeBefore his elevation to the episcopate all that is known ofVolkold's life is that he was at the court of Emperor Otto I as one of the tutors of the Emperor's son, the  future Otto II. He seems to have been appointed Bishopof Meissen in 969. Before his elevation Volkold was the patron of the young Willigis, later Saint Willigis, and used his influence to obtain for him a position in theImperial service. In 972 Volkold attended a synod in Ingelheim.When Boleslaus II, Duke of Bohemia, besieged the Albrechtsburg and the town of Meissen in 984in support of the Imperial ambitions of Henry II of Bavaria after the death of Otto II, Volkold was obliged to seek refuge from the Sorbs in Erfurt, under theprotection of Willigis, and was not able to return to his badly-damaged headquarters until after the re-conquest by Ekkehard I, Margrave of Meissen, in 987. Inthat year he put the diocese under Imperial protection.Doubtless as compensation for the bishopric's many losses he received from Otto II several gifts of estates,tolls and uses.While on a visit to Prague he suffered a stroke, on Good Friday 992, and returned paralysed to Meissen, where he died on 23 August and wasburied.Passage 3:Albrecht I of MeissenAlbrecht I of Meissen (died 1 August 1152) was Bishop of Meissen from 1150 to 1152.LifeAlbrecht I is not extensivelydocumented. He was supposedly from a family of the Sorbian nobility. Before his elevation to the bishopric he was a cathedral provost. Otto von Freisingmentions Albrecht in 1151 in connection with the dispute between Friedrich II of Berg and Herman van Horne over the office of bishop of Utrecht.With theagreement of the Pope, the bishopric of Meissen, like that of Naumburg, was under the protection of Burggraf Conrad I of Meissen, in return for which the bishopswere expected to undertake appropriate tasks from time to time. At the beginning of 1152 Conrad III entrusted Albrecht, who had the reputation of beingtalented at languages, with a diplomatic mission to the Byzantine Emperor Manuel I Komnenos. The bishop died either on the way to Constantinople or in the cityitself.Passage 4:John I, Duke of Brunswick-GrubenhagenJohn I, Duke of Brunswick-Grubenhagen (born: before 1322; died: 23 May 1367) was provost of the St.Alexandri Minster in Einbeck.He was the son of Duke Henry I \"the Marvelous\" of Brunswick-Grubenhagen and his wife Agnes of Meissen, daughter of MargraveAlbert II of Meissen.Passage 5:Agnes of WaiblingenAgnes of Waiblingen (1072/73 – 24 September 1143), also known as Agnes of Germany, Agnes of Poitou andAgnes of Saarbrücken, was a member of the Salian imperial family.  Through her first marriage, she was Duchess of Swabia; through her second marriage, shewas Margravine of Austria.FamilyShe was the daughter of Henry IV, Holy Roman Emperor, and Bertha of Savoy.First marriageIn 1079, aged seven, Agnes wasbetrothed to Frederick, a member of the Hohenstaufen dynasty; at the same time, Henry IV invested Frederick as the new duke of Swabia. The couple married in1086, when Agnes was fourteen. They had twelve children, eleven of whom were named in a document found in the abbey of Lorsch:Hedwig-Eilike (1088–1110),married Friedrich, Count of LegenfeldBertha-Bertrade (1089–1120), married Adalbert, Count of ElchingenFrederick II of SwabiaHildegardConrad III ofGermanyGisihild-GiselaHeinrich (1096–1105)Beatrix (1098–1130), became an abbessKunigunde-Cuniza (1100–1120/1126), wife of Henry X, Duke of Bavaria(1108–1139)Sophia, married Konrad II, Count of PfitzingenFides-Gertrude, married Hermann III, Count Palatine of the RhineRichildis, married Hugh I, Count ofRoucySecond marriageFollowing Frederick's death in 1105, Agnes married Leopold III (1073–1136), the Margrave of Austria (1095–1136). According to a legend,a veil lost by Agnes and found by Leopold years later while hunting was the instigation for him to found the Klosterneuburg Monastery.Their childrenwere:AdalbertLeopold IVHenry II of AustriaBerta, married Heinrich of RegensburgAgnes, \"one of the most famous beauties of her time\", married Wladyslaw II ofPolandErnstUta, wife of Liutpold von PlainOtto of Freising, bishop and biographerConrad, Bishop of Passau, and Archbishop of SalzburgElisabeth, marriedHermann, Count of WinzenburgJudith, m. c. 1133 William V of Montferrat. Their children formed an important Crusading dynasty.Gertrude, married Vladislav II ofBohemiaAccording to the Continuation of the Chronicles of Klosterneuburg, there may have been up to seven other children (possibly from multiple births)stillborn or who died in infancy.In 2013, documentation regarding the results of DNA testing of the remains of the family buried in Klosterneuburg Abbey stronglyfavor that Adalbert was the son of Leopold and Agnes.In 1125, Agnes' brother, Henry V, Holy Roman Emperor, died childless, leaving Agnes and her children asheirs to the Salian dynasty's immense allodial estates, including Waiblingen.In 1127, Agnes' second son, Konrad III, was elected as the rival King of Germany bythose opposed to the Saxon party's Lothar III. When Lothar died in 1137, Konrad was elected to the position.Passage 6:Margaret of SicilyMargaret of Sicily (alsocalled Margaret of Hohenstaufen or Margaret of Germany) (1 December 1241, in Foggia – 8 August 1270, in Frankfurt-am-Main) was a Princess of Sicily andGermany, and a member of the House of Hohenstaufen. By marriage she was Landgravine of Thuringia and Countess Palatine of Saxony (German: Landgräfin vonThüringen und Pfalzgräfin von Sachsen).She was the daughter of Frederick II, Holy Roman Emperor, King of Sicily and Germany, by his third wife, Isabella ofEngland.  Her paternal grandparents were Henry VI, Holy Roman Emperor and Constance of Sicily. Her maternal grandparents were John of England and Isabellaof Angoulême.BirthThe date of her birth is difficult to ascertain because there is controversy over the exact number of children borne by her mother. Somesources say that she was the first or second child, born by the end of 1237; others say that she was the last child, born in December 1241, when Isabella died inchildbirth. Historians commonly accept the latter date.LifeShortly after her birth (1242), Margaret was betrothed to Albert \"the Degenerate\", eldest son and heirof Henry III \"the Illustrious\", Margrave of Meissen. The marriage took place in June 1255, the bride receiving Pleissnerland (the towns of Altenburg, Zwickau,Chemnitz and Leisnig) as her dowry.The couple settled at his residence in Eckartsberga and later moved to Wartburg, where she bore five children: three sons(Henry, Frederick and Dietzmann) and two daughters (Margaret and Agnes). Through her second son Frederick – later Margrave of Meissen – Margaret was thedirect ancestor of the Electors and Kings of Saxony and English Queen consorts Margaret of Anjou and Anne of Cleves.In 1265 her husband received the titles ofLandgrave of Thuringia and Count Palatine of Saxony (German: Pfalzgräf von Sachsen) after the abdication of his father, who retained control of Meissen.After theexecution of her nephew Conradin (29 October 1268), Margaret, as the next legitimate relative, became the rightful Queen of Sicily and the general heiress of theHohenstaufen claims over the Duchy of Swabia and the Kingdom of Jerusalem (despite the fact she was not descended from the Kings of Jerusalem, her fatherFrederick II had claimed the kingdom for himself). Her son Frederick assumed by some time this titles on her right.After discovering the adultery of her husbandwith Kunigunde of Eisenberg, Margaret left Wartburg; according to a legend, before her departure she bit her son Frederick in the cheek; he was called henceforthFrederick the Bitten (de: Friedrich der Gebissene). The flight took place on 24 June 1270. Margaret went to Frankfurt-am-Main and was supported there by thecitizens. She died there six weeks later.IssueMargaret and Albert had five children:Henry (b. 21 March 1256 – d. 25 January/23 July? 1282), inherited thePleissnerland in 1274.Frederick (b. 1257 – d. Wartburg, 16 November 1323), Margrave of Meissen.Theodoric, called Dietzmann (b. 1260 – murdered Leipzig, 10December 1307), Margrave of Lusatia.Margaret (b. 1262 – d. young, after 17 April 1273).Agnes of Meissen (b. 1264 – d. September 1332), married before 21July 1282 to Henry I, Duke of Brunswick-Grubenhagen.Passage 7:Elisabeth of MeissenElisabeth of Meissen, Burgravine of Nuremberg (22 November 1329 – 21April 1375) was the daughter of Frederick II, Margrave of Meissen and Mathilde of Bavaria and a member of the House of Wettin.Marriage and childrenShe wasborn in Wartburg.  On 7 September 1356, at the age of twenty six, she married Frederick V, Burgrave of Nuremberg in Jena. In 1357 her husband succeeded tothe title, and from that time until her death in 1375, she was styled as Burgravine of Nuremberg. Together Frederick and Elisabeth had nine children, seven girlsand two boys, who survived to adulthood:Elisabeth (1358–26 July 1411, Heidelberg), married in Amberg 1374 to Rupert of Germany.Beatrix (c. 1362,Nuremberg–10 June 1414, Perchtoldsdorf), married in Vienna 1375 Duke Albert III of AustriaAnna (c. 1364–after 10 May 1392), a nun in Seusslitz.Agnes (1366 –22 May 1432), Convent in Hof (1376–1386) married in Konstance 1386 Baron Friedrich of Daber, Returned to Convent in Hof (1406) Abbess in Hof"}
+{"doc_id":"doc_24","qid":"","text":"Passage 1:Cry of the HuntedCry of the Hunted is a 1953 American crime film noir directed by Joseph H. Lewis.  The drama features Vittorio Gassman, BarrySullivan and Polly Bergen.PlotAn obsessive lawman (Barry Sullivan) who works for the state chases an escaped fugitive (Vittorio Gassman) through the Louisianabayou.CastVittorio Gassman as JoryBarry Sullivan as Lieutenant TunnerPolly Bergen as Janet TunnerWilliam Conrad as GoodwinMary Zavian as EllaRobert Burtonas Warden KeeleyHarry Shannon as Sheriff BrownJonathan Cott as Deputy DavisReceptionAccording to MGM records the film earned $376,000 in the US andCanada and $249,000 elsewhere resulting in a loss of $179,000.Critical responseFilm critic Hal Erickson, of Allmovie, has praised the directing of the film, writing,\"On the whole, the MGM B product of the 1950s contained some of the studio's best-ever 'small' pictures...Cry of the Hunted is directed with flair by Joseph H.Lewis, who always managed to rise above the slimmest of budgets and the barest of production values.\"TV Guide in its film guide also wrote well of the film,\"Stylishly directed chase film from Lewis who had previously shown his talent in Gun Crazy...At one point he is caught but again breaks free, only to berecaptured again at the finale. Interesting subplot has Conrad waiting for Sullivan to make a wrong move so he can grab his job.\"Noir analysisCritics Alain Silverand Elizabeth Ward, in various sections of their analysis of the film, discuss a sub silentio theme found in the movie: the homosexual undercurrent of theprotagonists; they write, \"After an initial scene, in which Sullivan and Gassman wrestle each other to exhaustion and then sit sharing cigarettes like brothers,\"and, \"...even in his sleep [Sullivan] is obsessive as he dreams of the escapee in homoerotic terms,\" and, \"Gassman too seems drawn to his pursuer.\"Film criticEddie Muller, in an interview for Bright Lights Film Journal, agrees, \"I once showed this goofy B film called Cry of the Hunted, with Barry Sullivan and WilliamConrad — it's swamp noir. In Los Angeles, the audience adored it. They howled, especially at the over-the-top gay subtext between the two lead actors. Theyfight, and when it's obvious the fight is over, they're still wrestling around the floor. Then they lie against the wall and smoke cigarettes. The L.A. audience ate itup.\"Passage 2:The Hunted (2015 film)The Hunted is a 2015 American film based on the action comedy web series The Hunted (2001) created and directed byRobert Chapin. Starring Chapin and Monique Ganderton in lead roles. It tells the story of a struggling actor who leads a group of misfit slayers against an army ofvampires. The film is one of the first to be produced under SAG’s New Media contract and was distributed online through Vimeo VOD.PlotComing to terms with hisunsuccessful attempts at becoming an actor, Bob (Chapin) is bitten by a vampire named Susan, (Ganderton) who is the daughter of a crazed vigilante slayer.Consequently, Bob becomes one of the Hunted, a small group of humans, bitten but not turned, who use cold steel and fighting technique to fend off vampires.The vampires, however, have developed an immunity to everything over the years, and the only way they can be killed is with a sword. Luckily, Bob knows howto wield a sword, mostly due to his starring role in a cheesy 80’s action flick called, “Vampslayer”. Find How Bob helps Susan and the Hunted defend the vampiresforms the rest of the story.CastRobert Chapin as BobMonique Ganderton as SusanDavid Lain Baker as HarryGary Kasper as DragosTex Wall as Lore MasterAndrewHelm as KevinAnthony De Longis as VincentProductionConception and writingThe Hunted began in 2001 as a long-standing Internet series, created by Chapin inan effort to train his credentials as a stuntman and VFX-artist. Embracing his skills with a sword and his technical abilities behind the camera, he collaborated withhis friends and colleagues in order to combine their talents and undertake an underdog story of LA-based vampire hunters. The fact that user-generated contentcreated by fans became the main content source for the online series is reflected in the theme of the film, where soccer moms learn to become vampire slayers,just like fans learning to become filmmakers, thus providing everyone a chance to discover their true potential. The dialogues in the film make use of copiouslines from well-known films and poems, ranging from Scarface (1983) and Independence Day (1996) to Shakespeare.FilmingThe film received financial support inJune 2011 via a Kickstarter campaign. The film was shot in Hollywood, California in 2012 and is co-produced by New Deal Studios, the Academy Award-winningeffects studio behind numerous blockbuster films, including Inception (2010) and Interstellar (2014). Post-production was completed in March 2015. The majorityof the film's cast consisted of stunt people.Passage 3:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992AVN Award – Best Director, Video (The Cockateer)1995 AVN Hall of Fame inducteePassage 4:Adrian BrunelAdrian Brunel (4 September 1892 – 18 February 1958)was an English film director and screenwriter. Brunel's directorial career started in the silent era, and reached its peak in the latter half of the 1920s. His survivingwork from the 1920s, both full-length feature films and shorts, is highly regarded by silent film historians for its distinctive innovation, sophistication and wit. Withthe arrival of talkies, Brunel's career ground to a halt and he was absent from the screen for several years before returning in the mid-1930s with a flurry of quotaquickie productions, the majority of which are now classed as lost. Brunel's last credit as director was in a 1940 comedy film, although he worked for a few yearsmore as a \"fixer-up\" for films directed or produced by friends in the industry.After decades of neglect, Brunel's work has latterly been rediscovered and hasundergone a critical re-evaluation. His lost films are eagerly sought, and the British Film Institute includes two, The Crooked Billet (1929) and Badger's Green(1934), on its \"75 Most Wanted\" list of missing British feature films.Early life and careerBorn in Brighton in 1892, Brunel was educated at Harrow School. Hismother Adey was a drama teacher so he grew up in a stage milieu and dabbled in acting and writing plays, as well as training in opera. On leaving school heworked for a time as a local journalist in Brighton before taking employment in London in the bioscope show distribution division of music hall chain MossEmpires. This spurred his interest in cinema, and in 1916 he and a friend formed a company called Mirror Films, which produced one film, The Cost of a Kiss, thefollowing year.In 1920 Brunel joined with actor Leslie Howard and author A. A. Milne to set up Minerva Films, which produced six comedy shorts over a two-yearperiod. Brunel's major break came in 1923, when he was offered the directorial role for the film The Man Without Desire, starring Ivor Novello. His feature filmdebut was a time-travelling story set in Venice and included location filming in the Italian city. Studio and post-production work took place in Germany, and theresulting work has been described as \"one of the stranger films to emerge from Britain in the 1920s\".Comedy shortsBetween 1923 and 1925, Brunel directed aseries of sophisticated comedy burlesque short films, frequently lampooning fads or institutions of the day. Initially these were produced and distributedindependently, but their popularity among film insiders and cognoscenti brought them to the attention of Michael Balcon, who offered Brunel the opportunity toproduce them through Gainsborough Pictures. These films were replete with punning intertitles and playful visual wit, with a number parodying the silhouetteanimation technique pioneered by Lotte Reiniger by using live actors in place of animated cutouts (Two-Chinned Chow, Shimmy Sheik, and Yes, We Have No...! –in which a man is driven to distraction by the ubiquity of the song \"Yes! We Have No Bananas\" and travels to ever-more exotic and outlandish locations to escapeit, only to find that no matter where in the world he goes, the song has got there first).Other films were self-referential in highlighting the ability of film toproduce a manipulated and distorted picture of reality. Brunel's most highly admired production of this period is 1924's Crossing the Great Sagrada, a spoof of thehugely popular travelogue genre of the time, in which its conventions are laid bare as the absurdities they are. Brunel uses the film to satirise the prevalentcolonial view of \"native people\", while highlighting the dishonesty inherent in the genre with ludicrously incongruous intertitles, tagging a view of an Africanmud-hut village as Wapping, and a sequence of the heroes struggling across a desert landscape as Blackpool beach. Critic Jamie Sexton notes: \"The film's surrealhumour prefigures that of later innovative British comedy, such as Monty Python's Flying Circus.Brunel also targeted the British film industry itself, with So This IsJollygood bemoaning what he saw as its general ineptitude in comparison with its American counterpart, and Cut It Out attacking the over-zealousness of theBritish film censors.Gainsborough filmsImpressed with Brunel's short film output, Balcon invited him to try his hand at directing full-length features forGainsborough. This resulted in five films between 1926 and 1929, all of which were high profile, big-budget productions with star names, and were designed asserious prestige vehicles with none of the opportunities for the humour and facetiousness of most of Brunel's earlier work. The first release was Blighty, aclass-based study of life during World War I, written by Brunel's friend Ivor Montagu. It was reported that Brunel was initially uneasy about directing a \"war film\"as it went against his moral values; however the finished product contained no militaristic or jingoistic material, concentrating instead on the effects of the unseenwar on an English family.In 1928 there followed two films which reunited Brunel with Novello as his leading actor: the first screen adaptation of MargaretKennedy's best-selling novel The Constant Nymph and a version of the Noël Coward play The Vortex. Brunel's third film of 1928 was A Light Woman starringBenita Hume, while 1929 brought the Madeleine Carroll vehicle The Crooked Billet, which Brunel described in his autobiography as \"my last, and perhaps my best,silent film\". The film's \"lost\" status however precludes it from being critically evaluated alongside his surviving work.Later careerWith the introduction of talkies toBritish cinema, Brunel's career impetus came to a sudden halt. It is not exactly clear why Brunel in particular should have found his career so comprehensivelyderailed at this time, although it is suggested that his pursuance of a legal claim against Gainsborough for alleged non-payment of fees may well have tarnishedhis reputation in the film industry by making him appear a potential trouble-maker. After writing and partly directing 1930's Elstree Calling for BritishInternational Pictures, he was sacked by the studio, who enlisted Alfred Hitchcock to finish the picture, and no further film offers were forthcoming.Brunelreturned to film directing in 1933, and over the following four years made 17 quota quickies, mainly for Fox British. As was the norm with quota quickie directors,"}
+{"doc_id":"doc_25","qid":"","text":"Passage 1:Still of the NightStill of the Night  or In the Still of the Night may refer to:In the Still of the Night (film), a Czech filmStill of the Night (film), 1982psychological thriller film, directed by Robert Benton\"Still of the Night\" (song), 1987, by Whitesnake\"Still of the Night\", a song by Quiet Riot from QR III\"In theStill of the Night\", a 1932 popular song written by Hoagy Carmichael and Jo Trent\"In the Still of the Night\" (Cole Porter song), a popular song by Cole Porter\"Inthe Still of the Night\" (The Five Satins song), 1956 doo-wop song, covered in 1992 by Boyz II MenIn the Still of the Night (album), a 1989 Johnny Mathisalbum\"Lost in the Fifties Tonight (In the Still of the Night)\", a 1985 medley containing the Five Satins songPassage 2:Emile ArdolinoEmile Ardolino (May 9, 1943 –November 20, 1993) was an American television and film director and producer, best known for his work on the films Dirty Dancing (1987) and Sister Act (1992).He won an Academy Award for Best Documentary Feature for his film He Makes Me Feel Like Dancin' (1983).Early life and careerArdolino was born in Maspeth, aneighborhood of Queens, the son of Italian immigrants Ester (nee Pesiri) and Emilio Ardolino.He began his career as an actor in Off-Broadway productions, andthen moved to the production side of the business. In 1967, he founded Compton-Ardolino Films with Gardner Compton. In the 1970s and 1980s, Ardolinoworked for PBS. He profiled dancers and choreographers for their Dance in America and Live from Lincoln Center series.Ardolino won an Academy Award for BestDocumentary Feature for the 1983 film He Makes Me Feel Like Dancin'. He found commercial success with the Academy Award-winning 1987 hit DirtyDancing.DeathArdolino died in California on November 20, 1993 of complications from AIDS. His last films, The Nutcracker (based on George Balanchine's NewYork City Ballet adaptation) and the television production of Gypsy starring Bette Midler, were released and shown posthumously. Ardolino is buried beside hisparents at St. John Cemetery in New York.Personal lifeArdolino was openly gay.Awards1969 Obie Award for the Broadway production of Oh! Calcutta!19 EmmyAward nominations, winning three1983 Academy Award for Best Documentary Feature for He Makes Me Feel Like Dancin'.Partial filmographyHe Makes Me FeelLike Dancin' (1983)Dirty Dancing (1987)Chances Are (1989)Three Men and a Little Lady (1990)Sister Act (1992)The Nutcracker (1993)Gypsy (1993, TVmovie)Passage 3:Ultimate Dirty DancingUltimate Dirty Dancing is a soundtrack album containing every song from the 1987 film Dirty Dancing, sequenced in theorder it appears in the film. It was released on December 9, 2003, by RCA Records.Track listingTrack listing\"Be My Baby\" – The Ronettes\"Big Girls Don't Cry\" –Frankie Valli & The Four Seasons\"Merengue\" – Michael Lloyd & Le Disc\"Trot the Fox\" – Michael Lloyd & Le Disc\"Johnny's Mambo\" – Michael Lloyd & Le Disc\"Timeof My Life\" (instrumental version) – The John Morris Orchestra\"Where Are You Tonight?\" – Tom Johnston\"Do You Love Me\" – The Contours\"Love Man\" – OtisRedding\"Gazebo Waltz\" – Michael Lloyd\"Stay\" – Maurice Williams and the Zodiacs\"Wipe Out\" – The Surfaris\"Hungry Eyes\" – Eric Carmen\"Overload\" –Zappacosta\"Hey! Baby\" – Bruce Channel\"De Todo Un Poco\" – Michael Lloyd & Le Disc\"Some Kind of Wonderful\" – The Drifters\"These Arms of Mine\" – OtisRedding\"Cry to Me\" – Solomon Burke\"Will You Love Me Tomorrow\" – The Shirelles\"Love Is Strange\" – Mickey & Sylvia\"You Don't Own Me\" – The BlowMonkeys\"Yes\" – Merry Clayton\"In the Still of the Night\" – The Five Satins\"She's Like the Wind\" – Patrick Swayze\"Kellerman's Anthem\" – The Emile BergsteinChorale\"(I've Had) The Time of My Life\" – Bill Medley & Jennifer WarnesChartsCertificationsPassage 4:Dirty Dancing (disambiguation)Dirty Dancing is a 1987film.Dirty Dancing may also refer to:Dirty Dancing (1988 TV series), an American television series that aired on CBSDirty Dancing (2006 TV series), an Americanreality series that aired on WE tv networkDirty Dancing (2017 film), a musical television remake of the 1987 filmDirty Dancing (album), by Swayzak\"DirtyDancing\" (song), by New Kids On The BlockDirty Dancing (soundtrack), soundtrack to the 1987 filmDirty Dancing: Havana Nights (also known as Dirty Dancing 2or Dirty Dancing 2: Havana Nights), a 2004 filmDirty Dancing: The Classic Story on Stage, a stage musicalDirty Dancing: The Time of Your Life, a UK TVseriesPassage 5:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer ÉmileZola.External linksLa Bestia humana at IMDbPassage 6:Dirty Dancing: Havana NightsDirty Dancing: Havana Nights (also known as Dirty Dancing 2 or DirtyDancing 2: Havana Nights) is a 2004 American dance musical romance film directed by Guy Ferland and starring Diego Luna, Romola Garai, Sela Ward, JohnSlattery, Jonathan Jackson, January Jones, and Mika Boorem. The film is an unrelated prequel/\"re-imagining\" of the 1987 blockbuster Dirty Dancing, reusing thesame basic plot, but transplanting it from upstate New York to Cuba on the cusp of the Cuban Revolution. Patrick Swayze, star of the original Dirty Dancing,appears as a dance instructor. It was mostly filmed in Old San Juan, Puerto Rico.PlotIn 1958, Katey Miller (Romola Garai), her parents (Sela Ward and JohnSlattery), and her younger sister Susie (Mika Boorem) arrive in Cuba during the Cuban revolution. A self-described bookworm, Katey is not very happy abouthaving to move to a different country during her senior year of high school, as she had been planning to attend Radcliffe College, although the rest of her familyseem extremely pleased to be in Cuba.Meeting several other rich American teenagers down by the pool - including James Phelps (Jonathan Jackson), the son ofher father's boss - Katey becomes disgusted when one of the teenagers insults a local waiter when he drops their drinks because Katey accidentally bumped intohim. Katey attempts to talk to the waiter—Javier (Diego Luna), who works at the hotel to support his family—because she feels awful about what had occurred,but he is not interested.Katey watches a film of her mother and father dancing and wishes she could dance as well as they did. She and her father dance a bit.The next day in class, Katey is asked to read aloud from the Odyssey - a passage about love and passion. After class, James invites her to a party at the countryclub the next day and she accepts.While walking home from school, she sees Javier dancing to street music, and he offers to walk her home. They stop to listento a street band and police show up, stopping Javier while Katey runs away.The next day, Katey tries some of the dance moves she saw. Javier sees her and asksher to come see the real dancers Saturday night, but she says she is already going to the country club. Javier gets upset and leaves. Katey wears one of hermaid's dresses to the country club party and impresses James. Katey convinces him to take her to the Cuban nightclub La Rosa Negra (The Black Rose) whereJavier is dancing with the ladies.Javier dances with Katey while James sits at the bar. Soon he is accosted by Javier's brother, Carlos, who tells him that they willeventually kick the Americans out of Cuba. Javier comes over and argues with his brother. James takes Katey back to the car and assaults her after she refuses tokiss him. She slaps him and runs into the club, and Javier agrees to walk her home.The next day, Katey walks by a dance class. The teacher (Patrick Swayze)asks if anyone wants to enter the big dance contest and then dances with Katey for a bit. She grabs a flyer for the competition.While walking to the pool, Jamesapologizes to Katey and then tells her that Susie saw Javier with her and got him fired. Katey argues with Susie and goes to find Javier. He is now working at achop shop with Carlos. She asks him to enter the dance contest with her, but he refuses. Meanwhile, it is becoming apparent that Carlos is helping therevolutionaries.The next day, Javier shows up at Katey's school and agrees to enter the dance contest with her. They start teaching each other dance moves andJavier convinces her to \"feel the music.\" They practice all the time, and Katey dances some more with the dance teacher, until it is the night of the dance. Kateyand Javier dance with the other couples on the floor and are chosen to go on to the next round.Katey's parents disapprove of her relationship with Javier, butKatey reconciles with them. On the night of the contest's final round, while Katey and Javier are on the dance floor, Javier sees his brother and somerevolutionaries disguised as waiters, and the police soon try to arrest them. The contest stops as everyone flees the club, and Javier has to save Carlos from thepolice. Javier and Carlos talk about how they miss their dad, then they hear that Batista has fled the country and join the celebration.Later, Javier comes to thehotel and finds Katey. He takes her to the beach and they have sex. The next day, Katey's parents tell her they are leaving Cuba and she has one last night withJavier. They go to the Cuban club where they first danced, and the floor is theirs as they are dubbed King and Queen. Katey's family is there to see her, andKatey narrates that she doesn't know when she will see Javier again, but this will not be their last time to dance together.CastRomola Garai as Katey MillerDiegoLuna as Javier SuarezSela Ward as Jeannie MillerJohn Slattery as Bert MillerMika Boorem as Susie MillerJonathan Jackson as James PhelpsRene Lavan as CarlosSuarezPatrick Swayze as Dance Class InstructorJanuary Jones as EveMýa Harrison as Lola MartinezAngélica Aragón as Mrs. SuarezKaly Cordova asDancerProductionHavana Nights is based on an original screenplay by playwright and NPR host Peter Sagal, based on the real life experience of producer JoAnnJansen, who lived in Cuba as a 15-year-old in 1958–59. Sagal wrote the screenplay, which he titled Cuba Mine, about a young American woman who witnessedthe Cuban revolution and had a romance with a young Cuban revolutionary. The screenplay was to be a serious political romance story, documenting, amongother stories, how the Cuban revolution transformed from idealism to terror. It was commissioned in 1992 by Lawrence Bender, who was rising to fame with hisproduction of Quentin Tarantino's Reservoir Dogs and Pulp Fiction. The screenplay was bought by a film studio, which requested several rewrites before decidingnot to produce the film. A decade later, Bender decided to make a Dirty Dancing sequel, and the film was very loosely adapted from Sagal's script. Not a singleline from Sagal's original screenplay appears in the final film and Sagal says that the only remnants of the political theme that existed in his script is a scenewherein some people are executed.Natalie Portman was offered the role of Katey Miller but she turned it down. Ricky Martin was also considered for the role ofJavier Suarez. The film was British actress Romola Garai's first Hollywood film and she repeatedly has cited the filming of the movie as being an extremelynegative experience which caused her to re-evaluate working in Hollywood. In a 2004 interview with The Telegraph she explained that the filmmakers \"were"}
+{"doc_id":"doc_26","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The CraneWife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a personwho belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who is confronting his lover's brother (the singer's\"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-sidedespite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves infront of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recentlyasked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberists on his segment \"Look Who's Riding onMy Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown onDecember 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by AaronStewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", planan escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (the Super ValueInn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neonsign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - variousassassination teams - who sit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band(along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, before theygang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, whileforcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that hesnitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrickin the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with boldfonts being used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (andmore explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used inBottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TVcontaining the green-screened Decemberists video footage.Passage 2:Donna SummerDonna Adrian Gaines (December 31, 1948 – May 17, 2012), knownprofessionally as Donna Summer, was an American singer and songwriter. She gained prominence during the disco era of the 1970s and became known as the\"Queen of Disco\", while her music gained a global following.Influenced by the counterculture of the 1960s, Summer became the lead singer of a psychedelic rockband named Crow and moved to New York City. In 1968, she joined a German adaptation of the musical Hair in Munich, where she spent several years living,acting, and singing. There, she met music producers Giorgio Moroder and Pete Bellotte, and they went on to record influential disco hits together such as \"Love toLove You Baby\" and \"I Feel Love\", marking Summer's breakthrough into international music markets. Summer returned to the United States in 1976, and morehits such as \"Last Dance\", her version of \"MacArthur Park\", \"Heaven Knows\", \"Hot Stuff\", \"Bad Girls\", \"Dim All the Lights\", \"No More Tears (Enough Is Enough)\"with Barbra Streisand, and \"On the Radio\" followed.Summer amassed a total of 32 chart singles on the US Billboard Hot 100 in her lifetime, including 14 top tensingles and four number one singles. She claimed a top-40 hit every year between 1976 and 1984, and from her first top-ten hit in 1976, to the end of 1982, shehad 12 top-ten hits (10 were top-five hits), more than any other act during that time period. She returned to the Hot 100's top five in 1983, and claimed her finaltop-ten hit in 1989 with \"This Time I Know It's for Real\". She was the first artist to have three consecutive double albums reach the top of the US Billboard 200chart and charted four number-one singles in the US within a 12-month period. She also charted two number-one singles on the R&B Singles chart in the US anda number-one single in the United Kingdom. Her last Hot 100 hit came in 1999 with \"I Will Go with You (Con te partirò)\". While her fortunes on the Hot 100waned in subsequent decades, Summer remained a force on the Billboard Dance Club Songs chart throughout her entire career.Summer died in 2012 from lungcancer, at her home in Naples, Florida. She sold over 100 million records worldwide, making her one of the best-selling music artists of all time. She won fiveGrammy Awards. In her obituary in The Times, she was described as the \"undisputed queen of the Seventies disco boom\" who reached the status of \"one of theworld's leading female singers.\" Moroder described Summer's work on the song \"I Feel Love\" as \"really the start of electronic dance\" music. In 2013, Summer wasinducted into the Rock and Roll Hall of Fame. In December 2016, Billboard ranked her sixth on its list of the \"Greatest of All Time Top Dance Club Artists\".EarlylifeDonna Adrian Gaines was born on December 31, 1948, in Boston, Massachusetts, to Andrew and Mary Gaines, and was third of seven children. She was raisedin the Boston neighborhood of Mission Hill. Her father was a butcher, and her mother was a schoolteacher.Summer's performance debut occurred at church whenshe was ten years old, replacing a vocalist who failed to appear. She attended Boston's Jeremiah E. Burke High School where she performed in school musicalsand was considered popular. In 1967, just weeks before graduation, Summer left for New York City, where she joined the blues rock band Crow. After a recordlabel passed on signing the group since it was only interested in the band's lead singer, the group agreed to dissolve.Summer stayed in New York and auditionedfor a role in the counterculture musical, Hair. She landed the part of Sheila and agreed to take the role in the Munich production of the show, moving there inAugust 1968 after getting her parents' reluctant approval. She eventually became fluent in German, singing various songs in that language, and participated inthe musicals Ich bin ich (the German version of The Me Nobody Knows), Godspell, and Show Boat. Within three years, she moved to Vienna, Austria, and joinedthe Vienna Volksoper. She briefly toured with an ensemble vocal group called FamilyTree, the creation of producer Günter \"Yogi\" Lauke.In 1968, Summerreleased (as Donna Gaines) on Polydor her first single, a German version of the title \"Aquarius\" from the musical Hair, followed in 1971 by a second single, aremake of the Jaynetts' 1963 hit, \"Sally Go 'Round the Roses\", from a one-off European deal with Decca Records. In 1969, she issued the single \"If You Walkin'Alone\" on Philips Records.She married Austrian actor Helmuth Sommer in 1973, and gave birth to their daughter Natalia Pia Melanie \"Mimi\" Sommer, the sameyear. She provided backing vocals for producer-keyboardist Veit Marvos on his Ariola Records release Nice to See You, credited as \"Gayn Pierre\". Severalsubsequent singles included Donna performing with the group, and the name \"Gayn Pierre\" was used while performing in Godspell with Helmuth Sommer during1972. Their marriage subsequently ended in divorce, and she married singer-guitarist Bruce Sudano in 1980.Music career1974–1979: Initial successWhileworking as a model part-time and backing singer in Munich, Summer met producer Giorgio Moroder and Pete Bellotte during a recording session for Three DogNight at Musicland Studios. The trio forged a working partnership, and Donna was signed to their Oasis label in 1974. A demo tape of Summer's work withMoroder and Bellotte led to a deal with the European-distributed label Groovy Records. Due to an error on the record cover, Donna Sommer became DonnaSummer; the name stuck. Summer's first album was Lady of the Night. It became a hit in the Netherlands, Sweden, Germany and Belgium on the strength of twosongs, \"The Hostage\" and the title track \"Lady of the Night\". \"The Hostage\" reached the top of the charts in France, but was removed from radio playlists inGermany because of the song's subject matter: a high ranking politician that had recently been kidnapped and held for ransom. One of her first TV appearanceswas in the television show, Van Oekel's Discohoek, which started the breakthrough of \"The Hostage\", and in which she gracefully went along with the scriptedabsurdity and chaos in the show.In 1975, Summer passed on an idea for a song to Moroder who was working with another artist; a song that would be called\"Love To Love You Baby\". Summer, Moroder and Bellotte wrote the song together, and together they worked on a demo version with Summer singing the song.Moroder decided that Summer's version should be released. Seeking an American release for the song, it was sent to Casablanca Records president Neil Bogart.Bogart played the song at one of his extravagant industry parties, where it was so popular with the crowd, they insisted that it be played over and over, each timeit ended. Bogart requested that Moroder produce a longer version for discothèques. Moroder, Bellotte, and Summer returned with a 17-minute version. Bogarttweaked the title and Casablanca signed Summer, releasing the single in November 1975. The shorter 7\" version of the single was promoted by radio stations,while clubs regularly played the 17-minute version (the longer version would also appear on the album).By early 1976, \"Love to Love You Baby\" had reached No.2 on the US Hot 100 chart and had become a Gold single, while the album had sold over a million copies. The song generated controversy due to Summer'smoans and groans, which emulated lovemaking, and some American stations, like those in Europe with the initial release, refused to play it. Despite this, \"Love toLove You Baby\" found chart success in several European countries, and made the Top 5 in the United Kingdom despite the BBC ban. Casablanca Records wasted"}
+{"doc_id":"doc_27","qid":"","text":"Passage 1:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the DirectorGeneral of Police in Punjab.Passage 2:Sweepstakes (film)Sweepstakes is a 1931 American pre-Code comedy film directed by Albert S. Rogell from a screenplaywritten by Lew Lipton and Ralph Murphy. The film stars Eddie Quillan, James Gleason, Marian Nixon,  Lew Cody, and Paul Hurst, which centers around the travailsand romances of jockey Buddy Doyle, known as the \"Whoop-te-doo Kid\" for his trademark yell during races. Produced by the newly formed RKO Pathé Pictures,this was the first film Charles R. Rogers would produce for the studio, after he replaced William LeBaron as head of production. The film was released on July 10,1931, through RKO Radio Pictures.PlotBud Doyle is a jockey who has discovered the secret to get his favorite mount, Six-Shooter, to boost his performance. If hesimply chants the phrase, \"Whoop-te-doo\", the horse responds with a burst of speed. There is a special bond between the jockey and his mount, but there isincreasing tension between Doyle and the horse's owner, Pop Blake (who also raised Doyle), over Doyle's relationship with local singer Babe Ellis. Blake sees Ellisas a distraction prior to the upcoming big race, the Camden Stakes.The owner of the club where Babe sings, Wally Weber, has his eyes on his horse winning theCamden Stakes. When the issues between Pop and Doyle come to a head, Pop tells Doyle that he has to choose: either he stops seeing Babe, or he'll be replacedas Six-Shooter's jockey in the big race. Angry and frustrated, Doyle quits. Weber approaches him to become the jockey for Rose Dawn, Weber's horse, and Doyleagrees, with the precondition that he not ride Royal Dawn in the Camden Stakes, for he wants Six-Shooter to still win the race.  Weber accedes to that oneprecondition, however, on the day of the race, he makes it clear that Doyle is under contract, and that he will ride Rose Dawn in the race.Upset, Doyle has nochoice but to ride Rose Dawn.  However, during the race, he manages to chant his signature \"Whoop-te-doo\" to Six-Shooter, causing his old mount to win therace. Furious that his horse lost, Weber goes to the judges, who rule that Doyle threw the race, pulling back on Rose Dawn, to allow Six-Shooter to win, andsuspend Doyle from horse-racing.Devastated, Doyle wanders from town to town, riding in small local races, until his identity is uncovered, and he is forced tomove on.  Soon, he is out of racing all together, and forced to taking one odd-job after another.  Eventually, he ends up south of the border, in Tijuana, Mexico,working as a waiter. Doyle's friend, Sleepy Jones, hears of Doyle's plight. Jones gets the racing commission to lift the ban, by proving Doyle's innocence.  Hethen, accompanied by Babe, gets a group to buy Six-Shooter from Pop, and they take the horse down to Tijuana, where there is another big race in the nearfuture, the Tijuana Handicap.Doyle is reluctant to ride at first, however, he is eventually cajoled into it by Sleepy and Babe, and of course, his bond withSix-Shooter is there.  He rides the horse to victory, re-establishing his credentials as a rider. The film ends by jumping a few years into the future, which showsDoyle and Babe happily married, with a child of their own.Cast(Cast list as per AFI database)Eddie Quillan as Bud DoyleLew Cody as Wally WeberJames Gleasonas Sleepy JonesMarian Nixon as Babe EllisKing Baggot as MikePaul Hurst as Cantina BartenderClarence Wilson as Mr. EmoryFrederick Burton as Pop BlakeBillySullivan as Speed MartinLillian Leighton as Ma ClancyMike Donlin as The DudeProductionCritical responseMordaunt Hall of The New York Times gave a verynon-committal review of this film, with neither much praise or criticism. While he gave no indication of what he thought about the quality of the film, he enjoyedthe performances of James Gleason and Lew Cody, and he called Quillan's performance as Doyle \"original\".See alsoList of films about horse racingPassage3:Albert S. RogellAlbert S. Rogell (August 21, 1901 Oklahoma City, Oklahoma - April 7, 1988 Los Angeles, California) was an American film director.Rogelldirected more than a hundred movies between 1921 and 1958. He was the uncle of producer Sid Rogell.FilmographyPassage 4:Ian Barry (director)Ian Barry is anAustralian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie andMe (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:PeterLevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodictelevision and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky &Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980),A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written byhis wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor inseveral Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into theArmy. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the PacificResident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also anassociate artist of The Interact Theatre Company.Passage 6:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatreand television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as aresident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Mooredirected the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  Hewas nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour.Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden workedtogether on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, Californiain May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As awriter, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented atthe New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorialdebut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starringTina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitchPerfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1episode)Passage 7:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked inIreland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigningDecember 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leavingAustralia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin andattended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history andhistory.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library(1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director atthe National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council ofAustralian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increasedthe number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of themuseum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward"}
+{"doc_id":"doc_28","qid":"","text":"Passage 1:Royal Tramp IIRoyal Tramp II is a 1992 Hong Kong film based on Louis Cha's novel The Deer and the Cauldron. The film is a sequel to Royal Tramp, which was released earlier in the same year.PlotHaving been revealed as the false Empress Dowager, Lung-er returns to the Dragon Sect camp. There, the sect leader reminds her of their mission to support Ng Sam-kwai's, a military general, campaign for the throne before abdicating her title to Lung-er.Siu-bo lounges at the brothel where he once worked but is then attacked by disciples of the One Arm Nun, an anti-Qing revolutionary figure, before being quickly subdued. When Siu-bo tries to take advantage of them, Ng Ying-hung, Ng Sam-kwai's son, exposes his lies. Scorned and unaware of the stranger's title, Siu-bo sends his men after Ying-Hung, but Lung-er, now disguised as Ying-hung's male bodyguard, easily fends them off.At the palace, The Emperor, wary of Ng Sam-kwai's intentions, marries off the Princess to Ying-hung and assigns Siu-bo to be the Imperial Inspector General of the wedding march, so that he can keep his eyes on the general's activities. This complicates Siu-bo's relationship with Princess when she tells Siu-bo she's pregnant with his child.The One Arm Nun and her disciple, Ah Ko, later ambushes the procession. Fighting to a standstill with Lung-er, the assailants escape with Ying-hung and Siu-bo. However, Siu-bo garners some respect from her when he reveals his dual identity as a Heaven and Earth Society commander. Lung-er finally catches up to them with reinforcements at an inn but only manages to rescue Siu-bo. Having been saved by Ying-hung before, Ah Ko elopes with him amid the confusion.At the Dragon Sect camp, Ying-hung and Fung Sek-fan secretly poisons Lung-er and turn the followers against her. She escapes with Siu-bo but must have sex with a man before dawn, otherwise she will die. However, this will transfer 4/5th of her martial arts' power to whomever she sleeps with. Despite Siu-bo's lecherous personality, Lung-er accepts his blunt honesty as a sign of virtue and chooses to sacrifice her virginity to Siu-bo and becomes his third wife.When Siu-bo gets back to the Princess, they execute a plan to castrate Ying-hung. With her betrothed no longer able to produce heirs, the Princess is taken by Siu-bo as his fourth wife. Enraged by the end of his family line, Ng Ying-hung prematurely gathers his troops and sets out to wage war with the Emperor. He tasks Fung Sek-fan with killing the Princess and Siu-bo. Though Chan Kan-nam manages to intervene and lets his disciple escape.Later, the One Arm Nun captures the elopers, Ying-hung and Ah Ko, and offers them to Siu-bo. Siu-bo pardons them and even takes Ah Ko as his fifth wife. Afterward, Fung Sek-fan is promoted when he surrenders Ng Sam-kwai's battle plans and Chan Kan-nam to the Emperor. Given Siu-bo's muddied history with the Heaven and Earth Society, the Emperor tasks him with Chan's execution. Siu-bo's newfound power is difficult for him to control, and Chan helps him master it in time for him to use it against Fung. Siu-bo also uncovers the secret of the 42 Chapters books after burning them in frustration, revealing hidden stones that are left unburned, revealing map coordinates to the location of the treasure all major parties have been attempting to locate.In order to save his master, Siu-bo defeats Fung with his newly acquired martial arts power after both falling into a hidden cave wherein the treasure is found, and swaps Feng's body with Chan's before the execution to save his master. And just as he was about to escape with his wives and Chan, the Emperor arrives with his troops, having been sold out by Siu-bo's opportunistic friend To-lung who is now involved romantically with Siu-bo's sister. But seeing that they are friends, his sister is in love with Siu-bo, and with Siu-bo bluffing that he's strong enough to demolish the Emperor and his entire army if he wanted, the Emperor lets them go, declaring that Siu-bo has died and no longer exists as far as he's concerned. Siu-bo laughs afterward that the Emperor fell for his bluff.CastStephen Chow as Wai Siu-boBrigitte Lin as Lung-erChingmy Yau as Princess Kin-ningMichelle Reis as Ah Ko/Li Ming-koNatalis Chan as To-lungDamian Lau as Chan Kan-namDeric Wan as Hong-hei EmperorKent Tong as Ng Ying-hung, Sam-kwai's sonPaul Chun as Ng Sam-kwaiSandra Ng as Wai Chun-faFennie Yuen as Seung-yee twinVivian Chan as Seung-yee twinYen Shi-kwan as Fung Sek-fanHelen Ma as Kau-nan/one-armed Divine nunSharla Cheung as Mo Tung-chu / Empress DowagerLaw Lan as founder of Divine Dragon SectTam Suk-moi as Ah NongHoh Choi-chow as Palace guard Wen Shan LunYeung Jing-jingWan Seung-lamLee FaiCheng Ka-sangHo Wing-cheungKwan YungTo Wai-woPassage 2:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 3:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 4:Lloyd (film)Lloyd is a 2001 American comedy film. The film was released on May 4, 2001.PlotLloyd is the \"class clown.\" He often gets in trouble with teachers, one of whom is very strict. When he tries to rebel, he is put into a class for \"less enthusiastic students.\" Once there, he joins the other students in the group: Troy, Carla, and Storm. He soon falls in love with the class's newest member, Tracy (Kristin Parker). However, she is taken by storm. When Lloyd talks to his mother, she tells him that he can still win her back by being himself.The role of Lloyd is played by Todd Bosley. Tom Arnold, a friend of the producers, played a small role.CastTodd Bosley - LloydBrendon Ryan Barrett - TroyMary Mara - JoannChloe Peterson - CarlaSammy Elliott - NathanPatrick Higgins - StormKristin Parker - TracyTom Arnold - TomTaylor Negron - Mr. WeidProductionThe film was shot in Sunnyvale, California, in 1997.External linksLloyd at IMDbPassage 5:La Princesse de Clèves (film)La Princesse de Clèves (Italian: La principessa di Cleves) is a 1961 French-Italian drama film based on the 1678 novel of the same name.CastMarina Vlady – La princesse de ClèvesJean Marais – Le prince de ClèvesJean-François Poron – Jacques, Duke of NemoursHenri Piégay – Le vidame de ChartresAnnie Ducaux – Diane de PoitiersLea Padovani – Catherine de' MediciPassage 6:Nous, princesses de ClèvesNous, princesses de Clèves is a French documentary film directed by Régis Sauder, filmed at the Lycée Diderot and released on 3 March 2011.SynopsisThe movie follows the thoughts and emotions of various teenagers as they prepare to take their Baccalauréat by reading the classic 1678 French novel, La Princesse de Clèves. The film highlights the differences and connections between the lives of the students, many of which are from immigrant and working-class families, and the passions and plots of the 17th century French court.Festivals and awardsThe film was screened at different film festivals throughout the world, including: 2011 Doc à Tunis - Tunis; 2011 Docudays - Beirut International Documentary Festival - Beyrouth (Liban); 2011 RIDM - Rencontres Internationales du Documentaire de Montréal - Montréal (Canada); 2011 SFFF - San Francisco International Film Festival - San Francisco (États-Unis); 2011 Visions du Réel - Nyon (Suisse), ... and received the 2011 Étoile de la Scam.Selected castSarah Yagoubi as herselfAbou Achoumi as himselfLaura Badrane as herselfMorgane Badrane as herselfManel Boulaabi as herselfVirginie Da Vega as herselfThérèse Demarque as herselfPassage 7:Invasion of the Neptune MenInvasion of the Neptune Men (\u0000\u0000\u0000\u0000\u0000, Uchū Kaisokusen) is a 1961 superhero film produced by Toei Company Ltd. The film stars Sonny Chiba as Iron Sharp (called Space Chief in the U.S. version).The film was released in 1961 in Japan and was later released in 1964 direct to television in the United States. In 1998, the film was featured on an episode of Mystery Science Theater 3000.PlotAstronomer Shinichi Tachibana has a secret identity as superhero \"Iron Sharp\" and has many children as friends. When they are attacked by a group of metallic aliens (\"Neptune Men\" in English), Iron Sharp drives the aliens away. The resourceful Tachibana helps develop an electric barrier to block the aliens from coming to the Earth.  After several losses by the aliens, they announce that they will invade the Earth, throwing the world into a state of panic. The aliens destroy entire cities with their mothership and smaller fighters. After Iron Sharp destroys multiple enemy ships, Japan fires nuclear missiles at the mothership, destroying it.CastSonny Chiba as scientist Shinichi Tachibana / Iron SharpKappei Matsumoto as Dr. TanigawaRyuko Minakami as Yōko (Tanigawa's daughter)Shinjirō Ehara as scientist YanagidaMitsue Komiya as scientist SaitōStyleInvasion of the Neptune Men is part of Japan's tokusatsu genre, which involves science fiction and/or superhero films that feature heavy use of special effects.ProductionInvasion of the Neptune Men was an early film for Sonny Chiba. Chiba started working in Japanese television where he starred in superhero television series in 1960. Chiba continued working back and forth between television and film until the late 1960s when he became a more popular star.ReleaseUchū Kaisokusen was released in Japan on 19 July 1961. The film was not released theatrically in the United States, but it was released directly to American television by Walter Manley on March 20, 1964, dubbed in English "}
+{"doc_id":"doc_29","qid":"","text":"Passage 1:Peter BurroughsPeter Burroughs (born 27 January 1947) is a British television and film actor and the director of Willow Management. He is the father-in-law of actor and TV presenter Warwick Davis.Early careerBurroughs initially ran a shop in his village at Yaxley, Cambridgeshire.His first dramatic role was that of the character \"Branic\" in the 1979 television series The Legend of King Arthur. He also acted in the television shows Dick Turpin, The Goodies, Doctor Who in the serial The King's Demons and One Foot in the Grave.Film careerBurroughs played roles in Hollywood movies such as Flash Gordon, George Lucas' Star Wars: Episode VI – Return of the Jedi (a swinging ewok), Willow, The Dark Crystal, Labyrinth and The Hitchhiker's Guide to the Galaxy. In 1995, Burroughs set up Willow Management, an agency for short actors, along with co-actor Warwick Davis. He portrayed a bank goblin in the Harry Potter series (Harry Potter and the Philosopher's Stone and Harry Potter and the Deathly Hallows – Part 2).Personal lifeHis daughter Samantha (born 1971), is married to Star Wars: Episode VI – Return of the Jedi and Willow film star Warwick Davis. He has another daughter, Hayley Burroughs, who is also an actress. His granddaughter is Annabelle Davis.FilmographyPassage 2:Ogawa MatajiViscount Ogawa Mataji (\u0000\u0000\u0000\u0000, 22 August 1848 – 20 October 1909) was a general in the early Imperial Japanese Army. He was also the father-in-law of Field Marshal Gen Sugiyama.Life and military careerOgawa was born to a samurai family; his father was a retainer to the daimyō of Kokura Domain, in what is now Kitakyushu, Fukuoka. He studied rangaku under Egawa Hidetatsu and fought as a Kokura samurai against the forces of Chōshū Domain during the Bakumatsu period.After the Meiji Restoration, Ogawa attended the Imperial Japanese Army Academy and was commissioned as a second lieutenant in January 1871 and promoted to lieutenant in February 1874. He participated in the Taiwan Expedition of April 1874. Afterwards, he served with the IJA 1st Infantry Regiment under the Tokyo Garrison, and as a battalion commander with the IJA 13th Infantry Regiment from April 1876. From February 1877, he fought in the Satsuma Rebellion, but was wounded in combat in April and promoted to major the same month.In March 1878, Ogawa was Deputy Chief-of-Staff to the Kumamoto Garrison. He was sent as a military attaché to Beijing from April to July 1880. In February 1881, he was promoted to lieutenant-colonel and chief of staff of the Osaka Garrison. In March 1882, he was chief of staff of the Hiroshima Garrison. Promoted to colonel in October 1884, he was assigned the IJA 8th Infantry Regiment. In May 1885, he joined the Imperial Japanese Army General Staff Office. German General Jakob Meckel, hired by the Japanese government as a foreign advisor and instructor in the Imperial Japanese Army Academy highly praised Ogawa and fellow colonel Kodama Gentarō as the two most outstanding officers in the Imperial Japanese Army. Ogawa was especially noted for his abilities as a military strategist and planner, and earned the sobriquet “the modern Kenshin\") from General Kawakami Soroku.First Sino-Japanese WarOgawa was promoted to major general in June 1890, and given command of the IJA 4th Infantry Brigade, followed by command of the 1st Guards Brigade. At the start of the First Sino-Japanese War in August 1894, he was chief of staff of the Japanese First Army. In August 1895, he was elevated to the kazoku peerage with the title of danshaku (baron). He commanded the 2nd Guards Brigade from January 1896 and was subsequently promoted to lieutenant general in April 1897, assuming command of the IJA 4th Infantry Division. In May 1903, he was awarded the Order of the Sacred Treasures, first class.Russo-Japanese WarDuring the Russo-Japanese War of 1904-1905, Ogawa retained command of the IJA 4th Division under the Japanese Second Army of General Oku Yasukata.  The division was in combat at the Battle of Nanshan, Battle of Telissu and Battle of Liaoyang. At the Battle of Liaoyang, Ogawa was injured in combat, and forced to relinquish his command and return to Tokyo. In January 1905, he was promoted to general, but took a medical leave from December 1905. He was awarded the Order of the Golden Kite, 2nd class in 1906.  In September 1907 he was elevated to viscount (shishaku) He officially retired in November.Ogawa died on 20 October 1909 due to peritonitis after being hospitalized for dysentery. His grave is located at Aoyama Cemetery in Tokyo, and he also has a grave in his hometown of Kokura.Decorations1885 –  Order of the Rising Sun, 3rd class  1895 –  Order of the Sacred Treasure, 2nd class 1895 –  Order of the Rising Sun, 2nd class 1895 –  Order of the Golden Kite, 3rd class 1903 –  Grand Cordon of the Order of the Sacred Treasure 1906 –   Grand Cordon of the Order of the Rising Sun1906 –  Order of the Golden Kite, 2nd classPassage 3:Prince Rupert of the RhinePrince Rupert of the Rhine, Duke of Cumberland,  (17 December 1619 (O.S.) [27 December 1619 (N.S.)] – 29 November 1682 (O.S.) [9 December 1682 (N.S)]) was an English army officer, admiral, scientist, and colonial governor. He first came to prominence as a Royalist cavalry commander during the English Civil War. Rupert was the third son of the German Prince Frederick V of the Palatinate and Elizabeth, eldest daughter of King James VI and I of Scotland and England.Prince Rupert had a varied career. He was a soldier as a child, fighting alongside Dutch forces against Habsburg Spain during the Eighty Years' War (1568–1648), and against the Holy Roman Emperor in Germany during the Thirty Years' War (1618–1648). Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War, becoming the archetypal \"Cavalier\" of the war and ultimately the senior Royalist general. He surrendered after the fall of Bristol and was banished from England. He served under King Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean Sea. Following the Restoration, Rupert returned to England, becoming a senior English naval commander during the Second Anglo-Dutch War and Third Anglo-Dutch War, and serving as the first governor of the Hudson's Bay Company. He died in England in 1682, aged 62.Rupert is considered to have been a quick-thinking and energetic cavalry general, but ultimately undermined by his youthful impatience in dealing with his peers during the Civil War. In the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his later years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navy's doctrine and development. As a colonial governor, Rupert shaped the political geography of modern Canada: Rupert's Land was named in his honour, and he was a founder of the Hudson's Bay Company.  Rupert's varied and numerous scientific and administrative interests, combined with his considerable artistic skills, made him one of the more colourful public figures in England of the Restoration period.Parents and ancestryRupert's father was Frederick V of the Palatinate, of the Palatinate-Simmern branch of the House of Wittelsbach. As Elector Palatine, Frederick was one of the most important princes of the Holy Roman Empire. He was also head of the Protestant Union, a coalition of Protestant German states. The Palatinate was a wealthy state, and Frederick lived in great luxury.Frederick's mother, Countess Louise Juliana of Nassau, was daughter of William the Silent and half-sister of Maurice, Prince of Orange, who as stadtholders of Holland and other provinces were the leaders of the Dutch Republic.Rupert's mother was Elizabeth Stuart, daughter of King James VI of Scotland and I of England. Thus Rupert was nephew of King Charles I of England and Scotland, and first cousin of King Charles II of England and Scotland, who made him Duke of Cumberland and Earl of Holderness. His sister Electress Sophia was the mother of George I of Great Britain.Rupert was named in honour of Rupert, King of Germany, a famous Wittelsbach ancestor.Early life and exileRupert was born in Prague, Bohemia, in 1619, and was declared a prince by the principality of Lusatia. His father had just been elected king by the largely Protestant estates of Bohemia. This was perceived as an act of rebellion by the Catholic House of Habsburg, who had been kings of Bohemia since 1526, and initiated the Thirty Years' War. Frederick was not supported by the Protestant Union, and in 1620 was defeated by Emperor Ferdinand II in the Battle of White Mountain. Rupert's parents were thus mockingly termed the \"Winter King and Queen\". Rupert was almost left behind in the court's rush to escape Ferdinand's advance on Prague, until courtier Kryštof z Donína (Christopher Dhona) tossed the prince into a carriage at the last moment.Rupert accompanied his parents to The Hague, where he spent his early years at the Hof te Wassenaer (the Wassenaer Court). Rupert's mother paid her children little attention even by the standards of the day, apparently preferring her pet monkeys and dogs. Instead, Frederick employed a French couple, Monsieur and Madame de Plessen, as governors to his children. They were raised with a positive attitude towards the Bohemians and the English, and as strict Calvinists. The result was a strict school routine including logic, mathematics, writing, drawing, singing, and playing instruments.As a child, Rupert was at times badly behaved, \"fiery, mischievous, and passionate\" and earned himself the nickname Robert le Diable, or \" Rupert The Devil\". Nonetheless, Rupert proved to be an able student. By the age of three he could speak some English, Czech, and French, and mastered German while still young, but had little interest in Latin and Greek. He excelled in art, being taught by Gerard van Honthorst, and found mathematics and science easy. By the time he was 18 he stood about 6 ft 4 in (1.93 m) tall.Rupert's family continued their attempts to regain the Palatinate during their time in The Hague. Money was short, with the family relying upon a relatively small pension from The Hague, the proceeds from family investments in Dutch raids on Spanish shipping, and revenue from pawned family jewellery. Frederick set about convincing an alliance of nations—including England, France and Sweden — to support his attempts to regain the Palatinate and Bohemia. By the early 1630s Frederick had built a close relationship with King Gustavus of Sweden, the dominant Protestant leader in Germany. In 1632, however, the two men disagreed over Gustavus' insistence that Frederick provide equal rights to his Lutheran and Calvinist subjects after regaining his lands; Frederick refused and set off to return to The Hague. He died of a fever along the way and was buried in an unmarked grave.Rupert had lost his father at the age of 13, and Gustavus' death at the Battle of Lützen in the same month deprived the family of a critical Protestant ally. With Frederick gone, King Charles proposed that the family move to England; Rupert's mother declined, but asked that Charles extend his protection to her remaining children instead.Teenage yearsRupert spent the beginning of his teenage years in England between the courts of The Hague and his uncle King Charles I, before being "}
+{"doc_id":"doc_30","qid":"","text":"Passage 1:One Does Not Play with LoveOne Does Not Play with Love (German: Man spielt nicht mit der Liebe) is a 1926 silent German drama film directed by G.W. Pabst. The film is an adaptation of the 1834 play by Alfred de Musset, On ne badine pas avec l'amour. The film is considered to be a lost film.CastWernerKrauss as Fürst Colalto (Prince Colalto)Lili Damita as CalixtaErna Morena as Florence, ehemalige Opernsängerin (alumna opera singer)Egon von Jordan as EugenLewisArtur Retzbach as Nepallek, Hofmobiliardirektor (Director of the furniture of the court) (as Artur Retzbach-Erasiny)Oreste Bilancia as Der Freund (thefriend)Gustav CzimegTala Birell as Bit Role (as Thala Birell)Karl EtlingerMaria PaudlerMathilde SussinSee alsoList of lost filmsPassage 2:Gustav CzimegGustavCzimeg (December 20, 1877 – August 21, 1939) was a German actor of the silent period. He appeared in films such as Madame DuBarry (1919),  in which heplayed Duke Aiguillon, Die Rache des Titanen (1919), Glasprinzessin (1921), and One Does Not Play with Love (1926).Passage 3:The Flesh Is WeakThe Flesh IsWeak is a 1957 British film directed by Don Chaffey. It stars John Derek and Milly Vitale. Distributors Corporation of America released the film in the USA as adouble feature with Blonde in Bondage.PlotTony Giani is a Soho pimp who preys on young provincial women who come to London seeking work. Marissa Cooper,one such girl, has just arrived in London. Giani spots her and offers her a job in the Golden Bucket, a nightclub. In her innocence, she does not realize the club isa front for prostitution. When she tries to escape from the pimp's control, she is set up by Giani and his brother Angelo and arrested by the police. Investigativejournalist Lloyd Buxton persuades her to give evidence against the brothers leading to their imprisonment and her freedom.CastJohn Derek as Tony GianiMillyVitale as Marissa CooperWilliam Franklyn as Lloyd BuxtonMartin Benson as Angelo GianiFreda Jackson as TrixieNorman Wooland as Inspector KingcombeHaroldLang as HenryPatricia Jessel as MillieJohn Paul as Sergeant FranksDenis Shaw as SaradineJoe Robinson as LoftyRoger Snowden as BennyPatricia Plunkett as DorisNewmanShirley Anne Field as SusanSource: BFIProductionThe film was based on the Messina vice gang who operated in the West End of London. Its original titlewas Women of Night then Not for Love before being changed to The Flesh is Weak.ReceptionThe film was a box office success - according to Variety it was thefourth highest grossing film in England. The movie is not listed in Kinematograph Weekly as one of the most popular British films of 1957 but that magazine didsay the movie was \"enjoying a triumphant West End run\".The reception to the film enabled the producer and director to raise finance for another movie, AQuestion of Adultery.Passage 4:Blonde in BondageBlonde in Bondage (Swedish: Blondin i fara) is a 1957 Swedish drama crime film directed by Robert Brandt,who also wrote lyrics to the film's two songs.  Distributors Corporation of America released the film in the US as a double feature with The Flesh Is Weak. It wasshot at the Metronome Studios in Stockholm.PlotNew York City reporter Larry Brand is sent to Stockholm to do a story on Swedish morals.  A traffic accidentleads him into rescuing a strip tease artiste from drug addiction and pits him against a ruthless criminal gang.CastMark Miller as Larry BrandAnita Thallaug asMona MaceLars Ekborg as MaxRuth Johansson as LailaBirgitta Ander as BirgittaEva Laräng as IngridAnita Strindberg as Telephone operator (credited as AnitaEdberg)Erik Strandmark as OlleStig Järrel as KreugerBörje Mellvig as Chief InspectorDangy Helander as a ProstituteNorma Sjöholm as a second ProstituteSangridNerf as a taxi driverAlexander von Baumgarten as Kuger's valetJohn Starck ...  Chief of guardsSoundtrackThe Blues Music by Ulf CarlénLyrics by RobertBrandtShock Around the ClockMusic by Ulf Carlén Lyrics by Robert BrandtExternal linksBlonde in Bondage at IMDbPassage 5:But the Flesh Is WeakBut the FleshIs Weak is a 1932 American pre-Code comedy film directed by Jack Conway and written by Ivor Novello based on his 1928 play The Truth Game. The film starsRobert Montgomery, Nora Gregor, Heather Thatcher, Edward Everett Horton, C. Aubrey Smith and Nils Asther. The film was released on April 9, 1932, byMetro-Goldwyn-Mayer.  But the Flesh Is Weak was remade in 1941 as Free and Easy.PlotMax Clement and his father Florian, short of money, take advantage ofwealthy British women by romancing them. Max's problem is that he is far more attracted to more attractive women, ones without the means to supporthim.While seeing a pleasant but plain Lady Joan Culver socially, Max is introduced to Austrian widow Rosine Brown, quickly falling in love with her. Max ispersistent in his romantic advances, but Rosine reveals that she is penniless and, much like Max, counting on a richer but less exciting man, Sir George Kelvin, tomarry and take care of her.Florian's gambling losses in the casino leave him heavily in debt. The only way Max knows how to aid his father is by marrying LadyJoan, who can afford to solve his financial difficulties. Max's guilty conscience and true love lead him back to Rosine, and the sudden engagement of Florian to awealthy woman helps bring everyone together.CastRobert Montgomery as Max ClementNora Gregor as Mrs. Rosine BrownHeather Thatcher as Lady JoanCulverEdward Everett Horton as Sir George KelvinC. Aubrey Smith as Florian ClementNils Asther as Prince PaulFrederick Kerr as Duke of HampshireEva Moore asLady Florence RidgwayForrester Harvey as GoochDesmond Roberts as FindleyPassage 6:The FleshThe Flesh (Italian: La carne) is a 1991 Italian drama filmdirected by Marco Ferreri. It was entered into the 1991 Cannes Film Festival.PlotPaolo is a municipal employee, who in his spare time works at the piano bar of aclub, is divorced and has two children who live with his ex-wife. Paolo often recalls his mother and his First Communion, with which he seems to live a totalizingexperience in the divine.In his friend Nicola's nightclub, Paolo meets the young Francesca, back from a relationship with an Indian guru, who has just had anabortion and is alone. Intimacy develops between the two: according to Paolo, this is the victory of the ultra sex and of the fusion that completes and exaltseverything, a fusion that Francesca assures him thanks to a special oriental technique, which allows the partner a state of permanent efficiency.They shutthemselves up in his beach house south of Rome where, after filling the fridge, they spend their time eating and making love, interrupted only by a quickincursion of Paolo's two sons visiting him and a small group of friends. But Francesca at a given moment thinks of leaving for other shores, while Paolounderstands that in order to \"communicate\" there is really only one alternative: either to love each other totally, or to tear apart that voluptuous female body, putit in the fridge and eat it by the sea in front of the sun. Thus, after having made animalistic love in the kennel of the beloved dog Giovanni, Paolo's insane anxietyis satisfied: he kills Francesca, cuts her up and keeps her in the refrigerator, eating her piece by piece.CastSergio Castellitto - PaoloFrancesca Dellera -FrancescaPhilippe LéotardFarid ChopelPetra ReinhardtGudrun GundelachNicoletta BorisClelia PiscitelliElena WiedermannSonia TopazioFulvio FalzaranoPinoToscaEleonora CecereMatteo RipaldiDaniele FralassiSalvatore EspositoPassage 7:Don ChaffeyDonald Chaffey (5 August 1917 – 13 November 1990) was a Britishfilm director, writer, producer, and art director.Chaffey's film career began as an art director in 1947, and his directorial debut was in 1953.  He remained activein the industry until his death in 1990 from heart failure. His film Charley One-Eye (1973) was entered into the 24th Berlin International Film Festival.He is chieflyremembered for his fantasy films, which include Jason and the Argonauts (1963), The Three Lives of Thomasina (1963), One Million Years B.C. (1966), The VikingQueen (1967), Creatures the World Forgot (1971), Pete's Dragon (1977), and C.H.O.M.P.S. (1979), his final feature film.Concurrent with his theatrically releasedfilms, Chaffey directed episodes of numerous British television series, including multiple installments of Danger Man, The Prisoner, and The Avengers.  From the1980s until his death, all of his work was in American made-for-TV movies, and in such TV series as Fantasy Island, Stingray, MacGyver, Vega$, T. J. Hooker,Matt Houston, and Charlie's Angels.CareerChaffey began his career in the art department of Gainsborough Productions where he worked as a draftsman onMadonna of the Seven Moons (1945), The Rake's Progress (1945), and Caravan (1946). He was art director of The Adventures of Dusty Bates (1947) and TheLittle Ballerina (1948). He directed the documentary shorts Thames Tideway (1948) and Cape Cargoes (1948).Chaffey directed the short features The MysteriousPoacher (1950) and The Case of the Missing Scene (1950). He returned to the art department for King of the Underworld (1950), The Stolen Plans (1952), Murderat the Grange (1952), Murder at Scotland Yard (1952), and Black 13 (1953).DirectorChaffey resumed his directing career with the family film Skid Kids (1953).He made the short Watch Out (1953), then did Strange Stories (1953), Bouncer Breaks Up (1953, a short), The Mask (1952), and A Good Pull Up (1953).Chaffeydirected Time Is My Enemy (1954). After the short Dead on Time (1955) he made The Secret Tent (1956), The Flesh Is Weak (1957) and The Girl in the Picture(1957). He also directed \"The Man Upstairs\" (1958) starring Richard Attenborough.He directed episodes of TV series like Theatre Royal, The Adventures of the BigMan, Chevron Hall of Stars, The Errol Flynn Theatre, Assignment Foreign Legion, The Adventures of Robin Hood, Dial 999, and The New Adventures of CharlieChan. He interspersed these with features like A Question of Adultery (1958), The Man Upstairs (1958), Danger Within (1959), Dentist in the Chair (1960), LiesMy Father Told Me (1960), and Nearly a Nasty Accident (1961).Disney and FantasyHe did Greyfriars Bobby: The True Story of a Dog (1961) then A Matter of WHO(1961), a version of The Prince and the Pauper (1962) for Disney, and The Webster Boy (1962).He had a big hit with Jason and the Argonauts (1963) with RayHarryhausen. Then it was back to Disney for The Three Lives of Thomasina (1963).Chaffey directed They All Died Laughing (1964), The Crooked Road (1965),and One Million Years B.C. (1966) for Hammer. He returned to television to do episodes of Danger Man, The Baron, The Prisoner, Man in a Suitcase, Journey tothe Unknown, The Avengers, The Pathfinders, and The Protectors.Chaffey did The Viking Queen (1967) for Hammer, A Twist of Sand (1968), Creatures the WorldForgot (1971) for Hammer, Clinic Exclusive (1973), Charley-One-Eye (1973), and Persecution (1974).Australia and US TVChaffey went to Australia where hedirected Ben Hall (1975), Ride a Wild Pony (1975), The Fourth Wish (1976), and Shimmering Light (1978).He worked in America too making CHiPs, Pete's Dragon(1977) for Disney, The Magic of Lassie (1978), Lassie: A New Beginning (1978), The Gift of Love (1978), C.H.O.M.P.S. (1979), and Casino (1980).He eventually"}
+{"doc_id":"doc_31","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker(1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)TheDoctor Blake Mysteries (2013)Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum directorwho has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum ofArt from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United Statesafter leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum ofArt. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was bornin Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During histenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exportedprior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), anIndian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum ofArt in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bringgreater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, andIdeologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storagefor classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu:Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson:Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie),Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7SeanScully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to AustralianSociety and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received anhonorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguishededucator for art education.== Notes ==Passage 3:George L. CoxGeorge L. Cox (1878–1947) was an American actor and film director.Selected filmographyTheHouse of Toys (1920)The Gamesters (1920)The Week-End (1920)The Thirtieth Piece of Silver (1920)A Light Woman (1920)The Blue Moon (1920)Sunset Jones(1921)Payment Guaranteed (1921)Their Mutual Child (1921)Passage 4:The Dangerous TalentThe Dangerous Talent is a lost 1920 silent film  directed by GeorgeL. Cox and starring Margarita Fischer and Harry Hilliard. It was released by Pathé Exchange.CastMargarita Fischer - Leila MeadHarry Hilliard - Gilbert EllisBeatriceVan - Mildred SheddHarvey Clark - HortonNeil Hardin - Bob AmesGeorge Periolat - Peyton DodgeMae Talbot - A DerelictPassage 5:Dana BlanksteinDanaBlankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israelin 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studiesshe worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academiccareerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted"}
+{"doc_id":"doc_32","qid":"","text":"Passage 1:Traces of DeathTraces of Death is a 1993 Z movie mondo shockumentary that consists of various scenes of stock footage depicting death and realscenes of violence.Unlike most earlier Faces of Death which usually included fake deaths and reenactments, Traces consists mostly of actual footage depictingdeath and injury, and consists also of public domain footage from other films. It was written and narrated by Damon Fox.Since its release, Traces of Death hasbeen followed by four sequels. The first sequel, Traces of Death II, was released in June 1994. This was followed by Traces of Death III in December 1994, Tracesof Death IV: Resurrected in 1996 and Traces of Death V: Back in Action in April 2000.Film contentIn the first two films of the series, Damon Fox was the narrator.Darrin Ramage, who would later become the founder of Brain Damage Films, would become the host for the third, fourth and fifth volumes. Unlike Faces of Death,the footage throughout the entire films are real and are not staged or reenacted. Starting with Traces of Death II, scenes were accompanied by background musicfrom death metal and grindcore bands.Also contained in the series, especially in the first one, is footage of step-by-step autopsy procedures, which are shownfrom a coroner's point of view. Most of the other footage is recognizably notable. Among the footage samples seen on Traces of Death and in the sequels thatfollowed are listed below.Traces of Death (1993)The 1993 murder of Maritza Martin MunozThe 1988 police chase of armed bank robber Phillip HutchinsonThe1980 Iranian Embassy siegeThe 1989 suicide attempt of Terry RosslandThe 1984 race car crash of Ricky RuddThe 1990 race car crash of Allan McNishThe 1990racing incident of Willy T. RibbsThe 1992 racing crash of Kerry MadsenThe 1986 Rally de Portugal crashThe 1992 crash of the monster truck Bad MedicineThe1966 motorcycle stunt crash of Evel KnievelThe 1967 Caesar Palace jump stunt crash of Evel KnievelThe 1990 Dinamo–Red Star riotThe 1986 Calgary Stampedechuckwagon accidentThe 1989 horse riding accident of Bill PeckThe 1990 parachute skydiving accident of Mike Mcgee and Greg JonesThe 1992 Maracanã StadiumcollapseAnatoly Kvochur's plane at the 1989 Paris Air Show crashing after a birdstrikeThe 1987 press conference suicide of R. Budd DwyerThe first film of theseries also contains allegedly staged footage from Savage Man Savage Beast, where a tourist, Pit Dernitz supposedly gets mauled and eaten by Africanlions.Other scenes that feature animals include undated footage of a pig experiment by military scientists at the Burn Center in Fort Sam Houston (derived from a1987 mondo film entitled True Gore), an animal control officer, Florence Crowell being attacked by a pit bull in Los Angeles, California in 1987, and a black beargetting shocked off a utility pole in Albuquerque, New Mexico in 1989.The first two films both contain scenes of sex reassignment surgery, which is featured in the1974 mondo film Shocking Asia. Some autopsy footages were taken from the 1961 U.S. Army training film Basic Autopsy Procedure.Also included is an interviewwith James Vance, who had attempted suicide with a shotgun at a church playground in Sparks, Nevada (taken from the documentary Dream Deceivers).The onlyknown footage showing evidence of Ilse Koch is included as well.Traces of Death II (1994)Iranian soldiers slaughtered by the Iraqi Regime during the Iran–IraqWarThe 1981 assassination of Anwar SadatBoston bomb expert Randolph G. LaMattina blasted in the face by a pipe bomb following its removal in 1985 [1]Arobber blowing himself up after holding up a bank and being cornered by police at gunpoint in León, Spain in 1983A 1984 fire in a Rio de Janeiro apartmentbuilding, which led to four women falling to their deathsThe 1974 Joelma fireThe 1979 Egyptian Embassy Siege in Ankara, TurkeyThe 1983 public execution ofdouble murderer Ibrahim TarrafAnimal attacks such as a rodeo horse stomping its rider's face and goring from running of the bullsThe 1963 self-immolation ofVietnamese monk Thích Quảng ĐứcNelson Piquet fighting with Eliseo Salazar after a collision during the 1982 German Grand PrixA brawl at a press conference inSalt Lake City, UtahThe 1985 Sanrizuka Struggle riotsThe 1980 Scottish Cup Final riotFootball hooliganism in Germany in 1988The 1985 Heysel Stadium disasterAcourtroom outburst in Mobile, Alabama, in 1992Riots in Seoul, South Korea in 1987The death of Karl WallendaThe 1984 shooting of Jeff Doucet by GaryPlauchéThe 1986 Peruvian prison massacresThe 1987 assault on Prime Minister Rajiv GandhiThe execution of Ishola OyenusiA 1984 hot air balloon accidentThemurder of Mark KilroyA deadly airshow crash in San Diego in 1978A Blue Angels air show crash in 1985The Controlled Impact DemonstrationThe 1988 crash of AirFrance Flight 296The 1981 Belgian Grand Prix racing crashThe 1966 Indy 500 crashThe death of Eddie SachsThe death of Riccardo PalettiThere is one unusualpiece of footage taken at a monster truck show in Baltimore, Maryland, on March 23, 1992. What makes this footage so unusual is that the robot transformer atthe show malfunctioned. A large rod from the malfunctioning robot went into the actor of the alien suit's chest, and exploded.Another notable air show crash inthe film took place in Plainview, Texas, on September 11, 1983, where the pilot lost both his plane's wings in mid-air and plummeted into the field below. Thereare many other various plane crashes and race car crashes during the middle and towards the end of the film.Traces of Death III (1995)The first MarkaleMassacre in 1994The 1994 Hadera bus station suicide bombingKillings of children during the Algerian Civil WarNecklacing in South AfricaVillager killings duringthe 1984 elections in El SalvadorEl Cordobés during his career in the bullringThe Sabra and Shatila MassacreThe 1991 discovery of ÖtziA 1988 crash involving themonster truck Wild Stang, which was one of the first monster truck crashes to be captured on filmThe 1985 race car crash of Bosco LoweRare scenes of bodyparts from victims of the Cambodian genocide and Burundian Genocide in 1972The assassination of a Haitian lawyer in 1994The 1994 assassination of LuisDonaldo ColosioDiscoveries of skeletal remains in the Killing Fields in CambodiaThe third edition starts with crime scenes in urban American cities such as NewYork City, ranging from murders to traffic crashes. These pieces look as if taken from the '60s and '70s.This volume also shows what it is like to survive an attack,as in a 1991 press conference of Frank Tempest, an English man disfigured in the face when he was attacked by two pit bulls.Also included is graphic content ofgang violence in Russia, various motocross and amateur race car crashes, and cockfighting held in the Philippines.Traces of Death IV (1996)The 1972assassination attempt of George WallaceThe stunt accident of Alexandre KareemThe 1992 Agdam Massacre, which was a massacre of Azerbaijanian civilians byArmenian militants during the First Nagorno-Karabakh War.Executions of Kurdish civilians during the Anfal GenocideA terrorist attack on a yacht perpetrated bythe PLO in Cyprus in 1985.The Amiriyah shelter bombingThe 1968 execution Of Nguyễn Văn LémRiots in Seoul, South Korea in 1994 and 1987.Riots in Moscow,Russia, in 1993Bosnian soldiers caught in sniper crossfire during the Bosnian WarThe 1984 Kent and Dollar Farm massacresA 1986 stabbing attack in EastJerusalem, where a Palestinian terrorist is shot in the head by Israeli soldiers after they witnessed him stab a Jewish resident to death in the town square.Amortar attack in Bosnia that killed six people waiting for water in 1993.A mortar attack in Belgrade, Yugoslavia (now Serbia) that killed 16 civilians in line forwater and bread on May 27, 1992.Villager killings during the 1984 elections in El SalvadorAnother piece of notable footage in the fourth volume is a moose killinga man in Anchorage, Alaska on January 9, 1995.Towards the start of the film graphic photographs of birth defects are shown.There is also footage of trafficcrashes from the graphic driving education film, Signal 30.Traces of Death V (2000)The 1980 murders of U.S. missionaries in El SalvadorThe 1998 Cúa hostagecrisisThe 1992 attack on Reginald DennyThe 1990 Poll Tax RiotsThe 1990 Temple Mount riots in Al Aqsa, Jerusalem, IsraelSouth Korean student clashing with riotpoliceThe 1998 suicide of Daniel V. Jonesbackyard wrestlingThe last volume starts with three police chases. The first was in Los Angeles in June 1996. The secondwas also in Los Angeles, but it took place in June 1995. The third took place in Whittier, California in September 1995. All were televised live by helicopter pilotZoey Tur.SoundtrackThe music clearance were provided by Subtempeco Muzik (pseudonymously credited as T.O.D.), which derived from various filmsoundtracks. Later in Traces of Death 3, the first soundtrack album was released on CD. The soundtrack for the first installment were tracks by J.R. Bookwalterfrom the 1989 film Robot Ninja.Traces of Death III SoundtrackThe soundtrack for Traces Of Death III was released on CD by Relapse Records in 1995. The musicfeatured in the film include:Regina Confessorum by Dead WorldOrgy Of Self-Mutilation by Dead WorldBrainpan Blues by Pungent StenchRevenge by Core(band)Traces Of Death by Mortician (band)Frozen In Time by KataklysmSlaughtered by Hypocrisy (band)Stained by PurgeSadistic Intent by Sinister (band)ViolentGeneration by Brutality (band)Skin Her Alive by Dismember (band)Into The Bizarre by Deceased (band)Low by GorefestVanished by MeshuggahOpen Season byExit-13Nightstalker by Macabre (band)Blood Everywhere by Dead WorldDown On Whores by Benediction (band)God Is A Lie by Hypocrisy (band)BodilyDismemberment by Repulsion (band)Darkened Soul by Core (band)I Lead You Towards Glorious Times by MerzbowHome mediaIn 2003, a box set of the entireseries was released on DVD by Brain Damage Films.ControversyThe original Traces of Death has run into controversy worldwide due to its graphic content. In1997, Amy Hochberg, a woman living in Coaldale, Pennsylvania rented the film from a video store and was so disgusted by the film's content that she consideredkeeping the tape to prevent children from procuring it from the store. She also contacted multiple animal rights groups after witnessing a scene in the filmwherein a pig is experimented on with a blowtorch. She also lodged a complaint with the video store she had rented it from, as she thought the film was simply\"911 calls with a little more\".In 2003, a DVD boxset of the film and its sequels were confiscated by the Australian Customs and Border Protection Service, afterbeing deemed to \"contravene Regulation 4A(1A)(a) of the Customs (Prohibited Imports) Regulations.\"In 2005, the British Board of Film Classification refused togive the first film an age certificate, effectively banning it. The BBFC considered the film to have \"no journalistic, educational or other justifying context for theimages shown\", while also suggesting that the film could potentially breach UK law under the Obscene Publications Act.See alsoBanned from TelevisionPassage2:Ravina (actress)Ravina is an Indian actress who acted in Dhallywood movies. She acted in the 1997 film Praner Cheye Priyo with Riaz. She also appeared in"}
+{"doc_id":"doc_33","qid":"","text":"Passage 1:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In 1891 Masaru Inoue founded Koiwai Farm with Yanosuke Iwasaki and Shin Onogi.  After retirement from the government, Inoue founded Kisha Seizo Kaisha, the first locomotive manufacturer in Japan, becoming its first president in 1896. In 1909 he was appointed President of the Imperial Railway Association. He died of an illness in London in 1910, during an official visit on behalf of the Ministry of Railways.HonorsInoue and his friends later came to be known as the Chōshū Five. To commemorate their stay in London, two scholarships, known as the Inoue Masaru Scholarships, are available each session under the University College London 1863 Japan Scholarships scheme to enable University College students to study at a Japanese University. The value of the scholarships are £3000 each.His tomb is in the triangular area of land where the Tōkaidō Main Line meets the Tōkaidō Shinkansen in Kita-Shinagawa.Chōshū FiveThese are the four other members of the \"Chōshū Five\":Itō Shunsuke (later Itō Hirobumii)Inoue Monta (later Inoue Kaoru)Yamao Yōzō who later studied engineering at the Andersonian Institute, Glasgow, 1866-68 while working at the shipyards by dayEndō KinsukeSee alsoJapanese students in BritainStatue of Inoue MasaruPassage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Takayama TomoteruTakayama Tomoteru (\u0000\u0000\u0000\u0000) (1531–1596) was a Japanese samurai of the Azuchi–Momoyama period, who served Matsunaga Hisahide.He was the father of Takayama Ukon, and was a Kirishitan.Passage 4:Wendell WillkieWendell Lewis Willkie (born Lewis Wendell Willkie; February 18, 1892 – October 8, 1944) was an American lawyer, corporate executive and the 1940 Republican nominee for President. Willkie appealed to many convention delegates as the Republican field's only interventionist: although the U.S. remained neutral prior to Pearl Harbor, he favored greater U.S. involvement in World War II to support Britain and other Allies. His Democratic opponent, incumbent President Franklin D. Roosevelt, won the 1940 election with about 55% of the popular vote and took the electoral college vote by a wide margin.Willkie was born in Elwood, Indiana, in 1892; both his parents were lawyers, and he also became one. He served in World War I but was not sent to France until the final days of the war, and saw no action. Willkie settled in Akron, Ohio, where he was initially employed by Firestone, but left for a law firm, becoming one of the leaders of the Akron Bar Association. Much of his work was representing electric utilities, and in 1929 Willkie accepted a job in New York City as counsel for Commonwealth & Southern Corporation (C&S), a utility holding company. He was rapidly promoted, and became corporate president in 1933. Roosevelt was sworn in as U.S. president soon after Willkie became head of C&S, and announced plans for a Tennessee Valley Authority (TVA) that would supply power in competition with C&S. Between 1933 and 1939, Willkie fought against the TVA before Congress, in the courts, and before the public. He was ultimately unsuccessful, but sold C&S's property for a good price, and gained public esteem.A longtime Democratic activist, Willkie changed his party registration to Republican in late 1939. He did not run in the 1940 presidential primaries, but positioned himself as an acceptable choice for a deadlocked convention. He sought backing from uncommitted delegates, while his supporters—many youthful—enthusiastically promoted his candidacy. As German forces advanced through western Europe in 1940, many Republicans did not wish to nominate an isolationist like Robert A. Taft, or a non-interventionist like Thomas E. Dewey, and turned to Willkie, who was nominated on the sixth ballot. Willkie's support for aid to Britain removed it as a major factor in his race against Roosevelt, and Willkie also backed the president on a peacetime draft. Both men took more isolationist positions towards the end of the race. Roosevelt won an unprecedented third term, taking 38 of the 48 states.After the election, Willkie made two wartime foreign trips as Roosevelt's informal envoy, and as nominal leader of the Republican Party gave the president his full support. This angered many conservatives, especially as Willkie increasingly advocated liberal or internationalist causes. Willkie ran for the Republican nomination in 1944, but bowed out after a disastrous showing in the Wisconsin primary in April. He and Roosevelt discussed the possibility of forming a liberal political party after the war, but Willkie died in October 1944 before the idea could bear fruit. Willkie is remembered for giving Roosevelt vital political assistance in 1941, which helped the president to pass Lend-Lease to send supplies to the United Kingdom and other Allied nations.Youth, education and World War I serviceLewis Wendell Willkie was born in Elwood, Indiana, on February 18, 1892, the son of Henrietta (Trisch) and Herman Francis Willkie. Both of his parents were lawyers, his mother being one of the first women admitted to the Indiana bar. His father was born in Germany, son of Joseph Wilhelm Willecke or Willcke, born 1826. His mother was born in Indiana, to German parents; his grandparents were involved in the unsuccessful 1848 revolutions in Germany. The Trisches initially settled in Kansas Territory but, as they were abolitionists, moved to Indiana after the territory was opened to slavery in the mid-1850s. Willkie was the fourth of six children, all intelligent, and learned skills during the nightly debates around the dinner table that would later serve him well.Although given the first name Lewis, Willkie was known from childhood by his middle name. Herman Willkie, who had come from Prussia with his parents at age four, was intensely involved in progressive politics, and in 1896 took his sons to a torchlight procession for Democratic presidential candidate William Jennings Bryan, who had come to Elwood during his campaign. The Willkie boys had a sidewalk fight with Republican youths, and though the Willkies won their battle, Bryan lost his to William McKinley. When Bryan ran again in 1900, he stayed overnight at the Willkie home, and the Democratic candidate for president became the first political hero for the boy who would later seek that office.By the time Willkie reached age 14 and enrolled in Elwood High School, his parents were concerned about a lack of discipline and a slight stoop, and they sent him to Culver Military Academy for a summer in an attempt to correct both. Willkie began to shine as a student in high school, inspired by his English teacher; one classmate said that Philip \"Pat\" Bing \"fixed that boy up. He started preaching to Wendell to get to work and that kid went to town.\" Faced with a set of athletic brothers—Edward became an Olympic wrestler—Willkie joined the football team but had little success; he enjoyed the debate team more, but was several times disciplined for arguing with teachers. He was class president his final year, and president of the most prominent fraternity, but resigned from the latter when a sorority blackballed his girlfriend, Gwyneth Harry, as the daughter of immigrants.During Willkie's summer vacations from high school, he worked, often far from home. In 1909, aged 17, his journey took him from Aberdeen, South Dakota, where he rose from dishwasher to co-owner of a flophouse, to Yellowstone National Park, where he was fired after losing control of the horses drawing a tourist stagecoach. Back in Elwood, Herman Willkie was representing striking workers at the local tin plate factory, and in August journeyed with Wendell to Chicago in an attempt to get liberal attorney Clarence Darrow to take over the representation. They found Darrow willing, but at too high a price for the union to meet; Darrow told Wendell Willkie, \"there is nothing unethical in being adequately compensated for advocating a cause in which you deeply believe.\"After graduation from Elwood High in January 1910, Willkie enrolled at Indiana University in Bloomington. There, he became a student rebel, chewing tobacco, reading Marx, and petitioning the faculty to add a course on socialism to the curriculum. He also involved himself in campus politics, successfully managing the campaign of future Indiana governor Paul McNutt for student office, but when Willkie ran himself, he was defeated. He graduated in June 1913, and to earn money for law school, taught high school history in Coffeyville, Kansas, coaching debaters and several sports teams. In November 1914, he left his job there for one as a lab assistant in Puerto Rico arranged by his brother Fred. Wendell Willkie's  commitment to social justice was deepened by the sight of workers suffering abuse there.Willkie enrolled at Indiana School of Law in late 1915. He was a top student, and graduated with high honors in 1916. At the commencement ceremony, with the state supreme court present, he gave a provocative speech criticizing his school. The faculty withheld his degree, but granted it after two days of intense debate. Willkie joined his parents' law firm, but volunteered for the United States Army on April 2, 1917, the day President Woodrow Wilson asked Congress for a declaration of war against Germany. An army clerk transposed his first two names; with Willkie unwilling to invest the time to have the bureaucracy correct it, he kept his name as Wendell Lewis Willkie. Commissioned as a first lieutenant, Willkie was sent for artillery training. He arrived in France as the war was ending and  did not see combat. In January 1918 he married Edith Wilk, a librarian from Rushville, Indiana; the couple had one son, Philip. In France, Willkie was assigned to defending soldiers who had slipped away for time in Paris against orders. He was recommended for promotion to captain, but was discharged in early 1919 before the paperwork went through.Lawyer and executive (1919–1939)Akron attorney and activistDischarged from the army, Willkie returned to Elwood. He considered a run for Congress as a Democrat, but was advised that the district was so Republican "}
+{"doc_id":"doc_34","qid":"","text":"Passage 1:Louis, Count of GravinaLouis of Durazzo (1324 – 22 July 1362) was Count of Gravina and Morrone. He was the son of John of Durazzo and Agnes ofPérigord.In 1337, he was named Vicar- and Captain-General of the Kingdom of Albania. During the ascension of the Durazzeschi at the court of Naples during thereign of Joanna I, he was one of the royal ambassadors to the Roman Curia. Upon the invasion of Louis I of Hungary and the execution of his elder brother,Charles, Duke of Durazzo, in 1348, he was imprisoned, with his younger brother Robert of Durazzo, until 1352. The rest of his life was spent stirring up revoltsagainst Joanna in Apulia with the aid of some Free Companions. These were ultimately quashed in 1360 by Louis of Taranto, and Louis of Durazzo was imprisonedin the Castel dell'Ovo in Naples and murdered by poison.FamilyHe married Margaret of Sanseverino in 1343, by whom he had three children:Louis (1344–d.young)Charles III of Naples (1345–1386)Agnes (1347–d. young)Passage 2:Louisa Montagu Douglas Scott, Duchess of BuccleuchLouisa Jane Montagu DouglasScott, Duchess of Buccleuch and Queensberry  (26 August 1836 – 16 March 1912) was the daughter of James Hamilton, 1st Duke of Abercorn.  In 1884, shebecame the Duchess of Buccleuch and Duchess of Queensberry, the wife of William Henry Walter Montagu Douglas Scott, 6th Duke of Buccleuch and 8th Duke ofQueensberry. She was the paternal grandmother of Princess Alice, Duchess of Gloucester, and of Marian Louisa, Lady Elmhirst, as well as a maternalgreat-grandmother of Prince William of Gloucester and Prince Richard, Duke of Gloucester, and a great-great-grandmother of Sarah, Duchess of York. Diana,Princess of Wales, is one of her great-great-great-nieces.Early life, marriage, and familyLouisa Jane Hamilton was born on Friday 26 August 1836 in Brighton,Sussex, England, the third child of fourteen born to James Hamilton, 1st Duke of Abercorn, and the former Lady Louisa Russell, daughter of John Russell, 6thDuke of Bedford.She married William Montagu Douglas Scott, Earl of Dalkeith, on 22 November 1859 in London. Lord Dalkeith was the eldest son of the WalterMontagu Douglas Scott, 5th Duke of Buccleuch, and his wife, the former Lady Charlotte Thynne. They had six sons and two daughters:Walter Henry MontaguDouglas Scott, Earl of Dalkeith (17 January 1861 – 18 September 1886)John Charles Montagu Douglas Scott, 7th Duke of Buccleuch (30 March 1864 – 19October 1935)Lord George William Montagu Douglas Scott (31 August 1866 – 23 February 1947); married on 30 April 1903 Lady Elizabeth Emily Manners(daughter of John Manners, 7th Duke of Rutland and Janetta Hughan) and had issueLord Henry Francis Montagu Douglas Scott (15 January 1868 – 19 April1945)Lord Herbert Andrew Montagu Douglas Scott (30 November 1872 – 17 June 1944); married 26 April 1905 Marie Josephine Edwards and had issue, maternalgrandfather of Sarah, Duchess of YorkLady Katharine Mary Montagu Douglas Scott (25 March 1875 – 7 March 1951); married Thomas Brand, 3rd ViscountHampden, and had issueLady Constance Anne Montagu Douglas Scott (10 March 1877 – 7 May 1970); married on 21 January 1908 The Hon. Douglas HalyburtonCairns (son of Hugh Cairns, 1st Earl Cairns and Mary Harriet McNeill) and had issueLord Francis George Montagu Douglas Scott (1 November 1879 – 26 July1952); married on 11 February 1915 Lady Eileen Nina Evelyn Sibell Elliot-Murray-Kynynmound (daughter of Gilbert Elliot-Murray-Kynynmound, 4th Earl of Minto,and Lady Mary Caroline Grey) and had issueCareerShe served as Mistress of the Robes to Queen Victoria from 1885 – 1892 (Conservative), and again from 1895– 1901. She was appointed Mistress of the Robes to Queen Alexandra in 1901, a position in which she served until her death in 1912.DeathThe duchess died onSaturday 16 March 1912, in her 76th year, at Dalkeith Palace, Midlothian, Scotland.  She was survived by her husband, and six of her children and theirfamilies.She was buried on Wednesday 20 March 1912 in the Buccleuch family crypt in St. Mary's Church, Dalkeith Palace, Midlothian, Scotland.Titles, styles, andhonours16 April 1884 – 1912: The Duchess of Buccleuch and QueensberryHonours1885: Invested as Lady, Royal Order of Victoria and Albert (VA), 3rd Class1885– 1892 and 1895 – 1901:  Mistress of the Robes to Queen Victoria1901 – 1912: Mistress of the Robes to Queen AlexandraAncestryPassage 3:Joanna, Duchess ofDurazzoJoanna of Durazzo (1344 – 20 July 1387) was the eldest daughter and eldest surviving child of Charles, Duke of Durazzo, and his wife, Maria of Calabria.She succeeded as duchess on the death of her father in 1348 when she was only a child of four years old. Joanna was a member of the House ofAnjou-Durazzo.She reigned as Duchess of Durazzo from 1348-1368. She married twice; firstly to Louis of Navarre and then to Robert IV of Artois, Count ofEu.LifeJoanna's father died in 1348 and Joanna succeeded him, being the eldest surviving child. However, Joanna remained in Naples rather than going toDurazzo. It was here she was betrothed to her cousin Charles Martel, son of Queen Joan. Charles Martel was heir in Hungary due to a lack of male heirs. The boywas moved to Hungary, however the engagement was broken when the young boy died around 1348 in Hungary.In 1365 aged twenty one, Joanna married herfirst husband Louis of Navarre, who became Duke of Durazzo in right of his wife. He was the son of Joan II of Navarre. In 1368 Durazzo was captured by theAlbanian Topia dynasty under the leadership of warlord Karl Thopia. Joanna and her husband immediately began planning the reconquest of not only Durazzo, butall the lands of the former Angevin Kingdom of Albania, conquered by the Bulgarian Sratsimir dynasty in 1332. They were successful in rallying the support ofLouis' brother Charles II the Bad and Charles V King of France in this undertaking. In 1372, Louis brought over the Navarrese Company of mercenaries, who hadfought with him during the war in France, to assist them in taking Durazzo. Their ranks swelled considerably in 1375 with new recruits directly from Navarre.Many documents survive telling us of the complex nature of the military planning and engineering which was undertaken to ensure success. This they attained,taking the city in midsummer 1376. Louis died shortly after. Louis and Joanna had no children. Joanna never fully regained full control of Durazzo and by 1385the City was back in the hands of Karl Thopia.Around 1376 Joanna remarried to Robert IV of Artois, Count of Eu. This marriage was also childless. Robert was notCount of Eu for long, he and Joanna were not informed of his father's death in 1387. Joanna and Robert were staying at Castel dell'Ovo in Naples where they wereboth poisoned on July 20, 1387 on the orders of Joanna's sister Margaret, queen dowager and regent of Naples.Joanna is buried in San Lorenzo (Naples).Passage4:Agnes of PérigordAgnes of Périgord (died 1345) was Duchess consort of Durazzo, through her marriage to John of Gravina, Duke of Durazzo, who was also theruler of the Kingdom of Albania. Although Agnes was never styled as Queen consort, she became politically influential. Following the death of Robert, King ofNaples in 1343, she organised a marriage for her eldest son to Robert's granddaughter, who was second-in-line to the Neapolitan throne. Agnes's ambition was tobring her family closer to the line of succession.Early life and marriageAgnes was daughter of Helie VII, Count of Périgord and his second wife, Brunissende ofFoix. Amongst her siblings was Hélie de Talleyrand-Périgord, a Cardinal who would become a major figure in the Avignon Papacy.The marriage between Agnesand John was likely arranged by King Robert of Sicily due to his favour for the Avignon Papacy. The King had anti-Ghibelline ambitions in Northern Italy anddesired support from the Papacy and the French in achieving them. Agnes's family had marital ties to Pope John XXII as her sister Rosemburge was married toJacques de Lavie, the Pope's grand-nephew. Acting upon this during his visit to Avignon, Robert arranged for his brother to marry Jacques's sister-in-law.Themarriage contract is dated 14 November 1321. The couple were married shy of fourteen years and had three sons:Charles, Duke of Durazzo (1323–1348)Louis ofDurazzo (1324–1362), Count of GravinaRobert of Durazzo (1326–1356)Agnes became, through her husband's brotherly quarrel with Philip I, Prince of Taranto,duchess of Durazzo. Her husband died in 1335 and he was succeeded by their son, Charles.Political intriguesAny plans that the Durazzo family may have had ofmarrying Joanna, heiress to Robert's throne, were thwarted in 1333 when Robert arranged for her to marry Andrew of Hungary. However, in his final will andtestament, Robert instructed that if Joanna were to die without issue, the Neapolitan throne should pass to her sister, Maria, who was unmarried. Whilst themonarch was spoken for, the heir was not. Agnes did her best to make her family appear favourable towards the royals, in the hope that Robert would consider aDurazzo match for Maria. In 1338, she supported her son's position at the head of Robert's armada to conquer Sicily. However, the campaign failed due to theoutbreak of typhus. Agnes used her own position at court to her advantage, making friendly overtures towards Queen Sancha and the young princesses. This toodid not result in any marriage plans.King Robert died in January 1343. Agnes's tactics during his final years had proven unsuccessful therefore, she took mattersinto her own hands. Immediately after Robert's death, she orchestrated the marriage between her eldest son and Maria. The timing of this marriage was crucialas Joanna strongly favoured the Taranto faction, having an affair with Prince Robert, son of Catherine, and Maria was promised in marriage to one of Andrew'sbrothers. The two matters would only have politically isolated the Durazzo clan and thwarted their chances of reaching the throne.Agnes used her connection toher influential brother, Cardinal Talleyrand, to put aside the Hungarian match for Maria and obtain the Pope's permission for the ambitious marriage. Not relyingon family feeling alone, Agnes bribed her brother with 22,000 florins left over from her dowry in order to ensure absolute support. Building up a friendship withQueen Sancha also appears to have paid off as the dowager queen supported the match. On the other hand, the Taranto clan were horrified when they discoveredAgnes's scheme and used their influence over Joanna to put an end to it. Catherine instructed the young queen to oppose the match, hoping that the lack of royalfavour would act as a deterrent.Much to the dismay of the Tarantos, their control over Joanna was not enough to prevent Agnes, who responded by abductingMaria one night in April 1343 and marrying her off to Charles. The marriage was a great insult to Joanna and Andrew as their royal authority was defied and thelatter's family lost out on their chance for total control of the succession. The Tarantos were ready for armed warfare against their Durazzo cousins, Naples stoodon the brink of civil war. To remedy the matter, the Pope wrote letters to both Joanna and Agnes, confirming the validity of the papal dispensation, asking them"}
+{"doc_id":"doc_35","qid":"","text":"Passage 1:Beatrice of Bourbon, Queen of BohemiaBeatrice of Bourbon (1320 – 23 December 1383) was a French noblewoman. A member of the House of Bourbon, she was by marriage Queen of Bohemia and Countess of Luxembourg.She was the youngest daughter of Louis I, Duke of Bourbon, and Mary of Avesnes.LifeMarriageOn 28 September 1330, Queen Elisabeth of Bohemia, wife of King John of Bohemia, died:\"The news was that the King, distraught for the loss of his wife manifested his feelings using mourning clothes, after all, they were married for twenty years, and yet remained completely himself with a brief time, this was in Bohemia, the other side used to be mostly in their county or elsewhere, where he discussed the matter.\"Despite the fact that John and Elisabeth became estranged during the last years of their marriage, the king remained a widower for the next four years. The French King Philip VI wanted to tie John more closely with France, and he suggested to the Bohemian king a second marriage. The proposed bride was Beatrice, youngest daughter of the Duke of Bourbon and member of a cadet branch of the House of Capet. Beatrice was already betrothed, however, to Philip, the second son of Philip I, Prince of Taranto, as of 29 May 1321. The engagement was broken soon after the marriage negotiations with Bohemia started.The marriage of King John of Bohemia and Beatrice of Bourbon was solemnized in the Château de Vincennes in December 1334, at which time she was fourteen years old. But because the two were related in a prohibited degree (they were second cousins through their common descent from Henry V, Count of Luxembourg, and his wife Margaret of Bar), Pope Benedict XII had to give dispensation for the marriage, which was granted in Avignon on 9 January 1335 at the request of Philip VI.The marriage contract stipulated that if a son was born from the marriage, the County of Luxembourg (King John's paternal heritage), as well as lands belonging to it, would go to him. King John's sons from his first marriage, Charles and John Henry, were not informed of the contents of the marriage contract, but both princes were compelled to accept it along with the knights and citizens of Luxembourg in August 1335.Life in BohemiaBeatrice arrived in Bohemia on 2 January 1336:\"...our father came to Bohemia and brought him a wife, named Beatrix, daughter of the Duke of Bourbon and relative of the King of the Frenchs...\"In the Bohemian court, Beatrice took care of the wife of her oldest stepson Charles, Blanche of Valois. Both women could easily communicate in French. The Queen soon felt ill-at-ease in Prague, where she was always compared unfavorably with the Margravine of Moravia (Blanche's title as wife of the Bohemian heir). Also, the Czech people were offended by her coldness, insolence and aversion to learning their language.The new Queen of Bohemia and Countess of Luxembourg brought with her an annual income of 4,000 livres extracted from her father's County of Clermont. On 25 February 1337, Beatrice gave birth in Prague to her only child, a son named Wenceslaus after the holy patron of the Přemyslid dynasty; probably calling her son with this name either the queen or her husband tried to gain the favor of the Bohemians. There is some indirect evidence that this was the first caesarean section that was survived by both the mother and child. However, the relationship between Beatrice and her new subjects remained estranged: her coronation as Queen of Bohemia in St. Vitus Cathedral three months later, on 18 May, was an event of spectacular indifference  from the citizens of Prague.Shortly after her coronation, in June 1337, Beatrice left Bohemia leaving her son behind, and went to live in Luxembourg. After this, she rarely visited the Bohemian Kingdom.Later YearsOn 26 August 1346 King John was killed in the Battle of Crécy and Beatrice ceased to be queen consort. Her stepson, now King Charles of Bohemia, confirmed the provisions of her marriage contract. Beatrice, now Dowager Queen of Bohemia, received in perpetuity lands in the County of Hainaut, the rent of 4,000 livres and the towns of Arlon, Marville and Damvillers (where she settled her residence) as her widow's estate. These revenues were used not only for their own needs, but also for the education of her son. King Charles also left her all the movable property and income from the mines in Kutná Hora. In addition, when her father Duke Louis I of Bourbon died in 1342, she received the sum of 1,000 livres, which was secured from the town of Creil.Around 1347, Beatrice married for a second time to Eudes II, Lord of Grancey, (then a widower) at her state of Damvillers. Despite her new marriage, she retained the title of Queen of Bohemia. The couple had no children. Soon after her second marriage, she arranged the betrothal of her son Wenceslaus with the widowed Joanna, Duchess of Brabant, daughter and heiress of John III, Duke of Brabant, who was fifteen years older than he was. The marriage took place in Damvillers four years later, on 17 May 1351.Despite all the grants of land and money given to Beatrice, the Bohemian king delayed the investiture of his young half-brother Wenceslaus as Count of Luxembourg. In fact, he held on to the title until 1353, when Wenceslaus finally obtained sovereignty over the County.  One year later (13 March 1354) the County was elevated to the rank of a Duchy.Beatrice died on 27 December 1383, having outlived her son (for only sixteen days) and all her stepchildren. She was buried in the now-demolished church of the Couvent des Jacobins in Paris - her effigy is now in the Basilica of St Denis. Her second husband survived her by six years.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Bonne of ArmagnacBonne of Armagnac (19 February 1399 – 1430/35) was the eldest daughter of Bernard VII, Count of Armagnac and Constable of France, and his wife Bonne of Berry.MarriageOn 15 April 1410 at the age of 11, she married Charles, Duke of Orléans (left an orphan by his father Louis's assassination in 1407). This marriage made the constable not only Charles's father-in-law but also his natural defender. The Orléans party, left without a leader by Louis's death, thus became the Armagnac party, the name it held up to the treaty of Arras in 1435.Following the French defeat at the Battle of Agincourt on 25 October 1415, Charles was taken prisoner by the English. Bonne had not borne any children prior to his imprisonment. She died sometime between 1430 and 1435 while her husband was still in captivity.In literature and artBonne appears in the critically acclaimed historical novel Het woud der verwachting (1949) by Hella Haasse, (translated into English in 1989 under the title \"In a Dark Wood Wandering\"). The novel portrays the life of Bonne's husband Charles. Charles and Bonne's marriage at the Chateau de Dourdan is thought to be depicted in the elaborate illuminated manuscript entitled Très Riches Heures du duc de Berry (Very Rich Hours of the Duke of Berry) in the illustration for April.AncestryPassage 4:Mathilde of BourbonMathilde of Bourbon (French: Mahaut de Bourbon; c. 1165/69 – 18 June 1228) was a French noblewoman who was the ruling Lady of Bourbon from 1171 until her death.LifeMathilde was the only child of Archambault of Bourbon and his wife Alix (or Adelaide) of Burgundy (daughter of Odo II).  She was born in the second half of the 1160s.Her father, the heir apparent of Bourbon, died in 1169, without ever inheriting the lordship.  Her grandfather, Archambault VII, died in 1171.  Mathilde, as his only surviving grandchild, succeeded him.Before 1183, she married Gaucher IV of Vienne, Lord of Salins.  After he returned from the Third Crusade, they frequently quarreled.   In the end, he became violent and had her locked up.: p. 117   She fled to her grandmother's estate in Champagne: p. 217   During her escape, she allegedly also used violence,: p. 117 and for this she was excommunicated by Archbishop Henri de Sully of Bourges.  After she arrived in Champagne, she asked Pope Celestine III for a divorce from her husband, arguing that Gaucher IV and she were close relatives and that the marriage therefore had been inadmissible.  The Pope tasked the bishops of Autun and Troyes and the abbot of Monthiers-en-Argonne with investigating her claim.  These men found that Mathilde and her husband were third cousins, as they were both great-great-grandchildren of William II, Count of Burgundy, and that, therefore, her claim that they were too closely related was justified.  The pope granted the divorce, and also lifted the excommunication.In September 1196, only a few months after her divorce, she married Lord Guy II of Dampierre.  Thus, the Bourbonnais fell to the House of Dampierre.  This marriage lasted 20 years: he died in 1216.Mathilde died twelve years after her husband.   After her death, Margaret, her daughter from her first marriage claimed the Lordship of Bourbon.  Guy II had initially recognized Margaret as heir of Bourbon, however, he later claimed the Lordship for his oldest son, Archambault VIII.  In the end, Archambault prevailed.Marriages and issueMathilde married Gaucher IV of Vienne, Lord of Salins.  Together, they had one daughter:Margaret of Vienne (c. 1190/95 – c. 1259), married William III of Forcalquier, later she married Joceran, Lord of BrancionMathilde's second husband was Guy II of Dampierre.  With him, she had:Archambaud VIII (1189–1242), Lord of BourbonWilliam II (1196–1231), married Margaret II, Countess of Flanders and Hainaut (d. 1280), a daughter of Latin Emperor Baldwin I of ConstantinoplePhilippe (d. 1223), married in 1205 to Guigues IV, Count of Forez (d. 1241)Guy of Saint Just (d. 22 March 1275)Marie, married 1201 to Hervé of Vierzon, later married 1220 to Henry I of SullyMatilde, married Guigues V of ForezSourcesTheodore Evergates: The aristocracy in the county of Champagne, 1100–1300, University of Pennsylvania Press, Philadelphia, 2007, ISBN 978-0-8122-4019-1, pp. 117, 217, 343 (Partially online).Devailly, Guy (1973). Le Berry du X siecle au milieu du XIII (in French). Mouton & Co.Passage 5:John II, Duke of BourbonJean (John) de Bourbon, Duke of Bourbon (1426 – 1 April 1488), sometimes referred to as John the Good and The Scourge of the English, was a son of Charles I of Bourbon and Agnes of Burgundy. He was Duke of Bourbon and Auvergne from 1456 to his death.LifeJohn earned his nicknames \" John the Good\" and \"The Scourge of the English\" for his efforts in helping drive out the English from France.He was made constable of France in 1483 by his brother Peter and sister-in-law Anne, to neutralize him as a threat to their regency.In an effort to win discontented nobles back to his side, Louis XI of France made great efforts to give out magnificent gifts to certain individuals; John was a recipient of these overtures. According to contemporary chronicles, the King received John in Paris with \"honours, caresses, pardon, and gifts; everything was lavished upon him\".John is notable for making three brilliant alliances but leaving no legitimate issue.First MarriageIn 1447, his father, the Duke of Bourbon, had John married to a daughter of Charles VII, King of France, Joan of Valois. They "}
+{"doc_id":"doc_36","qid":"","text":"Passage 1:John G. AdolfiJohn Gustav Adolfi (February 19, 1888 – May 11, 1933) was an American silent film director, actor, and screenwriter who was involved inmore than 100 productions throughout his career. An early acting credit was in the recently restored 1912 film Robin Hood.BiographyHe was born in New YorkCity to Gustav Adolfi and Jennie Reinhardt. Adolfi entered films as an actor in The Spy: A Romantic Story of the Civil War in 1907, but after appearing in thirty orso films he switched roles and concentrated on directing until his death in 1933 from a brain hemorrhage in British Columbia, Canada while huntingbears.FilmographyPassage 2:Who's Your Daddy? (film)Who's Your Daddy? is a 2002 American comedy film directed and directed by Andy Fickman.SynopsisChrisHughes (Brandon Davis), an adopted and geeky Ohio high school senior, discovers that his recently deceased birth parents are the proprietors of a vastpornography empire and he is the inherited heir. Dropped into a bitter power struggle, his new flock of beautiful co-workers come to his aid. Chris Hughes is anoutsider and geek in Ohio. He is in the middle of his senior year at high school and he is 18 years old. Chris earns extra money working on a paper route riding amoped. Right now, he would do anything to get out of the job. Chris is raised by his religious parents, Carl Hughes (Dave Thomas) and Beverly Hughes (ColleenCamp). They own a grocery store and are very strict on no drinking, smoking. sex until marriage. They also don't tolerate porn or porn magazines that Chris hidesunder his bed. His little adopted brother Danny Hughes (Justin Berfield) is popular and has a better chance with a girl than Chris. Danny usually gets away withmurder from his parents; Chris always ends up getting in trouble. Chris is a reporter in the school newspaper, and he is a good writer. However, he is always lateon deadlines or dedication. He has a crush on the most popular girl Brittany Van Horn (Marnette Patterson), who is the mean girl of their school. She dreamsabout getting out of town and becoming a famous actress or model. She has an entourage, too, and she is dating Hudson Reed (Ryan Bittle) on and off. Hudson isthe popular jock—handsome and able to get any girl he wants. Chris always wished he could be like him sometimes. Chris even fantasizes a lot of times, wishinghe could hook up with Brittany. It is never going to happen, as she does not know Chris even exists. Brittany only dates good-looking popular guys. Chris and hisfriends, who are nerdy perverts like Adam Torey (Charlie Talbert), Scooter (Martin Starr), Murphy (Robert Ri'chard) and Steven Chambers, are labeled as theoutsiders and geeks of their high school. For once, they want to do something noticeable to earn a ticket to popularity. Chris had an idea to throw a party at hishouse while his parents are out of town. They need the booze to attract the popular crowd, especially Brittany and her entourage.Production and releaseThe film'sproducers intended for Who's Your Daddy? to capitalize on the start of the 21st century's teenage sex comedy revival, as spearheaded by 1999's AmericanPie.Fickman shot the film in 2001, but after an unsuccessful test-screening process in 2002, the film was shelved for a number of years. Unreleased theatrically inNorth America, Who's Your Daddy? finally reached US audiences on DVD in January 2005, followed by a short run in Icelandic cinemas the followingsummer.Passage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up inChakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often todifferent cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee gothis start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized hispassion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of MedicalSciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to providesufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”,were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and genderinequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his earlyeducation from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titledNight of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night ofHenna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came tomarrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\"His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good MorningPakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred byeconomic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, andKyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghostsand demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.Passage 4:Henry Moore (cricketer)Henry Walter Moore (1849– 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch.One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One oftheir sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married HenriettaLysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moorebecame a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.CricketcareerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in theshort New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on thefirst day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition offree hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago,when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip andthigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians.In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 5:Who's YourBrother?Who's Your Brother? is a 1919 American silent drama film directed by John G. Adolfi and starring Edith Taliaferro, Frank Burbeck and Paul Panzer. It wasalso released under the alternative title Keep to the Right.CastEdith Taliaferro as Esther FieldFrank Burbeck as Stephen FieldPaul Panzer as Stephen Field (20years earlier)Coit Albertson as Dr. William MorrisHerbert Fortier as Robert E. Graham Sr.Gladden James as Robert E. Graham Jr.Elizabeth Garrison as Mrs. RobertGrahamElizabeth Kennedy as The kidEdith Stockton as Dorothy GrahamPassage 6:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first BlackRhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre,School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the Universityof Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elitesand cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in MassCommunication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and aPh.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapersand magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistantprofessor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published worksinclude:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria:Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-MilitaryNigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa:Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance andthe Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with"}
+{"doc_id":"doc_37","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She wasappointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and anIsraeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. Shemoved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors.During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She alsodirected and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film andacademic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged andpromoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed themini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen wasappointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter,2006)Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Irelandand Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater publicattention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hoodhas one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the AfricanBody, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles:Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written oredited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats:Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with DavisCoakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers(1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe,Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is atrustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the InternationalAssociation of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from LourdesUniversity. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.==Notes ==Passage 3:William DearWilliam Dear (born November 30, 1943) is a Canadian actor, director, producer and screenwriter. He is known for directing thefilms Harry and the Hendersons, If Looks Could Kill, Angels in the Outfield, Wild America, and Santa Who?.He also directed episodes of the television seriesSaturday Night Live, Television Parts, Amazing Stories, Dinosaurs, Covington Cross, and The Wannabes Starring Savvy.Dear was born on November 30, 1943, in"}
+{"doc_id":"doc_38","qid":"","text":"Passage 1:Danny DeVitoDaniel Michael DeVito Jr. (born November 17, 1944) is an American actor, comedian, and filmmaker. He gained prominence for hisportrayal of the taxi dispatcher Louie De Palma in the television series Taxi (1978–1983), which won him a Golden Globe Award and an Emmy Award. He playsFrank Reynolds on the FX and FXX sitcom It's Always Sunny in Philadelphia (2006–present).He is known for his film roles in One Flew Over the Cuckoo's Nest(1975), Terms of Endearment (1983), Romancing the Stone (1984), Throw Momma from the Train (1987), Twins (1988), The War of the Roses (1989), BatmanReturns (1992), Jack the Bear (1993), Junior (1994), Get Shorty (1995), Matilda (1996), L.A. Confidential (1997), The Big Kahuna (1999), Big Fish (2003), Deckthe Halls (2006), When in Rome (2010), Wiener-Dog (2016) and Jumanji: The Next Level (2019). He is also known for his voice roles in such films as Hercules(1997), The Lorax (2012) and Smallfoot (2018).DeVito and Michael Shamberg founded Jersey Films. Soon afterwards, Stacey Sher became an equal partner. Theproduction company is known for films such as Pulp Fiction, Garden State, and Freedom Writers. DeVito also owned Jersey Television, which produced theComedy Central series Reno 911!. DeVito and wife Rhea Perlman starred together in his 1996 film Matilda, based on Roald Dahl's children's novel. DeVito wasalso one of the producers nominated for an Academy Award for Best Picture for Erin Brockovich (2000).In 2017, he earned a Tony Award nomination for BestFeatured Actor in a Play for his performance in the Broadway revival of Arthur Miller's The Price.Early lifeDeVito was born at Raleigh Fitkin-Paul Morgan MemorialHospital in Neptune Township, New Jersey, the son of Daniel DeVito Sr., a small business owner, and Julia DeVito (née Moccello). He grew up in a family of five,with his parents and two older sisters. He is of Italo-Albanian descent; his family is originally from San Fele, Basilicata, as well as from the Arbëresh Albaniancommunity of Calabria. He was raised in Asbury Park, New Jersey. He lived a few miles away from the original Jersey Mike's location and would eat therefrequently, which would  inspire him to become the sub shop's first celebrity spokesman in a line of commercials that began to air in September 2022.DeVito wasraised as a Catholic. When he was 14, he persuaded his father to send him to boarding school to \"keep him out of trouble\", and graduated from OratoryPreparatory School in Summit, New Jersey, in 1962. While working as a beautician at his sister's salon, his search for a professional makeup instructor led him tothe American Academy of Dramatic Arts, where he graduated in 1966. In his early theater days, he performed with the Colonnades Theater Lab at the EugeneO'Neill Theater Center in Waterford, Connecticut. Along with his future wife Rhea Perlman, he appeared in plays produced by the Westbeth Playwrights FeministCollective.CareerFilm workDeVito played Martini in the 1975 film One Flew Over the Cuckoo's Nest, reprising his role from the 1971 off-Broadway play of thesame title.After his time on the Taxi series ended, DeVito devoted more effort to a growing successful film career, appearing as Vernon Dalhart in the 1983 hitTerms of Endearment; as the comic rogue Ralph in the romantic adventure Romancing the Stone (1984), starring Michael Douglas and Kathleen Turner; and itssequel, The Jewel of the Nile (1985). In 1986, DeVito starred in Ruthless People with Bette Midler and Judge Reinhold, and in 1987 he made his feature-directingdebut with the dark comedy Throw Momma from the Train, in which he starred with Billy Crystal and Anne Ramsey. He reunited with Douglas and Turner twoyears later in The War of the Roses (1989), which he directed and in which he co-starred.Other work included Other People's Money with Gregory Peck; directorBarry Levinson's Tin Men, as a rival salesman to Richard Dreyfuss' character; the comedies Junior (1994) and Twins (1988) with Arnold Schwarzenegger; playingthe villain The Penguin in director Tim Burton's Batman Returns (1992); and the film adaptation Matilda (1996), which he directed and co-produced, along withplaying the role of Matilda's father, the villainous car dealer Harry Wormwood.Although generally a comic actor, DeVito expanded into dramatic roles with TheRainmaker (1997); Hoffa (1992), which he directed and in which he co-starred with Jack Nicholson; Jack the Bear (1993); neo-noir film L.A. Confidential (1997);The Big Kahuna (1999); and Heist (2001), as a gangster nemesis of Joe Moore (Gene Hackman).DeVito has an interest in documentaries. In 2006 he began apartnership with Morgan Freeman's company ClickStar, for whom he hosts the documentary channel Jersey Docs. He was also interviewed in the documentaryRevenge of the Electric Car, discussing his interest in and ownership of electric vehicles.TheatreIn April 2012, DeVito made his West End acting debut in a revivalof the Neil Simon play The Sunshine Boys as Willie Clark, alongside Richard Griffiths. It previewed at the Savoy Theatre in London from April 27, 2012, opened onMay 17, and played a limited 12-week season until July 28.DeVito made his Broadway debut in a Roundabout Theatre Company revival of the Arthur Miller playThe Price as Gregory Solomon, for which he was nominated for a Tony Award. The production began preview performances at the American Airlines Theatre onFebruary 16, 2017, and opened on March 16 for a limited run-through on May 7.ProducingDeVito has become a major film and television producer. DeVitofounded Jersey Films in 1991, producing films like Pulp Fiction, Get Shorty, Erin Brockovich (for which he received an Academy Award nomination for BestPicture), Gattaca, and Garden State. In 1999, he produced and co-starred in Man on the Moon, a film about the unusual life of his former Taxi co-star AndyKaufman, played in the film by Jim Carrey. DeVito also produced the Comedy Central series Reno 911!, the film spin-off Reno 911!: Miami, and the revival onQuibi.DirectingDeVito made his directorial debut in 1984 with The Ratings Game. He then directed and starred in Throw Momma from the Train (1987), The Warof the Roses (1989), Hoffa (1992), Matilda (1996), Death to Smoochy (2002) and Duplex (2003). The War of the Roses was a commercial and critical success, aswas the film adaptation of Roald Dahl's Matilda; Death to Smoochy and Duplex had mixed reviews. He also directed the TV movie Queen B in 2005.DeVito hasdirected eight short films between 1973 and 2016, five of which were released across 2010 and 2011. These are The Sound Sleeper (1973), Minestrone (1975),Oh Those Lips (2010), Evil Eye (2010), Poison Tongue (2011), Skin Deep (2011), Nest of Vipers (2011) and Curmudgeons (2016).Television and voice-overworkIn 1977, DeVito played the role of John \"John John the Apple\" DeAppoliso in the Starsky & Hutch episode \"The Collector\". DeVito gained fame in 1978 playingLouie De Palma, the short but domineering dispatcher for the fictional Sunshine Cab Company, on the hit TV show Taxi.In 1986, he directed and starred in theblack comedy \"The Wedding Ring\", a season 2 episode of Steven Spielberg's anthology series Amazing Stories, where his character acquires an engagement ringfor his wife (played by DeVito's real-life wife, actress Rhea Perlman). When the ring is slipped on his wife's finger, she is possessed by the ring's former owner, amurderous black widow. That year, DeVito also voiced the Grundle King in My Little Pony: The Movie. In 1990, he and Rhea Perlman played the couple Vic &Paula, commenting on the state of the environment in The Earth Day Special. In 1991 and 1992, DeVito voiced Herb Powell in The Simpsons episodes \"Brother,Can You Spare Two Dimes?\" and \"Oh Brother, Where Art Thou?\". In 2013, he would voice Herb for a third time in the episode \"The Changing of the Guardian\".In1996, he provided the voice of Mr. Swackhammer in Space Jam. In 1997, he was the voice of Philoctetes in the Disney film Hercules.In 1999, DeVito hosted thelast Saturday Night Live episode before the year 2000. He earned a 2004 Emmy nomination for Outstanding Guest Actor in a Comedy Series for an episode ofFriends, following four Emmy nominations (including a 1981 win) for Outstanding Supporting Actor in a Comedy for Taxi. In 2006, he joined the cast of It'sAlways Sunny in Philadelphia as Frank Reynolds.In 2011, DeVito received a star on the Hollywood Walk of Fame for his work in television. In 2012, he voiced thetitle character in the animated version of Dr. Seuss' The Lorax. He appeared in the Angry Birds Friends \"Champions for Earth\" tournament advertisement inSeptember 2015. Following the Japanese release of the Nintendo 3DS game Detective Pikachu, dedicated Pokémon fans submitted a 40,000-signature petitionrequesting that DeVito be the English voice actor for the title character. However, he declined to audition for the role, commenting that he was unfamiliar with thefranchise.Appearances in other mediaDeVito played a fictional version of himself in the music video of One Direction's song \"Steal My Girl\". He also appeared inthe short film Curmudgeons, which he also produced and directed.In 2021, DeVito wrote a 12-page story centered on the Penguin and Catwoman for theanthology comic Gotham City Villains.Personal lifeDeVito stands 4 feet 10 inches (1.47 metres) tall. His short stature is the result of multiple epiphyseal dysplasia(Fairbank's disease), a rare genetic disorder that affects bone growth.On January 17, 1971, DeVito met Rhea Perlman when she went to see a friend in the singleperformance of the play The Shrinking Bride, which featured DeVito. They moved in together two weeks later and married on January 28, 1982. They have threechildren: Lucy Chet DeVito (born March 11, 1983), Grace Fan DeVito (born March 1985), and Jacob Daniel DeVito (born October 1987).Perlman and DeVito haveacted alongside each other several times, including in the television show Taxi and the feature film Matilda (where they played Matilda's parents). They separatedin October 2012, after 30 years of marriage and over 40 years together, then reconciled in March 2013. They separated for a second time in March 2017, butremained on amicable terms and Perlman stated they had no intent of filing for divorce. In 2019, Perlman told interviewer Andy Cohen that she and DeVito havebecome closer friends after their separation than they were in their final years as a couple.DeVito and Perlman resided in a 14,579-square-foot (1,354 m2) housein Beverly Hills, California, that they purchased in 1994, until selling it for US$24 million in April 2015. They also own a bungalow near Rodeo Drive in BeverlyHills, and a multi-residence compound on Broad Beach in Malibu. They also frequented a home they owned in Interlaken, New Jersey to get away from LosAngeles.Politically, DeVito is a Democrat and a staunch supporter of Bernie Sanders.FilmographyDeVito has an extensive film career, dating back to the early1970s.Selected work:Awards and nominationsDeVito has a large and varied body of work as an actor, producer and director in stage, television and film. He hasbeen nominated for Academy awards, Creative Arts Emmy awards, Golden Globe awards, Primetime Emmy awards, Producers Guild awards, Screen Actors Guild"}
+{"doc_id":"doc_39","qid":"","text":"Passage 1:Worskla ForestThe Worskla Forest (на Ворскле) is in the Belgorod Oblast of Russia. It is part of the (Sapowednik) Belogorye Nature Reserve.It lies onthe high right side of the Worskla river, between the Worskla and the Gotnja rivers. It covers an area of 1,038 hectares (2,560 acres). Geographically the areabelongs to the southern part of the forest-steppe zone. The nature reserve is bordered to the north-west by the village of Krasny Kutok, to the southeast byBorisovka, and in the north and the south and west by the Worsklatal. On the left bank of the Vorskla, is the village of Dubino (Landsgemeinde Belenkoje). Theterritory of the forest itself is part of the rural community Kryukovo.GeographyThe western, northwestern and southern edges form the river terraces and slopesof Woskla and Loknjatal Rivers. The highest point in the forest at 217 metres (712 ft) is located in the northeastern part of the forest. The lowest point (137metres (449 ft)) is located in Worsklatal. Through the forest run numerous small gullies that are called in this region \"Jar\".In the forest there are no springs andwatercourses although the forest is quite wet at the beginning of spring, after the snow melts, flowing rivulets at the bottom of canyons. The rivers Vorskla,Gotnja and Loknja flow along the forest edge for a distance of 10 to 900 metres (33 to 2,953 ft).On the territory of the forest there is no natural pond. Only in theprotection zone of the nature reserve, in the Worsklatalaue, there are small backwaters. In the 20th century, ponds were built in the Klosterrunse whose damsbroke through snow meltwater. Only a pond remained at the top of the gully.SoilsThe soils of the forest at the Vorskla developed on different parent materials,especially on the loam, which is found in the eastern half of the forest. In the northwestern part of the forest, old alluvium sands play a role. They are distributedon the river terraces of Gotnja and Loknja. At the southern and south-eastern edge of the forest an oligozänischer sandy loam is common parent rock. In someplaces in the southern part of the forest, a rust-colored clay comes out. The oligozänische sandy loam and the rust-colored clay are the starting materials of soilformation, where erosion has removed the loess. Under the oligozänischen clay are rocks from the Cretaceous, which do not appear on the surface in the territoryof the forest.Here 20 different soil types are distinguished. They differ on the degree of podsolisation and the humus content. All floors of the Forest on theVorskla are based on the Russian soil classification from 1977 about the types of gray forest soils.  According to the USDA soil classification they belong to the Alfisols, after the German soil classification if they were classified as Luvisols.HistoryUntil the 17th century, the Worskla forest was a part of an undivided oak forestthat stretched along the high right bank of the Vorskla River. Forest was used as a natural barrier against depredations of the Tartars. Therefore, logging of thewoods was strictly forbidden. At the end of the 17th century, however, the Tartar threat had diminished.In the Early 18th century the forest was protected frombeing cut down by regulations of Peter I. In 1701, the deforestation along the rivers was banned, then in 1703, the ban was extended to the small rivers. Theedict included a ban on grazing and oaks, pines, maples and elms with trunk thicknesses of more than 54 centimetres (21 in) were excluded from felling.In 1705the forest was owned by Count Boris Sheremetev who created a conservation area and hunting reserve. In 1714 Count Sheremetev founded a nunnery inBorisovka on the edge of the forest, today it is a nature reserve.In the 1880s and 1890s the first major deforestation in the fourth section of the forest and in thenorthern part of the tenth section the deforestation continued into the 20th century.After the October Revolution, the forest on the Vorskla was in danger withfelling beginning in 1917, with grazing and vegetable gardens being introduced. Larger native animals almost disappeared.It fell to the entomologist Malyshev tobegin a movement to save the forest. He knew the forest at the Vorskla from the time before the revolution when as a student he undertook entomologicalresearch there. In 1919 he wrote appeals to various authorities. He also appeared in the People's Assembly of the residents of Borisovka and made propagandawork for forest conservation in schools and village libraries. His efforts were successful, and after the establishment of Zoopsychologischen Station (in 1922) theforest was made a nature reserve in 1924.  Malyshev organized the protection of forests. In the nature reserve began scientific research, the nature reserve, theNatural History Museum was founded. In Russian and Germany  scientific journals first article on the forest at the Vorskla were published. However, Malyshev wassubject to a political witch-hunt under Joseph Stalin and he was dismissed from his role at the Nature Reserve and in 1934, Malyshev was transported toLeningrad.In 1934 the forest was transferred to control of Leningrad University. During World War II, the forest fell under German occupation who felled tens ofthousands of trees. During the Battle of Kursk, trenches were laid out in the forest, causing soil erosion, which can be seen to this day.In 1994, the NatureReserve of the University of St. Petersburg was handed over to the Ministry of Natural Resources. Today an area of 160 hectares (400 acres), is the only forestwith 300-year-old oak trees to have survived in the European part of the former Soviet Union.GalleryPassage 2:Pearl AirwaysPearl Airways or Pearl AirwaysCompagne Haitienne was an airline based in Haiti.Passage 3:Olavina UdugoreOlavina Udugore is a 1987 Indian Kannada-language film directed, written andco-produced by D. Rajendra Babu. The film stars Ambareesh, Manjula Sharma and Ramakrishna. The music was composed by M. Ranga Rao and the script waswritten by B. L. Venu.CastAmbareesh as SureshIlavarasi(Manjula Sharma) as Suma and Uma (Dual Role)Leelavathi as Rathnamma, Suresh's MotherRamakrishnaas Ramesh, Suresh's CousinKeerthiraj as PrathapBalakrishna as RagannaDinesh as Shridhara Raya, Suma's Adoptive FatherN. S. Rao as Baalu, Suresh'sClassmateUmashree as Baby, Suresh's ClassmateShanthammaSoundtrackAll songs were composed by M. Ranga Rao, with lyrics by R. N. Jayagopal andShyamasundara Kulkarni. The album consists of five tracks. The title song will recreated for his son's debut film AmarAwardsFilmfare Award for Best Actor -Kannada - AmbareeshPassage 4:Operation LeopardLa légion saute sur Kolwezi, also known as Operation Leopard, is a French war film directed by Raoul Coutardand filmed in French Guiana. The script is based on the true story of the Battle of Kolwezi that happened in 1978. It was diligently described in a book of the samename by former 1st Foreign Parachute Regiment Captain Pierre Sergent. He published his book in 1979, and the film came out in 1980. Coutard shot the film in adocumentary style.PlotThe film is based on true events. In 1978, approximately 3,000 heavily armed fighters from Katanga crossed the border to the Zaire andmarched into Kolwezi, a mining centre for copper and cobalt. They took 3,000 civilians as hostages. Within a few days, between 90 and 280 hostages were killed.The rebels appeared to be unpredictable and are reported to have threatened to annihilate all civilians.Mobutu Sese Seko, Zaire's head of state, urged Belgium,France and the United States to help. France sent the Foreign Legion's 2nd Foreign Parachute Regiment, which were flown from Corsica to Kolwezi. Following theirarrival, they secured the perimeter, in co-operation with Belgian soldiers from Zaire, and then started to evacuate the civilians. Within two days more than 2,000Europeans and about 3,000 African citizens were saved. The film strives to depict the events in a dramatised form, concentrating on the Europeans'plight.ProductionThe late Jean Seberg had filmed scenes on location for the film, but her death caused her to be replaced by another French American actress,Mimsy Farmer, who reshot Seberg's scenes.CastBruno Cremer: Pierre DelbartJacques Perrin:Ambassador BerthierLaurent Malet: Phillipe DenrémontPierreVaneck: Colonel GrasserMimsy Farmer: Annie DevrindtGiuliano Gemma: Adjudant FédéricoRobert Etcheverry : Colonel DubourgJean-Claude Bouillon :MauroisPassage 5:A Pearl in the ForestA Pearl in the Forest (Mongolian: Мойлхон, Moilkhon, Buckthorn) is a 2008 Mongolian historical film.This is a story about ayoung couple whose newly planned life was destroyed by the impact of the Great Purge of 1934–1938 in Mongolia.The main goal of this movie was to provide atestimony for the many Buryats and Mongolians who were persecuted during the Great Purges initiated by Joseph Stalin. In 1937 and 1938, many people, andeven entire families, were killed after being wrongfully accused of conspiracies.The movie was shot on location near the Buryat village of Dadal in the Khentiiprovince of Mongolia. The acting and other participation of many local villagers was a great addition to the authenticity of the film.SynopsisIn the 1930s inMongolia, a former villager returns as a government informer, and is determined to use his authority to crush a village in order to take by force what he cannotwin by love: a young woman who is engaged to another man.CastBayarmaa Baatar : SendemZolboot Gombo : MarkhaaNarankhuu Khatanbaatar : DugarG.Altanshagai : SodnomPassage 6:Cristaria (bivalve)Cristaria is a genus of freshwater mussels or pearl mussels, aquatic bivalve mollusks in the familyUnionidae.SpeciesSpecies in the genus Cristaria include:Cristaria beirensisCristaria plicataCristaria radiataCristaria tenuisCristaria truncataHuman relevanceInChina, one of the species in this genus, Cristaria plicata is \"one of the most important freshwater mussels for pearl production\" in the country. It is also used formedicinal purposes.Passage 7:Pearl in the CrownPearl in the Crown (Polish: Perła w koronie) is a 1972 Polish drama film directed by Kazimierz Kutz. It wasentered into the 1972 Cannes Film Festival. The film was also selected as the Polish entry for the Best Foreign Language Film at the 45th Academy Awards, butwas not accepted as a nominee.PlotThe film takes place in August 1934 in the Polish part of Upper Silesia. The film tells the story of a strike in the fictional mine\"Zygmunt\". Jaś, a young miner who works in the mine in question, has a wife and two young sons. Jaś comes home from shift. The next day he learns that theunprofitable mine is to be closed by flooding with water. A strike breaks out. Families help the strikers, despite the fact that the mine is surrounded by a policecordon. Petitions to the Government remain unanswered, the management persists, so the miners announce a hunger strike. The police retaliate by violentlybreaking up the demonstration. The determined miners decide to continue the strike underground despite the imminent threat of the mine being flooded, as perthe original plan.  Finally though, the management signs a settlement, and the miners come to the surface and they go back to their families.CastŁucja Kowolik -WiktaOlgierd Łukaszewicz - JasJan Englert - Erwin MaliniokFranciszek Pieczka - Hubert SierszaJerzy Cnota - August MolBernard Krawczyk - Franciszek"}
+{"doc_id":"doc_40","qid":"","text":"Passage 1:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was thedirector of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of CulturalHistory. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 2:John DonatichJohn Donatich is the Director of Yale UniversityPress.Early lifeHe received a BA from New York University in 1982, graduating magna cum laude. He also got a master's degree from NYU in 1984, graduatingsumma cum laude.CareerDonatich worked as director of National Accounts at Putnam Publishing Group from 1989 to 1992.His writing has appeared in variousperiodicals including Harper's, The Atlantic Monthly and The Village Voice.He worked at HarperCollins from 1992 to 1996, serving as director of national accountsand then as vice president and director of product and marketing development.From 1995 to 2003, Donatich served as publisher and vice president of BasicBooks. While there, he started the Art of Mentoring series of books, which would run from 2001 to 2008.  While at Basic Books, Donatich published such authorsas Christopher Hitchens, Steven Pinker, Samantha Power, Alan Dershowitz, Sir Martin Rees and Richard Florida.In 2003, Donatich became the director of the YaleUniversity Press.  At Yale, Donatich published such authors as Michael Walzer, Janet Malcolm, E. H. Gombrich, Michael Fried, Edmund Morgan and T.J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published such authors as Adonis, Norman Manea andClaudio Magris. He also launched the digital archive platform, The Stalin Digital Archive and the Encounters Chinese Language multimedia platform.In 2009, hebriefly gained media attention when he was involved in the decision to expunge the Muhammad cartoons from the Yale University Press book The Cartoons thatShook the World, for fear of Muslim violence.He is the author of a memoir, Ambivalence, a Love Story, and a novel, The Variations.BooksAmbivalence, a LoveStory: Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhy Books Still Matter, Journal ofScholarly Publishing, Volume 40, Number 4, July 2009, pp. 329–342, E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatich is married to Betsy Lerner, aliterary agent and author; together they have a daughter, Raffaella.Passage 3:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executivedirector of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of theIsraeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam SpiegelFilm and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina'sTragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Campingcompeted at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects,and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Filmand Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also overseesthe Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debutfilm, Sam Spiegel; director and screenwriter, 2006)Passage 4:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art.Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in NorthAdams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College,where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as actingcurator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, SanDiego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointeddirector of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, aperiod that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation ofthe museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia ArtFoundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's HudsonValley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has beencredited with catalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan'stenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also workedclosely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projectsunder construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared anational monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan torun the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from its Europeanand east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had theopportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transformingLACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanentcollection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary ArtMuseum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.ArtistcollaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govaninvited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected thetwisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artistJorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with ahigh-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. Theseinclude Chris Burden's Urban Light (2008), a series of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrancepavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton bouldertransported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in partto the popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, themuseum raised $251 million—about $100 million more than it collected during the three years before he arrived. In 2010, it was announced that Govan will steerLACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon,proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.ZumthorProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallerybuilding designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018,and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving allexisting curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recallingGovan's technically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving theinstitution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linearfootage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that itsacquisitions could no longer be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create anon-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterizedthe museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample of"}
+{"doc_id":"doc_41","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:Ashwamedha (film)Ashwamedha is a 1990 Indian Kannada language action film directed by C. R. Simha. It stars KumarBangarappa and Geethanjali with Srividya, Srinath, Balakrishna, Avinash and Ramesh Bhat essaying other important roles.The story was written by C. R. Simhawho co-wrote the screenplay and dialogues with Keerthi. The film was produced by Shanthilal Jain in the banner of Sri Renukamba Enterprises. The film wasedited by S. Manohar while R. Deviprasad handled the cinematography.The film met with positive reviews upon release and is often regarded as one of the bestfilms in Kumar Bangarappa's career.CastSoundtrackSangeetha Raja composed the background score for the film and to the soundtracks, with the lyrics for all thesoundtracks penned by Doddarange Gowda. The album consists of five soundtracks. The soundtrack \"Hrudaya Samudra Kalaki\" sung by actor and playbacksinger, Rajkumar, was received very well and is often considered one of his best songs. The song is still being played in cultural and religious activities, andconcerts across Karnataka.Passage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a largenumber of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15,The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape andMarriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. Hedirected \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming adirector, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave theproduction when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions atthe Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with hiswife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:C. R. SimhaChannapatna Ramaswami Simha (16 June 1942– 28 February 2014), better known as C. R. Simha, was an Indian actor, director, dramatist and playwright. He was best known for his work in Kannada films andfor his work in stage shows. Starting his career in Prabhat Kalavidaru, a theatre group based in Bangalore, he acted in numerous Kannada plays which reachedthe cult status. He started his own theatre group called \"Nataranga\" in 1972 and directed many successful plays such as Kakana Kote, Thughlaq andSankranthi.Simha also directed and acted in the Kannada adaptation of Shakespeare's Midsummer Night's Dream and Othello. These plays found a widespreadpresentation across many states in India. Following this, he directed and acted in many English plays written by eminent personalities such as Moliere, BernardShaw, Edward Albee and Neil Simon among others. Apart from theatre, Simha acted in more than 150 feature films in Kannada which include both artistic andcommercially viable projects. He also directed about five feature films with the most prominent being his own film adaptation of Kakana Kote.Simha receivedmany awards in both the cinema and theatre fields. In 2003, he was awarded with the prestigious Sangeet Natak Akademi Award by the Government of Indiarecognising his contribution to theatre acting and direction.Early lifeSimha was born in Karnataka on 16 June 1942 into a Hoysala Karnataka Brahmin family. Hisyounger brother Srinath is a film actor who acted in several mainstream Kannada cinema as both the leading actor and supporting actor.Simha appeared on stageat the age of twelve. He wrote a book at the age of thirteen titled \"Family Doctor\" and got a publisher for a remuneration of \u000015. He was a student of NationalCollege at Basavanagudi, Bangalore. In 1959, he joined the National College Histrionics Club, an institution nurtured by Dr. H. Narasimhaiah. Simha then acted inmany Kannada plays like \"Bahaddur Ganda\" and \"Manavemba Markata\".CareerTheatreSimha, along with his friends, started a theatre group called \"Nataranga\" in1972. He acted in and directed many successful plays like Kakana Kote and Tughlaq.Simha also acted in and directed straight translations of Shakespeare's playssuch as Midsummer Night's Dream and Othello, which besides Karnataka, were also performed in Delhi, Bombay (Mumbai), Madras (Chennai) & Calcutta(Kolkata). In 1960, Simha became a member of \"Bangalore Little Theatre\" (BLT) and since then directed some of the reputed English plays which included hisportrayal of Cyrano de Bergerac which was hailed as a memorable performance. His other notable works for BLT were Utpal Dutt's Suryashikar and GirishKarnad's Thuglaq.In 1983, Simha started another theatre group called \"Vedhike\" in which his one-man show Typical Kailasam became a success. It was the firstamateur Kannada play to be performed abroad (in the United States of America, Canada and England). Some of the other notable plays which made newsthrough \"Vedhike\" are Meese Bandoru, Bhairavi, Karna, Rasa Rishi Kuvempu, Macbeth, Maduve Maduve, Haavu Yeni and 8/15. Among these, Rasa RishiKuvempu, based on the life and literature of Kuvempu, was made into a film, directed by Simha's son Rithwik Simha, in which Simha plays the role ofKuvempu.FilmsBesides making his strong presence in theatre, Simha was also a popular mainstream character actor in numerous Kannada films. He acted inclose to 150 feature films. His portrayal of roles varied from critically acclaimed award-winning films like Samskara, Bara, Chithegoo Chinte and Anuroopa andalso in commercially acclaimed films such as Indina Ramayana, Nee Bareda Kadambari, Parameshi Prema Prasanga, Rayaru Bandaru Mavana Manege and NeeThanda Kanike. Simha played negative roles, against Anant Nag in Ramapurada Ravana (1984) and with Dr. Rajkumar in Parashuram (1990). Simha's villainousrole in Parashuram was said to be very menacing.Besides acting, Simha has directed five films including Kakana Kote (1977), Shikaari, Simhasana, Ashwamedha(1990) and Angayalli Apsare (1993).TelevisionSimha made his strong presence in television too and acted in several tele-serials in Kannada, Hindi and Englishlanguages. This includes the serial Malgudi Days. Another serial was Goruru in America based on the travelogue written by the humorist Gorur RamaswamyIyengar. Simha played the part of Gorur and the serial was shot extensively in America including New York, Washington D.C., Niagara Falls, Disneyland andUniversal Studios – Hollywood.PublicationsSimha wrote and published five plays in Kannada. He was a popular columnist, he wrote a column called \"NimmaSimha\" every Friday for six years in the popular daily newspaper Vijaya Karnataka and three volumes of this are published in the Bookforum.FilmographyActorDirectorShikari (1981)Ashwamedha (1992)Angaili Apsare (1993)DeathIn February 2014, Simha was admitted to Sevakshetra Hospital,Bangalore having been suffering from prostate cancer from over a year. He died on 28 February 2014. On 1 March, his body was kept at the Samsa BayaluRangamandira for people to pay homage and his favourite songs were sung by theatre artists. He was cremated at the Banashankari crematorium in Bangalorethe same day. Simha's last public appearance was at the press meet of the film Rasarishi Kuvempu in which he played the lead role.Passage 5:Ian Barry(director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction(1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno(1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor BlakeMysteries (2013)Passage 6:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School.She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director,and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein.She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors.During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She alsodirected and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film andacademic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged andpromoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed themini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen wasappointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter,2006)Passage 7:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 hewas the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum ofCultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 8:S. N. MathurS.N. Mathur was the Director of the Indian"}
+{"doc_id":"doc_42","qid":"","text":"Passage 1:Barthold A. Butenschøn Sr.Hans Barthold Andresen Butenschøn (27 December 1877 – 28 November 1971) was a Norwegian businessperson.He was born in Kristiania as a son of Nils August Andresen Butenschøn and Hanna Butenschøn, and grandson of Nicolay Andresen. Together with Mabel Anette Plahte (1877–1973, a daughter of Frithjof M. Plahte) he had the son Hans Barthold Andresen Butenschøn Jr. and was through him the father-in-law of Ragnhild Butenschøn and grandfather of Peter Butenschøn. Through his daughter Marie Claudine he was the father-in-law of Joakim Lehmkuhl, through his daughter Mabel Anette he was the father-in-law of Harald Astrup (a son of Sigurd Astrup) and through his daughter Nini Augusta he was the father-in-law of Ernst Torp.He took commerce school and agricultural school. He was hired in the family company N. A. Andresen & Co, and became a co-owner in 1910. He eventually became chief executive officer. The bank changed its name to Andresens Bank in 1913 and merged with Bergens Kreditbank in 1920. The merger was dissolved later in the 1920s. He was also a landowner, owning Nedre Skøyen farm and a lot of land in Enebakk. He chaired the board of Nydalens Compagnie from 1926, having not been a board member before that.He also chaired the supervisory council of Forsikringsselskapet Viking and Nedre Glommen salgsforening, and was a supervisory council member of Filharmonisk Selskap. He was a member of the gentlemen's club SK Fram since 1890, and was proclaimed a lifetime member in 1964.He was buried in Enebakk.Passage 2:Peter BurroughsPeter Burroughs (born 27 January 1947) is a British television and film actor and the director of Willow Management. He is the father-in-law of actor and TV presenter Warwick Davis.Early careerBurroughs initially ran a shop in his village at Yaxley, Cambridgeshire.His first dramatic role was that of the character \"Branic\" in the 1979 television series The Legend of King Arthur. He also acted in the television shows Dick Turpin, The Goodies, Doctor Who in the serial The King's Demons and One Foot in the Grave.Film careerBurroughs played roles in Hollywood movies such as Flash Gordon, George Lucas' Star Wars: Episode VI – Return of the Jedi (a swinging ewok), Willow, The Dark Crystal, Labyrinth and The Hitchhiker's Guide to the Galaxy. In 1995, Burroughs set up Willow Management, an agency for short actors, along with co-actor Warwick Davis. He portrayed a bank goblin in the Harry Potter series (Harry Potter and the Philosopher's Stone and Harry Potter and the Deathly Hallows – Part 2).Personal lifeHis daughter Samantha (born 1971), is married to Star Wars: Episode VI – Return of the Jedi and Willow film star Warwick Davis. He has another daughter, Hayley Burroughs, who is also an actress. His granddaughter is Annabelle Davis.FilmographyPassage 3:Brijlal NehruBrijalal Nehru (5 May 1884 – 27 May 1964) was a noted civil servant and member of the Nehru family.He was the son of Pandit Nandlal Nehru (the elder brother of Motilal Nehru) and the cousin of Jawaharlal Nehru. Nandlal Nehru was Diwan of Khetri State for 11 years.Brijlal was born on 5 May 1884 in Allahabad and he grew up in Anand Bhawan. Brijlal had been sent to Oxford in 1905 to compete for the Indian Civil Service by Motilal Nehru.  He was a senior officer of the Audit and Accounts Service. After his retirement, he served Finance Minister of Princely State of Jammu & Kashmir during reign of Maharaja Hari Singh.He was married to Rameshwari Raina, a noted social and women activist and a freedom fighter and recipient of Padma Bhushan in 1955, Later she also won the Lenin Peace Prize in 1961.Their son was Braj Kumar Nehru (1909-2001), an administrator and Padma Vibhushan recipient.Brijlal died on 27 May 1964, the same day on which his illustrious cousin died.Passage 4:James Armour (Master mason)James Armour (15 January 1731 – 20 September 1798) was a master mason and father of Jean Armour, and therefore the father-in-law of the poet Robert Burns. His birth year was shown here as 1730. The Scotland's People database has no record of this year of birth for a James Armour. Wikitree and several other data sources have his birth date as 10th/24th January 1731. The Scotland's People database has this record but showing his baptism on 24 January 1731. His birth on the original Old Parish Record is shown as 15 January 1731 to John Armour and Margrat(sic) Picken in Kilmarnock. James named his first son John which would normally be after James's father i.e. John. The chances of there being two James's born on exactly the same date exactly one year apart appear very remote and the naming of the first child seems to validate the conclusion that James Armour was born in 1731 and not 1730.Life and backgroundAt Mauchline on 7 December 1761 he married Mary Smith, the daughter of stonemason Adam Smith. James died on 30 September 1798 and was buried in the family lair in Mauchline churchyard. His wife died in 1805 and was buried with her husband.FamilyJames' eleven offspring with Mary, were, in birth order, John, Jean, James, Robert, Adam, Helen, Mary, Robert (2nd), Mary (2nd), Janet and Robert (3rd). Three siblings died in childhood. Dr John Armour was the eldest son who was born in Mauchline on 14 November 1762 and died in 1834. He had his practice in Kincardine-on-Forth where he died and was buried. He had two children, Janet and John, and married Janet Coventry on 10 March 1787. James and Mary's son James was born in Mauchline on 26 April 1767, married Betthaia Walker in 1794, Martha in 1818 and Janet in 1822. Their offspring were James and Betthaia. Adam Armour was named after Adam Smith, James Armour's father-in-law.The Armours' single-storey house stood in Cowgate, separated from John Dove's Whitefoord Arms by a narrow lane. Jean's bedroom window looked on to a window of the inn, thereby allowing Burns to converse with her from the public house itself. The Whitefoord Inn was often frequented by Burns and was also the meeting place of the so-called Court of Equity and linked to a significant incident in the life of Jean's brother Adam regarding the mistreatment of Agnes Wilson.Occupation and social standingJames was a master mason and contractor rather than an architect, regardless of Burns' attempts to describe him as one. He is known to have carried out contract work at Dumfries House near Cumnock and tradition links him to the building of Howford Bridge on the River Ayr, Greenan Bridge on the River Doon; Skeldon House, Dalrymple; and several other bridges in Ayrshire. Both the Armours and his wife's family had been stone-masons for several generations. William Burnes, Robert Burns' cousin, was apprenticed to James Armour.James was an adherent of the 'Auld Licht' style of religion and rented at 10/8 per year one of the most expensive pews in Mauchline church. James was rigid and austere, apparently living an exemplary life. Robert Burns-Begg, Burns' great-nephew, states that in contrast to her husband, Mary Armour was \"Partaken somewhat of the gay and frivolous.\".William 'Willie' Patrick, a source of many anecdotes about Robert and his family, stated about James that \"he was only a bit mason body, wha used to snuff a guid deal and gae afen tak a bit dram!\" He went on to say regarding James' attitude to Robert Burns that \"The thing was, he hated him, and would raither hae seen the Deil himsel comin to the hoose to coort his dochter than him! He cu'dna bear the sicht o'm, and that was the way he did it!\".Association with Robert BurnsJames had disapproved of Burns's courtship of Jean, being aware of his affair with Elizabeth Paton, his 'New Licht' leanings and his poor financial situation. When informed in March 1786 by his distraught wife that Jean was pregnant he fainted and upon recovering consciousness and being given a strong cordial drink he enquired who the father was, fainting again when he was told that it was Robert Burns. The couple persuaded Jean to travel to Paisley and lodge with their relative Andrew Purdie, husband of her aunt Elizabeth Smith. Robert Wilson lived in Paisley, a possible suitor who had shown a romantic interest in Jean previously, appears to have been only part of the reason for this action, for on 8 April Mary Armour had vehemently denied to James Lamie, a member of the Kirk Session, that Jean was pregnant.Robert Burns produced a paper, probably a record of their \" Marriage by Declaration\" possibly witnessed by James Smith. This document, no longer extant, was defaced under James Armour's direction, probably by the lawyer Robert Aitken, with the names of both Robert and Jean being cut out. This act did not in fact effect its legality.  Robert wrote that James Armour's actions had \"...cut my very veins\", a feeling enhanced by Jean having handed over \"the unlucky paper\" and had agreed to go to Paisley.James Armour in the meantime forced his daughter to sign a complaint and a warrant \"in meditatione fugae\" against Robert was issued to prevent his abandoning her. Burns fled to Old Rome Forest near Gatehead in South Ayrshire, where Jean Brown, Agnes Broun's half-sister and therefore an aunt of Burns, lived with her husband, James Allan.Twins were born to Jean and Robert on 3 September 1786, named after their parents as was the kirk's protocol for children born out of wedlock. Robert, notified of the birth by Adam Armour, that Sunday went to the Armour's house with a gift of tea, sugar and a Guinea that proved most acceptable.  Robert only returned from Edinburgh in the summer of 1787 to find that he was, thanks to his newly found fame as a published poet, actively welcomed into the family.Jean however fell pregnant out of official wedlock once more, with the result that she felt forced to leave the Armour's home due to her father's anger. She was taken in by Willie Muir and his wife at Tarbolton Mill. It had previously been agreed that baby Jean would stay with her mother and baby Robert would join Bess at Mossgiel. The second set of twins did not live long and are buried, unnamed, in the Armour lair in Mauchline churchyard. Robert was in Edinburgh and did not arrive back until 23 February 1788; he then arranged accommodation for Jean.Whilst at the Brow Well Robert Burns wrote two of his last letters to his father-in-law asking that Mary Armour, who was away visiting relatives in Fife, be sent to Dumfries to help care for Jean who was heavily pregnant. On 10 July 1796 his last letter was signed \" Your most affectionate son. R. Burns.\"Upon the death of Robert Burnes his nephew Robert arranged for his cousin William to become a mason or building worker, working with James Armour, Burns' father-in-law.The Inveraray marble Punch BowlOf the many surviving Robert Burns artefacts few have such distinguished provenance as the punch bowl that was a nuptial gift in 1788 from James Armour to his daughter Jean and her new husband Robert Burns. As a stone-mason James had carved it himself (22cm x 14cm ) from dark green Inveraray marble and after residing at their various homes, Jean in 1801 presented it to her husband's great friend and Burns family benefactor Alexander Cunningham whilst she was on a visit to Edinburgh and staying with George Thomson. He had it mounted with a silver base and a rim, engraved upon which are the words “Ye whom social pleasure charms .. Come to my Bowl! Come to my arms, My FRIENDS, "}
+{"doc_id":"doc_43","qid":"","text":"Passage 1:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 2:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 3:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne 'may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess of Orange, as a lady in waiting at the Hague.ChildrenThe issue of Anne Denman's marriage with Thomas Aylesbury were:William baptised in 1612 at St Margaret's Lothbury in London, died in Jamaica in 1656Thomas (probably died young)Frances born 1617 died 1667, married Edward Hyde in 1634, had issueLady Anne (1637–1671), married King James II/VIIHon. Henry, later 2nd Earl of Clarendon (1638–1709)Hon. Laurence, later 1st Earl of Rochester (1641–1711)Hon. Edward, (born c 1645, died 1665) buried 13 January 1665 having died at age 19 while a student at OxfordHon. James drowned in HMS Gloucester in 1682 in the suite of the Duke of YorkLady Frances, married Thomas Keightley, Irish revenue commissioner and privy councillor in 1675.Anne, baptised at St Margaret's and married there in 1637 to John BrighamJane (probably died young)Barbara baptised at St Margaret's, Westminster, 9 May 1627 died 1652 in Antwerp, no issue.Through her daughter Frances, Anne Denman is the maternal grandmother of Anne Hyde, the first wife of James II, and is the maternal great-grandmother of Mary II of England and Queen Anne.Sir Thomas' death and willIn 1657, Sir Thomas died in exile in Breda, aged 81. Anne returned to London. Sir Thomas's will was in favour of Anne and her daughter Frances, but was disputed. Fortunately, Anne had the help of the eminent lawyer Edward Hyde (b. 18 February 1608/9 d. 1674) who was married to her daughter Frances. The deaths of Frances' brothers and sisters meant that by the time of her father's death she was the heiress for her father's estate.Edward HydeEdward Hyde was Anne's son-in-law. The Registers of Westminster Abbey show that he married Frances, daughter of Sir Thomas Aylesbury and his wife Anne, at the Church of St Margaret's, Westminster (in which Parish Sir Thomas and Anne were resident), on 10 July 1634, under a Licence from the Dean and Chapter of Westminster, issued the same day. He was said to be 26 years of age having been born in the ninth year of King Charles' reign (1609), and was already a widower. He married "}
+{"doc_id":"doc_44","qid":"","text":"Passage 1:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta!(2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has alsodirected films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raisedin Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developedwith its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo'Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase(2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap(2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect(2018)Semi-Detached (2019)Breeders (2020)Passage 2:Mel WellesMel Welles (February 17, 1924 – August 19, 2005) was an American film actor and director.His best-remembered role may be that of hapless flower shop owner Gravis Mushnick in the 1960 low-budget Roger Corman dark comedy, The Little Shop ofHorrors.Life and careerWelles was born Ira W. Meltcher in the Bronx, New York City, son of Max and Sally Grichewsky Meltcher. He was raised in Mount Carmel,Pennsylvania and graduated from Mt. Carmel High School, in 1940. He went on to receive a Bachelor of Arts degree from Penn State University, a Master of Artsdegree from West Virginia University, and a Ph.D. in psychology from Columbia University.Welles held a number of jobs during his lifetime; at one time or anotherhe worked as a clinical psychologist, radio DJ, television actor, writer and film director. He did some stage work before traveling to Hollywood, where in 1953 heappeared in his first film, Appointment in Honduras. His favorite role (The Little Shop of Horrors) was also his last in the U.S. for many years.In the early 1960s,he left the United States initially to make a film in Germany. After the producer was arrested he travelled to Rome to act, produce and direct mostly uncreditedprimarily in Europe several film productions including the cult horror films Maneater of Hydra (1967) and Lady Frankenstein (1971). His fluency in five languagesproved to be most helpful where he started a dubbing company that by his own estimate dubbed over 800 European made films. He also served as a filmconsultant. Later, he returned to the U.S., appearing in a number of films, doing voice work, and teaching voice acting.Probably his most widely seen work in thelate 1970s was his English adaptation of the Japanese television show, Spectreman which was seen on UHF and cable across the United States. While he shareswriting credit with two other people, it's clear that most of the English voice work, and the offbeat humor, is his. Reportedly, Welles also wrote gag material forLord Buckley at some point in his career.In 1998, Welles took to the stage in a community theater production of Little Shop of Horrors as Mushnik, the role hecreated in the original Roger Corman film. Welles had never performed in the musical and was happy to be asked to do the role, which he described as a\"mitzvah\" for Scotts Valley Performing Arts. Jonathan Haze, who played Seymour in the original film, attended the opening, and Welles also received a visit fromMartin P. Robinson, the designer of the Audrey II plant puppets used in the off-Broadway production (Robinson is also famous for his puppetry on SesameStreet).Arguably his most remembered piece is the beat poem he wrote for the classic film High School Confidential (1958).  Famously delivered by PhillipaFallon, Dragsville, has become a classic piece of literary and cinema history.Welles was working on a horror screenplay, tentatively titled House of a HundredHorrors, at the time of his death.FilmographyNotesExternal linksMel Welles at IMDbPassage 3:Edward LudwigEdward Irving Ludwig (October 7, 1899 – August 20,1982) was a Russian-born American film director and writer. He directed nearly 100 films between 1921 and 1963 (some under the names Edward I. Luddy andCharles Fuhr).Ludwig was born in Ukraine, then part of the Russian Empire, entered the United States from Canada on March 6, 1911, became a naturalizedcitizen December 23, 1932, and died in Santa Monica, California.Partial filmographyPassage 4:The Fighting SeabeesThe Fighting Seabees is a 1944 war film,directed by Edward Ludwig and starring John Wayne and Susan Hayward. The supporting cast includes Dennis O'Keefe, William Frawley, Leonid Kinsky, AddisonRichards and Grant Withers. The Fighting Seabees portrays a heavily fictionalized account of the dilemma that led to the creation of the U.S. Navy's \"Seabees\" inWorld War II. At the 17th Academy Awards, the film received a nomination for Best Scoring of a Dramatic or Comedy Picture for Walter Scharf and Roy Webb butthe award went to Max Steiner for Since You Went Away.Plot\"Wedge\" Donovan is a tough construction boss, building airstrips in the Pacific for the US Navy duringWorld War II. He clashes with his liaison officer, Lieutenant Commander Robert Yarrow, over the fact that his men are not allowed to arm themselves against theJapanese.When the enemy lands in force on the island, Donovan's men want to help fight. Donovan initially tries to dissuade them, but after a Japanese fighterkills or wounds several workers, he changes his mind and leads his men into the fray. This prevents Yarrow from springing a carefully devised trap that wouldhave wiped out the invaders in a murderous machine gun crossfire, with minimal American losses. Instead, many of Donovan's men are killed unnecessarily.As aresult of this tragedy, Yarrow finally convinces the Navy to form Construction Battalions (CBs, or the more familiar \"Seabees\") with Donovan's assistance, despitetheir mutual romantic interest in war correspondent Constance Chesley. Donovan and many of his men enlist and receive formal military training.The two menare teamed together on another island. The Japanese launch a major attack, which the Seabees barely manage to hold off, sometimes using heavy constructionmachinery such as bulldozers and a clamshell bucket.When word reaches Donovan of another approaching enemy column, there are no sailors left to counter thisnew threat. In desperation, he rigs a bulldozer with explosives on its blade, intending to ram it into a petroleum storage tank. The plan works, sending a cascadeof burning liquid into the path of the Japanese, who retreat in panic, right into the sights of waiting machine guns.  However, Donovan is shot in the process anddies in the explosion.CastProductionThe Fighting Seabees had the biggest budget in Republic's history, $1.5 million. The film was completed in collaboration withthe US Navy and the US Marine Corps, and took place on several bases in California (Camp Hueneme and Camp Pendleton), Virginia (Camp Peary) and RhodeIsland (Camp Endicott). Principal photography took place from September 20  to early December 1943.The bulk of the outdoor locations for The Fighting Seabeeswas filmed on the Iverson Movie Ranch in Chatsworth, Calif., widely considered to be the most heavily filmed outdoor filming location in the history of film andtelevision. The production took over virtually the entire 500-acre location ranch for a period of time in 1943, constructing extensive sets on both the UpperIverson and the Lower Iverson. Palm trees were brought in to transform Iverson's rocky Western landscape into a version of the Pacific islands where the film'saction was set.A massive landing strip was constructed on the Upper Iverson to simulate the takeoffs and landings of combat aircraft, as well as enemy bombingraids on the U.S.-built installation. On other parts of the ranch, Quonset huts, observation towers, large fuel tanks and other props were built, with theconstruction process in many cases filmed and featured as part of the film. Graphic scenes depicting tank battles, sniper attacks and hand-to-hand combat werefilmed in the Iverson Gorge, Garden of the Gods and other sections of the movie ranch, in one of the largest productions in the ranch's history.The aircraft in TheFighting Seabees were:Brewster F2A-3 BuffaloDouglas TBD DevastatorDouglas SBD DauntlessMitsubishi Ki-21Grumman F4F-3 WildcatPropagandaDuring WorldWar Two, the enemy in Europe was Nazism, while the enemy in the Pacific was the entire race of Japanese people, according to Dower. Japanese atrocitiesincluding the Rape of Nanking, the Bataan Death March, and the kamikaze pilots were partly to blame for these attitudes, but other aspects such as the Attack onPearl Harbor were also at work. As a result of these attitudes, anti-Japanese attitudes were common, including in films of the time. In 'The Fighting Seabees',Dennis O'Keefe informs John Wayne \"We're not fighting men anymore, we're fighting animals.\"  The films climactic scene shows Wayne as he punctures andignites a large fuel tank, flooding the advancing enemy with burning oil. '\"That'll scorch those Nips back six generations,\" he exults.'ReceptionFilm historianLeonard Maltin in Leonard Maltin's 2013 Movie Guide (2012) considered The Fighting Seabees, \"action-packed\" and \"spirited\". Film historian Alun Edwards inBrassey's Guide to War Films (2000) was more effusive in his evaluation: \"With oodles of eulogies and even a Seabees song to sing, you can't fail to leave theRoxy dewey-eyed and with Stars and Stripes fluttering.\"A positive review in the Rushville Republican included as highlights expertly scened battle sequences,tense dramatic interludes, moments of comedy contrasting with moments of suspense; concluding that this film is 'among the most spectacular ever filmed inHollywood.' This review also drew attention to the fact that the 'Seabees' are less known to the public than most other branches of service, despite providinginvaluable service: 'They are, quite literally, the \"men in front of the man behind the gun.\" They land in combat zones ahead of the troops, and prepare docks,landing fields, barracks, everything that the invading troops require.'See alsoJohn Wayne filmographyList of American films of 1944Passage 5:EdwardYatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program AmericanBandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he becameemployed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live andlocal during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania.In October 1952, Yatesvolunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted"}
+{"doc_id":"doc_45","qid":"","text":"Passage 1:Gerald Rudolff FordGerald Rudolff Ford (December 9, 1890 – January 26, 1962) was an American businessman and Republican politician who was thestepfather of U.S. President Gerald Ford and for whom Ford legally changed his name.Early lifeFord was born in Grand Rapids, Michigan, where he raised thefuture President. His parents were George R. and Frances (Pixley) Ford.The senior Ford's father George Ford died in a train accident in 1903 forcing him to dropout of school to support the family.  He was working as a paint salesman at the Grand Rapids Wood Finishing Company when he met the future president'smother Dorothy Ayer Gardner King. Dorothy had fled to Michigan from Omaha, Nebraska, in 1913, 16 days after the President's birth, after her husband (and herson's birth father), Leslie Lynch King Sr., had physically abused her. She came to Grand Rapids to be near her parents, Levi Addison Gardner and Adele AugustaAyer Gardner, who lived in the town.FamilyThe couple married on February 1, 1917, following Dorothy's divorce from King when the future president was threeand began calling Dorothy's first son \"Gerald.\"Gerald Rudolff Ford and Dorothy Ford had three children – sons Thomas Gardner Ford (July 15, 1918 – August 28,1995); Richard Addison Ford (June 3, 1924 – March 20, 2015); and James Francis Ford (August 11, 1927 – January 23, 2001).The president was to write laterthat in the household there were three rules for him and his half brothers: \"tell the truth, work hard and come to dinner on time.\"The elder Ford founded the FordPaint and Varnish Company in 1929 just before the Great Depression. After the Depression hit, Ford asked his employees to work for $5/week and likewise paidhimself the same salary until all could be paid more.The future president was enrolled in the Grand Rapids school system under the name of hisstepfather.   When the president's birth father Leslie Lynch King reappeared in 1929 (or 1930 depending on accounts), he stopped at schools searching for a\"Leslie King\" before finding him at Grand Rapids South High School after asking for a \"Junior Ford.\"The future president turned down an offer from his biologicalfather to move with him to Wyoming.Leslie's father Charles King had been paying child support for Ford until 1929 when the stock market crash wiped out hisfortune. After Leslie's father died, Dorothy sought an order to get money from the $50,000 Leslie had inherited. However, since Leslie had moved to Wyoming hewas out of the jurisdiction of the Nebraska court.The elder Ford never legally adopted the president. The president changed his name in 1935 after the deaths ofhis paternal King family grandparents to an Anglicized version of his stepfather's name: Gerald Rudolph Ford.Early careerThe elder Ford was active on variousfunctions including the formation of the Youth Commonwealth to help disadvantaged youth. He was director of the Grand Rapids Chamber of Commerce andchairman of the Kent County, Michigan Republican Committee from 1944 until 1948 when he stepped down after the future President began his first run forCongress.The elder Ford was active with his four sons in the Boy Scouts of America. The future President would be the first Eagle Scout to become Vice Presidentor President. The President was to say later that the award was one of his proudest accomplishments.The President was to write later:He was the father that Igrew up to believe was my father, the father I loved and learned from and respected. He was my dad... Dad was one of the truly outstanding people I ever knewin my life.DeathThe elder Ford died on January 26, 1962, in Grand Rapids, Michigan. He and his wife are buried in Woodlawn Cemetery in Grand Rapids.Passage2:Caroline KennedyCaroline Bouvier Kennedy (born November 27, 1957) is an American author, attorney, and diplomat serving as the United States Ambassadorto Australia since 2022. She previously served in the Obama administration as the United States Ambassador to Japan from 2013 to 2017. A prominent memberof the Kennedy family, she is the only surviving child of former U.S. president John F. Kennedy (JFK) and former first lady Jacqueline Bouvier Kennedy.JFK wonthe 1960 presidential election when Caroline was two years old. Spending her early childhood years in the White House during the Kennedy Administration, shewas almost six when he was assassinated on November 22, 1963. The following year, she and her brother John F. Kennedy Jr. moved with their motherJacqueline to the Upper East Side of Manhattan, where Caroline attended grade school.Kennedy graduated from Harvard University and worked at Manhattan'sMetropolitan Museum of Art, where she met her future husband, exhibit designer Edwin Schlossberg. She later earned a J.D. degree from Columbia Law School.Most of Kennedy's professional life has been in law, politics, education reform, and charitable work. She has also acted as a spokesperson for her family's legacy,especially that of her father, and co-authored two books with Ellen Alderman on civil liberties.Early in the primary race for the 2008 presidential election, Kennedyand her uncle, Ted Kennedy, endorsed Democratic candidate Barack Obama. She later stumped for him in Florida, Indiana, and Ohio, served as co-chair of hisVice Presidential Search Committee, and addressed the 2008 Democratic National Convention in Denver.After Obama selected United States senator HillaryClinton to serve as secretary of state, Kennedy expressed interest in being appointed to Clinton's vacant Senate seat from New York, but later withdrew fromconsideration for personal reasons. In 2013, President Obama appointed Kennedy as the United States ambassador to Japan. Eight years later, Joe Bidenappointed Kennedy as United States ambassador to Australia and she took office following her confirmation on June 10, 2022.Early lifeWhite House yearsCarolineBouvier Kennedy was born by caesarean section on November 27, 1957, at New York Hospital in Manhattan's Upper East Side to John Fitzgerald Kennedy (then aU.S. senator from Massachusetts) and Jacqueline Lee Bouvier Kennedy.  A year before Caroline's birth, her parents had a stillborn daughter. Caroline had ayounger brother, John Jr., who was born just before her third birthday in 1960. Another brother, Patrick, died two days after his premature birth in 1963. Carolinelived with her parents in Georgetown, Washington, D.C. during the first three years of her life. When Caroline was three years old, the family moved to the WhiteHouse after her father was sworn in as the president of the United States.Caroline frequently attended kindergarten in classes that were organized by her mother,and she was often photographed riding her pony \"Macaroni\" around the White House grounds. One such photo in a news article inspired singer-songwriter NeilDiamond to write his Top Ten hit song, \"Sweet Caroline\", which he revealed when he performed it for Caroline's 50th birthday. As a small child, Caroline receivednumerous gifts from dignitaries, including a puppy from Soviet Premier Nikita Khrushchev and a Yucatán pony from Vice President Lyndon B. Johnson.  Ashort-lived comic strip was created about her.Historians described Caroline's childhood personality as \"a trifle remote and a bit shy at times\" yet \"remarkablyunspoiled.\" \"She's too young to realize all these luxuries\", her paternal grandmother, Rose Kennedy, said of her. \"She probably thinks it's natural for children togo off in their own airplanes. But she is with her cousins, and some of them dance and swim better than she. They do not allow her to take special precedence.Little children accept things\".On the day of JFK's assassination on November 22, 1963, nanny Maud Shaw took Caroline and John Jr. away from the White Houseto the home of their maternal grandmother, Janet Bouvier Auchincloss, who insisted that Shaw would be the one to tell Caroline that her father was assassinated.That evening, Caroline and John Jr. returned to the White House, and while Caroline was sleeping in her bed, Shaw broke the news to her. Shaw soon found outthat Jacqueline had wanted to be the one to tell the two children; this caused a rift between Shaw and Jacqueline. On December 6, two weeks after theassassination, Jacqueline, Caroline, and John Jr. moved out of the White House and returned to Georgetown. However, their new home soon became a populartourist attraction. The family left Georgetown the following year and later moved to a penthouse apartment at 1040 Fifth Avenue on the Upper East Side.Laterchildhood yearsIn 1967, Caroline christened the U.S. Navy aircraft carrier USS John F. Kennedy in a widely publicized ceremony in Newport News, Virginia. Overthat summer, Jacqueline took the children on a six-week \"sentimental journey\" to Ireland, where they met President Éamon de Valera and visited the Kennedyancestral home at Dunganstown. In the midst of the trip, Caroline and John were surrounded by a large number of press photographers while playing in a pond.The incident caused their mother to telephone Ireland's Department of External Affairs and request the issuing of a statement that she and the children wanted tobe left in peace. As a result of the request, further attempts by press photographers to photograph the threesome ended with arrests by local police and thephotographers being jailed.Robert F. Kennedy became a major presence in the lives of Caroline and John Jr. following their father's assassination, and Carolinesaw her uncle as a surrogate father. However, when Bobby Kennedy was assassinated in 1968, Jacqueline sought a means of protecting her children, stating: \"Ihate this country.  I despise America and I don't want my children to live here anymore.  If they're killing Kennedys, my kids are the number one targets.  I havethe two main targets.  I want to get out of this country\". Jacqueline Kennedy married Greek shipping tycoon Aristotle Onassis several months later and she andthe children moved to Skorpios, his Greek island. The next year, 11-year-old Caroline attended the funeral of her grandfather, Joseph P. Kennedy Sr. Her cousin,David, asked her about her feelings towards her mother's new husband and she replied, \"I don't like him\".In 1970, Jacqueline wrote her brother-in-law TedKennedy a letter stating that Caroline had been without a godfather since Robert Kennedy's death and would like Ted to assume the role. Ted began makingregular trips from Washington to New York to see Caroline, where she was in school. In 1971, Caroline returned to the White House for the first time since herfather's assassination when she was invited by President Richard Nixon to view the official portrait of her father.Onassis died in March 1975, and Caroline returnedto Skorpios for his funeral. A few days later she and her mother and brother attended the presentation by French president Valéry Giscard d'Estaing of the Legionof Honor award to her aunt, Eunice Kennedy Shriver. Later that year, Caroline was visiting London to complete a year-long art course at the Sotheby's auctionhouse, when an IRA car bomb placed under the car of her hosts, Conservative MP Sir Hugh Fraser and his wife, Antonia, exploded shortly before she and theFrasers were due to leave for their daily drive to Sotheby's. Caroline had not yet left the house, but a neighbor, oncologist Professor Gordon Hamilton Fairley, was"}
+{"doc_id":"doc_46","qid":"","text":"Passage 1:Spy KidsSpy Kids is an American family action-adventure spy comedy franchise created by Robert Rodriguez. The plot follows adventures of Carmenand Juni Cortez, two children who become involved in their parents' espionage organization. The films include Latino themes, as Rodriguez is of Mexicandescent.BackgroundInfluencesSpy Kids was influenced by James Bond films. The first film was \"a fusion of Willy Wonka and James Bond\" and the second was the\"Mysterious Island and James Bond mix\".The spy organization in the films is called the OSS. These initials are from the Office of Strategic Services, a former U.S.intelligence organization during World War II which later evolved into the CIA. The character Donnagon Giggles was named after William Joseph Donovan, thedirector of the original OSS. The initials in the Spy Kids universe are never specified on screen, but, in one of the books, they stand for the Organization of SuperSpies.ThemesOne of the main themes of Spy Kids is the unity of family. The children have adult responsibilities, and a lesson is that keeping secrets from familymembers can have a negative effect on relationships. The first film also deals extensively with sibling rivalry and the responsibility of older children. There is alsoa strong sense of Latino heritage.Technical innovationsThe other films were shot with High Definition digital video, parts of the third film using an anaglyphicprocess to create the 3-D effect. Audiences were given red/blue 3D glasses with their tickets in movie theatres. Four sets of these glasses were also included inthe DVD release. The third film was used as a test for a special Texas Instruments digital projector which can project polarized 3D, which does not require thered-blue lenses, later reused for The Adventures of Sharkboy and Lavagirl in 3-D (2005).FilmsSpy Kids (2001)After retiring from espionage for ten years,Gregorio and Ingrid (Antonio Banderas and Carla Gugino) are pulled back into duty for their important assignment despite the fact they were out of practice, andwere captured. Their two children, Carmen and Juni (Alexa Vega and Daryl Sabara), stay with their uncle Felix Gumm (Cheech Marin) and discover the truth oftheir parents' past, which they had neglected to tell them because they were afraid that if they knew, they would picture danger at every corner; and decide torescue them. On their first mission, Carmen and Juni manage to bring around their estranged uncle, Isador \"Machete\" Cortez (Danny Trejo), a genius gadgetinventor and Juni helps to redeem a TV show host named Fegan Floop (Alan Cumming). Together, Carmen and Juni thwart the plan of Floop's notorious secondin-command Alexander Minion (Tony Shalhoub) to develop an army of androids resembling young children (including Carmen and Juni themselves) for amastermind named Mr. Lisp (Robert Patrick) and his partner Ms. Gradenko (Teri Hatcher). The robots based on Carmen and Juni became part of Floop's show.SpyKids 2: The Island of Lost Dreams (2002)As agents of the OSS, Carmen and Juni try to save the daughter (Taylor Momsen) of The President Of The United States(Christopher McDonald) while facing a particularly hard competition with Gary and Gerti Giggles (Matt O'Leary and Emily Osment), the two children of adouble-dealing agent Donnagon Giggles (Mike Judge), whom Carmen and Juni helped to rescue them from the first film. Juni gets fired from the OSS afterfighting with Gary over a smaller version of the transmooker, a device that can shut off all electronic devices even though it was Gary who started the fight. Juniloses his spot for the best spy kid of the year award, while Donnagon plans to steal the transmooker to take over the world. On their second mission, Carmen andJuni follow the trail to the mysterious island of Leeke Leeke which is home to Romero (Steve Buscemi), an eccentric scientist who attempted to create geneticallyminiaturised animals, but instead ended up with his island inhabited by mutant monsters. Eventually, Donnagon is fired and Gary is suspended, and thetransmooker is destroyed. Juni is offered his job back, but in order to take a break from the OSS, he retires to start his own private eye agency.Spy Kids 3-D:Game Over (2003)After retiring from the OSS, Juni is thrust back into service when an evil mastermind named Sebastian \"The Toymaker\" (Sylvester Stallone)creates a fictional video game called Game Over, which hypnotizes its users. Carmen was sent on a mission to disable the game, but disappeared on Level 4. Withthe help of his maternal grandfather, Valentin Avellan (Ricardo Montalban), who uses a wheelchair, Juni is sent after Carmen and helps her to disable the game inorder to save the world. It is revealed that Sebastian was the one who disabled Valentin in the first place. Instead of avenging his former partner, Valentinforgives Sebastian who is redeemed.Spy Kids: All the Time in the World (2011)The OSS has become the world's top spy agency, while the Spy Kids departmenthas become defunct. A retired spy Marissa (Jessica Alba) is thrown back into the action along with her two stepchildren, Rebecca and Cecil (Rowan Blanchard andMason Cook), when a maniacal Timekeeper (Jeremy Piven) attempts to take over the world. In order to save the world, Rebecca and Cecil must team up withMarissa.Spy Kids: Armageddon (2023)The fifth installment, Spy Kids: Armageddon, serving as a reboot of the franchise, is in development, with a film involving aplot that centers around a multicultural family. Robert Rodriguez again serves as writer/director, while the project is a joint-venture production between SkydanceMedia and Spyglass Media Group. The film is scheduled for distribution on Netflix, making it the second Spy Kids project produced for the platform. GinaRodriguez, Zachary Levi, Everly Carganilla and Connor Esterson were set to star, along with Billy Magnussen and D. J. Cotrona. The plotline for the film is asfollows: \"When the children of the world's greatest secret agents unwittingly help a powerful Game Developer unleash a computer virus that gives him control ofall technology, they must become spies themselves to save their parents and the world\". Production of the film wrapped in late August 2022, and is set to bereleased on Netflix in Q3-Q4 2023.TelevisionSpy Kids: Mission Critical (2018)An animated series based on the films, Spy Kids: Mission Critical, was released onNetflix in 2018. The first and second seasons both consist of 10 episodes and is produced by Mainframe Studios. Robert Rodriguez served as one of the executiveproducers on the show.Main cast and charactersAdditional crew and production detailsReceptionBox office performanceCritical and public responseThough thefirst and second film received positive reviews, the series experienced a steadily declining critical reception with each film.Home mediaSeptember 18, 2001 (SpyKids) on DVD by Buena Vista Home EntertainmentFebruary 18, 2003 (Spy Kids 2: The Island of Lost Dreams) on DVD by Buena Vista HomeEntertainmentFebruary 24, 2004 (Spy Kids 3D: Game Over) on DVD by Buena Vista Home EntertainmentAugust 2, 2011 (Spy Kids, Spy Kids 2: The Island of LostDreams, and Spy Kids 3-D: Game Over) on DVD and Blu-ray Disc by Lionsgate (However, all 3 DVDs are still the original Buena Vista Home Entertainmentcopies.)November 15, 2011 (Spy Kids, Spy Kids 2: The Island of Lost Dreams, and Spy Kids 3-D: Game Over Triple Feature) on Blu-ray Disc byLionsgateNovember 22, 2011 (Spy Kids: All the Time in the World) on DVD and Blu-ray by Anchor Bay EntertainmentDecember 4, 2012 (Spy Kids 3-D: GameOver, The Adventures of Sharkboy and Lavagirl in 3-D 3D Double Feature) on Blu-ray 3D Disc by LionsgateSeptember 22, 2020 (Spy Kids, Spy Kids 2: The Islandof Lost Dreams, and Spy Kids 3-D: Game Over Triple Feature) on DVD and Blu-ray Disc reissue by ParamountOther mediaVideo gamesSpy Kids Challenger (GameBoy Advance)Spy Kids Mega Mission Zone (PC/Mac)Spy Kids 3-D: Game Over (Game Boy Advance and PC/Mac)Spy Kids: Learning Adventures series(PC/Mac)Spy Kids: All the Time in the World (Nintendo DS)See alsoRelated film seriesIsador \"Machete\" Cortez, who appeared in all four Spy Kids film series as asupporting character, additionally had a series of two stand-alone films: Machete and Machete Kills, also written and directed by Robert Rodriguez. However, theMachete films share little in common with the Spy Kids films thematically and are not considered direct spin-offs, the first film instead being an adult-orientedaction exploitation film, with the second film introducing science fiction elements; both films additionally share several cast members and characters with the SpyKids films. The idea for a Machete film came from a fake trailer promoting the Grindhouse double-feature by Rodriguez and Quentin Tarantino. Trejo andRodriguez have made two conflicting statements regarding its canonicity to the Spy Kids films; Trejo claimed that the films depict \"what Uncle Machete does whenhe's not taking care of the kids\", while Rodriguez said in a Reddit AMA that they are alternate universes. Regardless, Rodriguez claimed that he was prompted byan incident on the set of the first Machete film to start envisioning a fourth film in the main Spy Kids film series, casting Jessica Alba as Machete's sister Marissa, adifferent character to the one she portrayed in Machete, with Trejo additionally reprising his role alongside her.NotesPassage 2:Legion of Lost FlyersLegion of LostFlyers (aka Legion of Lost Fliers) is a 1939 American B movie drama film directed by Christy Cabanne. It stars Richard Arlen, Andy Devine, and Anne Nagel.Legion of Lost Flyers was released by Universal Pictures on November 3, 1939.PlotA group of pilots, because of unsavory or unearned reputations, establish anoutpost of their own, running charter-flights and hauling supplies in the frozen wastelands of Alaska. Gene \"Loop\" Gillian (Richard Arlen), Gillian came to Alaskabecause he has been blamed for a crash where four men where killed. Bill Desert (Theodore Von Eltz), the head of the commercial airlines, refuses to hire him asa pilot, but at the request of aircraft mechanic \"Beef\" Brumley (Andy Devine), Desert hires Loop as a \"grease jockey\".Brumley knows Gillian and does not believethe story about the deaths. Regarded as a coward by the other pilots, Ralph Perry (William Lundigan), Jake Halley (Guinn \"Big Boy\" Williams) and Smythe  (LeonAmes), Gillian claims he is innocent of causing the deaths because it was really Perry who had taken the flight that night. Rumours continue to swirl about theincident.Perry decides he has had enough and takes off in an stolen aircraft loaded with gold from a local mine. He ends up crashing in the wilderness in a remotecanyon, with Gillian, the only one willing to fly to his rescue. After loading Perry on board, the take off ends in the aircraft suffering heavy damage.On the returnflight, the aircraft is falling to pieces. Perry panics and as Gillian nears the airfield, he forces Perry to confess on the radio about his involvement in the men'sdeath. Gillian is reinstated as a pilot and falls in love with Paula (Anne Nagel) who had been the boss's sweetheart.CastProductionProduction dates for principalphotography for Legion of Lost Flyers began on July 26, 1939.The aircraft used in Legion of Lost Flyers was: Stearman C3BFleet 1 c/n 374, NC792VFokker"}
+{"doc_id":"doc_47","qid":"","text":"Passage 1:Buffalo Bill, Hero of the Far WestBuffalo Bill, Hero of the Far West  (Buffalo Bill, l'eroe del far west) is a 1964 Italian Spaghetti Western directed byMario Costa.StoryBuffalo Bill is sent west by President Ulysses S. Grant to settle an Indian uprising started by Yellow Hand and supported by gunsmugglers.CastGordon Scott as Colonel William \"Buffalo Bill\" CodyMario Brega as DonaldsonJan Hendriks as MonroeCatherine Ribeiro asRayon-de-Lune/MoonbeamPiero Lulli as RedMirko Ellis as Yellow HandHans von Borsody as Captain HunterRoldano Lupi as Colonel PetersonIngeborg Schöner asMary PetersonFeodor Chaliapin, Jr.  as Chief White FoxUgo Sasso as SnackLuigi Tosi as barmanFranco Fantasia as George, a poker playerAndrea Scotti as pokerplayerPassage 2:Battling with Buffalo BillBattling with Buffalo Bill is a 1931 American pre-Code Western serial film directed by Ray Taylor and starring Tom Tyler,Lucile Browne, William Desmond, Rex Bell, and Francis Ford.Based on the book The Great West That Was by William F. \"Buffalo Bill\" Cody, the film is about acowboy named Buffalo Bill who goes up against a shady gambler who is attempting to scare off the townspeople so he can gain possession of a gold strike. Whena nearby Indian tribe is provoked into attacking the town, the cavalry rides in to the rescue. Cody's book was also used as the inspiration for the studio's highlysuccessful 1930 serial The Indians Are Coming.Battling with Buffalo Bill was Universal Pictures's 78th serial, the 10th with sound and 4th with full sound, of thestudio's total of 137 serials.PlotThe plot is a variation on the standard B-Western \"Land Grab\" plot: Gold has been discovered in the area and gambler Jim Rodneyintends to make sole claim to it by pushing the rightful owners off the land and taking it for himself. To do so he has his henchmen kill an Indian woman,provoking attacks from her tribe. This brings Buffalo Bill and the United States Cavalry into the town. Buffalo Bill proceeds to defeat Rodney and hisschemes.CastTom Tyler as William \"Buffalo Bill\" CodyLucile Browne as Jane Mills, Buffalo Bill's love interestWilliam Desmond as John MillsRex Bell as Dave Archer,Buffalo Bill's sidekick.Francis Ford as Jim Rodney, villainous gambler trying to illicitly claim a local gold strikeGeorge Regas as 'Breed' JohnsYakima Canutt asScout Jack BradyBud Osborne as Joe Tampas, one of Rodney's henchmenJoe Bonomo as Joe BradyJim Thorpe as Swift ArrowProductionAlong with the moresuccessful The Indians Are Coming (1930) this serial was based on the book \"The Great West That Was\" by Buffalo Bill Cody.StuntsJoe BonomoYakima CanuttCliffLyonsChapter titlesCaptured by RedskinsCircling DeathBetween Hostile TribesThe Savage HordeThe Fatal PlungeTrappedThe Unseen KillerSentenced to DeathTheDeath TrapA Shot from AmbushThe Flaming DeathCheyenne VengeanceSource:See alsoList of American films of 1931List of film serials by yearList of film serialsby studioPassage 3:Buffalo BillWilliam Frederick Cody (February 26, 1846 – January 10, 1917), known as Buffalo Bill, was an American soldier, bison hunter, andshowman. He was born in Le Claire, Iowa Territory (now the U.S. state of Iowa), but he lived for several years in his father's hometown in modern-dayMississauga, Ontario, Canada, before the family returned to the Midwest and settled in the Kansas Territory.Buffalo Bill started working at the age of 11, after hisfather's death, and became a rider for the Pony Express at age 15. During the American Civil War, he served the Union from 1863 to the end of the war in 1865.Later he served as a civilian scout for the U.S. Army during the Indian Wars, receiving the Medal of Honor in 1872.One of the most famous and well-known figuresof the American Old West, Buffalo Bill's legend began to spread when he was only 23. Shortly thereafter he started performing in shows that displayed cowboythemes and episodes from the frontier and Indian Wars. He founded Buffalo Bill's Wild West in 1883, taking his large company on tours in the United States and,beginning in 1887, in Great Britain and continental Europe.Early life and educationCody was born on February 26, 1846, on a farm just outside Le Claire, Iowa.His father, Isaac Cody, was born on September 5, 1811, in Toronto Township, Upper Canada, now part of Mississauga, Ontario, directly west of Toronto. MaryAnn Bonsell Laycock, Bill's mother, was born about 1817 in Trenton, New Jersey. She moved to Cincinnati to teach school, and there she met and married Isaac.She was a descendant of Josiah Bunting, a Quaker who had settled in Pennsylvania. There is no evidence to indicate Buffalo Bill was raised as a Quaker. In 1847the couple moved to Ontario, having their son baptized in 1847, as William Cody, at the Dixie Union Chapel in Peel County (present-day Peel Region, of whichMississauga is a part), not far from the farm of his father's family. The chapel was built with Cody money, and the land was donated by Philip Cody of TorontoTownship. They lived in Ontario for several years.In 1853, Isaac Cody sold his land in rural Scott County, Iowa, for $2000 (around $68,000 in today's money) andthe family moved to Fort Leavenworth, Kansas Territory. In the years before the Civil War, Kansas was overtaken by political and physical conflict over theslavery question. Isaac Cody was against slavery. He was invited to speak at Rively's store, a local trading post where pro-slavery men often held meetings. Hisantislavery speech so angered the crowd that they threatened to kill him if he did not step down. A man jumped up and stabbed him twice with a Bowie knife.Rively, the store's owner, rushed Cody to get treatment, but he never fully recovered from his injuries.In Kansas, the family was frequently persecuted bypro-slavery supporters. Cody's father spent time away from home for his safety. His enemies learned of a planned visit to his family and plotted to kill him on theway. Bill, despite his youth and being ill at the time, rode thirty miles (48 km) to warn his father. Isaac Cody went to Cleveland, Ohio, to organize a group ofthirty families to bring back to Kansas, to add to the antislavery population. During his return trip, he caught a respiratory infection which, compounded by thelingering effects of his stabbing and complications from kidney disease, led to his death in April 1857.After his death, the family suffered financially. At age 11, Billtook a job with a freight carrier as a \"boy extra\". On horseback he would ride up and down the length of a wagon train and deliver messages between the driversand workmen. Next, he joined Johnston's Army as an unofficial member of the scouts assigned to guide the United States Army to Utah, to put down a rumoredrebellion by the Mormon population of Salt Lake City.According to Cody's account in Buffalo Bill's Own Story, the Utah War was where he began his career as an\"Indian fighter\":Presently the moon rose, dead ahead of me; and painted boldly across its face was the figure of an Indian. He wore this war-bonnet of the Sioux,at his shoulder was a rifle pointed at someone in the river-bottom 30 feet [9 meters] below; in another second he would drop one of my friends. I raised my oldmuzzle-loader and fired. The figure collapsed, tumbled down the bank and landed with a splash in the water. \"What is it?\" called McCarthy, as he hurried back.\"It's over there in the water.\" \"Hi!\" he cried. \"Little Billy's killed an Indian all by himself!\" So began my career as an Indian fighter.At the age of 14, in 1860, Codywas caught up in the \"gold fever\", with news of gold at Fort Colville and the Holcomb Valley Gold Rush in California. On his way to the goldfields, however, he metan agent for the Pony Express. He signed with them, and after building several stations and corrals, Cody was given a job as a rider. He worked at this until hewas called home to his sick mother's bedside.Cody claimed to have had many jobs, including trapper, bullwhacker, \"Fifty-Niner\" in Colorado, Pony Express rider in1860, wagonmaster, stagecoach driver, and a hotel manager, but historians have had difficulty documenting them. He may have fabricated some for publicity.Namely, it is argued that in contrast to Cody's claims, he never rode for the Pony Express, but as a boy, he did work for its parent company, the transport firm ofRussell, Majors, and Waddell. In contrast to the adventurous rides, hundreds of miles long, that he recounted in the press, his real job was to carry messages onhorseback from the firm's office in Leavenworth to the telegraph station three miles away.Military servicesAfter his mother recovered, Cody wanted to enlist as asoldier in the Union Army during the American Civil War but was refused because of his young age. He began working with a freight caravan that deliveredsupplies to Fort Laramie in present-day Wyoming. In 1863, at age 17, he enlisted as a teamster with the rank of private in Company H, 7th Kansas Cavalry, andserved until discharged in 1865.The next year, Cody married Louisa Frederici. They had four children. Two died young, while the family was living in Rochester,New York. They and a third child are buried in Mount Hope Cemetery, in Rochester.In 1866, he reunited with his old friend Wild Bill Hickok in Junction City,Kansas, then serving as a scout. Cody enlisted as a scout himself at Fort Ellsworth and scouted between there and Fort Fletcher (later renamed and moved to FortHays). He was attached as a scout, variously, to Captain George Augustus Armes (Battle of the Saline River) and Lieutenant Colonel George Armstrong Custer(guide and impromptu horse race to Fort Larned). It was during this service at Fort Ellsworth that he met William Rose, with whom he would found the short-livedsettlement of Rome.In 1867, with the construction of the Kansas Pacific Railway completing through Hays City and Rome, Cody was granted a leave of absence tohunt buffalo to supply railroad construction workers with meat. This endeavor continued into 1868, which saw his hunting contest with William Comstock.Codyreturned to Army service in 1868. From his post in Fort Larned, he performed an exceptional feat of riding as a lone dispatch courier from Fort Larned to FortZarah (escaping brief capture), Fort Zarah to Fort Hays, Fort Hays to Fort Dodge, Fort Dodge to Fort Larned, and, finally, Fort Larned to Fort Hays, a total of 350miles in 58 hours through hostile territory, covering the last 35 miles on foot. In response, General Philip Sheridan assigned him Chief of Scouts for the 5thCavalry Regiment.He was also Chief of Scouts for the Third Cavalry in later campaigns of the Plains Wars.In January 1872, Cody was a scout for the highlypublicized hunting expedition of the Grand Duke Alexei Alexandrovich of Russia.Medal of HonorCody was awarded the Medal of Honor in 1872 for documentedgallantry above and beyond the call of duty as an Army scout in the Indian Wars. It was revoked in 1917, along with medals of 910 other recipients dating back tothe Revolutionary War, when Congress decided to create a hierarchy of medals, designating the \"Medal of Honor\" as the highest military honor it could bestow.Subsequent regulations authorized the War Department to revoke prior Medal of Honor awards it considered not meeting requirements since the introduction ofstrict regulations promulgated under the 1917 law. Those regulations required the medal to be awarded for acts of bravery above and beyond the call of duty by"}
+{"doc_id":"doc_48","qid":"","text":"Passage 1:Henry II, Count of Reuss-GeraHenry II of Reuss (younger line) (10 June 1572 in Gera – 23 December [O.S. 13 December] 1635 in Gera), nicknamedthe Posthumous because his father died two months before he was born,  was Lord of Gera, Lord of Lobenstein and Lord of Oberkranichfeld.LifeHenry II was bornposthumously, as the only son of Henry XVI of Reuss-Gera (1530-1572), the founder of the Younger Line, and his wife, Countess Dorothea of Solms-Sonnewalde(1547-1595), daughter of Frederick Magnus I, Count of Solms-Laubach.Henry successfully promoted education and the economy of his country.  In 1608, hefounded the Rutheneum Gymnasium in Gera (now the Goethe-Gymnasium/Rutheneum).  Against the advice of his theological councillor, he granted asylum toCalvinist refugees from Flanders and housed them in his capital city Gera.  This led to an upsurge in wool production and an economic boom.  During his reign,Gera also developed into the cultural centre of the Reuss areas.  He had a particular fondness for \"ring riding\", and was a frequent guest at the courts in Viennaand Dresden.Henry II died on 23 December 1635 and was buried in the Salvator Church in Gera.  The composer Heinrich Schütz wrote his Musikalische Exequienfor this occasion.  His elaborately decorated copper outer coffin, with biblical proverbs and evangelical chorals, was transferred from the Salvator Church to theSt. John church in 1995.  In 2011, it was displayed in an exhibition about funeral practices in the early modern age in the city museum of Gera.  It has also beenon display in the Museum for Sepulchral Culture in Kassel.Marriages and issueIn Weikersheim on 7 February 1594, Henry II married firstly Magdalena (28December 1572 – 2 April 1596), daughter of Wolfgang, Count of Hohenlohe-Weikersheim-Langenburg. They had one daughter:Dorothea Magdalena (25 February1595 – 29 October 1647), married in 1620 to Burgrave George of Kirchberg.In Rudolstadt on 22 May 1597, Henry II married secondly Magdalena (12 Apr 1580 –22 Apr 1652), daughter of Count Albert VII of Schwarzburg-Rudolstadt. They had seventeen children:Juliane Marie (1 February 1598 – 4 January 1650), marriedin 1614 to Count David of Mansfeld-Schraplau.Henry I (21 February 1599 – 27 July 1599)Agnes (17 April 1600 – 1 February 1642), married in 1627 to CountErnest Louis of Mansfeld-Heldrungen.Elisabeth Magdalene (8 May 1601 – 4 April 1641).Henry II (14 August 1602 – 28 May 1670), Lord of Gera andSaalburg.Henry III (31 Oct 1603 – 12 July 1640), Lord of Schleiz.Henry IV (21 December 1604 – 3 November 1628).Henry V (3 November 1606 – 3/7 November1606), twin with Henry VI.Henry VI (3 November 1606 – 3/7 November 1606), twin with Henry V.Sophie Hedwig (24 February 1608 – 22 January1653).Dorothea Sibylle (7 October 1609 – 25 November 1631), married in 1627 to Baron Christian Schenk of Tautenburg.Henry VII (15 October 1610 – 24 July1611).Henry VIII (19 June 1613 – 24 September 1613).Anna Katharina (24 March 1615 – 16 February 1682).Henry IX (22 May 1616 – 9 January 1666), Lord ofSchleiz.Ernestine (19 March 1618 – 23 February 1650), married in 1639 to Otto Albert of Schönburg-Hartenstein.Henry X (9 September 1621 – 25 January1671), Lord of Lobenstein and Ebersdorf.HonorsSince 2008, the motor car of one of the trams in Gera bears his name.Passage 2:Enguerrand V deCoucyEnguerrand V, Lord of Coucy (-after 1321) inherited the title of Lord of Coucy and castle from his maternal uncle, Enguerrand IV in 1311.  He was also lordof Oisy and Montmirail.BiographyEnguerrand was the second son of Arnould III, Count of Guînes and Alix de Coucy, daughter of Enguerrand III, Lord of Coucy.His father, Arnould, sold the county of Guines to King Louis IX of France, forcing Enguerrand to find his fortune abroad. After arriving in Scotland, he marriedChristiana Lindsay in Scotland. Christiana was the daughter of William Lindsay and Ada Balliol, sister of John Balliol. Their wedding was arranged by their mutualcousin, King Alexander III of Scotland. Enguerrand was present at the recognition of Margaret as Alexander III's heir and the Treaty of Birgham in 1290.On 28May 1283, Enguerrand pledged his service to King Edward I of England.When Enguerrand's maternal uncle, Enguerrand IV, died without leaving any heirs, thetitles and lands of Coucy were passed to Enguerrand.IssueEnguerrand and Christiana had four sons:Guillaume de Coucy, Lord of Coucy,  Marle, La Fère, Oisy andMontmirel, married Isabeau de Châtillon-Saint-Pol, had issue.Enguerrand de Coucy, Viscount of Meaux, Lord of La Ferté-Ancoul, Tresmes and Belonnes, marriedfirstly Marie de Vianden, Dame de Rumpt and secondly Allemande Flotte de Revel, had issue.Baudouin de CoucyRobert de Coucy, Lord of LaFerté-Gaucher.Passage 3:Charles II Henri van de Werve, Lord of SchildeBaron Charles-Henri van de Werve (1672-1721), Lord of Schilde, Lord ofGiessen-Oudkerk, Lord of Wavre-Notre-Dame and Lord of Wavrans, formed part of a very old, important and noble family of Antwerp, House van deWerve.FamilyHe was the son of Charles I Bruno van de Werve, Lord of Schilde; and of Cornélie van de Werve, daughter of the Lord of Westkercke. Through hisgrandmother side he is one of the descendants of Erasmus II Schetz. He married Eléonore de Varick in 1696. Eléonore was the daughter of Charles-Hyacinthe deVarick, Lord of Court St-Etienne and of Witterzée; and of Eléonore-Louise de Haynin, Lady of Wavrans.They had 4 children's:Eléonore-Marie van de Werve(1698–1726).X1(1716): She married Charles-François Boot, Lord of Veltem, Oppem, Sombeke and La Motte.X2(1724): She married Ferdinand-Joseph, marquessde la Puente y Reiffenberg, baron of Limal, Lord of Bierges.Gertrude-Madeleine van de Werve (1700–1746): She married in 1725 her cousin Philippe-Adrien deVarick, viscount of Brussels, baron of Woluwe-Saint-Lambert and of Libersart, Lord of Boendaal, Ixelles, Huizingen and Eizingen.Baron Charles-Philippe van deWerve (1702–1744), Lord of Schilde, Giessen-Oudkerk and Wavre-Notre-Dame.Charles III Philippe van de Werve, 1st Count of Vorsselaer (1706–1776): baron ofLichtaert and of Rielen, Lord of Giessen-Oudkerk. He married Marie-Anne de Pret, Lady of Vorsselaer, Lichtaert and Rielen.AncestryExternallinkshttps://web.archive.org/web/20070312045421/http://vandewerve.skyblog.com/Passage 4:Eric Longlegs, Lord of LangelandErik Eriksøn, also known as EricLonglegs (Danish: Erik Langben), (1272–1310), Lord of Langeland, was the second son of Eric I, Duke of Schleswig and younger brother of Valdemar IV, Duke ofSchleswig.LifeEric was born in 1272 as the second son of Eric I, Duke of Schleswig, by his wife Margaret of Rugia. He held the island of Langeland in fief andinherited the properties of the ducal family in southern Funen, just as his uncle, Abel, Lord of Langeland, had before him. He is mentioned for the first time asresponsible for the killing of the seneschal Skjalm Stigsen on 23 August 1292. The murder was probably a result of the enmity caused when King Eric VI ofDenmark, after coming of age, confiscated the fief of Langeland and the properties of the ducal family in southern Funen.Together with his brother, DukeValdemar, he joined the king's enemies. In 1293, there was a clash between the two parties at Sommersted Heath near Haderslev which resulted in acompromise where Eric received Langeland as a fief.Subsequently, he married Sophia of Querfurt, a daughter of Jutta of Saxony, widow of King Eric IV ofDenmark in her second marriage to Burchard VIII, Count of Querfurt-Rosenburg. Sophia was thus a half-sister of King Eric IV's daughters, among which were thedeceased Queen Ingeborg of Norway, mother of King Eric II of Norway. The marriage thus connected Eric to the king of Norway, who knighted him, and also ledto a new conflict with King Eric VI, who retained his wife's inheritance from her half-sisters.On 3 February 1296 a compromise was entered in Vordingborg, inwhich the king promised to hand over Sophia's inheritance, but where the ducal family's properties in southern Funen, which had formerly belonged to Abel, Lordof Langeland, were kept by the king as lawfully acquired from Abel's daughter. Only the city of Rudkøbing was transferred to become part of the fief of Langeland,and Eric confirmed the city's rights on the same day.Eric died in 1310. In 1315, Sophia, in the presence of the king and several noblemen, donated theinheritance of her sisters to Saint Agnes' Priory in Roskilde, keeping only the city of Skælskør for herself.Marriage and issueEric married Sophia of Querfurt, adaughter of Burchard VIII, Count of Querfurt-Rosenburg, Burgrave of Magdeburg and Jutta of Saxony, widow of Eric IV of Denmark. The marriage waschildless.AncestryPassage 5:Abel, Lord of LangelandAbel Abelsøn (1252 – 2 April 1279), Lord of Langeland, was the third son of King Abel of Denmark, Duke ofSchleswig, and younger brother of Valdemar III, Duke of Schleswig and Eric I, Duke of Schleswig. As a member of the ducal family, he held several fiefs inSouthern Denmark.LifeAbel was born in 1252 as the third and posthumous son of King Abel of Denmark, Duke of Schleswig, by his wife, Mechtild of Holstein. Inthe settlement with his brother Eric after the death of their elder brother Duke Valdemar III, Abel received the cities of Svendborg, Rudkøbing, and possibly alsoFaaborg on the island of Funen, and as a fief the island of Langeland. Abel died on Easter Day 1279 in Svendborg and was buried in Greyfriars’ Abbey.At hisdeath, he left only a daughter Margaret, who entered the convent of Zarrentin in Mecklenburg and donated her father's properties to her relatives, the counts ofHolstein. They later sold it to King Eric VI of Denmark.Marriage and issueAbel appears to have married a daughter of Gunzelin III, Count of Schwerin:Margaret,abbess of Zarrentin. As abbess, she instituted a requiem mass for her father in 1317.AncestryPassage 6:John I, Lord of PolanenJohn I, Lord of Polanen (c. 1285 –26 September 1342) was Lord of Polanen, Lord of De Lek and Lord of Breda.LifeJohn was a son of Philips III van Duivenvoorde (?-c. 1308) and Elisabeth vanVianen.Lord of PolanenUpon the death of his father, John I became Lord of Polanen Castle. In his early years, John got help from his uncle Diederik van derWale.Lord of HeemskerkIn 1327 John bought Oud Haerlem  Castle and the lordships (ambachtsheerlijkheden) of Heemskerk and Castricum. The price was only100 pounds.In 1328 John took part in the Battle of Cassel, and in 1329 he was knighted. In 1339 he became bailiff of KennemerlandLord of BredaIn 1322 Johnmarried Catharina van Van Brederode (died 1372). He was the father of John II, Lord of Polanen.Passage 7:John I, Lord of EgmondJohn I, Lord of Egmond (before1310 – 28 December 1369) was Lord of Egmond, Lord of IJsselstein, bailiff of Kennemerland (1353-1354) and stadtholder of Holland.LifeHe was a son of WalterII and his wife, Beatrix of Doortogne.  He is first mentioned in 1328, when he fights in the Battle of Cassel and accompanies Count William III of Holland toFlanders, to assist the Count of Flanders suppressing a rebellion in Bruges and the surrounding area.In 1343, he is a member of a group of bailiffs who administer"}
+{"doc_id":"doc_49","qid":"","text":"Passage 1:Judah Even ShemuelYehuda Even Shemuel (Ukraine, 1886-Jerusalem, 1976) was an Israeli Jewish scholar, translator and lexicographer. He won theIsrael Prize in 1973. Yehuda Kaufman (later Even Shemuel) was born in Balta, Ukraine. He studied in three yeshivot. At the age of eighteen, after passing theexamination of a six-years’ course in a Russian gymnasium, he studied in London and then Paris, where he was accepted to the law school of the University ofParis. He immigrated to Montreal, Canada in 1913.His English-Hebrew dictionary was known as The Kaufman Dictionary.Passage 2:Erik KilpatrickErik Kilpatrick(born 1952) is an American actor who is best known for playing Curtis Jackson on the CBS television series The White Shadow.  He is the son of LincolnKilpatrick.  Erik and his father co-starred in \"Here's Mud in Your Eye\", an episode from the first season of The White Shadow.  Kilpatrick has a younger brother,Lincoln Kilpatrick Jr., and a sister, DaCarla Kilpatrick, who also are actors.  Kilpatrick is the father of Erika Kurzawa and Toussaint Kilpatrick. Married to ChrisAnthony. Today, Kilpatrick devotes much of his time directing and is the founder and Artistic Director of KOLA Theatre.Passage 3:Lincoln KilpatrickLincolnKilpatrick (February 12, 1931 – May 18, 2004) was an American film, television, and stage actor.BiographyCareerBorn in St. Louis, Missouri, Kilpatrick attendedLincoln University and earned a degree in drama before he began acting. Encouraged by Billie Holiday, Kilpatrick began his career in 1959 in the Broadwayproduction of A Raisin in the Sun. In the 1960s, he mainly guest-starred in television roles and bit parts in movies. His primary acting talents were showcased instage and theater work, which he remained active in until his death. Kilpatrick was co-founder of the Kilpatrick-Cambridge Theatre Arts School in Hollywood,California. He was also the first African-American member of the Lincoln Center Repertory Company.Personal life and deathKilpatrick was married 47 years to thesinger and stage performer Helena Ferguson from 1957 until his death from lung cancer in 2004. Kilpatrick had five children: actor and composer LincolnKilpatrick Jr.; writer, director and actor DaCarla Kilpatrick; actor and director Erik Kilpatrick; actor Jozella Reed; and producer Marjorie L. Kilpatrick. He was buriedat the Forest Lawn, Hollywood Hills Cemetery in Los Angeles.FilmographyPassage 4:Jean DaninosJean Daninos (2 December 1906 – 13 October 2001) was aGreek-French constructor of luxury cars Facel Vega, born in Paris.The brother of the Pierre Daninos, Jean Daninos had founded the company FACEL (Forges etAteliers des Constructions d'Eure-et-Loir, forge and construction workshop for the department of Eure-et-Loir) in 1939 with hopes of one day designing andmanufacturing his own automobile. An engineer, he had previously collaborated with Citroën on the Traction Avant and had worked in the aviation field.TheFACEL company produced the bodies of custom cars like the Panhard Dyna cabriolet and the Ford Comète.He had also a long time business partnership with HenriThéodore Pigozzi CEO of Simca. All the stylish Aronde sports derivatives (coupes and convertibles called PLein Ciel and Océane, targeted for well to do womencustomers ) were manufactured by Facel.However Pigozzi and Simca chose cheaper and more trendy Carrozeria Bertone for the later the Simca 1000 derivatives(Simca 1200S) and ended the Simca partnership. The first Facel Vega model, designed by Daninos himself, debuted in 1954, equipped with a Chrysler engine.Daninos counted among his clients celebrities including (Tony Curtis, Ava Gardner) and racing drivers (Stirling Moss, Maurice Trintignant). Several sports carmodels followed until the company's demise in the mid-1960s. During ten years of production, FACEL had manufactured 3,000 automobiles.Daninos died inCannes at age 94 from cancer. He was buried with his relatives in Jouy-en-Josas.Passage 5:Alexander FuksAlexander Fuks (30 May 1917 – 29 November 1978)was a German-born, later Israeli historian, archaeologist and papyrologist. He worked with Victor Tcherikover and Menahem Stern on the standard edition ofJewish papyri. He was a specialist in the study of Hellenistic Judaism.Passage 6:Patrick KilpatrickPatrick Kilpatrick (born August 20, 1949), is an American actor,director, screenwriter, producer, journalist, international entertainment speaker and teacher. He has appeared in over 180 films and television series.Kilpatrickran for Governor of California in the 2021 recall election as a Democrat.Early lifeKilpatrick was born in Orange, Virginia, the son of Robert Donald Kilpatrick Sr.and Ellie Faye (born Ellwood Fay) Hines Kilpatrick. His ancestors are Scottish, Scots-Irish, a bit of Welsh, and English, having come to the U.S. as early as 1620,and he has relatives who fought in both the American Revolution and for the Confederacy in the Civil War. His father was a World War II \"Beach Jumper\", apredecessor to the modern U.S. Navy Seals, who received a Silver Star and Purple Heart in the Pacific and was a winner of the National Collegiate BaseballChampionship for the University of Richmond.When Kilpatrick was six, the family moved to Connecticut from Virginia, where his father (formerly a teacher) beganhis career in insurance underwriting. Kilpatrick Sr. was head of Connecticut General, and was a key figure in the merger that created the Cigna Corporation; hedied on January 27, 1997, at age 72. His mother was a public school educator, coach, councilor and psychologist in private practice. The family bought property inVirginia in 1980. After nearly dying in a car crash at the age of 17 on November 17, 1967, he was rehabilitated to the point where he could later perform his ownstunts.Kilpatrick graduated from the University of Richmond in 1972 with a Bachelor of Arts degree in English, History, and Teaching and attended New YorkUniversity's Professional Film and Television Graduate Program.CareerFilm and televisionKilpatrick's entertainment career has spanned more than 180 films andtelevision shows as lead actor, producer, screenwriter, director and acting coach/entertainment teacher. Most commonly playing the role of a villain, Kilpatrick hasjoked, \"I’ve been killed, beaten-up or jailed by nearly every leading actor on earth and in outer space.\"His action-film villain appearances include Class of 1999(1990), Showdown (1993), The Replacement Killers  (1998), Eraser (1996), Last Man Standing (1996), Minority Report (2002), Under Siege 2: Dark Territory(1995), Death Warrant (film) (1990),The Presidio (1988), and two Westerns opposite Tom Selleck, Last Stand at Saber River (1997)  and Crossfire Trail (2001).Kilpatrick also starred in Free Willy 3: The Rescue (1997).In one 18-month period Kilpatrick, reportedly acted in five major-studio films and two independent filmswhile making 27 television guest-star spots on 18 different shows. Other appearances include films such as Remo Williams: The Adventure Begins (1985); 3Ninjas Knuckle Up (1995), and the PBS miniseries American Playhouse: Roanoak (1981), which became the largest production in the history of PBS.Televisionappearances include Dark Angel; Lois & Clark: The New Adventures of Superman (1994); Walker, Texas Ranger (1994); Babylon 5 (1995); Dr. Quinn, MedicineWoman as Sergeant O'Connor for 9 episodes from 1996 to 1997; ER (1997); JAG (1997 & 2000); The X-Files (2001); General Hospital (2003); CSI: Crime SceneInvestigation (2005); 24 (2005); Terminator: The Sarah Connor Chronicles (2008) and Chuck (\"Chuck Versus the Gravitron\"). He guess-starred in the Star Trek:Voyager episodes \"Initiations\" (1995) and \"Drive\" (2000) and in the Star Trek: Deep Space Nine episode \"The Siege of AR-558\" (1998). In January 2019, hebegan filming Catalyst (scheduled for 2021 release).StageKilpatrick had a theatrical run at Los Angeles Theater Center for Shakespeare's Antony and Cleopatra,acted Off-Broadway in Hanoi Hilton at the Harold Clurman Theater (1984), Linda Her and The Fairy Garden (1984) at the Second Stage, and in regional theater,Requiem for a Heavyweight (1985).He has directed Off-Broadway and was a founding member of Divine Theater in New York City. His play, Zone of Bells/Room ofSeesaws,  premiered at the 1984 East Village Arts Festival. He was assistant director on Broadway with The Golden Age (1984) and Entertaining Mr. Sloane,(1984, Cherry Lane Theatre), and on Death Trap (1984) in the West End of London.AuthorIn 2018, Kilpatrick released a memoir, Dying for living: Sins &Confessions of a Hollywood Villain & Libertine Patriot Vol. 1 – Upbringing, published by Boulevard Books (NYC) on October 1, 2018, launched October 3, 2018 atNational Press Club and Kennedy Center for Performing Arts. The book received the \"Best of LA\" Award 2018 with 5-star reviews.Kilpatrick's follow-up, Dying forliving: Wasted Talent in the Valley of Debacle (Vol. 2 - Showbiz), was set for publication at the end of 2019.2021 California gubernatorial recall electionIn July2021, Kilpatrick announced that he was running as a candidate in the 2021 California gubernatorial recall election as one of nine Democrats attempting to recallCalifornia's governor, Gavin Newsom. The 50% threshold to recall Newsom was not reached, and Kilpatrick received 1.2% of the replacement candidatevote.FilmographyFilmTelevisionAwards and nominationsPassage 7:Lincoln HurstLincoln Douglas Hurst (May 6, 1946 – November 11, 2008), also known as\"Lincoln Hurst\", \"L. D. Hurst\", or \"Lincoln D. Hurst\", was an American scholar of the Bible, religious history and film. He was Emeritus Professor at the Universityof California, Davis (1983–2006), and adjunct professor at Fuller Theological Seminary, Pasadena, California (1987–2008).Life and careerBorn in Chicago andraised in Arlington Heights, Illinois, Hurst graduated from Arlington High School, and later received the Bachelorof Arts degree in history from Trinity College (nowTrinity International University), Deerfield, Illinois (1969). He was then grantedthe Master of Divinity (1973) and Master of Theology (1976) degrees fromPrinceton Theological Seminary (where he worked under the late Bruce M. Metzger) andthe Doctor of Philosophy (1982) degree from Oxford University (MansfieldCollege), England, where he worked under the late G. B. Caird.  Anglican Bishop N.T. Wright also did his doctoral work under Caird, and three years after Caird'sdeath Hurst and Wright co-edited a volume in his memory. Hurst also acted as Caird's family-appointed literary executor, insofar as some of Caird's work was lefthanging in mid-air when he died. Before taking up a post at the University of California, Davis in 1983, he was an Instructor at BloomfieldCollege, New Jersey(1973–74), lecturer (1979–80) and junior dean (1980–81) at Mansfield College, Oxford, and visiting fellow at Princeton Theological Seminary (fall, 1982).  Hewas a lifelong proponent of animal welfare. Committed to preserving the memories of G. B. Caird and Errol Flynn, he spent the final weeks of his life writing aboutthe historic achievements of both men. Hurst died suddenly from a heart attack in November 2008.Areas of ActivityBiblical studiesHaving written extensively onthe Epistle to the Hebrews, Hurst's work has also focused on a variety of other topics, including ethics in religion, the Aramaic language of the Gospels and Acts,"}
+{"doc_id":"doc_50","qid":"","text":"Passage 1:Nayelly HernándezNayelly Hernández (born 23 February 1986) is a former Mexican professional squash player. She has represented Mexico internationally in several international competitions including the Central American and Caribbean Games, Pan American Games, Women's World Team Squash Championships. Nayelly achieved her highest career ranking of 57 in October 2011 during the 2011 PSA World Tour. Her husband Chris Walker whose nationality is English is also a professional squash player. She joined the Trinity College in 2008 as the first Mexican female to join a US college for squash and graduated in 2010.CareerNayelly joined PSA in 2006 and took part in the PSA World Tour until 2016, the 2015-16 PSA World Tour was her last World Tour prior to the retirement.Nayelly Hernandez represented Mexico at the 2007 Pan American Games and claimed a bronze medal as a part of the team event on her maiden appearance at the Pan American Games. In the 2011 Pan American Games she clinched gold in the women's doubles event along with Samantha Teran and settled for bronze in the team event. She has also participated at the Women's World Team Squash Championships on four occasions in 2010, 2012, 2014 and in 2016.Passage 2:Eleni Gabre-MadhinEleni Zaude Gabre-Madhin (born 12 July 1964) is an Ethiopian-born Swiss economist, and former chief executive officer of the Ethiopia Commodity Exchange (ECX). She has had many years of experience working on agricultural markets – particularly in Sub-Saharan Africa – and has held senior positions in the World Bank, the International Food Policy Research Institute (Washington), and United Nations (Geneva).Eleni GebremedhnEleni was born in Addis Ababa, Ethiopian Empire on 12 July 1964. She grew up in four different African countries including Kenya, Tanzania and South Africa. She speaks fluent Swahili, English, Amharic and French. She graduated from Rift Valley Academy in Kenya with the highest of honours. She has a PhD in Applied Economics from Stanford University, master's degrees from Michigan State University and bachelor's in economics from Cornell University. Eleni was selected as \"Ethiopian Person of the Year\" for the 2002 ET calendar year (2009/2010 Gregorian) by the Ethiopian newspaper Jimma Times.CareerShe was the main driving force behind the development of the Ethiopia Commodity Exchange (ECX). Whilst working as a researcher for the International Food Policy Research Institute (IFPRI) she examined agricultural markets for many years and noticed, as had many others, that whilst in some years or regions there were severe shortages or droughts in others there were surpluses or bumper harvests. Specifically in her survey of grain traders in 2002, she found that a key factor was the lack of effective infrastructure and services needed for grain markets to function properly.  Traders often failed to have access to sufficient credit, information about the market, transportation and other vital resources and contract compliance was difficult to enforce.  In 2004 she moved home from the US to lead an IFPRI program to improve Ethiopia's agricultural policies and markets. Specifically she undertook the important role of coordinating the advisory body developing the ECX.   She became CEO of the new exchange in 2008, and argued that \"(W)hen farmers can sell their crops on the open market and get a fair price, they will have much more incentive to be productive, and Ethiopia will be much less prone to food crises\" .... and that the \"ECX will allow farmers and traders to link to the global economy, propelling Ethiopian agriculture forward to a whole new level.\"In February 2013, she became a director of Syngenta.In 2013, Eleni launched eleni LLC, a company intended to build and invest in commodity exchanges in markets in the developing world, including Africa.In November 2021, the Canadian novelist Jeff Pearce leaked a video that depicts Eleni's participation in a virtual meeting discussion, along with Professor Ephraim Isaac, former Ethiopian Minister of Foreign Affairs and current TPLF spokesperson Berhane Gebre-Christos and several Western diplomats, that mentioned a transitional government during Tigray War. Shortly, she was removed from membership of the Independent Economic Council, which formed to support Prime Minister Abiy Ahmed economic transition.  On 25 November, Eleni released a statement that denying the allegation as \"deliberately misrepresented\". Two days before the leaked video unveiled, police forces searched her house and remained undisclosed for suspected foul play.  The incident stirred public outrage in Ethiopia and its diaspora, condemning her as traitor. The University of Gondar also revoked an honorary doctorate it had awarded her.AwardsIn 2010, Eleni was named Ethiopian Person of the Year for the 2002 Ethiopian year. Eleni was listed as one of the 50 Women Shaping Africa in 2011.In 2012, Eleni was awarded the Yara Laurate Prize from the Norwegian fertilizer manufacturer Yara International for her outstanding contributions to sustainable food production and distribution with socio-economic impact. Previous recipients of the prize include former prime minister of Ethiopia Meles Zenawi. That same year, she was recognized as one of New African Magazine's 100 Most Influential Africans, won the African Banker Icon Award, and invited to the G8 Summit at Camp David.She was granted The Power with Purpose Award from Devex and McKinnsey in 2016.Formerly, Eleni Gabre-Madhin received an honorary doctorate, in 2013, from the University of Gondar in Ethiopia. However, later in November 2021, the University of Gondar revoked the Honorary Doctorate of Eleni Gabre-Madhin in relation to her involved clandestine video meeting aimed at toppling the democratically elected government of Ethiopia.Passage 3:Khalid al-HabibKhalid Habib (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000)  (died October 16, 2008), born Shawqi Marzuq Abd al-Alam Dabbas (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000), was an ascending member of al-Qaeda's central structure in Pakistan and Afghanistan. His nationality was reported as Egyptian (by CBS News) and as Moroccan (by The New York Times).Habib was the operations commander for the region. He was one of several al-Qaeda members who were more battle-hardened by combat experience in Iraq, Chechnya, and elsewhere. This experience rendered them more capable than their predecessors. According to The New York Times, this cadre was more radical than the previous generation of al-Qaeda leadership. The FBI described Habib as \" one of the five or six most capable, most experienced terrorists in the world.In 2008, Habib relocated from Wana to Taparghai, Pakistan to avoid missile strikes launched from US-operated MQ-1 Predator aircraft which targeted al Qaeda and Taliban personnel.  Khalid Habib was killed by a Predator strike near Taparghai on October 16, 2008. Habib was reportedly sitting in a Toyota station wagon which was struck by the missile. On October 28, militants confirmed to the Asia Times that Habib was killed in the drone attack.Passage 4:Baglan MailybayevBaglan Mailybayev (Kazakh: Ба\u0000лан Асаубай\u0000лы Майлыбаев, Bağlan Asaubaiūly Mailybaev) was born on 20 May 1975 in Zhambyl region, Kazakhstan. His nationality is Kazakh. He is a politician of the Republic of Kazakhstan, Deputy Head of the Presidential Administration of the Republic of Kazakhstan, Doctor of Law (2002) (under the supervision of Professor Zimanov S.Z. – scientific advisor and academician of National Academy of Sciences of the Republic of Kazakhstan) and PhD in political science (1998).BiographyIn 1996 he obtained a bachelor's degree in journalism from the Kazakh State National University named after Al-Farabi.In 1998 he was awarded a degree of PhD in political science after graduating from a graduate school of Political Science and Political Administration of the Russian Academy of Public Administration under the president of the Russian Federation.Between 1998 and 2002 he used to work as a senior researcher at the Institute of State and Law of the National Academy of Sciences of the Republic of Kazakhstan as well as a lecturer at the Kazakh State University of International Relations and World Languages named after Abylai Khan.Between February and May 2002 he worked as the Head of Mass Media Department of the Ministry of Culture, Information and Public Accord of the Republic of Kazakhstan.Between May 2002 and September 2003 he was a President of the Joint Stock Company \"Republican newspaper \"Kazakhstanskaya Pravda\"\".Between September 2003 and December 2004 he was a President of the Joint Stock Company \"Zan\".Since December 2004 he had served as the Head of the Press office of the President of the Republic of Kazakhstan.Since October 2008 he had been a Chairman of the Committee of Information and Archives of Ministry of Culture and Information of the Republic of Kazakhstan.Since December 2008 he had been a Vice Minister of Culture and Information of the Republic of Kazakhstan.Between June 2009 and October 2011 he worked as Press Secretary of the President of the Republic of Kazakhstan.In October 2011 he was appointed as a Deputy Head of the Presidential Administration of the Republic of Kazakhstan by the Presidential decree.Personal lifeMarital status: He is married and has two children.AwardsBaglan Mailybayev was awarded \"Kurmet\", \"Parasat\" orders, medals and a letter of acknowledgement of the President of the Republic of Kazakhstan. In 1998 he became a prizewinner at the award of Young Scientists of National Academy of Sciences of the Republic of Kazakhstan.PublicationsHe is the author of 4 monographs and more than 150 scientific publications, published in Kazakhstani as well as in foreign editions. He is also the author of a number of feature stories, supervisor and a scriptwriter of television projects and documentaries.Research interestsComparative Political Science, Theory of State and Law, History of State and Law, Constitutional Law.Language abilities: He speaks Kazakh, Russian and English fluently.NoteThe predecessor of Baglan Mailybayev at the position of a Deputy Head of the Presidential Administration of the Republic of Kazakhstan was Maulen Ashimbayev.Passage 5:Roberto SavioRoberto Savio (born in Rome, Italy, but also holding Argentine nationality) is a journalist, communication expert, political commentator, activist for social and climate justice  and advocate of global governance. He has spent most of his career with Inter Press Service (IPS), the news agency which he founded in 1964 along with Argentine journalist Pablo Piacentini.Savio studied Economics at the University of Parma, followed by post-graduate courses in Development Economics under Gunnar Myrdal, History of Art and International Law in Rome. He started his professional career as a research assistant in International Law at the University of Parma.Early activitiesWhile at university, Roberto Savio acted as an international officer with Italy’s National Student Association and the Youth Movement of Italy’s Christian Democracy party, eventually taking on responsibility for Christian Democracy’s relations with developing countries. After leaving university, he became international press chief for former Italian Prime Minister Aldo Moro. After the 1973 Chilean coup d’etat, Roberto Savio left Italian politics to pursue journalism.Early journalistic careerRoberto "}
+{"doc_id":"doc_51","qid":"","text":"Passage 1:Jack GoohsenJack Goohsen (born November 7, 1942) is a farmer and former political figure in Saskatchewan, Canada.Goohsen was born in Gull Lake,Saskatchewan and studied agricultural management at the University of Saskatchewan. He established a farm in the Gull Lake area. He served on the council forthe rural municipality of Carmichael, serving as reeve from 1981 to 1992, and was elected to represent Maple Creek in the 1991 Saskatchewan general electionand again in the new Cypress Hills district in the 1995 Saskatchewan general election to the Legislative Assembly of Saskatchewan as a ProgressiveConservative.In the spring of 1997, Goohsen was criminally charged after he was accused of trying to buy sex from a 14-year-old girl. As a result of this scandal,he was not invited to join the caucus of the newly founded Saskatchewan Party when it was formed by the remaining Progressive Conservative members alongwith some Saskatchewan Liberal Party MLA's that summer. Goohsen remained in the legislature as an independent member while his case made its way throughthe courts.Gooshen resigned as an MLA after being convicted in 1999 on the child prostitution charge. He lost his appeal to the SK Court of Appeal.Passage 2:RayDanylukRaymond Bruce \"Ray\" Danyluk  (born 1952 or 1953) is a farmer and former provincial politician from Alberta, Canada. He served as a Member ofthe  Legislative Assembly of Alberta from 2001 to 2012 with the Progressive Conservative caucus before being defeated by Wildrose Party candidate ShayneSaskiw in the 2012 election. During his time in office Danyluk served as a cabinet minister in the government of Premier Ed Stelmach, serving in various portfoliossince 2006.Early lifeDanyluk was born in Calgary, Alberta, Canada. He attended post secondary education at the University of Alberta. He farms near thecommunity of Elk Point, Alberta.Political careerDanyluk ran for a seat to the Alberta Legislature as a Progressive Conservative candidate in the 2001 Albertageneral election. He ran in the electoral district of Lac La Biche-St. Paul in a hotly contested three candidate race. The seat was open due to the departure ofincumbent Paul Langevin. Danyluk held the seat for the Progressive Conservatives to win his first term in office. He faced a strong challenge from Liberalcandidate Vital Ouellette but still finished first by a couple thousand votes.Danyluk ran for a second term in office in the 2004 Alberta general election. He facedthree opposition candidates including the former Sergent at Arms of the Legislature Oscar Lacombe who ran under the Alberta Alliance banner. Danyluk held hisseat winning just over half the popular vote, despite seeing a decline in his support. The Liberal candidate saw his party's popular vote almost cut in half but stillmanaged to finish a distant second, while Lacombe finished a close third out of fourth place.Premier Ed Stelmach appointed Danyluk to his first cabinet portfolio inthe Executive Council of Alberta as Minister of Municipal Affairs and Housing on December 15, 2006.Danyluk ran for a third term in office in the 2008 Albertageneral election with ministerial advantage. He faced two other candidates significantly increasing his popular vote returning to office with a landslidemajority.Premier Stelmach slightly changed Danyluk's cabinet portfolio after the 2008 election. On March 12, 2008 he became Minister of Municipal Affairs. Heheld that portfolio until Stelmach appointed him as Minister of Infrastructure on January 15, 2010.Passage 3:Adam ZolotinAdam Zolotin (born November 29,1983, in New York City, New York) is an American actor, best known for appearing in Leave It to Beaver and Jack.FilmographyFilmJack (1996) as LouisDuranteLeave It to Beaver (1997) as Eddie HaskellDog's Best Friend (1997) as Wylie ThompsonZerophilia (2005) as ChadWhat News? (2007) as TommyLonelyBoy (2013) as MikeTelevisionLaw & Order (1996) as Lonnie Rickman (1 episode)Love and Marriage (1996) as Christopher NardiniStorm of the Century (1996) asDavey HopewellLaw & Order: SVU (2000) as Justin McKenna (1 episode)What I Like About You (2005) as Chris's Friend (1 episode)The New Adventures of OldChristine (2006) as Mark (1 episode)Scrubs (2004) as Reuben (1 episode)Mr. Robot (2016) as David (1 episode)TheaterSirensRecognitionAwards andnominations1996, YoungStar Awards nomination for 'Best Young Actor in a Comedy Film' for Jack1996, Young Artist Awards nomination for 'Best Performance in aFeature Film - Supporting Young Actor' for Jack1998, Young Artist Awards nomination for 'Best Performance in a Feature Film - Supporting Young Actor' for LeaveIt to BeaverPassage 4:Alexander McKenzie (footballer)Alexander McKenzie was an Australian rules footballer for Port Adelaide. He was noted to be able to kick afootball 75 yards without the assistance of wind.Port Adelaide (1889)In the lead up to the 1889 SAFA season a football reporter writing under the pseudonym'Centre' for the Port Adelaide News forecasted that \"A. McKenzie (as I have mentioned before) and P. Begg have indications of making really first class players.When the Association matches start I think the Port club will have a team that will stand a lot of knocking about, and also take a lot to beat\". McKenzie made hisdebut in the first game of the 1889 SAFA season in a win against Medindie (North Adelaide) on Alberton Oval with 'Goalpost' writing for the Evening Journalcommenting on Alexander's likeness to his brother John stating that \"McKenzie has his brothers style, both marking and kicking well\".During 1889 the NorthMelbourne Football Club visited South Australia and played a game on the Adelaide Oval against Port Adelaide. Star forward Charlie Fry was a late withdrawal forthe game allowing then rookie Alex McKenzie to be named as a late inclusion for the match. McKenzie kicked a goal in Port Adelaide's six goal defeat of NorthMelbourne.Adelaide (1890)During the 1890 season McKenzie's older brother John, who also played as a key position forward, was keeping Alexander out of thePort Adelaide side. As a result, Alexander McKenzie moved to the Adelaide Football Club halfway though the 1890 SAFA season seeking greater opportunities toplay as a key forward. Alexander's best game for Adelaide was in a game against Medindie (North Adelaide) where he kicked three goals in a two-goal win onAdelaide Oval. At the time Adelaide were struggling and at the beginning of the 1891 season John prematurely flagged his retirement thus enticing his brotherAlex back to Port Adelaide.Port Adelaide (1891–1895)McKenzie's move back to his original club proved a good decision as he would go on to lead that clubsgoal-kicking four times in 1892, 1893, 1894 and 1895.In 1892 McKenzie was selected in the South Australian state side for the first time. During the matchagainst Victoria on the Melbourne Cricket Ground Alexander kicked two goals.In a game against Old Adelaide on Alberton Oval during the 1893 SAFA seasonAlexander McKenzie kicked 13 goals.Western Australia (1896–1900)In 1896 McKenzie moved to the Western Australian Goldfields likely drawn by that states goldrush. During June and July 1896 McKenzie appeared for the Imperials Football Club (a club which later disbanded with the majority of players forming the EastFremantle Football Club) in the Western Australian Football Association, kicking four goals in his first game against the Rovers on the WACA.By August 1896Alexander McKenzie had moved to the goldfields and began playing football and cricket for Coolgardie. In 1897 McKenzie won a premiership with Kalgoorlie City.That year he led the Goldfields Football League goal kicking with 27 majors. In 1898 McKenzie had retired as a player and helped umpire the Goldfields FootballLeague.In 1900 McKenzie won first prize in the W.A. Tattersalls Ballarat Charles Sweep netting £1,098. McKenzie used this windfall to relocate to SouthAfrica.Move to South AfricaIn 1902 Alexander McKenzie had made it to South Africa and was in Johannesburg. By 1913 Alexander McKenzie was running a hotelin Johannesburg.Personal lifeMcKenzie had four brothers – Rod, Duncan, Ken and Jack; the latter two played for Port Adelaide with Alexander. Alexander marriedEdith Jane Lloyd and fathered two girls, Maisie Jessie McKenzie and Lorna Jean McKenzie. McKenzie died on 25 September 1914 in South Africa.Passage 5:DavidJiDavid Longfen Ji is an American businessman who co-founded Apex Digital, an electronics manufacturer.In 2004, he was arrested in China following a disputewith Sichuan Changhong Electric, a supplier owned by the city of Mianyang and the province of Sichuan. Changhong accused him of defrauding them through badchecks. Ji was taken, according to an account by his lawyer, to the senior management and told, \"I decide whether you live or die.\" He has been held in Chinawithout charges.Ji's case highlighted an \"implicit racism\" in dealings with American businessmen. As a U.S. citizen he was not granted the same treatment byauthorities as non-ethnically Chinese businessmen sharing the same nationality.Passage 6:Ed StelmachEdward Michael Stelmach  (; born May 11, 1951) is aCanadian politician who served as the 13th premier of Alberta, from 2006 to 2011. The grandson of Ukrainian immigrants, Stelmach was born and raised on afarm near Lamont and fluently speaks the distinctive Canadian dialect of Ukrainian. He spent his entire pre-political adult life as a farmer, except for some timespent studying at the University of Alberta. His first foray into politics was a 1986 municipal election, when he was elected to Lamont County council. A year intohis term, he was appointed reeve.  He continued in this position until his entry into provincial politics.In the 1993 provincial election, Stelmach was elected as theMember of the Legislative Assembly (MLA) for Vegreville-Viking (later Fort Saskatchewan-Vegreville). A Progressive Conservative, he served in the cabinets ofRalph Klein—at various times holding the portfolios of Intergovernmental Relations, Transportation, Infrastructure, and Agriculture, Food, and RuralDevelopment—where he developed a reputation as a low-key politician who avoided the limelight. When Klein resigned the party's leadership in 2006, Stelmachwas among the first to present his candidature to replace him. After a third-place finish on the first ballot of the leadership race, he won an upset second ballotvictory over former provincial treasurer Jim Dinning.Stelmach's premiership was heavily focused on management of the province's oil reserves, especially those ofthe Athabasca Oil Sands. He rejected calls from environmentalists to slow the pace of development in the Fort McMurray area, and similarly opposed calls forcarbon taxes. Other policy initiatives included commencing an overhaul of the province's health governance system, amendments to the Alberta human rightscode, a re-introduction of all-party committees to the Legislature, and the conclusion of a major labour agreement with Alberta's teachers. His government alsoattracted controversy for awarding itself a 30% pay increase shortly after its re-election, and featured strained relations with Calgary, one of Klein's formerstrongholds. Despite this, Stelmach increased the Progressive Conservatives' already substantial majority in the 2008 election. With the advent of the late-2000s"}
+{"doc_id":"doc_52","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directingepisodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family,Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart inHiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levinworked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when hewas drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long WharfTheatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey DavisLevin and was also an associate artist of The Interact Theatre Company.Passage 2:Benjamin StoloffBenjamin Stoloff (October 6, 1895 – September 8, 1960) wasan American film director and producer. He began his career as a short film comedy director and gradually moved into feature film directing and production laterin his career.Director filmography1940s–1950sHome Run Derby (1959) – TV SeriesFootlight Varieties (1951)It's a Joke, Son! (1947)Johnny Comes Flying Home(1946)Take It or Leave It (1944)Bermuda Mystery (1944)The Mysterious Doctor (1943)The Hidden Hand (1942)Secret Enemies (1942)Three Sons o' Guns(1941)The Great Mr. Nobody (1941)The Marines Fly High (1940)1930sThe Lady and the Mob (1939)The Affairs of Annabel (1938)Radio City Revels (1938)Fightfor Your Lady (1937)Super-Sleuth (1937)Sea Devils (1937)Don't Turn 'Em Loose (1936)Two in the Dark (1936)To Beat the Band (1935)Swellhead(1935)Transatlantic Merry-Go-Round (1934)Palooka (1934)Night of Terror (1933)Obey the Law (1933)The Devil Is Driving (1932)The Night Mayor (1932)ByWhose Hand? (1932)Destry Rides Again (1932)Perfect Control (1932)Slide, Babe, Slide (1932)Goldie (1931)Three Rogues (1931)Not Exactly Gentlemen(1931)Soup to Nuts (1930)New Movietone Follies of 1930 (1930)1920sThe Girl from Havana (1929)Happy Days (1929/I)Protection (1929)Speakeasy (1929)TheBath Between (1928)Plastered in Paris (1928)A Horseman of the Plains (1928)Mind Your Business (1928)Silver Valley (1927)The Gay Retreat (1927)The CircusAce (1927)The Canyon of Light (1926)It's a Pipe (1926)Matrimony Blues (1926)The Mad Racer (1926)The Fighting Tailor (1926)East Side, West Side(1925/II)The Heart Breaker (1925)Sweet Marie (1925)Roaring Lions at Home (1924)Stolen Sweeties (1924)In-Bad the Sailor (1924)Stretching the Truth(1924)When Wise Ducks Meet (1924)On the Job (1924)ScreenwriterGas House Kids Go West (1947)ProducerLaw of the Tropics (1941)The Spiritualist (1948) alsoknown as The Amazing Mr. XThe Cobra Strikes (1948)External linksBenjamin Stoloff at IMDbPassage 3:Howard W. KochHoward Winchel Koch (April 11, 1916 –February 16, 2001) was an American producer and director of film and television.Life and careerKoch was born in New York City, the son of Beatrice (Winchel)and William Jacob Koch. His family was Jewish. He attended DeWitt Clinton High School and the Peddie School in Hightstown, New Jersey. He began his filmcareer as an employee at Universal Studios office in New York then made his Hollywood filmmaking debut in 1947 as an assistant director. He worked as aproducer for the first time in 1953 and a year later made his directing debut. In 1964, Paramount Pictures appointed him head of film production, a position heheld until 1966 when he left to set up his own production company. He had a production pact with Paramount for over 15 years.Among his numerous televisionproductions, Howard W. Koch produced the Academy Awards show on eight occasions. Dedicated to the industry, he served as President of the Academy ofMotion Picture Arts and Sciences from 1977 to 1979. In 1990 the Academy honored him with The Jean Hersholt Humanitarian Award and in 1991 he received theFrank Capra Achievement Award from the Directors Guild of America.Together with actor Telly Savalas, Howard Koch owned the thoroughbred racehorse Telly'sPop, winner of several important California races for juveniles including the Norfolk Stakes and Del Mar Futurity.Howard W. Koch suffered from Alzheimer'sdisease and died in at his home in Beverly Hills, California on February 16, 2001. He had two children from a marriage of 64 years to Ruth Pincus, who died inMarch 2009. In 2004, his son Hawk Koch was elected to the Board of Governors of the Academy of Motion Picture Arts and Sciences.FilmographyDirectorFilm(director)Shield for Murder (1954)Big House, U.S.A. (1955)Untamed Youth (1957)Bop Girl Goes Calypso (1957)Jungle Heat (1957)The Girl in Black Stockings(1957)Fort Bowie (1957)Violent Road (1958)Frankenstein 1970 (1958)Born Reckless (1958)Andy Hardy Comes Home (1958)The Last Mile (1959)Badge 373(1973)Television (director)Maverick (1957) (1 episode)Hawaiian Eye (1959) (2 episodes)Cheyenne (1958) (1 episode)The Untouchables (1959) (4 episodes)TheGun of Zangara (1960) (TV movie taken from The Untouchables (1959 TV series))Miami Undercover (1961) (38 episodes)Texaco Presents Bob Hope in a VerySpecial Special: On the Road with Bing (1977)ProducerFilm (producer):War Paint (1953)Beachhead (1954)Shield for Murder (1954)Big House, U.S.A.(1955)Rebel in Town (1956)Frankenstein 1970 (1958)Sergeants 3 (1962)The Manchurian Candidate (1962)Come Blow Your Horn (1963)Robin and the 7 Hoods(1964)The Odd Couple (1968)On a Clear Day You Can See Forever (1970)A New Leaf (1971)Plaza Suite (1971)Last of the Red Hot Lovers (1972)JacquelineSusann's Once Is Not Enough (1975)The Other Side of Midnight (1977)Airplane! (1980)Some Kind of Hero (1982)Airplane II: The Sequel (1982)Ghost(1990)Television (producer)Magnavox Presents Frank Sinatra (1973)Passage 4:Barney Platts-MillsBarney Platts-Mills (15 October 1944 – 5 October 2021) was aBritish film director, best known for his award-winning films, Bronco Bullfrog and Private Road.BiographyPlatts-Mills was born in 1944 in Colchester, England, ason of barrister John Platts-Mills (who was briefly a Labour MP), and was educated at University College School, London, and at Bryanston School, Blandford,Dorset.He entered the film industry in 1960, as 3rd assistant editor at Shepperton Studios and worked on Stanley Kubrick's Spartacus, Lewis Gilbert's TheGreengage Summer and John Schlesinger's A Kind of Loving among other films, for editors including Peter R. Hunt and Reggie Beck. Platts-Mills worked as editorfor Anglia TV's Survival and Granada TV's World in Action.In 1966, he established Maya Films with James Scott, Adam Barker-Mill and Andrew St. John.Platts-Mills produced and edited Love's Presentation, a 30-minute documentary on the work of David Hockney, directed by James Scott, and also produced anddirected St Christopher, a 45-minute documentary on children in the care of St Christopher's School, Bristol, and the Camphill Village Trust, Botton, Yorkshire. Hewrote, produced and directed The War, a cinema short, starring Colin Welland and Eric Burdon (15 minutes, B&W 35 mm Panavision). He wrote and directedEverybody's an Actor, Shakespeare Said, a documentary on the work of Joan Littlewood, with young people in the East End of London (35 minutes, 16 mmEastmancolor).In 1969, he wrote and directed Bronco Bullfrog with young people from the East End (83 minutes, 35 mm B&W) Selectione a l'Unanimite pourSemain de la Critique, Festival de Cannes. The film won a Screenwriters' Guild award for Best Original Screenplay.In 1971, he wrote and directed Private Road(86 minutes, 35 mm Eastmancolor), starring Bruce Robinson, Susan Penhaligon and Michael Feast. It was awarded the Golden Leopard at the Locarno Festival forBest Film.In 1972, Platts-Mills was made a Governor and Honorary Life Member of the British Film Institute and Director of the Prodigal Trust, Inner LondonSchool's video project. He took piano lessons with Trevor Fisher.Platts-Mills' screenplay Double Trouble was published as a novel by Duckworth in 1976. Thefollowing year, he wrote screenplays for The Scotsman and Hero. After two years' preparation he directed Hero (82 minutes, 16 mm Eastmancolor) for Film Fourin ancient Gaelic with actors drawn from a Glasgow youth gang. Hero was an official entry at the Venice Film Festival.In 1983, Platts-Mills wrote the screenplay forEbb Tide by Robert Louis Stevenson, to be filmed for Film Four in Sri Lanka starring Harry Dean Stanton and Christopher Lee. The project abandoned when warbroke out in that country. Between 1984 and 1988, he was resident in Sussex with his two young children, Roland and Ruby.In 1989, Platts-Mills wrote anddirected Blasphemy for Channel Four's Dispatches.In 1990, he worked in The Special Unit at HMP Barlinnie, Glasgow, on various projects, including a musical tobe staged by prisoners in the jail and the first-ever performance by a circus (Archaos) in a British jail. He edited John Steele's The Bird That Never Flew, anautobiography of a prison trouble-maker published by Sinclair-Stevenson in 1992.Platts-Mills was advisor to the development of Wornington Green Residents'Association Video Project for disadvantaged youth in 1993, and in 1994 he set up and supervised the first year of the North Kensington Video Drama Project(NKVDP), including work for the Metropolitan Police Scam scheme and the Youth Enterprise Scheme.In 1995, together with students from the NKVDP heestablished Massive Videos at North Kensington Community Centre and worked on the development of Courttia Newland's The Scholar. Between 1996 and 1999,Massive Videos made many short films by and about disadvantaged young people and founded the Film and Video Festival. In Liverpool they established theWorkhaus project in a five-storey building in the city centre and the North X Northwest Film Festival.In 1999, Platts-Mills met Tunde Olayinka and acted as adviserto The Alpha Male, Olayinka's first film.Platts-Mills went to Morocco in 2000 and lived for a year on a farm near Larache, writing the screenplay for Lovesways.Hebuilt a house in Mejlaou near Assilah in 2004 and wrote the screenplay for Zohra: A Moroccan Fairytale.Bronco Bullfrog and Private Road were re-released in 2010by the BFI and the National Film Theater. Platts-Mills' films were screened in retrospectives at the Edinburgh Film Festival, Gijion Film Festival, BAFICI,Copenhagen Film Festival and the opening night Premiere at the East End Film Festival.Platts-Mills joined the film production company Miraj Films in 2010 as aproducer and completed the production of Zohra: A Moroccan Fairytale, his love poem to Morocco and his comeback after 30 years, which had its world premiere"}
+{"doc_id":"doc_53","qid":"","text":"Passage 1:Heather D. GibsonHeather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank ofGreece (since 2011). She was the spouse of Euclid Tsakalotos, former Greek Minister of Finance.Academic careerBefore assuming her duties at the Bank ofGreece and alternating child-rearing duties with her husband, Gibson worked at the University of Kent, where she published two volumes on internationalexchange rate mechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at thetime.Personal lifeGibson first came to Greece in 1993, with her husband, with whom she took turns away from their respective economic studies to raise theirthree children while the other worked.The couple maintain two homes in Kifisia, along with an office in Athens and a vacation home in Preveza. In 2013, thisproved detrimental to Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis, \"aristocrat of the left\"), whilenewspapers opposed to the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in privatewhile criticizing the \"ethic of austerity\" in public. One opposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealthcame from the same sort of investments in companies as made by financial institutions JP Morgan and BlackRock.WorksEditorEconomic Bulletin, Bank ofGreeceBooksThe Eurocurrency Markets, Domestic Financial Policy and International Instability (London, etc., Longman: 1989) ISBN 0312028261InternationalFinance: Exchange Rates and Financial Flows in the International Financial System (London, etc., Longman: 1996) ISBN 0582218136Economic Transformation,Democratization and Integration into the European Union (London: Palgrave Macmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong:Market Pricing of Sovereigns and the Greek Financial Crisis,\" Journal of Macroeconomics, Elsevier, vol. 39(PB), pp. 405–419 (with Stephen G. & Tavlas, GeorgeS., 2014)\"Capital flows and speculative attacks in prospective EU member states\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages559–586, September 2004)\"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis &Euclid Tsakalotos, International Journal of Finance & Economics, 2002, vol. 7, issue 1, pp. 63–78)\"Internal vs External Financing of Acquisitions: Do ManagersSquander Retained Profits\" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; Oxford Bulletin of Economics and Statistics, 2000)\"AreAggregate Consumption Relationships Similar Across the European Union\" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1,1999)Takeover Risk and the Market for Corporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos,1998) PDF\"The Impact of Acquisitions on Company Performance: Evidence from a Large Panel of UK Firms\" (with Andrew Dickerson and Euclid Tsakalotos, OxfordEconomic Papers New Series, Vol. 49, No. 3 (Jul., 1997), pp. 344–361)\"Short-Termism and Underinvestment: The Influence of Financial Systems\" (with AndrewDickerson and Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol. 63, issue 4, pp. 351–67)\"Testing a Flow Model of Capital Flightin Five European Countries\" (with Euclid Tsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp. 144–166, June 1993)Full listof articles by Heather D Gibson. researchgate.net. Recovered 7 July 2015Passage 2:Adib KheirAdib Kheir (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was a leading Syriannationalist of the 1920s. He was the owner of the Librairie Universelle in Damascus. His granddaughter is the spouse of Manaf Tlass.Passage 3:Sophia Magdalenaof DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from1771 to 1792 as the wife of King Gustav III. Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter ofKing Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain. Already at the age of five, she was betrothed to Gustav, the heirapparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavian realms. She wassubsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne and became King of Sweden,making Sophia Queen of Sweden. Their coronation was on 29 May 1772.The politically arranged marriage was unsuccessful. The desired political consequencesfor the mutual relations between the two countries did not materialize, and on a personal level the union also proved to be unhappy. Sophia Magdalena was of aquiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court. She dutifully performed her ceremonial duties but did not carefor social life and was most comfortable in quiet surroundings with a few friends. However, she was liked by many in the Caps party, believing she was a symbolof virtue and religion. The relationship between the spouses improved somewhat in the years from 1775 to 1783, but subsequently deteriorated again.After herhusband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life as dowager queen until her death in 1813.Early lifePrincessSophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen.She was the second child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and wasnamed for her grandmother, Queen Sophie Magdalene. She received her own royal household at birth.Just one month after her birth, her grandfather KingChristian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was the heir presumptive to the throne of Denmark fromthe death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brotheruntil her marriage. She was therefore often referred to as Crown Princess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, theheir apparent to the throne of Sweden, and she was brought up to be the Queen of Sweden. The marriage was arranged by the Riksdag of the Estates, not by theSwedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark, which had a long history of war and which hadstrained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost. The engagement was met with some worryfrom Queen Louise, who feared that her daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked bythe Queen of Sweden, who was in constant conflict with the Parliament; and who was known in Denmark for her pride, dominant personality and hatred ofanything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death of her mother early in her life, SophiaMagdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morallydegenerate. She is noted to have had good relationships with her siblings, her grandmother and her stepmother; her father, however, often frightened her whenhe came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia.In 1760, the betrothal was again brought up byDenmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick of Swedenwas never considered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine ofBrandenburg-Schwedt instead, and claimed that she regarded the engagement to be void and forced upon her by Carl Gustaf Tessin. She negotiated withCatherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement. However, theSwedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora ofDenmark, who was very loved for her kindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena to be anexample of a virtuous and religious representative of the monarchy in contrast to the haughty Louisa Ulrika. Fredrick V of Denmark was also eager to completethe match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen\". In 1764Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to his mother thathe wished to honor the engagement, and on 3 April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena was displayed inStockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! She looks stupid\", after which she turned to Prince Charles andadded: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace in Copenhagenwith her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg in Denmark overÖresund to Hälsingborg in Sweden; when she was halfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, she was welcomedby her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoy in Stockholm, Baron Schack, as well as Crown PrinceGustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words: \"Watch out,Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated on the way.She met her father-in-law the King and her brothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and liked by them all during herlife in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at Säby Manor, and on the 28th, she was formally presented for theSwedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, how beautiful she is!\",but that her appearance was affected by the fact that she had a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomed to the capital of"}
+{"doc_id":"doc_54","qid":"","text":"Passage 1:Demos ChiangDemos Yu-bou Chiang (Chinese: \u0000\u0000\u0000), born on 10 September 1976 in Taipei, Taiwan, is a Taiwanese and Canadian businessman. He founded DEM Inc. (\u0000\u0000\u0000\u0000), a popular design studio in Taiwan in July 2003 and has served as its chairman since then. He is also known for being the great-grandson of the late Republic of China (ROC) President Chiang Kai-shek and the grandson of late President Chiang Ching-kuo. His grandmother was Faina Ipatyevna Vakhreva, also known as Chiang Fang-liang.BiographyBorn to Chiang Ching-kuo's third son Chiang Hsiao-yung and his wife Chiang Fang Chi-yi, he is the eldest of three sons. Demos Chiang was raised in Taipei until his grandfather's death in 1988. After his grandfather's death, Chiang's parents sent him to live in Canada and later the United States, though he still retained his ROC nationality, it also started the departure from politics for Demo's parents. Chiang received a bachelor's degree in Information Management from New York University in late 1990s. After graduating, Chiang worked in the entertainment and fashion industries in Taiwan, Hong Kong and Singapore, until founding DEM Inc. in 2003.In Spring 2001, Chiang began a relationship with local starlet Lin Heng-yi (\u0000\u0000\u0000), the daughter of Buddhist Tzu Chi General Hospital's then president Lin Hsin-jung (\u0000\u0000\u0000). The couple married in February 2003 and now have a daughter born in 2003 and a son born in 2005.Despite his pedigree and celebrity identity, Demos Chiang has repeatedly announced in recent years that he is not interested in political affairs. He has also accused both the Kuomintang and the Democratic Progressive Party for \"poor political tactics\", especially for utilizing Chiang Kai-shek and Chiang Ching-kuo as figures of worship or denigration. In contrast to other prominent members of the Chiang family, such as John Chiang and his mother Chiang Fang Chi-yi, Demos Chiang has expressed his belief that the controversies of his ancestors should be faced fairly and left to history. He started a personal blog in January 2008 to further explain his beliefs.Passage 2:Chiang Hsiao-wenChiang Hsiao-wen (Chinese: \u0000\u0000\u0000; also known as Alan Chiang; 14 December 1935 – 14 April 1989) was the eldest son of Chiang Ching-kuo, the President of the Republic of China in Taiwan from 1978 to 1988. His mother is Faina Ipatyevna Vakhreva, also known as Chiang Fang-liang. He had one younger sister,  Hsiao-chang, and two younger brothers, Hsiao-wu and Hsiao-yung.  He had two half-brothers, Winston Chang and John Chiang, with whom he shared the same father.He married Xu Nai Jin (Nancy) (Chinese: \u0000\u0000\u0000\u0000) in 1960 and had a daughter, Yomei, in 1961. He suffered brain damage in 1970 while being treated for diabetes. He died of throat cancer on April 14, 1989.Passage 3:John Adams (merchant)John Adams (1672 or 1673 – c. 1745) was an American-born Canadian merchant and member of the Nova Scotia Council. He was the father-in-law of Henry Newton.BiographyAdams was born in Boston in either 1672 or 1673 to John and Avis Adams. Growing up as a petty merchant, Adams joined Sir Charles Hobby's New England regiment, participating in the capture of Port-Royal in 1710. Shortly thereafter, Adams settled in Annapolis Royal, Nova Scotia, returning to civilian life. There, he traded manufactured goods with the province's Acadian and Native Americans, and took up the role of a real estate agent and contractor. Adams joined the Executive Council of Nova Scotia on 28 April 1720, holding his position there for 20 years; the records show that few served as long as he did. He also held several other public positions in the province. Adams was appointed a notary public and deputy collector of customs for Annapolis Royal in 1725, and he was commissioned a justice of the peace in March 1727.Around the mid-1720s, Adams' poor eyesight began to fail, leading to his near-blindness in 1730. After this, he was less active in community activities and trade. Adams petitioned to the king for a pension several times, but failed. He blamed his disability on over-exposure to the sun during an Indian attack on Annapolis Royal in 1724. In December 1739, Lieutenant Governor Lawrence Armstrong died. With the absence of Major Mascarene to take Armstrong's place, Adams became the new president of the council and head of the civil government. (Alexander Cosby was also vying for the position.) In a meeting on 22 March 1740, with the return of Mascarene, the councilors declared that he was the council's rightful president. This turn of events led Adams to retire to Boston in late August or early September 1740, where he stayed for the rest of his life. He died some time after 1745.NotesPassage 4:Barthold A. Butenschøn Sr.Hans Barthold Andresen Butenschøn (27 December 1877 – 28 November 1971) was a Norwegian businessperson.He was born in Kristiania as a son of Nils August Andresen Butenschøn and Hanna Butenschøn, and grandson of Nicolay Andresen. Together with Mabel Anette Plahte (1877–1973, a daughter of Frithjof M. Plahte) he had the son Hans Barthold Andresen Butenschøn Jr. and was through him the father-in-law of Ragnhild Butenschøn and grandfather of Peter Butenschøn. Through his daughter Marie Claudine he was the father-in-law of Joakim Lehmkuhl, through his daughter Mabel Anette he was the father-in-law of Harald Astrup (a son of Sigurd Astrup) and through his daughter Nini Augusta he was the father-in-law of Ernst Torp.He took commerce school and agricultural school. He was hired in the family company N. A. Andresen & Co, and became a co-owner in 1910. He eventually became chief executive officer. The bank changed its name to Andresens Bank in 1913 and merged with Bergens Kreditbank in 1920. The merger was dissolved later in the 1920s. He was also a landowner, owning Nedre Skøyen farm and a lot of land in Enebakk. He chaired the board of Nydalens Compagnie from 1926, having not been a board member before that.He also chaired the supervisory council of Forsikringsselskapet Viking and Nedre Glommen salgsforening, and was a supervisory council member of Filharmonisk Selskap. He was a member of the gentlemen's club SK Fram since 1890, and was proclaimed a lifetime member in 1964.He was buried in Enebakk.Passage 5:Chiang Ching-kuoChiang Ching-kuo (27 April 1910 – 13 January 1988) was a politician of the Republic of China. The eldest and only biological son of Generalissimo Chiang Kai-shek, he held numerous posts in the government of the Republic of China and ended martial law in 1987. He served as premier of the Republic of China between 1972 and 1978, and was president of the Republic of China from 1978 until his death in 1988.Born in Zhejiang, Ching-kuo was sent as a teenager to study in the Soviet Union during the First United Front in 1925, when his father's Nationalist Party and the Chinese Communist Party were in alliance. He attended university there and spoke Russian fluently, but when the Chinese Nationalists violently broke with the Communists, Stalin sent him to work in a steel factory in the Ural Mountains. There, Chiang met and married Faina Vakhreva. With war between China and Japan imminent in 1937, Stalin sent the couple to China. During the war, Ching-kuo's father gradually came to trust him, and gave him more and more responsibilities, including administration.After the Japanese surrender, Ching-kuo was given the job of ridding Shanghai of corruption, which he attacked with ruthless efficiency. The victory of the Communists in 1949 drove the Chiang family and their ROC government to retreat to Taiwan. Ching-kuo was first given control of the secret police, a position he retained until 1965 and in which he used arbitrary arrests and torture to ensure tight control as part of the White Terror. He then became Minister of Defense (1965–1969), Vice-Premier (1969–1972) and Premier (1972–1978). After his father's death in 1975, he took leadership of the Kuomintang (KMT) as chairman, and was elected president in 1978 and again in 1984.Under his tenure as president, the government of the Republic of China in Taiwan, while remaining authoritarian, became more open and tolerant of political dissent. Chiang courted Taiwanese voters, and reduced the preference for those who had come from the mainland after the war. Toward the end of his life, Chiang decided to relax government controls on the media and speech, and allowed Han born in Taiwan into positions of power, including his eventual successor Lee Teng-hui. He is the last president of the Republic of China to be born during the rule of the Qing dynasty. Ching-kuo was credited for his Soviet-inspired city planning policies, economic development with Ten Major Construction Projects in Taiwan, efforts to clamp down on corruption, as well as the democratic transition of Taiwan and gradually shifting away from the authoritarian dictatorial rule of his own father Chiang Kai-shek.BiographyEarly lifeThe son of Chiang Kai-shek and his first wife, Mao Fumei, Chiang Ching-kuo was born in Fenghua, Zhejiang, with the courtesy name of Jiànfēng (\u0000\u0000). He had an adopted brother, Chiang Wei-kuo. \"Ching\" literally means \"longitude\", while \"kuo\" means \"nation\"; in his brother's name, \"wei\" literally means \"parallel (of latitude)\". The names are inspired by the references in Chinese classics such as the Guoyu, in which \"to draw the longitudes and latitudes of the world\" is used as a metaphor for a person with great abilities, especially in managing a country.While the young Chiang Ching-kuo had a good relationship with his mother and grandmother (who were deeply rooted to their Buddhist faith), his relationship with his father was strict, utilitarian and often rocky. Chiang Kai-shek appeared to his son as an authoritarian figure, sometimes indifferent to his problems. Even in personal letters between the two, Chiang Kai-shek would sternly order his son to improve his Chinese calligraphy. From 1916 until 1919 Chiang Ching-kuo attended the \"Grammar School\" in Wushan in Hsikou. Then, in 1920, his father hired tutors to teach him the Four Books, the central texts of Confucianism. On 4 June 1921, Ching-kuo's grandmother died. What might have been an immense emotional loss was compensated for when Chiang Kai-shek moved the family to Shanghai. Chiang Ching-kuo's stepmother, historically known as the Chiang family's \"Shanghai Mother\", went with them. During this period Chiang Kai-shek concluded that Chiang Ching-kuo was a son to be taught, while Chiang Wei-kuo was a son to be loved.During his time in Shanghai, Chiang Ching-kuo was supervised by his father and made to write a weekly letter of 200–300 Chinese characters. Chiang Kai-shek also underlined the importance of classical books and of learning English, two areas he was hardly proficient in himself. On 20 March 1924, Chiang Ching-kuo was able to present to his now-nationally famous father a proposal concerning the grass-roots organization of the rural population in Hsikou. Chiang Ching-kuo planned to provide free education to allow people to read and to write at least 1000 characters. In his own words:I have a suggestion to make about the Wushan School, although I do not know if you can agree to it. My suggestion is that the school establish a night school for common people who cannot afford to go to the regular school. My school established a night school with great success. I can tell you something about the night school:Name: Wuschua School for the "}
+{"doc_id":"doc_55","qid":"","text":"Passage 1:Maria Manuela, Princess of PortugalDona Maria Manuela (15 October 1527 – 12 July 1545) was the eldest daughter and second child of King John III of Portugal and his wife Catherine of Austria. She was Princess of Asturias and Duchess of Milan as the first wife of the future Philip II of Spain, and Princess of Portugal as heir presumptive to the Portuguese throne between 1527 and 1535.Early lifeMaria was born in Coimbra on 15 October 1527 and was one of the two children of John III to survive childhood. In her youth, Maria received a humanistic education that was considered typical for a princess of her time.Marriage and later lifeShe married her double first cousin Philip II of Spain on 12 November 1543 at Salamanca. As she was to be married to the Prince of Asturias, heir apparent to the Spanish crown, and being an Infanta of Portugal, their wedding became one of the most remarkable in the history of Spain due to its opulence. Contemporary writers have left detailed descriptions of the journey from Madrid to Badajoz to Salamanca to receive the princess and of the luxuries she was given by the Duke of Medina Sidonia in Badajoz.She gave birth to their son Carlos on 8 July 1545 in Valladolid, but died four days later due to a haemorrhage. She was initially buried in the Royal Chapel of Granada on 30 March 1549 but was later transferred to Royal Crypt of the Monastery of El Escorial.AncestryNotesPassage 2:Philip II of SpainPhilip II (21 May 1527 – 13 September 1598), also known as Philip the Prudent (Spanish: Felipe el Prudente), was King of Spain from 1556, King of Portugal from 1580, and King of Naples and Sicily from 1554 until his death in 1598. He was also jure uxoris King of England and Ireland from his marriage to Queen Mary I in 1554 until her death in 1558. He was also Duke of Milan from 1540. From 1555, he was Lord of the Seventeen Provinces of the Netherlands.The son of Emperor Charles V and Isabella of Portugal, Philip inherited his father's Spanish Empire in 1556 and succeeded to the Portuguese throne in 1580 following a dynastic crisis. The Spanish conquests of the Inca Empire and of the Philippines, named in his honor by Ruy López de Villalobos, were completed during his reign. Under Philip II,  Spain reached the height of its influence and power, sometimes called the Spanish Golden Age, and ruled territories in every continent then known to Europeans. Philip led a highly debt-leveraged regime, seeing state defaults in 1557, 1560, 1569, 1575, and 1596. This policy was partly the cause of the declaration of independence that created the Dutch Republic in 1581. Philip finished building the royal palace El Escorial in 1584.Deeply devout, Philip saw himself as the defender of Catholic Europe against the Ottoman Empire and the Protestant Reformation. In 1584, Philip signed the Treaty of Joinville funding the French Catholic League over the following decade in its civil war against the French Huguenots. In 1588, he sent an armada to invade Protestant England, with the strategic aim of overthrowing Elizabeth I and re-establishing Catholicism there, but his fleet was defeated in a skirmish at Gravelines (northern France) and then destroyed by storms as it circled the British Isles to return to Spain. The following year Philip's naval power was able to recover after the failed invasion of the English Armada into Spain. Two more Spanish armadas unsuccessfully tried to invade England in 1596 and 1597. The Anglo-Spanish war carried on until 1604, six years after Philip's death.Under Philip, an average of about 9,000 soldiers were recruited from Spain each year, rising to as many as 20,000 in crisis years. Between 1567 and 1574, nearly 43,000 men left Spain to fight in Italy and the Low Countries (modern-day Belgium, Luxembourg, and the Netherlands).Philip was described by the Venetian ambassador Paolo Fagolo in 1563 as \"slight of stature and round-faced, with pale blue eyes, somewhat prominent lip, and pink skin, but his overall appearance is very attractive. ... He dresses very tastefully, and everything that he does is courteous and gracious.\" Philip was married four times; all his wives predeceased him.Early life: 1527–1544A member of the House of Habsburg, Philip was the son of Emperor Charles V, who was also king of Castile and Aragon, and Isabella of Portugal. He was born in the Castilian capital of Valladolid on 21 May 1527 at Palacio de Pimentel, which was owned by Don Bernardino Pimentel (the first Marqués de Távara). The culture and courtly life of Castile were an important influence in his early life. He was entrusted to the royal governess Leonor de Mascareñas, and tutored by Juan Martínez Siliceo, the future archbishop of Toledo. Philip displayed reasonable aptitude in arts and letters alike. Later he would study with more illustrious tutors, including the humanist Juan Cristóbal Calvete de Estrella. Though Philip had good command over Latin, Spanish, and Portuguese, he never managed to equal his father, Charles V, as a polyglot. While Philip was also an archduke of Austria, he was seen as a foreigner in the Holy Roman Empire. The feeling was mutual. Philip felt himself to be culturally Spanish; he had been born in Castile and raised in the Castilian court, his native language was Spanish, and he preferred to live in the Spanish kingdoms. This ultimately impeded his succession to the imperial throne.In April 1528, when Philip was eleven months old, he received the oath of allegiance as heir to the crown from the Cortes of Castile. From that time until the death of his mother Isabella in 1539, he was raised in the royal court of Castile under the care of his mother and one of her Portuguese ladies, Doña Leonor de Mascarenhas, to whom he was devotedly attached. Philip was also close to his two sisters, María and Juana, and to his two pages, the Portuguese nobleman Rui Gomes da Silva and Luis de Requesens, the son of his governor Juan de Zúñiga. These men would serve Philip throughout their lives, as would Antonio Pérez, his secretary from 1541.Philip's martial training was undertaken by his governor, Juan de Zúñiga, a Castilian nobleman who served as the commendador mayor of Castile. The practical lessons in warfare were overseen by the Duke of Alba during the Italian Wars. Philip was present at the Siege of Perpignan in 1542 but did not see action as the Spanish army under Alba decisively defeated the besieging French forces under the Dauphin of France. On his way back to Castile, Philip received the oath of allegiance of the Aragonese Cortes at Monzón. His political training had begun a year previously under his father, who had found his son studious, grave, and prudent beyond his years, and having decided to train and initiate him in the government of the Spanish kingdoms. The king-emperor's interactions with his son during his stay in Castile convinced him of Philip's precocity in statesmanship, so he determined to leave in his hands the regency of the Spanish kingdoms in 1543. Philip, who had previously been made the Duke of Milan in 1540, began governing the most extensive empire in the world at the young age of sixteen.Charles left Philip with experienced advisors—notably the secretary Francisco de los Cobos and the general Duke of Alba. Philip was also left with extensive written instructions that emphasised \"piety, patience, modesty, and distrust\". These principles of Charles were gradually assimilated by his son, who would grow up to become grave, self-possessed and cautious. Personally, Philip spoke softly and had an icy self-mastery; in the words of one of his ministers, \"he had a smile that was cut by a sword\".Domestic policyAfter living in the Netherlands in the early years of his reign, Philip II decided to return to Castile. Although sometimes described as an absolute monarch, Philip faced many constitutional constraints on his authority, influenced by the growing strength of the bureaucracy. The Spanish Empire was not a single monarchy with one legal system but a federation of separate realms, each jealously guarding its own rights against those of the House of Habsburg. In practice, Philip often found his authority overruled by local assemblies and his word less effective than that of local lords.Philip carried several titles as heir to the Spanish kingdoms and empire, including Prince of Asturias. The newest constituent kingdom in the empire was Navarre, a realm invaded by Ferdinand II of Aragon mainly with Castilian troops (1512), and annexed to Castile with an ambiguous status (1513). War across Navarre continued until 1528 (Treaties of Madrid and Cambrai). Charles V proposed to end hostilities with King Henry II of Navarre—the legitimate monarch of Navarre—by marrying his son Philip to the heiress of Navarre, Jeanne III of Navarre. The marriage would provide a dynastic solution to instability in Navarre, making him king of all Navarre and a prince of independent Béarn, as well as lord of a large part of southern France. However, the French nobility under Francis I opposed the arrangement and successfully ended the prospects of marriage between the heirs of Habsburg and Albret in 1541.In his will, Charles stated his doubts over Navarre and recommended that his son give the kingdom back. Both King Charles and his son Philip II failed to abide by the elective (contractual) nature of the Crown of Navarre and took the kingdom for granted. This sparked mounting tension not only with King Henry II and Queen Jeanne III of Navarre but also with the Parliament of the Spanish Navarre (Cortes, The Three States) and the Diputación for breach of the realm specific laws (fueros)—violation of the pactum subjection is as ratified by Ferdinand. Tensions in Navarre came to a head in 1592 after several years of disagreements over the agenda of the intended parliamentary session.In November 1592, the Parliament (Cortes) of Aragón revolted against another breach of the realm-specific laws, so the Attorney General (Justicia) of the kingdom, Juan de Lanuza, was executed on Philip II's orders, with his secretary Antonio Perez taking exile in France. In Navarre, the major strongholds of the kingdom were garrisoned by troops alien to the kingdom (Castilians) in a conspicuous violation of the local laws, and the Parliament had long been refusing to pledge loyalty to Philip II's son and heir apparent without a proper ceremony. On 20 November 1592 a ghostly Parliament session was called, pushed by Philip II, who had arrived in Pamplona at the head of an unspecified military force, and with one only point on his agenda—attendance to the session was kept blank on the minutes: unlawful appointments of trusted Castilian officials and imposition of his son as the future king of Navarre at the Santa Maria Cathedral. A ceremony was held before the bishop of Pamplona (22 November), but its customary procedure and terms were altered. Protests erupted in Pamplona, but they were quelled.Philip II also grappled with the problem of the large Morisco population in the Spanish kingdoms, who had been forcibly converted to Christianity by his predecessors. In 1569, the Morisco Revolt broke out in the southern province of Granada in defiance of attempts to suppress Moorish customs. Philip ordered the expulsion of the Moriscos from Granada and their dispersal to other provinces.Despite its immense dominions, the Spanish kingdoms had a sparse population that yielded a limited income to the crown (in contrast to France, for example, which was much more heavily populated). Philip faced major difficulties in raising taxes, and the collection was largely farmed out to local "}
+{"doc_id":"doc_56","qid":"","text":"Passage 1:Maurice FitzGerald, 2nd Earl of DesmondMaurice FitzMaurice FitzGerald, 2nd Earl of Desmond (d. 1358) (Maurice Óg) was the son of MauriceFitzGerald, 1st Earl of Desmond, and his first wife, Catherine de Burgh. (Some sources list her as Margaret.)The 2nd Earl married Beatrice de Stafford, daughterof Ralph de Stafford, 1st Earl of Stafford and Margaret Audley, but died at Castle Maine without any male issue, and was therefore succeeded in the Earldom ofDesmond by his half-brother Gerald FitzGerald, 3rd Earl of Desmond. FitzGerald's widow married Thomas de Ros, 4th Baron de Ros around a year afterFitzGerald's death. He was buried in Tralee Abbey.Passage 2:William Feilding, 1st Earl of DenbighAdmiral William Feilding, 1st Earl of Denbigh (c. 1587 – 8 April1643, Cannock) was an English naval officer and courtier.BiographyWilliam Feilding was the son of Basil Fielding of Newnham Paddox in Warwickshire (HighSheriff of Warwickshire in 1612) and of Elizabeth Aston, daughter of Sir Walter Aston (1530–1599).Feilding matriculated at Emmanuel College, Cambridge in1603. In 1606 Feilding married Susan, daughter of Sir George Villiers and sister of George Villiers, 1st Duke of Buckingham, who was ennobled as the favourite ofKing James I. With the rise of Villiers, both Feilding and his wife received various offices and dignities.Knighted on 4 March 1607, William Feilding was createdBaron and Viscount Feilding in 1620. Two years later he was appointed Master of the Great Wardrobe and Custos Rotulorum of Warwickshire and Earl of Denbighon 14 September 1622. He attended Prince Charles on the Spanish adventure, served as admiral in the unsuccessful Cadiz Expedition in 1625, and commandedthe disastrous attempt upon Rochelle in 1628, becoming the same year a member of the Council of war, and in 1633 a Member of the Council of Wales and theMarches.In 1631, Lord Denbigh ventured to the East as erstwhile ambassador to the court of Safi of Persia. He visited the East India Company's fledgling Indianpossessions where, in 1632, Lord Denbigh met with the Mogul emperor. He returned to England in late 1633.On 6 July 1641 a barge carrying Feilding, hisdaughter Elizabeth, Lady Kinalmeaky, Lady Cornwallis, and Anne Kirke capsized while shooting the rapids at London Bridge. Kirke was drowned but the otherpassengers were rescued.On the outbreak of the English Civil War he served under Prince Rupert of the Rhine and was present at the Battle of Edgehill. On 3 April1643 during Rupert's attack on Birmingham he was wounded and died from the effects on the 8th, being buried at Monks Kirby in Warwickshire. His courage,unselfishness and devotion to duty are much praised by Edward Hyde, Earl of Clarendon.FamilySir William and his wife, Susan Villiers, had six children:BasilFeilding, 2nd Earl of Denbigh (c. 1608–1675)George Feilding, 1st Earl of Desmond (c. 1614–1665)Lady Mary Feilding (1613–1638), married James Hamilton, 1stDuke of Hamilton.Lady Anne Feilding (died 1636), married Baptist Noel, 3rd Viscount CampdenElizabeth Feilding, Countess of Guildford (died 1667), marriedLewis Boyle, 1st Viscount Boyle.Lady Henrietta Marie Feilding (died young)His daughter, Lady Mary Feilding (1613–1638), also known as Margaret, was marriedto James Hamilton, 1st Duke of Hamilton, one of the heirs to the throne of Scotland after the descendants of James VI (James I of England). Her portrait waspainted by Anthony van Dyck and Henry Pierce Bone. His eldest son, Basil, inherited the title of Earl of Denbigh. His second son, George Feilding, was awardedthe right to the title of Earl of Desmond at the same time as his father was made Earl of Denbigh in 1622. George Feilding was around eight years old at the time.Earl of Desmond was a lesser title than Earl of Denbigh, being a title in the Irish, rather than English, peerage.AncestryNotesPassage 3:George Feilding, 1st Earlof DesmondGeorge Feilding, 1st Earl of Desmond (c. 1614 – 31 January 1665) was an English aristocrat, awarded the title of Earl of Desmond in the Peerage ofIreland by Charles I  of England under the terms of a letter patent issued by James I of England.George Feilding was the second son of William Feilding, 1st Earlof Denbigh, and his wife, the former Susan Villiers. Susan was the sister of George Villiers, 1st Duke of Buckingham, confidant and lover of James I, and herfamily were showered with titles and preferment as a result of George Villiers' immense influence.In 1622, when George Feilding was around 8 years old, James Icreated him Baron Fielding, of Lecaghe in the County of Tipperary, and Viscount Callan, of Callan in the County of Kilkenny. At the same time, George was giventhe right to the title Earl of Desmond as and when the previous holder of that title, Richard Preston, died without a male heir. Preston had also been a favouriteand probably a lover of James I; he had a daughter who, the plan was, George Feilding would marry, but this did not happen. In 1628 Preston died and Georgeinherited the title.All three titles were in the Peerage of Ireland. Earl of Desmond is an ancient Irish title, the 1622 creation was its 4th, and current,creation.George married Bridget Stanhope, who was the daughter of Sir Michael Stanhope and  Elizabeth Read and a sister-in-law of George Berkeley, 8th BaronBerkeley.The couple had several children:Lady Frances Feilding (died 1680), who married Sir Edward Gage, 1st Baronet, as his third wifeLady Mary Feilding (died1691), who married Sir Charles Gawdy, 1st BaronetLady Bridget Feilding (died 1669), who married Arthur ParsonsWilliam Feilding, 2nd Earl of Desmond, later 3rdEarl of DenbighHon. George Feilding, who married a daughter of Sir John LeeColonel Hon. Sir Charles Feilding (1641–1722), who married Ursula Stockton,daughter of Sir Thomas Stockton and Ursula Bellot, and widow of Sir William Aston, (both Stockton and Aston were High Court judges in Ireland) and had twodaughtersRev. Hon. John Feilding (1641–1697), who married Bridget Cokayne and had children, including John, secretary to the Governor of JamaicaHon. BasilFeilding (died May 1667), killed in a quarrel by his brother ChristopherHon. Christopher Feilding, sentenced to death in July 1667 for killing his brother Basil in adrunken quarrel.\"No one pitied him\" was the terse verdict of Samuel Pepys.Passage 4:Gerald FitzGerald, 3rd Earl of DesmondGerald FitzMaurice FitzGerald(1335–1398), also known by the Irish Gaelic Gearóid Iarla (Earl Gerald), was the 3rd Earl of Desmond, in southwestern Ireland, under the first creation of thattitle, and a member of the Hiberno-Norman dynasty of the FitzGerald, or Geraldines. He was the son of Maurice FitzGerald, 1st Earl of Desmond, by his third wifeAveline (Eleanor), daughter of Nicholas FitzMaurice, 3rd Lord of Kerry.  He was half-brother to Maurice FitzGerald, 2nd Earl of Desmond.Maurice Fitzgerald, 2ndEarl of Desmond, would have been followed by Gerald's older brother, Nicholas, but Nicholas was described as \"an idiot\", and so was passed over for the earldom.Because of this, some older histories list Gerald as the 4th Earl.LifeIn 1356 he was brought to England as a hostage for his father's good behaviour, but as hisfather died that same year, he was soon released. Three years later, he succeeded his brother Maurice, who had died without male heirs, and became the 3rd Earlof Desmond.King Edward III confirmed Gerald in his large estates in Munster, provided that he marry Eleanor Butler, daughter of the Justiciar, James Butler, 2ndEarl of Ormond. Gerald did so, but did not make peace with Ormond, nor adopt English ways and customs as expected.Career and poetryAccording to AlfredWebb:\"[He was] surnamed 'Gerald the Poet', [and] succeeded to the estates and honours of the family. He married, by the King's command, Eleanor, daughter ofJames, 2nd Earl of Ormond, who brought with her as her portion the barony of Inchiquin in Imokelly. Gerald was Lord Justice of Ireland, 1367. In 1398 hedisappeared, and is fabled to live beneath the waters of Lough Gur, near Kilmallock, on whose banks he appears once every seven years. O'Donovan quotes thefollowing concerning his character: 'A nobleman of wonderful bountie, mirth, cheerfulness in conversation, charitable in his deeds, easy of access, a witty andingenious composer of Irish poetry, and a learned and profound chronicler; and, in fine, one of the English nobility that had Irish learning and professors thereofin greatest reverence of all the English in Ireland, died penitently after receipt of the sacraments of the holy church in proper form.' Fragments of Anglo-Normanverse attributed to him, known as Proverbs of the Earl of Desmond, survive.\"Duanaire Ghearóid Iarla (‘'The Poem-Book of Earl Gerald’') is preserved in afifteenth-century manuscript, the Book of Fermoy. In addition, nine of his poems are preserved in the Book of the Dean of Lismore. Duanaire Ghearóid Iarla waspublished by Gearóid Mac Niocaill in Studia Hibernica 3 (1963): 7-59.In 1367 Desmond was made Lord Chief Justice of Ireland, but was soon replaced by SirWilliam de Windsor. In 1370 Brian O'Brien of Thomond expelled his cousin Turlough. Desmond attempted to reinstate him. Brian marched on Limerick, anddefeated Desmond, burning the city and Desmond's lands and imprisoning him.While in prison, Gerald wrote poetry in Irish, most famously the poem Mairg adeirolc ris na mnáibh (Speak not ill of womankind). Also an accomplished poet in Norman French, Gerald was instrumental in the move by the Desmond Geraldinestowards greater use of the Irish language.In legendIn legend, Gerald's conception was the result of his father's romantic relationship with, or rape of, the goddessÁine, a legend that draws upon a pre-existing Celtic legend about the King of Munster Ailill Aulom raping this deity, updating it with themes drawn from theFrancophone courtly love poetry of Continental Europe, in particular the motif of the man who falls in love with a swan maiden. The Geraldine claim to anassociation with Áine is typical of the family's Gaelicisation.After his disappearance in 1398, another legend grew up that Gerald sleeps in a cave beside (or under)Lough Gur, and will someday awaken and ride forth on a silver-shod steed to rule again in Desmond, – one of the many worldwide versions of the King asleep inmountain mythologisation of heroes.Marriage and issueIn 1359 Gerald married Eleanor (or Ellen) Butler, daughter of James Butler, 2nd Earl of Ormond. She diedin 1404. They had four sons:John FitzGerald, 4th Earl of DesmondMaurice FitzGeraldJames FitzGerald, 6th Earl of Desmond, 'the Usurper'Robert FitzGerald deAdairand two daughters:Joan, who married Maurice FitzJohn, Lord of KerryCatherine, who married John FitzThomasSee alsoList of people whodisappearedAncestryPassage 5:Maurice FitzGerald, 9th Earl of DesmondMaurice FitzGerald, 9th Earl of Desmond (died 1520) was the brother of James FitzGerald,8th Earl of Desmond.LifeUpon the murder of James FitzThomas FitzGerald, the 8th Earl of Desmond, in 1487, his brother Maurice became the 9th Earl ofDesmond. The murderer, John Murtagh was apprehended and put to death.In 1489 a plague ravaged the country, followed by a famine in 1497, and manydied.According to Alfred Webb: \"Being lame, and usually carried in a horse-litter, he was styled 'Vehiculus,' and by some, on account of his bravery,"}
+{"doc_id":"doc_57","qid":"","text":"Passage 1:Pooja BhattPooja Bhatt (born 24 February 1972) is an Indian film director, actress, voice over artist and film maker. Born into the Bhatt family, she is the daughter of Indian filmmaker, Mahesh Bhatt and the half-sister of Alia Bhatt and cousin of Emraan Hashmi. Bhatt played her first leading role in Mahesh Bhatt's television film Daddy in 1989. For the film, she won the Filmfare Award for Lux New Face of the Year for Best Female Debut. She is also seen in the Bigg Boss OTT (Hindi season 2)Early lifePooja Bhatt was born on 24 February 1972 to Mahesh Bhatt and Kiran Bhatt (born Loraine Bright). On her father's side, Bhatt is of Gujarati descent and on her mother's side, she is of English, Scottish, Armenian, and Burmese ancestry. She is the step-daughter of Soni Razdan. She has a brother, Rahul Bhatt and half-sisters Shaheen and Alia Bhatt. Her cousins are Hitarth Bhat and Emraan Hashmi.CareerBhatt made her acting debut at age 17, in 1989 with Daddy, a TV film directed by her father Mahesh Bhatt. In the film she portrayed a soul-searching teenage girl in an estranged relationship with her alcoholic father, played by actor Anupam Kher.Her biggest solo hit and her big screen debut came with the musical hit Dil Hai Ke Manta Nahin (1991), which was a remake of the Oscar-winning Hollywood classic It Happened One Night. Pooja Bhatt appeared in many bold shoots like Stardust.Her most well-known films in the 1990s included Sadak opposite Sanjay Dutt (1991), Junoon, Jaanam, and Phir Teri Kahani Yaad Aayee opposite Rahul Roy, Sir (1993) and Guneghar (1995) opposite Atul Agnihotri, Tadipaar (1993) and Naaraaz (1994) opposite Mithun Chakraborty, Hum Dono opposite Rishi Kapoor, Angrakshak opposite Sunny Deol (1995), Chaahat opposite Shah Rukh Khan (1996), Tamanna (1997), the super-hit and multi-starrer Border (1997) and Zakhm (1998), opposite Ajay Devgan. Her last film appearance was in the English language film Everybody Says I'm Fine! in 2001.From 2003 to 2012, she focused on producing and directing. She made her directorial debut with Paap in 2004, starring John Abraham and Udita Goswami. Since then, she has made four more directorial ventures: Holiday (2006), Dhokha (2007), Kajraare (2010) and Jism 2 (2012).In 2020, Bhatt returned to acting with Sadak 2, a sequel to the hit 1991 film. Her father returned to directing with this film after 20 years. It was released on 28 August 2020 on the streaming platform Disney+ Hotstar.In 2021, Bhatt made her web series debut in the Netflix series Bombay Begums. It also featured Rahul Bose, Amruta Subhash, Shahana Goswami, Plabita Borthakur and Aadhya Anand.In 2022, she appeared in the film Chup: Revenge of the Artist.Currently , She is a Participant of Bigg Boss OTT 2FilmographyActing rolesTelevisionAwards and recognitionsPassage 2:Peter HamelPeter Hamel (1911–1979) was a German screenwriter and a director of film and television. He appeared as himself in the 1948 comedy Film Without a Title. He is the father of the composer Peter Michael Hamel.Selected filmographyFilm Without a Title (1948)Artists' Blood (1949)Oh, You Dear Fridolin (1952)The Daring Swimmer (1957)Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Yasuichi OshimaYasuichi Oshima (\u0000\u0000 \u0000\u0000\u0000\u0000, Ōshima Yasuichi, born 24 March 1954 in Kyoto) is a Japanese manga artist. In 1984, he won the Kodansha Manga Award for shōnen for Bats & Terry.He is the father of manga artist Towa Oshima.Selected worksKenkaku Shōbai (2008–2021)Passage 5:Paul BrookePaul Brooke (born 22 November 1944) is a retired English actor of film, television and radio. He made his film debut in 1972 in the Hammer film Straight on till Morning, followed by performances in For Your Eyes Only (1981), Return of the Jedi (1983), Scandal (1989), Saving Grace (2000), Bridget Jones's Diary (2001), Alfie (2004), The Phantom of the Opera (2004), and Oliver Twist (2005). Brooke is the father of actor Tom Brooke.CareerBrooke began as a stage actor and has played in many London productions, including several years as a member of Frank Dunlop's original Young Vic Company. He played Malakili the Rancor Keeper in the 1983 Star Wars film Return of the Jedi (his voiced dubbed over by Ernie Fosselius). He played British Conservative politician Ian Gow in the 2004 BBC series The Alan Clark Diaries. In 2006, he guest starred in the Doctor Who audio adventure Year of the Pig as well as the 1990 Mr. Bean sketch \"The Library\". He played Mr. Fitzherbert in the 2001 film Bridget Jones's Diary.Other appearances in television dramas and comedies featuring Brooke include The Blackadder, Bertie and Elizabeth, the BBC adaptation of Blott on the Landscape, Lovejoy, Foyle's War, Rab C. Nesbitt, Kavanagh QC, Sharpe's Revenge, Midsomer Murders, Hustle, Covington Cross, The Kit Curran Radio Show, Between the Lines, Relic Hunter and Mornin' Sarge. He appeared in the miniseries Nostromo in 1997.He played Gríma Wormtongue in the 1981 BBC radio adaptation of The Lord of the Rings.He, Linal Haft and Frank Mills are the only actors to appear in both the Classic and New series of Minder, but playing different roles in each.FilmographyFilmTelevisionExternal linksPaul Brooke at IMDbPassage 6:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, but the age difference makes it unlikely.Passage 7:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 8:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage 9:KajraareKajraare (transl. Collyrium) is a 2010 Indian Hindi-language film directed by Pooja Bhatt, starring Himesh Reshammiya and Sara Loren in the lead roles. Reshammiya plays a singer who falls in love with a bar dancer and the film is centred on how they find true love. It is the first Hindi film to be shot in Petra, often called \"the eighth wonder of the world.\"PlotRajiv Bhel (Himesh Reshammiya) is haunted by his very own past which torments him. He moves to Jordan where he has a job as a bartender, however Avtaar Singh forbids him to stay and immediately wants him to return to India. Rajiv then contemplates suicide but the eyes of a ravishing beauty strikes his own eyes. A chase ensues, until another man appears and takes the \"beauty\" in his own hands. The guy tells Rajiv if he wants to see what she does, he must come to the bar to \"watch her dance\".Rajiv visits the aquarium and he sees the lady again and develops immense love for her. The woman is Nargis who is revealed as a prostitute. He then falls in love. One night, Rajiv visits the \"bar\", and watches her (Nargis) dance. Embarrassed and feeling unworthy, Rajiv runs away, however, after the end of the night, its time to head home. Nargis and her colleagues get in a taxi which Rajiv follows. At the end of the trip, Rajiv gets closer to Nargis only for Rajiv to return the scarf that Nargis dropped at the bar. Mockingly, Nargis refuses it but Rajiv says if she keeps disappearing like this, he will hang himself with the scarf. Nargis offers for a longer one in a jokingly way.Regardless, Rajiv wants to marry Nargis. Rajiv wants Nargis to be free from prostitution. Rajiv must now get past Zohra Baano. She owns a prostitution business and hires other women to do their dirty work, the only source of income. Zohra Baano wants a price in exchange and Rajiv is willing to do that. Slowly, Nargis begins to develop feelings for Rajiv. One night, Nargis escapes the brothel, Rajiv finds her and takes her to a hotel. Nargis realises this was a mistake so she must return to the "}
+{"doc_id":"doc_58","qid":"","text":"Passage 1:Köpekler AdasıKöpekler Adası is a 1997 Turkish film, directed by Halit Refiğ and starring Mursit Bag, Ekrem Dümer, and Tanju Gürsu.Passage2:Borsalino & Co.Borsalino & Co. is a 1974 French crime film directed by Jacques Deray and starring Alain Delon, Riccardo Cucciolla and Daniel Ivernel. It is thesequel to the 1970 film Borsalino, opening with the criminal Siffredi as he searches Marseille for the gang that murdered his friend Capella.PlotSiffredi, aprominent gangster in 1930s Marseille, learns that the murder of his associate and closest friend Capella was ordered by a new arrival in the city, Volpone. Inrevenge, he kills Volpone's brother by throwing him from a moving train. A gang war ensues. Volpone's men win, capturing Siffredi and putting his mistress Lolain a brothel. Siffredi is humiliated by the gang by turning him into an alcoholic wreck who is shut up in a psychiatric hospital. Rescued by the only other survivorof the gang, he escapes by boat to Italy. Left supreme in Marseille, Volpone is backed by the government of Nazi Germany and has the police in his pocket.Threeyears later, Siffredi has recovered his health, made some money and assembled a new gang. Returning to Marseille, they free Lola from the brothel and in a newwar eliminate most of Volpone's men. Capturing his right-hand man together with the police commissioner who kowtows to him, Siffredi makes the two roaringdrunk and calls in journalists to publicise the shameful spectacle. A new police commissioner decides to let Siffredi finish the job. When Volpone tries to flee toGermany, Siffredi captures him on the train and stuffs him into the firebox of the locomotive. Not wanting to start again in Marseille, with Lola and his gang hethen takes a ship for the United States.Partial castAlain Delon - Roch SiffrediRiccardo Cucciolla - VolponeDaniel Ivernel - Inspector FantiReinhard Kolldehoff -SamAndré Falcon - Inspector CazenaveLionel Vitrant - FernandAdolfo Lastretti - LucianoGreg Germain - Le 'Nègre'Pierre Koulak - SpadaMarius Laurey -TeissereSerge Davri - CharlieGünter Meisner - Le médecinJacques Debary - Le préfetDjéloul Beghoura - LucienBruno Balp - Un spectateur de l'AlcazarCatherineRouvel - LolaAnton Diffring - GermanMireille Darc - CameoProductionFilming took place from 29 March to 25 June 1974.ReceptionThe film was a box officedisappointment, especially considering the success of the first movie.Passage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who wasborn in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in themilitary and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movieswere a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramasand musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did hisresidency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as aform of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how hiscountry’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee totackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and madeSan Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi MedicalCollege, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old Worldimmigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in Americanculture. Many often landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"theclash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which strugglesagainst the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts thecontradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in SanFrancisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wifeis having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritualfor his cure.Passage 4:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABCtelevision program American Bandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. Afterserving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important asmost programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University ofPennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950Club\" on WPEN-AM. The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcastlive in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directedthe cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to LosAngeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006at a nursing home where he had been for the last two months of his life.External linksEdward Yates at IMDbPassage 5:Catherine I of RussiaCatherine IAlekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian:Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife andempress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaireto be nearly as extraordinary as that of Peter the Great himself. Only uncertain and contradictory information is available about her early life. Said to have beenborn on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Marta was the daughter of Samuel Skowroński (later spelled SamuilSkavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married DorotheaHahn at Jakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whetherMoritz's father was a Swedish officer. It is likely that two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect.Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landless serf.Marta's parents died ofthe plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg(the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator whowas the first to translate the Bible into Latvian. In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was madeto teach her to read and write and she remained illiterate throughout her life.Marta was considered a very beautiful young girl, and there are accounts that FrauGlück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or JohannRabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured thetown, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiatedstories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General RudolphFelix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether shewas his mistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of PrinceAlexander Menshikov, who was the best friend of Peter the Great of Russia. Anecdotal sources suggest that she was purchased by him. Whether the two of themwere lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetime alliance.Itis possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in1703, while visiting Menshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son,Peter. In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompaniedPeter and Menshikov on their military excursions.Marriage and family lifeThough no record exists, Catherine and Peter are described as having married secretlybetween 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth(born 1709).Peter had moved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she didthe cooking and caring for the children, and he tended a garden as though they were an ordinary couple. The relationship was the most successful of Peter's lifeand a great number of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was very energetic, compassionate,charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.Catherine went with Peter on his Pruth Campaign"}
+{"doc_id":"doc_59","qid":"","text":"Passage 1:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 2:Carlo I Cybo-MalaspinaCarlo I Cybo-Malaspina (18 November 1581 - 13 February 1662) was an Italian nobleman, who was prince of Massa and marquis of Carrara from 1623 until his death.Born in Ferrara, he was the son of Alderano Cybo-Malaspina and Marfisa d'Este. He was also Duke of Ferentillo and held other patrician positions in several of the numerous Italian states of the time. In 1605, he married the Genoese noblewoman Brigida Spinola, from whom he had numerous children.The eldest of them, Alberico, succeeded him after his death in 1662.Passage 3:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. ' Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad "}
+{"doc_id":"doc_60","qid":"","text":"Passage 1:The Brave ArcherThe Brave Archer, also known as Kungfu Warlord, is a 1977 Hong Kong film adapted from Louis Cha's novel The Legend of the CondorHeroes. The film was produced by the Shaw Brothers Studio and directed by Chang Cheh, starring Alexander Fu Sheng and Tien Niu in the lead roles. The film isthe first part of a trilogy and was followed by The Brave Archer 2 (1978) and The Brave Archer 3 (1981). The trilogy has two unofficial sequels, The Brave Archerand His Mate (1982) and Little Dragon Maiden (1983).PlotGuo Jing and Yang Kang are the sons of two rebels. The rebels are killed by imperial soldiers, and then,the boys are rescued by six skilled pugilists. The pugilists agree to separate the two boys, tutor them separately in martial arts, and let them meet again whenthey have grown up, to determine whose abilities are better. Guo becomes the student of the \"Seven Freaks of Jiangnan\" while Yang Kang becomes the foster sonof a Jurchen prince inadvertently.When he reaches adulthood, Guo Jing travels to a local town, where he meets and befriends a beggar named Huang Rong, whois actually the daughter of Huang Yaoshi, master of Peach Blossom Island. He also meets Yang Kang, without knowing Yang's true identity, during a contest towin the hand-in-marriage of Mu Nianci, the adopted daughter of Yang's father. Yang's father is actually still alive. Yang Kang is tempted by the wealth and fame ofbeing a noble, and he refuses to acknowledge and betrays his father, while his mother commits suicide.Huang Rong reveals to Guo Jing later that she is actually awoman and they go on adventure together. Guo Jing learns the \"Eighteen Dragon-Subduing Palms\" from the \"Nine-fingered Beggar\" Hong Qigong, while HuangRong is groomed by Hong to become his successor as chief of the Beggars' Sect. Guo and Huang travel to Peach Blossom Island later to meet Huang's father.Huang Yaoshi is does not approve of his daughter's marriage to Guo Jing. While exploring the island, Guo Jing meets a strange man called Zhou Botong whoteaches him special martial arts techniques and forces him to read a manual, which is later revealed to be written by Huang Rong's late mother.Ouyang Fengvisits Peach Blossom Island with his nephew Ouyang Ke, and he proposes a marriage between his nephew and Huang Rong. Just then, Hong Qigong also arrivesand he strongly supports Guo Jing to marry Huang Rong. Eventually, Huang Yaoshi arranges for a contest between Guo Jing and Ouyang Ke to determine who isworthy of his daughter's hand-in-marriage. The last part of the contest involves both of them having to read a manual and recite it from memory later. As Guohad already read the manual earlier, he recites it easily and wins the contest. Huang Yaoshi agrees to his daughter's marriage to Guo Jing. However, Ouyang Fengrealizes that the manual is actually the fabled Nine Yin Manual and he wants it for himself.CastExternal linksThe Brave Archer at IMDbThe Brave Archer at theHong Kong Movie DataBasePassage 2:Little Dragon MaidenLittle Dragon Maiden, also known as The Brave Archer 5, is a 1983 Hong Kong film adapted from LouisCha's novel The Return of the Condor Heroes. Little Dragon Maiden is seen as an unofficial sequel to the The Brave Archer, The Brave Archer 2, The Brave Archer3, and The Brave Archer and His Mate.CastExternal linksLittle Dragon Maiden at IMDbLittle Dragon Maiden at the Hong Kong Movie DataBasePassage 3:RobertRossenRobert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost threedecades.His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for the AcademyAward for Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961, he directed The Hustler,which was nominated for nine Oscars and won two.After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. From there, heworked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, abody to organize writers for the effort in World War II. In 1945, he joined a picket line against Warner Bros. After making one film for Hal B. Wallis's newly formedproduction company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration withColumbia.Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was \"dedicated to social causes of the sortthat we as poor Jews from New York were interested in.\"He ended all relations with the Party in 1949. Rossen was twice called before the House Un-AmericanActivities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been aCommunist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 peopleas current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, Mambo, in Italy in 1954. While The Hustler in1961 was a great success, conflicts on the set of  Lilith in 1964 so disillusioned him that it was his last film before his death two years later.BiographyEarly life andcareerRobert Rosen was born on March 16, 1908, and raised on the Lower East Side of New York City. His parents were Russian Jewish immigrants and his father,Philip Rosen, was a house painter. As a youth, he attended New York University, hustled pool and fought some prizefights - the latter two providing crucialbackground for his two greatest films, The Hustler and Body and Soul, respectively. He changed his name from \"Rosen\" to \"Rossen\" in 1931.He started histheatrical career as a stage manager and director in stock and off-Broadway productions, mainly in the social and radical theaters that flourished in New York inthe early and mid-1930s, as did John Huston, Elia Kazan and Joseph Losey. In 1932 Rossen directed John Wexley's Steel, about labor agitation, and RichardMaibaum's The Tree, about a lynching. A year later Rossen directed Birthright, in which Maibaum attacked Nazism, which had just triumphed in Germany with thedictatorship of Adolf Hitler in 1933.In 1935, Rossen wrote and directed his first play, The Body Beautiful, a comedy about a naive burlesque dancer. Although theplay closed after four performances, Warner Bros. director Mervyn LeRoy was so impressed that he signed Rossen to a personal screenwriting contract.MarriageIn1936, Rossen married Susan Siegal; the couple had three children: Carol, Stephen and Ellen.Work in HollywoodFor his first credit in Hollywood, in 1937 Rossenco-wrote with Abem Finkel a script based on the prosecution of crime lord Lucky Luciano and eventually titled Marked Woman. Although some of Warner Bros.management saw Rossen as an unknown quantity, the result won praise from both Jack L. Warner and the Daily Worker. Rossen's first solo script was for TheyWon't Forget (1937), a fictionalized account of the lynching of Leo Frank, featuring Lana Turner in her debut performance.Dust Be My Destiny, co-written in 1939by Rossen, is the story of a fugitive from justice who is eventually acquitted with help from an attorney and a journalist, the latter arguing that \"a million boys allover the country\" were in a similar plight. Warner Bros. then ordered producer Lou Edelman to cut the script, adding that \"This is the story of two people – not agroup. It is an individual problem – not a national one.\" Rossen was one of three writers on the gangster melodrama The Roaring Twenties, released in 1939. Aremake of the 1932 play and film Life Begins was written in 1939 by Rossen and released in 1940 as A Child Is Born. The plot recounted the experiences of sixexpectant mothers, and there was little scope to modify the original.The Sea Wolf, released in 1941, was based on Jack London's novel. Although the film had astrong cast and production, Rossen's re-draft of the script may be the greatest influence on the film. While the character of Captain Larsen remained both victimand oppressed in a capitalist hierarchy, he became a symbol of fascism. He split the novel's idealist hero into an intellectual bosun and a rebellious seaman.Warner Bros. cut many political points during production.Blues in the Night, written by Rossen and two colleagues and released in 1941, shows a group of jazzmusicians traveling in the Depression. Their informal methods represent working-class culture rather than the commercialized music of the big bands. However,The New York Times' reviewer thought the soundtrack was \"about all the film has to offer\", and Warner was disappointed with the sales.After the attack on PearlHarbor on December 7, 1941, the Screen Writers Guild set up on December 8, 1941, the Hollywood Writers Mobilization, a body to organize writers for the wareffort. Rossen served as the body's chairman until 1944 and advocated the opening of a Second Front to support West European resistance against the Nazis. Hisearnings were much greater than in 1937. However, his work for Hollywood Writers Mobilization and for the Communist Party forced him to abandon some partlydeveloped film projects, including The Treasure of the Sierra Madre, which John Huston eventually directed in 1948.In 1945 Rossen joined a picket line againstWarner Bros, making an enemy of Jack Warner. Rossen signed a contract with an independent production company formed by Hal Wallis, who had previouslybeen Warner Bros.' head of production. However Rossen wrote only two full scripts for this company, The Strange Love of Martha Ivers in 1946 and Desert Fury in1947. In The Strange Love of Martha Ivers Rossen used a short story by John Patrick to introduce the main plot, which was set 15 years later and which Rossenwrote. The relationship between Rossen and Wallis broke down when Rossen received offers from other production companies.Dick Powell had been a crooner butwas making a new career as a dramatic actor. When Columbia Pictures agreed to make Johnny O'Clock for him in 1947, Powell successfully campaigned forRossen to direct, and this became Rossen's debut in directing. As this crime melodrama proved a modest success, Roberts Productions signed Rossen to directAbraham Polonsky's script of Body and Soul, described by Bob Thomas as \"possibly the best prizefight film ever made.\" Rossen preferred an ending in which thehero wins a boxing match and then is killed by a gangster, but Polonsky insisted on his own ending, in which the hero escapes into obscurity before the fight.Following the success of Body and Soul, Rossen formed his own production company and signed with Columbia Pictures a contract that gave him wide autonomyover every second film that he made at the studio.All the King's Men (1949) was based on the novel of the same name by Robert Penn Warren, which in turn wasbased on the career of politician Huey Long. Rossen introduced a new concept, that the defenders of the ordinary people can in turn become the new exploiters.As a requirement for his participation in the film, Rossen had to write to Columbia's Harry Cohn saying that he was no longer a Communist Party member. Cohn's"}
+{"doc_id":"doc_61","qid":"","text":"Passage 1:Vera MiletićVera Miletić (Serbian Cyrillic: Вера Милетић; 8 March 1920 – 7 September 1944) was a Serbian student and soldier. She was notable forbeing the mother of Mira Marković, posthumously making her the mother-in-law of Serbian president Slobodan Milošević.Personal lifeHer cousin was DavorjankaPaunović who was the personal secretary of Communist Party of Yugoslavia leader Josip Broz Tito.Passage 2:Beatrice of ProvenceBeatrice of Provence (c. 1229 –23 September 1267), was ruling Countess of Provence and Forcalquier from 1245 until her death, as well as Countess of Anjou and Maine, Queen of Sicily andNaples by marriage to Charles I of Naples.She was the fourth and youngest daughter of Ramon Berenguer IV, Count of Provence and Forcalquier by his wifeBeatrice, in turn daughter of Count Thomas I of Savoy and Margaret of Geneva.LifeInheritance of Provence and ForcalquierBeatrice, like her sisters, mother andgrandmother was known for her beauty. A description of Beatrice said she\"set men's hearts thumping and the fingers of troubadours to fevered twanging of lyres.Two of the balladists at the Provencal court were temporarily deprived of reason for love of the entrancing Beatrice\"All Ramon Berenguer IV's three olderdaughters married to titles of status: The eldest, Margaret, was Queen of France by marriage to Louis IX; the second, Eleanor, was Queen of England by marriageto Henry III, and the third, Sanchia, was titular Queen of Germany by marriage to Henry's brother Richard, Earl of Cornwall. King Louis IX's marriage to Margarethad been arranged by his mother, Blanche of Castile, with the hopes that he would inherit Provence and Forcalquier when her father died.In his will signed on 20June 1238 at Sisteron, Ramon Berenguer IV unexpectedly left the Counties of Provence and Forcalquier to his youngest and still unmarried daughter,Beatrice.Countess of Provence and ForcalquierRamon Berenguer IV died on 19 August 1245 at Aix-en-Provence, and according to his will, Beatrice becameCountess of Provence and Forcalquier in her own right, with the provision that the Dowager Countess could retain the usufruct of the County of Provence for herlifetime.Now, Beatrice became one of the most attractive heiresses in medieval Europe, and soon several suitors appeared for her hand. Firstly, the neighboringrulers of her domains began their claims: the twice-divorced Raymond VII, Count of Toulouse and King James I of Aragon, who, despite being married to Violantof Hungary, invaded Provence and seized the residence of the countess. In addition, the thrice-widowed Frederick II, Holy Roman Emperor, dispatched theimperial navy to Provence to ensure Beatrice could marry one of his sons or even himself.In such a difficult situation, the Dowager Countess decided to actquickly, placing herself and Beatrice in a safe fortress in Aix, secured the trust of its people and then asked Pope Innocent IV for his protection. In Cluny duringDecember 1245, a secret meeting between Pope Innocent IV, Louis IX of France, his mother Blanche of Castile, and his youngest brother Charles took place. Itwas decided that in return for Louis IX supporting the Pope militarily against Frederick II, the Pope would allow that Charles marry Beatrice. Mother and daughterwere satisfied with this selection,  but under the terms of the treaty, Provence was to never go to France outright through Charles. It was agreed that if Charlesand Beatrice had children, the Counties would go to them; if there was no issue, then the Provence and Forcalquier would go to Sanchia of Provence, and if shedied without heirs, the Counties would go to the King of Aragon. Henry III of England protested these terms, arguing that he had not yet received the full dowryfor his wife Eleanor nor his brother for Sanchia. He also still had the castles in Provence against the loan he had made to the late Count.Charles, along with Philipof Savoy and five hundred knights, rode from Lyon to Provence. On their way, they ran into Raymond VII of Toulouse, who also had an army on the way toProvence. Raymond VII had been deceived by knights in favour of Charles and for that reason he had brought fewer men, and Charles and his army were quicker.When Charles got to Aix-en-Provence, James I of Aragon, who had been there all along but was not allowed to see Beatrice, had his soldiers surrounding thecastle in which the young Beatrice and her mother were. There was a brief struggle, but the King of Aragon retreated with dignity.To the young Beatrice, Charles(who was described as \"an admirable young man\") was a satisfactory resolution to her problems. Their marriage took place on 31 January 1246 atAix-en-Provence. They had soldiers on guard and the bride was escorted down the aisle by her uncle, Thomas, Count of Flanders.The inheritance of Beatrice alsocaused conflicts with her older sisters, who hoped that once their father had died, his domains would be divided between the four; Charles refused to share theCounties with his sisters-in-law. In consequence, the relationship of Charles and Beatrice with the three sisters, who felt cheated by their father's will, remainedalways tense.As soon as Charles became Count of Provence, he brought in his own team of French lawyers and accountants. He excluded his mother-in-law fromthe running of the county and began taking castles, power and fees away from the nobles who had previously enjoyed a certain degree of independence in therunning of their cities. Charles made himself very unpopular. The Dowager Countess moved herself to Forcalquier in protest, and in Marseille, Charles's officialswere thrown out of the city. In the family conflict, Beatrice sided with her husband.Seventh CrusadeIn May 1247, Charles and Beatrice were recorded as being inMelun, where Charles was knighted by his brother Louis. Beatrice accompanied Charles on the Seventh Crusade in 1248. Led by Louis IX, the crusaders made anextended procession through France. Before they left, Charles and Beatrice met with the Dowager Countess in Beaucaire to try to come to some terms ofagreement concerning Provence. Whilst the more important matters were left until Charles and Beatrice returned, it was decided that Beatrice of Savoy wouldgive up the rights to \"the castle at Aix in exchange for a percentage of the county's revenue.\"In Nicosia, Beatrice gave birth to her first child, \"a very elegant andwellformed son\", as her brother-in-law Robert of Artois wrote home to his mother the Queen; the child lived only a few days. Beatrice stayed with her sisterMargaret in Damietta, when they lost contact with the King and his army; here Beatrice gave birth to her second child, while her sister Margaret too gave birth.Later in 1250, they were reunited with the rest of the crusade at Acre, where the King's ransom was paid. Charles and Beatrice, along with several other nobles,left soon after and journeyed to the court of Emperor Frederick II, to ask him to send the King of France more men for his crusade. The Emperor, who had beenexcommunicated, needed his army to fight the Pope, and refused.Beatrice and Charles returned to Provence in 1251, where some riots erupted at Arles andAvignon, instigated by Beatrice's mother, who felt Charles had failed to respect her claims in Provence. By July 1252 Charles had managed to defeat the revoltand was in the process of exercising his power as Count of Provence. In November of the same year, Blanche of Castile, regent of France while her son Louis IXwas on crusade, died. Charles and Beatrice had to go to Paris, where Charles became co-regent of France with his brother, Alphonse. The Pope offered Charlesthe Kingdom of Sicily in 1252, but Charles had to turn the offer down, as he was preoccupied with other affairs and he also did not have sufficient funds.Thecrusaders returned in 1254. Charles and Beatrice spent Christmas in Paris that year, where all of Beatrice's sisters and their mother were present; it was notedthat the other four women treated the younger Beatrice coldly, due to Raymond Berenguer's will.Queen of SicilyBeatrice's sister Margaret, the new Queen ofFrance, publicly offended her in 1259, by not seating her at the family table; she claimed because Beatrice was not a queen like her sisters, she could not sit withthem. Margaret had hoped to provoke her sister in treacherous behaviour so she would have a valid reason to invade Provence. Beatrice \"with great grief\", wentto Charles and he reportedly told her:\"Be at peace, for I will shortly make thee a greater Queen than them\".When the newly elected Pope Clement IV grantedCharles the Kingdom of Sicily, he had to defeat King Manfred, who had fallen out of papal favour. Another contender to win the throne of Sicily was Beatrice'snephew, Edmund Crouchback, but it soon became clear that Charles was the more promising candidate. In order to achieve his goal, Charles needed an army andBeatrice helped her husband raise one. She called on all her knights as well as the young men of France, and according to the later historian Angelo di Costanzoshe pledged all her jewels, to make sure they joined her husband's army:Beatrice, to aid [Charles] in the gratification of her ambition, sold all her jewels andpersonal ornaments, and expended her private treasure in collecting round her standard, not only her own vassals, but the chivalric youth of France, who wereattracted to her service not less by her personal solicitations than by her rich gifts.In 1265 Charles of Anjou, with a small contingent, embarked and by seaarrived in Rome, where, on 28 June, he was invested as King of Sicily by the Pope. According to the storia di Manfredi, re di Sicilia e di Puglia of Giuseppe diCesare who followed the narrative of the storia di Saba Malaspina, Beatrice followed her husband with the remaining army by sea, arriving to Italy only fourmonths later. In November of that year, the army of Charles, composed by 5,000 soldiers and 25,000 infantrymen entered Italy and arrived in Rome in January1266, where on 6 January both Charles and Beatrice were crowned King and Queen of Sicily by five cardinals sent by the Pope (who was sheltering in Perugia). Assoon as the coronation festivities had ended, Beatrice stayed in Rome with a small force to hold the city, whilst Charles rode out to the battle of Benevento. Afterher husband's victory, she chose the castle of Melfi as their residence.DeathBeatrice died on 23 September 1267, a little over a year after becoming queen ineither the Castello del Parco at Nocera Inferiore or in Naples (according to the storia di Saba Malaspina). The cause of her death was not recorded, although it isbelieved that complications following a pregnancy could be the reason. She was initially buried at Cathedral of San Gennaro in Naples, but in 1277 her husbandtransferred her remains to Aix-en-Provence at the Church of Saint-Jean-de-Malta.Beatrice was the last ruling Countess of Provence and Forcalquier from theHouse of Barcelona; on her death, she left her Counties to her husband Charles.IssueCharles and Beatrice had the following children:Blanche (1250 – bef. 10January 1270), married in 1265 Robert of Flanders, Lord of Béthune and Dendermonde (he became Count Robert III in 1305, long after Blanche's death), bywhom she had one son, Charles, who died young.Beatrice (1252 – 17 November/12 December 1275), married in 1273 Philip of Courtenay, titular emperor of"}
+{"doc_id":"doc_62","qid":"","text":"Passage 1:Pablo AlboránPablo Moreno de Alborán Ferrándiz (born 31 May 1989), popularly known as Pablo Alborán, is a Spanish musician and singer-songwriter.Throughout his career, Alborán has released five studio albums, two live albums, and various musical collaborations. His records are distributed by Warner MusicSpain which he was signed to in 2013. That year he released \"Solamente Tú\", the lead single from his 2011 self-titled debut album. The track topped the charts inhis home country for two consecutive weeks. The album peaked at number one in its first week of sales, making Alborán the first solo artist to sign a completedebut album to rank to the top since 1998 in Spain. Alborán was nominated for Best New Artist at the 12th Latin Grammy Awards.Alborán's sophomore recordTanto (2012) spawned the number one singles \"Quién\" and \"El Beso\". It received a Latin Grammy Award for Album of the Year. His third studio album Terral(2014) spawned the chart-topping singles \"Por Fin\" and \"Pasos de Cero\" and received a Grammy Award nomination for Best Latin Pop Album. Alborán embarkedon a huge concert tour Tour Terral, which visited Europe, North, and South America. Its respective live album Tres Noches en Las Ventas marked Alborán'ssecond Album of the Year nomination. In 2017, Alborán released his fourth studio album Prometo to critical and commercial success. It spawned the singles\"Saturno\" and \"No Vaya a Ser\", among others. He released his fifth album Vértigo in 2020, followed by his sixth album La Cuarta Hoja in 2022.Throughout hiscareer, Alborán has won a Goya Award for Best Original Song, nine LOS40 Music Awards, two Gaviota de Oro and two Premios Dial, among others. Throughoutthe years, Alborán has been nominated for three Grammy Awards as well as twenty-three Latin Grammy Awards.Music careerFrom a very young age, he wasinterested in learning to play various musical instruments such as piano, classical guitar, flamenco guitar, and acoustic guitar, and attended singing lessons withprofessional artists in Málaga and Madrid. In 2002, at the age of 12, he composed his first songs, \"Amor de Barrio\" (Neighbourhood Love) and \"Desencuentro\"(Disagreement) which would be featured 10 years later on his debut album. In Málaga he performed for the first time with a Flamenco band in a restaurant, andhe was nicknamed El Blanco Moreno (The White Moreno), because he \"was very pale-skinned and Moreno was my family name\", as he stated in an interview inearly 2011. Later, Pablo met producer Manuel Illán and recorded a demo, which included a cover of \"Deja de Volverme Loca\" (Stop Driving Me Crazy) by DianaNavarro. Upon hearing this recording, Navarro expressed great interest in Alborán and became his musical mentor.In preparation for his first album, Alboráncomposed a total of 40 songs from which the playlist would be selected. During the recording of this studio album, Pablo Alborán, he uploaded a few songs onYouTube, which gained the attention of many, including singer Kelly Rowland who was amazed by his voice, as far as saying \"I'm in love with Pablo Alboran!\". Hisvideos have since received millions of views.\"Solamente Tú\" (Only You) was digitally released in Spain in October 2010 as the first single of his debut album,which was released in February 2011. Both the single and the album were a huge success, managing to top the Spanish music charts for several consecutiveweeks. The album won multiple awards, including RTVE's Album of the Year for 2011, and became Spain's best-selling album of that year.Alborán began his firstworld tour on 27 May 2011 in Madrid at the Palacio Vistalegre, and has since performed in many Latin American countries, among which are Argentina, Chile andMexico. Following his success, he released his first live album, En Acústico, in November of the same year. It included acoustic versions of most of the tracks inhis debut album, as well as two new songs and four bonus tracks. The song \"Perdóname\" (Forgive Me) was re-recorded featuring Portuguese singer Carminho,and was released as the first single of the album, peaking at number one on the Spanish singles chart on 13 November 2011, thus helping En Acústico to debutalso at number one on the albums chart one week later, on 20 November 2011, and to top the Portuguese Albums Chart in January 2012.On 19 December 2011,Alborán received the 2011 Best New Act award in Los Premios 40 Principales. Both his albums Pablo Alborán and En Acústico were featured in Spain's official listof top-selling albums of 2011, at number 1 and number 6, respectively, and singles \"Solamente Tú\" and \"Perdóname\" were the respective third and nineteenthbest-selling songs in Spain in 2011.In January 2012, Alborán collaborated on the charity single, \"Cuestión de Prioridades por el Cuerno de África\" (A matter ofpriorities for the horn of Africa).In September 2012, Alborán released the lead single \"Tanto\" from his forthcoming album Tanto which was released in November2012. The album was certified 10× Platinum in Spain and was the highest selling album in Spain in 2012 and 2013. The album included two number one singles inSpain, \"El Beso\" (The Kiss) and \"Quién\" (Who). The album received Latin Grammy Awards.Alborán released his third studio album Terral in November 2014. Thealbum became his fourth straight number 1 album in Spain and has been certified 8× Platinum. It was the highest selling album in Spain in 2014.In April 2016,\"Se Puede Amar\" was released, which is the first single of the forthcoming fourth studio album. Throughout 2016, Alborán toured Central America. In August,Alboran re-released \"Dónde está el Amor\" with Brazilian singer Tiê. It was included in the telenovela soundtrack Haja Coração.On 8 September 2017, after atwo-year break, Alborán announced on his social networks that he was finishing preparing what would be his fourth studio album, Prometo. He released twosingles (\"Saturno\" and \"No Vaya a Ser\") on the same day. \"Saturno\" is a ballad, reminiscent of his beginnings as a singer, while \"No Vaya a Ser\" is a differentstyle flirting with electronics and African rhythms. Prometo was released on 17 November 2017 and debuted at number 1 in Spain.Personal lifeAlborán is the sonof Spanish architect Salvador Moreno de Alborán Peralta and Elena Ferrándiz Martínez. From a father from Malaga and a French mother, the daughter ofSpaniards born in Casablanca during the French protectorate of Morocco.In June 2020, Alborán came out as gay. As of December 2020, Alborán resides inMálaga.DiscographyStudio albumsLive albumsSinglesAs main artistAs featured artistOther charting songsAwardsGrammy AwardsThe Grammy Awards areawarded annually by the National Academy of Recording Arts and Sciences in the United States. Alborán has received three nominations.Latin GrammyAwardsThe Latin Grammy Awards are awarded annually by the Latin Academy of Recording Arts & Sciences in the United States. Alborán has receivedtwenty-four nominations.TVyNovelas AwardsThe TVyNovelas Awards are presented annually by Televisa and the magazine TVyNovelas to honor the best Mexicantelevision productions, including telenovelas.Goya AwardsThe Goya Awards, known in Spanish as los Premios Goya, are awarded annually by the Academia de lasArtes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science) in Spain. Alborán has received one award.NotesPassage2:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a solo artist, he is the lead singer of indie rock band One eskimO.EarlylifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went to Hatch End High School in Harrow and worked several jobs in andaround London whilst concentrating on music when he had any free time.  In 2003 he signed a major record deal with Polydor. At the time, Leontiou was dubbed\"the new Dido\" by some media outlets. His debut single \"Story of My Life\" was released in June 2004 and reached #9 in the UK Singles Chart. His second single\"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of 150,000 copies.Leontiou toured the album in November 2004taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappy with the direction his career was going, on a flight back fromthe US in 2004 he decided to take his music in a new direction.  Splitting from his label in late 2005, he went on to collaborate with Faithless on the song \"Hope &Glory\" for their album ‘'To All New Arrivals'’.  It was this release that saw him unleash the One eskimO moniker.  It was through working with Rollo Armstrong onthe Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimO project. Being more than impressed by what he heard, Rolloopened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’' album.It was at this time that he paired up with good friendAdam Falkner, a drummer/musician, to introduce a live acoustic sound to the album. They recorded the album with engineer Phill Brown (engineer for Bob Marleyand Robert Plant) at Ark studios in St John's Wood where they recorded live then headed back to Rollo's studio to add the cinematic electro touches that areprominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a Toyota Prius advert in the USA. The funds from the advert werethen used to develop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (Gravy Media Productions) along with animation teamSmuggling Peanuts (Matt Latchford and Lucy Sullivan) who together began to develop the One eskimO world, the first animation produced was for the track‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started a new management venture with ATC Music. By mid-2008 TimeWarner came on board to develop all 10 One eskimO animations which were produced the highly regarded Passion Pictures in London.  Now with all animationcomplete and a debut album, One eskimO prepare to unveil themselves fully to the world in summer 2009.Leontiou released a cover version of Tracy Chapman's\"Fast Car\", which was originally released as a single in 2005. Leontiou's version was unable to chart, however, due to there being no simultaneous physicalrelease alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, the song entered the singles chart at number 88 due toBritain's Got Talent contestant Michael Collings covering the track on the show on 16 April 2011.DiscographyAlbumsSinglesNotesA  - Originally released as asingle in April 2005, Leontiou's version of \"Fast Car\" did not chart until 2011 in the UK.Also featured onNow That's What I Call Music! 58 (Story of My Life)Win aDate with Tad Hamilton! OST, Love Love Songs - The Ultimate Love Collection (Shining)Summerland OST (The Crying)Passage 3:Billy MilanoBilly Milano (bornJune 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D.,and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also"}
+{"doc_id":"doc_63","qid":"","text":"Passage 1:Troy AndesTroy Andes (born April 16, 1981, in Pittsburgh, Pennsylvania) is an American politician and a Republican member of the West Virginia House of Delegates representing District 58 since January 12, 2013. Andes served consecutively from January 2007 until January 2013 in a District 14 seat.EducationAndes earned his BS from Virginia Tech and his MBA from Marshall University.Elections2012 Redistricted to District 15, and with its incumbents redistricted to District 16, Andes was challenged in the May 8, 2012 Republican Primary, winning with 1,792 votes (82.0%), and was unopposed for the November 6, 2012 General election, winning with 7,004 votes.2006 When District 14 Republican Representative Mike Hall ran for West Virginia Senate and left a district seat open, Andes placed in the five-way 2006 Republican Primary and was elected in the three-way two-position November 7, 2006 General election against Democratic nominee Gene Estel.2008 Andes and fellow Republican incumbent Representative Patti Schoen were unopposed for the May 13, 2008 Republican Primary, where Andes placed first with 2,337 votes (52.2%), and placed first in the four-way two-position November 4, 2008 General election with 9,323 votes (31.4%) ahead of Representative Schoen and Democratic nominees Jeffrey Martin and Karen Corea.2010 When Representative Schoen retired and left a district seat open, Andes placed first in the five-way May 11, 2010 Republican Primary, winning with 2,034 votes (42.8%), and placed first in the three-way two-position November 2, 2010 General election with 8,159 votes (40.3%) ahead of fellow Republican nominee Brian Savilla and Democratic nominee Catherine Larck.Passage 2:LeRoy D. BrownLeRoy D. Brown was the first president of University of Nevada.HistoryNevada became a state in 1864. Its constitution mandated the establishment of a state university with departments in agriculture, the mechanic arts, and mining, along with a state normal school for teacher training. The constitution specified that the state university would be controlled by an elected Board of Regents. The Nevada Legislature established the first State University campus in Elko, Nevada. Its Preparatory Department opened for enrollment in October 1874 with the goal of enhancing Nevada's young people to be ready for college-level study. D. R. Sessions served as Principal of the preparatory department. The Elko campus closed on July 15, 1885, when it was determined that Reno would provide a larger population for higher education students.The Board of Regents selected Dr. Leroy D. Brown to be the first president of the University of Nevada at the new Reno campus. A veteran of the American Civil War, he had taught in Ohio for twenty years and had been elected to the office of Commissioner of Education in Ohio. He was working for a bank in Ohio when he was recruited to Nevada. His administration began in September, 1887, before the first campus building, Morrill Hall, was completely constructed.By October, 50 students were enrolled. The Board of Regents selected Hannah Keziah Clapp of Carson City to be his assistant and a faculty member of the university. President Brown established the departments of mining and metallurgy, natural science and the Nevada State Normal School. The Secretary of War detailed a U. S. Army officer to provide drill and military tactics instruction to all male students. The first group of cadets was organized in the fall of 1888. Lieutenant Arthur C. Ducat was also employed as Professor of Modern Languages, later providing drawing instruction and calisthenics training for female students the first physical education curriculum at the university. President Brown and the other faculty developed organized a curriculum involving three areas of study: the School of Liberal Arts, the School of Agriculture, and the School of Mechanic Arts and Mining. The Nevada Agricultural Experiment Station was founded in response to the Congressional Hatch Act of March 2, 1887. Hatch Hall was completed in 1889, becoming the second building on the Reno campus. By the end of Brown's administration, the School of Mechanic Arts was separate from the School of Mining, and a Business (Commercial)  Department had been created. The Commercial Department was for non-college students. Its first diplomas were issued in 1889. He resigned on January 1, 1890, later sending his son to attend the university.Timeline1848 - Born in Center Township, Noble County, Ohio on November 3. Developed a reading habit, early in his life and visited the old township library in his neighborhood.1864 - Ran away from home and enlisted as a member of Company H, 116 O. V. I. in which he served until the end of the war.1866-1867 – Taught school1867 – Brown prepared for college at an academy in Athens, Ohio1869 – Became a student and was later awarded graduation at Ohio Wesleyan University at Delaware, Ohio.  (A.B. ’79, A.M ’82)1871 – Appointed Noble County Examiner1873 – Principal of graded school in Newport, Ohio1874 – Called to superintendency of the Belpre Ohio schools1875 – Superintendent at Eaton, Ohio1878 – Married Miss Esther Emma Gable of Eaton, Ohio1879 – Brown was elected to position of Superintendent of Public schools at Hamilton, Ohio and was reelected and held the office until he became State Commissioner.1883 – Earned Ph.D. at Baker University, San Luis Obispo.1884-1887 – Entered into a three-year office as Ohio State Commissioner of Common Schools.1887 – Brown moved his family to Alliance, Ohio to pursue the banking business.1887 – 1890 - At age 38, LeRoy Brown received an offer and moved his family of seven (wife, Esther, plus five small children) to Reno, Nevada to become Nevada State University President (September 1887 - January 1, 1890).1890-1892 – Became supervising Principal of Santa Monica Schools from 1890 to 18921893 to 1894 – moved to Los Angeles and became superintendent of city schools.  He was reelected for another year and his salary was raised from $2,700 to $3,000 per year.  Two weeks later he resigned, as he preferred the principal position of a High School and there was a vacant position.1898 – Died January 13. San Luis Obispo, CaliforniaPassage 3:Tsuruichi HayashiTsuruichi Hayashi (\u0000 \u0000\u0000, Hayashi Tsuruichi, June 13, 1873 – October 4, 1935) was a Japanese mathematician and historian of Japanese mathematics. He was born in Tokushima, Japan.He was the founder of the Tohoku Mathematical Journal.Passage 4:Keith AndesKeith Andes (born John Charles Andes, July 12, 1920 – November 11, 2005) was an American film, radio, musical theater, stage and television actor.Early life and educationAndes was born to Mr. and Mrs. William G. Andes in Ocean City, New Jersey. By the age of 12, he was featured on the radio.The family moved to Upper Darby, Pennsylvania, near Philadelphia. Andes attended Upper Darby High School and found work on radio singing and acting throughout his high school years.He attended St Edward's School in Oxford, England, and graduated from Temple University in Philadelphia, where he was a member of Sigma Pi fraternity, in 1943 with a bachelor's degree in education. While at Temple, he did not participate in the university's theater program, but spent his time working as a disc jockey for several Philadelphia-area radio stations, including KYW, WFIL, and WIP. After graduating from Temple, he studied voice at the Philadelphia Conservatory of Music in Center City Philadelphia. He was known for his baritone voice.CareerEarly performancesHe began his acting career while serving in the United States Army Air Forces during World War II. He served three years and sang and acted in United Service Organization shows. He was cast in the play Winged Victory and then cast by 20th Century Fox in the film Winged Victory (1944).In 1947, Andes received a Theater World Award for his Broadway debut performance in a revival of the operetta The Chocolate Soldier.In 1947, he had a role in the movie The Farmer's Daughter, the film that won Loretta Young her Best Actress Oscar. Andes, Lex Barker and James Arness played the title character's powerfully built and highly protective brothers.Andes' first leading role in a feature film came with Project X (1949), a low-budget, independent movie.In June 1950, he joined the cast of Kiss Me, Kate on Broadway, taking over the lead from Alfred Drake, starring in the show for over a year, in New York and on tour. This re-ignited Hollywood's interest in him.RKO and UniversalAndes appeared as Marilyn Monroe's sweetheart and Barbara Stanwyck's brother in the cult film Clash by Night (1952), directed by Fritz Lang and co-written by Clifford Odets, for RKO.Also for that studio, he played the heroic Lt. Maynard in Blackbeard, the Pirate (1952) and a supporting role in Split Second (1953).In 1953 he starred in a short-lived Broadway musical, Maggie.In 1954, he signed a new contract with RKO even though that studio had kept him idle for a year, causing him to miss a part in The High and the Mighty. He was under contract to RKO for three years.He co-starred with Angela Lansbury in the film noir A Life at Stake (1954) and was one of several male leads in The Second Greatest Sex (1955) at Universal, where he signed a long-term contract.Andes begin guest starring on TV shows like Celebrity Playhouse, The Ford Television Theatre, Matinee Theatre, The Loretta Young Show, Conflict and Playhouse 90. He also starred in TV adaptations of The Great Waltz (playing Johann Strauss, Jr.), Bloomer Girl (1956) and Holiday (based on The Grand Tour) (1956).He made two films with Jeff Chandler at Universal, Away All Boats (1956) and Pillars of the Sky (1956), and did Back from Eternity (1956) at RKO. In 1956, he starred in a pilot for the series Doctor Mike, that was not picked up.At Universal, he had a role in Interlude (1957), then he appeared in The Girl Most Likely (1958), the last film made by RKO.Andes guest starred on Jane Wyman Presents The Fireside Theatre, Goodyear Theatre, Alcoa Theatre and The Gale Storm Show: Oh! Susanna.In 1958, Andes starred as crusading former Louisiana State Police Superintendent Francis Grevemberg in the film Damn Citizen at Universal. His co-stars were Margaret Hayes as Dorothy Maguire Grevemberg and Gene Evans as Police Major Al Arthur.He starred in two low-budget features: Model for Murder (1959) in England and Surrender - Hell! (1960) in the Philippines.TelevisionAndes was cast in a regular series, playing Frank Dawson in the police drama This Man Dawson (1959–60), the story of a former United States Marine Corps colonel who is hired to stop police corruption in a large, unnamed city. William Conrad did the series narration.On Broadway, Andes starred opposite Lucille Ball in the musical Wildcat (1960–61) which ran for 175 performances.When Wildcat ended Andes resumed his television career, guest starring on Sea Hunt, Have Gun - Will Travel, Follow the Sun, Vacation Playhouse and The Rifleman.In 1963, Andes was cast with Victor Buono and Arch Johnson in the episode \"Firebug\" of the anthology series GE True, hosted by Jack Webb. In the story line, Buono portrays Charles Colvin, a barber in Los Angeles, who is by night a pyromaniac. The United States Forest Service works to find Colvin before he can set more fires.Later in 1963, Andes was cast in a regular role as the lawyer-husband on the 1963 sitcom Glynis, starring Glynis Johns as his wife, a mystery writer and amateur sleuth.He guest-starred on 77 "}
+{"doc_id":"doc_64","qid":"","text":"Passage 1:Wonny SongWonny Song (born 1978) is a Canadian pianist.BiographySong was born in South Korea and grew up in Montreal. He began piano studies at the age of eight and received a full scholarship to Philadelphia's Curtis Institute of Music in 1994. He earned a bachelor's degree from Montreal University in 1998 and continued his studies with Anton Kuerti at the University of Toronto and at The Glenn Gould School with Marc Durand. He completed his doctoral studies at the University of Minnesota in 2004, studying with Lydia Artymiw. He has also studied with Leon Fleisher, Jorge Chaminé and Marie-Francoise Bucquet. He has performed as a soloist with the Cincinnati Symphony, the Peoria Symphony Orchestra, the Orchestre Symphonique de Montréal, the Toronto Symphony Orchestra, the National Arts Centre Orchestra and the EuroAsian Philharmonic Orchestra in Korea and Thailand.Song was director and director of artists-in-residence project of Lambda School of Music and Fine Arts in Montreal from 2008 to 2020. Wonny Song has been appointed Artistic Director of Orford Music (formerly the Orford Arts Centre) in May 2015. Mr. Song officially assumed his position at the beginning of summer 2015, at which time he began to prepare the 2016 program.Awards and recognitions1994 – Gold Medal at the World Piano Competition, Cincinnati.1995 – First Prize and Best Artistic Interpretation Prize at the Montreal Symphony Piano Competition.1997 – Ludmila Knezkova Piano Competition, Nova Scotia.2000 – First Elinor Bell Fellowship, University of Minnesota.2001 – First and Grand Prize winner of the Minnesota Orchestra's WAMSO Competition.2002 – Galaxy Rising Stars Award, Ottawa.2003 – Prix d'Europe, Canada.2010 – Young Canadian Musicians Award.Claire Tow Prize.Miriam Brody Aronson Prize.Fergus Orchestra Soloist Prize.Washington Performing Arts Society Prize.Saint Vincent College Concert Series Prize.DiscographySee alsoPianistsCanadian classical musicYoung Concert ArtistsLambda School of Music and Fine ArtsPassage 2:Hwang Te-songHwang Te-Song (born December 20, 1989) is a South Korean football player.Club statisticsPassage 3:CiaraCiara Princess Wilson ( see-AIR-\u0000; née Harris; born October 25, 1985) is an American singer, songwriter, businesswoman, dancer, model and actress. She rose to prominence with her debut studio album Goodies (2004), which spawned the top five singles \"1, 2 Step\" (featuring Missy Elliott), \"Oh\" (featuring Ludacris), and \"Goodies\" (featuring Petey Pablo), the latter of which topping the Billboard Hot 100 and the UK Singles Chart. The album was certified triple platinum by the Recording Industry Association of America (RIAA), and garnered two nominations at the 48th Annual Grammy Awards. Ciara was also featured on Missy Elliott's \"Lose Control\" and Bow Wow's \"Like You\", both of which reached number three on the Billboard Hot 100.Her second studio album, Ciara: The Evolution (2006), topped the Billboard 200 and spawned the hit singles \" Get Up\" (featuring Chamillionaire), \"Promise\", \"Like a Boy\" and \"Can't Leave 'em Alone\" (featuring 50 Cent). Ciara's third studio album Fantasy Ride (2009), produced the international top-ten single \"Love Sex Magic\" (featuring Justin Timberlake), which received a Grammy Award nomination for Best Pop Collaboration with Vocals. Her fourth studio album Basic Instinct (2010), included the R&B top-five single \"Ride\" (featuring Ludacris). After Basic Instinct was met with low sales, Ciara signed a new record deal with Epic Records in 2011. Ciara's fifth studio album, Ciara (2013), peaked at number two on the Billboard 200 and spawned the hit single \"Body Party\".Her sixth album, Jackie (2015), included the singles \"I Bet\" and \"Dance like We're Making Love\". The next year, Ciara would sign a modeling contract with IMG, become a Global Brand Ambassador for the cosmetics giant Revlon, and marry quarterback Russell Wilson. Her seventh album, Beauty Marks (2019), included the hit single \"Level Up\". Ciara signed a new record deal with Republic Records and Uptown Records, in partnership with her label Beauty Marks Entertainment. She released her single \"Jump\" as the lead for her upcoming eighth studio album on July 8, 2022.Ciara is also an actress, having appeared in All You've Got (2006), Mama, I Want to Sing! (2012), That's My Boy (2012), and The Game (2013). In March 2022, it was announced that Ciara had joined the cast of the 2023 remake of The Color Purple as Nettie. Ciara has received multiple accolades, including a Grammy Award, two BET Awards, the Woman of the Year award from Billboard Women in Music, two MTV Video Music Awards, seven Soul Train Awards, and thirteen Ascap Music Awards. As of 2019, Ciara's worldwide sales total over 45 million.Early lifeCiara Princess Harris was born in Fort Hood, Texas, on October 25, 1985, the only child of Jackie and Carlton Clay Harris. An army brat, she grew up in Georgia, New York, Utah, California, Arizona, and Nevada. She was named after the Revlon fragrance Ciara which was introduced in 1973. During her teens, Ciara and her family settled in College Park, Georgia, a suburb of Atlanta, where she attended North Clayton High School before graduating from Riverdale.In her mid-teens, Ciara formed the all-girl group Hearsay with two of her friends. The group recorded demos, but as time went on, they began to have differences and eventually parted ways. Despite this setback, Ciara signed a publishing deal as a songwriter.Her first writing credit was on Blu Cantrell's debut album, So Blu, for the song \"10,000 Times\". She also wrote the song \"Got Me Waiting\" for R&B singer Fantasia Barrino's debut album, Free Yourself. It was when she was writing songs that she met music producer Jazze Pha, whom she called her \"music soulmate\". In 2002, the two recorded four demos: \"1, 2 Step\", \"Thug Style\", \"Pick Up the Phone\", and \"Lookin' at You\", which all appeared on her debut album that was released two years later. \"1, 2 Step\" was the second single released from the album and it was a hit.Career2003–2005: GoodiesAfter graduating from Riverdale High School in Riverdale, Georgia, in 2003, she was signed by LaFace Records executive, L.A. Reid, whom she was introduced to by Jazze Pha. She began production on her debut album later that year. In early 2004, she wrote a demo with record producer, Sean Garrett, which came to the attention of Lil Jon and became her debut single \"Goodies\". Lil Jon stated later that he knew it would be big seeing how it sounded similar to Usher's international hit, \"Yeah!\".Ciara released her debut album Goodies on September 28, 2004. The album debuted at number three on the U.S. Billboard 200, selling 125,000 copies in its initial week and topped the Top R&B/Hip-Hop Albums chart. Following the release of the album, Ciara was called the \"First Lady of Crunk&B\". Goodies had a 71-week run on the Billboard 200, and was certified triple platinum by the Recording Industry Association of America on October 10, 2006. Charting at twenty-two on the Canadian Albums Chart, it was certified Platinum by the Canadian Recording Industry Association. The album charted at 26 on the UK Albums Chart, and spent 20 weeks on the chart. It was certified Gold by the British Phonographic Industry.Goodies' lead single, the title track, featuring Petey Pablo, was released on June 8, 2004. Conceived as a crunk female counterpart to Usher's \"Yeah!\", the lyrical content goes against the grain, speaking of abstinence, rejecting advances because \"the goodies will stay in the jar.\" Critics hailed it as an \"anthem of the summer\" and one of the best singles of the year, complementing its dance-feel and beat, and the irony of the \"clever\" lyrics. The single performed well worldwide, topping the charts in Canada, the United States and the United Kingdom, and charting in the top 10 of other charts, receiving Platinum certification in the United States. \"1, 2 Step\" featuring Missy Elliott was released as the album's second single. The song peaked in the top 10 of many countries, topping the charts in Canada, and went on to become Platinum or Gold in many countries. \"Oh\" featuring Ludacris was released as the third single on March 5, 2005. The song performed well worldwide, appearing in the top 10 of seven charts, and certified either Platinum or Gold in multiple regions.Following the success of the album, Ciara released a CD/DVD entitled Goodies: The Videos & More in the United States on July 12, 2005, which featured remixes to \"1, 2 Step\" and \"Oh\", as well as two new songs. The release was certified platinum in the United States. She made guest appearances on Missy Elliott's single \"Lose Control\" and on Bow Wow's single \"Like You\", which both peaked at number three in the United States and obtained worldwide success. She was an opening act for Gwen Stefani's Harajuku Lovers Tour 2005 and went on tour with Chris Brown and Bow Wow on the Holiday Jam Tour in December 2005. At the 48th Annual Grammy Awards, Ciara received four nominations for Best New Artist, Best Rap/Sung Collaboration for \"1, 2 Step\", Best Rap Song for Missy Elliott's single \"Lose Control\", and won her last nomination, Best Short Form Music Video for \"Lose Control\".2006–2007: Ciara: The Evolution and acting debutOn December 5, 2006, Ciara released her second studio album, Ciara: The Evolution. According to the singer, the title of the album is \"about so much more than just my personal growth – it's about the evolution of music, the evolution of dance, the evolution of fashion.\" The source of the album's creativity such as the sound and edge comes from Ciara in general. Ciara: The Evolution became Ciara's first and only number one album on the U.S. Billboard 200, and her second number one on the Top R&B/Hip-Hop Albums charts with sales of 338,000 in the first week. The album went on to be certified platinum by the RIAA in the United States, and has sold 1.3 million copies according to Nielsen SoundScan.The album's international lead single, \"Get Up\", which features Chamillionaire, reached number seven in the United States and gained a platinum accreditation. It reached number five in New Zealand. The song was used for the film Step Up (2006) and featured on the film's soundtrack. The album's US lead single, \"Promise\", reached number 11 on the Billboard Hot 100 and became her third number one single on the Hot R&B/Hip-Hop Songs chart. \" Like a Boy\" was released as the second international single which reached within the top 20 in the UK, Finland, France, Ireland, Sweden Switzerland, and also in the United States. The fourth and final single from the album, \"Can't Leave 'em Alone\", reached number 10 on the Hot R&B/Hip-Hop Songs chart and number 40 on the Billboard Hot 100. The song became Ciara's fifth single to peak in the top in New Zealand, peaking at number 4. The song achieved moderate success in other international markets.In support of the album, Ciara went on her first headlining tour in October 2006. The tour went to seventeen different clubs in cities throughout the United States. The tour was met with mixed to positive reviews; critics were divided regarding the pre-recorded backing tracks and remarked that Ciara was slightly under-prepared to host her headlining tour, but ultimately praised her energetic choreography. In August 2007, she headlined the Screamfest ' 07 tour with fellow rapper, T.I. Critics praised her performance for her gracious dancing and being able to command a sold-out arena. Ciara, along with Chris "}
+{"doc_id":"doc_65","qid":"","text":"Passage 1:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as thedirector of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in theWashington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, where he met Thomas Krens, who was thendirector of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. After receivinghis B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student,Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointed director of the Solomon R. Guggenheim Foundation.Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period that culminated in the construction andopening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleriesafter its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, hespearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's Hudson Valley, which houses Dia's collection of artfrom the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited with catalyzing a cultural and economicrevival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for\"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also worked closely with artists James Turrell and MichaelHeizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projects under construction in the Americansouthwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a national monument in 2015.LACMAInFebruary 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museumof Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from its European and east coast peers, but alsobecause of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had the opportunity to reconsider the museum,\"Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a local and internationallandmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery spacehas almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary Art Museum (BCAM) and the Lynda andStewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.Artist collaborationsSince his arrival, Govan hascommissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari to design anupcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvyworld. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artist Jorge Pardo to design LACMA's Art of theAncient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with a high-style urban lounge.\"Govan has alsocommissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), aseries of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted)(2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton boulder transported 100 miles from the Jurupa Valley toLACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part to the popularity of these public artworks,LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 millionmore than it collected during the three years before he arrived. In 2010, it was announced that Govan will steer LACMA for at least six more years. In a letterdated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon, proposed a merger with the financially troubledMuseum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.Zumthor ProjectGovan's latest project is an ambitiousbuilding project, the replacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architect Peter Zumthor.As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018, and the new building will open in 2023, tocoincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving all existing curatorial departments anddepartmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan's technically unrealizable onetimeplan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalentmid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some 130,000 objects\", Giovannini also points outthat the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linear footage of wall space available for displays willdecrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could no longer be displayed, theAhmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create a non-departmental art museum, Christopher Knight haspointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterized the museum's 2019 \"To Rome and Back\" exhibition, thefirst to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample of what's to come\".Personal lifeGovan is married and has twodaughters, one from a previous marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided by LACMA - a benefit worth$155,000 a year, according to most recent tax filings - until LACMA decided that it would sell the property to make up for the museum's of almost $900 million indebt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park in Malibu's Point Dume region.Los Angeles CA 90020United States. Hehas had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at Santa Monica Airport.Passage 2:The Seventh Company OutdoorsThe SeventhCompany Outdoors (French: La Septième Compagnie au clair de lune) is a 1977 French comedy film directed by Robert Lamoureux. It is a sequel to Now WhereDid the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenri Guybet - TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Lecommandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, le passeurAndré Pousse - LambertMichel BertoPassage 3:Peter LevinPeter Levin is anAmerican director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films.Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney& Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), PopeyeDoyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, forwhich she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the CarnegieMellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He alsoco-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The InteractTheatre Company.Passage 4:Colin Low (filmmaker)Colin Archibald Low  (July 24, 1926 – February 24, 2016) was a Canadian animation and documentaryfilmmaker with the National Film Board of Canada (NFB). He was known as a pioneer, one of Canada's most important filmmakers, and was regularly referred toas \"the gentleman genius\". His numerous honors include five BAFTA awards, eight Cannes Film Festival awards, and six Academy Award nominations.EarlylifeLow was born and raised in Cardston, Alberta, to Gerald and Marion Low, ranchers who were members of The Church of Jesus Christ of Latter-day Saints. Thetown borders the Kainai Nation (Blood Tribe), which later became the subject of two of his films; his 1960 film Circle of the Sun marked the first time the KainaiNation's sacred Sun Dance was filmed.CareerLow studied graphic design and animation at the Banff School of Fine Arts and then the Calgary Institute ofTechnology. In 1946, while he was at the latter, the National Film Board of Canada was hiring and put out a call for student submissions; one of Low's teacherssuggested that he send in his portfolio and, a week later, he was hired by the prominent NFB filmmaker Norman McLaren. McLaren placed Low under the tutelageof George Dunning, who would act as his mentor for five years. To hone his animation skills, he was also put to work with NFB animator Evelyn Lambart.Low wasrecognized as a filmmaker in 1949. In 1950, he was appointed Head of the Animation Unit. From 1972 to 1976, he was an executive producer for the NFB'sStudio C; in 1976, he became Director of Regional Production. He would stay with the NFB for the rest of his life, making 203 films and acting as a researcher andadvisor on many others. He officially retired in 1997, but continued to write about animation and large-format film, and to work on film projects.Influence onStanley Kubrick and Ken BurnsLow's 1957 documentary City of Gold made use of slow pans and zooms across archival photos and has been cited by Ken Burns as"}
+{"doc_id":"doc_66","qid":"","text":"Passage 1:Practical JokersPractical Jokers is a 1938 Our Gang short comedy film directed by George Sidney.  It was the 174th Our Gang short (175th episode,86th talking short, 87th talking episode, and sixth MGM produced episode) that was released.PlotHoping to get even for all the practical jokes perpetrated byneighborhood troublemaker Butch, the Gang plans to sabotage Butch's birthday party. The weapon of choice is a firecracker, which is substituted for one of thebirthday candles. Unfortunately, the kids in general and Alfalfa in particular are unable to escape from the party before the big (and tasty) explosion.CastTheGangDarla Hood as DarlaEugene Lee as PorkyGeorge McFarland as SpankyCarl Switzer as AlfalfaBillie Thomas as BuckwheatAdditional castTommy Bond asButchGary Jasgur as GarySidney Kibrick as WoimLeonard Landy as LeonardMarie Blake as Butch's motherGrace Bohanon as Party extraJoe Levine as PartyextraSee alsoOur Gang filmographyPassage 2:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer whospent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and LadyHarriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and wasknighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to QueenVictoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and theyhad one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. Inconsecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 forthe third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\".Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge insome forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, hetop-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 3:John McMahon (Surrey and Somersetcricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and SomersetCounty Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight whowas spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of hisfirst match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the lasthome game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them comingin the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven yearslater. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season asa whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.Theemergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 onlythree times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset,then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slowbowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was onnational service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahoninstantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until hewas controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellownewcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards oftheir craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" itsaid. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare wherehe took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awardedhis county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season,and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later inSomerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil throughwhat Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season andthe side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon becameSomerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his mostsuccessful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling averageimproved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutiveChampionship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later inAugust, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, adecision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for manyyears. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on:\"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybodydrinks!'\" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"aPOW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the onlySomerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But inany case there had been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the endof the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in LancashireLeague cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.==Notes and references ==Passage 4:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a memberof the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing forKidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (hismaiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after hiscounty had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (fiveof his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 againstGlamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23"}
+{"doc_id":"doc_67","qid":"","text":"Passage 1:The Slaughter RuleThe Slaughter Rule is a 2002 independent film directed by Alex Smith and Andrew J. Smith and starring Ryan Gosling and DavidMorse.  The film, set in contemporary Montana, explores the relationship between a small-town high school football player (Gosling), and his troubled coach(Morse). The film was nominated for the Grand Jury Prize at the 2002 Sundance Film Festival.PlotRoy Chutney is a high school senior in the fictional Montanatown of Blue Springs. Roy does not have an especially close relationship with his mother Evangeline and has not seen his father in years. That does not preventRoy from feeling emotionally devastated when he learns that his father has killed himself, and Roy's self-esteem takes a beating when he is cut from the highschool football team shortly afterward. Roy whiles away his time by swilling beer with his best friend, Tracy Two Dogs, and falling into a romance with Skyla, abarmaid at a local tavern, but Roy's short time on the high school gridiron seems to have impressed Gideon Ferguson, a local character who coaches anunsanctioned high school six-man football team when he is not delivering newspapers or trying to score a gig singing country songs at nearbyhonky-tonks.Gideon thinks that Roy has potential and asks him to join his team; encouraged by Gideon's belief in him, Roy agrees, and he persuades Tracy andhis friend Russ to tag along. While playing hardscrabble six-man football helps restore Roy's self-confidence, he finds it does not answer his questions about hisfuture or his relationship with Skyla. When Gideon's overwhelming interest in Roy begins to lend credence to town rumors that Gideon is gay, Roy starts towonder just why he was asked to join the team.CastRyan Gosling as Roy ChutneyDavid Morse as Gideon FergusonClea DuVall as Skyla SiscoKelly Lynch asEvangeline ChutneyDavid Cale as StudebakerEddie Spears as Tracy Two DogsAmy Adams as DoreenKen White as Russ ColfaxProductionJay Farrar, founder of thealternative country bands Uncle Tupelo and Son Volt, composed the film's musical score. New songs were written and performed by Vic Chesnutt and Freakwater,and existing songs by Ryan Adams, Uncle Tupelo, and the Pernice Brothers were also included.Filming for the movie largely took place in Great Falls, Montana,and a series of small towns in the Great Falls vicinity.The title of the film comes from the term \"slaughter rule.\" The unofficial rule provides for an athleticcompetition's premature conclusion if one team is ahead of the other by a certain number of points prior to game's end. The rule helps to avoid humiliating thelosing team further.ReleaseThe film premiered in January 2002 during the Sundance Film Festival. Later that year, the film entered the South by Southwest FilmFestival and the AFI Film Festival. It went into limited release nationwide beginning January 2003.Critical receptionOn review aggregator website RottenTomatoes, the film has an approval rating of 74% based on 31 reviews, and an average rating of 5.9/10. The website's critical consensus reads, \"A bleak butoriginal indie, The Slaughter Rule benefits from outstanding performances by Ryan Gosling and David Morse.\" On Metacritic, the film has a weighted averagescore of 65 out of 100, based on 13 critics, indicating \"generally favorable reviews\".While the performances by Morse and Gosling were generally receivedpositively, some reviews of the film criticized the script. Reviewing the film for The New York Times, Stephen Holden praised the performances of Gosling andMorse, but opined that the film is \"confused\" and \"doesn't have much dramatic momentum\". In her review for the Los Angeles Times, Manohla Dargis praised thefilm's cinematography but wrote that although the film has the virtue of sincerity, the story is \"over-explained\".Joe Leydon of Variety claimed the script \"plays likea first draft\". However, Marjorie Baumgarten of The Austin Chronicle thought that the \"writing and directing team of twin brothers Alex and Andrew Smith havemade an astonishingly good first feature\". J. R. Jones, writing in Chicago Reader, described the film as \"powerful\" and especially praised David Morse'sperformance.AccoladesThe film received the FIPRESCI Prize at the 2002 Stockholm Film Festival and the Milagro Award at the 2002 Santa Fe Film Festival. Thefilm was also nominated for the John Cassavetes Award at the 2003 Film Independent Spirit Awards and the Grand Jury Prize at the 2002 Sundance FilmFestival.See alsoList of American football filmsPassage 2:It's Never Too Late (1956 film)It's Never Too Late is a 1956 British comedy film directed by MichaelMcCarthy and starring Phyllis Calvert, Patrick Barr, Susan Stephen and Guy Rolfe. It was based on a 1952 play of the same name by Felicity Douglas.PlotFeelingher combative family has long taken her for granted, genteel British housewife Laura Hammond somehow finds time to write a film script amidst the chaos of herhome life. Her work catches the attention of a Hollywood producer, and Laura unexpectedly finds herself the author of a hit film. She also finds she can only writewhen she's surrounded by her dysfunctional family. Eventually, Laura must choose between being a highly paid writer and celebrity or a housewife.CastPhyllisCalvert as Laura HammondPatrick Barr as Charles HammondSusan Stephen as Tessa HammondGuy Rolfe as Stephen HodgsonJean Taylor Smith as GrannieSarahLawson as Anne HammondDelphi Lawrence as Mrs Madge DixonPeter Hammond as TonyRichard Leech as John HammondRobert Ayres as Leroy CranePeter Illingas GuggenheimerIrene Handl as NeighbourSam Kydd UncreditedFred Griffiths as Removal Man (uncredited)Critical receptionTV Guide noted, \"some clevermoments, but the film suffers from a staginess that makes it a mildly amusing comedy at best\" ; while the Radio Times found it \"an amiable comedy...This is verymuch of its time, with its West End origins masked by skilful art direction, but the period cast is a British film fan's delight: Guy Rolfe, Patrick Barr, SusanStephen, Irene Handl, and even a young Shirley Anne Field. Director Michael McCarthy whips up a fair old storm in this particular teacup, and, although nothingreally happens, there's a great deal of pleasure to be had from watching Calvert attempt to rule over her unruly household.\"Passage 3:Never Too Late (1997film)Never Too Late is a 1996 Canadian comedy-drama film starring Olympia Dukakis, Jean Lapointe, Cloris Leachman and Corey Haim. It was filmed in Montreal,Quebec.Plot summaryJoseph, Rose, and Olive suspect Carl, the owner of a retirement home, of misusing the funds of the home's residents. Together they set outto see that no one takes advantage of their unhealthy friend Woody.CastOlympia Dukakis as RoseCloris Leachman as OliveJan Rubeš as JosephMatt Craven asCarlJean Lapointe as WoodyCorey Haim as MaxAwardsAt the 17th Genie Awards in 1996, Paola Ridolfi received a nomination for Best Art Direction/ProductionDesign, and Donald Martin was nominated for Best Original Screenplay.Passage 4:Never Too Late (1935 film)Never Too Late is a 1935 American crime filmdirected by Bernard B. Ray and stars Richard Talmadge, Thelma White and Robert Frazer.PlotCastRichard Talmadge as Det. Dick ManningThelma White as HelenLloydRobert Frazer as Commissioner George HartleyMildred Harris as Marie Lloyd HartleyVera Lewis as Mother HartleyRobert Walker as Matt Dunning - Henchmanbidding at auctionGeorge Chesebro as Dude Hannigan - Second Henchman At AuctionBull Montana as Monte, an escaped convictPaul Ellis as Lavelle, the jewelthiefLloyd Ingraham as Chief of Detectives WinterPassage 5:It's Never Too Late to MendIt's Never Too Late to Mend (alternatively just Never Too Late to Mend;US release title Never Too Late) is a 1937 British melodrama film directed by David MacDonald and starring Tod Slaughter, Jack Livesey and Marjorie Taylor. Inthe film, a villainous squire and Justice of the Peace conspires to have his rival in love arrested on false charges.It is based on the 1856 novel It Is Never Too Lateto Mend by Charles Reade. The film was made at Shepperton Studios as a quota quickie for release by Metro-Goldwyn-Mayer. It was popular enough to bere-released in 1942.The novel was adapted once before, as a British silent film in 1922, starring Russell Thorndike as Squire Meadows.Plot summaryCastTodSlaughter as Squire John MeadowsJack Livesey as Tom RobinsonMarjorie Taylor as Susan MertonIan Colin as George FieldingLaurence Hanray as LawyerCrawleyD.J. Williams as Farmer MertonRoy Russell as Reverend Mr. EdenJohn Singer as Matthew JosephsLeonard Sharp as BradshawMavis Villiers as BettyCecilBevan as Prison InspectorDouglas Stewart as Prison InspectorJack Vyvian as InnkeeperCritical receptionTV Guide wrote, \"Great fun in the old cloak-and-daggermelodrama style...Played in an exaggerated, bigger-than-life manner, this melodrama is a good enough outing, particularly for fans of camp.\" and Sky Movieswrote, \"As usual, Tod Slaughter ignores the intimacy of the film medium and roars through this movie at full throttle, giving the kind of marvellously stormingperformance that would easily have reached the back row of the upper circle...David MacDonald is more a referee than a conventional director, coming up with ahighly entertaining slice of ripe and fruity hokum.\"Passage 6:Alex Smith (golfer)Alexander Smith (28 January 1874 – 21 April 1930) was a Scottish-Americanprofessional golfer who played in the late 19th and early 20th century. He was a member of a famous Scottish golfing family. His brother Willie won the U.S. Openin 1899, and Alex won it in both 1906 and 1910. Like many British professionals of his era he spent much of his adult life working as a club professional in theUnited States.Early lifeSmith was born in Carnoustie, Scotland, on 28 January 1874, the son of John D. Smith and Joann Smith née Robinson. On 18 January1895 he was married to Jessie Maiden—sister of James Maiden—and they had two daughters, Fannie and Margaret, born in 1896 and 1899, respectively. Smithwas sometimes referred to as \"Alec\" Smith, especially early in his career.Golf careerHe was the head professional at Nassau Country Club in Glen Cove, New York,from 1901 through 1909. James Maiden, who would forge a successful golf career of his own, served as assistant professional under Smith at Nassau.In 1901,Smith lost to Willie Anderson in a playoff for the U.S. Open title. Smith's 1906 U.S. Open victory came at the Onwentsia Club in Lake Forest, Illinois. His 72-holescore of 295 was the lowest at either the U.S. Open or the British Open up to that time, and he won $300. The 1910 U.S. Open was played over the St. Martin'scourse at the Philadelphia Cricket Club. Smith won a three-man playoff against American John McDermott and another of his own brothers, Macdonald Smith.Alex Smith played in eighteen U.S. Opens in total and accumulated eleven top ten placings.Smith, who partnered with C. A. Dunning in the 1905 MetropolitanOpen four-ball tournament held on 16 September 1905 at Fox Hills Golf Club on Staten Island, tied for first place with George Low and Fred Herreshoff with ascore of 71. A playoff wasn't held due to the fact that Smith was also competing in the medal competition which he won from Willie Anderson.Smith also won the"}
+{"doc_id":"doc_68","qid":"","text":"Passage 1:Roy Rowland (film director)Roy Rowland (December 31, 1910 – June 29, 1995) was an American film director. The New York-born director helmed anumber of films in the 1950s and 1960s including Our Vines Have Tender Grapes, Meet Me in Las Vegas, Rogue Cop, The 5000 Fingers of Doctor T, and The GirlHunters. Rowland married Ruth Cummings, the niece of Louis B. Mayer and sister of Jack Cummings (MGM producer/director). They had one son, Steve Rowland,born in 1932, who later became a music producer in the UK.BiographyEarly lifeRoy Rowland was born in Brooklyn, the son of Russian Jewish immigrants. Thefamily moved to Edendale, California, when Roy was ten. He graduated from the University of Southern California with a law degree before beginning his career atMetro-Goldwyn-Mayer (MGM) as a script clerk. He then began working as a prop man, grip, and assistant cameraman. In 1927 he met Ruth Cummings at theSanta Monica Beach Club. She was the niece of Louis B. Mayer and the sister of producer Jack Cummings. Her family disapproved of Rowlands, so they eloped.This resulted in Rowland being blacklisted. But Ruth Cummings arranged a rapprochement with Mayer.He was assistant director on most of the Tarzan films,starring Johnny Weissmuller in the 1930s.Short filmsRowland made his reputation directing short films, particularly the \"How to\" series of shorts starring RobertBenchley. One of them, How to Sleep (1937), won an Academy Award. He also worked with producer Pete Smith as the director of several of the short films in thePete Smith Specialties series, and directed several of the short films in the Crime Does Not Pay series.FeaturesRowland's debut feature was A Stranger in Town(1943). He made three films with the child actress Margaret O'Brien: Lost Angel (1943), Our Vines Have Tender Grapes (1945), and Tenth Avenue Angel (1948).He also directed musicals such as Hit the Deck (1955), Meet Me in Las Vegas (1956), and The Seven Hills of Rome (1957). He also made The 5,000 Fingers of Dr.T. (1953), from a story by Dr. Seuss. He directed Many Rivers to Cross with Robert Taylor and Gun Glory (1957) with Stewart Granger and Rowland's sonSteve.Rowland was survived by his wife Ruth and their son.Partial filmographyHollywood Party (1934) – co-directorSunkist Stars at Palm Springs (1936) –shortCinema Circus (1937) – shortHollywood Party (1937) – shortSong of Revolt (1937) – shortHow to Start the Day (1937) – shortA Night at the Movies (1937)– short film with Robert BenchleyMusic Made Simple (1938) – shortAn Evening Alone (1938) – shortHow to Raise a Baby (1938) – shortThe Courtship of the Newt(1938) – shortHow to Read (1938) – shortHow to Watch Football (1938) – shortOpening Day (1938) – shortMental Poise (1938) – shortHow to Sub-Let (1939) –shortAn Hour for Lunch (1939) – shortDark Magic (1939) – shortHome Early (1939) – shortHow to Eat (1939) – shortThink First (1939) – shortJack Pot (1940) –shortPlease Answer (1940) – short (documentary)You, the People (1940) – shortSucker List (1941) – shortChanged Identity (1941) – shortA Stranger in Town(1943)Lost Angel (1943)Our Vines Have Tender Grapes (1945)Boys' Ranch (1946)The Romance of Rosy Ridge (1947)Killer McCoy (1947)Tenth Avenue Angel(1948)Scene of the Crime (1949)The Outriders (1950)Two Weeks with Love (1950)Excuse My Dust (1951)Bugles in the Afternoon (1952)The 5,000 Fingers of Dr.T (1953)Affair with a Stranger (1953)The Moonlighter (1953)Rogue Cop (1954)Witness to Murder (1954)Light's Diamond Jubilee (1954, TV special, with six otherdirectors)Many Rivers to Cross (1955)Hit the Deck (1955)Meet Me in Las Vegas (1956)These Wilder Years (1956)Slander (1956)Gun Glory (1957)Seven Hills ofRome (1957)The Life and Legend of Wyatt Earp (1959–60, TV series) – also producerThe Girl Hunters (1963) – also writerGunfighters of Casa Grande (1964)ManCalled Gringo (1965)The Sea Pirate (1966) – also producerIl grande colpo di Surcouf (1966)Land Raiders (1970) – associate producer onlyPassage2:QuerelleQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted fromFrench author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on thehandsome Belgian sailor Georges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel forsailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother: when they meet at La Feria,they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the bar and also manages La Feria'sunderhanded affairs with the assistance of his friend, the corrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of thedeal, he murders his accomplice Vic by slitting his throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that thismeans he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor isallowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that \"That way, I can saymy wife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" toRobert, who won his dice game, the brothers end up in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle,a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him.  Gil hides from the police in an abandoned prison, and Roger,who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closelyresembles his brother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is alsoblamed on Gil.Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querellemurdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to LeVengeur.CastBrad Davis as QuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl as Robert /GilGünther Kaufmann as NonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam asWorkerAxel Bauer as WorkerNeil Bell as TheoRobert van Ackeren as Drunken legionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as DrunkenlegionnaireProductionAccording to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by BurkhardDriest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors,including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took thelinear narrative and jumbled it up\". White quotes Schidor as saying \"Fassbinder did something totally different, he took the words of Genet and tried to meditateon something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate police story thatwouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateuractors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White commentsthat the result is a film in which, \"Everything is bathed in an artificial light and the architectural elements are all symbolic.\"SoundtrackJeanne Moreau – \"Each ManKills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\" (Music by Peer Raben,lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in thefirst three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, whichcategorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments. By comparison, with the sameopinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was \"amess...a detour that leads to a dead end.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the mostuncompromising portrayal of gay male sensibility to come from a major filmmaker.\" Edmund White considers Querelle the only film based on Genet's book thatworks, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, said that he had not seen the film, commenting \"Youcan't smoke at the movies.\"Passage 3:Angna EntersAnita \"Angna\" Enters (April 18, 1897 – February 25, 1989) was an American dancer, mime, painter, writer,novelist and playwright. She studied at the Art Students League of New York and was a 1934 Guggenheim fellow. She wrote a novel and three autobiographies aswell as the films Lost Angel (1943) and Tenth Avenue Angel (1948).Early lifeEnters was born in Milwaukee, Wisconsin and graduated from North Division HighSchool in Milwaukee, Wisconsin. She saw the first Denishawn concert tour in 1925, and the following year, an American tour of Sergei Diaghilev's Les BalletsRusses.Emergence as a dancerEnters moved to New York to study at the Art Students League of New York in 1920, and began to study dance with Michio Itō thefollowing year, eventually performing as Michio's partner in 1933. That year she created her first piece, an evocation of a statue of a Gothic Virgin, entitledEcclesiastique. The piece later became Moyen Age. In 1934, she borrowed $25 with which to present her first solo program at the Greenwich Village Theater. Hersolo program, The Theatre of Angna Enters, toured the United States and Europe until 1939 and was performed, though less often, until 1960. In 1934, Enterswas awarded a Guggenheim Fellowship to study Hellenistic art forms in Athens, Greece.Visual artistEnters created a large body of visual art, including sketches,landscape drawings, archaeological studies, costume plates, water colors and oil portraits. Many of her sketches and paintings were exhibited in the United Statesand Europe. Her sketches were often costume designs for characters of her mime performances or set designs for plays. The Metropolitan Museum of Art in NewYork holds selected works by Enters, as do other museums.Personal lifeEnters met journalist Louis Kantor in 1921. The two began dating secretly in 1924, wed"}
+{"doc_id":"doc_69","qid":"","text":"Passage 1:Infanta Adelgundes, Duchess of GuimarãesInfanta Adelgundes, Duchess of Guimarães (10 November 1858 – 15 April 1946) was the fifth child andfourth daughter of Miguel of Portugal and his wife Adelaide of Löwenstein-Wertheim-Rosenberg. A member of the House of Braganza by birth, Adelgundes becamea member of the House of Bourbon-Parma through her marriage to Prince Henry of Bourbon-Parma, Count of Bardi. She was also the Regent of the MonarchicRepresentation of Portugal and for that reason assumed the title of Duchess of Guimarães, usually reserved for the Head of the House.Early lifeAdelgundes deJesus Maria Francisca de Assis e de Paula Adelaide Eulália Leopoldina Carlota Micaela Rafaela Gabriela Gonzaga Inês Isabel Avelina Ana Estanislau SofiaBernardina, Infanta de Portugal, Duquesa de Guimarães, was born in Bronnbach, Wertheim, Germany. Her father died on November 14, 1866, a few days afterher eighth birthday, and Adelgundes and her siblings were educated in a Catholic and conservative environment by their mother. Her maternal uncle, Prince Carlzu Löwenstein-Wertheim-Rosenberg, was like a second father to the children.MarriageAdelgundes married Prince Henry of Bourbon-Parma, Count of Bardi, fourthchild and youngest son of Charles III, Duke of Parma and his wife Princess Louise Marie Thérèse of France, on 15 October 1876 in Salzburg, Austria-Hungary.Henry, who was 25 years old, had been previously married to Princess Luisa Immacolata of the Two Sicilies, who had died three months after their marriage atthe age of 19 in 1874. Henry had taken part in the Carlist war and fought in the Battle of Lacar. War wounds turned him into an invalid.Their union produced noissue, as her nine pregnancies all ended in miscarriages. The failed pregnancies, the last of which she suffered in 1890, were a source of great grief to the couple.They divided their time between the Castle of Seebenstein in Austria and the Ca' Vendramin Calergi in Venice. After almost 30 years of marriage, Adelgundesbecame a widow in 1905.She was close to her many nephews and nieces, particularly Grand Duchess Marie-Adélaïde of Luxembourg, from the time of herabdication to her early death.. The composer, Richard Wagner died of a heart attack at the age of 69 on 13 February 1883 at Ca' Vendramin Calergi, a16th-century palazzo on the Grand Canal as a guest of Prince Henry, Count of Bardi and Infanta Adelgundes.Regent-in-absentiaBetween 1920 and 1928,Adelgundes acted as the regent-in-absentia on behalf of her nephew and Miguelist claimant to the Portuguese throne, Duarte Nuno, Duke of Braganza, who wasonly twelve years old when his father Miguel renounced his claim to the throne in his favor. At the beginning of her regency in 1920, Adelgundes assumed the titleof Duchess of Guimarães. In 1921 she authored a manifesto outlining the House of Braganza's goals for the restoration of the Portuguese monarchy. During herregency, the ex-King Manuel II of Portugal agreed that owing to an heir, the rights of succession could pass to Duarte Nuno (although Duarte Nuno's grandfatherMiguel I of Portugal was excluded from the throne and the Miguelist line deprived of its dynastic rights of succession). But Infanta Adelgundes failing to get anagreement mentioning the reestablishment of a traditional monarchy, the Integralists withheld their support to an accord, and on September 1925,  Adelgundes,in a letter to King Manuel, repudiated the incomplete agreement. Since any pact resolved the issue of succession (former Dover Pact and Paris Pact having beenboth repudiated) and without known documents, there was no direct heir to the defunct throne, but at the death of King Manuel, however, the monarchistIntegralismo Lusitano movement acclaimed Duarte Nuno, Duke of Braganza as King of Portugal. Duarte Nuno lived with Adelgundes at Seebenstein until theGerman occupation of Austria when the whole family relocated to Bern, Switzerland, where she died in Gunten on 15 April 1946 at age 87.AncestryPassage2:Carlota Joaquina of SpainDoña Carlota Joaquina Teresa Cayetana of Spain (25 April 1775 – 7 January 1830) was Queen of Portugal and Brazil as the wife ofKing Dom John VI. She was the daughter of King Don Charles IV of Spain and Maria Luisa of Parma.Detested by the Portuguese court — where she was called\"the Shrew of Queluz\" (Portuguese: a Megera de Queluz) — Carlota Joaquina gradually won the antipathy of the people, who accused her of promiscuity andinfluencing her husband in favor of the interests of the Spanish crown. After the escape of the Portuguese court to Brazil, she began conspiring against herhusband, claiming that he had no mental capacity to govern Portugal and its possessions, thus wanting to establish a regency. She also planned to usurp theSpanish crown that was in the hands of Napoleon's brother, Joseph Bonaparte.After the marriage in 1817 of her son Pedro with the Archduchess Leopoldina ofAustria and the later return of the royal family to Portugal in 1821, Carlota Joaquina was confined in the Royal Palace of Queluz, where she died alone andabandoned by her children on 7 January, 1830.LifeChildhoodBorn in the Royal Palace of Aranjuez on 25 April 1775 as the second (but eldest surviving) child ofCharles, Prince of Asturias, and his wife Maria Luisa of Parma, she was baptized with the names of Carlota Joaquina Teresa Cayetana, but she was called only byher first name, Carlota, a name that honored both her father and paternal grandfather, King Charles III of Spain—Carlota was his favorite granddaughter. Despitethe rigidity of her education and court etiquette, the Infanta was described as mischievous and playful.She received a rigid and deeply Catholic education, withbases in the fields of study of religion, geography, painting, and riding (Carlota's favorite sport). The closed and austere temperament of the Spanish monarchyimposed on the family and on the whole court rigid norms of behavior and etiquette. King Charles III, a man of reserved behavior, devoted more time to hisfamily than to the animations of the courtesan life, where his daughter-in-law Maria Luisa took an active part. Carlota's mother soon assumed the organization ofentertainments at court, with luxurious parties, where morals were easily forgotten. Soon the Princess of Asturias' image would be linked to that of a promiscuouswoman who betrayed her husband to other men. Among them, possibly, was the Prime Minister Manuel Godoy, whose alleged love affair was widely explored bythe press at the time. Not even the successive pregnancies and long-hoped birth of a living male heir to the throne in 1784 saved Maria Luísa from the contemptof the population. She would go down in history as one of the most unpopular queens in Spain and her bad reputation deeply affected her children, especiallyCarlota, the firstborn daughter.MarriageThe subject of Carlota Joaquina's marriage was arranged by both King Charles III and his sister Mariana Victoria, DowagerQueen of Portugal, in the late 1770s when Mariana went to Spain to encourage diplomatic relations between the estranged countries. Carlota Joaquina was tomarry Infante John, Duke of Beja (youngest grandson of Mariana Victoria), and Infante Gabriel of Spain (Carlota Joaquina's paternal uncle) was to marry InfantaMariana Vitória of Portugal (only surviving granddaughter and namesake of the Dowager Queen of Portugal).Carlota's apprenticeship would be tested when sheunderwent a series of public examinations in front of the Spanish court and Portuguese ambassadors sent on behalf of Queen Maria I of Portugal to evaluate thequalities of the princess destined to marry her second son. In October 1785, the Gazeta of Lisbon published an account of the tests:\"Everything has satisfied socompletely that one can not express the admiration which such a vast instruction ought to cause at such a tender age: but...the decided talent with which Godhas endowed this most serene Lady, her prodigious memory, understanding and that everything is possible, especially with the awakening and capacity withwhich the above-mentioned master promotes such useful and glorious applications.\"Having proven the talent of the bride, there was therefore no impediment tothe union with the Portuguese prince, so on 8 May 1785 was celebrated the proxy marriage; three days later, on 11 May, the 10-year-old Carlota Joaquina andher retinue left Spain for Lisbon. On the day she left the Spanish court, Carlota Joaquina asked her mother to make a painting of her in a red dress to place on thewall, instead of the painting of Infanta Margaret Theresa of Spain (which Carlota Joaquina claimed to be more beautiful). As a part of the infanta cortege wereFather Felipe Scio, famous Spanish theologian and scholar, Emília O'Dempsy, as lady-in-waiting, and Anna Miquelina, personal maid of Carlota Joaquina. Theofficial wedding ceremony between Infante John of Portugal and Carlota Joaquina took place on 9 June 1785; she was only 10 years old while her husband was18. Due to the bride's young age, the consummation of the union was delayed until 9 January 1790, when Carlota Joaquina was then able to conceive and bearchildren.Life in the Portuguese courtNevertheless, the climate in the Braganza court differed in many respects from that of the cheerful Spanish court. While inother parts of the Europe they represented the mark of a new society based on the Age of Enlightenment principles, in Portugal the Catholic Church still imposednorms prohibiting all types of amusement. The dramatization of comedies was banned, including the performance of dances and parties. The reign of Queen MariaI was marked by the rise of a conservative group of the nobility and clergy of Portugal; an extremely \"boredom\" environment, as defined by Dowager QueenMariana Victoria (Carlota Joaquina's great-aunt). In this way, Carlota Joaquina found herself in the midst of a very religious and austere environment, in contrastto the extravagance and the faust to which she was accustomed. Despite this, her relationship with her mother-in-law was very tender, as the letters exchangedbetween them proved. The joy and vivacity of Carlota were responsible for the rare hours of relaxation of the Queen.Her more liberal habits and customs differedin many ways from that of other women at court. Quite traditional in relation to female behavior, Portuguese men disapproved of the ease with which CarlotaJoaquina transited in public space, her performance in the political field and her distemper in the family routine. Since most Portuguese women were deprived ofsocial life, Carlota Joaquina's offending behavior allowed some malicious rumors about her in the court. Some of them were prejudiced, like the Duchess ofAbrantès, wife of the French General Junot, who later invaded Portugal. During her time in Lisbon, Madame Junot had ridiculed Carlota Joaquina both for hermanner of acting and for her dressing, and she had slain her as an extremely ugly woman.Princess of BrazilIn 1788, when his eldest brother Joseph, Prince ofBrazil died, Infante John became the first in line to his mother's throne. Soon he received the titles Prince of Brazil and 15th Duke of Braganza. Between 1788 and1816, Carlota Joaquina was known as Princess of Brazil as the wife of the heir-apparent of the Portuguese throne. Some scholars believe that she has had a rough"}
+{"doc_id":"doc_70","qid":"","text":"Passage 1:Melis AbzalovMelis Abzalov (Uzbek: Melis Abzalov, Мелис Абзалов; Russian: Мелис Абзалов; November 18, 1938  – October 26, 2016) was an Uzbekactor, film director, screenwriter, and film producer. His most famous films include Suyunchi (1982), Kelinlar qo\u0000zg\u0000oloni (1984), Armon (1986), and O\u0000tgankunlar (1997).Abzalov is celebrated as one of the founders and prominent members of the Uzbek film making industry. During his lifetime, he received manyhonorary titles and awards, including the title Meritorious Artist of Uzbekistan (1987).Life and workMelis Oripovich Abzalov was born on November 18, 1938, inYangiyul, then the Uzbek SSR. He graduated from the Ostrovsky Tashkent Theatre Arts Institute in 1961. A year later, in 1962, he started working at Uzbekfilm.He died on October 26, 2016, in Stockholm.FilmographyAs directorChinor tagidagi duel (Russian: Дуэль под чинарой) (The Duel under a PlaneTree)  (1979)Suyunchi (Russian: Бабушка-генерал) (1982)Kelinlar qo\u0000zg\u0000oloni (Russian: Бунт невесток) (The Rebellion of the Brides) (1985)Armon (Russian:Уходя, остаются) (Sorrow) (1986)Maysaraning ishi (Russian: Восточная плутовка) (The Case of Maysara) (1989)O\u0000tgan kunlar (Russian: Минувшие дни)(Days Gone By) (1997)Chimildiq (1999)Meshpolvon (2000)Baribir hayot go\u0000zal (Russian: Жизнь прекрасна или киллер поневоле) (After All, Life is Good)(2004)Sirli sirtmoq (The Secret Trap) (2008)Ta\u0000ziyadagi to\u0000y (Russian: Свадьба на поминках) (The Wedding at a Funeral) (2010)As actorLaylak keldi, yozbo\u0000ldi (Russian: Белые, белые аисты) (White Storks) (1966) (not credited)Влюбленные (The Lovers) (1969)Седьмая пуля (The Seventh Bullet) (1972)Встречии расставания (Meetings and Partings) (1973)Поклонник (The Worshiper) (1973)Ты, песня моя (You, My Song) (1975)Inson qushlar ortidan boradi (Russian:Человек уходит за птицами) (Man is after the Birds) (1975)Далекие близкие годы (Far, Near Years) (1976)Птицы наших надежд (The Birds of Our Hopes)(1976)Седьмой джинн (The Seventh Genie) (1976)Буйный «Лебедь» (The Wild \"Swan\") (1977)Qo\u0000qon voqeasi (Russian: Это было в Коканде) (This Happenedin Kokand) (1977)Olovli yo\u0000llar (Russian: Огненные дороги) (The Fiery Roads) (1978) (series)Любовь моя — революция (My Love — Revolution)(1981)Встреча у высоких снегов (The Meeting at High Snow Mountains) (1982)Новые приключения Акмаля (The New Adventures of Akmal) (1983) (notcredited)Уроки на завтра (Lessons for Tomorrow) (1983)Прощай, зелень лета... (Good-Bye, Summer) (1985) (not credited)Я тебя помню (I Remember You)(1985)Armon (Russian: Уходя, остаются) (Sorrow) (1986)Kлиника (The Clinic) (1987)Приключения Арслана (The Adventures of Arslan) (1988)Чудовище иликто-то другой (A Monster or Somebody Else) (1988)Maysaraning ishi (Russian: Восточная плутовка) (The Case of Maysara) (1989)Кодекс молчания (The Codeof Silence) (1989)Шок (Shock) (1989)La Batalla de los Tres Reyes (Russian: Битва трех королей) (Battle of the Three Kings) (1990)Tangalik bolalar (Russian:Мальчики из Танги) (1990) (not credited)Ангел в огне (The Angel on Fire) (1992)Маклер (The Broker) (1992)Shaytanat (Russian: Шайтанат — царство бесов)(1998)Alpomish (Russian: Алпомыш) (2000)Дронго (The Drongo) (2002)Синедиктум (Cinedictum) (2002)Devona (Russian: Влюбленный) (2004)Baribir hayotgo\u0000zal (Russian: Жизнь прекрасна или киллер поневоле) (After All, Life is Good) (2004)Vatan (Fatherland) (2006)Ходжа Насреддин: Игра начинается (HodjaNasreddin: The Game Starts) (2006)Застава (The Outpost) (2007) (TV series)Tilla buva (Russian: Золотой дедушка) (Golden Grandpa) (2011)AsscreenwriterO\u0000tgan kunlar (Russian: Минувшие дни) (Days Gone By) (1997)AwardsAbzalov is celebrated as one of the founders of the Uzbek film makingindustry. He received many honorary titles and awards throughout his career, including the title Meritorious Artist of Uzbekistan (1987). In 2008, he received aShuhrat Order.Passage 2:Pham Viet Anh KhoaPhạm Việt Anh Khoa (born May 11, 1981) is a Vietnamese movie producer, entrepreneur and founder of SaigaFilms, notable by some of Victor Vu films  including  Inferno (2010), Battle of the Brides (2011), Blood letter (2012), Scandal (2012) và Battle of the Brides2FilmographyInferno – Giao Lo Dinh Menh (2010)Battle of the Brides (2011)Blood letter (2012)Scandal (2012)Battle of the Brides 2 (2013)The Mask(2016)Passage 3:Gaius Suetonius PaulinusGaius Suetonius Paulinus (fl. AD 40–69) was a Roman general best known as the commander who defeated therebellion of Boudica.Early lifeLittle is known of Suetonius' family, but it likely came from Pisaurum (modern Pesaro), a town on the Adriatic coast of Italy. He is notknown to be related to the biographer Suetonius.Mauretanian campaignHaving served as praetor in 40 AD, Suetonius was appointed governor of Mauretania thefollowing year. In collaboration with Gnaeus Hosidius Geta, he suppressed the revolt led by Aedemon in the mountainous province that arose from the executionof the local ruler by Caligula. In 41 AD Suetonius was the first Roman commander to lead troops across the Atlas Mountains, and Pliny the Elder quotes hisdescription of the area in his Natural History.Governor of BritainIn 58, before being consul, he was appointed governor of Britain, replacing Quintus Veranius, whohad died in office. He continued Veranius's policy of aggressively subduing the tribes of modern Wales, and was successful for his first two years in the post. Hisreputation as a general came to rival that of Gnaeus Domitius Corbulo. Two future governors served under him: Quintus Petillius Cerialis as legate of Legio IXHispana, and Gnaeus Julius Agricola as a military tribune attached to II Augusta, but seconded to Suetonius's staff.In 60 or 61 Suetonius made an assault on theisland of Mona (Anglesey), a refuge for British fugitives and a stronghold of the druids. The tribes of the south-east took advantage of his absence and staged arevolt, led by queen Boudica of the Iceni. The colonia of Camulodunum (Colchester) was destroyed, its inhabitants tortured, raped, and slaughtered, and PetilliusCerialis's legion routed. Suetonius brought Mona to terms and marched along the Roman road of Watling Street to Londinium (London), the rebels' next target,but judged he did not have the numbers to defend the city and ordered it evacuated. The Britons duly destroyed it, the citizens of Londinium suffering the samefate as those of Camulodunum, and then did the same to Verulamium (St Albans).Suetonius regrouped with the XIV Gemina, some detachments of the XX ValeriaVictrix, and all available auxiliaries. The II Augusta, based at Exeter, was available, but its prefect, Poenius Postumus, declined to heed the call. Nonetheless,Suetonius was able to assemble a force of about ten thousand men. Heavily outnumbered (the Britons numbered 230,000 according to Cassius Dio), the Romansstood their ground. The resulting battle took place at an unidentified location in a defile with a wood behind him, probably in the West Midlands somewhere alongWatling Street – at Cuttle Mill, 2 miles southeast of Towcester in Northamptonshire, in front of a narrow defile which answers the topographical description ofTacitus, human bones have been found over a large area; High Cross in Leicestershire and Manduessedum near the modern day town of Atherstone inWarwickshire have also been suggested - where Roman tactics and discipline triumphed over British numbers. The Britons' flight was impeded by the presence oftheir own families, whom they had stationed in a ring of wagons at the edge of the battlefield, and defeat turned into slaughter. Tacitus heard reports that almosteighty thousand Britons were killed, compared to only four hundred Romans. Boudica poisoned herself, and Postumus, having denied his men a share in thevictory, fell on his sword.Suetonius reinforced his army with legionaries and auxiliaries from Germania and conducted punitive operations against any remainingpockets of resistance, but this proved counterproductive. The new procurator, Gaius Julius Alpinus Classicianus, expressed concern to the Emperor Nero thatSuetonius's activities would only lead to continued hostilities. An inquiry was set up under Nero's freedman, Polyclitus, and an excuse, that Suetonius had lostsome ships, was found to relieve him of his command. He was replaced by the more conciliatory Publius Petronius Turpilianus. But Suetonius was not disgraced: alead tessera found in Rome features both his and Nero's names and symbols of victory, and a man named Gaius Suetonius Paulinus was consul in 66, either a sonof the same name  or the general himself appointed for a second time.Year of Four EmperorsIn 69, during the year of civil wars that followed the death of Nero(see Year of Four Emperors), he was one of Otho's senior generals and military advisors. He and Aulus Marius Celsus defeated Aulus Caecina Alienus, one ofVitellius's generals, near Cremona, but Suetonius would not allow his men to follow up their advantage and was accused of treachery as a result. When Caecinajoined his forces with those of Fabius Valens, Suetonius advised Otho not to risk a battle but was overruled, leading to Otho's decisive defeat at Bedriacum.Suetonius was captured by Vitellius and obtained a pardon by claiming that he had deliberately lost the battle for Otho, although this was almost certainly untrue.His eventual fate remains unknown.NotesPassage 4:The Rebellion of the BridesThe Rebellion of the Brides (Uzbek: Келинлар \u0000ўз\u0000олони, romanized: Kelinlarqo\u0000zg\u0000oloni; Russian: Бунт невесток) is a 1984 Uzbek comedy film based on an eponymous play by the Uzbek writer Said Ahmad and directed by MelisAbzalov. Kelinlar qo\u0000zgvoloni is one of the most critically acclaimed Uzbek films of the Soviet period. Like Melis Abzalov's previous film Suyunchi, Kelinlarqo\u0000zg\u0000oloni tells the story of an authoritative grandmother.PlotFarmon bibi (played by Tursunoy Ja\u0000farova) is a wise and loving, but strict mother who liveswith the families of her seven sons in one house. Nigora, the wife of her youngest son, rebels against Farmon Bibi and the other wives sympathize with her. Inone scene, the mother and her daughters-in-law go to the bazaar. Toward the end of the film, Farmon bibi changes her attitude and gives in to the demands ofher daughters-in-law.Passage 5:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by JeanRollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same nameand the 1981 cult classic Clash of the Titans. It was Rollin's final film, as the director died in 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlèneDelcambre as SthénoJuliette Moreau as JulietteDelphine Montoban as CorneliusJean-Pierre Bouyxou as le gardienBernard Charnacé as le collectionneurAgnèsPierron as la colleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre la têteThomas Smith asThomasProductionIt was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009,"}
+{"doc_id":"doc_71","qid":"","text":"Passage 1:Nancy BaronNancy Baron is an American rock singer who was active in New York City in the early 1960s, known for the singles \"Where Did My JimmyGo?\" and \"I've Got A Feeling\".Early lifeBorn into a family of singers and writers, Baron was introduced to many musical genres by her family at an early age.Noting her singing talents, her parents brought their young child to auditions for musical theater productions in New York City. The singer joined Glee clubs atschool and formed her own female singing groups at school. At the age of 11, she heard her first \"Rock and Roll\" song. This affected her taste in music and desireto emulate the style; it was the first time she heard a Rock group with a female lead singer. This was significant since she realized that she could be a leadsinger.Recording careerAt the age of 15, her parents sent her for vocal coaching in Manhattan, N.Y. After a while her coach sent her to record a demonstrationrecord in a sound studio near Broadway. Upon hearing her sing, the sound engineer contacted his friend who was a producer of a small record company in N.Y.C.;he was impressed by her voice and immediately signed her to a contract. The singer's mother co-signed the document since Baron was a fifteen-year-old minor atthe time.Baron became one of the many girl group/girl sound singers of the early 1960s. Baron was not a member of a group; her producers would hire \"pay forhire\" backup groups for her recordings. This \"sound\" as it is referred to had much to do with Phil Spector, one of its major creators; Spector produced recordingsof this genre prolifically. The groups were composed of young adult or teenage girls, each with a lead singer and any number of back up singers.At the time, thetroubled label (a small N.Y.C. record company owned by Wally Zober) could not promote Baron's \"I've Got A Feeling\"/\"Oh Yeah\" 45 vinyl and so she eventuallysigned a contract with Jerry Goldstein producer of FGG productions, also located in Manhattan. \"Where Did My Jimmy Go\"/\"Tra la la, I Love You\" was the result(Diamond).Later lifeBaron left the music industry at the age of 19, choosing to enter higher education due to changes in the music industry of those days; sheeventually received an advanced degree.Baron's \"I've Got a Feeling\" was covered by The Secret Sisters on their 2010 self-titled album as well as being releasedas a single. AllMusic describes Baron's song as \"an early-'60s pop/rock obscurity\".Passage 2:Elizabeth Brooke (1503–1560)Elizabeth Brooke, Lady Wyatt(1503–1560) was the wife of Sir Thomas Wyatt, the poet, and the mother of Thomas Wyatt the younger who led Wyatt's Rebellion against Mary I. Her parentswere Thomas Brooke, 8th Baron Cobham and Dorothy Heydon, the daughter of Sir Henry Heydon.  She was the sister of George Brooke, 9th Baron Cobham andwas considered a possible candidate for the sixth wife of Henry VIII of England.Marriage and issueElizabeth married twice.First MarriageIn 1520, Elizabethmarried Sir Thomas Wyatt (1503 – 6 October 1542) and a year later, bore him a son:Sir Thomas (1521–1554), who led an unsuccessful rebellion against Mary Iin 1554. The aim of the rebellion was to replace the Catholic Queen Mary with her Protestant half-sister, Elizabeth.Early in the marriage, marital difficulties arose,with Wyatt claiming they were  'chiefly'  her fault. He repudiated her as an adulteress, although there is no record linking her with any specific man. Elizabethseparated from Thomas Wyatt in 1526 and he supported her until around 1537, when he refused to do so any longer and sent her to live with her brother, LordCobham. In that same year, Lord Cobham attempted to force Wyatt to continue his financial support. He refused. It wasn't until 1541, when Wyatt, accused oftreason, was arrested and his properties confiscated, that the Brooke family was able to force a reconciliation as a condition for Wyatt’s pardon.In a letter toCharles V, the imperial ambassador, Eustace Chapuys wrote that Wyatt had been released from the Tower at the request of Catherine Howard. Chapuys notedthat the king had imposed two conditions; that Wyatt  'confess his guilt'  and that  'he should take back his wife from whom he had been separated upwards of 15years, on pain of death if he be untrue to her henceforth.'  There is no evidence that this provision was ever enforced or existed. After pursuing Anne Boleyn,before her relationship with the King, Wyatt had begun a long-term affair with Elizabeth Darrell and he continued his association with his mistress.On 14 February1542, the night after Catherine Howard had been condemned to death for adultery, Henry VIII held a dinner for many men and women. The king was said to havepaid great attention to Elizabeth and to Anne Basset and both were thought to be possible choices for his sixth wife. In early 1542, more than a year beforeWyatt’s death, Elizabeth Brooke's name appeared in Spanish dispatches as one of three ladies in whom Henry VIII was said to be interested as a possible sixthwife.The imperial ambassador, Chapuys, wrote that the lady for whom the king \"showed the greatest regard was a sister of Lord Cobham, whom Wyatt, sometime ago, divorced for adultery. She is a pretty young creature, with wit enough to do as badly as the others if she were to try.\" It would appear that theambassador was mistaken, as at the time, Elizabeth Brooke was nearly forty years old. Perhaps Elizabeth Brooke had been confused with her beautiful youngniece, Elisabeth Brooke, the eldest daughter of George Brooke, 9th Baron Cobham, who married William Parr, 1st Marquess of Northampton. Elisabeth Brooke,Lord Cobham’s daughter, may have been at court on this occasion, since she was definitely there the following year. She would have been nearly sixteen inJanuary 1542 and in later years was accounted one of the most beautiful women of her time. More important to a king who had just rid himself of a wife(Catherine Howard) who had committed adultery, this second  Elisabeth had a spotless reputation.Second marriageFollowing Wyatt’s death, Elizabeth Brookemarried Sir Edward Warner (1511–1565), of Polstead Hall and Plumstead, Norfolk,  Lord Lieutenant of the Tower. The couple had three sons:Edward, who died ininfancyThomasHenryWarner was removed from his position on July 28, 1553, at the start of the reign of Mary I, and was arrested on suspicion of treason thefollowing January at his house in Carter Lane when Thomas Wyatt the younger rebelled against the Crown. Warner was held for nearly a year. Elizabeth’s son wasexecuted. Edward, the son she had with Warner, died young. Two other sons died in infancy. The family fortunes were restored under Elizabeth I and Warnerreclaimed his post at the Tower of London. His wife died there in August 1560 and was buried within its precincts.AncestryPassage 3:Elizabeth JocelinElizabethBrooke Jocelin (sometimes spelled \"Joceline\" or \"Joscelin\") was an English writer believed to have lived from 1595–1622. She is best known for her work TheMother's Legacy to her Vnborn Child. The book was first published two years after Jocelin's death in childbirth.Early lifeShe was the daughter of Sir Richard Brookeof Norton, Cheshire, and his wife Joan, daughter of William Chaderton, bishop of Lincoln. Her parents separated, and her mother returned home. Jocelin'sgrandfather, Bishop Chaderton, was mainly responsible for her upbringing. Elizabeth's childhood was therefore passed in the house of Bishop Chaderton, whoeducated her. She was extremely well versed in art, religion and language. According to her editor Thomas Goad, she had an exceptional memory.Later lifeIn1616 she married Tourell Jocelin of Cambridgeshire. Foreboding her death in childbirth, she wrote a letter which gently but earnestly exhorted her son ordaughter to piety and good conduct; and a letter to her husband, giving him advice as to the bringing up of the child. These works are thought to have beenwritten at Crowlands, Oakington. She bore a daughter on 12 October 1622, and died nine days afterwards. The child, named Theodora, became the wife ofSamuel Fortrey.The Jocelins appeared to lead a rather happy marriage, one that appeared to be mainly based on genuine love. In The Mother's Legacy to herVnborn Child Jocelin writes of how excited she is to be carrying her husband's child and that they have been working together to plan the best possible life fortheir childJocelin is noted for being \"one of the most notable young women of the times of James I”The LegacieThe Legacie was first published in 1624 with a longApprobation by Thomas Goad giving some account of Elizabeth Jocelin's life. The second edition is dated 1624 and the third 1625. An exact reprint of the thirdedition, with an introduction by an anonymous Edinburgh editor, appeared in 1852. The edition printed at Oxford, 'for the satisfaction of the person of qualityherein concerned,' in 1684, and reprinted at the end of C. H. Cranford's Sermons in 1840, is an altered one, the editor having made changes in religious matters.The manuscript of the Legacie is in the British Museum (Addit. MS. 27467). It is still somewhat contentious whether the manuscript is by Jocelin, and whetherGoad's editorial work brought in substantive change in the content.Jocelin wrote The Mother’s Legacy to her Vnborn Child during the Early Modern period whenwomen were typically defined by their existence in the domestic sphere. Jocelin's work kept in line with the expectations of women during the period because ofher clear dedication to her position as a mother.One of the idiosyncratic things about the mother's advice text is Jocelin's choice of tone and word use to insurethat whether her child is a boy or a girl he or she will be able to follow the advice she leaves behind. There are clearly different expectations and techniques toraising a son or daughter and Jocelin makes sure to acknowledge these differences while leaving advice for both. For example, she addresses her daughter torespect, obey and be a good mother. Jocelin writes about her desire to protect her daughter “from a potentially difficult and uncomfortable way of life.” Jocelinhas been criticised for her different approaches to raising her child based on its gender. Much like women of her time Jocelin desired for her daughter to beacceptable to society even if it meant limiting her intelligence or unhappiness.One of the largest parts of The Mother’s Legacy to her Vnborn Child is the religiousadvice that Jocelin offers to her unborn child. She urges the child to pray regularly, avoid temptations, acknowledge holy days and be charitable.The tone of thebook is one filled with optimism and pride over becoming a new mother. Jocelin is clearly excited about meeting her child even though she seems to understandthat birthing the child will be a great risk to herself.Much of the books instruction is directed toward Jocelin's husband including how to properly select a wet nursefor their child if Elizabeth should die.Excerpts from The Mother's Legacy to her Vnborn Child:“I desire her bringing up may bee learning the Bible, as my sistersdoe, good housewifery, writing, and good works: other learning a woman needs not; though I admire it in those whom God hath blest with descretion, yet Idesired not much in my owne, having seene that sometimes women have greater portions of learning than wisdome, which is of no better use to them than a"}
+{"doc_id":"doc_72","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker(1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)TheDoctor Blake Mysteries (2013)Passage 2:The Seventh Company OutdoorsThe Seventh Company Outdoors (French: La Septième Compagnie au clair de lune) is a1977 French comedy film directed by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy -ChaudardHenri Guybet - TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Le commandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, lepasseurAndré Pousse - LambertMichel BertoPassage 3:Now Where Did the 7th Company Get to?Now Where Did the 7th Company Get To? (French: Mais où estdonc passée la septième compagnie?) is a 1973 French-Italian comedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Armysquad lost somewhere on the front in May 1940 during the Battle of France.PlotDuring the Battle of France, while German forces are spreading across the country,the 7th Transmission Company suffers an air raid near the Machecoul woods, but survive and hide in the woods. Captain Dumont, the company commander,sends Louis Chaudard, Pithiviers and Tassin to scout the area. After burying the radio cable beneath a sandy road, the squad crosses the field, climbs a nearbyhill, and takes position within a cemetery. One man cut down the wrong tree for camouflage, pulling up the radio cable and revealing it to the passing Germaninfantry. The Germans cut the cable, surround the woods, and order a puzzled 7th Company to surrender. The squad tries to contact the company, but thenwitness their capture and run away.Commanded by Staff Sergeant Chaudard, the unit stops in a wood for the night. Pithiviers is content to slow down and waitfor the end of the campaign. The next day, he goes for a swim in the lake, in sight of possible German fighters. When Chaudard and Tassin wake up, they leavethe camp without their weapons to look for Pithiviers. Tassin finds him and gives an angry warning, but Pithiviers convinces Tassin to join him in the lake.Chaudard orders them to get out, but distracted by a rabbit, falls into the lake. While Chaudard teaches his men how to swim, two German fighter planes appear,forcing them out of the water. After shooting down one of the German planes, a French pilot, Lieutenant Duvauchel, makes an emergency landing and escapesbefore his plane explodes. PFC Pithiviers, seeing the bad shape of one of his shoes, destroys what is left of his shoe sole. Tassin is sent on patrol to get food and anew pair of shoes for Pithiviers. Tassin arrives in a farm, but only finds a dog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns withher daughter-in-law and Lt Duvauchel, and she welcomes Chaudard. Duvauchel, who is hiding behind the door, comes out upon hearing the news and decides tomeet Chaudard's men.When Chaudard and Duvauchel return to the camp, Tassin and Pithiviers are roasting a rabbit they caught. Duvauchel realizes thatChaudard has been lying and takes command.The following day, the men leave the wood in early morning and capture a German armored tow truck after killingits two drivers. They originally planned to abandon the truck and the two dead Germans in the woods, but instead realized that the truck is the best way todisguise themselves and free the 7th Company. They put on the Germans' uniforms, recover another soldier of the 7th Company, who succeeded in escaping, andobtain resources from a collaborator who mistook them for Germans.On their way, they encounter a National Gendarmerie patrol, who appear to be a 5th column.The patrol injures the newest member of their group, a young soldier, and then are killed by Tassin. In revenge, they destroy a German tank using the tow truck'scannon gun.They planned to go to Paris but are misguided by their own colonel, but find the 7th Company with guards who are bringing them to Germany. Usingtheir cover, they make the guards run in front of the truck, allowing the company to get away. When Captain Dumont joins his Chaudard, Tassin, and Pithiviers inthe truck, who salute the German commander with a great smile.CastingJean Lefebvre : PFC PithiviersPierre Mondy : Staff Sergent Paul ChaudardAldo Maccione:PFC TassinRobert Lamoureux: Colonel BlanchetErik Colin: Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobert Dalban : ThepeasantJacques Marin: The collaborationistRobert Rollis: A French soldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septièmecompagnie (The Seventh Company Has Been Found) by Robert Lamoureux;– 1977 : La Septième Compagnie au clair de lune (The Seventh Company Outdoors))by Robert Lamoureux.The story is set in Machecoul woods, but it was actually filmed near Cerny and La Ferté-Alais, as well as Jouars-Pontchartrain andRochefort-en-Yvelines. The famous grocery scene was filmed in Bazoches-Sur-Guyonne.Robert Lamoureux based this film on his own personal experiences inJune 1940 during the war.The final scene with the parachute is based on a true story. The 58 Free French paratroopers were parachuted into Brittany in groups ofthree, on the night of 7 June 1944 to neutralize the rail network of Normandy Landings in Brittany, two days before.Box officeThe movie received a great successin France reaching the third best selling movie in 1974.NotesExternal linksMais où est donc passée la septième compagnie? at IMDbPassage 4:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the boardof directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israelin 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studiesshe worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academiccareerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promotedproductions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launchof the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains(graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 5:The Eagle's EyeTheEagle's Eye is a 1918 American serial film consisting of 20 episodes that dramatizes German espionage in the United States during World War I. The stories arebased on the experiences of William J. Flynn during his career as chief of the United States Secret Service from 1912–1917.It features King Baggot as thepresident of the Criminology Club and Marguerite Snow as a Secret Service agent who investigate spies. Among the events depicted are the sending of theZimmermann Telegram, Franz von Rintelen's attempts to sabotage cargo loading in San Francisco Harbor, and the capture of the German espionage plans. It wasdirected by George Lessey, Wellington A. Playter, Leopold Wharton, and Theodore Wharton, and produced by the Whartons Studio. The serial is now consideredlost. Because this serial was a commercial failure, it was the last one made by Whartons due to the studio being forced to declare bankruptcy.BackgroundAfterFlynn's retirement from the Secret Service his work investigating sabotage during the war were interwoven with fictitious characters and events by CourtneyRyley Cooper into a 20-part spy thriller. These were also published as weekly installments in The Atlanta Constitution's magazine section during 1918 under thetitle The Eagle's Eye: A True Story of the Imperial German Government's Spies and Intrigues in America. Fifteen of the episodes were republished as chapters in abook the following year.CastKing Baggot as Harrison GrantMarguerite Snow as Dixie MasonWilliam Bailey as Heinrich von LertzFlorence Short as Madame AugustaStephanBertram Marburgh as Count Johann von BernstorffPaul Everton as Captain Franz von PapenJohn P. Wade as Captain Karl Boy-EdFred C. Jones as Dr.Heinrich AlbertWellington A. Playter as Franz von RintelenLouise HotalingLouis C. Bement as Uncle SamAllan MurnaneF.W. StewartRobin H. TownleyBessieWharton as Mrs. BlankChapter titlesHidden DeathThe Naval Ball ConspiracyThe Plot Against the FleetVon Rintelen, the DestroyerThe Strike BreedersThe PlotAgainst Organized LaborBrown Port FolioThe Kaiser's Death MessengerThe Munitions CampaignThe Invasion of CanadaThe Burning of HopewellThe CanalConspiratorsThe Reign of TerrorThe Infantile Paralysis EpidemicThe Campaign Against CottonThe Raid of the U-53Germany's U-Base in AmericaThe Great HinduConspiracyThe Menace of the I.W.W.The Great DecisionPassage 6:George LesseyGeorge Lessey (June 8, 1879 – June 3, 1947) was an American actor anddirector of the silent era. He appeared in more than 120 films between 1910 and 1946. He also directed more than 70 films between 1913 and 1922. Lessey wasborn in Amherst, Massachusetts, and as a boy he acted in theatrical productions there. He graduated from Amherst College.For a year, Lessey was a leading manfor Edison Studios, after which he directed films for the company for two years. In 1914, he joined Universal Studios as a director. He portrayed Romeo in theinitial film version of Romeo and Juliet, directed the first serial, What Happened to Mary, and played the first dual role in film as twins in The Corsican Brothers.Onstage, Lessey appeared in the original Broadway production of Porgy and Bess (1935) in one of the few white roles, that of the lawyer Mr. Archdale.In the 1930s,Lessey worked as a model for men's clothes.Lessey was married to the former May Abbey. On June 3, 1947, Lessey died on vacation in Westbrook, Connecticut,aged 67.Selected filmographyPassage 7:Arrington HighArrington High (1910 - 1988) was an American journalist and newspaper publisher. He published the Eagle"}
+{"doc_id":"doc_73","qid":"","text":"Passage 1:A Slave of VanityA Slave of Vanity is a 1920 American silent drama film starring Pauline Frederick, and directed and written by Henry Otto. The film,which was adapted from Arthur Wing Pinero's 1901 play Iris, was produced and distributed by the Robertson-Cole Pictures Corporation that eventually becamepart of Film Booking Office of America. The film is now considered lost.PlotIris (Frederick), a British aristocrat, must choose between the poor Laurence (Barrie)and the rich Frederick (Louis). She decides to marry the wealthier Frederick, but at the last minute she changes her mind and runs off to Italy with Laurence.However, things do not work out quite the way she planned.CastPauline Frederick as Iris BellamyArthur Hoyt as Croker HarringtonNigel Barrie as LaurenceTrenwithWillard Louis as Frederick MaldonadoMaude Louis as Fanny SullivanDaisy Jefferson as Aurea VyseRuth Handforth as Miss PinsentHoward Gaye as ArthurKaneSee alsoList of lost filmsPassage 2:Shape of My HeartShape of My Heart may refer to:\"Shape of My Heart\" (Sting song), a 1993 song by Sting from thealbum Ten Summoner's Tales\"Shape of My Heart\" (Backstreet Boys song), a 2000 song by the Backstreet Boys\"Shape of My Heart\" (Noah and the Whale song),2008 song by Noah and the Whale, charting 94 in the UKShape of My Heart, a 2009 album by Katia Labèque\"Shape of My Heart\", a 2012 single by Rick Price fromThe Water's EdgeThe Shape of My Heart, the UK title of God-Shaped Hole, a 2003 novel by Tiffanie DeBartoloPassage 3:Half of My Heart (disambiguation)\"Half ofMy Heart\" is a 2009 song by John Mayer from his album Battle Studies featuring Taylor Swift.Half of My Heart may also refer to:\"Half of My Heart\", the lovetheme from the 1957 film Jeanne Eagels\"Half of My Heart\", a 1961 song by Emile Ford\"Half of My Heart\", a 2000 song by The Mooney Suzuki from People GetReady\"Half of My Heart\", a 2019 song by Megan McKennaPassage 4:Grace of My HeartGrace of My Heart is a 1996 American musical comedy-drama film writtenand directed by Allison Anders, and starring Illeana Douglas, Matt Dillon, Eric Stoltz, Patsy Kensit and John Turturro. The film charts the fictional music career ofDenise Waverly, an aspiring singer who writes for other artists in the pop music world of the mid-1960s. It premiered at the 1996 Toronto International FilmFestival and went into limited release on September 13, 1996. The soundtrack features artists Burt Bacharach, Elvis Costello, Joni Mitchell, Gerry Goffin and JillSobule, replicating the musical style that emerged from the Brill Building, New York City's  music factory in the heyday of girl groups and \"pre-fab\" acts like TheMonkees.PlotIn 1958, Philadelphia steel heiress Edna Buxton enters and wins a talent contest. When she attempts to record a demo, a studio producer tells herthat girl singers are not currently getting signed and record companies are even trying to get rid of the ones on their rosters. However, when Edna tells him thatshe wrote the song she wants to record, he is impressed enough to direct her to producer Joel Milner, who takes her under his wing, renames her \"DeniseWaverly\" and invents a blue-collar persona for her. Milner reworks her song for a male doo-wop group, the Stylettes, as male groups are far more marketable,and the song becomes a hit.Denise moves to New York City and becomes a songwriter in the Brill Building. At a party, she meets the arrogant songwriter HowardCaszatt, and despite an awkward initial meeting, they begin a relationship. Denise offers to write a song specifically for her three girlfriends, which culminates inJoel auditioning the girls and creating the girl group the Luminaries. Howard and Denise also begin writing together and eventually get married and have a child.They pen a song called “Unwanted Number,” based on a young girl's unwanted pregnancy. Although it is banned from radio, it attracts the attention of prominentand influential disc jockey John Murray, who, despite the negative attention around the song, credits Denise with sparking the girl group craze.Joel recruits thebeautiful English songwriter Cheryl Steed, who immediately catches Howard's eye, and initially, Denise's disdain. Cheryl diffuses Denise’s suspicion by informingher that she already has a songwriting partner – her husband Matthew. Joel tasks Denise and Cheryl with writing a song for the ingénue singer Kelly Porter. Thetwo women bond over the realization that the young songstress is in a closeted lesbian relationship with her roommate Marion. They write the coded song \"MySecret Love\" for Kelly, which becomes a hit.Denise’s relationship with Howard becomes strained due to his philandering with other women. When she learns she ispregnant with Howard's second baby, Cheryl convinces her to see an obstetrician, who safely performs an illegal abortion. Denise and Cheryl then become closefriends and Denise eventually breaks up with Howard.In 1966, Milner offers to send Denise to the studio to sing for herself. As an added incentive, he offers theproduction assistance of Jay Phillips, the frontman of California rock group the Riptides, to produce her single. Although initially hesitant as she says she finds thewhole \"surf and turf\" sound laughable, she writes and sings the song \"God Give Me Strength\" and is delighted by Jay's skillful orchestral arrangement. The recordshe puts out with him, however, is a commercial failure. Between the loss suffered by her foundering single and the advent of the British Invasion, Milner'sfortunes are depleted. Denise blames herself for making the song too personal and bankrupting Joel. He tells her she did more for him than she realized and thatit was time for them both to move on.Denise and Jay become a couple and resettle in California. Jay treats Denise’s daughter Luna as his own, but he is reclusiveand a user of recreational drugs like marijuana and peyote. Denise has since joined forces with the newly-divorced Cheryl to write songs for a bubblegum pop TVshow, Where the Action Is, though Jay insists to Denise that writing music for TV is beneath her.Jay's behavior becomes more erratic and he becomesincreasingly paranoid, causing his bandmates to distance themselves from him. He falls into a period of deep depression that seemingly abates after a visit fromhis friend \"Jonesy\", who reminds him of the things that are important in his life, including his \"groovy new old lady\", Denise.Thinking that the worst is over,Denise invites Jay to join her and Cheryl at the Whisky a Go Go to see Doris, a former Luminary member who embarked on a solo career after the girl groupbroke up, perform. Jay declines, saying he has a song idea he wants to explore, so Denise ends up going with Cheryl. While the women celebrate, Jay is revealedto be still in the throes of his depression; having put on a brave face for Denise's benefit. He walks into the ocean, taking his own life. Denise is further distraughtto discover that Jay's fans blame her for not intervening in his death.Numbed by the loss, Denise retires with her family to a hippie commune in northernCalifornia and tries to make sense of everything that has happened. Some time later, Joel visits Denise at the commune and takes her and the children to dinner.That night, he criticizes how far down she's allowed her grieving to take her and says that it's destroying her and her talent. Denise angrily lashes out, tellingMilner that he'd be nothing without her success. He agrees; however, the more he agrees with her, the angrier she becomes. She strikes him then collapses intears, grieving for Jay. Milner consoles her and the two are reconciled.With Joel's help, Denise creates the platinum-selling work \"Grace of My Heart\". As she laysdown the piano track for the song, her life is recounted in pictures, leading to the moment when her own mother receives a copy of her album in the mail with ahandwritten note. Seemingly proud of her daughter's success, she smiles.CastProductionThe story is loosely based on the career arc of singer-songwriter CaroleKing, who, like Denise, started out writing songs in the Brill Building for artists like Aretha Franklin, The Drifters, and Little Eva. The character Jay Phillips isloosely modeled on Brian Wilson of The Beach Boys.Allison Anders said she was inspired to make the film as a fan of the girl group The Shangri-Las. She was alsoinspired by the Alan Betrock book Girl Groups: The Story of A Sound, which contained photos of \"Carole King and Gerry Goffin then others like Cynthia Weil andBarry Mann...it was interesting to read what Alan had to say about what that time was like back then and how they were all really just kids when they had been apart of that.\"Martin Scorsese is credited as Grace of My Heart's executive producer, and the film is co-edited by Scorsese’s longtime editor ThelmaSchoonmaker.ReceptionReleaseGrace of My Heart debuted at the Toronto International Film Festival on September 8, 1996. It was theatrically released a fewdays later on September 13, 1996, just weeks ahead of Oscar-winning actor Tom Hanks' directorial debut That Thing You Do!, which also covered the early tomid-1960s pop music scene and featured original, retro-styled songs on the soundtrack. Grace of My Heart grossed $660,313 worldwide.Critical responseOn thereview aggregator website Rotten Tomatoes, 79% of 28 critics' reviews are positive, with an average rating of 6.9/10.David Ansen of Newsweek praised the filmand wrote while it \"is not the smoothest trip\" story-wise, \"Anders's rough edges are more than offset by the story's contagious vitality...Denise's funky journey toself-discovery is a fresh feminist take on an era that has always been seen through men's eyes. It may not be precision-tooled, but it's triumphantly alive.\"TimeOut wrote, \"There's a lovely sequence about a third of the way into Anders' delightful movie which follows a song from conception - the street scene that inspiresit - through the writing, to the recording session. This seamlessly edited passage swings like the snappy '60s girl pop it emulates. Like the film as a whole, itworks as a musical in its own right, and as history and critique of the pop process.\"Critics roundly praised the film's music, particularly the Brill Building scenes,and lauded the film's approach of pairing popular songwriters of the 1960s with contemporary artists. Mark Caro of the Chicago Tribune wrote:What Anderscaptures is the feel of the time: the nervous thrill of singing a song you love; the sanctified atmosphere of a recording studio, with red padded walls that matchthe singer's lipstick and a slit of a window that reveals a live bassist; the songwriter's excitement in realizing that songs can be about people's actual lives and stillbe commercial; the breathlessness of keeping up with an industry that may love a cappella vocal groups one day and rock bands the next.Criticism centered onthe film's shift of the action from New York City to California to center on Denise's relationship with Jay, with many arguing it is where the story loses focus. RogerEbert praised the music and Douglas' performance, but said Anders tries to cover too much ground and would have liked a less condensed story.In a 2020episode of his podcast Kermode on Film, film critic Mark Kermode named Grace of My Heart number one on his countdown of the top five most underrated films ofall time. Jim Hemphill of Filmmaker wrote the film \"feels both completely of the period in which it takes place and like something that could only have been made"}
+{"doc_id":"doc_74","qid":"","text":"Passage 1:La voix (song)\"La voix\" (French pronunciation: [la vwa]; \"The voice\") is a song by Swedish singer Malena Ernman, which served as the Swedish entryat the 2009 Eurovision Song Contest, held in Moscow, Russia. It was composed by Fredrik Kempe, with lyrics by both Kempe and Ernman. It is the first Swedishentry to contain lyrics in French, as well as being the last Swedish entry to have contained lyrics in a language other than English. Despite the fact that France'sPatricia Kaas would get a relatively good placing in the final, Ernman drew further attention to Francophone culture in the semi-final, as well in the grand final (byclassing 3rd in the OGAE Second Chance round), despite her ultimate placing (21st).The song was the winner of Melodifestivalen 2009 on 14 March 2009, earningthe right to compete for Sweden in the first semi-final of Eurovision 2009 on 12 May 2009. The song qualified for the final round where it finished 21st place with33 points, making it Sweden's second lowest placing in the contest since 1992's \"I morgon är en annan dag\" (22nd), and also the second time the country failedto place within the Top 20.In 2010, the song was covered by Russian pop singer Philipp Kirkorov and opera singer Anna Netrebko with Kirkorov singing versesand Netrebko singing chorus. They recorded two versions of the song, one with original French and English lyrics and other sang exclusively in Russian.The songhas also been used as the backing track for the musical documentary Spaceplane Sailing. The short film covers the 33-mission career of the Space ShuttleAtlantis and was premiered on YouTube in February 2013.Melodifestivalen and Eurovision\"La voix\" participated in the fourth heat of the 2009 Melodifestivalenwhich was held on 28 February 2009 at the Malmö Arena in Malmö. The song was the last of the eight competing entries to perform and directly qualified to thecontest final as one of the two songs song which received the most telephone votes. On 14 March, during the final held at the Globe Arena in Stockholm, Ernmanwere the last of the eleven competing acts to perform, and \"La voix\" won the contest with 182 points, receiving the highest number of votes from the viewingpublic via telephone voting despite placing only eighth with the regional and international juries.Sweden participated in the first semi-final of the 2009 EurovisionSong Contest in Moscow, Russia on 12 May 2009. Ernman was the fifth competing artist to perform and Sweden were subsequently announced at the end of thebroadcast as one of the ten countries to have qualified for the final. Ernman performed again in the final on 16 May, with Sweden drawn to perform as the fourthcountry on stage, and subsequently finished in twenty-first place with a total of 33 points. The full breakdown of results published after the final revealed that inthe first semi-final Sweden had finished in fourth place with 105 points.Chart performanceThe song debuted on the Swedish Singles Chart on the week of 13March 2009 at number 31, before climbing to number 10 the following week and then number four in its third.On 26 April 2009, \"La voix\" went straight to numberone on the Svensktoppen radio chart.In May 2009, the single entered at 29 in the Belgium Ultratip, moved up to 27 in its second week and then fell off thechart.Track listingCD: (Sweden)\"La voix\" (radio edit)\"La voix\" (karaoke)ChartsPassage 2:Malena ErnmanSara Magdalena Ernman (born 4 November 1970) is aSwedish mezzo-soprano opera singer. Besides operas and operettas, she has also performed chansons, cabaret, jazz, and appeared in musicals. She is a memberof the Royal Swedish Academy of Music. Ernman represented Sweden in the Eurovision Song Contest 2009 with the song \"La Voix\", finishing in 21st place.Life andcareerEarly lifeErnman was born in Uppsala, Sweden, spent her childhood and school years in Sandviken, and was educated at the Royal College of Music inStockholm, the Music Conservatory in Orléans, France, and the school of the Royal Swedish Opera. She is married to actor Svante Thunberg, with whom she hadappeared in a 2000 Swedish television musical documentary about the composer Joseph Martin Kraus, played by Thunberg. Together they have two daughters:singer Beata Ernman, and climate activist Greta Thunberg.OperasIn 1997, Ernman sang in the premiere of Ivar Hallström's 1897 opera Liten Karin in Vadstena;Opera magazine noted that \"the mezzo Malena Ernman was very expressive as Princess Cecilia, King Erik XIV's sister\". In 1998, her Rosina in The Barber ofSeville at the Royal Opera in Stockholm was described as \"displaying impressive technique\" and \"shaping the character with mocking good humour\". The sameyear, she sang Kaja in the premiere of Sven-David Sandström's Staden under Leif Segerstam also at the Royal Opera in Stockholm, where one reviewercommented that \"in vocal focus and expression, her full, rich voice is not that far behind Bartoli\". In July 1999, Ernman sang the trouser role of Ziöberg in thepremiere of Jonas Forssell's Trädgården (The Garden) at the Drottningholm Palace Theatre in Stockholm, conducted by Roy Goodman, the first new opera to bepremiered at the theatre in modern times.In Brussels in 2000, her Nerone in Handel's Agrippina, alongside Rosemary Joshua's Poppea and Anna CaterinaAntonacci's Aggripina was described as \"the most convincingly brattish young man imaginable\".In 2001, Ernman sang Sesto in Handel's Giulio Cesare at theDrottningholm Festival. She sang at the Glyndebourne Festival, in the Summer of 2002 as Nancy in Albert Herring and the next summer as Prince Orlovsky inJohann Strauss's Die Fledermaus, which was also performed at the BBC Proms that year.In 2002/2003 Ernman appeared in Vienna as Diana in La Calisto. In2003/2004 she sang the part of Donna Elvira in Don Giovanni at La Monnaie in Brussels and appeared at the Aix-en-Provence Festival as Lichas in Hercules byGeorge Frideric Handel, with Les Arts Florissants under conductor William Christie, revived at the Paris Opera and at the Vienna Festival.In the spring and summerof 2005, Ernman created the title role in Philippe Boesmans's Julie, appearing at la Monnaie, at the Vienna Festival, and in Aix-en-Provence. In 2006 she sang asNerone in L'incoronazione di Poppea in Brussels and Berlin, then as Dido in Dido and Aeneas with William Christie at the Vienna Festival. She also sang inAgrippina at Oper Frankfurt.In August 2006, Ernman made her debut at the Salzburg Festival as Annio in La clemenza di Tito under conductor NikolausHarnoncourt. In 2007, her roles included Sesto in Giulio Cesare with René Jacobs in Vienna, Cherubino in Le nozze di Figaro with Daniel Harding inAix-en-Provence, and Nerone in L'incoronazione di Poppea in Amsterdam. In 2008 she sang Angelina in La Cenerentola with the Royal Swedish Opera and Didoand Aeneas with Christie and the Opéra-Comique in Paris. In 2009 she reprised Angelina in La Cenerentola with Oper Frankfurt and the Swedish Royal Opera, andDido in Dido and Aeneas with Christie in Vienna and Amsterdam. In 2010, she sang the castrato role of Idamante in Idomeneo under Jérémie Rhorer at theTheatre de la Monnaie in Brussels, where her \"feisty\" portrayal of the prince was \"as if to the gender born, her efforts rewarded by the inclusion of the usually cutaria 'No, la morte'. Vienna saw her in the title role of Serse by Handel in October 2011 at the Theater an der Wien, and the following season she sang Eduige inthe Nicolas Harnoncourt-led production of Handel's Rodelinda at the same house, later released on DVD. Back in the city as Elena in La donna del lago in August2012, she was \"impressive... dealing with the vocal difficulties with aplomb and managing the extra dramatic demands made on her with genuine expressivity\".She added Béatrice to her repertoire in 2013 in performances at Theater an der Wien of Berlioz's late opéra-comique. Also in 2013 she returned to the part ofAggripina at the Gran Teatre del Liceu in Barcelona, in a production by David McVicar conducted by Harry Bicket.Ernman has sung several major roles with theStaatsoper Berlin, including Cherubino in Le nozze di Figaro and Zerlina in Don Giovanni, both under conductor Daniel Barenboim. She also performed Rosina inRossini's Il barbiere di Siviglia with Staatsoper Berlin and the Finnish National Opera. With the Royal Opera Stockholm she has also sung the title role inCarmen.Ernman worked with conductor René Jacobs in the roles of Nerone in Agrippina, Roberto in Scarlatti's Griselda and Diana in Cavalli's La Calisto.In 2018,she sang Gabriella in the Swedish musical Så som i himmelen (As It Is in Heaven), based on a 2004 film of the same name, with words by Kay Pollak and CarinPollak and the score by Fredrik Kempe, which premiered at the Oscarsteatern in September 2018.ConcertsEarly recitals on Swedish Radio included Rachmaninovin 1994, The airconditioned nightmare by Olov Olofsson, songs by Gunnar de Frumerie, and an eclectic mix of Fauré, Debussy, Jolivet, Ravel, Bizet, Barber, Ivesand Lehrer in 1996, Brahms lieder, and works by Carlid, Mahler and Berio in 1998.Ernman has performed several concert pieces as well. At the Salzburg Festivalshe sang Mozart's \"Waisenhausmesse\" with conductor Frans Brüggen. She performed Berio's \"Folksongs\" with the Stockholm Royal Philharmonic Orchestra underCarlo Rizzi, and at the Verbier Festival with Gustavo Dudamel. She sang the world premiere of \"Nachtgesänge\" by Fabian Müller with the Zurich TonhalleOrchestra. In Minneapolis she sang Mozart's \"Requiem\" with Arnold Östman.2009 Melodifestivalen and EurovisionOn 28 November 2008, it was announced thatErnman would enter Melodifestivalen 2009 for the Eurovision Song Contest 2009 with the song \"La voix,\" written by Fredrik Kempe. On 28 February 2009,Ernman competed in the 4th semi-final of Melodifestivalen in Malmö and became a finalist. She went on to win the final on 14 March at the Globe Arena inStockholm, and to represent Sweden in the Eurovision Song Contest in Moscow. She qualified as a finalist on 12 May and performed in the finals on 16 May,where she finished 21st with 33 points. \"La voix\" was the first Swedish entry to contain a substantial amount of French lyrics; it was written by Ernman herself,who speaks French fluently. Prior to the competition a documentary about the life and career of Ernman was broadcast on Swedish television entitled 'RösternasMalena' ('The voice of Malena').Ernman revealed that the dress for her Eurovision performance cost 400,000 kronor (€37,471) and was made by designer CamillaThulin. Singer Dea Norberg joined Ernman as one of the choirgirls. Ernman later participated in the Second Chance round of Melodifestivalen 2015 as a guestsinger for Behrang Miris entry.Personal lifeErnman is married to Swedish actor Svante Thunberg. Their first daughter Greta Thunberg rose to worldwideprominence when she initiated the School Strike for Climate. She also has a younger daughter, who is three years younger. Ernman’s career was taking off whenGreta was born, and Svante stayed at home to look after their children.In August 2014, 11-year-old Greta suddenly stopped eating, talking, reading, or wantingto do anything. This condition lasted for several months, until she was diagnosed with Asperger syndrome. The acute period of her daughter's condition affected"}
+{"doc_id":"doc_75","qid":"","text":"Passage 1:Lethal Weapon 3Lethal Weapon 3 is a 1992 American buddy cop action film directed by Richard Donner and written by Jeffrey Boam and Robert MarkKamen. The sequel to Lethal Weapon 2 (1989), it is the third installment in the Lethal Weapon film series and stars Mel Gibson, Danny Glover, Joe Pesci, ReneRusso, and Stuart Wilson.In Lethal Weapon 3, LAPD Sergeants Martin Riggs (Gibson) and Roger Murtaugh (Glover) pursue Jack Travis (Wilson), a former LAPDlieutenant turned ruthless arms dealer, during the six days prior to Murtaugh's retirement. Riggs and Murtaugh are joined by Leo Getz (Pesci) as well as internalaffairs Sergeant Lorna Cole (Russo).The film was a box office success, grossing over $320 million worldwide. It was the fifth-highest-grossing film of 1992 and thehighest-grossing installment in the series overall. The film was followed by Lethal Weapon 4 in 1998.PlotA week before his retirement, L.A.P.D. Sergeant RogerMurtaugh and his partner Martin Riggs are demoted to uniform duties after failing to defuse an office building bomb. While on street patrol they witness the theftof an armored car, and help to thwart the crime assisted by armored car driver Delores. One of the two thieves gets away, but the other is taken into policecustody. The suspect is found to be a known associate of Jack Travis, a former LAPD lieutenant who is running an arms smuggling ring in Los Angeles. Thedepartment is further concerned that the thieves were using armor-piercing bullets. Riggs and Murtaugh are re-promoted and assigned to work with SergeantLorna Cole from internal affairs to track down Travis.Travis is currently negotiating with mobster Tyrone regarding his arms deal. The armored car thief thatescaped is brought to Travis, who subsequently kills him in front of Tyrone for putting the police on his trail. Travis then uses his old police credentials to enter theinterrogation room and kill the suspect in custody before he can be interviewed. Travis is unaware that closed-circuit cameras have been installed in the station,and Cole is able to confirm Travis' identity. While the three are reviewing the footage, their good friend Leo Getz, who has been helping Murtaugh sell his house,arrives and immediately recognizes Travis from several prior business deals and his love of ice hockey. Murtaugh, Riggs, and Getz narrowly miss capturing Travisat a hockey match, and Getz is wounded. However, Getz manages to provide them with information of a warehouse Travis owns, which they suspect is where hehas stored his arms shipments.Riggs and Murtaugh contact Cole for backup before they raid the warehouse, and stop at a food truck to wait for her. As they waitfor their food, they witness a drug deal and attempt to stop it. Murtaugh kills a gunman who fired at them, while the rest escape. Murtaugh recognizes thegunman, Darryl, a close friend of his son Nick. With Murtaugh emotionally distraught, Riggs and Cole head to the warehouse, where they successfully secure hisnext arms shipment delivery. That night, Riggs and Cole find they have feelings for each other and sleep together. Riggs later finds a guilt-ridden Murtaugh drunkin his boat and consoles him in time for Darryl's funeral. There, Darryl's father passionately insists that Murtaugh find the person responsible for giving Darryl thegun.Cole finds that Darryl's gun, the armor-piercing bullets, and the arms they recovered were originally in police custody, meant to be destroyed, and werestolen by Travis; they revoke his credentials from the system. They further tie the guns to Tyrone and interrogate him. Tyrone directs them to an auto garagewhere many of his henchmen work from. Riggs, Murtaugh, and Cole are able to arrest several of the men. Meanwhile, Travis has one of his men hack into thecomputer system to find another arms storage area. He then forces Captain Murphy under gunpoint to take him to this new facility so he can steal the guns usingMurphy's credentials. Cole finds the evidence of hacking and Murphy's absence, and the three, along with a rookie cop, Edwards, who looks up to Riggs andMurtaugh, intercept Travis. They are able to rescue Murphy and stop Travis and his men before he can take the weapons, but Edwards is killed during theirpursuit.Getz provides information on a housing development owned by Travis's shell company. Riggs, Murtaugh, and Cole infiltrate the site at night and enter alarge-scale gunfight. Riggs sets the construction site on fire and most of Travis' men are killed, while Travis wounds Cole. When Travis uses a bulldozer to chasedown Riggs, using its blade as a bullet shield, Murtaugh tosses Daryl's gun, now loaded with the armor-piercing bullets, to Riggs, who then shoots and kills Travisthrough the blade. After finding out Cole wore two layers of kevlar vests, Riggs admits his love for her as she is taken away in a chopper.The next day,Murtaugh's family is celebrating his retirement, when Murtaugh reveals to Getz that he has decided to not sell the house and stay with the force, preserving hispartnership with Riggs. As the film ends, Riggs announces his relationship with Cole to Murtaugh.CastProductionThe movie was filmed from October 1991 toJanuary 1992.Richard Donner, an animal-rights and pro-choice activist, placed many posters and stickers for these causes in the film. Of note are the T-shirt wornby one of Murtaugh's daughters (the actress's idea), an 18-wheeler with an anti-fur slogan on the side, and a sticker on a locker in the police station.DemolitionscenesIn the film's first scene, Riggs accidentally sets off a bomb that destroys the ICSI Building. The ICSI Building was actually the former City Hall building ofOrlando, Florida, located at the intersection of Orange Avenue and South Street in Downtown Orlando. Warner Bros. decided to use the destruction of the buildingin the film, and as a result paid $500,000 for the demolition. From August to October 1991, the production crew fitted the old Orlando City Hall building featuredin the opening scene with carefully placed explosives to create the visual effect of a bomb explosion. Bill Frederick, then mayor of Orlando, Florida, was thepoliceman who sarcastically claps and said \"Bravo!\" to Murtaugh and Riggs after the explosion.The building was demolished so that it would collapse slightlyforward (toward Orange Avenue), minimizing the chances of it damaging the new City Hall building, built directly behind it. The space was cleared out andbecame a plaza for the new City Hall, with a fountain and a monument.The film's climax scene, where an under-construction housing development is set ablaze,was filmed at an unfinished housing development in Lancaster, California. The unfinished houses, which had been sitting abandoned and slated to be torn down,were coated in flame retardant and propane gas lines to ensure that the houses could withstand re-shoots. The original homes were eventually demolished andwas eventually redeveloped into another housing development.During the closing credits, Riggs and Murtaugh drive up to an old hotel where another bomb hasbeen placed. Before they (their doubles) can exit the car, the bomb explodes and destroys the building. The hotel was actually the former Soreno Hotel indowntown St. Petersburg, Florida. The film's producers agreed to help with the cost of the 68-year-old building's implosion for the purposes of their film.HockeygameA November 26, 1991 NHL game between the Los Angeles Kings and the Toronto Maple Leafs at the Great Western Forum served as the basis for thehockey scene featured in the movie.The league allowed production to capture the real-life action, although goaltender Kelly Hrudey eventually became annoyedwith the additional lights used by the crew and asked filming to stop.The NHL also let Donner stage part of the scene, where Riggs commandeers the arena's PAsystem to lure out Jack Travis, during the game's second intermission. It was completed in two takes. However, the director was not allowed to film the segmentwhere Riggs chases down Travis onto the ice that evening. It was completed after a Kings practice. In closer shots, these sequences used extras dressed inunlicensed jerseys that only roughly resemble those worn by the actual teams. A contemporary AP report cites Lethal Weapon's excessive violence as the reasonwhy the NHL limited its collaboration. However, the organization took a relaxed stance towards the more intense Sudden Death a few years later. The Los AngelesKings later featured in a season three episode of the Lethal Weapon TV series, entitled \"What The Puck?\".WritingJeffrey Boam's first two drafts of the script weredifferent from the final film. The character of Lorna for example was not a woman in original drafts, but the original character still had the same personality andwas just as lethal and crazy as Riggs, making him his match. Riggs also had an affair with Roger's daughter Rianne, and a few parts in the final film where Rogersuspects that Riggs and Rianne are interested in each other are only parts left from the original drafts.Director Richard Donner demanded some big changes onthe script which included changing the original character of Lorna (who had a different name in earlier drafts) into a woman and turning her into Riggs's girlfriend.He also re-worked the script to be less story-oriented and not focus on the main villains but instead on the relationship between Riggs and Murtaugh. He alsotoned down action scenes from the script and brought back Leo Getz into the story. All of his scenes were written in afterwards. In the original script Leo had leftL.A. for New York. Boam had some disagreements with changes that Donner made, but he was not against them. Boam was fired after he wrote his first twodrafts of the script. One of the reasons for this was because Donner wasn't interested in the script and he disagreed with some parts of Boam's original draft.After another writer, Robert Mark Kamen, was hired to re-write the script, Boam was called to return to work on it again. The filmmakers realized that Kamen'sre-writes were not working. Boam asked to work alone on the script and ended up constantly changing it from October 1991 until January 1992 while filming wastaking place. These types of changes also occurred during the filming of Lethal Weapon 2.According to Kamen in a 2012 interview, many of his writingcontributions ended up in the final film. Kamen also wrote many parts of the previous film in the series, with the most significant portions being the South Africanvillains.Screenwriter Jeffrey Boam is credited twice in the 'screenplay by' credits. This is because he did one draft by himself (granting him the first credit) and asecond draft collaborating with Robert Mark Kamen (granting him the second credit). In this rare scenario, Boam was hired to rewrite his own script with a secondwriter. After receiving the unusual writing credits, the advertising department assumed it was a misprint and produced posters with the credits \"Story by JeffreyBoam, Screenplay by Jeffrey Boam and Robert Mark Kamen\". After a few of the posters had been sent out, the WGA contacted the department, telling them thatthe initial credits were the correct ones, and ordering the posters to be recalled and destroyed.Carrie Fisher was an uncredited script doctor on the film.MartialartsRusso received martial arts training for a month before shooting from Cheryl Wheeler-Dixon, who had a karate background and was a former kickboxing"}
+{"doc_id":"doc_76","qid":"","text":"Passage 1:Ladies in DistressLadies in Distress is a 1938 American drama film directed by Gus Meins and written by Dorrell McGowan and Stuart E. McGowan. The film stars Alison Skipworth, Polly Moran, Robert Livingston, Virginia Grey, Max Terhune and Berton Churchill. The film was released on June 13, 1938, by Republic Pictures.PlotCastAlison Skipworth as Josephine BonneyPolly Moran as Lydia BonneyRobert Livingston as Pete BraddockVirginia Grey as SallyMax Terhune as Dave EvansBerton Churchill as Fred MorganLeonard Penn as Daniel J. RomanHorace McMahon as 2nd ThugAllen Vincent as SpadeEddie Acuff as HoraceCharles Anthony Hughes as LieutenantJack Carr as PolicemanWalter Sande as DuncanBilly Wayne as BrownPassage 2:Kyōen KobanzameKyōen Kobanzame (\u0000\u0000\u0000\u0000\u0000, Kyōen Kobanzame) is a 1958 black-and-white Japanese film directed by Nobuo Nakagawa.There are two parts of the film: the first part Kyōen Kobanzame zenpen (\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000) and the second part Kyōen Kobanzame kōhen (\u0000\u0000\u0000\u0000\u0000 \u0000\u0000). Both parts have the same staff and the same actors.CastKanjūrō Arashi (\u0000\u0000\u0000\u0000)Misako Uji (\u0000\u0000 \u0000\u0000\u0000)Ryūzaburō Nakamura (\u0000\u0000\u0000\u0000\u0000) - dual roleUreo Egawa (\u0000\u0000 \u0000\u0000\u0000)Tomohiko Ōtani (\u0000\u0000\u0000\u0000)Saburō Sawai (\u0000\u0000\u0000\u0000)Tetsurō Tamba (\u0000\u0000\u0000\u0000) Masao Takamatsu (\u0000\u0000\u0000\u0000)Kōtarō Bandō (\u0000\u0000\u0000\u0000\u0000)Fumiko Miyata (\u0000\u0000\u0000\u0000)Namiji Matsuura (\u0000\u0000\u0000\u0000)Passage 3:A Damsel in Distress (1919 film)A Damsel in Distress is a silent romantic comedy film released in 1919, starring June Caprice and Creighton Hale. The film is based on the 1919 novel A Damsel in Distress by English humorist P. G. Wodehouse. The director was George Archainbaud. The same novel later inspired a 1937 film.Plot summaryCastJune Caprice as Maud MarshCreighton Hale as George BevanWilliam H. Thompson as John W. MarshCharlotte Granville as Mrs. Caroline ByngArthur Albro as Reggie ByngGeorge Trimble as KeggsKatherine Johnson as Alice FarradayMark Smith as Percy MarshProductionThe film was directed by George Archainbaud, with Philip Masi as assistant director. The art director was Henri Menessier.Passage 4:Sidney OlcottSidney Olcott (born John Sidney Allcott, September 20, 1872 – December 16, 1949) was a Canadian-born film producer, director, actor and screenwriter.BiographyBorn John Sidney Allcott in Toronto, he became one of the first great directors of the motion picture business. With a desire to be an actor, a young Sidney Olcott went to New York City where he worked in the theatre until 1904 when he performed as a film actor with the Biograph Studios.In 1907, Frank J. Marion and Samuel Long, with financial backing from George Kleine, formed a new motion picture company called the Kalem Company and were able to lure the increasingly successful Olcott away from Biograph. Olcott was offered the sum of ten dollars per picture and under the terms of his contract, Olcott was required to direct a minimum of one, one-reel picture of about a thousand feet every week. After making a number of very successful films for the Kalem studio, including Ben Hur (1907) with its dramatic chariot race scene, and Dr. Jekyll and Mr. Hyde (1908), Olcott became the company's president and was rewarded with one share of its stock.In 1910 Sidney Olcott demonstrated his creative thinking when he made Kalem Studios the first ever to travel outside the United States to film on location.Of Irish ancestry, and knowing that in America there was a huge built-in Irish audience, Olcott went to Ireland where he made a film called A Lad from Old Ireland. He would go on to make more than a dozen films there and later on only the outbreak of World War I prevented him from following through with his plans to build a permanent studio in Beaufort, County Kerry, Ireland. The Irish films led to him taking a crew to Palestine in 1912 to make the first five-reel film ever, titled From the Manger to the Cross, the life story of Jesus.The film concept was at first the subject of much scepticism but when it appeared on screen, it was lauded by the public and the critics. Costing $35,000 to produce, From the Manger to the Cross earned the Kalem Company profits of almost $1 million, a staggering amount in 1912. The motion picture industry acclaimed him as its greatest director and the film influenced the direction many great filmmakers would take such as D.W. Griffith and Cecil B. DeMille. From the Manger to the Cross is still shown today to film societies and students studying early film making techniques. In 1998 the film was selected for the National Film Registry of the United States Library of Congress.Despite making the studio owners very rich men, they refused to increase his salary beyond the $150 a week he was then earning. From the enormous profits made for his employers, Olcott's dividend on the one share they had given him amounted to $350. As a result, Sidney Olcott resigned and took some time off, making only an occasional film until 1915 when he was encouraged by his Canadian friend Mary Pickford to join her at Famous Players–Lasky, later Paramount Pictures. The Kalem Company never recovered from the mistake of losing Olcott and a few years after his departure, the operation was acquired by Vitagraph Studios in 1916.Olcott was a founding member of the East Coast chapter of the Motion Picture Directors Association, a forerunner to today's Directors Guild of America and would later serve as its president. Like the rest of the film industry, Sidney Olcott moved to Hollywood, California, where he directed many more successful and acclaimed motion pictures with the leading stars of the day.Olcott married actress Valentine Grant, the star of his 1916 film, The Innocent Lie.During World War II, Olcott opened his home to visiting British Commonwealth soldiers in Los Angeles. In his book titled Stardust and Shadows: Canadians in Early Hollywood, writer Charles Foster tells of this period in Olcott's life, and of how he was introduced to many members of Hollywood's Canadian community through Olcott. Olcott died in Hollywood, California, in the house of his friend Robert Vignola where he lived after the death of Valentine Grant. Wanting to be buried in Canada, he is buried in Park Lawn cemetery in Toronto, Ontario.Partial filmography190719081909191019111912191319141915191619181919Marriage for Convenience (1919)1920Scratch My Back (1920)1921The Right Way (1921)God's Country and the Law (1921)Pardon My French (1921)1922Timothy's Quest (1922)1923The Green Goddess (1923)Little Old New York (1923)1924The Humming Bird (1924)Monsieur Beaucaire (1924)The Only Woman (1924)1925Salome of the Tenements (1925)The Charmer (1925)Not So Long Ago (1925)The Best People (1925)1926The White Black Sheep (1926)Ranson's Folly (1926)The Amateur Gentleman (1926)1927The Claw (1927)See alsoCanadian pioneers in early HollywoodPassage 5:When Lovers PartWhen Lovers Part is an American silent film produced by Kalem Company and directed by Sidney Olcott with Gene Gauntier, Jack J. Clark, Robert Vignola and JP McGowan in the leading roles.A copy is kept in the Desmet collection at Eye Film Institute (Amsterdam).PlotIn the Antebellum South, Nell is banned from seeing her lover by her father. They decide to elope, but their plans are thwarted by the father. When the American Civil War begins both Nell's father and former lover enlist the Confederate Army. Nell's father returns and her lover is traumatized and matured by the war, and at her father's funeral Nell finally accepts his hand in marriage.CastGene Gauntier - NellJack J. Clark -Robert Vignola - Back servantJP McGowan - Nell's fatherProduction notesThe film was shot in Jacksonville, Florida.Passage 6:Damsels in Distress (film)Damsels in Distress is a 2011 American comedy-drama film written and directed by Whit Stillman and starring Greta Gerwig, Adam Brody, and Lio Tipton. It is set at a United States East Coast university. First screened at the 68th Venice International Film Festival and the Toronto International Film Festival, it opened in New York and Los Angeles on April 6, 2012.PlotNewly transferred college student Lily becomes friends with Violet, Heather and Rose, a clique who run the campus' suicide prevention center. They date less attractive men to help the men's confidence; they try to clean up the \"unhygenic\" Doar Dorm; they clash with the editor of the campus newspaper, The Daily Complainer, who wants to close down the \"elitist\" fraternities; and they try to start a new dance craze, The Sambola!CastDevelopmentDamsels in Distress was Stillman's first produced feature since The Last Days of Disco (1998). In August 1998, he had moved from New York to Paris with his wife and two daughters. In that time, he wrote a novelization of The Last Days of Disco, in addition to several original film scripts which were not made, including one set in Jamaica in the 1960s. He resolved to make a lower-budgeted film in the style of his debut, Metropolitan (1990). In 2006, he met with Liz Glotzer and Mart Shafer at Castle Rock Entertainment, who had financed his second and third films. According to Shafer:Whit said, 'I want to write a movie about four girls in a dorm who are trying to keep things civil in an uncivil world.' It took him a year to write 23 pages. Six months later, a few more dribbled in. He just doesn't work very fast. Finally we had a draft. When we started production he said, 'I think 12 years is the right amount of time between movies.'Castle Rock provided most of the $3 million budget.ProductionThe movie was filmed on location in New York City on Staten Island at the Sailors' Snug Harbor Cultural Center. Filming finished on November 5, 2010.Stillman has said that the film was cut between its festival and theatrical runs:I felt the MPAA helped us out there. I'd hoped to get a PG-13 even with the Venice cut, but in the first viewing they thought it was R. So we looked at it, the editor [Andrew Hafitz] and I, and we saw immediately some things that would make it pretty clearly PG-13, and we felt would help the movie. There could've been a little heaviness of talking a little too much about what was going on, and it would delay the laugh until later – which I think is always good. We were really happy with the small changes we made. We made tiny changes in two scenes: we took out the text for what the ALA stood for... I think it gave it a Lubitschean vagueness and delayed the laugh.MusicThe film features an original score by Mark Suozzo. The song \"Sambola!\" is written by Suozzo, Michael A. Levine, and Lou Christie.ReceptionOn review aggregator Rotten Tomatoes, the film has an approval rating of 75% based on reviews from 143 critics. The website's critics consensus reads, \"Damsels in Distress can sometimes feel mannered and outlandish, but it's redeemed by director Whit Stillman's oddball cleverness and Greta Gerwig's dryly funny performance.\" On Metacritic, it has a score of 67% based on reviews from 33 critics.In Variety, Leslie Felperin wrote, \"a film that raises laughs even with its end credits, Whit Stillman's whimsical campus comedy Damsels in Distress is an utter delight.\" In Time, critic Richard Corliss wrote, \"Innocence deserted teen movies ages ago, but it makes a comeback, revived and romanticized, in this joyous anachronism.\" Andrew O'Hehir of Salon praised Gerwig's \"powerful and complicated performance\" and said that \" it's both a relief and a delight to discover that Stillman remains one of the funniest writers in captivity.\" He concluded, \"I laughed until I cried, and you may too (if "}
+{"doc_id":"doc_77","qid":"","text":"Passage 1:Ole Arntzen LützowOle Arntzen Lützow (14 November 1801 – 2 November 1871) was a Norwegian politician.He was elected to the Parliament ofNorway in 1839, 1842 and 1845, representing the rural constituency of Hedemarkens Amt. He worked as a farmer.Passage 2:Harry A. McMackinHarry AlbertMcMackin (February 10, 1880 – October 13, 1946) was a Canadian politician. He served in the Legislative Assembly of New Brunswick as member of theProgressive Conservative party from 1939 to 1944.Passage 3:Harry A. KeeganHarry Albert Keegan (November 18, 1882 – August 25, 1968) was a member of theWisconsin State Assembly.BiographyKeegan was born on November 18, 1882 in what is now Madison, South Dakota. He later moved to Monroe, Wisconsin.Keegan died in August 1968.CareerKeegan was a member of the Assembly twice. First, from 1939 to 1946 and second, from 1949 to 1956. He was a Republican.He was a dairy farmer and also worked in the grocery business. Keegan served on the Monroe Common Council.Passage 4:Harry Sieben Sr.Harry Albert Sieben II(August 23, 1914 - April 25, 1979) was an American public servant, active in government and politics in Minnesota throughout his life.Family, early life, andeducationSieben was born on August 23, 1914, in Hastings, Minnesota into a family active in government and politics. Sieben's father, also named Harry AlbertSieben (1890-1945), a 1911 graduate of the University of Illinois, served as mayor of Hastings from 1922 to 1926. Sieben's grandfather, J. George Sieben,served three terms as mayor of Hastings, while also serving on the city council for twelve years.Sieben's mother, Irene H. Buckley Sieben (1891-1982), was a1911 graduate of the University of Minnesota and was a delegate to the Democratic National Convention in 1948.The Sieben family originally arrived in the UnitedStates from Firmenich, near Cologne, Germany, in the then-Kingdom of Prussia, in 1847.Sieben graduated from the University of Minnesota and, later, fromWilliam Mitchell College of Law.Early careerBefore his career in law and government, Sieben managed his family's drug store, which was founded by hisgrandfather in 1885. During World War II, Sieben joined the Army and served at the bomber modification center at Holman Field in St. Paul.Sieben married hiswife, the former Mary Luger, in April 1940, in Minneapolis, where they later made their home before moving to Hastings.Political careerSieben was a long-timemember of the Minnesota Democratic–Farmer–Labor Party (DFL) and active in local and state politics for over thirty years. After assisting with the political activityof his father in Hastings, an early political experience of Sieben's came during Hubert Humphrey's successful 1948 bid for US Senate.In 1950, Sieben ran forMinnesota's 2nd Congressional District of the US Congress, against incumbent-since-1941, Joseph O'Hara. Sieben supported the Marshall Plan and providingmilitary assistance to Europe and Asia, including Korea, where his brother James G. Sieben served. Sieben ultimately lost 69,304 to 46,452.In February 1951, hewas also appointed acting director of the Office of Price Stabilization in Minnesota after being recommended for it by then-Senator Hubert Humphrey.In 1954,Sieben again ran for US Congress in the 2nd District. A highlight of Sieben's campaign was a fundraising dinner for 700 people in Mankato with sitting SenatorHubert Humphrey at $5 per plate.In January 1955, Minnesota Governor Orville Freeman appointed Sieben as liquor control commissioner. In 1957, GovernorFreeman appointed Sieben as the Minnesota highway safety director, a role in which he served for four years.Sieben was appointed as US Marshal for Minnesotaby President John F. Kennedy on May 1, 1961.Sieben stepped down from US Marshal position in the summer of 1962 to become the regional director of the SmallBusiness Administration for Minnesota, North and South Dakota, and northern Wisconsin. During this time, Sieben was also a confidante of Governor KarlRolvaag.In 1966, at the age of 52, he graduated from William Mitchell College of Law and worked as a lawyer. In 1968, Sieben was elected president of the TwinCities chapter of the Federal Bar Association.From 1971 until his death, Sieben served as chief clerk of the United States District Court for the District ofMinnesota.Death & legacyOn April 22, 1979, Sieben he suffered a stroke or a heart attack and was hospitalized. He died shortly afterwards on April 25, 1979, inHastings.Two of Sieben's sons, Harry A. Sieben, Jr. and Mike Sieben, served in the Minnesota House of Representatives: Harry, Jr. served 14 years, including asSpeaker of the House, while Mike served 10 years. Harry, Jr. also served as a Major General and Adjutant General of the Minnesota National Guard. Another ofSieben's sons, William, served on Walter Mondale's senate staff in Minnesota, and later, on his White House staff during his vice presidency. Sieben'sgranddaughter, Katie Sieben, served in the Minnesota Senate. Sieben was also the brother of Major General James G. Sieben, who served as Adjutant General ofthe Minnesota National Guard.Passage 5:Harry Atkinson (socialist)Harry Albert Atkinson (15 October 1867 – 21 January 1956) was a New Zealand engineer,socialist and insurance agent. He was born in Urenui, Taranaki, New Zealand on 15 October 1867, and was educated at Nelson College.Passage 6:Ole ArntzenOleArntzen (4 February 1910 – 7 August 1973) was a Norwegian businessman and resistance member during World War II. He was a brother of Sven Arntzen. Hewas a member of the Central Committee of Milorg, where he served as General Inspector (\"Stor I\") from April 1944 to May 1945. His cover name was \"Ørnulf\". Inhis World War II memoirs, Gunnar Sønsteby devotes one chapter to the arrest of Milorg leaders Jens Christian Hauge and Arntzen by the State police on 10 April1945, but their central role was not discovered.Passage 7:Harry Albert WillisHarry Albert Willis (July 11, 1904 – March 23, 1972) was a Canadian Senator andlong-time fundraiser and organizer for the Progressive Conservative Party of Canada in Ontario.Born in Belfountain, Ontario, Wilson was Ontario chairman of thefederal party's Ontario wing from 1943 until 1963.A lawyer by training, Willis was a graduate of McMaster University and Osgoode Hall Law School. He wasappointed to his party position by then federal leader John Bracken.Under John Diefenbaker, Willis was one of the \"three musketeers\" who ran the Ontario wingalong with Edwin A. Goodman and Senator William Brunt.Diefenbaker appointed Willis to the Senate in June 1962. He stepped down as Ontario chairmanfollowing the 1963 federal election in which the Tories were defeated by Lester Pearson's Liberals with only 26 Progressive Conservative MPs being elected inOntario.In the business world, Willis sat on several boards of directors, including those of Denison Mines and Standard Trust. He was president of CaledonHoldings Limited, which developed residential subdivisions. The company owned 1,000 acres (4.0 km2) near which Wilson wished to develop despite theprovince's plans to create park Forks of the Credit Provincial Park. Wilson continued buying property in the area despite the province's plans. The provincialProgressive Conservative government purchased the land from Wilson in 1971, giving him an 81% profit, which resulted in complaints by the parliamentaryopposition and a formal inquiry which found no wrongdoing on the part of Willis but which criticized the government for not bargaining for a lower price.Willis diedin flight from Ottawa to Toronto.Passage 8:Charalampos MavriasCharalampos Mavrias (Greek: Χαράλαμπος Μαυρίας; born 21 February 1994), known as \"Charis\"(Greek: Χάρης) or \"Harry\", is a Greek professional footballer who plays as a right back and right midfielder for Greece national team.ClubcareerPanathinaikosMavrias joined Panathinaikos' youth academy in 2007, aged 13, and was promoted to the first-team squad in 2010, after signing aprofessional contract in the previous year. On 20 October 2010 he made his first-team – and UEFA Champions League – debut, playing the last 12 minutes of a0–0 home draw against Rubin Kazan, thus becoming the youngest Greek ever to appear in the competition, and the second youngest overall (only behindCelestine Babayaro, being surpassed later by Alen Halilović, Youri Tielemans and Rayan Cherki). Four days later he made his league debut, again as a substitutein a 0–1 loss at AEK.Mavrias scored his first professional goal on 18 February 2012, netting his side's last of a 2–0 success at Ergotellis; he scored his firstEuropean goal on 31 July 2012, again netted the last of a 2–0 win at Motherwell in the first leg of the third qualifying round of the Champions League, one minuteafter coming onto the pitch as a substitute.SunderlandOn 22 August 2013, Mavrias joined English Premier League side Sunderland on a four-year contract, for anundisclosed fee, rumoured to be £2-3 million. However, he was left out of the squad to play Southampton due to lack of match fitness.Mavrias made his debutfive days later, coming on as a second-half substitute in a 4–2 home success over Milton Keynes Dons, for the campaign's Football League Cup. He scored his firstgoal on 25 January of the following year, netting the winner against Kidderminster Harriers in the fourth round of the FA Cup.On 2 February 2015, it wasconfirmed Mavrias had joined his former club Panathinaikos on loan until the end of the 2014–15 season.Mavrias returned to Sunderland where he has beentraining and playing for the Black Cats Under-21s – and is understood to have impressed the club's coaching staff with his attitude and contribution. But Mavriashas not come close to being included in the first-team squad, however is not bitter over seeing his career stall on Wearside. “I took the decision to leavePanathinaikos and go to Sunderland, and I think anyone in my position would take this decision,” he told the Greek press. On 9 January 2016, almost two yearsafter his last match with the first team, Mavrias entered the game in second half as a substitute in a 3–1 away loss against Arsenal for FA Cup.FortunaDüsseldorfHe was loaned to Fortuna Düsseldorf on 27 January 2016.Mavrias - who has 18 months remaining on his Sunderland contract - now has a chance toplay regular first-team football after joining Düsseldorf until the end of the campaign, with a view to a permanent switch next summer. On 6 February 2016, hemade his debut with a club, in a 0–1 home loss against Heidenheim.Mavrias performance in Düsseldorf was satisfying, leading the club to set an offer for theGreek international winger. Unfortunately on 24 June 2016, Sunderland reject Fortuna Düsseldorf's lower bid than the £400,000 clause to convert the loan into apermanent switch.Karlsruher SCOn 6 September 2016, after three seasons spent playing for Sunderland, only 7 official caps overall collected as a Black Catsman, plus 2 experiences as a loanee (at Fortuna Düsseldorf and Panathinaikos), he joined 2. Bundesliga side Karlsruher SC for a three-years contract. On 10September 2016, he made his debut with the club in a 4–0 away loss against Union Berlin. Unfortunately, KSC harboured hopes of promotion back to the"}
+{"doc_id":"doc_78","qid":"","text":"Passage 1:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 2:We Dive at DawnWe Dive at Dawn is a 1943 war film directed by Anthony Asquith and starring John Mills and Eric Portman as Royal Navy submariners in the Second World War. It was written by Val Valentine and J. B. Williams with uncredited assistance from Frank Launder. It was produced by Edward Black. The film's sets were designed by Walter Murton.PlotIt is April, 1942. Lieutenant Freddie Taylor and some crew of the submarine Sea Tiger are given a week's leave after an unsuccessful patrol. Leading Seaman Hobson goes home to save his marriage, while a reluctant Torpedo Gunner's Mate Corrigan departs for his wedding in London. When the crew are recalled early Corrigan is relieved, though later regrets not completing his marriage. Sea Tiger has been assigned the top secret mission to sink Nazi Germany's new battleship, the Brandenburg, before she transits the Kiel Canal for sea trials in the Baltic Sea. Sea Tiger must put to sea immediately.Crossing the North Sea, the submarine picks up three shot-down Luftwaffe pilots from a rescue buoy, and prevents their radio alert to German forces. When the submarine enters a minefield, an airman panics and reveals the Brandenburg is further ahead than thought. The airman is attacked by a countryman and subsequently dies. Taylor decides on a desperate gamble to pursue the Brandenburg into the German-controlled Baltic Sea.When the Brandenburg is spotted, Sea Tiger fires all its torpedoes, but dives before assessing their impact due to German destroyers dropping depth charges. By expelling oil and other debris including the body of the German airman, Taylor deceives the Germans into believing that the submarine has sunk. Although successfully escaped, Sea Tiger no longer has enough oil to reach Britain. The Germans, convinced that the Sea Tiger has been sunk, have Lord Haw Haw broadcast to Britain announcing the destruction of the Sea Tiger.Taylor decides to have his crew abandon ship on the Danish island of Hågø (which is in fact the island of Bågø). Hobson, a former merchant seaman who speaks German and knows the port on the island, persuades Taylor to let him go ashore and search for oil. He succeeds, and Sea Tiger enters the harbour under cover of darkness, using Hobson's intelligence about the harbour depth. Aided by friendly Danish sailors, they refuel while Hobson and other crewmen hold off the German garrison. Although Pincher (the cook) is killed and Oxford and Lieutenant Johnson are wounded, they get back to the re-fuelled submarine and start to leave the port. While they leave though, the tanker they were able to refuel from is hit by German shells and catches fire. Taylor, not wanting to risk the Sea Tiger any longer, continues to leave the port and makes it out to the open sea.While returning to Britain, the crew are met by an escorting trawler and learn from them that they sank the Brandenburg. The Sea Tiger returns to base, flying the Jolly Roger for the first time.CastJohn Mills as Lieutenant Freddie Taylor, CaptainLouis Bradfield as Lieutenant Brace, First OfficerRonald Millar as Lieutenant Ronnie Johnson, Third OfficerJack Watling as Lieutenant Gordon, Navigating OfficerReginald Purdell as C/P.O. (Chief Petty Officer) \"Dicky\" Dabbs, CoxswainCaven Watson as C/P.O. Jock Duncan, Chief Engine Room ArtificerNiall MacGinnis as C/P.O. Mike Corrigan, Torpedo Gunner's MateEric Portman as L/S (Leading Seaman) James Hobson, on hydrophonesLeslie Weston as L/S Tug Wilson, Leading Torpedo OperatorNorman Williams as \"Canada\", Periscope OperatorLionel Grose as \"Spud\", Torpedo OperatorDavid Peel as \"Oxford\", HelmsmanPhilip Godfrey as \"Flunkey\", StewardRobb Wilton as \"Pincher\", CookJoan Hopkins as Ethel DabbsWalter Gotell as the ardent Nazi pilot, uncreditedJohn Slater as CharliePhilip Friend as Captain HumphriesProductionWe Dive at Dawn was filmed at Gaumont-British Studios in London, with the co-operation of the British Admiralty. John Mills prepared for his role as the captain of Sea Tiger by sailing in a submarine on a training mission down the Clyde. He recalled a crash dive: The ship then seemed to stand on her nose and I felt her speeding like an arrow towards the sea bed; charts and crockery went flying in all directions; I hung on to a rail near the periscope trying to look heroic and totally unconcerned; the only thing that concerned me was the fact that I was sure that my face had turned a pale shade of pea-green.Exterior shots of the submarines P614 and P615 were used for Sea Tiger (with the final number painted over to make \"P61\"). The vessels were a Turkish S-class submarine that had been part of a consignment ordered by the Turkish Navy from the British company Vickers in 1939. But with the outbreak of World War II, the four boats were requisitioned by the Royal Navy and designated the P611 class in the British Fleet. They were similar in design but slightly smaller than the British S class, although with a higher conning tower. The S-class boat HMS Safari also appears in the film.Home mediaThe film has been issued on VHS by Madacy Records and Timeless Multimedia among others, and on DVD by ITV DVD and Carlton.Passage 3:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 4:Murder at DawnMurder at Dawn is a 1932 American Pre-Code film directed by Richard Thorpe. The film is also known as The Death Ray in the United Kingdom.CastJack Mulhall as DannyJosephine Dunn as Doris FarringtonEddie Boland as FreddieMarjorie Beebe as GertrudeMartha Mattox as The HousekeeperMischa Auer as HenryPhillips Smalley as Judge FolgerCrauford Kent as ArnsteinFrank Ball as Dr. FarringtonAlfred Cross as GoddardExternal linksMurder at Dawn at IMDbMurder at Dawn at the TCM Movie DatabaseMurder at Dawn is available for free viewing and download at the Internet ArchivePassage 5:HMS Al Rawdah (1911)HMS Al Rawdah was a ship of the Royal Navy. She was built in 1911 and originally christened Chenab for the Nourse Line of London.In 1930 the ship was sold to Khedivial Mail Steamship & Graving Dock and renamed Ville De Beyrouth. In 1939 the ship was sold again and renamed Al Rawdah.In 1940 the British Ministry of Shipping requisitioned the vessel and she was managed by the British-India Steam Navigation Company Ltd. In 1946 Al Rawdah was returned to her owners, and scrapped in 1953.InternmentBetween 1940 and 1946 the vessel (described as a \"hulk\") was used as a military base and prison ship for Irish Republican internees and prisoners. Internment on the Al Rawdah began in 1939 as it was moored just off Killyleagh in Strangford Lough. Conditions on board the ageing ship were not good - food was described as \"abominable\" by survivors. Internees were packed in \"bronchitic squalor\" for months or years. On 18 November 1940 Irish Republican internee Jack Gaffney from Belfast died onboard the Al Rawdah. Some of the Irish detainees placed in the hold of Al Rawdah had also been interned on the British prison ship HMS Argenta.See alsoHMS ArgentaHMS MaidstonePassage 6:Tomorrow at DawnTomorrow at Dawn (French: Demain dès l'aube) is a 2009 French drama film directed by Denis Dercourt. It competed in the Un Certain Regard section at the 2009 Cannes Film Festival.CastVincent Perez as MathieuJérémie Renier as PaulAurélien Recoing as Capitaine DépréesAnne Marivin as JeanneFrançoise Lebrun as Claire GuibertGérald Laroche as Major RogartBarbara Probst as ChristelleBéatrice Agenin as The DuchessPassage 7:Invasion of the Neptune MenInvasion of the Neptune Men (\u0000\u0000\u0000\u0000\u0000, Uchū Kaisokusen) is a 1961 superhero film produced by Toei Company Ltd. The film stars Sonny Chiba as Iron Sharp (called Space Chief in the U.S. version).The film was released in 1961 in Japan and was later released in 1964 direct to television in the United States. In 1998, the film was featured on an episode of Mystery Science Theater 3000.PlotAstronomer Shinichi Tachibana has a secret identity as superhero \"Iron Sharp\" and has many children as friends. When they are attacked by a group of metallic aliens (\"Neptune Men\" in English), Iron Sharp drives the aliens away. The resourceful Tachibana helps develop an electric barrier to block the aliens from coming to the Earth.  After several losses by the aliens, they announce that they will invade the Earth, throwing the world into a state of panic. The aliens destroy entire cities with their mothership and smaller fighters. After Iron Sharp destroys multiple enemy ships, Japan fires nuclear missiles at the mothership, destroying it.CastSonny Chiba as scientist Shinichi Tachibana / Iron SharpKappei Matsumoto as Dr. TanigawaRyuko Minakami as Yōko (Tanigawa's daughter)Shinjirō Ehara as scientist YanagidaMitsue Komiya as scientist SaitōStyleInvasion of the Neptune Men is part of Japan's tokusatsu genre, which involves science fiction and/or superhero films that feature heavy use of special effects.ProductionInvasion of the Neptune Men was an early film for Sonny Chiba. Chiba started working in Japanese television where he starred in superhero television series in 1960. Chiba continued working back and forth between television and film until the late 1960s when he became a more popular star.ReleaseUchū Kaisokusen was released in Japan on 19 July 1961. The film was not released theatrically in the United States, but it was released "}
+{"doc_id":"doc_79","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000nib\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.Hewas one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by BonScott.External linksBernie Bonvoisin at IMDbPassage 2:Margery CuylerMargery Cuyler is an American children's book author. She has written many picture books,including That's Good! That's Bad! and the rest of its series.Cuyler grew up in Princeton, NJ. She graduated from Sarah Lawrence College in 1970. Besides writingher own books, she has worked as a children's book editor and in executive positions at Amazon.com, Marshall Cavendish, Golden Books Family Entertainment,Henry Holt and Company, and Holiday House. In 2011, she appeared on The Celebrity Apprentice television show, judging the contestants on their work creatinga children's book.Cuyler lives in Lawrenceville, New Jersey.BibliographyPicture booksSir William and the Pumpkin Monster, Henry Holt, 1984Freckles and Willie: AValentine's Day Story, Henry Holt, 1986Fat Santa, Henry Holt, 1987Freckles and Jane, Henry Holt, 1989Shadow's Baby, Clarion Books, 1989Daisy's CrazyThanksgiving, Henry Holt, 1990Baby Dot: A Dinosaur Story, Clarion Books, 1990Buddy Bear and the Bad Guys, Clarion Books, 1990That's Good! That's Bad!,Henry Holt, 1991The Christmas Snowman, Arcade Books, 1992The Biggest, Best Snowman, Scholastic, 1998From Here to There, Henry Holt, 1999100th DayWorries, Simon & Schuster, 2000Road Signs, Winslow Press, 2000Stop, Drop and Roll, Simon & Schuster, 2001Ah-choo!, Scholastic, 2002That's Good! That'sBad! In the Grand Canyon, Henry Holt, 2002Skeleton Hiccups, Margaret K. McElderry, 2002Big Friends, Walker and Company, 2004Please Say Please! Penguin'sGuide to Manners, Scholastic, 2004Groundhog Stays Up Late, Walker/Bloomsbury, 2005The Bumpy Little Pumpkin, Scholastic, 2005Please Play Safe! Penguin'sGuide to Playground Safety, Scholastic, 2006Kindness Is Cooler, Mrs. Ruler, Simon & Schuster, 2007That's Good! That's Bad! In Washington, D.C., Henry Holt,2007Hooray for Reading Day!, Simon & Schuster, 2008Monster Mess, Margaret McElderry Books/Simon & Schuster, 2008We’re Going on a Lion Hunt, MarshallCavendish, 2008The Little Dump Truck, Henry Holt, 2009That's Good! That's Bad! On Santa's Journey, Henry Holt, 2009Bullies Never Win, Simon & Schuster,2009Princess Bess Gets Dressed, Simon & Schuster, 2009I Repeat, Don't Cheat!, Simon & Schuster, 2010Guinea Pigs Add Up, Walker and Company, 2010TickTock Clock, HarperCollins, 2012Skeleton for Dinner, Albert Whiteman, 2013The Little School Bus, Henry Holt, 2014The Little Dump Truck, Henry Holt,2014NovelsThe Trouble with Soap, E.P. Dutton, 1982Weird Wolf, Henry Holt, 1989Invisible in the Third Grade, Henry Holt, 1995The Battlefield Ghost, Scholastic,1999NonfictionJewish Holidays, Henry Holt, 1978The All-Around Pumpkin Book, Henry Holt, 1980The All-Around Christmas Book, Henry Holt, 1982Passage3:That's Good, That's Bad (Frankie Laine song)\"That's Good, That's Bad\" is a 1951 hit song sung by Jo Stafford and Frankie Laine. It was written by Ervin Drakeand Jimmy Shirl.Passage 4:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a solo artist, he is the lead singer of indie rockband One eskimO.Early lifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went to Hatch End High School in Harrow andworked several jobs in and around London whilst concentrating on music when he had any free time.  In 2003 he signed a major record deal with Polydor. At thetime, Leontiou was dubbed \"the new Dido\" by some media outlets. His debut single \"Story of My Life\" was released in June 2004 and reached #9 in the UKSingles Chart. His second single \"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of 150,000 copies.Leontiou touredthe album in November 2004 taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappy with the direction his career wasgoing, on a flight back from the US in 2004 he decided to take his music in a new direction.  Splitting from his label in late 2005, he went on to collaborate withFaithless on the song \"Hope & Glory\" for their album ‘'To All New Arrivals'’.  It was this release that saw him unleash the One eskimO moniker.  It was throughworking with Rollo Armstrong on the Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimO project. Being more thanimpressed by what he heard, Rollo opened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’' album.It was at this timethat he paired up with good friend Adam Falkner, a drummer/musician, to introduce a live acoustic sound to the album. They recorded the album with engineerPhill Brown (engineer for Bob Marley and Robert Plant) at Ark studios in St John's Wood where they recorded live then headed back to Rollo's studio to add thecinematic electro touches that are prominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a Toyota Prius advert in the USA.The funds from the advert were then used to develop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (Gravy Media Productions)along with animation team Smuggling Peanuts (Matt Latchford and Lucy Sullivan) who together began to develop the One eskimO world, the first animationproduced was for the track ‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started a new management venture with ATCMusic. By mid-2008 Time Warner came on board to develop all 10 One eskimO animations which were produced the highly regarded Passion Pictures inLondon.  Now with all animation complete and a debut album, One eskimO prepare to unveil themselves fully to the world in summer 2009.Leontiou released acover version of Tracy Chapman's \"Fast Car\", which was originally released as a single in 2005. Leontiou's version was unable to chart, however, due to therebeing no simultaneous physical release alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, the song entered thesingles chart at number 88 due to Britain's Got Talent contestant Michael Collings covering the track on the show on 16 April2011.DiscographyAlbumsSinglesNotesA  - Originally released as a single in April 2005, Leontiou's version of \"Fast Car\" did not chart until 2011 in the UK.Alsofeatured onNow That's What I Call Music! 58 (Story of My Life)Win a Date with Tad Hamilton! OST, Love Love Songs - The Ultimate Love Collection(Shining)Summerland OST (The Crying)Passage 5:Frankie LaineFrankie Laine (born Francesco Paolo LoVecchio; March 30, 1913 – February 6, 2007) was anAmerican singer and songwriter whose career spanned nearly 75 years, from his first concerts in 1930 with a marathon dance company to his final performanceof \"That's My Desire\" in 2005. Often billed as \"America's Number One Song Stylist\", his other nicknames include \"Mr. Rhythm\", \"Old Leather Lungs\", and \"Mr.Steel Tonsils\". His hits included \"That's My Desire\", \"That Lucky Old Sun\", \"Mule Train\", \"Jezebel\", \"High Noon\", \"I Believe\", \"Hey Joe!\", \"The Kid's Last Fight\",\"Cool Water\", \"Rawhide\", and \"You Gave Me a Mountain\".He sang well-known theme songs for many Western film soundtracks, including 3:10 To Yuma, Gunfightat the O.K. Corral, and Blazing Saddles, although his recordings were not charted as a country & western. Laine sang an eclectic variety of song styles andgenres, stretching from big band crooning to pop, western-themed songs, gospel, rock, folk, jazz, and blues. He did not sing the soundtrack song for High Noon,which was sung by Tex Ritter, but his own version (with somewhat altered lyrics, omitting the name of the antagonist, Frank Miller) was the one that became abigger hit. He also did not sing the theme to another show he is commonly associated with—Champion the Wonder Horse (sung by Mike Stewart)—but releasedhis own, subsequently more popular, version.Laine's enduring popularity was illustrated in June 2011 when a TV-advertised compilation called Hits reached No.16 on the UK Albums Chart. The accomplishment was achieved nearly 60 years after his debut on the UK chart, 64 years after his first major U.S. hit and fouryears after his death.Early lifeFrankie Laine was born Francesco Paolo LoVecchio on March 30, 1913, to Giovanni and Cresenzia LoVecchio (née Salerno). His CookCounty, Illinois, birth Certificate, No. 14436, was already Americanized at the time of his birth, with his name written as \"Frank Lovecchio,\" his mother as \"AnnaSalerno,\" and his father as \"John Lovecchio,\" with the \"V\" lower case in each instance, except in the \"Reported by\" section with \"John Lo Vecchio (father)\" writtenin. His parents had emigrated from Monreale, Sicily, to Chicago's Near West Side, in \"Little Italy,\" where his father worked at one time as the personal barber forgangster Al Capone. Laine's family appears to have had several organized crime connections, and young Francesco was living with his grandfather when the latterwas killed by rival gangsters.The eldest of eight children, Laine grew up in the Old Town neighborhood (first at 1446 N. North Park Avenue and later at 331 W.Schiller Street) and got his first taste of singing as a member of the choir in the Church of the Immaculate Conception's elementary school across the street fromthe North Park Avenue home. He later attended Lane Technical High School, where he helped to develop his lung power and breath control by joining the trackand field and basketball teams. He realized he wanted to be a singer when he missed time in school to see Al Jolson's current talking picture, The Singing Fool.Jolson would later visit Laine when both were filming pictures in 1949, and at about this time, Jolson remarked that Laine was going to put all the other singersout of business.Early career and stylistic influencesEven in the 1920s, his vocal abilities were enough to get him noticed by a slightly older \"in crowd\" at hisschool, who began inviting him to parties and to local dance clubs, including Chicago's Merry Garden Ballroom. At 17, he sang before a crowd of 5,000 at TheMerry Garden Ballroom to such applause that he ended up performing five encores on his first night. Laine was giving dance lessons for a charity ball at the MerryGarden when he was called to the bandstand to sing:Soon I found myself on the main bandstand before this enormous crowd, Laine recalled. I was reallynervous, but I started singing 'Beside an Open Fireplace,' a popular song of the day. It was a sentimental tune and the lyrics choked me up. When I got done, thetears were streaming down my cheeks and the ballroom became quiet. I was very nearsighted and couldn't see the audience. I thought that the people didn't likeme.Some of his other early influences during this period included Enrico Caruso, Carlo Buti, and especially Bessie Smith—a record of whose somehow wound up in"}
+{"doc_id":"doc_80","qid":"","text":"Passage 1:Pete TownshendPeter Dennis Blandford Townshend (; born 19 May 1945) is an English musician. He is the co-founder, leader, guitarist, second leadvocalist and principal songwriter of the Who, one of the most influential rock bands of the 1960s and 1970s. Due to his aggressive playing style and innovativesongwriting techniques, Townshend's works with the Who and in other projects have earned him critical acclaim.Townshend has written more than 100 songs for12 of the Who's studio albums. These include concept albums, the rock operas Tommy (1969) and Quadrophenia (1973), plus popular rock radio staples such asWho's Next (1971); as well as dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilation albums such asOdds & Sods (1974). He has also written more than 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs.Whileknown primarily as a guitarist, Townshend also plays keyboards, banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bass guitar, and drums; heis self-taught on all of these instruments and plays on his own solo albums, several Who albums, and as a guest contributor to an array of other artists'recordings. Townshend has also contributed to and authored many newspaper and magazine articles, book reviews, essays, books, and scripts, and he hascollaborated as a lyricist and composer for many other musical acts. In 1983, Townshend received the Brit Award for Lifetime Achievement and in 1990 he wasinducted into the Rock and Roll Hall of Fame as a member of the Who. Townshend was ranked No. 3 in Dave Marsh's 1994 list of Best Guitarists in The New Bookof Rock Lists. In 2001, he received a Grammy Lifetime Achievement Award as a member of the Who; and in 2008 he received Kennedy Center Honors. He wasranked No. 10 in Gibson.com's 2011 list of the top 50 guitarists, and No. 10 in Rolling Stone's updated 2011 list of the 100 greatest guitarists of all time. He andRoger Daltrey received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016.Early life and educationTownshend wasborn in Chiswick, West London, at the Chiswick Hospital, Netheravon Road, in the UK. He came from a musical family: his father, Cliff Townshend, was aprofessional alto saxophonist in the Royal Air Force's dance band the Squadronaires and his mother, Betty (née Dennis), was a singer with the Sydney Torch andLes Douglass Orchestras. The Townshends had a volatile marriage, as both drank heavily and possessed fiery tempers. Cliff Townshend was often away from hisfamily touring with his band while Betty carried on affairs with other men. The two split when Townshend was a toddler and he was sent to live with his maternalgrandmother Emma Dennis, whom Pete later described as \"clinically insane\". The two-year separation ended when Cliff and Betty purchased a house together onWoodgrange Avenue in middle-class Acton, and the young Pete was happily reunited with his parents. His neighbourhood was one-third Polish, and a devoutJewish family upstairs shared their housing with them and cooking with them—many of his father's closest friends were Jewish.Townshend says he did not havemany friends growing up, so he spent much of his boyhood reading adventure novels like Gulliver's Travels and Treasure Island. He enjoyed his family's frequentexcursions to the seaside and the Isle of Man. It was on one of these trips in the summer of 1956 that he repeatedly watched the 1956 film Rock Around theClock, sparking his fascination with American rock and roll. Not long thereafter, he went to see Bill Haley perform in London, Townshend's first concert. At thetime, he did not see himself pursuing a career as a professional musician; instead, he wanted to become a journalist.Upon passing the eleven-plus exam,Townshend was enrolled at Acton County Grammar School. At Acton County, he was frequently bullied because he had a large nose, an experience thatprofoundly affected him. His grandmother Emma purchased his first guitar for Christmas in 1956, an inexpensive Spanish model. Though his father taught him acouple of chords, Townshend was largely self-taught on the instrument and never learned to read music. Townshend and school friend John Entwistle formed ashort-lived trad jazz group, the Confederates, featuring Townshend on banjo and Entwistle on horns. The Confederates played gigs at the Congo Club, a youthclub run by the Acton Congregational Church, and covered Acker Bilk, Kenny Ball, and Lonnie Donegan. However, both became influenced by the increasingpopularity of rock 'n' roll, with Townshend particularly admiring Cliff Richard's debut single, \"Move It\". Townshend left the Confederates after getting into a fightwith the group's drummer, Chris Sherwin, and purchased a \"reasonably good Czechoslovakian guitar\" at his mother's antique shop.Townshend's brothers Pauland Simon were born in 1957 and 1960, respectively. Lacking the requisite grades to attend university, Pete was faced with the decision of art school, musicschool, or getting a job. He ultimately chose to study graphic design at Ealing Art College, enrolling in 1961. At Ealing, Townshend studied alongside future RollingStones guitarist Ronnie Wood. Notable artists and designers gave lectures at the college such as auto-destructive art pioneer Gustav Metzger. Townshenddropped out in 1964 to focus on music full-time.Musical career1961–1964: the DetoursIn late 1961, Entwistle joined the Detours, a skiffle/rock and roll band, ledby Roger Daltrey. The new bass player then suggested Townshend join as an additional guitarist. In the early days of the Detours, the band's repertoire consistedof instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers. Their lineup coalesced around Roger Daltrey on lead guitar, Townshendon rhythm guitar, Entwistle on bass, Doug Sandom on drums, and Colin Dawson as vocalist. Daltrey was considered the leader of the group and, according toTownshend, \"ran things the way he wanted them.\" Dawson quit in 1962 after arguing too much with Daltrey, who subsequently moved to lead vocalist. As aresult, Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract withlocal promoter Robert Druce, who started booking the band as a support act for bands including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers,Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. In 1963, Townshend's father arranged an amateur recording of \"It Was You\", the first song hisson ever wrote. The Detours became aware of a group of the same name in February 1964, forcing them to change their name. Townshend's roommate RichardBarnes came up with \"The Who\", and Daltrey decided it was the best choice.1964–1982: The WhoNot long after the name change, drummer Doug Sandom wasreplaced by Keith Moon, who had been drumming semi-professionally with the Beachcombers for several years. The band was soon taken on by a mod publicistnamed Peter Meaden who convinced them to change their name to the High Numbers to give the band more of a mod feel. After bringing out one failed single(\"I'm the Face/Zoot Suit\"), they dropped Meaden and were signed on by two new managers, Chris Stamp and Kit Lambert, who had paired up with the intentionof finding new talent and creating a documentary about them. The band anguished over a name that all felt represented the band best, and dropped the HighNumbers name, reverting to the Who. In June 1964, during a performance at the Railway Tavern, Townshend accidentally broke the top of his guitar on the lowceiling and proceeded to destroy the entire instrument. The on-stage destruction of instruments soon became a regular part of the Who's live shows.With theassistance of Lambert, the Who caught the ear of American record producer Shel Talmy, who had the band signed to a record contract. Townshend wrote a song,\"I Can't Explain\", as a deliberate sound-alike of the Kinks, another group Talmy produced. Released as a single in January 1965, \"I Can't Explain\" was the Who'sfirst hit, reaching number eight on the British charts. A follow-up single (\"Anyway, Anyhow, Anywhere\"), credited to both Townshend and Daltrey, also reachedthe top 10 in the UK. However, it was the release of the Who's third single, \"My Generation\", in November that, according to Who biographer Mark Wilkerson,\"cemented their reputation as a hard-nosed band who reflected the feelings of thousands of pissed-off adolescents at the time.\" The Townshend-penned singlereached number two on the UK charts, becoming the Who's biggest hit. The song and its famous line \"I hope I die before I get old\" was \"very much about tryingto find a place in society\", Townshend stated in an interview with David Fricke.To capitalise on their recent single success, the Who's debut album My Generation(The Who Sings My Generation in the US) was released in late 1965, containing original material written by Townshend and several James Brown covers thatDaltrey favoured. Townshend continued to write several successful singles for the band, including \"Pictures of Lily\", \"Substitute\", \"I'm a Boy\", and \"Happy Jack\".Lambert encouraged Townshend to write longer pieces of music for the next album, which became \"A Quick One, While He's Away\". The album was subsequentlytitled A Quick One and reached No. 4 in the charts upon its release in December 1966. In their stage shows, Townshend developed a guitar stunt in which hewould swing his right arm against the guitar strings in a style reminiscent of the vanes of a windmill. He developed this style after watching Rolling Stonesguitarist Keith Richards warm up before a show.The Who commenced their first US tour on 22 March 1967. Townshend took to trashing his hotel suites, thoughnot to the extent of his bandmate Moon. He also began experimenting with LSD, though stopped taking the drug after receiving a potent hit after the MontereyPop Festival on 18 June. Released in December, their next album was The Who Sell Out—a concept album based on pirate radio, which had been instrumental inraising the Who's popularity. It included several humorous jingles and mock commercials between songs, and the Who's biggest US single, \"I Can See for Miles\".Despite the success of \"I Can See for Miles\", which reached No. 9 on the American charts, Townshend was surprised it was not an even bigger hit, as heconsidered it the best song he had written up to that point.By 1968, Townshend became interested in the teachings of Meher Baba. He began to develop amusical piece about a deaf, dumb, and blind boy who would experience sensations musically. The piece would explore the tenets of Baba's philosophy. The resultwas the rock opera Tommy, released on 23 May 1969 to critical and commercial success. In support of Tommy, the Who launched a tour that included amemorable appearance at the Woodstock Festival on 17 August. While the Who were playing, Yippie leader Abbie Hoffman jumped the stage to complain aboutthe arrest of John Sinclair. Townshend promptly knocked him offstage with his guitar, shouting, \"Fuck off my fucking stage!\"In 1970, the Who released Live at"}
+{"doc_id":"doc_81","qid":"","text":"Passage 1:The Man with the Glass EyeThe Man with the Glass Eye (German: Der Mann mit dem Glasauge) is a 1969 West German crime film directed by AlfredVohrer and starring Horst Tappert, Karin Hübner and Hubert von Meyerinck. It is part of Rialto Film's long-running series of Edgar Wallace adaptations.The film'ssets were designed by the art directors Walter Kutz and Wilhelm Vorwerg. It was shot at the Spandau Studios and on location in West Berlin, Hamburg andLondon.CastPassage 2:The Return of Pom PomThe Return of Pom Pom (Chinese: \u0000\u0000\u0000\u0000) is a 1984 Hong Kong comedy film directed by Philip Chan and starringRichard Ng and John Shum. It is the second film in the Pom Pom film series which is a spin-off the Lucky Stars series.PlotHaving been together for years, policeofficer Beethoven (John Shum) must find a new place to live as his friend and fellow officer Ng Ah Chow (Richard Ng) is marrying his fiancée Anna (Deanie Yip).Furthermore, the two officers are transferred to a new department run by fearsome Inspector Tien (James Tin Chuen). While here their former boss inspectorChan (Philip Chan) is set up after evidence is stolen by \"The Flying Spider\" (Lam Ching-ying), the two officers must track down the thief to prove Chan'sinnocence.CastRichard Ng as officer Ng Ah ChiuJohn Shum as officer BeethovenDeannie Yip as Anna, Ng's love interestLam Ching-Ying as The Flying SpiderPhilipChan as Inspector ChanJames Tin Chuen as Inspector TienPassage 3:Mr. Boo Meets Pom PomMr. Boo Meets Pom Pom (Chinese: \u0000\u0000\u0000\u0000) is a 1985 Hong Kongcomedy film directed by Wu Ma and starring Richard Ng and John Shum. It is the third film in the Pom Pom film series which is a spin-off the Lucky Starsseries.PlotWorking at the police forensic department Mr Boo (Michael Hui) although absent-minded and scruffy is successful at his job. His beautiful wife (TerryHu) begin to be courted by handsome billionaire Yang (Stuart Ong) and now Mr Boo must try to win back her love. While on a job involving a bank robbery hebefriend detectives Chow (Richard Ng) and Beethoven (John Shum) who promise to help him with his love life.CastMichael Hui as Mr. BooTerry Hu as Mr. Boo'swifeRichard Ng Yiu-Hon as officer Ng Ah ChiuJohn Shum Kin-Fun as officer BeethovenDeannie Yip Tak-Han as Anna, Ng's loverStuart Ong as YangPassage 4:TheMan with the Fake BanknoteThe Man with the Fake Banknote or The Man with the Counterfeit Money (German: Der Mann mit der falschen Banknote) is a 1927German silent crime film directed by Romano Mengon and starring Nils Asther, Vivian Gibson and Margarete Lanner.The film's art direction was by Robert A.Dietrich.CastNils AstherVivian GibsonMargarete LannerSig ArnoPhilipp ManningKarl PlatenPassage 5:Pom Pom Strikes BackPom Pom Strikes Back is a 1986 HongKong comedy film directed by Wu Ma and starring Richard Ng and John Shum. It is the fourth and final film in the Pom Pom film series which is a spin-off theLucky Stars series.PlotPolice officers Chow (Richard Ng) and Beethoven (John Shum) are close friend who must protect a witness May (May Lo Mei Mei) after shewitnesses a gangland murder. Meanwhile Beethoven mistakenly discovers that Chow is dying of cancer and sets out to make his last few monthsmemorable.CastRichard Ng as officer Ng Ah ChiuJohn Shum as officer BeethovenDeannie Yip as Mrs Anna Ng, Ng's wifeMay Lo Mei-Mei as MayPassage 6:TheMan with Two Faces (1975 film)The Man with Two Faces (Korean: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000; RR: Gongpoui ijongingan) is a 1975 South Korean horror film.CastLeeYe-chunKim Ok-jinJin Bong-jinPassage 7:The Pom Pom GirlsThe Pom Pom Girls (also known as Palisades High) is a 1976 American film directed by JosephRuben. The screenplay was written by Ruben and based on a story by him and Robert J. Rosenthal. The movie was shot on location at Chaminade High School inLos Angeles. The Pom Pom Girls is a teensploitation film, female relationships and cheerleaders in locations that are \"any town\" American, and includesdisobedient teens in a date movie with romance and sex, plenty of outdoor activities, stunts that are coordinated for actors and actresses, and indoor activitiesfor a new audience.PlotA football player falls for a girl who is dating another guy, while another cannot figure out which girl he likes.The big game against rivalHardin High School is looming while a full scale prank war is underway.ProductionThe modest profits of the prior exploitation/teensploitation film TheCheerleaders (1975) inspired The Pom Pom Girls writers with cheerleader themes and scenes. Easy Rider had an influence on the film, the huge success of thatfilm had film makers like the scriptwriters Robert Rosenthal and Joseph Ruben, who is the director, include the theme of the value of freedom. Many shots andautomobiles were included, drive-in restaurant, \"suicide chicken\" race, many scenes of nostalgia that was incorporated from the present day. Even a tagline wasborrowed from a \"50s picture\", the exploitation film Rebel Without a Cause (1955). The tagline \"How can anyone ever forget the girls who really turned us on?\",is a promotional line and used in the film's cover art, and is to express nostalgia.CastRobert Carradine as JohnnieJennifer Ashley as LaurieMichael Mullins asJesseLisa Reeves as SallyBill Adler as DuaneJames Gammon as CoachSusan Player as Su AnnCheryl Smith (Credited as Rainbeaux Smith) as RoxanneDiane LeeHart as JudySondra Lowell as Miss PritchettReceptionThe film earned $4.3 million in rentals during its initial release.DVDThis film has been issued on Too CoolFor School: 12 Movie Collection from Mill Creek Entertainment September 29, 2009 and on The Starlite Drive-In Theater: (The Pom Pom Girls / The Van ) fromBCI / Eclipse September 26, 2006Passage 8:Alfred VohrerAlfred Vohrer (29 December 1914 – 3 February 1986) was a German film director and actor. Hedirected 48 films between 1958 and 1984. His 1969 film Seven Days Grace was entered into the 6th Moscow International Film Festival. His 1972 film Tears ofBlood was entered into the 8th Moscow International Film Festival. His 1974 film Only the Wind Knows the Answer was entered into the 9th MoscowInternational Film Festival.Selected filmographyPassage 9:Joseph RubenJoseph Porter Ruben (born May 10, 1950) is an American retired filmmaker.MoviecareerHis earlier films, such as The Stepfather, have become cult classics. In the 1990s, he went to direct high-grossing mainstream films such as Sleeping withthe Enemy starring Julia Roberts (which grossed over $150,000,000 at the box office), the controversial thriller The Good Son starring Macaulay Culkin andElijah Wood, Money Train starring Woody Harrelson and Wesley Snipes, and Return to Paradise starring Vince Vaughn and Joaquin Phoenix. He frequentlycollaborates with film editor George Bowers.He has won awards at various film festivals for his films The Stepfather, True Believer, starring Robert Downey Jr.and James Woods, and Dreamscape, starring Dennis Quaid. His 2013 feature, Penthouse North, stars Michael Keaton and Michelle Monaghan. He will return todirect the serial killer thriller Jack after not working for six years. Ruben is also attached to direct the film The Politician's Wife written by Nicholas Meyer.TheOttoman Lieutenant was released around the period of the film The Promise, a film depicting the Armenian genocide. The perceived similarities between thefilms resulted in accusations that The Ottoman Lieutenant existed to deny the Armenian genocide.FilmographyPassage 10:The Man with the GunThe Man withthe Gun (Russian: Человек с ружьём, romanized: Chelovek s ruzhyom, lit. 'Person with a rifle') is a 1938 Soviet history drama film directed by SergeiYutkevich.PlotThe film takes place during the October Revolution, when the army is approaching the army of General Krasnov. Ivan Shadrin, a peasant whobecame a soldier, goes to Petrograd in order to convey a letter to Vladimir Lenin with questions that concern his comrades.CastMaksim Shtraukh as VladimirLeninMikheil Gelovani as Joseph Stalin (removed from cut version)Boris Tenin as Ivan ShadrinVladimir Lukin as Nikolai ChibisovZoya Fyodorova as KatyaFainaRanevskaya as mansion owner, séance psychic (uncredited)Boris Chirkov as YevtushenkoNikolay Cherkasov as generalNikolai Sosnin as Zakhar ZakharovichSibirtsev, millionaireSerafima Birman as Varvara Ivanovna, his wifeMark Bernes as Kostya ZhigilyovStepan Kayukov as Andrei Dymov, sailorPavel Sukhanov asMatushkin, captiveKonstantin Sorokin as honor guardNikolai Kryuchkov as SidorovPavel Kadochnikov as soldier with seedsMikhail Yanshin as officer, séanceguestYuri Tolubeyev as revolutionary sailorPyotr Aleynikov as soldierVladimir Volchik as soldierYelizaveta Uvarova as freeloaderVasili Vanin as general's batman"}
+{"doc_id":"doc_82","qid":"","text":"Passage 1:The Bloom of YesterdayThe Bloom of Yesterday (German: Die Blumen von gestern) is a 2016 German-Austrian comedy film directed by ChrisKraus.CastReceptionThe film won the Grand Prize and the Audience Award at the 2016 Tokyo International Film Festival and subsequently won several awardsand nominations.  Martin Schwickert, of Zeit Online, said the dialogue had \"almost Woody Allen's brilliance and speed.\"Passage 2:Shima (film)Shima is a 2007film from Uzbekistan.PlotAt the end of the Second World War, imperial Japanese fanaticism seals the fate of an island's inhabitants and its garrison, through amassacre, interrupting the love between a soldier and a fisherman's daughter. The daughter survives, but the other survivor Taro- a soldier cut off from allcommunication- continues to serve the emperor for another thirty years. Tormented in his dreams by memories and his secret aspiration for eternal peace.Taro isregularly 'inspected' by his former military inspector Yamada, who exploits the situation to entertain former Japanese officers, nostalgic of Imperial Japan, byluring visitors to the island through his War Veterans Association. The visitors are held captive and enrolled by Taro to serve in the army of the Great Emperor.For the sadistic pleasure of the former Japanese officers, Yamada organises \"inspections\" during which the new recruits must prove their devotion to the emperorby sacrificing their lives.Many years later Shintaro, the son of the fisherman's daughter, finds himself on the island after searching for his father. He learns hisfather disappeared on the island just before the massacre. He contacts Yamada through the War Veterans Association, who agrees to take him and others to theisland. But once they arrive he abandons them and puts Taro in charge. For Shintaro and his comrades this means forced enrolment, military drills and suffering.After months of torture Shintaro and the other captives start to accept Taro's twisted sense of reality. The training intensifies as Taro prepares the recruits to fighta mysterious enemy.CastSeidula Moldakhanov as TaroMikhail Vodzumi as ShintaroAnvar Kenjaev as YamadaInfluencesBased on the true story of Lieutenant HirooOnoda, a Japanese holdout who did not surrender until 1974. During his service, it has been estimated that he killed about thirty people, including Americansoldiers and local police militia.Passage 3:Circus of LoveCircus of Love (German: Rummelplatz der Liebe) is a 1954 drama film directed by Kurt Neumann andstarring Eva Bartok, Curd Jürgens and Bernhard Wicki. It was made as a co-production between West Germany and the United States. It premiered at the BerlinInternational Film Festival.The film was shot at the Bavaria Studios in Munich and on location in the city. The film's sets were designed by the art directors HansKuhnert and Theo Zwierski. It was produced by King Brothers and released in West Germany by RKO Pictures. A separate English-language version Carnival Storywas shot simultaneously.CastEva Bartok as LilliCurd Jürgens as ToniBernhard Wicki as FranzRobert Freitag as RichardWilli Rose as KarlAdy Berber as Groppo theWildmanHelene Stanley as LoreJacob Möslacher as The DwarfJosef Schneider as The Sword-swallowerAmalie Lindinger as The Fat LadyLy Maria as The SnakeLadyAnni Trautner as The Bearded LadyJadin Wong as The Chinese DancerPassage 4:Dragon's GoldDragon's Gold is a 1954 American crime film directed byAubrey Wisberg and Jack Pollexfen and starring John Archer, Hillary Brooke and Philip Van Zandt.PlotCastJohn Archer as Mack RossiterHillary Brooke as VivianCrosbyNoel Cravat as General Wong Kai HaiPhilip Van Zandt as SenMarvin Press as ChengDayton Lumis as Donald McCutcheonWilliam Kerwin as GenePassage5:Kal: Yesterday and TomorrowKal: Yesterday and Tomorrow is a 2005 Indian Hindi-language thriller drama film written and directed by Ruchi Narain. Producedby Sudhir Mishra under Sudhir Mishra Productions, the film features an ensemble cast of Chitrangda Singh, Shiney Ahuja, Smriti Mishra, Ram Kapoor, MalaikaShenoy, Sarika and Boman Irani. Shantanu Moitra composed the soundtrack and Sneha Khanwalkar composed the title track and the background score. WhilePrakash Kutty and Ranjeet Bahadur handled cinematography and editing respectively. The film was premiered at 7th Osian's Cinefan Festival of Asian and ArabCinema in July 2005 won Indian Critics’ Award and released on 16 September 2005.PlotBhavna Dayal and Maya Jalan had been fellow collegians and closefriends, both come from very wealthy families. Bhavna is in love with another ex-fellow collegian, Tarun Haksar, who also comes from a wealthy family, and isalso in love with Bhavna. Their respective families' expect both to marry each other. However, Tarun and Maya suddenly announce their engagement, and getmarried, leaving a shocked and heart-broken Bhavna to deal with this situation on her own. She eventually breaks off all contact with her former lover and friendrespectively. One night, several months later, a disturbed Tarun returns to her life and apartment, and stays there overnight. The next day she is shocked to findout that Maya has been shot dead, and the police suspect Tarun of killing her. The question remains if Tarun had spent the entire night with Bhavna, then whokilled Maya, and further why did Tarun decide to return to Bhavna's life all of a sudden?CastReceptionTaran Adarsh writing for Bollywood Hungama gave 1 out of5 stars stating, \"Ruchi has a different style of narrating a story, but cinema such as KAL - YESTERDAY & TOMORROW is not everybody's cup of tea. It gets toocomplicated as it unfolds!\".Passage 6:Cry VengeanceCry Vengeance is a 1954 American film noir crime film directed by and starring Mark Stevens. The cast alsoincludes Joan Vohs and Martha Hyer. It was produced by Lindsley Parsons and distributed by Allied Artists.PlotSan Francisco ex-cop Vic Barron's family has died ina car bombing and he has been disfigured, framed and imprisoned when he crossed the wrong mobsters. After his release, he wants revenge on gangster TinoMorelli, whom he considers responsible.Morelli is hiding out in Ketchikan, Alaska. After his arrival there, Vic finds Morelli and Morelli's charming little daughter.With the help of tavern owner Peggy Harding, Barron discovers that Morelli did not order the bombing and that the true murderer was a hitman named Roxey.Harding also takes Barron on scenic tours of Alaska, hoping to calm his rage and make him realize that life is still worth living.Barron intends to kidnap Morelli'syoung daughter Marie as \"leverage\", but the little girl is so friendly toward him and blind to his disfigurement that he cannot go through with it. Morelli's deathalso cools his initial anger.Roxey, who has followed Barron, murders Morelli, but is wounded by Barron in a shootout, then falls from atop a dam. After sayingfarewell to Peggy and to Morelli's orphaned daughter, Barron travels back to San Francisco, but with a hint that he might return.CastMark Stevens as VicBarronMartha Hyer as Peggy HardingSkip Homeier as RoxeyJoan Vohs as Lily ArnoldDouglas Kennedy as Tino MorelliCheryl Callaway as Marie MorelliMort Mills asJohnny Blue-eyesWarren Douglas as Mike WaltersLewis Martin as Nick BudaDon Haggerty as Lt. Pat RyanJohn Doucette as Red MillerDorothy Kennedy as EmilyMillerRichard Deacon as San Francisco bartender (uncredited)Edward Clark as Pawnbroker (uncredited)Passage 7:The Dark Angel (1925 film)The Dark Angel is a1925 American silent drama film, based on the play The Dark Angel, a Play of Yesterday and To-day by H. B. Trevelyan, released by First National Pictures, andstarring Ronald Colman, Vilma Bánky (in her first American film), and Wyndham Standing.PlotDuring the First World War, Captain Alan Trent, while on leave inEngland with his fiancée Kitty Vane, is suddenly recalled to the front before being able to get a marriage license. Alan and Kitty spend a night of love at a countryinn \"without benefit of clergy\" and he sets off.At the front things go badly for Alan, who is blinded and becomes a Prisoner of War after being captured by theGermans. He is reported dead, and his friend, Captain Gerald Shannon, discreetly woos Kitty, seeking to soothe her grief with his gentle love.After the war,however, Gerald discovers that Alan is still alive, in a remote corner of England, writing children's stories for a living. Loyal to his former comrade in arms, Geraldinforms Kitty of Alan's reappearance. She goes to him, and Alan conceals his blindness and tells Kitty that he no longer cares for her. She sees through hisdeception, however, and they are reunited.CastReceptionThe film has a 100% fresh rating on Rotten Tomatoes, based on 9 positive contemporaryreviews.Mordaunt Hall's October 12, 1925, review for The New York Times conveys what made this film a compelling success 7 years after the end of the FirstWorld War.PreservationA print of The Dark Angel has been recently located in a film archive, so it is currently not considered a lost film.See alsoList of lostfilmsPassage 8:A Kind of AmericaA Kind of America (Hungarian: Valami Amerika) is a Hungarian comedy film from 2002.PlotThe film is situated in Budapest,where the brothers Ákos, András, and Tamás live. Tamás is a director of video clips and commercials, but dreams of directing a feature film. He has written ascript with the title 'The Guilty City', but has trouble financing the project. At his surprise, he receives an email from an American film producer named AlexBrubeck, who writes that he likes the script. Offering to pay half the budget, he wants to meet Tamás personally in Budapest to talk things through. With the helpof his brothers Ákos, a successful manager and sex addict, and András, a failed poet, he does everything to impress the American producer.External linksA Kindof America at IMDbPassage 9:Fireworks (1954 film)Fireworks (German: Feuerwerk) is a 1954 West German period musical comedy film directed by KurtHoffmann and starring Lilli Palmer, Karl Schönböck, and Romy Schneider. Palmer's rendition of the song \"O mein Papa\" became a major hit. It was Palmer's debutfilm in her native Germany, having spent many years in exile in Britain, and launched her career as a major star in the country.The film is based on the 1950stage musical Das Feuerwerk partly written by Erik Charell. It was made at the Bavaria Studios in Munich and on location in Switzerland. The film's sets weredesigned by the art director Werner Schlichting.It is a circus film set at the beginning of the twentieth century.CastPassage 10:Morena ClaraMorena Clara is a1954 film directed by Luis Lucia starring Lola Flores and Fernando Fernán Gómez.PlotThe film begins by depicting the fabled tale of how the gypsies came to be.According to folklore gypsies are descendants of an Egyptian pharaoh. In the film, actors are dressed in ancient Egyptian costumes as they dance to flamencomusic. As the story continues, the gypsies are run out of their lands and are forced to live nomadic lives, stealing and thieving as a means to survive. The MontyPythonesque history lesson then continues to present the protagonists’ ancestors and the scene that drives the rest of the film: Trinidad’s (Lola Flores) ancestorplaces a spell on Enrique’s (Fernando Fernán Gómez) ancestor that will cause his descendant to fall in madly in love with her descendant.The story continues to"}
+{"doc_id":"doc_83","qid":"","text":"Passage 1:Hiding PlaceThe Hiding Place or Hiding Place may refer to:FilmThe Hiding Place (Playhouse 90), March 22, 1960 episode of American TV series; based on Robert Shaw's 1959 novelThe Hiding Place (film), 1975 American drama based on the 1971 book by Corrie ten BoomThe Hiding Place, 2000 American drama starring Kim Hunter and Timothy Bottoms, from the play by Mitch GiannunzioThe Hiding Place, 2008 American drama by Jeff WhittyLiteratureThe Hiding Place, 1959 British novel by Robert ShawThe Hiding Place (biography), 1971 memoir by Corrie ten Boom, who hid Dutch Jews during WWIIHiding Place (Wideman novel), 1981 middle volume of \"Homewood Trilogy\" by American John Edgar WidemanThe Hiding Place (Azzopardi novel), 2000 Welsh Booker Prize shortlistThe Hiding Place (Bell novel), 2012 American mysteryMusicHiding Place (band), Scottish rock band, active from 2004 to 2007Hiding Place (Selah album), 2004Hiding Place (Don Moen album), 2006Hiding Place (Tori Kelly album), 2018See alsoNo Hiding Place, 1959–1967 British police detective TV seriesHiding Places, 2019 American album by Brooklyn rapper Billy WoodsPassage 2:Hotel ReserveHotel Reserve is a 1944 British spy film starring James Mason as an innocent man caught up in pre-Second World War espionage. Other cast members include Lucie Mannheim, Raymond Lovell and Herbert Lom. It was based on Eric Ambler's 1938 novel Epitaph for a Spy. Unusually, it was both directed and produced by a trio: Lance Comfort, Mutz Greenbaum and Victor Hanbury. It was shot at Denham Studios with sets designed by the art director William C. Andrews. The film was produced and distributed by the British branch of RKO Pictures.PlotIn 1938, refugee Peter Vadassy decides to take a holiday at the Hotel Reserve to celebrate both his completion of medical school and his impending French citizenship. When he goes to pick up some photographs at the local pharmacy, he is taken away and questioned by Michel Beghin of French naval intelligence. When his negatives had been developed, some of them turned out to be of French military installations. It is discovered that while the camera is the same make as Peter's, the serial number is different. Peter is released on condition that he find out which other hotel guests have cameras like his.Peter does some snooping and eavesdrops on a suspicious conversation between Paul Heimberger and the hotel's proprietor, Madame Suzanne Koch. He searches Heimberger's room and finds several passports, all with different names and nationalities. Heimberger catches him in the act, but eventually matters are straightened out. Heimberger explains that he was originally a Social Democratic newspaper publisher who was anti-Nazi and been sent to a concentration camp for two years. After he was released, he joined an underground movement against the German regime.Peter spots his camera in the pocket of a dressing-gown belonging to Odette and Andre Roux, a couple on their honeymoon. Andre first tries to bribe Peter into giving him the negative and, when that fails, threatens him with a pistol. The police arrive at that moment and arrest Peter for espionage.The Rouxs leave the hotel, but find Heimberger trying to disable the hotel's car. Andre shoots him dead and the couple speed off to Toulon, unaware that they are being tracked by the police. Beghin had known the identity of the spies all along and merely used Peter to further his true goal; to find out who the Rouxs are reporting to. The spy ring is captured. Andre gets away, but is caught on a roof by Peter. Andre slips and falls to his death.CastJames Mason as Peter VadassyLucie Mannheim as Madame Suzanne KochRaymond Lovell as Robert Duclos, a hotel guest given to exaggerationJulien Mitchell as Michel BeghinHerbert Lom as Andre RouxMartin Miller as Walter VogelClare Hamilton as Mary Skelton, a hotel guest who is attracted to Peter. A sister of Maureen O'Hara, her real name was Florrie Fitzsimons. This was her only film appearance.Frederick Valk as Emil Schimler, alias Paul HeimbergerPatricia Medina as Odette RouxAnthony Shaw as Major Anthony Chandon-Hartley, a guestLaurence Hanray as Police Commissioner (as Lawrence Hanray)David Ward as Henri Asticot, a guestValentine Dyall as Warren SkeltonJoseph Almas as Albert, the waiter (as Josef Almas)Patricia Hayes as Servant (waitress)Hella Kürty as Hilda VogelIvor Barnard as P. Molon, the pharmacistErnst Ulman as Detective in Black SuitCritical receptionThe Radio Times noted, \"this subdued thriller, set just before the Second World War, is lifted by James Mason's performance as a 'wronged man',\" and concluded, \"The plot has enough suspense and intrigue built in, but this movie only fitfully comes to life as Mason sets out discover who the real villain is\"; Dennis Schwartz found it \"a visually attractive film, though hampered because it's so slow moving\"; whereas Leonard Maltin thought more highly of the piece, finding it a \"Suspenseful, moody film.\"Passage 3:The Hiding Place (film)The Hiding Place is a 1975 film based on the autobiographical book of the same name by Corrie ten Boom that recounts her and her family's experiences before and during their imprisonment in a Nazi concentration camp during the Holocaust during World War II.The film was directed by James F. Collier. Jeanette Clift George received a Golden Globe nomination for Most Promising Newcomer - Female. The film was given limited release in its day and featured the last appearance from Arthur O'Connell.CastJeannette Clift as Corrie ten BoomJulie Harris as Betsie ten BoomArthur O'Connell as Casper ten Boom, 'Papa'Robert Rietti as Willem ten BoomPamela Sholto as TinePaul Henley as Peter ten BoomRichard Wren as Kik ten BoomBroes Hartman as Dutch PolicemanLex van Delden as Young German OfficerTom van Beek as Dr. HeemstraNigel Hawthorne as Pastor De RuiterJohn Gabriel as Professor ZeinerEdward Burnham as Underground LeaderCyril Shaps as Building Inspector SmitForbes Collins as Mason SmitEileen Heckart as KatjeReviewsOne review noted that the performers’ “Dutch accents sound quite Swedish on occasion.”See alsoList of American films of 1975List of Holocaust filmsPassage 4:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000 \u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 5:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 6:C.J. TudorC.J. Tudor is a British author whose books include The Chalk Man and The Hiding Place (The Taking of Annie Thorne). She was born in Salisbury, England but grew up in Nottingham, where she still lives.The Chalk ManThe Chalk Man was published in January 2018 by Crown Publishing. Reviews were mixed. The Sun said \"[Tudor] weaves a complex and captivating story in her first novel.\". The Irish Independent said the book \"has an intriguing and creepy premise - but ultimately falls apart after a series of improbable, shading to outlandish, plot twists.\" The book received the 2019 Barry Award for Best First Novel.The SixthA book which to be called \"The Sixth\" was planned in 2022. But with a difficult 12 months between 2020 and 2021, a manuscript was written (approximately 86,000 words) and submitted to the publisher. Unhappy with the result, Tudor got a return from her editor that the book didn't work and needed a complete re-write. Not willing to do the job, Tudor preferred to offer a new book to be published in January 2023 and her publisher will instead publish her first short story collection in Autumn 2022.BibliographyBooksThe Chalk ManThe Taking of Annie Thorne (The Hiding Place)The Other PeopleThe Burning Girls“A Sliver of Darkness”“The Drift”Short storiesThe Man in the Box-Included in \"The Other People\" audiobookThe Lion at the Gate-Included in \"The Other People\" audiobookThe February House-Included in \"The Other People\" audiobookButterfly Island in After Sundown anthologyPassage 7:Return to the Hiding PlaceReturn to the Hiding Place is a 2013 film based upon the factual accounting of Hans Poley's World War II encounter with Corrie ten Boom, her involvement in the Dutch resistance and the wartime harboring of Jewish refugees. A non-Jewish fugitive after he refused to pledge his allegiance to the Nazis, Poley was the first person hidden from the Nazis in the Ten Boom House, which is today a museum in Haarlem, Netherlands.   The film is adapted, in part, from Poley's book, Return to the Hiding Place (1993),  personal recollections, relayed to screenwriter Dr. Peter C. Spencer, and research from the Dutch National Archives. The film is neither a prequel nor is it a sequel to the 1975 film The Hiding Place, instead, it is a congruent accounting of the Dutch underground's resistance efforts from Poley's perspective.  It was directed by Peter C. Spencer and starred John Rhys-Davies, Mimi Sagadin and Craig Robert Young.BackgroundOn May 15, 1940, German occupation of the Netherlands begins with the nation's surrender, food and materials are rationed and evening curfews are imposed, gradually tightening from 10:00 p.m. to 6:00 a.m. Persecution of the Jewish population also is gradually implemented, starting with the requirement of wearing a yellow star bearing the word \"Jew\" and attacks against Jewish businesses and places of worship and culminating in the mass transport of Jewish citizens to unknown locations. Conspiracy theories begin to emerge on the fate of those being transported to the concentration camps.Corrie ten Boom (15 "}
+{"doc_id":"doc_84","qid":"","text":"Passage 1:Yan Yan (Three Kingdoms)Yan Yan (fl. 211–214 A.D.) was a Chinese military general and politician who served under Liu Zhang, the Governor of Yi Province (covering present-day Sichuan and Chongqing), during the late Eastern Han dynasty of China. Although there is very little information about Yan Yan in historical records, he is given a much prominent role in the 14th-century historical novel Romance of the Three Kingdoms as a general who initially serves under Liu Zhang before switching allegiance to Liu Bei later.LifeYan Yan was from Linjiang County (\u0000\u0000\u0000), Ba Commandery (\u0000\u0000), which is around present-day Zhong County, Chongqing. He served as a military officer in Ba Commandery under Liu Zhang, the Governor of Yi Province (covering present-day Sichuan and Chongqing); Ba Commandery was one of the commanderies in Yi Province.In 211, Liu Zhang invited the warlord Liu Bei to lead his troops into Yi Province to help him counter the threat posed by his rival, Zhang Lu, in Hanzhong Commandery. When Yan Yan heard about it, he remarked: \"This is equivalent to sitting on an isolated hill and setting a tiger free to protect oneself!\"Around 212, conflict broke out between Liu Zhang and Liu Bei when the latter turned against his host and tried to seize control of Yi Province. In 214, Liu Bei summoned reinforcements from his base in Jing Province to enter Yi Province and assist him in attacking Liu Zhang. Zhang Fei, a general under Liu Bei, led troops to attack Jiangzhou (\u0000\u0000; around present-day Yuzhong District, Chongqing), which was defended by Yan Yan. Zhang Fei defeated Yan Yan, captured him alive, and asked him: \"When my army showed up, why did you put up resistance instead of surrendering?\" Yan Yan replied: \"You people launched an unwarranted attack on my home province. There may be generals in my province who will lose their heads, but there are none who will surrender.\" Zhang Fei was enraged and he ordered Yan Yan's execution. Yan Yan remained expressionless and said: \"If you want to chop off my head, then do it! What's with that outburst of anger?\" Zhang Fei was so impressed with Yan Yan's courage that he released him and treated him like an honoured guest. Nothing was recorded in history about Yan Yan from this point onwards.In Romance of the Three KingdomsYan Yan has a greater role as a character in the 14th-century historical novel Romance of the Three Kingdoms, which romanticises the events before and during the Three Kingdoms period. In Chapter 63 of the novel, as in history, he is defeated and captured by Zhang Fei, who initially wants to execute him but changes his mind and spares him after feeling impressed with Yan Yan's strong sense of loyalty. Zhang Fei also manages to convince Yan Yan to switch his allegiance to Liu Bei. Yan Yan appears again later in Chapters 70 and 71, when he joins Huang Zhong to attack Cao Cao's forces at the Battle of Mount Dingjun.See alsoLists of people of the Three KingdomsNotesPassage 2:Marco BortolamiMarco Bortolami ([\u0000marko b\u0000rto\u0000lami]; born 12 June 1980) is a rugby union coach and retired Italian international player, whose career includes experience playing in the national top-level Italian (Petrarca Padova), French (RC Narbonne), and English (Gloucester Rugby) championships, before joining the then recently-born Pro14 (with Aironi Rugby and then Zebre). Praised for his leadership skills, he captained all the teams he played for at professional level. At international level, he also captained the Italian side since 2002 till the 2007 Rugby World Cup, before being replaced in the permanent role by Sergio Parisse. He currently serves as head coach for Benetton Rugby in the United Rugby Championship.Club careerBortolami began his playing career with the team of his native Padua, making his debut as a second row aged only 18.After a two-year spell with RC Narbonne in the French Top14, in the summer of 2006 he joined English Premiership side Gloucester Rugby when he was considered by many to be one of the best players in the world around the time, being selected into the starting team for their first game of the season and immediately taking the role of captain. At Gloucester he made up a formidable partnership with Alex Brown and shared captaincy with Peter Buxton. Due to injuries and his World Cup commitments, the 2007–08 season ended up not being as consistent in performance and he lost the Italian captaincy to Italian No. 8 Sergio Parisse, but continued to put in powerful performances for Gloucester. His outstanding leadership qualities meant he retained captaincy. He made 23 appearances for Gloucester in 2008–09.In 2010 he returned to Italy signing for the new Aironi team which started to compete in the Celtic League from the 2010–11 season. After Aironi folded due to financial problems, Bortolami signed for the new franchise Zebre in the Pro12 for the 2012/13 season.On 7 May 2016, Bortolami announced his retirement from professional rugby with immediate effect.International careerBortolami was made captain of Italy's Under-21 side, before making his international debut at elite level against Namibia in June, 2001, when he was just 20. At the age of 22, Bortolami was made Italy's youngest ever captain by then coach John Kirwan.In his first-ever World Cup start, against Tonga, he suffered an injury and missed the decisive group-stage match against Wales, which saw the Azzurri eliminated from the competition.After impressing in the 2004 Six Nations Championship, he was once awarded the full captaincy for the 2005 Summer tour of Japan by coach Pierre Berbizier. After this tour he joined French club Narbonne.In the 2007 Six Nations Championship, Bortolami led Italy to their first away win in the competition against Scotland at Murrayfield, which was also the first time Italy have won more than one game in a single Six Nations Championship. At the 2007 Rugby World Cup, he led the Italian team to a decisive final group-stage match against Scotland, again missing access to the knock-out stage.With the 2007 Six Nations Championship, under new coach Nick Mallett, Bortolami was replaced as Italian skipper by Sergio Parisse.Bortolami suffered an injury against Australia in June 2012, but in May 2013 it was announced that he would be returning to the international stage.Coaching careerBortolami left Zebre at the end of the Celtic League 2015/16 season, and became Assistant Coach at Benetton Treviso from the start of the 2016/17 season.Other informationIn an interview in 2006, Bortolami stated that he wishes to become a mechanic for Ferrari after he retires from professional rugby, using the mechanical skills that he picked up in college. Shortly after the interview had taken place, he received a letter from Ferrari offering him a position as soon as he completed his rugby career. Something must be changed since then because now Bortolami moved into coaching the forwards for Benetton Treviso in Italy, after his last match on 7 May 2016.Although he has never been considered a violent player, his rough and direct playing style and his sometimes conflictual approach with the referees have led Bortolami to collect seven yellow cards in his long international career, surpassed in this unenviable ranking only by the Australian Michael Hooper and the Georgian Viktor Kolelishvili, both with eight.Passage 3:XiaxueCheng Yan Yan Wendy (born Cheng Yan Yan; 28 April 1984), better known by her pseudonym Xiaxue, is a Singaporean blogger and online television personality who writes about her life, fashion and local issues in a provocative style. Her main blog, which attracts about 50,000 readers daily, has won prestigious blog awards and earned her sponsorship deals, as well as stints as a columnist and TV show host, but some of her posts have sparked national controversies. She is married to American engineer Mike Sayre and they have one child.Personal lifeBorn in Singapore on 28 April 1984, Wendy Cheng studied at River Valley High School and graduated from Singapore Polytechnic with a diploma in mass media, then briefly worked as a project coordinator. Her father, an antique dealer, and her mother, a property agent, are divorced; she also has a younger brother. For a year, she maintained a paper diary, which her ex-boyfriend's new girlfriend threw away during a Chinese New Year spring cleaning. Wanting to air her thoughts in a space that nobody could throw away, she started blogging in April 2003. She underwent plastic surgery, sponsored by MediaCorp TV, to \" correct her bulbous nose\" in 2006.In 2010, she married American engineer Mike Sayre, whom she met online and had dated for three years, and in March 2013, she gave birth to a boy named Dashiel.In 2023, she announced that she and Mike Sayre had split up.BloggingWendy Cheng has several blogs, including her untitled main blog (usually known as xiaxue.blogspot.com), and several private blogs. Although she writes in the English language, she selected her pseudonym Xiaxue (\u0000\u0000, pronounced something like sh'ya-shweh), which means \"snowing\" in Mandarin Chinese, because it \"had that tinge of mysterious, beautiful girl thing about it\". On her main blog, which attracts about 50,000 readers daily, she provides updates about her personal life, posts photographs, writes about topics such as fashion, discusses local issues such as \"nasty taxi drivers\", and posts paid advertorials. She often uses profanity in her posts and her success has been attributed to her provocative writing style. According to a survey she conducted, which attracted 6000 responses, her readers are mainly Singaporean, female, young adults interested in fashion and \"looking for an alternative voice\". Awards that her main blog has won include the 2004 and 2005 Wizbang Weblog Awards Best Asian Blog and the 2005 Bloggies Best Asian Weblog. In July 2005, a hacker defaced the blog, but she managed to restore its contents. Her main blog, the first from Singapore to enter the Technorati Global Top 100 Blogs List, was selected for the National Library Board archive in 2008.Other mediaDue to the popularity of her main blog, Xiaxue has earned jobs in mainstream media, notably as a columnist for national newspapers TODAY and The New Paper, Maxim magazine and Snag magazine. In addition, she has served as an editor for blog aggregator Tomorrow.sg, a Star Blogger for the STOMP portal and a presenter at the 2005 Singapore Writer's Festival. She has struck sponsorship deals with many companies, including online eyewear store HoneyColor, childcare merchandise retailer Mothercare, T-shirt maker LocalBrand, hair salon Kimage and nail studio Voxy. In 2006, she and DJ Rosalyn Lee co-hosted Girls Out Loud, a reality TV series on MediaCorp Channel 5, where they engage in \"outrageous antics and no-holds-barred banter\". She has a fortnightly series, called Xiaxue's Guide to Life, on the web television channel clicknetwork.tv; its highest-rated episode had more than a million views. The Health Promotion Board selected her as an ambassador for their Get Fresh campaign to discourage women from smoking and help female smokers quit.ControversyIn October 2005, Xiaxue wrote an entry condemning a disabled man, who scolded a non-disabled man for using the toilet for the disabled, leading to an online backlash that prompted two sponsors to cancel their deals. Two months later, she suggested that foreign workers be banned from Orchard Road, as they were molesting Singaporean girls; many netizens condemned her "}
+{"doc_id":"doc_85","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000nib\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.Hewas one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by BonScott.External linksBernie Bonvoisin at IMDbPassage 2:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He isthe singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to thesebands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was alsothe singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, forwhom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of DeathalbumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 3:Just Playing (Dreams)Just Playing (Dreams) is a promotional single byAmerican hip hop artist The Notorious B.I.G. for his 1994 debut album Ready to Die. It was produced by Rashad Smith, and contains a sample of James Brown's\"Blues and Pants\" from Hot Pants. Complex magazine ranked the song number two on its list of \"The 50 Funniest Rap Songs\".Although the song does not appearon the original version of Ready to Die, it appears on the 2004 remastered version.BackgroundSome of the lyrics initially appeared on Mary J. Blige's \"What's the411?\" remix. The song was released as a promotional single for Biggie's debut album Ready to Die.Composition\"Just Playing (Dreams)\" was written by TheNotorious B.I.G. and Rashad \"Ringo\" Smith. The song is built on a sample of \"Blues and Pants\" written by James Brown, and its production was done by Ringo.Inthe song, Biggie takes aim at 20 of his favorite R&B singers and lists what he'd like to do to them. The list includes female R&B singers Mary J. Blige, Patti LaBelle,Mariah Carey, Chaka Khan, and Rupaul, who didn't take offense to the song. However, Raven-Symoné was 8 years old when Biggie rapped the line, “makeRaven-Symoné call date rape.”The R&B quartet Xscape didn't appreciate the song, which contained the line \"those ugly-ass Xscape bitches.\" In a 2009 interview,group member Kandi Burruss said that her bandmate Tameka \"Tiny\" Cottle ran into Biggie on the evening of his death, and he apologized for the lyric.Coverversions and remixesIn 1996, Lil Kim's song \"Dreams Freestyle\" sampled the lyrics of \"Just Playing\" on her debut studio album Hard Core.In 1996, Mad Skillz,sampled the line “Everybody, move ya body” as the chorus of his song \"Move Ya Body\" on his debut album From Where???In 2015, rapper Young M.A droppedher \"Dreams Freestyle\" from her debut 13-track mixtape Sleep Walkin.In 2018, rapper Nicki Minaj sampled the song for her studio album Queen in the song\"Barbie Dreams\". The single reached number 18 on the Billboard Hot 100 and number 36 on the UK Singles Chart.Passage 4:The Notorious B.I.G.ChristopherGeorge Latore Wallace (May 21, 1972 – March 9, 1997), better known by his stage names the Notorious B.I.G., Biggie Smalls, or simply Biggie, was an Americanrapper. Rooted in East Coast hip hop and particularly gangsta rap, he is cited in various media lists as one of the greatest rappers of all time. Wallace becameknown for his distinctive laid-back lyrical delivery, offsetting the lyrics' often grim content. His music was often semi-autobiographical, telling of hardship andcriminality, but also of debauchery and celebration.Born and raised in Brooklyn, New York City, Wallace signed to Sean \"Puffy\" Combs' label Bad Boy Records as itlaunched in 1993, and gained exposure through features on several other artists' singles that year. His debut album Ready to Die (1994) was met withwidespread critical acclaim, and included his signature songs \"Juicy\" and \"Big Poppa\". The album made him the central figure in East Coast hip hop, and restoredNew York's visibility at a time when the West Coast hip hop scene was dominating hip hop music. Wallace was awarded the 1995 Billboard Music Awards' Rapperof the Year. The following year, he led his protégé group Junior M.A.F.I.A., a team of himself and longtime friends, including Lil' Kim, to chart success.During1996, while recording his second album, Wallace became ensnarled in the escalating East Coast–West Coast hip hop feud. Following Tupac Shakur's murder in adrive-by shooting in Las Vegas in September 1996, speculations of involvement in Shakur's murder by criminal elements orbiting the Bad Boy circle circulated asa result of Wallace's public feud with Shakur. On March 9, 1997, six months after Shakur's murder, Wallace was murdered by an unidentified assailant in adrive-by shooting while visiting Los Angeles. Wallace's second album Life After Death, a double album, was released two weeks later. It reached number one onthe Billboard 200, and eventually achieved a diamond certification in the United States.With two more posthumous albums released, Wallace has certified sales ofover 28 million copies in the United States, including 21 million albums. Rolling Stone has called him the \"greatest rapper that ever lived\", and Billboard namedhim the greatest rapper of all time. The Source magazine named him the greatest rapper of all time in its 150th issue. In 2006, MTV ranked him at No. 3 on theirlist of The Greatest MCs of All Time, calling him possibly \"the most skillful ever on the mic\". In 2020, he was inducted into the Rock and Roll Hall of Fame.Life andcareer1972–1991: Early lifeChristopher George Latore Wallace was born at St. Mary's Hospital in the New York City borough of Brooklyn on May 21, 1972, theonly child of Jamaican immigrant parents. His mother, Voletta Wallace, was a preschool teacher, while his father, Selwyn George Latore, was a welder andpolitician. His father left the family when Wallace was two years old, and his mother worked two jobs while raising him. Wallace grew up at 226 St. James Place inBrooklyn's Clinton Hill, near the border with Bedford-Stuyvesant. Raised Catholic, Wallace excelled at Queen of All Saints Middle School, winning several awardsas an English student. He attended St Peter Claver Church in the borough. He was nicknamed \"Big\" because he was overweight by the age of 10. Wallace claimedto have begun dealing drugs at about age 12. His mother, often at work, first learned of this during his adulthood.He began rapping as a teenager, entertainingpeople on the streets, and performed with local groups, the Old Gold Brothers as well as the Techniques. His earliest stage name was MC CWest. At his request,Wallace transferred from Bishop Loughlin Memorial High School in Fort Greene to George Westinghouse Career and Technical Education High School in DowntownBrooklyn, which future rappers Jay-Z and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a\"smart-ass\" attitude at the new school. At age 17 in 1989, Wallace dropped out of high school and became more involved in crime. That same year in 1989, hewas arrested on weapons charges in Brooklyn and sentenced to five years' probation. In 1990, he was arrested on a violation of his probation. A year later,Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.1991–1994: Early career and first childAfterrelease from jail, Wallace made a demo tape, Microphone Murderer, while calling himself Biggie Smalls, alluding both to Calvin Lockhart's character in the 1975film Let's Do It Again and to his own stature and obesity, 6 feet 3 inches (1.91 m) and 300 to 380 pounds (140 to 170 kg). Although Wallace reportedly lackedreal ambition for the tape, local DJ Mister Cee, of Big Daddy Kane and Juice Crew association, discovered and promoted it, thus it was heard by The Source rapmagazine's editor in 1992.In March, The Source column \"Unsigned Hype\", dedicated to airing promising rappers, featured Wallace. He then spun the attentioninto a recording. Upon hearing the demo tape, Sean \"Puffy\" Combs, still with the A&R department of Uptown Records, arranged to meet Wallace. Promptly signedto Uptown, Wallace appeared on labelmates Heavy D & the Boyz's 1993 song \"A Buncha Niggas\". Mid-year, or a year after Wallace's signing, Uptown fired Combs,who, a week later, launched Bad Boy Records, instantly Wallace's new label.On August 8, 1993, Jan Jackson, Wallace's long-time girlfriend, gave birth to his firstchild, T'yanna, although the couple had parted by then. Himself a high-school dropout, Wallace promised his daughter \"everything she wanted\", reasoning that ifonly he had that in childhood, he would have graduated at the top of his class. Wallace continued dealing drugs, but Combs discovered this, and obliged him tostop. Later that year, Wallace gained exposure on a remix of Mary J. Blige's single \"Real Love\". Having found his moniker Biggie Smalls already claimed, he took anew one, holding for good, The Notorious B.I.G.Around this time, Wallace became friends with fellow rapper Tupac Shakur. Lil' Cease recalled the pair as close,often traveling together whenever they were not working. According to him, Wallace was a frequent guest at Shakur's home and they spent time together whenShakur was in California or Washington, D.C. Yukmouth, an Oakland emcee, claimed that Wallace's style was inspired by Shakur.The \"Real Love\" remix single wasfollowed by another remix of a Mary J. Blige song, \"What's the 411?\" Wallace's successes continued, if to a lesser extent, on remixes of Neneh Cherry's song\"Buddy X\" and of reggae artist Super Cat's song \"Dolly My Baby\", also featuring Combs, all in 1993. In April, Wallace's solo track \"Party and Bullshit\" was releasedon the Who's the Man? soundtrack. In July 1994, he appeared alongside LL Cool J and Busta Rhymes on a remix of his own labelmate Craig Mack's \"Flava in YaEar\", the remix reaching No. 9 on the Billboard Hot 100.1994: Ready to Die and marriage to Faith EvansOn August 4, 1994, Wallace married R&B singer FaithEvans, whom he had met eight days prior at a Bad Boy photoshoot. Five days later, Wallace had his first pop chart success as a solo artist with double A-side,\"Juicy / Unbelievable\", which reached No. 27 as the lead single to his debut album.Ready to Die was released on September 13, 1994. It reached No. 13 on theBillboard 200 chart and was eventually certified four times platinum. The album shifted attention back to East Coast hip hop at a time when West Coast hip hopdominated US charts. It gained strong reviews and has received much praise in retrospect. In addition to \"Juicy\", the record produced two hit singles: theplatinum-selling \"Big Poppa\", which reached No. 1 on the U.S. rap chart, and \"One More Chance\", which sold 1.1 million copies in 1995. Busta Rhymes claimed tohave seen Wallace giving out free copies of Ready to Die from his home, which Rhymes reasoned as \"his way of marketing himself\".Wallace also befriended"}
+{"doc_id":"doc_86","qid":"","text":"Passage 1:World and Time EnoughWorld and Time Enough is a 1994 independent gay-themed romantic comedy-drama written and directed by Eric Mueller andstarring Gregory Giles, Matt Guidry, and Kraig Swartz.CastPlotNarrated by their friend David (Swartz), World and Time Enough is the story of Mark (Guidry) andJoey (Giles). Mark is an HIV-positive art student who creates temporary \"sculptures\" on topics including AIDS, abortion and the Bush economy. Joey works as agarbage collector, picking up trash along the roadways. He sometimes brings home interesting items that he finds on the job.Mark's mother was killed when hewas a child, in a freak accident in a church when she was crushed by a large falling cross. Since that day, his father has been obsessed with building modelcathedrals. Mark and his father are somewhat distant and out of touch and Mark reaches out to him through a series of phone calls, leaving messages on hisfather's answering machine. Unknown to Mark, his father has died alone in his home but hasn't yet been discovered.Joey's relationship with his adoptive parentsis also strained because of his father's issues with Joey's homosexuality. Although he remains close with his sister, Joey feels the need to seek out his birthparents through the adoption social service agency.Mark discovers his father's body and in his grief he assumes his father's obsession with cathedral building.Rather than a model, however, Mark begins work on a full-size cathedral in a local open field.Joey learns the identity of his birth parents, but also learns that theyhave died. He visits their gravesite and says the things there that he would have told them while they were alive.Mark experiences a vision of his father, who tellshim that he's making a mistake, to go home. Mark feverishly climbs the scaffolding and falls off it to the ground. Joey discovers him there.Later, together, out ofthe scaffolds, surviving bits of Mark's sculptures and the things Joey's gathered, they build their own \"cathedral.\"ProductionIt was filmed on location in Edina andMinneapolis, Minnesota. The film was made with grants from the National Endowment for the Arts, the American Film Institute, and a local film organization. Thefinal budget was about $60,000.ReceptionThe film was generally well-received by critics, although having 2 heterosexual actors play romantic leads in anLGBTQ+ film was noted in reviews.AwardsPassage 2:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior tohis current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in North Adams,Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, wherehe met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curatoras an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs atwenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointed director of theSolomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period thatculminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of themuseum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia ArtFoundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's HudsonValley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has beencredited with catalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan'stenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also workedclosely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projectsunder construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared anational monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan torun the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from its Europeanand east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had theopportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transformingLACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanentcollection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary ArtMuseum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.ArtistcollaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govaninvited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected thetwisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artistJorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with ahigh-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. Theseinclude Chris Burden's Urban Light (2008), a series of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrancepavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton bouldertransported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in partto the popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, themuseum raised $251 million—about $100 million more than it collected during the three years before he arrived. In 2010, it was announced that Govan will steerLACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon,proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.ZumthorProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallerybuilding designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018,and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving allexisting curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recallingGovan's technically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving theinstitution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linearfootage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that itsacquisitions could no longer be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create anon-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterizedthe museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample ofwhat's to come\".Personal lifeGovan is married and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion inHancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that it would sell theproperty to make up for the museum's of almost $900 million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park inMalibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at SantaMonica Airport.Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editoronly)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation!(2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a ManySplendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of histelevision film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), QueenSized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day TimeSpecial in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of"}
+{"doc_id":"doc_87","qid":"","text":"Passage 1:Salang RiverThe Salang is a 438 kilometre long river of Afghanistan, flowing through Parwan Province. It is a tributary of the Indus River and theGhorband River and the Panjshir River and the Kabul River.GeographyThe Salang River originates on the south side of the central mountains of the Hindu Kush inthe north-east of Salang Pass, which links the region to Kabul with the northern part of the country.Its valley and the Salang Pass form an important internationalwaterway. It is north–south oriented. The Salang flows into the Ghorband River at the locality of Jabal Saraj in Parwan. In Jabal Saraj, the average annual flowmodule between 1961 and 1964 was about 763 millimeters per year, which is considered a high rate.Passage 2:Pigna Barney RiverPigna Barney River, a partlyperennial river of the Manning River catchment, is located in the Upper Hunter district of New South Wales, Australia.Course and featuresPigna Barney River riseson the eastern slopes of Mount Royal Range, south of the locale of Glenrock, and flows generally east by south before reaching its confluence with the ManningRiver, south of Mount Myra. The river descends 818 metres (2,684 ft) over its 40 kilometres (25 mi) course.See alsoRivers of New South WalesList of rivers ofNew South Wales (L–Z)List of rivers of AustraliaPassage 3:Trubizh RiverThe Trubizh (Ukrainian: Трубі́ж, Russian: Трубе́ж) is a river entirely located in Ukraine, aleft tributary of Dnieper. It falls into the Dnieper's Kaniv Reservoir (named after Kaniv). It is 113 kilometres (70 mi) long, and has a drainage basin of 4,700square kilometres (1,800 sq mi).Major cities: Pereiaslav.Passage 4:Tesechoacan RiverThe Tesechoacan River is a river of Mexico in Veracruz state.It is formedwhere the Cajones River joins the Manso River, both flowing eastward from the Sierra Madre de Oaxaca and is a tributary of the Papaloapan River.See alsoList ofrivers of MexicoPassage 5:Lunga River (Zambia)The Lunga River is the name of two rivers in Zambia. One is a tributary of the Kafue River and the other atributary of the Kabompo River, both of which are tributaries of the Zambezi.Passage 6:Yadboro RiverYadboro River, a perennial river of the Clyde Rivercatchment, is located in the Southern Tablelands and the upper ranges of the South Coast regions of New South Wales, Australia.Course and featuresYadboroRiver rises below Currockbilly Mountain on the eastern slopes of the Budawang Range within Budawang National Park, east northeast of Braidwood, and flowsgenerally northerly parallel to the range, then east, joined by one minor tributary before reaching its confluence with the Clyde River at Campus Head, nearYadboro Flat. The river descends 965 metres (3,166 ft) over its 26 kilometres (16 mi) course.See alsoRivers of New South WalesList of rivers of New South Wales(L–Z)List of rivers of AustraliaPassage 7:Peters Creek (Pennsylvania)Peters Creek is a 16.8-mile-long (27.0 km) tributary of the Monongahela River and part ofthe Ohio River and Mississippi River watersheds, flowing through southwestern Pennsylvania in the United States.Variant namesAccording to the GeographicNames Information System, it has also been known historically as:Peter's CreekCoursePeters Creek starts in Nottingham Township in Washington County andruns generally northerly until it joins the Monongahela River at Clairton in Allegheny County.WatershedThe Peters Creek watershed is a diverse fifty square milesin southwestern Allegheny County and northeastern Washington County. From the heavy industry in the east where Peters Creek enters the Monongahela River,to the commercial northeast, the suburban northern communities, and the still rural and farming south, the watershed is a veritable patchwork of land use types.There is also a county park, a turnpike, a landfill, and a coal mining legacy to add to the mix. Some communities are relatively stable while others are undergoingrapid development. Peters Creek and its tributaries provide utility to them all in a myriad of ways.TributariesLewis Run, in Jefferson HillsBeam's Run, in JeffersonHillsLick Run, in South Park TownshipPiney Fork Run, in South Park TownshipPeters Creek also collects numerous unnamed tributaries along its course.Waterquality and recreationBecause of past water quality issues, Peters Creek was not considered to have any recreational purpose, but since the 1990s the waterquality has improved dramatically. Once plagued with garbage and acid mine drainage, the water quality is now high enough to support its own fish population,which includes trout, bass, catfish, carp, and bluegill.  It is now again possible to enjoy the stream through such activities as fishing, swimming, and during highwater, kayaking. There is also a new bike trail that runs along its bank, formerly part of the Montour Railroad.See alsoList of rivers of PennsylvaniaPassage8:Crocodile River (Limpopo)The Crocodile River (Tswana: Oodi, Afrikaans: Krokodilrivier) is a river in South Africa. At its confluence with the Marico River, theLimpopo River is formed.CourseThe Crocodile River has its source in the Witwatersrand mountain range, originating in Constantia Kloof, Roodepoort, Gautengprovince. The first dam on the river is the Lake Heritage Dam just west of Lanseria International Airport. Just north of this airport is its confluence  with theJukskei River. Further downstream into the North West province are the Hartbeespoort Dam and the Roodekoppies Dam. Beyond the Hartbeespoort Dam, thestream passes the town of Brits. The Elands River joins downstream from the Vaalkop Dam, about 20 km further the Pienaars River joins its right bank, shortlyafter exiting the Klipvoor Dam.In Limpopo province, about 35 km further, the river passes the town of Thabazimbi and meanders for many miles through asparsely inhabited area before joining the Marico River just west of Rooibokkraal at the limit of North West province to form the start of the LimpopoRiver.TributariesThe tributaries of the Crocodile River include the Bloubankspruit, Hennops River, Jukskei River, Magalies River, Sterkstroom River, Rosespruit,Skeerpoort River, Kareespruit, Elands River, Bierspruit River and Sundays River.PollutionThe Crocodile River is one of the most polluted river systems in SouthAfrica. The effects of pollution from two of South Africa's metropolitan areas, Johannesburg and Tshwane, has been detrimental to the ecology of the system.Untreated industrial, mining, agricultural and household waste has deteriorated the water quality throughout most of its course and led to massive algal blooms inthe Hartbeespoort Dam and Roodekoppies Dam. Invasive plant species have negatively affected the integrity of the system. Unsustainable farming practices haveled to sediment overloads and erosion further harming the river.DamsThe Crocodile River is part of the Crocodile (West) and Marico Water Management Area.Dams in the river basin are:Hartbeespoort DamRoodekoppies DamRietvlei Dam, in the Rietvlei RiverBon Accord Dam and Leeukraal Dam, in the ApiesRiverKlipvoor Dam and Roodeplaat Dam, in the Pienaars/Moretele RiverVaalkop Dam, in the Elands RiverBospoort Dam, in the Hex River (Matshukubjana)SeealsoDrainage basin AList of rivers of South AfricaList of reservoirs and dams in South AfricaPassage 9:São Sebastião RiverThere are two rivers named SãoSebastião River in Brazil:São Sebastião River (Espírito Santo)São Sebastião River (Paraná)See alsoSão Sebastião (disambiguation)Passage 10:EtheostomaobamaEtheostoma obama, the spangled darter,  is a species of freshwater ray-finned fish, a darter from the subfamily Etheostomatinae, part of the familyPercidae, which also contains the perches, ruffes and pikeperches. It is endemic to the eastern United States where it is only known to occur in the Duck Riverand the Buffalo River, both in Tennessee.Discovery and namingSteven Layman of Geosyntec Consultants and Rick Mayden of Saint Louis University studied thefreshwater darters, most of which are native to Alabama and Tennessee in the United States. While they were studying color variation of Etheostoma stigmaeum,the speckled darter, Layman and Mayden discovered that there were populations with enough variation that they should be described as unique species.Thisspecies was one of five distinct species of fish that were named after former U.S. presidents and a vice-president, based on their leadership in conservation. E.obama was named after Barack Obama, for his work \"particularly in the areas of clean energy and environmental protection, and because he is one of our firstleaders to approach conservation and environmental protection from a more global vision,\" according to Layman.DescriptionEtheostoma obama males have brightorange and iridescent blue speckles, stripes, and checked patterns, with a bright fan-shaped fin that has orange stripes. The males can reach up to 48 mm (1.9in) long, while the females reach 43 mm (1.7 in) long. 29% of the studied fish had palatine teeth.See alsoList of organisms named after famous people (born1950–present)"}
+{"doc_id":"doc_88","qid":"","text":"Passage 1:George Gordon, 2nd Earl of HuntlyGeorge Gordon, 2nd Earl of Huntly (died 8 June 1501) was a Scottish nobleman and Chancellor of Scotland from1498 to 1501.LifeGeorge was the son of Alexander (Seton) Gordon, 1st Earl of Huntly and his second wife Elizabeth Crichton, daughter of William Crichton, 1stLord Crichton. George is first mentioned by name in 1441 when the lands which later became part of the Earldom were settled on him and his heirs. George wasalmost certainly born shortly before this time, c. 1441 as his parents married before 18 March 1439–40.In his contract with Elizabeth Dunbar, Countess of Moray,dated 20 May 1455 he is styled the Master of Huntley. He is addressed as \"Sir George Seton, knight\", in a royal precept dated 7 March 1456–7, and in a crowncharter dated a year later he uses the name of Gordon for the first time, indicating he had assumed that surname. As George, Lord Gordon, he was keeper of thecastles of Kildrummy, Kindrochat and Inverness. He succeeded his father as Earl of Huntly c. 15 July 1470.Shortly after becoming Earl of Huntly he was involvedwith the Earl of Ross in a private war in which the king, James III of Scotland, interceded. Ross was charged with treason, but after refusing a summons from theking, was outlawed. One of the expeditions sent against the errant Earl of Ross was led by Alexander. After he captured Dingwall Castle and pressed his army intoLochaber, Ross relented and sought pardon for his actions from the king. In 1479 he was justiciary north of the River Forth, one of his primary duties was thesuppression of feuds between Highland clans. In 1497 George Gordon was appointed High Chancellor of Scotland, the honour probably bestowed at the sametime as his daughter Catherine married Perkin Warbeck, an adventurer in favour with King James IV of Scotland. George was Chancellor until 1500. George, thesecond earl, died at Stirling Castle on 8 June 1501.FamilyOn 20 May 1455, George Gordon was married by contract to Lady Elizabeth Dunbar, daughter of JamesDunbar, 7th Earl of Moray. The marriage was annulled due to affinity, before March 1459–60; the couple had no children.George secondly married, before March1459–60, Princess Annabella of Scotland, youngest daughter of King James I of Scotland and Joan Beaufort (the granddaughter of John of Gaunt). After severalyears of marriage, the Earl of Gordon instituted proceedings to have this marriage annulled as well, on the grounds that Princess Annabella was related in thethird and fourth degrees of consanguinity to his first wife, Elizabeth Dunbar, and the marriage was dissolved on 24 July 1471.George Gordon had a number ofchildren, but with few exceptions, there remains no clear consensus as to which child was of the second marriage and which was of the third:Lady Isabella Gordon(d. 1485), wife of William Hay, 3rd Earl of Erroll (d. 1507).Alexander Gordon, 3rd Earl of Huntly (died 21 January 1523/24)Adam Gordon, who married LadyElizabeth de Moravia, daughter and heir of John de Moravia, 8th Earl of Sutherland, and in her right became Countess of Sutherland after her brother's death.Their son was Alexander Gordon, Master of Sutherland.William Gordon, who married Janet Ogilvy and was the ancestor of the Gordons of Gight, from whom LordByron was a descendant.James Gordon, mentioned in an entail in 1498.Lady Janet Gordon, who married firstly, Alexander Lindsay, Master of Crawfurd; secondly,Patrick, Master of Gray (annulled); thirdly, Patrick Buttar of Gormark; and fourthly, James Halkerston of Southwood. She died before February 1559.LadyElizabeth Gordon, mother was Annabella, who was contracted to marry William Keith, 3rd Earl Marischal, in 1481.George obtained an annulment from his secondmarriage on 24 July 1471. He then married, thirdly, his mistress, Lady Elizabeth Hay, daughter of William Hay, 1st Earl of Erroll, and swore a solemn oath to haveno 'actual delen' with the lady until after they were married. He married Elizabeth Hay on 12 May 1476, and they had the following children:Lady CatherineGordon (died October 1537), probably a daughter of Elizabeth Hay, she married firstly, Perkin Warbeck (d. 1499), notorious for claiming to be Richard ofShrewsbury, 1st Duke of York, one of the young princes who disappeared from history in the Tower of London; she married secondly, James Strangeways ofFyfield (d. 1515); she married thirdly, Matthew Cradock of Swansea (d. 1531); and she married fourthly, Christopher Assheton of Fyfield. She was well receivedat the court of King Henry VII of England, who styled her \"the White Rose.\" She had no issue by any of her four husbands.Lady Eleanor GordonLady AgnesGordonNotesPassage 2:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus thegreat-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amral-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her fatherdied, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitioushopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hopedthat the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any ofthe sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Daribn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol reveredby Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon)because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. Shewas also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Familytree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage3:James Gordon, 2nd Viscount AboyneJames Gordon, 2nd Viscount Aboyne (c. 1620 – February 1649) was the second son of George Gordon, 2nd Marquess ofHuntly, a Scottish royalist commander in the Wars of the Three Kingdoms.Early lifeAboyne was a member of the powerful Gordon family, who were notable fortheir Roman Catholic sympathies in a kingdom where supporters of the Protestant Reformation controlled the central government. Although there is little directevidence for Aboyne's personal religious views, he was clearly opposed to extreme Protestantism, and he played a significant role in recruiting Catholics for theroyalist cause.He was educated at King's College, Aberdeen, and earned youthful military experience in France, where his father commanded of the GardeÉcossaise. Unusually for a younger son, James Gordon also inherited a peerage, becoming 2nd Viscount Aboyne in 1636.The Bishops' WarsIn 1639, the FirstBishops' War broke out, in which the Protestant faction known as the Covenanters attempted to seize control of church and state. The Covenanter armydispatched the dashing young James Graham, Earl of Montrose to deal with the Gordons.Viscount Aboyne was just nineteen, but he seems to have been regardedthroughout the campaign as the effective leader of the anti-Covenanter forces, even before his father and elder brother surrendered. Later, he continued the warin spite of a lack of effective support from King Charles's royal government.The teenage general suffered two reverses in June 1639 at Megray Hill and Brig o'Dee, attributed to unsteady infantry and dissent between his officers, but his losses were light, and his cavalry performed credibly, remaining in the field untilthey learned that the king had made peace with the Covenanters. It is also worth noting that Aboyne's defence of Aberdeen at Brig o'Dee was so determined thatthe battle lasted two days (18 and 19 June) before Montrose finally dislodged him.In this short campaign, the Gordon cavalry anticipated the tactics of the EnglishCivil War: they often moved as a mounted column without infantry support, and they usually charged with the sword, discovering how ineffective a pistol caracolecould be at Megray. Unusually, it seems that Aboyne's elite troop of one hundred \"gentleman volunteer cuirassiers\" were clad in full armour, in contrast to thebuff coats and breastplate now favored by most cavalry regiments. This was still sought-after equipment, as it gave protection against bullet and sword-thrusts,and in the English Civil War it was worn by generals' bodyguards and the famous London lobsters.Scottish Civil WarFor the next few years, a tenuous peace heldin Scotland. Viscount Aboyne seems to have kept a low profile, living partially in England, but in 1642, the First English Civil War broke out, setting King Charlesagainst his Parliament.Aboyne now worked hard to arrange a military alliance with Clan Donald and the Irish Confederates, and came to be associated politicallywith the Scottish earls of Nithsdale, Crawford and Airlie - all open or suspected Catholics. Not unreasonably, their enemies saw this as a war plan to restore theold religion.But Aboyne also found common cause with his former opponent Montrose, a loyal royalist as well as  a committed Presbyterian; both of them believedthe Scottish Covenanters were now likely to enter the war on Parliament's side.Aboyne spent 1644 with royalist forces around Carlisle, while his brothers raisedthe family's forces in the north. The next spring, he returned to Scotland, fighting in Montrose's victories at Auldearn, Alford, and at Kilsyth; in each battle, he leda flanking charge on the left wing that broke the Covenanters' right. After Alford, there is some evidence that he was promoted in the peerage, under the title ofEarl of Aboyne.Yet while the army was victorious on the field, Aboyne's personal position was increasingly difficult. His father, the Marquess of Huntly, believedthe family's troops should be used to eliminate the Covenanters in the north - in contrast with Montrose, who intended to march south into England. At the sametime, the relationship between Montrose and Aboyne was becoming strained, not least when the Earl of Crawford was appointed to command the army's cavalry,an awkward role when Aboyne commanded the only large mounted force.In September 1645, Aboyne and the Gordon cavalry withdrew to the north, shortlybefore the Battle of Philiphaugh. With hindsight, Aboyne's action is sometimes said to have cost the royalists the battle and the war.In reality, the war was farfrom over at Philiphaugh. Montrose moved north, and in spite of Huntly's increasingly pathological inability to cooperate with him, the royalist armies provedlargely successful in the field. Aboyne, caught between his father and his general, busied himself raising troops in the central Highlands.The cause was"}
+{"doc_id":"doc_89","qid":"","text":"Passage 1:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was bornin Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatrein during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which openedOff-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for hisdirection. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival ofSteel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of JerrySpringer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based onArmistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play TheFloatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte,North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring AnnaKendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which wasreleased on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)ShotgunWedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 2:Ian Barry (director)Ian Barryis an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie andMe (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:NowWhere Did the 7th Company Get to?Now Where Did the 7th Company Get To? (French: Mais où est donc passée la septième compagnie?) is a 1973 French-Italiancomedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Army squad lost somewhere on the front in May 1940 during theBattle of France.PlotDuring the Battle of France, while German forces are spreading across the country, the 7th Transmission Company suffers an air raid near theMachecoul woods, but survive and hide in the woods. Captain Dumont, the company commander, sends Louis Chaudard, Pithiviers and Tassin to scout the area.After burying the radio cable beneath a sandy road, the squad crosses the field, climbs a nearby hill, and takes position within a cemetery. One man cut down thewrong tree for camouflage, pulling up the radio cable and revealing it to the passing German infantry. The Germans cut the cable, surround the woods, and ordera puzzled 7th Company to surrender. The squad tries to contact the company, but then witness their capture and run away.Commanded by Staff SergeantChaudard, the unit stops in a wood for the night. Pithiviers is content to slow down and wait for the end of the campaign. The next day, he goes for a swim in thelake, in sight of possible German fighters. When Chaudard and Tassin wake up, they leave the camp without their weapons to look for Pithiviers. Tassin finds himand gives an angry warning, but Pithiviers convinces Tassin to join him in the lake. Chaudard orders them to get out, but distracted by a rabbit, falls into the lake.While Chaudard teaches his men how to swim, two German fighter planes appear, forcing them out of the water. After shooting down one of the German planes,a French pilot, Lieutenant Duvauchel, makes an emergency landing and escapes before his plane explodes. PFC Pithiviers, seeing the bad shape of one of hisshoes, destroys what is left of his shoe sole. Tassin is sent on patrol to get food and a new pair of shoes for Pithiviers. Tassin arrives in a farm, but only finds adog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns with her daughter-in-law and Lt Duvauchel, and she welcomes Chaudard.Duvauchel, who is hiding behind the door, comes out upon hearing the news and decides to meet Chaudard's men.When Chaudard and Duvauchel return to thecamp, Tassin and Pithiviers are roasting a rabbit they caught. Duvauchel realizes that Chaudard has been lying and takes command.The following day, the menleave the wood in early morning and capture a German armored tow truck after killing its two drivers. They originally planned to abandon the truck and the twodead Germans in the woods, but instead realized that the truck is the best way to disguise themselves and free the 7th Company. They put on the Germans'uniforms, recover another soldier of the 7th Company, who succeeded in escaping, and obtain resources from a collaborator who mistook them for Germans.Ontheir way, they encounter a National Gendarmerie patrol, who appear to be a 5th column. The patrol injures the newest member of their group, a young soldier,and then are killed by Tassin. In revenge, they destroy a German tank using the tow truck's cannon gun.They planned to go to Paris but are misguided by theirown colonel, but find the 7th Company with guards who are bringing them to Germany. Using their cover, they make the guards run in front of the truck, allowingthe company to get away. When Captain Dumont joins his Chaudard, Tassin, and Pithiviers in the truck, who salute the German commander with a greatsmile.CastingJean Lefebvre : PFC PithiviersPierre Mondy : Staff Sergent Paul ChaudardAldo Maccione: PFC TassinRobert Lamoureux: Colonel BlanchetErik Colin:Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobert Dalban : The peasantJacques Marin: The collaborationistRobert Rollis: A FrenchsoldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septième compagnie (The Seventh Company Has Been Found) by RobertLamoureux;– 1977 : La Septième Compagnie au clair de lune (The Seventh Company Outdoors)) by Robert Lamoureux.The story is set in Machecoul woods, butit was actually filmed near Cerny and La Ferté-Alais, as well as Jouars-Pontchartrain and Rochefort-en-Yvelines. The famous grocery scene was filmed inBazoches-Sur-Guyonne.Robert Lamoureux based this film on his own personal experiences in June 1940 during the war.The final scene with the parachute isbased on a true story. The 58 Free French paratroopers were parachuted into Brittany in groups of three, on the night of 7 June 1944 to neutralize the railnetwork of Normandy Landings in Brittany, two days before.Box officeThe movie received a great success in France reaching the third best selling movie in1974.NotesExternal linksMais où est donc passée la septième compagnie? at IMDbPassage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historianand museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director ofMaihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order ofSt. Olav.Passage 5:Andrzej FidykAndrzej Fidyk (born in 1953, Warsaw) is a  Polish documentary filmmaker, producer, and professor of the Krzysztof KieślowskiFilm School in Katowice. He is best known for work his 1989 documentary Defilada (The Parade), which depicts the mass parades choreographed to celebrate thefortieth anniversary of the Democratic People's Republic of Korea (North Korea) in 1988.Initially, Fidyk planned to be an economist.  During 1972 and 1977 hestudied foreign trade atthe Central School of Planning and Statistics at the Warsaw School of Economics. After graduation, he worked at the ForeignTrade Bureaufor two years, work which he hated He first started working for television in 1980, since when he has made over 40 documentary films shown primarily on Polishand British television. From 1991 to 1996 he worked for the BBC in the Music and Arts Department.  Between 1996 and 2004 he was Head of Documentaries atPolish Television.Filmography1982Idzie Grześ przez wieś, production, script,1983Optymistyczny film o niewidomych, director,1984Ich teatr,  director,script,1985Prezydent,  director,1986Noc w pałacu,  director, script,Praga,  director, script,1987Królewna Śnieżka, telefon i krowa,  director, script,1988Paryż,miasto kontrastów,  director, script,1989Defilada,  production, script,1990Ostatki, script, production1993Sen Staszka w Teheranie,  director, script,1994Niebooplutych,  production,Pocztówka z Japonii,  production, script,The Russian Striptease,  director, production,1995Carnaval. The Biggest Party In TheWorld,  production, production,Ostatki,  production, script,1997Ciężar nieważkości,  editing,Cross,  art consultation,Dziewczyny z Szymanowa,  production,EastOf Eastenders,  director,Historia Jednej Butelki,  art consultation,Jeden dzień z życia Tomka Karata,  art consultation,Kanar,  production,El Porvenir de UnaIlusion,  production,1998Dotknięci,  art consultation,Ganek,  production,Kiniarze z Kalkuty,  director, script, production,Marzenia i śmierć,  artconsultation,199924 dni,  production,Oni,  editing,Takiego pięknego syna urodziłam,  art consultation,Twarzą w twarz z Papieżem,  editing,1989-1999 wdziesiątkę,  editing,2000Jan Paweł II w Ziemi Świętej,  editing,Ziemia podwójnie obiecana. Jan Paweł II w Ziemi ŚwiętejŚlub w Domu Samotności,  editing,Taniectrzcin,  production, script,2001Prawdziwe psy (TV documentary/novel),  editing,Serce Z Węgla,  editing,2002Bobrek Dance,  editing,Mój synRomek,  editing,Przedszkolandia (TV documentary/novel), editing,2003Imieniny,  art consultation,2008Yodok Stories,  director i script,2009Balcerowicz. Gra owszystko, director, script.2016Lech Walesa, A Portrait, director.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is anIrish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody EssexMuseum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the directorof the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and worksin the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the"}
+{"doc_id":"doc_90","qid":"","text":"Passage 1:Ludwig II (2012 film)Ludwig II is a 2012 German-Austrian historical film directed by Peter Sehr and Marie Noëlle, starring Sabin Tambrea as theyounger Bavarian King Ludwig II and Sebastian Schipper as the king in his later years.PlotCrown Prince Ludwig suffers under the authoritarian education of hisfather King Maximilian II and has no interest in his militaristic attitude. In addition, because of his love for music and the fine arts, Ludwig repeatedly incurs thedispleasure of his father. For Ludwig, art is more important than daily bread.Maximilian II dies unexpectedly of erysipelas, so Ludwig, full of idealism, ascends theBavarian throne at the age of 18. At a time when war and poverty are omnipresent, he believes in a better world and wants to use his power to ensure that hispeople can live in peace and happiness. He wants his kingdom to become a place where beauty, art and culture will flourish; instead of weapons, Ludwig wants toinvest public money in theatre, music and education.He spends his free time with his young cousin, Sophie, the sister of the Austrian Empress Sissi. With her hecan philosophise about music and the beauty of the world. Moreover, he has all of his rooms in the castle remodelled and designed according to his ideas.He lovesRichard Wagner's operas, and his passion and admiration for the controversial composer's works and their legends are so great that he wants to bring Wagner tohis court. To achieve this, he instructs the well-known music lover Johann von Lutz to track down Wagner and bring him to his court. He awaits the arrival of hisidol impatiently and receives him with great respect. He settles Wagner's debts and obtains a pardon for the revolutionary and politically persecuted composer.However, his ministers rebel against his expensive sponsorship of the composer.At first, Ludwig throws himself into political business with enthusiasm. Heinitiates a school reform and distributesmusical instruments instead of weapons to his young cadets. He is of the opinion that if Bavaria should ever be attacked,the sound of Wagner's music will immediately disarm them. Even a conversation with his cousin, Elisabeth of Austria, who wants to ask for help in preventingPrussia from waging war against Austria, fails because of his naive belief that music alone is capable of keeping people's hearts in a peaceful .Ludwig's ministersare not satisfied with the power that Wagner's ideas seem to have over the young king. Ludwig increasingly neglects the affairs of government. The news of animpending war reaches him while he is on the road with Wagner in the Bavarian mountains. The composer suggests that he replace the ministers who now wantto go to war. They in turn threaten to resign from their positions if Ludwig does not part with Wagner and his influence. Since the king fears for his friend's life, heurges him to leave Bavaria. He realises that circumstances are against him, and his beloved kingdom gets involved in the war with Prussia against his will.Disheartened, and showing first signs of delusional illnesses, Ludwig withdraws from public life.The news of the defeat of his army hits him hard, since he hasspent the money that was intended for modern rifles on musical instruments. His stable master, Richard Hornig, is at his side and is willing to support him, butLudwig does not want to admit his affection for men. In order to deal with the war defeat, he travels his country and shows himself to his people. Moreover, heplans his wedding with Sophie because he is convinced that the people expect this from him. As part of the wedding preparations, Wagner arrives at court againto take over the musical design. As a result, Ludwig meets a young singer, Heinrich Vogel, whom he wants to hear singing as Lohengrin, which incurs Wagner'sdispleasure.Sophie demands proof of love in the form of a kiss from her future husband. This leads to a scandal, and Ludwig cancels his already planned andlonged-for wedding because he realises that, due to his homosexuality, which he does not confess to her or to others, he cannot have more than friendship withhis fiancée. In a letter, he asks Sophie's forgiveness and understanding. In his opinion, she has the right to be happy, which would not be possible at his side inthe long run.In addition to those private problems, political events are catching up with him again. Bavaria's defeat by Prussia forces the country to enter the1870-71 war against France as a compulsory ally of Otto von Bismarck. Bismarck's efforts to create an all-German empire, headed by an emperor, destroys thedream of a sovereign Bavarian kingdom continuing to exist. Ludwig's brother Otto suffers a nervous breakdown and has to be taken to a sanatorium. Theattending physician assumes that Otto will not recover from his mental derangement. Ludwig promises to build his brother a castle where he can be who he is,just as he also longs himself to have a place where he can be who he is. With this in mind, he has Neuschwanstein Castle built.Nevertheless, Ludwig does notachieve peace: the abysses of his soul are too deep, tormenting him and making him despair. Disillusioned, he retires again from public life and takes refuge inthe world of opera melodies. He does not want to admit the financial problems that the state budget has to suffer due to his excessive  construction activities. Butreality catches up with him, and Ludwig's opponents team up to depose him and the castles in his dream realm of fantasy. Even his long-standing devotee Johannvon Lutz, whom he had made minister, comes to doubt Ludwig's common sense. After a fire breaks out in the castle, Richard Hornig is seriously injured. Thesadness of never being allowed to stand by his love for the stable master drives him even further into madness, which his opponents are now increasingly awareof. One of his ministers has a medical report drawn up in order to justify deposing the king.Ludwig senses the plan and intends to blow himself up with his castlesbefore he can be chased away from them, but the project fails due to the inappropriate explosives. Following that, the minister succeeds in taking the king intomedical care against his will in Castle Berg.Desperate about the disregard for his royal privileges, and his treatment as a \"poor lunatic\", he decided to escape histreatment. While taking a walk with his doctor, he escapes him and runs into Lake Starnberg, where he drowns.Historical inaccuraciesThe death of KingMaximilian II, Ludwig's father, in the film is shown as if it were extremely sudden. Actually, the sickness which led to his death lasted for many weeks, duringwhich Ludwig was criticized for the audiences he granted to the tenor Albert Niemann, a behaviour considered disrespectful towards his sick father.The meetingbetween Ludwig and Richard Hornig where Hornig himself finds Wagner, which in the film takes place in March 1864, happened instead in May 1867In the film thefamous official portrait of Ludwig is painted in 1867 while in reality it was already painted in 1865.In the film Richard Wagner is found by Hornig while in reality hewas found by the king's minister Pfistermeister. Indeed, it was to him that Ludwig gave the photograph with the ruby to give to the composer, and not to Lutz asseen in the film.Ludwig decides to curl his hair for the arrival of Wagner, but this decision was actually made when he was still crown prince to hide his protrudingears, a physical defect that he could not bear.In the film Ludwig signs the famous Kaiserbrief in the Residenz, while it happened in Hohenschwangau, which isneither shown nor mentioned, although it was a castle very dear to Ludwig.CastSabin Tambrea as King Ludwig II (young)Sebastian Schipper as King LudwigIIHannah Herzsprung as Empress Elisabeth of AustriaEdgar Selge as Richard WagnerTom Schilling as Prince OttoJustus von Dohnányi as Johann von LutzFriedrichMücke as Richard HornigSamuel Finzi as Lorenz MayrChristophe Malavoy as Napoleon IIIAxel Milberg as King Maximilian IIKatharina Thalbach as Queen MarieUweOchsenknecht as Prince LuitpoldPaula Beer as Duchess Sophie in BavariaAugust Wittgenstein as Alfred Eckbrecht von Dürckheim-MontmartinPassage 2:Marie ofPrussiaMarie of Prussia (German: Marie Friederike Franziska Auguste Hedwig von Preußen; October 15, 1825 – May 17, 1889) was Queen of Bavaria by marriageto Maximilian II of Bavaria, and the mother of Kings Ludwig II and Otto of Bavaria.LifeBorn and raised in Berlin, she was the daughter of Prince Wilhelm ofPrussia, a younger brother of King Friedrich Wilhelm III of Prussia, and his wife, Landgravine Marie Anna of Hesse-Homburg. The family spent half of the year atFischbach (today Karpniki) Castle in Silesia, where they loved to hike in the Giant Mountains. In her youth, Marie was seriously considered as a wife for Ernest II,Duke of Saxe-Coburg and Gotha, until her engagement to Maximilian was announced.QueenOn 12 October 1842, she married the Crown Prince, and later King ofBavaria, Maximilian II.Marie was loved equally by both the Catholic and Protestant populations. (At that time, Bavaria was mostly Catholic, whilst Prussia wasmostly Evangelical.) A specific emphasis of her \"great social engagement\" was a reactivation of the Bavarian Women's Association, which took place on 18December 1869 with the aid of her son, Ludwig II. Its aim was \"Pflege und Unterstützung der im Felde verwundeten und erkrankten Krieger\" (Care and support ofsoldiers wounded and injured in the field). The Bavarian Red Cross was officially founded as a result of the Bavarian Women's Association. The Red Crosseventually took over for the Queen.Queen dowagerWith the sudden death of Maximilian II on 10 March 1864, Marie became a widow. On 12 October 1874, sheconverted to Catholicism.As a widow she lived at Nymphenburg Palace. She spent her summer holidays at Schloss Hohenschwangau near Füssen, a castle herhusband had redecorated in Gothic Revival style, and at her country estate in Elbigenalp in the Lechtal Alps. She enjoyed hiking the mountains, which she hadoften done with her sons when they were young. Marie looked after her second son Otto, who was declared insane. She outlived her elder son, Ludwig II, bynearly three years; his unusual death occurring on 13 June 1886. He had not liked her very much (just as he disliked most of his other relatives) and had tried toavoid contact as far as possible. Marie died in 1889 in Hohenschwangau.She is interred in the Theatine Church in Munich in a side chapel opposite herhusband.IssueLudwig II of Bavaria (25 August 1845 - 13 June 1886); succeeded as King of Bavaria as Ludwig II. Declared mentally incompetent withoutexamination and deposed in a coup in favour of his uncle, Prince Luitpold, on 10 June 1886; died under disputed circumstances.Otto I of Bavaria (27 April 1848 -11 October 1916); succeeded as King of Bavaria as Otto I, but reigned only in name due to the regency of his uncle, Prince Luitpold. Declared mentallyincompetent and deposed on 5 November 1913 by his cousin Prince Ludwig, later King Ludwig III of Bavaria.HonoursKingdom of Bavaria: Grand Mistress of theOrder of Theresa Kingdom of Prussia:Dame of the Order of Louise, 1st DivisionCross of Merit for Women and Girls Spain: Dame of the Order of Queen Maria Luisa,17 June 1856 Kingdom of Saxony: Dame of the Order of Sidonia, 1871AncestryPassage 3:Ernst LubitschErnst Lubitsch (; January 29, 1892 – November 30,"}
+{"doc_id":"doc_91","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:Bobby ColemanRobert Moorhouse \"Bobby\" Coleman III (born May 5, 1997) is an American actor.  He is best known forhis roles as a child actor in the films Martian Child (2007), as the title character, and The Last Song (2010).Life and careerRobert Coleman was born in LosAngeles, California, the son of Doris Berg and Robert Moorhouse Coleman Jr. He is the younger brother of actress Holliston Coleman, and lives with his family inthe Los Angeles area.Coleman began acting at the age of five in commercials, and has since appeared in several film and television productions. He had briefappearances in a number of series such as Medium and JAG, before moving into film roles. He appeared in the feature films Must Love Dogs and Friends withMoney, and also had a recurring role in the television series Surface, before taking leading roles in the films Glass House: The Good Mother and Take. He playedthe title lead role in the film Martian Child, his second role alongside John Cusack and is set to appear with his sister in Proving Ground: From the Adventures ofCaptain Redlocks, in which he will play the younger brother of his real-life sister. They are both set to star together again in the science-fiction adventure film,Robosapien: Rebooted. He appeared in the 2010 film The Last Song as Jonah Miller, the younger brother of Miley Cyrus's character.FilmographyAwards2008Young Artist AwardBest Performance in a Feature Film - Young Actor Age Ten or Younger for Martian Child — NominatedPassage 3:Martian ChildMartian Child is a2007 American comedy-drama film directed by Menno Meyjes and based on David Gerrold's 1994 novelette (not the expanded 2002 novel) of the same name.The film stars John Cusack as a writer who adopts a strange young boy (Bobby Coleman) who believes himself to be from Mars. The film was theatrically releasedon November 2, 2007, by New Line Cinema.PlotDavid Gordon, a popular science fiction author, widowed two years prior as they were trying to adopt a child, isfinally matched with a young boy, Dennis. Initially hesitant to adopt alone, he is drawn to him, seeing aspects of himself in him.Believing he is from Mars, Dennisprotects himself from the sun's harmful rays, wears weights to counter Earth's weak gravity, eats only Lucky Charms, and hangs upside down to facilitatecirculation. He refers often to his mission to study Earth and its people, taking pictures, taking things to catalog, and spending time consulting an ambiguoustoy-like device with flashing lights that produces seemingly unintelligible words.Once David decides to adopt Dennis, he spends time getting to know him,patiently coaxing him out of the large cardboard box he hides in. Soon, David is cleared to take Dennis home and meet David's dog, \"Somewhere.\" In Dennis'sbedroom is a projector of the solar system that he pronounces inaccurate. With the help of his friend Harlee and sister Liz, David tries to help Dennis overcomehis delusion by both indulging it and encouraging him to act like everyone else. Dennis attends school but is quickly expelled for repeatedly 'stealing' items for hiscollection. Frustrated, David tells Liz that perhaps Dennis is from Mars.Meanwhile, David's literary agent, Jeff, pushes him to finish writing his commissionedsequel, which is due soon. He struggles to make time for writing, regularly pulled away from it to deal with Dennis. While sitting down to write, the flash fromDennis's Polaroid camera catches him off-guard and he accidentally breaks some glass. David picks Dennis up and carries him across the room. Upset by David'sabrupt action, the boy fears he is going to be sent away. David explains that he was just worried he'd get cut by the glass and that he loves him more than hismaterial possessions. Assuring him that he will never send him away, he encourages Dennis to break more things. They move to the kitchen and break dishes andthen spray ketchup and dish detergent at each other. Lefkowitz, from Social Services, appears in the window and sees the mayhem. He rebukes David, setting upa case review.David encourages Dennis to be from Mars only at home; though he must be from Earth everywhere else. Passing his interview by saying he waspretending, he stays with David. Now his adoptive father, he insists Dennis acknowledge being from Earth, making him hurt and angry. David leaves him with Lizto attend the reveal of his new book, supposedly a sequel. He confesses to Tina, the publisher, that rather than being a sequel, it is a new book titled MartianChild, about Dennis. In her fury, Tina makes a scene, but takes the manuscript as David leaves to be with Dennis.Meanwhile, Dennis has left the house with hissuitcase of earthly artifacts. When David arrives home, he finds the police and learns the boy is gone, he remembers the place he'd said he was found. David asksHarlee to drive him to the location, where they spot Dennis high up on the outside ledge of the museum's domed roof. David climbs up to him as the police andLiz arrive. Dennis points out a bright searchlight in a nearby cloud as someone coming to take him home, but David assures him it's just a helicopter. Davidprofesses his love for Dennis and asserts he will never ever leave him. Eventually Dennis trusts David and they hug.David's voiceover tells about the parallel ofchildren who come into our world, struggling to understand it, being like little aliens. As Tina reads the manuscript aboard an airplane, she begins to cry.CastInaddition, Anjelica Huston plays Tina, David's publisher.ProductionDespite persistent misperceptions, this film is not based on David Gerrold's 2002semi-autobiographical novel The Martian Child, (although it shares some of the same incidents) but rather is based on his 1994 fictional Hugo and NebulaAward-winning novella of the same name, which has caused much confusion about the source material, especially for Gerrold's fans in segments of the gaycommunity.  The short story does not specify the protagonist's sexual orientation.  Only when, years later, Gerrold rewrote and expanded his story to novellalength did he choose to include his sexuality. While Gerrold had, in real life, adopted a son as an openly gay man, in the film the protagonist is straight and has afemale love interest. Because of the confusion surrounding the different publication dates of the original short story and the latter novella, some members of thegay community have criticized the lead role in the film being portrayed as straight, even though the main character in the short story was never identified as gay.Gerrold has expressed disappointment that the producers forced the protagonist to be changed from a gay man to a straight widower but felt it was a worthwhiletrade-off to get published a story about a child in a group home needing a parent.The film began shooting in Vancouver on May 2, 2005, and completed filming inJuly 2005, with the studio repeatedly pushing back the release date. Jerry Zucker was hired to direct uncredited reshoots shortly before the film'srelease.ReleaseBox officeMartian Child opened in 2,020 venues on November 2, 2007 and earned $3,376,669 in its first weekend, ranking seventh in thedomestic box office and third among the weekend's new releases. The film closed six weeks later on December 13, having grossed $7,500,310 domestically and$1,851,434 overseas, totaling $9,351,744 worldwide.Critical receptionThe film received mixed reviews from critics. On Rotten Tomatoes, the film has a 33%score, based on 106 reviews, with an average rating of 5/10. The site's consensus states: \"Despite some charms, overt emotional manipulation and aninconsistent tone prevents Martian Child from being the heartfelt dramedy it aspires to be.\" Metacritic reports a 48 out of 100 rating, based on 26 critics,indicating \"mixed or average reviews\".Home mediaMartian Child was released on DVD on February 12, 2008. It opened at #20 the DVD sales chart, selling69,000 units for revenue of $1.3 million. As per the latest figures, 400,000 DVD units have been sold, acquiring revenue of $7,613,945. This does not includeDVD rentals/Blu-ray sales.  The film is available on Netflix streaming.AwardsPassage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of thePeabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. Hewas the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedycurrently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he becamethe ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Earlylife and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees fromUniversity College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission,Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). Hemarried Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Associationof Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged forseveral major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensivemulti-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, BettyChurcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years"}
+{"doc_id":"doc_92","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She wasappointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and anIsraeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. Shemoved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors.During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She alsodirected and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film andacademic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged andpromoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed themini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen wasappointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter,2006)Passage 2:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an American actor. He has worked extensively in both film and televisionproductions since the early 1990s. His television roles include Ally McBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey'sAnatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since 2018, he has played Police Sergeant Wade Grey on the ABC policedrama The Rookie.His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa'scoming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and CaptainRussell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones was born in Kobe, Japan, to American parents and grew up in Carson, California. Heis the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the Nankai Hawks inOsaka. He has an older brother, Clarence Jones Jr., who works as a high school basketball coach. They would return to North America after Clarence's retirementfollowing the 1978 season. His parents later divorced. Jones attended Bishop Montgomery High School in Torrance, California, then graduated from TuskegeeUniversity.CareerSince the early 1990s, Jones has worked in both film and television productions.His first television role was in a 1993 episode of the seriesCalifornia Dreams. That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999 to 2005, he starred as Bruce Calvin van Exel inthe CBS legal drama series Judging Amy.Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997),CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017).His film roles includeportrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), andMike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywoodblockbuster Godzilla (2014).From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd.Since February 2018,Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with Nathan Fillion.Personal lifeJoshua Media Ministriesclaims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to its efforts.FilmographyFilmTelevisionPassage 3:BrianKennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and nowlives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was thedirector of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery ofAustralia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the HoodMuseum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe asthe executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. Hereceived B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the IrishDepartment of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government PublicationsOffice (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland inDublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the travelingexhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at themuseum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public"}
+{"doc_id":"doc_93","qid":"","text":"Passage 1:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyAchoir director, a composer and music teacher. Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory(1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor ofthe choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen MotherElena\" high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds theMetropolitan Cathedral of Chişinău.CreationHis main creation is considered the music for \"Limba Noastră\", current national anthem of Moldova, composed in thelyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 2:Karl Wilhelm (conductor)Karl Wilhelm, also CarlWilhelm (5 September 1815, Schmalkalden – 26 August 1873, Schmalkalden) was a German choral director. He is best known as the composer of the music ofthe song “Die Wacht am Rhein.”BiographyWilhelm was born in Schmalkalden. He studied at Cassel under Louis Spohr, and then in Frankfurt am Main with AloysSchmitt and A. André. From 1841 to 1864 he was the director of the Krefeld Liedertafel for which he composed numerous male choruses. In Krefeld in 1854 heset to words “Die Wacht am Rhein,” the poem Max Schneckenburger wrote in 1840. In recognition of the success and the national importance of this song, hereceived the title of “Royal Prussian Musical Director” in 1860, and four years later received a gold medal from Queen (later Empress) Augusta.On 24 June 1871,he received a personal acknowledgement from Chancellor of the German Empire Otto von Bismarck. In the same year, he received an annual gift from thegovernment of 3,000 marks, which was then more than four times a typical salary.From 1865 on, Wilhelm worked as the director of the music society inSchmalkalden, where he died eight years later.NotesPassage 3:Pydimarri Venkata Subba RaoPydimarri Venkata Subba Rao (10 June 1916 – 1988) was a Teluguauthor who is best remembered as the composer of the National Pledge of India.Writer and polyglotSubba Rao was a native of Anneparthy village in the NalgondaDistrict of Telangana. He was a polyglot, having mastered Sanskrit, Telugu, English and Arabic. He was also a naturopathy doctor and a bureaucrat who wroteseveral books in Telugu, the most famous of which is the novel Kalabhairavudu.Composer of the National PledgeSubba Rao composed the National Pledge inTelugu in 1962 while he was serving as the District Treasury Officer of Vishakhapatnam District of Andhra Pradesh. He was a close associate of the nationalistleader Tenneti Viswanadham, who forwarded the pledge to the then Education Minister of Andhra Pradesh, P.V.G. Raju who was also known as the Raja Saheb ofVizianagaram. Raju directed all the schools in the district to have the students take the pledge and it was subsequently taken up at the national level. TheAdvisory Committee of the Department of Education, Government of India at its meeting in Bangalore in 1964 decided to introduce the pledge in all schoolsnationally from 26 January 1965. The Government of India had it translated into seven languages and directed that it be taken in schools every day.  Curiously,Subba Rao himself remained unaware of the status of this pledge as the National Pledge. It was only when, after his retirement, he happened to hear hisgranddaughter read the pledge from a textbook that he and his family realised this. The records with the Union Human Resources Development Ministry alsorecord him as the author of the Pledge although his family's letters to the central and state governments remained unanswered until his death in 1988.GoldenJubilee Celebrations2012 marks the golden jubilee year of the National Pledge and there are plans afoot to commemorate it and the author as part of thecelebrations.Passage 4:Alexander CourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was anAmerican orchestrator, arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music for the originalStar Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester, New York,in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During that period, he also found the time tocompose music for the radio. His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage,and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"Life Upon theWicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons atMaxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My FairLady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like ItHot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer),and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apartfrom his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun(1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughoutthe 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams inaddition to Courage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the FilmMusic Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8,2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost inSpace, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only televisionseries besides Star Trek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show TheWaltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an Emmy Award for hismusic direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primaryorchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated withJohn Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6,1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck,renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the UnitedStates in 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile's marriage toCourage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) andBrian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. inPacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid andaccomplished photographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport andphotography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paidat least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over hisfamilial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Laterin life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophonestudent.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended indivorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage washired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went onto score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated fromRoddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics tobe sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer. Couragewas replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season. After sound editors had difficultyfinding the right effect, Courage himself made the iconic \"whoosh\" sound heard while the Enterprise flies across the screen.He returned to Star Trek to score twomore episodes for the show's third and final season, episodes \"The Enterprise Incident\" and \"Plato's Stepchildren,\" allegedly as a courtesy to Producer RobertJustman.Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestratedGoldsmith's adaptation of his original Star Trek theme.Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme becameone of the franchise's most famous and memorable musical cues. The fanfare has been used in multiple motion pictures and television series,  notably Star Trek:"}
+{"doc_id":"doc_94","qid":"","text":"Passage 1:Don River (North Queensland)The Don River is a river in North Queensland, Australia.Course and featuresThe Don River rises in the Clarke Range, part of the Great Dividing Range, below Mount Roundhill and west of Proserpine. The river flows generally north by northeast through the Eungella National Park and is joined by thirteen minor tributaries, towards its mouth and empties into the Coral Sea north of Bowen. With a catchment area of 1,200 square kilometres (460 sq mi), the river descends 253 metres (830 ft) over its 60-kilometre (37 mi) course.High salinity levels have been recorded at the mouth of the river. Land use in the upper catchment is mostly beef cattle production with crops grown in the richer soils downstream.The river is crossed by the Bruce Highway via the Don River Bridge at Bowen.FloodingThe highest recorded flood was in 1970 when the river reached 7.25 metres (23.8 ft) at the Bowen Pumping Station. The river delta is particularly vulnerable to flooding during cyclones.Floods in 2008 left deposits of sand which raised the riverbed considerably. Approval to dredge sand was granted by the Queensland Government, however only about half of that has been removed in recent years. A flood in 2008 lead the Whitsunday Regional Council to create a channel so that similar flooding could be avoided.A management plan for the river was established late in 2008.  It included measures to encourage further sand extraction.See alsoList of rivers of Australia § QueenslandPassage 2:Bowen River (Queensland)The Bowen River is a river in North Queensland, Australia.Course and featuresFormed by the confluence of the Broken River and the Little Bowen River near Tent Hill in the Normanby Range, part of the Great Dividing Range, the Bowen River flows in a north-westerly direction along the base of the range then flows west across Emu Plains and is crossed by the Bowen Developmental Road just north of Havilah. The river then flows north-west again between the Herbert Range and Leichhardt Range then discharges into the Burdekin River, south southeast of Ravenswood. The river descends 98 metres (322 ft) over its 129-kilometre (80 mi) course.The catchment area of the river occupies 9,452 square kilometres (3,649 sq mi) of which an area of 236 square kilometres (91 sq mi) is composed of riverine wetlands. The catchment is in poor condition with much of the riparian habitat having been cleared and prone to erosion. The area is mostly used for cattle grazing with the towns of Collinsville and Glendon both drawing their town water supply from the Bowen River Weir. The river has a mean annual discharge of 1,618 gigalitres (3.56×1011 imp gal; 4.27×1011 US gal).The Bowen River Weir supplies water to a coal mine, power station and the township of Collinsville.HistoryThe river was named in 1861 by the Queensland Government, derived from the name of the town Bowen which was named in honour of Sir George Bowen, a  Governor of Queensland.In the 1860s, Richard Daintree made mineral discoveries along the river. Daintree made the first systematic examination of the Bowen River coal seams near Collinsville.Circa 1865, the Bowen River Hotel was built at the top of a steep bank of the river (20.534°S 147.5562°E\u0000 / -20.534; 147.5562\u0000 (Bowen River Hotel)). The hotel is now listed on the Queensland Heritage Register.Construction of the Bowen River Weir commenced in April 1982 and was completed in August 1983. The A$6.5 million project is situated approximately 25 kilometres (16 mi) south of Collinsville and delivers water to the Newlands Coal Mine.See alsoList of rivers of Australia § QueenslandPassage 3:Alder Creek (Siskiyou County, California)Alder Creek is a  river located in Siskiyou County, California.Passage 4:Bighead RiverThe Bighead River is a river in Grey County in southern Ontario, Canada, that flows from the Niagara Escarpment between the communities along Ontario Highway 10 of Arnott and Holland Centre in the township of Chatsworth to empty into Nottawasaga Bay, an inlet of Georgian Bay on Lake Huron, at Meaford.The river crosses the Bruce Trail in the valley between the Spey River Forest Area and the Walters Falls Conservation Area.TributariesEast Minniehill Creek (right)Minniehill Creek (right)Rocklyn Creek (right)Walters Creek (right)See alsoList of rivers of OntarioPassage 5:Aibiki RiverThe Aibiki River (\u0000\u0000\u0000, Aibiki-gawa) is a river located in Takamatsu, Kagawa, Japan.NameThe river is named \"Aibiki\" (roughly translating as \"mutual pulling\") because both its source and its mouth are in the Seto Inland Sea. During low tide, the river flows towards both the mouth and the origin, making it seem like it is being pulled both ways.It is also said that the name came about during the Battle of Yashima, which was fought between the Minamoto and Taira clans.Passage 6:Haughton RiverThe Haughton River is a river in North Queensland, Australia.Course and featuresThe headwaters of the river rise in the Haughton Valley of the Leichhardt Range near Mingela and flow in a north easterly direction almost immediately crossing the Flinders Highway. The river then passes between Mount Prince Charles and Mount Norman then past Glendale. Major Creek discharges into the Haughton under Major Creek Mountain and the river continues crossing the Bruce Highway just south of Giru. The Haughton enters Bowling Green Bay National Park and finally discharges into Bowling Green Bay south of Townsville near Cungulla and then into the Coral Sea.The assessed catchment area of the river varies, with one estimate of the area at 8,690 square kilometres (3,360 sq mi) and another assessed at 4,051 square kilometres (1,564 sq mi). Of this latter area, 316 square kilometres (122 sq mi) is composed of estuarine wetlands.The floodplain area of the catchment also holds valuable wetlands, parts of the Bowling Green Bay National Park and Ramsar site (QDEH 1991) are listed in the Directory of Important Wetlands. The upper part of the catchment has few permanent waterholes. An estimated 77% of the catchment is cleared, cattle grazing is the dominant land use in the area, with the production of sugarcane and other forms of horticulture taking up most of the catchment area. An area of 328 square kilometres (127 sq mi) is protected.A total of 27 species of fish have been found in the river, including the glassfish, Pacific Short-finned Eel, blue catfish, milkfish, Fly-specked hardyhead, mouth almighty, Empire gudgeon, barred grunter, barramundi, oxeye herring, mangrove jack, eastern rainbowfish, Bony bream, Freshwater Longtom and Seven-spot Archerfish.EtymologyThe river was named in 1861 after Richard Houghton, a stockman, by his friend the pastoralist and explorer James Cassady. Originally named Houghton River it was renamed to the current spelling by the Surveyor General in 1950 at the request of local residents and the electoral office.See alsoList of rivers of Australia § QueenslandPassage 7:Stuart River (Minnesota)The Stuart River is a river located in Minnesota, in the United States.See alsoList of rivers of MinnesotaPassage 8:Kakwa RiverThe Kakwa River is a tributary of the Smoky River in western Alberta, Canada.The river is named for Kakwa, the Cree word for porcupine. Porcupines are abundant in Kakwa Provincial Park and Protected Area.Tourism along the river revolves around bull trout fishing and white water rafting. Kakwa Falls (54.10913°N 119.92350°W\u0000 / 54.10913; -119.92350\u0000 (Kakwa Falls)) are developed in the course of the river, over a 30-metre (98 ft) high ledge formed by an outcrop of the Cadomin Formation. The area was designated a protected wildland (Kakwa Wildland Park). It can be accessed through the forestry road network south of Highway 666, approximately 35 kilometres (22 mi) south of Two Lakes Provincial Park.CourseThe Kakwa River originates in Kakwa Lake, north of McBride, in British Columbia, at an elevation of 1,495 metres (4,905 ft). The surrounding area is protected by Kakwa Provincial Park and Protected Area. The river flows north-east into the province of Alberta in Kakwa Wildlands Park, then flows east and north-east through the foothills. It is crossed by the Bighorn Highway before it converges into the Smoky River, at an elevation of 670 metres (2,200 ft).TributariesFrom its origins to its mouth, Kakwa River receives waters from:Kakwa LakeCecilia CreekMouse Cache CreekMusreau CreekFrancis Peak CreekSouth Kakwa RiverLynx CreekRavine CreekChicken CreekDaniel CreekCopton CreekRedrock CreekRoute CreekPrairie CreekSee alsoList of rivers of AlbertaPassage 9:Dawson River (Queensland)The Dawson River is a river in Central Queensland, Australia.Course and featuresThe Dawson River rises in the Carnarvon Range, draining through the Carnarvon National Park, northwest of the settlement of Upper Dawson. The flows generally south by east, crossed by the Carnarvon Highway and then flows generally east through the settlement of Taroom where the river is crossed by the Leichhardt Highway. The river then flows in a northerly direction through the settlement of Theodore where the river is again crossed by the Leichhardt Highway. The river flows north through the settlement of Baralaba and towards Duaringa, crossed by the Capricorn Highway. A little further north, the Dawson River forms confluence with the Mackenzie River to form the Fitzroy River. From source to mouth, the river is joined by sixty-four tributaries, including the Don River, and descends 587 metres (1,926 ft) over its 735-kilometre (457 mi) course. Several weirs have been constructed along the river to provide water for cotton and dairy farming in the region. The river catchment covers an area of 50,800 square kilometres (19,600 sq mi).Expedition National Park and the Precipice National Park are protected areas along the Dawson River.The Dawson River was one of a number of Queensland rivers affected by the 2010–11 Queensland floods. As the river inundated the town of Theodore it was completely evacuated, a first in Queensland's history.HistoryGungabula (also known as Kongabula and Khungabula) is an Australian Aboriginal language of the headwaters of the Dawson River in Central Queensland. The language region includes areas within the local government area of Maranoa Region, particularly the towns of Charleville, Augathella and Blackall and as well as the Carnarvon Range.Ludwig Leichhardt explored the area in 1844 and named the river in honour of Robert Dawson, one of Leichhardt's financial backers.In the 1920s, shortly after the First World War, Australian Labor Party politician Ted Theodore (1884-1950) launched an irrigation program on the Dawson River for returning soldiers. His intentions was to provide them with arable land along the river for them to take up farming, thus eschewing a post-war recession. After the 1922 Irrigation Act was passed, he started irrigation schemes on the Dawson River, for an initial 8,000 new farmers. However, the scheme was abandoned after he realized the soil was unsuitable for farming and the returning soldiers had no agrarian skills.See alsoBoggomossList of rivers of Australia § QueenslandPassage 10:Dee River (Queensland)The Dee River is a river in Central Queensland, Australia.Course and featuresPart of the Fitzroy River system, the Dee River rises in the Razorback Range south of Bouldercombe Gorge Resources Reserve near Mount Gavial, south of Bouldercombe. The river flows generally south by west through the mining "}
+{"doc_id":"doc_95","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:The Time, the Place and the Girl (1946 film)The Time, the Place and the Girl is a 1946 American musical film directed inTechnicolor by David Butler. It is unrelated to the 1929 film The Time, the Place and the Girl.PlotSteve and Jeff are about to open a nightclub when a man namedMartin Drew who represents conductor Ladislaus Cassel claims that Cassel, who is living next door, objects to the club's music and that it disturbs hisgranddaughter, Victoria, an aspiring opera singer.It turns out that Cassel himself is fine with the club but Vicki's grandmother Lucia is against it. Cassel also urgesVicki not to marry Andrew, her fiance, without being certain. After she meets Steve, she is attracted to him. Steve has a girlfriend, Elaine Winters, who is trying topersuade John Braden, a rich Texan, to finance the club. Elaine is upset about Vicki's presence and threatens to marry Braden.Jeff and his girlfriend, singer SueJackson, hope to get a new show off the ground, but both Vicky's grandmother and Steve's girl Elaine keep interfering. Cassel offers to finance the show providedVicky can be in it. Lucia is livid until she reluctantly attends the show, at which she is charmed and gives her approval.CastSoundtrack\"A Rainy Night in Rio\"'Musicby Arthur SchwartzLyrics by Leo RobinPerformed by Jack Carson, Dennis Morgan, Janis Page and Martha Vickers (dubbed by Sally Sweetland)\"Oh, But I Do\"Musicby Arthur SchwartzLyrics by Leo RobinSung by Dennis Morgan\"A Gal in Calico\" (Nominated for an Academy Award for Best Original Song of 1948)Music by ArthurSchwartzLyrics by Leo RobinPerformed by Dennis Morgan, Jack Carson, Martha Vickers (dubbed by Sally Sweetland) and chorus\"Through a ThousandDreams\"Music by Arthur SchwartzLyrics by Leo Robin\"A Solid Citizen of the Solid South\"Music by Arthur SchwartzLyrics by Leo RobinPerformed by Jack Carsonand the Condos Brothers\"I Happened to Walk Down First Street\"Music by Arthur SchwartzLyrics by Leo RobinBox officeAccording to Warner Bros. records, it wasthe studio's most financially successful film of 1946–47, earning $3,461,000 domestically and $1,370,000 in foreign territories.Passage 3:The Divine NymphTheDivine Nymph (Italian: Divina creatura) is a 1975 Italian drama film directed by Giuseppe Patroni Griffi and starring Laura Antonelli, Marcello Mastroianni, MichelePlacido and Terence Stamp. It was entered into the 26th Berlin International Film Festival. It was distributed in the U.S. by Analysis Film ReleasingCorp.PlotDuring the Roaring Twenties, a beautiful woman (Laura Antonelli) is engaged to one man, but has an affair with both a young nobleman (TerenceStamp) and later his cousin (Marcello Mastroianni), playing them against each other.CastLaura Antonelli - Manoela RoderighiTerence Stamp - Dany diBagnascoMichele Placido - Martino GhiondelliDuilio Del Prete - ArmelliniEttore Manni - Marco PisaniCarlo Tamberlani - Majordomo PasqualinoCecilia Polizzi - Dany'sMaidPiero Di Iorio - Cameriere di StefanoMarina Berti - Manoela's AuntDoris Duranti - Signora FonesMarcello Mastroianni - Michele BarraTina AumontRitaSilvaCorrado AnnicelliGino CassaniSee alsoList of Italian films of 1975Passage 4:Giuseppe Patroni GriffiGiuseppe Patroni Griffi (26 February 1921 – 15 December2005) was an Italian playwright, screenwriter, director and author.He was born in Naples in an aristocratic family and moved to Rome immediately after the endof World War II and spent his professional life there. Patroni Griffi is considered one of the most prominent contributors to Italian theater and film in post-warItaly.Roberto Rossellini made a film from his play Anima nera.His first listed film writing credit was on the 1952 musical Canzoni di mezzo secolo. Patroni Griffiwould later direct Charlotte Rampling, Elizabeth Taylor, Marcello Mastroianni, Laura Antonelli, Florinda Bolkan, Terence Stamp, Fabio Testi.Patroni Griffi was alsoinvolved with numerous television productions of lyric opera, including Verdi's La Traviata. His many theatrical productions include works by Pirandello, EduardoDe Filippo, Jean Cocteau and Tennessee Williams. As a writer, he published a first collection of stories in 1955, Ragazzo di Trastevere. Later, he contributedsignificantly to the body of Italian gay literature with Scende giù per Toledo and La morte della bellezza, both set in Naples.He died in Rome.SelectedfilmographyAs a director, he is most noted for:Il Mare (1962)Metti una sera a cena (1969)Addio, fratello crudele (1971, film adaptation of 'Tis Pity She's a Whorewith Charlotte Rampling and Oliver Tobias)Identikit (1974) with Elizabeth TaylorThe Divine Nymph (1975)La gabbia (1985)La romana (1988)Tosca (1992)Latraviata (2000)Passage 5:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was alsothe Director General of Police in Punjab.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museumdirector who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museumof Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United Statesafter leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum ofArt. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was bornin Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and"}
+{"doc_id":"doc_96","qid":"","text":"Passage 1:Shaadi Ka LaddooShaadi Ka Laddoo is a 2004 Indian Hindi comedy film directed by Raj Kaushal. The film was released on 23 April 2004.PlotSummaryShomu and his wife Meenu are a happily married couple with two children. Shomu decides to travel to Britain for business purposes, as well as to meethis childhood friend, Ravi Kapoor. Once in Britain, Shomu finds himself getting close to single women, and realises that he is now ready for an extra-marital affair.His friend, Ravi Kapoor, on the contrary believes that Shomu is the luckiest man on earth, as he is in love with his wife, and their marriage is rock steady. Nottrusting her husband, Meenu asks a U.K. based friend to check up on him. The friend reports back that Shomu is involved with a woman named Tara. Meenudecides to go to Britain as well and catch Shomu red-handed. In the meantime, Ravi meets with a waitress named Menaka Choudhary and decides to proposemarriage to her, apprehensive that she too will turn him down. The stage is all set for sparks to fly, and emotions to rise.CastSanjay Suri as Som DuttaMandiraBedi as TaraAashish Chaudhary as Ravi KapoorDivya Dutta as GeetuSamita Bangargi as Meneka ChoudharySameer Malhotra as Geetu's UncleNegar Khan asSheenaJohn ClubbSoundtrackPassage 2:Gertrude of BavariaGertrude of Bavaria (Danish and German: Gertrud; 1152/55–1197) was Duchess of Swabia as thespouse of Duke Frederick IV, and Queen of Denmark as the spouse of King Canute VI.Gertrude was born to Henry the Lion of Bavaria and Saxony and Clementiaof Zähringen in either 1152 or 1155. She was married to Frederick IV, Duke of Swabia, in 1166, and became a widow in 1167. In 1171 she was engaged and inFebruary 1177 married to Canute of Denmark in Lund. The couple lived the first years in Skåne. On 12 May 1182, they became king and queen. She did not haveany children. During her second marriage, she chose to live in chastity and celibacy with her husband. Arnold of Lübeck remarked of their marriage, that herspouse was: \"The most chaste one, living thus his days with his chaste spouse\" in eternal chastity.Passage 3:Marie-Louise CoidavidQueen Marie Louise Coidavid(1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe.Early lifeMarie-Louise was born into a free blackfamily; her father was the owner of Hotel de la Couronne, Cap-Haïtien. Henri Christophe was a slave purchased by her father. Supposedly, he earned enoughmoney in tips from his duties at the hotel that he was able to purchase his freedom before the Haitian Revolution. They married in Cap-Haïtien in 1793, havinghad a relationship with him from the year prior. They had four children: François Ferdinand (born 1794), Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) andVictor-Henri.At her spouse's new position in 1798, she moved to the Sans-Souci Palace. During the French invasion, she and her children lived underground until1803.QueenIn 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom of Haiti. Her new status gave her ceremonial tasks to perform,ladies-in-waiting, a secretary and her own court. She took her position seriously, and stated that the title \"given to her by the nation\" also gave herresponsibilities and duties to perform. She served as the hostess of the ceremonial royal court life performed at the Sans-Souci Palace. She did not involve herselfin the affairs of state. She was given the position of Regent should her son succeed her spouse while still being a minor.  However, as her son became of agebefore the death of his father, this was never to materialize.After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at thepalace until they were escorted from it by his followers together with his corpse; after their departure, the palace was attacked and plundered. Marie-Louise andher daughters were given the property Lambert outside Cap. She was visited by president Jean Pierre Boyer, who offered her his protection; he denied the spursof gold she gave him, stating that he was the leader of poor people. They were allowed to settle in Port-au-Prince. Marie-Louise was described as calm andresigned, but her daughters, especially Athénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. In August 1821, the former queen leftHaiti with her daughters under the protection of the British admiral Sir Home Popham, and travelled to London. There were rumours that she was searching forthe money, three million, deposited by her spouse in Europe. Whatever the case, she did live the rest of her life without economic difficulties. The English climateand pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided to leave.In 1824, Marie-Louise and herdaughters moved in Pisa in Italy, where they lived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839. They lived discreetlyfor the most part, but were occasionally bothered by fortune hunters and throne claimers who wanted their fortune. Shortly before her death, she wrote to Haitifor permission to return. She never did, however, before she died in Italy. She is buried in the church of San Donnino. A historical marker was installed in front ofthe church on April 23, 2023 to commemorate the Queen, her daughter and her sister.See alsoMarie-Claire Heureuse FélicitéAdélina LévêquePassage 4:RajKaushalRaj Kaushal (15 August 1970 – 30  June 2021) was an Indian director, producer who was active during the 1990s and mid 2000s. He was married toactress and TV presenter Mandira Bedi. He died on 30 June 2021 due to a heart attack.FilmographyPassage 5:Samita BangargiSamita Bangargi is an Indianactress who is most known for her roles in Ramji Londonwaley (2005), Shaadi Ka Laddoo (2004) and Yeh Kya Ho Raha Hai? (2002).Personal lifeSamita Bangargimarried Ashish Chaudhary on 27 January 2006. The couple has 3 children, a son born in 2008 and twin daughters in 2014. Ashish lost his sister and brother inlaw in the 26 November attacks in 2008, since then Ashish's nephew and niece also live with them.FilmographyPassage 6:Princess Auguste of Bavaria(1875–1964)Princess Auguste of Bavaria (German: Auguste Maria Luise Prinzessin von Bayern; 28 April 1875 – 25 June 1964) was a member of the BavarianRoyal House of Wittelsbach and the spouse of Archduke Joseph August of Austria.Birth and familyAuguste was born in Munich, Bavaria, the second child of PrinceLeopold of Bavaria and his wife, Archduchess Gisela of Austria. She had one older sister, Princess Elisabeth Marie of Bavaria and two younger brothers, PrinceGeorg of Bavaria and Prince Konrad of Bavaria.Marriage and issueShe married Joseph August, Archduke of Austria, on 15 November 1893 in Munich. The couplehad six children;Archduke Joseph Francis of Austria, born on 28 March 1895; died on 25 September 1957(1957-09-25) (aged 62)Archduchess Gisela AugusteAnna Maria, born on 5 July 1897; died on 30 March 1901(1901-03-30) (aged 3)Archduchess Sophie Klementine Elisabeth Klothilde Maria, born on 11 March 1899;died on 19 April 1978(1978-04-19) (aged 79)Archduke Ladislaus Luitpold, born on 3 January 1901; died on 29 August 1946(1946-08-29) (aged 44)ArchdukeMatthias Joseph Albrecht Anton Ignatius, born on 26 June 1904; died on 7 October 1905(1905-10-07) (aged 1)Archduchess Magdalena Maria Raineria, born on 6September 1909; died on 11 May 2000(2000-05-11) (aged 90)AncestryWorld War IOn the outbreak of war with Italy in 1915, Augusta Maria Louise, though inher 40s and the mother of a son serving as an officer, went to the front with the cavalry regiment of which her husband, the Archduke Josef August, a corpscommander, was honorary colonel, and served a common soldier, wearing a saber and riding astride, until the end of the war.Passage 7:Mehdi AbrishamchiMehdiAbrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchicame from a well-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations in Iran. He became a member of Hojjatieh, and leftit to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member, and spent time in jail until 1979.CareerShortly afterIranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council of Resistance of Iran.Electoral historyPersonallifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi creditedMassoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"great schism\".Passage 8:Heather D. GibsonHeather Denise Gibson (Greek:Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece (since 2011). She was the spouse of Euclid Tsakalotos,former Greek Minister of Finance.Academic careerBefore assuming her duties at the Bank of Greece and alternating child-rearing duties with her husband, Gibsonworked at the University of Kent, where she published two volumes on international exchange rate mechanisms and wrote numerous articles on this and othertopics, sometimes in cooperation with her husband, who was teaching at Kent at the time.Personal lifeGibson first came to Greece in 1993, with her husband,with whom she took turns away from their respective economic studies to raise their three children while the other worked.The couple maintain two homes inKifisia, along with an office in Athens and a vacation home in Preveza. In 2013, this proved detrimental to Tsakalotos and his party when his critics began callinghim «αριστερός αριστοκράτης» (aristeros aristokratis, \"aristocrat of the left\"), while newspapers opposed to the Syriza party seized on his property holdings as achance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the \"ethic of austerity\" in public. One opposition newspaperpublished on the front page criticism reasoning that Tsakalotos own family wealth came from the same sort of investments in companies as made by financialinstitutions JP Morgan and BlackRock.WorksEditorEconomic Bulletin, Bank of GreeceBooksThe Eurocurrency Markets, Domestic Financial Policy and InternationalInstability (London, etc., Longman: 1989) ISBN 0312028261International Finance: Exchange Rates and Financial Flows in the International Financial System(London, etc., Longman: 1996) ISBN 0582218136Economic Transformation, Democratization and Integration into the European Union (London: PalgraveMacmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong: Market Pricing of Sovereigns and the Greek Financial Crisis,\" Journal ofMacroeconomics, Elsevier, vol. 39(PB), pp. 405–419 (with Stephen G. & Tavlas, George S., 2014)\"Capital flows and speculative attacks in prospective EU memberstates\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages 559–586, September 2004)\"A Unifying Framework for Analysing OffsettingCapital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis & Euclid Tsakalotos, International Journal of Finance & Economics, 2002, vol. 7,"}
+{"doc_id":"doc_97","qid":"","text":"Passage 1:Shaheen KhanShaheen Khan may refer to:Shaheen Khan (Indian actress), Indian actressShaheen Khan (Pakistani actress) (born 1960), PakistaniactressShaheen Khan (British actress) (born 1960), British actressShaheen Khan (cricketer) (born 1987), South African cricketerPassage 2:Brooks, Meadows andLovely FacesBrooks, Meadows and Lovely Faces (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, translit. Brooks, Meadows and Lovely Faces) is a 2016Egyptian comedy film directed by Yousry Nasrallah. It was selected to be screened in the Contemporary World Cinema section at the 2016 Toronto InternationalFilm Festival.CastLaila ElouiBassem SamraMenna ShalabiPassage 3:Thou Wast Mild and LovelyThou Wast Mild and Lovely is a 2014 experimental thriller filmwritten and directed by Josephine Decker and starring Joe Swanberg, Sophie Traub, and Robert Longstreet.CastJoe Swanberg as AkinSophie Traub asSarahRobert Longstreet as JeremiahKristin Slaysman as DrewMatt Orme as CarenGeoff Marslett as RichardPlotAkin is hired to work a summer job on a farmowned by Jeremiah and his daughter Sarah. As he arrives at the property, he removes his wedding ring before getting out of the car, and tells the other two he issingle and has no children. He is given a room to live at the farm for the summer. Jeremiah drinks a lot, and gives Akin the nickname \"shoulders\" because hethinks the man's shoulders are always tense from keeping a secret. Akin tries to talk to his wife Drew on the phone, but the poor cell service makes it difficult.Sarah and Akin become interested in each other from afar, and spy on each other multiple times. While the two of them are tracking down a lost cow at the edgeof the property, Sarah finds a frog and bites its head off, which causes Akin to finally kiss her and ultimately rape her. She smiles afterwards.When Akin tells theother two at dinner that he has a roommate, Jeremiah reveals that he knows Akin's secret: the tan line on his finger makes it obvious that he's married. Jeremiahjokes that he too has a roommate that he has kept alive for a long time by continuing to clean his wounds. Sarah finds a family photo in Akin's room the next day,which shows he also has a son. Sarah and Akin continue to spend time together, and she teaches him how to improve his horseback skills.The landline phonerings, and Drew is on the other end explaining that she's been trying to contact them because she hasn't heard from Akin in a while. She tells him that she andtheir son are going to come visit the farm. The visit goes well at first, but during dinner when Drew comments about Akin being \"quiet\", Sarah responds that hehas been very talkative to her. Jeremiah explains that Akin had been lying about his marriage to get closer to Sarah, causing an awkward silence. That night,Drew is lying on the couch drunk, barely conscious. Jeremiah starts saying vulgar, sexual things about her, so Akin carries her to his room. He awakes later to anempty bed, and finds Drew back in the house chatting with Sarah. They mention that Drew and Akin had a daughter who had passed away. Sarah blindfolds Akinand the three of them begin to have sex together. In the middle of the act, Akin removes the blindfold and sees that Jeremiah and a neighbor have been watchingthem. Jeremiah attacks the neighbor and tries to force himself on Drew. Akin tries to carry Drew away, but Jeremiah knocks him out.Akin awakes tied up insidethe barn, where he sees a man's face that is covered in wounds and blood. Sarah appears and cuts Akin loose. They return to the house to find Jeremiah with aknife. He stabs Akin, but Sarah reacts by shooting him. As Sarah is crying over Jeremiah's dying body, Drew storms in with an axe and swings it on both Sarahand Jeremiah. Akin and Drew grab their son who is wandering the yard crying, and drive away.ProductionTo raise money for the film's post-production, Deckerran a crowdfunding campaign on the website Kickstarter with a goal of $15,500.  The campaign closed on August 22, 2013, having successfully raised$18,517.  Decker has cited John Steinbeck's novel East of Eden as inspiration for elements of the film, though David Rooney of The Hollywood Reporter hascompared the visuals of the film to the works of Terrence Malick. The visual style continues some of the experimental camera techniques Decker andcinematographer Ashley Connor had used in their previous collaboration, Butter on the Latch, including some shots that were recorded without a lens on thecamera.ReleaseMediaIn September 2014, Thou Wast Mild and Lovely was picked up for theatrical and VOD distribution by Cinelicious Pics along with Decker's2013 film Butter on the Latch with a release set for November 2014.ReceptionCritical responseThou Wast Mild and Lovely received a positive response fromcritics. Richard Brody of The New Yorker highly praised the film, saying \"Like most classic stories, this one is simple, but its realization is so surprising in itsdetails, so original in its visual invention, as to make most other movies seem shot by the numbers.\" and \"Normally it would be an insult to say that a movie thatruns a mere hour and a quarter feels as if it were much longer, but here it’s both accurate and high praise: vast realms of emotional experience are condensedinto the movie’s brief span.\" In a subsequent piece for The New Yorker, Brody named Thou Wast Mild and Lovely the second best film of 2014, just behind WesAnderson's The Grand Budapest Hotel.  Brody also listed Robert Longstreet as \"Best Supporting Actor\"; Ashley Connor in \"Best Cinematography\". Decker's other2014 film, Butter on the Latch, also made the Brody's top ten, clocking in at tenth place. Subsequent to its Berlinale 2014 premiere, Peter Knegt of Indiewirecalled Thou Wast Mild and Lovely \"The talk of the Berlin International Film Festival… with tense eroticism and experimental, largely free-form filmmaking\". JoshSlater-Williams of Sound on Sight called it \"one of the strongest, most striking American Gothic works of recent memory.\"  In his review of the film, Eric Kohn ofIndiewire gave the film a B+ rating and commented, \"Its labyrinthine characteristics suggest the unholy marriage of Ingmar Bergman and David Lynch\" and\"Decker concocts a wholly enveloping vision of isolation told with a grimly poetic style that wanders all over the place but never stops playing by its own eerierulebook.\"  Jenni Miller of The A.V. Club moderately praised the film and described Sophie Traub's Sarah as \"fascinating\", despite noting \"There are a few toomany experimental flourishes to effectively build the sort of tension that’s necessary to really make the ending pay off.\"  Nicolas Rapold of The New York Timesgave the film a more mixed review, noting \"The setup's clichés grow harder to ignore, despite a welcome mischievous streak and some bucolic imagery.\"  DavidRooney of The Hollywood Reporter stated, \"It's not uninteresting but too self-consciously arty to rank Decker as a mature filmmaking voice.\"AccoladesThou WastMild and Lovely premiered in the U.S. at the Sarasota Film Festival, and internationally at the 2014 Berlin International Film Festival in the Forum section.  It hasalso played at the AFI Fest, the BFI London Film Festival, the Torino Film Festival, the Hong Kong International Film Festival, the Gothenburg Film Festival, theAthens International Film Festival, the Denver Film Festival, the Dallas VideoFest, the Flyway Film Festival, the Sidewalk Film Festival, the Fantasia InternationalFilm Festival, the Galway Film Fleadh, the BAMcinemFest and the Imagine Film Festival in the Netherlands.The film was nominated for the FIPRESCI prize at theHong Kong International Film Festival, and has won awards on the festival circuit, including the Dallas VideoFest Winner 2014: Best Narrative Feature, SarasotaFilm Festival 2014 Winner: Independent Visions Grand Prize & Tangerine Entertainment's Juice Award, Flyway Film Festival 2014: Breakout Filmmaker, IndieMemphis Film Festival 2014: Craig Brewer Emerging Filmmaker Award. It was acquired by Cinelicious Pics in fall of 2014.Passage 4:Mark Lewis (filmmaker)MarkLewis is an Australian documentary film and television producer, director and writer. He is famous for his film Cane Toads: An Unnatural History and for his bodyof work on animals. Unlike many other producers of nature films, his films do not attempt to document the animals in question or their behaviors but rather thecomplex relationships between people and society and the animals they interact with.His films have earned him many awards, including a British Academy Awardnomination, a nomination from the Directors Guild of America, two Emmy's for Outstanding Direction in documentary film, and an Emmy Award for OutstandingScience Program on American Television.As a student Lewis helped planning Philippe Petit's famous 1974 high-wire walk between the Twin Towers of the WorldTrade Center. He talks about his involvement in the acclaimed documentary Man on Wire (2008).Filmography(2010) Cane Toads: The Conquest(2007) ThePursuit of Excellence(2006) The Floating Brothel(2006) The Standard of Perfection: Show Cats(2006) The Standard of Perfection - Show Cattle(2000) The NaturalHistory of the Chicken(1999) Animalicious(1998) Rat(1994) Gordy.(1990) The Wonderful World of Dogs(1989) Round the Twist(1988) Cane Toads: An UnnaturalHistoryPassage 5:Mike JudgeMichael Craig Judge (born October 17, 1962) is an American actor, animator, filmmaker, and musician. He is the creator of theanimated television series Beavis and Butt-Head (1993–1997, 2011, 2022–present), and the co-creator of the television series King of the Hill (1997–2010,2023–present), The Goode Family (2009), Silicon Valley (2014–2019), and Mike Judge Presents: Tales from the Tour Bus (2017–2018). He wrote and directedthe films Beavis and Butt-Head Do America (1996), Office Space (1999), Idiocracy (2006), and Extract (2009), and co-wrote the screenplay to Beavis andButt-Head Do the Universe (2022).Judge was born in Guayaquil, Ecuador, and raised in the U.S. state of New Mexico. He graduated from the University ofCalifornia, San Diego, where he studied physics. After losing interest in a career in science, Judge focused on animation and short films. His animated short FrogBaseball was developed into the successful MTV series Beavis and Butt-Head, and the spin-off series Daria (with which Judge had no involvement).In 1995, Judgeand the former Simpsons writer Greg Daniels developed King of the Hill, which debuted on Fox in 1997 and quickly became popular with both critics andaudiences. Running for 13 seasons, it became one of the longest-running American animated series. During the run of the show, Judge took time off to write anddirect Office Space, Idiocracy and Extract. As King of the Hill was coming to an end, Judge created his third show, ABC's The Goode Family, which received mixedreviews and was cancelled after 13 episodes. After a four-year hiatus, he created his fourth show, the live-action Silicon Valley for HBO, which has receivedcritical acclaim. In 2017, Judge's fourth animated series, the music-themed Tales from the Tour Bus, premiered on Cinemax, to acclaim.Judge has won aPrimetime Emmy Award and two Annie Awards for King of the Hill and two Critics' Choice Television Awards and Satellite Awards for Silicon Valley.Early"}
+{"doc_id":"doc_98","qid":"","text":"Passage 1:Valley of DeathValley of Death may refer to:PlacesValley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northernPolandValley of Death (Crimea), the site of the Charge of the Light Brigade in the 1854 Battle of BalaclavaValley of Death (Gettysburg), the 1863 GettysburgBattlefield landform of Plum RunValley of Death (Dukla Pass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)The Valley ofDeath, an area of poisonous volcanic gas near the Kikhpinych volcano in RussiaThe Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahuvolcano in IndonesiaValley of Death, a nickname for the highly polluted city of Cubatão, BrazilOther usesThe Valley of Death (audio drama), a Doctor Who audioplayThe Valley of Death (film), a 1968 western film\"Valley of Death\", the flawed NewsStand: CNN & Time debut program that caused the Operation TailwindcontroversyA literary element of \"The Charge of the Light Brigade\" by Alfred, Lord TennysonA reference to the difficulty of covering negative cash flow in the earlystages of a start-up company; see Venture capital\"The Valley of Death\", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to EndAll WarsSee alsoAll pages with titles containing Valley of DeathDeath Valley (disambiguation)Valley of the Shadow of Death (disambiguation)Passage2:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department innorth-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSee alsoCommunes of theLoiret departmentPassage 3:Place of originIn Switzerland, the place of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French:Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations. It is not tobe confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person'scircumstances.Acquisition of municipal citizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are asfollows:Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integrationinto local society, and a minimum number of years lived in said municipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. Thisrequires a certain number of years lived in said canton.Country citizenship, for which both of the above are required, also requires a certain number of years livedin Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves acriminal background check.The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swisscitizen. Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historicalreason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providingsocial welfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Careneeds to be taken when translating the term in Swiss documents which list the historical \"Heimatort\" instead of the usual place of birth and place ofresidence.However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to theplace they currently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizens can oftenapply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common tohave to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant thecitizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either themother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swissparent.International confusionAlmost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists themother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place oforigin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead to administrative issues for Swiss citizens abroadwhen asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents. Only a minority of Swisscitizens have a place of origin identical to their birthplace. More confusion comes into play through the fact that people can have more than one place oforigin.Significance and historyA citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality. To vote in communal,cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence.The law previouslyrequired that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away. In 2012, the National Councilvoted by 151 to 9 votes to abolish this law. The place of domicile is now the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signedtreaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in theirplace of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place oforigin, especially if they were insufficiently cared for by their residential community.In the 19th century, Swiss municipalities even offered free emigration to theUnited States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare.See alsoAncestral home(Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 4:SennedjemSennedjem was an Ancient Egyptian artisan who was active during thereigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporary Deir el-Medina, on the west bank of the Nile, oppositeThebes. Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the villagenecropolis. His tomb was discovered January 31, 1886. When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed,which he used when he was alive.His titles included Servant in the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royaltombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born.This place is often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be acountry, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries forforeign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently hassovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of thenew baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requiresthat the birth of the new baby is registered in the place of birth.Some countries place less or no importance on the place of birth, instead using alternativegeographical characteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947.This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is consideredunimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parentwith the same last name, so the child either gets their mother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires theplace of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registereddomicile is a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice oftenreferred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents(referred to as jus sanguinis).There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on anairplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of the countries involved, which include the nationality of the planeor ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Someadministrative forms may request the applicant's \"country of birth\". It is important to determine from the requester whether the information requested refers tothe applicant's \"place of birth\" or \"nationality at birth\". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality atbirth will be USA (American), while the place of birth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage6:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.Dance of Death or TheDance of Death may also refer to:BooksDance of Death, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novel by R. L. StineDance of Death(novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play by August StrindbergThe Dance ofDeath, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyTheDance of Death (1912 film), a German silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death (1938 film), crime drama starring"}
+{"doc_id":"doc_99","qid":"","text":"Passage 1:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.Early life andsongsWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won ascholarship for composition to the Royal College of Music.In his early twenties he contributed to The Scottish Students' Song Book, with three of his own songcompositions and numerous arrangements.By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album ofhis own compositions, and arrangements of ten songs by Samuel Lover.He then, living in London, turned his attention to staged musical comedy, co-creating,with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with HowardTalbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"TheProms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.His setting of My Ships, a poem by EllaWheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914Proms.AmericaIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:on-stage actor(Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;musical director of The Little Michus (1907), also featuringsongs by Barratt;co-composer of Miss Pocahontas (1907), a musical comedy;musical director of The Love Cure (1909–1910), a musical romance;composer of TheGirl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reachedBroadway;musical director of The Quaker Girl (1911–1912);co-composer and musical director of My Best Girl (1912);musical director of The Sunshine Girl(1913);musical director of The Girl who Smiles (1915), a musical comedy;musical director and contributor to music and lyrics of Her Soldier Boy(1916–1917);composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;contributor of a song to The PassingShow of 1918;composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;contributor of lyrics to The Melting of Molly(1918–1919), a musical comedy;musical director of What's in a Name? (1920), a musical revue1921 in LondonThough domiciled in the US, he made several visitsback to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namelyLeague ofNotions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;Fun of the Fayre, at the LondonPavilion, for which similarly he wrote the music and co-wrote the lyricsBack to BroadwayBack in the US he returned to Broadway, working ascomposer and lyricistof Jack and Jill (1923), a musical comedy;musical director of The Silver Swan (1929), a musical romanceRadio playsIn later years he wrote plays and operettasmostly for radio, such as:Snapshots: a radioperetta (1929)Sushannah and the Brush Wielders: a play in 1 act (1929)The Magic Voice: a radio series (1933)Men ofAction: a series of radio sketches (1933)Say, Uncle: a radio series (1933)Sealed Orders: a radio drama (1934)Sergeant Gabriel (with Hugh Abercrombie)(1945)PersonalIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriageended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April1947 in New York City.Note on his first nameThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son WilliamAugustus Barratt\" with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. Forprofessional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\".Passage2:AlludugaruAlludugaru or Alludu Garu  is a 1990 Indian Telugu-language drama film directed by K. Raghavendra Rao and produced by Mohan Babu underLakshmi Prasanna Films. This film stars Mohan Babu and Shobhana in lead roles, while Ramya Krishna also appeared in an important supporting role. It wascommercially and critically successful running for more than 100 days. The music of the movie was composed by K. V. Mahadevan.This film is a remake ofMalayalam blockbuster Chithram.CastMohan Babu as VishnuShobana as KalyaniRamya Krishna as RevathiJaggayya as Ramachandra PrasadChandramohan asAnandKaikala Satyanarayana as JailerGollapudi Maruthi RaoSudhakarNizhalgal RaviSoundtrackSoundtrack composed by K. V. Mahadevan is owned by AdityaMusic.AwardsK. J. Yesudas won Nandi Award for Best Male Playback Singer for the song \"Muddabanthi Navvulo\".Passage 3:The Laughing Policeman (film)TheLaughing Policeman (released in the UK as An Investigation of Murder) is a 1973 American neo-noir thriller film loosely based on the 1968 novel of the samename by Maj Sjöwall and Per Wahlöö. The setting of the story is transplanted from Stockholm to San Francisco. It was directed by Stuart Rosenberg and featuresWalter Matthau as Detective Jake Martin.PlotA busload of passengers, including off-duty police detective Dave Evans, are gunned down and killed. Evans, on hisown time, has been following a man named Gus Niles in search of information linking businessman Henry Camarero to the murder of his wife, Teresa, two yearsearlier.Evans was the partner of Detective Sergeant Jake Martin, a veteran but cynical member of the Homicide Detail working the bus massacre investigation.Jake originally investigated the Teresa Camarero case and has been obsessed with his failure to \"make\" Camarero for the murder. Jake returns to it after manydead-end leads (including a disastrous confrontation with a deranged amputee who takes hostages at gunpoint) in the bus investigation. Niles was killed on thebus as well, and it was Niles who provided the alibi that enabled Camarero to cover up his wife's murder.The sullen Jake and enthusiastic but impulsive InspectorLeo Larsen are paired to interview suspects. Jake shuts out Larsen from his deductions, while Larsen, despite a loose-on-the-rules and brutal side, tries tounderstand and gain the confidence of his new partner. Defying the orders of their police superior Lt. Steiner, they seek, find and then smoke out Camarero,leading to a chase through the streets of San Francisco and a confrontation aboard another bus.CastWalter Matthau as Sgt. Jake Martin (Martin Beck in thenovel)Bruce Dern as Insp. Leo Larsen (Gunvald Larsson in the novel)Louis Gossett Jr. as Insp. James LarrimoreAnthony Zerbe as Lt. Nat SteinerAlbert Paulsen asHenry CamereroVal Avery as Insp. John PappasPaul Koslo as Duane HaygoodCathy Lee Crosby as Kay ButlerJoanna Cassidy as MonicaClifton James asMaloneyGregory Sierra as Ken VickeryMatt Clark as CoronerReceptionOn review aggregator website Rotten Tomatoes the film has a score of 57% based onreviews from 14 critics, with an average rating of 5.5/10.Roger Ebert of the Chicago Sun-Times said, The Laughing Policeman is an awfully good police movie:taut, off-key, filled with laconic performances. It provides the special delight we get from gradually unraveling a complicated case... The direction is by StuartRosenberg, and marks a comeback of sorts... With The Laughing Policeman, he takes a labyrinthine plot and leads us through it at a gallop; he respects ourintelligence and doesn't bother to throw in a lot of scenes where everything is explained. All the pieces in the puzzle do fit together, you realize after the movie isover, and part of the fun is assembling them yourself. And there are a couple of scenes that are really stunning, like the bus shooting, and an emergency roomoperation, and scenes where the partners try to shake up street people to get a lead out of them. Police movies so often depend on sheer escapist action that it'sfun to find a good one.Variety praised the film saying that \"After an extremely overdone prolog of violent mass murder on a bus, The Laughing Policemanbecomes a handsomely made manhunt actioner, starring Walter Matthau and Bruce Dern in excellent performances as two San Francisco detectives\".According toChris Petit of Time Out, \"By the end, complete with car chase and split-second shooting, the film has become indistinguishable from all those movies it's trying sohard to disown\".The Laughing Policeman was released on Blu-ray on November 15, 2016. Matthew Hartman of High-Def Digest, who reviewed it, wrote \"[the film]could have been a great and gritty 70s thriller, unfortunately, it's primary story doesn't live up to the potential of the opening scene\".See alsoList of Americanfilms of 1973Passage 4:Piero SchivazappaPiero Schivazappa (born  14 April 1935) is an Italian film and television director and screenwriter.Life and careerBorn inColorno, Schivazappa entered the film industry in 1959 as an assistant director, collaborating with Valerio Zurlini, Mario Monicelli and  Carlo Lizzani, amongothers. In 1963, he started collaborating with RAI for news reports and documentaries.Schivazappa made his feature film debut in 1969, with the controversialBDSM-themed The Laughing Woman, which at the time had many problems with censorship. Following the success of his 1973 miniseries Vino e pane, in thefollowing years he focused on television films and TV-series.In 1986 Schivazappa directed Serena Grandi in the erotic drama La signora della notte , produced byGiovanni Bertolucci.Personal lifeSchivazappa is married to actress Scilla Gabel.Selected filmographyL'Odissea (TV, 1968)The Laughing Woman (1969)Una serac'incontrammo (1975)Dov'è Anna? (TV, 1976)Lady of the Night (1986)An American Love (TV, 1994)Passage 5:The Laughing Cavalier (film)The LaughingCavalier  is a 1917 British silent adventure film directed by A. V. Bramble and Eliot Stannard and starring Mercy Hatton, Edward O'Neill and George Bellamy. It isan adaptation of the 1913 novel The Laughing Cavalier by Baroness Emmuska Orczy.CastMercy Hatton - Gilda BeresteynGeorge Bellamy - LordStoutenbergEdward O'Neill - Governor BeresteynA.V. Bramble - DiogenesFrederick Sargent - Nicholas BeresteynEva Westlake - Lady StoutenbergPassage 6:TheLaughing WomanThe Laughing Woman (Latin: Femina ridens), also known as The Frightened Woman, is a 1969 Italian erotic thriller film directed by PieroSchivazappa.PlotDr. Sayer, the director of a philanthropic foundation, spends his weekends at his luxurious villa outside of Rome toying with sadistic fantasies.His games are usually acted out with the help of a prostitute conversant with his desires. When his regular prostitute becomes unavailable at the last minute,"}
+{"doc_id":"doc_100","qid":"","text":"Passage 1:Esdras HartleyEsdras Hartley (1892–1946) was the art director for the 1935 film Don't Bet on Blondes. He worked on over a hundred films during his career, many of them at the Hollywood studio Warner Brothers.Selected filmographyMiss Pacific Fleet (1935)A Night at the Ritz (1935)Bengal Tiger (1936)Times Square Playboy (1936)Talent Scout (1937)South of Suez (1940)River's End (1940)Ladies Must Live (1940)An Angel from Texas (1940)King of the Lumberjacks (1940)Three Cheers for the Irish ( 1940)The Case of the Black Parrot (1941)Flight from Destiny (1941)Highway West (1941)The Body Disappears (1941)Passage 2:The Only GirlThe Only Girl may refer to:The Only Girl (book), a 2018 memoir by Robin GreenThe Only Girl (film), 1933 filmThe Only Girl (musical), 1914 Broadway musical by Victor Herbert and Henry BlossomPassage 3:The Empress and IThe Empress and I (German: Ich und die Kaiserin) is a 1933 German musical comedy film directed by Friedrich Hollaender and starring Lilian Harvey, Mady Christians and Conrad Veidt. It is also known by the alternative title of The Only Girl. The film was produced as a multi-language version. Moi et l'impératrice a separate French-language version was released as well as The Only Girl in English. The multilingual Harvey played the same role in all three films.It was shot at the Babelsberg Studios in Berlin. The film's sets were designed by the art directors Robert Herlth and Walter Röhrig. It was made by Erich Pommer's production unit at UFA, several of whom left the country after the film's release due to the Nazi Party's assumption of power.SynopsisAfter a fall from a horse, a wealthy Marquis is believed to be dying. While he lies there, he is comforted by the singing of a beautiful woman. When he unexpectedly recovers, he tries to seek out this young woman. Due to a series of confusions, he believes her to be Empress Eugenie, the wife of Napoleon III of France. In fact, the woman was a Eugenie's hairdresser, a vivacious young woman engaged to be married to an aspiring composer and conductor currently working for the celebrated Jacques Offenbach.CastLilian Harvey as JulietteMady Christians as EmpressConrad Veidt as Marquis de PontignacHeinz Rühmann as DidierFriedel Schuster as AnnabelHubert von Meyerinck as FlügeladjutantJulius Falkenstein as Jacques OffenbachPaul Morgan as Erfinder des FahrradesHans Hermann Schaufuß as DoctorKate Kühl as MarianneHeinrich Gretler as SanitäterEugen Rex as Etienne, Diener des MarquisHans DeppeHans Nowack as Erfinder des TelefonsMargot HöpfnerPassage 4:Don't Bet on LoveDon't Bet on Love is a 1933 American comedy film directed by Murray Roth and written by Howard Emmett Rogers, Murray Roth and Ben Ryan. The film stars Lew Ayres, Ginger Rogers, Charley Grapewin, Shirley Grey, Tom Dugan and Merna Kennedy. The film was released on July 1, 1933, by Universal Pictures.PlotMolly Gilbert won't accept a marriage proposal from Bill McCaffery unless he promises to quit betting money on horse races. He gives her his word, but Molly is miffed when she realizes he wants to honeymoon in Saratoga, New York, due to its proximity to the racetrack.Behind her back, Bill unethically uses money from his dad Pop McCaffery's plumbing business to continue gambling. He gets on a hot streak, winning $50,000, then buys a horse of his own, cheats by disguising a faster horse as his, then loses all his money. Bill agrees to become a plumber, pleasing Molly.CastLew Ayres as Bill McCafferyGinger Rogers as Molly GilbertCharley Grapewin as Pop McCafferyShirley Grey as Goldie WilliamsTom Dugan as ScottyMerna Kennedy as Ruby 'Babe' NortonLucile Gleason as Mrs. GilbertRobert Emmett O'Connor as Edward SheltonPassage 5:Onmyōji (film)Onmyōji (\u0000\u0000\u0000) is a 2001 Japanese film directed by Yōjirō Takita. It tells of the exploits of famed onmyōji Abe no Seimei, who meets and befriends bungling court noble, Minamoto no Hiromasa. Together they protect the capital of Heian-kyō against an opposing onmyōji, Dōson, who is secretly plotting the downfall of the emperor.A sequel, Onmyōji 2, appeared in 2003.  Both movies are based on the Onmyōji series of novels by author Baku Yumemakura, which also inspired a manga series by Reiko Okano.PlotThe Heian period (9th–12th centuries) was a time when human beings and various supernatural beings still coexisted with each other, the latter occasionally causing trouble to humans. Practitioners of the art of onmyōdō, the onmyōji, were held to be able to control and subdue these malevolent entities and other paranormal phenomena, and were thus held in high regard, being employed by the imperial court.In Heian-kyō, nobleman Minamoto no Hiromasa meets court onmyōji Abe no Seimei, a mysterious man about whom many rumors have been told. On a dare by some courtiers, Seimei demonstrates his exceptional skills in onmyōdō by killing a butterfly without touching it (i.e. casting a spell on a leaf which then flies and cuts through it).Hiromasa later visits Seimei at his home, where he sees Seimei's shikigami in human form, one of whom was Mitsumushi, the butterfly he had killed (and subsequently revived) earlier. Seimei joins Hiromasa in inspecting a mysterious gourd growing from a pine tree in Lord Kaneie's house; Seimei reveals the gourd to have been caused by a curse cast by a former lover of Kaneie who committed suicide.One night, Hiromasa impresses an unseen lady on an oxcart with his flute playing. Unbeknownst to him, this woman is Sukehime, Minister of the Right Fujiwara no Motokata's daughter and one of the current emperor's wives, who is worried that she is losing the emperor's favor as another wife, Lady Tōko, the daughter of Minister of the Left Fujiwara no Morosuke, had just given birth to a baby boy, who is to be the heir to the throne.Meanwhile, the head onmyōji of the imperial Bureau of Onmyō, Dōson, is secretly plotting to overthrow the emperor by trying to awaken the vengeful spirit of Prince Sawara, who had died 150 years ago. Wrongfully accused of treason by his brother, the Emperor Kanmu, Sawara committed suicide, but not before swearing eternal vengeance on the Son of Heaven (i.e. the emperor). When Dōson curses the emperor's newborn son, Prince Atsuhira, to be possessed by an evil spirit, Seimei combats his spells and drives the demon away with the help of Hiromasa and the immortal Lady Aone, who was ordered by Kanmu to guard the burial mound where Prince Sawara's spirit is sealed away.Hiromasa once again meets Sukehime (again unseen by Hiromasa) on the oxcart. He confesses his feelings for Sukehime, who he calls 'Lady of the Full Moon' (\u0000\u0000\u0000\u0000 Mochizuki no kimi), but Sukehime, who still loves the emperor, rejects his advances.Both Seimei and Aone are put under arrest by Motokata and accused of cursing the infant prince. They are saved in the nick of time by Morosuke, who points out it is unlawful to kill a court onmyōji without imperial permission. Dōson, who is implied to be behind the allegation, enchants one of the imperial police to attack the two; Aone is severely wounded, but proves to be unharmed due to her immortality.Taking advantage of Sukehime's jealousy against Tōko, Dōson uses his powers to turn her into a namanari (a woman halfway to becoming an oni) that harasses both Tōko and the newborn Atsuhira. Seimei uses onmyōdō to transform straw effigies into the likenesses of the Emperor and the infant prince. Sukehime arrives and assaults the effigies, thinking them to be the real emperor and Atsuhira. The emperor, moved by a waka poem she recites (the same poem Hiromasa hears the lady on the oxcart recite earlier), speaks out loudly, breaking Seimei's spell. Hiromasa, recognizing Sukehime to be his 'Lady of the Full Moon', steps in to accost her.Sukehime briefly comes back to her senses when Seimei removes a paper talisman attached to her back, but Dōson doubles his efforts, and she completely transforms into an oni. When Hiromasa sacrifices himself by allowing her to bite on his arm, Sukehime comes back to her senses once more and kills herself with Hiromasa's tachi. In her final moments, Sukehime - now a human once more - begs to hear Hiromasa's flute one last time.Seimei shoots an arrow with the paper talisman towards the sky, ordering the curse to go back to its sender. The arrow, now on fire, lands in Dōson's secret lair, burning it to the ground. Dōson, swearing vengeance on Seimei, finally releases the spirit of Prince Sawara from its confinement in the burial mound. Sawara's ghost enters Dōson's body and summons a horde of vengeful spirits to attack Heian-kyō. Aone reveals to Seimei that he and Hiromasa are foretold by the stars to become the two protectors of the city: one cannot survive without the other. She, Seimei and Mitsumushi then go off in search of Hiromasa.Dōson makes his way to the imperial palace. Hiromasa tries to stop him in his tracks, but he is no match for his superhuman abilities; he is mortally wounded when Dōson throws back an arrow Hiromasa shot towards him. Seimei and Aone find him, but it is too late. Aone suggests that Seimei resurrect Hiromasa by performing the rite of Taizan-fukun, the Chinese god of the dead (\u0000\u0000\u0000\u0000\u0000 Taizan-fukun no matsuri), offering to sacrifice her immortality and life to do so.Hiromasa, brought back to life by the ritual, and Seimei go to face Dōson. Aone's spirit, speaking through Hiromasa's body, convinces Sawara to give up his hatred. While Sawara at first refuses to do so, he is finally moved by the prospect of being with Aone - who was the prince's lover during his lifetime - forever; he then passes peacefully with Aone into the afterlife. Although now without Sawara's spirit to empower him, Dōson resumes the fight. Seimei, using his wits, traps Dōson within a magical barrier. Finally admitting defeat, Dōson slashes his throat with the sword from Sawara's burial mound.At the end of the movie, Seimei and Hiromasa drink sake together in Seimei's house. Hiromasa teases Seimei for crying when he died and reflects on what Seimei said to him earlier: that the human heart can turn one into a demon or a buddha. Seimei tells Hiromasa that he is a 'very good man'; Hiromasa answers, \"So are you.\" The two share a laugh together.CastMansai Nomura as Abe no Seimei (\u0000\u0000\u0000\u0000): An exceptionally talented onmyōji whose very origins are shrouded in mystery. Although an onmyōji of the imperial court, he initially shows little regard for it or Heian-kyō itself, preferring instead to stay home with his shikigami and drink sake, yet eventually finds himself fulfilling his destined role as the capital's protector along with Hiromasa.Hideaki Itō as Minamoto no Hiromasa (\u0000\u0000\u0000): A nobleman in the court with a bumbling personality skilled in playing the flute. Although wary of onmyōji at first, he eventually becomes close friends with Seimei, being destined to become the guardian of Heian-kyō along with him.Eriko Imai as Mitsumushi (\u0000\u0000): A butterfly apparently killed by Seimei as a display of his power and subsequently brought back to life. She serves him as one of his shikigami.Hiroyuki Sanada as Dōson (\u0000\u0000): The head of the Bureau of Onmyō (\u0000\u0000\u0000 Onmyō-ryō), he secretly plots the downfall of the imperial line and attempts to use the vengeful spirit of Prince Sawara to further his goals.Ittoku Kishibe as the Emperor (\u0000 Mikado): Loosely based on the historical Emperor Murakami (reigned 946–967), who was the reigning emperor in the year the story takes place (944 CE). The emperor's newborn son and "}
+{"doc_id":"doc_101","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland andAustralia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater publicattention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hoodhas one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the AfricanBody, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles:Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written oredited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats:Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with DavisCoakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers(1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe,Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is atrustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the InternationalAssociation of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from LourdesUniversity. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.==Notes ==Passage 2:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editoronly)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation!(2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director ofSRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall,Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the CaliforniaInstitute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had fivechildren.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 4:Peter LevinPeter Levin is an American director of film, televisionand theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series creditsinclude Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and JudgingAmy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us(1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy forBest Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in\"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becominga theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre"}
+{"doc_id":"doc_102","qid":"","text":"Passage 1:Frederick I, Count Palatine of SimmernFrederick I, the Hunsrücker (German: Friedrich I.; 19 November 1417 – 29 November 1480) was the CountPalatine of Simmern from 1459 until 1480.Frederick was born in 1417 to Stephen, Count Palatine of Simmern-Zweibrücken and his wife, Anna of Veldenz. In 1444his father partitioned his territories between Frederick and his younger brother Louis. Frederick married Margaret of Guelders, daughter of Duke Arnold, on 16August 1454. Frederick died in Simmern in 1480 and was buried in the Augustinian Abbey of Ravengiersburg.ChildrenWith Margaret (1436 – 15 August 1486),daughter of Arnold, Duke of Guelders:Katherine of Palatinate-Simmern (1455 – 28 December 1522), Abbess in the St Klara monastery in TrierStephen (25February 1457 – 1488/9) Canon in Strasbourg , Mainz and CologneWilliam (2 January 1458 – 1458)John I (15 May 1459 – 27 January 1509)Frederick (10 April1460 – 22 November 1518) Canon in Cologne, Speyer , Trier , Mainz, Magdeburg and StrasbourgRupert (16 October 1461 – 19 April 1507), bishop ofRegensburg.Anne (30 July 1465 – 15 July 1517)  Nun in TrierMargaret (2 December 1466 – August 1506) Nun in TrierHelene (1467 – 21 February 1555) Prioressin the St. Agnes monastery in TrierWilliam (20 April 1468 – 1481) Canon in TrierPassage 2:Reichard, Count Palatine of Simmern-SponheimReichard (25 July 1521– 13 January 1598) was the Count Palatine of Simmern-Sponheim from 1569 until 1598.Reichard was born in Simmern in 1521 to Johann II, Count Palatine ofSimmern. In 1569 he succeeded his brother Georg as Count Palatine of Simmern-Sponheim. Reichard died in Simmern in 1598. Without any surviving children,Simmern-Sponheim was inherited by his great-nephew Frederick IV.MarriageReichard married Juliane of Wied (c. 1545 - 30 April 1575, daughter of Count JohannIV of Wied, on 30 July 1569 and had several children:Juliana (21 November 1571 – 4 February 1592)Katherine (10 May 1573 – 12 October 1576)unnamed son(1574)unnamed son (30 April 1575)Reichard married Emilie of Württemberg (19 August 1550 - 4 June 1589), daughter of Christoph, Duke of Württemberg, on26 March 1578.Reichard married Anne Margaret of Palatinate-Veldenz (17 January 1571 - 1 November 1621), daughter of Count Palatine Georg Johann I, on 14December 1589.Passage 3:Louis Henry, Count Palatine of Simmern-KaiserslauternLouis Henry (German: Ludwig Heinrich) (11 October 1640 - 3 January 1674)was the Count Palatine of Simmern-Kaiserslautern from 1653 until 1673.LifeLouis Henry was born in 1640 as the only surviving son of Louis Philip, Count Palatineof Simmern-Kaiserslautern. He succeeded his father in 1655, and was under the regency of his mother, Marie Eleonore von Brandenburg, till 1658. He retiredfrom ruling in 1673. He died less than a year later, and was buried in the St-Stephan's Church in Simmern.MarriageLouis Henry married Maria of Orange-Nassau(5 September 1642 - 20 March 1688) in 1666, daughter of the Dutch prince Frederick Henry. The marriage remained childless.Passage 4:John I, Count Palatine ofSimmernJohn I (15 May 1459 – 27 January 1509) was the Count Palatine of Simmern from 1480 until 1509.John was born in 1459 to Frederick I, Count Palatineof Simmern. He married Joanna of Nassau-Saarbrücken (1464 - 1521) the daughter of Johann II of Nassau-Saarbrücken on 29 September 1481. John died inStarkenburg in 1509 and was buried in Simmern.ChildrenWith Joanna of Nassau-Saarbrücken (1464 - 1521) (14 April 1464 – 7 May 1521)Frederick (1490)John II(21 March 1492 – 18 May 1557)Frederick (1494–?)Passage 5:Sabina, Duchess of BavariaSabina, Duchess of Bavaria (1528–1578) was the daughter of John II,Count Palatine of Simmern and Beatrix of Baden.MarriageIn 1544 she married Lamoral, Count of Egmont with whom she had twelve children. When her husbandwas arrested and accused of treason in 1567, she wrote king Philip II, the king of Spain, a letter to plead for his release. It was to no avail and he was decapitatedin the following year. Sabina was buried in Egmont's crypt in Zottegem.ChildrenCharles, 7th Count of Egmont, Prince de Gavre: married to Marie de Lens,  Lady ofAubigny.WidowhoodAfter her death in 1578, she was buried next to her husband in Zottegem.Passage 6:Georg, Count Palatine of Simmern-SponheimGeorg (20February 1518 – 17 May 1569) was the Count Palatine of Simmern-Sponheim from 1559 until 1569.George was born in 1518 to Johann II, Count Palatine ofSimmern. In 1559 his elder brother Frederick inherited the Electorate of the Palatinate and gave George his old territories inherited from his father in 1557.George married Elisabeth of Hesse, daughter of Landgrave Wilhelm I, on 9 January 1541. George died in 1569 and was succeeded in Simmern by his youngerbrother Reichard.ChildrenWith Elisabeth of Hesse (4 March 1503 - 4 January 1563)John (c. 7 October 1541 – 28 January 1562)George also had a mistress inElisabeth of Rosenfeld and fathered two illegitimate children with herAdam (c.1565–1598)George (c.1566–1598)See alsoList of Counts Palatine of theRhinePassage 7:Stephen, Count Palatine of Simmern-ZweibrückenStephen of Simmern-Zweibrücken (German: Stefan Pfalzgraf von Simmern-Zweibrücken) (23June 1385 – 14 February 1459, Simmern) was Count Palatine of Simmern and Zweibrücken from 1410 until his death in 1459.LifeHe was the son of King Rupertof Germany and his wife Elisabeth of Nuremberg. After the death of Rupert the Palatinate was divided between four of his surviving sons. Louis III received themain part, John received Palatinate-Neumarkt, Stephen received Palatinate-Simmern and Otto received Palatinate-Mosbach.In 1410, Stephen married Anna ofVeldenz, who died in 1439. After the death of Anna's father in 1444, Stephen also gained control of Veldenz and of the Veldenz share of Sponheim. In the sameyear, he also divided the country between his sons Frederick I, who became Count Palatine of Simmern, and Louis I, who became Count Palatine of Zweibrücken.In 1448 he succeeded to one part of Palatinate-Neumarkt and sold the other to his younger brother Otto.He was buried in the Schlosskirche (German: palacechurch), formerly the church of the Knights Hospitallers in Meisenheim.FamilyStefan of Simmern-Zweibrücken and Anna of Veldenz had issue:Anne (1413 – 12March 1455)Margaret (1416 – 23 November 1426)Frederick I (24 April 1417 – 29 November 1480)Rupert (1420 – 17 October 1478)Stephen (1421 – 4September 1485) Canon in Strasbourg, Mainz, Cologne, Speyer and LiègeLouis I (1424 – 19 July 1489)John (1429–1475), Archbishop ofMagdeburgAncestryPassage 8:John Christian, Count Palatine of SulzbachJohn Christian (23 January 1700 – 20 July 1733; in German: Johann Christian Joseph)was the Count Palatine of Sulzbach from 1732–33. He was the second and youngest surviving son of duke Theodore Eustace, Count Palatine of Sulzbach(1659–1732) with his consort Eleonore Maria Amalia of Hesse-Rotenburg (1675–1720). His elder brother was Joseph Charles, Count Palatine of Sulzbach.LifeAfterthe death of his elder brother Joseph Charles, John Christian Joseph became the eventual designated heir of the Electoral Palatine. In 1732 he succeeded hisfather as Count Palatine of Sulzbach, but died in Sulzbach in 1733 before inheriting the Palatinate.Charles III Philip, Elector Palatine, a member of the PalatineNeuburg line of Wittelsbach failed to produce a legitimate male heir, and his brothers also. By 1716 it was evident that the Neuburg line would become extinctand that the Sulzbach branch would succeed them.MarriageHe married twice:Marie Anne Henriëtte Leopoldine de La Tour d'Auvergne (24 October 1708 – 28 July1728), daughter of Francois Egon de la Tour d'Auvergne, Prince of Auvergne, and had the following children:Charles Theodore (11 December 1724 – 16 February1799); became Elector Palatine in 1742, and Elector of Bavaria in 1777Maria Anne (30 May 1728 – 25 June 1728)Eleonore Philippina Christina Sophia ofHesse-Rotenburg  (1712-1759); married on 1731 but had no issue.== Ancestry ==Passage 9:Elisabeth of NurembergElisabeth of Nuremberg (1358 – 26 July1411) was Queen of Germany and Electress Palatine as the wife of Rupert, King of the Romans.LifeElisabeth was born in 1358, the daughter of Frederick V,Burgrave of Nuremberg and his wife Elisabeth of Meissen, daughter of Frederick II, Margrave of Meissen.In Amberg, on 27 June 1374, Elisabeth married Rupert,the son and heir of Rupert II, Elector Palatine. Upon Rupert's succession to the Palatinate in 1398, she became Electress consort of the Palatinate. When Rupertwas elected King of the Romans in 1400, Elisabeth became Queen of the Romans. She survived her husband, who died on 18 May 1410, by a year, dying on 26July 1411. Elisabeth was buried alongside her husband in the Church of the Holy Spirit, Heidelberg.IssueRupert Pipan (20 February 1375, Amberg – 25 January1397, Amberg)Margaret (1376 – 27 August 1434, Nancy), married on 6 February 1393 to Duke Charles II of LorraineFrederick (c. 1377, Amberg – 7 March 1401,Amberg)Louis III, Elector Palatine (23 January 1378 – 30 December 1436, Heidelberg)Agnes (1379 – 1401, Heidelberg), married in Heidelberg shortly beforeMarch 1400 to Duke Adolph I of ClevesElisabeth (27 October 1381 – 31 December 1408, Innsbruck), married in Innsbruck 24 December 1407 to Duke FrederickIV of AustriaCount Palatine John of Neumarkt (1383, Neunburg vorm Wald – 13–14 March 1443)Count Palatine Stephen of Simmern-Zweibrücken (23 June 1385– 14 February 1459, Simmern)Count Palatine Otto I of Mosbach (24 August 1390, Mosbach – 5 July 1461)Passage 10:Rudolph II, Count Palatine ofTübingenRudolph II, Count Palatine of Tübingen (died 1 November 1247) was Count Palatine of Tübingen and Vogt of Sindelfingen.  He was the younger son ofRudolph I and his wife Matilda of Gleiberg, heiress of Giessen.LifeRudolph II inherited the County Palatine of Tübingen when his elder brother Hugo III died in1216.  From 1224 onwards, he is described as Count Palatine in many imperial documents, while his younger brother William is merely styled as Count.  RudolphII supported Bebenhausen Abbey, which his parents had founded. Next to his father, Rudolph II is the second most mentioned Count Palatine of Tübingen inimperial documents, mostly in documents by King Henry (VII) of Germany, the son of Emperor Frederick II, who had been elected King of Germany in 1220, atthe age of 8.  Frederick II spent much of his time in Italy, leaving his ancestral Swabia in the hands of his son.  Later, in 1232, Henry revolted against his father,and did everything in his power to win the Swabian nobility over to his side.  Rudolph II appears to have been among the noblemen who sided with Henry VII, atleast, he is mentioned in 10 different documents of Henry VII and never by Frederick II.  Considering Rudolph's energetic character, one can assume that heintended to use the conflict between Henry VII and Frederick II to expand his own power and aim at an independent position.Swabian noblemen, includingRudolph II and his brother William, Count Hartmann I of Württemberg and a Count of Dillingen, visited Henry VII in Worms on 8 January 1224.  They met"}
+{"doc_id":"doc_103","qid":"","text":"Passage 1:Louise Elisabeth of CourlandLouise Elisabeth of Courland (12 August 1646 in Jelgava – 16 December 1690 in Weferlingen) was Landgravine ofHesse-Homburg by marriage to Frederick II, Landgrave of Hesse-Homburg.LifeLouise Elisabeth was a daughter of Duke Jacob of Courland (1610-1662) from hismarriage to Charlotte Louise (1617-1676), eldest daughter of Elector George William of Brandenburg.On 23 October 1670 in Cölln, she married the laterLandgrave Frederick II of Hesse-Homburg, the famous Prince of Homburg.  Frederick had converted to the Calvinist faith for the sake of their marriage.  Thisconversion brought him into closer relations with the princely houses in Brandenburg and Hesse-Kassel, who were also Calvinist.  Louise Elisabeth's sister MariaAmalia married Landgrave Charles of Hesse-Kassel in 1673.  Louise Elizabeth was a niece of Elector Frederick William of Brandenburg.  This relationship allowedFrederick to join the Prussian army and become commander of all the troops of the Electorate only two years later, in 1672.The Calvinist Louise Elisabeth played asignificant role in the settlement of displaced Huguenots and Waldenses in Friedrichsdorf and Dornholzhausen in as well as in the formation of Calvinistcongregations in Weferlingen and Bad Homburg.IssueCharlotte Dorothea Sophia (1672–1738)married 1694 Johann Ernst III, Duke of Saxe-Weimar(1664–1707)Frederick III Jacob (1673–1746), Landgrave of Hesse-Homburgmarried 1. 1700 Princess Elisabeth Dorothea of Hesse-Darmstadt(1676–1721)married 2. 1728 Princess Christiane Charlotte of Nassau-Ottweiler (1685–1761)Karl Christian (1674–1695), fell at the Siege of NamurHedwig Luise(1675–1760)married 1718 Count Adam Friedrich von Schlieben (1677–1752)Philipp (1676–1706), fell at the Battle of Speyerbach in the War of the SpanishSuccessionWilhelmine Maria (1678–1770)married 1711 Count Anton II of Aldenburg (1681–1738)Eleonore Margarete (1679–1763)Elisabeth Juliana Francisca(1681–1707)married 1702 Prince Frederick William Adolf, Prince of Nassau-Siegen (1680–1722)Johanna Ernestine (1682–1698)Ferdinand (born and died1683)Karl Ferdinand (1684–1688)Casimir William (1690–1726)Passage 2:Adelaide of HesseAdelaide of Hesse (Polish: Adelajda heska) (after 1323 – after May26, 1371) was queen consort of Poland by marriage to Casimir III of Poland. She was daughter of Henry II, Landgrave of Hesse, and his wife Elisabeth ofThuringia, daughter of Frederick I, Margrave of Meissen. Adelaide was a member of the House of Hesse.BiographyShe was named after her paternalgrandmother.Unhappy marriageOn September 29, 1341, in Poznań, Adelaide married Casimir III the Great, King of Poland. The marriage was a result of anagreement between Casimir III and Luxemburgs.The marriage was Casimir's second marriage, after the death of his first wife, Aldona of Lithuania. Casimir hadno male heir, though he had two daughters, Elizabeth and Kunigunde. On September 29, 1341, Adelaide was crowned in Poznań Cathedral. The marriage was anunhappy one, Casimir started living separately from Adelaide soon after their marriage.AnnulmentTheir loveless marriage lasted until 1356. Casimir separatedfrom Adelaide and married his mistress Christina. Christina was the widow of Miklusz Rokiczani, a wealthy merchant. The bigamy and his womanizing got Casimirinto severe trouble with the clergy.Casimir continued living with Christina despite complaints by Pope Innocent VI on behalf of Adelaide. The marriage lasted until1363/1364 when Casimir again declared himself divorced. They had no children. The marriage to Adelaide was annulled in 1368. Then Casimir married his fourthwife, Jadwiga (Hedwig) of Żagań.This marriage produced another three daughters.With Adelaide still alive and Christina possibly as well, the marriage to Jadwigawas also considered bigamous. The legitimacy of the three last daughters was disputed. Casimir managed to have two of his daughters, Anna and Kunigunde,legitimatized by Pope Urban V on December 5, 1369. Jadwiga the younger, was legitimatized by Pope Gregory XI on October 1, 1371.Later lifeAfter theannulment of her marriage, Adelaide went back home to Hesse. She spent the rest of her life in Hesse.After her ex-husband's death, she fought for her propertyrights. She intervened in this case to Pope Gregory XI. On May 26, 1371, the Pope urged King Louis to give back her property.In popular cultureFilmQueenAdelaide is one of the main characters in the second season of Polish historical TV drama series \"Korona Królów\" (\"The Crown of the Kings\"). She is played byAleksandra Przesław.Further readingBalzer Oswald: Genealogia Piastów. Kraków 1895, p. 386-387.Paszkiewicz H.: Adelajda. In: Polski Słownik Biograficzny. Vol.1. 1935, p. 28.Semkowicz Aleksander: Adelajda, Krystyna, Jadwiga, żony Kazimierza Wielkiego. Kwartalnik Historyczny 12. 1898, p. 561-566.Passage 3:Philip,Landgrave of Hesse-PhilippsthalPhilip of Hesse-Philippsthal (14 December 1655 – 18 June 1721) was the son of William VI, Landgrave of Hesse-Kassel andHedwig Sophia of Brandenburg. He was the first landgrave of Hesse-Philippsthal from 1663 to 1721 and the founder of the fifth branch of the house ofHesse.Marriage and issueIn 1680, Philip of Hesse-Philipsthal married Catherine of Solms-Laubach (1654–1736) (daughter of Count Charles Otto ofSolms-Laubach).  They had 8 children:Wilhelmine of Hesse-Philipstahl (1681–1699)Charles I of Hesse-Philippsthal, landgrave of Hesse-PhilippsthalAmélie ofHesse-Philippsthal (1684–1754)Amoene of Hesse-Philippsthal (1685–1686)Philip of Hesse-Philipsthal (1686–1717) who, in 1714, married Marie von Limburg(1689–1759, (daughter of comte Albert von Limburg) and had children with herHenriette of Hesse-Philippsthal (1688–1761)William ofHesse-Philippsthal-Barchfeld, landgrave of Hesse-Philippsthal-Barchfeld, founder of the sixth branch of the House of HesseSophie of Hesse-Philippsthal(1695–1728) who in 1723 married Peter August, Duke of Schleswig-Holstein-Sonderburg-Beck (who died in 1775).BranchPhilip of Hesse-Philippsthal belonged tothe Hesse-Philipsthal branch - this fifth branch was issued from the first branch of the House of Hesse, itself issuing from the first branch of the House ofBrabant.After the abdication of landgrave Ernest of Hesse-Philippsthal (1846-1925) in 1868, the Hesse-Philippsthal branch perpetuated itself through the sixthbranch of Hesse-Philippsthal-Barchfeld, currently represented by William of Hesse-Philippsthal (1933-).AncestrySourcesgenroy.free.frPassage 4:Charles I,Landgrave of Hesse-KasselCharles of Hesse-Kassel (German: Karl von Hessen-Kassel; 3 August 1654 – 23 March 1730), of the House of Hesse, was theLandgrave of Hesse-Kassel from 1670 to 1730.ChildhoodCharles was the second son of William VI, Landgrave of Hesse-Kassel, and Hedwig Sophia ofBrandenburg (1623–1683).  Until 1675 his mother ruled as his guardian and regent before Charles was old enough to take over the administration for the next 5years.  His older brother, William VII, had died in 1670 shortly after reaching adulthood, even before he had had the chance to make any changes with theadministration.PoliciesUnder the reign of Charles, the consequences of the Thirty Years' War in the agricultural county could be overcome more quickly than theywere in the more industrialized regions of the Holy Roman Empire.  He pushed for the recreation of a large army and put it in the service of other countries in theWar of Spanish Succession.   His soldiers, he gave, as well as other princes of his time, to foreign service for the Subsidiengelder [ subsidies ].  This policyremained controversial for its dealings with the mercenaries, according to the 1908 Brockhaus (Volume 9, page 96) :\"Dieses System verbesserte die Finanzen,aber nicht den Wohlstand des Landes,und brachte den glänzenden Hof selbst in ausländische Familienverbindungen.\"[ This system improved the finances but notthe prosperity of the country,and brought to the brilliant court itself foreign familial connections. ]Charles left in 1685 to his younger brother Philipp as the latter'sParagium a small part of the Landgraviate of Hesse, the so-called Landgraviate of Hesse–Philippsthal, named after Philippsthal [ \"Philipp's Valley\" ] (formerlyKreuzberg, a place near Vacha on the Werra River).EconomyEven before the Edict of Fontainebleau (October 1685), Charles adopted on 18 April 1685 theFreiheits-Concession [ \"Freedom Concession\" ], promising the exiles from France, the Huguenots and Waldensians, free settlement and their own churches andschools.  In the following years, about 4000 the Protestants fled persecution in their homelands for Northern Hesse and, for example, about 1700 of them settledin Oberneustadt, the newly created borough of Kassel.Following the ideas of mercantilism, Charles founded in 1679 the Messinghof, one of the firstmetal-processing plants in Hesse, in Bettenhausen, east of Kassel.In 1699 Charles founded Sieburg (since 1717 Karlshafen) and also moved some of theHuguenots and Waldensians there.  With the construction of the Landgrave-Carl-Canal from the Diemel River to Kassel (and beyond), he tried to circumvent theexisting customs borders but, after only a few kilometers, the construction was discontinued.CultureLandgrave Charles continued the design of the hillside park,Wilhelmshöhe (\"William's Peak\") in the Habichtswald (\"Hawk Forest\"), now a nature preserve west of Kassel. In particular, it was the construction of the Herculesmonument that brought the Italian-inspired cascades and other water features to the park. Under his rule, the Moritzaue (\"Maurice's Meadow\") park near thetown was extended over a large area to another park, the Karlsaue (\"Charles's Meadow\"), which still exists today, and the Schloss Orangerie was built.With theparticipation of the Landgrave, who was interested in history, the first archaeological excavations began in 1709 on the Mader Heide.FamilyCharles married hisfirst cousin, Maria Amalia of Courland (1653–1711), the daughter of Jacob Kettler, Duke of Courland, and had with her 24 children, fourteen of which lived longenough to have names:William (29 March 1674 – 25 July 1676)Charles (24 February 1675 – 7 December 1677)Friedrich (28 April 1676 – 5 April 1751), whosucceeded his father as Frederick, the Landgrave of Hesse-Kassel, and became, in 1720, the King of Sweden∞ 1 1700 Princess Louisa Dorothea of Brandenburg(1680–1705)∞ 2 1715 Ulrika Eleonora, Queen of Sweden (1688–1741)Christian (2 July 1677 – 18 September 1677)Sophie Charlotte (16 July 1678 – 30 May1749)∞ 1704 Frederick William, Duke of Mecklenburg-Schwerin (1675–1713)Son (12 June 1679)Charles (12 June 1680 – 13 November 1702)Daughter (12 April1681)William (10 March 1682 – 1 February 1760), who succeeded his brother Frederick as William VIII, the Landgrave of Hesse-Kassel∞ 1717 DorotheaWilhelmina of Saxe-Zeitz (1691–1743)Daughter (12 June 1683)Leopold (30 December 1684 – 10 September 1704)Son (12 November 1685)Louis (5 September1686 – 23 May 1706)Marie Louise (7 February 1688 – 9 April 1765)∞ 1709 Johan Willem Friso, Prince of Orange (1687–1711)Maximilian (28 May 1689 – 8 May"}
+{"doc_id":"doc_104","qid":"","text":"Passage 1:The Grey Lady(The) Grey Lady or (The) Gray Lady may refer to:FilmsThe Grey Lady (film), 1937 German film also known as Sherlock Holmes: The Grey LadyGrey Lady (film), 2017 American film directed by John SheaFolkloreGrey Lady, a ghost reputed to haunt Rufford Old Hall, Lancashire, EnglandGrey Lady, a ghost reputed to haunt Theatre Royal, Bath, EnglandGrey Lady, a ghost reputed to haunt Fort St. Angelo, Birgu, MaltaThe Grey Lady, a spirit reputed to haunt Cumberland College, in Dunedin, New ZealandThe Gray Lady Ghost, reputed to haunt the old parsonage in Sims, North Dakota, United StatesThe Grey Lady, a ghost reputed to haunt the Dark Hedges, County Antrim, Northern IrelandThe Grey Lady, a ghost reputed to haunt Gainsborough Old Hall, Lincolnshire, EnglandEntertainmentThe Gray Lady, a spirit from GhostbustersThe Grey Lady, a character in The Good WitchThe Grey Lady, a character in Harry Potter; see Hogwarts staffOther usesMV Grey Lady, American catamaran ferryA member of the Gray Ladies, volunteers working with the American Red Cross in WWIIThe Gray Lady, a nickname for The New York TimesSee alsoThe Old Grey Lady, a nickname for Legion Field in Birmingham, Alabama, USThe Little Grey Lady of the Sea, a nickname for Nantucket Island, Massachusetts, USPassage 2:Governor GreyGovernor Grey or Gray may refer to:Charles Edward Grey (1785–1865), Governor of Barbados from 1841 to 1846 and Governor of Jamaica from 1847 to 1853George Grey (1812–1898), Governor of South Australia from 1841 to 1845, Governor of New Zealand 1845 to 1854 and from 1861 to 1868, and Governor of Cape Colony from 1854 to 1861Isaac P. Gray (1828–1895), 18th and 20th Governor of the U.S. state of IndianaMatthew Gray (Governor of Bombay) (fl. 1670s), acting Governor of Bombay from 1669 to 1672Ralph Grey, Baron Grey of Naunton (1910–1999), Governor of British Guiana from 1958 to 1964, Governor of the Bahamas from 1964 to 1968, and Governor of Northern Ireland from 1968 to 1973William Grey (governor) (1818–1878), Governor of Jamaica from 1874 to 1877Governor Grey (horse), second-place finisher in the 1911 Kentucky DerbyPassage 3:The Little Gray LadyThe Little Gray Lady is a lost 1914 silent film drama directed by Francis Powers and starring Jane Grey of the Broadway stage. It was produced by Adolph Zukor continuing his making films with Broadway actors and stars, hence the name of his company Famous Players Film Company.CastJane Grey as Anna GrayJames Cooley as Perry CarlyleJane Fearnley as Ruth JordanHal Clarendon as Sam MeadeJulia Walcott as Mrs. JordanRobert Cummings as Richard GrahamMathaleen Aarnold as Mrs. GrahamEdgar Davenport as John MooreSue Balfour as Mrs. CarlylePassage 4:Gray Lady DownGray Lady Down is a 1978 American submarine disaster film directed by David Greene and starring Charlton Heston, David Carradine, Stacy Keach, Ned Beatty, Ronny Cox and Rosemary Forsyth, and includes the feature film debut of Michael O'Keefe and Christopher Reeve. It is based on David Lavallee's 1971 novel Event 1000.PlotAging, respected Captain Paul Blanchard is on his final submarine tour before promotion to command of a submarine squadron (COMSUBRON). Surfaced and returning to port, the submarine, USS Neptune, is struck by a Norwegian freighter en route to New York in heavy fog. With the engine room flooded and its main propulsion disabled, the Neptune sinks to a depth of 1,450 feet (440 meters) or approx. 241.6 fathoms) on a canyon ledge above the ocean floor. A United States Navy rescue force, commanded by Captain Hal Bennett, arrives on the scene, but Neptune is subsequently rolled by a gravity slide to a greater angle that does not allow the Navy's Deep-submergence rescue vehicle (DSRV) to complete its work. As technical malfunctions increase, the submarine's sections get flooded and men die, crewmen have nervous breakdowns and tensions grow between the commanding officers.A small experimental submersible, Snark, is brought in to assist with the rescue. Snark is very capable, but run by a U.S. Navy officer misfit, Captain Don Gates. The tiny submersible is the only hope for a rescue. Ultimately, the surviving members of the crew are rescued by the DSRV, thanks to Gates sacrificing himself by using the Snark to jam the Neptune in place as another gravity slide begins while the rescue is taking place. Moments later the gravity slide pushes the Neptune and the Snark off the ledge and into the ocean's abyss. The film ends with a somber Blanchard climbing out of the DSRV and being welcomed aboard the rescue ship USS Pigeon by Bennett and his officers.CastCharlton Heston as Captain Paul BlanchardDavid Carradine as Captain Don GatesStacy Keach as Captain Hal BennettNed Beatty as MickeyStephen McHattie as Lieutenant Danny MurphyRonny Cox as Commander David SamuelsonDorian Harewood as Lieutenant FowlerRosemary Forsyth as Vickie BlanchardHilly Hicks as HM3 PageCharles Cioffi as Vice Admiral Michael BarnesWilliam Jordan as WatersJack Rader as Chief HarknessMichael O'Keefe as RM2 HarrisCharlie Robinson as McAllisterChristopher Reeve as Lieutenant (JG) PhillipsMelendy Britt as Liz BennettLawrason Driscoll as Lieutenant BloomDavid Wilson as SK1 HansonRobert Symonds as Secretary of NavyTed Gehring as Admiral at Pentagon MeetingCharles Cyphers as LarsonWilliam Bryant as Admiral at Pentagon MeetingJeffrey Druce as Neptune Executive OfficerJames Davidson as Lt. Commander at SACLANTDavid Clennon as Neptune CrewmemberMichael Cavanaugh as P03 Peña (uncredited)Bob Harks as Radio Operator (uncredited)Robert Ito as Jim, Lieutenant at SACLANT (uncredited)Sandra De Bruin as Irma Barnes (uncredited)John Stuart West as Submariner (uncredited)ProductionEven though the submarine depicted in the movie is a Skate-class submarine, in the opening credits, footage of the real-life submarine USS Trout (SS-566) was filmed specifically for Gray Lady Down, depicting the fictional USS Neptune.  Gray Lady Down also re-used submarine special-effects footage and the large-scale submarine model originally used to portray the fictional submarine USS Tigerfish in the 1968 movie Ice Station Zebra to depict USS Neptune. The US Navy's USS Cayuga (LST-1186) appeared in the film as the fictional USS Nassau. The USS Pigeon (ASR-21) and her DSRV were prominently featured in the movie.See alsoA Fall of Moondust, 1961 science fiction novel about vehicle trapped under the lunar surface with similar plot elementsExternal linksGray Lady Down at IMDbGray Lady Down at Rotten TomatoesGray Lady Down at AllMoviePassage 5:Edmund GreyEdmund Grey or Gray is the name of:Edmund Grey (MP for Lynn) (died 1547), MP for LynnEdmund Grey (All My Children), fictional television character in U.S. soap opera, All My ChildrenEdmund Grey, 1st Earl of Kent (1416–1490), English noblemanEdmund Dwyer Gray (1845–1888), Home Rule League MP in the Parliament of the United Kingdom and newspaper proprietorEdmund Dwyer-Gray (1870–1945), his son, also a politician and newspaper proprietor, who became Premier of TasmaniaEdmund Gray (1878–1964), Australian politicianSee alsoEdward Gray (disambiguation)Edward Grey (disambiguation)Passage 6:Singapore DreamingSingapore Dreaming is a 2006 Singaporean drama film. It follows the Loh family, a typical Singaporean working-class family, through their aspirations and dreams for a better and affluent life and the reality that would make it difficult for them to fulfill these aspirations.The film is inspired by a 2000 Singaporean essay titled Paved with Good Intentions, that the writers of the film had written for the Singapore International Foundation. A concatenation of e-mails Singaporeans sent to writers Colin Goh and Woo Yen Yen on their life stories in relation to the Singaporean dream eventually led them to write, produce and direct Singapore Dreaming. The film stars Richard Low as Poh Huat, Alice Lim as Siew Luan, Serene Chen as Irene, Yeo Yann Yann as Mei, Lim Yu-Beng as CK and Dick Su as Seng.The film was theatrically released on 7 September 2006, and at one time ranked fifth on the Singaporean box office. It has been acclaimed as one of the best Singaporean films of the 2000s. It won the Montblanc New Screenwriters Award at the 54th San Sebastián International Film Festival, and was the first such Singaporean film to receive an IFFPA-recognised international feature film award. Owing to its nature as a local film, Singapore Dreaming received much attention from Singaporean viewers, film critics and public figures alike, including S. R. Nathan, the then President of Singapore. It has been praised by local critics as a relatable portrayal of working-class life in Singapore.PlotPoh Huat (Richard Low), the father of the Loh family, works as a lawyer's clerk. He is married to Siew Luan (Alice Lim), a housewife who likes to brew liang teh (herbal tea) for the family. Poh Huat has a habit of buying lottery tickets in hope of winning and enjoying a better life. He also keeps newspaper cuttings of car models and condominiums and stores them in a box in his room.The family has one son, Seng (Dick Su), and one daughter, Mei (Yeo Yann Yann). Despite Mei's superior academic performance, the family has consistently shown favouritism for Seng. Even though he was ostensibly the academically poorer sibling, dropping out of school in Secondary 3, his parents still chose to fund his overseas polytechnic education instead of furthering his sister's education. Seng is due to return after two years at Dubois Polytechnical University (at Idaho). To fund his overseas studies, he had to borrow extra money from his fiancée, Irene (Serene Chen), who stays with Seng's parents.Mei works as a secretary who maintains a friendly working relationship with her boss. She is due for delivery in two months' time, and for maternity leave in a month's time. Her husband, Chin Keong (Lim Yu-Beng), quit his job in the Singapore Armed Forces a month before and is now selling insurance, though unsuccessfully. He is therefore belittled by Mei. Even though they cannot afford it, they frequently go to a condominium showroom to take a look, revealing their aspirations for a more luxurious lifestyle.Seng returns from the United States. Tensions escalate in the family between Mei and Seng, due to the family's apparent favouritism for Seng. Seng goes for several job interviews, but is unsuccessful. He becomes immensely disappointed, and lies to his family about the sanguinity of his job prospects.Poh Huat strikes the Toto lottery, winning S$2 million, and the family is ecstatic. Seng decides that he wants to try starting a business. He gains his father's approval, who gives him effectively unlimited funding through a credit card. Seng also buys a car, without Irene's knowledge. Irene is infuriated when she learns Seng has been overspending without working first.Initially thrilled by his sudden elevation to the higher social class, Poh Huat dies suddenly of a heart attack while he was at a country club for a membership interview. Siew Luan goes into shock. At the funeral, Seng quarrels with Mei over the funeral expenses. Mei vents her anger on Chin Keong, who shows his displeasure by throwing the carton of drinks on the floor and storming off. Mei is called back to work one afternoon, even though she is still managing the funeral. Chin Keong expresses his "}
+{"doc_id":"doc_105","qid":"","text":"Passage 1:Steven TaylorSteven or Steve Taylor may refer to:Steve Taylor (missiologist) (born 1968), New Zealand theologianSteve Taylor (psychologist) (born1967), English author and lecturer in psychologySteven John Taylor, American singer and keyboardist for the band Rogue WaveSteve Taylor (politician) (born1956), American politician and Delaware state legislatorSteven W. Taylor (born 1949), American politician and Oklahoma Supreme Court justiceSteve Taylor(footballer) (born 1955), English footballer in The Football LeagueSteve Taylor (born 1957), American singer, songwriter and film directorSteve Taylor & ThePerfect Foil, a supergroup led by Steve TaylorSteven Taylor (cricketer, born 1963) (born 1963), English cricketerSteve Taylor (Canadian football) (born 1967),quarterbackSteven Taylor (American cricketer) (born 1993), American cricketerSteven Taylor (footballer) (born 1986), English footballerSteve Taylor, thenarrator for the YouTube channel KurzgesagtJohn Mahan (1851–1883), also known as Steve Taylor, Irish-born American bare-knuckle boxer and pugilistFictionalcharactersSteven Taylor (Doctor Who), one of the First Doctor's companionsSteve Taylor, a character in the 2008 British slasher movie Eden LakeSeealsoStephen Taylor (disambiguation)List of people with surname TaylorPassage 2:Steven ParkerSteven Parker may refer to:Steven Parker (defensive back) (born1995), American football playerSteven Parker, military police officer whose actions were the subject of the U.S. Supreme Court case Saucier v. KatzStevenParker, co-creator of the website NeowinSteven Christopher Parker (born 1989), actorSteven J. Parker (died 2009), Boston pediatrician and co-author of the 7thedition of The Common Sense Book of Baby and Child CareSee alsoStephen Parker (disambiguation)Steve Parker (disambiguation)Passage 3:Steven EllisStevenor Steve Ellis may refer to:Steve Ellis (comics) (born 1971), American comic book artist and illustratorSteve Ellis (musician) (born 1950), English singerSteve Ellis(literary scholar) (born 1952), British literary scholar and poetSteve Ellis (rower) (born 1968), British lightweight rowerSteven J. R. Ellis (born 1974), AustralianarchaeologistSee alsoStephen Ellis (disambiguation)Passage 4:Stephen GriffithsStephen or Steve Griffiths may refer to:Stephen Shaun Griffiths (born 1969),convicted of the Bradford murders in 2010Steve Griffiths (footballer) (1914–1998), English footballerSteve Griffiths (athlete) (born 1964), Jamaican sprinterSteveGriffiths (rugby union) (born 1973), English-born Scotland rugby union playerSteven Griffiths (born 1962), Australian politicianSteven Griffiths (cricketer) (born1973), English cricketerPassage 5:Stephen PalmerStephen or Steve Palmer is the name of: Steve Palmer (footballer) (born 1968), English footballerStephenPalmer (orienteer), British orienteerStephen Palmer, guitarist with The High StrungPassage 6:Steve BarancikSteve Barancik (born September 23, 1961, inChicago, Illinois) is a screenwriter whose first screenplay, Buffalo Girls, was filmed and released as The Last Seduction in 1994. The film premiered as an HBOmovie before going on shortly after to art house success. Actress Linda Fiorentino received notoriety for playing the movie's femme fatale, BridgetGregory/Wendy Kroy, and Barancik was nominated for an Edgar Allan Poe Award for best mystery/crime screenplay of 1994.Barancik received critical acclaim forhis screenplay for The Last Seduction. James Berardinelli called his dialogue \"scintillating, often hilarious, and occasionally insightful\", while Variety said hisdevelopment of the narrative \"is very skillful and original\". The Washington Post claimed it was \"a viciously funny first screenplay\" from Barancik, and KimNewman of Empire called his screenplay \"superb\". Barancik worked steadily in the industry but with little to show for it until receiving shared screenplay credit for2002's No Good Deed. He also received shared story credit for 2005's Domino. Barancik is also the founder and a regular performer in Monolog Cabin, a groupfeaturing writers performing comedic personal essays, which performs at Club Congress in Tucson, Arizona. He has developed a website devoted to the subject ofquality children's books and another to collecting the experiences of authors who have self-published.Passage 7:Steven RobertsSteven or Steve Roberts mayrefer to:Steven K. Roberts (born 1952), American journalist, writer, cyclist, archivist, and explorerSteven V. Roberts (born 1943), American journalist andwriterSteven Roberts (British Army soldier) (died 2003), first British soldier to die in the 2003 invasion of IraqSteve Roberts (American football) (born 1964),college football coach at Arkansas State UniversitySteve Roberts (comics), British comics artistSteve Roberts (drummer) (died 2022), British drummer (UKSubs)Steven Roberts (Missouri politician), Missouri State SenatorSee alsoStephen Roberts (disambiguation)Passage 8:Stephen ClarkStephen or Steve(n) Clark(e)may refer to:Arts and entertainmentStephen Carlton Clark (1882–1960), art collector and president of the Baseball Hall of FameSteve Clark (tap dancer)(1924–2017), member of the tap-dancing duo The Clark BrothersStephen Clarke (writer) (born 1958), British journalist and novelistSteve Clarke (drummer)(born 1959), British rock and heavy metal drummerSteve Clark (1960–1991), British guitarist for rock band Def LeppardStephen Clark (playwright), Britishplaywright, librettist and lyricistSteven A. Clark, American pop and R&B singer, active 2011–presentStephen Clark (musician), American bassist for heavy metalband DeafheavenSteve Clarke, British rock bassist for DumdumsSteve Clark (animator), animator and director of animated television seriesStephenClarke-Willson, video game and software developerSteve Clarke (EastEnders), fictional character in the British soap opera EastendersPoliticsStephen Clark (NewYork treasurer) (1792–?), New York State Treasurer 1856–1857Stephen D. Clark (1916–1997), Canadian politician, New BrunswickStephen P. Clark(1924–1996), Mayor of Miami, FloridaStephen R. Clark (born 1966), American federal judge from MissouriSteve Clark (Canadian politician) (born 1960), Canadianpolitician, OntarioSteve Clark (Arkansas politician), Arkansas Attorney GeneralSportsSteve Clark (swimmer) (born 1943), American swimmerStevan Clark (born1959), American football defensive endSteve Clark (American football, born 1960), American pro football tackleSteve Clark (defensive back) (born 1962),American football defensive backSteven Clark (Australian footballer) (1961–2005), VFL/AFL player for three clubsSteve Clarke (born 1963), Scottish footballplayer and managerStephen Clarke (swimmer) (born 1973), Canadian swimmerSteven Clark (English footballer) (born 1982), English footballerSteven Clark(cricketer) (born 1982), Leicestershire cricketerSteve Clark (soccer) (born 1986), American soccer playerSteven Clarke (gridiron football) (born 1991), Canadianfootball defensive backSteve Clark (referee), rugby refereeOthersStephen C. Clark (bishop) (1892–1950), bishop of the Episcopal Diocese of UtahStephen R. L.Clark (born 1945), British philosopherSteven Clarke (born 1949), biochemistStephen Clarke (archaeologist), Welsh archaeologistSee alsoStephen Clark Foster(1822–1898), mayor of New York CityStephen Clark Foster (Maine politician) (1799–1872), U.S. representative from MaineShooting of Stephon Clark, 2018shooting in Sacramento, California involving a man similarly named Stephon ClarkPassage 9:Helen CliftonHelen Clifton (née Ashman) (4 May 1948 – 14 June2011) was a British Salvation Army Commissioner. She spent her childhood in London, connected to the Edmonton Corps of The Salvation Army. She was ateacher before entering the International Training College at Denmark Hill, London, to become a full-time Officer of The Salvation Army. She married the 18thGeneral of The Salvation Army, Shaw Clifton, in 1967. He died in May 2023.She held a Bachelor of Arts (Honours) degree in English language and literature fromWestfield College, University of London and a Post-Graduate Certificate of Education from Goldsmiths’ College, University of London.External linksThe SalvationArmy international homepage Archived 2007-05-11 at the Wayback MachineGeneral Shaw Clifton and Commissioner Helen Clifton Archived 2017-04-25 at theWayback MachineWelcome and Dedication Meeting General Shaw Clifton and Commissioner Helen CliftonCliftons elected to leadCommissioner speaks out againsttraffickingDeath notice of Commissioner Helen Clifton Archived 2011-07-05 at the Wayback MachinePassage 10:Steven BakerSteven or Steve Baker is the nameof:SportsmenSteve Baker (baseball) (born 1956), major league pitcherSteve Baker (footballer, born 1962), English footballerSteve Baker (footballer, born 1978),English footballerSteve Baker (ice hockey) (born 1957), American ice hockey goaltenderSteve Baker (motorcyclist) (born 1952), former Grand Prix motorcycleroad racerSteve Baker (speedway rider), Australian motorcycle speedway riderSteven Baker (American football), American football player with the St. LouisRamsSteven Baker (Australian footballer) (born 1980), Australian rules footballerSteven Baker (figure skater), Croatian figure skater, winner of the Golden Bearof ZagrebOthersSteve Baker, designer of the Space Crusade boardgameSteve Baker (illusionist) (1938–2017), American comedian, magician and escapeartistSteve Baker (politician) (born 1971), British Conservative Party MP for WycombeSteven Baker (producer) (born 1976), Australian arranger, orchestrator andrecord producerSee alsoStephen Baker (disambiguation)"}
+{"doc_id":"doc_106","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker(1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)TheDoctor Blake Mysteries (2013)Passage 2:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed alarge number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rapeand Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films.He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming adirector, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave theproduction when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions atthe Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with hiswife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 3:John Farrell (businessman)John Farrell is the director ofYouTube in Latin America.EducationFarrell holds a joint MBA degree from the University of Texas at Austin and Instituto Tecnologico de Estudios Superiores deMonterrey (ITESM).CareerHis business career began at Skytel, and later at Iridium as head of Business Development, in Washington DC, where he supported thedesign and launched the first satellite location service in the world and established international distribution agreements.He co-founded Adetel, the first companyto provide internet access to residential communities and businesses in Mexico. After becoming General Manager of Adetel, he developed a partnership with TVAzteca in order to create the first internet access prepaid card in the country known as the ToditoCard.  Later in his career, John Farrell worked for Televisa inMexico City as Director of Business Development for Esmas.com. There he established a strategic alliance with a leading telecommunications provider to launchco-branded Internet and telephone services. He also led initial efforts to launch social networking services, leveraging Televisa’s content and mediachannels.GoogleFarrel joined Google in 2004 as Director of Business Development for Asia and Latin America. On April 7, 2008, he was promoted to the positionof General Manager for Google Mexico, replacing Alonso Gonzalo. He is now director of YouTube in Latin America, responsible for developing audiences, managingpartnerships and growing Google’s video display business. John is also part of Google’s Latin America leadership management team and contributes to Google’sstrategy in the region. He is Vice President of the IAB (Interactive Advertising Bureau), a member of the AMIPCI (Mexican Internet Association) Advisory Board,an active Endeavor mentor, and member of YPO.Passage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born artmuseum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum inSalem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the HoodMuseum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in theUnited States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the ToledoMuseum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career inIrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from UniversityCollege-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels(1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He marriedMary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of ArtHistorians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the NationalGallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for severalmajor shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-mediasite.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations andcorporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rightsgrounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private fundingsupported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built onthe established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints,screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\"entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the\"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that thedecision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculativeart investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was ChrisOfili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani,campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedycancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was thetoughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-oldair-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum ofArt is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum'sart education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddlertours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the InternationalVisual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talkson visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Worksby Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of OldMaster paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection dueto claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germanyfollowed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitionsand oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe,Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. Theexhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works ofart, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and hecurated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, andFrank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: Astudy in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of"}
+{"doc_id":"doc_107","qid":"","text":"Passage 1:Ahmet BozerAhmet C. Bozer (born 1960) is a Turkish business executive. He is executive vice president and president of Coca-Cola International,which consists of The Coca-Cola Company's Asia Pacific, Europe, Eurasia & Africa, and Latin America operations.Early yearsBozer was born to Ali Bozer, anacademic of Commercial Law and politician, 1960 in Istanbul, Turkey. He finished TED Ankara Koleji and studied Business Administration at the Middle EastTechnical University in Ankara. Later, he earned a MBA degree in Business Information Systems from Georgia State University.CareerAfter beginning as aconsultant and instructor, Bozer was employed by Coopers and Lybrand, where he had various roles in audit, consultancy and management in the five yearsthere.In 1990, he joined Coca-Cola USA as Financial Control Manager at the company's headquarters in Atlanta, Georgia. Bozer was appointed Region FinanceManager at the Turkish Enterprise in 1992.He was Finance Director and Deputy Managing Director of The Coca-Cola Company Bottling Operations in Turkey from1994 to 1999. After serving as the Managing Director of Coca-Cola Bottlers of Turkey (CCBT), Bozer became the President of Eurasia & Middle East Division basedin Istanbul, Turkey on January 1, 2006. On July 1, 2007, he was appointed President of the Eurasia and Africa Group, which comprises a total of more than 90countries, and served until December 31, 2012. In 2013, he became Executive Vice President and President of Coca-Cola International.Passage 2:Carl WareCarlWare (born 1943, Newnan, Georgia) is an American businessman. He is a retired executive vice-president of The Coca-Cola Company.BiographyEarly lifeCarlWare holds a bachelor's degree in political science from Clark College, a master's degree in Public Administration from the Graduate School of Public andInternational Affairs at the University of Pittsburgh, and is a 1991 graduate of the Harvard Business School's International Senior Management Program.CareerHewas elected to the Atlanta City Council in 1973 and served as president of the Council from 1976 until 1979.In 1979, he was named Vice President of SpecialMarkets for Coca-Cola USA, with responsibility for expanding African-American and Hispanic marketing and advertising programs. In 1982, Ware was promoted toVice President of Urban Affairs. In 1986, he was elected Senior Vice President of Coca-Cola. Ware was named Deputy Group President, Northeast Europe andAfrica in 1991, and was appointed president of the Africa Group in 1993.He was elected a director of Chevron Corporation in 2001. He is a former senior adviserto the chief executive officer of The Coca-Cola Co., a position he held from 2003 to 2006. He also sits on the board of directors of the Council on Foreign Relationsand Georgia Power.Passage 3:Frank Mason RobinsonFrank Mason Robinson (September 12, 1845 – July 8, 1923) was an important early marketer and advertiserof what became known as Coca-Cola.CareerDuring the winter of 1885, Robinson and his business partner, David Doe, came to the South in order to sell amachine they invented called a \"chromatic printing device\" which had the capability to produce two colors in one imprint. Upon arrival in Atlanta, Robinson andDavid Doe approached Dr. John S. Pemberton, a chemist and pharmacist, and struck a deal. In 1886 Frank Robinson officially settled in Atlanta where a newbusiness was made called the Pemberton Chemical Company consisting of Robinson, Pemberton, David Doe and Pemberton's old partner, EdHolland.Coca-ColaPemberton was experimenting with a medicinal formula which included coca leaves and kola nuts as sources of its ingredients. Robinson, whoserved as bookkeeper and partner to Pemberton, gave the syrup formula the name Coca-Cola, where Coca came from the coca leaves used and Cola for the kolanuts. The name Coca-Cola was also chosen \"because it was euphonious, and on account of my familiarity with such names as 'S.S.S; and 'B.B.B'\" said Robinsonhimself. He was also responsible for writing the Coca-Cola name in Spencerian script which was popular with bookkeepers of the era and remains one of the mostrecognized trademarks in the world. The formula was introduced in May 1886 at the Jacobs Pharmacy in Atlanta. It sold 25 US gallons (95 L) the first year. Thenext year sales increased to 1,049 US gallons (3,970 L). In 1888 Pemberton sold the formula to Asa G. Candler, another Atlanta pharmacist and businessman, fora total investment of $2,300 before Pemberton died. Coca-Cola was granted a charter in 1892 and became the official Georgia Corporation named the Coca-ColaCompany with Asa G. Candler, his brother John S. Candler, Frank M. Robinson and two other associates.  Robinson served as treasurer and secretary andchanged the Coca-Cola syrup formula so as not to include any faint traces of cocaine by the time of the Pure Food and Drug Act initiated by the FederalGovernment in 1906. The starting capitalization for the company was at $100,000.Robinson overall was responsible for the early advertising of Coca-Cola beforeand after Candler bought the name and syrup formula from Pemberton, the first ads appearing in The Atlanta Journal in 1887. While still working with Pemberton,Robinson had the initial ads display short phrases such as \"Coca-Cola! Delicious! Refreshing! Exhilarating! Invigorating! The new and popular soda fountain drinkcontaining the properties of the wonderful Coca plant and the famous Cola nut.\" Marketing for the drink showed the syrup beverage with medicinal propertiescuring headaches but with a unique taste. The initial ads distributed invited citizens to try \"the new and popular soda fountain drink.\" Hand painted oil cloth signswere put outside stores displaying the Coca-Cola brand name with catchy words such as \"Drink\" in order to inform customers and other people passing by aboutthe new medicinal beverage that was also a soda fountain drink. First year sales showed an average of nine bottles sold per day.Robinson later retired in 1914,but remained one of the company's directors. In The Columbus Enquirer-Sun a newspaper founded in 1874, published an article in 1906 praising Robinson's workwith Coca-Cola: \"there is one person to whom particular credit is due for the fact that the Coca-Cola formula remained, in the hands of the Georgians, and thefurther fact that the drink soon became so popular. He is Mr. Robinson, and the present secretary of the Coca-Cola Company...In developing the drink, Mr.Robinson has also developed. He is said to be one of the best posted experts on advertising in America today, all due to his experience in advertising and pushingCoca-Cola.\"Personal lifeOriginally from Maine, as a young man he was in Iowa where he married Laura Clapp. Robinson had a home in Druid Hills, an early suburbof Atlanta. He also had a 40-acre (160,000 m2) country home on the Cobb County banks of the Chattahoochee River. The property had been a southernfortification defending the railroad bridge. The property is currently the Frank Mason Robinson Nature Preserve. He owned six residences which were occupiedrent free by family and friends.Robinson taught a large Bible class at the First Christian Church of Atlanta. A large English stained glass window dedicated to hismemory is above the pulpit of Peachtree Christian Church. He was a Republican in national politics but a Democrat in state and local politics.Robinson died in July1923 and was buried in Atlanta's Westview Cemetery.Passage 4:Douglas IvesterDouglas Ivester (born 1947) is an American businessman. He served as thechairman and chief executive officer of The Coca-Cola Company from 1997 to 2000.Early lifeMelvin Douglas Ivester was born in 1947 in New Holland, Georgia. Heattended New Holland Elementary School, where he met Kay Grindle in the third grade.  He grew up to marry her.  He attended North Hall High School and wenton to the University of Georgia, where he earned a degree in accounting, graduating with honors in 1969.CareerIvester began his career with the accounting firmof Ernst and Ernst.In 1979, Ivester joined Coca-Cola as assistant controller and director of corporate auditing, and in 1981 he became the youngest vice presidentin the company's history. Two years later he was elected senior vice president of finance, and in 1985 he was elected CFO at the age of 37. Ivester was electedchairman of the board and chief executive officer of The Coca-Cola Company on October 23, 1997.  Ivester received a retirement package estimated to be worth$166 million. Ivester received the FIFA Order of Merit in 1996.Ivester serves on the board of director of SunTrust Banks.In 1996 Ivester was honored with anEdison Achievement Award for his commitment to innovation throughout his career.PhilanthropyIvester contributes to the University of Georgia, Terry College ofBusiness as Executive-at-Large through the \"Deer Run Fellows\" program.Passage 5:Ayul KaithiAyul Kaithi (transl. Life sentence prisoner) is a 1991 IndianTamil-language crime drama film written and directed by K. Subash, starring Prabhu and Revathi. The film revolves around an escaped prisoner seeminglyseeking to kill his ex-girlfriend. It was released on 29 June 1991.PlotChandrasekhar, a prisoner sentenced to life imprisonment, escapes from prison to seeminglykill his ex-girlfriend Nithiya. Sudharshan, a police officer, tries to catch him.CastSoundtrackThe music was composed by Shankar–Ganesh, with lyrics byVaali.ReceptionSundarji of Kalki lauded the cinematography and Prabhu's performance.Passage 6:The Coca-Cola KidThe Coca-Cola Kid is a 1985 Australianromantic comedy film. It was directed by Dušan Makavejev and stars Eric Roberts and Greta Scacchi. The film is based on the short stories The Americans, Baby,and The Electrical Experience by Frank Moorhouse, who wrote the screenplay. It was entered into the 1985 Cannes Film Festival.PlotBecker, a hotshot Americanmarketing executive (played by Roberts) from The Coca-Cola Company, visits their Australian operations in Sydney and tries to figure out why a tiny corner ofAustralia (the fictional town of Anderson Valley) has so far resisted all of Coke's products. He literally bumps into the secretary (played by Scacchi) who isassigned to help him.Becker discovers that a local producer of soft drinks run by an old eccentric has been successfully fending off the American brand nameproducts. The executive vows an all out marketing war with the eccentric but eventually comes to reconsider his role as a cog in Coca-Cola's giant corporatemachinery. Along the way there are humorous subplots involving the office manager's violent ex-husband, Becker's attempt to find the 'Australian sound', and anodd waiter who is under the mistaken belief that Becker is a secret agent.CastProductionDavid Stratton gave a copy of Frank Moorhouse's book The Americans,Baby to Dusan Makavejev when he attended the Sydney Film Festival in 1975 with Sweet Movie. Production of the movie was difficult in part because ofMakavejev's work methods, which were different from the way films were normally made in Australia. Denny Lawrence came on board the film as aconsultant.The Coca-Cola Kid was shot on location in Sydney–various city landmarks can be seen briefly throughout the film.ReceptionRotten Tomatoes gives The"}
+{"doc_id":"doc_108","qid":"","text":"Passage 1:Michael NozikMichael Nozik is an American film producer. He won a BAFTA award for The Motorcycle Diaries in the category of 'Best Film Not in theEnglish Language' in 2004. His credits also include Love in the Time of Cholera, Syriana, Quiz Show, and The Legend of Bagger Vance.FilmographyHe was aproducer in all films unless otherwise noted.FilmProduction managerLocation managementSecond unit director or assistant directorThanksTelevisionProductionmanagerPassage 2:The Legend of Ero of ArmenteiraThe legend of Saint Ero of Armenteira. The romanic monastery of Armenteira has always been related to thelegend of its founder, the abbot Ero.The miracle of Saint MaryOnce upon a time in the 12th century, a knight named Don Ero lived with his wife in his palace inArmenteira, a beautiful natural setting located in the slopes of Mount Castrove, in the Province of Pontevedra (Galicia, Spain).Don Ero and his wife were not ableto have children, so they kept asking God to send them some descendants. God answered their prayers with the revelation that they would only have spiritualdescent. For this reason they decided to found their own monasteries. Don Ero founded Santa María de Armenteira, right there in his lands.He requested helpfrom Saint Bernard of Clairvaux, the founder of the Cistercian order, who sent him four monks to start the monastery. Years later, he became the abbot of themonastery himself.Ero the Abbot was always begging the Virgin Mary to show him just a little vision of what the divine grace would be like. He longed for the daywhen he would be able to understand the concept of paradise bliss, however he lived under the impression that his beloved Virgin did not listen to his prayers.Oneday, he decided to go for a walk around the woods that surrounded the monastery,  a beautiful setting full of pine trees, oaks and other native species. He took arest and sat on a stone. Suddenly, the joyous chirp of a bird caught his attention. He sat there for a while, listening,  entranced by the peace and beauty that thebird's singing brought to his soul.Not long after that, he headed back to his monastery, since it was already getting dark and he did not want his brethren to worryabout him. When he knocked at the door of the monastery, he was received by a monk completely unknown to him. Distrustful, the monk asked him who he was.When he answered him that he was the abbot Ero, the monk, bewildered, started to call his brothers, not sure if the man was in his right mind. Ero told them whohe was and what he had been doing. When the brethren explained what year they were in, Ero realized to his astonishment that three hundred years had passedby! And suddenly, he became aware that what he thought to have been only three minutes listening to a bird sing, had really been three hundred  yearscontemplating the glory of paradise. Virgin Mary had finally granted him his wish.Popularity of the legendThis legend, related to others of similar content relatedto the Celtic tradition, became really popular in the 13th century when the King Alfonso X the Wise included it in his famous Cantigas de Santa Maria, arecompilation of miracles attributed to Virgin Mary. He dedicated his cantiga (poem or song)  number 103 to the legend of Saint Ero.The great Galician writerRamón María del Valle Inclán also contributed to spreading the legend by including it in his work “Aromas de Leyenda” (1907), a collection of 14 poems inspired inseveral Galician traits like scenery, traditions and superstitions.Passage 3:The Odd Couple IIThe Odd Couple II is a 1998 American buddy comedy film and thesequel to the 1968 film The Odd Couple. It was the final film written and produced by Neil Simon, and starring Jack Lemmon and Walter Matthau. Released nearlythree decades later, it is unique among sequels for having one of the longest gaps between the release of both films in which all leads return. The Odd Couple IIpremiered on April 10, 1998, and was a critical and commercial failure, grossing less than half than its predecessor at the box office.PlotIt has been seventeenyears since Oscar Madison and Felix Ungar have seen one another. Oscar is still hosting a regular poker game and is still an untidy slob, now living in Sarasota,Florida, but still a sportswriter. One day, he is called by his son Brucey with an invitation to California for his wedding the following Sunday. A second shock forOscar—the woman his son is marrying is Felix's daughter, Hannah.On the flight from New York to Los Angeles, it becomes clear that Felix has not changed hisways—he is still a fussy, allergy-suffering neat freak nuisance. Oscar and Felix are reunited at the airport and very happy to be together again after 17 years ofseparation—at least for a couple of minutes. They share a rental car to San Malina for the wedding. however the trip begins with Oscar forgetting Felix's suitcaseat the Budget car rental, including wedding gifts and wardrobe inside. On the trip, Felix falls asleep and Oscar takes a wrong turn onto the freeway, then loses thedirections to San Malina when his cigar ashes burn them.He and Felix become hopelessly lost, and cannot remember the name of the town where they areheaded, so many California cities sounding alike. They end up in a rural area and argue about Felix's lost suitcase, when the rental car rolls off a cliff and catchesfire. If that were not enough, they get arrested several times by the same local police in Santa Menendez, first for catching a ride in a truck carrying illegalMexican immigrants.  They are released after the truck driver confesses, and learn the name of the town where the wedding will take place.  At a bar in town,they meet two extroverted women, Thelma and Holly, and buy them drinks. Accepting an offer of a ride from a stranger even older than themselves, Felix andOscar end up inside a $150,000 vintage Rolls-Royce Silver Wraith and trapped on the wrong side of the road when the stranger dies unexpectedly. Felix andOscar are arrested a second time by the same Santa Menendez police, but again are released when it is discovered that the elderly man died of naturalcauses.  Frustrated that this is second time they have been arrested in Santa Menendez, the police chief advises Oscar and Felix to take a bus to San Malina.Onthe bus, they meet Thelma and Holly, who are running away from their redneck husbands.  However, the bus gets stopped by the husbands, who take theirwives, along with Oscar and Felix, at gunpoint, and in their car tell them that they are going to \"cook a couple of fine geezers\" in the woods for flirting with theirwives.Somehow the bus driver is able to inform the police of the husbands' use of a gun on a public vehicle, and their car is stopped at a police roadblock beforeanything happens to Oscar and Felix. Everyone is again taken into custody by the Santa Menendez police.After meeting with the police chief for the third time, theboys are freed and driven directly to the local airport by the police, who are only too pleased to be rid of them, especially the chief, who tells his deputies not toarrest them again even if they were to commit notorious crimes. A woman boarding the airplane is also en route to the wedding and recognizes them. She isFelice Adams, the sister of Oscar's ex-wife, Blanche. Felix's eyes light up when he learns that her husband died of a heart attack, and they are mutually attracted.He calls her \"Lise,\" which causes Oscar to ask Felix if she calls him \"Lix.\" They arrive at the wedding house, only to find that Brucey is having second thoughtsabout the wedding due to his parents' bad history with marriage. Felix and Oscar argue with their ex-wives, after which Oscar persuades his son to go throughwith it. Felix's suitcase is returned and the wedding goes off without a hitch.The next day, Felix and Felice leave together on one flight to her home in SanFrancisco, and part ways with Oscar, who returns to Florida. Oscar is telling his poker friends about the wedding when the doorbell rings. It is Felix, who saysthings with Felice didn't work out. Felix wonders if he could move in with Oscar until he finds his own place. Oscar refuses, but eventually relents, insisting theirdays of being roommates will be over if Oscar catches Felix matching any of his socks, to which Felix very happily agrees. Before long Felix cleans up theapartment and Oscar is overcome with a sense of having been through all this before.CastProductionHoward W. Koch, the producer of the original 1968 film bywriter Neil Simon, had frequently discussed his desire for a sequel. Koch was unsuccessful in convincing Paramount Pictures to approve a sequel, despite theoriginal film's success and the return of Simon as the writer. Simon had 37 pages written for The Odd Couple 2, which he said were left \"sitting in the drawer\" for10 years. John Goldwyn and Paramount studio chairman Sherry Lansing began serious consideration of a sequel in July 1996, before announcing it on March 30,1997, without the involvement of Koch; instead, Paramount chose Robert W. Cort and Dave Madden as producers for the project. Silverman, Baranski, andHughes were cast in May 1997.Filming began on June 9, 1997, in Los Angeles, California. Filming continued throughout the summer in various southern andcentral California cities, including Arcadia, Guadalupe, Lancaster, Palmdale, Pomona, San Luis Obispo, Santa Maria, and Shafter. In August 1997, filming wasunderway at the same Paramount Studios stage where the original film had been shot. Filming also took place at Hidden Valley, located in Ventura County,California. The film was shot with the title The Odd Couple II — Travelin' Light. The film marked the tenth and final collaboration between Lemmon and Matthau.Jean Smart described the characters of Thelma and Holly as \"a bad '90s version of the Pigeon sisters,\" characters who appeared in the original film.ReceptionTheOdd Couple II  was a critical and commercial failure. Despite the fact Lemmon and Matthau had success with similar roles in their Grumpy Old Men films in themid-1990s, this project was not as successful as expected. The film grossed $18 million at the North American domestic box office, and although Lemmon andMatthau's previous film Out to Sea also disappointed, it was better received by critics and had a slightly higher box office gross.It holds a total of 27% on RottenTomatoes. Stephen Holden of The New York Times called it \"a dispiriting, flavorless travesty, the equivalent of moldy tofu mystery meat\".Audiences surveyed byCinemaScore gave the film a grade of \"B+\" on scale of A+ to F.At the 1998 Stinkers Bad Movie Awards, the film was nominated for Worst Sequel and MostPainfully Unfunny Comedy.Passage 4:Je suis né d'une cigogneJe suis né d'une cigogne (English: Children of the Stork) is a 1999 French road movie directed byTony Gatlif, starring Romain Duris, Rona Hartner, Ouassini Embarek, Christine Pignet and Marc Nouyrigat. Following its French release, it received mixed reviewsbut was nominated for a Golden Bayard at the International Festival of Francophone Film in Namur, Belgium.The film deals with themes like social exclusion andillegal immigration, along with references to the Romani, as in the other films by the director. Gatlif has also employed the French director Jean-Luc Godard's NewWave techniques in this film.PlotTwo French pals, one an unemployed young man named Otto (Romain Duris) living with his mother in state housing, and the"}
+{"doc_id":"doc_109","qid":"","text":"Passage 1:Keku\u0000iapoiwa IIKeku\u0000iapoiwa II was a Hawaiian chiefess and the mother of the king Kamehameha I.BiographyShe was named after her aunt Keku\u0000iapoiwa Nui (also known as Keku\u0000iapoiwa I), the wife of King Kekaulike of Maui.Her father was High Chief Ha\u0000ae, the son of Chiefess Kalanikauleleiaiwi and High Chief Kauaua-a-Mahi of the Mahi family of the Kohala district of Hawai\u0000i island, and brother of Alapainui. Her mother was Princess Kekelakekeokalani-a-Keawe (also known as Kekelaokalani), daughter of the same Kalanikauleleiaiwi and Keawe\u0000īkekahiali\u0000iokamoku, king of Hawaii. Her mother had been sought after by many who wished to marry into the Keawe line. She was the niece of Alapainui through both her father and mother.She married the High Chief Keōua to whom she had been betrothed since childhood. Through her double grandmother Kalanikauleleiaiwi, Keōua's own paternal grandmother, she was the double cousin of Keōua. When her uncle was staying at Kohala superintending the collection of his fleet and warriors from the different districts of the island preparatory to the invasion of Maui, in the month of Ikuwa (probably winter) Kamehameha was born probably in November 1758.: 135–136   He had his birth ceremony at the Mo\u0000okini Heiau, an ancient temple which is preserved in Kohala Historical Sites State Monument.Many stories are told about the birth of Kamehameha.One says that when Keku\u0000iapoiwa was pregnant with Kamehameha, she had a craving for the eyeball of a chief. She was given the eyeball of a man-eating shark and the priests prophesied that this meant the child would be a rebel and a killer of chiefs. Alapainui, the old ruler of the island of Hawai\u0000i, secretly made plans to have the newborn infant killed.Keku\u0000iapoiwa's time came on a stormy night in the Kohala district, when a strange star with a tail of white fire appeared in the western sky. This could have been Halley's Comet which appeared near the end of 1758. According to one legend, the baby was passed through a hole in the side of Kekuiapoiwa's thatched hut to a local Kohala chief named Nae\u0000ole, who carried the child to safety at Awini  on the island's north coast. By the time the infant in Nae\u0000ole's care was five, Alapainui had accepted him back into his household.After Kamehameha, Keku\u0000iapoiwa bore a second son, Keliimaikai. A few years later, Keōua died in Hilo, and the family moved with Alapainui to an area near Kawaihae, where she married a chief of the Kona district (and her uncle) Kamanawa.She had one daughter, Pi\u0000ipi\u0000i Kalanikaulihiwakama, from this second husband, who would later become an important military ally of Kamehameha, who was both step son and cousin through several relationships. Pi\u0000ipi\u0000i became first the wife of Keholoikalani, the father of her son Kanihonui, and later she married Kaikioewa, who she had a daughter Kuwahine with.: 18Kamehameha dynastyPassage 2:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 3:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 4:Robin ThickeRobin Alan Thicke (born March 10, 1977)  is an American singer, songwriter and record producer. He is best known for his 2013 hit single \"Blurred Lines\" (featuring T.I. and Pharrell Williams), which is one of the best-selling singles of all time. At the 56th Annual Grammy Awards, he received nominations for Record of the Year and Best Pop Duo/Group Performance.Thicke is a son of actress Gloria Loring and actor Alan Thicke. He has collaborated with numerous artists, such as Nicki Minaj, Nas, 3T, T.I., Christina Aguilera, Jessie J, K. Michelle, Pharrell, DJ Cassidy, Usher, Jennifer Hudson, Flo Rida, Brandy, Kid Cudi, Mary J. Blige, Emily Ratajkowski and composed songs for Marc Anthony. He worked on albums such as Usher's Confessions and Lil Wayne's Tha Carter III, while releasing his own R&B singles in the United States including \"Lost Without U\", \"Magic\", and \"Sex Therapy\". He is currently a judge on the Fox musical competition show The Masked Singer.Life and career1977–1998: early years and familyThicke was born in Los Angeles, California, on March 10, 1977. His parents are American actress-singer Gloria Loring, who appeared on the NBC daytime drama Days of Our Lives, and Canadian actor Alan Thicke (1947–2016), known for his role on the TV sitcom Growing Pains. They divorced when Thicke was 7 years old. He has an older brother, Brennan, who worked as a voice actor and voiced the titular character on the Dennis the Menace cartoon, and a younger half-brother, Carter. Robin Thicke also appeared in small roles on The Wonder Years, The New Lassie, Just the Ten of Us and several episodes of Growing Pains.Thicke's parents were supportive of his musical inclinations; his father helped him to write and structure his first songs. According to Robin Thicke, his father would not pay for him (then in his early teens) and his vocal group, As One, to record a professionally produced demo tape, wanting Robin to focus on his studies and graduate from school before committing to the pursuit of a career in music. The demo ultimately was paid for by jazz vocalist Al Jarreau, an uncle of one of the group members. His demo made its way to R&B singer Brian McKnight, who was impressed enough by Thicke to invite him into the studio to work with him. Thicke was signed to McKnight's production company; \"Anyway\", a song co-written with Thicke, was featured on McKnight's second album I Remember You. Thicke's peers jokingly nicknamed him \"Brian McWhite\". It was Thicke's association with McKnight, who Thicke counts as one of his first mentors, that led him to his acquaintance with Jimmy Iovine and helped him to land his first recording contract with Interscope Records at the age of 16. Thicke later joined a hip hop duo with future Beverly Hills 90210 actor Brian Austin Green.Thicke moved out on his own at the age of 17, during his senior year of high school, earning a living and supporting himself as a professional record producer and songwriter. Thicke has noted that while his parents did not attempt to dissuade him from his desire to be in the music industry, their own experience with the nature of the entertainment business made them leery in the beginning. As Thicke's list of credits grew so did his parents' confidence in his decision.While initially signed as a singer and artist in his own right, Thicke first made a name for himself within the industry as a songwriter and producer for other artists before releasing and performing his own music. Among his work for other artists, Thicke co-wrote \"Love Is on My Side\" on Brandy's eponymous debut album; he also wrote for 3T's Brotherhood, and collaborated with Jordan Knight, Jimmy Jam and Terry Lewis on several songs in Knight's 1999 album Jordan Knight including the Billboard top 10 hit \"Give It to You\". According to Thicke, Knight also invested in the ability of the young songwriter early on by purchasing studio equipment for him.He also co-wrote the song \"When You Put Your Hands on Me\" for Christina Aguilera's debut album and co-wrote and produced three songs for Mýa's sophomore release, Fear of Flying. In 1999, Thicke co-wrote the song \"Fall Again\" with Walter Afanasieff, which was intended to be a track on Michael Jackson's 2001 album Invincible, but it failed to be presented as a completed song. The demo Michael recorded in 1999 was released on November 16, 2004, as an album track of his limited edition box set The Ultimate Collection. As an artist, he recorded and performed solely under his surname, Thicke. He would continue to do so until 2005.1999–2003: A Beautiful World and early successAt the age of 22, after an involvement with Tommy Mottola and Epic Records following the end of his first deal with Interscope, Thicke resolved himself to work chiefly on material for his debut album, initially titled Cherry Blue Skies, planning to use his own money to fund the project. As Thicke told Billboard, \"I decided I was going to save money to make my album, and I hoped to offer it to labels–take it or leave it–so I didn't have to negotiate how to make my music.\" While piecing his album together, Thicke began working with veteran producer and label executive Andre Harrell and, under his guidance, eventually signed with Interscope for a second time as part of Harrell's and Kenneth \"Babyface\" Edmonds' Nu America imprint label in 2001.In 2002, Thicke released his debut single \"When I Get You Alone\". The track samples Walter Murphy's \"A Fifth of Beethoven\", which itself is a disco rendition of Beethoven's Fifth Symphony. The music video for the song received some rotation on MTV2 and BET's Rated Next and was spun moderately on pop and urban radio, peaking at number 49 on Radio & Records Pop chart. Globally, however, \"When I Get You Alone\" became a chart success when it peaked in the Top 20 in Australia, Belgium, and Italy, and reached the Top 10 of the singles charts in New Zealand and the Top 3 in the Netherlands.The moderate success was enough to signal the release of the album in 2003 with its name changed to A Beautiful World. Despite the release of a second single, \"Brand New Jones\", the album received very little promotion and debuted at number 152 on the Billboard 200 albums chart, selling 119,000 copies as of January 2012. A Beautiful World fell below the label's commercial expectations. The album's under-performance troubled Thicke personally, but it proved enough to make him a wanted collaborator. Thicke has cited Mary J. Blige, Usher, and Lil' Wayne, among others, as those who subsequently reached out to him.Reflecting on A Beautiful World in 2013, Usher stated to The New York Times, \"I was blown away — I thought Beatles, Earth Wind & Fire, Shuggie Otis, Marvin Gaye — all in one album. [Robin's] got a soul you can't buy, man.\"Runner-up Blake Lewis performed \"When I Get You Alone\" during the 2007 season of American Idol when the Top 3 chose a song to sing. Lewis has often put Robin Thicke in his list of musical influences in interviews and on the American Idol website. The song was also performed by Blaine Anderson (played by Darren Criss) on Glee during the Season 2 episode \"Silly Love Songs\".2004–07: The Evolution of Robin Thicke and commercial breakthroughFollowing A Beautiful World, Thicke was keen to begin "}
+{"doc_id":"doc_110","qid":"","text":"Passage 1:Conaire CóemConaire Cóem (\"the beautiful\"), son of Mug Láma, son of Coirpre Crou-Chend, son of Coirpre Firmaora, son of Conaire Mór, was, according to medieval Irish legend and historical tradition, the 111th High King of Ireland. He came to power on the death of his father-in-law Conn Cétchathach, and ruled for seven or eight years, at the end of which he was killed by Nemed, son of Sroibcenn, in the battle of Gruitine. He was succeeded by Conn's son Art.Time frameThe Lebor Gabála Érenn synchronises his reign with that of the Roman emperor Commodus (180–192). The chronology of Geoffrey Keating's Foras Feasa ar Éirinn dates his reign to 136–143, that of the Annals of the Four Masters to 157–165.IssueConaire had three sons by Conn's daughter Saraid. From his third son came the Síl Conairi, named after Conaire Cóem himself or his ancestor Conaire Mór.Cairpre Músc, ancestor of the Múscraige and Corcu DuibneCairpre Baschaín, ancestor of the Corcu BaiscindCairpre Riata, ancestor of the Dál RiataPassage 2:Guillaume WittouckGuillaume Wittouck (1749 - 1829) was a Belgian lawyer and High Magistrate. He was the Grandfather of industrialist Paul Wittouck and of Belgian navigator Guillaume Delcourt.BiographyGuillaume Wittouck, born in Drogenbos on 30 October 1749 and died in Brussels on 12 June 1829, lawyer at the Brabant Council, became Counselor at the Supreme Court of Brabant in 1791. During the Brabant Revolution, he sided with the Vonckists, who were in favor of new ideas. When Belgium joined France, he became substitute for the commissioner of the Directory at the Civil Court of the Department of the Dyle, then under the consulate, in 1800, judge at the Brussels Court of Appeal, then from 1804 to 1814, under the Empire, counselor at the Court of Appeal of Brussels, then advisor to the Superior Court of Brussels. He married in Brussels (Church of Saint Nicolas) on 29 June 1778, Anne Marie Cools, born in Gooik on 25 January 1754, died in Brussels on 11 April 1824, daughter of Jean Cools and Adrienne Galmaert descendants of the Seven Noble Houses of Brussels.Guillaume Wittouck acquired on 28th Floreal of the year VIII (18 May 1800) the castle of Petit-Bigard in Leeuw-Saint-Pierre with a field of one hundred hectares. Petit-Bigard will remain the home of the elder branch until its sale in 1941.Passage 3:Coirpre mac FogartaigCoirpre mac Fogartaig (died 771) was a King of Brega of the Uí Chernaig sept of Lagore of the Síl nÁedo Sláine branch of the southern Ui Neill. He was the son of the high king Fogartach mac Néill (died 724).He is not listed in the poem on the Síl nÁedo Sláine rulers in the Book of Leinster, however at his death obit in the annals for 771 he is called King of Brega. His accession to the rule of the Uí Chernaig sept in south Brega cannot be dated with certainty. His brother Fergus mac Fogartaig (died 751) is called King of South Brega at his death obit. The annals then record the deaths of his cousin Domnall mac Áeda in 759 and his brother Finsnechta mac Fogartaig in 761 with no titles. As for his accession to all of Brega, the death of the Brega king Dúngal mac Amalgado of the rival northern Uí Chonaing sept of Cnogba (Knowth) occurred in 759.Coirpre is first mentioned in the annals with regard to the death of his son Cellach, who was killed by robbers in 767. Then Coirpre is driven into exile in 769 by Donnchad Midi (died 797) of the rival southern Ui Neill branch of Clann Cholmáin based in Mide. A battle had been fought between the men of Mide and Brega in 766. The year after Coirpre's exile the men of southern Brega were defeated at the Battle of Bolgg Bóinne in 770 and two members of the sept were slain, Cernach mac Flainn (a grandson of Fogartach) and Flaithbertach mac Flainn as well as the vassal king Uarchride mac Baeth of the Deisi Brega. This was in conjunction with a campaign of Donnchad Midi versus Leinster and may have been part of that or Donnchad may have defeated the men of southern Brega on is way home. Coirpre then reappears in the year 771 at his death obit with the title King of Brega.NotesSee alsoKings of BregaPassage 4:Fogartach mac NéillFogartach Mac'Artain (died 724), sometimes called Fogartach ua Cernaich, was an Irish king who is reckoned a High King of Ireland. He belonged to the Uí Chernaig sept of the Síl nÁedo Sláine branch of the southern Uí Néill. He was King of Brega and was the son of Niall mac Cernaig Sotal (died 701) and great-grandson of the high king Diarmait mac Áedo Sláine (died 665).King of BregaFogartach may be identified with the \"Focortoch\" who signed as a guarantor of the Cáin Adomnáin at Birr in 697.The earliest report of him in the Irish annals is his flight from the battlefield at the Battle of Claenath (Clane, Co. Kildare) in 704 following the defeat of a number of southern Uí Néill kings by Cellach Cualann (died 715), King of Leinster.In 714, Fogartach was deposed as king of Brega and exiled in Britain. It has been suggested that it was the High King, Fergal mac Máele Dúin (died 722), who deposed him, but it appears more likely that this was a dispute within the fractious Síl nÁedo Sláine, and that Fogartach was removed by his uncle Conall Grant (died 718), assisted by Murchad Midi (died 715) of Clann Cholmáin. Conall killed Murchad the following year and Fogartach returned in 716.He caused some manner of disturbance in 717 at the Oenach Tailtiu—an annual Uí Néill gathering held at Teltown—where \"Ruba's son and Dub Sléibe's son\" were killed, but the annalistic record lacks sufficient context to explain what happened there and why.The following year Conall Grant won a battle against a coalition of southern Uí Néill kings at Kells, but was killed by Fergal mac Máele Dúin later that year.In the early 720s, Fogartach's lands were under attack by the kings of Leinster and Cathal mac Finguine, king of Munster. Fergal mac Máele Dúin undertook campaigns against Leinster in revenge, but was killed by the Leinstermen on one of these, at the battle of Allen, on 11 December 722. His brother Áed Laigin was slain in this battle.High KingFogartach replaced Fergal as High King, but himself fell victim to the war within the Síl nÁedo Sláine, being killed in the battle of Cenn Deilgden by his distant kinsman and successor Cináed mac Írgalaig of the Uí Chonaing sept of North Brega. This was an old feud, Cináed's father having assassinated Fogartach's father in 701. The report of his death in the Annals of Ulster does not refer to him as High King.DescendantsHis sons included:Flann Foirbthe (died 716) who died in his father's lifetime.-His son Cernach was slain at the Battle of Bolg Bóinne in 770.Cernach mac Fogartaig (died 738) killed by his criminal adherents.Fergus mac Fogartaig (died 751) called King of South Brega at his death obit.Finsnechta mac Fogartaig (died 761)Coirpre mac Fogartaig (died 771) called King of Brega in his death obit.Fogartach mac Cummascaig (died 786) king of South BregaCummuscach mac Fogartaig (flourished 778)His descendants representing the main line of the Uí Chernaig sept based at Lagore were in rivalry with his uncle Conall Grant's descendants, the Síl Conaill Graint based at Calatruim for the rule of southern Brega.NotesPassage 5:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. ' Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 6:Prithvipati ShahPrithvipati Shah (Nepali: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000) was the king of the Gorkha Kingdom in the South Asian subcontinent, present-day Nepal. He was the grandfather of Nara Bhupal Shah and reigned from 1673–1716.King Prithvipati Shah ascended to the throne after the demise of his father. He was the longest serving king of the Gorkha Kingdom but his reign saw a lot of struggles.Passage 7:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \" Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 8:Fujiwara no NagaraThis is about the 9th-century Japanese statesman.  For the 10th-century Japanese poet also known as Nagayoshi, see Fujiwara no Nagatō.Fujiwara no Nagara (\u0000\u0000\u0000\u0000, 802 – 6 August 856), also known as Fujiwara no Nagayoshi, was a Japanese statesman, courtier and politician of the early Heian period. He was the grandfather of Emperor Yōzei.LifeNagara was born as the eldest son of the sadaijin Fujiwara no Fuyutsugu, a powerful figure in the court of Emperor Saga. He was also a descendant of the early Japanese emperors and was well trusted by Emperor Ninmyō since his time as crown prince, and attended on him frequently. However, after Ninmyō took the throne, Nagara's advancement was overtaken by his younger brother Fujiwara no Yoshifusa. He served as director of the kurōdo-dokoro (\u0000\u0000 \u0000) and division chief (\u0000) in the imperial guard before finally making sangi and joining the kugyō in 844, ten years after his younger brother.In 850, Nagara's nephew Emperor Montoku took the throne, and Nagara was promoted to shō shi-i no ge (\u0000\u0000\u0000\u0000) and then ju san-mi (\u0000\u0000\u0000), and in 851 to shō san-mi (\u0000\u0000\u0000). In the same year, though, Nagara was overtaken once more as his brother Fujiwara no Yoshimi, more than ten years his junior, was promoted to chūnagon. In "}
+{"doc_id":"doc_111","qid":"","text":"Passage 1:Henry Bryant (naturalist)Henry Bryant (May 12, 1820 – February 2, 1867) was an American physician and naturalist.Early lifeBryant was born in Boston, and graduated from Harvard University in 1840, and then followed this from a degree at Harvard Medical School in 1843. Following this, he went to Paris to study medicine, but his health broke down while researching at a Paris hospital. In order to restore his health, he joined the French army in Algeria as a surgeon. In October 1847, Bryant returned to Boston to work with Dr. Henry Jacob Bigelow as a surgeon, but after a few months his health broke down again. After being forced to abandon medicine because of ill health, Bryant turned to natural history, especially ornithology, which was a childhood passion. Bryant visited nearby Cohasset, Massachusetts for one of his first collecting trips, but he seriously injured his stomach from a fall while landing his boat. After his recovery, he decided to push himself further in an attempt to strengthen his body. His collecting trips became more frequent and more far flung.Civil War serviceBryant took a break from natural history to volunteer as a surgeon during the American Civil War. He accepted an appointment as a surgeon for the 20th Regiment Massachusetts Volunteer Infantry, which was also known as \"The Harvard Regiment.\" By September 1861, Bryant was promoted to brigade surgeon. Soon after, he served on the staff of General Frederick W. Lander until March 2, 1862, when the general died of pneumonia.After Lander's death, Bryant was appointed Medical Director for General James Shield, a future senator. While serving as this post, Bryant fell off his horse so hard that his knee was nearly amputated. Despite the pain, he continued his duties. In the middle of 1862, he was placed in charge of organizing several hospitals, including Cliffburn Hospital and Lincoln Hospital. However, his mental and physical health collapsed again, and he resigned his commission in May 1863.Life after the Civil WarAfter the Civil War ended, Bryant made several trips to France, including to purchase the Frédéric de Lafresnaye collection of birds in 1865, which he presented to the Boston Society of Natural History. This collection contained nearly 9,000 mostly non-American specimen. The unpacking and remounting of the specimen was conducted by younger naturalists, including Charles Johnson Maynard, and took about a year to complete.In addition to his visits to France, Bryant collected birds in Florida, the Bahamas, Ontario and Labrador, North Carolina, Cuba, Jamaica and Puerto Rico. He was one of the first American ornithologists in the Caribbean.He died in Puerto Rico on February 2, 1867 during a brief illness on a collecting trip.Passage 2:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. ' Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife "}
+{"doc_id":"doc_112","qid":"","text":"Passage 1:John VI, Duke of MecklenburgJohn VI, Duke of Mecklenburg (1439–1474) was a Duke of Mecklenburg.LifeJohn was the second son of Henry IV, Dukeof Mecklenburg, and his wife Dorothea, daughter of Elector Frederick I of Brandenburg.His earliest documented official act (jointly with the father) was in1451.  In 1464 he ruled an apanage of several districts jointly with his brother Albert VI, but did not participate actively in administering them.In 1472, John VIwas engaged to Sophie, the daughter of Duke Eric II of Pomerania.  The marriage was set to be celebrated in 1474.  However, John VI died before the marriagetook place.  The exact date of his death is unknown; he is last mentioned in a document dated 20 May 1474.His last illness was contracted on a journey toFranconia to visit his uncle Elector Albrecht III Achilles of Brandenburg.  In Kulmbach, he was infected with the plague and died.  He was probably buried in PoorClares monastery in Hof.External linksGenealogical table of the House of MecklenburgPassage 2:Eric II, Duke of MecklenburgEric II, Duke of Mecklenburg(German: Erich II., Herzog zu Mecklenburg; 3 September 1483 – 21/22 December 1508) was Duke of Mecklenburg, a son of Magnus II, Duke of Mecklenburg,and his wife Sophie of Pomerania-Stettin.Eric ruled Mecklenburg-Schwerin jointly with his brothers Henry V and Albert VII and his uncle Balthasar after hisfather's death on 27 December 1503.  Eric himself probably died on 21 December or 22 December 1508. He was buried in the Doberan Minster in Bad Doberan.He never married and died childless.Passage 3:John I, Duke of Mecklenburg-StargardJohn I, Duke of Mecklenburg-Stargard (1326 – 9 August 1392 or 9 February1393), Duke of Mecklenburg from 1344 to 1352 and Duke of Mecklenburg-Stargard from 1352 to 1392.FamilyHe was probably the youngest child from the secondmarriage of Lord Henry II \"the Lion\" of Mecklenburg and Anna of Saxe-Wittenberg, a daughter of Duke Albert II of Saxe-Wittenberg.LifeJohn I was probably bornin 1326.  His father died in 1329, and he remained under guardianship until 1344, when he came of age and began to carry a seal as a participant in thegovernance of Mecklenburg.  On 8 July 1348, Holy Roman Emperor Charles IV raised John and his brother Albert II to the rank of Duke in Prague.  John, Albertand Charles initially supported the False Waldemar, but in 1350 they reconciled with his supporter Duke Louis V of Bavaria.Upon the division of Mecklenburg on25 November 1352, John was awarded the Lordships of Stargard, Sternbuerg and Ture.  He supported his nephew Albert III of Mecklenburg in his attempts to berecognized as King of Sweden.Marriages and issueJohn married three times. His first wife Rixa (background unknown) probably died soon after the wedding andthe marriage remained childless.His second wife Anna was a daughter of the count Adolf VII of Pinneberg and Schauenburg.  She probably died in 1358.  Johnand Anna had a daughter Anna, who married Wartislaw VI of Pomerania-Wolgast on 4 April 1363.John's third wife Agnes was the daughter of Ulrich II ofLindow-Ruppin and widow of Lord Nicholas IV of Werle.  They probably married in 1358 and had five children together:John II (died between 6 July and 9 October1416), co-regent, then Duke of Mecklenburg-Stargard, from 1408 Lord of Sternberg, Friedland, Fürstenberg and LychenUlrich I (died 8 April 1417), co-regent,then Duke of Mecklenburg-Stargard (1392–1417), from 1408 Lord of Neubrandenburg, Stargard, Strelitz and Wesenberg (with Lize)Rudolf (died after 28 July1415), was initially Bishop of Skara and from 1390 as Rudolf III Bishop of SchwerinAlbert I (died 1397), co-regent of Mecklenburg, from 1396 Coadjutor ofDorpatContance (born c. 1373, died 1408)External linksGenealogical table of the House of MecklenburgPassage 4:Eilika of SaxonyEilika of Saxony (c. 1080 – 16January 1142) was a daughter of Magnus, Duke of Saxony and a member of the Billung dynasty. Through marriage to Otto of Ballenstedt, she was countess ofBallenstedt.LifeEilika was the younger daughter of Magnus, Duke of Saxony and Sophia, daughter of King Béla I of Hungary. Since Eilika had no brothers, afterher father's death in 1106, Eilika and her sister, Wulfhilde of Saxony, inherited his property. Eilika received property in Bernburg, Weißenfels, Werben andperhaps also in Burgwerden and Kreichau, as well as the Palatinate of Saxony.In 1130 Eilika was in conflict with the citizens of the city of Halle, probably becauseof her support for Archbishop Norbert of Magdeburg. Fighting broke out, during which Conrad of Eichstadt was killed, and from which Eilika only escaped withdifficulty.  Around 1131 Eilika wrested the advocacy of the monastery of Goseck (monastery) from Louis of Thuringia, and took it for herself. In 1133 Eilikaexpelled Abbot Bertold from Goseck for incompetency. In 1134 she introduced his successor, Abbot Penther, to the abbey with a solemn address to the monks. In1138 Eilika was accused of tyranny (tyrannis), and attacked at her castle of Bernburg.Marriage and childrenEilika married Count Otto of Ballenstedt before 1095.With Otto, Eilika had two children: Albert the Bear and Adelaide of Ballenstedt, who married Henry II, Margrave of the Nordmark.Passage 5:Henry IV, Duke ofMecklenburgHenry IV, Duke of Mecklenburg (1417 – 9 March 1477) was from 1422 to 1477 Duke of Mecklenburg.LifeHenry IV of Mecklenburg, because of hisobesity and lavish lifestyle also called the \"Henry the Fat\", was the son of the Duke John IV of Mecklenburg and Catherine of Saxe-Lauenburg.He inheritedMecklenburg when his father died in 1422.  His mother, Catherine, and his uncle, Albert V, acted as Regents until 1436.  He then ruled jointly with his brotherJohn V, until his brothers death in 1442.  In May 1432, he married Dorothea of Brandenburg, the daughter of Elector Frederick I of Brandenburg.With the death ofPrince William of Werle in 1436, the male line of the Werle branch of the House of Mecklenburg died out, and Werle fell to the Duchy of Mecklenburg.  After DukeUlrich II of Mecklenburg-Stargard died in 1471, Mecklenburg was again united under one ruler.The Stettin War of Succession between the Pomeranian Dukes andthe Brandenburg Electors ended in late May 1472 through Henry's mediation.At the end of his life, he gradually transferred his power to his sons Albert, John andMagnus.  After Henry's death they ruled jointly, until John died in 1474 and Albert in 1483.  After Albert's death, Magnus ruled alone.  His younger brotherBalthasar cared little about the business of government.Henry died in 1477 and was buried in the Doberan Abbey.IssueAlbert VI († 1483), Duke ofMecklenburgJohn VI († 1474), Duke of MecklenburgMagnus II, Duke of MecklenburgBalthasar Duke of Mecklenburg, coadjutor of the diocese of Schwerin until1479.External linksGenealogical table of the House of MecklenburgPassage 6:John III, Duke of Mecklenburg-StargardJohn III, Duke of Mecklenburg-Stargard(1389 – after 11 November 1438) was from 1416 to 1438 Duke of Mecklenburg, Lord of Stargard, Sternberg, Friedland, Fürstenberg, and Lychen.  To distinguishhim from John V, Duke of Mecklenburg, he is sometimes called John the Elder.FamilyHe was the oldest child of Duke John II and his wife Catherine (Wilheida) ofLithuania.LifeJohn III was probably born in 1389.  In 1416, he took over the reign of Sternberg from his father.  He was taken prisoner by Brandenburg, forunknown reasons.  He was released on 28 June 1427, under the condition that he had to swear an oath of allegiance to the Margrave of Brandenburg.In 1436, heand his cousin Henry and his remote cousin Henry IV of Mecklenburg-Schwerin, jointly inherited the Lordship of Werle.He married Luttrud, the daughter of AlbertIV of Anhalt-Köthen.  She was probably a sister of Anna, the first wife of William of Werle, the last Lord of Werle.  The marriage remained childless.John III died in1438 and was probably buried in Sternberg.  His cousin Henry of Mecklenburg-Stargard inherited his possessions.Passage 7:Magnus I, Duke ofMecklenburgMagnus I, Duke of Mecklenburg (1345 – 1 September 1384) was Duke of Mecklenburg from 1383 until his death.  Magnus was the third son of DukeAlbert II of Mecklenburg and his wife Euphemia of Sweden, the sister of the King Magnus IV of Sweden.  Sometime after 1362, he married Elizabeth ofPomerania-Wolgast, daughter of Barnim IV, Duke of Pomerania.Magnus had two children:John IV, Regent of Mecklenburg from 1384 to 1395 and co-regent from1395 to 1422Euphemia (d. 16 October 1417);married on 18 October 1397 with Lord Balthasar of WerleAfter the death of his brother Henry III in 1383, he ruledMecklenburg jointly with Henry's son Albert IV until his own death in 1384.External linksGenealogical table of the House of MecklenburgPassage 8:Euphemia ofSwedenEuphemia of Sweden (Swedish: Eufemia Eriksdotter; 1317 – 16 June 1370) was a Swedish princess. She was Duchess consort of Mecklenburg, heiress ofSweden and of Norway, and mother of King Albert of Sweden. (c. 1338-1412) .BiographyEarly lifeEuphemia was born in 1317 to Eric Magnusson (b. c.1282-1318), Duke of Södermanland, second son of King Magnus I of Sweden, and Princess Ingeborg of Norway (1300–1360), the heiress and the only legitimatedaughter of King Haakon V of Norway (1270– 1319).In 1319, her infant elder brother Magnus VII of Norway (1316–1374) succeeded their maternal grandfatherto the throne of Norway. That same year, Swedish nobles exiled their uncle, King Birger of Sweden, after which the infant Magnus was elected King of Sweden.Their mother Ingeborg had a seat in the guardian government as well as the position of an independent ruler of her own fiefs, and played an important partduring their childhood and adolescence.The 24 July 1321 marriage contract for Euphemia was signed at Bohus in her mother's fief in Bohuslän. Her mother hadplans to take control over Danish Scania, next to her duchy. The marriage was arranged with the terms that Mecklenburg, Saxony, Holstein, Rendsburg andSchleswig would assist Ingeborg in the conquest of Scania. This was approved by the council of Norway but not Sweden. When Ingeborg's forces under commandof Knut Porse of Varberg, invaded Scania in 1322–23, Mecklenburg betrayed her and the alliance was broken. Eventually, the affair of Euphemia's marriage led toa conflict between Ingeborg and the governments of Sweden and Norway, which led to the demise of Ingeborg's political position in the guardian governments.The marriage took place anyway, after a fifteen-year engagement. Euphemia did not lack influence in Sweden. She is known to have acted as the witness of sealsin several documents. In 1335, when King Magnus appointed Nils Abjörnsson (Sparre av Tofta) to drots, the condition that Euphemia would act as his adviser wasincluded in his appointment.Duchess of MecklenburgEuphemia was married in Rostock on April 10, 1336, to her distant kinsman, Albert II, Duke of Mecklenburg(1318 – 2 February 1379), a North-German lord deeply interested in obtaining some power in Scandinavia. Later the same year, the couple returned to Swedenwith Rudolf of Saxony and Henry of Holstein to be present at the coronation of her brother and sister-in-law Blanche of Namur. In Germany, Euphemia's life as a"}
+{"doc_id":"doc_113","qid":"","text":"Passage 1:Vadim VlasovVadim Nikolayevich Vlasov (Russian: Вадим Николаевич Власов; born 19 December 1980) is a former Russian football player.Vlasovplayed in the Russian Premier League with FC Lokomotiv Nizhny Novgorod.He is a younger brother of Dmitri Vlasov.Passage 2:Claude BraceyClaude Bracey (June8, 1909 – September 23, 1940), known variously as the \"Texas Flyer,\" the \"Dixie Flyer,\" and the \"Texas Tornado,\" was an American sprinter who tied worldrecords in the 100-yard and 100-meter races between 1928 and 1932.  He competed for the United States at the 1928 Summer Olympics in Amsterdam and alsowon the 100-yard and 220-yard sprints at the 1928 NCAA Men's Track and Field Championships.Early lifeBracey grew up in Humble, Texas and attended HumbleHigh School.  As a boy, he participated in games of \"hare-and-hound,\" in which the children would chase each other from one end of town to the other.  Braceywas so fast that rival sides would quarrel over who which side would have him.  He gained prominence as a runner at Humble High.Rice UniversityBraceyattended Rice Institute located in Houston, Texas.  He competed in intercollegiate track for the Rice Owls from 1927 to 1930 and for the United States at the 1928Summer Olympics in Amsterdam.  He was regarded as \"the first man to bring Rice Institute athletic fame.\"  Bracey was considered a \"big and rangy\"runner.  Between 1928 and 1929, he gained weight and was reported in 1929 to be six feet tall and approximately 160 pounds.  In 1929, Bracey described hisminimalist approach to training as follows:\"Sprinters are born, not made, and running comes natural with me.  As long as I take care of myself and eatreasonably, I get along fine. I don't train any during the summer.  That's vacation time and I make it that by spending those weeks fishing.  Laying off like thatdoesn't bother me.  After all, a dash man doesn't need much wind.  I only take two or three breaths in 100 yards.\"A feature story published in 1929 describedBracey as \"almost a recluse,\" a quiet person who rarely left campus, never wears formal clothes, and \"thinks society is all wet.\"Championships and recordsIn June1928, Bracey won both sprint events at the 1928 NCAA Men's Track and Field Championships with times of 9.6 seconds in the 100-yard race and 20.9 seconds inthe 220-yard race.  He was the first athlete from Rice to win an NCAA track championship in any event, and it was 1938 before another Rice athlete (FredWolcott) accomplished the feat.He qualified for the U.S. Olympic team in 1928 and traveled with the team to the 1928 Summer Olympics in Amsterdam.  Hefinished fifth in the semifinals of the 100-meter race at the Olympic games with a time of 10.8 seconds. He was the first Rice athlete to compete in the Olympicgames; it was 1948 before another Rice athlete competed in the Olympics.At the Texas Relays in March 1929, Bracey tied the world record in the 100-yard sprintwith a time of 9.5 seconds.  The next day, he ran the event in 9.4 seconds, but the record was not recognized due to wind conditions.  Football coach KnuteRockne officiated the sprint event in which Bracey's world record was disallowed due to wind conditions.  Rockne told reporters that Bracey was the best sprinterhe had seen and added: \"Bracey is a streak.  He is as good as any of them off the marks and runs the last 40 yards faster than any man I ever saw.  He had thewind with him when he did 9.4 at Dallas but on both that occasion and the day before he beat George Simpson of Ohio State by about four yards.  You all knowhow good Simpson is.\"At the 1929 NCAA Men's Track and Field Championships, Bracey lost his title in the sprint events as Ohio State's George Simpson won bothevents, and Bracey finished second in the 100-yard race and third in the 220-yard event.Bracey continued to compete through 1932.  He tied the world record inthe 100-meter race with a time of 10.4 seconds in June 1932.  In July 1932, he qualified in the preliminaries of the 100-meter and 200-meter events at the FarWestern Olympic team trials at Long Beach, California.  However, he was taken to a hospital the following day after an attack of appendicitis and was unable toparticipate in the finals, which were held while he was in the hospital.Death and posthumous honorsBracey died in Buckeye, Arizona on September 23, 1940,leaving behind wife, Anna Bess Singleton Bracey and daughter, Linda Anne Bracey (Mulpagano) who was 4 months of age at the time of her father's death.In1970, Bracey was selected as one of the initial inductees into the Rice Athletic Hall of Fame.Passage 3:John G. AdolfiJohn Gustav Adolfi (February 19, 1888 – May11, 1933) was an American silent film director, actor, and screenwriter who was involved in more than 100 productions throughout his career. An early actingcredit was in the recently restored 1912 film Robin Hood.BiographyHe was born in New York City to Gustav Adolfi and Jennie Reinhardt. Adolfi entered films as anactor in The Spy: A Romantic Story of the Civil War in 1907, but after appearing in thirty or so films he switched roles and concentrated on directing until hisdeath in 1933 from a brain hemorrhage in British Columbia, Canada while hunting bears.FilmographyPassage 4:Charles J. HuntCharles J. Hunt (April 8, 1881 –February 3, 1976) was an American film editor and director. He also worked at various times as an actor, production manager and associate producer.SelectedfilmographyThe Fate of a Flirt (1925)The Smoke Eaters (1926)The Dixie Flyer (1926)The Warning Signal (1926)Modern Daughters (1927)The Show Girl (1927)Onthe Stroke of Twelve (1927)The Midnight Watch (1927)South of Panama (1928)Queen of the Chorus (1928)Thundergod (1928)Smoke Bellew (1929)Rider of thePlains (1931)Riders of the North (1931)Police Court (1932)Trailing the Killer (1932)Law of the West (1932)The Devil on Horseback (1936)We're in the LegionNow! (1936)Go-Get-'Em, Haines (1936)Captain Calamity (1936)Passage 5:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based onthe 1890 novel La Bête Humaine by the French writer Émile Zola.External linksLa Bestia humana at IMDbPassage 6:Bucky MooreWilliam Elton \"Bucky\" Moore(May 5, 1905 – December 18, 1980) was an American football player who played two seasons in the National Football League with the Chicago Cardinals andPittsburgh Pirates. He played college football at Loyola University New Orleans and attended Loyola High School in New Orleans, Louisiana. He was inducted intothe Loyola Wolf Pack Hall of Fame in 1964. Morre was also nicknamed the \"Dixie Flyer\".Passage 7:Hugh Moore (businessman)Hugh Everett Moore (1887–1972)was an advertising expert and the founder and longtime president of the Dixie Cup Company, manufacturer of the disposable paper Dixie Cup. Inspired by WilliamVogt’s book Road to Survival, Moore started to work outside his business, using his fortune and expertise to support the development of transatlantic structuresfacilitating international peace and influence population discourse and policy for the primary purpose of decreasing the number of humans.Diplomatic, politicaland advocacy activitiesIn addition to his success in the cup business, Moore held many functions in the field of international relations, playing a role in thestabilization of world politics during and after the Second World War. He was founding member of the Committee to Defend America by Aiding the Allies in 1940;chairman of the executive committee of the US League of Nations Association from 1940 to 1943 and president of Americans United for World Organization,1944.In 1944, Moore founded the Hugh Moore Fund for International Peace to fund organizations involved in population control. The Fund published Moore'spamphlet \"The Population Bomb is Everyone's Baby\" in 1954. He was credited by the authors of the globally bestselling 1968 book \"The Population Bomb\", AnneHowland Ehrlich and Paul R. Ehrlich to have used these words first.Moore was a consultant to the State Department at the United Nations Conference in1945.Moore was a member of the American Association for the United Nations from 1945 to 1954. He served as treasurer of the Committee for the Marshall Planin 1948. Moore was a member of the Atlantic Union Committee from 1949 to 1960 and Chair of the Executive Committee from 1949 to 1951. He was chairman ofthe finance committee of the Woodrow Wilson Foundation from 1951 to 1952 and chairman of the fundraising arm of the UN education program in 1955.He was amember of the US Committee on NATO from 1961 to 1972. Moore was Chairman of the Board of the Population Reference Bureau, vice-president of InternationalPlanned Parenthood Federation in 1964, president of the Association for Voluntary Sterilization from 1964 to 1969, and cofounder of the Population CrisisCommittee in 1965.Awards and honorsHugh Moore received an honorary degree of Humane Letters from Lafayette College in 1961.Passage 8:CollegeLoversCollege Lovers is a 1930 American talkie Pre-Code   comedy film produced and released by First National Pictures, a subsidiary of Warner Bros., anddirected by John G. Adolfi. The movie stars Jack Whiting, Marian Nixon, Frank McHugh and Guinn 'Big Boy' Williams. The film was based on the story by EarlBaldwin.PlotGuinn 'Big Boy' Williams, a star football player, decides to leave Sanford college after he has found that his girlfriend has eloped with another man. Heis driven to the train station by Russell Hopton, his best friend, and also a football player for the same college. Jack Whiting, who plays the part of the studentmanager of the Sanford college athletic association as well as part of the president of the student body, knows that the college needs Williams to win theimportant game against Colton college.Whiting conspires with his girlfriend, played by Marian Nixon, to stop Williams from leaving. He also makes use of FrankMcHugh, who plays the part of Whiting's assistant in the film. Nixon fakes a suicide on a bridge when she notices Hopton and Williams approaching. They quicklyrun to help  her and both of them fall in love with her, without realizing that she really love Whiting. Williams and Hopton soon become suspicious of each otherand constantly spy on each other, leaving Nixon to spend her time with Whiting. Just before the big game, Hopton and Williams have an argument and show nointerest in the upcoming game. Whiting suggests that Nixon write each of them an identical love note, telling the recipient that she loves him alone.When Williamsand Hopton receive these notes, they end their quarrelling, each thinking that Nixon prefers them to the other. Halfway through the game, one of them discoversthe other's note and they begin  accusing each other of stealing their notes. Their fighting causes them to be benched. Colton ties the score and promises to bethe winner, which so scares Hopton and Williams that they shake hands and go back into the game. When the winning touchdown for Sanford is a matter ofinches away from the goal line, the two backs waste the last minute of the game trying to decide which of them will have the honor of making the final touchdownand the game ends in a tie.CastJack Whiting as Frank TaylorMarian Nixon as Madge HuttonFrank McHugh as Speed HaskinsGuinn 'Big Boy' Williams as Tiny"}
+{"doc_id":"doc_114","qid":"","text":"Passage 1:Jon LeachJonathan Leach (born April 18, 1973) is a former professional tennis player from the United States. He is the husband of LindsayDavenport.Professional careerLeach, an All-American player at USC, made his Grand Slam debut at the 1991 US Open when he partnered David Witt in the men'sdoubles. He competed in the doubles at Indian Wells in 1992 with Brian MacPhie and before exiting in the second round they defeated a seeded pairing of LukeJensen and Laurie Warder. A doubles specialist, his only singles appearance came at Indian Wells in 1994. With Brett Hansen-Dent as his partner, Leach made thesecond round of the 1995 US Open, with a win over Dutch players Richard Krajicek and Jan Siemerink. At the 1996 US Open, his third and final appearance at thetournament, Leach partnered with his brother Rick. He also played in the mixed doubles, with Amy Frazier. His only doubles title on the ATP Challenger Tour cameat Weiden, Germany in 1996.Personal lifeThe son of former USC tennis coach Dick Leach, he was brought up in California and went to Laguna Beach High School.Leach married tennis player Lindsay Davenport in Hawaii on April 25, 2003. Their first child, a son named Jagger, was born in 2007. They have had a furtherthree children, all daughters. An investment banker, Leach is also involved in coaching and worked with young American player Madison Keys in the 2015 season.His elder brother, Rick Leach, was also a professional tennis player, who won five Grand Slam doubles titles and reached number one in the world fordoubles.Challenger titlesDoubles: (1)Passage 2:LapidothLapidoth (Hebrew: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 Lapī\u0000ō\u0000, \"torches\") was the husband of Deborah the fourthJudge of Israel. Lapidoth is also a Hebrew male given name.Passage 3:Alan PownallStephen Alan Fletcher Pownall (born 30 December 1984) is an Englishsinger-songwriter and the husband of actress Gabriella Wilde.MusicThe son of Orlando Pownall, QC, he grew up in Richmond-upon-Thames and was educated atWindlesham House School, Marlborough College and Shiplake College. Originally interested in fashion, he worked for French designer Roland Mouret for twoyears, where he was advised to study in Milan. He went on to study fashion design but dropped out a year later in 2006 to pursue a music career in London.Aftermeeting Adele at one of her early gigs, he told her that he was making music and she should look it up. To his surprise, he was contacted via his MySpace profileand asked to support her on her first British tour. As he only had a four-song set, he wrote a lot of his material whilst on tour. He also toured with Paloma Faith,Lissie, Marina and the Diamonds, Noah and the Whale and Florence and the Machine.He shared a flat in London with fellow singer/songwriter Jay Jay Pistolet (whowould go on to become the front man of The Vaccines). He later moved in with Marcus Mumford and Winston Marshall from Mumford and Sons, who hesupposedly introduced to Ted Dwane.In one interview he claims to be \"all but deaf in right ear.\"Pownall's debut EP was released on 5 April 2010 through MercuryRecords and his album True Love Stories was released on 25 June 2010. They parted company shortly after the release in late 2010, with Pownall taking a twoand a half year break from music.Pownall and   formed the electro-pop duo Pale in late 2012, with Pownall as the singer. Pale has supported The Vaccines andSky Ferreira on tour.  They worked with Jas Shaw of Simian Mobile Disco to produce their first two singles, released through the independent label 37 Adventures.As of November 2017, their Facebook and Soundcloud pages show that Pale has been dormant since releasing an EP, The Comeback, in 2014.Since 2019, Pownallhas been releasing and performing under the pseudonym Alan Power.Personal lifeOn 13 September 2014, Pownall married actress Gabriella Wilde. The couple'sfirst son, Sasha Blue Pownall, was born on 3 February 2014. In 2016, Wilde gave birth to their second son, Shiloh Silva Pownall. Gabriella has since given birth totheir third son Skye in 2019.DiscographyStudio albumPassage 4:James Randall MarshJames Randall Marsh (1896–1966) was an American artist and the husbandof Anne Steele Marsh.BiographyMarsh was born in 1896 in Paris, France. He was the son of Frederick Dana Marsh and Alice Randall Marsh. He was the brother ofthe painter Reginald Marsh.He married Anne Steele in 1925 and the couple settled in Essex Fells, New Jersey. There Marsh set up a metal forge which he used tocreate industrial and residential lighting fixtures. In 1948, the Marshes relocated to Pittstown, New Jersey where James continued operating a forge, expandingthe operation to include decorative metal work. His work was mainly in the American Arts and Craft style.In 1952, Marsh was instrumental in establishing theHunterdon Art Museum. When an 1836 stone mill became available for sale, Marsh and his neighbors decided to turn it into an art center, with Marsh providingmost of the purchase price. The museum, with workshops, is still in operation and the building is listed as Dunham's Mill on the National Register of Historic Placeslistings in Hunterdon County, New Jersey.In 1964, he purchased the M. C. Mulligan & Sons Quarry, also listed on the NRHP, and donated it to the ClintonHistorical Museum, now known as the Red Mill Museum Village. On October 9, 1965, the James Randall Marsh Historical Park was dedicated at the museum.Marshdied on January 20, 1966, in Flemington.Passage 5:Devisingh Ransingh ShekhawatDevisingh Ramsingh Shekhawat (c. 1934 – 24 February 2023) was an Indianagriculturist and politician who served as the first gentleman of India as the husband of President Pratibha Patil. He also served as the first gentleman ofRajasthan and also as mayor of Amravati. He was a member of the Indian National Congress.Early lifeDevisingh Ramsingh Shekhawat, who was then a lecturer inchemistry, married Pratibha Patil on 7 July 1965. The couple had a daughter and a son, Raosaheb Shekhawat, who is also a politician.Shekhawat was awarded aPhD from the University of Mumbai in 1972. Prior to his wife's elevation to her presidential role, he had been principal of a college operated by his wife's VidyaBharati Shikshan Sanstha foundation and also a First Mayor of Amravati (1991–1992). Like his wife, he was a member of the Indian National Congress party. Hewas also an agriculturalist and a former member of the Legislative Assembly, being elected for the period 1985–1990 from the Amravati constituency in theMaharashtra state legislature. He lost his deposit in the 1995 contest for that constituency.Various accusations against Shekhawat and Patil emerged after thelatter was nominated for the office of president. Among these was the case of Kisan Dhage, a teacher in a school run by Vidya Prasarak Shikshan Mandal inBuldana district, who committed suicide in November 1998. He left a note saying that he was committing suicide because he was tired of the mental harassmentcaused by Shekhawat, who was chairman of the institution, and four others. When the police registered the case as \"accidental death\", Dhage's wife appealed tothe Judicial Magistrate First Class (JMFC) in Jalgaon Jamod, a tehsil in Buldana district. The JMFC ordered the police to start criminal proceedings. Shekhawatpetitioned the courts seeking dismissal of charges of abetting Dhage's suicide. Two lower courts turned down this plea and by June 2007 the issue was pending inthe Bombay High Court. A judge at that court dismissed the charges against Shekhawat in 2009 on the grounds that there was no proof of direct involvement,although one of his co-accused remained subject to the proceedings.In 2009, a court ruled that Shekhawat had colluded with five relatives and local officials toillegally transfer into his ownership 2.5 acres (1.0 ha) of land in Chandrapur belonging to a Dalit farmer. This was one of several allegations of corruption andirregularities to emerge during Patil's presidency in relation to her and her family.First Gentleman of Rajasthan (2004–2007)Upon Shekhawat's wife's successionas governor of Rajasthan, he moved into Raj Bhavan, Jaipur succeeding as the first gentleman of Rajasthan for 3 years.First Gentleman of India (2007–2012)On25 July 2007 Shekhawat became the first first gentleman of India upon his wife's succession as the twelfth — and first woman — President of India for a fullfive-year term.DeathShekhawat died on 24 February 2023 at the age of 89.Passage 6:Periyar E. V. RamasamyErode Venkatappa Ramasamy (17 September 1879– 24 December 1973), revered as Periyar or Thanthai Periyar, was an Indian social activist and politician who started the Self-Respect Movement and DravidarKazhagam. He is known as the 'Father of the Dravidian movement'. He rebelled against Brahminical dominance and gender and caste inequality in Tamil Nadu.Since 2021, the Indian state of Tamil Nadu celebrates his birth anniversary as 'Social Justice Day'.Ramasamy joined the Indian National Congress in 1919, butresigned in 1925 when he felt that the party was only serving the interests of Brahmins. He questioned the subjugation of non-Brahmin Dravidians as Brahminsenjoyed gifts and donations from non-Brahmins but opposed and discriminated against non-Brahmins in cultural and religious matters. He declared hispolitical/social views to be \"no god; no religion; no Gandhi; no Congress; and no brahmins.\"In 1924, Ramasamy participated in non-violent agitation (satyagraha)in Vaikom, Travancore. From 1929 to 1932 Ramasamy made a tour of British Malaya, Europe, and Soviet Union which influenced him. In 1939, Ramasamybecame the head of the Justice Party, and in 1944, he changed its name to Dravidar Kazhagam. The party later split with one group led by C. N. Annaduraiforming the Dravida Munnetra Kazhagam (DMK) in 1949. While continuing the Self-Respect Movement, he advocated for an independent Dravida Nadu (land ofthe Dravidians).Ramasamy promoted the principles of rationalism, self-respect, women’s rights and eradication of caste. He opposed the exploitation andmarginalisation of the non-Brahmin Dravidian people of South India and the imposition of what he considered Indo-Aryan India.BiographyEarly yearsErodeVenkata Ramasamy was born on 17 September 1879 to a Kannada Balija merchant family in Erode, then a part of the Coimbatore district of the MadrasPresidency. Ramasamy's father was Venkatappa Nayakar (or Venkata), and his mother Chinnathyee, Muthammal was a Tamilian. He had one elder brothernamed Krishnaswamy and two sisters named Kannamma and Ponnuthoy. He later came to be known as \"Periyar\" meaning 'respected one' or 'elder' in theTamil.Ramasamy married when he was 19, and had a daughter who lived for only 5 months. His first wife, Nagammai, died in 1933. Ramasamy married for asecond time in July 1948. His second wife, Maniammai, continued Ramasamy's social work after his death in 1973, and his ideas then were advocated by DravidarKazhagam.In 1929, Ramasamy announced the deletion of his caste title Naicker from his name at the First Provincial Self-Respect Conference of Chengalpattu.He could speak three Dravidian languages: Kannada,Telugu and Tamil. Ramasamy attended school for five years after which he joined his father's trade at the"}
+{"doc_id":"doc_115","qid":"","text":"Passage 1:Margaret Clifford, Countess of DerbyMargaret Stanley, Countess of Derby (née Lady Margaret Clifford; 1540 – 28 September 1596) was the onlysurviving daughter of Henry Clifford, 2nd Earl of Cumberland and Lady Eleanor Brandon. Her maternal grandparents were Charles Brandon, 1st Duke of Suffolkand Mary Tudor, Queen of France. Mary was the third daughter of King Henry VII of England and Elizabeth of York.Early lifeMargaret was born at Brougham Castlein 1540. Her mother died when she was seven and her father left court.Claim to the throneAccording to the will of Henry VIII, Margaret was in line to inherit thethrone of England. Upon the death of her mother, Margaret became seventh in line. However, both her cousins Lady Jane Grey and Lady Mary Grey died withoutissue, and their sister, her other cousin, Lady Catherine Grey, died without the legitimacy of her two sons ever being proven (this was later established but onlyafter the death of Elizabeth I). Margaret quickly moved up to becoming the first in line to the throne but died prior to the death of Elizabeth I.Marriage andfamilyIn 1552, John Dudley, 1st Duke of Northumberland suggested a marriage of his youngest son Guildford to Margaret, yet, although the proposal had thewarm support of Edward VI, her father was against it. A year later, in June 1553, the Imperial ambassador Jehan Scheyfve reported that Northumberland'sbrother Andrew Dudley would marry Margaret. The Dudleys were imprisoned when Mary I gained the throne.Margaret joined Mary's court and married HenryStanley, 4th Earl of Derby on 7 February 1555 in the Chapel Royal at Whitehall Palace. They had something of a stormy relationship. Margaret wrote that therewere several \"breaches and reconciliations\", but that her husband finally left her leaving serious debt. In 1567, Lady Le Strange petitioned the Queen's advisor,William Cecil, for a financial settlement from her estranged husband.With whom she had at least four children:Edward Stanley. Died young.Ferdinando Stanley,5th Earl of Derby (c. 1559 – 16 April 1594).William Stanley, 6th Earl of Derby (c. 1561 – 29 September 1642).Francis Stanley (b. 1562). Died young.She latermarried Thomas Fitzwilliam Le Strange, and in 1563 gave birth to a daughter Frances Jenison (née Le Strange) and possibly several other children.Disgrace anddeathIn 1579, Margaret was arrested after she had been heard discussing a proposed marriage of Queen Elizabeth to the Duke d'Alençon. She was opposed to itas it threatened her own possible accession to the crown. She was then accused of using sorcery to predict when Elizabeth would die, and even of planning topoison Elizabeth.Simply predicting the death of a monarch was a capital offence at the time. The countess was put under house arrest. She wrote to FrancisWalsingham insisting on her innocence. She claimed that the accused sorcerer, William Randall, was in fact her physician, who was staying with her because hecould cure \"sickness and weakness in my body\". Randall was subsequently executed. No charges were brought against the countess, but she was banished fromcourt. She wrote repeatedly to the queen complaining that she was in a \"black dungeon of sorrow and despair....overwhelmed with heaviness through the loss ofyour majesty's favour and gracious countenance.\" She continued to be plagued by demands from creditors.Margaret died in 1596 without having recovered royalfavour, and having outlived her eldest son, Ferdinando. Her granddaughter, Lady Anne Stanley, Ferdinando's oldest daughter, inherited her claim. Elizabeth I waseventually succeeded by the genealogically senior claimant, James VI of Scotland.PortraitThere is a discrepancy as to who the sitter is in the Hans Eworth portraitwhich is featured. The coat of arms in the top left corner, which may have been added later, are the impaled arms (those of a husband and wife) of Henry Clifford,2nd Earl of Cumberland, and his wife Lady Eleanor, daughter of Charles Brandon, 1st Duke of Suffolk, and Mary Tudor, Dowager Queen of France. As a result, thepainting has been frequently exhibited in the past as a portrait of Lady Eleanor, regardless of the fact that she died in 1547, well before the date of this portrait. Itis, however, a rule of heraldry that impaled arms are not used by the children of a marriage, as they would have their own. Hence the later addition anderroneous use of the arms here suggests that the identity of the portrait was already unclear only two or three generations after it was painted, a situation by nomeans unusual amid the frequent early deaths, multiple marriages, and shifting alliances and fortunes of the most powerful families of the Tudor era. Later theportrait was thought to represent the only child of Eleanor and Henry to survive infancy, Margaret. The inscription on the right which might have provided a check(Margaret would have been aged 25–28 at the time of this portrait) has been truncated; although the Roman numerals of the year can apply only to 1565–8, theage of the sitter cannot be ascertained with any useful accuracy.The National Portrait Gallery has an online sketch of this portrait identified as Lady Eleanor, butthe portrait remains in dispute.Passage 2:Henry Clifford, 2nd Earl of CumberlandHenry Clifford, 2nd Earl of Cumberland (1517 – January 1570) was a member ofthe Clifford family, seated at Skipton Castle from 1310 to 1676. His wife was Lady Eleanor Brandon, a niece of King Henry VIII.OriginsHenry was a son of HenryClifford, 1st Earl of Cumberland, by his wife, Margaret Percy, daughter of Henry Algernon Percy, 5th Earl of Northumberland, and Catherine Spencer.AncestryHismaternal great-grandfather was Henry Percy, 4th Earl of Northumberland, whose wife was Maud Herbert, Countess of Northumberland. His maternal grandmotherwas a daughter of Sir Robert Spencer and Eleanor Beaufort. Eleanor was a daughter of Edmund Beaufort, 2nd Duke of Somerset, and Eleanor Beauchamp. Shewas a granddaughter of Richard de Beauchamp, 13th Earl of Warwick, and Elizabeth Berkeley. He served as hereditary High Sheriff of Westmorland.Marriages andprogenyHenry Clifford married twice.Firstly, before June 1537, Henry married Lady Eleanor Brandon (she was his fourth-cousin through his mother's side), thesecond daughter of Charles Brandon, 1st Duke of Suffolk, by his third wife, Mary Tudor, former Queen Consort of France. According to the Third Succession Act of23 March 1544, Lady Eleanor Brandon was the seventh-in-line to the throne of the Kingdom of England. With her death, her daughter, Lady Margaret Clifford,took her place in the line of succession. The expenses of this alliance seriously impoverished Henry's estate and obliged him to alienate the great manor ofTemedbury, Herefordshire, the oldest estate then remaining in the family. Eleanor was a younger sister of Henry Brandon (who died very young) and LadyFrances Brandon, and an older sister of Henry Brandon, 1st Earl of Lincoln (named after their dead brother). Her paternal grandparents were Sir William Brandonand Elizabeth Bruyn. Her maternal grandparents were King Henry VII of England and his queen consort, Elizabeth of York.  Following her death in 1547, Henryretired to the country and concentrated on increasing his paternal inheritance, and is said to have visited the court only thrice: at the coronation of Queen Mary I,on his daughter's marriage, and again soon after the accession of Queen Elizabeth I. By his wife Eleanor Brandon, Henry had three children:Lady Margaret Clifford(1540 – 29 September 1596), wife of Henry Stanley, 4th Earl of Derby.Henry Clifford, died an infant.Charles Clifford, died an infant.Secondly, Henry married AnneDacre (c. 1521 – July 1581), the daughter of William Dacre, 3rd Baron Dacre, and Lady Elizabeth Talbot, daughter of George Talbot, 4th Earl of Shrewsbury, andAnne Hastings. Anne Hastings was a daughter of William Hastings, 1st Baron Hastings, and Lady Katherine Neville. Lady Katherine Neville was a daughter ofRichard Neville, 5th Earl of Salisbury, and Alice Montacute, 5th Countess of Salisbury. By Anne Dacre, Henry had at least three children:George Clifford, 3rd Earlof Cumberland (8 August 1558 – 30 October 1605)Francis Clifford, 4th Earl of Cumberland (1559–1641)Lady Frances Clifford (d. 1592), wife of Philip Wharton,3rd Baron Wharton.CareerIn July 1561 Henry and Lord Dacre, his father-in-law, were accused of protecting the popish priests in the north. A similar charge wasadvanced in February 1562. He was in 1569 strongly opposed to the contemplated marriage of Mary Queen of Scots and Thomas Howard, 4th Duke of Norfolk,and readily promised support to the great rebellion of that year. In May 1569 he was in London. As the year wore on he gave in his adherence to the scheme forproclaiming Mary queen of England; but when the critical moment arrived he did not act with vigour, but as a 'crazed man, leaving his tenants to the leadership ofLeonard Dacres'. He assisted Lord Scrope in fortifying Carlisle against the rebels. Henry is described by his daughter as having 'a good library,' being 'studious inall manner of learning, and much given to alchemy.'Death and burialHe died shortly after 8 January 1569–70, at Brougham Castle, and was buried at SkiptonCastle.Passage 3:Henry Clifford, 5th Earl of CumberlandHenry Clifford, 5th Earl of Cumberland (28 February 1592 – 11 December 1643) was an Englishlandowner and politician who sat in the House of Commons between 1614 and 1622. He was created a baron in 1628 and succeeded to the title Earl ofCumberland in 1641.Clifford was the son of Francis Clifford, 4th Earl of Cumberland, and Grisold Hughes and a member of the Clifford family which held the seatof Skipton from 1310 to 1676. He was educated at Christ Church, Oxford. In 1607, he became joint Lord Lieutenant of Cumberland, Northumberland andWestmorland. He was elected Member of Parliament for Westmorland in 1614, and was returned in 1621. In 1621, he became Custos Rotulorum of Westmorland.He was created Baron Clifford in 1628.Clifford was a supporter of Charles I during the so-called Bishops' Wars in Scotland, and also during the Civil War until hisdeath. He succeeded to the title of Earl of Cumberland in 1641 and died two years later in 1643 at the age of 52; as he left no sons the earldom becameextinct.Clifford married Lady Frances Cecil (1593 – 14 February 1644), daughter of Robert Cecil, 1st Earl of Salisbury and Elizabeth Brooke on 25 July, 1610, at StMary Abbots Church, Kensington. They had one child: Lady Elizabeth Clifford who married Richard Boyle, 1st Earl of Burlington.Passage 4:Eleanor Brandon,Countess of CumberlandEleanor Clifford, Countess of Cumberland (née Lady Eleanor Brandon; 1519 – 27 September 1547) was the third child and seconddaughter of Charles Brandon, 1st Duke of Suffolk and Princess Mary Tudor, the Dowager Queen consort of France. She was a younger sister of Lady FrancesBrandon and an elder sister of Henry Brandon, 1st Earl of Lincoln. She was also a younger paternal half-sister of Lady Anne Brandon and Lady Mary Brandon fromher father's second marriage. After her mother's death in 1533, her father remarried to Catherine Willoughby and Eleanor became an elder half-sister of HenryBrandon, 2nd Duke of Suffolk and Charles Brandon, 3rd Duke of Suffolk.Her paternal grandparents were Sir William Brandon and Elizabeth Bruyn. Her maternal"}
+{"doc_id":"doc_116","qid":"","text":"Passage 1:Marie-Louise CoidavidQueen Marie Louise Coidavid (1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of HenriChristophe.Early lifeMarie-Louise was born into a free black family; her father was the owner of Hotel de la Couronne, Cap-Haïtien. Henri Christophe was a slavepurchased by her father. Supposedly, he earned enough money in tips from his duties at the hotel that he was able to purchase his freedom before the HaitianRevolution. They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior. They had four children: François Ferdinand (born 1794),Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) and Victor-Henri.At her spouse's new position in 1798, she moved to the Sans-Souci Palace. During theFrench invasion, she and her children lived underground until 1803.QueenIn 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom ofHaiti. Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and her own court. She took her position seriously, and stated that thetitle \"given to her by the nation\" also gave her responsibilities and duties to perform. She served as the hostess of the ceremonial royal court life performed at theSans-Souci Palace. She did not involve herself in the affairs of state. She was given the position of Regent should her son succeed her spouse while still being aminor.  However, as her son became of age before the death of his father, this was never to materialize.After the death of the king in 1820, she remained withher daughters Améthyste and Athénaïs at the palace until they were escorted from it by his followers together with his corpse; after their departure, the palacewas attacked and plundered. Marie-Louise and her daughters were given the property Lambert outside Cap. She was visited by president Jean Pierre Boyer, whooffered her his protection; he denied the spurs of gold she gave him, stating that he was the leader of poor people. They were allowed to settle in Port-au-Prince.Marie-Louise was described as calm and resigned, but her daughters, especially Athénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. InAugust 1821, the former queen left Haiti with her daughters under the protection of the British admiral Sir Home Popham, and travelled to London. There wererumours that she was searching for the money, three million, deposited by her spouse in Europe. Whatever the case, she did live the rest of her life withouteconomic difficulties. The English climate and pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided toleave.In 1824, Marie-Louise and her daughters moved in Pisa in Italy, where they lived for the rest of their lives, Améthyste dying shortly after their arrival andAthénaïs in 1839. They lived discreetly for the most part, but were occasionally bothered by fortune hunters and throne claimers who wanted their fortune.Shortly before her death, she wrote to Haiti for permission to return. She never did, however, before she died in Italy. She is buried in the church of San Donnino.A historical marker was installed in front of the church on April 23, 2023 to commemorate the Queen, her daughter and her sister.See alsoMarie-Claire HeureuseFélicitéAdélina LévêquePassage 2:Sophia Magdalena of DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III. Born into the House of Oldenburg, the royal family ofDenmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain.Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tenserelationship between the two Scandinavian realms. She was subsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia'shusband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden. Their coronation was on 29 May 1772.The politically arrangedmarriage was unsuccessful. The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level theunion also proved to be unhappy. Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court.She dutifully performed her ceremonial duties but did not care for social life and was most comfortable in quiet surroundings with a few friends. However, she wasliked by many in the Caps party, believing she was a symbol of virtue and religion. The relationship between the spouses improved somewhat in the years from1775 to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet lifeas dowager queen until her death in 1813.Early lifePrincess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located atthe large square, Kongens Nytorv, in central Copenhagen. She was the second child and first daughter of Crown Prince Frederick of Denmark and his first consort,the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene. She received her own royal household at birth.Justone month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was theheir presumptive to the throne of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status asnext in line to the Danish throne after her brother until her marriage. She was therefore often referred to as Crown Princess of Denmark.In the spring of 1751, atthe age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up to be the Queen of Sweden. The marriage wasarranged by the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark,which had a long history of war and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate hadlost. The engagement was met with some worry from Queen Louise, who feared that her daughter would be mistreated by the Queen of Sweden, Louisa Ulrika ofPrussia. The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; and who was known in Denmark for herpride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death ofher mother early in her life, Sophia Magdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered herfather and brother to be morally degenerate. She is noted to have had good relationships with her siblings, her grandmother and her stepmother; her father,however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia.In 1760, thebetrothal was again brought up by Denmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen,as King Adolf Frederick of Sweden was never considered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and herniece Philippine of Brandenburg-Schwedt instead, and claimed that she regarded the engagement to be void and forced upon her by Carl Gustaf Tessin. Shenegotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement.However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, UlrikaEleonora of Denmark, who was very loved for her kindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena tobe an example of a virtuous and religious representative of the monarchy in contrast to the haughty Louisa Ulrika. Fredrick V of Denmark was also eager tocomplete the match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen\". In1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to hismother that he wished to honor the engagement, and on 3 April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena wasdisplayed in Stockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! She looks stupid\", after which she turned to PrinceCharles and added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace inCopenhagen with her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg inDenmark over Öresund to Hälsingborg in Sweden; when she was halfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, shewas welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoy in Stockholm, Baron Schack, as wellas Crown Prince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with thewords: \"Watch out, Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, beingcelebrated on the way. She met her father-in-law the King and her brothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and likedby them all during her life in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at Säby Manor, and on the 28th, she was formallypresented for the Swedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, howbeautiful she is!\", but that her appearance was affected by the fact that she had a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomedto the capital of Stockholm, where she was married to Gustav in person in the Royal Chapel at Stockholm Royal Palace.Sophia Magdalena initially made a goodimpression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved nature soon made her a disappointment inthe society life. Being of a reserved nature, she was considered cold and arrogant. Her mother-in-law Queen Louisa Ulrika, who once stated that she couldcomprehend nothing more humiliating than the position of a Queen Dowager, harassed her in many ways: a typical example was when she invited Gustav to herbirthday celebrations, but asked him to make Sophia Magdalena excuse herself by pretending to be too ill to attend. Louisa Ulrika encouraged a distance between"}
+{"doc_id":"doc_117","qid":"","text":"Passage 1:Charles James Irwin Grant, 6th Baron de LongueuilCharles James Irwin Grant, only son of Charles William Grant, 5th Baron de Longueuil and CarolineCoffin, was born in Montreal on 1 April 1815. He served in the 79th Regiment as a lieutenant for a while. He later married Henriet Colmore, from whom hefathered two sons (Alexander Frederick, died age 2 and Charles Colmore) as well as a daughter. His wife Henriet died in 1847 and he remarried in Charleston,South Carolina on 18 January 1849 to Anne Trapman, second daughter of Louis Trapman, a consul. He had many children from this union including ReginaldCharles and John Charles Moore. He died on 26 February 1879 at age 63.AncestryPassage 2:James BillmyerJames Irwin Billmyer (May 14, 1897 - July 9, 1989)was an American modern painter and illustrator.Early yearsJames Billmyer was born in Union Bridge, Maryland and received his BA from Western MarylandCollege. He continued his studies at the National Academy of Design, Beaux Arts, the Art Students’ League, Cooper Union, Maryland Institute, Baltimore CharcoalClub, and Baltimore Grand Central School of Art.Some of his influential teachers included John Sloan, George Luks, Frank Vincent Dumond, George Bridgeman,William De Leftwüch Dodge, Dean Cornwell, and Harvey Dunn.Billnyer was involved with the commercial art of periodicals and advertising, working as anillustrator for magazines such as “Cosmopolitan”, “Family Circle”, “House and Garden”, “Ladies Home Journal”, “Parents Magazine”, and Collier’s \"GoodHousekeeping”.  In 1931, he became a member of the American Society of Illustrators.WorkBillmyer travelled extensively in Latin and Central America, Canada,the Near East, and Europe, exploring the history and cultures of these locations, which ultimately impacts his work. In the 1950s and 1960s, he was a part of the10th Street galleries scene. For twelve years, he studied plastics under the tutelage of Hans Hofmann in New York and Provincetown.  Hofmann showed him theimportance of objects moved out from the canvas and resolved back into it.  This type of painting that deals with multiple rhythms, colors, and angles, offersviewers a higher-dimensional experience. Billmyer has created patterns in and out of divided planes that go in independent directions before receding back intothe canvas, which is his unique adaption of Hofmann’s methods. Many of his patterns and forms appear in the film “The Hypercube: Projections and Slicing.”Billmyer has taught and lectured at the New York School of Interior Design, The Hudson River School, Spellman College, Miami Art Center,  the Naskeay School,Maine, and his own New York School.Passage 3:John Charles Moore Grant, 9th Baron de LongueuilJohn Charles Moore de Bienville Grant, 9th Baron de Longueuilwas born in 1861 at Bath, Somerset. He was the son of Charles James Irwin Grant and Anne Marie Catherine Trapman. He succeeded to the title of Baron deLongueuil on 3 August 1931. He died on 17 October 1935 at Pau, France.AncestryPassage 4:Charlie PartridgeCharles James Partridge (born December 7, 1973) isan American college football coach. He is the assistant head football coach and defensive line coach at the University of Pittsburgh, a position he has held since2018. Partridge served as the head football coach at Florida Atlantic University from 2014 to 2016.Playing careerA native of Plantation, Florida, Partridge attendedDrake University, where he was a team captain of the football team. Later he also attended Iowa State University.Coaching careerPartridge's first coachingexperience was as a graduate assistant with the Drake Bulldogs and the Iowa State Cyclones. From there he became the defensive line coach of the EasternIllinois Panthers. Partridge served as defensive line coach, linebackers coach, and special teams coordinator of the Pitt Panthers for five seasons before joining theWisconsin Badgers. He was named co-defensive coordinator at Wisconsin in January 2011. On December 15, 2012 the University of Arkansas announced thehiring of Partridge as the defensive line coach. Partridge was widely credited as Wisconsin's lead recruiter in the state of Florida, and helped land five-star runningback Alex Collins for the Razorbacks in his first two months on the job. Partridge followed former Wisconsin Badgers head coach Bret Bielema toArkansas.Partridge was hired as the head coach at Florida Atlantic on December 16, 2013. He was fired on November 27, 2016.On February 14, 2017 Partridgewas announced as the defensive line coach at Pittsburgh.Personal lifePartridge is married with two children.Head coaching recordPassage 5:Charles William Grant,5th Baron de LongueuilCharles William Grant was born in 1782. He was the son of Captain David Alexander Grant and Marie-Charles-Joseph Le Moyne, Baronnede Longueuil. He served during the War of 1812 as Lieutenant Colonel of the Boucherville militia battalion and as a staff officer. He was taken prisoner by theAmericans on 8 December 1813, and was held hostage in Worcester, Massachusetts. He married Caroline Coffin, daughter of General John Coffin and AnneMathews, on 21 May 1814. He became a member of the Legislative Council of Lower Canada. He succeeded to the title of Baron de Longueuil on 17 January 1841.He died on 5 July 1848 at his residence of Alwington House in Kingston.AncestryPassage 6:Charles James (footballer)Charles James (1882–1960) was an Englishfootballer who played for Stoke.CareerJames was born in Stoke-upon-Trent and played for amateur side Halmerend before joining Stoke in 1908. He became abit-part player for Stoke in this three seasons there making a modest 13 appearances. He later worked at the Florence Colliery and also played for the worksfootball team.Career statisticsPassage 7:Anthony Robinson (Unitarian)Anthony Robinson (1762–1827) was an English Unitarian minister and friend of CharlesJames Fox.LifeRobinson was born in January 1762 at Kirkland near Wigton in Cumberland.  He was educated at Bristol Baptist Academy, under James Newton(1733-1790).  Robinson was baptized at The Pithay Meeting, Bristol, in 1784.  He became a minister, at the General Baptist Church, Glasshouse Yard, WorshipStreet, London.  About 1790, having succeeded to his father's estate, he retired to Wigan.  About 1796, he returned to London, where he became a successfulsugar refiner.Robinson had an influential circle of acquaintance, including Joseph Priestley, William Belsham, and Henry Crabb Robinson.He died in Hatton Garden,20 January 1827, and was buried in the Worship Street Baptist churchyard.FamilyRobinson's son Anthony, who disappeared in 1824, is alleged one of the victimsof Burke and Hare.PublicationsA Short History of the Persecution of Christians by Jews, Heathens, and Christians (Carlisle, 1793)A View of the Causes andConsequences of English Wars (London, 1798)An Examination of a Sermon preached at Cambridge by Robert Hall on Modern Infidelity (London, 1800)Passage8:Jonnie IrwinJonathan James Irwin (born 18 November 1973) is an English television presenter, writer, lecturer, business and property expert.Early lifeIrwingrew up on a small farm in the village of Bitteswell, Leicestershire. Irwin was educated at Lutterworth Grammar School and Community College. He obtained adegree from Birmingham City University in estate management.He is of Irish descent.CareerIrwin worked for business transfer specialists Christie & Co, becomingan associate director within three years, before going on to work for Colliers International.In 2004, Irwin was selected from hundreds of applicants along withco-presenter Jasmine Harman to present Channel 4's show A Place in the Sun – Home or Away, and has filmed over 200 episodes all around Britain. Theprogramme is also broadcast daily on More4, Discovery Real Time and Discovery Travel & Living, as well as channels throughout Europe and the rest of the world,including New Zealand, Australia, and South Africa. In 2022 Irwin accused A Place in the Sun producers of axing him as presenter after 18 years due to a cancerdiagnosis, leaving his mood “really low.”Irwin also presents episodes of BBC property shows Escape to the Country and To Buy or Not to Buy. Irwin has alsopresented the spin-off to Escape to the Country, Escape to the Perfect Town. In January 2011, Sky 1 broadcast Irwin's own show called Dream Lives for Sale,which saw him help people leave behind their lives in the UK and buy a business. In late 2011 he began a new series, The Renovation Game, which aired onweekday mornings on Channel 4.Over the past ten years, Irwin has advised clients on business and property, ranging from small high street gift shops tomultimillion pound corporate hotel packages. He still runs a property and business consultancy.Irwin writes a regular column for A Place in the Sun magazine. Heappears at A Place in the Sun Live giving presentations on his tips for buying property abroad. Irwin also regularly hosts seminars and corporate events.PersonallifeIrwin is a keen sportsman. He played rugby for Lutterworth RFC and then for Rugby Lions RFC, until an accident in a sevens tournament in which he broke hisback and subsequently retired.Irwin married Jessica Holmes in September 2016. Together they have three sons. Rex born 2018 and twin sons Rafa and Cormacborn 2020. Irwin and his family moved to the Hertfordshire town of Berkhamsted in 2018 and then to the Newcastle upon Tyne area.Health and illnessInNovember 2022, Irwin shared that he had terminal lung cancer, after being diagnosed in 2020. In an interview with Hello!, Irwin said, \"I don't know how long Ihave left, but I try to stay positive and my attitude is that I'm living with cancer, not dying from it. I set little markers – things I want to be around for [...] I'mdoing everything I can to hold that day off for as long as possible. I owe that to Jess and our boys. Some people in my position have bucket lists, but I just wantus to do as much as we can as a family.\"Passage 9:Charles Colmore Grant, 7th Baron de LongueuilCharles Colmore Grant, 7th Baron de Longueuil was the son ofCharles James Irwin Grant, 6th Baron de Longueuil and Harriet Cregoe-Colmore. He was born on 13 April 1844 at Cheltenham, Gloucestershire, England. In 1878,he married Mary Wayne, daughter of Thomas Wayne. In 1880, he claimed a royal recognition of his right to the barony of Longueuil. By the treaty of Quebec thesovereignty of Canada passed from the Kings of France to the Kings of Great Britain but with the reservation that all rights and privileges \"of what kind soever\"should be reserved and secured to all individuals of French descent to which they had been entitled under the previous regime. Queen Victoria was graciouslypleased to recognise the claim of Charles Colmore Grant to the title of Baron de Longueuil. He died on 13 December 1898 at age 54 at New York City. He waswithout issue and his half-brother Reginald Charles succeeded him.Passage 10:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987)was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football atSt. Louis University."}
+{"doc_id":"doc_118","qid":"","text":"Passage 1:Thomas de Mowbray, 1st Duke of NorfolkThomas de Mowbray, 1st Duke of Norfolk, KG (22 March 1366 – 22 September 1399) was an English peer. Asa result of his involvement in the power struggles which led up to the fall of King Richard II, he was banished and died in exile in Venice.Background and youthTheMowbrays were an old family in the English peerage, having been first raised to the baronage in 1295. Several advantageous marriages, combined with loyalservice to the crown and rewards from it made them, by the late 14th century, a great political standing. Thomas was the son of John de Mowbray, 4th BaronMowbray and his wife Elizabeth Segrave, the daughter and heiress of John Segrave, 4th Baron Segrave by his wife Margaret, Duchess of Norfolk, daughter andheiress of Thomas of Brotherton, 1st Earl of Norfolk,  the fifth son of King Edward I.Thomas Mowbray was born in 1366; the precise date is unknown. He wasprobably named after the cult of St Thomas Becket, of which his mother was a follower. His elder brother John was their father's heir; he died in 1368. Four yearslater, they became the ward of their great-aunt, Blanche of Lancaster. John was created Earl of Nottingham on the coronation of King Richard II in 1377, but diedin early 1383. Almost immediately—within a few days—the earldom was re-granted to Thomas, and even though he was still legally a minor, he was allowedseisin of his patrimony and the comital penny.Political backgroundRichard II succeeded to the throne in 1377 on the death of his grandfather, Edward III, but hisunpopularity had been growing since Richard's suppression of the Peasants' Revolt in 1381. He was increasingly criticised for his patronage of a few select royalfavourites, to an extent that has been described as \"lavish to the point of foolishness\" by a biographer, historian Anthony Tuck. Parliament was also coming to theview that the King needed to rule as economically as possible, and they observed with displeasure the King's distribution of extravagant patronage to a limitedcircle, the greatest recipient of which was Michael de la Pole, Earl of Suffolk. Furthermore, the Hundred Years' War was going poorly for England. Severalexpeditions had left for France in the early years of Richard's reign to defend English territory, but they were almost all military and political failures.As a secondson, little is recorded of Mowbray's youth, although his background and status \"virtually guaranteed him a place at court\", says Saul. The King and Mowbray hadprobably been childhood friends, and was a royal favourite from at least 1382, when he was granted hunting rights in certain royal forests and was knighted. Itwas around this time that Bolingbroke began to fall out of favour with the King, with Mowbray supplanting him. Mowbray also married the ten-year-old LadyElizabeth Lestrange, heiress of John, Lord Blakemere, whose marriage cost the King around £1000. Elizabeth died in 1383, not long after the wedding.Career to1390Mowbray remained high in royal favour following the death of his wife, and he was elected to the Order of the Garter in October the same year, even thoughhe was militarily unproven. The King granted him grace and favour rooms at the royal palaces of Eltham and Kings Langley. Reflecting his role as an importantcourtier, Mowbray accompanied Richard on his tour of East Anglia in 1383. His closeness to the King drew the opprobrium of the King's uncle, John of Gaunt,Duke of Lancaster—probably the most powerful man in the Kingdom after the King—upon him. Gaunt accused Mowbray, along with Robert, Earl of Oxford andWilliam, Earl of Salisbury of plotting against the King. Gaunt himself was becoming increasingly unpopular and had withdrawn from the council. As a result, saysthe chronicler Thomas Walsingham, Mowbray, de Vere and Montacute plotted to kill the duke in February 1385. The King held jousts between the 13th and 14thof the month, and Gaunt's murder was to be committed on the 14th; it is possible that Richard did not disapprove, such had relations between him and his unclebroken down. Originally, this had been over foreign policy; Gaunt favoured a restoration of the war with France, while Richard was keen to invade Scotland Gaunthad also recently told Richard that he viewed the King's advisors as \"unsavoury\", and Mowbray and his friends deliberately exacerbated the two men'santagonism by proffering a series of accusations against the duke. Gaunt received a forewarning of the attack, however, and fled in the night.On 30 June1385—as the royal army was about to leave for Scotland—Mowbray received his great-grandfather's office of Marshal of England, although he could not haveforeseen this eventuality as at the time the campaign was announced the marshalcy was possessed by the Earl of Kent. Mowbray led a force of 99 men-at-armsand 150 archers, serving with Gaunt in the vanguard. Mowbray helped draw up the King's ordinances for the campaign when the royal army reached Durham,although by now, suggests Given-Wilson, Mowbray's relations with Richard \"may have been cooling\". Less than a year after his first wife's death, Mowbraymarried Elizabeth Fitzalan. Elizabeth was a daughter of Richard, Earl of Arundel, and, although the King attended their wedding and the week-long festivitiesaccompanying it, it is unlikely that the marriage was popular with Richard. His second marriage must have been a turning point. Richard doubtless saw Arundel asa negative influence on Mowbray and feared the strengthening of the earl's position against him. Mowbray and Elizabeth had also wed without his permission, andso the King distrained Mowbray's estates until he had received the value of the license. Tuck argues, in fact, that \"nor was the king's concern unfounded\";Mowbray had been increasingly isolated at court by the King's latest favourites, such as Oxford, and had moved into the circle of those who opposed the newroyal intimates, perhaps seeing them as the best way to dispose of his rival. This circle also included not only Richard's father-in-law but his uncle, Thomas, Dukeof Gloucester. In a sign that Mowbray was not completely out of favour, Elizabeth received her robes as a Lady of the Garter in 1386.Both men had played animportant role in parliament's attack on Richard's chancellor, Michael de la Pole, Earl of Suffolk at the Wonderful Parliament of 1386. The Wonderful Parliamenthad taken place against a backdrop of genuine fear of a French invasion—Walsingham described how Londoners, in his view, like \"timid mice they scurried hitherand thither—and Arundel had been appointed Admiral of England. In March the following year he, in turn, appointed Mowbray his deputy, and they took a fleetout of Margate and encountered a French-Flemish fleet almost immediately. The result was its crushing defeat. Between 50 and 100 French-Flemish ships werecaptured or destroyed. The King was unimpressed. When Arundel and Mowbray returned to court, Richard coolly claimed they had only defeated merchants, andOxford turned his back on the earls.AppellantFor most of the 1380s, Mowbray received what he doubtless considered his due from the King, in lands, offices andgrants. But by 1387 he became increasingly estranged from Richard's court. The main reason for this was probably jealousy of de Vere. While he was wealthyenough not to have to rely on royal favour, as de Vere did, he expected the honour and dignity that his birth and status demanded. This he saw increasinglysyphoned off to his rival. Although the Wonderful Parliament had set up a commission to effectively restrain the King, it failed so to do. Richard emasculated thecommission by leaving London straight away, and not only ignored its deliberations but his own councils in the provinces. He also took legal advice from hisjudges who, unsurprisingly, found in his favour that those responsible for parliament's treatment of the King should be deemed traitors. In response, Mowbrayjoined Bolingbroke, Gloucester, Arundel and Warwick in appealing several of the King's friends, including Oxford, of treason, and raised an army at Hornsey, northof London. The Appellants' army engaged Oxford's at the Battle of Radcot Bridge, inflicting a crushing defeat on the royalists in December. Mowbray did not takepart, as he was guarding the road back to the West Midlandsl at Moreton in Marsh, although he may have sent a portion of his retinue to the Appellantarmy.Mowbray appears to have been responsible for dissuading Gloucester, Arundel and Warwick from marching to London and deposing the King. Indeed, heand Bolingbroke may have been a moderating influence on the others. Converseley, due to his position as Earl Marshal—one of the two heads of the Court ofChivalry—his presence with the Appellants enabled them to frame their offensive juridically rather than as a traditional noble rebellion. He was one of the groupthat attended Richard in the Tower of London—with arms linked—on 30 December and accused the King of treachery towards them. They also demanded Richardorder the arrest of the appellees; Walsingham reports that he only agreed to do so on being threatened, once again, with deposition. The King attempted to divideMowbray from his colleagues, asking him to stay behind when the others were ready to leave.  With the King now under their control, Mowbray and theAppellants called parliament for early 1388. This session became known as the Merciless Parliament on account of the vengeance it laid on the King's closestsupporters. with Mowbray overseeing the executions with \"the aid and authority of the mayor, sheriffs, and aldermen of London\". Mowbray was to take thecondemned to the Tower and \"‘from there drag him through the city of London as far as the gallows at Tyburn, and there hang him by the neck\".Rapprochmentwith the KingFor his part, there are signs that Mowbray was becoming dissatisfied with his comrades through the course of the parliament, which Tuck suggestswas because Mowbray was \"never as committed to the destruction of the court faction as Gloucester, Arundel, and Warwick\". Given-Wilson suggests thatincluding Mowbray by the Appellants broadened their base among the nobility, by virtue of his having had less acrimonious relations with the King, but alsoweakened them as a body by diluting their grievances. As indicated by Mowbray's dispute with Warwick over the Gower lordship, they were already \"shot throughwith personal and political differences\" as it was. Tuck suggests that, while Mowbray seems able to have stomached the convictions of the others, \"the real riftoccurred over the question of Sir Simon Burley's fate\". Gloucester and Warwick accused him of exercising undue influence over Richard; Burley, theunder-chamberlain, had been tutor to the King, who wanted to save him. Mowbray and Bolingbroke agreed, but to no avail, and in May 1388 Burley was hangedat Tyburn. Mowbray was loyal to the King and court.Early indications of Mowbray's return to favour with the came in early 1389 when he had his estates restoredto him and was pardoned for having married without the King's licence. In March he was appointed warden of the East March and castellan of Berwick Castle,receiving wages of £6,000 in peacetime and twice that in time of war. His appointment was not a success; he alienated the traditional lord of the north, Henry"}
+{"doc_id":"doc_119","qid":"","text":"Passage 1:Erard II, Count of BrienneErard II of Brienne (died 1191) was count of Brienne from 1161 to 1191, and a French general during the Third Crusade,most notably at the Siege of Acre. He was the son of Gautier II, count of Brienne, and Humbeline Baudemont, daughter of Andrew, lord of Baudemont and Agnesof Braine.  His paternal grandparents were Erard I, Count of Brienne and Alix de Roucy. During this siege he saw his brother André of Brienne die on 4 October1189, before being killed himself on 8 February 1191.  Erard II's nephew was Erard of Brienne-Ramerupt.Before 1166 he married Agnès of Montfaucon († after1186), daughter of Amadeus II of Montfaucon and of Béatrice of Grandson-Joinville.  Their children were:Walter III of Brienne (died 1205) count of Brienne andclaimant to the throne of Sicily.William of Brienne (died 1199) lord of Pacy-sur-Armançon, married Eustachie of Courtenay, daughter of Peter I of Courtenay andElisabeth of Courtenay.John of Brienne (1170–1237), king of Jerusalem (1210–1225), then emperor of Constantinople (1231–1237).AndrewIda of Brienne whomarried Ernoul of Reynel lord of Pierrefitte.Passage 2:John Montgomery GloverJohn Montgomery Glover (September 4, 1822 – November 15, 1891) was a  NorthAmerican politician, who served as a U.S. Representative from Missouri, he was the uncle of John Milton Glover.Early lifeBorn in Harrodsburg, Kentucky, Gloverattended the public schools in Kentucky.He moved to Missouri in 1836 with his parents, who settled in Knox County, near Newark, and continued his schooling.Heattended Marion and Masonic Colleges, Philadelphia, Missouri.He studied law.He was admitted to the bar and commenced practice in St. Louis, Missouri.He movedto California in 1850 and continued the practice of his profession.He returned to Knox County, Missouri, in 1855 to take charge of his father's affairs.CareerDuringthe Civil War served as colonel of the Third Regiment, Missouri Volunteer Cavalry, beginning September 4, 1861.  His service with the regiment was in a variety ofpoints within Missouri and Arkansas.  At various points during his service, he detached as the Commander of the District of Rolla, the Sub-District of Pilot Knoband the 2nd Brigade, Cavalry Division, Department of the Missouri.  On February 23, 1864 he tendered his resignation in Springfield, Illinois, on account ofimpaired health.He served as collector of internal revenue for the third district of Missouri from December 1, 1866, until March 3, 1867.Glover was elected as aDemocrat to the Forty-third, Forty-fourth, and Forty-fifth Congresses (March 4, 1873 – March 3, 1879).He served as chairman of the Committee on Expendituresin the Department of the Treasury (Forty-fifth Congress).He was an unsuccessful candidate for renomination in 1878.He engaged in agricultural pursuits.He diednear Newark, Missouri, November 15, 1891.He was interred on his farm near Newark, Missouri.He was reinterred in Woodland Cemetery, Quincy, Illinois.Passage3:Christopher H. ClarkChristopher Henderson Clark (1767 – November 21, 1828) was a congressman and lawyer from Virginia. He was the brother of JamesClark, the uncle of John Bullock Clark, Sr. and the great-uncle of John Bullock Clark, Jr.BiographyBorn in Albemarle County, Virginia, Clark attended WashingtonCollege, studied law in the office of Patrick Henry and was admitted to the bar in 1788, commencing practice in New London, Campbell County, Virginia. He was amember of the Virginia House of Delegates in 1790 and was elected a Democratic-Republican to the United States House of Representatives to fill a vacancy in1804, serving until his resignation in 1806. He resumed practicing law until his death near New London on November 21, 1828. He was interred at a privatecemetery at Old Lawyers Station near Lynchburg, Virginia.External linksUnited States Congress. \"Christopher H. Clark (id: C000424)\". Biographical Directory ofthe United States Congress.Passage 4:John of BrienneJohn of Brienne (c. 1170 – 19–23 March 1237), also known as John I, was King of Jerusalem from 1210 to1225 and Latin Emperor of Constantinople from 1229 to 1237. He was the youngest son of Erard II of Brienne, a wealthy nobleman in Champagne. John,originally destined for an ecclesiastical career, became a knight and owned small estates in Champagne around 1200. After the death of his brother, Walter III, heruled the County of Brienne on behalf of his minor nephew Walter IV (who lived in southern Italy).The barons of the Kingdom of Jerusalem proposed that Johnmarry their queen, Maria. With the consent of Philip II of France and Pope Innocent III, he left France for the Holy Land and married the queen; the couple werecrowned in 1210. After Maria's death in 1212 John administered the kingdom as regent for their infant daughter Isabella II; an influential lord, John of Ibelin,attempted to depose him. John was a leader of the Fifth Crusade. Although his claim of supreme command of the crusader army was never unanimouslyacknowledged, his right to rule Damietta (in Egypt) was confirmed shortly after the city fell to the crusaders in 1219. He claimed the Armenian Kingdom of Ciliciaon behalf of his second wife, Stephanie, in 1220. After Stephanie and their infant son died that year, John returned to Egypt. The Fifth Crusade ended in failure(including the recovery of Damietta by the Egyptians) in 1221.John was the first king of Jerusalem to visit Europe (Italy, France, England, León, Castile andGermany) to seek assistance for the Holy Land. He gave his daughter in marriage to Holy Roman Emperor Frederick II in 1225, and Frederick ended John's rule ofthe Kingdom of Jerusalem. Although the popes tried to persuade Frederick to restore the kingdom to John, the Jerusalemite barons regarded Frederick as theirlawful ruler. John administered papal domains in Tuscany, became the podestà of Perugia and was a commander of Pope Gregory IX's army during Gregory's waragainst Frederick in 1228 and 1229.He was elected emperor in 1229 as the senior co-ruler (with Baldwin II) of the Latin Empire, and was crowned inConstantinople in 1231. John III Vatatzes, Emperor of Nicaea, and Ivan Asen II of Bulgaria occupied the last Latin territories in Thrace and Asia Minor, besiegingConstantinople in early 1235. John directed the defence of his capital during the months-long siege, with the besiegers withdrawing only after Geoffrey II ofAchaea and united fleets from Italian towns defeated their fleet in 1236. The following year, John died as a Franciscan friar.Early lifeJohn was the youngest of thefour sons of Count Erard II of Brienne and Agnes of Montfaucon. He seemed \"exceedingly old ... about 80\" to the 14-year-old George Akropolites in 1231; ifAkropolites' estimate was correct, John was born around 1150. However, no other 13th-century authors described John as an old man. His father referred toJohn's brothers as \"children\" in 1177 and mentioned the tutor of John's oldest brother, Walter III, in 1184; this suggests that John's brothers were born in thelate 1160s. Modern historians agree that John was born after 1168, probably during the 1170s.Although his father destined John for a clerical career, according tothe late-13th-century Tales of the Minstrel of Reims he \"was unwilling\". Instead, the minstrel continued, John fled to his maternal uncle at the Clairvaux Abbey.Encouraged by his fellows, he became a knight and earned a reputation in tournaments and fights. Although elements of the Tales of the Minstrel of Reims areapparently invented (for instance, John did not have a maternal uncle in Clairvaux), historian Guy Perry wrote that it may have preserved details of John's life. Achurch career was not unusual for youngest sons of 12th-century noblemen in France; however, if his father sent John to a monastery he left before reaching theage of taking monastic vows. John \"clearly developed the physique that was necessary to fight well\" in his youth, because the 13th-century sources Akropolitesand Salimbene di Adam emphasize his physical strength.Erard II joined the Third Crusade and died in the Holy Land in 1191. His oldest son, Walter III, succeededhim in Brienne. John was first mentioned in an 1192 (or 1194) charter issued by his brother, indicating that he was a prominent figure in Walter's court. Accordingto a version of Ernoul's chronicle, John participated in a war against Peter II of Courtenay. Although the Tales of the Minstrel of Reims claimed that he was called\"John Lackland\", according to contemporary charters John held Jessains, Onjon, Trannes and two other villages in the County of Champagne around 1200. In1201, Theobald III granted him additional estates in Mâcon, Longsols and elsewhere. Theobald's widow, Blanche of Navarre, persuaded John to sell his estate atMâcon, saying that it was her dower.Walter III of Brienne died in June 1205 while fighting in southern Italy. His widow, Elvira of Sicily, gave birth to aposthumous son, Walter IV, who grew up in Italy. John assumed the title of count of Brienne, and began administering the county on his nephew's behalf in 1205or 1206. As a leading vassal of the count of Champagne, John frequented the court of Blanche of Navarre, who ruled Champagne during the minority of her son,Theobald IV. According to a version of Ernoul's chronicle, she loved John \"more than any man in the world\"; this annoyed King Philip II of France.The two versionsof Ernoul's chronicle tell different stories about John's ascent to the throne of Jerusalem. According to one version, the leading lords of Jerusalem sent envoys toFrance in 1208 asking Philip II to select a French nobleman as a husband for their queen, Maria. Taking advantage of the opportunity to rid himself of John, PhilipII suggested him. In the other version an unnamed knight encouraged the Jerusalemite lords to select John, who accepted their offer with Philip's consent. Johnvisited Pope Innocent III in Rome. The pope donated 40,000 marks for the defence of the Holy Land, stipulating that John could spend the money only with theconsent of the Latin patriarch of Jerusalem and the grand masters of the Knights Templar and the Knights Hospitaller.King of JerusalemCo-rulerJohn landed atAcre on 13 September 1210; the following day, Patriarch of Jerusalem Albert of Vercelli married him to Queen Maria. John and Maria were crowned in theCathedral of Tyre on 3 October. The truce concluded by Maria's predecessor Aimery and the Ayyubid sultan Al-Adil I had ended by John's arrival. Although Al-Adilwas willing to renew it, Jerusalemite lords did not want to sign a new treaty without John's consent. During John and Maria's coronation, Al-Adil's son Al-Mu'azzamIsa pillaged the area around Acre but did not attack the city. After returning to Acre, John raided nearby Muslim settlements in retaliation.Although about 300French knights accompanied him to the Holy Land, no influential noblemen joined him; they preferred participating in the French Albigensian Crusade or did notsee him as sufficiently eminent. John's cousin, Walter of Montbéliard, joined him only after he was expelled from Cyprus. Montbéliard led a naval expedition toEgypt to plunder the Nile Delta. After most of the French crusaders left the Holy Land, John forged a new truce with Al-Adil by the middle of 1211 and sent envoysto Pope Innocent urging him to preach a new crusade.ConflictsMaria died shortly after giving birth to their daughter, Isabella, in late 1212. Her death triggered a"}
+{"doc_id":"doc_120","qid":"","text":"Passage 1:En Aasai UnnoduthanEn Aasai Unnoduthan (transl. My desire is with you) is a 1983 Indian Tamil-language romance film edited and directed by K.Narayanan. The film stars Prem and Poornima Jayaram, with Thengai Srinivasan, Y. G. Mahendran, Rajini, Oru Viral Krishna Rao and Jaishankar in supportingroles. It was released on 30 September 1983.PlotCastPremPoornima JayaramThengai SrinivasanY. G. MahendranRajiniOru Viral KrishnaRaoJaishankarSoundtrackThe soundtrack was composed by Shankar–Ganesh. The song \"Devi Koondhalo\" is based on \"Happy Together\" by TheTurtles.ReceptionJayamanmadhan of Kalki said that, apart from the inclusion of Y. G. Mahendran, Thengai Srinivasan and Oru Viral Krishna Rao among others,there was nothing special about the film.Passage 2:En Aasai RasaveEn Aasai Rasave is a 1998 Indian Tamil-language drama film directed by Kasthuri Raja. Thefilm stars Sivaji Ganesan and Murali while Raadhika, Roja and Suvalakshmi all play other supporting roles. The film, which focussed on the lives of karakattamdance artists, released on 28 August 1998.PlotValayapathi is a karakattam artist who is revered. Azhagurani is a well-to-do rich woman who falls in love with himand gets married leaving her riches behind. Due to a misunderstanding, they separate leaving their child Muthumani with Valayapathi who brings him up in thekarakattam tradition. Manoranjitham is in love with Muthumani.Enter Nagajyoti who claims she is the best and prods Valayapathu/Muthumani into a competitionthereby gaining entry into their lives. She slowly turns the tide and Muthumani and her fall in love. It is revealed that Nagajyoti is Muthumani's cross-cousin andhas come in with the ulterior motive of reuniting Azhagurani, her aunt, and Valayapathi. Does she succeed?CastSivaji Ganesan as ValayapathiRaadhika asAzhaguraniMurali as MuthumaniRoja as NagajyotiVijayakumarSuvalakshmi as ManoranjithamVinu ChakravarthySenthilManivannanDelhi GaneshG. Ramachandran(producer)R. SundarrajanManoramaMahanadhi ShankarSoundtrackThe music of this album was scored by Deva. Lyrics were written by Kasthuri Raja.ReceptionD.S. Ramanujam of The Hindu wrote, \"Age has withered and shackled Ganesan's virtuosity, the sparkle in his eyes and the authority in his voice that were his forteare no longer there. Whenever B. Kannan's camera takes a close-up of the veteran, it only raises visions of this great artiste in his prime in similar scenes in hisearlier movies and becomes a sad reminder\"Passage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin hasamassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing,James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film creditsinclude Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and amongother films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior tobecoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leavethe production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with hiswife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:Ian Barry (director)Ian Barry is an Australian director of filmand TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra(1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)NotQuite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:Kasthuri RajaKasthuri Raja is anIndian film director. He is the father of director Selvaraghavan and actor Dhanush. He worked as an assistant director with Director K.S.G. Most of the films hedirected were either village based or infatuation of youngsters. He also worked with Director Visu on more than 16 films. Prior to entering the film industry, he ranaway from home to Chennai and worked in a mill.FilmographyAs directorAs an actorAval Sumangalithan (1985)Mouna Mozhi (1992)As lyricistSolaiyamma - allsongsDreams - all songsThaai Manasu - all songsKummi Paatu - all songsPassage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of thePeabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. Hewas the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedycurrently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he becamethe ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Earlylife and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees fromUniversity College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission,Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). Hemarried Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Associationof Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged forseveral major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensivemulti-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, BettyChurcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some yearslater.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tylercollection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for theconstruction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some ascensorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit theprivate collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. Theexhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of NewYork, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" InNovember 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". Hehas said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues duringthe Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of hiscontract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtTheToledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese printsand netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy hasfocused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives haveincluded baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museumhosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art byindigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum hasmade major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return ofseveral objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeatstand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological"}
+{"doc_id":"doc_121","qid":"","text":"Passage 1:The Girl from LeningradThe Girl from Leningrad (Russian: Фронтовые подруги) is a 1941 Soviet adventure film directed by Viktor Eisymont.PlotThefilm takes place during the Finnish war. A group of girls voluntarily go to the front. Young girls help doctors save the lives of wounded soldiers, and also fight withthe enemy.StarringZoya Fyodorova as NatashaMariya Kapustina as TamaraOlga Fyodorina as The CricketTamara Alyoshina as ZinaYekaterina Melentyeva asShuraAndrei Abrikosov as Lt. Sergei KorovinKonstantin Adashevsky as Dr. KatnerYury Tolubeev as Maj. BraginskyBoris Blinov as Andrei MorosovPassage2:Everyone ElseEveryone Else (German: Alle Anderen) is a 2009 German romantic drama film written and directed by Maren Ade. The film was awarded with theSilver Bear at the 59th Berlin Film Festival.PlotGitti and Chris are a young German couple on vacation at Chris's family villa in Sardinia. Gitti is much morespontaneous and light-hearted than Chris, wanting to go out and try to make friends while Chris remains introverted, preferring to stay in and read, even hidingfrom his neighbour; her playful demeanor often annoys him, while his guarded attitude exasperates her. When he tries to speak to Gitti about his unhappyfeelings about his life and career she interrupts him to say that he muses too much over everything and should consider settling down with her. Chris is upset andinsulted by her outburst. Later, Gitti and Chris admit to each other that they often worry they're not the right person for each other.While shopping for groceriesChris spots Hans, a successful old classmate, and unsuccessfully tries to hide from him. Hans invites the couple to a barbecue at his home with his wife Sana, asuccessful fashion designer, which Gitti tries to decline as she has already received an invitation from a bohemian couple she has recently met. Chris overridesher and accepts the invitation. While Sana and Hans appear to be the perfect, thriving couple, they quickly prove to be obnoxious, bland, and vapid. Hanseventually reveals that Chris has declined an architecture prize because his design would be melded with another architect, though Chris had previously told Gittithat he hadn't heard back from the competition, which angers Gitti. When Gitti stands up for Chris in the face of Hans's subtle insults, Chris becomes upset.Thefollowing day Chris is hyper critical of Gitti, taking her on a long hike during which they get lost. Afterwards he informs her that he will be going for a drink withHans alone, as Gitti embarrassed him the previous evening. When he asks Gitti why she can't be more normal, like Sana, Gitti argues that she doesn't want to belike everybody else. Though Gitti begs him not to leave her alone at night, he goes anyway, returning in the morning. The following day Chris informs Gitti that heis considering taking an architecture job on the island. While Chris meets with his potential client, Gitti goes exploring on her own, trying out a new makeover andchoosing to keep the dress she previously regarded as too \"bourgeoisie\" in an effort to please Chris. After meeting up with Chris by chance, he suggests theyinvite Hans and Sana to their home. The atmosphere becomes uncomfortable when Gitti runs into the bohemian couple she had previously met; they are put offby her new, put-together appearance and are somewhat hurt that she had stood them up. When they extend the invitation again, Chris clumsily declines, whichannoys Gitti.Gitti makes an effort to tone down her appearance and mannerisms for the dinner with Hans and Sana, but it nevertheless becomes awkward asChris starts behaving oddly in an attempt to impress the other couple. Gitti becomes more uncomfortable when Chris takes them into his mother's private dreamroom and mocks her interests for Hans and Sana's amusement. At the end of the night, Hans playfully throws Sana into the villa pool, leading Chris to throw Gittiin as well even as she begs him not to. Upset, she asks Sana to make an excuse so that she and Hans will leave. Chris tells Gitti he loves her and initiates sex,which she accepts dispassionately.The next day, Chris overhears Gitti concocting an excuse to leave early without letting him know. After confronting her, Gittiasserts that she is leaving him, and no longer loves him anymore because he is a weakling. Chris fires back that she is a naive hypocrite and asks her to leave.While packing her things, Gitti falls to the floor and plays dead. At first worried, and then upset by her games, Chris resolves to make things work and let hisguard down. He blows raspberries into her stomach, which makes her laugh, and the two finally look at each other.CastBirgit Minichmayr as GittiLars Eidinger asChrisNicole Marischka as SanaHans-Jochen Wagner as HansReleaseCritical receptionThe film received positive reviews from film critics. On the review aggregatorwebsite Rotten Tomatoes, 88% of 42 critics' reviews are positive, with an average rating of 7.6/10. The website's consensus reads: \"Alle Anderen (Everyone Else)taps into the unpredictable energy between two couples to throw finely detailed - and richly rewarding - sparks of emotional truth.\" Metacritic, which uses aweighted average, assigned the film a score of 71 out of 100, based on 16 critics, indicating \"generally favorable reviews\".Awards andnominationsSubmissionsBerlin International Film FestivalGolden Bear (nominated)German Film AwardsBest Direction (nominated)Best Performance by an Actressin a leading role (nominated)Outstanding Feature Film (nominated)Passage 3:The Girl from the ChartreuseThe Girl from the Chartreuse (original title: La PetiteChartreuse) is a French novel written by Pierre Péju and published for the first time in France in 2002. It has been translated in several other languages includingEnglish and it has been adapted in an eponymous film by Jean-Pierre Denis.The filmThe adapted film was shot in 2004, in the French Alps around Grenoble, andreleased in France and Belgium in 2005. It stars Olivier Gourmet, Marie-Josée Croze, Yves Jacques and young newcomer Bertille Noël-Bruneau. The scenario wasco-written by director Jean-Pierre Denis with Yvon Rouvé. The original soundtrack was composed by Michel Portal.External linksLa petite Chartreuse atIMDbPassage 4:The Girl from ManhattanThe Girl from Manhattan is a 1948 American comedy drama film directed by Alfred E. Green, starring Dorothy Lamour,George Montgomery, and Charles Laughton.The guest house setting allows a multiplicity of characters to interact with the main characters.PlotNew York actressand fashion model Carol arrives to stay with her uncle Homer Purdy in a boarding house in the mid-west America town of Pittsfield.Meanwhile, ex-football player,the handsome Tom Walker, appears in the same state to chat with the bishop regarding his becoming a minister in the town. It is concluded that the churchneeds new heroes and his background as a  football star should be a benefit not a hindrance. The bishop has arranged for him to stay at Purdy's boarding house.On arrival he meets Carol and they recognise each other. Tom is cryptic about his plans.Tom meets the church council who present a local benefactor Mr Birchwho is going to buy the 150-year-old church and build a new church closer to the town centre: the chosen site is Purdy's boarding House.Uncle Homer is revealedto be giving most of his rooms free until the various residents get rich, and is involved in many of their madcap schemes. He makes little money and the oldhouse is crumbling. Carol and Homer rearrange one of the rooms to serve as Tom's study until the new church is built. They do not know the chosen site is theirhouse.The bishop calls in Tom to discuss his reputation if being seen with a fashion model.Oscar, one of the more eccentric guests, is allowed to build a miniaturerailway in Purdy's basement. Mr Birch appears at the boarding house to assess its demolition. Everyone knows the plan except Carol. Uncle Homer hassquandered the $3,000 Carol sent him on investing in his guests crazy ventures. The train engine blows up and Homer is injured. Tom and carol join forces tosave the boarding house. Several guests also start to raise money.Ultimately Rev Tom sends his own $3,000 to pay off Homer's debts and Mr Birch's \"generous\"offer for the old church is proven to be a scam. Although they will need to keep using the old church, the bishop approves.CastPassage 5:Jean-PierreDenisJean-Pierre Denis (born 29 March 1946) is a French film director and screenwriter. He has directed seven films since 1980. His directorial debut Adrien'sStory won the Caméra d'Or at the 1980 Cannes Film Festival. His film Field of Honor was entered into the 1987 Cannes Film Festival.FilmographyAdrien's Story(1980)La palombière (1983)Champ d'honneur (1987)Les yeux de Cécile (1993)Les blessures assassines (2000)La petite Chartreuse (2005)Ici-bas (2011)Passage6:The Girl from the IslandsThe Girl from the Islands or Maibritt, the Girl from the Islands (German: Maibritt, das Mädchen von den Inseln) is a 1964 WestGerman-Swedish comedy film directed by Bostjan Hladnik and starring Jane Axell, Gunnar Möller, and Karl Schönböck. It was part of an attempt by some Germancomedy films of the era to be slightly more risqué.ProductionIt was shot on location in Yugoslavia. The film's sets were designed by the art director HeinrichMager. It was shot using Eastmancolor. The Swedish actress Jane Axell was handpicked for the starring role, but after appearing in another German filmVenusberg the same year she made only a few further minor appearances.SynopsisA German businessmen is sent to Stockholm by his boss to secure animportant contract, in the face of foreign competition. He discovers that the intended client has gone sailing round the Swedish islands and follows him. Hebecomes mixed up with a mysterious young woman named Maibritt, who eventually turns out to be the daughter of his intended client.CastPassage 7:The Girlfrom the WardrobeThe Girl from the Wardrobe (Polish: Dziewczyna z szafy) is a 2013 Polish drama film directed by Bodo Kox.CastWojciech Mecwaldowski -TomekPiotr Głowacki - JacekMagdalena Rózanska - MagdaEryk Lubos - KrzysztofTeresa Sawicka - KwiatkowskaOlga Bołądź - AgaAwards and nominationsPolishAcademy Award for Discovery of the Year, for directing, Bodo Kox, awardZbigniew Cybulski Award for best young Polish actor, Piotr Głowacki, awardPolishAcademy Award for Best Supporting Actor, Eryk Lubos, nominationPolish Academy Award for Best Production Design, Andrzej Haliński, nominationPassage 8:TheGirl from MonterreyThe Girl from Monterrey is a 1943 American film directed by Wallace Fox starring Armida Vendrell as PRCs version of the Mexican Spitfire.Thefilm is also known as The Girl from Monterey (American alternative spelling).Plot summaryIn a Mexican nightclub, some American fight promoters witness Alberto'Baby' Valdez, the brother of Lita Valdez knock out a champion fighter.  At first Lita is angered that her brother has quit his law studies to become a fighter, butthe two move to the United States.  Lita literally bumps into reigning champion Jerry O'Leary with the three becoming inseparable friends.  However the Americanfight promoters force Alberto and Jerry to fight each other or face suspension.CastArmida Vendrell as Lita ValdezEdgar Kennedy as Doc Hogan, Fight"}
+{"doc_id":"doc_122","qid":"","text":"Passage 1:Antonio Maceo AirportAntonio Maceo Airport (IATA: SCU, ICAO: MUCU) is an international airport located in Santiago, Cuba.OverviewThe airport has adrawing of Che Guevara on one of its outside walls. Pope John Paul II flew to this airport during his last visit to Cuba, flying a round trip between here and JoséMartí International Airport in Havana. Likewise, Pope Benedict XVI, during the second papal visit to Cuba, flew here for Mass and other activities, from his visit toLeón and Guanajuato in Mexico, before moving on to Havana.The airport is basically a turbo-prop centre. Nevertheless, jet aircraft also fly to this airport. Mostcommercial flights into SCU are domestic, but there are about twenty international flights each week; while these international flights were at one point donemostly by domestic airlines, the international routes have nevertheless awakened the interest of some foreign airlines that have opened flights into this airportand might open more flights in the future.Airlines and destinationsSantiago de Cuba BaseThe airport was home to the Cuban Revolutionary Armed Forces:35thTransport Regiment - Antonov An-2 and Antonov An-26 transports36th Helicopter Regiment - Mil Mi-8 and Mil Mi-24The helipads are now part of the executive jetterminal on the north end of the airport.Accidents and incidentsOn 2 October 1959, a Viscount of Cubana de Aviación was hijacked on a flight from Havana toAntonio Maceo Airport, Santiago de Cuba by three men demanding to be taken to the United States. The aircraft landed at the Miami International Airport.On 4November 2010, Aero Caribbean Flight 883, an ATR 72-212, crashed in the centre of the country with 68 people on board. The aircraft was flying from Santiagode Cuba to Havana when it went down. 28 foreigners were reported to be among the passengers. There were no survivors.Passage 2:RosamondSkyparkRosamond Skypark (FAA LID: L00) is a residential airpark and public-use airport located three nautical miles (6 km) west of the central business districtof Rosamond, in Kern County, California, United States. It is privately owned by the Rosamond Skypark Association.Facilities and aircraftRosamond Skyparkcovers an area of 100 acres (40 ha) at an elevation of 2,415 feet (736 m) above mean sea level. It has one runway designated 8/26 with an asphalt surfacemeasuring 3,600 by 50 feet (1,097 x 15 m).For the 12-month period ending May 3, 2011, the airport had 15,000 general aviation aircraft operations, an averageof 41 per day. At that time there were 71 aircraft based at this airport: 89% single-engine, 4% multi-engine, 1% helicopter, 3% glider, and 3% ultralight.Thefacility was designed by aeronautical engineer Sam Ramsey, who resided at the sleepy airport for years prior to the development. He envisioned an airport wherepilots could commute to Los Angeles while enjoying the quiet High Desert as a residence.See alsoList of airports in Kern County, CaliforniaPassage 3:AmpanihyAirportAmpanihy Airport (IATA: AMP, ICAO: FMSY) is an airport located in Ampanihy, Madagascar.Airlines and destinations== Sources ==Passage 4:Crow IslandAirportCrow Island Airport (also known as Crow Island Airpark) is a private airport along the Assabet River in Stow, Massachusetts, United States. It has a 2,300foot grass airstrip which is popular with \"pilots flying a variety of aircraft including, trikes, ultralights, vintage taildraggers, seaplanes, hang gliders, poweredparagliders, powered parachutes, RC aircraft and more.\"Crow Island had previously been used for a gravel business operated by George Morey. In 1978 RobAlbright, an ultralight enthusiast, received permission to fly at the island, and he eventually purchased and redeveloped the land for full-time use as a smallairport.Passage 5:Madang AirportMadang Airport (IATA: MAG, ICAO: AYMD), is an airport located in Madang, Papua New Guinea.Airlines anddestinationsHistoryWorld War IIDuring World War II, occupied by the Imperial Japanese Army in January 1943, as a forward operating airfield for aircraft basedat Wewak. Later expanded to a 3250' x 240' runway with a single taxiway with 31 revetment areas. Bombed by the allies during late 1943 and early 1944 theairfield became unserviceable.Imperial Japanese Army Air Force Units at MadangImperial Japanese Army Air Force59th Sentai (Nakajima Ki-43 Oscar)68th Sentai(Kawasaki Ki-61 Tony)248th Sentai (Nakajima Ki-43-III Oscar)Allied LiberationLiberated by Australian Army forces on 24 April 1944. A large amount of highoctane fuel was captured and used by the Australians for use in the Royal Australian Navy motor launch boats. The airfield was repaired and used by the RoyalAustralian Air Force until the end of the war.Post WW2 in 1947, the Department of Civil Aviation sent an airport manager to Madang to oversee the building of theairport. Accommodation for the workers also had to be built as well as airplane hangars and a control tower. Wooden floors on concrete slabs were laid. Knittedwoven bark for the walls was floated downstream, made by the natives, who were paid in cash. When the bark hut accommodation was ready, motor mechanics,radio technicians and other workers arrived along with wives and children. Eventually packaged Hawksley houses arrived from Britain and were built in thetownship of Madang.Royal Australian Air Force Units at MadangHeadquarters, RAAF Northern Command (NORCOM)No. 4 Squadron RAAF (CAC Boomerang)No. 8Communication Unit RAAFNo. 15 Squadron RAAF (Bristol Beaufort)No. 111 Air-Sea Rescue Flight RAAF (PBY Catalina)No. 120 (Netherlands East Indies) SquadronRAAFNo. 2 Medical Receiving Station RAAFNo. 109 Mobile Fighter Sector Headquarters RAAFAccidents and incidentsOn 11 April 1972, Douglas C-47 VH-PNB ofTrans Australia Airlines overran the runway on landing, ending up in the sea damaged beyond economic repair.On 17 July 1972, Douglas C-47A VH-MAE of AnsettAirlines of Papua New Guinea was damaged beyond economic repair when the starboard undercarriage collapsed on landing. The aircraft was operating adomestic cargo flight from Wapenamanda Airport.On 30 October 1972, Douglas C-47B VH-PNA of Ansett Airlines of Papua New Guinea overran the runway onlanding. The aircraft was subsequently withdrawn from use and used for fire practice, eventually being scrapped in 1978.On 31 May 1995 an Air Niugini FokkerF-28 Fellowship 1000, registration P2-ANB, attempted a landing in bad weather and aquaplaned off the runway and fell into a ditch at the eastern end of therunway. The aircraft was carrying 4 crew and 35 passengers, none of whom was injured.On 19 October 2013 an Air Niugini Avions de Transport RegionalATR-42-300 cargo plane, registration P2-PXY, made a failed takeoff attempt and fell into in Mero Creek at the western end of the runway. The right wing andengine were destroyed by fire but the three crew escaped to safety with minor injuries. There were no passengers on board.See alsoNaval BaseAlexishafenPassage 6:Breakaway AirportBreakaway Airport, also known as Hank Sasser Airport, (ICAO: 40XS) is a privately-owned, private use airport in CedarPark, Texas, United States. Located about 3 miles (4.8 km) northeast of Downtown Cedar Park, it covers 25 acres (10.1 ha) and has one runway. It serves as thebase for the fly-in community Breakaway Park.HistoryFoundingIn 1977, United States Marine Corps veteran and amateur pilot Walter Yates purchased land forthe purpose of establishing a fly-in community. This land would become Breakaway Park, a subdivision of the City of Cedar Park that featured a 3,000 foot (914.4m) grass runway at its center. Initially, Breakaway would consist of the single unpaved runway and a handful of hangars near its northern end, but would seecontinuous development that continues to the present day. The subdivision would be managed by Breakaway Park, Incorporated, of which Yates was thepresident until the company's dissolution on March 26, 2001.Modern HistoryOn January 1, 2008, Breakaway Park fell under the management of residents DonaldRichie and Dennis Gale, operating as D&D Airport Holdings LLC.Runway ResurfacingOver the years 2014 and 2015, Breakaway's grass runway would be pavedover with asphalt, but its length and width would remain unchanged.Name ChangeIn 2014, Breakaway Airport's name would be changed to HankSasser/Breakaway Airport in honor of amateur pilot John Henry \"Hank\" Sasser. He was a Cedar Park native that operated his personal aircraft out of Breakaway,and died in an airplane crash in Lago Vista, Texas on August 23, 2014.FacilitiesBreakaway Airport offers fuel and oxygen services to residents of Breakaway Park.There are no air traffic control facilities on-site.Runway and HangarsBreakaway Airport has one runway. Hangars are located on either side of the runway, manyof which are attached to private residences.StatisticsAs of December 2021, there are 23 aircraft based at Breakaway Airport.Passage 7:Edmonton/Twin IslandAirparkEdmonton/Twin Island Airpark (TC LID: CEE6), also known as Twin Island Air Park, is located 12 nautical miles (22 km; 14 mi) southeast of Edmonton,Alberta, Canada.See alsoList of airports in the Edmonton Metropolitan RegionPassage 8:Esquimalt AirportEsquimalt Airport (IATA: YPF, ICAO: CYPF) was anairport located in Esquimalt, British Columbia, Canada.Passage 9:Mayerthorpe AirportMayerthorpe Airport (TC LID: CEV5) is located 1.3 nautical miles (2.4 km;1.5 mi) southwest of Mayerthorpe, Alberta, Canada.Passage 10:Erzincan AirportErzincan Yıldırım Akbulut Airport (IATA: ERC, ICAO: LTCD) is an airport located inErzincan, Turkey.Airlines and destinationsTraffic Statistics(*)Source: DHMI.gov.tr"}
+{"doc_id":"doc_123","qid":"","text":"Passage 1:The Adventures of FridolinThe Adventures of Fridolin (German: Die seltsamen Abenteuer des Herrn Fridolin B.) is an East German film. It was released in 1948.External linksThe Adventures of Fridolin at IMDbPassage 2:The Adventures of Smilin' Jack (serial)The Adventures of Smilin' Jack (1943) is a Universal movie serial based on the popular comic strip The Adventures of Smilin' Jack by Zack Mosley. It was directed by Lewis D. Collins and Ray Taylor.PlotIn 1941, an American aviator, 'Smilin' Jack' Martin wishes to resign as an advisor to the Nationalist Chinese Army in order to return to the United States to enlist as an aviator in America's military buildup prior to the attack on Pearl Harbor.  He is delayed when the Chinese discover that the neutral Tibetan like Mandon \"Province\" contains a secret road from India to China crucial for the Allied war effort.  Determined to obtain the secret for themselves, or equally determined to have the secret destroyed is the Japanese espionage organisation \"The Black Samurai\" and the German intelligence agent Fräulein von Teufel who masquerades as an American newspaper reporter.CastProductionThe serial was based on the comic strip by Zack Moseley but it was not in the spirit of the strip as would normally be expected from a Universal production. Very little of the original comic strip was used and a new character, Tommy Thompson, was created by Universal. The similarity to Tommy Tomkins, of the Tailspin Tommy stories, may imply a crossover of sorts. Cline suggests that it was \"a quick attempt to get a story on screen about a topical subject, and could have had almost any flyer with any name as a hero.”Chapter titlesThe High Road to DoomThe Rising Sun StrikesAttacked by BombersKnives of VengeanceA Watery GraveEscape by ClipperFifteen Fathoms BelowTreachery at SeaThe Bridge of PerilBlackout in the IslandsHeld for TreasonThe Torture Fire TestSinking the Rising SunSource:QuotesUnited Nations means united friends-Capt. WingPassage 3:Terminator 3: Rise of the MachinesTerminator 3: Rise of the Machines is a 2003 American science fiction action film directed by Jonathan Mostow. Starring Arnold Schwarzenegger, Nick Stahl, Claire Danes, and Kristanna Loken, it is the third installment in the Terminator franchise and a sequel to Terminator 2: Judgment Day (1991). In its plot, the malevolent artificial intelligence Skynet sends a T-X (Loken)—a highly advanced Terminator—back in time to ensure the rise of machines by killing top members of the future human resistance as John Connor's (Stahl) location is unknown. The resistance sends back a reprogrammed T-850 (Schwarzenegger) to protect John and his future wife, Kate (Danes).While Terminator creator James Cameron was interested in directing the third film, he ultimately had no involvement with Terminator 3. Andrew G. Vajna and Mario Kassar, who had produced Terminator 2: Judgment Day through their company Carolco Pictures, obtained the rights for the franchise through both Carolco's liquidation auction and negotiations with producer Gale Ann Hurd. In 1999, Tedi Sarafian was hired to write the first draft of the script. Mostow joined the project as director in 2001, and he brought on John Brancato and Michael Ferris to rewrite Sarafian's script. The $187 million budget included a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. Filming took place in California from April to September 2002. Industrial Light & Magic (ILM) and Stan Winston created the special effects, as they did for the previous film.Terminator 3: Rise of the Machines premiered in Westwood, Los Angeles, on June 30, 2003, and was released on July 2, 2003, by Warner Bros. Pictures in the United States and by Columbia TriStar Film Distributors International in worldwide territories. It received generally positive reviews and earned $433.4 million worldwide, finishing its theatrical run as the seventh-highest-grossing film of 2003. A sequel, Terminator Salvation, was released in 2009.PlotTen years after destroying Cyberdyne Systems, John Connor has been living as a nomad following the death of his mother, Sarah, to hide from the malevolent artificial intelligence Skynet, despite a war between humans and machines not happening in 1997, as foretold. Unable to locate John in the past, Skynet sends the T-X, an advanced prototype Terminator made of virtually impervious shapeshifting liquid metal covering a metal endoskeleton, back in time to John's present in Los Angeles, to instead kill his future allies in the human resistance. The human resistance sends back a reprogrammed T-850 Terminator, a less-advanced model covered in living flesh, to protect John and his future wife Kate Brewster.After killing other targets, the T-X locates the pair at an animal hospital where Kate works. John becomes the T-X's primary target, but the Terminator helps him and Kate escape, taking them to a mausoleum where John's mother is supposedly interred. Inside her vault, they find a weapons cache left at Sarah's request in case Judgment Day was not averted and the Terminators returned. They escape from an armed battle with the police and fend off the pursuing T-X. The Terminator reveals that John and Sarah's actions only delayed Judgment Day and that Skynet's attack will occur that day; the Terminator intends to drive John and Kate to Mexico to escape the fallout when Skynet begins its nuclear attack at 6:18 p.m. John orders the Terminator to take Kate and him to see her father, U.S. Air Force Lieutenant General Robert Brewster. The Terminator refuses, however when Kate also demands to see her father, the Terminator obeys. It is revealed that in the future, the Terminator killed John, after which Kate captured and reprogrammed the Terminator and sent it back in time.Meanwhile, General Brewster is supervising the development of Skynet for Cyber Research Systems (CRS), which also develops autonomous weapons. The Chairman of the Joint Chiefs of Staff pressures him to activate Skynet to stop an anomalous computer virus from invading servers worldwide. General Brewster fails to discover that the virus was Skynet becoming sentient, and John and Kate arrive too late to stop him from activating it. The T-X fatally injures General Brewster and controls the CRS weaponized drones, which kill the employees. Before he dies, the general gives Kate and John the location of what John believes is Skynet's system core. The pair head for the tarmac to take General Brewster's single-engine plane to Crystal Peak, a facility built inside the Sierra Nevada. After a battle, the T-X severely damages the Terminator, reprogramming it to kill John, and pursues John and Kate through the CRS facility. When a particle accelerator is activated, it magnetically binds the T-X to the equipment. The still-conscious Terminator struggles to control its outer functions. As it prepares to kill John, he urges the Terminator to choose between its conflicting programming; it deliberately forces a shutdown of its corrupted system, enabling the pair's escape. Shortly after they leave, the Terminator's system reboots. Meanwhile, the T-X escapes the accelerator and resumes pursuit.After John and Kate reach Crystal Peak, the T-X arrives by helicopter. Before it can attack, the Terminator arrives in a second helicopter and crashes into and crushes the T-X. The T-X pulls itself from the wreckage, losing its legs, and attempts to drag itself inside the bunker to follow the pair. The Terminator holds the bunker door open long enough for the pair to lock them inside then uses its last hydrogen fuel cell to destroy both itself and the T-X.John and Kate discover that Crystal Peak is not Skynet's core, but rather a nuclear fallout shelter and command facility for government and military officials. Having no core, Skynet has become a part of cyberspace after becoming self-aware. Judgment Day begins as Skynet fires nuclear missiles worldwide, starting a nuclear holocaust that kills billions. The pair begin receiving radio transmissions on the emergency equipment; John tentatively assumes command by answering radio calls, and they reluctantly accept their fate.CastArnold Schwarzenegger as the Terminator.Nick Stahl as John Connor. Stahl replaces Edward Furlong from the second film.Kristanna Loken as the T-X, an advanced Terminator sent back to murder John's resistance lieutenantsClaire Danes as Kate Brewster, John's former classmate and Scott's fiancé.David Andrews as Lieutenant General Robert Brewster, Kate's father who is also the program director at CRS, which has acquired Cyberdyne Systems' remaining assetsMark Famiglietti as Scott Mason, Kate's fiancé who is killed by the T-X. The character was originally named Scott Peterson, but the name was changed in order to avoid association with the case involving the murder of Laci Peterson and her unborn son Conner by her husband Scott Peterson. In the ending credits his name is still listed as \"Scott Petersen\".Earl Boen as Dr. Peter Silberman: Reprising his role from the first two films, Boen appears in one scene, attempting to comfort Kate after she witnesses the acts of the Terminator.Jay Acovone portrayed an LAPD Officer. Kim Robillard and Mark Hicks portrayed Detective Edwards and Detective Bell. In the film's dialogue Bell is identified correctly, however in the film's end credits his name is listed as \"Detective Martinez\". One of Schwarzenegger's stunt doubles, Billy D. Lucas, portrayed a civilian who has his car accidentally wrecked by John.ProductionConceptionJames Cameron had directed and co-written the previous Terminator films. The film rights to the franchise were held by Carolco Pictures and by Cameron's ex-wife and Terminator 2: Judgment Day (1991) executive producer Gale Anne Hurd, who both held 50 percent of the rights. Cameron had sold his stake to Hurd for $1 prior to directing The Terminator (1984). In July 1991, Cameron said that if Terminator 2 was successful, \"there may be some economic pressure\" to do a sequel. Hurd said that month, \"I've always felt the story lent itself wonderfully to being a continuing tale.\" She believed it was natural that a third film would happen, but was unsure at that time if Arnold Schwarzenegger would reprise his role as the Terminator. Hurd said that for Schwarzenegger to commit to another film, he would have to read a finished script, approve a director, and see if the project fit into his schedule.Following Terminator 2's release, Cameron said he had no intentions for further sequels, believing it \"brings the story full circle and ends. And I think ending it at this point is a good idea,\" and co-writer William Wisher said they wrote the script intending to leave no option for a sequel. Even so, Carolco Pictures co-founder Mario Kassar said in May 1992 that he intended to make a Terminator 3 film within the next five to seven years. TriStar, which distributed Terminator 2, would be involved in the new film. That month, TriStar chief Mike Medavoy said the film would probably take a couple of years.DevelopmentBy the end of 1995, Carolco had filed for bankruptcy, and Cameron wanted to direct a third film with the involvement of 20th Century Fox. Cameron's 3D film ride, Terminator 2 3-D: Battle Across Time, would open later in 1996. The project reunited the main cast of Terminator 2: Judgment Day, and had prompted Cameron to begin writing a script for a Terminator 3 film. Cameron said Terminator 2 3D: Battle Across Time would serve as a \"stepping stone\" toward a third Terminator film. However, such a film would not be "}
+{"doc_id":"doc_124","qid":"","text":"Passage 1:Campanal IGuillermo González del Río García, nicknamed Campanal I or Guillermo Campanal (born 9 February 1912 in Avilés; died 22 January 1984 inSeville) was a Spanish footballer. During his career he played for Sporting de Gijón and Sevilla FC (1929–1946), and earned 3 caps and scored 2 goals for theSpain national football team, and participated in the 1934 FIFA World Cup.He later became manager of Sevilla FC.HonoursSevillaLa Liga: 1945–46Copa del Rey:1935, 1939Passage 2:Mirza Faiz MuhammadMirza Faiz Muhammad, also known by his title of Azādud Daulah, was an Indian nobleman and official in the Mughalempire during the 18th century. He was a descendant of Mirza Hadi Baig and the great-great grandfather of Mirza Ghulam Ahmad of Qadian.Life and reignDuringFaiz Muhammad's life, Qadian had developed close relations with Delhi. Faiz Muhammad was successful in suppressing the anarchy that prevailed in the Punjabduring this period as a result of which, in 1716, the Mughal Emperor Farrukhsiyar conferred upon him the rank of Haft Hazārī which authorised him to keepregular force of 7,000 soldiers. He was also conferred the title Azādud Daulah (Strong Arm of the Government) by the Emperor.Passage 3:Muhammad I TaparAbuShuja Ghiyath al-Dunya wa'l-Din Muhammad ibn Malik-Shah (Persian: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000, romanized: AbūShujā\u0000 Ghiyāth al-Dunyā wa ’l-Dīn Mu\u0000ammad ibn Malik-Šāh; 1082 – 1118), better known as Muhammad I Tapar (\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000), was the sultan ofthe Seljuk Empire from 1105 to 1118. He was a son of Malik-Shah I (r. 1072–1092) and Taj al-Din Khatun Safariya. In Turkish, Tapar means \"he who obtains,finds\".ReignMuhammad was born in January 1082. He succeeded his nephew, Malik Shah II, as Seljuq Sultan in Baghdad, and thus was theoretically the head ofthe dynasty, although his brother Ahmad Sanjar in Khorasan held more practical power. Muhammad I probably allied himself with Radwan of Aleppo in the battleof the Khabur River against Kilij Arslan I, the sultan of Rüm, in 1107, in which the latter was defeated and killed. Following the internecine conflict with his halfbrother, Barkiyaruq, he was given the title of malik and the provinces of Armenia and Azerbaijan. Dissatisfied by this he revolted again, but had to flee back toArmenia. By 1104, Barkiyaruq, ill and tired of war, agreed to divide the sultanate with Muhammad. Muhammad became sole sultan following the death ofBarkiyaruq in 1105.In 1106, Muhammad conquered the Ismaili fortress of Shahdiz, and ordered the Bavandid ruler Shahriyar IV to participate in his campaignagainst the Ismailis. Shahriyar, greatly angered by the message Muhammad sent him, refused to aid him against the Ismailis. Shortly after, Muhammad sent anarmy headed by Amir Chavli, who tried to capture Sari but was unexpectedly defeated by an army under Shahriyar and his son Qarin III. Muhammad then sent aletter, which requested Shahriyar to send one of his sons to the Seljuq court in Isfahan. He sent his son Ali I, who impressed Muhammad so much that he offeredhim his daughter in marriage, but Ali refused and told him to grant the honor to his brother and heir of the Bavand dynasty, Qarin III. Qarin III then went to theIsfahan court and married her.In 1106/1107, Ahmad ibn Nizam al-Mulk, the son of the famous vizier Nizam al-Mulk, went to the court of Muhammad I to file acomplaint against the rais (head) of Hamadan. When Ahmad arrived to the court, Muhammad I appointed him as his vizier, replacing Sa'd al-Mulk Abu'l-MahasenAbi, who had been recently executed on suspicion of heresy. The appointment was due mainly to the reputation of Ahmad's father. He was then given varioustitles which his father held (Qewam al-din, Sadr al-Islam and Nizam al-Mulk).Muhammad I, along with his vizier Ahmad, later campaigned in Iraq, where theydefeated and killed the Mazyadid ruler Sayf al-dawla Sadaqa ibn Mansur, who bore the title \"king of the Arabs\". In 1109, Muhammad I sent Ahmad and ChavliSaqavu to capture the Ismaili fortresses of Alamut and Ostavand, but they failed to achieve any decisive result and withdrew. Ahmad was shortly replaced byKhatir al-Mulk Abu Mansur Maybudi as vizier of the Sejluq Empire. According to Ali ibn al-Athir (a historian who lived about a hundred years later), Ahmad thenretired to a private life in Baghdad, but, according to the contemporary biographer, Anushirvan ibn Khalid, Muhammad I had Ahmad imprisoned for tenyears.Muhammad I died in 1118 and was succeeded by Mahmud II, although after Muhammad I's death Sanjar was clearly the chief power in the Seljuqrealms.FamilyOne of Muhammad's wives was Gawhar Khatun, the daughter of Isma'il, son of Yaquti. Another wife was Qutlugh Khatun. Another wife wasNistandar Jahan Khatun. She was the mother of Sultan Ghiyath ad-Din Mas'ud and Fatimah Khatun. After Muhammad's death Mengubars, the governor of Iraq,married her. Their daughter Fatimah married Abbasid Caliph Al-Muqtafi in 1137, and died in September 1147. Another of his daughters married Arslan Shah, sonof Kirman Shah, and the grandson of Qavurt.Legacy and assessmentMuhammad was the last Seljuk ruler to have strong authority in the western part of thesultanate. The Seljuk realm was in a dire state after Muhammad's death, according to bureaucrat and writer Anushirvan ibn Khalid (died in 1137/1139); \"InMuhammad's reign the kingdom was united and secure from all envious attacks; but when it passed to his son Mahmud, they split up that unity and destroyed itscohesion. They claimed a share with him in the power and left him only a bare subsistence.\" Muhammad is mainly portrayed in a positive light by contemporaryhistorians. According to the historian Imad ad-Din al-Isfahani (died in 1201), Muhammad was \"the perfect man of the Seljuk dynasty and their strongeststeed\".Muhammad's ceaseless campaigns inspired one of his poets, Iranshah, to compose the Persian epic poem of Bahman-nama, an Iranian mythological storyabout the constant battles between Kay Bahman and Rostam's family. This implies that the work was also written to serve as advice for solving the socio-politicalissues of the time.Passage 4:Faiz MuhammadFaiz Muhammad (23 September 1937 – 29 October 2014) was a Pakistani freestyle wrestler. He was from 5 AK regt(HAIDER DIL BN). During his time, he was one of the  National Champions and Army Champions of Pakistan.Early life and careerMuhammad was born in 1937 inthe Kandi (Rajauri district area of Jammu and Kashmir) and migrated to Azad Kashmir after the partition of British India in 1947. His family settled Iin Khanpurvillage, present day Kotli District of Azad Kashmir. In June 1953, he was enlisted at training center number 3 of Azad Kashmir Regular Forces at Sohawa town (avillage at that time). He had his first success in wrestling by winning the Pakistan Army Training Centres Wrestling Championship, an army-level competition. Inthe same year, he won the National and Army Wrestling Championships. He won the Army Championship every year from 1954 to 1984 and won several goldmedals. At Pakistani national level, he is the only one who has this-record of Army Championships. From 1953 to 1986, he won the National WrestlingChampionship for 33 years.Passage 5:Faiz Mohammad KhanFaiz Muhammad Khan Bahadur, (r.1742–1777) the third Nawab of Bhopal, was the son of YarMuhammad Khan, the second Nawab of Bhopal (as a reagent), and the stepson of Mamola Bai a very influential Hindu wife of Yar Muhammad and a directdescendant of Dost Mohammad Khan.See alsoMuhammad ShahAlamgir IIPassage 6:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́наI Алексе́евна Миха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. MártaSamuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife and empress consort of Peter the Great, and empressregnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter theGreat himself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she wasoriginally named Marta Helena Skowrońska. Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from theeastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn at Jakobstadt. Her mother is named in atleast one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likelythat two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father wasa gravedigger and handyman, while others speculate that he was a runaway landless serf.Marta's parents died of the plague around 1689, leaving five children.According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near theborder with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian.In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and sheremained illiterate throughout her life.Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she wouldbecome involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained foreight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work asa translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly inthe laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor ofEstonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was his mistress, or householdmaid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was thebest friend of Peter the Great of Russia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, asMenshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetime alliance.It is possible that Menshikov,who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, while visitingMenshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, she"}
+{"doc_id":"doc_125","qid":"","text":"Passage 1:A Place in the Sun (film)A Place in the Sun may refer to:A place in the sun, a phrase used to refer to the German Empire's foreign policy (Weltpolitik)and colonial empireFilm and televisionA Place in the Sun (1916 film), a British silent filmA Place in the Sun (1951 film), an American dramatic filmA Place in theSun (British TV series) (2000–present), a British Channel 4 lifestyle programme about buying property abroadA Place in the Sun (2012 film), a Swedish filmbased on the Liza Marklund novelA Place in the Sun (South Korean TV series), a 2019 South Korean television seriesMusicA Place in the Sun (Lit album), 1999APlace in the Sun (Pablo Cruise album), 1977A Place in the Sun (Tim McGraw album), 1999\"A Place in the Sun\" (Stevie Wonder song), 1966\"A Place in the Sun\"(Pablo Cruise song), 1977\"A Place in the Sun\", a 1983 song by the Marine Girls, from their Lazy Ways albumSee alsoEn plats i solen (disambiguation)\"A PlaceUnder the Sun\", a 1999 single by Miho NakayamaUm Lugar ao Sol, a 2021 Brazilian telenovelaUn Lugar al sol, a 1965 Argentine filmUn posto al sole, a 1996Italian soap operaPassage 2:Christian-Peter FrieseChristian-Peter Friese (August 5, 1948, Munich - December 25, 1970, East Berlin) was one of the victims at theBerlin Wall. Members of the Border Troops of the German Democratic Republic shot him while trying to escape from East Germany.BiographyHe was his mother'sonly child, and grew up with her in Naumburg. His father is unknown. After school, he trained as a car mechanic. In Naumburg he took a job at the DeutscheReichsbahn (East Germany).DeathOn the evening of December 24, 1970, he left  his home and his mother without saying goodbye or leaving a message. Hewent to East Berlin by train. Once there he went to the allotment Vogelsang II in Treptow which was right on the border. He watched the border and climbedaround midnight on the interior fence. He triggered alarm by touching the subsequent signal fence. A total of five border guards opened fire on Christian-PeterFriese, who took cover in the vehicle barrier ditch. Shortly afterwards Friese began again to run in the direction of the last border fence. He was hit several timesin the legs and upper body. He succumbed to his injuries in the death strip. In the crime scene sketch of the files of the Stasi were recorded a total of 98 shots onChristian-Peter Friese.AftermathA senate speaker and the American City Commandant expressed their protest over the incident. The West-Berlin police initiatedan investigation.The mother of the deceased was informed on January 7, 1971, by members of the Stasi about the death. The legend was that Christian-PeterFriese was traveling by car into a tree. The body had been cremated. The urn was transferred one month later to Naumburg and buried there in the municipalcemetery, under the supervision of the Stasi.After the German reunification, the mother said to Naumburg police that her son revealed his intention of fleeing. Ina Mauerschützenprozess (process against guards of the wall who had shot) the border guards involved were acquitted because intent to kill could not beestablished, and because the court could not determine which of the defendants was responsible for the actual killing.See alsoList of deaths at the BerlinWallBerlin Crisis of 1961Passage 3:Chris GueffroyChris Gueffroy (21 June 1968 – 6 February 1989) was the last person to be shot and the second-last to die in anescape attempt while trying to escape from East Berlin to West Berlin across the Berlin Wall.BiographyChris Gueffroy was born in Pasewalk, BezirkNeubrandenburg (present-day Mecklenburg-Vorpommern) on 21 June 1968. He had an older brother, Stefan Gueffroy.He moved to Schwedt in 1970, the sameyear that his mother, Karin Gueffroy, and his father, Allois Gueffroy, divorced. Three years later, when he was five years old, he moved to Berlin with his motherand his brother. When he was in the third grade, he was sent to the youth sports school SC Dynamo Berlin, based on his gymnastic talent. After he finishedschool he refused to pursue an officer’s career track in the National People’s Army and was consequently denied the right to study at university, ending his dreamof becoming an actor or a pilot. In September 1985 he began an apprenticeship in the Schönefeld airport restaurant near Berlin after which he worked in anumber of different restaurants. As a waiter, his income was better than average, and he had a strong degree of freedom, but he was disgusted by thewidespread corruption in the restaurant business. His friend Christian Gaudian, whom he had met at gastronomy school, shared his feelings. At twenty, he foundit increasingly unbearable to think that he would remain locked up with the knowledge that it would always be this way and that he would never have the freedomto decide for himself where he wanted to live. In mid-January 1989, upon learning that he was to be conscripted into the East German army the following May, heand Gaudian decided to leave East Germany.DeathGueffroy and Gaudian based their decision to try to flee over the wall on mistaken beliefs that theSchießbefehl, the standing order to shoot anyone who attempted to cross the wall, had been lifted (it had not), and that the Swedish prime minister IngvarCarlsson was to pay a state visit to East Berlin (he had already left when they attempted their escape). Their attempted escape from East Berlin to West Berlin,along the Britz district canal would take place on the night of 5–6 February 1989, about two kilometres (1¼ miles) from what would be Gueffroy's last residenceon Südostallee 218, Johannisthal, Treptow, East Berlin. Climbing the last metal lattice fence, the two were discovered and came under fire from the NVA bordertroops. Gueffroy was hit in the chest by two shots and died in the border strip. Gaudian, badly but not fatally injured, was arrested and was sentenced on 24 May1989 to imprisonment of three years by the Pankow district court for attempted illegal border-crossing of the first degree (\"versuchten ungesetzlichenGrenzübertritts im schweren Fall\"). In September 1989 Gaudian was freed on bail by the East German government, and on 17 October 1989 he was transferredto West Berlin.Chris Gueffroy is often erroneously named as the last person to die in the attempt to cross the wall, but he was in fact only the last to be killedthrough the use of weapons, and the second-last to die in an escape attempt. Winfried Freudenberg died in the crash of an improvised balloon aircraft by whichhe crossed the border into West Berlin on 8 March 1989.AftermathAs compensation for her loss, the East German government allowed Karin Gueffroy to emigrateto West Berlin and visit Chris's grave in Baumschulenweg weekly, with the condition that she did not speak to western media about the incident. She would takeresidence in the West Berlin district of Moabit, on Oldenburger Straße 36.The four border guards involved at the time at first obtained an award(Leistungsabzeichen der Grenztruppen) from the chief of the Grenzkommandos Mitte border guards, Erich Wöllner, and a prize of 150 East German Marks each.However, after the reunification of East and West Germany, they were prosecuted by the Berlin regional court. Two of the former border guards, Mike Schmidt(now a millwright with two children), and Peter Schmett (now an electrician with three children), were acquitted and released in January 1992, because thepresiding judge, Theodor Seidel, ruled that they \"did not kill and did not intend to kill\". A third former border guard, Andreas Kuehnpast (now unemployed),received a suspended sentence of two years. The fourth former border guard, Ingo Heinrich (now an electronic engineer), who was responsible for the mortal shotin the heart, was at first sentenced to three and a half years of jail. On appeal, the Bundesgerichtshof (High Court of Justice) in 1994 reduced the penalty to asuspended sentence of two years.In 2000, two SED functionaries, Siegfried Lorenz and Hans-Joachim Böhme, were tried for the death of Gueffroy and two otheryoung men, but acquitted as the judge could find no evidence that they might have been able to lift the shoot-to-kill order. The case was retried on 7 August2004, and the two men were found guilty and given suspended sentences of 15 months each. The judge explained that the short sentences were due to thelength of time since the events. This was the last case concerning deaths on the inner German border.On 21 June 2003, which would have been his 35th birthday,a monument to Gueffroy was erected on the bank of the Britz district canal. The monument was designed by Berlin artist Karl Biedermann. One of the crosses atthe White Crosses memorial site next to the Reichstag building is devoted to him.On 13 August 2010 the Britzer Allee between Treptow and Neukölln wasrenamed Chris-Gueffroy-Allee.See alsoSven HüberList of deaths at the Berlin WallBerlin Crisis of 1961Passage 4:Escape from East BerlinEscape from East Berlin isa 1962 American-West German thriller film directed by Robert Siodmak and starring Don Murray, Christine Kaufmann and Werner Klemperer.It was shot at theTempelhof Studios in Berlin. The film's sets were designed by the art director Dieter Bartels and Ted Haworth.PlotThe story takes place in East Berlin soon afterthe Berlin Wall is built, and is based on an actual escape on January 24, 1962. Kurt Schröder is a chauffeur to East German Major Eckhardt and his seductive wifeHeidi, with whom he is having an affair. One night he sees a friend, Günther Jurgens, who works at the garage where Kurt has the Major's car maintained, drivehis tow-truck through a gate and get killed trying to escape to the west. Günther's sister, Erika, comes looking for Günther when he doesn't return, and is toldthat Kurt saw him last night. She then goes to Kurt's house, where he lives with his mother, Uncle Albrecht (a musician), sister Ingeborg and kid brother Helmutwithin sight of the wall. Erika is intent on escaping to West Berlin, thinking that her brother made it. Kurt, reasonably satisfied with his life, has no intention ofrisking his life to attempt an escape. Erika then attempts to escape over the wall but Kurt catches her as she tries to crawl under the barbed wire, and theypretend to be lovers to hide her intentions from suspicious guards. Kurt then hides her in his house. A piece of Erika's clothing is caught in the barbed wire, andthe guards track her to the Schröder's house. She hides in a room without a floor, and narrowly escapes the guards after they conclude that she could not be inthe room.The Schröders and their neighbors, including a woman named Marga who has a baby and whose husband has already escaped to the west, want toescape East Germany. Kurt comes up with the idea of building a tunnel under the wall, through which they can escape to West Berlin. Although he willmastermind the plan, Kurt has no intention of going with them. They drill through the basement wall using Uncle Albrecht's band as a noise cover when the actualdrilling takes place. One member of the family keeps watch while the others work on the tunnel itself. After they start digging the tunnel, they are joined byWalter Brunner, who had his own plan to dig a tunnel. All the while, Kurt is falling in love with Erika, and he eventually summons the courage to tell her that her"}
+{"doc_id":"doc_126","qid":"","text":"Passage 1:Wayne BridgeWayne Michael Bridge (born 5 August 1980) is an English former professional footballer who played as a left back.A graduate of theSouthampton academy, he made his debut in 1998 and would go on to make over 150 league appearances in Premier League before going on to have anextensive career with Chelsea where he won all three domestic competitions over the course of his six-year stay at Stamford Bridge. He also spent time on loanwith Fulham before later in 2009 joining Manchester City, where he remained for four seasons, although his final two were spent on loan with West Ham andSunderland as well as a spell in the EFL Championship with Brighton & Hove Albion. He retired in 2014 following a season with ReadingBridge made 36appearances for the England national team between 2002 and 2009, being selected for two FIFA World Cup squads and UEFA Euro 2004.ClubcareerSouthamptonBridge was born in Southampton, but moved to Olivers Battery, Winchester, at an early age. He attended Oliver's Battery Primary and Kings'School, Winchester. When playing for Olivers Battery he was spotted by Micky Adams, who recommended him to Southampton, who signed him as a trainee inJuly 1996. He made his reserve team debut as a centre-forward against Portsmouth on 13 August 1997 and turned professional in January 1998.Bridge made hisfirst-team debut on 16 August 1998 (the opening day of the 1998–99 season) coming on as a replacement for John Beresford, who had badly damaged his knee.Bridge made his first senior start in the next match on 22 August in a 5–0 defeat away to Charlton Athletic. As Southampton struggled to pick up points (with onlytwo points after the first nine games), Bridge played (on the left wing) in most of Saints' league games until early December before losing his place to HassanKachloul. For the remainder of the 1998–99 Premier League season, Bridge was only used occasionally as Saints narrowly avoided relegation. He completed hisfirst season as a first-team player with 15 starts and eight substitute appearances.The following season carried on in a similar vein with Bridge making occasionalappearances on the left wing until injuries to Francis Benali and the poor form of his intended replacement Patrick Colleter gave Bridge the opportunity to play atleft-back, where he soon became a fixture in the Saints starting line-up. In the 1999–2000 season, he made 15 starts (plus four substitute appearances) scoringhis first senior goal, with a powerful free-kick over the wall, in the final match of the season on 14 May 2000 against Wimbledon, as a result of which Wimbledonwere relegated to Division 1 after 14 years in the top flight.In the 2000–01 season, Bridge was an ever-present at left-back as Saints finished their final season atThe Dell in tenth place in the Premier League table. Bridge was rewarded by being voted the Southampton Player of the Year for the 2000–01 season.Bridge was\"fast, determined, skilful and full of youthful promise\" and \"his forward runs became an exciting sight at The Dell and then at St Mary's.\" He was an ever-presentyet again in the following season as Saints again finished their first season at their new stadium comfortably in mid-table.Bridge's temperament and consistency,together with a high level of fitness, enabled him to continue to play every match until 18 January 2003 when he limped off with an injury in a 1–0 defeat toLiverpool. This brought to an end a run of 113 consecutive appearances, a Premier League record for an outfield player (since surpassed by Frank Lampard, Jr.).His run started on 4 March 2000, from when Bridge played 10,160 consecutive minutes of Premier League football, not missing any play through injury orsuspension.By now, bigger clubs were trailing Bridge, and he was finally tempted away to join Chelsea for £7 million in the 2003 close season. His last appearancefor the club came in the 2003 FA Cup Final defeat to Arsenal. During his five years as a Saints first-team player, he made 173 appearances, with two league goalsagainst Wimbledon and Bolton Wanderers.Chelsea2003–04 seasonAfter five years with the Saints, Bridge moved to Chelsea in July 2003 for a fee of £7 millionplus Graeme Le Saux, and was initially a regular starter. His finest moment came in the Champions League quarter-final against Arsenal in 2003–04. Bridgescored the winning goal in the 88th minute to send Chelsea into the semi-finals and end an 18-game winless run against Arsenal. The goal was later voted goal ofthe season. Bridge also scored against Beşiktaş and Portsmouth in the 2003–04 season.2004–05 seasonBridge started the 2004–05 season playing regularlyunder new manager José Mourinho, but he picked up a serious ankle injury in an FA Cup tie against Newcastle United on 20 February 2005. This ended his seasonand also meant he missed the following weekend's League Cup Final. Chelsea went on to win the Premier League in his absence but Bridge had already madeenough appearances (15) to receive a winners' medal.2005–06 seasonFor the 2005–06 season, Chelsea signed Spanish left-back Asier del Horno and Bridgefaced a challenge to get back into the side when he recovered from the injury that kept him out of the team in the latter stages of the 2004–05 campaign. He onlymade two appearances for Chelsea that season, both in domestic cup games. These limited first team opportunities saw him join Fulham on loan on 19 January2006. He made his debut in a 2–1 defeat to West Ham United at Upton Park. The move seemed to benefit him as he managed to secure his place in the 2006World Cup English squad for the tournament in Germany. Chelsea won the Premier League again, but Bridge was not eligible for a medal this time as he had notmade a single league appearance for them all season.2006–07 seasonBridge's main competition for the Chelsea left back position then came from fellow Englandinternational left back Ashley Cole. Bridge played the full match in Chelsea's 3–0 victory over Manchester City on the opening day of the 2006–07 Premier Leagueseason, providing a telling cross for the third goal, scored by a header from Didier Drogba. His strong early season form, however, was not enough to hold downthe left-back position, with Mourinho preferring Ashley Cole in most games. Following Cole's injury in the 3–0 Premier League win against Blackburn Rovers earlyin 2007, Bridge became Chelsea's natural choice for left-back.Bridge featured in attack for an injury struck Chelsea side against League Two side WycombeWanderers in the 2007 semi-final 1st leg League Cup match, scoring one goal in the process.Bridge finished the 2006–07 season with two cup final winner'smedals after playing in both the League Cup Final against Arsenal in a 2–1 win and in the FA Cup Final against Manchester United in a 1–0 victory.2007–08seasonBridge played his third cup final for Chelsea in just over two years in the 2–1 loss in the 2008 League Cup Final against Tottenham Hotspur. Bridge wasadjudged to have handled the ball in the penalty area and Tottenham were awarded a penalty from which they scored, going on to win 2–1 afterextra-time.2008–09 seasonIn the League Cup fourth round tie against Burnley in the 2008–09 season, Bridge wore the captain's armband in the absence of JohnTerry and Frank Lampard, but the Blues lost on penalties.Manchester City2009–11 seasonsOn 2 January 2009, it was confirmed by Mark Hughes that ManchesterCity had agreed an undisclosed fee with Chelsea for Bridge, thought to be around £10 million and, on the following day, Manchester City agreed personal termswith the player, who later passed his medical, thus enabling the transfer to be completed and he signed a four-and-a-half-year deal. Bridge was unveiled to thehome fans that day at an FA Cup home tie against Nottingham Forest, and two weeks later made his debut for the club in a 1–0 win against Wigan Athletic in theleague. He was given the squad number 25. For the 2009–10 season, Bridge switched to the number 3, which was previously worn by Michael Ball.On 27February 2010, City inflicted Chelsea's first home Premier League defeat of the season with a 4–2 victory. Prior to the match, Bridge was involved in a highlypublicised incident in which he refused to shake hands with Chelsea captain and former club and international teammate John Terry, who was at the time thesubject of claims that he had had an affair with Bridge's ex-girlfriend Vanessa Perroncel. His position as left-back for Manchester City gradually faded with thearrival of two new left-backs. In the summer of 2010, Manchester City manager Roberto Mancini signed Aleksandar Kolarov from Lazio, and in 2011 signed GaëlClichy from Arsenal, thus indicating Bridge was surplus to requirements at City.West Ham (loan)On 12 January 2011, Bridge joined West Ham United on loan untilthe end of the season. He made his West Ham debut on 15 January 2011 in a 3–0 loss to Arsenal. Bridge made 18 appearances in all competitions for West Hambefore his loan ended.Sunderland (loan)On 31 January 2012, it was announced that Bridge had joined Sunderland on a loan deal until the end of the 2011–12season. He made his debut appearance as an 82nd minute substitute for Kieran Richardson in Sunderland's 3–0 victory over Norwich City the following day. Hemade his first start for Sunderland in their 1–0 win over Liverpool on 10 March 2012, and also featured in the FA Cup quarter-final draw with Everton the followingweek.Brighton & Hove Albion (loan)On 6 July 2012, it was confirmed that Bridge would join Brighton & Hove Albion on a season-long loan. He made his debut forBrighton on 14 August 2012 in a 3–0 away defeat to Swindon Town in the League Cup. His first Brighton goal came on 25 August 2012 in a 5–1 home victory overBarnsley, his first league goal since scoring for Chelsea in December 2003. Bridge played 37 league games for Brighton, scoring three goals and helping themreach fourth place in the league to qualify for the play-offs. He played in both semi-final games against Crystal Palace where Brighton were beaten 2–0 onaggregate. At the end of the season, Bridge thanked Brighton manager Gus Poyet for revitalising his footballing career. He told The Independent, \"Brighton havebeen great to me. I just want to say a big thank you to the chairman and the fans. Gus has revitalised my love for football after I was in the wilderness atManchester City.\"Reading and retirementIn June 2013, Bridge signed a one-year contract with Reading, who had just been relegated to the Football LeagueChampionship. Bridge chose Reading ahead of offers from Queens Park Rangers and Brighton, who wished to make his loan permanent.On 6 May 2014, Bridgewas released by Reading after 12 games in his only season for the club, subsequently retiring from professional football.International careerDuring his time withSouthampton, all Bridge's managers (Jones, Hoddle and Gray) predicted full international honours. He was soon making regular appearances for the Englandunder-21 team, and the managers' prophecy was realised when Sven-Göran Eriksson gave him his first full cap against the Netherlands on 13 February 2002. Hequickly proved himself and appeared twice as a substitute in the 2002 World Cup, although he did not appear at all in Euro 2004, with Ashley Cole being"}
+{"doc_id":"doc_127","qid":"","text":"Passage 1:Donny LucasDonald James \"Donny\" Lucas is a Canadian actor and comedian.He is best known for voicing Disco Kid in Punch Out!!, Zed in League ofLegends, Mr. Fix in Iron Man: Armored Adventures, and the Lucius Fox A.I. in Batwoman.Early lifeDonny Lucas was born, adopted, and raised in Montreal,Quebec.Lucas started his acting career in 1986 by taking classes, workshops, and community theater. His first credits were for HBO, Warner Bros, andNickelodeon.FilmographyFilmTelevisionVideogamesPassage 2:Lou ManfrediniLou Manfredini (born May 4, 1964) is an American television/radio personality andhome improvement expert. Born in Highland Park, Illinois he is the host of HouseSmarts TV, host of Chicago's WGN (AM) HouseSmarts Radio (formerly Mr.Fix-It), and is a contributor on NBC's Today Show.Early yearsManfredini was born to Massimo and Lida Manfredini in Highland Park, IL. His father worked as anauto and truck mechanic, mother was a homemaker. Manfredini worked with his father on cars and trucks  which ultimately led Manfredini to pursue a career inhome improvement. While a student at Deerfield High School (Illinois), Manfredini worked at a hardware store and at a steel company as a welder. Aftergraduating high school in 1982, Manfredini went to Millikin University in Decatur, Illinois on a musical theater scholarship. In 1987, Manfredini started aconstruction company in Chicago. After 8 years in business, he began a media career in 1995 when WGN (AM) Radio  launched his idea for a home improvementcall-in radio show.Television and Print MediaAs hostIn 1995 after writing letters to pitch his idea for a call-in home improvement radio show on WGN Radio,morning show host Bob Collins booked Manfredini on his show as a guest where his nickname, Mr. Fix It, was coined. Soon after Manfredini joined host RoyLeonard on his Saturday show as a regular contributor which then led to his own Saturday morning call-in radio show which still airs today.  In 2000, Manfredinibecame the home improvement contributor for NBC-TV's Today Show, from 2006 to 2013 for NBC-5 Chicago and in September 2013 for WGN-TV Chicago. In2006, he partnered with Frank DiGioia, President and CEO of Fort Productions, to create the news/magazine style home improvement and lifestyle showHouseSmarts. Manfredini is also the host of Lou Manfredini's HouseSmarts Minutes (formerly Lou Manfredini's Home Improvement Minutes) that are syndicatedon radio stations across the United States.On May 29, 2015 Manfredini was inducted into the WGN Radio Walk of Fame.On January 14, 2017 Manfredini debutedthe live show, HouseSmarts Radio, on 77-WABC New York.On October 14, 2017 Manfredini debuted the live show, HouseSmarts Radio, on 790-KABC LosAngeles.As spokespersonManfredini has represented Marvin Windows and Doors nationally as their spokesperson since 2004 and serves/has served asspokesperson in the Chicago market for: Perma Seal Basement Systems, Chicagoland and Northwest Indiana Chevy Dealers and Baxter Credit Union (BCU).Since2002 Manfredini has served as Ace Hardware's resident \"Home Expert\" and editorial media spokesperson.Manfredini has been host of satellite media toursrepresenting companies such as The Wood Promotion Network, 3M, Marvin Windows and Doors, Ace Hardware, Skil Power Tools.Manfredini has served as subjectmatter expert host for The Rug Doctor infomercial.Other appearancesManfredini has sung the National Anthem at Wrigley Field, home of the Chicago Cubs, threetimes – once in 1998, once in 2001  and once as a duet in 2009 with his producer, Lindsey Smithwick (formerly Kreutzer).From 2002 to 2003 Manfredini servedas the Home Category Expert for the Home Shopping Network (HSN).On August 18, 2011 Manfredini was a guest on the stage and radio show created by theChicago Tribune and The Second City, Chicago Live!On May 30, 2012, Manfredini guest starred in the Irish musical The Twelve Tenors for one night at theRiverfront Theater in Chicago.Bibliography2000: Mr. Fix It: 101 Answers to the Most Commonly Asked Questions About Repairing Your Home Rare Air Media ISBN1-892866-22-62002: Mr. Fix It Introduces You To Your Home Ballantine Books ISBN 0-345-44987-82004: House Smarts Ballantine Books ISBN0-345-44989-42004:Bath Smarts Ballantine Books ISBN 0-345-44990-82004: Kitchen Smarts Ballantine Books ISBN 0-345-44988-62004: Room SmartsBallantine Books ISBN 0-345-46722-1FamilyManfredini lives in Chicago with his wife and four children and runs the Edgebrook Ace Hardware and Villa Park AceHardware. Manfredini's oldest son, Quinn, is the founder of Deep Dish Sports Talk, Chicago's premier sports podcast.Passage 3:Mr. Fix-ItMr. Fix-It is a 1918American silent comedy film starring Douglas Fairbanks, Marjorie Daw, and Wanda Hawley, directed by Allan Dwan.PlotAs described in a film magazine, becauseof his ability to fix things Dick Remington (Fairbanks) becomes known as \"Mr. Fix-It\" and enters the aristocratic home of the Burroughs as their nephew. Beforelong he has melted the stone hearts of three aunts and one uncle and won the heart of Mary McCullough (Hawley) in addition to setting aright the affairs of prettyGeorgiana Burroughs (MacDonald) and Olive Van Tassell (Landis).CastReceptionLike many American films of the time, Mr. Fix-It was subject to restrictions andcuts by city and state film censorship boards. For example, the Chicago Board of Censors cut, in Reel 5, the policeman arresting women in kimono coming fromraided house of ill repute.Preservation statusOn July 16, 2011 at the Castro Theatre in San Francisco, the San Francisco Silent Film Festival presented a restoredprint of the film from George Eastman House.See alsoList of rediscovered filmsPassage 4:Allan DwanAllan Dwan (born Joseph Aloysius Dwan; April 3, 1885 –December 28, 1981) was a pioneering Canadian-born American motion picture director, producer, and screenwriter.Early lifeBorn Joseph Aloysius Dwan inToronto, Ontario, Canada, Dwan was the younger son of commercial traveler of woolen clothing Joseph Michael Dwan (1857–1917) and his wife Mary Jane Dwan,née Hunt. The family moved to the United States when he was seven years old on December 4, 1892, by ferry from Windsor to Detroit, according to hisnaturalization petition of August 1939. His elder brother, Leo Garnet Dwan (1883–1964), became a physician.Allan Dwan studied engineering at the University ofNotre Dame and then worked for a lighting company in Chicago. He had a strong interest in the fledgling motion picture industry, and when Essanay Studiosoffered him the opportunity to become a scriptwriter, he took the job. At that time, some of the East Coast movie makers began to spend winters in Californiawhere the climate allowed them to continue productions requiring warm weather. Soon, a number of movie companies worked there year-round, and in 1911,Dwan began working part-time in Hollywood. While still in New York, in 1917 he was the founding president of the East Coast chapter of the Motion PictureDirectors Association.CareerDwan started his directing career by accident in 1911, when he was sent by his employers to California, in order to locate a companythat had vanished. Dwan managed to track the company down, and learned that they were waiting for the film's director (who was an alcoholic) to return from abinge (and allowing them to return to work). Dwan wired back to his employers in Chicago, informing them of the situation, and suggested that they disband thecompany. They wired back, instructing Dwan to direct the film. When Dwan informed the company of the situation, and that their jobs were on the line, theyresponded: \"You're the best damn director we ever saw\".Dwan operated Flying A Studios in La Mesa, California, from August 1911 to July 1912. Flying A was oneof the first motion pictures studios in California history. On August 12, 2011, a plaque was unveiled on the Wolff building at Third Avenue and La Mesa Boulevardcommemorating Dwan and the Flying A Studios origins in La Mesa, California.After making a series of westerns and comedies, Dwan directed fellowCanadian-American Mary Pickford in several very successful movies as well as her husband, Douglas Fairbanks, notably in the acclaimed 1922 Robin Hood. Dwandirected Gloria Swanson in eight feature films, and one short film made in the short-lived sound-on-film process Phonofilm. This short, also featuring ThomasMeighan and Henri de la Falaise, was produced as a joke, for the April 26, 1925 \"Lambs' Gambol\" for The Lambs, with the film showing Swanson crashing theall-male club.Following the introduction of the talkies, Dwan directed child-star Shirley Temple in Heidi (1937) and Rebecca of Sunnybrook Farm (1938).Dwanhelped launch the career of two other successful Hollywood directors, Victor Fleming, who went on to direct The Wizard of Oz and Gone With the Wind, andMarshall Neilan, who became an actor, director, writer and producer. Over a long career spanning almost 50 years, Dwan directed 125 motion pictures, some ofwhich were highly acclaimed, such as the 1949 box office hit, Sands of Iwo Jima. He directed his last movie in 1961.Being one of the last surviving pioneers of thecinema, he was interviewed at length for the 1980 documentary series Hollywood.He died in Los Angeles at the age of 96, and is interred in the San FernandoMission Cemetery, Mission Hills, California.Dwan has a star on the Hollywood Walk of Fame at 6263 Hollywood Boulevard.Daniel Eagan of Film JournalInternational described Dwan as one of the early pioneers of cinema, stating that his style \"is so basic as to seem invisible, but he treats his characters withuncommon sympathy and compassion.\"Partial filmography as directorSee alsoCanadian pioneers in early HollywoodPassage 5:Saintly SinnersSaintly Sinners is a1962 American comedy-drama film directed by Jean Yarbrough and starring Don Beddoe, Ellen Corby, Stanley Clements and Paul Bryar.PlotEx-con Joseph Bradenhas his car temporarily stolen by a pair of bank robbers who hide their loot in the vehicle's spare tire. After the car is repossessed, it's sold to the kindly Rev.Daniel Sheridan, who immediately sets out on a fishing trip.CastDon Beddoe as Father Dan SheridanEllen Corby as Mrs. McKenzieStanley Clements as SlimPaulBryar as DukeAddison Richards as Monsignor CraigRon Hagerthy as Joe BreadenJacklyn O'Donnell as Sue Braeden (as Erin O'Donnell)Clancy Cooper as IdahoMurphyWilliam Fawcett as Horsefly BrownEarle Hodgins as Uncle CleteNorman Leavitt as Pittheus (as Norm Leavitt)Willis Bouchey as Police Chief HarrihanSeealsoList of American films of 1962Passage 6:Rauni MollbergRauni Mollberg (April 15, 1929 – October 11, 2007) was a Finnish film director who directed moviesand TV movies.In 1963 Mollberg directed movies for YLE. He directed a version of The Unknown Soldier in 1985, 30 years after Edvin Laine directed the originalversion of it. Mollberg's movie's plot was same as Laine's movie. But Mollberg used unknown actors and the movie was colourised and shot by a handholdcamera.Mollberg did not begin directing films for the cinema until he was well into his forties. He made a notable splash on the international festival circuit in"}
+{"doc_id":"doc_128","qid":"","text":"Passage 1:Walter UlfigWalter Ulfig was a German composer of film scores.Selected filmographyDas Meer (1927)Venus im Frack (1927)Svengali (1927)Bigamie(1927)Homesick (1927)The Awakening of Woman (1927)The Famous Woman (1927)Alpine Tragedy (1927)The Strange Case of Captain Ramper(1927)Assassination (1927)Queen Louise (1927)Homesick (1927)Das Schicksal einer Nacht (1927)The Hunt for the Bride (1927)The Orlov (1927)Serenissimusand the Last Virgin (1928)Mariett Dances Today (1928))The Woman from Till 12 (1928)The Beloved of His Highness (1928)The Schorrsiegel Affair (1928)ItAttracted Three Fellows (1928)Miss Chauffeur (1928)The King of Carnival (1928)The Weekend Bride (1928)Honeymoon (1928)Spring Awakening (1929)The Rightof the Unborn (1929)The Heath Is Green (1932)Höllentempo (1933)The Two Seals (1934)Pappi (1934)Mädchenräuber (1936)BibliographyJung, Uli & Schatzberg,Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.External linksWalter Ulfig at IMDbPassage 2:Bert GrundBert Grund (1920–1992) wasa German composer of film scores.Selected filmographyCrown Jewels (1950)Immortal Light (1951)I Can't Marry Them All (1952)We're Dancing on the Rainbow(1952)My Wife Is Being Stupid (1952)Knall and Fall as Detectives (1952)The Bachelor Trap (1953)The Bird Seller (1953)The Immortal Vagabond (1953)The Sunof St. Moritz (1954)The Witch (1954)The Major and the Bulls (1955)Operation Sleeping Bag (1955)Love's Carnival (1955)The Marriage of Doctor Danwitz(1956)Between Time and Eternity (1956)That Won't Keep a Sailor Down (1958)Arena of Fear (1959)The Thousand Eyes of Dr. Mabuse (1960)The Count ofLuxemburg (1972)Mathias Sandorf (1979, TV series)Die Wächter (1986, TV miniseries)Carmen on Ice (1990)Passage 3:Henri VerdunHenri Verdun (1895–1977)was a French composer of film scores.Selected filmographyNapoléon (1927)The Sweetness of Loving (1930)The Levy Department Stores (1932)The LacqueredBox (1932)The Weaker Sex (1933)The Flame (1936)Girls of Paris (1936)The Assault (1936)Les Disparus de Saint-Agil (1938)The Woman Thief (1938)Ernest theRebel (1938)Rail Pirates (1938)The Fatted Calf (1939)Camp Thirteen (1940)The Man Without a Name (1943)The Bellman (1945)My First Love (1945)TheMurderer is Not Guilty (1946)Distress (1946)The Fugitive (1947)The Ironmaster (1948)The Tragic Dolmen (1948)The Ladies in the Green Hats (1949)La Fugue deMonsieur Perle (1952)The Lovers of Midnight (1953)The Big Flag (1954)Blood to the Head (1956)Passage 4:Amedeo EscobarAmedeo Escobar (1888–1973) wasan Italian composer of film scores.Selected filmographyResurrection (1931)The Last of the Bergeracs (1934)The Countess of Parma (1936)I've Lost My Husband!(1937)The Thrill of the Skies (1940)Macario Against Zagomar (1944)Toto Looks for a House (1949)Toto Looks for a Wife (1950)Beauties on Bicycles(1951)Drama on the Tiber (1952)Passage 5:MithoonMithun Sharma (born 11 January 1985), also known as Mithoon, is an Indian Hindi film music director,lyricist-composer and singer.Mithoon composed the Hindi song \"Tum Hi Ho\" from the 2013 Bollywood romantic film Aashiqui 2. Mithoon received the FilmfareAward for Best Music Director, and in 2014 received a nomination for Filmfare Award for Best Lyricist in the 59th Filmfare Awards. He wrote and composed one ofthe most streamed Hindi songs on YouTube, \"Sanam Re\". The song was honoured with the award of \"Most Streamed Song of 2016\" at the Global Indian MusicAcademy Awards.Mithoon launched the talented singer Arijit Singh in 2011 with Mohammad Irfan Ali co-singer in his hit song Phir Mohabbat.Early lifeMithoon wasborn into a family of musicians. His grandfather, Pandit Ram Prasad Sharma, imparted music knowledge to thousands of aspirants, many of whom are amongsttoday's top musicians. His father, Naresh Sharma, was a leading expert of musical arrangements, having worked with almost all of the top composers in morethan two hundred movies. Mithoon's father and his uncle Pyarelal-ji (Pyarelal Ramprasad Sharma) formed one-half of the legendary composer duoLaxmikant-Pyarelal.Mithoon started learning music at the age of eleven. Since his father remained busy, he sent him to knowledgeable people to train himself. Hisfather observed him closely and would often notice what he was practicing. His father often listened to the tunes that he created as well. On 6 November 2022, hemarried playback singer Palak Muchhal.CareerMithoon began his career with two recreations: \"Woh Lamhe\" in Zeher and \"Aadat\" in Kalyug. In 2006, Mithoon'sfriend recommended his name to Onir, (director of Bas Ek Pal), who wanted an electro-based title track. This led to his first original song as a composer, \"Bas EkPal\" with singer KK, and was followed by \"Tere Bin\" (by singer Atif Aslam) in 2006. Both songs were included in the film Bas Ek Pal. .He wrote the score forAnwar, released in 2007 and his compositions Tose Naina Lage and Maula Mere are still extremely popular.He also worked as a guest composer for songs onseveral nonmovie albums, such as \"Kuch Is Tarah\" from Atif Aslam's album Doorie, and Abhijeet Sawant's and \"Ek Shaqs\" from the Abhijeet Sawant albumJunoon. He released his own album, Tu Hi Mere Rab Ki Tarah Hai in 2009 with T-Series. For this album, Mithoon traveled to the United Kingdom to rope inmusicians. There, he worked with musicians of the Philharmonic Orchestra.In 2011 he composed two songs \"Aye Khuda\", \"Phir Mohabbat\" for the film Murder2  which also marked the debut of Arijit Singh.The song \"Tum Hi Ho\" which he wrote for Aashiqui 2, and \"O saathi\" from the movie Shab became popular. He hasalso been a solo or guest composer for movies such as , Jism 2,Yaariyan, Ek Villain, Hate Story 2, Creature 3D, Samrat & Co, Alone, Hamari Adhuri Kahani, BhaagJohnny, All Is Well, Loveshhuda, Sanam Re, Ki & Ka, Shivaay, Wajah Tum Ho, Half Girlfriend, Shab, Aksar 2, Hate Story 4, Baaghi 2, Kabir Singh, Mercury, KhudaHaafiz, Radhe Shyam and Gadar 2.Bollywood discographyAlbumsSinglesAwards and nominationsList of awards and nominations received by MithoonAsiavisionAwardsBIG Star Entertainment AwardsFilmfare AwardsGlobal Indian Music Academy AwardsInternational Indian Film Academy AwardsMirchi MusicAwardsProducers Guild Film AwardsScreen AwardsStardust AwardsZee Cine AwardsGaana User's Choice Awards – Best Music Composer (for \"Phir Bhi TumkoChaahunga\") – WonBollywood Journalist Awards – Best Music Director (for \"Phir Bhi Tumko Chaahunga\") – NominatedPassage 6:Tarcisio FuscoTarcisio Fusco wasan Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco.SelectedfilmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples (1954)Conspiracy of theBorgias (1959)Passage 7:Abe MeyerAbe Meyer (1901–1969) was an American composer of film scores.Selected filmographyPainted Faces (1929)HoneymoonLane (1931)Unholy Love (1932)A Strange Adventure (1932)Take the Stand (1934)Legong (1935)The Unwelcome Stranger (1935)Suicide Squad (1935)The Minewith the Iron Door (1936)The Devil on Horseback (1936)Song of the Trail (1936)County Fair (1937)The 13th Man (1937)Raw Timber (1937)Roaring Timber(1937)The Law Commands (1937)The Painted Trail (1938)My Old Kentucky Home (1938)The Secret of Treasure Island (1938)Saleslady (1938)NumberedWoman  (1938)The Marines Are Here (1938)Fisherman's Wharf (1939)Undercover Agent (1939)Passage 8:Alonso MudarraAlonso Mudarra (c. 1510 – April 1,1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer ofinstrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but hegrew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in the company of the fourth Dukeof the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral inSeville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; many records remain of his musicalactivities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for variousfestivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarra wrote numerous pieces for thevihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"),which he published on December 7, 1546 in Seville.  These three books contain the first music ever published for the four-course guitar, which was then arelatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.Compositionsrepresented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probablymost familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and includeromances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs for different tempos:  slow,medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscriptionaccess)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel BayPublications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia(Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com(http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library(ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 9:Thomas MorseThomas Morse (born June 30, 1968)is a composer of film and concert music.Life and composing careerHe began his musical career while in high school, writing his first orchestral work. Afterreceiving a bachelor's degree in composition from the University of North Texas, Morse began a composition master's degree at USC in Los Angeles, changingover to the film scoring program in the second year.In the years that followed, Morse composed orchestral scores for more than a dozen feature films includingThe Big Brass Ring, based on an Orson Welles script, with William Hurt & Miranda Richardson who received a Golden Globe nomination for her performance; The"}
+{"doc_id":"doc_129","qid":"","text":"Passage 1:Adolf I of LotharingiaAdolf I of Lotharingia, count of Keldachgau, Vogt of Deutz from 1008 until 1018, was the son of Hermann I \"Pusillus\" (the LittlePfalzgraf), count palatine of Lotharingia. He left three sons:Hermann III, Vogt of Deutz in St. Severin (Cologne) und Werden (died 1056);Adolf II of Lotharingia,count of Keldachgau, Vogt of Deutz (born 1002, died 1041);Erenfried, Probst of St. Severin.Passage 2:Henry of LaachHenry of Laach (in German: Heinrich vonLaach) was the first count palatine of the Rhine (1085/1087–1095). Henry was the son of Herman I, count of Gleiberg. Henry was a follower of Henry IV, HolyRoman Emperor. He had lands in the southeastern Eifel and on the Moselle River.Most of the holdings of Hermann II, Count Palatine fell back to the emperor,when Hermann died without successor. The emperor named Henry count palatine of the Rhine and during the emperor's trip to Italy tasked Henry to hold interimjudicial councils. Henry married Herman's widow, Adelaide of Weimar-Orlamünde (d. 1100). From this marriage, Henry may have taken control over some of herholdings along the Moselle. As a consequence, the geographic center of the palatinate moved towards the south.With his wife, Adelaide, Henry founded the MariaLaach Abbey. He was succeeded by his stepson, Siegfried of Ballenstedt.Passage 3:Hermann II, Count Palatine of LotharingiaHermann II (born 1049; diedDalhem, 20 September 1085), Count Palatine of Lotharingia 1064–1085. He was count in the Ruhrgau and the Zulpichgau, as well as a count ofBrabant.LifeAccording to Egon Kimpen he was the son of Henry I of Lotharingia († 1061) and Mathild of Verdun († 1060), daughter of Gozelo I of Lotharingia, butthe basis for this has been questioned. However, if that is the case, his maternal uncle was Pope Stephen IX. Until 1064, young Hermann was under theguardianship of Anno II, Archbishop of Cologne, who significantly reduced Hermann's territorial power.In 1080 he married Adelaide of Weimar-Orlamünde (†1100), widow of Adalbert II, Count of Ballenstedt. She was a daughter of Otto of Orlamünde, count of Weimar and margrave of Meissen in Thuringia, and Adela ofBrabant. Together they had two children who had died by 1085.He is assumed to have been the last Count Palatine of Lotharingia of the Ezzonian dynasty. Hewas killed in a duel with Albert III, Count of Namur, near his castle in Dalhem. His widow married again, her third husband being Henry of Laach, count in theMayfeldgau, who became the first count palatine of the Rhine between 1085 and 1087.Passage 4:John Christian, Count Palatine of SulzbachJohn Christian (23January 1700 – 20 July 1733; in German: Johann Christian Joseph) was the Count Palatine of Sulzbach from 1732–33. He was the second and youngest survivingson of duke Theodore Eustace, Count Palatine of Sulzbach (1659–1732) with his consort Eleonore Maria Amalia of Hesse-Rotenburg (1675–1720). His elderbrother was Joseph Charles, Count Palatine of Sulzbach.LifeAfter the death of his elder brother Joseph Charles, John Christian Joseph became the eventualdesignated heir of the Electoral Palatine. In 1732 he succeeded his father as Count Palatine of Sulzbach, but died in Sulzbach in 1733 before inheriting thePalatinate.Charles III Philip, Elector Palatine, a member of the Palatine Neuburg line of Wittelsbach failed to produce a legitimate male heir, and his brothers also.By 1716 it was evident that the Neuburg line would become extinct and that the Sulzbach branch would succeed them.MarriageHe married twice:Marie AnneHenriëtte Leopoldine de La Tour d'Auvergne (24 October 1708 – 28 July 1728), daughter of Francois Egon de la Tour d'Auvergne, Prince of Auvergne, and had thefollowing children:Charles Theodore (11 December 1724 – 16 February 1799); became Elector Palatine in 1742, and Elector of Bavaria in 1777Maria Anne (30May 1728 – 25 June 1728)Eleonore Philippina Christina Sophia of Hesse-Rotenburg  (1712-1759); married on 1731 but had no issue.== Ancestry ==Passage5:Philip William August, Count Palatine of NeuburgPhilip William August, Count Palatine of Neuburg (born 19 November 1668 in Neuburg an der Donau; died: 5April 1693 in Zákupy (German: Reichstadt)) was a  Prince and Count Palatine of Neuburg.LifePhilip William August was the 13th from a total of 17 children ofElector Palatine Philip William (1615-1690) from his second marriage to Elisabeth Amalie (1635-1709), a daughter of Landgrave George II ofHesse-Darmstadt.His oldest sister, Eleonor Magdalene married Emperor Leopold I in 1676.  In August 1689, after he had visited his brother in Breslau and hissister in Vienna, Philip William began his Grand Tour to Italy.Philip William August chose a secular career and entered into active military service.  He died at theage of 24 after suffering for seven days from a \"malignant fever\" and was buried in the parish church of Zákupy.  His heart lies in the Court Church in Neuburg onthe Danube.Marriage and issueHe married on 29 October 1690 in Raudnitz Anna Maria Franziska (1672–1741), a daughter of Duke Julius Francis ofSaxe-Lauenburg.  The wedding ceremony, which had to be postponed due to the illness and death of Philip William August's father, was carried out \"plainly\".  Hismarriage brought Philipp Wilhelm August the following children:Leopoldine Eleanor (1691–1693).Maria Anna Carolina (1693–1751), married in 1719 PrinceFerdinand of Bavaria (1699–1738).AncestryPassage 6:Henry I, Count Palatine of LotharingiaHenry I (German: Heinrich; d.1061), was Count Palatine ofLotharingia from 1045 until 1060. He was the son of Hezzelin I, Count in Zülpichgau, and a member of the Ezzonid dynasty. Historians have given severalnicknames to Heinrich: Furiosus (the Violent/the Insane), because he murdered his wife, and Monachus (the Monk), because he was confined into an abbey totreat his insanity.LifeHenry was the son of Hezzelin I and his unnamed wife, who was probably a daughter of  Conrad I of Carinthia.Around 1048 Henry marriedMathilda of Verdun (born abt 1025, died 27 July 1060), daughter of Duke Gozelo of Lotharingia, and sister of pope Stephen IX.He received the Mosellan castle ofCochem from his niece, Queen Richeza of Poland. He was elected as successor for the German kingdom during Emperor Henry III's illness.Shortly after 1058,Henry began to show signs of insanity, for which he was confined to the abbey of Gorze. He escaped however, and thinking that his wife Matilda had beenunfaithful to him, he killed her (27 July 1060). Henry then was definitely enclosed into the abbey of Echternach, where he died in 1061. His office and countieswere confiscated by Anno II, archbishop of Cologne, who became the guardian of their only son, the later count palatine Hermann II (1064-1085).Passage7:Rudolph II, Count Palatine of TübingenRudolph II, Count Palatine of Tübingen (died 1 November 1247) was Count Palatine of Tübingen and Vogt ofSindelfingen.  He was the younger son of Rudolph I and his wife Matilda of Gleiberg, heiress of Giessen.LifeRudolph II inherited the County Palatine of Tübingenwhen his elder brother Hugo III died in 1216.  From 1224 onwards, he is described as Count Palatine in many imperial documents, while his younger brotherWilliam is merely styled as Count.  Rudolph II supported Bebenhausen Abbey, which his parents had founded. Next to his father, Rudolph II is the second mostmentioned Count Palatine of Tübingen in imperial documents, mostly in documents by King Henry (VII) of Germany, the son of Emperor Frederick II, who hadbeen elected King of Germany in 1220, at the age of 8.  Frederick II spent much of his time in Italy, leaving his ancestral Swabia in the hands of his son.  Later, in1232, Henry revolted against his father, and did everything in his power to win the Swabian nobility over to his side.  Rudolph II appears to have been among thenoblemen who sided with Henry VII, at least, he is mentioned in 10 different documents of Henry VII and never by Frederick II.  Considering Rudolph's energeticcharacter, one can assume that he intended to use the conflict between Henry VII and Frederick II to expand his own power and aim at an independentposition.Swabian noblemen, including Rudolph II and his brother William, Count Hartmann I of Württemberg and a Count of Dillingen, visited Henry VII in Wormson 8 January 1224.  They met Margrave Herman V of Baden was also present, as was Eberhard, Sénéchal of Waldburg and councillor and former guardian ofHenry VII in Oppenheim on 5 April 1227 and in Hagenau on 1 May.  In the same year, Rudolph met Duke Louis I of Bavaria, who was an imperial vicar andConrad of Winterstetten, who was imperial cup-bearer and also a councilor of Henry VII.  He met the Lords of Neuffen and the imperial marshal Anselm ofJustingen in Ulm on 23 February 1228.  On 31 August 1228, Rudolph II appears, together with Margrave Herman V of Baden, Count Henry of Wirtemberg, aCount of Dillingen, Conrad of Weinsperg and the councillors mentioned above, as witnesses of a deed in which King henry VII confirms the privileges of AdelberAbbey in Esslingen.  Later that year, Rudolph II appeared as a witness in four deed by Duke Louis I of Bavaria and Bishop Ekbert of Bamberg, together with,among others, Margrave Herman V of Baden, Count Ulrich and Eberhard of Helfenstein, Counts Eberhard and Otto of Eberstein, Count Gottfried of Hohenlohe, andtwo councilors.Rudolph II stood at the head of a delegation of eight Swabian counts, among them Albert IV of Habsburg, Frederick IV of Zollern and a Count ofEberstein, at the Imperial Diet in Worms on 29 April 1231.  On 22 November 1231, Rudolph II and his brother William met Counts Albert of Rottenburg, Ulrich ofHefenstein and Eberhard of Walpurg at Henry VII's castle in Ulm.  On 31 December 1231, Rudolph witnessed a deed benefiting Neresheim Abbey in Wimpfen,together with Duke Conrad I of Teck and Margrave Hermann V of Baden.  The last time Rudolph II witnessed a deed of Henry VII was on 4 June 1233 inEsslingen, again with his brother William.In 1235, Pope Gregory IX called on the princes of the empire to organize a new crusade into the Holy Land, to renderassistance to the beleaguered church there.  Rudolph II is the only Swabian nobleman named in this call to arms; whether he actually went to the Holy Land isunknown.  The fact that he is not mentioned in any deed between 1235 and 1243 suggests that he may have been absent for an extended period.  In particular,no mention is made of his position in the struggle between King Conrad IV of Germany and anti-King Henry Raspe IV, which is remarkable, since this struggletook place mainly in Swabia.  However, a deed in favour of Bebenhausen Abbey which the papal legate made at Rudolph II's request in the army camp outsideUlm on 28 January 1247, suggests that he supported Henry Raspe.FamilyThe name of Rudolph II's wife has not been preserved.  She was a daughter of aMargrave Henry from the House of Ronsberg and Udilhild of Gammertingen. They had the following children:Hugo IV, Count Palatine of TübingenRudolf III ofScheer (d. 12 May 1277), Count of Tübingen-HerrenbergUlrichMathilda, married Burchard II, Count of Hohenberg (d. 14 July 1253, struck by lightning).  Their"}
+{"doc_id":"doc_130","qid":"","text":"Passage 1:Tales from the QuadeaD ZoneTales from the QuadeaD Zone (also stylized TALES From The QuadeaD Zone) is a 1987 American anthology blaxploitation horror film written, directed, and produced by Chester Novell Turner. The film was originally released straight to VHS. VHS copies of the film have become collector's items due to their difficulty to locate and extremely limited quantities, with one copy selling for $2000 on eBay.Turner has expressed interest in creating a sequel and began writing the film's script in 2013. Tales from the QuadeaD Zone was the only film produced by Erry Vision Film Co.Since its release Tales From the QuadeaD Zone has received several public screenings, one of which was a 2016 symposium at the Yale University Library, Terror on Tape.It was given a DVD release in 2013 through Massacre Video.SynopsisThe film is composed of two stories, plus a third wraparound story; \"Food For ?\" and \"The Brothers\", both of which are narrated by a mother (Shirley L. Jones) reading the tales to her deceased son Bobby. \"Food For ?\" centers upon a family that is so poor that they are unable to afford food for every family member. Their only solution is to get rid of some of their family in order to increase the amount of dinner for everyone else. \" The Brother\" follows two brothers who have hated each other their entire lives and have each made cruel jokes and attacks against the other. When one of them dies, the living brother tries to have the last laugh by stealing his brother's corpse and making him look like a circus clown. Little does he know that his brother's spirit has returned to his body, unhappy with his brother's plans.CastProductionWork on Tales from the QuadeaD Zone began three years after Turner completed his first film, Black Devil Doll From Hell, which was initially intended to be one of the anthology's stories. Two of the film's stories, \"Food For ?\" and the wraparound story \"Unseen Vision\", were shot in Alabama while \"The Brothers\" was shot in Chicago.ReleaseAs Turner released the film on his own, along with star Shirley L. Jones, Tales from the QuadeaD Zone was released in an extremely limited amount, estimated to be at or less than 100 copies. The copies were only circulated in the Chicago area due to the cost of gas and travel required by Turner and Jones and it is believed that many of these copies have been lost.Over time the video achieved cult status and VHS copies became much sought after collector's items. In 2011 one copy of the film sold for $665 on the online auction site eBay, a feat that was covered in the 2013 documentary Adjust Your Tracking. The winning bidder later sold his copy of the movie for twice the amount paid.The price reached an all time high when a copy was sold on eBay for $2000.In 2013, Massacre Video released the movie as part of a DVD box set along with Black Devil Doll From Hell. The box set features commentary from Turner and Jackson, a documentary about both films, and the director's cut of Black Devil Doll From Hell, which upon release had been heavily edited from Turner's original version.ReceptionHorronews.net commented that although the video could be seen as a \"complete and utter train wreck\", the film was made during a point in time when amateur filmmaking would be cost prohibitive for the average person and the creation of Tales from the QuadeaD Zone was evidence of Turner's \"heart and a dream to become a film maker\". Bloody Disgusting also reviewed the movie, stating that it was \"a no-budget, SOV labor of mad love\". DVD Talk reviewed the movie as part of Massacre Video's box set and gave it a poor review, which they felt was weaker than Black Devil Doll From Hell.Passage 2:Hiroshi IshikawaHiroshi Ishikawa (\u0000\u0000 \u0000, born May 18, 1963) is a Japanese film director and writer from Ōdate. He is best known for his 2005 film, Su-ki-da (2005). He won the Silver Iris for Best Director at the New Montreal Film Festival.FilmographyTokyo.sora (2002)Su-ki-da (2005)Kimi no Yubisaki (Short Film) (2007)Petal Dance (2013)Passage 3:Su-ki-daSu-ki-da (\u0000\u0000\u0000) is a 2005 Japanese romantic drama film. The plot centers on two teenagers who deal with tragedy and then have to grow up. It was written and directed by Hiroshi Ishikawa and stars Aoi Miyazaki, Hidetoshi Nishijima, Hiromi Nagasaku, and Eita.PlotHigh school student Yosuke spends most of his free time sitting near a floodgate and playing the same short tune on his acoustic guitar. He is often joined by a girl in his class, Yu. Yu hums Yosuke's tune to her older sister, who is mourning her deceased boyfriend. Yu sets up a few meetings between Yosuke and her sister. While talking with Yosuke after school, Yu kisses him, but Yosuke walks away, leaving Yu devastated. While walking to see Yosuke, Yu's sister is hit by a truck and enters a coma. Yu tells Yosuke that she wants to hear his song when he finishes it.17 years later, Yosuke is working in music production in Tokyo. He shoos away a man interfering with an intoxicated woman lying in the street and takes her to recover in his apartment. During a break at the studio, a woman plays a few notes from the song Yosuke played in his school days and he realizes she is Yu. They go back to Yosuke's apartment and drink sake. Yu tells him that her sister is still in a coma. She starts to cry, Yosuke comforts her, and they kiss.Yu and Yosuke visit her sister at the hospital and Yu leaves at the train station. Yosuke looks her up in the phone book and calls to say that he wants to play the finished song for her. On the way to meet her, he is stabbed by the man he shooed from the intoxicated woman. Yosuke lies in the street bleeding while Yu waits for him.Yu visits Yosuke in the hospital and tells him she loves him. Yosuke replies that he loves her, too.CastAoi Miyazaki as Yu (young)Hidetoshi Nishijima as YosukeHiromi Nagasaku as YuEita as Yosuke (young)Sayuri Oyamada as Yu's older sisterMaho NonamiRyo KaseNao ŌmoriProductionThe film was directed by Hiroshi Ishikawa and was his second full-length feature, after the 2003 film Tokyo.Sora. In addition to directing, Ishikawa was also the writer, editor, and cinematographer. Yoko Kanno composed the score, including Yosuke's song that plays throughout most of the film. It was shot in Tokyo, Japan.The Japanese title Su-ki-da translates to \"I love you\" in English.Release and receptionSu-ki-da was premiered at the New Montreal Film Festival on September 23, 2005. It won one award, the Silver Iris for Best Director. The film was released in Japan on February 26, 2006 and was also shown at the Hong Kong International Film Festival on April 8.Critical reviews were mixed. According to Variety's Eddie Cockrell (who viewed it at the NMFF), the film was filled with \"unchecked indulgences.\" He criticized the director, writing that: \"Jump cuts, cryptic silences, shots of various cloud formations and long takes bereft of movement are key weapons in Ishikawa's self-consciously arty arsenal, with little in the way of story or character development to engage viewers; Gus van Sant he's not.\"On the other hand, DVDBeaver.com praised the film for its \"heartfelt story,\" \"excellent visuals,\" and \" great cast.\" The reviewer noted its lack of dialogue but also said that \"the characters' body language says more than any words could ever express.\"The DVD was released in Japan on September 22, 2006, by Big Time Entertainment. It includes English and French subtitles.Passage 4:Golden age of physicsA golden age of physics appears to have been delineated for certain periods of progress in the physics sciences, and this includes the previous and current developments of cosmology and astronomy. Each \"golden age\" introduces significant advancements in theoretical and experimental methods. Discernible time periods marking a \" golden age\" of advancements are, for example, the development of mechanics under Galileo (1564–1642) and Newton (1642–1727). Another small epoch seen as a golden age is the unification of electricity, magnetism, and optics because of 19th century notables, including Faraday, Maxwell, and others.Significant advancements in methods of investigation were introduced for celestial mechanics, which includes realizing a universal gravitational force, with the introduction of the telescope. Basing mechanics on experimental results was possible with the development of devices that could measure time, and tools for measuring distance. The advances in electromagnetism in the 19th century enamored physicists, as another golden age closed, and there was a reluctance to perceive further advancement. Hence, the progress of one era, termed a \"golden age\" has appeared to mark the completion of physics as a science. Yet, this perception has turned out to be erroneous. For example, around 1980, Stephen Hawking predicted the end of theoretical physics within 20 years. Around 2001, he amended his prediction to twenty years more from that year. Steven Weinberg predicts a unified physics by 2050. Tadeusz Lulek, Barbara Lulek, and A. Wal – the authors of a 2001 book – believed themselves to be at the beginning of a new \"golden age of physics\".Paul Davies notes that whilst \"many elderly scientists\" may regard the first 30 years of the 20th century as a golden age of physics, historians may well, instead, regard it to be the dawning days of \"the New Physics\".The golden age of physics was the 19th century. According to Emilio Segrè, in Italy it came to an end in the 18th century, after the time of Alessandro Volta.  He reported in his autobiography that Enrico Fermi felt that it was coming to an end in 1933.  A golden age of physics began with the simultaneous discovery of the principle of the conservation of energy in the mid-19th century.  A golden age of physics was the years 1925 to 1927.  The golden age of nonlinear physics was the period from 1950 to 1970, encompassing the Fermi–Pasta–Ulam–Tsingou problem and others.  This followed the golden age of nuclear physics, which had spanned the two decades from the mid-1930s to the mid-1950s.  A golden age of physics started at the end of the 1920s.The golden age of physics cabinets was the 18th century, with the rise of such lecturer-demonstrators as John Keill, John Theophilus Desaguliers, and William Whiston, who all invented new physics apparatus for their lectures.See alsoGolden age of general relativityGolden age of cosmologyGolden age (metaphor)Passage 5:The Vault of Horror (film)The Vault of Horror (otherwise known as Vault of Horror, Further Tales from the Crypt and Tales from the Crypt II) is a 1973 British anthology horror film directed by Roy Ward Baker, and starring Terry-Thomas, Dawn Addams, Denholm Elliott, Curd Jürgens, Tom Baker, Michael Craig, Terence Alexander, Glynis Johns, Mike Pratt, Robin Nedwell, Geoffrey Davies, Daniel Massey and Anna Massey. None of the film's stories are actually from Vault of Horror comics. All but one appeared in Tales from the Crypt, the exception being from Shock SuspenStories. The film omits the Vault Keeper character from the comics.PlotIntroFive strangers board a descending lift, one by one, in a modern office block in London. They reach the sub-basement, though none of them have pressed for that destination. There they find a large, elaborately furnished room that appears to be a gentlemen's club. The lift door has closed; there are no buttons to bring it back, nor any other exit. Resigned to waiting for help, they settle down with drinks and talk. The conversation turns to dreams, and each man tells of a recurring nightmare.\"Midnight Mess\" (Tales from the Crypt "}
+{"doc_id":"doc_131","qid":"","text":"Passage 1:Saad AbdulrahmanSaad Abdulrahman Ali (born 2 May 1985) is a former professional basketball player. He played for Al-Sadd of the Qatar BasketballLeague. He was also a member of the Qatar national basketball team.Saad competed for the Qatar national basketball team at the 2005 2007 and FIBA AsiaChampionship 2009.  He also competed for Qatar at their only FIBA World Championship performance to date, in 2006, where he averaged 12.8 points and 2.4assists per game.In 2009, Abdulrahman had his best individual international tournament to date, averaging 17.8 points per game for the Qataris.  He finished inthe top ten leaders in points, minutes and steals per game en route to being named to the All-Tournament third team.  However, despite his efforts, Qatarfinished sixth in the tournament and failed to qualify for their second consecutive FIBA World Championship.Passage 2:John McMahon (Surrey and Somersetcricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and SomersetCounty Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight whowas spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of hisfirst match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the lasthome game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them comingin the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven yearslater. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season asa whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.Theemergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 onlythree times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset,then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slowbowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was onnational service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahoninstantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until hewas controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellownewcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards oftheir craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" itsaid. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare wherehe took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awardedhis county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season,and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later inSomerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil throughwhat Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season andthe side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon becameSomerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his mostsuccessful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling averageimproved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutiveChampionship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later inAugust, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, adecision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for manyyears. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on:\"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybodydrinks!'\" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"aPOW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the onlySomerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But inany case there had been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the endof the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in LancashireLeague cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.==Notes and references ==Passage 3:Saad Bin TeflaSaad Bin Tefla AlAjmi (also known as Saad Bin Tiflah or Saad Al Ajmi) is a Kuwaiti businessman and politician.He has been Kuwait's Minister of Information and Culture.Political careerHe has headed the Kuwait Information Center in London and worked as an interpreterand advisor in the Kuwaiti parliament. In 1999, he was appointed Minister of Information and Culture.Professional careerHe is a lecturer at Kuwait University anda journalist.He was director of the Kuwaiti Media Center in London and is currently a contributor to the London-based Arabic newspaper Asharq al-Awasat as wellas other Gulf publications.Passage 4:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxfordwhere he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and aGoverning Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuseson a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process,newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University ofLagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from theUniversity of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined theUniversity of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American andAfrican Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journalof the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The NigerianPress and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency(Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)Inaddition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers,2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa(Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan,2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the NigerianState (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary AreaStudies.Passage 5:Saad AlbazeiSaad Abdulrahman Albazei is a Saudi intellectual who is known for his critiques of Arabic culture and comparative studies that mapthe East-West cultural and literary relations.LifeAlbazei was born in Saudi Arabia in 1953. He completed his university education in Riyadh and earned his Ph.D.from Purdue University, in the USA in 1983.His dissertation dealt with \"literary Orientalism\" in Western literatures. He is currently a member of the Consultative"}
+{"doc_id":"doc_132","qid":"","text":"Passage 1:Prince Christian of HessePrince Christian of Hesse (Danish: Christian af Hessen; German: Christian von Hessen) (14 August 1776 – 14 November1814) was a German prince and member of the House of Hesse-Kassel. As a son of the Danish Field Marshal Prince Charles of Hesse-Kassel and Princess Louise ofDenmark, he was a member of the extended Danish Royal Family and spent his entire life in Denmark.Early lifePrince Christian was born at Gottorp Castle,Schleswig as the third son of Prince Charles of Hesse-Kassel, royal governor of the twin duchies of Schleswig and Holstein, and Princess Louise of Denmark,herself a daughter of King Frederick V of Denmark.As a member of the extended Danish Royal Family, Christian was destined for a military career in Denmarkfrom a young age. He was appointed Colonel in 1783, Major General in 1789 and in 1790 Commander of a Regiment. In 1803 he was appointed knight of theOrder of the Elephant. In 1805 he was put in charge of a cavalry brigade in Holstein, and as such accompanied his cousin King Frederick VI of Denmark toCopenhagen. In 1808 he assisted in suppressing the unrest of the Spanish auxiliary troops in Roskilde and was appointed Lieutenant General the following year.In 1809 he was appointed commanding General on the island of Funen. Finally, in 1812 he was made a General in the cavalry.EngagementIn September 1812,Christian was engaged to his niece, Princess Caroline of Denmark, daughter of King Frederick VI of Denmark and Christian's sister, Marie Sophie ofHesse-Kassel.DeathAlready at the time of his engagement, Prince Christian was weakened. A year after the engagement, he suffered a breakdown in OdensePalace. Shortly after it became clear that he was mentally ill, suffering from frequent fits. He died on 14 November 1814 at the age of 38 in Odense Palace,Denmark. He was buried in the Church of Saint John in Odense, but in 1862 his remains were transferred to Schleswig Cathedral.Passage 2:Princess Feodora ofDenmarkPrincess Feodora of Denmark (Feodora Louise Caroline-Mathilde Viktoria Alexandra Frederikke Johanne) (3 July 1910 – 17 March 1975) was a Danishprincess as a  daughter of Prince Harald of Denmark and granddaughter of Frederick VIII of Denmark.As the wife of Prince Christian of Schaumburg-Lippe shebecame a Princess of Schaumburg-Lippe by marriage.Early lifePrincess Feodora was born on 3 July 1910 at the Jægersborghus country house in Gentofte north ofCopenhagen, Denmark.She was the first child and daughter of Prince Harald of Denmark, son of King Frederick VIII of Denmark and Princess Louise of Sweden.Her mother was Princess Helena of Schleswig-Holstein-Sonderburg-Glücksburg, daughter of Friedrich Ferdinand, Duke ofSchleswig-Holstein-Sonderburg-Glücksburg and Princess Karoline Mathilde of Schleswig-Holstein-Sonderburg-Augustenburg.Marriage and issueFeodora marriedher first cousin, Prince Christian of Schaumburg-Lippe on 9 September 1937 at Fredensborg Palace, Zealand, Denmark. Prince Christian was a son of PrinceFrederick of Schaumburg-Lippe and Princess Louise of Denmark who was a sister of Feodora's father, Prince Harald. Prince Christian was the head of a junior lineof the House of Schaumburg-Lippe which resided at Náchod in Bohemia.Feodora and Christian had four children:Prince Wilhelm of Schaumburg-Lippe (b. 19August 1939).Prince Christian of Schaumburg-Lippe (b. 1971); married Lena Giese in 2009.Princess Desiree of Schaumburg-Lippe (b. 1974); married Michael Iueland have three children.Prince Waldemar of Schaumburg-Lippe (b. 19 December 1940 - d. 11 August 2020).Princess Eleonore-Christine Eugenie Benita FeodoraMaria of Schaumburg-Lippe (born 22 December 1978 in Hørsholm, Denmark)Mario-Max Prinz zu Schaumburg-Lippe (b.  23 December 1977), adultfoster-sonPrincess Marie of Schaumburg-Lippe (b. 27 December 1945).Prince Harald of Schaumburg-Lippe (b. 27 March 1948).Later lifePrince Christian died in1974. Princess Feodora died on 17 March the following year in Bückeburg, Lower Saxony, Germany.AncestryPassage 3:Prince Christian of Schaumburg-Lippe(1898–1974)Prince Christian of Schaumburg-Lippe (German: Christian zu Schaumburg-Lippe; 20 February 1898 – 13 July 1974) was a German prince and headof the Náchod branch of the princely house of Schaumburg-Lippe.Early lifeHe was born on 20 February 1898 in Sopron, Hungary as the only son and second childof Frederick of Schaumburg-Lippe (1868–1945) and his first wife Princess Louise of Denmark, younger sister of King Christian X of Denmark.Marriage and issueIn1927, his engagement to Princess Irene of Greece and Denmark, a daughter of Constantine I of Greece was announced. Nothing ever came of these plans,however. She later married Prince Aimone of Savoy-Aosta.He was also briefly considered as a marriage candidate for Princess Juliana, the heiress to the Dutchthrone. They had met each other in 1932 in Mecklenburg, the home of Juliana’s paternal relations. His reputation as a womanizer, his previous called offengagement and his German heritage did not make him a popular choice, but he was reconsidered after other candidates were rejected by the Queen or Julianaherself.These plans, however, did not prove fruitful either.On 9 September 1937, he married his cousin, Princess Feodora, daughter of Prince Harald of Denmark,a younger brother of King Christian X and Princess Louise, at Fredensborg Palace, Zealand, Denmark; they had four children.Prince Wilhelm of Schaumburg-Lippe(b. 19 August 1939)Prince Waldemar of Schaumburg-Lippe (19 December 1940 – 11 August 2020)Princess Marie of Schaumburg-Lippe (b. 27 December1945)Prince Harald of Schaumburg-Lippe (b. 27 March 1948)Later lifeHe died aged 76 on 13 July 1974 at Bückeburg, a year before his wife.His four children livein Germany and Denmark.AncestryPassage 4:Princess Louise of Denmark (1750–1831)Princess Louise of Denmark and Norway (Danish: Louise af Danmark ogNorge; 20 January 1750 – 12 January 1831) was born to Frederick V of Denmark and Louise of Great Britain. Her eldest daughter, Marie of Hesse-Kassel, was thewife of Frederick VI of Denmark.Early lifePrincess Louise was born on 20 January 1750 at Christiansborg Palace, the principal residence of the Danish Monarchy incentral Copenhagen. She was a daughter to Frederick V, King of Denmark and Norway, and his first wife Louise of Great Britain. At birth, Louise had two oldersisters, Princess Sophia Magdalena and Princess Wilhelmina Caroline, and an older brother Crown Prince Christian. In 1751, one year after Louise's birth, hermother Queen Louise died during her sixth pregnancy, just aged 27 years. The following year her father remarried to Duchess Juliana Maria ofBrunswick-Wolfenbüttel, who gave birth to Louise's half-brother, Prince Frederick in 1753.Princess Louise was considered the most beautiful and spirited ofFrederick V's children, but also the most reserved. She was Christian VII's favorite sister, and he was already from childhood strongly attached to his \"Louison,\"as he called her.Marriage and issueIn 1756, Queen Louise's sister, Mary, who was estranged from her husband, Landgrave Frederick II of Hesse-Kassel, moved toDenmark to take care of her deceased sister's children. She brought her three sons with her, who were brought up at the Danish court with their Danish cousins.On 30 August 1766 at the Christiansborg Palace Chapel, Louise married the second eldest of them, Landgrave Charles of Hesse-Kassel. The marriage took placewith her brother King Christian VII's consent, despite advice given against it, due to many accusations of debauchery by Landgrave Charles and the poor influencehe had on the King. This, however, did not last, as Christian VII's warm feelings for him soon evaporated, and in the spring 1767, the couple left Copenhagen tolive in Hanau.She had six children with Charles of Hesse-Kassel: Marie Sophie, Princess of Hesse (20 October 1767 – 21 March 1852), married on 31 July 1790 tothe future King Frederik VI of Denmark and NorwayWilhelm, Prince of Hesse (15 January 1769 – 14 July 1772)Prince Frederik of Hesse (24 May 1771 – 24February 1845)Juliane, Princess of Hesse (19 January 1773 – 11 March 1860), Protestant Abbess of ItzehoePrince Christian of Hesse (14 August 1776 – 14November 1814)Princess Louise Caroline of Hesse-Kassel (28 September 1789 – 13 March 1867), married on 28 January 1810 to Friedrich Wilhelm, Duke ofSchleswig-Holstein-Sonderburg-GlücksburgLater lifeShe would have her first child in Hanau, Marie Sophie, Princess of Hesse on 20 October 1767 and then hersecond, Wilhelm, Prince of Hesse on 20 January 1769. The family would then move to Gottorp Castle after her spouse was appointed governor of SchleswigHolstein. In 1770, King Christian VII gave his sister a parish and land in Güby, Schleswig-Holstein, which was named Louisenlund in her honour. In the summer of1770, Louise and Charles hosted the king and queen during their tour of the Duchies on their way to the German border.    During their stay, rumors circulatedabout the affair between the queen and Struensee because of their manner, and it was observed that the queen was anxious not to be near Struensee in thepresence of Louise.    When the royal couple left, Louise was reportedly disappointed that she was not asked to accompany them on their journey.She would haveher third child Prince Frederik of Hesse on 24 May 1771.After the removal and execution of Johann Friedrich Struensee on 28 April 1772 her husband found favourwith the King again and with it, he was appointed commander-in-chief of the Norwegian army. in September 1772.  It was said that Charles planned to raisesupport in Norway for a coup to take the regency power over the king from prince Frederick and queen dowager Juliana.  Louise did not initially accompany himthere, but when he returned to Denmark in April 1773, she returned with him to Norway in June.  They were very well received in Christiania, and upon theirarrival in Trondhjem, one aristocrat, Nordahl Brun, welcomed them as the \"heavenly couple\", and greeted Louise with a poem.   In the Landgrave's own words,he became so popular that the Norwegians would gladly have him as King. This was clearly an illusion, and the people of Christiania soon found the cost ofconstantly entertaining the couple, a huge burden on town expenses.  Expensive demands, such as new golden chairs to sit in during church service, and atriumphal arch for the official entry of Louise in to Christiania where examples of the standard the royal couple demanded for their standard during their stay andcreated antipathy among the population.  On 4 September, Louise and Charles hosted a ball and a court reception in honor of the birthday of queen Juliana Mariaand departed on 8 September 1773.With her husband's larger income, he had Hermann von Motz build Louisenlund Castle on the land in Güby as a summerresidence for the couple. The Princess would have her fourth child Juliane, Princess of Hesse on 19 January 1773 before leaving Norway and moving intoLouisenlund Castle in 1774. Her husband was also made Field Marshal the same year but would stay away from political circles and remain at Louisenlund till the"}
+{"doc_id":"doc_133","qid":"","text":"Passage 1:Stein Erik GullikstadStein Erik Gullikstad (born 6 February 1952) is a Norwegian Nordic combined skier. He was born in Røros, and represented the clubRøros IL. He competed at the 1976 Winter Olympics in Innsbruck, where he placed 22nd.Passage 2:Roar EngelbergRoar Engelberg (born 26 July 1964 in Hamar,Norway) is the first international Norwegian artist on Panpipes, known for his long lasting and productive cooperation with Stein-Erik Olsen.CareerEngelbergbecame interested in panpipes as a 12-year-old when he heard the Romanian panpipe player Georghe Zamfir on the radio. He then taught himself to play theinstrument, and later studied in Hilversum with Nicolai Pirvu (1985–88). After his debut in London in 1986, he toured with Iver Kleive and Stein-Erik Olsen inNorway and around the world.He received the 2007 award \"Meritul Cultural în gradul de Cavaler\" of the Romanian state for his many years of effort for the musicof Romania.Honors«Meritul Cultural în gradul de Cavaler\" awarded by the Romanian stateDiscography1985: Alveland, with Iver Kleive1986: Panorama, with IverKleive og Stein-Erik Olsen1988: Julefred1989: Mosaic, with Stein-Erik Olsen1989: Herdens flöjt – Julesånger på pan-flöjt1990: Doina1991: Masterpieces of theBeatles1992: Café Europa 1992, with the Orchestra Primas1994: Balletto, with Stein-Erik Olsen1999: Har en drøm2000: O pasâre strâinâ2001: Fløyelstoner, withStein-Erik Olsen2002: Julefryd2007: Inim\u0000 de l\u0000utar2010: Suite Latina, with Stein-Erik Olsen2011: Willie Nickerson's Egg, guest soloist with Jon Larsen andTommy MarsPassage 3:Stein Erik LauvåsStein Erik Lauvås (born 3 May 1965) is a Norwegian politician for the Labour Party.He served as a deputy representativeto the Norwegian Parliament from Østfold during the terms 2001–2005 and 2005–2009.On the local level Lauvås is the mayor of Marker municipality since2003.Passage 4:Mille-Marie TreschowMille-Marie Treschow (3 April 1954 – 29 September 2018) was a Norwegian landlord and  businessperson. She was knownfor her previous marriage to Stein Erik Hagen, well known as \"Rimi-Hagen\", being the former owner of the Rimi chain of low-cost discount stores.FamilyTreschowwas the daughter of estate owner Gerhard Aage Treschow (1923–2001) and Nanna, née Meidell (born 1926). She was named for her paralyzed aunt MarieTreschow (1913–1952). She belonged to the Treschow family, which was formerly noble, having bought the status of untitled lower nobility (cf. Briefadel) in the19th century in Denmark.She was married three times and had two children in her second marriage (1984–2000), with Andreas Stang. In 2004 she marriedbusinessman Stein Erik Hagen. In 2012 they announced their separation.Education and businessTreschow was a pupil at Croft House School in Dorset, England.She also had Norwegian examen artium. She received a Master of Business Administration in Switzerland, and had additional economic studies in the UnitedStates of America and home economics studies in France.Based in Larvik, Treschow managed Treschow Fritzøe, an extensive consortium consisting of propertiesand forest. She owned a private estate and resided at Fritzøehus Manor in Larvik. Succeeding her father in 1986, she was of the 6th generation owning andrunning the family industry.Treschow had an estimated private fortune of 1.5 billion Norwegian kroner (NOK) or about US$250 million. She was as such one ofthe wealthiest women in Norway. Her husband, Stein Erik Hagen, is worth about 10 billion NOK or about US$2 billion.DeathTreschow died aged 64 on 29September 2018 at Tønsberg hospital of an undisclosed illness.See alsoTreschow (noble family)Passage 5:Kiplangat SangKiplangat Sang (born 14 April 1981) is aKenyan judoka.He competed at the 2016 Summer Olympics in Rio de Janeiro, in the men's 90 kg.Passage 6:Erik HagenErik Hagen (born 20 July 1975) is a retiredNorwegian footballer who played as a centre-back in Norway and Russia, as well as for the Norwegian national team, earning 28 caps.CareerClubDuring his timewith Vålerenga, Hagen received the nickname \"Panzer\" from the club's fans. Amongst other things he created a \"hate list\" of Norwegian footballers in the clubmagazine Vål'enga Magasin, containing the likes of Vidar Riseth.Hagen won the Kniksen Award as Defender of the Year, and as Kniksen of the Year in 2004. TheKniksen award is the highest individual award for a Norwegian footballer.In December 2004 Hagen was sold to Zenit Saint Petersburg, becoming the firstNorwegian footballer to play in Russia. In 2005, he played 28 league matches for Zenit, receiving 12 cautions. In January 2006 he was elected vice-captain by theteam.On 31 January 2008, it was announced that Hagen would be joining Premier League club Wigan Athletic, signing on loan until the end of the English season.However, he only made one appearance for the team, in the away defeat at Portsmouth.On 28 July 2008, Hagen appeared at the Vålerenga home game againstTromsø, where it was announced he had re-signed for the club until the end of the 2010 season. The return of one of Vålerenga's most popular players was wellreceived with supporters.During an interview in April 2014, Hagen admitted to bribing a referee in a European match during his time with Zenit SaintPetersburg.International careerHagen made his debut, aged 29, for the Norwegian national team away to Scotland on 9 October 2004. Norway won 1–0.PersonallifeHagen has a twin brother, Rune Hagen, who also plays professional football. He signed for Vålerenga at the same time as his brother.CareerstatisticsClubSource:InternationalSource:International goalsPassage 7:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евнаМиха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta SamuílovnaSkavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife and empress consort of Peter the Great, and empress regnant ofRussia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Greathimself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originallynamed Marta Helena Skowrońska. Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the easternparts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn at Jakobstadt. Her mother is named in at least onesource as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likely that twostories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was agravedigger and handyman, while others speculate that he was a runaway landless serf.Marta's parents died of the plague around 1689, leaving five children.According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near theborder with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian.In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and sheremained illiterate throughout her life.Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she wouldbecome involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained foreight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work asa translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly inthe laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor ofEstonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was his mistress, or householdmaid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was thebest friend of Peter the Great of Russia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, asMenshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetime alliance.It is possible that Menshikov,who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, while visitingMenshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, sheconverted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompanied Peter and Menshikov ontheir military excursions.Marriage and family lifeThough no record exists, Catherine and Peter are described as having married secretly between 23 October and 1December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).Peter hadmoved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking andcaring for the children, and he tended a garden as though they were an ordinary couple. The relationship was the most successful of Peter's life and a greatnumber of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was very energetic, compassionate, charming, andalways cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.Catherine went with Peter on his Pruth Campaign in 1711.There, she was said to have saved Peter and his Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkishtroops, Catherine suggested before surrendering, that her jewels and those of the other women be used in an effort to bribe the Ottoman grand vizier BaltacıMehmet Pasha into allowing a retreat.Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy. In any case Petercredited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburg on 9 February 1712.  She was Peter'ssecond wife; he had previously married and divorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine tookon the style of her husband and became Tsarina. When Peter elevated the Russian Tsardom to Empire, Catherine became Empress. The Order of Saint Catherine"}
+{"doc_id":"doc_134","qid":"","text":"Passage 1:George ClooneyGeorge Timothy Clooney (born May 6, 1961) is an American actor and filmmaker. He is the recipient of numerous accolades, includinga British Academy Film Award, four Golden Globe Awards, and two Academy Awards; one for his acting and the other as a producer. He has been honored withthe Cecil B. DeMille Award in 2015, the Honorary César in 2017, AFI Life Achievement Award in 2018, and the Kennedy Center Honors in 2022.Clooney started hiscareer in television, gaining wide recognition in his role as Dr. Doug Ross on the NBC medical drama ER from 1994 to 1999, for which he received two PrimetimeEmmy Award nominations. He expanded to leading roles in films, with his breakthrough role in From Dusk till Dawn (1996). followed by superhero film Batman &Robin (1997), Steven Soderbergh's Out of Sight (1998), David O. Russell's Three Kings (1999), Wolfgang Petersen's The Perfect Storm (2000), and the Coenbrothers' O Brother, Where Art Thou? (2000). Greater stardom came from his starring role in Soderbergh's Ocean's film series from 2001 to 2007. Clooney madehis directorial debut with the spy drama Confessions of a Dangerous Mind (2002), and has since directed the historical drama Good Night, and Good Luck (2005),the political drama The Ides of March (2011), the war film The Monuments Men (2014), and the science fiction film The Midnight Sky (2020). Clooney won theAcademy Award for Best Supporting Actor for the thriller Syriana (2005), and earned Best Actor nominations for the legal thriller Michael Clayton (2007), and thecomedy-dramas Up in the Air (2009) and The Descendants (2011). He received the Academy Award for Best Picture for co-producing the political thriller Argo(2012). He has also starred in Burn After Reading (2008), The American (2010), Gravity (2013), Hail, Caesar! (2016), and Ticket to Paradise (2022).As of 2023,Clooney is one of two people to have been nominated for Academy Awards in six different categories, a position shared with Walt Disney. Clooney was included onTime's annual Time 100 list, which identifies the most influential people in the world, every year from 2006 to 2009. He is also noted for his political and economicactivism, and has served as one of the United Nations Messengers of Peace since 2008. Clooney is also a member of the Council on Foreign Relations. He ismarried to human rights lawyer Amal Clooney. Outside of acting, Clooney is known for cofounding Casamigos tequila, which was one of the best-selling spirits of2022.Early lifeClooney was born on May 6, 1961, in Lexington, Kentucky. His mother, Nina Bruce (née Warren), was a beauty queen and city councilwoman. Hisfather, Nick Clooney, is a former anchorman and television host, including five years on the AMC network. Clooney is of Irish, German, and English ancestry. Hismaternal great-great-great-great-grandmother, Mary Ann Sparrow, was the half-sister of Nancy Lincoln, mother of President Abraham Lincoln, making Clooneyand Lincoln half-first cousins five times removed. Clooney has an older sister named Adelia (known as Ada). Cabaret singer and actress Rosemary Clooney was anaunt. Through Rosemary, his cousins include actors Miguel Ferrer, Rafael Ferrer, and Gabriel Ferrer, who is married to singer Debby Boone.Clooney was raised astrict Roman Catholic but said in 1998 that he did not know if he believed \"in Heaven or even God.\" He has said, \"Yes, we were Catholic, big-time, whole family,whole group.\" He began his education at the Blessed Sacrament School in Fort Mitchell, Kentucky. He attended St. Michael's School in Worthington, Ohio; thenWestern Row Elementary School (a public school) in Mason, Ohio, from 1968 to 1974; and St. Susanna School in Mason, where he served as an altar boy. TheClooneys moved back to Kentucky when George was midway through the seventh grade. In middle school, Clooney developed Bell's palsy, a medical conditionthat partially paralyzes the face. The malady went away within a year. In an interview with Larry King, he stated that \"yes, it goes away. It takes about ninemonths to go away. It was the first year of high school, which was a bad time for having half your face paralyzed.\" He also described one positive outcome of thecondition: \"It's probably a great thing that it happened to me because it forced me to engage in a series of making fun of myself. And I think that's an importantpart of being famous. The practical jokes have to be aimed at you.\"After his parents moved to Augusta, Kentucky, Clooney attended Augusta High School. He hasstated that he earned all As and a B in school, and played baseball and basketball. He tried out to play professional baseball with the Cincinnati Reds in 1977, buthe did not pass the first round of player cuts and was not offered a contract. He attended Northern Kentucky University from 1979 to 1981, majoring in broadcastjournalism, and very briefly attended the University of Cincinnati, but did not graduate from either. He earned money selling women's shoes, insurance door todoor, stocking shelves, working in construction, and cutting tobacco.CareerEarly work (1978–1993)Clooney's first role was as an extra in the televisionmini-series Centennial in 1978, which was based on the novel of the same name by James A. Michener and was partly filmed in Clooney's hometown of Augusta,Kentucky. Clooney's first major role came in 1984 in the short-lived CBS sitcom E/R (not to be confused with ER, the long-running medical drama). He played ahandyman on the series The Facts of Life and appeared as Bobby Hopkins, a detective, on an episode of The Golden Girls. His first prominent role was asemi-regular supporting role in the sitcom Roseanne, playing Roseanne Barr's supervisor Booker Brooks, followed by the role of a construction worker on BabyTalk, a co-starring role on the CBS drama Bodies of Evidence as Detective Ryan Walker, and then a year-long turn as Det. James Falconer on Sisters. In 1988,Clooney played one of the lead roles in the comedy-horror film Return of the Killer Tomatoes. In 1990, he starred in the short-lived ABC police drama SunsetBeat. During this period, Clooney was a student at the Beverly Hills Playhouse acting school for five years.Breakthrough and stardom (1994–1999)Clooney rose tofame when he played Dr. Doug Ross, alongside Anthony Edwards, Julianna Margulies, and Noah Wyle, on the hit NBC medical drama ER from 1994 to 1999. Afterleaving the series in 1999, he made a cameo appearance in the 6th season and returned for a guest spot in the show's final season. For his work on the series,Clooney received two Primetime Emmy Award nominations for Outstanding Lead Actor in a Drama Series in 1995 and 1996. He also earned three Golden GlobeAward nominations for Best Actor – Television Series Drama in 1995, 1996, and 1997 (losing to co-star Anthony Edwards).Clooney began appearing in films whileworking on ER. His first major Hollywood role was in the horror comedy-crime thriller From Dusk till Dawn, directed by Robert Rodriguez and co-starring HarveyKeitel. He followed its success with the romantic comedy One Fine Day with Michelle Pfeiffer, and the action-thriller The Peacemaker with Nicole Kidman. Clooneywas then cast as Batman in Joel Schumacher's Batman & Robin, which was a modest box office performer, but a critical failure (with Clooney himself calling thefilm \"a waste of money\"). In 1998, he co-starred in the crime-comedy Out of Sight opposite Jennifer Lopez, marking the first of his many collaborations withdirector Steven Soderbergh. He also starred in Three Kings during the last weeks of his contract with ER.Established leading man (2000–2004)After leaving ER,Clooney starred in commercially successful films including Wolfgang Petersen's disaster film The Perfect Storm (2000) which was a box office success. The sameyear he starred in the Coen brothers adventure comedy O Brother, Where Art Thou? (2000) alongside John Turturro, Tim Blake Nelson, and John Goodman. Thefilm, a modern satire, is loosely based on Homer's epic Greek poem the Odyssey and the Preston Sturges 1941 classic film Sullivan's Travels. This film is set in1937 rural Mississippi during the Great Depression. He plays escaped convict Ulysses Everett McGill. He received a Golden Globe Award for Best Actor – MotionPicture Musical or Comedy nomination for his performance. Variety film critic Todd McCarthy compared Clooney to Clark Gable writing, \"Not for the first timerecalling Clark Gable in his looks and line delivery, Clooney clearly delights in embellishing Everett's vanity and in delivering the Coens’ carefully calibrated,high-toned dialogue\".The following year In 2001, Clooney reunited with Soderbergh for the heist comedy Ocean's Eleven, a remake of the 1960s Rat Pack film ofthe same name, with Clooney playing Danny Ocean, originally portrayed by Frank Sinatra. The film starred Clooney, Brad Pitt, Julia Roberts, Matt Damon, andAndy Garcia. The film cemented Clooney as a leading film star. It is Clooney's most successful film with him in the lead role, earning $451 million worldwide (heappeared, but did not star, in Gravity, which has a $723 million worldwide box office). Ocean's Eleven inspired two sequels starring Clooney, Ocean's Twelve in2004 and Ocean's Thirteen in 2007. In 2001, Clooney and Soderbergh co-founded Section Eight Productions, for which Grant Heslov was president oftelevision.The following year he would work with Soderbergh yet again in the science fiction drama Solaris (2002) an adaptation of the acclaimed 1972 filmdirected by Andrei Tarkovsky. Famed critic Roger Ebert praised the film and Clooney writing, \"Clooney has successfully survived being named People magazine'ssexiest man alive by deliberately choosing projects that ignore that image. His alliance with Soderbergh, both as an actor and co-producer, shows a taste forchallenge.\" That same year Clooney made his directorial debut in the 2002 film Confessions of a Dangerous Mind, based on the autobiography of TV producerChuck Barris. The film premiered out of competition at the Cannes Film Festival to critical acclaim. Though the film did not do well at the box office, critics statedthat Clooney's directing showed promise.In 2003, Clooney reunited with the Coen brothers in the romantic comedy Intolerable Cruelty opposite CatherineZeta-Jones. Elvis Mitchell of The New York Times praised their chemistry and the casting of Clooney in the role writing, \"the good work comes from GeorgeClooney, who happens to have the Art Deco profile fit for a 1930's comedy. He scores with his willingness to mock his above-average charisma level and thechiseled chin, cover-guy good looks\".Directorial debut and acclaim (2005–2013)In 2005, Clooney starred in Syriana, which was based loosely on former CentralIntelligence Agency agent Robert Baer's memoirs of his service in the Middle East. Clooney suffered an accident on the set of Syriana, which caused a brain injurywith complications from a punctured dura. The same year he directed, produced, and starred in Good Night, and Good Luck, a film about 1950s televisionjournalist Edward R. Murrow's famous war of words with Senator Joseph McCarthy. At the 2006 Academy Awards, Clooney was nominated for Best Director andBest Original Screenplay for Good Night, and Good Luck, as well as Best Supporting Actor for Syriana. He won the Oscar for his role in Syriana.Clooney next"}
+{"doc_id":"doc_135","qid":"","text":"Passage 1:Louis IV, Count of ChinyLouis IV the Young (1173 – 7 October 1226), count of Chiny from 1189 to 1226, son of Louis III, count of Chiny, andSophie.  Louis was the last of the first dynasty of counts of Chiny. Having no son, he prepared his eldest daughter Jeanne as his successor. Louis marked his reignby issuing the first postage stamp in the county.He succeeded as count in 1189 when his father died on the Third Crusade, but was under the supervision of hismother and uncle Thierry, Lord of Mellier, because of his young age. He likely participated in the Albigensian Crusade, where he died in Cahors.He married Matildaof Avesnes, widow of Nicolas IV, Lord of Rumigny, and daughter of James, Lord of Avesnes and Conde, and Adele, Lady of Guise. They had three children:Jeanne,Countess of Chiny, married to Arnold IV, Count of LoozAgnes, Lady of Givet and AbemontIsabelle, married to Otto, Lord of Trazegnies.Isabelle was referred to asMadame de Florenville during the Tournament of Chauvency in 1285, hosted by Louis' grandson Louis V, successor Count of Chiny,Upon Louis’ death, hisdaughter Jeanne became Countess of Chiny until her marriage to Arnold IV, when he became the first Count of Chiny of the second dynasty as Arnold II.Louis IVwas also a direct paternal descendant of Charlemagne.SourcesSettipani, Christian, La Préhistoire des Capétiens (Nouvelle histoire généalogique de l'augustemaison de France, vol. 1), Villeneuve d'Ascq, éd. Patrick van Kerrebrouck, 1993, 545 pg.Arlette Laret-Kayser, Entre Bar et Luxembourg : Le Comté de Chiny desOrigines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72), 1986Passage 2:Louis, Count of VerdunLouis I (murderedSeptember 29, 1025), Count of Chiny (987–1025) and Count of Verdun (as Louis) (1024–1025), son of Otto I, Count of Chiny, and an unknown mother.UponOtto’s death, Louis became the second Count of Chiny. Virtually nothing is known about his rule in Chiny.In 1024, Reginbert, the Bishop of Verdun, appointedLouis as Count of Verdun when Count Herman of Ename, son of Godfrey the Prisoner, retired to a monastery. Herman's nephew, Godfrey the Bearded, covetedthe position, and Gothelo (Herman’s brother and Godfrey’s father) invaded the city and murdered Louis.Louis married Adelaide (d. after 1025), of unknownparentage. They had two children:Louis II, Count of ChinyLiutgarde (born 1002), married to Richer de Sancy (died before 1084). Luitgarde and Richer had foursons:  Hughes (died after 1109), Louis (died after 1084), Roderic (d. after 1109) and Richwin (killed before 1084). Nothing further is known about them.Louis’son Louis II assumed the position of Count of Chiny after his father’s death, and Godfrey the Bearded was appointed Count of Verdun.Passage 3:Albert, Count ofChinyAlbert (Albert I) (before 1131 – 29 September 1162), Count of Chiny, son of Otto II, Count of Chiny, and Adélaïs of Namur.  He succeeded his father before1131 and spent most of his time in Chiny, not taking part in the various conflicts which shook the region.He married Agnes, daughter of Renaud I, Count of Barand Gisèle Vaudémont, daughter of Gerard, Count of Vaudémont.  Their children were:Louis III, Count of ChinyThierry (d. after 1207), Lord of Mellier, marriedElizabethArnulf of Chiny-Verdun (killed in 1181), Bishop of Verdun, 1172–1181Alix (d. after 1177), married to Manasses of HiergesIda of Chiny, married to GobertV, Lord of Aspremont (see Fredelon and the House of Esch for a discussion of their descendants)A daughter, mother of Roger WalehemHughes, married to adaughter of Renaud de DonchéryA daughter, Abbess of Givet.Arnulf was killed by an arrow to the head in front of the castle of Saint Manehulde during an attackon the bishopric of Verdun.Alix and Mannases were the parents of Albert II of Hierges, Bishop of Verdun (1186–1208). Ida and Gobert were the grandparents ofJohn I of Aspremont, Bishop of Verdun (1217–1224).Albert was succeeded as Count of Chiny by his son Louis.Passage 4:John I, Count of LoozJohn I (Jean) (d.1278 or 1279), Count of Looz and Count of Chiny, eldest son of Arnold IV, Count of Looz and Chiny, and Jeanne, Countess of Chiny. He succeeded his father in1272 or 1273, as the Count of Looz and Chiny.  Virtually nothing is known about his reign.He first married, in 1258, Matilda, daughter of William IV, Count ofJülich, and Matilda of Gelderland.  Their children were:Arnold V, Count of Looz and Count of Chiny (as Arnold II)Louis de LoozWilliam, Seigneur of Neufchatel andArdenne.Widowed, he married secondly, in 1269, Isabelle de Conde (d. after 1280), daughter of Jacques, Seigneur of Conde and Bailleul, and his wife Agnes ofRœulx.  Their children were:John II (1270-1311), Seigneur of Agimont, Givet and Warcq, married Marie, daughter of Raoul de Nesle and Alix de Roye (see Houseof Nesle)Jacques (Jacquemin) (d. February 27, 1330), Canon of Liege.Upon his death, he was succeeded as Count of Chiny by his brother Louis, and as Count ofLooz by his son Arnold.SourcesSettipani, Christian, La Préhistoire des Capétiens (Nouvelle histoire généalogique de l'auguste maison de France, vol. 1), Villeneuved'Ascq, éd. Patrick van Kerrebrouck, 1993, 545 p.Thonissen, JJ., Arnold IV, Royal Academy of Belgium, National Biography, Vol. 1, Brussels, 1866ArletteLaret-Kayser, Entre Bar et Luxembourg : Le Comté de Chiny des Origines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72),1986Passage 5:Otto II, Count of ChinyOtto II (1065 – after 1131), Count of Chiny, son of Arnold I, Count of Chiny, and Adélaïs.He succeeded his father in 1106and completed the construction of the Abbey of Orval that his father had started in 1070, installing the canons in 1124. The installation of a Cistercian communityin Orval in 1131 marked his last appearance in any proceedings.He married Adelaide (Alix) (1068–1124), daughter of Albert III, Count of Namur and Ida ofSaxony (widow of Frederick of Lower Lorraine). Their children were:Ida (died before 1125), married to Godfrey I, Count of LeuvenOda (died after 1134), marriedto Giselbert II, Count of DurasHugues, probably died youngAlbert of Chiny (before 1131–1162)Frederick, (died after 1124), Provost at Reims from 1120AdalberoII of Chiny-Namur (died 26 March 1145), Bishop of Liège, 1135–1145Eustache (died after 1156), married to a daughter of Wiger de Waremme, Avoué of LiègeSaint-Lambert and Hesbaye. His son Louis de Lumaine was also Avoué of Hesbaye.Ida (also known as Ida of Namur) and Godfrey I (also known as Godfrey theBearded, not to be confused with the uncle of his father Henry II, Godfrey) were parents of Adeliza of Louvain, wife of Henry I of England.  Oda’s husbandGislebert was son of Otto, Count of Duras and therefore the grandson of Giselbert, the first Count of Looz, whose family would eventually be merged with theCounts of Chiny with the marriage of Otto's great-great granddaughter Jeanne, Countess of Chiny, with Arnold IV of Looz.After his death, Otto was succeeded asCount of Chiny by his son Albert.Passage 6:Louis II, Count of ChinyLouis II (died before 1066), Count of Chiny (from 1025 until his death), son of Louis I, Countof Chiny and Verdun, and Adélaïde de Saint Varme.  He left very few traces in history and nothing is known about his reign.Louis was married to Sophie. They hadtwo children:Arnold I, Count of ChinyManasses (died 1068), a monk at the Church of St. Hubert.Legend has it that Louis held hunting parties in his huge gamepark.  Here, Thibault of Champagne established a hermitage and found a source of holy springs, and Louis built a shrine to the spring's healing powers. The shrinebecame famous, with many pilgrims who came to implore the grace of Saint-Thibault. Later, monks from Calabria, Italy, founded a monastery nearby at Orval atthe invitation of Louis’ son Arnold.Upon Louis' death, his son Arnold became Count of Chiny.Passage 7:Arnold VI of Rummen, Count of LoonArnold VI de Rumigny(died May 1373), Count of Looz and Count of Chiny (as Arnold IV) (1362–1364), son of William of Oreye, Lord of Rumigny (by donation of Louis IV, Count of Loozin 1331), and Jeanne de Looz, daughter of Arnold V, Count of Loon and Chiny, and, Marguerite Vianden, Lady of Perwez and Grimbergen.In 1336, at the death ofhis uncle, Louis IV, Count of Loon and Chiny, Arnold laid claim to the estates, but without success.  Instead, the estates passed to another nephew, Thierry deHeinsberg. Finally, on January 25, 1362, he bought the rights to the counties from his cousin Godfrey, Count of Looz and Chiny.  Looz, however, was still occupiedby the troops of Engelbert III of the Marck, Prince-Bishop of Liege.On December 25, Arnold approached the Emperor Charles IV for his help in financing thereconquest of Looz, but he failed in that endeavor.  Without options, he sold the counties to  Wenceslaus, Duke of Luxembourg, on June 16, 1364. On September23, 1366, he entered into a transaction with John of Arkel, Prince-Bishop of Liège, receiving some financial compensation for the occupation of the countiesIn1346, Arnold married Elizabeth of Flanders, illegitimate daughter of Louis of Flanders, Count of Nevers.  No children are recorded.SourcesArlette Laret-Kayser,Entre Bar et Luxembourg : Le Comté de Chiny des Origines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72), 1986Passage8:Arnold I, Count of ChinyArnold I (died 16 April 1106), Count of Chiny, son of Louis II, Count of Chiny, and his wife Sophie. He succeeded his father as countbefore 1066.Arnold is best known for his many clashes with the authorities.  The only known positive action of his was the founding of the Abbey of Orval withConrad I, Count of Luxembourg. In addition he began other religious institutions, apparently as atonement for his many crimes. He had many run-ins with theclergy, particularly with Henry, Bishop of Liège, a relative of Godfrey the Bearded, no doubt due to the murder of his grandfather by Godfrey’s father. There werealso issues with Henry's successor Otbert.A convenient story is that Arnold regularly confronted Godfrey’s grandson Count Godfrey of Bouillon, a leader of theFirst Crusade and nephew of Countess Mathilda of Tuscany, but that they eventually became friends. Because of this newly-found friendship, he allegedlyentrusted Godfrey with his sons Otto and Louis to take part in the crusade. The reality is that this is likely a story concocted by Count Louis V, much like the restof his version of the history of Chiny (see the discussion in the Counts of Chiny), to enhance his standing at the Tournament of Chauvency in 1285, which includedsuch royalty as Rudolf I, King of Germany.It is clear that Otto and Louis never actually joined the crusade, as their names are not listed among the participants inthe Holy quest. The reality of the situation appears that Godfrey's army included relatively few of the major nobles of the duchy, especially those of comital rank.The nobles of Lower Lotharingia were not all vassals of the Duke (and later Defender of the Holy Sepulchre) and felt no obligation to follow him, despite theseriousness of the taking of the cross. Notable absentees were Arnold, Albert III of Namur and Henry of Arlon and Limburg. These were all part of the coalitionthat had waged war on Godfrey and his principal allies Henry of Verdun and his successor Otbert, Prince-Bishops of Liège. There is some uncertainty as to his"}
+{"doc_id":"doc_136","qid":"","text":"Passage 1:Karel ZichKarel Zich (10 June 1949 – 13 July 2004) was a Czech singer, guitarist and composer whose voice was often compared with that of ElvisPresley.LifeKarel Zich was born in Prague, Czechoslovakia, into a musical family. His grandfather was Otakar Zich, composer and professor of music aesthetics,and his uncle was the composer Jaroslav Zich. Karel attended the Prague State Conservatory (Státní konzervatoř Praha) for three years and later graduated fromCharles University in sociology.Between 1964 and 1965 he performed with the band Framus as a singer. In 1968 Zich joined Spirituál kvintet and stayed withthem until 1973. His main interest was in rock'n'roll, and he is sometimes called the \"Czech Elvis\".After his successes in the Czech pop scene with various bands,Zich decided to start his solo career. In 1974 he left Spirituál kvintet and in 1976 released his first album, Dům č.5 (House No. 5). Although he sang his ownsongs, he also worked with famous composers Karel Svoboda, Petr Janda, and others.In 1975 Zich reached the top of his career by winning 4th place in ZlatýSlavík. In 1979 he founded the band Flop and recorded 50 singles and 15 albums, one with the legendary Wanda Jackson. During his career Zich sold over onemillion discs and performed at thousands of concerts in most European countries, the United States, Canada, Brazil, Chile and elsewhere. His most famous songsare Paráda (Awsome) and Měla na očích brýle. Twice took 2nd place in the country's top music festival and song contest, Bratislavská lýra, in 1977 and 1983.Inhis last years he often performed guitar solos and sometimes performed with his band. In 1992 he joined Spirituál kvintet again.DeathKarel Zich died ofcomplications following a heart attack during a diving holiday in Porto-Vecchio, Corsica.Selected discographyLet's Have a Party in Prague (with Wanda Jackson) –1988Passage 2:Karol HochbergKarol Hochberg (1911–1944, also Karl or Karel) was a collaborator during the Holocaust, who led the \"Department for SpecialAffairs\" within the Ústredňa Židov, the Judenrat in Bratislava which was created by the Nazis to direct the Jewish community of Slovakia.LifeHochberg was born inHungary in 1911 and studied in Vienna and Prague. He moved to Slovakia in 1939. In 1940, the Slovak Jews were forced to form the Ústredňa Židov (ÚŽ), aJudenrat, to implement Nazi orders. Most of the members of the ÚŽ had been prominent in Jewish public life before the Holocaust, and worked on public relief forJews who had been dispossessed by anti-Jewish measures. However, the ÚŽ's reputation was harmed by the Jews within it who informed or collaborated, ofwhom Hochberg was the most notorious, according to YIVO (Institute for Jewish Research). In early 1941, the first head of the ÚŽ was deposed and arrested forsabotaging a census of Jews in eastern Slovakia with an aim to remove them to the west of the country. His replacement was an ineffectual schoolteacher namedArpad Sebestyen, who took a position of complete collaboration with the Germans. Hochberg was appointed to lead the \"Department for Special Affairs\",  whichwas created to ensure the prompt implementation of Dieter Wisliceny's orders; he promptly organized the census and removal, tarnishing the ÚŽ's reputation inthe Jewish community. Due to Sebestyen's ineffectuality, Hochberg's department came to dominate the operations of the ÚŽ.In 1942, Hochberg's departmentworked on categorizing Jews for deportation, but it did not actually draw up the lists. About 57,000 Jews, two-thirds of the population, were deported that year;only a few hundred survived. Later, Hochberg played an important role in negotiations between the Bratislava Working Group, the resistance group within the ÚŽ,and Wisliceny. Hochberg, who made regular visits to Wisliceny's office, was the only feasible option because contact with Wisliceny had to be done clandestinely.The Working Group employed him as an intermediary despite its intense dislike and distrust of Hochberg, its fear that associating with him would harm theirreputations, and its belief that he was unreliable.In November 1942, as the Working Group began to negotiate the Europa Plan with Wisliceny in an effort to saveall European Jews from deportation and death, Hochberg was arrested for bribery and corruption. According to the Slovak police records, Hochberg had an illegalaccount in which large bribes were deposited in return for the cessation of transports. Andrej Steiner, a member of the Working Group, distrusted Hochberg andhad provided the Slovak police with evidence against him. However, his colleague Michael Dov Weissmandl advocated that the Working Group try to get Hochbergreleased; Weissmandl believed that he was useful and was concerned that he would reveal the negotiations. The leader of the Working Group, Gisi Fleischmann,sided with Steiner, and the Working Group did not intervene on Hochberg's behalf. Imprisoned at Nováky labor camp and later Ilava prison, Hochberg escapedduring the Slovak National Uprising and joined the partisans. He was executed as a collaborator by Jewish partisans.Passage 3:Maximus of TyreMaximus of Tyre(Greek: Μάξιμος Τύριος; fl. late 2nd century AD), also known as Cassius Maximus Tyrius, was a Greek rhetorician and philosopher who lived in the time of theAntonines and Commodus, and who belongs to the trend of the Second Sophistic.  His writings contain many allusions to the history of Greece, while there is littlereference to Rome; hence it is inferred that he lived longer in Greece, perhaps as a professor at Athens. Although nominally a Platonist, he is really a sophistrather than a philosopher, although he is still considered one of the precursors of Neoplatonism.WritingsThe DissertationsThere exist 41 essays or discourses ontheological, ethical, and other philosophical subjects, collected into a work called The Dissertations. The central theme is God as the supreme being, one andindivisible though called by many names, accessible to reason alone:In such a mighty contest, sedition and discord, you will see one according law and assertionin all the earth, that there is one God, the king and father of all things, and many gods, sons of God, ruling together with him.As animals form the intermediatestage between plants and human beings, so there exist intermediaries between God and man, viz. daemons, who dwell on the confines of heaven and earth. Thesoul in many ways bears a great resemblance to the divinity; it is partly mortal, partly immortal, and, when freed from the fetters of the body, becomes adaemon. Life is the sleep of the soul, from which it awakes at death. The style of Maximus is superior to that of the ordinary sophistical rhetorician, but scholarsdiffer widely as to the merits of the essays themselves.Dissertation XX discusses \"Whether the Life of a Cynic is to Be Preferred\". He begins with a narrative ofhow Prometheus created mankind, who initially lived a life of ease \"for the earth supplied them with aliment, rich meadows, long-haired mountains, andabundance of fruits\" – in other words, a Garden of Eden that resonates with Cynic ideas. It was \"a life without war, without iron, without a guard, peaceful,healthful unindigent\".Then, taking perhaps from Lucretius, he contrasts that Garden to mankind's \"second life\", which started with the division of the earth intoproperty, which they then enclosed into fortifications and walls, and started to wear jewellery and gold, built houses, “molested the earth by digging into it formetals”, and invaded the sea and the air (killing animals, fish and birds), in what he described as a “slaughter and all-various gore, pursuing gratification of thebody”. Humans became unhappy and, to compensate, sought wealth, “fearing poverty...dreading death...neglecting the care of life...They blamed base actionsbut did not abstain from them and “the hated to live, but dreaded to die”.He then contrasts the two lives – that of the original Garden and of the “second life” hehas just described and asks, which man would not choose the first, who “knows that by the change he shall be liberated from a multitude of evils” and what hecalls “a dreadful prison of unhappy men, confined to a dreadful prison of unhappy men, confined in a dark recess, with large iron fetters round their feet, a greatweight about their neck…passing their time in filth, in torment, and in weeping”. He asks, “Which of these images shall we proclaim blessed”? He goes on topraise Diogenes of Sinopeus, the Cynic, for choosing his ascetic life, but only because he avoided the often fearful fates of other philosophers – such as Socratesbeing condemned. But there is no mention of he himself taking up the ascetic life himself; rather he only talks about how the Garden would be preferable to thelife mankind has made for itself. So it is unlikely he was a Cynic, but was just envious of that idealised pre-civilisation Life in the Garden.Maximus of Tyre must bedistinguished from the Stoic Claudius Maximus, tutor of Marcus Aurelius.Ancient Greek TextMaximus Tyrius, Philosophumena, Dialexeis - Edited by GeorgeLeonidas Koniaris, Publisher Walter de Gruyter, 1995, DOI: https://doi.org/10.1515/9783110882568 - this critical edition presents the Ancient Greek text ofMaximus of Tyre.TranslationsTaylor, Thomas, The Dissertations of Maximus Tyrius. C. Wittingham (1804)Trapp, Michael. Maximus of Tyre: The PhilosophicalOrations, (NY: Oxford University Press, 1997)Passage 4:Charles Emmanuel BisetCharles Emmanuel Biset or Karel Emmanuel Biset (1633 in Mechelen – between28 September 1693 and 1713) was a Flemish painter who had a peripatetic career working in various cities and countries including his hometown Mechelen, Paris,Annonay, Brussels, Antwerp and Breda.  He worked in many genres including genre scenes of interiors with merry companies and gallery paintings, historypainting, still life and portraiture.LifeCharles Emmanuel Biset was born on 26 December 1633 in Mechelen as Karel Emmanuel Biset.  He was the son of thedecorative painter Joris Biset who had trained under Michiel Coxie III, a grandson of the great Renaissance painter Michiel Coxie.  Charles Emmanuel Biset likelytrained under his father.He worked in Mechelen from about 1640 until the early or mid-1650s. He was subsequently active in Paris where he is presumed to haveworked for the court. Thereafter he is recorded for a while in Brussels before moving to Antwerp. Here he was active from 1661 to 1687.He became a master inAntwerp's Guild of Saint Luke in 1662 and was its dean in 1674.  He was also appointed a director of the Academy of Antwerp.He married in 1662 with the painterMaria van Uden who was the daughter of the landscape painter Lucas van Uden.  After her death in 1665, he began a relationship with her sister Anna.  In 1670he married Anna Cleymans.  Their children were the painters Jan Andreas (also called Jan Baptist) and Jan Karel Biset. He enjoyed the patronage of JuanDomingo de Zuñiga y Fonseca, Count of Monterrey, and later the Governor of the Habsburg Netherlands for whom he may have worked on a quasi-exclusive basisfor a while.In 1687 he is recorded in Breda.  It is possible he stayed there for the rest of his life while visiting Antwerp occasionally.  The last record of his lifedates to 28 September 1693 when he was in Antwerp.The place and date of his death are not clear but he is believed to have died between 28 September 1693"}
+{"doc_id":"doc_137","qid":"","text":"Passage 1:David AldusDavid Aldus (born 18 September 1941) is a Welsh painter known for his landscape and maritime scenery.Personal lifeAldus was born andspent much of his life in the Garrison town of Brecon. His father, John Macdonald Aldus, was a Company Sergeant Major in the South Wales Borderers, as was hisfather, who was killed in action in the Khyber pass. His grandfather on his maternal side, William Godfrey, was a miner of the Blaenavon pit.ArtAldus developed arealist style, influenced in part by the French artist Jules Bastien-Lepage and the colourful primitivism of Cézanne.His painting \"A Tribute to the people of Malta\"resides in the Museum at Valletta, many of landscapes are views of his Buckinghamshire/Oxfordshire and its surrounding countryside. He was a finalist in theGarrick/Milne Prize exhibition held at London's Christies. He exhibited at the Lambeth Palace under the auspices of the Royal Society of Marine Artists. Other Aldusaccolades include full membership election in 1994 to UA United Artists.In that same year, he was awarded the Acrylic Painting prize at Westminster Central Hall,London. In 1995 David Aldus won the Oil paintings prize at UA annual exhibition.In 1995, he had work displayed at the Royal Institute of Oil Painters (R.O.I.) intheir annual exhibition held at the Mall Galleries, London.Aldus has exhibited with the Royal Society of British Artists (R.B.A.) He also had work displayed at theRoyal Society of Marine Artists (R.S.M.A.) at their annual exhibition. In November the Royal Society of Marine Artists asked him to display his work at LambethPalace where again he sold all his paintings.In December 1995, he had his work selected by the Discerning eye exhibition. Judge Edward Lucie-Smith and anotherart critic chose his work for the same exhibition. One of his Landscape paintings was purchased by the town of Brecon and presented to their twin town of Salinein the U.S.A.Aldus completed commissions for actor David Jason and ice skater Christopher Dean. In 1984, Aldus was also commissioned to paint Britain's firstblack female mayor Lydia Simmons in Slough. Aldus has also done work for Freddie Starr, the Duchess of Devonshire, Lord Carrington and rock starJamiroquai.External linksThe Discerning Eye - home pagedavidaldus.comPassage 2:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’sliterature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character educationand difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What isGod? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in theWhat is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?,What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy.His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department ofEducation.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published throughHow to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognizednationally as an erudite speaker on The Teachings of the Buddha.Passage 3:Terence RobinsonTerence D. Robinson (date of birth and death unknown) was a malewrestler who competed for England.Wrestling careerHe represented England and won a bronze medal, in the bantamweight category of -57 kg , at the 1970British Commonwealth Games in Edinburgh, Scotland.Passage 4:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date ofTheodred's consecration unknown, but the date of his death was sometime between 995 and 997.Passage 5:Alfonso FadriqueDon Alfonso Fadrique (English:Alfonso Frederick; Catalan: N'Anfós Frederic d'Aragó; died 1338) was the eldest and illegitimate son of Frederick II of Sicily. He served as vicar general of theDuchy of Athens from 1317 to 1330.He was first proclaimed vicar general by his father in 1317 and sent off to govern Athens on behalf of his youngerhalf-brother Manfred. He arrived in Piraeus with ten galleys later that year, but Manfred had died and was succeeded by another brother, William II. In the year ofhis arrival, Fadrique married Marulla, the daughter of Boniface of Verona, thus allying himself with the chief lord of Euboea. By this marriage, also, he acquiredrights to the castles of Larmena, Karystos, Zetouni, and Gardiki.Over the next two years, Fadrique warred with the Republic of Venice and stormed the city ofNegroponte with Turks after Boniface of Verona died. In 1318, John II Ducas, the sebastokrator of Neopatras, died and Fadrique invaded Thessaly. He tookpossession of his castles at Zetouni and Gardiki and conquered Neopatras, Siderokastron, Loidoriki, Domokos, and Pharsalus. He conquered the palace of theDucae at Neopatras and took the title of Vicar General of the Duchy of Neopatras. He built a tower at Neopatras.In 1330, Alfonso was relieved of his duties asvicar general and replaced by Odo de Novelles. He was compensated with the Sicilian  counties of Malta and Gozo. He died in 1338 and left five sons, Peter;James, father of Louis Fadrique; William, lord of Livadeia; Boniface, lord of Aigina, Piada and Karystos; John, lord of Salamina and two daughters, Simona, whowed George II Ghisi and Jua.Passage 6:Brian Saunders (weightlifter)Brian Saunders (date of birth and death unknown) was a male weightlifter who competed forEngland.Weightlifting careerSaunders was the last person to be both the British Amateur Weight Lifters' Association (BAWLA) weightlifting champion and BAWLApowerlifting champion; the latter of which he won in 1970 and 1974.He represented England in the super heavyweight category of +110 kg Combined, at the1970 British Commonwealth Games in Edinburgh, Scotland.Passage 7:Frederick III of SicilyFrederick II (or III) (13 December 1272 – 25 June 1337) was theregent of the Kingdom of Sicily from 1291 until 1295 and subsequently King of Sicily from 1295 until his death. He was the third son of Peter III of Aragon andserved in the War of the Sicilian Vespers on behalf of his father and brothers, Alfonso ΙΙΙ and James ΙΙ. He was confirmed as king by the Peace of Caltabellotta in1302. His reign saw important constitutional reforms: the Constitutiones regales, Capitula alia, and Ordinationes generales.NameAlthough the second Frederick ofSicily, he chose to call himself \"Frederick III\" (being one of the rare medieval monarchs who actually used a regnal number) – presumably because only some fiftyyears before, his well-known and remembered great-grandfather had ruled Sicily and also used an official ordinal: Fridericus secundus, imperator etc.. Thus,Fridericus tertius was better in line with the precedent of his ancestor's ordinal. However, an anecdote attributes Frederick's choice of numeral to him being thethird son of Peter. The next man called Frederick to occupy the Sicilian throne was dubbed by later generations of historians as Frederick III: Frederick III theSimple, though he himself did not use an ordinal.BiographyEarly yearsFrederick was born in BarcelonaWhen his father died in 1285, he left the Kingdom ofAragon to his eldest son, Alfonso, and that of Sicily to his second son, James. When Alfonso died in 1291, James became king of Aragon and left Frederick asregent in Sicily. The war between the Angevins, who contested the title to Sicily from their peninsular possessions centred on Naples (the so-called Kingdom ofNaples), and the Crown of Aragon for the possession of the island was still in progress, and although the Crown of Aragon was successful in Italy, James’ positionin Spain became very insecure due to internal troubles and French attacks. Peace negotiations were begun with Charles II of Naples, but were interrupted by thesuccessive deaths of two popes. At last, under the auspices of Pope Boniface VIII, James concluded a shameful treaty, by which, in exchange for being leftundisturbed in the rest of the territories belonging to the Crown of Aragon and promised possession of Sardinia and Corsica, he gave up Sicily to the Church, forwhom it was to be held by the Angevins (Treaty of Anagni, 10 June 1295). The Sicilians refused to be made over once more to the hated French they had expelledin 1282 (in the Sicilian Vespers), and found a national leader in the regent Frederick. In vain the pope tried to bribe him with promises and dignities; he wasdetermined to stand by his subjects, and was crowned king by the nobles at Palermo in 1296.When Frederick heard that James was preparing to go to war withhim, he sent a messenger, Mountainer Pérez de Sosa, to Catalonia in an effort to stir up the barons and cities against James in 1298. Mountainer carried with himan Occitan poem, Ges per guerra no.m chal aver consir, intended as a communication with his supporters in Catalonia. This communiqué seems to have had inmind Ponç Hug as a recipient, for the count penned a response (under the title con d'Empuria), A l'onrat rei Frederic terz vai dir, in which he praised Frederick'stact and diplomacy, but told him bluntly that he would not abandon his sovereign. This poetic transaction is usually dated to January–March, Spring, or August1296, but Gerónimo Zurita in the seventeenth century specifically dated the embassy of Mountainer to 1298.ReignFrederick reformed the administration andextended the powers of the Sicilian parliament, which was composed of the barons, the prelates, and the representatives of the towns.His refusal to comply withthe pope's injunctions led to a renewal of the war. Frederick landed in Calabria, where he seized several towns, encouraged revolt in Naples, negotiated with theGhibellines of Tuscany and Lombardy, and assisted the house of Colonna against Pope Boniface. In the meanwhile James, who received many favours from theChurch, married his sister Yolanda to Robert, the third son of Charles II. Unfortunately for Frederick, a part of the Catalan-Aragonese nobles of Sicily favouredKing James, and both John of Procida and Roger of Lauria, the heroes of the war of the Vespers, went over to the Angevins, and the latter completely defeatedthe Sicilian fleet off Capo d'Orlando. Charles's sons Robert and Philip landed in Sicily, but after capturing Catania were defeated by Frederick, Philip being takenprisoner (1299), while several Calabrian towns were captured by the Sicilians.For two years more the fighting continued with varying success, until Charles ofValois, who had been sent by Boniface to invade Sicily, was forced to sue for peace, his army being decimated by the plague. In August 1302 the Treaty ofCaltabellotta was signed, by which Frederick was recognized king of Trinacria (the name Sicily was not to be used) for his lifetime, and was to marry Eleanor of"}
+{"doc_id":"doc_138","qid":"","text":"Passage 1:Mona Hopton BellMona Hopton Bell (1867–1940) was a British artist, best known for her portraits of civic figures.She was the grandmother of the painter Jean H. Bell.Passage 2:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 3:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and ' Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 4:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 5:Diana GuardatoDiana Guardato was a member of the aristocratic Patrician Guardato family. She had at least two children with King Ferdinand I. Her first child was Ferdinando d' Aragona y Guardato, 1st Duke of Montalto who married 1st, Anna Sanseverino, 2nd, Castellana de Cardona whose daughter Maria d'Aragona, married Antonio Todeschini Piccolomini, Duke of Amalfi, a nephew of Pope Pius II and brother of Pope Pius III.Her second child was Giovanna d’ Aragona, who married Leonardo della Rovere, Duke of Arce and Sora, a nephew of Pope Sixtus IV and brother of Pope Julius II.Passage 6:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne 'may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess "}
+{"doc_id":"doc_139","qid":"","text":"Passage 1:Donnie ElbertDonnie Elbert (May 25, 1936 – January 26, 1989) was an American soul singer and songwriter, who had a prolific career from themid-1950s to the late 1970s. His U.S. hits included \"Where Did Our Love Go?\" (1971), and his reputation as a Northern soul artist in the UK was secured by \"ALittle Piece of Leather\", a performance highlighting his powerful falsetto voice.CareerElbert was born in New Orleans, Louisiana, but when aged three his familyrelocated to Buffalo, New York. He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon.Elbert acted as the group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single \"Walk Beside Me\". He left thegroup in 1957 for a solo career, and recorded a demonstration record that earned him a recording contract with the King label's DeLuxe subsidiary. His solo debut\"What Can I Do?\" reached #12 in the U.S. R&B chart, and he followed it up with the less successful \"Believe It or Not\" and \"Have I Sinned?\", which became aregional hit in Pittsburgh.He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured theChitlin' Circuit of African-American owned nightclubs. After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first RedTop Records, where in 1960 he recorded \"Someday (You'll Want Me to Want You)\", and then Vee-Jay Records, where he had another regional hit with \"Will YouEver Be Mine?\", which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide. His career was also interrupted by a spell in the USArmy, from which he was discharged in 1961. He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success. However,although the 1965 Gateway label release of \"A Little Piece of Leather\" failed to chart in the US, the record became a #27 pop hit when released on the Londonlabel in the UK several years later in 1972, and remains a Northern soul favorite.Elbert relocated to the UK in 1966, where he married. There, he recorded \"InBetween The Heartaches\" for the Polydor label in 1968, a cover version of the Supremes' hit \"Where Did Our Love Go?\" and an album of Otis Redding coverversions, Tribute To A King. His 1969 Deram release \"Without You\" had a rocksteady rhythm, and went to the top of the Jamaican charts.He returned to the USthe same year and had his first US chart hit in over a decade with the Rare Bullet release, \"Can't Get Over Losing You\", which reached #26 on the Billboard R&Bchart. The track and its b-side, \"Got To Get Myself Together\", both written by Elbert, were released several times on different labels in subsequent years. Afterthe success of that record, Elbert moved labels for a re-make of the Supremes' 1964 hit, \"Where Did Our Love Go?\" on All Platinum. It became his biggest hit,reaching #15 on the Billboard pop chart, #6 on the R&B chart, and (in 1972) #8 in the UK. Its follow-up, \"Sweet Baby\" reached #30 on the R&B chart in early1972.Elbert then signed with Avco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi. His cover of the FourTops' \"I Can't Help Myself\" reached #14 on the Billboard R&B chart, but climbed as high as #2 on the alternative Cashbox R&B chart. Elbert baulked at the label'sinsistence that he record material associated with Motown and departed with only a few tracks left to record for an album. Even so, the album was released afterAvco sold it on to a budget label, Trip.He returned to All Platinum and had a run of minor R&B hits, but left after a disagreement over the claimed authorship ofShirley & Company's R&B chart-topper \"Shame Shame Shame\", which was credited to label owner Sylvia Robinson. Elbert was also involved in a copyrightwrangle over Darrell Banks' major R&B and pop hit in 1966, \"Open The Door To Your Heart\". He had originally written the song as \"Baby Walk Right In\" (still itsalternative legal title) and given it to Banks, but received no writing credit on the original record. Eventually, the matter was resolved by BMI with a disgruntledElbert awarded joint authorship with Banks. \"Open The Door\" has since been given award-winning status by BMI and is one of over 100 songs written orco-written by Elbert.For 1975's \"You Keep Me Crying (With Your Lying)\", Elbert formed his own label and \"I Got to Get Myself Together\", appeared on an imprintbearing his surname, but it was among his final recordings.By the mid-1980s, Elbert had retired from performing and became director of A&R for Polygram'sCanadian division. He suffered a massive stroke and died in 1989, at the age of 52.DiscographyChart singlesAlbumsThe Sensational Donnie Elbert Sings (King,1959)Tribute to a King (1968)Where Did Our Love Go? (All Platinum, 1971) U.S. #153, R&B #45Have I Sinned? (Deluxe, 1971)Stop in the Name of Love (Trip,1972)A Little Bit of Leather (1972)Roots of Donnie Elbert (Ember, 1973)Dancin' the Night Away (All Platinum, 1977)See alsoList of disco artists (A-E)Passage2:Sarah ScullinSarah Maria Scullin (née McNamara; 21 April 1880 – 31 May 1962) was the wife of James Scullin, the 9th Prime Minister of Australia.Early life andmarriageScullin was born in Ballarat, Victoria, to Sarah (née Simcocks) and Michael McNamara. Her mother was born in County Kerry, Ireland, and her father wasborn in Bodyke, County Clare. She was educated at local Catholic schools, and was known as a skilled dressmaker and a talented artist. She married JamesScullin at St Patrick's Cathedral, Ballarat, on 11 November 1907. The couple had no children.Public lifeScullin accompanied her husband on his electioncampaigns, but did not make speeches herself. According to his biographer John Robertson, she was \"significant politically in an indirect manner, for she provideda serene domestic haven as a base for her husband's political activities\". When her husband became prime minister in 1929, the couple chose to live in the HotelCanberra rather than The Lodge, as an economy during the Great Depression. She nursed him during his bouts of ill health, and during the four-hour \"sickroomcabinet\" meeting of August 1930 \"stood guard at the door, refusing entrance to all unwanted visitors\".Later lifeScullin was widowed in January 1953. Her husbandhad been seriously ill and frequently bed-ridden for about two years, during which she was his primary caregiver. She died at their house on Park Avenue, Kew, inMay 1962, aged 82. She was buried alongside her husband in the Catholic section of Melbourne General Cemetery.Passage 3:Joseph J. Sullivan(vaudeville)Joseph J. Sullivan was a blackface comedian and acrobat in New York.  He composed the song Where Did You Get That Hat? and first performed it in1888.  It was a great success and he performed it many times thereafter.Passage 4:Andrew Allen (singer)Andrew Allen (born 6 May 1981) is a Canadiansinger-songwriter from Vernon, British Columbia. He is signed to Sony/ATV and has released five top ten singles, and written and recorded many others, includingWhere Did We Go? with Carly Rae Jepsen. He also records covers and posts them on YouTube.BackgroundRaised in British Columbia's Okanagan Valley, hisacoustic pop/rock music is inspired by artists like Jason Mraz and Jack Johnson.CareerAndrew Allen scored his first hit in 2009, when I Wanna Be Your Christmascracked the Top Ten in his native Canada. He was honored as the feature performer for the Sochi 2014 hand off finale on the internationally broadcast ClosingCeremony of the 2010 Paralympic Winter Games held at Whistler, British Columbia. Allen continued building an international profile in 2010, and released hisbiggest single Loving You Tonight, which sold more than 100,000 copies worldwide, was featured on the Gold Selling NOW 37, hit #6 on the Canadian charts for22 weeks in a row and #30 on the US Hot AC charts, and got him a record deal with Epic after spending much of that year on the road. Because of the song'sattention, Allen had the opportunity to perform with some of the world's biggest artists like Bruno Mars, One Republic, The Barenaked Ladies, Train, MattNathanson, Joshua Radin, Andy Grammer, The Script, Nick Carter, Kris Allen, Carly Rae Jepsen and many others.Loving You Tonight was also featured on thesoundtrack of Abduction starring Taylor Lautner.CollaborationsAndrew Allen is also well known in the songwriting community, and has written songs with artistslike Meghan Trainor, Rachel Platten, Cody Simpson, Carly Rae Jepsen, Matt Simons, Conrad Sewell as well as writer/producers like Toby Gad, Ryan Stewart, EricRosse, Jason Reeves, John Shanks, Nolan Sipes, Mark Pellizzer (Magic), Brian West and Josh Cumbee. Numerous songs he has been a part of writing have beenreleased by various artists, including Last Chance, which was on the Grammy nominated album Atmosphere by Kaskade feat. DJ Project 46, Ad Occhi Chiusiwhich was on the Double Platinum release by Italian artist Marco Mengoni and Maybe (which Allen also later released himself) released by teen pop sensationDaniel Skye, as well as many others.SinglesI Wanna Be Your Christmas (2009)Loving You Tonight (2010)I Want You (2011)Where Did We Go? (2012)Satellite(2012)Play with Fire (2013)Thinking About You (2014)What You Wanted (2016)Favorite Christmas Song (2017)Maybe (2017)DiscographyThe Living RoomSessions (2008)Andrew Allen EP (2009)The Mix Tape (2012)Are We Cool? (2013)All Hearts Come Home (2014)The Writing Room (2020)12:34 (2022;pre-released on vinyl in 2021)Songwriting creditsLast Chance released by Kaskade featuring Project 46 on his Grammy nominated record Atmosphere.Ad OcchiChiusi released by Marco Mengoni on his Double Platinum record.Reasons released by Project 46.No Ordinary Angel released by Nick Howard from The VoiceGermany.Million Dollars released by Nick Howard from The Voice Germany.Maybe released by Daniel Skye.Passage 5:Nancy BaronNancy Baron is an Americanrock singer who was active in New York City in the early 1960s, known for the singles \"Where Did My Jimmy Go?\" and \"I've Got A Feeling\".Early lifeBorn into afamily of singers and writers, Baron was introduced to many musical genres by her family at an early age. Noting her singing talents, her parents brought theiryoung child to auditions for musical theater productions in New York City. The singer joined Glee clubs at school and formed her own female singing groups atschool. At the age of 11, she heard her first \"Rock and Roll\" song. This affected her taste in music and desire to emulate the style; it was the first time she hearda Rock group with a female lead singer. This was significant since she realized that she could be a lead singer.Recording careerAt the age of 15, her parents senther for vocal coaching in Manhattan, N.Y. After a while her coach sent her to record a demonstration record in a sound studio near Broadway. Upon hearing hersing, the sound engineer contacted his friend who was a producer of a small record company in N.Y.C.; he was impressed by her voice and immediately signedher to a contract. The singer's mother co-signed the document since Baron was a fifteen-year-old minor at the time.Baron became one of the many girl group/girl"}
+{"doc_id":"doc_140","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland andAustralia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater publicattention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hoodhas one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the AfricanBody, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles:Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written oredited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats:Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with DavisCoakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers(1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe,Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is atrustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the InternationalAssociation of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from LourdesUniversity. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.==Notes ==Passage 2:Scott KalvertScott Kalvert (August 15, 1964 – March 5, 2014) was an American film director, known mainly for his 1995 film The BasketballDiaries, starring Leonardo DiCaprio and Mark Wahlberg, and 2002's Deuces Wild, starring Stephen Dorff and Brad Renfro.He was also a successful music videodirector, collaborating with artists such as Cyndi Lauper, Jetboy, Snoop Doggy Dogg, DJ Jazzy Jeff and The Fresh Prince, Bobby Brown, Taylor Dayne, Deep BlueSomething, Billy Ocean, Marky Mark and the Funky Bunch, LL Cool J, Samantha Fox, Eric B. & Rakim and Salt 'n' Pepa.Kalvert was found dead in his home inWoodland Hills, Los Angeles on March 5, 2014, from an apparent suicide. He left behind his wife and two daughters.Selected filmographyThe Basketball Diaries(1995)Deuces Wild (2002)Passage 3:Elliot SilversteinElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed theAcademy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon(1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of six featurefilms in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.The other Silversteinfilms, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other work included directing for thetelevision shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, his films were oftendecorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime AchievementAward by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in thecategory of Best Feature Film Suitable for Young People for Cat Ballou.He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGAAward in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangler award at the Western"}
+{"doc_id":"doc_141","qid":"","text":"Passage 1:Amaury I de MontfortAmaury I de Montfort (died c. 1053) was Lord of Montfort, son of Guillaume de Montfort of Hainaut, the first Lord of Montfort. Thecastle of Montfort l'Amaury, of which he started the construction, was completed by his son Simon I de Montfort, who succeeded him as Lord of Montfort. Hemarried Bertrade.He and his wife had three children:Simon I de Montfort (died 25 September 1087)Mainier de Montfort, Seigneur d'Épernon (died before1091)Eva (died 23 Jan 1099), married William Crispin (died 8 January 1074), son of Gilbert I CrispinPassage 2:Beatrice, Countess of MontfortBeatrice deMontfort, Countess of Montfort-l'Amaury (December 1249 – 9 March 1312) was a ruling sovereign countess of Montfort from 1249 until 1312. She was alsocountess of Dreux by marriage to Robert IV, Count of Dreux. She was the ancestor of the Dukes of Brittany from the House of Montfort-Dreux which derived itsname from her title.LifeBeatrice was born sometime between December 1248 and 1249, the only child of John I of Montfort, Count of Dreux and Jeanne, Dame deChateaudun.ReignIn 1249, Beatrice's father died in Cyprus, while participating in the Seventh Crusade. Thus, Beatrice succeeded her father as ruling countess ofMontfort at the age of about one year old.In 1251, Jeanne married her second husband, John II of Brienne, Grand Butler of France. Jeanne and John had adaughter, Blanche de Brienne, Baroness Tingry (1252–1302); Blanche married William II de Fiennes, Baron of Tingry. Jeanne died sometime after 1252, leavingBeatrice and her half-sister Blanche as her co-heiresses.Beatrice was married to Robert IV, Count of Dreux, Braine and Montfort-l'Amaury in 1260, when she wasabout eleven years old. He was the son of John I, Count of Dreux and Braine, and Marie de Bourbon. As was the custom for female rulers at this point in time, hebecame the co-ruler with Beatrice and Count of Montfort by right of his wife after their wedding.DeathBeatrice died on 9 March 1312 at the age of aroundsixty-three. She was buried in the Abbaye de Haute-Bruyère.IssueBeatrice and Robert had:Marie of Dreux (1261/62–1276), in 1275 married Mathieu deMontmorencyYolande de Dreux (1263–1323), Countess of Montfort, married, firstly, on 15 October 1285, King Alexander III of Scotland, and, secondly, in 1292,Arthur II, Duke of BrittanyJohn II of Dreux (1265–1309)Joan of Dreux, Countess of Braine, married, firstly, Jean IV de Roucy, and, secondly, John of BarBeatriceof Dreux, abbess of Port-Royal-des-Champs (1270–1328)Robert of Dreux, seigneur of Chateau-du-Loire.AncestryPassage 3:Simon de Montfort, 5th Earl ofLeicesterSimon de Montfort, 5th Earl of Leicester (c. 1175 – 25 June 1218), known as Simon IV (or V) de Montfort and as Simon de Montfort the Elder, was aFrench nobleman and knight of the early 13th century. He is widely regarded as one of the great military commanders of the Middle Ages. He took part in theFourth Crusade and was one of the prominent figures of the Albigensian Crusade. Montfort is mostly noted for his campaigns in the latter, notably for his triumphat Muret. He died at the Siege of Toulouse in 1218. He was lord of Montfort-l'Amaury from 1188 to his death and Earl of Leicester in England from 1204. He wasalso Viscount of Albi, Béziers and Carcassonne from 1213, as well as Count of Toulouse from 1215.Early lifeHe was the son of Simon de Montfort (d. 1188), lord ofMontfort l'Amaury in France near Paris, and Amicia de Beaumont, daughter of Robert de Beaumont, 3rd Earl of Leicester. He succeeded his father as lord ofMontfort in 1181; in 1190 he married Alix de Montmorency, the daughter of Bouchard III de Montmorency. She shared his religious zeal and would accompanyhim on his campaigns.In 1199, while taking part in a tournament at Ecry-sur-Aisne, he took the cross in the company of Count Thibaud de Champagne and wenton the Fourth Crusade. The crusade soon fell under Venetian control, and was diverted to Zara on the Adriatic Sea. Pope Innocent III had specifically warned theCrusaders not to attack fellow Christians; Simon opposed the attack and urged a waiting Zara delegation not to surrender, claiming the Frankish troops would notsupport the Venetians in this. As a result, the delegation returned to Zara and the city resisted. Since most Frankish lords were in debt to the Venetians, they didsupport the attack and the city was sacked in 1202. Simon did not participate in this action and was one of its most outspoken critics. He and his associates,including Abbot Guy of Vaux-de-Cernay, left the crusade when the decision was taken to divert once more to Constantinople to place Alexius IV Angelus on thethrone. Instead, Simon and his followers travelled to the court of King Emeric of Hungary and thence to Acre.His mother was the eldest daughter of Robert ofBeaumont, 3rd Earl of Leicester. After the death of her brother Robert de Beaumont, 4th Earl of Leicester without children in 1204, she inherited half of hisestates and a claim to the Earldom of Leicester. The division of the estates was effected early in 1207, by which the rights to the earldom were assigned to Amiciaand Simon. However, King John of England took possession of the lands himself in February 1207, and confiscated its revenues. Later, in 1215, the lands werepassed into the hands of Simon's cousin, Ranulph de Meschines, 4th Earl of Chester.Later lifeSimon remained on his estates in France before taking the crossonce more, this time against Christian dissidence.  He participated in the initial campaign of the Albigensian Crusade in 1209, and after the fall of Carcassonne,was elected leader of the crusade and viscount of the confiscated territories of the Raymond-Roger Trencavel family.Simon was rewarded with the territoryconquered from Raymond VI of Toulouse, which in theory made him the most important landowner in Occitania. He became feared for his ruthlessness. In 1210he burned 140 Cathars in the village of Minerve who refused to recant – though he spared those who did. In another widely reported incident, prior to the sack ofthe village of Lastours, he brought prisoners from the nearby village of Bram and had their eyes gouged out and their ears, noses and lips cut off. One prisoner,left with a single good eye, led them into the village as a warning.Simon's part in the crusade had the full backing of his feudal superior, the King of France, PhilipAugustus. However, historian Alistair Horne, in his book Seven Ages of Paris, states that Philip \"turned a blind eye to Simon de Montfort's crusade... of which hedisapproved, but readily accepted the spoils to his exchequer\". Following the latter's success in winning Normandy from John Lackland of England, he wasapproached by Innocent III to lead the crusade but turned this down. He was heavily committed to defending his gains against John and against the emergingalliance among England, the Empire and Flanders.However, Philip claimed full rights over the lands of the house of St Gilles; some historians believe his dispatchof de Montfort and other northern barons to be, at the very least, an exploratory campaign to reassert the rights of the French Crown in Le Midi. Philip may wellalso have wanted to appease the papacy after the long dispute over his marriage, which had led to excommunication. He also sought to counter any adventure byKing John of England, who had marriage and fealty ties also with the Toulouse comtal house. Meanwhile, others have assessed Philip's motives to includeremoving over-mighty subjects from the North, and distracting them in adventure elsewhere, so they could not threaten his increasingly successful restoration ofthe power of the French crown in the north.Simon is described as a man of unflinching religious orthodoxy, deeply committed to the Dominican order and thesuppression of heresy. Dominic Guzman, later Saint Dominic, spent several years during the war in the Midi at Fanjeau, which was Simon's headquarters,especially in the winter months when the crusading forces were depleted. Simon had other key confederates in this enterprise, which many historians view as aconquest of southern lands by greedy men from the north. Many of them had been involved in the Fourth Crusade. One was Guy Vaux de Cernay, head of aCistercian abbey not more than twenty miles from Simon's patrimony of Montfort Aumary, who accompanied the crusade in the Languedoc and became bishop ofCarcassonne. Meanwhile, Peter de Vaux de Cernay, the nephew of Guy, wrote an account of the crusade. Historians generally consider this to be propaganda tojustify the actions of the crusaders; Peter justified their cruelties as doing \"the work of God\" against morally depraved heretics. He portrayed outrages committedby the lords of the Midi as the opposite.Simon was an energetic campaigner, rapidly moving his forces to strike at those who had broken their faith with him – andthere were many, as some local lords switched sides whenever the moment seemed propitious. The Midi was a warren of small fortified places, as well as home tosome highly fortified cities, such as Toulouse, Carcassonne and Narbonne. Simon showed ruthlessness and daring as well as being particularly brutal with thosewho betrayed their pledges – as for example, Martin Algai, lord of Biron. In 1213 Simon defeated Peter II of Aragon at the Battle of Muret. This completed thedefeat of the Albigensians, but Simon carried on the campaign as a war of conquest. He was appointed lord over all the newly acquired territory as Count ofToulouse and Duke of Narbonne (1215). He spent two years in warfare in many parts of Raymond's former territories; he besieged Beaucaire, which had beentaken by Raymond VII of Toulouse, from 6 June 1216 to 24 August 1216.Raymond spent most of this period in the Crown of Aragon, but corresponded withsympathisers in Toulouse. There were rumours in September 1216 that he was on his way to Toulouse. Abandoning the siege of Beaucaire, Simon partially sackedToulouse, perhaps intended as punishment of the citizens. Raymond returned in October 1217 to take possession of Toulouse. Simon hastened to besiege thecity, meanwhile sending his wife, Alix de Montmorency, with bishop Foulques of Toulouse and others, to the French court to plead for support. After maintainingthe siege for nine months, Simon was killed on 25 June 1218 while combating a sally by the besieged. His head was smashed by a stone from a mangonel,operated, according to one source, by the donas e tozas e mulhers (\"ladies and girls and women\") of Toulouse. He was buried in the Cathedral of Saint-Nazaire atCarcassonne. His body was later moved by one of his sons to be reinterred at Montfort l'Amaury. A tombstone in the south transept of the cathedral is inscribed\"of Simon de Montfort\".ChildrenSimon and Alix had:Amaury de Montfort married Beatrix of Viennois, died in 1241 returning from the Barons' CrusadeSimon deMontfort, 6th Earl of Leicester married Eleanor of England, killed at the Battle of Evesham on 4 August 1265Guy de Montfort, Count of Bigorre married Petronille,Countess of Bigorre, on 6 November 1216 and died at the siege of Castelnaudary on 20 July 1220Amicie de Montfort, married Gaucher de Joigny, founded theconvent at Montargis and died there in 1252Petronilla, became abbess of the Cistercian nunnery of St. Antoine'sInheritanceHis French estates passed to his eldest"}
+{"doc_id":"doc_142","qid":"","text":"Passage 1:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and thewife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of QueenAhmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; hertitles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of thegod Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died inaround 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. Thegreat royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a sonnamed Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been theparents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is noconclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valleyof the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley beforethat of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the Americanmillionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot,and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall ofthe tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, theirnon-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing itslid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin hadbeen removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had beenremoved and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having somedifficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by fourbandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers ofbandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storagejars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderlywoman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with herhands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her bodycavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in hisexamination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at morethan 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed,though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneousfilling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teethwere in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she hadsevere scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological itemspertaining to ThuyaPassage 2:Joan Holland, Duchess of BrittanyLady Joan Holland (1350 – October 1384) was Duchess of Brittany as the second wife of John IV,Duke of Brittany. She was the daughter of Joan of Kent and Thomas Holland, 1st Earl of Kent. Her mother's second husband was Edward the Black Prince, and thechild of that marriage was King Richard II of England.Joan Holland's marriage to John IV took place in London in May 1366, but without the approval of KingEdward III of England, Joan's step-grandfather, who claimed overlordship of Brittany. The couple had no children.Joan's death, in her thirties, was politicallyinexpedient. In 1386, two years afterwards, John IV married Joan of Navarre, later the queen of King Henry IV of England.Passage 3:Louisa Montagu DouglasScott, Duchess of BuccleuchLouisa Jane Montagu Douglas Scott, Duchess of Buccleuch and Queensberry  (26 August 1836 – 16 March 1912) was the daughter ofJames Hamilton, 1st Duke of Abercorn.  In 1884, she became the Duchess of Buccleuch and Duchess of Queensberry, the wife of William Henry Walter MontaguDouglas Scott, 6th Duke of Buccleuch and 8th Duke of Queensberry. She was the paternal grandmother of Princess Alice, Duchess of Gloucester, and of MarianLouisa, Lady Elmhirst, as well as a maternal great-grandmother of Prince William of Gloucester and Prince Richard, Duke of Gloucester, and agreat-great-grandmother of Sarah, Duchess of York. Diana, Princess of Wales, is one of her great-great-great-nieces.Early life, marriage, and familyLouisa JaneHamilton was born on Friday 26 August 1836 in Brighton, Sussex, England, the third child of fourteen born to James Hamilton, 1st Duke of Abercorn, and theformer Lady Louisa Russell, daughter of John Russell, 6th Duke of Bedford.She married William Montagu Douglas Scott, Earl of Dalkeith, on 22 November 1859 inLondon. Lord Dalkeith was the eldest son of the Walter Montagu Douglas Scott, 5th Duke of Buccleuch, and his wife, the former Lady Charlotte Thynne. They hadsix sons and two daughters:Walter Henry Montagu Douglas Scott, Earl of Dalkeith (17 January 1861 – 18 September 1886)John Charles Montagu Douglas Scott,7th Duke of Buccleuch (30 March 1864 – 19 October 1935)Lord George William Montagu Douglas Scott (31 August 1866 – 23 February 1947); married on 30April 1903 Lady Elizabeth Emily Manners (daughter of John Manners, 7th Duke of Rutland and Janetta Hughan) and had issueLord Henry Francis Montagu DouglasScott (15 January 1868 – 19 April 1945)Lord Herbert Andrew Montagu Douglas Scott (30 November 1872 – 17 June 1944); married 26 April 1905 MarieJosephine Edwards and had issue, maternal grandfather of Sarah, Duchess of YorkLady Katharine Mary Montagu Douglas Scott (25 March 1875 – 7 March 1951);married Thomas Brand, 3rd Viscount Hampden, and had issueLady Constance Anne Montagu Douglas Scott (10 March 1877 – 7 May 1970); married on 21January 1908 The Hon. Douglas Halyburton Cairns (son of Hugh Cairns, 1st Earl Cairns and Mary Harriet McNeill) and had issueLord Francis George MontaguDouglas Scott (1 November 1879 – 26 July 1952); married on 11 February 1915 Lady Eileen Nina Evelyn Sibell Elliot-Murray-Kynynmound (daughter of GilbertElliot-Murray-Kynynmound, 4th Earl of Minto, and Lady Mary Caroline Grey) and had issueCareerShe served as Mistress of the Robes to Queen Victoria from 1885– 1892 (Conservative), and again from 1895 – 1901. She was appointed Mistress of the Robes to Queen Alexandra in 1901, a position in which she served untilher death in 1912.DeathThe duchess died on Saturday 16 March 1912, in her 76th year, at Dalkeith Palace, Midlothian, Scotland.  She was survived by herhusband, and six of her children and their families.She was buried on Wednesday 20 March 1912 in the Buccleuch family crypt in St. Mary's Church, DalkeithPalace, Midlothian, Scotland.Titles, styles, and honours16 April 1884 – 1912: The Duchess of Buccleuch and QueensberryHonours1885: Invested as Lady, RoyalOrder of Victoria and Albert (VA), 3rd Class1885 – 1892 and 1895 – 1901:  Mistress of the Robes to Queen Victoria1901 – 1912: Mistress of the Robes to QueenAlexandraAncestryPassage 4:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus thegreat-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amral-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her fatherdied, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitioushopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hopedthat the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any ofthe sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Daribn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol reveredby Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon)because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. Shewas also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Familytree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage5:Margaret of France, Duchess of BerryMargaret of Valois, Duchess of Berry (French: Marguerite de Valois) (5 June 1523 – 15 September 1574) was Duchess ofSavoy by marriage to Duke Emmanuel Philibert of Savoy. She was the daughter of King Francis I of France and Claude, Duchess of Brittany.BiographyEarly"}
+{"doc_id":"doc_143","qid":"","text":"Passage 1:War of the Buttons (1994 film)War of the Buttons is a 1994 comedy-drama adventure film directed by John Roberts. It was written by Colin Wellandand based on the French novel La Guerre des boutons, by Louis Pergaud. The story, about two rival boys' gangs in Ireland, the Ballys (working class) and theCarricks (middle class), is set in County Cork, where it was filmed on location.The film has been classified as a drama and comedy, and the tone is frequently lightand humorous. It examines issues of conflict and war, the actions and consequences of violence, and how it can divide and oppose people who can be friends aseasily as they can be enemies.PlotIn the Republic of Ireland in the 1960s, more precisely the centre of the bridge over the river that separates the Irish villages ofCarrickdowse and Ballydowse, there is a white line that few young people dare cross. The boys of each village spend most of their time trying to upstage theother, whether over the sale of hospital raffle tickets, or something more important, such as deciding who is a \"tosspot\" and who is not, or, for that matter,defining \"tosspot\". This \"War of the Buttons\", in which the buttons from the enemies clothes are captured, has gone on as long as the youths can remember, and\"to the death\", though rarely does either group hurt more than its pride.The leader of the Ballys is Fergus (Gregg Fitzgerald), the son of a pauper family and anunpromising student who lives in a trailer on the edge of Ballydowse with his mother and abusive stepfather. What Fergus lacks in education, he makes up for inleadership, and the youth of Ballydowse will follow him anywhere. The members of the Ballys include Marie (Eveanna Ryan), the narrator, who revisits hermemories of what happened from her adult viewpoint. The leader of the Carricks is Jerome (John Coffey), the son of a wealthy family. He is nicknamed Geronimoafter the Apache tribal chief.The story explores how events escalate, gang class differences (the original and main incentive for their war), Fergus's troubles withhis oppressive environment, conflicts that arise when the adults of the villages discover the feud, and conflicts within the Ballys. Their tactics to \"win\" the war,including a nude ambush of their enemies, are shown in great detail. After a series of battles, Fergus denounces Riley (Thomas Kavanagh) as a traitor to thecause before the final showdown which has the Ballys attacking an abandoned castle ruin defended by the Carricks. The Carricks lose, and, taken prisoner,Geronimo himself cuts off his buttons and gives them to Fergus. While the Ballys celebrate in their headquarters, Geronimo, driving Riley's father's tractor like atank, levels the Bally clubhouse. This puts a bitter end to the War of the Buttons.Finally fed up, the towns' adults, including Geronimo's father (Colm Meaney) andFergus' abusive stepfather (Jim Bartley), reclaim their children. Fergus runs off to the mountains, where Geronimo follows him in an unspoken gesture ofsolidarity. After being captured, the two boys are put in the church orphanage, where they put aside their differences and become best friends. Marie narrates thecoda, expressing that she married one of the boys, and that the other became the couple's closest friend, but she does not reveal whom she chose towed.CastLiam Cunningham as The MasterGregg Fitzgerald as FergusColm Meaney as Geronimo's DadGer Ryan as Fergus' MomBackgroundThe film's story isbased on the novel La Guerre des boutons, written by Louis Pergaud and published in 1912. Pergaud's popular book has been reprinted more than 30 times. Ithas been adapted as film for the first time in the French productions La Guerre des gosses (1936) (fr) and La Guerre des boutons (War of the Buttons, 1962), thelatter a black and white film directed by Yves Robert.The Irish screenplay was written by Colin Welland and the movie was directed by John Roberts. The producerDavid Puttnam and Welland had worked earlier on the Academy Award-winning Chariots of Fire. This was their second film together. The movie starred a youngAlan Maguire, the actor from Corofin, Co. Clare.During the same week in September 2011, two new French film adaptations of the novel were released: War ofthe Buttons, directed by Yann Samuell, set in the 1950s with the Algerian War as backdrop, and War of the Buttons, directed by Christophe Barratier and setduring World War II in Occupied France.Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museumdirector who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museumof Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United Statesafter leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum ofArt. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was bornin Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During histenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exportedprior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), anIndian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum ofArt in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bringgreater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and"}
+{"doc_id":"doc_144","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:Edmond T. GrévilleEdmond T. Gréville (born Edmond Gréville Thonger; 20 June 1906  – 26 May 1966) was a French filmdirector and screenwriter. He was married to the actress Vanda Gréville.CareerGréville began his career as a film journalist and critic. In parallel with a few actingperformances in some silent films and in the first talkie of René Clair, Sous les toits de Paris (1930), he directed his first short films. His first experience ofdirecting had been on the shooting of Abel Gance's Napoléon in 1927. He had then worked as an assistant director, notably on the English film Piccadilly,L'Arlésienne (directed by Jacques de Baroncelli), Augusto Genina's  Miss Europe (with Louise Brooks) and  Abel Gance's La Fin du Monde. Between 1930 and 1940he directed several French films:Le Train des suicidés (1931)Remous (1934) with Françoise Rosay, a social-realist film on the sensitive sexual issue of impotence,and released in the US in November 1939 under title Whirlpool of Desire after a legal battle over U.S. censorshipTwo comedy musical films Princesse Tam Tam(1935) with Josephine Baker, and Gypsy Melody (1936), with Lupe Vélez.In Britain again, he filmed Under Secret Orders (1937) with Dita Parlo and John Loder(1937), the English-language version of G. W. Pabst's Mademoiselle Docteur. Gréville also directed Menaces (1938) with Mireille Balin and Erich von Stroheim,with von Stroheim playing an Austrian refugee who commits suicide following the Anschluss. With a heavy atmosphere charged with eroticism which characterizeshis films, Gréville imposed his independence and original style on the cinema of the time.He stopped directing films during the Second World War and theOccupation - xenophobia and anti-Semitism ruined or put a stop to some careers, among film-makers those of Léonide Moguy and Pierre Chenal for example,both French Jews, and the half-British Gréville, and took away production and distribution companies belonging to Jews like the father and son distributorsSiriztky.In 1948 he made a film on the subject of resistance and collaboration in the Anglo-Dutch film Niet tevergeefs/But Not in Vain. The same year he made afilm with Carole Landis, Noose, released in the U.S. as The Silk Noose. In House on the Waterfront (1954) he directed Jean Gabin as a captain confronted by anunscrupulous smuggler and torn by his love for a young woman who is also loved by a younger man.In Gréville's last years he made Beat Girl (1959) with AdamFaith and a horror film The Hands of Orlac (1960) with Mel Ferrer. His last film was L'Accident (1963) with Magali Noël based on a Frédéric David novel.PersonallifeGréville was born in June 1906 in Nice, France, the adopted son of Franco-British parents. In May 1966, he died in hospital in Nice, thought to be the result ofcomplications following a car accident. It was subsequently discovered through the 23andMe genetic testing of his daughter and grandson in 2017, that he wasAshkenazim Jewish, likely from the area of Odessa, based on the present whereabouts of  his closest genetic relations today. Family speculation suggests that hisparents fled the 1905 Russian pogrom to Marseilles, where he may have been discovered in the Nice hospital his English father, a Salvation Army colonel andProtestant pastor, was associated with. His true origin and that of his biological parents, remains a mystery.Selected filmographyThe Train of Suicides (1931)TheTriangle of Fire (1932)Merchant of Love (1935)Gypsy Melody (1936)Brief Ecstasy (1937)Secret Lives (1937)What a Man! (1938)A Woman in the Night(1943)Dorothy Looks for Love (1945)But Not in Vain (1948)The Other Side of Paradise (1953)House on the Waterfront (1955)The Accident (1963)Passage3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodictelevision and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky &Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980),A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written byhis wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor inseveral Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into theArmy. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the PacificResident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also anassociate artist of The Interact Theatre Company.Passage 4:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the SamSpiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Filmand Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director DediBaron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and TelevisionSchool, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and toRenen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at theBerlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Sabamunicipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educationalcommunity activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.InNovember 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam SpiegelInternational Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debutfilm, Sam Spiegel; director and screenwriter, 2006)Passage 5:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art.Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in NorthAdams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College,where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as actingcurator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, SanDiego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointeddirector of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, aperiod that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation ofthe museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia ArtFoundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's HudsonValley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has beencredited with catalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan'stenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also workedclosely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projectsunder construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared anational monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan torun the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from its Europeanand east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had theopportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transformingLACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanentcollection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary ArtMuseum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.ArtistcollaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govaninvited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected thetwisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artist"}
+{"doc_id":"doc_145","qid":"","text":"Passage 1:Young and Dangerous: The PrequelYoung and Dangerous: The Prequel (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is a 1998 Hong Kong crime film directed by Andrew Lau. It is the second prequel in the Young and Dangerous film series.The film shows Chan Ho-nam (Nicholas Tse), Big Head (Daniel Wu), Chow Pan (Benjamin Yuen), Chicken Chiu (Sam Lee), and their friends being recruited by Uncle Bee (Ng Chi-Hung) and joining the \"Hung Hing\" triad.CastNicholas Tse as Chan Ho-namDaniel Wu as Big HeadFrancis Ng as Ugly KwanShu Qi as FeiSam Lee as ChickenSandra Ng as Sister 13 (cameo)Kristy Yang as Yung (cameo)Benjamin Yuen as Chow PanNotesBecause he was only 17, and born on 29 August 1980, Nicholas Tse is not allowed to watch the movie when the movie opens in Hong Kong cinemas on 5 June 1998 because this movie is classified as Category III, which is a restricted category in the Hong Kong motion picture rating system and the category is strictly for persons aged 18 and above only.The story retcons the flashback from the first film, taking place in 1988 rather than 1985.Awards and nominations18th Hong Kong Film AwardsWon: Best New Performer (Nicholas Tse)External linksYoung and Dangerous: The Prequel at IMDbPassage 2:Hanuman Patal VijayHanuman Patal Vijay (Hindi: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000, \"Hanuman's Victory Over Hell\") is a 1951 Hindi mythological film directed by Homi Wadia for his Basant Pictures banner. Meena Kumari starred in this devotional film with S. N. Tripathi playing Hanuman. Following her career as a child actress, Meena Kumari did heroine roles in mythologies made by Basant Pictures and directed by Homi Wadia. She had an extremely successful career for some years playing goddesses before her big commercial break in Baiju Bawra (1951). S. N. Tripathi, besides acting in the film, also composed the music. His costars were Meena Kumari, Mahipal, Niranjan Sharma, Dalpat and Amarnath.The story was about Hanuman's devotion to Ram and his battle with the two demon brothers Ahiravan and Mahiravan.PlotThe story is about Hanuman and his confrontations with The King of Patal, Ahiravan, and his brother Mahiravan, who have been asked by Ravan to kill Ram and Lakshman. Mahiravana kidnaps Naga princess chandrasena who is devoted to Rama. The film follows Hanuman's encounter with Makari, the daughter of the sea, who wants to marry him, but instead through the swallowing of a bead of his sweat she gives birth to Makardhwaj who guards the gates of Patal (Hell) where Ram and Lakshman are taken when kidnapped. Hanuman gets the better of Makardhwaj and rescues Ram and Lakshman. A major battle ensues and Ahiravan and Mahiravan are killed, but somehow they keep regenerating. Hanuman manages to find out the secret of their regeneration and puts a stop to it with the help of Ahiravan's wife Chandrasena. In the end, Rama tells Chandrasena that he will marry her in Dvapara Yuga when he will incarnate as Krishna and marry her as satyabhama.CastMeena KumariMahipalS. N. TripathiShanta KunwarVimalDalpatH. PrakashKanta KumarNiranjan SharmaBimlaAmarnathMusicSonglist.RemakeIt was remade in 1974 as Hanuman Vijay directed by Babubhai Mistri.Passage 3:Young and Dangerous 3Young and Dangerous 3 (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is a 1996 Hong Kong triad film directed by Andrew Lau. It is the second sequel in the Young and Dangerous film series.   Starting from this movie, it is distributed by Golden Harvest Company.PlotWeeks after Chan Ho Nam (Ekin Cheng) is elected branch leader of Causeway Bay of the \" Hung Hing\" Society, \"Chicken\" Chiu (Jordan Chan), best friends Banana Skin (Jason Chu), Pou-pei (Jerry Lamb), Dai Tin-yee (Michael Tse) and K.K. (Halina Tam) after joining the Taiwanese \"San Luen\" triad, is reinstated into Hung Hing by Chairman Chiang Tin Sung (Simon Yam). At the same time, rival triad \"Tung Sing\", led by \"Camel\" Lok (Chan Wai Man) begins to make a name for itself, establishing bars and clubs alongside Hung Hing's areas of operations. Things become heated when Tung Sing member \"Crow\" (Roy Cheung) fuels a deep-seated rivalry between him and Ho Nam, with the threat of open war between the two societies. Meanwhile, Ho Nam's stuttering girlfriend Smartie (Gigi Lai), who was critically injured in a vehicular accident and slipped into a coma, reawakens but with no prior memories to her meeting with Ho Nam for the first time. Regardless, Ho Nam assures her he and his friends will protect her. To add in a stick of comedy, Father \" Lethal Weapon\" Lam (Spencer Lam) introduces his daughter Shuk Fan (Karen Mok) to Chicken, having been good friends and a source of advice for him.During a business trip to Amsterdam with his mistress and Ho Nam, Chairman Chiang is assassinated by thugs. While the rest of Hung Hing believes the hit was orchestrated by Ho Nam, it is the deranged Crow who ordered the chairman's death, using Chiang's mistress to falsify evidence, framing Ho Nam. While Ho Nam goes into hiding back in Hong Kong, Crow is reprimanded by Camel; to add to his insanity, Crow kills his own boss and makes it look like a Hung Hing assassination. Drunk with power, Crow wants nothing more than to destroy Hung Hing and orders his men to search frantically for Ho Nam, who is quick to realize the ambush and escapes with Smartie, until Crow's men manages to separate the two. In their attempt, Smartie is captured but suffers a blow to the head, restoring her memories. Crow tells Ho Nam if he wants his name cleared and his woman back, he must meet him alone.Yet, the crazed Crow does not keep his word and kills Smartie in cold blood in front of Ho Nam. Just as Crow is about to finish him, Chicken bursts in and reaches a stalemate with Crow to ensure Ho Nam's safety. The saddened Ho Nam carries Smartie's body out with him and gives her a proper funeral. Now fueled solely on vengeance, Ho Nam decides to march into Tung Sing territory and kill Crow at Camel's funeral haphazardly. Ho Nam's friends and the rest of Hung Hing manage to capture and threaten Tung Sing member \"Tiger\" (Ng Chi Hung), who tells all of Crow's madness in killing both their societies' leaders. Crow is left nowhere to run from his enemies, and in the midst of a Hung Hing/Tung Sing brawl, he is killed in the funeral pyre. With Crow dead, Tung Sing is left in disarray, and Hung Hing re-establishes control in its territories.CastSee alsoYoung and DangerousExternal linksYoung and Dangerous 3 at IMDbPassage 4:Shri Ganesh MahimaShri Ganesh Mahima also called Shri Krishna Vivah is a 1950 Hindi  mythological film directed by Homi Wadia. The film was made under Wadia's Basant Pictures Banner with music composed by S. N. Tripathi. Meena Kumari, after her career as a child artist, started doing adult roles as heroines in mythologicals and fantasy genres before she made it in mainstream cinema with Baiju Bawra (1952). The cast included Meena Kumari, Mahipal, S. N. Tripathi, Amarnath and Dalpat. It's a side story and indirect sequel to Hanuman Patal Vijay.PlotGanesha curses Chandra (Moon) for his vanity when he laughs at him. On asking forgiveness the curse is changed so that the effect occurs  only on the auspicious day of Ganesh Chaturthi.  Anyone looking at the moon will fall prey to false charges. Lord Krishna (Mahipal) looks at the moon and is accused of having stolen the Syamantaka Mani by Satrajit whose daughter Satyabhama (Meena Kumari) is keen on marrying Krishna. The film follows the fight between Lord Krishna and Jambavan for twenty-one days, with the recovery of the jewel and his marriage to Satyabhama.CastMeena Kumari as SatyabhamaMahipal as Lord KrishnaS. N. TripathiIndira BilliMoolchandVimalMangalaDalpatAmarnathBox-OfficeThe film did not strictly adhere to the telling of Ganesha's story from the classics but focused on a particular incident covering Lord Krishna. It attracted media publicity and became successful at the box-office \" breaking box-office records\".RemakesIt was remade in Telugu as Vinayaka Chavithi 1957 with NTR playing his iconic role, character of Krishna and in Hindi once again as Shree Ganesh in 1962 by Babubhai Mistry, with Mahipal reprising his iconic role as Lord Krishna, the actor who had played Satrajit, also reprised his role. The song Surya Dev Dinesh Hai, which played during Satrajit worship of Lord Surya was reused in that movie. In both remakes, Krishna Kumari starred as Rukmini.Ot was remade again in 1977 as Jai Dwarkadheesh, by Sushil Gupta, to serve as sequel to prequel remake Hanuman Vijay which also retained ensemble same cast, starring Ashish Kumar, Kanan Kaushal, Radha Saluja, Jayshree T, Manher Desai, Anita Guha, Hercules, B M Vyas, Bharat Bhushan, S.N.Tripati.Director: . MusicThe film had music directed by S. N. Tripathi and lyrics by Ramesh Pandey. The main singers were Mohammed Rafi and Geeta Dutt.Song listPassage 5:Young and Dangerous 4Young and Dangerous 4 (Chinese: 97\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; Literal Title 97 Wise Guys: No War Cannot Be Won) is a 1997 Hong Kong triad film directed by Andrew Lau. It is the third sequel to the Young and Dangerous film series.SynopsisThe film opens in 1996. It begins with the wedding of Dai Tin Yee and his girlfriend. At the wedding, Chan Ho Nam agrees to travel to Thailand with the other branch leaders of Hung Hing in order to try and recruit Chiang Tin Yeung to lead the Hung Hing triad. While 6 of the 12 branch leaders are in Thailand, Dinosaur, back in Hong Kong, who leads the Tuen Mun area for Hung Hing is assassinated by being thrown over a building by Tiger of rival gang Tung Sing society. The following day, Chan Ho Nam and his fellow leaders in Thailand learn of Dinosaur's demise and agree to elect a new branch leader for the Tuen Mun area. The two nominees are Barbarian (Dinosaur's right-hand man) and Chicken San Gai (Chan Ho Nam's right-hand man). Chan Ho Nam warns Chicken of the dangers of running for branch leader but Chicken chooses to run anyway, causing a feud among their friendship. Meanwhile, Chiang Tin Yeung agrees to head back to Hong Kong to lead the Hung Hing society. He declares that Barbarian and Chicken are given a time period to prove themselves worthy of leading Tuen Muen for Hung Hing. Barbarian gets support from Fatty Lai, the branch leader of North Point, and it's revealed that Fatty Lai's printing studio was once nearly burnt under the orders of Uncle Bee by Chan Ho Nam, which made them enemies. Meanwhile Chicken also gets support from Ben Hon, Sister 13, Tai Fei, and Prince.Back in Hong Kong, Shuk Fan begins her career as a teacher with the worst students in the high school and she is able to temporarily befriend them. She also introduces her colleague Yan Yan to Chan Ho Nam, who lost his girlfriend previously. Chan Ho Nam lies to Yan Yan, saying that he's a tutorial teacher. Meanwhile, Chicken is fighting an uphill battle for his candidacy for Tuen Mun. Barbarian, who is a local of Tuen Mun, already has the upper hand in terms of support from the locals. Chicken tries to throw parties, but no one attends as everyone else is at Barbarian's party. At every turn, Chicken is continuously humiliated by Barbarian. Barbarian even has help from Tiger of rival gang Tung Sing. Tiger provides Barbarian with his wisdom, support, and money. He hopes to gain his own control of the Tuen Muen area with his own society with Barbarian as his puppet.All of Chicken's supporters come "}
+{"doc_id":"doc_146","qid":"","text":"Passage 1:The Goose WomanThe Goose Woman is a 1925 American silent drama film directed by Clarence Brown and starring Louise Dresser with Jack Pickfordas her son. The film was released by Universal Pictures.The Rex Beach short story is based in part on the then already sensational Hall-Mills murder case in whicha woman named Jane Gibson is described as a pig woman because of the pigs she raised on her property.PlotAs described in a film magazine reviews, operasinger Mary Holmes loses her voice as a result of giving birth to a boy, and develops an intense dislike of her offspring. She becomes a victim of drink, living alonein a shabby cottage and raises geese. Her son wins the love of Hazel Woods, a young actress, who repulsed the vicious advances of a millionaire theatre-owner.The latter is murdered. To gain publicity, Mary invents a wild story about having witnessed the murder. The district attorney furnishes her with fine clothes,reveals her identity as a former stage star, and she is the sensation of the day. However, the details she concocts about the crime cause her son’s arrest.Confronted with him, she experiences a sudden awakening of mother-love and confesses that her story is false. It transpires that the theatre doorman is theguilty person. The son is cleared and faces a happy future with his reformed parent and Hazel.CastReceptionBoth critics and audiences favorably received thefilm. The Goose Woman was remade in 1933 as The Past of Mary Holmes featuring Helen MacKellar and Jean Arthur.Passage 2:You Can No Longer RemainSilentYou Can No Longer Remain Silent (German: Du darfst nicht länger schweigen) is a 1955 West German romantic drama film directed by Robert A. Stemmleand starring Heidemarie Hatheyer, Wilhelm Borchert and Werner Hinz. It is based on the 1929 novel  Morning of Life by Kristmann Gudmundsson. It is setamongst feuding Scandinavian fishing families.It was shot at the Tempelhof Studios in Berlin with location shooting around in Sweden around Gothenburg. Thefilm's sets were designed by the art directors Helmut Nentwig and Karl Weber.CastPassage 3:The Goose Girl (1957 film)The Goose Girl (German: DieGänsemagd) is a 1957 West German family film directed by Fritz Genschow and starring Rita-Maria Nowotny, Renée Stobrawa and Renate Fischer. It is based onthe fairy tale The Goose Girl by the Brothers Grimm.CastRita-Maria Nowotny as Prinzessin RosemargretRenée Stobrawa as Königin-MutterRenate Fischer asMalice - KammermädchenGünter Hertel as Prinz FriedbertAlexander Welbat as Hinz - ReitburscheWolfgang Draeger as Kunz - ReitburscheFritz GenschowTheodorVogelerPeter HackPassage 4:Clarence BrownClarence Leon Brown (May 10, 1890 – August 17, 1987) was an American film director.Early lifeBorn in Clinton,Massachusetts, to Larkin Harry Brown, a cotton manufacturer, and Katherine Ann Brown (née Gaw), Brown moved to Tennessee when he was 11 years old. Heattended Knoxville High School and the University of Tennessee, both in Knoxville, Tennessee, graduating from the university at the age of 19 with two degrees inengineering. An early fascination in automobiles led Brown to a job with the Stevens-Duryea Company, then to his own Brown Motor Car Company in Alabama.He later abandoned the car dealership after developing an interest in motion pictures around 1913. He was hired by the Peerless Studio at Fort Lee, New Jersey,and became an assistant to the French-born director Maurice Tourneur.CareerAfter serving as a fighter pilot and flight instructor in the United States Army AirService during World War I, Brown was given his first co-directing credit (with Tourneur) for The Great Redeemer (1920). Later that year, he directed a majorportion of The Last of the Mohicans after Tourneur was injured in a fall.Brown moved to Universal in 1924, and then to Metro-Goldwyn-Mayer, where he remaineduntil the mid-1950s. At MGM he was one of the main directors of their major female stars; he directed Joan Crawford six times and Greta Garbo seven.Brown wasnominated six times (see below) for an Academy Award as a director, but he never received an Oscar. However, he won Best Foreign Film for Anna Karenina,starring Garbo at the 1935 Venice International Film Festival.Brown's films gained a total of 38 Academy Award nominations and earned nine Oscars. Brownhimself received six Academy Award nominations and in 1949, he won the British Academy Award for the film version of William Faulkner's Intruder in the Dust.In1957, Brown was awarded The George Eastman Award, given by George Eastman House for distinguished contribution to the art of film. Brown retired a wealthyman due to his real estate investments, but refused to watch new movies, as he feared they might cause him to restart his career.The Clarence Brown Theater,on the campus of the University of Tennessee, is named in his honor. He holds the record for most nominations for the Academy Award for Best Director without awin, with six.Personal lifeClarence Brown was married four times. His first marriage was to Paula Herndon Pratt in 1913, which lasted until their divorce in 1920.The couple produced a daughter, Adrienne Brown.His second marriage was to Ona Wilson, which lasted from 1922 until their divorce in 1927.He was engaged toDorothy Sebastian and Mona Maris, although he did not marry either of them, with Maris later saying she ended their relationship because she had her \"own ideasof marriage then.\"He married his third wife, Alice Joyce, in 1933 and they divorced in 1945.His last marriage was to Marian Spies in 1946, which lasted until hisdeath in 1987.DeathBrown died at the Saint John's Health Center in Santa Monica, California from kidney failure on August 17, 1987, at the age of 97. He isinterred at Forest Lawn Memorial Park in Glendale, California.On February 8, 1960, Brown received a star on the Hollywood Walk of Fame at 1752 Vine Street, forhis contributions to the motion pictures industry.Selected filmographyDirectorTrilby (1915)The Law of the Land (1917)The Blue Bird (1918)The Great Redeemer(1920)The Last of the Mohicans (1920)The Foolish Matrons (1921)The Light in the Dark (1922)Don't Marry for Money (1923)The Acquittal (1923)ActorThe SignalTower (1924) – Switch ManBen-Hur (1925) – Chariot Race Spectator (uncredited)Navy Blues (1929) – Roller Coaster Rider (uncredited)Possessed (1931) – Manon Merry-Go-Round (uncredited) (final film role)NotesPassage 5:Bill SalugaWilliam Saluga (September 16, 1937 – March 28, 2023) was an American comedianand founding member of the improvisational comedy troupe Ace Trucking Company. He appeared on several television programs, including Seinfeld.EarlylifeSaluga was born on September 16, 1937 in Youngstown, Ohio. When Saluga was 10, his father was killed in an industrial accident at the Republic Steel Millwhere he worked and his mother supported the family by working as a bookkeeper. Saluga, known as \"Billy\" to his friends and family, was a high schoolcheerleader and class clown. After graduation, he served two years in the Navy and then began working as a performer in local theaters.CareerSaluga spentseveral years performing in Youngstown, Ohio theaters and clubs. He played numerous roles in notable productions, including Guys and Dolls and Inherit theWind. Saluga became a talent coordinator for the Steve  Allen show in the late 1960s. in 1969, he created the \"Johnson\" character while a member of the comedictroupe Ace Trucking Company.Saluga's shtick as the character \"Johnson\" would be, when someone would refer to him as \"Mr. Johnson\" or by the common genericnickname \"Johnson,\" to exaggeratedly feign offense and list off all permutations of the name Raymond J. Johnson Jr. and nicknames thereof that do not mentionthe word \"Johnson:\"\"NOOO!!! You don't have to call me Johnson! My name is Raymond J. Johnson Jr.  Now you can call me Ray, or you can call me J, or you cancall me Johnny, or you can call me Sonny, or you can call me Junie, or you can call me Junior; now you can call me Ray J, or you can call me RJ, or you can callme RJJ, or you can call me RJJ Jr. . . but you doesn't hasta call me Johnson!\" Saluga would then smugly turn away and begin puffing on his cigar. Saluga's routinereceived more widespread attention in the late 1970s after being used in a series of commercials for Miller Lite beer, and subsequently, in the early 1980s forAnheuser-Busch Natural Light beer. Saluga appeared alongside comedian/pitchman Norm Crosby echoing (in a roundabout way) Norm's advice to unknowingcustomers on how to more easily order the lengthily-named beer: \"Well, y'doesn't hasta call it Anheuser Busch Natural Light Beer, and y'doesn't hasta call it'Busch Natural.'  Just say 'Natural!'\" Saluga then later launches into the \"You can call me Ray\" routine after Crosby warns not to ask Johnson his name.From 1977to 1978, Saluga appeared regularly as Raymond J. Johnson Jr. on Redd Foxx's eponymous variety show. Saluga as Johnson also made appearances on This IsTom Jones, Laugh-In  and The David Steinberg Show. He also made appearances on Chuck Barris' The Gong Show during 1977 and 1978.A novelty disco singlecalled \"Dancin' Johnson,\" based around Johnson's schtick, was released in 1978. a 1978 episode of Good Times contained a scene where Keith (while intoxicated)recited \"You can call me Ray, or you can call me J\" which was at the height of its popularity for the saying.Bob Dylan referenced the \"you may call me\" schtick inhis 1979 hit, \"Gotta Serve Somebody,\" when he sings, \"You may call me Terry, you may call me Timmy / You may call me Bobby, you may call me Zimmy / Youmay call me R.J., you may call me Ray / You may call me anything, but no matter what you say / You’re gonna have to serve somebody.\" The idea for the verseoriginated from Jerry Wexler, who suggested it during the recording sessions for Slow Train Coming.The character's popularity is referenced in multiple episodesof The Simpsons, with Saluga appearing as himself in the 2002 episode \"The Old Man and the Key\". Saluga also appeared as Johnson in the 2010 King of the Hillepisode \"Just Another Manic Kahn-Day\".Death and legacySaluga died of cardiopulmonary arrest in Los Angeles on March 28, 2023, at the age of 85. Saluga'snephew, Scott Saluga, told the media that his uncle was living in Burbank, California at the time of his death. Saluga did not have any surviving immediate familymembers.Saluga told friends he didn't mind being typecast and known to the public as Raymond Johnson. Comedian David Steinberg said that \"Billy was alwaysdoing Ray J. He was relentless with it. I would say 'Mr. Johnson' and Billy would be off. He did it everywhere. At parties. His timing and delivery were so funnyevery time.\"In 2017, Saluga said that people never recognized him outside his character and that it gave him great pleasure hearing people perform his shtick inhis presence without knowing who he was.BibliographySaluga, Bill (1982). Bill Saluga's Name Game Book. Bantam Books. ISBN 978-0553207545.Passage 6:LaBestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.ExternallinksLa Bestia humana at IMDbPassage 7:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who"}
+{"doc_id":"doc_147","qid":"","text":"Passage 1:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyAchoir director, a composer and music teacher. Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory(1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor ofthe choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen MotherElena\" high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds theMetropolitan Cathedral of Chişinău.CreationHis main creation is considered the music for \"Limba Noastră\", current national anthem of Moldova, composed in thelyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 2:Pete TownshendPeter Dennis Blandford Townshend (;born 19 May 1945) is an English musician. He is the co-founder, leader, guitarist, second lead vocalist and principal songwriter of the Who, one of the mostinfluential rock bands of the 1960s and 1970s. Due to his aggressive playing style and innovative songwriting techniques, Townshend's works with the Who and inother projects have earned him critical acclaim.Townshend has written more than 100 songs for 12 of the Who's studio albums. These include concept albums,the rock operas Tommy (1969) and Quadrophenia (1973), plus popular rock radio staples such as Who's Next (1971); as well as dozens more that appeared asnon-album singles, bonus tracks on reissues, and tracks on rarities compilation albums such as Odds & Sods (1974). He has also written more than 100 songsthat have appeared on his solo albums, as well as radio jingles and television theme songs.While known primarily as a guitarist, Townshend also plays keyboards,banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bass guitar, and drums; he is self-taught on all of these instruments and plays on his ownsolo albums, several Who albums, and as a guest contributor to an array of other artists' recordings. Townshend has also contributed to and authored manynewspaper and magazine articles, book reviews, essays, books, and scripts, and he has collaborated as a lyricist and composer for many other musical acts. In1983, Townshend received the Brit Award for Lifetime Achievement and in 1990 he was inducted into the Rock and Roll Hall of Fame as a member of the Who.Townshend was ranked No. 3 in Dave Marsh's 1994 list of Best Guitarists in The New Book of Rock Lists. In 2001, he received a Grammy Lifetime AchievementAward as a member of the Who; and in 2008 he received Kennedy Center Honors. He was ranked No. 10 in Gibson.com's 2011 list of the top 50 guitarists, andNo. 10 in Rolling Stone's updated 2011 list of the 100 greatest guitarists of all time. He and Roger Daltrey received The George and Ira Gershwin Award forLifetime Musical Achievement at UCLA on 21 May 2016.Early life and educationTownshend was born in Chiswick, West London, at the Chiswick Hospital,Netheravon Road, in the UK. He came from a musical family: his father, Cliff Townshend, was a professional alto saxophonist in the Royal Air Force's dance bandthe Squadronaires and his mother, Betty (née Dennis), was a singer with the Sydney Torch and Les Douglass Orchestras. The Townshends had a volatilemarriage, as both drank heavily and possessed fiery tempers. Cliff Townshend was often away from his family touring with his band while Betty carried on affairswith other men. The two split when Townshend was a toddler and he was sent to live with his maternal grandmother Emma Dennis, whom Pete later described as\"clinically insane\". The two-year separation ended when Cliff and Betty purchased a house together on Woodgrange Avenue in middle-class Acton, and the youngPete was happily reunited with his parents. His neighbourhood was one-third Polish, and a devout Jewish family upstairs shared their housing with them andcooking with them—many of his father's closest friends were Jewish.Townshend says he did not have many friends growing up, so he spent much of his boyhoodreading adventure novels like Gulliver's Travels and Treasure Island. He enjoyed his family's frequent excursions to the seaside and the Isle of Man. It was on oneof these trips in the summer of 1956 that he repeatedly watched the 1956 film Rock Around the Clock, sparking his fascination with American rock and roll. Notlong thereafter, he went to see Bill Haley perform in London, Townshend's first concert. At the time, he did not see himself pursuing a career as a professionalmusician; instead, he wanted to become a journalist.Upon passing the eleven-plus exam, Townshend was enrolled at Acton County Grammar School. At ActonCounty, he was frequently bullied because he had a large nose, an experience that profoundly affected him. His grandmother Emma purchased his first guitar forChristmas in 1956, an inexpensive Spanish model. Though his father taught him a couple of chords, Townshend was largely self-taught on the instrument andnever learned to read music. Townshend and school friend John Entwistle formed a short-lived trad jazz group, the Confederates, featuring Townshend on banjoand Entwistle on horns. The Confederates played gigs at the Congo Club, a youth club run by the Acton Congregational Church, and covered Acker Bilk, KennyBall, and Lonnie Donegan. However, both became influenced by the increasing popularity of rock 'n' roll, with Townshend particularly admiring Cliff Richard'sdebut single, \"Move It\". Townshend left the Confederates after getting into a fight with the group's drummer, Chris Sherwin, and purchased a \"reasonably goodCzechoslovakian guitar\" at his mother's antique shop.Townshend's brothers Paul and Simon were born in 1957 and 1960, respectively. Lacking the requisitegrades to attend university, Pete was faced with the decision of art school, music school, or getting a job. He ultimately chose to study graphic design at EalingArt College, enrolling in 1961. At Ealing, Townshend studied alongside future Rolling Stones guitarist Ronnie Wood. Notable artists and designers gave lectures atthe college such as auto-destructive art pioneer Gustav Metzger. Townshend dropped out in 1964 to focus on music full-time.Musical career1961–1964: theDetoursIn late 1961, Entwistle joined the Detours, a skiffle/rock and roll band, led by Roger Daltrey. The new bass player then suggested Townshend join as anadditional guitarist. In the early days of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and tradjazz covers. Their lineup coalesced around Roger Daltrey on lead guitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums, and ColinDawson as vocalist. Daltrey was considered the leader of the group and, according to Townshend, \"ran things the way he wanted them.\" Dawson quit in 1962after arguing too much with Daltrey, who subsequently moved to lead vocalist. As a result, Townshend, with Entwistle's encouragement, became the soleguitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce, who started booking the band as a supportact for bands including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. In 1963,Townshend's father arranged an amateur recording of \"It Was You\", the first song his son ever wrote. The Detours became aware of a group of the same name inFebruary 1964, forcing them to change their name. Townshend's roommate Richard Barnes came up with \"The Who\", and Daltrey decided it was the bestchoice.1964–1982: The WhoNot long after the name change, drummer Doug Sandom was replaced by Keith Moon, who had been drumming semi-professionallywith the Beachcombers for several years. The band was soon taken on by a mod publicist named Peter Meaden who convinced them to change their name to theHigh Numbers to give the band more of a mod feel. After bringing out one failed single (\"I'm the Face/Zoot Suit\"), they dropped Meaden and were signed on bytwo new managers, Chris Stamp and Kit Lambert, who had paired up with the intention of finding new talent and creating a documentary about them. The bandanguished over a name that all felt represented the band best, and dropped the High Numbers name, reverting to the Who. In June 1964, during a performanceat the Railway Tavern, Townshend accidentally broke the top of his guitar on the low ceiling and proceeded to destroy the entire instrument. The on-stagedestruction of instruments soon became a regular part of the Who's live shows.With the assistance of Lambert, the Who caught the ear of American recordproducer Shel Talmy, who had the band signed to a record contract. Townshend wrote a song, \"I Can't Explain\", as a deliberate sound-alike of the Kinks, anothergroup Talmy produced. Released as a single in January 1965, \"I Can't Explain\" was the Who's first hit, reaching number eight on the British charts. A follow-upsingle (\"Anyway, Anyhow, Anywhere\"), credited to both Townshend and Daltrey, also reached the top 10 in the UK. However, it was the release of the Who's thirdsingle, \"My Generation\", in November that, according to Who biographer Mark Wilkerson, \"cemented their reputation as a hard-nosed band who reflected thefeelings of thousands of pissed-off adolescents at the time.\" The Townshend-penned single reached number two on the UK charts, becoming the Who's biggesthit. The song and its famous line \"I hope I die before I get old\" was \"very much about trying to find a place in society\", Townshend stated in an interview withDavid Fricke.To capitalise on their recent single success, the Who's debut album My Generation (The Who Sings My Generation in the US) was released in late1965, containing original material written by Townshend and several James Brown covers that Daltrey favoured. Townshend continued to write several successfulsingles for the band, including \"Pictures of Lily\", \"Substitute\", \"I'm a Boy\", and \"Happy Jack\". Lambert encouraged Townshend to write longer pieces of music forthe next album, which became \"A Quick One, While He's Away\". The album was subsequently titled A Quick One and reached No. 4 in the charts upon its releasein December 1966. In their stage shows, Townshend developed a guitar stunt in which he would swing his right arm against the guitar strings in a stylereminiscent of the vanes of a windmill. He developed this style after watching Rolling Stones guitarist Keith Richards warm up before a show.The Who commencedtheir first US tour on 22 March 1967. Townshend took to trashing his hotel suites, though not to the extent of his bandmate Moon. He also began experimentingwith LSD, though stopped taking the drug after receiving a potent hit after the Monterey Pop Festival on 18 June. Released in December, their next album wasThe Who Sell Out—a concept album based on pirate radio, which had been instrumental in raising the Who's popularity. It included several humorous jingles and"}
+{"doc_id":"doc_148","qid":"","text":"Passage 1:Popiel IPopiel I was a legendary ruler of Poland, member of the Popielids dynasty. According to the legends reported by Wincenty Kadłubek in hisChronica seu originale regum et principum Poloniae, he was the son of Leszko III. Father of Popiel II.BibliographyJerzy Strzelczyk: Mity, podania i wierzeniadawnych Słowian. Poznań: Rebis, 2007. ISBN 978-83-7301-973-7.Jerzy Strzelczyk: Od Prasłowian do Polaków. Kraków: Krajowa Agencja Wydawnicza, 1987.ISBN 83-03-02015-3.Passage 2:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in theLoiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSeealsoCommunes of the Loiret departmentPassage 3:Sermon of Zaynab bint Ali in the court of YazidSermon of Zaynab bint Ali in the court of Yazid  are thestatements made by Zaynab bint Ali in the presence of Yazid I in the aftermath of the Battle of Karbala when the captive family members of Muhammad, prophetof Islam, and the heads of those murdered were moved to the Levant (equivalent to the historical region of Syria) by the forces of Yazid I. Zaynab delivered adefiant sermon in the court of Yazid in which she humiliated Yazid and exposed his army's atrocities while honoring the Ahl al-Bayt and those killed in Karbala andexpounding upon the eternal consequences of the battle.Zaynab bint AliZaynab bint Ali (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000) was one of the daughtersof Ali and Fatimah. Like other members of her family she became a great figure of sacrifice, strength, and piety in Islam – in both the Sunni and Shia sects of thereligion. Zaynab married Abdullah ibn Ja'far and had three sons and two daughters. When her brother Husayn defended Islam and opposed the tyranny of Yazidcaliph in 680 AD (61 AH), Zaynab accompanied his companions, 72 men who, together with Husayn, were brutally slain by government forces numbering 30,000men at the Battle of Karbala. Zaynab played an important role in disclosing the true events leading up to the massacre of the third Shia Imam Husayn, and hissupporters. She also protected the life of her nephew Ali ibn Husayn Zayn al-Abidin, the fourth Shia Imam, as he lay seriously ill and unable to go to thebattlefield. Because of her sacrifice and heroism, she became known as the \"Hero of Karbala\". Zaynab died in 681, and her shrine is located in Damascus,Syria.BackgroundAfter the battle of Karbala the captured family of the prophet and the heads of those who were killed were taken to the Levant by the forces ofYazid. On the first day of the month of Safar, according to Turabi, they arrived in the Levant and the captured family and heads were taken into Yazid's presence.First, the identity of each head was told to him. Then he paid attention to a woman who was objecting. Yazid asked, \"Who is this arrogant woman?\" All theaudience paused for a moment. The woman rose to answer and said: \"Why are you asking them [the woman]? Ask me. I'll tell you [who I am]. I amMuhammad's granddaughter. I am Fatima's daughter.\" People at the court were impressed and amazed by her. According to the narration of Al-Shaykh Al-Mufid,in Yazid's presence a man with red skin asked Yazid for one of the captured women to be his slave. Yazid hit the lips and teeth of Hussein with his stick whilesaying: \"I wish those of my clan who were killed at Badr, and those who had seen the Khazraj clan wailing (in the battle of Uhad) on account of lancet wounds,were here. At this time, Zaynab bint Ali began to give her sermon.ContextZaynab bint Ali started her sermon with the praise of Allah:In the name of Allah, Themost Gracious, the most Merciful. All praise is due to Allah, the Lord of the worlds. May praise and salutations be upon my grandfather, the leader of Allah'smessengers and upon his progeny.God gives time to disbelieversVerse 178 of chapter of Al Imran was descended about polytheists of Mecca such as Abu Sufyanibn Harb. Zainab bint Ali once again relates this verse to Yazid, grandson of Abu Sufyan ibn Harb. She said: \"Do not be satisfied with this temporal achievement;this time passes quickly and Allah will punish you. You will be humiliated.\"As we see in the sermon:O Yazid! Do you think that we have become humble anddespicable owing to the martyrdom of our people and our own captivity? Do you think that by killing the godly persons you have become great and respectableand the Almighty looks at you with special grace and kindness? You have, however, forgotten what Allah says: The disbelievers must not think that our respite isfor their good We only give them time to let them increase their sins. For them there will be a humiliating torment. (Quran 3:178 (Yusuf Ali))Humiliate the enemyand honoring the Ahl al-BaytOne concern of Zaynab bint Ali in the battle of Karbala was the humiliation of the enemy and the honor of the Ahl al-Bayt.O son ofthe freed ones! Is it justice that you keep your women and slave-girls in seclusion but have made the helpless daughters of the Holy Prophet ride on swift camelsand given them in the hands of their enemies so that they may take them from one city to anotherPosition of those killed in KarbalaZaynab bint Ali told Yazid notto be happy because of his victory. She named verse 169 of Al Imran and emphasized that those dying for a just cause are victors and that Yazid's happiness willend with the torture of Allah.It will be the day when Allah will deliver the descendants of the Holy Prophet from the state of being scattered and will bring all ofthem together in Paradise. This is the promise which Allah has made in the Holy Quran. Do not think of those who are slain for the cause of Allah as dead. Theyare alive with their Lord and receive sustenance from Him.(Quran 3:169 (Yusuf Ali))Referring to the oppressionAt this point in the sermon she referred to all theoppression and injustices of the Umayyad from time of Abu Sufyan till the time of Yazid ibn Muawiyah. She also believed that the Umayyad owed their power tothe Islamic Ummah's failure to uphold the Quran and the rightful succession to Muhammad. She further stated that:Our blood is dripping from their hands andour flesh is falling down from their mouths.External consequences of the battleZaynab bint Ali stated that the battle of Karbala had a positive effect on history.She believed that jihad, struggle in the path of Allah, had eternal effects.You (Yazid) may employ your deceit and cunning efforts, but I swear by Allah that theshame and disgrace which you have earned by the treatment meted out to us cannot be eradicated.In the NewsIn his book, Explanations on Sermon of Zaynabbint Ali at the Levant, published by Bustan publications, Ali Karimi Jahromi reviews different opinions about this sermon.See alsoBattle of KarbalaSermon of Ali ibnHusayn in DamascusPassage 4:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnicgroup.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called\"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\"(Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland(2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of severalpolitical groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country(disambiguation)Passage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used in legal documents,together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/localitydiffers in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respectto passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless ofwhen the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in a hospital in anotherplace, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place ofbirth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identitydocuments. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother isthe registered place of birth. The location of the maternity ward or other physical birthplace is considered unimportant.Similarly, Switzerland uses the concept ofplace of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets theirmother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passportand identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarilyin the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost allcountries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be someconfusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place ofbirth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/orthe location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's\"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality atbirth\". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place ofbirth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage 6:Yazid IIIYazīd ibn al-Walīd ibn \u0000Abd al-Malik(701 – 3/4 October 744) (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) usually known simply as Yazid III was the twelfth Umayyad caliph. He reignedfor six months, from April 15 to October 3 or 4, 744, and he reigned until his death.Birth and backgroundYazid was the member of the influential Umayyad"}
+{"doc_id":"doc_149","qid":"","text":"Passage 1:IwamuraIwamura (written: \u0000\u0000 lit. \"rock village\") is a Japanese surname. Notable people with the surname include:Akinori Iwamura, Japanese baseball playerNoboru Iwamura, Japanese biologistAi Iwamura, Japanese actressIwamura Michitoshi, Meiji era politicianShunichi Iwamura (\u0000\u0000 \u0000\u0000, born 1940), Japanese sprint canoeistSee alsoIwamura Castle in Gifu Prefecture, JapanIwamura, Gifu, former town in Gifu Prefecture, Japan67853 Iwamura, main-belt asteroidPassage 2:Little Rock Trojans women's basketballThe Little Rock Trojans women's basketball team represents the University of Arkansas at Little Rock in Little Rock, Arkansas, United States. The school will join the Ohio Valley Conference (OVC) on July 1, 2022 after 31 seasons in the Sun Belt Conference.HistoryLittle Rock has won the West Division in the Sun Belt in 2008, 2009, 2010, and 2013. They won the Sun Belt Conference Tournament in 2011, 2012, and 2015. They have made the WNIT in 2008, 2009, and 2013. They made the Second Round of the NCAA Tournament in 2010 beating Georgia Tech 63–53. They lost to Oklahoma 60–44 in the subsequent game. They made the Second Round in 2015 after beating Texas A&M 69–60. They lost 57–54 to Arizona State in the subsequent game. As of the end of the 2015–16 season, the Trojans have an all-time record of 384–485, with a 288–231 record since joining Division I in 1999.NCAA tournament resultsPassage 3:University of Arkansas at Little RockThe University of Arkansas at Little Rock (UA Little Rock) is a public research university in Little Rock, Arkansas. Established as Little Rock Junior College by the Little Rock School District in 1927, the institution became a private four-year university under the name Little Rock University in 1957. It returned to public status in 1969 when it merged with the University of Arkansas System under its present name. The former campus of Little Rock Junior College is now (2019) the campus of Philander Smith College.At 250 acres (100 ha), the UA Little Rock campus encompasses more than 56 buildings, including the Center for Nanotechnology Integrative Sciences, the Emerging Analytics Center, the Sequoyah Research Center, and the Ottenheimer Library Additionally, UA Little Rock houses special learning facilities that include a learning resource center, art galleries, KUAR public radio station, University Television, and a campus-wide wireless network. It is classified among \"R2: Doctoral Universities – High research activity\".AcademicsThe university features more than 100 undergraduate degrees and 60 graduate degrees, including graduate certificates, master's degrees, and doctorates, through both traditional and online courses. Students attend classes in one of the university's three new colleges and a law school:College of Business, Health, and Human ServicesCollege of Humanities, Arts, Social Sciences, and EducationDonaghey College of Science, Technology, Engineering, and MathematicsWilliam H. Bowen School of LawStudent lifeThe student life at UA Little Rock is typical of public universities in the United States. It is characterized by student-run organizations and affiliation groups that support social, academic, athletic and religious activities and interests. Some of the services offered by the UA Little Rock Office of Campus Life are intramural sports and fitness programs, diversity programs, leadership development, peer tutoring, student government association, student support programs including groups for non-traditional and first generation students, a student-run newspaper, and fraternity and sorority life. The proximity of the UA Little Rock campus to downtown Little Rock enables students to take advantage of a wide array of recreational, entertainment, educational, internship and employment opportunities that are not available anywhere else in Arkansas.Campus livingUA Little Rock provides a variety of on-campus living options for students ranging from traditional resident rooms to multiple bedroom apartments. The university has four residence halls on the eastern side of the campus and the University Village Apartment Complex on the southern side of campus. Six learning communities focusing on criminal justice, arts and culture, majors and careers, future business innovators, nursing careers, and STEM are available to students.AthleticsUA Little Rock's 14 athletic teams are known as the Little Rock Trojans, with almost all teams participating in the Sun Belt Conference. Little Rock is one of two Sun Belt members that do not sponsor football (UT Arlington being the other); UA Little Rock last fielded a football team in 1955 when it was known as Little Rock Junior College. Little Rock's main athletic offices are located in the Jack Stephens Center. UA Little Rock offers the following sports:Two Little Rock teams that do not compete in the Sun Belt are the women's swimming and diving team (Missouri Valley Conference) and wrestling (Pac-12 Conference), neither of which the Sun Belt sponsors. Wrestling is the school's newest sport, starting in 2019 and is the first Division I program in Arkansas.Little Rock will move to the Ohio Valley Conference for the 2022-23 season.Collections and archivesOn July 1, 2014, the UA Little Rock Collections and Archives division was created. The division encompasses:Ottenheimer LibraryCenter for Arkansas History and CultureSequoyah National Research CenterWeekend programsThe Japanese School of Little Rock (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 Ritoru Rokku Nihongo Hoshūkō), a weekend Japanese education program, holds its classes at the University Plaza.Notable students and alumniGovernmentCamille Bennett – Arkansas House of Representatives, 2015–presentKarilyn Brown – Arkansas House of Representatives, 2015–presentJames Richard Cheek (1957) – U.S. Ambassador to El Salvador (1979–1981), Ethiopia (1985–1988), Sudan (1989–1992) and Argentina (1993–1996)Charlie Daniels (attended) – Arkansas Commissioner of State Lands (1985–2001), Arkansas Secretary of State (2002–2010), Arkansas State Auditor (2001–present)Vivian Flowers (B.S. in political science) – Arkansas House of Representatives, 2015–presentKenneth Henderson - Arkansas House of Representatives, 2015–present Douglas House (1976) Arkansas House of Representatives, 2013–presentAllen Kerr (attended) – Arkansas Insurance Commissioner (2015–present) and former member of the Arkansas House of RepresentativesMike Ross (1987) – U.S. House of Representatives, 2001–2013Bill Sample (attended) – Arkansas House of Representatives, 2005–2010; Arkansas Senate 2011–presentRobert William Schroeder III (1989) - U.S. District Court, Eastern District of Texas, Nominated June 2014Frank Scott Jr. – current mayor of Little Rock, AR.Vic Snyder (1988) – U.S. House of Representatives, 1997–2011James Sturch – (B.S., Political Science) – Arkansas House of Representatives, 2015–presentEducationJames E. Cofer – Ed.D. alumnus, former UA Little Rock professor, and former president of both Missouri State University and the University of Louisiana at MonroeEntertainmentJulie Adams (1946) – Actress (film & television)Symone (2017) - Drag Performer & Model (winner of Rupaul's Drag Race Season 13)AthleticsMalik Dixon - basketball player, top scorer in the 2005 Israel Basketball Premier LeagueDerek Fisher – Former Los Angeles Lakers player and New York Knicks head coachRayjon Tucker - Professional basketball player in the NBA with Milwaukee BucksNotesPassage 4:Little Rock Port Authority RailroadThe Port of Little Rock Railroad, sometimes called the Little Rock Port Authority Railroad, provides switching services through a 20-mile system of tracks at the 4,000-acre Little Rock Port Industrial Park at the Port of Little Rock, Arkansas.  It provides port access and railroad interchange services not only to the more than twenty businesses at the park, but also to any business seeking to ship or receive cargo through the McClellan-Kerr Arkansas River Navigation System.HistoryPurchase of 151 acres in July 1967 started the planning process for the dock area at the Port.  Four miles of railroad were constructed by July, 1968, the year in which the port began operations.   In 1970, the railroad connected to what were then the Rock Island Railroad and the Missouri Pacific Railroad, and started work on a marshalling yard.  By 1974 the marshalling yard was complete.    In 1977, railroad engine storage and maintenance buildings were completed.InterchangeThe line extends from the dock to the interchange point with what is now the Union Pacific (UP) at a junction near Clinton National Airport.   Access to what is now the BNSF is obtained through trackage/haulage rights.OperationsThe port railroad operates with two locomotives and five crew members.  It utilizes a tandem unit with an EMD GP15-1 locomotive owned by the port, and one EMD SW1500 locomotive leased from GATX.  The railroad handles over 20,000 cars annually.Passage 5:Jamal BeygJamal Beyg (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, also Romanized as Jamāl Beyg) is a village in Dezhkord Rural District, Sedeh District, Eqlid County, Fars Province, Iran. At the 2006 census, its population was 305, in 76 families.Passage 6:Little Rock Trojans baseballThe Little Rock Trojans baseball team, is a varsity intercollegiate athletic team of the University of Arkansas at Little Rock in Little Rock, Arkansas, United States. The team is a member of the Ohio Valley Conference, which is part of the NCAA Division I. The team plays its home games at Gary Hogan Field in Little Rock, Arkansas.On July 1, 2015, the Trojans officially announced they would no longer be branded as Arkansas–Little Rock or \"UALR,\" but will be the Little Rock Trojans effective immediately.Year-by-year resultsReferences:See alsoList of NCAA Division I baseball programsPassage 7:The Abingtons, CambridgeshireThe Abingtons are a community in South Cambridgeshire consisting of two small villages: Little Abington and Great Abington, about 7 miles (11 km) south east of Cambridge.HistoryThough often listed as a single entity, Great and Little Abington have since early medieval times been two parishes divided by the River Granta and remain so. The southernmost of the two, Great Abington, covers 1,588 acres (6.43 km2) and is bounded to the south by the county border with Essex, to the west by a branch of the Icknield Way (now the A11), and to the east by the parish of Hildersham. Little Abington covers 1,309 acres (5.30 km2), again bordered by the Icknield Way and Hildersham to the west and east, and by the ancient thoroughfare of Wool Street to the north.The village history dates back to the Bronze Age, some 4000 years ago. The Saxons gave the village its name, originally called \"estate named after Abba\", and the village was listed as Abintone in the Domesday Book. The 'Great' and 'Little' prefixes came later: the Latin magna is observed from 1218 and the Modern English great from 1523 while the Latin parva is observed from 1218 and the Middle English littel from 1336.In the decades before the Second World War the Land Settlement Association created a site to the south of Great Abington consisting of over sixty houses and plots of land for unemployed miners mainly from the former shipyards of Tyneside and coalfields of Yorkshire and Durham.The Cambridge to Haverhill railway line that opened in 1865 crossed Great Abington just south of the village, but closed in 1967. The medieval Cambridge to Colchester road that "}
+{"doc_id":"doc_150","qid":"","text":"Passage 1:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 2:Star Quest: The OdysseyStar Quest: The Odyssey is a 2009 low budget American science-fiction film directed by Jon Bonnell, written by Carlos Perez, and starring Aaron Ginn-Forsberg, Davina Joy and Tamara McDaniel. The film was released on November 3, 2009.External linksStar Quest: The Odyssey at IMDbTrailer Star Quest: The Odyssey on YouTubePassage 3:Men's GroupMen's Group is a 2008 Australian drama film. The film is directed by Michael Joy from a screenplay co-written with John L. Simpson.PlotThe film follows the lives of six men over a period of months as they convene weekly in a self-help style group. Meeting at the home of Paul, the men include Freddy, a depressed stand-up comedian; the elderly Cecil; businessman Lucas; the bereaved Anthony; taciturn Moses; and talkative, middle-aged Alex. As trust grows between the men they gradually begin to open up and learn to listen to each other, discovering they are not alone in their fears as they had presumed. When a tragedy befalls the group, the men realize they must take responsibilities for their own lives and those of their loved ones.CastGrant Dodwell as AlexPaul Gleeson as PaulSteve Le Marquand as LucasDon Reid as CecilSteve Rodgers as FreddyPaul Tassone as MosesWilliam Zappa as AnthonyProductionDevelopmentThe concept of the film was conceived by Michael Joy and John L. Simpson, while working together on another project dealing with men's issues and their inability to communicate. At that time, director Michael Joy was experiencing depression and attended a men's support group on the advice of a telephone counsellor. Joy was struck by the pain of the men in the room and the safe environment in which they could express what they were going through.FilmingJoy worked with each of the actors separately, workshopping the script over two months. Using this technique, Michael and John L. would create scenes from key character points and events. Only then was a comprehensive screenplay drafted and delivered to the heads of departments.The actors were not allowed to see the screenplay prior to shooting, and had little or no idea of other characters' story lines. The filmmakers did this to capture the actors' first responses to what was unfolding in front of them. There was only one take for each shot that appears in the film, and the shoot lasted only 14 days. It was shot in sequence, so the filmmakers could not go back to reshoot. Before each scene, Joy spent time talking to the actors quietly and individually about their lives at that point, trying to get them to speak about specific things that needed to happen in the film.The film was a micro-budget production, created on a reverse finance model, with each key crew member and actor taking an equity position in the film.ReceptionThe film was praised and is particularly recognised for the strong performances by the lead actors. Anton Bitel of Eye for Film wrote the film \"represents a refreshing examination of the collective male psyche through pure drama\", and added the improvisational nature of the film results in an \"ensemble performances of searing, warts-and-all realism, so utterly believable that viewers themselves will feel like silent members of the party, compelled by the power of the proceedings to watch, listen, learn – and maybe join in the conversation after the credits have rolled.\" On At the Movies, Margaret Pomeranz awarded the film four stars and David Stratton awarded it three and a half stars.On review aggregator website Rotten Tomatoes, Men's Group has an approval rating of 86% based on 7 reviews.AFI Fellowship and TourFollowing the theatrical release of the film by Titan View, John L. Simpson was approached by men's health groups who wished to screen the film and use it as a tool to prompt discussions about men's mental health. With this interest, Simpson proposed to tour the film around Australia to non-theatrical venues for community group screenings, and in the process create a map of all venues in Australia suitable to screen from. For this proposal he was awarded the 2008 AFI Fellowship.The program has allowed the film to tour to towns such as Tamworth, Armidale, Bellingen, Dorrigo, Bowraville, and Bowral.In early March 2009, Men’s Group was screened to men's and women's prisons in Tasmania.Awards and nominationsFilm Critics Circle of Australia2009: Nominated, Best Actor – Grant DodwellInside Film Awards2008: Won, Best Actor – Grant Dodwell2008: Won, Best Feature Film – John L. Simpson, Michael Joy2008: Won, Best Script – John L. Simpson, Michael Joy2008: Nominated, Best Music – Haydn Walker2008: DigiSPAA AwardPassage 4:Un Soir de JoieUn Soir de Joie (French)  is a Belgian comic film directed by Gaston Schoukens and released in 1955.The film's plot takes place in German-occupied Belgium during World War II and focuses on the so-called Faux Soir, a satirical version of the German-controlled newspaper Le Soir produced by the resistance.The film includes extensive footage of Brussels in the 1950s, where it was filmed on location.Marcel Roels, Roger Dutoit, Jean-Pierre Loriot, Victor Guyau, Madeleine Rivière, Jacques Philippet, Francine Vendel all acted in the film.PlotBased on a true story from November 1943: the Resistance manages to publish a fake edition of the pro-German newspaper 'Le Soir', put on sale by surprise in the newsstands and stuffed full of parodic articles pouring ridicule upon occupying forces. The film faithfully traced the course of this humorous and enterprising attempt to wake up the populace, filling out the basic plot with irreverent patriotic gags.Passage 5:Times of Joy and SorrowTimes of Joy and Sorrow (USA title), The Lighthouse (UK title), or\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 (Yorokobi mo Kanashimi mo Ikutoshitsuki), is a 1957 color Japanese film directed by Keisuke Kinoshita, who shot on location at 10 different lighthouses throughout Japan, including opening scenes at Kannonzaki, the site of the country's first lighthouse.PlotIn 1932, a young lighthouse keeper returns from his father's funeral with a new bride, who quickly learns the importance of the marital bond to members of her husband's profession, which is often characterized by the hardships of physical isolation and sudden reassignment. Over the next 25 years they transfer to ten different lighthouses throughout Japan, raising two children and befriending multiple colleagues and their families. They endure wartime attacks on the strategically relevant lighthouses as well as a tragedy involving one of their children, ultimately celebrating the other's marriage and settling together into middle age.CastHideko Takamine as Kiyoko ArisawaKeiji Sada as Shiro ArisawaTakahiro Tamura as Mr. NozuKatsuo Nakamura as KotaroYōko Katsuragi as Fuji TatsukoKōji Mitsui as Mr. KanemakiKuniko Igawa as Itoko SuzukiShizue Natsukawa as Mrs. NatoriMasako Arisawa as YukinoHiroko Itō as MasakoNoboru Nakaya as Shingo NatoriTakeshi Sakamoto as PostmasterRyūji Kita as NatoriMutsuko Sakura as Mrs. KanemakiFeatured LighthousesKannonzaki Lighthouse - Miura Peninsula, KanagawaIshikari Lighthouse - Ishikari, HokkaidoIzu Oshima Lighthouse - Izu Ōshima, Izu IslandsMizunokojima Lighthouse - Bungo Channel, OitaMeshima Lighthouse - Gotō Islands, NagasakiHajiki Saki Lighthouse - Sado Island, NiigataOmaesaki Lighthouse - Omaezaki, ShizuokaAnorisaki Lighthouse - Shima, MieOgijima Lighthouse - Seto Inland Sea, KagawaHiyoriyama Lighthouse - Otaru, HokkaidoLegacyThe highly-popular film has been remade three times for Japanese television, and in 1986 Kinoshita himself reworked it as Big Joys, Small Sorrows, the Western version of its actual title (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), which translates roughly as New Times of Joy and Sorrow.Its rousing, eponymous theme song was a major hit for Akira Wakayama and became a cultural touchstone of 1950s Japan.In 1993 a statue depicting the movie's two stars in an iconic pose from publicity materials was erected at Hajikizaki Lighthouse on Sato Island, one of the filming sites, as a tribute to lighthouse staff nationwide.AvailabilityAlthough the film has not been released on disc or for streaming in the United States, Kinoshita's remake Big Joys, Small Sorrows was among the inaugural films available in Spring 2019 for streaming on The Criterion Channel.Passage 6:Eve's LeavesEve's Leaves is a 1926 American silent romantic comedy film starring Leatrice Joy and William Boyd. The film was produced and distributed by Cecil B. DeMille and directed by Paul Sloane It is based upon the 1925 play of the same name by Harry Chapman Ford.PlotCaptain Corbin (Edeson), who operates the tramp cargo ship Garden of Eden, has raised his daughter Eve (Joy) as a boy. After learning about men after reading some romance novels belonging to the cook Cookie (Harris), she goes ashore in a Chinese port to find her true love and spies American Bob Britton (Boyd), whom she then has kidnapped to augment the ship's crew. Pirate Chang Fang (Long) and his pirates capture the ship seeking passage to his stronghold. With Cookie's help, Eve remakes herself using an outfit made from a curtain and some beads, which draws the interest of both Chang and Bob. In the end, Eve saves the day and she and Bob are married on board by a missionary (Hoyt).CastProductionLeatrice Joy had impulsively cut her hair short in 1926, and DeMille, whom Joy had followed when he set up Producers Distributing Corporation, was publicly angry as it prevented her from portraying traditional feminine roles. The studio developed projects with roles suitable for her “Leatrice Joy bob”, and Eve's Leaves was the second of five films before she regrew her hair. In both Eve's Leaves and The Clinging Vine (1926), Joy's character is mistaken as being male in at least one scene. In 1928, a professional dispute would end the Joy / Demille partnership and she signed with MGM.Intertitles featuring quotes from stereotype Chinese characters are in a racist fictional Asian dialect that today would be considered offensive.PreservationA 16mm print of Eve's Leaves is preserved film at the UCLA Film and Television Archive and the film has been released on DVD.Passage 7:Wasted TimeWasted Time(s) may refer to:Songs\"Wasted Time\" (Fuel song), 2007\"Wasted Time\" (Keith Urban song), 2016\"Wasted Time\" (Kings of Leon song), 2003\"Wasted Time\" (Skid Row song), 1991\"Wasted Time\" (Vance Joy song), 2014\"Wasted Times\" (The Weeknd song), 2018\"Wasted Time\", by Bret Michaels from Custom Built, 2010\"Wasted Time\", by "}
+{"doc_id":"doc_151","qid":"","text":"Passage 1:Chow Ka WaChow Ka Wa (Chinese: \u0000\u0000\u0000; Cantonese Yale: Jāu Gāwà ; born 23 April 1986 in Hong Kong) is a Hong Kong footballer who plays for Hong Kong First Division League club Southern as a right midfielder.Club careerCitizenChow began his professional career at Citizen, a newly promoted First Division club, in the 2004–05 season. However, as a young player, he failed to compete for a place in the starting line-up, only mostly played in the Senior Shield.Loan to Xiangxie PharDuring the season, Xiangxie Phar was rebuilt and players all left the club. To retain their presence in the league, six teams from the First Division league loaned their young players so that they could gain match experiences. Chow was one of them who was loaned from Citizen. However, as he was still a student at that time, he failed to attend every training session and therefore was not given many match-playing chances. He returned to Citizen at the end of the season.Kwun TongAfter spending a season in the top-tier division, he joined Third Division side Kwun Tong, as he had to focus on academic studies. Although he played most of the matches, he failed to help them gain promotion to the Second Division. He left the club at the end of the season.Hong Kong 08Chow made a return to the First Division in the 2006–07 season, joining Hong Kong 08, which was formed by a team of young players to let them gain match experiences before competing in the 2008 Olympics qualifiers. He was given plenty of match-playing chances although there were many wingers at the team. However, the club was relegated and was dissolved after the season.Although many players and coaches joined newly promoted side Workable, Chow did not follow them and joined Third Division side Shatin, meaning he would miss the First Division for the second time.ShatinChow joined Third Division side Shatin in the 2007–08 season. As a third-tier club, however, Shatin had many players with First Division playing experience, including Lee Wai Man who was the current most capped Hong Kong national team record player, Ng Yat Hoi, Kwok Yue Hung and so on. With an exceptionally strong squad in the league, Chow helped Shatin claim the league title without dropping any points in all 15 matches, meaning they had also gained promotion to Second Division. At the same time, Shatin also won the Junior Shield title in the season.Chow stayed at the club as Shatin were aiming at promotion to the First Division for their first time in club history. He continued to make a great impact in the team and eventually helped the club achieve their season goal as they claimed the league title with only losing one match in 18 matches. On the other hand, Shatin successfully defended their Junior Shield title, defeating Sham Shai Po 2–0 in the final. Chow played 90 minutes in the match, providing one assist in the match.He followed the team and made a second return to the First Division in the 2009–10 season. However, since Shatin bought several new players to strengthen their squad, Chow's match-playing chances were therefore reduced. Shatin failed to avoid relegation to the Second Division as they placed 2nd at the bottom of the league. Chow also left the club after the season.PonticChow made his third leave from the First Division as he joined Second Division side Pontic in the 2010–11 season. As a key member in the team, he only missed one game throughout the season, helping the club gain promotion to the First Division.However, since Pontic failed to find sponsors, they lacked sufficient funds to run the club. As a result, Pontic announced they refused to promote to the First Division. Soon later, Pontic was punished and had their club qualification cancelled, meaning that they were not able to compete in every league and cup organised by the Hong Kong Football Association. Chow became Free Agent afterwards.SouthernChow joined Second Division side Southern in the 2011–12 season. Under coaching of Fung Hoi Man, Chow was a usual starter for the club, featuring 20 league matches and scoring 2 goals. Southern successfully gain promotion to the First Division as they placed second in the league.The 2012–13 season was a year of breakthrough for Chow Ka Wa, as his impressive performance and co-operation with fellow team-mates Dieguito, Jonathan Carril and Ip Chung Long attracted people's eyes. He made a great impact on Southern's 8-game unbeaten in the league during the season. Unfortunately, Chow was injured in January and was forced to stay on the sidelines for two months.On 20 April 2013, he scored the winning goal in the 68th minute after being substituted in the 60th minute against South China, not just helping the club to win 3–2, but also helping them to secure the league 4th place. This was also Chow's first game after his recovery on his injury. This goal became more important as Southern qualified for the 2013 Hong Kong AFC Cup play-offs by finishing fourth in the league, as Kitchee won the FA Cup on 11 May 2013 after they had secure a place in the play-offs by finishing second in the league.Career statisticsClubAs of 5 May 2013.Remarks:1 Others include 2013 Hong Kong AFC Cup play-offs.2 Hong Kong League Cup only consists of top-tier division clubs.3 Hong Kong League Cup was not held in the 2009–10 and 2012–13 seasons.Passage 2:Kenneth GyangKenneth Gyang is a young filmmaker in Nigeria and was born in Barkin Ladi of Plateau State, Nigeria.He studied Film Production at the National Film Institute in Jos and screenwriting at Gaston Kaboré's IMAGINE in Ouagadougou, Burkina Faso. Two of his short films as well as a script titled \"Game of Life\" were selected for the Berlinale Talent Campus 2006 and \"Mummy Lagos\" was well received as an official competition entry.  \"Mummy Lagos\" was also selected for the Sithengi Talent Campus as part of the Cape Town World Cinema Festival in South Africa.Honors and awardsHis film \"Omule\" won Best Documentary Film at the 1st Nigerian Students International Film Festival in 2006 and \"Mummy Lagos\" also won Best Film at the Nigerian Field Society Awards organised by the German Cultural Centre, Goethe-Institut, in Lagos as well as the Jury Special Mention at the ANIWA festival in Ghana.In 2006 he was profiled by the influential UK-based BFM magazine as the youngest film director in Nigeria.Kenneth has worked with the BBC World Service Trust directing their highly quality TV drama \"Wetin Dey\" which was recently presented at the International Emmy World Television Festival in New York City. He has also worked with Communicating For Change as an Associate Producer on Bayelsian Silhouettes- a series of seven short films on HIV/AIDS.His most recent work is Finding Aisha, a TV series he co-wrote, produced and directed for the Nigerian production company Televista.In 2013, his debut feature film Confusion Na Wa produced by Tom Rowland Rees won the top gong - Best Film - at the Africa Motion Awards in Bayelsa.Kenneth also won The Future Awards 2013 Prize In Arts & Culture.He directed the AMAA award-winning film Blood and Henna about Meningitis in Northern Nigeria.Kenneths Feature Film confusion Na Wa was highly acclaimed and went ahead to win the AMAA Awards 2013 for Best Film and Best Nigerian film, also the film went ahead in 2014 to win Nollywood Movie Award for Best Cinematography (Yinka Edwards) and Nollywood Movie Award for Best Director (Kenneth Gyang).Passage 3:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 4:Confusion Na WaConfusion Na Wa is a 2013 Nigerian dark comedy drama film directed by Kenneth Gyang, starring Ramsey Nouah, OC Ukeje, Ali Nuhu and Tunde Aladese. The title of the film was inspired by the lyrics of the late Afrobeat singer Fela Kuti's song \"Confusion\". Confusion Na Wa won the Best picture at the 9th Africa Movie Academy Awards, it also won the award for Best Nigerian film.The film tells a story on how so many interconnected separate events come together to complicate the lives of people.PlotThe film starts with a monologue by an unnamed narrator explaining the synopsis of the film with images from the end of the film. Emeka Nwosu (Ramsey Nouah) is stuck in a traffic jam caused by the death of a pedestrian, when his concubine, Isabella (Tunde Aladese), sends him a text reminding him to get home early so they can have fun together. City hustlers Charles (OC Ukeje) and Chichi (Gold Ikponmwosa) arrive at the scene, and as a fight breaks out on the crowded road Emeka is knocked down and his phone falls out of his pocket, and after Emeka walks away unknowingly, Charles steals it. Bello (Ali Nuhu) is a diligent and honest civil servant, whose only \"crime\" at the office has been his refusal to partake in any of the corrupt practice by his co-workers. His raucous boss uses every opportunity to disrespect him. During a workday, Bello is given more jobs to do by his colleagues after work hours. He reluctantly accepts and is subsequently abused by his boss for not finishing the job on time despite his explanations.Charles and Chichi review the pictures on the stolen phone and try to reach an agreement on what to do with the phone. The two friends force their entry to the car of a publisher by breaking the wheel-screen, and steal the stereo. They buy some drinks with the money they got and begin discussing on their interpretation of The Lion King as seen by Africans. Emeka notices that his phone has been stolen and tries calling his number, but is told by Charlie that due to \"The Circle of Life\" in The Lion King ownership has been passed on to them from him. He furiously disengages from the conversation on the resistance of the friends to start a meaningful conversation. He is calmed by his concubine Isabella afterwards.Babajide (Tony Goodman) is the head publisher of Righteous Trumpet Newspaper. During a family dinner he explains the car robbery he faced and is surprised that both his wife and kids did not condemn the act by the thieves with complete disdain—instead, a sociological debate starts between him and his son, Kola (Nathaniel Deme) who is shifting the blame from the thieves to the government. His mum introduces another topic to end the heated debate since neither side will let go.Charles persuades Chichi to accompany him to a drug dealer, Muri (Toyin Oshinaike). Charles had previously had sex with Muri's sister but Chichi is negligent and wants to visit another dealer at \"Abbatoir\". He later retires then follows Charles. They buy drugs worth N200, and as Muri's sister walks outside and Muri notices Chichi facial expressions towards her, Muri tells them that his sister is about to get married . Charles and Chichi have a reflective discussion while having a cigar when Chichi informs Charles that he will be relocating to Bauchi State to start a new life with his uncle. Charles gives him the stolen phone as a farewell gift.The two friends interrupt the sexual intercourse between a disturbed Emeka and Isabella with a call, and they start to negotiate a ransom for the recovery of the phone, while Emeka's wife waits for him at home. Kola's sister, Doyin (Yachat Sankey) sneaks out of the house to attend a party and persuades "}
+{"doc_id":"doc_152","qid":"","text":"Passage 1:Anthony OsorioAnthony Osorio (born April 13, 1994) is a Canadian professional soccer player who last played as a defender and midfielder for theMississauga MetroStars in the Major Arena Soccer League.Club careerOsorio attended St. Edmund Campion where he represented the school team, having grownup in Brampton, Ontario. He was part of the team that won the school's second and third Ontario Federation of Schools Athletic Association Championship in fouryears.In 2013 after a successful trial in Uruguay Osorio joined the u19 side of Nacional. Then moved up to the reserve team the following year in 2014.Toronto FCIIHe joined the Toronto FC Academy in July 2014, and helped the club to become League1 Ontario champions and Inter-Provincial Cup Championship winners.Osorio was rewarded with a USL pro contract on December 9, 2015, joining Toronto FC II and going on to make 19 appearances in his inaugural season. Themidfielder made his professional debut on April 25, 2015, playing in a match against the Pittsburgh Riverhounds in the USL. Osorio would spend three seasonswith the club prior to be released at the conclusion of the 2017 season.Post-TFCIn 2018, he played for Vaughan Azzurri in League1 Ontario.  After that he joinedthe  Mississauga MetroStars of the Major Arena Soccer League.International careerOsorio represented Canada at the 2013 Francophone games in Nice, France.He made his international debut in a friendly as a halftime substitute vs Cameroon that ended in a 0–0 draw. Osorio made his first international start andrecorded his first international goal in a 1–0 win over Rwanda on September 8, 2013.Personal lifeOsorio's parents are Colombian – his father is a native of Cali,while his mother was born in Medellín. Osorio's older brother, Jonathan Osorio, plays for Toronto FC and represents the Canadian seniors. Osorio's youngerbrother, Nicholas, previously played in the Toronto FC system and represented the Canadian under-15s.In 2018, Osorio suffered a nasty ACL tear which forcedhim to undergo surgery and not participate at all in the Metrostars' inaugural season as well as take all of 2019 off on the sidelines to recover from the tragicinjury. Osorio was linked to a move to CPL side York 9 FC had the injury not occurred.Career statisticsAs of October 30, 2018Passage 2:Etta JonesEtta Jones(November 25, 1928 – October 16, 2001) was an American jazz singer. Her best-known recordings are \"Don't Go to Strangers\" and \"Save Your Love for Me\". Sheworked with Buddy Johnson, Oliver Nelson, Earl Hines, Barney Bigard, Gene Ammons, Kenny Burrell, Milt Jackson, Cedar Walton, and HoustonPerson.BiographyJones was born in Aiken, South Carolina, and raised in Harlem, New York. Still in her teens, she joined Buddy Johnson's band for a tour althoughshe was not featured on record. Her first recordings—\"Salty Papa Blues\", \"Evil Gal Blues\", \"Blow Top Blues\", and \"Long, Long Journey\"—were produced byLeonard Feather in 1944, placing her in the company of clarinetist Barney Bigard and tenor saxophonist Georgie Auld. In 1947, she recorded and released anearly cover version of Leon Rene's \"I Sold My Heart to the Junkman\" (previously released by the Basin Street Boys on Rene's Exclusive label) while at RCA VictorRecords. She performed with the Earl Hines sextet from 1949 to 1952.Following her recordings for Prestige, on which Jones was featured with high-profilearrangers such as Oliver Nelson and jazz stars such as Frank Wess, Roy Haynes, and Gene Ammons, she had a musical partnership of more than 30 years withtenor saxophonist Houston Person, who received equal billing with her. He also produced her albums and served as her manager after the pair met in one ofJohnny \"Hammond\" Smith's bands.Although Etta Jones is likely to be remembered above all for her recordings on Prestige, her close professional relationship withPerson (frequently, but mistakenly, identified as Jones' husband) helped ensure that the last two decades of her life would be marked by uncommon productivity.Starting in 1976, they began recording for Muse, which later changed its name to HighNote. Mr. Person became her manager, as well as her record producer andaccompanist, in a partnership that lasted until her death in 2001.Only one of her recordings—her debut album for Prestige Records (Don't Go to Strangers,1960)—enjoyed commercial success with sales of over 1 million copies. However, her remaining seven albums for Prestige, and beginning in 1976, her recordingsfor Muse Records, and for HighNote Records secured her a devoted following. She had three Grammy nominations: for the Don't Go to Strangers album in 1960,the Save Your Love for Me album in 1981, and My Buddy (dedicated to her first employer, Buddy Johnson) in 1998. In 2008 the album Don't Go to Strangers wasinducted into the Grammy Hall of Fame. In 1996, she recorded the jazz vocalist tribute album, The Melody Lingers On, for the HighNote label. Her last recording,a tribute to Billie Holiday, was released on the day of Jones' death.She died in Mount Vernon, New York at the age of 72 from cancer. She was survived by herhusband, John Medlock, and a granddaughter.DiscographyThe Jones Girl...Etta...Sings, Sings, Sings (King, 1958)Don't Go to Strangers (Prestige,1960)Something Nice (Prestige, 1961)So Warm: Etta Jones and Strings (Prestige, 1961)From the Heart (Prestige, 1962)Lonely and Blue (Prestige, 1962)LoveShout (Prestige, 1963)Hollar! (Prestige, 1963)Soul Summit Vol. 2 (Prestige, 1963)Jonah Jones Swings, Etta Jones Sings (Crown, 1964)Etta Jones Sings (Roulette,1965)Etta Jones '75 (20th Century/Westbound 1975)Ms. Jones to You (Muse, 1976)My Mother's Eyes (Muse, 1978)If You Could See Me Now (Muse, 1979)SaveYour Love for Me (Muse, 1981)Love Me with All Your Heart (Muse, 1984)Fine and Mellow (Muse, 1987)I'll Be Seeing You (Muse, 1988)Sugar (Muse,1990)Christmas with Etta Jones (Muse, 1990)Reverse the Charges (Muse, 1992)At Last (Muse, 1995)My Gentleman Friend (Muse, 1996)The Melody Lingers On(HighNote, 1996)My Buddy: Etta Jones Sings the Songs of Buddy Johnson (HighNote, 1997)Some of My Best Friends Are...Singers with Ray Brown (Telarc,1998)All the Way (HighNote, 1999)Together at Christmas (HighNote, 2000)Easy Living (HighNote, 2000)Etta Jones Sings Lady Day (HighNote, 2001)Don'tMisunderstand: Live in New York  with Houston Person (HighNote, 2007)The Way We Were: Live in Concert  with Houston Person (HighNote, 2011)GuestappearancesWith Houston PersonThe Real Thing (Eastbound, 1973)The Lion and His Pride (Muse, 1994)Christmas with Houston Person and Friends (Muse,1994)Passage 3:David JiDavid Longfen Ji is an American businessman who co-founded Apex Digital, an electronics manufacturer.In 2004, he was arrested inChina following a dispute with Sichuan Changhong Electric, a supplier owned by the city of Mianyang and the province of Sichuan. Changhong accused him ofdefrauding them through bad checks. Ji was taken, according to an account by his lawyer, to the senior management and told, \"I decide whether you live or die.\"He has been held in China without charges.Ji's case highlighted an \"implicit racism\" in dealings with American businessmen. As a U.S. citizen he was not grantedthe same treatment by authorities as non-ethnically Chinese businessmen sharing the same nationality.Passage 4:Luther LindsayLuther Jacob Goodall (December30, 1924 – February 21, 1972) was an American professional football player and wrestler, known by his ringname Luther Lindsay or Lindsey, who competedthroughout the United States with the National Wrestling Alliance as well as international promotions such as All Japan Pro Wrestling, Joint Promotions andStampede Wrestling.One of the first African American wrestlers to become a major star, he was extremely popular in the Pacific Northwest and Mid-Atlanticterritory. A frequent rival and tag team partner of Shag Thomas, he also teamed with Bearcat Wright, Nick Bockwinkel, Pepper Gomez and was involved in feudswith \"Iron\" Mike DiBiase, Mad Dog Vachon, Beauregarde, Moondog Mayne, Tony Borne and Pat Patterson and The Hangman.For much of the early 1950s and'60s, Lindsay was billed as the U.S. Colored (or Negro) Heavyweight Champion and took part in the first interracial professional wrestling matches held in theUnited States. Between 1953 and 1956, he faced NWA World Heavyweight Champion Lou Thesz in a series of matches. Although largely resulting in time limitdraws, he was the first African-American to make a challenge to the title and earned Thesz's respect during these bouts publicly praising his wrestling ability.Hewas considered one of the top submission wrestlers of his day working with Don Leo Jonathan and Stu Hart. Lindsay was one of the few men who bested him inthe infamous \"Hart Dungeon\" and later became one of Hart's best friends. Hart reportedly carried a picture of him in his wallet until his death. He was held in highregard by his fellow wrestlers such as Lou Thesz, J. J. Dillon, Rip Hawk and Les Thatcher.CareerEarly careerLuther Goodall was born on a farm outside Norfolk,Virginia, on December 30, 1924. He moved to Sedalia but later resided in Gibsonville, North Carolina, and later played college football for Norfolk State andnearby Hampton Institute where he was also a CIAA wrestling champion. Although excelling in athletics as an All-American Negro tackle-guard, state segregationlaws prohibited him from playing against white athletes. He played two years of professional football in Hamilton and Victoria for the Canadian Football League.Lindsey began wrestling professionally making his debut in 1950 or 1951. Taking the surname of his wife, Gertrude Lindsey, his earliest recorded match wasagainst Al Tucker in Chicago, Illinois, for promoter Leonard Schwartz on November 21, 1951.As early as 1953, Lindsay was billed as the U.S. Colored or NegroHeavyweight Champion. He was one of the few African-Americans in professional wrestling and, in accordance with state segregation laws at the time, he wasonly allowed to travel with and compete against other African-American wrestlers during his early career. One of his most frequent opponents was Shag Thomaswho he later claimed knew better than any other opponent. During the late 1950s, he became the first African-American south of Washington, D.C., to compete ina wrestling event when he faced Ron Wright in Kingsport, Tennessee. Although the National Guard was brought in amid fears of rioting, the crowd unexpectedlyfavored Lindsay against Wright. As a result of Lindsay's success in the area, other African-American wrestlers were also brought into the area such as BearcatWright and Bobcat Brown.Pacific Northwest WrestlingIn early 1953, he appeared in Washington where he faced George Dusette, the Masked Marvel, CarlEngstrom, Walter Kameroff, Jack Kiser, Bronko Lubich, Axel Cadier. He was involved in a battle royal which included Kiser, Lubich, Cadier, Bud Rattal and PaulDeGalles in Yakima on May 12. On July 31, he faced Lou Thesz for the NWA World Heavyweight Championship in Tacoma and the two fought to a time limit draw.This was the first of several meetings between the two champions and the first time the title was defended against an African-American opponent. A rematch one"}
+{"doc_id":"doc_153","qid":"","text":"Passage 1:Jacob Le MaireJacob Le Maire (c. 1585 – 22 December 1616) was a Dutch mariner who circumnavigated the earth in 1615 and 1616. The straitbetween Tierra del Fuego and Isla de los Estados was named the Le Maire Strait in his honour, though not without controversy. It was Le Maire himself whoproposed to the council aboard Eendracht that the new passage should be called by his name and the council unanimously agreed with Le Maire. The author orauthors of The Relation took Eendracht captain Willem Schouten's side by proclaiming:“ ... our men had each of them three cups of wine in signe of ioy for ourgood hap ... [and the naming of] the Straights of Le Maire, although by good right it should rather have been called Willem Schouten Straight, after our MastersName, by whose wise conduction and skill in sayling, the same was found.”.Eendracht then rounded Cape Horn, proving that Tierra del Fuego was not acontinent.BiographyJacob Le Maire was born in either Antwerp or Amsterdam, one of the 22 children of Maria Walraven of Antwerp and Isaac Le Maire(1558–1624) of Tournai, who was then already a prosperous merchant in Antwerp. Isaac and Maria married shortly before the Spanish siege of Antwerp in 1585after which they fled to settle in Amsterdam. Jacob is thought to have been the oldest son, born perhaps the same year. Isaac was very successful in Amsterdam,and became one of the founders of the Dutch East Indies Company (VOC). However, in 1605 Isaac Le Maire was forced to leave the company after a dispute andfor the next decade tried to break the company's monopoly on the trade to the East Indies.By 1615 Isaac had established a new company (the AustralianCompany) with the goal to find a new route to the Pacific and the Spice Islands, thereby evading the restrictions of the VOC. He contributed to the outfitting oftwo ships, the Eendracht and Hoorn, and put his son Jacob in charge of trading during the expedition. The experienced ship master Willem Schouten was captainof the Eendracht and a participant of the enterprise in equal shares with Isaac Le Maire.On 14 June 1615 Jacob le Maire and Willem Schouten sailed from Texel inthe United Provinces. On 29 January 1616 they rounded Cape Horn, which they named for the Hoorn, which was lost in a fire.  The Dutch city of Hoorn was alsothe birthplace of Schouten. After failing to moor at the Juan Fernández Islands in early March, the ships crossed the Pacific in a fairly straight line, visiting severalof the Tuamotus. Between 21 and 24 April 1616 they were the first Westerners to visit the (Northern) Tonga islands: \"Cocos Island\" (Tafahi), \"Traitors Island\"(Niuatoputapu), and \"Island of Good Hope\" (Niuafo'ou). On 28 April they discovered the Hoorn Islands (Futuna and Alofi), where they were very well received andstayed until 12 May. They then followed the north coasts of New Ireland and New Guinea and visited adjacent islands, including, on 24 July, what became knownas the Schouten Islands.They reached the northern Moluccas in August and finally Ternate, the headquarters of the VOC, on 12 September 1616. Here they wereenthusiastically welcomed by Governor-General Laurens Reael, admiral Steven Verhagen, and the governor of Ambon, Jasper Jansz.The Eendracht sailed on toJava and reached  Batavia on 28 October with a remarkable 84 of the original 87 crew members of both ships on board. Although they had opened an unknownroute, Jan Pieterszoon Coen of the VOC claimed infringement of its monopoly of trade to the Spice Islands. Le Maire and Schouten were arrested and theEendracht was confiscated. After being released, they returned from Batavia to Amsterdam in the company of Joris van Spilbergen, who was on acircumnavigation of the earth himself, be it via the traditional Strait of Magellan.Le Maire was aboard the ship Amsterdam on this journey home, but died enroute. Van Spilbergen was at his deathbed and took Le Maire's report of his trip, which he included in his book Mirror of the East and West Indies. The rest of thecrew arrived in the Netherlands on 1 July 1617, two years and 17 days after they departed. Jacob's father Isaac challenged the confiscation and the conclusion ofthe VOC, but it took him until 1622 until a court ruled in his favour. He was awarded 64,000 pounds and retrieved his son's diaries (which he then published aswell), and his company was allowed trade via the newly discovered route. Unfortunately, by then, the Dutch West Indies Company had claimed the samewaters.FootnotesPassage 2:Éric RohmerJean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French: [e\u0000ik \u0000om\u0000\u0000]; 21 March1920 – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher.Rohmer was the last of the post-World War IIFrench New Wave directors to become established. He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of hiscolleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers and gaining internationalattention.Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards. He won the San SebastiánInternational Film Festival with Claire's Knee in 1971 and the Golden Lion at the Venice Film Festival for The Green Ray in 1986. Rohmer went on to receive theVenice Film Festival's Career Golden Lion in 2001.After Rohmer's death in 2010, his obituary in The Daily Telegraph described him as \"the most durable filmmakerof the French New Wave\", outlasting his peers and \"still making movies the public wanted to see\" late in his career.Early lifeRohmer was born Jean-Marie MauriceSchérer (or Maurice Henri Joseph Schérer) in Nancy (also listed as Tulle), Meurthe-et-Moselle department, Lorraine, France, the son of Mathilde (née Bucher) andLucien Schérer. Rohmer was a Catholic. He was secretive about his private life and often gave different dates of birth to reporters. He fashioned his pseudonymfrom the names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Manchu series. Rohmer was educated inParis and received an advanced degree in history, though he seemed equally interested and learned in literature, philosophy, and theology.Career as ajournalistRohmer first worked as a teacher in Clermont-Ferrand. In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelancejournalist. In 1946 he published a novel, Elisabeth (AKA Les Vacances) under the pen name Gilbert Cordier. While living in Paris, Rohmer first began to attendscreenings at Henri Langlois's Cinémathèque Française, where he first met and befriended Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivetteand other members of the French New Wave. Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films andabout 1949 switched from journalism to film criticism. He wrote film reviews for such publications as Révue du Cinéma, Arts, Temps Modernes and LaParisienne.In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette and Godard, but it was short-lived. In 1951 Rohmer joined the staff ofAndré Bazin's newly founded film magazine Cahiers du Cinéma, of which he became the editor in 1956. There, Rohmer established himself as a critic with adistinctive voice; fellow Cahiers contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings ofyounger critics like Truffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular. Rohmerwas known as more politically conservative than most of the Cahiers staff, and his opinions were highly influential on the magazine's direction while he was editor.Rohmer first published articles under his real name but began using \"Éric Rohmer\" in 1955 so that his family would not find out that he was involved in the filmworld, as they would have disapproved.Rohmer's best-known article was \"Le Celluloïd et le marbre\" (\"Celluloid and Marble\", 1955), which examines therelationship between film and other arts. In the article, Rohmer writes that in an age of cultural self-consciousness, film is \"the last refuge of poetry\" and the onlycontemporary art form from which metaphor can still spring naturally and spontaneously.In 1957 Rohmer and Claude Chabrol wrote Hitchcock (Paris: ÉditionsUniversitaires, 1957), the earliest book-length study of Alfred Hitchcock. It focuses on Hitchcock's Catholic background and has been called \"one of the mostinfluential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer\". Hitchcock helped establish the auteurtheory as a critical method and contributed to the reevaluation of the American cinema that was central to that method.By 1963 Rohmer was becoming more atodds with some of the more radical left-wing critics at Cahiers du Cinéma. He continued to admire US films while many of the other left-wing critics had rejectedthem and were championing cinéma vérité and Marxist film criticism. Rohmer resigned that year and was succeeded by Rivette.Film career1950–1962: Shortsand early film careerIn 1950 Rohmer made his first 16mm short film, Journal d'un scélérat. The film starred writer Paul Gégauff and was made with a borrowedcamera. By 1951 Rohmer had a bigger budget provided by friends and shot the short film Présentation ou Charlotte et son steak. The 12-minute film wasco-written by and starred Jean-Luc Godard. The film was not completed until 1961. In 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour shortfeature, Les Petites Filles modèles, but the film was never finished. In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on a story by EdgarAllan Poe. In 1956 Rohmer directed, wrote, edited and starred in La Sonate à Kreutzer, a 50-minute film produced by Godard. In 1958 Rohmer made Véroniqueet son cancre, a 20-minute short produced by Chabrol.Chabrol's company AJYM produced Rohmer's feature directorial debut, The Sign of Leo (Le Signe du lion) in1959. In the film an American composer spends the month of August waiting for his inheritance while all his friends are on vacation and gradually becomesimpoverished. It included music by Louis Sagver. The Sign of Leo was later recut and rescored by distributors when Chabrol was forced to sell his productioncompany, and Rohmer disowned the recut version. In 1962 Rohmer and Barbet Schroeder co-founded the production company Les Films du Losange (they werelater joined by Pierre Coltrell in the late 1960s). Les Films du Losange produced all of Rohmer's work (except his last three features produced by La CompagnieEric Rohmer).1962–1972: Six Moral Tales and television workRohmer's career began to gain momentum with his Six Moral Tales (Six contes moraux). Each of thefilms in the cycle follows the same story, inspired by F. W. Murnau's Sunrise: A Song of Two Humans (1927): a man, married or otherwise committed to awoman, is tempted by a second woman but eventually returns to the first.For Rohmer, these stories' characters \"like to bring their motives, the reasons for their"}
+{"doc_id":"doc_154","qid":"","text":"Passage 1:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta!(2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has alsodirected films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raisedin Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developedwith its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo'Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase(2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap(2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect(2018)Semi-Detached (2019)Breeders (2020)Passage 2:Santa and the Fairy Snow QueenSanta and the Fairy Snow Queen is a 1951 short fantasy film directed bySid Davis.PlotSnoopy, (Rochelle Stanton) one of Santa Claus' (Edmund Penney) brownies, introduces herself to the audience, and explains that it is her job towatch little boys and girls, to see if they are behaving well, and to make sure all the toys Santa gives to children on Christmas are being taken care of. If she findsthem broken or forgotten, she hauls them off to the Land of Lost and Forgotten Toys. Snoopy then says Santa asked her to tell all the children the story of howthe Fairy Snow Queen gave life to toys, so that they might be more respectful of their gifts.Snoopy then begins the story: one Christmas Eve, long ago, right afterSanta and the brownies had finished making the toys, Santa asked the Fairy Snow Queen to come visit so they can have a sugar cookie. The Fairy Snow Queencame, but discovered Santa deeply asleep in his chair, exhausted from his hard work. At his feet, the queen found several of the toys that he was about todeliver: a rag doll, (Jenny Neal) a musical doll, (Lee Porter) a jack-in-the-box, (Don Oreck) a toy soldier, (Bob Porter) a baby doll, (Audrey Washburn) a dolldressed as a peasant, (Joanna Lamond) and a candy lion (Patrick Clement). Insulted at being forgotten about, the Fairy Snow Queen decided to play a trick onSanta, and brought the toys to life. As the toys take their first steps, the queen dances with the rag doll, and Santa wakes up. The toys demonstrate they cansing, and while Santa enjoyed their music, he asked the Fairy Snow Queen to revert them to their inanimate state. The queen protested, saying it's all good fun.The toy soldier and baby doll then show everyone a marching routine, after which the mischievous Jack jumps out of his box and frightens the other toys, until heis coaxed back into his dwelling by the toy soldier. The Fairy Snow queen then used her magic to calm everyone down, and Santa asked her once again to put thetoys back to normal, before the toys fall in love with each other, or break themselves. The queen then reveals that because she'd been irresponsible with hermagic, her powers were taken away. She tells Santa she can only change the toys back if they wish to return to their normal states, and they have no suchdesire, so she cannot. After this, Santa told the toys that if they don't change back, he won't have any gifts to give to the children. The Fairy Snow Queen thenoffered a compromise: the toys will come to life for one hour, at midnight, each night. The toys agree to this, and Santa appoints Snoopy the caretaker of all thetoys. Before she changed them back, the musical doll and the toy soldier reveal they have fallen in love with each other. In remembrance of her, the soldier gavethe doll his golden medal, and Santa decreed all musical dolls will wear golden medals to commemorate their love. The queen returned the toys back to normal,leaving Santa and Snoopy to load the toys onto his sleigh.MusicSome of the music used in the short film was from The Nutcracker Suite and The Sleeping Beautyby Pyotr Ilyich Tchaikovsky.ProductionOriginally a one act play written by Porter in 1949, the film wasn't copyrighted until two years later. It was distributed byEncyclopedia Britannia Films for televised broadcasts across the US.CastRochelle Stanton as SnoopyEdmund Penney as SantaMargot von Lou as the Fairy SnowQueenJenny Neal as Rag DollLee Porter as Musical DollDon Oreck as Jack-in-the-BoxBob Porter as Toy SoldierAudrey Washburn as Baby DollJoanna Lamond asPeasant DollPatrick Clement as Candy LionLegacyIt was spoofed by RiffTrax three times, the first being as the accompanying short prior to the live riffed versionof the 1964 cult classic Santa Claus Conquers the Martians, a film that was previously parodied on Mystery Science Theater 3000.External linksSanta and theFairy Snow Queen on Internet Movie DatabaseSanta and the Fairy Snow Queen on YouTubePassage 3:The Snow Queen (1995 film)The Snow Queen is a 1995British animated film directed by Martin Gates and inspired by Hans Christian Andersen's 1844 fairy tale The Snow Queen, featuring Helen Mirren in the titularrole. A direct sequel, The Snow Queen's Revenge, was released the following year.In the film, the evil Snow Queen plans to use an enormous magic mirror to sothat it will plunge the world into a perpetual winter so she can take it over, but when the mirror shatters and one piece enters the young Tom's body, she kidnapshim to have all the pieces. Tom's sister Ellie and her friend, Peeps the sparrow, set out to rescue him before it is too late.PlotEllie and her brother Tom listen totheir grandmother reading them a story about the Snow Queen. When their younger sister Polly asks if she is coming, Tom says that she only exists in the story.However, the Queen really does live in an icy palace in the North Pole with her three troll servants: Eric, Baggy, and Wardrobe. Her plan is to set up her hugemagic mirror on a mountain to reflect the sunlight away so the entire world will become her kingdom, but the mirror falls down the mountain and shatters intopieces. Two of its pieces hit Tom in the eye and the heart and he falls under a curse which turns him dark of spirit.The Snow Queen sends her bats to retrieve thepieces. As they cannot take the two that are inside Tom, the Queen goes out to kidnap him herself. Ellie and Tom connect their sleds to a bigger sled that isrevealed to be driven by the Queen. She takes Tom to her palace and cuts Ellie off, causing her to fall onto a talking sparrow named Peeps. Ellie goes out to saveTom and Peeps reluctantly decides to go with her. In a snowy forest, they find a house belonging to an old woman, who appears nice, but is actually a sly witchwho traps them to use Ellie's heart for her elixir of life so she can be eternally young. Peeps tricks the witch's cat, Cuddles, into chasing after him and knockingover the elixir of life, and uses the confusion to unlock Ellie from her cage. Ellie and Peeps escape and trap the old woman and her cat in the basement by puttinga box over the trapdoor, so they can avoid being chased by the old woman.They then meet two humanoid ravens named Les and Ivy, who, from Ellie'sdescription of Tom, tell her that Tom is going to marry princess Amy, so Ellie becomes a member of the staff to serve the princess her food. However, she soondiscovers that prince Sherman is not Tom. Meanwhile, Tom is rebuilding the Snow Queen's mirror, as he is good at puzzles. The trolls try to warn him that theQueen is going to kill him to get the last two pieces, but the Queen convinces him otherwise and kisses him, putting him into a hypnotic state while his veins arefull of ice, and will cause his death when it reaches his heart.Amy and Sherman give Ellie and Peeps a royal vehicle to ride to the Snow Queen's dominion, butthey run into a robber gang of humanoid rats. The Robber King promises his daughter, Angorra, that Ellie can become her slave, but later changes his mind. Ellieis locked in a room with a flying reindeer Dimly who was captured by the robbers. Peeps enters the room and unties Ellie's hands, and she unties Dimly. Angorraenters, but they trap her with a barrel. Dimly flies them away, but the King grabs onto the rope that is still wrapped around Dimly, resulting in the King slamminginto a building and falling over the edge on top of Angorra.Dimly does not know where the Snow Queen is, so he goes to his flying reindeer school and asks Freda,an old Lapland woman who runs the school. Freda has Dimly fly them over to the Queen's castle. There, they meet the three trolls, who ultimately decide to helpthem. Tom does not have much time left, and has finished putting the mirror together except for the two pieces that are inside him. Freda reveals that the piecesinside him will kill him, then makes a potion that will dissolve the mirror. Ellie tells Tom to drink it, but just as he is about to, the Queen blasts the vial away withher magic staff. They fight the Queen, but she freezes Eric and Freda, and Baggy and Wardrobe grab her staff just as they are frozen as well. The battleeventually causes the vial to fall on top of the mirror and shatter, dissolving the mirror and forming an icy cyclone that chases after the Queen's flying carriageand freezes her solid as she attempts to escape. The mirror pieces inside Tom dissolve and the effects of the Queen's kiss go away, freeing him. Freda and thetrolls are unfrozen.Freda warns the Snow Queen is not dead and might return in the future. She has Dimly take Ellie, Tom, and Peeps back to the village, andthen come back for her and the trolls. Dimly crash lands in the village and Ellie, Tom, and Peeps go to listen to the rest of the story as Dimly heads back to theQueen's palace. The film ends with a close-up shot of the frozen Queen's eyes lighting up.VoicesEllie Beaven as Ellie, a courageous and optimistic girl with a kindheart.Helen Mirren as the Snow Queen, the oppressive monarch of the North and South Poles.Damian Hunt as Tom, the intelligent twin brother of Ellie.HughLaurie as Peeps, a house sparrow and Ellie's best friend.Gary Martin as Dimly, a reindeer who struggles with flying.Julia McKenzie as Grandma, the grandmotherof Ellie, Tom and Polly who looks after them; Old Woman, a polite woman who is secretly an evil witch; and Freda, the Headmistress of a flying school forReindeer.David Jason as Eric, the leader of the trolls and the Snow Queen's army.Colin Marsh as Baggy, a bumbling troll and Wardrobe's best friend.Russell Floydas Wardrobe, a dim-witted troll and the kindest of the three.Scarlett Strallen as Princess Amy, an energetic and playful girl who is a Princess.Rik Mayall as theRobber King, a rat who is the leader of a gang of thieves.Richard Tate as Les, a raven who works for the Royal Household and the husband of Ivy.ImeldaStaunton as Ivy, a raven who likes picking flowers and the wife of Les; and Angorra, a rat who is also the spoiled and bratty daughter of the Robber King.RowanD'Albert as Prince Sherman, an immature but clever boy with a big appetite who has recently married Princess Amy.Zizi Vaigncourt Strallen as Polly, the younger"}
+{"doc_id":"doc_155","qid":"","text":"Passage 1:Salin MibayaSalin Mibaya (Burmese: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000, pronounced [s\u0000l\u0000́\u0000 m\u0000b\u0000já]; also known as Narapati Medaw, (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000)) was the chief queen of Viceroy Thado Dhamma Yaza II of Prome (r. 1551–1588).The second daughter of King Bayin Htwe of Prome and his chiefqueen Shwe Zin Gon was married three times. Her marriage to her first cousin Min Ba Saw—a son of her maternal uncle—was cut short when her brother KingNarapati had him executed. Narapati then married her off to Sithu Kyawhtin, then governor of Salin, a powerful figure in the Confederation of Shan States, in amarriage of state in the late 1530s. (Prome was then a de facto vassal state of the Confederation, which controlled all of Ava territories except Toungoo in UpperBurma.) Her stay at Salin lasted until January 1544 when the city was captured by Toungoo forces under Gen. Bayinnaung. Her husband escaped to Ava (Inwa)but she was captured and sent to Pegu (Bago). In 1545, she was married to Nanda Yawda, a younger brother of Bayinnaung, at the coronation ceremony ofTabinshwehti at the Pegu Palace.She returned to her native Prome as queen in 1551 when her husband was appointed viceroy of the region by King Bayinnaung.She had two daughters by Nanda Yawda, now styled as Thado Dhamma Yaza II. Their elder daughter Hsinbyushin Medaw became the chief queen of NawrahtaMinsaw, the viceroy (and later king) of Lan Na. The younger daughter Min Taya Medaw was a major queen of Nanda.AncestryThe following is her ancestry asreported in the Hmannan Yazawin chronicle, which in turn referenced contemporary inscriptions. Her parents were double cousins.NotesPassage 2:Motherland(disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland may also referto:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (Natalie Merchant album),2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland(1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film),a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia, including a listof monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 3:Where Was I\"Where Was I?\" mayrefer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking atphotos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and HisOrchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from TheAlbum Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can YouHear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) fromTime Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 4:SennedjemSennedjem was an AncientEgyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporary Deirel-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti,and members of his family in a tomb in the village necropolis. His tomb was discovered January 31, 1886. When Sennedjem's tomb was found, it containedfurniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant in the Place of Truth, meaning that he workedon the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 5:Place of originIn Switzerland, theplace of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where aSwiss citizen has their municipal citizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence,although two or all three of these locations may be identical depending on the person's circumstances.Acquisition of municipal citizenshipSwiss citizenship hasthree tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:Municipal citizenship, granted by the place of residence after fulfillingseveral preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in saidmunicipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.Countrycitizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen,who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check.The last two kinds of citizenship are amere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines the municipalitywhere citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earliergenerations in the family line, namely to specify which municipality held the responsibility of providing social welfare. The law has now been changed, eliminatingthis form of allocating responsibility to a municipality other than that of the place of residence. Care needs to be taken when translating the term in Swissdocuments which list the historical \"Heimatort\" instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, athird or even more municipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin.As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francsafter having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenshipfee, because of the financial obligations incumbent on the municipality to grant the citizenship.A child born to two Swiss parents is automatically granted thecitizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin. A child born to one Swiss parent and oneforeign parent acquires the citizenship, and thus the place of origin, of the Swiss parent.International confusionAlmost uniquely in the world (with the exception ofJapan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport anddriving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identitydocuments. This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information existson any official Swiss identification documents. Only a minority of Swiss citizens have a place of origin identical to their birthplace. More confusion comes into playthrough the fact that people can have more than one place of origin.Significance and historyA citizen of a municipality does not enjoy a larger set of rights than anon-citizen of the same municipality. To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizensabroad, the last Swiss place of residence.The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two yearsafter the citizen moved away. In 2012, the National Council voted by 151 to 9 votes to abolish this law. The place of domicile is now the sole payer of welfarecosts.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin,reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament –decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residential community.In the 19th century,Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right toreceive welfare.See alsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 6:Valley of DeathValley of Death may referto:PlacesValley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northern PolandValley of Death (Crimea), the site of the Chargeof the Light Brigade in the 1854 Battle of BalaclavaValley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of Plum RunValley of Death (DuklaPass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)The Valley of Death, an area of poisonous volcanic gas near theKikhpinych volcano in RussiaThe Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano in IndonesiaValley of Death, a nicknamefor the highly polluted city of Cubatão, BrazilOther usesThe Valley of Death (audio drama), a Doctor Who audio playThe Valley of Death (film), a 1968 westernfilm\"Valley of Death\", the flawed NewsStand: CNN & Time debut program that caused the Operation Tailwind controversyA literary element of \"The Charge of theLight Brigade\" by Alfred, Lord TennysonA reference to the difficulty of covering negative cash flow in the early stages of a start-up company; see Venturecapital\"The Valley of Death\", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to End All WarsSee alsoAll pages with titlescontaining Valley of DeathDeath Valley (disambiguation)Valley of the Shadow of Death (disambiguation)Passage 7:Beaulieu-sur-LoireBeaulieu-sur-Loire (French"}
+{"doc_id":"doc_156","qid":"","text":"Passage 1:1928 Washington and Lee Generals football teamThe 1928 Washington and Lee Generals football team represented Washington and Lee Universityduring the 1928 college football season.SchedulePassage 2:Christian ComptonAsbury Christian Compton (October 24, 1929 – April 9, 2006) was an Americanattorney and judge who served as a justice of the Supreme Court of Virginia from 1974 until 2000, and as a Senior justice until his death.Compton was a native ofAshland in Hanover County, Virginia, and graduated from Ashland High School in 1946. Compton earned his B.A. in history and politics from Washington and Leein 1950 and his LL.B. from the Washington and Lee University School of Law in 1953.  While at Washington and Lee, Compton served as president of Phi KappaSigma fraternity, class officer and captain of the basketball team. He was also a member of Omicron Delta Kappa, the lacrosse team, Phi Alpha Delta legalfraternity, the University Glee Club and the Cotillion Club.Compton served in the U.S. Navy from 1953 to 1956 and the U.S. Naval Reserve from 1953 to 1961. Hepracticed law in Richmond with May, Garrett, Miller, Newman and Compton from 1957 to 1966.In 1966, Gov. Mills Godwin appointed Compton to the Law &Equity Court of the City of Richmond and then to the Supreme Court of Virginia in 1974. The General Assembly re-elected him to another term in 1987. He retiredfrom the Supreme Court in February 2000 and began service as a senior justice.Compton maintained strong ties to Washington and Lee throughout hiscareer.  He served as president of the Alumni Association from 1972 to 1973.  He received an Honorary Doctorate of Laws from his alma mater in 1975. Heserved member of the Board of Trustees from 1978 to 1989.  He selected most of his law clerks from the top graduates of Washington and Lee School ofLaw.Compton was married to Betty Stephenson Compton for 52 years until his death.  They had three daughters—Leigh Compton Kiczales, Mary ComptonPsyllos, Melissa Compton Patterson; and eight grandsons-Nicholas Kiczales, Luke Kiczales, Noah Stephenson Kiczales, Thomas Psyllos, Christian Psyllos, DanielPatterson, James Patterson, and Henry Patterson.Resolution of the Virginia General Assembly on the Death of A. Christian ComptonPassage 3:1917 Washingtonand Lee Generals football teamThe 1917 Washington and Lee Generals football team represented the Washington and Lee Generals of Washington and Lee duringthe 1917 college football season.SchedulePassage 4:Shenandoah (magazine)Shenandoah: The Washington and Lee Review is a literary magazine publishedWashington and Lee University.HistoryOriginally a student-run quarterly, Shenandoah has evolved into a biannual literary journal. Since 2018, the magazine hasbeen edited by current English professor Beth Staples. According to Shenandoah's mission statement, the magazine aims to showcase diverse voices because\"reading through the perspective of another person, persona, or character is one of the ways we practice empathy, expand our understanding of the world, andexperience new levels of awareness.\"Shenandoah was founded in 1949 by a group of Washington and Lee University faculty members, including English professorSamuel Ashley Brown, who published the fiction and poetry of undergraduates including Tom Wolfe. In the 1950s Thomas H. Carter became one of the foundingstudent editors.  During his tenure the Shenandoah corresponded with E. E. Cummings, William Carlos Williams, William Faulkner, Ezra Pound and many otherSouthern writers and the Shenandoah grew in stature and national prominence. From the 1960s to the 1980s, W&L faculty member James Boatwright expandedthe journal and published occasional theme issues, including a 35th anniversary anthology. In 1995, R. T. Smith was selected as the first full-time editor of thejournal. In 2018 after twenty-three years as editor, R. T. Smith retired, and Beth Staples took over as editor of the magazine.  Today, the magazine publishesbiannually in the spring and fall. Shenandoah is funded and supported by Washington and Lee University through the Office of the Dean of the College and islocated in Mattingly House on W&L's campus. The magazine maintains a board of university advisors who offer guidance and advice, and the current editormaintains an intern program in which undergraduate students work for the journal and learn the craft of editing as an academic course in the English Department.Recent contributors include Wendell Berry, Joyce Carol Oates, Jacob M. Appel, Speer Morgan, Lee Smith, Claudia Emerson, May-lee Chai, and Rita Dove.  This listcomplements a long history of literary luminaries who have been published in Shenandoah such as W. H. Auden, James Merrill, J. R. R. Tolkien, T. S. Eliot, RayBradbury, and Flannery O'Connor.Since moving away from print in 2011, the magazine can now be found online in its entirety.Fellowships and ContestIn the past,Shenandoah has hosted several prestigious annual contests:  the James Boatwright III Prize for Poetry, the Goodheart Prize for Fiction, the Thomas H. CarterPrize for the Essay, and the Shenandoah/Glasgow Prize for Emerging Writers. Presently, Shenandoah host the Graybeal-Gowan Prize for Virginia Writers.  In2021, Shenandoah launched a fellowship for BIPOC editors. Through a competitive application process, the magazine selects one fellow for each issue to aid inthe selection of fiction, non-fiction, poems, or comics.Recent honors, awards and reviews2008 Governor's Award for the Arts \"The Worst You Ever Feel\" byRebecca Makkai was included in The Best American Short Stories 2008.\"Souvenir\" by Beth Ann Fennelly was included in The Best American Poetry 2006\"Death IsIntended\" by Linda Pastan was included in The Best American Poetry 2005\"A Portrait of the Artist as a Young Stalker\" by Kate Osana Simonian was \"noted\" in TheBest American Essays 2019\"Volume 68 Number 1: Bodies, Bones, and the Space We Occupy\" was given \"5 Stars\" on \"The Review Review\"See alsoList of literarymagazinesPassage 5:Lee McGeorge DurrellLee McGeorge Durrell  (née McGeorge; born September 7, 1949) is an American naturalist, author, zookeeper, andtelevision presenter. She is best known for her work at the Jersey Zoological Park in the British Channel Island of Jersey with her late husband, Gerald Durrell,and for co-authoring books with him.BiographyLee was born in Memphis, Tennessee, and showed an interest in wildlife as a child. She studied philosophy at BrynMawr College near Philadelphia before enrolling in 1971 for a graduate programme at Duke University, to study animal behaviour. She conducted research for herPhD on the calls of mammals and birds in Madagascar. She met Gerald Durrell when he gave a lecture at Duke University in 1977, and married him in 1979.LeeDurrell moved to Jersey and became involved with the Durrell Wildlife Conservation Trust (then the Jersey Wildlife Preservation Trust). She accompanied Durrellon his last three conservation missions:Mauritius, other Mascarene Islands and Madagascar (1982) (account in Gerald Durrell's Ark on the Move)Russia (1986)(account in Durrell in Russia, co-authored with Gerald Durrell)Madagascar (1990) (account in Gerald Durrell's The Aye-Aye and I)She became the honorarydirector of the Durrell Wildlife Conservation Trust after the death of her husband in 1995. She was instrumental in getting the Jersey Wildlife Preservation Trustrenamed after Gerald Durrell, on the occasion of the 40th anniversary of the Jersey Zoo. She is also a member of various expert groups on conservation, and isfondly called \"Mother Tortoise\" in certain areas of Madagascar due to her work with the ploughshare tortoise.In December 2005, Lee Durrell handed over a largecollection of dead animals (which had originally been collected and bred by her husband Gerald Durrell) to the National Museums of Scotland to aid geneticresearch of the critically rare species.Lee acted as consultant for The Durrells, a 2016 ITV six-part dramatisation of My Family and OtherAnimals.BibliographyDurrell is the author of three books:A Practical Guide for the Amateur Naturalist (with Gerald Durrell) (Hamish Hamilton (UK) / Alfred A.Knopf (USA), 1982) ISBN 0-241-10841-1Durrell in Russia (with Gerald Durrell) (MacDonald (UK) / Simon & Schuster (USA), 1986)State of the Ark – an atlas ofconservation in action (Bodley Head, 1986) ISBN 0-370-30754-2Foreword by Gerald DurrellDedicated \"To GMD for his contribution to conservation, which isgreater than most, because he shares his delight in the natural world so well\"She is also the editor of:The Best of Gerald Durrell (HarperCollins, 1996)Thecompanion book of a TV series documents the series where she was co-presenter: Ourselves and Other Animals – from the TV series with Gerald and Lee Durrell,Peter Evans (1987)HonoursNactus serpeninsula durrelli, or Durrell's night gecko, is the Round Island race of the Serpent Island gecko, named after Gerald andLee Durrell for their contribution to saving the gecko and Round Island fauna in general. Mauritius released a stamp depicting Durrell's night gecko.Lee Durrellwas made a Member of the Order of the British Empire by Queen Elizabeth II in the 2011 Birthday Honours.FilmographyThe Amateur Naturalist, TV series, CBC(Canada) / Channel 4 (UK) (1982)Ourselves & Other Animals, TV series, Primetime Television (1987)Durrell in Russia, TV series, Channel 4 (UK) (1986)Passage6:1920 Washington and Lee Generals football teamThe 1920 Washington and Lee Generals football team represented Washington and Lee University during the1920 college football season.SchedulePassage 7:Kenneth DubersteinKenneth Marc Duberstein (April 21, 1944 – March 2, 2022) was an American lobbyist whoserved as U.S. President Ronald Reagan's White House Chief of Staff from 1988 to 1989.Early life and educationDuberstein was born to a Jewish family inBrooklyn, the son of Jewel (Falb), a teacher, and Aaron Duberstein, a fundraiser for the Boy Scouts of America. He graduated from Poly Prep Country Day Schooland Franklin and Marshall College (A.B. 1965) and American University (M.A. 1966). He received an honorary Doctor of Laws degree from Franklin and Marshall in1989. While in college he was a member of Zeta Beta Tau.Political careerDuberstein began his public service on Capitol Hill as an intern for Sen. Jacob K. Javits.His other early government service included Deputy Under Secretary of Labor during the Gerald Ford Administration and Director of Congressional andIntergovernmental Affairs at the U.S. General Services Administration.During Reagan's eight years in office, he had two stints in the White House. His first wasas  Deputy Assistant to the President for Legislative Affairs (1981–83). His major accomplishment of this period was pushing Reagan's economic agenda througha Democratic House, including the  1982 Tax Bill. Duberstein was described as Reagan's invisible link to Congress. He was at the center of the Administrationspush for the bill, working on both sides of the political divide.   His second stint was also for two years, first as Deputy Chief of Staff and then for the final sixmonths of the Reagan presidency as White House Chief of Staff (1988–1989). Eight days after Reagan was on TV and acknowledged the Iran-Contra affair,"}
+{"doc_id":"doc_157","qid":"","text":"Passage 1:Heaven Knows, Mr. AllisonHeaven Knows, Mr. Allison is a 1957 American CinemaScope war film that tells the story of two people stranded on aJapanese-occupied island in the Pacific Ocean during World War II.The film was adapted by John Huston and John Lee Mahin from the 1952 novel by CharlesShaw and was directed by Huston. It was nominated for Academy Awards for Best Actress in a Leading Role (Deborah Kerr) and Best Writing, Screenplay Basedon Material from Another Medium.The movie was filmed on the islands of Trinidad and Tobago. Producer Eugene Frenke later filmed a low-budget variation on thestory, The Nun and the Sergeant (1962), starring his wife Anna Sten.PlotIn the South Pacific in 1944, U.S. Marine Corporal Allison and his reconnaissance partyare disembarking from a U.S. Navy submarine when they are discovered and fired upon by the Japanese. The submarine's captain is forced to dive and leave thescouting team behind. Allison reaches a rubber raft and, after days adrift, reaches an island. He finds an abandoned settlement and a chapel with one occupant:Sister Angela, a novice Irish nun who has not yet taken her final vows. She has been on the island for only four days, having come with an elderly priest toevacuate another clergyman only to find that the Japanese had arrived first. The frightened natives who had brought them to the island left the pair withoutwarning, and the priest died soon after.For a while, they have the island to themselves, but then a detachment of Japanese troops arrives to set up ameteorological camp, forcing them to hide in a cave. When Sister Angela is unable to stomach the raw fish that Allison has caught, he sneaks into the Japanesecamp for supplies, narrowly avoiding detection. That night, they watch flashes from naval guns being fired in a sea battle over the horizon.The Japaneseunexpectedly leave the island and Allison professes his love for Sister Angela, proposing marriage. But she shows him her engagement ring and explains that it isa symbol of her forthcoming final holy vows. Later both in celebration and frustration, Allison gets drunk on sake. He blurts out that he considers her devotion toher vows to be pointless since they are stuck on the island \"like Adam and Eve.\" She runs out into a tropical rain and falls ill as a result. Allison, now sober andcontrite, finds her shivering. He carries her back, but the Japanese have returned, forcing them to retreat to the cave. Allison sneaks into the Japanese camp toget blankets. He kills a soldier who discovers him, alerting the enemy. To force him into the open, the Japanese set fire to the vegetation.When a Japanese soldierdiscovers the cave, Allison and Sister Angela have two choices: surrender or die from a hand grenade thrown inside. An ensuing explosion is not a grenade, but abomb; the Americans have begun attacking the island in preparation for a landing. Allison comments that the landing will not be easy because when theyreturned, the Japanese brought four artillery pieces and concealed them well on the island.Responding to what he attributes to a message from God, Allisondisables the artillery during the barrage that will precede the American assault while the Japanese are still in their bunkers. He is wounded but sabotages all theguns by removing their breechblocks, saving many American lives. After the landing, the Marine officers are puzzled by the missing breechblocks.Sister Angelaand the wounded Allison then say their goodbyes as the Marines begin occupation. Allison has reconciled himself to Sister Angela's dedication to Jesus, thoughshe reassures him that they will always be close \"companions.\" After being found, Allison is transferred by the Marines to the ship, with Sister Angela walkingbeside him.CastProductionFilming took place in Trinidad and Tobago, allowing Huston and Fox to use blocked funds in the UK, receive British film finance andqualify for the Eady Levy. The film was set later in the war than it was in the novel, which had Allison escaping from the Battle of Corregidor. In the film, the Alliesare on the offensive and U.S. Marines capture the island.The screenplay compares the rituals and commitment of the Roman Catholic Church and the UnitedStates Marine Corps. The National Legion of Decency monitored the production of the film closely, sending a representative to watch the filming; knowing this,Kerr and Mitchum ad-libbed a scene (not included in the final print) in which their characters wildly kissed and grabbed at each other.: 306 The Marines providedtroops for the invasion climax. Six Japanese persons living in Brazil played some of the leading Japanese characters, while Chinese people from some of thelaundries and restaurants of Trinidad and Tobago played the rest of the Japanese soldiers.Screen Archives Entertainment released Heaven Knows, Mr. Allison onBlu-ray on June 10, 2014.ReceptionAccording to Kinematograph Weekly the film was \"in the money\" at the British box office in 1957.Awards and honorsSeealsoList of American films of 1957Passage 2:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer whospent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and LadyHarriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and wasknighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to QueenVictoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and theyhad one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. Inconsecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 forthe third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\".Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge insome forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, hetop-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 3:Eugene FrenkeEugene Frenke (1 January 1895 –10 March 1984) was a Russian-born film producer, director and writer. He twice collaborated with the director John Huston on the films Heaven Knows, Mr. Allisonand The Barbarian and the Geisha.Frenke was married to the Ukrainian actress Anna Sten, from 1932 until his death in 1984. She appeared in a number of hisfilms.Partial filmographyGirl in the Case (1934)Life Returns (1935)A Woman Alone (1936)Miss Robin Crusoe (1954)As director: Life Returns (1934)Girl in theCase (1935)A Woman Alone (1936) (also known as Two Who Dared)Miss Robin Crusoe (1953)Passage 4:The Favor (1994 film)The Favor is a 1994 Americanromantic comedy film directed by Donald Petrie, and written by Sara Parriott and Josann McGibbon. It stars Harley Jane Kozak, Elizabeth McGovern, Bill Pullman,Brad Pitt and Ken Wahl. The original music score was composed by Thomas Newman.PlotKathy has seemingly been happily married to Peter, but theirrelationship has grown routine. She cannot help but wonder what would happen if she ever got together with her high school sweetheart, Tom, whom she hadnever slept with. Being married prevents Kathy from finding out what happened to Tom, so she asks her single, permiscuous, commitment-phobic friend Emily todo it for her. She asks her to look him up when she goes to Denver, sleep with him, then tell Kathy what it was like. Emily does this, but when she tells Kathy thatTom is awesome and they had sex all night, their friendship suffers, as does Kathy's marriage. Kathy becomes even more distracted, and regularly tries to seduceoblivious Peter. At the opening of Elliot, Emily's young lover, the women again talk about Tom. Emily  storms off, leaving Kathy to comfort him, which Peterobserves. Things become even more complicated when Emily learns she is pregnant, and says she is uncertain if Tom or her 'boyfriend' Elliot is the father. Kathytells Elliot about the pregnancy, simultaneously a work colleague of Peter's convinces him she may be cheating. Secretly following her, it seems like she's havingan affair with Elliot.Elliot has a show in Denver, and Kathy ends up on the same flight. She tells him the baby is actually Tom's, so she's going to find out if theystill have a spark. As her room in the Hyatt isn't ready yet, she leaves her bag with Elliot to look for Tom.As Tom has just finished a fishing competition, they goto his cabin so he can shower. In the meantime, Peter shows up at the hotel, hitting Elliot before he can explain. He then heads to get his wife Kathy, Emily soonfollows. Her taxi beats Peter's, so she can warn Kathy. In the end both women and all three men are at the cabin, the two couples reconciling and Tom showinghe's not relationship or father material. Kathy helps Emily plan her wedding with Elliot.CastHarley Jane Kozak as Kathy WhitingElizabeth McGovern as EmilyEmbryBill Pullman as Peter WhitingBrad Pitt as Elliot FowlerKen Wahl as Tom AndrewsGinger Orsi as GinaLeigh Ann Orsi as HannahLarry Miller as Joe DubinGaryPowell as FishermenReleaseThe Favor was filmed in 1990, but went into wide release in the United States and Canada on April 29, 1994, owing to Orion'sbankruptcy in 1991. It was released to home video on the DVD format for Region 1 on December 29, 2001, through MGM Home Entertainment.ReceptionThe filmreceived mixed to negative reviews from critics. On the film-critics aggregate site Rotten Tomatoes, it received a 27% approval rating based on 11 reviews, withan average rating of 4.9/10. On Metacritic, the film has a 51 out of 100 based on 11 reviews, indicating “mixed or average reviews.” Audiences polled byCinemaScore gave the film an average grade of \"B-\" on an A+ to F scale.Year-end listsHonorable mention – Michael MacCambridge, AustinAmerican-StatesmanPassage 5:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford wherehe was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing"}
+{"doc_id":"doc_158","qid":"","text":"Passage 1:Hanro SmitsmanHanro Smitsman, born in 1967 in Breda (Netherlands), is a writer and director of film and television.Film and TelevisionCreditsFilmsBrothers (2017)Schemer (2010)Skin (2008)Raak (aka Contact) (2006)Allerzielen (aka All Souls) (2005) (segment \"Groeten uit Holland\")Engel enBroer (2004)2000 Terrorists (2004)Dajo (2003)Gloria (2000)Depoep (2001)Television20 leugens, 4 ouders en een scharrelei (2013)De ontmaskering van devastgoedfraude (TV mini-series, 2013)Moordvrouw (2012-)Eileen (2 episodes, 2011)Getuige (2011)Vakantie in eigen land (2011)De Reis van meneer vanLeeuwen(2010)De Punt (2009)Roes (2 episodes, 2008)Fok jou! (2006)Van Speijk (2006)AwardsIn 2005, Engel en Broer won Cinema Prize for Short Film at theAvanca Film Festival.In 2007, Raak (aka Contact) won the Golden Berlin Bear Award at the Berlin International Film Festival, the Spirit Award at the Brooklyn FilmFestival, the first place jury prize for \"Best Live Action under 15 minutes\" at the Palm Springs International Short Film Festival, and the Prix UIP Ghent Award forEuropean Short Films at the Flanders International Film Festival.In 2008, Skin won the Movie Squad Award at the Nederlands Film Festival, an actor in the filmalso won the Best Actor Award.  It also won the Reflet d’Or for Best Film at the Cinema tous ecrans Festival in Geneva in the same year.Passage 2:Rasul SadrAmeliRasoul Sadrameli (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; born 1954 in Isfahan) is an Iranian film director, screenwriter, journalist and film producer. TheManaging Director of MILAD FILM (established in 1979, the first company in the distribution and production of Iranian films after revolution) began his journalismcareer when he was just 17. He collaborated with Etela'at Newspaper as a reporter, story writer and editor of Incident page and then as the Editor ofParliamentary Service. He studied sociology at Paul Valéry University of Montpellier in France. He began his professional activities in the Cinema by producing afilm entitled Blood Raining in 1981. This film is the first cinematic project after the revolution.Filmography (as a director)The Liberation — 1982Deliverance —1983Chrysanthemum — 1985During Autumn — 1987The Victim — 1991Symphony of Tehran — 1993The Girl in Sneakers — 1999I'm Taraneh, 15 — 2002Aida, ISaw Your Father Last Night — 2005Every Night Loneliness - 2008Life With Closed Eyes — 2010Waiting For A Miracle — 2011My Second Year in College —2019Passage 3:Long PantsLong Pants (also known as Johnny Newcomer) is a 1927 American silent comedy film directed by Frank Capra and starring HarryLangdon.  Additional cast members include Gladys Brockwell, Alan Roscoe, and Priscilla Bonner.PlotThe silent tells the story of Harry Shelby (Langdon) who hasbeen kept in knee-pants for years by his mother. One day, however, Harry finally gets his first pair of long pants.Immediately, his family expects him to marry hischildhood sweetheart Priscilla (Priscilla Bonner).  Yet, Harry soon falls for Bebe Blair (Alma Bennett), a femme fatale from the big city who has a boyfriend in themob.Harry thinks that Bebe is interested in him as well, so he risks everything when Bebe ends up in jail. This leads to a lot of trouble for Harry. Throughout thewhole ordeal Priscilla waits for Harry to face reality.CastCritical receptionWhen it was released, film critic Mordaunt Hall gave the film a positive review.  He wrote,\"Some hilarious passages enliven Harry Langdon's latest film oddity, Long' Pants...Although these incidents are acted with consummate skill, except for anoccasional repetition, it is quite obvious to any male who has made the decisive change from short to long trousers that the idea offers possibilities far greater andmore genuine than those that greet the eye. The answer is that Mr. Langdon has once again capitulated to his omnipotent band of gag-men. It may be all verywell for Harold Lloyd to rely on mechanical twists, but Langdon possesses a cherubic countenance, which offers him a chance in other directions...Mr. Langdon isstill Charles Spencer Chaplin's sincerest flatterer. His short coat reminds one of Chaplin, and now and again his footwork is like that of the great screencomedian.\"Film historian David Kalat reports that Buster Keaton, a long-time fan of Langdon's known for his own morbid jokes about death and killings, criticizeda scene in which Langdon's character tries to kill Priscilla as \"going too far\" in making light of murder.More recently, critic Maria Schneider reviewed Langdon'swork and wrote, \"Long Pants (1927), also directed by Capra, was a peculiar change of pace for Langdon, and possibly an attempt to poke fun at his baby-facedimage by casting him as a would-be lady-killer; sporting little of the ingenuity of The Strong Man, it was a box-office failure that set off the comedian's quickdecline into obscurity. An acquired taste, Harry Langdon's gentle absurdities and slow rhythms take some getting used to, but patient viewers will berewarded.\"Film critic Hal Erikson wrote of the film, \"Few comedies of the 1920s were as bizarre and surreal as Harry Langdon's Long Pants... Written by futuredirector Arthur Ripley, Long Pants is as kinky as any of Ripley's film noirs of the 1940s. Long Pants represents the second and final collaboration between starHarry Langdon and director Frank Capra, who was fired when Langdon wrong-headedly decided to become his own director, resulting in a series ofcareer-destroying flops.\"See alsoList of United States comedy filmsPassage 4:Jason Moore (director)Jason Moore (born October 22, 1970) is an American directorof film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway careerbegan as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show'snational tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which openedon Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\"Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, SanFrancisco, California in May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, andBrothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of theplay was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Mooremade his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directedthe film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archiemovie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executiveproducer)The Voice (2015) (1 episode)Passage 5:Frank CapraFrank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was anItalian-born American film director, producer, and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s.Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the \"American Dreampersonified\".Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations,along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), Mr. Deeds Goes toTown (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939). During World War II, Capra served in the U.S. Army Signal Corpsand produced propaganda films, such as the Why We Fight series.After World War II, Capra's career declined as his later films, such as It's a Wonderful Life(1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably bycritics. Outside of directing, Capra was active in the film industry, engaging in various political and social activities. He served as President of the Academy ofMotion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America.Early lifeCapra was bornFrancesco Rosario Capra in Bisacquino, a village near Palermo, Sicily, Italy. He was the youngest of seven children of Salvatore Capra, a fruit grower, and theformer Rosaria \"Sara\" Nicolosi. Capra's family was Roman Catholic. Frank's siblings wereLuigia, Ignazia, Benedetto,Antonino Giuseppe, Antonia, and  Anne. Thename \"Capra\", notes Capra's biographer Joseph McBride, represents his family's closeness to the land, and means \"goat\". He notes that the English word\"capricious\" derives from it, \"evoking the animal's skittish temperament\", adding that \"the name neatly expresses two aspects of Frank Capra's personality:emotionalism and obstinacy.\"In 1903, when he was five, Capra's family emigrated to the United States, traveling in a steerage compartment of the steamshipGermania — the cheapest way to make the passage. For Capra, the 13-day journey remained one of the worst experiences of his life: You're all together—youhave no privacy. You have a cot. Very few people have trunks or anything that takes up space. They have just what they can carry in their hands or in a bag.Nobody takes their clothes off. There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be.Capraremembers the ship's arrival in New York Harbor, where he saw \"a statue of a great lady, taller than a church steeple, holding a torch above the land we wereabout to enter\". He recalls his father's exclamation at the sight: Ciccio, look! Look at that! That's the greatest light since the star of Bethlehem! That's the light offreedom! Remember that.The family settled in Los Angeles's East Side (today Lincoln Heights) on avenue 18, which Capra described in his autobiography as anItalian \"ghetto\". Capra's father worked as a fruit picker and young Capra sold newspapers after school for 10 years, until he graduated from high school. Heattended the Manual Arts High School, with Jimmy Doolittle and Lawrence Tibbett as classmates. Instead of working after graduating, as his parents wanted, heenrolled in college. He worked through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs like working at the"}
+{"doc_id":"doc_159","qid":"","text":"Passage 1:Ögedei KhanÖgedei Khagan (also Ogodei; c. 1186 – 11 December 1241) was second khagan-emperor of the Mongol Empire. The third son of Genghis Khan, he continued the expansion of the empire that his father had begun.Born in c. 1186 AD, Ögedei fought in numerous battles during his father's rise to power. After being granted a large appanage and taking a number of wives, including Töregene, he played a prominent role in the Mongol invasion of the Khwarazmian Empire. When his older brothers Jochi and Chagatai quarrelled over strategies when besieging Gurganj, Genghis appointed Ögedei sole commander; his successful capture of the city in 1221 ensured his military reputation. He was confirmed as heir after further infighting between his elder brothers led to both being excluded from succession plans. Genghis died in 1227, and Ögedei was elected as khagan in 1229, after a two-year regency led by his younger brother Tolui.As khan, Ögedei pursued the expansionist policies of his father. He launched a second invasion of Persia led by Chormaqan Noyan in 1230, which subdued the Khwarazmian prince Jalal al-Din and began to subjugate Georgia. He initiated the Mongol invasions of Korea, and his armies skirmished with the Song dynasty and in India. By the time of his death in 1241, large armies under the command of his nephew Batu Khan and Subutai had subdued the steppes and penetrated deep into Europe. These armies defeated Poland at Legnica and Hungary at Mohi before retreating. It is likely that this retreat was caused by the need to find a successor after Ögedei's death, although some scholars have speculated that the Mongols were simply unable to invade further because of logistical difficulties.As an administrator, Ögedei continued to develop the fast-growing Mongol state. Working with officials such as Yelü Chucai, he developed ortogh trading systems, instituted methods of tax collection, and established regional bureaucracies which controlled legal and economic affairs. He also founded the Mongol capital city, Karakorum, in the 1230s. Although historically disregarded in comparison to his father, especially on account of his alcoholism, he was known to be charismatic, good-natured, and intelligent.BackgroundÖgedei was the third son of Genghis Khan and Börte Ujin. He participated in the turbulent events of his father's rise. When Ögedei was 17 years old, Genghis Khan experienced the disastrous defeat of Khalakhaljid Sands against the army of Jamukha. Ögedei was heavily wounded and lost on the battlefield. His father's adopted brother and companion Borokhula rescued him. Although he was already married, in 1204 his father gave him Töregene, the wife of a defeated Merkit chief. The addition of such a wife was not uncommon in steppe culture.After Genghis was proclaimed Emperor or Khagan in 1206, myangans (thousands) of the Jalayir, Besud, Suldus, and Khongqatan clans were given to him as his appanage. Ögedei's territory occupied the Emil and Hobok rivers. According to his father's wish, Ilugei, the commander of the Jalayir, became Ögedei's tutor.Ögedei, along with his brothers, campaigned independently for the first time in November 1211 against the Jin dynasty. He was sent to ravage the land south through Hebei and then north through Shanxi in 1213. Ögedei's force drove the Jin garrison out of the Ordos, and he rode to the juncture of the Xi Xia, Jin, and Song domains.During the Mongol conquest of Khwarezmia, Ögedei and Chagatai massacred the residents of Otrar after a five-month siege in 1219–20 and joined Jochi who was outside the walls of Urganch. Because Jochi and Chagatai were quarreling over the military strategy, Ögedei was appointed by Genghis Khan to oversee the siege of Urganch. They captured the city in 1221. When the rebellion broke out in southeast Persia and Afghanistan, Ögedei also pacified Ghazni.Position as heirThe Empress Yisui insisted that Genghis Khan designate an heir before the invasion of the Khwarezmid Empire in 1219. After the terrible brawl between two elder sons Jochi and Chagatai, they agreed that Ögedei was to be chosen as heir. Genghis confirmed their decision.Genghis Khan died in 1227, and Jochi had died a year or two earlier. Ögedei's younger brother Tolui held the regency until 1229. Ögedei was elected supreme khan in 1229, according to the kurultai held at Kodoe Aral on the Kherlen River after Genghis' death, although this was never really in doubt as it was Genghis' clear wish that he be succeeded by Ögedei. After ritually declining three times, Ögedei was proclaimed Khagan of the Mongols on 13 September 1229. Chagatai continued to support his younger brother's claim.World conquestsExpansion in the Middle EastAfter destroying the Khwarazmian empire, Genghis Khan was free to move against Western Xia. In 1226, however, Jalal ad-Din Mingburnu, the last of the Khwarizm monarchs, returned to Persia to revive the empire lost by his father, Muhammad ‘Ala al-Din II. The Mongol forces sent against him in 1227 were defeated at Dameghan. Another army that marched against Jalal al-Din scored a pyrrhic victory in the vicinity of Isfahan but was unable to follow up that success.With Ögedei's consent to launch a campaign, Chormaqan qorchi left Bukhara at the head of 30,000 to 50,000 Mongol soldiers. He occupied Persia and Khorasan, two long-standing bases of Khwarazmian support. Crossing the Amu Darya River in 1230 and entering Khorasan without encountering any opposition, Chormaqan passed through quickly. He left a sizable contingent behind under the command of Dayir Baghatur, who had further instructions to invade western Afghanistan. Chormaqan and the majority of his army then entered Tabaristan (modern-day Mazandaran), a region between the Caspian Sea and Alborz mountains, in the autumn of 1230, thus avoiding the mountainous area to the south, which was controlled by the Nizari Ismailis (the Assassins).Upon reaching the city of Rey, Chormaqan made his winter camp there and dispatched his armies to pacify the rest of northern Persia. In 1231, he led his army southward and quickly captured the cities of Qum and Hamadan. From there, he sent armies into the regions of Fars and Kirman, whose rulers quickly submitted, preferring to pay tribute to Mongol overlords rather than having their states ravaged. Meanwhile, further east, Dayir Baghatur steadily achieved his goals in capturing Kabul, Ghazni, and Zabulistan. With the Mongols already in control of Persia, Jalal al-Din was isolated in Transcaucasia where he was banished. Thus all of Persia was added to the Mongol Empire.The fall of the Jin dynastyAt the end of 1230, responding to the Jin's unexpected defeat of Doqolqu cherbi (Mongol general), the Khagan went south to Shanxi province with Tolui, clearing the area of the Jin forces and taking the city of Fengxiang. After passing the summer in the north, they again campaigned against the Jin in Henan, cutting through territory of South China to assault the Jin's rear. By 1232 the Jin Emperor was besieged in his capital of Kaifeng. Ögedei soon departed, leaving the final conquest to his generals. After taking several cities, the Mongols, with the belated assistance of the Song dynasty, destroyed the Jin with the fall of Caizhou in February 1234. However, a viceroy of the Song murdered a Mongol ambassador, and the Song armies recaptured the former imperial capitals of Kaifeng, Luoyang, and Chang'an, which were now ruled by the Mongols.In addition to the war with the Jin dynasty, Ögedei crushed the Eastern Xia founded by Puxian Wannu in 1233, pacifying southern Manchuria. Ögedei subdued the Water Tatars in the northern part of the region and suppressed their rebellion in 1237.Conquest of Georgia and ArmeniaThe Mongols under Chormaqan returned to the Caucasus in 1232. The walls of Ganjak were breached by catapult and battering ram in 1235. The Mongols eventually withdrew after the citizens of Irbil agreed to send a yearly tribute to the court of the khagan. Chormaqan waited until 1238, when the force of Möngke Khan was also active in the north Caucasus. After subduing Armenia, Chormaqan took Tiflis. In 1238, the Mongols captured Lorhe whose ruler, Shahanshah, fled with his family before the Mongols arrived, leaving the rich city to its fate. After putting up a spirited defense at Hohanaberd, the city's ruler, Hasan Jalal, submitted to the Mongols. Another column then advanced against Gaian, ruled by Prince Avak. The Mongol commander Tokhta ruled out a direct assault and had his men construct a wall around the city, and Avak soon surrendered. By 1240, Chormaqan had completed the conquest of Transcaucasia, forcing the Georgian nobles to surrender.KoreaIn 1224, a Mongol envoy was killed in obscure circumstances and Korea stopped paying tribute. Ögedei dispatched Saritai qorchi to subdue Korea and avenge the dead envoy in 1231. Thus, Mongol armies began to invade Korea in order to subdue the kingdom. The Goryeo King temporarily submitted and agreed to accept Mongol overseers. When they withdrew for the summer, however, Choe U moved the capital from Kaesong to Ganghwa Island. Saritai was hit with a stray arrow and died as he campaigned against them.Ögedei announced plans for the conquest of the Koreans, the Southern Song, the Kipchaks and their European allies, all of whom killed Mongol envoys, at the kurultai in Mongolia in 1234. Ögedei appointed Danqu commander of the Mongol army and made Bog Wong, a defected Korean general, governor of 40 cities with their subjects. When the court of Goryeo sued for peace in 1238, Ögedei demanded that the king of Goryeo appear before him in person. The Goryeo king finally sent his relative Yeong Nong-gun Sung with ten noble boys to Mongolia as hostages, temporarily ending the war in 1241.EuropeThe Mongol Empire expanded westward under the command of Batu Khan to subdue the western steppes and drive into Europe. Their western conquests included Volga Bulgaria, almost all of Alania, Cumania, and Rus', along with a brief occupation of Hungary. They also invaded Poland, Croatia, Serbia, Bulgaria, the Latin Empire, and Austria. During the siege of Kolomna, the Khagan's half brother Khulgen was killed by an arrow.Amid the conquest, Ögedei's son Güyük and Chagatai's grandson Büri ridiculed Batu, and the Mongol camp suffered dissension. The Khagan harshly criticized Güyük: \"You broke the spirit of every man in your army... Do you think that the Russians surrendered because of how mean you were to your own men?\". He then sent Güyük back to continue the conquest of Europe. Güyük and another of Ögedei's sons, Kadan, attacked Transylvania and Poland, respectively.Although Ögedei Khan had granted permission to invade the remainder of Europe, all the way to the \"Great Sea\", the Atlantic Ocean, the Mongol advance stopped in East Europe early in 1242, the year after his death. Mongol accounts would later attribute the drive's failure to his untimely demise necessitating Batu's withdrawal to personally participate in the election of Ögedei's successor. Batu, however, never reached Mongolia for such an election and a successor wouldn't be named until 1246. A likely reason the advance stalled and never regained momentum is that European fortifications posed a strategic problem that Mongol commanders were unable to surmount with the resources they had available.Conflict with Song "}
+{"doc_id":"doc_160","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She wasappointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and anIsraeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. Shemoved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors.During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She alsodirected and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film andacademic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged andpromoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed themini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen wasappointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter,2006)Passage 2:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of creditsdirecting episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase,Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: TheRideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart inHiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levinworked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when hewas drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long WharfTheatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey DavisLevin and was also an associate artist of The Interact Theatre Company.Passage 3:Michael GovanMichael Govan (born 1963) is the director of the Los AngelesCounty Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan wasborn in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and finearts at Williams College, where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with themuseum, serving as acting curator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University ofCalifornia, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 hadbeen appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from1988 to 1994, a period that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised thereinstallation of the museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president anddirector of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in NewYork's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museumhas been credited with catalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size duringGovan's tenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan alsoworked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land artprojects under construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding Citydeclared a national monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruitedGovan to run the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from itsEuropean and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had theopportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transformingLACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanentcollection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary ArtMuseum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.ArtistcollaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govaninvited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected thetwisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artistJorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with ahigh-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. Theseinclude Chris Burden's Urban Light (2008), a series of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrancepavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton bouldertransported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in partto the popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, themuseum raised $251 million—about $100 million more than it collected during the three years before he arrived. In 2010, it was announced that Govan will steerLACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon,proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.ZumthorProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallerybuilding designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018,and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving allexisting curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recallingGovan's technically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving theinstitution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linearfootage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that itsacquisitions could no longer be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create anon-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterizedthe museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample ofwhat's to come\".Personal lifeGovan is married and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion inHancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that it would sell theproperty to make up for the museum's of almost $900 million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park inMalibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at SantaMonica Airport.Passage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the NorwegianMuseum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 5:Brian Kennedy (gallery director)Brian PatrickKennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United"}
+{"doc_id":"doc_161","qid":"","text":"Passage 1:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim.In 1866 he attempted to sue the Speaker of the House, David Monro. At the time the extent of privilege held by Members of Parliament was unclear; a select committee ruled that the case could proceed, but with a stay until after the parliamentary session.See alsoYska, Redmer (2017). A Strange Beautiful Excitement: Katherine Mansfield's Wellington 1888-1903. Dunedin: Otago University Press. pp. 91–99. ISBN 978-0-947522-54-4.Passage 2:David Hyrum SmithDavid Hyrum Smith (November 17, 1844 – August 29, 1904) was an American religious leader, poet, painter, singer, philosopher, and naturalist. The youngest son of Joseph Smith and Emma Hale Smith, he was an influential missionary and leader in the Reorganized Church of Jesus Christ of Latter Day Saints (RLDS Church). He was born approximately five months after the murder of his father. Joseph told Emma before he died what the child's name should be. From December 1847, David was raised by his mother and her second husband, Lewis C. Bidamon.Smith was a highly effective missionary for the RLDS Church. From 1865 to 1873, he conducted missionary trips throughout the Midwest, Utah Territory, and California, debating preachers of different theologies, including representatives of the Church of Jesus Christ of Latter-day Saints (LDS Church). From 1873 to 1885, Smith was a counselor to his brother Joseph Smith III in the First Presidency of the RLDS Church. Later David's son Elbert A. Smith became a member of the First Presidency and a Presiding Patriarch in the RLDS Church.Smith was called the \"Sweet Singer of Israel\" because many who knew him, who heard him sing and joined him in song, said that he was the most inspiring singer of God they had encountered. The Joseph Smith Historic Site, maintained by the Community of Christ, houses Smith's original paintings of Nauvoo, Illinois.In a 1998 biography of Smith, From Mission to Madness: Last Son of the Mormon Prophet, author Valeen Tippetts Avery describes Smith's mental deterioration, starting with a probable breakdown early in 1870. In an 1869 letter to his mother, Emma Smith Bidamon, Smith had written at age 24:  Mother I must tell you ... I feel very sad and the tears run out of my eyes all the time and I don't know why. ... strive as I will my heart sinks like lead. ... I must tell someone my troubles.Smith was confined to Northern Illinois Hospital and Asylum for the Insane beginning in 1877. He was held there for most of 27 years, dying in the hospital in 1904. Avery's biography draws on a large body of Smith's correspondence and poetry to examine both his personality and his emotional state.NotesPassage 3:John Crockett (frontiersman)John Crockett (circa 1753 – after 1802) was an American frontiersman and soldier, and the father of David \"Davy\" Crockett.Early lifeCrockett was born about 1753 in either Maryland or Frederick County, Virginia. \"Davy\" Crockett said in his autobiography that John Crockett was born either in Ireland or during the journey from Ireland to America; but later scholars disagreed, saying this had been John's father, also named David. His ancestors were of Scotch-Irish and possible Huguenot backgrounds. The Crockett/Crocketague name is a Registered Lineage with the Huguenot Society of the Founders of Manakin in the Colony of Virginia (FMCV)   though \"Davy\" Crockett does not mention it in his autobiography.In 1775 or 1780, Crockett married Rebecca Hawkins, from Maryland.Father and family heads westIn 1776, David Crockett and the growing family moved to the Washington District in what is now the northeastern tip of Tennessee, near Rogersville, Tennessee.Father's demiseIn 1777, David Crockett and part of the family were killed in a Chickamauga Cherokee raid, led by Dragging Canoe, at the onset of the Cherokee–American wars. After the attack, the remaining Crocketts sold the property to a new settler in the area, a French Huguenot man, Colonel Thomas Amis.Military careerDuring the American War for Independence, Crockett fought along with the Overmountain Men from west of the Appalachians. The Overmountain Men often crossed the mountains to face the British in the war's southern campaign. Crockett fought at the Battle of Kings Mountain in 1780, a major victory for the colonists.Later life and workA respected man in the area, Crockett later became a magistrate, a farmer, and an unsuccessful land speculator. The family lived in what is now Greene County, Tennessee, close to the Nolichucky River and near the community of Limestone. It was here, at a location now commemorated as Davy Crockett Birthplace State Park, that David \"Davy\" Crockett was born in 1786. He was the fifth of the nine Crockett children, and was named for his grandfather. At the time of his birth, the area was part of the autonomous State of Franklin. In 1788, Crockett was justice of the court when a young Andrew Jackson received his law license according to some genealogies.After a flood destroyed their house, the Crocketts moved to the Morristown, Tennessee area (1792) and built a tavern on a newly constructed stage road between Abingdon, Virginia and Knoxville, Tennessee. The Crockett Tavern Museum now stands on the site, housed in a reconstruction of the tavern.Young \"Davy\" helps outIn 1798, when David was 12, Crockett hired him out to Jacob Siler to drive cattle. After young David fulfilled his original obligation to Siler, he returned to his father's home. The family sent Davy to a school that had been established nearby, but he did not like school and quit attending after a few days. The elder Crockett was drunk when he learned his son was avoiding school and he punished Davy severely, leading him to flee and stay away for years. David Crockett returned in 1802 and helped pay off his father's debts.DeathIt's not clear when Crockett died, though some genealogies have his year of death as 1834.Crockett family treePassage 4:Jorge TrezeguetJorge Ernesto Trezeguet (born 13 May 1951) is an Argentine former professional footballer who played as a defender. He is the father of David Trezeguet.CareerTrezeguet played for Estudiantes (BA), Almagro, Deportivo Español, Sportivo Italiano, El Porvenir and Chacarita Juniors in Argentina, as well as FC Rouen in France. It was while playing for Rouen that his son David was born.He was provisionally banned for failing a doping control in 1974 while playing for Estudiantes (BA) in the second-tier Primera B Nacional along with two teammates. He was subsequently pardoned, but his career was adversely impacted by the allegations.Trezeguet later in his career worked as a physical trainer. Currently he is the agent for his son David as well as a European scout for Juventus.Passage 5:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, "}
+{"doc_id":"doc_162","qid":"","text":"Passage 1:Mark RockefellerMark Fitler Rockefeller (born January 26, 1967) is a fourth-generation member of the Rockefeller family. He is the younger son offormer U.S. Vice President Nelson A. Rockefeller (1908–1979) and Happy Rockefeller (1926–2015). Through his father, Rockefeller is a grandson of Americanfinancer John D. Rockefeller Jr. and a great-grandson of Standard Oil co-founder John D. Rockefeller. He was chairman of the board of directors of the NationalFish and Wildlife Foundation in 2010.Early lifeRockefeller grew up at Kykuit, the central mansion at his family's estate in Pocantico, Westchester County, in NewYork State. He is an alumnus of the Buckley School, Deerfield Academy (1985), Princeton University (BA 1989), and Harvard University (MBA 1996). He playedfootball, basketball, and baseball at Deerfield, and played football at Princeton as a walk-on.CareerRockefeller and his former wife own South Fork Lodge andSouth Fork Outfitters, both in Swan Valley, Idaho. Previously, he was an associate in the Acquisition Finance Group at Chase Securities, Inc.In 1999 he waselected chairman of the non-profit organization, Historic Hudson Valley, founded by his grandfather, John D. Rockefeller Jr. in 1951. Mark Rockefeller's olderbrother, Nelson Rockefeller Jr., has also served on its board.In a 2013 article about federal farm subsidy programs, the New York Post reported that 1,500affluent New Yorkers had received payments. Among them was Rockefeller, who received $342,634 in farm subsidies over the course of ten years from 2001 to2011 for allowing farmland to return to its natural condition.Personal lifeIn 1998, Rockefeller married Renee Anne Anisko (born 1968) at the Church of theMagdalene in Pocantico Hills. She has a Juris Doctor degree cum laude from the Temple University Beasley School of Law. They have four children. They divorcedin 2020.Passage 2:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book byJohn Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny,Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with thepanelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. FrankeHarling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single fromCharley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (JoePass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by SawyerBrown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"WhereWas I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (RosieThomas album)Passage 3:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality ofdeath.Dance of Death or The Dance of Death may also refer to:BooksDance of Death, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novelby R. L. StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play byAugust StrindbergThe Dance of Death, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a1918 drama starring Alice BradyThe Dance of Death (1912 film), a German silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death(1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death (1948 film), French-Italian drama based on Strindberg's play,starring Erich von StroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starring BorisKarloffDance of Death (1969 film), a film based on Strindberg's play, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring PaulChunMusicDance of Death (album), a 2003 album by Iron Maiden, or the title songThe Dance of Death & Other Plantation Favorites, a 1964 album by JohnFaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead (disambiguation)Danse Macabre(disambiguation)Bon Odori, a Japanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz(disambiguation)Passage 4:John I, Duke of ClevesJohn I, Duke of Cleves, Count of Mark (16 February 1419 – 5 September 1481). Jean de Belliqueux (warlike),was Duke of Cleves and Count of Mark.LifeJohn was the son of Adolph I, Duke of Cleves and Mary of Burgundy. He was raised in Brussels at the Burgundian courtof his uncle Philip the Good. He ruled Cleves from 1448 from 1481, and Mark since 1461 after the death of his uncle Gerhard who had waged war on his ownbrother.John fought 3 wars with the Electorate of Cologne and finally defeated Ruprecht of the Palatinate, conquering the cities of Xanten and Soest. In thesewars, he was supported by his uncle Philip the Good, bringing Cleves-Mark into the Burgundian sphere of influence. His marriage with Elisabeth Countess ofNevers, from a sideline of the House of Burgundy, only strengthened this influence. John also took sides in the Münster Diocesan Feud supporting the aspirationsof the House of Hoya to the episcopacy in Münster.John was also made a Knight in the Burgundian Order of the Golden Fleece in 1451, with which he wasdepicted by Rogier van der Weyden. In 1473 he helped the Burgundian Duke Charles the Bold conquer the Duchy of Guelders.Marriage and childrenOn 22 April1455, John married Elizabeth of Nevers, daughter of John II, Count of Nevers.They had:John II, Duke of Cleves (13 April 1458 – 15 March 1521); married 3November 1489 Matilda of HesseAdolf (1461–1498); a canon of LiegeEngelbert, Count of Nevers (26 September 1462 – 21 November 1506); married 23February 1489 Charlotte de Bourbon-VendômeDietrich (1464)Marie of Cleves (1465–1513)Philip of Cleves (1467–1505); Bishop of Nevers, Amiens andAutunAncestryPassage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used in legal documents,together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/localitydiffers in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respectto passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless ofwhen the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in a hospital in anotherplace, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place ofbirth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identitydocuments. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother isthe registered place of birth. The location of the maternity ward or other physical birthplace is considered unimportant.Similarly, Switzerland uses the concept ofplace of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets theirmother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passportand identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarilyin the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost allcountries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be someconfusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place ofbirth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/orthe location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's\"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality atbirth\". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place ofbirth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage 6:Dietrich IX, Count of MarkDietrich IX, Count ofMark (1374–1398) was the Count of Mark from 1393 until 1398.Dietrich was the second son of Count Adolf III of the Marck and Margaret of Jülich.His father hadacquired the County of Cleves in 1368 and reserved this title for his eldest son Adolph to succeed him after his death. Dietrich already received the title of Countof Mark in 1393, when his father was still alive. When Dietrich fell in battle in 1398, he was succeeded by his elder brother Adolph, who had become Count ofCleves in 1394. Thus the County of Mark and the County of Cleves were reunited again.Passage 7:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation:[boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, aFrench general who served in the Napoleonic Wars.PopulationSee alsoCommunes of the Loiret departmentPassage 8:Motherland (disambiguation)Motherland isthe place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), thenational anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All theGirls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent warfilmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the"}
+{"doc_id":"doc_163","qid":"","text":"Passage 1:Howard W. KochHoward Winchel Koch (April 11, 1916 – February 16, 2001) was an American producer and director of film and television.Life andcareerKoch was born in New York City, the son of Beatrice (Winchel) and William Jacob Koch. His family was Jewish. He attended DeWitt Clinton High School andthe Peddie School in Hightstown, New Jersey. He began his film career as an employee at Universal Studios office in New York then made his Hollywoodfilmmaking debut in 1947 as an assistant director. He worked as a producer for the first time in 1953 and a year later made his directing debut. In 1964,Paramount Pictures appointed him head of film production, a position he held until 1966 when he left to set up his own production company. He had a productionpact with Paramount for over 15 years.Among his numerous television productions, Howard W. Koch produced the Academy Awards show on eight occasions.Dedicated to the industry, he served as President of the Academy of Motion Picture Arts and Sciences from 1977 to 1979. In 1990 the Academy honored him withThe Jean Hersholt Humanitarian Award and in 1991 he received the Frank Capra Achievement Award from the Directors Guild of America.Together with actor TellySavalas, Howard Koch owned the thoroughbred racehorse Telly's Pop, winner of several important California races for juveniles including the Norfolk Stakes andDel Mar Futurity.Howard W. Koch suffered from Alzheimer's disease and died in at his home in Beverly Hills, California on February 16, 2001. He had two childrenfrom a marriage of 64 years to Ruth Pincus, who died in March 2009. In 2004, his son Hawk Koch was elected to the Board of Governors of the Academy ofMotion Picture Arts and Sciences.FilmographyDirectorFilm (director)Shield for Murder (1954)Big House, U.S.A. (1955)Untamed Youth (1957)Bop Girl GoesCalypso (1957)Jungle Heat (1957)The Girl in Black Stockings (1957)Fort Bowie (1957)Violent Road (1958)Frankenstein 1970 (1958)Born Reckless (1958)AndyHardy Comes Home (1958)The Last Mile (1959)Badge 373 (1973)Television (director)Maverick (1957) (1 episode)Hawaiian Eye (1959) (2 episodes)Cheyenne(1958) (1 episode)The Untouchables (1959) (4 episodes)The Gun of Zangara (1960) (TV movie taken from The Untouchables (1959 TV series))Miami Undercover(1961) (38 episodes)Texaco Presents Bob Hope in a Very Special Special: On the Road with Bing (1977)ProducerFilm (producer):War Paint (1953)Beachhead(1954)Shield for Murder (1954)Big House, U.S.A. (1955)Rebel in Town (1956)Frankenstein 1970 (1958)Sergeants 3 (1962)The Manchurian Candidate(1962)Come Blow Your Horn (1963)Robin and the 7 Hoods (1964)The Odd Couple (1968)On a Clear Day You Can See Forever (1970)A New Leaf (1971)PlazaSuite (1971)Last of the Red Hot Lovers (1972)Jacqueline Susann's Once Is Not Enough (1975)The Other Side of Midnight (1977)Airplane! (1980)Some Kind ofHero (1982)Airplane II: The Sequel (1982)Ghost (1990)Television (producer)Magnavox Presents Frank Sinatra (1973)Passage 2:Robert MulliganRobert PatrickMulligan (August 23, 1925 – December 20, 2008) was an American director and producer. He is best known for his sensitive dramas, including To Kill aMockingbird (1962), Summer of '42 (1971), The Other (1972), Same Time, Next Year (1978), and The Man in the Moon (1991). He was also known in the 1960sfor his extensive collaborations with producer Alan J. Pakula.Early lifeMulligan served in either the U.S. Navy or the U.S. Marine Corps during World War II as aradio operator. At war's end, he graduated from Fordham University, then obtained work in the editorial department of The New York Times, but left to pursue acareer in television.CareerTelevisionMulligan began his television career as a messenger boy for CBS television. He worked diligently, and by 1948 was directingmajor dramatic television shows.In the early 1950s he directed many episodes of Suspense. He followed this directing for The Philco Television Playhouse,Armstrong Circle Theatre, The Alcoa Hour, The United States Steel Hour, Studio One in Hollywood, Goodyear Playhouse and The Seven Lively Arts.1950s–1960sIn1957 Mulligan directed his first motion picture, Fear Strikes Out, starring Anthony Perkins as tormented baseball player Jimmy Piersall. The film was the firstfeature he would direct alongside longtime collaborator Alan J. Pakula, then a big-time Hollywood producer. Pakula once confessed that \"working with Bob set meback in directing several years because I enjoyed working with him, and we were having a good time, and I enjoyed the work.\"Mulligan returned to television todirect episodes of Playhouse 90, Rendezvous, The Dupont Show of the Month, and TV versions of Ah, Wilderness! and The Moon and Sixpence. In 1959 he won anEmmy Award for directing The Moon and Sixpence, a television production that was the American small-screen debut of Laurence Olivier.Mulligan returned tofeature films to make two Tony Curtis vehicles, The Rat Race and The Great Imposter. He was going to make a third, The Wine of Youth but it was notmade.Mulligan then made two Rock Hudson vehicles, Come September and The Spiral Road.Pakula collaborationIn the early 1960s, Pakula returned to Mulliganwith the proposition of directing To Kill a Mockingbird (1962), based on the Pulitzer Prize-winning novel by Harper Lee. Mulligan accepted the offer despite theawareness that \"the other studios didn't want it because what's it about? It's about a middle-aged lawyer with two kids. There's no romance, no violence (exceptoff-screen). There's no action. What is there? Where's the story?\" With the help of a screenplay by Horton Foote as well as the pivotal casting of Gregory Peck inthe role of Atticus Finch, the film became a huge hit, and Mulligan was nominated for an Academy Award for Best Director.Mulligan and Pakula followed To Kill aMockingbird with five more films. Love With the Proper Stranger (1963), starred Natalie Wood and Steve McQueen. Baby the Rain Must Fall (1965) starredMcQueen. Inside Daisy Clover (1965) starred Wood. Up the Down Staircase (1967) was based on a humorous novel by Bel Kaufman and starred Sandy Dennis asthe schoolteacher Sylvia Barrett. The Stalking Moon (1968), based on a Western novel by T.V. Olsen and reuniting Mulligan and Pakula with Peck, this time in therole of Sam Varner, a scout who attempts to escort a white woman (Eva Marie Saint) and her half-Indian son to New Mexico after they are pursued by abloodthirsty Apache, the boy's father. After this film, Pakula parted company from Mulligan to pursue his own career in directing.1970sMulligan began the 1970swith The Pursuit of Happiness (1971), based on the 1968 novel by Thomas Rogers, which had been a finalist for the National Book Award. The film starred MichaelSarrazin as William Popper, a college student (disillusioned with both right-wing and left-wing American politics) whose life is complicated when he accidentallyruns over and kills an elderly woman and is quickly sentenced to one year in prison for vehicular manslaughter. He then contemplates breaking out of prison andfleeing the country with his girlfriend (played by Barbara Hershey), since neither feels their lives have made any significant difference in America.Also in 1971,Mulligan released Summer of '42 (1971), which was based on the coming-of-age novel by Herman Raucher and starred Gary Grimes as a teenage stand-in forRaucher who spends a summer vacation in 1942 on Nantucket Island lusting after a young woman (Jennifer O'Neill) whose husband has shipped off to fight in thewar. A box office smash, Summer of '42 went on to gross over $20 million, and Mulligan was nominated for a Golden Globe Award for Best Director.Summer of'42 was followed by The Other (1972), a thriller film scripted by former Hollywood actor Thomas Tryon from his own book. It told the story of two 9-year-oldboys, Niles and Holland Perry (played by real-life twins Chris and Marty Udvarnoky), who get involved in a series of grisly murders at their home on PeaquotLanding in the 1930s. Although the film was not an immediate success at the box office, it has since gone on to gain a steady cult following.In the mid-1970s,Mulligan was briefly engaged in talks with producers Julia and Michael Phillips to direct Taxi Driver (1976), with Jeff Bridges to star as the psychotic Travis Bickle.Objections posed by screenwriter Paul Schrader caused the project to be turned over to Martin Scorsese and Robert De Niro instead.Mulligan proceeded byrounding out the 1970s with three films dominated by performances from A-list Hollywood actors: Jason Miller as a Los Angeles locksmith threatened by hitmen inThe Nickel Ride (1974); Richard Gere as an Italian-American youth trying to break from his working-class family in Bloodbrothers (1978); and Alan Alda and EllenBurstyn portraying George and Doris, a pair of long-term adulterers, in Same Time Next Year (1978), based on the play by Bernard Slade.1980sAs the 1980sdawned, Mulligan found work harder to come by, succeeding in directing only two films by the end of the decade. Mulligan had started directing Rich and Famousfor MGM but asked to be replaced after a week of shooting; George Cukor replaced him.Mulligan was also fired from directing The Pursuit of D.B. Cooper becausehe allegedly took seven days to shoot a whitewater rapids chase.At another point, according to screenwriter Hampton Fancher, Mulligan was attached to directBlade Runner; his adaptation would have starred Robert Mitchum. Fancher states that the deal with Mulligan fell apart because of \"ego\" and because the studio atthe time, Universal, wanted a happier ending. Mulligan was also briefly attached to direct Cutter's Way; his version would have starred Dustin Hoffman.Kiss MeGoodbye (1982), starring Sally Field, James Caan and Jeff Bridges, was an attempt at a comedic remake of the Brazilian film Dona Flor and Her Two Husbands,and was critically derided, although it was a modest commercial success.Clara's Heart (1988), starring Whoopi Goldberg and a young Neil Patrick Harris, wasreleased five years later to negative box office numbers and reviews, and was panned on television by Siskel and Ebert. It has, however, received recent praisefrom film professor Robert Keser.1990sIn the 1990s, at the age of 66, Mulligan would release his final film, The Man in the Moon (1991), starring a 14-year-oldReese Witherspoon, in her film debut. The film was praised by Roger Ebert, who included it at #8 in his Top 10 list of the best films of 1991, declaring, \"Nothingelse [Mulligan] has done... approaches the purity and perfection of The Man in the Moon... (with a) poetic, bittersweet tone, and avoid(ing) the sentimentalismand cheap emotion that could have destroyed this story.\"Later in March 1992, Mulligan made headlines when he angrily took his name off of airline cuts of TheMan in the Moon, after he had learned that the film would be heavily censored by American and Delta flights. In an interview with Ebert, Mulligan explained, \"Theairlines demanded so many excessive and unreasonable cuts and changes that I took my name off the film... it's the first time I've ever done that.\"Before hisdeath in 2008, Mulligan had commissioned playwright Beth Henley to write a screenplay from the novel A Long and Happy Life by Reynolds Price, which Mulligan"}
+{"doc_id":"doc_164","qid":"","text":"Passage 1:Princess Irene of Hesse and by RhinePrincess Irene of Hesse and by Rhine (Irene Luise Marie Anne; 11 July 1866 – 11 November 1953), later PrincessHenry of Prussia, was the third child and third daughter of Princess Alice of the United Kingdom and Louis IV, Grand Duke of Hesse and by Rhine. Her maternalgrandparents were Queen Victoria and Prince Albert of Saxe-Coburg and Gotha. Her paternal grandparents were Prince Charles of Hesse and by Rhine andPrincess Elisabeth of Prussia. She was the wife of Prince Henry of Prussia, a younger brother of Wilhelm II, German Emperor and her first cousin. The SSPrinzessin Irene, a liner of the North German Lloyd was named after her.Her siblings included Princess Victoria of Hesse and by Rhine, wife of Prince Louis ofBattenberg, Grand Duchess Elizabeth Feodorovna of Russia, wife of Grand Duke Sergei Alexandrovich of Russia, Ernest Louis, Grand Duke of Hesse and by Rhine,and Empress Alexandra Feodorovna of Russia, wife of Tsar Nicholas II of Russia. Like her younger sister, the empress, Irene was a carrier of the hemophilia gene,and Irene would lose her sisters Alix and Elisabeth in Russia to the Bolsheviks.Early lifeShe received her first name, which was taken from the Greek word for\"peace\", because she was born at the end of the Austro-Prussian War. Alice considered Irene an unattractive child and once wrote to her sister Victoria that Irenewas \"not pretty\". She would never be considered a great beauty like her sisters Elisabeth and Alix, but she did have a pleasant, even disposition. Princess Alicebrought up her daughters simply. An English nanny presided over the nursery and the children ate plain meals of rice puddings and baked apples and wore plaindresses. Her daughters were taught how to do housework, such as baking cakes, making their own beds, laying fires and sweeping and dusting their rooms.Princess Alice also emphasised the need to give to the poor and often took her daughters on visits to hospitals and charities.The family was devastated in 1873when Irene's haemophiliac younger brother Friedrich, nicknamed \"Frittie\", fell through an open window, struck his head on the balustrade and died hours later ofa brain hemorrhage. In the months following the toddler's death, Alice frequently took her children to his grave to pray and was melancholy on anniversariesassociated with him. In the autumn of 1878 Irene, her siblings (except for Elisabeth) and her father became ill with diphtheria. Her younger sister Princess Marie,nicknamed \"May\", died of the disease. Her mother, exhausted from nursing the children, also became infected. Knowing she was in danger of dying, Princess Alicedictated her will, including instructions about how to bring up her daughters and how to run the household. She died of diphtheria on 14 December1878.Following Alice's death, Queen Victoria resolved to act as a mother to her Hessian grandchildren. Princess Irene and her surviving siblings spent annualholidays in England and their grandmother sent instructions to their governess regarding their education and approving the pattern of their dresses. With hersister Alix, Irene was a bridesmaid at the 1885 wedding of their maternal aunt, Princess Beatrice, to Prince Henry of Battenberg.MarriageIrene married PrinceHenry of Prussia, the third child and second son of Frederick III, German Emperor and Victoria, Princess Royal on 24 May  1888 at the chapel of theCharlottenburg Palace in Berlin. As their mothers were sisters, Irene and Henry were first cousins. Their marriage displeased Queen Victoria because she had notbeen told about the courtship until they had already decided to marry. At the time of the ceremony, Irene's uncle and father-in-law, the German emperor, wasdying of throat cancer, and less than a month after the ceremony, Irene's cousin and brother-in-law ascended the throne as Kaiser Wilhelm II. Heinrich's mother,Empress Victoria, was fond of Irene. However, Empress Victoria was shocked because Irene did not wear a shawl or scarf to disguise her pregnancy when she waspregnant with her first son, the haemophiliac Prince Waldemar, in 1889. Empress Victoria, who was fascinated by politics and current events, also couldn'tunderstand why Heinrich and Irene never read a newspaper. However, the couple were happily married and they were known as \"The Very Amiables\" by theirrelatives because of their pleasant natures. The marriage produced three sons.ChildrenFamily relationshipsIrene transmitted the haemophilia gene to her eldestand youngest sons, Waldemar and Heinrich. Waldemar's health worried her from early childhood. She was later devastated when the youngest child,four-year-old Heinrich, died after he fell and bumped his head in February 1904. Six months after little Heinrich's death, Irene became an aunt to Tsarevich Alexeiof Russia, son of her youngest sister, Tsarina Alexandra, who also had hemophilia.Irene, raised to believe in a proper Victorian code of behaviour, was easilyshocked by what she saw as immorality. In 1884, the same year that her elder sister Victoria married Prince Louis of Battenberg, another sister, Elisabeth,married Grand Duke Sergei Alexandrovich of Russia, and when Elisabeth converted from Lutheranism to Russian Orthodoxy, in 1891, Irene was deeply upset. Shewrote to her father that she \"cried terribly\" over Elisabeth’s decision.  In 1892, Irene's father, Grand Duke Louis IV, died, and her brother, Ernest, succeeded himas Grand Duke of Hesse. Two years later, in May 1894, Ernest Louis was married off by Queen Victoria to a first cousin, Victoria Melita of Saxe-Coburg-Gotha. Itwas amidst the wedding festivities that Irene's youngest surviving sister, Alix, accepted the marriage proposal of Tsarevich Nicholas, a second cousin, and whenNicholas' father died prematurely in November 1894, Irene and her husband travelled to St. Petersburg to be present at both his funeral and the wedding of Alix,who had taken the name Alexandra Feodorovna upon her conversion to Orthodoxy, to the new tsar, Nicholas II. Despite the disagreement that she had over theconversion of two of her sisters to Russian Orthodoxy, she remained close with all of her siblings. In 1907, Irene helped arrange what later turned out to be adisastrous marriage between Elisabeth’s ward, Grand Duchess Maria Pavlovna of Russia, to Prince Vilhelm, Duke of Södermanland. Wilhelm's mother, the Queenof Sweden, was an old friend of both Irene and Elisabeth. Grand Duchess Maria later wrote that Irene pressured her to go through with the marriage when shehad doubts. She told Maria that ending the engagement would \"kill\" Elisabeth. In 1912, Irene was a source of support to her sister Alix when Alexei nearly died ofcomplications of haemophilia at the Imperial Family's hunting lodge in Poland.Later lifeIrene's ties to her sisters were disrupted by the advent of World War I,which put them on opposing sides of the war. When the war ended, she received word that Alix, her husband and children and her sister Elizabeth had been killedby the Bolsheviks.When Anna Anderson surfaced in Berlin in the early 1920s, claiming to be the surviving Grand Duchess Anastasia Nikolaevna of Russia, Irenevisited the woman, but decided that Anderson could not be the niece she had last seen in 1913. Princess Irene was not impressed.\"I saw immediately that shecould not be one of my nieces. Even though I had not seen them for nine years, the fundamental facial characteristics could not have altered to that degree, inparticular the position of the eyes, the ear, etc. .. At first sight one could perhaps detect a resemblance to Grand Duchess Tatiana.\"Grand Duchess OlgaAlexandrovna, sister of the murdered tsar, commented on the visit of Princess Irene,\"It was an unsatisfactory meeting, but the woman's supporters said thatPrincess Irene had not known her niece very well and all the rest of it.\" Irene's husband, Heinrich, said that the mention of Anderson upset Irene too much andordered that no one was to discuss Anderson in his presence. Heinrich died in 1929. Anna Anderson biographer Peter Kurth wrote that several years later, Irene'sson (Prince Sigismund) posed questions to Anderson through an intermediary about their shared childhood and declared that her answers were all accurate. Irenelater adopted Sigismund's daughter, Barbara, born in 1920, as her heir after Sigismund left Germany to live in Costa Rica during the 1930s. Sigismund declinedto return to Germany to live after World War II.HonoursGrand Duchy of Hesse: Dame of the Grand Ducal Hessian Order of the Golden Lion, 21 March 1883Kingdom of Prussia:Dame of the Order of Louise, 1st DivisionDame of the Wilhelm-OrdenRed Cross Medal, 1st Class, 22 October 1898 Kingdom of Bavaria: MeritCross for Volunteer Nurses  Austria-Hungary: Grand Cross of the Imperial Austrian Order of Elizabeth, 1900 Russian Empire: Grand Cross of the Imperial Order ofSaint Catherine United Kingdom:Queen Victoria Golden Jubilee Medal, 1887Royal Order of Victoria and Albert, 2nd ClassAncestryPassage 2:Princess VictoriaMelita of Saxe-Coburg and GothaGrand Duchess Victoria Feodorovna of Russia  (born Princess Victoria Melita of Edinburgh; 25 November 1876 – 2 March 1936),was the third child and second daughter of Alfred, Duke of Saxe-Coburg and Gotha, and of Grand Duchess Maria Alexandrovna of Russia. She was agranddaughter of Queen Victoria of the United Kingdom and also of Emperor Alexander II of Russia.Born a British princess, Victoria spent her early life in Englandand lived for three years in Malta, where her father served in the Royal Navy. In 1889 the family moved to Coburg, where Victoria's father became the reigningduke in 1893. In her teens Victoria fell in love with her first cousin Grand Duke Kirill Vladimirovich of Russia (the son of her mother's brother, Grand DukeVladimir Alexandrovich of Russia) but his faith, Orthodox Christianity, discouraged marriage between first cousins. Bowing to family pressure, Victoria married herpaternal first cousin Ernest Louis, Grand Duke of Hesse and by Rhine in 1894, following the wishes of their grandmother, Queen Victoria. The marriage failed –Victoria Melita scandalized the royal families of Europe when she divorced her husband in 1901. The couple's only child, Princess Elisabeth of Hesse and by Rhine,died of typhoid fever in 1903.Victoria married Grand Duke Kirill Vladimirovich in 1905. They wed without the formal approval of Britain's King Edward VII (as theRoyal Marriages Act 1772 would have required), and in defiance of Russia's Emperor Nicholas II. In retaliation, the Tsar stripped Kirill of his offices and honours,also initially banishing the couple from Russia. They had two daughters and settled in Paris before being allowed to visit Russia in 1909. In 1910 they moved toRussia, where Nicholas recognized Victoria Melita as Grand Duchess Victoria Feodorovna. After the fall of the Russian monarchy in 1917 they escaped to Finland(then still part of the Russian Empire) where she gave birth to her only son in August 1917. In exile they lived for some years among her relatives in Germany,and from the late 1920s on an estate they bought in Saint-Briac in Brittany. In 1926 Kirill proclaimed himself Russian emperor in exile, and Victoria supported herhusband's claims. Victoria died after suffering a stroke while visiting her daughter Maria in Amorbach (Lower Franconia).Early lifeVictoria was born on 25"}
+{"doc_id":"doc_165","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:The Heart of Maryland (1921 film)The Heart of Maryland is a lost 1921 American silent film feature produced anddistributed by the Vitagraph Company of America. It is based on David Belasco's 1895 play, The Heart of Maryland.When Warner Brothers acquired the VitagraphStudios in 1925, they obtained the screen rights to this property and remade the story in 1927 as The Heart of Maryland with Dolores Costello.CastCatherineCalvert as Maryland CalvertCrane Wilbur as Alan KendrickFelix Krembs as Col. Fulton ThorpeBen Lyon as Bob TelfairWilliam Collier, Jr. as Lloyd CalvertWarnerRichmond as Tom BooneBernard Siegel as Provost-Sergeant BlountHenry Hallam as General KendrickVictoria White as Nanny McNairMarguerite Sanchez as Mrs.ClaiborneJane Jennings as Mrs. ClaiborneSee alsoThe Heart of Maryland (1915)Passage 3:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historianand museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director ofMaihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order ofSt. Olav.Passage 4:The Heart of Maryland (1915 film)The Heart of Maryland is a lost 1915 silent film drama directed by Herbert Brenon based on David Belasco'splay The Heart of Maryland. Mrs. Leslie Carter, who starred in the original play on Broadway in 1895, makes her appearance in this film as the titlecharacter.CastMrs. Leslie Carter – Maryland CalvertWilliam E. Shay – Alan KendrickJ. Farrell MacDonald – Colonel ThorpeMatt B. Snyder – General HughKendrickRaymond Russell – Floyd CalvertMarcia Moore – Floyd Calver't SweetheartVivian Reed – Dolly GreyDoris Baker – True BlueHerbert Brenon – LloydCalvertBert Hadley – Private BooneJoseph Hazelton – The Sexton (*as Joe Hazelton)See alsoThe Heart of Maryland (1921)The Heart of Maryland (1927)Passage5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction(1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno(1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor BlakeMysteries (2013)Passage 6:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number ofcredits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The PaperChase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage:The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed\"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director,Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production whenhe was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long WharfTheatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey DavisLevin and was also an associate artist of The Interact Theatre Company.Passage 7:The Heart of the WorldThe Heart of the World is a short film written anddirected by Guy Maddin, produced for the 2000 Toronto International Film Festival. Maddin was one of a number of directors (including Atom Egoyan and DavidCronenberg) commissioned to make four-minute short films that would screen prior to the various feature films at the 2000 festival as part of the special Preludesprogram. After hearing rumours that other directors were planning films with a small number of shots, Maddin decided that his film would instead contain over100 shots per minute, and enough plot for a feature-length film. Maddin then wrote and shot The Heart of the World in the style of Russian constructivism, takingthe commission at its literal face value, as a call to produce a propaganda film. Even in its expanded, 6-minute version, The Heart of the World runs at abreakneck speed, averaging roughly two shots per second, a pace intensified by the background music, Time, Forward! by Georgy Sviridov.Plot summaryThe plotof The Heart of the World concerns two brothers, Osip and Nikolai, who compete for the love of the same woman: Anna, a state scientist studying the Earth'score. Anna discovers that the heart of the world is in danger of a fatal heart attack (which would mean the end of the world), and the brothers compete amongstthe public panic. Nikolai is a mortician and tries to impress Anna with assembly-line embalming, while Osip is an actor playing Christ in the Passion Play and triesto impress Anna through his suffering. Anna is instead seduced by an evil capitalist, but has a change of heart and strangles the plutocrat, then slides down intothe heart of the world, where she manages to save the world from destruction by transforming into cinema itself, the world's \"new and better heart —Kino!\"CastLeslie Bais as Anna Caelum Vatnsdal as Osip Shaun Balbar as Nikolai Greg Klymkiw as AkmatovAwards and nominationsGenie Award:Win: Best LiveAction Short FilmAspen Shortsfest:Win: Best CinematographyBrussels International Festival of Fantasy Film:Win: Special Mention – Short FilmMiami FilmFestival:Win: FIPRESCI Prize, Best Short SubjectNational Society of Film Critics AwardsWin: Best Experimental Film—the same award Maddin won in 1991 forArchangel.San Francisco International Film FestivalWin: Film & Video – Short Narrative, Golden Gate Award – Guy MaddinPassage 8:A Woman's TriumphAWoman's Triumph is a lost 1914 silent film drama directed by J. Searle Dawley and starring Laura Sawyer. It was produced by Daniel Frohman and AdolphZukor  and based on an 1818 story The Heart of Midlothian by Sir Walter Scott.A rival British film The Heart of Midlothian was released in April 1914.CastLauraSawyer as Jeanie DeansBetty Harte as Effie DeansGeorge Moss as David DeansHal Clarendon as Georgie RobertsonWellington Playter as Reuben ButlerEmilyCalloway as Madge WildfireHelen Aubrey as Dame MurdocksonPassage 9:Guy MaddinGuy Maddin  (born February 28, 1956) is a Canadian screenwriter, director,author, cinematographer, and film editor of both features and short films, as well as an installation artist, from Winnipeg, Manitoba. Since completing his first filmin 1985, Maddin has become one of Canada's most well-known and celebrated filmmakers.Maddin has directed twelve feature films and numerous short films, inaddition to publishing three books and creating a host of installation art projects. A number of Maddin's recent films began as or developed from installation artprojects, and his books also relate to his film work. Maddin is known for his fascination with lost Silent-era films and for incorporating their aesthetics into his ownwork. Maddin has been the subject of much critical praise and academic attention, including two books of interviews with Maddin and two book-length academicstudies of his work. Maddin was appointed to the Order of Canada, the country's highest civilian honour, in 2012.Maddin first served as a visiting lecturer atHarvard University's Department of Art, Film, and Visual Studies in 2015. Until then, he had always lived in Winnipeg.Life and careerEarly life (1956–84)GuyMaddin was born in Winnipeg, Manitoba, Canada, to Herdis Maddin (a hairdresser) and Charles \"Chas\" Maddin (grain clerk and general manager of the Maroons, aWinnipeg hockey team). Maddin has three older siblings: Ross (b. 1944), Cameron (1946–63), and Janet (b. 1949). Maddin attended Winnipeg public schools—the Greenway School (elementary school), General Wolfe (junior high school), and the Daniel McIntyre Collegiate Institute (high school).Maddin's early life wasmarked by tragedy—in February 1963, his brother Cameron killed himself on the grave of his girlfriend, who had died in a car accident. Maddin studied economicsat the University of Winnipeg, graduating in 1977 without a plan to become a filmmaker. That same year, Maddin's father died suddenly after a stroke, andMaddin married Martha Jane Waugh. Their daughter, Jilian, was born in 1978, and Maddin and Waugh divorced in 1979.After graduating, Maddin held a variety ofodd jobs, including bank manager, house painter, and photo archivist. Maddin began to take film classes at the University of Manitoba. There, Maddin met filmprofessor Stephen Snyder, who held regular film screenings of titles from the school's film library at his home. Maddin attended, as did some early collaborators,including his friend John Boles Harvie, the future star of Maddin's first film, and filmmaker John Paizs. Maddin appeared as an actor in two of Paizs' short films, asa student in Oak, Ivy, and Other Dead Elms (1982) and as a transvestite, homicidal nurse in The International Style (1983). Maddin drew early inspiration fromthe films of John Paizs, as well as experimental shorts by Stephen Snyder. Other early influences included L'Age d'Or by Luis Buñuel (in collaboration withSalvador Dalí) and Eraserhead by David Lynch. Maddin has stated that these films, along with the work of Paizs and Snyder, \"were movies that were primitive inmany respects. They were low budget, they used nonactors or nonstars, they used atmospheres and ideas, and were unbelievably honest, frank, and, therefore,exciting to me. They made moviemaking seem possible to me.\" Maddin also met film professor George Toles, who became Maddin's cowriter on many of hisfuture films. Maddin's core group of friends from this period, who played various roles in the production of his early film projects, were known as \"the Drones\" andincluded Harvie, Ian Handford, and Kyle McCulloch (now a writer for South Park).Maddin joined the Winnipeg Film Group around this time, and also becamefriends with producer Greg Klymkiw, with whom he began making a cable access television show, Survival (c. 1985–87). Survival was a satirical talk showcentred around, as its opening credits noted, how \"we must survive the inevitable social/economic collapse and/or nuclear holocaust\". The show became a cult hit"}
+{"doc_id":"doc_166","qid":"","text":"Passage 1:Mordechai RotenbergMordechai Rotenberg (born 1932) (Hebrew: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000) is an Israeli professor of social work at the HebrewUniversity of Jerusalem.BiographyMordechai Rotenberg was born in Breslau, Germany (today Wrocław, Poland). His father was from Warsaw, descended fromRabbi Yitzchak Meir Alter, the founder of the Gur Hasidic sect.  His father owned a publishing house in Breslau. In 1939, on the eve of World War II, the familyimmigrated to Palestine. Rotenberg's father opened a small printing press in Jerusalem. Rotenberg grew up in a Haredi household, with three brothers and asister.In 1960, he graduated from the Hebrew University with a BA in education and sociology from the School of Social Work.  In 1962, he received his MSWfrom New York University. In 1969, he was awarded a Ph.D. in social welfare and social psychology at University of California, Berkeley.In 1970, Rotenberg joinedthe faculty of the Hebrew University of Jerusalem, becoming a full professor in 1980. He founded a new sub-discipline in psychology and religion.  He is the authorof ten books, which have been translated into English, French, Portuguese and Japanese. Rotenberg has taught at University of Pennsylvania, University ofCalifornia, Berkeley, the Jewish Theological Seminary, City University of New York and Yeshiva University.Clinical approachRotenberg has developed innovativetheories based on psychological interpretations of Hasidic and Midrashic concepts. He describes his approach as \"re-biography\", i.e.,  \"rereading one's biographyso it becomes possible to live with the text.\" In an interview with Haaretz newspaper he said: \"All of life is a text, and I am proposing a new term - recomposition,rewriting the melody of life. You do not have to erase the past, but it can be re-composed, and to that end I cite examples from the Gemara.\"TzimtzumparadigmRotenberg has adopted the Kabbalistic-Hasidic tzimtzum paradigm, which he believes has significant implications for clinical therapy. According to thisparadigm, God's \"self-contraction\" to vacate space for the world serves as a model for human behavior and interaction. The tzimtzum model promotes a uniquecommunity-centric approach which contrasts starkly with the language of Western psychology.AwardsIn 2009, Rotenberg was awarded the Israel Prize for socialwork, in connection with his research in social welfare.Published worksDamnation and Deviance: The Protestant Ethic and the Spirit of FailureRewriting the Self:Psychotherapy and MidrashThe Yetzer: A Kabbalistic Psychology of Eroticism and Human SexualityHasidic Psychology: Making Space for OthersCreativity andSexuality: A Kabbalistic ExperienceBetween Rationality and Irrationality: The Jewish Psychotherapeutic SystemDialogue With DevianceThe Trance of Terror,Psycho-Religious FundaMentalism: Roots and RemediesDia-logo Therapy: Psychonarration and PaRDeSRe-Biographing and Deviance: PsychotherapeuticNarrativism and the MidrashSee alsoList of Israel Prize recipientsPassage 2:Dave Grossman (game developer)Dave Grossman is an American game programmerand game designer, most known for his work at Telltale Games and early work at LucasArts. He has also written several children's books, and a book of \"guypoetry\" called Ode to the Stuff in the Sink.Game industry careerGrossman joined Lucasfilm Games, later known as LucasArts in 1989. At LucasArts, Grossmanwrote and programmed The Secret of Monkey Island and Monkey Island 2: LeChuck's Revenge together with Ron Gilbert and Tim Schafer. He later co-designedDay of the Tentacle.Grossman quit LucasArts in 1994 to begin a freelance career. For Humongous Entertainment, a company co-founded by Ron Gilbert, hehelped create many critically acclaimed games aimed at children, such as the Pajama Sam series. Later he also wrote children's games for Hulabee Entertainmentand Disney.He then designed adventure games at Telltale Games, a company founded by LucasArts veterans. He joined Telltale in 2005 as lead designer. In2009, he returned to his Monkey Island roots, as Design Director on Telltale Games' episodic Tales of Monkey Island.He left Telltale in August 2014 and joinedAmazon Alexa gaming specialists, Reactive Studios, in November 2014 as Chief Creative Officer. Reactive Studios has since changed its name to EarPlay.In 2020he joined Ron Gilbert in developing Return to Monkey Island. The game was released in 2022.Children's booksLyrick Publishing published three books written byGrossman that were based on characters from Humongous Entertainment's games. They were Freddi Fish: The Big Froople Match, Pajama Sam: Mission to theMoon, and Freddi Fish: The Missing Letters Mystery.For Fisher-Price/Nickelodeon, Grossman authored two interactive books, SpongeBob SquarePants: SleepyTime and Fairly OddParents: Squawkers.Other worksGrossman claimed that his interests in other works were often inspired by his father, \"I guess I've inherited acertain restless tinkerer's curiosity from my father (who mainly works in words, wood, photography and architecture, often in combination).\" This include hisinterests in writing, drawing, sculpture, and music.Grossman is the author of \"Ode to the Stuff in the Sink: A Book of Guy Poetry,\" which he self-published in2002. It contains a selection of illustrated poems dedicated to different aspects of male life, including inability to dance, old stuff in the fridge, and unwillingnessto clean anything. The book is available from Dave Grossman's personal website, Phrenopolis.com. Many of the poems were first published in his Poem of theWeek electronic mailing list.Grossman co-designed a successful robot toy for Fisher-Price.Game contributionsGrossman also made contributions to The Dig, TotalAnnihilation, and Insecticide, and was a script editor on Voodoo Vince. He also designed the trophies / Steam achievements for the remastered version of Day ofthe Tentacle.Passage 3:Alan McKenzieAlan McKenzie is a British comics writer and editor known for his work at 2000 AD.BiographyMcKenzie worked for Marvel UKduring the early 1980s, editing Starburst, Cinema and Doctor Who Monthly magazines. After leaving the Marvel staff in 1985, he wrote several Doctor Who comicstories for the Monthly under the pseudonym Max Stockbridge. He then wrote three non-fiction books, The Harrison Ford Story (1985), Hollywood Tricks of theTrade (1986) and How to Draw and Sell Comic Strips (1987) before contributing comic scripts to IPC's Battle Action and later 2000 AD.In 1987, he joined theeditorial team of 2000 AD as a freelancer, and from 1987–1994 he created a number of stories including Bradley, Brigand Doom and Journal of Luke Kirby. Healso served in 1994 as the comic's editor.BibliographyComicsComics work includes:Doctor Who (with John Ridgway):\"War-Game\" (in Doctor Who Magazine#100-101, 1986)\"Funhouse\" (in Doctor Who Magazine #102-103, 1986)\"Kane's Story\" / \"Abel's Story\" / \"The Warrior's Story\" / \"Frobisher's Story\" (in DoctorWho Magazine #104-107, 1986)\"Exodus\" / \"Revelation\" / \"Genesis\" (in Doctor Who Magazine #108-110, 1986)Tharg's Future Shocks:\"The Star Warriors\" (withNik Williams, in 2000 AD #517, 1987)\"Some One is Watching Me\" (with Liam Sharp, in 2000 AD #531, 1987)\"Bliss\" (with Mark Farmer, in 2000 AD #571,1988)Universal Soldier (with Will Simpson & Brett Ewins):\"Universal Soldier\" (in 2000 AD #537-543, 1987)\"Universal Soldier II\" (in 2000 AD #672-682,1990)\"Universal Soldier: The Indestructible Man\" (in 2000 AD #750-759, 1991)The Journal of Luke Kirby:\"Summer Magic\" (with John Ridgway, in 2000 AD#571-577, 1988)\"A Winter's Tale\" (with Graham Higgins, in 2000 AD Winter Special 1, 1988)\"The Dark Path\" (with John Ridgway, in 2000 AD Sci-Fi Special1990)\"The Night Walker\" (with John Ridgway, in 2000 AD #800-812, 1992)\"Sympathy for the Devil Prologue\" (with John Ridgway, in 2000 AD #850-851,1993)\"Trick or Treat\" (with John Ridgway, in 2000 AD 1994 Yearbook, 1993)\"Sympathy for the Devil\" (with Steve Parkhouse, in 2000 AD #873-877 and 884-888,1994)\"The Old Straight Track\" (with Steve Parkhouse, in 2000 AD #954 - 963, 1995)\"The Price\" (with John Ridgway, in 2000 AD #972, 1995)Moon Runners (withMassimo Belardinelli):\"Moonrunners\" (co-written with Steve Parkhouse, in 2000 AD #591-606, 1988)\"Moonrunners: Old Acquaintance\" (in 2000 AD #641-644,1989)Bradley (with Simon Harrison):\"Bradley Goes Pop\" (in 2000 AD #660-682, 1990)\"Bradley's Bedtime Stories\" (in 2000 AD #795-799, 825-827,1992–1993)\"Bradley: The Sprog Prince\" (in 2000 AD #885-888, 1994)\"Bradley: Master of the Martial Arts\" (in 2000 AD #901-903, 1994)Brigand Doom (withDave D'Antiquis):\"Brigand Doom\" (in 2000 AD #717-722, 1991)\"Voodoo Child\" (in 2000 AD #764-773, 1992)\"Spirits Willing\" (in 2000 AD #815-818,1992–1993)\"House of Games\" (in 2000 AD #897-899, 1994)\"Account Yorga-Vampire\" (in 2000 AD #932-936, 1995)Tales from Beyond Science (with RianHughes, tpb, 88 pages, Image Comics, January 2012, ISBN 1-60706-471-5) collects:\"The Music Man\" (in 2000 AD #775, 1992)\"Agents of Mu-Mu\" (in 2000 AD#777, 1992)Mean Arena: \"Mean Arena\" (with Anthony Williams, in 2000 AD #852-863, 1993)Soul Gun Warrior (with Shaky Kane):\"Soul Gun Warrior\" (withco-writer M. Coulthard, in 2000 AD #867-872, 1993–1994)\"Soul Gun Assassin\" (with co-writer M. Coulthard, in 2000 AD #920-925, 1994–1995)Tharg's TerrorTales:\"The Last Victim\" (with Mick Austin, in 2000 AD #840, 1993)\"Meat is Meat\" (with Mick Austin, in 2000 AD Yearbook 1994), 1993)\"The Succubus\" (with PaulJohnson, in 2000 AD #894, 1994)Vector 13 (created format, with Dave D'Antiquis):\"Case Five: The Henderson Event\" (in 2000 AD #955, 1995)\"Case Five:Assassin\" (in 2000 AD #992, 1996)Chopper: \"Supersurf 13\" (with John Higgins, 2000 AD #964-971, 1995)BooksNon-comics work includes:The Harrison FordStory (Arbor House, 1984, ISBN 0-87795-667-7, Zomba Books, 1985, ISBN 0-946391-64-5, Air Pirate Press, 2011, ISBN 978-0-9569149-1-0)How to Draw andSell Comic Strips (1987/1996/2005, Titan Books, ISBN 1-84576-076-X)Hollywood Tricks of the Trade (co-author, Gallery Books, 1987, ISBN0-8317-4240-2)Passage 4:Joseph L. ArmstrongJoseph L. Armstrong was a professor at Duke University (at the time, called \"Trinity College\") best known forreforming Duke's curriculum in the late nineteenth century, changing it to a German research university model with the help of John Franklin Crowell. Armstrongdid his undergraduate work at Johns Hopkins University and graduate work at the University of Leipzig.Passage 5:David ShuteDavid Shute is a British journalist,best known for his work at the BBC.CareerShute was educated at Brentwood School in Essex. While working on newspapers in Reading he was auditioned by theBBC in Bristol and immediately signed on contract. He made a reputation for engaging in adventurous broadcasts such as deep sea diving, riding on the back of aRoyal Artillery motorcycle during a display and, while covering a story on the changing face of circus life, going on the flying trapeze. David Shute was the firstperson to broadcast live to the UK while travelling through the sound barrier. He is regularly on BBC Radio Four's Today programme. As a reporter he covered"}
+{"doc_id":"doc_167","qid":"","text":"Passage 1:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.External linksLa Bestia humana at IMDbPassage 2:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of Lazar Zličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for the best player of the \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac. He scored his first senior goal on 25 August, in victory against Radnički.International careerZličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17 level later. After that, he was member of a U18 level, and scored goal against Slovenia U18.Career statisticsAs of 26 February 2020Passage 3:Roman PolanskiRaymond Roman Thierry Polański (né Liebling; 18 August 1933) is a French and Polish film director, producer, screenwriter, and actor. He is the recipient of numerous accolades, including an Academy Award, two British Academy Film Awards, nine César Awards, two Golden Globe Awards, as well as the Golden Bear and a Palme d'Or.His Polish Jewish parents moved the family from his birthplace in Paris back to Kraków in 1937. Two years later, the invasion of Poland by Nazi Germany started World War II, and the family found themselves trapped in the Kraków Ghetto. After his mother and father were taken in raids, Polanski spent his formative years in foster homes, surviving the Holocaust by adopting a false identity and concealing his Jewish heritage. Polanski's first feature-length film, Knife in the Water (1962), was made in Poland and was nominated for the United States Academy Award for Best Foreign Language Film. After living in France for a few years, he moved to the United Kingdom, where he directed his first three English-language feature-length films: Repulsion (1965), Cul-de-sac (1966), and The Fearless Vampire Killers (1967). In 1968, he moved to the United States and cemented his status in the film industry by directing the horror film Rosemary's Baby (1968).In 1969, Polanski's pregnant wife, actress Sharon Tate, was murdered with four friends by members of the Manson Family. He made Macbeth (1971) in England and Chinatown (1974) back in Hollywood. Polanski was arrested and charged in 1977 with drugging and raping a 13-year-old girl. As a result of a plea bargain, he pleaded guilty to the lesser offence of unlawful sex with a minor. In 1978, upon learning that the judge planned to reject his plea deal and impose a prison term instead of probation, Polanski fled to Paris and has since been a fugitive from the U.S. criminal justice system. After fleeing to Europe, Polanski continued directing. His other critically acclaimed films include Tess (1979), The Pianist (2002) which won him the Academy Award for Best Director, The Ghost Writer (2010), Venus in Fur (2013), and An Officer and a Spy (2019).Early lifePolanski was born in Paris. He was the son of Bula (aka \"Bella\") Katz-Przedborska and Mojżesz (or Maurycy) Liebling (later Polański), a painter and manufacturer of sculptures, who after World War II was known as Ryszard Polański. Polanski's father was Jewish and originally from Poland; Polanski's mother, born in Russia, had been raised Catholic but was half Jewish. His mother had a daughter, Annette, by her previous husband. Annette survived Auschwitz, where her mother was murdered, and left Poland forever for France.  Polanski's parents were both agnostics. Polanski later stated that he was an atheist.World War II and the HolocaustThe Polański family moved back to Kraków, Poland, in early 1937, and were living there when World War II began with the invasion of Poland. Kraków was soon occupied by the German forces, and the racist and anti-Semitic Nuremberg Laws made the Polańskis targets of persecution, forcing them into the Kraków Ghetto, along with thousands of the city's Jews. Around the age of six, Polanski attended primary school for only a few weeks, until \"all the Jewish children were abruptly expelled\", writes biographer Christopher Sandford. That initiative was soon followed by the requirement that all Jewish children over the age of twelve wear white armbands with a blue Star of David imprinted for visual identification. After he was expelled, Polanksi would not be allowed to enter another classroom for six years.: 18 Polanski witnessed both the ghettoization of Kraków's Jews into a compact area of the city, and the subsequent deportation of all the ghetto's Jews to German death camps. He watched as his father was taken away. He remembers from age six, one of his first experiences of the terrors to follow:I had just been visiting my grandmother ... when I received a foretaste of things to come. At first, I didn't know what was happening. I simply saw people scattering in all directions. Then I realized why the street had emptied so quickly. Some women were being herded along it by German soldiers. Instead of running away like the rest, I felt compelled to watch.One older woman at the rear of the column couldn't keep up. A German officer kept prodding her back into line, but she fell down on all fours ... Suddenly a pistol appeared in the officer's hand. There was a loud bang, and blood came welling out of her back. I ran straight into the nearest building, squeezed into a smelly recess beneath some wooden stairs, and didn't come out for hours. I developed a strange habit: clenching my fists so hard that my palms became permanently calloused. I also woke up one morning to find that I had wet my bed.Polanski's father was transferred, along with thousands of other Jews, to Mauthausen, a group of 49 German concentration camps in Austria. His mother, who was four months pregnant at the time, was taken to Auschwitz and killed in the gas chamber soon after arriving. The forced exodus took place immediately after the German liquidation of the Warsaw Ghetto, a real-life backdrop to Polanski's film The Pianist (2002). Polanski, who was then hiding from the Germans, saw his father being marched off with a long line of people. Polanski tried getting closer to his father to ask him what was happening and got within a few yards. His father saw him, but afraid his son might be spotted by the German soldiers, whispered (in Polish), \"Get lost!\": 24 Polanski escaped the Kraków Ghetto in 1943 and survived with the help of some Polish Roman Catholics, including a woman who had promised Polanski's father that she would shelter the boy.: 21 Polanski attended church, learned to recite Catholic prayers by heart, and behaved outwardly as a Roman Catholic, although he was never baptized. His efforts to blend into a Catholic household failed miserably at least once, when the parish priest visiting the family posed questions to him one-on-one about the catechism, and ultimately said, \"You aren't one of us\". The punishment for helping a Jew in German-occupied Poland was death.As Polanski roamed the countryside trying to survive in a Poland now occupied by German troops, he witnessed many horrors, such as being \"forced to take part in a cruel and sadistic game in which German soldiers took shots at him for target practice\". The author Ian Freer concludes that Polanski's constant childhood fears and dread of violence have contributed to the \"tangible atmospheres he conjures up on film\". By the time the war ended in 1945, a fifth of the Polish population had been killed, the vast majority being civilians. Of those deaths, 3 million were Polish Jews, which accounted for 90% of the country's Jewish population. According to Sandford, Polanski would use the memory of his mother, her dress and makeup style, as a physical model for Faye Dunaway's character in his film Chinatown (1974).: 13After the warAfter the war, Polanksi was reunited with his father and moved back to Kraków. His father remarried on 21 December 1946 to Wanda Zajączkowska (whom Polanski had never liked) and died of cancer in 1984. Time repaired the family contacts; Polanski visited them in Kraków, and relatives visited him in Hollywood and Paris. Polanski recalls the villages and families he lived with as relatively primitive by European standards:They were really simple Catholic peasants. This Polish village was like the English village in Tess. Very primitive. No electricity. The kids with whom I lived didn't know about electricity ... they wouldn't believe me when I told them it was enough to turn on a switch!Polanski stated that \"you must live in a Communist country to really understand how bad it can be. Then you will appreciate capitalism.\" He also remembered events at the war's end and his reintroduction to mainstream society when he was 12, forming friendships with other children, such as Roma Ligocka, Ryszard Horowitz and his family.Introduction to moviesPolanski's fascination with cinema began very early when he was around age four or five. He recalls this period in an interview:Even as a child, I always loved cinema and was thrilled when my parents would take me before the war. Then we were put into the ghetto in Krakòw and there was no cinema, but the Germans often showed newsreels to the people outside the ghetto, on a screen in the market place. And there was one particular corner where you could see the screen through the barbed wire. I remember watching with fascination, although all they were showing was the German army and German tanks, with occasional anti-Jewish slogans inserted on cards.After the war, he watched films, either at school or at a local cinema, using whatever pocket money he had. Polanski writes, \"Most of this went on the movies, but movie seats were dirt cheap, so a little went a long way. I lapped up every kind of film.\" As time went on, movies became more than an escape into entertainment, as he explains:Movies were becoming an absolute obsession with me. I was enthralled by everything connected with the cinema—not just the movies themselves but the aura that surrounded them. I loved the luminous rectangle of the screen, the sight of the beam slicing through the darkness from the projection booth, the miraculous synchronization of sound and vision, even the dusty smell of the tip-up seats. More than anything else though, I was fascinated by the actual mechanics of the process. He was above all influenced by Sir Carol Reed's Odd Man Out (1947) – \"I still consider it as one of the best movies I've ever seen and a film which made me want to pursue this career more than anything else ... I always dreamt of doing things of this sort or that style. To a certain extent I must say that I somehow perpetuate the ideas of that movie in what I do.\"Early career in PolandPolanski attended the National Film School in Łódź, the third-largest city in "}
+{"doc_id":"doc_168","qid":"","text":"Passage 1:Paul BrookePaul Brooke (born 22 November 1944) is a retired English actor of film, television and radio. He made his film debut in 1972 in the Hammer film Straight on till Morning, followed by performances in For Your Eyes Only (1981), Return of the Jedi (1983), Scandal (1989), Saving Grace (2000), Bridget Jones's Diary (2001), Alfie (2004), The Phantom of the Opera (2004), and Oliver Twist (2005). Brooke is the father of actor Tom Brooke.CareerBrooke began as a stage actor and has played in many London productions, including several years as a member of Frank Dunlop's original Young Vic Company. He played Malakili the Rancor Keeper in the 1983 Star Wars film Return of the Jedi (his voiced dubbed over by Ernie Fosselius). He played British Conservative politician Ian Gow in the 2004 BBC series The Alan Clark Diaries. In 2006, he guest starred in the Doctor Who audio adventure Year of the Pig as well as the 1990 Mr. Bean sketch \"The Library\". He played Mr. Fitzherbert in the 2001 film Bridget Jones's Diary.Other appearances in television dramas and comedies featuring Brooke include The Blackadder, Bertie and Elizabeth, the BBC adaptation of Blott on the Landscape, Lovejoy, Foyle's War, Rab C. Nesbitt, Kavanagh QC, Sharpe's Revenge, Midsomer Murders, Hustle, Covington Cross, The Kit Curran Radio Show, Between the Lines, Relic Hunter and Mornin' Sarge. He appeared in the miniseries Nostromo in 1997.He played Gríma Wormtongue in the 1981 BBC radio adaptation of The Lord of the Rings.He, Linal Haft and Frank Mills are the only actors to appear in both the Classic and New series of Minder, but playing different roles in each.FilmographyFilmTelevisionExternal linksPaul Brooke at IMDbPassage 2:Peter HamelPeter Hamel (1911–1979) was a German screenwriter and a director of film and television. He appeared as himself in the 1948 comedy Film Without a Title. He is the father of the composer Peter Michael Hamel.Selected filmographyFilm Without a Title (1948)Artists' Blood (1949)Oh, You Dear Fridolin (1952)The Daring Swimmer (1957)Passage 3:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 4:Oskar RoehlerOskar Roehler (born 21 January 1959) is a German film director, screenwriter and journalist. He was born in Starnberg, the son of writers Gisela Elsner and Klaus Roehler. Since the mid-1980s, he has been working as a screenwriter, for, among others, Niklaus Schilling, Christoph Schlingensief and Mark Schlichter. Since the early 1990s, he has also been working as a film director. For his film No Place to Go he won the Deutscher Filmpreis. His 2010 film Jew Suss: Rise and Fall was nominated for the Golden Bear at the 60th Berlin International Film Festival.Partial filmographyGentleman (1995)Silvester Countdown (1997)Gierig (1999)Latin Lover (1999, TV film)No Place to Go (2000)Suck My Dick (2001)Beloved Sister (2002, TV film)Angst (2003)Agnes and His Brothers (2004)The Elementary Particles (2006)Lulu and Jimi (2009)Jew Suss: Rise and Fall (2010)Sources of Life (2013)Punk Berlin 1982 (2015)Subs (2017)Enfant Terrible (2020)Passage 5:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In 1891 Masaru Inoue founded Koiwai Farm with Yanosuke Iwasaki and Shin Onogi.  After retirement from the government, Inoue founded Kisha Seizo Kaisha, the first locomotive manufacturer in Japan, becoming its first president in 1896. In 1909 he was appointed President of the Imperial Railway Association. He died of an illness in London in 1910, during an official visit on behalf of the Ministry of Railways.HonorsInoue and his friends later came to be known as the Chōshū Five. To commemorate their stay in London, two scholarships, known as the Inoue Masaru Scholarships, are available each session under the University College London 1863 Japan Scholarships scheme to enable University College students to study at a Japanese University. The value of the scholarships are £3000 each.His tomb is in the triangular area of land where the Tōkaidō Main Line meets the Tōkaidō Shinkansen in Kita-Shinagawa.Chōshū FiveThese are the four other members of the \"Chōshū Five\":Itō Shunsuke (later Itō Hirobumii)Inoue Monta (later Inoue Kaoru)Yamao Yōzō who later studied engineering at the Andersonian Institute, Glasgow, 1866-68 while working at the shipyards by dayEndō KinsukeSee alsoJapanese students in BritainStatue of Inoue MasaruPassage 6:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, but the age difference makes it unlikely.Passage 7:Yasuichi OshimaYasuichi Oshima (\u0000\u0000 \u0000\u0000\u0000\u0000, Ōshima Yasuichi, born 24 March 1954 in Kyoto) is a Japanese manga artist. In 1984, he won the Kodansha Manga Award for shōnen for Bats & Terry.He is the father of manga artist Towa Oshima.Selected worksKenkaku Shōbai (2008–2021)Passage 8:Sources of LifeSources of Life (German: Quellen des Lebens) is a 2013 German film directed by Oskar Roehler.CastJürgen Vogel as Erich FreytagMoritz Bleibtreu as Klaus FreytagKostja Ullmann as Young Klaus FreitagMeret Becker as Elisabeth FreytagSonja Kirchberger as Marie FreytagLavinia Wilson as Gisela EllersLeonard Scheicher as Robert Freytag, 13–17 yearsLisa Smit as Laura, 13–17 yearsMargarita Broich as Hildegard EllersThomas Heinze as Martin EllersRolf Zacher as ErwinPassage 9:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 10:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson."}
+{"doc_id":"doc_169","qid":"","text":"Passage 1:Olivier BarouxOlivier Baroux (born 5 January 1964) is a French actor, comedian, writer and director who has acted both on stage and on screen. Hefirst became known in forming with Kad Merad, the duo Kad & Olivier then went solo, while finding Kad regularly. Baroux's movies on Le Tuche is inspired by thehurdles of the American dream. He is married to his wife Coralie since 2009. Baroux is set to appear in Les Tuche 3, with filming beginning in August2018.FilmographyActorWriter & DirectorVoiceExternal linksOlivier Baroux at IMDbPassage 2:Terence RobinsonTerence D. Robinson (date of birth and deathunknown) was a male wrestler who competed for England.Wrestling careerHe represented England and won a bronze medal, in the bantamweight category of -57kg , at the 1970 British Commonwealth Games in Edinburgh, Scotland.Passage 3:Les TucheLes Tuche is a 2011 French comedy film directed by Olivier Baroux. Asequel, Les Tuche 2, was released on 3 February 2016.PlotThe Tuche family is the stereotypical unemployed lower class French family.Jeff (the father) is theproud descendant of the unemployment welfare inventor, and has never worked a day in his life. Out of his 3 kids, the youngest one seems to be extremelyintelligent. This will come in handy when all of a sudden, they win €100 million in the lottery, and will attempt to fit in the Monaco's upper class.CastJean-PaulRouve as Jeff TucheIsabelle Nanty as Cathy TucheClaire Nadeau as Grandma SuzeThéo Fernandez as Donald TucheSarah Stern as Stéphanie TuchePierre Lottinas Wilfried TucheFadila Belkebla as MounaKarina Testa as SalmaPhilippe Lefebvre as BickardRalph Amoussou as Georges DioufJérôme Commandeur asHermannValérie Benguigui as ClaudiaOmar Sy as Bouzolles's monkKad Merad as Bouzolles's fishmongerPierre Bellemare as Bouzolles's mayorOlivier Baroux asMonnierRemakeAn Italian remake entitled Poveri ma ricchi (lit. 'Poor but rich') was released in December 2016.Passage 4:Les Tuche 2Les Tuche 2 - Le rêveaméricain is a 2016 French comedy film directed by Olivier Baroux. It is the sequel to Les Tuche. It earned over US$32.5 million and was the highest-grossingdomestic film in France in 2016, with 4,619,884 tickets sold.CastJean-Paul Rouve as Jeff TucheIsabelle Nanty as Cathy TucheClaire Nadeau as Grandma SuzeThéoFernandez as Donald TucheSarah Stern as Stéphanie TuchePierre Lottin as Wilfried TucheRalph Amoussou as Georges DioufDarrell Dennis as IndianReleaseLesTuche 2 was distributed by Pathé in France.ReceptionThe Hollywood Reporter gave the film a negative review, finding the films comedy as \"puerile and naivewhenever it’s not straightforwardly moronic\", noting a list of American clichés and that \"like in local box-office monsters Intouchables and Serial (Bad) Weddings,what passes for crude humor in France can be perceived as racially insensitive in the U.S. and elsewhere\". The review commented on the writing as \"staggeringlylazy and unfocused\".Passage 5:Théo FernandezThéo Fernandez (born in Toulouse on 18 September 1998) is a French film actor. He is best known for playing therole of Donald Tuche in Les Tuche (2011), Les Tuche 2 - Le rêve américain (2016) and Les Tuche 3 (2018). He plays the lead role of Gaston in the 2018 filmGaston Lagaffe, the main character in the comics Gaston created by the Belgian cartoonist André Franquin. Fernandez has also appeared in a number of TV filmsand TV series.Passage 6:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, but thedate of his death was sometime between 995 and 997.Passage 7:Les Tuche 3Les Tuche 3, also known as The Magic Tuche, is a 2018 French comedy filmco-written by Olivier Baroux, Nessim Chikhaoui, Julien Hervé, Philippe Mechelen and Jean-Paul Rouve and directed by Olivier Baroux. It is a sequel of Les Tucheand Les Tuche 2: Le Rêve américain. It was released in January 2018 and was a commercial success.SynopsisJeff Tuche (played by Jean-Paul Rouve) is initiallydelighted with the news that the new TGV is passing near his village Bouzolles, but then discovers to his horror that the TGV will not have a stop in  Bouzolles. Hepleads with the French President of the Republic to reconsider the itinerary of the new TGV so that his village doesn't remain in isolation from the world. But nothearing from the Élysée, he decides to run for the French presidential election and succeeds becoming the French President, leaving him with the daunting task ofhow to govern France.CastJean-Paul Rouve as Jeff TucheIsabelle Nanty as Cathy TucheClaire Nadeau as Mamie SuzeSarah Stern as Stéphanie TuchePierre Lottinas Wilfried TucheThéo Fernandez as Donald TucheMarc Duret as Laurent DupuisRalph Amoussou as Georges DioufPassage 8:Etan BoritzerEtan Boritzer (born1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustratedchildren's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-lifeprofessionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religiousfundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What isFunny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? Theseries is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade JuniorHigh School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school childrencompiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. Hehas helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regularclasses locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage 9:Ian Barry(director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction(1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno(1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor BlakeMysteries (2013)Passage 10:Brian Saunders (weightlifter)Brian Saunders (date of birth and death unknown) was a male weightlifter who competed forEngland.Weightlifting careerSaunders was the last person to be both the British Amateur Weight Lifters' Association (BAWLA) weightlifting champion and BAWLApowerlifting champion; the latter of which he won in 1970 and 1974.He represented England in the super heavyweight category of +110 kg Combined, at the1970 British Commonwealth Games in Edinburgh, Scotland."}
+{"doc_id":"doc_170","qid":"","text":"Passage 1:Princess Florestine of MonacoPrincess Florestine Gabrielle Antoinette of Monaco (22 October 1833 – 4 April 1897) was the youngest child and onlydaughter of Florestan I, Prince of Monaco, and his wife, Maria Caroline Gibert de Lametz. Florestine was a member of the House of Grimaldi and a Princess ofMonaco by birth and a member of the House of Württemberg and Duchess consort of Urach and Countess of Württemberg through her marriage to Wilhelm, 1stDuke of Urach.Marriage and issueFlorestine married Count Wilhelm of Württemberg (later Wilhelm, 1st Duke of Urach), son of Duke Wilhelm of Württemberg andhis morganatic wife Baroness Wilhelmine von Tunderfeldt-Rhodis, on 15 February 1863 in Monaco. Florestine and Wilhelm had two sons:Wilhelm Karl FlorestanGero Crescentius (1864–1928), Count of Württemberg, 2nd Duke of Urach, and nominally King of Lithuania as Mindaugas II of Lithuania∞ 1892 Duchess Amaliein Bavaria (1865-1912), eldest daughter of the Duke Karl-Theodor in Bavaria∞ 1924 Princess Wiltrud Alix Marie of Bavaria (1884-1975), sixth daughter of LudwigIII of BavariaJosef Wilhelm Karl Florestan Gero Crescentius (1865–1925), Prince of UrachFlorestine's husband Wilhelm had converted to Roman Catholicism in1841, for his first marriage to Théodolinde de Beauharnais, who died in 1857.Monaco Succession Crisis of 1918Florestine, according to the rules governingsuccession to the throne of Monaco, was able to marry without relinquishing her rights. When her grandnephew Louis II, Prince of Monaco, ascended to theMonegasque throne, Florestine's son Wilhelm claimed his rights for his succession to the princely throne of Monaco and the Grimaldi noble titles. However, Francehad undergone two wars against Germany and did not wish to see German princes ruling the Principality of Monaco. Therefore, France reached an agreement withthe principality allowing the illegitimate daughter of Louis II, Charlotte, to be his heir presumptive to the princely throne and Grimaldi noble titles. Charlotterenounced and ceded her rights to the princely throne on 30 May 1944 to her son Rainier who became Rainier III, Prince of Monaco.HonoursWürttemberg: Dameof the Order of Olga, 1871 -  Spain: Dame of the Order of Queen Maria LuisaAncestryPassage 2:Charles III, Prince of MonacoCharles III (Charles HonoréGrimaldi; 8 December 1818 – 10 September 1889) was Prince of Monaco and Duke of Valentinois from 20 June 1856 to his death. He was the founder of thefamous casino in Monte Carlo, as his title in Monegasque and Italian was Carlo III. He was born in Paris, the only son of Florestan, Prince of Monaco, and MariaCaroline Gibert de Lametz.Marriage and reignWhile he was Hereditary Prince, Charles was married on 28 September 1846 in Brussels to Countess Antoinette deMérode-Westerloo.He succeeded his father Prince Florestan in 1856.During his reign, the towns of Menton and Roquebrune, constituting some 80 percent ofMonegasque territory, were formally ceded to France, paving the way for formal French recognition of Monaco's independence. Rebellions in these towns, aidedby the Kingdom of Sardinia, had exhausted Monaco's military resources for decades.The Principality was in dire need of cash flow, so Prince Charles and hismother, Princess Caroline, had the idea of erecting a casino. The Monte Carlo Casino was designed, according to the Prince's liking, in the German style andplaced at the site of Les Spélugues. Monte Carlo (in English, Mount Charles) itself takes its name from Charles, after all its founder. Charles established a society(business) to run the Casino; this society is today the Société des bains de mer de Monaco.Under Charles III, the Principality of Monaco increased its diplomaticactivities; for example, in 1864, Charles III concluded a Treaty of Friendship with the Bey of Tunis, Muhammad III as-Sadiq, which also regulated trade andmaritime issues.HonoursMonte Carlo is named after Charles III. It stands for the \"Mount Charles\" in Italian.The Order of Saint-Charles was instituted on 15 March1858, during the reign of Prince Charles III.He received the following decorations and awards: Grand Cross of the Royal Norwegian Order of St. Olav, with Collar,27 March 1863 (Sweden-Norway) Grand Cross of the Order of the Dannebrog, in Brilliants, 16 February 1865 (Denmark) Grand Cross of the Grand Ducal HessianOrder of Ludwig, 17 April 1865 (Grand Duchy of Hesse) Grand Cross of the Royal and Distinguished Order of Charles III, 17 February 1867 (Spain) Grand Cross ofthe Order of the Red Eagle, 7 July 1869 (Kingdom of Prussia) Grand Cross of the Order of the Zähringer Lion, 1869 (Grand Duchy of Baden) Officer of the Legiond'Honneur, for his service in the French Navy in the Franco-Prussian War (French Empire) Grand Cordon of the Order of Leopold (civil division), 30 August 1874(Belgium) Grand Cross of the Royal Hungarian Order of St. Stephen, 1882 (Austria-Hungary) Grand Cross of the Royal Order of the White Eagle (civil division), 29May 1883 (Kingdom of Serbia) Knight of the Supreme Order of Christ (Holy See) Grand Cross of the Royal Military Order of the Tower and Sword (Kingdom ofPortugal)DeathIn his middle years his sight greatly weakened, and by the last decade of his life he had become almost totally blind. In fact, Dr. Thomas HenryPickering wrote in 1882: \"So far back as 1860, Prince Charles lost his eyesight....\"He died at Château de Marchais on 10 September 1889. He was succeeded byhis son Albert I of Monaco.CoinOn 1 June 2016, fifteen thousand 2 euro coins were issued by Monaco; commemorating the 150th anniversary of the foundation ofMonte Carlo by Charles IIIIn literatureCharles III is referenced, as Prince Charles Honoré, in a fictional entitled, The Fall of Prince Florestan of Monaco, by theBritish politician Sir Charles Wentworth Dilke. This work was one of satire and parody on a number of political characters of the day. It centered around aCambridge-educated, half-Württemberg nephew of Charles III who comes to the throne by way of Charles III and the next two heirs being wiped out of existence.The upstart \"Florestan II\", a radical republican, boldly attempts to democratize Monaco. He fails and then is forced to leave the country.AncestryPassage 3:MarianShields RobinsonMarian Lois Robinson (née Shields; born July 29, 1937) is the mother of Michelle Obama, former First Lady of the United States, and CraigRobinson, a basketball executive. She is the mother-in-law of 44th U.S. President Barack Obama.Ancestry and early lifeMarian Shields was born in Chicago in1937, the fourth of seven children—five girls, followed by two boys—born to Purnell Nathaniel Shields, a house painter and carpenter, and his wife RebeccaJumper, a licensed practical nurse. Both parents had multi-racial ancestry. Her mother's grandfather, Dolphus T. Shields (c. 1860–1950), was a direct descendantof slavery, with his mother a slave and his white father the heir of the slaveowner; he had moved from rural Georgia to Birmingham, Alabama, where heestablished his own carpentry and tool sharpening business. His descendants would eventually move to Chicago during the Great Migration.Personal lifeShieldsmarried Fraser Robinson III on October 27, 1960, in Chicago. They had two children together, Craig Malcolm and Michelle LaVaughn, named after Fraser'smother. She worked as a secretary for mail-order retailer Spiegel, the University of Chicago, and a bank. In the late 60's, Shields lived with her family in a rentedsecond floor apartment of a brick bungalow the South Side of Chicago that belonged to her aunt Robbie and her husband Terry. This is where she raised her twochildren, Michelle and Craig, and continued to live until she eventually moved to the White House with the Obamas. Michelle Obama, in her book Becoming,describes her mother's strong attachment to her Chicago home and her commitment to raising her children as a stay at home mother. Shields resumed work asan executive assistant at a bank when her daughter Michelle started high school.Relationship with Michelle ObamaMichelle describes her mother as forthright andhonest, and speaks of her implacability and her silent support as a child and beyond. Shields used to take her daughter Michelle to the library long before shestarted school and used to sit beside her as she learned to read and write. Usually the kind of mother who expected her children to settle their own disputes,Shields was quick to see real distress and stepped in to help when needed. For example, when Michelle was in second grade and was distressed because of beingdevalued by a teacher, Shields advocated for her and was instrumental in getting her daughter better learning opportunities at school. Shields encouraged herchildren to communicate with her about all subjects by being available when needed and giving practical advice. She entertained Michelle's school friends whenthey visited and enabled her to make her own choices in important matters.Obama campaign and life in the White HouseWhile Michelle and Barack Obamacampaigned for his candidacy as president in 2008, Robinson helped them by providing support to her granddaughters, Malia and Sasha Obama. During BarackObama's presidency, Robinson was living at the White House with the First Family.Passage 4:Florestan I, Prince of MonacoFlorestan (Tancrède Florestan RogerLouis Grimaldi; 10 October 1785, in Paris – 20 June 1856) was Prince of Monaco and Duke of Valentinois from 2 October 1841 until his death. He was the secondson of Prince Honoré IV and Louise d'Aumont Mazarin and succeeded to the throne on the death of his brother, Honoré V.Early life, education, and militarycareerBrought up by his mother, he showed an early and strong aptitude for literature. At the age of eleven, he enrolled in the School of Fontainebleau, but didnot stay there long. He entered the military, where he had many struggles and barely achieved the rank of Corporal. He was taken prisoner during the Frenchinvasion of Russia. He was not freed to return to France until 1814.Marriage and childrenPrince Florestan, age 29, married Maria Caroline Gibert de Lametz inCommercy on 27 November 1816. Apparently, his family disapproved of the union, so they had to marry \"quietly and modestly.\" Florestan received only a smallincome from his family, so, as it turned out, his marriage to an upper-bourgeois family member of the province of Champagne was, in fact, \"financiallyfavorable.\"The marriage produced the following:Charles III, Prince of Monaco (1818–1889)Princess Florestine of Monaco (1833–1897)ReignFlorestan wasill-prepared to assume the role of Sovereign Prince. Indeed, the British historian H. Pemberton wrote that, upon accession to the throne, Florestan was \"a manutterly unsuited for the task before him.\" He had been an actor in the Théâtre de l'Ambigu-Comique. The real power during his reign lay in the hands of his wife,Princess Caroline, who possessed great intelligence and \"excelled at social skills.\" According to the historian Gustave Saige, Princess Caroline's intelligence wasrequired to figure out the affairs of state, which Honoré V had handled absolutely by himself, not trusting anyone to advise or assist him. For some time, she wasable, by tax reform, to alleviate the difficult economic situation stemming from the Congress of Vienna assigning Monaco as a protectorate of the Kingdom of"}
+{"doc_id":"doc_171","qid":"","text":"Passage 1:Albertine, baroness Staël von HolsteinHedvig Gustava Albertina, Baroness de Staël-Holstein or simply Albertine (1797–1838), was the daughter of Erik Magnus Staël von Holstein and Madame de Staël, the granddaughter of Jacques Necker and Suzanne Curchod, wife to Victor de Broglie (1785–1870), and mother to Albert, a French monarchist politician, and Louise, a novelist and biographer. Her biological father may have been the author Benjamin Constant.LifeAlbertina, still very much part of the de Staël circle, shared her grandfather's anglomania, and introduced her husband to the \"erudite society that centred around that family.\" Victor de Broglie Souvenirs recall their married life and the political storms that surrounded it.Her letters were collected and edited by her son Albert and published in French and in English by Robert Baird as Transplanted flowers, or memoirs of Mrs. Rumpff, daughter of John Jacob Astor, Esq. and the Duchess de Broglie, daughter of Madame de Stael (1846).Passage 2:George Bogislaus Staël von HolsteinGeorge Bogislaus Staël von Holstein (born 6 December 1685 in Narva; died 17 December 1763 in Malmö) was a Swedish baron and field marshal. He was the Governor of Malmöhus County from 1754 to 1763.FamilyGeorge Bosiglaus Staël von Holstein was born on 6 December 1685, the son of Lt. Col. Johan Staël von Holstein and Julia Helena von der Pahlen. He was a member of the Staël von Holstein noble house which had then only recently joined the Swedish nobility.During his captivity in Russia he married the Countess Ingeborg Christina Horn af Rantzien in 1710, a daughter of the Field Marshal Henning Rudolf Horn von Rantzien, who had been taken captive with his daughters by the Russians during the Great Northern War.In 1722 Staël von Holstein planned a marriage with Sofia Elisabeth Ridderschantz. However, the marriage was broken off because his wife Ingeborg from Russia, where she had been held captive to that point, returned. In 1731 Staël von Holstein was raised to the rank of baron.In 1761 his first wife died, and Staël married Sofia Elisabeth Ridderschantz. Anna Helena Juliana, the daughter of George Bogislaus Staël von Holstein, died at the age of five. With her this branch of the Staël von Holstein noble family died out.Military careerStaël von Holstein began his military career on 20 February 1700 as a volunteer in the Swedish household guard. He was promoted to Unteroffizier (roughly equivalent to corporal) in the artillery. Staël von Holstein became a cornet in the Dragoon regiment of the province Ingria which was under the command of Otto Vellingk. He participated in the campaign in Livonia against the Russian and Saxon armies. He was promoted to Lieutenant in 1702 and a year later to Captain in the infantry regiment of Adam de la Gardie. This regiment was used in 1704 to free the besieged city of Narva from Russian troops. In April he was appointed commander of the grenadier company of this regiment.The Swedish attack failed and Staël von Holstein was captured. He was held captive in prison camps in Siberia and later in the region of Moscow. Staël von Holstein succeeded in being exchanged for a Russian officer in 1711. His wife, her sisters and his father-in-law were not allowed to leave Russia, however. After his return Staël von Holstein was under the direct command of the Swedish King Charles XII, who was in exile in Bender and was dispatched by him to the Skaraborg regiment.In 1713 Staël von Holstein was promoted to Lieutenant Colonel and in 1715 he invaded Schonen with the Skaraborg regiment. Two years later he was appointed colonel. In 1718 he participated with his regiment in the campaign against Norway and took part in the Siege of Frederiksten.In 1719 the Skaraborg regiment was garrisoned in Göteborg. The attack of the Danish captain Peter Wessel Tordenskiold on the fortress of Nya Elfsborg was repulsed by his commander Johan Abraham Lillie with all his forces. The artillery division of the Skaraborg regiment began a counter-attack on the Danish navy on 24 July. They were so taken by surprise by artillery fire from land that the fleet withdrew and repulsed the attack.In 1720 Staël parted from the Swedish army and served in the following years under Duke Karl Friedrich von Holstein. He was a major general and commander in his bodyguard.In 1733 Staël von Holstein was appointed colonel and commandant of Kalmar Castle. A year later he was governor of Kalmar.Staël was appointed major-general in 1734. In 1742 he was the leader of the political group the Caps.In 1743 Staël von Holstein was promoted to lieutenant general. He was also a Knight in the Royal Order of the Seraphim. In 1754 he was appointed governor of Malmöhus län and commandant of Malmö. He remained in this position until his death.Civilian lifeIn 1737 Staël built a textile factory in Kalmar. In 1742 he founded the glasswork company Kosta Glasbruk together with the governor of Kronobergs län, Anders Koskull Kosta. Later Staël bought in the province of Halland a large property as a family seat. This was situated in the neighborhood of Vapnö and is still in the property of his family.Passage 3:Mathilda Staël von HolsteinChristina Mathilda Staël von Holstein (1876–1953) was a Swedish lawyer. She was the second woman to become a lawyer in Sweden, the first being Eva Andén. She was known as a feminist throughout her lifetime.BiographyShe was born in Kristianstad as the daughter of the nobleman and Colonel Axel Staël von Holstein and Cecilia Nordenfeldt and grew up in Värmland. She was orphaned early and left with responsibility for her eleven siblings, and never married.She was a correspondent at a law firm, then an assistant and an accountant at the Stockholm City Health Board. She became a Candidate of Law in Stockholm in 1918. She was also a member of the Fredrika Bremer Association and chairman of the Stockholm Women's Association. From 1919 to 1923 she was a partner in Eva Andén's law firm. As a lawyer, she primarily worked on family law and property issues.One of the biggest problems for women to obtain government office during this time was that the law defined the applicant for such jobs as a \"Swedish man\". The Ministry of Justice formed a committee in 1919 to investigate and remove this barrier from the law through a change of constitution. The chairman of the committee was Emilia Broomé, the first woman to chair a government committee. Staël von Holstein was a committee member. The committee's work resulted in the Competence Law of 1923.Staël von Holstein was awarded the Illis quorum by the King of Sweden in 1946.She died in Stockholm.See alsoAnna Pettersson, Swedish lawyerSourcesFurther readingMathilda Staël von Holstein at Svenskt kvinnobiografiskt lexikonPassage 4:Boris BogoslovskyBoris Basil Bogoslovsky (29 April 1890, in Ryazan – 2 December 1966, in Charleston, Illinois) was a Russian-American teacher and United Nations official.Bogoslovosky emigrated to the United States, where he became a naturalized citizen. He married a Swedish teacher, Christina Staël von Holstein, and the pair taught at the Cherry Lawn School, a progressive boarding school in Darien, Connecticut. In 1933 they became co-directors of the school. Bogoslovosky taught science there until 1945, when he joined the United Nations as a translator in the UN's Russian Language Section. He was also an observer for the US government at the Nuremberg Trials.WorksThe technique of controversy: principles of dynamic logic, 1928. In the series The International Library of Psychology, Philosophy and Scientific Method.The ideal school, 1936.Passage 5:Elin LauritzenElin Maria Lauritzen (born 11 July 1916 in Rio de Janeiro, Brazil; died 17 September 2006) was for many years one of Sweden's foremost family law attorneys.She was a member of the Board of Directors of the Pension Board in 1944 as well as Deputy Attorney at the lawyers Mathilda Staël von Holstein, Valborg Lundgren and Eva Andén 1945–1953. She became a member of the Swedish Bar Association in 1949.Passage 6:Monte Carlo (composer)Hans von Holstein, better known as Monte Carlo (14 July 1883 — 9 June 1967), was a Danish-born American Broadway composer and author.LifeVon Holstein was born in Skamlingsbanken, Gravenstein, Denmark, on 14 July 1883.He came to the U.S. in 1906 to avoid studying medicine.  He changed his name to Hans Carlo, and soon began using Monte Carlo as his name. He became a naturalized US citizen in 1914. He received pre-medical training in Chicago, with songwriting as chief avocation. He started writing music with Alma Sanders, whom he met at Jerome H. Remick's music publishing firm.  She eventually became his wife. They collaborated on a number of shows and a large number of songs.  He joined the American Society of Composers, Authors and Publishers in 1923.In 1930, he was living with his wife at 10 Williams Avenue in Mount Vernon, New York. In 1942, he was living at 145 West 55th Street, New York.After the death of his wife in 1956, he moved to Houston, Texas. There he became vice-president of Carsen Music Publishing, founded by his step-son, Edward C. Benjamin Sr. He died in Houston on June 9, 1967.Songs with music or lyrics by Monte Carlo\"Little Town in the old County Down\"\"Dinny Danny; The Irish Yacki Hula\"\"That Tumble-Down Shack in Athlone\"\"Every Tear Is a Smile in an Irishman's Heart\"\"By the waters of Killarney\"\"Just a bit of Irish lace\"\"Two Blue Eyes, One Little Green Isle\"\"My Home in the County Mayo\"\"The Hills of Connemara\"\"The Old Wooden Bridge in Athlone\"Several songs became very popular after being recorded by John McCormack in the early 1920s.ShowsThe Voice of McConnell by George M. Cohan, (1918; supplied songs)Tangerine (1921)Elsie (1923)The Chiffon Girl (1924)Bye Bye Barbara (1924)Princess April (1924)Oh! Oh! Nurse (1925)Houseboat on the Styx (1928; supplied songs)Mystery Moon (1930)Louisiana Lady (1947)Passage 7:Auguste-Théodore-Paul de BroglieAbbé Auguste-Théodore-Paul de Broglie (June 18, 1834 – May 11, 1895) was professor of apologetics at the Institut Catholique in Paris, and writer on apologetic subjects.He was the son of Achille-Victor, Duc de Broglie, and his wife, Albertine, baroness Staël von Holstein, a Protestant and the daughter of Madame de Staël. After the death of his mother, who died young, he was brought up by the Baroness Auguste de Staël, née Vernet. This aunt, although also a Protestant, exerted herself \"to make a large-minded Christian of him in the Church to which she did not belong\" (Monseigneur d'Hulst in Le Correspondant, 25 May 1895).Broglie studied at the École Polytechnique, leaving in 1855. Still young, he entered the navy; he was appointed ensign in 1857 and soon after lieutenant. After a voyage to New Caledonia in which he came in contact with active missions, he felt himself called to the religious life. He entered the Seminary of Saint Sulpice in Paris in 1867. After completing his studies there he was ordained priest on 18 October 1870. He was named professor of apologetics at the Institut Catholique in 1879. His teaching, which included philosophical, theological, biblical and historical themes, were intended to defend the Catholic faith from perceived attacks from Positivism and Rationalism. He maintained the harmony and autonomy of the two spheres of knowledge, religion and reason.In his numerous publications the Abbé de Broglie was always a faithful defender of Catholic dogma. At the time "}
+{"doc_id":"doc_172","qid":"","text":"Passage 1:Satellite tournamentA satellite tournament is either a minor tournament or event on a competitive sporting tour or one of a group of such tournamentsthat form a series played in the same country or region.PokerA satellite tournament in poker is a qualifying event. Winners of these satellites usually win thebuy-in fee to a larger, more prestigious tournament like the World Series of Poker Main Event. Although there are some land-based satellite tournaments (usuallyfor very high-stakes tournaments), most of them are online-based. Some sites, like PokerStars, maintain several tiers of satellites. A player can thus start out atone tier (not necessarily the lowest one) and play his way to a higher tier. The entry fee for each tier is always higher than the fee for the tier below it, with thefirst tier being the cheapest.TennisIn professional tennis, satellite circuits were four-week tournaments (five before 1987), typically organised by a country'snational tennis association and overseen by the International Tennis Federation. They were played by players who were ranked outside the top few hundred bythe Association of Tennis Professionals, with openings for unranked players in the qualifying draw. Total prize money ranged from $25,000 to $75,000 percircuit.  ATP points were awarded on the basis of a player's ranking within the circuit and from 1987 onwards on the basis of the conversion of a player's circuitpoints into ATP points. Players successful at this level of pro tennis would move on to play ATP Challenger Series or even top-flight ATP Tour events. The men'ssatellite tournaments were discontinued following the 2006 season as the circuit moved exclusively to one-week Futures tournaments.PinballA satellitetournament in pinball is modeled after those in poker. It is a smaller tournament that leads up to a major pinball championship, where participants have theopportunity to win their entry into the larger tournament. Applying the satellite tournament concept to pinball was first done by Northwest Pinball and ArcadeShow in 2013 to promote both the show and the tournaments at the show. Since then, some other major tournaments have begun using the concept.Passage2:Tunstall, VirginiaTunstall is an unincorporated community in New Kent County, Virginia, United States.Foster's Castle and Hampstead, both located in Tunstall,are listed on the National Register of Historic Places.Passage 3:Telephone numbers in Ascension IslandCountry Code: +247International Call Prefix: 00AscensionIsland does not share the same country code (+290) with the rest of St Helena.Calling formatsTo call in Ascension Island, the following format isused:yxxxx      Calls inside Ascension Island+247 yxxxx  Calls from outside Ascension IslandAscension Island numbering planAccording to ITU Communication of08.V.2015, Sure South Atlantic Limited, Jamestown, announced the following update to the numbering plan for Ascension.The length of geographical numbersincreased from four (4) to five (5) digits and prefixed with the number \"6\".The 4XXXX range  reserved for mobile services.The change to five-digit numbering tobe implemented on 1 June 2015.   1: New 5-digit numbering2: 6-digit numberingSee alsoTelephone numbers in the United KingdomTelephone numbers in SaintHelena and Tristan da CunhaPassage 4:LubnowyLubnowy is part of the name of two villages, both located in Gmina Susz, within Iława County, Warmian-MasurianVoivodeship, Poland:Lubnowy MałeLubnowy WielkieSee alsoLiebenauPassage 5:BrevilleBreville is an Australian brand of small home appliances, founded inSydney in 1932. It is best known for its home appliances, specifically blenders, coffee machines, toasters, kettles, microwaves and toaster ovens. As of 2016, thebrand also manufactured \"Creatista\" coffee machines for Nespresso, and distributed other Nespresso products in Australia, New Zealand and the USA andCanada, including the \"Inissia\", \"Vertuo\" and \"Citiz\" series of machines.HistoryIn 1932, Bill O'Brien and Harry Norville (born Charles Henry Norville) mixed theirlast names together and the Breville brand was created. The company started by making radios. During World War II, it made mine detectors. By 1953, the radiobusiness had been taken over by A.W. Jackson Industries Pty. Ltd., which manufactured radiograms and, later, television sets under the Breville brand. After that,Breville turned its attention to manufacturing household appliances.The O'Brien family continued developing the Breville business for three generations, with Bill'sson, John, setting up the Breville Research and Development centre in the late 1960s, and his daughter, Barbara, running the marketing department throughoutthe 1990s. John O'Brien continued to lead many product development initiatives for the Breville brand until his death in December 2003. Breville's R&D team hastaken out over 100 active patents and has been awarded more than 40 international design awards. In 1974, Breville released the toasted sandwich maker, whichwas a huge success, selling 400,000 units in its first year, and making the Breville brand a household name in Australia. Soon after this, the Breville toastedsandwich maker was launched in New Zealand and the United Kingdom, where it was met with similar success.OwnershipIn 2001, the Breville companies ofAustralia, New Zealand, and Hong Kong transferred ownership of the brand to Housewares International Limited. The acquisition of the Breville companies causedthe group to shift its focus to the electrical business and cease its Australian homewares and cleaning businesses in March 2007. In 2008, HousewaresInternational Limited officially changed its name to the Breville Group Limited. The Breville Group Limited also owns the Kambrook and Sage brands. It marketsmost of its product under the Sage brand in the UK and Europe, since the Breville brand is owned by the unrelated Jarden company in the UK.GlobalpresenceBreville trades in over 70 countries including China, Brazil, South Africa, Mexico, and Israel. In 2002, the Breville brand was launched in Canada and theUnited States.Passage 6:JawtyJawty (German: Jauth) is part of the name of two villages, both located in Gmina Susz, within Iława County, Warmian-MasurianVoivodeship, Poland:Lubnowy MałeLubnowy WielkiePassage 7:Jakab IndustriesJakab Industries was an Australian coachbuilder in Tamworth, New SouthWales.HistoryJakab Industries built its first bus body in July 1973, a Ford R226. It mainly made bodies for buses for the defence forces, but also built some forcommercial operators, before withdrawing from the market in late 1995. It also built bodies for ambulances and postal vans. In the 1990s it also overhauledMercedes-Benz and Scania buses for the State Transit Authority.Following the collapse of Clifford Corporation in 1998, Volvo arranged for Jakab to take over theAnsair plant in Tamworth and complete the work of providing Orana-style bodies for 60 State Transit Authority Volvo B10BLE buses. The subsidiary company setup to do the work was named Phoenix Bus.Jakab Industries was placed in administration in 2002.Passage 8:RadziceRadzice is part of the name of two villages,both located in Gmina Drzewica, within Opoczno County, Łódź Voivodeship, Poland:Radzice DużeRadzice MalePassage 9:Limestone CoastThe Limestone Coast is aname used since the early twenty-first century for a South Australian government region  located in the south east of South Australia which immediately adjoinsthe continental coastline and the Victorian border.  The name is also used for a tourist region and a wine zone both located in the same part of SouthAustralia.ExtentThe Limestone Coast is a South Australian Government Region which consists of land within the following local government areas located in thesouth east of the state: the City of Mount Gambier and the District Councils of Grant, Kingston, Robe, Tatiara and Naracoorte Lucindale and the Wattle RangeCouncil, and the extent of \"coastal waters\" up to three nautical miles seaward of the low water mark between the border with Victoria in the east and  thenorthern boundary of the Kingston District Council in the north-west.Industry regions with the same nameLimestone Coast Tourism RegionThe words 'LimestoneCoast' also used in the name of a  tourism region which occupies a similar part of South Australia.  The tourism region consists of the following local governmentareas: the City of Mount Gambier, The Coorong District Council, the District Councils of Grant, Kingston, Robe, Tatiara and Naracoorte Lucindale, and the WattleRange Council.Limestone Coast Wine ZoneThe words 'Limestone Coast' also used in the name of a wine zone which occupies a similar part of SouthAustralia.  The wine zone is the land south of a line located at appropriately 36 degrees 50 minutes south, i.e. in line with Cape Willoughby at the east end ofKangaroo Island.  The zone includes the following wine-growing regions: Coonawarra, Mount Benson, Mount Gambier, Padthaway, Robe andWrattonbully.Location and descriptionFrom the Victoria border to the Younghusband Peninsula this area has been settled since colonisation by  mainly Europeansettlers in the 1840s, displacing an indigenous population that had resided in the region for thousands of years. The region currently supports farming, viticulture,forestry and tourism. Towns include Bordertown, Keith, Millicent, Mount Gambier, Penola, and Naracoorte and the coastal resorts of Beachport, Kingston SE andRobe.Much of the Limestone Coast is low-lying, and was inundated by sea as recently as 2 million years ago. It had previously also been flooded 15–20 millionyears ago.  The plains are lined by rows of low sandhills parallel to the coast, created at times when the coastline was at that level. Prior to European settlement,much of the land between the sandhills was swamp fed by streams and subject to inundation. A network of drains totalling 1450 km has been constructed tochannel the water away through the sandhills to the ocean. Important areas of wetland remain including the lakes and lagoons such as the southern end of theCoorong and Bool Lagoon. Meanwhile, areas of upland in the Limestone Coast include the volcanic craters of Mount Gambier.The Mediterranean climate of thiscoast is cool and moist with wet winters.HistoryThere are deep limestone deposits created from the coral and other sealife. The limestone in Victoria Fossil Caveand the other Naracoorte Caves contains are Australia's biggest source of fossils and a World Heritage Site.EcologyFloraThe natural vegetation was woodland ofRiver Red gum and other eucalyptus trees.FaunaAlthough there are few purely endemic species the coast is rich in wildlife including possums, Cercartetus pygmypossums, Petaurus Gliding possums, and other marsupials many of which do not spread further west than here. Endemic species include reptiles such as thestriped legless lizard (Delma impar) and invertebrates like an endemic cave cricket. The Naracoorte caves are occupied by the common bent-wing bat.The lakesand lagoons are particularly important habitats for waterbirds such as black swan, grey teal, Pacific black duck, and especially the critically endangeredorange-bellied parrot (Neophema chrysogaster) which winters here along with many other birds including the red-necked stint (Calidris ruficollis), sharp-tailed"}
+{"doc_id":"doc_173","qid":"","text":"Passage 1:David A. GanongDavid A. Ganong,  (born September 14, 1943 in St. Stephen, New Brunswick) is a Canadian business executive.BiographyGanong is the former president and current chairman of the board of Ganong Bros., the oldest chocolate manufacturing company in Canada. He graduated with a BA degree from the University of New Brunswick in 1965 then earned his MBA degree University of Western Ontario.In 1977 he replaced his uncle, R. Whidden Ganong, as president of the company. In 1984-85, David Ganong served as chairman of the Atlantic Provinces Economic Council. In 1990 he oversaw the building of a modern new plant. Its success was followed by a further expansion in 2003. He was named a member of the Order of Canada in 2005 and was inducted into the Canadian Professional Sales Association Hall of Fame in 1999. In 2008 David Ganong stepped down as president, but has maintained an advisory role as chairman on the company's board and remains the controlling shareholder. Two of his children have moved into executive positions with the company, representing the fifth generation of Ganong overseeing the company; daughter Bryana Ganong as president and CEO, and son Nicholas Ganong as Vice President of Sales and Business Development.David Ganong is a member of the board of governors of the University of New Brunswick and he and his wife Diane have provided financial support to the university. In recent years, David has taken an active role in a number of community development groups, most recently with Future St. Stephen.NotesFolster, David. The Chocolate Ganongs of St. Stephen, New Brunswick (1991) Goose Lane Editions ISBN 0-86492-115-2Craigs, Melodie. Ganong, The Candy Family (1984) Literacy Council of Fredericton ISBN 0-920333-16-8David and Diane Ganong's donation to the University of New BrunswickFebruary 2003 Candy Industry article on David Ganong and Ganong Bros.Profile of David Ganong, The Governor General's Canadian Leadership ConferencePassage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:John Templeton (botanist)John Templeton (1766–1825) was a pioneering Irish naturalist, sometimes referred to as the \"Father of Irish Botany\". He was a leading figure in Belfast's late eighteenth century enlightenment, initially supported the  United Irishmen, and figured prominently in the town's scientific and literary societies.FamilyTempleton was born in Belfast in 1766, the son of James Templeton, a prosperous wholesale merchant, and his wife Mary Eleanor, daughter of Benjamin Legg, a sugar refiner. The family resided in a 17th century country house to the south of the town, which been named Orange Grove in honour of William of Orange who had stopped at the house en route to his victory over James II at the Battle of the Boyne in 1690.Until the age of 16 Templeton attended a progressive, co-educational, school favoured by the town's liberal, largely Presbyterian, merchant class. Schoolmaster David Manson sought to exclude \"drudgery and fear\" by combining classroom instruction with play and experiential learning. Templeton counted among his schoolfellows brother and sister Henry Joy and Mary Ann McCracken, and maintained a warm friendship with them throughout his life.In 1799, Templeton married Katherine Johnson of Seymour Hill. Her family had been touched by the United Irish rebellion the previous year: her brother-in-law, Henry Munro, commander of the United army at the Battle of Ballynahinch, had been hanged. The couple had five children: Ellen, born on 30 September 1800, Robert, born on 12 December 1802, Catherine, born on 19 July 1806, Mary, born on 9 December 1809 and Matilda on 2 November 1813.The union between the two already prosperous merchant families provided more than ample means enabling Templeton to devote himself passionately to the study of natural history.United IrishmanLike many of his liberal Presbyterian peers in Belfast, Templeton was sympathetic to the programme and aims of the Society United Irishmen:  Catholic Emancipation and democratic reform of the Irish Parliament. But it was several years before he was persuaded to take the United Irish \"test\" or pledge. In March 1797 his friend, Mary Ann McCracken, wrote to her brother: [A] certain Botanical friend of ours whose steady and inflexible mind is invulnerable to any other weapon but reason, and only to be moved by conviction has at last turned his attention from the vegetable kingdom to the human species and after pondering the matter for some months, is at last determined to become what he ought to have been months ago.She hoped his sisters would \"soon follow him.\" Having committed himself to the patriotic union of Catholic, Protestant and Dissenter, Templeton changed the name of the family home from loyalist Orange Grove to Irish \"Cranmore\" (crann mór, 'big tree').Templeton was disenchanted by the Rebellion of 1798, and mindful of events in France , repelled by the violence. He nonetheless withdrew from the Belfast Literary Society, of which he had been a founding member in 1801, rather than accept the continued presence of Dr. James MacDonnell. MacDonnell's offence had been to subscribe forty guineas in 1803 for the capture (leading to execution) of the unreformed rebel Thomas Russell who had been their mutual friend. (While unable to \"forget the amiable Russell\", time, he conceded,  \"softened a little my feelings\": in 1825, Templeton and MacDonnell met and shook hands).GardenThe garden at Cranmore spread over 13-acre garden was planted with exotic and native species acquired on botanical excursions, from fellow botanists, nurseries, botanical gardens and abroad: \"Received yesterday a large chest of East Indian plants which I examined today.\" \"Box from Mr. Taylor\".Other plants arrived, often as seeds from North America, Australia, India, China and other parts of the British Empire  Cranmore also served as a small animal farm.for experimental animal husbandry and a kitchen garden.BotanistJohn Templeton's interest in botany began with this experimental garden laid out according to a suggestion in Rousseau's 'Nouvelle Heloise' and following Rousseau's 'Letters on the Elements of Botany Here he cultivated many tender exotics out of doors (a list provided by Nelson and began botanical studies which lasted throughout his life and corresponded with the most eminent botanists in England Sir William Hooker, William Turner, James Sowerby and, especially Sir Joseph Banks, who had travelled on Captain James Cook's voyages, and in charge of Kew Gardens. Banks tried (unsuccessfully) to tempt him to New Holland (Australia) as a botanist on the Flinders's Expedition with the offer of a large tract of land and a substantial salary. An associate of the Linnean Society, Templeton visited London and saw the botanical work being achieved there. This led to his promotion of the Belfast Botanic Gardens as early as 1809, and to work on a Catalogue of Native Irish Plants, in manuscript form and now in the Royal Irish Academy, which was used as an accurate foundation for later work by succeeding Irish botanists. He also assembled text and executed many beautiful watercolour drawings for a Flora Hibernica, sadly never finished, and kept a detailed journal during the years 1806–1825 (both now in the Ulster Museum, Belfast).[1] Of the 12000 algal specimens in the Ulster Museum Herbarium about 148 are in the Templeton collection and were mostly collected by him, some were collected by others and passed to Templeton. The specimens in the Templeton collection in the Ulster Museum (BEL) have been catalogued. Those noted in 1967 were numbered: F1 – F48. Others were in The Queen's University Belfast. All of Templeton's specimens have now been numbered in the Ulster Museum as follows: F190 – F264; F290 – F314 and F333 – F334.Templeton was the first finder of Rosa hibernicaThis rose, although collected by Templeton in 1795, remained undescribed until 1803 when he published a short diagnosis in the Transactions of the Dublin Society.Early additions to the flora of Ireland include Sisymbrium Ligusticum seoticum (1793), Adoxa moschatellina (1820), Orobanche rubra and many other plants. His work on lichens was the basis of this secton of Flora Hiberica by James Townsend Mackay who wrote of him The foregoing account of the Lichens of Ireland would have been still more incomplete, but for the extensive collection of my lamented friend, the late Mr. John Templeton, of Cranmore, near Belfast, which his relict, Mrs. Templeton, most liberally placed at my disposal. I believe that thirty years ago his acquirements in the Natural History of organised beings rivalled that of any individual in Europe : these were by no means limited to diagnostic marks, but extended to all the laws and modifications of the living force. The frequent quotation of his authority in every preceding department of this Flora, is but a brief testimony of his diversified knowledgeBotanical ManuscriptsThe MSS. left by Templeton consist of seven volumes. One of these is a small 8vo. half bound ; it is in the Library of the Royal Irish Academy, and contains 280 pp. of lists of Cryptogams, chiefly mosses, with their localities. In this book is inserted a letter from Miss F. M. More, sister of Alexander Goodman More, to Dr. Edward Perceval Wright, Secretary, Royal Irish Academy, dated March, 1897, in which she says—‘*‘ The Manuscript which accompanies this letter was drawn up between 1794 and 1810, by the eminent naturalist, John Templeton, in Belfast. It was lent by his son, Dr. R. Templeton, to my brother, Alex. G. More, when he was preparing the second edition of the ‘ Cybele Hibernica,’ on condition that it should be placed in the Library of the Royal Irish Academy afterwards.\" The other six volumes are quarto size, and contain 1,090 folios, with descriptions of many of the plants, and careful drawings in pen and pencil and colours of many species. They are now lent to the Belfast Museum. About ten years ago I [Lett]spent a week in examining these volumes, and as their contents have hitherto never been fully described, I would like to give an epitome of my investigation of them.Vol. 1.—Phanerogams, 186 folios, with 15 coloured figures, and 6 small drawings in the text.Vol. Il.—Fresh-water Algae, 246 folios, 71 of which are coloured.Vol.IIl.—Marine Algae, 212 folios, of which 79 are coloured figures. At the end of this volume are 3 folios of Mosses, the pagination of which runs with the rest of this volume, but it is evident they had at some time been misplaced.Vol. IV Fungi, 112 folios.Vol. V.—Mosses, 117 folios, of which 20 are coloured, and also 73 small drawings in the text. *Vol. VI.—Mosses and Hepatics. 117 folios are Hepatics, 40 of which are in colours ; 96 folios are Mosses, of which 39 are full-page coloured figures; and in addition there are 3 small coloured drawings in the text.All these drawings were executed by Templeton himself, they are every one most accurately and beautifully drawn; and the colouring is true to nature and artistically finished; those of the mosses and hepatics being particularly good. Templeton is not mentioned in Tate’s ‘‘ Flora Belfastiensis,’ published in 1863, at Belfast. The "}
+{"doc_id":"doc_174","qid":"","text":"Passage 1:Herbert J. RayRear Admiral Herbert James Ray (1 February 1893 – 3 December 1970) was an officer in the United States Navy who served in WorldWar I and World War II. A 1914 graduate of the Naval Academy, he served on the submarines USS H-2 and N-3 during World War I. In March 1942, as Chief ofStaff and Aide to the Commandant of the Sixteenth Naval District, Rear Admiral Francis W. Rockwell, he participated in General Douglas MacArthur's escape fromthe Philippines. In Australia, he served with MacArthur's General Headquarters, Southwest Pacific Area staff. In September 1943, he became Captain of thebattleship USS Maryland, which he commanded in the Battle of Tarawa, Battle of Kwajalein, Battle of Saipan and the Battle of Peleliu. In October 1944, heparticipated in the Battle of Surigao Strait, in which Maryland joined the other battleships in engaging the Japanese battleships Fusō and Yamashiro and theirescorts. Ray left Maryland in December 1944, and was promoted to Commodore and appointed deputy director of the Naval Division of the US Control GroupCouncil for Germany. After VE Day, he became the Junior United States Member of the Tripartite Naval Commission in Berlin. He retired from the Navy on 30 June1949, and received a tombstone promotion to rear admiral due to his combat decorations.Early lifeHerbert James Ray was born in Milwaukee, Wisconsin, on 1February 1893, the son of James Herbert Ray and his wife Mary née Rosseler. He was educated at Rhea County High School. In 1910, he was appointed to theUnited States Naval Academy at Annapolis, from which he graduated on 6 June 1914.On graduation, he was commissioned as an ensign, and joined the crew ofthe battleship USS Minnesota. In July 1915, he became an instructor for enlisted ratings in Norfolk, Virginia. He then became part of the crew that was assembledfor the new battleship USS Nevada in January 1916, and served on it when it was commissioned in March 1916. After the United States declared war onGermany, he underwent submariner training on board the submarine tender USS Fulton from June to November 1917. During the war he served on thesubmarines USS H-2 and N-3.Between the warsAfter the war, Ray was posted to the battleship USS Pennsylvania in March 1919, the submarine tender USSSavannah in July 1919, and the destroyer USS Meyer February 1920. He then became the Executive Officer of the destroyer USS Walker. In November 1920, hehelped fit out the destroyer USS Young, and served on it until April 1921, when he was transferred to the crew of another new destroyer, the USS Macdonough.He helped fit it out, and then served with it until September 1921.Ray returned to Annapolis as an instructor with the Electrical Engineering and PhysicsDepartment from September 1921 to June 1923. He then served on the transport USS Argonne until December 1924, when he became the Executive Officer ofthe destroyer USS Wood. In 1926, he assumed command of the destroyer USS Farenholt. In July, he became Officer in Charge of the Branch Hydrographic Officein Honolulu. He was Aide and Flag Secretary to the Commander Light Cruiser 2 from May 1928 to June 1930; Light Cruiser Divisions, Scouting Fleet from June toSeptember 1930; and Light Cruiser 3 from September 1930 to July 1931. Ray married Helen Louise Jacobs from La Plata, Maryland in 1930. They had twodaughters and two sons.Ray was the Navy Representative on the Joint Army-Navy Selective Services Committee at the War Department in Washington, D.C.,from July 1931 to September 1933. He then helped fit out the new cruiser USS New Orleans, and became first he First Lieutenant and Damage Control Officer,and then, in February 1935, he Executive Officer. Following the usual pattern of alternating duty afloat and ashore, he returned to Annapolis in July 1936 for asecond two-year tour as an instructor, this time in the Department of English and History. In June 1938 he entered the Naval War College at Newport, RhodeIsland. After graduating in June 1939, he became the Executive Officer of the USS Quincy.World War IISouthwest PacificIn March 1941, Ray became Chief of Staffand Aide to the Commandant of the Sixteenth Naval District, Rear Admiral Francis W. Rockwell, at Cavite, where he was promoted to captain on 1 July 1941. Hewas serving in this capacity when the Pacific War began. He was awarded the Legion of Merit for his part in the fighting. His citation read:For exceptionallymeritorious conduct in the performance of outstanding services to the Government of the United States as Chief of Staff in the Sixteenth Naval District at theoutbreak of World War II. Captain Ray continuously performed duties of great responsibility during and after the bombing and destruction of Cavite Navy Yard on10 December 1941. In the direction of fire fighting at Cavite, in the evacuation of personnel and material to Corregidor, and in the administration of MarivelesNaval Section Base, a Naval Facility at Mariveles on Bataan Peninsula, he displayed courage and marked leadership. His close personal contact with the personnelof Motor Torpedo Boat Squadron Three and constant concern with their problems was an outstanding example of leadership and exceptional efficiency in hisprofession. During this entire period of great stress, he performed exceptionally meritorious service to the government in duties of great responsibility. CaptainRay was sent to Mariveles on 14 December to supervise the work there and Commander Grandfield temporarily assumed the duties of Chief of Staff. Oncompletion of a reorganization at Mariveles, Captain Ray was ordered to Queen Tunnel Corregidor and resumed his duties as Chief of Staff.In March 1942, heparticipated in General Douglas MacArthur's escape from the Philippines, for which Ray was awarded the Silver Star. His citation read:For extraordinary heroismand distinguished service in the line of his profession while serving on the Staff of Rear Admiral Francis Rockwell, Commandant, Sixteenth Naval District, duringthe period 11 to 13 March 1942, in the Philippine Islands during an extraordinary action a retrograde maneuver involving General Douglas MacArthur. Captain Raymade detailed plans involving exacting preparations for a movement of major strategic importance and of the most hazardous nature, then executed the missionwith marked skill and coolness in the face of greatly superior enemy forces.In Australia, Ray served with MacArthur's General Headquarters, Southwest PacificArea. One of his sons, Lieutenant James H. Ray, was on the destroyer USS Jarvis when it was lost with all hands on 9 August 1942. When Ray was ordered backto the United States in January 1943, MacArthur awarded him the Army Distinguished Service Medal. His citation read:For exceptionally meritorious anddistinguished services to the Government of the United States, in a duty of great responsibility in the Southwest Pacific Area during the period from 18 April 1942to 26 April 1943. Captain Ray was assigned to General Headquarters, Southwest Pacific Area, upon its establishment, 18 April 1942, serving as Naval Advisor tothe Operations and Intelligence sections of the General Staff from 18 April 1942 to 9 January 1943. Upon the establishment of the Planning Section of G-3, 9January 1943, he was assigned as Chief of that section. The accomplishment of the service for which this award is recommended has been completed. This officerhas been transferred to another assignment. The entire service of Captain Ray has, since the rendering by him of the service upon which this recommendation isbased, been honorable.USS MarylandRay served in the office of the Commander in Chief United States Fleet, Admiral Ernest J. King from April to September1943. He then became Captain of the battleship USS Maryland. The ship had been damaged in the Japanese attack on Pearl Harbor in December 1941 butreturned to service. Maryland participated in the Battle of Tarawa in November 1943 as the flagship of Rear Admiral Harry W. Hill's V Amphibious Force andSouthern Attack Force, and her guns participated in the shore bombardment. In February 1944, she joined in the Battle of Kwajalein, firing at pillboxes andblockhouses on Roi Island. Maryland's guns supported the Battle of Saipan, silencing a pair of coastal guns. On 22 June, she was torpedoed by a Mitsubishi G4M\"Betty\" bomber, but was repaired in time to join Rear Admiral Jesse B. Oldendorf's Western Fire Support Group in the Battle of Peleliu. Still with Oldendorff'sgroup, but now part of the Vice Admiral Thomas C. Kinkaid's Seventh Fleet, Maryland participated in the Battle of Leyte in October. In the Battle of Surigao Strait,it joined the other battleships in engaging the Japanese battleships Fusō and Yamashiro and their escorts. Ray was awarded a second Silver Star. His citationread:for gallantry and intrepidity in action as Commanding Officer of the USS Maryland (BB-46), which contributed materially to the annihilation of enemy surfaceforces, including two battleships, on 25 October 1944, in Surigao Straits, Philippine Islands. Captain Ray, by his capable direction, caused his ship to deliverprolonged and effective gunfire against the enemy's ships.On 29 November, Maryland was attacked and severely damaged by kamikaze aircraft, and forced toreturn to Pearl Harbor for repairs. For his services as captain, he was awarded the Bronze Star.GermanyRay left Maryland in December 1944. He was appointeddeputy director of the Naval Division of the US Control Group Council for Germany. After VE Day, he became the Junior United States Member of the TripartiteNaval Commission in Berlin. He was promoted to the wartime rank of commodore on 26 June 1945. He returned to the United States in April 1946. For hisservices in Europe, he was awarded a second Legion of Merit. His citation read:For exceptionally meritorious conduct in the performance of outstanding servicesto the Government of the United States in Germany from 1 March 1945 to 20 December 1945. Commodore Ray distinguished himself by unusually meritoriousaccomplishments as Deputy Director of the Naval Division, U.S. Group Control Council for Germany, and later, as Deputy Naval Advisor to the Office of MilitaryGovernment for Germany (U.S.), and as junior member of the Tri-Partite Naval Commission meeting in Berlin from 15 August 1945 until 8 December 1945. Inthis duty, he contributed in a high degree to the successful conclusion to the Tri-Partite Naval Commission. He was instrumental in coordinating the Naval work ofthe U.S. Group Control Council, and other divisions of the U.S. Group Control Council, and in coordinating the efforts of the four powers represented on the NavalDirectorate of the Group Control Council for Germany.Later lifeRay became Commander of the San Francisco Group of the Nineteenth Fleet in June 1946. On 10July, like many other commodores, he was reduced in rank to captain again. He served in this capacity until he retired on 30 June 1949, at which point hereceived a tombstone promotion to rear admiral due to his combat decorations. He died on 3 December 1970 at Beale Air Force Base Hospital inCalifornia.NotesPassage 2:Robert Paul SmithRobert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic"}
+{"doc_id":"doc_175","qid":"","text":"Passage 1:Robert L. Simpson (film editor)Robert Laughlin Simpson, A.C.E. (July 31, 1910 – June 26, 1977), was an American film editor with more than 100feature film credits.BiographyBorn in St. Louis, Missouri, Simpson began his career at Paramount Pictures in 1935. By the end of the decade, he had joined 20thCentury Fox, where he remained for more than 35 years.During a 55-year career, Simpson edited one hundred films, including Drums Along the Mohawk (1939),The Grapes of Wrath (1940), The Pride of St. Louis (1952), Call Me Madam, The King and I (1956), South Pacific (1958), Fate is the Hunter (1964), and TonyRome (1967). He collaborated with director George Seaton on several projects, including Miracle on 34th Street, The Shocking Miss Pilgrim, Apartment for Peggy,and Chicken Every Sunday. He also worked with John Ford, Sidney Lanfield, and Walter Lang.Simpson was nominated for the Academy Award for Best FilmEditing for The Grapes of Wrath.Partial filmographyHer Master's Voice (1936)Love and Hisses (1937)Josette (1938)Drums Along the Mohawk (1939)Public DebNo. 1 (1940)The Grapes of Wrath (1940)Sweet Rosie O'Grady (1943)Miracle on 34th Street (1947)The Shocking Miss Pilgrim (1947)Apartment for Peggy(1948)Chicken Every Sunday (1949)The Big Lift (1950)The Pride of St. Louis (1952)Call Me MadamThe King and I (1956)South Pacific (1958)Move Over, Darling(1963)Fate is the Hunter (1964)Tony Rome (1967)See alsoList of film director and editor collaborations. From 1940 to 1960, Simpson edited ten films directed byWalter Lang; The King and I (1956) was nominated for both the Academy Award for Best Picture and the Academy Award for Best Director.Passage 2:Jean-LucLemoineJean-Luc Marie Lemoine (born 6 March 1970) is a French humourist, media personality and stand-up comedian.Early lifeA native of Paris, Lemoine grewup in Morangis, Essonne. His first scene was on his high school stage, in front of 800 fellow students.In 1993, he played at the Théâtre des Blancs-Manteaux inParis for 15 days and later worked as a columnist for the satirical weekly Infos du Monde, based upon Weekly World News in the United States. He started histelevision career on local Téléssonne channel. The following year, he played a show during 10 months, directed by Franck Dubosc.CareerLemoine was a regularguest on On a tout essayé on France 2 from 2001 to 2006, when he joined On n'est pas couché for two seasons.From 2011 until 2018, Lemoine was part of theslate of regular guests on Touche pas à mon poste! on France 4 and then D8, when the talk show hosted by Cyril Hanouna switched channels in 2012. He also hada weekly segment called Les Questions en 4/3. In 2015, his segment became a TV special for one prime time.In 2013, he joined Hanouna on his radio programmeLes pieds dans le plat broadcast on Europe 1. From 2016 to 2017 and in 2017 respectively, he hosted the game shows Guess My Age and Couple or Not? on C8,both of which were created by Vivendi Entertainment and have spawned numerous international versions.Lemoine quit C8 in 2018. He has hosted Samedi d'enrire on France 3 since 2019. He has also been a regular guest on Les Grosses Têtes since 2019.Passage 3:Robert Simpson (writer)Robert Simpson (1886 -January 7, 1934) was a writer and editor.Early lifeIn 1886, Simpson was born in Strathy, Scotland. Simpson's father was Robert Simpson and his mother wasMary Ann Smith Simpson.CareerIn about 1905, Simpson started working in the palm-oil business, trading with West Africa.In 1907, Simpson emigrated to theUnited States. In 1916, Simpson became an editor at the Frank A. Munsey Company.  In 1917, Simpson was promoted to managing editor of The Argosy, andstayed in that role for three years.  He left in 1920 to become a free-lance writer, and returned to editing in 1925, becoming the editor of MysteryMagazine.Simpson's novels include The Bite of Benin, Swamp Breath, The Grey Charteris, Eight Panes of Glass, and Calvert of Allobar.Personal lifeSimpson wasmarried to Marie A. Simpson, née Socin, and they had a daughter and two sons.Passage 4:Thomas Wykes (MP for Cambridgeshire)Thomas Wykes (died c. 1430),of Stetchworth, Cambridgeshire, was an English politician.He was a Member (MP) of the Parliament of England for Cambridgeshire in March 1416.Passage5:Robert Simpson (brewer)Robert Simpson was a Canadian brewer and politician who served as the first mayor of Barrie from 1871 to 1872, and again as itsthird mayor in 1876. He also founded the Simcoe Steam Brewery, and the 21st-century Robert Simpson Brewing Company (now The Flying Monkeys CraftBrewery) was named in his honour.Prior to becoming mayor, the head of the governing body for Barrie was known as the reeve of Barrie. Simpson first served asthe fifth reeve from 1858 to 1859, and was succeeded by Thomas David McConkey. Simpson later succeeded the seventh and final reeve, William Davis Ardagh,in 1871, to become Barrie's first mayor.Passage 6:Thomas Wykes (chronicler)Thomas Wykes (11 March 1222 – c. 1292), English chronicler, was a canon regularof Oseney Abbey, near Oxford.He was the author of a chronicle extending from 1066 to 1289, which is printed among the monastic annals edited by HenryRichards Luard for the Rolls Series. He gives an account of the Second Barons' War from a royalist standpoint, and is a severe critic of Montfort's policy. His workregarding the reign of Edward I is especially useful. His chronicles are connected with the Oseney Annals, which are printed parallel with his work by Luard, butWykes is an independent authority between 1258 and 1278.Passage 7:Lambert of St-BertinLambert of Saint-Bertin (c. 1060 – 22 June 1125) was a FrenchBenedictine chronicler and abbot.BiographyLambert was born about 1060 of a distinguished family, and, when still young, entered the French Benedictine abbeyof St-Bertin. He afterwards visited several famous schools in France, having first laid the foundation of his subsequent learning by the study in his own monasteryof grammar, theology and music. For some time he filled the office of prior, and in 1095 was chosen abbot at once by the monks of St-Bertin and by the canons ofSt-Omer. He was thus drawn into closer relations with Cluny, and instituted through the Cluniac monks many reforms in his somewhat deteriorated monastery.Needless to say, he encountered no little opposition to his efforts, but, thanks to his extraordinary energy, he finally secured acceptance for his views, andrehabilitated the financial position of the monastery. He was a friend of St. Anselm and exchanged verses, still extant, with the poet Reginald of Canterbury (ed.Libermann in \"Neues Archiv der Gesellschaft fur altere Geschichte\", XIII, 1888, pp. 528; 531-34).  He died on 22 June 1125, at St-Bertin.WorksEven during hislifetime, Lambert was lauded in glowing terms for his great learning by an admirer —not a monk of St-Bertin— in the \"Tractatus de moribus Lamberti Abbatis S.Beretini\" (ed. Holder-Egger in \"Monumenta German. Histor. SS.\", XV, 2, 946-53). This work mentions several otherwise unknown writings of Lambert, e.g.\"Sermones de Vetere Testamento\", also studies on free will, the Divine prescience, original sin, origin of the soul and questions of physical science.Although thetwo are often confused, he is not identical with Lambert, the Canon of St. Omer who wrote the famous \"Liber Floridus\", a kind of encyclopedia of Biblical,chronological, astronomical, geographical, theological, philosophical and natural history subjects, which was completed in 1120.Sources and referencesHerbermann, Charles, ed. (1913). \"Lambert of St-Bertin\". Catholic Encyclopedia. New York: Robert Appleton Company.POTTHAST, Bibl. Histor. Medii Aevi. I, 705;Biogr. Nat. De Belgigue, XI (1891), 162-66WATTENBACH, Geschichtsquellen, II (1894), 170 sq. This article incorporates text from a publication now in the publicdomain: Herbermann, Charles, ed. (1913). \"Lambert of St-Bertin\". Catholic Encyclopedia. New York: Robert Appleton Company.Passage 8:Thomas Wykes(MP)Thomas Wykes may refer to:Thomas Wykes (chronicler) (1222–1291/93), English chroniclerThomas Wykes (MP for Leominster) (fl. 1554), MP forLeominsterThomas Wykes (MP for Cambridgeshire) (died c. 1430), MP for CambridgeshirePassage 9:Bobby Simpson (golfer)Robert S. Simpson was a Scottishprofessional golfer who achieved success in winning two Western Opens in 1907 and 1911, as well as finishing fourth in the U.S. Open in 1904. Simpson was fromCarnoustie, Scotland. He apprenticed under Robert Simpson, a Scottish golf club-maker and golf course architect, who was also from Carnoustie and part of afamous golf family of six brothers. The two Simpsons however were not related. Bobby Simpson did apprentice in Scotland as a club-maker under the otherRobert Simpson prior to leaving for the United States to become a golf professional.Professional careerSimpson was part of the \"Scottish Invasion\" of golfprofessional of the late 1890s and 1900s. He secured positions at multiple courses in the Midwest including The Country Club of Oconomowoc, Hinsdale CountryClub (Chicago, Illinois), Kent Country Club (Grand Rapids, Michigan), Memphis Country Club (Memphis, Tennessee), Kenosha Country Club (Kenosha, Wisconsin),Blue Mound Country Club (Wauwatosa, Wisconsin), Omaha Country Club (Omaha, Nebraska) and many years at Riverside Country Club (Chicago, Illinois). Manyof the early golf professionals from Scotland earned an income in various ways as greenskeepers, part-time course architects, club-makers, teachingprofessionals, tournament players and exhibition golf players. His most notable victories came with victories in the Western Open in 1907 and 1911.1900 U.S.OpenAt the 1900 U.S. Open held at the Chicago Golf Club in Wheaton, Illinois, Simpson carded rounds of 84-84-88-87 for a total of 343 and tied for 14thplace.1901 U.S. OpenAt the 1901 U.S. Open held at the Myopia Hunt Club in South Hamilton, Massachusetts, Simpson carded rounds of 88-87-87-87 for a total of349 and again tied for 14th place.1904 U.S. OpenThe 1904 U.S. Open was held July 8–9, 1904, at the Glen View Club in Golf, Illinois. Scottish professional WillieAnderson won his second consecutive, and third overall, U.S. Open title by five strokes over Englishman, Gilbert Nicholls. Simpson carded rounds of 82-82-76-76for a total of 316 and finished tied in sixth place with Stewart Gardner and Percy Barrett. He won $53 in prize money.1907 Western OpenSimpson won the 1907Western Open at the Hinsdale Country Club in Clarendon Hills, Illinois, where he defeated fellow Scotsmen, Willie Anderson and Fred McLeod, by two strokes, inMatch Play.1908 Western OpenAt the 1908 Western Open at the Beverly Country Club Simpson finished third (153) behind Willie Anderson (152) and StewartGardner (151), with the lowest round of the tournament (73).1909 U.S. OpenAt the 1909 U.S. Open held at the Englewood Golf Club in Englewood, New Jersey,Simpson carded rounds of 84-76-77-84 for a total of 321 and tied for 46th place.1911 Western OpenIn 1911 Simpson won his second Western Open at the KentCountry Club, in Grand Rapids, Michigan. He defeated Thomas McNamara, two up and one to play.Passage 10:Robert Simpson (meteorologist)Robert Homer"}
+{"doc_id":"doc_176","qid":"","text":"Passage 1:Prince Hermann of Saxe-Weimar-Eisenach (1886–1964)Prince Hermann of Saxe-Weimar-Eisenach (14 February 1886 – 6 June 1964) was a member ofthe House of Saxe-Weimar-Eisenach. He was heir to his relative William Ernest, Grand Duke of Saxe-Weimar-Eisenach until 1909, when he was disinherited of hisroyal status. From that point onwards, Hermann was commonly referred to with the lesser style, Graf von Ostheim (Count of Ostheim).Early lifePrince Hermann ofSaxe-Weimar-Eisenach was born on 14 February 1886 in Düsseldorf. He was educated by a tutor until deemed old enough to enter the Imperial German Army.He joined the Cuirassiers of the Guard in Berlin, where he was separated from the guidance of his family and tutor, and began to build up a reputation as aspendthrift like his father. He was given $10,000 a year to spend, and he and those he bought items from realized that any debts contracted would eventually bepaid by his family, thus increasing the amount Hermann could spend. By the end of the year, Hermann was a quarter of a million dollars in debt, which his familyduly paid; he was sent to a small town as a disciplinary measure. He persuaded his family that he was ill, and was able to travel to Paris, racking up more debtsalong the way; one rumor said he sold his mother's jewels en route to France.Heir to Saxe-Weimar-EisenachWilliam Ernest, Grand Duke ofSaxe-Weimar-Eisenach remained childless for much of his early life, fueling speculation of the succession to his duchy. As a descendant of Charles Augustus,Grand Duke of Saxe-Weimar-Eisenach through a younger son, firstly Hermann and secondly his brother were heir presumptives until the birth of CharlesAugustus, Hereditary Grand Duke of Saxe-Weimar-Eisenach in 1912.Loss of inheritanceA lifelong spendthrift, Prince Hermann was heir presumptive to the duchyof Saxe-Weimar-Eisenach until his disinheritance on 2 August 1909. The ducal family forced him to renounce his rights of succession to theSaxe-Weimar-Eisenach throne, as well as his royal status, title and prerogatives, granting him a lesser, noble title, Count Ostheim, along with a small allowanceon the grounds that he stay out of the duchy. Herman was not the only member of his family to have a bad reputation; his father Prince William as well as theircousin Prince Bernhard were all viewed with displeasure, so much so, that the still-living Prince William had been overlooked concerning the duchy's succession.Hermann had a younger brother, Prince Albert, who took up his position as next-in-line to the duchy. Hermann was also driven out of the German army \"for allsorts of unsavory scrapes\", as he was wanted in both England and Austria for debts, and for being a \"common swindler\". His Austrian arrest warrant was issuedsoon after his younger sister Princess Sophie of Saxe-Weimar-Eisenach was denied permission to enter into a morganatic marriage; she committed suicide soonafter, on 18 September 1913.In 1921 Count Hermann claimed in a lawsuit with Grand Duke William Ernest that he and his mother were induced by a ruse andtold that he would be forcibly expelled from Paris unless he agreed to travel from there to Germany; instead Hermann was confined in an insane asylum. He wasonly freed after signing documents renouncing all claims to Saxe-Weimar-Eisenach and assuming the style Count Ostheim. Hermann went on to claim that theGrand Duke was guilty of usury, as he was lent certain sums of money to pay off his debts in exchange for renouncing 48,000 marks appanage in favor of WilliamErnest. During that time, the German government had been completing negotiations for a settlement on the former royal family (their titles had been abolished in1918); thus had Hermann not been disinherited, he would have stood to inherit quite a large bit of money.MarriageBefore he became disinherited, PrinceHermann desired to marry Princess Marie Bonaparte, a great heiress; he might have succeeded but for his unsavory reputation. Though there was a chance hewould succeed to the Grand Ducal throne, Marie's father disliked Hermann for possessing an \"evil\" reputation, and consequently allowed her instead to marryPrince George of Greece and Denmark. Before her refusal, however, Hermann was able to obtain a great deal of money, as it was assumed he would soon have agreat deal of wealth to spend; when it became clear there was to be no marriage, a \"crash\" came. It was these money troubles, along with other problems, thatled to his disinheritance.Despite being disinherited, Hermann openly boasted he would travel to the United States in search of a wealthy wife, and then return toGermany and pay off his debts within a year; all this was said while staying in Zurich awaiting funds from his family. Instead, Hermann, now Count Ostheim,morganatically married Wanda Paola Lottero, an Italian stage actress, on 5 September 1909 in London. They visited the United States on several occasions. Theywere divorced two years later, on 22 June 1911 after Wanda grew tired of supporting him with her earnings and divorced him on the grounds of financial\"non-support\", \"cruelty\", and \"infidelity\". Wanda later gained notoriety for having a short-lived affair with King Konstantínos I of the Hellenes in 1912.On 4 August1918, Hermann married secondly to Suzanne Aagot Midling at Heidelberg. They had one surviving child before her death on 16 October 1931:Alexander KyrillGraf von Ostheim (born 7 August 1922); he died unmarried in Stockholm on 28 March 1943On 16 November 1932, Hermann's engagement with Isabel Neilson,daughter of former British MP and prominent actor and author Francis Neilson, was announced. Hermann and Isabel were married civilly and religiously in Parison 28 November 1932. A small family luncheon accompanied the wedding; afterwards, the couple honeymooned to Spain and North Africa. They had nochildren.Hermann died in London on 6 June 1964 at the age of 78.AncestryPassage 2:Prince Wilhelm of Saxe-Weimar-EisenachPrince Wilhelm Karl BernhardHermann of Saxe-Weimar-Eisenach (21 December 1853 – 15 December 1924) was a member of the House of Saxe-Weimar-Eisenach.LifePrince Wilhelm ofSaxe-Weimar-Eisenach was born on 21 December 1853 in Stuttgart. He was the eldest son of the Prince Hermann of Saxe-Weimar-Eisenach and Princess Augustaof Württemberg (1826-1898). Prince Wilhelm also has had his own financial problems, and has been forced by the Grand Duke to live outside Weimar. Wilhelm isheir presumptive to the throne as the young Grand Duke Wilhelm Ernst is a widower. His wife, Karoline of Reuss died in January 1905.Prince William had aproblem with his eldest son. Prince Hermann morganatically married Wanda Paola Lottero on 5 September 1909 in London. Lottero was an Italian stage actress,and due to Hermann's rollicking lifestyle, the ducal family forced him to renounce his rights of succession to the Saxe-Weimar-Eisenach throne, as well as hisroyal status, title and prerogatives, granting him a lesser, noble title, Count Ostheim, along with a small allowance on the grounds that he stay out of the duchy.Prince Wilhelm also had a bad reputation. His behavior aroused the dissatisfaction of the head of the family. Prince Wilhelm fled to the United States in his youth,served as a riding master, clerk, book agent and even as a restaurant waiter in New York City, but was finally persuaded to return to Germany, marry his secondcousin, and live on a small pension from the head of the house.Marriage and familyPrince Wilhelm married Gerta Princess of Ysenburg and Büdingen (1863-1945),daughter of Ferdinand Maximilian I, Prince of Ysenburg and Büdingen (1824-1903) and Auguste Marie Gertrude Princess of Hanau and Horowitz (1829-1887), on11 April 1885 at Wächtersbach, Germany. Augusta Marie Gertrude was daughter of Frederick William, Elector of Hesse. Wilhelm and Gerta had threechildren:Prince Hermann of Saxe-Weimar-Eisenach (14 February 1886 – 6 June 1964)Prince Albrecht of Sachsen-Weimar-Eisenach (23 December 1886 - 9September 1918), killed in action during World War IPrincess Sophie of Saxe-Weimar-Eisenach (25 July 1888 - 18 September 1913)Honours and armsHe receivedthe following orders and decorations: Saxe-Weimar-Eisenach: Grand Cross of the White Falcon, 1853   Ernestine duchies: Grand Cross of the Saxe-ErnestineHouse Order, 1878 Schaumburg-Lippe: Cross of Honour of the House Order of Lippe, 1st Class Siam: Grand Cross of the White Elephant Württemberg: GrandCross of the Württemberg Crown, 1871AncestryPassage 3:Michael, Prince of Saxe-Weimar-EisenachMichael, Prince of Saxe-Weimar-Eisenach  (German: MichaelPrinz von Sachsen-Weimar-Eisenach; born 15 November 1946) is the current head of the Grand Ducal House of Saxe-Weimar-Eisenach, as well as the mostsenior agnate of the entire House of Wettin.Prince of Saxe-Weimar-EisenachPrince Michael was born in Bamberg, Bavaria, the only son of Hereditary Grand DukeCharles Augustus of Saxe-Weimar-Eisenach and Baroness Elisabeth von Wangenheim-Winterstein (1912–2010). Among his godparents were Queen Juliana of theNetherlands and the Grand Duchess Anastasia of Russia imposter, Anna Anderson, who was living with his aunt Princess Luise of Saxe-Meiningen.When his fatherdied on 14 October 1988, Prince Michael succeeded him as Head of the House of Saxe-Weimar-Eisenach. On 13 February 1991, he inherited the leadership in theHouse of Saxe-Altenburg, as that line became extinct, and since 23 July 2012 he regards the Albertine royal Saxon line to be extinct. However, Prince Michael hasalso stated that he \"[does not] believe in historical carnival\" and that \"Germany should have done it like Austria long ago and abolished all titles.\"In 2004, hewithdrew his claim for restitution of numerous properties, archives (partly including those of Schiller and Goethe) as well as priceless artwork in a settlement withthe Free State of Thuringia and acquired some forest estates in exchange.Since Prince Michael has no sons, the current heir to the headship of the grand ducalhouse is his elder (by age) first cousin, Prince Wilhelm Ernst (b. 10 August 1946), whose only son Prince Georg-Constantin (13 April 1977 – 9 June 2018), abanker who was married but without issue, was killed in a horse riding accident on 9 June 2018 while riding with Jean Christophe Iseux von Pfetten. Therefore,the Grand Ducal House of Saxe-Weimar-Eisenach will most likely become extinct in the male line.MarriagesPrince Michael married Renate Henkel (b. Heidelberg,17 September 1947), daughter of industrialist Konrad Henkel and wife Jutta von Hülsen and sister of Christoph Henkel, in a civil ceremony on 9 June 1970 atHamburg-Eimsbüttel, and religiously on 4 July 1970 at Linnep bei Breitscheid. The marriage was childless and dissolved by divorce at Düsseldorf on 9 March1974.He was married secondly to Dagmar Hennings (b. Niederpöcking, 24 June 1948), daughter of Henrich Hennings and wife Margarethe Schacht, in London on15 November 1980. They have one daughter: Leonie Mercedes Augusta Silva Elisabeth Margarethe of Saxe-Weimar-Eisenach (b. Frankfurt, 30 October 1986).She graduated with her Abitur from high school at Schule Schloss Salem, where she became involved in theatre and hockey and was a Student Representative"}
+{"doc_id":"doc_177","qid":"","text":"Passage 1:Come on DangerCome on Danger is a 1942 American Western film directed by Edward Killy. It was a remake of a 1932 Tom Keene film. The story wasbought for Holt in June 1941.Plot summaryCastTim Holt as Jack MasonFrances E. Neal as Ann Jordan (as Frances Neal)Ray Whitley as SmokeyLee 'Lasses' Whiteas WhopperKarl Hackett as Ott RamseyMalcolm 'Bud' McTaggart as RussGlenn Strange as Henchman SloanEvelyn Dockson as Aunt Fanny (as EvlynnDockson)Davison Clark as Ranger Captain BlakeJohn Elliott as SaundersSlim Whitaker as Sheriff (as 'Slim' Whitaker)Kate Harrington as MaggieHenry Roquemoreas JedPassage 2:Come On Danger!Come On Danger! is a 1932 Pre-Code Western film, and the first film Tom Keene would make at RKO Studios. It made a profitof $30,000.It was remade in 1942 under the similar title, Come on Danger.PlotJim Madden, a Texas Ranger, is gunned down while investigating the murder of alocal rancher. His younger brother, Larry, vows to track down the suspected killer, another rancher named Joan Stanton. While looking into the murders, hestumbles on a battle between Stanton and a group of men working for another rancher, Frank Sanderson. Stanton takes money from Sanderson that she feels isdue to her.Rescuing Stanton from the altercation, he keeps his identity as a Ranger secret, while attempting to learn the truth of what is going on. Through talkswith Stanton, Madden learns that Sanderson has been setting her up for both the murder of the other rancher, and Jim's death.Convinced by Stanton's story,Madden tells Stanton she must turn herself in, and she agrees. Before they can reach the Rangers, they are captured by Sanderson's men. Sanderson plans to killMadden, and take Stanton to Mexico. With the help of the Rangers' cook, Rusty, as well as several of Stanton's men, Madden overcomes Sanderson and his men,and takes a vindicated Stanton back to the Rangers.Cast(cast list as per AFI database)Tom Keene as Larry MaddenJulie Haydon as Joan StantonRosco Ates asRustyRobert Ellis as Frank SandersonWilliam Scott as Jim MaddenFrank Lackteen as PiuteWade Boteler as TexRoy Stewart as Inspector ClayHarry Tenbrook asBillPassage 3:Sam White (film producer)Sam White (October 16, 1906 – August 8, 2006) was an American film producer, film director and actor.White was bornin Los Angeles on October 16, 1906 to parents who had immigrated from Austria and Hungary.  In 1937, he  married  Claretta Ellis, a studio contractdancer.  They were married for 65 years until her death in 2002.For much of the 1930s, Sam White directed numerous musical sequences in films such asRoberta with Fred Astaire, Ginger Rogers and Irene Dunne; Old Man Rhythm with Betty Grable and Buddy Rogers; Top of the Town with George Murphy; andHooray for Love, with Ann Sothern.During World War II, Sam made six training films for the U.S. Armed forces.  Also in the 1940s, the feature films he producedand directed included Reveille with Beverly, starring Ann Miller (Frank Sinatra's first film); People Are Funny, starring Jack Haley and Rudy Vallée; The Return ofthe Vampire, starring Bela Lugosi; The Girl in the Case, starring Edmund Lowe; After Midnight with Boston Blackie, starting Chester Morris; Louisiana Hayride,starring Judy Canova; and Tahiti Nights, starring Jinx Falkenburg for RKO, Columbia, Universal and Paramount Studios.During the next two decades, Samdirected commercials and produced and directed early television series such as Perry Mason, The Outer Limits, Oh! Those Bells, My Friend Flicka, Boston Blackie,Philip Marlowe, and Big Town, among many others.  In 1969 he produced and directed White Comanche with William Shatner and Joseph Cotten.  He was also asuccessful businessman with his production facility in Pioneer Town and commercial real estate ventures in Los Angeles.Throughout his later years, Sam remainedinterested in world affairs and traveled extensively as a valued ombudsman for the Directors Guild to cement relations between foreign and American filmmakers.In 1990, the Directors Guild of America published an oral history entitled The White Brothers which tells the history of the family as well as the history of earlymovie making in Los Angeles.Sam White, one of the famous White Brothers film and television pioneers, died peacefully at his Encino home just short of his 100thbirthday.  A retrospective was held in 2003 at the Motion Picture and Television Home where a wall of honor was dedicated to him. His professional memorabiliawas positioned alongside those of his renowned brothers, Jack White and Jules White.Selected filmographyLouisiana Hayride (1944)Swing Out theBlues  (1944)Kickin' the Crown Around (1933)Passage 4:I Live on DangerI Live on Danger is a 1942 film noir thriller film directed by Sam White and starringChester Morris and Jean Parker.PlotJeff Morrell is an ambitious radio reporter. The news of the day is the prison release of gambler Eddie Nelson, who was thefallguy for a criminal named Joey Farr.While exclusively covering a ship's fire, Jeff falls for Susan Richards, and knows her to be Eddie's companion. It turns outshe's Eddie's sister, not his girl, and Susan resents it when Jeff's reporting gets Eddie arrested and convicted on a new charge.District Attorney Lamber is incahoots with the crooks. Farr tries to flee, and is tracked to a Pennsylvania coal mine. Jeff gets there first and manages to broadcast Farr's confession, then barelygets away when Farr sets off a blast of TNT. Susan loves Jeff for heroically rescuing her brother.CastChester Morris as Jeff MorrellJean Parker as SusanRichardsElisabeth Risdon as Mrs. MorrellEdward Norris as Eddie NelsonDick Purcell as Norm ThompsonRoger Pryor as Bert JanningsDouglas Fowley as JoeyFarrRalph Sanford as Angie MossEdwin Maxwell as Wingy KeefePatsy Nash as DillyJoe Cunningham as Inspector ConlonBernadene Hayes as JonesyBilly Nelson asGeorge \"Longshot\" HarrisonVickie Lester as Keefe's secretaryWilliam Bakewell as MacCharlotte Henry as NurseAnna Q. Nilsson as Mrs. ShermanProductionThefilm was based on a story called I'll Be Back in a Flash by Alex Gottlieb. He sold it to Pine Thomas Productions in August 1941. They bought it as the second in athree-picture deal Chester Morris had with Pine-Thomas Productions. Lewis Foster was assigned to write the script.Morris' 38-year-old brother Arthur was meantto play a role in the film but died shortly before filming of a brain haemorrhage.Jean Parker signed to make the film as the first in a three-picture deal she hadwith Pine Thomas.Filming took place in December 1941. Anna Q. Nilsson had her first role in 13 years.ReceptionThe Los Angeles Times called it \"a pretty goodB\".The New York Times said the film showed \"very little than what we have already seen.\"Passage 5:Sirak M. SabahatSirak M. Sabahat (Hebrew: \u0000\u0000\u0000\u0000 \u0000.\u0000\u0000\u0000\u0000\u0000; born December 5, 1981) is an Israeli actor. He is known for his role in the film Live and Become.FilmographyLive and Become (2005)Comme aucinéma (2005)The Children of СССР (2007)Further readingRosen, Steve (2006-12-19). \"\"Inland Empire\" and \"Volver\" Keep Top Spots; \"Live and Become\" OpensBig\". IndieWireBot. Archived from the original on 2007-01-10. Retrieved 2006-12-19.\"The Evening Class: 2006 SFJFF—The Evening Class Interview with Sirak M.Sabahat\". Theeveningclass.blogspot.com. 2006-08-04. Retrieved 2010-08-03.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of thePeabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. Hewas the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedycurrently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he becamethe ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Earlylife and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees fromUniversity College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission,Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). Hemarried Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Associationof Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged forseveral major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensivemulti-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, BettyChurcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some yearslater.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tylercollection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for theconstruction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some ascensorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit theprivate collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. Theexhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New"}
+{"doc_id":"doc_178","qid":"","text":"Passage 1:Born into BrothelsBorn into Brothels: Calcutta's Red Light Kids is a 2004 Indian-American documentary film about the children of prostitutes inSonagachi, Kolkata's red light district. The widely acclaimed film, written and directed by Zana Briski and Ross Kauffman, won a string of accolades including theAcademy Award for Best Documentary Feature in 2005.PlotBriski, a documentary photographer, went to Kolkata to photograph prostitutes. While there, shebefriended their children and offered to teach the children photography to reciprocate being allowed to photograph their mothers. The children were givencameras so they could learn photography and possibly improve their lives. Their photographs depicted a life in the red light district through the eyes of childrentypically overlooked and sworn off to do chores around the house until they were able to contribute more substantially to the family welfare.  Much of their workwas used in the film, and the filmmakers recorded the classes as well as daily life in the red light district. The children's work was exhibited, and one boy waseven sent to a photography conference in Amsterdam. Briski also recorded her efforts to place the children in boarding schools although many of the children didnot end up staying very long in the schools they were placed in. Others, such as Avijit and Kochi, not only went on to continue their education but were gradedwell.AftermathThere is debate about the extent to which the documentary has improved the lives of the children featured in it.The filmmakers claim that the livesof children appearing in Born into Brothels have been transformed by money earned through the sale of photos and a book on them. Ross Kauffman, co-directorof the documentary, says that the amount earned is $100,000 (about Rs.4.5 million), which will pay for their tuition and for a school in India for children ofprostitutes. Briski has started a non-profit organization to continue this kind of work in other countries, named Kids with Cameras. A film is being made on the lifestory of a high-profile trio of call girl sisters, Shaveta, Khushboo and Himani, born in one of the brothels of Haryana.In November 2006, Kids with Camerasprovided an update on many of the children's conditions, asserting that they had entered high schools or universities in India and the United States or foundemployment outside of prostitution. Kids with Cameras continues to work toward improving the lives of children from the Calcutta red light district with the planto build a Hope House. Updates for 2010 and 2009  were also published.In 2004, REACT to FILM organized a screening for Born into Brothels  at the SoHo Housein Manhattan, NY.  In 2010, the film's director, Zana Briski, joined the advisory board of REACT to FILM.CriticismsThe Durbar Mahila Samanwaya Committee, aprostitutes' organization active in Sonagachi, has criticized the film for presenting the children's parents as abusive and for ignoring the prostitutes' efforts toprovide  education programs and career building activities for their children. In addition, the film has been criticized in India for perceived racist stereotyping, andhas also been viewed as exploiting the children for the purposes of Indophobic propaganda in the West. A review in Frontline, India's national magazine,summarized this criticism, remarking:IF Born Into Brothels were remade as an adventure-thriller in the tradition of Indiana Jones and the Last Crusade, itsposters might read: \"New York film-maker Zana Briski sallies forth among the natives to save souls.Some critics joined the Sonagachi prostitute-advocacy groupsin condemning the film for exploitation of the plight of the prostitutes for profit. Other criticisms were raised about \"ethical and stylistic\" problems, by ParthaBanerjee, interpreter between the filmmakers and the children.ReceptionCritical responseBorn into Brothels has an approval rating of 95% on review aggregatorwebsite Rotten Tomatoes, based on 108 reviews, and an average rating of 7.83/10. The website's critical consensus states, \"A powerful and upliftingdocumentary\". Metacritic assigned the film a weighted average score of 78 out of 100, based on 32 critics, indicating \"generally favorable reviews\".Awards2004Bermuda International Film Festival Audience Choice Award - Briski, Kauffman; Documentary Prize - Briski, Kauffman2004 Cleveland International Film FestivalBest Film - Briski, Kauffman2004 Full Frame Documentary Film Festival Audience Award - Briski, Kauffman (tied with Word Wars)2004 International DocumentaryAssociation Award for Feature Documentaries - Briski, Kauffman, Geralyn Dreyfous-White, Pamela Boll (tied with Fahrenheit 9/11)2004 National Board of ReviewAward for Best Documentary Feature - Zana Briski and Ross Kauffman2004 Seattle International Film Festival Golden Space Needle Award for Best Documentary- Briski, Kauffman2004 Sundance Film Festival Audience Award, Documentary - Kauffman2005 Academy Award for Best Documentary Feature Briski,Kauffman2005 Raindance Film Festival Closing Night FilmNominations2005 Directors Guild of America Award for Outstanding Directorial Achievement inDocumentary - Briski, Kauffman2005 Golden Satellite Award for Best Motion Picture, Documentary2004 Los Angeles Film Critics Association Awards for BestDocumentary/Non-Fiction Film - Kauffman, Briski2004 Sundance Film Festival Grand Jury Prize, Documentary - Kauffman, Briski2013 Calcutta Film Festival(funded by Walt Disney Pictures), Documentary - Spielberg, Steven. Lucas, George. Abrams, J. J.PreservationBorn into Brothels was preserved and restored bythe Academy Film Archive and the UCLA Film & Television Archive in conjunction with the Sundance Institute from a D5, a DigiBeta, a 35mm print and a MagnetoOptical Disk. Restoration funding provided by the Sundance Institute and the Academy of Motion Picture Arts and Sciences. The restoration had its U.S. WestCoast premiere at the UCLA Festival of Preservation in 2022.Passage 2:Antonio Rinaldi (cinematographer)Antonio Rinaldi was an Italian cinematographer andcamera operator.  He worked exclusively for director Mario Bava on several films, including Planet of the Vampires (1965), Dr. Goldfoot and the Girl Bombs(1966), and Danger: Diabolik (1968).FilmographyPlanet of the Vampires (1965)Knives of the Avenger (1966)Kill, Baby, Kill! (1966)Dr. Goldfoot and the GirlBombs (1966)Danger: Diabolik (1968)Five Dolls for an August Moon (1970)Roy Colt and Winchester Jack (1970)Four Times That Night (1971)Baron Blood(1972)External linksAntonio Rinaldi at IMDbPassage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal,Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and thisfact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a badinfluence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musicalprograms.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in aburn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form ofpunishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’stransgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle theissues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Franciscohis homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College,Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrantcustoms and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Manyoften landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clashbetween the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which struggles against thetemptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictorynature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is asupernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having anaffair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for hiscure.Passage 4:Dr. Goldfoot and the Bikini MachineDr. Goldfoot and the Bikini Machine is a 1965 Pathécolor comedy film directed by Norman Taurog anddistributed by American International Pictures. Starring Vincent Price, Frankie Avalon, Dwayne Hickman, Susan Hart and Jack Mullaney, and featuring Fred Clark,the film is a parody of the then-popular spy trend (the title is a spoof of two James Bond films: the 1962 film Dr. No and the 1964 hit Goldfinger), made usingactors from AIP's beach party and Edgar Allan Poe films. The film was retitled Dr G. and the Bikini Machine in England due to a threatened lawsuit from Eon,holder of the rights to the James Bond series.Despite its low production values, the film has achieved a certain cult status for the appearance of horror legendPrice and AIP's beach party film alumni, its in-jokes and over-the-top sexuality, the claymation title sequence designed by Art Clokey, and a title song performedby The Supremes. Its success led to a sequel, produced in 1966, entitled Dr. Goldfoot and the Girl Bombs.PlotPrice plays the titular mad scientist who, with thequestionable assistance of his resurrected flunky Igor, builds a gang of female robots who are then dispatched to seduce and rob wealthy men. Avalon andHickman play the bumbling heroes who attempt to thwart Goldfoot's scheme. The film's climax is an extended chase through the streets of SanFrancisco.CastCast notesFrankie Avalon and Dwayne Hickman play the same characters they did in the previous year's Ski Party, except that the characters'names were swapped.Annette Funicello makes a brief cameo appearance as a girl locked in medieval stocks in Dr. Goldfoot's lair. Frankie Avalon lifts her head,then looks at the camera and says, \"It can't be!\"  Pregnant with her first child at the time, Funicello was placed in the stocks in order to hide her stomach.HarveyLembeck also makes a cameo appearance as his Eric Von Zipper character, enchained along with his motorcycle in Goldfoot's lair. Lembeck also appeared as"}
+{"doc_id":"doc_179","qid":"","text":"Passage 1:Battle for BrooklynBattle for Brooklyn is a 2011 documentary that follows the stories of a Brooklyn neighborhood as the residents fight to save theirhomes from being destroyed by an impending real estate project. The film attempts to show the unjust outcomes that are possible when moneyed interestspartner up with government entities to outweigh the rights of citizens.Film contentSet in the years between 2003 and 2011, the story follows graphic designerDaniel Goldstein, the last defiantly remaining homeowner in his building, as he battles Bruce Ratner's Forest City real estate company and their plans to completethe Atlantic Yards Project in the Prospect Heights neighborhood of Brooklyn. The massive building project – according to the filmmakers, the densest real estatedevelopment in U.S. history – required the procurement of 22 acres of land, and would bring a sports complex to house the New Jersey Nets along with 16high-rise buildings to the heart of Brooklyn. Initially tasked with filling the behemoth 22 acre complex was architect Frank Gehry, who NPR calls \"Americanarchitecture's prince of wasted space\". The film documents that the land was obtained by the developers through various means including the controversialdeclaration of the buildings in the area as \"blighted\", and the utilization of eminent domain to seize land from businesses and homeowners in the proposed projectarea.Director Michael Galinsky explained that it was their intention to create an immersive experience devoid of excessive commentary by \"talking heads\" in orderto allow the viewer some latitude to experience the events of the film for themselves.  The result of this immersive experience after 7 years of filming can be seenas a character study of Daniel Goldstein – in the background of the story of the formation of Develop Don't Destroy Brooklyn and the fight against thedevelopment, Goldstein, through the course of the filming, experiences personal triumphs and great sadness, including the death of his mother, the breakup withhis fiancée, the formation of a new relationship, and the birth of his child. The film documents his \"evolution from a bewildered property owner to sophisticatedspokesman and property rights activist.\"The formation of the community activism group Develop Don't Destroy Brooklyn (DDDB) with the help of NYCCouncilmember Letitia James helped bring Goldstein's cause into the public eye, quickly gaining the support of Brooklyn-based actors like Steve Buscemi, RosiePerez and John Turturro, and conservative columnist George Will.ProductionThe film, which was shortlisted for an Academy Award in 2012 for the 84th AcademyAwards, was produced and directed by Michael Galinsky and Suki Hawley. Hawley and Galinsky began production in 2003, when they came across a flyerexplaining the protest. Galinsky started shooting the very same afternoon. The film's importance extends beyond Goldstein's fight against the abuse of eminentdomain, Galinsky describes the film as being \"really about the people retaking narratives from the media which is faltering ... in these situations.\"  The filmreceived its initial financing from the New York-based non-profit Moving Picture Institute.In a 2011 interview, Galinsky described the events that led to the start offilming:I saw an article in the paper that said, \"A development project is coming to Brooklyn. Hooray!\" I thought, \"This seems a little bit weird.\" I knew the area itwas coming to. It seemed it was impossible. It's in the middle of playgrounds and neighborhoods. My daughter went to daycare a block from there. So, when Isaw a flyer saying, \"stop the project,\" I immediately picked it up, called the number on the flyer, and the woman who answered was Patti Hagan, who I could tellright away was an interesting character. So I started shooting that afternoon. That was eight years ago.On April 30, 2011, Battle for Brooklyn premiered inToronto at the HotDocs Film Festival.Critical receptionAndrew O'Hehir of Salon says of the film's appeal, \"No doubt \"Battle for Brooklyn\" will be of most interest toNew Yorkers, and particularly to people who live or work in the city's most populous borough. But the film's basic situation — local residents and communityactivists vs. the development schemes of major politicians and big business — is an archetypal element of urban life, one that can be found in almost any city,large or small, from Maine to California.\"S. James Snyder of Time Out New York writes, \"Nothing propels a documentary like injustice, and Michael Galinsky andSuki Hawley's infuriating chronicle of an outer-borough David-versus-Goliath saga plays like a marathon of inequity.\"Gary Goldstein of the Los Angeles Times saidthat although the film is \"not exactly even-handed, the movie proves a deft look at a reluctant crusader and how financial sway and political override can soeffectively trump the power of the average citizen.\"Awards and recognition2011 Best Documentary & Best Film – Brooklyn Film FestivalNew York Times Critics'PickFilm Festivals2011 Chicago Underground Film Festival2011 Rooftop Films Summer Series2011 Brooklyn Film Festival (United States Premiere)2011 HotDocs(World Premiere)Passage 2:List of artists from BrooklynBrooklyn is the most populous borough of New York City, New York. Many artists have originated fromBrooklyn or have relocated there.Brooklyn-based fine artistsPaintersRuth Abrams (1912 – 12 March 1986) – New York School painter who was born in Brooklyn.As a painter, she belonged to the New York School. After her death, a critic from The New York Times remarked that she was \"a woman unfairly neglected in amacho era.\" Her papers are held at the Yeshiva University Museum and the Smithsonian Archives of American Art.Alexander Brook (July 14, 1898 – February 26,1980) – American artist and critic who was born in Brooklyn. During his twenties, Brooks painted still lifes and posed figures with vigor and sensuality. He laterbegan to emulate the style of Jules Pascin. From 1924 to 1927 he was the assistant director of Whitney Studio Club. His realist painting was exhibited widely andhe won multiple awards. Georgia Jungle won the Carnegie Prize at the Carnegie International art exhibition. Unfortunately for Brook, the realist style fell out offavor late in the 1940s.Marion Greenwood (April 6, 1909 – August 20, 1970) – painter and engraver who had lived in Brooklyn.Breuk Iversen (born July 25, 1964)– lived in Williamsburg, Brooklyn and is the founding member of the art collaborative known as \"Offalists\", using common refuse as a medium.Nell Choate Jones(1879–1981) – artist who had lived in Brooklyn Jones was awarded an honorary doctorate by the State University of New York in 1972 and received theDistinguished Citizen Award from the Brooklyn Museum of Art in 1979. She exhibited regularly across North America in the 1940s and 1950s as well as overseasin France, Holland, Belgium, Switzerland, Greece, and Japan. Her work can be found in many museums, including the High Museum of Art in Atlanta, Georgia andthe Morris Museum of Art in Augusta, Georgia.Tim Okamura (born 1968) – painter based in Brooklyn Okamura is known for his depiction of African-American andminority subjects in urban settings, and his combination of graffiti and realism. His work has been featured in several major motion pictures and in London'sNational Portrait Gallery. He was also one of several artists to be shortlisted in 2006 for a proposed portrait of Queen Elizabeth of England.Michael AnthonyPegues (born May 11, 1962) – artist and designer, born and raised in Brooklyn. Self-taught, modern-day Fauve, Expressionist as well as Pop artist, contemporaryof Andy Warhol, Jean-Michel Basquiat, Keith Haring, his work is strongly influenced by Hip Hop and Graffiti.David Salle (born September 28, 1952) – painter andleading contemporary figurative artist, Salle helped define postmodern sensibility. His paintings and prints comprise what appear to be randomly juxtaposedimages, or images placed on top of one other with deliberately ham-fisted techniques.Walter Satterlee (January 18, 1844 – May 28, 1908) – American figure andgenre painter who was born in Brooklyn. He was a member of the American Water Color Society and of the New York Etching Club, and was an excellent teacher.Satterlee died in Brooklyn in 1908.Susan Sills – drawings and portraits.Danny Simmons (born August 17, 1953) – abstract-expressionist painter who was aBrooklyn resident in 2009 Simmons is the co-founder and Chairman of Rush Philanthropic Arts Foundation (since 1995), which provides disadvantaged urbanyouth with arts access and education. Simmons also founded Rush Arts Gallery and soon thereafter converted part of his loft in Brooklyn into the Corridor Gallery.Both galleries provide exhibition opportunities to early and mid-career artists who do not have commercial representation through galleries or privatedealers.Andrea Zittel (born September 6, 1965) – installation artist who has lived in Brooklyn Zittel produced her first \"Living Unit\"—an experimental structureintended to reduce everything necessary for living into a simple, compact system—as a means of facilitating basic activities within her 200-square-foot (19 m2)Brooklyn storefront apartment.Photographers and video artistsStephen Shames (born 1968) – photographer who was living in Brooklyn in 2008Ka-Man Tse –photographer, video artist, and educator based in Brooklyn.See alsoList of people from BrooklynLists of artists by nationalityPassage 3:Battle for RomeBattle forRome may refer to:The title under which the series Ancient Rome: The Rise and Fall of an Empire was transmitted on the Discovery ChannelOne of the alternativenames for what is now more commonly referred to as the Battle of Monte CassinoSee alsoCapture of Rome (1870) by the Kingdom of SardiniaBattle of Rome(disambiguation)Siege of Rome (disambiguation)Sack of Rome (disambiguation)Fall of Rome (disambiguation)Battle (disambiguation)Rome(disambiguation)Passage 4:Battle for EarthBattle for Earth may refer to:Alien invasionTransformers: Battle for Earth, a book in the Transformers franchise.MarvelAvengers: Battle for Earth, a 2012 motion-controlled fighting video game.Planet of the Apemen: Battle for Earth, a 2011 BBC documentary.Maelstrom: The Battlefor Earth Begins, a 2007 real-time strategy game.Godzilla vs. Mothra, or Godzilla and Mothra: The Battle for Earth, a 1992 Japanese kaiju film.Battle for Terra, a2007 animated science fiction film.Battle for Earth (Wing Commander), a fictional event in the Wing Commander novel series.Passage 5:John NelsonPartridgeJohn Nelson Partridge (1838 – April 8, 1920)  was the Police Commissioner for Brooklyn and Fire Commissioner for Brooklyn in the 1880s before themerger into New York City. He was the New York Superintendent of Public Works, and the New York City Police Commissioner from 1902 to 1903.BiographyHewas born in 1838 In Leicester, Massachusetts. From 1886 to 1887 he was president of the Brooklyn City and Newtown Railroad.He was the New York City PoliceCommissioner from 1902 to 1903. During his tenure he wanted to move the New York City police headquarters from Mulberry Street to Times Square.In 1906 hemarried Charlotte Held.They then moved to Westport, Connecticut. He died on April 8, 1920, in Westport, Connecticut.Passage 6:CrimebusterCrimebuster or"}
+{"doc_id":"doc_180","qid":"","text":"Passage 1:I Believe in Miracles (film)I Believe in Miracles is a 2015 film directed by Jonny Owen.PlotThe film tells the story of football club Nottingham Forest'srise, under Brian Clough and Peter Taylor, to becoming English champions in 1978 and European champions in 1979 and 1980. The film features documentaryfootage of matches and interviews with many of the former Forest players who played at the time.The film's soundtrack includes funk and soul music from the1970s, including the song from which its title is based, featuring versions from The Jackson Sisters and Mark Capanni.A book of the same name to accompany therelease of the film was written by Daniel Taylor, chief football writer of The Guardian.Passage 2:Saturday Night at the Movies (disambiguation)Saturday Night atthe Movies was a Canadian weekly television series. Saturday Night at the Movies may also refer to:NBC Saturday Night at the Movies, an American weekly primetime network television series\"Saturday Night at the Movies\" (song), a song by The Drifters, released in 1964, written by Barry Mann and Cynthia WeilSaturdayNight at the Movies (album), a 2017 album by Joe McElderrySaturday Night at the Movies, a 2013 album by The OvertonesPassage 3:A Month of Sundays (2015film)A Month of Sundays is a 2015 film starring Anthony LaPaglia.PlotReal estate agent Frank Mollard won't admit it, but he can't move on. Divorced but stillattached, he can't sell a house in a property boom - much less connect with his teenage son. One night Frank gets a phone call from his mother. Nothing out ofthe ordinary. Apart from the fact that she died a year ago.Thus blossoms a charming and unusual friendship with an elderly woman which inspires Frank toreconnect with life.CastAnthony LaPaglia as Frank MollardJulia Blake as SarahJohn Clarke as Phillip LangWayne Anthoney as Noel LangJustine Clarke as WendyMcKinnonTerence Crawford as StuartGary Sweet as Gary SweetReceptionOn Rotten Tomatoes, the film has an approval rating of 63% based on reviews from 19critics.Luke Buckmaster of The Guardian wrote \"Situations, subplots and even barely seen characters are unified with an almost cosmic sense of fate.\" DavidNusair of Reel Film Reviews wrote \"One can only hope that this marks a temporary stumble for an otherwise talented filmmaker.\" Paul Byrnes in the SydneyMorning Herald said \"A Month of Sundays is a small miracle of a film – an odd combination of modesty and ambition.\"Passage 4:Manhattan AngelManhattan Angelis a 1949 American comedy musical film directed by Arthur Dreifuss and starring Gloria Jean, Patricia Barry and Thurston Hall.It was originally called Sweetheartof the Blues. It was made after I Surrender Dear.PlotGloria Cole and Eddie Swenson are working to keep an old house, now being used as a youth center, frombeing razed to make room for a new skyscraper in Manhattan. Gloria enters a friend in a beauty contest with a $25,000 first prize and, after someiffy-maneuvering, her friend wins the contest and the money goes to preserving the youth center.CastGloria Jean as Gloria ColeRoss Ford as EddieSwensonPatricia Barry as Maggie Graham (as Patricia White)Thurston Hall as Everett H. BurtonAlice Tyrrell as Queenie WaltersBenny Baker as AloysiusDuffRussell Hicks as J.C. RaylandFay Baker as Vi LangdonJimmy Lloyd as ElmerToni Harper as ToniThe Sweetheart Choristers as SingersSee alsoList of Americanfilms of 1949Passage 5:Amy (2015 film)Amy is a 2015 British documentary film directed by Asif Kapadia and produced by James Gay-Rees. The film coversBritish singer-songwriter Amy Winehouse's life and her struggle with substance abuse, both before and after her career blossomed, and which eventually causedher death. In February 2015, a teaser trailer based on the life of Winehouse debuted at a pre-Grammys event. David Joseph, CEO of Universal Music UK,announced that the documentary titled Amy would be released later that year. He further stated: \"About two years ago we decided to make a movie abouther—her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, itcaptures the very heart of what she was about, which is an amazing person and a true musical genius.\"Amy premiered at the 2015 Cannes Film Festival, beingshown in the Midnight Screenings section. Distributed by the Altitude and A24, it was released theatrically on 3 July 2015. The film received critical acclaim,garnering 33 nominations and winning a total of 30 awards, including Best Documentary at the 28th European Film Awards, Best Documentary at the 69th BritishAcademy Film Awards, Best Music Film at the 58th Grammy Awards and the Best Documentary Feature at the 88th Academy Awards. The success of Amy and themusic of its soundtrack also led Winehouse to her second posthumous nomination at the 2016 BRIT Awards for British Female Solo Artist.SynopsisThe filmnarrative is focused on the life of singer-songwriter Amy Winehouse, who was found dead on 23 July 2011 from alcohol poisoning, at the age of 27 at her home inCamden, North London.The film starts with a 1998 home movie depicting a 14-year-old Winehouse singing along with her long-time friend, Juliette Ashby, at thebirthday party of their mutual friend, Lauren Gilbert, at a home in Southgate, London. The rest of the documentary shows the songwriter's life, in a chronologicalorder from her early childhood, to her music career, which attained commercial success through her debut album, Frank (2003), and second, final album Back toBlack (2006), to her troubled relationships, self-harm, bulimia, the controversial media attention, and her downfall with her drug and alcohol addiction, all untilher death in 2011. Winehouse is featured throughout the film talking about her early influences and how she felt about fame, love, depression, family and hermusic career.Kapadia conducted more than 100 interviews with Winehouse's friends and family that combine to provide a narrative around the star's life and isbilled as \"the singer in her own words.\" The film shows extensive unseen footage and unheard tracks Winehouse had recorded in the years before she died.Unheard tracks featured in the film are either rare live sessions, such as \"Stronger Than Me\", \"In My Bed\", \"What Is It About Men?\" and Donny Hathaway's \"We'reStill Friends\", a cover of Johnny Mercer's \"Moon River\" from when Winehouse attended the National Youth Jazz Orchestra at the age of 16 in 2000 or never-beforeheard songs the star wrote, such as \"Detachment\" and \"You Always Hurt The Ones You Love\".There are various pieces of extensive, unseen archive footage ofWinehouse, such as when she is video-recorded in a cab with friend Tyler James in January 2001 and driving to tours and on her long-term friend, LaurenGilbert's holiday tape in Majorca, Spain in August 2005. The film also shows various interviews, such as with Jonathan Ross, Tim Kash, and a funny video of whenWinehouse is interviewed and talked to about singer Dido in 2004, when she promoted her debut album. The documentary also includes when Winehouseperformed live from London on the Grammy Awards in 2008, and won the award for \"Record of the Year\".The film also features footage from when she was filmedwith her ex-husband Blake Fielder-Civil, various performances, and when she auditioned at Island Records in February 2003, singing \"I Heard Love Is Blind\". Alsoincluded is footage from when she was recording her second album in March 2006 and a duet single, \"Body and Soul\", with Tony Bennett in March 2011 as herlast recording before her death. Some outtakes are also featured of her last shambolic performance in Belgrade, Serbia, a month before she died. The filmconcludes with long-term friend Juliette Ashby talking about her last phone call with Winehouse, footage of Winehouse's body being taken out of her home afterher death, and Bennett stating: \"Life teaches you really how to live it, if you live long enough.\" It then shows scenes from three days later of footage fromWinehouse's funeral at Edgwarebury Cemetery and Golders Green Crematorium in North London. Closing clips end the film with videos of Winehouse from herearly years until her death, with Antonio Pinto's composition, \"Amy Forever\".ContributorsThe following heavily contributed in the documentary through archivefootage andrecorded interviews:ProductionIn 2012, Universal Music first approached film producer James Gay-Rees if the team behind the documentary filmabout Ayrton Senna would be interested in creating a project on Amy Winehouse.On 25 April 2013, it was confirmed and announced that the team behind thedocumentary film Senna (2010), including director Asif Kapadia and Universal Music, were making a film about the late singer-songwriter. It was revealed thatthe film would be very similar to Senna, and that unseen footage of Winehouse would be shown. Kapadia and Gay-Rees stated: \"Everyone fell under her spell. Buttragically, Amy seemed to fall apart under the relentless media attention, her troubled relationships, her global success and precarious lifestyle.\" They introducedthe project at the 2013 Cannes Film Festival, and it was said the documentary film would be released in 2015.MusicThe documentary features various unheardtracks Winehouse had completed from when her career began in 2003 until her death. The film includes live sessions, such as: \"There Is No Greater Love\",\"Stronger Than Me\", \"In My Bed\", \"Rehab\" and \"What Is It About Men\", covers of Johnny Mercer's \"Moon River\" from when Winehouse was 16 at the NationalYouth Jazz Orchestra in 2000 and Donny Hathaway's \"We're Still Friends\" and never-before heard songs the star wrote, such as \"Detachment\" and the lyrics to\"You Always Hurt The Ones You Love\", combined with Pinto's composition \"Amy Lives\". Winehouse is recorded in March 2006 when she is recording her 2007single \"Back to Black\" and there are also cuts and edits of her well-known tracks, which helps unveil every piece of footage in the film.SoundtrackOn 8 October2015, Island Records announced that the soundtrack for the film would be released on 30 October 2015. The soundtrack includes various tracks that wereincluded in the documentary; including classic tracks from Winehouse and compositions that were featured in the film by composer Antonio Pinto. The soundtrackwas later released for the second time on vinyl in the United Kingdom and Ireland on 1 April 2016.The twenty-three track album includes well-known tracks byWinehouse, such as \"Stronger Than Me\", \"Tears Dry on Their Own\", and \"Back to Black\", live sessions of \"What Is It About Men\", \"Rehab\", \"We're Still Friends\",and \"Love Is a Losing Game\", demo tracks; \"Some Unholy War\" and \"Like Smoke\"; a cover of The Zutons' \"Valerie\" performed by Winehouse and Mark Ronsonand a 2011 version of \"Body and Soul\" performed by Winehouse and Tony Bennett. The soundtrack is also the second posthumous compilation album ofWinehouse's music.The commercial success and music behind the film earned Winehouse her second posthumous nomination at the 2016 BRIT Awards for\"British Female Solo Artist\", won by singer Adele and the film won a Grammy Award for \"Best Music Film\" at the 2016 Grammy Awards. This was the ninth"}
+{"doc_id":"doc_181","qid":"","text":"Passage 1:Joshua SinclairJoshua Sinclair (born May 7, 1953) is an American writer, producer, actor and director born in New York City.FilmographyPassage2:Claude WeiszClaude Weisz is a French film director born in Paris.FilmographyFeature filmsUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro,Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto, etc.Festival de Cannes 1973 - Quinzaine des réalisateursJury Prize:Festival Jeune Cinéma 1973La Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, Philippe Clévenot,Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes1982 - Perspectives du cinéma françaisCompetition selections: Valencia, Valladolid, Istanbul, MontréalOn l'appelait... le Roi Laid (1987) with Yilmaz Güney(mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"Competition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes,Lyon, CairoPaula et Paulette, ma mère (2005) Documentary - Straight to DVDShort and mid-lengthLa Grande Grève (1963 - Co-directed CAS collective,IDHEC)L'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)Un village au QuébecMontréalDeux aspects du Canada (1969)LaHongrie, vers quel socialisme ? (1975 - Nominated for best documentary - Césars 1976)Tibor Déry, portrait d'un écrivain hongrois (1977)L'huîtreboudeuseAncienne maison Godin ou le familistère de Guise (1977)Passementiers et RubaniersLe quinzième moisC'était la dernière année de ma vie (1984 -FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)Nous aimons tant le cinéma (Film of the European year of cinema - Delphes1988)Participation jusqu'en 1978 à la réalisation de films \"militants\"TelevisionSeries of seven dramas in GermanNumerous documentary and docu-soap type films(TVS CNDP)Initiation à la vie économique (TV series - RTS promotion)Contemplatives... et femmes (TF1 - 1976)Suzel Sabatier (FR3)Un autre Or Noir (FR3)Vivreen GéorgiePortrait d'une génération pour l'an 2000 (France 5 - 2000)Femmes de peine, femmes de coeur (FR3 - 2003)Television documentariesLa porte de Sarpest ouverte (1998)Une histoire balbynienne (2002)Tamara, une vie de Moscou à Port-au-Prince (unfinished)Hana et Khaman (unfinished)En compagnie d'AlbertMemmi (unfinished)Le Lucernaire, une passion de théâtreLes quatre saisons de la Taillade ou une ferme l'autreHistoire du peuple kurde (in development)Leskurdes de Bourg-Lastic (2008)Réalisation de films institutionnels et industrielsPassage 3:Day of the PainterDay of the Painter is a 1960 American short filmdirected by Robert P. Davis. It was filmed at Mamaroneck Harbor in Mamaroneck, NY.Plot and critical responseTime magazine:An extremely funny 15-minute film,may be taken as a solemn leg-pull of the recent vogue for dribble-and-splotch painters, those athletic canvas-coverers whose style owes less to Van Gogh's brushtechnique than to Stan Laurel's custard pie stance.  Or it may be taken as an explicit set of instructions for getting rich.The film, a first-time effort by threeex-admen, begins with a loving shot of wharfs, fishing shacks and sounding sea-the sort of vista once sketched avidly by artists and now appreciated chiefly byretired couples who tour Cape Cod in late September.  The artist is a burly fellow (Ezra Reuben Baker), recognizably aesthetic in paint-smeared dungarees,scurrilous red sweater and combat boots.  He trundles a cart filled with paint buckets along a dock, then throws an enormous sheet of wallboard down on a mudflat ten feet below.Soberly, with exquisite skill, using first a vigorous forehand, then a precisely executed backhand, the painter slops color from buckets.  Clearlyhe is a master, for his stroke with the long-handled hoe is sure and strong, his touch with the dribble-stick more than Japanese in its delicacy.  And when he fills aflare pistol with paint and fires the last accent of orange at his abstraction, he does not pull the trigger.  He squeezes.When the thing dries, he hacks it up inrandom rectangles with a power saw, then carefully signs each fragment.  A seaplane, labeled \"Galerie des Abstracts, Paris-New York,\" touches down.  A mandebarks whose rich, dark overcoat obviously proclaims him an art dealer.  He strokes his jaw as he examines the paintings, eventually selects a small one, shakeshands with the painter and takes off.  Pleased with himself, the painter matter-of-factly shoves the remaining works of art into the ocean.  This, as the screentruly proclaims, is the end.New York Herald Tribune:A hilarious good - natured spoof of abstract-expressionist painting has been made the subject of a coloredfilm-short called \"Day of the Painter.\" .........Without sound or sub-titles (except for a delightful musical score somewhat reminiscent of that which accompaniedthe Alex Guinness film, \"The Horse's Mouth\") the film begins with the artist's awakening in a crumbling shack on a rickety pier reaching out over a picturesquestream.  His \"Wall Street Journal\" is delivered by boat, and, having ascertained that his investments are doing well, he loads a wheelbarrow with assorted cans ofpaint, long sticks, and a spray gun, has two helpers carry his enormous blank canvas, and sets off to his muddy \"studio\" by the side of the stream.  All day longhe flings, scatters, shoots, pushes paint all over his canvas and himself.  The picture grows, and, actually, turns out to be quite handsome-in the Jackson Pollockmanner, of course, but attractive for all it imitativeness.  Sea gulls and swans waddle by, their expressions rather suggesting that of critics.At last the painter isfinished, carefully studies his work-and then proceeds to cut the enormous canvas up into pieces.At the end of the day a small seaplane comes by, docksalongside the pier, while the passenger-pilot, looking like any 57th St. dealer you care to name, surveys the day's work.  He examines carefully, he ponders, andhe finally selects one small segment of the canvas, places it in the plane, and takes off.The painter takes all the other pieces, tosses them into the stream, andthey float away with the gulls and swans, not unlike the unforgettable Gulley Jimson, in \"The Horse's Mouth,\" floating gallantly out to sea in his batteredtugboat.Audiences, apparently, are enjoying the film-except for a group the other night who were plainly pro-abstract-expressionism, and hissed when the rest ofthe house applauded.  None of it was ill-natured, however, probably because the abstract-expressionism picture being kidded looks so agreeable.AwardsDay ofthe Painter won an Oscar at the 33rd Academy Awards in 1961 for Best Short Subject.Passage 4:Jacques DécombeJacques Décombe is a French author, actor anddirector born in 1953.BiographyAfter he studied at the Conservatoire national d'art dramatique, he was the director of the shows of Les Inconnus at the request ofDidier Bourdon and won the Molière Award for best comedy show. (See fr:Molière du meilleur spectacle comique) in 1991. He also directed shows by Charlotte deTurckheim, Chevallier et Laspalès, Patrick Timsit, Les Chevaliers du fiel...Passage 5:Robert P. DavisRobert P. Davis (October 8, 1929 – November 7, 2005) was anAmerican author, screenwriter, and film director whose works are primarily centered on aviation.His 1960 short film, Day of the Painter, won an Academy Awardin 1961 for Best Short Subject.Davis's 1976 novel The Pilot, about an alcohol-abusing airline captain, served as the source material for his screenplay for themotion picture of the same title, released in 1980, in which Cliff Robertson acted out the lead role and which Robertson also directed.Movies and TVDay of thePainter (short film) (1960)The Pilot (1980)Final Descent (TV) (1997), based on The Glass CockpitBooksThe Pilot (New York: Morrow, 1976)Cat Five (New York:Pocket Books, 1977)Control Tower (New York: Putnam's, 1980)The Glass Cockpit (1991)Passage 6:Yolonda RossYolonda Ross is an American actress, writer anddirector.Life and careerRoss was born and raised in Omaha, Nebraska. She began her acting career in New York, appearing in the episodes of television seriesNew York Undercover and Third Watch. Before landing the leading role in the independent drama film, Stranger Inside (2001). The movie produced by HBO, firstpremiered on television, but Ross was nominated for an Independent Spirit Award for Best Debut Performance. She later had supporting roles in a number ofindependent productions and guest-starred on Law & Order and Law & Order: Criminal Intent, and in 2011 had a recurring role of HBO's Treme.Ross co-starredalongside LisaGay Hamilton in the critically acclaimed 2013 independent drama film, Go for Sisters. She received Independent Spirit Award for Best SupportingFemale nomination for her performance in film. She later was cast opposite Viola Davis in Lila & Eve. In 2015, Ross played Robyn Crawford, the friend, assistant,and reported girlfriend of Whitney Houston, in the Lifetime movie, Whitney directed by Angela Bassett.In 2017, Ross had a recurring role opposite Viola Davis inthe ABC legal thriller How to Get Away with Murder. The following year she was cast in a series regular role in the Showtime drama series, TheChi.FilmographyFilm and TV MoviesTelevisionAwards and nominationsPassage 7:Kurt LandKurt Landesberger (19 February 1913, Vienna, Austria – 13 July 1997New York City) was an Austrian born Argentine film director of the 1950s and 1960s.Born in Vienna, Land moved to Argentina in the 1930s and began as a filmeditor, editing for some 20 films in the 1940s. However, by the early 1950s he became interested in directing and directed a number of popular Argentine films inthe 1950s such as the 1955 film Adiós problemas starring Enrique Muiño and the 1957 picture Alfonsina which starred actress Amelia Bence. He also workedregularly with classic Argentine actress Olga Zubarry.He directed his last film in 1970 in Buenos Aires. He died in New York City in 1997.SelectedfilmographyEditorMadame Bovary (1947)Stella (1943) Credited as Kurt Land.La casta Susana (1944) Credited as Kurt Land.Villa Rica del Espíritu Santo (1945)Credited as Kurt Land.Lauracha (1946) Credited as Kurt Land.ProducerSeven Women (1944)DirectorHoy canto para ti (1950)¡Qué hermanita! (1951)Vuelva elprimero (1952)Como yo no hay dos (1952)Asunto terminado (1953)Mercado negro (1953)La telaraña (1954)Los problemas de papá (1954)Adiós problemas(1955)La Delatora (1955)Bacará (1955)Surcos en el mar (1956)Estrellas de Buenos Aires (1956)Alfonsina  (1957)Dos basuras  (1958)Evangelina (1959)Elasalto  (1960)La Culpa  (1969)El sátiro  (1970)El Hombre del año  (1970)External linksKurt Land at IMDbPassage 8:Sepideh FarsiSepideh Farsi (Persian:\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000; born 1965) is an Iranian director.Early yearsFarsi left Iran in 1984 and went to Paris to study mathematics.  However, eventually she wasdrawn to the visual arts and initially experimented in photography before making her first short films. A main theme of her works is identity. She still visits Tehraneach year.Awards/RecognitionFarsi was a Member of the Jury of the Locarno International Film Festival in Best First Feature in 2009. She won the FIPRESCI Prize"}
+{"doc_id":"doc_182","qid":"","text":"Passage 1:Y asíAustria participated in the Eurovision Song Contest 2005 with the song \"Y así\" written by Christof Spörk and Edi Köhldorfer. The song wasperformed by the group Global Kryner. The Austrian broadcaster Österreichischer Rundfunk (ORF) organised the national final Song.Null.Fünf in order to selectthe Austrian entry for the 2005 contest in Kyiv, Ukraine. Five artists and ten songs competed in a televised show where a public vote consisting of regionaltelevoting and mobile phone voting exclusively selected \"Y así\" performed by Global Kryner as the winner.Austria competed in the semi-final of the EurovisionSong Contest, which took place on 19 May 2005. Performing as the opening entry for the show in position 1, \"Y así\" was not announced among the top 10 entriesof the semi-final and therefore did not qualify to compete in the final. It was later revealed that Austria placed twenty-first out of the 25 participating countries inthe semi-final with 30 points.BackgroundPrior to the 2005 contest, Austria has participated in the Eurovision Song Contest forty-one times since its first entry in1957. The nation has won the contest on one occasion: in 1966 with the song \"Merci, Chérie\" performed by Udo Jürgens. Following the introduction of semi-finalsfor the 2004 contest, Austria has featured in only one final. Austria's least successful result has been last place, which they have achieved on seven occasions,most recently in 1991. Austria has also received nul points on three occasions: in 1962, 1988 and 1991.The Austrian national broadcaster, ÖsterreichischerRundfunk (ORF), broadcasts the event within Austria and organises the selection process for the nation's entry. ORF confirmed their intentions to participate atthe 2005 Eurovision Song Contest on 17 September 2004. From 1995 to 2000, ORF has held an internal selection to choose the artist and song to representAustria at the contest, while the broadcaster had set up national finals with several artists to choose both the song and performer to compete at Eurovision forAustria from 2002 to 2004. Along with their participation confirmation, the broadcaster also announced that the Austrian entry for the 2005 contest would beselected through a national final.Before EurovisionSong.Null.FünfSong.Null.Fünf (Song.Zero.Five) was the national final that selected Austria's entry for theEurovision Song Contest 2005. The competition took place on 25 February 2005 at the ORF Center in Vienna, hosted by Mirjam Weichselbraun and ChristianClerici and broadcast on ORF eins. The national final was watched by 630,000 viewers in Austria.FormatFive artists with two songs each competed in thecompetition where the winner was selected by exclusively by public voting. Viewers were able to cast their votes via landline and the voting results of each of thenine Federal States of Austria created an overall ranking from which points from 1-8, 10 and 12 were distributed. Viewers were also able to vote from mobiles viatelephone or SMS and the overall ranking of the entries was also assigned scores from 1-8, 10 and 12. After the combination of all scores, the entry with thehighest number of points was selected as the winner.Competing entriesORF invited all interested artists with a contract to a record company to apply to thebroadcaster between 17 September 2004 and 30 September 2004. All applications were reviewed by a team of music professionals who nominated four artists toeach submit two songs for the national final. On 20 October 2004, DJ Ötzi revealed that he had initially been selected for the competition but later withdrew afterissues with creating his two candidate Eurovision songs. An additional artist was nominated by the talent scout organisation Projekt Pop after an additionalsubmission period was opened for interested artists without a contract to a record company to submit two songs to the organisation between 4 November 2004and 25 November 2004. The five artists and songs were revealed on 5 January 2005 and among the competing artists was former Austrian Eurovisionrepresentative Alf Poier who represented Austria in the Eurovision Song Contest 2003.FinalThe televised final took place on 25 February 2005. Each of the fiveartists competed with two songs where regional televoting and mobile phone voting selected \"Y así\" performed by Global Kryner as the winner.ControversyThenational final caused controversy due to the format that was amended shortly before the show (the original format was to include two rounds of public votingwhere one song per artist would be selected in the first round to advance to the second round). When the results were published, 80% of the 337,179 votesregistered were submitted via mobiles but distributed just as many points as each federal state did. It was also revealed that \"Good Old Europe Is Dying\"performed by Alf Poier received the most overall votes (45,000 votes more than \"Y así\") but placed second due to the voting system. Poier's manager René Bertostated: \"We prefer to be the moral winner rather than winning a cheap victory. Global Kryner did not win because of the fans, but because of ORF's last-minutechange of the voting system.\"At EurovisionAccording to Eurovision rules, all nations with the exceptions of the host country, the \"Big Four\" (France, Germany,Spain and the United Kingdom), and the ten highest placed finishers in the 2004 contest are required to qualify from the semi-final on 19 May 2005 in order tocompete for the final on 21 May 2005; the top ten countries from the semi-final progress to the final. On 22 March 2005, a special allocation draw was held whichdetermined the running order for the semi-final and Austria was set to open the show and perform in position 1, before the entry from Lithuania. At the end of theshow, Austria was not announced among the top 10 entries in the semi-final and therefore failed to qualify to compete in the final. It was later revealed thatAustria placed twenty-first in the semi-final, receiving a total of 30 points.The semi-final and the final were broadcast in Austria on ORF 2 with commentary byAndi Knoll and via radio on Ö3 with commentary by Martin Blumenau. The Austrian spokesperson, who announced the Austrian votes during the final, was DodoRoscic.VotingBelow is a breakdown of points awarded to Austria and awarded by Austria in the semi-final and grand final of the contest. The nation awarded its 12points to Croatia in the semi-final and to Serbia and Montenegro in the final of the contest.Points awarded to AustriaPoints awarded by AustriaPassage 2:CasparBabypantsCaspar Babypants is the stage name of children's music artist Chris Ballew, who is also the vocalist and bassist of The Presidents of the United States ofAmerica.HistoryBallew's first brush with children's music came in 2002, when he recorded and donated an album of traditional children's songs to the nonprofitProgram for Early Parent Support titled \"PEPS Sing A Long!\" Although that was a positive experience for him, he did not consider making music for families untilhe met his wife, collage artist Kate Endle. Her art inspired Ballew to consider making music that \"sounded like her art looked\" as he has said. Ballew began writingoriginal songs and digging up nursery rhymes and folk songs in the public domain to interpret and make his own. The first album, Here I Am!, was recordedduring the summer of 2008 and released in February 2009.Ballew began to perform solo as Caspar Babypants in the Seattle area in January 2009. Fred Northup,a Seattle-based comedy improvisor, heard the album and offered to play as his live percussionist.  Northrup also suggested his frequent collaborator Ron Hippe asa keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were the Caspar Babypants live band from May 2009 to April 2012. Both Northup and Hippeappear on some of his recordings but since April 2012 Caspar Babypants has exclusively performed solo. The reasons for the change were to include moreimprovisation in the show and to reduce the sound levels so that very young children and newborns could continue to attend without being overstimulated. Ballewhas made two albums of Beatles covers as Caspar Babypants. Baby Beatles! came out in September 2013 and Beatles Baby! came out in September 2015.Ballewruns the Aurora Elephant Music record label, books shows, produces, records, and masters the albums himself. Distribution for the albums is handled by BurnsideDistribution in Portland, Oregon.Caspar Babypants has released a total of 17 albums. The 17th album, BUG OUT!, was released on May 1, 2020. His albumFLYING HIGH! was nominated for a Grammy Award for Best Children's Album. All 17 of the albums feature cover art by Ballew's wife, Kate Endle.\"FUNFAVORITES!\" and \"HAPPY HITS!\" are two vinyl-only collections of hit songs that Caspar Babypants has released in the last couple ofyears.DiscographyAlbumsPEPS (2002)Here I Am! (Released 03/17/09) Special guests: Jen Wood, Fysah ThomasMore Please! (Released 12/15/09) Specialguests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe, Krist Novoselic, Charlie HopeSing Along! (Released08/16/11) Special guests: Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England, Rachel LoshakHot Dog! (Released 04/17/12) Specialguests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released 12/18/12) Special guests: Steve Turner (Mudhoney), Rachel Flotard(Visqueen), John RichardsBaby Beatles! (Released 09/15/13)Rise And Shine! (Released 09/16/14)Night Night! (Released 03/17/15)Beatles Baby! (Released09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released 08/18/17)Sleep Tight! (Released 01/19/18)Keep ItReal! (Released 08/17/18)Best Beatles! (Released 03/29/19)Flying High! (Released 08/16/19)Bug Out! (released 05/1/20)Happy Heart! (Released 11/13/20)EasyBreezy! (Released 11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released 2010) – Compilation of various artistsSongs Stories And Friends: Let'sGo Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up, Shake It Off (released 2012) – Compilation of various artistsKeep Hoping MachineRunning – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – The Harmonica Pocket (released 2013) – vocals on MonkeyLoveSimpatico – Rennee and Friends (released 2015) – writer and vocals on I Am Not AfraidSundrops – The Harmonica Pocket (released 2015) – vocals on DiggaDog KidPassage 3:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000nib\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.Hewas one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by BonScott.External linksBernie Bonvoisin at IMDbPassage 4:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He isthe singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these"}
+{"doc_id":"doc_183","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he wasthe director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as anationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson wasnamed an IEEE Fellow in 1948.Passage 2:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone(1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation!(2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is anIrish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody EssexMuseum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the directorof the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and worksin the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of theToledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career inIrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from UniversityCollege-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels(1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He marriedMary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of ArtHistorians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the NationalGallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for severalmajor shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-mediasite.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations andcorporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rightsgrounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private fundingsupported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built onthe established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints,screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\"entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the\"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that thedecision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculativeart investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was ChrisOfili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani,campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedycancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was thetoughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-oldair-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum ofArt is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum'sart education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddlertours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the InternationalVisual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talkson visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Worksby Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of OldMaster paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection dueto claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germanyfollowed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitionsand oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe,Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. Theexhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works ofart, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and hecurated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, andFrank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: Astudy in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council ofIreland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland:Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: IrregularPolygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian CentenaryMedal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for theAmerican Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio ArtEducation Association award for distinguished educator for art education.== Notes ==Passage 4:Elizabeth Barlow RogersElizabeth Barlow Rogers (born 1936) isan environmentalist, landscape preservationist, author of numerous books and essays, and a former park administrator. Her most notable achievement was herrole in the revitalization of New York City's Central Park in the 1980s and 1990s. In 1980, Rogers helped found the Central Park Conservancy, a not-for-profitcorporation formed to organize private sector support for the restoration and renewed management of the park. She served as the Conservancy's first presidentfrom its founding until 1995.Early life and educationElizabeth “Betsy” Browning was born in San Antonio, Texas to Caleb Leonidas Browning (1902–1970), ageneral contractor and cattle rancher, and his wife, Elizabeth (Ewing) Browning (1904–1992). She grew up in Alamo Heights and prepared for college at SaintMary's Hall. In 1952, she enrolled at Wellesley College, where she majored in art history (BA 1957), and in the summer following her graduation married EdwardL. Barlow, a graduate of Lawrenceville and Yale (BA 1956). They lived in Washington DC, where he was a naval officer stationed at the Pentagon, but in 1960"}
+{"doc_id":"doc_184","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who is confronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberists on his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neon sign that reads \" Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, before they gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrick in the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TV containing the green-screened Decemberists video footage.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 4:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage 5:Norah JonesNorah Jones (born Geethali Norah Jones Shankar; March 30, 1979) is an American singer, songwriter, and pianist. She has won several awards for her music and, as of 2023, had sold more than 50 million records worldwide. Billboard named her the top jazz artist of the 2000's decade. She has won nine Grammy Awards and was ranked 60th on Billboard magazine's artists of the 2000s decade chart.In 2002, Jones launched her solo music career with the release of Come Away with Me, which was a fusion of jazz with country, blues, folk and pop. It was certified diamond, selling over 27 million copies. The record earned Jones five Grammy Awards, including the Album of the Year, Record of the Year, and Best New Artist. Her subsequent studio albums—Feels Like Home (2004), Not Too Late (2007), and The Fall (2009)—all gained platinum status, selling over a million copies each. They were also generally well received by critics. Jones's fifth studio album, Little Broken Hearts, was released on April 27, 2012; her sixth, Day Breaks, was released on October 7, 2016. Her seventh studio album, Pick Me Up Off the Floor, was released on June 12, 2020. Jones made her feature film debut as an actress in My Blueberry Nights, which was released in 2007 and was directed by Wong Kar-Wai.Jones is the daughter of Indian sitarist and composer Ravi Shankar and concert producer Sue Jones, and is the half-sister of fellow musicians Anoushka Shankar and Shubhendra Shankar.Early lifeJones was born Geethali Norah Jones Shankar on March 30, 1979, in Manhattan, New York City, to American concert producer Sue Jones and Indian Bengali musician Ravi Shankar.After her parents separated in 1986, Jones lived with her mother, growing up in Grapevine, Texas. As a child, Jones began singing in church and also took piano and voice lessons. She attended Colleyville Middle School and Grapevine High School before transferring to Booker T. Washington High School for the Performing and Visual Arts in Dallas. Her music took its first form early on in the local Methodist Church where she regularly sang solos. While in high school, she sang in the school choir, participated in band, and played the alto saxophone. At the age of 16, with both parents' consent, she officially changed her name to Norah Jones, removing the Indian elements from her name.Jones always had an affinity for the music of Bill Evans and Billie Holiday, among other \"oldies\". She once said, \"My mom had this eight-album Billie Holiday set; I picked out one disc that I liked and played that over and over again\".She attended Interlochen Center for the Arts during the summers. While at high school, she won the Down Beat Student Music Awards for Best Jazz Vocalist (twice, in 1996 and 1997) and Best Original Composition (1996).Jones attended the University of North Texas (UNT), where she majored in jazz piano and sang with the UNT Jazz Singers. During this time, she had a chance meeting with future collaborator Jesse Harris. She gave a ride to a band playing at the university whose members happened to be friends of Harris. He was on a cross-country road trip with friend and future Little Willies member Richard Julian, and stopped to see the band play. After meeting Jones, Harris started sending her lead sheets of his songs.In 1999, Jones left Texas for New York City. Less than a year later, she started a band with Harris, and her recordings with them were bestsellers.Musical careerJones was a lounge singer before becoming a recording artist. Before releasing her first studio album, she performed with Wax Poetic, Peter Malick, and jazz guitarist Charlie Hunter.2000–2001: New York City, First SessionsAs Peter Malick states in the liner notes, \"I started looking for a singer who might be open to recording [my latest songs] for me. On a Tuesday night, I walked into the Living Room just as the singer announced the last song of the set. The Dinah Washington classic 'Since I Fell for You' filled the room and I was struck breathless. Here, in the tradition of Billie Holiday, was a stunningly beautiful, blues infused voice. This was my first contact with Norah Jones.\" Malick asked her to participate in sessions at Room 9 from Outer Space in South Boston, during August and September 2000. They recorded Malick's songs \"New York City\", \" Strange Transmissions\", \"Deceptively Yours\" and \"Things You Don't Have to Do\" in addition to cover versions of \"All Your Love\" by Sam Maghett and \"Heart of Mine\" by Bob Dylan. These songs became the album New York City (Koch, 2003) by the Peter Malick Group Featuring Norah Jones.After moving to New York City, Jones signed to Blue Note, a label owned by EMI Group. The signing came as an indirect result of her performing as lead singer for the JC Hopkins Biggish Band. Shell White, who was the wife of J. C. Hopkins, worked for EMI Publishing and gave Jones's three-track demo to Bruce Lundvall, the label's president, and Brian Bacchus, its artists and repertoire agent (A&R). The demo contained two jazz standards and a song by Jesse Harris. The two executives agreed that Jones had potential. Despite their misgivings about the direction of her music, they signed her to the label. Bacchus told HitQuarters, \"We let her find her own direction ... We knew that if she could develop her songwriting and we could find great songs, it would work.\"2002: Come Away with MeBacchus thought producer and engineer Jay Newland's experience in jazz, blues, rock, country, and folk music would give a \"feeling for her sound.\" Jones and Newland recorded nine demo tracks. Four appeared on the sampler First Sessions (2001). The rest were set aside for her debut album. Come Away with Me (2002) was praised for its blend of acoustic pop with soul and jazz. Debuting at No. 139, it reached No. 1 on the U.S. Billboard 200. The single \"Don't Know Why\" hit No. 1 on the Top 40 Adult Recurrents in 2003 and No. 30 in the Billboard Hot 100 Singles Chart. At the 45th Grammy Awards in 2003, Jones was nominated for eight Grammy Awards and won five: Best New Artist, Album of the Year, Best Pop Vocal Album, Record of the Year, and Best Female Pop Vocal Performance for \"Don't Know Why\". This tied Lauryn Hill and Alicia Keys for most Grammy Awards received by a female artist in one night. Jesse Harris won Song of the Year for \"Don't Know Why\" while Arif Mardin won Producer of "}
+{"doc_id":"doc_185","qid":"","text":"Passage 1:Polly of the MoviesPolly of the Movies is a 1927 American silent comedy film directed by Scott Pembroke and starring Jason Robards, Gertrude Shortand Corliss Palmer. It is loosely based on Harry Leon Wilson's 1922 novel Merton of the Movies and its various film adaptations.SynopsisA small town girl goes toHollywood with ambitions of becoming major dramatic star. However, the melodrama she appears in is unintentionally amusing and becomes a comedyhit.CastJason Robards as Angus WhitcombGertrude Short as Polly PrimroseCorliss Palmer as Lisa SmithStuart Holmes as Benjamin Wellington FairmountJackRichardson as Rolland HarrisonRose Dione as Lulu FairmountMary Foy as Mrs. BeardsleyPassage 2:The Muppets Go to the MoviesThe Muppets Go to the Movies isa one-hour television special starring Jim Henson's Muppets. It first aired May 20, 1981 on ABC as promotion for The Great Muppet Caper, which was released inthe United States a month later.PlotWith the aid of Dudley Moore and Lily Tomlin, Kermit the Frog and the Muppets show spoofs of different movies at the MuppetTheatre.The special opens with a 20th Century Frog logo. The Announcer (Jerry Nelson) provides an introduction over clips from the special.Kermit comes onstageto introduce the show, informing the audience that the Muppets plan on paying tribute to some of their favorite movies.The Muppet company perform \"Hey, aMovie!\" from The Great Muppet Caper.Fozzie Bear introduces a spoof of The Three Musketeers. Statler and Waldorf attempt to leave, but are stopped by elasticropes tied around their ankles. Gonzo the Great, Scooter and Link Hogthrob play Athos, Porthos and Gummo, out to defeat The Scarlet Pimpernel. Link flies on achandelier, thus landing him backstage, and onto Miss Piggy, who reacts with her famous karate chop, thus sending him flying back onstage, and onto Kermitduring an introduction for the next parody.The sketch Invasion of the Unpleasant Things from Outer Space has Dudley Moore and Lily Tomlin facing giant alienrats. In addition to sci-fi films, the parody also pokes fun at international cinema. Moore speaks in a foreign language, accompanied by English subtitles.Janiceintroduces her favorite film The Wizard of Oz. She mentions that she likes the Land of Oz and might move there. When Janice is about to mention the part ofDorothy Gale, Piggy's voice is heard saying \"I'm not ready.\" Janice attempts to fill in, but Piggy arrives just in time. As the scene begins, Piggy (as Dorothy) andFoo-Foo (as Toto) start out in black and white. Piggy sings \"Somewhere Over the Rainbow\". When it changes to color, she is joined by Scooter as the Scarecrow,Gonzo as the Tin Man, and Fozzie Bear as the Cowardly Lion in a rendition of \"If I Only Had a Brain/a Heart/the Nerve\" and \"We're Off to See the Wizard\".Gonzointroduces Metro-Goldwyn-Bear's The Fool of the Roman Empire. Moore portrays a jazz piano-playing Julius Caesar. Moore plays a melody on the piano, whileGonzo, Beauregard and Lew Zealand have a chariot race. Gonzo's chariot is pulled by a chicken, Beauregard's by rats, and Lew's by a shark.Backstage, Rizzocomplains to Kermit about the previous sketch, claiming that it was an insult to rats. Rizzo and his rat buddies try to convince Kermit to put them in a glamorousrat production number. Kermit tells the rats that the Muppets have already done a similar production number in The Great Muppet Caper, showing a clip,featuring \"The First Time It Happens\".Lily Tomlin attempts to flirt with Kermit, but Piggy interrupts them. Kermit suggests that Tomlin introduce the horror genre.Despite Tomlin's insistence that she's not a fan, she's attacked by a group of Muppet monsters. In J. Arthur Link's The Nephew of Frankenstein, Fozzie visits hisuncle (played by Dr. Julius Strangepork) who is working on a comedian monster (played by Mulch). They attempt to do a \"Hot Cross Bunnies\" joke. Theexperiment blows Mulch up and burns the film screen. Firefighters are called, but joke that they are unable to put out a fire that was caused in the 19th Centuryas \"our hoses won't reach!\". The segment ends with Kermit parodying Porky Pig's \"That's all folks!\" line.Rowlf the Dog presents a silent film featuring Kermit andSopwith the Camel. Mulch drops in, finally getting the \"Hot Cross Bunnies\" joke.Sam Eagle comes to translate a film by famed Swedish filmmaker IngmarBergman. Floyd Pepper informs Sam that the film isn't by Ingmar, but by his brother Gummo. The film Silent Strawberries parodies Bergman's filmography. Itfeatures The Swedish Chef, Beaker (as \"The Angel of Death\"), Fozzie and Kermit. As the film is not in English, Sam has to translate. Much to Sam's disgust, thetranslations make absolutely no sense. The film ends with a rendition of \"Hooray for Hollywood\". Waldorf claims he doesn't believe in \"The Angel of Death\", but isautomatically frightened by someone over his shoulder (a popcorn girl).A spoof of Casablanca: Kermit bids his goodbyes to Piggy among the harsh wind of anairplane.Backstage, Floyd and Janice sing \"Act Naturally\".Dudley Moore tells the audience about his love for artistic French films. He then explains that because ofthis fondness, he asked the Muppets not to parody them, but instead to do a \"tasteless tribute to the Western\". In Tantamount Picture's Small in the Saddle, acouple of cowboys, their horses, two outlaws, and the outlaws' cows sing \"Ragtime Cowboy Joe.\" Lew shows up paddling a boat. Much to Statler's shock, Waldorfhas apparently turned into a cow.Kermit introduces a spoof of Tarzan with Gonzo as Tarzan and Lily Tomlin as Jane.Backstage, Kermit tells Beauregard that it istime for his tribute to the Hollywood stuntman. A clip, featuring Beauregard driving Kermit, Fozzie and Gonzo in a taxi is shown.Kermit introduces the nextmusical number: Piggy performs \"Heat Wave\" in the style of Marilyn Monroe and is backed up by a penguin chorus.Backstage, Kermit congratulates Piggy on herperformance. Piggy wants everyone to see what a great performer Kermit is, by showing a Fred Astaire tribute that he did in The Great Muppet Caper, succeededby a clip, featuring the song \"Steppin' Out with a Star\". Afterwards, Statler does his own \"tap dance\" routine.In Goon with the Wind, Dudley Moore and Piggyportray Rhett and Scarlett as they watch a fire in the background. The sketch is interrupted by the firefighters from earlier on. Statler and Waldorf decide to givethe sketch three big cheers. Three big chairs are thrown at the two.An introduction by Lew Zealand leads into Cholesterol Pictures' A Frog Too Far, starring Kermitas a World War II air force pilot and Tomlin playing various love interests.The full company performs \"We'll Meet Again\".During the credits, the Muppets leave theMuppet Theatre as Kermit secures the stage door, unaware that he has locked Dudley Moore and Lily Tomlin in.NotesThe same sets from The Muppet Show areused for this special.Later syndicated alongside The Muppet Show.This is the first time a camera shot of the entrance to the Muppet Theatre is shown at the endof the special.Taped between March 9 and 17 of 1981.Muppet performersJim Henson as Kermit the Frog, Rowlf the Dog, Link Hogthrob, The Swedish Chef,Waldorf, and Gladiator PigFrank Oz as Miss Piggy, Fozzie Bear, Animal, and Sam the EagleJerry Nelson as Floyd Pepper, Lew Zealand, Mulch, Dr. JuliusStrangepork, Pops, Announcer, Deputy, Gladiator Pig, Firefighter, and RatRichard Hunt as Scooter, Janice, Beaker, Statler, Sheriff, Rat, and CowDave Goelz asGonzo the Great, Beauregard, Joe, Firefighter, Trumpet Blower, Rat, and HorseSteve Whitmire as Rizzo the Rat, The Scarlet Pimpernel, Jed, Firefighter, andHorseLouise Gold as Popcorn GirlAdditional Muppets performed by Kathryn Mullen, Brian Muehl, Bob Payne, and Rollie Krewson.Passage 3:La Chair del'orchidéeLa Chair de l'orchidée (The Flesh of the Orchid) is a 1975 film by Patrice Chéreau as his directorial debut, adapted by him and by Jean-Claude Carrièrefrom the 1948 book The Flesh of the Orchid by British writer James Hadley Chase, \"a pulp-novel sequel to No Orchids for Miss Blandish\" (1939). The film starsCharlotte Rampling, Simone Signoret, Bruno Cremer, Edwige Feuillère and, in a cameo, Alida Valli.PlotClaire is locked up in an isolated building in the grounds of apsychiatric hospital, where the gardener comes in regularly to rape her. Obtaining a knife, she stabs his eyes out and flees. Getting a lift in a lorry, it crasheswhen the driver has his eyes stabbed out; Emerging from the wreckage, she is rescued by Louis who, with an unstable colleague Marcucci, is on his way to abusiness meeting in a hotel. While Louis is in the meeting, Marcucci tries to rape Claire and gets his eyes stabbed out. Claire flees and Marcucci, unable to defendhimself, is then knifed to death by contract killers, the Berekian brothers.Louis rescues Claire and takes her back to his isolated house, where they spend thenight making love. However the Berekians are waiting outside and, when the couple emerge, get a knife into Louis. Claire rescues him, leaving him in a safe placewhile she goes in search of a doctor. She is recognised by a nurse from the psychiatric hospital, who alerts her aunt who placed her there. In fact she is theheiress to a business empire, which her aunt controls so long as Claire is mentally unfit. Locked up by the nurse, Claire is found by the Berekians, who abduct heras a bargaining counter. The aunt finds the wounded Louis, who she locks up as a bargaining counter.The Berekians lock Claire up in the care of Lady, a colleaguefrom the days when all three were circus performers. Feeling sorry for the girl, Lady tells her that she is the result of her dead mother's affair with a circus artisteand lets her escape; As she waits for a train, she is told by an older woman that she is recognisably insane. She goes to her aunt's house, where Louis is aprisoner, and reunites with him. The accountant of the family firm tells her it is going downhill through the aunt's mismanagement and that, as the rightful owner,she should take charge.The Berekians sneak in and manage to murder Louis, but Claire stabs out the eyes of one of them. The police arrive and, wounded in herstruggle, Claire is taken to a hospital. Lady sneaks in to her with a bunch of flowers, but the two are found by the surviving Berekian. He kills Lady and, after aflashback to a moment of horror when he accidentally killed the woman he loved, commits suicide. With the two bodies on either side of her hospital bed, Clairegets on the phone to the accountant to start running her business.Passage 4:Highway PickupChair de poule (French for \"goosebumps\") is a 1963 French crimefilm directed by Julien Duvivier and starring Robert Hossein, Catherine Rouvel, Jean Sorel and Georges Wilson. The screenplay is based on the 1960 novel ComeEasy, Go Easy by James Hadley Chase, which took several plot elements from the 1934 novel The Postman Always Rings Twice by James M Cain. The film wasreleased in the United States as Highway Pickup.PlotIn Paris, Daniel and Paul work installing safes by day and robbing them by night. When a raid goes wrong anda man is killed, Daniel is shot down by the police and jailed. He escapes and, heading south, is given a job and a room by Thomas, who runs an isolated café andgarage with his much younger wife Maria. She scorns the drifter her husband has hired until, by chance, she sees an old newspaper that reports his escape. She"}
+{"doc_id":"doc_186","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland andAustralia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's ABigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which wascompleted in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\"implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchiand attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dungand was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" andan \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announcedin 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a jointIrish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings andsculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the fieldof art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website,www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy hasbeen a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibandehave been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the ToledoMuseum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold tothe museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005.During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater publicattention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hoodhas one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the AfricanBody, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles:Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written oredited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats:Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with DavisCoakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers(1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe,Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is atrustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the InternationalAssociation of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from LourdesUniversity. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.==Notes ==Passage 2:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museumof Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 3:Michael DominicMichael Dominic (born June 18, 1970) is anAmerican filmmaker and photojournalist who grew up in New York City. He is best known for his documentary Sunshine Hotel, which won three awards for bestdocumentary.Early lifeDominic was born in Washington D.C., the son of Stephanie and Joseph Dominic. In 1971 his family moved to the Riverdale section of theBronx, New York.He studied film at School of Visual Arts in New York City from 1990 to 1993.CareerDominic has made several films, most notably thefeature-length documentaries Sunshine Hotel and Clean Hands, and the narrative short \"Tulips for Daisy\".Sunshine Hotel, a documentary about one of the lastflophouses on New York City's Bowery, won three best documentary awards and was nominated for another dozen or so. After its festival run of almost 30 filmfestivals it aired on the Sundance Channel from 2002 to 2004.\"Tulips for Daisy\", a narrative film set in Amsterdam, was also nominated for several awards, mostnotably in the Akira Kurosawa Memorial Short Film Competition.As a photojournalist Dominic has traveled to places including Haiti, Honduras, Guatemala, andNicaragua. His photography has appeared in dozens of outlets including The Sunday Telegraph, Tribune De Geneve, France-Amérique, The New York Daily News,The Wall Street Journal, The New York Post, Playboy, Redbook, Le Figaro, Le Parisien, Bilan, Chåtelaine, and L'actualité.In July 2012 Dominic was recognized as afinalist for The New York Foundation for the Arts 2012 fellowship.In January 2019 Dominic completed the feature documentary Clean Hands, about the Lopezfamily surviving against the backdrop of Central America’s largest garbage dump, La Chureca in Managua, Nicaragua. The film debuted at the 29th AnnualCinequest Film Festival April 9, 2019, where it won Best Documentary Feature. It went on to win a total of 11 awards.Filmography as directorSoup & the Dead"}
+{"doc_id":"doc_187","qid":"","text":"Passage 1:Jack Shea (director)Jack Shea (August 1, 1928 – April 28, 2013) was an American film and television director. He was the president of the DirectorsGuild of America from 1997 to 2002.Life and careerBorn John Francis Shea, Jr., Shea's father was a traveling salesman and his mother a bookkeeper. He receiveda parochial high school education, later attaining a degree in history from Fordham University. Shea broke into the entertainment industry in 1951, initially as astage manager for the TV series Philco Playhouse, and, following two years of service with the United States Air Force, serving from 1952 to 1954, during theKorean War, making instructional films in Los Angeles, and later becoming an associate director.Among the TV shows he contributed to during this period includeThe Jerry Lewis Show and The Bob Hope Specials, where he later shared a Primetime Emmy Award nomination for in 1961. By the late 1950s, Shea had becomeinstrumental in forming the Radio and Television Directors Guild (merged with the Screen Directors Guild in 1960 to form The Directors Guild of America) and wasa strong voice for the hiring of minorities in the industry. During the 1970s, he began an association with producers Bud Yorkin and Norman Lear, directingepisodes from two of their projects in the 1970s, the series Sanford and Son and The Jeffersons (110 episodes for the latter). Among his other credits include TheWaltons, Silver Spoons (91 episodes), Growing Pains and Designing Women, the last earning him a second Primetime Emmy Award nomination. From 1997 until2002, he served as president of the Directors Guild.A lifelong Catholic, Shea was a co-founder, with his wife Patt and other prominent Catholics in the Hollywoodentertainment community, of the Hollywood-based Catholics in Media Associates (CIMA), which he was also past president of. Shea and Patt Shea jointly receivedthe CIMA Lifetime Achievement Award in 2002 from the organization of Catholic entertainment industry professionals which celebrates its 20th anniversary in2013. Shea was also a former member of the United States Conference of Catholic Bishops Committee for Communications.Personal life and familyOn January 2,1954, Shea married the former Patricia C. Carmody, who, later known as Patt Shea, became a three-time Humanitas Award-nominated screenwriter whosecredits include the CBS-TV series All in the Family, story editor and/or writer for 38 episodes of Archie Bunker's Place, in addition to screenwriter for episodes ofLou Grant, Valerie, Cagney & Lacey, In The Heat of The Night, Bagdad Café, and the CBS pilot for Gloria, Sally Struthers’ spin-off from the popular All In TheFamily TV series, among many other television series. The couple, who resided in Studio City, CA for over 30 years, have five children, three of whom arecurrently DGA members* and 1st Assistant Directors*: Shawn Shea*; Elizabeth (now deceased); William (“Bill”) Shea*; Michael J. Shea* and John Francis(“Jay”) Shea III.DeathShea died of complications from Alzheimer's disease.Passage 2:Mark Lewis (filmmaker)Mark Lewis is an Australian documentary film andtelevision producer, director and writer. He is famous for his film Cane Toads: An Unnatural History and for his body of work on animals. Unlike many otherproducers of nature films, his films do not attempt to document the animals in question or their behaviors but rather the complex relationships between peopleand society and the animals they interact with.His films have earned him many awards, including a British Academy Award nomination, a nomination from theDirectors Guild of America, two Emmy's for Outstanding Direction in documentary film, and an Emmy Award for Outstanding Science Program on AmericanTelevision.As a student Lewis helped planning Philippe Petit's famous 1974 high-wire walk between the Twin Towers of the World Trade Center. He talks about hisinvolvement in the acclaimed documentary Man on Wire (2008).Filmography(2010) Cane Toads: The Conquest(2007) The Pursuit of Excellence(2006) TheFloating Brothel(2006) The Standard of Perfection: Show Cats(2006) The Standard of Perfection - Show Cattle(2000) The Natural History of the Chicken(1999)Animalicious(1998) Rat(1994) Gordy.(1990) The Wonderful World of Dogs(1989) Round the Twist(1988) Cane Toads: An Unnatural HistoryPassage 3:JohnWatersJohn Samuel Waters Jr. (born April 22, 1946) is an American filmmaker, writer, actor, and artist. He rose to fame in the early 1970s for his transgressivecult films, including Multiple Maniacs (1970), Pink Flamingos (1972) and Female Trouble (1974). He wrote and directed the comedy film Hairspray (1988), whichbecame an international success and was later adapted into a hit Broadway musical and a 2007 musical film. He has written and directed other films, includingPolyester (1981), Cry-Baby (1990), Serial Mom (1994), Pecker (1998), and Cecil B. Demented (2000). His films contain elements of post-modern comedy andsurrealism. Waters often worked with actor and drag queen Divine and his regular cast of the Dreamlanders.As an actor, Waters has appeared in Sweet andLowdown (1999), Seed of Chucky (2004), 'Til Death Do Us Part (2007), Mangus! (2011), Excision (2012), and Suburban Gothic (2014). More recently, heperforms in his touring one-man show This Filthy World.Waters also works as a visual artist and across different media, such as installations, photography, andsculpture. In 2016, he received an honorary degree from the Maryland Institute College of Art. The audiobooks he narrated for his books Carsick and Mr.Know-It-All were nominated for the Grammy Award for Best Spoken Word Album in 2015 and 2020, respectively. In 2018, Waters was named an officer of theOrder of Arts and Letters in France.Early lifeWaters was born on April 22, 1946, in Baltimore, Maryland, one of four children born to Patricia Ann (née Whitaker)and John Samuel Waters, a manufacturer of fire-protection equipment. He was raised Roman Catholic by his mother, though his father was not Roman Catholic.Through his mother, who immigrated to the United States from Victoria, British Columbia, Canada as a child, he is the great-great-great-grandson of George PriceWhitaker of the Whitaker iron family. Waters grew up in Lutherville, Maryland, a suburb of Baltimore. His boyhood friend and muse, Glenn Milstead, later knownas Divine, also lived in Lutherville. Waters lived at 313 Morris Avenue in Lutherville from his early teenage years until he moved out in his early twenties. Watersand Milstead shot many of their early films at the house, dubbing the front lawn the \"Dreamland Lot\".The film Lili inspired an interest in puppets in theseven-year-old Waters, who proceeded to stage violent versions of Punch and Judy for children's birthday parties. Biographer Robrt L. Pela says that Waters'smother believes the puppets in Lili had the greatest influence on Waters's subsequent career (though Pela believes tacky films at a local drive-in, which the youngWaters watched from a distance through binoculars, had a greater effect).Cry-Baby was also a product of Waters's boyhood, because of his fascination as aseven-year-old with the \"drapes\" then receiving intense news coverage because of the murder of Carolyn Wasilewski, a young \"drapette\", and his admiration for ayoung man living across the street who had a hot rod.Waters was privately educated at the Calvert School in Baltimore. After attending Towson Jr. High School inTowson, Maryland, and Calvert Hall College High School in nearby Towson, he graduated from Boys' Latin School of Maryland. While still a teen, he made frequenttrips into downtown Baltimore to visit Martick's, a beatnik bar, where he and Milstead met many of their later film collaborators. He was underage and couldn'tenter the bar proper, but loitered in the adjacent alley, where he relied on the kindness of patrons to slip him drinks.CareerEarly careerWaters's first short filmwas Hag in a Black Leather Jacket.MGM's The Wizard of Oz (1939) had a profound effect on Waters' creative mind, He said about it:I was always drawn toforbidden subject matter in the very, very beginning. The Wizard of Oz opened me up because it was one of the first movies I ever saw. It opened me up tovillainy, to screenwriting, to costumes. And great dialogue. I think the witch has great, great dialogue.Waters has stated that he takes an equal amount of joy andinfluence from high-brow \"art\" films and sleazy exploitation films.In January 1966, Waters and some friends were caught smoking marijuana on the grounds ofNYU, and he was soon kicked out of his dormitory. He returned to Baltimore, where he completed his next two short films, Roman Candles and Eat Your Makeup.They were followed by the feature-length films Mondo Trasho and Multiple Maniacs.Waters's films became Divine's primary star vehicles. All of Waters's earlyfilms were shot in the Baltimore area with his company of local actors, the Dreamlanders—which, in addition to Divine, included Mink Stole, Cookie Mueller, EdithMassey, David Lochary, Mary Vivian Pearce, Susan Walsh, and others. Waters met Edith Massey while she was a bartender at Pete's Hotel.Waters's early campymovies present exaggerated characters in outrageous situations with hyperbolic dialogue. Pink Flamingos, Female Trouble and Desperate Living, which he labeledthe Trash Trilogy, pushed hard at the boundaries of conventional propriety and censorship.Move toward the mainstreamWaters's 1981 film Polyester starredDivine opposite former teen idol Tab Hunter. It was the first time that Waters was not the primary camera operator for his own work, as he had startedcollaborating with local film student David Insley. Since then, his films have become less controversial and more mainstream, although works such as Hairspray,Cry-Baby, Serial Mom, Pecker and Cecil B. Demented still retain his trademark inventiveness. Hairspray, the last film he produced, became a hit Broadwaymusical that swept the 2003 Tony Awards; and a film adaptation of the Broadway musical was released in theaters on July 20, 2007 to positive reviews andcommercial success. Cry-Baby, itself a musical, also became a Broadway musical.In 2004, the NC-17-rated A Dirty Shame marked a return to Waters' earlier,more controversial work of the 1970s. Currently, it is the most recent film he directed.In 2007, Waters became the host (\"The Groom Reaper\") of 'Til Death Do UsPart, a program on America's Court TV network.In 2008, he planned to make a children's Christmas film, Fruitcake starring Johnny Knoxville and Parker Posey.Filming was set for November 2008, but the project was shelved in January 2009. In 2010, Waters told the Chicago Tribune that \"Independent films that cost $5million are very hard to get made. I sold the idea, got a development deal, got paid a great salary to write it—and now the company is no longer around, which isthe case with many independent film companies these days.\"In October 2022, it was announced that Waters will adapt his novel, Liarmouth, into a film. VillageRoadshow Pictures will produce, and Waters will write and direct.Waters has often created characters with alliterated names for his films, such as Corny Collins,Cuddles Kovinsky, Donald and Donna Dasher, Dawn Davenport, Fat Fuck Frank, Francine Fishpaw, Link Larkin, Motormouth Maybelle, Mole McHenry, Penny and"}
+{"doc_id":"doc_188","qid":"","text":"Passage 1:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand RiverTerritory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily on installation,performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts ofplace and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions inNorth America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, theCanadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum ofElectrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn 2018, Hillreceived the Indspire Award for Arts.Passage 2:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001)was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahonwas an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on tothe county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.Inhis first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated bytaking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowlingperformance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-endleft-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought astuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number ofmatches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, andplayed in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparativemerits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship andrecruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence,with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodoxspinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise hispromise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played in almost every matchduring his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which hedid not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according toWisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, theywould have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton tookonly 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second tofinish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at thebottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting andthe arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. Thisincluded his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowlingperformance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". Thesematches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for thefourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langfordreturning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, theonly season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But hisseason came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during theWeston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a singleend-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highlycontroversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002,McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night at the FlyingHorse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a furtherescapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon,\"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the only Somerset second eleven match thatMcMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"anembarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-matesand club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with MilnrowCricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.== Notes and references==Passage 3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He iscurrently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in theareas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatialpolitics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned hisM.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University ofCambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University ofIbadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and AfricanStudies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of theInternational African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Pressand the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (CambridgeUniversity Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he isthe editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writersand Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan,2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with EbenezerObadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan,2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 4:Nil TunMaungNil Tun Maung (born 30 September 1931) is a Burmese weightlifter. He competed at the 1952 Summer Olympics, the 1956 Summer Olympics and the1960 Summer Olympics.Passage 5:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. Heis a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, butreturned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 WorldCup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI"}
+{"doc_id":"doc_189","qid":"","text":"Passage 1:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 2:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of ' Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \" Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of "}
+{"doc_id":"doc_190","qid":"","text":"Passage 1:Mona Hopton BellMona Hopton Bell (1867–1940) was a British artist, best known for her portraits of civic figures.She was the grandmother of the painter Jean H. Bell.Passage 2:Purnima (Hindi actress)Purnima Das Verma (born Meherbhano Mohammad Ali; 2 March 1934 — 14 August 2013) was an Indian actress who worked predominantly in Hindi-language films. She was the aunt of director Mahesh Bhatt and grandmother of actor Emraan Hashmi.Personal lifeMeherbano Mohammad Ali was born on 2 March 1934. Her elder sister, Shirin, is the mother of directors Mahesh Bhatt and Mukesh Bhatt. Meherbano's first husband was a journalist named Syed Shauqat Hashmi, who moved to Pakistan during the end of colonial rule in South Asia when Pakistan and India were created as new states by the British as they decolonized. Her son from this first marriage, Anwar Hashmi (father of Emraan Hashmi), acted in Baharon Ke Manzil (1968) opposite Farida Jalal. In 1954, she married for the second time with filmmaker Bhagwan Das Varma. Meherbano took the screen name 'Purnima' when she entered the film industry.CareerPurnima acted in more than 80 Bollywood films. She was a popular actress in Hindi films from late '40s to '50s. She appeared in many films including Patanga (1949), Jogan (1950), Sagai (1951), Jaal (1952), Aurat (1953), a role in Ajay Devgan's debut film Phool Aur Kaante, and the role of Sanjay Dutt's on-screen grandmother in Naam which was directed by Mahesh Bhatt (Purnima's elder sister's son). She also played the role of Amitabh Bachchan's mother in the film Zanjeer.DeathPurnima had Alzheimer's disease during the last few years of her life and died on 14 August 2013. Mahesh Bhatt later revealed on Twitter, \" My aunt Purnima, the first star of our family and who happens to be Emraan Hashmi's grandmother has entered the sunset moments of her life.\".Selected filmographyPassage 3:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 4:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 5:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne 'may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess of Orange, as a lady in waiting at the Hague.ChildrenThe issue of Anne Denman's marriage with Thomas Aylesbury were:William baptised in 1612 at St Margaret's Lothbury in London, died in Jamaica in 1656Thomas (probably died young)Frances born 1617 died 1667, married Edward Hyde in 1634, had issueLady Anne (1637–1671), married King James II/VIIHon. Henry, later 2nd Earl of Clarendon (1638–1709)Hon. Laurence, later 1st Earl of Rochester (1641–1711)Hon. Edward, (born c 1645, died 1665) buried 13 January 1665 having died at age 19 while a student at OxfordHon. James drowned in HMS Gloucester in 1682 in the suite of the Duke of YorkLady Frances, married Thomas Keightley, Irish revenue commissioner and privy councillor in 1675.Anne, baptised at St Margaret's and married there in 1637 to John BrighamJane (probably died young)Barbara baptised at St Margaret's, Westminster, 9 May 1627 died 1652 in Antwerp, no issue.Through her daughter Frances, Anne Denman is the maternal grandmother of Anne Hyde, the first wife of James II, and is the maternal great-grandmother of Mary II of England and Queen Anne.Sir Thomas' death and willIn 1657, Sir Thomas died in exile in Breda, aged 81. Anne returned to London. Sir Thomas's will was in favour of Anne and her daughter Frances, but was disputed. Fortunately, Anne had the help of the eminent lawyer Edward Hyde (b. 18 February 1608/9 d. 1674) who was married to her daughter Frances. The deaths of Frances' brothers and sisters meant that by the time of her father's death she was the heiress for her father's estate.Edward HydeEdward Hyde was Anne's son-in-law. The Registers of Westminster Abbey show that he married Frances, daughter of Sir Thomas Aylesbury and his wife Anne, at the Church of St Margaret's, Westminster (in which Parish Sir Thomas and Anne were resident), on 10 July 1634, under a Licence from the Dean and Chapter of Westminster, issued the same day. He was said to be 26 years of age having been born in the ninth year of King Charles' reign (1609), and was already a widower. He married his first wife Anne in 1629, and she died about six months later after catching smallpox. His second wife, Frances was about 21 upon her marriage.Edward Hyde had risen rapidly in his profession. When King Charles was at Oxford, he was knighted on 22 February 1642–3, and was then made Lord Chancellor and Privy Councillor at the age of 34. Upon King Charles' death, he had to flee from Puritan vengeance. He was with King Charles II in exile in Flanders, and in Bruges on 29 January 1657–58, he was again appointed Lord Chancellor in prospectu. With the restitution of the monarchy, Edward and Frances Hyde were now in high favour. For his long service to the King, and his fidelity to the Crown, Edward was created Baron Hyde of Hindon, Wiltshire in 1660. In 1661, he was raised to be Viscount Cornberry (in which year Frances died). He was later created Earl of Clarendon (1662), taking his title from the Estate and Park of Clarendon, near Salisbury.Edward and Frances had six children. Their daughter Lady Anne (1637–1671), married King James II/VII.Death and burialAnne Denman is interred in the Hyde family vault in Westminster Abbey. She seems to have secured the regard of her grandson-in-law, James, Duke of York, as Samuel Pepys notes in his Diary that, in 1661, The Duke of York was in mourning for his wife's grandmother, who (he adds) was thought of with a great deal of fondness — and which grandmother was Anne Denman, of the Old Manor House, West Retford, Notts, now the Trinity Hospital.Queen Anne portraitAnne Denman's childhood home, the Old Hall in Retford, was given by her nephew John Darrell in his will to become a hospital for old men of good repute. As the last member of the Denman-Darrell family, he carried out the wishes of his father, Edward, in this respect. The Old Hall became Trinity Hospital, on Hospital Road, Retford. It is administered by a Trust which owns considerable property around Retford. A portrait of Queen Anne in Trinity Hospital was recently attributed (1999) by the auctioneers Phillips to Sir Godfrey Kneller. John was the nephew of Anne Denman, the first cousin of Frances Hyde, and therefore a cousin twice removed of Queen Anne.== Notes ==Passage 6:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that "}
+{"doc_id":"doc_191","qid":"","text":"Passage 1:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an American actor. He has worked extensively in both film and televisionproductions since the early 1990s. His television roles include Ally McBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey'sAnatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since 2018, he has played Police Sergeant Wade Grey on the ABC policedrama The Rookie.His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa'scoming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and CaptainRussell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones was born in Kobe, Japan, to American parents and grew up in Carson, California. Heis the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the Nankai Hawks inOsaka. He has an older brother, Clarence Jones Jr., who works as a high school basketball coach. They would return to North America after Clarence's retirementfollowing the 1978 season. His parents later divorced. Jones attended Bishop Montgomery High School in Torrance, California, then graduated from TuskegeeUniversity.CareerSince the early 1990s, Jones has worked in both film and television productions.His first television role was in a 1993 episode of the seriesCalifornia Dreams. That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999 to 2005, he starred as Bruce Calvin van Exel inthe CBS legal drama series Judging Amy.Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997),CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017).His film roles includeportrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), andMike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywoodblockbuster Godzilla (2014).From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd.Since February 2018,Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with Nathan Fillion.Personal lifeJoshua Media Ministriesclaims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to its efforts.FilmographyFilmTelevisionPassage 2:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the boardof directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israelin 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studiesshe worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academiccareerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promotedproductions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launchof the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains(graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 3:LammanRuckerLamman Rucker  (born October 6, 1971) is an American actor. Rucker began his career on the daytime soap operas As the World Turns and All MyChildren, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why Did I Get Married Too?, and Meet the Browns, and its televisionadaptation. In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series, Greenleaf. Rucker is married to Kelly Davis Rucker, agraduate of Hampton University. As of 2022, he stars in BET+ drama The Black Hamptons.Early lifeRucker was born in Pittsburgh, Pennsylvania, the son ofMalaya (née Ray) and Eric Rucker. He has partial ancestry from Barbados. Rucker spent his formative years in the greater Washington, DC, Maryland area. Hefirst had an interest in acting after he was placed in many child pageants.  His first acting role was as Martin Luther King in the 4th grade. He was in the dramaclub in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D.C. Rucker studied at Carnegie-Mellon University andDuquesne University.On August 29, 2019, he shared personal life experiences that he credits for his success with the Hampton University football team.CareerHismajor role came in 2002 when he assumed the role of attorney T. Marshall Travers on the CBS daytime soap opera As the World Turns opposite Tamara Tunie. Heleft the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005. He also had the recurring roles on the UPN sitcoms Allof Us and Half & Half.Rucker is best known for his roles in the Tyler Perry's films. He co-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too?(2010). He played Will Brown in 2008 film Meet The Browns. He later had a starring role on Perry's sitcom Meet the Browns reprising his role as Will from 2009 to2011. The following year after Meet the Browns, Rucker was cast in the male lead role opposite Anne Heche in the NBC comedy series Save Me, but left after pilotepisode. He later had roles in a number of small movies and TV movies. Rucker also had regular role opposite Mena Suvari in the short-lived WE tv drama series,South of Hell.In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series, Greenleaf. He plays Jacob Greenleaf, the eldest son of LynnWhitfield' and Keith David's characters.FilmographyFilmTelevisionAward nominationsPassage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegianhistorian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the directorof Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order ofSt. Olav.Passage 5:Erle C. KentonErle C. Kenton (August 1, 1896 – January 28, 1980) was an American film director. Kenton was  director of B films, with hismost famous film being Island of Lost Souls starring Charles Laughton.BiographyPrior to filmwork, Kenton was a school teacher and later decided to become ananimal exhibitor. After working with various dog, pony and other animal shows, he entered the vaudeville circuit as a comedian. This led to him entering the filmindustry working on the Keystone Cops series of films making various short comedies.Kenton began as a writer for Mack Sennett in 1914 and would direct featurefilms for Columbia Pictures,  Tiffany Pictures, Paramount Pictures, RKO Pictures, Republic Pictures. He worked for Universal Pictures between 1941 and 1946making films such as The Ghost of Frankenstein, House of Frankenstein, House of Dracula and The Cat Creeps and several films featuring comedians Abbott &Costello. Kenton was replaced by Charles Lamont on Hit the Ice after problems with Lou Costello.Producer Paul Malvern stated later that Kenton and him \"gotalong beautifully\" and that \"He was one director who thought everything out and made sure that he came in on budget and on time. He wasn't real fond ofdirecting the Abbott and Costello films so he got a kick out of the monster films.\" Kenton spoke about directing horror films in a 1944 interview, stating \"They giveus a chance to let our imagination run wild. The art department can go to town on creep sets. Prop men have fun with cobwebs. The cameraman has fun withtrick lighting and shadows. The director has fun. We have more fun making a horror picture than a comedy.\"Kenton and Edward Ludwig were the principaldirectors of the 1958–1960 CBS television series, The Texan. Kenton died on January 28, 1980, of Parkinson's disease in Glendale, California. Malvern recalledthat when he visited Kenton before his death, Kenton did not recognize him.Selected filmographyPassage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy(born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was thedirector of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrianKennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 hebecame the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody EssexMuseum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989)degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the EuropeanCommission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance(1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of theIrish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he becameDirector of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughoutAustralia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of"}
+{"doc_id":"doc_192","qid":"","text":"Passage 1:Tomáš HudečekTomáš Hudeček (born 10 May 1979 in Olomouc) is a Czech university (assoc.) professor and former politician. He is currently the headof the Department of Public Administration and Regional Studies at the Masaryk Institute of Advanced Studies of the Czech Technical University in Prague, aformer local (non-party) politician and the Mayor of the Capital City of Prague. He is married, has three sons, lives alternately in Prague and Ostrava.In 2010 hewas elected to the Municipal Assembly in Prague as a candidate of the TOP 09 party.  On 24 November 2011 he became a member of the executive council ofPrague and the Deputy Mayor of Bohuslav Svoboda. Hudeček was elected deputy mayor of Prague between 24 November 2011 and 23 May 2013, then deputymayor with the responsibilities of Mayor during the flooding of May and June 2013 days in Prague, and Mayor of Prague between 20 June 2013 and 26 October2014.Passage 2:A Trial in PragueA Trial in Prague is an 83 min colour documentary film directed by Zuzana Justman, about the Slánský trial, a high-profile showtrial in 1952 Communist Czechoslovakia.ContentAt the height of the Cold War, an infamous political show trial, known as the Slánský trial, took place inCzechoslovakia. In 1952, 14 leading Communists, including Rudolf Slánský, the second most powerful man in the country, were tried on charges of high treasonand espionage. Although they were innocent of the charges, they confessed and were convicted. Most of the men were hanged, but three received life sentences.Eleven of the fourteen were Jews.The film tells the story of the trial and the paranoia of the period through testimonies, trial footage, archival films and extensivedocumentation. Among the people who appear in the film are Lise London, whose late husband Artur London was one of the defendants and wrote about the trialin a widely published memoir \"The Confession;\" Eduard Goldstucker, a Kafka scholar and the first Czech ambassador to Israel who was jailed and forced to testifyat the trial; and Jan Kavan, the former Czech Minister of Foreign Affairs, whose father, also a trial witness, died shortly after his release from prison.What ledthese men to their passionate belief in Communism and why did they publicly confess to crimes they did not commit?  The film explores the questions, as well asthe role of Moscow, the motives for the trial and its anti-Semitic thrust. It deals with the personal stories of the condemned men and the legacy they left theirchildren, who \"feel a need to live out the interrupted lives of their fathers\".Comments\"Sensitive, intelligent & moving … shows the human face of bothcommunism and its victims\" - New York Times \"Harrowing and enlightening, a tale that even Kafka would find hard to imagine\" (Boston Phoenix).\"Measured,informative…neatly structured\" (Variety).“The film is as compelling for these painful details as for the tough-minded analysis that ties them together.” ( TheVillage Voice)“Powerful, important and refreshingly straightforward documentary.” (New York Post)SourcesSlánská, Josefa (1969). Report On My Husband.London: Hutchinson. ISBN 0-09-097320-8.London, Artur (1971). Confession. USA: Ballantine Books. ISBN 0-345-22170-2.Margolius, Ivan (2006). Reflections ofPrague: Journeys through the 20th century. Chichester: Wiley. ISBN 0-470-02219-1.Kaplan, Karel (1990). Report on the Murder of the General Secretary.London: I. B. Tauris & Co. ISBN 1-85043-211-2.Heda Margolius Kovaly (1997) Under a Cruel Star: A life in Prague 1941-1968 (ISBN 0-8419-1377-3).Passage3:Vojtěch PetráčekVojtěch Petráček (born 17 February 1964 in Prague) is a Czech nuclear physicist and University Lecturer. Since February 2018, He has alsobeen the rector of the Czech Technical University in Prague (CVUT) in Prague.EducationAfter attending the Nad Štolou Grammar School in the Letnány, Petráčekstudied mathematics and physics from 1982 at the Charles University, obtaining a doctorate in 1987.CareerIn 2014 he unsuccessfully ran in the Rectorateelection of the ČVUT, but in 2017 he was elected and at the end of January, 2018 he was appointed to this position by the Czech President Miloš Zeman witheffect from 1. February 2018.PublicationsVojtěch Petráček, as of 2018, has published 117 articles.Passage 4:Henry Kolowrat Jr.Henry Kolowrat (Czech: JindřichKolowrat; August 25, 1933 – March 16, 2021) was an American fencer. He was born in Prague into a noble Kolowrat family. He moved with his parents to theUnited States in 1948 after the communist coup d'état in Czechoslovakia. He became a U.S. citizen in 1956. He competed in the team épée event at the 1960Summer Olympics.Passage 5:Zuzana JustmanZuzana Justman, born Zuzana Pick (born 20 June 1931), is a Czech-American maker of documentary films andwriter. She was born in former Czechoslovakia, which she left in 1948 with her mother after surviving two years at Theresienstadt concentration camp duringWorld War II. She went to New York state for college and graduate school, and settled in New York City afterward. After working as a writer and translator, in thelate 1980s, she started filmmaking. She has filmed most of her documentaries in the Czech Republic and other European countries, and her topics have been theHolocaust of World War II and postwar history.Early lifeShe was born into a Jewish family as Zuzana Pick, the second child of Viktor and Marie Pick in Prague,Czechoslovakia. She had an older brother, Jiří Robert Pick, who became a writer and playwright. During World War II Zuzana, her brother and her parents, Viktorand Marie Pick, were imprisoned for two years in the Terezín concentration camp. Her father was deported to the Auschwitz extermination camp, where he waskilled; she, her mother and brother were among the survivors of Theresienstadt. They returned to Prague.After the communist putsch (\"Victorious February\") of1948, Zuzana and her mother emigrated to Argentina. Jiří remained in Prague.Zuzana left Buenos Aires in 1950 to study at Vassar College. She received a B.A.from Vassar and later a Ph.D. in Slavic Linguistics from Columbia University in New York.CareerAfter working as a writer and translator, in 1986 Pick began tomake her first film Terezin Diary (completed in 1989). The documentary is about the World War II-era Theresienstadt concentration camp in occupiedCzechoslovakia.In 1993, she wrote, produced and directed Czech Women: Now We Are Free.Her documentary Voices of the Children (1997), which tells the storyof three concentration camp survivors, received the 1999 Emmy Award for best historical program, the Certificate of Merit at the Chicago International FilmFestival, in 1998 the Gold Plaque at the Chicago International Television Competition, in 1998 Best Documentary and Audience Choice for Best Documentaryawards at Film Fest New Haven, in 1997 the Silver Apple from National Educational Media Network.Justman's film A Trial in Prague (2001) is about a 1952 showtrial in Communist Czechoslovakia (known as the Slansky Trial). It was released theatrically in a great number of venues and it was uniformly well-received bothcritically and commercially.Her 2006 adaptation of her brother's 1982 play The Unlucky Man in the Yellow Cap (in original Czech Smolař ve žluté čepici ), wasperformed at the FringeNYC festival in August 2006.Her play Waiting for Father premiered at a staged reading at the Czech Center New York on November 16,2018.Her story My Terezin Diary was published in The New Yorker on September 9, 2019. It was also published in German translation in Switzerland in DasMagazin in January 2020.Marriage and familyShe was married for nearly 50 years to the late Daniel Justman, a psychiatrist and psychoanalyst. She has two sonsPhilip and David, from a previous marriage to the late writer David Boroff. She has two stepchildren, Alexander and Jessica Justman, from Daniel's first marriage.Her first husband was Miles/Milos Glaser.Film documentariesA Trial in Prague, 2000 – director, producer, screenwriter Voices of the Children, 1997 – director,screenwriterCzech Women: Now We Are Free, 1993 – director, screenwriter (with J. Becker, L. Studničková)Terezin Diary, 1989 (screenwriter, executiveproducer), directed and produced by Dan WeissmanTheatreThe Unlucky Man in the Yellow Cap, directed by Marcy Arlin, lyrics, translation and cooperation AlexZucker, other lyrics by Peter Fish (also music), Zuzana Justman, J.R. Pick, performed at the FringeNYC festival, August 2006Justman's play Waiting for Fatherpremiered at a staged reading at the Czech Center New York on November 16, 2018.Passage 6:Karel WellnerKarel Wellner (5 March 1875, in Unhošť – 14 June1926, in Olomouc) was a Czech graphic artist, painter, cartoonist, illustrator, art historian and critic. He was also a secondary school teacher and professor.Hegraduated from high school in Prague, and then studied industrial engineering and art  in Prague. He moved to Olomouc in 1902 and was active in illustratingprofessional literature and as an art historian. Some of his works were published in Germany. As a painter he took part in exhibitions in Prague and with theAssociation of Visual Artists in Moravia. He was active mainly in  graphic art. He has published several lithographs and etchings of the old city of Olomouc.SeealsoList of Czech paintersPassage 7:Petr HájekPetr Hájek (Czech pronunciation: [\u0000p\u0000tr\u0000 \u0000\u0000a\u0000j\u0000k]; 6 February 1940 – 26 December 2016) was a Czechscientist in the area of mathematical logic and a professor of mathematics. Born in Prague, he worked at the Institute of Computer Science at the Academy ofSciences of the Czech Republic and as a lecturer at the faculty of mathematics and physics at the Charles University in Prague and at the Faculty of NuclearSciences and Physical Engineering of the Czech Technical University in Prague.AcademicsPetr Hájek studied at the faculty of mathematics and physics of theCharles University in Prague. Influenced by Petr Vopěnka, he specialized in set theory and arithmetic, and later also in logic and artificial intelligence. Hecontributed to establishing the mathematical fundamentals of fuzzy logic. Following the Velvet Revolution, he was appointed a senior lecturer (1993) and aprofessor (1997). From 1992 to 2000 he held the position of chairman of the Institute of Computer Science at the Academy of Sciences of the Czech Republic.From 1996 to 2003 he was also president of the Kurt Gödel Society.Later, he graduated from the Academy of Performing Arts in Prague, where he studied thepipe organ under Jiří Reinberger to become an organ player in a church.Awards2002, Medal of the Minister of Education of the Czech Republic2006, Medal ofMerit, third grade, in the area of sciences by President of the Czech Republic Václav Klaus2008, doctor honoris causa from Silesian University inOpavaPapersHájek, Petr; Kalášek, Pavel; Kůrka, Petr (1960). O dynamické logice. Praha: Academia.Vopěnka, Petr; Hájek, Petr (1972). The Theory of Semisets.Trans. Jech, T. and Rousseau, G. Praha: Academia.Hájek, Petr; Havránek, Tomáš; Chytil, Metoděj K. (1983). Metoda GUHA: automatická tvorba hypotéz. Praha:Academia.Hájek, Petr; Pudlák, Pavel (1993). Metamathematics of First-Order Arithmetic. Berlin: Springer.See alsoSemisetPassage 8:Three StrangersThree"}
+{"doc_id":"doc_193","qid":"","text":"Passage 1:Sarre Anglo-Saxon cemeterySarre Anglo-Saxon cemetery is a place of burial that was used in the sixth and seventh centuries CE.BackgroundWith theadvent of the Anglo-Saxon period in the fifth century CE, the area that became Kent underwent a radical transformation on a political, social, and physical level.In the preceding era of Roman Britain, the area had been administered as the civitas of Cantiaci, a part of the Roman Empire, but following the collapse of Romanrule in 410 CE, many signs of Romano-British society began to disappear, replaced by those of the ascendant Anglo-Saxon culture. Later Anglo-Saxon accountsattribute this change to the widescale invasion of Germanic language tribes from northern Europe, namely the Angles, Saxons, and Jutes. Archaeological andtoponymic evidence shows that there was a great deal of syncretism, with Anglo-Saxon culture interacting and mixing with the Romano-British culture.The OldEnglish term Kent first appears in the Anglo-Saxon period, and was based on the earlier Celtic-language name Cantii. Initially applied only to the area east of theRiver Medway, by the end of the sixth century it also referred to areas to the west of it. The Kingdom of Kent was the first recorded Anglo-Saxon kingdom toappear in the historical record, and by the end of sixth century, it had become a significant political power, exercising hegemony over large parts of southern andeastern Britain. At the time, Kent had strong trade links with Francia, while the Kentish royal family married members of Francia's Merovingian dynasty, who werealready Christian. Kentish King Æthelberht was the overlord of various neighbouring kingdoms when he converted to Christianity in the early seventh century as aresult of Augustine of Canterbury and the Gregorian mission, who had been sent by Pope Gregory to replace England's pagan beliefs with Christianity. It was inthis context that the Polhill cemetery was in use.Kent has a wealth of Early Medieval funerary archaeology. The earliest excavation of Anglo-Saxon Kentish graveswas in the 17th century, when antiquarians took an increasing interest in the material remains of the period. In the ensuing centuries, antiquarian interest gaveway to more methodical archaeological investigation, and prominent archaeologists like Bryan Faussett, James Douglas, Cecil Brent, George Payne, and CharlesRoach Smith \"dominated\" archaeological research in Kent.Archaeological investigationThe existence of Sarre was not noted by any of the early antiquarians whostudied the Anglo-Saxon cemeteries of Kent. Sarre cemetery was discovered in 1843, and re-examined in 1860, when a number of artefacts were discoveredduring construction work at Sarre windmill, subsequently being purchased by the British Museum. It was excavated in 1863 by the Kent Archaeological Society, ina project directed by John Brent, who published his findings in the Archaeologia Cantiana journal. Aided by two workmen, he used a metal probe to determine thelocations of the graves.After this excavation, which was believed to have been total, the cemetery was relegated to \"the history of archaeology\", being considered“arguably the richest Anglo-Saxon burial ground yet discovered”. It was not scheduled as an Ancient Monument.In 1982, an excavation of the supposed site of St.Giles took place under the directorship of D.R.J. Perkins, revealing Anglo-Saxon graves around 50 metres away from Brent's excavated area. This led Perkins toreview the original cemetery plan, and undertake aerial photography of the site; this suggested that there were various features that Brent had not revealed, andthat the cemetery was larger than previously believed. It was decided that further excavation of the site was necessary, with the cooperation of the landowners,Church Commissioners, as well as the local farmer, Michael Baxter.In May 1991, Southern Water commenced a sewage construction near the site, and funded arescue excavation of the area from the Trust for Thanet Archaeology.See alsoList of Anglo-Saxon cemeteriesBuckland Anglo-Saxon cemeteryFingleshamAnglo-Saxon cemeteryMill Hill Anglo-Saxon cemeteryPassage 2:William Rockhill NelsonWilliam Rockhill Nelson (March 7, 1841 – April 13, 1915) was an Americanreal estate developer and co-founder of The Kansas City Star in Kansas City, Missouri.  He donated his estate (and home) for the establishment of theNelson-Atkins Museum of Art.He is buried at Mt. Washington Cemetery with his wife, daughter and son-in-law.Early lifeNelson was born in Fort Wayne, Indiana.His father was publisher Isaac De Groff Nelson (1810–1891) and his mother was Elizabeth Rockhill (1816–1889), the daughter of William R. Rockhill, animportant farmer and politician in Fort Wayne, Indiana. For a short time, Isaac Nelson owned The Sentinel newspaper (which became the Fort Wayne NewsSentinel). But I.D.G. Nelson, as he was fondly known for many years in Fort Wayne, was much more renowned as a nursery owner. His own estate, \"Elm Park\",was considered \"the showplace of Allen County.\"Nelson, as a 15-year-old attended the University of Notre Dame (which accepted high school students) at thetime for two years which he described as \"Botany Bay for bad boys.\" Notre Dame was reported to have asked that he not return.He was admitted to the bar in1862 and was a campaign manager for Democratic presidential nominee Samuel J. Tilden. Tilden told him: \"While it is a great thing to lead armies, it is a greaterthing to lead the minds of men.\"Nelson attempted to run a store in Savannah, Georgia but it failed. The southern sojourn was to earn him the nickname \"TheColonel\" even though he never served in the military. William Allen White said later: \"Not that he was ever a colonel of anything...He was justcoloneliferous.\"NewspapersNelson formally took over the Sentinel with Samuel Morss in 1879. In 1880 they moved to Kansas City and started the Star. At thetime there were three daily competitors – the Evening Mail; The Kansas City Times; and the Kansas City Journal. Nelson took over sole ownership of the paperwithin a few months.Nelson's business strategy called for cheap advance subscriptions and an intention to be \"absolutely independent in politics, aiming to dealby all men and all parties with impartiality and fearlessness.\"He purchased the Kansas City Evening Mail and its Associated Press franchise in 1882 and started theWeekly Kansas City Star in 1890 and the Sunday Kansas City Star in 1894. Nelson bought the Times in 1901, putting The Morning Kansas City Star on it.Nelsonhad portraits of Tilden, Grover Cleveland, and Theodore Roosevelt in his office. Roosevelt stayed with Nelson at Oak Hall.In one encounter, Kansas City MayorJoseph J. Davenport was thrown down a stairwell at the Star building by editors (including William Allen White) when he was believed to have physicallythreatened Nelson. Nelson said afterwards, \"The Star never loses!\"Other interestsIn addition to his newspaper duties, Nelson developed an area of farmland southof downtown Kansas City into a neighborhood of more than 100 houses, including his own mansion called Oak Hall. The area, which became known as the RockhillDistrict, was noted for its use of limestone in both the houses and in stone walls that stood beside the streets  Nelson also acquired more than 2,400 acres (9.7km2) in what is presently Grain Valley, Missouri, for the establishment of Sni A Bar Farm.  The farm's mission was the development of improved breedingmethods and livestock.  It served as one of the world's leaders in animal health for more than 30 years.He campaigned for Kansas City's George Kessler-designedpark and boulevard system and the 1900 “Kansas City Spirit” to build Convention Hall in 90 days in order to host the 1900 Democratic National Convention afterthe original (and new) convention hall had burned in April 1900.LegacyNelson provided in his will that following the death of his wife and daughter his Oak Hillmansion be torn down and its 30-acre (120,000 m2) estate turned into an art museum.  Proceeds from his $6 million estate were used to build the Nelson-AtkinsMuseum of Art in Kansas City.  Nelson's will also established a trust for Sni A Bar Farm, with Presidents from the University of Missouri, the University of Kansas,and the University of Oklahoma charged with selecting its trustees.The Art Gallery originally contained a recreation of Nelson's oak paneled room from Oak Hall(and namesake of the estate). The room contained Nelson's red plush easy chair and bookcases.  The room was dismantled in 1988 to make way for aphotography studio. His memorial is located in a mausoleum located at Mount Washington Cemetery in Independence, Missouri, between Truman Road and USRoute 24.Passage 3:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnicgroup.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called\"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\"(Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland(2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of severalpolitical groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country(disambiguation)Passage 4:Meritites IMeritites I was an ancient Egyptian queen of the 4th Dynasty. Her name means \"Beloved of her Father\". Several of her titlesare known from a stela found at Giza. She was buried in the middle Queen’s Pyramid in Giza (Pyramid G 1b).Meritites was a daughter of King Sneferu and hisconsort of unknown name. Meritites married her (half?-)brother, King Khufu. With Khufu, she was the mother of the Crown Prince Kawab, and possibly Djedefre.Both Queen Hetepheres II and Pharaoh Khafre have been suggested as children of Meretites I and Khufu as well, and it is possible that Meritites II was a daughterof Meritites I as well.Auguste Mariette recorded a stela at Giza in which Meritites is said to be a favorite of both Sneferu and Khufu:King’s wife, his beloved,devoted to Horus, Mertitytes. King’s wife, his beloved, Mertitytes; beloved of the Favorite of the Two Goddesses; she who says anything whatsoever and it is donefor her. Great in the favor of Snefr[u]; great in the favor of Khuf[u], devoted to Horus, honored under Khafre. Merti[tyt]es. [Breasted]Meritites held the titles:\"great one of the hetes-sceptre of Khufu\" (Weret-hetes-net-Khufu, wrt-hetes-nt-khwfw), great one of the hetes-sceptre of Snofru (Weret-hetes-net-snofru,wrt-hetes-nt-snfrw), king’s wife, his beloved (Hemet-nesu Meritef, hmt-nsw meryt.f), attendant of Horus (Khet-heru, kht-hrw) and consort and beloved of theTwo Ladies (Semayt-meri-nebti, sm\u0000yt-mry-nbty).PyramidPyramid G1-b is thought to be the tomb of Meritites. The queen's pyramids were often constructed to"}
+{"doc_id":"doc_194","qid":"","text":"Passage 1:Hermann GöringHermann Wilhelm Göring (or Goering; German: [\u0000h\u0000\u0000man \u0000v\u0000lh\u0000lm \u0000\u0000ø\u0000\u0000\u0000ŋ] (listen); 12 January 1893 – 15 October 1946)was a German politician, military leader, and convicted war criminal. He was one of the most powerful figures in the Nazi Party, which ruled Germany from 1933to 1945.A veteran World War I fighter pilot ace, Göring was a recipient of the Pour le Mérite (\"The Blue Max\"). He was the last commander of Jagdgeschwader 1(JG I), the fighter wing once led by Manfred von Richthofen. An early member of the Nazi Party, Göring was among those wounded in Adolf Hitler's failed BeerHall Putsch in 1923. While receiving treatment for his injuries, he developed an addiction to morphine which persisted until the last year of his life. After Hitlerbecame Chancellor of Germany in 1933, Göring was named as minister without portfolio in the new government. One of his first acts as a cabinet minister was tooversee the creation of the Gestapo, which he ceded to Heinrich Himmler in 1934.Following the establishment of the Nazi state, Göring amassed power andpolitical capital to become the second most powerful man in Germany. He was appointed commander-in-chief of the Luftwaffe (air force), a position he held untilthe final days of the regime. Upon being named Plenipotentiary of the Four Year Plan in 1936, Göring was entrusted with the task of mobilizing all sectors of theeconomy for war, an assignment which brought numerous government agencies under his control. In September 1939, Hitler designated him as his successor anddeputy in all his offices. After the Fall of France in 1940, he was bestowed the specially created rank of Reichsmarschall, which gave him seniority over all officersin Germany's armed forces.By 1941, Göring was at the peak of his power and influence. As the Second World War progressed, Göring's standing with Hitler andwith the German public declined after the Luftwaffe proved incapable of preventing the Allied bombing of Germany's cities and resupplying surrounded Axis forcesin Stalingrad. Around that time, Göring increasingly withdrew from military and political affairs to devote his attention to collecting property and artwork, much ofwhich was stolen from Jewish victims of the Holocaust. Informed on 22 April 1945 that Hitler intended to commit suicide, Göring sent a telegram to Hitlerrequesting his permission to assume leadership of the Reich. Considering his request an act of treason, Hitler removed Göring from all his positions, expelled himfrom the party, and ordered his arrest. After the war, Göring was convicted of conspiracy, crimes against peace, war crimes, and crimes against humanity at theNuremberg trials in 1946. He was sentenced to death by hanging but committed suicide by ingesting cyanide hours before the sentence was to be carriedout.Early life and educationGöring was born on 12 January 1893 at the Marienbad Sanatorium in Rosenheim, Bavaria. His father, Heinrich Ernst Göring (31October 1839 – 7 December 1913), a former cavalry officer, had been the first governor-general of German South West Africa (modern-day Namibia). Heinrichhad three children from a previous marriage. Göring was the fourth of five children by Heinrich's second wife, Franziska Tiefenbrunn (1859–15 July 1943), aBavarian peasant. Göring's elder siblings were Karl, Olga, and Paula; his younger brother was Albert. At the time that Göring was born, his father was serving asconsul general in Haiti, and his mother had returned home briefly to give birth. She left the six-week-old baby with a friend in Bavaria and did not see the childagain for three years, when she and Heinrich returned to Germany.Göring's godfather was Hermann Epenstein, a wealthy Jewish physician and businessman hisfather had met in Africa. Epenstein provided the Göring family, who were surviving on Heinrich's pension, first with a family home in Berlin-Friedenau, and then asmall castle called Veldenstein, near Nuremberg. Göring's mother became Epenstein's mistress around this time, and remained so for some fifteen years.Epenstein acquired the minor title of Ritter (knight) von Epenstein through service and donations to the Crown.Interested in a career as a soldier from a veryearly age, Göring enjoyed playing with toy soldiers and dressing up in a Boer uniform his father had given him. He was sent to boarding school at age eleven,where the food was poor and discipline was harsh. He sold a violin to pay for his train ticket home, and then took to his bed, feigning illness, until he was told hewould not have to return. He continued to enjoy war games, pretending to lay siege to the castle Veldenstein and studying Teutonic legends and sagas. Hebecame a mountain climber, scaling peaks in Germany, at the Mont Blanc massif, and in the Austrian Alps. At age 16, he was sent to a military academy at BerlinLichterfelde, from which he graduated with distinction.Göring joined the Prince Wilhelm Regiment (112th Infantry, Garrison: Mülhausen) of the Prussian Army in1912. The next year his mother had a falling-out with Epenstein. The family was forced to leave Veldenstein and moved to Munich; Göring's father died shortlyafterwards. It was in Bavaria where Göring developed his \"romantic sense of Germanness\" that further evolved under National Socialism. When World War Ibegan in August 1914, Göring was stationed at Mülhausen with his regiment.World War IDuring the first year of World War I, Göring served with his infantryregiment in the area of Mülhausen, a garrison town less than 2 km from the French frontier. He was hospitalized with rheumatism, a result of the damp of trenchwarfare. While he was recovering, his friend Bruno Loerzer convinced him to transfer to what would become, by October 1916, the Luftstreitkräfte (transl. aircombat forces) of the German army, but his request was turned down. Later that year, Göring flew as Loerzer's observer in Feldflieger Abteilung 25 (FFA 25);Göring had informally transferred himself. He was discovered and sentenced to three weeks' confinement to barracks, but the sentence was never carried out. Bythe time it was supposed to be imposed, Göring's association with Loerzer had been made official. They were assigned as a team to FFA 25 in the Crown Prince'sFifth Army. They flew reconnaissance and bombing missions, for which the Crown Prince invested both Göring and Loerzer with the Iron Cross, first class.Aftercompleting the pilot's training course, Göring was assigned to Jagdstaffel 5. Seriously wounded in the hip in aerial combat, he took nearly a year to recover. Hethen was transferred to Jagdstaffel 26, commanded by Loerzer, in February 1917. He steadily scored air victories until May, when he was assigned to commandJagdstaffel 27. Serving with Jastas 5, 26 and 27, he continued to win victories. In addition to his Iron Crosses (1st and 2nd Class), he received the Zähringer Lionwith swords, the Friedrich Order, the House Order of Hohenzollern with swords third class, and finally, in May 1918, the coveted Pour le Mérite. According toHermann Dahlmann, who knew both men, Göring had Loerzer lobby for the award. He finished the war with 22 victories. A thorough post-war examination ofAllied loss records showed that only two of his awarded victories were doubtful. Three were possible and 17 were certain, or highly likely.On 7 July 1918, followingthe death of Wilhelm Reinhard, successor to Manfred von Richthofen, Göring was made commander of the \"Flying Circus\", Jagdgeschwader 1. His arrogance madehim unpopular with the men of his squadron.In the last days of the war, Göring was repeatedly ordered to withdraw his squadron, first to Tellancourt airdrome,then to Darmstadt. At one point, he was ordered to surrender the aircraft to the Allies; he refused. Many of his pilots intentionally crash-landed their planes tokeep them from falling into enemy hands.Like many other German veterans, Göring was a proponent of the stab-in-the-back myth, the belief which held that theGerman Army had not really lost the war, but instead was betrayed by the civilian leadership: Marxists, Jews, and especially the republicans, who had overthrownthe German monarchy. Atop the frustration of military defeat, Göring also experienced the personal disappointment of being snubbed by his fiancée's upper-classfamily, who broke off the engagement when he returned penniless from the front.After World War IGöring remained in aviation after the war. He triedbarnstorming and briefly worked at Fokker. After spending most of 1919 living in Denmark, he moved to Sweden and joined Svensk Lufttrafik, a Swedish airline.Göring was often hired for private flights. During the winter of 1920–1921, he was hired by Count Eric von Rosen to fly him to his castle from Stockholm. Invitedto spend the night, Göring may at this time have first seen the swastika emblem, which Rosen had set in the chimney piece as a family badge.This was also thefirst time that Göring saw his future wife; the count introduced his sister-in-law, Baroness Carin von Kantzow (née Freiin von Fock). Estranged from her husbandof 10 years, she had an eight-year-old son. Göring was immediately infatuated and asked her to meet him in Stockholm. They arranged a visit at the home of herparents and spent much time together through 1921, when Göring left to study political science at the University of Munich. Carin obtained a divorce, followedGöring to Munich, and married him on 3 February 1922. Their first home together was a hunting lodge at Hochkreuth in the Bavarian Alps, near Bayrischzell,some 80 kilometres (50 mi) from Munich. After Göring met Adolf Hitler and joined the Nazi Party in 1922, they moved to Obermenzing, a suburb of Munich.EarlyNazi careerGöring joined the Nazi Party in 1922 after hearing a speech by Hitler. He was given command of the Sturmabteilung (SA) as the Oberster SA-Führer in1923. He was later appointed an SA-Gruppenführer (Lieutenant general) and held this rank on the SA rolls until 1945. At this time, Carin—who liked Hitler—oftenplayed hostess to meetings of leading Nazis, including her husband, Hitler, Rudolf Hess, Alfred Rosenberg, and Ernst Röhm. Hitler later recalled his earlyassociation with Göring:I liked him. I made him the head of my SA. He is the only one of its heads that ran the SA properly. I gave him a dishevelled rabble. In avery short time he had organised a division of 11,000 men.Hitler and the Nazi Party held mass meetings and rallies in Munich and elsewhere during the early1920s, attempting to gain supporters in a bid for political power. Inspired by Benito Mussolini's March on Rome, the Nazis attempted to seize power on 8–9November 1923 in a failed coup known as the Beer Hall Putsch. Göring, who was with Hitler leading the march to the War Ministry, was shot in the groin.Fourteen Nazis and four policemen were killed; many top Nazis, including Hitler, were arrested. With Carin's help, Göring was smuggled to Innsbruck, where hereceived surgery and was given morphine for the pain. He remained in hospital until 24 December. This was the beginning of his morphine addiction, which lasteduntil his imprisonment at Nuremberg. Meanwhile, the authorities in Munich declared Göring a wanted man. The Görings—acutely short of funds and reliant on thegood will of Nazi sympathizers abroad—moved from Austria to Venice. In May 1924 they visited Rome, via Florence and Siena. Sometime in 1924, Göring met"}
+{"doc_id":"doc_195","qid":"","text":"Passage 1:Anna of Brunswick-Grubenhagen-EinbeckAnna of Brunswick-Grubenhagen-Einbeck (1414 – 4 April 1474) was a daughter of Duke Eric I of Brunswick-Grubenhagen and his wife, Elisabeth of Brunswick-Göttingen.Anna's first marriage was with Duke Albert III of Bavaria.  They had the following children:John IV (1437–1463), Duke of BavariaErnest (1438–1460)Sigismund of Bavaria (1439–1501)Albert (1440–1445)Margaretha (1442–1479), married in 1463 with Marquess Frederick I of Mantua (1441–1484)Elisabeth (1443–1484), married in 1460 with Elector Ernest of Saxony (1441–1486)Albert IV (1447–1508)Christopher (1449–1483)Wolfgang (1451–1514)Barbara, a nun in MunichAfter Albert's death, she married Duke Frederick III of Brunswick-Calenberg-Göttingen.  This marriage remained childless.== Ancestors ==Passage 2:Charles William Ferdinand, Duke of BrunswickCharles William Ferdinand (German: Karl Wilhelm Ferdinand; 9 October 1735 – 10 November 1806) was the Prince of Brunswick-Wolfenbüttel and Duke of Brunswick-Lüneburg and a military leader. His titles are usually shortened to Duke of Brunswick in English-language sources.He succeeded his father as sovereign prince of the Principality of Brunswick-Wolfenbüttel, one of the princely states of the Holy Roman Empire. The duke was a cultured and benevolent despot in the model of his uncle, Frederick the Great, and was married to Princess Augusta, the eldest sister of George III of Great Britain. He was also a recognized master of 18th century warfare, serving as a Field Marshal in the Prussian Army. During the Napoleonic Wars, he was mortally wounded by a musket ball at the Battle of Jena–Auerstedt in 1806.Early lifeCharles William Ferdinand was born in the town of Wolfenbüttel on 9 October 1735, probably in Wolfenbüttel Castle. He was the first-born son of Charles I, Duke of Brunswick-Wolfenbüttel and his wife Philippine Charlotte.His father Charles I was the ruling prince (German: Fürst) of the small state of Brunswick-Wolfenbüttel, one of the imperial states of the Holy Roman Empire. Philippine Charlotte was the favourite daughter of King Frederick William I of Prussia and sister of Frederick II of Prussia (Frederick the Great). As the heir apparent of a sovereign prince, Charles William Ferdinand received the title of Hereditary Prince (German: Erbprinz).He received an unusually wide and thorough education, overseen by his mother. In his youth he travelled in the Netherlands, France and various parts of Germany. In 1753, his father moved the capital of the principality back to Brunswick (German: Braunschweig), the state's largest city. (Wolfenbüttel had been the capital since 1432.) The royal family moved into the newly built Brunswick Palace.Early military careerCharles William Ferdinand entered the military, serving during the Seven Years' War of 1756–63. He joined the allied north-German forces of the Hanoverian Army of Observation, whose task was to protect Hanover (in personal union with the Kingdom of Great Britain) and the surrounding states from invasion by the French. The force was initially commanded by the Anglo-Hanoverian Prince William, Duke of Cumberland. At the Battle of Hastenbeck (1757) Charles William Ferdinand led a charge at the head of an infantry brigade, an action which gained him some renown.The subsequent French Invasion of Hanover and Convention of Klosterzeven of 1757 temporarily knocked Hanover out of the war (they were to return the following year). Cumberland was recalled to Britain and the remaining allied north-German forces were placed under the command of Ferdinand of Brunswick, brother of Charles I, who easily persuaded his nephew Charles William Ferdinand to renew his military service as a general officer.Charles William Ferdinand was part of the allied Anglo-German force at the Battle of Minden (1759), and the Battle of Warburg (1760). Both were decisive victories over the French, during which he proved himself an excellent subordinate commander. He continued to serve in the army commanded by his uncle for the remainder of the war, which was generally successful for the north German forces. The hereditary prince's reputation improved throughout, and he became an acknowledged master of irregular warfare. Peace was restored in 1763.Marriage and travelsThe royal houses of the former Duchy of Brunswick-Lüneburg had traditionally married within the family, to avoid further division of their family lands under Salic law. By the time, Brunswick-Lüneburg had consolidated back into two states, Brunswick-Wolfenbüttel and the Electorate of Brunswick-Lüneburg (Hanover). The electorate was ruled by the Hanoverian branch of the family in personal union with the Kingdom of Great Britain. It was therefore arranged for Charles William Ferdinand to marry a British-Hanoverian princess: Princess Augusta of Great Britain, daughter of Frederick, Prince of Wales and his wife, Princess Augusta of Saxe-Gotha, and sister of the reigning King George III.In 1764, shortly after the Seven Years' War had ended, he travelled to London (landing at Harwich) to marry Princess Augusta. He received a rapturous welcome from the British people, thanks to his service with allied British troops during the war. The Parliament of Great Britain showed its gratitude by voting him a lump sum of £80,000 and an annual income of £3,000 as a wedding gift. However George III was less welcoming, and sought to express his displeasure through numerous small insults e.g. by lodging the prince at Somerset House, instead of one of the royal palaces; not providing him with a military guard; and instructing the servants at the wedding to wear old clothes. This merely served to exacerbate the enthusiasm of the public, particularly when the prince was suspected of turning his back on the unpopular monarch whilst attending an opera (a breach of social protocol). Charles William Ferdinand defied royal displeasure by meeting William Pitt the Elder (who had been prime minister during the war but resigned in 1761) and the other leaders of the parliamentary opposition. The wedding was completed, but as a result of these machinations the prince remained in Britain for only thirteen days.Over the next few years the couple embarked on a wide-ranging tour of Europe, visiting many of the major states. In 1766 they went to France, where they were received by both his allies and recent battlefield enemies with respect. In Paris he made the acquaintance of Marmontel. The couple next proceeded to Switzerland, where they met Voltaire. The longest stop on their travels was Rome, where they remained for a long time exploring the antiquities of the city under the guidance of Johann Winckelmann. During their travels the couple also met Pietro Nardini and in 1767 the prince had his portrait painted by Pompeo Batoni. After a visit to Naples they returned to Paris, and thence to Brunswick.Ruler of Brunswick-WolfenbüttelRestoration of state financesHis father, Charles I, had been an enthusiastic supporter of the war, but nearly bankrupted the state paying for it. As a result, in 1773 Charles William Ferdinand was given a major role in reforming the economy with the assistance of the Geheimrat, Féronce von Rotenkreuz. They were highly successful, restoring the state's finances and improving the economy. This made the prince hugely popular in the duchy.When the American Revolutionary War broke out in 1775, Charles William Ferdinand saw an opportunity to replenish the state's treasury by renting its well-trained army to Great Britain. In 1776, Charles I signed a treaty supporting Britain in the war, the first prince to do so. Under the terms of this treaty, Brunswick-Wolfenbüttel supplied 4,000 troops for service with the British armies in America, under the command of general Friedrich Adolf Riedesel. Riedesel was given command of all the German troops serving in the Saratoga campaign, under British general John Burgoyne. Burgoyne was defeated in the Battles of Saratoga (1777), and his troops were taken captive as the Convention Army. Although the terms of surrender allowed the Convention Army to give their parole and return to Europe, the American Continental Congress revoked the convention. The Convention Army was kept in captivity until the war ended in 1783.ReignCharles I died in 1780, at which point Charles William Ferdinand inherited the throne. He soon became known as a model sovereign, a typical enlightened despot of the period, characterized by economy and prudence.The duke's combination of interest in the well-being of his subjects and habitual caution led to a policy of gradual reforms, a successful middle way between the conservatism of some contemporary monarchs and the over-enthusiastic wholesale changes pursued by others. He sponsored enlightenment arts and sciences; most notably he was patron to the young mathematician Carl Friedrich Gauss, paying for him to attend university against the wishes of Gauss' father.He resembled his uncle Frederick the Great in many ways, but he lacked the resolution of the king, and in civil as in military affairs was prone to excessive caution. He brought Brunswick into close alliance with the king of Prussia, for whom he had fought in the Seven Years' War; he was a Prussian field marshal, and was at pains to make the regiment of which he was colonel a model one.The duke was frequently engaged in diplomatic and other state affairs. In August 1784 he hosted a secret diplomatic visit from Karl August, Duke of Saxe-Weimar and Saxe-Eisenach (Goethe was a member of Karl August's entourage). The visit was disguised as a family visit, but was in fact to discuss the formation of a league of small- and mid-sized German states as a counterbalance within the Holy Roman Empire to Habsburg monarchy's ambitions to trade the Austrian Netherlands for the Electorate of Bavaria. This Fürstenbund (League of Princes) was formally announced in 1785, with the Duke of Brunswick as one of its members and commander of its military forces. The league was successful in forcing the Austrian Joseph II to back down, and thereafter became obsolete.The Swedish princess and diarist Hedwig Elizabeth Charlotte visited Brunswick in 1799; she described the Duke as \"witty, literal and a pleasant acquaintance but ceremonial beyond description. He is said to be quite strict, but a good father of the nation who attends to the needs of his people.\"In 1803 the process of German Mediatisation led to the acquisition of the neighbouring imperial abbeys of Gandersheim and Helmstedt, which were secularised.Military commanderHe was made a Prussian general in 1773.War of the Bavarian SuccessionFrom 1778 to 1779 he served in the War of the Bavarian Succession. Frederick II praised the prince personally for his conduct during the war.Invasion of the NetherlandsIn 1787 the Duke was made Generalfeldmarschall (field marshal) in the Prussian army. Frederick William II of Prussia appointed him as commander of a 20,000-strong Prussian force which was to invade the United Provinces of the Netherlands (The Dutch Republic). The goal was to suppress the Patriots of the Batavian Revolution, restoring the authority of the stadtholder William V of the House of Orange. Much of the country was in open revolt against William, whose personal troops were unable to quell the Patriot militias and the various Dutch provinces refused to aid him.The Encyclopædia Britannica described "}
+{"doc_id":"doc_196","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directingepisodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family,Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart inHiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levinworked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when hewas drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long WharfTheatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey DavisLevin and was also an associate artist of The Interact Theatre Company.Passage 2:CRD (film)CRD is a 2016 drama-romance Indian film by National AwardWinning Director Kranti Kanade written with Yuva Sahitya Akademi Award Winning Dramatist Dharmakirti Sumant. Set in the world of College Theatre, it probesfascism and fierce competition in arts.PlotA Young Dramatist rebels against his fascist Tutor to form his troop of misfits – aiming to win a prestigious theatrecompetition and trying to find the hardest thing of all: his voice. Inspired by real life event 'Purushottam' Theatre Competition in Pune, India.CastMrinmayeeGodbole as PersisVinay Sharma as MayankSaurabh Saraswat as ChetanAbhay Mahajan as NetraIsha Keskar as DiptiGeetika Tyagi as VeenaMohit Takalkar asSeniorProductionThe preparation and improvisation of the actors went on for 4 months before the principal photography began in November 2014 and continuedover the next six months resulting in 63 days of shooting. The editing took eight months and the music and sound design took further six months. The film wasentirely shot on locations in Pune. It was executive and line produced by Ashwini Paranjape for Kanade Films and Chaitra Arts. Director of photography was DanielKatz whose short film Curfew had won Oscar.Critical responseCRD has received favourable critical reception around the world.Robert Abele in The Los AngelesTimes says,\"Indian film 'CRD' enchanting, audacious, indefinable and infectious.\" Sheri Linden in The Hollywood Reporter says, \"CRD is entrancing, vibrant,irreverent and category-defying! Kanadé an assured visual stylist!\" LA Weekly says, \"Allusive, elusive and by turns funny, romantic and tragic, CRD is a film tunedto the pitch of the artist's heart.\" ScreenAnarchy says, \"CRD, An Ethereal Exercise In Art.” Film critic Namrata Joshi, in The Hindu says, “Subversive and fearless,Kanadé breaks all rules of filmmaking in creating CRD, which boldly goes where no Indian film has gone before.” Author and critic Naman Ramachandran says,\"This astonishing film heralds the arrival of a bold new voice in world cinema where all limits are breached and boundaries crossed. Be prepared for a breathtakingjourney, the likes of which you've never been on before.\" Saibal Chatterjee, NDTV says “A path-breaking film. Refreshingly original and delightfully whimsical.CRD is classy, satisfying and magnificently inventive package.” Nandini Ramnath, Scroll says “Outstanding, a superbly performed drama about theatre art andlife.\" Trisha Gupta, Firstpost says “Masterful and sharp, CRD displays both political and aesthetic courage, constantly moving between lyrical intensity and playfulsubversion.” Rahul Desai, Film Companion says “CRD is hypnotic. The less sense it makes, the more we can’t stop watching it (Roger Ebert’s words apply here).May be this is what auteurs are about.” Reza Noorani in The Times of India says \"CRD is brave with a twisted sense of humour.\" Business Standard says \"CRDredefines cinema space.\" Hindustan Times says \"CRD is vibrant and appealing.\" Shubhra Gupta in The Indian Express says \"CRD is spectacular and refreshing inits willingness to go down paths less trodden.\" CRD is mentioned in Scroll's list of \"The movies of the decade that dared to dream differently.\"Further readinghttps://deadline.com/2016/10/exclusive-trailer-for-acclaimed-indian-drama-crd-1201837045/https://www.tribuneindia.com/news/archive/entertainment/big-little-films-get-going-485010Passage 3:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and TelevisionSchool. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a filmdirector, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor AlexanderBlankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 withhigh honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film TheLoners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International FilmFestival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. Thedepartment encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam SpiegelInternational Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debutfilm, Sam Spiegel; director and screenwriter, 2006)Passage 4:Kranti KanadeKranti Kanade is a National Award winning Indian filmmaker. His films include PeepalTree, CRD (film), Gandhi of the Month, Mahek and Chaitra. He studied at UCLA (University of California, Los Angeles) and FTII (Film and Television Institute ofIndia).FilmsPeepal TreeBased on true events, it deals with the issue of illegal tree killings in India. When a Police Academy cuts Sacred Trees, a concerned Familyconfronts them only to learn it is a non-cognizable offense without penal provision. They approach a Tree Activist who saves trees by all means. The communitygathers under the tree at night to protect it but it is not that simple.\"CRDSet in the world of College Theatre, CRD probes fascism and fierce competition in artswith a wildly innovative narrative style. It released theatrically in US and India to major critical acclaim and commercial success gaining 100% rating on RottenTomatoes. Los Angeles Times called it \"Enchanting, audacious and infectious\"  and acclaimed film critic Namrata Joshi of The Hindu called it \"Brilliant, subversiveand fearless, it boldly goes where no Indian film has gone before.\" It was in the top Ten Best Hindi films of 2017 list by The Hindu, Top Ten list of Huffington Postcritic Murtaza Ali Khan,  and was included in the top ten films of the decade list of Scroll.in critic Nandini Ramnath calling it \"The decade in Bollywood: The moviesthat dared to dream differently. Most enduring and endearing films made between 2010 and 2019.\"Gandhi of the MonthGandhi of the Month stars legendary actorHarvey Keitel, Neeraj Kabi and other major Indian actors. It is about an American schoolmaster in India struggling to protect his students from fundamentalists.The screenplay, earlier called 'Against Itself' won the Film Fund Grant by the Indian Film Festival of Los Angeles. The jury included Gill Dennis (Walk The Line),Anurag Kashyap (Gangs Of Wasseypur) and Sooni Taraporevala (Salaam Bombay). The script was mentored by Oscar winner Danis Tanovic (No Man's Land),Bernd Lichtenberg (Good Bye Lenin!), Olivia Hetreed (Girl With A Pearl Earring) and Anjum Rajabali (Rajneeti).MahekMahek, a children's film, is about 11-yr oldgirl who dreams of becoming the very best at everything, but is unsure of how to achieve her goals. It premiered at the BFI London Film Festival to affectionatereviews. Film Scholar & Writer Rachel Dwyer called it \"A Gem of a film\", Critic & Writer Maithili Rao called it \"A rare combination of sensitivity and gentle humour.\"Invited to festivals around the world, it received awards in Hollywood and Houston. It was Best Children's Film Nominee at the Asia Pacific Screen Awards inAustralia  and shown as part of syllabus at Otterbein University in US.ChaitraChaitra, is based on a story by legendary Marathi author G. A. Kulkarni. Set in thetraditional haldi-kunku festival, it intertwines themes of poetic justice and destiny. It won five National Film Awards including Best Short Film, Best Music for ShortFilm (Pt Bhaskar Chandavarkar) and Special Jury Award for Acting (Sonali Kulkarni). It won two National Awards at MIFF Film Festival.Passage 5:Jason Moore(director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville,Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during itsoriginal run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at theVineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore alsodirected productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias andShrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera atCarnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of theCity. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore hasdirected episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with PaulFitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte, North Carolina RepertoryTheatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany"}
+{"doc_id":"doc_197","qid":"","text":"Passage 1:Michelangelo FaggioliMichelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitandialect. A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706.Passage 2:Walter Robinson (composer)WalterRobinson is an American composer of the late 20th century. He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicianssuch as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 3:Nocturne (Britten)Nocturne, Op. 60, is a song cycle byBenjamin Britten, written for tenor, seven obbligato instruments and strings. The seven instruments are flute, cor anglais, clarinet, bassoon, harp, French hornand timpani.Nocturne was Britten's fourth and final orchestral song cycle, after Our Hunting Fathers (Op. 8, 1936), Les Illuminations (Op. 18, 1939) andSerenade for Tenor, Horn and Strings (Op. 31, 1943). It was dedicated to Alma Mahler.Nocturne was premiered in the Leeds Town Hall at the centenary LeedsFestival on 16 October 1958 by Peter Pears and the BBC Symphony Orchestra conducted by Rudolf Schwarz. Britten conducted a recording at WalthamstowAssembly Hall in 1960 with Pears, the London Symphony Orchestra and William Waterhouse (bassoon), Alexander Murray (flute), Gervase de Peyer (clarinet),Roger Lord (cor anglais), Osian Ellis (harp), Barry Tuckwell (horn), and Denis Blyth (timpani).The theme of the piece, as its name Nocturne suggests, is sleep anddarkness, both in the literal and figurative sense. In this respect, the work is reminiscent of Britten's earlier Serenade. Unlike Serenade, Nocturne is presented asa continuous piece rather than separate movements. This is emphasised by a number of figures which occur throughout, most notably the 'rocking' string motifwhich opens the work. The conflicting tonal relationship between C and D-flat is also evident throughout, reflecting the contrast between the untroubled and themore perturbed aspects of sleep which are also described by Britten's choice of poems.StructureThe piece sets eight sections of poetry to music, eachaccompanied by strings and (with the exception of the first) by an obbligato instrument:Shelley – \"On a Poet’s Lips I Slept\" from Prometheus UnboundTennyson –\"The Kraken\", with bassoonColeridge – \"Encinctured with a twine of leaves\" from The Wanderings of Cain, with harpMiddleton – \"Midnight Bell\" from Blurt, MasterConstable, with French hornWordsworth – \"But that night when on my bed I lay\" from The Prelude (1805), with timpaniOwen – \"The Kind Ghosts\", with coranglaisKeats – \"Sleep and Poetry\", with flute and clarinetShakespeare – Sonnet XLIII, with all the obbligato instrumentsNotesExternal linksWork details, Boosey &HawkesPassage 4:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle ofoperatic soprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri(1952)Milanese in Naples (1954)Conspiracy of the Borgias (1959)Passage 5:Benjamin BrittenEdward Benjamin Britten, Baron Britten  (22 November 1913 – 4December 1976, aged 63) was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works includingopera, other vocal music, orchestral and chamber pieces. His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and theorchestral showpiece The Young Person's Guide to the Orchestra (1945).Born in Lowestoft, Suffolk, the son of a dentist, Britten showed talent from an early age.He studied at the Royal College of Music in London and privately with the composer Frank Bridge. Britten first came to public attention with the a cappella choralwork A Boy was Born in 1934. With the premiere of Peter Grimes in 1945, he leapt to international fame. Over the next 28 years, he wrote 14 more operas,establishing himself as one of the leading 20th-century composers in the genre. In addition to large-scale operas for Sadler's Wells and Covent Garden, he wrotechamber operas for small forces, suitable for performance in venues of modest size. Among the best known of these is The Turn of the Screw (1954). Recurringthemes in his operas include the struggle of an outsider against a hostile society and the corruption of innocence.Britten's other works range from orchestral tochoral, solo vocal, chamber and instrumental as well as film music. He took a great interest in writing music for children and amateur performers, including theopera Noye's Fludde, a Missa Brevis, and the song collection Friday Afternoons. He often composed with particular performers in mind. His most frequent andimportant muse was his personal and professional partner, the tenor Peter Pears; others included Kathleen Ferrier, Jennifer Vyvyan, Janet Baker, Dennis Brain,Julian Bream, Dietrich Fischer-Dieskau, Osian Ellis and Mstislav Rostropovich. Britten was a celebrated pianist and conductor, performing many of his own worksin concert and on record. He also performed and recorded works by others, such as Bach's Brandenburg Concertos, Mozart symphonies, and song cycles bySchubert and Schumann.Together with Pears and the librettist and producer Eric Crozier, Britten founded the annual Aldeburgh Festival in 1948, and he wasresponsible for the creation of Snape Maltings concert hall in 1967. In his last year, he was the first composer to be given a life peerage.Early yearsBritten wasborn in the fishing port of Lowestoft in Suffolk, on the east coast of England on 22 November 1913, the feast day of Saint Cecilia. He was the youngest of fourchildren of Robert Victor Britten (1877–1934) and his wife Edith Rhoda, née Hockey (1874–1937). Robert Britten's youthful ambition to become a farmer hadbeen thwarted by lack of capital, and he had instead trained as a dentist, a profession he practised successfully but without pleasure. While studying at CharingCross Hospital in London he met Edith Hockey, the daughter of a civil service clerk in the British Government's Home Office. They were married in September1901 at St John's, Smith Square, London.The consensus among biographers of Britten is that his father was a loving but somewhat stern and remote parent.Britten, according to his sister Beth, \"got on well with him and shared his wry sense of humour, dedication to work and capacity for taking pains.\" Edith Brittenwas a talented amateur musician and secretary of the Lowestoft Musical Society. In the English provinces of the early 20th century, distinctions of social classwere taken very seriously. Britten described his family as \"very ordinary middle class\", but there were aspects of the Brittens that were not ordinary: Edith'sfather was illegitimate, and her mother was an alcoholic; Robert Britten was an agnostic and refused to attend church on Sundays. Music was the principal meansby which Edith Britten strove to maintain the family's social standing, inviting the pillars of the local community to musical soirées at the house.When Britten wasthree months old he contracted pneumonia and nearly died. The illness left him with a damaged heart, and doctors warned his parents that he would probablynever be able to lead a normal life. He recovered more fully than expected, and as a boy was a keen tennis player and cricketer. To his mother's great delight hewas an outstandingly musical child, unlike his sisters, who inherited their father's indifference to music, while his brother, though musically talented, wasinterested only in ragtime. Edith gave the young Britten his first lessons in piano and notation. He made his first attempts at composition when he was five. Hestarted piano lessons when he was seven years old, and three years later began to play the viola. He was one of the last composers brought up on exclusively livemusic: his father refused to have a gramophone or, later, a radio in the house.EducationLowestoftWhen he was seven Britten was sent to a dame school, run bythe Misses Astle. The younger sister, Ethel, gave him piano lessons; in later life he said that he remained grateful for the excellence of her teaching. The followingyear he moved on to a prep school, South Lodge, Lowestoft, as a day boy. The headmaster, Thomas Sewell, was an old-fashioned disciplinarian; the youngBritten was outraged at the severe corporal punishments frequently handed out, and later he said that his lifelong pacifism probably had its roots in his reactionto the regime at the school. He himself rarely fell foul of Sewell, a mathematician, in which subject Britten was a star pupil. The school had no musical tradition,and Britten continued to study the piano with Ethel Astle. From the age of ten he took viola lessons from a friend of his mother, Audrey Alston, who had been aprofessional player before her marriage. In his spare time he composed prolifically. When his Simple Symphony, based on these juvenilia, was recorded in 1956,Britten wrote this pen-portrait of his young self for the sleeve note:Once upon a time there was a prep-school boy. ... He was quite an ordinary little boy ... heloved cricket, only quite liked football (although he kicked a pretty \"corner\"); he adored mathematics, got on all right with history, was scared by Latin Unseen;he behaved fairly well, only ragged the recognised amount, so that his contacts with the cane or the slipper were happily rare (although one nocturnal expeditionto stalk ghosts left its marks behind); he worked his way up the school slowly and steadily, until at the age of thirteen he reached that pinnacle of importance andgrandeur, never to be quite equalled in later days: the head of the Sixth, head-prefect, and Victor Ludorum. But – there was one curious thing about this boy: hewrote music. His friends bore with it, his enemies kicked a bit but not for long (he was quite tough), the staff couldn't object if his work and games didn't suffer.He wrote lots of it, reams and reams of it.Audrey Alston encouraged Britten to go to symphony concerts in Norwich. At one of these, during the triennial Norfolkand Norwich Festival in October 1924, he heard Frank Bridge's orchestral poem The Sea, conducted by the composer. It was the first substantial piece of modernmusic he had ever encountered, and he was, in his own phrase, \"knocked sideways\" by it. Audrey Alston was a friend of Bridge; when he returned to Norwich forthe next festival in 1927 she brought her not quite 14-year-old pupil to meet him. Bridge was impressed with the boy, and after they had gone through some ofBritten's compositions together he invited him to come to London to take lessons from him. Robert Britten, supported by Thomas Sewell, doubted the wisdom ofpursuing a composing career; a compromise was agreed by which Britten would, as planned, go on to his public school the following year but would make regularday-trips to London to study composition with Bridge and piano with his colleague Harold Samuel.Bridge impressed on Britten the importance of scrupulousattention to the technical craft of composing and the maxim that \"you should find yourself and be true to what you found.\" The earliest substantial works Brittencomposed while studying with Bridge are the String Quartet in F, completed in April 1928, and the Quatre Chansons Françaises, a song-cycle for high voice and"}
+{"doc_id":"doc_198","qid":"","text":"Passage 1:Bernard HoursBernard Hours, born on 5 May 1956 in Strasbourg, is a French businessman. He was the managing director of Danone and a member ofthe board of directors of the company. He was also a member of the executive committee of Danone.EducationHours graduated from the École des Hautes ÉtudesCommerciales (HEC) in 1978.CareerHours began his career at Unilever in 1979 as Product Manager and Brand Manager. He progressively became an expert in thefood sector.In 1985, he joined the Danone marketing group at Kronenbourg. From 1989 and 2001, he  was the Director of Sales of Evian, and then Director ofMarketing for Danone France, later becoming the President of Danone Hungary (1994), Danone Germany (1996) and finally President of LU France in 1998.InNovember 2001, Hours was named the Vice-President of the Fresh Dairy Products division and became the President in March 2002. In November 2006 he alsotook charge of the Research and Development at Danone.Hours contributed significantly to sales growth between 2007 and 2013, which amounted to an increaseof 36.4% (from 14 to 22 billion euros) during this period. He exercised is responsible for all activities of Danone, encompassing around 100,000 people in and 100countries.In 2014, at the time of a change of governance,  Hours ended his position as managing director of Danone, by the decision of the AdministrativeCounsel.In 2015, Hours became president of Medvet  and  Chef Sam. He is also Board Member for Verlinvest  and Oatly.Other ActivitiesHours is a member of theAdministrative Counsel of Essilor as an independent director and a member of the Administrative Counsel of the investment holding Verlinvest and itsparticipation Vita Coco. He is also e member of the Supervisory Board of Somfy.Passage 2:Wee Wee Hours\"Wee Wee Hours\" is a song written and recorded byChuck Berry in 1955. Originally released as the B-side of his first single, \"Maybellene\", it went on to become a hit, reaching number 10 in the Billboard R&Bchart.The song is a twelve-bar blues, described as \"a slow, sensuous blues featuring some exceptional piano from Johnnie Johnson\".\"Wee Wee Hours\" was on theaudition tape submitted by Berry to Leonard Chess in hope of landing a recording contract with Chess Records.  Although it seemed like a good fit with the recordcompany's blues roster, Chess was more interested in the song that became \"Maybellene\", the song that launched Berry's career as a rock and roll star.Berryoften performed the song live. It is included on the 1969 album Chuck Berry Live in Concert, and in the 1987 film Hail! Hail! Rock 'n' Roll.Passage 3:BillyMilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist ofcrossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcoreband the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included hisStormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 EpitaphRecords release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction(M.O.D.)MasteryPassage 4:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studioalbum, The Crane Wife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in lovewith a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who is confronting his lover's brother(the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\"as the B-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmedthemselves in front of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report,having recently asked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberists on his segment \"LookWho's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar soloshowdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directedby Aaron Stewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"theBoss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (theSuper Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, thereis a neon sign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters -various assassination teams - who sit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of theband (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, beforethey gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, whileforcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that hesnitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrickin the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with boldfonts being used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (andmore explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used inBottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TVcontaining the green-screened Decemberists video footage.Passage 5:Chuck BerryCharles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was anAmerican singer, guitarist and songwriter who pioneered rock and roll. Nicknamed the \"Father of Rock and Roll\", he refined and developed rhythm and blues intothe major elements that made rock and roll distinctive with songs such as \"Maybellene\" (1955), \"Roll Over Beethoven\" (1956), \"Rock and Roll Music\" (1957) and\"Johnny B. Goode\" (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship,Berry was a major influence on subsequent rock music.Born into a middle-class black family in St. Louis, Berry had an interest in music from an early age andgave his first public performance at Sumner High School. While still a high school student, he was convicted of armed robbery and was sent to a reformatory,where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced bythe guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio. His break came whenhe traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded\"Maybellene\"—Berry's adaptation of the country song \"Ida Red\"—which sold over a million copies, reaching number one on Billboard magazine's rhythm and blueschart.By the end of the 1950s, Berry was an established star, with several hit records and film appearances and a lucrative touring career. He had alsoestablished his own St. Louis nightclub, Berry's Club Bandstand. He was sentenced to three years in prison in January 1962 for offenses under the Mann Act—hehad transported a 14-year-old girl across state lines for the purpose of having sexual intercourse. After his release in 1963, Berry had several more successfulsongs, including \"No Particular Place to Go\", \"You Never Can Tell\", and \"Nadine\". However, these did not achieve the same success or lasting impact of his 1950ssongs, and by the 1970s he was more in demand as a nostalgia performer, playing his past material with local backup bands of variable quality. In 1972 hereached a new level of achievement when a rendition of \"My Ding-a-Ling\" became his only record to top the charts. His insistence on being paid in cash led in1979 to a four-month jail sentence and community service, for tax evasion.Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fameon its opening in 1986; he was cited for having \"laid the groundwork for not only a rock and roll sound but a rock and roll stance.\" Berry is included in several ofRolling Stone magazine's \"greatest of all time\" lists; he was ranked fifth on its 2004 and 2011 lists of the 100 Greatest Artists of All Time. The Rock and Roll Hallof Fame's 500 Songs That Shaped Rock and Roll includes three of Berry's: \"Johnny B. Goode\", \"Maybellene\", and \"Rock and Roll Music\". \"Johnny B. Goode\" is theonly rock-and-roll song included on the Voyager Golden Record.Early lifeBorn in St. Louis, Berry was the youngest child. He grew up in the north St. Louisneighborhood known as the Ville, an area where many middle-class people lived. His father, Henry William Berry (1895–1987) was a contractor and deacon of anearby Baptist church; his mother, Martha Bell (Banks) (1894–1980) was a certified public school principal. Berry's upbringing allowed him to pursue his interestin music from an early age. He gave his first public performance in 1941 while still a student at Sumner High School; he was still a student there in 1944, when hewas arrested for armed robbery after robbing three shops in Kansas City, Missouri, and then stealing a car at gunpoint with some friends. Berry's account in hisautobiography is that his car broke down and he flagged down a passing car and stole it at gunpoint with a nonfunctional pistol. He was convicted and sent to theIntermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri, where he formed a singing quartet and did some boxing. The singing groupbecame competent enough that the authorities allowed it to perform outside the detention facility. Berry was released from the reformatory on his 21st birthday"}
+{"doc_id":"doc_199","qid":"","text":"Passage 1:Ben CuraBen Cura is an Argentine-born British actor, musician and director of film, television and theatre.Early lifeJosé Ben Cura was born in BuenosAires, the son of Argentine tenor/conductor José Cura. When he was a year old, he moved to Santo Stefano Belbo, Italy, where his father's grandfather was from.The family first lived in a convent while his father struggled to find work as an opera singer. He has two younger siblings, Yazmín and Nicolás.The family moved toFrance when he was six and then to Spain when he was 11. During this time, he frequently travelled with his parents around the world.Cura's first acting rolecame at age nine, as a supernumerary in a production of La Forza del Destino at the Opéra de Marseille, France. Whilst living in Paris, he received formal pianoand solfège training. He subsequently attended the New York Film Academy in Paris before eventually training and graduating from the London Academy of Musicand Dramatic Art in 2011 with a bachelor's degree with honours in professional acting.CareerCura made his film debut in a British independent film Comes aBright Day, appearing shortly after in Comedy Central's series Threesome and Bernard Rose's film The Devil's Violinist.He made his West End debut playing Angelin the original cast of Jennifer Saunders' musical Viva Forever at the Piccadilly Theatre in London, UK. He was later cast as Seve Ballesteros in British golf filmDream On.Aged 24, he made his directorial debut with a film adaptation of August Strindberg's play Creditors. for which he also wrote the screenplay and playedone of the lead characters, Freddie Lynch. Later that year, he starred in the UK premiere of the award-winning American play Next Fall at the SouthwarkPlayhouse in London, UK.In April 2013, he co-founded London-based production company Tough Dance Ltd. with actress and producer Andrea Deck. Thecompany's first production was award-winning feature film Creditors.In 2015, he was cast in the US series The Royals as recurring character Holden. He laterwent on to star in British film White Island set in Ibiza, and based on the novel A Bus Could Run You Over written by Colin Butts, alongside Billy Zane and BillyBoyd.Cura's directorial debut, Creditors, world-premiered at the Nordic International Film Festival in New York City on 31 October 2015. The festival awarded itwith an Honorable Mention in the Best Nordic Narrative Feature category. Latin Post film critic David Salazar called the film \"A triumphant debut.\" Blazing Mindsfilm critic Susanne Hodder said the actors \"all give compelling performances, bringing their characters to life and giving them depth\". Screen Relish film criticStuie Greenfield said that \"Creditors is a beautiful, sometimes angry and surprising film that brings with it strong performances from the entire cast as well as anunexpected yet welcome twist\", while Movie Marker film critic Darryl Griffiths said that \"Creditors is an incisive and accomplished piece of filmmaking [...],possessing a rich, powerful psychology that instills an unnerving modern-day relevance to age-old material.\" Creditors received over ten awards from various filmfestivals, including Best Feature, Leading Actor, and Script/Writer for Cura.Later that year, Cura was cast as a series regular in ITV/Netflix crime noir dramaMarcella penned by The Bridge writer Hans Rosenfeldt. The series premiered on UK television in April 2016, followed by a worldwide release on Netflix in July2016. and Simon West's action/comedy feature film Gun Shy opposite Antonio Banderas and Olga Kurylenko.In 2017, Cura was cast as CIA operative PhilipShafer in French historical war movie 15 minutes de guerre (renamed L'Intervention), directed by Fred Grivois. Later that year, he played the role of Steve in thescreen adaptation of British stage play Life is a Gatecrash, renamed Gatecrash and directed by Lawrence Gough, opposite Olivia Bonamy, Anton Lesser, and SamWest.In 2018, Cura guest-starred in Season 2 of CBS's Ransom and the first season of new TV series The Rook, opposite Olivia Munn.In 2019, he was cast inNicholas Wright's new stage play 8 Hotels directed by Richard Eyre, world-premiering at the Chichester Festival Theatre, playing the lead role of José Ferreropposite Tory Kittles, Emma Paetz, and Pandora Colin, opening August 7 of that year to excellent reviews: \"Joe, played masterfully by Ben Cura, is wonderful asthe philanderer who can accept his wife's adultery but not her lover's flaunting of it\"; \"Jose Ferrer [...] Ben Cura, who captures him very well, has a wonderfulmutually mistrustful good-pals-act with the impressive Kittles\"; \"Ben Cura is excellent as Ferrer [...] with charisma to spare\"; \"Ben Cura plays José Ferrer as amuch disappointed jobbing actor [...] playing Iago for peanuts opposite the better paid Robeson [...] This Ferrer becomes increasingly jealous of Robeson and isconvinced that his wife, Uta Hagen [...] is having an affair with the charismatic Robeson (she is), which fills him with an angry cynicism that he can barely controlwith his erudite and scathing humour that cannot disguise his underlying lack of confidence. Cura's Ferrer is a brilliant creation: a brilliant Iago in fact.\"In 2021,Cura founded production company and music label W.I.P. Media. Later that year, Cura released his debut music single Water on streaming platforms,accompanied by an official music video on VEVO followed by second single Toutes Les Couleurs and its accompanying VEVO music video and a third singleArgento alongside a third VEVO music video. On July 30, he released his debut instrumental E.P. Extended Play No.1.In 2022, Cura made his animation debutvoicing Rayan in Tad the Lost Explorer and the Emerald Tablet while guest starring in HBO Max and Hulu Japan's Season 2 of The Head as Liam Ruddock, andstarring in BFI and BBC short film My Eyes Are Up Here co-produced by his company W.I.P. Media which premiered at the London Film Festival in 2022 andTribeca Film Festival in 2023. He also saw his debut as a film composer, with his original score for feature film Among The Beasts which released that year in theUS and other territories. Also that year, he appeared in Queen Charlotte: A Bridgerton Story produced by Shondaland and premiering on Netflix, in the recurringrole of Prince Augustus.Personal lifeCura was married to actress Andrea Deck from 2013 until their divorce in 2015. He dated actress Olga Kurylenko, but theybroke up just before the COVID-19 pandemic.FilmographyFilmTelevisionVideo gamesStage2012: Viva Forever by Jennifer Saunders at the Piccadilly TheatreLondon2014: Next Fall by Geoffrey Nauffts at the Southwark Playhouse London2019: 8 Hotels by Nicholas Wright at the Chichester Festival TheatreChichesterVoice work2012: Swimming with Piranhas Radio Documentary for BBC Radio 42015: Credit Card Baby Radio Drama written by Annie Caulfield for BBCRadio 4, directed by Mary Ward-Lowery2019: Alien III audiobook by  Audible2020: Trafalgar Audiobook for  Penguin and  Audible2020: Camino De SantiagoSleep story for Calm and Calm France2022: The Limits to Growth Radio drama written by Sarah Woods for BBC Radio 4, directed by Emma Harding2023:Chronicle Of A Death Foretold Audiobook for  Penguin and  Audible2023: Tomás Nevinson Audiobook for  Penguin and  AudibleDiscographyAwards andnominationsPassage 2:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJasonMoore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at theImperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, whichopened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Awardfor his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revivalof Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of JerrySpringer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based onArmistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play TheFloatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte,North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring AnnaKendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which wasreleased on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)ShotgunWedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 3:Hanro SmitsmanHanroSmitsman, born in 1967 in Breda (Netherlands), is a writer and director of film and television.Film and Television CreditsFilmsBrothers (2017)Schemer (2010)Skin(2008)Raak (aka Contact) (2006)Allerzielen (aka All Souls) (2005) (segment \"Groeten uit Holland\")Engel en Broer (2004)2000 Terrorists (2004)Dajo(2003)Gloria (2000)Depoep (2001)Television20 leugens, 4 ouders en een scharrelei (2013)De ontmaskering van de vastgoedfraude (TV mini-series,2013)Moordvrouw (2012-)Eileen (2 episodes, 2011)Getuige (2011)Vakantie in eigen land (2011)De Reis van meneer van Leeuwen(2010)De Punt (2009)Roes (2episodes, 2008)Fok jou! (2006)Van Speijk (2006)AwardsIn 2005, Engel en Broer won Cinema Prize for Short Film at the Avanca Film Festival.In 2007, Raak (akaContact) won the Golden Berlin Bear Award at the Berlin International Film Festival, the Spirit Award at the Brooklyn Film Festival, the first place jury prize for\"Best Live Action under 15 minutes\" at the Palm Springs International Short Film Festival, and the Prix UIP Ghent Award for European Short Films at the FlandersInternational Film Festival.In 2008, Skin won the Movie Squad Award at the Nederlands Film Festival, an actor in the film also won the Best Actor Award.  It alsowon the Reflet d’Or for Best Film at the Cinema tous ecrans Festival in Geneva in the same year.Passage 4:Tactical ForceTactical Force is a 2011Canadian-American action film written and directed by Adamo Paolo Cultraro, and starring Steve Austin, Michael Jai White, Michael Shanks, Keith Jardine, MichaelEklund, Darren Shahlavi and Lexa Doig.The film concerns a rogue SWAT team sent to an abandoned compound with blank weapons for retraining, only to findthemselves caught in the middle of a war between two gangs armed with fully functioning guns, who are both after a mysterious briefcase. It premiered in the"}
+{"doc_id":"doc_200","qid":"","text":"Passage 1:Where Are You? I'm HereWhere Are You? I'm Here (Italian: Dove siete? Io sono qui) is a 1993 Italian drama film directed by Liliana Cavani.The film entered the 50th Venice International Film Festival, where Anna Bonaiuto won the Volpi Cup for best supporting actress. For her role Chiara Caselli was awarded with a Nastro d'Argento for Best Actress and a Grolla d'oro in the same category.PlotFausto's mother refuses to accept the fact that her child is deaf and refuses to send him to a special school where he can learn sign language. His aunt, though, teaches him to communicate and helps him find a place among a group of deaf-mutes. He meets and falls in love with Elena. To their parents' concern, the two find love with each other until a set of difficulties leads them to see their lives in a different light.Main castChiara Caselli as Elena SettiGaetano Carotenuto as  FaustoAnna Bonaiuto as Fausto's MotherGiuseppe Perruccio as Fausto's FatherValeria D'Obici as Fausto's AuntInes Nobili as MariaKo Muroboshi as The MimeDoriana Chierici as Elena's MotherCarla Cassola as Miss MartiniPaola Mannoni as The PrincipalPino Micol as The Bank ManagerSebastiano Lo Monaco as Professor PiniPaco Reconti as UgoMarzio Honorato as The History TeacherSee alsoList of Italian films of 1993Passage 2:Alfonso XII and María CristinaAlfonso XII and María Cristina or Where Are You Going, Sad Man? (Spanish: ¿Dónde vas triste de ti?) is a 1960 Spanish historical drama film directed by Alfonso Balcázar and Guillermo Cases and starring Vicente Parra and Marga López as Alfonso XII of Spain and Maria Christina of Austria.The film is the sequel to Where Are You Going, Alfonso XII? with Vicente Parra, José Marco Davó and Tomás Blanco reprising their roles from the previous film as Alfonso XII, Antonio Cánovas del Castillo and the Duque de Sesto respectively. María Fernanda Ladrón de Guevara replaced Mercedes Vecino as Isabella II.Similar in style to the German Sissi film series, it was very popular but led to Vicente Parra's typecasting.The film's sets were designed by the art director Enrique Alarcón.CastPassage 3:Mrs. Dery Where Are You?Mrs. Dery Where Are You? (Hungarian: Déryné hol van?) is a 1975 Hungarian drama film directed by Gyula Maár. It was entered into the 1976 Cannes Film Festival, where Mari Törőcsik won the award for Best Actress, playing the protagonist Mrs. Déry.CastMari Törőcsik - DérynéFerenc Kállai - DéryMária Sulyok - Déry anyjaImre Ráday - IntendánsTamás Major - Jancsó, öreg színészCecília Esztergályos - SchodelnéKornél Gelley - Magyar úr, dilettáns színészAndrás Kozák - Ifjú grófAndrás Schiff - Zongorázó fiúZsuzsa Zolnay - CapuletnéFlóra Kádár - DajkaPassage 4:Where Are YouWhere Are You may refer to:AlbumsWhere Are You? (Frank Sinatra album), 1957Where Are You? (Mal Waldron album), 1989Songs\"Where Are You?\" (1937 song), written by Jimmy McHugh and Harold Adamson, covered by many performers\"Where Are You\" (Bee Gees song), 1966\"Where Are You?\" (Imaani song), 1998\"Where Are You?\", by 16 Bit, 1986\"Where Are You?\", by Cat Stevens from New Masters, 1967\"Where Are You?\", by Days of the New from Days of the New, 2001\"Where Are You?\", by Gotthard from Firebirth, 2012\"Where Are You?\", by Kavana from Kavana, 1997\"Where Are You?\", by Our Lady Peace from Healthy in Paranoid Times, 2005\"Where Are You?\", by Saves the Day from In Reverie, 2003\"Where Are You (B.o.B vs. Bobby Ray)\", by B.o.B from Strange Clouds, 2012FilmsWhere Are You (film), a 2021 American drama filmSee alsoWhere Are You Now (disambiguation)Passage 5:Where Are You My Love?Where Are You My Love? may refer to:\"Where Are You My Love\", a song by Eddie Low\"Où es-tu mon amour? (Where Are You, My Love?)\", a song written by Emile Stern and Henri Lemarchand in 1946¿Dónde estás amor de mi vida que no te puedo encontrar? (Where Are You My Love, That I Cannot Find You?), a 1992 Argentine drama filmSee alsoAre You My Love? (disambiguation)\"Where Are You Now (My Love)\", a 1965 song written by Tony Hatch and Jackie Trent\"Where Is My Love\", a song from the 2006 Cat Power album, The GreatestPassage 6:Where Are You Going All Naked?Dove vai tutta nuda?, internationally released as Where Are You Going All Naked?, is a 1969 Italian comedy film directed by Pasquale Festa Campanile.CastMaria Grazia Buccella: ToninoTomas Milian: ManfredoGastone Moschin: PresidentVittorio Gassman: Rufus ConfortiAngela Luce: ProstituteGiancarlo Badessi: WaiterLea Lander: President's WifePassage 7:Pattanakke Banda PathniyaruPattanakke Banda Pathniyaru (transl. Wives arrived in the city) is a 1980 Indian Kannada-language film, directed by A. V. Sheshagiri Rao and produced by S. D. Ankalagi, B. H. Chandannanawar, M. G. Hublikar and Surendra Ingle. The film stars Srinath, Manjula, Lokesh and Padmapriya. The film has musical score by M. Ranga Rao. The movie was remade in 1982 in Telugu as Patnam Vachina Pativrathalu. The song Shankara Gangadhara was retained in the Telugu version. The film was also remade in Tamil as Pattanamthaan Pogalaamadi (1990).CastSoundtrackThe music was composed by M. Ranga Rao.Passage 8:Patnam Vachina PativrathaluPatnam Vachina Pativrathalu is a 1982 Telugu film produced by Atluri Radha Krishna Murthy and directed by Mouli in his Telugu debut. The film stars Chiranjeevi, Mohan Babu, Radhika, Geetha, Rao Gopal Rao and Nutan Prasad in important roles. The film is a remake of the 1980 Kannada movie Pattanakke Banda Pathniyaru. The song Shankara Gangadhara from the Kannada version was retained in this movie. The film ran for 280 days.PlotGopi (Chiranjeevi) and Mohan Babu are brothers living with their grandmother in a village. Gopi is youngest brother and has a B.Sc. in Agriculture and he is willing to live in the village after marriage, while Mohan Babu is an elder one who is uneducated. Gopi and Mohan Babu marry at the same time, Mohan Babu marries Devi, who is an educated person, while Gopi marries Lalithamba, an uneducated girl. Lalithamba prefers to live in the city after marriage. Lalithamba and Devi try their level best to shift their house to the city, but their husbands Gopi and Mohan Babu disagree. At last, Lalithamba and Devi escape from their house one night, without their husbands' knowledge. Lalithamba has one friend Shakuntala, in the city. Devi and Lalithamba are unable to locate Shakuntala's house in the city; roaming on the streets, they were caught by one woman who attempts to sell them to a brothel owner, Ganga Devi. But their contract does not materialize, and that woman doesn't sell Devi and Lalitamba. Angered, Ganga Devi sends her people to bring Lalithaba and Devi. Here, Ganga Devi's people kill that woman, but could not catch Lalithamba and Devi. But their bad luck chases them and Lalithamba and Devi enter Ganga Devi's house for protection, without knowing her character. But later they understand and plan to escape from there. Meanwhile, Lalithamba finds her friend Shakuntala, and with her help, Lalithamba and Devi try to escape from there, but Ganga Devi's people catch them and lock them in a room. Chiru and Mohan Babu, in search of their wives, land in the city to find Devi and Lalithaba and with much effort, they gather information on their wives' whereabouts. They enter into Ganga Devi's house and save Lalithamba and Devi from her clutches. As usual, police arrive after the climax fight and Ganga Devi is arrested, and these four return to their village.CastChiranjeevi - GopiRaadhika Sarathkumar - LalithambaMohan Babu -Geetha - DeviNirmalamma - Narayanamma, Grand mother of GopiRamaprabha - ArundhatammaNutan PrasadRao Gopal RaoSoundtrack\"Neekunnadhe Kaastha\" -\"SeethaRaama Swamy\" -\"Shankaraa Gangaadharaa\" -\"Vinukondi\" -Passage 9:Where Are We Going, Dad? (film)Where Are We Going, Dad? (Chinese: \u0000\u0000\u0000\u0000\u0000) is a 2014 Chinese film based on a television reality show of the same name. A second film, Where Are We Going, Dad? 2, was released on February 19, 2015.ReceptionThe film grossed RMB88.2 million (US$14.6 million) in its opening day, a record for a non-3D Chinese film at the Chinese box office. Its record breaking even caught the attention of the BBC and the LA Times. It grossed RMB308.91 million (US$50.97 million) in the first four days.Passage 10:Where Are You NowWhere Are You Now may refer to:Where Are You Now? (novel), by Mary Higgins Clark, 2008Where Are You Now (Cerrone X), a 1983 album by CerroneSongs\"Where Are You Now\" (2 Unlimited song), 1993\"Where Are You Now\" (Clint Black song), 1991\"Where Are You Now\" (Jimmy Harnen song), 1989\"Where Are You Now\" (Lost Frequencies song), 2021, featuring Calum Scott\"Where Are You Now?\" (Roxus song), 1991\"Where Are You Now\" (Trisha Yearwood song), 2000\"Where Are You Now (My Love)\", by Jackie Trent, 1965\"Where Are Ü Now\", by Jack Ü and Justin Bieber, 2015\"Where Are You Now?\", by Brandy from the Batman Forever film soundtrack, 1995\"Where Are You Now\", by Britney Spears from Oops!... I Did It Again, 2000\"Where Are You Now\", by Donna De Lory from Sky Is Open, 2006\"Where Are You Now\", by Honor Society from Fashionably Late, 2009\"Where Are You Now?\", by ItaloBrothers, 2008\"Where Are You Now\", by J. Holiday from Guilty Conscience, 2014\"Where Are You Now\", by Janet Jackson from Janet, 1993\"Where Are You Now?\", by Justin Bieber from My World 2.0, 2010\"Where Are You Now?\", by Michelle Branch from Hotel Paper, 2003\"Where Are You Now\", by Mumford & Sons from Babel, 2012\"Where Are You Now\", by Nazareth from their album Sound Elixir, 1983\"Where Are You Now?\", by Royal Blood from How Did We Get So Dark?, 2016\"Where Are You Now\", by Union J from Union J, 2013See alsoWAYN (website) (an acronym for \"Where Are You Now?\"), a social networking websiteWhere Are You (disambiguation)"}
+{"doc_id":"doc_201","qid":"","text":"Passage 1:If You Want to Sing Out, Sing Out\"If You Want To Sing Out, Sing Out\" is a popular song by Cat Stevens. It first appeared in the 1971 film Harold and Maude.Stevens wrote all the songs in Harold and Maude in 1970–1971, during the time he was writing and recording his Tea for the Tillerman album. However, \"If You Want to Sing Out, Sing Out\"  and two other songs from that period were not released as singles nor placed on any album at that time.  No official soundtrack was released from the film at that time. The song was finally released later on Stevens' 1984 album, Footsteps in the Dark: Greatest Hits, Vol. 2 along with his other previously unreleased songs. In addition, it appeared on the UK edition of his 2003 album The Very Best of Cat Stevens.Official soundtrack (2007)The first official soundtrack album to the film was released in December 2007, by Vinyl Films Records, as a vinyl-only limited edition release of 2500 copies. It contained a 30-page oral history of the making of the film, the most extensive series of interviews yet conducted on Harold and Maude.Appearances in other mediaThe song features prominently in Hal Ashby's Harold and Maude.In 2007, a rendition of \"Sing Out\" appeared in the film Charlie Bartlett.The song is featured in the TV shows My Name Is Earl and Ray Donovan.It was featured as the 2nd song of Rodney Mullen's skateboarding part in the Plan B video, Questionable.The song is also the theme to the BBC Radio sitcom North by Northamptonshire.As of fall 2016, the song appears in a commercial for the 2017 Jeep Grand Cherokee.Cover versionsThe song has been covered by Bloomington, Indiana's folk punk pioneers Ghost Mice under the shortened title \"Sing Out\".The song has been covered by Death By Chocolate in 2001, on their first, self-titled albumIn August 2009, Yusuf Islam approved his original recording of the song for use in a T Mobile television commercial. Wyclef Jean also made an upbeat remix of the song for a later T Mobile commercial that aired in December 2009.Folk music/bluegrass band Rani Arbo and Daisy Mayhem covered the song for their 2010 album Ranky Tanky.The song has also been covered by Amanda Palmer.The song has been covered by Jim Gill on his 1995 children's album Jim Gill Makes It Noisy In Boise, Idaho.German bitpop band Welle: Erdball covered the song on their album Der Kalte Krieg (2011).The song was covered by James Marsden, Ariana Greenblatt and Jacob Collier in the 2021 animated feature The Boss Baby: Family Business.Passage 2:Join the CavalryJoin the Cavalry was a military song popular during the American Civil War. The verses detail various feats performed by Jeb Stuart's troopers, the cavalry arm of the Army of Northern Virginia, while the chorus urges the listener to \"join the cavalry\". Occasionally, the title is recorded as \"Jine the Cavalry\". The song was most common in Virginia.\"Jine the Cavalry!\" was among Stuart’s favorite songs, and became the unofficial theme song of his Confederate cavalry corps. It recounts many of Stuart’s early exploits, including the daring \"Ride around the Army of the Potomac\" in the early summer of 1862, and the Confederate Cavalry raid to Chambersburg, PA in October 1862. One of Stuart’s men, Sam Sweeney, was an accomplished banjo player and often serenaded Stuart and his officers during the Gettysburg Campaign.JINE THE CAVALRY!We're the boys that rode around McClellan(ian),Rode around McClellan(ian), Rode around McClellan(ian)!We're the boys that rode around McClellan(ian),Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!Ol' Joe Hooker, won't you come out of The Wilderness?Come out of The Wilderness, come out of The Wilderness?Ol' Joe Hooker, won't you come out of The Wilderness?Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!We're the boys who crossed the Potomac(ica), whoCrossed the Potomac(ica), who crossed the Potomac(ica)!We're the boys who crossed the Potomac(ica),Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!We're the boys that rode to Pennsylvania,Rode to Pennsylvania, rode to Pennsylvania!We're the boys rode to Pennsylvania,Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!The big fat Dutch gals hand around the breadium,Hand around the breadium, hand around the breadium!The big fat Dutch gals hand around the breadium,Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!Lyrics are in the public domain.Stuart's ride around McClellanPassage 3:If You Want My Love (Twenty 4 Seven song)\"If You Want My Love\" is a song recorded by the Dutch band Twenty 4 Seven. It was the tenth single and the sixth song to be taken from the fourth album, Twenty 4 Hours A Day, Seven Days A Week. The song remained a constant area of success only in the Netherlands, the single reached 77 on the (Single Top 100). It did not chart in the United Kingdom. \"If You Want My Love\" was postponed a couple of times, because \"We Are the World\" did successfully well in many other countries, like Spain where it went top 10.ChartsPassage 4:I Want You to Be My Baby\"I Want You to Be My Baby\" is a jump blues song written by Jon Hendricks for Louis Jordan whose recording, made on May 28, 1953, was released that autumn.In the summer of 1955 \"I Want You to Be My Baby\" was remade as the debut disc by comedy musical act Lillian Briggs, resulting in an expedient cover version by veteran vocalist Georgia Gibbs. Producers Hugo & Luigi had Gibbs fly in from her Massachusetts home to New York City on Wednesday 3 August 1955 to cut \"I Want You to Be My Baby\" that same afternoon. New York City disc jockeys were provided with acetates of the Gibbs' version by the following morning with regular jockey copies being shipped out Friday 5 August 1955.  Neither version of the song would reach the Top Ten. Gibbs' version had the higher chart peak at #14 but it was the rough voiced Briggs - whose version peaked at #18 - who had the million seller.Ellie Greenwich versionEllie Greenwich, who as a teenager saw Lillian Briggs sing her hit at Alan Freed's rock and roll shows, chose \"I Want You to Be My Baby\" as the song to launch her career as a solo recording artist. Produced by Bob Crewe, Greenwich's version reached #83 in the spring of 1967, marking her only US chart appearance as a recording artist apart from her singles with The Raindrops. She included the song on her 1968 debut solo album Ellie Greenwich Composes, Produces and Sings.Billie Davis versionThe song became a UK Top 40 hit in the autumn of 1968 via a recording by Billie Davis. Produced by Ready Steady Go! co-host Michael Aldred and arranged by Mike Vickers, Davis' version featured a chorale comprising Madeline Bell, Kiki Dee, Kay Garner, Doris Troy and the Moody Blues. The single's failure to rise no higher than #33 was attributed to a strike at the Decca processing plant, which stopped the pressing of discs.The Jyve Fyve versionIn November 1970 the Jyve Fyve reached #50 on the R&B chart with their remake of \"I Want You to Be My Baby\".Other versionsIn Britain, Annie Ross - John Hendricks' future co-partner in Lambert, Hendricks & Ross - had an October 1955 single release of \"I Want You to Be My Baby\" recorded with Tony Crombie & His Orchestra. Neither this disc nor a 1956 UK single release of \"I Want You to Be My Baby\" by Don Lang charted. In February 1956, the British music magazine NME reported that Ross's version of the song was banned from airplay by the BBC due to the lyric \"Come upstairs and have some loving\".The song has also been recorded by Jimmy and the Mustangs, Colin James, Lindisfarne, Natasha England, Janis Siegel, and Leslie Uggams. A Finnish rendering - \"Armaani Sä Silloin Oisit\" - was recorded by Wiola Talvikki.  It was also a hit for Chinese singer Grace Chang who performed the song in both Mandarin Chinese (\u0000\u0000\u0000\u0000\u0000 \"Wo Yao Ni de Ai\" meaning \"I Want Your Love\") and English in the late 1950s. There was another rendition of the song in a classic 1958 Tamil movie Uthama puthiran, entitled \"Yaaradi Ni Mohini\".  The song was turned into the title song of the Italian TV show Canzonissima in 1960, with the title “Tu lei lui voi noi”, sang by Wilma De Angelis and Johnny Dorelli.Passage 5:If You Want to Be My Woman\"If You Want to Be My Woman\" is a song written and recorded by American country music artist Merle Haggard backed by The Strangers. It was released in December 1989 as the third single from his album 5:01 Blues. The song peaked at number 23 on the Billboard Hot Country Singles & Tracks chart and reached number 15 on the RPM Country Tracks chart in Canada.The song was Haggard's last top-40 country hit; like most classic country artists, Haggard's chart career was severely damaged by changes in the country industry that hit in the early 1990s. It was co-produced by Mark Yeary, keyboardist of The Strangers.PersonnelMerle Haggard– vocals, guitarThe Strangers:Norm Hamlet – pedal steel guitarClint Strong – guitarBobby Wayne – guitarMark Yeary – hammond organ, piano, electric pianoJimmy Belkin – fiddle, stringsBiff Adams – drumsDon Markham – saxophone, trumpetGary Church – cornet, tromboneChart performancePassage 6:If You Want My Lovin'\"If You Want My Lovin'\" is a song released by American singer Evelyn \" Champagne\" King. Released on April 3, 1981, The song appears on the album I'm in Love. The single version of \"If You Want My Lovin'\" was the follow-up to her charting single \"I'm in Love,\" but less successful.Single version\"If You Want My Lovin'\" was also released as a single.  This version of \"If You Want My Lovin'\" is the less-successful follow-up to Evelyn's charting single \"I'm In Love.\"Track listing12\" version7\" versionPersonnelPercussion – Bashiri JohnsonProducer, arranger, handclaps, lyrics by – Morrie BrownAssistant producer, arranger, keyboards, lyrics by, music by – Lawrence JonesAssistant engineer – Cheryl Smith, Dennis O'DonnellMixed by, recorded by – \"Magic Hands\", Steve GoldmanMastered by – George MarinoAssistant producer, backing vocals, handclaps, keyboards, Moog synthesizer – KashifGuitar – Ira SiegelAdditional engineer – Pete SobelString arrangement – Ralph SchuckettBacking vocals – B.J. Nelson, Evelyn King, Rochele CappelliDrums, handclaps – Leslie MingPassage 7:Merle HaggardMerle Ronald Haggard (April 6, 1937 – April 6, 2016) was an American country music singer, songwriter, guitarist, and fiddler.Haggard was born in Oildale, California, toward the end of the Great Depression. His childhood was troubled after the death of his father, and he was incarcerated several times in his youth. After being released from San Quentin State Prison in 1960, he managed to turn his life around and "}
+{"doc_id":"doc_202","qid":"","text":"Passage 1:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by JohnHaycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, MarianNixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with thepanelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. FrankeHarling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single fromCharley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (JoePass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by SawyerBrown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"WhereWas I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (RosieThomas album)Passage 2:Alexander CourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was anAmerican orchestrator, arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music for the originalStar Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester, New York,in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During that period, he also found the time tocompose music for the radio. His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage,and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"Life Upon theWicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons atMaxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My FairLady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like ItHot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer),and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apartfrom his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun(1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughoutthe 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams inaddition to Courage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the FilmMusic Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8,2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost inSpace, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only televisionseries besides Star Trek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show TheWaltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an Emmy Award for hismusic direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primaryorchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated withJohn Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6,1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck,renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the UnitedStates in 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile's marriage toCourage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) andBrian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. inPacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid andaccomplished photographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport andphotography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paidat least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over hisfamilial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Laterin life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophonestudent.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended indivorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage washired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went onto score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated fromRoddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics tobe sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer. Couragewas replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season. After sound editors had difficultyfinding the right effect, Courage himself made the iconic \"whoosh\" sound heard while the Enterprise flies across the screen.He returned to Star Trek to score twomore episodes for the show's third and final season, episodes \"The Enterprise Incident\" and \"Plato's Stepchildren,\" allegedly as a courtesy to Producer RobertJustman.Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestratedGoldsmith's adaptation of his original Star Trek theme.Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme becameone of the franchise's most famous and memorable musical cues. The fanfare has been used in multiple motion pictures and television series,  notably Star Trek:The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith.DeathCourage had been in declining health forseveral years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California. He had suffered a series of strokes prior to hisdeath. His mausoleum is in Westwood Village Memorial Park Cemetery.Passage 3:Walter Robinson (composer)Walter Robinson is an American composer of thelate 20th century. He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, andothers.  He is also the composer of several operas.Passage 4:Hare-Way to the StarsHare-Way to the Stars is a 1958 American animated science fiction comedyshort film directed by Chuck Jones and written by Michael Maltese. The short was released by Warner Bros. Pictures on March 29, 1958 as part of the LooneyTunes series, and stars Bugs Bunny and Marvin the Martian. The title is a play on the song \"Stairway to the Stars.\"PlotThe cartoon starts when Bugs Bunny,feeling the effects of mixing radish juice with carrot juice the night before, unknowingly climbs out of his hole and into a rocket ship that is about to be launchedinto space. He realizes what has happened once he screws open the tip of the ship, and is immediately hit by the satellite Sputnik and lands on what appears tobe a space station. While there, Bugs meets Marvin the Martian who is trying to blow up the Earth with his Illudium Q-36 Explosive Space Modulator (which isactually a stick of dynamite) because \"Earth obstructs his view of Venus\".Bugs quietly steals Marvin's explosive, and Marvin quickly discovers what happened. Hecreates a trio of \"Instant Martians\" (who somewhat resemble the Martians of A Martian Odyssey and Jumpin' Jupiter) by adding water to \"Instant Martian\" pills.The Martians all leave to capture Bugs. Bugs gets on a rocket scooter and is pursued by a Martian. After noticing it mimics his every move to catch up with him,Bugs mimes driving out of the space station, causing the Martian to actually do that. He is then pursued by the Martians and hides behind a door so that he canchase them. The Martians use the same trick to get behind Bugs and chase him, but he uses the same trick again to make the Martians run into a trapdoor andmake them fall out of the space station. Bugs then steals a UFO and when Marvin attempts to make more Martians, Bugs swaps the lit Space Modulator for theInstant Martian dispenser. The Modulator explodes in Marvin's hand just after he finishes saying its name, destroying his space station. Standing amid theshattered remains, Marvin concedes defeat and that it is \"back to the old drawing board\" for his plans to destroy the Earth. Bugs arrives on Earth in the UFO, but"}
+{"doc_id":"doc_203","qid":"","text":"Passage 1:A Hungarian Fairy TaleA Hungarian Fairy Tale (original title: Hol volt, hol nem volt) is a 1987 Hungarian film directed by Gyula Gazdag.PlotAndris is achild living in Budapest. He is conceived when his mother Maria is attracted to a mysterious stranger during a performance of The Magic Flute. The strangerdisappears after the conception, and as a result Andris does not know his father. The law states that a boy should have his father's name, even if the father isunknown, to avoid the taint of illegitimacy. When Maria tries to register Andris with the child custody department, Andris is given the name of a fictitious father.She enters on Andris' birth certificate the name of the bureaucrat she is dealing with, Antal Orban.Maria dies when she is hit on the head by a falling brick, anaccident resulting from being in the wrong place at the wrong time, leaving Andris suddenly motherless. He then goes off in search of his nonexistent father.Along the way he meets and is helped by The Girl, the young nurse who delivered him, and who is alone like Andris. Meanwhile, the kindly Orban becomes tired ofthe tyrannical bureaucracy, and decides to destroy the files of children he has helped to legitimize by giving them fictitious fathers. He then sets out to findAndris. Andris and The Girl finally meet Orban, and they form their own family.They meet scouts being trained as instruments of the state, and the scouts pursueAndris, Orban and The Girl. The three of them climb onto the back of a stone eagle, which takes off in flight.CastDávid Vermes - AndrisFrantišek Husák - AntalOrbanMária Varga - MariaEszter Csákányi - The GirlAccoladesThe film won the following awards:Fantafestival 1988 - Best Actress (Mária Varga)LocarnoInternational Film Festival 1987 - Bronze Leopard (Dávid Vermes) (Special Grand Prize)Salerno International Film Festival 1989 - Grand Prix (GyulaGazdag)Sitges Film Festival 1987 - Best Film (Gyula Gazdag)External linksA Hungarian Fairy Tale at IMDbPassage 2:The Girl of My DreamsThe Girl of My Dreamsis a lost 1918 British silent film romance directed by Louis Chaudet and starring Billie Rhodes.CastBillie Rhodes - The WeedJack McDonald - George BassettLamarJohnstone - Kenneth Stewart (*as Lamar Johnston)Golda Madden - Madelin StewartJane Keckley - Ma WilliamsFrank MacQuarrie - Pa WilliamsBen Suslow - JedWilliams (*as Benjamin Suslow)Leo Pierson - Ralph LongPassage 3:The Woman of My Dreams (2010 film)The Woman of My Dreams (Italian: La donna della miavita, also known as The Woman of My Life) is a 2010 Italian comedy-drama film directed by Luca Lucini and starring Alessandro Gassman, Luca Argentero,Stefania Sandrelli, and Valentina Lodovini.PlotLeonardo and Giorgio are two brothers with very different characters. Leonardo is sensitive and reliable, whileGiorgio is an unstable womanizer. After a suicide attempt, Leonardo meets Sara, not knowing that she is Giorgio's ex, and in time they fall in love.With difficulty,and only after the involvement of Giorgio's mother Alba, they restore their friendship.CastAlessandro Gassman as  GiorgioLuca Argentero as  LeonardoValentinaLodovini as  SaraStefania Sandrelli as  AlbaGiorgio Colangeli as  SandroSonia Bergamasco as  CarolinaGaia Bermani Amaral as IreneLella Costa as  Alba'sfriendFranco Branciaroli as AlbertoFrancesca Chillemi as herselfSee alsoList of Italian films of 2010Passage 4:Arthur Maria RabenaltArthur Maria Rabenalt (25 June1905 – 26 February 1993) was an Austrian film director, writer, and author. He directed more than 90 films between 1934 and 1978. His 1958 film That Won'tKeep a Sailor Down was entered into the 1st Moscow International Film Festival. Two years later, his 1960 film Big Request Concert was entered into the 2ndMoscow International Film Festival. His career encompassed both Nazi cinema and West German productions. He also wrote several books on the 1930s and1940s wave of German cinema.CareerIn his early teens, Rabenalt began his stage career directing operas at theatres in Darmstadt, Berlin and Gera. From thenon to the mid-1920s he worked (though uncredited) as a production assistant on several films such including G. W. Pabst's Joyless Street (1925). After Nazi's riseto power, Rabenalt made his feature film debut directing the musical comedy, What Am I Without You (1934), which was then shortly followed with the release ofthe comedy Pappi (1934). He continued to work in different genres, including The Love of the Maharaja (1936), and Men Are That Way and Midsummer Night'sFire which were released in 1939.        Through out the 1940s, Rabaenalt worked with melodramatic dramas and comedy. Some of his early films in the 1940s,such as Riding for Germany, supported Nazi ideology. In 1989, he said \"I had only made circus films and chamber-type entertainment films since 1941. The onlyNazi film I knew was ... rides for Germany (1941), and it was admired. The first films of mine that were distributed again after the war were Circus Renz (1943)and Regimental Music (shot in 1944 under the title The Guilty of Gabriele Rottweil, the film only came to the cinemas in 1950). The controversy about ... rides forGermany came much later.After the war he resumed his stage career as a director, beginning with the East German production, Chemistry and Love (1948),satire on anti-capitalism based on a play by Bela Balasz. He continued to work on productions for East German state studio DEFA until 1948. In the 1950s, hemoved into more mainstream entertainment, including the Weimar horror remake of Alraune (1952), which starred Hildegard Knef and Erich vonStroheim.            From 1960, Rabanalt worked only in television, adapting classic comedies and operettas for a mainstream audience. He also wrote severalerotic pulp fiction books as well as memoirs and factual books about Nazi Germany.Selected filmographyPublished booksTanz and Film [1] (1960)Das Theater derLust (1982)Theater ohne Tabu [2] (Emsdetten, 1970)Der Operetten-Bildband  Bühne Film Fernsehen [3] (1980)Mimus eroticus [4] (Hamburg, 1965/67)JosephGoebbels und der Grossdeutsche Film [5] (Munich, 1985)Gesammelte Schriften [6] (Hildesheim, 1999)Passage 5:Gyula GazdagGyula Gazdag (born 19 July 1947in Budapest) is a Hungarian film director, screenwriter and actor.FilmographyDirectorThe Long Distance Runner [Hosszú futásodra mindig számíthatunk...] (1969,documentary short)The Selection [A válogatás] (1970, documentary short)The Whistling Cobblestone [A sípoló macskakő] (1971)The Resolution [A határozat](1972, documentary)Singing on the Treadmill [Bástyasétány hetvennégy] (1974)Swap [A kétfenekű dob] (1978)The Banquet [A bankett] (1982,documentary)Lost Illusions [Elveszett illúziók] (1983)Package Tour [Társasutazás] (1985, documentary)A Hungarian Fairy Tale [Hol volt, hol nem volt...](1987)Stand Off [Túsztörténet] (1989)Hungarian Chronicles [Chroniques hongroises] (1991, documentary)A Poet on the Lower east Side [Egy költö a Lower EastSide-ról] (1997, documentary)Actor25, Firemen's Street Tüzoltó utca 25. (1973)Dreaming Youth [Álmodó ifjúság] (1974)Confidence Bizalom (1980)Colonel Redl[Oberst Redl] 1985Working West (1992)External linksGyula Gazdag at IMDbPassage 6:Siman-Tov GanehSiman-Tov Ganeh (Hebrew: \u0000\u0000\u0000\u0000-\u0000\u0000\u0000 \u0000\u0000\u0000;1924–1968) was an Israeli soldier who was rewarded with the Hero of Israel.BiographySiman-Tov Ganeh was born in the Old City of Jerusalem to aGeorgian-Jewish family, son of a member of the Jewish Battalions and a volunteer in the British army's Expeditionary Force during the Second World War. Whenthe 1936–1939 Arab revolt broke out, his family was forced to leave the Old City and move to Zikhron Moshe. As a boy he worked in a cigarette factory, and in1941 his father fell captive in Crete. He also served in the Royal Navy, and served on supply ships. In April 1946, he was discharged and worked as a taxi drivershortly before joining the Lehi underground movement.Ganeh joined the 8th Brigade at the beginning of the 1948 Arab–Israeli War and served in the 89thBattalion. In November 1948, he participated in the Battle of Iraq Suwaydan, in which he continued to treat the wounded and respond to the shooting whilemortally wounded and under heavy fire. For his part in the operation, he was awarded the Hero of Israel medal.After the battle, Siman-Tov's two legs were cut offand replaced with prosthetic legs. Following the war he studied carpentry and worked for a while as a taxi driver. He got married in 1950 and was a father ofthree. His middle son was named Ma'agan, after being born on the day Ganeh was saved from the Ma'agan disaster which he had witnessed. During the Six-DayWar he volunteered to gather soldiers from transportation stations. In 1967, he began to work as a contractor in military camps. In March 1968, he was hit by anold shell that was ignited from the heat and was killed. After his death, mourning orders were held in IDF units.Passage 7:Ben PalmerBen Palmer (born 1976) is aBritish film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcomThe Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, TheInbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attendedChetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed thesecond and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in theUSA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing(2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back(2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders (2020)Passage 8:Elliot SilversteinElliot Silverstein(born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and otherfilms including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodesof The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far isCat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.The other Silverstein films, in chronological order, are The Happening, A Man CalledHorse,  Nightmare Honeymoon, The Car, and Flashfire.Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, andTales from the Crypt.While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated forfour more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin"}
+{"doc_id":"doc_204","qid":"","text":"Passage 1:Alasdair MórAlasdair Mór mac Domhnaill was a younger son of Domhnall mac Raghnaill—the eponymous ancestor of Clan Donald. He first appears onrecord in 1253, when it is recorded as witnessing a charter by his brother, Aonghus Mór, to Paisley Abbey. According to the 19th century Clan Donald historiansAngus and Archibald Macdonald, Alasdair Mór must have been a prominent man as he is the only recorded brother of Aonghus Mór. He is recorded in the Annalsof Connacht, in the year 1299, as being a man noted for being a \"generous and bounteous man\". In that year he was slain in a conflict with Alasdair of Argyll andthe MacDougalls. He is said to have had at least five sons: Dòmhnall, Gòraidh, Donnchadh, Eoin and Eachann. Alasdair Mòr was succeeded in the representationof his clan by Dòmhnall. Today he is considered to be the eponymous ancestor of Clan MacAlister.Passage 2:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000,lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi,the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was adescendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 3:Lyon CohenLyon Cohen(born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poetLeonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with hisparents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen inMontreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the CanadianImprovement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of CanadianExport Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobsfounded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent EastEuropean Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of themain causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into theCanadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron deHirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president ofthe Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and Presidentof Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he marriedLithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who wasa captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 4:Gilbert deInsulaGilbert de Insula (Anglicised: Gilbert of the Isles) was a son of Domhnall mac Alasdair, who received a charter for unspecified lands in the Stirlingshireregion, in the year 1330. He also received a charter for half the lands of Glorat in the parish of Campsie. Today, Gilbert de Insula is considered to be a grandsonof Alasdair Mór. He is also considered to possibly be the ancestor of the Alexanders of Menstrie.CitationsPassage 5:Henry KrauseHenry J. \"Red\" Krause, Jr.(August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the WashingtonRedskins.  He played college football at St. Louis University.Passage 6:Fred Le DeuxFrederick David Le Deux (born 4 December 1934) is a former Australian rulesfootballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie andattended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played forthe Sandhurst Football Club. He then moved to Ocean Grove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958, which kept him out of the entire 1959 VFL season.In1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married toformer Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 7:Domhnall mac CaileinDomhnall macCailein or Donald Campbell was a 13th-14th century Scottish nobleman and the Sheriff of Wigtown.LifeAccording to Campbell tradition, Domhnall was the secondson of Cailean Mór; however, contemporary evidence seems to suggest that Domhnall was the elder brother to Niall mac Cailein.First mentioned in 1296, when hedid homage to King Edward I of England at Dumbarton on 28 August 1296, his name is included on the Ragman Roll. He was on the side of the English in 1304under the orders of John de Botetourt, Justiciar of Galloway, Annan, and the valley of the Nith. Domhnall was part of the jury that, on 31 August 1304, undertookan inquiry as to certain privileges claimed by Robert de Brus, Earl of Carrick. After switching over to the Scottish cause, Domhnall was a signatory to theDeclaration of Arbroath. He received a grant of the half lands of Red Castle in the county of Forfar, and also lands of Benderloch in Lorne.Family andissueDomhnall married Amabilla and had the following known issue;Duncan (d.1367), married the heiress Susanna Crawford of Loudon daughter of ReginaldCrawford, and is the ancestor of the Campbells of Loudoun. Had issue.NotesPassage 8:Domhnall mac AlasdairDomhnall mac Alasdair was a son of Alasdair Mórmac Domhnaill, and a member of Clann Domhnaill. Domhnall is attested by the fifteenth-century manuscript National Library of Scotland Advocates' 72.1.1 (alsoknown as 1467 MS and 1450 MS). He may be identical to Domhnall of Islay. The latter's attestations suggest that he was a contestant to the Clann Domhnailllordship, and may have possessed the chiefship.CitationsPassage 9:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578),better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation.He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, aclan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazrajtribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'theancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak ofpraise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn AbdManaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave hismother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with hisarguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abdal-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following hisuncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. Heattained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb'sgrandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of theKaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller thanyou in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshinesyours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you arerenowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said thatwhile sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. Therehe would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his sonAl-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed,\"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. Itwas said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on theexpedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of evergetting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their owngraves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided thatAbdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in"}
+{"doc_id":"doc_205","qid":"","text":"Passage 1:Theodore Roosevelt Sr.Theodore Roosevelt Sr. (September 22, 1831 – February 9, 1878) was an American businessman and philanthropist from theRoosevelt family. Roosevelt was also the father of President Theodore Roosevelt and the paternal grandfather of First Lady Eleanor Roosevelt. He served as amember of the plate-glass importing business Roosevelt & Son.Roosevelt helped found the New York City Children's Aid Society. Related to this, and largelythrough his initiative,. . . a permanent Newsboys' Lodging house [was] established . . . where nightly several hundred stray  boys . . . were given a clean bed in awarm room for five cents, a fraction of what was charged by the lowest kind of commercial flophouse.He also helped found the Metropolitan Museum of Art, theAmerican Museum of Natural History, and the New York Children's Orthopedic Hospital. A participant in New York society life, he was described by one historian asa man of both \"good works and good times\". In December 1877, Roosevelt was nominated to be Collector of the Port of New York but was rejected by the U.S.Senate.FamilyRoosevelt was born in Albany, New York to businessman Cornelius Roosevelt and Margaret Barnhill. His four elder brothers were Silas, James,Cornelius Jr., and Robert. His younger brother, William, died at the age of one.Roosevelt married Martha Stewart Bulloch of Roswell, Georgia, on December 22,1853. She was the younger daughter of Major James Stephens Bulloch and Martha \"Patsy\" Stewart. Mittie was also a sister of the American Civil War'sConfederate veteran Irvine Bulloch and half-sister of Civil War Confederate veteran James Dunwoody Bulloch. They married at her family's historic mansion,Bulloch Hall in Roswell. Theodore Sr. and Martha had four children:Anna Roosevelt in 1855Theodore Roosevelt Jr. in 1858, who became the 26th president of theUnited StatesElliott Roosevelt (socialite) in 1860, who was the father of future First Lady Eleanor Roosevelt and father-in-law of President Franklin D.RooseveltCorinne Roosevelt in 1861His son's recollectionsOf Theodore Sr., or \"Thee\" as he was known, his namesake son, in his autobiography described him inthe following words:My father, Theodore Roosevelt, was the best man I ever knew. He combined strength and courage with gentleness, tenderness, and greatunselfishness. He would not tolerate in us children selfishness or cruelty, idleness, cowardice, or untruthfulness. As we grew older, he made us understand thatthe same standard of clean living was demanded for the boys as for the girls; that what was wrong in a woman could not be right in a man. With great love andpatience, and the most generous sympathy and consideration, he combined insistence on discipline. He never physically punished me but once, but he was theonly man of whom I was ever really afraid. I do not mean that it was a wrong fear, for he was entirely just, and we children adored him. ...I never knew anyonewho got greater joy out of living than did my father, or anyone who more whole-heartedly performed every duty; and no one whom I have ever met approachedhis combination of enjoyment of life and performance of duty. He and my mother were given to hospitality that at that time was associated more commonly withsouthern than northern households. ...My father worked hard at his business, for he died when he was forty-six, too early to have retired. He was interested inevery social reform movement, and he did an immense amount of practical charitable work himself. He was a big, powerful man, with a leonine face, and hisheart filled with gentleness for those who needed help or protection, and with the possibility of much wrath against a bully or an oppressor. ... [He] was greatlyinterested in the societies to prevent cruelty to children and cruelty to animals. On Sundays, he had a mission class.\" In a 1900 letter, Roosevelt described hisfather, writing:I was fortunate enough in having a father whom I have always been able to regard as an ideal man. It sounds a little like cant to say what I amgoing to say, but he did combine the strength and courage and will and energy of the strongest man with the tenderness, cleanness, and purity of a woman. Iwas a sickly and timid boy. He not only took great and untiring care of me—some of my earliest remembrances are of nights when he would walk up and downwith me for an hour at a time in his arms when I was a wretched mite suffering acutely with asthma—but he also most wisely refused to coddle me, and made mefeel that I must force myself to hold my own with other boys and prepare to do the rough work of the world. I cannot say that he ever put it into words, but hecertainly gave me the feeling that I was always to be both decent and manly, and that if I were manly nobody would laugh at my being decent. In all mychildhood he never laid hand on me but once, but I always knew perfectly well that in case it became necessary he would not have the slightest hesitancy in doingso again, and alike from my love and respect, and in a certain sense, my fear of him, I would have hated and dreaded beyond measure to have him know that Ihad been guilty of a lie, or of cruelty, or of bullying, or of uncleanness or cowardice. Gradually I grew to have the feeling on my account, and not merely on his.\"To combat his poor physical condition, his father encouraged the young Roosevelt to take up exercise. To deal with bullies, Roosevelt started boxing lessons. Twotrips abroad had a permanent impact: family tours of Europe in 1869 and 1870, and of the Middle East 1872 to 1873.Support for the Union during the CivilWarTheodore Sr. was an active supporter of the Union during the Civil War. He was one of the Charter Members of the Union League Club, which was founded topromote the Northern cause. He has not been listed as such, probably because his wife was a loyal supporter of the Confederacy, and her brothers IrvineStephens Bulloch and James Dunwoody Bulloch were fighting for the Confederate Army. It was perhaps because of her active support of the Confederate Armythat Theodore Sr. hired a replacement to fulfill his draft obligation in the Army of the Potomac. During the war, he and two friends, William Earl Dodge Jr. andTheodore B. Bronson, drew up an Allotment System, which amounted to a soldier's payroll deduction program to support families back home. He then went toWashington, lobbied for, and won acceptance of this system, with the help of Abraham Lincoln himself. Theodore Sr. and Mr. Dodge were appointed AllotmentCommissioners from New York State. At their expense, the two men toured all New York divisions of the Army of the Potomac in the field to explain this programand sign interested men up, with a significant degree of success. In 1864, the Union League Club recruited money and food to send Thanksgiving Dinner to theentire Army of the Potomac. Theodore Sr. served as Treasurer for this generous outpouring of support for the troops. The elder Roosevelt meticulously listedevery donation received in a Union League Report dated December 1864.Orthopedic HospitalRoosevelt founded the New York Orthopedic Hospital. His youngerdaughter Corinne wrote this account of its origins: Bamie was born with a curved spine, and Roosevelt found a young doctor, Charles Fayette Taylor, who haddeveloped groundbreaking methods of treating physical defects in children, including braces and other equipment. Roosevelt then organized what appeared to bea social party for the upper crust of New York City. When the would-be revelers arrived, however, what they saw to their great surprise, were small children innew braces specially constructed for them. Moved to tears by the sight, one of the wealthiest socialites, Charlotte Augusta Gibbes (wife of financier/philanthropistJohn Jacob Astor III) said, \"Theodore, you are right; these children must be restored and made into active citizens again, and I for one will help you in yourwork.\" That same day enough money was collected to start the hospital. Friends of Roosevelt used to see him coming and note the look in his eyes only to say tohim, \"How much is it, this time, Theodore?\"Other philanthropic interestsIn addition to contributing large sums to the Newsboys' Lodging-house (as noted above),he also contributed to the Young Men's Christian Association, organized the Bureau of United Charities, and was a commissioner of the New York State Board ofCharities. He was a director of the Metropolitan Museum of Art and of the American Museum of Natural History.Nomination for Collector to the Port of New York,and deathIn October 1877, Roosevelt was nominated by President Rutherford Hayes to the position of Collector of Customs at the Port of New York. One ofHayes's main reasons for nominating Roosevelt was to embarrass New York Senator Roscoe Conkling, whom Hayes considered corrupt, and who was demandingthe renomination of the incumbent Collector, future President Chester A. Arthur. Conkling, as a member of the Senate committee tasked with considering theappointment, used endless delaying tactics, and the resulting battle made national headlines and left Roosevelt Sr. feeling humiliated and disillusioned.As theprocess dragged on, Roosevelt started experiencing severe stomach cramps caused by a gastrointestinal tumor, misdiagnosed as peritonisis. In December, twodays after his appointment was finally rejected in the Senate by a vote of 25 to 31, Roosevelt collapsed. Initially he kept the extent of his illness hidden from hiselder son, who was away attending Harvard. In February, however, 19-year-old Theodore Jr. was informed and immediately took a train from Cambridge to NewYork, where he missed his father's death by a few hours. The senior Roosevelt had been 46.A devout Christian who led his children in daily prayers, Roosevelt'sfuneral was held in Fifth Avenue Presbyterian Church, which was filled to overflowing. The voice of his former pastor (William Adams) broke several times in thecourse of his remarks in the service.Theodore Roosevelt Jr. was profoundly affected by the early death of his father and spent months in a deep state ofgrief.LegacyBiographer H. W. Brands argued that the timing of his death contributed heavily to the younger Theodore's psychology, since the future presidentknew his father fully while growing up, but missed knowing his father man-to-man, and therefore absorbed a view of his father entirely in his role as a parent,untempered by much realization of his human imperfection. Theodore Jr.'s sister Corinne remarked that \"when [Theodore Jr.] was entering upon his duties asPresident of the United States, he told me frequently that he never took any serious step or made any vital decision for his country without thinking first whatposition his father would have taken on the question.\"Historian David McCullough, in the introduction to his book about President Roosevelt's youth, remarked:Ithink it is fair to say that one can not really know Theodore Roosevelt, the twenty-sixth President of the United States, without knowing the sort of man his fatherwas. Indeed, if I could have one wish for you the reader, it would be that you come away from the book with a strong sense of what a great man TheodoreRoosevelt, Sr. was.In 2012, historian Douglas Brinkley ranked Roosevelt first in a list of fathers of presidents of the United States, citing his instilling his son with"}
+{"doc_id":"doc_206","qid":"","text":"Passage 1:Paul De WeertPaul De Weert (born 27 November 1945) is a Belgian rower. He competed at the 1972 Summer Olympics and the 1976 SummerOlympics.Passage 2:Paul de LongpréPaul de Longpré (1855–1911), was a French painter of flowers, who worked mainly in the United States.Early lifePaul deLongpré was born in Lyon, France, in 1855, and was an entirely self-taught artist. From age 12, he practiced successfully in Paris as a painter of fans. In 1876, at21, he first exhibited at the Paris Salon. Having lost his money by the failure of a Paris bank, he moved in 1890 to New York City and in 1896 held an exhibition offlower paintings which secured him instant recognition.Life in HollywoodDe Longpré arrived in Los Angeles, Southern California with his family in 1899. DaeidaWilcox, with husband H. H. Wilcox the founders of Hollywood, was so eager to attract culture to the town that she gave him her homesite for his estate, three lotson Cahuenga on the north of Prospect (later Hollywood Boulevard), in exchange for three of his paintings.In 1901, Canadian architect Louis Bourgeois designed alandmark residence for the 3 acres (1.2 ha) estate, in the Mission Revival style. The house included an art gallery to sell prints of de Longpré's paintings, and wassurrounded by the expansive \"Le Roi de Fleur\" flower gardens. Estate tours became a popular tourist destination off an exclusive Balloon Route trolley spur of theLos Angeles Pacific Railroad, that later became a Pacific Electric Redcar line, and with print sales additional sources of income for de Longpré.Paul de Longpré islisted in the 1900 US Census, Los Angeles City Ward 5, Precincts 38 B and 73 A, with his wife Josephine and daughters Blance, Alice, and Pauline. His occupationis listed as Artist, but the last name is misspelled as De Lonpre, It indicates Paul, Josephine, Blance, and Alice were born in France, and Pauline was born in NewYork City. The architect Louis Bourgeois also taught French to de Longpré's daughters, and later married his daughter Alice.Paul de Longpré died at home in LosAngeles at age 56, on 29 June 1911.Afterwards, the family moved back to France. The increased property values in rapidly developing Hollywood resulted indemolition of the gardens by 1924, and the house in 1927.WorksDe Longpré only painted specimens of flowers. With a delicacy of touch and feeling for color heunited scientific knowledge and art. He also knew how to give expression to the subtle essence of the flowers. Painting floral scenes almost exclusively inwatercolors, in the 1900s de Longpre found inspiration in the 4,000 rose bushes he planted on his Hollywood estate. The finest of his paintings include DoublePeach Blossoms and White Fringed Poppies (1902) – both widely known through popular reproductions.LegacyIn present-day Hollywood, the street De LongpreAvenue, and De Longpre Park on it are both named for him.Passage 3:Paul de ScherffPaul de Scherff (14 July 1820 – 22 July 1894) was a Luxembourgianpolitician.De Scherff was born in Frankfurt to F. H. W. von Scherff-Arnoldi, who was minister plenipotentiary of the King-Grand Duke to the German FederalDiet.  After studying law, Paul de Scherff came to Luxembourg. For six years he was avocat géneral, and later became president of the superior court, at the ageof 34. From 24 June 1856 to 11 November 1858 he was Administrateur général (Minister) for Public Works and Railways in the Simons Ministry. From 1869 to1871, and then again from 1886 to 1892 he was a member of the Chamber of Deputies for the Centre, and was President of the Chamber of Deputies from 1869until 1872.When the walls of the fortress of Luxembourg were demolished in the 1870s and 1880s, Paul de Scherff was working in the ministry of public works,where he dealt with the building of the municipal parks.He married Marie Pescatore on 14 September 1842, daughter of Constantin Jos. Antoine Pescatore andniece of Theodore Pescatore.  De Scherff was a practising member of the Reformed Church.FootnotesPassage 4:Paul de CordonPaul de Cordon (born in 1908 inToulouse - died in 1998 in Paris) was a French photographer known for his photographs of the circus and the Crazy Horse Saloon. He was also recognized for hisportraits and his nudes for which he was, in 1964, considered one of the greatest photographers in the world together with Guy Bourdin and Lucien Clergue. Heproduced portraits of many personalities such as Johnny Hallyday, Gilbert Bécaud, Mireille Darc, Jacques Brel, Fernand Raynaud, Anna Karina, Samy Davis Jr.,Jeanne Moreau, Steve McQueen and his long-time friends, Daniel Sorano and Jacques Dufilho as well as Gonzague Saint Bris with whom he was very close  andwho nicknamed him “The Toulouse-Lautrec of photography’’. In 1961 he participated alongside Edouard Boubat, Agnès Varda, Man Ray, Frank Horvat, WilliamKlein and Robert Doisneau in the mythical exhibition \"Metamorphosis and invention of a face\" around the portrait of Anne- Marie Edvina. He was also anequestrian, fashion and advertising photographer, notably for Nikon and Beaulieu. He collaborated with Europe 1 in the years 1960/70. Paul de Cordon even triedhis hand at television by co-presenting the Cirques du Monde program with Jean Richard on channel A2. His works are present in prestigious collections such asthose of the National Library of France (BNF), the Rodin museum and W.M. Hunt.Early yearsPaul de Cordon was born in Toulouse. His father, Comte Pierre deCordon, was a cavalry officer; his mother, Marthe de Boyer-Montegut, a cultivated, book-loving woman, was the daughter of Paul de Boyer- Montégut, who, formany years, was mayor of Cugnaux, near Toulouse, where he owned the château de Maurens.It was in Maurens that Paul de Cordon, as a child, spent hisholidays and it was there that he discovered horses which were to become one of the great passions of his life. His grandfather Boyer-Montegut was what was theFrench call, a “Homme de cheval’’ whose four-in-hand teams were renowned in Toulouse and across the region. As a child, he also lived for several years in Mainz(Germany), where his father was stationed after the First World War. It was around this time that he started taking pictures with a small camera, a gift from hisparents. He learned the basic techniques from an old German photographer during long hours spent in his shop.It was also in Germany where his attraction to thecircus was born. The large travelling circuses, like Althoff, then crisscrossed the country with quality shows and numerous animals.As a teenager, he was aboarder in a Paris school. He was then able to discover a very intense artistic and cultural life thanks to his aunt, the Marquise du Crozet, his mother's elder sister.He attended performances by Serge de Diaghilev's Ballets Russes which, after the war, came on tour every year to Paris. He went to the theater and visitedexhibitions with his first cousin, Aimar du Crozet, who was much older than him and took him \"under his wing\" to serve as his guide to the Paris of the 1920s.Aimar du Crozet also had a passion for horses and races. He was the owner of Master Bob, who won the 1924 Paris Grand Steeple Chase * and who became sofamous an athlete that he is mentioned by Ernest Hemingway at the start of his book ‘’Death in the Afternoon’’.After his studies Paul de Cordon enlisted in the18th Dragons cavalry regiment. More than a true military vocation, it was once again the love of horses that motivated him.At that time almost all the cavalryregiments were mounted and each maintained and trained horses to enter in show jumping events and steeple chases, in which both officers andnoncommissioned officers participated. In the 1930s, he thus took part in dozens of races on tracks in France and across Europe.After the 18th Dragons he wasassigned to the 2nd Hussards, in Tarbes, the “Chamborant’’, where he continued his favorite activities; training and riding horses. By an amusing coincidence, hisgreat-grandmother on his mother’s side was Louise de Séganville, daughter of Colonel Baron de Séganville who had been the regiment’s commanding officerbetween 1813 and 1815.It was at the 2nd Hussards that he had two encounters that would mean a lot in his life. He befriended Jacques Dufilho who, afterinterrupting his studies in dental prosthesis, had signed an eighteen-month enlistment contract. * Dufilho will become one of his dearest friends when they meetagain after the war. There he also meets Jean Devaivre who completed his military service at “Chamborant’’. Jean Devaivre then went to work in cinema andbecame a great director, it was he who enabled Paul de Cordon, after the war, to embark on a new life.Devaivre was not only a cineaste but also an authenticcharacter actor: working during the occupation for the German group Continental Films in Paris, he was at the same time a very active member of the Frenchresistance. His exploits include flying from the Nevers region to London clandestinely after having made the journey from Paris to Nevers in the afternoon... bybicycle. Bertrand Tavernier's film “Laissez-passer’’ is directly inspired by his life, as recounted in his autobiography, “Action’’.In 1939, the 2nd Hussards broke upinto reconnaissance groups which took part in the 1940 battles on the Ardennes front, * Paul de Cordon participated in these actions in a mounted squadron andwas taken prisoner by the Germans. He ended his captivity in the fortress of Colditz where he was liberated by the US military on April 16, 1945.In 1945 hemarried Dilette de Rigaud de Vaudreuil and they had three children. He remained in the army for a few more months and was assigned to the Cadre Noir inSaumur.Second lifeAfter a few months in Saumur, he decided to leave the army. In 1947 Jean Devaivre who had just directed “La dame d’onze heure\" with PaulMeurisse, a film of astonishing modernity, offered him a job as his assistant and Paul de Cordon accepted.He was Devaivre’s first assistant director for “La fermedes sept péchés\" ( he was also the stuntman for scenes on horseback) and for \"Vendetta en Camargue\" where he reunited with Jacques Dufilho. At that time, inaddition to being a stuntman he was also an acrobatic and burlesque dancer.At the beginning of the 1950s, Paul de Cordon decided to become a professionalphotographer. He set up a studio in Paris and started developing relations with various clients in the press, advertising agencies, fashion designers, show business...He also began to develop a large-scale personal project on the circus and the Crazy Horse Saloon cabaret. He spent many nights with his camera at Medrano, atthe Bouglione brothers' Cirque d’Hiver and at the Crazy Horse Saloon. Until the 1990s he also traveled the world to visitcircuses and bring back photos. Overthese years, he has developed close ties with the great dynasties of the circus ring : Schumann, Rancy, Knie, Gruss, Bouglione, Houcke, Medrano, Fratellini etc ...In all these families the horse occupied a central role in their performances. This equestrian culture and Paul de Cordon’s experience as a horseman facilitated andconsolidated links with all these artists and strengthened their mutual confidence and friendship. His taste for spectacle, ballets and theater helped him toappreciate and better understand the work represented by all these artists. During these years, in addition to his work as a photographer, Paul de Cordon wrote a"}
+{"doc_id":"doc_207","qid":"","text":"Passage 1:Arthur Lehman GoodhartArthur Lehman Goodhart  (1 March 1891 in New York City – 10 November 1978 in Oxford) was an American-born academicjurist and lawyer; he was Professor of Jurisprudence at the University of Oxford, 1931–51, when he was also a Fellow of University College, Oxford. He was thefirst American to be the Master of an Oxford college, and was a significant benefactor to the college.Early life and educationArthur Goodhart was born to a Jewishfamily in New York City, the youngest of three children born to Harriet \"Hattie\" (née Lehman) and Philip Julius Goodhart. His siblings were Howard LehmanGoodhart and Helen Goodhart Altschul (married to Frank Altschul). His maternal grandfather was Mayer Lehman, one of three brothers who co-founded theinvestment banking firm Lehman Brothers. Goodhart was educated at the Hotchkiss School, Yale University and Trinity College, Cambridge. At Yale, he was aneditor of campus humor magazine The Yale Record. After returning to the United States, he practised law until World War I. Following the war, he started topursue an academic career in law, initially at Cambridge University and later at Oxford University where he became Professor of Jurisprudence and subsequentlythe Master of University College. He was editor of the Law Quarterly Review for fifty years.CareerRejected for service with British forces in World War I, in 1914,Goodhart became a member of the U.S. forces when the U.S. joined the war in 1917; he became counsel to the U.S. mission to Poland, in 1919.Goodhart wascalled to the bar by the Inner Temple 1919, and became a fellow of Corpus Christi College, Cambridge, and university lecturer in jurisprudence; he edited theCambridge Law Journal, 1921–5, and the Law Quarterly Review, 1926. In 1931 he moved to Oxford to become professor of jurisprudence. He gave up that chairwhen he became Master of University College, Oxford, 1951–63. Subsequently, he was an Honorary Fellow of the college until his death in 1978. In 1952 hedelivered the Hamlyn Lectures.As a member of the Law Revision Committee, Goodhart helped to promote improvements in various branches of the law.PersonallifeArthur Goodhart was married to Cecily Goodhart (née Carter), a devout Anglican. They had three children: Sir Philip Goodhart; William Goodhart, LordGoodhart of Youlbury; and Charles Goodhart (after whom Goodhart's law is named).LegacyStudents during Goodhart's Mastership of University College includedBob Hawke, matriculated 1953, who was later Prime Minister of Australia.The Goodhart Quad and the Goodhart Building (to the east, overlooking the quad andused for student accommodation) at University College, Oxford, off Logic Lane, are named in his memory. The largest lecture theatre in the Sir David WilliamsBuilding, which houses the Faculty of Law at the University of Cambridge, is also named \"The Arthur Goodhart Lecture Theatre\" after him. Cecily's Court, a smallopen area containing a fountain, located between the Goodhart Building and 83–85 High Street, is named in memory of Goodhart's wife.Honours and titles1938Honorary bencher, Lincoln's Inn1943, King's Counsel1948, Honorary Knight Commander of the Order of the British Empire (KBE). As a US citizen, an honoraryknighthood, and name not prefixed \"Sir\"1952, Fellow of the British AcademyHe received honorary degrees from twenty universitiesHonorary Fellow, TrinityCollege, CambridgeHonorary Fellow, University College, OxfordPassage 2:Christopher ShinnChristopher Shinn (born 1975) is an American playwright. His playDying City (2006) was a finalist for the 2008 Pulitzer Prize for Drama, and Where Do We Live (2004) won the 2005 Obie Award, Playwriting.Early lifeShinn wasborn in Hartford, Connecticut in 1975 and lives in New York. He earned a BFA, Dramatic Writing, from New York University.The Royal Court Theatre in Londonproduced his first play Four and commissioned several plays from him. Shinn said: \"The fifteen years I was embraced by the Court allowed me to become theartist I am today.\"CareerIn an article about Shinn, Rob Weinert-Kendt observed: \"If playwright Christopher Shinn has a signature character, it is the manipulativevictim — the half-sympathetic, half-deplorable sort of person whose suffering is real but who uses it as rationale for bad behavior.\" As an example, in Dying City,\"Shinn conjured twin terrors: a pair of brothers, one a straight soldier shipping off to Iraq, the other a successful gay actor.\"Four was produced by the Royal CourtTheatre in their Young Writers' Festival in 1998. The play was produced by the Worth Street Company at the TriBeCa Playhouse, New York City, in July 2001,directed by Jeff Cohen. It was produced by the Manhattan Theatre Club at Stage II in association with the Worth Street Company in January 2002.Other Peoplepremiered at the Royal Court Theatre, Jerwood Theatre Upstairs in March 2000, directed by Dominic Cooke and featuring Daniel Evans, Doraly Rosen, JamesFrain, and Neil Newbon. The play opened Off-Broadway at Playwrights Horizonss New Theater Wing in October 2000. The play takes place in the East Village in1997 shortly before Christmas, and involves roommates, current and former, all artists in various fields.Where Do We Live opened Off-Broadway at the VineyardTheatre, running from May 11, 2004, to May 30, 2004. Directed by Shinn, the cast featured Emily Bergl, Daryl Edwards, Jesse Tyler Ferguson, Luke MacFarlane,Burl Moseley, Jacob Pitts, Aaron Stanford, Liz Stauber and Aaron Yoo. The play won the 2005 Obie Award, Playwriting and was nominated for the 2005 GLAADMedia Awards, Outstanding New York Theater: Broadway and Off-Broadway. It was first produced at the Royal Court in May 2002.His play Dying City wasproduced Off-Broadway by Lincoln Center Theater at the Mitzi E. Newhouse Theatre, from February 15, 2007, in previews, officially on March 4, 2007, to April 29,2007. Directed by James Macdonald the cast starred Rebecca Brooksher and Pablo Schreiber. The play had its world premiere in 2006 at the Royal Court Theatrein London. The play was a finalist for the 2008 Pulitzer Prize for Drama.Shinn's play Now or Later premiered at the Royal Court Theatre in London from 3September 2008 to 1 November 2008. Directed by Dominic Cooke, the cast featured Eddie Redmayne, Matthew Marsh, Adam James, Domhnall Gleason, NancyCrane and Pamela Nomvete. The play takes place during a U.S. presidential election and focuses on the crisis that the gay son of the Democratic candidate isundergoing. The play had its US premiere at the Huntington Theatre Company, Boston in October 2012. Adriane Lenox, Tom Nelis and Grant MacDermott arefeatured, with direction by Michael Wilson.His adaptation of Hedda Gabler premiered on Broadway at the Roundabout Theatre Company American AirlinesTheatre, from January 6, 2009, to March 29, 2009. The play was directed by Ian Rickson and starred Mary-Louise Parker as Hedda Tesman, Michael Cerveris asJorgen Tesman, Peter Stormare as Judge Brack, and Paul Sparks as Ejlert Lovborg.Teddy Ferrara was commissioned by the Goodman Theatre, Chicago, andpremiered there from February 2, 2013, to March 3, 2013, directed by Evan Cabnet. The play involves a gay college student, Gabe, whose life is complicated by atragedy on campus. The play was produced in London at the Donmar Warehouse in October 2015, directed by Dominic Cooke.An Opening in Time premiered atHartford Stage, running from September 17 to October 11, 2015, directed by Oliver Butler. The play is set in New England and focuses on Anne, in her 60s,seeking to reconnect with a man from her past.Against premiered at the Almeida Theatre, running from August 12 to September 30, 2017, directed by IanRickson and starring Ben Whishaw. The play is about a Silicon Valley billionaire who goes on a quest to try to get America to address its problem with violence.Hisadaptation of Judgment Day premiered at Park Avenue Armory on December 5, 2019.The Narcissist premiered at Chichester Festival Theatre, running fromAugust 26 to September 24, 2022, directed by Josh Seymour and starring Harry Lloyd and Claire Skinner. The play is about a political consultant who is beingcourted by a Senator as his personal life faces crisis.Other workHe wrote Sandcastle for \"The 24 Hour Plays\" which was performed on September 24, 2001,starring Liev Schrieber and Lili Taylor. He wrote Dance of Life for the 2003 version of \"The 24 Hour Plays\", which was performed at the American Airlines Theatrein September 2003 and starred Rachel Dratch, Catherine Kellner and Sam Rockwell.He participated in the Bush Theatre's 2011 project Sixty Six Books where hewrote a piece based upon a book of the King James Bible.He wrote a short play for Headlong's 2011 project Decade about the impact and legacy of 9/11.He hasalso written short plays for Naked Angels, and the New York International Fringe Festival.Shinn's plays are published in collections from Theatre CommunicationsGroup and Methuen, and in acting editions from Dramatists Play Service.Shinn teaches playwriting at The New School for Drama.BibliographySource: InternetOff-Broadway DatabaseFour—1998, Royal Court TheatreOther People—2000, Royal Court TheatreThe Coming World—2001, Soho Theatre, LondonWhere Do WeLive—2002, Royal Court TheatreWhat Didn't Happen—2002, Playwrights HorizonsOn the Mountain—2005, Playwrights HorizonsDying City—2006, Royal CourtTheatreNow or Later—2008, Royal Court TheatreHedda Gabler (adaptation)—2009, Roundabout Theatre Company, American Airlines TheatrePicked—2011,Vineyard TheatreTeddy Ferrara—2013, Goodman TheatreAn Opening in Time—2015, Hartford StageAgainst—2017, Almeida TheatreJudgment Day(adaptation)—2019, Park Avenue ArmoryThe Narcissist—2022, Chichester Festival TheatreAwards and honorsFor Dying City, Shinn was a 2008 Pulitzer Prizefinalist, was nominated for the 2007 Lucille Lortel Award for Outstanding Play, and was nominated for the TMA Award for Best New Play (2006). Shinn won theObie Award in Playwriting (2005) for Where Do We Live and was nominated for an Olivier Award for Most Promising Playwright (2003) for Where Do We Live Hewas shortlisted for the Evening Standard Theatre Award for Best Play (2008) for Now or Later and the South Bank Show Award for Theatre (2008) for Now orLater. In 2020, he was nominated for a Drama Desk Award for Outstanding Adaptation for Judgment Day.He received a Guggenheim Fellowship in Playwriting(2005). He has received grants from the NEA/TCG Residency Program and the Peter S. Reed Foundation, and he is a recipient of the Robert Chesley Award forLesbian and Gay Playwriting.He was a 2019-2020 Radcliffe Fellow at Harvard. In 2020–2021, he was a Cullman Fellow at New York Public Library.PersonallifeShinn is openly gay. In 2012, Shinn was diagnosed with Ewing's sarcoma, a rare form of bone cancer, and had part of his left leg amputated.Passage 3:FionaMcIntoshFiona McIntosh (born 1960) is an English-born Australian author of adult and children's books. She was born in Brighton, England and between the agesof three and eight, travelled a lot to Africa due to her father's work. At the age of nineteen, she travelled first to Paris and later to Australia, where she has lived"}
+{"doc_id":"doc_208","qid":"","text":"Passage 1:Tiberius (son of Maurice)Tiberius (Greek: Τιβέριος, died 27 November 602) was the second son of Byzantine Emperor Maurice and his wife Constantina.His father intended him to inherit Italy and the western islands, centered in Rome; however, this did not come to fruition as his father was overthrown by the newEmperor Phocas, who had him and his father executed, along with his younger brothers, in the Harbor of Eutropius, Chalcedon.Early life and familyTiberius wasthe second son of Byzantine Emperor Maurice, and Constantina. He was named in honor of Emperor Tiberius II, his maternal grandfather. He had an olderbrother, Theodosius, four younger brothers, Peter, Paul, Justin, and Justinian, and three sisters, Anastasia, Theoctiste, and Cleopatra. Maurice was not only thefirst Byzantine emperor since Theodosius I to produce a son, but his and Constantina's ability to produce numerous children was the subject of popularjokes.Maurice had served as magister militum per Orientem, the commander of Byzantine forces in the East, securing decisive victories over the SassanianEmpire. The ruling Byzantine Emperor, Tiberius II, weakened by illness, named Maurice one of his two heirs, alongside Germanus, planning to divide the empirein two, giving Maurice the Eastern half. However, Germanus declined, and therefore, on 13 August 582, Maurice was married to Constantina and declaredemperor. Tiberius II died the following day, and Maurice became sole emperor.Later lifeAccording to his father's will, written in 597 when he was suffering fromsevere illness, Maurice intended for Tiberius to rule Italy and the western islands, centered in Rome, rather than Ravenna, with Theodosius ruling in the East,centered in Constantinople. Theophylact Simocatta, a contemporary source, states that the remainder of the empire would be split by Maurice's younger sons,and Byzantist J. B. Bury suggests one would rule North Africa, and the other Illyricum, including Greece, with Domitian of Melitene as their guardian. HistorianJohannes Wienand suggests that in this arrangement, Theodosius would serve as senior augustus, Tiberius as junior augustus, and the younger brothers ascaesars.In 602 Maurice ordered the Byzantine army to winter beyond the Danube, causing troops exhausted by warfare against the Slavs to rise up, and declarePhocas their leader. The troops demanded Maurice abdicate in favor of Theodosius or General Germanus. On 22 November 602, facing riots in Constantinople ledby the Green faction, Maurice and his family boarded a warship bound for Nicomedia.  Theodosius may have been at that time in the Sasanian Empire, on adiplomatic mission, or, according to some sources, was later sent by Maurice to request aid from the Sassanian Emperor Khosrow II.Phocas was crowned emperorthe next day, on the 23rd, after he arrived in the capital. After surviving a storm, Tiberius and his family landed at Saint Autonomos, near Praenetus, 45 miles (72km) from Constantinople, but were forced to stay there due to Maurice's arthritis, which left him bed-ridden. They were captured by Lilios, an officer of Phocas,and brought to the Harbor of Eutropius at Chalcedon, where on 27 November 602, Tiberius and his three younger brothers were put to death, followed by Mauricehimself. Their remains were gathered by Gordia, Tiberius' aunt, and interred at the Monastery of Saint Mamas, which she had founded. Theodosius wassubsequently captured and executed when he returned, while Constantina and her daughters were taken under the protection of Cyriacus II, the Patriarch ofConstantinople.Passage 2:Augustus II the StrongAugustus II (12 May 1670 – 1 February 1733), most commonly known as Augustus the Strong, was Elector ofSaxony from 1694 as well as King of Poland and Grand Duke of Lithuania in the years 1697–1706 and from 1709 until his death in 1733. He belonged to theAlbertine line of the House of Wettin.Augustus' great physical strength earned him the nicknames \"the Strong\", \"the Saxon Hercules\" and \"Iron-Hand\". He liked toshow that he lived up to his name by breaking horseshoes with his bare hands and engaging in fox tossing by holding the end of his sling with just one fingerwhile two of the strongest men in his court held the other end. He is also notable for fathering a very large number of children.In order to be elected king of thePolish–Lithuanian Commonwealth, Augustus converted to Roman Catholicism. As a Catholic, he received the Order of the Golden Fleece from the Holy RomanEmperor and established the Order of the White Eagle, Poland's highest distinction. As Elector of Saxony, he is perhaps best remembered as a patron of the artsand architecture. He transformed the Saxon capital of Dresden into a major cultural centre, attracting artists from across Europe to his court. Augustus alsoamassed an impressive art collection and built lavish baroque palaces in Dresden and Warsaw. In 1711 he served as the Imperial vicar of the Holy RomanEmpire.His reigns brought Poland some troubled times. He led the Polish–Lithuanian Commonwealth in the Great Northern War, which allowed the Russian Empireto strengthen its influence in Europe, especially within Poland. His main pursuit was bolstering royal power in the Commonwealth, characterized by broaddecentralization in comparison with other European monarchies. He tried to accomplish this goal using foreign powers and thus destabilized the state. Augustusruled Poland with an interval; in 1704 the Swedes installed nobleman Stanisław Leszczyński as king, who officially reigned from 1706 to 1709 and after Augustus'death in 1733 which sparked the War of the Polish Succession.Augustus' body was buried in Poland's royal Wawel Cathedral in Kraków, but his heart rests in theDresden Cathedral. His only legitimate son, Augustus III of Poland, became king in 1733.Early lifeAugustus was born in Dresden on 12 May 1670, the youngerson of John George III, Elector of Saxony and Princess Anna Sophie of Denmark. As the second son, Augustus had no expectation of inheriting the electorate,since his older brother, Johann Georg IV, assumed the post after the death of their father on 12 September 1691. Augustus was well educated, and spent someyears in travel and in fighting against France.Augustus married Kristiane Eberhardine of Brandenburg-Bayreuth in Bayreuth on 20 January 1693. They had a son,Frederick Augustus II (1696–1763), who succeeded his father as Elector of Saxony and King of Poland as Augustus III.While in Venice during the carnival season,his older brother, the Elector Johann Georg IV, contracted smallpox from his mistress Magdalena Sibylla of Neidschutz. On 27 April 1694, Johann Georg diedwithout legitimate issue and Augustus became Elector of Saxony, as Friedrich Augustus I.Conversion to CatholicismTo be eligible for election to the throne of thePolish–Lithuanian Commonwealth in 1697, Augustus had to convert to Roman Catholicism. The Saxon dukes had traditionally been called \"champions of theReformation\". Saxony had been a stronghold of German Protestantism and Augustus' conversion was therefore considered shocking in Protestant Europe.Although the prince-elector guaranteed Saxony's religious status quo, Augustus' conversion alienated many of his Protestant subjects. As a result of theenormous expenditure of money used to bribe the Polish nobility and clergy, Augustus' contemporaries derisively referred to the Saxon duke's royal ambitions ashis \"Polish adventure\".His church policy within the Holy Roman Empire followed orthodox Lutheranism and ran counter to his new-found religious and absolutistconvictions. The Protestant princes of the empire and the two remaining Protestant electors (of Hanover and Prussia) were anxious to keep Saxonywell-integrated in their camp. According to the Peace of Augsburg, Augustus theoretically had the right to re-introduce Roman Catholicism (see Cuius regio, eiusreligio), or at least grant full religious freedom to his fellow Catholics in Saxony, but this never happened. Saxony remained Lutheran and the few RomanCatholics residing in Saxony lacked any political or civil rights. In 1717, it became clear just how awkward the situation was: to realize his ambitious dynasticplans in Poland and Germany, it was necessary for Augustus' heirs to become Roman Catholic. After five years as a convert, his son—the future AugustusIII—publicly avowed his Roman Catholicism. The Saxon Estates were outraged and revolted as it became clear that his conversion to Catholicism was not only amatter of form, but of substance as well.Since the Peace of Westphalia, the Elector of Saxony had been the director of the Protestant body in the Reichstag. Toplacate the other Protestant states in the Empire, Augustus nominally delegated the directorship of the Protestant body to Johann Adolf II, Duke ofSaxe-Weissenfels. However, when the Elector's son also converted to Catholicism, the Electorate faced a hereditary Catholic succession instead of a return to aProtestant Elector upon Augustus's death. When the conversion became public in 1717, Brandenburg-Prussia and Hanover attempted to oust Saxony from thedirectorship and appoint themselves as joint directors, but they gave up the attempt in 1720. Saxony would retain the directorship of the Protestant body in theReichstag until the dissolution of the Holy Roman Empire in 1806, despite the fact that all remaining Electors of Saxony were Catholic.The wife of Augustus, theElectress Christiane Eberhardine, refused to follow her husband's example and remained a staunch Protestant. She did not attend her husband's coronation inPoland and led a rather quiet life outside Dresden, gaining some popularity for her stubbornness.King of Poland for the first timeFollowing the death of Polish KingJohn III Sobieski and having converted to Catholicism, Augustus won election as King of the Polish–Lithuanian Commonwealth in 1697 with the backing ofImperial Russia and Austria, which financed him through the banker Berend Lehmann. At the time, some questioned the legality of Augustus' elevation, sinceanother candidate, François Louis, Prince of Conti, had received more votes. Each candidate, Conti and Augustus, was proclaimed as king by a differentecclesiastical authority: (the Primate Michaŀ Radziejowski proclaimed Conti and the bishop of Kujawy, Stanisław Dąmbski proclaimed Augustus, with JacobHeinrich von Flemming swearing to the pacta conventa as Augustus's proxy). However, Augustus hurried to the Commonwealth with a Saxon army, while Contistayed in France for two months.Although he had led the imperial troops against Turkey in 1695 and 1696 without very much success, Augustus continued thewar of the Holy League against Turkey, and after a campaign in Moldavia, his Polish army eventually defeated the Tatar expedition in the Battle of Podhajce in1698. This victory compelled the Ottoman Empire to sign the Treaty of Karlowitz in 1699. Podolia and Kamieniec Podolski returned to Poland. An ambitious ruler,Augustus hoped to make the Polish throne hereditary within his family, and to use his resources as Elector of Saxony to impose some order on the chaoticPolish–Lithuanian Commonwealth. He was, however, soon distracted from his internal reform projects by the possibility of external conquest. He formed an"}
+{"doc_id":"doc_209","qid":"","text":"Passage 1:Hafsa HatunHafsa Hatun (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, \"young lioness\") was a Turkish princess, and a consort of Bayezid I, Sultan of theOttoman Empire.LifeHafsa Hatun was the daughter of Isa Bey, the ruler of the Aydinids. She was married to Bayezid in 1390, upon his conquest of the Aydinids.Her father had surrendered without a fight, and a marriage was arranged between her and Bayezid. Thereafter, Isa was sent into exile in Iznik, shorn of hispower, where he subsequently died. Her marriage strengthened the bonds between the two families.CharitiesHafsa Hatun's public works are located within herfather's territory and may have been built before she married Bayezid. She commissioned a fountain in Tire city and a Hermitage in Bademiye, and a mosqueknown as \"Hafsa Hatun Mosque\" between 1390 and 1392 from the money she received in her dowry.See alsoOttoman dynastyOttoman EmpirePassage 2:Cornelia(mother of the Gracchi)Cornelia (c. 190s – c. 115 BC) was the second daughter of Publius Cornelius Scipio Africanus, a Roman general prominent in the SecondPunic War, and Aemilia Paulla. Although drawing similarities to prototypical examples of virtuous Roman women, such as Lucretia, Cornelia puts herself apartfrom the rest because of her interest in literature, writing, and her investment in the political careers of her sons. She was the mother of the Gracchi brothers,and the mother-in-law of Scipio Aemilianus.BiographyCornelia married Tiberius Sempronius Gracchus, grandson of Tiberius Sempronius Gracchus, when he wasalready in middle age. The union proved to be a happy one, and together they had 12 children, which is very unusual by Roman standards. Six of them were boysand six were girls. Only three are known to have survived childhood: Sempronia, who married her cousin Publius Cornelius Scipio Aemilianus, and the two Gracchibrothers (Tiberius and Gaius Gracchus), who would defy the political institutions of Rome with their attempts at popular reforms.After her husband's death, shechose to remain a widow while still enjoying a princess-like status and set herself to educating her children. She even refused the marriage proposal of KingPtolemy VIII Physcon because she is made to be a virtuous and dutiful wife after the death of her only husband. However, her refusal could simply be justified bythe fact that she had a desire for more independence and freedom in the manner in which her children were to be raised.Later in her life, Cornelia studiedliterature, Latin, and Greek. Cornelia took advantage of the Greek scholars she brought to Rome, notably the philosophers Blossius (from Cumae) and Diophanes(from Mytilene), who were to educate young men. She had been taught the importance of receiving an education and came to play an extensive role in her sons'education during the \"bygone republican era,\" resulting in the creation of a \"superior breed of Roman political leader.\" Cornelia always supported her sonsTiberius and Gaius, even when their actions outraged the conservative patrician families in which she was born. She took a lot of pride in them, comparing herchildren to \"jewels\" and other precious things, according to Valerius Maximus.After their violent deaths, she retired from Rome to a villa in Misenum but continuedto receive guests. Her villa saw the likes of many learned men, including Greek scholars, who came from all over the Roman world to read and discuss their ideasfreely. Rome worshipped her virtues, and when she died at an advanced age, the city voted for a statue in her honor.Role in the political careers of her childrenItis important to note that M. I. Finely advances the argument that \"the exclusion of women from any direct participation in political or governmental activity\" was anormal practice in Ancient Roman society. Therefore, it is extremely difficult to characterize the extent of Cornelia's involvement in the political careers of herchildren, yet there is important evidence to support the fact that she was, at the very least, engaged.A common social practice in Rome was extending thepolitical line of a family through dynastic marriages, especially when two families were rising to power at about the same time. The marriage of Sempronia(Cornelia's daughter) to her cousin reaffirmed the continuation of the great Scipio lineage, seeing as though the legacy of Scipio Africanus had to be continuedsomehow. Scipio Aemilianus saw important growth in his political prestige as a result of this marriage, although not enough to compare to his brothers-in-law andtheir revolutionary political reforms.One of the most important aspects of the life of Cornelia is her relationship with her adult sons. Most of the information thatwe have on her role during this time is what Plutarch wrote in both the Life of Tiberius Gracchus and the Life of Gaius Gracchus. She is portrayed as active duringtheir political careers, especially during Gaius’.Plutarch writes of how Gaius removed a law that disgraced Marcus Octavius, the tribune whom Tiberius haddeposed, because Cornelia asked him to remove it.  Plutarch states that the people all approved of this out of respect for her (due to her sons and her father).Plutarch also writes that Cornelia may have helped Gaius undermine the power of the consul Lucius Opimius by hiring foreign harvesters to help provideresistance (which suggests that harvesters were supporters of the Gracchi).Plutarch also writes that, when one of Gaius's political opponents attacked Cornelia,Gaius retorted:\"What,\" said he, \"dost thou abuse Cornelia, who gave birth to Tiberius?\" And since the one who had uttered the abuse was charged witheffeminate practices, \"With what effrontery,\" said Gaius, \"canst thou compare thyself with Cornelia? Hast thou borne such children as she did? And verily all Romeknows that she refrained from commerce with men longer than thou hast, though thou art a man.\"This remark suggests that the Gracchi used their mother'sreputation as a chaste, noble woman to their advantage in their political rhetoric.Cornelia's letter excerptsThe manuscripts of Cornelius Nepos, the earliest Latinbiographer (ca. 110-24 BC), include several excerpts from a letter supposedly composed by Cornelia to Gaius (her younger son). If the letters are authentic, theywould make Cornelia one of only four Roman women whose writings survive to the present day, and they would show how Roman women wielded considerableinfluence in political families. Additionally, this would make Cornelia the first woman in her own family who wrote and passed down the importance of writing toher posterity. The letters may be dated to just before Gaius' tribunate in 122 BC (Gaius would be killed the following year in 121 BC, over a decade after thedeath of his brother Tiberius in 133 BC). The wording in the letter is very interesting, insomuch as it uses the first person, is very assertive and displays copiousamounts of raw emotion, which may have been new and unusual for a woman writing at that time, particularly to a man of such important social standing. Thetwo excerpts read as follows:\"You will say that it is a beautiful thing to take on vengeance on enemies. To no one does this seem either greater or more beautifulthan it does to me, but only if it is possible to pursue these aims without harming our country. But seeing as that cannot be done, our enemies will not perish fora long time and for many reasons, and they will be as they are now rather than have our country be destroyed and perish....I would dare to take an oathsolemnly, swearing that, except for those who have murdered Tiberius Gracchus, no enemy has foisted so much difficulty and so much distress upon me as youhave because of the matters: you should have shouldered the responsibilities of all of those children whom I had in the past, and to make sure that I might havethe least anxiety possible in my old age; and that, whatever you did, you would wish to please me most greatly; and that you would consider it sacrilegious to doanything of great significance contrary to my feelings, especially as I am someone with only a short portion of my life left. Cannot even that time span, as brief asit is, be of help in keeping you from opposing me and destroying our country? In the final analysis, what end will there be? When will our family stop behavinginsanely? When will we cease insisting on troubles, both suffering and causing them? When will we begin to feel shame about disrupting and disturbing ourcountry? But if this is altogether unable to take place, seek the office of tribune when I will be dead; as far as I am concerned, do what will please you, when Ishall not perceive what you are doing. When I have died, you will sacrifice to me as a parent and call upon the god of your parent. At that time does it not shameyou to seek prayers of those gods, whom you considered abandoned and deserted when they were alive and on hand? May Jupiter not for a single instant allowyou to continue in these actions nor permit such madness to come into your mind. And if you persist, I fear that, by your own fault, you may incur such troublefor your entire life that at no time would you be able to make yourself happy.\"In the early 40s BC, Cicero, Nepos's contemporary, referenced Cornelia's letters.Cicero portrayed his friend Atticus as arguing for the influence of mothers on children's speech by noting that the letters' style appeared to Atticus to show thatthe Gracchi were heavily influenced by Cornelia's speech more than by her rearing. Later in history, Marcus Fabius Quintilian (ca. 35- ca. 100) would reassertAtticus's view of Cornelia's letters when he said \"we have heard that their mother Cornelia had contributed greatly to the eloquence of the Gracchi, a womanwhose extremely learned speech also has been handed down to future generations in her letters\" (Inst. Orat. 1.1.6).4While Cicero's reference to Cornelia's lettersmake it clear that elite Romans of the time period were familiar with Cornelia's writings, today's historians are divided about whether today's surviving fragmentsare authentically Cornelia's words. Instead, the fragments are likely to have been propaganda circulated by the elite optimate faction of Roman politics, who wereopposed to the populist reforms of Cornelia's sons. The letters appear to present Cornelia (a woman with considerable cultural cachet) as opposed to her son'sreforms, and Gaius as a rash radical detached from either the well-being of the Roman Republic or the wishes of his respected mother—meaning that thesurviving fragments could either be outright contemporary forgeries or significantly altered versions of what Cornelia actually wrote.The Cornelia statueAfter herdeath, a marble statue of Cornelia was erected, but only the base has survived; it is \"the first likeness of a secular Roman woman set up by her contemporaries ina public space\". Her statue endured during the revolutionary reign of Sulla, and she became a model for future Roman women culminating with the portrait saidto be of Helena, Emperor Constantine's mother, four hundred years later. Later, anti-populist conservatives filed away the reference to her sons and replaced itwith a reference to her as the daughter of Africanus rather than the mother of the Grachii.Changing legacy over timeThe historical Cornelia remains somewhatelusive. The figure portrayed in Roman literature likely represents more what she signified to Roman writers than an objective account. This significance changed"}
+{"doc_id":"doc_210","qid":"","text":"Passage 1:John III, Duke of BrabantJohn III (Dutch: Jan; 1300 – 5 December 1355) was Duke of Brabant, Lothier (1312–1355) and Limburg (1312–1347 then1349–1355). He was the son of John II, Duke of Brabant, and Margaret of England.John and the towns of BrabantThe early fourteenth century, a period ofeconomic boom for Brabant, marks the rise of the duchy's towns, which depended on imports of English wool for their essential cloth industry. During John'sminority, the major towns of Brabant had the authority to appoint councillors to direct a regency, under terms of the Charter of Kortenberg granted by his fatherin the year of his death (1312). By 1356 his daughter and son-in-law were forced to accept the famous Joyous Entry as a condition for their recognition, sopowerful had the states of Brabant become.The marital alignment with France was tested and failed as early as 1316, when Louis X requested Brabant to ceasetrade with Flanders and to participate in a French attack; the councillors representing the towns found this impossible, and in reprisal Louis prohibited all Frenchtrade with Brabant in February 1316, in violation of a treaty of friendship he had signed with Brabant in the previous October.The French alliance, 1332–1337Afterhis initial period of maintaining independent neutrality from both France and England failed, neighbouring sovereigns in the Low Countries, stimulated as a matterof policy by Philip VI of France, became John's enemies; among the adversaries of John were the Count of Flanders, the prince-bishop of Liège, and counts ofHolland and Guelders. In 1332, a crisis with the king of France arose over John's hospitality to Robert, count of Artois, during his journey to eventual asylum atthe English court. In response to French pressure John reminded Philip that he did not hold Brabant from him but from God alone. A brief campaign of a coalitionof Philip's friends came to a truce, followed by a pact at Compiègne by which John received a fief from Philip worth 2000 livres and declared himself a vassal ofFrance. His oldest son, Jean, was betrothed to Philip's daughter Marie, and it was agreed that the Brabançon heir would complete his education at the Frenchcourt in Paris and that Robert of Artois would be expelled from Brabant.The support of France strengthened John's hand with his feudal suzerain, the Holy RomanEmperor. Though he was technically the Emperor's feudal vassal, John had been able to ignore Emperor Louis IV's summons to join him in his intended invasionof Lombardy (1327). The separation of Brabant from the Empire was completed by the Burgundian dukes of Brabant in the fifteenth century.Meanwhile, theprinces of the Low Countries settled their differences and formed a coalition against Brabant with a defensive alliance in June 1333. War was briefly brought to theDuchy of Brabant in the summer of 1334, but resolved by a peace brokered by Philip at Amiens. The French king declared that John had to hand over the town ofTiel and its neighbouring villages Heerewaarden and Zandwijk to the count of Guelders and to betroth his daughter Marie to the count's son, Reinoud.The Englishalliance, 1337–1345When Edward III of England decided to press his claim to the crown of France in 1337, John, who was his first cousin, became an ally ofEngland during the first stage of the Hundred Years' War. King Edward's diplomatic offensive to draw Brabant away from France, produced a sympatheticresponse from Duke John. Disrupting the staple connection between the towns of Flanders and the sources of English wool should divert it to the towns ofBrabant, notably the recently established wool exchange. Edward protected Brabançon merchants in England from arrest or the confiscation of their goods, andhe sweetened his offers with a promise of £60,000, an immense sum, and to make good any losses of revenue that might result from penalties by the king ofFrance. The same month of July 1337 John promised Edward 1,200 of his men-at-arms in the event of an English campaign in France, Edward to pay their salary.In August Edward pledged not to negotiate with the king without prior consultation with the duke. The alliance, kept secret at John's insistence, came into theopen when Edward landed with his troops at Antwerp July 1338. John received the promised subsidy (March 1339) and agreed in June to betroth John's seconddaughter, Margaret, to Edward, the Black Prince, heir to the English throne. Two seasons of inconclusive campaigning that ravaged the north of France leftEdward penniless at the end of 1341; he returned home, and when he returned to the fray, it was to Brittany: he never returned to the Low Countries.The Frenchalliance, 1345–1355Though John was requesting papal dispensation for the marriage of Margaret and the Black Prince in 1343, the alliance with Englandunravelled as Edward's coffers emptied and his attentions turned elsewhere. In September 1345 representative of France and Brabant met at the Château deSaint-Germain-en-Laye to sign preliminary agreements, and by a treaty signed at Saint-Quentin, June 1347, Brabant was retained as an ally by France. Margaretwas now to marry Louis of Male, who had inherited the title of count of Flanders, but whose power over the Flemish communes was virtually nil. A point of disputewith the count of Flanders had been the Lordship of Mechelen, a strategic enclave within Brabant: it was agreed that it would now come under full Brabançoncontrol. Despite the diplomacy of Edward, John remained true to his French commitments until his death in December 1355.FamilyIn 1311, as his father's gestureof rapprochement with France, John married Marie d'Évreux (1303–1335), the daughter of Count Louis d'Évreux and Margaret of Artois. They had sixchildren:Joanna, Duchess of Brabant (24 June 1322 – 1406). Married first to William IV, Count of Holland and second to Wenceslaus I, Duke ofLuxembourg.Margaret of Brabant (9 February 1323 – 1368), married at Saint-Quentin on 6 June 1347 Louis II, Count of FlandersMarie of Brabant (1325 – 1March 1399), Lady of Turnhout, married at Tervuren on 1 July 1347 to Reginald III of Guelders.John of Brabant (1327–1335/36), married Marie of France(1326–1333), daughter of King Philip VI of France, but died soon after with no issue, buried in Tervueren.Henri of Brabant (d. 29 October 1349), Duke of Limburgand Lord of Mechelen in 1347. Died young and buried in Tervuren in 1349.Godfrey of Brabant (d. aft. 3 February 1352), Lord of Aarschot in 1346. Also died youngand buried in Tervuren.John also had a son born from Maria van Huldenberg, who founded the House of Brant: John I Brant, 1st Lord of Ayseau.In 1355, after allof his three legitimate sons had died, John was forced to declare his eldest daughter Joanna his heiress, which provoked a succession crisis after his death. JohnIII was buried in the Cistercian Abbey of Villers, Belgium. The standard history is Piet Avonds, Brabant tijdens de regering van Hertog Jan III (1312–1356)(Koninglijke Academie, Brussels) 1991.== Notes ==Passage 2:Marie of Brittany, Countess of Saint-PolMarie of Brittany (1268–1339) was the daughter of JohnII, Duke of Brittany, and Beatrice of England. She is also known as Marie de Dreux.FamilyHer maternal grandparents were Henry III of England and Eleanor ofProvence, Henry was a son of King John of England. John was son of Henry II of England and his wife Eleanor of Aquitaine.Her sister was Blanche of Brittany, wifeto Philip of Artois and mother of Margaret of Artois, Robert III of Artois and Joan of Artois, Countess of Foix. Margaret was mother of Jeanne d'Évreux, Queen ofFrance.MarriageShe married Guy IV, Count of Saint-Pol, in 1292, their children were as follows:John of Châtillon (d. 1344), Count of Saint PolJames of Châtillon(d.s.p. 1365), Lord of AncreMahaut of Châtillon (1293–1358), married Charles of ValoisBeatrix of Châtillon, married in 1315 Jean de Dampierre, Lord ofCrèvecœurIsabeau of Châtillon (d. 19 May 1360), married in May 1311 Guillaume I de Coucy, Lord of CoucyMarie of Châtillon, married Aymer de Valence, 2ndEarl of PembrokeEleanor of Châtillon, married Jean III Malet, Lord of GranvilleJoan of Châtillon, married Miles de Noyers, Lord of MaisyDescendantsThrough herdaughter Mahaut, Marie was the maternal grandmother of Marie of Valois, Isabella of Valois, who became Duchess of Bourbon and was the mother of Louis II,Duke of Bourbon, and Joanna of Bourbon, who became Queen of France. Mahaut's other daughter was Blanche of Valois, who married Holy Roman EmperorCharles IV and was the mother of Katharine of Bohemia.AncestryPassage 3:René of AnjouRené of Anjou (Italian: Renato; Occitan: Rainièr; 16 January 1409 – 10July 1480) was Duke of Anjou and Count of Provence from 1434 to 1480, who also reigned as King of Naples as René I from 1435 to 1442 (then deposed). Havingspent his last years in Aix-en-Provence, he is known in France as the Good King René (Occitan: Rei Rainièr lo Bòn; French: Le bon roi René).René was a memberof the House of Valois-Anjou, a cadet branch of the French royal house, and the great-grandson of John II of France.  He was a prince of the blood, and for mostof his adult life also the brother-in-law of the reigning king Charles VII of France. Other than the aforementioned titles, he was for several years also Duke of Barand Duke of Lorraine.BiographyRené was born on 16 January 1409 in the castle of Angers. He was the second son of Duke Louis II of Anjou, King of Naples, byYolanda of Aragon. René was the brother of Marie of Anjou, who married the future Charles VII and became Queen of France.Louis II died in 1417 and his sons,together with their brother-in-law Charles, were brought up under the guardianship of their mother. The elder son, Louis III, succeeded to the crown of Sicily andthe Duchy of Anjou; René then became Count of Guise. In 1419, when René was only ten, he was legally married to Isabella, elder daughter of Charles II, Dukeof Lorraine.René, then only ten, was to be brought up in Lorraine under the guardianship of Charles II and Louis, cardinal of Bar, both of whom were attached tothe Burgundian party, but he retained the right to bear the arms of Anjou. He was far from sympathizing with the Burgundians. Joining the French army at Reimsin 1429, he was present at the consecration of Charles VII. When Louis of Bar died in 1430, René inherited the duchy of Bar. The next year, on his father-in-law'sdeath, he succeeded to the duchy of Lorraine. The inheritance was contested by the heir-male, Antoine de Vaudemont, who with Burgundian help defeated Renéat Bulgneville in July 1431. The Duchess Isabella effected a truce with Antoine, but the duke remained a prisoner of the Burgundians until April 1432, when herecovered his liberty on parole on yielding up as hostages his two sons, John and Louis.René's title as duke of Lorraine was confirmed by his suzerain, HolyRoman Emperor Sigismund, at Basel in 1434. This proceeding roused the anger of the Burgundian duke, Philip the Good, who required him early in the next yearto return to his prison, from which he was released two years later on payment of a heavy ransom. At the death of his brother Louis III in 1435, he succeeded tothe Duchy of Anjou and County of Maine. The marriage of Marie of Bourbon, niece of Philip of Burgundy, with John, Duke of Calabria, René's eldest son, cemented"}
+{"doc_id":"doc_211","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000nib\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.Hewas one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by BonScott.External linksBernie Bonvoisin at IMDbPassage 2:Caspar BabypantsCaspar Babypants is the stage name of children's music artist Chris Ballew, who is alsothe vocalist and bassist of The Presidents of the United States of America.HistoryBallew's first brush with children's music came in 2002, when he recorded anddonated an album of traditional children's songs to the nonprofit Program for Early Parent Support titled \"PEPS Sing A Long!\" Although that was a positiveexperience for him, he did not consider making music for families until he met his wife, collage artist Kate Endle. Her art inspired Ballew to consider making musicthat \"sounded like her art looked\" as he has said. Ballew began writing original songs and digging up nursery rhymes and folk songs in the public domain tointerpret and make his own. The first album, Here I Am!, was recorded during the summer of 2008 and released in February 2009.Ballew began to perform soloas Caspar Babypants in the Seattle area in January 2009. Fred Northup, a Seattle-based comedy improvisor, heard the album and offered to play as his livepercussionist.  Northrup also suggested his frequent collaborator Ron Hippe as a keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were the CasparBabypants live band from May 2009 to April 2012. Both Northup and Hippe appear on some of his recordings but since April 2012 Caspar Babypants hasexclusively performed solo. The reasons for the change were to include more improvisation in the show and to reduce the sound levels so that very youngchildren and newborns could continue to attend without being overstimulated. Ballew has made two albums of Beatles covers as Caspar Babypants. Baby Beatles!came out in September 2013 and Beatles Baby! came out in September 2015.Ballew runs the Aurora Elephant Music record label, books shows, produces,records, and masters the albums himself. Distribution for the albums is handled by Burnside Distribution in Portland, Oregon.Caspar Babypants has released atotal of 17 albums. The 17th album, BUG OUT!, was released on May 1, 2020. His album FLYING HIGH! was nominated for a Grammy Award for Best Children'sAlbum. All 17 of the albums feature cover art by Ballew's wife, Kate Endle.\"FUN FAVORITES!\" and \"HAPPY HITS!\" are two vinyl-only collections of hit songs thatCaspar Babypants has released in the last couple of years.DiscographyAlbumsPEPS (2002)Here I Am! (Released 03/17/09) Special guests: Jen Wood, FysahThomasMore Please! (Released 12/15/09) Special guests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe,Krist Novoselic, Charlie HopeSing Along! (Released 08/16/11) Special guests: Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England,Rachel LoshakHot Dog! (Released 04/17/12) Special guests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released 12/18/12) Specialguests: Steve Turner (Mudhoney), Rachel Flotard (Visqueen), John RichardsBaby Beatles! (Released 09/15/13)Rise And Shine! (Released 09/16/14)Night Night!(Released 03/17/15)Beatles Baby! (Released 09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released08/18/17)Sleep Tight! (Released 01/19/18)Keep It Real! (Released 08/17/18)Best Beatles! (Released 03/29/19)Flying High! (Released 08/16/19)Bug Out!(released 05/1/20)Happy Heart! (Released 11/13/20)Easy Breezy! (Released 11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released 2010) –Compilation of various artistsSongs Stories And Friends: Let's Go Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up, Shake It Off (released2012) – Compilation of various artistsKeep Hoping Machine Running – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – TheHarmonica Pocket (released 2013) – vocals on Monkey LoveSimpatico – Rennee and Friends (released 2015) – writer and vocals on I Am Not AfraidSundrops –The Harmonica Pocket (released 2015) – vocals on Digga Dog KidPassage 3:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an American actor.He has worked extensively in both film and television productions since the early 1990s. His television roles include Ally McBeal (1997), Judging Amy(1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since2018, he has played Police Sergeant Wade Grey on the ABC police drama The Rookie.His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle(2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007)and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones was born in Kobe, Japan, toAmerican parents and grew up in Carson, California. He is the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at thetime of Jones' birth was playing for the Nankai Hawks in Osaka. He has an older brother, Clarence Jones Jr., who works as a high school basketball coach. Theywould return to North America after Clarence's retirement following the 1978 season. His parents later divorced. Jones attended Bishop Montgomery High Schoolin Torrance, California, then graduated from Tuskegee University.CareerSince the early 1990s, Jones has worked in both film and television productions.His firsttelevision role was in a 1993 episode of the series California Dreams. That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999to 2005, he starred as Bruce Calvin van Exel in the CBS legal drama series Judging Amy.Over the next two decades, Jones starred or guest-starred in high-profiletelevision series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), andCriminal Minds (2017).His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa'scoming-of-age film The Wood (1999), and Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), andCaptain Russell Hampton in the Hollywood blockbuster Godzilla (2014).From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama seriesWisdom of the Crowd.Since February 2018, Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with NathanFillion.Personal lifeJoshua Media Ministries claims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to itsefforts.FilmographyFilmTelevisionPassage 4:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singerand occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands,Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also thesinger of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whomhe also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopersof Death videosMethod of Destruction (M.O.D.)MasteryPassage 5:Lamman RuckerLamman Rucker  (born October 6, 1971) is an American actor. Rucker began hiscareer on the daytime soap operas As the World Turns and All My Children, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why Did IGet Married Too?, and Meet the Browns, and its television adaptation. In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series,Greenleaf. Rucker is married to Kelly Davis Rucker, a graduate of Hampton University. As of 2022, he stars in BET+ drama The Black Hamptons.Early lifeRuckerwas born in Pittsburgh, Pennsylvania, the son of Malaya (née Ray) and Eric Rucker. He has partial ancestry from Barbados. Rucker spent his formative years inthe greater Washington, DC, Maryland area. He first had an interest in acting after he was placed in many child pageants.  His first acting role was as MartinLuther King in the 4th grade. He was in the drama club in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D.C.Rucker studied at Carnegie-Mellon University and Duquesne University.On August 29, 2019, he shared personal life experiences that he credits for his successwith the Hampton University football team.CareerHis major role came in 2002 when he assumed the role of attorney T. Marshall Travers on the CBS daytime soapopera As the World Turns opposite Tamara Tunie. He left the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005.He also had the recurring roles on the UPN sitcoms All of Us and Half & Half.Rucker is best known for his roles in the Tyler Perry's films. He co-starred in Why DidI Get Married? (2007) and  Why Did I Get Married Too? (2010). He played Will Brown in 2008 film Meet The Browns. He later had a starring role on Perry's sitcomMeet the Browns reprising his role as Will from 2009 to 2011. The following year after Meet the Browns, Rucker was cast in the male lead role opposite AnneHeche in the NBC comedy series Save Me, but left after pilot episode. He later had roles in a number of small movies and TV movies. Rucker also had regular roleopposite Mena Suvari in the short-lived WE tv drama series, South of Hell.In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series,Greenleaf. He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and Keith David's characters.FilmographyFilmTelevisionAward nominationsPassage 6:PercyRedfern CreedPercy Redfern Creed (13 May 1874 – November 1964), author of How to Get Things Done, 1938, The Merrymount Press, revised as Getting ThingsDone, 1946, The Merrymount Press.BiographyBorn in Dublin, Ireland. Educated in England at Marlborough College (where he held a Classical Scholarship for 5years) and at Trinity College, Cambridge University (admitted 7 October 1892.)After leaving Cambridge University he entered the British Army. After seven yearsof service (including service in India and South Africa), he left the Army with the rank of Captain and took a position in the British House of Commons. He left thisposition to join the staff of The Times newspaper. He gave up newspaper work to accept an invitation from Lord Cromer to act as his Chief of Staff in a National"}
+{"doc_id":"doc_212","qid":"","text":"Passage 1:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim.In 1866 he attempted to sue the Speaker of the House, David Monro. At the time the extent of privilege held by Members of Parliament was unclear; a select committee ruled that the case could proceed, but with a stay until after the parliamentary session.See alsoYska, Redmer (2017). A Strange Beautiful Excitement: Katherine Mansfield's Wellington 1888-1903. Dunedin: Otago University Press. pp. 91–99. ISBN 978-0-947522-54-4.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:John Templeton (botanist)John Templeton (1766–1825) was a pioneering Irish naturalist, sometimes referred to as the \"Father of Irish Botany\". He was a leading figure in Belfast's late eighteenth century enlightenment, initially supported the  United Irishmen, and figured prominently in the town's scientific and literary societies.FamilyTempleton was born in Belfast in 1766, the son of James Templeton, a prosperous wholesale merchant, and his wife Mary Eleanor, daughter of Benjamin Legg, a sugar refiner. The family resided in a 17th century country house to the south of the town, which been named Orange Grove in honour of William of Orange who had stopped at the house en route to his victory over James II at the Battle of the Boyne in 1690.Until the age of 16 Templeton attended a progressive, co-educational, school favoured by the town's liberal, largely Presbyterian, merchant class. Schoolmaster David Manson sought to exclude \"drudgery and fear\" by combining classroom instruction with play and experiential learning. Templeton counted among his schoolfellows brother and sister Henry Joy and Mary Ann McCracken, and maintained a warm friendship with them throughout his life.In 1799, Templeton married Katherine Johnson of Seymour Hill. Her family had been touched by the United Irish rebellion the previous year: her brother-in-law, Henry Munro, commander of the United army at the Battle of Ballynahinch, had been hanged. The couple had five children: Ellen, born on 30 September 1800, Robert, born on 12 December 1802, Catherine, born on 19 July 1806, Mary, born on 9 December 1809 and Matilda on 2 November 1813.The union between the two already prosperous merchant families provided more than ample means enabling Templeton to devote himself passionately to the study of natural history.United IrishmanLike many of his liberal Presbyterian peers in Belfast, Templeton was sympathetic to the programme and aims of the Society United Irishmen:  Catholic Emancipation and democratic reform of the Irish Parliament. But it was several years before he was persuaded to take the United Irish \"test\" or pledge. In March 1797 his friend, Mary Ann McCracken, wrote to her brother: [A] certain Botanical friend of ours whose steady and inflexible mind is invulnerable to any other weapon but reason, and only to be moved by conviction has at last turned his attention from the vegetable kingdom to the human species and after pondering the matter for some months, is at last determined to become what he ought to have been months ago.She hoped his sisters would \"soon follow him.\" Having committed himself to the patriotic union of Catholic, Protestant and Dissenter, Templeton changed the name of the family home from loyalist Orange Grove to Irish \"Cranmore\" (crann mór, 'big tree').Templeton was disenchanted by the Rebellion of 1798, and mindful of events in France , repelled by the violence. He nonetheless withdrew from the Belfast Literary Society, of which he had been a founding member in 1801, rather than accept the continued presence of Dr. James MacDonnell. MacDonnell's offence had been to subscribe forty guineas in 1803 for the capture (leading to execution) of the unreformed rebel Thomas Russell who had been their mutual friend. (While unable to \"forget the amiable Russell\", time, he conceded,  \"softened a little my feelings\": in 1825, Templeton and MacDonnell met and shook hands).GardenThe garden at Cranmore spread over 13-acre garden was planted with exotic and native species acquired on botanical excursions, from fellow botanists, nurseries, botanical gardens and abroad: \"Received yesterday a large chest of East Indian plants which I examined today.\" \"Box from Mr. Taylor\".Other plants arrived, often as seeds from North America, Australia, India, China and other parts of the British Empire  Cranmore also served as a small animal farm.for experimental animal husbandry and a kitchen garden.BotanistJohn Templeton's interest in botany began with this experimental garden laid out according to a suggestion in Rousseau's 'Nouvelle Heloise' and following Rousseau's 'Letters on the Elements of Botany Here he cultivated many tender exotics out of doors (a list provided by Nelson and began botanical studies which lasted throughout his life and corresponded with the most eminent botanists in England Sir William Hooker, William Turner, James Sowerby and, especially Sir Joseph Banks, who had travelled on Captain James Cook's voyages, and in charge of Kew Gardens. Banks tried (unsuccessfully) to tempt him to New Holland (Australia) as a botanist on the Flinders's Expedition with the offer of a large tract of land and a substantial salary. An associate of the Linnean Society, Templeton visited London and saw the botanical work being achieved there. This led to his promotion of the Belfast Botanic Gardens as early as 1809, and to work on a Catalogue of Native Irish Plants, in manuscript form and now in the Royal Irish Academy, which was used as an accurate foundation for later work by succeeding Irish botanists. He also assembled text and executed many beautiful watercolour drawings for a Flora Hibernica, sadly never finished, and kept a detailed journal during the years 1806–1825 (both now in the Ulster Museum, Belfast).[1] Of the 12000 algal specimens in the Ulster Museum Herbarium about 148 are in the Templeton collection and were mostly collected by him, some were collected by others and passed to Templeton. The specimens in the Templeton collection in the Ulster Museum (BEL) have been catalogued. Those noted in 1967 were numbered: F1 – F48. Others were in The Queen's University Belfast. All of Templeton's specimens have now been numbered in the Ulster Museum as follows: F190 – F264; F290 – F314 and F333 – F334.Templeton was the first finder of Rosa hibernicaThis rose, although collected by Templeton in 1795, remained undescribed until 1803 when he published a short diagnosis in the Transactions of the Dublin Society.Early additions to the flora of Ireland include Sisymbrium Ligusticum seoticum (1793), Adoxa moschatellina (1820), Orobanche rubra and many other plants. His work on lichens was the basis of this secton of Flora Hiberica by James Townsend Mackay who wrote of him The foregoing account of the Lichens of Ireland would have been still more incomplete, but for the extensive collection of my lamented friend, the late Mr. John Templeton, of Cranmore, near Belfast, which his relict, Mrs. Templeton, most liberally placed at my disposal. I believe that thirty years ago his acquirements in the Natural History of organised beings rivalled that of any individual in Europe : these were by no means limited to diagnostic marks, but extended to all the laws and modifications of the living force. The frequent quotation of his authority in every preceding department of this Flora, is but a brief testimony of his diversified knowledgeBotanical ManuscriptsThe MSS. left by Templeton consist of seven volumes. One of these is a small 8vo. half bound ; it is in the Library of the Royal Irish Academy, and contains 280 pp. of lists of Cryptogams, chiefly mosses, with their localities. In this book is inserted a letter from Miss F. M. More, sister of Alexander Goodman More, to Dr. Edward Perceval Wright, Secretary, Royal Irish Academy, dated March, 1897, in which she says—‘*‘ The Manuscript which accompanies this letter was drawn up between 1794 and 1810, by the eminent naturalist, John Templeton, in Belfast. It was lent by his son, Dr. R. Templeton, to my brother, Alex. G. More, when he was preparing the second edition of the ‘ Cybele Hibernica,’ on condition that it should be placed in the Library of the Royal Irish Academy afterwards.\" The other six volumes are quarto size, and contain 1,090 folios, with descriptions of many of the plants, and careful drawings in pen and pencil and colours of many species. They are now lent to the Belfast Museum. About ten years ago I [Lett]spent a week in examining these volumes, and as their contents have hitherto never been fully described, I would like to give an epitome of my investigation of them.Vol. 1.—Phanerogams, 186 folios, with 15 coloured figures, and 6 small drawings in the text.Vol. Il.—Fresh-water Algae, 246 folios, 71 of which are coloured.Vol.IIl.—Marine Algae, 212 folios, of which 79 are coloured figures. At the end of this volume are 3 folios of Mosses, the pagination of which runs with the rest of this volume, but it is evident they had at some time been misplaced.Vol. IV Fungi, 112 folios.Vol. V.—Mosses, 117 folios, of which 20 are coloured, and also 73 small drawings in the text. *Vol. VI.—Mosses and Hepatics. 117 folios are Hepatics, 40 of which are in colours ; 96 folios are Mosses, of which 39 are full-page coloured figures; and in addition there are 3 small coloured drawings in the text.All these drawings were executed by Templeton himself, they are every one most accurately and beautifully drawn; and the colouring is true to nature and artistically finished; those of the mosses and hepatics "}
+{"doc_id":"doc_213","qid":"","text":"Passage 1:Fred Le DeuxFrederick David Le Deux (born 4 December 1934) is a former Australian rules footballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie and attended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played for the Sandhurst Football Club. He then moved to Ocean Grove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18 appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958, which kept him out of the entire 1959 VFL season.In 1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married to former Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 2:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 3:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 4:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 5:Zhao ShoushanZhao Shoushan (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhào Shòushān; 12 November 1894 – 20 June 1965) was a KMT general and later Chinese Communist Party politician. He is the grandfather of Zhao Leji.CareerZhao Shoushan was born in Hu County, Shaanxi in 1894. After the foundation of the People's Republic of China, Zhao was the CCP Chairman of Qinghai and Governor of Shaanxi.External links(in Chinese) Biography of Zhao Shoushan, Shaanxi Daily July 9, 2006.Passage 6:Amadeus VII, Count of SavoyAmadeus VII (24 February 1360 – 1 November 1391), known as the Red Count, was Count of Savoy from 1383 to 1391.BiographyAmadeus was born in Chambéry on 24 February 1360, the son of Count Amadeus VI of Savoy and Bonne of Bourbon. Although he succeeded his father in 1383, he had to share power with his mother.  In 1384, in order to suppress a revolt against his relative Edward of Savoy, Bishop of Sion, Amadeus led an army that attacked and pillaged Sion. In 1388, he acquired territories in eastern Provence and the port city of Nice, thus giving the County of Savoy access to the Mediterranean Sea.Amadeus died from tetanus on 1 November 1391, as a result of a hunting accident. Upon his death, controversy arose because of his will. Amadeus left the important role of guardian of his son and heir, Amadeus VIII, to his own mother, a sister of the powerful Duke de Bourbon, instead of following the tradition of appointing the child's mother, who was a daughter of the equally powerful Duke de Berry. Due to the dispute between his mother and his wife, rumors that Amadeus had been poisoned emerged soon after his death. It took three months of negotiations to restore peace in the family.Amadeus was known for his hospitality, for he would entertain people of all stations and never turned a person from his table without a meal.Marriage and childrenAmadeus married Bonne of Berry, daughter of John, Duke of Berry, who was the younger brother of King Charles V of France. They had three children: Amadeus VIII, later known as Antipope Felix V, married Mary of Burgundy (1380–1422), daughter of Philip the Bold.Bonne (d. 1432), married Louis of Piedmont, the final of the Savoy-Achaea Branch.Joan (d. 1460), married Giangiacomo Paleologo, marquis of Montferrat.NotesPassage 7:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 8:Amadeus VIII, Duke of SavoyAmadeus VIII (4 September 1383 – 7 January 1451), nicknamed the Peaceful, was Count of Savoy from 1391 to 1416 and Duke of Savoy from 1416 to 1440. He was the son of Amadeus VII, Count of Savoy and Bonne of Berry. He was a claimant to the papacy from 1439 to 1449 as Felix V in opposition to Popes Eugene IV and Nicholas V, and is considered the last historical antipope.Count and dukeAmadeus was born in Chambéry on 4 September 1383. He became count of Savoy in 1391 after his father's death, with his mother acting as regent until 1397, during his minority reign. His early rule saw the centralization of power and the territorial expansion of the Savoyard state, and in 1416 Amadeus was elevated by Emperor Sigismund to duke of Savoy. In 1418, his distant cousin Louis of Piedmont, his brother-in-law, the last male of the elder branch of House of Savoy, died, leaving Amadeus as his heir-general, thus finally uniting the male-lines of the House of Savoy.Amadeus increased his dominions and encouraged several attempts to negotiate an end to the Hundred Years' War. From 1401 to 1422, he campaigned to recover the area around Geneva and Annecy. After the death of his wife in 1428, he founded the Order of Saint Maurice with six other knights in 1434. They lived alone in the castle of Ripaille, near Geneva, in a quasi-monastic state according to a rule drawn up by himself. He appointed his son Louis regent of the duchy.AntipopeAmadeus was sympathetic to conciliarism, the movement to have the Church managed by Ecumenical councils, and to prelates like Cardinal Aleman of Arles, who wanted to set limits upon the doctrine of Papal supremacy. He had close relations with the Council of Basel (1431–1449), even after most of its members joined the Council of Florence, convened by Pope Eugene IV in 1438. The Cardinal of Arles reminded the Council that they needed a rich and powerful pope to defend it from its adversaries. The rump council at Basel elected Amadeus as Pope Felix V in October 1439. After long negotiations with a deputation from the council, Amadeus acquiesced in the election on 5 February 1440. He took the inaugural oath formulated by the Basel council; the only pope or antipope to do so. At the same time, he completely renounced  all further participation in the government of his domains: he named his son Louis Duke of Savoy, and his son Philip Count of Geneva. He is also credited with formalizing the academic lectures held in Basel by establishing a University for the Clergy which would eventually lead to the foundation of the University of Basel in 1460.There is no evidence that he intrigued to obtain the papal office by sending the bishops of Savoy to Basel. Of the twelve bishops "}
+{"doc_id":"doc_214","qid":"","text":"Passage 1:John Scott (representative)John Scott (December 25, 1784 – September 22, 1850) was a member of the U.S. House of Representatives fromPennsylvania.BiographyJohn Scott (father of Pennsylvania Senator John Scott and of the 1868 candidate for Governor of Florida, George Washington Scott) wasborn at Marsh Creek, Pennsylvania, near Gettysburg, Pennsylvania.  He moved to Alexandria, Pennsylvania, in 1806 and was engaged as tanner andshoemaker.  He served as major in the War of 1812.  He was a member of the Pennsylvania House of Representatives in 1819 and 1820.Scott was elected as aJacksonian to the Twenty-first Congress.  He was an unsuccessful candidate for reelection to the Twenty-second Congress.  He resumed his former businesspursuits and retired from business in 1842.  He died in Alexandria, Pennsylvania in 1850.  He was interred in Alexandria Cemetery.Scott married Agnes Irvine in1821, Agnes is the namesake of Agnes Scott College in Decatur Georgia.Passage 2:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop ofElmham.The date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997.Passage 3:William Scott (died 1524)SirWilliam Scott of Scot's Hall in Smeeth, Kent (1459 – 24 August 1524) was Lord Warden of the Cinque Ports.FamilyWilliam Scott was the son of Sir John Scott andAgnes Beaufitz, daughter and co-heiress of William Beaufitz. His sister, Elizabeth Scott (d. 15 August 1528), married Sir Edward Poynings.CareerScott rose tofavour following the seizure of the throne by Henry VII. Within a few years he had been appointed to the Privy Council, appointed Comptroller of the Householdand in 1489 was created a Companion of the Bath at the same ceremony as Prince Arthur. He served as High Sheriff of Kent in 1491, 1501 and 1510, and wasalso to become Constable of Dover Castle, Marshal of Calais (1490-1) and Lord Warden of the Cinque Ports (1492–1493). He remained in favour under HenryVIII, being present at the famous meeting at the Field of the Cloth of Gold in 1520 and one of the deputation sent to greet Emperor Charles V when he landed atDover in 1522.Scott inherited the manor of Brabourne in 1495, and had Scot's Hall elaborately rebuilt so that it came to be regarded as one of the foremosthouses in Kent.He was buried at Brabourne, where there is a memorial brass to him in the Scott chapel in St Mary's church.Marriage and issueScott married SibylLewknor, the daughter of Sir Thomas Lewknor (d. 20 July 1484) of Trotton, Sussex, and Katherine Pelham (d.1481), widow of John Bramshott (d.1468), anddaughter of Sir John Pelham, Chamberlain to Katherine of Valois, by whom he had two sons and four daughters:Sir John Scott (d. 7 October 1533), who marriedAnne Pympe, daughter and heiress of Sir Reynold Pympe, esquire, of Nettlestead, Kent, by Elizabeth or Isabel Pashley, daughter of John Pashley, esquire, bywhom he had five sons and seven daughters.Edward Scott of The Moat, Sussex, who married Alice Fogge, daughter and co-heiress of Thomas Fogge, sergeantporter of Calais. After Scott's death his widow married Sir Robert Oxenbridge.Anne Scott, who married Sir Edward Boughton.Katherine Scott.Elizabeth Scott.JoanScott, who married Thomas YeardThomas ScottNotesPassage 4:John Scott (died 1533)Sir John Scott (c. 1484 – 7 October 1533) was the eldest son of Sir WilliamScott of Scot's Hall. He served in King Henry VIII's campaigns in France and was active in local government in Kent and a Member of Parliament for New Romney.He was the grandfather of both Reginald Scott, author of The Discoverie of Witchcraft, a source for Shakespeare's Macbeth, and Thomas Keyes, who married LadyMary Grey.FamilyAccording to MacMahon, the Scott family, which claimed descent from John Balliol, was among the leading families in Kent during the reign ofKing Henry VII.John Scott, born about 1484, was the eldest son of Sir William Scott of Scot's Hall and Sibyl Lewknor (d. 1529), the daughter of Sir ThomasLewknor of Trotton, Sussex. Scott's father, Sir William Scott, had been Comptroller of the Household to King Henry VII, and Scott's grandfather, Sir John Scott,had been Comptroller of the Household to King Edward IV. Both Scott's father and grandfather had held the offices of Constable of Dover Castle and Warden ofthe Cinque Ports, and Scott's father had been Marshal of Calais.Scott had a brother, Edward, and three sisters, Anne, who married Sir Edward Boughton;Katherine; and Elizabeth.CareerAs a young man Scott was knighted by the future Emperor Charles V in 1511 while serving as a senior captain, under his relativeSir Edward Poynings, with the English forces sent by King Henry VIII to aid Margaret of Austria, Regent of the Low Countries, against Charles II, Duke ofGuelders. According to MacMahon Henry VIII 'transmuted the honour into a knighthood of the body'. In 1512 he was elected Member of Parliament for NewRomney. Scott may have participated in the French campaigns of 1512 and 1513; he was among the forces being marshaled at Calais in 1514 when negotiationsfor peace between England and France brought the war to a temporary halt. In 1514 and 1515 he was a commissioner for the subsidy in Sussex. In June 1520 heattended Henry VIII at the Field of Cloth of Gold. In 1522 he was in the service of George Nevill, 5th Baron Bergavenny, Constable of Dover Castle, and wasplaced in charge of transport when the Emperor Charles V landed at Dover on 28 May 1522. In 1523 Scott was with the English forces which invaded northernFrance under the Duke of Suffolk. In 1523 and 1524 he was a commissioner for the subsidy in Kent. He was Sheriff of Kent in 1527 and 1528, and a Justice of thePeace in that county from 1531 until his death. In May 1533 Scott was summoned to be a servitor at the coronation of Anne Boleyn. He died on 7 October1533.Marriage and issueScott married, before 22 November 1506, Anne Pympe, daughter and heiress of Reynold Pympe, esquire, of Nettlestead, Kent, byElizabeth Pashley, the daughter of John Pashley, esquire.Sir John Scott and Anne Pympe had five sons and seven daughters:William Scott, who died in 1536without issue.Sir Reginald (or Reynold) Scott (1512–15 December 1554), Sheriff of Kent in 1541–42 and Captain of Calais and Sandgate, who married firstlyEmeline Kempe, the daughter of Sir William Kempe of Olantigh, Kent, by Eleanor Browne, the daughter of Sir Robert Browne, by whom he was the father of SirThomas Scott (1535–30 December 1594) and two daughters, Katherine Scott, who married John Baker (c.1531–1604×6), by whom she was the mother ofRichard Baker, and Anne Scott, who married Walter Mayney. Sir Reginald Scott married secondly Mary Tuke, the daughter of Sir Brian Tuke.Sir JohnScott.Richard Scott, esquire, the father of Reginald Scott (d. 1599), author of The Discoverie of Witchcraft.George Scott.Mildred Scott, who married firstly, JohnDigges, esquire, the son of James Digges and half brother of Leonard Digges, and secondly, Richard Keyes, gentleman, by whom she was the mother of ThomasKeyes, who married Lady Mary Grey.Katherine Scott, who married Sir Henry Crispe.Isabel Scott, who married Richard Adams, esquire.Alice Scott.Mary Scott, whomarried Nicholas Ballard, gentleman.Elizabeth Scott.Sibyl Scott, who married Richard Hynde, esquire.FootnotesPassage 5:John Scott (Queensland politician)JohnScott (20 June 1821 – 2 July 1898) was a grazier, company director and politician in colonial Queensland.Scott was born in Edinburgh, Scotland, the son of JohnScott and his wife Marion Purves. John Scott junior's wife was Agnes Thomson who died in July 1892.Business lifeScott was educated at St Andrew'sUniversity  and Edinburgh University, where he studied medicine. He arrived in New South Wales in 1843. For a time he was a squatter in Goulburn, New SouthWales. Between 1851 and 1852 he was in the United Kingdom. He went to Queensland in 1855. He stocked Palm-Tree Creek, Dawson which he sold in 1865 butacquired  further stations. Scott was a director of City Mutual Life Assurance Society and vice president of The Royal National Agricultural and IndustrialAssociation of Queensland. Scott was a trustee of Brisbane Grammar School from 1874 to 1888 and Honorary Treasurer from 1877 to 1886.Political careerScottwas both a member of the Legislative Assembly of Queensland and the Queensland Legislative Council in a political career lasting from 1868 till 1890.He wasChairman of Committees of the Legislative Assembly, 15 November 1871 to 1 September 1873 and 21 January 1879 to 26 July 1883.Scott died at Lucerne,Milton, Brisbane, Queensland in 1898 and was buried in Toowong Cemetery.FamilyJohn Scott and his wife Agnes had five children:Ada Frances (1855–1905), thewife of George Neville Griffiths M.L.A. Griffiths and Ada Frances were the grandparents of William Charles Wentworth M.P. (1907-2003)Arthur (1857–1874)Dr.Eric Scott (b. 1859)Florence (b. 1860)ConstanceSee alsoPolitical families of Australia: Wentworth/Hill/Griffiths/Scott/Cooper familyPassage 6:John A. ScottJohnAlan Scott (who has published under the names John A. Scott and John Scott) (born 23 April 1948) is an English-Australian poet, novelist andacademic.BiographyScott was born in Littlehampton in Sussex, England, migrating to Australia during his childhood and residing mainly in Melbourne since 1959.He attended Monash University, where he was a contemporary of fellow poets Alan Wearne and Laurie Duggan.A former freelance scriptwriter for radio andtelevision, working on such shows as The Aunty Jack Show (1974), It's Magic (1974) and  The Garry McDonald Show (1977).He first became known in the literaryworld as a poet. Throughout the 1970s and 1980s, his work developed in an 'experimental' direction unusual in Australian poetry, owing partly to his interest intranslation. In 1985 he was one of Four Australian Poets group that toured the US and Canada reading poetry. He also edited and translated Emmanuel Hocquard: Elegies and Other Works (1989).Since the 1990s he has concentrated on producing novels. This change was occasioned in part by an Australia Council studiofellowship in Paris which he shared with the Australian novelist Mark Henshaw. His work has won him the Victorian Premier's Award twice, in 1986 and again in1994. The novel, What I Have Written, has been filmed from his own screenplay and he has been translated into French, German and Slovenian.He has taught inthe Faculty of Creative Arts at Wollongong University but now writes full-time.Awards1984: Newcastle Poetry Prize for St. Clair1986: C. J. Dennis Prize for Poetryfor St. Clair1994: Victorian Premier's Literary Award for What I Have Written2013: Peter Porter Poetry Prize for \"Four Sonnets\"BibliographyPoetryThe BarbarousSideshow (1975)From the Flooded City (1981)Smoking (1983)The Quarrel with Ourselves & Confession (Rigmarole, 1984) ISBN 0-909229-27-9St. Clair: ThreeNarratives (UQP, 1986) ISBN 0-7022-1907-XSingles: Shorter Poems, 1982-1986 (1989)Translation (Picador, 1990) ISBN 0-330-27196-2Selected Poems (UQP,1995) ISBN 0-7022-2688-2Shorter Lives (Puncher & Wattman, 2020) ISBN 9781925780482NovelsBlair (McPhee Gribble, 1988) ISBN 0-14-011093-3What I Have"}
+{"doc_id":"doc_215","qid":"","text":"Passage 1:The Man Without a Country (1973 film)The Man Without a Country is a 1973 American made-for-television drama film based on the short story \"TheMan Without a Country\" by Edward Everett Hale.PlotA man damns his country and is sentenced to spend the rest of his life in exile.CastProductionRosemont spentthree years trying to raise finance. He spent $16,000 of his own money to prepare a visual presentation of the film and arranged for a script for be written bySidney Carroll. During the course of research he discovered that the book was not based on a true story although it was inspired by the Aaron Burr conspiracy.Heeventually succeeded in getting sponsorship from Eastman Kodak.\"Casting was so essential,\" said Rosemont. \"We had to find an actor who could age 60 years onscreen. The makeup was the easiest. Making him look young was the hardest.\"Rosemont approached Cliff Robertson, although the actor had not done televisionfor years. \"But when he saw our research it turned him on.\" he said. \"It's a dream part for an actor.\"Cliff Robertson signed to make the film in August 1972 andfilming began in September. \"We had to change our schedule to fit Cliff's,\" said Rosemont. \"It cost me a lot of money but it was worth it.\"Filming took place inMystic, Connecticut, Newport, Rhode Island and Fort Niagara, New York.Director Delbert Mann says Robertson was \"very difficult to work with\" on the film. Hegave an instance where Robertson kept emphasising the word \"United\" when referring to the \"United States\" (\"he thought the young people would reject thepatriotism aspects\"). \"We went for about 20 takes, he never changed it, but he modified it on the last take, which we used in the picture. He still wouldn't changeit in post-production dubbing. It was a matter of taking the best take we had and going with it.\"Filming was expensive. \"I do my own work,\" said Rosemont. \"Ifthere's a deficit I pay for it. My money is on the line. I put it on screen. Hopefully it will enjoy many repeats; it's an ageless story, a potential TVperennial.\"LocationsIn the summer of 1972, the replica of HMS Rose (later renamed HMS Surprise for another film) was hired for the film, a made-for-televisionproduction. Norman Rosemont Productions was unable to find the money to take the ship out sailing, so all the filming was shot with sails set, as the ship wassecurely moored to the pier, next to the causeway to Goat Island. During filming Cliff Robertson had to hide that he had a broken leg at the time.ReceptionMannsaid, \"The end result was fascinating. The older audience took to the picture and the critics were marvelous. People saying, look at the unfeeling government,crushing this man. The young people got what they wanted and others saw it as love of country. We had it both ways.\"AwardsThe film was nominated for BestCinematography for Entertainment Programming – For a Special or Feature Length Program Made for Television at the 26th Primetime Emmy Awards.Passage2:Nick StahlNicolas Kent Stahl (born December 5, 1979) is an American actor. Starting out as a child actor, he gained recognition for his performance in the 1993film The Man Without a Face, co-starring Mel Gibson. He later transitioned into his adult career with roles in the films Disturbing Behavior, The Thin Red Line, Inthe Bedroom, Bully, Sin City, and Terminator 3: Rise of the Machines in the role of John Connor, as well as on the HBO series Carnivàle in the role of BenHawkins. He also starred as Jason Riley on the AMC television series Fear the Walking Dead. In April 2023, he starred as Lucas on the Hulu television series TinyBeautiful Things.Early lifeStahl was born in Harlingen, Texas, the son of Donna Lynn (née Reed), a brokerage assistant, and William Kent Stahl, a businessman.He was raised in Dallas along with his two sisters by his mother, who struggled to make ends meet.CareerHis first professional casting was in Stranger at My Door(1991), although he had been acting in children's plays since he was four years old. The 1993 film The Man Without a Face, co-starring Mel Gibson, helped boosthis career at the age of 13. The following year, he had a supporting role in the ensemble film Safe Passage. In 1996, he played the role of Puck in BenjaminBritten's opera A Midsummer Night's Dream at The Metropolitan Opera in New York. In 1998 he played a doomed young soldier during the World War II PacificWar in The Thin Red Line. He scored critical and box office success again with his role in the 2001 movie In the Bedroom, which starred Sissy Spacek as hismother. He scored another box office hit in Terminator 3: Rise of the Machines (2003) as John Connor (replacing Edward Furlong from Terminator 2: JudgmentDay), co-starring with Arnold Schwarzenegger and Claire Danes. In 2003, he starred in the HBO series Carnivàle, which drew a loyal audience as well as ravereviews. The show lasted two seasons, ending in 2006.Stahl has played two villains to good reviews: Bobby Kent in the film Bully (2001) and Roark Jr./YellowBastard in Sin City (2005). Stahl did not reprise his role as John Connor in Terminator Salvation with Christian Bale taking over instead. Stahl noted the film'sconcept as \"a jump to the future, so [John Connor] will be quite a bit older.\" Other roles included How to Rob a Bank (2007), Sleepwalking (2008), and Quid ProQuo (2008).In 2010, Stahl starred as Max Matheson in Mirrors 2, the sequel to Mirrors, directed by Victor Garcia and penned by Matt Venne. Among his morerecent films are On the Inside (2010) and Afghan Luke (2011), and Away from Here (2014).In 2019, Stahl portrayed serial killer Glen Edward Rogers in TheMurder of Nicole Brown Simpson. Filming commenced over the summer in 2018 and the film was released in the UK on December 9, 2019.Also in 2019, Stahlappeared in The Lumineers’ short film, III, which is based on their new album. Stahl played the character Jimmy Sparks, who is a father and gambling addict.InNovember 2021, The Hollywood Reporter reported that Stahl would star alongside Sean Bean and Famke Janssen in the film Knights of the Zodiac, a live-actionadaptation of the Saint Seiya manga series. The film will be released on May 12, 2023.In April 2023, he starred as Lucas on the Hulu television series TinyBeautiful Things, opposite Kathryn Hahn.Personal lifeStahl married actress Rose Murphy in June 2009. They have a daughter, Marlo, born in 2010. Theyseparated in 2012.In May 2012, Stahl's wife reported him missing. It was later reported that Stahl had checked into rehab. On December 27, 2012, Stahl wasarrested at an adult film store in Hollywood, California, on suspicion of committing a lewd act. No charges were filed due to insufficient evidence. On June 28,2013, Stahl was arrested in Hollywood for alleged possession of methamphetamine.In a 2017 interview at the Dallas Comic Show, Stahl stated he had moved toTexas and was taking a leave of absence from acting to concentrate on family and sobriety. Stahl returned to acting in 2018 when filming of The Murder of NicoleBrown Simpson began.FilmographyFilmTelevisionMusic videosPassage 3:Ernest C. WardeErnest C. Warde (10 August 1874 – 9 September 1923) was an Englishactor and director who worked in American silent film. He contributed to more than forty films from 1914 to 1923. He was the son of stage actor FrederickWarde.Selected filmographyThe White Rose (1914)A Newspaper Nemesis (1915)The Undertow (1915)The Skinflint (1915)Silas Marner (1916)The Man Without aCountry (1917)War and the Woman (1917)Her Beloved Enemy (1917)The Woman in White (1917)The Vicar of Wakefield (1917)Ruler of the Road(1918)Prisoners of the Pines (1918)One Dollar Bid (1918)A Burglar for a Night (1918)Three X Gordon (1918)The Bells (1918)The Midnight Stage (1919)TheMaster Man (1919)The False Code (1919)The Lord Loves the Irish (1919)A White Man's Chance (1919)The Joyous Liar (1919)The House of Whispers (1920)LiveSparks (1920)$30,000 (1920)The Dream Cheater (1920)The Devil to Pay (1920)The Green Flame (1920)The Coast of Opportunity (1920)Number 99 (1920)Trailof the Axe (1922)Passage 4:The Man Without a Country (1925 film)The Man Without a Country is a 1925 American drama film directed by Rowland V. Lee andwritten by Robert N. Lee. It is based on the 1863 short story The Man Without a Country by Edward Everett Hale. The film stars Guy Edward Hearn, PaulineStarke, Lucy Beaumont, Richard Tucker, Earl Metcalfe, and Edward Coxen. Originally titled As No Man Has Loved, the film was released on February 11, 1925, byFox Film Corporation.PlotAs described in a film magazine review, young officer Philip Nolan, from a patriotic family, is attached to a frontier army post in 1800when he joins the cause of Aaron Burr with his dream of a western empire. After he is court-martialed, he is asked to recant and replies, \"Damn the UnitedStates! I hope that I may never hear of the United States again.\" His sentence is to be sent aboard a ship and never to hear of or set foot in the United Statesagain. He begins a journey around the world that lasts through 10 presidential administrations, during which time his sweetheart Anne Bissell attempts to havehim freed. After several heroic actions, including saving the day in a fight with a pirate ship, Anne secures a pardon from President Lincoln. Now old, Nolan dies asthe ship is returning to the United States, and Anne dies waiting on the pier. The film ends with the spirits of Nolan and Anne together with an Americanflag.CastPassage 5:Andrew LaszloAndrew Laszlo A.S.C. Hungarian: László András (January 12, 1926 – October 7, 2011) was a Hungarian-Americancinematographer best known for his work on the cult film classic The Warriors. He earned Emmy nominations for The Man Without a Country in 1973 and TVminiseries Shōgun in 1980.Early life (1926–1941)I never believed I was anybody special. I still don't think so, nor did I ever believe that anyone would give ahoot hearing about who I was, where I came from, what I did at various stages of my life, and why. I am convinced the world would function equally well, orequally badly, with or without me. - Andrew Laszlo, Footnote to History, 2002So begins a section of Andrew Laszlo's recount of his early years and speaks of theman who survived atrocities during that time and accomplished much in his later life.He was born László András in 1926 in the vicinity of Pápa, Hungary, the townwhere his family finally settled about the time that Andrew was three years old. Until World War II began to affect life in Hungary, his life was relatively carefreeand was spent in relative comfort although the family had to move several times into smaller or bigger quarters depending on the financial circumstances of hisfather. He was close to his older brother, Alex, with whom he often dreamed up exciting adventures sometimes leading to catastrophe.Of his many earlyexperiences, one that served as a prelude to later tragedies, was seeing the Graf Zeppelin fly over Papa. Inquiring about the symbol painted on the tail of theairship, Andrew's father said that it was a swastika. That is all he wanted to tell his young son at the time.Andrew Laszlo was an avid swimmer and skater duringhis early school years and became accomplished at fencing in high school. It was also during this time that his interest in photography began and led later to a"}
+{"doc_id":"doc_216","qid":"","text":"Passage 1:Virginia von FürstenbergPrincess Virginia Maria Clara von und zu Fürstenberg (Virginia Maria Clara Prinzessin von und zu Fürstenberg; 5 October 1974– 10 May 2023) was an Italian artist, poet, filmmaker, and fashion designer.Early life and familyPrincess Virginia von Fürstenberg was born in Genoa, Italy on 5October 1974 to Prince Sebastian zu Fürstenberg and Elisabetta Guarnati. She was a member of the House of Fürstenberg. Her paternal grandparents were PrinceTassilo zu Fürstenberg and Clara Agnelli. She was a niece of actress Princess Ira von Fürstenberg and fashion designer Prince Egon von Fürstenberg, theex-husband of Diane von Fürstenberg. Von Fürstenberg was a first cousin of Prince Alexandre von Fürstenberg, Tatiana von Fürstenberg, Prince Hubertus ofHohenlohe-Langenburg, and the late Prince Christoph of Hohenlohe-Langenburg.CareerVon Fürstenberg was a fashion designer and creator of the fashion labelVirginia Von Zu Furstenberg. She made her fashion debut in March 2011 at the Teatro Filodrammatici in Milan. Her first collection was sold exclusively atboutiques in Milan, Florence, and Rome. In September 2011, von Fürstenberg debuted a theatrical work titled DISMORPHOPHOBIA that combined spoken word,fashion, film, movement, and dance. She debuted her second collection at Milano Moda Donna in Milan on 23 September 2011. She also wrote poetry, and attimes combined her poetry and fashion design in some of her work.In 2012, von Fürstenberg collaborated with Tommaso Trak to shoot a film focusing on the lifeof her great-grandmother, Virginia Bourbon del Monte. In 2017, von Fürstenberg created an art installation dedicated to her mother titled There was a nice home,which was displayed at the Grossetti Arte Gallery in Venice.Personal life and deathVon Fürstenberg married Baron Alexandre Csillaghy de Pacsér, a Hungariannobleman, in 1992. Their son, Baron Miklós Tassilo Csillaghy, is an equestrian. Their daughter, Baroness Ginevra Csillaghy, has modeled for the Virginia Von ZuFurstenberg fashion line. She and Csillaghy de Pacsér divorced in 2003. In 2002, a year before her divorce was finalized, she gave birth to a daughter, ClaraBacco Dondi dall'Orologio, from her relationship with Giovanni Bacco Dondi dall'Orologio. In 2004, she married Paco Polenghi with whom she had two children,Otto Leone Maria Polenghi and Santiago Polenghi. Von Fürstenberg and Polenghi later divorced. On 28 October 2017, she married Janusz Gawronski, adescendent of a noble and ancient Polish family. In 2020, the couple divorced.Virginia died on 10 May 2023, aged 48, after falling from the top floor of ahotel(falling/slipping in the washroom).Passage 2:Joseph Maria, Prince of FürstenbergJoseph Maria Benedikt zu Fürstenberg-Stühlingen (9 January 1758 – 24June 1796) was a German nobleman and from 1783 until his death the seventh reigning prince of Fürstenberg. He was born in Donaueschingen, where he alsodied. He was the eldest son of Joseph Wenzel zu Fürstenberg and his wife Maria Josepha von Waldburg-Scheer-Trauchburg. He died childless and was succeededby his younger brother Karl Joachim.Passage 3:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind'sIWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter.With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series)1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Wherewas I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"WhereWas I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Passfrom Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\",song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from LiveOn  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas fromWith Love (Rosie Thomas album)Passage 4:Joseph Wenzel, Prince of FürstenbergJoseph Wenzel zu Fürstenberg-Stühlingen (21 March 1728 - 2 June 1783) was aGerman nobleman and from 1762 to 1783 the sixth ruling Prince of Fürstenberg.LifeJoseph Wenzel was the eldest son of prince Joseph zu Fürstenberg and MariaAnna von Waldstein. He studied in Straßburg and Leipzig. He tried to develop the principality's education and introduced a chancery for it. Teaching was based onthe Austrian system and a Jesuit was made head of the Donaueschingen Gymnasium and later the Benedictine Franz Uebelacker was put in charge of the wholeschool system. He also had a history of the House of the Fürstenberg written from the principality's archives.He set up a zuchthaus in Hüfingen and stopped hisfather's industrialisation policy and made resettlement difficult, since he saw industry as immoral - he preferred home handiwork such as watchmaking. In 1777he set up a fire brigade. He was made director of the Swabian College of Reichsgrafen and in 1775 the Holy Roman Emperor appointed him a major general (withhis rank effective from 1765).He was also a music lover and was said to have been an excellent cellist. In 1762 he began building a private chapel at his court atDonaueschingen, and bringing a number of foreign musicians to man it. In 1783 he appointed Franz Christoph Neubauer as his musical director. He employedErnst Christoph Dressler as Kapellmeister at Wetzlar between 1767 and 1771. In 1766 Leopold Mozart and his son Wolfgang Amadeus spent around two weeks atDonaueschingen as Joseph Wenzel's guest.Marriage and successionOn 9 June 1748 Joseph Wenzel married Maria Josepha, countess ofWaldburg-Scheer-Trauchburg, daughter of count Hans Ernst von Waldburg-Scheer-Trauchburg. They had seven children:Joseph Maria BenediktKarlJoachimJohann Nepomuk Joseph (25 July 1755 - 6 October 1755)Josepha Maria Johanna (14 November 1756 - 2 October 1809) ∞ Phillip Maria vonFürstenberg-PürglitzMaria Anna Josepha (4 April 1759 - 26 June 1759)Karl Alexander (11 September 1760 - 19 February 1761)Karl Egon (5 June 1762 - 20February 1771)Bibliography(in German) Carl Borromäus Alois Fickler: Geschichte des Hauses und Landes Fürstenberg, Aachen und Leipzig 1832; Band 4, S.267–280 at Google Books(in German) Erno Seifriz: „Des Jubels klare Welle in der Stadt der Donauquelle“. Musik am Hofe der Fürsten von Fürstenberg inDonaueschingen im 18. und 19. Jahrhundert In: Mark Hengerer und Elmar L. Kuhn (ed.): Adel im Wandel. Oberschwaben von der frühen Neuzeit bis zurGegenwart. Verlag Thorbecke, Ostfildern 2006, ISBN 978-3-7995-0216-0, Band 1, S. 363–376.Passage 5:Matilde BorromeoPrincess Matilde zu Fürstenberg (bornDonna Matilde dei Principi Borromeo Arese Taverna; 8 August 1983) is an Italian equestrian and horse breeder. She is a member of the House of Borromeo, anItalian noble family with historic ties to the Catholic Church and the Duchy of Milan. Through her marriage to Prince Antonius zu Fürstenberg she is a member ofthe German House of Fürstenberg. Matilde Borromeo has competed in international equestrian competitions representing Italy.Early lifeMatilde Borromeo wasborn on 8 August 1983 in Milan, Italy. She is the third daughter of Carlo Ferdinando Borromeo, Count of Arona and Marion Sybil Zota. She is sister of DonnaLavinia Borromeo and Donna Isabella Borromeo. She is half-sister of Donna Beatrice Borromeo, who married into the Monegasque princely family, and CarloBorromeo. She is a sister-in-law of Italian fashion designer Marta Ferri. Her paternal grandfather was Vitaliano Borromeo, Prince of Angera.CareerMatildeBorromeo began working on her family's farm in Lomellina after she got her degree in breeding and animal welfare at the University of Milan. She works in thedaily industry and she started breeding show-jumping horses in 2006. Shortly after she began competing in the equestrian circuit, riding horses she raised on herown. She has competed international events. She has competed at the Global Champions Tour, Master of Paris, Master of Verona, and at the Piazza di Siena.Representing Italy, she has placed second in Monte Carlo, first in Tortona, second in Verona, and first in Truccazzano. She ranked ninth on the first and seconddays and tenth on the third day in the CIS first class grand prix at the Milano Winter Show. In 2015, Matilde Borromeo served as chief ambassador for the MilanoWinter Show and Fiera Verona Cavalli.Personal lifeOn 11 June 2011 Borromeo married Prince Antonius of Fürstenberg, the youngest son of Heinrich, Prince ofFürstenberg, at Isola Bella, one of the Borromean Islands in Lake Maggiore owned by the Borromeo family. They have two children, Prince Karl Egon and PrinceAlexander.In February 2019 it was reported that Borromeo and Antonius had separated.Passage 6:Heinrich, Prince of FürstenbergHeinrich, Prince of Fürstenberg(German: Heinrich Fürst zu Fürstenberg; born 17 July 1950) is a German landowner, businessman and nobleman, who is the head of the House ofFürstenberg.Early yearsPrince Heinrich zu Fürstenberg was born in 1950 at Schloss Heiligenberg in Heiligenberg, Germany. He is the son of Joachim Egon, Princeof Fürstenberg, and Countess Paula von Königsegg-Aulendorf. He studied economics at university in Vienna.Personal life and familyIn 1976, Prince Heinrichmarried his second cousin, Princess Maximiliane of Windisch-Graetz, in Rome, Italy. In 1977, their first child, Prince Christian, was born. In 1985, their secondchild, Prince Antonius, was born.In 2010, his eldest son married Jeannette Griesel. His younger son married Matilde dei Principi Borromeo Arese Taverna in2011.In 2012, he was added to the International Best Dressed Hall of Fame.CareerPrince Heinrich's father died in 2002, and he assumed the role as head of thePrincely House of Fürstenberg at that time.  He owns and manages the family businesses, which include landholdings and beer brewing.The Fürstenberg family isthe second-largest forest owner in Germany. The family was granted the right to brew beer in 1283 by Rudolf I of Germany and has been in the business eversince. In 2005, Prince Heinrich joined the Fürstenberg Brewery with Brau Holding International.Passage 7:Karl Aloys zu FürstenbergKarl Aloys zu Fürstenberg (26June 1760 – 25 March 1799) was an Austrian military commander. He achieved the rank of Field Marshal and died at the Battle of Stockach.The third son of acadet branch of the House of  Fürstenberg, at his birth his chances of inheriting the family title of Fürst zu Fürstenberg were slight; he was prepared instead for amilitary career, and a tutor was hired to teach him the military sciences. He entered the Habsburg military in 1777, at the age of seventeen years, and was a"}
+{"doc_id":"doc_217","qid":"","text":"Passage 1:SuhaaganSuhaagan (transl. Married woman) is a 1986 Indian Hindi-language drama film, produced by M. Arjuna Raju under the Roja Enterprisesbanner and directed by K. Raghavendra Rao. It stars Jeetendra, Sridevi, Padmini Kolhapure  and music composed by Bappi Lahari. The film is a remake of theTamil film Enkeyo Ketta Kural (1982).PlotRam Babu was a simple tiller of the soil, and he used to look after the agricultural lands of this neighbour Jagat Prasad.Jagat Prasad has two daughters, Janki and Jyoti. Janki is a well known punk while Jyoti is just a  plain and simple girl. Jyoti likes Ram Babu, but it is Janki who ismarried to Ram Babu. Ram Babu and Janki became the parents of baby girl, but their way of thinking is like two sides of the same coin, and to widen it more is ayoung man Murali. Murali was Jagat Prasad's friend's grandson, with his gift of talks, his bright outlook, he kindles a new light in the dull life of Janki. So far so,that Janki leaves her child and husband and elopes with Murali. On the insistence of Jagat Prasad, Ram marries Jyoti. Masterji comes to meet Janaki and Muraliand tells them that what they did was very wrong. Janaki feels guilty and Murli understands that Janaki doesn't want to live with him anymore. Murli arranges ahouse on the outskirts of Janaki's village where he ask her to go and stay. The same night Murali commits suicide. Janaki is surprised to see him dead howeverleaves for her village. Everyone berates her. Years pass and Janakis daughter Meena starts going to school. Janaki meets her daughter and every evening takesher to her house to play. Jyoti learns of this and scolds Janaki and Meena. In anger she burns Meena's arm and when Ram scolds her for that she feels guilty andburns her own as well. Janaki falls sick and refuses to take medicines. Her mother visits her and she ask for forgiveness. She ask her mother to ask Ram to meether once before she dies. Ram agrees and goes to meet Janaki. Janaki cries for forgiveness and Ram forgives her. He also promises to perform her last rites asher husband once she dies. As soon as Ram leaves Janaki touches his slippers that he left behind and dies. As promised and despite objection from Jagat Prasadand threat of being ostracized from the village Ram and Jyoti perform Janaki's last rites.CastJeetendra as RamSridevi as JankiPadmini Kolhapure as JyotiRajBabbar as MurliPran as Jagat PrasadTanuja as ShantaKader Khan as MasterjiShakti Kapoor as Leela KrishnaAruna Irani as RadhaChandrashekhar as Murli'sgrandfatherAsraniSoundtrackThe music for the film was composed by Bappi Lahiri and written by Indeevar.Passage 2:Just Friends (1993 film)Just Friends is a1993 Belgian-Dutch film. It was directed and produced by Marc-Henri Wajnberg, written by Pierre Sterckx and Alexandre Wajnberg, and starred Josse De Pauw,Ann-Gisel Glass, Charles Berling, and Sylvie Milhaud. Set in Antwerp, Just Friends is about the jazz scene in the 1950s.The film received the André Cavens Awardand won three Joseph Plateau Awards, including Best Film and Best Director for Wajnberg. It was selected as the Belgian entry for the Best Foreign Language Filmat the 66th Academy Awards.The music was written and supervised by Michel Herr and featured saxophonist Archie Shepp.See alsoList of Belgian submissions forthe Academy Award for Best Foreign Language FilmList of submissions to the 66th Academy Awards for Best Foreign Language FilmPassage 3:Just Friends(disambiguation)Just Friends is a 2005 romantic comedy film starring Ryan Reynolds and Amy Smart.Just Friends may also refer to:Film and televisionJustFriends (1993 film), a Belgian-Dutch film directed by Marc-Henri WajnbergJust Friends? (2009 film), a 2009 South Korean short film directed by Kim JhoKwang-sooJust Friends (2018 film), a 2018 Dutch film, original title Gewoon Vrienden, directed by Ellen Smit\"Just Friends\" (Degrassi High), an episode ofDegrassi High\"Just Friends\" (Life with Derek), an episode of Life with Derek Just Friends (TV series), a 1979 American sitcomMusicAlbumsJust Friends (JoeTemperley and Jimmy Knepper album), 1978Just Friends (soundtrack), a soundtrack album from the 2005 filmJust Friends (Rick Haydon and John Pizzarellialbum), 2006Just Friends (Zoot Sims and Harry Edison album), 1980Just Friends, a 1989 album by Oliver JonesJust Friends, a 1989 album by Helen MerrillJustFriends (Buddy Tate, Nat Simkins and Houston Person album), 1992Riddim Driven: Just Friends, a 2002 compilation albumSongs\"Just Friends\" (Danny! song),2009\"Just Friends\" (Hayden James song), 2018\"Just Friends\" (John Klenner and Sam M. Lewis song), 1931\"Just Friends (Sunny)\", a 1999 song by MusiqSoulchild\"Just Friends\", a song by Amy Winehouse from Back to Black\"Just Friends\", a song by Gavin DeGraw from Chariot\"Just Friends\", a song by the JonasBrothers from Jonas Brothers\"Just Friends\", a song by Nine Black Alps from Everything Is\"Just Friends\", a song by Vanessa Williams from The Real Thing\"JustFriends\", a song by Virginia to Vegas from Hartland St.\"Just Friends\", a song by Why Don't WeArtistsJust Friends (band), an American funk rock bandSee alsoJustBetween Friends (album), a 2008 album by saxophonist Houston Person and bassist Ron CarterJust Between Friends (soundtrack)Just Good Friends(disambiguation)Friend zone, a strictly platonic relationship in which one partner, but not the other, wishes to enter into a strong and close romanticrelationshipFriends (disambiguation)Friendship, a form of interpersonal relationshipPassage 4:The Fabulous SenoritaThe Fabulous Senorita is a 1952 Americanmusical comedy film directed by R. G. Springsteen and starring Estelita Rodriguez, Robert Clarke and Nestor Paiva. The film came at the tail-end of a cycle ofLatin American-themed films, though it did introduce a new star, Rita Moreno.PlotCastEstelita Rodriguez as Estelita RodriguezRobert Clarke as Jerry TaylorNestorPaiva as José RodriguezMarvin Kaplan as Clifford Van KunkleRita Moreno as Manuela RodríguezLeon Belasco as Señor GonzalesTito Renaldo as Pedro SanchezTomPowers as DelaneyEmory Parnell as Dean BradshawOlin Howland as Justice of the PeaceVito Scotti as Esteban GonzalesMartin Garralaga as Police CaptainGarciaNita Del Rey as FeliceJoan Blake as BettyFrances Dominguez as AmeliaBetty Farrington as JanitressNorman Field as Dr. CampbellClark Howat as DavisFrankKreig as Cab DriverDorothy Neumann as Mrs. BlackElizabeth Slifer as Wife of Justice of the PeaceCharles Sullivan as Cab DriverArthur Walsh as PetePassage5:Enkeyo Ketta KuralEnkeyo Ketta Kural (transl. A Voice Heard Somewhere) is a 1982 Indian Tamil-language drama film, directed by S. P. Muthuraman. The filmstars Rajinikanth in the lead role, with Ambika and Radha playing his love interests and Meena as their daughter. The film was later remade in Telugu as BavaMaradallu in 1984, in Hindi as Suhaagan in 1986 and in Kannada as Midida Hrudayagalu in 1993.PlotKumaran, a hardworking but easily aggrieved and veryrighteous man, is in love with his first cousin Ponni. Ponni works a very leisurely and laid-back job in a grand mansion. Ponni's younger sibling Kamatchi is fond ofKumaran, but he does not take her seriously. Vishwanathan, the father of Ponni and Kamatchi, plans to get Kumaran and Ponni married. Ponni reluctantly marriesKumaran. A daughter, Meena, is born after a year. Ponni starts to detest Kumaran because of her newfound tasks. Later, her previous employer dies of old age.Ponni visits her employer's son (who is also unhappily married) after the funeral. They both converse about their supposedly miserable lives and decide to elope.After Ponni runs away, her family disowns her and decides to have Kamatchi marry Kumaran. The initially reluctant Kumaran is convinced by his father-in-law andmarries Kamatchi. The pair bonds over time and lives in contentment with the child. Ponni realizes her blunder after a few weeks. Disgusted with herself, sheleaves the eloped partner, remaining faithful to Kumaran by not engaging in any debauchery with her partner. He confers her a small house near the village,where she spends the rest of her life. She meets her daughter, but her sister, disgusted with Ponni, orders the child not to meet her ever again. Kumaran comesto learn about her faithfulness and visits Ponni on her deathbed. She dies by Kumaran's side after reminiscing about her life. Kumaran is warned by hisfather-in-law that he will be banished from the village if takes part in her funeral. Kumaran defies him and performs the last rites for Ponni along with theirdaughter and Kamatchi.CastRajinikanth as KumaranAmbika as PonniRadha as KamatchiMeena as child Meena (daughter of Kumaran and Ponni)Delhi Ganesh asVishwanathanKamala Kamesh as Vishwanathan's wifeV. S. RaghavanT. K. S. NatarajanK. KannanVairam KrishnamoorthyProductionThe film was completely shotat a village near Chengalpet.SoundtrackThe music was composed by Ilaiyaraaja.AccoladesFilmfare Award for Best Film – TamilTamil Nadu State Film Award forBest Dialogue Writer – Panchu ArunachalamTamil Nadu State Film Award for Best FilmFilm Fans Association Award for Best Actor – RajinikanthRelease andreceptionEnkeyo Ketta Kural was released on 14 August 1982. Due to competition from another Muthuraman-directed film Sakalakala Vallavan, released on thesame day, it was less successful. Thiraignani of Kalki felt the reason for Ambika eloping and returning back reformed lacked strong reasons and added the endingof the story, which is not easy to accept, raises many problematic questions that make our heads turn gray but praised the performances of Ambika, DelhiGanesh and Kamala Kamesh. He also praised Arunachalam's dialogues and Babu's cinematography and concluded if Kamal was \"Sakalakala Vallavan\" in that filmthen here Rajinikanth was \"Sakalakala Nallavan\".Passage 6:The Night of NightsThe Night of Nights is a 1939 black-and-white drama film written by Donald OgdenStewart and directed by Lewis Milestone for Paramount Pictures that starred Pat O'Brien, Olympe Bradna, and Roland Young.The film received positivecontemporary reviews from publications such as The New York Times. Director Milestone went on to other successful productions after the film came out,including Ocean's 11 and Pork Chop Hill.BackgroundMilestone directed The Night of Nights nine years after winning the 1930 Academy Award for Best Director forAll Quiet on the Western Front.PlotDan O'Farrell (Pat O'Brien) is a brilliant Broadway theater playwright, actor, and producer who has left the business.  When hewas younger, he and his partner Barry Keith-Trimble (Roland Young) were preparing for the opening night of O'Farell's play Laughter by getting drunk.  When itwas time to perform, they were so intoxicated they ended up brawling on stage and fell into the orchestra pit.  The two left the theater and continued drinking,until they learn that they have been suspended. At the same time, O'Farrell learns that his wife, actress Alyce Martelle, is pregnant and has left him for ruiningher performance in Laughter as Toni.  Despondent, he in left the business and went into seclusion.Years later, his daughter Marie (Olympe Bradna) locates himand inspires him to return to Broadway.  He decides to restage Laughter with its original cast, but with Marie substituting for Alyce in the part of Toni.  Hoping to"}
+{"doc_id":"doc_218","qid":"","text":"Passage 1:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 2:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 3:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: "}
+{"doc_id":"doc_219","qid":"","text":"Passage 1:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershirein the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, andsettled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in theBirmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershireinvited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being KenSuttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) inwhat was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and RegPerks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when hetook 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He alsomade his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the singlewicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just twoovers in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff ArmsPark; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked asa teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 2:Alejandro RomualdoAlejandro Romualdo (December 19,1926 Trujillo, Peru – May 27, 2008 Lima, Peru) was a Peruvian poet of the 20th century. His best known work is the Song of Tupac Amaru, exalting therevolutionary spirit of the 18th-century leader. The poem, which glorified the Peruvian independence movement, won the Peruvian National Prize for Poetry in1997.LifeBorn Alejandro Valle, he is the son of famed Peruvian actor, Alex Valle, star of the popular TV series, Risas y Salsa. Romualdo studied literature at theNational University of San Marcos in 1946. His first poem, \"La torre de los alucinados\" made him the recipient of the Peruvian National Prize for Poetry in 1949.Having earned a scholarship, he attended the University of Madrid in 1951. Upon his return to Peru, Romualdo worked as a journalist as more of his works werepublished, which he used as an instrument of agitation and political propaganda that manifested his Marxist convictions. By the mid 1960s, he travelled to Mexicoand Cuba, eventually returning to Peru where he had some temporary jobs, one of them at the National Institute of Culture and also  working as a professor ofjournalism at University of San Martín de Porres in Lima.He married Teresa Pereira (d. 1998) and had 2 sons and a daughter. His son Gabriel Valle, M.D. is anephrologist and medical school professor at University of Miami. Granddaughter, Juliette Valle, (born 2001) is a professional musical theatre actress.Hededicated himself to teaching and journalism. He collaborated in the newspapers La Crónica and La Prensa, and in the magazines Cultura Peruana and Idea. Hispoetries, articles and caricatures, appear signed with his prename of Alejandro Romualdo; also with his nickname Xanno.In 1965 he traveled to Mexico and thenwent to Cuba. Back in Peru he had some temporary jobs, one of them at the National Institute of Culture. He then went on to teach at the University of SanMartín de Porres, becoming a teacher for several generations of journalists.In 1976 he won the OTI Festival award with his poem entitled I want to go out in thesun, set to music by Ernesto Pollarolo and performed by Fernando Llosa. He collaborated in the arts and letters magazine Hueso Hmero (1987,1990).DeathRomualdo was found dead in his home from heart complications in San Isidro District, Lima.See alsoPeruvian literatureBibliographyLuis AlbertoSánchez,: La literatura peruana. Derrotero para una historia cultural del Perú, tomo V, pp. 1581-1582. Cuarta edición y definitiva. Lima, P. L. Villanueva Editor,1975.National Library of Peru, N.º 2012-03529. Toro Montalvo, César: Manual de Literatura Peruana, Tomo II, p. 1452. A.F.A. Editores Importadores S.A. Terceraedición, corregida y aumentada, 2012. Hecho el depósito legal.Mario Vargas Llosa, El pez en el agua. Memorias. Editorial Seix Barral, S. A., 1993. ISBN84-322-0679-2Passage 3:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of hislife in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet JanetSarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their greatgrandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to NewZealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish ofGeraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons,1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in hisfirst match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with CharlesCorfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, butwent on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand crickethistorian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterburywon again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was amember of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a SouthCanterbury XVIII against the touring Queensland cricket team.Passage 4:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class andNetherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced hisretirement from all forms of cricket, but returned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh,when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for theirseries against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he wasselected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament wascancelled.Passage 5:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of theGrand River Territory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily oninstallation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism andconcepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as groupexhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern AffairsCanada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the InternationalMuseum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn2018, Hill received the Indspire Award for Arts.Passage 6:John Allen (Oxford University cricketer)John Aubrey Allen (born 19 July 1974) is an Australian teacher,rugby player and cricketer.Allen was born in Windsor, New South Wales. He attended Bede Polding College in South Windsor, before graduating with a BA inhuman movement studies at the University of Technology Sydney, where he also completed his Diploma of Education. He played rugby for several clubs, mostnotably for the Brumbies who he represented in the Ricoh Championship. He also played Grade cricket for Hawkesbury Cricket Club near Sydney. At 21, hemoved to England to study for his master's degree at University College, Oxford. While at Oxford, Allen was awarded his blue in rugby union and cricket.Allenplayed as a centre in rugby union and as a forward in rugby league. He captained Oxford University RFC in 2003, leading the team to a draw in The Varsity Matchagainst Cambridge at Twickenham in December that year. Earlier in the year, he scored a try late in the game to seal Oxford's victory in the Rugby League VarsityMatch at the Athletic Ground, Richmond.For Oxford University Cricket Club, he played in two first-class matches, including the varsity match.After completing hismaster's, Allen returned to teaching in Australia and in 2017 was working as Director of Sport and Co-Curricular at Trinity Grammar School in Sydney, New SouthWales.Passage 7:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, untilJune 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow.He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in"}
+{"doc_id":"doc_220","qid":"","text":"Passage 1:Helena (empress)Flavia Julia Helena (; Greek: \u0000λένη, Helénē; c.  AD 246/248– c. 330), also known as Helena of Constantinople and Saint Helena, wasan Augusta of the Roman Empire and mother of Emperor Constantine the Great. She was born in the lower classes traditionally in the Greek city of Drepanon,Bithynia, in Asia Minor, which was renamed Helenopolis in her honor, though several locations have been proposed for her birthplace and origin.Helena ranks asan important figure in the history of Christianity. In her final years, she made a religious tour of Syria Palaestina and Jerusalem, during which ancient traditionclaims that she discovered the True Cross. The Eastern Orthodox Church, Catholic Church, Oriental Orthodox Churches, and Anglican Communion revere her as asaint, and the Lutheran Church commemorates her.Early lifeSources agree that Helena was a Greek, probably from Asia Minor in modern Turkey. Her birthplace isnot known with certainty, but Helenopolis, then Drepanum, in Bithynia is, following Procopius, \"generally assumed\" to be the place. Her name is attested on coinsas Flavia Helena, Flavia Julia Helena and sometimes Aelena. Joseph Vogt suggested that the name Helena was typical for the Greek-speaking part of the RomanEmpire and that therefore her place of origin should be looked for in the eastern provinces of the Roman Empire. The 6th-century historian Procopius is theearliest authority for the statement that Helena was a native of Drepanum, in the province of Bithynia in Asia Minor. The name Helena appears in all areas of theEmpire, but is not epigraphically attested in inscriptions of Bithynia (Helena's proposed region of origin) and it was also common in Latin-speaking areas.Procopius lived much later than the era he was describing and his description may have been actually intended as an etymological explanation about the toponymHelenopolis. On the other hand, her son Constantine renamed the city \"Helenopolis\" after her death around AD 330, which supports the belief that the city wasindeed her birthplace. The Byzantinist Cyril Mango has, however, argued that Helenopolis was refounded to strengthen the communication network aroundConstantine's new capital in Constantinople, and was renamed simply to honor Helena, not to necessarily mark her birthplace. There was also a Helenopolis inPalestine and a Helenopolis in Lydia. These cities, and the province of Helenopontus in the Pontus, were probably all named after Constantine's mother. Two otherlocations in France and the Pyrenees have been named after Helena. Equally uncertain to Drepanum and without strong documentation suggestions about herbirthplace are: Naissus (central Balkans), Caphar or Edessa (Mesopotamia), Trier.The bishop and historian Eusebius of Caesarea states that Helena was about 80on her return from Palestine. Since that journey has been dated to 326–28, she was probably born around 246 to 249. Information about her social backgrounduniversally suggests that she came from the lower classes. Fourth-century sources, following Eutropius' Breviarium, record that she came from a humblebackground. Bishop Ambrose of Milan, writing in the late 4th century was the first to call her a stabularia, a term translated as \"stable-maid\" or \"inn-keeper\". Hemakes this comment a virtue, calling Helena a bona stabularia, a \"good stable-maid\", probably to contrast her with the general suggestion of sexual laxnessconsidered typical of that group. Other sources, especially those written after Constantine's proclamation as emperor, gloss over or ignore her background.BothGeoffrey of Monmouth and Henry of Huntingdon promoted a popular tradition that Helena was a British princess and the daughter of \"Old King Cole\" from thearea of Colchester. This led to the later dedication of 135 churches in England to her, many in around the area of Yorkshire, and revived as a suggestion in the20th century in the novel by Evelyn Waugh.Marriage to Emperor ConstantiusIt is unknown where she first met Constantius. The historian Timothy Barnes hassuggested that Constantius, while serving under Emperor Aurelian, could have met her while stationed in Asia Minor for the campaign against Zenobia. It is saidthat upon meeting they were wearing identical silver bracelets; Constantius saw her as his soulmate sent by God. Barnes calls attention to an epitaph atNicomedia of one of Aurelian's protectors, which could indicate the emperor's presence in the Bithynian region soon after AD 270. The precise legal nature of therelationship between Helena and Constantius is also unknown. The sources are equivocal on the point, sometimes calling Helena Constantius' \"wife\", andsometimes, following the dismissive propaganda of Constantine's rival Maxentius, calling her his \"concubine\". Jerome, perhaps confused by the vague terminologyof his own sources, manages to do both.Some scholars, such as the historian Jan Drijvers, assert that Constantius and Helena were joined in a common-lawmarriage, a cohabitation recognized in fact but not in law. Others, like Timothy Barnes, assert that Constantius and Helena were joined in an official marriage, onthe grounds that the sources claiming an official marriage are more reliable.Helena gave birth to the future emperor Constantine I on 27 February of an uncertainyear soon after 270 (probably around 272). At the time, she was in Naissus (Niš, Serbia). In order to obtain a wife more consonant with his rising status,Constantius divorced Helena some time before 289, when he married Theodora, Maximian's daughter under his command. The narrative sources date themarriage to 293, when Constantius was appointed caesar (heir-apparent) of Maximian, but the Latin panegyric of 289 refers to the new couple as alreadymarried. Helena and her son were dispatched to the court of Diocletian at Nicomedia, where Constantine grew to be a member of the inner circle. Helena neverremarried and lived for a time in obscurity, though close to her only son, who had a deep regard and affection for her.After Constantine's ascension to thethroneConstantine was proclaimed augustus (emperor) in 306 by Constantius' troops after the latter had died, and following his elevation his mother was broughtback to the public life in 312, returning to the imperial court. She appears in the Eagle Cameo portraying Constantine's family, probably commemorating the birthof Constantine's son Constantine II in the summer of 316.She lived in the Horti Spei Veteris in Rome which she converted into an even more luxuriouspalace.Pilgrimage and relic discoveriesConstantine appointed his mother Helena as Augusta, and gave her unlimited access to the imperial treasury in order tolocate the relics of the Christian tradition. In AD 326–28 Helena undertook a trip to Palestine. According to Eusebius of Caesarea, who records the details of herpilgrimage to Palestine and other eastern provinces, and Socrates Scholasticus, she was responsible for the construction or beautification of the Church of theNativity in Bethlehem, and the Church of Eleona on the Mount of Olives; sites of Christ's birth and ascension, respectively. Local founding legend attributes toHelena's orders the construction of a church in Egypt to identify the Burning Bush of Sinai. The chapel at Saint Catherine's Monastery—often referred to as theChapel of Saint Helen—is dated to the year 330.The True Cross and the Church of the Holy SepulchreJerusalem was still being rebuilt following the destructioncaused by Titus in AD 70. Emperor Hadrian had built during the 130s a temple to Venus over the supposed site of Jesus' tomb near Calvary, and renamed the cityAelia Capitolina. Accounts differ concerning whether the temple was dedicated to Venus or Jupiter. According to Eusebius, \"[t]here was a temple of Venus on thespot. This the queen (Helena) had destroyed.\" According to tradition, Helena ordered the temple torn down and, according to the legend that arose at the end ofthe 4th century, chose a site to begin excavating, which led to the recovery of three different crosses. The legend is recounted in Ambrose, On the Death ofTheodosius (died 395) and at length in Rufinus' chapters appended to his translation into Latin of Eusebius's Ecclesiastical History, the main body of which doesnot mention the event. Then, Rufinus relates, the empress refused to be swayed by anything short of solid proof and performed a test. Possibly through BishopMacarius of Jerusalem, she had a woman who was near death brought from the city. When the woman touched the first and second crosses, her condition did notchange, but when she touched the third and final cross she suddenly recovered, and Helena declared the cross with which the woman had been touched to be theTrue Cross.On the site of discovery, Constantine ordered the building of the Church of the Holy Sepulchre. Churches were also built on other sites detected byHelena.The \"Letter From Constantine to Macarius of Jerusalem\", as presented in Eusebius' Life of Constantine, states:\"Such is our Saviour's grace, that no powerof language seems adequate to describe the wondrous circumstance to which I am about to refer. For, that the monument of his [Christ's] most holy Passion, solong ago buried beneath the ground, should have remained unknown for so long a series of years, until its reappearance to his servants now set free through theremoval of him who was the common enemy of all, is a fact which truly surpasses all admiration. I have no greater care than how I may best adorn with asplendid structure that sacred spot, which, under Divine direction, I have disencumbered as it were of the heavy weight of foul idol worship [the Roman temple];a spot which has been accounted holy from the beginning in God’s judgment, but which now appears holier still, since it has brought to light a clear assurance ofour Saviour’s passion.\"Sozomen and Theodoret claim that Helena also found the nails of the crucifixion. To use their miraculous power to aid her son, Helenaallegedly had one placed in Constantine's helmet, and another in the bridle of his horse. According to one tradition, Helena acquired the Holy Tunic on her trip toJerusalem and sent it to Trier.CyprusSeveral relics purportedly discovered by Helena are now in Cyprus, where she spent some time. Among them are itemsbelieved to be part of Jesus Christ's tunic, pieces of the holy cross, and pieces of the rope with which Jesus was tied on the Cross. The rope, considered to be theonly relic of its kind, has been held at the Stavrovouni Monastery, which was also said to have been founded by Helena. According to tradition, Helena isresponsible for the large population of cats in Cyprus. Local tradition holds that she imported hundreds of cats from Egypt or Palestine in the fourth century to rida monastery of snakes. The monastery is today known as \"St. Nicholas of the Cats\" (Greek Άγιος Νικόλαος των Γατών) and is located near Limassol.RomeHelenaleft Jerusalem and the eastern provinces in 327 to return to Rome, bringing with her large parts of the True Cross and other relics, which were then stored in herpalace's private chapel, now the Basilica of Santa Croce in Gerusalemme, where they can be still seen today. This has been maintained by Cistercian monks in themonastery which has been attached to the church for centuries.Death and burialHelena died around 330, with her son at her side. She was buried in the"}
+{"doc_id":"doc_221","qid":"","text":"Passage 1:Roberto SavioRoberto Savio (born in Rome, Italy, but also holding Argentine nationality) is a journalist, communication expert, political commentator,activist for social and climate justice  and advocate of global governance. He has spent most of his career with Inter Press Service (IPS), the news agency whichhe founded in 1964 along with Argentine journalist Pablo Piacentini.Savio studied Economics at the University of Parma, followed by post-graduate courses inDevelopment Economics under Gunnar Myrdal, History of Art and International Law in Rome. He started his professional career as a research assistant inInternational Law at the University of Parma.Early activitiesWhile at university, Roberto Savio acted as an international officer with Italy’s National StudentAssociation and the Youth Movement of Italy’s Christian Democracy party, eventually taking on responsibility for Christian Democracy’s relations with developingcountries. After leaving university, he became international press chief for former Italian Prime Minister Aldo Moro. After the 1973 Chilean coup d’etat, RobertoSavio left Italian politics to pursue journalism.Early journalistic careerRoberto Savio’s career in journalism began with Italian daily ‘Il Popolo’ and he went on tobecome Director for News Services for Latin America with RAI, Italy’s state broadcasting company. He received a number of awards for TV documentaries,including the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy.Inter Press Service (IPS)Throughout his student years, RobertoSavio had cultivated an interest in analysing and explaining the huge information and communication gap that existed between the North and the South of theworld, particularly Latin America. Together with Argentine journalist Pablo Piacentini, he decided to create a press agency that would permit Latin American exilesin Europe to write about their countries for a European audience.That agency, which was known in the early days as Roman Press Agency, was the seed for whatwas to become the Inter Press Service (IPS) news agency, which was formally established at a meeting in the Schloss Eichholz conference centre of the KonradAdenauer Foundation (the foundation of the CDU), in Wesseling near Bonn, then the capital city of West Germany.From the outset, it was decided that IPS wouldbe a non-profit cooperative of journalists and its statute declared that two-thirds of the members should come from the South.Roberto Savio gave IPS its uniquemission – “giving a voice to the voiceless” – acting as a communication channel that privileges the voices and the concerns of the poorest and creates a climate ofunderstanding, accountability and participation around development, promoting a new international information order between the South and the North.Theagency grew rapidly throughout the 1970s and 1980s until the dramatic events of 1989-91 – the fall of the Berlin Wall and the collapse of the Soviet Union –prompted new goals and definitions: IPS was the first news outlet to identify itself as “global” and define the new concept of neoliberal globalisation ascontributing to the distancing of developing countries from wealth, trade and policy-making.IPS offers communication services to improve South–Southcooperation and South-North exchanges and carries out projects with international partners to open up communication channels to all social sectors.IPS has beenrecognised by the United Nations and granted NGO consultative status (category I) with ECOSOC.With the strengthening of the process of globalisation, IPS hasdedicated itself to global issues, becoming the news agency for global civil society: more than 30,000 NGOs subscribe to its services, and several million peopleare readers of its online services.Under Roberto Savio, IPS won the Washington-based Population Institute’s “most conscientious news service” award nine time inthe 1990s, beating out the major wire services year in and year out.IPS won FAO’s A.H. Boerma Award for journalism in 1997  for its \"significant contribution tocovering sustainable agriculture and rural development in more than 100 countries, filling the information gap between developed and developing countries byfocusing on issues such as rural living, migration, refugees and the plight of women and children\".On the initiative of Roberto Savio, IPS established theInternational Journalism Award in 1985 to honour outstanding journalists whose efforts, and often lives, contributed significantly to exposing human rightsviolations and advancing democracy, most often in developing countries. In 1991, the scope of the award was broadened to reflect the tremendous changestaking place in the world following the historic break-up of the Soviet Union and the end of the Cold War. The Award, renamed the International AchievementAward, was given in recognition of the work of individuals and organisations that “continue to fight for social and political justice in the new world order”.RobertoSavio is now President Emeritus of IPS and Chairman of the IPS Board of Trustees, which also includes former U.N. Secretary-General Boutros Boutros-Ghali,former Portuguese President Mario Soares, former UNESCO Director-General Federico Mayor Zaragoza, former Finnish President and Nobel Peace Prize laureateMartti Ahtisaari, former Costa Rican President and Nobel Peace Prize laureate Oscar Arias and former Japanese Prime Minister Toshiki Kaifue.After stepping downas Director-General of IPS, Roberto Savio has continued his interest in “alternative” communication and information, founding Other News as an internationalnon-governmental association of people concerned about the decline of the information media.Other NewsIn 2008, Roberto Savio launched the online Other Newsservice to provide “information that markets eliminate”.Other News publishes reports that have already appeared in niche media but not in mass circulationmedia, in addition to opinions and analyses from research centres, universities and think tanks – material that is intended to give readers access to news andopinion that they will not find in their local newspapers but which they might wish to read “as citizens who care about a world free from the pernicious effects oftoday’s globalisation”.Other News also distributes daily analysis on international issues, particularly the themes of global governance and multilateralism, toseveral thousand policy-makers and leaders of civil society, in both English and Spanish.Communication initiativesAn internationally renowned expert incommunications issues, Roberto Savio has helped launched numerous communication and information projects, always with an emphasis on the developingworld.Among others, Roberto Savio helped launch the National Information Systems Network (ASIN) for Latin America and the Caribbean,  theUNESCO-sponsored Agencia Latinoamericana de Servicios Especiales de Informacion [Latin American Special Information Services Agency] (ALASEI), and theWomen’s Feature Service (WFS), initially an IPS service and now an independent NGO with headquarters in New Delhi.He also founded the TechnologicalInformation Promotion System (TIPS), a major U.N. project to implement and foster technological and economic cooperation among developing countries, and hedeveloped Women into the New Network for Entrepreneurial Reinforcement (WINNER), a TIPS training project aimed at educating and empowering small andmedium woman entrepreneurs in developing countries. The activities of TIPS are currently carried by the executing agency, Development Information Network(DEVNET), an international association which Roberto Savio helped create and which has been recognised by the United Nations as an NGO holding consultativestatus (category I) with the U.N. Economic and Social Council (ECOSOC).Roberto Savio has also been actively involved in promoting exchanges between regionalinformation services, such as between ALASEI and the Organisation of Asian News Agencies (OANA) now known as the Organisation of Asia-Pacific NewsAgencies, and between the PanAfrican News Agency (PANA) and the Federation of Arab News Agencies (FANA).Roberto Savio was instrumental in placing theconcept of a Development Press Bulletin Service Tariff on the agenda of UNESCO’s International Commission for the Studyof Communication Problems (MacBrideCommission).Roberto Savio has also worked closely in the field of information and communication with many United Nations organisations, including the UnitedNations Development Programme (UNDP), the United Nations Environment Programme (UNEP), the United Nations Educational, Scientific and CulturalOrganisation (UNESCO), the United Nations Population Fund (UNFPA), the United Nations Children’s Fund (UNICEF) and the United Nations Institute for Trainingand Research (UNITAR).Achievements and awardsIn 1970, Roberto Savio received the Saint-Vincent Award for Journalism, the most prestigious journalism awardin Italy, for a five-part series on Latin America which was recognised as “best TV transmission”.He was awarded the Hiroshima Peace Award in 2013 for his“contribution towards the construction of a century of peace by ‘giving voice to the voiceless’ through Inter Press Service for nearly five decades”. The award wasestablished by Soka Gakkai, a lay Buddhist organisation based in Tokyo.He received the Joan Gomis Memorial Award (Catalunya) for Journalism for Peace in2013.In October 2016, during the 31st Festival of Latin American Cinema in Trieste, Italy, Roberto Savio received the \"Salvador Allende\" award, given to honour apersonality from the world of culture, art or politics who actively supported the conservation of Latin America's rich history and culture.In 2019, he received aspecial diploma from the President of Chile, Michelle Bachelet, for his role of solidarity during the Chilean military dictatorship.He was appointed by President ofthe Republic Mattarella, one of the twelve Knights of the Order of Merit of the Italian Republic for 2021. He also received an honorary degree in political sciencefrom the United Nations Peace University in 2021.Advisory activitiesRoberto Savio served as Senior Adviser for Strategies and Communication to the DirectorGeneral of the International Labour Organization (ILO) from 1999 to 2003. He also served as an internal communication consultant to Catherine Bertini, ExecutiveDirector of the World Food Programme (WFP), in 2000.AffiliationsFrom 1999 to 2003, Roberto Savio was a board member of the Training Centre for RegionalIntegration, based in Montevideo, Uruguay.After several years as a member of the Governing Council of the Society for International Development (SID), theworld’s oldest international civil society development organisation, he was elected Secretary-General for three terms, and is now the organisation’sSecretary-General Emeritus.Roberto Savio was founder and President of Indoamerica, an NGO that promotes education in poor areas of Argentina suffering fromsocial breakdown.He has been a member of the International Committee of the World Social Forum (WSF) since it was established in 2001, a member of theInternational Council and was elected as Coordinator of the ‘Media, Culture and Counter-Hegemony’ thematic area at WSF 2003.Roberto Savio is co-founder of"}
+{"doc_id":"doc_222","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directingepisodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family,Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart inHiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levinworked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when hewas drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long WharfTheatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey DavisLevin and was also an associate artist of The Interact Theatre Company.Passage 2:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executivedirector of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of theIsraeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam SpiegelFilm and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina'sTragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Campingcompeted at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects,and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Filmand Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also overseesthe Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debutfilm, Sam Spiegel; director and screenwriter, 2006)Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas(1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring ofScorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story ofOzploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Muvva GopaluduMuvva Gopaludu is a 1987 Indian Telugu-language romanticdrama film produced by S. Gopala Reddy and directed by Kodi Ramakrishna. The film stars Nandamuri Balakrishna, Vijayashanti and Shobana, with musiccomposed by K. V. Mahadevan. It is a remake of the Tamil film Aruvadai Naal (1986). The film was released on 19 May 1987.PlotThe film begins in a villagewhere Gopi an opulent active youth is squashed by his vicious brother-in-law Basava Raju with petrifying. Yet, his sister Nagalakshmi warmth on him. Meanwhile,Nirmala a medico reared by a Christian missionary is appointed as govt doctor in the same village. Nevertheless, Nirmala is unbiased about it as her ambition is toturn into a nun. But following a request of a Mother proceeds to the village. Wherein, she meets Father Lawrence an altruistic admired by the public. Presently,Gopi & Nirmala have been acquainted in an altercation and developed a good intimacy. Once, Gopi attempts suicide as Basavaraju's mortifications peak.Forthwith, he is safeguarded by Nirmala when he puts his dearness into words. Now Nirmala is under the dichotomy when Father Lawrance enlightens her thatlove is not a sin. Plus, it would be fair if she knits Gopi. Basava Raju is conscious of it and fakes his acceptance but plots to wedlock Gopi with his daughterKrishnaveni for his wealth. Nirmala delightfully moves to invite her revivalists for the espousal. Consequently, Basava Raju forges Krishnaveni's pubertyceremony. On that occasion, he ruses by hiding a wedding chain Mangalsutram in a garland. Being unbeknownst Gopi puts it to Krishnaveni and Basava Rajudeclares them as man & wife. In the interim, Nirmala returns, understands the existing state, and is about to quit but backs on plead of the villagers.Grief-stricken Gopi turns into a drunkard. Spotting his pain Krishnaveni complains against Basava Raju and divulges the actuality with aid of Father Lawerance.Thus, the Panchayat passes on the annulment of Krishnaveni's marriage and also provides clearance to the nuptials of Gopi & Nirmala. As of today, the completevillage comes together to perform the alliance when enraged Basava Raju onslaughts on them in which Father Lawerance is slain. On the verge of killing Nirmala,she sets foot in the church which stuns everyone. At this point, inflamed Gopi slaughters Basava Raju at the instigation of his sister and is sentenced to 7 years.At last, Gopi is acquitted Krishnaveni gives him a warm welcome and Nirmala appears as a nun. Finally, the movie ends on a happy note Nirmala uniting Gopi &Krishnaveni.CastNandamuri Balakrishna as Muvva Gopala Krishna Prasad / GopiVijayashanti as NirmalaShobhana as KrishnaveniRao Gopal Rao as BasavaRajuGollapudi Maruti Rao as Father LawrenceChidatala Appa Rao as VillagerK.K. Sarma as VillagerTelephone Satyanarayana as PresidentJayachitra asNagalakshmiSatyavathi as Jalaga LakshammaAnitha as NunChilaka Radha as SeetaluKalpana Rai as NukaluY. Vijaya as VeerammaSoundtrackMusic composed byK. V. Mahadevan. Lyrics were written by C. Narayana Reddy.AccoladesNandi Award for Second Best Story Writer – G. M. KumarPassage 5:Brian Kennedy (gallerydirector)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works inthe United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the ToledoMuseum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra)from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art atDartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executivedirector and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A.(1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department ofEducation (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublinfrom 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitionsand loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinuedthe emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improvingthe building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a publicdispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altereddesign completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, andLucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesiantextiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable forcampaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to thebuilding project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, andseen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institutioncannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raisedsimilar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in Londonand Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous.The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgustingattack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit ofthe works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of arange of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns"}
+{"doc_id":"doc_223","qid":"","text":"Passage 1:Philipp Moritz, Count of Hanau-MünzenbergPhilipp Moritz of Hanau-Münzenberg (25 August 1605 – 3 August 1638 in Hanau) succeeded his father asCount of Hanau-Münzenberg in 1612.LifePhilipp Moritz was the son of Count Philipp Ludwig II of Hanau-Münzenberg and his wife, Princess Catharina Belgica(1578–1648), a daughter of William the Silent.YouthPhilipp Moritz was seven years old when his father died and he inherited Hanau-Münzenberg. His father's willstipulated that his mother, Princess Catharina Belgica of Nassau, should be the sole regent and guardian, and the Imperial Supreme Court confirmed this.At theage of eight, he was sent to the school that had been established after the Reformation in the buildings of the former monastery at Schlüchtern, which is todaythe Ulrich von Hutten-Gymnasium. In 1613, he continued his education at University of Basel (where his grandfather had also studied), in Geneva andSedan.ReignEnd of the regencyCount Philipp Moritz's rule began with an altercation between himself and his mother, Princess Catharina Belgica, about thetermination of the regency and nature and the size of her widow seat. She wanted to act as co-regent, even after his 25th birthday, the age of consent under thecommon law, despite an agreement closed in 1628 and an opinion from the Law Faculty of the University of Marburg. Philipp Moritz, tried to remove his motherfrom the government. They took their case to the Imperial Supreme Court and treated each other rudely; Philipp Moritz even removed his mother from thecountly palace in Hanau. However, he compensated her for this in 1629. They never managed to properly wind up the regency. On the other hand, Philipp Moritzdid manage to settle with his cousin Johann Ernst the fierce dispute which his father had had with Johann Ernst's father, his uncle Albrecht ofHanau-Münzenberg-Schwarzenfels, about the primogeniture and Albrecht's apanage.The Thirty Years' War and exileOne reason the regency was never properlywound up, was the Thirty Years' War, which approached Hanau around 1630. When the Imperial troops reached Hanau, Philipp Moritz chose their side, in order toretain the military command of his capital. He was appointed Colonel and was expected to provide three companies. In November 1631, Swedish troops occupiedHanau and King Gustavus Adolphus of Sweden entered the city. Philipp Moritz decided to change sides. He was a Calvinist and for him choosing between theCatholic Emperor and the Lutheran Swedish king may have been like a choice between Scylla and Charybdis. Gustavus Adolphus appointed him to colonel andgave him a Swedish regiment. As a reward for his changing side, he gave him the district of Orb and the shares the Electorate of Mainz had held in the formerCounty of Rieneck and the districts of Partenstein, Lohrhaupten, Bieber and Alzenau. He gave Philipp Moritz's brothers, Heinrich Ludwig (1609–1632) and JakobJohann (1612–1636) the town and district of Steinheim, which was also a former possession of Mainz. These possessions were lost when the Catholic side gainedthe upper hand after the Battle of Nördlingen in September 1634. Changing sides again would make Philipp Moritz seem untrustworthy, so he decided to flee. Hefled to Metz and from there via Chalon, Rouen and Amsterdam to his Orange-Nassau relatives in the Hague and Delft. He left his youngest brother, Jakob Johann,as regent in Hanau, because Jakob Johann was considered politically neutral.Hanau was a well-developed fortress town and remained occupied until 1638 bySwedish troops under General Jakob von Ramsay, who controlled the surrounding countryside from Hanau. He excluded Jakob Johann from any influence and sothe later left the city.Hans Jakob Christoffel von Grimmelshausen used the occupation of Hanau by the Swedish as background in his picaresque novel SimpliciusSimplicissimus.Return from exileFrom September 1635 to June 1636, Hanau was unsuccessfully besieged by imperial troops under General Guillaume de Lamboy.This siege proved the value of the modern defensive system, which had been constructed only a few years before. Thousands of refugees fled from thesurrounding villages into the city. After a nine-month siege, the city was relieved by an army under Landgrave Wilhelm V of Hesse-Kassel. He was Philipp Moritz'sbrother-in-law, as he had married Philipp Moritz's sister, Amalie Elisabeth. A church service was held annually to commemorate the relief. After 1800, thisdeveloped into an annual Lamboy festival.In 1637, Philipp Moritz reconciled with the new Emperor, Ferdinand III and changed sides again, back to the Catholicside. He returned to Hanau on 17 December 1637. General Ramsay ignored this and interned Philipp Moritz in the City Castle. He was obviously hoping to receiveHanau as a fief.However, on 11 February [O.S. 2 February] 1638, Johann Winter von Güldenborn, a major in the Hanau army, supported by members of theWetterau Association of Imperial Counts, staged a coup against the Swedes. He drove them out of Hanau and restored Philipp Moritz to power. General Ramsaywas arrested and taken to Dillenburg, where he died months later from injuries he sustained during this action.TriviumPhilipp Moritz was a member of theFruitbearing Society, under the nickname der Faselnde.DeathPhilipp Moritz died on 3 August 1638 and was buried in the family crypt his father had established inthe Church of St. Mary in Hanau.Marriage and issuePhilipp Moritz returned to Hanau in 1626 and married Princess Sibylle Christine of Anhalt-Dessau. They hadthe following children:Sibylle Mauritania (2 November 1630 – 24 March 1631). She was buried in the family vault in the St. Mary's Church in Hanau. The remainswere reburied in 1879 in a new coffin, as the old one had rotted.Adolphine (31 October 1631 – 22 December 1631). Baptized on 4 December 1631. Her Godfatherwas King Gustaf II Adolf of Sweden, with Count Reinhard of Solms acting on his behalf.Philipp Ludwig III (26 November 1632 – 12 November 1641), whosucceeded his father as ruler of the county of Hanau-Münzenberg.Johann Heinrich (3 May 1634 – 28 October 1634 in Metz). Johann Heinrich died while hisrelatives had fled from Hanau to the Netherlands. Because of the war, he was initially buried in Zweibrücken in 1635. His mother had his body transported toHanau as soon as it was possible again, and on 30 November 1638, he was buried in a metal coffin in the family vault in the Church of St. Mary in Hanau.LouiseEleanor Belgica (born: 3 March 1636 in Metz; died later that year in the Hague, where she was buried).AncestorsPassage 2:Philipp Ludwig III, Count ofHanau-MünzenbergCount Philipp Ludwig III of Hanau-Münzenberg (26 November [O.S. 16 November] 1632 in Hanau – 12 November 1641 in The Hague) was thelast count of the main Hanau-Münzenberg line of the House of Hanau.  After his death, the Hanau-Münzenberg-Schwarzenfels line inheritedHanau-Münzenberg.YouthPhilipp Ludwig was the eldest son of Count Philipp Moritz of Hanau-Münzenberg and Princess Sibylle Christine of Anhalt-Dessau.  He wasborn in Hanau on 26 November [O.S. 16 November] 1632, and baptized there on 13 January [O.S. 3 January] 1633.In 1634, the political situation in the ThirtyYears' War forced Philipp Moritz to flee with his family.  He fled via Metz, Châlons, Rouen and Amsterdam to his Orange-Nassau relatives in Delft and TheHague.  Philipp Moritz returned to Hanau-Münzenberg in 1637, however, he left his son with his mother, Countess Catharina Belgica of Nassau.Philipp Moritz diedin 1638, only 33 years old.  Thus Philipp Ludwig III inherited Hanau-Münzenberg at the age of 5.  The Reichskammergericht appointed his mother as his soleguardian.  Unlike earlier rulers of Hanau-Münzenberg, she maintained a relaxed relationship with the Hanau-Münzenberg-Schwarzenfels line of thefamily.DeathPhilipp Ludwig III died of the measles at the age of 8, on 12 November 1641 in The Hague.  He was the last member of the main Hanau-Münzenbergline.  His siblings had all died before him.  Hanau-Münzenberg was inherited by his first cousin once removed Count Johann Ernst ofHanau-Münzenberg-Schwarzenfels.  When Johann Ernst died a year later, Hanau-Münzenberg fell to the Hanau-Lichtenberg line.Philipp Ludwig III was buried on18 February 1646 in the family crypt in the Church of St. Mary in Hanau, together with his mother and his successor.  His pewter coffin was stolen in 1812, duringthe chaos of the Napoleonic Wars.  He was reburied in a joint coffin, together with corpses from other coffins that had also been stolen.AncestorsPassage 3:PhilippLudwig I, Count of Hanau-MünzenbergPhilipp Ludwig I, Count of Hanau-Münzenberg (21 November 1553 – 4 February 1580) succeeded his father in thegovernment of the County of Hanau-Münzenberg in 1561.BackgroundPhilipp Ludwig I, was the son of Count Philipp III of Hanau-Münzenberg and CountessPalatine Helena of Simmern. His godparents were:Duchess Palatinate Maria of Simmern (1519–1567), daughter of the Margrave Casimir ofBrandenburg-Kulmbach, married to Elector Friedrich IIICount Philipp of Solms-BraunfelsCount Ludwig of Stolberg-KönigsteinHis hobby was collecting coins andmedals.YouthChildhoodNothing is known about his early years. In 1560, when he was seven years old, his father appointed him as bailiff of the district of Steinau.Presumably, this was a sinecure.Just one year later, his father died and he inherited the county of Hanau-Münzenberg. A committee of regents was appointed torule on his behalf.RegencyThe regency was established by the Reichskammergericht (\"Imperial Supreme Court\") at the request of his mother. Three regents wereappointed, as requested:Count Johann VI of Nassau-Dillenburg, a step-great-uncle of the ward, who was also related directly to his wardCount Philipp IV ofHanau-Lichtenberg, the reigning Count of Hanau in the other line, and thus—very distantly—related to his ward.Elector Palatine Friedrich III is mentioned in theliterature as the chief regent. There is, however, no documentary evidence that he acted as such.Count Reinhard I of Solms, who had already acted as a guardianfor Philipp Ludwig's father and who was more closely related to Philipp Ludwig, was apparently ignored when the regency was established. He had expected to beregent and had already accepted the homage of the subjects, whom he now had to release. The reason may have been that Reinhard was a Catholic andHanau-Münzenberg had joined to Reformation religiously as well as politically. On the other hand, the contrast between Calvinism (as practised in the Electorateof the Palatinate) and Lutheranism (in Hanau-Lichtenberg) was not as pronounced at this time as it was a generation later, when again the Count ofHanau-Lichtenberg acted as regent for Hanau-Münzenberg and the difference it caused violent clashes within the regency. Under the regency for Philipp Ludwig Ithis was limited to discussions which education he should receive. In the end, the guardians reached an agreement.EducationThe young Count Philipp Ludwig Iwas described by his teachers as highly intelligent and eager to learn. From 1563 onwards, his guardians looked into the possibility of him being educated abroad."}
+{"doc_id":"doc_224","qid":"","text":"Passage 1:5L5L or 5-L can refer to:TransportationAeroSur (IATA code)5L, a model of Toyota L engineCurtiss F-5L, see Felixstowe F5LSSH 5L (WA), former nameof U.S. Route 12 in WashingtonAtlantic coast F-5L, see Felixstowe F.5Auster J/5L, a model of Auster Aiglet TrainerBritish Rail Class 202 Diesel-electric multipleunits (6L) when reduced to a five-carriage configurationBritish Rail Class 203 Diesel-electric multiple units (6B) when reduced to a five-carriage configuration bythe removal of their buffet carsScience and technologyORC5LTAF5L5L, a model of HP LaserJet 5AIX 5L, see IBM AIXOther usesThe Horns of Nimon (productioncode: 5L), a 1979–80 Doctor Who serialSee alsoL5 (disambiguation)Passage 2:VariatorA variator is a device that can change its parameters, or can changeparameters of other devices.Often a variator is a mechanical power transmission device that can change its gear ratio continuously (rather than insteps).ExamplesBeier variable-ratio gearContinuously variable transmissionEvans friction coneNuVinci continuously variable transmissionVariator (variable valvetiming)VariomaticVANOSSee alsoEpicyclic gearingPassage 3:9F9F or 9-F may refer to:LocomotivesBR Standard Class 9F, a class of 2-10-0 steam locomotivesBRStandard Class 9F 92020-9BR Standard Class 9F 92220 Evening StarList of preserved BR Standard Class 9F locomotivesGCR Class 9F, a class of 0-6-2T steamlocomotivesOther uses2020 Salvadoran political crisis, commonly referred to as 9F (9th February)New York Route 9F, now New York State Route 9GFluorine (9F),a chemical elementSee alsoF9 (disambiguation)February 99ff, a German car tuning companyGrumman F9F Panther, an American carrier-based fighteraircraftGrumman F9F Cougar, an American carrier-based fighter aircraftPassage 4:ESTEst, EST, est, -est, etc. may refer to:Arts and entertainmentest: TheSteersman Handbook, a science fiction book published in 1970Ed Sullivan Theater, New York, built in 1927Ensemble Studio Theatre, New York, founded in1968Esbjörn Svensson Trio, a Swedish jazz trioE.S.T., a song by British band White Lies from their 2009 album To Lose My Life...E.S.T. - Trip to the Moon, a songby Alien Sex Fiend from their 1984 album Acid BathLanguage-est, the superlative suffix in English-est, an archaic verb ending in EnglishEstonian language (ISO639 code: est)European Society for Translation StudiesExtended standard theory, a generative grammar frameworkPeopleDiana Est (born 1963), ItaliansingerEST Gee (born 1994), American rapperMichael Est (c. 1580–1648), English composerThomas Est (c. 1540–1609), English printerVan Est, a DutchsurnamePlacesAfricaEst Department, a former division of Ivory CoastEst Province, RwandaEst Region (Burkina Faso)Est Region (Cameroon)EuropeEst (Chamberof Deputies of Luxembourg constituency), an electoral constituency in LuxembourgEst, Netherlands, a town in GelderlandEstonia (ISO 3166 alpha-3 code:EST)Science and medicineEdinburgh Science Triangle, a multi-disciplinary partnership in ScotlandElectroconvulsive therapy, formerly electroshock therapy, aform of treatmentEndodermal sinus tumor, a cancerous germ cell tumorEstrone sulfotransferase, an enzyme catalyzing the transformation of an unconjugatedestrogen into a sulfated estrogenEuropean Solar Telescope, a proposed observatoryExpressed sequence tag, a short sub-sequence of a cDNAsequenceTechnologyElectron spiral toroid, a claimed small stable plasma toroidElectronic sell-through, a method of media distributionEnrollment over SecureTransport, a cryptographic protocolTime zonesAustralian Eastern Standard Time or AEST (UTC+10), see Time in AustraliaEastern Standard Time or EST (UTC−5)in the Americas, officially \"Eastern Time Zone\"Egypt Standard Time or EGY (UTC+2)European Summer Time (varies from UTC to UTC+3), in several time zones,see Summer time in EuropeOther usesEnergy Saving Trust, a British organization for fighting climate change, formed in 1992Erhard Seminars Training (est), aNew Age large-group awareness training program, 1971–1984Espérance Sportive de Tunis, a Tunisian multi-sports club, founded in 1919Est Cola, a Thai softdrink, launched in 2012Effort satisficing theory, a decision-making strategy; see Satisficing § Effort satisficing theoryEstablished; see AnniversarySee alsoEast(disambiguation)Passage 5:I Can ChangeI Can Change may refer to:\"I Can Change\" (Brandon Flowers song)\"I Can Change\" (LCD Soundsystem song)\"I CanChange\", a song from the South Park: Bigger, Longer & Uncut soundtrackPassage 6:L'Histoire d'une fée, c'est...\"L'Histoire d'une fée, c'est...\" (English: \"The Storyof a Fairy Is...\") is a 2001 song recorded by French singer-songwriter Mylène Farmer. It was one of the singles from the soundtrack album for the film Rugrats inParis: The Movie (known in France as Les Razmokets à Paris). With its lyrics written by Farmer and the song being composed and produced by her long-timesongwriting collaborator Laurent Boutonnat, \"L'Histoire d'une fée, c'est...\" was released on 27 February 2001. The song describes the fairy Mélusine with\"childish\" lyrics that contrast with double entendres and puns referring to sexual practices. Although the single had no music video nor airplay promotion, itreceived generally positive reviews from critics and reached top-ten charts in France and Belgium.Background and writingRugrats in Paris: The Movie was thesecond in a trilogy of films based on the children's animated television series Rugrats, which features the adventures of a group of toddlers. After filming, theproducers wanted to record a soundtrack for the movie with mainly French songs, as well as a few in English. Several singers were contacted, including TLCmember Tionne Watkins, the 1990s boys band 2Be3, Sinéad O'Connor, Cyndi Lauper and Mylène Farmer. Persistent but unconfirmed rumours claimed thatMadonna, as the founder of the Maverick company producing the soundtrack, had expressly asked Farmer to participate in the album. Farmer accepted, butpreferred to produce a new song instead of licensing the rights to one of her old compositions. The recording label Maverick signed a contract for an unreleasedsong, with lyrics written by Farmer and music composed by her songwriting partner Laurent Boutonnat. This was the first time that the singer had recorded asong especially for a movie. An English version was canceled in favour of a French version, and eventually the song only played for about 15 seconds in themovie. The first title chosen, \"Attrapez-moi\", was also quickly abandoned as it was too similar to the Pokémon's cry of \"Attrapez-les tous\".Music andlyrics\"L'Histoire d'une fée, c'est...\" is a synthpop song. It tells the story of a mischievous and malicious fairy, Mélusine, here embodied by Farmer. Lyrically, thesong uses words referring to magic, baffling several of Farmer's fans as the lyrics seem to be closer to the themes found in songs by young singers such as Alizée.The lyrics also contain several double entendres and puns which refer to sexual practices. The song's title itself is ambiguous and can be deemed sexuallysuggestive as it contains a pun in French alluding to spanking: in French, the title \"L'Histoire d'une fée, c'est...\" could be phonetically understand as meaning\"L'Histoire d'une fessée...\" (translation: \"The Story of a Spanking\").ReleaseIn Europe the soundtrack release was postponed until 7 February 2001 becauseFarmer had bought the song's royalties and finally decided to release it as a single, 14 days later. It was only released as a digipack CD single, in which the song'slyrics are written inside, and there was no promotional format. For the second time in the singer's career – after the song \"XXL\" – the single cover does not showher, but a drawing of a fairy from the film by Tom Madrid. The song began circulating online a month before the soundtrack's release and was well received bymany fans who felt that it could be a hit. The song did not receive much radio airplay, with only Europe 2 playing it regularly. \"L'Histoire d'une fée, c'est...\" wasalso released on the soundtrack of the film in a longer version than the CD single version, and was later included on Mylène Farmer's greatest hits album LesMots. It was also released as the third track on the European CD maxi \"Les Mots\", released in the Switzerland on 4 September 2002.Critical receptionThe songwas generally well received by critics, who particularly noted the puns. According to author Erwan Chuberre, the lyrics are \"as funny as disillusioned\" and Farmeruses puns that \"highlight her immoderate pleasure for impolite pleasures\", with a music he deemed \"effective\". Author Thierry Desaules said that the songappears to be a childish fairly tale, but is actually structured in a perverse enough way to address the adult public, as the allusions to the spanking can be seen asreferences to sadomasochism. Journalist Benoît Cachin wrote that her puns are \"of the funniest\" and that the singer included in the lyrics \"some very personalthoughts\", including sadness; he added that Farmer appears to be \"fun, dynamic and delightfully mischievous\" on this song.Chart performanceOn 3 March 2001,the single debuted at a peak of number nine on the French SNEP Singles Chart, providing Farmer her 22nd top ten hit. In the following weeks, the song fellsteadily and remained in the top 50 for nine weeks and a total of 15 weeks on the chart. This chart performance was surprising given that the song was aired littleon radio, the film met a mixed commercial success in France and there was no music video, no promotion on television, and only one format. According toInstant-Mag the beauty of the single's cover undoubtedly helped increase sales. In Belgium, the single started at number 23 on 15 March 2001, climbed tonumber 11, then peaked at number 10. Thereafter, it dropped and fell off the Ultratop 50 after 13 weeks. On the 2001 Belgian singles year-end chart, \"L'Histoired'une fée, c'est...\" ranked at number 89.Formats and track listingsThese are the formats and track listings of single releases of \"L'Histoire d'une fée, c'est...\":CDsingle – DigipackOfficial versionsCredits and personnelThese are the credits and the personnel as they appear on the back of the single:Mylène Farmer –lyricsLaurent Boutonnat – music, producerJohn Eng – artistic directorGena Kornyshev – stylistTom Madrid – drawingsRequiem Publishing – editionsPolydor –recording companyHenry Neu – designBertrand Chatenet – mixingChartsRelease historyPassage 7:I Can Change (LCD Soundsystem song)\"I Can Change\" is asong by American rock band LCD Soundsystem. The song was released as the third official single from the band's third studio album This Is Happening, on May29, 2010. It was written by band member Pat Mahoney and band frontman James Murphy and was produced by the DFA. The song was featured on thesoundtrack for the video game FIFA 11 and peaked at number 85 on the French Singles Chart.Track listing12\" vinylDFA 22591CDDFA 2259XDigitaldownloadChartsPassage 8:R* (disambiguation)*R or R* denote hyperreal numbers.R* may also refer to:R* rule (ecology), or resource-ratio hypothesis, ahypothesis in community ecologyRockstar Games, an American video game publisherr* or r-star, natural rate of interestR*-tree, a tree data structure for spatial"}
+{"doc_id":"doc_225","qid":"","text":"Passage 1:Prince of LiesPrince of Lies or The Prince of Lies may refer to:Hellstorm: Prince of Lies, a short lived comic book seriesPrince of Lies, a single fromScottish music group CindytalkPrince of Lies (novel), book four in The Avatar Series by James LowderThe Prince of Lies, a common nickname for SatanThe Princeof Lies, a nickname for Cyric, a fictional deity in the Forgotten Realms campaign of Dungeons & DragonsThe Prince of Lies, a vampire in the Buffy the VampireSlayer universePassage 2:The Book of LiesThe Book of Lies may refer to:The Book of Lies (Crowley), a 1913 title by Aleister CrowleyThe Book of Lies (Picanonovel), a 1999 title by Felice PicanoThe Book of Lies: The Disinformation Guide to Magick and the Occult, a 2003 compilation edited by Richard MetzgerThe Bookof Lies (Moloney novel), a 2004 title by James MoloneyThe Book of Lies (Meltzer novel), a 2008 title by Brad MeltzerBook of Lies (album), a 2008 recording byAustralian band End of FashionThe Book of Lies (Horlock novel), a 2011 title by Mary HorlockPassage 3:Iraqi nationality lawIraqi nationality is transmitted byone's parents.HistoryThe first nationality law was passed in 1924, and that year, on 6 August, all people within the bounds of Iraqi jurisdiction automaticallyacquired Iraqi citizenship. According to Zainab Saleh,  \"The 1924 Iraqi Nationality Law and its amendments bring to light the haunted origins of Arab nationalism\"by defining Iraqis of Persian descent as second-class citizens.NaturalisationThe law governing naturalisation is Law No. 43 of 1963 and Law No. 5 of 1975.Naturalisation is only available to those over 18 years of age. There is a requirement of good repute, and a clean criminal record. Generally, the person seekingnaturalisation is required to be an ethnic Arab, or otherwise married to an Iraqi man for not less than 5 years with residence within the country. Naturalisedcitizens are required to take an oath of allegiance before a competent person authourised to receive the same within 90 days.It ought to be noted that naturalisedcitizens will be barred from holding the office of Member of Parliament or Minister, for at least 10 years after the date of naturalisation, in addition, naturalisedcitizens are unable to hold the office of Prime Minister of Iraq or President of Iraqi.Dual citizenshipIraq recognizes dual nationality.Travel freedomIn 2016, Iraqicitizens had visa-free or visa on arrival access to 30 countries and territories. Thus, the Iraqi passport ranks 102nd in the world, according to the Visa RestrictionsIndex.See alsoNationality lawIraqi passportIraq National CardPassage 4:Body of LiesBody of Lies can refer to:Body of Lies (novel), a 2007 spy thriller by DavidIgnatius, about a CIA operative.Body of Lies (film), a 2008 film by director Ridley Scott, based on the 2007 novel.Body of Lies (soundtrack), soundtrack to the2008 film.Body of Lies, a 2002 novel by Iris Johansen.Passage 5:Moira CameronMoira Cameron is a retired Yeoman Warder of the Tower of London, UnitedKingdom. She is the first woman to ever hold the position. In 2007, after a 22-year career in the British Army, Cameron became one of the 35 resident Warders inthe Tower of London, commonly known as the Beefeaters.Originally prison guards, the Yeoman Warder's position dates back to 1485. It is now a largelyceremonial role, with responsibility for conducting guided tours and generally looking after public visitors to the Tower, as well as conducting certain other dutiesboth inside and outside the Tower.CareerBritish ArmyCameron joined the Women's Royal Army Corps (WRAC) in June 1985 at the age of 20. She was trained as aData Telegraphist with the Royal Corps of Signals before transferring to the Royal Army Pay Corps (RAPC) in 1988 to train as a Military Accountant, and in 2000Cameron was awarded her Long Service and Good Conduct Medal. In 1992, WRAC and RAPC were replaced by the Adjutant General's Corps, and Cameronworked her way through the ranks in its Staff and Personnel Support Branch, completing 22 years service in the army in June 2007. Having seen service inEngland, Northern Ireland and Cyprus, Cameron ended her Army career at the rank of Warrant Officer Class 2, holding the post of Superintendent Clerk in 145(Home Counties) Brigade in Aldershot.Yeoman WarderCameron officially became the first ever female Yeoman Warder in July 2007 but didn't get to wear heruniform until 3 September 2007. Cameron is one of 37 Yeoman Warders based in the Tower of London, a position which dates back to 1485. Styled as YeomanWarder Cameron, her full and proper title is Yeoman Warder of His Majesty's Royal Palace and Fortress the Tower of London, and Members of the Sovereign'sBody Guard of the Yeoman Guard in the Extraordinary.Camerons' duties are mostly connected to the Tower, but can involve some outside ceremonies. Within theTower, Cameron's role is to take care of public visitors to the Tower and perform guided tours, guard the Crown Jewels, perform the Ceremony of the Keys andlook after the Ravens of the Tower. Outside the Tower, Warders duties are to attend the Coronation of the Sovereign, lying-in-state, the Lord Mayor's Show, andother state and charity functions. As a Yeoman Warder, Cameron has two tailored-to-fit uniforms, the Scarlet ceremonial dress, and the 'undress' blue uniform forday-to-day duties (each in three variants of varying thickness for different seasons).On 25 November 2009, two Yeoman Warders were dismissed after beingfound guilty of gross misconduct for bullying Cameron due to her gender. Three Warders had been suspended, and one was subsequently re-instated followingthe month-long investigation, with his role 'unproven'. One of the three also received a police caution for defacing Cameron's Wikipedia biography.Cameronretired in Autumn 2022 after having served 15 years as a Yeoman Warder.First female Yeoman WarderThe post of Yeoman Warder had never specifically beenbarred to women, although due to the rules governing women in the British Army, it was only in the modern era that women were able to have a career able tomeet the entry requirements. To apply for the job, applicants had to be aged between 40 and 55, have completed at least 22 years' service in either the Army,Royal Air Force or Royal Marines reaching the rank of Warrant Officer or Senior Non-Commissioned Officer (NCO), and have been awarded the Long Service andGood Conduct Medal. It was announced on 3 January 2007 that an unnamed female would be replacing a retiring Yeoman Warder in September 2007, with WO2Cameron, still in the Army at the time, publicly named as this replacement eight days later. Cameron had long been interested in the job of Yeoman Warder, andapplied to an advertisement placed in Soldier Magazine in Summer 2006. Cameron was not the first woman to apply for the job of Yeoman Warder, but she wasthe first to pass the interview process, beating five male candidates for the vacancy.Personal lifeBorn in 1964, Cameron grew up in Furnace, Argyll on the westcoast of Scotland, and joined the Army at the suggestion of her mother, who thought she 'needed to see the world'. As part of her job as a Yeoman Warder, shelives in the Tower of London in a subsidised apartment. In February 2011, Cameron was made a patron of The Kit Wilson Trust for Animal Welfare, an animalwelfare charity based in East Sussex.See alsoTourism in LondonWomen in the militaryPassage 6:Tower of London (disambiguation)The Tower of London is aformer Royal residence in London.Tower(s) of London may also refer to:GeographyTower of London Range, Northern Rockies, CanadaLondon Tower (Alaska), amountain in Denali National ParkArts, media, and entertainmentFilmsTower of London (1939 film) Peter Pan (1953 film) as an animated model of thebuildingTower of London (1962 film)Mary Poppins (1964 film) as Peter Ellenshaw's Cloudy London setCarry On Henry seen in the opening credits and the closingtitlesLiteratureThe Tower of London (novel), a 19th-century novel by William Harrison AinsworthThe Tower of London (Soseki novel), a short story by NatsumeSosekiMusicTowers of London (band)\"Towers of London\" (song)\"Tower of London\", a song by ABC from the album How to Be a ... Zillionaire!Television\"Tower ofLondon\" (The Goodies), an episode of The GoodiesOther usesTower of London test, a neuropsychological testPassage 7:The Tower of LiesThe Tower of Lies is a1925 American silent drama film directed by Victor Sjöström. It was written by Agnes Christine Johnston and Max Marcin, based upon Selma Lagerlöf's 1914novel The Emperor of Portugallia (MGM actually purchased the story rights in 1922). The film was supposed to be called The Emperor of Portugallia, but was laterchanged to The Tower of Lies.Released one year after He Who Gets Slapped, the film marks the second collaboration between Sjöström, Lon Chaney and NormaShearer. Also starring are William Haines, Ian Keith and Lew Cody.The film's sets were designed by the art director James Basevi and Cedric Gibbons. The filmwas shot on location in the Sacramento River Delta, Lake Arrowhead and the Laurel Canyon area of Los Angeles. It took 53 days to complete at a cost of$185,000. It grossed $653,000 worldwide.\"Film Mercury\" voted Chaney's performance as one of the year's best. It is considered a lost film, although rumorspersist that a print may exist in Denmark. Stills exist showing Chaney in his \"Jan\" makeup, which took him three hours each day to apply.PlotJan (Lon Chaney) isa Swedish farmer and Glory (Norma Shearer) is his beloved daughter. When she was a child, she and her father used to role-play being the Emperor and Empressof Portugallia, a fairy tale land where dreams come true, and a neighboring farm boy named August would play the Prince. Glory grows up to be a beautiful youngwoman, and both August and Jan's vile landlord Lars (Iam Keith) vie for her attention.Jan incurs some debts he cannot pay, and to save him from bankruptcy, hisdaughter temporarily moves to the big city supposedly to get a job (finally allowing Lars to lead her into prostitution). After a time, the landlord tells Jan hisdaughter has succeeded in paying off his debts, but will not tell him how she earned the money. Realizing that his daughter has been selling herself to help himavoid bankruptcy, Jan's mind slowly begins to unravel. Years pass and his daughter never returns to the farm, and every day Jan waits down by the riverboathoping she will come home.Eventually she does return to him, but by this time, Jan's mind has snapped and he actually believes that he is the Emperor ofPortugallia and she is his Empress. Jan has taken to wearing a strange military uniform and a circus hat, and his hair and long beard have all turned gray (seephoto). Glory's fine attire leads the villagers to believe that she has been living as a prostitute and they demand she leave town. Only August is willing to stand byher and protect her honor.Glory boards the local steamboat at the docks in order to leave town, and her father follows her, falling off the pier in his haste anddrowning. When the ship's captain throws the boat into reverse in an attempt to save Jan, Lars (who is taunting Glory from the ship's deck) is thrown into thepaddlewheel and crushed to death. Glory winds up marrying August and settling down in town with him.CastCritical Comments\"Notwithstanding that TOWER OF"}
+{"doc_id":"doc_226","qid":"","text":"Passage 1:Pal Pal Dil Ke PaasPal Pal Dil Ke Paas (transl. Every moment, close to the heart) is a 2019 Indian Hindi-language Romance film written and directed by Sunny Deol and produced by Sunny Sounds Pvt Ltd and Zee Studios. This was Deol's third movie as director after Dillagi and Ghayal Once Again. The film was released on 20 September 2019.Principal photography began on 21 May 2017. Dharmendra's Grandson Karan Deol  and Sahher Bambba were cast for the lead roles. Over 400 girls were auditioned for Sahher's role.With a box office revenue of \u000010 crore against a \u000030 crore budget, the film was commercially unsuccessful.PlotSaher Sethi, a vlogger from Delhi, goes to Manali to review a solo trekking trip organized by Camp Ujhi Dhaar, run by Karan Sehgal. She thinks that the costly solo trip is a scam, and she would expose the camp's owner. Although they started on a bitter note, things began to improve between them during their journey, leading to Karan falling for her. He doesn't confess his feelings but tells her that he is afraid of attachment. Saher admits that she wanted to become a singer but couldn't follow her passion as Viren, her boyfriend, made fun of her at an open mic. He takes Saher to his childhood spot, where he sees a snow leopard, and remembers his mother, who died in an avalanche when she tried to capture a snow leopard on her camera. The trip finally comes to an end, Karan drops Saher at the airport, and both bid farewell to each other.On reaching Delhi, Saher realizes that she has fallen in love with Karan and breaks up with Viren. She informs Karan that she is performing again at an open mic and indirectly asks him to come to Delhi. Karan unexpectedly shows up at the Open Mic, and they both confess their love for each other and share a kiss. The next day, at Saher's house party, Karan is introduced to Saher's family members and meets Viren, who invites Karan to his party the next day. Seeing Saher and Karan close and happy with each other, Viren feels devastated and becomes angry and pledges that he will do anything to be with Saher, whether right or wrong. The next Day, Saher's father talks to Karan in anger, and when Saher asks him, he replies that Viren told him everything. Saher speaks to Viren over the phone about lying to his parents, but he blackmails her about leaking her photos, which he took secretly on the Goa trip. Karan goes to Viren, and when Viren abuses Saher and Karan's mother, he thrashes him. Feeling insulted, Saher posts a video online of being eve-teased by Viren, who gets to know about this, goes to Saher's house and gets involved in a fight with her. The fight leads to Saher falling off the first floor. With Saher now in an unconscious condition, Viren's parents use political power to turn the case against Saher and beat up Karan.Seeing Saher's condition deteriorate and her family suffering all the disrespect, Karan goes to Viren's house, beats him up, drags him to the hospital, and tells him to apologize to Saher. When he refuses, Karan chokes him, almost killing him, but Viren's mother asks him to leave him, and she apologizes to everyone.Saher soon recovers from the accident, and in the end credits, Karan and Saher are shown as a happily married couple.FilmingThe film was mostly shot at various locations in the Pir Panjal Mountain Range covering Spiti Valley, Kunzum La, Rohtang La, Tabo, Chandra Taal, Kaza, Lahaul Valley and Manali region in Himachal Pradesh; while a substantial part was shot at locations in New Delhi, including a racing car sequence at Buddh International Circuit in NCR.CastKaran Deol as Karan Sehgal, Saher's husbandSahher Bambba as Saher Sehgal (Nee' Sethi), Karan's wife & Viren's ex-girlfriendSimone Singh as Vandana Sethi (Saher's mother)Sachin Khedekar as Ajay Sethi (Saher's father)Kallirroi Tziafeta as Karan's motherAakash Ahuja as Viren Narang, Saher's ex-boyfriend and the main antagonistKamini Khanna as Saher's grandmotherMeghna Malik as Central minister Ratna Narang, Viren's motherArsh Wahi as Rohan VermaRishi Singh as Saher's uncleBhavna Aneja as Anuradha, Saher's auntRavi Dudeja as Natasha's FatherMadhu Khandari as Natasha's MotherRitika Thakur as Aditi Thakur (Karan's best friend)Akash Dhar as MP Sushant Narang, Viren's brotherNupur Nagpal as Natasha Sabharwal, Saher's childhood friendKapil Negi as Vikram Thakur (Karan's mentor and Aditi's father)Suhani Sethi as Saachi Sethi (Saher's sister)Vijayant Kohli as Kapil Kumar GuptaRahul Singh as SachinMannu Sandhu as Sushant's wifePooja Katyal as Pooja, Viren's friendDiksha Bahl as VaishaliReuben Israel as Viren's fatherSoundtrackThe music of the film is composed by Sachet–Parampara and Tanishk Bagchi (noted) while lyrics are by Siddharth-Garima.ReceptionThe film mostly received mixed to negative reviews.Monika Rawal Kukreja writing for Hindustan Times noted that the film had done justice to its genre and praised Karan Deol and Sahher Bambba for their onscreen freshness. Also praising cinematography and music, she criticised the writing for lacking punch dialogues and effective humour. Concluding she opined, \"Pal Pal Dil Ke Paas is definitely one of your run-of-the-mill love stories, but it makes you smile, cry, laugh and brings a sense of freshness.\"Gaurang Chauhan of Times Now rated it 2.5 stars out of 5, stated that \"Pal Pal Dil Ke Paas is a visually stunning film with some good tunes but the movie somehow misses the mark due to its overlong length and a mediocre screenplay. Sahher Bambba impresses\".Parina Taneja of India TV gave 2 stars out of 5 and opined, that it was a love story that failed to leave the audience with lingering moments. Agreeing with Chauhan, Tanejapraised the performance of Bambba, direction and cinematography. Criticising screenplay and pace of the film she noted that music though melodious didn't add value to the film. Concluding, she wrote, \"Pal Pal Dil Ke Paas is a one time watch only if you really want to enjoy the breathtaking visuals of Himachal Pradesh.Further NDTV rated the movie 1 out of 5 and wrote \"Pal Pal Dil Ke Paas lacks the freshness that one would expect from a film with a new romantic pair. The reason is obvious: the plot is as old, but not as sturdy, as the hills.\"Box officeThe film performed poorly at the box office, collecting \u000010.03 crore against a \u000030 crore budget. Pal Pal Dil Ke Paas collected \u00001.15 crore on the opening day with a total opening weekend collection of \u0000 4.15 crore.Passage 2:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 3:Rakka (film)Rakka is a 2017 American-Canadian military science fiction short film made by Oats Studios and  directed by Neill Blomkamp. It was released on YouTube and Steam on 14 June 2017.PlotChapter 1: WorldIn the near future, Earth will be attacked by technologically superior and highly aggressive reptilian aliens called the Klum (pronounced \"klume\"). Humanity is nearing extinction with millions dead or enslaved. The Klum transform the Earth in favor of their own ideal living conditions. They do this at first by burning forests and destroying cities. Then they build megastructures that alter the atmosphere by pumping out methane. The gas makes it progressively harder for terrestrial life to breathe. And it warms the climate, which leads to flooding of coastal cities.The story begins in 2020, from the viewpoint of resistance fighters in Texas, a group of US Army soldiers and many others who have banded together. Most human survivors live underground or among ruins. They have barely enough provisions, weapons, and ammunition. The humans fight by using whatever they can against the primary Klum weapon: an omnipresent nanite in their weaponry, and telepathic control over any human that makes direct eye contact with them.The resistance makes \"brain-barriers\" that block thismind control. The Klum know, however, that a scarcity of materials means a scarcity of brain barriers. They hope, therefore, to win a war of attrition against the human survivors.Some prisoners are living incubators for the Klum's young, which inevitably kills the victims. Others are dissected. Still other humans are converted into human loudspeakers that urge humans to surrender into \"conservatories\". Very few humans ever escape.After the Klum destroy a militia convoy with an airstrike, one of the surviving soldiers witnesses an angel-like being materialize from thin air. The narration describes ″them″ as mankind's saviours.Chapter 2: Amir & NoshNosh is a tech-savvy pyromaniac and bomb-maker, eking out a living in a scrapyard far from the resistance. The resistance despises Nosh for his murderous glee and demands - giving the sick or suicidal over as bait during his many IED ambushes. They must, however, give in to Nosh's demands tosecure the IEDs and the brain-barriers he makes.The resistance stumble across Amir, a mute who has escaped from the Klum. He has extensive cybernetics across his head and shoulders. Amid opposition from her lieutenants, the resistance leader, Jasper, releases Amir from her custody into the care of a resistance fighter named Sarah.Sarah, having lost her daughter to the Klum's experiments, takes a liking to him. She gives Amir food and drink while trying to persuade him to help the resistance fight the Klum by using the precognitive abilities he acquired via the aliens' experiments.Chapter 3: SiegeAmir recovers physically and mentally. Then, because of his implant, he has a premonition involving a wounded Klum on the run from militia forces.Sarah pleads with Amir to help the militia officers to stop the genocide. The more she talks to him, the more his eyes change, seeing the premonition of the impending attack more clearly. Amir, still mute, foresees the militia successfully shooting down an alien aircraft, and the pilot is the alien on the run.Sarah asks Amir if they will be able to learn how to hunt the Klum and teach them how to fear. Unable to answer, he foresees the Klum telekinetically bashing one of the militia soldiers, disconnecting his brain barrier and causing him to be mind-controlled, turning on his comrades, who are forced to kill him.Sarah tells Amir that he now has the abilities the aliens have and that he is to use them for humanity. Back in the vision, the militia surround the Klum; Jasper orders the "}
+{"doc_id":"doc_227","qid":"","text":"Passage 1:NarathihapateNarathihapate (Burmese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, pronounced [n\u0000\u0000a\u0000 θìha\u0000p\u0000t\u0000]; also Sithu IV of Pagan; 23 April 1238 – 1 July 1287) was the last king of the Pagan Empire who reigned from 1256 to 1287. The king is known in Burmese history as the \"Taruk-Pyay Min\" (\"the King who fled from the Taruks\") for his flight from Pagan (Bagan) to Lower Burma in 1285 during the first Mongol invasion (1277–87) of the kingdom. He eventually submitted to Kublai Khan, founder of the Yuan dynasty in January 1287 in exchange for a Mongol withdrawal from northern Burma. But when the king was assassinated six months later by his son Thihathu, the Viceroy of Prome, the 250-year-old Pagan Empire broke apart into multiple petty states. The political fragmentation of the Irrawaddy valley and its periphery would last for another 250 years until the mid-16th century.The king is unkindly remembered in the royal chronicles, which in addition to calling a cowardly king who fled from the invaders, also call him \"an ogre\" and \"glutton\" who was \"great in wrath, haughtiness and envy, exceeding covetous and ambitious.\" According to scholarship, he was certainly an ineffective ruler but unfairly scapegoated by the chronicles for the fall of the empire, whose decline predated his reign, and in fact had been \"more prolonged and agonized\".Early lifeThe future king was born to Crown Prince Uzana and a commoner concubine from Myittha on 23 April 1238. For much of his early years, he was known at the palace as Min Khwe-Chi (lit. \"Prince Dog's Dung\") as a harmless royal. Even when his father became king in 1251, Khwe-Chi was not in line for the throne; the position belonged to his half-brother Thihathu, the eldest son of the chief queen Thonlula.ReignRise to powerBut fate came calling. In early May 1256, Uzana died from a hunting accident, and Thihathu claimed the throne. The court led by the powerful chief minister Yazathingyan did not accept a head-strong Thihathu, and placed their preferred candidate, Khwe Chi, whom they believed they could control, on the throne on 6 May 1256. Thihathu was arrested and executed. Narathihapate held the coronation ceremony in November 1256. He assumed the regnal name \"Śrī Tribhuvanādityapavara Dhammarāja\" (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000).Governing styleThe young king turned out be quick-tempered, arrogant, and ruthless. Soon after his accession, he sent Yazathingyan, the man who put him on the throne, into exile. But he soon had to recall Yazathingyan to quell the rebellions in Martaban (Mottama) (1258–1259) and Arakan (1258–1260). Yazathingyan put down the rebellions but died on the return journey. With the old minister's death removed the only person that could have controlled the ruthless, inexperienced king.Narathihapate was incompetent in both domestic and foreign affairs. Like his father and grandfather before him, he too failed to fix the depleted royal treasury, which had been deteriorating for years because the continued growth of tax-free religious landholdings. But unlike his grandfather Kyaswa, who would rather build a small temple than to resort to forced labor, Narathihapate built a lavish temple, the Mingalazedi Pagoda with forced labor. The people, sinking under his rule, whispered: \"When the pagoda is finished, the king shall die\".Mongol invasionsBorder war (1277–78)The existential threat to the Burmese kingdom came from the north. The Mongols, who conquered the Dali Kingdom (later renamed as Yunnan in 1274) in 1253–57, first demanded tribute from Pagan in 1271–72. When the Burmese king refused, Emperor Kublai Khan himself sent a mission in 1273 to demand tribute once again. The king refused again. The Mongol army of the Yuan dynasty in 1275–76 consolidated the Pagan–Yunnan borderlands as part of their drive to close off escape routes of the Song refugees, and in the process went on to occupy a Burmese vassal state in present-day Dehong Prefecture). Narathihapate sent the army to reclaim the region but the army was driven back in April 1277 at the battle of Ngasaunggyan (modern Yingjiang). The Mongol troops reached as far south as Kaungsin, which guarded the Bhamo Pass, the gateway into the Irrawaddy, before retreating in 1278 due to excessive heat. Later in 1278, the army reestablished its forts at Kaungsin and Ngasaunggyan.Invasion (1283–85)Narathihapate's troubles were not over. In 1281, the Mongol emperor again demanded tribute. When the king refused, the emperor ordered an invasion of northern Burma. In September 1283, the Mongol forces again attacked the Burmese fort at Ngasaunggyan, which fell on 3 December 1283. Kaungsin fell six days later, and the Mongols took Tagaung on 5 February 1284. But the Mongols found the heat excessive and retreated from Tagaung. The Burmese forces retook Tagaung on 10 May 1284. The Mongol resumed their drive southward in the following dry season (1284–85), and reached as far south as Hanlin by February 1285. Although the Mongols did not have the order to attack Pagan, the king nonetheless fled south to Lower Burma.Exile in Lower Burma (1285–87)At Lower Burma, Narathihapate found himself isolated. Although his three sons controlled three key ports (Bassein (Pathein), Dala and Prome (Pyay)) there, he could not gain their support. He did not trust them in any case, and settled at Hlegya, west of Prome, at the border between Central Burma and Lower Burma. The presence of the king and his small army impressed no one. Pegu (Bago) revolted soon after, and drove back the king's small army twice. With Martaban (Mottama) also in rebellion, the breakaway of Pegu meant the entire eastern half of Lower Burma was now in revolt. His three sons remained in control of the western half of Lower Burma but he could not count on them for their support. At Hlegya, the king was literally at the periphery of Lower Burma.Mongol vassal (1287)He decided to return to central Burma even if it meant making peace with the Mongols. In December 1285, he sent the chief minister and general Ananda Pyissi and Gen. Maha Bo to negotiate a ceasefire. The Mongol commanders at Hanlin, who had organized northern Burma as a protectorate named Zhengmian (Chinese: \u0000\u0000; Wade–Giles: Cheng-Mien) agreed to a ceasefire but insisted on a full submission. They repeated their 1281 demand that the Burmese king send a formal delegation to the emperor. A tentative agreement was reached among the negotiators on 3 March 1286; Central Burma would now be organized as a sub-province of Mianzhong (Chinese: \u0000\u0000; Wade–Giles: Mien-Chung), and the Burmese king would send a formal embassy to the emperor. After a long deliberation, in June 1286, the Burmese king decided to agree to the terms, and sent an embassy led by Shin Ditha Pamauk, the chief primate, to the emperor's court.In January 1287, the embassy arrived at Beijing, and was received by the emperor. The Burmese delegation formally acknowledged Mongol suzerainty of their kingdom, and agreed to pay annual tribute tied to the agricultural output of the country. Northern Burma would continue to be organized as Zhengmian (Cheng-Mien) while central Burma would be organized as Mianzhong (Mien-Chung). In exchange, the emperor agreed to withdraw his troops. The Burmese embassy arrived back at Hlegya in May 1287, and reported the terms to the king.DeathAbout a month later, the king and his small retinue left Hlegya for Pagan. But he was captured en route by his son Thihathu, the Viceroy of Prome. On 1 July 1287, the king was forced to take poison. To refuse would have meant death by the sword, and with a prayer on his lips that in all his future existences \"may no male-child be ever born to him again\", the king swallowed the poison and died.AftermathNarathihapate's death was promptly followed by the breakup of the kingdom. Nearly 250 years of Pagan's rule over the Irrawaddy basin and its periphery was over. In Lower Burma, the Hanthawaddy Kingdom of the Mons emerged in 1287. In the west, Arakan was now de jure independent. In the north, the Shans who came down with the Mongols came to dominate Kachin hills and Shan hills, and went on dominate much of western and central mainland Southeast Asia.The Mongols deemed the treaty void and invaded south toward Pagan. But the invaders suffered heavy casualties, and retreated back to Tagaung. It would be nearly two years until 30 May 1289 when one of his sons Kyawswa emerged as the king of Pagan. By then, the Pagan Empire had ceased to exist. The Mongols had occupied down to Tagaung, and the occupation would last until April 1303. Even in central Burma, Kyawswa controlled only around the capital. The real power now rested with the three brothers from Myinsaing who would later found the Myinsaing Kingdom in 1297, replacing over four centuries of Pagan Kingdom.LegacyThe king is unkindly remembered in Burmese history as the \" Taruk-Pyay Min\" (\"the King who Fled from the Taruk [Chinese]\") for his flight to the south, instead of defending the country. The royal chronicles paint an especially harsh description of the king, portraying him as \"an ogre\" and \"glutton\" who was \"great in wrath, haughtiness and envy, exceeding covetous and ambitious.\" According to scholarship, he was certainly an ineffective ruler but unfairly scapegoated by the chronicles for the fall of the empire, whose descent predated his reign and in fact had been \"more prolonged and agonized.\"HistoriographyVarious royal chronicles report different dates about his life.NotesPassage 2:AnacyndaraxesAnacyndaraxes (Greek: \u0000νακυνδαράξης) was the father of Sardanapalus, king of Assyria.Notes This article incorporates text from a publication now in the public domain: Smith, William, ed. (1870). \"Anacyndaraxes\". Dictionary of Greek and Roman Biography and Mythology. Vol. 1. p. 157-158.Passage 3:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough "}
+{"doc_id":"doc_228","qid":"","text":"Passage 1:Rolf Olsen (actor)Rolf Olsen (26 December 1919 – 3 April 1998) was an Austrian actor, screenwriter and film director. He appeared in 60 films between 1949 and 1990. He also wrote for 51 films and directed a further 33 between 1947 and 1990. He was born in Vienna, Austria and died in Munich, Germany.Selected filmographyPassage 2:Our Crazy Aunts in the South SeasOur Crazy Aunts in the South Seas (German: Unsere tollen Tanten in der Südsee) is a 1964 Austrian comedy film directed by Rolf Olsen and starring Gunther Philipp, Gus Backus, and Udo Jürgens. It was the final part in a trilogy of films that also included Our Crazy Aunts and Our Crazy Nieces. Barbara Frey was cast in the role that had been played by Vivi Bach in the two previous films.The film's sets were designed by the art director Leo Metzenbauer. Location shooting took place in the Canary Islands.CastPassage 3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 4:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.Passage 5:Dearest (2014 film)Dearest is a 2014 Chinese-language film directed by Peter Chan on kidnapping in China, based on a true story, starring Zhao Wei, Huang Bo, Tong Dawei, Hao Lei, Zhang Yi and Zhang Yuqi. It was screened in the Special Presentations section of the 2014 Toronto International Film Festival.PlotFollowing years of unrelenting search, Tian Wenjun (Huang Bo) and ex-wife Lu Xiaojuan (Hao Lei) finally locate their abducted son in a remote village. After the boy is violently taken away from the village, the abductor's widow Li Hongqin (Zhao Wei) — the boy's foster mother — also loses her foster daughter to a state-owned orphanage in Shenzhen. Heartbroken, Li goes on a lone but determined journey to get her daughter back.Theme songs\"Qin'ai de Xiaohai\" (\u0000\u0000\u0000\u0000\u0000; \"Dear Child\") sung by cast members Huang, Tong, Zhao, Zhang Yi and Hao. It was originally sung by Su Rui as the theme song of the 1985 film The Unwritten Law.\"Mei Yi Ci\" (\u0000\u0000\u0000; \"Every Time\") sung by Huang. It was originally sung by Zhang Hongsheng as an insert song in the 1990 TV series Kewang.\"Yinxing de Chibang\" (\u0000\u0000\u0000\u0000\u0000; \"Invisible Wings\") sung by Huang and parents of missing children. It was originally sung by Angela Chang in her 2006 album Pandora.CastZhao WeiHuang BoTong DaweiHao LeiZhang YiZhang YuqiZhang GuoqiangZhu DongxuYi QingWang ZhifeiProductionPrincipal photography for Dearest took place in Shenzhen, Guangzhou and Chengde. It began from January 2014 and concluded on 18 April 2014.Portraying a rural mother, Zhao Wei spoke the Lower Yangtze Mandarin dialect (the predominant dialect in her hometown of Wuhu) rather than Standard Mandarin in the film.AccoladesSee alsoLost and Love – another film dealing with child kidnapping in ChinaPassage 6:Peter ChanPeter Ho-sun Chan (born 28 November 1962) is a film director and producer.Early lifeChan was born in British Hong Kong to Chinese parents. He and his family moved to Thailand when he was 11, where he grew up amongst the international Chinese community in Bangkok. He speaks Thai as fluently as a Thai person.He later studied in the United States where he attended film school at UCLA, with a minor in accountancy. He returned to Hong Kong in 1983 for a summer internship in the film industry. Chan never returned to UCLA to complete his studies.CareerHe served as second assistant director, translator, and producer on John Woo's Heroes Shed No Tears (1986), which was set in Thailand. He then was a location manager on three Jackie Chan films, Wheels on Meals (1984), The Protector (1985) and Armour of God (1986), all of which were shot overseas.He joined Impact Films as a producer in 1989, guiding projects such as Curry and Pepper (1990) to completion.His directorial debut, Alan and Eric: Between Hello and Goodbye, was crowned best film at the Hong Kong Film Directors' Guild in 1991. It also won best actor at the Hong Kong Film Awards for Eric Tsang, who would become a frequent collaborator with Chan.Chan was a co-founder of United Filmmakers Organization (UFO) in the early 1990s, which produced a number of box-office and critical hits in Hong Kong, including his own: He Ain't Heavy, He's My Father.  Other critical and commercial successes followed, including Tom, Dick and Hairy, He's a Woman, She's a Man and Comrades, Almost a Love Story.In the late 1990s, Chan worked in Hollywood, directing The Love Letter, which starred Kate Capshaw, Ellen DeGeneres and Tom Selleck.In 2000, Chan co-founded Applause Pictures with Teddy Chen and Allan Fung.  The company's focus was on fostering ties with pan-Asian filmmakers, producing such films as Jan Dara by Thailand's Nonzee Nimibutr, One Fine Spring Day South Korea's Hur Jin-ho, Samsara by China's Huang Jianxin, The Eye by Danny and Oxide Pang and cinematographer Christopher Doyle.Chan's 2005 film, the musical Perhaps Love closed the 2005 Venice Film Festival and was Hong Kong's entry for an Academy Awards nomination in the best foreign film category.  Perhaps Love became one of the year's top-grossing films in China, Hong Kong and Taiwan, and received a record 29 awards. Chan next directed The Warlords (2007) and produced Derek Yee's Protégé (2007). The two films were the two highest grossing Hong Kong-China co-productions of 2007. The Warlords grossed a record RMB220 million in China and over US$40 million across Asia, and garnered 8 Hong Kong Film Awards and 3 Golden Horse Awards, including Best Director and Best Feature Film.In 2009, Chan produced Teddy Chen's Bodyguards and Assassins, which has garnered RMB300 million in China box office alone, accumulating over US$50 million Asia-wide. It has scored 8 awards in the Hong Kong Film Awards, including Best Film. It also won Best Actor awards for Wang Xueqi in the Asian Film Awards and the HK Film Critics Society Awards, adding up to 146 awards out of 231 nominations for Chan's awards track record.In a survey conducted by the Hong Kong Trade Development Council during the 2010 Hong Kong Filmart, Chan was voted \"the most valuable filmmaker\", which was strongly backed by his box-office track records.Personal lifeChan dated Kathleen Poh for a brief period in 1993 "}
+{"doc_id":"doc_229","qid":"","text":"Passage 1:Helperich von Plötzkau, Margrave of the NordmarkHelperich (Helferich) (d. 1118), Count of Plötzkau and Walbeck, and Margrave of the Nordmark, sonof Dietrich, Count of Plötzkau, and Mathilde von Walbeck, daughter of Conrad, Count of Walbeck, and Adelheid of Bavaria.  The count's sister Irmgard wasmarried to Lothair Udo III, Margrave of the Nordmark, and was the mother of Helperich's successor in ruling the margraviate, Henry II.Helperich inherited thetitle Count of Plötzkau upon his father’s death and the title Count of Walbeck from his mother, although this title was mostly ceremonial at this point.  In 1112,Emperor Henry V deposed Rudolf I as Margrave of the Nordmark because of conspiracy against the crown in his alliance with Lothair of Supplinburg, then Duke ofSaxony (and later Holy Roman Emperor).  The margraviate was given to Helperich as an interim measure until Henry II, nephew of Rudolf and heir to the title,was of age.In 1106, Helperich married Adele, daughter of Kuno of Northeim and Kunigunde of Weimar-Orlamünde, widow of Dietrich III, Count ofKatlenburg.  Helperich and Adele had four children:Bernhard (d. 1147), Count of PlötzkauConrad, Margrave of the NordmarkIrmgard, Abbess ofHecklingenMathilde.Halperich died in 1118 and was buried at the Hecklingen Monastery.  Upon his death, he was succeeded as Count of Plötzkau by his sonBernhard.  Henry II assumed the role of Margrave of the Nordmark in 1114.SourcesHucke, Richard G., Die Grafen von Stade. 900–1144. Genealogie, politischeStellung, Comitat und Allodialbesitz der sächsischen Udonen. Stade 1956Passage 2:Lothair Udo III, Margrave of the NordmarkLothair Udo III (1070-1106),Margrave of the Nordmark and Count of Stade (as Lothair Udo IV), son of Lothair Udo II, Margrave of the Nordmark, and Oda of Werl, daughter of Herman III,Count of Werl, and Richenza of Swabia.  Brother of his predecessor Henry I the Long.Lothair Udo was betrothed to Eilika of Saxony, daughter of Magnus, Duke ofSaxony, and Sophia of Hungary. However, his attention was diverted to the House of Helperich, towards Count Helperich's enticing sister Ermengardam.  Hemarried this woman, the count's sister Irmgard, daughter of Dietrich, Count of Plötzkau, and Mathilde von Walbeck, daughter of Conrad, Count of Walbeck.  Eilikamoved on and married Otto the Rich, Count of Ballenstedt, and was mother to Albert the Bear, the last Margrave of the Nordmark and first Margrave ofBrandenburg.  This provides an interesting twist in the history of the county of Stade.Lothair Udo and Irmgard had four children:Henry II, Margrave of theNordmark, also Count of Stade (as Henry IV)A daughter whose name is not knownIrmgard von Stade, married Poppo IV, Count of HennebergAdelheid von Stade,married Henry II, Margrave of Meissen.Lothair Udo was succeeded by his brother Rudolf as margrave and count upon his death.SourcesHucke, Richard G., DieGrafen von Stade. 900–1144. Genealogie, politische Stellung, Comitat und Allodial- besitz der sächsischen Udonen, Selbstverlag des Stader Geschichts undHeimatvereins, Stade, 1956Raffensperger, Christian, Reimagining Europe, Harvard University Press, Cambridge, MA, 2012Passage 3:Albert II, Margrave ofBrandenburgAlbert II (c. 1177 – 25 February 1220) was a member of the House of Ascania who ruled as the margrave of Brandenburg from 1205 until his deathin 1220.LifeAlbert II was the youngest son of Otto I and his second wife Ada of Holland. His father Otto I promoted and directed the foundation of Germansettlement in the area, which had been Slavic until the 10th century.Count of ArneburgAlbert II was, from 1184 onwards, Count of Arneburg in the Altmark.  TheAltmark belonged to Brandenburg, and his older brother Otto II claimed that this implied that the Ascanians owned Arneburg.When Henry of Gardeleggen died in1192, he left his domains to Albert II. But that caused a conflict between himself and his brother. He was temporarily imprisoned in 1194 by Otto.In 1197, hejoined the German Crusade of 1197. He was present at the inaugural meeting of the Teutonic Knights in 1198 in Acre.Margrave of BrandenburgAlbert II inheritedthe Margraviate in 1205, after the death of his eldest brother Otto II.In the dispute about the imperial crown between the Houses of Hohenstaufen and Guelph inthe early 13th century, Albert initially supported the Hohenstaufen King Philip of Swabia, like Otto before him.  After Philip's assassination in 1208, however, hechanged sides, because Emperor Otto IV had assisted him in securing the Margraviate against the Danes, and had confirmed Ascanian ownership of Brandenburgin a deed in 1212.During this period, Albert II had a lengthy dispute with Archbishop Albert I of Magdeburg. He also played an important rôle in the Brandenburgtithe dispute.Albert II definitively secured the regions of Teltow, Prignitz and parts of the Uckermark for the Margraviate of Brandenburg, but lost Pomerania tothe House of Griffins.Death and successionAlbert II died in 1220.  At the time, his two sons were still minors.  Initially, archbishop Albert I of Magdeburg acted asregent.  In 1221, however, Albert's widow, Countess Matilda, took up the regency.  After her death in 1225, the brothers were declared legal adults and beganruling the Margraviate jointly.LegacyStephan Warnatsch describes Otto I's children as follows:[They] continued the territorialisation drive that had been initiated[by their father] and, from the end of the 12th Century, as the influx of settlers grew stronger, and, consequently, more people were available to develop theterritory, started to expand into the areas of Ruppin, and in particular, Barnim and Teltow.  Moreover, the Oder region and the southern Uckermark were alsotargets of the Ascanian expansion.  In all these areas, the Ascanians ran into opposition from competing local princes.Marriage and issueIn 1205, Albert marriedMatilda of Groitzsch (1185–1225), daughter of the Count Conrad II of Lusatia, a member of the House of Wettin, and wife Elizabeth, from the Polish Piastdynasty.  They had four children:John I (born: c. 1213; died: 4 April 1266)Otto III \"the Pious\" (born: 1215; died: 9 October 1267)Matilda (died: 10 June 1261),married in 1228 Duke Otto I \"the Child\" of Brunswick-Lüneburg (1204–1252), a member of the House of GuelphElizabeth (born: 1207; died: 19 November 1231),married in 1228 Landgrave Henry Raspe of Thuringia (1201–1247)Passage 4:Henry II, Margrave of Baden-HachbergHenry II, Margrave of Baden-Hachberg(before 1231 – c. 1297/1298) was the ruling Margrave of Baden-Hachberg from 1231 to 1289.LifeHenry II was the eldest son of Margrave Henry I ofBaden-Hachberg and his wife, Agnes, a daughter of Count Egino IV of Urach.  In 1231, he succeeded his father as Margrave of Baden-Hachberg.  Since he was aminor at the time, he initially stood under the guardianship of his mother.  He was the first in his line of the House of Zähringen to style himself Margrave ofHachberg.  In 1232, he purchased the Lordship of Sausenburg from St. Blaise Abbey.  Soon afterwards, he built Sausenburg Castle, which was first mentioned in1246.He had disputes with the spiritual rulers in the area and with the Counts of Freiburg about the entangled rights and privileges they had (or claimed to have)on each other's possessions.  In 1250, some imperial and Hohenstaufen possessions became available for the taking after Emperor Frederick II had died.  HenryII grabbed some of these land and managed round off his territory.For several years, he supported Count Rudolph of Habsburg in his disputes against the bishopsof Basel and Strasbourg.  In 1273, he supported Rudolph in his bid to become King of the Romans.  He also supported Rudolph in his dispute against the mainline of the Margraves of Baden.  During the war against Bohemia, Henry II fought on the imperial side in the decisive Battle on the Marchfeld.He was a patron ofthe monasteries Tennenbach and Adelhausen.Henry II abdicated in 1289, and joined the Teutonic Knights.Marriage and issueHenry II was married to Anne, adaughter of Count Rudolph II of Üsingen-Ketzingen.  They had the following children:Henry III, his successor as Margrave of Baden-HachbergRudolf I, the firstMargrave of Hachberg-SausenbergFrederick, who also joined the Teutonic KnightsVerena, married Egino I, Count of FürstenbergHerman I, joined the KnightsHospitallerKunigunde, a nun at AdelhausenAgnes, married Walter of ReichenbergElisabeth, also a nun at AdelhausenPassage 5:Henry II, Margrave of theNordmarkHenry II (1102 – 4 December 1128), Margrave of the Nordmark, also Count of Stade (as Henry IV), son of Lothair Udo III, Margrave of the Nordmark,and  Irmgard, daughter of Dietrich, Count of Plötzkau, and Mathilde von Walbeck.Henry assumed the title of Margrave of the Nordmark in 1114 from Helperich ofPlötzkau, who was appointed margrave until Henry came of age. The previous margrave in this dynasty was Henry’s uncle Rudolf I, who was also hisguardian.  Rudolf was deposed by Emperor Henry V because of conspiracy against the crown, and was replaced by Helperich as an interim measure.  Henryassumed the titles of Count of Stade and Margrave of the Nordmark in 1114.Henry was married to Adelaide of Ballenstedt, a daughter of Otto, Count ofBallenstedt, and Eilika of Saxony.  Adelaide was therefore the sister of Albert the Bear. There are no known children as a result of this union.  Henry wassucceeded as margrave by the son of Helperich, Conrad of Plötzkau.SourcesKrause, Karl Ernst Hermann, Lothar Udo II. und das Stader Grafenhaus. In:Allgemeine Deutsche Biographie. Band 19, Duncker & Humblot, Leipzig, 1884== External links ==Passage 6:Henry II, Margrave of MeissenHenry II (1103–1123)was the Margrave of Meissen and the Saxon Ostmark (as Lusizensis marchio: margrave of Lusatia) from his birth until his death. He was the posthumous son ofMargrave Henry I and Gertrude of Brunswick, daughter of Egbert I of Meissen. He was by inheritance also Count of Eilenburg. He was the second Meissenermargrave of the House of Wettin.He was initially under the regency of first his mother and after her death in 1117 under his great uncle Thimo. He died youngand without children in 1123. His lands were inherited by his half-sister Richenza of Northeim. He left a widow, Adelaide, daughter of Lothair Udo III, Margrave ofthe Nordmark. The succession to the marches was disputed after his death.Passage 7:Rudolf II, Margrave of the NordmarkRudolf II (died 14 March 1144),Margrave of the Nordmark, and Count of Stade, Dithmarschen and Freckleben, son of Rudolf I, Margrave of the Nordmark, and Richardis, daughter of Hermannvon Sponheim, Burgrave of Magdeburg.Rudolf, the traditional heir to the margraviate assumed the title upon the death of his predecessor Conrad von Plötzkau.Achronicle of the 15th century reported that Rudolf resided in Burg, Dithmarschen (Bökelnburg). He ruled with a heavy hand and demanded his grain tithe evenafter several years of drought. The Dithmarscher farmers used a ruse to get rid of their unpopular regent. Hidden in sacks of corn were weapons.  As agreed, theyopened the bags at the sound of the battle cry \"Röhret de Hann, snidet de sac spell!\" (Shall ye touch hands, cuts the bag volumes). They set the castle on fire,"}
+{"doc_id":"doc_230","qid":"","text":"Passage 1:Carmen on IceCarmen on Ice is a 1990 dance film with a choreography for figure skaters made in Germany. The music is based on the opera Carmenby Georges Bizet in an orchestral version arranged especially for this film. In contrast to figure skating movies of former times, Carmen on Ice is a film withoutspoken dialogue, which is an innovation in the history of figure skating.PlotThe story of Carmen on Ice is very similar to the opera Carmen. Analogous to thefour-act opera libretto the screenplay has four parts:A Square in Sevilla in front of a cigarette factory: Micaela, a village maiden, brings a letter to the Corporal ofDragoons Don José, which was written by his mother. The cigarette girls emerge from the factory, among them the attractive Carmen, who starts to flirt with themen standing on the square. The only man who does not show interest in Carmen is Don José, who is reading his mother's letter. Finally, however, Carmenmanages to attract also his attention by dancing for him and giving him a rose. The other young women are jealous, and one of them attacks Carmen. Carmenslashes her face with a knife. Others involve and start a street fighting, which is stopped by Zuniga, the Lieutenant of Dragoons. Everybody accuses Carmen ofhaving started the fight. Zuniga asks Carmen if she has anything to say and also starts to flirt with her. Carmen, however, is not interested in him. Zunigainstructs José to guard Carmen. José ties up her hands with a rope. To escape, Carmen seduces José in a dance with this rope. The corporal unties her hands, andCarmen can run away. The angry Zuniga instructs his dragoons to guard José.Evening at Lillas Pastia's inn: Carmen is waiting impatiently for Don José, who hasbeen released from prison. To drive away her boredom, she starts to dance. The toreador Escamillo enters the inn and is welcomed by the other guests. He showsa virtuoso solo dance and attracts Carmen's attention. While Escamillo leaves the inn with his friends, Don José comes in and is welcomed by Carmen, who showsa solo, which leads in a pair dance with her new lover. Suddenly the sound of bugles is heard calling the soldiers back to barracks. When José wants to leave,Carmen gets angry.  José affirms his love to her in a solo with the rose she has given to him at their first meeting. Zuniga suddenly interrupts the two lovers andflirts with Carmen, which makes José so jealous, that he attacks the lieutenant, and leaves the service and joins Carmen and her friends.A wild and desertedrocky place at night: Carmen has grown tired of José, her new favorite is the toreador Escamillo. She sits at a campfire and tries to tell fortunes by the shapesmade by molten lead dropped into cold water. The shape which she holds in her hand is a skull. Carmen is scared and dances nervously around the campfire.Escamillo comes to the place and makes José jealous by showing him Carmen's fan. The two rivals start fighting. Escamillo emerges victorious and retires withCarmen.A square in front of the arena in Seville: The square is full of people who cheer to procession as the bullfighting team with Escamillo arrives. Carmenwelcomes the toreador and dreams of a wedding dance with him. After the bullfighting team has entered the arena, Carmen is grabbed by Don José and pulledinto an outbuilding. José begs her to return his love, but is rejected by Carmen. Don José loses control of himself and stabs Carmen to death.BackgroundCarmenon Ice was filmed in Spain and Germany, citizens of Sevilla and Berlin played bit parts. In 1988 Katarina Witt, who played the title role, had won her secondolympic gold medal at the winter games in Calgary with a free skating to Carmen. Brian Boitano, who played the part of Don José, became Olympic champion inthe same year followed by Brian Orser, the Olympic silver medallist of 1988 and actor playing Escamillo. So, it was obvious to cast the film with these stars.Carmen on Ice was first presented in public on February 8, 1990. and won the Emmy-Award for Outstanding Performance in a Classical Music or Dance Programin 1990. The award was shared by the film's three stars, Boitano, Orser and Witt. The choreography by Sandra Bezic and Michael Seibert (figure skater) wasinfluenced by elements of classical ballet and flamenco as well. During the rehearsals the skaters were also coached by flamenco dancer CristinaHoyos.BibliographyArt music in figure skating, synchronized swimming and rhythmic gymnastics/Kunstmusik in Eiskunstlauf, Synchronschwimmen undrhythmischer Gymnastik. PhD thesis by Johanna Beisteiner, Vienna 2005, (German). The PhD thesis contains an extensive description and analysis of Carmen onIce (Chapter II/2, pages 105-162). Article about the PhD thesis of Johanna Beisteiner in the catalogue of the Austrian Library Network. 2005. (German andEnglish)Passage 2:Mehdi AbrishamchiMehdi Abrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People'sMujahedin of Iran (MEK).Early lifeAbrishamchi came from a well-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations inIran. He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member,and spent time in jail until 1979.CareerShortly after Iranian Revolution, he became one of the senior members of the MEK. He is now an official in the NationalCouncil of Resistance of Iran.Electoral historyPersonal lifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married MousaKhiabani's younger sister Azar.LegacyAbrishamchi credited Massoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"greatschism\".Passage 3:Georges BizetGeorges Bizet (né Alexandre César Léopold Bizet; 25 October 1838 – 3 June 1875) was a French composer of the Romantic era.Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the mostpopular and frequently performed works in the entire opera repertoire.During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes,including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performedin public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to theworks of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly byarranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neitherof his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.After the Franco-PrussianWar of 1870–1871, during which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derivedfrom his incidental music to Alphonse Daudet's play L'Arlésienne was instantly popular. The production of his final opera, Carmen, was delayed because of fearsthat its themes of betrayal and murder would offend audiences. After its premiere on 3 March 1875, Bizet was convinced that the work was a failure; he died of aheart attack three months later, unaware that it would prove a spectacular and enduring success.Bizet's marriage to Geneviève Halévy was intermittently happyand produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of hisworks were frequently revised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his worksbegan to be performed more frequently in the 20th century. Later commentators have acclaimed him as a composer of brilliance and originality whose prematuredeath was a significant loss to French musical theatre.LifeEarly yearsFamily background and childhoodGeorges Bizet was born in Paris on 25 October 1838. Hewas registered as Alexandre César Léopold, but baptised as \"Georges\" on 16 March 1840, and was known by this name for the rest of his life. His father, AdolpheBizet, had been a hairdresser and wigmaker before becoming a singing teacher despite his lack of formal training. He also composed a few works, including atleast one published song. In 1837, Adolphe married Aimée Delsarte, against the wishes of her family who considered him a poor prospect; the Delsartes, thoughimpoverished, were a cultured and highly musical family. Aimée was an accomplished pianist, while her brother François Delsarte was a distinguished singer andteacher who performed at the courts of both Louis Philippe and Napoleon III. François Delsarte's wife Rosine, a musical prodigy, had been an assistant professorof solfège at the Conservatoire de Paris at the age of 13. At least one author has suggested that his mother was from a Jewish family but this is not substantiatedin any of his official biographies.Georges, an only child, showed early aptitude for music and quickly picked up the basics of musical notation from his mother, whoprobably gave him his first piano lessons. By listening at the door of the room where Adolphe conducted his classes, Georges learned to sing difficult songsaccurately from memory and developed an ability to identify and analyse complex chordal structures. This precocity convinced his ambitious parents that he wasready to begin studying at the Conservatoire even though he was still only nine years old (the minimum entry age was 10). Georges was interviewed by JosephMeifred, the horn virtuoso who was a member of the Conservatoire's Committee of Studies. Meifred was so struck by the boy's demonstration of his skills that hewaived the age rule and offered to take him as soon as a place became available.ConservatoireBizet was admitted to the Conservatoire on 9 October 1848, twoweeks before his 10th birthday. He made an early impression; within six months he had won first prize in solfège, a feat that impressed Pierre-Joseph-GuillaumeZimmerman, the Conservatoire's former professor of piano. Zimmerman gave Bizet private lessons in counterpoint and fugue, which continued until the old man'sdeath in 1853. Through these classes, Bizet met Zimmerman's son-in-law, the composer Charles Gounod, who became a lasting influence on the young pupil'smusical style—although their relationship was often strained in later years. He also met another of Gounod's young students, the 13-year-old CamilleSaint-Saëns, who remained a firm friend of Bizet's. Under the tuition of Antoine François Marmontel, the Conservatoire's professor of piano, Bizet's pianismdeveloped rapidly; he won the Conservatoire's second prize for piano in 1851, and first prize the following year. Bizet would later write to Marmontel: \"In yourclass one learns something besides the piano; one becomes a musician\".Bizet's first preserved compositions, two wordless songs for soprano, date from around1850. In 1853, he joined Fromental Halévy's composition class and began to produce works of increasing sophistication and quality. Two of his songs, \"Petite"}
+{"doc_id":"doc_231","qid":"","text":"Passage 1:Vera MiletićVera Miletić (Serbian Cyrillic: Вера Милетић; 8 March 1920 – 7 September 1944) was a Serbian student and soldier. She was notable for being the mother of Mira Marković, posthumously making her the mother-in-law of Serbian president Slobodan Milošević.Personal lifeHer cousin was Davorjanka Paunović who was the personal secretary of Communist Party of Yugoslavia leader Josip Broz Tito.Passage 2:Doria RaglandDoria Loyce Ragland (born September 2, 1956) is an American social worker, and former makeup artist and yoga instructor. She is the mother of Meghan, Duchess of Sussex.Early lifeDoria Ragland was born in Cleveland, Ohio, to nurse Jeanette Arnold (1929–2000) and her second husband Alvin Azell Ragland (1929–2011), an antiques dealer who sold items at flea markets. Ragland's maternal grandparents, James and Nettie Arnold, respectively worked as a bellhop and an elevator operator at the Hotel St. Regis on Euclid Avenue in Cleveland. Her parents moved to Los Angeles when Ragland was a baby and later divorced. In 1983, her father married kindergarten teacher Ava Burrow, who is near to Ragland's age; the two remained close after that marriage also ended in divorce. Ragland has two older maternal half-siblings, Joseph (known as \"JJ\"; 1949–2021) and Saundra Johnson (born 1952), and a younger paternal half-brother, Alvin Joffrey Ragland. According to inferred conclusions and information passed down (much of it verbally) from earlier generations, the Ragland family descend from Richard Ragland, born into slavery c.1792 in Chatham County, North Carolina; his son, Stephen Ragland (1848-1926) of Jonesboro in Georgia, lived long enough to experience the abolition of slavery in 1865. Ragland's surname came from slave-owner William Ragland, a Methodist planter and land speculator who had emigrated during the eighteenth century from Cornwall, England, to North America.Career and educationAfter leaving Fairfax High School, Ragland worked as a temp assistant makeup artist and met her future husband, Thomas Markle, while employed on the set of the television show General Hospital. Later on, their daughter Meghan stayed with Thomas Markle as Ragland pursued a career. She later worked as a travel agent and owned a small business before filing for bankruptcy in the mid-2000s. Ragland completed a Bachelor of Arts in psychology. In 2011, she earned a Master of Social Work from the University of Southern California. After passing California's licensing exam in 2015, she was a social worker for three years at the Didi Hirsch Mental Health Services clinic in Culver City. Ragland has also worked as a yoga instructor. In 2020, it was reported that she would teach a jewelry making course at Santa Monica College. In the same year, Ragland became CEO, CFO and secretary of a care home firm in Beverly Hills, called Loving Kindness Senior Care Management.Personal lifeRagland married lighting director Thomas Markle Sr. on December 23, 1979, at Hollywood's Paramahansa Yogananda Self-Realization Fellowship Temple in a ceremony performed by Brother Bhaktananda. Their daughter, Meghan, was born in 1981. The couple separated when their daughter was two years old. They divorced in 1987. Both parents contributed to raising Meghan until, at the age of 6, she began living with Thomas Markle full-time while Ragland pursued a career.Ragland resides in View Park–Windsor Hills, California, in a house inherited from her father in 2011. She has accompanied Meghan to public events and attended her 2018 wedding to Prince Harry in Berkshire. Ragland became a grandmother on May 6, 2019. She flew to the United Kingdom to see her grandson, Archie Mountbatten-Windsor, and his parents. In July, she attended Mountbatten-Windsor's christening at the private chapel at Windsor Castle. Her granddaughter, Lilibet Mountbatten-Windsor, was born on June 4, 2021, in Santa Barbara, California.See also\"(Almost) Straight Outta Compton\", a 2016 tabloid article headline about Meghan Markle and her mother's backgroundNotesPassage 3:Maria ThinsMaria Thins (c. 1593 – 27 December 1680) was the mother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents and siblings, she received inheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By 1635, Bolnes verbally and physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of her husband in 1649 and the estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thins house by 1660. The couple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War (1672–1674), Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later. Catharina was the only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina's creditors. Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named De Trapjes (The Little Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thins ultimately inherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at their house in 1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins. Before her marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperous brickmaker. Thins was an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c. 1631–1688), nicknamed Trijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran to neighbors because she thought that Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eating separately from the female members of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. Jan Geensz Thins, who was her guardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 and moved with them to Delft. William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists' Corner).Thins received half of her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including farmland. She also lived off of the capital of her investments. Thins and her sister Cornelia Thins (d. 1661) received a sizeable inheritance from their brother Jan Willemsz Thins following his death in 1651. Thins attained a comfortable standard of living of 15,000 or more guilders a year in the 1660s.Cornelia died in 1649. In 1664, Thin's son Willem, a jobless bachelor, was locked up in an institution after an argument with his mother, and for attacking Catharina, his pregnant sister, with a stick. In 1665, Maria Thins was entrusted with her son's property. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been calling her names since his youth. Willem died in 1676.The VermeersThin's daughter, Catharina, came to know Johannes Vermeer and wished to marry him. Her mother disapproved of the marriage because he was not Catholic, and also likely because he was of a lower artisan class. By 1652, Vermeer helped his mother run the family's inn and was an art dealer, taking over his deceased father's business. Before they married, Thins stated that although she did not approve, she would not prevent Catharina and Vermeer from marrying. Vermeer likely converted from Reformed Protestant to Catholicism by the time of their union. Catharina and Vermeer married in Schipluy (present-day Schipluiden) on 20 April 1653. By December 1660, the Vermeers lived in the large house of his wealthy mother-in-law Maria Thins, described as a \"strong-willed\" woman. It was unusual at the time for married men and women to settle into the houses of their parents. Vermeer relied on Thin's residence and financial support to take care of his family.Vermeer painted in the artist's studio and sold art from the house. His works portray subjects with clothing and furnishings more luxurious than his own. Biographer Anthony Bailey claims that since Vermeer used models from his household, it is likely that he made a painting of his wife. He asserts that Catharina is depicted in A Lady Writing a Letter due to her \"fond expression\" and \"concentrated gaze of the unseen painter.\"Thins played an essential role in their life. She was a devotee of the Jesuit order in the nearby Catholic Church, and this seems to have influenced Johannes and Catharina.They had eleven children at the time of Vermeer's death, four of their children died young between 1660 and 1673. Most of their children were born at Thin's house. Their third son was called Ignatius, after the founder of the Jesuit Order. Catharina inherited the Ben Repas estate following her Aunt Cornelia's death in February 1661.Thins hired Vermeer to manage financial issues for her in 1667 and 1675. He collected monies owed her, and he handled her investments. The Rampjaar (disaster year) following the outbreak of the Franco-Dutch War (1672–1674) was particularly hard on Vermeer's ability to make money as an artist and an art dealer. He had to take a loss on sales of works of art and was unable to sell his own works. His mother-in-law was financially strained during this period due to the loss of rental income from farmland due to the war. In one instance, she rented out land near Schoonhoven that was flooded to prevent the French army from crossing the Dutch Water Line. The farmland was not arable for a time. Thins reduced the money that she spent to support the Vermeers. In "}
+{"doc_id":"doc_232","qid":"","text":"Passage 1:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVN Award – Best Director, Video (TheCockateer)1995 AVN Hall of Fame inducteePassage 2:Elliot SilversteinElliot Silverstein (born August 3, 1927) is a retired American film and television director. Hedirected the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), NightmareHoneymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director ofsix feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.The otherSilverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other work included directing forthe television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, his films were oftendecorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime AchievementAward by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in thecategory of Best Feature Film Suitable for Young People for Cat Ballou.He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGAAward in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangler award at the WesternHeritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors JudithAnderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.In1990, he was awarded the DGA Honorary Life Member Award.Personal lifeSilverstein has been married three times, each ending in divorce. His first marriage wasto Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of DavidCassidy.He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and otherprojects.FilmographyTales from the Crypt (TV Series) (1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie) (1990)Fight for Life (TVMovie) (1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie) (1986)The Firm (TV Series) (1982–1983)The Car (1977)NightmareHoneymoon (1974)A Man Called Horse (1970)The Happening (1967)Cat Ballou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders (TV Series)(1962–64)Arrest and Trial (TV Series) (1964)The Doctors and the Nurses (TV Series) (1962–64)Twilight Zone (TV Series) (1961–64)Breaking Point (TV Series)(1963)Dr. Kildare (TV Series) (1961–63)The Dick Powell Theatre (TV Series) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series) (1961–62)Have Gun- Will Travel (TV Series) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)The Westerner (TV Series) (1960)Assignment: Underwater (TVSeries) (1960)Black Saddle (TV Series) (1960)Suspicion (TV Series) (1958)Omnibus (TV Series) (1954–56)Passage 3:Robert G. VignolaRobert G. Vignola (bornRocco Giuseppe Vignola, August 7, 1882 – October 25, 1953) was an Italian-American actor, screenwriter, and film director. A former stage actor, he appeared inmany motion pictures produced by Kalem Company and later moved to directing, becoming one of the silent screen's most prolific directors. He directed a handfulof films in the early years of talkies but his career essentially ended in the silent era.Early lifeVignola was born in August 7, 1882 in Trivigno, a village in theprovince of Potenza, Basilicata, to Donato Gaetano Vignola, a stone mason, and Anna Rosa Rago.  It is unsure why he used August 5th as his birthday in America.He had two brothers and three sisters, his oldest sister having died at the age of 19 months in Italy. Travelling with his mother and siblings, he left Italy in May1886, at the age of three. He was raised in Albany, New York. Because of his Christian name of Rocco he was nicknamed \"Rocky\" on the family’s first census inNew York. His name Rocco was later changed to Robert. Trained as a barber in his youth, Vignola by age 14 became interested in the circus, practicing contortionand slackwire. Three years later, in 1899, he found his true vocation—acting—and the following year in Albany he established a small performance company thathe named \"The Empire Dramatic Club\".Acting careerIn 1901 he started acting on stage professionally and joined the \"American Stock Company\" in New York. Hemade his stage debut in \"Romeo and Juliet\", performing with Eleanor Robson Belmont and Kyrle Bellew. In the following years he played leads and became acharacter actor. Vignola's motion picture career began in 1906 with the short film The Black Hand, directed by Wallace McCutcheon and produced by BiographCompany, generally considered the film that launched the mafia genre.In 1907 he joined Kalem Studios, starring in numerous movies directed by his long-timefriend Sidney Olcott often dealing with Irish culture such as The Lad from Old Ireland (1910), The Colleen Bawn (1911), and Arrah-na-Pogue (1911). Olcott wouldlater promote him to assistant director. The Kalem Company traveled across Europe and Middle East, where Vignola did one of his most notable roles as JudasIscariot in From the Manger to the Cross (1912), among the most acclaimed films of the silent years. According to Moving Picture World, he was the first actorwho was placed upon a permanent salary by Kalem.Directing careerVignola directed 110 pictures from 1911 to 1937. His debut as a film director was Rory O'More(1911), co-directed with Olcott. The Vampire (1913), starring Alice Hollister, was well-received by critics and is sometimes cited as the earliest surviving \"vamp\"movie (another title with the same name produced by William Nicholas Selig in 1910 is considered lost). He returned to the theme with The Vampire's Trail(1914), featuring Alice Joyce, Tom Moore and Hollister in a secondary role. He had a long association directing the early movies of Pauline Frederick such asAudrey (1916), Double Crossed (1917), and The Love That Lives (1917).Vignola is best known for directing Marion Davies in several romantic comedies includingEnchantment (1921), Beauty's Worth (1922), and the big-budget epic When Knighthood Was in Flower (1922), which achieved critical and commercial acclaimand established Davies as a movie star. In 1920, he was offered the role of director-general for the Kinkikan Cinematograph Company in Japan and was honoredas \"outstanding director of the year\" by Frederick James Smith of the Motion Picture Classic in 1921. The Woman God Changed (1921) and Adam and Eva (1923)were praised for the \"innovative\" use of shadows and lighting effects.With the arrival of the sound era, he directed Broken Dreams (1933), in competition for theBest Foreign Film at the 2nd Venice International Film Festival, and The Scarlet Letter (1934), the last film of Colleen Moore. His sound films were not successfuland Vignola retired. His final film work was The Girl from Scotland Yard (1937).  Later that year he directed The Pilgrimage Play (live play in Los Angeles, not therelated movie.).  Vignola was associated with the play at least to 1944.DeathVignola died in Hollywood, California in 1953. He was buried in St. Agnes Cemetery,Menands, New York.Personal lifeHe lived in a mansion at Whitley Heights owned by William Randolph Hearst. According to legend, Hearst's mistress MarionDavies was allowed to stay without him at Vignola's mansion, worried that she was having affairs and considering Vignola a trusted companion for her as he washomosexual. Sidney Olcott, alone after the passing of his wife Valentine Grant, spent his later life at Vignola's home, where he died in 1949.Vignola was describedby Delight Evans as \"the sanest and least temperamental of all celluloid creators. He has infinite patience. He has one quality which makes actors want to work forhim: consideration.\" He once said: \"Before a director can learn to control thousands of people and big stars and big scenes, he must first learn to control himself.\"He identified himself as a Republican, although he was not much interested in politics. Vignola visited his birthplace Trivigno with his family, provided money tobuild the town's war monument and maintained correspondence with some of his relatives.Partial filmographyActorDirectorPassage 4:She Wants MeShe Wants Meis a 2012 comedy film written and directed by Rob Margolies and starring Josh Gad and Kristen Ruhlin.PlotSam is a writer working on a feature film. His girlfriendSammy has been promised the lead role, but the producers want a famous actress. After some problems and the return of Sammy’s ex-boyfriend John, therelationship get complicated and they break up. Sam needs to deal with John, who becomes his friend and roommate, his lack of inspiration to write the film, hisnew single life and a new girlfriend who has had sex with many men, though all he really wants is Sammy back.CastCastingMargolies originally penned the role ofSam Baum for Jonah Hill, and intended Elliot Page to play Sammy Kingston. Kate Bosworth was originally attached to play the role of Kim Powers, but due toscheduling conflicts with another film, was unable to participate. Hilary Duff replaced her in October 2010.The cameo role of Charlie Sheen was penned originallyfor Jeff Goldblum, but when the producers of the film mentioned an option to have Sheen participate, Margolies jumped at the chance to work with him. Sheeneventually became one of the executive producers of the film.Passage 5:Dan MilneDan Milne is a British actor/director who is possibly best known for his role inEastEnders.CareerHe started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty. He then appeared inEastEnders as David Collins, Jane Beale's dying husband.As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which touredinternationally, culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, includingTwo Men Talking, which has run for the past six years in various cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms inthe children's show, Postman Pat.Passage 6:Rob MargoliesRob Margolies (born February 28, 1983) is an American film producer and director.Margolies grew up inRumson, New Jersey and graduated from Rumson-Fair Haven Regional High School in the class of 2001  before going on to study filmmaking at the New York FilmAcademy.In 2005, he produced We All Fall Down, a short subject about the Great Plague of 1666. In 2008 he directed Wherever You Are. He directed the 2010movie Life-ers which stars Kevin Ryan, from the  Barry Levinson BBC TV show Copper. He directed the film She Wants Me (2012) starring Josh Gad, Hilary Duff"}
+{"doc_id":"doc_233","qid":"","text":"Passage 1:Adib KheirAdib Kheir (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was a leading Syrian nationalist of the 1920s. He was the owner of the Librairie Universelle inDamascus. His granddaughter is the spouse of Manaf Tlass.Passage 2:Marie-Louise CoidavidQueen Marie Louise Coidavid (1778 – 11 March 1851) was the Queenof the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe.Early lifeMarie-Louise was born into a free black family; her father was the owner of Hotel dela Couronne, Cap-Haïtien. Henri Christophe was a slave purchased by her father. Supposedly, he earned enough money in tips from his duties at the hotel that hewas able to purchase his freedom before the Haitian Revolution. They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior.They had four children: François Ferdinand (born 1794), Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) and Victor-Henri.At her spouse's new position in1798, she moved to the Sans-Souci Palace. During the French invasion, she and her children lived underground until 1803.QueenIn 1811, Marie-Louise was giventhe title of queen upon the creation of the Kingdom of Haiti. Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and her owncourt. She took her position seriously, and stated that the title \"given to her by the nation\" also gave her responsibilities and duties to perform. She served as thehostess of the ceremonial royal court life performed at the Sans-Souci Palace. She did not involve herself in the affairs of state. She was given the position ofRegent should her son succeed her spouse while still being a minor.  However, as her son became of age before the death of his father, this was never tomaterialize.After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at the palace until they were escorted from it by hisfollowers together with his corpse; after their departure, the palace was attacked and plundered. Marie-Louise and her daughters were given the propertyLambert outside Cap. She was visited by president Jean Pierre Boyer, who offered her his protection; he denied the spurs of gold she gave him, stating that hewas the leader of poor people. They were allowed to settle in Port-au-Prince. Marie-Louise was described as calm and resigned, but her daughters, especiallyAthénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. In August 1821, the former queen left Haiti with her daughters under theprotection of the British admiral Sir Home Popham, and travelled to London. There were rumours that she was searching for the money, three million, depositedby her spouse in Europe. Whatever the case, she did live the rest of her life without economic difficulties. The English climate and pollution during the IndustrialRevolution was determintal to Améthyste's health, and eventually they decided to leave.In 1824, Marie-Louise and her daughters moved in Pisa in Italy, wherethey lived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839. They lived discreetly for the most part, but were occasionallybothered by fortune hunters and throne claimers who wanted their fortune. Shortly before her death, she wrote to Haiti for permission to return. She never did,however, before she died in Italy. She is buried in the church of San Donnino. A historical marker was installed in front of the church on April 23, 2023 tocommemorate the Queen, her daughter and her sister.See alsoMarie-Claire Heureuse FélicitéAdélina LévêquePassage 3:Mehdi AbrishamchiMehdi Abrishamchi(Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchi came from awell-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations in Iran. He became a member of Hojjatieh, and left it to join thePeople's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member, and spent time in jail until 1979.CareerShortly after IranianRevolution, he became one of the senior members of the MEK. He is now an official in the National Council of Resistance of Iran.Electoral historyPersonallifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi creditedMassoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"great schism\".Passage 4:Maria Teresa, Grand Duchess of LuxembourgMariaTeresa (born María Teresa Mestre y Batista; 22 March 1956) is the Grand Duchess of Luxembourg as the wife of Grand Duke Henri, who acceded to the throne in2000.Early life and educationMaria Teresa was born on 22 March 1956 in Marianao, Havana, Cuba, to José Antonio Mestre y Álvarez (1926–1993) and wife  MaríaTeresa Batista y Falla de Mestre (1928–1988), both from bourgeois families of Spanish descent. She is also the granddaughter of Agustín Batista y González deMendoza, who was the founder of the Trust Company of Cuba, the most powerful Cuban bank prior to the Cuban Revolution.In October 1959, at the time of theCuban Revolution, Maria Teresa Mestre’s parents left Cuba with their children, because the new government headed by Fidel Castro confiscated their properties.The family settled in New York City,  where as a young girl she was a pupil at Marymount School. From 1961 she carried on her studies at the Lycée Français deNew York. In her childhood, Maria Teresa Mestre took ballet and singing courses. She practices skiing, ice-skating and water sports. She later lived in Santander,Spain, and in Geneva, Switzerland, where she became a Swiss citizen.In 1980, Maria Teresa graduated from the Graduate Institute of International andDevelopment Studies in Geneva with a degree in political sciences. While studying there, she met her future husband Henri of Luxembourg.Social andhumanitarian interestsSoon after her marriage, Maria Teresa and the then Hereditary Grand Duke Henri established The Prince Henri and Princess Maria TeresaFoundation to help those with special needs integrate fully into society. In 2001, she and her husband created The Grand Duke and Grand Duchess Foundation,launched upon the accession of the couple as the new Grand Duke and Duchess of Luxembourg. In 2004, the Grand Duke Henri and the Grand Duchess MariaTeresa Foundation was created after the merging of the two previous foundations.In 1997, Maria Teresa was made a special ambassador for UNESCO, working toexpand education for young girls and women and help to fight poverty.Since 2005, Maria Teresa has been the chairwoman of the international jury of theEuropean Microfinance Award, which annually awards holders of microfinance and inclusive finance initiatives in developing countries. Also, since 2006, MariaTeresa has been honorary president of the LuxFLAG (Luxembourg Fund Labeling Agency), the first agency to label responsible microfinance investment fundsaround the world.On 19 April 2007, the Grand Duchess was appointed UNICEF Eminent Advocate for Children, in which role she has visited Brazil (2007), China(2008), and Burundi (2009).She is a member of the Honorary Board of the International Paralympic Committee and a patron of the Ligue Luxembourgeoise dePrévention et d’Action medico-sociales and SOS Villages d’Enfants Monde. The Grand Duchess and her husband Grand Duke Henri are the members of the MentorFoundation (London), created under the patronage of the World Health Organization. She is also the president of the Luxembourg Red Cross and the CancerFoundation. In 2016, she organized the first international forum on learning disabilities in Luxembourg.The Grand Duchess supports the UNESCO “Breaking thePoverty Cycle of Women” project in Bangladesh, India, Nepal and Pakistan. The purpose of this project is to improve the living conditions of girls, women andtheir families. As honorary president of her own foundation, Grand Duchess Maria Teresa set up a project called Projet de la Main Tendue after visiting theBujumbura prison in 2009 in Burundi. The purpose of this project is to liberate minor people from prison and to give them new opportunities for their future.InOctober 2016, Maria Teresa accepted an invitation to join the eminent international Council of Patrons of the Asian University for Women (AUW) in Chittagong,Bangladesh. The university, which is the product of east-west foundational partnerships (Bill and Melinda Gates Foundation, Open Society Foundation, IKEAFoundation, etc.) and regional cooperation, serves extraordinarily talented women from 15 countries across Asia and the Middle East.In 2019, Maria Teresapresented her initiative \"Stand Speak Rise Up!\" to end sexual violence in fragile environments, launched in cooperation with the Women’s Forum and with thesupport of the Luxembourg government. The conference is in partnership with the Dr. Denis Mukwege Foundation and We Are Not Weapons of War.In 2020 thePrime Minister of Luxembourg commissioned a report into the Cour le Grand Ducal following concerns over its working. The report found that up to 1/3 ofemployees had left since 2015 and that \"The most important decisions in the field of personnel management, whether at the level of recruitment, assignment tothe various departments or even at the dismissal level are taken by HRH the Grand Duchess.” Several newspaper reports at the time highlighted a 'culture of fear'around the Grand Duchess and \"that no-one bar the Prime Minister dared confront her\". The report also raised concerns about the use of public funds to pay forthe Grand Duchess' personal website and that this had been prioritised over the Cour's own official website. There were also allegations that staff at the Court hasbeen subject to physical abuse and these reports were investigated by the Luxembourg judicial police.In February 2023 it was reported by several Luxembourgbased media that the Grand Duchess had once again been accused of treating staff poorly during an outfit fitting in October 22. The incident even involved thePrime Minister of Luxembourg having to speak to the Grand Duke and Grand Duchess about the treatment of the staff and commissioning a report intoit.FamilyMaria Teresa married Prince Henri of Luxembourg in a civil ceremony on 4 February 1981 and a religious ceremony on 14 February 1981, sinceValentine's Day was their favourite holiday. The consent of the Grand Duke had been previously given on 7 November 1980. She received a bouquet of red rosesand a sugarcane as a wedding gift from Cuban leader, Fidel Castro. The couple has five children: Guillaume, Hereditary Grand Duke of Luxembourg, Prince Félixof Luxembourg, Prince Louis of Luxembourg, Princess Alexandra of Luxembourg, and Prince Sébastien of Luxembourg, They were born at Maternity Hospital inLuxembourg City.HonoursNationalLuxembourg: Knight of the Order of the Gold Lion of the House of Nassau Grand Cross of the Order of Adolphe ofNassauForeignAustria: Grand Star  of the Decoration of Honour for Services to the Republic of Austria Belgium: Grand Cordon of the Order of Leopold I Brazil:Grand Cross of the Order of the Southern Cross Denmark: Knight of the Order of the Elephant Finland: Grand Cross of the Order of the White Rose of Finland"}
+{"doc_id":"doc_234","qid":"","text":"Passage 1:Matan CohenMatan Cohen (born February 8, 1982) is an Israeli musician best known for his work as the guitarist for successful groove/metalcore bandBetzefer and the recently reunited melodic death metal band Nail Within. Cohen is also a frequent collaborator of comedy punk rock act Bo La'Bar featuring hisNail Within co-members Evil Haim, and Useless ID members Ishay Berger and Jonathan Harpak.Musical careerBetzefer (1998–present)Matan Cohen formedBetzefer along with vocalist Avital Tamir and drummer Roey Berman as a one-off band for a high school gig in 1998.What started as a high school gig became abig part of the lives of the band members and since then the band started working, first as a cover band (Metallica, etc.) and later they started recording theirown material, releasing Pitz Aachbar in 2000, Some Tits, But No Bush in 2001 and New Hate in 2003.In 2005, the band released its first full-length album DownLow and currently is working on its second.Matan (who is also known as Tim Young outside Israel) appeared on all of the band's releases and is a part of the bandfrom its formation until today. He is also noted for always using a custom black Gibson SG guitar.Nail Within (2001-2003, 2007)In 2001, Matan joined formerAzazel and Betrayer members to form a new melodic death metal project by the name of Nail Within. Cohen served as a second guitarist in the band and while onhiatus from Betzefer, he left to Germany to record the band's first self-titled album.He was a member of the band through all of its short-lived first incarnationand even suggested Betzefer vocalist Avital Tamir as vocalist after vocalist Yishay Swearts left. Tamir performed with the band for one show.Recently rejoined theband as all of its members reunited in November 2007 for a one-off reunion show along with plans to record a new album in the future. Cohen will work with theband on its next album when he will finish prior commitments with Betzefer.DiscographyBetzeferPitz Aachbar (2000)Some Tits, But No Bush (2001)New Hate(2003)Down Low (2005)Freedom to The Slave Makers (2011)Nail WithinNail Within (2003)See alsoList of guitaristsPassage 2:Hartley LobbanHartley W Lobban (9May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobbanplayed little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershirein 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made hisfirst-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with PeterRichardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimedfour wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat toDerbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the firstinnings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worseaverage of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On thisoccasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussexwon by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In hisfinal game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed aneasy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also aprofessional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and hiswife Celia had a son and two daughters.Passage 3:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlandsinternational cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement fromall forms of cricket, but returned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he wasdismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series againstNepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to playfor the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament wascancelled.Passage 4:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of theGrand River Territory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily oninstallation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism andconcepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as groupexhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern AffairsCanada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the InternationalMuseum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn2018, Hill received the Indspire Award for Arts.Passage 5:Damien HétuDamien Hétu (October 24, 1926 – February 15, 2010) was a Canadian politician. Hétuserved as mayor of Sainte-Agathe-des-Monts, Quebec on two separate occasions and was a Liberal member of the National Assembly of Quebec from 1985 to1989.Early life and careerHétu was born in Sainte-Agathe-des-Monts and received his early education in the town. He trained as an electrician andradio/television technician, and in 1952 he began working as an electrician and entrepreneur in his home community. He successfully campaigned for a localsports center, which was opened in the 1970s.Hétu was a municipal councillor in Sainte-Agathe-des-Monts from 1959 to 1965 and was the community's mayorfrom 1970 to 1974. In the same period, he was an organizer for both the Liberal Party of Canada and the Quebec Liberal Party. He ran for the Quebec legislaturein the 1981 provincial election and lost to incumbent Parti Québécois cabinet minister Jacques Léonard in Labelle.LegislatorHétu was elected to the nationalassembly on his second attempt in the 1985 provincial election. The Liberal Party won a majority government in this election under Robert Bourassa's leadership,and Hétu served for the next four years as a government backbencher. A 1988 newspaper report indicates that he had one of the best attendance records in thelegislature, missing fewer than one per cent of recorded votes.He was defeated by Léonard a second time when seeking re-election in 1989.Return to municipalpoliticsHétu was re-elected as mayor of Sainte-Agathe-des-Monts in 1990 and served until 1994. He presided over a water boil advisory for the community in1992, due to concerns about contamination from lead pipes.DeathHétu died in February 2010, after an extended illness.Electoral recordPassage 6:Henry Moore(cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenryMoore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of thedaughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishopof Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine andChristchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to adaughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four yearsbefore his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury,he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. Hewent to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in thenext season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from thebeginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averagesin the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflictedthe only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touringQueensland cricket team.Passage 7:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxfordwhere he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and aGoverning Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuseson a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process,newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of"}
+{"doc_id":"doc_235","qid":"","text":"Passage 1:Maria ThinsMaria Thins (c. 1593 – 27 December 1680) was the mother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents and siblings, she received inheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By 1635, Bolnes verbally and physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of her husband in 1649 and the estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thins house by 1660. The couple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War (1672–1674), Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later. Catharina was the only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina's creditors. Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named De Trapjes (The Little Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thins ultimately inherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at their house in 1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins. Before her marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperous brickmaker. Thins was an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c. 1631–1688), nicknamed Trijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran to neighbors because she thought that Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eating separately from the female members of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. Jan Geensz Thins, who was her guardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 and moved with them to Delft. William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists' Corner).Thins received half of her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including farmland. She also lived off of the capital of her investments. Thins and her sister Cornelia Thins (d. 1661) received a sizeable inheritance from their brother Jan Willemsz Thins following his death in 1651. Thins attained a comfortable standard of living of 15,000 or more guilders a year in the 1660s.Cornelia died in 1649. In 1664, Thin's son Willem, a jobless bachelor, was locked up in an institution after an argument with his mother, and for attacking Catharina, his pregnant sister, with a stick. In 1665, Maria Thins was entrusted with her son's property. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been calling her names since his youth. Willem died in 1676.The VermeersThin's daughter, Catharina, came to know Johannes Vermeer and wished to marry him. Her mother disapproved of the marriage because he was not Catholic, and also likely because he was of a lower artisan class. By 1652, Vermeer helped his mother run the family's inn and was an art dealer, taking over his deceased father's business. Before they married, Thins stated that although she did not approve, she would not prevent Catharina and Vermeer from marrying. Vermeer likely converted from Reformed Protestant to Catholicism by the time of their union. Catharina and Vermeer married in Schipluy (present-day Schipluiden) on 20 April 1653. By December 1660, the Vermeers lived in the large house of his wealthy mother-in-law Maria Thins, described as a \"strong-willed\" woman. It was unusual at the time for married men and women to settle into the houses of their parents. Vermeer relied on Thin's residence and financial support to take care of his family.Vermeer painted in the artist's studio and sold art from the house. His works portray subjects with clothing and furnishings more luxurious than his own. Biographer Anthony Bailey claims that since Vermeer used models from his household, it is likely that he made a painting of his wife. He asserts that Catharina is depicted in A Lady Writing a Letter due to her \"fond expression\" and \"concentrated gaze of the unseen painter.\"Thins played an essential role in their life. She was a devotee of the Jesuit order in the nearby Catholic Church, and this seems to have influenced Johannes and Catharina.They had eleven children at the time of Vermeer's death, four of their children died young between 1660 and 1673. Most of their children were born at Thin's house. Their third son was called Ignatius, after the founder of the Jesuit Order. Catharina inherited the Ben Repas estate following her Aunt Cornelia's death in February 1661.Thins hired Vermeer to manage financial issues for her in 1667 and 1675. He collected monies owed her, and he handled her investments. The Rampjaar (disaster year) following the outbreak of the Franco-Dutch War (1672–1674) was particularly hard on Vermeer's ability to make money as an artist and an art dealer. He had to take a loss on sales of works of art and was unable to sell his own works. His mother-in-law was financially strained during this period due to the loss of rental income from farmland due to the war. In one instance, she rented out land near Schoonhoven that was flooded to prevent the French army from crossing the Dutch Water Line. The farmland was not arable for a time. Thins reduced the money that she spent to support the Vermeers. In 1675, Vermeer went on several business trips for his mother-in-law, first to Gouda, when her husband had died, and then to Amsterdam. There Vermeer borrowed money by fraudulently using her name.Vermeer died and was buried on 15 December 1675. Unable to pay their debts, Catharina blamed the financial fallout of the war for their losses and petitioned for bankruptcy in April 1676. Ten of their eleven children were still underage when Vermeer died. Catharina continued to live at her mother's house with their children. After Vermeer's death, Maria Thins received The Art of Painting for her financial support of Catharina's family. Catharina paid off other debts with paintings or used them as surety until she paid off debts.Later years and deathThins died and was buried on 27 December 1680. The burial record states that she was the widow of Reijnier Bolnes. Thins crafted her will to maximize her grandchildren's support and education, preventing her estate from going to Catharina's creditors. The grandchildren were assigned a guardian, Hendrick van Eem, to look out for their interests. Catharina, considered responsible, was encouraged by her mother to ensure that her children were educated so that they could support themselves. Her daughter Catharina moved to Breda. Catharina Bolnes received \"Holy Oil\" on 23 December 1687, before being buried on 2 January 1688.See alsoWriting to Vermeer an opera depicting Maria Thins and Catharina BolnesPassage 2:Baroness Gösta von dem Bussche-HaddenhausenBaroness Gösta von dem Bussche-Haddenhausen (German: Freiin Gösta Julie Adelheid Marion Marie von dem Bussche-Haddenhausen; 26 January 1902 – 13 June 1996)  was the mother of Prince Claus of the Netherlands, who was the Prince Consort of Queen Beatrix of the Netherlands, thus making her the mother-in-law of the former Dutch Queen. She is also the paternal grandmother of King Willem-Alexander of the Netherlands, who is the current Dutch King.Early lifeGösta was born at Döbeln, Kingdom of Saxony, German Empire (now Saxony, Germany), the second child and daughter of Baron George von dem Bussche-Haddenhausen (1869–1923), and his wife, Baroness Gabriele von dem Bussche-Ippenburg (1877–1973). Her father belonged to the Bussche-Haddenhausen branch of the Bussche family, her mother belonged to the Bussche-Ippenburg branch. Both descended from Clamor von dem Bussche (1532–1573).Her mother was the heir of Dötzingen estate near Hitzacker, which her maternal grandfather had inherited from the counts von Oeynhausen after 1918. Gösta's father was an officer in the Royal Saxon Army. Dötzingen estate later passed on to her brother Baron Julius von dem Bussche-Haddenhausen (1906–1977). After her return from Africa, and her husband's death in 1963, she spent the rest of her life in Dötzingen.MarriageGösta married on 4 September 1924 at Hitzacker to Claus Felix von Amsberg (1890–1963), son of Wilhelm von Amsberg and Elise von Vieregge.Together they had six daughters and one son:Sigrid von Amsberg (Hitzacker-Dötzingen, 26 June 1925 – 1 April 2018), married in 1952 to Ascan-Bernd Jencquel (17 August 1913 – 4 November 2003), had issue.Claus von Amsberg (Hitzacker-Dötzingen, 6 September 1926 – Amsterdam, 6 October 2002), married in 1966 to Beatrix of the Netherlands (b. 31 January 1938), had issue.Rixa von Amsberg (Hitzacker-Dötzingen, 18 November 1927 – 6 January 2010), married to Peter Ahrend (17 April 1920 – 2011), no issue.Margit von Amsberg (Bumbuli, 16 October 1930 – 1988), married in 1964 to Ernst Grubitz (14 April 1931 – 5 June 2009), had issue.Barbara von Amsberg (Bumbuli, 16 October 1930), married in 1963 to Günther Haarhaus (22 October 1921 – 9 February 2007), had issue.Theda von Amsberg (Tanga, 30 June 1939), married in 1966 to Baron Karl von Friesen (b. 1933), had issue.Christina von Amsberg (Salisbury, 20 January 1945), married in 1971 to Baron Hans Hubertus von der Recke (b. 1942), had issue.Life in AfricaHer husband had returned "}
+{"doc_id":"doc_236","qid":"","text":"Passage 1:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle of operaticsoprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese inNaples (1954)Conspiracy of the Borgias (1959)Passage 2:Petrus de DomartoPetrus de Domarto (fl. c. 1445–1455) was a Franco-Flemish composer of theRenaissance.  He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to bewritten in continental Europe.LifeDomarto's life is poorly documented.  He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years afterOckeghem was known to be there, and there is evidence he was in Tournai in 1451.  He had a high reputation (which makes the lack of documentation on his lifecurious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis).  No other documentation on his life has yet come tolight.Music and reputationDomarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time.  The latter of the two mayhave been one of the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composerssuch as Leonel Power.  The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changingrhythmic profile as it changes mensuration throughout the piece.  The procedure was evidently influential on the next generation of composers, for it was stillbeing copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum). The theorist and writer JohannesTinctoris criticised it for exactly the features that inspired other composers.The two surviving secular compositions by Domarto are both rondeaux, formes fixes ofthe type popular with the Burgundian School.WorksMassesMissa Spiritus almus (four voices)Missa sine nomine (three voices)SecularRondeaux, each for threevoices:Chelui qui est tant plain de duelJe vis tous jours en esperanceNotesPassage 3:Bullet (Misfits song)\"Bullet\" is the second single released by the horror punkband the Misfits. The four tracks comprising the EP were recorded, along with thirteen others, in early 1978 for the proposed Static Age album. When the bandcould not find a record label to release the album, they instead released four of the songs as \"Bullet\" on singer Glenn Danzig's label Plan 9 Records. The songswere re-released in different versions over subsequent years, until Static Age was finally released in its entirety in 1996.BackgroundIn August 1977 the Misfitsreleased their debut single \"Cough/Cool\" on Blank Records, a label operated by singer Glenn Danzig. Several months later Mercury Records issued a Pere Uburecord on their own Blank Records imprint, unaware that Danzig held a trademark on the name. They offered him thirty hours of studio time in exchange for therights to the Blank Records name, which he accepted. In January and February 1978 the Misfits, then consisting of Danzig, guitarist Franché Coma, bassist JerryOnly, and drummer Mr. Jim, recorded seventeen songs at C.I. Recordings in New York City with engineer and producer Dave Achelis. Because of the timeconstraints they recorded the songs live in the studio with only a few takes each and very few overdubs. They mixed fourteen of them with Achelis for theirproposed first album, to be titled Static Age. However, the band were unable to find a record label interested in releasing the album, and instead released four ofthe tracks as the \"Bullet\" EP in June 1978 on Danzig's new label Plan 9 Records.The song \"Bullet\" references the 1963 assassination of John F. Kennedy, withsexually explicit lyrics directed at his wife Jacqueline Kennedy Onassis: \"Texas is an outrage when your husband is dead/Texas is an outrage when they pick uphis head/Texas is the reason that the President's dead/You gotta suck, suck, Jackie, suck\".Pressing informationThe first pressing of \"Bullet\" consisted of 1,000copies on black 7\" vinyl with a gatefold cover and lyrics sheet. These copies had \"distributed by Ork\" printed on the back sleeve, as a distribution deal with OrkRecords had been planned, but distribution through Ork never took place. A second pressing of 2,000 on red vinyl had a different back cover, removing the bandphoto and mention of Ork and replacing it with artwork of a bullet hole and the words \"better dead on red\". 7,000 additional copies were later pressed on blackvinyl with the same cover as the second pressing.Re-releases and other versionsAll four songs from \"Bullet\" were reissued on the Beware EP in January 1980, anda live version of \"We Are 138\" appeared on the Evilive EP in 1982. The compilation album Misfits (1986), released three years after the band's breakup, included\"Bullet\" and \"Hollywood Babylon\", while Collection II (1995) included \"We Are 138\" and \"Attitude\".The Misfits box set in 1996 presented the complete Static Agealbum for the first time, including all four tracks from the \"Bullet\" single. Static Age was also released as a separate album that July.Cover versions\"Bullet\" wascovered by Refused for the Children In Heat compilation, and the Hellacopters  covered it on the tribute album Hell on Earth: A Tribute to the Misfits (2000).Entombed also covered \"Hollywood Babylon\" on the same album. \"Attitude\" was covered by Sum 41, the Slackers, and Guns N' Roses. In 2014, Energy coveredthe song as part of their 7-song Misfits tribute EP.Track listingPersonnelBandGlenn Danzig – vocalsFranché Coma – guitar, backing vocalsJerry Only – bass guitar,backing vocalsMr. Jim – drumsProductionDave Achelis – engineeringRich Flores – masteringSee alsoMisfits discographyAssassination of John F. Kennedy inpopular culturePassage 4:Peter Dodds McCormickPeter Dodds McCormick (28 January 1833 – 30 October 1916) was an Australian schoolteacher and songwriter,known for composing the Australian national anthem, \"Advance Australia Fair\". He published under the pseudonym Amicus, Latin for \"friend\".Early lifePeter DoddsMcCormick was born to Peter McCormick and Janet (née Dodds) at Port Glasgow, Scotland in 1833.BiographyPeter completed an apprenticeship as a joiner inScotland before emigrating to Sydney (at that time the principal city of the British colony of New South Wales) on 21 February 1855. He initially worked as ajoiner for \"some years\".McCormick spent most of his work life employed by the NSW Education Department. In 1863 he was appointed teacher-in charge at StMary's National School. McCormick married Emily Boucher, a sewing teacher, on 16 July 1863, who died on 11 March 1866, aged 22. He remarried, to EmmaElizabeth Dening, on 22 December 1866. He also taught at the Presbyterian Denominational school in the Sydney suburb of Woolloomooloo in 1867. McCormickthen moved to Dowling Plunkett Street Public School in 1878 where he remained until 1885.McCormick was heavily involved in the Scottish Presbyterian Churchand was active in a number of community and benevolent organisations. He began his involvement with Sydney's St Stephen's Church as a stonemason, workingon the now demolished Phillip Street Church (where Martin Place now stands). The Rev Hugh Darling was so impressed with his singing on the job he asked himto join the choir. McCormick's musical ability led him to becoming the precentor of the Presbyterian Church of NSW, which gave him the opportunity to conductvery large massed choirs. He was also convenor of the Presbyterian Church Assembly's Committee on Psalmody.Also a talented composer, he published around30 patriotic and Scottish songs, some of which became very popular. Included in his collected works was \"Advance Australia Fair\", which was first performed inpublic by Andrew Fairfax at the St Andrew's Day concert of the Highland Society on 30 November 1878.\"Advance Australia Fair\" became quite a popular patrioticsong. The Sydney Morning Herald described the music as bold and stirring, and the words \"decidedly patriotic\" – it was \"likely to become a popularfavourite\".  Later under the pseudonym Amicus (which means 'friend' in Latin), he had the music and four verses published by W. H. Paling & Co. Ltd. The songquickly gained popularity and an amended version was sung by a choir of 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901. In1907, the New South Wales Government awarded McCormick £100 for his patriotic composition which he registered for copyright in 1915.In a letter to R. B. FullerEsq., dated 1 August 1913, McCormick described the circumstances that inspired him to pen the lyrics of his famous song:One night I attended a great concert inthe Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment. This was very nicely done, but Ifelt very aggravated that there was not one note for Australia. On the way home in a bus, I concocted the first verse of my song & when I got home I set it tomusic. I first wrote it in the Tonic Sol-fa notation, then transcribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct.Strange to say there has not been a note of it altered since. Some alteration has been made in the wording, but the sense is the same. It seemed to me to be likean inspiration, & I wrote the words & music with the greatest ease.DeathMcCormick died in 1916, aged 83, at his home, Clydebank, in the Sydney suburb ofWaverley and he was buried at Rookwood Cemetery. He had no children; he was survived by his second wife Emma. His obituary in the Sydney Morning Heraldstated: \"Mr. McCormick established a reputation with the patriotic song, Advance Australia Fair, which ... has come to be recognised as something in the nature ofan Australian National Anthem\".The song was performed by massed bands at the Federal capital celebrations in Canberra in 1927.  In 1984 it was formallydeclared as the Australian national anthem.Passage 5:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is mostnotable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composerof several operas.Passage 6:Michelangelo FaggioliMichelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorouscantatas in Neapolitan dialect. A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706.Passage 7:AlexandruCristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, acomposer and music teacher. Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory (1927–1929) in Chişinăuwith Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boysgymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\" high school"}
+{"doc_id":"doc_237","qid":"","text":"Passage 1:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's firstvice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in theSecond cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage 2:Miley CyrusMiley Ray Cyrus ( MY-lee SY-r\u0000s; born DestinyHope Cyrus, November 23, 1992) is an American singer, songwriter, and actress. Dubbed the \"Pop Chameleon\", she has been recognized for her musicalversatility and continual reinvention in her sound and style. Cyrus has been referred to as the \"Teen Queen\" of 2000s pop culture and regarded as one of the fewexamples of a child star with a successful career as an adult. Her accolades include nineteen Teen Choice Awards, four World Music Awards, three MTV VideoMusic Awards, two Billboard Music Awards, one People's Choice Award, a GLAAD Media Award, and 8 Guinness World Records. She has made the Time 100 list in2008 and 2014, Forbes 30 Under 30 in 2014 and 2021, appeared on Billboard's Greatest of All Time Artists chart in 2019, and was ranked as the ninth greatestBillboard 200 female artist of all time.Out of six siblings, Cyrus is the second daughter of country singer Billy Ray Cyrus. She emerged as a teen idol whileportraying the titular character of the Disney Channel television series Hannah Montana (2006–2011). As Hannah Montana, she attained two number-one andthree top-five soundtracks on the Billboard 200, and the U.S. Billboard Hot 100 top-ten single \"He Could Be the One\". Cyrus's initial solo career consisted of theteen-friendly pop rock U.S. number-one albums Meet Miley Cyrus (2007) and Breakout (2008); these releases contained the US top-ten singles \"See You Again\"and \"7 Things\". She then released the extended play The Time of Our Lives (2009), which peaked at number two in the U.S; its lead single, \"Party in the U.S.A\",became one of the best-selling singles in the United States and was certified diamond by the RIAA. She also released the country pop ballad \"The Climb\", whichpeaked at number four. Trying to reinvent her image, Cyrus explored dance-pop in her third album, Can't Be Tamed (2010). The record was critically panned;however, its title track reached the top ten in the U.S.Following a hiatus, she underwent a more mature and provocative musical shift with the release of the R&Band hip hop-infused Bangerz (2013). Supported by the top-five single \"We Can't Stop\" and the chart-topping \"Wrecking Ball\", it became her fifth number-onealbum and earned Cyrus her first Grammy Award nomination. She experimented with psychedelic music on her follow-up, the free album Miley Cyrus & Her DeadPetz (2015), before exploring country pop on Younger Now (2017), which contained the U.S. top-ten single \"Malibu\", and trap on the EP She Is Coming (2019).Plastic Hearts (2020) saw Cyrus venture into rock and glam rock; the record topped the Billboard Top Rock Albums chart. Cyrus's eighth studio album, EndlessSummer Vacation (2023), was preceded by the lead single \"Flowers\", which set several streaming records and became her second U.S. number-one single.Cyrushas also starred in the films Bolt (2008), Hannah Montana: The Movie (2009), The Last Song (2010), LOL (2012), and So Undercover (2013), and appeared inGuardians of the Galaxy Vol. 2 (2017). On television, she served as a coach on the singing competition series The Voice (2016–2017), starred in the \"Rachel, Jackand Ashley Too\" episode from the Netflix series Black Mirror (2019), and hosts the yearly NBC holiday special Miley's New Year's Eve Party (2021–present). Shefounded the non-profit organization Happy Hippie Foundation in 2014, which was supported by the web video series Backyard Sessions (2012–2023). She starredin and executive produced the Disney+ documentary concert special, Miley Cyrus – Endless Summer Vacation (Backyard Sessions) (2023).Life andcareer1992–2005: Early life and career beginningsDestiny Hope Cyrus was born November 23, 1992, in Franklin, Tennessee, to Leticia \"Tish\" Jean Cyrus (néeFinley) and country singer Billy Ray Cyrus. She was born with supraventricular tachycardia, a condition causing an abnormal resting heart rate. Her birth name,Destiny Hope, expressed her parents' belief that she would accomplish great things. Her parents nicknamed her \"Smiley\", which they later shortened to \"Miley\",because she often smiled as an infant. In 2008, she legally changed her name to Miley Ray Cyrus; her middle name honors her grandfather, Democratic politicianRonald Ray Cyrus, who was from Kentucky. Cyrus's godmother is singer-songwriter Dolly Parton.Against the advice of her father's record company, Cyrus'sparents secretly married on December 28, 1993, a year after her birth. They had two more children, son Braison and daughter Noah. From a previousrelationship, her mother has two other children, Brandi and Trace. Her father's first child, Christopher Cody, was born in April 1992 and grew up separately withhis mother, waitress Kristin Luckey, in South Carolina.All of Cyrus's maternal siblings are established entertainers. Trace is a vocalist and guitarist for theelectronic pop band Metro Station. Noah is an actress and along with Braison, models, sings, and is a songwriter. Brandi was formerly a musician for the indierock band Frank + Derol and is a professional DJ. The Cyrus farmhouse is located on 500 acres of land outside Nashville.Cyrus attended Heritage ElementarySchool in Williamson County while she and her family lived in Thompson's Station, Tennessee. When she was cast in Hannah Montana, the family moved to LosAngeles and she attended Options for Youth Charter Schools studying with a private tutor on set. Raised as a Christian, she was baptized in a Southern Baptistchurch before moving to Hollywood in 2005. She attended church regularly while growing up and wore a purity ring. In 2001, when Cyrus was eight, she and herfamily moved to Toronto, Canada, while her father filmed the television series Doc. After Billy Ray Cyrus took her to see a 2001 Mirvish production of Mamma Mia!at the Royal Alexandra Theatre, Miley Cyrus grabbed his arm and told him, \"This is what I want to do, daddy. I want to be an actress.\" She began to take singingand acting lessons at the Armstrong Acting Studio in Toronto.Cyrus's first acting role was as Kylie in her father's television series Doc. In 2003, she receivedcredit under her birth name for her role as \"Young Ruthie\" in Tim Burton's Big Fish. During this period she auditioned with Taylor Lautner for the feature film TheAdventures of Sharkboy and Lavagirl in 3-D. Although she was one of two finalists for the role, she chose to appear in Hannah Montana instead.Her mother tookon the role of Miley's manager and worked to acquire a team to build her daughter's career. Cyrus signed with Mitchell Gossett, director of the youth division atCunningham Escott Slevin Doherty. Gossett is often credited with \"discovering\" Cyrus and played a key role in her auditioning for Hannah Montana. She latersigned with Jason Morey of Morey Management Group to handle her music career; Dolly Parton steered her to him. She hired her father's finance manager as partof her team.2006–2009: Hannah Montana and early musical releasesCyrus auditioned for the Disney Channel television series Hannah Montana when she wasthirteen years old. She auditioned for the role of the title character's best friend, but was called to audition for the lead role instead. Despite being denied the partat first because she was \"too small and too young\" for the role, she was later cast as the lead because of her singing and acting abilities. The series premiered inMarch 2006 to the largest audience for a Disney Channel program and quickly ranked among the highest-rated series on basic cable. The success of the series ledto Cyrus being labeled a \"teen idol\". She toured with the Cheetah Girls as Hannah Montana in September 2006 and performed songs from the show's first season.Walt Disney Records released a soundtrack credited to Cyrus's character in October of that year. The record was a commercial success, topping the Billboard 200chart in the United States; it went on to sell over three million copies worldwide. With the release of the soundtrack, Cyrus became the first act within the WaltDisney Company to have deals in television, film, consumer products, and music.Cyrus signed a four-album deal with Hollywood Records to distribute hernon-Hannah Montana soundtrack music. She released the two-disc album Hannah Montana 2: Meet Miley Cyrus in June 2007. The first disc was credited as thesecond soundtrack by \"Hannah Montana\", while the second disc served as Cyrus's debut studio album. The album became her second to reach the top of theBillboard 200, and has sold over three million copies. Months after the release of the project, \"See You Again\" (2007) was released as the lead single from thealbum. The song was a commercial success, and has sold over two million copies in the United States since its release. She collaborated with her father on thesingle \"Ready, Set, Don't Go\" (2007). Next Cyrus embarked on her highly successful Best of Both Worlds Tour (2007–08) to promote its release. Ticketmasterofficials commented that \"there [hadn't] been a demand of this level or intensity since The Beatles or Elvis\". The tour's success led to the theatrical release of the3D concert film Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008). While initially intended to be a limited release, the film's success led to alonger run.Cyrus and friend Mandy Jiroux began posting videos on the popular website YouTube in February 2008, referring to the clips as \"The Miley and MandyShow\"; the videos garnered a large online following. In April 2008, several pictures of Cyrus in her underwear and swimsuit were leaked online by a teenager whohacked her Gmail account. Further controversy erupted when it was reported that the then-15-year-old Cyrus had posed topless during a photo shoot by AnnieLeibovitz for Vanity Fair. The New York Times subsequently clarified that although the shot left the impression that Cyrus was bare-breasted, she was wrapped ina bed sheet and was not topless.Cyrus went on to release her second studio album, Breakout (2008), in June of that year. The album earned the highestfirst-week sales of her career thus far and became her third to top the Billboard 200. Cyrus later starred with John Travolta in the animated film Bolt (2008), herdebut as a film actress; she also co-wrote the song \"I Thought I Lost You\" (2008) for the film, which she sings as a duet with Travolta. The film was a critical andcommercial success and earned her a Golden Globe Award nomination for Best Original Song.In March 2009, Cyrus released \"The Climb\" (2009) as a single fromthe soundtrack to the Hannah Montana feature film. It was met with a warm critical and commercial reaction, becoming a crossover hit in both pop and countrymusic formats. The soundtrack, which features the single, went on to become Cyrus's fourth entry to top the Billboard 200; at age 16, she became the youngestartist in history to have four number-one albums on the chart. She released her fourth soundtrack as Hannah Montana in July 2009, which debuted at number"}
+{"doc_id":"doc_238","qid":"","text":"Passage 1:Summer EverSummer Ever is the fourth release, and third full-length LP from The Revolution Smile. The album was an independent release, soldonline in physical format and on iTunes and Amazon.Track list\"Summer Ever\" - 1:12\"Are You Awake?\" - 4:16\"I Was a Werewolf\" - 3:22\"Ringwald\" -3:17\"Destination Isolation\" - 3:33\"Maybe, Baby\" - 3:17\"Fate\" - 3:55\"When Love Was Dead\" - 4:52\"Recover\" - 4:37\"Move South\" - 1:08\"The State We're In\" -3:30\"Positive.Negative\" - 2:33\"Nice Talking to You\" - 3:11\"My Skin Is Thicker Than I Wanted\" - 6:19\"Flight Delay\" - 4:13Passage 2:Leaving on a MaydayLeavingon a Mayday is an album by singer-songwriter Anna Ternheim.  It was released on 11 August 2008 and is Ternheim's fourth full-length LP.Track listing\"What HaveI Done\" – 3:21\"Damaged Ones\" – 3:09\"Terrified\" – 4:42\"Let It Rain\" – 4:54\"My Heart Still Beats for You\" – 4:27\"No, I Don't Remember\" – 3:53\"Make It On MyOwn\" – 3:24\"Summer Rain\" – 3:55\"Losing You\" – 3:38\"Off the Road\" – 3:54\"Black Sunday Afternoon\" – 4:37\"Terrified\" – 3:33Delux EditionCD1What Have IDoneDamaged OnesTerrifiedLet It RainMy Heart Still Beats For YouNo I Don't RememberSummer RainLosing YouOff The RoadBlack Sunday AfternoonCD2: \"AnnaSings Sinatra\"New York New YorkCome Fly With MeFly Me To The MoonThat's LifeStrangers In The NightBox editionCD1What Have I DoneDamagedOnesTerrifiedLet It RainMy Heart Still Beats For YouNo I Don't RememberSummer RainLosing YouOff The RoadBlack Sunday AfternoonNew York New YorkComeFly With MeFly Me To The MoonThat's LifeStrangers In The NightCD2: LIVE EP FROM TOURING 2009No, I Don't RememberDamaged OnesA French LoveWeddingSongLet It RainDVD: ANNA PERFORMS FIVE ACOUSTIC VERSIONSWhat Have I DoneSummer RainNo, I Don't RememberOff The RoadMy Heart Still Beats ForYouPassage 3:Been ListeningBeen Listening is the second full-length LP by London-based folk-rock band Johnny Flynn & The Sussex Wit.  The album wasrecorded in both London and Seattle, and features collaborations with Laura Marling and Anna Calvi. The album was also released in a 2-disc special edition andon vinyl.Track listingPassage 4:At Mount ZoomerAt Mount Zoomer, the second full length LP from the Canadian indie rock band Wolf Parade, was released onJune 17, 2008.Album titleThe album is named after Wolf Parade drummer Arlen Thompson's sound studio, Mount Zoomer; the name of the studio references \"aB.C. euphemism for magic mushrooms\", and also nods to the Montreal band A Silver Mount Zion. The album was originally meant to be entitled Kissing theBeehive; however, due to possible copyright infringements in relation to Jonathan Carroll's 1997 novel of the same name, this title was changed. Singer andkeyboardist Spencer Krug said that the band \"didn't know that was the title of a book... We might have to change it, but we might not. And we'll have to make itclear that it's not [named] after his book. It's a complicated situation.\" It had also been reported earlier by Blender that the record was entitled Pardon My Blues;however, on April 28, Sub Pop officially announced that the album's name would be At Mount Zoomer.Album overviewThe band started playing new songs livethat would end up on At Mount Zoomer as early as summer 2007. Among the first to be played were \"Language City\" and \"Fine Young Cannibals\".According tosinger and guitarist Dan Boeckner, half of the album was recorded in Farnham, Quebec at Petite Église, an old church that was converted to a recording studio bythe band Arcade Fire for the production of their album Neon Bible. After touring the east coast in late 2007, Wolf Parade recorded the rest of At Mount Zoomer atMIXart Studios in Montreal, Quebec. Afterwards, the album was mixed at Arlen Thompson's sound studio, Mount Zoomer.The cover art for the album features thework of Matt Moroz and Elizabeth Huey, depicting a battle scene between the two artists.The track \"Call It a Ritual\" was released by the band on April 14,2008.ReceptionAt Mount Zoomer received positive reviews from critics. On Metacritic, the album holds a score of 78 out of 100 based on 28 reviews, indicating\"generally favorable reviews\".Track listingPersonnelWolf Parade – mixing, producing, \"overdubs and vocals recorded by\"Harris Newman – masteringArlenThompson – recording (tracks 1, 2, 4, 6-8), \"one vocal recorded by\"David Ferry – recording (tracks 3, 5, 9)Nick Petrowski – recording (tracks 3, 5, 9)David Smith– \"some vocals recorded by\"Jace Lasek – \"some vocals recorded by\"Elizabeth Huey – artworkMatt Moroz – artworkPassage 5:Tear Ourselves AwayTear OurselvesAway is the first full-length LP by San Francisco-based indie rock band LoveLikeFire.  The album was released commercially on August 10, 2009.  A leaked versionof the album first appeared on the internet in April 2009.Track listingThe track listing is as follows:\"William\"\"From a Tower\"\"Crows Feet\"\"Signs\"\"I've Pissed Off MyFriends\"\"Good Judgment\"\"Boredom\"\"My Left Eye\"\"Far From Home\"\"Stand in Your Shoes\"\"Everything Must Settle\"Passage 6:Blow in the WindBlow in the Wind isthe third album by Me First and the Gimme Gimmes, released in 2001, on the Fat Wreck Chords independent record label.  Blow in the Wind features severaltracks which are led off with musical mash-ups of, or homages to, classic Punk songs, a trend the group began on their second album, Are a Drag (with anappropriation of \"Generator\" by Bad Religion for their cover of \"My Favorite Things\") and would continue with Take a Break and Ruin Jonny's Bar Mitzvah: \"SloopJohn B\" samples \"Teenage Lobotomy\" by The Ramones, \"Elenor\" samples \"London Calling\" by The Clash, \"San Francisco\" samples \"Stranger Than Fiction\" by BadReligion, \"I Only Want to Be With You\" samples and \"The Money Will Roll Right In\" by Fang. Similarly, the track \"Different Drum\" also ends with a guitar riff takenfrom \"Georgy Girl\" by the Seekers.The first song begins with a clip similar to the hidden track on the NOFX album Punk in Drublic where Fat Mike attempts to findthe proper pitch of the word \"how\" in the line \"How did the cat get so fat?\" from \"Perfect Government\".The album is made up entirely of \"Hits of the 1960s\". Theband's version of \"Different Drum\" can be heard during the credits of the film Dodgeball: A True Underdog Story.The band's version of \"Sloop John B\" is featuredin the 2013 film The Wolf of Wall Street.Track listingPersonnelSpike Slawson - vocalsChris Shiflett (a.k.a. Jake Jackson) - lead guitarJoey Cape - rhythm guitarFatMike - bassDave Raun - drumsPassage 7:The Crew (album)The Crew is the debut studio album by American hardcore punk band 7 Seconds, released in 1984 byBYO Records. The original LP was released with 18 tracks, and later re-released on compact disc with six live bonus tracks.Critical receptionThe Austin Chroniclecalled the album a \"stone classic,\" writing that \"precious few third wave punk-hardcore outfits have aged as stoically – or as relevantly – as vox/guitar sibling duoKevin Seconds and Steve Youth.\" In a retrospective review, Tiny Mix Tapes wrote that the band's sound \"is distilled ... to a steady grind of too-pah beats andblender-like three-chord sounds, but it’s the combination of this minimalism and Kevin Seconds’s voice — passionate, melodic, hopeful — that makes you believeeverything he says.\" LA Weekly placed The Crew at #3 on its list of the top twenty hardcore albums in history, writing that \"7 Seconds wrote the book on positivehardcore and that book is called The Crew.\"Track listingAll songs written by Kevin Seconds, except for where noted.\"Here's Your Warning\" - 1:18\"Definite Choice\"- 0:55\"Not Just Boys Fun\" (Seconds, Steve Youth) - 1:29\"This Is the Angry Pt. 2\" - 1:09\"Straight On\" - 0:24\"You Lose\" - 0:36\"What If There's a War in America\"- 0:42\"The Crew\" - 0:51\"Clenched Fists, Black Eyes\" - 1:30\"Colourblind\" - 1:42\"Aim to Please\" - 1:14\"Boss\" (Seconds, Youth) - 0:45\"Young 'Til I Die\" - 2:01\"Redand Black\" - 0:37\"Die Hard\" - 0:57\"I Have a Dream\" - 1:00\"Bully\" - 1:05\"Trust\" - 2:13\"Here's Your Warning\" (Live) - 1:35\"Spread\" (Live) - 1:21\"I Have aDream\" (Live) - 0:58\"Young 'Til I Die\" (Live) - 1:51\"Not Just Boys Fun\" (Live) (Seconds, Youth) - 1:26\"Rock Together\" (Live) - 2:12PersonnelKevin Seconds: LeadVocalsDan Pozniak: Guitar, VocalsTroy Mowat: DrumsSteve Youth: Bass, PianoPassage 8:Full Length LPFull Length LP is the debut album by the HuntingtonBeach, California punk rock band Guttermouth, released in 1991 by Dr. Strange Records. It introduced the band's style of fast, abrasive punk rock withtongue-in-cheek humor and sarcastic lyrics. The album was originally released as an LP but was repackaged the following year as a CD including tracks from theband's first 2 EPs Puke and Balls, as well as the previously unreleased tracks \"Malted Vomit\" and \"Ghost.\" It was re-released again in 1996 by Nitro Records underthe title The Album Formerly Known as Full Length LP.The album proved to be a success for the band, expanding their fan base and giving them opportunities toplay shows all over southern California alongside other popular punk rock bands. An animated music video was made for the song “1, 2, 3…Slam!” and played onlocal punk rock and skateboarding video programs. Many of the songs from Full Length would remain staples in the band's live set throughout their career.TracklistingAll songs written by Guttermouth except where noted\"Race Track\"\"No More\"\"Jack La Lanne\"\"Where Was I?\"\"Old Glory\"\"I'm Punk\"\"Mr. Barbeque\"\"Bruce Leevs. the Kiss Army\"\"Chicken Box\"\"Carp\"\"Toilet\"\"Oats\"\"1, 2, 3...Slam!\"\"I Used to be 20\" (written & originally performed by the Dayglo Abortions as \"I Used to be inLove\")\"Reggae Man\"\"Chicken Box\" (again)*\"Just a Fuck\"*\"Hypocrite\"*\"Marco-Polo\"*\"Under My Skin\"*\"Gas Out\"*\"No Such Thing\"*\"MaltedVomit\"*\"Ghost\"**Tracks 16-24 are included on CD re-releases only. Tracks 16-22 comprise the band's first 2 EPs Puke and Balls, while tracks 23 & 24 arepreviously unreleased. \"Chicken Box (again)\" is not included on the 1996 re-release.PersonnelMark Adkins - vocalsScott Sheldon - guitarEric \"Derek\" Davis -guitarClint \"Cliff\" Weinrich - bassJames Nunn - drumsAlbum informationRecord label:original LP & CD releases: Dr. Strange Records1996 re-release: NitroRecordsRecorded April 27–28 and June 22–23, 1990 at Westbeach Recorders by Donnell Cameron with assistance by Joe PeccorilloProduced by GuttermouthAllsongs written by Guttermouth except \"I Used to be 20\" by the Dayglow Abortions1996 re-release remastered by Eddie Shreyer at FuturediscPhotos on 1996re-release by Paul CobbPassage 9:Night FallsNight Falls is the seventh studio album released by American hip-hop group Heiruspecs. It was released on April 22,2014 independently. It is the band's first full-length LP since 2008's self-titled album.Track listingPassage 10:At the End of the Day (Disagree album)At The EndOf The Day is the first full-length LP by Malaysia-based band Disagree. It was released on February 10, 2004.Track listingPersonnelZahid – Vocals, LeadGuitarHamka – DrumsAziz – BassAshroff – Rhythm Guitar"}
+{"doc_id":"doc_239","qid":"","text":"Passage 1:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVN Award – Best Director, Video (TheCockateer)1995 AVN Hall of Fame inducteePassage 2:Riccardo FredaRiccardo Freda (24 February 1909 – 20 December 1999) was an Italian film director. Heworked in a variety of genres, including sword-and-sandal, horror, giallo and spy films.Freda began directing I Vampiri in 1956. The film became the first Italiansound horror film production.BiographyRiccardo Freda was born in 1909 in Alexandria, Egypt to Italian parents. Freda attended school in Milan where he took artclasses at the Centro Sperimantale. After school he took on work as a sculptor and art critic.Film careerFreda first began working in the film industry in 1937 anddirected his first film Don Cesare di Bazan in 1942. Freda began directing I Vampiri. I Vampiri was the first Italian horror film of the sound era, following the lonesilent horror film Il mostro di Frankenstein (1920)  Despite being the first, a wave of Italian horror productions did not follow until Mario Bava's film Black Sundaywas released internationally.Freda died on 20 December 1999 in Rome.FilmographyNotes^  a Freda has denied having taken part in writing the script for thisfilm, despite being credited.^  b Freda was originally to direct the film but stated that he walked off the set on the first day of shooting.^  c Freda name is not inthe credits but some sources state he directed several battles scenes in the film, which Freda denies.^  d Freda name is not in the credits but some sources statehe edited the naval battle scenes in the film, which Freda denies.^  e Freda has claimed to have shot the entire film.Passage 3:Oh Sailor BehaveOh, Sailor,Behave! is a 1930 American Pre-Code musical comedy film produced and released by Warner Brothers, and based on the play See Naples and Die, written byElmer Rice. The film was originally intended to be entirely in Technicolor and was advertised as such in movie trade journals. Due to the backlash againstmusicals, it was apparently released in black-and-white only.PlotAn American newspaper reporter named Charlie Carroll (Charles King) is sent to Venice tointerview a Romanian general, who is played by Noah Beery. While in Venice Charlie falls for a young heiress named Nanette Dodge (Irene Delroy). When Charlieis unable to get an interview with the Romanian general, a local siren named Kunegundi (Vivien Oakland), who is the general's favorite helps him. Meanwhile,Nanette learns that her sister is being blackmailed by Prince Kasloff of Russia (Lowell Sherman), to whom she wrote some incriminating letters. Nanette attemptsto vamp the Prince in order to obtain the love letters. The Prince, however, tricks her and demands that Nanette marry him if she wants to save her sister. Afterbeing repeatedly rebuked by Nanette, the prince hires the Romanian general (Noah Beery) to kidnap her and force her into  marriage. Charlie, thinking she haseloped, consoles himself with Kunegundi (Vivien Oakland) and almost marries her until he realizes the truth about Nanette and that she has been kidnapped bythe Prince. Charlie sets out to rescue her and when the Prince shows up disguised as the general he shoots Prince Kasloff. Charlie and Nanette are happilyreunited.Ole Olsen and Chic Johnson provide comic relief that is completely unrelated to the main story. They play the part of two American sailors stationed inNaples who attempt to find a wooden-legged thief who has robbed the navy storehouse in Venice. Louisa, a local siren (played by Lotti Loder) leads them on andembroils them in trouble.Music\"When Love Comes In The Moonlight\"\"Leave A Little Smile\"\"Highway to Heaven\"\"The Laughing Song\"\"Tell Us Which One Do YouLove\"Production backgroundCharles King recorded three songs for the film for Brunswick Records: Brunswick 4840 (Highway to Heaven/When Love Comes in theMoonlight); Brunswick 4849 (Leave A Little Smile). The other side of Brunswick 4849 featured a song from the aborted MGM revue The March of Time (1930).Thiswas to be Charles King's last musical movie. He went back to the Broadway stage, since movie audiences had grown tired of musicals, and never returned to thescreen.Due to the public apathy towards musicals, Warner Bros. did not debut this film in the usual prestigious movie theaters. The film was immediately  placedin general release with no fanfare.Comedians Olsen and Johnson were added to the film due to growing public apathy towards serious stage actors such as Kingand Delroy. The movie was marketed as a comedy film with these comics billed as \"America's funniest clowns\".PreservationThe version of the film released in theUnited States, late in 1930, survives intact. A print is at the Museum of Modern Art, and is in the Turner Classic Movies film library as well as the Library ofCongress. The complete soundtrack also survives on Vitaphone disks. The film was released on DVD through the Warner Archive Collection in 2014.Passage 4:SeeNaples and DieSee Naples and Die (Italian: Vedi Napoli e poi muori) is a 1952 Italian crime-melodrama film directed by Riccardo Freda.PlotDrug dealer Sanesi istrying to get her old friend Marisa to have her husband, a senior bank official, sing. But the official becomes convinced that Marisa is cheating on him with Sanesiand throws his wife out of the house. In order to prevent the situation from deteriorating, Marisa decides to assassinate Sanesi. A murder trial then opens againstMarisa. Her acquittal in self-defense will lead Marisa and her husband to reconciliation.CastGianna Maria Canale: MarisaRenato Baldini: Giacomo MariniVittorioSanipoli: Roberto SanesiFranca Marzi: Lover of SenesiCarletto SpositoClaudio VillaProductionFollowing the success of his previous film La vendetta di Aquila Nera,Riccardo Freda directed his next film produced by Umberto Momi and Carlo Caiano through their company Associati Produttori Indipendenti (A.P.I.). Freda claimedhe shot the film within 15 days, with three on location in Naples and the rest in Rome at CSC studios.The film marked the first collaboration between Freda andhis longtime director of photography, Gábor Pogány. Freda commented on his collaboration with his Hungarian cinematographer, stating that \"It is quiteastonishing, but it was the Hungarians and the Czechs who revolutionized cinematography in Italy. Stallich, Vich and Pogany. They reinvented the use of lightingon sets... This trio remained famous in Italy the name of 'Hungarian school'\".ReleaseSee Naples and Die was distributed theatrically in Italy by Associati ProduttoriIndipendenti on March 29, 1952. The film grossed a total of 381,384,000 Italian lire domestically in Italy.  The film was released in the United States as SeeNaples and Die in 1959 where it was released subtitled and distributed by Crown Pictures.ReceptionItalian critic and film historian Roberto Curti stated that Italiancritics \"generally panned the film\". On its release in the United States, the New York Times stated the film had a \"sodden script\" and that \"Gianna Maria Canale,as that pretty, luckless lady, is involved  in nearly every cliche dear to the devotees of daytime detergent dramas on radio, but unsmilingly she comes through[...] There are English titles but even without them it is fairly clear that sad is the word for the manufactured tragedies in See Naples and Die.\"See alsoList ofItalian films of 1952Passage 5:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch showBo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020).Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer wasborn and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which heco-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010,respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie(2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)ManUp (2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click &Collect (2018)Semi-Detached (2019)Breeders (2020)Passage 6:Season of StrangersSeason of Strangers (sometimes referred as haiku film) is 1959 unfinishedAmerican 16 mm black and white Avant-garde-experimental short film directed by Maya Deren.ProductionThe film began as a part of Deren's workshop whichtook place in Woodstock, New York, during July 6 to July 25 in 1959. Deren after claimed that the location was important for the structure of the film. Also thelyrical aspect of Japanese Haiku motivated the fim as well.Passage 7:Maya DerenMaya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́раДеренко́вська; May 12 [O.S. April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) Americanexperimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer,writer, and photographer.The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography,ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual,black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage,Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims.Meshes of theAfternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinemahistory. Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual inTransfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, hercamerawoman.Early lifeDeren was born May 12 [O.S. April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, topsychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse.In 1922, the family fled theUkrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York. Her father shortened the familyname from Derenkovskaya to \"Deren\" shortly after they arrived in New York. He became the staff psychiatrist at the State Institute for the Feeble-Minded inSyracuse. Deren's mother was a musician and dancer who had studied these arts in Kyiv. In 1928, Deren's parents became naturalized citizens of the United"}
+{"doc_id":"doc_240","qid":"","text":"Passage 1:Jane WighamJane Wigham (née Smeal; 1801–1888) was a leading Scottish abolitionist, and was the secretary of the Glasgow Ladies' EmancipationSociety.LifeSmeal was born in Glasgow in 1801, the sister of William Smeal. She was educated as a Quaker at Ackworth School in Yorkshire. The family resided inEdinburgh, later moving to Aberdeen. As Quakers, Smeal's family were unusual in Scotland. The 1851 census shows that there were fewer than 400 activeScottish Quakers at the time.Smeal became the leader and secretary of the radical Glasgow Ladies Emancipation Society. Her brother William in 1822 founded theGlasgow Anti-Slavery Society, a forerunner of the Glasgow Emancipation Society, and was later active in the latter. Smeal had a record of anti-slavery activity,long before the Free Church became involved in the issue.In 1838 she published an important pamphlet with Elizabeth Pease of Darlington titled Address to theWomen of Great Britain. This document called for British women to speak in public and to form anti-slavery organisations for women. An address that Smealprepared for Queen Victoria has been credited with being the \"final blow\" that ended slavery in the Caribbean.In 1840 Smeal became the second wife of theQuaker John Wigham, who was a tea merchant and active abolitionist in Glasgow. In 1830, Wigham's wife and two of their children died however the family wasrevitalized when he married Smeal. Jane Smeal became Jane Wigham and she formed a close friendship and collaboration with her stepdaughter, Eliza Wigham.Smeal and Wigham's marriage took place in the same year as the World's Anti-Slavery Convention in London, where Eliza was one of the delegates.After theLadies' Emancipation Society ceased activity, Jane and Eliza, along with some of their friends, set up the Edinburgh chapter of the National Society of Women'sSuffrage. Priscilla Bright McLaren, the president, Elizabeth Pease, the treasurer, and McLaren's daughter Agnes McLaren joined Eliza as joint secretaries. Despite alack of support from her husband John, Jane and her stepdaughter established the Edinburgh society as one of the leading British groups supporting thecontroversial views of the American abolitionist and social reformer William Lloyd Garrison.John Wigham died in 1864 and Eliza remained on at the family homeon South Gray Street in Edinburgh to care for her stepmother. Jane died in November 1888 after a prolonged illness.LegacyFour of the women associated withEdinburgh in the 19th century were the subject of a campaign by Edinburgh historians in 2015. The group aimed to gain recognition for Elizabeth Pease Nichol,Priscilla Bright McLaren, Eliza Wigham, and Jane Smeal – the city's \"forgotten heroines\".Passage 2:Angelo I GozzadiniAngelo I Gozzadini (died between 1468 and1476) was Lord of Kythnos.He married in 1429 Caterina Crispo (born 1415, date of death unknown), daughter of Nicholas Crispo, Lord of Syros and sister ofFrancesco II, sixteenth Duke of the Archipelago.Passage 3:May Green HinckleyMay Green Hinckley (May 1, 1881 – May 2, 1943) was the third Primary generalpresident of the Church of Jesus Christ of Latter-day Saints (LDS Church) from 1940 until her death. She was the stepmother of Gordon B. Hinckley, fifteenthpresident of the LDS Church.BiographyGreen was born in Brampton, Derbyshire, England. Her mother had joined the LDS Church three years before Green'sbirth, but her father never joined. She emigrated to the United States with her mother and some of her siblings in 1889. Green was baptized into the LDS Churchin 1891, and was by then living in Salt Lake City.Green was raised in the church's Salt Lake 5th Ward. Early on she was a teacher in both the Sunday School andthe Young Women Mutual Improvement Association (YWMIA). She served as a missionary for the church in the Central States Mission from 1907 to 1909.Afterstudying booking and accounting, Green began work as business manager for a Salt Lake medical clinic.In 1920, Green was made president of the YLMIA of theGranite Stake in Salt Lake City. She served in this position for the next 12 years, and oversaw the initial establishment of the Gleaner program.In 1932, at theage of 50, Green married Bryant S. Hinckley, whose wife, Ada, had died in 1930. At the time, five of Hinckley's 13 children were still living at home. At that time,Green was president of the stake YWMIA. One of the children, Gordon B. Hinckley, later recalled that he and the other children were upset by their father'sdecision to remarry, but they eventually came to accept their stepmother: \"I don't know that it was easy for her to step into our family, but she did it well. We allrespected her. We all loved her\". In 1935, when Bryant Hinckley became president of the Northern States Mission based in Chicago, May Hinckley went with himand presided over the Primary Association, YWMIA, and Relief Society within the mission.In 1940, May Hinckley was asked by church president Heber J. Grant tosucceed May Anderson and become the third general president of the church's Primary Association. In her 3+1⁄2-year tenure, Hinckley introduced a revisedcurriculum, added a scripture-reading program for leaders and teachers, established a formal scriptural theme for Primary, and selected the official Primary logo,motto and colors.Hinckley formed a committee that created lessons for use by Primaries in missions (as opposed to stakes). With energy rationing as a result ofWorld War II, she oversaw the creation of more home-based Primary programs.Hinckley was the editor of The Children's Friend while she was the PrimaryGeneral President. Her term ended when she unexpectedly died of pneumonia in Salt Lake City, Utah, the day after her 62nd birthday. She was succeeded byAdele C. Howells, her first counselor.See alsoLaVern W. Parmley: second counselor to HinckleyNotesExternal linksMay Green Hinckley at Find a GravePassage4:Francesco I CrispoFrancesco I Crispo, Patrizio Veneto (died 1397) was the tenth Duke of the Archipelago through his marriage and the will of Venice.FrancescoCrispo was probably born in Verona. He was Lord of Milos, thus a vassal to the Duke of Naxos, as well as his cousin through his marriage to Fiorenza Sanudo, agrand-daughter of the Duke Guglielmo Sanudo. Crispo might also have been a pirate. He was sent by the Republic of Venice to Naxos in March 1383 for concernthat the then Duke Niccolò III dalle Carceri was incompetent. The Republic suffered from predation by the Ottoman Empire in the Aegean.On the island, a huntwas suggested. Officially, on the way back Niccolo III, escorted by Crispo's men was attacked by rebels or thieves. He fell off his horse and died. To quench anyrevolt, Francesco Crispo had to assume power.The Republic of Venice quickly sent its congratulations.Andros was another problem. It belonged to Maria Sanudo,sister of the late duke. When Francesco gave as a dowry Andros and Syros to his own daughter Pétronilla, Maria Sanudo called for justice in Venice.With his wifehe had eight children:Giacomo I CrispoPetronilla Crispo (1384–1427), married to Pietro Zeno, together they received Andros and Syros as dowryAgnese Crispo(1386–1428), married to Dragonetto Clavelli, Lord of NisyrosJohn II CrispoWilliam II CrispoNicholas Crispo, Lord of SyrosMarco I Crispo, Lord of IosNobil HuomoPietro Crispo, Patrizio Veneto (1397–1440), married to NN and had issue:Giovanni Crispo (died 1475), Knight of the Knights HospitallerPassage 5:DorothyGrangerDorothy Karolyn Granger (November 21, 1911 – January 4, 1995) was an American actress best known for her roles in short subject comedies inHollywood.CareerGranger, with her parents, two brothers, Richard and James, and their grandmother, Clara (née Wilcox) Granger, moved to Los Angeles duringthe late 1920s.Granger got her start in the entertainment industry when she won a beauty contest at the age of 13 at Silver Beach Summer Resort near Houston.Her budding figure and confident stage presence were perfect for studios that made comedy shorts. In 1930, her father took her to producer Hal Roach, who wasthen testing talent for his upcoming comedy series, The Boy Friends. Granger’s natural comedy timing got her the job immediately and she was placed undercontract to Hal Roach Studios. She became a charter member of the two-reel-comedy community, appearing opposite many major comedians at Roach, MackSennett, Educational Pictures, Columbia Pictures, and RKO Radio Pictures. Among her famous credits are Hog Wild with Laurel & Hardy, The Dentist with W.C.Fields, Punch Drunks and Termites of 1938 with The Three Stooges. Granger also appeared with Andy Clyde, Charley Chase, Edgar Kennedy, Harry Langdon, GusSchilling & Richard Lane, and Joe DeRita, as well as on live television with Abbott & Costello. Granger is best remembered as the sarcastic, suspicious wife in LeonErrol's series of two-reelers for RKO.For her body of work in two-reelers, Granger was known as the \"Queen of the Short Subject Films\". However, she alsoappeared in about 100 feature films, including Frisco Jenny, Sunset in El Dorado, Kentucky Kernels, Dick Tracy vs. Cueball, Diamond Jim, and Show Boat.LateryearsGranger worked on a variety of television shows through the 1950s, including The Abbott and Costello Show, I Married Joan, Father Knows Best, Topper,Lassie, Death Valley Days and Wells Fargo. Her last television performance was a live show on Face The Facts in 1961. Granger left show business in 1963, callingit an “ulcer factory.”Granger made her last public appearance in 1993 for the Screen Actors Guild’s 60th anniversary celebration. She was an honored guest at thecelebration because she was one of SAG’s first members. In later years she helped her husband run an upholstery shop in Los Angeles.She was the stepmother offilm maker and former record producer Anthony J. Hilder.DeathGranger died of cancer on January 4, 1995, aged 83, in Los Angeles, California.SelectedfilmographyPassage 6:Anthony Crispo, Lord of SyrosAnthony Crispo (or Antonio;  - 1494), became Lord of Syros in 1463 after his older brother Francesco'sdeath. He was the youngest son of Nicholas Crispo, Lord of Syros and Princess Eudokia Valenza Komnene, daughter of Emperor Alexios IV Komnenos of theTrebizond, and brother of Francesco II, sixteenth Duke of the Archipelago.He married ... de Paterno, without issue.Passage 7:Henriette FeuerbachHenrietteFeuerbach (13 August 1812 – 5 August 1892) was a German author and arts patron. She was the wife of Joseph Anselm Feuerbach and the stepmother of painterAnselm Feuerbach, whom she supported in his art.LifeBorn Henriette Heydenreich in Ermetzhofen, she was the third child and only daughter of the pastor JohannAlexander Heydenreich (1754–1814) and his wife Friederika Christine née Freudel. Her brothers were Friedrich Wilhelm Heidenreich, to become a physician, andChristian Heydenreich (1800–1865), a future judge. They grew up in Ansbach and were educated in Latin, Greek and music.She married on 13 April 1834 thewidower Josef Anselm Feuerbach, whose first wife was Amalie Keerl (1805–1830). She lived with him and his two children, Emilie (1827–1873) and Anselm(1829–1880), first in Freiburg im Breisgau, later in Heidelberg. She gave piano lessons, directed a choir, and organised house concerts. Clara Schumann and"}
+{"doc_id":"doc_241","qid":"","text":"Passage 1:Domenico de DominicisDomenico de Dominicis or Domenico de Dominici (died 1478) was a Roman Catholic prelate who served as Bishop of Brescia(1464–1478)and Bishop of Torcello (1448–1464).BiographyOn 20 February 1448, Domenico de Dominicis was appointed during the papacy of Pope Nicholas V asBishop of Torcello.On 14 November 1464, he was appointed during the papacy of Pope Paul II as Bishop of Brescia.He served as Bishop of Brescia until his deathin 1478. While bishop, he was the principal consecrator of Johannes Hinderbach, Bishop of Trento (1466); and the principal co-consecrator of Giovanni StefanoBotticelli, Bishop of Cremona (1467).Passage 2:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands internationalcricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms ofcricket, but returned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead ofthe ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for theAmsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, aProfessor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currentlya Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas ofsocial change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics inAfrica.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. andPh.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University ofCambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University ofIbadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and AfricanStudies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of theInternational African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Pressand the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (CambridgeUniversity Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he isthe editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writersand Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan,2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with EbenezerObadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan,2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 4:DomenicoMaggiottoDomenico Maggiotto or Domenico Fedeli (1713–1794) was an Italian painter and engraver of the late-Baroque period.He was one of the main pupils ofGiovanni Battista Piazzetta. His son Francesco Maggiotto was also a painter.He lived and worked mainly in Venice.Passage 5:ShahanuddinChoudhuryShahanuddin Choudhury (born 15 June 1967) is a Bangladeshi sprinter. He competed in the men's 200 metres at the 1992 Summer Olympics.Passage6:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory,Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily on installation, performance anddigital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts of place andcommunity.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North Americaand abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native ArtsFoundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.CuratorialcareerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn 2018, Hill received the Indspire Awardfor Arts.Passage 7:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-bornfirst-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-armspin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948,he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshirewickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-classcareer, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runsin the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career.Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951,he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's CountyChampionship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 gamesproduced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from othercounties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spinof Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been theresince the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played in almost every match during his four years withthe county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in theChampionship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spinbowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared betterwith reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higheraverage). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with matchfigures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of thetable.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival ofBryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included hishighest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance,taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matchesbrought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourthseason running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langfordreturning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, theonly season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But hisseason came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during theWeston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a singleend-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highlycontroversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002,"}
+{"doc_id":"doc_242","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker(1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)TheDoctor Blake Mysteries (2013)Passage 2:Robert Baker (actor)Robert Baker (born October 15, 1979, in Memphis, Tennessee) is an American actor known for hisroles in Valentine, Grey's Anatomy, Out of Time, and a supporting role in the film Special.Early lifeBaker is the son of musician Lee Baker and his wife Carol. Hisfather Lee was a member of the Memphis rock group, Mud Boy and the Neutrons.CareerHe had a small role as a partygoer in the 1999 film Angel on AbbeyStreet. While still attending theater school at the University of Southern California, he landed a role in the TV movie The Ruling Class, playing a funny high schooljock.In 2018, Baker recurred in Supergirl as Mercy Graves' brother Otis Graves.FilmographyFilmTelevisionVideo gamePassage 3:Peter LevinPeter Levin is anAmerican director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films.Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney& Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), PopeyeDoyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, forwhich she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the CarnegieMellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He alsoco-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The InteractTheatre Company.Passage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who hasworked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months,resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States afterleaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born inDublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both arthistory and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During histenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exportedprior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), anIndian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum ofArt in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bringgreater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, andIdeologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storagefor classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu:Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson:Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie),Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7SeanScully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to AustralianSociety and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an"}
+{"doc_id":"doc_243","qid":"","text":"Passage 1:René ClairRené Clair (11 November 1898 – 15 March 1981), born René-Lucien Chomette, was a French filmmaker and writer. He first established his reputation in the 1920s as a director of silent films in which comedy was often mingled with fantasy. He went on to make some of the most innovative early sound films in France, before going abroad to work in the UK and USA for more than a decade. Returning to France after World War II, he continued to make films that were characterised by their elegance and wit, often presenting a nostalgic view of French life in earlier years. He was elected to the Académie Française in 1960. Clair's best known films include Un chapeau de paille d'Italie (The Italian Straw Hat, 1928), Sous les toits de Paris (Under the Roofs of Paris, 1930), Le Million (1931), À nous la liberté (1931), I Married a Witch (1942), and And Then There Were None (1945).Early lifeRené Clair was born and grew up in Paris in the district of Les Halles, whose lively and picturesque character made a lasting impression on him. His father was a soap merchant; he had an elder brother, Henri Chomette (born 1896). He attended the Lycée Montaigne and the Lycée Louis-le-Grand. In 1914 he was studying philosophy; his friends at that time included Raymond Payelle who became the actor and writer Philippe Hériat.In 1917, at the age of 18, he served as an ambulance driver in World War I, before being invalided out with a spinal injury. He was deeply affected by the horrors of war that he witnessed and gave expression to this in writing a volume of poetry called La Tête de l'homme (which remained unpublished). Back in Paris after the war, he started a career as a journalist at the left-wing newspaper L'Intransigeant.Film careerHaving met the music-hall singer Damia and written some songs for her, Clair was persuaded by her to visit Gaumont studios in 1920 where a film was being cast and he then agreed to take on a leading role in Le Lys de la vie, directed by Loïe Fuller and Gabrielle Sorère. He adopted the stage-name of René Clair, and several other acting jobs followed, including Parisette for Louis Feuillade. In 1922 he extended his career as a journalist, becoming the editor of a new film supplement to a monthly magazine, Théâtre et Comœdia illustrés.  He also visited Belgium and after an introduction from his brother Henri, he became an assistant to the director Jacques de Baroncelli on several films.1924–1934In 1924, with the support of the producer Henri Diamant-Berger, Clair got the opportunity to direct his own first film, Paris qui dort (The Crazy Ray), a short comic fantasy. Before it had been shown however, Clair was asked by Francis Picabia and Erik Satie to make a short film to be shown as part of their Dadaist ballet Relâche; he made Entr'acte (1924), and it established Clair as a leading member of the Parisian avant-garde.Fantasy and dreams were also components of his next two films, but in 1926 Clair took a new direction when he joined Alexandre Kamenka's Films Albatros company to film a dramatic story, La Proie du vent (The Prey of the Wind), which met with commercial success. He remained at Albatros for his last two silent films, Un chapeau de paille d'Italie (An Italian Straw Hat) and Les Deux Timides (Two Timid Souls) (both 1928), in which he sought to translate the essentially verbal comedy of two plays by Labiche into works of silent cinema. While at Albatros, Clair met the designer Lazare Meerson and the cameraman Georges Périnal who were to remain important collaborators with him for the next decade. By the end of the silent era, Clair was celebrated as one of the great names in cinema, alongside Griffith, Chaplin, Pabst and Eisenstein. As the author of all of his own scripts, who also paid close attention to every aspect of the making of a film, including the editing, Clair was one of the first French film-makers to establish for himself the full role of an auteur.Clair was initially sceptical about the introduction of sound to films, and called it \"an unnatural creation\". He then realised the creative possibilities that it offered, particularly, in his view, if the soundtrack was not used realistically; words and pictures need not, and indeed should not, be tied together in a clumsy duplication of information; dialogue did not always need to be heard. Between 1930 and 1933, Clair explored these ideas in his first four sound films, starting with Sous les toits de Paris (Under the Roofs of Paris); this was followed by Le Million (1931), À nous la liberté (1931), and Quatorze juillet (Bastille Day) (1933). All of these films portrayed an affectionate and idealized view of working class life, and they did much to create a popular romantic image of Paris which was seen around the world. These films were made at the Epinay Studios for Films Sonores Tobis, a French subsidiary of the German-owned Tobis company.When Chaplin made Modern Times in 1936, it was noted that some parts of it bore a marked similarity to scenes in À nous la liberté, and the production company Tobis launched a lawsuit for plagiarism against United Artists, the producers of Chaplin's film. Clair was embarrassed by this since he acknowledged his own debt to the spirit of Chaplin, and he refused to be associated with the action.After the immense success of these early sound films, Clair met with a major setback when his next film, Le Dernier Milliardaire (The Last Billionaire/The Last Millionaire) (1934), was a critical and commercial flop. While he was visiting London for the film's British première, he met Alexander Korda who offered him a contract to work in England.  He accepted, and began a lengthy period of exile from film-making in France.1935–1946Clair's contract with Korda's London Films was for two years and it envisaged three films. Because of his limited English, he collaborated with the American dramatist Robert E. Sherwood as script-writer for his first film, The Ghost Goes West (1935), a comic fantasy about transatlantic culture clash. Clair and Sherwood became close friends. In January 1936, Clair visited America for two weeks, checking out for future employment possibilities but still planning to remain with Korda. Korda however rejected Clair's next script and they parted company. Clair's remaining time in England led to only one more completed film, Break the News (1938), a musical comedy with Jack Buchanan and Maurice Chevalier.Returning to France, Clair attempted to make another film there in 1939, Air pur, which was to be a celebration of youth and childhood, but the outbreak of war interrupted filming and it was abandoned. In May 1940, Jean Giraudoux, then Minister of Information, suggested to Clair that the film profession should concentrate its resources in the south of country in Nice and Marseille – and if necessary establish a French production centre in the United States. It was with this last plan in mind that Clair and his family, along with Julien Duvivier, departed for America, but by the time he reached New York the project had already fallen through and he went straight on to Hollywood where several studios were interested in employing him. He made his first American film for Universal Studios, The Flame of New Orleans (1941), but it was such a commercial failure that for a time Clair's career as a director was in the balance. After more than a year's delay, his next film was I Married a Witch (1942), followed by It Happened Tomorrow (1944), both of which did respectably well, and then And Then There Were None (1945), which turned out to be an exceptional commercial success despite being perhaps the least personal of his Hollywood ventures. Each of Clair's American films was made for a different studio.In 1941 Clair was stripped of his French citizenship by the Vichy government, though this was later reversed. It was also in 1941 that he learned of the death of his brother Henri Chomette in France from polio. In 1943, he was planning to go to Algeria to organise the Service Cinématographique de l'Armée, but funding for the project was withdrawn just as he was on the point of departure. In July 1945 he went back to France for a short visit, and then returned finally in July 1946, having signed a contract with RKO for his next film to be made in France.Clair's American exile had allowed him to develop his characteristic vein of ironical fantasy with several commercially successful films, but there was some feeling that it had been at the expense of personal control and that his output there had not matched the quality of his earlier work in France. Clair himself recognised that being employed by the highly organized American studios had allowed him to work in ideal circumstances: \"In spite of the restrictions of the American system, it is possible, if one wishes, to take responsibility. In my four Hollywood films I managed to do what I wanted.\"1947–1965Clair's first film on his return to France was the romantic comedy Le silence est d'or (Silence is Golden) (1947), which was set in 1906 and nostalgically evoked the world of early French film-making; its plot also created variations on Molière's L'École des femmes. Clair considered it one of his best post-war films. Literary inspirations also underpinned other films: Faust for La Beauté du diable (Beauty and the Devil) (1950); and Don Juan for Les Grandes Manœuvres (1955). In these two films and the intervening Les Belles de nuit (Beauties of the Night) (1952), the leading actor was Gérard Philipe who became a friend and a favourite performer for Clair. Porte des Lilas (1957) was a sombre film, set once again in a popular district of Paris with its picturesque inhabitants, for which the singer Georges Brassens was persuaded to give his only film performance.During the 1950s, as a new generation of French critics and film-makers emerged who were impatient of the prevailing modes of film production, Clair found himself increasingly criticised as a representative of the cinéma de qualité, a \"cinema of old men\" dominated by nostalgia for their younger days. His status as a figure of the 'establishment' was further confirmed by his election to the Académie Française in 1960. Although he continued to make a few more films in comic vein such as Tout l'or du monde (All the Gold in the World) (1961), they were not well received and he made his last film, Les Fêtes galantes (The Lace Wars), in 1965.Writing and later workClair began his career as a journalist, and writing remained an important interest for him to which he increasingly turned in his later years. In 1926 he published a novel, Adams (translated into English as Star Turn), about a Hollywood star for whom the distinction between the real and unreal becomes blurred. He occasionally returned to writing fiction (La Princesse de Chine and Jeux du hasard), but many of his publications dealt with the cinema, including reflections on his own films. Apart from many journal articles, his main publications were:Adams. (Paris: Grasset, 1926). English translation, Star Turn, (London: Chatto & Windus, 1936).Réflexion faite. (Paris: Gallimard, 1951). English translation, Reflections on the Cinema. (London: William Kimber, 1953).La Princesse de Chine, suivi de De fil en aiguille. (Paris: Grasset, 1951).Comédies et commentaires. (Paris: Gallimard, 1959) [includes 5 of Clair's screenplays]. English translation, in part, Four Screenplays. (New York: Orion Press, 1970).Discours de réception à l'Académie française. (Paris: Gallimard, 1962).Tout l'or du monde. (Paris: Gallimard, 1962).Cinéma d'hier, cinéma d'aujourd'hui. (Paris: Gallimard, 1970). English translation, Cinema Yesterday and Today. (New York: Dover, "}
+{"doc_id":"doc_244","qid":"","text":"Passage 1:Beatrix of BadenBeatrix of Baden (22 January 1492 – 4 April 1535) was a margravine (wife of a margrave) of Baden by birth and by marriage and aCountess Palatine of Simmern.  She was a daughter of Christoph I, Margrave of Baden and Ottilie of Katzenelnbogen.Marriage and issueIn 1508 she married theCount Palatine  Johann II of Simmern (born: 21 March 1492; died: 18 May 1557).  With him she had twelve children:Catherine (1510–1572), Abbess in KumbdmonasteryJohanna (1512–1581), Abbess in Marienberg monastery at BoppardOttilia (1513–1553), nun at Marienberg in BoppardFrederick III the Pious(1515–1576), Elector Palatinemarried firstly 1537 Princess Marie of Brandenburg-Kulmbach (1519–1567)married secondly 1569 Countess Amalia ofNeuenahr-Alpen (1540–1602)Brigitta (1516–1562), Abbess at Neuburg an der DonauGeorg (1518–1569), Count Palatine of Simmern-Sponheimmarried in 1541princess Elisabeth of Hesse (1503–1563)Elisabeth (1520–1564)married in 1535 Count Georg II of Lauterbach (1506-1569)Reichard (1521–1598), Count Palatineof Simmern-Sponheimmarried in firstly 1569 Countess Juliane of Wied (1545-1575)married in secondly 1578 Countess Emilie of Württemberg(1550-1589)married in thirdly 1589 Countess Palatine Anna Margarete of Veldenz (1571-1621)Maria (1524–1576), nun at Marienberg in BoppardWilliam(1526–1527)Sabine (1528–1578)married in 1544 Count Lamoral of Egmont (1522–1568)Helena (1532–1579)married in 1551 Count Philipp III ofHanau-Münzenberg (1526–1561)AncestorsPassage 2:Frederick II, Grand Duke of BadenFrederick II (9 July 1857 – 9 August 1928; German: Großherzog vonBaden Friedrich II.) was the last sovereign Grand Duke of Baden, reigning from 1907 until the abolition of the German monarchies in 1918. The Weimar-era stateof Baden originated from the area of the Grand Duchy. In 1951–1952, it became part of the new state of Baden-Württemberg.LifeFriedrich \"Fritz\" Wilhelm LudwigLeopold August Prinz von Baden was born on 9 July 1857, in Karlsruhe in the state of Baden-Württemberg to Frederick I, Grand Duke of Baden and PrincessLouise of Prussia.As a student at the University of Heidelberg, Frederick was a member of the Suevia Corps, a student fraternal organization. Frederick becamethe head of the House of Zähringen on 28 September 1907, after the death of his father Frederick I, who was the sovereign Grand Duke of Baden reigning from1856 to 1907. He abdicated on 22 November 1918, amidst the tumults of the German Revolution of 1918–19 which resulted in the abolition of the Grand Duchy.After the death of his cousin Carola of Vasa, he became the representative of the descent of the Kings of Sweden of the House of Holstein-Gottorp. On 20September 1885 in Schloss Hohenburg, he married Princess Hilda of Nassau, the only daughter of the exiled Duke Adolphe of Nassau who later succeeded asGrand Duke of Luxembourg. There was no surviving issue from the marriage.He was à la suite the Royal Prussian Regiments Erstes Garde-Regiment zu Fuß (1stGuard Foot Regiment) and 1. Garde-Ulanen-Regiment and à la suite the Imperial 1st Seebataillon. He was also Regimentschef of the 4. Königlich SächsischesInfanterie-Regiment Nr. 103, which was also known as Infanterie-Regiment „Großherzog Friedrich II. von Baden“ (4. Königlich Sächsisches) Nr.103.Promotions1875 : Sekondeleutnant (= Leutnant)1881 : Premierleutnant (= Oberleutnant)1882 : Hauptmann1884 : Major1889 : Oberst1891 :Generalmajor1893 : Generalleutnant1897 : General der Infanterie1905 : Generaloberst with the rank of GeneralfeldmarschallDeathAfter his death in 1928, theheadship of the house was transferred over to his first cousin who was the last Chancellor of Imperial Germany, Prince Maximilian of Baden.Honours andawardsGerman orders and decorationsForeign orders and decorations  Austria-Hungary:Grand Cross of the Royal Hungarian Order of St. Stephen, 1885MilitaryJubilee Cross, 14 August 1908 Belgium: Grand Cordon of the Order of Leopold Empire of Brazil: Grand Cross of the Southern Cross Denmark: Knight of theElephant, 13 October 1897 Kingdom of Italy: Knight of the Annunciation, 10 September 1897 Netherlands: Grand Cross of the Netherlands Lion Kingdom ofRomania:Grand Cross of the Order of Carol I, with CollarGrand Cross of the Star of Romania Russian Empire: Knight of St. Andrew  Sweden-Norway:Knight of theSeraphim, with Collar, 20 September 1881Grand Cross of St. Olav, 27 September 1897 United Kingdom: Honorary Grand Cross of the Royal Victorian Order, 16June 1905Honorary military appointmentsHonorary General of the Swedish Army, 1906AncestryPassage 3:Mechthild of BavariaMechthild of Bavaria (12 July 1532– 2 November 1565 in Baden-Baden) was a German noblewoman. She was the daughter of William IV, Duke of Bavaria and his wife Marie. She was buried in theStiftskirche at Baden-Baden.On 17 January 1557 she married Philibert, Margrave of Baden-Baden, and they had the following children:Jakobea (16 January 1558– 3 September 1597 in Düsseldorf), married Duke John William of Jülich-Cleves-Berg.Philip II (19 February 1559 in Baden-Baden – 17 June 1588), Margrave ofBaden.Anna Maria (22 May 1562 – 25 April 1583 in Trebon).Maria Salome (1 February 1563 – 30 April 1600 in Pfreimd).Mechthild is a German form ofMatilde.Passage 4:Herman II, Margrave of BadenHermann II of Baden (c. 1060 – 7 October 1130) was the first to use the title Margrave of Baden, after thefamily seat at Castle Hohenbaden. This castle is in the present day town of Baden-Baden.LifeHermann was the son of Hermann I of Baden and Judit ofBacknang-Sulichgau. He was ruler of the March of Verona from 1112 until 1130.He styled himself Dominus in Baden, comes Brisgaviae, marchio Verona. InEnglish, his titles were: Lord in Baden, Count of Brisgau, Margrave of Verona. Around 1070 Hermann began to build Castle Hohenbaden on top of the remains ofan old Celtic structure. After the structure was completed in 1112, he gave himself the title Margrave of Baden.He rebuilt the Augustine monastery that his fatherhad built in Backnang in 1123. Hermann was laid to rest in the monastery with the inscription:\"In this tomb lies the Margrave Hermann of Baden, who was thefounder of this monastery and temple. He died in the year thousand increased by hundred and three times ten fronm the time on when the pious virgin bore .When he was transferred here along with his descendancy, fifteen hundred years had passed, thereto ten onandall three.\"Family and childrenHermann II marriedJudit of Hohenberg and had the following children:Hermann III (d. January 16, 1160)Judith (d. 1162), married Ulrich I of Carinthia (d. 1144)Passage 5:PrinceWilliam of Baden (1829–1897)Prince Louis William Augustus of Baden (German: Ludwig Wilhelm August Prinz von Baden; 18 December 1829 – 27 April 1897)was a Prussian general and politician. He was the father of Prince Maximilian of Baden, the last Minister President of the Kingdom of Prussia and last Chancellor ofthe German Empire. Wilhelm was a Prince of Baden, and a member of the House of Zähringen.FamilyWilhelm was born in Karlsruhe, Grand Duchy of Baden, on18 December 1829 as the fifth child and third surviving son of Leopold, Grand Duke of Baden, and his wife Princess Sophie of Sweden. Through his father,Wilhelm was a grandson of Charles Frederick, Grand Duke of Baden and his wife Baroness Louise Caroline Geyer of Geyersberg and through his mother, agrandson of Gustav IV Adolf of Sweden and his wife Frederica of Baden.Wilhelm was a brother of Alexandrine, Duchess of Saxe-Coburg and Gotha, Louis II, GrandDuke of Baden, Frederick I, Grand Duke of Baden, Prince Charles of Baden, Marie, Princess Ernest of Leiningen, and Grand Duchess Olga Feodorovna ofRussia.Military careerDuring his brief service in the Baden Federal Contingent (German: Baden Bundescontingente), Wilhelm attained the rank of Lieutenant in1847 and First Lieutenant in 1849. Beginning between 1849 and 1850, he served as a First Lieutenant in the 1st Foot Guards (German: 1. Garde-Regiment zuFuß) infantry regiment of the Royal Prussian Army. Wilhelm received his formal education in the Prussian Army. From 1856, Wilhelm served as Major of the GuardArtillery (German: Gardeartillerie) and served as the last Major General and Commander of the Guards Artillery Brigade (German: Gardeartilleriebrigade).Wilhelm retired from Prussian military service in 1863 with the rank of Lieutenant General, shortly before his marriage to Princess Maria ofLeuchtenberg.Austro-Prussian WarIn 1866, during the Austro-Prussian War between the Kingdom of Prussia and the Austrian Empire, Wilhelm assumed commandof the Baden Division of the 8th Federal Corps (German: 8. Bundeskorps) siding with the Austrian-led German Confederation. The dissolution of the 8th FederalCorps began on 30 July 1866 when Wilhelm sent a flag of truce along with a letter to the Prussian headquarters at Marktheidenfeld. The letter stated thatWilhelm's father Leopold, Grand Duke of Baden, had entered into direct negotiations with Wilhelm I of Prussia and that King Wilhelm I granted the Baden troopspermission to return to their homes.Immediately following the Austro-Prussian War, Wilhelm reformed the army of Baden based upon the Prussian system.Wilhelm and Prince August of Württemberg were the two south German princes who were foremost in securing the union of the Northern and Southern Germanstates. On 22 September 1868, Wilhelm announced his resignation from the command of the troops of the Grand Duchy of Baden and was replaced by GeneralBeza.Franco-Prussian WarIn the Franco-Prussian War of 1870–71, Wilhelm commanded the 1st Baden Brigade in the XIV Corps. On 30 October 1870, Wilhelmand General Gustav Friedrich von Beyer assailed Dijon. The French had transported 10,000 men by rail and the citizens of Dijon, including women, joined in thedefense of the city against the Germans. The resistance was not easily subdued and the Germans suffered heavy losses, however according to historian GustaveLouis Maurice Strauss, \"[Wilhelm] carried the heights of St. Apollinari in gallant style and occupied the suburbs from which the Germans ultimately forced theirway into the city where fierce fights from barricade to barricade from house to house lasted till midnight.\" Dijon was occupied by 24,000 Prussians on 18 January1870, but was reoccupied by the French after a severe battle, and subsequently retaken by the Prussians on 19 January, during which Wilhelm was shot in hischeek at Nuits-Saint-Georges.Post-war careerIn 1895, Kaiser Wilhelm II promoted him à la suite to the Grenadier Regiment (German: Leibgrenadierregimentes)in honor of the 25th anniversary of the Battle of Nuits-Saint-Georges. At the same time, Wilhelm II made him knight of the Order of Pour le Mérite, the Kingdomof Prussia's highest military order.Wilhelm's final military rank was General of the Infantry.Political careerFrom a young age, Wilhelm held a seat in the FirstChamber of the Diet of the Grand Duchy of Baden. From 1871 to 1873, Wilhelm was a representative of Baden in the Reichstag of the German Empire in which he"}
+{"doc_id":"doc_245","qid":"","text":"Passage 1:Thomas Howard, 2nd Duke of NorfolkThomas Howard, 2nd Duke of Norfolk  (1443 – 21 May 1524), styled Earl of Surrey from 1483 to 1485 and againfrom 1489 to 1514, was an English nobleman, soldier and statesman who served four monarchs. He was the eldest son of John Howard, 1st Duke of Norfolk, byhis first wife, Catharina de Moleyns. The Duke was the grandfather of both Queen Anne Boleyn and Queen Catherine Howard and the great-grandfather of QueenElizabeth I. In 1513 he led the English to victory over the Scots at the decisive Battle of Flodden, for which he was richly rewarded by King Henry VIII, then awayin France.Early lifeThomas Howard was born in 1443 at Stoke-by-Nayland, Suffolk, the only surviving son of John Howard, later 1st Duke of Norfolk, by his firstwife, Katherine, the daughter of Sir William Moleyns (died 8 June 1425) and his wife Margery. He was educated at Thetford Grammar School.Service underEdward IVWhile a young man, he entered the service of King Edward IV as a henchman. Howard took the King's side when war broke out in 1469 with the Earl ofWarwick, and took sanctuary at Colchester when the King fled to Holland in 1470. Howard rejoined the royal forces at Edward's return to England in 1471, andwas severely wounded at the Battle of Barnet on 14 April 1471. He was appointed an esquire of the body in 1473. On 14 January 1478 he was knighted byEdward IV at the marriage of the King's second son, the young Duke of York, and Lady Anne Mowbray (died 1481).Service under Richard IIIAfter the death ofEdward IV on 9 April 1483, Thomas Howard and his father John supported Richard III. Thomas bore the Sword of State at Richard's coronation and served assteward at the coronation banquet. Both Thomas and his father were granted lands by the new King, and Thomas was also granted an annuity of £1000. On 28June 1483, John Howard was created Duke of Norfolk, while Thomas was created Earl of Surrey. Surrey was also sworn of the Privy Council and invested with theOrder of the Garter. In the autumn of that year Norfolk and Surrey suppressed a rebellion against the King by the Duke of Buckingham. Both Howards remainedclose to King Richard throughout his two-year reign, and fought for him at the Battle of Bosworth in 1485, where Surrey was wounded and taken prisoner, and hisfather killed. Surrey was attainted in the first Parliament of the new King, Henry VII, stripped of his lands, and committed to the Tower of London, where he spentthe next three years.Service under Henry VIIHoward was offered an opportunity to escape during the rebellion of the Earl of Lincoln in 1487, but refused, perhapsthereby convincing Henry VII of his loyalty. In May 1489 Henry restored him to the earldom of Surrey, although most of his lands were withheld, and sent him toquell a rebellion in Yorkshire. Surrey remained in the north as the King's lieutenant until 1499. He and his family lived in Sheriff Hutton Castle while in the North.In 1499 he was recalled to court, and accompanied the King on a state visit to France in the following year. In 1501 he was again appointed a member of thePrivy Council, and on 16 June of that year was made Lord High Treasurer. Surrey, Richard Foxe (Bishop of Winchester and Lord Privy Seal) and William Warham(Archbishop of Canterbury and Lord Chancellor), became the King's \"executive triumvirate\". He was entrusted with a number of diplomatic missions. In 1501 hewas involved in the negotiations for Catherine of Aragon's marriage to Arthur, Prince of Wales, and in 1503 conducted Margaret Tudor to Scotland for her weddingto King James IV.Service under Henry VIIISurrey was an executor of the will of King Henry VII when the King died on 21 April 1509, and played a prominent rolein the coronation of King Henry VIII, in which he served as Earl Marshal. He challenged Thomas Wolsey in an effort to become the new King's first minister, buteventually accepted Wolsey's supremacy. Surrey expected to lead the 1513 expedition to France, but was left behind when the King departed for Calais on 30June 1513. Shortly thereafter King James IV of Scotland launched an invasion into England, and Surrey, with the aid of other noblemen and his sons Thomas andEdmund, crushed James's much larger force at the Battle of Flodden, near Branxton, Northumberland, on 9 September 1513. The Scots may have lost as many as10,000 men, and King James was killed. The victory at Flodden brought Surrey great popular renown and royal rewards. On 1 February 1514, he was createdDuke of Norfolk, and his son Thomas was made Earl of Surrey. Both were granted lands and annuities, and the Howard arms were augmented in honour ofFlodden with an inescutcheon bearing the lion of Scotland pierced through the mouth with an arrow, within a double tressure flory-counterflory-gules, an emblemof the Scottish royal arms on rare occasion granted by Scottish kings to a favoured follower as a special mark of favour. The grant by Henry VIII to Howard wasthus a blatant heraldic insult to the kings of Scotland.Final yearsIn the final decade of his life, Norfolk continued his career as a courtier, diplomat and soldier. In1514 he joined Wolsey and Foxe in negotiating the marriage of Mary Tudor to King Louis XII of France, and escorted her to France for the wedding. On 1 May1517, he led a private army of 1,300 retainers into London to suppress the Evil May Day riots. In May 1521 he presided as Lord High Steward over the trial of hisin-law Edward Stafford, 3rd Duke of Buckingham. According to David M. Head, \"he pronounced the sentence of death with tears streaming down his face\".By thespring of 1522, Norfolk was almost 80 years of age and in failing health. He withdrew from court, resigned as Lord Treasurer in favour of his son in December ofthat year, and after attending the opening of Parliament in April 1523, retired to his ducal castle at Framlingham in Suffolk where he died on 21 May 1524. Hisfuneral and burial on 22 June at Thetford Priory were said to have been \"spectacular and enormously expensive, costing over £1300 and including a procession of400 hooded men bearing torches and an elaborate bier surmounted with 100 wax effigies and 700 candles\", befitting the richest and most powerful peer inEngland. After the dissolution of Thetford Priory, the Howard tombs were moved to the Church of St Michael the Archangel, Framlingham. A now-lost monumentalbrass depicting the 2nd Duke was formerly in the Church of St. Mary at Lambeth.Marriages and issueOn 30 April 1472, Howard married Elizabeth Tilney, thedaughter of Sir Frederick Tilney of Ashwellthorpe, Norfolk, and widow of Sir Humphrey Bourchier, slain at Barnet, son and heir apparent of Sir John Bourchier, 1stBaron Berners. They had issue:Thomas Howard, 3rd Duke of NorfolkSir Edward HowardLord Edmund Howard, father of Henry VIII's fifth Queen, CatherineHowardSir John HowardHenry HowardCharles HowardHenry Howard (the younger)Richard HowardElizabeth Howard, married Thomas Boleyn, 1st Earl of Wiltshire,and was mother of Queen Anne Boleyn, and grandmother of Queen Elizabeth.Muriel Howard (died 1512), married firstly John Grey, 2nd Viscount Lisle (died1504), and secondly Sir Thomas KnyvetNorfolk's first wife died on 4 April 1497, and on 8 November 1497 he married, by dispensation dated 17 August 1497, hercousin, Agnes Tilney, the daughter of Hugh Tilney of Skirbeck and Boston, Lincolnshire and Eleanor, a daughter of Walter Tailboys. They had issue:WilliamHoward, 1st Baron Howard of EffinghamLord Thomas Howard (1511–1537)Richard Howard (died 1517)Dorothy Howard, married Edward Stanley, 3rd Earl ofDerbyAnne Howard, married John de Vere, 14th Earl of OxfordCatherine Howard, married firstly, Rhys ap Gruffydd. Married secondly, Henry Daubeney, 1st Earl ofBridgewater.Elizabeth Howard (died 1536), married Henry Radclyffe, 2nd Earl of Sussex.Note: Thomas Howard indeed had two living daughters named ElizabethHoward and two living sons named Thomas Howard. It is unclear if he had two sons named Richard as well or if it was the same person. In the Dukes of Norfolkfamily tree, there is clearly a mistake. Richard Howard is there linked to Agnes Tilney (2nd wife of Thomas Howard), yet is said to born in 1487, which isimpossible to be true, as at the time Thomas Howard was married to Elizabeth Tilney.FootnotesPassage 2:Rhys ap Gruffydd (rebel)Rhys ap Gruffydd(1508–December 1531) was a powerful Welsh landowner who was accused of rebelling against King Henry VIII by plotting with James V of Scotland to becomePrince of Wales. He was executed as a rebel. He married Lady Catherine Howard (b. abt 1499 Ashwellthorpe, Norfolk, England), the daughter of Thomas Howard,2nd Duke of Norfolk and his second wife Agnes Tilney.Early lifeRhys was the grandson of Rhys ap Thomas, the most powerful man in Wales and close ally ofHenry VIII. His father, Gruffydd ap Rhys ap Thomas, died in 1521, leaving him his grandfather's heir. In 1524 Rhys married Catherine Howard, daughter ofThomas Howard, 2nd Duke of Norfolk.As his grandfather's heir, Rhys expected to inherit his estates and titles. When Rhys ap Thomas died in 1525, Henry VIIIgave his most important titles and powers to Walter Devereux, Lord Ferrers, leading to a feud between Rhys and Ferrers, which escalated over the next fewyears.Conflict with FerrersRhys attempted to increase his status in Wales, petitioning Cardinal Thomas Wolsey to be given various posts. The potential for conflictwith Ferrers increased when both men were given the right to extend their number of retainers; this led to the emergence of competing armed gangs. The badblood between Rhys and Ferrers reached a crisis point in June 1529 when Ferrers made a display of his status during preparations for the annual Court of GreatSessions in Carmarthen. Rhys, surrounded by forty armed men, threatened Ferrers with a knife. Rhys was arrested and imprisoned in Carmarthen Castle. Rhys'swife Catherine escalated the situation by collecting hundreds of her supporters and attacking the castle. She later threatened Ferrers himself with an armed gang.In the conflict between the two factions, several of Ferrers's men were killed. The factions continued to cause other disruptions over the coming months, leadingto deaths in street fights and acts of piracy.Treason chargesThe rebellious actions of Rhys's supporters led to Rhys's transfer to prison in London in 1531. By thisstage, Henry was claiming that Rhys was attempting to overthrow his government in Wales. Rhys had added the title Fitz-Urien to his name, referring to Urien,the ancient Welsh ruler of Rheged, a person of mythical significance. Rhys's accusers claimed that this was an attempt to assert himself as Prince of Wales. Hewas supposed to be plotting with James V of Scotland to overthrow Henry in fulfilment of ancient Welsh prophecies.Rhys was convicted of treason and wasexecuted in December 1531. The execution caused widespread dismay and he was openly said to have been innocent. Contemporary writer Ellis Gruffudd,however, argued that the arrogance of the Rhys family had caused their downfall, saying that \"many men regarded his death as Divine retribution for thefalsehoods of his ancestors, his grandfather, and great-grandfather, and for their oppressions and wrongs. They had many a deep curse from the poor people who"}
+{"doc_id":"doc_246","qid":"","text":"Passage 1:Muhammad Habib ShakirMuhammad Habib Shakir (1866 in Cairo – 1939 in Cairo) (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was an Egyptian judge, born inCairo and a graduate from Al-Azhar University.LifeSheikh Mohammed Shakir b. Ahmad b. ‘Abd al-Qadir was born in 1866 CE in Jirja, a city in Upper Egypt. Hestudied and graduated from Al-Azhar University. He died in 1939 in Cairo.His son, Sheikh Ahmad Muhammad Shakir, wrote his biography in a treatise entitledMohammed Shakir ‘Alam min A‘lam al-‘AsrPositionsSudan's Supreme Judge for four years (1890-1893)Dean of Alexandria's ScholarsAl-Azhar Secretary General(\"Wakil\") and a member of its board of directorsMember of Al-Azhar Corps of High ScholarsMember of Al-Azhar legislative Society (\"al-Jam‘iyyaal-Tashri‘iyya\")Works\"Al-Durus al-Awwaliyya fi al-‘Aqa’id al-Diniyya\"\"Al-Qawl al-Fasl fi Tarjamat al-Qur’an al-Karim\"\"Al-Sira al-Nabawiyya\"Qur'ancontroversyMohammed Habib Shakir has been stated by many internet sources as \"a well known translator of the Qur'an into English.\" He has been associatedwith the translator M. H. Shakir of the translation published by Tahrike Tarsile Qur'an. However this idea is contradicted by two pieces of evidence that have nowcome to light:There is strong evidence that Mohammed Habib Shakir was against the translation of the Qur'an and considered the rendering of the Arabic into anyother language unlawful.There is strong evidence that M. H. Shakir, the translator, is actually a pen name for Mohammedali Habib Shakir the son of Habib Esmailof The House of Habib.The translator of this edition was in fact a Pakistani Shi'a.See alsoList of Islamic scholarsTranslation of the Qur'anPassage 2:RumbiKatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and SecondaryEducation in Harare, Zimbabwe. Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received theChevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College, London University.Work andfilmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, Sheproduced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namelyTariro (2008);Big House, Small House(2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped(2006 – Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in thedepartment of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout theyear on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to actively support the film industry.Passage 3:EdwardYatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program AmericanBandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he becameemployed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live andlocal during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania.In October 1952, Yatesvolunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debutedwith Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after itbecame part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directed the cameras, queued thecommercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to Los Angeles, taking Yates withhim.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home wherehe had been for the last two months of his life.External linksEdward Yates at IMDbPassage 4:Reginald Le BorgReginald Le Borg (11 December 1902 – 25 March1989) was an Austrian film director. He was born in Vienna, Austria with the surname Groebel and directed 68 films between 1936 and 1974.Le Borg made aseries of low-budget horror films at Universal Studios in the 1940s. In 1944, he made his most expensive and also most successful film, San Diego, I Love You,featuring Buster Keaton in a supporting role.A banker in Vienna, he came to the United States as a visitor in 1928, 1929 and 1930, according to New Yorksteamship passenger manifests. He was recorded as Harry Reginald Groebel. He emigrated permanently in 1931. In his naturalization petition in 1937, hechanged his name legally from Harry Groebel to Reginald Le Borg Le Borg died in Los Angeles, California from a heart attack.Selected filmographyFurtherreadingHelmut G. Asper: Etwas besseres als den Tod – Filmexil in Hollywood. Schüren Verlag, Marburg 2002, ISBN 3-89472-362-9, p. 154–168 (German)HelmutG. Asper: Filmexilanten im Universal Studio. Bertz und Fischer, 2005, (German)Wheeler Winston Dixon: The Films of Reginald Le Borg. Scarecrow Press(Filmmakers series Book 31), 1992Passage 5:War JabiWar-Dyabe ibn Rabis (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000) or War Jabi (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000), alsoknown as: War Jaabi or War-Dyabe or War-Ndyay, was the king of Tekrur.  He converted to Islam around 1030 and his subjects did the same to imitate him.Following attacks on the Muslims of Tekrour by animists who were afraid of the growing influence of Islam in the kingdom, he called on his Almoravid allies whohelped him to take power. This conflict forced the ancestors of today's Serer people to flee south to land near the Saloum Delta.Under his reign, he expanded thekingdom by conquering other territories. The rapprochement with the Almoravids benefited the kingdom economically and created stronger political ties betweenthe Muslim states of North Africa and Tekrour. Later, during a period of domestic instability in the Ghana Empire, Tekrur ended up conquering the emprie with thehelp of the Almoravids by taking its capital Koumbi Saleh.He died in 433 Hijri (1040 or 1041 Gregorian), succeeded by his son Labi.SeealsoTakrurBambukSourcesBarry, Boubacar. Senegambia and the Atlantic slave trade, (Cambridge: University Press, 1998) p. 6Clark, Andrew F. and Lucie ColvinPhillips. Historical Dictionary of Senegal: Second Edition, (Metuchen, New Jersey: Scrarecrow Press, 1994) pp. 18; 265Fage, J. D.; Oliver, Roland Anthony, \"TheCambridge History of Africa: From c. 500 B.C. to A.D. 1050\", Cambridge University Press (1975), p. 485, ISBN 9780521209816 - [1] last retrieved 20 June2022Cohen, Robert Z., Discovering the Empire of Ghana, The Rosen Publishing Group, Inc. (2013), p. 39, ISBN 9781477718889 - [2] last retrieved 20 June2022Levtzion, Nehemia (1973). Ancient Ghana and Mali. New York: Methuen & Co Ltd. p. 44,183. ISBN 0841904316.NotesSerer historyPassage 6:ChesterWitheyChester \"Chet\" Withey (8 November 1887, Park City, Utah – 6 October 1939, California) was an American silent film actor, director, and screenwriter. Heparticipated in the production in total of some 100 films. Born in Park City, Utah, the son of Chester Henry Withey and Mary E. Kelso, Withey started his career insilent film as an actor in 1913. He starred in films such as the 1916 film The Wharf Rat.  He married Virginia Philley, a screenwriter, who also did someacting.However, by 1916, he had already directed several films and decided to concentrate on work behind the camera. Withey was also accredited with writingfor 15 films.He retired from film directing in 1928 and died 6 October 1939.Partial filmographyExternal linksChester Withey at IMDbPassage 7:Hassan ZeeHassan\"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan.as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbiddenfrom watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment atRadio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26,Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who werevictims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriageor fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to begto survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to SanFrancisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. Hegot his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme ofthe film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistaniexpatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.His second filmBicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation thatcame out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’sjourney back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and genderinequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comeshome from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious"}
+{"doc_id":"doc_247","qid":"","text":"Passage 1:Vidkun QuislingVidkun Abraham Lauritz Jonssøn Quisling (, Norwegian: [\u0000v\u0000\u0000dk\u0000n \u0000kv\u0000\u0000sl\u0000ŋ] (listen); 18 July 1887 – 24 October 1945) was aNorwegian military officer, politician and Nazi collaborator who nominally headed the government of Norway during the country's occupation by Nazi Germanyduring World War II.He first came to international prominence as a close collaborator of the explorer Fridtjof Nansen, and through organising humanitarian reliefduring the Russian famine of 1921 in Povolzhye. He was posted as a Norwegian diplomat to the Soviet Union and for some time also managed British diplomaticaffairs there. He returned to Norway in 1929 and served as minister of defence in the governments of Peder Kolstad (1931–32) and Jens Hundseid (1932–33) inrepresenting the Farmers' Party.In 1933, Quisling left the Farmers' Party and founded the fascist Nasjonal Samling (National Gathering). Although he gainedsome popularity after his attacks on the political left, his party failed to win any seats in the Storting, and by 1940, it was still little more than peripheral. On 9April 1940, with the German invasion of Norway in progress, he attempted to seize power in the world's first radio-broadcast coup d'état but failed since theGermans sought to convince the recognized Norwegian government to legitimize the German occupation, as had been done in Denmark during the simultaneousinvasion there, instead of recognizing Quisling. On 1 February 1942, he formed a second government, approved by the Germans, and served as ministerpresident and headed the Norwegian state administration jointly with the German civilian administrator, Josef Terboven. His pro-Nazi puppet government, knownas the Quisling regime, was dominated by ministers from Nasjonal Samling. The collaborationist government participated in Germany's war efforts, and sent Jewsout of the country to concentration camps in occupied Poland (General Government).Quisling was put on trial during the legal purge in Norway after World War II.He was found guilty of charges including embezzlement, murder and high treason against the Norwegian state, and was sentenced to death. He was executed byfiring squad at Akershus Fortress, Oslo, on 24 October 1945.Since his death, Quisling has become one of history's most infamous traitors due to his collaborationwith Nazi Germany. The term quisling has become a byword for \"collaborator\" or \"traitor\" in several languages and reflects the contempt with which Quisling'sconduct has been regarded both at the time and in the present day.Early lifeBackgroundVidkun Abraham Lauritz Jonssøn Quisling (Norwegian pronunciation ) wasborn on 18 July 1887 in Fyresdal, in the Norwegian county of Telemark. He was the son of Church of Norway pastor and genealogist Jon Lauritz Qvisling(1844–1930) and his wife Anna Caroline Bang (1860–1941), the daughter of Jørgen Bang, ship-owner and at the time the richest man in the town of Grimstad inSouth Norway. The elder Quisling had lectured in Grimstad in the 1870s; one of his pupils was Bang, whom he married on 28 May 1886, following a longengagement. The newly-wed couple promptly moved to Fyresdal, where Vidkun and his younger siblings were born.The family name derives from Quislinus, aLatinised name invented by Quisling's ancestor Lauritz Ibsen Quislin (1634–1703), based on the village of Kvislemark near Slagelse, Denmark, whence he hademigrated. Having two brothers and a sister, the young Quisling was \"shy and quiet but also loyal and helpful, always friendly, occasionally breaking into a warmsmile.\" Private letters later found by historians also indicate a warm and affectionate relationship between the family members. From 1893 to 1900, his fatherwas a chaplain for the Strømsø borough in Drammen. Here, Vidkun went to school for the first time. He was bullied by other students at the school for hisTelemark dialect, but proved a successful student. In 1900, the family moved to Skien when his father was appointed provost of the city.Academically Quislingproved talented in humanities, particularly history, and natural sciences; he specialised in mathematics. At this point, however, his life had no clear direction. In1905, Quisling enrolled at the Norwegian Military Academy, having received the highest entrance examination score of the 250 applicants that year. Transferringin 1906 to the Norwegian Military College, he graduated with the highest score since the college's inception in 1817, and was rewarded by an audience with theKing. On 1 November 1911, he joined the army General Staff. Norway was neutral in the First World War; Quisling detested the peace movement, though thehigh human cost of the war did temper his views. In March 1918, he was sent to Russia as an attaché at the Norwegian legation in Petrograd, to take advantageof the five years he had spent studying the country. Though dismayed at the living conditions he experienced, Quisling nonetheless concluded that \"theBolsheviks have got an extraordinarily strong hold on Russian society\" and marvelled at how Leon Trotsky had managed to mobilise the Red Army forces so well;he asserted that by contrast, in granting too many rights to the people of Russia, the Russian Provisional Government under Alexander Kerensky had broughtabout its own downfall. When the legation was recalled in December 1918, Quisling became the Norwegian military's expert on Russian affairs.TravelsParis,Eastern Europe, and NorwayIn September 1919, Quisling departed Norway to become an intelligence officer with the Norwegian delegation in Helsinki, a post thatcombined diplomacy and politics. In the autumn of 1921, Quisling left Norway once again, this time at the request of explorer and humanitarian Fridtjof Nansen,and in January 1922 arrived in the Ukrainian capital Kharkiv to help with the League of Nations humanitarian relief effort there. Highlighting the massivemismanagement of the area and the death toll of approximately ten thousand a day, Quisling produced a report that attracted aid and demonstrated hisadministrative skills, as well as his dogged determination to get what he wanted.Quisling replied [that] the Russian people needed wise leadership and propertraining [that they suffered from] indifference, a lack of clearly defined goals with conviction and a happy-go-lucky attitude [and that] it is impossible toaccomplish anything without willpower, determination and concentration.On 21 August 1922, he married the Russian Alexandra Andreevna Voronina. Alexandrawrote in her memoirs that Quisling declared his love for her, but from his letters home and investigations undertaken by his cousins, it appeared that there wasno romantic involvement between the two, Quisling merely seemed to have wanted to lift the girl out of poverty by providing her with a Norwegian passport andfinancial security.Having left Ukraine in September 1922, Quisling and Alexandra returned to Kharkiv in February 1923 to prolong aid efforts, with Nansendescribing Quisling's work as \"absolutely indispensable.\" In March 1923, Alexandra was pregnant, and Quisling insisted on her having an abortion, which greatlydistressed her. Quisling found the situation much improved and, with no fresh challenges, found it a more boring trip than his last. He did however meet MariaVasiljevna Pasetchnikova (Russian: Мари́я Васи́льевна Па́сечникова), a Ukrainian more than ten years his junior. Her diaries from the time \"indicate ablossoming love affair\" during the summer of 1923, despite Quisling's marriage to Alexandra the year before. She recalled that she was impressed by his fluentcommand of the Russian language, his Aryan appearance, and his gracious demeanour. Quisling later claimed to have married Pasetchnikova in Kharkiv on 10September 1923, although no legal documentation has been discovered. Quisling's biographer, Dahl, believes that in all likelihood the second marriage was neverofficial. Regardless, the couple behaved as though they were married, claimed Alexandra was their daughter, and celebrated their wedding anniversary. Soonafter September 1923, the aid mission came to an end and the trio left Ukraine, planning to spend a year in Paris. Maria wanted to see Western Europe; Quislingwanted to get some rest following bouts of stomach pain that had lasted all winter. The stay in Paris required a temporary discharge from the army, whichQuisling slowly grew to understand was permanent: army cutbacks meant that there would be no position available for him when he returned. Quisling devotedmuch of his time in the French capital to study, reading works of political theory and working on his philosophical project, which he called Universism. On 2October 1923, he persuaded the Oslo daily newspaper Tidens Tegn to publish an article he had written calling for diplomatic recognition of the Soviet government.Quisling's stay in Paris did not last as long as planned, and in late 1923 he started work on Nansen's new repatriation project in the Balkans, arriving in Sofia inNovember.The next two months he spent traveling constantly with his wife Maria. In January, Maria returned to Paris to look after Alexandra, who took on therole of the couple's foster-daughter; Quisling joined them in February. In the summer of 1924, the trio returned to Norway where Alexandra subsequently left tolive with an aunt in Nice and never returned. Although Quisling promised to provide for her well-being, his payments were irregular, and over the coming years hewould miss a number of opportunities to visit.Back in Norway, and to his later embarrassment, Quisling found himself drawn into the communist Norwegianlabour movement. Among other policies, he fruitlessly advocated a people's militia to protect the country against reactionary attacks, and asked members of themovement whether they would like to know what information the General Staff had on them, but he got no response. Although this brief attachment to thefar-left seems unlikely given Quisling's later political direction, Dahl suggests that, following a conservative childhood, he was by this time \"unemployed anddispirited ... deeply resentful of the General Staff ... [and] in the process of becoming politically more radical.\" Dahl adds that Quisling's political views at this timecould be summarised as \"a fusion of socialism and nationalism,\" with definite sympathies for the Soviets in Russia.Russia and the rouble scandalIn June 1925,Nansen once again provided Quisling with employment. The pair began a tour of Armenia, where they hoped to help repatriate Armenians, including those whosurvived the Armenian Genocide, via a number of projects proposed for funding by the League of Nations. Despite Quisling's substantial efforts, however, theprojects were all rejected. In May 1926, Quisling found another job with long-time friend and fellow Norwegian Frederik Prytz in Moscow, working as a liaisonbetween Prytz and the Soviet authorities who owned half of Prytz's firm Onega Wood. He stayed in the job until Prytz prepared to close down the business in early1927, when Quisling found new employment as a diplomat. British diplomatic affairs in Russia were being managed by Norway, and he became their new legationsecretary; Maria joined him late in 1928. A massive scandal broke when Quisling and Prytz were accused of using diplomatic channels to smuggle millions of"}
+{"doc_id":"doc_248","qid":"","text":"Passage 1:Gülbahar Hatun (wife of Mehmed II)Emine Gülbahar Mükrime Hatun (Ottoman Turkish: \u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000; \"benign\", \"spring rose\" and \" hospitable\"; died c. 1492), was consort of Sultan Mehmed II, and mother of Sultan Bayezid II.Early lifeThe Ottoman inscription (vakfiye) describes her as Hātun binti Abdullah (Daughter of Abdullah), which means that her father was possibly a convert to Islam. She was a Christian slave girl of either Greek, or Albanian, origin.MarriageGülbahar married Mehmed in 1446, when he was still a prince and the governor of Amasya. She had two children, a son, Şehzade Bayezid (future Bayezid II) born in 1447 in Demotika, and a daughter, Gevherhan Hatun, born in 1446, who married Ughurlu Muhammad, a son of Aq Qoyunlu Sultan Uzun Hasan in 1474.Due to their middle name in common, Gülbahar is sometimes confused with Sittişah Mukrime Hatun, another consort of MehmedIn 1451, after Mehmed's accession to the throne, she followed him to Edirne. According to Turkish tradition, all princes were expected to work as provincial governors as a part of their training. In 1455 or 1456, Bayezid was appointed the governor of Amasya, and Gülbahar accompanied him, where the two remained until 1481, except for in 1457, when she came to Constantinople, and attended her son's circumcision ceremony.Gülbahar was apparently quite concerned about the future of her son, and related to that, her own properties. In order to secure her properties, she endowed the incomes of certain villages and fields to the Enderun mosque in 1474. Among the endowed properties was the village of Ağılcık, which was turned back into a Timariot village in 1479 during the land reform.In 1468, Mehmed gave the village of Bağluca to Gülbahar. After six years, in 1473, she sold the village to Taceddin Bey, son of Hamza Bali (died 1486), the book keeper of Bayezid's court. In 1478, the village's exemption was abolished and granted back to her probably as a result of the land reform. This order was reissued a year later at the request of Mevlana Şemseddin Ahmed according to which the village was not reverted to her, and she had likely become subject to a legal dispute.Mother of the SultanPer custom, Gülbahar got the highest position in the imperial family after the sultan himself when her son, Bayezid ascended the throne in 1481 until her death in 1492. During her son's reign, she and the rest of the Imperial Family resided at the Old Palace (saray-ı atik) and were visited by the Sultan who on each visit used to pay his respect to his mother. In one case, Gülbahar complained of her son's rare visits and in a letter to her son wrote: \"My fortune, I miss you. Even if you don't miss me, I miss you ... Come and let me see you. My dear lord, if you are going on campaign soon, come once or twice at least so that I may see your fortune-favored face before you go. It's been forty days since I last saw you. My sultan, please forgive my boldness. Who else do I have beside you ... ?\"Gülbahar had a considerable influence over Bayezid, for she used to make evaluations about the situation of some statesmen. Bayezid also valued his mother's words. In a letter written to him, she advises him against Hersekzade Ahmed Pasha, but favours his tutor Ayas Pasha and Hizirbeyoğlu Mehmed Pasha.In 1485, Bayezid endowed a mosque, and a school in Tokat in the memory of Gülbahar Hatun.DeathGülbahar Hatun died in 1492, and was buried in Fatih Mosque, Istanbul. The tomb was damaged in the 1766 Istanbul earthquake, and was rebuilt in 1767–1768.IssueWith Mehmed II, Gülbahar Hatun had at least a daughter and a son:Gevherhan Hatun (c. 1446 - 1514).Bayezid II (1447 - 1512).In popular cultureIn the 2012 film Fetih 1453, Gülbahar Hatun is portrayed by Turkish actress Şahika Koldemir.In the 2013 Turkish series Fatih, Gülbahar Hatun is portrayed by Turkish actress Seda Akman.In the second season of Netflix's Rise of Empires: Ottoman (2020-2022), Gülbahar Hatun is portrayed by actress Yasemin Eti.See alsoOttoman EmpireOttoman dynastyList of consorts of the Ottoman SultansPassage 2:Hüma HatunHüma Hatun (Ottoman Turkish: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, \"bird of paradise/phoenix\" c. 1410 \u0000 September 1449) was a consort of Ottoman Sultan Murad II and mother of Mehmed II.LifeAlthough, some Turkish sources claim that she was of Turkish origin, Hüma Hatun was a slave girl of European origin. Nothing is known of her family background, apart from the fact that an Ottoman inscription (vakfiye) describes her as Hātun binti Abdullah (daughter of Abdullah); at that time, people who converted to Islam were given the name Abdullah meaning Servant of God, which is evidence of her non-Muslim origin. According to tradition, she was of Italian and/or Jewish origins and her original name was Stella or Ester. According to another theory, backed on the fact that Mehmed II was fluent in the Serbian language, it was that she came from those areas and was South Slavic, most likely Serbian. Finally, a third theory says she was Greek. Her name, hüma, means \"bird of paradise/phoenix\", after the Persian legend. Hüma Hatun entered in Murad II's harem around 1424. By him she had firstly two daughters, Hatice Hatun in 1425 and Fatma Hatun in 1430, and finally, on 30 March 1432, she gave birth to her only son, the future Sultan Mehmed the Conqueror. In 1438, Mehmed was circumcised along with his elder half-brother, Şehzade Alaeddin. When Mehmed was 11 years old, he was sent to Manisa as a prince governor. Hüma followed her son to Manisa. Her children's wet nurse was Hundi Hatun (d. 14 February 1486): usually styled Daye Hatun (lady governess), she became very wealthy and influential enough during the reign of Mehmed II, enough to fund several charitable foundations and commission prayers for her soul. In 1444, after the death of Mehmed's elder half-brother, Şehzade Alaeddin, who died in 1443, Mehmed was the only heir left to the throne. In that same year, Murad II abdicated the throne due to depression over the death of his son, Şehzade Alaeddin Ali Çelebi,  and retreated to Manisa.Her son Şehzade Mehmed succeeded the throne as Mehmed II. She held the Vâlide Hatun position for two years. In 1446, Murad took over the throne again, and Hüma and her son returned to Bursa. However, Mehmed succeeded the throne in 1451, after the death of his father, but she never became a Valide Hatun as she died before the accession. She was not alive to see the conquest of Constantinople, which became the capital of Ottoman Empire for nearly five centuries, before the Empire was abolished in 1922 and Turkey was officially declared as a republic.DeathShe died in September 1449 in Bursa, two years before her son's second accession to the throne. Her tomb is located at the site known as \"Hatuniye Kümbedi\" (Hatuniye Tomb) to the east of Muradiye Complex, which was built by her son Mehmed. The quarter where her tomb lies has been known thus far as Hüma Hatun Quarter.IssueBy Murad II, Hüma Hatun had two daughters and a son:Hatice Hatun (1425 - after 1470). She married Candaroğlu İsmail Kemaleddin Bey and had three sons: Hasan Bey, Yahya Bey and Mahmud Bey. Her descendants were still alive during the reign of Abdulmejid I, in the 19th century.Fatma Hatun (1430 - after 1464). She married Zaganos Pasha and had two sons: Hamza Bey and Ahmed Çelebî, who would become an important adviser to his cousin Bayezid II. After divorced in 1462, she married Mahmud Çelebi.Mehmed II the Conqueror (1432 - 1481) - with Hüma Hatun. Sultan of the Ottoman Empire after his father and conqueror of Constantinople in 1453.In popular cultureHüma Hatun was portrayed by Leyla Feray in the docuseries Rise of Empires: Ottoman (2020).See alsoList of consorts of the Ottoman sultansList of mothers of the Ottoman sultansPassage 3:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and ' Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) "}
+{"doc_id":"doc_249","qid":"","text":"Passage 1:Mehdi AbrishamchiMehdi Abrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedinof Iran (MEK).Early lifeAbrishamchi came from a well-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations in Iran. Hebecame a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member, and spenttime in jail until 1979.CareerShortly after Iranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council ofResistance of Iran.Electoral historyPersonal lifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani'syounger sister Azar.LegacyAbrishamchi credited Massoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"great schism\".Passage 2:PåsolsidenPå solsiden (On the Sunny Side) is a Norwegian comedy-drama film from 1956 directed by Edith Carlmar. It stars Arne Lie, Randi Kolstad, Henny Moan,Ellen Isefiær, and Joachim Holst-Jensen. The film is based on Helge Krog's 1927 play of the same name.PlotOn a warm summer day, the writer Joachim Briscomes to the Riibe estate. He has been invited by Hartvig, the son running the farm. However, not everyone is happy with the visit, which has unexpectedconsequences for several people in the family. All of them have a part to play when Esther must eventually have a big showdown with those that have alwayslived \"on the sunny side.\"Reception and reissueWhen the film premiered in 1956, the newspaper Aftenavisen Stavangeren characterized it as \"a truly amiable,sunny, and charming comedy.\" The film was released on DVD  in 2005 by Nordisk Film.OtherThe 1936 Swedish film På Solsidan (On the Sunny Side) was alsobased on Krog's play. It had a script written by Oscar Hemberg and was directed by Gustaf Molander. The film starred Lars Hanson, Ingrid Bergman, KarinSwanström, and Edvin Adolphson.CastArne Lie: landowner Hartvig RiibeEllen Isefiær: Margrethe, Hartvig's motherRandi Kolstad: Ester Riibe, Hartvig's wifeHennyMoan: Wenche, Hartvig's sisterJoachim Holst-Jensen: Uncle SeverinFrank Robert: Joakim BrisJan Voigt: Preben KlingbergLalla Carlsen: woman in a boatMinorroles are also played by Otto Carlmar, Haakon Arnold, Ragnar Olason, Odd Johansen, and Odd Rohde.Passage 3:Princess Auguste of Bavaria(1875–1964)Princess Auguste of Bavaria (German: Auguste Maria Luise Prinzessin von Bayern; 28 April 1875 – 25 June 1964) was a member of the BavarianRoyal House of Wittelsbach and the spouse of Archduke Joseph August of Austria.Birth and familyAuguste was born in Munich, Bavaria, the second child of PrinceLeopold of Bavaria and his wife, Archduchess Gisela of Austria. She had one older sister, Princess Elisabeth Marie of Bavaria and two younger brothers, PrinceGeorg of Bavaria and Prince Konrad of Bavaria.Marriage and issueShe married Joseph August, Archduke of Austria, on 15 November 1893 in Munich. The couplehad six children;Archduke Joseph Francis of Austria, born on 28 March 1895; died on 25 September 1957(1957-09-25) (aged 62)Archduchess Gisela AugusteAnna Maria, born on 5 July 1897; died on 30 March 1901(1901-03-30) (aged 3)Archduchess Sophie Klementine Elisabeth Klothilde Maria, born on 11 March 1899;died on 19 April 1978(1978-04-19) (aged 79)Archduke Ladislaus Luitpold, born on 3 January 1901; died on 29 August 1946(1946-08-29) (aged 44)ArchdukeMatthias Joseph Albrecht Anton Ignatius, born on 26 June 1904; died on 7 October 1905(1905-10-07) (aged 1)Archduchess Magdalena Maria Raineria, born on 6September 1909; died on 11 May 2000(2000-05-11) (aged 90)AncestryWorld War IOn the outbreak of war with Italy in 1915, Augusta Maria Louise, though inher 40s and the mother of a son serving as an officer, went to the front with the cavalry regiment of which her husband, the Archduke Josef August, a corpscommander, was honorary colonel, and served a common soldier, wearing a saber and riding astride, until the end of the war.Passage 4:Edith CarlmarEdithCarlmar (born Edith Mary Johanne Mathiesen) (15 November 1911 – 17 May 2003) was a Norwegian actress and Norway's first female film director. She is knownfor films such as Aldri annet enn bråk (1954), Fjols til fjells (1957), and Ung flukt (The Wayward Girl, 1959). Her 1949 film, Døden er et kjærtegn (Death is aCaress), is considered to be Norway's first film noir. The last film she directed, Ung flukt, introduced Liv Ullmann, Norway's most famous actor internationally, tothe silver screen.Carlmar came from a poor family in the working class districts of East Oslo. However, she did manage to take dancing classes and made herdebut on stage at the age of 15. In the theater she met Otto Carlmar whom she married three years later. From 1936 she worked as an actress in varioustheatres. Here she met the film director Tancred Ibsen who introduced her to the world of cinema.In 1949 she and her husband started Carlmar Film A/S, andbegan writing scripts, directing and producing films. They made ten feature films over a ten-year period. After a decade of film-making Carlmar retired as adirector. In the last part of her life she accepted only minor acting roles in plays and movies. Carlmar's films often tackled such social issues as abortion, drugaddiction, mental illness and out of wedlock births. Her films often pushed the boundaries of censorship at that time.FilmographyActressVigdis (1943)Denhemmelighetsfulle leiligheten (1948)Jentespranget (Lina's Wedding) (1973)DirectorDøden er et kjærtegn (1949)Skadeskutt (1951)Ung frue forsvunnet(1953)Aldri annet enn bråk (1954)Bedre enn sitt rykte (1955)På solsiden (1956)Slalåm under himmelen (1957)Fjols til fjells (1957)Lån meg din kone (1958)Ungflukt (The Wayward Girl) (1959)Director shortsBak kulisseneKirker i OsloLangåra - et sommerparadis on YouTube, published by the City Archive of Oslo * OslobymuseumVann og kloakk on YouTube, published by the City Archive of OsloPassage 5:Gertrude of BavariaGertrude of Bavaria (Danish and German: Gertrud;1152/55–1197) was Duchess of Swabia as the spouse of Duke Frederick IV, and Queen of Denmark as the spouse of King Canute VI.Gertrude was born to Henrythe Lion of Bavaria and Saxony and Clementia of Zähringen in either 1152 or 1155. She was married to Frederick IV, Duke of Swabia, in 1166, and became awidow in 1167. In 1171 she was engaged and in February 1177 married to Canute of Denmark in Lund. The couple lived the first years in Skåne. On 12 May1182, they became king and queen. She did not have any children. During her second marriage, she chose to live in chastity and celibacy with her husband.Arnold of Lübeck remarked of their marriage, that her spouse was: \"The most chaste one, living thus his days with his chaste spouse\" in eternal chastity.Passage6:Heather D. GibsonHeather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece(since 2011). She was the spouse of Euclid Tsakalotos, former Greek Minister of Finance.Academic careerBefore assuming her duties at the Bank of Greece andalternating child-rearing duties with her husband, Gibson worked at the University of Kent, where she published two volumes on international exchange ratemechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at the time.PersonallifeGibson first came to Greece in 1993, with her husband, with whom she took turns away from their respective economic studies to raise their three childrenwhile the other worked.The couple maintain two homes in Kifisia, along with an office in Athens and a vacation home in Preveza. In 2013, this proved detrimentalto Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis, \"aristocrat of the left\"), while newspapers opposedto the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the\"ethic of austerity\" in public. One opposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealth came from the samesort of investments in companies as made by financial institutions JP Morgan and BlackRock.WorksEditorEconomic Bulletin, Bank of GreeceBooksThe EurocurrencyMarkets, Domestic Financial Policy and International Instability (London, etc., Longman: 1989) ISBN 0312028261International Finance: Exchange Rates andFinancial Flows in the International Financial System (London, etc., Longman: 1996) ISBN 0582218136Economic Transformation, Democratization andIntegration into the European Union (London: Palgrave Macmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong: Market Pricing ofSovereigns and the Greek Financial Crisis,\" Journal of Macroeconomics, Elsevier, vol. 39(PB), pp. 405–419 (with Stephen G. & Tavlas, George S., 2014)\"Capitalflows and speculative attacks in prospective EU member states\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages 559–586, September2004)\"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis & Euclid Tsakalotos,International Journal of Finance & Economics, 2002, vol. 7, issue 1, pp. 63–78)\"Internal vs External Financing of Acquisitions: Do Managers Squander RetainedProfits\" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; Oxford Bulletin of Economics and Statistics, 2000)\"Are AggregateConsumption Relationships Similar Across the European Union\" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1, 1999)Takeover Riskand the Market for Corporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos, 1998) PDF\"TheImpact of Acquisitions on Company Performance: Evidence from a Large Panel of UK Firms\" (with Andrew Dickerson and Euclid Tsakalotos, Oxford EconomicPapers New Series, Vol. 49, No. 3 (Jul., 1997), pp. 344–361)\"Short-Termism and Underinvestment: The Influence of Financial Systems\" (with Andrew Dickersonand Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol. 63, issue 4, pp. 351–67)\"Testing a Flow Model of Capital Flight in FiveEuropean Countries\" (with Euclid Tsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp. 144–166, June 1993)Full list ofarticles by Heather D Gibson. researchgate.net. Recovered 7 July 2015Passage 7:Sophia Magdalena of DenmarkSophia Magdalena of Denmark (Danish: SophieMagdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III. Born into theHouse of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his firstconsort, Princess Louise of Great Britain. Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an"}
+{"doc_id":"doc_250","qid":"","text":"Passage 1:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents,teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversyfrom religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?,What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling?The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at WadeJunior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public schoolchildren compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office therealso. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teachesregular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage 2:Catherineof Bosnia, Baness of SlavoniaCatherine Kotromanić Babonić (Serbo-Croatian: Katarina Kotromanić) (? – after 1310) was Princess of Bosnia and Baness ofSlavonia by marriage.Catherine was child of Prijezda I Kotromanić and his wife Elizabeth of Slavonia. Her brothers were Vuk, Prijezda and Stephen. Catherine wasmarried to Stpehen III Babonić. They had two sons: Ladislav (fl. 1293)Stephen V (fl. 1293)Catherine and her husband were given Zemunik Fortress in Vrbas areaby Prijezda I in spring 1287. Catherine was Baness of Slavonia from 1310 to 1316.Passage 3:Albert Thompson (footballer, born 1912)Albert Thompson (born1912, date of death unknown) was a Welsh footballer.CareerThompson was born in Llanbradach, Wales, and joined Bradford Park Avenue from Barry Town in1934. After making 11 appearances and scoring two goals in the league for Bradford, he joined York City in 1936. He was York City's top scorer for the 1936–37season, with 28 goals. He joined Swansea Town in 1937, after making 29 appearances and scoring 28 goals for York. After making 4 appearances in the leaguefor Swansea, he joined Wellington Town.== Notes ==Passage 4:Bill Smith (footballer, born 1897)William Thomas Smith (9 April 1897 – after 1924) was anEnglish professional footballer.CareerDuring his amateur career, Smith played in 17 finals, and captained the Third Army team in Germany when he was stationedin Koblenz after the armistice during the First World War. He started his professional career with Hull City in 1921. After making no appearances for the club, hejoined Leadgate Park. He joined Durham City in 1921, making 33 league appearances in the club's first season in the Football League.He joined York City in theMidland League in July 1922, where he scored the club's first goal in that competition. He made 75 appearances for the club in the Midland League and fiveappearances in the FA Cup before joining Stockport County in 1925, where he made no league appearances.Passage 5:Andrew, Duke of SlavoniaAndrew, Duke ofSlavonia (Hungarian: András szlavóniai herceg; 1268–1278) was the youngest son of King Stephen V of Hungary and his wife, Elizabeth the Cuman. Tworebellious lords kidnapped him in 1274 in an attempt to play him off against his brother, Ladislaus IV of Hungary, but the king's supporters liberated him. He wasstyled \"Duke of Slavonia and Croatia\" in a 1274 letter. Years after his death (in 1290 and in 1317), two adventurers claimed to be identical with Andrew, but bothfailed.FamilyAndrew was born in 1268. He was the second son (and youngest child) of Stephen V, the junior king of Hungary at the time of Andrew's birth. Thesenior king was Andrew's grandfather Béla IV. Andrew's mother was Stephen's wife, Elizabeth the Cuman.Andrew's father, Stephen, became the sole King ofHungary in 1270, but died two years later. Stephen was succeeded by his elder son (Andrew's ten-year-old brother) Ladislaus IV. In theory, Ladislaus's ruledunder the regency of his mother, Elizabeth, but in fact, competing parties of the most wealthy noble families, including the Csáks and Kőszegis, were fightingagainst each other for the control of government.Duke of SlavoniaHenry Kőszegi, the Ban of Slavonia, and his ally, Joachim Gutkeled, the Master of the treasury,who had earlier held Ladislaus IV in captivity, kidnapped the six-year-old Andrew in July 1274, taking him to Slavonia in an attempt to play him off against hisbrother. However, Kőszegi's and Gutkeled's rival, Peter Csák, and his allies annihilated their united troops in late September and liberated Andrew. In a letterdated to the end of 1274, Andrew is mentioned as \"Duke of Slavonia and Croatia\", but otherwise he was only referred to as \"Duke Andrew\". According to ascholarly theory, the former title was only used to emphasize that Andrew was the lawful heir to his 12-year-old elder brother at the time the letter, whichreferred to a planned marriage between Andrew and a relative of Rudolf I of Germany, was written. Andrew died at the age of ten between 6 April and 6November 1278.Two false AndrewsAndrew's childless brother, Ladislaus IV was murdered on 10 July 1290. His distant relative, Andrew III, succeeded him andwas crowned king on 23 July. However, an adventurer announced that he was identical with King Ladislaus's younger brother, claiming Hungary to himselfagainst Andrew III. Through showing his specific birthmark, the impostor even convinced Stephen V's sister – the late Duke Andrew's aunt – Kinga, wife ofBolesław V the Chaste, Duke of Cracow. The false Duke Andrew invaded Hungary from Poland, but King Andrew's commander, George Baksa routed his troop,forcing him to return to Poland before 18 November. The pretender was in short killed by his Hungarian retainers.In 1317, a new adventurer declared himselfDuke Andrew, on this occasion in Majorca. He and his imprisonment was mentioned in the correspondence between Sancho, King of Majorca, and Robert, King ofNaples who was the uncle of Charles I of Hungary. The second false Duke Andrew's further fate is unknown.Passage 6:Stephen V of HungaryStephen V(Hungarian: V. István, Croatian: Stjepan V., Slovak: Štefan V; before 18 October 1239 – 6 August 1272, Csepel Island) was King of Hungary and Croatia between1270 and 1272, and Duke of Styria from 1258 to 1260. He was the oldest son of King Béla IV and Maria Laskarina. King Béla had his son crowned king at the ageof six and appointed him Duke of Slavonia. Still a child, Stephen married Elizabeth, a daughter of a chieftain of the Cumans whom his father settled in the GreatHungarian Plain.King Béla appointed Stephen Duke of Transylvania in 1257 and Duke of Styria in 1258. The local noblemen in Styria, which had been annexedfour years before, opposed his rule. Assisted by King Ottokar II of Bohemia, they rebelled and expelled Stephen's troops from most parts of Styria. After OttokarII routed the united army of Stephen and his father in the Battle of Kressenbrunn on 12 July 1260, Stephen left Styria and returned to Transylvania.Stephenforced his father to cede all the lands of the Kingdom of Hungary to the east of the Danube to him and adopted the title of junior king in 1262. In two years, a civilwar broke out between father and son, because Stephen accused Béla of planning to disinherit him. They concluded a peace treaty in 1266, but confidence wasnever restored between them. Stephen succeeded his father, who died on 3 May 1270, without difficulties, but his sister Anna and his father's closest advisorsfled to the Kingdom of Bohemia. Ottokar II invaded Hungary in the spring of 1271, but Stephen routed him. In next summer, a rebellious lord captured andimprisoned Stephen's son, Ladislaus. Shortly thereafter, Stephen unexpectedly fell ill and died.Childhood (1239–1245)Stephen was the eighth child and first sonof King Béla IV of Hungary and his wife, Maria, a daughter of Theodore I Lascaris, Emperor of Nicaea. He was born in 1239. Archbishop Robert of Esztergombaptised him on 18 October. The child, heir apparent from birth, was named after Saint Stephen, the first King of Hungary.Béla and his family, including Stephen,fled to Zagreb after the Mongols had annihilated the royal army in the Battle of Mohi on 11 April 1241. The Mongols crossed the frozen Danube in February 1242and the royal family ran off as far as the well-fortified Dalmatian town of Trogir. The King and his family returned from Dalmatia after the Mongols unexpectedlywithdrew from Hungary in March.Junior kingDuke of Slavonia (1245–1257)A royal charter of 1246 mentions Stephen as \"King, and Duke of Slavonia\". Apparently,in the previous year, Béla had his son crowned as junior king and endowed with the lands between the river Dráva and the Adriatic Sea, according to historiansGyula Kristó and Ferenc Makk. The seven-year-old Stephen's provinces—Croatia, Dalmatia and Slavonia—were administered by royal governors, known asbans.In a letter addressed to Pope Innocent IV in the late 1240s, Béla IV wrote that \"[o]n behalf of Christendom we had our son marry a Cuman girl\". The bridewas Elizabeth, the daughter of a leader of the Cumans whom Béla had invited to settle in the plains along the river Tisza. Elizabeth had been baptized, but tenCuman chieftains present at the ceremony nevertheless took their customary oath upon a dog cut into two by a sword.Duke of Transylvania and Styria(1257–1260)When Stephen attained the age of majority in 1257, his father appointed him Duke of Transylvania. Stephen's rule in Transylvania was short-lived,because his father transferred him to Styria in 1258. Styria had been annexed in 1254, but the local lords rose up in rebellion and expelled Béla IV's governor,Stephen Gutkeled, before Stephen's appointment. Stephen and his father jointly invaded Styria and subdued the rebels. In addition to Styria, Stephen alsoreceived two neighboring counties—Vas and Zala—in Hungary from his father. He launched a plundering raid in Carinthia in the spring of 1259, in retaliation ofDuke Ulrich III of Carinthia's support of the Styrian rebels.Stephen's rule remained unpopular in Styria. With support from King Ottokar II of Bohemia, the locallords again rebelled. Stephen could preserve only Pettau (present-day Ptuj, Slovenia) and its region. On 25 June 1260, Stephen crossed the river Morava toinvade Ottokar's realm. His military force, which consisted of Székely, Romanian and Cuman troops, routed an Austrian army. However, in the decisive Battle ofKressenbrunn King Béla's and Stephen's united army was vanquished on 12 July, primarily because the main forces, which were under King Béla's command,arrived late. Stephen, who commanded the advance guard, barely escaped from the battlefield. The Peace of Vienna, which was signed on 31 March 1261, put an"}
+{"doc_id":"doc_251","qid":"","text":"Passage 1:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 2:Bayezid IIBayezid II (Ottoman Turkish: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000, romanized: Bāyezīd-i s\u0000ānī; Turkish: II. Bayezid; 3 December 1447 – 26 May 1512) was the sultan of the Ottoman Empire from 1481 to 1512. During his reign, Bayezid consolidated the Ottoman Empire, thwarted a Safavid rebellion and finally abdicated his throne to his son, Selim I. Bayezid evacuated Sephardi Jews from Spain after the proclamation of the Alhambra Decree and resettled them throughout Ottoman lands, especially in Salonica.Early lifeBayezid II was the son of Mehmed II (1432–1481) and Gülbahar Hatun, an Albanian concubine.There are sources that claim that Bayezid was the son of Sittişah Hatun, due to the two women's common middle name, Mükrime. This would make Ayşe Hatun, one of Bayezid's consorts, a first cousin of Bayezid II. However, the marriage of Sittişah Hatun took place two years after Bayezid was born and the whole arrangement was not to Mehmed's liking.Born in Demotika, Bayezid II was educated in Amasya and later served there as a bey for 27 years. In 1473, he fought in the Battle of Otlukbeli against the Aq Qoyunlu.Fight for the throneBayezid II's overriding concern was the quarrel with his brother Cem Sultan, who claimed the throne and sought military backing from the Mamluks in Egypt. Karamani Mehmed Pasha, latest grand vizier of Mehmed II, informed him of the death of the Sultan and invited Bayezid to ascend the throne. Having been defeated by his brother's armies, Cem sought protection from the Knights of St. John in Rhodes. Eventually, the Knights handed Cem over to Pope Innocent VIII (1484–1492). The Pope thought of using Cem as a tool to drive the Turks out of Europe, but as the papal crusade failed to come to fruition, Cem died in Naples.ReignBayezid II ascended the Ottoman throne in 1481. Like his father, Bayezid II was a patron of western and eastern culture. Unlike many other sultans, he worked hard to ensure a smooth running of domestic politics, which earned him the epithet of \"the Just\". Throughout his reign, Bayezid II engaged in numerous campaigns to conquer the Venetian possessions in Morea, accurately defining this region as the key to future Ottoman naval power in the Eastern Mediterranean. In 1497, he went to war with Poland and decisively defeated the 80,000 strong Polish army during the Moldavian campaign. The last of these wars ended in 1501 with Bayezid II in control of the whole Peloponnese. Rebellions in the east, such as that of the Qizilbash, plagued much of Bayezid II's reign and were often backed by the shah of Persia, Ismail I, who was eager to promote Shi'ism to undermine the authority of the Ottoman state. Ottoman authority in Anatolia was indeed seriously threatened during this period and at one point Bayezid II's vizier, Hadım Ali Pasha, was killed in battle against the Şahkulu rebellion. Hadım Ali Pasha's death prompted a power vacuum. As a result, many important statesmen secretly pledged allegiance to Kinsman Karabœcu Pasha (Turkish: \"Karaböcü Kuzen Paşa\") who made his reputation in conducting espionage operations during the Fall of Constantinople in his youth.Jewish and Muslim immigrationIn July 1492, the new state of Spain expelled its Jewish and Muslim populations as part of the Spanish Inquisition. Bayezid II sent out the Ottoman Navy under the command of admiral Kemal Reis to Spain in 1492 in order to evacuate them safely to Ottoman lands. He sent out proclamations throughout the empire that the refugees were to be welcomed. He granted the refugees the permission to settle in the Ottoman Empire and become Ottoman citizens. He ridiculed the conduct of Ferdinand II of Aragon and Isabella I of Castile in expelling a class of people so useful to their subjects. \"You venture to call Ferdinand a wise ruler,\" he said to his courtiers, \"he who has impoverished his own country and enriched mine!\" Bayezid addressed a firman to all the governors of his European provinces, ordering them not only to refrain from repelling the Spanish refugees, but to give them a friendly and welcome reception. He threatened with death all those who treated the Jews harshly or refused them admission into the empire. Moses Capsali, who probably helped to arouse the sultan's friendship for the Jews, was most energetic in his assistance to the exiles. He made a tour of the communities and was instrumental in imposing a tax upon the rich, to ransom the Jewish victims of the persecution.The Muslims and Jews of al-Andalus contributed much to the rising power of the Ottoman Empire by introducing new ideas, methods and craftsmanship. The first printing press in Constantinople (now Istanbul) was established by the Sephardic Jews in 1493. It is reported that under Bayezid's reign, Jews enjoyed a period of cultural flourishing, with the presence of such scholars as the Talmudist and scientist Mordecai Comtino; astronomer and poet Solomon ben Elijah Sharbi\u0000 ha-Zahab; Shabbethai ben Malkiel Cohen, and the liturgical poet Menahem Tamar.SuccessionDuring Bayezid II's final years, on 14 September 1509, Constantinople was devastated by an earthquake, and a succession battle developed between his sons Selim and Ahmet. Ahmet unexpectedly captured Karaman, and began marching to Constantinople to exploit his triumph. Fearing for his safety, Selim staged a revolt in Thrace but was defeated by Bayezid and forced to flee back to the Crimean peninsula. Bayezid II developed fears that Ahmet might in turn kill him to gain the throne, so he refused to allow his son to enter Constantinople.Selim returned from Crimea and, with support from the Janissaries, he forced his father to abdicate the throne on 25 April 1512. Bayezid departed for retirement in his native Dimetoka, but he died on 26 May 1512 at Havsa, before reaching his destination and only a month after his abdication. He was buried next to the Bayezid Mosque in Istanbul.LegacyBayezid was praised in a ghazal of Abdürrezzak Bahşı, a scribe who came to Constantinople from Samarkand in the second half of the 15th century that worked at the courts of Mehmed II and Bayezid II, and wrote in Chagatai with the Old Uyghur alphabet:I had a pleasant time in your reign my Padishah.I was without fear of all fears and dangers.The fame of your justice and fairness reached to China and Hotan.Thanks to God that there exist a merciful person like my Padishah.Sultan Bayezid Khan ascended the throne.This country had been his fate since past eternity.Any enemy that denied the country of my master:That enemy's neck had been in rope and gallows.Your believing servants' faces smile like Bahşı's.The place of those who walk unbelieving is hellfire.Bayezid II ordered al-\u0000Atufi, the librarian of Topkapı Palace, to prepare a register. The library's diverse holdings reflect a cosmopolitanism that was encyclopaedic in scope.FamilyConsortsBayezid had ten known consorts, plus other unknown concubines, mothers of the other sons and daughters:Şirin HatunHüsnüşah HatunBülbül HatunNigar HatunGülruh HatunGülbahar HatunMuhtereme Ferahşad HatunAyşe Hatun. Daughter of Alâüddevle Bozkurt Bey of the Dulkadir dynasty, and niece of Sittişah Hatun, first legal wife of Mehmed II, father of Bayezid. She died in 1512.Gülfem HatunMühürnaz HatunSonsBayezid had at least eight sons:Şehzade Abdullah (Amasya, 1465 - Konya, 11 June 1483) - son of Şirin Hatun. Bayezid's first son, he was governor of Manisa, Trebizond and Konya. He died of unknown causes and was buried in Bursa. He took as consort his cousin Nergiszade Ferahşad Sultan (daughter of Şehzade Mustafa, son of Mehmed II), with whom he had a son who died in infancy (1481-1489) and two daughters, Aynişah Sultan (1482-? , married) and Şahnisa Sultan (1484- ?, who in turn married her cousin Şehzade Mehmed Şah, son of her father's half brother Şehzade Şehinşah).Şehzade Ahmed (Amasya, c. 1466 - Bursa, 24 March 1513) - son of Bülbül Hatun. Bayezid's favorite son, he was executed by his half-brother Selim I, who became sultan. He had three known concubines, seven sons and four daughters.Şehzade Korkut (Amasya, 1469 - Manisa, 10 March 1513) - son of Nigar Hatun. Rival of Selim I for the throne, he was first exiled by them and then executed. He had two children who died as infants and two daughters, Fatma Sultan and Ferahşad Sultan.Selim I (Amasya, 10 October 1470 – Çorlu, 22 September 1520) – son with Gülbahar Hatun, who succeeded as Sultan Selim Han I (Yavuz).Şehzade Şehinşah (Amasya, 1474 - Karaman, 1511) - son of Hüsnüşah Hatun. He was governor of Manisa and Karaman. He was executed by his father for sedition and buried in Bursa. He had a consort, Mukrime Hatun, mother of his only known son, Şehzade Mehmed Şah (who married his cousin Şahnisa Sultan, daughter of Şehzade Abdullah).Şehzade Mahmud (Amasya, 1475 - Manisa, 1507) - son of an unknown concubine. He could be the full brother of Gevhermuluk Sultan. He was governor of Kastamonu and Manisa. He had three sons, Şehzade Musa (b.1490), Şehzade Orhan (b.1494) and Şehzade Emir Suleyman, executed by Selim I in 1512, and two daughters, Ayşe Hundi Sultan (1496 - after 1556, married in 1508 to Ferruh Bey; had a daughter Mihrihan Hanımsultan) and Hançerli Zeynep Fatma Sultan (1495 - April 1533, married to Mehmed Bey in 1508; had two children, Sultanzade Kasim Bey and Sultanzade Mahmud Bey. It is believed that she may have istruited the future Hürrem Sultan before she was introduced to Suleiman the Magnificent via Hafsa Sultan or Pargali Ibrahim.Şehzade Alemşah (Amasya, 1477 - Manisa, 1502) - son of Gülruh Hatun. Governor of Mentese and Manisa. He had a son, Şehzade Osman Şah (1492-1512, killed by Selim), and two daughters, Ayşe Sultan (married to his cousin Mehmed Celebi, son of Fatma Sultan, daughter of Bayezid II) and Fatma Sultan (1493-1522).Şehzade Mehmed (Amasya, 1486 - Kefe, December 1504) - son of Ferahşad Hatun. Governor of Kefe. He was married to a princess of the Giray khanate of Crimea (perhaps Ayşe Hatun, who after Mehmed's death married "}
+{"doc_id":"doc_252","qid":"","text":"Passage 1:Steele of the Royal MountedSteele of the Royal Mounted is a 1925 American silent Western film directed by David Smith and starring Bert Lytell, StuartHolmes and Charlotte Merriam. It is based on a novel by James Oliver Curwood about the Royal Canadian Mounted Police, and was shot on location in the SanBernardino National Forest.PlotAs described in a film magazine review, Isobel, an Eastern young woman, introduces Philip Steele to her father Colonel Becker, butas a trick implies that her father is her husband. Philip becomes disillusioned and goes to Canada and joins the North-West Mounted Police. Here he pursues a badman. In the meantime, the young woman seeks him out so she can explain the mistake she made. When she finds him, he has bagged his man, and there is areconciliation.CastPassage 2:Rumbi KatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life andeducationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor of Arts in English from McGill University, Canadain 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from GoldsmithsCollege, London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radioshows. From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) andZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival. Whilst there, she produced thePostcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the bannernamelyTariro (2008);Big House, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai(2002);Postcards from Zimbabwe (2006);Trapped (2006 – Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is apart-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards, responsible formonitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean governmentto actively support the film industry.Passage 3:Beauty No. 2Beauty No. 2 is a 1965 American avant-garde film by directed by Andy Warhol and starring EdieSedgwick and Gino Piserchio. Chuck Wein also has a role in the film but never appears onscreen. Wein wrote the scenario and is also credited as assistantdirector.SynopsisThe movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. The film's writer, Chuck Wein is heardspeaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Weinasks Sedgwick questions seemingly designed to harass and annoy her. Piserchio is more or less a bystander not interacting with Wein.The dialogue was ad-libbedand no conclusions are reached in the film. The only conceivable climax is when Sedgwick finally becomes so mad at Wein's taunts, she throws a glass ashtray atWein, breaking it.ReceptionBeauty No. 2 was filmed in June 1965 and premiered at the Cinematheque at the Astor Place Playhouse in New York City on July 17,1965. Critical reviews were generally positive with some critics compared Edie Sedgwick's screen presence to Marilyn Monroe.See alsoList of American films of1965Andy Warhol filmographyFootnotesExternal linksBeauty No. 2 at IMDbBeauty No. 2 at AllMoviePassage 4:Beauty No. 1Beauty No. 1 is a 1965 film by AndyWarhol starring Edie Sedgwick, Kip Stagg a.k.a.Bima Stagg, and Chuck Wein.Synopsis and backgroundBeauty No. 1 is a precursor to Andy Warhol's better knownfollow up, Beauty No. 2 and was originally titled Beauty.The movie features Edie Sedgwick, Chuck Wein, and Kip Stagg, a.k.a. Bima Stagg. The film has a fixedpoint of view showing a bed with two characters on it, Sedgwick and Stagg. Chuck Wein is heard speaking but is just out of view. Sedgwick, in a skimpy outfit ofbra and panties, and Stagg, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass andannoy her. Stagg is more or less a bystander not interacting with Wein.After dissatisfaction with performances in the first shoot, Warhol re-cast and re-shotBeauty as Beauty No. 2, with Edie Sedgwick, Chuck Wein and Gino Piserchio reprising the role of Kip Stagg.The dialogue seems as if it were created ad lib and noconclusions are reached in the film.The original film negative is maintained by the Andy Warhol Museum.Passage 5:Andy WarholAndy Warhol (; born AndrewWarhola Jr.; August 6, 1928 – February 22, 1987) was an American visual artist, film director, producer, and leading figure in the pop art movement. His worksexplore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, includingpainting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) andMarilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable(1966–67).Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator. After exhibiting his work in several galleries inthe late 1950s, he began to receive recognition as an influential and controversial artist. His New York studio, The Factory, became a well-known gathering placethat brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. He promoted acollection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression \"15 minutes of fame\". In the late 1960s hemanaged and produced the experimental rock band The Velvet Underground and founded Interview magazine. He authored numerous books, including ThePhilosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968, he was almost killedby radical feminist Valerie Solanas,  who shot him inside his studio. After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58in New York City.Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in hisnative city of Pittsburgh, which holds an extensive permanent collection of art and archives, is the largest museum in the United States dedicated to a singleartist. Warhol has been described as the \"bellwether of the art market\". Many of his creations are very collectible and highly valuable. His works include some ofthe most expensive paintings ever sold. In 2013, a 1963 serigraph titled Silver Car Crash (Double Disaster) sold for $105 million. In 2022, Shot Sage Blue Marilyn(1964) sold for $195 million, which is the most expensive work of art sold at auction by an American artist.BiographyEarly life and beginnings (1928–1949)Warholwas born on August 6, 1928, in Pittsburgh, Pennsylvania. He was the fourth child of Ondrej Warhola (Americanized as Andrew Warhola Sr. 1889–1942) and Julia(née Zavacká, 1891–1972), whose first child was born in their homeland of Austria-Hungary and died before their move to the US.His parents were working-classLemko emigrants from Mikó, Austria-Hungary (now called Miková, located in today's northeastern Slovakia). Warhol's father emigrated to the United States in1914, and his mother joined him in 1921, after the death of Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Streetand later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh. The family was Ruthenian Catholic and attended St. John Chrysostom ByzantineCatholic Church. Andy Warhol had two elder brothers—Pavol (Paul), the eldest, was born before the family emigrated; Ján was born in Pittsburgh. Pavol's son,James Warhola, became a successful children's book illustrator.In third grade, Warhol had Sydenham's chorea (also known as St. Vitus' Dance), the nervoussystem disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever which causes skin pigmentationblotchiness. At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described thisperiod as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.As a teenager,Warhol graduated from Schenley High School in 1945, and also won a Scholastic Art and Writing Award. After graduating from high school, his intentions were tostudy art education at the University of Pittsburgh in the hope of becoming an art teacher, but his plans changed and he enrolled in the Carnegie Institute ofTechnology, now Carnegie Mellon University in Pittsburgh, where he studied commercial art. During his time there, Warhol joined the campus Modern Dance Cluband Beaux Arts Society. He also served as art director of the student art magazine, Cano, illustrating a cover in 1948 and a full-page interior illustration in 1949.These are believed to be his first two published artworks. Warhol earned a Bachelor of Fine Arts in pictorial design in 1949. Later that year, he moved to New YorkCity and began a career in magazine illustration and advertising.1950sWarhol's early career was dedicated to commercial and advertising art, where his firstcommission had been to draw shoes for Glamour magazine in the late 1940s. In the 1950s, Warhol worked as a designer for shoe manufacturer Israel Miller.While working in the shoe industry, Warhol developed his \"blotted line\" technique, applying ink to paper and then blotting the ink while still wet, which was akin toa printmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variationson the theme. American photographer John Coplans recalled that nobody drew shoes the way Andy did. He somehow gave each shoe a temperament of its own, asort of sly, Toulouse-Lautrec kind of sophistication, but the shape and the style came through accurately and the buckle was always in the right place. The kids inthe apartment [which Andy shared in New York – note by Coplans] noticed that the vamps on Andy's shoe drawings kept getting longer and longer but [Israel]Miller didn't mind. Miller loved them.In 1952, Warhol had his first solo show at the Hugo Gallery in New York, and although that show was not well received, by1956, he was included in his first group exhibition at the Museum of Modern Art, New York. Warhol's \"whimsical\" ink drawings of shoe advertisements figured insome of his earliest showings at the Bodley Gallery in New York in 1957.Warhol habitually used the expedient of tracing photographs projected with an"}
+{"doc_id":"doc_253","qid":"","text":"Passage 1:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 2:Prince Feodor Alexandrovich of RussiaPrince Feodor Alexandrovich of Russia (Russian: Фёдор Александрович Романов; 23 December [O.S. 11 December] 1898 – 30 November 1968) was the second son and third child of Grand Duke Alexander Mikhailovich of Russia and Grand Duchess Xenia Alexandrovna. He was also a nephew of Nicholas II of Russia, the last emperor of Russia.Born and raised in Imperial Russia during the reign of his uncle Nicholas II, he followed a military career and entered the Corps of Pages during World War I. With the fall of the Russian monarchy, he escaped the fate of many of his relatives killed by the Bolsheviks fleeing to his parents estate in Crimea. For a time, he was under house arrest there with a large group of family members. They left Russia on 11 April 1919. In exile, he settled in France where he married Princess Irina Pavlovna Paley, his distant cousin. The couple divorced in 1936. Afflicted with tuberculosis, Prince Feodor moved to England with his mother spending the years of World War II there. After the war ended, he settled permanently in the south of France.Russian princePrince Feodor Alexandrovich Romanov was born at the Winter Palace in St. Petersburg, Russian Empire on 23 December 1898. He was the second son and third child among seven siblings. Although a grandson of Emperor Alexander III through his mother, he was not entitled to the title Grand Duke of Russia because he was only a great-grandson of Emperor Nicholas I in the male line through his father. He spent his early years in Imperial Russia. Following family tradition, he began a military career. During World War I he entered the Corps of Pages.At the fall of the Russian monarchy, he looked for refuge with his family in his father's property in Crimea. They lived there undisturbed until the rise to power of the Bolsheviks with the October Revolution in 1917. For some time, Prince Feodor was under house arrest in Ai-Todor and later at Dulber imprisoned with his parents, siblings, grandmother the Dowager Empress and many more Romanov relatives.Prince Feodor, and his relatives in the Crimea, escaped the fate of a number of his Romanov cousins who were murdered by the Bolsheviks when they were freed by German troops in 1918. He left Russia on 11 April 1919 abroad the Royal Navy ship HMS Marlborough and moved  to England and later to France.Life in exileDuring his first years in exile, Prince Feodor lived in Paris in the apartment of his sister Princess Irina Alexandrovna of Russia and her husband Prince Felix Yusupov. He worked as a taxi driver, and later as an architect.Prince Feodor married on 3 June 1923 in St. Alexander Nevsky Cathedral in Paris, Princess Irina Paley (1903–1990), his first cousin once removed. She was a daughter of Grand Duke Paul Alexandrovich of Russia and his morganatic wife Princess Olga Paley. The couple had one son:Prince Michael Feodorovich (Paris 4 May 1924 – 22 September 2008); married 1st Paris 15 Oct 1958 (divorced 1992) Helga Staufenberger (born Vienna, 22 August 1926); m. 2nd Josse 15 January 1994 Maria de las Mercedes Ustrell-Cabani (b. Hospitalet, Spain 26 August 1960). Michael died on the same day as his cousin, Prince Michael Andreevich of Russia.Prince Feodor and his wife lived separated in 1930. Princess Irina began a relationship with Count Hubert de Monbrison (15 August 1892 – 14 April 1981) and had a daughter with him while still married to Prince Feodor, who recognized the child as his.Prince Feodor Alexandrovich and Princess Irina divorced on 22 July 1936. He did not remarry and spent World War II in England at the home of his mother. By 1941 he was seriously ill with tuberculosis and had to stay for long periods in sanatoriums to recuperate. During the war years, he had sporadic contact with his son who remained in the south of France with Feodor's ex-wife. After the war ended, to improve his health and to stay closer to his son, Prince Feodor settled in the south of France at the villa of his sister Princess Irina Alexandrovna. He lived there for the rest of his life. With very limited income of his own and too ill to work, his ex-wife and his sister helped with the medical bills. Prince Feodor Alexandrovich died on 30 November 1968 in Ascain, France.AncestryNotesPassage 3:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 4:Abdul-Vahed NiyazovAbdul-Vahed Validovich Niyazov (Russian: Абдул-Вахед Валидович Ниязов), born Vadim Valerianovich Medvedev (Russian: Вадим Валерианович Медведев; 23 April 1969) is a Russian businessman and Islamic social and political activist. He was president of the Islamic Cultural Center of Russia, and the public division of Russian Council of Muftis.Life and careerNiyazov was born on 23 April 1969 in Omsk as Vadim Valerianovich Medvedev.  After graduating from high school, he served in the engineering and construction troops of the Baikal-Amur Mainline. In 1990 he began studying at the Moscow Historical and Archival Institute, but failed to graduate.In April 1991 Niyazov became president of the Islamic Cultural Centre of Moscow, which in 1993 became the Islamic Cultural Centre of Russia, established with the financial support of the Embassy of Saudi Arabia, Moscow. In February 1994 he became deputy chairman of the executive committee of the Supreme Coordination Centre of the Spiritual Directorates of Muslims of Russia (VKTs DUMR, Russian: ВКЦ ДУМР). In May 1995 Niyazov became co-chairman of the Union of Muslims of Russia. In autumn 1998, he was elected chairman of the Council of the All-Russian political social movement \"Refakh\" (Prosperity).  On 19 December 1999 Niyazov was elected a deputy of the State Duma's  third convocation as part of the \"Interregional movement Unity (\"Bear\")\" electoral bloc, on the federal list of the Union of Muslims of Russia. He worked as deputy chairman of the State Duma Committee on the regulations and organization of the work of the State Duma. He was expelled from the faction for \"provocative\" statements in support of \"world Islamic extremism and terrorism\", on the subject of the Palestinian-Israeli conflict during the Second Intifada.In May 2001 Niyazov became chairman of the political council of the \"Eurasian Party - Union of Patriots of Russia\". By late 2007 Niyazov was head of the movement \"Muslims in support of President Putin\". In 2011 he was elected Honorary President of the international initiative \"SalamWorld\", which aimed to create a social network for Muslims along Sharia norms. The site had closed by 2015 after spending three years in development and tens of million of dollars in marketing, having had backup and funding issues. Since 2018, Niyazov has been president of the European Muslim Forum.Passage 5:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 6:Prince Dmitri Alexandrovich of RussiaPrince Dmitri Alexandrovich of Russia (15 August [O.S. 2 August] 1901 –  7 July 1980) was the fourth son and fifth child of Grand Duke Alexander Mikhailovich of Russia and Grand Duchess Xenia Alexandrovna of Russia. He was a nephew of Tsar Nicholas II of Russia.Early lifePrince Dmitri Alexandrovich Romanov was born at the Gatchina Palace, near Saint Petersburg, Russia on 15 August 1901. He was the fourth son and fifth child among seven siblings. His parents, Grand Duke Alexander Mikhailovich (1866–1933) and Grand Duchess Xenia Alexandrovna (1875–1960), were first cousins once removed. Consequently, Prince Dmitri was the great-grandson of Tsar Nicholas I (from his father's side) while the great-great-grandson of the same Tsar Nicholas I (from his mother's side), the grandson of Tsar Alexander III and the nephew of Tsar Nicholas II.During the Russian Revolution Prince Dmitri was imprisoned along with his parents and grandmother the Dowager Empress at Dulber, in the Crimea. He escaped the fate of a number of his Romanov cousins who were murdered by the Bolsheviks when he was freed by German troops in 1918. He left Russia on  11 April 1919, at the age of seventeen, aboard the Royal Navy ship HMS Marlborough to attend  to Malta where they spent nine months before settling to England.ExileIn exile, Prince Dmitri lived between England and France. He had a varied career. In the late 1920s he emigrated to the United States where he worked as a stockbroker in Manhattan. He returned to Europe in the early 1930s. For a brief period in the 1930s, he managed Coco Chanel's shop at Biarritz.It was through Chanel that he met a Russian aristocrat who worked as model for her fashion house: Countess Marina Sergeievna Golenistcheva-Koutouzova (20 November 1912 – 7 January 1969). She was the second daughter of Count Sergei Alexandrovich Golenishchev-Kutuzov (1885 – 1950) and his wife Countess Maria Alexandrovna, born "}
+{"doc_id":"doc_254","qid":"","text":"Passage 1:Place of originIn Switzerland, the place of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine;Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations. It is not to be confusedwith the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances.Acquisition ofmunicipal citizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:Municipal citizenship,granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and aminimum number of years lived in said municipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. This requires a certainnumber of years lived in said canton.Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland(except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminalbackground check.The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen.Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reasonfor preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing socialwelfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs tobe taken when translating the term in Swiss documents which list the historical \"Heimatort\" instead of the usual place of birth and place of residence.However,any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place they currentlylive – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipalcitizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common to have to pay between2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship.A child born to twoSwiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin.A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent.International confusionAlmostuniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth),the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show theholder's actual birthplace on identity documents. This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place ofbirth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have a place of origin identical to theirbirthplace. More confusion comes into play through the fact that people can have more than one place of origin.Significance and historyA citizen of a municipalitydoes not enjoy a larger set of rights than a non-citizen of the same municipality. To vote in communal, cantonal or national matters, only the current place ofresidence matters – or in the case of citizens abroad, the last Swiss place of residence.The law previously required that a citizen's place of origin continued to bearall their social welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes to abolish this law. The place ofdomicile is now the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to paywelfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, theTagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by theirresidential community.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renouncemunicipal citizenship, and with that the right to receive welfare.See alsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references==Passage 2:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherlandmay also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (NatalieMerchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film andtelevisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 TurkishdramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016 British televisionseriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several politicalgroupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country(disambiguation)Passage 3:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiretdepartment in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSeealsoCommunes of the Loiret departmentPassage 4:Brooklyn SudanoBrooklyn Sudano is an American actress and director. She starred as Vanessa Scott in theABC comedy series My Wife and Kids and later played the leading role in the 2006 drama film Rain. Sudano has appeared in films such as Alone in the Dark II(2008), Turn the Beat Around (2010) and With This Ring (2015), and starred in the NBC action series, Taken (2017).Sudano is the daughter of GrammyAward-winning singer Donna Summer and songwriter Bruce Sudano, and the older sister of Amanda Sudano of the music duo Johnnyswim. Sudano directed thedocumentary film, Love to Love You, Donna Summer, which premiered in 2023.Early lifeSudano was born in Los Angeles, California, to African American singerDonna Summer and Italian American songwriter Bruce Sudano. She was named after her father's hometown of Brooklyn, New York City. Her younger sister (by19 months) is singer and songwriter Amanda Sudano of Johnnyswim. She has an older half-sister, Mimi Sommer, from her mother's first marriage to HelmutSommer. As a baby, she was featured in her mother's song \"Brooklyn\" on the record I'm a Rainbow.Sudano spent the early part of her childhood on a 56-acreranch in Thousand Oaks, California until her family moved to Connecticut when she was 10 years old. When she was 14, her family relocated to Nashville,Tennessee. Here, Sudano gravitated toward the arts. She also sang in the gospel choir at church. Sudano and her sisters spent summers touring and singingbacking vocals for their famous mother. In her leisure, she studied dance and wrote songs.She attended high school at Christ Presbyterian Academy where sheappeared in all the theater productions. Sometimes Sudano accompanied her parents while they toured around the world, continuing her studies with tutors. Adistinguished student, she was valedictorian at her graduation.Upon graduation, Sudano chose to attend Vanderbilt University, having also been accepted atBrown, Duke, and Georgetown University. However, she eventually left Vanderbilt early to study at the Lee Strasberg Theatre and Film Institute in NewYork.CareerWhile studying acting in New York, Sudano was spotted by a modelling agent and signed to the Ford Modeling Agency. She appeared in numerousadvertising campaigns in print and television, including Clairol, Clean & Clear and K-Mart. In 2003, Sudano replaced Meagan Good as Vanessa Scott on My Wifeand Kids. Vanessa is Junior's girlfriend and later wife, who first appears in the season finale of season 3 (played by Good). Sudano continued as a regular castmember throughout the rest of the series' five-year run.In 2006, Sudano made her big screen debut with the leading role in the film adaptation of V. C. Andrews'novel Rain. She appeared in the horror films Somebody Help Me (2007) and Alone in the Dark II (2008) and well as the MTV romantic drama film, Turn the BeatAround in 2010. In 2015, she co-starred opposite Regina Hall, Jill Scott and Eve in the romantic comedy-drama, With This Ring. On television, Sudano gueststarred on Cuts, CSI: NY, $#*! My Dad Says, Body of Proof and Ballers. In 2016, she played the role of Christy Epping in the Hulu miniseries 11.22.63. In 2017,Sudano starred in the first season of NBC's action series, Taken. In 2021, she began starring as Angela Prescott in the Freeform thriller series, CruelSummer.Alongside Roger Ross Williams, Sudano directed the 2023 documentary film, Love to Love You, Donna Summer about her mother, Donna Summer. Ithad its world premiere at the 73rd Berlin International Film Festival.Personal lifeSudano married her longtime boyfriend, Mike McGlaflin, on October 8, 2006. Thecouple's wedding inspired Bruce Sudano's song \"It's Her Wedding Day\".Sudano and McGlaflin have a daughter, and reside in the Los Angelesarea.FilmographyFilmTelevisionPassage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used inlegal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or acity/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a generalrule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place ofbirth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in ahospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby isregistered in the place of birth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the"}
+{"doc_id":"doc_255","qid":"","text":"Passage 1:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was thedirector of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of CulturalHistory. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 2:Ian Barry (director)Ian Barry is an Australian director of film andTV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra(1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)NotQuite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Jesse E. HobsonJesse EdwardHobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour ResearchFoundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from PurdueUniversity and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobsonmarried Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage4:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born inFayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre induring its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadwayat the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moorealso directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias andShrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera atCarnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of theCity. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore hasdirected episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with PaulFitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte, North Carolina RepertoryTheatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and BrittanySnow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding(2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 5:S. N. MathurS.N. Mathur was theDirector of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 6:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the boardof directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israelin 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studiesshe worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academiccareerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promotedproductions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launchof the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains(graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 7:Peter LevinPeterLevin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television andtelevision films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, LouGrant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reasonto Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wifeAudrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in severalBroadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. Hetrained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific ResidentTheatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associateartist of The Interact Theatre Company.Passage 8:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museumdirector who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museumof Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United Statesafter leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum ofArt. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was bornin Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy"}
+{"doc_id":"doc_256","qid":"","text":"Passage 1:The Messenger (2009 film)The Messenger is a 2009 war drama film starring Ben Foster, Woody Harrelson, Samantha Morton, Steve Buscemi, and JenaMalone. It is the directorial debut of Oren Moverman, who also wrote the screenplay with Alessandro Camon.The film premiered at the 2009 Sundance FilmFestival and was in competition at the 59th Berlin International Film Festival where it won the Silver Bear for Best Screenplay and the Berlinale Peace Film Award'09. The film received first prize for the 2009 Deauville American Film Festival. The film has also received four Independent Spirit Award nominations (includingone win), a Golden Globe nomination, and two Oscar nominations.PlotOn leave from the Iraq War, Will Montgomery, a U.S. Army staff sergeant, finds that hisgirlfriend Kelly is engaged to another man. Before he is to be discharged, he is dispatched as a casualty notification officer along with Gulf War veteran CaptainTony Stone as his mentor. He is told of the importance of his task by Lieutenant Colonel Dorsett as many have failed. Stone then relays the rules of telling next ofkin of a tragedy. On the job, their first report to the family prompts the mother to slap Stone, as she and his pregnant fiancé weep over the deceased; a mannamed Dale Martin angrily throws things at Will; a woman who secretly married an enlisted man cries in his arms after learning of her husband's death; a Mexicanman who is told through a translator about the death of his daughter cries in front of his other child; and a woman named Olivia is in considerably less visible painafter learning of her husband's death. Stone suspects it is due to her having an affair.In a bar, Will and Stone discuss their lives to each other. Will talks about hisgirlfriend rejecting him and tells Stone about his father's death due to drunk driving, along with tales of his estranged mother. Will sees Olivia with her son at amall buying clothes for her husband's funeral, breaking up a fight between her and two Army recruiters attempting to enlist boys and girls, before offering her aride. He fixes her car and becomes friends with both her and her young son Matt. After hearing a voicemail from Kelly talking about her upcoming wedding, hepunches a hole through his wall in a fit of rage, which further aggravates his hand. He arrives at Olivia's house and the two express affection for each other, buthis attempts at physical intimacy are met with hesitancy as she tells him about how her husband mistreated her and her son.When Will comforts a family in alocal grocery store after telling them of their son's fate, Stone physically berates him for it. Will stands up to his rank by using his first name \"Tony\"  beforewalking home on his own. They later make up and spend the next few days together, where Stone has a hookup and unsuccessfully tries to get Will to do thesame. They end up at Kelly's wedding drunk and make a scene, fight in a parking lot, then wake up in a forest after passing out and go home. Martin is there, andhe apologizes for lashing out at Will. In Tony's apartment, Will tells Tony about his experience with a friend who died while fighting in Iraq - an event that resultedin his chronic damage to his left eye - and how he feels his bravery was meaningless as he could not do anything for him; he contemplated suicide soon after, butstopped himself when he saw the sunrise. Hearing this, Tony breaks down in tears.The next day, Olivia decides to move from her house. She tells Will that she isgoing with her son to Louisiana; Will tells her he is considering staying in the army. He asks Olivia to let him know their new address; she asks him to come withher into the house.CastProductionThe Messenger marked the directorial debut of Israeli screenwriter and former journalist Oren Moverman.  Though SydneyPollack, Roger Michell, and Ben Affleck were all attached to direct the movie at various times, when those talks fell through, the producers eventually askedMoverman to helm the project. The filmmakers worked closely with the United States Army and the Walter Reed Medical Center to conduct research on militarylife, and were specifically advised by Lieutenant Colonel Paul Sinor as a technical consultant.ReleaseThe Messenger premiered at the 2009 Sundance Film Festivalbefore receiving a limited release in North America in 4 theaters. It grossed $44,523 for an average of $11,131 per theater ranking 46th at the box office, andwent on to earn $1.1 million domestically and $411,601 internationally for a total of $1.5 million, against its budget of $6.5 million.ReceptionCritical responseOnRotten Tomatoes, the film has an approval rating of 90%, based on 162 reviews, with an average rating of 7.51/10. The site's critical consensus states, \"A darkbut timely subject is handled deftly by writer/director Owen Moverman and superbly acted by Woody Harrelson and Ben Foster.\" On Metacritic, the film has ascore of 77 out of 100, based on 32 critics, indicating \"generally favorable reviews\".Harrelson's performance was subject to considerable praise, leading to GoldenGlobe and Oscar nominations for Best Supporting Actor.Awards and nominationsTop ten listsThe Messenger, upon receiving strong positive reviews fromaudiences, appeared on several critics' top ten lists of the best films of 2009.3rd: Robert Mondello, NPR4th: Ty Burr, Boston Globe4th: Stephen Holden, The NewYork Times9th: Frank Scheck, The Hollywood Reporter10th: Peter Travers, Rolling StoneTop 10: David Denby, The New YorkerPassage 2:Olav AaraasOlav Aaraas(born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum,from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he wasdecorated with the Royal Norwegian Order of St. Olav.Passage 3:Jeffrey MessengerJeffrey Messenger (born November 28, 1949) is an American politician. He is aformer member of the Missouri House of Representatives from the 130th district from 2013 to 2021. He is a member of the Republican party.Passage 4:LisaMessengerLisa Messenger (born 1971) is an Australian entrepreneur and author. She is the owner and creative director of marketing for The Messenger Group, abook publishing company. As well as the founder and Editor in Chief of Collective Hub.BackgroundMessenger grew up on a large farm outside Coolah, centralwestern New South Wales, Australia and now lives north of Bondi Beach, Sydney.Her first job was as a riding instructor. She graduated from a boarding school inSydney and Southern Cross University (Bachelor of Business, 1999). She worked for several years before taking her degree. She founded The Messenger Groupin 2001 in Sydney, brokering sponsorship deals and doing public relations and marketing.Her self-help and entrepreneurship books reveal several major personalchallenges as well as business success. She was married and divorced, and as detailed in her 2016 books, was engaged to an entrepreneur in 2015. In 2023, herfriend is acting as a surrogate mother.BusinessesThe Messenger Group is a media company. Lisa Messenger launched it as a publishing company in 2001, and itnow has 18 arms including a lifestyle website, publishing, events, marketing consultancy, and homewares. The Group has published around 400 books.  Collectivewas launched in 2013 with $1.5 million of her own money, as an \"entrepreneurial and lifestyle\" print magazine, alongside a website and events company. In2015, Collective was distributed in 37 countries.In October 2017, the Group announced that this flagship publication would shift from monthly to bi-monthly after\"several redundancies as the business streamlines itself around the three key pillars of print, digital and events.\"On 26 March 2018, Messenger announced thatthe print edition would close. Messenger also closed the Sydney office. Financial and creative reasons were given, and she wrote a book about the process.Several months later, the print edition was reinstated, although with one-off issues and freelance contracts for a smaller number of journalists.BooksMessengerhas written several lifestyle and business books. Most were published by her own company, although Daring & Disruptive was also published by Simon &Schuster.Messenger, L. 2022. Start Up To Scale Up. The Messenger Group.Messenger, L. 2021. 365 Days Of Kindness. The Messenger Group.Messenger, L. 2020.Life In Lessons. The Messenger Group.Messenger, L. 2019. Daily Mantras To Ignite Your Purpose. The Messenger Group.Messenger, L. 2018. Risk & Resilience;Breaking & Remaking a Brand. The Messenger Group.Messenger, L. 2018. Work From Wherever. The Messenger Group.Messenger, L. 2016. Daring & Disruptive:Unleashing the Entrepreneur. Simon & Schuster/North Star WayMessenger, L. 2016. Daring & Disruptive playbook. The Messenger Group.Messenger, L. 2016.Breakups and Breakthroughs. The Messenger Group.Messenger, L. 2015. Life & Love: Creating the Dream. The Messenger Group.Messenger, L. 2015. Money andMindfulness playbook. The Messenger Group.Messenger, L. 2015. Money and Mindfulness: living in abundance. The Messenger Group.Messenger, L. 2012. SocialMedia to Boost Your Brand. The Messenger Group.Messenger, L. 2011. Books to Boost Your Brand. The Messenger Group.Messenger, L. and C. Gray (eds.) 2009.Property Investing - The Australian Way. Messenger Publishing.Messenger, L. 2009. Maverick Marketing. The Messenger Group.Messenger, L. and Z. Liew 2009.Cubicle Commando: Intrapreneurs, Innovation and Corporate Realities. Messenger Publishing.Messenger, L. 2009. Happiness Is.... MessengerPublishing.AwardsSouthern Cross University Alumni of the Year (2010)Thought Leaders Entrepreneur of the Year (2008)Passage 5:Ian Barry (director)Ian Barry isan Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie andMe (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:MarkusZusakMarkus Zusak (born 23 June 1975) is an Australian writer. He is best known for The Book Thief and The Messenger, two novels which became internationalbestsellers. He won the Margaret A. Edwards Award in 2014.Early lifeZusak was born in Sydney, Australia. His mother Lisa is originally from Germany and hisfather Helmut is Austrian. They emigrated to Australia in the late 1950s. Zusak is the youngest of four children and has two sisters and one brother. He attendedEngadine High School and briefly returned there to teach English while writing. He studied English and history at the University of New South Wales, graduatingwith a Bachelor of Arts and a Diploma of Education.CareerZusak is the author of six books. His first three books, The Underdog, Fighting Ruben Wolfe, and WhenDogs Cry, released between 1999 and 2001, were all published internationally. The Messenger, published in 2002, won the 2003 CBC Book of the Year Award(Older Readers) and the 2003 NSW Premier's Literary Award (Ethel Turner Prize) in Australia and was a runner-up for the Printz Award in America.The Book Thief"}
+{"doc_id":"doc_257","qid":"","text":"Passage 1:The Invisible Man (1984 film)The Invisible Man (Russian: Человек-невидимка, romanized: Chelovek-nevidimka) is a 1984 Soviet science fiction filmdirected by Aleksandr Zakharov based on the 1897 eponymous novel by H. G. Wells.PlotDr. Griffin, with no other motive than curiosity, undertakes research onthe concept of invisibility. Having become invisible, he finds himself in an unfortunate combination of circumstances consisting of being suspected of murder andhunted down, forced to abandon the notebooks containing the notes of his experiences that would enable him to carry out the opposite process. His formerclassmate Dr. Kemp promises to find them, but in fact intends to use them himself in search of absolute power.CastAndrey Kharitonov as  Jonathan Griffin, TheInvisible ManRomualdas Ramanauskas (voiced by Sergei Malishevsky) as KempLeonid Kuravlyov as Thomas MarvelNatalia Danilova as Jane BetOleg Golubitsky asColonel Edai, Chief of PoliceNina Agapova as Mrs. HallViktor Sergachyov as Mr. HallAlexander Pyatkov as Bar ownerPassage 2:The Invisible Man AttacksTheInvisible Man Attacks (Spanish:El Hombre invisible ataca) is a 1967 Argentine comedy film.CastMartin KaradagiánGilda LousekTristanRicardo PassanoJoerigoliGuillermo BattagliaNathan PinzónGobbi dartMila DemarieThe Gypsy IvanoffOscar OrleguiSusana MayoExternal linksThe Invisible Man Attacks atIMDbPassage 3:Big PalBig Pal is a 1925 American silent sports drama film directed by John G. Adolfi and starring William Russell, Julanne Johnston and MaryCarr. It was released in Britain in 1926, distributed by Wardour Films.PlotAs described in a film magazine review, Judge Truscott's daughter Helen spurns hiswealthy lifestyle and goes to do social work in poorer neighborhoods. She is saved from a runaway horse accident by Dan Williams, champion pugilist, and awarm friendship develops between them. On the eve of a championship battle, Dan's favorite nephew, little Johnny, is abducted by criminals, and Dan is notifiedthat unless he quits during the fifth round of the boxing match, the lad's life will be sacrificed. He decides to lose, but, as the fifth round approaches, Helenappears ringside along with Johnny, who had escaped his abductors. Dan cuts loose, winning the match and the affections of Helen.CastWilliam Russell as DanWilliamsJulanne Johnston as Helen TruscottMary Carr as Mary WilliamsMickey Bennett as Johnny WilliamsHayden Stevenson as Tim WilliamsHenry A. Barrows asJudge TruscottFrank Hagney as Bill HoganWilliam Bailey as Undetermined Secondary Role (uncredited)Buck Black as One of the Kids (uncredited)Alison Skipworthas Agatha Briggs, truant officer (uncredited)PreservationA newly restored copy of Big Pal exists at the Library of Congress.Passage 4:Abbott and Costello Meet theInvisible ManAbbott and Costello Meet the Invisible Man is a 1951 American science fiction comedy film directed by Charles Lamont and starring the team ofAbbott and Costello alongside Nancy Guild.The film depicts the misadventures of Lou Francis and Bud Alexander, two private detectives investigating the murderof a boxing promoter. The film was part of a series in which the duo meet classic characters from Universal's stable, including Frankenstein, the Mummy and theKeystone Kops.PlotLou Francis and Bud Alexander have just graduated from a private detective school. Tommy Nelson, a middleweight boxer, comes to themwith their first case. Tommy recently escaped from jail after being accused of murdering his manager, and asks the duo to accompany him on a visit to hisfiancée, Helen Gray. He wants her uncle, Dr. Philip Gray, to inject him with a special serum which will render Tommy invisible, and hopes to use the newfoundinvisibility to investigate his manager's murder and prove his innocence. Dr. Gray adamantly refuses, arguing that the serum is still unstable, recalling that theformula's discoverer, Jack Griffin, was driven insane by the formula and did not become visible again until after he was killed. However, as the police arriveTommy injects himself with it and successfully becomes invisible. Detective Roberts questions Dr. Gray and Helen while Bud and Lou search for Tommy.Helen andTommy convince Bud and Lou to help them seek the real killer, after Tommy explains that the motive for the murder occurred after he refused to \"throw\" a fight,knocking his opponent, Rocky Hanlon, out cold. Morgan, the promoter who fixed the fight, ordered Tommy's manager beaten to death while framing Tommy forthe crime. In order to investigate undercover, Lou poses as a boxer, with Bud as his manager. They go to Stillwell's gym, where Lou gets in the ring with Rocky.Tommy, still invisible, gets into the ring with them and again knocks out Hanlon, making it look like Lou did it, and an official match is arranged. Needing to proveMorgan was behind the plot to frame Tommy, Bud and Lou go out to the same restaurant to covertly spy on him alongside an invisible Tommy. But the effects ofthe serum and Tommy getting drunk make the task difficult for the two who have to keep covering for him. Morgan pays off Lou to throw the fight, but when thematch occurs with the aid of an invisible Tommy, Hanlon is knocked out yet again after a wildly chaotic boxing match. Morgan plans Bud's murder, but is thwartedby Tommy. Bud, Lou, and Tommy fight off Morgan and his goons, but when Tommy is rendered partially visible from some steam he is wounded in the battle andbegins to bleed badly. The protagonists rush to the hospital where a blood transfusion is arranged between Lou and Tommy, thanks to Lou having the same bloodtype. During the transfusion Tommy becomes visible again – some of Tommy's blood has apparently entered Lou, who briefly turns invisible, only to reappearwith his legs inexplicably on backwards.CastProductionAbbott and Costello Meet the Invisible Man was filmed between October 3 and November 6, 1950. Thecharacters' surnames \"Alexander\" and \"Francis\" are Abbott's and Costello's real middle names.The special effects, which depicted invisibility and other opticalillusions, were created by Stanley Horsley, son of cinema pioneer David Horsley. He also did the special effects for The Invisible Man Returns, The InvisibleWoman and Invisible Agent.As a reference to the first Invisible Man film, a photo is featured of the serum's inventor, Dr. John \"Jack\" Griffin, which is actually apicture of Claude Rains, who played the role in Universal's first Invisible Man film in 1933.When asked by a reporter whom he has fought in the past, Lou answers,\"Chuck Lamont, Bud Grant\". The film's director and screenwriter, respectively, are Charles Lamont and John Grant.ReleaseThe film had a preview screening atThe Fox theater in St. Louis, Missouri, on March 9, 1951. The film saw release on Wednesday, March 14.Home mediaThis film has been released several times onDVD. First on The Best of Abbott and Costello Volume Three, on August 3, 2004, on October 28, 2008, as part of Abbott and Costello: The Complete UniversalPictures Collection, and in 2015 in the Abbott and Costello Meet the Monsters Collection. Later, the film was included in the 3-disc The Invisible Man: TheComplete Legacy Collection and the 21-disc Universal Classic Monsters: Complete 30-Film Collection, both released on September 2, 2014. It was released onBlu-ray on August 28, 2018.NotesPassage 5:The Invisible Woman (1940 film)The Invisible Woman is an American science fiction comedy film directed by A.Edward Sutherland. It is the third film in Universal Pictures' The Invisible Man film series, following The Invisible Man and The Invisible Man Returns, which werereleased earlier in the year. It was more of a screwball comedy than a horror film like the others in the series. Universal  released The Invisible Woman onDecember 27, 1940.The film stars Virginia Bruce, John Barrymore, John Howard, Charlie Ruggles, and Oscar Homolka, and features Margaret Hamilton, CharlesLane and Shemp Howard.PlotWealthy lawyer Richard Russell (John Howard) funds the dotty old inventor Professor Gibbs (John Barrymore) creation of aninvisibility device. The first test subject for this machine is Kitty Carroll (Virginia Bruce), a department store model who has been fired from her previous job. Themachine proves quite successful, and Kitty uses her invisible state to pay back her sadistic former boss, Mr. Growley (Charles Lane).While the Professor and theinvisible Kitty are off visiting Russell's lodge,   gangster Blackie Cole (Oscar Homolka) sends in his gang of moronic thugs—including “Hammerhead’ (ShempHoward)—to steal the device. Once the machine is back at their hideout, they cannot get it to work.  Kitty is now visible, and  Blackie sends the gang to kidnapher and the Professor. Kitty learns that alcohol will restore her invisibility, and, with Russell's help, she exploits this to defeat the gang.Cut to the end of the film.Kitty has married Richard and become a mother. After an alcohol rub, their infant son begins to fade from view. “Hmmm,” the  Professor says to the audience.“Hereditary!”CastCast is sourced from the book Universal Horrors:ProductionAfter the success of The Invisible Man Returns, Universal Pictures began work on afollowup and signed Curt Siodmak to develop the idea in 1940 with comedy writers Frederic I. Rinaldo and Robert Lees. Universal gave the film a $300,000budget. Margaret Sullivan had originally been slated for the role of the invisible woman because she owed Universal one more film in her contract. Director JohnCromwell approached Sullivan about playing the lead in So Ends Our Night, and she failed to report to Universal for The Invisible Woman. Sullivan received arestraining order preventing her from working elsewhere. Eventually, she was allowed to finish So Ends the Night, as long as she continued work on two films forUniversal. Virginia Bruce was cast as the invisible woman and signed her contract on September 12, 1940.John Barrymore began to have trouble memorizing hisdialogue. According to John Howard, Barrymore began cutting up the script and placing pieces on the set—behind vases, phones or other props—so he could readthe lines.Howard says  that \"Barrymore was an ordinary fellow. He wasn't stuffy and he had no pretense whatsoever. Even in pictures that you felt weren't up tosnuff, I don't think he showed any disdain. We knew perfectly well The Invisible Woman wasn't going to be an award-winning picture, but it was fun to do. No onetook it seriously\".Maria Montez is among the cast, in her first film role.ReceptionThe film was nominated for the 14th Academy Awards for Special Effects. (At thetime, the category embraced photographic and sound effects.) The photographic effects were by John Fulton and the sound effects by John Hall.  I Wanted Wingswon the Oscar for Special Effects. At the time of its release, this film was considered slightly risqué because much is made of the fact that the heroine, thoughinvisible, is naked during much of the action.On its release, The Invisible Woman grossed a total of just under $660,000. Universal followed it with Invisible Agenton July 31, 1942.Theodore Strauss of The New York Times called the film \"silly, banal and repetitious ... The script is as creaky as a two-wheeled cart and were itnot for the fact that John Barrymore is taking a ride in it we hate to think what The Invisible Woman might have turned out to be\".  Variety called it \"good"}
+{"doc_id":"doc_258","qid":"","text":"Passage 1:Lương Hoàng NamLương Hoàng Nam (born 2 March 1997) is a Vietnamese footballer who plays as a central midfielder for V.League 1 club HảiPhòng.HonoursCông An Nhân DânV.League 2: 2022Passage 2:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917– 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.SurreycricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North Londonand brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took fivewickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap –he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remainthe best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of theseason, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As atail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similarnumber of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his lefthand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of theircomparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, lowaverage of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the CountyChampionship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinnerJohnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for aleft-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, hadfailed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played inalmost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of adisappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, likethe rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at anaverage of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first inningsand five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, butSomerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a smallimprovement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runsand an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, heequalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clevervariation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at thebottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowlerfor the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 whenMcMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped fromthe first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first teamfor only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highlycontroversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002,McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night at the FlyingHorse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a furtherescapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon,\"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the only Somerset second eleven match thatMcMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"anembarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-matesand club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with MilnrowCricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.== Notes and references==Passage 3:Isabella HarwoodIsabella Harwood or Ross Neil (14 June 1837 – 29 May 1888) was a British novelist who also wrote dramas inverse.BiographyHarwood was probably born in Dorset in 1837 where her parents Phillip Harwood and his wife Isabella Neil lived. Phillip Harwood was then aUnitarian minister in Bridport.Between 1864 and 1870 she wrote four sensational novels which were published without attribution. Between 1871 and 1883 shewrote a number of unfashionable blank verse dramas which were said to be readable. Two were produced in Edinburgh and London but they were not favourablyreceived.Harwood lived with her father in London and then in Hastings. She died in St Mary-in-the-Castle in 1888 in Hastings a year after herfather.WorksNovelsAbbot's CleveCarleton GrangeRaymond's HeroineKathleenThe Heir ExpectantPlaysLady Jane Grey; Inez, or, The Bride of PortugalPlaysThe Cid;The King and the Angel; Duke for a Day; or The Tailor of BrusselsElfinella, or, Home from Fairyland; Lord and Lady RussellArabella Stuart; The Heir of Linne;TassoEglantineAndrea the Painter; Claudia's Choice; Orestes; PandoraPassage 4:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was anEnglish-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son ofthe Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers,Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was amaid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera inNovember 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of thePeace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was aright-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealandfirst-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the scoreat 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combinedwith good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took thescore from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out ofhis ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, atthe age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 5:Ross McMillanPeter RossMcMillan (born 2 June 1987) is a professional rugby union player. His position is hooker.  McMillan has previously played professionally for Nottingham,Gloucester, Moseley, Coventry, Birmingham & Solihull, Northampton, Bristol and Leicester Tigers.CareerBorn in Chesterfield, England McMillan representedEngland at U19 level whilst with his first professional club Nottingham.On 2 June 2006 Gloucester announced McMillan's signing on a 2 years contract ahead ofcompetition from other Premiership clubs to sign him from Nottingham.  For the 2007-08 season, Ross was dual-registered with Moseley.  In a friendly prior tothe 2008-09 season, McMillan suffered a ruptured cruciate ligament against Aviron Bayonnais, a season-ending injury.McMillan signed for Coventry in the summerof 2009.McMillan joined Northampton Saints midway through the 2011-2012 season from Birmingham & Solihull as a triallist. He was awarded a short-term"}
+{"doc_id":"doc_259","qid":"","text":"Passage 1:The Thing About StyxThe Thing About Styx (German: Die Sache mit Styx) is a 1942 German comedy crime film directed by Karl Anton and starring Laura Solari, Viktor de Kowa and Margit Symo. It was based on the novel Rittmeister Styx by Georg Mühlen-Schulte.CastLaura Solari as Julia SanderViktor de Kowa as Captain StyxMargit Symo as ArianeWill Dohm as BasilioCurt Lucas as Jules StoneWalter Steinbeck as Jacques StoneHans Leibelt as consul SanderHarald Paulsen as Dr. BonnettTheodor Loos as LenskiFranz Weber as CyrillWerner Scharf as TschelebiFranz Zimmermann as DodleyKurt Seifert as EugeneKarl Meixner as messengerLeo Peukert as DuchanHans Stiebner as hostLouis Ralph as packagerWilhelm Bendow as administrator of the legationKurt Mikulski as opera doormanTheodor Vogeler as accompanist #1Friedrich Petermann as accompanist #2Karl JüstelAngelo FerrariFranz SchafheitlinWalter BechmannPassage 2:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 3:The Thing from Another WorldThe Thing from Another World, sometimes referred to as just The Thing, is a 1951 American black-and-white science fiction-horror film, directed by Christian Nyby, produced by Edward Lasker for Howard Hawks' Winchester Pictures Corporation, and released by RKO Radio Pictures. The film stars Margaret Sheridan, Kenneth Tobey, Robert Cornthwaite, and Douglas Spencer. James Arness plays The Thing: He is difficult to recognize in costume and makeup due to both low lighting and other effects used to obscure his features. The Thing from Another World is based on the 1938 novella \"Who Goes There?\" by John W. Campbell (writing under the pseudonym of Don A. Stuart).The film's storyline concerns a United States Air Force crew and scientists who find, frozen in the Arctic ice, a crashed flying saucer and a humanoid body nearby. Returning to their remote arctic research outpost with the body still in a block of ice, they are forced to defend themselves against the still alive and malevolent plant-based alien when it is accidentally thawed out.PlotIn Anchorage, journalist Ned Scott (Douglas Spencer), looking for a story, visits the officer's club of the Alaskan Air Command, where he meets Captain Pat Hendry (Kenneth Tobey), his co-pilot Lieutenant Eddie Dykes, (a friend of Scott's), and flight navigator Ken \"Mac\" MacPherson. General Fogarty orders Hendry to fly to Polar Expedition Six at the North Pole, per a request from its lead scientist, Nobel laureate Dr. Arthur Carrington (Robert Cornthwaite); Carrington has radioed that an unusual aircraft has crashed nearby. With Scott, Corporal Barnes, crew chief Bob, and a pack of sled dogs, Hendry pilots a Douglas C-47 Skytrain transport aircraft to the remote outpost.Upon arrival, Scott and the airmen meet radio operator Tex, Dr. Chapman, his wife Mrs. Chapman, a man named Lee, who is one of two cooks, and the Inuit dog handlers. Also present are scientists Vorhees, Stern, Redding, Stone, Laurence, Wilson, Ambrose, Auerbach, Olson, and Carrington. Hendry later rekindles his romance with Nikki Nicholson (Margaret Sheridan), Carrington's secretary. Several scientists fly with the airmen to the crash site, finding a large object buried beneath the ice. As they spread out to determine the object's shape, they realize that they are standing in a circle; they have discovered a flying saucer. The team attempts to melt the ice covering the saucer with thermite, but a violent reaction with the craft's metal alloy completely destroys it. Their Geiger counter, however, detects a frozen body buried nearby; it is excavated in a large block of ice and loaded aboard the C-47 transport. They fly out as an Arctic storm closes in on their site.Hendry assumes command of the outpost and, pending radio instructions from General Fogarty, denies Scott permission to send out his story; he also denies the scientists' demands to examine the body. Tex sends an update to Fogarty, and the airmen settle in as the storm arrives. A watch is posted; Barnes relieves McPherson and, disturbed by the creature's appearance in the clearing ice, covers it with an electric blanket, which he does not realize is plugged in. The block slowly thaws and the creature, still alive, escapes into the storm and is attacked by the sled dogs. The airmen recover the creature's severed arm after the attack.The scientists examine the arm, concluding that the alien is an advanced form of plant life. Carrington is convinced of its superiority to humans and becomes intent on communicating with it. The airmen begin a search, which leads to the outpost's greenhouse. Carrington stays behind with Vorhees, Stern, and Laurence, having noticed evidence of alien activity. They discover a third sled dog hidden away, which has had all of its blood drained; the carnivorous plant creature feeds on blood. Carrington and the scientists post a secret watch of their own, hoping to encounter the alien before the airmen find it.The next morning, the airmen continue their search. Tex informs them that Fogarty is aware of their discovery and demands further information, now prevented by the fierce storm. Stern appears, badly injured, and tells the group that the creature has killed Auerbach and Olson. When the airmen investigate, the alien attacks them; they manage to barricade it inside the greenhouse. Hendry confronts Carrington and orders him to remain in his lab and quarters.Carrington, obsessed with the alien, shows Nicholson and the other scientists his experiment: Using seeds taken from the severed arm, he has been growing small alien plants by feeding them from the blood plasma supply at the base. Hendry finds the plasma missing when it is needed to treat Stern, which leads him to Carrington. Fogarty transmits orders to keep the creature alive, but it escapes from the greenhouse and attacks the airmen in their quarters. They douse it with buckets of kerosene and set it aflame, forcing it to retreat into the storm. After regrouping, they realize that their building's temperature is falling rapidly; the furnaces have stopped working, sabotaged by the alien. They retreat to the station's generator room to keep warm, and rig an electrical \"fly trap\". The alien continues to stalk them, but at the last moment, Carrington attempts to communicate, pleading with the creature. It knocks him aside, walks into the trap, and is electrocuted. On Hendry's order, it is reduced to a pile of ash.When the weather clears, Scotty is finally able to file his \"story of a lifetime\" by radio to a roomful of reporters in Anchorage. He ends his broadcast with a warning: \"Tell the world. Tell this to everybody, wherever they are. Watch the skies everywhere. Keep looking. Keep watching the skies...\".CastProductionIn 1950, Lederer and Hecht convinced Hawks to buy the rights to \"Who Goes There?\". The cost ended up being $1,250.In an unusual practice for the era, no actors are named during the film's dramatic \"slow burning letters through background\" opening title sequence; the cast credits appear at the end of the film. Appearing in a small role was George Fenneman, who at the time was gaining fame as Groucho Marx's announcer on the popular quiz show You Bet Your Life. Fenneman later said he had difficulty with the overlapping dialogue in the film.The film was partly shot in Glacier National Park with interior sets built at a Los Angeles ice storage plant.The scene where the alien is set aflame and repeatedly doused with kerosene was one of the first full-body fire stunts ever filmed.The film took full advantage of the national feelings in America at the time in order to help enhance the horror elements of the film's storyline. The film reflected a post-Hiroshima skepticism about science and prevailing negative views of scientists who meddle with things better left alone. In the end it is American servicemen and several sensible scientists who win the day over the alien invader.ScreenplayThe film was loosely adapted by Charles Lederer, with uncredited rewrites from Howard Hawks and Ben Hecht, from the 1938 novella \"Who Goes There?\" by John W. Campbell. The story was first published in Astounding Science Fiction under Campbell's pseudonym, Don A. Stuart. (Campbell had just become Astounding's managing editor when his novella appeared in its pages.) Science fiction author A. E. van Vogt, who had been inspired to write from reading \"Who Goes There?\" and who had been a prolific contributor to Astounding, had wanted to write the script.The screenplay changes the fundamental nature of the alien. Lederer's \"Thing\" is a humanoid life form whose cellular structure is closer to vegetation, although it must feed on blood to survive; reporter Scott even refers to it in the film as a \"super carrot\". The internal, plant-like structure of the creature makes it impervious to bullets, but not to other destructive forces. Campbell's \"Thing\" is a life form capable of assuming the physical and mental characteristics of any living thing it encounters; this characteristic was later realized in John Carpenter's adaptation of the novella, the 1982 film The Thing.DirectorThere is debate as to whether the film was directed by Howard Hawks, with Christian Nyby receiving the credit so that Nyby could obtain his Director's Guild membership or whether Nyby directed it with considerable input from producer Hawks for Hawks' Winchester Pictures, which released the film through RKO Radio Pictures Inc. Hawks gave Nyby only $5,460 of RKO's $50,000 director's fee and kept the rest, but Hawks always denied that he directed the film.Cast members disagree on Hawks' and Nyby's contributions: Tobey said that \"Hawks directed it, all except one scene\" while, on the other hand, Fenneman said that \"Hawks would once in a while direct, if he had an idea, but it was Chris' show\". Cornthwaite said that \"Chris always deferred to Hawks ... Maybe because he did defer to him, people misinterpreted it\".One of the film's stars, William Self, later became President of 20th Century Fox Television. In describing the production, Self said, \"Chris was the director in our eyes, but Howard was the boss in our eyes\". Although Self has said that \"Hawks was directing the picture from the sidelines\", he also has said that \"Chris would stage each scene, how to play it. But then he would go over to Howard and ask him for advice, which the actors did not hear ... Even though I was there every day, I don't think any of us can answer the question. Only Chris and Howard can answer the question\".At a reunion of The Thing cast and crew members in 1982, Nyby said:Did Hawks direct it? That's one of the most inane and ridiculous questions I've ever heard, and people keep asking. That it was Hawks' style. Of course it was. This is a man I "}
+{"doc_id":"doc_260","qid":"","text":"Passage 1:Dan MilneDan Milne is a British actor/director who is possibly best known for his role in EastEnders.CareerHe started his career in 1996 and made anappearance in Murder Most Horrid and as a pub poet in In a Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.As amember of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the NewVictory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years invarious cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.Passage 2:ArindamSilArindam Sil (born March 12, 1964) is an Indian actor, film director and line producer who predominantly works in Bengali films..Early lifeSil was born on 12March 1964 in North Calcutta to a traditional joint family. He was a student of St. Joseph's College, Calcutta, and St. Xavier's College, Kolkata, from where hepassed ICSE, ISC & B Com (Hons) examinations. He then pursued M.B.A. in marketing from the Indian Institute of Social Welfare and Business Management atthe University of Calcutta. He gave up his PhD at USA to pursue his interest in becoming an actor. In 2012 he directed a movie Aborto. Sil and his company,Nothing Beyond Cinema, has managed the line-production of films like The Bong Connection, Via Darjeeling, 033, Brake Fail, Shukno Lanka, Nobel Chor, Kahaani,Detective Byomkesh Bakshi, TE3N, Meri Pyari Bindu', among others.FilmographyDirectorActorAfghaani Snow (2023)Sada Ronger Prithibi (2023)Shabash Feluda(2023)Lost (2023)Tirandaj Shabor (2022)Mahananda (2022)Bhalo Meye Kharap Meye (2019)Durgeshgorer Guptodhon (2019)Finally Bhalobasha(2019)Guptodhoner Sondhane (2018)Eagoler Chokh (2016) (cameo)Har Har Byomkesh (2015) (cameo)Shudhu Tomari Jonyo (2015) Nayantara's FatherBunoHaansh (2014)Kaal Madhumas (2013)Target Kolkata (2013)Asbo Aar Ekdin (2012)Laptop (2012) Raya's FatherNobel Chor (2012)Arekti Premer Golpo (2010)EktiTarar Khonje (2010)Sob Choritro Kalponik (2009)Brake Fail (2009)Via Darjeeling (2008)Tolly Lights (2008)Chalo Let's Go (2008)Bow Barracks Forever (2007)TheBong Connection (2007)Netaji Subhas Chandra Bose: The Forgotten Hero (2005)Dwitio Paksha (2004)Mahulbanir Sereng (2004)Annadaata (2002)Debdas(2002)Moner Majhe Tumi (2002)Cancer (2001)Hey Ram (2000)Shesh Thikana (2000)Sankha Sindurer Dibyi (1999)Shatru Mitra (1999)Swapno Niye (1999)TumiEle Taai (1999)Executive producerMeri Pyaari Bindu (2017)Kahaani 2: Durga Rani Singh (2016)Te3n (2016)Detective Byomkesh Bakshy!Gunday (2014)Kahaani(2012)Nobel Chor (2012)Shukno Lanka (2010)033 (2010)Brake Fail (2009)Via Darjeeling (2008)The Bong Connection (2007)See alsoPijush GangulyParanBandopadhyayPassage 3:Circle of DeceptionCircle of Deception is a 1960 CinemaScope British war film directed by Jack Lee and starring Bradford Dillman, SuzyParker and Harry Andrews.PlotA Canadian officer is sent on a secret and dangerous mission during World War II. His superior officers deceptively give him falseinformation about the planned invasion of 1944. He is told that this secret information must not get into enemy hands. He is transported into occupied territory ina way that insures he will be captured. He resists torture, but finally tells all.  The Germans are misled and the Normandy landings succeed. The Canadian officeris now a broken man.CastBradford Dillman as Captain Paul RaineSuzy Parker as Lucy BowenHarry Andrews as Captain Thomas RawsonRobert Stephens asCaptain SteinPaul Rogers as Major William SpenceJohn Welsh as Major TaylorRonald Allen as Jim AbelsonA. J. Brown as Frank BowenMartin Boddey as HenryCrowCharles Lloyd-Pack as AyresJacques Cey as CureJohn Dearth as Captain OrmrodNorman Coburn as CarterHennie Scott as Small boyRichard Marner asGerman colonelWalter Gotell as Phoney Jules BallardPassage 4:Elliot SilversteinElliot Silverstein (born August 3, 1927) is a retired American film and televisiondirector. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse(1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silversteinwas the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and LeeMarvin.The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other workincluded directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, hisfilms were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with aLifetime Achievement Award by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award –Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.He was also nominated for the Golden Berlin Bear.In 1966, hewas nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangleraward at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt,and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guildof America.In 1990, he was awarded the DGA Honorary Life Member Award.Personal lifeSilverstein has been married three times, each ending in divorce. His firstmarriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father ofDavid Cassidy.He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays andother projects.FilmographyTales from the Crypt (TV Series) (1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie) (1990)Fight for Life(TV Movie) (1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie) (1986)The Firm (TV Series) (1982–1983)The Car (1977)NightmareHoneymoon (1974)A Man Called Horse (1970)The Happening (1967)Cat Ballou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders (TV Series)(1962–64)Arrest and Trial (TV Series) (1964)The Doctors and the Nurses (TV Series) (1962–64)Twilight Zone (TV Series) (1961–64)Breaking Point (TV Series)(1963)Dr. Kildare (TV Series) (1961–63)The Dick Powell Theatre (TV Series) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series) (1961–62)Have Gun- Will Travel (TV Series) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)The Westerner (TV Series) (1960)Assignment: Underwater (TVSeries) (1960)Black Saddle (TV Series) (1960)Suspicion (TV Series) (1958)Omnibus (TV Series) (1954–56)Passage 5:Victor OstrovskyVictor John Ostrovsky(born 28 November 1949) is an author and a former katsa (case officer) for the Israeli Mossad. He authored two nonfiction books about his service with theMossad: By Way of Deception, a #1 New York Times bestseller in 1990, and The Other Side of Deception several years later.FamilyOstrovsky's mother, agymnastics teacher by trade, was born in Mandatory Palestine to Haim and Esther Margolin, (his grandparents) who fled Russia in 1912 and settled in Palestinewhere Haim served as Auditor General of the Jewish National Fund (JNF), and Esther volunteered to the British Army (ATS), as truck driver during World War II,and later joined the Haganah to fight for Israel's independence from the British mandate rule.Ostrovsky's father was a Canadian-born Jew who served with theRoyal Canadian Air Force during World War II as a tail gunner on a Lancaster bomber, taking part in more than 20  missions over Germany. His plane was shotdown over Germany, but he managed to escape and return to active service. After the war, he joined the Israeli military to fight in the 1948 Arab–Israeli War,rising to command Sde Dov, an Israeli Air Force base in Israel.Early lifeHe was born in Edmonton, Alberta, Canada, on 28 November 1949, and he moved toIsrael at the age of five.CareerOstrovsky joined the Israeli Youth Brigade at 14 and quickly became an expert marksman, finishing second in a 1964 nationalshooting competition, with a score of 192 out of 200. At the age of 17, he joined the Israel Defense Forces (IDF) after a minor eye condition ended his hopes ofbecoming a pilot. He was assigned to the Military Police and rose to command the Nablus Military Police Base. Later, he was made commanding officer of theMilitary Police West Bank Central Command.After his service with the Military Police, he spent six years in the Israeli Navy. He was selected to attend the Staffand Command School and attained the rank of Lieutenant Commander. Ostrovsky was placed in charge of all Navy weapons testing. He helped introduce theHarpoon surface-to-surface missile to the Saar missile boats as well as the Vulcan Phalanx anti-missile defense system.According to court papers filed by theIsraeli government in an attempt to stop the publication of his book By Way of Deception, Ostrovsky was recruited by the Mossad in 1984 and trained as a katsa(case officer) at the Mossad's training school north of Tel Aviv.In 1986, he says that he left the agency saying it was because of what he considered cases ofunnecessarily-malicious actions by Mossad operatives. He also accused its directors of knowingly making less-than-accurate reports to the nation's politicalleadership. However, historian Benny Morris states that Ostrovsky's two years in the Mossad were mostly spent as a trainee, and he wouldn't have had access tomany operational secrets before he was fired.His wife, Bella Ostrovsky, died on January 8, 2015, at 65.He operated Ostrovsky Fine Art Gallery in Scottsdale,Arizona. While he has painted many subjects, he is best known for his Metaphors of Espionage collection, inspired by his days as a spy for the Mossad.By Way ofDeceptionIn 1990, he published By Way of Deception to draw attention to the corruption and shortcomings that he claims to have witnessed in the Mossad. Hehas repeatedly argued that intelligence-gathering agencies must be permitted certain operational freedoms but that significantly-increased governmentaloversight of espionage activities is necessary.Without effective oversight, he has said that the Mossad cannot achieve its full potential and value. According toOstrovsky, if a US senator on a military committee whose \"aide was Jewish, he or she would be approached as a sayan,\" which Ostrovsky later defines as \"avolunteer Jewish helper outside Israel\" who would then assist Mossad. Of the Israeli spy network in the United States, David Wise wrote in his New York Times"}
+{"doc_id":"doc_261","qid":"","text":"Passage 1:Mason of the MountedMason of the Mounted is a 1932 American pre-Code Western film directed by Harry L. Fraser. It was the fourth MonogramPictures eight-film Western film series \"the Bill and Andy series\" with Bill Cody co-starring with child actor Andy Shuford.PlotNorth-West Mounted Police ConstableBill Mason and two other Mounties are chasing a murderer who shoots and wounds one of them. When the murderer has entered the United States, Bill Masongoes undercover to get his man and bring him back to Canada for justice.  He finds that the murderer, now calling himself Calhoun is leading a group of rustlers.Without knowing his true identity, the locals have Mason elected as the head of a vigilante committee to stop the rustling.CastBill Cody as Bill MasonAndy Shufordas Andy Talbot, Luke's NephewNancy Drexel as Marion KirbyLeRoy Mason as CalhounJack Carlyle as Luke Kirby, Marion's FatherJames A. Marcus as MarshalArtSmith as R.N.W.M.P, OfficerExternal linksMason of the Mounted at IMDbMason of the Mounted is available for free viewing and download at the InternetArchivePassage 2:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin. The film isa modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cultclassic Clash of the Titans. It was Rollin's final film, as the director died in 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlène Delcambre asSthénoJuliette Moreau as JulietteDelphine Montoban as CorneliusJean-Pierre Bouyxou as le gardienBernard Charnacé as le collectionneurAgnès Pierron as lacolleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre la têteThomas Smith as ThomasProductionIt wasthought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparationfoe Le masque de la Méduse. Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release,Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire.  The filmwas shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longestpart of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.ReleaseThe film was notreleased theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse. Aspart of \"An Evening with Jean Rollin\", it was shown as a double feature with Rollin's 2007 film La nuit des horloges.Home mediaNo official DVD was released,although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume1.Passage 3:Code of the MountedThe Code of the Mounted is a 1935 American drama film directed by Sam Newfield from a screenplay by Milton Raison.  The filmstars Kermit Maynard, Robert Warwick, and Jim Thorpe.CastPlotRaoul Marlin kills a fur trapper, and is captured and imprisoned by members of the RoyalCanadian Mounted Police.  Snaky, a member of his gang, kills the two Mounties guarding him, and helps him escape, but another Mountie, Jim Wilson, tracks himdown and recaptures him. However, as they are making their way back to jail, more members of the gang Marlin belongs to, including the gang's leader, Jean,waylay them and free Marlin once again. Wilson and his partner, Rogers, begin tracking the gang down. The trail leads them to a general store which is owned byDuval, who is Jean's second-in-command, as well as being in love with her. Wilson hatches a plan to go undercover and impersonate a notorious thief andmurderer, Benet.  When he gets to the store, he witnesses Duval kill an Indian, when the Indian refuses to sell his furs for fifty cents each. Jean tells him to getout of there, but Wilson gives her his story of being Benet, and wanting to partner with her and split the black market in the region with her. Wilson's cover isfurther bolstered when Rogers begins spreading a \"rumor\" around town that Wilson is Benet.  After spreading the rumor, Rogers leaves to go get more Mountiesto help break up the gang. Duval, jealous of the attention Jean is bestowing on Wilson/Benet, as well as being upset over being shut out of their deal, begins todig into Benet's history.  At the newspaper office, he finds out that the real Benet had been hung a short time earlier.  He takes the newspaper article to Jean,who is furious, and gathers her gang to go after Wilson. Just as they are about to hunt Wilson down, Rogers and the others Mounties arrive. Most of the gang isarrested, but Jean and Marlin escape.  Wilson takes out after the two.  As he catches up with them, Marlin gets a bead on him, but is shot and killed by Jean, whohas developed feelings for Wilson. In exchange, Wilson lets Jean escape.ProductionThis was the fifth production of a work by James Oliver Curwood starringKermit Maynard.  It went into production on May 9, 1935, directed by Sam Neufeld.  It was scheduled for a June 8 release, and opened on time.ReceptionTheFilm Daily gave it a positive review, calling it an \"outdoor action story with better than usual attention to general production details\".  They complimented thescenery, Maynard's roping and riding skills, and felt it had enough action throughout, but went \"slightly overboard on dialogue and gunplay\".  The felt thedirection was good, and the cinematography excellent.  In a brief review, the Motion Picture Herald gave it a lukewarm review, saying that the film was \"fair\", butthe cinematography was \"excellent\", and Maynard's performance was \"well-liked\".Passage 4:QuerelleQuerelle is a 1982 West German-French English-languagearthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It wasFassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgian sailor Georges Querelle, who is also a thiefand murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, isQuerelle's brother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly andrepeatedly in the belly. Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, thecorrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic by slitting histhroat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, whohas the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses,however, he must submit to anal sex with Nono first, according to Nono's maxim that \"That way, I can say my wife only sleeps with arseholes.\" Querelledeliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game, the brothersend up in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle, a builder, Gil, murders his work mate Theo,who had been harassing and sexually assaulting him.  Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contactbetween Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles his brother.  Gil returns his affections,but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.Querelle's superior, LieutenantSeblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protecthim.  Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur.CastBrad Davis asQuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl as Robert / GilGünther Kaufmann asNonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam as WorkerAxel Bauer as WorkerNeilBell as TheoRobert van Ackeren as Drunken legionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as Drunken legionnaireProductionAccording to Genet'sbiographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor.However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah,before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotesSchidor as saying \"Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The storybecame totally unimportant for him. He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about withoutputting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder insteadshot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything isbathed in an artificial light and the architectural elements are all symbolic.\"SoundtrackJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by PeerRaben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs werenominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in the first three weeks after its release in Paris,the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negativeonly, the film has an approval rating of 57% calculated based on 14 critics comments. By comparison, with the same opinions being calculated using a weightedarithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was \"a mess...a detour that leads to a deadend.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay malesensibility to come from a major filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and"}
+{"doc_id":"doc_262","qid":"","text":"Passage 1:Paolo Delle PianePaolo Delle Piane (born 1 May 1964 in Bologna) is a retired Italian racing driver.See alsoMotorsport in ItalyPassage 2:WesleyBarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsmanand also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to the national team in August2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, hewas named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council(ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 3:Carlo CicalaCarlo Cicala or Carlo Cicada was a Roman Catholicprelate who served as Bishop of Albenga (1554–1572).).BiographyOn 30 March 1554, Carlo Cicala was appointed during the papacy of Pope Julius III as Bishop ofAlbenga. He served as Bishop of Albenga until his resignation in 1572.Episcopal successionWhile bishop, he was the principal co-consecrator of:BenedettoLomellini, Bishop of Ventimiglia (1565);Filippo Spinola, Bishop of Bisignano (1566); andLuca Fieschi, Bishop of Andria (1566).Passage 4:BronisławDembowskiBronisław Dembowski (2 October 1927 – 16 November 2019) was a Polish Catholic bishop.Dembowski was born in Poland and was ordained to thepriesthood in 1953. He served as the bishop of the Diocese of Włocławek, Poland, from 1992 to 2003.== Notes ==Passage 5:Carlo Delle PianeCarlo Delle Piane(2 February 1936 – 23 August 2019) was an Italian film actor. From 1948 until his death, he appeared in more than 100 films.Born in Rome, Delle Piane made hisdebut at the age of twelve in Duilio Coletti's Heart; he starred in the stereotypical role of an arrogant but basically kind-hearted boy in many films until themid-fifties. The turning point of his career was the encounter with Pupi Avati, with whom Delle Piane experienced more significant and varied roles, going fromcomic surreal performances to melancholic and even dramatic shades.In 1984, he won the Nastro d'Argento for Best Actor for his performance in Una gitascolastica. For his role in Regalo di Natale he won the Volpi Cup at the 43rd Venice International Film Festival.Selected filmographyPassage 6:Wale AdebanwiWaleAdebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations,and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential PennCompact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change,nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.EducationbackgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in PoliticalScience from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as afreelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science asa lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California,Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal ofContemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University ofRochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing:Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books,including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare)Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation inNarration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in RaceRelations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 7:Carlo CesioCarlo Cesio or Carlo Cesi (17 April 1622– 6January 1682) was a Baroque-style painter and engraver of the Roman school.BiographyCesio was born in 1622 at Antrodoco in the present Province of Rieti,then part of the Roman States. He was brought up at Rome, in the school of Pietro da Cortona, and was employed in several prominent public works during thepontificate of Alexander VII. He painted historical subjects. He died in 1686 at Rieti.In the Quirinal, he painted The Judgment of Solomon, and others of his worksare in Santa Maria Maggiore and in the Rotunda. Carlo Cesio was also an engraver of some eminence; we have by him several plates after the Italian painters ofhis time. His plates are etched and finished off with the graver, in a free, masterly style.Among his works as an engraver:The Virgin and Infant Jesus with St.John; half-length.St. Andrew led to Martyrdom, prostrating himself before the Cross; after Guido.The Frontispiece to the book entitled Discorsi dellaMusica.Sixteen plates from the Pamphili Gallery; after Pietro da Cortona.Forty-one plates (1657) of the Farnese Gallery; after Annibale Carracci.Eight plates of theBuongiovanni Chapel in the church of St. Augustine at Rome; after Lanfranco.A book of anatomical drawings, published posthumously in German: L'anatomia deipittori del signore Carlo CesioPassage 8:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was anAustralian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was anorthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to thecounty's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In hisfirst full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by takingeight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowlingperformance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-endleft-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought astuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number ofmatches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, andplayed in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparativemerits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship andrecruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence,with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodoxspinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise hispromise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played in almost every matchduring his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which hedid not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according toWisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, theywould have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton tookonly 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second tofinish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at thebottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting andthe arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. Thisincluded his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowlingperformance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". Thesematches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for thefourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langfordreturning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the"}
+{"doc_id":"doc_263","qid":"","text":"Passage 1:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershirein the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, andsettled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in theBirmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershireinvited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being KenSuttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) inwhat was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and RegPerks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when hetook 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He alsomade his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the singlewicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just twoovers in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff ArmsPark; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked asa teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 2:Wale AdebanwiWale Adebanwi (born 1969) is aNigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of theAfrican Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of AfricanaStudies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations,identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated witha first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He alsohas an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editorfor many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was laterappointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professorat UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHispublished works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and EthnicPolitics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics inPost-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life inAfrica: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare)Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria:Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited withEbenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University toFaculty of African and Interdisciplinary Area Studies.Passage 3:Howard HawksHoward Winchester Hawks (May 30, 1896 – December 26, 1977) was an Americanfilm director, producer, and screenwriter of the classic Hollywood era. Critic Leonard Maltin called him \"the greatest American director who is not a householdname.\"  Roger Ebert called Hawks \"one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values inso many different kinds of genre material.\" He was nominated for the Academy Award for Best Director for Sergeant York (1941) and earned the HonoraryAcademy Award in 1974.A versatile film director, Hawks explored many genres such as comedies, dramas, gangster films, science fiction, film noir, war films, andwesterns. His most popular films include Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), To Have and HaveNot (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). Hisfrequent portrayals of strong, tough-talking female characters came to define the \"Hawksian woman\".Early life and backgroundHoward Winchester Hawks wasborn in Goshen, Indiana. He was the first-born child of Frank Winchester Hawks (1865–1950), a wealthy paper manufacturer, and his wife, Helen Brown (néeHoward; 1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers, and his ancestor John Hawks hademigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Midwest,due mostly to the highly profitable Goshen Milling Company.Hawks's maternal grandfather, C. W. Howard (1845–1916), had homesteaded in Neenah, Wisconsin,in 1862 at age 17. Within 15 years he had made his fortune in the town's paper mill and other industrial endeavors. Frank Hawks and Helen Howard met in theearly 1890s and married in 1895. Howard Hawks was the eldest of five children, and his birth was followed by Kenneth Neil Hawks (August 12, 1898 – January 2,1930), William Bellinger Hawks (January 29, 1901 – January 10, 1969), Grace Louise Hawks (October 17, 1903 – December 23, 1927), and Helen Bernice Hawks(1906 – May 4, 1911). In 1898, the family moved back to Neenah where Frank Hawks began working for his father-in-law's Howard Paper Company.Between1906 and 1909, the Hawks family began to spend more time in Pasadena, California, during the cold Wisconsin winters in order to improve Helen Hawks's illhealth. Gradually, they began to spend only their summers in Wisconsin before permanently moving to Pasadena in 1910. The family settled in a house down thestreet from Throop Polytechnic Institute, and the Hawks children began attending the school's Polytechnic Elementary School in 1907. Hawks was an averagestudent and did not excel in sports, but by 1910 had discovered coaster racing, an early form of soapbox racing. In 1911, Hawks's youngest sibling, Helen, diedsuddenly of food poisoning. From 1910 to 1912, Hawks attended Pasadena High School. In 1912, the Hawks family moved to nearby Glendora, California, whereFrank Hawks owned orange groves. Hawks finished his junior year of high school at Citrus Union High School in Glendora. During this time he worked as abarnstorming pilot.He was sent to Phillips Exeter Academy in New Hampshire from 1913 to 1914; his family's wealth may have influenced his acceptance to theelite private school. Even though he was 17, he was admitted as a lower middleclassman, the equivalent of a sophomore. While in New England, Hawks oftenattended the theaters in nearby Boston. In 1914, Hawks returned to Glendora and graduated from Pasadena High School that year. Skilled in tennis, by 18 yearsold, Hawks won the United States Junior Tennis Championship. That same year, Hawks was accepted to Cornell University in Ithaca, New York, where he majoredin mechanical engineering and was a member of Delta Kappa Epsilon. His college friend Ray S. Ashbury remembered Hawks spending more of his time playingcraps and drinking alcohol than studying, although Hawks was also known to be a voracious reader of popular American and English novels in college.Whileworking in the film industry during his 1916 summer vacation, Hawks made an unsuccessful attempt to transfer to Stanford University. He returned to Cornellthat September, leaving in April 1917 to join the Army when the United States entered World War I. He served as a lieutenant in the Aviation Section, U.S. SignalCorps. During World War I, he taught aviators to fly, and he used these experiences as influence for future aviation films such as The Dawn Patrol (1930). Likemany college students who joined the armed services during the war, he received a degree in absentia in 1918. Before Hawks was called for active duty, hereturned to Hollywood and, by the end of April 1917, was working on a Cecil B. DeMille film.CareerEntering films (1916–1925)Howard Hawks's interest andpassion for aviation led him to many important experiences and acquaintances. In 1916, Hawks met Victor Fleming, a Hollywood cinematographer who had beenan auto mechanic and early aviator. Hawks had begun racing and working on a Mercer race car—bought for him by his grandfather C.W. Howard—during his 1916summer vacation in California. He allegedly met Fleming when the two men raced on a dirt track and caused an accident. This meeting led to Hawks's first job inthe film industry, as a prop boy on the Douglas Fairbanks film In Again, Out Again (on which Fleming was employed as the cinematographer) for FamousPlayers–Lasky. According to Hawks, a new set needed to be built quickly when the studio's set designer was unavailable, so Hawks volunteered to do the jobhimself, much to Fairbanks's satisfaction. He was next employed as a prop boy and general assistant on an unspecified film directed by Cecil B. DeMille. (Hawksnever named the film in later interviews, and DeMille made roughly five films in that time period). By the end of April 1917, Hawks was working on Cecil B.DeMille's The Little American. Hawks then worked on the Mary Pickford film The Little Princess, directed by Marshall Neilan. According to Hawks, Neilan did not"}
+{"doc_id":"doc_264","qid":"","text":"Passage 1:Mr. Right (2009 film)Mr. Right is a 2009 British film directed by David Morris and Jacqui Morris. The jointly-made gay-themed film is the debut for both directors.SynopsisThe film presents life of a number of individuals who live in London's Soho area in their quest for their \"Mr. Right\". One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled.Harry (James Lance) is a TV producer but dreams to get way. He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer. Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him backTom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model. Tom finds excuses for Lars' flings so long as Lars doesn't leave him. Meanwhile Lars has this attraction to Harry and can't get over his feelingsWilliam (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor. Their relationship is complicated as Georgie is intent on sabotaging his relationship.Louise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay. Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way.By the end of the film three months later, the characters are still striving to make new paths for themselves. Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him. Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship. Things have soured between Lars and William. Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work. Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight.CastMainJames Lance as HarryLuke de Woolfson as AlexDavid Morris as TomBenjamin Hart as LarsRocky Marshall as WilliamLeon Ockenden as LawrenceGeorgia Zaris as LouiseJeremy Edwards as PaulOthersJan Waters as Harry's MotherMaddie Planer as Georgie, Williams's daughterSheila Kidd as William's motherAndrew Dunn as Alex's FatherKaren Meagher as Alex's MotherRick Warden as Alex's BrotherKaty Odey as PresenterLucy Jules as EmmaSarah Carleton as WaitressDolly Wells as FizzHarry Serjeant as RunnerIan Tytler as CharlieJim Cole as HeathArchie Kidd as BarnabyHeather Bleasdale as Barnaby's MotherYvonne O'Grady as Business WomanMax Karie as MarcelKate Russell as The Yellow TeamIan Russell as The Yellow TeamMark Hayford as The Blue TeamDiane Morgan as The Blue TeamTerry Bird as Red TeamCheryl Fergison as Red TeamPassage 2:Mr. and Mrs. IyerMr. and Mrs. Iyer is a 2002 Indian English-language drama film written and directed by Aparna Sen and produced by N. Venkatesan. The film features Sen's daughter Konkona Sen Sharma as Meenakshi Iyer, a Tamil Iyer Brahmin who is a Hindu. Rahul Bose portrays the character of Raja Chowdhury, a Bengali Muslim wildlife photographer. The story revolves around these two lead characters during a fateful bus journey amidst the carnages of a communal strife in India. Zakir Hussain, an Indian tabla maestro, composed the background score and music for the film;  Goutam Ghose, a film director himself, was the cinematographer.Mr. and Mrs. Iyer premiered at the Locarno International Film Festival in Switzerland and was showcased at other prominent film festivals. The film opened to Indian audiences on 19 July 2002. It was met with critical acclaim upon release, and won several national and international awards, including the Golden Maile award at the Hawaii International Film Festival and the Nargis Dutt Award for Best Feature Film on National Integration in India. The film, which was also released as a DVD, had English as its predominant language with a sporadic use of Hindi, Tamil, and Bengali.PlotMeenakshi Iyer and her infant son, Santhanam, embark on a bus journey to return home, after visiting her parents. At the bus station, Meenakshi is introduced to Raja Chowdhury by a common friend. Raja, a wildlife photographer, is requested by Meenakshi's parents to look after their daughter and grandson during the journey. The passengers of the bus include a boisterous group of youngsters, two Sikh men, an elderly Muslim couple, a young couple high on romance, a mentally challenged boy and his mother, and some card-playing men. The bus faces a roadblock and the bus driver attempts a detour, but  is stopped by traffic jam caused by sectarian violence between Hindus and Muslims in nearby areas.Raja reveals his Muslim identity to Meenakshi. As someone who comes from a high caste and conservative Hindu Brahmin family, Meenakshi shudders at the very fact that during their travel she drank water offered by Raja, a Muslim. She is shocked and asks Raja to not touch her. Raja contemplates leaving the bus, but is forced to stay inside by the patrolling police, who declare a curfew due to the riot. After the police leaves to scout other areas, a rioting Hindu mob arrives and forcibly enters the bus. They begin interrogating passengers about their religious identities and when in doubt, they even resort to check if the person is circumcised.In order to protect himself from them, one of the passengers, who is Jewish and hence circumcised, points to the old Muslim couple to divert the  mob's attention. The mob's leader drags the old couple out of the bus. One of the teenagers resists this, but she is assaulted by the mob. As Raja attempts to rise in revolt, Meenakshi plants Santhanam on his lap, ordering him to hold the baby with an intent to shield Raja's Muslim identity. The mob asks about their identities, and Meenaksi tells the leader that she is Mrs. Iyer and Raja is her husband. After this chilling encounter, the passengers spend the night in the bus.In the morning, the passengers trek to a nearby village to seek accommodation. Raja and Meenakshi, identifying themselves as Mr. and Mrs. Iyer, fail to find any accommodation. However, the police officer, who was patrolling the earlier evening, bails them out by providing shelter at an abandoned forest bungalow. They are provided with the single usable bedroom available in the bungalow. Meenakshi refuses to share the room with Raja, and curses herself for coming along with a stranger. Raja confronts her on her outdated prejudices about caste and religion. After a brief quarrel, Raja allows her the comfort of the bedroom and prefers to sleep outside. The next morning when Meenakshi does not find Raja, she gets worried and angry as to why he left Santhanam and her in such a place. Soon, she feels relieved to find Raja sleeping outside. After they reach a restaurant in the nearby village, they meet the teenagers from the bus. The girls are excited and curious to know about Meenaakshi and Raja's love story. To keep their farce alive, both of them cook up an impromptu story right from how they met till where they went for their honeymoon. During their stay at the bungalow, they discover each other's beliefs and understanding of religion. That night, as they witness a horrific murder by one of the mobs, a shocked Meenakshi is comforted by Raja.The next day, they reach a railway station with the army's help. There, they board the train towards their destination. At their destination station, Kolkata, Meenakshi's husband, Mr. Iyer arrives to receive her and Santhanam. Meenakshi introduces Raja to her husband as Jehangir Chowdhury, a Muslim man who helped her (a Hindu woman) during the curfew. Raja hands over a camera roll to Meenakshi, containing the photos of their journey; they bid an emotional farewell to each other.CastKonkona Sen Sharma as Meenakshi S. Iyer – A traditional Tamil Iyer Brahmin traveling with her   son, Santhanam, in the bus on her way to meet her husband. She meets a fellow-traveler, Raja Chowdhury, and gets drawn to him due to the surrounding circumstances.Rahul Bose as Jehangir \"Raja\" Chowdhury – A liberal Muslim by faith, he is a wildlife photographer by profession. With the imminent danger from the rioters, Meenakshi contrives a protective identity for him as her husband.Bhisham Sahni as Iqbal Ahmed Khan – An elderly conservative Muslim traveling along with his wife, Najma. He ends up as one of the victims of the sectarian violence.Surekha Sikri as Najma Ahmed Khan – The dutiful and loving wife of Iqbal, Najma perishes in the riots when she comes in defence of her husband.Anjan Dutt as Cohen – He is responsible for diverting the attention of the Hindu mob, in self-defence, towards the old Muslim couple. Thereafter, he is petrified thinking that he may also have been killed by the mob who could wrongly identify him as a Muslim, since he is circumcised.Bharat Kaul as  Rajesh Arora – The police officer responsible for controlling and maintaining the law and order in the riot-stricken area. He gets acquainted with the bus passengers and helps the Iyer 'couple' find a place to stay during the curfew.Niharika Seth, Riddhi Basu, Richa Vyas, Eden Das, Jishnu Sengupta  as Khushbu, Mala, Sonali, Amrita, Akash – An enthusiastic young group of friends riding the bus.ProductionDevelopmentAparna Sen, a noted actress and director of Bengali cinema, made her debut as a director with the English film 36 Chowringhee Lane (1981). Mr. and Mrs. Iyer was her second film in English. She hoped to write a simple romantic story, but it shaped out to be a relationship drama in the backdrop of sectarian violence. Sen came up with the background of the story in the aftermath of 9/11 and the 2002 Gujarat riots. In an interview, Sen stated that the omnipresent, circumstantial violence in the film was only to serve as a strain in the script which aimed to show how the relationship evolves between two people who are forced to be together under trying times. She stated that the time frame of the film was set after the attacks on the Parliament of India on 13 December 2001.In an interview at the screening at the Locarno Film Festival, Sen revealed that Konkona was involved in the pre-production research, and she suggested the title. About the cinematographer Gautam Ghose, Aparna Sen said that they had a good rapport and that Ghose, himself an acclaimed director, was one of the best cinematographers she knew. Ghose, in reply, said that he hoped to give his best for the film and thus contribute to their friendship.CastingRahul Bose's work in English, August (1994) and Split Wide Open (1999) made Aparna Sen feel that he was a good, controlled and intelligent actor. After a costume and a makeup test, he was chosen for the character of Raja Chawdhury. Sen admitted that Bose's work was up to the mark, and working with him was a wonderful experience. She told in an interview that Konkona Sen Sharma's abilities as a sensitive actress fetched her the role of Meenakshi Iyer. Konkona said that she chose this film as she was interested in Indian films made in English, and was reluctant to do regular commercial films. Sen had penned the elderly Muslim woman's character bearing Surekha Sikri in mind. Eventually Sikri and the author and "}
+{"doc_id":"doc_265","qid":"","text":"Passage 1:Bohemond III of AntiochBohemond III of Antioch, also known as Bohemond the Child or the Stammerer (French: Bohémond le Bambe/le Baube; c. 1148–1201), was Prince of Antioch from 1163 to 1201. He was the elder son of Constance of Antioch and her first husband, Raymond of Poitiers. Bohemond ascended to the throne after the Antiochene noblemen dethroned his mother with the assistance of the lord of Armenian Cilicia, Thoros II. He fell into captivity in the Battle of Harim in 1164, but the victorious Nur ad-Din, atabeg of Aleppo released him to avoid coming into conflict with the Byzantine Empire. Bohemond went to Constantinople to pay homage to Manuel I Komnenos, who persuaded him to install a Greek Orthodox patriarch in Antioch. The Latin patriarch of Antioch, Aimery of Limoges, placed Antioch under interdict. Bohemond restored Aimery only after the Greek patriarch died during an earthquake in 1170.Bohemond remained a close ally of the Byzantine Empire. He fought against the new lord of Armenian Cilicia, Mleh, assisting in the restoration of Byzantine rule in the Cilician plain. He also made alliances with the Muslim rulers of Aleppo and Damascus against Saladin, who had begun to unite the Muslim countries along the borders of the crusader states. Since Bohemond repudiated his second wife and married an Antiochene lady, Patriarch Aimery excommunicated him in 1180.Bohemond forced the Armenian rulers of Cilicia to accept his suzerainty in the late 1180s. He also secured the County of Tripoli for his second son, Bohemond, in 1187. However, Saladin occupied almost the whole Principality of Antioch in the summer of 1188. To preserve the peace with Saladin, Bohemond did not provide military assistance to the crusaders during the Third Crusade.  The expansionist policy of King Leo I of Armenia in the 1190s gave rise to a lasting conflict between Antioch and Cilicia. Bohemond was captured in 1194 by Leo, who tried to seize Antioch, but the burghers formed the Commune of Antioch and expelled the Armenian soldiers from the town. Bohemond was released only after he acknowledged Leo's independence.New conflicts emerged after Bohemond's eldest son, Raymond, died in 1197. Raymond's widow, who was Leo's niece, gave birth to a posthumous son, Raymond-Roupen, but Bohemond's younger son, Bohemond of Tripoli, wanted to secure his succession in Antioch with the assistance of the commune. The elderly Bohemond seems to have supported his son during his last years. The War of the Antiochene Succession began with Bohemond's death and lasted until 1219.Early lifeBohemond was the elder son of Princess Constance of Antioch and her first husband, Raymond of Poitiers. He was born around 1148. Prince Raymond died fighting against Nur ad-Din, atabeg of Aleppo, in the Battle of Inab on 29 June 1149.Neither Baldwin III of Jerusalem nor the Byzantine Emperor Manuel I Komnenos could persuade the widowed Constance to take a new husband. Finally, she chose Raynald of Châtillon, a French knight who had recently settled in Syria. Raynald ruled the principality as Constance's husband from 1153 until he was captured by Majd al-Din, governor of Aleppo, in late November 1160 or 1161.Urged by the Antiochene noblemen, Baldwin III proclaimed Bohemond the rightful ruler, charging Aimery of Limoges, Latin Patriarch of Antioch, with the administration of the principality during Bohemond's minority. However, Constance appealed to Manuel Komnenos, who confirmed her position as the sole ruler of Antioch. Constance wanted to retain power even after Bohemond reached the age of majority. However, the Antiochene noblemen rebelled against her with the assistance of Thoros II, Lord of Armenian Cilicia, forcing her to leave Antioch in February 1163.Prince of AntiochFirst yearsBohemond was installed as prince after his mother was dethroned. Nur ad-Din laid siege to Krak des Chevaliers in the County of Tripoli in September 1163. Raymond III of Tripoli appealed to Bohemond for assistance. Bohemond and Constantine Kalamanos, Byzantine governor of Cilicia, hurried to the castle. The united Christian armies defeated the besiegers in the Battle of al-Buqaia.Amalric of Jerusalem entrusted the government of the Kingdom of Jerusalem to Bohemond before departing for his campaign against Egypt in July 1164. Taking advantage of Bohemond's absence, Nur ad-Din attacked the fortress at Harenc in the Principality of Antioch (present-day Harem, Syria). Bohemond, Raymond III of Tripoli, Thoros II of Armenian Cilicia, and Constantine Kalamanos joined their forces and marched to Harenc, compelling Nur ad-Din to retreat.Reynald of Saint-Valery, Lord of Harenc, tried to convince Bohemond not to pursue the enemy, but Bohemond did not follow his advice. The armies clashed at the battle of Harim on 10 August 1164. Nur ad-Din almost annihilated the Christian army. Most Christian commanders (including Bohemond) were captured. Two days later, Harenc fell to Nur ad-Din. Nur ad-Din took his prisoners to Aleppo. His advisors urged Nur ad-Din to proceed to Antioch, but he declined, fearing that an attack on Antioch could provoke Emperor Manuel into annexing the principality. Amalric of Jerusalem hurried to Antioch to start negotiations with Nur ad-Din. Before long, Nur ad-Din released Bohemond, along with Thoros II of Cilicia, for a ransom because he regarded them as vassals of the Byzantine emperor.The Muslims advised [Nur ad-Din] to proceed to Antioch and seize it because it was devoid of defenders and fighting men to hold it, but he did not do so. He said, \"The city is an easy matter but the citadel is strong. Perhaps they will surrender it to the Byzantine emperor because its ruler is his nephew. To have Bohemond as a neighbor I find preferable to being a neighbour of the ruler of the Constantinople.\" He sent out squadrons in those areas and they plundered, seized and killed the inhabitants. Later he ransomed Prince Bohemond for a large sum of money and the release of many Muslim captives.Byzantine allianceSoon after his release, Bohemond visited Emperor Manuel in Constantinople and paid homage to him. In return for monetary aid, Bohemond agreed to allow Athanasius, the Eastern Orthodox Patriarch of Antioch, to accompany him back to Antioch. The Latin Patriarch, Aimery, left Antioch and imposed an interdict on the city. Manuel's cousin, Andronicus Komnenus, who was made Byzantine governor of Cilicia in 1166, often visited Antioch to meet Bohemond's beautiful young sister, Philippa. Bohemond appealed to Manuel, who dismissed Andronicus, replacing him with Constantine Kalamanos.Bohemond granted Apamea to the Knights Hospitaller in 1168. An earthquake destroyed most towns of northern Syria on 29 June 1170. The Greek Patriarch, Athanasius, died when the edifice of the Cathedral of St. Peter collapsed on him during the Mass. Bohemond went to Qosair (present-day Altınözü, Turkey) and persuaded the exiled Latin Patriarch to return to his see.Mleh, who had seized Cilicia with Nur ad-Din's help, besieged Bagras, the fortress of the Knights Templars near Antioch, in early 1170. Bohemond sought assistance from Amalric of Jerusalem, and their united army defeated Mleh, also forcing him to restore the towns of the Cilician plains to the Byzantine Empire. Bohemond's relationship with Armenian Cilicia remained tense, which prevented him from pursuing an active foreign policy until Mleh was dethroned in 1175.Bohemond concluded an alliance with Gumushtekin, atabeg of Aleppo, against Saladin, the Ayyubid ruler of Egypt and Syria, in May 1176. On Bohemond's demand, Gumushtekin released his Christian prisoners, including Bohemond's stepfather, Raynald of Châtillon. To strengthen his alliance with the Byzantine Empire, in 1177 Bohemond married Theodora, who was closely related to Emperor Manuel.Bohemond met Philip, Count of Flanders, who had come to the Kingdom of Jerusalem in September 1177. According to the contemporaneous William of Tyre, many crusaders blamed Bohemond and Raymond III of Tripoli for dissuading Philip from participating in a military campaign against Egypt, preferring instead to take advantage of Philip's presence in their own realms. Indeed, in December Philip and Bohemond jointly laid siege to Harenc, a fortress of As-Salih Ismail al-Malik, Emir of Damascus, seizing the opportunity following a mutiny of the garrison. They lifted the siege soon after As-Salih informed them that Saladin (the common enemy of both As-Salih and Bohemond) had left Egypt for Syria. As-Salih paid 50,000 dinars and renounced half of the nearby villages in favor of Bohemond.Bohemond and Raymond III of Tripoli marched to the Kingdom of Jerusalem in early 1180, according to William of Tyre. Baldwin IV of Jerusalem feared that the two princes (who were his father's cousins) had come to dethrone him, the symptoms of his leprosy having become \"more and more evident\" by that time. Historian Bernard Hamilton, who accepts William of Tyre's narration, says that Bohemond and Raymond came to Jerusalem to choose a husband for Baldwin's sister and heir, Sibylla, wishing to decrease the influence of the king's maternal relatives. However, Baldwin gave her in marriage to Guy of Lusignan, who was supported by their mother, Agnes of Courtenay. Sibylla's marriage contributed to the formation of two parties of noblemen. Bohemond, Raymond III of Tripoli, and the Ibelin brothers became the leaders of the group that opposed Guy of Lusignan.ConflictsManuel I Komnenos died on 24 September 1180. Bohemond soon repudiated his wife, Theodora, to marry an Antiochene lady of bad reputation, Sibylla. Ali ibn al-Athir described her as a spy who was \"in correspondence with Saladin and exchanged gifts with him\". Patriarch Aimery accused Bohemond of adultery and excommunicated him. After Bohemond confiscated church property, Aimery imposed an interdict on Antioch and fled to his fortress at Qosair. Bohemond besieged the fortress, but Rainald II Masoir, Lord of Margat, and other noblemen who supported the patriarch rose up against him.Baldwin IV sent Heraclius, Patriarch of Jerusalem, along with other bishops, and Raynald of Châtillon to Antioch to mediate. After preparatory negotiations with the envoys in Latakia, Bohemond and Aimery met in Antioch. Bohemond agreed to restore confiscated church property and Aimery lifted the interdict, but Bohemond's excommunication remained in force because he refused to return to Theodora. Peace was not fully restored, and the leaders of the opposition fled to Armenian Cilicia.Bohemond made peace with Imad ad-Din Zengi II, the Zengid ruler of Aleppo, in May 1182. However, Imad ad-Din was forced to surrender Aleppo to Saladin on 11 June 1183. Fearing an attack on Antioch, Bohemond sold Tarsus to Roupen III, Lord of Armenian Cilicia, to raise funds. Baldwin IV of Jerusalem promised to send 300 knights to Antioch. Saladin did not invade the principality and signed a peace treaty with Bohemond. Bohemond attended the assembly that Baldwin IV had summoned to discuss the administration of the Kingdom of Jerusalem in autumn 1183. At the meeting, Guy of Lusignan was dismissed as regent, and his five-year-old stepson, Baldwin, was proclaimed co-ruler. A charter shows that Bohemond was in Acre in April 1185, suggesting that he was present when the leper Baldwin IV died around that time.Roupen III of Armenian Cilicia laid siege to Lampron, the seat of his rival, Hethum "}
+{"doc_id":"doc_266","qid":"","text":"Passage 1:The Daltons' WomenThe Daltons' Women is a 1950 American Western film directed by Thomas Carr starring Lash LaRue and Al \"Fuzzy\" St. John. It wasthe seventh of LaRue's films for Ron Ormond's Western Adventures Productions Inc.The film was the first to be released by Howco, Ron Ormond's new filmcompany composed of Ormond and drive-in movie owners Joy N. Houck and J. Francis White, and director Thomas Carr's first film in the Lash LaRue series. Thefilm features appearances by several well known stars such as Jack Holt, Tom Tyler and Tom Neal and a lengthier running time of 77 minutes featuring amultitude of musical numbers, juggling, and a lengthy catfight. Though the Women of the title have little to do with the narrative of the film, \"the frontier's firstdance hall belles\" were played up in the publicity with the original film trailer giving Lash LaRue last billing. The film was shot at the Iverson Movie Ranch.PlotUSMarshal Lash and Deputy Marshal Fuzzy work undercover together with a female Pinkerton detective to end the Dalton Brothers working with a corrupt mayor andsheriff.Criticism\"carelessly assembled oater that moves erratically from a thin story line to irrelevant little subplots and gives the general impression that the filmwas slapped together from bits of disconnected pieces,...the women involved have no relationship between the Dalton Brothers, who themselves are only slightlyconcerned in the proceedings\"-Hollywood ReporterCastLash La Rue ... Marshal Lash La RueAl St. John ... Deputy Fuzzy Q. JonesJack Holt ... Clint Dalton/MikeLeonardTom Neal  ... MayorPamela Blake ... Joan TalbotJacqueline Fontaine ... Jacqueline FontaineRaymond Hatton ... Sheriff DoolinLyle Talbot ... Jim ThorneTomTyler ... Emmett DaltonJ. Farrell MacDonald ... Alvin - Stage Company Representative Terry Frost ... Jess Dalton/Billy SaundersArchie R. Twitchell  ... HonestHankStanley Price ... MansonBud Osborne ... Adams the Stage DriverCliff Taylor ... George the BartenderJune Benbow ... MayHenry \"Duke\" Johnson ... TheJugglerPassage 2:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta!(2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has alsodirected films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raisedin Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developedwith its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo'Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase(2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap(2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect(2018)Semi-Detached (2019)Breeders (2020)Passage 3:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed themovie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directedPatiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.Life and backgroundAbhishek Saxena was born on 19 September 1988 in thecapital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother'sname is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which hasappeared in Indian cinemas on 16 June 2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad.He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened incinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018 Abhishek Saxena has come up with topic of body-shaming in hisupcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj'slife.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fatperson, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated fromthere.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in whichhe has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role ofassistant director in the movie \"Girgit\" which was made in Telugu language.FilmographyAs DirectorPassage 4:G. MarthandanG. Marthandan is an Indian filmdirector who works in Malayalam cinema. His debut film is Daivathinte Swantham CleetusEarly lifeG. Marthandan was born to M. S. Gopalan Nair and P.Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree inEconomics at NSS Hindu College, Changanassery.CareerAfter completing his bachelor's degree, Marthandan entered films as an associate director with theunreleased film Swarnachamaram directed by Rajeevnath in 1995. His next work was British Market, directed by Nissar in 1998. He worked as an associatedirector for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role. His next movie was in 2015,Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.FilmographyAs directorAsassociate directorAs actorTV serialKanyadanam (Malayalam TV series) - pilot episodeAwardsRamu Kariat Film Award - Paavada (2016)JCI Foundation Award -Daivathinte Swantham Cleetus (2013)Passage 5:Tangled DestiniesTangled Destinies is a 1932 pre-Code American murder mystery film directed by Frank R.Strayer. The film is also known as Who Killed Harvey Forbes? in the United Kingdom.CastGene Morgan as Capt. Randall \"Randy\" GordonDoris Hill as DorisGlennTryon as Tommy Preston, the Co-pilotVera Reynolds as Ruth, the Airline StewardessEthel Wales as Prudence DaggottMonaei Lindley as Monica van BurenSydSaylor as Buchanan, the PrizefighterSidney Bracey as McGinnis, posing as Professor MarmontLloyd Whitlock as Floyd MartinJames B. Leong as LingWilliam P. Burtas Harvey ForbesHenry Hall as Dr. Wingate, the ParsonWilliam Humphrey as Professor HartleyPassage 6:The Daltons Ride AgainThe Daltons Ride Again is a 1945American Western film directed by Ray Taylor starring Alan Curtis, Lon Chaney Jr., Kent Taylor and Noah Beery Jr. The movie was made by Universal Pictures andthe supporting cast features Milburn Stone (\"Doc\" in the subsequent television series Gunsmoke) and Douglas Dumbrille.PlotCastAlan Curtis as Emmett Dalton, aBrotherLon Chaney Jr. as Grat Dalton, a BrotherKent Taylor as Bob Dalton, a BrotherNoah Beery Jr. as Ben Dalton, a BrotherMartha O'Driscoll as Mary Bohannon,Emmett's girlfriendJess Barker as Jeff ColtonThomas Gomez as 'Professor' J. K. McKenna, the Town drunkJohn Litel as Mitchael J. 'Mike\" Bohannon, theNewspaper editorMilburn Stone as Parker W. Graham, a Land developer / bad guyWalter Sande as Wilkins / bad guyDouglass Dumbrille as Sheriff HoskinsStanleyAndrews as Tex Walters, the Dalton's friendCritical receptionCritic John Howard Reid called it \"a handsome little oater with good performances and a fine violentshootout as its climax.\"Passage 7:Frank R. StrayerFrank Raymond Strayer (September 21, 1891 – February 3, 1964) was an actor, film writer, director andproducer. He was active from the mid-1920s until the early 1950s. He directed a series of 14 Blondie! (1938) movies as well.BiographyStrayer attended CarnegieTech and then the Pennsylvania Military Academy. After graduation, he served in the Navy during World War I. After the War, he found work at Metro Studios,which would later become known as MGM. While there, he worked as an assistant director and also acted in a few films. During the 1920s, he moved on toColumbia Pictures. While there, he became a successful writer, director and producer.FilmographyWriterThe Man Who (1921)By Appointment Only (1933)Murderat Midnight (1931)DirectorFrank Strayer is credited with having directed 86 films. These include 14 movies in a series based on the Blondie and Dagwood comicstrip, dramas such as Manhattan Tower (1931), starring Mary Brian and James Hall, and several horror films, including The Monster Walks (1932). Unlessotherwise noted, credits below are as listed in the AFI database.ProducerFootlight Glamour (1943)It's a Great Life (1943)ActorThe Man Who (1921)Passage8:Thomas Carr (director)Thomas Howard Carr (July 4, 1907 - April 23, 1997) was an American actor and film director of Hollywood movies and televisionprograms. Often billed as \"Tommy Carr\", he later adopted his more formal \"Thomas Carr\" birth name as his billing name.BiographyCarr was born into an actingfamily on July 4, 1907 in Philadelphia, Pennsylvania. His father was the actor William Carr and his mother was the actress Mary Carr.  Thomas Carr followed thefamily profession, and in 1915 began acting in silent films.  From 1915 through 1953, Carr played small supporting roles in a number of low budget Hollywoodfilms. However, Carr's star as an actor did not rise.In 1945, he turned to directing, and from 1945 through 1951 Carr directed numerous B movies for Hollywood'sPoverty Row.  Most of Carr's films were Westerns; however, in 1948 he was co-director (along with Spencer Gordon Bennet) of the live-action Supermanserial.  From 1951 to 1968, Carr's directing was focused mainly on television.  He directed episodes of numerous television shows in the 1950s and 1960s,including episodes of Lassie, Adventures of Superman, Daniel Boone, Wanted: Dead or Alive, and Gunsmoke.His older brother Stephen was a recurring castmember, in various roles, during the first season of Adventures of Superman. Steve is also seen pointing \"up in the sky\" during the opening credits of the blackand white episodes.Thomas Carr retired from directing in 1968.  He died in Ventura, California on 23 April 1997.Partial filmographyBibliographyHolmstrom, John.The Moving Picture Boy: An International Encyclopaedia from 1895 to 1995, Norwich, Michael Russell, 1996, p. 30.External linksThomas Carr at IMDbTommy Carrin middle age,signed portrait(archived)Passage 9:Jesse James vs. the DaltonsJesse James vs. the Daltons is a 1954 American 3-D Western film directed by"}
+{"doc_id":"doc_267","qid":"","text":"Passage 1:Hell and Mr. FudgeHell and Mr. Fudge is a 2012 American drama film directed by Jeff Wood and written by Donald Davenport. Based on a true story, the film stars Mackenzie Astin as Edward Fudge, a real life Alabama preacher who has been hired to determine the nature of hell. The real life Fudge is best known for his book The Fire That Consumes, in which he argues against the immortal soul and eternal torment in hell.CastMackenzie Astin as Edward FudgeCody Sullivan as young EdwardKeri Lynn Pratt as Sara FudgeJohn Wesley Shipp as Bennie Lee FudgeEileen Davidson as Sibyl FudgeWes Robertson as Joe MarkTrevor Allen Martin as young JoeHelen Ingebritsen as Mrs. HerneChristian Fortune as Davy HollisSean McGowan as Don HalowayTom Hillmann as Simon ClarageProductionFilming took place in Athens, Alabama in June and July 2011. The film had a scheduled release date of \"first quarter 2012\". Fudge cooperated in the film's development.ReceptionIn April 2012, the film received a Platinum award in the \"Christian theatrical feature film\" category at the Worldfest-Houston International Film Festival. The film's producers subsequently sought a distributor for a wider release.Passage 2:Yes or NoYes or No  or Yes/No may refer to:Yes and no in EnglishYes–no question, a form of question which can normally be answered using a simple \"yes\" or \"no\"Film and TVYes or No?, a 1920 silent filmYes or No (film), a 2010 Thai romantic filmYes or No (game show), a version of Deal or No Deal airing in South KoreaYes or No (TV series), (\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000) a Tamil-language talent game show in India\"Yes/No\" (Glee)\", an episode of Glee\"Yes or No, Tsunade's answer\" (\"YES\u0000NO\u0000!\u0000\u0000\u0000\u0000\u0000\u0000\"), a season four episode of the anime series Naruto (see list of Naruto episodes)MusicAlbumsYes/No, a 2012 EP by Fake BloodYes, No (T-Square album), 1988Songs\"Yes/No\" (Banky W. song), 2012\"Yes or No\" (song), by The Go-Go's\"Yes or No\" by Wayne Shorter from the 1965 album JuJu\"Yes or No\", song by Tommy SeebachOther uses\"Yes\" or \"No\" the Guide to Better Decisions a book by Spencer JohnsonSee alsoYes and no (disambiguation)Passage 3:Yes or YesYes or Yes (stylized as YES or YES) is the sixth extended play by the South Korean girl group Twice. It was released on November 5, 2018, by JYP Entertainment and distributed by Iriver. It contains seven tracks, including the lead single of the same name and the Korean version of \"BDZ\". Twice members Jeongyeon, Chaeyoung and Jihyo took part in writing lyrics for three songs on the EP.The album became a commercial success for the group, topping the Gaon Album Chart and becoming Twice's first Korean album to top Japan's Oricon Album Chart. It recorded over 300,000 copies sold, and with its release, Twice reached an accumulated number of over 3 million albums sold in South Korea. A reissue, titled The Year of \"Yes\", was released on December 12, 2018.Background and releaseIn early October 2018, advertisements with the phrase \"Do you like Twice? Yes or Yes\" (Korean: \"\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000? YES or YES\") were put up on subway billboards, drawing attention online. On October 11, JYP Entertainment confirmed that Twice planned to release a third Korean album that year on November 5. Yes or Yes was revealed as the album's title on October 20 and a special video commemorating Twice's third anniversary contained a short clip of the album's lead single of the same name.Twice released their first group teaser photo regarding their comeback on October 23. On October 24, individual teaser posters featuring Nayeon, Jeongyeon, and Momo were uploaded. A track list image for the album's eponymous title track was also posted, revealing that it was written by Sim Eun-jee, who previously worked with Twice as a songwriter for \"Knock Knock\". On October 25, individual teaser photos featuring Sana, Jihyo, and Mina were posted by the group. On the same day, a second track list image for the album was posted, revealing the titles of three songs written by Twice members: \"LaLaLa\" penned by Jeongyeon, \"Young & Wild\" co-written by Chaeyoung, and \" Sunset\" being written by Jihyo. On October 26, individual teaser photos featuring Dahyun, Chaeyoung, and Tzuyu were uploaded. A third track list image unveiling additional details about the album was also posted, revealing seven songs in total.On October 27, a second group teaser photo was released by Twice. On October 28, a second set of individual teaser photos featuring each member was uploaded. Twice then revealed their first music video teaser for \"Yes or Yes\" on October 29. On October 30, Twice unveiled their third group teaser poster. The following day, the group released the second music video teaser for the album's title track, revealing their opening choreography. A full preview of the album's contents was revealed by the group on November 1. On November 2, Twice uploaded their third music video teaser, revealing more of their choreography and opening verse. More parts of the lead track's opening verse was revealed by the group on November 3. A highlight medley featuring snippets from all of the album's tracks was uploaded on November 4.Yes or Yes alongside its eponymous lead single was officially released on November 5, with Twice holding their live showcase at the KBS Arena Hall in Hwagok-dong, Gangseo-gu, Seoul.CompositionYes or Yes is an EP consisting of seven tracks. The title track \"Yes or Yes\" was composed by David Amber and Andy Love, with Korean lyrics by Sim Eun-jee. Amber previously co-composed \"Heart Shaker\" and Sim Eun-jee co-wrote lyrics for \"Knock Knock\". \"Yes or Yes\" was described as a bright and lively \"color pop\" song in the synth-pop genre with influences from Motown, reggae and arena pop. Lyrically, it is about only being able to reply \"yes\" to a confession of love.\"Say You Love Me\" is an upbeat song which lyrically describes the feeling of one who is admitting to their romantic interest and waiting for their reply. \"LaLaLa\" is written by Jeongyeon, and is described as a \"quintessential love song\". \"Young & Wild\" is penned by Chaeyoung and lyrically talks about self-confidence. \"Sunset\", written by Jihyo, features a mono-speaker sound effect with its lyrics comparing one's romantic interest to a sunset. \"After Moon\" is classified as a ballad track. The album's final track is the Korean version of \"BDZ\" from their Japanese album BDZ.PromotionTwo days before the album's release, Twice appeared on the television show Knowing Bros and performed part of \"Yes or Yes\" for the first time. The group held a showcase for the album on November 5, 2018, at the KBS Arena Hall in Gangseo-gu, Seoul. The first televised performance of \"Yes or Yes\" was at the 2018 MBC Plus X Genie Music Awards on November 6. Twice also appeared on Idol Room as part of the promotion for the album.The group promoted the album on several Korean music show programs, first performing the title track and \"BDZ\" on M Countdown on November 8. They also performed on KBS2's Music Bank on November 9 and 23, SBS' Inkigayo on November 11, MBC M's Show Champion on November 14, and MBC's Show! Music Core on November 17. The title track \"Yes or Yes\" garnered a total of four music show wins, first getting a win on Show Champion on November 14. It received a music show win on M!Countdown and Inkigayo, and achieved its fourth win on Show Champion for the second week.Twice also performed \"Yes or Yes\" at the 39th Blue Dragon Film Awards held on November 23.Commercial performanceFollowing the release of Yes or Yes, the lead single achieved an 'all-kill' by topping the real-time rankings on Melon, Mnet, Naver, Genie, Olle, Soribada, and Bugs. The EP also reached the top of 17 iTunes Album charts. Additionally, all seven tracks from the mini-album charted in the top 7 of Japan's Line Music charts.  In South Korea, the album topped the Gaon Album Chart and the title track topped the Gaon Digital Chart after the first week of its release. Yes or Yes was Twice's first Korean album to rank number 1 on Japan's Oricon Albums Chart and Digital Albums Chart. On November 11, Yes or Yes received a Platinum certification from Gaon for reaching sales of over 250,000 copies. The album then ranked at number three on the Monthly Gaon Album Chart for the month of November, recording 322,803 copies sold.With the release of Yes or Yes, Twice reached an accumulated number of over 3 million albums sold in South Korea, achieving the feat within three years of their career.Track listingContent productionCredits adapted from album liner notes.LocationsPersonnelChartsCertificationsAccoladesPassage 4:Yes or No (film)Yes or No (Thai: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, romanized: Yak Rak Ko Rak Loei; literally \"Let's Love As We Wish\") is a 2010 Thai romantic comedy-drama film directed by Sarasawadee Wongsompetch, starring Sucharat \"Aom\" Manaying and Suppanad \"Tina\" Jitaleela. It is the first lesbian-genre film from Thailand with a \"tom\" (i.e. butch) lead character.PlotPie comes from an upper middle class Thai family that adheres to traditional thought and customs, including the very vocal disapproval of homosexuality. Kim, on the other hand, carries herself with  deliberate masculinity that defies convention and intimidates Pie upon first encounter, so much so that she immediately requests a roommate change which the college promptly denies.Pie is reluctant to converse or interact with her roommate so she takes tape and   draws boundaries in the room to separate her space from Kim's to avoid as much contact as possible. On the first day of class, Kim by chance meets Jane, who is seen still crying after her breakup. Kim offers her a handkerchief and Jane immediately gets smitten by her. Later that week, Jane walks into Pie and Kim's room and is embarrassed and shocked to see Kim. She immediately walks out, then comes back in and drags Pie out in the hallway. Jane confesses that Kim is the girl she has fallen for and uses Pie to get an introduction and thus begins her chase for Kim.Despite how hard Pie tries to ignore or discourage Kim, the two begin to intermingle when Kim cooks and shares with Pie and the two have a short conversation together. One day Kim receives a package from her father's worker and is told to deliver to Aunt In. She asks Pie to help her get there but Pie hurriedly turns her down and gives her fast directions before walking away. Night time falls and Kim is seen sitting near a lake, completely lost. Pie finds her and offers her to take her to Aunt In but only as a thank you for the food.That starts a series of moments where the two begin to spend increasingly more time together and soon those “boundary lines” disappear and Pie finds herself drifting away from her then boyfriend, to Kim. The two share many sweet moments, most notably, when  Kim took Pie to the park to help her record information for school. The two share a lollipop and Kim in a roundabout way, confesses her attraction to Pie. The latter does not reply but she is seen smiling.But as Pie's feelings grow, so do those of Jane for Kim, and of P'van for Pie. Because Pie has yet to accept that she may have feelings for Kim, and Kim is reluctant to confess, this triggers mutual jealousy and sadness. When P'van unexpectedly pops up at the school to take Pie out, she tries to turn him down but Jane comes along and invites herself and forces Kim and Pie to accept his offer. During their time together, Pie gets visibly upset at how close Jane is to Kim and tries various times to either make Kim "}
+{"doc_id":"doc_268","qid":"","text":"Passage 1:John Farrell (businessman)John Farrell is the director of YouTube in Latin America.EducationFarrell holds a joint MBA degree from the University ofTexas at Austin and Instituto Tecnologico de Estudios Superiores de Monterrey (ITESM).CareerHis business career began at Skytel, and later at Iridium as head ofBusiness Development, in Washington DC, where he supported the design and launched the first satellite location service in the world and establishedinternational distribution agreements.He co-founded Adetel, the first company to provide internet access to residential communities and businesses in Mexico.After becoming General Manager of Adetel, he developed a partnership with TV Azteca in order to create the first internet access prepaid card in the countryknown as the ToditoCard.  Later in his career, John Farrell worked for Televisa in Mexico City as Director of Business Development for Esmas.com. There heestablished a strategic alliance with a leading telecommunications provider to launch co-branded Internet and telephone services. He also led initial efforts tolaunch social networking services, leveraging Televisa’s content and media channels.GoogleFarrel joined Google in 2004 as Director of Business Development forAsia and Latin America. On April 7, 2008, he was promoted to the position of General Manager for Google Mexico, replacing Alonso Gonzalo. He is now director ofYouTube in Latin America, responsible for developing audiences, managing partnerships and growing Google’s video display business. John is also part of Google’sLatin America leadership management team and contributes to Google’s strategy in the region. He is Vice President of the IAB (Interactive Advertising Bureau), amember of the AMIPCI (Mexican Internet Association) Advisory Board, an active Endeavor mentor, and member of YPO.Passage 2:John DonatichJohn Donatich isthe Director of Yale University Press.Early lifeHe received a BA from New York University in 1982, graduating magna cum laude. He also got a master's degreefrom NYU in 1984, graduating summa cum laude.CareerDonatich worked as director of National Accounts at Putnam Publishing Group from 1989 to 1992.Hiswriting has appeared in various periodicals including Harper's, The Atlantic Monthly and The Village Voice.He worked at HarperCollins from 1992 to 1996, servingas director of national accounts and then as vice president and director of product and marketing development.From 1995 to 2003, Donatich served as publisherand vice president of Basic Books. While there, he started the Art of Mentoring series of books, which would run from 2001 to 2008.  While at Basic Books,Donatich published such authors as Christopher Hitchens, Steven Pinker, Samantha Power, Alan Dershowitz, Sir Martin Rees and Richard Florida.In 2003,Donatich became the director of the Yale University Press.  At Yale, Donatich published such authors as Michael Walzer, Janet Malcolm, E. H. Gombrich, MichaelFried, Edmund Morgan and T. J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published such authors asAdonis, Norman Manea and Claudio Magris. He also launched the digital archive platform, The Stalin Digital Archive and the Encounters Chinese Languagemultimedia platform.In 2009, he briefly gained media attention when he was involved in the decision to expunge the Muhammad cartoons from the YaleUniversity Press book The Cartoons that Shook the World, for fear of Muslim violence.He is the author of a memoir, Ambivalence, a Love Story, and a novel, TheVariations.BooksAmbivalence, a Love Story: Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhyBooks Still Matter, Journal of Scholarly Publishing, Volume 40, Number 4, July 2009, pp. 329–342, E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatichis married to Betsy Lerner, a literary agent and author; together they have a daughter, Raffaella.Passage 3:Peter LevinPeter Levin is an American director of film,television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his televisionseries credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Orderand Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A KillerAmong Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received anEmmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University.Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded theoff-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact TheatreCompany.Passage 4:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editoronly)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation!(2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:Mrs. Gibbons' Boys (film)Mrs. Gibbons' Boys is a black and white 1962 British comedy filmdirected by Max Varnel and starring Kathleen Harrison, Lionel Jeffries and Diana Dors. It is based on the play Mrs. Gibbons' Boys by Joseph Stein and WillGlickman; and was released in the UK as the bottom half of a double bill with Constantine and the Cross (1961).PlotAn ageing widow finally finds new love andhappiness; but matters are complicated when her two convict sons escape from prison and beg her to hide them.CastKathleen Harrison as Mrs GibbonsLionelJeffries as Lester GibbonsDiana Dors as MyraJohn Le Mesurier as ColeFrederick Bartman as Mike GibbonsDavid Lodge a sFrank GibbonsDick Emery asWoodrowEric Pohlmann as MorelliWilliam Kerwin as MatthewMilo O'Shea as HorsePeter Hempson as RonniePenny Morrell as  PearlNancy Nevinson as MrsMorelliMark Singleton as PCTony Hilton as Dustcart driverProductionDiana Dors was living in Los Angeles but returned to England to make the film.Passage 6:LisaJakubLisa Jakub () (born December 27, 1978) is a Canadian writer, yoga teacher, and former actress. She is best known for her roles as Lydia Hillard in thecomedy-drama film Mrs. Doubtfire (1993) and as Alicia Casse in Independence Day (1996).Childhood and educationJakub was born on December 27, 1978, inToronto, Ontario. She is of Slovak (father) and Welsh and Scottish (mother) descent. She attended multiple schools in her early life, including Hillfield StrathallanCollege.Jakub graduated from the University of Virginia with a degree in Sociology in 2010.ActingJakub's first role was as Katis' Granddaughter in the 1985 filmEleni. She appeared in comedy-drama film Mrs. Doubtfire (1993) alongside Mara Wilson, Sally Field, Matthew Lawrence, and Robin Williams. When Jakub receivedthe part of Lydia in Mrs. Doubtfire, her high school expelled her for accruing too many absences. Robin Williams wrote a letter to Jakub's high school, pleadingwith them to re-admit Jakub but this was unsuccessful.She played Sandra in Matinee (1993), appeared in A Pig's Tale (1994) and Independence Day (1996), TheBeautician and the Beast (1997), and played the \"inspiration\" for Princess Leia in the short film George Lucas in Love (1999). She starred in Picture Perfect(1995), and portrayed a bordello worker in the American Old West in Painted Angels (1997).Personal lifeAfter retiring from acting in 2001 at the age of 22, Jakubmoved to Virginia and married her longtime best friend, former Hollywood theater manager Jeremy Jones, in 2005. She has publicly stated that she has no plansto return to acting. Jakub later became a writer, authoring two books called You Look Like That Girl (2015) and Not Just Me (2017) and regularly contributes toonline blogs. Jakub is also a qualified Kripalu yoga teacher. She has openly discussed her battles with anxiety, depression and panic attacks, which she hassuffered from since her teenage years and credits her yoga practice in helping her overcome her battles. In 2021, Lisa launched a new website, BlueMala, whichshe described as the resource that she wished she had when she was in her darkest moments. The website contains her articles on mental wellness along withher yoga and meditation videos.WritingsYou Look Like That Girl: A Child Actor Stops Pretending and Finally Grows Up (2015)Not Just Me: Anxiety, Depression,and Learning to Embrace Your Weird (2017)(Don't) Call Me Crazy (contributing writer) (Algonquin, 2018)FilmographyFilmTelevisionPassage 7:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the boardof directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israelin 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studiesshe worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academiccareerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promotedproductions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launchof the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains(graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 8:MichaelGovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia"}
+{"doc_id":"doc_269","qid":"","text":"Passage 1:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was bornin Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatrein during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which openedOff-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for hisdirection. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival ofSteel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of JerrySpringer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based onArmistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play TheFloatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte,North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring AnnaKendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which wasreleased on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)ShotgunWedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 2:Peter LevinPeter Levin is anAmerican director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films.Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney& Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), PopeyeDoyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, forwhich she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the CarnegieMellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He alsoco-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The InteractTheatre Company.Passage 3:The Seventh Company OutdoorsThe Seventh Company Outdoors (French: La Septième Compagnie au clair de lune) is a 1977 Frenchcomedy film directed by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenriGuybet - TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Le commandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, le passeurAndréPousse - LambertMichel BertoPassage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director whohas worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months,resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States afterleaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born inDublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both arthistory and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During histenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exportedprior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), anIndian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum ofArt in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bringgreater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, andIdeologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storagefor classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu:Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular"}
+{"doc_id":"doc_270","qid":"","text":"Passage 1:Fred M. Wilcox (director)Fred McLeod Wilcox (December 22, 1907 – September 23, 1964) was an American motion picture director. He worked forMetro-Goldwyn-Mayer for many years  and is best remembered for directing Lassie Come Home (1943) and Forbidden Planet (1956). These films were entered inthe National Film Preservation Board's National Film Registry in 1993 and 2013 respectively.FilmographyJoaquin Murrieta (1938)Lassie Come Home(1943)Courage of Lassie (1946)Three Daring Daughters (1948)Hills of Home (1948)The Secret Garden (1949)Shadow in the Sky (1952)Code Two(1953)Tennessee Champ (1954)Forbidden Planet (1956)I Passed for White (1960)External linksFred M. Wilcox at IMDbPassage 2:Dan RhodesDan Rhodes (born1972) is an English writer known for the novel Timoleon Vieta Come Home (2003), a subversion of the popular Lassie Come Home movie. He is also the author ofAnthropology (2000), a collection of 101 stories, each consisting of exactly 101 words. In 2010 he was awarded the E. M. Forster Award.BiographyRhodes grewup in Devon, and graduated in Humanities from the University of Glamorgan (now the University of South Wales) in 1994, returning in 1997 to complete an MA inCreative Writing. Don't Tell Me the Truth About Love was written at this time. He has held a variety of jobs, including stockroom assistant for Waterstone's,barman in his parents' pub, and a teacher in Ho Chi Minh City. He has also worked on a fruit and vegetable farm and is still employed as a postman.Following thepublication of his second book, Rhodes's frustration with the publishing industry led him to announce his retirement from writing, though he later said, \"I haven'treally given up. I'm certainly not making any more grand pronouncements. I was just sick of the business and wanted out. Not just the publishers; everyonearound me.\"Rhodes was included on Granta's Best of Young British Novelists list in 2003, to his own bemusement and frustration, partly because of Granta'sselection methods (\"It's one thing to judge a writer by stuff they've written, but to judge them on stuff they're going to write is lunacy\") but also because some ofthe others on the list failed to respond to his request to sign a joint statement protesting the Iraq War.In 2014, Rhodes self-published the novel When theProfessor Got Stuck in the Snow, a \"rural farce\" about a visit to an obscure English village by a fictional Richard Dawkins, stating that he wanted to get the bookout faster than conventional publishing allowed. Traditional publishers were loath to publish the novel for fear of legal action from Professor Richard Dawkins, whois parodied in it. Rhodes appealed repeatedly to Dawkins, a defender of satire and free speech, for permission to \"publish and be damned\" but received noresponse. The novel was republished by Aardvark Bureau in October 2015.In 2021, Lightning Books published his novel Sour Grapes, a satire on the literary worldset at a rural book festival.Rhodes is married with two children.BibliographyCollectionsAnthropology: And a Hundred Other Stories (2000) ISBN1-84195-614-7Don't Tell Me the Truth About Love (2001) ISBN 1-84195-613-9Marry Me (2013) ISBN 0-85786-849-7NovelsTimoleon Vieta Come Home (2003)ISBN 1-84195-481-0The Little White Car (under the pen name Danuta de Rhodes) (2004) ISBN 1-84195-528-0Gold (2007) ISBN 978-1-84195-953-5Little HandsClapping (2010) ISBN 1-84767-529-8This Is Life (2012) ISBN 0-85786-245-6When the Professor Got Stuck in the Snow (2014, self-published limited edition;2015 formal publication by Aardvark Bureau) ISBN 9781910709016Sour Grapes (2021) ISBN 9781785632921Passage 3:Prairie ThunderPrairie Thunder is a 1937American Western film directed by B. Reeves Eason and written by Ed Earl Repp. The film stars Dick Foran, Janet Shaw, Frank Orth, Wilfred Lucas, Albert J. Smithand Yakima Canutt. The film was released by Warner Bros. on September 11, 1937. It was the last of 12 B-westerns Foran made for Warners as a singing cowboy(as he was often billed) from 1935 to 1937.PlotIn the Old West, a telegraph line is coming to Buffalo Creek, where general store owner Nate Temple lives withdaughter, Joan. Joan is courting Rod Farrell, a scout for the Union Army. Rod is ordered to investigate a break in the telegraph line, along with sidekick, Wichita, aUnion soldier. Rod finds the break in the line in Indian territory and repairs it. Rod suspects a white man assisted the local Indian tribe in sabotaging the line. Rodand Wichita ride up on an Indian camp. The Indian chief, High Wolf, tells Rod the Indians intend to make war because the railroad and the telegraph coming tothe region have depleted the buffalo population. High Wolf confirms a white man, who he will not name, is the only friend to his tribe. Rod and Wichita discover aman named Lynch and his gang are supplying the Indians with weapons and ammunition in exchange for the Indians hijacking supply trains. Rod and Wichitabreach the gang's hideout, take Lynch and his gang into custody, hold them at Temple's store, and telegraph the cavalry for help. Rod rides off with Joan whileWichita guards the gang. Matson, one of Lynch's men not arrested, tells High Wolf of the gang's arrest, and a slew of Indian braves invade Buffalo Creekterrorizing the town with gunfire. Rod and Joan, hearing the gunfire, head toward town. Matson and High Wolf free the gang and Lynch orders the Indians to burnthe town. Lynch intercepts Rod and Joan. Rod is taken to the Indian camp. Joan is taken to Lynch's hideout. Wichita overhears Lynch and sneaks into the Indiancamp where Rod is tied to a stake to be burned. Lynch also arrives at the camp telling High Wolf to strike the railroad workers camp. Wichita, dressed as anIndian, frees Rod and the pair head for Lynch's hideout where they rescue Joan, then head to the railroad construction camp with the Indians in pursuit. Thecitizens of Buffalo Creek, now displaced after the town was burned, fortify their wagons on the outskirts of town and a gunfight ensues as the Indians arrive. Rod,Wichita and Joan join in the fight. The cavalry arrives and the Indians retreat. High Wolf is shot and Rod subdues Lynch. Rod is awarded a congressional medaland promoted to colonel. Rod and Joan ride off as Rod sings \"The Prairie Is My Home.\"CastDick Foran as Rod FarrellJanet Shaw as Joan TempleFrank Orth asWichitaWilfred Lucas as Nate TempleAlbert J. Smith as LynchYakima Canutt as High WolfGeorge Chesebro as MatsonSlim Whitaker as Indian FighterJ. P.McGowan as Colonel StantonJohn Harron as Lieutenant AdamsJack Mower as PortlandHenry Otho as ChrisPaul Panzer as JedPassage 4:Gypsy ColtGypsy Colt is a1954 American drama film directed by Andrew Marton and starring Donna Corcoran, Ward Bond and Frances Dee. Shot in Ansco Color, it was produced anddistributed by Hollywood studio Metro-Goldwyn-Mayer. The film's basic plot was taken from Lassie Come Home with the focus changed from a dog to theeponymous horse.A 60-minute version of Gypsy Colt was made available in 1967 as part of the weekly TV anthology Off to See the Wizard.PlotA young girl, Meg(Donna Corcoran), is disheartened when her parents Frank (Ward Bond) and Em MacWade (Frances Dee) are forced to sell Gypsy Colt, her favorite horse, to arancher. Gypsy Colt escapes several times, ultimately taking a 500-mile journey to return to his rightful owner.CastDonna Corcoran as MegWard Bond asFrankFrances Dee as EmLee Van Cleef as HankLarry Keating as Wade Y. GeraldNacho Galindo as PanchoRodolfo Hoyos Jr. as RodolfoPeggy Maley as PatRobertHyatt as Phil Gerald (as Bobby Hyatt)Highland Dale as Gypsy, the HorseReceptionAccording to MGM records, the movie earned $721,000 in the U.S. and Canadaand $704,000 in other markets, making a profit of $259,000.Comic book adaptationDell Four Color #568 (June 1954)Passage 5:Abhishek SaxenaAbhishekSaxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which filmSharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.Life andbackgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxenamarried Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz,after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017.CareerAbhishek Saxena made his film debut in 2011as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has alsodirected a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actorsRandeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about thefilm, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavierside, but also with thin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director inmany films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial ofStar Plus.In addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made in Telugu language.FilmographyAsDirectorPassage 6:Rich GosselinRichmond \"Rich\" Gosselin (born April 25, 1956) is a Canadian retired professional ice hockey player who played in the WorldHockey Association (WHA) and the Swiss-A League. He was drafted in the seventh round of the 1976 NHL Amateur Draft by the Montreal Canadiens. Gosselinplayed three games with the Winnipeg Jets during the 1978–79 WHA season, after which he went overseas to play in Switzerland.Gosselin served as a head coachin various European leagues after his playing career ended. In Manitoba, he has coached the Eastman Midget 'AAA' Selects, South East Prairie Thunder, andSteinbach Pistons junior hockey team.  Gosselin coached the Prairie Thunder to a second-place finish at the 2009 Allan Cup.Passage 7:Eric KnightEric MowbrayKnight (10 April 1897 – 15 January 1943) was an English novelist and screenwriter, who is mainly known for his 1940 novel Lassie Come-Home, which introducedthe fictional collie Lassie.  He took American citizenship in 1942 shortly before his death.BiographyBorn in Menston, West Riding of Yorkshire, Knight was theyoungest of three sons born to Marion Hilda (née Creasser) and Frederic Harrison Knight, both Quakers. His father was a rich diamond merchant who, when Ericwas two years old, was killed during the Boer War. His mother then moved to St. Petersburg, Imperial Russia, to work as a governess for the imperial family. The"}
+{"doc_id":"doc_271","qid":"","text":"Passage 1:Gaius Julius AquilaGaius Julius Aquila was the name of a number of people who lived during the Roman Empire.Prefect of EgyptGaius Julius Aquila was a praefectus of Roman Egypt between 10 CE and 11.Governor of Bythinia et PontusGaius Julius Aquila was a Roman knight, stationed with a few cohorts, in 45 CE, to protect Tiberius Julius Cotys I, king of the Bosporan Kingdom, who had received the sovereignty after the expulsion of Tiberius Julius Mithridates. In the same year, Aquila obtained the praetorian insignia. He also erected a monument honouring the emperor Claudius in Asia Minor (modern Turkey) known as the Kuşkayası Monument.Passage 2:Maximus of TyreMaximus of Tyre (Greek: Μάξιμος Τύριος; fl. late 2nd century AD), also known as Cassius Maximus Tyrius, was a Greek rhetorician and philosopher who lived in the time of the Antonines and Commodus, and who belongs to the trend of the Second Sophistic.  His writings contain many allusions to the history of Greece, while there is little reference to Rome; hence it is inferred that he lived longer in Greece, perhaps as a professor at Athens. Although nominally a Platonist, he is really a sophist rather than a philosopher, although he is still considered one of the precursors of Neoplatonism.WritingsThe DissertationsThere exist 41 essays or discourses on theological, ethical, and other philosophical subjects, collected into a work called The Dissertations. The central theme is God as the supreme being, one and indivisible though called by many names, accessible to reason alone:In such a mighty contest, sedition and discord, you will see one according law and assertion in all the earth, that there is one God, the king and father of all things, and many gods, sons of God, ruling together with him.As animals form the intermediate stage between plants and human beings, so there exist intermediaries between God and man, viz. daemons, who dwell on the confines of heaven and earth. The soul in many ways bears a great resemblance to the divinity; it is partly mortal, partly immortal, and, when freed from the fetters of the body, becomes a daemon. Life is the sleep of the soul, from which it awakes at death. The style of Maximus is superior to that of the ordinary sophistical rhetorician, but scholars differ widely as to the merits of the essays themselves.Dissertation XX discusses \"Whether the Life of a Cynic is to Be Preferred\". He begins with a narrative of how Prometheus created mankind, who initially lived a life of ease \"for the earth supplied them with aliment, rich meadows, long-haired mountains, and abundance of fruits\" – in other words, a Garden of Eden that resonates with Cynic ideas. It was \"a life without war, without iron, without a guard, peaceful, healthful unindigent\".Then, taking perhaps from Lucretius, he contrasts that Garden to mankind's \"second life\", which started with the division of the earth into property, which they then enclosed into fortifications and walls, and started to wear jewellery and gold, built houses, “molested the earth by digging into it for metals”, and invaded the sea and the air (killing animals, fish and birds), in what he described as a “slaughter and all-various gore, pursuing gratification of the body”. Humans became unhappy and, to compensate, sought wealth, “fearing poverty...dreading death...neglecting the care of life...They blamed base actions but did not abstain from them and “the hated to live, but dreaded to die”.He then contrasts the two lives – that of the original Garden and of the “second life” he has just described and asks, which man would not choose the first, who “knows that by the change he shall be liberated from a multitude of evils” and what he calls “a dreadful prison of unhappy men, confined to a dreadful prison of unhappy men, confined in a dark recess, with large iron fetters round their feet, a great weight about their neck…passing their time in filth, in torment, and in weeping”. He asks, “Which of these images shall we proclaim blessed”? He goes on to praise Diogenes of Sinopeus, the Cynic, for choosing his ascetic life, but only because he avoided the often fearful fates of other philosophers – such as Socrates being condemned. But there is no mention of he himself taking up the ascetic life himself; rather he only talks about how the Garden would be preferable to the life mankind has made for itself. So it is unlikely he was a Cynic, but was just envious of that idealised pre-civilisation Life in the Garden.Maximus of Tyre must be distinguished from the Stoic Claudius Maximus, tutor of Marcus Aurelius.Ancient Greek TextMaximus Tyrius, Philosophumena, Dialexeis - Edited by George Leonidas Koniaris, Publisher Walter de Gruyter, 1995, DOI: https://doi.org/10.1515/9783110882568 - this critical edition presents the Ancient Greek text of Maximus of Tyre.TranslationsTaylor, Thomas, The Dissertations of Maximus Tyrius. C. Wittingham (1804)Trapp, Michael. Maximus of Tyre: The Philosophical Orations, (NY: Oxford University Press, 1997)Passage 3:R. Charlton (poet/songwriter)R. Charlton, who lived in the early nineteenth century, was a Tyneside poet/songwriter.DetailsR. Charlton (lived ca. 1812) was a Tyneside songwriter, who, according to the information given by Thomas Allan in the Allan's Illustrated Edition of Tyneside Songs published in 1891, has the song \"Newcastle Improvements\" attributed to his name.The song is sung to the tune of \"Canny Newcassel\" according to W & T Fordyce. It is written in Geordie dialect and has a strong Northern connection). Unlike the others songwriters who wrote about the town improvements and mentioned changes to layout, street plans, new buildings etc., Charlton concentrated on the social changes brought about by the work, and sometimes not too kindly.The same song without any comment, except the author's name, appears on page 159 of The Tyne Songster published by W & T Fordyce published in 1840 and on page 151 of A Collection of Songs, Comic, Satirical, and Descriptive published by Thomas Marshall published in 1829Nothing more appears to be known of this person, or their life, or even their Christian name or sex.See alsoGeordie dialect words(Geordie) Rhymes of Northern Bards by John Bell JuniorJohn Bell (folk music)Passage 4:Mubarak KhwajaMubarak Khwaja (Kazakh: М\u0000б\u0000р\u0000к \u0000ожа, Persian: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was the khan of White Horde in 1320–1344. He succeeded his brother, Ilbasan, with the assistance of Uzbeg, Khan of the Golden Horde and the House of Batu. However, he declared his independence from Sarai. The Khan sent his son Tini Beg to overthrow him. Thus, he was replaced by Chimtay, son of Ilbasan. He may have lived longer after his dethronement, occupying some lands.GenealogyGenghis KhanJochiOrda KhanSartaqtayKöchüBayanSasibuqaMubarak KhwajaSee alsoList of Khans of the Golden HordePassage 5:Chou Meng-tiehChou Meng-tieh (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhōu Mèngdié; 29 December 1921 – 1 May 2014) was a Taiwanese poet and writer.  He lived in Tamsui District, New Taipei City.BiographyHe was born Chou Chi-shu in Xichuan County, Henan in 1921. In 1948, Chou joined the China Youth Corps and was forced to drop out of school. He was sent to Taiwan following the defeat of Chiang Kai-shek's army in the Chinese Civil War, leaving his wife, two sons, and daughter behind in Mainland China. He settled in Tamsui District, New Taipei City.Chou started writing in the Central Daily News and publishing poetry in 1952. He retired from the army in 1955.In 1959, he started selling books outside the Cafe Astoria in Taipei and published his first book of poetry entitled Lonely County. Chou's book stall became a gathering spot for well-known writers, such as Huang Chun-ming, Pai Hsien-yung, and Sanmao. Chou wrote often on the subjects of time, life, and death, and was influenced by Buddhism.In 1980, the American magazine Orientations praised him as the \"Amoy Street Prophet\".  During the same year, he was forced to close his book stall in front of Cafe Astoria due to gastric ulcer surgery. He was the first recipient of the National Culture and Arts Foundation Literature Laureate Award in 1997.Chou died of pneumonia in New Taipei City on May 1, 2014 at the age of 92. His funeral was held twelve days later, with writers and politicians including Chang Show-foong, Lung Ying-tai, Timothy Yang, and Hsiang Ming in attendance.A bilingual selection from Chou's poetry with English translations by Lloyd Haft, Zhou Mengdie: 41 Poems, was published by Azoth Books (Taiwan) in 2022.Passage 6:Zhou YouguangZhou Youguang (Chinese: \u0000\u0000\u0000; pinyin: Zhōu Y\u0000uguāng; 13 January 1906 – 14 January 2017), also known as Chou Yu-kuang or Chou Yao-ping, was a Chinese economist, banker, linguist, sinologist, Esperantist, publisher, and supercentenarian, known as the \"father of Pinyin\", a system for the writing of Mandarin Chinese in Roman script, or romanization, which was officially adopted by the government of the People's Republic of China in 1958, the International Organization for Standardization (ISO) in 1982, and the United Nations in 1986.Early life and careerZhou was born Zhou Yaoping in Changzhou (Changchow), Jiangsu Province, on 13 January 1906 to a Qing Dynasty official. At the age of ten, he and his family moved to Suzhou, Jiangsu Province. In 1918, he entered Changzhou High School, during which time he first took an interest in linguistics. He graduated in 1923 with honors.Zhou enrolled that same year in St. John's University, Shanghai where he majored in economics and took supplementary coursework in linguistics. He was almost unable to attend due to his family's poverty, but friends and relatives raised 200 yuan for the admission fee, and also helped him pay for tuition. He left during the May Thirtieth Movement of 1925 and transferred to Guanghua University, from which he graduated in 1927.On 30 April 1933, Zhou married Zhang Yunhe (\u0000\u0000\u0000). The couple went to Japan for Zhou's studies. Zhou started as an exchange student at the University of Tokyo, later transferring to Kyoto University due to his admiration of the Japanese Marxist economist Hajime Kawakami, who was a professor there at the time. Kawakami's arrest for joining the outlawed Japanese Communist Party in January 1933 meant that Zhou could not be his student. Zhou's son, Zhou Xiaoping (\u0000\u0000\u0000), was born in 1934. The couple also had a daughter, Zhou Xiaohe (\u0000\u0000\u0000).In 1937, due to the outbreak of the Second Sino-Japanese War, Zhou and his family moved to the wartime capital Chongqing, and his daughter died. He worked for   Sin Hua Bank before entering public service as a deputy director at the National Government's Ministry of Economic Affairs, agricultural policy bureau (\u0000\u0000\u0000\u0000\u0000\u0000) . After the 1945 Japanese defeat in World War II, Zhou went back to work for Sin Hua where he was stationed overseas: first in New York City and then in London. When he was in New York, he met Albert Einstein twice while visiting friends at Princeton University.Zhou participated for a time in the China Democratic National Construction Association. After the founding of the People's Republic was established in 1949 he returned to Shanghai, where he taught economics at Fudan University for several years.Designing PinyinBecause of his friendship with Zhou Enlai who recalled the economist's fascination with linguistics and Esperanto, he summoned Zhou to Beijing in 1955 and tasked his team with developing a new alphabet for China. The Chinese government placed Zhou at the head of a "}
+{"doc_id":"doc_272","qid":"","text":"Passage 1:Anne Elizabeth RectorAnne Elizabeth Rector (June 26, 1899 – February 17, 1970) was an American artist.Rector was the daughter of Enoch J. Rectorand she attended the Art Students League of New York studying under John French Sloan. Ann also studied landscape painting under Andrew Dasburg. Shemarried Edmund Duffy and they moved to New York City in 1948, when her husband began work for the Saturday Evening Post. She later headed Rector Studiosthat manufactured glass top tables. Her daughter married Ivan Chermayeff, the son of Serge Ivan Chermayeff.Rector's childhood diaries were published in 2004.They had been found many years after Rector's death and described her life for the year of 1912.Passage 2:Edmund DuffyEdmund Duffy (March 1, 1899 –September 12, 1962), was an American editorial cartoonist.  He grew up in Jersey City, New Jersey, eventually moving to metropolitan areas. Duffy did notattend high school, but instead went into the Art Students League of New York. Duffy's career took him to London, Paris, New York, and finally to Baltimore,where he spent the majority of his professional career working for The Baltimore Sun.Duffy won three Pulitzer Prizes for Editorial Cartooning in 1931, 1934, and1940. Duffy began working for the Baltimore Sun in 1924, when he was only about 25 years old, and he received high praise from the famous journalist H.L.Mencken.Journalism careerDuffy first came into the journalism field with his submission of a page of sketches for Armistice Day. The sketches were put into theNew York Tribune in the Sunday section. Duffy worked on a variety of assignments in order to save up money, then launching his European career. He moved toLondon and worked for the London Evening News. Duffy worked in Paris for a few years, and he finally returned to the United States in 1922. He worked for twoyears with both the New York Leader and the Brooklyn Eagle.The longest period of his career began in 1924 when he began working for The Baltimore Sun. Duffyworked there until 1948, in order to work a less tiring job, working for the Saturday Evening Post.  Duffy drew numerous noteworthy cartoons, approaching majorissues and incidents, such as lynching and the Ku Klux Klan, but also the famous Monkey Scopes Trial of 1925.Denouncing racism through artDuffy was known forhis daring nature in relation to his work. H.L. Mencken saw promise in his work and “Duffy with his sometimes savage artwork, did the kind of thing that delightedMencken, who loved nothing more than to ‘stir up the animals’”. Duffy was not afraid to please Mencken, and held nothing back  He was one of the few people ofhis time that would boldly approach the topic of racism.  He blatantly condemned lynching and the actions of the KKK.  This was one of his main issues that heapproached during his career.  During the time period that Duffy worked it was not popular to advocate against racism, so Duffy was civil rights before it was awide movement in the United States. S.L. Harrison, a late professor of Communication at the University of Miami, wrote that Duffy “displayed uncommon vigor inattacking the Ku Klux Klan”.Scopes TrialJust a year after Duffy began working for The Baltimore Sun, 1925, a famous trial began in Tennessee.  Tennessee hadpassed a law, the Butler Act, barring teachers against the topic of evolution in the classroom, but one biology teacher, John T. Scopes, ignored the law and taughthis students evolution.  Scopes decided that the students should learn evolution, even if it went against the teachings of the bible.  Since the trial was popular anda nationwide topic, Mencken took a staff from The Sun, including Duffy, to cover the trial.  “[Edmund Duffy’s] graphic artwork played a significant role in thepublic’s perception of the trial proceedings reported in the pages of The Sun, then one of America’s most influential newspapers”.  His cartoons brought moreattention to the issue, as he derided Tennessee for crushing knowledge in one of his more notable cartoons from the trial called ‘A Closed Book in Tennessee.’ Inthis cartoon, Duffy shows a man, representing Tennessee, holding a sign that says “Fundamentalists Only Wanted as Teachers.”  The man is standing on top ofthe book of knowledge, holding it shut.  Duffy knew that this powerful cartoon would cause a great response, but that is exactly what Mencken wanted andexpected from him.  Many more of his cartoons from the trial held the same message, in which he was publicly shaming Tennessee for the law, the trial, and theverdict.  Mencken once said that with a good cartoonist he would not need a whole editorial staff, and a great cartoonist he found in Duffy.Pulitzer PrizesOverEdmund Duffy's career, he won three Pulitzer Prizes, which is a lot compared to other recipients over the years.  His three prize winning cartoons are thefollowing:“An Old Struggle Still Going On” (1931)This cartoon references the anti-communism era that began in the 1920s and 1930s.  At the time, communismwas seen as being anti-religion, which is what Duffy conveys in the cartoon.  “California Points with Pride!” (1934)This cartoon is one of Duffy's manyanti-lynching pieces.  This one, however, deals with white on white lynching.  In California, people took two kidnappers from prison and lynched them in a park,but the Governor praised the people that did the lynching.  Duffy condemned the Governor in this cartoon.“The 'Outstretched Hand'” (1940)In this cartoon,Duffy's topic is Adolf Hitler and his brutality.  By the time the cartoon was drawn, Germany had already invaded Poland, and Duffy shows Hitler's broken promisesand peace offerings.  Hitler's hand drips with blood in the image.Passage 3:Anne EvansAnne or Ann Evans may refer to:Ann Evans (midwife) (1840–1916), NewZealand nurseAnne Evans (poet) (1820–1870), English poet and composerAnne Evans (arts patron) (1871–1941), art patron in ColoradoAnne Evans (soprano)(born 1941), British operatic sopranoAnne Evans Estabrook, American real estate developerSee alsoMary Ann Evans, writer better known as George EliotMaryAnne Disraeli, née Evans, wife of DisraeliEvans (surname)Passage 4:James Randall MarshJames Randall Marsh (1896–1966) was an American artist and thehusband of Anne Steele Marsh.BiographyMarsh was born in 1896 in Paris, France. He was the son of Frederick Dana Marsh and Alice Randall Marsh. He was thebrother of the painter Reginald Marsh.He married Anne Steele in 1925 and the couple settled in Essex Fells, New Jersey. There Marsh set up a metal forge whichhe used to create industrial and residential lighting fixtures. In 1948, the Marshes relocated to Pittstown, New Jersey where James continued operating a forge,expanding the operation to include decorative metal work. His work was mainly in the American Arts and Craft style.In 1952, Marsh was instrumental inestablishing the Hunterdon Art Museum. When an 1836 stone mill became available for sale, Marsh and his neighbors decided to turn it into an art center, withMarsh providing most of the purchase price. The museum, with workshops, is still in operation and the building is listed as Dunham's Mill on the National Registerof Historic Places listings in Hunterdon County, New Jersey.In 1964, he purchased the M. C. Mulligan & Sons Quarry, also listed on the NRHP, and donated it tothe Clinton Historical Museum, now known as the Red Mill Museum Village. On October 9, 1965, the James Randall Marsh Historical Park was dedicated at themuseum.Marsh died on January 20, 1966, in Flemington.Passage 5:Michael RectorMichael Rector (born December 16, 1993) is a former American football widereceiver. He played college football at Stanford.Professional careerRector signed with the Detroit Lions as an undrafted free agent on May 12, 2017. He waswaived by the Lions on September 2, 2017.Passage 6:Stan RiceStanley Travis Rice Jr. (November 7, 1942 – December 9, 2002) was an American poet and artist.He was the husband of author Anne Rice.BiographyRice was born in Dallas, Texas, in 1942. He met his future wife Anne O'Brien in high school. They brieflyattended North Texas State University together, before marrying in 1961 and moving to San Francisco in 1962, to enroll at San Francisco State University, wherethey both earned their bachelor's and master's degrees.Rice was a professor of English and Creative Writing at San Francisco State University. In 1977, hereceived the Academy of American Poets' Edgar Allan Poe Award for Whiteboy, and in subsequent years was also the recipient of the Joseph Henry JacksonAward, as well as a writing fellowship from the National Endowment for the Arts. Rice retired after 22 years as Chairman of the Creative Writing program as wellas Assistant Director of the Poetry Center in 1989.It was the death of his and Anne's first child, daughter Michele (1966–1972), at age six of leukemia, which ledto Stan Rice becoming a published author. His first book of poems, based on his daughter's illness and death, was titled Some Lamb, and was published in 1975.He encouraged his wife to quit her work as a waitress, cook and theater usher in order to devote herself full-time to her writing, and both eventually encouragedtheir son, novelist Christopher Rice, to become a published author as well.Rice, his wife and his son moved to Garden District, New Orleans, in 1988, where heeventually opened the Stan Rice Gallery. In 1989, they purchased the Brevard-Rice House, 1239 First Street, built in 1857 for Albert Hamilton Brevard.Stan Rice'spaintings are represented in the collections of the Ogden Museum of Southern Art and the New Orleans Museum of Art. He had a one-person show at the JamesW. Palmer Gallery, Vassar College, Poughkeepsie, New York. The Art Galleries of Southeastern Louisiana presented an exhibition of selected paintings in March2005. Prospective plans are underway to present exhibitions of Rice's paintings at various locations in Mexico.In Prism of the Night, Anne Rice said of Stan: \"He'sa model to me of a man who doesn't look to heaven or hell to justify his feelings about life itself. His capacity for action is admirable. Very early on he said to me,'What more could you ask for than life itself'?\"Poet Deborah Garrison was Rice's editor at Alfred A. Knopf for his 2002 collection, Red to the Rind, which wasdedicated to novelist son Christopher, in whose success as a writer his father greatly rejoiced. Garrison said of Rice: \"Stan really attempted to kind of stare downthe world, and I admire that.\"Knopf's Victoria Wilson, who edited Anne's novels and worked with Stan Rice on his 1997 book, Paintings, was particularlyimpressed by his refusal to sell his artworks, saying, \"The great thing about Stan is that he refused to play the game as a painter, and he refused to play thegame as a poet.\"Personal lifeRice was an atheist.DeathStan Rice died of brain cancer at age 60, on December 9, 2002, in New Orleans where he lived and wassurvived by Anne and Christopher, as well as his mother, Margaret; a brother, Larry; and two sisters, Nancy and Cynthia.Rice is entombed in Metairie Cemeteryin New Orleans.Poetry collectionsSome Lamb (1975)Whiteboy (1976) (earned the Edgar Allan Poe Award from the Academy of American Poets)Body of Work(1983)Singing Yet: New and Selected Poems (1992)Fear Itself (1997)The Radiance of Pigs (1999)Red to the Rind (2002)False Prophet (2003)"}
+{"doc_id":"doc_273","qid":"","text":"Passage 1:Rumbi KatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College, London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namelyTariro (2008);Big House, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped (2006 – Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to actively support the film industry.Passage 2:Sam the ManSam the Man is a 2001 American film directed by Gary Winick and starring Fisher Stevens.PlotA writer having difficulty completing his second novel goes on a journey of self-discovery.CastExternal linksSam the Man at IMDbSam the Man at Rotten TomatoesPassage 3:The Man Is ArmedThe Man Is Armed is a 1956 film noir crime film directed by Franklin Adreon starring Dane Clark, William Talman, May Wynn and Robert Horton.PlotFramed by another man, truck driver Johnny Morrison serves a year in prison. After his release, Johnny confronts the man, Mitch Mitchell, who plunges off a roof to his death.Johnny then learns that his former employer, Hackett, was the one who set him up as a fall guy. Hackett claims it was a test of loyalty, and since Johnny passed, he now stands to earn $100,000 for helping Hackett pull off the robbery of an armored transport company.Johnny's old girlfriend, Carol Wayne, still has feelings for him, even though she has been seeing Mike Benning, a young doctor. While the death of Mitchell is investigated by police Lt. Coster as a homicide, Johnny and three other thugs pull off the heist.Unable to get the loot to Hackett due to roadblocks, Johnny hides out. Hackett, believing he has been double-crossed, shoots Johnny and buries the money on his family farm, but the police catch up to him. A wounded Johnny knocks out Mike and abducts Carol, but collapses and dies after a few steps. Mike leads Carol away as the cops arrive.CastDane Clark as Johnny MorrisonWilliam Talman as HackettMay Wynn as Carol WayneRobert Horton as Dr. Michael BenningBarton MacLane as Det. Lt. Dan CosterFredd Wayne as EganRichard Benedict as Lew 'Mitch' MitchellRichard Reeves as RutbergHarry Lewis as ColeBobby Jordan as ThorneLarry J. Blake as Ray PerkinsDarlene Fields as TerryclothJohn Mitchum as OfficerSee alsoList of American films of 1956Passage 4:Wolf WarriorWolf Warrior (Chinese: \u0000\u0000) is a 2015 Chinese war film written and directed by Wu Jing. It stars Wu Jing along with Scott Adkins, Yu Nan and Kevin Lee. It was released on 2 April 2015. A sequel, titled Wolf Warrior 2, was released in China in 2017 and became the all-time highest-grossing film in China.PlotIn 2008, a combined task group of People's Liberation Army Special Operations Forces and Chinese police raid a drug smuggling operation in an abandoned chemical facility in southern China. The leader of the smuggling operation, Wu Ji, holds one of his own men hostage while taking cover behind a section of the facility's reinforced wall.Leng Feng, a skilled PLA sniper, ignores orders to stand down and fires three shots at a weak section of the wall, penetrating through on the third shot and killing Wu Ji. Leng Feng is sent to solitary confinement as punishment, but is approached by Long Xiaoyun, the female commander of the legendary 'Wolf Warriors', an elite unit within the PLA tasked with simulating foreign tactics for the PLA to train against. Long Xiaoyun offers Leng Feng a place in the Wolf Warriors. Meanwhile, in the Philippines, crime lord Min Deng, the older brother of Wu Ji, hires ex-US Navy SEAL “Tom Cat” (Scott Adkins) and his group to assassinate Leng Feng and avenge his brother.The Wolf Warriors participate in a training exercise in a remote and uninhabited forested region on China's southern border. During the exercise, Tom Cat and his mercenaries ambush a Wolf Warrior squad, killing one of Leng Feng's comrades. Subsequently, the PLA and the Wolf Warriors are tasked with hunting down Tom Cat‘s squad to restore their honor. The combined infantry force move into the forest but are delayed by multiple traps set by Tom Cat and pinned down by sniper fire until Leng Feng manages to kill the shooter. Afterwards, the rest of the PLA force engages Tom Cat's other mercenaries, who stage a fighting retreat but are eventually overwhelmed and killed one by one. Meanwhile, Long Xiaoyun and the other PLA commanders deduce that Ming Deng himself is also in the training area to take possession of a smuggled cache of biotechnology, which could allow the creation of a genetic weapon that could target Chinese people exclusively.Leng Feng eventually catches Tom Cat just before China's southern border. Leng Feng is nearly defeated, but manages to kill Tom Cat with his own knife. Medical personnel from a PLA relief force arrive, but Leng Feng recognises the wrist tattoo of the medic that approaches him and realizes that they are Min Deng's men in PLA uniforms. He attacks them, eventually holding Min Deng himself at bayonet point on the very edge of the Chinese border. Min Deng's paramilitary force approaches from the other side of the border, but so do the rest of the Wolf Warriors and PLA soldiers. Min Deng's force retreats, leaving him to be arrested.CastWu Jing as Leng Feng, a marksman in the People's Liberation Army who was initially court martialled and reprimanded for failing to obey a direct order during an operation. He is later recruited into a Chinese Special Forces Unit called \"War Wolf\" after Long Xiaoyun takes an interest in him.Yu Nan as Lieutenant Colonel Long Xiaoyun, Commander of the Chinese Special Forces Unit \"War Wolf\"Ni Dahong as Ming Deng, a drug lord who hires a group of foreign mercenaries to avenge his brother's death at the hands of Leng Feng.Scott Adkins as \"Tom Cat,\" a former US Navy SEAL turned mercenary, who is hired by Meng Deng to kill Leng FengKevin Lee as \"Mad Cow\"Shi ZhaoqiZhou XiaoouFang ZibinGuo GuangpingRu PingHong WeiWang SenZhuang XiaolongChris CollinsProductionThe script went through 14 drafts over seven years. In order to portray more realistic combat scenes, the movie used five missiles (each at a value of one million yuan), more than 30,000 rounds of ammunition, and a variety of Chinese active military aircraft, including the Chengdu J-10, Harbin Z-9, and CAIC Z-10. In one large battle scene, 32 active tanks appeared in the same shot, including a Type 96 tank.In order to prepare for the film, with the support of Chinese PLA Nanjing Military Region, Wu Jing trained for 18 months at a camp in Nanjing Military Region. On the first day of shooting, it was the hottest summer in Nanjing's history. The temperature was up to 49.8 °C, making 5 extra actors suffer from shock.Most of the film was made on location in Jiangsu province, at sites including Nanjing and Sun Yat-sen Mausoleum.Box officeAs of 25 May 2015, it has earned US$89.11 million in China.In China, it opened on 2 April 2015, earning US$33.32 million in its 4-day opening weekend topping the Chinese box office. In its second weekend, it fell to number two, earning US$36.19 million (behind Furious 7).Critical responseThe film had an overall rating of 6.8 on the Chinese review site Douban as of August 2017. Variety magazine wrote: \"To a layperson's eyes, the military exercise does look authentic, and the cross-country skirmishes are ruggedly watchable on an acrobatic level. Yet it's impossible to overlook the inanity of the plotting\".AwardsInternational influenceWolf Warrior and its sequel, Wolf Warrior 2, are the namesake of China's aggressive 'wolf warrior diplomacy' under Xi Jinping's administration.Passage 5:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to Los Angeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home where he had been for the last two months of his life.External linksEdward Yates at IMDbPassage 6:Arms and the Man (1932 film)Arms and the Man is a 1932 British film based on the play Arms and the Man by George Bernard Shaw. It was written and directed by Cecil Lewis.Passage 7:Wu Jing (actor)Wu Jing, also known as Jacky Wu, (Chinese: \u0000\u0000; pinyin: Wú Jīng; born 3 April 1974) is a Chinese actor, director and martial artist best known for his roles in various martial arts films such as Tai Chi Boxer, Fatal Contact, the Sha Po Lang films, and as Leng Feng in Wolf Warrior, its sequel Wolf Warrior 2, and most recently The Battle at Lake Changjin. Wu Jing is one of the most profitable actors in China and his movies are often the highest grossed films in China and around the world. Wu ranked first on the Forbes China Celebrity 100 list in 2019 and 23rd in 2020.CareerIn April 1995, Wu was spotted by martial arts choreographer Yuen Woo-ping, Wu played Hawkman / Jackie in 1996 film Tai Chi Boxer, his first Hong Kong film debut. Since then Wu has appeared in numerous mainland Chinese wuxia television series. He has also worked with choreographer and director Lau Kar-leung in 2003 film Drunken Monkey. Wu achieved success in Hong "}
+{"doc_id":"doc_274","qid":"","text":"Passage 1:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist andbassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New Yorkhardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, whichincluded his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod ofDestruction (M.O.D.)MasteryPassage 2:Don't You Believe It\"Don't You Believe It\" is a song written by Burt Bacharach and Bob Hillard and recorded by AndyWilliams. Released as a single, the B-side was a cover of the George Gershwin song \"Summertime\".Chart performanceThe song reached No. 15 on the BillboardEasy Listening chart and No. 39 on the Hot 100 in 1962.Passage 3:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a soloartist, he is the lead singer of indie rock band One eskimO.Early lifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went toHatch End High School in Harrow and worked several jobs in and around London whilst concentrating on music when he had any free time.  In 2003 he signed amajor record deal with Polydor. At the time, Leontiou was dubbed \"the new Dido\" by some media outlets. His debut single \"Story of My Life\" was released in June2004 and reached #9 in the UK Singles Chart. His second single \"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of150,000 copies.Leontiou toured the album in November 2004 taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappywith the direction his career was going, on a flight back from the US in 2004 he decided to take his music in a new direction.  Splitting from his label in late 2005,he went on to collaborate with Faithless on the song \"Hope & Glory\" for their album ‘'To All New Arrivals'’.  It was this release that saw him unleash the OneeskimO moniker.  It was through working with Rollo Armstrong on the Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimOproject. Being more than impressed by what he heard, Rollo opened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’'album.It was at this time that he paired up with good friend Adam Falkner, a drummer/musician, to introduce a live acoustic sound to the album. They recordedthe album with engineer Phill Brown (engineer for Bob Marley and Robert Plant) at Ark studios in St John's Wood where they recorded live then headed back toRollo's studio to add the cinematic electro touches that are prominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a ToyotaPrius advert in the USA. The funds from the advert were then used to develop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (GravyMedia Productions) along with animation team Smuggling Peanuts (Matt Latchford and Lucy Sullivan) who together began to develop the One eskimO world, thefirst animation produced was for the track ‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started a new managementventure with ATC Music. By mid-2008 Time Warner came on board to develop all 10 One eskimO animations which were produced the highly regarded PassionPictures in London.  Now with all animation complete and a debut album, One eskimO prepare to unveil themselves fully to the world in summer 2009.Leontioureleased a cover version of Tracy Chapman's \"Fast Car\", which was originally released as a single in 2005. Leontiou's version was unable to chart, however, dueto there being no simultaneous physical release alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, the song enteredthe singles chart at number 88 due to Britain's Got Talent contestant Michael Collings covering the track on the show on 16 April2011.DiscographyAlbumsSinglesNotesA  - Originally released as a single in April 2005, Leontiou's version of \"Fast Car\" did not chart until 2011 in the UK.Alsofeatured onNow That's What I Call Music! 58 (Story of My Life)Win a Date with Tad Hamilton! OST, Love Love Songs - The Ultimate Love Collection(Shining)Summerland OST (The Crying)Passage 4:Can't Believe It (Flo Rida song)\"Can't Believe It\" is a song by American rapper Flo Rida. The song features arap verse from Cuban-American rapper Pitbull. The song samples \"Infinity\" by London-based duo Infinity Ink. The music video for \"Can't Believe It\" was directedby Geremey and Georgie Legs.Chart performanceWeekly chartsYear-end chartsCertificationsPassage 5:Meek MillRobert Rihmeek Williams (born May 6, 1987),known professionally as Meek Mill, is an American rapper. Born and raised in Philadelphia, Pennsylvania, he embarked on his music career as a battle rapper, andlater formed a short-lived rap group, The Bloodhoundz. In 2008, Atlanta-based rapper T.I. signed Meek Mill to his first record deal. In February 2011, afterleaving Grand Hustle Records, Mill signed with Miami-based rapper Rick Ross's Maybach Music Group (MMG). Mill's debut album, Dreams and Nightmares, wasreleased in 2012 under MMG and Warner Bros. Records. The album, preceded by the lead single \"Amen\" (featuring Drake), peaked at number two on the U.S.Billboard 200.In October 2012, Mill announced the launch of his own label imprint, Dream Chasers Records, named after his mixtape series. Meek Mill rose tofame after featured on MMG's Self Made compilation, with his debut singles \"Tupac Back\" (featuring Rick Ross) and \"Ima Boss\" (featuring Rick Ross), beingincluded on volume one (2011). He released his second album, Dreams Worth More Than Money, in 2015 and his third album, Wins & Losses, in 2016. His fourthstudio album, Championships, was released in November 2018 and debuted at the top of the Billboard 200 chart. Its lead single, \"Going Bad\" (featuring Drake),peaked at number six on the Billboard Hot 100, marking Mill's highest charting single to date. Meek's fifth album, Expensive Pain, was released on October 1,2021.In November 2017, he was sentenced to two to four years in prison for violating parole, before being released while his trial continues after serving fivemonths. In August 2019, a documentary series about his battle with the criminal justice system, Free Meek, was released on Amazon Prime Video. Mill served asexecutive producer on the series alongside fellow rapper Jay-Z. The two also became the co-founders of nonprofit organization Reform Alliance, which focuses onnational prison reform through lobbying.Early lifeRobert Rihmeek Williams was born on May 6, 1987, in the South Philadelphia area of Philadelphia, Pennsylvania,the son of Kathy Williams. He has an older sister, Nasheema Williams. Kathy grew up in poverty and her mother died when she was young. Meek's father waskilled when Meek was five years old, apparently during an attempted robbery. His uncle, Robert, described Meek Mill's father as a \"black sheep of the family\".After her husband's death, Kathy moved with Meek and his sister to North Philadelphia, where they lived in a three-bedroom apartment on Berks Street. Theirfinancial condition was poor and she started cutting hair, doing other jobs, and shoplifting in order to support her family. At home, Meek was shy and rarelyspoke. As a kid, he became acquainted with another of his father's brothers, who under the MC name Grandmaster Nell was a pioneering disc jockey (DJ) in thelate-1980s Philadelphia hip-hop scene and influenced rap artists Will Smith and DJ Jazzy Jeff. Meek's interest in hip-hop grew as a result of these early influences.He was also influenced by the independent hip-hop artists Chic Raw and Vodka, whom he learned to emulate by watching their DVDs.During his early teenageyears, Meek often took part in rap battles under the pseudonym Meek Millz. He often stayed up well past midnight filling notebooks with phrases and verses thathe later drew on. Later he and three friends formed the rap group The Bloodhoundz. They bought blank CDs and jewel cases at Kinkos, encouraging friends toburn them with the group's songs and distribute them.Career2006–2010: Career beginningsThe Bloodhoundz lasted long enough to release four mixtapes. From2006 to 2008 Mill released three solo mixtapes including The Real Me, The Real Me 2, and Flamers. In 2009, Mill released his fourth solo mixtape, Flamers 2:Hottest in tha City, which spawned the promotional singles \"I'm So Fly,\" \"Prolli,\" and \"Hottest in the City.\" Flamers 2 caught the attention of Charles \"CharlieMack\" Alston, founder and president of 215 Aphillyated Records. Mack, who previously represented for other Philadelphians Will Smith, DJ Jazzy Jeff, Boyz II Menand Ms. Jade, was so impressed with Mill that he immediately signed him to his management company. During that same year, Meek Mill also met the founderand owner of Grand Hustle Records, Atlanta-based rapper and record executive T.I. T.I. was also impressed by Mill and offered him an opportunity to travel, tomeet with him and Warner Bros. Records; within a week both record companies offered him a deal. Although he was offered other record deals, Mill feltcollaborating with T.I. was \"an opportunity of a lifetime\" and thus chose his label. However, a setback occurred, when Mill was sentenced to a stint in jail for adrug and gun charge.After being released in 2009, he continued working as an artist under Grand Hustle, Mill formed a work relationship with the label's residentdisc jockey, DJ Drama. Mill and Drama teamed up to release the third edition of Mill's Flamers series. The mixtape, titled Flamers 3: The Wait Is Over, wasreleased on March 12, 2010, and is helmed as a \"Gangsta Grillz mixtape\". The mixtape features his promotional single \"Rosé Red\", which was later remixed withadditional verses from fellow American rappers T.I., Rick Ross and Vado. Rick Ross contributed his verse after he was visiting Philadelphia and asked his Twitterfollowers who he should collaborate with; Meek Mill was the overwhelming response. The remix was included on Mill's following mixtape, Mr. Philadelphia. Due toMill and T.I.'s respective legal troubles, Mill was never able to release an official album under Grand Hustle and they parted ways in 2010. That same year, a filmwas released  called Streets. A direct-to-DVD crime drama, starring Mill, produced by Alston and directed by Jamal Hill.2011–2012: Dreams & NightmaresInFebruary 2011, Rick Ross announced the signing of Mill along with fellow American rapper Wale to his Maybach Music Group (MMG) label. In March 2011, Mill wasincluded in XXL's \"Freshman Class of 2011\". Later that year, he released his debut single, \"Tupac Back\", featuring Rick Ross, from his label's compilation albumSelf Made Vol. 1 (2011). That same year he released his second single, \"Ima Boss\", also take from the compilation and featuring Ross. The song was later"}
+{"doc_id":"doc_275","qid":"","text":"Passage 1:Marc-Kanyan CaseMarc-Kanyan Case (14 September 1942 – 6 January 2023) was a French professional footballer. He competed in the men'stournament at the 1968 Summer Olympics.Passage 2:Stoney CaseStoney Jarrod Case (born July 7, 1972) is a former quarterback for three teams in the NationalFootball League (NFL) and three teams in the Arena Football League (AFL).High school and collegeCase played high school football for the Odessa PermianPanthers, quarterbacking the team to an undefeated, 16–0 season and the Texas 5A football title in 1989, one year after the events chronicled in the Friday NightLights book and movie. The Panthers were voted ESPN's National Champion team as a result. During his Permian career, Case also lettered in baseball as anoutfielder, first baseman and pitcher. His brother Stormy Case also played quarterback for the Panthers and went on to play for Texas A&M.Recruited to playcollege football for the University of New Mexico, Case was a four-year starter for the Lobos and was the first player in NCAA Division I-A (now FBS) history topost 9,000 career passing yards and 1,000 career rushing yards. In the course of his college career he threw or ran for 98 touchdowns, which at the time of hisgraduation was second in I-A history to Ty Detmer.  In 1994, Case was the WAC player of the year and led the NCAA with 33 total TD'S and 3,649 totalyards.1991: Threw for 1,564 yards with 10 TD vs 6 INT with 2 rushing TD's.1992: Threw for 2,289 yards with 18 TD vs 13 INT with 4 rushing TD's.1993: Threwfor 2,490 yards with 17 TD vs 8 INT with 14 rushing TD's.1994: Threw for 3,117 yards with 22 TD vs 12 INT on 409 pass attempts with 11 rushingTD's.Professional careerNFLCase was a third round pick in the 1995 NFL Draft and played quarterback for Arizona Cardinals from 1995 to 1998, though he spentpart of that time with the Barcelona Dragons in the NFL Europe. He was signed as a free agent by both the Indianapolis Colts and the Baltimore Ravens in 1999,and went to the Detroit Lions as an unrestricted free agent in 2000.Case saw limited action during his NFL career. He played in two games during his rookieseason, but saw no action in either 1996 or 1998. He played twice in 1997 as a replacement for injured starter Kent Graham. He played in 10 games for theBaltimore Ravens in 1999, starting four games and winning two of them. He also played in five other games later in the season, receiving playing time as aback-up quarterback. In all, Case played in a total of 24 career NFL games over six years, 12 as a starter, in which he passed for 1,826 yards and 4 touchdownswhile rushing for 270 yards and 5 touchdowns. His best game came in 1999 against the Atlanta Falcons, Case threw for 2 touchdowns and no interceptions with aQB rating of 96.5.As an NFL player, Case was criticized by some fans for his uncertainty and lack of ability to throw an effective long pass. His worst careerperformance came in October 1999 when he appeared for the Ravens against the Kansas City Chiefs, completing only 15 of 37 passes for 103 yards. \"The Chiefs\",noted the Baltimore City Paper, \"by comparison, ran back his intercepted passes for 108 yards. Repeat: 103 yards forward, 108 yards backward. Add in those twotouchdowns off interceptions and Case did almost precisely as much for Kansas City as did the Chiefs' own quarterback, Elvis Grbac (112 yards, two TDpasses).\"In 2000, Case signed with the Detroit Lions as the primary backup to quarterback Charlie Batch. Appearing in five games, Case passed for 503 yards, 1touchdown, and 4 interceptions. His best game came on November 30 in a game against the Minnesota Vikings.  Even though the Lions lost 24–17, Case filled infor an injured Batch and put up 230 yards on 23–33 passing with a touchdown and an interception.AFLAfter major shoulder surgery at the end of his contract withDetroit and seemingly out of the NFL, Case subsequently moved to the Arena Football League. In 2004, he was signed by Tampa Bay Storm, playing in just threegames in 2005 and completing 4 of 7 passes for 35 yards and 2 touchdowns.In 2006, Case was the backup to Mark Grieb with the San Jose SaberCats in the AFLAmerican Conference, Western Division. On October 31, he returned to Tampa Bay as a free agent.  Four games into the 2007 season, Case took over as theStorm's starting quarterback. However, that was short-lived when he dislocated his shoulder against the Orlando Predators and had season ending surgery.SeealsoList of NCAA major college football yearly total offense leadersPassage 3:Richard CaseRichard Case (born 1964) is an American comics artist best known forhis work for DC Comics especially the Vertigo imprint.He is not to be confused with the similarly-named Richard Case, a comics artist who worked for the IgerStudio and Fiction House in the 1940s.CareerAfter receiving a Bachelor of Fine Arts degree from the Rhode Island School of Design, Richard Case worked as anassistant to comics artist Walt Simonson in 1985. Case's first credited published comic book story appeared in Marvel Comics' Strange Tales vol. 2 #10 (Jan.1988). He moved to DC Comics and pencilled the majority of issues of Grant Morrison's run on Doom Patrol beginning with issue #19 (Feb. 1989). In 1992, hedrew several issues of Darkhold: Pages from the Book of Sins for Marvel. Back at DC, Case inked Marc Hempel's pencils on the Sandman story \"The Kindly Ones\"and penciled a few pages in Hempel's style. He illustrated Jamie Delano's Ghostdancing limited series, the final story arc of Peter Milligan's Shade, the ChangingMan, and Hunter: The Age of Magic with Dylan Horrocks. Since leaving the comics industry, he has worked extensively in computer game illustration especially forUbisoft.BibliographyDC ComicsImage ComicsGen 13 Bikini Pin-Up Special #1 (one page) (1997)Marvel ComicsPassage 4:Gregory C. CaseGregory C. Case (born1963) is the chief executive officer of Aon plc. He has held this position since April 2005.Early life and educationCase was born in Kansas City.Case received anundergraduate degree from Kansas State University, where he graduated summa cum laude. Case holds a Master of Business Administration from Harvard Schoolof Business.CareerCase was at first an investment banker.He then worked for 17 years at McKinsey & Company, where he eventually became head of the globalinsurance practice and then head of the financial services practice.In April 2005, Case was named chief executive officer of Aon plc.In September 2006, Casetestified on behalf of Aon and the Council of Insurance Agents and Brokers to the US House of Representatives on the topic of risks of catastrophic terrorismevents.In 2018, Case received the Owen B. Butler Education Excellence Award from the Committee for Economic Development.Case was named one of the 100best performing CEOs in world in 2019 according to the Harvard Business Review.CompensationCase's annual salary as CEO of Aon amounts to around US$14.6million, and has varied widely over the years.  Case's total compensation for 2005 and 2006, respectively, was US$21 million and US$7.5 million.  In both 2007and 2008, Case's compensation from Aon of US$11.3 million and US$12.9 million, respectively, placed him as the 13th highest compensated CEO in Illinois andNorthwest Indiana. Case's compensation dropped to US$10.4 million in 2009, placing him at 15th rank in the same geography, then rose dramatically in 2010 toUS$20.8 million, making him the 3rd highest compensated in the region.  Compensation for 2011 and 2012 was US$17.5 million and US$2.5 million,respectively.  Case's compensation across 2007 to 2009 did not substantially change (11.3, 12.9, 10.4 million) despite a 95% drop in profits for the company inthe 4th quarter of 2008.Passage 5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone(1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation!(2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:Andrew CaseAndrew Paul William Case (born January 6, 1993) is a Canadian professionalbaseball pitcher for the Piratas de Campeche of the Mexican League. He was signed by the Toronto Blue Jays as an undrafted free agent in 2013.CollegeCaseattended Lethbridge College in Lethbridge, Alberta.Professional careerToronto Blue JaysCase signed with the Toronto Blue Jays as an undrafted free agent onOctober 16, 2013. He drew the attention of the Blue Jays after throwing a no-hitter during \"Tournament 12\", an annual tournament for the top college players inCanada. He was assigned to the Low-A Vancouver Canadians for the entire 2014 season, and was a mid-season All-Star for the Canadians. He pitched to a 0–1win–loss record, 2.45 earned run average (ERA), and 37 strikeouts in 44 innings that year. He split time in 2015 between Vancouver and the Single-A LansingLugnuts. Case made 39 total relief appearances in the 2015 season, and posted a 3–4 record, 3.10 ERA, and 44 strikeouts in 521⁄3 total innings, and was againnamed a mid-season All-Star for Vancouver. Before the start of the 2016 season, Case was suspended for 50-games for failing to take a drug test. He made oneappearance for the Rookie-level Gulf Coast League Blue Jays and was then promoted to Lansing, where he finished the season. In 252⁄3 total innings, Caseposted a 0–2 record, 2.10 ERA, and 22 strikeouts in the 2016 campaign. During the offseason, Case made nine relief appearances for the Canberra Cavalry of theAustralian Baseball League (ABL). Case opened 2017 with the High-A Dunedin Blue Jays, and later earned promotions to the Double-A New Hampshire Fisher Catsand Triple-A Buffalo Bisons, posting a combined 7–1 record with a 2.84 ERA in a career-high 66 innings pitched.On January 24, 2018, the Blue Jays invited Caseto spring training. He did not make the club and spent the year split between Buffalo and New Hampshire, posting a 1-3 record and 4.96 ERA with 35 strikeouts in49.0 innings of work between the two teams. He was assigned to New Hampshire to begin the 2019 season, and posted a 5.40 ERA in 3 games. On April 18,2019, Case announced his retirement from professional baseball.Québec CapitalesCase initially came out of retirement in 2020 to sign with the Québec Capitalesof the Frontier League, but did not play in a game for the team following the cancellation of the Frontier League season due to the COVID-19 pandemic. OnFebruary 15, 2021, Case re-signed with Québec. Case made 14 appearances for the Capitales, posting a 3.29 ERA with 12 strikeouts in 132⁄3 inningspitched.Olmecas de TabascoOn July 17, 2021, Case signed with the Olmecas de Tabasco of the Mexican League. In 10 relief appearances, Case posted a 2-0record with a 1.80 ERA and 9 strikeouts. He was released following the season on October 20, 2021.Québec Capitales (second stint)On May 11, 2022, Casere-signed with the Québec Capitales of the Frontier League. He made 2 appearances, pitching two scoreless innings out of the bullpen.Piratas de CampecheOn"}
+{"doc_id":"doc_276","qid":"","text":"Passage 1:Rotrou III, Count of PercheRotrou III (bef. 1080 – 8 May 1144), called the Great (le Grand), was the Count of Perche and Mortagne from 1099. He wasthe son of Geoffrey II, Count of Perche, and Beatrix de Ramerupt, daughter of Hilduin IV, Count of Montdidier. He was a notable Crusader and a participant in theReconquista in eastern Spain, even ruling the city of Tudela in Navarre from 1123 to 1131. He is commonly credited with introducing Arabian horses to thePerche, giving rise to the Percheron breed. By his creation of a monastery at La Trappe in memory of his wife, Matilda, daughter of Henry I of England, in 1122 healso laid the foundations of the later Trappists.First CrusadeRotrou took part in the First Crusade, travelling with the army of the duke of Normandy, RobertCurthose. What influenced Rotrou in this regard were probably familial connexions. He was related to the Anglo-Norman aristocracy and the Perche was a march(border region) in southern Normandy. A sister was married to Raymond I of Turenne, who was a fellow Crusader in the following of Raymond IV of Toulouse. Hismother, Beatrix, was a sister of Ebles II of Roucy, who had campaigned in Spain in 1073, and Felicia, who married Sancho Ramírez, King of Aragon. A religiousmotivation cannot be discounted.According to the Chanson d'Antioche, Rotrou was under the command of Bohemond of Taranto during the Siege of Antioch, andwas one of the first to go over the city's walls through scaling ladders on 3 June 1098. When the Crusaders had to confront a Seljuk relief force two weeks later inopen battle, Rotrou was one of the front line commanders. He fulfilled his vow and made it all the way to Jerusalem. The Chanson also mentions his bravery atthe siege of Nicaea of 1097.In 1107, Rotrou built a castle on land held partly allodially and partly in lordship by Hugh II of Le Puiset, thus challenging Hugh'srights to the estate. Since Pope Urban II had taken Crusaders' \"houses, families, and all their goods into the protection of Saint Peter and the Roman church\", andboth Hugh and Rotrou were veterans of the First Crusade, the dispute was intractable. Bishop and lawyer Ivo of Chartres could not resolve it, since it involved ajudicial duel, over which the church was not allowed to preside, and so remitted it to the court of the County of Blois. There Hugh lost, but in the violence thatfollowed his tenant, who held the land from him as a fief, was captured by Rotrou's men. The reigning pope, Paschal II, who was in Chartres in April, sent thecase back to Ivo, who complained in a letter that since \"this law of the Church protecting the goods of knights going to Jerusalem was new. . . they did not knowwhether the protection applied only to their properties or also applied to their fortifications.\" Rotrou denied that the case had anything to do with the novel canonlaw.Norman politicsDuring Rotrou's absence his father, Geoffrey of Mortagne, died in 1099. On the first Sunday after returning to France, Rotrou paid a visit tothe monastery of Nogent-le-Rotrou, a foundation of his family's and the location of his father tomb. There he asked to become a confrater (brother) of the Abbeyof Cluny, Nogent's mother house, and to show his sincerity and prove the fulfillment of his Crusading vow he placed a charter confirming his predecessors'donations to the abbey and the palm frond brought back from Jerusalem on the altar.Rotrou's position in the Duchy of Normandy was that of defender of thefrontier with the Île-de-France. His position was probably enhanced by his participation in the First Crusade. Whereas his father had only held the title of viscount,Rotrou is usually called a count. In the war between Henry I of England and Robert Curthose, Rotrou sided with the former and was an important figure in Henry'sadministration of the duchy after the capture of Robert at Tinchebrai in 1106. Rotrou was a direct vassal of Henry in England, where he held fiefs jure uxoris, inright of his wife, the king's daughter Matilda. He was not often in England, but is purported to have been close to his wife.ReconquistaEarly participationRotrou'sactual first participation in the Reconquista dates to the first decade of the twelfth century (possibly 1104–5). He and a group of Normans are said to have foughtthe Muslims in the service of Alfonso the Battler, then King of Aragon and Navarre, until the Aragonese plotted against them and they returned home. It has beenspeculated that the Norman involvement in the campaign originated as gossip designed to discredit Alfonso by Cluny, an ally of Alfonso's rival, Alfonso VI ofCastile. More probably the Normans just accomplished too little to be noticed, or were perhaps sent back home without encountering any Muslims because theirservices were not need at the time, when Alfonso the Battler had an alliance with the taifa (faction-kingdom) of Zaragoza. Perhaps the 'Aragonese plot' originatedas a rumour with dissatisfied returning Normans.After the death of his wife, eldest son and two of his nephews in the wreck of the White Ship (1120), Rotroureturned to Spain. His parting may have been an act of penitence (perhaps he believed his sins had brought on the tragedy), or perhaps a public demonstration ofgrieving, since his wife was a daughter of the king, who had also lost his heir, William Adelin, in the wreck. According to the Chronicle of San Juan de la Peña,Rotrou took part in the conquests of Zaragoza (1118) and Tudela (1119), but this account has been shown to be apocryphal. Many French barons can beconnected with the expedition against Zaragoza, but although his Anales de la Corona de Aragón name Rotrou as fighting under Alfonso of Aragon on severaloccasions, Jerónimo Zurita does not mention him by name when recording the call for transpyrenean assistance put out by the Battler. Likewise Rotrou is attestedfighting for Henry I in Normandy in 1119 and so could not have had any hand in the conquest of Tudela, although the Chronicle of San Juan makes him out to bethe chief conqueror and the first and independent ruler of the town. Neither is he mentioned in the charter of surrender of Tudela.Rule of TudelaRotrou was still inNormandy in 1120 when he signed the reconfirmation act of the abbey of Arcisses. Since he received land in Zaragoza after the conquest, it might be assumedthat he sent either money or men to assist in the enterprise. He did not sign the city's fueros, which the nobles of southern France who had participated in itsconquest did. He had arrived in Aragon by 1123, perhaps as early as 1121. His first participation was probably in the campaign against Lleida. An Aragonesecharter dating to April 1123 refers to Rotrou as \"count in Tudela\", although it does not specifically refer to him as the ruler of the place. The Norman lord RobertBurdet, who later held the Tarragona as a principality, may originally have fought alongside Rotrou in Normandy and then followed him to Spain c.1123. Robert isfirst mentioned in a charter issued by Rotrou in Spain, in which the count granted some houses in Zaragoza to a knight of his named Sabino in gratitude for hisservices (December 1124). There is a slightly later reference which shows that Rotrou was in control of Tudela and that he had appointed Robert to act as hisalcalde (mayor) or military commander of the citadel and one Duran Pixon to act as administrator (justiciar). This charter also affirms, against the Chronicle ofSan Juan, that Rotrou ruled Tudela as a vassal of Alfonso the Battler, who is called \"emperor\" in the document. Similar charters from February 1128 andNovember 1131 show that this arrangement continued for almost a decade, even though Rotrou was often absent in Normandy and Robert Burdet in Tarragona.When Alfonso granted fueros to Tudela in 1127 he also mentioned Rotrou, Robert and Duran. It has been suggested that Rotrou's rise to an important frontierpost in a city in whose conquest he played no role was either recompense for the mistreatment he received in the first decade of the century or due to thedeterrent effect of his private army of Normans on the neighbouring Muslims.In the winter of 1124–25, Rotrou led an expedition against the hilltop Muslimfortress of Peña Cadiella (Benicadell), which guarded the road from Alicante to Valencia. Since Muslim troops from Murcia often moved up this road to Valencia, itwas of great strategic importance for any planned campaign in eastern al-Andalus. Rotrou's expedition, which had royal approval, may have been planned inconjunction with Alfonso's Andalusian expedition that took place in 1127–28. Rotrou was assisted in his endeavour by the Aragonese knights of the Confraternityof Belchite and their master, Galindo Sánchez. Rotrou returned to Normandy with his retinue in 1125, leaving Robert Burdet in command of Tudela (where he isattested in charters from 1126 through 1128). Rotrou did not participate in Alfonso's Andalusian campaign, and a rumour in Normandy claimed that Alfonso madehis war out of envy for Rotrou's achievements.Rotrou returned to Alfonso the Battler in 1130, when he was at the Siege of Bayonne. On 26 October, from thesiege, Alfonso granted the fuero previously given to Tudela to the small town of Corella. Rotrou was one of the signatories, since the castle of Corella had beengranted to him by the king in December 1128. He is last attested as ruler in Tudela with Robert as his underling in a private act of November 1131. He was still inIberia in March 1132, when he witnessed Alfonso's grant of a fuero to the town of Asín.Second trip to the Holy LandSometime before 1144, Rotrou returned to theMideast on Crusade, one of the few north French barons to do so. On this second trip Rotrou obtained some relics which he donated to the monastery he hadfounded at La Trappe.In Spain, Rotrou established links with García Ramírez, the future king of Navarre. García married Margaret of L'Aigle, daughter of Rotrou'ssister Juliana. Margaret's daughter Margaret, married William I of Sicily and raised to the chancellorship her cousin Stephen du Perche, a younger and illegitimateson of Rotrou. She also made Gilbert, another cousin from the Perche, count in Gravina. This Gilbert was one of Rotrou's grandsons, although by which son is notknown. Another relation, Henry of Montescaglioso, was a son of Margaret, perhaps illegitimate.FamilyRotrou's first wife's name is unknown.  They had onedaughter:Beatrix, married Renaud IV, lord of Château-GontierRotrou's second wife was Matilda, illegitimate daughter of Henry I of England and one of his manymistresses, Edith. Matilda drowned in the wreck of the White Ship on 25 November 1120.  They had two daughters:Philippa, married Elias II, Count ofMaineFeliciaRotrou's third wife was Hawise, daughter of Walter of Salisbury and sister of Patrick, Earl of Salisbury. They had three sons:Rotrou IV, killed at theSiege of AcreGeoffrey (died after 1154)Stephen, Archbishop of PalermoRotrou also had an illegitimate son by an unknown mistress:Bertrand, father of Gilbert,Count of GravinaRotrou was succeeded as Count of Perche by his son of the same name.== Notes ==Passage 2:Thomas Beaufort, Count of PercheThomasBeaufort, styled 1st Count of Perche (c. 1405 – 3 October 1431) was a member of the Beaufort family and an English commander during the Hundred Years'War.He was the third son of John Beaufort, 1st Earl of Somerset and his wife, Margaret Holland.CareerWith his elder brother, Henry Beaufort, 2nd Earl of"}
+{"doc_id":"doc_277","qid":"","text":"Passage 1:Everything's DuckyEverything's Ducky is a 1961 comedy film directed by Don Taylor and written by Benedict Freedman and John Fenton Murray. Thefilm stars Mickey Rooney, Buddy Hackett, Jackie Cooper, Joanie Sommers, Roland Winters and Elizabeth MacRae. The film was released on December 20, 1961,by Columbia Pictures.PlotTwo sailors sneak a talking duck aboard their ship. Complications ensue. The duck waddles all over the ship until he escapes.CastMickeyRooney as Kermit 'Beetle' McKayBuddy Hackett as Seaman Admiral John Paul 'Ad' JonesJackie Cooper as Lt. J.S. ParmellJoanie Sommers as Nina LloydRolandWinters as Capt. Lewis BollingerElizabeth MacRae as Susie PenroseGene Blakely as Lt. Cmdr. Bernard KempGordon Jones as Chief Petty Officer ConroyRichardDeacon as Dr. DeckhamJames Millhollin as George ImhoffJimmy Cross as DrunkRobert Williams as Duck HunterKing Calder as FrankEllie Kent as NurseWilliamHellinger as CorpsmanAnn Morell as WaveGeorge Sawaya as SimmonsDick Winslow as FröehlichAlvy Moore as Jim LipscottWalker Edmiston as Scuttlebutt – TheDuckPassage 2:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was releasedin theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This filmwas screened in cinemas in 2014.Life and backgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name isMukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.Saxena started hiscareer with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film PatialaDreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is nowmaking his upcoming movie \"India Gate\".In 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta. Where SanahKapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai willmake his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’thappen only with those who are on the heavier side, but also with thin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, hehas played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as wellas in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made inTelugu language.FilmographyAs DirectorPassage 3:G. MarthandanG. Marthandan is an Indian film director who works in Malayalam cinema. His debut film isDaivathinte Swantham CleetusEarly lifeG. Marthandan was born to M. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He didhis schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College, Changanassery.CareerAfter completinghis bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995. His nextwork was British Market, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte SwanthamCleetus in 2013, starring Mammooty in the lead role. His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. DaivathinteSwantham Cleetus and Paavada were box office successes.FilmographyAs directorAs associate directorAs actorTV serialKanyadanam (Malayalam TV series) - pilotepisodeAwardsRamu Kariat Film Award - Paavada (2016)JCI Foundation Award - Daivathinte Swantham Cleetus (2013)Passage 4:Don Taylor (American actor anddirector)Donald Richie Taylor (December 13, 1920 – December 29, 1998) was an American actor and film director. He co-starred in 1940s and 1950s classics,including the 1948 film noir The Naked City, Battleground, Father of the Bride, Father's Little Dividend and Stalag 17. He later turned to directing films such asEscape from the Planet of the Apes (1971), Tom Sawyer (1973), Echoes of a Summer (1976), and Damien: Omen II (1978).BiographyEarly life and workThe sonof Mr. and Mrs. D. E. Taylor, Donald Ritchie Taylor was born in Freeport, Pennsylvania on December 13, 1920. (Another source says that he was born \"inPittsburgh and raised in Freeport, Pa.\") He studied speech and drama at Penn State University and hitchhiked to Hollywood in 1942. He was signed as a contractplayer at Metro-Goldwyn-Mayer and appeared in small roles. Drafted into the United States Army Air Forces (AAF) during World War II, he appeared in the AirForces's Winged Victory Broadway play and movie (1944), credited as \"Cpl. Don Taylor.\"Acting careerAfter discharge from the AAF, Taylor was cast in a lead roleas the young detective, Jimmy Halloran, working alongside veteran homicide detective Dan Muldoon (Barry Fitzgerald) in Universal's 1948 screen version of TheNaked City, which was notable for being filmed entirely on location in New York. Taylor was later part of the ensemble cast in MGM's classic World War II dramaBattleground (1949).  He then appeared as the husband of Elizabeth Taylor in the comedies Father of the Bride (1950) and its sequel Father's Little Dividend(1951), starring Spencer Tracy. Another memorable role was Vern \"Cowboy\" Blithe in Flying Leathernecks (1951). In 1952, Taylor played a soldier bringing hisJapanese war-bride back to small-town America in Japanese War Bride. In 1953, Taylor had a key role as the escaping prisoner Lt. Dunbar in Billy Wilder's Stalag17. His last major film role came in I'll Cry Tomorrow (1955).Directorial careerFrom the late 1950s through the 1980s, Taylor turned to directing movies and TVshows, such as Alfred Hitchcock Presents, the short-lived Steve Canyon, starring Dean Fredericks, and Rod Serling's Night Gallery.  One of his memorable efforts,in 1973, was the musical film Tom Sawyer, which boasted a Sherman Brothers song score. Other films that Taylor directed are Escape from the Planet of the Apes(1971), Echoes of a Summer (1976), The Great Scout & Cathouse Thursday (also 1976), The Island of Dr. Moreau (1977) starring Burt Lancaster, Damien: OmenII (1978) with William Holden, and The Final Countdown (1980) with Kirk Douglas.Taylor occasionally performed both acting and directing roles simultaneously,as he did for episodes of the TV detective series Burke's Law.Writing careerTaylor \"wrote one-act plays, radio dramas, short stories, and the 1985 TV movie MyWicked, Wicked Ways ... The Legend of Errol Flynn.\"Personal lifeTaylor was married twice.His first wife was Phyllis Avery, whom he married in 1944; theydivorced in 1955, but not before the births of their daughters Anne and Avery.His second wife was Hazel Court, whom he married in 1964 and stayed with untilhis death; they had a son, Jonathan, and a daughter, Courtney.DeathTaylor died on December 29, 1998, at the University of California Medical Center in LosAngeles, California, of heart failure.AwardsNominee, Best Director – Saturn Awards (The Island of Dr. Moreau) (1977)Nominee, Best Director-Comedy – EmmyAwards (The Farmer's Daughter) (1963)Selected filmography as directorIn addition to his Hollywood credits, Taylor directed 27 television movies and episodes for53 television series including Cannon, Rod Serling's Night Gallery, Mod Squad, It Takes a Thief, The Big Valley, The Flying Nun, Vacation Playhouse, The TammyGrimes Show,  The Wild Wild West, Burke's Law, The Rogues, The Farmer's Daughter, The Lloyd Bridges Show, The Dick Powell Theatre, Dr. Kildare, Checkmate,87th Precinct, Zane Grey Theater, The Rifleman, Alfred Hitchcock Presents, Honky Tonk, and others.Everything's Ducky (1961)Ride the Wild Surf (1964)Jack ofDiamonds (1967)The Five Man Army (1969)Escape from the Planet of the Apes (1971)Tom Sawyer (1973)Echoes of a Summer (1976)The Great Scout &Cathouse Thursday (1976)The Island of Dr. Moreau (1977)Damien: Omen II (1978)The Final Countdown (1980)The Diamond Trap (1988)Selected filmography asactorPassage 5:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Irelandand Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31,2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and theNational Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 todirect the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeededDan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He workedin the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expandedthe traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitionsat the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gainedgovernment support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy'stenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A"}
+{"doc_id":"doc_278","qid":"","text":"Passage 1:Ann SheridanClara Lou \"Ann\" Sheridan (February 21, 1915 – January 21, 1967) was an American actress and singer. She is best known for her roles inthe films San Quentin (1937) with Humphrey Bogart, Angels with Dirty Faces (1938) with James Cagney and Bogart, They Drive by Night (1940) with George Raftand Bogart, City for Conquest (1940) with Cagney and Elia Kazan, The Man Who Came to Dinner (1942) with Bette Davis, Kings Row (1942) with Ronald Reagan,Nora Prentiss (1947), and I Was a Male War Bride (1949) with Cary Grant.Early lifeClara Lou Sheridan was born in Denton, Texas, on February 21, 1915, theyoungest of five children (Kitty, Pauline, Mabel and George) of garage mechanic George W. Sheridan and Lula Stewart (née Warren). According to Sheridan, herfather was a grandnephew of Civil War Union general Philip Sheridan.She was active in dramatics at Denton High School and at North Texas State TeachersCollege. She also sang with the college's stage band and played basketball on the North Texas women's basketball team. Then, in 1933, Sheridan won the prize ofa bit part in an upcoming Paramount film, Search for Beauty, when her sister Kitty entered Sheridan's photograph into a beauty contest.CareerParamountAfterthe release of Search for Beauty in 1934, Paramount put the 19-year-old under contract at a starting salary of $75 a week ($1,641 today), where she playedmostly uncredited bit parts for the next two years. She can be glimpsed in the following 1934 films, and if credited, as Clara Lou Sheridan: Bolero, Come OnMarines!, Murder at the Vanities, Shoot the Works, Kiss and Make-Up with Cary Grant, The Notorious Sophie Lang, College Rhythm (directed by Norman Taurogwhom Sheridan admired), Ladies Should Listen with Cary Grant, You Belong to Me, Wagon Wheels, The Lemon Drop Kid with Lee Tracy, Mrs. Wiggs of theCabbage Patch, Ready for Love, Limehouse Blues with George Raft and Anna May Wong, and One Hour Late.Along with fellow contractees, Sheridan worked withParamount's drama coach Nina Mouise and performed on the studio lot in such plays as The Milky Way and The Pursuit of Happiness. While in The Milky Way,Paramount decided to change her first name from Clara Lou to the same as her character Ann.Sheridan was then cast in the film Behold My Wife! (1934) at thebehest of director and friend Mitchell Leisen. The role provided two standout scenes for the actress, including one in which her character commits suicide, to whichshe attributed Paramount's keeping her under contract.She continued with bit parts in Enter Madame (1935) with Elissa Landi and Cary Grant, Home on theRange (1935) with Randolph Scott and Evelyn Brent, and Rumba (1935) with George Raft and Carole Lombard, until her first lead role in Car 99 (1935), with FredMacMurray. \"No acting, it was just playing the lead, that's all\", she later said. She next had a support role as the romantic interest in Rocky Mountain Mystery(1935), a Randolph Scott Western. She then appeared in Mississippi (1935) with Bing Crosby and W. C. Fields, The Glass Key (1935) with George Raft in a briefspeaking role for which she was billed as \"Nurse\" in the cast list at the end of the film, and (having one line) The Crusades (1935) with Loretta Young. In her lastpicture under her deal with Paramount, the studio loaned her out to Poverty Row production company Talisman to make The Red Blood of Courage (1935) withKermit Maynard. After this, Paramount declined to renew her contract. Sheridan made Fighting Youth (1935) at Universal and then signed a contract with WarnerBros. in 1936.Warner Bros.Sheridan's career prospects began to improve at her new studio. Her early films for Warner Bros. included Sing Me a Love Song(1936); Black Legion (1937) with Humphrey Bogart; The Great O'Malley (1937) with Pat O'Brien and Bogart, her first real break; San Quentin (1937), withO'Brien and Bogart, singing for the first time in a film; and Wine, Women and Horses (1937) with Barton MacLane.Sheridan moved into B picture leads: TheFootloose Heiress (1937); Alcatraz Island (1937) with John Litel; and She Loved a Fireman (1937) with Dick Foran for director John Farrow. She was a lead in ThePatient in Room 18 (1937) and its sequel Mystery House (1938). Sheridan was in Little Miss Thoroughbred (1938) with Litel for Farrow and supported Dick Powellin Cowboy from Brooklyn (1938).Universal borrowed her for a support role in Letter of Introduction (1938) at the behest of director John M. Stahl. For Farrow,she was in Broadway Musketeers (1938), a remake of Three on a Match (1932).Sheridan's notices in Letter of Introduction impressed Warner Bros. executivesand she began to get roles in better quality pictures at her own studio starting with Angels with Dirty Faces (1938), wherein she played James Cagney's loveinterest; Bogart, O'Brien and the Dead End Kids had supporting roles. The film was a big hit and critically acclaimed.Sheridan was reunited with the Dead End Kidsin They Made Me a Criminal (1938) starring John Garfield. She was third-billed in the Western Dodge City (1939), playing a saloon owner opposite Errol Flynn andOlivia de Havilland. The film was another success.Oomph girlIn March 1939, Warner Bros. announced Sheridan had been voted by a committee of 25 men as theactress with the most \"oomph\" in America. \"Oomph\" was described as \"a certain indefinable something that commands male interest\".She received as many as250 marriage proposals from fans in a single week. Sheridan reportedly loathed the sobriquet that made her a popular pin-up girl in the early 1940s. However,she expressed in a February 25, 1940, news story distributed by the Associated Press that she no longer \"bemoaned the \"oomph\" tag.\" She continued, \"But I'msorry now. I know if it hadn't been for \"oomph\" I'd probably still be in the chorus.\"This was later referenced and spoofed on the 1941 animated short HollywoodSteps Out.StardomSheridan co-starred with Dick Powell in Naughty but Nice (1939) and played a wacky heiress in Winter Carnival (1939).She was top billed inIndianapolis Speedway (1939) with O'Brien and Angels Wash Their Faces (1939) with the Dead End Kids and Ronald Reagan. Castle on the Hudson (1940) put heropposite Garfield and O'Brien.Sheridan's first real starring vehicle was It All Came True (1940), a musical comedy costarring Bogart and Jeffrey Lynn. Sheintroduced the song \"Angel in Disguise\".Sheridan and Cagney were reunited in Torrid Zone (1940) with O'Brien in support. She was with George Raft, Bogart andIda Lupino in They Drive by Night (1940), a smash-hit trucking melodrama. Sheridan was back with Cagney for City for Conquest (1941) and then madeHoneymoon for Three (1941), a comedy with George Brent.Sheridan did two lighter films: Navy Blues (1941), a musical comedy, and The Man Who Came toDinner (1942) with Bette Davis, wherein she played a character modeled on Gertrude Lawrence. She then made Kings Row (1942), in which she received topbilling playing opposite Ronald Reagan, Robert Cummings, and Betty Field. It was a major success and one of Sheridan's most memorable films.Sheridan andReagan were reunited for Juke Girl (1942) released about six weeks after Kings Row. She was in the war film Wings for the Eagle (1942) and made a comedy withJack Benny, George Washington Slept Here (1943). She played a Norwegian resistance fighter in Edge of Darkness (1943) with Errol Flynn and was one of themany Warner Bros., stars who had cameos in Thank Your Lucky Stars (1943).She was the heroine of a novel, Ann Sheridan and the Sign of the Sphinx, written byKathryn Heisenfelt and published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories wereentirely fictitious. The story was probably written for a young teenaged audience and is reminiscent of the adventures of Nancy Drew. It is part of a series knownas \"Whitman Authorized Editions\", 16 books published between 1941 and 1947 that always featured a film actress as heroine.Sheridan was given the lead in themusical Shine On, Harvest Moon (1944), playing Nora Bayes, opposite Dennis Morgan. She was in a comedy The Doughgirls (1944).Sheridan was absent fromscreens for over a year, touring with the USO to perform in front of the troops as far afield as China. She returned in One More Tomorrow (1946) with Morgan.She had an excellent role in the noir Nora Prentiss (1947), which was a hit. It was followed by The Unfaithful (1948), a remake of The Letter, and Silver River(1948), a Western melodrama with Errol Flynn.Leo McCarey borrowed her to support Gary Cooper in Good Sam (1948). She was meant to star in Flamingo Road.She then left Warner Bros., saying: \"I wasn't at all satisfied with the scripts they offered me.\"Freelance starHer role in I Was a Male War Bride (1949), directed byHoward Hawks and starring Cary Grant, was another success. In 1950, she appeared on the ABC musical television series Stop the Music.She made Stella (1950),a comedy with Victor Mature at Fox.In April 1949, she announced she wanted to produce Second Lady, a film based on a story by Eleanore Griffin. She was goingto make My Forbidden Past (originally titled Carriage Entrance) at RKO. They fired her and Sheridan sued for $250,000 (equivalent to $3.1 million today) The NewYork Times reported the amount as $350,000 ($4.3 million today). Sheridan ultimately won $55,162 ($680,000 today).UniversalSheridan made Woman on theRun (1950), a noir also starring Dennis O'Keefe which she produced. She wanted to make a film called Her Secret Diary.Woman on the Run was distributed byUniversal, and Sheridan signed a contract with that studio. While there, she made Steel Town (1952), Just Across the Street (1952), and Take Me to Town(1953), a comedy with Sterling Hayden that was the first film directed by Douglas Sirk in the United States.Later careerSheridan starred with Glenn Ford inAppointment in Honduras (1953), directed by Jacques Tourneur. She appeared opposite Steve Cochran in Come Next Spring (1956) and was one of several starsin MGM's The Opposite Sex (1956), a remake of The Women starring June Allyson, Joan Collins, Dolores Gray, Sheridan and Ann Miller. Her last film, Woman andthe Hunter (1957), was shot in Africa.She performed in stage tours of Kind Sir (1958) and Odd Man In (1959), and The Time of Your Life at the Brussels WorldFair in 1958. In all three shows, she acted with Scott McKay, whom she later married.In 1962, she played the lead in the Western series Wagon Train episodetitled \"The Mavis Grant Story\".In the mid-1960s, Sheridan appeared on the NBC soap opera Another World.Her final role was as Henrietta Hanks in the televisioncomedy Western series Pistols 'n' Petticoats, which was filmed while she became increasingly ill in 1966, and was broadcast on CBS on Saturday nights. The 19thepisode of the series, \"Beware the Hangman\", aired as scheduled on the same day that she died in 1967.For her contributions to the motion picture industry, AnnSheridan has a star on the Hollywood Walk of Fame at 7024 Hollywood Boulevard.Personal lifeSheridan married actor Edward Norris August 16, 1936, inEnsenada, Mexico. They separated a year later and divorced in 1939. On January 5, 1942, she married fellow Warner Bros. star George Brent, who co-starred"}
+{"doc_id":"doc_279","qid":"","text":"Passage 1:Daphne and the PirateDaphne and the Pirate is a 1916 American drama film directed by  Christy Cabanne and starring Lillian Gish.CastLillian Gish as Daphne La TourElliott Dexter as Philip de MornayWalter Long as Jamie d'ArcyHoward Gaye as Prince HenriLucille Young as FanchetteRichard Cummings as Francois La TourJack Cosgrave as Duc de MornayJoseph SingletonGeorge C. Pearce (as George Pearce)W. E. LawrencePearl ElmoreJewel Carmen (as Jewell Carman)See alsoLillian Gish filmographyPassage 2:The Dream (1966 film)The Dream or Dream (Serbian: San) is a 1966 Yugoslavian war film directed by Mladomir Puriša Đorđević. It was entered into the 17th Berlin International Film Festival.CastLjubiša Samardžić as MaliMihajlo Janketić as DecakOlivera Katarina as Devojka (as Olivera Vuco)Mija Aleksić as CiganinLjuba Tadić as Mile GrkSinisa Ivetić as HeinrichAleksandar Stojković as BerberinBata Živojinović as LazarStole ArandjelovićFaruk Begolli as PetarViktor Starčić as DirigentKarlo Bulić as ProfesorZoran BečićPassage 3:The Pirate (1984 film)The Pirate (French: La Pirate) is a 1984 French drama film directed by Jacques Doillon. It was entered in the 1984 Cannes Film Festival.Plot summaryCastJane Birkin as AlmaMaruschka Detmers as CarolePhilippe Léotard as n° 5Andrew Birkin as Andrew, le mariLaure Marsac as L'enfantMichael Stevens as Concierge de l'hôtelDidier Chambragne as Le coursierArsène Altmeyer as Le taxiPassage 4:Morgan, the PirateMorgan, the Pirate (Italian: Morgan il pirata) is a 1960 Italian-French international co-production historical adventure film, directed by André de Toth and Primo Zeglio, and starring Steve Reeves as Sir Henry Morgan, the pirate who became the Lieutenant-Governor of Jamaica.PlotIn 1670, freeborn Englishman, Henry Morgan, is enslaved by the Spaniards in Panama and sold to Doña Inez, daughter of Governor Don José Guzmán. Morgan falls in love with his mistress, much to the dismay of her father, who punishes him by sentencing him to a life of hard labor aboard a Spanish galleon. Morgan leads his fellow slaves in mutiny, takes command of the ship, and becomes a pirate, without knowing that Doña Inez was on board, on her way to Spain. She becomes his prisoner, but spurns him when he declares his love in Tortuga. Not long after, Morgan's daring exploits on the Spanish Main pique the interest of King Charles II of England, and Morgan agrees to attack only Spanish vessels in return for English ships and men. Fearing for the security of Doña Inez, after the pirates discover her identity, he permits her to return to Panama. Once there, she warns Don José of Morgan's planned invasion, and the pirate ships are either easily sunk or routed by the alerted Spanish. Not giving up, Morgan leads his men overland and attacks the city from the rear. The maneuver succeeds, Panama falls to the pirates, and Doña Inez finally admits her love for Morgan.CastSteve Reeves as Sir Henry MorganValérie Lagrange as Doña InezIvo Garrani as Governor Don José GuzmánChelo Alonso as ConcepciónLydia Alfonsi as Doña MaríaArmand Mestral as François l'OlonnaisGiulio Bosetti as Sir Thomas ModyfordAngelo Zanolli as DavidGeorge Ardisson as WalterReleaseMorgan, the Pirate was released in Italy on 17 November 1960. It was released in the United States on 6 July 1961 with a 93-minute running time.ReceptionTurner Classic Movies' Jeff Stafford writes, \"Largely due to de Toth's direction, Morgan the Pirate is a lively, fast-paced entertainment with moments of tongue-in-cheek humor that is several notches in quality above the usual turgid, Italian-made spectacle. The striking cinematography, filmed in garish Eastmancolor, is by the award-winning Tonino Delli Colli who has lensed such art house classics as Pasolini's The Gospel According to St. Matthew (1964), Marco Bellocchio's China Is Near (1967), and Sergio Leone's Once Upon a Time in the West (1968). And the amusing, Ravel-inspired score by Franco Mannino strikes the perfect mock-epic tone. Among the more memorable set pieces are an exotic voodoo dance performed by Cuban sex bomb Chelo Alonso (a former dancer at the Folies Bergère in Paris), a battle at sea in which Morgan's men, disguised as women, storm a Spanish galleon in full drag, and the bloody, climactic sacking of Panama with shootings, stabbings and explosions galore.\"Passage 5:Prem Mhanje Prem Mhanje Prem AstaPrem Mhanje Prem Mhanje Prem Asta (Marathi: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000) is a Marathi drama film released on 19 April 2013. Produced by Sachin Parekar and directed by Mrinal Dev-Kulkarni. The film stars are Mrinal Dev-Kulkarni, Sachin Khedekar, Pallavi Joshi, Sunil Barve, Suhas Joshi, Mohan Agashe and Smita Talwalkar. The film's music is by Milind Ingle and Surel Ingle.The film is based on the connection between love and marriage.PlotThe movie is a heart-warming story of two different individuals who at one point in their lives were married. A single mother along with her two daughters live with her mother-in-law. Her husband had abandoned them 4 years ago, but staying in the same city had never bothered to check on his family. The only thing he did in those 4 years was to send divorce papers, which his wife has not signed.Other side of the story revolves around a doctor who is a father to two kids. His ex-wife had to choose between staying home with family or career in USA and she chose career. But she never let the divorce hamper the relation she shares with her ex-husband. But this incident had definitely made her ex-husband depressed and alone.One eventful day at their kids school gets them together and a conversation begins, which blooms into something amazing. Until there is a twist in the tale.CastMrinal Dev-KulkarniSachin KhedekarPallavi JoshiSunil BarveSuhas JoshiMohan AgasheSmita TalwalkarRitika ShrotriCrewDirector - Mrinal Dev-KulkarniStory - Mrinal Dev-KulkarniProducer - Sachin ParekarCinematographer - Amlendu ChaudharyArt Director - Vinod Gunaji and Nitin BorkarMusic Director - Milind Ingle and Surel IngleLyricist - Kishore KadamSoundtrackThe music has been directed by Milind Ingle and Surel Ingle, while the lyrics have been provided by Kishore Kadam.Track listingPassage 6:The Pirate's DreamThe Pirate's Dream (Italian: Il pirata sono io!) is a 1940 Italian film directed by Mario Mattoli and starring Erminio Macario.PlotThe setting is Santa Cruz, in the second half of the eighteenth century. The Governor of the island, to ingratiate himself with the Viceroy, contrives to have the island assaulted from a mock pirate ship. The plan is to have a mock battle, defeat the aggressors and throw them back into the sea. The trouble is that the pirates really come...CastErminio Macario as JoséJuan de Landa as Bieco de la MuerteEnzo Biliotti as Il governatoreDora Bini as OliviaMario Siletti as Il viceréCarmen Navasqués as La viceregina (as Carmen Navascues)Agnese Dubbini as La nutriceKatiuscia Odinzova as LupitaCarlo Rizzo as PedroTino Scotti as Il barbierePassage 7:A Dream or Two AgoA Dream or Two Ago is a 1916 American silent drama film directed by James Kirkwood and starring Mary Miles Minter. It is one of approximately a dozen of Minter's films known to have survived. The film was restored in 2004 and was shown along with The Innocence of Lizette (1916) at a Dutch film festival.PlotAs described in Motography magazine:The mother of Millicent Hawthorne prefers society to home life and neglects her daughter. One day the child, then about five years old, runs away, intending to buy a gift for her mother. She is injured when a gang of thieves break into the jewelry store. Unable to remember her name or address, she is cared for by Mother Gumph, leader of the gang. In this environment she grows up, becoming a pickpocket of some ability. She is happy in this life and only in dreams remembers dimly another existence.One night she aids the gang in robbing the Hawthorne home, and at the sight of the familiar rooms she is puzzled but still unable to remember.In the meantime, her mother, overcome by remorse after her child is lost, gives up her frivolous diversions and devotes her time to charity. Her father, on the contrary, becomes the owner of a notorious café which he manages through Kraft. One day Kraft meets Millicent and offers her a position as a dancer. The first evening she dances Mrs. Hawthorne, on a tour of investigation, enters the place and is saddened at conditions.That evening Mrs. Hawthorne learns who really owns the café, and begs her husband to give it up, telling him of the pathetic little dancer she saw there. He refuses but changes his mind when a little later word is brought from a dying member of the gang of the real identity of Millicent and he knows that the dancer is his own daughter. Millicent is rescued from Kraft and through an operation her memory is restored. And only as a dream does she remember her career as a thief.CastMary Miles Minter - Millicent HawthorneDodo Newton - Millicent (age 5)Lizette Thorne - Her MotherClarence Burton - Her FatherJohn Gough - HumpyOrral Humphrey - KraftGertrude Le BrandtPassage 8:The Pirate and the Slave GirlThe Pirate and the Slave Girl (Italian: La scimitarra del Saraceno, also known as  The Pirate's Captive) is a 1959 Italian  adventure film written and directed  by Piero Pierotti and starring Lex Barker.PlotCaptain Drakut, called the \"Dragon\", is a ruthless Saracen pirate who makes the Mediterranean unsafe with his ship. On his forays he hijacks ships and kidnaps the women captured on the ships in order to later sell them as slaves to Turkish human traffickers in North Africa. The rogue pirate only becomes weak when it comes to one woman: the glow-eyed princess Miriam, ruler of a desert tribe of Arabs. One day, Drakut makes a crucial mistake when he raids the \"San Luca\" and kidnaps Bianca, who is traveling with him. She is the daughter of the governor of Rhodes, which currently belongs to the Republic of Venice. There were also several secret papers from the Doge of Venice on board. The governor is in dire need, as he has to assume that his Bianca could also be bartered away to some lecherous Arab despot. But he is lucky in his misfortune, because a certain Roberto Diego, a notorious adventurer and son of the once feared \"Red Corsair\", offers his father his help.  Diego has just been sentenced to incarceration because of high debts, but is willing to risk his life to save the beautiful little daughter and the secret documents for the good of Bianca and the Doge of Venice if his sentence is released. However, the governor has no idea that Roberto has very personal motives for bringing himself up as a rescuer and liberator. Because Roberto still has a score to settle with Drakut: He was once responsible for the death of Roberto's father. The governor agrees to this bargain, and Diego joins Drakut's crew on board. In the Catalan painter Francesco he found his only ally. As a newcomer on board, Roberto has to be very careful because people are very suspicious of him. When he tries to flirt with Bianca, Drakut's right hand man, the brutal Gamal, notices and flogs the Red Corsair's son. Soon, the general emotional chaos puts the whole rescue operation in danger, because Roberto falls in love with Drakut's hostage Bianca, while Miriam, the pirate captain's lover, falls in love with Roberto.     Arriving on North Africa's shores, Drakut travels on to an oasis. Miriam is the sole ruler here so far. Drakut, who once "}
+{"doc_id":"doc_280","qid":"","text":"Passage 1:Nancy BurneNancy Burne (23 December 1907 – 25 March 1954) was an English stage and film actress.Born in Chorlton, Lancashire, she began her filmcareer at British International Pictures, starring alongside comedians such as Gene Gerrard, Stanley Lupino and Will Hay. Most of her subsequent screenappearances were as a leading lady in quota quickies.She starred alongside John Loder in the 1935 romantic comedy It Happened in Paris, which marked CarolReed's debut as director. In 1937 she had a supporting role in the independent film Thunder in the City, an expensive drama starring Edward G. Robinson whichwas a major financial and critical failure. Her final screen appearance was in the 1939 horseracing film Flying Fifty-Five.FilmographyThe Love Nest (1933)TheButterfly Affair (1933)Facing the Music (1933)The Warren Case (1934)Irish Hearts (1934)Song at Eventide (1934)Dandy Dick (1935)Lend Me Your Husband(1935)Trust the Navy (1935)Once a Thief (1935)Old Roses (1935)It Happened in Paris (1935)Reasonable Doubt (1936)A Wife or Two (1936)Royal Eagle(1936)Skylarks (1936)Knights for a Day (1937)Thunder in the City (1937)John Halifax (1938)Flying Fifty-Five (1939)Passage 2:The Flying Fifty-Five (1924film)The Flying Fifty-Five is a 1924 British silent sports film directed by A. E. Coleby and starring Lionelle Howard, Frank Perfitt and Lionel d'Aragon. It is based ona 1922 novel of the same title by Edgar Wallace, and was remade as a sound film in 1939.CastLionelle Howard as Reggie CambreyStephanie Stephens as StellaBarringtonBrian B. Lemon as Lord FountwellFrank Perfitt as Joanh UrquhartLionel d'Aragon as Sir Jacques GregoryBert Darley as Honourable ClaudeBarringtonAdeline Hayden Coffin as AuntJohn Alexander as JebsonJohnny ButtAnnie EsmondFurther readingLow, Rachael. The History of the British Film1918-1929. George Allen & Unwin, 1971.Passage 3:The Flying Fifty-FiveThe Flying Fifty-Five may refer to:The Flying Fifty-Five (1924 film), a British silent sportsfilmFlying Fifty-Five, a 1939 British sports drama filmPassage 4:2001–02 UEFA Champions League second group stageIn the second group stage of the 2001–02UEFA Champions League, eight winners and eight runners-up from the first group stage were drawn into four groups of four teams, each containing two groupwinners and two runners-up. Teams from the same country or from the same first round group could not be drawn together. The top two teams in each groupadvanced to the quarter-finals.SeedingSeeding was determined by the UEFA coefficients and participants' first group stage positions. Four best-ranked groupwinners were seeded in Pot 1, the remaining four in Pot 2. Group runners-up were seeded to Pots 3 and 4 accordingly.Tie-breaking criteriaBased on Article 7.06 inthe UEFA regulations, if two or more teams are equal on points on completion of the group matches, the following criteria will be applied to determine therankings:higher number of points obtained in the group matches played among the teams in question;superior goal difference from the group matches playedamong the teams in question;higher number of goals scored away from home in the group matches played among the teams in question;superior goal differencefrom all group matches played;higher number of goals scored;higher number of coefficient points accumulated by the club in question, as well as its association,over the previous five seasons.GroupsGroup AGroup BGroup CGroup DNotesPassage 5:Jane PiersonJane Pierson was a French film actress. She appeared in fiftyfive films between 1924 and 1952.Selected filmographyThe Imaginary Voyage (1926)Captain Rascasse (1927)The Marriage of Mademoiselle Beulemans(1927)Little Devil May Care (1928)The Maelstrom of Paris (1928)The Wonderful Day (1929)Under the Roofs of Paris (1930)Everybody Wins (1930)Le Million(1931)You Will Be My Wife (1932)Youth (1933)La tête d'un homme (1933)Forty Little Mothers (1936)The Brighton Twins (1936)Fire in the Straw (1939)TheStairs Without End  (1943)Passage 6:Flying Fifty-FiveFlying Fifty-Five is a 1939 British sports-drama film directed by Reginald Denham and starring  Derrick DeMarney, Nancy Burne, Marius Goring, John Warwick and Peter Gawthorne. It was made by Admiral Films at Welwyn Studios. The film is based on a 1922 novel ofthe same name by Edgar Wallace which had previously been made into a 1924 silent film The Flying Fifty-Five.PlotAfter being disinherited by his wealthy father,an amateur jockey, Bill Urquhart goes to work under an assumed name (Bill Hart) at a rural racing stables owned and run by Stella Barrington and her drunkenbrother, Charles, who is an old friend of Bill's. Confusion arises when Bill is mistakenly reported to have been murdered.Partial castDerrick De Marney as BillUrquhartNancy Burne as Stella BarringtonMarius Goring as Charles BarringtonJohn Warwick as JebsonPeter Gawthorne as Jonas UrquhartD. A. Clarke-Smith asJacques GregoryAmy Veness as Aunt ElizaRonald Shiner as Scrubby OaksBilly Bray as CheerfulFrancesca Bahrle as ClareTerry-Thomas as Young manNormanPierce as CreditorBasil McGrail as JockeySee alsoThe Flying Fifty-Five (1924)List of films about horse racingPassage 7:Approaching MidnightApproaching Midnightis a 2013 American independent drama film directed, written, and produced by Sam Logan Khaleghi, and starring Jana Kramer, Sam Logan Khaleghi, Brandon T.Jackson, and Mia Serafino. Approaching Midnight was filmed in Michigan, United States.PremiseA U.S. Army staff sergeant (Sam Logan Khaleghi) fights the threatof corruption and deception in his hometown after returning from battle.CastJana Kramer.... AspenSam Logan Khaleghi.... Staff Sergeant Wesley KentBrandon TJackson.... Corporal Artie AJ CulpepperMia Serafino.... WhisperJeff Stetson.... Mayor Steven MalvernePatrick Sarniak.... Malverne'sAttorneyProductionDevelopmentApproaching Midnight is directed, written, and directed by Sam Logan Khaleghi. Khaleghi chose to film Approaching Midnight inMichigan because he loves the state and wanted to feature the amazing architecture and geography. American Legion members were a part of making the film asthey stood in as extras and an American Legion honor guard appears in the film.FilmingApproaching Midnight was filmed in Detroit, Farmington, and WestBloomfield, Michigan. The war sequences in the movie were filmed in Milan near Ann Arbor.ReleaseIn July 2013, Monterey Media bought the United Statesdistribution rights and will release the film in the United States in Fall 2013. Approaching Midnight had its world theatrical premiere on August 27, 2013 atEmagine Royal Oak. The film was also released at the American Legion National Convention in Houston, Texas.Passage 8:Jackie ParisCarlo Jackie Paris(September 20, 1924 – June 17, 2004) was an American jazz singer and guitarist. He is best known for his recordings of \"Skylark\" and \"'Round Midnight\" fromthe late 1940s to the early 1950s.Music careerEarly yearsParis was born and raised in Nutley, New Jersey, to an Italian-American family, where he attendedNutley High School. His uncle Chick had been a guitarist with Paul Whiteman's orchestra. Paris was a popular child entertainer in vaudeville who shared the stagewith Bill \"Bojangles\" Robinson and the Mills Brothers. He tap danced from his youth and into his years in the US Army.After serving in the army during World WarII, he was inspired by his friend Nat King Cole to assemble a trio featuring himself on guitar and vocals. The Jackie Paris Trio was a hit at the Onyx Club on NewYork's 52nd Street.Recording and performingHe recorded from the 1940s into the 2000s. His albums include Songs by Jackie Paris (EmArcy), Jackie Paris Singsthe Lyrics of Ira Gershwin (Time), and The Song Is Paris (Impulse!). The first song that he recorded was \"Skylark\", on one of two sessions made by his trio forMGM Records in 1947. He recorded Thelonious Monk's \"Round Midnight\", which was produced by the critic Leonard Feather and featured a young Dick Hyman onpiano.In 1949, he toured with the Lionel Hampton Orchestra and was invited to join Duke Ellington's Orchestra, but he was too exhausted to take it. Paris waspart of the Lionel Hampton Orchestra that played at the famed Cavalcade of Jazz in Los Angeles at Wrigley Field which was produced by Leon Hefflin Sr. on July10, 1949. They did a second concert at Lane Field in San Diego on September 3, 1949. He was the only vocalist to tour as a regular member of the Charlie ParkerQuintet. Unfortunately, no recordings exist of the Parker–Paris combination, but there is a photograph of the two working together. He worked often with CharlesMingus, who called Paris his favorite singer and recorded with him often, including 1952's \"Paris in Blue\" and \"Duke Ellington's Sound of Love\" on the albumChanges Two in 1974.During the 1960s–70s, Paris frequently performed with his wife at the time Anne Marie Moss.Paris performed or recorded with Bobby Scott,Charlie Shavers, Coleman Hawkins, Dizzy Gillespie, Donald Byrd, Eddie Costa, Gigi Gryce, Hank Jones, Joe Wilder, Johnny Mandel, Lee Konitz, Max Roach, NealHefti, Oscar Pettiford, Ralph Burns, Terry Gibbs, Tony Scott, and Wynton Kelly.A documentary about him, 'Tis Autumn: The Search for Jackie Paris came out in2006.RecognitionHe won many jazz polls and awards, including those of Down Beat, Playboy, Swing Journal, and Metronome. In 1953, he was named Best NewMale Vocalist of the Year in the first Down Beat Critics Poll. The winning female vocalist was Ella Fitzgerald, who repeatedly named Paris as one of her favorites.In2001, Paris played to a standing room crowd – and to a standing ovation – at New York's Birdland jazz club in Times Square. He was virtually the only performerto have appeared at every incarnation of the famed night spot, from the legendary Birdland of the 1950s to the present.He was praised by comic Lenny Bruce,who shared the bill with him on many occasions. Bruce said, \"I dig his talent. The audience loves him and he gets laughs. He is too much!\"Awards and honorsNewStar Male Vocalist, Down Beat Critics Poll, 1953Best Male Vocalist, Playboy Musicians & Critics Poll, 1957–1961Gold Disc Award, Lucky to Be Me, Swing Journal,1989DiscographySongs by Jackie Paris (Wing, 1956)Skylark (Brunswick, 1957)The Jackie Paris Sound (EastWest, 1958)The Song Is Paris (Impulse!, 1962)Singsthe Lyrics of Ira Gershwin (Time, 1962)Live at the Maisonette with Anne Marie Moss (Differant Drummer, 1975)Jackie Paris (Audiophile, 1981)Nobody Else but Me(Audiophile, 1988)Lucky to Be Me (EmArcy, 1989)Love Songs (EmArcy, 1990)The Intimate Jackie Paris (Hudson, 2001)Passage 9:55 (number)55 (fifty-five) isthe natural number following 54 and preceding 56.Mathematics55 is a triangular number (the sum of the consecutive numbers 1 to 10), and a doubly triangularnumber.the 10th Fibonacci number.  It is the largest Fibonacci number to also be a triangular number.a square pyramidal number (the sum of the squares of theintegers 1 to 5) as well as a heptagonal number, and a centered nonagonal number.In base 10, it is a Kaprekar number.55 is a multiple of 5 and 11, 5 being theprime index of 11.ScienceThe atomic number of caesium.AstronomyMessier object M55, a magnitude 7.0 globular cluster in the constellation SagittariusThe New"}
+{"doc_id":"doc_281","qid":"","text":"Passage 1:Peggy PettittPeggy Pettitt (born February 8, 1950) is an American actress, dancer, teacher, playwright, and storyteller. Pettitt is best known for herrole as Billie Jean in the 1972 family–drama film Black Girl, starring alongside Brock Peters and Claudia McNeil. Pettitt is a native of St. Louis, Missouri.Playwrightand storytellerThe centerpiece of Pettitt's theater career is a unique style of solo performance rooted in African-American storytelling. She developed this form toportray a spectrum of characters. Related by blood and circumstance, these characters shed light on the multifaceted history of African American men andwomen. And they tell \"stories addressing important issues of our time.\" In collaboration with director Remy Tissier, she has created over 10 original full-lengthplays. These examine issues of domestic violence, sexual abuse, cross-generational differences, voting registration, the Civil Rights Movement, identity and theworld HIV/Aids crisis. Titles include Women Preachers, Caught Between the Devil and The Deep Blue Sea, Tricksters: All Over You Like White On Rice, WrappedUp, Tied Up and Tangled, Mollie Oil BETWIXT, Wild Steps and In The Spirit For Real.One play was the product of her 2000-01 Fulbright Fellowship to Senegal: TheSpirit Factor. An original play, it's based on the living history and the art of storytelling in West Africa. Another play, Voyage, was presented at the Avignon OffFestival in 2010. It explores American history through both the blues and a spiritual heritage that lives along the Mississippi River but originated in West Africa.Pettitt has presented her work at the Saint-Laurent-du-Maroni Les Rencontres du Bout des Mondes International Festival in 2011 (French Guiana). In addition tothe Fulbright Fellowship, she has received numerous other grants and awards. These include grants from the National Endowment for the Arts and the New YorkFoundation for the Arts. Pearls of Wisdom is a storytelling ensemble of the Elders Share the Arts in N.Y. City. Pettitt is its founding artistic director, and with thePearls of Wisdom, she was inducted in 2007 into City Lore's People's Hall of Fame.ActressIn 1972, during the era of Blaxploitation movies, Pettitt starred in BlackGirl, her first feature film. Pettitt was nominated for Best Actress by the NAACP for her role in Black Girl, written by J.E. Franklin (from her 1969 WGBH (Boston)teleplay and her 1971 play), and directed by Ossie Davis. Another of her noteworthy roles was at Lincoln Center as Miss Lindsey in Mule Bone, Zora Neale Hurstonand Langston Hughes’ historical comedy.TeacherPettitt has professional experience and training in directing and storytelling workshops. She teaches astep-by-step process of creating, writing and performing original material. Partnering with a wide array of organizations, she has helped scores of diverse groupspresent their own original stories as both theater and storytelling performances. She also works extensively with drama therapists, social workers and educatorsin public schools.Both in the U.S. and abroad, Pettitt has worked at numerous schools and educational institutions. Her teaching experience extends to facilitiessuch as homeless shelters, prisons, drug treatment centers, VA hospitals, and senior and adolescent centers. Additionally she has ample experience working withthe emotionally and physically disabled and their families. She currently teaches self-scripting at New York University's Experimental Theatre Wing.BiographyIn1974, after earning a BA from Antioch College, she moved to London on a Thomas J. Watson Fellowship. Pettitt now resides in New York City. She has beenmarried since 1982 to writer, director and painter Rémy Tissier.Awards and honors2008, Story gatherer for \"Another River Flows\" recipient of the PennsylvaniaHuman Relation Award2010, Voyage was presented at the Avignon, France Off FestivalNominated for an NAACP Image Award for role in Black Girl2007, Ms.Pettitt and the Pearls of Wisdom were inducted into New York City Lore's People's Hall of FameRecipient of New York City's Arts In Education Roundtable Awardfor sustained achievement in theaterHonored by the William Hodson Senior Center, The Roundtable Senior Center and Elders Share the Arts for \"Commitment tothe art of storytelling that transforms lives and communities\"2011, Performance Space 122 founders and board pioneers Shining Star AwardIn booksOut ofCharacter, Mark Russell, 1997Performing Democracy, Susan Chandler Haedicke, 2004Mapping Memories, Pam Schweitzer, 2004Local Acts, An InternationalAnthology, Jan Cohen Cruz, 2005Ensemble Works, An Anthology, Ferdinand Lewis, 2005Reminiscence Theatre: Making Theatre from Memory, Pam Schweitzer,2007Forget Memory: Creating Better Lives For People With Dementia, Ann Basting, 2009.== Notes ==Passage 2:Maksim KedrinMaksim Kedrin (born 21September 1982 in Beloretsk) is a Russian former alpine skier who competed in the 2002 Winter Olympics.External linkssports-reference.comMaksim Kedrin atFIS (alpine)Maksim Kedrin at OlympediaPassage 3:François van der MerweFrançois van der Merwe is a South African professional rugby union player. He plays atlock for Lyon Olympique in the Top 14. He is older brother of Flip van der MerwePassage 4:Filip ArsenijevićFilip Arsenijević (Serbian Cyrillic: Филип Арсенијевић;born 2 September 1983) is a Serbian footballer. He is older brother of Nemanja Arsenijević.Club careerBorn in Titovo Užice, SR Serbia, SFR Yugoslavia, between2001 and 2009 he played in Serbian clubs FK Sloboda Užice, OFK Beograd, FK Mačva Šabac, FK Sevojno and FK Javor Ivanjica. Between 2009 and 2011 he hasbeen in Greece playing with Panthrakikos in the Greek Super League.On 30 August 2011 he returned to Serbia and signed a one-year deal with top league club FKJagodina. Later, he spent the 2012 season playing with the Kazakhstan Premier League team FC Shakhter Karagandy and winning the national title, beforereturning to Jagodina by early 2013 in time to help the team with the Serbian Cup.HonoursJavor IvanjicaSerbian First League: 2007–08ShakhterKaragandyKazakhstan Premier League: 2012JagodinaSerbian Cup: 2013Passage 5:Aleksandar LomaAleksandar Loma (Serbian: Александар Лома; born March 2,1955) is a Serbian philologist, Indo-Europeanist and a corresponding member of the Serbian Academy of Science and Arts since October 30, 2003.AleksandarLoma emphasized that Serbian epic poetry about Kosovo events is older than the events it describes, having its origin in the pre-Christian and pre-Balkan periodsof Serbian history.Bibliography\"Sloveni i Albanci do XII veka u svetlu toponomastike\" [Slavs and Albanians till the 12th century in the light of the toponomastics],Stanovništvo slovenskog porijekla u Albaniji (in Serbian), Cetinje, pp. 279–327, 1990, OCLC 439986558Ogledna sveska, 1998, Department for etymology ofInstitute for Serbian language of SANU (coauthorship)Ljubinko Radenković, ed. (2002), Prakosovo : slovenski i indoevropski koreni srpske epike (in Serbian),Belgrade: SANU Institute of Balkanology, ISBN 9788671790338, OCLC 54098329Etymological dictionary of Serbian language, 2003 (coauthorship)Passage6:Robin KačaniklićRobin Kačaniklić (Serbian Cyrillic: Робин Качаниклић, Macedonian: Робин Качаниклиќ; born 25 August 1988) is a Swedish footballer whoplays for Real Åstorp FF as a midfielder. He is older brother to the former Swedish national team player Alexander Kačaniklić.Passage 7:Peggie CrombiePeggie (orPeggy) Crombie (1901–1984) was an Australian modernist painter. She was a member of the Melbourne Society of Women Painters andSculptors.BiographyCrombie was born in 1901 in Melbourne, Australia. In 1921 she studied art at Stott's Commercial Art Training Institute. From 1922 through1928 she attended the National Gallery Art School in Melbourne, where she was taught by Lindsay Bernard Hall, William Beckwith McInnes and GeorgeBell.Crombie exhibited her work with modernist groups in Melbourne, specifically The Embryos, the 1932 Group, the New Art Club, the Melbourne Society ofWomen Painters and Sculptors, and the Victorian Artists Society.Crombie died in 1984.External linksimages of Peggy Crombie's paintings on MutualArtPeggyCrombie [Australian art and artists file], State Library VictoriaPassage 8:Ognen StojanovskiOgnen Stojanovski (Macedonian: Огнен Стојановски; born January25, 1984) is a Macedonian professional basketball player. He was under contract with MZT Skopje until 2014. He is 1.91 m (6 ft 3 in) in height and plays at thepoint guard position.Born in Skopje, Republic of Macedonia, he is older brother of the twins Vojdan Stojanovski and Damjan Stojanovski, who are also basketballplayers.Achievements RabotničkiMacedonian League Champion - 2003, 2004, 2005, 2006, 2009Macedonian Cup Winner - 2003, 2004, 2005, 2006 FeniIndustriesMacedonian League Champion - 2010, 2011Macedonian Cup Winner - 2010 MZT SkopjeMacedonian League Champion - 2012, 2013, 2014MacedonianCup Winner - 2012, 2013, 2014Passage 9:Peggy Jones (musician)Peggy Jones (later Malone, July 19, 1940 – September 16, 2015), known on stage as Lady Bo inrecognition of her relationship with Bo Diddley, was an American musician. A pioneer of rock and roll, Jones played rhythm guitar in Bo Diddley's band in the late1950s and early 1960s, becoming one of the first (perhaps the first) female rock guitarists in a highly visible rock band, and was sometimes called the QueenMother of Guitar.Early lifeBorn in Harlem, New York City, in 1940, Jones grew up in the Sugar Hill section, and attended the High School of Performing Arts whereshe studied tap and ballet dance and trained in opera. Even from a very young age, she found herself completely consumed with music; purchasing her firstguitar at the age of 15. She was briefly in a local doo-wop group, the Bop Chords, which disbanded in 1957.  A chance meeting with Bo Diddley, who wasimpressed to see a girl with a guitar case, led to an invitation to join Diddley's band as a guitarist and singer.  She recorded with him from 1957 to 1961 or 1963,appearing on singles including \"Hey! Bo Diddley\", \"Road Runner\", \"Bo Diddley's A Gunslinger\", and the instrumental \"Aztec\" which she wrote and played all theguitar parts. However, throughout her career, Peggy Jones always strived to be an independent artist and was involved in an R&B band known as the Jewels,among other various names.Throughout her time with Diddley, Jones maintained the separate career she had begun independently as a songwriter, sessionmusician, and bandleader.  She led her own band, the Jewels (also known as the Fabulous Jewels, Lady Bo and the Family Jewels, and various other names, butnot to be confused with The Jewels), which became a top R&B band on the New York – Boston east coast club scene the 1960s and 1970s.  She eventually leftDiddley's band to concentrate on the Jewels and other activities.  She was replaced with another female guitarist, Norma-Jean Wofford (\"The Duchess\").Jonesplayed guitar on Les Cooper's 1962 instrumental \"Wiggle Wobble\" and percussion on the 1967 hit \"San Franciscan Nights\" by Eric Burdon and The Animals andother recordings and later backed James Brown and Sam & Dave.  She remained musically active well into the 21st century.Solo workShe left Bo Diddley's band"}
+{"doc_id":"doc_282","qid":"","text":"Passage 1:Chang YiThe Yellow Emperor, also known as the Yellow Thearch or by his Chinese name Huangdi (), is either an individual deity (shen) in Chinese religion, one of the legendary Chinese sovereigns and cultural heroes included among the mytho-historical Three Sovereigns and Five Emperors, or a part of the Five Regions' Highest Deities (Chinese: \u0000\u0000\u0000\u0000; pinyin: W\u0000fāng Shàngdì). Calculated by Jesuit missionaries, who based their work on various Chinese chronicles, and later accepted by the twentieth-century promoters of a universal calendar starting with the Yellow Emperor, Huangdi's traditional reign dates are 2697–2597 or 2698–2598 BC.Huangdi's cult became prominent in the late Warring States and early Han dynasty, when he was portrayed as the originator of the centralized state, as a cosmic ruler, and as a patron of esoteric arts. A large number of texts – such as the Huangdi Neijing, a medical classic, and the Huangdi Sijing, a group of political treatises – were thus attributed to him. Having waned in influence during most of the imperial period, in the early twentieth century Huangdi became a rallying figure for Han Chinese attempts to overthrow the rule of the Qing dynasty, which they considered foreign because its emperors were Manchu people. To this day the Yellow Emperor remains a powerful symbol within Chinese nationalism. Traditionally credited with numerous inventions and innovations – ranging from the lunar calendar (Chinese calendar), Taoism, wooden houses, boats, carts, \"the compass needle\", \"the earliest forms of writing\", civilization and its benefits, and/or an early form of football – the Yellow Emperor is now regarded as the initiator of Han culture (later Chinese culture).Names\"Huangdi\": Yellow Emperor, Yellow ThearchUntil 221 BC when Qin Shi Huang of the Qin dynasty coined the title huangdi (\u0000\u0000) – conventionally translated as \"emperor\" – to refer to himself, the character di \u0000 did not refer to earthly rulers but to the highest god of the Shang dynasty (c. 1600–1046 BC) pantheon. In the Warring States period (c. 475–221 BC), the term di on its own could also refer to the deities associated with the five Sacred Mountains of China and colors. Huangdi (\u0000\u0000), the \"yellow di\", was one of the latter. To emphasize the religious meaning of di in pre-imperial times, historians of early China commonly translate the god's name as \"Yellow Thearch\" and the first emperor's title as \"August Thearch\", in which \"thearch\" refers to a godly ruler.In the late Warring States period, the Yellow Emperor was integrated into the cosmological scheme of the Five Phases, in which the color yellow represents the earth phase, the Yellow Dragon, and the center. The correlation of the colors in association with different dynasties was mentioned in the Lüshi Chunqiu (late 3rd century BC), where the Yellow Emperor's reign was seen to be governed by earth. The character huang \u0000 (\"yellow\") was often used in place of the homophonous huang \u0000, which means \"august\" (in the sense of ' distinguished') or \"radiant\", giving Huangdi attributes close to those of Shangdi, the Shang supreme god.Xuanyuan and YouxiongThe Records of the Grand Historian, compiled by Sima Qian in the first century BC, gives the Yellow Emperor's name as \"Xuan Yuan\" (traditional Chinese: \u0000\u0000; simplified Chinese: \u0000\u0000; pinyin: Xuān Yuán < Old Chinese (B-S) *q\u0000a[r]-[\u0000]\u0000a[n], lit. \"Chariot Shaft\"). Third-century scholar Huangfu Mi, who wrote a work on the sovereigns of antiquity, commented that Xuanyuan was the name of a hill where Huangdi had lived and that he later took as a name. The Classic of Mountains and Seas mentions a Xuanyuan nation whose inhabitants have human faces, snake bodies, and tails twisting above their heads; Yuan Ke, a contemporary scholar of early Chinese mythology, \"noted that the appearance of these people is characteristic of gods and suggested that they may reflect the form of the Yellow Thearch himself\". The Qing dynasty scholar Liang Yusheng (\u0000\u0000\u0000, 1745–1819) argued instead that the hill was named after the Yellow Emperor. Xuanyuan is also the name of the star Regulus in Chinese, the star being associated with Huangdi in traditional astronomy. He is also associated to the broader constellations Leo and Lynx, of which the latter is said to represent the body of the Yellow Dragon  (\u0000\u0000 Huánglóng), Huangdi's animal form.Huangdi was also referred to as \"Youxiong\" ( \u0000\u0000; Y\u0000uxióng). This name has been interpreted as either a place name or a clan name. According to British sinologist Herbert Allen Giles (1845–1935), that name was \"taken from that of [Huangdi's] hereditary principality\". William Nienhauser, a modern translator of the Records of the Grand Historian, states that Huangdi was originally the head of the Youxiong clan, which lived near what is now Xinzheng in Henan. Rémi Mathieu, a French historian of Chinese myths and religion, translates \"Youxiong\" as \"possessor of bears\" and links Huangdi to the broader theme of the bear in world mythology. Ye Shuxian has also associated the Yellow Emperor with bear legends common across northeast Asia people as well as the Dangun legend.Other namesSima Qian's Records of the Grand Historian describes the Yellow Emperor's ancestral name as Gongsun (\u0000\u0000).In Han dynasty texts, the Yellow Emperor is also called upon as the \"Yellow God\" (\u0000\u0000 Huángshén). Certain accounts interpret him as the incarnation of the \"Yellow God of the Northern Dipper\" (\u0000\u0000\u0000\u0000 Huángshén Běid\u0000u), another name of the universal god (Shangdi \u0000\u0000 or Tiandi \u0000\u0000). According to a definition in apocryphal texts related to the Hétú \u0000\u0000, the Yellow Emperor \"proceeds from the essence of the Yellow God\".As a cosmological deity, the Yellow Emperor is known as the \"Great Emperor of the Central Peak\" (\u0000\u0000\u0000\u0000 Zhōngyuè Dàdì), and in the Shizi as the \"Yellow Emperor with Four Faces\" (\u0000\u0000\u0000\u0000 Huángdì Sìmiàn). In old accounts the Yellow Emperor is identified as a deity of light (and his name is explained in the Shuowen jiezi to derive from guāng \u0000, \"light\") and thunder, and as one and the same with the \"Thunder God\" (\u0000\u0000 Léishén), who in turn, as a later mythological character, is distinguished as the Yellow Emperor's foremost pupil, such as in the Huangdi Neijing.HistoryThe Chinese historian Sima Qian – and much Chinese historiography following him – considered the Yellow Emperor to be a more historical figure than earlier legendary figures such as Fu Xi, Nüwa, and Shennong. Sima Qian's Records of the Grand Historian begins with the Yellow Emperor, while passing over the others.Throughout most of Chinese history, the Yellow Emperor and the other ancient sages were considered to be historical figures. Their historicity started to be questioned in the 1920s by historians such as Gu Jiegang, one of the founders of the Doubting Antiquity School in China. In their attempts to prove that the earliest figures of Chinese history were mythological, Gu and his followers argued that these ancient sages were originally gods who were later depicted as humans by the rationalist intellectuals of the Warring States period. Yang Kuan, a member of the same current of historiography, noted that only in the Warring States period had the Yellow Emperor started to be described as the first ruler of China. Yang thus argued that Huangdi was a later transformation of Shangdi, the supreme god of the Shang dynasty's pantheon.Also in the 1920s, French scholars Henri Maspero and Marcel Granet published critical studies of China's accounts of high antiquity. In his Danses et légendes de la Chine ancienne [\"Dances and legends of ancient China\"], for example, Granet argued that these tales were \"historicized legends\" that said more about the time when they were written than about the time they purported to describe.In the \"middle of the [20th] century, a group of\" Chinese \"historians proposed the theory that [the Three Sovereigns and Five Emperors]\" were originally Chinese gods who became thought of as human during the later period of the Zhou dynasty. Most scholars now agree that the Yellow Emperor originated as a god who was later represented as a historical person. K.C. Chang sees Huangdi and other cultural heroes as \"ancient religious figures\" who were \"euhemerized\" in the late Warring States and Han periods. Historian of ancient China Mark Edward Lewis speaks of the Yellow Emperor's \"earlier nature as a god\", whereas Roel Sterckx, a professor at University of Cambridge, calls Huangdi a \"legendary cultural hero\".Origin of the mythThe origin of Huangdi's mythology is unclear, but historians have formulated several hypotheses about it. Yang Kuan, a member of the Doubting Antiquity School (1920s–40s), argued that the Yellow Emperor was derived from Shangdi, the highest god of the Shang dynasty. Yang reconstructs the etymology as follows: Shangdi \u0000\u0000 \u0000 Huang Shangdi \u0000\u0000\u0000 \u0000 Huangdi \u0000\u0000 \u0000 Huangdi \u0000\u0000, in which he claims that huang \u0000 (\"yellow\") either was a variant Chinese character for huang \u0000 (\"august\") or was used as a  way to avoid the naming taboo for the latter. Yang's view has been criticized by Mitarai Masaru and by Michael Puett.Historian Mark Edward Lewis agrees that huang \u0000 and huang \u0000 were often interchangeable, but disagreeing with Yang, he claims that huang meaning \" yellow\" appeared first. Based on what he admits is a \"novel etymology\" likening huang \u0000 to the phonetically close wang \u0000 (the \"burned shaman\" in Shang rainmaking rituals), Lewis suggests that \"Huang\" in \"Huangdi\" might originally have meant \"rainmaking shaman\" or \"rainmaking ritual.\"  Citing late Warring States and early Han versions of Huangdi's myth, he further argues that the figure of the Yellow Emperor originated in ancient rain-making rituals in which Huangdi represented the power of rain and clouds, whereas his mythical rival Chiyou (or the Yan Emperor) stood for fire and drought.Also disagreeing with Yang Kuan's hypothesis, Sarah Allan finds it unlikely that such a popular myth as the Yellow Emperor's could have come from a taboo character.  She argues instead that pre-Shang \"'history',\" including the story of the Yellow Emperor, \"can all be understood as a later transformation and systematization of Shang mythology.\" In her view, Huangdi was originally an unnamed \"lord of the underworld\" (or the \"Yellow Springs\"), the mythological counterpart of the Shang sky deity Shangdi.  At the time, Shang rulers claimed that their mythical ancestors, identified with \"the [ten] suns, birds, east, life, [and] the Lord on High\" (i.e., Shangdi), had defeated an earlier people associated with \"the underworld, dragons, west.\"  After the Zhou dynasty overthrew the Shang dynasty in the eleventh century BC, Zhou leaders reinterpreted Shang myths as meaning that the Shang had vanquished a real political dynasty, which was eventually named the Xia dynasty. By Han times – as seen in Sima Qian's account in the Shiji – the Yellow Emperor, who as lord of the underworld had been symbolically linked to the Xia, had become a historical ruler whose descendants were thought to have founded the Xia.Given that the earliest extant mention of the Yellow Emperor was on a fourth-century BC Chinese bronze inscription claiming that he was the ancestor of the royal house of the state of Qi, Lothar von Falkenhausen speculates that Huangdi was invented as an ancestral figure as part of a strategy to claim that all ruling clans in the \"Zhou dynasty culture sphere\" shared common ancestry.History of Huangdi's cultEarliest "}
+{"doc_id":"doc_283","qid":"","text":"Passage 1:Waitrose Duchy OrganicWaitrose Duchy Organic (formerly Duchy Originals from Waitrose and earlier simply Duchy Originals) is a brand of organic food sold in Waitrose stores in the United Kingdom. The brand is a partnership between Waitrose and Duchy Originals Limited, a company set up in 1990  by King Charles III when he was Prince of Wales and Duke of Cornwall. The Duchy Originals company is named after the Duchy of Cornwall estates that are held in trust by the Duke of Cornwall, who often holds the title Prince of Wales.HistoryThe Duchy Originals brand was originally conceived in 1990 as an outlet for the organic food grown on the Prince of Wales' Highgrove House estate and nearby Home Farm which he had leased from the Duchy of Cornwall in the mid-1980s. The first Duchy Originals product was oaten biscuits. Products were initially sold through high-end stores such as Harrods and Fortnum & Mason. During the 1990s, Duchy Originals products began being stocked in farm shops and independent delicatessens and expansion during the 2000s saw a selected range of Duchy Originals products becoming widely available in most major UK supermarkets, with Waitrose as the brand's largest customer. By 2008 sales of Duchy Originals had raised over £7 million cumulatively for The Prince of Wales's Charitable Fund.Following the 2007–2008 financial crisis the Duchy Originals business began making losses, amounting to around £3 million in 2009, and in September of that year it was announced that Duchy Originals had agreed an exclusive deal with Waitrose. From August 2010 products were relaunched under the Duchy Originals from Waitrose brand and the then range of around 200 lines was expanded to over 300. Waitrose invested heavily in the brand and sales doubled during the first three years of the exclusive arrangement. By 2013 the brand was selling in 30 countries including Australia and Japan. In the summer of 2015 the brand name was changed to Waitrose Duchy Organic. The tradition of donating royalties to charity continued and Prince Charles continued his involvement with the brand which operates separately from the Duchy of Cornwall. The lease on Home Farm was not renewed in 2020, but the Prince of Wales continued to farm organically at Sandringham House. The new tenant of Home Farm continued the relationship with Waitrose Duchy Organic, which reported a profit of £3.6 million in 2021.The brandsThe company Duchy Originals, a wholly owned subsidiary of The Prince of Wales's Charitable Fund, originated the Duchy Originals brand in 1990 as a premium organic food and drink brand. It also created two other brands, Duchy Selections and Duchy Collections. Duchy Selections was a range of premium free-range (but not organic) pork and fish products and mineral waters, and Duchy Collections was a range of high quality non food products. The Duchy Originals company has never sold the goods that carry the brand names, and other than the short-lived Duchy Originals Food company venture it has not manufactured them. Instead Duchy branded products have been sold and manufactured by a number of different retail companies, all of whom have paid royalties to the Duchy Originals Company.Financial informationBy the end of the 1990s the brand had an annual turnover of around £1 million. This had grown to £4.86 million by 2006/7. Administrative expenses came to £3.31 million, giving an operating profit of £1.53 million. The company was badly hit by the recession in 2007 and started making a loss. For the financial year 2008/9, the company failed to make any profits and turnover dropped to £2.2 million, with an operating loss of £3.3 million, compared to the previous year's operating profit of £57,000. Fortunes improved after the 2009 Waitrose arrangement, and by 2013 annual profits were £2.8 million.The Duchy Originals Food companyDuchy Originals' only venture into manufacturing has been the Duchy Originals Food company. This was a wholly owned subsidiary of the Duchy Originals company and it opened a factory in Launceston, Cornwall in 2006. The factory was a bakery making both sweet and savoury pastry products. The venture suffered financial problems, with the factory making a loss of £447,158 in the financial year 2006/7. In 2009, the Duchy Originals company decided to sell the bakery, with one-off costs from the sale contributing towards Duchy Originals making a loss for 2009–10.Herbal medicinesIn 2008, Duchy Originals partnered with the alternative medicine company Nelsons to produce a line of herbal remedies. This led to controversy, in which leading UK scientists said that Duchy Originals promoted its herbal remedies with scientifically unsound claims. Edzard Ernst, the UK's first professor of complementary medicine, said Duchy Originals detox products were \"outright quackery\". Subsequently, the Medicines and Healthcare products Regulatory Agency (MHRA) ruled that healing claims were misleading and required the company to amend an advertising campaign promoting two herbal medicines.Mineral waterIn 2002 the Deeside Water Company began to produce some of its bottled mineral water for the Duchy Originals brand. In 2010, Waitrose rebranded the product as Duchy Originals from Waitrose and in 2016 the supermarket repackaged it as part of its Waitrose One premium range.Garden toolsGardening tools were produced under the Duchy Originals brand by the Lancashire company Caldwells until it went into administration in 2009.Charitable givingThe company Duchy Originals Ltd is a wholly owned subsidiary company of The Prince of Wales's Charitable Fund and donates to the charity from its profits. By 2013 the brand had raised £11 million from its profits for the Prince's Charities. In Canada the proceeds from sales of Duchy Originals products are donated to the charities associated with The Prince's Charities Canada. By 2012 more than one million Canadian dollars were being raised annually in this manner.The Duchy Future Farming programmeThe Duchy Future Farming programme was set up in 2013 in partnership with the Soil Association to provide advice and support to UK farmers and growers in conducting research into organic farming methods. Participants are encouraged to carry out experiments in their own fields, and over 3000 farmers had been involved in this by 2015. A research fund offering up to £25,000 is also available.Passage 2:John De MargheritiJohn De Margheriti (born July 1962) is an Italian-born Australian electrical engineer, software developer and entrepreneur. De Margheriti is widely seen as a founding 'father' of Australia's video games industry and Australia's most experienced interactive entertainment business executive.He is the founder and former CEO of BigWorld Pty Limited and the founder of parent company Micro Forté Pty Limited. De Margheriti is also the Executive Chairman of the Academy of Interactive Entertainment, the Chairman of Canberra Technology Park, the founder of the Game Developers' Association of Australia, the founder of the Australian Game Developers Conference, and the founder of the three Canberra business parks, the co-founder of DEMS Entertainment, the co-founder of Dreamgate Studios, the co-founder of Game Plus and co-founder of The Film Distillery.De Margheriti has been recognised as an Honorary Ambassador for Canberra due to his contribution to Australia's national capital and in 2022 was awarded the Pearcey Medal, Australia's highest honour in the ICT Industry, for his lifetime contribution to the establishment and ongoing success of the Australian games industry. Without his vision, tenacity and passion, the industry would not be as successful and vibrant as it is in now. John has effectively had an influence on just about every Australian games studio and developer in operation today, not to mention his contribution to the broader ICT community and the international games industry.Early yearsBorn in Rome, Italy, De Margheriti arrived in Canberra with his family in 1970. He experimented with CB radios and electronics early as a young teenager. When he was sixteen De Margheriti experimented with making computer games independently. During his senior years at Hawker College, De Margheriti co-created an amateur 8 millimetres (0.31 in) science fiction film after watching the 1977 film, Star Wars: Episode IV – A New Hope. During the development of his amateur film, he co-developed a robotics system entitled 3DIM that would enable him to film complex stop-motion animation footage of large scale spaceship models.  De Margheriti's need to create scrolling film credits led him to discover computers as a tool. The film involved dozens of actors and as a result, De Margheriti gained his first taste in management working with actors and prop builders. During filming he met Steve Wang which would later form the basis of a longstanding business association. He wrote his first computer game called “Maze” on a PDP-11 and his peer, Steve Wang developed a computer game called “Caves”, also on a PDP-11 computer.De Margheriti graduated with a degree in electrical engineering from the UNSW Sydney (UNSW), and holds an MBA from Sydney University. Wang also went on to study at UNSW in the field of computer science. Together they devoted much of their time during university hours to developing computer games. They pooled their money to purchase a Commodore PET. During this time John also met Stephen Lewis and he joined the group, helping make games on the Commodore PET.The most memorable game that they developed during university years was made for the Commodore 64. Whilst working part-time at the Computer 1 computer store in Randwick to put himself through university, De Margheriti met Gerry Gerlach who was interested in finding a person who could develop a computer game based on the recent Australian win of the Americas Cup 12 metres (39 ft) sailing.  After a conversation with Gerlach, De Margheriti approached his friends at the university and pulled together a team including Wang, Stephen Lewis and John Reidy capable of developing the simulation game. The team spent 72 hours straight developing a demo, pitched it to Armchair Entertainment and won a contract to develop the Americas Cup Sailing Simulation game for the Commodore 64 and Amstrad which was ultimately developed and then sold to Electronic Arts.Soon after starting to develop their first game, Wang and Lewis tactfully told De Margheriti that his true strength was not programming but managing and winning new projects for the fledgling group. This “truth” ultimately saw De Margheriti become the entrepreneur and visionary for a group of profit and not for profit companies that have offices around the globe.In addition to the Americas Cup Sailing Simulation, De Margheriti went on to program two other of games for Electronic Arts including Demon Stalkers and Fireking for the Commodore 64 and IBM PC, which was later released by Sydney-based Strategic Studies Group. http://www.ssg.com.au/Later careerMicro Forte Pty LimitedBetween 1985 and 1988, De Margheriti turned his focus towards business negotiations and contract development. He co-founded a games development company called Micro Forté Pty Limited and wrote games for a new company called Electronic Arts.In 1995 De Margheriti came up with the concept of developing a software solution that would somehow group bulletin board "}
+{"doc_id":"doc_284","qid":"","text":"Passage 1:Pieces of a WomanPieces of a Woman is a 2020 drama film directed by Kornél Mundruczó, from a screenplay by Kata Wéber. The film stars VanessaKirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Fails, and Ellen Burstyn as the family and associates of Martha (Kirby)involved in her traumatic childbirth, baby loss, and a subsequent court case against the midwife, Eva (Parker), whom Martha's mother Elizabeth (Burstyn) blamesfor the baby's death. Martin Scorsese and Sam Levinson served as executive producers, and the film was scored by Howard Shore.An international co-productionof the United States and Canada, the film is partly based on Mundruczó and Wéber's stage play of the same name and explores themes of grief and loss. Itpremiered on September 4, 2020, at the 77th Venice International Film Festival, where Kirby won the Volpi Cup for Best Actress. It was released in selecttheaters on December 30, 2020, before beginning to digitally stream on Netflix on January 7, 2021, and became noted for its long take childbirth scene at thestart of the film.The film received generally positive reviews, with praise for the actors, particularly Kirby, though elements of the plot were criticized. For herperformance, Kirby received Academy Award, BAFTA, SAG, Critics' Choice, and Golden Globe nominations.PlotMartha and Sean, a young Boston couple, areexpecting their first child. Sean resents Martha's mother Elizabeth, a wealthy Holocaust survivor, who is buying them a minivan.Martha goes into labor at theirhome and Sean calls their midwife Barbara, who is unavailable and sends another midwife named Eva in her place. Martha struggles with nausea and pain duringcontractions and, when she reaches ten centimeters, Eva realizes the baby's heart rate has dropped dangerously low. Sean asks Eva if they are safe to continueand Eva tells Sean to call an ambulance. Martha soon gives birth to a baby girl who at first seems healthy. Eva then notices the baby is turning blue and attemptsto revive her, but she goes into cardiac arrest and dies.The following month, Martha and Sean attend an appointment with a coroner; Sean is eager to find outwhat went wrong, while Martha is reluctant. They learn the cause of death has not yet been established but are told they were able to determine that the babywas in a low-oxygen environment and start proceedings against Eva. Sean leaves, overcome with emotion, while Martha remains and decides that she wants todonate the baby's body to science.The relationship between Martha and Sean continues to be strained, as is Martha's relationship with her mother, who wants tobury the baby and have a funeral. Both Martha and Sean remain deeply depressed. Sean returns the car that Elizabeth bought for them. He later has sex withMartha's cousin, Suzanne, and uses cocaine after being sober for almost seven years. Suzanne, who is also the attorney prosecuting Eva, informs him that apotential lawsuit against Eva could be very lucrative.At a tense family gathering at her home, Elizabeth tells Martha that she has to attend Eva's trial and blamesMartha for her baby's death because she decided to have a home birth. Elizabeth then tells Sean that she never liked him before offering him a check for a largesum of money to leave and never return. Martha drops Sean off at Logan International Airport and he leaves for Seattle.Months later, Martha testifies at Eva'strial. After her testimony, the judge allows her to address the court, and she states that Eva is not at fault for the death and that she does not blame her. Backhome, she discovers that the apple seeds she stored in her refrigerator have started to sprout. A month later, Martha scatters her daughter's ashes into the riverfrom the bridge that Sean helped to build.Years later, a little girl climbs an apple tree, picks an apple, and eats it. Martha calls her name, Lucianna, then helps herdown. The two go inside together.CastProductionPlayThe play Pieces of a Woman was created by Kornél Mundruczó and Kata Wéber, a couple who experiencedmiscarriage during pregnancy. The couple did not initially talk about their experience or process their grief, but Mundruczó read a scene written in Wéber'snotebook depicting a woman and her mother debate child loss and felt that it needed exploration. Wéber, who had already titled the scene \"Pieces of a Woman\",became the playwright after Mundruczó encouraged her to make a \"family drama\" from the scene; the play was originally performed at TR Warszawa in Warsaw,Poland. Following (Polish) Maja, her senile mother, and her Norwegian husband, the play contained two scenes: the childbirth and a family dinner in theaftermath. For BroadwayWorld, Filip Piotrowicz wrote that the scenes being performed in real time with real props (including a working oven and food beingcooked inside) felt both like a film and classic theatrical form. The birth scene was multimedia, with the performance being recorded by a camera freely roamingthe stage and live-streamed on screens in the theater, and other screens showing ultrasound scans of the fetus.Development and themesThe film Pieces of aWoman was announced to be in production in October 2019, with Mundruczó directing from a screenplay by Wéber. It is based on their play, and alsoincorporates fictionalized aspects of the trial of Hungarian midwife Ágnes Geréb. Wéber consulted with psychiatrists and other women who had lost babies whilewriting the film. In developing the play for the screen, Mundruczó chose to set it in Boston, thinking the city's historic Irish Catholic culture was a good translationof the conservative Polish society of the original. It is his first film in the English language. Wéber submitted the script to the Hungarian National Film Fund but didnot get support; Aaron Ryder read the script and showed it to producers Ashley Levinson and Kevin Turen, who took it on. Sam Levinson and Martin Scorsese,among others, served as executive producers on the film; Scorsese, who was shown the film by composer Howard Shore prior to its release, boarded after thefilm was complete, hoping to help its distribution as Mundruczó and Wéber were unknown filmmakers. Supporting actress Ellen Burstyn, who was directed byScorsese in Alice Doesn't Live Here Anymore, said that he \"picked up on things [about Pieces of a Woman] that [she] never heard anybody else pick up on. Andhe has such an appreciation of the art of moviemaking that you feel seen.\"The film explores themes of trauma, which Dr. Lipi Roy writing for Forbes foundrelevant during the COVID-19 pandemic when it was released; Mundruczó and lead actress Vanessa Kirby both also commented that the loss in the film can speakto people who have been bereaved in the pandemic, and Wéber spoke of the relevance of the isolation and inability to talk about feelings that Martha experiences.Kirby has described the film as \"almost a character study on grief\" that also explores intergenerational trauma. In the film, Martha's family are all physicallypresent but not emotionally available to her, and they each find different ways to process their loss, according to Roy. Midwives speaking with NOW also notedthat films exploring grief often do so by presenting it as a bonding experience, while Pieces of a Woman focused on the differences. Renaldo Matadeen of CBRcompared the film's exploration of grief to that of Marriage Story, though he felt that Pieces of a Woman did not explore the shared grief Martha and Seanexperience. Also for NOW, Kevin Ritchie noted that the film shifts focus on themes throughout, featuring class tensions at the start and, at the end, focusing ongenerational divides and present baggage of Holocaust survival. The New Yorker's Anthony Lane wrote that the film \"amounts to a set of variations on the themeof winter\", reflected in its little-changing Boston setting; similarly, Lee Marshall of Screen International opined that the wintry setting and its \"oppressive\" GothicRevival architecture helped to inform the themes of the film.CastingThe first person to be cast was Shia LaBeouf as Sean. He was followed shortly by VanessaKirby, playing Martha, who had been shown the script by Sam Levinson; she had met with the Levinsons and told them she wanted to make a film like A WomanUnder the Influence. Mundruczó was a fan of The Crown and wanted to cast Kirby after watching her as Princess Margaret, Countess of Snowdon and thinking herperformance resembled Claudia Cardinale and Catherine Deneuve. He also wanted to work with Kirby at this point in her career, \"Where all of the skills arealready there, but the fear is not [...] When you are very established, you are more and more careful.\" Though Kirby was considered a frontrunner in discussionsfor the role, the production had been turned down by bigger names before Kirby was shown the script; the day after she read it, she flew to Budapest and theyhad a two-hour meeting with Mundruczó. Asked about this, Kirby said that she \"just loved the script ... You just know when you know\".Kirby and LaBeouf wererevealed as the lead roles when the film was announced in October 2019. Kirby spoke with women who had experienced baby loss to prepare for her role, andprepared extensively for her performance of labor in the opening scene. She had not given birth herself and was concerned about realism; she first watchedchildbirth documentaries but felt these were too edited and so she wrote to obstetricians and was invited by one, Claire Mellon, to observe on a labor ward,including being allowed to witness a birth, which she told NPR she would not have been able to perform in the film without.In December 2019, Jimmie Fails, EllenBurstyn, Molly Parker and Iliza Shlesinger joined the cast of the film, followed by Sarah Snook and Benny Safdie in January 2020. Burstyn said getting cast in thefilm felt like \"a win-win-win situation\", as she was able to work with Mundruczó, whose White God Burstyn enjoyed, and Kirby, whose The Crown performanceBurstyn had been impressed by; Kirby was also excited to work with Burstyn.FilmingPrincipal photography began on December 3, 2019, in Montreal, Canada, andlasted until the end of January 2020.The film is noted for its 24-minute long take labor scene at the start, dubbed \"The Scene\" by The Guardian's Adrian Hortonand described as \"one of the most controversial scenes of the year\" by Entertainment Weekly. Writer Wéber did not anticipate a one-shot take, which Mundruczóplanned from the start, though knew she wanted all the details present. Mundruczó began the scene with Martha's first pains and ended with the arrival of anambulance \"because [they didn't] want to show exactly what's happening\", wanting to leave the audience having only seen the baby alive while creatingsuspense. As the director, Mundruczó wanted the actors to make their own performance choices in the scene; there were no marks to hit, LaBeouf came up withthe bad jokes used himself, and the production team would not show the cast any of the stage performance so as not to influence them. Kirby told Empire thatthe cast \"had a map of where to be, and then [they would] freefall and see what happened.\" Three crewmembers were used for the scene: director ofphotography Benjamin Loeb, acting as camera operator upon Mundruczó's request, and two boom operators. A birthing coach, Elan McAllister, had also been"}
+{"doc_id":"doc_285","qid":"","text":"Passage 1:Servillano AquinoServillano Aquino y Aguilar (April 20, 1874 – February 3, 1959) was a Filipino general during the Philippine Revolution and thePhilippine–American War. He served as a delegate to the Malolos Congress and was the grandfather of Benigno S. \"Ninoy\" Aquino Jr. He is the great-grandfatherof Benigno Aquino III, the 15th President of the Philippines.Early life and educationAquino, known by his nickname \"Mianong\", was born on April 20, 1874, to DonBraulio Aquino y Lacsamana and Doña Petrona Aguilar y Henson. He had his early education from a private tutor in Mexico, Pampanga. He moved to Manila andentered the Colegio de San Juan de Letran, and later, the University of Santo Tomas.Philippine–American WarIn 1896, Aquino became a mason and joined theKatipunan. He was also elected mayor of Murcia, Tarlac and under General Francisco Macabulos, he organized the Filipino revolutionary forces against theAmericans. He was promoted to major but was defeated in the battle at Mount Sinukuan or Mount Arayat in Arayat, Pampanga. After the Pact of Biak-na-Batowas signed, Aquino was self-exiled to Hong Kong together with Emilio Aguinaldo and the revolutionary government after receiving 100,000 pesos from theSpanish government in exchange of their surrender. He returned to the Philippines in 1898 and joined General Antonio Luna to fight against the American forces.Together they attacked Manila but retreated to Mount Arayat. In September 1902, he surrendered and was jailed in Bilibid Prison and sentenced to hang.However, United States President Theodore Roosevelt pardoned Aquino after two years.Personal lifeHe married Guadalupe Quiambao, with whom he had threechildren, namely Gonzalo (born 1892), Benigno (1894–1947) and Amando (born 1896). Later, he married his sister-in-law, Belen Sanchez, and had a child withher, Herminio (born 1949).DeathAquino died of a heart attack on February 3, 1959.AncestrySee alsoList of people pardoned or granted clemency by the presidentof the United StatesPassage 2:Stanisław of MasoviaStanisław of Masovia (pl: Stanisław mazowiecki; 17 May 1501 – 8 August 1524), was a Polish prince memberof the House of Piast in the Masovian branch. He was a Duke of Czersk, Warsaw, Liw, Zakroczym and Nur during 1503-1524 (under regency until 1518) jointlywith his brother.He was the eldest son of Konrad III the Red and his third wife Anna, a daughter of Mikolaj Radziwiłł the Old, Voivod of Vilnius and the first GrandChancellor of Lithuania.LifeAfter the death of their father on 28 October 1503, Stanisław and his younger brother Janusz III inherited his domains but, becausethey were minors, remained under the regency of their mother.Most of the Masovian inheritance (except Czersk, which had already been given to Konrad III as ahereditary fief in 1495) was seriously threatened by the Kingdom of Poland at the time of Konrad III's death, and was not secured in his sons' hands until 14March 1504, when by a ruling of King Alexander, the young princes received their whole patrimony as a fief.Stanisław and his brother took the government in1518, because of the constant riots of the local nobility. Despite this, Anna Radziwiłł retained the real power in Masovia until her death in 1522. In the same yearwhen they attained their majority, both princes attended the wedding of King Sigismund I the Old to Bona Sforza in Kraków.In 1519, fulfilling their duties asPolish vassals, Stanisław and Janusz III intervened in the Polish-Teutonic War, sending auxiliary troops to the Polish King, and in the winter of 1519-1520 theypersonally captured several towns in Masuria. At the same time, Stanisław secretly entered into talks with the Teutonic Knights for a ceasefire, which finally tookplace in December 1520, a few months before a peace treaty ended the war between Poland and the Teutonic Order.In their private lives, both Stanisław and hisbrother were heavily inclined to drink and women; however, in order to continue his bloodline, in 1523 Stanisław started negotiations for marriage with PrincessHedwig of Poland, only surviving daughter of King Sigismund I and his first wife, Barbara Zápolya. The wedding never took place; one year later, and likely as aresult of his dissolute lifestyle, Stanisław died on 8 August 1524. He was buried at St. John's Archcathedral, Warsaw.The sudden death of Stanisław, and that twoyears later of his younger brother Janusz III, were considered suspicious at the time. The main suspect was a Płock lady called Katarzyna Radziejowska, who afterbeing seduced and abandoned by both princes, was believed to have poisoned firstly Anna Radziwiłł, then Stanisław and finally Janusz III in revenge. Declaredguilty, she and her supposed accomplice were tied naked to poles and beaten for hours, and finally burned alive. The hurry where the sentence was carried raisedeven more suspicion that in fact the real instigator of the crimes was Queen Bona. The controversy was so intense that King Sigismund I, in order to clarify thematter once and for all, ordered an investigation, as a result of which a special edict was declared on 9 February 1528 which ruled that the princes \"weren'tvictims of a human hand, but was the will of the Almighty Lord that caused their deaths\".According to Jan Długosz, the real cause of the death of both princescould be an inherited disease of the Masovian princes: tuberculosis.Passage 3:Konrad V KantnerKonrad V Kantner (ca. 1385 – 10 September 1439) was a duke ofOleśnica, Koźle, half of Bytom and half of Ścinawa during 1412–1427 (with his brothers as co-rulers), since 1427 sole ruler over Oleśnica.He was the second sonof Konrad III the Old, Duke of Oleśnica, by his wife Judith. Like his one older and three younger brothers, at the baptism he received the name of Konrad, whichwas characteristic in this branch of the House of Piast. His nickname of Kantner was derived from the town of Kanth (pl: Kąty Wrocławskie), who was a propertyof the Oleśnica dukes since 1379.LifeAfter the death of his father in 1412, Konrad V succeeded him in all his lands together with his older brother Konrad IV theOlder as co-rulers, due to the minority of their younger brothers.In 1416, when all Konrad III's sons attained his majority, Konrad IV renounced to thegovernment on behalf of Konrad V and the rest of his brothers. However, because two other brothers (Konrad VI the Dean and Konrad VIII the Younger), alsopursued a Church career, the main beneficiaries in the government are two others laic brothers: Konrad V and Konrad VII the White, who in 1431 co-founded inKoźle a Minorites Cloister. In 1434 they purchased the town of Wołczyn to Duke Louis II of Brieg. The co-rulership was maintained until 1427, when was made thedivision of the Duchy: Konrad V retained the main city of Oleśnica.Like his brothers, Konrad V fought against the Hussites. In 1428 they tried unsuccessfully toprevent their depredations in the Duchy of Troppau. On 4 April 1431 they raided Gliwice, which was occupied by the Hussites and where just held religiousdiscussions in which the Lithuanian prince Sigismund Korybut, a nephew of Vytautas, was involved. Presumably, therefore, undertook the Hussites in 1432 a raidinto the Duchy of Oleśnica, which was largely spared from them until then. Konrad V and his brothers, however, managed to defeat them at Ścinawa. Togetherwith his brother Konrad IV, other Piast Dukes and the cities of Wrocław, Świdnica and Nysa was notarized on 13 September 1432 for the Hussites the stilloccupied cities of Niemcza, Kluczbork and Otmuchów the amount of 10,000 groschen for damages.Their fight against the Hussites was rewarded by EmperorSigismund, who, in his capacity as King of Bohemia, in 1434 transfer to them the districts of Psie Pole and Psary. Three years later, in 1437 he confirmed to themthe complete investiture of this territories by Escheat, so that upon the death of the childless Konrad VII they could reverted to the Kingdom. Two years later,Konrad V died of the plague. The guardianship of his minor sons was taken by his brother Konrad VII.Marriage and issueBy 9 October 1411, Konrad V marriedMargareta (d. 15 March 1449), whose origins are unknown. They had five children:Agnes (b. aft. 1411 – d. Herbst, September 1448), married in 1437 to Kaspar ISchlik, Count of Passaun-Weisskirchen and Imperial Chancellor.Konrad IX the Black (b. ca. 1415 – d. 14 August 1471).Konrad X the White (b. 1420 – d. 21September 1492).Anna (b. ca. 1425? – d. aft. 15 August 1482), married by 1444 to Duke Władysław I of Płock.Margareta (b. by 1430 – d. 10 May 1466), Abbessof Trebnitz (1456).In his will, Konrad V leave the town of Wołów to his wife as her dower, who was ruled by her until her own death. His sons were excluded fromthe government by their uncle Konrad VII, who maintained his rule until 1450, when they finally deposed him and assumed the full control over theDuchy.Passage 4:Konrad IV the OlderKonrad IV the Elder (Polish: Konrad IV Starszy, German: Konrad von Oels) (c. 1384 – 9 August 1447) served as the Duke ofOels (Oleśnica), Koźle, half of Bytom, and half of Ścinawa from 1412 to 1416, sharing the rule with his brothers. After 1416, he became the sole ruler over Kąty,Bierutów, Prudnik, and Syców. In 1417, he assumed the role of Bishop of Wrocław and also held the title of Duke of Nysa.Born to Konrad III the Old, Duke ofOleśnica, and his wife Judith, Konrad IV the Elder was the eldest among his siblings. It is worth noting that his four younger brothers also shared the nameKonrad; however, historians primarily distinguish them through letters and regnal numbers.LifeChurch careerKonrad IV, despite being the oldest son and having astrong potential to inherit his father's duchy, made the decision to pursue a religious vocation. He quickly advanced within the church hierarchy and by the end of1399, he assumed the role of cleric in Wrocław. Within a year, he was elected as the canon of Wrocław and the provost of Domasław/Domslau, although he didnot succeed in this position. Nevertheless, this setback did not deter him, and in 1410 he was ultimately chosen as the canon of Wrocław. From 1411 to 1417, heheld the office of provost of the chapter. During this time, Konrad IV devoted himself entirely to his candidacy for the position of Bishop of Warmia, concentratingall his efforts towards this goal. He embarked on a lengthy journey to Rome in pursuit of this appointment, although the endeavor proved unsuccessful.Nonetheless, as compensation, he was awarded a master's degree and appointed as a papal notary. In 1412, he also assumed the role of Canon ofOlomouc.Following the resignation of Duke Wenceslaus II of Legnica, the Bishop of Wrocław, on 17 December 1417, Pope Martin V appointed Konrad IV as thenew Bishop of Wrocław. He received his ordination as bishop on 22 January 1418 from John Tylemann, a suffragent of the Kolegiata of St. Nicholas inOtmuchów.Beginning of his involvement in politicsKonrad IV, in addition to his clerical duties, actively participated in politics during his time. In 1402, he joinedthe newly formed alliance of Silesian princes. In 1409, he supported his father alongside King Wenceslaus IV of Bohemia during the truce negotiations betweenPoland and the Teutonic Knights. In 1412, Konrad IV served as a mediator in conflicts involving the Dukes of Opole, King Wenceslaus IV, and the city of Wrocław."}
+{"doc_id":"doc_286","qid":"","text":"Passage 1:Vadim VlasovVadim Nikolayevich Vlasov (Russian: Вадим Николаевич Власов; born 19 December 1980) is a former Russian football player.Vlasovplayed in the Russian Premier League with FC Lokomotiv Nizhny Novgorod.He is a younger brother of Dmitri Vlasov.Passage 2:Roshan Lal VermaRoshan LalVerma is an Indian politician and a member of the Seventeenth Legislative Assembly of Uttar Pradesh in India. He represents the Tilhar constituency of UttarPradesh and is a member of the Samajwadi Party.Early life and educationRoshan Lal Verma was born in Shahjahanpur district. He attended the Adarsh School andis educated till eighth grade.Political careerRoshan Lal Verma has been a MLA for three term. He represented the Tilhar constituency and was a member ofthe  political party, Bahujan Samaj Party. Later he joined Bhartiya Janta Party until 2021.In 2022 he joined Samajwadi Party.Members of Legislative AssemblyHewas elected in 2007 as  Member, 15th Legislative Assembly of Uttar Pradesh. And re-elected in 2012 for 16th Legislative Assembly of Uttar Pradesh and again in2017 as Member, 17th Legislative AssemblyElectoral performanceSee alsoTilhar (Assembly constituency)Sixteenth Legislative Assembly of Uttar PradeshUttarPradesh Legislative AssemblyPassage 3:Vrindavan Lal VermaVrindavan Lal verma (9 January 1889 – 23 February 1969) was a Hindi novelist and playwright. Hewas honoured with Padma Bhushan for his literary works; Agra University presented him with honorary D. Lit. He received Soviet Land Nehru Award and thegovernment India also awarded him for his novel, Jhansi Ki Rani.Life and careerHe was drawn toward mythological and historical narratives from early childhood.His masterpiece, Mriganayani, set at the end of the 15th century in Gwalior, tells the legend of Man Singh Tomar and his \"doe-eyed queen\" Mrignayani.Hishistorical novels areGadh Kundar (1927)Virata ki Padmini (1930)Musahibju (1943)Jhansi ki Rani (1946)Kachnar (1947)Madavji Sindhia (1949)Tute Kante(1949)Mriganayani (1950)Bhuvan Vikram (1954)Ahilya Bai (1955)Rani DurgavatiLalitadityaVarma's social novels includeSangam (1928)Lagan (1929)Pratyagat(1929)Kundali Chakra (1932)Prem ki Bheni (1939)Kabhi na Kabhi (1945)Achal Mera Koyi (1947)Rakhi ki Laj (1947)Sona (1947)Amar Bel (1952).His plays includean adaptation of his novel, Jhansi ki Rani, Hans Mayur (1950), Bans ki Phans (1950), Pile Hath (1950), Purva ki Aur (1951), Kevat (1951), Nilkanth (1951),Mangal Sutra (1952), Birbal (1953), and Lalit Vikram (1953).Varma wrote short stories also which have been published in seven volumes. His autobiography ApniKahani has also been applauded.Passage 4:Manikya Lal VermaManikya Lal Verma (Born on 4 December 1897 in a Mathur kayastha family) was a member ofConstituent Assembly of India in 1949. He was prime minister of Rajasthan, India before full formation of the state. He was elected to Lok Sabha in 1957 fromChittorgarh and in 1952 from Tonk. He was recipient of Padma Bhushan in 1965.He played pivotal role in Bijolia movement, a farmers agitation raised between1919 and 1923 in Bhilwara. He remained in prison for several years being a freedom fighter.  Verma was an untiring social activist. He played a vital role inpromoting education among Tribes, other backward classes and women in southern Rajasthan.  He founded Vimukt Janjaati sangh to promote social conditions ofnotified castes. This organisation established several hostels for notified caste students in Rajasthan. In Western border district's Simant (\u0000\u0000\u0000\u0000\u0000\u0000\u0000)Chatrawas were established on his initiative.He died on 14 January 1969. His wife Smt. Narayni Devi was a member of Rajya Sabha and son Deen Bandhu Vermawas a member of Loksabha from Udaipur constituency. His son in law Shiv Charan Mathur was also Chief Minister of Rajasthan for two terms.The Manikya LalVerma Textile and Engineering College was named after him. A huge garden at bank of Pichola lake, Udaipur is also named behind him.Other details as perloksabha.nic.in ...Social and Political worker; Secretary, Vidya Pracharini Sabha, Bijolia (1916); Organised Peasant Satyagraha against taxes and forced labour in1918; Imprisoned in 1919, also 1923, thrice in 1927 and again in 1931; Interned at Kumbhalgarh in 1932-33 and expelled from Udaipur State in 1938 forestablishing 'Praja Mandal' and conducting Satyagraha against the State and imprisoned again for one year, 1939; Participated in 'Quit India Movement';Chairman of Reception Committee, All India States' People's Conference, 1945; Chief Minister of Rajasthan, 1948–49; President, Rajasthan State CongressCommittee, 1951; Member, All India Congress Working Committee, 1952–54; President, Rajasthan Bhil Seva Mandal Vimukta Jati Sevak Sangh, 1954–55;Convener, All India Gadia Luhar Sammelan and Bharat Sevak Samaj, 1955–56; President, Gadiya Lohar Sewak Sangh, 1956–62, Rajasthan Adim Jati SevakSangh, 1957–62; Rajasthan Van Shramik Sahakari Sangh, 1959–62; Member, Constituent Assembly, 1947–50; Provisional Parliament, 1950–52; First LokSabha, 1952—57 and Second Lok Sabha, 1957–62.Social activities:  Organised Harijan Ashram at Nareli in Ajmer Merwara, 1934; Did constructive work amongBhils and Meenas of Rajasthan at Village Khadlai, Dungarpur State in August, 1934; Established Akal Pidit Seva Sangh, Mewar, 1940; Established Harijan SevakSangh and Bhil Seva Sangh in Udaipur; Established Mahila Ashram, Bhilwara, 1944; Established Rajasthan Kalbeliya Seva Sangh.Special interests:  Improvementof agriculture on modern lines; Establishment of Socialistic Society on the cooperative principles; Established three Tribes colony in Udaipur and Kota District andsettled Gadia Lohars in Jodhpur, Nagor, Bikaner, Ajmer, Pali District and Banjaras in Bhilwara District, Kalbeliyas in Udaipur District.Passage 5:Kerem İnanKeremİnan (born 25 March 1980) is a Turkish professional football goalkeeper who plays for Erokspor.Career statisticsAs of 20 August 2010HonoursGalatasarayTurkishLeague: 2 (1999–00, 2001–02)Turkish Cup: 2 (1998–99, 1999–00) UEFA Cup: 1 (1999–00)UEFA Super Cup: 1 (2000)Passage 6:Jhunnilal VermaJhunnilal Verma(also Jhunni Lal Verma or J. L. Verma) was an Indian lawyer and politician from Madhya Pradesh. He was freedom fighter from Bundelkhand Damoh region.InDecember 1933, Verma was elected unopposed to the Legislative Council of the Central Provinces and Berar, to fill the vacancy caused by the death of G. S.Singhai. He represented the Damoh district non-Muhammadan rural constituency. He was still a member in 1936.During establishment of Saugor University hewas in the team with Dr. Hari Singh Gour and also the founder of Damoh Degree College. J. L. Verma Law College, the law school affiliated with Dr. Hari SinghGour University was named in his honor.  He wrote two books Bharat Darshan and Karm Sanyasi Krishna.External linksJhunni Lal Verma, author profile atRajkamal PrakashanPassage 7:Roman SmishkoRoman Smishko (Ukrainian: Роман Володимирович Смішко) is a retired Ukrainian professional footballer whoplayed as a goalkeeper.He is a younger brother of Ukrainian defender Bohdan Smishko.CareerHe played for clubs in Estonian, Lithuanian and Belarusian toplevels.In the 2014 Meistriliiga season he set the league clean sheet record by not conceding a single goal for 1,281 minutes between 5 April 2014 and 25 July2014 which is 30 minutes short and allegedly the second best result in countries top flight after Edwin Van der Sar's 1,311 minutes.Passage 8:Miloš ZličićMilošZličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of LazarZličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for thebest player of the \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLigaseason, played on 19 November 2016 against Novi Pazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin onhalf-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in adefeat against Omladinac. He scored his first senior goal on 25 August, in victory against Radnički.International careerZličić was called in Serbia U15 nationalteam squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17 level later. After that, hewas member of a U18 level, and scored goal against Slovenia U18.Career statisticsAs of 26 February 2020Passage 9:Dmitri Varfolomeyev (footballer, born1978)Dmitri Nikolayevich Varfolomeyev (Russian: Дмитрий Николаевич Варфоломеев; born 15 March 1978) is a Russian former football player.He is a youngerbrother of Sergei Varfolomeyev.HonoursZhenis AstanaKazakhstan Premier League champion: 2001Kazakhstan Cup winner: 2001Passage 10:Baboo LalVermaBaboo Lal Verma as an Indian politician. He is a Cabinet Minister of Food & Civil Supply, Consumer Affairs in Government of Rajasthan and MLA inKeshoraipatan constituency Bundi district from Rajasthan."}
+{"doc_id":"doc_287","qid":"","text":"Passage 1:SennedjemSennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as\"The Place of Truth\"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". Hewas buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis. His tomb was discovered January 31, 1886. WhenSennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant inthe Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family andwife)Passage 2:ThadThad is a masculine given name, often a short form (hypocorism) of Thaddeus. It may refer to:Thad Allen (born 1949), United States CoastGuard admiralThad Altman (born 1955), American politicianThad Balkman (born 1971), American politician, lawyer, and judgeThaddeus Thad Bingel, Americaneducator and political consultantThaddis Thad Bosley (born 1956), American baseball playerThaddeus Thad F. Brown (1902–1970), American police chiefThadBusby (born 1974), American football playerThaddeus Thad Carhart (born 1950), American writerThad Castle, character in the TV series Blue MountainStateWilliam Thad Cochran (1937–2019), United States Senator from MississippiThad Cockrell, American singer-songwriterThaddeus Thad A. Eure (1899–1993),American politicianThad McIntosh Guyer (born 1950), American lawyerThad Heartfield (1940–2022), American lawyer and federal judgeThaddeus ThadHutcheson (1915–1986), American attorney and politicianThad J. Jakubowski (1924–2013), American Roman Catholic bishopThad Jaracz (born 1946), Americanbasketball playerThaddeus Thad Jones (1923–1986), American jazz trumpeter and bandleaderThad Krasnesky (fl. 2000s–2020s), American children's authorThadLevine (born 1971), American baseball executiveThaddeus Thad Lewis (born 1987), American football playerThaddeus Thad Luckinbill (born 1975), Americanactor and film producerThad Matta (born 1967), American men's basketball coachThad McArthur (born 1928), American Olympic modern pentathleteThadMcClammy (1942–2021), American politicianThaddus Thad McFadden (American football) (born 1962), American football playerThaddus Thad McFadden(basketball) (born 1987), American basketball playerThaddeus Thad Moffitt (born 2000), American racing driverThaddeus Thad Mumford (1951–2018), Americantelevision writer and producerThaddeus Thad Spencer (1943–2013), American heavyweight boxerThad Starner (fl. 1980s–2010s), American computerscientistThaddeus Thad Stem Jr. (1916–1980), American author and poetThaddeus Stevens (1792–1868), United States Representative from PennsylvaniaRobertThaddeus R. Thad Taylor (1925–2006), American theatre directorThaddeus Thad Tillotson (1940–2012), American baseball pitcherThad Vann (1907–1982),American football player and coachThad Viers (born 1978), American politicianThad Vreeland Jr. (1924–2010), American materials scientistThad Weber (born1984), American baseball pitcherPassage 3:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind'sIWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter.With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series)1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Wherewas I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"WhereWas I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Passfrom Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\",song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from LiveOn  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas fromWith Love (Rosie Thomas album)Passage 4:Lydia Hamilton SmithLydia Hamilton Smith (February 14, 1813 – February 14, 1884) was the long-time housekeeperof Thaddeus Stevens and a prominent black businesswoman after his death.Early lifeLydia Hamilton was born at Russell Tavern near Gettysburg in AdamsCounty, Pennsylvania, US. She \"was the widow of a Gettysburg Negro barber [Jacob Smith-died 1852], by whom she had two children.\" Her mother was a freemulatto woman of European and African descent, and her father was Irish.Career with StevensSeparated from her husband, Smith moved to Lancaster with hermother and sons in 1847 and accepted a position as housekeeper to prominent lawyer and abolitionist Thaddeus Stevens, who had moved from Gettysburg fiveyears earlier but practiced law and had business interests in several counties in the Susquehanna River basin. Stevens was elected to the U.S. House ofRepresentatives the following year, and Smith continued to keep the bachelor's house (including his house in Washington, D.C.) until Stevens died in 1868.Smithwas described as \"giving great attention to her appearance,\" and in later years she had her clothes made to resemble those of Mary Lincoln. Carl Sandburgdescribed Smith as \"a comely quadroon with Caucasian features and a skin of light-gold tint, a Roman Catholic communicant with Irish eyes ... quiet, discreet,retiring, reputed for poise and personal dignity.\"Smith had two sons, William and Isaac, by her late husband, Jacob Smith. She and Stevens also raised thelatter's nephews, whom he adopted in the 1840s.  On April 2, 1861, Smith's older son, William Smith, fatally shot himself while handling a pistol at Stevens'shome, as his mother watched. William Smith was 26 years old and worked as a shoemaker in Lancaster. Her other son, Isaac Smith, a banjo player and barber,enlisted in the 6th United States Colored Infantry Regiment in 1863 and served in Virginia.No evidence exists as to the exact nature of the relationship betweenStevens and Smith. In the one brief surviving letter from Stevens to her, he addresses her as \"Mrs. Smith,\" unusual deference to an African-American servant inthat era. Family members also asked Stevens to be remembered to \"Mrs. Smith.\" Nonetheless, during her time with Stevens, neighbors considered her hiscommon-law wife. Smith not only handled social functions for the politician, she also mingled with Stevens's guests, who were instructed to address her as\"Madame\" or \"Mrs. Smith.\" Opposition newspapers (for Stevens's views concerning racial equality were quite controversial) claimed she was frequently called\"Mrs. Stevens\" by people who knew her.Smith was at Stevens's bedside when he died in Washington, D.C. on August 11, 1868, along with his friend SimonStevens and surviving nephew (Thaddeus Stevens Jr.), two African-American nuns, and several other people. Under Stevens's will, Smith was allowed to choosebetween a lump sum of $5,000 or a $500 annual allowance; she was also allowed to take any furniture in his house. With the inheritance, Smith purchasedStevens' house and the adjoining lot.BusinesswomanStevens and Smith were active in the Underground Railroad, which led to the burning of his ironworks,Caledonia Furnace, during the Civil War. Recent excavation of their house in Lancaster unearthed a cistern with a passageway to a nearby tavern, as well as aspittoon inside, which some historians think was used to shelter escaping slaves. Smith bought her house in Lancaster next to Stevens's house in 1860. Duringand after the Battle of Gettysburg in 1863, Smith hired a horse and wagon, and collected food and supplies for the wounded of both sides from neighbors inAdams, York and Lancaster counties and delivered them to the makeshift hospitals. After Stevens's death in 1868, in addition to buying his house in Lancaster,Smith operated a prosperous boarding house across from the Willard Hotel in Washington, D.C., as well as invested in real estate and other businessventures.Death and legacyLydia Hamilton Smith died in Washington on her 71st birthday in 1884 and, per her wishes, was buried in St. Mary's Catholic cemeteryin Lancaster, although she also left money for the continued upkeep of Stevens's grave at the Shreiner-Concord cemetery.In Steven Spielberg's 2012 film Lincoln,Smith was portrayed by actress S. Epatha Merkerson.Notes and referencesFurther readingCarlson, Peter. \"Lincoln's Feisty Foil.\" American History, vol. 48, no. 1(Apr. 2013), pp. 50–55.Delle, James A., and Mary Ann Levine.  \"Archaeology, Intangible Heritage, and the Negotiation of Urban Identity in Lancaster,Pennsylvania.\" Historical Archaeology, vol. 45, no. 1 (2011), pp. 51–66Passage 5:Thaddeus P. MottThaddeus Phelps Mott (December 7, 1831 – November 23,1894) was an American adventurer, sailor and soldier of fortune. A former Union Army officer during American Civil War, he also took part in wars in Mexico,Italy, and the Ottoman Empire. He was primarily responsible for recruiting former Union and Confederate soldiers for service in the Egyptian Army, in which heheld the rank of major general, and was the first officer to take service with the Khedive Isma'il Pasha as his aide-de-camp in 1870. At the time of his death, hewas also the last surviving son of the eminent surgeon Valentine Mott.BiographyEarly life and military careerMott was born in New York City, New York, the son ofDr. Valentine Mott (1785–1865) and Louisa Dunmore Munn. He was one of nine children born to the couple. Little is known of his early life except that, as a child,he \"developed a spirit of adventure\". He was a natural linguist and was educated at New York University where his father was emeritus professor of surgery.Atage 17, he left the country to fight in revolutionary Italy, commissioned as a second lieutenant, serving under Giuseppe Garibaldi. Suffering from ill healthfollowing his Italian service, mostly due to exposure and privation, Mott subsequently served as a shipmate on various clipper ships during the next several years.He initially signed on to the Hornet bound for California, then as a third mate on the Hurricane in 1851, a second mate on the St. Denis in 1852 and the mate ofthe St. Nicholas in 1854. He returned to California a year later and spent 1856–57 in the Mexican Army under General Ignacio Comonfort prior to and during theReform War. In 1858, he married Emily Josephine Daunton and had two children with her, Marie Louise and Valentine Mott.Return to the United States and theAmerican Civil WarHe eventually returned to the United States and enlisted in the Union Army shortly before the American Civil War where he was assigned as"}
+{"doc_id":"doc_288","qid":"","text":"Passage 1:Sun LuyuSun Luyu (died August or September 255), courtesy name Xiaohu, was an imperial princess of the state of Eastern Wu during the Three Kingdoms period of China. She was the younger daughter of Sun Quan, the founding emperor of Wu, and his concubine Bu Lianshi. She is also referred to as Princess Zhu (\u0000\u0000\u0000/\u0000\u0000) because of her marriage to Zhu Ju.LifeSun Luyu was the younger daughter of Sun Quan, the founding emperor of Eastern Wu, and his concubine Bu Lianshi. She had an elder sister, Sun Luban. The sisters' courtesy names, Xiaohu (\u0000\u0000) and Dahu (\u0000\u0000), respectively mean \"small tiger\" and \"big tiger\". Sun Luyu initially married Zhu Ju, a general who briefly served as the fifth Imperial Chancellor of Wu. She and Zhu Ju had a daughter, who married Sun Quan's sixth son, Sun Xiu, who was also a half-brother of Sun Luyu.In the 240s, a power struggle broke out between two of Sun Quan's sons – Sun He, the Crown Prince and Sun Ba, the Prince of Lu – with both of them fighting over the position of Crown Prince. The power struggle had a polarising effect on Sun Quan's subjects; two opposing factions, each supporting either Sun He or Sun Ba, emerged from among them. During this time, Sun Luyu's husband Zhu Ju supported Sun He, while Sun Luyu's sister Sun Luban and her husband Quan Cong sided with Sun Ba. When Sun Luban tried to get Sun Luyu to support Sun Ba, Sun Luyu refused and became estranged from her sister as a result.In 250, the power struggle came to an end when Sun Quan forced Sun Ba to commit suicide and deposed Sun He from his position as Crown Prince. Many of the officials involved in the power struggle were executed, exiled or removed from office. Sun Luyu's husband, Zhu Ju, was demoted and reassigned to a new post in Xindu Commandery (\u0000\u0000\u0000; around present-day Chun'an County, Zhejiang). While Zhu Ju was en route to Xindu Commandery, Sun Hong (\u0000\u0000), one of Sun Ba's supporters, took advantage of Sun Quan's poor health to issue a fake imperial decree ordering Zhu Ju to commit suicide. Zhu Ju thought that the decree was genuine so he killed himself as ordered. The general Liu Zuan (\u0000\u0000) had previously married Sun Quan's second daughter (a half-sister of Sun Luban and Sun Luyu), but she died early, so Sun Quan arranged for him to marry the widowed Sun Luyu.In August or September 255 during Sun Liang's reign, Sun Yi (\u0000\u0000) and others plotted to overthrow the regent Sun Jun, but were discovered and executed before they could carry out their plan. Sun Luban, who had a secret affair with Sun Jun after her husband Quan Cong died in 249, seized the opportunity to falsely accuse her estranged sister Sun Luyu of being involved in the plot. Sun Jun believed Sun Luban and had Sun Luyu arrested and executed. She was buried at Shizigang (\u0000\u0000\u0000;  literally \"stones hill\"), a hill in present-day Yuhuatai District, Nanjing, Jiangsu.Postmortem eventsAfter Sun Jun died in 256, his cousin Sun Chen succeeded him as the regent for the Wu emperor Sun Liang. Sometime between 256 and 258, Sun Liang suspected that Sun Luban had something to do with Sun Luyu's death, so he summoned his half-sister and questioned her. A fearful Sun Luban lied to him, \"I really don't know. I heard it from Zhu Ju's sons, Zhu Xiong (\u0000\u0000) and Zhu Sun (\u0000\u0000).\" Sun Liang thought that Zhu Xiong and Zhu Sun betrayed Sun Luyu to Sun Jun – especially since Zhu Sun married Sun Jun's younger sister – so he ordered Ding Feng to execute Zhu Xiong and Zhu Sun.In 258, Sun Chen deposed Sun Liang and replaced him with Sun Xiu, Sun Quan's sixth son, as the third emperor of Wu. Sun Xiu's wife, Lady Zhu, was the daughter of Zhu Ju and Sun Luyu. On 18 January 259, Sun Xiu staged a coup d'état against the regent Sun Chen, succeeded in ousting him from power, and ordered Sun Chen and his entire family to be executed. Sun Xiu also had Sun Jun's dead body unearthed and stripped of the honours accorded to him, and posthumously rehabilitated the people who were executed during Sun Jun and Sun Chen's regencies. Sun Luyu was one of them.Sometime between 6 November and 5 December 264, Sun Hao, the fourth emperor of Wu, ordered Sun Luyu's remains to be unearthed and reburied with honours befitting her status as a princess. The Soushen Ji recorded an account as follows: [Sun Hao] wanted to have [Sun Luyu]'s remains unearthed and properly reburied, but the graves all looked the same and he could not tell which was hers. Some palace servants claimed they could remember the clothes she wore when she died, so [Sun Hao] ordered two shamans to separately summon her spirit and observe closely. After some time, the shamans saw a woman in her 30s dressed in purple and white, wearing a blue patterned headpiece and red silk shoes. She walked up the hill to the middle, placed her hands on her knees and sighed, and stopped there for a while before walking towards a grave. She wandered around the grave and disappeared suddenly. The descriptions given separately by the two shamans were very similar. When her coffin was opened, they saw that her appearance was exactly as described.See alsoLists of people of the Three KingdomsEastern Wu family trees#Sun QuanNotesPassage 2:Abd al-MuttalibShaiba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against "}
+{"doc_id":"doc_289","qid":"","text":"Passage 1:Christopher LawfordChristopher Kennedy Lawford (March 29, 1955 – September 4, 2018) was an American author, actor, and activist. He was amember of the prominent Kennedy family, and son of English actor Peter Lawford and Patricia \"Pat\" Kennedy Lawford, who was a sister of President John F.Kennedy.  He graduated from Tufts University in 1977 and earned a Juris Doctor degree from Boston College in 1983. He later earned a master's certificate inClinical Psychology from Harvard University and was a lecturer on drug addiction.After struggling with addiction for 17 years, he became an actor, performing inseveral movies and television shows for over 20 years.  He wrote several books, based on his own experience, about addiction and recovery.  He also traveledaround the U.S. speaking about his experiences with addiction for 20 years, and was a public health campaigner, working with organizations like the World HealthOrganization (WHO) and the United Nations (UN), and for the U.S. federal government.Early life and educationLawford was born on March 29, 1955, at SaintJohn's Health Center in Santa Monica, California .  He was named for Saint Christopher and because his mother liked the name.: p. 1   He was the eldest child andonly son of actor and \"Rat Pack\" member Peter Lawford (1923–1984) and Patricia \"Pat\" Kennedy Lawford (1924–2006), who was President John F. Kennedy'ssister. His three younger sisters were Sydney Lawford McKelvy (born 1956), Victoria Pender (born 1958), and Robin Lawford (born 1961).  Lawford describedhimself as a \"second-string Kennedy\" because he did not get as much attention as his cousins.  His parents divorced in 1966; Patricia Lawford moved fromCalifornia to New York City with her son and daughters.Before his parents' divorce, Lawford attended St. Martin of Tours Elementary School in Los Angeles, whereat the age of 8, he was informed about his uncle John F. Kennedy's assassination.  After moving to New York City with his mother, he attended the MiddlesexSchool, a prep school in Concord, Massachusetts. He graduated from Tufts University in 1977 and earned a J.D. degree from Boston College Law School in1983.  He later earned a master's certificate in Clinical Psychology from Harvard University, and lectured on drug addiction at Harvard, Columbia University, andother colleges.Drug and legal issuesIn 1969, the year after his uncle Robert F. Kennedy was assassinated, when Lawford was 14, he was introduced to LSD by hispeers at school.: p. 110   He was addicted to alcohol, cocaine, uppers, downers, and \"any other drugs he could buy\" for the next 17 years.  During that time, hewas \"in and out of hospitals and arrested three times\", including in 1980,  for impersonating a doctor in Aspen, Colorado in order to purchase prescriptionmedication. The charges were later dropped when Lawford completed his probation.  In 2000, Lawford was diagnosed with hepatitis C, which he contracted due tohis years of drug use.Lawford briefly attended Fordham Law School, but dropped out after a few months due to his dependency on heroin.  In April 1984, thesame year his father Peter Lawford died at the age of 61, after years of alcohol and drug abuse, Lawford's cousin and best friend David Kennedy, and third oldestson of Robert Kennedy, who also battled substance abuse issues, died of a drug overdose at the age of 28. David's death prompted Lawford to seek professionalhelp for his issues.  In 1986, at the age of 30, Lawford entered rehab and got treatment for his drug addiction, and remained clean and sober until his death in2018.CareerActingLawford chose to become, like his father, an actor in the mid-1980s, after realizing that a law career would not suit him.  He performed incommercials in Boston for two years, and then he and his wife moved to Southern California in 1988 so that he could pursue an acting career.  He worked in filmand television for over 20 years.  His acting credits included the sitcom Frasier and the drama The O.C. .  In 2003, he had a brief stint on the soap opera GeneralHospital, but was best known for playing Philip “Charlie” Brent, Jr. on All My Children from 1992 to 1995.Lawford had small roles in films such as The RussiaHouse, a 1990 spy thriller co-starring Michelle Pfeiffer and Sean Connery, and the 1991 rock-music film The Doors, which was directed by Oliver Stone.  Lawfordplayed a Navy officer in the 2000 film Thirteen Days, a drama about the 1962 Cuban Missile Crisis.  In 1997, Lawford had a role in the independent comedy KissMe Guido as the gay lover of the main character.  He also had a small role in Terminator 3: Rise of the Machines, co-starring Arnold Schwarzenegger, whodirected Lawford in a 1990 episode of the HBO anthology series Tales from the Crypt (\"The Switch\") and was married to Lawford's cousin Maria Shriver at thetime.  In 2005, Lawford appeared in the motorcycle racing film The World's Fastest Indian, co-starring Anthony Hopkins.WritingLawford wrote several books \"thatdescribed his efforts to recover from drug addiction\".  In 2005, he published his memoir, Symptoms of Withdrawal, in which he recounted decades of \"betterliving through chemistry\".  In 2009, he wrote Moments of Clarity, a compilation of first-person recollections by famous addicts, including Ed Begley, Jr., AlecBaldwin, Buzz Aldrin, Richard Dreyfuss, Martin Sheen, Judy Collins, and musician and federal prisoner Dejuan Verrett.  The book was dedicated to Lawford'scousin David Kennedy, and another cousin, Patrick J. Kennedy, wrote the introduction.  Lawford told interviewer Connie Martinson that although writing Momentsof Clarity was \"difficult\" and he did not want to do it, the book was \"meant to happen\".In 2013, Lawford published Recover to Live: Kick Any Habit, Manage AnyAddiction, in which he interviewed 100 addiction specialists and described treatments for alcohol and drug dependence, gambling, sex and porn, eating disorders,smoking, and hoarding.  In 2014, he published What Addicts Know: 10 Lessons From Recovery To Benefit Everyone; Dr. Drew Pinsky wrote theforeword.  Lawford's final book about addiction and recovery was 2016's When Your Partner Has an Addiction, \"a how-to manual for people who want to stay withtheir addicted partners\", which he co-authored with psychotherapist Beverly Engel.Lawford also wrote a book about dealing with hepatitis C, called HealingHepatitis C, which he co-wrote with Diana Sylvestre in 2009.ActivismLawford traveled around the U.S. speaking about his experiences with addiction for 20years.  He was a public health campaigner, and worked with the World Health Organization (WHO), the White House Office of National Drug Control Policy, andthe Canadian Centre on Substance Abuse, and was a public advocacy consultant to Caron Treatment Centers, an organization that ran treatment programs.  In2001, Lawford founded and was CEO of the Global Recovery Initiative, a not-for-profit organization that \"seeks to remove barriers and provide opportunities forpeople in recovery\".Lawford also worked with the United Nations (UN).  In March 2010, he traveled to Ukraine on behalf of the UN, to participate in a discussionwith health officials and advocates about \"issues related to hepatitis C (Hep C) prevention in Ukraine\", and to raise awareness.  In 2011, was named a GoodwillAmbassador on Drug Dependence Treatment and Care, in 2012, was involved in a campaign against opiate use in Afghanistan, and served on the UN's Office onDrugs and Crime.  His cousin, former Rhode Island congressman Patrick J. Kennedy, said about Lawford: \"Chris was one of those people who had a way of tellingstories that lifted people’s perceptions and judgments of those who suffer from the disease of addiction\".Personal lifeMarriages and childrenLawford was marriedand divorced three times.  He had three children, David Christopher Kennedy Lawford (named after his cousin David Kennedy),: pp. 319–320 Savannah RoseLawford, and Matthew Peter Valentine Lawford with his first wife Jeannie Olsson, an ad-sales assistant for New York Magazine.  They divorced in 2000.  In 2005,he married Russian actress Lana Antonova; they divorced in 2009.  In 2014, Lawford married yoga instructor Mercedes Miller in Hawaii.  At the time of his deathin 2018, he had been in a relationship with his girlfriend Kyla Resch since August 2017.DeathOn September 4, 2018, Lawford died of a heart attack in Vancouver,British Columbia, where he was living with his girlfriend and working to open a recovery center.  He had a medical emergency at a yoga studio and laterdied.  Patrick Kennedy told the Associated Press that Lawford had been doing \"hot yoga, which he did often, but the strain of it 'must have been too much for himat that point'\".  Lawford's cousins Maria Shriver, Patrick Kennedy, and Kerry Kennedy took to Twitter after his death, honoring Lawford's work in the recoverycommunity.FilmographyFilmTelevisionBibliographySymptoms of Withdrawal: A Memoir of Snapshots and Redemption, 2005Healing Hepatitis C, 2009Moments ofClarity: Voices from the Front Lines of Addiction and Recovery, 2009Recover to Live: Kick Any Habit, Manage Any Addiction, 2013What Addicts Know: 10 Lessonsfrom Recovery to Benefit Everyone, 2014See alsoKennedy family treeKennedy cursePassage 2:Joseph P. Kennedy Sr.Joseph Patrick Kennedy (September 6, 1888– November 18, 1969) was an American businessman, investor, philanthropist, and politician. He is known for his own political prominence as well as that of hischildren and was the patriarch of the Irish-American Kennedy family, which included President John F. Kennedy, U.S. Attorney General and Senator Robert F.Kennedy, and longtime Senator Ted Kennedy.Kennedy was born into a political family in East Boston, Massachusetts. He made a large fortune as a stock marketand commodity investor and later invested his profits in real estate and a wide range of businesses across the United States. During World War I, he was anassistant general manager of a Boston area Bethlehem Steel shipyard; through that position, he became acquainted with Franklin D. Roosevelt, who was theAssistant Secretary of the Navy. In the 1920s, Kennedy made huge profits by reorganizing and refinancing several Hollywood studios; several acquisitions wereultimately merged into Radio-Keith-Orpheum (RKO) Studios. Kennedy increased his fortune with distribution rights for Scotch whisky. He owned the largestprivately owned building in the country, Chicago's Merchandise Mart.Kennedy was a leading member of the Democratic Party and of the Irish Catholic community.President Roosevelt appointed Kennedy to be the first chairman of the Securities and Exchange Commission (SEC), which he led from 1934 to 1935. Kennedylater directed the Maritime Commission. Kennedy served as the United States Ambassador to the United Kingdom from 1938 to late 1940. With the outbreak ofWorld War II in September 1939, Kennedy was pessimistic about Britain's ability to survive attacks from Nazi Germany. During the Battle of Britain in November1940, Kennedy publicly suggested, \"Democracy is finished in England. It may be here [in the United States].\" After a controversy regarding this statement,Kennedy resigned his position.Kennedy was married to Rose Fitzgerald and had nine children. During his later life, he was heavily involved in the political careers"}
+{"doc_id":"doc_290","qid":"","text":"Passage 1:Shari RomanShari Roman is an American artist, author, screenwriter and director.BiographyOriginally commissioned by John Pierson for hisIndependent Film Channel (USA) program  Split Screen, Roman's first short film, Lars from 1-10 about Danish Dogme film maker Lars von Trier won a slot at theSundance Film Festival in 1999 and went on to screen at Edinburgh, London, Los Angeles, Tokyo, NYC's Museum of Modern Art, on television and in cinemasworldwide. She has directed a series of shorts, pop promos and additional docs  on filmmakers, including British director Mike Figgis and cinematographerAnthony Dod Mantle.  Along with the four original Dogme films; \"Celebration,\" \"The Idiots,\" \"Mifune\" and \"The King is Alive,\"  two of her short films were selectedfor 2005's  official Dogme' 95 DVD collection, celebrating the 10th anniversary of von Trier's filmmaking manifesto. She was named one of the \"Top 25 New FacesIn Independent Film\" by Filmmaker Magazine.Her book on approaches to new cinema, Digital Babylon: Hollywood, Indiewood and Dogme '95 was published in2001 by Lone Eagle Publishing, and reissued by HCD/The Hollywood Reporter in 2003 and 2007.  Her essay on von Trier, The Man Who Would Be Dogme, waspublished in the 2003 collection, Lars von Trier: Interviews by the University Press of Mississippi, as part of their Conversations with Filmmakers Series. Herfiction has appeared in Veneer Magazine,  writings on cinema, music and art have been seen in numerous publications, including British Vogue, Mojo, TheGuardian, The Independent and Time Out London. For the cover of Filmmaker Magazine (USA) she wrote The Genius of the System, a profile of multi-media artistMatthew Barney under a National Endowment for the Arts (NEA) grant.MiscellaneousShe 'sings' on Greg Weeks's 2008 solo album.DeathOn October 4, 2009,Filmmaker Magazine reported that Shari Roman had died on September 9, 2009 at Mt. Sinai Hospital in New York after a brief illness.See alsoThe SpotPassage2:Stately Wayne ManorErnie Santilli is an American writer, musician and performer better known under the pen name of Stately Wayne Manor. He is best knownfor his participation in professional wrestling as the longtime magazine columnist for Power Slam and Wrestling World.CareerMusicSelf-taught, Manor becamecompetent in songwriting, synthesizer, drum set and related percussion instruments, harmonica, vocals and electric bass. He performed in a public demonstrationwith synthesizer inventor Dr. Robert Moog. He also wrote three articles for Modern Drummer magazine.Stately is one of the \"Sigma Kids,\" a group of eleven(among dozens) of David Bowie devotees who kept a ten-day vigil outside the studio and band's hotel during the recording of Young Americans rewardedafterwards with an exclusive listening party hosted by Bowie, as documented in Rolling Stone magazine.  In 2007, a special CD/DVD re-release of the albumfeatures Manor visible in four photos in the enclosed booklet.  Photos from the event also appear in books about Bowie and the original supermodel, Gia, as wellas on the SWM website ‘Photos’ archive.  The May 2014 issue of Britain's Mojo magazine, in an article chronicling the YA sessions, featured two photos from saidbooklet, including a never-before-released color version of one, capturing Stately in the foreground. The same photo ran in the September 2016 editing of WaxPoetics magazine. Inspired by the Sigma experience, Manor assembled a short-lived band, recruiting bassist Gail Ann Dorsey.In the latter half of the Seventies,Stately became deeply immersed in the emerging punk rock music scene.  He was a regular and occasional performer at Philadelphia's Hot Club and frequentedNYC venues such as CBGB and Max's Kansas City, regularly sleeping on the couch of future recording-engineer superstar Bob Clearmountain while in New York.Manor was also slated to drum behind former Sex Pistol Sid Vicious on the Philly date of the latter's aborted \"solo tour.\"  Additionally, he wrote the liner notes forthe aborted Cheetah Chrome debut solo album on Polish Records.  (Stately did receive a 'Thank You' on that label's release \"Siren\" by RonnieSpector.)Professional wrestlingManor later regained interest in a childhood hobby, professional wrestling, and was particularly drawn towards the \"heel\" (‘badguy’) characters.Manor eventually broke into the sport as a feature writer in 1984 and, in 1986, as a pro-heel columnist for Wrestling World magazine. Manorexpanded into color commentating, managing grapplers, performing in-ring skits and ghostwriting wisecracks for the performers. Manor was a color commentatorfor the ECW promotion (in their pre-Extreme days).  He is also the first American magazine writer to give international exposure to Sabu, Rey Misterio, SeanWaltman, John Cena, Sandman and Victoria/Tara (Lisa Marie Varon).During 1993, in the midst of his 17-year Wrestling World’ employment, Manor debuted asecond villain-praising column in the British Power Slam. The combined consecutive tenures makes Manor the longest-running magazine columnist in prowrestling history.Other mediaPrintStately takes on the general public via ‘’On Manor's Mind’’ rants for the alternative set, and rages about inane celebrities in hisSNAPS—Suckas Needing A Pimp Slap—Of The Month column.A lifelong fan of obscure so-bad-they're-good films, Stately also authors ‘’Manor On Movies’’, anaffectionate homage to the genre, and one of the earliest columns of its kind still regularly published.  It is available in hard copy and on a few websites besidesits own, e.g. The Spinning Image.  His long-term side project is a book dedicated to the horror/sci-fi end of what Manor has dubbed \"junkfilms.\"Other journalsthat have carried Stately's work, under the Manor moniker or otherwise, include Inside Karate, Video Review, People (Australia), Filmfax, Tuber’s Voice (theoriginators of the term ‘couch potato’), Comic Release, Carbon 14, and Brutarian, to name a few.  In addition, he has repeatedly scored ‘Dishonorable Mention’ inthe annual international Bulwer-Lytton Fiction Contest, where the challenge is to compose the worst possible opening line for a novel.Radio and televisionIncharacter, Manor has guested on radio programs throughout the US and Canada, including morning drive time shows in Philadelphia and New York City.Manorwas once booked on Sneak Previews Goes Video—an Eighties reworking of the popular movie-review program—to discuss wrestling videos, but the segment wasred-lighted by PBS executives who considered the subject matter \"too lowbrow.\"VideoStately can be heard providing color commentary on two volumes from thePro Wrestling From Japan series, Bam Bam Bigelow And Friends, and Bruiser Brody Memorial, both featuring the American stars as they toured with the NewJapan Pro-Wrestling promotion in the late Eighties.  A few tapes of his work with primordial ECW were briefly marketed, as well. In July 2019 WWE Network madesome of these extremely early ECW matches available in their Hidden Gems section.Passage 3:Schloss Hausen (Oberaula)Schloss Hausen is a German castle andstately home in Oberaula.Passage 4:LacordaireLacordaire is a surname. Notable people with the surname include:Jean Théodore Lacordaire (1801–1870), BelgianentomologistJean-Baptiste Henri Lacordaire (1802–1861), French preacherSee alsoColegio LacordaireLacordaire AcademyPassage 5:ThibilisThibilis (a.k.a. Tibilis)was a Roman and Byzantine era town in what was Numidia but is today northeast Algeria. The site has extensive Roman and Byzantine ruins.HistoryThenumerous Latin inscriptions discovered on the site of Thibilis provided indications on the status and magistrates of this city: during the Early Empire, Thibilis wasfirst a pagus dependent on the Cirtaian confederacy which united Cirta, Rusicade, Chullu and Milève. Enjoying a certain autonomy, the city was administered bytwo magistri of annual mandate, assisted by one or two aediles.During the reigns of Antoninus Pius and Marcus Aurelius, notables of Thibilis gained the highestoffice of the Imperial administration, Quintus Antistius Adventus Aquilinus Postumus, consul suffect about 167, and his son Lucius Antistius Burrus, son-in-law ofMarcus Aurelius And consul in 181.Thibilis gained the rank of municipality headed by two duumviri  between 260  and 268  which corresponds to the periodestimated for the dissolution of the confederacy.Local cults included flamen Augusti for imperial worship and Saturni (priest of Saturn) and a local deity, Bacaxand Magna Mater deorum Idaea, the Great Mother of the Gods.See alsoList of cultural assets of AlgeriaPassage 6:Roman and the Four StepsRoman and the FourSteps was a popular band in Hong Kong in the 1960s. Roman formed the band drawing inspirations from The Beatles.CareerThe band was noteworthy for singingin English and often singing British and American songs.  Roman Tam would eventually leave the band and enter the cantopop genre solo where he wouldeventually be labelled the \"Godfather of Cantopop\" after his death.DiscographyReflections of Charlie Brown b/w I Just Can't Wait (1967)Day Dream b/w CathyCome Home (1969)Passage 7:DugèsDugès is a surname. Notable people with the surname include:Antoine Louis Dugès (1797–1838), French obstetrician andnaturalistAlfredo Dugès (1826–1910), French-born Mexican physician and naturalist, son of AntoineMarie Jonet Dugès (1730–1797), French midwifePassage8:Ćiro TruhelkaĆiro Truhelka (2 February 1865 – 18 September 1942) was a Croatian archeologist, historian and art historian who devoted much of hisprofessional life to the study of the history of Bosnia and Herzegovina. He wrote about prehistoric, Roman and medieval findings, Turkish documents, Stećci,Roman and medieval money, and bosančica. He was also engaged in albanology. In addition, he was the first curator of the National Museum of Bosnia andHerzegovina.Early life and educationĆiro Truhelka was born on 2 February 1865 in Osijek to Antun Vjenceslav and Marija (née Schön) Truhelka. His father was ofCzech and mother of German origin. He finished elementary school in Osijek after which he enrolled in high school that he eventually finished in Zagreb where hemoved after his father's death along with his mother and siblings, Dragoš and Jagoda Truhelka. In youth, he showed interest in painting and technical sciences,but because of his family's poor financial situation, he opted for the study of philosophy at the University of Zagreb which lasted three years. He chose art historyand history as main subjects. He received his doctorate in 1885 with the dissertation \"Andrija Medulić: His Life and Work\".Professional careerAs a student,Truhelka worked with Izidor Kršnjavi at the Strossmayer Gallery of Old Masters and made institutions' first catalog (1885). In 1886, he became secretary of theMuseum Society for Bosnia and Herzegovina and the first curator of the National Museum of Bosnia and Herzegovina. His task was preparing Museum's opening in1888. He was only 21 years old when he came to Sarajevo in which he lived for 40 years. In the  Museum, he managed the ethnographic, prehistoric, andmedieval collections, but as there were not many experts, he cared for all museum collections except those from the field of natural sciences. As a curator,"}
+{"doc_id":"doc_291","qid":"","text":"Passage 1:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in NewZealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet SarahMontagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their greatgrandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to NewZealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish ofGeraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons,1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in hisfirst match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with CharlesCorfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, butwent on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand crickethistorian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterburywon again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was amember of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a SouthCanterbury XVIII against the touring Queensland cricket team.Passage 2:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black RhodesProfessor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School ofInterdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University ofPennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites andcultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in MassCommunication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and aPh.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapersand magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistantprofessor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published worksinclude:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria:Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-MilitaryNigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa:Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance andthe Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited withEbenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University toFaculty of African and Interdisciplinary Area Studies.Passage 3:Milton RosmerMilton Rosmer (4 November 1881 – 7 December 1971) was a British actor, filmdirector and screenwriter. He made his screen debut in The Mystery of a Hansom Cab (1915) and continued to act in theatre, film and television until 1956. In1926 he directed his first film The Woman Juror and went on to direct another 16 films between 1926 and 1938.He began his acting career as a stage actor andappeared as Francis Tresham in \"The Breed of the Treshams\" (1903) opposite John Martin-Harvey.Milton Rosmer died in Chesham, Buckinghamshire in1971.Partial filmographyActorScreenwriterBalaclava (1928)DirectorThe Perfect Lady (1931)P.C. Josser (1931)Many Waters (1931)After the Ball (1932)ChannelCrossing (1933)The Secret of the Loch (1934)What Happened to Harkness? (1934)Emil and the Detectives (1935)Everything Is Thunder (1936)The Great Barrier(1937)The Challenge (1938)Passage 4:Maria Marten, or The Murder in the Red BarnMaria Marten, or The Murder in the Red Barn is a 1935 British film melodramafilm starring Tod Slaughter and Eric Portman. It was directed by Milton Rosmer. It is based on the true story of the 1827 Red Barn Murder where a 25 year oldmother is shot dead by her lover (Squire William Corder) and her stepmother claims to have dreamt of the murder the night of the event, before the youngwoman's body was discovered. The film is also known as Murder in the Red Barn (short UK title).The film is based on the popular 19th-century melodramas aboutthe case and is highly theatrical, with an opening in which all the characters are introduced by a Master of Ceremonies in front of a painted backdrop, but is alsoslightly more lavishly produced and cinematically inventive than the later films directed by Tod Slaughter's producer George King. Slaughter gives a full-throatedover-the-top performance in a calculatedly melodramatic style, encouraging the audience to vicariously share in his villainy; this approach became his trademarkand gives his films a cult status of their own peculiar kind.PlotWilliam Corder seduces then murders innocent country maiden Maria Marten in the red barn beforeburying her body beneath the barn floor. She gets murdered because she becomes pregnant and too annoying for William. Her gypsy lover Carlos is hunted downas a suspect, but brings Corder to justice.CastTod Slaughter as Squire William CorderSophie Stewart as Maria MartenD. J. Williams as Farmer Thomas MartenEricPortman as Carlos, the gypsyClare Greet as Mrs. MartenGerard Tyrell as Timothy WinterbottomAnn Trevor as Nan, the maidStella Rho as Gypsey CroneDennisHoey as Gambling WinnerQuentin McPhearson as Matthew SennettAntonia Brough as Maud SennettNoel Dainton as Officer Steele of the Bow StreetRunnersExternal linksMaria Marten, or The Murder in the Red Barn at IMDbPassage 5:Maria Marten (1928 film)Maria Marten is a 1928 British silent drama filmdirected by Walter West starring Trilby Clark, Warwick Ward and Dora Barton. It is based on the real story of the Red Barn Murder in the 1820s, and is one of fivefilm versions of the events. The film shifted the action to fifty years earlier to the height of the Georgian era. This was the last of the silent film adaptations of theMaria Marten story, and its success paved the way for the much better 1935 sound film remake starring Tod Slaughter. A 35mm print of the 1928 silent filmexists in the British Film Institute's archives.PlotWhen his secret lover Maria Marten tells him she is pregnant with his child and asks him to marry her, thevillainous Squire Corder murders her and buries her body in the red barn. The dead woman's ghost later visits her mother in a dream, and leads her to find herdaughter's body, incriminating the squire.CastTrilby Clark as Maria MartenWarwick Ward as Squire William CorderDora BartonJames Knight as CarlosCharlesAshton as Sam GilesVesta Sylva as Ann MartenFrank Perfitt as John MartenMargot Armand as Lady Maud DerringhamJudd Green as William GilesTom Morris asIshmaelChili BouchierPassage 6:Viva Knievel!Viva Knievel! is a 1977 American action film directed by Gordon Douglas and starring Evel Knievel (as himself), GeneKelly and Lauren Hutton, with an ensemble supporting cast including Red Buttons, Leslie Nielsen, Cameron Mitchell, Frank Gifford, Dabney Coleman and MarjoeGortner.PlotDaredevil motorcycle rider Evel Knievel stars as himself in this fictional story. The film opens with  Knievel sneaking into an orphanage late at night todeliver presents: Evel Knievel action figures. One of the boys casts away his crutches, telling Knievel that he'll walk after his accident just as Knievel had.Knievelthen prepares for another of his stunt jumps. We are introduced to his alcoholic mechanic Will Atkins (Gene Kelly), who was a former stunt rider himself before hiswife died, driving him to drink. While signing autographs, Knievel is ambushed by photojournalist Kate Morgan (Lauren Hutton), who has been sent to photographthe jump: if Knievel is killed, it will be a great story.As it happens, Evel does crash while attempting the stunt, and though badly injured, survives. He beratesMorgan, announces his retirement, and is taken to the hospital.While rehabilitating, Knievel resists all attempts to get back on the horse, including those fromJessie (Marjoe Gortner), a former protégé with mysterious backers who want Evel to do a jump in Mexico. Eventually, though, Knievel relents and agrees.Asubplot develops when Will's estranged son Tommy shows up from boarding school, and asks to join the tour. Will, who is reminded of his dead wife, is cold toTommy, leaving Knievel to show the boy kindness. Likewise, Kate reappears, apologetic for her previous motives, and now wishes that he will never stopjumping.Meanwhile, Jessie's benefactor is revealed: drug lord Stanley Millard (Leslie Nielsen). Millard (without Jessie's knowledge) plans to cause a fatal accidentduring the jump. He will then have Knievel's body transported back to America in an exact duplicate of the tour trailer, but one that has a massive supply of drugshidden in the walls.Will, however, stumbles onto the plot, is drugged, and sent to a psychiatric ward under the control of the corrupt Ralph Thompson (DabneyColeman) to prevent him from spilling the beans. Evel sneaks into the ward late at night when Will has dried out, but all Will can remember is that someoneknocked him out. Knievel leaves him there to keep whoever is behind the plot in the dark.As Knievel prepares for the jump (down a massive ramp and over a fire"}
+{"doc_id":"doc_292","qid":"","text":"Passage 1:Ma che freddo fa\"Ma che freddo fa\" is a 1969 song composed by Claudio Mattone (music) and Franco Migliacci (lyrics).  The song premiered at the 19th edition of the Sanremo Music Festival with a double performance of Nada and The Rokes, placing at the fifth place. The first verses include a citation of Donovan's \" Laléna\". Nada's version was a massive success, selling about one million copies, mainly in the Italian and Spanish markets.The song was later covered by numerous artists, including Mina, Giusy Ferreri, Renzo Arbore, Piccola Orchestra Avion Travel, and, with the title \"Et pourtant j'ai froid\", Dalida.Track listingNada version7\" single - TL 19\"Ma che freddo fa\" (Claudio Mattone, Franco Migliacci)\"Una rondine bianca\" (Claudio Mattone)The Rokes version7\" single - AN 4172\"Ma che freddo fa\" (Claudio Mattone, Franco Migliacci)\"Per te, per me\" (Shel Shapiro, Franco Migliacci)CertificationsPassage 2:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 3:Xu ShaofaXu Shaofa (Hsu Shao-Fa) (born 1947), is a male former international table tennis player from China.Table tennis careerHe won a gold medal at the 1975 World Table Tennis Championships  with Li Zhenshi, Liang Geliang, Lu Yuansheng and Li Peng as part of the Chinese team. In addition he won a silver medal in 1973.See alsoList of table tennis playersList of World Table Tennis Championships medalistsPassage 4:Alonso MudarraAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published on December 7, 1546 in Seville.  These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs for different tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 5:Wang Chien-faWang Chien-fa (Chinese: \u0000\u0000\u0000; pinyin: Wáng Qiánfā; born 19 March 1949) is a politician in Taiwan. He was the Magistrate of Penghu County from 20 December 2005 until 25 December 2014.EducationWang obtained his bachelor's degree from the Department of Public Administration at National Open University.Penghu County Magistrate2005 Penghu County Magistracy electionWang was elected Magistrate of Penghu County as the Kuomintang candidate on 3 December 2005 and assumed office on 20 December 2005.2009 Penghu County Magistracy electionWang was reelected for a second term on 5 December 2009.See alsoPenghu County GovernmentPassage 6:Alexander CourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music for the original Star Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester, New York, in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During that period, he also found the time to compose music for the radio. His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"Life Upon the Wicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6, 1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile's marriage to Courage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) and Brian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid and accomplished photographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paid at least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended in divorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went on to score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive "}
+{"doc_id":"doc_293","qid":"","text":"Passage 1:Eleanor of Aragon, Countess of ToulouseEleanor of Aragon, Countess of Toulouse (1182–1226) was a daughter of King Alfonso II of Aragon and Sanchaof Castile.She married Raymond VI, Count of Toulouse.LifeAccording to the Ex Gestis Comitum Barcinonensium, she was the second daughter and fourth of ninechildren of the troubadour king, Alfonso II of Aragon and his wife Sancha of Castile. She had for older brothers Pierre II the Catholic and Alphonse II, Count ofProvence and Forcalquier, and for sisters Constance, first queen of Hungary, then empress by her marriage with Frederick II, and Sancie, countess ofToulouse.According to the Crónica of San Juan de la Peña, her brother Peter II sealed the union of Eleanor, with Raymond VI of Toulouse, Duke of Narbonne andMarquis of Provence, in order to put an end to the dissensions with the counts of Toulouse.Raymond VI was the eldest son of Raymond V and Constance ofFrance, daughter of King Louis VI and Adelaide de Maurienne. Eleanor was Raymond VI's 6th wife, having divorced an unknown daughter and sole heiress ofEmperor Isaac Komnenos of Cyprus just two years earlier. Raymond and Eleanor did not have children.By this marriage she became countess of Toulouse whichwould suffer the pangs of the war and the Albigensian Crusade, in the following years. The crusade was initiated by Pope Innocent III and headed by the FrenchCrown against Toulouse and Catharism.Passage 2:Maria of Aragon, Queen of CastileMaria of Aragon ((1403-02-24)24 February 1403 – (1445-02-18)18 February1445) was the Queen of Castile as the first wife of King John II from their marriage in 1420 until her death in 1445. She was the daughter of Ferdinand I ofAragon and Eleanor of Alburquerque.LifeMaria was married by her brother in his ambition to place his father's issue on the thrones of Castile and Aragon. Themarriage took place in simplicity. Maria was occasionally politically active on behalf of her brothers, the princes of Aragon; she disregarded her husband's policy infavor of her brothers and the relationship between Maria and John was somewhat tense.After her death on 18 February 1445, her husband married Isabella ofPortugal and they became the parents of Isabella I of Castile. Maria has no descendants today, her line having gone extinct within a few decades of herdeath.ChildrenMaria and John II of Castile had four children:Catherine, Princess of Asturias ((1422-10-05)5 October 1422–(1424-09-17)17 September1424).Eleanor, Princess of Asturias ((1423-09-10)10 September 1423–(1425-08-22)22 August 1425).Henry IV of Castile ((1425-01-05)5 January1425–(1474-12-11)11 December 1474). First married Blanche II of Navarre and later married Joan of Portugal.Infanta Maria (c. 1428–c. 1429).AncestryPassage3:Sancha of LeónSancha of León (c. 1018 – 8 November 1067) was a princess and queen of León. She was married to Ferdinand I, the Count of Castile who laterbecame King of León after having killed Sancha's brother in battle. She and her husband commissioned the Crucifix of Ferdinand and Sancha.LifeSancha was adaughter of Alfonso V of León by his first wife, Elvira Menéndez. She became a secular abbess of the Monastery of San Pelayo.In 1029, a political marriage wasarranged between her and count García Sánchez of Castile. However, having traveled to León for the marriage, García was assassinated by a group of disgruntledvassals. In 1032, Sancha was married to García's nephew and successor, Ferdinand I of Castile, when the latter was 11 years old.At the Battle of Tamarón in1037 Ferdinand killed Sancha's brother Bermudo III of León, making Sancha the heir and allowing Ferdinand to have himself crowned King of León. Sancha's ownposition as queen of León is unclear and contradictory. She succeeded to the throne of León as the heir of her brother and in her \"own right\" but despite this, sheis not clearly referred to as queen regnant, and after the death of her husband the throne passed to her son, despite the fact that she was still alive.FollowingFerdinand's death in 1065 and the division of her husband's kingdom, she is said to have played the futile role of peacemaker among her sons.She was a devoutCatholic, who, with her husband, commissioned the crucifix that bears their name as a gift for the Basilica of San Isidoro.ChildrenSancha had five children:Urracaof ZamoraSancho II of León and CastileElvira of ToroAlfonso VI of León and CastileGarcía II of GaliciaDeath and burialShe died in the city of León on 8 November1067. She was interred in the Royal Pantheon of the Basilica of San Isidoro, along with her parents, brother, husband, and her children Elvira, Urraca andGarcía.The following Latin inscription was carved in the tomb in which were deposited the remains of Queen Sancha:\"H. R. SANCIA REGINA TOTIUS HISPANIAE,MAGNI REGIS FERDINANDI UXOR. FILIA REGIS ADEFONSI, QUI POPULAVIT LEGIONEM POS DESTRUCTIONEM ALMANZOR. OBIIT ERA MCVIIII. III N. M.\"Whichtranslates to:\"Here lies Sancha, Queen of All Spain, wife of the great king Ferdinand and daughter of king Alfonso, who populated León after the destruction ofAlmanzor. Died in the one thousand one hundred eighth era on the third nones of May [5 May 1071].\"Passage 4:Eleanor of Aragon, Queen of CastileEleanor ofAragon (20 February 1358 – 13 August 1382) was a daughter of King Peter IV of Aragon and his wife Eleanor of Sicily. She was a member of the House ofBarcelona and Queen of Castile by her marriage.FamilyEleanor was the youngest child and only daughter of her father by his third marriage. Eleanor was a sisterof John I of Aragon and Martin of Aragon. She was a half-sister of Constance, Queen of Sicily, Joanna, Countess of Ampurias and Isabella, Countess ofUrgell.MarriageAt Soria on the 18 June 1375, Eleanor married John I of Castile. Her marriage was arranged as part of the arrangements for peace betweenAragon and Castile agreed at Almazán on the 12 April 1374 and at Lleida on the 10 May 1375.Eleanor and John were married for seven years, in which time theyhad three children:Henry (4 October 1379 – 25 December 1406), succeeded his father as King of CastileFerdinand (27 November 1380 – 2 April 1416), becameKing of Aragon in 1412Eleanor (b. 13 August 1382), died youngAfter seven years of marriage on 13 August 1382, Eleanor died giving birth to her daughter andnamesake Eleanor, who died young. Eleanor's son Ferdinand later claimed his mother's rights on the Kingdom of Aragon when both of Eleanor's brothers diedwithout surviving sons.Passage 5:Sancha of Castile, Queen of AragonSancha of Castile (21 September 1154/5 – 9 November 1208) was the only surviving child ofKing Alfonso VII of Castile by his second wife, Richeza of Poland.  On January 18, 1174, she married King Alfonso II of Aragon at Zaragoza; they had at leasteight children who survived into adulthood.A patroness of troubadours such as Giraud de Calanson and Peire Raymond, the queen became involved in a legaldispute with her husband concerning properties which formed part of her dower estates. In 1177 she entered the county of Ribagorza and took forcible possessionof various castles and fortresses which had belonged to the crown there.After her husband died at Perpignan in 1196, Sancha was relegated to the background ofpolitical affairs by her son  Peter II. She retired from court, withdrawing to the Hospitaller convent for noble ladies, the Monastery of Santa María de Sigena, atSigena, which she had founded. There she assumed the cross of the Order of St John of Jerusalem which she wore until the end of her life. The queen motherentertained her widowed daughter Constance at Sigena prior to her leaving Aragon to marry Emperor Frederick II in 1208. She died soon afterwards, agedfifty-four, and was interred in front of the high altar of her foundation at the Monastery of Santa María de Sigena; her tomb is still there to be seen.IssuePeter II(1174/76 – 14 September 1213), King of Aragon and Lord of Montpellier.Constance (1179 – 23 June 1222), married firstly King Imre of Hungary and secondlyFrederick II, Holy Roman Emperor.Alfonso II (1180 – February 1209), Count of Provence, Millau and Razès.Eleanor (1182 – February 1226), married CountRaymond VI of Toulouse.Ramon Berenguer (ca. 1183/85 – died young).Sancha (1186 – aft. 1241), married Count Raymond VII of Toulouse, in March1211Ferdinand (1190 – 1249), cistercian monk, Abbot of Montearagón.Dulcia (1192 – ?), a nun at Sijena.Passage 6:Eleanor of Castile (died 1244)Eleanor ofCastile (1200—1244) was Queen of Aragon by her marriage to King James I of Aragon.QueenshipEleanor was the daughter of Alfonso VIII of Castile and Eleanorof England. In 1221 at Ágreda, Eleanor married King James I of Aragon; she was nineteen and he was fourteen. The next six years of James's reign were full ofrebellions on the part of the nobles. By the Peace of Alcalá of 31 March 1227, the nobles and the king came to terms. The couple had a son, Alfonso, who marriedConstance of Béarn. Eleanor's marriage to James was annulled in 1230, and the agreement prohibited her from remarrying. Their son, Alfonso, was declaredlegitimate, but he pre-deceased James.Monastic lifeEleanor became a nun after the annulment. She went to the Abbey of Santa María la Real de Las Huelgas tojoin her elder sister Berengaria who had retired from ruling Castile and Leon, and their other sister Constance, who was long a nun there.  All three sisters diedthere, Constance in 1243, Eleanor in 1244, and Berengaria in 1246.  All are buried in the Abbey.BurialEleanor was buried in the Monastery of Las Huelgas inBurgos. Her remains were deposited in a tomb which is now located in the Nave of Santa Catarina of the Gospel, and lies between the tomb containing theremains of Philip, son of Sancho IV and María de Molina, which is placed to the right, and the tomb containing the remains of Peter, brother of Philip.During workon the Monastery in the middle of the twentieth century it was found that the remains of Eleanor, mummified and in good condition, lay in her tomb of limestone;the roof had two slopes and was smooth, although in the past was polychrome. Her coffin was wooden and devoid of cover, although there were still remnants ofits shell and lysed cross made of studded gold braid, as well as clothing that was buried with the Queen, among which highlighted three brocade garments inArabic, which Manuel Gómez Moreno considered similar to those found in the grave of her grandnephew Philip.Passage 7:Constance of AragonConstance ofAragon (1179 – 23 June 1222) was an Aragonese infanta who was by marriage firstly Queen of Hungary, and secondly Queen of Germany and Sicily and HolyRoman Empress. She was regent of Sicily from 1212 to 1220.She was the second child and eldest daughter of the nine children of Alfonso II of Aragon andSancha of Castile.Queen of HungaryHer father died in 1196 and Constance's fate was decided by the new King, her brother Peter II. Peter arranged her marriagewith King Emeric of Hungary, and the nineteen-year-old Constance left Aragon for Hungary. The wedding took place in 1198. Two years later, in 1200, the Queengave birth to a son, called Ladislaus.When King Emeric was dying, he crowned his son Ladislaus co-ruler on 26 August 1204. The King wanted to secure his"}
+{"doc_id":"doc_294","qid":"","text":"Passage 1:Lifted BellsLifted Bells are an American rock band from Chicago, Illinois. The band consists of members of the bands Their/They're/There, Braid, andStay Ahead of the Weather.CareerLifted Bells began in 2013 with the release of a self-titled EP, via Naked Ally Records. In 2014, Lifted Bells released their secondEP titled Lights Out via Naked Ally. In 2016, Lifted Bells signed to Run For Cover Records and released their third EP titled Overreactor.DiscographyEPsLifted Bells(2013, Naked Ally)Lights Out (2014, Naked Ally)Overreactor (2016, Run For Cover)Minor Tantrums (2018, Run For Cover)Passage 2:Tri-State (band)Tri-State isan American rock band from New Jersey.AboutTri-State is a four-piece jangle pop and indie rock band from Maplewood, New Jersey, that formed in 2010,consisting of vocalist and guitarist Julian Brash, drummer Brady McNamara, bassist and vocalist Scott Stemmermann and vocalist and guitarist Jeff Zelevansky.Their music is described as \"jangle-pop\" and \"guitar-based rock'n'roll,\" and they draw comparison to the groups R.E.M., Dinosaur Jr., Eleventh Dream Day, andthe artist Neil Young. They self-released the six-track EP, entitled Tri-State, on May 24, 2016. A review of the EP by Jim Testa in Jersey Beat says \"this is a terrificrecord [...] that neatly draws inspiration from Nineties alterna-rock without sounding dated or derivative. The guitars rumble and roar, the drumming alwayskeeps things moving forward, and the vocals and lyrics bring a perspective you just don't find in younger bands.\" Independent Clauses writes \"Tri-State's tunesunfold in pleasing ways[,] creat[ing] an ominous mood that builds and builds,\" adding that \"if you're into '90s indie-rock or mature songwriting that appreciateswith multiple listens, give [Tri State] a spin.\" Tri-State signed with Mint 400 Records in 2014.Mint 400 RecordsThat year they contributed the song \"Take a Bow\"for the compilation, Patchwork, and a rendition of \"Carrie Anne\" for the 2015 compilation, 1967. Tri-State released two singles \"New Minuits\" and \"TitanicBrothers,\" on September 21, 2015. They performed at the 2016 North Jersey Indie Rock Festival. Their second EP, the five-track We Did What We Could Do, wasreleased with Mint 400 Records, on October 22, 2016. Bob Makin of Courier News describes the EP as \"pop hooks, vocal harmonies, driving beats, and intricate,intertwined guitars with intelligent [and] probing lyrics.\" It was listed in Jersey Beat's Top Local Releases\" of 2016. The lead track \"Summer Nun\" appears on thecompilation album, NJ / NY Mixtape.DiscographyLP\"Hey Pal\" (2019)EPsDoom Loop (2021)Tri-State (2013)We Did What We Could Do (2016)Singles\"New Minuits /Titanic Brothers\" (2015)Appearing onPatchwork (2014)1967 (2015)NJ / NY Mixtape (2018)Passage 3:The M'sThe M's is an American indie rock band fromChicago.HistoryThe M's were formed in 2000 by Josh Chicoine, Joey King, Steve Versaw and Robert Hicks. Chicoine, King and Versaw met in the winter of 1999and began collaborating in a makeshift studio in Chicago's Bucktown neighborhood in which the short lived group, Sanoponic, was formed. After Sanoponic'sdissolution, they began working on new material with Hicks who had the name The M's in mind for a new project. Their debut EP appeared in 2002 on BrillianteRecords, followed by a full-length in 2004. They signed with Polyvinyl Record Co. for their 2006 and 2008 releases. Glenn Rischke joined the group in 2008 for therelease of their last recording to date \"Real Close Ones\". The group decided to go into \"a long hiatus\" on March 6, 2009. In 2011, The M's released a digital-onlyEP \"The Personal Touch\" on Movings label, recorded collaboratively with electronic trio from Chicago TV Pow.MembersJosh Chicoine - vocals, guitarSteve Versaw -drumsJoey King - vocals, bassRobert Hicks - vocals, guitarGlenn Rischke - Keyboards, percussion (Joined 2008/2009)DiscographyThe M's EP (Brillante Records,2002)The M's LP (Brillante, 2004)Split with Dr. Dog (Polyvinyl Record Co., 2006)Future Women (Polyvinyl, 2006)Real Close Ones (Polyvinyl, 2008)The PersonalTouch with TV Pow (Movings, 2011)Passage 4:Knuckle PuckKnuckle Puck is an American rock band, formed in 2010 in the suburbs of Chicago, Illinois. The groupreleased several EPs, one of which, While I Stay Secluded (2014), peaked at number 5 on the Heatseekers Albums chart. The band released a split EP with the UKband Neck Deep. The group signed to Rise in 2014 and released its debut album, Copacetic, through the label in 2015.The band's name comes from the\"knucklepuck\" shot in ice hockey, which was popularized by the 1994 film D2: The Mighty Ducks.HistoryFormation and early releases (2010–2014)Knuckle Puckstarted out covering songs in fall 2010 in the outskirts of Chicago. The band got its name from a Stick to Your Guns t-shirt that said \"Knuckle Puck Crew\". Theband consisted of lead vocalist Joe Taylor, lead guitarist Kevin Maida, and drummer John Siorek. The group started writing original songs in April 2011 with theaddition of rhythm guitarist Nick Casasanto. The group had friends fill in on bass. In July, the band played its first ever show. In October, the band released aself-titled EP, this was followed up by the Acoustics EP in March 2012. In October, the band released the Don't Come Home EP. The band co-headlined a tour withSeaway from late May to early June 2013. In August, the band self-released The Weight That You Buried EP. In February 2014 Bad Timing and Hopeless releaseda split EP that featured two songs each from Knuckle Puck and Neck Deep. Both bands toured together (alongside Light Years) from late February to early April.On March 16, the band performed at South by So What?! festival. In spring, the band gained bassist Ryan Rumchaks. Between May and June, the band supportedMan Overboard on the group's The Heart Attack Tour alongside Transit, and Forever Came Calling.A music video was released for the song \"No Good\" in June. Itwas directed by Eric Teti. In late July, it was announced the band were recording, and in early August the band finished recording its next release. Knuckle Pucksupported Senses Fail on the band's Let It Enfold You 10th anniversary tour from late August till early October 2014. In early September, the band released a 7\"flexi containing the songs \"Oak Street\" and \"Home Alone\", the former of which was intended for release on the group's next EP. The flexi was released by BadTiming. On October 16, 2014, \"Bedford Falls\" was available for streaming. On October 23, the While I Stay Secluded EP was made available for streaming and onOctober 28, it was released by Bad Timing. The EP had peaked at number 5 on the Heatseekers Albums in the U.S. Guitarist Kevin Maida revealed that the band\"firmly and confidently\" considered the EP the group's best work so far. On October 31, the band released a music video for \"Oak Street\". In November andDecember, the band supported Modern Baseball on the group's winter tour.Copacetic and Shapeshifter (2014–2020)In November 2014, the various artistscompilation album Punk Goes Pop 6 was released, it featured Knuckle Puck covering The 1975 song \"Chocolate\". On December 22, 2014, Knuckle Puck signed toRise Records. Maida said that Rise would be \"a bountiful new home\" for the group and would help the band evolve. Throughout January and February 2015 theband supported Neck Deep on the band's The Intercontinental Championships Tour. In late February, the band announced it had started recording its debutalbum and by early April, the group had finished. The group joined The Maine's The American Candy Spring 2015 Tour, as a support act, throughout April andMay. On June 11, the band's debut album, Copacetic, was announced. The artwork and track list was revealed. On June 19, a music video was released for\"Disdain\". On June 30, \"True Contrite\" was made available for streaming. The band played on the 2015 edition of Warped Tour. On July 14, \"Pretense\" was madeavailable for streaming. On July 23, the album was made available for streaming. Copacetic released on July 31. The band supported State Champs on thegroup's European tour in September and October. The band toured the U.S. in October and November, with support from Seaway, Head North and Sorority Noise.In February and March 2016, the band supported Neck Deep and State Champs on the groups' co-headlining tour of the U.S.In March 2017, a 7-inch vinyl singlewas released, featuring the tracks \"Calendar Days\" and \"Indecisive\". On July 27, the band released the first single from their at the time upcoming album ontoYouTube and iTunes titled \"Gone\". A few months later in September the second single \"Double Helix\" was released on YouTube with its music video. The groupreleased their second album, Shapeshifter, on October 13.In October 2019 Knuckle Puck released a 7\" vinyl containing Gold Rush and Fences, previously releasedwith Neck Deep and containing two more tracks. This vinyl sold out in a few hours.20/20 (2020–present)On February 21, 2020, the band released a single called\"Tune You Out\", and commenced a tour across North America with Heart Attack Man throughout February and March 2020, which was cut short by the onset ofthe COVID-19 pandemic. On April 21, 2020, a second single and 7\" record \"RSVP\" was released. A music video for the song \"Breathe\" was released on June 18,2020, the song features Derek Sanders from the band Mayday Parade. The band released their third album 20/20 on September 18, 2020. The band playedmultiple drive in shows in October 2020 with Hot Mulligan. In December 2021, the band headlined a tour celebrating their tenth anniversary with Arm's Length,Carly Cosgrove, and Snow Ellet.On December 1, 2021, the band released a single \"Levitate\" and announced a US and European tour from March 2022 to June2022 with co-headliner Hot Mulligan with support by Meet Me at the Altar and Anxious during the US shows. The band released an extended play Disposable Lifeon February 4, 2022, with Joe Taylor calling the recording of the EP \"the most fun we've had in a long time\" The band supported New Found Glory on the group'sUS tour through September 2022 to November 2022.On October 20, 2022, the band announced that they had signed with Pure Noise Records and released a newsingle Groundhog Day. The band announced that their upcoming 4th LP would release in 2024.  The band later announced a compilation vinyl releaseRetrospective consisting of their first two EP's and their split with Neck Deep.StyleKnuckle Puck sound has been described by AllMusic biographer JamesChristopher Monger as a \"melodic blend of old-school punk rock and emo\", compared to the likes of The Wonder Years, The Story So Far, and Rise Against.Copacetic has been described as emo and pop punk. AllMusic reviewer Timothy Monger noted the album's sound \"ranging from blazing, epic emo and pop-punk toslower, more contemplative fare.\" Cleveland.com reviewer Troy L. Smith noted that people who liked early 2000s pop punk albums such as Simple Plan's NoPads, No Helmets...Just Balls (2002) and New Found Glory's Sticks and Stones (2002) would enjoy Copacetic.Side projectsRumchaks released a solo EP, Decades,in July 2013. Rumchaks plays guitar and sings vocals in Oak Lawn, Illinois-based band Homesafe, alongside vocalist/bassist Tyler Albertson and drummer Eman"}
+{"doc_id":"doc_295","qid":"","text":"Passage 1:Marzuban ibn Muhammad ibn ShaddadMarzuban ibn Muhammad ibn Shaddad was a Kurdish ruler, the brother of Lashkari ibn Muhammad. He succeeded his brother to the throne of the Shaddadids in 978. He was incompetent, however, and reigned only until his murder by his younger brother Fadl ibn Muhammad in 985.SourcesMinorsky, Vladimir (1977) [1953]. Studies in Caucasian History. Cambridge: Cambridge University Press. ISBN 0-521-05735-3.Peacock, Andrew (2011). \"SHADDADIDS\". Encyclopædia Iranica, Online Edition.Passage 2:Shabbir MuhammadShabbir Muhammad (born 3 March 1978) is a Pakistani field hockey player. He competed in the men's tournament at the 2004 Summer Olympics.Passage 3:Maria al-QibtiyyaMāriyya bint Sham\u0000ūn (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000), better known as Māriyyah al-Qib\u0000iyyah or al-Qub\u0000iyya (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000), or Maria the Copt, died 637, was an Egyptian woman who, along with her sister Sirin bint Shamun, was sent to the Islamic prophet Muhammad in 628 as a gift by Al-Muqawqis, a Christian governor of Alexandria, during the territory's Sasanian occupation. She and her sister were slaves. She spent the rest of her life in Medina and had a son, Ibrahim with Muhammad. The son died as an infant and she died almost five years later.Al-Maqrizi says that she was a native of Hebenu (Coptic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, Koinē Greek: \u0000λάβαστρων πόλις Alábastrōn pólis, Arabic: \u0000\u0000\u0000\u0000\u0000, romanized: al-Khafn), a village located near Antinoöpolis.BiographyIn the Islamic year 6 AH (627 – 628 CE), Muhammad is said to have had letters written to the great rulers of the Middle East, proclaiming the continuation of the monotheistic faith with its final messages and inviting the rulers to join. The purported texts of some of the letters are found in Muhammad ibn Jarir al-Tabari's History of the Prophets and Kings. Tabari writes that a deputation was sent to an Egyptian governor named as al-Muqawqis. Maria was a slave who was offered as a gift of goodwill to Muhammad in reply to his envoys inviting the governor of Alexandria to Islam. Muhammad emancipated her after the birth of her son.Tabari recounts the story of Maria's arrival from Egypt:In this year Hātib b. Abi Balta'ah came back from al-Muqawqis bringing Māriyah and her sister Sīrīn, his female mule Duldul, his donkey Ya'fūr, and sets of garments. With the two women al-Muqawqis had sent a eunuch, and the latter stayed with them. Hātib had invited them to become Muslims before he arrived with them, and Māriyah and her sister did so. The Messenger of God, peace and blessings of Allah be upon Him, lodged them with Umm Sulaym bt. Milhān. Māriyah was beautiful. The prophet sent her sister Sīrīn to Hassān b. Thābit and she bore him 'Abd al-Rahmān b. Hassān.The death of Ibrahim caused Muhammad to weep.Status as a wife or concubineMuhammad's earliest biographers, like Ibn Ishaq, Ibn Sa’d, and al-Tabari, mentioned Mariyah as the Prophet’s slavegirl or concubine in their sirah.Ibn Qayyim al-Jawziyya is another scholar and biographer of prophet Muhammad who writes a sirah called Zad al-Ma'ad where he mentioned Mariyah as a slave girl.Like Rayhana bint Zayd, there is some debate between historians and scholars as to whether Mariyah ever became Muhammad's wife or remained a concubine. An indication that she was a concubine is that when she bore her son to Muhammad, she was set free.Ibn ‘Abbas said: When Maria gave birth to Ibrahim the Messenger of Allah (\u0000) said, ‘Her son has set her free.’  There is also strong evidence that there was no living quarter for her in the proximity of the Prophet's Mosque. Only the wives of Muhammad had their quarters adjacent to one another in the proximity of his mosque at Medina. Maria was made to reside permanently in an orchard, some three kilometers from the mosque. Evidence that suggests she was a concubine is in the narration:Anas said:  The Messenger of Allah (\u0000) had a female-slave (amat) with whom he had intercourse, but ‘Aishah and Hafsah would not leave him alone until he said that she was forbidden for him. Then Allah, the Mighty and Sublime, revealed: “O Prophet! Why do you forbid (for yourself) that which Allah has allowed to you.’ until the end of the Verse.”The ‘female-slave’ referred to in this narration was Maria, the Copt, as specified in a hadith attributed to Umar and classified as sahih by Ibn Kathir, which names her Umm Ibrahim (the mother of Ibrahim).In a report from Ibn ‘Abbas and ‘Urwah b. al-Zubair concerning the same incident, Muhammad said to Hafsa:I make you witness that I my concubine (surriyyati) is now forbidden unto me.Some Islamic scholars point to a different Asbāb al-nuzūl (circumstance of revelation) for the above incident, saying it was only caused by Muhammad drinking honey, as narrated in Sahih al-Bukhari by Muhammed's wife Aisha:The Prophet (\u0000) used to stay (for a period) in the house of Zaynab bint Jahsh (one of the wives of the Prophet ) and he used to drink honey in her house. Hafsa bint Umar and I decided that when the Prophet (\u0000) entered upon either of us, she would say, \"I smell in you the bad smell of Maghafir (a bad smelling raisin). Have you eaten Maghafir?\" When he entered upon one of us, she said that to him. He replied (to her), \"No, but I have drunk honey in the house of Zaynab bint Jahsh, and I will never drink it again.\"However, another narration in Sunan Abu Dawud indicates that drinking honey is a euphemism for sexual intercourse:The Apostle of Allah (peace be upon him) was asked about a man who divorced his wife three times, and she married another who entered upon her, but divorced her before having intercourse with her, whether she was lawful for the former husband. She said: The Prophet (peace be upon him) replied: She is not lawful for the first (husband) until she tastes the honey of the other husband and he tastes her honey.Al-Tabari lists Maria as both one of Muhammad's wives and his slave, perhaps using \"wife\" in the sense of one whom Muhammad slept with and who mothered his child.Mariyah the Copt was presented to the Messenger of God, given to him by al-Muqawqis, the ruler of Alexandria, and she gave birth to the Messenger of God’s son Ibrahim. These were the Messenger of God's wifes.The Prophet admired Umm Ibrahim [\"Mother of Ibrahim,\" Mariyah’s title], who was fair-skinned and beautiful. He lodged her in al-‘Aliyah, at the property nowadays called of Umm Ibrahim. He used to visit her there and ordered her to veil herself, [but] he had intercourse with her by virtue of her being his property...One hadith attributed to Mus‘ab b. ‘Abdullah al-Zubairi states that the two were married, though another rendering of the hadith by Mus‘ab's nephew Zubair b. al-Bakkar makes no mention of marriage.See alsoAisha bint Abu BakrList of non-Arab SahabaNotesPassage 4:Ibrahim ibn Muhammad Al ash-SheikhIbrahim ibn Muhammad Al ash-Sheikh  was a leading Salafi scholar in Saudi Arabia and minister of justice between 1975 and 1990.BackgroundIbrahim ibn Muhammad Al ash-Sheikh was born into the noted family of Saudi religious scholars, the Al ash-Sheikh, descendants of Muhammad ibn Abd al-Wahhab, the influential Muslim scholar. He was the eldest son of Muhammad ibn Ibrahim Al ash-Sheikh, Grand Mufti of Saudi Arabia until 1969.CareerIbrahim ibn Muhammad was one of the most influential religious leaders in the early 1970s. He maintained a close relationship with King Faisal, with whom he met on a weekly basis. He believed that Saudi Arabia should take a leading role in the Arab world and pushed for Saudi involvement in war with Israel.Between 1975 and 1990, he served as minister of justice.FamilyHis brother Abdullah ibn Muhammad Al ash-Sheikh, a younger son of the late Grand Mufti, also served as minister of justice, from 1993 to 2009. His grandson Turki is a lawyer practicing in London and Riyadh.Passage 5:Abdullah ibn Muhammad\u0000Abd Allāh ibn Mu\u0000ammad (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) also known as al-\u0000āhir (lit. 'the pure') and al-\u0000ayyib (lit. 'the good') was one of the sons of Muhammad and Khadija. He died in childhood.His full name was Abd Allah ibn Muhammad ibn Abd Allah ibn Shaiba. His father became a successful merchant and was involved in trade. Due to his upright character Muhammad acquired the nickname \"al-Amin\" (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000), meaning \"faithful, trustworthy\" and \"al-Sadiq\" meaning \"truthful\" and was sought out as an impartial arbitrator. His reputation attracted a proposal in 595 from Khadija, a successful businesswoman. Muhammad consented to the marriage, which by all accounts was a happy one. After the marriage was consummated, his elder brother al-Qasim was born. Qasim was the eldest son of Muhammad and Khadija. After Qasim, his four sisters were born. Abd Allah was born around 611. He was the youngest child of Muhammad and Khadija.Muhammad gave him the name of his father. Abd Allah died at 4 in 615 CE.SiblingsQasim ibn MuhammadZainab bint MuhammadRuqayya bint MuhammadUmm Kulthum bint MuhammadFatima bint MuhammadIbrahim ibn MuhammadPassage 6:Ibrahim ibn MuhammadIbrāhīm ibn Mu\u0000ammad (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), was the son of the Islamic prophet Muhammad and Maria al-Qibtiyya. He died at the age of 2.Eclipse occurrenceIn his book \"Al-Bidāya wa-n-Nihāya\" Ibn Kathir mentions that Ibrahim died on Thursday 10 Rabi' al-Awwal 10 AH, and on the same day right after his death, an eclipse of the sun occurred, so people at the moment started talking that Allah is showing his condolences to his prophet by eclipsing the Sun. Muhammad, not wanting his companions to fall into Fitna by ascribing divinities to him or his son, stood at the mosque and said:  \" The sun and the moon do not eclipse because of the death or life (i.e. birth) of someone. When you see the eclipse pray and invoke Allah.\"Illness and deathMuhammad's wife, and the mother of believers, Ibrahim's mother was an Egyptian woman who came from Byzantine official to Muhammad in 628. According to Ibn Kathir, quoting Ibn Sa'd, he was born in the last month of the year 8 AH, equivalent of 630 CE. Muslim scholars such as Muslim ibn al-Hajjaj and Al-Nasa'i mention that Al-Waqidi is not reliable and is not trustworthy to be quoted. The child was named after Abraham (or Ibrahim in Arabic) the Biblical prophet revered in Jewish, Christian and Muslim traditions. Ibrahim was placed in the care of a nurse called Umm Sayf, wife of Abu Sayf, the blacksmith, in the tradition of the Arabs of the time, to whom Muhammad gave some goats to complement her milk supply. When he fell ill he was moved to a date orchard near the residence of his mother, under the care of her and her sister Sirin. When it was clear that he would not likely survive, Muhammad was informed. His reaction to the news is reported as:He was so shocked at the news that he felt his knees could no longer carry him, and asked `Abd al Rahman ibn `Awf to give him his hand to lean upon. He proceeded immediately to the orchard and arrived in time to bid farewell to an infant dying in his mother's lap. Prophet Muhammad took the child and laid him in his own lap while shaking his hand. His heart was torn apart by the new tragedy, and his face mirrored his inner pain. Choking with sorrow, he said to his son, \"O Ibrahim, against the judgement of God, we cannot avail you a thing,\" and then fell silent. Tears flowed from his eyes. The child lapsed gradually, and "}
+{"doc_id":"doc_296","qid":"","text":"Passage 1:Jean de LimurJean de Limur (13 November 1887, Vouhé, Charente-Maritime – 5 June 1976, Paris) was a French film director, actor and screenwriter.His works include La Garçonne (1936) and The Letter (1929). A French army officer and a designer, he first came to the United States with his parents, Count andCountess de Limur in September 1920; their destination was Burlingame, California, where lived Jean's brother André (who married Ethel, daughter of WilliamHenry Crocker).FilmographyThe Arab (1924) actorHuman Desires (1924)The Legion of the Condemned (1928) co-screenplayThe Letter (1929) directorJealousy(1929) directorMy Childish Father (1930)Paprika (1933) directorL'Auberge du Petit-Dragon (1935)La Garçonne (1936) director; with Arletty, Edith Piaf, and MarieBellPassage 2:Andréa FerréolAndréa Ferréol (born Andrée Louise Ferréol; January 6, 1947) is a French actress and officer of the Ordre national du Mérite(2009).Her debut was in the 1973 film La Grande bouffe, which made a big scandal at the Cannes Film Festival.She was the last partner of Egyptian actor OmarSharif.FilmographyPassage 3:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who hasworked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months,resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States afterleaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born inDublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both arthistory and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester BeattyLibrary (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was AssistantDirector at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery ofAustralia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad,increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years ofthe museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During hisdirectorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museumby acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King EdwardTerrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGAfrom 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too closeto the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitionsat the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging toCharles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which usedelephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events inNew York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedywas also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA'soccupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He becamea joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintingsand sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in thefield of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read,understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of awebsite, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so.Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest inexpanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During histenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exportedprior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), anIndian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum ofArt in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bringgreater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, andIdeologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storagefor classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu:Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson:Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie),Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7SeanScully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to AustralianSociety and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received anhonorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguishededucator for art education.== Notes ==Passage 4:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Filmand Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film andTelevision. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baronand Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School,Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to RenenSchorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the BerlinInternational Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Sabamunicipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational"}
+{"doc_id":"doc_297","qid":"","text":"Passage 1:Ismail HoxhaIsmail Hoxha is a member of the Assembly of the Republic of Albania for the Democratic Party of Albania.Passage 2:Ilir BanoIlir Bano is amember of the Assembly of the Republic of Albania for the Democratic Party of Albania.Passage 3:Viktor GumiViktor Gumi is a member of the Assembly of theRepublic of Albania for the Democratic Party of Albania.Passage 4:Paulin SterkajPaulin Sterkaj is a member of the Assembly of the Republic of Albania for theDemocratic Party of Albania. Sterkaj moved to the Socialist Party of Albania.Passage 5:Fatos HoxhaFatos Hoxha is a member of the Assembly of the Republic ofAlbania for the Democratic Party of Albania.Passage 6:Dashnor SulaDashnor Sula (14 March 1969) is a member of the Assembly of the Republic of Albania for theDemocratic Party of Albania. He started his political career in 2005 when he won the elections and became the deputy of Peqin city.Early life and familyDashnorSula was born in Peqin, on 14 march 1969 to Riza Sula and Refije Sula. He was raised in Peqin and continued his studies there until he finished high school.Afterwards he moved to Tirana to continue his studies. He did his Bachelor studies in Law at the University of Tirana and his Master studies in Criminal Law. Hehas been married to Elida Magani Sula since 1994 and they have two children, Paola Sula and Silvio Sula.Career1992-1993: Attorney at the prosecutor's office ofPeqin1993-1996: Attorney at the prosecutor's office of Elbasan1996-1998: Attorney at the prosecutor's office of Tirana1998-1998: Attorney at the prosecutor'soffice of Gjirokaster1999-2000: Attorney at the general prosecutor's office; Supreme court.  2002-2005: Attorney at the general prosecutor's office regardingorganized crimes.2005-2013: Member of Albanian Parliament.2020-present: Member of Albanian Parliament.Other worksDashnor Sula has also taken the lawyerlicence and he still continues to practice his profession.Passage 7:Ylli LamaYlli Lama is a member of the Assembly of the Republic of Albania for the DemocraticParty of Albania.Passage 8:Leka, Crown Prince of Albania (born 1982)Leka, Prince of Albania (Leka Anwar Zog Reza Baudouin Msiziwe Zogu, born 26 March 1982)is a claimant to the defunct throne of Albania and the head of the House of Zogu.At the time of his birth on 26 March 1982, the South African government, byorder of Prime Minister P. W. Botha, declared his maternity ward extraterritorial land, to ensure that Leka was born on Albanian soil. Leka is the only child of Leka,Crown Prince of Albania and his wife Susan, Crown Princess of Albania. He is the only grandchild of King Zog I of the Albanians, succeeding as head of the royalhouse upon the death of his father in 2011. He has worked as an official at the country's interior and foreign ministries. He also served as a political advisor to theAlbanian President from 2012 to 2013.In May 2010, Leka became engaged to Elia Zaharia, an Albanian actress and singer. They married on 8 October 2016 inTirana.Early lifeLeka is the son of the pretender to the defunct throne of Albania, Crown Prince Leka, and his Australian wife Crown Princess Susan.He was namedin honour of Egyptian president Anwar El Sadat, his grandfather King Zog I, Emperor Mohammed Reza of Iran, and Baudouin I, King of the Belgians. Msiziwe is aZulu term meaning 'the one who was assisted'. Leka is a member of the House of Zogu.Education and activitiesLeka's was educated in South Africa at St Peter'sCollege, Johannesburg, and in the United Kingdom at the Royal Military Academy Sandhurst, where he was named Best Foreign Student of the Academy, beingcongratulated by the Albanian Minister of Defence. He was also educated at the Skanderbeg Military Academy in Albania, at the Università per Stranieri inPerugia, where he studied the Italian language, and in Kosovo, where he studied international relations.Leka resides in Tirana. He speaks Albanian, English, someZulu, and Italian. He owns boxer dogs, and his interests include martial arts, volleyball, and swimming. He is fond of wildlife and has taken part in mountainclimbing, abseiling, and target shooting.On 5 April 2004, Leka accepted the Mother Teresa Medal on behalf of his late grandmother, Queen Géraldine, for herhumanitarian efforts.Leka is known to have worked with youth organizations, like MJAFT!, and supported a wide range of humanitarian efforts in Albania, but hemaintains that he only supports self-help projects to stimulate Albanian and Kosovar economic growth, Gazeta Sot.Leka is known as a supporter of Kosovarindependence from Serbia and has close ties to the Kosovar leadership in Pristina.Leka founded the youth leadership of the Movement for National Development,which was a movement created by his father in 2005 to change the political face of Albania.On 24 June 2010, Prince Leka unveiled a blue plaque at ParmoorHouse in Buckinghamshire, United Kingdom, which was the home of King Zog during his wartime exile.Public serviceOn 21 August 2007, Foreign Minister LulzimBasha announced that Leka had been appointed to his office. The prince intended to pursue a career in diplomacy. After three years he had been transferred tothe office of the Minister of Interior. After the election of Bujar Nishani as president in 2012, Leka was appointed as political adviser to the President.Leka wasconsidered as a candidate in the 2022 Albanian presidential election, though the position ultimately went to Bajram Begaj.Personal lifeLeka met Elia Zaharia inParis, and in May 2010 they were engaged. Since then she has accompanied him on most of his visits and meetings with members of royal families. She is alsohead of the Queen Geraldine Foundation, which is a humanitarian, charitable and non-profit organisation, created by the Royal Court. The foundation aims to beclose to the Albanian families who need help and to children who need care. It has reconstructed numerous schools and kindergartens in northern Albania,especially in the Mat District, from where the Zogu Family comes.On 27 March 2016 it was announced by Skënder Zogu (born 1933), a member of the Zogufamily, that the couple would be married on 8 October 2016 in the Royal Palace in Tirana.WeddingLeka was married on Saturday 8 October 2016 in Tirana. Theceremony was a semi-official ceremony, held in Tirana in the Royal Palace, with many guests including members of other noble and royal families. The event wasa civil wedding officiated by the Mayor of Tirana, Erion Veliaj. A blessing was given by the five religious leaders of Albania representing the faiths of Sunni Islam,Bektashi, and the Christian traditions of Orthodox, Catholic and Protestant. This tradition of the Albanian royal family is part of the tradition of religious tolerancein Albania.Wedding guests included friends and relatives from around the world including relatives of his mother from Australia. Guests also included members ofother royal families from neighbouring countries and further afield. These included Queen Sofía of Spain and Prince and Princess Michael of Kent. Prince Michael ofKent is a first cousin of Queen Elizabeth II and his wife Princess Michael of Kent is related to Prince Leka through her mother, Countess Marianne Szapáry, whowas a 5th cousin of Queen Géraldine and had been a bridesmaid at her wedding to King Zog in 1938. Other royal guests included Empress Farah of Iran, CrownPrince Alexander and Crown Princess Katherine of Yugoslavia, Crown Princess Margareta of Romania, Custodian of the Crown and Prince Radu of Romania,Nicholas, Prince of Montenegro, Prince Guillaume of Luxembourg together with Princess Sibilla, Georg Friedrich, Prince of Prussia, Princess Léa of Belgium andother members from the royal families of Russia, Liechtenstein, Romania, Greece, Georgia, Morocco and members of other noble families. Heads of state ofAlbania also attended the ceremony.ChildrenElia gave birth to a daughter on 22 October 2020 at Queen Geraldine Maternity Hospital in Tirana, on the 18thanniversary of Leka's grandmother Queen Geraldine's death. Their daughter was named Geraldine in her honour. On 28 January 2023, on the day of her baptism,her full name is Geraldine Sibilla Francesca Susan Marie.Honours and awardsHonoursNational dynastic honoursHouse of Zogu: Sovereign Knight with Collar of theRoyal Order of Albania House of Zogu: Sovereign Knight Grand Cross of the Order of Fidelity House of Zogu: Sovereign Knight Grand Cross of the Order ofSkanderbeg Albanian Royal Family: Sovereign of the Military Order and Medal of BraveryForeign honoursItalian Royal Family: Knight Grand Cross of the RoyalOrder of Saints Maurice and Lazarus Two Sicilian Royal Family: Knight Grand Cross of the Royal Order of Francis I Russian Imperial Family: Knight Grand Cross ofthe Imperial Order of Saint Andrew Royal House of Ghassan: Knight Grand Collar of the Equestrian Order of Michael Archangel Sovereign Military Order of Malta :Grand Cross pro Merito Melitensi – civilian special class –AwardsAlbania – Honored Citizen of the City of Burrel (2012) Albania – Honored Citizen of the Communeof Bërdicë (2012) USA – Key to City of New Orleans (2011) USA – Honorary Mayor of the City of Baton RougeSee alsoHeads of former ruling familiesPassage9:Susan of AlbaniaSusan, Crown Princess of Albania (née Susan Barbara Cullen-Ward, formerly Williams; 28 January 1941 – 17 July 2004) was theAustralian-born wife of Leka, Crown Prince of Albania.Her husband, known as King Leka, had been proclaimed King of the Albanians by the anti-communistAlbanian government-in-exile in 1961, upon the death of his father King Zog. Meanwhile, Albania itself was a communist republic.Early lifeSusan Cullen-Ward wasborn in the Sydney suburb of Waverley. Her mother was Phyllis Dorothea Murray-Prior and her father was Alan Robert Cullen-Ward, a pastoralist. SusanCullen-Ward was a great-granddaughter of the Queensland politician Thomas Lodge Murray-Prior (1819–1892).Cullen-Ward grew up on her father's sheepstation. She attended Presbyterian Ladies' College at Orange, then studied at Sydney Technical College before teaching art at a private studio.She was married toRichard Williams from 1965 to 1970. Susan Cullen-Ward was an Anglican.Marriage to the Crown Prince of AlbaniaSusan Cullen-Ward met Leka, Crown Prince ofAlbania, the only child of King Zog I of the Albanians, at a dinner party in Sydney. In October 1975, they married in a civil ceremony in Biarritz, France. Thecouple were later married in a religious ceremony in Madrid.Australian authorities refused to recognise her as a queen but, in a compromise when AndrewPeacock was foreign minister, issued a passport in the name of \"Susan Cullen-Ward, known as Queen Susan\".She lived a turbulent life after marrying Leka, asthey moved from one country to another, having no permanent residence or fixed point of reference. In the first few years of their marriage, the couple lived inSpain. They later settled in Rhodesia (now known as Zimbabwe). After a falling out with the government of Robert Mugabe, the couple moved again, this time toSouth Africa where their son, Leka, was born in 1982. She also had a stillborn daughter while resident in Rhodesia.DeathThe Crown Princess of Albania died oflung cancer on 17 July 2004 in Tirana, Albania. After her death, she lay in state in a chapel outside Tirana. She is buried next to her mother-in-law, Queen"}
+{"doc_id":"doc_298","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker(1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)TheDoctor Blake Mysteries (2013)Passage 2:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film andTelevision School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television.She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and ProfessorAlexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on hisfilm The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin InternationalFilm Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. Thedepartment encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam SpiegelInternational Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debutfilm, Sam Spiegel; director and screenwriter, 2006)Passage 3:Rolan BykovRolan Antonovich Bykov (Russian: Ролан Антонович Быков; October 12, 1929 –October 6, 1998) was a Soviet and Russian stage and film actor, director, screenwriter and pedagogue. People's Artist of the USSR (1990).Early lifeRolan Bykovwas born to Anton Mikhailovich Bykov and Olga Matveyevna Bykova (née Sitnyakovskaya), the youngest of two brothers. There are many myths surrounding hisbiography, including the names of Rolan and his parents, date and place of birth. Different directories showed that he was born in Moscow, yet Bykov and hisbrother Geronim stated that their family moved to Moscow from Kyiv in 1934. Throughout his life Rolan Antonovich Bykov was officially known as RolandAnatolyevich Bykov and his date of birth — as November 12 which, according to him, was caused by a mistake in his passport. He named various reasons for this:from a drunken militsioner at the passport office to his own aunt who confused names and dates while arranging his documents. As for the unusual name, Rolanexplained that he was named after Romain Rolland (according to the Russian pronunciation) by his parents who confused Romain's surname for his name.Bykov'sfather was a military and intelligence officer of mixed Polish-Czech ancestry originally named Semyon Geronimovich Gordanovsky. He started his career byparticipating in World War I and making a successful escape after being taken captive by Austria-Hungary. During the Russian Civil War he fought as part of the1st Cavalry Army led by Semyon Budyonny. Between 1924 and 1926 he worked in Cheka and regularly visited Germany under different passports. His last codename was Anton Mikhailovich Bykov which he adopted as a real name. He was later promoted to a high-ranking position in the Communist Party of the SovietUnion and served as a managing director at various enterprises.Bykov's mother also changed her name from Ella Matusovna to Olga Matveevna at one point.While Bykov regularly referred to her and her relatives as «Ukrainians», she was in fact a daughter of a prosperous Jewish NEPman. She wanted to become anactress and finished two courses of a theater institute, but was expelled for truancy.Between 1937 and 1947 Bykov studied in Moscow schools. In 1939 he joineda youth theatrical studio organized by a Pioneers Palace where he met Alexander Mitta, Boris Rytsarev and Igor Kvasha. During the Battle of Moscow his familywas evacuated to Yoshkar-Ola for three years, although his father chose to stay and volunteered for the front line. In 1947 he entered the Boris Shchukin HigherTheater College to study acting under Vera Lvova and Leonid Shikhmatov.CareerIn 1951 Bykov graduated and immediately joined the Moscow Youth Theaterwhere he served as an actor and a stage director until 1959. Simultaneously he also appeared in several movies in episodic roles, worked as an actor at theMoscow Drama Theater (1951—1952), as the head of the theater studio at the Bauman Palace of Culture (1951—1953), as a stringer for various children'sprogrammes at the Soviet Central Television and as an editor on radio (1953—1959). He made his acting debut in the film School of Courage. In 1957 heorganized a Student's Theater at the Moscow State University where he served as the main director up until 1959. Iya Savvina was among actors he discovered inthe process.Between 1959 and 1960 Bykov headed the Lenin Komsomol Theatre in Leningrad, but left it for cinema. In 1959 he played the main part of AkakiAkakiyevich in The Overcoat, an adaptation of Nikolai Gogol's story directed by Aleksey Batalov. Soon after he joined Mosfilm where he spent the rest 40 yearsworking as an actor and a film director. He played over 100 roles and became highly popular as a comedy actor with such roles as Chebakov from Balzaminov'sMarriage (1964), Barmalei from Aybolit-66 and Skomorokh from Andrei Rublev (both 1966), Ivan Karyakin from Two Comrades Were Serving (1968), Petrykinfrom Big School-Break (1973), Cat Bazilio from The Adventures of Buratino (1975), Father Fyodor from The Twelve Chairs (1976) and others.As a film director hebecame known for his experimental children's and family movies. Among his most famous works are Seven Nannies (1962), Aybolit-66 (1966), Attention, aTurtle! (1970) and Scarecrow (1983). His films are generally associated with postmodernism, presented as a mix of different styles, genres and techniques, withtheatrical musical numbers, arthouse editing, fourth wall breaking and so on. An unexpectedly grim Scarecrow released in 1984 became especially controversialand led to a lot of public criticism; some insisted it should be banned. Bykov survived a heart attack in the process. Yet in 1986 with the start of perestroika hewas awarded the USSR State Prize for his movie.Apart from his movie career Bykov also worked as an educator at High Courses for Scriptwriters and FilmDirectors. Between 1986 and 1990 he served as a secretary of the Union of Cinematography of the USSR. He was also a member of the Nika Awardorganization.In 1989 Bykov headed the Younost studio at Mosfilm dedicated to children's cinema. Between 1989 and 1992 he also headed the All-Soviet Center ofCinema and TV for Children and Youth. In 1992 he created and headed the Rolan Bykov's Fund (also known as International Fund for Development of Cinema forChildren and Youth). According to his 1994 interview to Vladislav Listyev, they had produced 64 movies by that time and received various awards internationally,yet none of them were shown at Russian movie theaters since new management saw them as nonprofitable.Since 1989 Bykov had been involved in the politicallife of Russia. Between 1989 and 1991 he served as a member of the Congress of People's Deputies of the Soviet Union. He also headed a NonpartisanSocio-Political Movement 95 that expressed support to culture, science, education and ecology. During the 1995 Parliamentary elections he headed a liberalpro-government Common Cause party along with Irina Khakamada and Vladimir Dzhanibekov. He also served as a president of the Help bank at one point.In1996 Bykov was diagnosed with lung cancer and survived a surgery. He died two years later from thrombosis. He was buried at Novodevichy Cemetery.PersonallifeFirst wife — an actress Lydia Nikolayevna Knyazeva (1925—1987). They met at the Moscow Youth Theater and spent 15 years together. They also adopted aboy from an orphanage and raised him under the name of Oleg Rolanovich Bykov (1958—2002). He appeared in Scarecrow in minor role and produced severalmovies, but left the industry shortly after.Second wife — an actress Elena Sanayeva, daughter of the acclaimed Soviet actor Vsevolod Sanayev. Bykov adoptedher son from the first marriage Pavel Sanayev (born 1969) who became a popular Russian film director and writer. His part-autobiographical novel Bury MeBehind the Baseboard published in 1994 became a national bestseller. Bykov is featured in it under a name of Tolik. The book was adapted as a 2009 drama filmBury Me Behind the Baseboard, although the Sanayev family were displeased with it.Bykov also wrote poetry since childhood and published a book of poems in1994 entitled Poems by Rolan Bykov that was re-released several times. In 2010 his widow Elena Sanayeva published a book of Bykov's diaries (from 1945 to1996) that contained a lot of personal thoughts along with his wife's commentaries.In later years Bykov expressed a lot of concern regarding the movie industryand newer times in general. In his interview to Vladislav Listyev he stated that modern cinema was solely built around money, or the golden calf as he called it,with no place for art. «Back in 1984 I survived a heart attack following the release of Scarecrow; these days I survived a stroke during the production of a10-minute short under Belgian producers». In his interviews to Leonid Filatov he characterized modern times as «corrupted», «a collapse of culture and morals»,and modern cinema — as «a cigarette butt's art». In his diaries he continued those themes, predicting a Third World War, an environmental disaster and ageneral «schizophreniation» of the world population. The only exit he saw was a cultural and spiritual renaissance.Selected filmographyActorDirectorAwards andhonorsMedal \"For Labour Valour\" (1967)Jubilee Medal \"In Commemoration of the 100th Anniversary of the Birth of Vladimir Ilyich Lenin\" (1970)Honored Artist ofthe RSFSR (1973)USSR State Prize (1986) – for film ScarecrowPeople's Artist of the RSFSR (1987)Vasilyev Brothers State Prize of the RSFSR (1987) – for his roleas Professor Larsen in film Dead Man's LettersNika Award for Best Actor (1988) – for film CommissarPeople's Artist of the USSR (1990)Order \"For Merit to theFatherland\", 4th class (11 November 1994)Passage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art"}
+{"doc_id":"doc_299","qid":"","text":"Passage 1:Mickey's Tent ShowMickey's Tent Show is a 1933 short film in Larry Darmour's Mickey McGuire series starring a young Mickey Rooney. Directed byJesse Duffy, the two-reel short was released to theaters on October 27, 1933 by Post Pictures Corp.SynopsisMickey and the Gang decide to put on a circus showfor the neighborhood kids. As usual, Stinkie Davis and his pals try whatever they can to make their rivals miserable. Throughout the show, whenever Mickey andhis friends try to perform an act, Stinkie interrupts them by playing his father's new radio.CastIn order by credits:Mickey Rooney - \"Mickey McGuire\"Douglas Scott- \"Stinkey\" DavisMarvin Stephens - \"Katrink\"Jimmie Robinson - \"Hambone\" JohnsonBilly Barty - Billy McGuire (\"Mickey's Little Brother\")Shirley Jeane Rickert -\"Tomboy Taylor\"External linksMickey's Tent Show at IMDbPassage 2:Kadamba (1983 film)Kadamba is a 1983 film, directed by P. N. Menon and produced by P. V.George. The film stars Prakash, Jayanthi, Sathaar and Achankunju in the lead roles. The film has musical score by K. Raghavan.PlotJanu is brought up by herfather after the sudden death of her mother. Problems start brewing in her life when her father searches for a perfect groom, unaware that she is in love withsomeone else.CastJayanthi as JanuPrakashAchankunju as Velu, janu's fatherBalan K. Nair as KeshavanSathaar as KunjiramanBhaskara KuruppuSoundtrackThemusic was composed by K. Raghavan and the lyrics were written by Bichu Thirumala and Thikkodiyan.Passage 3:Thulasi (1987 film)Thulasi is a 1987 IndianTamil-language romantic drama film directed by Ameerjan. The film stars Murali and Seetha. It was released on 27 November 1987.PlotThirunavukarasu isconsidered as a God by his villagers. Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power. Sammadham and Ponni, a lowcaste girl, fall in love with each other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully. Thirunavukarasu's daughterThulasi then develops a soft corner for Siva.Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference. Sammadhamthen challenges him to marry her. Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water. In the meantime, Siva alsofalls in love with Thulasi. The rest of the story is what happens to Siva and Thulasi.CastMurali as Sivalingam \"Siva\"Seetha as ThulasiChandrasekhar asSammadhamMajor Sundarrajan as ThirunavukarasuSenthilCharle as KhanThara as PonniMohanapriya as SarasuVathiyar RamanA. K. Veerasamy asKaliyappanSoundtrackThe music was composed by Sampath Selvam, with lyrics written by Vairamuthu.ReceptionThe Indian Express gave a negative reviewcalling it \"thwarted love\".Passage 4:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by JeanRollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same nameand the 1981 cult classic Clash of the Titans. It was Rollin's final film, as the director died in 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlèneDelcambre as SthénoJuliette Moreau as JulietteDelphine Montoban as CorneliusJean-Pierre Bouyxou as le gardienBernard Charnacé as le collectionneurAgnèsPierron as la colleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre la têteThomas Smith asThomasProductionIt was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009,Rollin began preparation foe Le masque de la Méduse. Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque deToulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature,Le Viol du Vampire.  The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du GrandeGuignol, which is where the longest part of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to35mm film.ReleaseThe film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival atthe Cinémathèque de Toulouse. As part of \"An Evening with Jean Rollin\", it was shown as a double feature with Rollin's 2007 film La nuit des horloges.HomemediaNo official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book JeanRollin: Écrits complets Volume 1.Passage 5:P. N. Menon (director)Palissery Narayanankutty Menon alias P. N. Menon (2 January 1926 – 9 September 2008) wasan Indian film director and art director in the Malayalam cinema. He is also famous as the Designer of Promotional Posters. Menon was also the uncle of anotherpopular film director Bharathan, being the younger brother of the latter's father. In 2001, he was honoured with the J. C. Daniel Award, Kerala government'shighest honour for contributions to Malayalam cinema.Early lifeBorn in Wadakkancherry, he completed his studies at Thrissur and from School of Art in Chennai.He came to Chennai when he was only 20 years old. He couldn't find any job in Chennai, so travelled to Salem and become a production boy in a Studio. But,after two-and-a-half years, the studio was shut down and went back to Chennai. He got back to sketches, then painting, then doing magazine covers. One of hisdesigning assignments was for one of Producer B. Nagi Reddy's magazines. The production house was so impressed with his talent that when they bought VahiniStudio in 1951, Nagi Reddy's son appointed him as a paid apprentice in the painting department.He got a job as an art director in an English play produced by thedaughter of the then Andhra Chief Minister. They had three performances in Delhi, one for the then Vice President Dr. Sarvepalli Radhakrishnan, another for thenPrime Minister Jawaharlal Nehru and the third for then Army Chief Field Marshal K. M. Cariappa. Ninamaninja Kalpadukal was his first movie Malayalam movie asthe art director and his debut in the field of film direction in the 60s with the film Rosie (1965).CareerMenon's Olavum Theeravum based on M. T. VasudevanNair's script and released in 1970. It won the Kerala State Film Award for Best Film. Menon's boldest film is Kuttiyedathi (Eldest Sister), again based on a shortstory by M. T. Vasudevan Nair.Perhaps his most successful commercial film was Chembarathi (Hibiscus) which was based on a script by MalayattoorRamakrishnan and starred newcomers like Raghavan, Sudhir and Roja Ramani (Sobhana) along with veteran actors like Madhu and Rani Chandra. Another scriptof Malayattoor Ramakrishnan named Gayathri which was directed by him was awarded the President's Special Film Award Medal for National Integration. Menon'sfilm Malamukalile Daivam, has won National Award too.After a long period of absence lasting more than a decade, he directed a film, Nerkkuneraey (\"Face toFace\"), in (2004).Poster DesignerMenon made a name as a versatile Poster Designer as well. He artistic posters always helped the film to gain attention ofcinegoers. He has also done posters even for Bollywood films like Anokha Rishta starring Rajesh Khanna. Some of the Malayalam films he had designed postersare Oomakkuyil, Kakkothikkavile Appooppan Thaadikal, Itha Innu Muthal, Poomadhathe Pennu, Aavanazhi, Amrutham Gamaya and Manivathoorile AayiramSivarathrikal.Personal lifeHis wife's name was Bharathi Menon and they had two daughters, named Rajasree and Jayasree. Popular film director Bharathan washis nephew, and was trained by him in direction. Bharathan predeceased his uncle.DeathDuring his last years, Menon lived with his daughter in Kochi. He sufferedfrom many serious illnesses like Alzheimer's disease during this period. Finally, he died on 9 September 2008 aged 82, at a private hospital in Kochi. He wascremated with full state honours at Ravipuram Crematorium the next day.AwardsKerala State Film Awards1970 – Best Film: Olavum Theeravum1972 – SecondBest Film: Chembarathi1973 – Second Best Film: Gayathri1983 – Special Jury Award: Malamukalile Daivam2001 – J. C. Daniel AwardNational Film Awards1973 –Best Feature Film in Malayalam: Gayathri1983 – Best Feature Film in Malayalam: Malamukalile DaivamFilmographyPassage 6:Mike FieldsMaurice John BernardFields (12 August 1935 – 27 May 2014), known as Mike or Mickey Fields, was an English footballer who played in the Football League for Chester.Playing careerAforward, Fields was offered a trial at Nottingham Forest as a youngster but accepted an offer from his hometown club of Chester to begin playing for their juniorside.Fields broke into Chester's first–team late in 1955–56, with his first and only league goal following against Chesterfield in September 1956. A year later hehelped create history by scoring Chester's winner against Burnley in the final of the Lancashire Senior Cup as they became the first club from outside Lancashireto win the competition.Fields soon began to suffer cartilage problems, leading to his release by the club in May 1959 as he joined Borough United.Fields remaineda part-timer throughout his career at Chester, working for Shell where he continued to be employed after his playing days ended.Passage 7:Happy WeHappy We(Swedish: Två killar och en tjej) is a Swedish 1983 film directed by Lasse Hallström.CastBrasse Brännström -  Thomas BengtssonMagnus Härenstam - KlasseWallinPia Green - Anna WallinLars Amble - Fredrik WahlgrenGösta Engström - Gammal studiekamratEwa Fröling - DoctorSvea Holst - Gammal patientExternallinksHappy We at IMDbPassage 8:Jesse DuffyJesse Duffy (March 24, 1894 – December 14, 1952), sometimes billed as J. A. Duffy, was an American serialscreenwriter for Republic Pictures and Columbia Pictures during the 1940s. He also directed some of the \"Mickey McGuire\" series starring Mickey Rooney releasedby Post Pictures Corporation, and later distributed by Columbia.External linksJesse Duffy at IMDbPassage 9:QuerelleQuerelle is a 1982 West German-FrenchEnglish-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle ofBrest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgian sailor Georges Querelle, who isalso a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover,Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowlyand repeatedly in the belly. Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, thecorrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic by slitting his"}
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+{"doc_id":"doc_0","qid":"","text":"<html><head><title>Miami Vice Script at IMSDb.</title><meta name=\"description\" content=\"Miami Vice script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Miami Vice script, Miami Vice movie script, Miami Vice film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                         MIAMI VICE</b>                        Written  by                        Michael Mann                    Based on \"MiamiVice\"                         created by                     Anthony Yerkovich                                                       FirstDraft<b>                                                           9/22/04</b>                                                              WGAw<b>                                                  FADEIN:</b><b>   FADE IN:</b><b>   EXT. OCEAN - CLOSE UP:  WATER - MORNING LIGHT</b>   We are at the delicate interface between ocean and   air...liquidand gas...the event horizon where molecules   evaporate.  This interchange is ethereal.  Then, low   frequencies rumble through depths...louder...closer,now...   And the ocean surface is torn by a 46-foot catamaran and the   ROAR of 2,700 horsepower, rocketing at us at 140 knots...<b>   OFFSHORERACER:  \"BORN TO WIN\"</b>   in PROFILE.<b>   AERIAL:  \"BORN TO WIN\"</b>   ...has a canopy, low like a B-1 bomber and extends a half   mile.  It launchesoff two-foot swells, goes airborne, pushes   to 150 knots with another 1,100 RPM left...<b>   INT. RACE BOAT - SONNY CROCKETT</b>   pilots the \"Born to Win\"in full helmet.  On the throttle and   flaps is RICARDO TUBBS...<b>   EXT. OCEAN - \"BORN TO WIN\"</b>   leads the frontrunners towards a finish linedemarcated by a   couple of $10 million yachts loaded with media.  At the last   moment occurs a small power loss, and \"Born to Win\" gets   nosed into secondplace by the 46-foot Skater, \"Goddess\"...<b>                                                  CUT TO:</b><b>   EXT. MARINA - \"BORN TO WIN\" - LATER</b>   thunders to"}
+{"doc_id":"doc_1","qid":"","text":"The Project Gutenberg EBook of The Purple Cloud, by M.P. ShielThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Purple CloudAuthor: M.P. ShielRelease Date: February 22, 2004 [EBook #11229]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE PURPLE CLOUD ***Produced by Suzanne Shell, Garrett Alley, Maria Khomenko and PGDistributed ProofreadersTHE PURPLECLOUDByM.P. Shiel1901[Greek: estai kai Samos ammos, eseitai Daelos adaelos]_Sibylline Prophecy_INTRODUCTIONAbout three months ago--that is to say,toward the end of May of thisyear of 1900--the writer whose name appears on the title-page receivedas noteworthy a letter, and packet of papers, as it has beenhis lot toexamine. They came from a very good friend of mine, whose name there isno reason that I should now conceal--Dr. Arthur Lister Browne, M.A.(Oxon.),F.R.C.P. It happened that for two years I had been spendingmost of my time in France, and as Browne had a Norfolk practice, I hadnot seen him during my visitsto London. Moreover, though our friendshipwas of the most intimate kind, we were both atrocious correspondents: sothat only two notes passed between usduring those years.Till, last May, there reached me the letter--and the packet--to which Irefer. The packet consisted of four note-books, quite crowdedthroughoutwith those giddy shapes of Pitman's shorthand, whose_ensemble_ so resembles startled swarms hovering in flighty poses on thewing. They were scribbled inpencil, with little distinction betweenthick and thin strokes, few vowels: so that their slow deciphering, Ican assure the reader, has been no holiday. The letter alsowaspencilled in shorthand; and this letter, together with the second of thenote-books which I have deciphered (it was marked 'III.'), I nowpublish.[I must say,however, that in some five instances there will occursentences rather crutched by my own guess-work; and in two instances thecharacters were so impossiblymystical, that I had to abandon thepassage with a head-ache. But all this will be found immaterial to thegeneral narrative.]The following is Browne's letter:'DEAROLD SHIEL,--I have just been lying thinking of you, and wishingthat you were here to give one a last squeeze of the hand beforeI--\"_go_\": for, by all appearance,\"going\" I am. Four days ago, I beganto feel a soreness in the throat, and passing by old Johnson's surgeryat Selbridge, went in and asked him to have a look atme. He mutteredsomething about membranous laryngitis which made me smile, but by thetime I reached home I was hoarse, and not smiling: before night Ihaddyspnoca and laryngeal stridor. I at once telegraphed to London forMorgan, and, between him and Johnson, they have been opening my trachea,and burningmy inside with chromic acid and the galvanic cautery. Thedifficulty as to breathing has subsided, and it is wonderful how littleI suffer: but I am much too old ahand not to know what's what: thebronchi are involved--_too far_ involved--and as a matter of absolutefact, there isn't any hope. Morgan is still, I believe, fondlydwellingupon the possibility of adding me to his successful-tracheotomystatistics, but prognosis was always my strong point, and I say No. Thevery smallconsolation of my death will be the beating of a specialistin his own line. So we shall see.'I have been arranging some of my affairs this morning, andrememberedthese notebooks. I intended letting you have them months ago, but myhabit of putting things off, and the fact that the lady was alive fromwhom Itook down the words, prevented me. Now she is dead, and as aliterary man, and a student of life, you should be interested, if youcan manage to read them. Youmay even find them valuable.'I am under a little morphia at present, propped up in a nice littlestate of languor, and as I am able to write without much effort, Iwilltell you in the old Pitman's something about her. Her name was Miss MaryWilson; she was about thirty when I met her, forty-five when she died,and I knewher intimately all those fifteen years. Do you know anythingabout the philosophy of the hypnotic trance? Well, that was the relationbetween us--hypnotist andsubject. She had been under another man beforemy time, but no one was ever so successful with her as I. She sufferedfrom _tic douloureux_ of the fifth nerve.She had had most of her teethdrawn before I saw her, and an attempt had been made to wrench out thenerve on the left side by the external scission. But itmade nodifference: all the clocks in hell tick-tacked in that poor woman's jaw,and it was the mercy of Providence that ever she came across _me_.Myorganisation was found to have almost complete, and quite easy, controlover hers, and with a few passes I could expel her Legion.'Well, you never saw anyoneso singular in personal appearance as myfriend, Miss Wilson. Medicine-man as I am, I could never behold hersuddenly without a sensation of shock: shesuggested so inevitably whatwe call \"the _other_ world,\" one detecting about her some odour of theworm, with the feeling that here was rather ghost thanwoman. And yet Ican hardly convey to you the why of this, except by dry details as tothe contours of her lofty brow, meagre lips, pointed chin, and ashencheeks.She was tall and deplorably emaciated, her whole skeleton,except the thigh-bones, being quite visible. Her eyes were of the bluishhue of cigarette smoke, andhad in them the strangest, feeble, unearthlygaze; while at thirty-five her paltry wisp of hair was quite white.'She was well-to-do, and lived alone in old WoodingManor-house, fivemiles from Ash Thomas. As you know, I was \"beginning\" in these parts atthe time, and soon took up my residence at the manor. She insistedthatI should devote myself to her alone; and that one patient constitutedthe most lucrative practice which I ever had.'Well, I quickly found that, in the state oftrance, Miss Wilsonpossessed very remarkable powers: remarkable, I mean, not, of course,because peculiar to herself in _kind_, but because they weresoconstant, reliable, exact, and far-reaching, in degree. The veriestfledgling in psychical science will now sit and discourse finically toyou about the reportingpowers of the mind in its trance state--just asthough it was something quite new! This simple fact, I assure you, whichthe Psychical Research Society, only afterendless investigation, admitsto be scientific, has been perfectly well known to every old crone sincethe Middle Ages, and, I assume, long previously. What anunnecessary airof discovery! The certainty that someone in trance in Manchester cantell you what is going on in London, or in Pekin, was not, of course,left to theacumen of an office in Fleet Street; and the society, inestablishing the fact beyond doubt for the general public, has not goneone step toward explaining it. Theyhave, in fact, revealed nothing thatmany of us did not, with absolute assurance, know before.'But talking of poor Miss Wilson, I say that her powerswere_remarkable_, because, though not exceptional in _genre_, they were sospecial in quantity,--so \"constant,\" and \"far-reaching.\" I believe it tobe a fact that,_in general_, the powers of trance manifest themselvesmore particularly with regard to space, as distinct from time: thespirit roams in the present--it travelsover a plain--it does not_usually_ attract the interest of observers by great ascents, or bygreat descents. I fancy that is so. But Miss Wilson's gift was specialtothis extent, that she travelled in every direction, and easily in allbut one, north and south, up and down, in the past, the present, and thefuture.This I discovered,not at once, but gradually. She would emit a streamof sounds in the trance state--I can hardly call it _speech_, somurmurous, yet guttural, was the utterance,mixed with puffybreath-sounds at the languid lips. This state was accompanied by anintense contraction of the pupils, absence of the knee-jerk,considerablerigor, and a rapt and arrant expression. I got into thehabit of sitting long hours at her bed-side, quite fascinated by her,trying to catch the import of that opiateand visionary language whichcame puffing and fluttering in deliberate monotone from her lips.Gradually, in the course of months, my ear learned to detect thewords;\"the veil was rent\" for me also; and I was able to follow somewhat thecourse of her musing and wandering spirit.At the end of six months I heard her oneday repeat some words whichwere familiar to me. They were these: \"Such were the arts by which theRomans extended their conquests, and attained the palm ofvictory; andthe concurring testimony of different authors enables us to describethem with precision...\" I was startled: they are part of Gibbon's\"Decline and Fall,\"which I easily guessed that she had never read.I said in a stern voice: \"Where are you?\"She replied, \"Us are in a room, eight hundred and eleven miles above.Aman is writing. Us are reading.\"I may tell you two things: first, that in trance she never spoke ofherself as \"I,\" nor even as \"we,\" but, for some unknown reason,in the_objective_ way, as \"_us_\": \"us are,\" she would say--\"us will,\" \"uswent\"; though, of course, she was an educated lady, and I don't thinkever lived in theWest of England, where they say \"us\" in that way;secondly, when wandering in the past, she always represented herself asbeing \"_above_\" (the earth?), andhigher the further back in time shewent; in describing present events she appears to have felt herself _on_(the earth); while, as regards the future, she invariablydeclared that\"_us_\" were so many miles \"within\" (the earth).To her excursions in this last direction, however, there seemed to existcertain fixed limits: I sayseemed, for I cannot be sure, and only meanthat, in spite of my efforts, she never, in fact, went far in thisdirection. Three, four thousand \"miles\" were commonfigures on her lipsin describing her distance \"above\"; but her distance \"within\" never gotbeyond sixty-three. Usually, she would say twenty, twenty-five.Sheappeared, in relation to the future, to resemble a diver in the deepsea, who, the deeper he strives, finds a more resistant pressure, till,at no great depth,resistance becomes prohibition, and he can no furtherstrive.'I am afraid I can't go on: though I had a good deal to tell you aboutthis lady. During fifteen years, offand on, I sat listening by her dimbed-side to her murmuring trances! At last my expert ear could detectthe sense of her faintest sigh. I heard the \"Decline andFall\" frombeginning to end. Some of her reports were the most frivolous nonsense:over others I have hung in a horror of interest. Certainly, my friend, Ihaveheard some amazing words proceed from those wan lips of MaryWilson. Sometimes I could hitch her repeatedly to any scene or subjectthat I chose by the mereexercise of my will; at others, the flightywaywardness of her spirit eluded and baffled me: she resisted--shedisobeyed: otherwise I might have sent you, not fournote-books, buttwenty, or forty. About the fifth year it struck me that it would bewell to jot down her more connected utterances, since I knew shorthand.Thenote-book marked \"I.,\" [1] which seems to me the most curious,belongs to the seventh year. Its history, like those of the other three,is this: I heard her one"}
+{"doc_id":"doc_2","qid":"","text":"<html><head><title>Basic Instinct Script at IMSDb.</title><meta name=\"description\" content=\"Basic Instinct script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Basic Instinct script, Basic Instinct movie script, Basic Instinct film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Basic Instinct - byJoe Eszterhas</title><BODY><pre>                                  BASIC INSTINCT                                        by<b>                                  JOEESZTERHAS</b><b>           </b><b>          INT. A BEDROOM - NIGHT</b>          It is dark; we don't see clearly.  a man and woman make love           on abrass bed.  There are mirrors on the walls and ceiling.            On a side table, atop a small mirror, lines of cocaine.  A           tape deck PLAYS the Stones\"Sympathy for the Devil.\"          Atop him... she straddles his chest... her breasts in his face.            He cups her breasts.  She leans down, kisseshim...          JOHNNY BOZ is in his late 40's, slim, good-looking.  We don't           see the woman's face.  She has long blonde hair.  The CAMERA           STAYSBEHIND and to the side of them.          She leans close over his face, her tongue in his mouth...  she           kisses him... she moves her hands up, holds both ofhis arms           above his head.          She moves higher atop him... she reaches to the side of the           bed... a white silk scarf is in her hand... her hips abovehis           face now, moving... slightly, oh-so slightly... his face strains           towards her.          The scarf in her hand... she ties his hands withit...            gently... to the brass bed... his eyes are closed...  tighter...           lowering hips into his face... lower... over his chest... his           navel.  The SONGplays.          He is inside her... his head arches back... his throat white.          She arches her back... her hips grind... her breasts are high...          Her back"}
+{"doc_id":"doc_3","qid":"","text":"<html><head><title>Minority Report Script at IMSDb.</title><meta name=\"description\" content=\"Minority Report script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Minority Report script, Minority Report movie script, Minority Report film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><HTML><HEAD><TITLE>\"MINORITY REPORT\" -- Aug 15th 1997 rewrite by Jon Cohen</TITLE><b></HEAD></b><PRE><FONTface=\"Courier, Courier New, Times, Arial, Helvetica\" size=-1><b>               \"MINORITY REPORT\" </b>               -- Aug 15th 1997 rewrite by JonCohen<b>               DARKNESS</b>               And then, slowly emerging from the mists of darkness, a pale,               beautifully proportionedFACE.               The oval face is female, a woman of indeterminate age, her               features as fragile as porcelain.  Her eyes are closed in               sleep, orin death ... or in something in between.               Now TWO MORE FACES emerge out of the darkness.  They are               male, and they float into position oneither side of the               female.  They are just as ethereally beautiful, just as pale,               and like the female their eyes are closed.               The ghostlylips of the female begin to twitch.  Her features,               which have been expressionless, suddenly contort, mask-like,               into the face of a woman infear.  Her eyes open.               The male face on her right contorts too.  His features warp               into an angry snarl -- the mask of a man enraged.  Hiseyes               open.               The male face on her left takes on the expression of a young               boy, a boy who is terribly frightened.  His eyes openwide.               As if they are lost in the same terrible waking dream, a               sudden and unnerving exchange begins...<b>                                     FEMALE</b>                              (frightened woman)<b>                         JOHNNY,"}
+{"doc_id":"doc_4","qid":"","text":"<html><head><title>Dry White Season, A Script at IMSDb.</title><meta name=\"description\" content=\"Dry White Season, A script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Dry White Season, A script, Dry White Season, A movie script, Dry White Season, A film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>A DRY WHITESEASON       Rewrite by<b>      EUZHAN PALCY</b>         May 1987   Revised First Draft<b>   FOR EDUCATIONAL</b><b>    PURPOSESONLY</b><b></b><b>\"IN THE WHOLE WORLD</b><b>THERE IS NOT A SINGLE</b><b>POOR DEVIL WHO IS LYNCHED,</b><b>NOT ONE MISERABLEMAN</b><b>WHO IS TORTURED IN WHOM</b><b>I TOO, I AM NOT MURDERED</b><b>AND DEGRADED.\"</b>      AimeCesaire<b></b><b>PRE-TITLE:</b><b>FADE IN:</b><b>EXT. DAN PIENAAR SECONDARY SCHOOL FOR BOYS - DAY</b>Dan Pienaar school is a typicalJohannesburg Afrikaanschool. The students are mainly from middle-classfamilies. School athletics are in progress. The stu-dents, in their smart school uniforms,are cheeringenthusiastically a relay race on the immaculately-keptsports ground.GORDON NGUBENE, a 47-years-old African laborer is work-ing in the schoolgarden. A few feet away is his 15-years-old son JONATHAN leaning against a wall watchingthe games.BEN DU TOIT, a 50-year-old Afrikaaner history teacher,isenthusiastically cheering his son JOHAN, a 15-years-old,who is leading neck-and-neck with another boy in the lastleg of the race. The excitement increases astheyapproach the tape. Ben is beside himself, egging his sonwith shouts. The young teacher, VIVIERS, standing nextto Ben, is shouting \"come on Johan,\" andslapping thefather on the back.Johan breasts the tape just ahead of the other boy. Theground is invaded by boys running to congratulate Johan.Ben hurriestowards his happy but exhausted son; the proudfather pushing his way through the animated boys. As hereaches Johan he pats him on the"}
+{"doc_id":"doc_5","qid":"","text":"The Project Gutenberg EBook of The Story of Miss Moppet, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Story of Miss MoppetAuthor: Beatrix PotterRelease Date: January 31, 2005 [EBook #14848]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE STORY OF MISS MOPPET ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed ProofreadingTeam (http://www.pgdp.net).[Illustration][Illustration]THE STORY OF MISS MOPPETBY BEATRIX POTTER_Author of \"The Tale of Peter Rabbit,\"etc_[Illustration]FREDERICK WARNEFirst published 19061906 by Frederick Warne & Co.Printed and bound in Great Britain byWilliam Clowes Limited, Beccles andLondon[Illustration]This is a Pussy called Miss Moppet, she thinks she has heard a mouse!This is the Mouse peeping out behind the cupboard, and making fun ofMissMoppet. He is not afraid of a kitten.[Illustration][Illustration]This is Miss Moppet jumping just too late; she misses the Mouse and hitsher own head.Shethinks it is a very hard cupboard![Illustration][Illustration]The Mouse watches Miss Moppet from the top of the cupboard.Miss Moppet ties up her head in a duster,and sits before the fire.[Illustration]The Mouse thinks she is looking very ill. He comes sliding down thebell-pull.[Illustration][Illustration]Miss Moppet looks worseand worse. The Mouse comes a little nearer.[Illustration]Miss Moppet holds her poor head in her paws, and looks at him through ahole in the duster. The Mousecomes _very_ close.And then all of a sudden--Miss Moppet jumps upon the Mouse![Illustration][Illustration]And because the Mouse has teased Miss Moppet--MissMoppet thinks she willtease the Mouse; which is not at all nice of Miss Moppet.She ties him up in the duster, and tosses it about like a ball.[Illustration]But sheforgot about that hole in the duster; and when she untiedit--there was no Mouse![Illustration][Illustration]He has wriggled out and run away; and he is dancing ajig on the top ofthe cupboard!End of Project Gutenberg's The Story of Miss Moppet, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE STORYOF MISS MOPPET ******** This file should be named 14848.txt or 14848.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/4/14848/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editionsmeans that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermissionand without paying copyright royalties.  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+{"doc_id":"doc_6","qid":"","text":"The Project Gutenberg EBook of Fanshawe, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere in the United States and mostother parts ofthe world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg Licenseincluded with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you arelocated before using this ebook.Title: FanshaweAuthor: Nathaniel HawthornePosting Date: September 13, 2014 [EBook #7085]Release Date: December,2004First Posted: March 8, 2003Language: English*** START OF THIS PROJECT GUTENBERG EBOOK FANSHAWE ***Produced by Eric Eldred, Charles Franks andthe OnlineDistributed Proofreading Team.FANSHAWEBYNATHANIEL HAWTHORNE[Illustration]INTRODUCTORY NOTE.FANSHAWE.In 1828, three years aftergraduating from Bowdoin College, Hawthornepublished his first romance, \"Fanshawe.\" It was issued at Boston by Marsh& Capen, but made little or no impressionon the public. The motto on thetitle-page of the original was from Southey: \"Wilt thou go on with me?\"Afterwards, when he had struck into the vein of fiction thatcame to beknown as distinctively his own, he attempted to suppress this youthfulwork, and was so successful that he obtained and destroyed all but a fewof thecopies then extant.Some twelve years after his death it was resolved, in view of the interestmanifested in tracing the growth of his genius from the beginning ofhisactivity as an author, to revive this youthful romance; and the reissue of\"Fanshawe\" was then made.Little biographical interest attaches to it, beyond the factthat Mr.Longfellow found in the descriptions and general atmosphere of the book adecided suggestion of the situation of Bowdoin College, at Brunswick,Maine,and the life there at the time when he and Hawthorne were bothundergraduates of that institution.Professor Packard, of Bowdoin College, who was then in chargeof the studyof English literature, and has survived both of his illustrious pupils,recalls Hawthorne's exceptional excellence in the composition of English,even atthat date (1821-1825); and it is not impossible that Hawthorneintended, through the character of Fanshawe, to present some faintprojection of what he thenthought might be his own obscure history. Evenwhile he was in college, however, and meditating perhaps the slenderelements of this first romance, hisfellow-student Horatio Bridge, whose\"Journal of an African Cruiser\" he afterwards edited, recognized in himthe possibilities of a writer of fiction--a fact to whichHawthornealludes in the dedicatory Preface to \"The Snow-Image.\"G. P. L.FANSHAWE       *       *       *       *       *CHAPTER I.  \"Our court shall be a littleAcademe.\"--SHAKESPEARE.In an ancient though not very populous settlement, in a retired corner ofone of the New England States, arise the walls of a seminaryof learning,which, for the convenience of a name, shall be entitled \"Harley College.\"This institution, though the number of its years is inconsiderablecomparedwith the hoar antiquity of its European sisters, is not withoutsome claims to reverence on the score of age; for an almost countlessmultitude of rivals, by many ofwhich its reputation has been eclipsed,have sprung up since its foundation. At no time, indeed, during anexistence of nearly a century, has it acquired a veryextensive fame; andcircumstances, which need not be particularized, have, of late years,involved it in a deeper obscurity. There are now few candidates forthedegrees that the college is authorized to bestow. On two of its annual\"Commencement Days,\" there has been a total deficiency of baccalaureates;and thelawyers and divines, on whom doctorates in their respectiveprofessions are gratuitously inflicted, are not accustomed to consider thedistinction as an honor. Yetthe sons of this seminary have alwaysmaintained their full share of reputation, in whatever paths of life theytrod. Few of them, perhaps, have been deep andfinished scholars; but thecollege has supplied--what the emergencies of the country demanded--a setof men more useful in its present state, and whosedeficiency intheoretical knowledge has not been found to imply a want of practicalability.The local situation of the college, so far secluded from the sight andsoundof the busy world, is peculiarly favorable to the moral, if not tothe literary, habits of its students; and this advantage probably causedthe founders to overlook theinconveniences that were inseparablyconnected with it. The humble edifices rear themselves almost at thefarthest extremity of a narrow vale, which, windingthrough a long extentof hill-country, is wellnigh as inaccessible, except at one point, as theHappy Valley of Abyssinia. A stream, that farther on becomesaconsiderable river, takes its rise at, a short distance above the college,and affords, along its wood-fringed banks, many shady retreats, whereeven study ispleasant, and idleness delicious. The neighborhood of theinstitution is not quite a solitude, though the few habitations scarcelyconstitute a village. These consistprincipally of farm-houses, of ratheran ancient date (for the settlement is much older than the college), andof a little inn, which even in that secluded spot doesnot fail of amoderate support. Other dwellings are scattered up and down the valley;but the difficulties of the soil will long avert the evils of a toodensepopulation. The character of the inhabitants does not seem--as there was,perhaps, room to anticipate--to be in any degree influenced by theatmosphere ofHarley College. They are a set of rough and hardy yeomen,much inferior, as respects refinement, to the corresponding classes inmost other parts of our country.This is the more remarkable, as there isscarcely a family in the vicinity that has not provided, for at least oneof its sons, the advantages of a \"liberaleducation.\"Having thus described the present state of Harley College, we must proceedto speak of it as it existed about eighty years since, when itsfoundationwas recent, and its prospects flattering. At the head of the institution,at this period, was a learned and Orthodox divine, whose fame was in allthechurches. He was the author of several works which evinced mucherudition and depth of research; and the public, perhaps, thought the morehighly of his abilitiesfrom a singularity in the purposes to which heapplied them, that added much to the curiosity of his labors, thoughlittle to their usefulness. But, however fancifulmight be his privatepursuits, Dr. Melmoth, it was universally allowed, was diligent andsuccessful in the arts of instruction. The young men of his chargeprosperedbeneath his eye, and regarded him with an affection that wasstrengthened by the little foibles which occasionally excited theirridicule. The president was assistedin the discharge of his duties by twoinferior officers, chosen from the alumni of the college, who, while theyimparted to others the knowledge they had alreadyimbibed, pursued thestudy of divinity under the direction of their principal. Under suchauspices the institution grew and flourished. Having at that time buttworivals in the country (neither of them within a considerable distance), itbecame the general resort of the youth of the Province in which it wassituated. Forseveral years in succession, its students amounted to nearlyfifty,--a number which, relatively to the circumstances of the country,was very considerable.From theexterior of the collegians, an accurate observer might prettysafely judge how long they had been inmates of those classic walls. Thebrown cheeks and the rusticdress of some would inform him that they hadbut recently left the plough to labor in a not less toilsome field; thegrave look, and the intermingling of garments ofa more classic cut, woulddistinguish those who had begun to acquire the polish of their newresidence; and the air of superiority, the paler cheek, the lessrobustform, the spectacles of green, and the dress, in general of threadbareblack, would designate the highest class, who were understood to haveacquirednearly all the science their Alma Mater could bestow, and to beon the point of assuming their stations in the world. There were, it istrue, exceptions to thisgeneral description. A few young men had foundtheir way hither from the distant seaports; and these were the models offashion to their rustic companions, overwhom they asserted a superiorityin exterior accomplishments, which the fresh though unpolished intellectof the sons of the forest denied them in their literarycompetitions. Athird class, differing widely from both the former, consisted of a fewyoung descendants of the aborigines, to whom an impracticablephilanthropywas endeavoring to impart the benefits of civilization.If this institution did not offer all the advantages of elder and prouderseminaries, its deficiencieswere compensated to its students by theinculcation of regular habits, and of a deep and awful sense of religion,which seldom deserted them in their coursethrough life. The mild andgentle rule of Dr. Melmoth, like that of a father over his children, wasmore destructive to vice than a sterner sway; and though youth isneverwithout its follies, they have seldom been more harmless than they werehere. The students, indeed, ignorant of their own bliss, sometimes wishedto hastenthe time of their entrance on the business of life; but theyfound, in after-years, that many of their happiest remembrances, many ofthe scenes which they wouldwith least reluctance live over again,referred to the seat of their early studies. The exceptions to this remarkwere chiefly those whose vices had drawn down, evenfrom that paternalgovernment, a weighty retribution.Dr. Melmoth, at the time when he is to be introduced to the reader, hadborne the matrimonial yoke (and inhis case it was no light burden) nearlytwenty years. The blessing of children, however, had been denied him,--acircumstance which he was accustomed toconsider as one of the soresttrials that checkered his pathway; for he was a man of a kind andaffectionate heart, that was continually seeking objects to restitselfupon. He was inclined to believe, also, that a common offspring would haveexerted a meliorating influence on the temper of Mrs. Melmoth, thecharacter ofwhose domestic government often compelled him to call to mindsuch portions of the wisdom of antiquity as relate to the proper enduranceof the shrewishness ofwoman. But domestic comforts, as well as comfortsof every other kind, have their drawbacks; and, so long as the balance ison the side of happiness, a wise manwill not murmur. Such was the opinionof Dr. Melmoth; and with a little aid from philosophy, and more fromreligion, he journeyed on contentedly through life.When the storm wasloud by the parlor hearth, he had always a sure and quiet retreat in hisstudy; and there, in his deep though not always useful labors, hesoonforgot whatever of disagreeable nature pertained to his situation. Thissmall and dark apartment was the only portion of the house to which, sinceone firmlyrepelled invasion, Mrs. Melmoth's omnipotence did not extend.Here (to reverse the words of Queen Elizabeth) there was \"but one masterand no mistress\"; andthat man has little right to complain who possessesso much as one corner in the world where he may be happy or miserable, asbest suits him. In his study, then,"}
+{"doc_id":"doc_7","qid":"","text":"<html><head><title>Wild Things: Diamonds in the Rough Script at IMSDb.</title><meta name=\"description\" content=\"Wild Things: Diamonds in the Roughscript at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Wild Things: Diamonds in the Rough script, Wild Things: Diamonds in theRough movie script, Wild Things: Diamonds in the Rough film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                         WILD THINGS: DIAMONDS IN THE ROUGH</b>                                     Written by                              Andy Hurst& Ross Helford<b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          INT. MUSEUM - DAY</b><b>          </b>          Aperfect rainbow is trapped inside two flawless DIAMONDS,          glinting in the morning sun.<b>          </b>          Tounted on crushed velvet, the identicaldiamonds are on a glass          covered pedal stool in the middle of a vast, marble MUSEUM HALL.<b>          </b>          The stunning beauty of the stones ismatched only by the          breathtaking beauty of the young woman who's admiring them. MARIE          CLIFFORD's creamy seventeen year old skin is dappled inthe          cornucopia of colors emanating from the diamonds...<b>          </b>          She reaches out tentatively towards the glass case. Not to touch          thediamonds, but to run her fingers over a picture that's mounted          in the case below the priceless jewels. It's of a MOTHER cradling          her BABYDAUGHTER...<b>          </b><b>                              MARIE</b>                    Today's the day, Mom...<b>          </b><b>                              CURATOR(O.S.)</b>                    You here again, Marie?<b>          </b>          Marie spins round, sees the bespectacled CURATOR, 60's, standing          behindher.<b>          </b><b>                              MARIE</b>                    Just leaving.<b>          </b>          Marie carefully adjusts the sign atop the glass"}
+{"doc_id":"doc_8","qid":"","text":"<html><head><title>Cinema Paradiso Script at IMSDb.</title><meta name=\"description\" content=\"Cinema Paradiso script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Cinema Paradiso script, Cinema Paradiso movie script, Cinema Paradiso film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><HTML><HEAD><TITLE>CINEMA PARADISO by Giuseppe Tornatore</TITLE><META http-equiv=Content-Type content=\"text/html;charset=windows-1252\"><META content=\"MSHTML 6.00.2800.1141\" name=GENERATOR></HEAD><b><BODY><PRE></b><b> </b><b> <B>CINEMAPARADISO</B></b>        by        Giuseppe Tornatore<b> </b><b>        <B><U>FOR EDUCATIONAL PURPOSES ONLY</U></B></b>        Shooting Script<b> </b><b> </b><b> </b><b> 1  GIANCALDO. SALVATORE'S MOTHER'S HOUSE. EXT/INT. DAY</b><b> </b> The October sun slashes through the grayclouds, cuts across the shadow towards the sea, along the coast where the new suburbs of the city of Giancaldo have been built up.<b> </b> Bright lightstreams through the windows, glancing off the white walls in an almost blinding reflection. MARIA, a woman a little over sixty, is trying to find somebody on thephone.<b> </b><b> MARIA  </b> ...Salvatore, that's right, Salvatore. Di Vita Salvatore ...But, miss, what do you mean you don't know him?!...I...Yes... (Shegives a nervous sigh. She has dialed her way through endless numbers but still hasn't managed to speak to Mr. Di Vita. She finally heaves a sigh of relief.)...That's right, good for you! Oh!...yes...And I'm his mother. I'm calling from Sicily. Been trying all day...Ah, he's not there...But would you be so kind as to giveme...?...Yes... (She nods at another woman around forty sitting nearby: it is LIA, her daughter, who jots down the numbers her mother dictates:) ...Six, five, six,two, two, oh, six...Thanks ever so much...Goodbye. Goodbye.<b> </b> She hangs up, takes the number LIA has jotted down, determined to have still another"}
+{"doc_id":"doc_9","qid":"","text":"The Project Gutenberg eBook, The Last Chronicle of Barset, by AnthonyTrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Last Chronicle of BarsetAuthor: Anthony TrollopeRelease Date: January, 2002  [eBook #3045][Most recently updated: December 1,2010]Language: English***START OF THE PROJECT GUTENBERG EBOOK THE LAST CHRONICLE OF BARSET***E-text prepared by Kenneth David Cooperandrevised by Joseph E. Loewenstein, M.D.Note: Project Gutenberg also has an HTML version of this file      which includes the 64 illustrations by George HousmanThomas      from the First Edition (Smith, Elder and Co., 1867).      See 3045-h.htm or3045-h.zip:      (http://www.gutenberg.org/files/3045/3045-h/3045-h.htm)      or      (http://www.gutenberg.org/files/3045/3045-h.zip)THE LAST CHRONICLEOF BARSETbyANTHONY TROLLOPEFirst published in monthly installments from December 1, 1866, toJuly 6, 1867, and in book form in 1867[Illustration: Mr.Crawley before the Magistrates. (Frontispiece)]CONTENTS         I. How Did He Get It?        II. By Heavens He Had Better Not!       III. The Archdeacon'sThreat        IV. The Clergyman's House at Hogglestock         V. What the World Thought About It        VI. Grace Crawley       VII. Miss Prettyman's PrivateRoom      VIII. Mr. Crawley Is Taken to Silverbridge        IX. Grace Crawley Goes to Allington         X. Dinner at Framley Court        XI. The Bishop Sends HisInhibition       XII. Mr. Crawley Seeks for Sympathy      XIII. The Bishop's Angel       XIV. Major Grantly Consults a Friend        XV. Up in London       XVI. Down atAllington      XVII. Mr. Crawley Is Summoned to Barchester     XVIII. The Bishop of Barchester Is Crushed       XIX. Where Did It Come From?        XX. What Mr.Walker Thought About It       XXI. Mr. Robarts on His Embassy      XXII. Major Grantly at Home     XXIII. Miss Lily Dale's Resolution      XXIV. Mrs. DobbsBroughton's Dinner-party       XXV. Miss Madalina Demolines      XXVI. The Picture     XXVII. A Hero at Home    XXVIII. Showing How Major Grantly Took aWalk      XXIX. Miss Lily Dale's Logic       XXX. Showing What Major Grantly Did After His Walk      XXXI. Showing How Major Grantly Returned toGuestwick     XXXII. Mr. Toogood    XXXIII. The Plumstead Foxes     XXXIV. Mrs. Proudie Sends for Her Lawyer      XXXV. Lily Dale Writes Two Words in HerBook     XXXVI. Grace Crawley Returns Home    XXXVII. Hook Court   XXXVIII. Jael     XXXIX. A New Flirtation        XL. Mr. Toogood's Ideas AboutSociety       XLI. Grace Crawley at Home      XLII. Mr. Toogood Travels Professionally     XLIII. Mr. Crosbie Goes into the City      XLIV. \"I Suppose I Must Let YouHave It\"       XLV. Lily Dale Goes to London      XLVI. The Bayswater Romance     XLVII. Dr. Tempest at the Palace    XLVIII. The Softness of Sir RaffleBuffle      XLIX. Near the Close         L. Lady Lufton's Proposition        LI. Mrs. Dobbs Broughton Piles Her Fagots       LII. Why Don't You Have an \"It\" forYourself?      LIII. Rotten Row       LIV. The Clerical Commission        LV. Framley Parsonage       LVI. The Archdeacon Goes to Framley      LVII. A DoublePledge     LVIII. The Cross-grainedness of Men       LIX. A Lady Presents Her Compliments to Miss L. D.        LX. The End of Jael and Sisera       LXI. \"It's Doggedas Does It\"      LXII. Mr. Crawley's Letter to the Dean     LXIII. Two Visitors to Hogglestock      LXIV. The Tragedy in Hook Court       LXV. Miss Van Siever MakesHer Choice      LXVI. Requiescat in Pace     LXVII. In Memoriam    LXVIII. The Obstinacy of Mr. Crawley      LXIX. Mr. Crawley's Last Appearance in His OwnPulpit       LXX. Mrs. Arabin Is Caught      LXXI. Mr. Toogood at Silverbridge     LXXII. Mr. Toogood at \"The Dragon of Wantly\"    LXXIII. There Is Comfort atPlumstead     LXXIV. The Crawleys Are Informed      LXXV. Madalina's Heart Is Bleeding     LXXVI. I Think He Is Light of Heart    LXXVII. The ShatteredTree   LXXVIII. The Arabins Return to Barchester     LXXIX. Mr. Crawley Speaks of His Coat      LXXX. Miss Demolines Desires to Become a Finger-post     LXXXI.Barchester Cloisters    LXXXII. The Last Scene at Hogglestock   LXXXIII. Mr. Crawley Is Conquered    LXXXIV. ConclusionTITLED ILLUSTRATIONS   Mr. Crawleybefore the Magistrates.           Frontispiece   Mr. and Mrs. Crawley.                         Chapter I   \"I love you as though you were my own,\"      said theSchoolmistress.                   Chapter VI   \"A convicted thief,\" repeated Mrs. Proudie.   Chapter XI   \"Speak out, Dan.\"                             Chapter XII   GraceCrawley is introduced to Squire Dale.   Chapter XVI   Farmer Mangle and Mr. Crawley.                Chapter XVII   \"She's more like Eleanor than any oneelse.\"  Chapter XXII   \"I am very glad to have the opportunity      of shaking hands with you.\"                Chapter XXIV   \"What do you think of it, Mrs.Broughton?\"    Chapter XXVI   Squire Dale and Major Grantly.                Chapter XXVIII   \"Never mind Mr. Henry.\"                       Chapter XXXIII   Lily wishesthat they might swear      to be Brother and Sister.                  Chapter XXXV   She read the beginning--\"Dearest Grace.\"      Chapter XXXVI   \"Mamma, I've gotsomething to tell you.\"      Chapter XLI   Mr. Toogood and the old Waiter.               Chapter XLII   They pronounced her to be very much      like aLady.                               Chapter XLV   \"As right as a trivet, Uncle.\"                Chapter XLVIII   Posy and her Grandpapa.                       Chapter XLIX   Mrs.Dobbs Broughton piles her Fagots.        Chapter LI   \"Because of Papa's disgrace.\"                 Chapter LV   \"But it will never pass away,\" said Grace.    ChapterLVII   \"Honour thy Father,--that thy days      may be long in the Land.\"                  Chapter LVIII   \"It's dogged as does it.\"                     Chapter LXI   Mrs.Proudie's Emissary.                      Chapter LXIII   \"You do not know what starving is, my dear.\"  Chapter LXV   \"They will come to hear a ruined man      declarehis own ruin.\"                     Chapter LXIX   \"No sale after all?\"                          Chapter LXXI   \"These are the young Hogglestockians,      arethey?\"                                 Chapter LXXIV   The last Denial.                              Chapter LXXVII   \"What is it that I behold?\"                   ChapterLXXX   \"Peradventure he signifies his Consent.\"      Chapter LXXXIICHAPTER I.HOW DID HE GET IT?[Illustration]\"I can never bring myself to believe it, John,\" saidMary Walker,the pretty daughter of Mr. George Walker, attorney of Silverbridge.Walker and Winthrop was the name of the firm, and they wererespectable people,who did all the solicitors' business that hadto be done in that part of Barsetshire on behalf of the Crown, wereemployed on the local business of the Duke ofOmnium who is great inthose parts, and altogether held their heads up high, as provinciallawyers often do. They,--the Walkers,--lived in a great brickhouse in themiddle of the town, gave dinners, to which the countygentlemen not unfrequently condescended to come, and in a mild wayled the fashion in Silverbridge. \"I cannever bring myself to believeit, John,\" said Miss Walker.\"You'll have to bring yourself to believe it,\" said John, withouttaking his eyes from his book.\"Aclergyman,--and such a clergyman too!\"\"I don't see that that has anything to do with it.\" And as he nowspoke, John did take his eyes off his book. \"Why shouldnot aclergyman turn thief as well as anybody else? You girls always seemto forget that clergymen are only men after all.\"\"Their conduct is likely to be better thanthat of other men, Ithink.\"\"I deny it utterly,\" said John Walker. \"I'll undertake to say thatat this moment there are more clergymen in debt in Barsetshirethanthere are either lawyers or doctors. This man has always been indebt. Since he has been in the county I don't think he has ever beenable to show his face inthe High Street of Silverbridge.\"\"John, that is saying more than you have a right to say,\" said Mrs.Walker.\"Why, mother, this very cheque was given to a butcherwho hadthreatened a few days before to post bills all about the county,giving an account of the debt that was due to him, if the money wasnot paid atonce.\"\"More shame for Mr. Fletcher,\" said Mary. \"He has made a fortune asbutcher in Silverbridge.\"\"What has that to do with it? Of course a man likes to havehismoney. He had written three times to the bishop, and he had senta man over to Hogglestock to get his little bill settled six daysrunning. You see he got it atlast. Of course, a tradesman must lookfor his money.\"\"Mamma, do you think that Mr. Crawley stole the cheque?\" Mary, as sheasked the question, came andstood over her mother, looking at herwith anxious eyes.\"I would rather give no opinion, my dear.\"\"But you must think something when everybody is talking aboutit,mamma.\"\"Of course my mother thinks he did,\" said John, going back to hisbook. \"It is impossible that she should think otherwise.\"\"That is not fair, John,\" saidMrs. Walker; \"and I won't have youfabricate thoughts for me, or put the expression of them into mymouth. The whole affair is very painful, and as your fatherisengaged in the inquiry, I think that the less said about the matterin this house the better. I am sure that that would be your father'sfeeling.\"\"Of course I shouldsay nothing about it before him,\" said Mary. \"Iknow that papa does not wish to have it talked about. But how is oneto help thinking about such a thing? It wouldbe so terrible for allof us who belong to the Church.\"\"I do not see that at all,\" said John. \"Mr. Crawley is not more thanany other man just because he's aclergyman. I hate all that kind ofclap-trap. There are a lot of people here in Silverbridge who thinkthe matter shouldn't be followed up, just because the man is inaposition which makes the crime more criminal in him than it would bein another.\"\"But I feel sure that Mr. Crawley has committed no crime at all,\"said Mary.\"Mydear,\" said Mrs. Walker, \"I have just said that I would ratheryou would not talk about it. Papa will be in directly.\"\"I won't, mamma;--only--\"\"Only! yes; just only!\"said John. \"She'd go on till dinner if anyone would stay to hear her.\"\"You've said twice as much as I have, John.\" But John had left theroom before his sister's lastwords could reach him.\"You know, mamma, it is quite impossible not to help thinking of it,\"said Mary.\"I dare say it is, my dear.\"\"And when one knows the peopleit does make it so dreadful.\"\"But do you know them? I never spoke to Mr. Crawley in my life, andI do not think I ever saw her.\"\"I knew Grace very well,--whenshe used to come first to MissPrettyman's school.\"\"Poor girl. I pity her.\"\"Pity her! Pity is no word for it, mamma. My heart bleeds for them.And yet I do not believefor a moment that he stole the cheque. Howcan it be possible? For though he may have been in debt because theyhave been so very, very poor; yet we all knowthat he has been anexcellent clergyman. When the Robartses were dining here last, Iheard Mrs. Robarts say that for piety and devotion to his duties shehadhardly ever seen any one equal to him. And the Robartses knowmore of them than anybody.\"\"They say that the dean is his great friend.\"\"What a pity it is that the"}
+{"doc_id":"doc_10","qid":"","text":"The Project Gutenberg EBook of Child Christopher, by William MorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Child ChristopherAuthor: William MorrisRelease Date: July 1, 2008 [EBook #234]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK CHILD CHRISTOPHER ***Produced by John HammCHILD CHRISTOPHER AND GOLDILIND THE FAIRby William Morris1895CHAPTER I. OF THEKING OF OAKENREALM, AND HIS WIFE AND HIS CHILD.Of old there was a land which was so much a woodland, that a minstrelthereof said it that a squirrel mightgo from end to end, and all about,from tree to tree, and never touch the earth: therefore was that landcalled Oakenrealm.The lord and king thereof was a starkman, and so great a warrior thatin his youth he took no delight in aught else save battle and tourneys.But when he was hard on forty years old, he came across adaughter ofa certain lord, whom he had vanquished, and his eyes bewrayed himinto longing, so that he gave back to the said lord the havings he hadconqueredof him that he might lay the maiden in his kingly bed. So hebrought her home with him to Oakenrealm and wedded her.Tells the tale that he rued not his bargain,but loved her so dearlythat for a year round he wore no armour, save when she bade him play inthe tilt-yard for her desport and pride.So wore the days till shewent with child and was near her time, andthen it betid that three kings who marched on Oakenrealm banded themtogether against him, and his lords and thanescried out on him to leadthem to battle, and it behoved him to do as they would.So he sent out the tokens and bade an hosting at his chief city, andwhen all wasready he said farewell to his wife and her babe unborn, andwent his ways to battle once more: but fierce was his heart against thefoemen, that they had draggedhim away from his love and his joy.Even amidst of his land he joined battle with the host of the ravagers,and the tale of them is short to tell, for they were as thewheat beforethe hook. But as he followed up the chase, a mere thrall of the fleersturned on him and cast his spear, and it reached him whereas his hawberkwasbroken, and stood deep in, so that he fell to earth unmighty: andwhen his lords and chieftains drew about him, and cunning men strove toheal him, it was of noavail, and he knew that his soul was departing.Then he sent for a priest, and for the Marshal of the host, who was agreat lord, and the son of his father's brother,and in few words badehim look to the babe whom his wife bore about, and if it were a man, tocherish him and do him to learn all that a king ought to know; and ifitwere a maiden, that he should look to her wedding well and worthily: andhe let swear him on his sword, on the edges and the hilts, that he woulddo even so,and be true unto his child if child there were: and he badehim have rule, if so be the lords would, and all the people, till thechild were of age to be king: and theMarshal swore, and all the lordswho stood around bare witness to his swearing. Thereafter the priesthouselled the King, and he received his Creator, and a littlewhileafter his soul departed.But the Marshal followed up the fleeing foe, and two battles more hefought before he beat them flat to earth; and then they cravedforpeace, and he went back to the city in mickle honour.But in the King's city of Oakenham he found but little joy; for boththe King was bemoaned, whereas hehad been no hard man to his folk; andalso, when the tidings and the King's corpse came back to Oakenrealm,his Lady and Queen took sick for sorrow and fear,and fell into labourof her child, and in childing of a man-bairn she died, but the ladlived, and was like to do well.So there was one funeral for the slain King and forher whom his slayinghad slain: and when that was done, the little king was borne to thefont, and at his christening he gat to name Christopher.Thereafter theMarshal summoned all them that were due thereto to comeand give homage to the new king, and even so did they, though he werebut a babe, yea, and who hadbut just now been a king lying in hismother's womb. But when the homage was done, then the Marshal calledtogether the wise men, and told them how the Kingthat was had given himin charge his son as then unborn, and the ruling of the realm till thesaid son were come to man's estate: but he bade them seek oneworthierif they had heart to gainsay the word of their dying lord. Then all theysaid that he was worthy and mighty and the choice of their dear lord,and that theywould have none but he.So then was the great folk-mote called, and the same matter was laidbefore all the people, and none said aught against it, whereas nomanwas ready to name another to that charge and rule, even had it been hisown self.Now then by law was the Marshal, who hight Rolf, lord and earl of theland ofOakenrealm. He ruled well and strongly, and was a fell warrior:he was well befriended by many of the great; and the rest of them fearedhim and his friends: asfor the commonalty, they saw that he held therealm in peace; and for the rest, they knew little and saw less of him,and they paid to his bailiffs and sheriffs aslittle as they could, andmore than they would. But whereas that left them somewhat to grind theirteeth on, and they were not harried, they were not so illcontent. Sothe Marshal throve, and lacked nothing of a king's place save the barename.CHAPTER II. OF THE KING'S SON.As for the King's son, to whom the folkhad of late done homage as king,he was at first seen about a corner of the High House with his nurses;and then in a while it was said, and the tale noted, but notmuch, thathe must needs go for his health's sake, and because he was puny, to somestead amongst the fields, and folk heard say that he was gone to thestronghouse of a knight somewhat stricken in years, who was called LordRichard the Lean. The said house was some twelve miles from Oakenham,not far from thenorthern edge of the wild-wood. But in a while, scarcemore than a year, Lord Richard brake up house at the said castle, andwent southward through the forest. Ofthis departure was little said,for he was not a man amongst the foremost. As for the King's little son,if any remembered that he was in the hands of the said LordRichard,none said aught about it; for if any thought of the little babe at all,they said to themselves, Never will he come to be king.Now as for Lord Richard theLean, he went far through the wood, anduntil he was come to another house of his, that stood in a clearingsomewhat near to where Oakenrealm marched onanother country, whichhight Meadham; though the said wild-wood ended not where Oakenrealmended, but stretched a good way into Meadham; and betwixt oneand theother much rough country there was.It is to be said that amongst those who went to this stronghold of thewoods was the little King Christopher, no longerpuny, but a stoutbabe enough: so he was borne amongst the serving men and thralls tothe castle of the Outer March; and he was in no wise treated as agreatman's son; but there was more than one woman who was kind to him, andas he waxed in strength and beauty month by month, both carle andquean fell tonoting him, and, for as little as he was, he began to bewell-beloved.As to the stead where he was nourished, though it were far away amongstthe woods, it wasno such lonely or savage place: besides the castle andthe houses of it, there was a merry thorpe in the clearing, the houseswhereof were set down by the side ofa clear and pleasant little stream.Moreover the goodmen and swains of the said township were no ill folk,but bold of heart, free of speech, and goodly of favour;and the womenof them fair, kind, and trusty. Whiles came folk journeying in toOakenrealm or out to Meadham, and of these some were minstrels, who hadwiththem tidings of what was astir whereas folk were thicker in theworld, and some chapmen, who chaffered with the thorpe-dwellers, andtook of them the woodlandspoil for such outland goods as those woodmenneeded.So wore the years, and in Oakenham King Christopher was well nighforgotten, and in the wild-wood hadnever been known clearly for King'sson. At first, by command of Rolf the Marshal, a messenger cameevery year from Lord Richard with a letter that told of howthe ladChristopher did. But when five years were worn, the Marshal bade sendhim tidings thereof every three years; and by then it was come to thetwelfth year,and still the tidings were that the lad throve ever, andmeanwhile the Marshal sat fast in his seat with none to gainsay, theword went to Lord Richard that heshould send no more, for that he, theMarshal, had heard enough of the boy; and if he throve it were well, andif not, it was no worse. So wore the days and theyears.CHAPTER III. OF THE KING OF MEADHAM AND HIS DAUGHTER.Tells the tale that in the country which lay south of Oakenrealm, andwas called Meadham,there was in these days a king whose wife was dead,but had left him a fair daughter, who was born some four years afterKing Christopher. A good man was thisKing Roland, mild, bounteous, andno regarder of persons in his justice; and well-beloved he was of hisfolk: yet could not their love keep him alive; for, whenashis daughterwas of the age of twelve years, he sickened unto death; and so, when heknew that his end drew near, he sent for the wisest of his wise men,andthey came unto him sorrowing in the High House of his chiefest city,which hight Meadhamstead. So he bade them sit down nigh unto his bed,and took up theword and spake:\"Masters, and my good lords, ye may see clearly that a sundering is athand, and that I must needs make a long journey, whence I shallcomeback never; now I would, and am verily of duty bound thereto, that Ileave behind me some good order in the land. Furthermore, I would thatmy daughter,when she is of age thereto, should be Queen in Meadham, andrule the land; neither will it be many years before she shall be of ripeage for ruling, if ever she maybe; and I deem not that there shall beany lack in her, whereas her mother could all courtesy, and was as wiseas a woman may be. But how say ye, mymasters?\"So they all with one consent said Yea, and they would ask for no betterking than their lady his daughter. Then said the King:\"Hearken carefully, for mytime is short: Yet is she young and a maiden,though she be wise. Now therefore do I need some man well looked to ofthe folk, who shall rule the land in hername till she be of eighteenwinters, and who shall be her good friend and counsellor into all wisdomthereafter. Which of you, my masters, is meet for thismatter?\"Then they all looked one on the other, and spake not. And the King said:\"Speak, some one of you, without fear; this is no time for tarrying.\"Thereonspake an elder, the oldest of them, and said: \"Lord, this isthe very truth, that none of us here present are meet for this office:whereas, among other matters, webe all unmeet for battle; some of ushave never been warriors, and other some are past the age for leading anhost. To say the sooth, King, there is but one man inMeadham who may dowhat thou wilt, and not fail; both for his wisdom, and his might afield,and the account which is had of him amongst the people; and that"}
+{"doc_id":"doc_11","qid":"","text":"<html><head><title>From Dusk Till Dawn Script at IMSDb.</title><meta name=\"description\" content=\"From Dusk Till Dawn script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"From Dusk Till Dawn script, From Dusk Till Dawn movie script, From Dusk Till Dawn film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>FROM DUSK TILLDAWN</title></head><pre><b>              FROM DUSK TILL DAWN</b>                 Screenplay by               Quentin Tarantino                   Storyby                Robert Kurtzman                  Directed by               Robert RodriguezThis script was transcribed, proof read and formatted by ueli rieggemail:webmaster@studiour.tsx.org; url: http://studiour.tsx.orgCast List:Quentin Tarantino                 Richard GeckoGeorge Clooney                    Seth GeckoBrendaHillhouse                  Hostage GloriaHarvey Keitel                     JacobJuliette Lewis                    KateErnest Liu                        ScottCheechMarin                      Border Guard, Chet Pussy, CarlosSelma Hayek                       Santanico PandemoniumDanny Trejo                       Razor CharlieErnestGarcia                     Big EmilioTom Savini                        Sex MachineFred Williamson                   Frost\"I earnestly wish an end would come to this bloody raceI am forced to run.\"                                          Countess                           in: \"La Comtesse Noire\"                                    by Jess Franco<b> FADEIN:</b><b> EXT. LIQUOR STORE - DAY</b> A convenience store in a Texas Suburb. No other businesses surround it. CLOSE-UP: A light switch is flipped on.The sign on top of the store lights up. It reads: BENNY'S<b> WORLD OF LIQUOR.</b><b> TITLE CARD:</b><b> BIG SPRING, TEXAS</b><b>    109 MILESWEST OF ABILENE</b><b> 345 MILES EAST OF THE MEXICAN BORDER</b> A Texas Ranger patrol car pulls into the parking lot and a real live Texas Ranger,"}
+{"doc_id":"doc_12","qid":"","text":"The Project Gutenberg EBook of A Laodicean, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: A LaodiceanAuthor: Thomas HardyPosting Date: February 9, 2009 [EBook #3258]Release Date: June, 2002Language: English***START OF THIS PROJECT GUTENBERG EBOOK A LAODICEAN ***Produced by Les BowlerA LAODICEAN: A STORY OF TO-DAYBy ThomasHardyCONTENTS.   PREFACE                                          CHAPTERS   BOOK THE FIRST.   GEORGE SOMERSET.               I - XV.   BOOK THE SECOND.  DAREAND HAVILL.               I - VII.   BOOK THE THIRD.   DE STANCY.                     I - XI.   BOOK THE FOURTH.  SOMERSET, DARE, AND DE STANCY. I - V.   BOOKTHE FIFTH.   DE STANCY AND PAULA.           I - XIV.   BOOK THE SIXTH.   PAULA.                         I - V.PREFACE.The changing of the old order in countrymanors and mansions may beslow or sudden, may have many issues romantic or otherwise, its romanticissues being not necessarily restricted to a change backto the originalorder; though this admissible instance appears to have been the onlyromance formerly recognized by novelists as possible in the case.Whether thefollowing production be a picture of other possibilities ornot, its incidents may be taken to be fairly well supported by evidenceevery day forthcoming in mostcounties.The writing of the tale was rendered memorable to two persons, at least,by a tedious illness of five months that laid hold of the author soonafter thestory was begun in a well-known magazine; during whichperiod the narrative had to be strenuously continued by dictation to apredetermined cheerful ending.Assome of these novels of Wessex life address themselves moreespecially to readers into whose souls the iron has entered, and whoseyears have less pleasure inthem now than heretofore, so \"A Laodicean\"may perhaps help to while away an idle afternoon of the comfortable oneswhose lines have fallen to them in pleasantplaces; above all, of thatlarge and happy section of the reading public which has not yet reachedripeness of years; those to whom marriage is the pilgrim'sEternal City,and not a milestone on the way. T.H.January 1896.BOOK THE FIRST. GEORGE SOMERSET.I.The sun blazed down and down, till it was withinhalf-an-hour of itssetting; but the sketcher still lingered at his occupation of measuringand copying the chevroned doorway--a bold and quaint example ofatransitional style of architecture, which formed the tower entrance toan English village church. The graveyard being quite open on its westernside, thetweed-clad figure of the young draughtsman, and the tall massof antique masonry which rose above him to a battlemented parapet,were fired to a greatbrightness by the solar rays, that crossed theneighbouring mead like a warp of gold threads, in whose mazes groups ofequally lustrous gnats danced and wailedincessantly.He was so absorbed in his pursuit that he did not mark the brilliantchromatic effect of which he composed the central feature, till it wasbrought hometo his intelligence by the warmth of the moulded stoneworkunder his touch when measuring; which led him at length to turn his headand gaze on its cause.Thereare few in whom the sight of a sunset does not beget as muchmeditative melancholy as contemplative pleasure, the human decline anddeath that it illustratesbeing too obvious to escape the notice ofthe simplest observer. The sketcher, as if he had been brought to thisreflection many hundreds of times before by thesame spectacle, showedthat he did not wish to pursue it just now, by turning away his faceafter a few moments, to resume his architectural studies.He took hismeasurements carefully, and as if he reverenced the oldworkers whose trick he was endeavouring to acquire six hundred yearsafter the original performance hadceased and the performers passed intothe unseen. By means of a strip of lead called a leaden tape, whichhe pressed around and into the fillets and hollows withhis finger andthumb, he transferred the exact contour of each moulding to his drawing,that lay on a sketching-stool a few feet distant; where were alsoasketching-block, a small T-square, a bow-pencil, and other mathematicalinstruments. When he had marked down the line thus fixed, he returned tothe doorwayto copy another as before.It being the month of August, when the pale face of the townsman and thestranger is to be seen among the brown skins of remotestuplanders,not only in England, but throughout the temperate zone, few of thehomeward-bound labourers paused to notice him further than by amomentary turnof the head. They had beheld such gentlemen before, notexactly measuring the church so accurately as this one seemed to bedoing, but painting it from adistance, or at least walking round themouldy pile. At the same time the present visitor, even exteriorly, wasnot altogether commonplace. His features weregood, his eyes of the darkdeep sort called eloquent by the sex that ought to know, and with thatray of light in them which announces a heart susceptible tobeauty ofall kinds,--in woman, in art, and in inanimate nature. Though hewould have been broadly characterized as a young man, his face borecontradictorytestimonies to his precise age. This was conceivablyowing to a too dominant speculative activity in him, which, while ithad preserved the emotional side of hisconstitution, and with it thesignificant flexuousness of mouth and chin, had played upon his foreheadand temples till, at weary moments, they exhibited sometraces of beingover-exercised. A youthfulness about the mobile features, a matureforehead--though not exactly what the world has been familiar within pastages--is now growing common; and with the advance of juvenileintrospection it probably must grow commoner still. Briefly, he had moreof the beauty--if beautyit ought to be called--of the future human typethan of the past; but not so much as to make him other than a nice youngman.His build was somewhat slender andtall; his complexion, though a littlebrowned by recent exposure, was that of a man who spent much of his timeindoors. Of beard he had but small show, thoughhe was as innocent asa Nazarite of the use of the razor; but he possessed a moustacheall-sufficient to hide the subtleties of his mouth, which could thusbetremulous at tender moments without provoking inconvenient criticism.Owing to his situation on high ground, open to the west, he remainedenveloped in thelingering aureate haze till a time when the easternpart of the churchyard was in obscurity, and damp with rising dew.When it was too dark to sketch further hepacked up his drawing, and,beckoning to a lad who had been idling by the gate, directed him tocarry the stool and implements to a roadside inn which he named,lying amile or two ahead. The draughtsman leisurely followed the lad out of thechurchyard, and along a lane in the direction signified.The spectacle of a summertraveller from London sketching mediaevaldetails in these neo-Pagan days, when a lull has come over the study ofEnglish Gothic architecture, through are-awakening to the art-forms oftimes that more nearly neighbour our own, is accounted for by the factthat George Somerset, son of the Academician of thatname, was a manof independent tastes and excursive instincts, who unconsciously, andperhaps unhappily, took greater pleasure in floating in lonely currentsofthought than with the general tide of opinion. When quite a lad, inthe days of the French Gothic mania which immediately succeeded to thegreat English-pointedrevival under Britton, Pugin, Rickman, Scott, andother mediaevalists, he had crept away from the fashion to admire whatwas good in Palladian and Renaissance.As soon as Jacobean, QueenAnne, and kindred accretions of decayed styles began to be popular, hepurchased such old-school works as Revett and Stuart,Chambers, and therest, and worked diligently at the Five Orders; till quite bewilderedon the question of style, he concluded that all styles were extinct, andwiththem all architecture as a living art. Somerset was not old enoughat that time to know that, in practice, art had at all times been asfull of shifts and compromisesas every other mundane thing; that idealperfection was never achieved by Greek, Goth, or Hebrew Jew, andnever would be; and thus he was thrown into a moodof disgust withhis profession, from which mood he was only delivered by recklesslyabandoning these studies and indulging in an old enthusiasm forpoeticalliterature. For two whole years he did nothing but write verse in everyconceivable metre, and on every conceivable subject, from Wordsworthiansonnetson the singing of his tea-kettle to epic fragments on the Fallof Empires. His discovery at the age of five-and-twenty that theseinspired works were not jumped atby the publishers with all theeagerness they deserved, coincided in point of time with a severe hintfrom his father that unless he went on with his legitimateprofession hemight have to look elsewhere than at home for an allowance. Mr. Somersetjunior then awoke to realities, became intently practical, rushed backtohis dusty drawing-boards, and worked up the styles anew, with a viewof regularly starting in practice on the first day of the followingJanuary.It is an old story,and perhaps only deserves the light tone in whichthe soaring of a young man into the empyrean, and his descent again, isalways narrated. But as has often beensaid, the light and the truth maybe on the side of the dreamer: a far wider view than the wise oneshave may be his at that recalcitrant time, and his reduction tocommonmeasure be nothing less than a tragic event. The operation calledlunging, in which a haltered colt is made to trot round and rounda horsebreaker whoholds the rope, till the beholder grows dizzy inlooking at them, is a very unhappy one for the animal concerned. Duringits progress the colt springs upward, acrossthe circle, stops, fliesover the turf with the velocity of a bird, and indulges in all sorts ofgraceful antics; but he always ends in one way--thanks to theknottedwhipcord--in a level trot round the lunger with the regularity of ahorizontal wheel, and in the loss for ever to his character of thebold contours which thefine hand of Nature gave it. Yet the process isconsidered to be the making of him.Whether Somerset became permanently made under the action of theinevitablelunge, or whether he lapsed into mere dabbling with theartistic side of his profession only, it would be premature to say; butat any rate it was his contrite returnto architecture as a calling thatsent him on the sketching excursion under notice. Feeling that somethingstill was wanting to round off his knowledge before hecould take hisprofessional line with confidence, he was led to remember that his ownnative Gothic was the one form of design that he had totally neglectedfromthe beginning, through its having greeted him with wearisomeiteration at the opening of his career. Now it had again returned tosilence; indeed--such is thesurprising instability of art 'principles'as they are facetiously called--it was just as likely as not to sinkinto the neglect and oblivion which had been its lot in"}
+{"doc_id":"doc_13","qid":"","text":"Project Gutenberg's The Tale of Mrs. Tittlemouse, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of Mrs. TittlemouseAuthor: Beatrix PotterRelease Date: November 18, 2005 [EBook #17089]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE TALE OF MRS. TITTLEMOUSE ***Produced by Robert Cicconetti, Emmy and the OnlineDistributed Proofreading Team athttp://www.pgdp.net[Illustration: Mrs. Tittlemouse & Bees]THE TALE OF MRS. TITTLEMOUSEBy BEATRIX POTTERAuthor of \"The Tale of Peter Rabbit\"etc.[Illustration: Mrs. Tittlemouse & Butterfly]FREDERICK WARNEFREDERICK WARNEPenguin Books Ltd, Harmondsworth, Middlesex, EnglandViking Penguin Inc.,40 West 23rd Street, New York, New York 10010, U.S.A.Penguin Books Australia Ltd, Ringwood, Victoria, AustraliaPenguin Books Canada Ltd, 2801 John Street,Markham, Ontario, Canada L3R 1B4Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, New ZealandFirst published 1910This impression1985Universal Copyright Notice:Copyright © 1910 by Frederick Warne & Co.Copyright in all countries signatory to the Berne Convention          All rightsreserved. Without limiting the rights          under copyright reserved above, no part of this          publication may be reproduced, stored in or          introducedinto a retrieval system, or          transmitted, in any form or by any means          (electronic, mechanical, photocopying, recording          or otherwise), withoutthe prior written          permission of both the copyright owner and the          above publisher of this book.Printed and bound in Great Britain byWilliam ClowesLimited, Beccles and LondonNELLIE'SLITTLE BOOK[Illustration: Mrs. Tittlemouse at the Door]Once upon a time there was a wood-mouse, and her name wasMrs.Tittlemouse.She lived in a bank under a hedge.Such a funny house! There were yards and yards of sandy passages,leading to storerooms and nut-cellars andseed-cellars, all amongst theroots of the hedge.[Illustration: In the pantry][Illustration: In bed]There was a kitchen, a parlour, a pantry, and a larder.Also, therewas Mrs. Tittlemouse's bedroom, where she slept in a littlebox bed!Mrs. Tittlemouse was a most terribly tidy particular little mouse,always sweeping and dustingthe soft sandy floors.Sometimes a beetle lost its way in the passages.\"Shuh! shuh! little dirty feet!\" said Mrs. Tittlemouse, clattering herdust-pan.[Illustration:Shooing a beetle][Illustration: A ladybird]And one day a little old woman ran up and down in a red spotty cloak.\"Your house is on fire, Mother Ladybird! Fly awayhome to yourchildren!\"Another day, a big fat spider came in to shelter from the rain.\"Beg pardon, is this not Miss Muffet's?\"\"Go away, you bold bad spider!Leaving ends of cobweb all over my niceclean house!\"[Illustration: Spider][Illustration: Out the window]She bundled the spider out at a window.He let himselfdown the hedge with a long thin bit of string.Mrs. Tittlemouse went on her way to a distant storeroom, to fetchcherry-stones and thistle-down seed for dinner.Allalong the passage she sniffed, and looked at the floor.\"I smell a smell of honey; is it the cowslips outside, in the hedge? Iam sure I can see the marks of littledirty feet.\"[Illustration: Marks of little feet][Illustration: Babbitty Bumble]Suddenly round a corner, she met Babbitty Bumble--\"Zizz, Bizz, Bizzz!\"said the bumblebee.Mrs. Tittlemouse looked at her severely. She wished that she had abroom.\"Good-day, Babbitty Bumble; I should be glad to buy some beeswax. Butwhat areyou doing down here? Why do you always come in at a window, andsay Zizz, Bizz, Bizzz?\" Mrs. Tittlemouse began to get cross.\"Zizz, Wizz, Wizzz!\" repliedBabbitty Bumble in a peevish squeak. Shesidled down a passage, and disappeared into a storeroom which had beenused for acorns.Mrs. Tittlemouse had eatenthe acorns before Christmas; the storeroomought to have been empty.But it was full of untidy dry moss.[Illustration: Full of moss][Illustration: Bees nest]Mrs.Tittlemouse began to pull out the moss. Three or four other beesput their heads out, and buzzed fiercely.\"I am not in the habit of letting lodgings; this is anintrusion!\" saidMrs. Tittlemouse. \"I will have them turned out--\" \"Buzz! Buzz!Buzzz!\"--\"I wonder who would help me?\" \"Bizz, Wizz, Wizzz!\"--\"I will not have Mr.Jackson; he never wipes his feet.\"Mrs. Tittlemouse decided to leave the bees till after dinner.When she got back to the parlour, she heard some one coughing in afatvoice; and there sat Mr. Jackson himself!He was sitting all over a small rocking-chair, twiddling his thumbs andsmiling, with his feet on the fender.He lived in adrain below the hedge, in a very dirty wet ditch.[Illustration: Mr. Jackson][Illustration: Sitting and dripping]\"How do you do, Mr. Jackson? Deary me, you havegot very wet!\"\"Thank you, thank you, thank you, Mrs. Tittlemouse! I'll sit awhile anddry myself,\" said Mr. Jackson.He sat and smiled, and the water dripped offhis coat tails. Mrs.Tittlemouse went round with a mop.He sat such a while that he had to be asked if he would take somedinner?First she offered himcherry-stones. \"Thank you, thank you, Mrs.Tittlemouse! No teeth, no teeth, no teeth!\" said Mr. Jackson.He opened his mouth most unnecessarily wide; hecertainly had not atooth in his head.[Illustration: Feeding Mr. Jackson][Illustration: Thistledown]Then she offered him thistle-down seed--\"Tiddly, widdly, widdly!Pouff,pouff, puff!\" said Mr. Jackson. He blew the thistle-down all over theroom.\"Thank you, thank you, thank you, Mrs. Tittlemouse! Now what Ireally--_really_should like--would be a little dish of honey!\"\"I am afraid I have not got any, Mr. Jackson,\" said Mrs. Tittlemouse.\"Tiddly, widdly, widdly, Mrs. Tittlemouse!\" saidthe smiling Mr.Jackson, \"I can _smell_ it; that is why I came to call.\"Mr. Jackson rose ponderously from the table, and began to look into thecupboards.Mrs.Tittlemouse followed him with a dish-cloth, to wipe his large wetfootmarks off the parlour floor.[Illustration: Wiping up footmarks][Illustration: Walking down thepassage]When he had convinced himself that there was no honey in the cupboards,he began to walk down the passage.\"Indeed, indeed, you will stick fast, Mr.Jackson!\"\"Tiddly, widdly, widdly, Mrs. Tittlemouse!\"First he squeezed into the pantry.\"Tiddly, widdly, widdly? no honey? no honey, Mrs. Tittlemouse?\"There werethree creepy-crawly people hiding in the plate-rack. Two ofthem got away; but the littlest one he caught.[Illustration: Creepy-crawly people][Illustration:Butterfly tasting the sugar]Then he squeezed into the larder. Miss Butterfly was tasting the sugar;but she flew away out of the window.\"Tiddly, widdly, widdly,Mrs. Tittlemouse; you seem to have plenty ofvisitors!\"\"And without any invitation!\" said Mrs. Thomasina Tittlemouse.They went along the sandy passage--\"Tiddlywiddly--\" \"Buzz! Wizz! Wizz!\"He met Babbitty round a corner, and snapped her up, and put her downagain.\"I do not like bumble bees. They are all over bristles,\"said Mr.Jackson, wiping his mouth with his coat-sleeve.\"Get out, you nasty old toad!\" shrieked Babbitty Bumble.\"I shall go distracted!\" scolded Mrs.Tittlemouse.[Illustration: Confronting the Bee][Illustration: Shut into the nut-cellar]She shut herself up in the nut-cellar while Mr. Jackson pulled outthebees-nest. He seemed to have no objection to stings.When Mrs. Tittlemouse ventured to come out--everybody had gone away.But the untidiness wassomething dreadful--\"Never did I see such amess--smears of honey; and moss, and thistledown--and marks of big andlittle dirty feet--all over my nice cleanhouse!\"She gathered up the moss and the remains of the beeswax.Then she went out and fetched some twigs, to partly close up the frontdoor.\"I will make it toosmall for Mr. Jackson!\"[Illustration: Closing up the front door][Illustration: Too tired]She fetched soft soap, and flannel, and a new scrubbing brush fromthestoreroom. But she was too tired to do any more. First she fell asleepin her chair, and then she went to bed.\"Will it ever be tidy again?\" said poor Mrs.Tittlemouse.Next morning she got up very early and began a spring cleaning whichlasted a fortnight.She swept, and scrubbed, and dusted; and she rubbed upthe furniturewith beeswax, and polished her little tin spoons.[Illustration: Polishing]When it was all beautifully neat and clean, she gave a party to fiveother littlemice, without Mr. Jackson.He smelt the party and came up the bank, but he could not squeeze in atthe door.[Illustration: The party][Illustration: Honey-dewthrough the window]So they handed him out acorn-cupfuls of honey-dew through the window,and he was not at all offended.He sat outside in the sun, andsaid--\"Tiddly, widdly, widdly! Your verygood health, Mrs. Tittlemouse!\"THE END       *       *       *       *       *Transcriber's Note: Punctuation normalized andcaptions added toillustrations.End of Project Gutenberg's The Tale of Mrs. Tittlemouse, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALEOF MRS. TITTLEMOUSE ******** This file should be named 17089-8.txt or 17089-8.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.org/1/7/0/8/17089/Produced by Robert Cicconetti, Emmy and the OnlineDistributed Proofreading Team athttp://www.pgdp.netUpdated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions meansthat noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission andwithout paying copyright royalties.  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+{"doc_id":"doc_14","qid":"","text":"The Project Gutenberg EBook of Abbe Mouretâ\u0000\u0000s Transgression, by Emile ZolaThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Abbe Mouretâ\u0000\u0000s Transgression       La Faute De Lâ\u0000\u0000abbe MouretAuthor: Emile ZolaEditor: Ernest Alfred VizetellyRelease Date:November 28, 2004 [EBook #14200]Posting Date: May 29, 2009Last Updated: September 5, 2016Language: EnglishCharacter set encoding: UTF-8*** START OFTHIS PROJECT GUTENBERG EBOOK ABBE MOURETâ\u0000\u0000S TRANSGRESSION ***Produced by Dagny; and David WidgerABBE MOURETâ\u0000\u0000S TRANSGRESSIONByEmile ZolaEdited with an Introduction by Ernest Alfred VizetellyINTRODUCTIONâ\u0000\u0000LA FAUTE DE Lâ\u0000\u0000ABBE MOURETâ\u0000\u0000 was, with respect to the dateofpublication, the fourth volume of M. Zolaâ\u0000\u0000s â\u0000\u0000Rougon-Macquartâ\u0000\u0000 series;but in the amended and final scheme of that great literary undertaking,itoccupies the ninth place. It proceeds from the sixth volume of theseries, â\u0000\u0000The Conquest of Plassans;â\u0000\u0000 which is followed by the two worksthat deal withthe career of Octave Mouret, Abbe Serge Mouretâ\u0000\u0000s elderbrother. In â\u0000\u0000The Conquest of Plassans,â\u0000\u0000 Serge and his half-wittedsister, Desiree, are seen inchildhood at their home in Plassans, whichis wrecked by the doings of a certain Abbe Faujas and his relatives.Serge Mouret grows up, is called by an instinctivevocation to thepriesthood, and becomes parish priest of Les Artaud, a well-nigh paganhamlet in one of those bare, burning stretches of country withwhichProvence abounds. And here it is that â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 opensin the old ruinous church, perched upon a hillock in full view ofthesqualid village, the arid fields, and the great belts of rock which shutin the landscape all around.There are two elements in this remarkable story, which, fromthestandpoint of literary style, has never been excelled by anything thatM. Zola has since written; and one may glance at it therefore from twopoints of view.Taking it under its sociological and religious aspect,it will be found to be an indirect indictment of the celibacy of thepriesthood; that celibacy, contrary toNatureâ\u0000\u0000s fundamental law, whichassuredly has largely influenced the destinies of the Roman CatholicChurch. To that celibacy, and to all the evils that havesprang fromit, may be ascribed much of the irreligion current in France to-day.The periodical reports on criminality issued by the French Ministers ofJustice sincethe foundation of the Republic in 1871, supply materialsfor a most formidable indictment of that vow of perpetual chastity whichRome exacts from her clergy.Nowadays it is undoubtedly too late forRome to go back upon that vow and thereby transform the whole of hersacerdotal organisation; but, perhaps, had shedone so in past times,before the spirit of inquiry and free examination came into being, shemight have assured herself many more centuries of supremacy thanhavefallen to her lot. But she has ever sought to dissociate the law of theDivinity from the law of Nature, as though indeed the latter were butthe invention of theFiend.Abbe Mouret, M. Zolaâ\u0000\u0000s hero, finds himself placed between the law ofthe Divinity and the law of Nature: and the struggle waged within him bythose twoforces is a terrible one. That which training has implantedin his mind proves the stronger, and, so far as the canons of the Churchcan warrant it, he saves his soul.But the problem is not quite franklyput by M. Zola; for if Abbe Mouret transgresses he does so unwittingly,at a time when he is unconscious of his priesthood andhas no memory ofany vow. When the truth flashes upon him he is horrified with himself,and forthwith returns to the Church. A further struggle betweenthecontending forces then certainly ensues, and ends in the final victoryof the Church. But it must at least be said that in the lapses whichoccur in real life amongthe Roman priesthood, the circumstances arealtogether different from those which M. Zola has selected for hisstory.The truth is that in â\u0000\u0000La Faute delâ\u0000\u0000Abbe Mouret,â\u0000\u0000 betwixt lifelikeglimpses of French rural life, the author transports us to a realm ofpoesy and imagination. This is, indeed, so true that hehas introducedinto his work all the ideas on which he had based an early unfinishedpoem called â\u0000\u0000Genesis.â\u0000\u0000 He carries us to an enchanted garden,theParadou--a name which one need hardly say is Provencal forParadise*--and there Serge Mouret, on recovering from brain fever,becomes, as it were, a new Adamby the side of a new Eve, the fair andwinsome Albine. All this part of the book, then, is poetry in prose.The author has remembered the ties which link Rousseauto the realisticschool of fiction, and, as in the pages of Jean-Jacques, trees, springs,mountains, rocks, and flowers become animated beings and claim theirplacein the worldâ\u0000\u0000s mechanism. One may indeed go back far beyondRousseau, even to Lucretius himself; for more than once we areirresistibly reminded ofLucretian scenes, above which through M. Zolaâ\u0000\u0000spages there seems to hover the pronouncement of Sophocles:     No ordinance of man shall override     Thesettled laws of Nature and of God;     Not written these in pages of a book,     Nor were they framed to-day, nor yesterday;     We know not whence they are; butthis we know,     That they from all eternity have been,     And shall to all eternity endure.  * There is a village called Paradou in Provence, between    Les Bauxand Arles.And if we pass to the young pair whose duo of love is sung amidst thevaried voices of creation, we are irresistibly reminded of the Pauland Virginia ofSt. Pierre, and the Daphnis and Chloe of Longus. Besidethem, in their marvellous garden, lingers a memory too of Manon andDes Grieux, with a suggestion ofLauzun and a glimpse of the art ofFragonard. All combine, all contribute--from the great classics to theeighteenth century _petits maitres_--to build up a story ofloveâ\u0000\u0000s risein the human breast in answer to Natureâ\u0000\u0000s promptings.M. Zola wrote â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 one summer under the treesofhis garden, mindful the while of gardens that he had known in childhood:the flowery expanse which had stretched before his grandmotherâ\u0000\u0000s homeatPont-au-Beraud and the wild estate of Galice, between Roquefavour andAix-en-Provence, through which he had roamed as a lad with friends thenboys likehimself: Professor Baille and Cezanne, the painter. And intohis description of the wondrous Paradou he has put all his remembranceof the gardens and woods ofProvence, where many a plant and flowerthrive with a luxuriance unknown to England. True, in order to refreshhis memory and avoid mistakes, he consultedvarious horticulturalmanuals whilst he was writing; of which circumstance captious criticshave readily laid hold, to proclaim that the description of the Paradouis amere floristâ\u0000\u0000s catalogue.But it is nothing of the kind. The florist who might dare to offersuch a catalogue to the public would be speedily assailed by allthehorticultural journalists of England and all the customers of villadom.For M. Zola avails himself of a poetâ\u0000\u0000s license to crowd marvel uponmarvel, toexaggerate natureâ\u0000\u0000s forces, to transform the tiniest bloomsinto giant examples of efflorescence, and to mingle even the seasonsone with the other. But allthis was premeditated; there was a picturebefore his mindâ\u0000\u0000s eye, and that picture he sought to trace with his pen,regardless of all possible objections. It isthe poetâ\u0000\u0000s privilege todo this and even to be admired for it. It would be easy for some leanedbotanist, some expert zoologist, to demolish Milton from thestandpointof their respective sciences, but it would be absurd to do so. We ask ofthe poet the flowers of his imagination, and the further he carries usfrom thesordid realities, the limited possibilities of life, the moreare we grateful to him.And M. Zolaâ\u0000\u0000s Paradou is a flight of fancy, even as its mistress, thefair, loving,guileless Albine, whose smiles and whose tears alike goto our hearts, is the daughter of imagination. She is a flower--the veryflower of lifeâ\u0000\u0000s youth--in themidst of all the blossoms of hergarden. She unfolds to life and to love even as they unfold; she lovesrapturously even as they do under the sun and the azure;and she dieswith them when the sunâ\u0000\u0000s caress is gone and the chill of winter hasfallen. At the thought of her, one instinctively remembersMalherbeâ\u0000\u0000sâ\u0000\u0000Ode A Du Perrier:â\u0000\u0000     She to this earth belonged, where beauty fast          To direst fate is borne:     A rose, she lasted, as the roseslast,          Only for one brief morn.French painters have made subjects of many episodes in M. Zolaâ\u0000\u0000sworks, but none has been more popular with them thanAlbineâ\u0000\u0000s pathetic,perfumed death amidst the flowers. I know several paintings of greatmerit which that touching incident has inspired.Albine, if more or lessunreal, a phantasm, the spirit as it were ofNature incarnate in womanhood, is none the less the most delightful ofM. Zolaâ\u0000\u0000s heroines. She smiles at us like thevision of perfect beautyand perfect love which rises before us when our hearts are yet young andfull of illusions. She is the ideal, the very quintessence ofwoman.In Serge Mouret, her lover, we find a man who, in more than one respect,recalls M. Zolaâ\u0000\u0000s later hero, the Abbe Froment of â\u0000\u0000Lourdesâ\u0000\u0000 andâ\u0000\u0000Rome.â\u0000\u0000He has the same loving, yearning nature; he is born--absolutely likeAbbe Froment--of an unbelieving father and a mother of mystical mind.Butunlike Froment he cannot shake off the shackles of his priesthood.Reborn to life after his dangerous illness, he relapses into thereligion of death, the religionwhich regards life as impurity, whichdenies Natureâ\u0000\u0000s laws, and so often wrecks human existence, as ifindeed that had been the Divine purpose in setting manupon earth. Hisstruggles suggest various passages in â\u0000\u0000Lourdesâ\u0000\u0000 and â\u0000\u0000Rome.â\u0000\u0000 In fact, inwriting those works, M. Zola must have had his earliercreation inmind. There are passages in â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 culled from thewritings of the Spanish Jesuit Fathers and the â\u0000\u0000Imitationâ\u0000\u0000of Thomasa Kempis that recur almost word for word in the Trilogy of the ThreeCities. Some might regard this as evidence of the limitation of M.Zolaâ\u0000\u0000spowers, but I think differently. I consider that he has in bothinstances designedly taken the same type of priest in order to show howhe may live under variedcircumstances; for in the earlier instancehe has led him to one goal, and in the later one to another. And thepassages of prayer, entreaty, and spiritual conflictsimply recurbecause they are germane, even necessary, to the subject in both cases.Of the minor characters that figure in â\u0000\u0000La Faute de lâ\u0000\u0000AbbeMouretâ\u0000\u0000 thechief thing to be said is that they are lifelike. If Serge is almostwholly spiritual, if Albine is the daughter of poesy, they, the others,are of the earthearthy. As a result of their appearance on the scene,there are some powerful contrasting passages in the book. Archangias,the coarse and brutal ChristianBrother who serves as a foil to AbbeMouret; La Teuse, the priestâ\u0000\u0000s garrulous old housekeeper; Desiree, hisâ\u0000\u0000innocentâ\u0000\u0000 sister, a grown woman with the"}
+{"doc_id":"doc_15","qid":"","text":"<html><head><title>Celeste & Jesse Forever Script at IMSDb.</title><meta name=\"description\" content=\"Celeste & Jesse Forever script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Celeste & Jesse Forever script, Celeste & Jesse Forever movie script, Celeste & Jesse Forever filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             CELESTE AND JESSE FOREVER</b>                                                             Writtenby                                                   Rashida Jones & WillMcCormack                                                                                                    <b>                                                               5.01.11</b><b>          1MONTAGE OVER THE OPENING CREDITS TO SUNNY LEVINE'S \"LOVE 1</b><b>                          RHINO\":</b>                                    A progression of imagesof CELESTE and JESSE, ages 18 to 30.           Visual media evolves with them throughout the years.                                                  <b>          A1 POLAROIDSOF HIGH SCHOOL MOMENTS: A1</b>           Celeste is a chronic overachiever and Jesse is sweet, goofy           and funny. He makes her laugh. They are bestfriends but it's           clear that Jesse wishes they were more.           Close-up of their hands crossed, making \"C\" and \"J\" shapes.           Celeste and her footballplayer boyfriend, Mike, kissing.           Jesse watches enviously from the sidelines, holding Mike's           helmet.                                                  <b>          B1DIPOSABLE CAMERA PHOTOS: B1</b>           They go to college together, study together, drink together.           They are still best friends.           Junior year,Celeste with Saleem, her hot, black militant           boyfriend. They kiss passionately.           A moment later, Jesse poses reluctantly with the"}
+{"doc_id":"doc_16","qid":"","text":"<html><head><title>Flash Gordon Script at IMSDb.</title><meta name=\"description\" content=\"Flash Gordon script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Flash Gordon script, Flash Gordon movie script, Flash Gordon film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  FLASH GORDON</b>                                   Written by                                Lorenzo SempleJr.                         <b>          FADE IN:</b>                         <b>          EXT. WIDE AFRICAN LANDSCAPE - MORNING</b>                                   At first onlydarkness, then the rising sun paints in an          endless savanna from horizon to horizon. We hear savage drums          beating in the distance coming from someunknown place.                                   The sun clears the horizon. Suddenly it changes amazingly:          the white disc goes through a rapid series ofcolor          transitions, from yellow to green to purple to an incredible          BLOOD RED. From it shoots a RED LIGHTNING BOLT.                                   The skyechoes with THUNDER.                                   We hear a HOWLING ethereal wind, but not a twig of the brush          stirs as bolt after bolt of RED LIGHTNINGrips the sky, with          each one a TITLE or CREDIT appearing.                                   Under FINAL CREDIT snow is beginning to fall on theburning          blood-red savanna.                         <b>          EXT. PLANE IN FLIGHT - DAY</b>                                   I's a Twin Otter with the logo of somecommuter airline. It          buzzes along over pleasant countryside, through a sky that's          almost unnaturally serene and filled with fleecy whiteclouds.                         <b>          INT. PLANE IN FLIGHT - DAY</b>                                   There are just two passengers in the cabin. One is DALEARDEN,          a great looking dark-haired girl sitting by herself and          reading a book entitled \"KARATE FOR THE SINGLE GIRL.... A          Guide to Survival In"}
+{"doc_id":"doc_17","qid":"","text":"Project Gutenberg's Stories from Pentamerone, by Giambattista BasileThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Stories from PentameroneAuthor: Giambattista BasilePosting Date: March 1, 2009 [EBook #2198]Release Date: May, 2000Language:English*** START OF THIS PROJECT GUTENBERG EBOOK STORIES FROM PENTAMERONE ***Produced by Batsy Bybell.  HTML version by Al Haines.Stories fromPentameronebyGiambattista BasileNOTEThe collection of folk-tales known as Il Pentamerone was firstpublished at Naples and in the Neopolitan dialect, byGiambattistaBasile, Conte di Torrone, who is believed to have collected themchiefly in Crete and Venice, and to have died about the year1637.CONTENTS  1.  How the Tales came to be told  2.  The Myrtle  3.  Peruonto  4.  Vardiello  5.  The Flea  6.  Cenerentola  7.  TheMerchant  8.  Goat-Face  9.  The Enchanted Doe 10. Parsley 11. The Three Sisters 12. Violet 13. Pippo 14. The Serpent 15. The She-Bear 16. The Dove 17.Cannetella 18. Corvetto 19. The Booby 20. The Stone in the Cock's Head 21. The Three Enchanted Princes 22. The Dragon 23. The Two Cakes 24. The SevenDoves 25. The Raven 26. The Months 27. Pintosmalto 28. The Golden Root 29. Sun, Moon, and Talia 30. Nennillo and Nennella 31. The Three Citrons 32.ConclusionIHOW THE TALES CAME TO BE TOLDIt is an old saying, that he who seeks what he should not, finds whathe would not. Every one has heard of the apewho, in trying to pull onhis boots, was caught by the foot. And it happened in like manner to awretched slave, who, although she never had shoes to her feet,wantedto wear a crown on her head. But the straight road is the best; and,sooner or later, a day comes which settles all accounts. At last,having by evil meansusurped what belonged to another, she fell to theground; and the higher she had mounted, the greater was her fall--asyou shall see.Once upon a time the King ofWoody Valley had a daughter named Zoza,who was never seen to laugh. The unhappy father, who had no othercomfort in life but this only daughter, left nothinguntried to driveaway her melancholy. So he sent for folks who walk on stilts, fellowswho jump through hoops, for boxers, for conjurers, for jugglers whoperformsleight-of-hand tricks, for strong men, for dancing dogs, forleaping clowns, for the donkey that drinks out of a tumbler--in short,he tried first one thing and thenanother to make her laugh. But allwas time lost, for nothing could bring a smile to her lips.So at length the poor father, at wit's end, and to make a lasttrial,ordered a large fountain of oil to be set in front of the palace gates,thinking to himself that when the oil ran down the street, along whichthe people passedlike a troop of ants, they would be obliged, in ordernot to soil their clothes, to skip like grasshoppers, leap like goats,and run like hares; while one would gopicking and choosing his way,and another go creeping along the wall. In short, he hoped thatsomething might come to pass to make his daughter laugh.So thefountain was made; and as Zoza was one day standing at thewindow, grave and demure, and looking as sour as vinegar, there came bychance an old woman,who, soaking up the oil with a sponge, began tofill a little pitcher which she had brought with her. And as she waslabouring hard at this ingenious device, a youngpage of the courtpassing by threw a stone so exactly to a hair that he hit the pitcherand broke it to pieces. Whereupon the old woman, who had no hair onhertongue, turned to the page, full of wrath, and exclaimed, \"Ah, youimpertinent young dog, you mule, you gallows-rope, you spindle-legs!Ill luck to you! Mayyou be pierced by a Catalan lance! May a thousandills befall you and something more to boot, you thief, you knave!\"The lad, who had little beard and lessdiscretion, hearing this stringof abuse, repaid the old woman in her own coin, saying, \"Have you done,you grandmother of witches, you old hag, youchild-strangler!\"When the old woman heard these compliments she flew into such a ragethat, losing hold of the bridle and escaping from the stable ofpatience,she acted as if she were mad, cutting capers in the air andgrinning like an ape. At this strange spectacle Zoza burst into such afit of laughter that she well-nighfainted away. But when the old womansaw herself played this trick, she flew into a passion, and turning afierce look on Zoza she exclaimed: \"May you never havethe least littlebit of a husband, unless you take the Prince of Round-Field.\"Upon hearing this, Zoza ordered the old woman to be called; and desiredto knowwhether, in her words, she had laid on her a curse, or had onlymeant to insult her. And the old woman answered, \"Know then, that thePrince of whom I spoke is amost handsome creature, and is namedTaddeo, who, by the wicked spell of a fairy, having given the lasttouch to the picture of life, has been placed in a tomboutside thewalls of the city; and there is an inscription upon a stone, sayingthat whatever woman shall in three days fill with tears a pitcher thathangs there upona hook will bring the Prince to life and shall takehim for a husband. But as it is impossible for two human eyes to weepso much as to fill a pitcher that would holdhalf a barrel, I havewished you this wish in return for your scoffing and jeering at me. AndI pray that it may come to pass, to avenge the wrong you have doneme.\"So saying, she scuttled down the stairs, for fear of a beating.Zoza pondered over the words of the old woman, and after turning over ahundred thoughts inher mind, until her head was like a mill full ofdoubts, she was at last struck by a dart of the passion that blinds thejudgment and puts a spell on the reasoning ofman. She took a handfulof dollars from her father's coffers and left the palace, walking onand on, until she arrived at the castle of a fairy, to whomsheunburdened her heart. The fairy, out of pity for such a fair younggirl, who had two spurs to make her fall--little help and much love foran unknownobject--gave her a letter of recommendation to a sister ofhers, who was also a fairy. And this second fairy received her likewisewith great kindness; and on thefollowing morning, when Night commandsthe birds to proclaim that whoever has seen a flock of black shadowsgone astray shall be well rewarded, she gave her abeautiful walnut,saying, \"Take this, my dear daughter, and keep it carefully; but neveropen it, but in time of the greatest need.\" And then she gave her alsoaletter, commending her to another sister.After journeying a long way, Zoza arrived at this fairy's castle, andwas received with the same affection. And the nextmorning this fairylikewise gave her a letter to another sister, together with a chestnut,cautioning her in the same manner. Then Zoza travelled on to thenextcastle, where she was received with a thousand caresses and given afilbert, which she was never to open, unless the greatest necessityobliged her. So sheset out upon her journey, and passed so manyforests and rivers, that at the end of seven years, just at the time ofday when the Sun, awakened by the coming ofthe cocks, has saddled hissteed to run his accustomed stages, she arrived almost lame atRound-Field.There, at the entrance to the city, she saw a marble tomb,at the footof a fountain, which was weeping tears of crystal at seeing itself shutup in a porphyry prison. And, lifting up the pitcher, she placed it inher lap andbegan to weep into it, imitating the fountain to make twolittle fountains of her eyes. And thus she continued without everraising her head from the mouth of thepitcher--until, at the end oftwo days, it was full within two inches of the top. But, being weariedwith so much weeping, she was unawares overtaken by sleep, andwasobliged to rest for an hour or so under the canopy of her eyes.Meanwhile a certain Slave, with the legs of a grasshopper, came, as shewas wont, to thefountain, to fill her water-cask. Now she knew themeaning of the fountain which was talked of everywhere; and when shesaw Zoza weeping so incessantly, andmaking two little streams from hereyes, she was always watching and spying until the pitcher should befull enough for her to add the last drops to it; and thus toleave Zozacheated of her hopes. Now, therefore, seeing Zoza asleep, she seizedher opportunity; and dexterously removing the pitcher from under Zoza,andplacing her own eyes over it, she filled it in four seconds. Buthardly was it full, when the Prince arose from the white marble shrine,as if awakened from a deepsleep, and embraced that mass of dark flesh,and carried her straightways to his palace; feasts and marvellousilluminations were made, and he took her for hiswife.When Zoza awoke and saw the pitcher gone, and her hopes with it, andthe shrine open, her heart grew so heavy that she was on the point ofunpacking thebales of her soul at the custom-house of Death. But, atlast, seeing that there was no help for her misfortune, and that shecould only blame her own eyes, whichhad served her so ill, she wenther way, step by step, into the city. And when she heard of the feastswhich the Prince had made, and the dainty creature he hadmarried, sheinstantly knew how all this mischief had come to pass; and said toherself, sighing, \"Alas, two dark things have brought me to theground,--sleep anda black slave!\" Then she took a fine house facingthe palace of the Prince; from whence, though she could not see theidol of her heart, she could at least look uponthe walls wherein whatshe sighed for was enclosed.But Taddeo, who was constantly flying like a bat round that black nightof a Slave, chanced to perceive Zozaand was entranced with her beauty.When the Slave saw this she was beside herself with rage, and vowedthat if Taddeo did not leave the window, she would killher baby whenit was born.Taddeo, who was anxiously desiring an heir, was afraid to offend hiswife and tore himself away from the sight of Zoza; who seeingthislittle balm for the sickness of her hopes taken away from her, knewnot, at first, what to do. But, recollecting the fairies' gifts, sheopened the walnut, and outof it hopped a little dwarf like a doll, themost graceful toy that was ever seen in the world. Then, seatinghimself upon the window, the dwarf began to sing withsuch a trill andgurgling, that he seemed a veritable king of the birds.The Slave, when she saw and heard this, was so enraptured that, callingTaddeo, she said,\"Bring me the little fellow who is singing yonder, orI will kill the child when it is born.\" So the Prince, who allowed thisugly woman to put the saddle on his back,sent instantly to Zoza, toask if she would not sell the dwarf. Zoza answered she was not amerchant, but that he was welcome to it as a gift. So Taddeoacceptedthe offer, for he was anxious to keep his wife in good humour.Four days after this, Zoza opened the chestnut, when out came a henwith twelve littlechickens, all of pure gold, and, being placed on thewindow, the Slave saw them and took a vast fancy to them; and callingTaddeo, she showed him the beautifulsight, and again ordered him toprocure the hen and chickens for her. So Taddeo, who let himself becaught in the web, and become the sport of the ugly creature,"}
+{"doc_id":"doc_18","qid":"","text":"The Project Gutenberg EBook of The Wailing Asteroid, by Murray LeinsterThis eBook is for the use of anyone anywhere in the United States and mostotherparts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project GutenbergLicense included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country whereyou are located before using this ebook.Title: The Wailing AsteroidAuthor: Murray LeinsterRelease Date: September 20, 2015 [EBook #50022]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE WAILING ASTEROID ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributedProofreading Team at http://www.pgdp.net                         THE WAILING ASTEROID                          by Murray Leinster                           An AvonOriginal                          AVON BOOK DIVISION                        The Hearst Corporation                           959 Eighth Avenue                         New York 19, NewYorkCopyright, 1960, by Murray Leinster. Published by arrangement withthe author. Printed in the U.S.A.[Transcriber's Note: Extensive research did not uncoverany evidencethat the U.S. copyright on this publication was renewed.]       *       *       *       *       *There was no life on the asteroid, but the miles of rock-hewncorridorsthrough which the earth party wandered left no doubt about the purposeof the asteroid.It was a mighty fortress, stocked with weapons of destructionbeyondman's power to understand.And yet there was no life here, nor had there been for untold centuries.What race had built this stronghold? Whatunimaginable power were theydefending against? Why was it abandoned? There was no answer, all wasdead.But--not quite all.For in a room above the tomb-likefortress a powerful transmitterbeamed its birdlike, fluting sounds toward earth. Near it, on a hugestar-map of the universe, with light-years measured by inches,ten tinyred sparks were moving, crawling inexorably toward the center.Moving, at many times the speed of light, with the acquired massof suns ... moving, on acourse that would pass through the solarsystem.The unknown aliens would not even see our sun explode from the forceof their passing, would not even noticethe tiny speck called Earth asit died....       *       *       *       *       *Chapter 1The signals from space began a little after midnight, local time, on aFriday. Theywere first picked up in the South Pacific, just westwardof the International Date Line. A satellite-watching station on anisland named Kalua was the first to receivethem, though nobody heardthe first four or five minutes. But it is certain that the very firstmessage was picked up and recorded by the monitor instruments.Thesatellite-tracking unit on Kalua was practically a duplicate ofall its fellows. There was the station itself with a vertical antennaoutside pointing at the stars. Therewere various lateral antennaeheld two feet above ground by concrete posts. In the instrument roomin the building a light burned over a desk, three or fourmonitorlights glowed dimly to indicate that the self-recording instrumentswere properly operating, and there was a multiple-channel tape recorderbuilt into thewall. Its twin tape reels turned sedately, winding abrown plastic ribbon from one to the other at a moderate pace.The staff man on duty had gone to theinstallation's kitchen for a cupof coffee. No sound originated in the room, unless one counted thefluttering of a piece of weighted-down paper on the desk.Outside,palm trees whispered and rustled their long fronds in the southeasttrade wind under a sky full of glittering stars. Beyond, there wasthe dull booming ofsurf upon the barrier reef of the island. But theinstruments made no sound. Only the tape reels moved.The signals began abruptly. They came out of a speakerand wereinstantly recorded. They were elfin and flutelike and musical. Theywere crisp and distinct. They did not form a melody, but nearly all thecomponents ofmelody were there. Pure musical notes, each with its ownpitch, all of different lengths, like quarter-notes and eighth-notesin music. The sounds needed onlyrhythm and arrangement to form aplaintive tune.Nothing happened. The sounds continued for something over a minute.They stopped long enough to seem tohave ended. Then they began again.When the staff man came back into the room with a coffee cup in hishand, he heard the flutings instantly. His jaw dropped.He said, \"Whatthe hell?\" and went to look at the instruments. He spilled some of hiscoffee when he saw their readings.The tracking dials said that the signalscame from a stationary sourcealmost directly overhead. If they were from a stationary source,no plane was transmitting them. Nor could they be coming fromanartificial satellite. A plane would move at a moderate pace across thesky. A satellite would move faster. Much faster. This source, accordingto the instruments,did not move at all.The staff man listened with a blank expression on his face. There wasbut one rational explanation, which he did not credit for an instant.Thereasonable answer would have been that somebody, somewhere, had puta satellite out into an orbit requiring twenty-four hours for a circuitof the earth, insteadof the ninety to one-hundred-twenty-four-minuteorbits of the satellites known to sweep around the world from westto east and pole to pole. But the piping,musical sounds were notthe sort of thing that modern physicists would have contrived tocarry information about cosmic-particle frequency, spacetemperature,micrometeorites, and the like.The signals stopped again, and again resumed. The staff man wasgalvanized into activity. He rushed to waken othermembers of theoutpost. When he got back, the signals continued for a minute andstopped altogether. But they were recorded on tape, with theinstrumentreadings that had been made during their duration. The staff man playedthe tape back for his companions.They felt as he did. These were signals fromspace where man had neverbeen. They had listened to the first message ever to reach mankind fromthe illimitable emptiness between the stars and planets. Manwas notalone. Man was no longer isolated. Man....The staff of the tracking station was very much upset. Most of themen were white-faced by the time the tapedmessage had been re-playedthrough to its end. They were frightened.Considering everything, they had every reason to be.The second pick-up was in Darjeeling,in northern India. The Indiangovernment was then passing through one of its periods of enthusiasticinterest in science. It had set up a satellite-observation postin aformer British cavalry stable on the outskirts of the town. The actinghead of the observing staff happened to hear the second broadcast toreach Earth. Itarrived some seventy-nine minutes after the firstreception, and it was picked up by two stations, Kalua and Darjeeling.The Darjeeling observer was incredulous atwhat he heard--fiverepetitions of the same sequence of flutelike notes. After eachpause--when it seemed that the signals had stopped before they actuallydidso--the reception was exactly the same as the one before. Itwas inconceivable that such a succession of sounds, lasting a fullminute, could be exactly repeated byany natural chain of events. Fiverepetitions were out of the question. The notes were signals. They werea communication which was repeated to be sure it wasreceived.The third broadcast was heard in Lebanon in addition to Kalua andDarjeeling. Reception in all three places was simultaneous. A signalfrom a nearbysatellite could not possibly have been picked up so fararound the Earth's curvature. The widening of the area of reception,too, proved that there was no newsatellite aloft with an orbit periodof exactly twenty-four hours, so that it hung motionless in the skyrelative to Earth. Tracking observations, in fact, showed thesource ofthe signals to move westward, as time passed, with the apparent motionof a star. No satellite of Earth could possibly exist with such anorbit unless itwas close enough to show a detectable parallax. Thisdid not.A French station picked up the next batch of plaintive sounds. Kalua,Darjeeling, and Lebanon stillreceived. By the time the next signal wasdue, Croydon, in England, had its giant radar-telescope trained on thepart of the sky from which all the tracking stationsagreed the signalscame.Croydon painstakingly made observations during four seventy-nine-minuteintervals and four five-minute receptions of the fluting noises.Itreported that there was a source of artificial signals at an extremelygreat distance, position right ascension so-and-so, declinationsuch-and-such. The signalsbegan every seventy-nine minutes. They couldbe heard by any receiving instrument capable of handling the microwavefrequency involved. The broadcast wasextremely broad-band. It coveredmore than two octaves and sharp tuning was not necessary. A man-madesignal would have been confined to as narrow awave-band as possible,to save power for one reason, so it could not be imagined that thesignal was anything but artificial. Yet no Earth science could havesent atransmitter out so far.When sunrise arrived at the tracking station on Kalua, it ceased toreceive from space. On the other hand, tracking stations in theUnitedStates, the Antilles, and South America began to pick up the crypticsounds.The first released news of the happening was broadcast in the UnitedStates. Inthe South Pacific and India and the Near East and Europe,the whole matter seemed too improbable for the notification of thepublic. News pressure in the UnitedStates, though, is very great. Herethe news rated broadcast, and got it.That was why Joe Burke did not happen to complete the business forwhich he'd takenSandy Lund to a suitable, romantic spot. She was hissecretary and the only permanent employee in the highly individualbusiness he'd begun and operated. He'dknown her all his life, andit seemed to him that for most of it he'd wanted to marry her. Butsomething had happened to him when he was quite a small boy--andstillhappened at intervals--which interposed a mental block. He'd alwayswanted to be romantic with her, but there was a matter of two moonsin a strange-starredsky, and trees with foliage like none on Earth,and an overwhelming emotion. There was no rational explanation for it.There could be none. Often he'd told himselfthat Sandy was real andutterly desirable, and this lunatic repetitive experience was at worstinsanity and at the least delusion. But he'd never been able to domorethan stammer when talk between them went away from matter-of-factthings.Tonight, though, he'd parked his car where a river sparkled in themoonlight. Therewas a scent of pine and arbutus in the air and a faintthread of romantic music came from his car's radio. He'd brought Sandyhere to propose to her. He wasdoggedly resolved to break the chains apsychological oddity had tied him up in.He cleared his throat. He'd taken Sandy out to dinner, ostensibly tocelebrate thecompletion of a development job for Interiors, Inc. Burkehad started Burke Development, Inc., some four years out of collegewhen he found he didn't likeworking for other people and could workfor himself. Its function was to develop designs and processes forcompanies too small to have research-and-development"}
+{"doc_id":"doc_19","qid":"","text":"<html><head><title>Shallow Grave Script at IMSDb.</title><meta name=\"description\" content=\"Shallow Grave script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Shallow Grave script, Shallow Grave movie script, Shallow Grave film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                      SHALLOW GRAVE</b>                                       Written by                                       JohnHodge<b>                                                             FINAL DRAFT</b><b>          INT. DAY</b><b>          </b>          A blurred image forms on a whitescreen. A horizontal strip of           face, eyes motionless and unblinking. <b>          </b><b>          DAVID</b><b>          (VOICE-OVER) </b>          Taketrust, for instance, or friendship: these are the important           things in life, the things that matter, that help you on your           way. If you can't trust yourfriends, well, what then?<b>          </b><b>          EXT. DAWN </b><b>          </b>          A series of fast-cut static scenes of empty streets.<b>          </b><b>          DAVID</b><b>          (VOICE-OVER)</b>          This could have been any city: they're all the same.<b>          </b>          A rapid,swerving track along deserted streets and down narrow           lanes and passageways. Accompanied by soundtrack and credits.<b>          </b>          The trackends outside a solid, fashionable Edinburgh tenement.<b>          </b><b>          INT. STAIRWELL. DAY</b><b>          </b>          At the door of a flat on thethird floor of the tenement. The           door is dark, heavy wood and on it is a plastic card embossed           with the names of three tenants. They are Alex Law,David           Stevens, and Juliet Miller.<b>          </b>          A man climbs the stairs and reaches the door. He is Cameron           Clarke, thin and in his latetwenties with a blue anorak and           lank, greasy hair. He is carrying an awkwardly bulky plastic bag.           Cameron gives the doorbell an ineffectual ring and"}
+{"doc_id":"doc_20","qid":"","text":"Project Gutenberg's The House of the Seven Gables, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The House of the Seven GablesAuthor: Nathaniel HawthorneRelease Date: June 17, 2008 [EBook #77]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE HOUSE OF THE SEVEN GABLES ***Produced by Judith Boss.  HTML version by Al Haines.THE HOUSE OF THE SEVENGABLESbyNATHANIEL HAWTHORNETable of Contents         INTRODUCTORY NOTE         AUTHOR'S PREFACE     I.  THE OLD PYNCHEON FAMILY    II.  THE LITTLESHOP-WINDOW   III.  THE FIRST CUSTOMER    IV.  A DAY BEHIND THE COUNTER     V.  MAY AND NOVEMBER    VI.  MAULE'S WELL   VII.  THE GUEST  VIII.  THEPYNCHEON OF TO-DAY    IX.  CLIFFORD AND PHOEBE     X.  THE PYNCHEON GARDEN    XI.  THE ARCHED WINDOW   XII.  THE DAGUERREOTYPIST  XIII.  ALICEPYNCHEON   XIV.  PHOEBE'S GOOD-BYE    XV.  THE SCOWL AND SMILE   XVI.  CLIFFORD'S CHAMBER  XVII.  THE FLIGHT OF TWO OWLS XVIII.  GOVERNORPYNCHEON   XIX.  ALICE'S POSIES    XX.  THE FLOWER OF EDEN   XXI.  THE DEPARTURE                         INTRODUCTORY NOTE.THE HOUSE OF THE SEVENGABLES.IN September of the year during the February of which Hawthorne hadcompleted \"The Scarlet Letter,\" he began \"The House of the SevenGables.\"Meanwhile, he had removed from Salem to Lenox, in BerkshireCounty, Massachusetts, where he occupied with his family a small redwooden house, still standingat the date of this edition, near theStockbridge Bowl.\"I sha'n't have the new story ready by November,\"  he explained to hispublisher, on the 1st of October, \"for Iam never good for anything inthe literary way till after the first autumnal frost, which hassomewhat such an effect on my imagination that it does on thefoliagehere about me-multiplying and brightening its hues.\" But by vigorousapplication he was able to complete the new work about the middle ofthe Januaryfollowing.Since research has disclosed the manner in which the romance isinterwoven with incidents from the history of the Hawthorne family,\"The House of theSeven Gables\" has acquired an interest apart fromthat by which it first appealed to the public. John Hathorne (as thename was then spelled), thegreat-grandfather of Nathaniel Hawthorne,was a magistrate at Salem in the latter part of the seventeenthcentury, and officiated at the famous trials for witchcraftheld there.It is of record that he used peculiar severity towards a certain womanwho was among the accused; and the husband of this woman prophesiedthat Godwould take revenge upon his wife's persecutors.  Thiscircumstance doubtless furnished a hint for that piece of tradition inthe book which represents a Pyncheon ofa former generation as havingpersecuted one Maule, who declared that God would give his enemy \"bloodto drink.\" It became a conviction with the Hawthornefamily that acurse had been pronounced upon its members, which continued in force inthe time of the romancer; a conviction perhaps derived from therecordedprophecy of the injured woman's husband, just mentioned; and,here again, we have a correspondence with Maule's malediction in thestory. Furthermore, thereoccurs in the \"American Note-Books\" (August27, 1837), a reminiscence of the author's family, to the followingeffect. Philip English, a character well-known inearly Salem annals,was among those who suffered from John Hathorne's magisterialharshness, and he maintained in consequence a lasting feud with theoldPuritan official. But at his death English left daughters, one of whomis said to have married the son of Justice John Hathorne, whom Englishhad declared hewould never forgive. It is scarcely necessary to pointout how clearly this foreshadows the final union of those hereditaryfoes, the Pyncheons and Maules, throughthe marriage of Phoebe andHolgrave. The romance, however, describes the Maules as possessing someof the traits known to have been characteristic of theHawthornes: forexample, \"so long as any of the race were to be found, they had beenmarked out from other men--not strikingly, nor as with a sharp line,but withan effect that was felt rather than spoken of--by anhereditary characteristic of reserve.\" Thus, while the generalsuggestion of the Hawthorne line and its fortuneswas followed in theromance, the Pyncheons taking the place of the author's family, certaindistinguishing marks of the Hawthornes were assigned to theimaginaryMaule posterity.There are one or two other points which indicate Hawthorne's method ofbasing his compositions, the result in the main of pureinvention, onthe solid ground of particular facts.  Allusion is made, in the firstchapter of the \"Seven Gables,\" to a grant of lands in Waldo County,Maine, owned bythe Pyncheon family.  In the \"American Note-Books\"there is an entry, dated August 12, 1837, which speaks of theRevolutionary general, Knox, and his land-grantin Waldo County, byvirtue of which the owner had hoped to establish an estate on theEnglish plan, with a tenantry to make it profitable for him.  Anincident ofmuch greater importance in the story is the supposed murderof one of the Pyncheons by his nephew, to whom we are introduced asClifford Pyncheon.  In allprobability Hawthorne connected with this,in his mind, the murder of Mr. White, a wealthy gentleman of Salem,killed by a man whom his nephew had hired.  Thistook place a few yearsafter Hawthorne's graduation from college, and was one of thecelebrated cases of the day, Daniel Webster taking part prominently inthetrial.  But it should be observed here that such resemblances asthese between sundry elements in the work of Hawthorne's fancy anddetails of reality are onlyfragmentary, and are rearranged to suit theauthor's purposes.In the same way he has made his description of Hepzibah Pyncheon'sseven-gabled mansionconform so nearly to several old dwellingsformerly or still extant in Salem, that strenuous efforts have beenmade to fix upon some one of them as the veritableedifice of theromance.  A paragraph in the opening chapter has perhaps assisted thisdelusion that there must have been a single original House of theSevenGables, framed by flesh-and-blood carpenters; for it runs thus:--\"Familiar as it stands in the writer's recollection--for it has been anobject of curiosity withhim from boyhood, both as a specimen of thebest and stateliest architecture of a long-past epoch, and as the sceneof events more full of interest perhaps thanthose of a gray feudalcastle--familiar as it stands, in its rusty old age, it is thereforeonly the more difficult to imagine the bright novelty with which itfirst caughtthe sunshine.\"Hundreds of pilgrims annually visit a house in Salem, belonging to onebranch of the Ingersoll family of that place, which is stoutlymaintained tohave been the model for Hawthorne's visionary dwelling.Others have supposed that the now vanished house of the identicalPhilip English, whose blood, as wehave already noticed, became mingledwith that of the Hawthornes, supplied the pattern; and still a thirdbuilding, known as the Curwen mansion, has beendeclared the onlygenuine establishment. Notwithstanding persistent popular belief, theauthenticity of all these must positively be denied; although it ispossiblethat isolated reminiscences of all three may have blended withthe ideal image in the mind of Hawthorne. He, it will be seen, remarksin the Preface, alluding tohimself in the third person, that he trustsnot to be condemned for \"laying out a street that infringes uponnobody's private rights... and building a house ofmaterials long inuse for constructing castles in the air.\" More than this, he stated topersons still living that the house of the romance was not copied fromanyactual edifice, but was simply a general reproduction of a style ofarchitecture belonging to colonial days, examples of which survivedinto the period of his youth,but have since been radically modified ordestroyed. Here, as elsewhere, he exercised the liberty of a creativemind to heighten the probability of his pictureswithout confininghimself to a literal description of something he had seen.While Hawthorne remained at Lenox, and during the composition of thisromance,various other literary personages settled or stayed for a timein the vicinity; among them, Herman Melville, whose intercourseHawthorne greatly enjoyed, HenryJames, Sr., Doctor Holmes, J.  T.Headley, James Russell Lowell, Edwin P.  Whipple, Frederika Bremer, andJ.  T.  Fields; so that there was no lack of intellectualsociety inthe midst of the beautiful and inspiring mountain scenery of the place.\"In the afternoons, nowadays,\" he records, shortly before beginning thework, \"thisvalley in which I dwell seems like a vast basin filled withgolden Sunshine as with wine;\" and, happy in the companionship of hiswife and their three children, heled a simple, refined, idyllic life,despite the restrictions of a scanty and uncertain income.  A letterwritten by Mrs. Hawthorne, at this time, to a member of herfamily,gives incidentally a glimpse of the scene, which may properly find aplace here.  She says:  \"I delight to think that you also can lookforth, as I do now, upona broad valley and a fine amphitheater ofhills, and are about to watch the stately ceremony of the sunset fromyour piazza.  But you have not this lovely lake, nor,I suppose, thedelicate purple mist which folds these slumbering mountains in airyveils.  Mr. Hawthorne has been lying down in the sun shine, slightlyfleckeredwith the shadows of a tree, and Una and Julian have beenmaking him look like the mighty Pan, by covering his chin and breastwith long grass-blades, that lookedlike a verdant and venerablebeard.\" The pleasantness and peace of his surroundings and of hismodest home, in Lenox, may be taken into account as harmonizingwiththe mellow serenity of the romance then produced.  Of the work, when itappeared in the early spring of 1851, he wrote to Horatio Bridge thesewords, nowpublished for the first time:--\"'The House of the Seven Gables' in my opinion, is better than 'TheScarlet Letter:' but I should not wonder if I had refined upontheprincipal character a little too much for popular appreciation, nor ifthe romance of the book should be somewhat at odds with the humble andfamiliar sceneryin which I invest it.  But I feel that portions of itare as good as anything I can hope to write, and the publisher speaksencouragingly of its success.\"From England,especially, came many warm expressions of praise,--a factwhich Mrs. Hawthorne, in a private letter, commented on as thefulfillment of a possibility whichHawthorne, writing in boyhood to hismother, had looked forward to.  He had asked her if she would not likehim to become an author and have his books read inEngland.G. P. L.                              PREFACE.WHEN a writer calls his work a Romance, it need hardly be observed thathe wishes to claim a certain latitude, bothas to its fashion andmaterial, which he would not have felt himself entitled to assume hadhe professed to be writing a Novel.  The latter form of compositionispresumed to aim at a very minute fidelity, not merely to the possible,but to the probable and ordinary course of man's experience.  Theformer--while, as a work"}
+{"doc_id":"doc_21","qid":"","text":"The Project Gutenberg EBook of The Cossacks, by Leo TolstoyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The CossacksAuthor: Leo TolstoyTranslator: Louise and Aylmer MaudeRelease Date: January 18, 2009 [EBook #4761]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE COSSACKS ***Produced by Steve Harris, Charles Franks and the OnlineDistributed ProofreadingTeam.THE COSSACKSA Tale of 1852ByLeo Tolstoy (1863)Translated by Louise and Aylmer MaudeChapter IAll is quiet in Moscow. The squeak of wheels is seldomheard in thesnow-covered street. There are no lights left in the windows and thestreet lamps have been extinguished. Only the sound of bells, borneover the cityfrom the church towers, suggests the approach of morning.The streets are deserted. At rare intervals a night-cabman's sledgekneads up the snow and sand in thestreet as the driver makes his wayto another corner where he falls asleep while waiting for a fare. Anold woman passes by on her way to church, where a few waxcandles burnwith a red light reflected on the gilt mountings of the icons. Workmenare already getting up after the long winter night and going to theirwork--butfor the gentlefolk it is still evening.From a window in Chevalier's Restaurant a light--illegal at thathour--is still to be seen through a chink in the shutter. Attheentrance a carriage, a sledge, and a cabman's sledge, stand closetogether with their backs to the curbstone. A three-horse sledge fromthe post-station is therealso. A yard-porter muffled up and pinchedwith cold is sheltering behind the corner of the house.'And what's the good of all this jawing?' thinks the footman whositsin the hall weary and haggard. 'This always happens when I'm on duty.'From the adjoining room are heard the voices of three young men,sitting there at atable on which are wine and the remains of supper.One, a rather plain, thin, neat little man, sits looking with tiredkindly eyes at his friend, who is about to starton a journey. Another,a tall man, lies on a sofa beside a table on which are empty bottles,and plays with his watch-key. A third, wearing a short, fur-lined coat,ispacing up and down the room stopping now and then to crack an almondbetween his strong, rather thick, but well-tended fingers. He keepssmiling at somethingand his face and eyes are all aglow. He speakswarmly and gesticulates, but evidently does not find the words he wantsand those that occur to him seem to himinadequate to express what hasrisen to his heart.'Now I can speak out fully,' said the traveller. 'I don't want todefend myself, but I should like you at least tounderstand me as Iunderstand myself, and not look at the matter superficially. You say Ihave treated her badly,' he continued, addressing the man with thekindlyeyes who was watching him.'Yes, you are to blame,' said the latter, and his look seemed toexpress still more kindliness and weariness.'I know why you say that,'rejoined the one who was leaving. 'To beloved is in your opinion as great a happiness as to love, and if a manobtains it, it is enough for his whole life.''Yes, quiteenough, my dear fellow, more than enough!' confirmed theplain little man, opening and shutting his eyes.'But why shouldn't the man love too?' said the travellerthoughtfully,looking at his friend with something like pity. 'Why shouldn't onelove? Because love doesn't come ... No, to be beloved is a misfortune.It is amisfortune to feel guilty because you do not give something youcannot give. O my God!' he added, with a gesture of his arm. 'If it allhappened reasonably, andnot all topsy-turvy--not in our way but in away of its own! Why, it's as if I had stolen that love! You think sotoo, don't deny it. You must think so. But will youbelieve it, of allthe horrid and stupid things I have found time to do in my life--andthere are many--this is one I do not and cannot repent of. Neither atthebeginning nor afterwards did I lie to myself or to her. It seemedto me that I had at last fallen in love, but then I saw that it was aninvoluntary falsehood, and thatthat was not the way to love, and Icould not go on, but she did. Am I to blame that I couldn't? What was Ito do?''Well, it's ended now!' said his friend, lighting acigar to master hissleepiness. 'The fact is that you have not yet loved and do not knowwhat love is.'The man in the fur-lined coat was going to speak again, andput hishands to his head, but could not express what he wanted to say.'Never loved! ... Yes, quite true, I never have! But after all, I havewithin me a desire tolove, and nothing could be stronger than thatdesire! But then, again, does such love exist? There always remainssomething incomplete. Ah well! What's the useof talking? I've made anawful mess of life! But anyhow it's all over now; you are quite right.And I feel that I am beginning a new life.''Which you will again make amess of,' said the man who lay on the sofaplaying with his watch-key. But the traveller did not listen to him.'I am sad and yet glad to go,' he continued. 'Why Iam sad I don'tknow.'And the traveller went on talking about himself, without noticing thatthis did not interest the others as much as it did him. A man isneversuch an egotist as at moments of spiritual ecstasy. At such times itseems to him that there is nothing on earth more splendid andinteresting thanhimself.'Dmitri Andreich! The coachman won't wait any longer!' said a youngserf, entering the room in a sheepskin coat, with a scarf tied roundhis head. 'Thehorses have been standing since twelve, and it's nowfour o'clock!'Dmitri Andreich looked at his serf, Vanyusha. The scarf roundVanyusha's head, his felt bootsand sleepy face, seemed to be callinghis master to a new life of labour, hardship, and activity.'True enough! Good-bye!' said he, feeling for the unfastened hookandeye on his coat.In spite of advice to mollify the coachman by another tip, he put onhis cap and stood in the middle of the room. The friends kissed once,thenagain, and after a pause, a third time. The man in the fur-linedcoat approached the table and emptied a champagne glass, then took theplain little man's handand blushed.'Ah well, I will speak out all the same ... I must and will be frankwith you because I am fond of you ... Of course you love her--I alwaysthoughtso--don't you?''Yes,' answered his friend, smiling still more gently.'And perhaps...''Please sir, I have orders to put out the candles,' said the sleepyattendant, whohad been listening to the last part of the conversationand wondering why gentlefolk always talk about one and the same thing.'To whom shall I make out the bill?To you, sir?' he added, knowingwhom to address and turning to the tall man.'To me,' replied the tall man. 'How much?''Twenty-six rubles.'The tall manconsidered for a moment, but said nothing and put the billin his pocket.The other two continued their talk.'Good-bye, you are a capital fellow!' said the short plainman with themild eyes. Tears filled the eyes of both. They stepped into the porch.'Oh, by the by,' said the traveller, turning with a blush to the tallman, 'will yousettle Chevalier's bill and write and let me know?''All right, all right!' said the tall man, pulling on his gloves. 'HowI envy you!' he added quite unexpectedly whenthey were out in theporch.The traveller got into his sledge, wrapped his coat about him, andsaid: 'Well then, come along!' He even moved a little to make roominthe sledge for the man who said he envied him--his voice trembled.'Good-bye, Mitya! I hope that with God's help you...' said the tallone. But his wish was thatthe other would go away quickly, and so hecould not finish the sentence.They were silent a moment. Then someone again said, 'Good-bye,' and avoice cried,'Ready,' and the coachman touched up the horses.'Hy, Elisar!' One of the friends called out, and the other coachman andthe sledge-drivers began moving,clicking their tongues and pulling atthe reins. Then the stiffened carriage-wheels rolled squeaking over thefrozen snow.'A fine fellow, that Olenin!' said one of thefriends. 'But what anidea to go to the Caucasus--as a cadet, too! I wouldn't do it foranything. ... Are you dining at the club to-morrow?''Yes.'They separated.Thetraveller felt warm, his fur coat seemed too hot. He sat on thebottom of the sledge and unfastened his coat, and the three shaggypost-horses dragged themselvesout of one dark street into another,past houses he had never before seen. It seemed to Olenin that onlytravellers starting on a long journey went through thosestreets. Allwas dark and silent and dull around him, but his soul was full ofmemories, love, regrets, and a pleasant tearful feeling.Chapter II'I'm fond of them,very fond! ... First-rate fellows! ... Fine!' hekept repeating, and felt ready to cry. But why he wanted to cry, whowere the first-rate fellows he was so fond of--wasmore than he quiteknew. Now and then he looked round at some house and wondered why itwas so curiously built; sometimes he began wondering why thepost-boyand Vanyusha, who were so different from himself, sat so near, andtogether with him were being jerked about and swayed by the tugs theside-horsesgave at the frozen traces, and again he repeated: 'Firstrate ... very fond!' and once he even said: 'And how it seizes one ...excellent!' and wondered what madehim say it. 'Dear me, am I drunk?'he asked himself. He had had a couple of bottles of wine, but it wasnot the wine alone that was having this effect on Olenin. Herememberedall the words of friendship heartily, bashfully, spontaneously (as hebelieved) addressed to him on his departure. He remembered the clasp ofhands,glances, the moments of silence, and the sound of a voicesaying, 'Good-bye, Mitya!' when he was already in the sledge. Heremembered his own deliberatefrankness. And all this had a touchingsignificance for him. Not only friends and relatives, not only peoplewho had been indifferent to him, but even those who didnot like him,seemed to have agreed to become fonder of him, or to forgive him,before his departure, as people do before confession or death. 'PerhapsI shall notreturn from the Caucasus,' he thought. And he felt that heloved his friends and some one besides. He was sorry for himself. Butit was not love for his friends thatso stirred and uplifted his heartthat he could not repress the meaningless words that seemed to rise ofthemselves to his lips; nor was it love for a woman (he hadnever yetbeen in love) that had brought on this mood. Love for himself, lovefull of hope--warm young love for all that was good in his own soul(and at thatmoment it seemed to him that there was nothing but good init)--compelled him to weep and to mutter incoherent words.Olenin was a youth who had nevercompleted his university course, neverserved anywhere (having only a nominal post in some government officeor other), who had squandered half his fortuneand had reached the ageof twenty-four without having done anything or even chosen a career. Hewas what in Moscow society is termed un jeune homme.At theage of eighteen he was free--as only rich young Russians in the'forties who had lost their parents at an early age could be. Neitherphysical nor moral fetters ofany kind existed for him; he could do ashe liked, lacking nothing and bound by nothing. Neither relatives, norfatherland, nor religion, nor wants, existed for him."}
+{"doc_id":"doc_22","qid":"","text":"The Project Gutenberg EBook of Pierre and Jean, by Guy de MaupassantThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Pierre and JeanAuthor: Guy de MaupassantTranslator: Clara BellRelease Date: April 12, 2006 [EBook #3804]Last Updated: February 23,2018Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK PIERRE AND JEAN ***Produced by Dagny; John Bickers;HTML file by David WidgerPIERRE & JEANBy Guy De MaupassantTranslated By Clara BellCHAPTER Iâ\u0000\u0000Tschah!â\u0000\u0000 exclaimed old Roland suddenly, after he hadremainedmotionless for a quarter of an hour, his eyes fixed on the water, whilenow and again he very slightly lifted his line sunk in the sea.Mme. Roland, dozingin the stern by the side of Mme. Rosemilly, who hadbeen invited to join the fishing-party, woke up, and turning her head tolook at her husband, said:â\u0000\u0000Well,well! Gerome.â\u0000\u0000And the old fellow replied in a fury:â\u0000\u0000They do not bite at all. I have taken nothing since noon. Only menshould ever go fishing. Womenalways delay the start till it is toolate.â\u0000\u0000His two sons, Pierre and Jean, who each held a line twisted round hisforefinger, one to port and one to starboard, bothbegan to laugh, andJean remarked:â\u0000\u0000You are not very polite to our guest, father.â\u0000\u0000M. Roland was abashed, and apologized.â\u0000\u0000I beg your pardon, Mme.Rosemilly, but that is just like me. I inviteladies because I like to be with them, and then, as soon as I feel thewater beneath me, I think of nothing but thefish.â\u0000\u0000Mme. Roland was now quite awake, and gazing with a softened look at thewide horizon of cliff and sea.â\u0000\u0000You have had good sport, all the same,â\u0000\u0000she murmured.But her husband shook his head in denial, though at the same time heglanced complacently at the basket where the fish caught by the threemenwere still breathing spasmodically, with a low rustle of clammyscales and struggling fins, and dull, ineffectual efforts, gasping inthe fatal air. Old Roland took thebasket between his knees and tiltedit up, making the silver heap of creatures slide to the edge that hemight see those lying at the bottom, and their death-throesbecame moreconvulsive, while the strong smell of their bodies, a wholesome reekof brine, came up from the full depths of the creel. The old fishermansniffed iteagerly, as we smell at roses, and exclaimed:â\u0000\u0000Cristi! But they are fresh enough!â\u0000\u0000 and he went on: â\u0000\u0000How many did youpull out, doctor?â\u0000\u0000His eldestson, Pierre, a man of thirty, with black whiskers trimmedsquare like a lawyer's, his mustache and beard shaved away, replied:â\u0000\u0000Oh, not many; three orfour.â\u0000\u0000The father turned to the younger. â\u0000\u0000And you, Jean?â\u0000\u0000 said he.Jean, a tall fellow, much younger than his brother, fair, with a fullbeard, smiled andmurmured:â\u0000\u0000Much the same as Pierre--four or five.â\u0000\u0000Every time they told the same fib, which delighted father Roland. He hadhitched his line round arow-lock, and folding his arms he announced:â\u0000\u0000I will never again try to fish after noon. After ten in the morning itis all over. The lazy brutes will not bite; theyare taking their siestain the sun.â\u0000\u0000 And he looked round at the sea on all sides, with thesatisfied air of a proprietor.He was a retired jeweller who had been ledby an inordinate love ofseafaring and fishing to fly from the shop as soon as he had made enoughmoney to live in modest comfort on the interest of his savings.Heretired to le Havre, bought a boat, and became an amateur skipper.His two sons, Pierre and Jean, had remained at Paris to continue theirstudies, and came forthe holidays from time to time to share theirfather's amusements.On leaving school, Pierre, the elder, five years older than Jean, hadfelt a vocation to variousprofessions and had tried half a dozen insuccession, but, soon disgusted with each in turn, he started afreshwith new hopes. Medicine had been his last fancy, andhe had set to workwith so much ardour that he had just qualified after an unusually shortcourse of study, by a special remission of time from the minister. Hewasenthusiastic, intelligent, fickle, but obstinate, full of Utopiasand philosophical notions.Jean, who was as fair as his brother was dark, as deliberate as hisbrotherwas vehement, as gentle as his brother was unforgiving, hadquietly gone through his studies for the law and had just taken hisdiploma as a licentiate, at the timewhen Pierre had taken his inmedicine. So they were now having a little rest at home, and both lookedforward to settling in Havre if they could find a satisfactoryopening.But a vague jealousy, one of those dormant jealousies which grow upbetween brothers or sisters and slowly ripen till they burst, on theoccasion of amarriage perhaps, or of some good fortune happening toone of them, kept them on the alert in a sort of brotherly andnon-aggressive animosity. They were fondof each other, it is true, butthey watched each other. Pierre, five years old when Jean was born,had looked with the eyes of a little petted animal at that otherlittleanimal which had suddenly come to lie in his father's and mother's armsand to be loved and fondled by them. Jean, from his birth, had alwaysbeen a patternof sweetness, gentleness, and good temper, and Pierre hadby degrees begun to chafe at ever-lastingly hearing the praises of thisgreat lad, whose sweetness inhis eyes was indolence, whose gentlenesswas stupidity, and whose kindliness was blindness. His parents, whosedream for their sons was some respectable andundistinguished calling,blamed him for so often changing his mind, for his fits of enthusiasm,his abortive beginnings, and all his ineffectual impulsestowardsgenerous ideas and the liberal professions.Since he had grown to manhood they no longer said in so many words:â\u0000\u0000Look at Jean and follow hisexample,â\u0000\u0000 but every time he heard them sayâ\u0000\u0000Jean did this--Jean does that,â\u0000\u0000 he understood their meaning and thehint the words conveyed.Theirmother, an orderly person, a thrifty and rather sentimental womanof the middle class, with the soul of a soft-hearted book-keeper, wasconstantly quenching thelittle rivalries between her two big sonsto which the petty events of their life constantly gave rise. Anotherlittle circumstance, too, just now disturbed her peace ofmind, andshe was in fear of some complications; for in the course of the winter,while her boys were finishing their studies, each in his own line, shehad made theacquaintance of a neighbour, Mme. Rosemilly, the widow of acaptain of a merchantman who had died at sea two years before. The youngwidow--quite young,only three-and-twenty--a woman of strong intellectwho knew life by instinct as the free animals do, as though shehad seen, gone through, understood, andweighted every conceivablecontingency, and judged them with a wholesome, strict, and benevolentmind, had fallen into the habit of calling to work or chat for anhourin the evening with these friendly neighbours, who would give her a cupof tea.Father Roland, always goaded on by his seafaring craze, would questiontheirnew friend about the departed captain; and she would talk of him,and his voyages, and his old-world tales, without hesitation, like aresigned and reasonablewoman who loves life and respects death.The two sons on their return, finding the pretty widow quite at home inthe house, forthwith began to court her, lessfrom any wish to charm herthan from the desire to cut each other out.Their mother, being practical and prudent, sincerely hoped that one ofthem might win theyoung widow, for she was rich; but then she wouldhave liked that the other should not be grieved.Mme. Rosemilly was fair, with blue eyes, a mass of light wavinghair,fluttering at the least breath of wind, and an alert, daring, pugnaciouslittle way with her, which did not in the least answer to the sobermethod of hermind.She already seemed to like Jean best, attracted, no doubt, by anaffinity of nature. This preference, however, she betrayed only byan almost imperceptibledifference of voice and look and also byoccasionally asking his opinion. She seemed to guess that Jean'sviews would support her own, while those of Pierre mustinevitablybe different. When she spoke of the doctor's ideas on politics, art,philosophy, or morals, she would sometimes say: â\u0000\u0000Your crotchets.â\u0000\u0000 Thenhewould look at her with the cold gleam of an accuser drawing up anindictment against women--all women, poor weak things.Never till his sons came home had M.Roland invited her to join hisfishing expeditions, nor had he ever taken his wife; for he liked to putoff before daybreak, with his ally, Captain Beausire, a mastermarinerretired, whom he had first met on the quay at high tides and with whomhe had struck up an intimacy, and the old sailor Papagris, known as JeanBart, inwhose charge the boat was left.But one evening of the week before, Mme. Rosemilly, who had been diningwith them, remarked, â\u0000\u0000It must be great fun to goout fishing.â\u0000\u0000 Thejeweller, flattered by her interest and suddenly fired with the wishto share his favourite sport with her, and to make a convert afterthemanner of priests, exclaimed: â\u0000\u0000Would you like to come?â\u0000\u0000â\u0000\u0000To be sure I should.â\u0000\u0000â\u0000\u0000Next Tuesday?â\u0000\u0000â\u0000\u0000Yes, next Tuesday.â\u0000\u0000â\u0000\u0000Areyou the woman to be ready to start at five in the morning?â\u0000\u0000She exclaimed in horror:â\u0000\u0000No, indeed: that is too much.â\u0000\u0000He was disappointed and chilled,suddenly doubting her true vocation.However, he said:â\u0000\u0000At what hour can you be ready?â\u0000\u0000â\u0000\u0000Well--at nine?â\u0000\u0000â\u0000\u0000Not before?â\u0000\u0000â\u0000\u0000No, notbefore. Even that is very early.â\u0000\u0000The old fellow hesitated; he certainly would catch nothing, for when thesun has warmed the sea the fish bite no more; but thetwo brothers hadeagerly pressed the scheme, and organized and arranged everything thereand then.So on the following Tuesday the Pearl had dropped anchorunder the whiterocks of Cape la Heve; they had fished till midday, then they had sleptawhile, and then fished again without catching anything; and then itwasthat father Roland, perceiving, rather late, that all that Mme.Rosemilly really enjoyed and cared for was the sail on the sea, andseeing that his lines hungmotionless, had uttered in a spirit ofunreasonable annoyance, that vehement â\u0000\u0000Tschah!â\u0000\u0000 which applied as much tothe pathetic widow as to the creatureshe could not catch.Now he contemplated the spoil--his fish--with the joyful thrill of amiser; seeing as he looked up at the sky that the sun was gettinglow:â\u0000\u0000Well, boys,â\u0000\u0000 said he, â\u0000\u0000suppose we turn homeward.â\u0000\u0000The young men hauled in their lines, coiled them up, cleaned the hooksand stuck theminto corks, and sat waiting.Roland stood up to look out like a captain.â\u0000\u0000No wind,â\u0000\u0000 said he. â\u0000\u0000You will have to pull, young 'uns.â\u0000\u0000And suddenlyextending one arm to the northward, he exclaimed:â\u0000\u0000Here comes the packet from Southampton.â\u0000\u0000Away over the level sea, spread out like a blue sheet,vast and sheenyand shot with flame and gold, an inky cloud was visible against the rosysky in the quarter to which he pointed, and below it they could makeoutthe hull of the steamer, which looked tiny at such a distance. And tosouthward other wreaths of smoke, numbers of them, could be seen, allconverging"}
+{"doc_id":"doc_23","qid":"","text":"<html><head><title>Indiana Jones and the Temple of Doom Script at IMSDb.</title><meta name=\"description\" content=\"Indiana Jones and the Temple ofDoom script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Indiana Jones and the Temple of Doom script, Indiana Jones and theTemple of Doom movie script, Indiana Jones and the Temple of Doom film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                     INDIANA JONES AND THE TEMPLE OF DOOM</b><b>                                 STORYBY:</b><b>                               GEORGE LUCAS</b><b>                               SCREENPLAY BY:</b><b>                               WILLARDHUYCK</b><b>                                    AND</b><b>                                GLORIA KATZ</b>        TM* & (c) Lucasfilm Ltd.,1984<b>                                --------------</b><b>       FADE IN:</b><b>1.     INT.  \"THE DRAGON\" NIGHTCLUB - NIGHT                            1.</b>       AChinese GONG SOUNDS and the glittering doors of an art Deco pa-       poda slide open to reveal a mammoth silver stairway down which       rows of beautifulwomen start descending   (BEGIN MAIN TITLES)       The lovely ladies are a mix of races and they sing a strange,       haunting melody -- one might think them aheavenly choir, if it       weren't for their sexy, clinging lame gowns.<b>2.     INT.  CLUB ENTRANCE                                             2.</b>       From the etherealbeauties, we cut to a street urchin's dirty       face: SHORT ROUND is a ten-year-old Chinese kis wearing a beat-       up American baseball cap.       Sneaking intothe club, Short Round weaves past the fancy gowns       and silk suits, heading toward the music in the main ballroom.<b>3.     INT.  THEBALLROOM                                              3.</b>       Short Round enters and stares across the smoky nightclub.  On the       stage, he sees a giant"}
+{"doc_id":"doc_24","qid":"","text":"The Project Gutenberg EBook of The Great Stone Face, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Great Stone Face       And Other Tales Of The White MountainsAuthor: Nathaniel HawthorneRelease Date: February 25, 2006[EBook #1916]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT STONE FACE ***Produced by An Anonymous Volunteer andDavid WidgerTHE GREAT STONE FACE AND OTHER TALES OF THE WHITE MOUNTAINSBy Nathaniel Hawthorne1882CONTENTS     Introduction     The Great StoneFace     The Ambitious Guest     The Great Carbuncle     Sketches From MemoryINTRODUCTIONTHE first three numbers in this collection are tales of the WhiteHillsin New Hampshire. The passages from Sketches from Memory show thatHawthorne had visited the mountains in one of his occasional ramblesfrom home, butthere are no entries in his Note Books which giveaccounts of such a visit. There is, however, among these notesthe following interesting paragraph, written in1840 and clearlyforeshadowing The Great Stone Face:'The semblance of a human face to be formed on the side of a mountain,or in the fracture of a small stone,by a lusus naturae [freak ofnature]. The face is an object of curiosity for years or centuries, andby and by a boy is born whose features gradually assume theaspect ofthat portrait. At some critical juncture the resemblance is found to beperfect. A prophecy may be connected.'It is not impossible that this conceitoccurred to Hawthorne before hehad himself seen the Old Man of the Mountain, or the Profile, in theFranconia Notch which is generally associated in the minds ofreaderswith The Great Stone Face.In The Ambitious Guest he has made use of the incident still told totravellers through the Notch, of the destruction of the Willeyfamilyin August, 1826. The house occupied by the family was on the slope ofa mountain, and after a long drought there was a terrible tempest whichnot onlyraised the river to a great height but loosened the surface ofthe mountain so that a great landslide took place. The house was inthe track of the slide, and thefamily rushed out of doors. Had theyremained within they would have been safe, for a ledge above the houseparted the avalanche so that it was diverted into twopaths and sweptpast the house on either side. Mr. and Mrs. Willey, their five children,and two hired men were crushed under the weight of earth, rocks,andtrees.In the Sketches from Memory Hawthorne gives an intimation of the talewhich he might write and did afterward write of The Great Carbuncle. Thepaperis interesting as showing what were the actual experiences out ofwhich he formed his imaginative stories.THE GREAT STONE FACE and Other Tales Of The WhiteMountainsTHE GREAT STONE FACEOne afternoon, when the sun was going down, a mother and her little boysat at the door of their cottage, talking about theGreat Stone Face.They had but to lift their eyes, and there it was plainly to be seen,though miles away, with the sunshine brightening all its features.And whatwas the Great Stone Face? Embosomed amongst a family oflofty mountains, there was a valley so spacious that it contained manythousand inhabitants. Some ofthese good people dwelt in log-huts, withthe black forest all around them, on the steep and difficult hillsides.Others had their homes in comfortable farm-houses,and cultivated therich soil on the gentle slopes or level surfaces of the valley. Others,again, were congregated into populous villages, where some wild,highlandrivulet, tumbling down from its birthplace in the uppermountain region, had been caught and tamed by human cunning, andcompelled to turn the machinery ofcotton-factories. The inhabitants ofthis valley, in short, were numerous, and of many modes of life. But allof them, grown people and children, had a kind offamiliarity with theGreat Stone Face, although some possessed the gift of distinguishingthis grand natural phenomenon more perfectly than many oftheirneighbors.The Great Stone Face, then, was a work of Nature in her mood of majestieplayfulness, formed on the perpendicular side of a mountain bysomeimmense rocks, which had been thrown together in such a position as,when viewed at a proper distance, precisely to resemble the features ofthe humancountenance. It seemed as if an enormous giant, or a Titan,had sculptured his own likeness on the precipice. There was the broadarch of the forehead, a hundredfeet in height; the nose, with its longbridge; and the vast lips, which, if they could have spoken, would haverolled their thunder accents from one end of the valleyto the other.True it is, that if the spectator approached too near, he lost theoutline of the gigantic visage, and could discern only a heap ofponderous and giganticrocks, piled in chaotic ruin one upon another.Retracing his steps, however, the wondrous features would again be seen;and the farther he withdrew from them,the more like a human face, withall its original divinity intact, did they appear; until, as it grew dimin the distance, with the clouds and glorified vapor of themountainsclustering about it, the Great Stone Face seemed positively to be alive.It was a happy lot for children to grow up to manhood or womanhood withtheGreat Stone Face before their eyes, for all the features were noble,and the expression was at once grand and sweet, as if it were the glowof a vast, warm heart,that embraced all mankind in its affections, andhad room for more. It was an education only to look at it. According tothe belief of many people, the valley owedmuch of its fertility to thisbenign aspect that was continually beaming over it, illuminating theclouds, and infusing its tenderness into the sunshine.As we beganwith saying, a mother and her little boy sat at theircottage-door, gazing at the Great Stone Face, and talking about it. Thechild's name was Ernest.'Mother,' saidhe, while the Titanic visage miled on him, 'I wish thatit could speak, for it looks so very kindly that its voice must needsbe pleasant. If I were to See a man withsuch a face, I should love himdearly.' 'If an old prophecy should come to pass,' answered his mother,'we may see a man, some time for other, with exactly such aface asthat.' 'What prophecy do you mean, dear mother?' eagerly inquiredErnest. 'Pray tell me all about it!'So his mother told him a story that her own motherhad told to her, whenshe herself was younger than little Ernest; a story, not of things thatwere past, but of what was yet to come; a story, nevertheless, soveryold, that even the Indians, who formerly inhabited this valley, hadheard it from their forefathers, to whom, as they affirmed, it had beenmurmured by themountain streams, and whispered by the wind among thetree-tops. The purport was, that, at some future day, a child shouldbe born hereabouts, who wasdestined to become the greatest and noblestpersonage of his time, and whose countenance, in manhood, should bearan exact resemblance to the Great StoneFace. Not a few old-fashionedpeople, and young ones likewise, in the ardor of their hopes, stillcherished an enduring faith in this old prophecy. But others, whohadseen more of the world, had watched and waited till they were weary, andhad beheld no man with such a face, nor any man that proved to be muchgreater ornobler than his neighbors, concluded it to be nothing butan idle tale. At all events, the great man of the prophecy had not yetappeared.'O mother, dear mother!'cried Ernest, clapping his hands above his head,'I do hope that I shall live to see him!'His mother was an affectionate and thoughtful woman, and felt that itwaswisest not to discourage the generous hopes of her little boy. Soshe only said to him, 'Perhaps you may.'And Ernest never forgot the story that his mother toldhim. It wasalways in his mind, whenever he looked upon the Great Stone Face.He spent his childhood in the log-cottage where he was born, and wasdutiful to hismother, and helpful to her in many things, assistingher much with his little hands, and more with his loving heart. In thismanner, from a happy yet often pensivechild, he grew up to be a mild,quiet, unobtrusive boy, and sun-browned with labor in the fields, butwith more intelligence brightening his aspect than is seen inmany ladswho have been taught at famous schools. Yet Ernest had had no teacher,save only that the Great Stone Face became one to him. When the toilof theday was over, he would gaze at it for hours, until he began toimagine that those vast features recognized him, and gave him a smile ofkindness andencouragement, responsive to his own look of veneration.We must not take upon us to affirm that this was a mistake, althoughthe Face may have looked nomore kindly at Ernest than at all theworld besides. But the secret was that the boy's tender and confidingsimplicity discerned what other people could not see;and thus the love,which was meant for all, became his peculiar portion.About this time there went a rumor throughout the valley, that the greatman, foretoldfrom ages long ago, who was to bear a resemblance tothe Great Stone Face, had appeared at last. It seems that, many yearsbefore, a young man had migratedfrom the valley and settled at adistant seaport, where, after getting together a little money, he hadset up as a shopkeeper. His name but I could never learnwhether it washis real one, or a nickname that had grown out of his habits and successin life--was Gathergold.Being shrewd and active, and endowed byProvidence with that inscrutablefaculty which develops itself in what the world calls luck, he became anexceedingly rich merchant, and owner of a whole fleet ofbulky-bottomedships. All the countries of the globe appeared to join hands for themere purpose of adding heap after heap to the mountainous accumulationof thisone man's wealth. The cold regions of the north, almost withinthe gloom and shadow of the Arctic Circle, sent him their tribute in theshape of furs; hot Africasifted for him the golden sands of her rivers,and gathered up the ivory tusks of her great elephants out of theforests; the east came bringing him the rich shawls,and spices, andteas, and the effulgence of diamonds, and the gleaming purity of largepearls. The ocean, not to be behindhand with the earth, yielded uphermighty whales, that Mr. Gathergold might sell their oil, and make aprofit on it. Be the original commodity what it might, it was goldwithin his grasp. It mightbe said of him, as of Midas, in the fable,that whatever he touched with his finger immediately glistened, and grewyellow, and was changed at once into sterlingmetal, or, which suitedhim still better, into piles of coin. And, when Mr. Gathergold hadbecome so very rich that it would have taken him a hundred years onlytocount his wealth, he bethought himself of his native valley, andresolved to go back thither, and end his days where he was born. Withthis purpose in view, hesent a skilful architect to build him such apalace as should be fit for a man of his vast wealth to live in.As I have said above, it had already been rumored in thevalley thatMr. Gathergold had turned out to be the prophetic personage so long andvainly looked for, and that his visage was the perfect and undeniablesimilitude"}
+{"doc_id":"doc_25","qid":"","text":"The Project Gutenberg EBook of The Fortune of the Rougons, by Emile ZolaThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Fortune of the RougonsAuthor: Emile ZolaEditor: Ernest Alfred VizetellyRelease Date: April 22, 2006 [EBook #5135]Last Updated:September 5, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FORTUNE OF THE ROUGONS***Produced by Dagny; John Bickers; David WidgerTHE FORTUNE OF THE ROUGONSBy Emile ZolaEdited With Introduction By Ernest AlfredVizetellyINTRODUCTIONâ\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 is the initial volume of theRougon-Macquart series. Though it was by no means M. Zolaâ\u0000\u0000s firstessayin fiction, it was undoubtedly his first great bid for genuine literaryfame, and the foundation of what must necessarily be regarded as hislife-work. The ideaof writing the â\u0000\u0000natural and social history of afamily under the Second Empire,â\u0000\u0000 extending to a score of volumes, wasdoubtless suggested to M. Zola byBalzacâ\u0000\u0000s immortal â\u0000\u0000Comedie Humaine.â\u0000\u0000 He was twenty-eight years of age when this idea first occurred to him;he was fifty-three when he at last sentthe manuscript of his concludingvolume, â\u0000\u0000Dr. Pascal,â\u0000\u0000 to the press. He had spent five-and-twenty yearsin working out his scheme, persevering with itdoggedly and stubbornly,whatever rebuffs he might encounter, whatever jeers and whatever insultsmight be directed against him by the ignorant, the prejudiced,and thehypocritical. Truth was on the march and nothing could stay it; even as,at the present hour, its march, if slow, none the less continues athwartanotherand a different crisis of the illustrious novelistâ\u0000\u0000s career.It was in the early summer of 1869 that M. Zola first began the actualwriting of â\u0000\u0000The Fortune ofthe Rougons.â\u0000\u0000 It was only in the followingyear, however, that the serial publication of the work commenced inthe columns of â\u0000\u0000Le Siecle,â\u0000\u0000 theRepublican journal of most influencein Paris in those days of the Second Empire. The Franco-German warinterrupted this issue of the story, and publication inbook form didnot take place until the latter half of 1871, a time when both the warand the Commune had left Paris exhausted, supine, with little or nointerest inanything. No more unfavourable moment for the issue of anambitious work of fiction could have been found. Some two or threeyears went by, as I wellremember, before anything like a revival ofliterature and of public interest in literature took place. Thus, M.Zola launched his gigantic scheme under auspiceswhich would have mademany another man recoil. â\u0000\u0000The Fortune of the Rougons,â\u0000\u0000 and two or threesubsequent volumes of his series, attracted but amoderate degreeof attention, and it was only on the morrow of the publication ofâ\u0000\u0000Lâ\u0000\u0000Assommoirâ\u0000\u0000 that he awoke, like Byron, to find himself famous.Aspreviously mentioned, the Rougon-Macquart series forms twentyvolumes. The last of these, â\u0000\u0000Dr. Pascal,â\u0000\u0000 appeared in 1893. Sincethen M. Zola haswritten â\u0000\u0000Lourdes,â\u0000\u0000 â\u0000\u0000Rome,â\u0000\u0000 and â\u0000\u0000Paris.â\u0000\u0000 Critics haverepeated _ad nauseam_ that these last works constitute a new departureon M.Zolaâ\u0000\u0000s part, and, so far as they formed a new series, thisis true. But the suggestion that he has in any way repented of theRougon-Macquart novels isridiculous. As he has often told me of recentyears, it is, as far as possible, his plan to subordinate his style andmethods to his subject. To have written a book likeâ\u0000\u0000Rome,â\u0000\u0000 so largelydevoted to the ambitions of the Papal See, in the same way as he hadwritten books dealing with the drunkenness or other vices ofParis,would have been the climax of absurdity.Yet the publication of â\u0000\u0000Rome,â\u0000\u0000 was the signal for a general outcry onthe part of English and Americanreviewers that Zolaism, as typified bythe Rougon-Macquart series, was altogether a thing of the past. To mythinking this is a profound error. M. Zola has alwaysremained faithfulto himself. The only difference that I perceive between his latestwork, â\u0000\u0000Paris,â\u0000\u0000 and certain Rougon-Macquart volumes, is that withtime,experience and assiduity, his genius has expanded and ripened, and thatthe hesitation, the groping for truth, so to say, which may be found insome of hisearlier writings, has disappeared.At the time when â\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 was first published, nonebut the author himself can have imagined thatthe foundation-stone ofone of the great literary monuments of the century had just been laid.From the â\u0000\u0000storyâ\u0000\u0000 point of view the book is one of M.Zolaâ\u0000\u0000s very best,although its construction--particularly as regards the long interlude ofthe idyll of Miette and Silvere--is far from being perfect. Such aworkwhen first issued might well bring its author a measure of popularity,but it could hardly confer fame. Nowadays, however, looking backward,and bearing inmind that one here has the genius of M. Zolaâ\u0000\u0000s lifework,â\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 becomes a book of exceptional interestand importance. Thishas been so well understood by French readers thatduring the last six or seven years the annual sales of the work haveincreased threefold. Where, over a courseof twenty years, 1,000 copieswere sold, 2,500 and 3,000 are sold to-day. How many living Englishnovelists can say the same of their early essays in fiction,issued morethan a quarter of a century ago?I may here mention that at the last date to which I have authenticfigures, that is, Midsummer 1897 (prior, of course,to what is calledâ\u0000\u0000Lâ\u0000\u0000Affaire Dreyfusâ\u0000\u0000), there had been sold of the entire Rougon-Macquartseries (which had begun in 1871) 1,421,000 copies. Thesewere of theordinary Charpentier editions of the French originals. By adding theretoseveral _editions de luxe_ and the widely-circulated popular illustratededitionsof certain volumes, the total amounts roundly to 2,100,000.â\u0000\u0000Rome,â\u0000\u0000 â\u0000\u0000Lourdes,â\u0000\u0000 â\u0000\u0000Paris,â\u0000\u0000 and all M. Zolaâ\u0000\u0000s other works, apart fromtheâ\u0000\u0000Rougon-Macquartâ\u0000\u0000 series, together with the translations into adozen different languages--English, German, Italian, Spanish, Dutch,Danish, Portuguese,Bohemian, Hungarian, and others--are not includedin the above figures. Otherwise the latter might well be doubled. Noris account taken of the many serial issueswhich have brought M. Zolaâ\u0000\u0000sviews to the knowledge of the masses of all Europe.It is, of course, the celebrity attaching to certain of M. Zolaâ\u0000\u0000sliteraryefforts that has stimulated the demand for his other writings.Among those which are well worthy of being read for their own sakes, Iwould assign a prominentplace to the present volume. Much of the storyelement in it is admirable, and, further, it shows M. Zola as agenuine satirist and humorist. The Rougonsâ\u0000\u0000yellow drawing-room andits habitues, and many of the scenes between Pierre Rougon and his wifeFelicite, are worthy of the pen of Douglas Jerrold. The wholeaccount,indeed, of the town of Plassans, its customs and its notabilities, issatire of the most effective kind, because it is satire true to life,and never degeneratesinto mere caricature.It is a rather curious coincidence that, at the time when M. Zola wasthus portraying the life of Provence, his great contemporary,bosomfriend, and rival for literary fame, the late Alphonse Daudet, shouldhave been producing, under the title of â\u0000\u0000The Provencal Don Quixote,â\u0000\u0000 thatunrivalled presentment of the foibles of the French Southerner,with everyone nowadays knows as â\u0000\u0000Tartarin of Tarascon.â\u0000\u0000 It is possiblethat M. Zola, whilewriting his book, may have read the instalments ofâ\u0000\u0000Le Don Quichotte Provencalâ\u0000\u0000 published in the Paris â\u0000\u0000Figaro,â\u0000\u0000 and it maybe that this perusalimparted that fillip to his pen to which we owethe many amusing particulars that he gives us of the town of Plassans.Plassans, I may mention, is really theProvencal Aix, which M. Zolaâ\u0000\u0000sfather provided with water by means of a canal still bearing his name.M. Zola himself, though born in Paris, spent the greaterpart of hischildhood there. Tarascon, as is well known, never forgave AlphonseDaudet for his â\u0000\u0000Tartarinâ\u0000\u0000; and in a like way M. Zola, who doubtlesscountsmore enemies than any other literary man of the period, has nonebitterer than the worthy citizens of Aix. They cannot forget or forgivethe rascallyRougon-Macquarts.The name Rougon-Macquart has to me always suggested that splendid andamusing type of the cynical rogue, Robert Macaire. But, of course,bothRougon and Macquart are genuine French names and not inventions. Indeed,several years ago I came by chance upon them both, in an old Frenchdeedwhich I was examining at the Bibliotheque Nationale in Paris. Ithere found mention of a Rougon family and a Macquart family dwellingvirtually side by side inthe same village. This, however, was inChampagne, not in Provence. Both families farmed vineyards for a oncefamous abbey in the vicinity of Epernay, early inthe seventeenthcentury. To me, personally, this trivial discovery meant a great deal.It somehow aroused my interest in M. Zola and his works. Of the latter Ihadthen only glanced through two or three volumes. With M. Zola himselfI was absolutely unacquainted. However, I took the liberty to inform himof my littlediscovery; and afterwards I read all the books that he hadpublished. Now, as it is fairly well known, I have given the greaterpart of my time, for several yearspast, to the task of familiarisingEnglish readers with his writings. An old deed, a chance glance,followed by the great friendship of my life and years of patientlabour.If I mention this matter, it is solely with the object of endorsing thetruth of the saying that the most insignificant incidents frequentlyinfluence and evenshape our careers.But I must come back to â\u0000\u0000The Fortune of the Rougons.â\u0000\u0000 It has, as I havesaid, its satirical and humorous side; but it also contains astrongelement of pathos. The idyll of Miette and Silvere is a very touchingone, and quite in accord with the conditions of life prevailing inProvence at the period M.Zola selects for his narrative. Miette isa frank child of nature; Silvere, her lover, in certain respectsforeshadows, a quarter of a century in advance, the AbbePierre Fromontof â\u0000\u0000Lourdes,â\u0000\u0000 â\u0000\u0000Rome,â\u0000\u0000 and â\u0000\u0000Paris.â\u0000\u0000 The environment differs, of course,but germs of the same nature may readily bedetected in both characters.As for the other personages of M. Zolaâ\u0000\u0000s book--on the one hand, AuntDide, Pierre Rougon, his wife, Felicite, and their sonsEugene, Aristideand Pascal, and, on the other, Macquart, his daughter Gervaise ofâ\u0000\u0000Lâ\u0000\u0000Assommoir,â\u0000\u0000 and his son Jean of â\u0000\u0000La Terreâ\u0000\u0000 and â\u0000\u0000LaDebacle,â\u0000\u0000 togetherwith the members of the Mouret branch of the ravenous, neurotic, duplexfamily--these are analysed or sketched in a way which renderstheirsubsequent careers, as related in other volumes of the series,thoroughly consistent with their origin and their up-bringing. I ventureto asset that, although itis possible to read individual volumes ofthe Rougon-Macquart series while neglecting others, nobody can reallyunderstand any one of these books unless he"}
+{"doc_id":"doc_26","qid":"","text":"<html><head><title>Buffy the Vampire Slayer Script at IMSDb.</title><meta name=\"description\" content=\"Buffy the Vampire Slayer script at the InternetMovie Script Database.\"><meta name=\"keywords\" content=\"Buffy the Vampire Slayer script, Buffy the Vampire Slayer movie script, Buffy the Vampire Slayerfilm script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE> Buffy, the VampireSlayer<b></TITLE></b><b></HEAD></b><b><BODY></b><b><PRE></b>                               Buffy, the VampireSlayer                                           by                                      Joss Whedon <b>             FADE IN:</b><b>             EXT. MEDIEVAL VILLAGE - JUST BEFORESUNSET</b>             We see an Italian village at the height of the plague.  Funeral              processions, decrepit houses with their windows boardedup...               the stench of death all around.<b>             TITLE:  EUROPE. THE DARK AGES</b>             Through the filth a KNIGHT walks his horse.  He isweary but              not so dingy as his surrounding; a stranger in these parts.               He comes to an inn, where a boy takes his horse roundback.               He enters the inn.<b>             INT. INN - SAME TIME</b>             The inn is dark and almost empty.  A couple of patrons drink              silentlyat tables.  Behind the bar stands a slovenly BARMAID,              dark-haired and lazy.  She scratches at her shoulder, on which              we see a birthmark.  Theknight approaches the bar, throws              money down.<b>                                       KNIGHT</b>                            A tankard of ale, wench.             Thebarmaid pours him a cup of ale.  He drinks deep, stands"}
+{"doc_id":"doc_27","qid":"","text":"The Project Gutenberg EBook of Jack The Giant Killer, by Percival LeighThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Jack The Giant KillerAuthor: Percival LeighIllustrator: John LeechRelease Date: February 26, 2014 [EBook #45021]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK JACK THE GIANT KILLER ***Produced by David Widger from images generously providedby TheInternet ArchiveJACK THE GIANT KILLER.By Percival LeighThe Author Of \"The Comic Latin Grammar.\"With Illustrations by JOHN LEECH1853[Illustration:013]{001}THE ARGUMENT.            I sing the deeds of famous Jack,                The doughty Giant Killer hight;            How he did various monsters\"whack,\"                And so became a gallant knight.             In Arthur's days of splendid fun                (His Queen was Guenever the Pliant),--             EreBritain's sorrows had begun;                When every cave contained its giant;             When griffins fierce as bats were rife;                 And till a knight had slainhis dragon,              At trifling risk of limbs and life,                He did n't think he'd much to brag on;{002}     When wizards o'er the welkin flew;     Ere sciencehad devised balloon;     And 'twas a common thing to view     A fairy ballet by the moon;--     Our hero played his valiant pranks;     Earned loads of _kudos,vulgô_ glory,     A lady, \"tin,\" and lots of thanks;--         Relate, oh Muse! his wondrous story.OF GIANTS IN GENERAL.     A Giant was, I should premise,     Ahulking lout of monstrous size;     He mostly stood--I know you 'll laugh--     About as high as a giraffe.     His waist was some three yards in girth:     When hewalked he shook the earth.     His eyes were of the class called \"goggle,\"     Fitter for the scowl than ogle.     His mouth, decidedly carnivorous,     Like ashark's,--the Saints deliver us!     He yawned like a huge sarcophagus,     For he was an Anthropophagus,     And his tusks were huge and craggy;     His hair,and his brows, and his beard, were shaggy.{003}     I ween on the whole he was aught but a Cupid,     And exceedingly fierce, and remarkablystupid;              His brain partaking strongly of lead,              How well soe'er he was off for head;              Having frequently one or two              Crania morethan I or you.              He was bare of arm and leg,              But buskins had, and a philabeg;              Also a body-coat of mail              That shone with steel orbrazen scale,              Like to the back of a crocodile's tail;                        A crown he wore,                        And a mace he bore              That was knobbed andspiked with adamant;                        It would smash the skull                        Of the mountain bull,              Or scatter the brains of the elephant.         Hisvoice than the tempest was louder and gruffer--         Well; so much for the uncouth \"buffer.\"JACK'S BIRTH, PARENTAGE, EDUCATION, AND EARLYPURSUITS.               Of a right noble race was Jack,               For kith and kin he did not lack,                    Whom tuneful bards have puffed;               TheSeven bold Champions ranked among               That highly celebrated throng,                    And Riquet with the Tuft.{004}          Jack of the Beanstalk, too, wasone;          And Beauty's Beast; and Valour's son,              Sir Amadis de Gaul:          But if I had a thousand tongues,          A throat of brass, and ironlungs,              I could not sing them all.     His sire was a farmer hearty and free;     He dwelt where the Land's End frowns on the sea,     And the sea at theLand's End roars again,     Tit for tat, land and main.     He was a worthy wight, and so     He brought up his son in the way he should go;     He sought not--nothe!--to make him a \"muff;\"     He never taught him a parcel of stuff;     He bothered him not with trees and plants,     Nor told him to study the manners ofants.     He himself had never been     Bored with the Saturday Magazine;     The world might be flat, or round, or square,     He knew not, and he did notcare;     Nor wished that a boy of his should be     A Cornish \"Infant Prodigy.\"     But he stored his mind with learning stable,     The deeds of the Knights of thefamed Round Table;     Legends and stories, chants and lays,     Of witches and warlocks, goblins and fays;             How champions of might             Defendedthe right,{005}     Freed the captive, and succoured the damsel distrest              Till Jack would exclaim--     \"If I don't do the same,     An' I live to become aman,--_I'm blest!_\"     Jack lightly recked of sport or play              Wherein young gentlemen delight,     But he would wrestle any day,     Box, or at backswordfight.     He was a lad of special \"pluck,\"     And strength beyond his years,          Or science, gave him aye the luck          To drub his young compeers.     Histask assigned, like Giles or Hodge,     The woolly flocks to tend,          His wits to warlike fray or \"dodge\"          Wool-gathering oft would wend.     And then he'dwink his sparkling eye,     And nod his head right knowingly,         And sometimes \"Won't I just!\" would cry,         Or \"At him, Bill, again!\"          Now thisbehaviour did evince          A longing for a foe to mince;          An instinct fitter for a Prince          Than for a shepherd swain.{006}HOW JACK SLEW THE GIANTCORMORAN.---     I.          Where good Saint Michael's craggy mount          Rose Venus-like from out the sea,          A giant dwelt; a mighty- Count          In hisown view, forsooth, was he;          And not unlike one, verily,          (A foreign Count, like those we meet          In Leicester Square, or Regent Street),          Imean with respect to his style of hair,          Mustachios, and beard, and ferocious air,--          His figure was quite another affair.         This odd-looking\"bird\"         Was a Richard the Third,         Four times taller and five as wide;         Or a clumsy Punch,         With his cudgel and hunch,              Into a monstermagnified!     In quest of prey across the sea     He'd wade, with ponderous club;              For not the slightest \"bones\" made he              Of \"boning\" people's\"grub.\"     There was screaming and crying \"Oh dear!\" and \"Oh law     When the terrified maids the monster saw;[Illustration: 019]{007}                 As hestalked--tramp! tramp!                 Stamp! stamp! stamp! stamp!         Coming on like the statue in \"Don Giovanni.\"                 \"Oh my!\" they wouldcry,                  \"Here he comes; let us fly!         Did you ever behold such a horrid old brawny? --                 A--h!\" and off they would run                 Like\"blazes,\" or \"fun,\"         Followed, pell-mell, by man and master;                 While the grisly old fellow                 Would after them bellow,         To make themscamper away the faster.     II.          When this mountain bugaboo          Had filled his belly, what would he do?          He'd shoulder his club with an ox ortwo,          Stick pigs and sheep in his belt a few,--     There were two or three in it, and two or three under     (I hope ye have all the \"organ of wonder\");     Thenback again to his mountain cave     He would stump o'er the dry land and stride through the wave.     III.                     What was to be done?                     Forthis was no fun;                 And it must be clear to every one,          The new Tariff itself would assuredly not          Have supplied much longer the monstrouspot                 Of this beef-eating, bull-headed, \"son-of-a-gun.\"{008}     IV.     Upon a night as dark as pitch     A light was dancing on the sea;--     Marked itthe track of the Water Witch?     Could it a Jack-a-lantern be?     A lantern it was, and borne by Jack;     A spade and a pickaxe he had at his back;     In his belt agood cow-horn;     He was up to some game you may safely be sworn.     Saint Michael's Mount he quickly gained,     And there the livelong nightremained.                What he did                The darkness hid;     Nor needeth it that I should say:     Nor would you have seen,     If there you hadbeen     Looking on at the break of day.     V.     Morning dawned on the ocean blue;     Shrieked the gull and the wild sea-mew;     The donkey brayed, and thegrey cock crew;     Jack put to his mouth his good cow-horn,     And a blast therewith did blow.     The Giant heard the note of scorn,     And woke and cried\"Hallo!\"     He popped out his head with his night-cap on,     To look who his friend might be,     And eke his spectacles did don,     That he mote the bettersee.[Illustration: 023]{009}     \"I'll broil thee for breakfast,\" he roared amain,     \"For breaking my repose.\"     \"Yaa!\" valiant Jack returned again,     With hisfingers at his nose.     VI.     Forward the monster tramps apace,     Like to an elephant running a race;     Like a walking-stick he handles his mace.     Away, tooventurous wight, decamp!     In two more strides your skull he smashes;--     One! Gracious goodness! what a stamp!     Two! Ha! the plain beneath himcrashes:     Down he goes, full fathoms three.     \"How feel ye now,\" cried Jack, \"old chap?     It is plain, I wot, to see     You 're by no means up to trap.\"     TheGiant answered with such a roar,     It was like the Atlantic at war with its shore;     A thousand times worse than the hullaballoo     Of carnivora, fed,     Eregoing to bed,     At the Regent's Park, or the Surrey \"Zoo.\"     \"So ho! Sir Giant,\" said Jack, with a bow,     \"Of breakfast art thou fain?     For a tit-bit wilt thoubroil me now,     An' I let thee out again? \"     Gnashing his teeth, and rolling his eyes,     The furious lubber strives to rise.     \"Don't you wish you may get it?\"our hero cries{010}[Illustration: 027]       And he drives the pickaxe into his skull:       Giving him thus a belly-full,                        If the expression is n't abull.     VII.                    Old Cormoran dead,                       Jack cut off his head,       And hired a boat to transport it home.                    On the \"bumps\" of thebrute,       At the Institute,       A lecture was read by a Mr. Combe.         Their Worships, the Justices of the Peace,         Called the death of the monster a\"happy release:\"         Sent for the champion who had drubbed him,         And \"Jack the Giant Killer\" dubbed him;         And they gave him a sword, and abaldric, whereon         For all who could read them, these versicles shone:--            'THIS IS YE VALYANT CORNISHE MAN            WHO SLEWE YE GIANTCORMORAN\"{011}[Illustration: 028]JACK SUPRISED ONCE IN THE WAY     I.     Now, as Jack was a lion, and hero of rhymes,     His exploit very soon made anoise in the \"Times;\"              All over the west              He was _fêted_, caressed,     And to dinners and _soirees_ eternally pressed:     Though't is true Giantsdid n't move much in society,     And at \"twigging\" were slow,     Yet they could n't but know     Of a thing that was matter of such notoriety.     Your Giants werefamous for _esprit de corps_;     And a huge one, whose name was O'Blunderbore,     From the Emerald Isle, who had waded o'er,     Revenge, \"by the pow'rs!\"on our hero swore.     II.              Sound beneath a forest oak              Was a beardless warrior dozing,              By a babbling rill, that woke              Echo--notthe youth reposing.              What a chance for lady loves              Now to win a \"pair of gloves!\"{012}     III.     \"Wake, champion, wake, be off, be"}
+{"doc_id":"doc_28","qid":"","text":"Project Gutenberg's Border, Breed Nor Birth, by Dallas McCord ReynoldsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Border, Breed Nor BirthAuthor: Dallas McCord ReynoldsIllustrator: SchoenherrRelease Date: December 9, 2009 [EBook#30639]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK BORDER, BREED NOR BIRTH ***Produced by Sankar Viswanathan, Greg Weeks,and the OnlineDistributed Proofreading Team at http://www.pgdp.net                         Transcriber's Note:  This etext was produced from Analog Science Fact &Fiction July 1962.  Extensive research did not uncover any evidence that the U.S.  copyright on this publication was renewed.                       Border, Breed norBirth     Part 1 of Two. Kipling said those things didn't count when     two strong men stood face to face. But ... do they count     when two strong ideologies standface to face...?                           by Mack Reynolds                      Illustrated by Schoenherr       *       *       *       *       *IEl Hassan, would-be tyrant of allNorth Africa, was on the run.His followers at this point numbered six, one of whom was a wisp of atwenty-four year old girl. Arrayed against him and his dream,he knew,was the combined power of the world in the form of the ReunitedNations, and, in addition, such individual powers as the United Statesof the Americas,the Soviet Complex, Common Europe, the FrenchCommunity, the British Commonwealth and the Arab Union, working bothtogether and unilaterally.Immediatesurvival depended upon getting into the Great Erg of theSahara where even the greatest powers the world had ever developedwould have their work cut outlocating El Hassan and his people.       *       *       *       *       *Bey-ag-Akhamouk who was riding next to Elmer Allen in the lead aircushion hover-lorry, held ahand high. Both of the solar powereddesert vehicles ground to a halt.Homer Crawford vaulted out of the seat of the second lorry before ithad settled to the sand.\"What's up, Bey?\" he called.Bey pointed to the south and west. They were in the vicinity ofTessalit, in what was once known as French Sudan, and immediatelytothe south of Algeria. They were deliberately avoiding what littleexisted in this area in the way of trails, the Tanezrouft route whichcrossed the Sahara fromColomb-Béchar to Gao, on the Niger, was somefifty miles to the west.Homer Crawford stared up into the sky in the direction Bey pointed andhis face wentwan.The others were piling out of the vehicles.\"What is it?\" Isobel Cunningham said, squinting and trying to catchwhat the others had already spotted.\"Aircraft,\"Bey growled. \"A rocket-plane.\"\"Which means the military in this part of the world,\" Homer said.The rest of them looked to him for instructions, but Bey suddenlytookover. He said to Homer, \"You better get on over beneath thatoutcropping of rock. The rest of us will handle this.\"Homer looked at him.Bey said, flatly, \"If oneof the rest of us gets it, or even if all ofus do, the El Hassan movement goes on. But if something happens toyou, the movement dies. We've already taken ourstand and too much isat stake to risk your life.\"Homer Crawford opened his mouth to protest, then closed it. He reachedinside the solar-powered lorry andfetched forth a Tommy-Noiseless andstarted for the rock outcropping at a trot. Having made his decision,he wasn't going to cramp Bey-ag-Akhamouk's style withneedlesspalaver.Isobel Cunningham, Cliff Jackson, Elmer Allen and Kenny Ballalougathered around the tall, American educated Tuareg.\"What's the plan?\" Elmersaid. Either he or Kenny Ballalou could havetaken over as competently, but they were as capable of taking ordersas giving them, a desirable trait in fightingmen.Bey was still staring at the oncoming speck. He growled, \"We can'teven hope he hasn't seen the pillars of sand and dust these vehiclesthrow up. He's spottedus all right. And we've got to figure he'slooking for us, even though we can hope he's not.\"The side of his mouth began to tic, characteristically. \"He'll makethreepasses. The first one high, as an initial check. The second timehe'll come in low just to make sure. The third pass and he'll clobberus.\"The aircraft was coming on,high but nearer now.\"So,\" Elmer said reasonably, \"we either get him the second pass hemakes, or we've had it.\" The young Jamaican's lips were thinnedbackover his excellent teeth, as always when he went into combat.\"That's it,\" Bey agreed. \"Kenny, you and Cliff get the flac rifle, andhave it handy in the back ofthe second truck. Be sure he doesn't seeit on this first pass. Elmer, get on the radio and check anything hesends.\"Kenny Ballalou and the hulking Cliff Jackson ranto carry out orders.Isobel said, \"Got an extra gun for me?\"Bey scowled at her. \"You better get over there with Homer where it'ssafer.\"She said evenly, \"I'vealways considered myself a pacifist, but whensomebody starts shooting at me, I forget about it and am inclined toshoot back.\"\"I haven't got time to argue withyou,\" Bey said. \"There aren't anyextra guns except handguns and they'd be useless.\" As he spoke, hepulled his own Tommy-Noiseless from its scabbard on thefront door ofthe air cushion lorry, and checked its clip of two hundred .10 caliberultra-high velocity rounds. He flicked the selector to the explosiveside of theclip.       *       *       *       *       *The plane was roaring in on what would be its first pass, if Bey hadguessed correctly. If he had guessed incorrectly, this mightbe theend. A charge of napalm would fry everything for a quarter of a milearound, or the craft might even be equipped with a mini-fission bomb.In this area aminor nuclear explosion would probably go undetected.Bey yelled, \"Don't anybody even try to fire at him at this range.He'll be back. It takes half the sky to turnaround in with thatcrate, but he'll be back, lower next time.\"Cliff Jackson said cheerlessly, \"Maybe he's just looking for us. Hewon't necessarily take a crack atus.\"Bey grunted. \"Elmer?\"\"Nothing on the radio,\" Elmer said. \"If he was just scouting us out,he'd report to his base. But if his orders are to clobber us, thenhewouldn't put it on the air.\"The plane was turning in the sky, coming back.Cliff argued, \"Well, we can't fire unless we know if he's just huntingus out, or trying todo us in.\"Elmer said patiently, \"For just finding us, that first pass would beall he needed. He could radio back that he'd found us. But if he comesin again, he'slooking for trouble.\"\"Here he comes!\" Bey yelled. \"Kenny-Cliff ... the rifle!\"Isobel suddenly dashed out into the sands a dozen yards or so from thevehicles andbegan running around and around in a circle as thoughdemented.Bey stared at her. \"Get back here,\" he roared. \"Under one of thetrucks!\"She ignored him.Therocket-plane was coming in, low and obviously as slow as the pilotcould retard its speed.The flac rifle began jumping and tracers reached out fromit--inaccurately.The Tommy-Noiseless automatics in the hands of Beyand Elmer Allen gave their silenced _flic flic flic_ sounds, equallyineffective.On the ultra-stubby wings of thefast moving aircraft, a row ofbrilliant cherries flickered and a row of explosive shells plowedacross the desert, digging twin ditches, miraculously going betweentheair cushion lorries but missing both. It was upon them, over andgone, before the men on the ground could turn to fire after.Elmer Allen muttered an obscenityunder his breath.Cliff Jackson looked around in desperation. \"What can we do now? Hewon't come close enough for us to even fire at him, next time.\"Bey saidnothing. Isobel had collapsed into the sand. Elmer Allenlooked over at her. \"Nice try, Isobel,\" he said. \"I think he came inlower and slower than he would haveotherwise--trying to see what thedevil it was you were doing.\"She shrugged, hopelessly.\"Hey!\" Kenny Ballalou pointed.The rocketcraft was wobbling, shuddering,in the sky. Suddenly itburst into a black cloud of fire and smoke and explosion.At the same moment, Homer Crawford got up from the sand dune behindwhichhe'd stationed himself and plowed awkwardly through the sandtoward them.Bey glared at him.Homer shrugged and said, \"I checked the way he came in the firsttimeand figured he'd repeat the run. Then I got behind that dune there andfaced in the other direction and started firing where I _thought_ he'dbe, a few secondsbefore he came over. He evidently ran right intoit.\"Bey said indignantly, \"Look, wise guy, you're no longer the leader ofa five-man Reunited Nations AfricanDevelopment Project team. Then,you were expendable. Now, you're El Hassan. You give the orders. Otherpeople are expendable.\"Homer Crawford grinned athim, somewhat ruefully and held up his handsas though in supplication. \"Listen to the man, is that any way to talkto El Hassan?\"Elmer Allen said worriedly, \"He'sright, though, Homer. You shouldn'ttake chances.\"Homer Crawford went serious. \"Actually, none of us should, if we canavoid it. In a way, El Hassan isn't oneperson. It's this team here,and Jake Armstrong, who by this time I hope is on his way to theStates.\"Bey was shaking his head in stubborn determination. \"No,\" hesaid.\"I'm not sure that you comprehend this yourself, Homer, but you'reNumber One. You're the symbol, the hero these people are going tofollow if we put thisthing over. They couldn't understand a sextetleadership. They want a leader, someone to dominate and tell them whatto do. A team you need, admittedly, butnot so much as the team needsyou. Remember Alexander? He had a team starting off with Aristotle fora brain-trust, and Parmenion, one of the greatest generalsof all timefor his right-hand man. Then he had a group of field men such asPtolemy, Antipater, Antigonus and Seleucus--not to be rivaled untilNapoleon built histeam, two thousand years later. And what happenedto this super-team when Alexander died?\"Homer looked at him thoughtfully.Bey wound it up doggedly.\"You're our Alexander. Our Caesar. OurNapoleon. So don't go getting yourself killed, damn it. Excuse me,Isobel.\"Isobel grinned her pixielike grin. \"I agree,\" shesaid. \"Dammit.\"Homer said, \"I'm not sure I go all along with you or not. We'll thinkabout it.\" His voice took a sharper note. \"Let's go over and see ifthere's enoughleft in that wreckage to give us an idea of who thepilot represented. I can't believe it was a Reunited Nations man, andI'd like to know who, of our potentialenemies, dislikes the idea ofEl Hassan so much that they figure we should all be bumped off beforewe even get under way.\"       *       *       *       *       *It hadbegun--if there is ever a beginning--in Dakar. In the officesof Sven Zetterberg the Swedish head of the Sahara Division of theAfrican Development Project of theReunited Nations.Homer Crawford, head of a five-man trouble-shooting team, had reportedfor orders. In one hand he held them, when he was ushered intotheother's presence.Zetterberg shook hands abruptly, said, \"Sit down, Dr. Crawford.\"Homer Crawford looked at the secretary who had ushered him in.Zetterbergsaid, scowling, \"What's the matter?\"\"I think I have something to be discussed privately.\"The secretary shrugged and turned and left.Zetterberg, still scowling,resumed his own place behind the desk andsaid, \"Claud Hansen is a trusted Reunited Nations man. What couldpossibly be so secret...?\"Homer indicated the"}
+{"doc_id":"doc_29","qid":"","text":"The Project Gutenberg EBook of Zuleika Dobson, by Max BeerbohmThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Zuleika Dobson       or, An Oxford Love StoryAuthor: Max BeerbohmPosting Date: November 25, 2008 [EBook #1845]Release Date:August, 1999Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ZULEIKA DOBSON ***Produced by Judy BossZULEIKA DOBSONor, AN OXFORDLOVE STORYBy Max Beerbohm         NOTE to the 1922 edition         I was in Italy when this book was first published.         A year later (1912) I visited London,and I found         that most of my friends and acquaintances spoke to         me of Zu-like-a--a name which I hardly recognised         and thoroughly disapproved.I had always thought         of the lady as Zu-leek-a. Surely it was thus that         Joseph thought of his Wife, and Selim of his Bride?         And I do hope that it isthus that any reader of         these pages will think of Miss Dobson.                                              M.B.                                              Rapallo, 1922.ILLI ALMAEMATRIZULEIKA DOBSONIThat old bell, presage of a train, had just sounded through Oxfordstation; and the undergraduates who were waiting there, gay figuresintweed or flannel, moved to the margin of the platform and gazed idlyup the line. Young and careless, in the glow of the afternoon sunshine,they struck a sharpnote of incongruity with the worn boards they stoodon, with the fading signals and grey eternal walls of that antiquestation, which, familiar to them andinsignificant, does yet whisper tothe tourist the last enchantments of the Middle Age.At the door of the first-class waiting-room, aloof and venerable, stoodtheWarden of Judas. An ebon pillar of tradition seemed he, in his garbof old-fashioned cleric. Aloft, between the wide brim of his silk hatand the white extent of hisshirt-front, appeared those eyes whichhawks, that nose which eagles, had often envied. He supported his yearson an ebon stick. He alone was worthy of thebackground.Came a whistle from the distance. The breast of an engine was descried,and a long train curving after it, under a flight of smoke. It grewand grew.Louder and louder, its noise foreran it. It became a furious,enormous monster, and, with an instinct for safety, all men recededfrom the platform's margin. (Yetcame there with it, unknown to them,a danger far more terrible than itself.) Into the station it cameblustering, with cloud and clangour. Ere it had yet stopped,the door ofone carriage flew open, and from it, in a white travelling dress, in atoque a-twinkle with fine diamonds, a lithe and radiant creature slippednimbly downto the platform.A cynosure indeed! A hundred eyes were fixed on her, and half as manyhearts lost to her. The Warden of Judas himself had mounted on his noseapair of black-rimmed glasses. Him espying, the nymph darted in hisdirection. The throng made way for her. She was at his side.\"Grandpapa!\" she cried, andkissed the old man on either cheek. (Not ayouth there but would have bartered fifty years of his future for thatsalute.)\"My dear Zuleika,\" he said, \"welcome toOxford! Have you no luggage?\"\"Heaps!\" she answered. \"And a maid who will find it.\"\"Then,\" said the Warden, \"let us drive straight to College.\" He offeredher hisarm, and they proceeded slowly to the entrance. She chattedgaily, blushing not in the long avenue of eyes she passed through. Allthe youths, under her spell,were now quite oblivious of the relativesthey had come to meet. Parents, sisters, cousins, ran unclaimed aboutthe platform. Undutiful, all the youths were forminga serried suite totheir enchantress. In silence they followed her. They saw her leap intothe Warden's landau, they saw the Warden seat himself upon her left.Norwas it until the landau was lost to sight that they turned--how slowly,and with how bad a grace!--to look for their relatives.Through those slums which connectOxford with the world, the landaurolled on towards Judas. Not many youths occurred, for nearly all--itwas the Monday of Eights Week--were down by the river,cheering thecrews. There did, however, come spurring by, on a polo-pony, a verysplendid youth. His straw hat was encircled with a riband of blue andwhite, andhe raised it to the Warden.\"That,\" said the Warden, \"is the Duke of Dorset, a member of my College.He dines at my table to-night.\"Zuleika, turning to regard hisGrace, saw that he had not reined in andwas not even glancing back at her over his shoulder. She gave a littlestart of dismay, but scarcely had her lips pouted erethey curved to asmile--a smile with no malice in its corners.As the landau rolled into \"the Corn,\" another youth--a pedestrian, andvery different--saluted theWarden. He wore a black jacket, rusty andamorphous. His trousers were too short, and he himself was too short:almost a dwarf. His face was as plain as his gaitwas undistinguished.He squinted behind spectacles.\"And who is that?\" asked Zuleika.A deep flush overspread the cheek of the Warden. \"That,\" he said, \"isalso amember of Judas. His name, I believe, is Noaks.\"\"Is he dining with us to-night?\" asked Zuleika.\"Certainly not,\" said the Warden. \"Most decidedly not.\"Noaks,unlike the Duke, had stopped for an ardent retrospect. He gazedtill the landau was out of his short sight; then, sighing, resumed hissolitary walk.The landau wasrolling into \"the Broad,\" over that ground which had onceblackened under the fagots lit for Latimer and Ridley. It rolled pastthe portals of Balliol and of Trinity,past the Ashmolean. From thosepedestals which intersperse the railing of the Sheldonian, the highgrim busts of the Roman Emperors stared down at the fairstranger inthe equipage. Zuleika returned their stare with but a casual glance. Theinanimate had little charm for her.A moment later, a certain old don emergedfrom Blackwell's, where he hadbeen buying books. Looking across the road, he saw, to his amazement,great beads of perspiration glistening on the brows ofthose Emperors.He trembled, and hurried away. That evening, in Common Room, he toldwhat he had seen; and no amount of polite scepticism would convincehimthat it was but the hallucination of one who had been reading too muchMommsen. He persisted that he had seen what he described. It was notuntil two dayshad elapsed that some credence was accorded him.Yes, as the landau rolled by, sweat started from the brows of theEmperors. They, at least, foresaw the perilthat was overhanging Oxford,and they gave such warning as they could. Let that be remembered totheir credit. Let that incline us to think more gently of them.In theirlives we know, they were infamous, some of them--\"nihil non commiseruntstupri, saevitiae, impietatis.\" But are they too little punished, afterall? Here inOxford, exposed eternally and inexorably to heat and frost,to the four winds that lash them and the rains that wear them away, theyare expiating, in effigy, theabominations of their pride and crueltyand lust. Who were lechers, they are without bodies; who were tyrants,they are crowned never but with crowns of snow;who made themselves evenwith the gods, they are by American visitors frequently mistaken forthe Twelve Apostles. It is but a little way down the road that thetwoBishops perished for their faith, and even now we do never pass the spotwithout a tear for them. Yet how quickly they died in the flames! Tothese Emperors,for whom none weeps, time will give no surcease. Surely,it is sign of some grace in them that they rejoiced not, this brightafternoon, in the evil that was to befallthe city of their penance.IIThe sun streamed through the bay-window of a \"best\" bedroom in theWarden's house, and glorified the pale crayon-portraits on thewall,the dimity curtains, the old fresh chintz. He invaded the many trunkswhich--all painted Z. D.--gaped, in various stages of excavation, aroundthe room. Thedoors of the huge wardrobe stood, like the doors ofJanus' temple in time of war, majestically open; and the sun seized thisopportunity of exploring the mahoganyrecesses. But the carpet, whichhad faded under his immemorial visitations, was now almost ENTIRELYhidden from him, hidden under layers of fair fine linen,layers ofsilk, brocade, satin, chiffon, muslin. All the colours of the rainbow,materialised by modistes, were there. Stacked on chairs were I know notwhat ofsachets, glove-cases, fan-cases. There were innumerable packagesin silver-paper and pink ribands. There was a pyramid of bandboxes.There was a virgin forestof boot-trees. And rustling quickly hither andthither, in and out of this profusion, with armfuls of finery, was anobviously French maid. Alert, unerring, like aswallow she dipped anddarted. Nothing escaped her, and she never rested. She had the air ofthe born unpacker--swift and firm, yet withal tender. Scarce hadherarms been laden but their loads were lying lightly between shelves ortightly in drawers. To calculate, catch, distribute, seemed in her but asingle process. Shewas one of those who are born to make chaos cosmic.Insomuch that ere the loud chapel-clock tolled another hour all thetrunks had been sent empty away. Thecarpet was unflecked by any scrapof silver-paper. From the mantelpiece, photographs of Zuleika surveyedthe room with a possessive air. Zuleika's pincushion,a-bristle withnew pins, lay on the dimity-flounced toilet-table, and round it stooda multitude of multiform glass vessels, domed, all of them, with dullgold, onwhich Z. D., in zianites and diamonds, was encrusted. Ona small table stood a great casket of malachite, initialled in likefashion. On another small table stoodZuleika's library. Both books werein covers of dull gold. On the back of one cover BRADSHAW, in beryls,was encrusted; on the back of the other, A.B.C. GUIDE, inamethysts,beryls, chrysoprases, and garnets. And Zuleika's great cheval-glassstood ready to reflect her. Always it travelled with her, in a greatcase speciallymade for it. It was framed in ivory, and of fluted ivorywere the slim columns it swung between. Of gold were its twin sconces,and four tall tapers stood in each ofthem.The door opened, and the Warden, with hospitable words, left hisgrand-daughter at the threshold.Zuleika wandered to her mirror. \"Undress me, Melisande,\"she said. Likeall who are wont to appear by night before the public, she had the habitof resting towards sunset.Presently Melisande withdrew. Her mistress, in awhite peignoir tiedwith a blue sash, lay in a great chintz chair, gazing out of thebay-window. The quadrangle below was very beautiful, with its walls ofruggedgrey, its cloisters, its grass carpet. But to her it was of nomore interest than if it had been the rattling court-yard to one ofthose hotels in which she spent her life.She saw it, but heeded it not.She seemed to be thinking of herself, or of something she desired, or ofsome one she had never met. There was ennui, and therewas wistfulness,in her gaze. Yet one would have guessed these things to be transient--tobe no more than the little shadows that sometimes pass between abrightmirror and the brightness it reflects.Zuleika was not strictly beautiful. Her eyes were a trifle large, andtheir lashes longer than they need have been. Ananarchy of small curlswas her chevelure, a dark upland of misrule, every hair asserting itsrights over a not discreditable brow. For the rest, her features werenot"}
+{"doc_id":"doc_30","qid":"","text":"The Project Gutenberg eBook, The Castle of Otranto, by Horace Walpole,Edited by Henry MorleyThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: The Castle of OtrantoAuthor: Horace WalpoleEditor: Henry MorleyRelease Date: May 5, 2012  [eBook #696][This file was firstposted on October 22, 1996]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE CASTLE OFOTRANTO***Transcribed from the 1901 Cassell and Company edition by David Price,email ccx074@pglaf.org                        CASSELLâ\u0000\u0000S NATIONALLIBRARY                               (New Series)                                * * * * *                                   THE                            CASTLE OFOTRANTO.                                * * * * *                                    BY                             HORACE WALPOLE.                      [Picture: Decorativegraphic]                       CASSELL AND COMPANY, LIMITED                _LONDON_, _PARIS_, _NEW YORK &MELBOURNE_                                   1901INTRODUCTIONHORACE WALPOLE was the youngest son of Sir Robert Walpole, the greatstatesman, who died Earl ofOrford.  He was born in 1717, the year inwhich his father resigned office, remaining in opposition for almostthree years before his return to a long tenure ofpower.  Horace Walpolewas educated at Eton, where he formed a school friendship with ThomasGray, who was but a few months older.  In 1739 Graywastravelling-companion with Walpole in France and Italy until they differedand parted; but the friendship was afterwards renewed, and remained firmto theend.  Horace Walpole went from Eton to Kingâ\u0000\u0000s College, Cambridge,and entered Parliament in 1741, the year before his fatherâ\u0000\u0000s finalresignation andacceptance of an earldom.  His way of life was made easyto him.  As Usher of the Exchequer, Comptroller of the Pipe, and Clerk ofthe Estreats in the Exchequer,he received nearly two thousand a year fordoing nothing, lived with his father, and amused himself.Horace Walpole idled, and amused himself with the small lifeof thefashionable world to which he was proud of belonging, though he had aquick eye for its vanities.  He had social wit, and liked to put it tosmall uses.  But hewas not an empty idler, and there were seasons whenhe could become a sharp judge of himself.  â\u0000\u0000I am sensible,â\u0000\u0000 he wrote tohis most intimate friend,â\u0000\u0000I am sensible of having more follies andweaknesses and fewer real good qualities than most men.  I sometimesreflect on this, though, I own, too seldom.  Ialways want to beginacting like a man, and a sensible one, which I think I might be if Iwould.â\u0000\u0000  He had deep home affections, and, under manypoliteaffectations, plenty of good sense.Horace Walpoleâ\u0000\u0000s father died in 1745.  The eldest son, who succeeded tothe earldom, died in 1751, and left a son,George, who was for a timeinsane, and lived until 1791.  As George left no child, the title andestates passed to Horace Walpole, then seventy-four years old, andtheonly uncle who survived.  Horace Walpole thus became Earl of Orford,during the last six years of his life.  As to the title, he said that hefelt himself being callednames in his old age.  He died unmarried, inthe year 1797, at the age of eighty.He had turned his house at Strawberry Hill, by the Thames, nearTwickenham, intoa Gothic villaâ\u0000\u0000eighteenth-century Gothicâ\u0000\u0000and amusedhimself by spending freely upon its adornment with such things as werethen fashionable as objectsof taste.  But he delighted also in hisflowers and his trellises of roses, and the quiet Thames.  When confinedby gout to his London house in Arlington Street,flowers from StrawberryHill and a bird were necessary consolations.  He set up also atStrawberry Hill a private printing press, at which he printed hisfriendGrayâ\u0000\u0000s poems, also in 1758 his own â\u0000\u0000Catalogue of the Royal and NobleAuthors of England,â\u0000\u0000 and five volumes of â\u0000\u0000Anecdotes of PaintinginEngland,â\u0000\u0000 between 1762 and 1771.Horace Walpole produced _The Castle of Otranto_ in 1765, at the matureage of forty-eight.  It was suggested by adream from which he said hewaked one morning, and of which â\u0000\u0000all I could recover was, that I hadthought myself in an ancient castle (a very natural dreamfor a head likemine, filled with Gothic story), and that on the uppermost banister of agreat staircase I saw a gigantic hand in armour.  In the evening I satdownand began to write, without knowing in the least what I intended tosay or relate.â\u0000\u0000  So began the tale which professed to be translated byâ\u0000\u0000WilliamMarshal, gentleman, from the Italian of Onuphro Muralto, canonof the Church of St. Nicholas, at Otranto.â\u0000\u0000  It was written in twomonths.  Walpoleâ\u0000\u0000s friendGray reported to him that at Cambridge the bookmade â\u0000\u0000some of them cry a little, and all in general afraid to go to bedoâ\u0000\u0000 nights.â\u0000\u0000  _The Castle ofOtranto_ was, in its own way, an early signof the reaction towards romance in the latter part of the last century.This gives it interest.  But it has had manyfollowers, and the hardymodern reader, when he readâ\u0000\u0000s Grayâ\u0000\u0000s note from Cambridge, needs to bereminded of itsdate.                                                                     H. M.PREFACE TO THE FIRST EDITION.The following work was found in the library of an ancient Catholicfamilyin the north of England.  It was printed at Naples, in the black letter,in the year 1529.  How much sooner it was written does not appear.  Theprincipalincidents are such as were believed in the darkest ages ofChristianity; but the language and conduct have nothing that savours ofbarbarism.  The style is thepurest Italian.If the story was written near the time when it is supposed to havehappened, it must have been between 1095, the era of the first Crusade,and1243, the date of the last, or not long afterwards.  There is noother circumstance in the work that can lead us to guess at the period inwhich the scene is laid: thenames of the actors are evidentlyfictitious, and probably disguised on purpose: yet the Spanish names ofthe domestics seem to indicate that this work was notcomposed until theestablishment of the Arragonian Kings in Naples had made Spanishappellations familiar in that country.  The beauty of the diction, andthe zealof the author (moderated, however, by singular judgment) concurto make me think that the date of the composition was little antecedentto that of theimpression.  Letters were then in their most flourishingstate in Italy, and contributed to dispel the empire of superstition, atthat time so forcibly attacked by thereformers.  It is not unlikely thatan artful priest might endeavour to turn their own arms on theinnovators, and might avail himself of his abilities as an authortoconfirm the populace in their ancient errors and superstitions.  If thiswas his view, he has certainly acted with signal address.  Such a work asthe followingwould enslave a hundred vulgar minds beyond half the booksof controversy that have been written from the days of Luther to thepresent hour.This solution of theauthorâ\u0000\u0000s motives is, however, offered as a mereconjecture.  Whatever his views were, or whatever effects the executionof them might have, his work canonly be laid before the public atpresent as a matter of entertainment.  Even as such, some apology for itis necessary.  Miracles, visions, necromancy, dreams, andotherpreternatural events, are exploded now even from romances.  That was notthe case when our author wrote; much less when the story itself issupposed tohave happened.  Belief in every kind of prodigy was soestablished in those dark ages, that an author would not be faithful tothe manners of the times, who shouldomit all mention of them.  He is notbound to believe them himself, but he must represent his actors asbelieving them.If this air of the miraculous is excused, thereader will find nothingelse unworthy of his perusal.  Allow the possibility of the facts, andall the actors comport themselves as persons would do in theirsituation.There is no bombast, no similes, flowers, digressions, or unnecessarydescriptions.  Everything tends directly to the catastrophe.  Never isthereaderâ\u0000\u0000s attention relaxed.  The rules of the drama are almostobserved throughout the conduct of the piece.  The characters are welldrawn, and still bettermaintained.  Terror, the authorâ\u0000\u0000s principalengine, prevents the story from ever languishing; and it is so oftencontrasted by pity, that the mind is kept up in aconstant vicissitude ofinteresting passions.Some persons may perhaps think the characters of the domestics too littleserious for the general cast of the story; butbesides their oppositionto the principal personages, the art of the author is very observable inhis conduct of the subalterns.  They discover many passagesessential tothe story, which could not be well brought to light but by their_naïveté_ and simplicity.  In particular, the womanish terror and foiblesof Bianca, inthe last chapter, conduce essentially towards advancing thecatastrophe.It is natural for a translator to be prejudiced in favour of his adoptedwork.  More impartialreaders may not be so much struck with the beautiesof this piece as I was.  Yet I am not blind to my authorâ\u0000\u0000s defects.  Icould wish he had grounded his planon a more useful moral than this:that â\u0000\u0000the sins of fathers are visited on their children to the third andfourth generation.â\u0000\u0000  I doubt whether, in his time,any more than atpresent, ambition curbed its appetite of dominion from the dread of soremote a punishment.  And yet this moral is weakened by that lessdirectinsinuation, that even such anathema may be diverted by devotion to St.Nicholas.  Here the interest of the Monk plainly gets the better of thejudgment ofthe author.  However, with all its faults, I have no doubtbut the English reader will be pleased with a sight of this performance.The piety that reigns throughout,the lessons of virtue that areinculcated, and the rigid purity of the sentiments, exempt this work fromthe censure to which romances are but too liable.  Should itmeet withthe success I hope for, I may be encouraged to reprint the originalItalian, though it will tend to depreciate my own labour.  Our languagefalls far shortof the charms of the Italian, both for variety andharmony.  The latter is peculiarly excellent for simple narrative.  It isdifficult in English to relate without fallingtoo low or rising toohigh; a fault obviously occasioned by the little care taken to speak purelanguage in common conversation.  Every Italian or Frenchman of anyrankpiques himself on speaking his own tongue correctly and with choice.  Icannot flatter myself with having done justice to my author in thisrespect: his style isas elegant as his conduct of the passions ismasterly.  It is a pity that he did not apply his talents to what theywere evidently proper forâ\u0000\u0000the theatre.I willdetain the reader no longer, but to make one short remark.  Thoughthe machinery is invention, and the names of the actors imaginary, Icannot but believe thatthe groundwork of the story is founded on truth.The scene is undoubtedly laid in some real castle.  The author seemsfrequently, without design, to describe"}
+{"doc_id":"doc_31","qid":"","text":"<html><head><title>Best Exotic Marigold Hotel, The Script at IMSDb.</title><meta name=\"description\" content=\"Best Exotic Marigold Hotel, The script at theInternet Movie Script Database.\"><meta name=\"keywords\" content=\"Best Exotic Marigold Hotel, The script, Best Exotic Marigold Hotel, The movie script, BestExotic Marigold Hotel, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             THE BEST EXOTIC MARIGOLD HOTEL</b>                                      Written by                                      Ol Parker          Based on thebook THESE FOOLISH THINGS by Deborah Moggach                                                  <b>                                                                  10/01/11</b>                                                  <b>                         1 OVER BLACK 1</b>          Muffled music; soothing, generic.<b>                         AUTOMATEDVOICE</b>          Thank you for your patience.          Your call is important to us. We          will be with you shortly.<b>          2 INT. MANSION FLAT, LONDON -DAY 2</b>          A neat, well-appointed flat, tastefully decorated. Framed          against a large window which looks out over the city, an          elegant womanin her 70's: EVELYN GREENSLADE. She's on the          phone, on hold.          On the desk in front of her is a brand new laptop computer;          the screen reads'Getting Started ...'<b>                         AUTOMATED VOICE</b><b>                         (ON PHONE)</b>          Thank you for your patience.          Your call isimportant to us. We          will be with you shortly.          Evelyn's patience is strained nonetheless. She taps her          fingers on the desk.          AUTOMATEDVOICE (cont'd)<b>                         (ON PHONE)</b>          Thank you for your patience.          Your call is -          A slightly-accented voice finallyinterrupts.<b>                         FEMALE VOICE</b>          Mrs Greenslade, thank you for<b>                         WAITING"}
+{"doc_id":"doc_32","qid":"","text":"The Project Gutenberg EBook of Riders of the Purple Sage, by Zane GreyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Riders of the Purple SageAuthor: Zane GreyPosting Date: November 7, 2009  [Etext #1300]Release Date: April, 2000Last updated:February 3, 2011Last updated: June 23, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RIDERS OF THE PURPLE SAGE ***Produced byBill Brewer and Rick FaneRIDERS OF THE PURPLE SAGEBy Zane GreyCHAPTER I. LASSITERA sharp clip-crop of iron-shod hoofs deadened and died away, andcloudsof yellow dust drifted from under the cottonwoods out over the sage.Jane Withersteen gazed down the wide purple slope with dreamy andtroubled eyes. Arider had just left her and it was his message thatheld her thoughtful and almost sad, awaiting the churchmen who werecoming to resent and attack her right tobefriend a Gentile.She wondered if the unrest and strife that had lately come to thelittle village of Cottonwoods was to involve her. And then shesighed,remembering that her father had founded this remotest border settlementof southern Utah and that he had left it to her. She owned all theground andmany of the cottages. Withersteen House was hers, and thegreat ranch, with its thousands of cattle, and the swiftest horses ofthe sage. To her belonged AmberSpring, the water which gave verdureand beauty to the village and made living possible on that wild purpleupland waste. She could not escape being involved bywhatever befellCottonwoods.That year, 1871, had marked a change which had been gradually comingin the lives of the peace-loving Mormons of the border.Glaze--StoneBridge--Sterling, villages to the north, had risen against theinvasion of Gentile settlers and the forays of rustlers. There had beenopposition to theone and fighting with the other. And now Cottonwoodshad begun to wake and bestir itself and grown hard.Jane prayed that the tranquillity and sweetness of herlife would not bepermanently disrupted. She meant to do so much more for her people thanshe had done. She wanted the sleepy quiet pastoral days to lastalways.Trouble between the Mormons and the Gentiles of the community wouldmake her unhappy. She was Mormon-born, and she was a friend to poorandunfortunate Gentiles. She wished only to go on doing good and beinghappy. And she thought of what that great ranch meant to her. She lovedit all--the grove ofcottonwoods, the old stone house, the amber-tintedwater, and the droves of shaggy, dusty horses and mustangs, the sleek,clean-limbed, blooded racers, and thebrowsing herds of cattle and thelean, sun-browned riders of the sage.While she waited there she forgot the prospect of untoward change. Thebray of a lazy burrobroke the afternoon quiet, and it was comfortinglysuggestive of the drowsy farmyard, and the open corrals, and the greenalfalfa fields. Her clear sight intensifiedthe purple sage-slope as itrolled before her. Low swells of prairie-like ground sloped up tothe west. Dark, lonely cedar-trees, few and far between, stoodoutstrikingly, and at long distances ruins of red rocks. Farther on, up thegradual slope, rose a broken wall, a huge monument, looming dark purpleand stretchingits solitary, mystic way, a wavering line that fadedin the north. Here to the westward was the light and color and beauty.Northward the slope descended to a dimline of canyons from which rosean up-flinging of the earth, not mountainous, but a vast heave of purpleuplands, with ribbed and fan-shaped walls, castle-crownedcliffs, andgray escarpments. Over it all crept the lengthening, waning afternoonshadows.The rapid beat of hoofs recalled Jane Withersteen to the question athand.A group of riders cantered up the lane, dismounted, and threwtheir bridles. They were seven in number, and Tull, the leader, a tall,dark man, was an elder ofJane's church.\"Did you get my message?\" he asked, curtly.\"Yes,\" replied Jane.\"I sent word I'd give that rider Venters half an hour to come down tothe village. Hedidn't come.\"\"He knows nothing of it;\" said Jane. \"I didn't tell him. I've beenwaiting here for you.\"\"Where is Venters?\"\"I left him in the courtyard.\"\"Here, Jerry,\"called Tull, turning to his men, \"take the gang and fetchVenters out here if you have to rope him.\"The dusty-booted and long-spurred riders clanked noisily intothe groveof cottonwoods and disappeared in the shade.\"Elder Tull, what do you mean by this?\" demanded Jane. \"If you mustarrest Venters you might have thecourtesy to wait till he leaves myhome. And if you do arrest him it will be adding insult to injury. It'sabsurd to accuse Venters of being mixed up in that shootingfray in thevillage last night. He was with me at the time. Besides, he let me takecharge of his guns. You're only using this as a pretext. What do youmean to do toVenters?\"\"I'll tell you presently,\" replied Tull. \"But first tell me why youdefend this worthless rider?\"\"Worthless!\" exclaimed Jane, indignantly. \"He's nothing of thekind.He was the best rider I ever had. There's not a reason why I shouldn'tchampion him and every reason why I should. It's no little shame to me,Elder Tull, thatthrough my friendship he has roused the enmity of mypeople and become an outcast. Besides I owe him eternal gratitude forsaving the life of little Fay.\"\"I'veheard of your love for Fay Larkin and that you intend to adopther. But--Jane Withersteen, the child is a Gentile!\"\"Yes. But, Elder, I don't love the Mormon childrenany less because Ilove a Gentile child. I shall adopt Fay if her mother will give her tome.\"\"I'm not so much against that. You can give the child Mormonteaching,\"said Tull. \"But I'm sick of seeing this fellow Venters hang around you.I'm going to put a stop to it. You've so much love to throw away onthese beggarsof Gentiles that I've an idea you might love Venters.\"Tull spoke with the arrogance of a Mormon whose power could not bebrooked and with the passion of a manin whom jealousy had kindled aconsuming fire.\"Maybe I do love him,\" said Jane. She felt both fear and anger stir herheart. \"I'd never thought of that. Poor fellow!he certainly needs someone to love him.\"\"This'll be a bad day for Venters unless you deny that,\" returned Tull,grimly.Tull's men appeared under the cottonwoodsand led a young man out intothe lane. His ragged clothes were those of an outcast. But he stood talland straight, his wide shoulders flung back, with the musclesof hisbound arms rippling and a blue flame of defiance in the gaze he bent onTull.For the first time Jane Withersteen felt Venters's real spirit. Shewondered if shewould love this splendid youth. Then her emotion cooledto the sobering sense of the issue at stake.\"Venters, will you leave Cottonwoods at once and forever?\"asked Tull,tensely.\"Why?\" rejoined the rider.\"Because I order it.\"Venters laughed in cool disdain.The red leaped to Tull's dark cheek.\"If you don't go it means yourruin,\" he said, sharply.\"Ruin!\" exclaimed Venters, passionately. \"Haven't you already ruined me?What do you call ruin? A year ago I was a rider. I had horses andcattleof my own. I had a good name in Cottonwoods. And now when I come intothe village to see this woman you set your men on me. You hound me. Youtrailme as if I were a rustler. I've no more to lose--except my life.\"\"Will you leave Utah?\"\"Oh! I know,\" went on Venters, tauntingly, \"it galls you, the idea ofbeautifulJane Withersteen being friendly to a poor Gentile. You wanther all yourself. You're a wiving Mormon. You have use for her--andWithersteen House and AmberSpring and seven thousand head of cattle!\"Tull's hard jaw protruded, and rioting blood corded the veins of hisneck.\"Once more. Will you go?\"\"NO!\"\"Then I'll haveyou whipped within an inch of your life,\" replied Tull,harshly. \"I'll turn you out in the sage. And if you ever come backyou'll get worse.\"Venters's agitated facegrew coldly set and the bronze changedJane impulsively stepped forward. \"Oh! Elder Tull!\" she cried. \"Youwon't do that!\"Tull lifted a shaking finger towardher.\"That'll do from you. Understand, you'll not be allowed to hold this boyto a friendship that's offensive to your Bishop. Jane Withersteen, yourfather left youwealth and power. It has turned your head. You haven'tyet come to see the place of Mormon women. We've reasoned with you,borne with you. We've patientlywaited. We've let you have your fling,which is more than I ever saw granted to a Mormon woman. But you haven'tcome to your senses. Now, once for all, youcan't have any furtherfriendship with Venters. He's going to be whipped, and he's got to leaveUtah!\"\"Oh! Don't whip him! It would be dastardly!\" implored Jane,with slowcertainty of her failing courage.Tull always blunted her spirit, and she grew conscious that she hadfeigned a boldness which she did not possess. Heloomed up now indifferent guise, not as a jealous suitor, but embodying the mysteriousdespotism she had known from childhood--the power of hercreed.\"Venters, will you take your whipping here or would you rather go outin the sage?\" asked Tull. He smiled a flinty smile that was morethan inhuman, yetseemed to give out of its dark aloofness a gleam ofrighteousness.\"I'll take it here--if I must,\" said Venters. \"But by God!--Tull you'dbetter kill me outright. That'llbe a dear whipping for you and yourpraying Mormons. You'll make me another Lassiter!\"The strange glow, the austere light which radiated from Tull's face,mighthave been a holy joy at the spiritual conception of exalted duty.But there was something more in him, barely hidden, a something personaland sinister, a deep ofhimself, an engulfing abyss. As his religiousmood was fanatical and inexorable, so would his physical hate bemerciless.\"Elder, I--I repent my words,\" Janefaltered. The religion in her, thelong habit of obedience, of humility, as well as agony of fear, spoke inher voice. \"Spare the boy!\" she whispered.\"You can't savehim now,\" replied Tull stridently.Her head was bowing to the inevitable. She was grasping the truth,when suddenly there came, in inward constriction, ahardening of gentleforces within her breast. Like a steel bar it was stiffening all thathad been soft and weak in her. She felt a birth in her of something newandunintelligible. Once more her strained gaze sought the sage-slopes.Jane Withersteen loved that wild and purple wilderness. In timesof sorrow it had been herstrength, in happiness its beauty was hercontinual delight. In her extremity she found herself murmuring, \"Whencecometh my help!\" It was a prayer, as if forthfrom those lonely purplereaches and walls of red and clefts of blue might ride a fearless man,neither creed-bound nor creed-mad, who would hold up a restraininghandin the faces of her ruthless people.The restless movements of Tull's men suddenly quieted down. Thenfollowed a low whisper, a rustle, a sharpexclamation.\"Look!\" said one, pointing to the west.\"A rider!\"Jane Withersteen wheeled and saw a horseman, silhouetted against thewestern sky, coming ridingout of the sage. He had ridden down from theleft, in the golden glare of the sun, and had been unobserved till closeat hand. An answer to her prayer!\"Do youknow him? Does any one know him?\" questioned Tull, hurriedly.His men looked and looked, and one by one shook their heads.\"He's come from far,\" said"}
+{"doc_id":"doc_33","qid":"","text":"<html><head><title>It Happened One Night Script at IMSDb.</title><meta name=\"description\" content=\"It Happened One Night script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"It Happened One Night script, It Happened One Night movie script, It Happened One Night filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                     </b><b>                                IT HAPPENED ONENIGHT</b><b>                                     </b>                         Written by Robert previous hit Riskin<b>                                                              </b>                         based on a story by Samuel Hopkins Adams<b></b><b>                                                              </b>                         The HARBOR at Miami Beach fades in,                          providing quick views ofyachts, aquaplanes,                          and luxurious ship-craft lying at anchor                          in the calm, tranquil waters of tropical                          Florida.This dissolves to the NAME                          PLATE on the side of a yacht, reading                          \"ELSPETH II,\" and this in turn to a                          YACHTCORRIDOR where a steward is standing                          in front of a cabin door, near a small                          collapsible table upon which thereis                          a tray of steaming food. He lifts lids                          and examines the contents. A heavy-set                          sailor stands guard near thecabin door.[1]<b></b><b>                                                              </b><b>                         STEWARD</b><b>                                     </b>                         Fine! Fine!"}
+{"doc_id":"doc_34","qid":"","text":"<html><head><title>Interstellar Script at IMSDb.</title><meta name=\"description\" content=\"Interstellar script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Interstellar script, Interstellar movie script, Interstellar film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                                                            <b>                                   INTERSTELLAR</b>                                                                                                               Writtenby                                                           Jonathan Nolan                                                                           <b>                                     STORYBY</b>                                              Jonathan Nolan, Kip Thorne & LyndaObst                                                                                                                                                      <b>                                                         MARCH12 2008</b><b>          SPACE.</b>                                   But not the dark lonely corner of it we're used to. This is          a glittering inferno -- the center of adistant galaxy.                                   Suddenly, something TEARS past at incredible speed: a NEUTRON          STAR. It SMASHES headlong through everythingit encounters...          planets, stars. Can anything stop this juggernaut?                                   Yes. Something looms at the heart of the galaxy,hidden          inside the blinding starlight, a dark flaw in the fabric of          existence itself: a BLACK HOLE.                                   The neutron star is pulled intothe black hole's swirl,          spiraling closer and closer to destruction. Finally, it          contacts the hole's edge and EXPLODES.                                   TheEXPLOSION is so powerful that it sends shock waves into          the fabric of space-time itself. We ride one of these waves,          racing back out from the blackhole.                                   Suddenly, a portion of the wave disappears down a crystal-          like hole, emerging in a much darker region of the universe"}
+{"doc_id":"doc_35","qid":"","text":"The Project Gutenberg eBook, Cousin Henry, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Cousin HenryAuthor: Anthony TrollopeRelease Date: January 1, 2008  [eBook #24103]Language: English***START OF THE PROJECTGUTENBERG EBOOK COUSIN HENRY***E-text prepared by Joseph E. Loewenstein, M.D.COUSIN HENRYbyANTHONY TROLLOPEFirst published in serial form in the_Manchester Weekly Times_ andthe _North British Weekly Mail_ in the spring of 1879 and in bookform in October, 1879CONTENTS       I. Uncle Indefer      II.Isabel Brodrick     III. Cousin Henry      IV. The Squire's Death       V. Preparing for the Funeral      VI. Mr Apjohn's Explanation     VII. Looking for the Will    VIII.The Reading of the Will      IX. Alone at Llanfeare       X. Cousin Henry Dreams a Dream      XI. Isabel at Hereford     XII. Mr Owen    XIII. The _CarmarthenHerald_     XIV. An Action for Libel      XV. Cousin Henry Makes Another Attempt     XVI. Again at Hereford    XVII. Mr Cheekey   XVIII. Cousin Henry Goes toCarmarthen     XIX. Mr Apjohn Sends for Assistance      XX. Doubts     XXI. Mr Apjohn's Success    XXII. How Cousin Henry Was Let Off Easily   XXIII. Isabel'sPetition    XXIV. ConclusionCHAPTER IUncle Indefer\"I have a conscience, my dear, on this matter,\" said an old gentlemanto a young lady, as the two were sittingin the breakfast parlour ofa country house which looked down from the cliffs over the sea on thecoast of Carmarthenshire.\"And so have I, Uncle Indefer; and asmy conscience is backed by myinclination, whereas yours is not--\"\"You think that I shall give way?\"\"I did not mean that.\"\"What then?\"\"If I could only make youunderstand how very strong is myinclination, or disinclination--how impossible to be conquered,then--\"\"What next?\"\"Then you would know that I could never giveway, as you call it, andyou would go to work with your own conscience to see whether it beimperative with you or not. You may be sure of this,--I shall neversaya word to you in opposition to your conscience. If there be aword to be spoken it must come from yourself.\"There was a long pause in the conversation, a silencefor an hour,during which the girl went in and out of the room and settled herselfdown at her work. Then the old man went back abruptly to the subjectthey haddiscussed. \"I shall obey my conscience.\"\"You ought to do so, Uncle Indefer. What should a man obey but hisconscience?\"\"Though it will break my heart.\"\"No; no,no!\"\"And will ruin you.\"\"That is a flea's bite. I can brave my ruin easily, but not yourbroken heart.\"\"Why should there be either, Isabel?\"\"Nay, sir; have you notsaid but now, because of our consciences?Not to save your heart from breaking,--though I think your heartis dearer to me than anything else in the world,--couldI marrymy cousin Henry. We must die together, both of us, you and I, orlive broken-hearted, or what not, sooner than that. Would I not doanything possible atyour bidding?\"\"I used to think so.\"\"But it is impossible for a young woman with a respect for herselfsuch as I have to submit herself to a man that she loathes. Doasyour conscience bids you with the old house. Shall I be less tenderto you while you live because I shall have to leave the place whenyou are dead? Shall Iaccuse you of injustice or unkindness inmy heart? Never! All that is only an outside circumstance to me,comparatively of little moment. But to be the wife of aman Idespise!\" Then she got up and left the room.A month passed by before the old man returned to the subject, whichhe did seated in the same room, at thesame hour of the day,--atabout four o'clock, when the dinner things had been removed.\"Isabel,\" he said, \"I cannot help myself.\"\"As to what, Uncle Indefer?\" Sheknew very well what was the matterin which, as he said, he could not help himself. Had there beenanything in which his age had wanted assistance from heryouth therewould have been no hesitation between them; no daughter was ever moretender; no father was ever more trusting. But on this subject itwasnecessary that he should speak more plainly before she could reply tohim.\"As to your cousin and the property.\"\"Then in God's name do not trouble yourselffurther in looking forhelp where there is none to be had. You mean that the estate ought togo to a man and not to a woman?\"\"It ought to go to a Jones.\"\"I am nota Jones, nor likely to become a Jones.\"\"You are as near to me as he is,--and so much dearer!\"\"But not on that account a Jones. My name is Isabel Brodrick. Awomannot born to be a Jones may have the luck to become one by marriage,but that will never be the case with me.\"\"You should not laugh at that which is to mea duty.\"\"Dear, dear uncle!\" she said, caressing him, \"if I seemed tolaugh\"--and she certainly had laughed when she spoke of the luck ofbecoming a Jones--\"it isonly that you may feel how little importanceI attach to it all on my own account.\"\"But it is important,--terribly important!\"\"Very well. Then go to work with twothings in your mind fixed asfate. One is that you must leave Llanfeare to your nephew HenryJones, and the other that I will not marry your nephew HenryJones.When it is all settled it will be just as though the old place wereentailed, as it used to be.\"\"I wish it were.\"\"So do I, if it would save you trouble.\"\"But it isn'tthe same;--it can't be the same. In getting back theland your grandfather sold I have spent the money I had saved foryou.\"\"It shall be all the same to me, and Iwill take pleasure in thinkingthat the old family place shall remain as you would have it. I can beproud of the family though I can never bear the name.\"\"You donot care a straw for the family.\"\"You should not say that, Uncle Indefer. It is not true. I careenough for the family to sympathise with you altogether in whatyouare doing, but not enough for the property to sacrifice myself inorder that I might have a share in it.\"\"I do not know why you should think so much evil ofHenry.\"\"Do you know any reason why I should think well enough of him tobecome his wife? I do not. In marrying a man a woman should be ableto love everylittle trick belonging to him. The parings of his nailsshould be a care to her. It should be pleasant to her to serve him inthings most menial. Would it be so to me,do you think, with HenryJones?\"\"You are always full of poetry and books.\"\"I should be full of something very bad if I were to allow myself tostand at the altar withhim. Drop it, Uncle Indefer. Get it out ofyour mind as a thing quite impossible. It is the one thing I can'tand won't do, even for you. It is the one thing that youought not toask me to do. Do as you like with the property,--as you think right.\"\"It is not as I like.\"\"As your conscience bids you, then; and I with myself, which istheonly little thing that I have in the world, will do as I like, or asmy conscience bids me.\"These last words she spoke almost roughly, and as she said them shelefthim, walking out of the room with an air of offended pride.But in this there was a purpose. If she were hard to him, hard andobstinate in her determination, thenwould he be enabled to be soalso to her in his determination, with less of pain to himself. Shefelt it to be her duty to teach him that he was justified in doingwhathe liked with his property, because she intended to do whatshe liked with herself. Not only would she not say a word towardsdissuading him from this change inhis old intentions, but she wouldmake the change as little painful to him as possible by teaching himto think that it was justified by her own manner to him.Forthere was a change, not only in his mind, but in his declaredintentions. Llanfeare had belonged to Indefer Joneses for manygenerations. When the late Squire haddied, now twenty years ago,there had been remaining out of ten children only one, the eldest,to whom the property now belonged. Four or five coming insuccessionafter him had died without issue. Then there had been a Henry Jones,who had gone away and married, had become the father of the HenryJones abovementioned, and had then also departed. The youngest, adaughter, had married an attorney named Brodrick, and she also haddied, having no other child butIsabel. Mr Brodrick had marriedagain, and was now the father of a large family, living at Hereford,where he carried on his business. He was not very \"well-to-do\"in theworld. The new Mrs Brodrick had preferred her own babies to Isabel,and Isabel when she was fifteen years of age had gone to her bacheloruncle atLlanfeare. There she had lived for the last ten years,making occasional visits to her father at Hereford.Mr Indefer Jones, who was now between seventy andeighty years old,was a gentleman who through his whole life had been disturbed byreflections, fears, and hopes as to the family property on which hehad beenborn, on which he had always lived, in possession of whichhe would certainly die, and as to the future disposition of whichit was his lot in life to be altogetherresponsible. It had beenentailed upon him before his birth in his grandfather's time, whenhis father was about to be married. But the entail had not beencarriedon. There had come no time in which this Indefer Jones hadbeen about to be married, and the former old man having been given toextravagance, and beengenerally in want of money, had felt it morecomfortable to be without an entail. His son had occasionally beeninduced to join with him in raising money. Thus notonly since he hadhimself owned the estate, but before his father's death, there hadbeen forced upon him reflections as to the destination of Llanfeare.At fifty hehad found himself unmarried, and unlikely to marry.His brother Henry was then alive; but Henry had disgraced thefamily,--had run away with a married womanwhom he had married aftera divorce, had taken to race courses and billiard-rooms, and had beenaltogether odious to his brother Indefer. Nevertheless the boywhichhad come from this marriage, a younger Henry, had been educated athis expense, and had occasionally been received at Llanfeare. Hehad been popularwith no one there, having been found to be a slyboy, given to lying, and, as even the servants said about the place,unlike a Jones of Llanfeare. Then had comethe time in which Isabelhad been brought to Llanfeare. Henry had been sent away from Oxfordfor some offence not altogether trivial, and the Squire haddeclaredto himself and others that Llanfeare should never fall into hishands.Isabel had so endeared herself to him that before she had beentwo years in the houseshe was the young mistress of the place.Everything that she did was right in his eyes. She might haveanything that she would ask, only that she would ask fornothing. Atthis time the cousin had been taken into an office in London, and hadbecome,--so it was said of him,--a steady young man of business. Butstill, whenallowed to show himself at Llanfeare, he was unpalatableto them all--unless it might be to the old Squire. It was certainlythe case that in his office in London hemade himself useful, and itseemed that he had abandoned that practice of running into debt andhaving the bills sent down to Llanfeare which he had adoptedearly inhis career.During all this time the old Squire was terribly troubled aboutthe property. His will was always close at his hand. Till Isabelwas twenty-one this"}
+{"doc_id":"doc_36","qid":"","text":"<html><head><title>Charlie's Angels Script at IMSDb.</title><meta name=\"description\" content=\"Charlie's Angels script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Charlie's Angels script, Charlie's Angels movie script, Charlie's Angels film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           byEd Solomon andJohn August  current revisions by        Zak Penn<b>                             EARLY DRAFT</b>                             August 11, 1999<b></b><b>CHARLIE'SANGELS - 8/18/99</b><b>FADE IN:</b><b>EXT. THE BIG BLUE SKY - DAY</b>A VIRGIN AIR 747 bursts through the clouds and levels off.<b>INT. VIRGINAIR 747 - DAY</b>We move through the FIRST CLASS CABIN. It's the regularmix of first class people: OLD MONEY in Gucci enjoyingfreshly baked cookies, aMILLIONAIRE in jeans and a T-shirt, BUSINESS PEOPLE relaxing after a tough day, and......a very nervous MAN.Shifty-eyed. Alone in an aisle seat, theemergency row.We hold on him for a moment, but not for too long. Thenwe continue moving into --<b>THE COACH SECTION</b>Stopping at the lavatory, the\"OCCUPIED\" sign switches to\"VACANT\" and...<b>JAMES EARL JONES</b>(or actually, a James Earl Jones type, who for ease ofdescription, we'll simply refer toas James Earl Jones)steps out of the restroom, in full African regalia:multi-colored dashiki, mufti (it's a kind of hat), theworks. He heads up the aisle towards--<b>THE FIRST CLASS CABIN</b>Where he is stopped by a --<b>                         FLIGHT ATTENDANT</b>           I'm sorry, sir. This cabinis           restricted to first cl...Mr. Jones now removes a FIRST CLASS TICKET.<b>                         JAMES EARL JONES</b>           Is this what you're lookingfor?She looks at it -- a little confused as to why he's justhanding it to her now -- but then she nods. As he passes:<b>                         FLIGHTATTENDANT</b>           Oh, I'm sorry. Please. Is there           anything I can get you?<b>                         JAMES EARL JONES</b>           Scotch, blended."}
+{"doc_id":"doc_37","qid":"","text":"The Project Gutenberg eBook, The Skylark of Space, by Edward Elmer Smithand Lee Hawkins GarbyThis eBook is for the use of anyone anywhere at no costand withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: The Skylark of SpaceAuthor: Edward Elmer Smith and Lee Hawkins GarbyRelease Date: March 21, 2007  [eBook #20869]Mostrecently updated April 18, 2011Language: English***START OF THE PROJECT GUTENBERG EBOOK THE SKYLARK OF SPACE***E-text prepared by Greg Weeks, L.N. Yaddanapudi, David Dyer-Bennet, andthe Project Gutenberg Online Distributed Proofreading Team(http://www.pgdp.net)Note: Project Gutenberg also has anHTML version of this      file which includes the original illustrations.      See 20869-h.htm or 20869-h.zip:      (http://www.gutenberg.net/dirs/2/0/8/6/20869/20869-h/20869-h.htm)      or      (http://www.gutenberg.net/dirs/2/0/8/6/20869/20869-h.zip)      +----------------------------------------------------------+      |Transcriber's note                                       |      |                                                          |      | This etext was produced from Amazing StoriesAugust,     |      | September and October 1928. Extensive research did not   |      | uncover any evidence that the U.S. copyright on this     |      | publication wasrenewed.                                 |      |                                                          |      | Other notes and a list of corrections made will be found |      | at the end ofthe book.                                  |      +----------------------------------------------------------+THE SKYLARK OF SPACEbyEDWARD ELMER SMITHIn CollaborationwithLEE HAWKINS GARBY[Illustration: Cover Page]    +--------------------------------------+    |                                      |    | _Perhaps it is a bit unethicaland   |    | unusual for editors to voice their   |    | opinion of their own wares, but when |    | such a story as \"The Skylark of      |    | Space\" comes along, wejust feel as  |    | if we must shout from the housetops  |    | that this is the greatest            |    | interplanetarian and space flying    |    | story that hasappeared this year.   |    | Indeed, it probably will rank as one |    | of the great space flying stories    |    | for many years to come. The story is |    | chock full,not only of excellent    |    | science, but woven through it there  |    | is also that very rare element, love |    | and romance. This element in an      |    |interplanetarian story is often apt  |    | to be foolish, but it does not seem  |    | so in this particular story._        |    |                                      |    | _We knowso little about             |    | intra-atomic forces, that this       |    | story, improbable as it will appear  |    | in spots, will read commonplace      |    | years hence,when we have atomic     |    | engines, and when we have solved the |    | riddle of the atom._                 |    |                                      |    | _You will follow thehair-raising    |    | explorations and strange ventures    |    | into far-away worlds with bated      |    | breath, and you will be fascinated,  |    | as we were, withthe strangeness of  |    | it all._                             |    |                                      |    +--------------------------------------+CHAPTER IThe Occurrence of theImpossiblePetrified with astonishment, Richard Seaton stared after the coppersteam-bath upon which he had been electrolyzing his solution of \"X,\" theunknownmetal. For as soon as he had removed the beaker the heavy bathhad jumped endwise from under his hand as though it were alive. It hadflown with terrific speedover the table, smashing apparatus and bottlesof chemicals on its way, and was even now disappearing through the openwindow. He seized his prism binocularsand focused them upon the flyingvessel, a speck in the distance. Through the glass he saw that it didnot fall to the ground, but continued on in a straight line,only itsrapidly diminishing size showing the enormous velocity with which it wasmoving. It grew smaller and smaller, and in a few momentsdisappearedutterly.The chemist turned as though in a trance. How was this? The copper bathhe had used for months was gone--gone like a shot, with nothing tomakeit go. Nothing, that is, except an electric cell and a few drops of theunknown solution. He looked at the empty space where it had stood, atthe broken glasscovering his laboratory table, and again stared out ofthe window.He was aroused from his stunned inaction by the entrance of his coloredlaboratory helper, andsilently motioned him to clean up the wreckage.\"What's happened, Doctah?\" asked the dusky assistant.\"Search me, Dan. I wish I knew, myself,\" respondedSeaton, absently,lost in wonder at the incredible phenomenon of which he had just been awitness.Ferdinand Scott, a chemist employed in the next room, enteredbreezily.\"Hello, Dicky, thought I heard a racket in here,\" the newcomer remarked.Then he saw the helper busily mopping up the reeking mass of chemicals.\"Greatballs of fire!\" he exclaimed. \"What've you been celebrating? Hadan explosion? How, what, and why?\"\"I can tell you the 'what,' and part of the 'how',\" Seatonrepliedthoughtfully, \"but as to the 'why,' I am completely in the dark. Here'sall I know about it,\" and in a few words he related the foregoingincident. Scott's faceshowed in turn interest, amazement, and pityingalarm. He took Seaton by the arm.\"Dick, old top, I never knew you to drink or dope, but this stuff surecame outof either a bottle or a needle. Did you see a pink serpentcarrying it away? Take my advice, old son, if you want to stay in UncleSam's service, and lay off the stuff,whatever it is. It's bad enough tocome down here so far gone that you wreck most of your apparatus andlose the rest of it, but to pull a yarn like that is going toofar. TheChief will have to ask for your resignation, sure. Why don't you take acouple of days of your leave and straighten up?\"Seaton paid no attention to him,and Scott returned to his ownlaboratory, shaking his head sadly.Seaton, with his mind in a whirl, walked slowly to his desk, picked uphis blackened and batteredbriar pipe, and sat down to study out what hehad done, or what could possibly have happened, to result in such anunbelievable infraction of all the laws ofmechanics and gravitation. Heknew that he was sober and sane, that the thing had actually happened.But why? And how? All his scientific training told him that itwasimpossible. It was unthinkable that an inert mass of metal should flyoff into space without any applied force. Since it had actuallyhappened, there must havebeen applied an enormous and hitherto unknownforce. What was that force? The reason for this unbelievablemanifestation of energy was certainly somewhere inthe solution, theelectrolytic cell, or the steam-bath. Concentrating all the power of hishighly-trained analytical mind upon the problem--deaf and blindtoeverything else, as was his wont when deeply interested--he satmotionless, with his forgotten pipe clenched between his teeth. Hourafter hour he sat there,while most of his fellow-chemists finished theday's work and left the building and the room slowly darkened with thecoming of night.Finally he jumped up.Crashing his hand down upon the desk, heexclaimed:\"I have liberated the intra-atomic energy of copper! Copper, 'X,' andelectric current!\"I'm sure a fool forluck!\" he continued as a new thought struck him.\"Suppose it had been liberated all at once? Probably blown the wholeworld off its hinges. But it wasn't: it wasgiven off slowly and in astraight line. Wonder why? Talk about power! Infinite! Believe me, I'llshow this whole Bureau of Chemistry something to make their eyesstickout, tomorrow. If they won't let me go ahead and develop it, I'llresign, hunt up some more 'X', and do it myself. That bath is on its wayto the moon rightnow, and there's no reason why I can't follow it.Martin's such a fanatic on exploration, he'll fall all over himself tobuild us any kind of a craft we'll need ... we'llexplore the wholesolar system! Great Cat, what a chance! A fool for luck is right!\"He came to himself with a start. He switched on the lights and saw thatit wasten o'clock. Simultaneously he recalled that he was to have haddinner with his fiancée at her home, their first dinner since theirengagement. Cursing himself foran idiot he hastily left the building,and soon his motorcycle was tearing up Connecticut Avenue toward hissweetheart's home.CHAPTER IISteel BecomesInterestedDr. Marc DuQuesne was in his laboratory, engaged in a research uponcertain of the rare metals, particularly in regard to theirelectrochemicalproperties. He was a striking figure. Well over six feettall, unusually broad-shouldered even for his height, he was plainly aman of enormous physical strength. Histhick, slightly wavy hair wasblack. His eyes, only a trifle lighter in shade, were surmounted byheavy black eyebrows which grew together above his aquilinenose.Scott strolled into the room, finding DuQuesne leaning over a delicateelectrical instrument, his forbidding but handsome face strangelyilluminated by theghastly glare of his mercury-vapor arcs.\"Hello, Blackie,\" Scott began. \"I thought it was Seaton in here atfirst. A fellow has to see your faces to tell you two apart.Speaking ofSeaton, d'you think that he's quite right?\"\"I should say, off-hand, that he was a little out of control last nightand this morning,\" replied DuQuesne,manipulating connections with hislong, muscular fingers. \"I don't think that he's insane, and I don'tbelieve that he dopes--probably overwork and nervous strain.He'll beall right in a day or two.\"\"I think he's a plain nut, myself. That sure was a wild yarn he sprungon us, wasn't it? His imagination was hitting on all twelve,that'ssure. He seems to believe it himself, though, in spite of making a flatfailure of his demonstration to us this morning. He saved that wastesolution he wasworking on--what was left of that carboy of platinumresidues after he had recovered all the values, you know--and got themto put it up at auction this noon. Heresigned from the Bureau, and heand M. Reynolds Crane, that millionaire friend of his, bid it in for tencents.\"\"M. Reynolds Crane?\" DuQuesne concealed a start ofsurprise. \"Where doeshe come in on this?\"\"Oh, they're always together in everything. They've been thicker thanDamon and Pythias for a long time. They playtennis together--they'redoubles champions of the District, you know--and all kinds of things.Wherever you find one of them you'll usually find the other.Anyway,after they got the solution Crane took Seaton in his car, and somebodysaid they went out to Crane's house. Probably trying to humor him. Well,ta-ta;I've got a week's work to do yet today.\"As Scott left DuQuesne dropped his work and went to his desk, with a newexpression, half of chagrin, half of admiration,on his face. Picking uphis telephone, he called a number.\"Brookings?\" he asked, cautiously. \"This is DuQuesne. I must see youimmediately. There's something bigstarted that may as well belong tous.... No, can't say anything over the telephone.... Yes, I'll be rightout.\"He left the laboratory and soon was in the private officeof the head ofthe Washington or \"diplomatic\" branch, as it was known in certaincircles, of the great World Steel Corporation. Offices and laboratoriesweremaintained in the city, ostensibly for research work, but inreality to be near the center of political activity.\"How do you do, Doctor DuQuesne?\" Brookings said as"}
+{"doc_id":"doc_38","qid":"","text":"<html><head><title>Shrek Script at IMSDb.</title><meta name=\"description\" content=\"Shrek script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Shrek script, Shrek movie script, Shrek film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                          SHREK</b>                                       Written by                                William Steig & TedElliott<b>                                     SHREK</b>                         Once upon a time there was a lovely                          princess. But she had anenchantment                          upon her of a fearful sort which could                          only be broken by love's first kiss.                          She was locked awayin a castle guarded                          by a terrible fire-breathing dragon.                          Many brave knights had attempted to                          free her fromthis dreadful prison,                          but non prevailed. She waited in the                          dragon's keep in the highest room of                          the tallesttower for her true love                          and true love's first kiss. (laughs)                          Like that's ever gonna happen. What                          a load of -(toilet flush)<b> </b>               Allstar - by Smashmouth begins to play. Shrek goes about his                day. While in a nearby town, the villagers get togetherto go                after the ogre.<b> </b><b>               NIGHT - NEAR SHREK'S HOME</b><b>                                     MAN1</b>                         Think it's inthere?<b>                                     MAN2</b>                         All right. Let's get it!<b>                                     MAN1</b>                         Whoa. Hold on.Do you know what that                          thing can do to you?<b> </b><b>                                     MAN3</b>                         Yeah, it'll grind your bones forit's                          bread.<b> </b>               Shrek sneaks up behind them and laughs.<b>                                     SHREK</b>                         Yes, well,"}
+{"doc_id":"doc_39","qid":"","text":"<html><head><title>Big White, The Script at IMSDb.</title><meta name=\"description\" content=\"Big White, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Big White, The script, Big White, The movie script, Big White, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                       THE BIG WHITE</b>                                        Written by                                      CollinFriesen<b>      FADE IN:</b><b>      EXT. ROAD - WINTER DAY</b>      A police car, nothing more than a speck on the landscape, is intermittently      visiblethrough the blowing snow.<b>      INT. POLICE CAR - SAME</b>      A CORPORAL (20s), behind the wheel, with a bored DETECTIVE BOYLE (60s)      at hisside.<b>                                  CORPORAL</b>              So his hand is like, off, right.  So he puts on a              tourniquet, puts the hand in his pocket, walksfive              miles through the bush til he gets to the highway,              where he passes out, on the road, right.  Then this              logging truck comesalong...<b>                                  DETECTIVE BOYLE</b>                        (looking ahead)              Hey.      The Corporal looks forward.      CAR'S POV:Through the windshield of a WOMAN (40s), dressed in her      pajamas and a parka, skipping down the middle of the road.<b>      EXT. ROAD</b>      The policecar pulls to a stop, just as the woman does a pirouette and falls      over backwards.      Detective Boyle and the other Cop get out and walkover.<b>                                  CORPORAL</b>                        (into his radio)              Dispatch, this is unit 611, we need a first              responsder--<b>                                  DETECTIVE BOYLE</b>              Cancel that.      The Woman kicks up a leg, wiggles her foot.                                  DETECTIVEBOYLE (cont'd)              I know where she belongs.      As they lift her up...<b>1     INT. INSIDE A TRASH DUMPSTER - LATE"}
+{"doc_id":"doc_40","qid":"","text":"The Project Gutenberg EBook of The Wheels of Chance, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Wheels of Chance       A Bicycling IdyllAuthor: H. G. WellsRelease Date: April, 1998  [Etext #1264]Posting Date: November 10,2009 [EBook #1264]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE WHEELS OF CHANCE ***Produced by Dianne BeanTHE WHEELSOF CHANCE; A BICYCLING IDYLLBy H.G. Wells1896I. THE PRINCIPAL CHARACTER IN THE STORYIf you (presuming you are of the sex that does such things)--ifyou hadgone into the Drapery Emporium--which is really only magnificent forshop--of Messrs. Antrobus & Co.--a perfectly fictitious \"Co.,\" bythe bye--of Putney,on the 14th of August, 1895, had turned to theright-hand side, where the blocks of white linen and piles of blanketsrise up to the rail from which the pink andblue prints depend, youmight have been served by the central figure of this story that is nowbeginning. He would have come forward, bowing and swaying, hewould haveextended two hands with largish knuckles and enormous cuffs over thecounter, and he would have asked you, protruding a pointed chin andwithoutthe slightest anticipation of pleasure in his manner, what hemight have the pleasure of showing you. Under certain circumstances--as,for instance, hats, babylinen, gloves, silks, lace, or curtains--hewould simply have bowed politely, and with a drooping expression, andmaking a kind of circular sweep, invited you to\"step this way,\"and so led you beyond his ken; but under other and happierconditions,--huckaback, blankets, dimity, cretonne, linen, calico, arecases inpoint,--he would have requested you to take a seat, emphasisingthe hospitality by leaning over the counter and gripping a chair back ina spasmodic manner, andso proceeded to obtain, unfold, and exhibithis goods for your consideration. Under which happier circumstances youmight--if of an observing turn of mind and nottoo much of a housewifeto be inhuman--have given the central figure of this story less cursoryattention.Now if you had noticed anything about him, it would havebeen chiefly tonotice how little he was noticeable. He wore the black morning coat, theblack tie, and the speckled grey nether parts (descending into shadowandmystery below the counter) of his craft. He was of a pallidcomplexion, hair of a kind of dirty fairness, greyish eyes, and askimpy, immature moustache under hispeaked indeterminate nose.His features were all small, but none ill-shaped. A rosette of pinsdecorated the lappel of his coat. His remarks, you would observe,wereentirely what people used to call cliche, formulae not organic to theoccasion, but stereotyped ages ago and learnt years since by heart.\"This, madam,\" hewould say, \"is selling very well.\" \"We are doing avery good article at four three a yard.\" \"We could show you somethingbetter, of course.\" \"No trouble, madam, Iassure you.\" Such were thesimple counters of his intercourse. So, I say, he would have presentedhimself to your superficial observation. He would have dancedaboutbehind the counter, have neatly refolded the goods he had shown you,have put on one side those you selected, extracted a little book witha carbon leaf anda tinfoil sheet from a fixture, made you out a littlebill in that weak flourishing hand peculiar to drapers, and have bawled\"Sayn!\" Then a puffy little shop-walkerwould have come into view,looked at the bill for a second, very hard (showing you a partingdown the middle of his head meanwhile), have scribbled a stillmoreflourishing J. M. all over the document, have asked you if therewas nothing more, have stood by you--supposing that you were payingcash--until the centralfigure of this story reappeared with the change.One glance more at him, and the puffy little shop-walker would have beenbowing you out, with fountains ofcivilities at work all about you. Andso the interview would have terminated.But real literature, as distinguished from anecdote, does not concernitself withsuperficial appearances alone. Literature is revelation.Modern literature is indecorous revelation. It is the duty of theearnest author to tell you what you would nothave seen--even at thecost of some blushes. And the thing that you would not have seen aboutthis young man, and the thing of the greatest moment to thisstory, thething that must be told if the book is to be written, was--let us faceit bravely--the Remarkable Condition of this Young Man's Legs.Let us approach thebusiness with dispassionate explicitness. Let usassume something of the scientific spirit, the hard, almost professorialtone of the conscientious realist. Let us treatthis young man's legs asa mere diagram, and indicate the points of interest with the unemotionalprecision of a lecturer's pointer. And so to our revelation. Ontheinternal aspect of the right ankle of this young man you would haveobserved, ladies and gentlemen, a contusion and an abrasion; on theinternal aspect of theleft ankle a contusion also; on its externalaspect a large yellowish bruise. On his left shin there were twobruises, one a leaden yellow graduating here and thereinto purple,and another, obviously of more recent date, of a blotchy red--tumid andthreatening. Proceeding up the left leg in a spiral manner, anunnaturalhardness and redness would have been discovered on the upper aspect ofthe calf, and above the knee and on the inner side, an extraordinaryexpanseof bruised surface, a kind of closely stippled shading ofcontused points. The right leg would be found to be bruised in amarvellous manner all about and under theknee, and particularly on theinterior aspect of the knee. So far we may proceed with our details.Fired by these discoveries, an investigator might perhaps havepursuedhis inquiries further--to bruises on the shoulders, elbows, and even thefinger joints, of the central figure of our story. He had indeed beenbumped andbattered at an extraordinary number of points. But enoughof realistic description is as good as a feast, and we have exhibitedenough for our purpose. Even inliterature one must know where to drawthe line.Now the reader may be inclined to wonder how a respectable young shopmanshould have got his legs, and indeedhimself generally, into such adreadful condition. One might fancy that he had been sitting with hisnether extremities in some complicated machinery, athreshing-machine,say, or one of those hay-making furies. But Sherlock Holmes (now happilydead) would have fancied nothing of the kind. He would haverecognisedat once that the bruises on the internal aspect of the left leg,considered in the light of the distribution of the other abrasions andcontusions, pointedunmistakably to the violent impact of the MountingBeginner upon the bicycling saddle, and that the ruinous state of theright knee was equally eloquent of theconcussions attendant on thatperson's hasty, frequently causeless, and invariably ill-conceiveddescents. One large bruise on the shin is even more characteristicofthe 'prentice cyclist, for upon every one of them waits the jest of theunexpected treadle. You try at least to walk your machine in an easymanner, andwhack!--you are rubbing your shin. So out of innocence weripen. Two bruises on that place mark a certain want of aptitude inlearning, such as one might expectin a person unused to muscularexercise. Blisters on the hands are eloquent of the nervous clutchof the wavering rider. And so forth, until Sherlock ispresentlyexplaining, by the help of the minor injuries, that the machine riddenis an old-fashioned affair with a fork instead of the diamond frame, acushioned tire,well worn on the hind wheel, and a gross weight all onof perhaps three-and-forty pounds.The revelation is made. Behind the decorous figure of theattentiveshopman that I had the honour of showing you at first, rises a visionof a nightly struggle, of two dark figures and a machine in a darkroad,--the road, tobe explicit, from Roehampton to Putney Hill,--andwith this vision is the sound of a heel spurning the gravel, a gaspingand grunting, a shouting of \"Steer, man,steer!\" a wavering unsteadyflight, a spasmodic turning of the missile edifice of man and machine,and a collapse. Then you descry dimly through the dusk thecentralfigure of this story sitting by the roadside and rubbing his leg atsome new place, and his friend, sympathetic (but by no means depressed),repairing thedisplacement of the handle-bar.Thus even in a shop assistant does the warmth of manhood assert itself,and drive him against all the conditions of his calling,against thecounsels of prudence and the restrictions of his means, to seek thewholesome delights of exertion and danger and pain. And our firstexamination ofthe draper reveals beneath his draperies--the man! Towhich initial fact (among others) we shall come again in the end.IIBut enough of these revelations. Thecentral figure of our story is nowgoing along behind the counter, a draper indeed, with your purchases inhis arms, to the warehouse, where the various articlesyou have selectedwill presently be packed by the senior porter and sent to you. Returningthence to his particular place, he lays hands on a folded pieceofgingham, and gripping the corners of the folds in his hands, begins tostraighten them punctiliously. Near him is an apprentice, apprenticed tothe same highcalling of draper's assistant, a ruddy, red-haired ladin a very short tailless black coat and a very high collar, who isdeliberately unfolding and refolding somepatterns of cretonne. Bytwenty-one he too may hope to be a full-blown assistant, even as Mr.Hoopdriver. Prints depend from the brass rails above them, behindarefixtures full of white packages containing, as inscriptions testify,Lino, Hd Bk, and Mull. You might imagine to see them that the two wereboth intent uponnothing but smoothness of textile and rectitude offold. But to tell the truth, neither is thinking of the mechanicalduties in hand. The assistant is dreaming of thedelicious time--onlyfour hours off now--when he will resume the tale of his bruises andabrasions. The apprentice is nearer the long long thoughts of boyhood,andhis imagination rides cap-a-pie through the chambers of his brain,seeking some knightly quest in honour of that Fair Lady, the last butone of the girl apprenticesto the dress-making upstairs. He inclinesrather to street fighting against revolutionaries--because then shecould see him from the window.Jerking them back tothe present comes the puffy little shop-walker,with a paper in his hand. The apprentice becomes extremely active. Theshopwalker eyes the goods in hand.\"Hoopdriver,\" he says, \"how's thatline of g-sez-x ginghams?\"Hoopdriver returns from an imaginary triumph over the uncertainties ofdismounting. \"They're goingfairly well, sir. But the larger checks seemhanging.\"The shop-walker brings up parallel to the counter. \"Any particular timewhen you want your holidays?\" heasks.Hoopdriver pulls at his skimpy moustache. \"No--Don't want them too late,sir, of course.\"\"How about this day week?\"Hoopdriver becomes rigidly meditative,gripping the corners of thegingham folds in his hands. His face is eloquent of conflictingconsiderations. Can he learn it in a week? That's the question.Otherwise"}
+{"doc_id":"doc_41","qid":"","text":"The Project Gutenberg EBook of The Variable Man, by Philip K. DickThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Variable ManAuthor: Philip K. DickIllustrator: Alex EbelRelease Date: April 27, 2010 [EBook #32154][Last updated: May 4,2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE VARIABLE MAN ***Produced by Greg Weeks, Barbara Tozier and theOnlineDistributed Proofreading Team at http://www.pgdp.net    This etext was produced from Space Science Fiction September    1953. Extensive research didnot uncover any evidence that the    U.S. copyright on this publication was renewed.[Illustration]THE VARIABLE MANBY PHILIP K. DICKILLUSTRATED BYEBEL    He fixed things--clocks, refrigerators, vidsenders and    destinies. But he had no business in the future, where the    calculators could not handle him. Hewas Earth's only    hope--and its sure failure!Security Commissioner Reinhart rapidly climbed the front steps andentered the Council building. Council guardsstepped quickly aside andhe entered the familiar place of great whirring machines. His thinface rapt, eyes alight with emotion, Reinhart gazed intently up atthecentral SRB computer, studying its reading.\"Straight gain for the last quarter,\" observed Kaplan, the laborganizer. He grinned proudly, as if personallyresponsible. \"Not bad,Commissioner.\"\"We're catching up to them,\" Reinhart retorted. \"But too damn slowly.We must finally go over--and soon.\"Kaplan was in atalkative mood. \"We design new offensive weapons, theycounter with improved defenses. And nothing is actually made!Continual improvement, but neither wenor Centaurus can stop designinglong enough to stabilize for production.\"\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out aweapon for whichCentaurus can build no defense.\"\"Every weapon has a defense. Design and discord. Immediateobsolescence. Nothing lasts long enough to--\"\"What we count on isthe _lag_,\" Reinhart broke in, annoyed. His hardgray eyes bored into the lab organizer and Kaplan slunk back. \"Thetime lag between our offensive design andtheir counter development.The lag varies.\" He waved impatiently toward the massed banks of SRBmachines. \"As you well know.\"At this moment, 9:30 AM, May 7,2136, the statistical ratio on the SRBmachines stood at 21-17 on the Centauran side of the ledger. All factsconsidered, the odds favored a successful repulsion byProximaCentaurus of a Terran military attack. The ratio was based on thetotal information known to the SRB machines, on a gestalt of the vastflow of data thatpoured in endlessly from all sectors of the Sol andCentaurus systems.21-17 on the Centauran side. But a month ago it had been 24-18 in theenemy's favor.Things were improving, slowly but steadily. Centaurus,older and less virile than Terra, was unable to match Terra's rate oftechnocratic advance. Terra was pullingahead.\"If we went to war now,\" Reinhart said thoughtfully, \"we would lose.We're not far enough along to risk an overt attack.\" A harsh, ruthlessglow twistedacross his handsome features, distorting them into astern mask. \"But the odds are moving in our favor. Our offensivedesigns are gradually gaining on theirdefenses.\"\"Let's hope the war comes soon,\" Kaplan agreed. \"We're all on edge.This damn waiting....\"The war would come soon. Reinhart knew it intuitively. Theair wasfull of tension, the _elan_. He left the SRB rooms and hurried downthe corridor to his own elaborately guarded office in the Securitywing. It wouldn't belong. He could practically feel the hot breath ofdestiny on his neck--for him a pleasant feeling. His thin lips set ina humorless smile, showing an even line of whiteteeth against histanned skin. It made him feel good, all right. He'd been working at ita long time.First contact, a hundred years earlier, had ignited instantconflictbetween Proxima Centauran outposts and exploring Terran raiders. Flashfights, sudden eruptions of fire and energy beams.And then the long, dreary yearsof inaction between enemies wherecontact required years of travel, even at nearly the speed of light.The two systems were evenly matched. Screen againstscreen. Warshipagainst power station. The Centauran Empire surrounded Terra, an ironring that couldn't be broken, rusty and corroded as it was. Radicalnewweapons had to be conceived, if Terra was to break out.Through the windows of his office, Reinhart could see endlessbuildings and streets, Terrans hurrying backand forth. Bright specksthat were commute ships, little eggs that carried businessmen andwhite-collar workers around. The huge transport tubes that shotmassesof workmen to factories and labor camps from their housing units. Allthese people, waiting to break out. Waiting for the day.Reinhart snapped on hisvidscreen, the confidential channel. \"Give meMilitary Designs,\" he ordered sharply.       *       *       *       *       *He sat tense, his wiry body taut, as thevidscreen warmed into life.Abruptly he was facing the hulking image of Peter Sherikov, directorof the vast network of labs under the Ural Mountains.Sherikov'sgreat bearded features hardened as he recognized Reinhart.His bushy black eyebrows pulled up in a sullen line. \"What do youwant? You know I'm busy. We havetoo much work to do, as it is.Without being bothered by--politicians.\"\"I'm dropping over your way,\" Reinhart answered lazily. He adjustedthe cuff of hisimmaculate gray cloak. \"I want a full description ofyour work and whatever progress you've made.\"\"You'll find a regular departmental report plate filed in theusualway, around your office someplace. If you'll refer to that you'll knowexactly what we--\"\"I'm not interested in that. I want to _see_ what you're doing. AndIexpect you to be prepared to describe your work fully. I'll be thereshortly. Half an hour.\"       *       *       *       *       *Reinhart cut the circuit. Sherikov's heavyfeatures dwindled andfaded. Reinhart relaxed, letting his breath out. Too bad he had towork with Sherikov. He had never liked the man. The big Polishscientistwas an individualist, refusing to integrate himself withsociety. Independent, atomistic in outlook. He held concepts of theindividual as an end, diametricallycontrary to the accepted organicstate Weltansicht.But Sherikov was the leading research scientist, in charge of theMilitary Designs Department. And on Designsthe whole future of Terradepended. Victory over Centaurus--or more waiting, bottled up in theSol System, surrounded by a rotting, hostile Empire, now sinkingintoruin and decay, yet still strong.Reinhart got quickly to his feet and left the office. He hurried downthe hall and out of the Council building.A few minutes laterhe was heading across the mid-morning sky in hishighspeed cruiser, toward the Asiatic land-mass, the vast Uralmountain range. Toward the Military Designslabs.Sherikov met him at the entrance. \"Look here, Reinhart. Don't thinkyou're going to order me around. I'm not going to--\"\"Take it easy.\" Reinhart fell into stepbeside the bigger man. Theypassed through the check and into the auxiliary labs. \"No immediatecoercion will be exerted over you or your staff. You're freetocontinue your work as you see fit--for the present. Let's get thisstraight. My concern is to integrate your work with our total socialneeds. As long as your work issufficiently productive--\"Reinhart stopped in his tracks.\"Pretty, isn't he?\" Sherikov said ironically.\"What the hell is it?\"Icarus, we call him. Remember the Greekmyth? The legend of Icarus.Icarus flew.... This Icarus is going to fly, one of these days.\"Sherikov shrugged. \"You can examine him, if you want. I suppose thisiswhat you came here to see.\"Reinhart advanced slowly. \"This is the weapon you've been working on?\"\"How does he look?\"Rising up in the center of the chamberwas a squat metal cylinder, agreat ugly cone of dark gray. Technicians circled around it, wiring upthe exposed relay banks. Reinhart caught a glimpse of endlesstubesand filaments, a maze of wires and terminals and parts criss-crossingeach other, layer on layer.\"What is it?\" Reinhart perched on the edge of a workbench,leaning hisbig shoulders against the wall. \"An idea of Jamison Hedge--the sameman who developed our instantaneous interstellar vidcasts forty yearsago. He wastrying to find a method of faster than light travel whenhe was killed, destroyed along with most of his work. After that ftlresearch was abandoned. It looked as ifthere were no future in it.\"\"Wasn't it shown that nothing could travel faster than light?\"\"The interstellar vidcasts do! No, Hedge developed a valid ftl drive.Hemanaged to propel an object at fifty times the speed of light. Butas the object gained speed, its length began to diminish and its massincreased. This was in linewith familiar twentieth-century conceptsof mass-energy transformation. We conjectured that as Hedge's objectgained velocity it would continue to lose length andgain mass untilits length became nil and its mass infinite. Nobody can imagine suchan object.\"\"Go on.\"\"But what actually occurred is this. Hedge's objectcontinued to loselength and gain mass until it reached the theoretical limit ofvelocity, the speed of light. At that point the object, still gainingspeed, simply ceasedto exist. Having no length, it ceased to occupyspace. It disappeared. However, the object had not been _destroyed_.It continued on its way, gaining momentumeach moment, moving in anarc across the galaxy, away from the Sol system. Hedge's objectentered some other realm of being, beyond our powers ofconception.The next phase of Hedge's experiment consisted in a search for someway to slow the ftl object down, back to a sub-ftl speed, hence backinto ouruniverse. This counterprinciple was eventually worked out.\"\"With what result?\"\"The death of Hedge and destruction of most of his equipment. Hisexperimentalobject, in re-entering the space-time universe, came intobeing in space already occupied by matter. Possessing an incrediblemass, just below infinity level,Hedge's object exploded in a titaniccataclysm. It was obvious that no space travel was possible with sucha drive. Virtually all space contains _some_ matter. Tore-enter spacewould bring automatic destruction. Hedge had found his ftl drive andhis counterprinciple, but no one before this has been able to put themto anyuse.\"Reinhart walked over toward the great metal cylinder. Sherikov jumpeddown and followed him. \"I don't get it,\" Reinhart said. \"You said theprinciple is nogood for space travel.\"\"That's right.\"\"What's this for, then? If the ship explodes as soon as it returns toour universe--\"\"This is not a ship.\" Sherikov grinned slyly.\"Icarus is the firstpractical application of Hedge's principles. Icarus is a bomb.\"\"So this is our weapon,\" Reinhart said. \"A bomb. An immense bomb.\"\"A bomb,moving at a velocity greater than light. A bomb which willnot exist in our universe. The Centaurans won't be able to detect orstop it. How could they? As soon asit passes the speed of light itwill cease to exist--beyond all detection.\"\"But--\"\"Icarus will be launched outside the lab, on the surface. He willalign himself withProxima Centaurus, gaining speed rapidly. By thetime he reaches his destination he will be traveling at ftl-100.Icarus will be brought back to this universe within"}
+{"doc_id":"doc_42","qid":"","text":"<html><head><title>My Week with Marilyn Script at IMSDb.</title><meta name=\"description\" content=\"My Week with Marilyn script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"My Week with Marilyn script, My Week with Marilyn movie script, My Week with Marilyn filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                               MY WEEK WITH MARILYN</b>                                    Written by                                  AdrianHodges<b>          1 EXT. TILBURY DOCKS. DAY. 1</b>           Over a DARK SCREEN we see the caption:           \"This is a fairy story, an episode out of time andspace,           which nevertheless was real\" - Colin Clark.           Then, FADE UP ON:           Newsreel footage of SIR LAURENCE OLIVIER AND VIVIENLEIGH           arriving back at Tilbury Docks to be greeted by an excited           crowd of fans. As they progress down the gangplank and stop           to signautographs we HEAR an excited commentary OVER:<b>                          COMMENTATOR</b>           \"Returning to England are           Britain's acting royaltySir           Laurence Olivier and Lady           Olivier, better known as stunning           Gone With The Wind star Vivien           Leigh. Sir Laurence has addeda           new string to his bow with the           announcement that he is to direct           and star in a screen version of           Terence Rattigan's stage playThe           Sleeping Prince with none other           than Hollywood siren Marilyn           Monroe. When the world's greatest           actor romances the mostfamous           woman alive, we can be sure that           sparks will fly. Now, now Lady           Olivier, don't worry - any           romance is strictly forthe           camera!\"           As OLIVIER and VIVIEN smile for the photographers, we -<b>                          CUT TO:</b>                         <b>          2 EXT."}
+{"doc_id":"doc_43","qid":"","text":"<html><head><title>Hitchcock Script at IMSDb.</title><meta name=\"description\" content=\"Hitchcock script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Hitchcock script, Hitchcock movie script, Hitchcock film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  HITCHCOCK</b>                                 Written by                                                      John J.McLaughlin                                                                                                              Based on the book Alfred Hitchcock and the Making of Psychoby                               Stephen Rebello<b>                         FADE IN:</b>                         <b>          EXT. MARSHLAND -DUSK</b>                                   We move across smoldering embers and reach a small grass          fire. Dirt is thrown over the flames before a BOOTfinishes          stamping them out.                         <b>          SUPER: PLAINFIELD, WISCONSIN, 1944</b>                         <b>           HENRY GEIN(O.S.)</b>           We're just lucky it didn't reach the           trees...                                   We move up two dirty pairs of overalls to find HENRY andED          GEIN sweating away as they continue shovelling out the          flames. Both are in their forties and wearing flannel shirts.          Ed wears an Elmer Fuddhat.                         <b>           HENRY GEIN (CONT'D)</b>           There's gonna be a lot more jobs at that           factory by Milwaukee come June. Icould           put in a word.                         <b>                          ED GEIN</b>           You can't leave us, Henry. She needs both<b>                          OFUS--</b>                         <b>                          HENRY GEIN</b>           Can you stop being a momma's boy forone           second?                                   Henry looks at Ed and he shrinks back.                         <b>           HENRY GEIN (CONT'D)</b>           I'm not trying"}
+{"doc_id":"doc_44","qid":"","text":"The Project Gutenberg EBook of The Age of Innocence, by Edith WhartonThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Age of InnocenceAuthor: Edith WhartonPosting Date: August 12, 2008 [EBook #541]Release Date: May, 1996Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE AGE OF INNOCENCE ***Produced by Judith Boss and Charles Keller.  HTML version by AlHaines.The Age of InnocencebyEdith WhartonJTABLE 6 18 1JTABLE 6 16 19Book II.On a January evening of the early seventies, Christine Nilsson wassinging inFaust at the Academy of Music in New York.Though there was already talk of the erection, in remote metropolitandistances \"above the Forties,\" of a new OperaHouse which shouldcompete in costliness and splendour with those of the great Europeancapitals, the world of fashion was still content to reassemble everywinterin the shabby red and gold boxes of the sociable old Academy.Conservatives cherished it for being small and inconvenient, and thuskeeping out the \"new people\"whom New York was beginning to dread andyet be drawn to; and the sentimental clung to it for its historicassociations, and the musical for its excellent acoustics,always soproblematic a quality in halls built for the hearing of music.It was Madame Nilsson's first appearance that winter, and what thedaily press had alreadylearned to describe as \"an exceptionallybrilliant audience\" had gathered to hear her, transported through theslippery, snowy streets in private broughams, in thespacious familylandau, or in the humbler but more convenient \"Brown coupe.\" To come tothe Opera in a Brown coupe was almost as honourable a way ofarrivingas in one's own carriage; and departure by the same means had theimmense advantage of enabling one (with a playful allusion todemocratic principles)to scramble into the first Brown conveyance inthe line, instead of waiting till the cold-and-gin congested nose ofone's own coachman gleamed under the portico ofthe Academy.  It wasone of the great livery-stableman's most masterly intuitions to havediscovered that Americans want to get away from amusement evenmorequickly than they want to get to it.When Newland Archer opened the door at the back of the club box thecurtain had just gone up on the gardenscene.  There was no reason whythe young man should not have come earlier, for he had dined at seven,alone with his mother and sister, and had lingeredafterward over acigar in the Gothic library with glazed black-walnut bookcases andfinial-topped chairs which was the only room in the house where Mrs.Archerallowed smoking.  But, in the first place, New York was ametropolis, and perfectly aware that in metropolises it was \"not thething\" to arrive early at the opera;and what was or was not \"thething\" played a part as important in Newland Archer's New York as theinscrutable totem terrors that had ruled the destinies ofhisforefathers thousands of years ago.The second reason for his delay was a personal one.  He had dawdledover his cigar because he was at heart a dilettante,and thinking overa pleasure to come often gave him a subtler satisfaction than itsrealisation.  This was especially the case when the pleasure was adelicate one,as his pleasures mostly were; and on this occasion themoment he looked forward to was so rare and exquisite in qualitythat--well, if he had timed his arrival inaccord with the primadonna's stage-manager he could not have entered the Academy at a moresignificant moment than just as she was singing:  \"He lovesme--heloves me not--HE LOVES ME!--\" and sprinkling the falling daisy petalswith notes as clear as dew.She sang, of course, \"M'ama!\" and not \"he loves me,\"since anunalterable and unquestioned law of the musical world required that theGerman text of French operas sung by Swedish artists should betranslated intoItalian for the clearer understanding ofEnglish-speaking audiences.  This seemed as natural to Newland Archeras all the other conventions on which his life wasmoulded: such as theduty of using two silver-backed brushes with his monogram in blueenamel to part his hair, and of never appearing in society without aflower(preferably a gardenia) in his buttonhole.\"M'ama ... non m'ama ...\" the prima donna sang, and \"M'ama!\", with afinal burst of love triumphant, as she pressed thedishevelled daisy toher lips and lifted her large eyes to the sophisticated countenance ofthe little brown Faust-Capoul, who was vainly trying, in a tightpurplevelvet doublet and plumed cap, to look as pure and true as his artlessvictim.Newland Archer, leaning against the wall at the back of the club box,turned hiseyes from the stage and scanned the opposite side of thehouse.  Directly facing him was the box of old Mrs. Manson Mingott,whose monstrous obesity had longsince made it impossible for her toattend the Opera, but who was always represented on fashionable nightsby some of the younger members of the family.  Onthis occasion, thefront of the box was filled by her daughter-in-law, Mrs. LovellMingott, and her daughter, Mrs. Welland; and slightly withdrawn behindthesebrocaded matrons sat a young girl in white with eyes ecstaticallyfixed on the stagelovers.  As Madame Nilsson's \"M'ama!\" thrilled outabove the silent house (theboxes always stopped talking during theDaisy Song) a warm pink mounted to the girl's cheek, mantled her browto the roots of her fair braids, and suffused theyoung slope of herbreast to the line where it met a modest tulle tucker fastened with asingle gardenia.  She dropped her eyes to the immense bouquetoflilies-of-the-valley on her knee, and Newland Archer saw herwhite-gloved finger-tips touch the flowers softly.  He drew a breath ofsatisfied vanity and his eyesreturned to the stage.No expense had been spared on the setting, which was acknowledged to bevery beautiful even by people who shared his acquaintance withtheOpera houses of Paris and Vienna.  The foreground, to the footlights,was covered with emerald green cloth.  In the middle distancesymmetrical mounds ofwoolly green moss bounded by croquet hoops formedthe base of shrubs shaped like orange-trees but studded with large pinkand red roses.  Gigantic pansies,considerably larger than the roses,and closely resembling the floral pen-wipers made by femaleparishioners for fashionable clergymen, sprang from the mossbeneaththe rose-trees; and here and there a daisy grafted on a rose-branchflowered with a luxuriance prophetic of Mr. Luther Burbank's far-offprodigies.In thecentre of this enchanted garden Madame Nilsson, in whitecashmere slashed with pale blue satin, a reticule dangling from a bluegirdle, and large yellow braidscarefully disposed on each side of hermuslin chemisette, listened with downcast eyes to M. Capoul'simpassioned wooing, and affected a guileless incomprehensionof hisdesigns whenever, by word or glance, he persuasively indicated theground floor window of the neat brick villa projecting obliquely fromthe right wing.\"Thedarling!\" thought Newland Archer, his glance flitting back to theyoung girl with the lilies-of-the-valley.  \"She doesn't even guess whatit's all about.\" And hecontemplated her absorbed young face with athrill of possessorship in which pride in his own masculine initiationwas mingled with a tender reverence for herabysmal purity.  \"We'llread Faust together ... by the Italian lakes ...\" he thought, somewhathazily confusing the scene of his projected honey-moon withthemasterpieces of literature which it would be his manly privilege toreveal to his bride.  It was only that afternoon that May Welland hadlet him guess that she\"cared\" (New York's consecrated phrase of maidenavowal), and already his imagination, leaping ahead of the engagementring, the betrothal kiss and the marchfrom Lohengrin, pictured her athis side in some scene of old European witchery.He did not in the least wish the future Mrs. Newland Archer to be asimpleton.  Hemeant her (thanks to his enlightening companionship) todevelop a social tact and readiness of wit enabling her to hold her ownwith the most popular marriedwomen of the \"younger set,\" in which itwas the recognised custom to attract masculine homage while playfullydiscouraging it.  If he had probed to the bottom ofhis vanity (as hesometimes nearly did) he would have found there the wish that his wifeshould be as worldly-wise and as eager to please as the marriedladywhose charms had held his fancy through two mildly agitated years;without, of course, any hint of the frailty which had so nearly marredthat unhappy being'slife, and had disarranged his own plans for awhole winter.How this miracle of fire and ice was to be created, and to sustainitself in a harsh world, he had nevertaken the time to think out; buthe was content to hold his view without analysing it, since he knew itwas that of all the carefully-brushed,white-waistcoated,button-hole-flowered gentlemen who succeeded each other in the clubbox, exchanged friendly greetings with him, and turnedtheiropera-glasses critically on the circle of ladies who were the productof the system.  In matters intellectual and artistic Newland Archerfelt himself distinctly thesuperior of these chosen specimens of oldNew York gentility; he had probably read more, thought more, and evenseen a good deal more of the world, than anyother man of the number.Singly they betrayed their inferiority; but grouped together theyrepresented \"New York,\" and the habit of masculine solidarity madehimaccept their doctrine on all the issues called moral.  He instinctivelyfelt that in this respect it would be troublesome--and also rather badform--to strike out forhimself.\"Well--upon my soul!\" exclaimed Lawrence Lefferts, turning hisopera-glass abruptly away from the stage.  Lawrence Lefferts was, onthe whole, theforemost authority on \"form\" in New York.  He hadprobably devoted more time than any one else to the study of thisintricate and fascinating question; but studyalone could not accountfor his complete and easy competence.  One had only to look at him,from the slant of his bald forehead and the curve of his beautifulfairmoustache to the long patent-leather feet at the other end of his leanand elegant person, to feel that the knowledge of \"form\" must becongenital in any onewho knew how to wear such good clothes socarelessly and carry such height with so much lounging grace.  As ayoung admirer had once said of him:  \"If anybodycan tell a fellow justwhen to wear a black tie with evening clothes and when not to, it'sLarry Lefferts.\"  And on the question of pumps versuspatent-leather\"Oxfords\" his authority had never been disputed.\"My God!\" he said; and silently handed his glass to old SillertonJackson.Newland Archer, followingLefferts's glance, saw with surprise that hisexclamation had been occasioned by the entry of a new figure into oldMrs. Mingott's box.  It was that of a slim youngwoman, a little lesstall than May Welland, with brown hair growing in close curls about hertemples and held in place by a narrow band of diamonds.  Thesuggestionof this headdress, which gave her what was then called a \"Josephinelook,\" was carried out in the cut of the dark blue velvet gown rathertheatrically"}
+{"doc_id":"doc_45","qid":"","text":"Project Gutenberg's The Playboy of the Western World, by J. M. SyngeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Playboy of the Western WorldAuthor: J. M. SyngePosting Date: August 27, 2008 [EBook #1240]Release Date: March,1998Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE PLAYBOY OF THE WESTERN WORLD ***Produced by Judy BossTHE PLAYBOY OFTHE WESTERN WORLDA COMEDY IN THREE ACTSBy J. M. SyngePREFACEIn writing THE PLAYBOY OF THE WESTERN WORLD, as in my other plays, Ihave usedone or two words only that I have not heard among the countrypeople of Ireland, or spoken in my own nursery before I could read thenewspapers. A certainnumber of the phrases I employ I have heard alsofrom herds and fishermen along the coast from Kerry to Mayo, orfrom beggar-women and ballad-singers nearerDublin; and I am glad toacknowledge how much I owe to the folk imagination of these fine people.Anyone who has lived in real intimacy with the Irish peasantrywillknow that the wildest sayings and ideas in this play are tame indeed,compared with the fancies one may hear in any little hillside cabin inGeesala, or Carraroe,or Dingle Bay. All art is a collaboration; andthere is little doubt that in the happy ages of literature, strikingand beautiful phrases were as ready to thestory-teller's or theplaywright's hand, as the rich cloaks and dresses of his time. It isprobable that when the Elizabethan dramatist took his ink-horn and satdownto his work he used many phrases that he had just heard, as he satat dinner, from his mother or his children. In Ireland, those of us whoknow the people havethe same privilege. When I was writing \"The Shadowof the Glen,\" some years ago, I got more aid than any learning couldhave given me from a chink in the floorof the old Wicklow house whereI was staying, that let me hear what was being said by the servant girlsin the kitchen. This matter, I think, is of importance, for incountrieswhere the imagination of the people, and the language they use, is richand living, it is possible for a writer to be rich and copious in hiswords, and at thesame time to give the reality, which is the rootof all poetry, in a comprehensive and natural form. In the modernliterature of towns, however, richness is foundonly in sonnets, orprose poems, or in one or two elaborate books that are far away from theprofound and common interests of life. One has, on one side,Mallarmeand Huysmans producing this literature; and on the other, Ibsen and Zoladealing with the reality of life in joyless and pallid words. On thestage onemust have reality, and one must have joy; and that is why theintellectual modern drama has failed, and people have grown sick of thefalse joy of the musicalcomedy, that has been given them in place ofthe rich joy found only in what is superb and wild in reality. In a goodplay every speech should be as fully flavouredas a nut or apple, andsuch speeches cannot be written by anyone who works among people whohave shut their lips on poetry. In Ireland, for a few years more,wehave a popular imagination that is fiery and magnificent, and tender; sothat those of us who wish to write start with a chance that is not givento writers inplaces where the springtime of the local life has beenforgotten, and the harvest is a memory only, and the straw has beenturned into bricks. J. M. S. January21st, 1907.PERSONS     CHRISTOPHER MAHON.     OLD MAHON, his father, a squatter.     MICHAEL JAMES FLAHERTY (called MICHAEL JAMES), apublican.     MARGARET FLAHERTY (called PEGEEN MIKE), his daughter.     WIDOW QUIN, a woman of about thirty.     SHAWN KEOUGH, her cousin, a youngfarmer.     PHILLY CULLEN AND JIMMY FARRELL, small farmers.     SARA TANSEY, SUSAN BRADY, AND HONOR BLAKE, village girls.     A BELLMAN.     SOMEPEASANTS.The action takes place near a village, on a wild coast of Mayo. Thefirst Act passes on an evening of autumn, the other two Acts on thefollowingday.THE PLAYBOY OF THE WESTERN WORLDACT I.SCENE: [Country public-house or shebeen, very rough and untidy. Thereis a sort of counter on the right withshelves, holding many bottles andjugs, just seen above it. Empty barrels stand near the counter. At back,a little to left of counter, there is a door into the openair, then,more to the left, there is a settle with shelves above it, with morejugs, and a table beneath a window. At the left there is a large openfire-place, with turffire, and a small door into inner room. Pegeen, awild looking but fine girl, of about twenty, is writing at table. She isdressed in the usual peasant dress.]PEGEEN --[slowly as she writes.] -- Six yards of stuff for to make ayellow gown. A pair of lace boots with lengthy heels on them and brassyeyes. A hat is suited for awedding-day. A fine tooth comb. To besent with three barrels of porter in Jimmy Farrell's creel cart on theevening of the coming Fair to Mister Michael JamesFlaherty. With thebest compliments of this season. Margaret Flaherty.SHAWN KEOGH -- [a fat and fair young man comes in as she signs, looksround awkwardly,when he sees she is alone.] -- Where's himself?PEGEEN -- [without looking at him.] -- He's coming. (She directs theletter.) To Mister Sheamus Mulroy, Wine andSpirit Dealer, Castlebar.SHAWN -- [uneasily.] -- I didn't see him on the road.PEGEEN. How would you see him (licks stamp and puts it on letter) and itdark nightthis half hour gone by?SHAWN -- [turning towards the door again.] -- I stood a while outsidewondering would I have a right to pass on or to walk in and seeyou,Pegeen Mike (comes to fire), and I could hear the cows breathing, andsighing in the stillness of the air, and not a step moving any placefrom this gate to thebridge.PEGEEN -- [putting letter in envelope.] -- It's above at the cross-roadshe is, meeting Philly Cullen; and a couple more are going along with himto KateCassidy's wake.SHAWN -- [looking at her blankly.] -- And he's going that length in thedark night?PEGEEN -- [impatiently.] He is surely, and leaving me lonesomeon thescruff of the hill. (She gets up and puts envelope on dresser, thenwinds clock.) Isn't it long the nights are now, Shawn Keogh, to beleaving a poor girl withher own self counting the hours to the dawn ofday?SHAWN -- [with awkward humour.] -- If it is, when we're wedded in ashort while you'll have no call tocomplain, for I've little will to bewalking off to wakes or weddings in the darkness of the night.PEGEEN -- [with rather scornful good humour.] -- You're makingmightycertain, Shaneen, that I'll wed you now.SHAWN. Aren't we after making a good bargain, the way we're only waitingthese days on Father Reilly'sdispensation from the bishops, or theCourt of Rome.PEGEEN -- [looking at him teasingly, washing up at dresser.] -- It's awonder, Shaneen, the Holy Father'd betaking notice of the likes of you;for if I was him I wouldn't bother with this place where you'll meetnone but Red Linahan, has a squint in his eye, and Patcheen islame inhis heel, or the mad Mulrannies were driven from California and theylost in their wits. We're a queer lot these times to go troubling theHoly Father on hissacred seat.SHAWN -- [scandalized.] If we are, we're as good this place as another,maybe, and as good these times as we were for ever.PEGEEN -- [with scorn.]-- As good, is it? Where now will you meet thelike of Daneen Sullivan knocked the eye from a peeler, or Marcus Quin,God rest him, got six months for maimingewes, and he a great warrant totell stories of holy Ireland till he'd have the old women sheddingdown tears about their feet. Where will you find the like of them,I'msaying?SHAWN -- [timidly.] If you don't it's a good job, maybe; for (withpeculiar emphasis on the words) Father Reilly has small conceit to havethat kindwalking around and talking to the girls.PEGEEN -- [impatiently, throwing water from basin out of the door.] --Stop tormenting me with Father Reilly (imitating hisvoice) when I'masking only what way I'll pass these twelve hours of dark, and not takemy death with the fear. [Looking out of door.]SHAWN -- [timidly.] Would Ifetch you the widow Quin, maybe?PEGEEN. Is it the like of that murderer? You'll not, surely.SHAWN -- [going to her, soothingly.] -- Then I'm thinking himselfwillstop along with you when he sees you taking on, for it'll be a longnight-time with great darkness, and I'm after feeling a kind of fellowabove in the furzy ditch,groaning wicked like a maddening dog, the wayit's good cause you have, maybe, to be fearing now.PEGEEN -- [turning on him sharply.] -- What's that? Is it aman youseen?SHAWN -- [retreating.] I couldn't see him at all; but I heard himgroaning out, and breaking his heart. It should have been a young manfrom hiswords speaking.PEGEEN -- [going after him.] -- And you never went near to see was hehurted or what ailed him at all?SHAWN. I did not, Pegeen Mike. It was adark, lonesome place to behearing the like of him.PEGEEN. Well, you're a daring fellow, and if they find his corpsestretched above in the dews of dawn, what'llyou say then to thepeelers, or the Justice of the Peace?SHAWN -- [thunderstruck.] I wasn't thinking of that. For the love ofGod, Pegeen Mike, don't let on I wasspeaking of him. Don't tell yourfather and the men is coming above; for if they heard that story, they'dhave great blabbing this night at the wake.PEGEEN. I'llmaybe tell them, and I'll maybe not.SHAWN. They are coming at the door, Will you whisht, I'm saying?PEGEEN. Whisht yourself.[She goes behind counter.Michael James, fat jovial publican, comesin followed by Philly Cullen, who is thin and mistrusting, and JimmyFarrell, who is fat and amorous, aboutforty-five.]MEN -- [together.] -- God bless you. The blessing of God on this place.PEGEEN. God bless you kindly.MICHAEL -- [to men who go to the counter.] -- Sitdown now, and takeyour rest. (Crosses to Shawn at the fire.) And how is it you are, ShawnKeogh? Are you coming over the sands to Kate Cassidy'swake?SHAWN. I am not, Michael James. I'm going home the short cut to my bed.PEGEEN -- [speaking across the counter.] -- He's right too, and haveyou noshame, Michael James, to be quitting off for the whole night, andleaving myself lonesome in the shop?MICHAEL -- [good-humouredly.] Isn't it the same whether Igo for thewhole night or a part only? and I'm thinking it's a queer daughter youare if you'd have me crossing backward through the Stooks of the DeadWomen,with a drop taken.PEGEEN. If I am a queer daughter, it's a queer father'd be leaving melonesome these twelve hours of dark, and I piling the turf with thedogsbarking, and the calves mooing, and my own teeth rattling with the fear.JIMMY -- [flatteringly.] -- What is there to hurt you, and you a fine,hardy girl wouldknock the head of any two men in the place?PEGEEN -- [working herself up.] -- Isn't there the harvest boys withtheir tongues red for drink, and the ten tinkers iscamped in the eastglen, and the thousand militia -- bad cess to them! -- walking idlethrough the land. There's lots surely to hurt me, and I won't stop alonein it,let himself do what he will.MICHAEL. If you're that afeard, let Shawn Keogh stop along with you.It's the will of God, I'm thinking, himself should be seeing to you"}
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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                       ZEROPHILIA</b>                                       Written by<b> </b>                                     MartinCurland<b>          </b><b>          </b><b>          </b><b>          </b>                                                      Revised: March 1,2004<b>                                                                           1.</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          FADEIN:</b><b>          </b><b>          EXT. WILDERNESS - NIGHT</b><b>          </b>          Mist. Dark trees.     Dripping vines.        An ENGINE RUMBLES inthe          distance.<b>          </b>          The full moon shimmers on a puddle.          A FROG SPLATS IN,          splashing a one man puptent.<b>          </b><b>          INSIDE THE TENT</b><b>          </b>          LUKE's eyes pop open, disoriented, realizing he's fallen          asleep reading byflashlight. He's nineteen, still slightly          awkward and unaware he's growing handsome.<b>          </b>          He listens as the ENGINE RUMBLES LOUDER,closer.<b>          </b>          He peers out through the tent flap. Glaring head lamps ROAR          toward him. Scrambling out of his sleeping bag, heHURLS          himself against the side of the tent, as...<b>          </b><b>          OUTSIDE</b><b>          </b>          an RV CAMPER nearly plows down thetent, skidding to a stop          in the mud.<b>          </b>          Stillness.<b>          </b>          Luke extricates himself from the tent.          He runs to thedriver-          side window of the RV.<b>          </b><b>                                 LUKE</b>                       Are you all right?<b>          </b>          Inside,"}
+{"doc_id":"doc_47","qid":"","text":"The Project Gutenberg EBook of Persuasion, by Jane AustenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: PersuasionAuthor: Jane AustenRelease Date: June 5, 2008 [EBook #105]Last Updated: February 15, 2015Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK PERSUASION ***Produced by Sharon Partridge and Martin Ward. HTML versionby Al Haines.PersuasionbyJaneAusten(1818)Chapter 1Sir Walter Elliot, of Kellynch Hall, in Somersetshire, was a man who,for his own amusement, never took up any book but the Baronetage;therehe found occupation for an idle hour, and consolation in a distressedone; there his faculties were roused into admiration and respect, bycontemplating thelimited remnant of the earliest patents; there anyunwelcome sensations, arising from domestic affairs changed naturallyinto pity and contempt as he turned overthe almost endless creationsof the last century; and there, if every other leaf were powerless, hecould read his own history with an interest which neverfailed.  Thiswas the page at which the favourite volume always opened:           \"ELLIOT OF KELLYNCH HALL.\"Walter Elliot, born March 1, 1760, married, July 15,1784, Elizabeth,daughter of James Stevenson, Esq. of South Park, in the county ofGloucester, by which lady (who died 1800) he has issue Elizabeth, bornJune 1,1785; Anne, born August 9, 1787; a still-born son, November 5,1789; Mary, born November 20, 1791.\"Precisely such had the paragraph originally stood from theprinter'shands; but Sir Walter had improved it by adding, for the information ofhimself and his family, these words, after the date of Mary's birth--\"Married,December 16, 1810, Charles, son and heir of Charles Musgrove,Esq. of Uppercross, in the county of Somerset,\" and by inserting mostaccurately the day of themonth on which he had lost his wife.Then followed the history and rise of the ancient and respectablefamily, in the usual terms; how it had been first settled inCheshire;how mentioned in Dugdale, serving the office of high sheriff,representing a borough in three successive parliaments, exertions ofloyalty, and dignity ofbaronet, in the first year of Charles II, withall the Marys and Elizabeths they had married; forming altogether twohandsome duodecimo pages, and concludingwith the arms andmotto:--\"Principal seat, Kellynch Hall, in the county of Somerset,\" andSir Walter's handwriting again in this finale:--\"Heir presumptive, WilliamWalter Elliot, Esq., great grandson of thesecond Sir Walter.\"Vanity was the beginning and the end of Sir Walter Elliot's character;vanity of person and ofsituation.  He had been remarkably handsome inhis youth; and, at fifty-four, was still a very fine man.  Few womencould think more of their personal appearancethan he did, nor couldthe valet of any new made lord be more delighted with the place he heldin society.  He considered the blessing of beauty as inferior onlytothe blessing of a baronetcy; and the Sir Walter Elliot, who unitedthese gifts, was the constant object of his warmest respect anddevotion.His good looks and hisrank had one fair claim on his attachment; sinceto them he must have owed a wife of very superior character to anything deserved by his own.  Lady Elliot hadbeen an excellent woman,sensible and amiable; whose judgement and conduct, if they might bepardoned the youthful infatuation which made her Lady Elliot, hadneverrequired indulgence afterwards.--She had humoured, or softened, orconcealed his failings, and promoted his real respectability forseventeen years; andthough not the very happiest being in the worldherself, had found enough in her duties, her friends, and her children,to attach her to life, and make it no matterof indifference to herwhen she was called on to quit them.--Three girls, the two eldestsixteen and fourteen, was an awful legacy for a mother to bequeath,anawful charge rather, to confide to the authority and guidance of aconceited, silly father.  She had, however, one very intimate friend, asensible, deservingwoman, who had been brought, by strong attachmentto herself, to settle close by her, in the village of Kellynch; and onher kindness and advice, Lady Elliotmainly relied for the best helpand maintenance of the good principles and instruction which she hadbeen anxiously giving her daughters.This friend, and SirWalter, did not marry, whatever might have beenanticipated on that head by their acquaintance.  Thirteen years hadpassed away since Lady Elliot's death, andthey were still nearneighbours and intimate friends, and one remained a widower, the othera widow.That Lady Russell, of steady age and character, andextremely wellprovided for, should have no thought of a second marriage, needs noapology to the public, which is rather apt to be unreasonablydiscontentedwhen a woman does marry again, than when she does not; butSir Walter's continuing in singleness requires explanation.  Be itknown then, that Sir Walter, like agood father, (having met with oneor two private disappointments in very unreasonable applications),prided himself on remaining single for his dear daughters'sake.  Forone daughter, his eldest, he would really have given up any thing,which he had not been very much tempted to do.  Elizabeth hadsucceeded, at sixteen,to all that was possible, of her mother's rightsand consequence; and being very handsome, and very like himself, herinfluence had always been great, and theyhad gone on together mosthappily.  His two other children were of very inferior value.  Mary hadacquired a little artificial importance, by becoming MrsCharlesMusgrove; but Anne, with an elegance of mind and sweetness ofcharacter, which must have placed her high with any people of realunderstanding, wasnobody with either father or sister; her word had noweight, her convenience was always to give way--she was only Anne.To Lady Russell, indeed, she was a mostdear and highly valuedgod-daughter, favourite, and friend.  Lady Russell loved them all; butit was only in Anne that she could fancy the mother to revive again.Afew years before, Anne Elliot had been a very pretty girl, but herbloom had vanished early; and as even in its height, her father hadfound little to admire in her,(so totally different were her delicatefeatures and mild dark eyes from his own), there could be nothing inthem, now that she was faded and thin, to excite hisesteem. He hadnever indulged much hope, he had now none, of ever reading her name inany other page of his favourite work.  All equality of alliance mustrestwith Elizabeth, for Mary had merely connected herself with an oldcountry family of respectability and large fortune, and had thereforegiven all the honour andreceived none: Elizabeth would, one day orother, marry suitably.It sometimes happens that a woman is handsomer at twenty-nine than shewas ten years before;and, generally speaking, if there has beenneither ill health nor anxiety, it is a time of life at which scarcelyany charm is lost.  It was so with Elizabeth, still thesame handsomeMiss Elliot that she had begun to be thirteen years ago, and Sir Waltermight be excused, therefore, in forgetting her age, or, at least, bedeemedonly half a fool, for thinking himself and Elizabeth as bloomingas ever, amidst the wreck of the good looks of everybody else; for hecould plainly see how old allthe rest of his family and acquaintancewere growing.  Anne haggard, Mary coarse, every face in theneighbourhood worsting, and the rapid increase of the crow'sfoot aboutLady Russell's temples had long been a distress to him.Elizabeth did not quite equal her father in personal contentment.Thirteen years had seen hermistress of Kellynch Hall, presiding anddirecting with a self-possession and decision which could never havegiven the idea of her being younger than she was.  Forthirteen yearshad she been doing the honours, and laying down the domestic law athome, and leading the way to the chaise and four, and walkingimmediatelyafter Lady Russell out of all the drawing-rooms anddining-rooms in the country.  Thirteen winters' revolving frosts hadseen her opening every ball of credit whicha scanty neighbourhoodafforded, and thirteen springs shewn their blossoms, as she travelledup to London with her father, for a few weeks' annual enjoyment ofthegreat world.  She had the remembrance of all this, she had theconsciousness of being nine-and-twenty to give her some regrets andsome apprehensions; shewas fully satisfied of being still quite ashandsome as ever, but she felt her approach to the years of danger, andwould have rejoiced to be certain of beingproperly solicited bybaronet-blood within the next twelvemonth or two.  Then might she againtake up the book of books with as much enjoyment as in her earlyyouth,but now she liked it not.  Always to be presented with the date of herown birth and see no marriage follow but that of a youngest sister,made the book anevil; and more than once, when her father had left itopen on the table near her, had she closed it, with averted eyes, andpushed it away.She had had adisappointment, moreover, which that book, and especiallythe history of her own family, must ever present the remembrance of.The heir presumptive, the veryWilliam Walter Elliot, Esq., whoserights had been so generously supported by her father, had disappointedher.She had, while a very young girl, as soon as shehad known him to be,in the event of her having no brother, the future baronet, meant tomarry him, and her father had always meant that she should.  He hadnotbeen known to them as a boy; but soon after Lady Elliot's death, SirWalter had sought the acquaintance, and though his overtures had notbeen met with anywarmth, he had persevered in seeking it, makingallowance for the modest drawing-back of youth; and, in one of theirspring excursions to London, when Elizabethwas in her first bloom, MrElliot had been forced into the introduction.He was at that time a very young man, just engaged in the study of thelaw; and Elizabethfound him extremely agreeable, and every plan in hisfavour was confirmed.  He was invited to Kellynch Hall; he was talkedof and expected all the rest of theyear; but he never came.  Thefollowing spring he was seen again in town, found equally agreeable,again encouraged, invited, and expected, and again he did notcome; andthe next tidings were that he was married.  Instead of pushing hisfortune in the line marked out for the heir of the house of Elliot, hehad purchasedindependence by uniting himself to a rich woman ofinferior birth.Sir Walter had resented it.  As the head of the house, he felt that heought to have beenconsulted, especially after taking the young man sopublicly by the hand; \"For they must have been seen together,\" heobserved, \"once at Tattersall's, and twice inthe lobby of the House ofCommons.\"  His disapprobation was expressed, but apparently very littleregarded.  Mr Elliot had attempted no apology, and shewnhimself asunsolicitous of being longer noticed by the family, as Sir Walterconsidered him unworthy of it:  all acquaintance between them hadceased.This veryawkward history of Mr Elliot was still, after an interval ofseveral years, felt with anger by Elizabeth, who had liked the man forhimself, and still more for being her"}
+{"doc_id":"doc_48","qid":"","text":"<html><head><title>Saving Private Ryan Script at IMSDb.</title><meta name=\"description\" content=\"Saving Private Ryan script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Saving Private Ryan script, Saving Private Ryan movie script, Saving Private Ryan film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>S A V I N G   P R IV A T E   R Y A N</title></head><pre><b>               S A V I N G   P R I V A T E   R Y A N</b>               by Robert Roday               (EarlyDraft)               Typed for the Internet by:               David Pritchettscreenwryter@hotmail.com<b>               --------------------------------------------------------------</b><b>               FADE IN:</b>               CREDITS:  Whitelettering over a back background.  The               THUNDEROUS SOUNDS OF A MASSIVE NAVAL BARRAGE are heard.  The               power is astonishing.  It roarsthrough the body, blows back               the hair and rattles the ears.<b>               FADE IN:</b><b>               EXT. OMAHA BEACH - NORMANDY -DAWN</b>               The ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING.               Huge fifteen inch guns.<b>               SWARM OF LANDINGCRAFT</b>               Heads directly into a nightmare.  MASSIVE EXPLOSIONS from               German artillery shells and mined obstacles tear apartthe               beach.  Hundreds of German machine guns, loaded with tracers,               pour out a red snowstorm ofbullets.<b>                                     OFFSHORE</b><b>                         SUPERIMPOSITION:</b><b>                                     OMAHA BEACH,NORMANDY</b>                         June 6, 1944<b>                                     0600 HOURS</b>                         HUNDREDS OF LANDING CRAFT Each"}
+{"doc_id":"doc_49","qid":"","text":"The Project Gutenberg EBook of The Sea Fairies, by L. Frank BaumThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Sea FairiesAuthor: L. Frank BaumPosting Date: July 26, 2009 [EBook #4358]Release Date: August, 2003First Posted: January 14,2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SEA FAIRIES ***Produced by Charles Aldarondo.  HTML version by Al Haines.TOJUDITH OF RANDOLPH MASSACHUSETTSTHE SEA FAIRIESBY L. FRANK BAUMAUTHOR OF THE EMERALD CITY OF OZ, DOROTHY AND THEWIZARD IN OZ, OZMAOF OZ, THE ROAD TO OZ,THE LAND OF OZ, ETC.ILLUSTRATED BYJOHN R. NEILLTHE oceans are big and broad. I believe two-thirds of theearth's surface iscovered with water. What people inhabitthis water has always been a subject of curiosity to theinhabitants of the land. Strange creatures come from the seasattimes, and perhaps in the ocean depths are many, more strangethan mortal eye has ever gazed upon.This story is fanciful. In it the sea people talk and actmuchas we do, and the mermaids especially are not unlike thefairies with whom we have learned to be familiar. Yet theyare real sea people, for all that, and with theexception of Zogthe Magician they are all supposed to exist in the ocean's depths.I am told that some very learned people deny that mermaidsor sea-serpentshave ever inhabited the oceans, but it would bevery difficult for them to prove such an assertion unless they hadlived under the water as Trot and Cap'n Bill did inthis story.I hope my readers who have so long followed Dorothy'sadventures in the Land of Oz will be interested in Trot's equallystrange experiences. The oceanhas always appealed to me asa veritable wonderland, and this story has been suggested to memany times by my young correspondents in their letters. Indeed,agood many children have implored me to \"write somethingabout the mermaids,\" and I have willingly granted the request.Hollywood, 1911.L. FRANK BAUM.LISTOF CHAPTERSCHAPTER   1  TROT AND CAP'N BILL   2  THE MERMAIDS   3  THE DEPTHS OF THE DEEP BLUE SEA   4  THE PALACE OF QUEEN AQUAREINE   5  THESEA-SERPENT   6  EXPLORING THE OCEAN   7  THE ARISTOCRATIC CODFISH   8  A BANQUET UNDER WATER   9  THE BASHFUL OCTOPUS  10  THEUNDISCOVERED ISLAND  11  ZOG THE TERRIBLE AND HIS SEA DEVILS  12  THE ENCHANTED ISLAND  13  PRISONERS OF THE SEA MONSTER  14  CAP'N JOEAND CAP'N BILL  15  THE MAGIC OF THE MERMAIDS  16  THE TOP OF THE GREAT DOME  17  THE QUEEN'S GOLDEN SWORD  18  A DASH FORLIBERTY  19  KING ANKO TO THE RESCUE  20  THE HOME OF THE OCEAN MONARCH  21  KING JOE  22  TROT LIVES TO TELL THE TALECHAPTER 1TROT ANDCAP'N BILL\"Nobody,\" said Cap'n Bill solemnly, \"ever sawr a mermaid an' livedto tell the tale.\"\"Why not?\" asked Trot, looking earnestly up into the oldsailor'sface.They were seated on a bench built around a giant acacia tree thatgrew just at the edge of the bluff. Below them rolled the blue wavesof the greatPacific. A little way behind them was the house, a neatframe cottage painted white and surrounded by huge eucalyptus andpepper trees. Still farther behindthat--a quarter of a mile distantbut built upon a bend of the coast--was the village, overlooking apretty bay.Cap'n Bill and Trot came often to this tree to sit andwatch theocean below them. The sailor man had one \"meat leg\" and one \"hickoryleg,\" and he often said the wooden one was the best of the two. OnceCap'n Billhad commanded and owned the \"Anemone,\" a trading schoonerthat plied along the coast; and in those days Charlie Griffiths, whowas Trot's father, had been theCaptain's mate. But ever since Cap'nBill's accident, when he lost his leg, Charlie Griffiths had beenthe captain of the little schooner while his old masterlivedpeacefully ashore with the Griffiths family.This was about the time Trot was born, and the old sailor becamevery fond of the baby girl. Her real name wasMayre, but when shegrew big enough to walk, she took so many busy little steps everyday that both her mother and Cap'n Bill nicknamed her \"Trot,\" and soshewas thereafter mostly called.It was the old sailor who taught the child to love the sea, to loveit almost as much as he and her father did, and these two,whorepresented the \"beginning and the end of life,\" became firm friendsand constant companions.\"Why hasn't anybody seen a mermaid and lived?\" asked Trotagain.\"'Cause mermaids is fairies, an' ain't meant to be seen by us mortalfolk,\" replied Cap'n Bill.\"But if anyone happens to see 'em, what then, Cap'n?\"\"Then,\" heanswered, slowly wagging his head, \"the mermaids give 'ema smile an' a wink, an' they dive into the water an' gets drownded.\"\"S'pose they knew how to swim,Cap'n Bill?\"\"That don't make any diff'rence, Trot. The mermaids live deep down,an' the poor mortals never come up again.\"The little girl was thoughtful for amoment. \"But why do folks divein the water when the mermaids smile an' wink?\" she asked.\"Mermaids,\" he said gravely, \"is the most beautiful creatures intheworld--or the water, either. You know what they're like, Trot,they's got a lovely lady's form down to the waist, an' then theother half of 'em's a fish, with greenan' purple an' pink scalesall down it.\"\"Have they got arms, Cap'n Bill?\"\"'Course, Trot; arms like any other lady. An' pretty faces thatsmile an' look mighty sweetan' fetchin'. Their hair is long an'soft an' silky, an' floats all around 'em in the water. When theycomes up atop the waves, they wring the water out'n their hairandsing songs that go right to your heart. If anybody is unlucky enoughto be 'round jes' then, the beauty o' them mermaids an' their sweetsongs charm 'em likemagic; so's they plunge into the waves to getto the mermaids. But the mermaids haven't any hearts, Trot, nomore'n a fish has; so they laughs when the poorpeople drown an'don't care a fig. That's why I says, an' I says it true, that nobodynever sawr a mermaid an' lived to tell the tale.\"\"Nobody?\" asked Trot.\"Nobody atall.\"\"Then how do you know, Cap'n Bill?\" asked the little girl, lookingup into his face with big, round eyes.Cap'n Bill coughed. Then he tried to sneeze, to gaintime. Then hetook out his red cotton handkerchief and wiped his bald head withit, rubbing hard so as to make him think clearer. \"Look, Trot; ain'tthat a brig outthere?\" he inquired, pointing to a sail far out inthe sea.\"How does anybody know about mermaids if those who have seen themnever lived to tell about them?\"she asked again.\"Know what about 'em, Trot?\"\"About their green and pink scales and pretty songs and wet hair.\"\"They don't know, I guess. But mermaids jes'natcherly has to belike that, or they wouldn't be mermaids.\"She thought this over. \"Somebody MUST have lived, Cap'n Bill,\" shedeclared positively. \"Other fairieshave been seen by mortals; whynot mermaids?\"\"P'raps they have, Trot, p'raps they have,\" he answered musingly.\"I'm tellin' you as it was told to me, but I neverstopped toinquire into the matter so close before. Seems like folks wouldn'tknow so much about mermaids if they hadn't seen 'em; an' yetaccordin' to all accountsthe victim is bound to get drownded.\"\"P'raps,\" suggested Trot softly, \"someone found a fotygraph of oneof 'em.\"\"That might o' been, Trot, that might o' been,\"answered Cap'n Bill.A nice man was Cap'n Bill, and Trot knew he always liked to explaineverything so she could fully understand it. The aged sailor was nota verytall man, and some people might have called him chubby, oreven fat. He wore a blue sailor shirt with white anchors worked onthe corners of the broad, squarecollar, and his blue trousers werevery wide at the bottom. He always wore one trouser leg over hiswooden limb and sometimes it would flutter in the wind like aflagbecause it was so wide and the wooden leg so slender. His roughkersey coat was a pea-jacket and came down to his waistline. In thebig pockets of his jackethe kept a wonderful jackknife, and hispipe and tobacco, and many bits of string, and matches and keys andlots of other things. Whenever Cap'n Bill thrust achubby hand intoone of his pockets, Trot watched him with breathless interest, forshe never knew what he was going to pull out.The old sailor's face was brownas a berry. He had a fringe of hairaround the back of his head and a fringe of whisker around the edgeof his face, running from ear to ear and underneath hischin. Hiseyes were light blue and kind in expression. His nose was big andbroad, and his few teeth were not strong enough to crack nuts with.Trot liked Cap'n Billand had a great deal of confidence in hiswisdom, and a great admiration for his ability to make tops andwhistles and toys with that marvelous jackknife of his. Inthevillage were many boys and girls of her own age, but she never hadas much fun playing with them as she had wandering by the seaaccompanied by the oldsailor and listening to his fascinatingstories.She knew all about the Flying Dutchman, and Davy Jones' Locker, andCaptain Kidd, and how to harpoon a whale ordodge an iceberg orlasso a seal. Cap'n Bill had been everywhere in the world, almost,on his many voyages. He had been wrecked on desert islands likeRobinsonCrusoe and been attacked by cannibals, and had a host ofother exciting adventures. So he was a delightful comrade for thelittle girl, and whatever Cap'n Bill knewTrot was sure to know intime.\"How do the mermaids live?\" she asked. \"Are they in caves, or justin the water like fishes, or how?\"\"Can't say, Trot,\" he replied.\"I've asked divers about that, butnone of 'em ever run acrost a mermaid's nest yet, as I've heard of.\"\"If they're fairies,\" she said, \"their homes must be verypretty.\"\"Mebbe so, Trot, but damp. They are sure to be damp, you know.\"\"I'd like to see a mermaid, Cap'n Bill,\" said the child earnestly.\"What, an' gitdrownded?\" he exclaimed.\"No, and live to tell the tale. If they're beautiful, and laughing,and sweet, there can't be much harm in them, I'm sure.\"\"Mermaids ismermaids,\" remarked Cap'n Bill in his most solemnvoice. \"It wouldn't do us any good to mix up with 'em, Trot.\"\"May-re! May-re!\" called a voice from thehouse.\"Yes, Mamma!\"\"You an' Cap'n Bill come in to supper.\"CHAPTER 2THE MERMAIDSThe next morning, as soon as Trot had helped wipe the breakfastdishesand put them away in the cupboard, the little girl and Cap'nBill started out toward the bluff. The air was soft and warm and thesun turned the edges of the wavesinto sparkling diamonds. Acrossthe bay the last of the fisherboats was speeding away out to sea,for well the fishermen knew this was an ideal day to catchrockbass,barracuda and yellowtail.The old man and the young girl stood on the bluff and watched allthis with interest. Here was their world. \"It isn't a bit roughthismorning. Let's have a boat ride, Cap'n Bill,\" said the child.\"Suits me to a T,\" declared the sailor. So they found the windingpath that led down the face of thecliff to the narrow beach belowand cautiously began the descent. Trot never minded the steep pathor the loose rocks at all, but Cap'n Bill's wooden leg was notsouseful on a downgrade as on a level, and he had to be careful not toslip and take a tumble.But by and by they reached the sands and walked to a spot"}
+{"doc_id":"doc_50","qid":"","text":"The Project Gutenberg EBook of The Metal Monster, by A. MerrittThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Metal MonsterAuthor: A. MerrittRelease Date: September, 2002  [Etext #3479]Posting Date: October 12, 2009Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE METAL MONSTER ***Produced by Judy BossTHE METAL MONSTERBy A. MerrittPROLOGUEBeforethe narrative which follows was placed in my hands, I had neverseen Dr. Walter T. Goodwin, its author.When the manuscript revealing his adventures among thepre-historicruins of the Nan-Matal in the Carolines (The Moon Pool) had been givenme by the International Association of Science for editing and revisionto meetthe requirements of a popular presentation, Dr. Goodwin had leftAmerica. He had explained that he was still too shaken, too depressed,to be able to recallexperiences that must inevitably carry with themfreshened memories of those whom he loved so well and from whom, hefelt, he was separated in all probabilityforever.I had understood that he had gone to some remote part of Asia to pursuecertain botanical studies, and it was therefore with the liveliestsurprise andinterest that I received a summons from the President ofthe Association to meet Dr. Goodwin at a designated place and hour.Through my close study of the MoonPool papers I had formed a mentalimage of their writer. I had read, too, those volumes of botanicalresearch which have set him high above all other Americanscientists inthis field, gleaning from their curious mingling of extremelytechnical observations and minutely accurate but extraordinarily poeticdescriptions, hintsto amplify my picture of him. It gratified me tofind I had drawn a pretty good one.The man to whom the President of the Association introduced me wassturdy,well-knit, a little under average height. He had a broad butrather low forehead that reminded me somewhat of the late electricalwizard Steinmetz. Under levelblack brows shone eyes of clear hazel,kindly, shrewd, a little wistful, lightly humorous; the eyes both of adoer and a dreamer.Not more than forty I judged him tobe. A close-trimmed, pointed bearddid not hide the firm chin and the clean-cut mouth. His hair was thickand black and oddly sprinkled with white; small streaksand dots ofgleaming silver that shone with a curiously metallic luster.His right arm was closely bound to his breast. His manner as he greetedme was tinged withshyness. He extended his left hand in greeting, andas I clasped the fingers I was struck by their peculiar, pronounced, yetpleasant warmth; a sensation, indeed,curiously electric.The Association's President forced him gently back into his chair.\"Dr. Goodwin,\" he said, turning to me, \"is not entirely recovered asyet fromcertain consequences of his adventures. He will explain to youlater what these are. In the meantime, Mr. Merritt, will you read this?\"I took the sheets he handedme, and as I read them felt the gaze of Dr.Goodwin full upon me, searching, weighing, estimating. When I raised myeyes from the letter I found in his a newexpression. The shyness wasgone; they were filled with complete friendliness. Evidently I hadpassed muster.\"You will accept, sir?\" It was the president's gravelycourteous tone.\"Accept!\" I exclaimed. \"Why, of course, I accept. It is not only one ofthe greatest honors, but to me one of the greatest delights to act asacollaborator with Dr. Goodwin.\"The president smiled.\"In that case, sir, there is no need for me to remain longer,\" he said.\"Dr. Goodwin has with him hismanuscript as far as he has progressedwith it. I will leave you two alone for your discussion.\"He bowed to us and, picking up his old-fashioned bell-crowned silkhatand his quaint, heavy cane of ebony, withdrew. Dr. Goodwin turned to me.\"I will start,\" he said, after a little pause, \"from when I met RichardDrake on thefield of blue poppies that are like a great prayer-rug atthe gray feet of the nameless mountain.\"The sun sank, the shadows fell, the lights of the city sparkled out,forhours New York roared about me unheeded while I listened to the taleof that utterly weird, stupendous drama of an unknown life, of unknowncreatures,unknown forces, and of unconquerable human heroism playedamong the hidden gorges of unknown Asia.It was dawn when I left him for my own home. Nor wasit for manyhours after that I laid his then incomplete manuscript down and soughtsleep--and found a troubled sleep.A. MERRITTCHAPTER I. VALLEY OF THE BLUEPOPPIESIn this great crucible of life we call the world--in the vaster one wecall the universe--the mysteries lie close packed, uncountable as grainsof sand onocean's shores. They thread gigantic, the star-flung spaces;they creep, atomic, beneath the microscope's peering eye. They walkbeside us, unseen and unheard,calling out to us, asking why we are deafto their crying, blind to their wonder.Sometimes the veils drop from a man's eyes, and he sees--and speaks ofhis vision.Then those who have not seen pass him by with the liftedbrows of disbelief, or they mock him, or if his vision has been greatenough they fall upon and destroyhim.For the greater the mystery, the more bitterly is its verity assailed;upon what seem the lesser a man may give testimony and at least gain forhimself ahearing.There is reason for this. Life is a ferment, and upon and about it,shifting and changing, adding to or taking away, beat over legions offorces, seen andunseen, known and unknown. And man, an atom in theferment, clings desperately to what to him seems stable; nor greets withjoy him who hazards that what hegrips may be but a broken staff, and,so saying, fails to hold forth a sturdier one.Earth is a ship, plowing her way through uncharted oceans of spacewherein arestrange currents, hidden shoals and reefs, and where blowthe unknown winds of Cosmos.If to the voyagers, painfully plotting their course, comes one whocriesthat their charts must be remade, nor can tell WHY they must be--thatman is not welcome--no!Therefore it is that men have grown chary of giving testimonyuponmysteries. Yet knowing each in his own heart the truth of that vision hehas himself beheld, lo, it is that in whose reality he most believes.The spot where Ihad encamped was of a singular beauty; so beautifulthat it caught the throat and set an ache within the breast--until fromit a tranquillity distilled that was likehealing mist.Since early March I had been wandering. It was now mid-July. And for thefirst time since my pilgrimage had begun I drank--not of forgetfulness,forthat could never be--but of anodyne for a sorrow which had held fastupon me since my return from the Carolines a year before.No need to dwell here uponthat--it has been written. Nor shall I recitethe reasons for my restlessness--for these are known to those who haveread that history of mine. Nor is there cause toset forth at length thesteps by which I had arrived at this vale of peace.Sufficient is to tell that in New York one night, reading over what isperhaps the mostsensational of my books--\"The Poppies and Primulas ofSouthern Tibet,\" the result of my travels of 1910-1911, I determined toreturn to that quiet, forbidden land.There, if anywhere, might I findsomething akin to forgetting.There was a certain flower which I long had wished to study in itsmutations from the singular formsappearing on the southern slopes ofthe Elburz--Persia's mountainous chain that extends from Azerbaijanin the west to Khorasan in the east; from thence I wouldfollow itsmodified types in the Hindu-Kush ranges and its migrations along thesouthern scarps of the Trans-Himalayas--the unexplored upheaval, higherthan theHimalayas themselves, more deeply cut with precipice and gorge,which Sven Hedin had touched and named on his journey to Lhasa.Having accomplished this, Iplanned to push across the passes to theManasarowar Lakes, where, legend has it, the strange, luminous purplelotuses grow.An ambitious project, undeniablyfraught with danger; but it iswritten that desperate diseases require desperate remedies, and untilinspiration or message how to rejoin those whom I had lovedso dearlycame to me, nothing less, I felt, could dull my heartache.And, frankly, feeling that no such inspiration or message could come, Idid not much care as tothe end.In Teheran I had picked up a most unusual servant; yes, more than this,a companion and counselor and interpreter as well.He was a Chinese; his nameChiu-Ming. His first thirty years had beenspent at the great Lamasery of Palkhor-Choinde at Gyantse, west ofLhasa. Why he had gone from there, how he hadcome to Teheran, I neverasked. It was most fortunate that he had gone, and that I had found him.He recommended himself to me as the best cook within tenthousand milesof Pekin.For almost three months we had journeyed; Chiu-Ming and I and the twoponies that carried my impedimenta.We had traversed mountainroads which had echoed to the marching feet ofthe hosts of Darius, to the hordes of the Satraps. The highways of theAchaemenids--yes, and which before themhad trembled to the tramplingsof the myriads of the godlike Dravidian conquerors.We had slipped over ancient Iranian trails; over paths which thewarriors ofconquering Alexander had traversed; dust of bones ofMacedons, of Greeks, of Romans, beat about us; ashes of the flamingambitions of the Sassanidaewhimpered beneath our feet--the feet of anAmerican botanist, a Chinaman, two Tibetan ponies. We had crept throughclefts whose walls had sent back thehowlings of the Ephthalites, theWhite Huns who had sapped the strength of these same proud Sassanidsuntil at last both fell before the Turks.Over the highwaysand byways of Persia's glory, Persia's shame andPersia's death we four--two men, two beasts--had passed. For a fortnightwe had met no human soul, seen nosign of human habitation.Game had been plentiful--green things Chiu-Ming might lack for hiscooking, but meat never. About us was a welter of mighty summits.Wewere, I knew, somewhere within the blending of the Hindu-Kush with theTrans-Himalayas.That morning we had come out of a ragged defile into this valleyofenchantment, and here, though it had been so early, I had pitched mytent, determining to go no farther till the morrow.It was a Phocean vale; a gigantic cupfilled with tranquillity. A spiritbrooded over it, serene, majestic, immutable--like the untroubled calmwhich rests, the Burmese believe, over every place which hasguarded theBuddha, sleeping.At its eastern end towered the colossal scarp of the unnamed peakthrough one of whose gorges we had crept. On his head was acap ofsilver set with pale emeralds--the snow fields and glaciers that crownedhim. Far to the west another gray and ochreous giant reared its bulk,closing thevale. North and south, the horizon was a chaotic sky land ofpinnacles, spired and minareted, steepled and turreted and domed, eachdiademed with its green andargent of eternal ice and snow.And all the valley was carpeted with the blue poppies in wide, unbrokenfields, luminous as the morning skies of mid-June; theyrippled mileafter mile over the path we had followed, over the still untrodden pathwhich we must take. They nodded, they leaned toward each other, theyseemed"}
+{"doc_id":"doc_51","qid":"","text":"The Project Gutenberg EBook of The Pilot and his Wife, by Jonas LieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Pilot and his WifeAuthor: Jonas LieRelease Date: April 8, 2005 [EBook #15588]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE PILOT AND HIS WIFE ***Produced by Clare Boothby, Jim Wiborg and the Online DistributedProofreading Team.THE PILOT AND HISWIFE_TRANSLATED FROM THE NORWEGIAN OF_JONAS LIEBYG.L. TOTTENHAMWILLIAM BLACKWOOD AND SONSEDINBURGH AND LONDONMDCCCLXXVIITHEPILOT AND HIS WIFE.CHAPTER I.On the stern, pine-clad southern coast of Norway, off thepicturesquely-situated town of Arendal, stand planted far out intothesea the white walls of the Great and Little Torungen Lighthouses, eachon its bare rock-island of corresponding name, the lesser of whichseems, as you sailpast, to have only just room for the lighthouse andthe attendant's residence by the side. It is a wild and lonelysituation,--the spray, in stormy weather, driving insheets against thewalls, and eagles and sea-birds not unfrequently dashing themselves todeath against the thick glass panes at night; while in winterallcommunication with the land is very often cut off, either by drift orpatchy ice, which is impassable either on foot or by boat.These, however, and others of thenow numerous lights along thatdangerous coast, are of comparatively recent erection. Many persons nowliving can remember the time when for long reaches theonly lighting wasthe gleam of the white breakers themselves. And the captain who hadpassed the Oxö light off Christiansand might think himself lucky ifhesighted the distant Jomfruland up by Kragerö.About a score of years before the lighthouse was placed on LittleTorungen there was, however, already a housethere, if it could bedignified by that name, with its back and one side almost up to the eaveof the roof stuck into a heap of stones, so that it had the appearanceofbending forward to let the storm sweep over it. The low entrance-dooropened to the land, and two small windows looked out upon the sea, andupon the boat,which was usually drawn up in a cleft above the sea-weedoutside.When you entered, or, more properly speaking, descended into it, therewas more room thanmight have been expected; and it contained sundryarticles of furniture, such as a handsome press and sideboard, which noone would have dreamt of findingunder such a roof. In one corner therestood an old spinning-wheel covered with dust, and with a smoke-blackenedtuft of wool still hanging from its reel; fromwhich, and from othersmall indications, it might be surmised that there had once been a womanin the house, and that tuft of wool had probably been her lastspin.There sat now on the bench by the hearth a lonely old man, of aflint-hard and somewhat gloomy countenance, with a mass of white hairfalling over his earsand neck, who was generally occupied with somecobbling work, and who from time to time, as he drew out the thread,would make some remark aloud, as if hethought he still had the partnerof his life for audience. The look askance over his brass spectacleswith which he greeted any casual stranger who might come intothe househad very little welcome in it, and an expression about his sunken mouthand sharp chin said plainly enough that the other might state hisbusiness atonce and be gone. He sought no company; and the only time hehad ever been seen at church was when he came rowing over to Tromö withhis wife's body inher coffin. When the pastor sprinkled earth upon it,it was observed that the tears streamed down his cheeks, and it was longafter dark before he quitted thechurchyard to return. He had become aproverb for obstinacy for miles beyond his own residence; and people whodealt with him for fish in the harbour, if theyonce began to bargain,were as likely as not to see him without a word just quietly row away.All that was known further about \"Old Jacob,\" as he was called, wasthathe had once been a pilot, and that he had had a son who had taken todrinking, through whose fault it had been eventually that the father hadlost hiscertificate; and it was thought that on the occasion inquestion the father had taken the son's blame upon himself. Since thenhe had shunned society, and hadretired with his wife to his presenthabitation, whither, after their son was drowned, they had brought theirlittle orphan granddaughter, who now was his solecompanion. His onlyostensible means of living were by shoemaking, and by fishing, theproduce of which he generally disposed of to passing ships, and, duringtheearlier period of his sojourn there, by shooting occasionally. Butit was understood that he received a small regular contribution fromseveral of the pilots,certificated or otherwise, of the district, forkeeping a fire alight on his hearth during the dark autumn nights, andso giving them, by the light from his twowindows, something to steer bywhen they arrived off the coast after nightfall. Whether the light wasshown for their benefit particularly, or whether it was notratherintended for the guidance of smuggling vessels standing in under coverof the night to land their cargoes, it was not their business toinquire. Its friendlyassistance was, at all events, not unacknowledgedby these latter, and very acceptable presents, in the shape of kegs ofspirits, bags of coffee, tobacco, meal, andso forth, would, from timeto time, come rolling into the old man's room, so that upon the whole,he was well-to-do enough out there upon his rock.Of late yearshe had fallen into feeble health, and found it not so easyto row the long distance over to land. Even in his best days he had,owing to an old injury to one of hislegs, found some difficulty ingetting down to the boat; and now, therefore, he sat during the greaterpart of the day over the hearth, in his woolen jacket andleatherbreeches, with his indoor work. Now and then, when his granddaughter--achild with a thick crop of hair falling about her ears, and a rough dogconstantlyat her heels--would burst into the house with all thefreshness of the outside air blowing round her, as it were, and deliverherself of her intelligence, he might bedrawn, perhaps, to the windowto look out over the sea, and afterwards, like a growling bear disturbedfrom its lair, even follow her with some difficulty out of thedoor withthe spyglass. There he would station himself, so as to use her shoulderas a rest for his shaking hand, and with his never-ceasing directionsand growlinggoing on behind her neck, she would do her best to fix theglass on the desired object. His crossness would then disappear, littleby little, in their joint speculationas to what ship it could be, or inwhatever remarks it might suggest; and after giving his decision, theold man would generally hobble in again.He was really veryproud of his granddaughter's cleverness. She coulddistinguish with her naked eye as clearly as he could through the glass.She never made a mistake about thecraft, large or small, that belongedto that part of the coast, and could, besides, say to a nicety, whatsort of master each had. Her superiority of sight sheasserted, too,with a tyranny to which he made no resistance, although it might havetried a temper many degrees more patient than his was.One day, however,she was at a loss. They made out a crescent on theflag, and this caused even the old man a moment's astonishment. But hedeclared then, for her information,shortly and decisively, that it wasa \"barbarian.\"This satisfied her for a moment. But then she asked--\"What is a barbarian, grandfather?\"\"It is a Turk.\"\"Yes, but aTurk?\"\"Oh! it's--it's--a Mohammedan--\"\"A what!--a Moham--\"\"A Mohammedan--a robber on board ship.\"\"On board ship!\"He was not going to give up hisascendancy in the matter, hard as shepushed him; so he bethought him of a pack of old tales there-anent, andwent on to explain drily--\"They go to the Baltic--toRussia--to salt human flesh.\"\"Human flesh!\"\"Yes, and sometimes, too, they seize vessels in the open sea and dotheir salting there.\"She fixed a pair of large,terrified eyes on him, which made the old mancontinue--\"And it is especially for little girls they look. That meat is thefinest, and goes by tons down to the GrandTurk.\"Having played this last trump, he was going in again, but was stopped byher eager question--\"Do they use a glass there on board?\" And when he said theydid, sheslipped quickly by him through the door, and kept cautiously within aslong as the vessel was to be seen through the window-pane on thehorizon.Themoods of the two were for once reversed. The old man looked very slyover his work, whilst she was quiet and cowed. Once only she broke outangrily--\"But whydoesn't the king get rid of them? If I was captain of aman-of-war, I'd--\"\"Yes, Elizabeth, if you were captain of a man-of-war!--what then?\"The child's conceptionsapparently reached no further than such mattersas these as yet. She had seen few human beings as she grew up, and inrecent years, after her grandmother'sdeath, she and her grandfather hadbeen the only regular inhabitants of the island. Every now and thenthere might perhaps come a boat on one errand oranother, and a coupleof times she had paid a visit to her maternal aunt on land, at Arendal.Her grandfather had taught her to read and write, and with whatshefound in the Bible and psalm-book, and in 'Exploits of Danish andNorwegian Naval Heroes,' a book in their possession, she had in a mannerlived pretty muchupon the anecdotes which in leisure moments she couldextract from that grandfather, so chary of his speech, about his sailorlife in his youth.They had besides, inthe little inner room, a small print, without aframe, of the action near the Heather Islands, in which he had takenpart. It represented the frigate Naiad, with thebrigs Samso, Kiel, andLolland, in furious conflict with the English ship of the line Dictator,which lay across the narrow harbour with the brig Calypso, andwaspounding the Naiad to pieces. The names of the ships were printedunderneath.On the print there was little to be seen but mast-heads andcannon-mouths,and a confusion of smoke, but in this had the child livedwhole years of her life; and many a time in fancy had she stood thereand fought the Englishman.Men-of-war and their officers had become thehighest conception of her fancy, and the dearest wish of her heart wasthat a man-of-war might some day pass sonear to Torungen that she wouldbe able to see distinctly everything on board.CHAPTER II.After old Jacob had fallen into ill health, lighterman Kristiansen usedtocome out oftener to Torungen with provisions and other necessaries;and his visits now became periodical.He was accompanied one autumn by his son Salvé, ablack-haired,dark-eyed, handsome lad, with a sharp, clever face, who had worked inthe fishing-boats along the coast from his childhood almost, and had, infact,been brought up amongst its sunken rocks and reefs and breakers.He was something small in stature, perhaps; but what he wanted inrobustness he made up inreadiness and activity--qualities which stoodhim in good stead in the many quarrels into which his too ready tonguewas wont to bring him. He was eighteen years"}
+{"doc_id":"doc_52","qid":"","text":"The Project Gutenberg eBook, The Sea-Wolf, by Jack LondonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Sea-WolfAuthor: Jack LondonRelease Date: December 24, 2010  [eBook #1074]First released: October 15, 1997Language:EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE SEA-WOLF***Transcribed from the 1917 William Heinemann editionby David Price, emailccx074@pglaf.org                               THE SEA-WOLF                                    BY                               JACKLONDON                                AUTHOR OF               â\u0000\u0000THE CALL OF THE WILD,â\u0000\u0000 â\u0000\u0000THE FAITH OFMEN,â\u0000\u0000                                   ETC.                                * * * * *                            _POPULAR EDITION_.                                * * * **                                  LONDON                            WILLIAM HEINEMANN                                   1917                                * * * * *_First published_,_November_ 1904._New Impression_, _December_ 1904, _April_ 1908._Popular Edition_, _July_ 1910; _New Impressions_, _March_ 1912,_September_ 1912,_November_ 1913, _May_ 1915, _May_ 1916, _July_ 1917.                                * * * * *             _Copyright_, _London_, _William Heinemann_,1904CHAPTER II scarcely know where to begin, though I sometimes facetiously place thecause of it all to Charley Furusethâ\u0000\u0000s credit.  He kept a summercottagein Mill Valley, under the shadow of Mount Tamalpais, and never occupiedit except when he loafed through the winter months and read NietzscheandSchopenhauer to rest his brain.  When summer came on, he elected to sweatout a hot and dusty existence in the city and to toil incessantly.  Hadit not beenmy custom to run up to see him every Saturday afternoon andto stop over till Monday morning, this particular January Monday morningwould not have found meafloat on San Francisco Bay.Not but that I was afloat in a safe craft, for the _Martinez_ was a newferry-steamer, making her fourth or fifth trip on the runbetweenSausalito and San Francisco.  The danger lay in the heavy fog whichblanketed the bay, and of which, as a landsman, I had littleapprehension.  In fact, Iremember the placid exaltation with which Itook up my position on the forward upper deck, directly beneath thepilot-house, and allowed the mystery of the fog tolay hold of myimagination.  A fresh breeze was blowing, and for a time I was alone inthe moist obscurityâ\u0000\u0000yet not alone, for I was dimly conscious ofthepresence of the pilot, and of what I took to be the captain, in the glasshouse above my head.I remember thinking how comfortable it was, this division oflabour whichmade it unnecessary for me to study fogs, winds, tides, and navigation,in order to visit my friend who lived across an arm of the sea.  It wasgoodthat men should be specialists, I mused.  The peculiar knowledge ofthe pilot and captain sufficed for many thousands of people who knew nomore of the sea andnavigation than I knew.  On the other hand, insteadof having to devote my energy to the learning of a multitude of things, Iconcentrated it upon a few particularthings, such as, for instance, theanalysis of Poeâ\u0000\u0000s place in American literatureâ\u0000\u0000an essay of mine, by theway, in the current _Atlantic_.  Coming aboard, asI passed through thecabin, I had noticed with greedy eyes a stout gentleman reading the_Atlantic_, which was open at my very essay.  And there it was again,thedivision of labour, the special knowledge of the pilot and captain whichpermitted the stout gentleman to read my special knowledge on Poe whilethey carriedhim safely from Sausalito to San Francisco.A red-faced man, slamming the cabin door behind him and stumping out onthe deck, interrupted my reflections,though I made a mental note of thetopic for use in a projected essay which I had thought of calling â\u0000\u0000TheNecessity for Freedom: A Plea for theArtist.â\u0000\u0000  The red-faced man shot aglance up at the pilot-house, gazed around at the fog, stumped across thedeck and back (he evidently had artificial legs),and stood still by myside, legs wide apart, and with an expression of keen enjoyment on hisface.  I was not wrong when I decided that his days had been spenton thesea.â\u0000\u0000Itâ\u0000\u0000s nasty weather like this here that turns heads grey before theirtime,â\u0000\u0000 he said, with a nod toward the pilot-house.â\u0000\u0000I had notthought there was any particular strain,â\u0000\u0000 I answered.  â\u0000\u0000Itseems as simple as A, B, C.  They know the direction by compass, thedistance, and the speed.  Ishould not call it anything more thanmathematical certainty.â\u0000\u0000â\u0000\u0000Strain!â\u0000\u0000 he snorted.  â\u0000\u0000Simple as A, B, C!  Mathematical certainty!â\u0000\u0000He seemedto brace himself up and lean backward against the air as hestared at me.  â\u0000\u0000How about this here tide thatâ\u0000\u0000s rushinâ\u0000\u0000 out through theGolden Gate?â\u0000\u0000he demanded, or bellowed, rather.  â\u0000\u0000How fast is she ebbinâ\u0000\u0000?Whatâ\u0000\u0000s the drift, eh?  Listen to that, will you?  A bell-buoy, and weâ\u0000\u0000rea-top ofit!  See â\u0000\u0000em alterinâ\u0000\u0000 the course!â\u0000\u0000From out of the fog came the mournful tolling of a bell, and I could seethe pilot turning the wheel with greatrapidity.  The bell, which hadseemed straight ahead, was now sounding from the side.  Our own whistlewas blowing hoarsely, and from time to time the sound ofother whistlescame to us from out of the fog.â\u0000\u0000Thatâ\u0000\u0000s a ferry-boat of some sort,â\u0000\u0000 the new-comer said, indicating awhistle off to the right.  â\u0000\u0000Andthere!  Dâ\u0000\u0000ye hear that?  Blown by mouth.Some scow schooner, most likely.  Better watch out, Mr. Schooner-man.Ah, I thought so.  Now hellâ\u0000\u0000s apoppinâ\u0000\u0000 for somebody!â\u0000\u0000The unseen ferry-boat was blowing blast after blast, and the mouth-blownhorn was tooting in terror-stricken fashion.â\u0000\u0000Andnow theyâ\u0000\u0000re payinâ\u0000\u0000 their respects to each other and tryinâ\u0000\u0000 to getclear,â\u0000\u0000 the red-faced man went on, as the hurried whistling ceased.His face wasshining, his eyes flashing with excitement as he translatedinto articulate language the speech of the horns and sirens.  â\u0000\u0000Thatâ\u0000\u0000s asteam-siren a-goinâ\u0000\u0000it over there to the left.  And you hear that fellowwith a frog in his throatâ\u0000\u0000a steam schooner as near as I can judge,crawlinâ\u0000\u0000 in from the Heads against thetide.â\u0000\u0000A shrill little whistle, piping as if gone mad, came from directly aheadand from very near at hand.  Gongs sounded on the_Martinez_.  Ourpaddle-wheels stopped, their pulsing beat died away, and then theystarted again.  The shrill little whistle, like the chirping of a cricketamid thecries of great beasts, shot through the fog from more to theside and swiftly grew faint and fainter.  I looked to my companion forenlightenment.â\u0000\u0000One of themdare-devil launches,â\u0000\u0000 he said.  â\u0000\u0000I almost wish weâ\u0000\u0000d sunkhim, the little rip!  Theyâ\u0000\u0000re the cause of more trouble.  And what goodare they?  Anyjackass gets aboard one and runs it from hell tobreakfast, blowinâ\u0000\u0000 his whistle to beat the band and tellinâ\u0000\u0000 the rest ofthe world to look out for him, becauseheâ\u0000\u0000s cominâ\u0000\u0000 and canâ\u0000\u0000t look out forhimself!  Because heâ\u0000\u0000s cominâ\u0000\u0000!  And youâ\u0000\u0000ve got to look out, too!  Rightof way!  Commondecency!  They donâ\u0000\u0000t know the meaninâ\u0000\u0000 of it!â\u0000\u0000I felt quite amused at his unwarranted choler, and while he stumpedindignantly up and down I fell todwelling upon the romance of the fog.And romantic it certainly wasâ\u0000\u0000the fog, like the grey shadow of infinitemystery, brooding over the whirling speck ofearth; and men, mere motesof light and sparkle, cursed with an insane relish for work, riding theirsteeds of wood and steel through the heart of the mystery,groping theirway blindly through the Unseen, and clamouring and clanging in confidentspeech the while their hearts are heavy with incertitude and fear.The voiceof my companion brought me back to myself with a laugh.  I toohad been groping and floundering, the while I thought I rode clear-eyedthrough themystery.â\u0000\u0000Hello! somebody cominâ\u0000\u0000 our way,â\u0000\u0000 he was saying.  â\u0000\u0000And dâ\u0000\u0000ye hear that?Heâ\u0000\u0000s cominâ\u0000\u0000 fast.  Walking right along.  Guess hedonâ\u0000\u0000t hear us yet.Windâ\u0000\u0000s in wrong direction.â\u0000\u0000The fresh breeze was blowing right down upon us, and I could hear thewhistle plainly, off to one sideand a little ahead.â\u0000\u0000Ferry-boat?â\u0000\u0000 I asked.He nodded, then added, â\u0000\u0000Or he wouldnâ\u0000\u0000t be keepinâ\u0000\u0000 up such a clip.â\u0000\u0000  Hegave a shortchuckle.  â\u0000\u0000Theyâ\u0000\u0000re gettinâ\u0000\u0000 anxious up there.â\u0000\u0000I glanced up.  The captain had thrust his head and shoulders out of thepilot-house, and was staringintently into the fog as though by sheerforce of will he could penetrate it.  His face was anxious, as was theface of my companion, who had stumped over to therail and was gazingwith a like intentness in the direction of the invisible danger.Then everything happened, and with inconceivable rapidity.  The fogseemed tobreak away as though split by a wedge, and the bow of asteamboat emerged, trailing fog-wreaths on either side like seaweed onthe snout of Leviathan.  I couldsee the pilot-house and a white-beardedman leaning partly out of it, on his elbows.  He was clad in a blueuniform, and I remember noting how trim and quiet hewas.  His quietness,under the circumstances, was terrible.  He accepted Destiny, marched handin hand with it, and coolly measured the stroke.  As he leanedthere, heran a calm and speculative eye over us, as though to determine theprecise point of the collision, and took no notice whatever when ourpilot, white withrage, shouted, â\u0000\u0000Now youâ\u0000\u0000ve done it!â\u0000\u0000On looking back, I realize that the remark was too obvious to makerejoinder necessary.â\u0000\u0000Grab hold ofsomething and hang on,â\u0000\u0000 the red-faced man said to me.  Allhis bluster had gone, and he seemed to have caught the contagion ofpreternaturalcalm.  â\u0000\u0000And listen to the women scream,â\u0000\u0000 he saidgrimlyâ\u0000\u0000almost bitterly, I thought, as though he had been through theexperience before.The vesselscame together before I could follow his advice.  We must havebeen struck squarely amidships, for I saw nothing, the strange steamboathaving passed beyond myline of vision.  The _Martinez_ heeled over,sharply, and there was a crashing and rending of timber.  I was thrownflat on the wet deck, and before I couldscramble to my feet I heard thescream of the women.  This it was, I am certain,â\u0000\u0000the most indescribableof blood-curdling sounds,â\u0000\u0000that threw me into apanic.  I remembered thelife-preservers stored in the cabin, but was met at the door and sweptbackward by a wild rush of men and women.  What happened inthe next fewminutes I do not recollect, though I have a clear remembrance of pullingdown life-preservers from the overhead racks, while the red-facedmanfastened them about the bodies of an hysterical group of women.  Thismemory is as distinct and sharp as that of any picture I have seen.  Itis a picture, andI can see it now,â\u0000\u0000the jagged edges of the hole in theside of the cabin, through which the grey fog swirled and eddied; theempty upholstered seats, littered"}
+{"doc_id":"doc_53","qid":"","text":"<html><head><title>Buried Script at IMSDb.</title><meta name=\"description\" content=\"Buried script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Buried script, Buried movie script, Buried film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    BURIED</b>                                  Written by                                Chris Sparling                         <b>                         FADEIN:</b><b>          INT. UNKNOWN ROOM - NIGHT</b>          Darkness. Silence. After a long beat, we hear movement,          confined and contained.          Wethen hear the sound of a man, PAUL CONROY, groaning,          making confused attempts at words. We hear his movement;          short, abrupt shifting, endingalmost immediately with the          sound of his body banging against wood.          He screams, though it's clear from the sound that his mouth          is coveredby something.          After attempting to sit up, he immediately bangs his head          against something. It's terribly warm and his breathsare          labored.          He attempts to move to his left and right, only to find that          he is confined on those sides, as well. He frantically          shifts about,only to discover, by touch, that he is encased          in something.          Something is very wrong, and he doesn't need to see to know          that.          Finally,we see him, lit by the flame of the Zippo he holds          in his hands, which are bound together in front of him with          rope. A rolled-up, dirty rag is tiedtightly around his          head, stretched across his mouth. Dried blood stains his          hair and forehead.                                   We see that he is lying in an oldfashioned, wooden coffin.          Nothing more than a few rotted-out planks of wood nailed          together. Realizing the same, Paul is struck byan          overwhelming, instant panic.          With great difficulty, and while still holding the lit Zippo,          Paul removes the muzzle from his"}
+{"doc_id":"doc_54","qid":"","text":"The Project Gutenberg eBook, The Woggle-Bug Book, by L. Frank Baum,Illustrated by Ike MorganThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: The Woggle-Bug BookAuthor: L. Frank BaumRelease Date: June 23, 2007  [eBook #21914]Language: EnglishCharacter setencoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE WOGGLE-BUG BOOK***E-text prepared by Michael Gray(Lost_Gamer@comcast.net)Note: Project Gutenberg also has an HTML version of this      file which includes the original illustrations.      See 21914-h.htm or 21914-h.zip:      (http://www.gutenberg.net/dirs/2/1/9/1/21914/21914-h/21914-h.htm)      or      (http://www.gutenberg.net/dirs/2/1/9/1/21914/21914-h.zip)THEWOGGLE-BUG BOOKbyL. FRANK BAUMPictures by Ike MorganChicagoThe Reilly & Britton Co.1905Copyright1905byL. Frank BaumEvery Right ReservedThe UniqueAdventures of the WOGGLE-BUGONE day Mr. H. M. Woggle-Bug, T. E., becoming separated from hiscomrades who had accompanied him from the Land of Oz,and finding thattime hung heavy on his hands (he had four of them), decided to walkdown the Main street of the City and try to discover something or otherofinterest.The initials \"H. M.\" before his name meant \"Highly Magnified,\" for thisWoggle-Bug was several thousand times bigger than any other woggle-bugyou eversaw. And the initials \"T. E.\" after his named meant \"ThoroughlyEducated\"--and so he was, in the Land of Oz. But his education, beingapplied to a woggle-bugintellect, was not at all remarkable in thiscountry, where everything is quite different than Oz. Yet theWoggle-Bug did not suspect this, and being, like so manyother thoroughlyeducated persons, proud of his mental attainments, he marched along thestreet with an air of importance that made one wonder whatgreatthoughts were occupying his massive brain.Being about as big, in his magnified state, as a man, the Woggle-Bugtook care to clothe himself like a man; only,instead of choosing sobercolors for his garments, he delighted in the most gorgeous reds andyellows and blues and greens; so that if you looked at him longthebrilliance of his clothing was liable to dazzle your eyes.I suppose the Waggle-Bug did not realize at all what a queer appearancehe made. Being rather nervous,he seldom looked into a mirror; and asthe people he met avoided telling him he was unusual, he had falleninto the habit of considering himself merely an ordinarycitizen of thebig city wherein he resided.So the Woggle-Bug strutted proudly along the street, swinging a cane inone hand, flourishing a pink handkerchief in theother, fumbling hiswatch-fob with another, and feeling his necktie was straight withanother. Having four hands to use would prove rather puzzling to you orme, Iimagine; but the Woggie-Bug was thoroughly accustomed to them.Presently he came to a very fine store with big plate-glass windows,and standing in the centerof the biggest window was a creature sobeautiful and radiant and altogether charming that the first glance ather nearly took his breath away. Her complexion waslovely, for it waswax; but the thing which really caught the Woggle-Bug's fancy was themarvelous dress she wore. Indeed, it was the latest (last year's)Parismodel, although the Woggle-Bug did not know that; and the designer musthave had a real woggly love for bright colors, for the gown was made ofred clothcovered with big checks which were so loud the fashion bookscalled them \"Wagnerian Plaids.\"Never had our friend the Woggle-Bug seen such a beautiful gownbefore,and it afflicted him so strongly that he straightaway fell in love withthe entire outfit--even to the wax-complexioned lady herself! Verypolitely he tipped histo her; but she stared coldly back without inany way acknowledging the courtesy.\"Never mind,\" he thought; \"'faint heart never won fair lady.' And I'mdeterminedto win this kaliedoscope of beauty or perish in theattempt!\" You will notice that our insect had a way of using big wordsto express himself, which leads us tosuspect that the school system inOz is the same they employ in Boston.As, with swelling heart, the Woggle-Bug feasted his eyes upon theenchanting vision, asmall green tag that was attached to a button ofthe waist suddenly attracted his attention. Upon the tag was marked:\"Price $7.93--GREATLY REDUCED.\"\"Ah!\"murmured the Woggle-Bug; \"my darling is in greatly reducedcircumstances, and $7.93 will make her mine! Where, oh where, shall Ifind the seven ninety-threewherewith to liberate this divinity andmake her Mrs. Woggle-Bug?\"\"Move on!\" said a gruff policeman, who came along swinging his club.And the Woggle-Bugobediently moved on, his brain working fast andfurious in the endeavor to think of a way to procure seven dollars andninety-three cents.You see, in the Land ofOz they use no money at all, so that when theWoggle-Bug arrived in America he did not possess a single penny. And noone had presented him with any moneysince.\"Yet there must be several ways to procure money in this country,\" hereflected; \"for otherwise everybody would be as penniless as I am. Buthow, I wonder,do they manage to get it?\"Just then he came along a side street where a number of men were atwork digging a long and deep ditch in which to lay a newsewer.\"Now these men,\" thought the Woggle-Bug, \"must get money for shovelingall that earth, else they wouldn't do it. Here is my chance to win thecharmingvision of beauty in the shop window!\"Seeking out the foreman, he asked for work, and the foreman agreed tohire him.\"How much do you pay these workmen?\"asked the highly magnified one.\"Two dollars a day,\" answered the foreman.\"Then,\" said the Woggle-Bug, \"you must pay me four dollars a day; for Ihave fourarms to their two, and can do double their work.\"\"If that is so, I'll pay you four dollars,\" agreed the man.The Woggle-Bug was delighted.\"In two days,\" he toldhimself, as he threw off his brilliant coat andplaced his hat upon it, and rolled up his sleeves; \"in two days I canearn eight dollars--enough to purchase my greatlyreduced darling andbuy her seven cents worth of caramels besides.\"He seized two spades and began working so rapidly with his four armsthat the foreman said:\"You must have been forewarned.\"\"Why?\" asked the Insect.\"Because there's a saying that to be forewarned is to be four-armed,\"replied the other.\"That isnonsense,\" said the Woggle-Bug, digging with all his might;\"for they call you the foreman, and yet I only see one of you.\"\"Ha, ha!\" laughed the man, and he wasso proud of his new worker thathe went into the corner saloon to tell his friend the barkeeper what atreasure he had found.It was just after noon that theWoggle-Bug hired as a ditch-digger inorder to win his heart's desire; so at noon on the second day he quitwork, and having received eight silver dollars he put onhis coat andrushed away to the store that he might purchase his intended bride.But, alas for the uncertainty of all our hopes! Just as the Woggle-Bugreached thedoor he saw a lady coming out of the store dressed inidentical checks with which he had fallen in love!At first he did not know what to do or say, for the younglady'scomplexion was not wax--far from it. But a glance into the windowshowed him the wax lady now dressed in a plain black tailor-made suit,and at once heknew the wearer of the Wagnerian plaids was his reallove, and not the stiff creature behind the glass.\"Beg pardon!\" he exclaimed, stopping the young lady; \"butyou're mine.Here's the seven ninety-three, and seven cents for candy.\"But she glanced at him in a haughty manner, and walked away with hernose slightlyelevated.He followed. He could not do otherwise with those delightful checksshining before him like beacon-lights to urge him on.The young lady stepped into acar, which whirled away rapidly. For amoment he was nearly paralyzed at his loss; then he started after thecar as fast as he could go, and this was very fastindeed--he being awoggle-bug.Somebody cried: \"Stop, thief!\" and a policeman ran out to arrest him.But the Woggle-Bug used his four hands to push the officeraside, andthe astonished man went rolling into the gutter so recklessly that hisuniform bore marks of the encounter for many days.Still keeping an eye on thecar, the Woggle-Bug rushed on. Hefrightened two dogs, upset a fat gentleman who was crossing the street,leaped over an automobile that shot in front of him,and finally ranplump into the car, which had abruptly stopped to let off a passenger.Breathing hard from his exertions, he jumped upon the rear platform ofthecar, only to see his charmer step off at the front and walkmincingly up the steps of a house. Despite his fatigue, he flew afterher at once, crying out:\"Stop, myvariegated dear--stop! Don't you know you're mine?\"But she slammed the door in his face, and he sat down upon the stepsand wiped his forehead with his pinkhandkerchief and fanned himselfwith his hat and tried to think what he should do next.Presently a very angry man came out of the house. He had a revolverinone hand and a carving-knife in the other.\"What do you mean by insulting my wife?\" he demanded.\"Was that your wife?\" asked the Woggle-Bug, in meekastonishment.\"Of course it is my wife,\" answered the man.\"Oh, I didn't know,\" said the insect, rather humbled. \"But I'll giveyou seven ninety-three for her. That'sall she's worth, you know; for Isaw it marked on the tag.\"The man gave a roar of rage and jumped into the air with the intentionof falling on the Woggle-Bug andhurting him with the knife and pistol.But the Woggle-Bug was suddenly in a hurry, and didn't wait to bejumped on. Indeed, he ran so very fast that the man wascontent to lethim go, especially as the pistol wasn't loaded and the carving-knifewas as dull as such knives usually are.But his wife had conceived a great dislikefor the Wagnerian checkcostume that had won for her the Woggle-Bug's admiration. \"I'll neverwear it again!\" she said to her husband, when he came in and toldherthat the Woggle-Bug was gone.\"Then,\" he replied, \"you'd better give it to Bridget; for she's beenbothering me about her wages lately, and the present willkeep herquite for a month longer.\"So she called Bridget and presented her with the dress, and thedelighted servant decided to wear it that night to MickeySchwartz'sball.Now the poor Woggle-Bug, finding his affection scorned, was feelingvery blue and unhappy that evening, When he walked out, dressed(amongother things) in a purple-striped shirt, with a yellow necktie andpea-green gloves, he looked a great deal more cheerful than he reallywas. He had put onanother hat, for the Woggle-Bug had a superstitionthat to change his hat was to change his luck, and luck seemed to haveoverlooked the fact that he was inexistence.The hat may really have altered his fortunes, as the Insect shortly metIkey Swanson, who gave him a ticket to Mickey Schwartz's ball; forIkey's cleandickey had not come home from the laundry, and so he couldnot go himself.The Woggle-Bug, thinking to distract his mind from his dreams of love,attended thehall, and the first thing he saw as he entered the roomwas Bridget clothed in that same gorgeous gown of Wagnerian plaid thathad so fascinated his bugly"}
+{"doc_id":"doc_55","qid":"","text":"The Project Gutenberg EBook of Villette, by Charlotte BrontëThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: VilletteAuthor: Charlotte BrontëPosting Date: August 23, 2010 [EBook #9182]Release Date: October, 2005First Posted: September12, 2003[Last updated: March 2, 2016]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK VILLETTE ***Produced by Delphine Lettau, CharlesFranks and Distributed ProofreadersVILLETTE.BYCHARLOTTE BRONTÃ\u0000.CONTENTSCHAPTER       I.  BRETTON      II.  PAULINA     III.  THEPLAYMATES      IV.  MISS MARCHMONT       V.  TURNING A NEW LEAF      VI.  LONDON     VII.  VILLETTE    VIII.  MADAME BECK      IX.  ISIDORE       X.  DR.JOHN      XI.  THE PORTRESS'S CABINET     XII.  THE CASKET    XIII.  A SNEEZE OUT OF SEASON     XIV.  THE FÃ\u0000TE      XV.  THE LONGVACATION     XVI.  AULD LANG SYNE    XVII.  LA TERRASSE   XVIII.  WE QUARREL     XIX.  THE CLEOPATRA      XX.  THECONCERT     XXI.  REACTION    XXII.  THE LETTER   XXIII.  VASHTI    XXIV.  M. DE BASSOMPIERRE     XXV.  THE LITTLE COUNTESS    XXVI.  ABURIAL   XXVII.  THE HÃ\u0000TEL CRÃ\u0000CY  XXVIII.  THE WATCHGUARD    XXIX.  MONSIEUR'S FÃ\u0000TE     XXX.  M. PAUL    XXXI.  THE DRYAD   XXXII.  THE FIRSTLETTER  XXXIII.  M. PAUL KEEPS HIS PROMISE   XXXIV.  MALEVOLA    XXXV.  FRATERNITY   XXXVI.  THE APPLE OF DISCORD  XXXVII.  SUNSHINEXXXVIII.  CLOUD   XXXIX.  OLD AND NEW ACQUAINTANCE      XL.  THE HAPPY PAIR     XLI.  FAUBOURG CLOTILDE    XLII.  FINISVILLETTE.CHAPTERI.BRETTON.My godmother lived in a handsome house in the clean and ancient town ofBretton. Her husband's family had been residents there for generations,andbore, indeed, the name of their birthplace--Bretton of Bretton:whether by coincidence, or because some remote ancestor had been apersonage of sufficientimportance to leave his name to hisneighbourhood, I know not.When I was a girl I went to Bretton about twice a year, and well Iliked the visit. The house and itsinmates specially suited me. Thelarge peaceful rooms, the well-arranged furniture, the clear widewindows, the balcony outside, looking down on a fine antiquestreet,where Sundays and holidays seemed always to abide--so quiet was itsatmosphere, so clean its pavement--these things pleased me well.One child in ahousehold of grown people is usually made very much of,and in a quiet way I was a good deal taken notice of by Mrs. Bretton,who had been left a widow, withone son, before I knew her; herhusband, a physician, having died while she was yet a young andhandsome woman.She was not young, as I remember her, butshe was still handsome, tall,well-made, and though dark for an Englishwoman, yet wearing always theclearness of health in her brunette cheek, and its vivacity ina pairof fine, cheerful black eyes. People esteemed it a grievous pity thatshe had not conferred her complexion on her son, whose eyes wereblue--though, even inboyhood, very piercing--and the colour of hislong hair such as friends did not venture to specify, except as the sunshone on it, when they called it golden. Heinherited the lines of hismother's features, however; also her good teeth, her stature (or thepromise of her stature, for he was not yet full-grown), and, whatwasbetter, her health without flaw, and her spirits of that tone andequality which are better than a fortune to the possessor.In the autumn of the year ---- I wasstaying at Bretton; my godmotherhaving come in person to claim me of the kinsfolk with whom was at thattime fixed my permanent residence. I believe she thenplainly sawevents coming, whose very shadow I scarce guessed; yet of which thefaint suspicion sufficed to impart unsettled sadness, and made me gladto changescene and society.Time always flowed smoothly for me at my godmother's side; not withtumultuous swiftness, but blandly, like the gliding of a full riverthrough aplain. My visits to her resembled the sojourn of Christianand Hopeful beside a certain pleasant stream, with \"green trees on eachbank, and meadows beautifiedwith lilies all the year round.\" The charmof variety there was not, nor the excitement of incident; but I likedpeace so well, and sought stimulus so little, that whenthe latter cameI almost felt it a disturbance, and wished rather it had still heldaloof.One day a letter was received of which the contents evidently causedMrs.Bretton surprise and some concern. I thought at first it was fromhome, and trembled, expecting I know not what disastrous communication:to me, however, noreference was made, and the cloud seemed to pass.The next day, on my return from a long walk, I found, as I entered mybedroom, an unexpected change. In,addition to my own French bed in itsshady recess, appeared in a corner a small crib, draped with white; andin addition to my mahogany chest of drawers, I saw atiny rosewoodchest. I stood still, gazed, and considered.\"Of what are these things the signs and tokens?\" I asked. The answerwas obvious. \"A second guest iscoming: Mrs. Bretton expects othervisitors.\"On descending to dinner, explanations ensued. A little girl, I wastold, would shortly be my companion: the daughterof a friend anddistant relation of the late Dr. Bretton's. This little girl, it wasadded, had recently lost her mother; though, indeed, Mrs. Bretton erelong subjoined,the loss was not so great as might at first appear.Mrs. Home (Home it seems was the name) had been a very pretty, but agiddy, careless woman, who hadneglected her child, and disappointedand disheartened her husband. So far from congenial had the unionproved, that separation at last ensued--separation bymutual consent,not after any legal process. Soon after this event, the lady havingover-exerted herself at a ball, caught cold, took a fever, and diedafter a verybrief illness. Her husband, naturally a man of verysensitive feelings, and shocked inexpressibly by too suddencommunication of the news, could hardly, it seems,now be persuaded butthat some over-severity on his part--some deficiency in patience andindulgence--had contributed to hasten her end. He had brooded overthisidea till his spirits were seriously affected; the medical men insistedon travelling being tried as a remedy, and meanwhile Mrs. Bretton hadoffered to takecharge of his little girl. \"And I hope,\" added mygodmother in conclusion, \"the child will not be like her mamma; assilly and frivolous a little flirt as ever sensibleman was weak enoughto marry. For,\" said she, \"Mr. Home _is_ a sensible man in his way,though not very practical: he is fond of science, and lives half hislife in alaboratory trying experiments--a thing his butterfly wifecould neither comprehend nor endure; and indeed\" confessed mygodmother, \"I should not have liked itmyself.\"In answer to a question of mine, she further informed me that her latehusband used to say, Mr. Home had derived this scientific turn from amaternaluncle, a French savant; for he came, it seems; of mixed Frenchand Scottish origin, and had connections now living in France, of whommore than one wrote _de_before his name, and called himself noble.That same evening at nine o'clock, a servant was despatched to meet thecoach by which our little visitor was expected.Mrs. Bretton and I satalone in the drawing-room waiting her coming; John Graham Bretton beingabsent on a visit to one of his schoolfellows who lived in thecountry.My godmother read the evening paper while she waited; I sewed. It was awet night; the rain lashed the panes, and the wind sounded angryandrestless.\"Poor child!\" said Mrs. Bretton from time to time. \"What weather forher journey! I wish she were safe here.\"A little before ten the door-bell announcedWarren's return. No soonerwas the door opened than I ran down into the hall; there lay a trunkand some band-boxes, beside them stood a person like anurse-girl, andat the foot of the staircase was Warren with a shawled bundle in hisarms.\"Is that the child?\" I asked.\"Yes, miss.\"I would have opened the shawl,and tried to get a peep at the face, butit was hastily turned from me to Warren's shoulder.\"Put me down, please,\" said a small voice when Warren openedthedrawing-room door, \"and take off this shawl,\" continued the speaker,extracting with its minute hand the pin, and with a sort of fastidioushaste doffing theclumsy wrapping. The creature which now appeared madea deft attempt to fold the shawl; but the drapery was much too heavyand large to be sustained orwielded by those hands and arms. \"Give itto Harriet, please,\" was then the direction, \"and she can put it away.\"This said, it turned and fixed its eyes on Mrs.Bretton.\"Come here, little dear,\" said that lady. \"Come and let me see if youare cold and damp: come and let me warm you at the fire.\"The child advancedpromptly. Relieved of her wrapping, she appearedexceedingly tiny; but was a neat, completely-fashioned little figure,light, slight, and straight. Seated on mygodmother's ample lap, shelooked a mere doll; her neck, delicate as wax, her head of silky curls,increased, I thought, the resemblance.Mrs. Bretton talked in littlefond phrases as she chafed the child'shands, arms, and feet; first she was considered with a wistful gaze,but soon a smile answered her. Mrs. Bretton was notgenerally acaressing woman: even with her deeply-cherished son, her manner wasrarely sentimental, often the reverse; but when the small strangersmiled ather, she kissed it, asking, \"What is my little one's name?\"\"Missy.\"\"But besides Missy?\"\"Polly, papa calls her.\"\"Will Polly be content to live with me?\"\"Not _always_;but till papa comes home. Papa is gone away.\" She shookher head expressively.\"He will return to Polly, or send for her.\"\"Will he, ma'am? Do you know he will?\"\"Ithink so.\"\"But Harriet thinks not: at least not for a long while. He is ill.\"Her eyes filled. She drew her hand from Mrs. Bretton's and made amovement to leave herlap; it was at first resisted, but shesaid--\"Please, I wish to go: I can sit on a stool.\"She was allowed to slip down from the knee, and taking a footstool, shecarriedit to a corner where the shade was deep, and there seatedherself. Mrs. Bretton, though a commanding, and in grave matters even aperemptory woman, wasoften passive in trifles: she allowed the childher way. She said to me, \"Take no notice at present.\" But I did takenotice: I watched Polly rest her small elbow onher small knee, herhead on her hand; I observed her draw a square inch or two ofpocket-handkerchief from the doll-pocket of her doll-skirt, and then Iheard herweep. Other children in grief or pain cry aloud, withoutshame or restraint; but this being wept: the tiniest occasional snifftestified to her emotion. Mrs. Bretton didnot hear it: which was quiteas well. Ere long, a voice, issuing from the corner, demanded--\"May thebell be rung for Harriet!\"I rang; the nurse was summoned andcame.\"Harriet, I must be put to bed,\" said her little mistress. \"You mustask where my bed is.\"Harriet signified that she had already made that inquiry.\"Ask if yousleep with me, Harriet.\"\"No, Missy,\" said the nurse: \"you are to share this young lady's room,\"designating me.Missy did not leave her seat, but I saw her eyes"}
+{"doc_id":"doc_56","qid":"","text":"Project Gutenberg's Search the Sky, by Frederik Pohl and C. M. KornbluthThis eBook is for the use of anyone anywhere in the United States and mostotherparts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project GutenbergLicense included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country whereyou are located before using this ebook.Title: Search the SkyAuthor: Frederik Pohl        C. M. KornbluthRelease Date: June 3, 2016 [EBook #52228]Language:EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK SEARCH THE SKY ***                  By Frederik Pohl and C. M.Kornbluth                         _THE SPACE MERCHANTS_                            _SEARCH THESKY_------------------------------------------------------------------------                               SEARCHTHE                                  SKY                                   by                             Frederik Pohl                                  and                            C. M.Kornbluth                      BALLANTINE BOOKS · NEW YORK------------------------------------------------------------------------                          COPYRIGHT, 1954,BY                   FREDERIK POHL AND C. M. KORNBLUTH             LIBRARY OF CONGRESS CATALOGUE CARD NO. 54-6478                PRINTED IN THE UNITEDSTATES OF AMERICA                         BALLANTINE BOOKS, INC.                  404 Fifth Avenue, New York 18, N.Y.                  ------------------------------------                           TRANSCRIBER'S NOTE                   Extensive research did not uncover                  any evidencethat the U.S. copyright                    on this publication wasrenewed.------------------------------------------------------------------------                               SEARCH THE                                  SKY..... 1DECAY.Ross stoodon the tradersâ\u0000\u0000 ramp, overlooking the Yards, and the wordkept bobbing to the top of his mind.Decay.About all of Halseyâ\u0000\u0000s Planet there was theimperceptible reek of decay.The clean, big, bustling, efficient spaceport only made the sensationstronger. From where he stood on the height of the Ramp, hecould seethe Yards, the spires of Halsey City ten kilometers awayâ\u0000\u0000and thetumble-down gray acres of Ghost Town between.Ross wrinkled his nose. Hewasnâ\u0000\u0000t a man given to brooding, but the scentof decay had saturated his nostrils that morning. He had tossed andturned all the night, wrestling with adecision. And he had got upearly, so early that the only thing that made sense was to walk to work.And that meant walking through Ghost Town. He hadnâ\u0000\u0000tdone that in a longtime, not since childhood. Ghost Town was a wonderful place to play.â\u0000\u0000Tag,â\u0000\u0000 â\u0000\u0000Follow My Fuehrer,â\u0000\u0000 â\u0000\u0000Senators andPresidentâ\u0000\u0000â\u0000\u0000all the ancientgames took on new life when you could dodge and turn among crumblingruins, dart down unmarked lanes, gallop throughsagging shacks where youmight stir out a screeching, unexpected recluse.But it was clear thatâ\u0000\u0000in the fifteen years between childhood games and atroubledmanâ\u0000\u0000s walk to workâ\u0000\u0000Ghost Town had grown.Everybody knew that! Ask the right specialists, and theyâ\u0000\u0000d tell you howmuch and how fast. An acre ayear, a street a month, a block a week, thespecialists would twinkle at you, convinced that the acre, street, blockwas under control, since they could measureit.Ask the right specialists and they would tell you why it was happening.One answer per specialist, with an ironclad guarantee that there wouldbe no overlappingof replies. â\u0000\u0000A purely psychological phenomenon, Mr.Ross. A vibration of the pendulum toward greater municipal compactness,a huddling, a maturerecognition of the facts of interdependence,basically a step forward....â\u0000\u0000â\u0000\u0000A purely biological phenomenon, Mr. Ross. Falling birth rate due tobiochemicaldeficiency of trace elements processed out of our planetarydiet. Fortunately the situation has been recognized in time and my billbefore the Chamber willprovide....â\u0000\u0000â\u0000\u0000A purely technological problem, Mr. Ross. Maintenance of a sprawlingcity is inevitably less efficient than that of a compact unit.Inevitablythere has been a drift back to the central areas and theconvenience of air-conditioned walkways, winterized plazas....â\u0000\u0000Yes. It was a purelypsychological-biological-technological-educational-demographic problem, and it was basically a step forward.Ross wondered how many Ghost Towns laycorpselike on the surface ofHalseyâ\u0000\u0000s Planet. Decay, he thought. Decay.But it had nothing to do with his problem, the problem that had kept himawake all thenight, the problem that blighted the view before him now.The trading bell clanged. The dayâ\u0000\u0000s work began.For Ross it might be his last dayâ\u0000\u0000s work at theYards.                  *       *       *       *       *He walked slowly from the ramp to the offices of the Oldham TradingCorporation. â\u0000\u0000Morning, Ross boy,â\u0000\u0000 hisbreezy young boss greeted him.Charles Oldham IVâ\u0000\u0000s father had always taken a paternal attitude towardhis help, and Charles Oldham IV was not going tochange anything thatDaddy had done. He shook Rossâ\u0000\u0000s hand at the door of the suite andapologized because they hadnâ\u0000\u0000t been able to find a newsecretary for himyet. Theyâ\u0000\u0000d been looking for two weeks, but the three applicants theyhad been able to dredge up had all been hopeless. â\u0000\u0000Itâ\u0000\u0000s thedamnChamber,â\u0000\u0000 said Charles Oldham IV, winsomely gesturing with his hands toshow how helpless men of affairs were against the blunderinginterference ofGovernment. â\u0000\u0000Damn labor shortage is nothing but a damnartificial scarcity crisis. Daddy saw it; he knew it was coming.â\u0000\u0000Ross almost told him he wasquitting, but held back. Maybe it wasbecause he didnâ\u0000\u0000t want to spoil Oldhamâ\u0000\u0000s day with bad news, right on topof the opening bell. Or maybe it wasbecause, in spite of a sleeplessnight, he still wasnâ\u0000\u0000t quite sure.The morningâ\u0000\u0000s work helped him to become sure. It was the same monotonousgrind.Threefreighters had arrived at dawn from Halseyâ\u0000\u0000s third moon, but noneof them was any affair of his. There was an export shipment of jewelryand watches to beattended to, but the ship was not to take off foranother week. It scarcely classified as urgent. Ross worked on themanifests for a couple of hours, stared throughhis window for an hour,and then it was time for lunch.Little Marconi hailed him as he passed through the tradersâ\u0000\u0000 lounge.Of all the juniors on the Exchange,Marconi was the one Ross foundeasiest to take. He was lean and dark where Ross was solid and fair;worse, he stood four ranks above Ross in seniority. But, sinceRossworked for Oldham, and Marconi worked for Haarlandâ\u0000\u0000s, the differencecould be waived in social intercourse.Ross suspected that, to Marconi as to him,trading was only a jobâ\u0000\u0000a dullone, and not a crusade. And he knew that Marconiâ\u0000\u0000s reading was notconfined to bills of lading. â\u0000\u0000Lunch?â\u0000\u0000 askedMarconi. â\u0000\u0000Sure,â\u0000\u0000 Ross said.And he knew heâ\u0000\u0000d probably spill his secret to the little man fromHaarlandâ\u0000\u0000s.The skyroom wascrowdedâ\u0000\u0000comparatively. All eight of the usual tableswere taken; they pushed on into the roped-off area by the windows andfound a table overlooking theYards. Marconi blew dust off his chair.â\u0000\u0000Been a long time since this was used,â\u0000\u0000 he grumbled. â\u0000\u0000Drink?â\u0000\u0000 He raisedhis eyebrows when Ross nodded.It made a break; Marconi was the oneusually who had a drink with lunch, Ross never touched it.When the drinks came, each of them said to the other inperfectsynchronism: â\u0000\u0000Iâ\u0000\u0000ve got something to tell you.â\u0000\u0000They looked startledâ\u0000\u0000then laughed. â\u0000\u0000Go ahead,â\u0000\u0000 said Ross.The little man didnâ\u0000\u0000teven argue. Rapturously he drew a photo out of hispocket.God, thought Ross wearily, Lurline again! He studied the picture with ashow of interest. â\u0000\u0000Newsnap?â\u0000\u0000 he asked brightly. â\u0000\u0000Lovely girlâ\u0000\u0000â\u0000\u0000â\u0000\u0000 Then henoticed the inscription: _To my fiance, with crates of love._ â\u0000\u0000Well!â\u0000\u0000 hesaid,â\u0000\u0000Fiance, is it? Congratulations, Marconi!â\u0000\u0000Marconi was almost drooling on the photo. â\u0000\u0000Next month,â\u0000\u0000 he said happily.â\u0000\u0000A big, big wedding. Forkeeps, Rossâ\u0000\u0000for keeps. With children!â\u0000\u0000Ross made an expression of polite surprise. â\u0000\u0000You donâ\u0000\u0000t say!â\u0000\u0000 he said.â\u0000\u0000Itâ\u0000\u0000s all down in blackand white! She agrees to have two children inthe first five yearsâ\u0000\u0000no permissive clause, a straight guarantee. Fifteenhundred annual allowance per child. And,Ross, do you know what? Herlawyer told her right in front of me that she ought to ask for threethousand, and she told him, â\u0000\u0000No, Mr. Turek. I happen to be inlove.â\u0000\u0000 Howdo you like that, Ross?â\u0000\u0000â\u0000\u0000A girl in a million,â\u0000\u0000 Ross said feebly. His private thoughts were thatMarconi had been gaffed and netted like asugar perch. Lurline was ofthe Old Landowners, who didnâ\u0000\u0000t own anything much but land these days,and Marconi was an undersized nobody who happened tomake a very goodliving. Sure she happened to be in love. Smartest thing she could be. Ofcourse, promising to have children sounded pretty special; butthepapers were full of those things every day. Marconi could reliably becounted on to hang himself. Heâ\u0000\u0000d promise her breakfast in bed everythird week end,or the maid that he couldnâ\u0000\u0000t possibly find on the labormarket, and the courts would throw all the promises on both sides out ofthe contract as a matter ofsimple equity. But the marriage would stick,all right.Marconi had himself a final moist, fatuous sigh and returned the phototo his pocket. â\u0000\u0000And now,â\u0000\u0000 heasked brightly, craning his neck for thewaiter, â\u0000\u0000whatâ\u0000\u0000s your news?â\u0000\u0000Ross sipped his drink, staring out at the nuzzling freighters in theirhemisphericalslips. He said abruptly, â\u0000\u0000I might be on one of those nextweek. Fallonâ\u0000\u0000s got a purserâ\u0000\u0000s berth open.â\u0000\u0000Marconi forgot the waiter and gaped.â\u0000\u0000Quitting?â\u0000\u0000â\u0000\u0000Iâ\u0000\u0000ve got to do something!â\u0000\u0000 Ross exploded. His own voice scared him;there was a knife blade of hysteria in the sound of it. Hegripped theedge of the table and forced himself to be calm and deliberate.Marconi said tardily, â\u0000\u0000Easy, Ross.â\u0000\u0000â\u0000\u0000Easy! Youâ\u0000\u0000ve said it, Marconi:â\u0000\u0000Easy.â\u0000\u0000 Everythingâ\u0000\u0000s so damned easy andso damned boring that Iâ\u0000\u0000m just about ready to blow! Iâ\u0000\u0000ve got to dosomething,â\u0000\u0000 he repeated.â\u0000\u0000Iâ\u0000\u0000m getting nowhere! I push papers around andthen I push them back again. You know what happens next. You get softand paunchy. You find yourselfgoing by the book instead of by yourhead. Youâ\u0000\u0000re covered, if you go by the bookâ\u0000\u0000no matter what happens. Andyou might just as well bedead!â\u0000\u0000â\u0000\u0000Now, Rossâ\u0000\u0000â\u0000\u0000â\u0000\u0000â\u0000\u0000Now, hell!â\u0000\u0000 Ross flared. â\u0000\u0000Marconi, I swear I think thereâ\u0000\u0000s somethingwrong with me! Look, take GhostTown for instance. Ever wonder whynobody lives there, except a couple of crazy old hermits?â\u0000\u0000â\u0000\u0000Why, itâ\u0000\u0000s Ghost Town,â\u0000\u0000 Marconi explained."}
+{"doc_id":"doc_57","qid":"","text":"The Project Gutenberg EBook of The Tale of Two Bad Mice, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Tale of Two Bad MiceAuthor: Beatrix PotterRelease Date: March 31, 2014 [EBook #45264]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE TALE OF TWO BAD MICE ***Produced by David Edwards, Emmy and the Online DistributedProofreading Team athttp://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive)THE TALE OF TWO BAD MICE    FOR    =W. M. L.W.=    THE LITTLE GIRL    WHO HAD THE DOLL'S HOUSE[Illustration]    THE TALE OF    TWO BAD MICE    BY    BEATRIX POTTER    _Author of    'The Tale ofPeter Rabbit,' &c._    [Illustration]    LONDON    FREDERICK WARNE AND CO.    AND NEW YORK    1904    [_All rights reserved_]    COPYRIGHT1904    BY    FREDERICK WARNE & CO.    ENTERED AT STATIONERS' HALL.[Illustration]ONCE upon a time there was a very beautiful doll's-house; it was redbrickwith white windows, and it had real muslin curtains and a frontdoor and a chimney.IT belonged to two Dolls called Lucinda and Jane; at least it belongedtoLucinda, but she never ordered meals.Jane was the Cook; but she never did any cooking, because the dinnerhad been bought ready-made, in a box full ofshavings.[Illustration][Illustration]THERE were two red lobsters and a ham, a fish, a pudding, and somepears and oranges.They would not come off the plates,but they were extremely beautiful.ONE morning Lucinda and Jane had gone out for a drive in the doll'sperambulator. There was no one in the nursery, and it wasvery quiet.Presently there was a little scuffling, scratching noise in a cornernear the fire-place, where there was a hole under the skirting-board.Tom Thumb putout his head for a moment, and then popped it in again.Tom Thumb was a mouse.[Illustration][Illustration]A MINUTE afterwards, Hunca Munca, his wife, put herhead out, too; andwhen she saw that there was no one in the nursery, she ventured out onthe oilcloth under the coal-box.THE doll's-house stood at the other sideof the fire-place. Tom Thumband Hunca Munca went cautiously across the hearthrug. They pushed thefront door--it was not fast.[Illustration][Illustration]TOMTHUMB and Hunca Munca went upstairs and peeped into thedining-room. Then they squeaked with joy!Such a lovely dinner was laid out upon the table! Therewere tinspoons, and lead knives and forks, and two dolly-chairs--all _so_convenient!TOM THUMB set to work at once to carve the ham. It was a beautifulshinyyellow, streaked with red.The knife crumpled up and hurt him; he put his finger in his mouth.\"It is not boiled enough; it is hard. You have a try, HuncaMunca.\"[Illustration][Illustration]HUNCA MUNCA stood up in her chair, and chopped at the ham with anotherlead knife.\"It's as hard as the hams at thecheesemonger's,\" said Hunca Munca.THE ham broke off the plate with a jerk, and rolled under the table.\"Let it alone,\" said Tom Thumb; \"give me some fish,Hunca Munca!\"[Illustration][Illustration]HUNCA MUNCA tried every tin spoon in turn; the fish was glued to thedish.Then Tom Thumb lost his temper. He put theham in the middle of thefloor, and hit it with the tongs and with the shovel--bang, bang,smash, smash!The ham flew all into pieces, for underneath the shinypaint it wasmade of nothing but plaster!THEN there was no end to the rage and disappointment of Tom Thumb andHunca Munca. They broke up the pudding, thelobsters, the pears and theoranges.As the fish would not come off the plate, they put it into the red-hotcrinkly paper fire in the kitchen; but it would not burneither.[Illustration][Illustration]TOM THUMB went up the kitchen chimney and looked out at the top--therewas no soot.WHILE Tom Thumb was up the chimney,Hunca Munca had anotherdisappointment. She found some tiny canisters upon the dresser,labelled--Rice--Coffee--Sago--but when she turned them upsidedown,there was nothing inside except red and blue beads.[Illustration][Illustration]THEN those mice set to work to do all the mischief theycould--especially TomThumb! He took Jane's clothes out of the chest ofdrawers in her bedroom, and he threw them out of the top floor window.But Hunca Munca had a frugal mind.After pulling half the feathers outof Lucinda's bolster, she remembered that she herself was in want of afeather bed.WITH Tom Thumb's assistance she carried thebolster downstairs, andacross the hearth-rug. It was difficult to squeeze the bolster into themouse-hole; but they managed itsomehow.[Illustration][Illustration]THEN Hunca Munca went back and fetched a chair, a book-case, abird-cage, and several small odds and ends. The book-caseand thebird-cage refused to go into the mouse-hole.HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle.[Illustration][Illustration]HUNCAMUNCA was just returning with another chair, when suddenly therewas a noise of talking outside upon the landing. The mice rushed backto their hole, and thedolls came into the nursery.WHAT a sight met the eyes of Jane and Lucinda!Lucinda sat upon the upset kitchen stove and stared; and Jane leantagainst thekitchen dresser and smiled--but neither of them made anyremark.[Illustration][Illustration]THE book-case and the bird-cage were rescued from underthecoal-box--but Hunca Munca has got the cradle, and some of Lucinda'sclothes.SHE also has some useful pots and pans, and several otherthings.[Illustration][Illustration]THE little girl that the doll's-house belonged to, said,--\"I will geta doll dressed like a policeman!\"BUT the nurse said,--\"I will set amouse-trap!\"[Illustration]SO that is the story of the two Bad Mice,--but they were not so veryvery naughty after all, because Tom Thumb paid for everything hebroke.He found a crooked sixpence under the hearthrug; and upon ChristmasEve, he and Hunca Munca stuffed it into one of the stockings of LucindaandJane.[Illustration][Illustration]AND very early every morning--before anybody is awake--Hunca Muncacomes with her dust-pan and her broom to sweep theDollies' house!    THE END.    PRINTED BY    EDMUND EVANS,    THE RACQUET COURT PRESS,    LONDON, S.E.End of Project Gutenberg's The Tale of Two BadMice, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TWO BAD MICE ******** This file should be named 45264.txt or 45264.zip*****This and all associated files of various formats will be found in:        http://www.gutenberg.org/4/5/2/6/45264/Produced by David Edwards, Emmy and theOnline DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive)Updatededitions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a UnitedStates copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyrightroyalties.  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+{"doc_id":"doc_58","qid":"","text":"Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of Ginger and PicklesAuthor: Beatrix PotterRelease Date: February 2, 2005 [EBook #14877]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE TALE OF GINGER AND PICKLES ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributedProofreading Team.THE TALE OF GINGER AND PICKLESDEDICATEDWITH VERY KIND REGARDS TO OLD MR. JOHN TAYLOR,WHO \"THINKS HE MIGHT PASS AS ADORMOUSE!\" (THREE YEARS IN BED AND NEVER A GRUMBLE!)[Illustration]THE TALE OF GINGER & PICKLESBY BEATRIX POTTER_Author of \"The Tale of PeterRabbit,\" &c._[Illustration]FREDERICK WARNE1909 by Frederick Warne & Co.Printed and bound in Great Britain byWilliam Clowes Limited, Beccles andLondon[Illustration]Once upon a time there was a village shop. The name over the window was\"Ginger and Pickles.\"It was a little small shop just the right size forDolls--Lucinda and JaneDoll-cook always bought their groceries at Ginger and Pickles.The counter inside was a convenient height for rabbits. Ginger andPicklessold red spotty pocket-handkerchiefs at a penny three farthings.They also sold sugar, and snuff and galoshes.In fact, although it was such a small shop it soldnearlyeverything--except a few things that you want in a hurry--like bootlaces,hair-pins and mutton chops.Ginger and Pickles were the people who kept the shop.Ginger was a yellowtom-cat, and Pickles was a terrier.The rabbits were always a little bit afraid of Pickles.[Illustration][Illustration]The shop was also patronizedby mice--only the mice were rather afraid ofGinger.Ginger usually requested Pickles to serve them, because he said it madehis mouth water.\"I cannot bear,\" saidhe, \"to see them going out at the door carryingtheir little parcels.\"\"I have the same feeling about rats,\" replied Pickles, \"but it wouldnever do to eat our owncustomers; they would leave us and go to TabithaTwitchit's.\"\"On the contrary, they would go nowhere,\" replied Ginger gloomily.(Tabitha Twitchit kept the onlyother shop in the village. She did notgive credit.)[Illustration][Illustration]Ginger and Pickles gave unlimited credit.Now the meaning of \"credit\" is this--when acustomer buys a bar of soap,instead of the customer pulling out a purse and paying for it--she saysshe will pay another time.And Pickles makes a low bow andsays, \"With pleasure, madam,\" and it iswritten down in a book.The customers come again and again, and buy quantities, in spite of beingafraid of Ginger andPickles.But there is no money in what is called the \"till.\"[Illustration][Illustration]The customers came in crowds every day and bought quantities, especiallythetoffee customers. But there was always no money; they never paid foras much as a pennyworth of peppermints.But the sales were enormous, ten times as largeas Tabitha Twitchit's.[Illustration]As there was always no money, Ginger and Pickles were obliged to eattheir own goods.Pickles ate biscuits and Ginger ate a driedhaddock.They ate them by candle-light after the shop was closed.[Illustration]When it came to Jan. 1st there was still no money, and Pickles was unableto buy adog licence.\"It is very unpleasant, I am afraid of the police,\" said Pickles.\"It is your own fault for being a terrier; _I_ do not require a licence,and neither doesKep, the Collie dog.\"\"It is very uncomfortable, I am afraid I shall be summoned. I have triedin vain to get a licence upon credit at the Post Office;\" saidPickles.\"The place is full of policemen. I met one as I was coming home.\"\"Let us send in the bill again to Samuel Whiskers, Ginger, he owes 22/9for bacon.\"\"I donot believe that he intends to pay at all,\" replied Ginger.[Illustration]\"And I feel sure that Anna Maria pockets things--Where are all the creamcrackers?\"\"You haveeaten them yourself,\" replied Ginger.[Illustration]Ginger and Pickles retired into the back parlour.They did accounts. They added up sums and sums, andsums.\"Samuel Whiskers has run up a bill as long as his tail; he has had anounce and three-quarters of snuff since October.\"\"What is seven pounds of butter at1/3, and a stick of sealing wax andfour matches?\"\"Send in all the bills again to everybody 'with comp'ts,'\" replied Ginger.[Illustration][Illustration]After a timethey heard a noise in the shop, as if something had beenpushed in at the door. They came out of the back parlour. There was anenvelope lying on the counter,and a policeman writing in a note-book!Pickles nearly had a fit, he barked and he barked and made little rushes.\"Bite him, Pickles! bite him!\" spluttered Gingerbehind a sugar-barrel,\"he's only a German doll!\"The policeman went on writing in his notebook; twice he put his pencil inhis mouth, and once he dipped it in thetreacle.Pickles barked till he was hoarse. But still the policeman took no notice.He had bead eyes, and his helmet was sewed on with stitches.[Illustration]Atlength on his last little rush--Pickles found that the shop was empty.The policeman had disappeared.But the envelope remained.[Illustration][Illustration]\"Do youthink that he has gone to fetch a real live policeman? I am afraidit is a summons,\" said Pickles.\"No,\" replied Ginger, who had opened the envelope, \"it is the ratesandtaxes, £3 19 11-3/4.\"\"This is the last straw,\" said Pickles, \"let us close the shop.\"They put up the shutters, and left. But they have not removed fromtheneighbourhood. In fact some people wish they had gone further.[Illustration]Ginger is living in the warren. I do not know what occupation he pursues;he looksstout and comfortable.[Illustration][Illustration]Pickles is at present a gamekeeper.[Illustration]The closing of the shop caused great inconvenience. TabithaTwitchitimmediately raised the price of everything a half-penny; and she continuedto refuse to give credit.Of course there are the trades-men's carts--thebutcher, the fish-man andTimothy Baker.But a person cannot live on \"seed wigs\" and sponge-cake andbutter-buns--not even when the sponge-cake is as good asTimothy's![Illustration]After a time Mr. John Dormouse and his daughter began to sell peppermintsand candles.But they did not keep \"self-fitting sixes\"; and ittakes five mice tocarry one seven inch candle.[Illustration][Illustration]Besides--the candles which they sell behave very strangely inwarmweather.[Illustration]And Miss Dormouse refused to take back the ends when they were broughtback to her with complaints.And when Mr. John Dormousewas complained to, he stayed in bed, and wouldsay nothing but \"very snug;\" which is not the way to carry on a retailbusiness.[Illustration][Illustration]Soeverybody was pleased when Sally Henny Penny sent out a printed posterto say that she was going to re-open the shop--\"Henny's Opening Sale!Grandco-operative Jumble! Penny's penny prices! Come buy, come try, comebuy!\"The poster really was most 'ticing.[Illustration]There was a rush upon the openingday. The shop was crammed withcustomers, and there were crowds of mice upon the biscuit canisters.Sally Henny Penny gets rather flustered when she tries tocount outchange, and she insists on being paid cash; but she is quite harmless.[Illustration]And she has laid in a remarkable assortment of bargains.There issomething to please everybody.End of Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THETALE OF GINGER AND PICKLES ******** This file should be named 14877-8.txt or 14877-8.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/7/14877/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team.Updatededitions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a UnitedStates copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyrightroyalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotectthe PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless youreceive specific permission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly anypurposesuch as creation of derivative works, reports, performances andresearch.  They may be modified and printed and given away--you may dopracticallyANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THEFULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promotingthe freedistribution of electronic works, by using or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agreeto comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or online athttp://gutenberg.net/license).Section 1.  General Terms ofUse and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicate that youhave read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abideby allthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid afee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtaina refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may onlybeused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you cando with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot ofthings you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to ProjectGutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns acompilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in theUnited States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to prevent youfromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of"}
+{"doc_id":"doc_59","qid":"","text":"The Project Gutenberg eBook, Ruth, by Elizabeth Cleghorn GaskellThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: RuthAuthor: Elizabeth Cleghorn GaskellRelease Date: December 26, 2001  [eBook #4275]Most recently updated March 1,2008Language: English***START OF THE PROJECT GUTENBERG EBOOK RUTH***E-text prepared by Charles Aldarondoand revised by Joseph E. Loewenstein,M.D.RUTHbyELIZABETH GASKELLFirst published in book form by Chapman and Hall in 1853CONTENTS        I. The Dressmaker's Apprentice at Work       II. RuthGoes to the Shire-Hall      III. Sunday at Mrs Mason's       IV. Treading in Perilous Places        V. In North Wales       VI. Troubles Gather About Ruth      VII. TheCrisis--Watching and Waiting     VIII. Mrs Bellingham \"Does the Thing Handsomely\"       IX. The Storm-Spirit Subdued        X. A Note and the Answer       XI.Thurstan and Faith Benson      XII. Losing Sight of the Welsh Mountains     XIII. The Dissenting Minister's Household      XIV. Ruth's First Sunday atEccleston       XV. Mother and Child      XVI. Sally Tells of Her Sweethearts, and Discourses           on the Duties of Life     XVII. Leonard's Christening    XVIII.Ruth Becomes a Governess in Mr Bradshaw's Family      XIX. After Five Years       XX. Jemima Refuses to Be Managed      XXI. Mr Farquhar's AttentionsTransferred     XXII. The Liberal Candidate and His Precursor    XXIII. Recognition     XXIV. The Meeting on the Sands      XXV. Jemima Makes aDiscovery     XXVI. Mr Bradshaw's Virtuous Indignation    XXVII. Preparing to Stand on the Truth   XXVIII. An Understanding Between Lovers     XXIX. Sally TakesHer Money Out of the Bank      XXX. The Forged Deed     XXXI. An Accident to the Dover Coach    XXXII. The Bradshaw Pew Again Occupied   XXXIII. A Mother toBe Proud Of    XXXIV. \"I Must Go and Nurse Mr Bellingham\"     XXXV. Out of Darkness into Light    XXXVI. The End   Drop, drop, slow tears!   And bathe thosebeauteous feet,   Which brought from heaven   The news and Prince of peace.   Cease not, wet eyes,   For mercy to entreat:   To cry for vengeance   Sin dothnever cease.   In your deep floods   Drown all my faults and fears;   Nor let His eye   See sin, but through my tears.   _Phineas Fletcher_CHAPTER ITheDressmaker's Apprentice at WorkThere is an assize-town in one of the eastern counties which was muchdistinguished by the Tudor sovereigns, and, inconsequence of theirfavour and protection, attained a degree of importance that surprisesthe modern traveller.A hundred years ago its appearance was that ofpicturesque grandeur.The old houses, which were the temporary residences of such of thecounty-families as contented themselves with the gaieties of aprovincialtown, crowded the streets and gave them the irregular butnoble appearance yet to be seen in the cities of Belgium. The sidesof the streets had a quaint richness,from the effect of the gables,and the stacks of chimneys which cut against the blue sky above;while, if the eye fell lower down, the attention was arrested byallkinds of projections in the shape of balcony and oriel; and it wasamusing to see the infinite variety of windows that had been crammedinto the walls long beforeMr Pitt's days of taxation. The streetsbelow suffered from all these projections and advanced stories above;they were dark, and ill-paved with large, round, joltingpebbles, andwith no side-path protected by kerb-stones; there were no lamp-postsfor long winter nights; and no regard was paid to the wants of themiddle class,who neither drove about in coaches of their own, norwere carried by their own men in their own sedans into the veryhalls of their friends. The professional menand their wives, theshopkeepers and their spouses, and all such people, walked about atconsiderable peril both night and day. The broad unwieldycarriageshemmed them up against the houses in the narrow streets. Theinhospitable houses projected their flights of steps almost into thecarriage-way, forcingpedestrians again into the danger they hadavoided for twenty or thirty paces. Then, at night, the only lightwas derived from the glaring, flaring oil-lamps hungabove the doorsof the more aristocratic mansions; just allowing space for thepassers-by to become visible, before they again disappeared into thedarkness,where it was no uncommon thing for robbers to be in waitingfor their prey.The traditions of those bygone times, even to the smallest socialparticular, enable oneto understand more clearly the circumstanceswhich contributed to the formation of character. The daily lifeinto which people are born, and into which they areabsorbed beforethey are well aware, forms chains which only one in a hundred hasmoral strength enough to despise, and to break when the righttimecomes--when an inward necessity for independent individual actionarises, which is superior to all outward conventionalities. Thereforeit is well to know whatwere the chains of daily domestic habit whichwere the natural leading-strings of our forefathers before theylearnt to go alone.The picturesqueness of thoseancient streets has departed now.The Astleys, the Dunstans, the Waverhams--names of power in thatdistrict--go up duly to London in the season, and have soldtheirresidences in the county-town fifty years ago, or more. And when thecounty-town lost its attraction for the Astleys, the Dunstans, theWaverhams, how couldit be supposed that the Domvilles, the Bextons,and the Wildes would continue to go and winter there in theirsecond-rate houses, and with their increasedexpenditure? So thegrand old houses stood empty awhile; and then speculators venturedto purchase, and to turn the deserted mansions into manysmallerdwellings, fitted for professional men, or even (bend your ear lower,lest the shade of Marmaduke, first Baron Waverham, hear) into shops!Even that wasnot so very bad, compared with the next innovation onthe old glories. The shopkeepers found out that the once fashionablestreet was dark, and that the dingylight did not show off theirgoods to advantage; the surgeon could not see to draw his patient'steeth; the lawyer had to ring for candles an hour earlier than hewasaccustomed to do when living in a more plebeian street. In short, bymutual consent, the whole front of one side of the street was pulleddown, and rebuilt inthe flat, mean, unrelieved style of George theThird. The body of the houses was too solidly grand to submit toalteration; so people were occasionally surprised,after passingthrough a commonplace-looking shop, to find themselves at the foot ofa grand carved oaken staircase, lighted by a window of stained glass,storiedall over with armorial bearings.Up such a stair--past such a window (through which the moonlight fellon her with a glory of many colours)--Ruth Hilton passedwearily oneJanuary night, now many years ago. I call it night; but, strictlyspeaking, it was morning. Two o'clock in the morning chimed forththe old bells of StSaviour's. And yet more than a dozen girls stillsat in the room into which Ruth entered, stitching away as if forvery life, not daring to gape, or show any outwardmanifestation ofsleepiness. They only sighed a little when Ruth told Mrs Mason thehour of the night, as the result of her errand; for they knew that,stay up as lateas they might, the work-hours of the next day mustbegin at eight, and their young limbs were very weary.Mrs Mason worked away as hard as any of them; butshe was older andtougher; and, besides, the gains were hers. But even she perceivedthat some rest was needed. \"Young ladies! there will be an intervalallowedof half an hour. Ring the bell, Miss Sutton. Martha shallbring you up some bread and cheese and beer. You will be so good asto eat it standing--away from thedresses--and to have your handswashed ready for work when I return. In half an hour,\" said she oncemore, very distinctly; and then she left the room.It wascurious to watch the young girls as they instantaneouslyavailed themselves of Mrs Mason's absence. One fat, particularlyheavy-looking damsel laid her head onher folded arms and was asleepin a moment; refusing to be wakened for her share in the frugalsupper, but springing up with a frightened look at the sound ofMrsMason's returning footstep, even while it was still far off onthe echoing stairs. Two or three others huddled over the scantyfireplace, which, with every possibleeconomy of space, and noattempt whatever at anything of grace or ornament, was inserted inthe slight, flat-looking wall, that had been run up by thepresentowner of the property to portion off this division of the grand olddrawing-room of the mansion. Some employed the time in eating theirbread and cheese,with as measured and incessant a motion of the jaws(and almost as stupidly placid an expression of countenance), as youmay see in cows ruminating in the firstmeadow you happen to pass.Some held up admiringly the beautiful ball-dress in progress, whileothers examined the effect, backing from the object to becriticisedin the true artistic manner. Others stretched themselves into allsorts of postures to relieve the weary muscles; one or two gave ventto all the yawns,coughs, and sneezes that had been pent up so longin the presence of Mrs Mason. But Ruth Hilton sprang to the large oldwindow, and pressed against it as a birdpresses against the bars ofits cage. She put back the blind, and gazed into the quiet moonlightnight. It was doubly light--almost as much so as day--foreverythingwas covered with the deep snow which had been falling silently eversince the evening before. The window was in a square recess; the oldstrange littlepanes of glass had been replaced by those which gavemore light. A little distance off, the feathery branches of a larchwaved softly to and fro in the scarcelyperceptible night-breeze.Poor old larch! the time had been when it had stood in a pleasantlawn, with the tender grass creeping caressingly up to its verytrunk;but now the lawn was divided into yards and squalidback premises, and the larch was pent up and girded about withflag-stones. The snow lay thick on its boughs,and now and then fellnoiselessly down. The old stables had been added to, and altered intoa dismal street of mean-looking houses, back to back with theancientmansions. And over all these changes from grandeur to squalor, bentdown the purple heavens with their unchanging splendour!Ruth pressed her hotforehead against the cold glass, and strainedher aching eyes in gazing out on the lovely sky of a winter's night.The impulse was strong upon her to snatch up ashawl, and wrapping itround her head, to sally forth and enjoy the glory; and time was whenthat impulse would have been instantly followed; but now, Ruth'seyesfilled with tears, and she stood quite still, dreaming of the daysthat were gone. Some one touched her shoulder while her thoughts werefar away,remembering past January nights, which had resembled this,and were yet so different.\"Ruth, love,\" whispered a girl who had unwillingly distinguishedherself by along hard fit of coughing, \"come and have some supper.You don't know yet how it helps one through the night.\"\"One run--one blow of the fresh air would do me"}
+{"doc_id":"doc_60","qid":"","text":"<html><head><title>Save the Last Dance Script at IMSDb.</title><meta name=\"description\" content=\"Save the Last Dance script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Save the Last Dance script, Save the Last Dance movie script, Save the Last Dance film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                      SAVE THELAST DANCE                               by                         Duane G. Adler                          revisions by                        Toni-Ann Johnson                      CurrentRevisions by                    Cheryl Edwards (6/11/99)<b>REWRITE -- FIRST SET OF REVISIONS</b>Cort/Madden CompanyParamount Studios5555 MelroseAvenueChevalier Building, Ste. 203Los Angeles, California<b>JUNE 11, 1999</b><b></b><b>    FADE IN:</b><b>1   EXT. PENNSYLVANIA COUNTRYSIDE -LONG SHOT - DAY            1</b>    of an empty stretch of land parted down the middle by    railroad tracks. An Amtrak Commuter crests the horizon,    headsTOWARD us. As it gets CLOSER, we GO IN TIGHTER to    see --<b>2   FACE OF SARA JOHNSON                                       2</b>    17, pressed at one of itswindows.<b>3   REVERSE ANGLE - REFLECTION IN TRAIN'S WINDOW -             3</b><b>    SARA'S FACE</b>    distant and lovely and sad. SUPERIMPOSEDagainst an    endless stream of sky and trees. The train speeds up and    SARA's face flies by, disappearing FROM FRAME.<b>4   INT. AMTRAK TRAIN - MOVING -DUSK                          4</b>    A zaftig BLACK WOMAN clumsily negotiates the aisle.    Stops at the first of a few empty seats left in thecar.<b>                             WOMAN</b>               This seat taken?<b>    ANGLE ON SARA</b>    looking up, around. She shakes her head, clearsher    backpack and magazines from the seat beside her. The    Woman drops down, settles in. A long silence. The Woman    glances at the American Balletmagazine on Sara's lap.    Tries to make conversation.<b>                             WOMAN</b>               I love ballet. Never had the body               for it. Do you"}
+{"doc_id":"doc_61","qid":"","text":"Project Gutenberg's A Portrait of the Artist as a Young Man, by James JoyceThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: A Portrait of the Artist as a Young ManAuthor: James JoycePosting Date: July 2, 2009 [EBook #4217]Release Date: July, 2003FirstPosted: December 8, 2001[Last updated: March 30, 2014]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PORTRAIT--ARTIST AS YOUNGMAN ***Produced by Col Choat.  HTML version by Al Haines.A Portrait of the Artist as a Young ManbyJames Joyce<p>_\"Et ignotas animum dimittit in artes.\"Ovid,Metamorphoses, VIII., 18._</p>Chapter 1Once upon a time and a very good time it was there was a moocow comingdown along the road and this moocow thatwas coming down along the roadmet a nicens little boy named baby tuckoo...His father told him that story: his father looked at him through aglass: he had ahairy face.He was baby tuckoo. The moocow came down the road where Betty Byrnelived: she sold lemon platt.    O, the wild rose blossoms    On the little greenplace.He sang that song. That was his song.    O, the green wothe botheth.When you wet the bed first it is warm then it gets cold. His mother puton the oilsheet.That had the queer smell.His mother had a nicer smell than his father. She played on the pianothe sailor's hornpipe for him to dance. He danced:    Tralalalala,    Tralala tralaladdy,    Tralala lala,    Tralala lala.Uncle Charles and Dante clapped. They were older than his father andmother but uncle Charles was olderthan Dante.Dante had two brushes in her press. The brush with the maroon velvetback was for Michael Davitt and the brush with the green velvet backwas forParnell. Dante gave him a cachou every time he brought her apiece of tissue paper.The Vances lived in number seven. They had a different father andmother.They were Eileen's father and mother. When they were grown uphe was going to marry Eileen. He hid under the table. His mother said:--O, Stephen willapologize.Dante said:--O, if not, the eagles will come and pull out his eyes.--    Pull out his eyes,    Apologize,    Apologize,    Pull out his eyes.    Apologize,    Pullout his eyes,    Pull out his eyes,    Apologize.* * * * *The wide playgrounds were swarming with boys. All were shouting and theprefects urged them on withstrong cries. The evening air was pale andchilly and after every charge and thud of the footballers the greasyleather orb flew like a heavy bird through the greylight. He kept onthe fringe of his line, out of sight of his prefect, out of the reachof the rude feet, feigning to run now and then. He felt his body smalland weakamid the throng of the players and his eyes were weak andwatery. Rody Kickham was not like that: he would be captain of thethird line all the fellows said.RodyKickham was a decent fellow but Nasty Roche was a stink. RodyKickham had greaves in his number and a hamper in the refectory. NastyRoche had big hands. Hecalled the Friday pudding dog-in-the-blanket.And one day he had asked:--What is your name?Stephen had answered: Stephen Dedalus.Then Nasty Roche hadsaid:--What kind of a name is that?And when Stephen had not been able to answer Nasty Roche had asked:--What is your father?Stephen had answered:--Agentleman.Then Nasty Roche had asked:--Is he a magistrate?He crept about from point to point on the fringe of his line, makinglittle runs now and then. But hishands were bluish with cold. He kepthis hands in the side pockets of his belted grey suit. That was a beltround his pocket. And belt was also to give a fellow abelt. One day afellow said to Cantwell:--I'd give you such a belt in a second.Cantwell had answered:--Go and fight your match. Give Cecil Thunder a belt. I'd liketo seeyou. He'd give you a toe in the rump for yourself.That was not a nice expression. His mother had told him not to speakwith the rough boys in the college.Nice mother! The first day in thehall of the castle when she had said goodbye she had put up her veildouble to her nose to kiss him: and her nose and eyes werered. But hehad pretended not to see that she was going to cry. She was a nicemother but she was not so nice when she cried. And his father had givenhim twofive-shilling pieces for pocket money. And his father had toldhim if he wanted anything to write home to him and, whatever he did,never to peach on a fellow.Then at the door of the castle the rectorhad shaken hands with his father and mother, his soutane fluttering inthe breeze, and the car had driven off with hisfather and mother onit. They had cried to him from the car, waving their hands:--Goodbye, Stephen, goodbye!--Goodbye, Stephen, goodbye!He was caught inthe whirl of a scrimmage and, fearful of the flashingeyes and muddy boots, bent down to look through the legs. The fellowswere struggling and groaning and theirlegs were rubbing and kickingand stamping. Then Jack Lawton's yellow boots dodged out the ball andall the other boots and legs ran after. He ran after them alittle wayand then stopped. It was useless to run on. Soon they would be goinghome for the holidays. After supper in the study hall he would changethe numberpasted up inside his desk from seventy-seven to seventy-six.It would be better to be in the study hall than out there in the cold.The sky was pale and cold butthere were lights in the castle. Hewondered from which window Hamilton Rowan had thrown his hat on theha-ha and had there been flowerbeds at that timeunder the windows. Oneday when he had been called to the castle the butler had shown him themarks of the soldiers' slugs in the wood of the door and had givenhima piece of shortbread that the community ate. It was nice and warm tosee the lights in the castle. It was like something in a book. PerhapsLeicester Abbeywas like that. And there were nice sentences in DoctorCornwell's Spelling Book. They were like poetry but they were onlysentences to learn the spellingfrom.    Wolsey died in Leicester Abbey    Where the abbots buried him.    Canker is a disease of plants,    Cancer one of animals.It would be nice to lie on thehearthrug before the fire, leaning hishead upon his hands, and think on those sentences. He shivered as if hehad cold slimy water next his skin. That was mean ofWells to shoulderhim into the square ditch because he would not swop his little snuffbox for Wells's seasoned hacking chestnut, the conqueror of forty. Howcoldand slimy the water had been! A fellow had once seen a big ratjump into the scum. Mother was sitting at the fire with Dante waitingfor Brigid to bring in the tea.She had her feet on the fender and herjewelly slippers were so hot and they had such a lovely warm smell!Dante knew a lot of things. She had taught him wherethe MozambiqueChannel was and what was the longest river in America and what was thename of the highest mountain in the moon. Father Arnall knew morethanDante because he was a priest but both his father and uncle Charlessaid that Dante was a clever woman and a well-read woman. And whenDante made thatnoise after dinner and then put up her hand to hermouth: that was heartburn.A voice cried far out on the playground:--All in!Then other voices cried from thelower and third lines:--All in! All in!The players closed around, flushed and muddy, and he went among them,glad to go in. Rody Kickham held the ball by itsgreasy lace. A fellowasked him to give it one last: but he walked on without even answeringthe fellow. Simon Moonan told him not to because the prefectwaslooking. The fellow turned to Simon Moonan and said:--We all know why you speak. You are McGlade's suck.Suck was a queer word. The fellow called SimonMoonan that name becauseSimon Moonan used to tie the prefect's false sleeves behind his backand the prefect used to let on to be angry. But the sound wasugly.Once he had washed his hands in the lavatory of the Wicklow Hotel andhis father pulled the stopper up by the chain after and the dirty waterwent downthrough the hole in the basin. And when it had all gone downslowly the hole in the basin had made a sound like that: suck. Onlylouder.To remember that and thewhite look of the lavatory made him feel coldand then hot. There were two cocks that you turned and water came out:cold and hot. He felt cold and then a littlehot: and he could see thenames printed on the cocks. That was a very queer thing.And the air in the corridor chilled him too. It was queer and wettish.But soonthe gas would be lit and in burning it made a light noise likea little song. Always the same: and when the fellows stopped talking inthe playroom you could hearit.It was the hour for sums. Father Arnall wrote a hard sum on the boardand then said:--Now then, who will win? Go ahead, York! Go ahead, Lancaster!Stephentried his best, but the sum was too hard and he felt confused.The little silk badge with the white rose on it that was pinned on thebreast of his jacket began toflutter. He was no good at sums, but hetried his best so that York might not lose. Father Arnall's face lookedvery black, but he was not in a wax: he was laughing.Then Jack Lawtoncracked his fingers and Father Arnall looked at his copybook and said:--Right. Bravo Lancaster! The red rose wins. Come on now, York!Forgeahead!Jack Lawton looked over from his side. The little silk badge with thered rose on it looked very rich because he had a blue sailor top on.Stephen felt hisown face red too, thinking of all the bets about whowould get first place in elements, Jack Lawton or he. Some weeks JackLawton got the card for first and someweeks he got the card for first.His white silk badge fluttered and fluttered as he worked at the nextsum and heard Father Arnall's voice. Then all his eagernesspassed awayand he felt his face quite cool. He thought his face must be whitebecause it felt so cool. He could not get out the answer for the sumbut it did notmatter. White roses and red roses: those were beautifulcolours to think of. And the cards for first place and second place andthird place were beautiful colourstoo: pink and cream and lavender.Lavender and cream and pink roses were beautiful to think of. Perhaps awild rose might be like those colours and heremembered the song aboutthe wild rose blossoms on the little green place. But you could nothave a green rose. But perhaps somewhere in the world youcould.The bell rang and then the classes began to file out of the rooms andalong the corridors towards the refectory. He sat looking at the twoprints of butter onhis plate but could not eat the damp bread. Thetablecloth was damp and limp. But he drank off the hot weak tea whichthe clumsy scullion, girt with a whiteapron, poured into his cup. Hewondered whether the scullion's apron was damp too or whether all whitethings were cold and damp. Nasty Roche and Saurindrank cocoa thattheir people sent them in tins. They said they could not drink the tea;that it was hogwash. Their fathers were magistrates, the fellows said.All theboys seemed to him very strange. They had all fathers andmothers and different clothes and voices. He longed to be at home andlay his head on his mother's lap.But he could not: and so he longedfor the play and study and prayers to be over and to be in bed.He drank another cup of hot tea and Fleming said:--What's up?"}
+{"doc_id":"doc_62","qid":"","text":"<html><head><title>Manhunter Script at IMSDb.</title><meta name=\"description\" content=\"Manhunter script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Manhunter script, Manhunter movie script, Manhunter film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>//--></b></script><title>Manhunter</title></head><pre><b>                  \"RED DRAGON\"</b>                   Screenplay                       By                  MichaelMann<b>                                   SECOND DRAFT</b>                                   July 20, 1984<b>EXT. MARATHON, FLORIDA, BEACH - GRAHAM + CRAWFORD -DAY</b>The highlit aqua water burns out sections of the two menimposed in front of it. The beach is white sand. JACKCRAWFORD -- mid-forties, large -- camedown from Washington.His suitcoat over the driftwood log and his rolled-up whitesleeves says City, not Florida Keys. WILL GRAHAM -- latethirties -- in a fadedHawaiian number and sun-bleached vio-let shorts, belongs. Graham smokes. Crawford drinks froma glass of iced tea.Then:<b>                          CRAWFORD</b>           I should have caught you at the boat           yard when you got off work. You           don't want to talk aboutit here...<b>                          GRAHAM</b>           I don't want to talk about it           anywhere.                   (beat)           If you brought pictures, leavethem           in the briefcase. Molly and Kevin           will be back soon.<b>                          CRAWFORD</b>           How much do youknow?<b>                          GRAHAM</b>           What was in the 'Miami Herald' and           the"}
+{"doc_id":"doc_63","qid":"","text":"The Project Gutenberg EBook of Tarzan of the Apes, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Tarzan of the ApesAuthor: Edgar Rice BurroughsRelease Date: June 23, 2008 [EBook #78]Last updated: May 5, 2012Language:English*** START OF THIS PROJECT GUTENBERG EBOOK TARZAN OF THE APES ***Produced by Judith Boss.  HTML version by Al Haines.Tarzan of theApesByEdgar Rice Burroughs         CONTENTS      I  Out to Sea     II  The Savage Home    III  Life and Death     IV  The Apes      V  The White Ape     VI  JungleBattles    VII  The Light of Knowledge   VIII  The Tree-top Hunter     IX  Man and Man      X  The Fear-Phantom     XI  \"King of the Apes\"    XII  Man'sReason   XIII  His Own Kind    XIV  At the Mercy of the Jungle     XV  The Forest God    XVI  \"Most Remarkable\"   XVII  Burials  XVIII  The Jungle Toll    XIX  TheCall of the Primitive     XX  Heredity    XXI  The Village of Torture   XXII  The Search Party  XXIII  Brother Men   XXIV  Lost Treasure    XXV  The Outpost of theWorld   XXVI  The Height of Civilization  XXVII  The Giant Again XXVIII  ConclusionChapter IOut to SeaI had this story from one who had no business to tell it tome, or toany other.  I may credit the seductive influence of an old vintage uponthe narrator for the beginning of it, and my own skeptical incredulityduring thedays that followed for the balance of the strange tale.When my convivial host discovered that he had told me so much, and thatI was prone to doubtfulness, hisfoolish pride assumed the task the oldvintage had commenced, and so he unearthed written evidence in the formof musty manuscript, and dry official records ofthe British ColonialOffice to support many of the salient features of his remarkablenarrative.I do not say the story is true, for I did not witness thehappeningswhich it portrays, but the fact that in the telling of it to you I havetaken fictitious names for the principal characters quite sufficientlyevidences thesincerity of my own belief that it MAY be true.The yellow, mildewed pages of the diary of a man long dead, and therecords of the Colonial Office dovetail perfectlywith the narrative ofmy convivial host, and so I give you the story as I painstakinglypieced it out from these several various agencies.If you do not find it credibleyou will at least be as one with me inacknowledging that it is unique, remarkable, and interesting.From the records of the Colonial Office and from the dead man'sdiarywe learn that a certain young English nobleman, whom we shall call JohnClayton, Lord Greystoke, was commissioned to make a peculiarlydelicateinvestigation of conditions in a British West Coast African Colony fromwhose simple native inhabitants another European power was known to berecruitingsoldiers for its native army, which it used solely for theforcible collection of rubber and ivory from the savage tribes alongthe Congo and the Aruwimi.  The nativesof the British Colonycomplained that many of their young men were enticed away through themedium of fair and glowing promises, but that few if any everreturnedto their families.The Englishmen in Africa went even further, saying that these poorblacks were held in virtual slavery, since after their terms ofenlistmentexpired their ignorance was imposed upon by their whiteofficers, and they were told that they had yet several years to serve.And so the Colonial Office appointedJohn Clayton to a new post inBritish West Africa, but his confidential instructions centered on athorough investigation of the unfair treatment of blackBritishsubjects by the officers of a friendly European power.  Why he wassent, is, however, of little moment to this story, for he never made aninvestigation, nor,in fact, did he ever reach his destination.Clayton was the type of Englishman that one likes best to associatewith the noblest monuments of historic achievementupon a thousandvictorious battlefields--a strong, virile man--mentally, morally, andphysically.In stature he was above the average height; his eyes were gray,hisfeatures regular and strong; his carriage that of perfect, robusthealth influenced by his years of army training.Political ambition had caused him to seektransference from the army tothe Colonial Office and so we find him, still young, entrusted with adelicate and important commission in the service of theQueen.When he received this appointment he was both elated and appalled.  Thepreferment seemed to him in the nature of a well-merited reward forpainstakingand intelligent service, and as a stepping stone to postsof greater importance and responsibility; but, on the other hand, hehad been married to the Hon. AliceRutherford for scarce a threemonths, and it was the thought of taking this fair young girl into thedangers and isolation of tropical Africa that appalled him.For hersake he would have refused the appointment, but she would nothave it so.  Instead she insisted that he accept, and, indeed, take herwith him.There weremothers and brothers and sisters, and aunts and cousins toexpress various opinions on the subject, but as to what they severallyadvised history is silent.We knowonly that on a bright May morning in 1888, John, LordGreystoke, and Lady Alice sailed from Dover on their way to Africa.A month later they arrived at Freetownwhere they chartered a smallsailing vessel, the Fuwalda, which was to bear them to their finaldestination.And here John, Lord Greystoke, and Lady Alice, his wife,vanished fromthe eyes and from the knowledge of men.Two months after they weighed anchor and cleared from the port ofFreetown a half dozen British warvessels were scouring the southAtlantic for trace of them or their little vessel, and it was almostimmediately that the wreckage was found upon the shores of St.Helenawhich convinced the world that the Fuwalda had gone down with all onboard, and hence the search was stopped ere it had scarce begun; thoughhopelingered in longing hearts for many years.The Fuwalda, a barkentine of about one hundred tons, was a vessel ofthe type often seen in coastwise trade in the farsouthern Atlantic,their crews composed of the offscourings of the sea--unhanged murderersand cutthroats of every race and every nation.The Fuwalda was noexception to the rule.  Her officers were swarthybullies, hating and hated by their crew.  The captain, while acompetent seaman, was a brute in his treatment ofhis men.  He knew, orat least he used, but two arguments in his dealings with them--abelaying pin and a revolver--nor is it likely that the motleyaggregation hesigned would have understood aught else.So it was that from the second day out from Freetown John Clayton andhis young wife witnessed scenes upon the deckof the Fuwalda such asthey had believed were never enacted outside the covers of printedstories of the sea.It was on the morning of the second day that the firstlink was forgedin what was destined to form a chain of circumstances ending in a lifefor one then unborn such as has never been paralleled in the historyofman.Two sailors were washing down the decks of the Fuwalda, the first matewas on duty, and the captain had stopped to speak with John Clayton andLadyAlice.The men were working backwards toward the little party who were facingaway from the sailors.  Closer and closer they came, until one of themwas directlybehind the captain.  In another moment he would havepassed by and this strange narrative would never have been recorded.But just that instant the officerturned to leave Lord and LadyGreystoke, and, as he did so, tripped against the sailor and sprawledheadlong upon the deck, overturning the water-pail so that hewasdrenched in its dirty contents.For an instant the scene was ludicrous; but only for an instant.  Witha volley of awful oaths, his face suffused with the scarletofmortification and rage, the captain regained his feet, and with aterrific blow felled the sailor to the deck.The man was small and rather old, so that the brutalityof the act wasthus accentuated.  The other seaman, however, was neither old norsmall--a huge bear of a man, with fierce black mustachios, and a greatbull neckset between massive shoulders.As he saw his mate go down he crouched, and, with a low snarl, sprangupon the captain crushing him to his knees with a singlemighty blow.From scarlet the officer's face went white, for this was mutiny; andmutiny he had met and subdued before in his brutal career.  Withoutwaiting torise he whipped a revolver from his pocket, firing pointblank at the great mountain of muscle towering before him; but, quickas he was, John Clayton was almostas quick, so that the bullet whichwas intended for the sailor's heart lodged in the sailor's leg instead,for Lord Greystoke had struck down the captain's arm as hehad seen theweapon flash in the sun.Words passed between Clayton and the captain, the former making itplain that he was disgusted with the brutality displayedtoward thecrew, nor would he countenance anything further of the kind while heand Lady Greystoke remained passengers.The captain was on the point of makingan angry reply, but, thinkingbetter of it, turned on his heel and black and scowling, strode aft.He did not care to antagonize an English official, for theQueen'smighty arm wielded a punitive instrument which he could appreciate, andwhich he feared--England's far-reaching navy.The two sailors picked themselvesup, the older man assisting hiswounded comrade to rise.  The big fellow, who was known among his matesas Black Michael, tried his leg gingerly, and, findingthat it bore hisweight, turned to Clayton with a word of gruff thanks.Though the fellow's tone was surly, his words were evidently wellmeant.  Ere he had scarcefinished his little speech he had turned andwas limping off toward the forecastle with the very apparent intentionof forestalling any further conversation.They didnot see him again for several days, nor did the captain accordthem more than the surliest of grunts when he was forced to speak tothem.They took their meals inhis cabin, as they had before the unfortunateoccurrence; but the captain was careful to see that his duties neverpermitted him to eat at the same time.The otherofficers were coarse, illiterate fellows, but little abovethe villainous crew they bullied, and were only too glad to avoidsocial intercourse with the polished Englishnoble and his lady, sothat the Claytons were left very much to themselves.This in itself accorded perfectly with their desires, but it alsorather isolated them fromthe life of the little ship so that they wereunable to keep in touch with the daily happenings which were toculminate so soon in bloody tragedy.There was in thewhole atmosphere of the craft that undefinablesomething which presages disaster.  Outwardly, to the knowledge of theClaytons, all went on as before upon thelittle vessel; but that therewas an undertow leading them toward some unknown danger both felt,though they did not speak of it to each other.On the second dayafter the wounding of Black Michael, Clayton came ondeck just in time to see the limp body of one of the crew being carriedbelow by four of his fellows while thefirst mate, a heavy belaying pinin his hand, stood glowering at the little party of sullen sailors.Clayton asked no questions--he did not need to--and the following"}
+{"doc_id":"doc_64","qid":"","text":"Project Gutenberg's The Tale of Mr. Jeremy Fisher, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of Mr. Jeremy FisherAuthor: Beatrix PotterRelease Date: February 16, 2005 [EBook #15077]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE TALE OF MR. JEREMY FISHER ***Produced by David Newman, Melissa Er-Raqabi and the PG OnlineDistributedProofreading Team at http://www.pgdp.net[Transcriber's Note: This book is heavily illustrated; references to theillustrations have been removed from this textversion. Please look forthe fully illustrated html version at http://www.gutenberg.net.]THE TALE OFMR. JEREMY FISHERBYBEATRIX POTTER_Author of__\"The Taleof Peter Rabbit,\" &c._FREDERICK WARNE & CO., INC.NEW YORKCOPYRIGHT, 1906BYFREDERICK WARNE & COFORSTEPHANIEFROMCOUSIN B.Once upon a timethere was a frog called Mr. Jeremy Fisher; he lived in alittle damp house amongst the buttercups at the edge of a pond.The water was all slippy-sloppy in thelarder and in the back passage.But Mr. Jeremy liked getting his feet wet; nobody ever scolded him, and henever caught a cold!He was quite pleased when helooked out and saw large drops of rain,splashing in the pond--\"I will get some worms and go fishing and catch a dish of minnows for mydinner,\" said Mr. JeremyFisher. \"If I catch more than five fish, I willinvite my friends Mr. Alderman Ptolemy Tortoise and Sir Isaac Newton. TheAlderman, however, eats salad.\"Mr. Jeremyput on a macintosh, and a pair of shiny goloshes; he took hisrod and basket, and set off with enormous hops to the place where he kepthis boat.The boat wasround and green, and very like the other lily-leaves. It wastied to a water-plant in the middle of the pond.Mr. Jeremy took a reed pole, and pushed the boat outinto open water. \"Iknow a good place for minnows,\" said Mr. Jeremy Fisher.Mr. Jeremy stuck his pole into the mud and fastened the boat to it.Then he settledhimself cross-legged and arranged his fishing tackle. Hehad the dearest little red float. His rod was a tough stalk of grass, hisline was a fine long white horse-hair,and he tied a little wriggling wormat the end.The rain trickled down his back, and for nearly an hour he stared at thefloat.\"This is getting tiresome, I think I shouldlike some lunch,\" said Mr.Jeremy Fisher.He punted back again amongst the water-plants, and took some lunch out ofhis basket.\"I will eat a butterfly sandwich,and wait till the shower is over,\" saidMr. Jeremy Fisher.A great big water-beetle came up underneath the lily leaf and tweaked thetoe of one of his goloshes.Mr.Jeremy crossed his legs up shorter, out of reach, and went on eatinghis sandwich.Once or twice something moved about with a rustle and a splash amongsttherushes at the side of the pond.\"I trust that is not a rat,\" said Mr. Jeremy Fisher; \"I think I had betterget away from here.\"Mr. Jeremy shoved the boat out again alittle way, and dropped in thebait. There was a bite almost directly; the float gave a tremendousbobbit!\"A minnow! a minnow! I have him by the nose!\" cried Mr.Jeremy Fisher,jerking up his rod.But what a horrible surprise! Instead of a smooth fat minnow, Mr. Jeremylanded little Jack Sharp the stickleback, covered withspines!The stickleback floundered about the boat, pricking and snapping until hewas quite out of breath. Then he jumped back into the water.And a shoal of otherlittle fishes put their heads out, and laughed atMr. Jeremy Fisher.And while Mr. Jeremy sat disconsolately on the edge of his boat--suckinghis sore fingers andpeering down into the water--a _much_ worse thinghappened; a really _frightful_ thing it would have been, if Mr. Jeremy hadnot been wearing a macintosh!Agreat big enormous trout came up--ker-pflop-p-p-p! with a splash--andit seized Mr. Jeremy with a snap, \"Ow! Ow! Ow!\"--and then it turned anddived down to thebottom of the pond!But the trout was so displeased with the taste of the macintosh, that inless than half a minute it spat him out again; and the only thingitswallowed was Mr. Jeremy's goloshes.Mr. Jeremy bounced up to the surface of the water, like a cork and thebubbles out of a soda water bottle; and he swamwith all his might to theedge of the pond.He scrambled out on the first bank he came to, and he hopped home acrossthe meadow with his macintosh all intatters.\"What a mercy that was not a pike!\" said Mr. Jeremy Fisher. \"I have lostmy rod and basket; but it does not much matter, for I am sure I shouldnever havedared to go fishing again!\"He put some sticking plaster on his fingers, and his friends both came todinner. He could not offer them fish, but he had something elsein hislarder.Sir Isaac Newton wore his black and gold waistcoat,And Mr. Alderman Ptolemy Tortoise brought a salad with him in a stringbag.And instead of a nicedish of minnows--they had a roasted grasshopperwith lady-bird sauce; which frogs consider a beautiful treat; but _I_think it must have been nasty!THE ENDEndof Project Gutenberg's The Tale of Mr. Jeremy Fisher, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OF MR. JEREMY FISHER******** This file should be named 15077.txt or 15077.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/5/0/7/15077/Produced by David Newman, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team athttp://www.pgdp.netUpdated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions meansthat noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission andwithout paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tmelectronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youchargefor the eBooks, unless you receive specific permission.  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+{"doc_id":"doc_65","qid":"","text":"<html><head><title>JFK Script at IMSDb.</title><meta name=\"description\" content=\"JFK script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"JFK script, JFK movie script, JFK film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                           JFK                                            By                               Oliver Stone & ZacharySklar                                    Based on books by                                 Jim Marrs & JimGarrison<b>                </b><b>                                                                    FADE IN</b>               Credits run in counterpoint through a 7 to 10 minutesequence                of documentary images setting the tone of John F. Kennedy's                Presidency and the atmosphere of those tense times,1960                through 1963.  An omniscient narrator's voice marches us                through in old time Pathe' newsreelfashion.<b>                                     VOICE</b>                         January, 1961 - President Dwight D.                          Eisenhower's Farewell Address tothe                          Nation -<b>               EISENHOWER ADDRESS</b><b>                                     EISENHOWER</b>                         The conjunction ofan immense military                          establishment and a large arms                          industry is new in the American                          experience.  The totalinfluence -                          economic, political, even spiritual -                          is felt in every city, every                          statehouse, every office ofthe                          Federal Government... In the councils                          of government we must guard against                          the acquisition ofunwarranted                          influence, whether sought or unsought,                          by the military industrial complex.                         The potential for the"}
+{"doc_id":"doc_66","qid":"","text":"The Project Gutenberg eBook, The Duke's Children, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Duke's ChildrenAuthor: Anthony TrollopeRelease Date: January, 2003    [eBook #3622]Most recently updated: August 20,2007Language: English***START OF THE PROJECT GUTENBERG EBOOK THE DUKE'S CHILDREN***E-text prepared by Kenneth David Cooper and revised byJoseph E.Loewenstein, M.D.THE DUKE'S CHILDRENbyANTHONY TROLLOPEFirst published in serial form in _All the Year Round_in 1879 and 1880 and in book formin 1880CONTENTS         I. When the Duchess Was Dead        II. Lady Mary Palliser       III. Francis Oliphant Tregear        IV. Park Lane         V. \"It IsImpossible\"        VI. Major Tifto       VII. Conservative Convictions      VIII. \"He Is a Gentleman\"        IX. \"In Medias Res\"         X. \"Why Not Like Romeo If I FeelLike Romeo?\"        XI. \"Cruel\"       XII. At Richmond      XIII. The Duke's Injustice       XIV. The New Member for Silverbridge        XV. The Duke Receives aLetter,--and Writes One       XVI. \"Poor Boy\"      XVII. The Derby     XVIII. One of the Results of the Derby       XIX. \"No; My Lord, I Do Not\"        XX. \"Then HeWill Come Again\"       XXI. Sir Timothy Beeswax      XXII. The Duke in His Study     XXIII. Frank Tregear Wants a Friend      XXIV. \"She Must Be Made toObey\"       XXV. A Family Breakfast-Table      XXVI. Dinner at the Beargarden     XXVII. Major Tifto and the Duke    XXVIII. Mrs. Montacute Jones'sGarden-Party      XXIX. The Lovers Meet       XXX. What Came of the Meeting      XXXI. Miss Boncassen's River-Party. No. 1     XXXII. Miss Boncassen'sRiver-Party. No. 2    XXXIII. The Langham Hotel     XXXIV. Lord Popplecourt      XXXV. \"Don't You Think--?\"     XXXVI. Tally-Ho Lodge    XXXVII. Grex   XXXVIII.Crummie-Toddie     XXXIX. Killancodlem        XL. \"And Then!\"       XLI. Ischl      XLII. Again at Killancodlem     XLIII. What Happened at Doncaster      XLIV. HowIt Was Done       XLV. \"There Shall Not Be Another Word About It\"      XLVI. Lady Mary's Dream     XLVII. Miss Boncassen's Idea of Heaven    XLVIII. The Party atCustins Is Broken Up      XLIX. The Major's Fate         L. The Duke's Arguments        LI. The Duke's Guests       LII. Miss Boncassen Tells the Truth      LIII. \"ThenI Am As Proud As a Queen\"       LIV. \"I Don't Think She Is a Snake\"        LV. Polpenno       LVI. The News Is Sent to Matching      LVII. The Meeting at \"TheBobtailed Fox\"     LVIII. The Major Is Deposed       LIX. No One Can Tell What May Come to Pass        LX. Lord Gerald in Further Trouble       LXI. \"Bone of MyBone\"      LXII. The Brake Country     LXIII. \"I've Seen 'Em Like That Before\"      LXIV. \"I Believe Him to Be a Worthy Young Man\"       LXV. \"Do You Ever ThinkWhat Money Is?\"      LXVI. The Three Attacks     LXVII. \"He Is Such a Beast\"    LXVIII. Brook Street      LXIX. \"Pert Poppet!\"       LXX. \"Love May Be a GreatMisfortune\"      LXXI. \"What Am I to Say, Sir?\"     LXXII. Carlton Terrace    LXXIII. \"I Have Never Loved You\"     LXXIV. \"Let Us Drink a Glass of WineTogether\"      LXXV. The Major's Story     LXXVI. On Deportment    LXXVII. \"Mabel, Good-Bye\"   LXXVIII. The Duke Returns to Office     LXXIX. The FirstWedding      LXXX. The Second WeddingCHAPTER IWhen the Duchess Was DeadNo one, probably, ever felt himself to be more alone in the worldthan our oldfriend, the Duke of Omnium, when the Duchess died. Whenthis sad event happened he had ceased to be Prime Minister. Duringthe first nine months after he hadleft office he and the Duchessremained in England. Then they had gone abroad, taking with themtheir three children. The eldest, Lord Silverbridge, had beenatOxford, but had had his career there cut short by some more thanordinary youthful folly, which had induced his father to agree withthe college authorities thathis name had better be taken off thecollege books,--all which had been cause of very great sorrow tothe Duke. The other boy was to go to Cambridge; but hisfather hadthought it well to give him a twelvemonth's run on the Continent,under his own inspection. Lady Mary, the only daughter, was theyoungest of thefamily, and she also had been with them on theContinent. They remained the full year abroad, travelling with alarge accompaniment of tutors, lady's-maids,couriers, and sometimesfriends. I do not know that the Duchess or the Duke had enjoyed itmuch; but the young people had seen something of foreign courtsandmuch of foreign scenery, and had perhaps perfected their French. TheDuke had gone to work at his travels with a full determination tocreate for himselfoccupation out of a new kind of life. He hadstudied Dante, and had striven to arouse himself to ecstatic joyamidst the loveliness of the Italian lakes. But through itall hehad been aware that he had failed. The Duchess had made no suchresolution,--had hardly, perhaps, made any attempt; but, in truth,they had both sighedto be back among the war-trumpets. They had bothsuffered much among the trumpets, and yet they longed to return. Hetold himself from day to day, thatthough he had been banished fromthe House of Commons, still, as a peer, he had a seat in Parliament,and that, though he was no longer a minister, still hemight beuseful as a legislator. She, in her career as a leader of fashion,had no doubt met with some trouble,--with some trouble but with nodisgrace; and as shehad been carried about among the lakes andmountains, among the pictures and statues, among the counts andcountesses, she had often felt that there was nohappiness except inthat dominion which circumstances had enabled her to achieve once,and might enable her to achieve again--in the realms ofLondonsociety.Then, in the early spring of 187--, they came back to England, havingpersistently carried out their project, at any rate in regard totime. LordGerald, the younger son, was at once sent up to Trinity.For the eldest son a seat was to be found in the House of Commons,and the fact that a dissolution ofParliament was expected served toprevent any prolonged sojourn abroad. Lady Mary Palliser was at thattime nineteen, and her entrance into the world was to beher mother'sgreat care and great delight. In March they spent a few days inLondon, and then went down to Matching Priory. When she left town theDuchess wascomplaining of cold, sore throat, and debility. A weekafter their arrival at Matching she was dead.Had the heavens fallen and mixed themselves with the earth,had thepeople of London risen in rebellion with French ideas of equality,had the Queen persistently declined to comply with the constitutionaladvice of herministers, had a majority in the House of Commons lostits influence in the country,--the utter prostration of the berefthusband could not have been morecomplete. It was not only that hisheart was torn to pieces, but that he did not know how to look outinto the world. It was as though a man should be suddenlycalled uponto live without hands or even arms. He was helpless, and knew himselfto be helpless. Hitherto he had never specially acknowledged tohimself that hiswife was necessary to him as a component part of hislife. Though he had loved her dearly, and had in all things consultedher welfare and happiness, he had attimes been inclined to thinkthat in the exuberance of her spirits she had been a troublerather than a support to him. But now it was as though alloutsideappliances were taken away from him. There was no one of whom hecould ask a question.For it may be said of this man that, though throughout his lifehehad had many Honourable and Right Honourable friends, and that thoughhe had entertained guests by the score, and though he had achievedfor himself therespect of all good men and the thorough admirationof some few who knew him, he had hardly made for himself a singleintimate friend--except that one who hadnow passed away from him. Toher he had been able to say what he thought, even though she wouldoccasionally ridicule him while he was declaring his feelings.Butthere had been no other human soul to whom he could open himself.There were one or two whom he loved, and perhaps liked; but hisloving and his liking hadbeen exclusively political. He had sohabituated himself to devote his mind and his heart to the service ofhis country, that he had almost risen above or sunk belowhumanity.But she, who had been essentially human, had been a link between himand the world.There were his three children, the youngest of whom was nownearlynineteen, and they surely were links! At the first moment of hisbereavement they were felt to be hardly more than burdens. A moreloving father there wasnot in England, but nature had made him soundemonstrative that as yet they had hardly known his love. In alltheir joys and in all their troubles, in all theirdesires and alltheir disappointments, they had ever gone to their mother. She hadbeen conversant with everything about them, from the boys' billsand the girl'sgloves to the innermost turn in the heart and thedisposition of each. She had known with the utmost accuracy thenature of the scrapes into which LordSilverbridge had precipitatedhimself, and had known also how probable it was that Lord Geraldwould do the same. The results of such scrapes she, ofcourse,deplored; and therefore she would give good counsel, pointing out howimperative it was that such evil-doings should be avoided; but withthe spirit thatproduced the scrapes she fully sympathised. Thefather disliked the spirit almost worse than the results; and wastherefore often irritated and unhappy.And thedifficulties about the girl were almost worse to bear thanthose about the boys. She had done nothing wrong. She had given nosigns of extravagance or otherjuvenile misconduct. But she wasbeautiful and young. How was he to bring her out into the world? Howwas he to decide whom she should or whom she shouldnot marry? Howwas he to guide her through the shoals and rocks which lay in thepath of such a girl before she can achieve matrimony?It was the fate of thefamily that, with a world of acquaintance,they had not many friends. From all close connection with relativeson the side of the Duchess they had been disseveredby old feelingsat first, and afterwards by want of any similitude in the habitsof life. She had, when young, been repressed by male and femaleguardians with aniron hand. Such repression had been needed, and hadbeen perhaps salutary, but it had not left behind it much affection.And then her nearest relatives were notsympathetic with the Duke. Hecould obtain no assistance in the care of his girl from that source.Nor could he even do it from his own cousins' wives, who werehisnearest connections on the side of the Pallisers. They were womento whom he had ever been kind, but to whom he had never opened hisheart. When, in themidst of the stunning sorrow of the first week,he tried to think of all this, it seemed to him that there wasnobody.There had been one lady, a very dear ally,staying in the house withthem when the Duchess died. This was Mrs. Finn, the wife of PhineasFinn, who had been one of the Duke's colleagues when in office.How"}
+{"doc_id":"doc_67","qid":"","text":"<html><head><title>Nurse Betty Script at IMSDb.</title><meta name=\"description\" content=\"Nurse Betty script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Nurse Betty script, Nurse Betty movie script, Nurse Betty film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b>      <TITLE>\"NURSE BETTY\" -- by John C. Richards & JamesFlamberg</TITLE><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><b></HEAD></b><b><BODY></b><b>   <PRE></b><b><CENTER><B>NURSE BETTY</B></b>Screenplay by John C. Richards & JamesFlambergStory by John C. Richards</CENTER>                                                         Shooting Script(FINAL)<b>                                                         3/9/99</b><b>                                                                FADE IN:</b><b>      1     INT. OPERATINGROOM - DAY                                1</b>            A tense surgery in progress.  Meters flicker, instruments            flash in the bright overhead light.  In the midstof it all            stands DR. DAVID RAVELL, 35.  The master of his domain.            Ravell leans forward so a NURSE can mop the sweat from his            brow as hecompletes a last, delicate procedure.  His co            workers sigh collectively with relief.<b>                                DAVID</b>                          (to Asst.Surgeon)                      Close her up, will you?<b>      2     INT. HOSPITAL CORRIDOR - DAY                             2</b>            Dr. Ravell comes out of surgery,clearly exhausted.  Without            his surgical mask he is ruggedly handsome.  TWO NURSES            follow, attending him like a fighter fresh from thering:            CHLOE, 25, Raven-haired and striking, and JASMINE, 24, an            exotic mix of African-American and Asian.            BLAKE DANIELS, 58, the"}
+{"doc_id":"doc_68","qid":"","text":"The Project Gutenberg EBook of Uncle Silas, by J. S. LeFanuThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Uncle Silas       A Tale of Bartram-HaughAuthor: J. S. LeFanuRelease Date: January 31, 2005 [EBook #14851]Language: English***START OF THIS PROJECT GUTENBERG EBOOK UNCLE SILAS ***Produced by Suzanne Shell, Bob McKillip and the Online DistributedProofreadingTeam.[Transcriber's note: The spelling inconsistencies of the original havebeen retained in this etext.]UNCLE SILASA Tale of Bartram-HaughBy J. S.LeFanu1899TOTHE RIGHT HON.THE COUNTESS OF GIFFORD,AS A TOKEN OFRESPECT, SYMPATHY, AND ADMIRATION_This Tale_IS INSCRIBED BYTHEAUTHOR_A PRELIMINARY WORD_The writer of this Tale ventures, in his own person, to address a very fewwords, chiefly of explanation, to his readers. A leadingsituation in this'Story of Bartram-Haugh' is repeated, with a slight variation, from a shortmagazine tale of some fifteen pages written by him, and published longagoin a periodical under the title of 'A Passage in the Secret History of anIrish Countess,' and afterwards, still anonymously, in a small volume underan alteredtitle. It is very unlikely that any of his readers should haveencountered, and still more so that they should remember, this trifle. Thebare possibility, however, hehas ventured to anticipate by this briefexplanation, lest he should be charged with plagiarism--always a disrespectto a reader.May he be permitted a few wordsalso of remonstrance against thepromiscuous application of the term 'sensation' to that large school offiction which transgresses no one of those canons ofconstruction andmorality which, in producing the unapproachable 'Waverley Novels,' theirgreat author imposed upon himself? No one, it is assumed, woulddescribeSir Walter Scott's romances as 'sensation novels;' yet in that marvellousseries there is not a single tale in which death, crime, and, in someform,mystery, have not a place.Passing by those grand romances of 'Ivanhoe,' 'Old Mortality,' and'Kenilworth,' with their terrible intricacies of crime andbloodshed,constructed with so fine a mastery of the art of exciting suspense andhorror, let the reader pick out those two exceptional novels in the serieswhichprofess to paint contemporary manners and the scenes of common life;and remembering in the 'Antiquary' the vision in the tapestried chamber,the duel, thehorrible secret, and the death of old Elspeth, the drownedfisherman, and above all the tremendous situation of the tide-bound partyunder the cliffs; and in 'St.Ronan's Well,' the long-drawn mystery, thesuspicion of insanity, and the catastrophe of suicide;--determine whetheran epithet which it would be a profanation toapply to the structure ofany, even the most exciting of Sir Walter Scott's stories, is fairlyapplicable to tales which, though illimitably inferior in execution,yetobserve the same limitations of incident, and the same moral aims.The author trusts that the Press, to whose masterly criticism and generousencouragementhe and other humble labourers in the art owe so much, willinsist upon the limitation of that degrading term to the peculiar type offiction which it was originallyintended to indicate, and prevent, as theymay, its being made to include the legitimate school of tragic Englishromance, which has been ennobled, and in greatmeasure founded, by thegenius of Sir Walter Scott.CONTENTSCHAPTERI. AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTERII. UNCLE SILASIII. A NEW FACEIV.MADAME DE LA ROUGIERREV. SIGHTS AND NOISESVI. A WALK IN THE WOODVII. CHURCH SCARSDALEVIII. THE SMOKERIX. MONICA KNOLLYSX. LADY KNOLLYSREMOVES A COVERLETXI. LADY KNOLLYS SEES THE FEATURESXII. A CURIOUS CONVERSATIONXIII. BEFORE AND AFTER BREAKFASTXIV. ANGRY WORDSXV. AWARNINGXVI. DOCTOR BRYERLY LOOKS INXVII. AN ADVENTUREXVIII. A MIDNIGHT VISITORXIX. AU REVOIRXX. AUSTIN RUTHYN SETS OUT ON HISJOURNEYXXI. ARRIVALSXXII. SOMEBODY IN THE ROOM WITH THE COFFINXXIII. I TALK WITH DOCTOR BRYERLYXXIV. THE OPENING OF THE WILLXXV. I HEARFROM UNCLE SILASXXVI. THE STORY OF UNCLE SILASXXVII. MORE ABOUT TOM CHARKE'S SUICIDEXXVIII. I AM PERSUADEDXXIX. HOW THE AMBASSADORFAREDXXX. ON THE ROADXXXI. BARTRAM-HAUGHXXXII. UNCLE SILASXXXIII. THE WINDMILL WOODXXXIV. ZAMIELXXXV. WE VISIT A ROOM IN THE SECONDSTOREYXXXVI. AN ARRIVAL AT DEAD OF NIGHTXXXVII. DOCTOR BRYERLY EMERGESXXXVIII. A MIDNIGHT DEPARTUREXXXIX. COUSIN MONICA AND UNCLESILAS MEETXL. IN WHICH I MAKE ANOTHER COUSIN'S ACQUAINTANCEXLI. MY COUSIN DUDLEYXLII. ELVERSTON AND ITS PEOPLEXLIII. NEWS AT BARTRAMGATEXLIV. A FRIEND ARISESXLV. A CHAPTER-FULL OF LOVERSXLVI. THE RIVALSXLVII. DOCTOR BRYERLY REAPPEARSXLVIII. QUESTION AND ANSWERXLIX. ANAPPARITIONL. MILLY'S FAREWELLLI. SARAH MATILDA COMES TO LIGHTLII. THE PICTURE OF A WOLFLIII. AN ODD PROPOSALLIV. IN SEARCH OF MR. CHARKE'SSKELETONLV. THE FOOT OF HERCULESLVI. I CONSPIRELVII. THE LETTERLVIII. LADY KNOLLYS' CARRIAGELIX. A SUDDEN DEPARTURELX. THE JOURNEYLXI. OURBED-CHAMBERLXII. A WELL-KNOWN FACE LOOKS INLXIII. SPICED CLARETLXIV. THE HOUR OF DEATHLXV. IN THE OAK PARLOURCONCLUSIONUNCLE SILASATale of Bartram-HaughCHAPTER I_AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTER_It was winter--that is, about the second week in November--and greatgustswere rattling at the windows, and wailing and thundering among our talltrees and ivied chimneys--a very dark night, and a very cheerful fireblazing, apleasant mixture of good round coal and spluttering dry wood, ina genuine old fireplace, in a sombre old room. Black wainscoting glimmeredup to the ceiling, insmall ebony panels; a cheerful clump of wax candleson the tea-table; many old portraits, some grim and pale, others pretty,and some very graceful andcharming, hanging from the walls. Few pictures,except portraits long and short, were there. On the whole, I think youwould have taken the room for our parlour.It was not like our modernnotion of a drawing-room. It was a long room too, and every way capacious,but irregularly shaped.A girl, of a little more thanseventeen, looking, I believe, younger still;slight and rather tall, with a great deal of golden hair, dark grey-eyed,and with a countenance rather sensitive andmelancholy, was sitting at thetea-table, in a reverie. I was that girl.The only other person in the room--the only person in the house related tome--was my father.He was Mr. Ruthyn, of Knowl, so called in his county,but he had many other places, was of a very ancient lineage, who hadrefused a baronetage often, and it wassaid even a viscounty, being of aproud and defiant spirit, and thinking themselves higher in station andpurer of blood than two-thirds of the nobility into whoseranks, it wassaid, they had been invited to enter. Of all this family lore I knew butlittle and vaguely; only what is to be gathered from the fireside talk ofoldretainers in the nursery.I am sure my father loved me, and I know I loved him. With the sureinstinct of childhood I apprehended his tenderness, although it wasneverexpressed in common ways. But my father was an oddity. He had been earlydisappointed in Parliament, where it was his ambition to succeed. Thoughaclever man, he failed there, where very inferior men did extremely well.Then he went abroad, and became a connoisseur and a collector; took a part,on hisreturn, in literary and scientific institutions, and also in thefoundation and direction of some charities. But he tired of this mimicgovernment, and gave himself upto a country life, not that of a sportsman,but rather of a student, staying sometimes at one of his places andsometimes at another, and living a secludedlife.Rather late in life he married, and his beautiful young wife died, leavingme, their only child, to his care. This bereavement, I have been told,changedhim--made him more odd and taciturn than ever, and his temper also,except to me, more severe. There was also some disgrace about his youngerbrother--myuncle Silas--which he felt bitterly.He was now walking up and down this spacious old room, which, extendinground an angle at the far end, was very dark in thatquarter. It was hiswont to walk up and down thus, without speaking--an exercise which used toremind me of Chateaubriand's father in the great chamber of theChâteaude Combourg. At the far end he nearly disappeared in the gloom, and thenreturning emerged for a few minutes, like a portrait with a backgroundofshadow, and then again in silence faded nearly out of view.This monotony and silence would have been terrifying to a person lessaccustomed to it than I. As itwas, it had its effect. I have known myfather a whole day without once speaking to me. Though I loved him verymuch, I was also much in awe of him.While myfather paced the floor, my thoughts were employed about the eventsof a month before. So few things happened at Knowl out of the accustomedroutine, that avery trifling occurrence was enough to set people wonderingand conjecturing in that serene household. My father lived in remarkableseclusion; except for a ride,he hardly ever left the grounds of Knowl; andI don't think it happened twice in the year that a visitor sojourned amongus.There was not even that mild religiousbustle which sometimes besets thewealthy and moral recluse. My father had left the Church of England forsome odd sect, I forget its name, and ultimatelybecame, I was told, aSwedenborgian. But he did not care to trouble me upon the subject. So theold carriage brought my governess, when I had one, the oldhousekeeper,Mrs. Rusk, and myself to the parish church every Sunday. And my father, inthe view of the honest rector who shook his head over him--'a cloudwithoutwater, carried about of winds, and a wandering star to whom is reserved theblackness of darkness'--corresponded with the 'minister' of his church,andwas provokingly contented with his own fertility and illumination; andMrs. Rusk, who was a sound and bitter churchwoman, said he fancied he sawvisions andtalked with angels like the rest of that 'rubbitch.'I don't know that she had any better foundation than analogy and conjecturefor charging my father withsupernatural pretensions; and in all pointswhen her orthodoxy was not concerned, she loved her master and was a loyalhousekeeper.I found her one morningsuperintending preparations for the reception ofa visitor, in the hunting-room it was called, from the pieces of tapestrythat covered its walls, representing scenes_à la Wouvermans_, of falconry,and the chase, dogs, hawks, ladies, gallants, and pages. In the midst ofwhom Mrs. Rusk, in black silk, was rummaging drawers,counting linen, andissuing orders.'Who is coming, Mrs. Rusk?'Well, she only knew his name. It was a Mr. Bryerly. My papa expected him todinner, and to stay forsome days.'I guess he's one of those creatures, dear, for I mentioned his name justto Dr. Clay (the rector), and he says there _is_ a Doctor Bryerly, a"}
+{"doc_id":"doc_69","qid":"","text":"The Project Gutenberg EBook of Queen of the Black Coast, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Queen of the Black CoastAuthor: Robert E. HowardRelease Date: February 24, 2013 [EBook #42183]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK QUEEN OF THE BLACK COAST ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                     QUEEN OF THE BLACK COAST                       By Robert E. Howard    [Transcriber's Note: This etext was first published inWeird Tales    May 1934. Extensive research did not uncover any evidence that the    U.S. copyright on this publication was renewed.]1 Conan Joins thePirates    _Believe green buds awaken in the spring,      That autumn paints the leaves with somber fire;    Believe I held my heart inviolate      To lavish on oneman my hot desire._    THE SONG OF BÃ\u0000LITHoofs drummed down the street that sloped to the wharfs. The folk thatyelled and scattered had only a fleetingglimpse of a mailed figure on ablack stallion, a wide scarlet cloak flowing out on the wind. Far up thestreet came the shout and clatter of pursuit, but thehorseman did notlook back. He swept out onto the wharfs and jerked the plunging stallionback on its haunches at the very lip of the pier. Seamen gaped upathim, as they stood to the sweep and striped sail of a high-prowed,broad-waisted galley. The master, sturdy and black-bearded, stood in thebows, easing heraway from the piles with a boat-hook. He yelled angrilyas the horseman sprang from the saddle and with a long leap landedsquarely on the mid-deck.'Who invitedyou aboard?''Get under way!' roared the intruder with a fierce gesture thatspattered red drops from his broadsword.'But we're bound for the coasts of Kush!'expostulated the master.'Then I'm for Kush! Push off, I tell you!' The other cast a quick glanceup the street, along which a squad of horsemen were galloping;farbehind them toiled a group of archers, crossbows on their shoulders.'Can you pay for your passage?' demanded the master.'I pay my way with steel!' roaredthe man in armor, brandishing thegreat sword that glittered bluely in the sun. 'By Crom, man, if youdon't get under way, I'll drench this galley in the blood of itscrew!'The shipmaster was a good judge of men. One glance at the dark scarredface of the swordsman, hardened with passion, and he shouted a quickorder,thrusting strongly against the piles. The galley wallowed outinto clear water, the oars began to clack rhythmically; then a puff ofwind filled the shimmering sail,the light ship heeled to the gust, thentook her course like a swan, gathering headway as she skimmed along.On the wharfs the riders were shaking their swordsand shouting threatsand commands that the ship put about, and yelling for the bowmen tohasten before the craft was out of arbalest range.'Let them rave,'grinned the swordsman hardily. 'Do you keep her on hercourse, master steersman.'The master descended from the small deck between the bows, made hiswaybetween the rows of oarsmen, and mounted the mid-deck. The strangerstood there with his back to the mast, eyes narrowed alertly, swordready. Theshipman eyed him steadily, careful not to make any movetoward the long knife in his belt. He saw a tall powerfully built figurein a black scale-mail hauberk,burnished greaves and a blue-steel helmetfrom which jutted bull's horns highly polished. From the mailedshoulders fell the scarlet cloak, blowing in the sea-wind.A broadshagreen belt with a golden buckle held the scabbard of the broadswordhe bore. Under the horned helmet a square-cut black mane contrastedwithsmoldering blue eyes.'If we must travel together,' said the master, 'we may as well be atpeace with each other. My name is Tito, licensed master-shipman oftheports of Argos. I am bound for Kush, to trade beads and silks and sugarand brass-hilted swords to the black kings for ivory, copra, copper ore,slaves andpearls.'The swordsman glanced back at the rapidly receding docks, where thefigures still gesticulated helplessly, evidently having trouble infinding a boat swiftenough to overhaul the fast-sailing galley.'I am Conan, a Cimmerian,' he answered. 'I came into Argos seekingemployment, but with no wars forward, there wasnothing to which I mightturn my hand.''Why do the guardsmen pursue you?' asked Tito. 'Not that it's any of mybusiness, but I thought perhaps----''I've nothingto conceal,' replied the Cimmerian. 'By Crom, though I'vespent considerable time among you civilized peoples, your ways are stillbeyond mycomprehension.'Well, last night in a tavern, a captain in the king's guard offeredviolence to the sweetheart of a young soldier, who naturally ran himthrough. Butit seems there is some cursed law against killingguardsmen, and the boy and his girl fled away. It was bruited about thatI was seen with them, and so today Iwas haled into court, and a judgeasked me where the lad had gone. I replied that since he was a friend ofmine, I could not betray him. Then the court waxedwrath, and the judgetalked a great deal about my duty to the state, and society, and otherthings I did not understand, and bade me tell where my friend hadflown.By this time I was becoming wrathful myself, for I had explained myposition.'But I choked my ire and held my peace, and the judge squalled that Ihadshown contempt for the court, and that I should be hurled into adungeon to rot until I betrayed my friend. So then, seeing they were allmad, I drew my swordand cleft the judge's skull; then I cut my way outof the court, and seeing the high constable's stallion tied near by, Irode for the wharfs, where I thought to find aship bound for foreignparts.''Well,' said Tito hardily, 'the courts have fleeced me too often insuits with rich merchants for me to owe them any love. I'llhavequestions to answer if I ever anchor in that port again, but I can proveI acted under compulsion. You may as well put up your sword. We'repeaceable sailors,and have nothing against you. Besides, it's as wellto have a fighting-man like yourself on board. Come up to the poop-deckand we'll have a tankard of ale.''Goodenough,' readily responded the Cimmerian, sheathing his sword.The _Argus_ was a small sturdy ship, typical of those trading-craftwhich ply between the ports ofZingara and Argos and the southerncoasts, hugging the shoreline and seldom venturing far into the openocean. It was high of stern, with a tall curving prow;broad in thewaist, sloping beautifully to stem and stern. It was guided by the longsweep from the poop, and propulsion was furnished mainly by the broadstripedsilk sail, aided by a jibsail. The oars were for use in tackingout of creeks and bays, and during calms. There were ten to the side,five fore and five aft of the smallmid-deck. The most precious part ofthe cargo was lashed under this deck, and under the fore-deck. The menslept on deck or between the rowers' benches,protected in bad weatherby canopies. With twenty men at the oars, three at the sweep, and theshipmaster, the crew was complete.So the _Argus_ pushedsteadily southward, with consistently fairweather. The sun beat down from day to day with fiercer heat, and thecanopies were run up--striped silken cloths thatmatched the shimmeringsail and the shining goldwork on the prow and along the gunwales.They sighted the coast of Shem--long rolling meadowlands with thewhitecrowns of the towers of cities in the distance, and horsemen withblue-black beards and hooked noses, who sat their steeds along the shoreand eyed thegalley with suspicion. She did not put in; there was scantprofit in trade with the sons of Shem.Nor did master Tito pull into the broad bay where the Styx riveremptiedits gigantic flood into the ocean, and the massive black castles ofKhemi loomed over the blue waters. Ships did not put unasked into thisport, wheredusky sorcerers wove awful spells in the murk of sacrificialsmoke mounting eternally from blood-stained altars where naked womenscreamed, and where Set, theOld Serpent, arch-demon of the Hyboriansbut god of the Stygians, was said to writhe his shining coils among hisworshippers.Master Tito gave that dreamyglass-floored bay a wide berth, even when aserpent-prowed gondola shot from behind a castellated point of land, andnaked dusky women, with great redblossoms in their hair, stood andcalled to his sailors, and posed and postured brazenly.Now no more shining towers rose inland. They had passed thesouthernborders of Stygia and were cruising along the coasts of Kush. The seaand the ways of the sea were never-ending mysteries to Conan, whosehomelandwas among the high hills of the northern uplands. The wandererwas no less of interest to the sturdy seamen, few of whom had ever seenone of his race.Theywere characteristic Argosean sailors, short and stockily built.Conan towered above them, and no two of them could match his strength.They were hardy androbust, but his was the endurance and vitality of awolf, his thews steeled and his nerves whetted by the hardness of hislife in the world's wastelands. He wasquick to laugh, quick andterrible in his wrath. He was a valiant trencherman, and strong drinkwas a passion and a weakness with him. Naïve as a child in manyways,unfamiliar with the sophistry of civilization, he was naturallyintelligent, jealous of his rights, and dangerous as a hungry tiger.Young in years, he washardened in warfare and wandering, and hissojourns in many lands were evident in his apparel. His horned helmetwas such as was worn by the golden-hairedÃ\u0000sir of Nordheim; his hauberkand greaves were of the finest workmanship of Koth; the fine ring-mailwhich sheathed his arms and legs was of Nemedia; theblade at his girdlewas a great Aquilonian broadsword; and his gorgeous scarlet cloak couldhave been spun nowhere but in Ophir.So they beat southward, andmaster Tito began to look for thehigh-walled villages of the black people. But they found only smokingruins on the shore of a bay, littered with naked blackbodies. Titoswore.'I had good trade here, aforetime. This is the work of pirates.''And if we meet them?' Conan loosened his great blade in its scabbard.'Mine is nowarship. We run, not fight. Yet if it came to a pinch, wehave beaten off reavers before, and might do it again; unless it wereBêlit's _Tigress_.''Who is Bêlit?''Thewildest she-devil unhanged. Unless I read the signs a-wrong, it washer butchers who destroyed that village on the bay. May I some day seeher dangling from theyard-arm! She is called the queen of the blackcoast. She is a Shemite woman, who leads black raiders. They harry theshipping and have sent many a goodtradesman to the bottom.'From under the poop-deck Tito brought out quilted jerkins, steel caps,bows and arrows.'Little use to resist if we're run down,' hegrunted. 'But it rasps thesoul to give up life without a struggle.'       *       *       *       *       *It was just at sunrise when the lookout shouted a warning. Aroundthelong point of an island off the starboard bow glided a long lethalshape, a slender serpentine galley, with a raised deck that ran fromstem to stern. Forty oars"}
+{"doc_id":"doc_70","qid":"","text":"Project Gutenberg's He Walked Around the Horses, by Henry Beam PiperThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: He Walked Around the HorsesAuthor: Henry Beam PiperIllustrator: CartierRelease Date: July 11, 2006 [EBook #18807]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK HE WALKED AROUND THE HORSES ***Produced by Greg Weeks, William Woods and theOnlineDistributed Proofreading Team at http://www.pgdp.netTranscriber's note:This etext was produced from Astounding Science Fiction April 1948.Extensiveresearch did not uncover any evidence that the copyrighton this publication was renewed.[Illustration]HE WALKEDAROUND THE HORSESBY H. BEAMPIPERIllustrated by Cartier_This tale is based on an authenticated,documented fact. A man vanished--rightout of this world. And where he went--__In November1809, an Englishman named Benjamin Bathurst vanished,inexplicably and utterly.__He was en route to Hamburg from Vienna, where he had been servingas hisgovernment's envoy to the court of what Napoleon had leftof the Austrian Empire. At an inn in Perleburg, in Prussia, whileexamining a change of horses for hiscoach, he casually steppedout of sight of his secretary and his valet. He was not seen toleave the inn yard. He was not seen again, ever.__At least, not in thiscontinuum...._(From Baron Eugen von Krutz, Minister of Police, to His Excellencythe Count von Berchtenwald, Chancellor to His Majesty FriedrichWilhelm III ofPrussia.)25 November, 1809Your Excellency:A circumstance has come to the notice of this Ministry, thesignificance of which I am at a loss to define, but, sinceitappears to involve matters of State, both here and abroad, I amconvinced that it is of sufficient importance to be brought toyour personal attention. Frankly, Iam unwilling to take anyfurther action in the matter without your advice.Briefly, the situation is this: We are holding, here at theMinistry of Police, a person givinghis name as Benjamin Bathurst,who claims to be a British diplomat. This person was taken intocustody by the police at Perleburg yesterday, as a result ofadisturbance at an inn there; he is being detained on technicalcharges of causing disorder in a public place, and of being asuspicious person. When arrested, hehad in his possession adispatch case, containing a number of papers; these are of such anextraordinary nature that the local authorities declined to assumeanyresponsibility beyond having the man sent here to Berlin.After interviewing this person and examining his papers, I am,I must confess, in much the sameposition. This is not, I amconvinced, any ordinary police matter; there is something verystrange and disturbing here. The man's statements, taken alone,are soincredible as to justify the assumption that he is mad. Icannot, however, adopt this theory, in view of his demeanor,which is that of a man of perfect rationality,and because of theexistence of these papers. The whole thing is mad; incomprehensible!The papers in question accompany, along with copies of thevariousstatements taken at Perleburg, a personal letter to mefrom my nephew, Lieutenant Rudolf von Tarlburg. This last isdeserving of your particular attention;Lieutenant von Tarlburgis a very level-headed young officer, not at all inclined to befanciful or imaginative. It would take a good deal to affect himas hedescribes.The man calling himself Benjamin Bathurst is now lodged in anapartment here at the Ministry; he is being treated with everyconsideration, and, exceptfor freedom of movement, accordedevery privilege.I am, most anxiously awaiting your advice, et cetera, et cetera,Krutz(Report of Traugott Zeller,_Oberwachtmeister_, _Staatspolizei_,made at Perleburg, 25 November, 1809.)At about ten minutes past two of the afternoon of Saturday, 25November, while Iwas at the police station, there entered a manknown to me as Franz Bauer, an inn servant employed by ChristianHauck, at the sign of the Sword & Scepter, herein Perleburg.This man Franz Bauer made complaint to _Staatspolizeikapitan_Ernst Hartenstein, saying that there was a madman making troubleat the inn wherehe, Franz Bauer, worked. I was, therefore,directed, by _Staatspolizeikapitan_ Hartenstein, to go to theSword & Scepter Inn, there to act at discretion to maintainthepeace.Arriving at the inn in company with the said Franz Bauer, I founda considerable crowd of people in the common room, and, in themidst of them, theinnkeeper, Christian Hauck, in altercation witha stranger. This stranger was a gentlemanly-appearing person,dressed in traveling clothes, who had under his arma smallleather dispatch case. As I entered, I could hear him, speaking inGerman with a strong English accent, abusing the innkeeper, thesaid Christian Hauck,and accusing him of having drugged his, thestranger's, wine, and of having stolen his, the stranger's,coach-and-four, and of having abducted his, thestranger's,secretary and servants. This the said Christian Hauck was loudlydenying, and the other people in the inn were taking theinnkeeper's part, and mockingthe stranger for a madman.On entering, I commanded everyone to be silent, in the king's name,and then, as he appeared to be the complaining party of thedispute,I required the foreign gentleman to state to me what was thetrouble. He then repeated his accusations against the innkeeper,Hauck, saying that Hauck,or, rather, another man who resembledHauck and who had claimed to be the innkeeper, had drugged his wineand stolen his coach and made off with hissecretary and hisservants. At this point, the innkeeper and the bystanders all beganshouting denials and contradictions, so that I had to pound on atable with mytruncheon to command silence.I then required the innkeeper, Christian Hauck, to answer thecharges which the stranger had made; this he did with acompletedenial of all of them, saying that the stranger had had no winein his inn, and that he had not been inside the inn until a fewminutes before, when he hadburst in shouting accusations, andthat there had been no secretary, and no valet, and no coachman,and no coach-and-four, at the inn, and that the gentlemanwasraving mad. To all this, he called the people who were in thecommon room to witness.I then required the stranger to account for himself. He saidthat hisname was Benjamin Bathurst, and that he was a Britishdiplomat, returning to England from Vienna. To prove this, heproduced from his dispatch case sundrypapers. One of these wasa letter of safe-conduct, issued by the Prussian Chancellery, inwhich he was named and described as Benjamin Bathurst. Theotherpapers were English, all bearing seals, and appearing to beofficial documents.Accordingly, I requested him to accompany me to the police station,and alsothe innkeeper, and three men whom the innkeeper wanted tobring as witnesses.Traugott Zeller_Oberwachtmeister_Report approved,ErnstHartenstein_Staatspolizeikapitan_(Statement of the self-so-called Benjamin Bathurst, taken at thepolice station at Perleburg, 25 November, 1809.)My name isBenjamin Bathurst, and I am Envoy Extraordinary andMinister Plenipotentiary of the government of His Britannic Majestyto the court of His Majesty Franz I,Emperor of Austria, or, atleast, I was until the events following the Austrian surrendermade necessary my return to London. I left Vienna on the morningofMonday, the 20th, to go to Hamburg to take ship home; I wastraveling in my own coach-and-four, with my secretary, Mr. BertramJardine, and my valet, WilliamSmall, both British subjects, anda coachman, Josef Bidek, an Austrian subject, whom I had hiredfor the trip. Because of the presence of French troops, whomIwas anxious to avoid, I was forced to make a detour west as faras Salzburg before turning north toward Magdeburg, where Icrossed the Elbe. I was unable toget a change of horses for mycoach after leaving Gera, until I reached Perleburg, where Istopped at the Sword & Scepter Inn.Arriving there, I left my coach in theinn yard, and I and mysecretary, Mr. Jardine, went into the inn. A man, not this fellowhere, but another rogue, with more beard and less paunch, andmoreshabbily dressed, but as like him as though he were hisbrother, represented himself as the innkeeper, and I dealt withhim for a change of horses, and ordered abottle of wine formyself and my secretary, and also a pot of beer apiece for myvalet and the coachman, to be taken outside to them. Then Jardineand I sat downto our wine, at a table in the common room, untilthe man who claimed to be the innkeeper came back and told usthat the fresh horses were harnessed to thecoach and ready togo. Then we went outside again.I looked at the two horses on the off side, and then walked aroundin front of the team to look at the twonigh-side horses, and as Idid I felt giddy, as though I were about to fall, and everythingwent black before my eyes. I thought I was having a faintingspell,something I am not at all subject to, and I put out my handto grasp the hitching bar, but could not find it. I am sure, now,that I was unconscious for some time,because when my headcleared, the coach and horses were gone, and in their place was abig farm wagon, jacked up in front, with the right front wheeloff, andtwo peasants were greasing the detached wheel.I looked at them for a moment, unable to credit my eyes, andthen I spoke to them in German, saying, \"Wherethe devil's mycoach-and-four?\"They both straightened, startled: the one who was holding the wheelalmost dropped it.\"Pardon, excellency,\" he said, \"there's beenno coach-and-four here,all the time we've been here.\"\"Yes,\" said his mate, \"and we've been here since just after noon.\"I did not attempt to argue with them. Itoccurred to me--andit is still my opinion--that I was the victim of some plot; thatmy wine had been drugged, that I had been unconscious for sometime, duringwhich my coach had been removed and this wagonsubstituted for it, and that these peasants had been put to workon it and instructed what to say if questioned.If my arrival atthe inn had been anticipated, and everything put in readiness,the whole business would not have taken ten minutes.I therefore entered the inn,determined to have it out withthis rascally innkeeper, but when I returned to the common room,he was nowhere to be seen, and this other fellow, who hasgivenhis name as Christian Hauck, claimed to be the innkeeper anddenied knowledge of any of the things I have just stated.Furthermore, there were fourcavalrymen, Uhlans, drinking beerand playing cards at the table where Jardine and I had had ourwine, and they claimed to have been there for several hours.Ihave no idea why such an elaborate prank, involving theparticipation of many people, should be played on me, except atthe instigation of the French. In thatcase, I cannot understandwhy Prussian soldiers should lend themselves to it.Benjamin Bathurst(Statement of Christian Hauck, innkeeper, taken at thepolicestation at Perleburg, 25 November, 1809.)May it please your honor, my name is Christian Hauck, and I keepan inn at the sign of the Sword & Scepter, and"}
+{"doc_id":"doc_71","qid":"","text":"<html><head><title>Jurassic Park: The Lost World Script at IMSDb.</title><meta name=\"description\" content=\"Jurassic Park: The Lost World script at theInternet Movie Script Database.\"><meta name=\"keywords\" content=\"Jurassic Park: The Lost World script, Jurassic Park: The Lost World movie script, JurassicPark: The Lost World film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE LOST WORLDJURASSIC PARK</title></head><pre><b> THE LOST WORLD</b><b> JURASSIC PARK</b> Screenplay by   David Koepp<b> </b>      based on the novel byMichael Crichton<b> EXT. TROPICAL LAGOON - DAY</b> A 135-foot-luxury yacht is anchored just offshore in a tropical lagoon.  The beach is a stunning crescentof white sand at the jungle fringe, utterly deserted.<b> ISLA SORNA</b> 87 miles southeast of Nublar Two SHIP HANDS, dressed in white uniforms, have set upa picnic table with three chairs on the sand and are carefully laying out luncheon service -- fine china, silver, crystal decanters with red and white wine. PAULBOWMAN, fortyish, sits in a chair off to the side, reading.  MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her eyes donemore than once, supervises the settings of the table. She looks up and sees a little girl, CATHY, seven or eight years old, wandering off down the beach.<b> MRS.BOWMAN</b> Cathy!  Don't wander off! Cathy keeps wandering. MRS. BOWMAN (cont'd) Cathy, come back!  You can look for shells right here! Cathy gestures,pretending she can't hear.<b> BOWMAN</b> (eyes still in his book) Leave her alone.<b> MRS. BOWMAN</b> What about snakes?<b> BOWMAN</b> There'sno snakes on a beach.  Let her have fun, for once.<b> FURTHER DOWN THE BEACH,</b> Cathy keeps wandering away, MUTTERING to herself as her parents'"}
+{"doc_id":"doc_72","qid":"","text":"<html><head><title>Broadcast News Script at IMSDb.</title><meta name=\"description\" content=\"Broadcast News script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Broadcast News script, Broadcast News movie script, Broadcast News film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><HEAD><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction(http://wsabstract.com)Over 400+ free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>//--></b></script><TITLE>Broadcast News</TITLE><!--MadeBy Happywel&WZ--><b></HEAD></b><b><BODY></b><h4><divalign=center>Broadcast  Newsby James L. Brooks.</div></h4><b><BR><BR><BR></b><pre><b> FADE IN</b><b> EXT. CITY STREET - DAY</b> Arestaurant supply truck is curbside, near a small restaurant.  GERALD GRUNICK, forty-one, is closing the back door of his truck, feeling good about the world, acommon state for him.  He moves towards the cab of the truck and gets inside as we SUPER:<b> KANSAS CITY, MO. - 1963</b><b> INT. TRUCK - DAY</b> Ashe sits down beaming over his recent good fortune... now we REVEAL his twelve-year-old son, TOM, seated quietly beside him. He seems a bit down.  Geraldglances at his son.<b> GERALD</b> I don't know a recent Saturday I've sold more.  You didn't think I'd sell that health restaurant, did you?<b> TOM</b>No.  Not even you.<b> GERALD</b> Why so glum?<b> TOM</b> I don't know.<b> GERALD</b> (a beat) Go ahead.<b> TOM</b> No, nothing.  I've got aproblem, I guess.<b> GERALD</b> Were you bothering by those waitresses making a fuss?<b> TOM</b> No.  But, honest.  What are you supposed to saywhen they keep talking about your looks?  I don't even know what they mean -- \"Beat them off with a stick.\" Gerald stiffs a grin.<b> GERALD</b> You know,"}
+{"doc_id":"doc_73","qid":"","text":"<html><head><title>Spartan Script at IMSDb.</title><meta name=\"description\" content=\"Spartan script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Spartan script, Spartan movie script, Spartan film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                         SPARTAN                     a screenplay by                       David Mametcopyright (c) 2002by DavidMamet<b></b><b>FADE IN:</b><b>EXT. WOODED HILLSIDE. DAY.</b>We see the drawn face of a young woman. Camera tracks withher as she runsthrough the thick woods. She is exertingherself heavily as she moves up a steep hillside. She looksbehind her quickly, and continues.ANGLE, we see a youngman, and then another, running throughthe woods, out of breath. They are dressed in filthy BDU's,and show several days growth of beard. The leader stops foramoment, and looks around. The two men separate.ANGLE, the  young woman, who has come to a small ledge, overa ravine.  She stops, panting, and bends over,to attempt tocatch her  breath. She looks around, and looks back, her backto a steep  wall, a steep drop before her.ANGLE, the first young man, having come upto the spotvacated by the young woman. In the BG we see his colleague.He looks down, and sees movement in the brush below him, inthe ravine. He starts todescend, and then looks up.ANGLE, the young woman, pulling herself up the steeprockface. The young man regains the ledge and looks up.Camera takes himaround a bend in the ledge.Standing here we discover ROBERT SCOTT. He is somewhat olderthan the two men, he is very fit, also dressed in filthyBDU's. He ismaking a note in a small notebook, which hecloses. Now, the two men look across the ravine at the youngwoman, seen disappearing over aridge.<b>                       SCOTT</b>                  (quietly)             ...you better catch her...The man looks around, and begins climbing up the rockfacebehind"}
+{"doc_id":"doc_74","qid":"","text":"<html><head><title>When a Stranger Calls Script at IMSDb.</title><meta name=\"description\" content=\"When a Stranger Calls script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"When a Stranger Calls script, When a Stranger Calls movie script, When a Stranger Calls filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  WHEN A STRANGER CALLS</b>                                       Written by                                Steve Feke andFred Walton<b>                                                         SHOOTING DRAFT</b><b>                </b><b>               FADE IN:</b><b>               EXT. SUBURBANSTREET - NIGHT</b>               A quiet upper-middle class neighborhood. The CAMERA is at                the curb, looking down the street. There are nosidewalks.                Trees arch overhead. CICADAS drone on the soundtrack.               The OPENING TITLES briefly FADE IN and OUT, framed bythe                trees on either side of the street. Footsteps are heard                approaching.               As the picture TITLE FADES, out of the dark emerges aGIRL                17 years old, carrying schoolbooks. This is JILL. CAMERA                PANS with her ninety degrees as she comes to the front of a                houseand stops.               Lights are on in the bottom half of the house, and the                curtains across the windows are open. A single light burns                in theupper right side of the house, presumable in a bedroom,                but the curtains in the room are drawn.               A scene TITLE appears on the lower half ofthe screen:                               8 pm Tuesday, March 23, 1971               The TITLE FADES, and Jill heads up the walk to the front                door of thehouse.               The light in the upper floor of the house is turned off.<b>               INT. HOUSE - FRONT HALL</b>               A middle-aged DOCTOR is"}
+{"doc_id":"doc_75","qid":"","text":"<html><head><title>Curious Case of Benjamin Button, The Script at IMSDb.</title><meta name=\"description\" content=\"Curious Case of Benjamin Button, Thescript at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Curious Case of Benjamin Button, The script, Curious Case of BenjaminButton, The movie script, Curious Case of Benjamin Button, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                  THECURIOUS CASE OF BENJAMIN BUTTON</b>                               Written by                                Eric Roth             Based on the short story by F. ScottFitzgerald<b>                                                         10/30/07</b><b>                            </b>    As all things do, it begins in the dark. EYES blink    open.Blue eyes. The first thing they see is a WOMAN    near 40, standing looking out a window, watching the wind    blowing, rattling awindow.<b>                            A WOMAN'S (V.O.)</b>              What are you looking at?<b>                            CAROLINE</b>              The wind, Mother...They say a              hurricane is on its way... You've              been asleep... I was waiting to              see you...<b>1   INT. HOSPITAL ROOM, NEW ORLEANS -MORNING, PRESENT          1</b>    Now we see we're in a hospital room with layers of white    enamel paint trying without success to hide the years...    An oldWOMAN, past 80, withered, still regal with a green    turban around her bald head is propped by pillows, her    blue eyes looking out at us from her bed...She's    connected to an intravenous for sustenance and a morphine    drip... Her name, is DAISY FULLER. She speaks with a    Southernlilt.<b>                            DAISY</b>              If it wasn't for hurricanes we              wouldn't have a hurricaneseason.<b>                            CAROLINE</b>              I've forgotten what the weather              can be like here. I've lived with              four seasons so many"}
+{"doc_id":"doc_76","qid":"","text":"<html><head><title>Real Genius Script at IMSDb.</title><meta name=\"description\" content=\"Real Genius script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Real Genius script, Real Genius movie script, Real Genius film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML><HEAD>       <TITLE>REAL GENIUS</TITLE></b><LINK rel=\"stylesheet\" type=\"text/css\"><META http-equiv=\"Content-Type\" content=\"text/html;charset=iso-8859-1\"><style type=\"text/css\">BODY { background-color: \"#FFFFFF\"; font-family: Courier New, Helvetica, sans-serif; font-size:10.0pt }DIV {position:absolute; left:5px; top:20px; width:734px; height:500px;  }#loc { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.2in;margin-bottom:0in;margin-left:0.8in;text-transform:uppercase } #slug { font-family:Courier New; font-weight: normal; margin-top:0in; margin-right:1.2in;margin-bottom:0in; margin-left:0.8in; text-transform:uppercase;<b> </b><b>} </b>#act { font-family:Courier New; font-weight: normal;margin-top:0in;margin-right:1.8in; margin-bottom:0in;margin-left:0.8in } #speaker { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.in;margin-bottom:0in;margin-left:2.8in;text-transform:uppercase }#spkdir { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.7in;margin-bottom:0in;margin-left:2.2in }#dia { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.6in;margin-bottom:0in;margin-left:1.6in }#pg { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.75in;margin-bottom:0in;margin-left:6.5in }#right { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:0.75in;margin-bottom:0in;margin-left:5.0in }</style><div id=\"Layer1\"><b></HEAD></b><b><BODY></b></p><p><p ID=\"slug\">REAL GENIUS</p><p><p"}
+{"doc_id":"doc_77","qid":"","text":"<html><head><title>Up in the Air Script at IMSDb.</title><meta name=\"description\" content=\"Up in the Air script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Up in the Air script, Up in the Air movie script, Up in the Air film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b></b><b></b><b>                             UP IN THE AIR</b><b></b><b></b><b></b>                              Writtenby<b></b>                    Jason Reitman & Sheldon Turner<b></b><b></b><b></b><b></b><b></b>          Secure your own mask before assistingothers.<b>                         </b><b>                         </b><b>                         </b>           - Common Pre-FlightInstruction<b>           1.</b><b>                         </b><b>                         </b>          A SPOTLIGHT reveals RYAN BINGHAM standing at aPODIUM.<b>                         </b>          He unzips a BACKPACK and sets it down besidehim.<b>                         </b><b>                          RYAN</b>           How much does your life weigh?<b>                         </b>          Ryan pauses to let usconsider this.<b>                         </b><b>                          RYAN (CONT'D)</b>           Imagine for a second that you're           carrying a backpack... I wantyou           to feel the straps on your           shoulders... You feel them?           (gives us a beat)           Now, I want you to pack it with all           the stuff youhave in your life.           Start with the little things. The           stuff in drawers and on shelves.           The collectables and knick-knacks.           Feel the weightas it adds up. Now,           start adding the larger stuff. Your           clothes, table top appliances,           lamps, linens, your TV. That           backpack should begetting pretty           heavy at this point - Go Bigger.           Your couch, your bed, your kitchen           table. Stuff it all in... Your car,           get it in there... Your"}
+{"doc_id":"doc_78","qid":"","text":"<html><head><title>Field of Dreams Script at IMSDb.</title><meta name=\"description\" content=\"Field of Dreams script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Field of Dreams script, Field of Dreams movie script, Field of Dreams film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>          ?</b><b>                             FIELD OF DREAMS</b>                                                        Written by                          PhilAlden Robinson                                                  March 9, 1988<b>                                         FINAL DRAFTSCREENPLAY</b>                         <b>                         1</b><b>                         FADE IN</b><b>          MONTAGE OF PHOTOS</b><b>          RAY(V.O.)</b>          My father\u0000s name was John Kinsella.          A faded, sepia shot of a dirty little kid on a farm.<b>          RAY (V.O.)</b>          It\u0000s an Irishname. He was born in          North Dakota, in 1896...          Young man in doughboy uniform.<b>          RAY (V.O.)</b>          ...and never saw a big city untilhe          came back from France in 1918.          Chicago. Tenement. Comiskey Park. Ballgames.<b>          RAY (V.O.)</b>          He settled in Chicago, wherehe quickly          learned to live and die with the White          Sox. Died a little when they lost the          1919 World Series...          Newspaper headlines. Photo ofShoeless Joe Jackson.<b>          RAY (V.O.)</b>          ...died a lot the following summer when          eight members of the team were accused          ofthrowing that Series.          Dad (a catcher) playing ball. At work. Weeding.<b>          RAY (V.O.)</b>          He played in the minors for a year or          two, butnothing ever came of it. Moved          to Brooklyn in \u000035, married Mom in \u000038,          and was already an old man working at          the Naval Yards when I wasborn in 1949.          Ray as an infant. With his father. In front of Ebbets Field          in miniature Dodger uniform, etc.<b>          RAY (V.O.)</b>          My"}
+{"doc_id":"doc_79","qid":"","text":"<html><head><title>Gang Related Script at IMSDb.</title><meta name=\"description\" content=\"Gang Related script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Gang Related script, Gang Related movie script, Gang Related film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                      \"GANG RELATED\"</b>                                        Written by                                         JimKouf<b>                                      SHOOTING DRAFT</b><b>                                           1997</b><b>                </b><b>               FADEIN:</b><b>               NEON SIGN - THE PRINCE MOTEL - NIGHT</b>               The N and the E are not working. So it reads the PR IC motel.                ROOMSTO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince                Motel has passed its prime. A few beat up cars are parked                outside rooms. WeCRANE DOWN to ROOM SEVEN. Curtains closed,                but someone is holding it open a crack, looking out. We PUSH                in CLOSE TO THE WINDOWand the EYE looking over the parking                lot. Then the curtain closes.<b>               INT. ROOM SEVEN - PRINCE MOTEL - NIGHT</b>               Peelingflowered wallpaper, ultra-cheap furniture. The man                moving away from the window is RODRIGUEZ. He is slender,                sports a thin mustache, hairslicked straight back. He's in                his late thirties. Slightly nervous.               Another man sits on the couch, looking at a magazine. He is                forty,solidly built. His name is FRANK DIVINCI.<b>                                     DIVINCI</b>                         Says here they got slips in Honolulu.                          325a month. Utilities included.                          That's not bad.               Rodriguez sits down.<b>                                     DIVINCI</b>                         But Igotta get at least a forty                          footer. It'll handle rough water                          better and I'll need the room if I'm                          gonna live on"}
+{"doc_id":"doc_80","qid":"","text":"<html><head><title>Dog Day Afternoon Script at IMSDb.</title><meta name=\"description\" content=\"Dog Day Afternoon script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Dog Day Afternoon script, Dog Day Afternoon movie script, Dog Day Afternoon film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>DOG DAYAFTERNOON</title></head><pre><b>                                   \"DOG DAY AFTERNOON\"</b>                                            by                                      FrankPierson                                       Final Draft<b>                </b><b>               FADE IN:</b><b>               EXT. ELECTRIC SIGN</b>               It FILLS THESCREEN (designed to exactly FILL THE FRAME size                of whatever ratio we're shooting in).  Itsays:<b>                                           2:51</b>               This message will be a little cryptic to the movie audience                on an essentially BLACKSCREEN.  HOLD for a beat, then it                changes: the lights flash this sign, which should explain it                toeveryone:<b>                                           94°</b>               And a slow distant ROLL OF THUNDER in the far distance; now                the SOUND of mediabegin to come up loud, under:<b>               EXT. FLATBUSH AVENUE - DAY</b>               LONG SHOT down the Avenue, 400 mm lens, heat wavesshimmering,                thousands of old people, and people with children in strollers                moving restlessly about in the heat on those endlessmiles                of benches.               The SHOT is ON SCREEN only for a beat or two, then gone...<b>               SOUND TRACK COMES FROM A THOUSANDTRANSISTOR RADIOS, TV SETS, </b><b>               AUTO RADIOS, BLENDED IN THE OPEN AIR...</b><b>                                     RADIO ANNOUNCER 1"}
+{"doc_id":"doc_81","qid":"","text":"<html><head><title>Blade Script at IMSDb.</title><meta name=\"description\" content=\"Blade script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Blade script, Blade movie script, Blade film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>BLADE - by DavidS. Goyer</title></head><pre><b>                                BLADE</b><b>                                -----</b>                                  by<b></b>                            David S. Goyer Darkness, BLOOD-CURDLING SCREAMS. Presentation credits roll as we<b> FADE UP ON:</b><b> INT. HOSPITAL,INNER-CITY TRAUMA WARD - NIGHT</b> It's 1967, the Summer of Love and -- BOOM! Entry doors swing open as PARAMEDICS wheel in a FEMALE BLEEDER,VANESSA (20s, black, nine months pregnant). She's deathly pale, spewing founts of blood from a savagely slashed throat -- A SHOCK-TRAUMA TEAM swarmsover her, inserting a vacutainer into an artery to draw blood, wrapping a blood pressure cuff around her arm --<b> NURSE #1</b> (with stethoscope) She's notbreathing!<b> SENIOR RESIDENT</b> Intubate her! The RESPIRATORY THERAPIST feeds an endotracheal tube down the woman's ruined throat, attaches thatto an Amblu bag --<b> RESIDENT</b> Blood-pressure's forty and falling -- The woman starts spasming violently. It takes three staff members just to hold herdown.<b> SENIOR RESIDENT</b> Jesus, her water's broken -- (calling for help) She's going into uterine contractions -- CAMERA PUSHES IN on the woman asshe bolts upright, SCREAMING to wake the dead. We PLUNGE INTO the darkness of her mouth and find ourselves --<b> INSIDE HER BLOODSTREAM</b> Thesound of a HEART BEATING, pounding as we whip-snake through --<b> CORPUSCLES </b> floating in amber plasma. Erythrocytes, leukocytes, neutrophils and"}
+{"doc_id":"doc_82","qid":"","text":"<html><head><title>Serenity Script at IMSDb.</title><meta name=\"description\" content=\"Serenity script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Serenity script, Serenity movie script, Serenity film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b>                                   SERENITY</b><b>     </b>                                  Written by                                  JossWhedon                                                      April 18, 2004<b>          </b><b>          EXT. CLASSROOM - DAY</b>          It's a group of twelve-year-olds,serious and well dressed.          They sit on their heels under a sparsely elegant tent, small          wooden desks with embedded screens in front of them.The          tent is on a lawn surrounded by lush foliage. People walk          about and vehicles glide quietly overhead. A utopianvista.<b>          GIRL</b>          Now that the war's over, our          soldiers get to come home, yes?<b>          TEACHER</b>          Some of them. Some willbe          stationed on the rim planets as          Peace Enforcers.<b>          BOY</b>          I don't understand. Why were the          Independents even fightingus?          Why wouldn't they look to be more          civilized?<b>          TEACHER</b>          That's a good question. Does          anybody want to open onthat?<b>          GIRL</b>          I hear they're cannibals.<b>          ANOTHER BOY</b>          That's only Reavers.<b>          ANOTHERGIRL</b>          Reavers aren't real.<b>          ANOTHER BOY</b>          Full well they are. They attack          settlers from space, they kill          them andwear their skins and rape          them for hours and hours --<b>          TEACHER</b>          (in Chinese)<b>          </b><b>          (CALMER)</b>          It'strue that there are...          dangers on the outer planets. So          let's follow up on Borodin's          question. With all the social and          medical"}
+{"doc_id":"doc_83","qid":"","text":"The Project Gutenberg EBook of A Voyage to Arcturus, by David LindsayThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: A Voyage to ArcturusAuthor: David LindsayPosting Date: September 17, 2008 [EBook #1329]Release Date: May, 1998[Last updated:June 28, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A VOYAGE TO ARCTURUS ***Produced by An Anonymous VolunteerAVOYAGE TO ARCTURUS.By David LindsayContents:     1   The Seance     2   In the Street     3   Starkness     4   The Voice     5   The Night ofDeparture     6   Joiwind     7   Panawe     8   The Lusion Plain     9   Oceaxe     10  Tydomin     11  On Disscourn     12  Spadevil     13  The WombflashForest     14  Polecrab     15  Swaylone's Island     16  Leehallfae     17  Corpang     18  Haunte     19  Sullenbode     20  Barey     21  MuspelChapter 1. THESEANCEOn a march evening, at eight o'clock, Backhouse, the medium--afast-rising star in the psychic world--was ushered into the studyat Prolands, theHampstead residence of Montague Faull. The room wasilluminated only by the light of a blazing fire. The host, eying himwith indolent curiosity, got up, and theusual conventional greetingswere exchanged. Having indicated an easy chair before the fire to hisguest, the South American merchant sank back again into hisown. Theelectric light was switched on. Faull's prominent, clear-cut features,metallic-looking skin, and general air of bored impassiveness, did notseem greatly toimpress the medium, who was accustomed to regard menfrom a special angle. Backhouse, on the contrary, was a novelty to themerchant. As he tranquillystudied him through half closed lids and thesmoke of a cigar, he wondered how this little, thickset person with thepointed beard contrived to remain so fresh andsane in appearance, inview of the morbid nature of his occupation.\"Do you smoke?\" drawled Faull, by way of starting the Conversation. \"No?Then will you take adrink?\"\"Not at present, I thank you.\"A pause.\"Everything is satisfactory? The materialisation will take place?\"\"I see no reason to doubt it.\"\"That's good, for Iwould not like my guests to be disappointed. I haveyour check written out in my pocket.\"\"Afterward will do quite well.\"\"Nine o'clock was the time specified, Ibelieve?\"\"I fancy so.\"The conversation continued to flag. Faull sprawled in his chair, andremained apathetic.\"Would you care to hear what arrangements I havemade?\"\"I am unaware that any are necessary, beyond chairs for your guests.\"\"I mean the decoration of the seance room, the music, and so forth.\"Backhousestared at his host. \"But this is not a theatricalperformance.\"\"That's correct. Perhaps I ought to explain.... There will be ladiespresent, and ladies, you know, areaesthetically inclined.\"\"In that case I have no objection. I only hope they will enjoy theperformance to the end.\"He spoke rather dryly.\"Well, that's all right, then,\"said Faull. Flicking his cigar into thefire, he got up and helped himself to whisky.\"Will you come and see the room?\"\"Thank you, no. I prefer to have nothing to dowith it till the timearrives.\"\"Then let's go to see my sister, Mrs. Jameson, who is in the drawingroom. She sometimes does me the kindness to act as my hostess,as I amunmarried.\"\"I will be delighted,\" said Backhouse coldly.They found the lady alone, sitting by the open pianoforte in a pensiveattitude. She had beenplaying Scriabin and was overcome. The mediumtook in her small, tight, patrician features and porcelain-like hands,and wondered how Faull came by such asister. She received him bravely,with just a shade of quiet emotion. He was used to such receptions atthe hands of the sex, and knew well how to respond tothem.\"What amazes me,\" she half whispered, after ten minutes of graceful,hollow conversation, \"is, if you must know it, not so much themanifestationitself--though that will surely be wonderful--asyour assurance that it will take place. Tell me the grounds of yourconfidence.\"\"I dream with open eyes,\" heanswered, looking around at the door, \"andothers see my dreams. That is all.\"\"But that's beautiful,\" responded Mrs. Jameson. She smiled ratherabsently, for thefirst guest had just entered.It was Kent-Smith, the ex-magistrate, celebrated for his shrewd judicialhumour, which, however, he had the good sense not toattempt to carryinto private life. Although well on the wrong side of seventy, his eyeswere still disconcertingly bright. With the selective skill of an oldman, heimmediately settled himself in the most comfortable of manycomfortable chairs.\"So we are to see wonders tonight?\"\"Fresh material for your autobiography,\"remarked Faull.\"Ah, you should not have mentioned my unfortunate book. An old publicservant is merely amusing himself in his retirement, Mr. Backhouse.Youhave no cause for alarm--I have studied in the school of discretion.\"\"I am not alarmed. There can be no possible objection to your publishingwhatever youplease.\"\"You are most kind,\" said the old man, with a cunning smile.\"Trent is not coming tonight,\" remarked Mrs. Jameson, throwing a curiouslittle glance at herbrother.\"I never thought he would. It's not in his line.\"\"Mrs. Trent, you must understand,\" she went on, addressing theex-magistrate, \"has placed us all under adebt of gratitude. She hasdecorated the old lounge hall upstairs most beautifully, and has securedthe services of the sweetest little orchestra.\"\"But this is Romanmagnificence.\"\"Backhouse thinks the spirits should be treated with more deference,\"laughed Faull.\"Surely, Mr. Backhouse--a poetic environment...\"\"Pardon me. Iam a simple man, and always prefer to reduce things toelemental simplicity. I raise no opposition, but I express my opinion.Nature is one thing, and art isanother.\"\"And I am not sure that I don't agree with you,\" said the ex-magistrate.\"An occasion like this ought to be simple, to guard against thepossibility ofdeception--if you will forgive my bluntness, Mr.Backhouse.\"\"We shall sit in full light,\" replied Backhouse, \"and every opportunitywill be given to all to inspect theroom. I shall also ask you to submitme to a personal examination.\"A rather embarrassed silence followed. It was broken by the arrival oftwo more guests, whoentered together. These were Prior, the prosperousCity coffee importer, and Lang, the stockjobber, well known in his owncircle as an amateur prestidigitator.Backhouse was slightly acquaintedwith the latter. Prior, perfuming the room with the faint odour of wineand tobacco smoke, tried to introduce an atmosphere ofjoviality intothe proceedings. Finding that no one seconded his efforts, however, heshortly subsided and fell to examining the water colours on the walls.Lang,tall, thin, and growing bald, said little, but stared at Backhousea good deal.Coffee, liqueurs, and cigarettes were now brought in. Everyone partook,except Langand the medium. At the same moment, Professor Halbert wasannounced. He was the eminent psychologist, the author and lectureron crime, insanity, genius, andso forth, considered in their mentalaspects. His presence at such a gathering somewhat mystified the otherguests, but all felt as if the object of their meeting hadimmediatelyacquired additional solemnity. He was small, meagre-looking, and mildin manner, but was probably the most stubborn-brained of all thatmixedcompany. Completely ignoring the medium, he at once sat down besideKent-Smith, with whom he began to exchange remarks.At a few minutes past theappointed hour Mrs. Trent entered,unannounced. She was a woman of about twenty-eight. She had a white,demure, saintlike face, smooth black hair, and lips socrimson and fullthat they seemed to be bursting with blood. Her tall, graceful body wasmost expensively attired. Kisses were exchanged between her andMrs.Jameson. She bowed to the rest of the assembly, and stole a half glanceand a smile at Faull. The latter gave her a queer look, and Backhouse,who lostnothing, saw the concealed barbarian in the complacent gleamof his eye. She refused the refreshment that was offered her, and Faullproposed that, as everyonehad now arrived, they should adjourn to thelounge hall.Mrs. Trent held up a slender palm. \"Did you, or did you not, give mecarte blanche, Montague?\"\"Of course Idid,\" said Faull, laughing. \"But what's the matter?\"\"Perhaps I have been rather presumptuous. I don't know. I have inviteda couple of friends to join us. No, noone knows them.... The two mostextraordinary individuals you ever saw. And mediums, I am sure.\"\"It sounds very mysterious. Who are these conspirators?\"\"Atleast tell us their names, you provoking girl,\" put in Mrs. Jameson.\"One rejoices in the name of Maskull, and the other in that ofNightspore. That's nearly all that Iknow about them, so don't overwhelmme with, any more questions.\"\"But where did you pick them up? You must have picked them upsomewhere.\"\"But this is across-examination. Have I sinned again convention? Iswear I will tell you not another word about them. They will be heredirectly, and then I will deliver them toyour tender mercy.\"\"I don't know them,\" said Faull, \"and nobody else seems to, but, ofcourse, we will all be very pleased to have them.... Shall we wait,orwhat?\"\"I said nine, and it's past that now. It's quite possible they may notturn up after all.... Anyway, don't wait.\"\"I would prefer to start at once,\" saidBackhouse.The lounge, a lofty room, forty feet long by twenty wide, had beendivided for the occasion into two equal parts by a heavy brocade curtaindrawnacross the middle. The far end was thus concealed. The nearer halfhad been converted into an auditorium by a crescent of armchairs. Therewas no otherfurniture. A large fire was burning halfway along the wall,between the chairbacks and the door. The room was brilliantly lighted byelectric bracket lamps. Asumptuous carpet covered the floor.Having settled his guests in their seats, Faull stepped up to thecurtain and flung it aside. A replica, or nearly so, of the DruryLanepresentation of the temple scene in The Magic Flute was then exposed toview: the gloomy, massive architecture of the interior, the glowing skyabove it inthe background, and, silhouetted against the latter, thegigantic seated statue of the Pharaoh. A fantastically carved woodencouch lay before the pedestal of thestatue. Near the curtain, obliquelyplaced to the auditorium, was a plain oak armchair, for the use of themedium.Many of those present felt privately that thesetting was quiteinappropriate to the occasion and savoured rather unpleasantlyof ostentation. Backhouse in particular seemed put out. The usualcompliments,however, were showered on Mrs. Trent as the deviser ofso remarkable a theatre. Faull invited his friends to step forward andexamine the apartment as minutelyas they might desire. Prior andLang were the only ones to accept. The former wandered about among thepasteboard scenery, whistling to himself andoccasionally tapping a partof it with his knuckles. Lang, who was in his element, ignored the restof his party and commenced a patient, systematic search, on hisownaccount, for secret apparatus. Faull and Mrs. Trent stood in a cornerof the temple, talking together in low tones; while Mrs. Jameson,pretending to hold"}
+{"doc_id":"doc_84","qid":"","text":"<html><head><title>Sister Act Script at IMSDb.</title><meta name=\"description\" content=\"Sister Act script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Sister Act script, Sister Act movie script, Sister Act film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                               SISTER ACT</b>                               Written by                              PaulRudnick                                                 July 19, 1991      Page 1.<b>     SISTER ACT</b><b>     FADE IN:</b><b>     INT. ST. ANNE'S ACADEMY - AKRON,OHIO - CLASSROOM</b>     We are in a parochial school classroom, in the late      Sixties.  The children all wear uniforms and sit at little      desks.  SISTERIMMACULATA stands at the front of the room;      she is a middle-aged nun, very severe.  The children are      all terrified of her.<b>                               SISTERIMMACULATA</b>               Who can name all the Apostles?  Yes?<b>     ANGLE ON CHRISTINE CARTER</b>     A thirteen-year-old girl sitting at a desk.  Sheraises      her hand.<b>                               SISTER IMMACULATA</b>               Christine?<b>                               CHRISTINE</b>               Sister, may I beexcused?<b>                               SISTER IMMACULATA</b>               Christine...<b>                               CHRISTINE</b>               It's an emergency.  Realbad.     Sister Immaculata nods, pursing her lips.  Christine      stands and heads for the door.<b>     </b><b>                                                          CUTTO:</b><b>     INT. GIRLS ROOM</b>     Christine is now in the deserted St. Anne's girls room.      She is standing on tiptoes, looking in the mirror.  Shehas      taken her hair out of its neat barrettes; she is combing it      out.  She applies lipstick.     Christine reaches into her schoolbag; she pulls out a      stack ofglittery bracelets and slips them on.  She      unbuttons the top few buttons of her stiff white blouse.       She sprays herself with dime store"}
+{"doc_id":"doc_85","qid":"","text":"The Project Gutenberg EBook of Of Human Bondage, by W. Somerset MaughamThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Of Human BondageAuthor: W. Somerset MaughamRelease Date: May 6, 2008 [EBook #351]  [Original release date: October,1995]  [Most recently updated: July 12, 2013]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OF HUMAN BONDAGE ***OF HUMANBONDAGEBYW. SOMERSET MAUGHAMIThe day broke gray and dull. The clouds hung heavily, and there was arawness in the air that suggested snow. A womanservant came into a roomin which a child was sleeping and drew the curtains. She glancedmechanically at the house opposite, a stucco house with a portico,andwent to the child's bed.\"Wake up, Philip,\" she said.She pulled down the bed-clothes, took him in her arms, and carried himdownstairs. He was only halfawake.\"Your mother wants you,\" she said.She opened the door of a room on the floor below and took the child overto a bed in which a woman was lying. It washis mother. She stretched outher arms, and the child nestled by her side. He did not ask why he hadbeen awakened. The woman kissed his eyes, and with thin,small hands feltthe warm body through his white flannel nightgown. She pressed him closerto herself.\"Are you sleepy, darling?\" she said.Her voice was so weakthat it seemed to come already from a greatdistance. The child did not answer, but smiled comfortably. He was veryhappy in the large, warm bed, with those softarms about him. He tried tomake himself smaller still as he cuddled up against his mother, and hekissed her sleepily. In a moment he closed his eyes and wasfast asleep.The doctor came forwards and stood by the bed-side.\"Oh, don't take him away yet,\" she moaned.The doctor, without answering, looked at hergravely. Knowing she wouldnot be allowed to keep the child much longer, the woman kissed him again;and she passed her hand down his body till she came tohis feet; she heldthe right foot in her hand and felt the five small toes; and then slowlypassed her hand over the left one. She gave a sob.\"What's the matter?\"said the doctor. \"You're tired.\"She shook her head, unable to speak, and the tears rolled down her cheeks.The doctor bent down.\"Let me take him.\"She was tooweak to resist his wish, and she gave the child up. The doctorhanded him back to his nurse.\"You'd better put him back in his own bed.\"\"Very well, sir.\" The littleboy, still sleeping, was taken away. Hismother sobbed now broken-heartedly.\"What will happen to him, poor child?\"The monthly nurse tried to quiet her, andpresently, from exhaustion, thecrying ceased. The doctor walked to a table on the other side of the room,upon which, under a towel, lay the body of a still-bornchild. He liftedthe towel and looked. He was hidden from the bed by a screen, but thewoman guessed what he was doing.\"Was it a girl or a boy?\" she whisperedto the nurse.\"Another boy.\"The woman did not answer. In a moment the child's nurse came back. Sheapproached the bed.\"Master Philip never woke up,\" shesaid. There was a pause. Then thedoctor felt his patient's pulse once more.\"I don't think there's anything I can do just now,\" he said. \"I'll callagain afterbreakfast.\"\"I'll show you out, sir,\" said the child's nurse.They walked downstairs in silence. In the hall the doctor stopped.\"You've sent for Mrs. Carey'sbrother-in-law, haven't you?\"\"Yes, sir.\"\"D'you know at what time he'll be here?\"\"No, sir, I'm expecting a telegram.\"\"What about the little boy? I should think he'dbe better out of the way.\"\"Miss Watkin said she'd take him, sir.\"\"Who's she?\"\"She's his godmother, sir. D'you think Mrs. Carey will get over it, sir?\"The doctorshook his head.IIIt was a week later. Philip was sitting on the floor in the drawing-roomat Miss Watkin's house in Onslow gardens. He was an only child and usedtoamusing himself. The room was filled with massive furniture, and on eachof the sofas were three big cushions. There was a cushion too in eacharm-chair. Allthese he had taken and, with the help of the gilt routchairs, light and easy to move, had made an elaborate cave in which hecould hide himself from the RedIndians who were lurking behind thecurtains. He put his ear to the floor and listened to the herd ofbuffaloes that raced across the prairie. Presently, hearing thedoor open,he held his breath so that he might not be discovered; but a violent handpulled away a chair and the cushions fell down.\"You naughty boy, Miss WatkinWILL be cross with you.\"\"Hulloa, Emma!\" he said.The nurse bent down and kissed him, then began to shake out the cushions,and put them back in theirplaces.\"Am I to come home?\" he asked.\"Yes, I've come to fetch you.\"\"You've got a new dress on.\"It was in eighteen-eighty-five, and she wore a bustle. Her gownwas ofblack velvet, with tight sleeves and sloping shoulders, and the skirt hadthree large flounces. She wore a black bonnet with velvet strings. Shehesitated. Thequestion she had expected did not come, and so she couldnot give the answer she had prepared.\"Aren't you going to ask how your mamma is?\" she said atlength.\"Oh, I forgot. How is mamma?\"Now she was ready.\"Your mamma is quite well and happy.\"\"Oh, I am glad.\"\"Your mamma's gone away. You won't ever seeher any more.\" Philip did notknow what she meant.\"Why not?\"\"Your mamma's in heaven.\"She began to cry, and Philip, though he did not quite understand,criedtoo. Emma was a tall, big-boned woman, with fair hair and large features.She came from Devonshire and, notwithstanding her many years of serviceinLondon, had never lost the breadth of her accent. Her tears increased heremotion, and she pressed the little boy to her heart. She felt vaguely thepity of thatchild deprived of the only love in the world that is quiteunselfish. It seemed dreadful that he must be handed over to strangers.But in a little while she pulledherself together.\"Your Uncle William is waiting in to see you,\" she said. \"Go and saygood-bye to Miss Watkin, and we'll go home.\"\"I don't want to say good-bye,\"he answered, instinctively anxious to hidehis tears.\"Very well, run upstairs and get your hat.\"He fetched it, and when he came down Emma was waiting for him inthe hall.He heard the sound of voices in the study behind the dining-room. Hepaused. He knew that Miss Watkin and her sister were talking to friends,and itseemed to him--he was nine years old--that if he went in they wouldbe sorry for him.\"I think I'll go and say good-bye to Miss Watkin.\"\"I think you'd better,\" saidEmma.\"Go in and tell them I'm coming,\" he said.He wished to make the most of his opportunity. Emma knocked at the doorand walked in. He heard herspeak.\"Master Philip wants to say good-bye to you, miss.\"There was a sudden hush of the conversation, and Philip limped in.Henrietta Watkin was a stout woman,with a red face and dyed hair. Inthose days to dye the hair excited comment, and Philip had heard muchgossip at home when his godmother's changed colour.She lived with anelder sister, who had resigned herself contentedly to old age. Two ladies,whom Philip did not know, were calling, and they looked at himcuriously.\"My poor child,\" said Miss Watkin, opening her arms.She began to cry. Philip understood now why she had not been in toluncheon and why she wore ablack dress. She could not speak.\"I've got to go home,\" said Philip, at last.He disengaged himself from Miss Watkin's arms, and she kissed him again.Then hewent to her sister and bade her good-bye too. One of the strangeladies asked if she might kiss him, and he gravely gave her permission.Though crying, he keenlyenjoyed the sensation he was causing; he wouldhave been glad to stay a little longer to be made much of, but felt theyexpected him to go, so he said that Emmawas waiting for him. He went outof the room. Emma had gone downstairs to speak with a friend in thebasement, and he waited for her on the landing. He heardHenriettaWatkin's voice.\"His mother was my greatest friend. I can't bear to think that she'sdead.\"\"You oughtn't to have gone to the funeral, Henrietta,\" said hersister. \"Iknew it would upset you.\"Then one of the strangers spoke.\"Poor little boy, it's dreadful to think of him quite alone in the world.I see he limps.\"\"Yes, he'sgot a club-foot. It was such a grief to his mother.\"Then Emma came back. They called a hansom, and she told the driver whereto go.IIIWhen they reached thehouse Mrs. Carey had died in--it was in a dreary,respectable street between Notting Hill Gate and High Street,Kensington--Emma led Philip into thedrawing-room. His uncle was writingletters of thanks for the wreaths which had been sent. One of them, whichhad arrived too late for the funeral, lay in itscardboard box on thehall-table.\"Here's Master Philip,\" said Emma.Mr. Carey stood up slowly and shook hands with the little boy. Then onsecond thoughts he bentdown and kissed his forehead. He was a man ofsomewhat less than average height, inclined to corpulence, with his hair,worn long, arranged over the scalp so asto conceal his baldness. He wasclean-shaven. His features were regular, and it was possible to imaginethat in his youth he had been good-looking. On hiswatch-chain he wore agold cross.\"You're going to live with me now, Philip,\" said Mr. Carey. \"Shall youlike that?\"Two years before Philip had been sent down tostay at the vicarage afteran attack of chicken-pox; but there remained with him a recollection of anattic and a large garden rather than of his uncle andaunt.\"Yes.\"\"You must look upon me and your Aunt Louisa as your father and mother.\"The child's mouth trembled a little, he reddened, but did not answer.\"Yourdear mother left you in my charge.\"Mr. Carey had no great ease in expressing himself. When the news came thathis sister-in-law was dying, he set off at once forLondon, but on the waythought of nothing but the disturbance in his life that would be caused ifher death forced him to undertake the care of her son. He waswell overfifty, and his wife, to whom he had been married for thirty years, waschildless; he did not look forward with any pleasure to the presence of asmall boywho might be noisy and rough. He had never much liked hissister-in-law.\"I'm going to take you down to Blackstable tomorrow,\" he said.\"With Emma?\"The childput his hand in hers, and she pressed it.\"I'm afraid Emma must go away,\" said Mr. Carey.\"But I want Emma to come with me.\"Philip began to cry, and the nursecould not help crying too. Mr. Careylooked at them helplessly.\"I think you'd better leave me alone with Master Philip for a moment.\"\"Very good, sir.\"Though Philipclung to her, she released herself gently. Mr. Carey tookthe boy on his knee and put his arm round him.\"You mustn't cry,\" he said. \"You're too old to have a nursenow. We mustsee about sending you to school.\"\"I want Emma to come with me,\" the child repeated.\"It costs too much money, Philip. Your father didn't leavevery much, andI don't know what's become of it. You must look at every penny you spend.\"Mr. Carey had called the day before on the family solicitor.Philip'sfather was a surgeon in good practice, and his hospital appointmentssuggested an established position; so that it was a surprise on his suddendeath from"}
+{"doc_id":"doc_86","qid":"","text":"<html><head><title>Pitch Black Script at IMSDb.</title><meta name=\"description\" content=\"Pitch Black script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Pitch Black script, Pitch Black movie script, Pitch Black film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head>   <title>\"Pitch Black\", shooting draft, revised by David Twohy</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                           <b><u>PITCH BLACK</u>                           Screenplay                               by                           DavidTwohy</b>               Based on material by Ken and Jim Wheat                                             <u>Revised FirstDraft</u><b>                                             3/3/98</b><b>     NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS</b><b>     AND SOME\"OMITTED\" SLUGS. THEY HAVE BEEN REMOVED FOR THIS</b><b>     SOFT COPY.</b><b>     NOTE ALSO: THE HARD COPY OF THIS SCRIPT WAS IN THENON-</b><b>     PREFORMAT FONT \"TIMES NEW ROMAN\". THIS HAS BEEN CHANGED</b><b>     TO PREFORMATTED TEXT FOR THIS SOFT COPY.</b>Thoughmentioned often in the script, the creatures in PITCH BLACK are seldom seen at length; rather, they are glimpsed, they are heard, they are felt. They are, really,the embodiment of your nocturnal fears: A howling coyote that jars you awake; the painting on the wall that comes to lifewhen stared at too long...the sway ofyour bed just before the earthquake hits. Chimera of the night. The point is made so the reader appreciatesthat the focus of the finished film will not be on whatthe creatures do, but on what the creatures do to reveal the inner nature of the characters. For PITCH BLACK is, at its heart, a story of humanity and courage --and lack of the same.                                                       David Twohy<b>     CUT IN:</b><b>     INT. MAIN CABIN</b>     A CRYO-LOCKER BLOWS OPEN,"}
+{"doc_id":"doc_87","qid":"","text":"The Project Gutenberg EBook of Of The Nature of Things, by [Titus Lucretius Carus] LucretiusThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: Of The Nature of ThingsAuthor: [Titus Lucretius Carus] LucretiusTranslator: William Ellery LeonardPosting Date: July 31, 2008[EBook #785]Release Date: January, 1997Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OF THE NATURE OF THINGS ***Produced byLevent KurnazOF THE NATURE OF THINGSBy Titus Lucretius CarusA Metrical TranslationBy William Ellery LeonardBOOK IPROEM     Mother of Rome, delight ofGods and men,     Dear Venus that beneath the gliding stars     Makest to teem the many-voyaged main     And fruitful lands--for all of living things     Throughthee alone are evermore conceived,     Through thee are risen to visit the great sun--     Before thee, Goddess, and thy coming on,     Flee stormy wind andmassy cloud away,     For thee the daedal Earth bears scented flowers,     For thee waters of the unvexed deep     Smile, and the hollows of the serenesky     Glow with diffused radiance for thee!     For soon as comes the springtime face of day,     And procreant gales blow from the West unbarred,     First fowlsof air, smit to the heart by thee,     Foretoken thy approach, O thou Divine,     And leap the wild herds round the happy fields     Or swim the bounding torrents.Thus amain,     Seized with the spell, all creatures follow thee     Whithersoever thou walkest forth to lead,     And thence through seas and mountains and swiftstreams,     Through leafy homes of birds and greening plains,     Kindling the lure of love in every breast,     Thou bringest the eternal generations forth,     Kindafter kind. And since 'tis thou alone     Guidest the Cosmos, and without thee naught     Is risen to reach the shining shores of light,     Nor aught of joyful or oflovely born,     Thee do I crave co-partner in that verse     Which I presume on Nature to compose     For Memmius mine, whom thou hast willed to be     Peerlessin every grace at every hour--     Wherefore indeed, Divine one, give my words     Immortal charm. Lull to a timely rest     O'er sea and land the savage works ofwar,     For thou alone hast power with public peace     To aid mortality; since he who rules     The savage works of battle, puissant Mars,     How often to thybosom flings his strength     O'ermastered by the eternal wound of love--     And there, with eyes and full throat backward thrown,     Gazing, my Goddess,open-mouthed at thee,     Pastures on love his greedy sight, his breath     Hanging upon thy lips. Him thus reclined     Fill with thy holy body, round,above!     Pour from those lips soft syllables to win     Peace for the Romans, glorious Lady, peace!     For in a season troublous to the state     Neither may Iattend this task of mine     With thought untroubled, nor mid such events     The illustrious scion of the Memmian house     Neglect the civiccause.                            Whilst human kind     Throughout the lands lay miserably crushed     Before all eyes beneath Religion--who     Would show her headalong the region skies,     Glowering on mortals with her hideous face--     A Greek it was who first opposing dared     Raise mortal eyes that terror towithstand,     Whom nor the fame of Gods nor lightning's stroke     Nor threatening thunder of the ominous sky     Abashed; but rather chafed to angry zest     Hisdauntless heart to be the first to rend     The crossbars at the gates of Nature old.     And thus his will and hardy wisdom won;     And forward thus he fared afar,beyond     The flaming ramparts of the world, until     He wandered the unmeasurable All.     Whence he to us, a conqueror, reports     What things can rise tobeing, what cannot,     And by what law to each its scope prescribed,     Its boundary stone that clings so deep in Time.     Wherefore Religion now is underfoot,     And us his victory now exalts to heaven.     I know how hard it is in Latian verse     To tell the dark discoveries of the Greeks,     Chiefly because ourpauper-speech must find     Strange terms to fit the strangeness of the thing;     Yet worth of thine and the expected joy     Of thy sweet friendship do persuademe on     To bear all toil and wake the clear nights through,     Seeking with what of words and what of song     I may at last most gloriously uncloud     For theethe light beyond, wherewith to view     The core of being at the centre hid.     And for the rest, summon to judgments true,     Unbusied ears and singleness ofmind     Withdrawn from cares; lest these my gifts, arranged     For thee with eager service, thou disdain     Before thou comprehendest: since for thee     I provethe supreme law of Gods and sky,     And the primordial germs of things unfold,     Whence Nature all creates, and multiplies     And fosters all, and whither sheresolves     Each in the end when each is overthrown.     This ultimate stock we have devised to name     Procreant atoms, matter, seeds of things,     Or primalbodies, as primal to the world.     I fear perhaps thou deemest that we fare     An impious road to realms of thought profane;     But 'tis that same religion oftenerfar     Hath bred the foul impieties of men:     As once at Aulis, the elected chiefs,     Foremost of heroes, Danaan counsellors,     Defiled Diana's altar, virginqueen,     With Agamemnon's daughter, foully slain.     She felt the chaplet round her maiden locks     And fillets, fluttering down on either cheek,     And at thealtar marked her grieving sire,     The priests beside him who concealed the knife,     And all the folk in tears at sight of her.     With a dumb terror and a sinkingknee     She dropped; nor might avail her now that first     'Twas she who gave the king a father's name.     They raised her up, they bore the trembling girl     Onto the altar--hither led not now     With solemn rites and hymeneal choir,     But sinless woman, sinfully foredone,     A parent felled her on her bridalday,     Making his child a sacrificial beast     To give the ships auspicious winds for Troy:     Such are the crimes to which Religion leads.     And there shall comethe time when even thou,     Forced by the soothsayer's terror-tales, shalt seek     To break from us. Ah, many a dream even now     Can they concoct to rout thyplans of life,     And trouble all thy fortunes with base fears.     I own with reason: for, if men but knew     Some fixed end to ills, they would be strong     By somedevice unconquered to withstand     Religions and the menacings of seers.     But now nor skill nor instrument is theirs,     Since men must dread eternal pains indeath.     For what the soul may be they do not know,     Whether 'tis born, or enter in at birth,     And whether, snatched by death, it die with us,     Or visit theshadows and the vasty caves     Of Orcus, or by some divine decree     Enter the brute herds, as our Ennius sang,     Who first from lovely Helicon broughtdown     A laurel wreath of bright perennial leaves,     Renowned forever among the Italian clans.     Yet Ennius too in everlasting verse     Proclaims those vaultsof Acheron to be,     Though thence, he said, nor souls nor bodies fare,     But only phantom figures, strangely wan,     And tells how once from out those regionsrose     Old Homer's ghost to him and shed salt tears     And with his words unfolded Nature's source.     Then be it ours with steady mind to clasp     The purportof the skies--the law behind     The wandering courses of the sun and moon;     To scan the powers that speed all life below;     But most to see with reasonableeyes     Of what the mind, of what the soul is made,     And what it is so terrible that breaks     On us asleep, or waking in disease,     Until we seem to mark andhear at hand     Dead men whose bones earth bosomed long ago.SUBSTANCE IS ETERNAL     This terror, then, this darkness of the mind,     Not sunrise with itsflaring spokes of light,     Nor glittering arrows of morning can disperse,     But only Nature's aspect and her law,     Which, teaching us, hath thisexordium:     Nothing from nothing ever yet was born.     Fear holds dominion over mortality     Only because, seeing in land and sky     So much the causewhereof no wise they know,     Men think Divinities are working there.     Meantime, when once we know from nothing still     Nothing can be create, we shalldivine     More clearly what we seek: those elements     From which alone all things created are,     And how accomplished by no tool of Gods.     Suppose allsprang from all things: any kind     Might take its origin from any thing,     No fixed seed required. Men from the sea     Might rise, and from the land the scalybreed,     And, fowl full fledged come bursting from the sky;     The horned cattle, the herds and all the wild     Would haunt with varying offspring tilth andwaste;     Nor would the same fruits keep their olden trees,     But each might grow from any stock or limb     By chance and change. Indeed, and were therenot     For each its procreant atoms, could things have     Each its unalterable mother old?     But, since produced from fixed seeds are all,     Each birth goes forthupon the shores of light     From its own stuff, from its own primal bodies.     And all from all cannot become, because     In each resides a secret power itsown.     Again, why see we lavished o'er the lands     At spring the rose, at summer heat the corn,     The vines that mellow when the autumn lures,     If notbecause the fixed seeds of things     At their own season must together stream,     And new creations only be revealed     When the due times arrive andpregnant earth     Safely may give unto the shores of light     Her tender progenies? But if from naught     Were their becoming, they would springabroad     Suddenly, unforeseen, in alien months,     With no primordial germs, to be preserved     From procreant unions at an adverse hour.     Nor on themingling of the living seeds     Would space be needed for the growth of things     Were life an increment of nothing: then     The tiny babe forthwith would walk aman,     And from the turf would leap a branching tree--     Wonders unheard of; for, by Nature, each     Slowly increases from its lawful seed,     And throughthat increase shall conserve its kind.     Whence take the proof that things enlarge and feed     From out their proper matter. Thus it comes     That earth, withouther seasons of fixed rains,     Could bear no produce such as makes us glad,     And whatsoever lives, if shut from food,     Prolongs its kind and guards its life nomore.     Thus easier 'tis to hold that many things     Have primal bodies in common (as we see     The single letters common to many words)     Than aughtexists without its origins.     Moreover, why should Nature not prepare     Men of a bulk to ford the seas afoot,     Or rend the mighty mountains with theirhands,     Or conquer Time with length of days, if not     Because for all begotten things abides     The changeless stuff, and what from that may spring     Is fixedforevermore? Lastly we see     How far the tilled surpass the fields untilled     And to the labour of our hands return     Their more abounding crops; there areindeed     Within the earth primordial germs of things,     Which, as the ploughshare turns the fruitful clods     And kneads the mould, we quicken into"}
+{"doc_id":"doc_88","qid":"","text":"The Project Gutenberg eBook, The Art of War, by Sun TzuThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Art of WarAuthor: Sun TzuTranslator: Lionel GilesRelease Date: May 1994  [eBook #132][Last updated: January 14,2012]Language: EnglishCharacter set encoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE ART OF WAR ***Note: Please seeProject Gutenberg's eBook #17405 for a version ofthis eBook without the Giles commentary (that is, with only theSun Tzu text).                    SUN TZU ON THEART OF WAR            THE OLDEST MILITARY TREATISE IN THE WORLD          Translated from the Chinese with Introduction                       and CriticalNotes                               BY                       LIONEL GILES, M.A. Assistant in the Department of Oriental Printed Books and MSS.                      in the BritishMuseum                     First Published in 1910-----------------------------------------------------------------                          To my brother                  CaptainValentine Giles, R.G.                        in the hope that                      a work 2400 years old           may yet contain lessons worth consideration                     bythe soldier of today                        this translation                  is affectionately dedicated.-----------------------------------------------------------------Preface tothe Project Gutenberg Etext--------------------------------------     When Lionel Giles began his translation of Sun Tzu's ART OFWAR, the work was virtuallyunknown in Europe.  Its introductionto Europe began in 1782 when a French Jesuit Father living inChina, Joseph Amiot, acquired a copy of it, and translated itintoFrench.  It was not a good translation because, according toDr. Giles, \"[I]t contains a great deal that Sun Tzu did notwrite, and very little indeed of what hedid.\"     The first translation into English was published in 1905 inTokyo by Capt. E. F. Calthrop, R.F.A.  However, this translationis, in the words of Dr. Giles,\"excessively bad.\"  He goesfurther in this criticism:  \"It is not merely a question ofdownright blunders, from which none can hope to be wholly exempt.Omissionswere frequent; hard passages were willfully distortedor slurred over.  Such offenses are less pardonable.  They wouldnot be tolerated in any edition of a Latin orGreek classic, anda similar standard of honesty ought to be insisted upon intranslations from Chinese.\"  In 1908 a new edition of Capt.Calthrop's translation waspublished in London.  It was animprovement on the first -- omissions filled up and numerousmistakes corrected -- but new errors were created in the process.Dr.Giles, in justifying his translation, wrote:  \"It was notundertaken out of any inflated estimate of my own powers; but Icould not help feeling that Sun Tzu deserveda better fate thanhad befallen him, and I knew that, at any rate, I could hardlyfail to improve on the work of my predecessors.\"     Clearly, Dr. Giles' workestablished much of the groundworkfor the work of later translators who published their owneditions.  Of the later editions of the ART OF WAR Ihaveexamined;  two feature Giles' edited translation and notes,  theother two present the same basic information from the ancientChinese commentators foundin the Giles edition.  Of these four,Giles' 1910 edition is the most scholarly and presents the readeran incredible amount of information concerning Sun Tzu'stext,much more than any other translation.     The Giles' edition of the ART OF WAR, as stated above, was ascholarly work.  Dr. Giles was a leading sinologue atthe timeand an assistant in the Department of Oriental Printed Books andManuscripts in the British Museum.  Apparently he wanted toproduce a definitive edition,superior to anything else thatexisted and perhaps something that would become a standardtranslation.  It was the best translation available for 50 years.Butapparently there was not much interest in Sun Tzu in English-speaking countries since it took the start of the SecondWorld War to renew interest in hiswork.  Several peoplepublished unsatisfactory English translations of Sun Tzu.  In1944,  Dr. Giles' translation was edited and published in theUnited States in aseries of military science books.  But itwasn't until 1963 that a good English translation (by Samuel B.Griffith and still in print) was published that was an equaltoGiles' translation.  While this translation is more lucid thanDr. Giles' translation, it lacks his copious notes that make hisso interesting.     Dr. Giles produced awork primarily intended for scholars ofthe Chinese civilization and language.  It contains the Chinesetext of Sun Tzu, the English translation, and voluminousnotesalong with numerous footnotes.  Unfortunately, some of his notesand footnotes contain Chinese characters; some are completelyChinese.  Thus,  aconversion to a Latin alphabet etext wasdifficult.  I did the conversion in complete ignorance of Chinese(except for what I learned while doing theconversion).  Thus, Ifaced the difficult task of paraphrasing it while retaining asmuch of the important text as I could.  Every paraphraserepresents a loss; thus Idid what I could to retain as much ofthe text as possible.  Because the 1910 text contains a Chineseconcordance, I was able to transliterate proper names, books,andthe like at the risk of making the text more obscure.  However,the text, on the whole, is quite satisfactory for the casualreader, a transformation madepossible by conversion to an etext.However, I come away from this task with the feeling of lossbecause I know that someone with a background in Chinese can doabetter job than I did; any such attempt would be welcomed.                              Bob Sutton                              al876@cleveland.freenet.edu                              bobs@gnu.ai.mit.edu-----------------------------------------------------------------INTRODUCTIONSun Wu and his Book-------------------     Ssu-ma Ch`ien givesthe following biography of Sun Tzu:  [1]--       Sun Tzu Wu was a native of the Ch`i State.  His ART OF  WAR brought him to the notice of Ho Lu, [2] King ofWu.  Ho  Lu said to him:  \"I have carefully perused your 13 chapters.  May I submit your theory of managing soldiers to a slight  test?\"       Sun Tzu replied:  \"Youmay.\"       Ho Lu asked:  \"May the test be applied to women?\"       The answer was again in the affirmative, so arrangements  were made to bring 180 ladies outof the Palace.  Sun Tzu  divided them into two companies, and placed one of the King's  favorite concubines at the head of each.  He then bade them  all takespears in their hands, and addressed them thus:   \"I  presume you know the difference between front and back, right  hand and left hand?\"       The girlsreplied:  Yes.       Sun Tzu went on:  \"When I say \"Eyes front,\"  you must  look straight ahead.  When I say \"Left turn,\" you must face  towards your lefthand.  When I say \"Right turn,\"  you must  face towards your right hand.  When I say \"About turn,\"  you  must face right round towards your back.\"       Againthe girls assented.  The words of command having  been thus explained, he set up the halberds and battle-axes  in order to begin the drill.  Then, to the sound ofdrums, he  gave the order \"Right turn.\"  But the girls only burst out  laughing.  Sun Tzu said:  \"If words of command are not clear  and distinct, if orders are notthoroughly understood, then  the general is to blame.\"       So he started drilling them again, and this time gave  the order \"Left turn,\" whereupon the girls oncemore burst  into fits of laughter.  Sun Tzu:  \"If words of command are  not clear and distinct, if orders are not thoroughly  understood, the general is toblame.  But if his orders ARE  clear, and the soldiers nevertheless disobey, then it is the  fault of their officers.\"       So saying, he ordered the leaders of the twocompanies  to be beheaded.  Now the king of Wu was watching the scene  from the top of a raised pavilion; and when he saw that his  favorite concubines wereabout to be executed, he was greatly  alarmed and hurriedly sent down the following message:   \"We  are now quite satisfied as to our general's ability tohandle  troops.  If We are bereft of these two concubines, our meat  and drink will lose their savor.  It is our wish that they  shall not be beheaded.\"       Sun Tzureplied:  \"Having once received His Majesty's  commission to be the general of his forces, there are certain  commands of His Majesty which, acting in thatcapacity, I am  unable to accept.\"       Accordingly,  he had the two leaders beheaded,  and  straightway installed the pair next in order as leaders in  theirplace.  When this had been done, the drum was sounded  for the drill once more; and the girls went through all the  evolutions, turning to the right or to the left,marching  ahead or wheeling back, kneeling or standing, with perfect  accuracy and precision, not venturing to utter a sound.  Then  Sun Tzu sent a messenger tothe King saying:  \"Your soldiers,  Sire, are now properly drilled and disciplined, and ready for  your majesty's inspection.  They can be put to any use that  theirsovereign may desire; bid them go through fire and  water, and they will not disobey.\"       But the King replied:  \"Let our general cease drilling  and return tocamp.  As for us, We have no wish to come down  and inspect the troops.\"       Thereupon Sun Tzu said:  \"The King is only fond of  words, and cannot translatethem into deeds.\"       After that, Ho Lu saw that Sun Tzu was one who knew how  to handle an army, and finally appointed him general.  In the  west, hedefeated the Ch`u State and forced his way into  Ying, the capital; to the north he put fear into the States  of Ch`i and Chin, and spread his fame abroadamongst the  feudal princes.  And Sun Tzu shared in the might of the King.     About Sun Tzu himself this is all that Ssu-ma Ch`ien has totell us in thischapter.  But he proceeds to give a biography ofhis descendant,  Sun Pin, born about a hundred years after hisfamous ancestor's death, and also the outstandingmilitary geniusof his time.  The historian speaks of him too as Sun Tzu, and inhis preface we read:  \"Sun Tzu had his feet cut off and yetcontinued to discuss theart of war.\" [3]  It seems likely, then,that  \"Pin\" was a nickname bestowed on him after his mutilation,unless the story was invented in order to account for thename.The crowning incident of his career, the crushing defeat of histreacherous rival P`ang Chuan, will be found briefly related inChapter V. ss. 19, note.     Toreturn to the elder Sun Tzu.  He is mentioned in twoother passages of the SHIH CHI: --       In the third year of his reign [512 B.C.] Ho Lu, king of  Wu, took thefield with Tzu-hsu [i.e. Wu Yuan] and Po P`ei,  and attacked Ch`u.  He captured the town of Shu and slew the  two prince's sons who had formerly been generalsof Wu.  He  was then meditating a descent on Ying [the capital]; but the  general Sun Wu said:  \"The army is exhausted.  It is not yet  possible.  We mustwait\"....  [After further successful  fighting,]  \"in the ninth year  [506 B.C.],  King Ho Lu  addressed Wu Tzu-hsu and Sun Wu, saying:   \"Formerly, you  declaredthat it was not yet possible for us to enter Ying.  Is the time ripe now?\"  The two men replied:  \"Ch`u's general  Tzu-ch`ang, [4] is grasping and covetous, and"}
+{"doc_id":"doc_89","qid":"","text":"Project Gutenberg's The Marriage of William Ashe, by Mrs. Humphry WardThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Marriage of William AsheAuthor: Mrs. Humphry WardRelease Date: November 22, 2004 [EBook #14126][This file last updatedNovember 24, 2010]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MARRIAGE OF WILLIAM ASHE ***Produced by Andrew Templeton,Juliet Sutherland, Charlie Kirschnerand the Online Distributed Proofreading Team.[Illustration: LADY KITTY BRISTOL]The MarriageofWilliam AsheBYMRS.HUMPHRY WARDAuthor of \"Lady Rose's Daughter\" \"Eleanor\" etc.ILLUSTRATED BYALBERT STERNER[Illustration]1905Contents                                  PAGEPARTI. ACQUAINTANCE . . . . . . .   1PART II. THREE YEARS AFTER . . . . 125PART III. DEVELOPMENT  . . . . . . 293PART IV. STORM . . . . . . . . . . 365PART V.REQUIESCAT . . . . . . . . 511TOD.M.W.DAUGHTER AND FRIENDI INSCRIBE THIS BOOKMARCH, 1905IllustrationsLADY KITTY BRISTOL . . . . . . . . . . . . . . . . . ..  _Frontispiece_LADY TRANMORE AND MARY LYSTER  . . . . . . . . . . . . _Facing page_   6\"A SLIM GIRL IN WHITE AT THE FAR END OF THE LARGE ROOM\"  . . . . ..  44THE FINISHING TOUCHES  . . . . . . . . . . . . . . . . . . . . . . . 200\"HE GATHERED HER IN HIS ARMS\"  . . . . . . . . . . . . . . . . . . . 278\"THE ACTRESS PAUSED TOSTARE AT LADY KITTY\"  . . . . . . . . . . . . 438\"SHE THOUGHT OF CLIFFE STANDING BESIDE THE DOOR OF THE GREAT HALL\" . 474\"HE DREW SOME CHAIRSTOGETHER BEFORE THE FIRE\" . . . . . . . . . . . 556PART IACQUAINTANCE                              \"Just oblige me and touch     With your scourge that minx Chloe,but don't hurt her much.\"The Marriage of William AsheI\"He ought to be here,\" said Lady Tranmore, as she turned away from thewindow.Mary Lyster laid down herwork. It was a fine piece of churchembroidery, which, seeing that it had been designed for her by no less aperson than young Mr. Burne Jones himself, made herthe envy of herpre-Raphaelite friends.\"Yes, indeed. You made out there was a train about twelve.\"\"Certainly. They can't have taken more than an hour tospeechify afterthe declaration of the poll. And I know William meant to catch thattrain if he possibly could.\"\"And take his seat this evening?\"Lady Tranmorenodded. She moved restlessly about the room, fidgetingwith a book here and there, and evidently full of thoughts. Mary Lysterwatched her a little longer, thenquietly took up her work again. Herair of well-bred sympathy, the measured ease of her movements,contrasted with Lady Tranmore's impatience. Yet in truth shewaslistening no less sharply than her companion to the sounds in thestreet outside.Lady Tranmore made her way to the window, and stood there looking outonthe park. It was the week before Easter, and the plane-trees were notyet in leaf. But a few thorns inside the park railings were alreadylavishly green and therewas a glitter of spring flowers beside the parkwalks, not showing, however, in such glorious abundance as became thefashion a few years later. It was a mildafternoon and the drive wasfull of carriages. From the bow-window of the old irregular house inwhich she stood, Lady Tranmore could watch the throng passingandrepassing, could see also the traffic in Park Lane on either side.London, from this point of sight, wore a cheerful, friendly air. The dimsunshine, thewhite-clouded sky, the touches of reviving green andflowers, the soft air blowing in from a farther window which was open,brought with them impressions ofspring, of promise, and rebirth, whichinsensibly affected Lady Tranmore.\"Well, I wonder what William will do, this time, in Parliament!\" shesaid, as she droppedagain into her seat by the fire and began to cutthe pages of a new book.\"He is sure to do extremely well,\" said Miss Lyster.Lady Tranmore shrugged hershoulders. \"My dear--do you know that Williamhas been for eight years--since he left Trinity--one of the idlest youngmen alive?\"\"He had onebrief!\"\"Yes--somewhere in the country, where all the juniors get one in turn,\"said Lady Tranmore. \"That was the year he was so keen and went oncircuit, andnever missed a sessions. Next year nothing would inducehim to stir out of town. What has he done with himself all these eightyears? I can't imagine.\"\"He hasgrown--uncommonly handsome,\" said Mary Lyster, with a momentaryhesitation as she threaded her needle afresh.\"I never remember him anything else,\" saidLady Tranmore. \"All theartists who came here and to Narroways wanted to paint him. I used tothink it would make him a spoiled little ape. But nothing spoiledhim.\"Miss Lyster smiled. \"You know, Cousin Elizabeth--and you may as wellconfess it at once!--that you think him the ablest, handsomest, andcharmingest ofmen!\"\"Of course I do,\" said Lady Tranmore, calmly. \"I am certain,moreover--now--that he will be Prime Minister. And as for idleness,that, of course, is only a_façon de parler_. He has worked hard enoughat the things which please him.\"\"There--you see!\" said Mary Lyster, laughing.\"Not politics, anyway,\" said theelder lady, reflectively. \"He wentinto the House to please me, because I was a fool and wanted to seehim there. But I must say when his constituents turned himout lastyear I thought they would have been a mean-spirited set if theyhadn't. They knew very well he'd never done a stroke forthem.Attendances--divisions--perfectly scandalous!\"\"Well, here he is, in triumphantly for somewhere else--with all sorts ofdelightful prospects!\"Lady Tranmoresighed. Her white fingers paused in their task.\"That, of course, is because--now--he's a personage. Everything'll bemade easy for him now. My dear Mary, theytalk of England's being ademocracy!\"The speaker raised her handsome shoulders; then, as though to shake offthoughts of loss and grief which had suddenlyassailed her, she abruptlychanged the subject.\"Well--work or no work--the first thing we've got to do is to marryhim.\"She looked up sharply. But not the smallesttremor could she detect inMary Lyster's gently moving hand. There was, however, no reply to herremark.\"Don't you agree, Polly?\" said Lady Tranmore,smiling.Her smile--which still gave great beauty to her face--was charming, buta little sly, as she observed her companion.\"Why, of course,\" said Miss Lyster,inclining her head to one side thatshe might judge the effect of some green shades she had just put in.\"But that surely will be made easy for him, too.\"\"Well, afterall, the girls can't propose! And I never saw him take anyinterest in a girl yet--outside his own family, of course,\" added LadyTranmore, hastily.\"No--he doescertainly devote himself to the married women,\" repliedMiss Lyster, in the half-absent tone of one more truly interested in herembroidery than in theconversation.\"He would sooner have an hour with Madame d'Estrées than a week with theprettiest miss in London. That's quite true, but I vow it's the girls'ownfault! They should stand on their dignity--snub the creaturesmore! In my young days--\"[Illustration: LADY TRANMORE AND MARY LYSTER]\"Ah, there wasn't a glutof us then,\" said Mary, calmly. \"Listen!\"--sheheld up her hand.\"Yes,\" said Lady Tranmore, springing up. \"There he is.\"She stood waiting. The door flew open, andin came a tall young man.\"William, how late you are!\" said Lady Tranmore, as she flew into hisarms.\"Well, mother, are you pleased?\"Her son held her atarm's-length, smiling kindly upon her.\"Of course I am,\" said Lady Tranmore. \"And you--are you horribly tired?\"\"Not a bit. Ah, Mary!--how do you do?\"Miss Lysterhad risen, and the cousins shook hands.\"But I don't deny it's very jolly to come back--out of all that beastlyscrimmage,\" said the new member, as he threwhimself into an arm-chairby the fire with his hands behind his head, while Lady Tranmore preparedhim a cup of tea.\"I expect you've enjoyed it,\" said Miss Lyster,also moving towards thefire.\"Well, when you're in it there's a certain excitement in wondering howyou're going to come out of it! But one might say that, ofcourse, ofthe infernal regions.\"\"Not quite,\" said Mary Lyster, smiling demurely.\"Polly! you _are_ a Tory. Everybody else's hell has moved--but yours!Thank you,mother,\" as Lady Tranmore gave him tea. Then, stretching outhis great frame in lazy satisfaction, he turned his brown eyes from onelady to the other. \"I say,mother, I haven't seen anything asgood-looking as you--or Polly there, if she'll forgive me--for weeks.\"\"Hold your tongue, goose,\" said his mother, as shereplenished theteapot. \"What--there were no pretty girls--not one?\"\"Well, they didn't come my way,\" said William, contentedly munching atbread-and-butter. \"Ihave gone through all the usual humbug--andperjured my soul in all the usual ways--without any consolation worthspeaking of.\"\"Don't talk nonsense, sir,\" saidLady Tranmore. \"You know you likespeaking--and you like compliments--and you've had plenty of both.\"\"You didn't read me, mother!\"\"Didn't I?\" she said,smiling. He groaned, and took another piece oftea-cake.\"My own family at least, don't you think, might omit that?\"\"H'm, sir--So you didn't believe a word of yourown speeches?\" said LadyTranmore, as she stood behind him and smoothed his hair back from hisforehead.\"Well, who does?\" He looked up gayly and kissed thetips of her fingers.\"And it's in that spirit you're going back into the House?\" Mary Lysterthrew him the question--with a slight pinching of the lips--as sheresumedher work.\"Spirit? What do you mean, Polly? One plays the game, of course--and ithas its moments--its hot corners, so to speak--or I suppose no one wouldplayit!\"\"And the goal?\" She lifted a gently disapproving face, in a movementwhich showed anew the large comeliness of head and neck.\"Why--to keep the otherfellows out, of course!\" He lifted an arm anddrew his mother down to sit on the edge of his chair.\"William, you're not to talk like that,\" said Lady Tranmore,decidedly,laying her cheek, however, against his hand the while. \"It was all verywell when you were quite a free-lance--but now--Oh! never mindMary--she'sdiscreet--and she knows all about it.\"\"What--that they're thinking of giving me Hickson's place? Parham hasjust written to me--I found the letter down-stairs--toask me to go andsee him.\"\"Oh! it's come?\" said Lady Tranmore, with a start of pleasure. LordParham was the Prime Minister. \"Now don't be a humbug, William,andpretend you're not pleased. But you'll have to work, mind!\" She held upan admonishing finger. \"You'll have to answer letters, mind!--you'llhave to keepappointments, mind!\"\"Shall I?... Ah!--Hudson--\"He turned. The butler was in the room.\"His lordship, my lady, would like to see Mr. William before dinner ifhecould make it convenient.\"\"Certainly, Hudson, certainly,\" said the young man. \"Tell his lordshipI'll be with him in ten minutes.\"Then, as the butlerdeparted--\"How's father, mother?\"\"Oh! much as usual,\" said Lady Tranmore, sadly.\"And you?\"He laid his arm boyishly round her waist, and looked up at her,hishandsome face all affection and life. Mary Lyster, observing them,thought them a remarkable pair--he in the very prime and heyday ofbrilliant youth, she so"}
+{"doc_id":"doc_90","qid":"","text":"<html><head><title>RocknRolla Script at IMSDb.</title><meta name=\"description\" content=\"RocknRolla script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"RocknRolla script, RocknRolla movie script, RocknRolla film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                              ROCKNROLLA</b>                              Written by                              GuyRitchie                                                June 19, 2007<b></b>    WHITE Revision   -   6-6-07                                  1.<b>1   INT. DERELICT BUILDING -DAY                                      1</b>    WE MEET: MUMBLES(late 30s) and ONE TWO (late 30s). They are    listening to a sales pitch from two REAL ESTATEAGENTS.    We SEE all the relevant pictures of their pitch explaining a    changing city, LONDON.<b>                            SLICK ESTATE AGENT(V.O.)</b>              Two years ago this property cost one              million pounds.                  (we SEE building)              Today, it costs five million.    Thecamera WHIP PANS over to another part of the building to    see the other ESTATE AGENT giving his pitch. The camera    will keep this back and forth for theduration of the scene.<b>                            OTHER SLICK ESTATE AGENT (V.O.)</b>              How did this happen?                  (CUT TOrelevant                   pictures as he speaks)              Attractive tax opportunities for              foreign investment, restrictive              building consent andmassive hedge              fund bonuses,...                  (beat)              London, my good man, is fast becoming              the financial and culturalcapital              of the world.<b>                            SLICK ESTATE AGENT</b>              And of course the Russians have come              totown.<b>                            OTHER SLICK ESTATE AGENT</b>              Makes it hard to compete with an ex-              Soviet oligarch that has six"}
+{"doc_id":"doc_91","qid":"","text":"<html><head><title>Artist, The Script at IMSDb.</title><meta name=\"description\" content=\"Artist, The script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Artist, The script, Artist, The movie script, Artist, The film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                            THE ARTIST</b>                            Written by                       Michel Hazanavicius    Silent film, illustratedmusically, with some title cards to    indicate the dialogues, with actors whose lips move when they    speak although we never hear their voices. The images arein    black and white, in format 1.33.<b>1   TITLES                                                       1</b>    The letters of the titles come up on a title card typical of    the1920s. Elegant motifs around the edge of the frame, and,    in the background, there are geometrical shapes reminiscent    of the light beams of a film première.Behind is a stylized    town. The titles end in a fade to black. On black, the date    appears on the screen: 1927<b>2   INT. LABORATORY -DAY                                        2</b>    In a \"futuristic\" 1920s laboratory, a man in tail coat and    bow tie is being tortured. Ultrasound is being piped intohis    ears. It's incredibly painful! He's screaming.    Title card:    I'm not telling!   I won't talk!!!    His torturers, cold men of science in white coats,gradually    increase the volume. The pain seems unbearable, the volume    reaches level 10 (maximum), the man passes out!<b>3   INT. CELLS & CORRIDORS -DAY                                 3</b>    Guards wearing long leather overcoats throw the man into a    cell!    As the man is lying there on the ground, a dogwiggles    through the bars at the window. The dog, a Jack Russell,    jumps on top of the man - visibly his master - and begins to    lick his face. The man opensone eye! When he sees his dog,    he can't help cracking a smile...    The man, now on his feet, looks in pain. Despite the pain, he    motions to his dog who"}
+{"doc_id":"doc_92","qid":"","text":"<html><head><title>Repo Man Script at IMSDb.</title><meta name=\"description\" content=\"Repo Man script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Repo Man script, Repo Man movie script, Repo Man film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                            REPO MAN</b>                                           Written by                                            AlexCox                                          Transcript by                                           Steve Farmer               Repo Man theme music now begins playing. Map is shown inbackground                (green text on black background), zoomed in on Los Alamos, New                Mexico. While remaining credits are shown, the map travelsto                Sante Fe, then Albuquerque, then begins following US66 west through                Arizona to California, finally ending up a few miles eastof                Goffs (northwest of Needles).<b> </b>               Green '64 Chevy Malibu               Malibu is weaving down the highway in the desert, passesbillboard                with motorcycle cop behind it. Cop pulls out behind Malibu.<b> </b><b>               </b><b>                                     J. FRANKPARNELL</b>                         Forty-niner and his daughter Clementine.                          Oh my darlin, oh my darlin...<b> </b>               Motorcycle cop pullsthe car over, gets off motorcycle and raps                on car window.<b> </b><b>                                     J. FRANK PARNELL</b>                         ClementineClemen-<b>                                     COUNTY SHERIFF</b>                         Let me see your driverslicense.<b>                                     RADIO</b>                         Post ten-eighteen. Post ten-eighteen.<b></b><b>                         </b><b>                                     COUNTY SHERIFF</b>                         From out of town, hmm? What's you"}
+{"doc_id":"doc_93","qid":"","text":"<html><head><title>Phone Booth Script at IMSDb.</title><meta name=\"description\" content=\"Phone Booth script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Phone Booth script, Phone Booth movie script, Phone Booth film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>PhoneBooth</title></head><pre><b>                          PHONE BOOTH</b>                              by                          Larry Cohen<b> FADE IN:</b><b> NEW YORKCITY - AERIAL VIEW OF DOWNTOWN MANHATTAN - DAY</b><b> MULTIPLE STREET SCENES - DAY</b> The sidewalks crowded as usual.  A sea ofhumanity.  People come and go -- always in a hurry.  Oblivious of one another. A TRAFFIC JAM -- A STREET being torn up by construction workers; ASANITATION TRUCK loading up refuse; VENDORS PEDDLING nuts and salted pretzels; PANHANDLERS blocking a passerby.  Intimidating.  Demanding.  Almostmocking. We're surrounded by the teeming life of the city as we've come to expect it -- complete with a cacophony of sound. MULTIPLE CUTS -- Phone kiosks andphone booths on the East Side and West Side -- uptown and down. One frustrated caller has lost his money in the slot and he takes it out on the equipment --smashing the receiver violently against the coin box until the instrument splinters into a dozen pieces.<b> NARRATOR</b> There are 237,911 pay telephones inthe five burroughs of the city of New York.  Many of them are still in working order.<b> DOZENS OF QUICK CUTS --</b> NEW YORKERS on the phone in extremeclose up.  We don't hear the words.  Only the facial expressions inform us that these are human beings under tremendous pressure.  Life in the city is wearingthem down.<b> MULTIPLE SHOTS - JUST MOUTHS</b> Lips jabbering into receivers.  Cross-cut against one another.<b> NARRATOR</b> Despite increased"}
+{"doc_id":"doc_94","qid":"","text":"<html><head><title>Clueless Script at IMSDb.</title><meta name=\"description\" content=\"Clueless script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Clueless script, Clueless movie script, Clueless film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE>Clueless</TITLE><b></HEAD></b><body bgcolor=#ffffff text=#000000 link=#ff0000vlink=#808080 alink=#ff8000><b><CENTER></b>  <P><B><TT><FONT SIZE=+1>Directed by AmyHeckerling</FONT></TT></B></P><b></CENTER></b><b><PRE><B><TT><FONTSIZE=+1>CAST:</FONT></TT></B></PRE></b><b><BLOCKQUOTE></b><PRE><B><TT><FONT SIZE=+1>Alicia Silverstone.........Cher HorowitzStaceyDash................DionneBrittany Murphy............TaiPaul Stephen Rudd..........JoshDonald Adeosun Faison......MurrayElisa Donovan..............AmberBreckinMeyer..............TravisJeremy Sisto...............EltonDan Hedaya.................MelAida Linares...............LucyWallace Shawn..............Mr. HallTwinkCaplan...............Miss GeistJustin Walker..............ChristianSabastian Rashidi..........ParoudasmHerb Hall..................PrincipalJulie Brown................MissStoegerSusan Mohun................HeatherNicole Bilderback..........SummerRon Orbach.................DMV TesterSean Holland...............LawrenceRogerKabler...............College GuyJace Alexander.............RobberJosh Lozoff................LoganCarl Gottlieb..............MinisterJoseph D. Reitman..........StudentAnthonyBeninati...........BartenderMicki Duran................DancerGregg Russell..............DancerJermaine Montell...........DancerDanielleEckert............Dancer</FONT></TT></B></PRE><b></BLOCKQUOTE></b><PRE><B><TT><FONT SIZE=+1>Written by      Jane Austen   (novel"}
+{"doc_id":"doc_95","qid":"","text":"The Project Gutenberg EBook of The Efficiency Expert, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org/licenseTitle: The Efficiency ExpertAuthor: Edgar Rice BurroughsPosting Date: May 6, 2012 [EBook #3475]Release Date: October,2002  [Etext #3475][The actual date this file first posted = 10/30/01]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE EFFICIENCYEXPERT ***Produced by Fred M. Adams (fsadams@magma.cs)THE EFFICIENCY EXPERTCHAPTER I.JIMMY TORRANCE, JR.The gymnasium was packed as JimmyTorrance stepped into the ring for thefinal event of the evening that was to decide the boxing championship ofthe university. Drawing to a close were the nearlyfour years of hiscollege career--profitable years, Jimmy considered them, and certainlysuccessful up to this point. In the beginning of his senior year hehadcaptained the varsity eleven, and in the coming spring he would againsally forth upon the diamond as the star initial sacker of collegedom.His footballtriumphs were in the past, his continued baseball successesa foregone conclusion--if he won to-night his cup of happiness, and anunassailably dominant positionamong his fellows, would be assured,leaving nothing more, in so far as Jimmy reasoned, to be desired fromfour years attendance at one of America's oldest andmost famousuniversities.The youth who would dispute the right to championship honors with Jimmywas a dark horse to the extent that he was a freshman, and,therefore,practically unknown. He had worked hard, however, and given a goodaccount of himself in his preparations for the battle, and there wererumors, asthere always are about every campus, of marvelous exploitsprior to his college days. It was even darkly hinted that he was aprofessional pugilist. As a matter offact, he was the best exponent ofthe manly art of self-defense that Jimmy Torrance had ever faced, and inaddition thereto he outweighed the senior andoutreached him.The boxing contest, as the faculty members of the athletic committeepreferred to call it, was, from the tap of the gong, as pretty atwo-fistedscrap as ever any aggregation of low-browed fight fanswitnessed. The details of this gory contest, while interesting, have noparticular bearing upon thedevelopment of this tale. What interests usis the outcome, which occurred in the middle of a very bloody fourthround, in which Jimmy Torrance scored a cleanknock-out.It was a battered but happy Jimmy who sat in his room the followingMonday afternoon, striving to concentrate his mind upon a collegetext-book whichshould, by all the laws of fiction, have been 'wellthumbed,' but in reality, possessed unruffled freshness which belied itsreal age.\"I wish,\" mused Jimmy, \"that Icould have got to the bird who inventedmathematics before he inflicted all this unnecessary anguish upon analready unhappy world. In about three rounds I couldhave savedthousands from the sorrow which I feel every time I open this bloomingbook.\"He was still deeply engrossed in the futile attempt of accomplishing inanhour that for which the college curriculum set aside several monthswhen there came sounds of approaching footsteps rapidly ascending thestairway. His door wasunceremoniously thrown open, and there appearedone of those strange apparitions which is the envy and despair of thesmall-town youth--a naturallygood-looking young fellow, the sartorialarts of whose tailor had elevated his waist-line to his arm-pits,dragged down his shoulders, and caved in his front until hehad theappearance of being badly dished from chin to knees. His trousersappeared to have been made for a man with legs six inches longer thanhis, while his hatwas evidently several sizes too large, since it wouldhave entirely extinguished his face had it not been supported by hisears.\"Hello, Kid!\" cried Jimmy.  \"What'snew?\"\"Whiskers wants you,\" replied the other.  \"Faculty meeting. They justgot through with me.\"\"Hell!\" muttered Jimmy feelingly.  \"I don't know what Whiskerswantswith me, but he never wants to see anybody about anything pleasant.\"\"I am here,\" agreed the other, \"to announce to the universe that you areright,Jimmy. He didn't have anything pleasant to say to me. In fact, heinsinuated that dear old alma mater might be able to wiggle alongwithout me if I didn't abjuremy criminal life. Made some nastycomparison between my academic achievements and foxtrotting. I wonder,Jimmy, how they get that way?\"\"That's why they areprofs,\" explained Jimmy.  \"There are two kinds ofpeople in this world--human beings and profs. When does he want me?\"\"Now.\"Jimmy arose and put on his hatand coat.  \"Good-by, Kid,\" he said.\"Pray for me, and leave me one cigarette to smoke when I get back,\"and, grinning, he left the room.James Torrance, Jr., wasnot greatly abashed as he faced the dourtribunal of the faculty. The younger members, among whom were several heknew to be mighty good fellows at heart, satat the lower end of thelong table, and with owlish gravity attempted to emulate the appearanceand manners of their seniors. At the head of the table satWhiskers, asthe dignified and venerable president of the university was popularlynamed. It was generally believed and solemnly sworn to throughout thelargecorps of undergraduates that within the knowledge of any livingman Whiskers had never been known to smile, and to-day he was runningtrue to form.\"Mr.Torrance,\" he said, sighing, \"it has been my painful duty on morethan one occasion to call your attention to the uniformly low average ofyour academic standing.At the earnest solicitation of the facultymembers of the athletic committee, I have been influenced, against mybetter judgment, to temporize with an utterlyinsufferable condition.\"You are rapidly approaching the close of your senior year, and in thelight of the records which I have before me I am constrained tobelievethat it will be utterly impossible for you to graduate, unless from nowto the end of the semester you devote yourself exclusively to youracademic work. Ifyou cannot assure me that you will do this, I believeit would be to the best interests of the university for you to resignnow, rather than to fail of graduation. Andin this decision I am fullyseconded by the faculty members of the athletic committee, who realizethe harmful effect upon university athletics in the future weresoprominent an athlete as you to fail at graduation.\"If they had sentenced Jimmy to be shot at sunrise the blow couldscarcely have been more stunning than thatwhich followed therealization that he was not to be permitted to round out his fourthsuccessful season at first base. But if Jimmy was momentarily stunnedhegave no outward indication of the fact, and in the brief interval ofsilence following the president's ultimatum his alert mind functionedwith the rapidity which ithad often shown upon the gridiron, thediamond, and the squared circle.Just for a moment the thought of being deprived of the pleasure andexcitement of thecoming baseball season filled his mind to theexclusion of every other consideration, but presently a less selfishimpulse projected upon the screen of recollectionthe figure of thefather he idolized. The boy realized the disappointment that this manwould feel should his four years of college end thus disastrously andwithoutthe coveted diploma.And then it was that he raised his eyes to those of the president.\"I hope, sir,\" he said, \"that you will give me one more chance--that youwilllet me go on as I have in the past as far as baseball is concerned,with the understanding that if at the end of each month between now andcommencement I donot show satisfactory improvement I shall not bepermitted to play on the team. But please don't make that restrictionbinding yet. If I lay off the track work Ibelieve I can make up enoughso that baseball will not interfere with my graduation.\"And so Whiskers, who was much more human than the student body gavehimcredit for being, and was, in the bargain, a good judge of boys, gaveJimmy another chance on his own terms, and the university's heavyweightchampionreturned to his room filled with determination to make good atthe eleventh hour.Possibly one of the greatest obstacles which lay in Jimmy's path towardacademichonors was the fact that he possessed those qualities ofcharacter which attracted others to him, with the result that there wasseldom an hour during the day thathe had his room to himself. On hisreturn from the faculty meeting he found a half-dozen of his classmatesthere, awaiting his return.\"Well?\" they inquired as heentered.\"It's worse than that,\" said Jimmy, as he unfolded the harrowing detailsof what had transpired at his meeting with the faculty. \"And now,\" hesaid, \"if youbirds love me, keep out of here from now untilcommencement. There isn't a guy on earth can concentrate on anythingwith a roomful of you mental ciphers sittingaround and yapping aboutgirls and other non-essential creations.\"\"Non-essential!\" gasped one of his visitors, letting his eyes wanderover the walls of Jimmy'sstudy, whereon were nailed, pinned or hungcountless framed and unframed pictures of non-essential creations.\"All right, Jimmy,\" said another.  \"We are withyou, horse, foot andartillery. When you want us, give us the high-sign and we will come.Otherwise we will leave you to your beloved books. It is too bad,though,as the bar-boy was just explaining how the great drought mightbe circumvented by means of carrots, potato peelings, dish-water, and araisin.\"\"Go on,\" saidJimmy; \"I am not interested,\" and the boys left him to his\"beloved\" books.Jimmy Torrance worked hard, and by dint of long hours and hard-workingtutors hefinished his college course and won his diploma. Nor did hehave to forego the crowning honors of his last baseball season,although, like Ulysses S. Grant, hewould have graduated at the head ofhis class had the list been turned upside down.CHAPTER II.JIMMY WILL ACCEPT A POSITION.Following his graduation hewent to New York to visit with one of hisclassmates for a short time before returning home. He was a veryself-satisfied Jimmy, nor who can wonder, since almostfrom hismatriculation there had been constantly dinned into his ears theplaudits of his fellow students. Jimmy Torrance had been the one bigoutstanding featureof each succeeding class from his freshman to hissenior year, and as a junior and senior he had been the acknowledgedleader of the student body and as populara man as the university hadever known.To his fellows, as well as to himself, he had been a great success--thesuccess of the university--and he and they saw inthe future onlycontinued success in whatever vocation he decided to honor with hispresence. It was in a mental attitude that had become almost habitualwithhim, and which was superinduced by these influences, that Jimmyapproached the new life that was opening before him. For a while hewould play, but in the fall itwas his firm intention to settle down tosome serious occupation, and it was in this attitude that he opened aletter from his father--the first that he had receivedsince hisgraduation.The letter was written on the letterhead of the Beatrice Corn Mills,Incorporated, Beatrice, Nebraska, and in the upper left-hand corner, insmall"}
+{"doc_id":"doc_96","qid":"","text":"The Project Gutenberg EBook of Voodoo Planet, by Andre NortonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Voodoo PlanetAuthor: Andre NortonRelease Date: July 16, 2006 [EBook #18846]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK VOODOO PLANET ***Produced by Greg Weeks, LN Yaddanapudi and the OnlineDistributed Proofreading Team athttp://www.pgdp.net[Illustration (Cover):DUEL OF THE COSMIC MAGICIANSVOODOOPLANETANDRE NORTONComplete Novel]CHALLENGE ME WITHMONSTERS!\"From between the two shuffling dancers padded something on four feet.The canine-feline creature was more than just a head; it was aloose-limbed,graceful body fully eight feet in length, and the red eyesin the prick-eared head were those of a killer.... Words issued frombetween those curved fangs, wordswhich Dane might not understand....\"Dane slid his blade out surreptitiously, setting its point against thepalm of his hand and jabbing painfully; but the terriblecreaturecontinued to advance.... There was no blurring of its lines....\"Dane Thorson of the space-ship _Solar Queen_ knew there was only one wayto win out overthis hideous thing--a battle to the end between hisrational mind and the hypnotic witchcraft of Lumbrilo, the mental wizardof the planet Khatka.CAST OFCHARACTERSDane ThorsonHe wanted to spend a short vacation on Khatka, not the rest of his life.Medic TauWas he physician or magician--or a little bit ofboth?Chief Ranger AsakiTracking the forests had taught him that mad animals--whether real orimaginary--were to be feared.Captain JellicoWould his knowledgeof alien life-forms help him in his fight againstalien ghosts?NymaniNot even this pilot's most scientific skill could overcome a voodoocharm'sground-drag.LumbriloOn his own planet he was a witch doctor; on Earth he'd have been amaster politician.VOODOO PLANETbyANDRE NORTONACE BOOKS,INC.23 West 47th Street, New York 36, N. Y.VOODOO PLANETCopyright (c), 1959, by Ace Books, Inc.All Rights ReservedPrinted in U. S.A.  +--------------------------------------------------------------+  |                                                              |  |                      Transcriber'sNote                      |  |                                                              |  | There is no evidence that the copyright on this publication  |  |                         wasrenewed.                         |  |                                                              |  +--------------------------------------------------------------+ITalk of heat--or betternot--on Xecho. This water-logged world combinedall the most unattractive features of a steam bath and one could onlydream of coolness, greenness--more landthan a stingy string of islands.The young man on the promontory above the crash of the waves wore thewinged cap of a spaceman with the insignia of acargo-master and notmuch else, save a pair of very short shorts. He wiped one hand absentlyacross his bare chest and brought it away damp as he studied,throughprotective sun goggles, the treacherous promise of the bright sea. One_could_ swim--if he wanted to lose most of his skin. There were minuteorganismsin that liquid that smacked their lips--if they hadlips--every time they thought of a Terran.Dane Thorson licked his own lips, tasting salt, and plodded backthroughthe sand of the spaceport to the berth of the _Solar Queen_. This hadbeen a long day, and one with more snarl-ups than he cared to count,keeping himon a constant, dogged trot between the ship and the fittingyard where riggers labored with the slowest motions possible to thehuman body--or so it seemed tothe exasperated acting-Cargo-Master ofthe Free Trader. Captain Jellico had long ago taken refuge in his cabinto preserve the remnants of his temper. Dane hadbeen allowed no suchescape.The _Queen_ had a schedule for refitting to serve as a mail ship, andthat time allowance did not allow for humidity playing the devilwiththe innards of robot fitters. She _had_ to be ready to lift when theCombine ship now plying that run set down and formally signed off in herfavor. Luckily,most of the work was done and Dane had given a lastsearching inspection before signing the rigger's book and reporting tohis captain.The air-conditioned interiorof the _Queen_ comforted him as he climbedto his quarters. Ship air was flat, chemically pure but unappetizingstuff. Today it was a relief to breathe. Dane wenton to the bather. Atleast there was no lack of water--with the local skinners filtered out.It was chill but relaxing on his gaunt young body.He was sealing on hislightest tunic when the ramp buzzer sounded. Avisitor--oh, not the supervisor-rigger again! Dane went to answer withdragging feet. For the crew of the _Queen_at the moment numberedexactly four, with himself for general errand boy. Captain Jellico wasin his quarters two levels above, Medic Tau was presumablyoverhaulinghis supplies, and Sindbad, ship's cat, asleep in some empty cabin.Dane jerked his tunic into place, very much on his guard as he came tothe head ofthe ramp. But it was not the supervisor-rigger. Dane,thoroughly used to unusual-appearing strangers, both human and alien,was impressed by this visitor.He wastall, this quiet man, his great height accented by a fitleanness, a narrowness of waist and hip, a length of leg and arm. Hismain article of clothing was theuniversal shorts of the Xecho settler.But, being fashioned of saffron yellow, they were the more brilliantbecause of his darkness of skin. For he was not the warmbrown of theTerran Negroes Dane had served beside, though he shared their generalfeatures. His flesh was really black, black with an almost bluishsheen.Instead of shirt or tunic, his deep chest was crossed by two widestraps, the big medallion marking their intersection giving forthflashes of gem fire when hebreathed. He wore at his belt not thestandard stun gun of a spaceman, but a weapon which resembled the moredeadly Patrol blaster, as well as a long knifehoused in a jeweled andfringed sheath. To the eye he was an example of barbaric force tamedand trimmed to civilized efficiency.He saluted, palm out, and spokeGalactic Basic with only a suggestion ofaccent.\"I am Kort Asaki. I believe Captain Jellico expects me.\"\"Yes, sir!\" Dane snapped to attention. So this was the ChiefRanger fromfabulous Khatka, Xecho's sister planet.The other ascended the cat ladder easily, missing no detail of theship's interior as he passed. His expressionwas still one of politeinterest as his guide rapped on the panel door of Jellico's cabin. And ahorrible screech from Queex, the captain's pet hoobat, drowned outanyimmediate answer. Then followed that automatic thump on the floor of theblue-feathered, crab-parrot-toad's cage, announcing that its master wasinresidence.Since the captain's cordial welcome extended only to his guest, Daneregretfully descended to the mess cabin to make unskilled preparationsforsupper--though there was not much you could do to foul upconcentrates in an automatic cooker.\"Company?\" Tau sat beyond the cooking unit nursing a mug ofTerrancoffee. \"And do you _have_ to serve music with the meals, especiallythat particular selection?\"Dane flushed, stopped whistling in mid-note. \"Terra Bound\"_was_ oldand pretty well worn out; he didn't know why he always unconsciouslysounded off with that.\"A Chief Ranger from Khatka just came on board,\" hereported, carefullyoffhand, as he busied himself reading labels. He knew better than toserve fish or any of its derivatives in disguise again.\"Khatka!\" Tau sat upstraighter. \"Now there's a planet worth visiting.\"\"Not on a Free Trader's pay,\" commented Dane.\"You can always hope to make a big strike, boy. But what Iwouldn't giveto lift ship for there!\"\"Why? You're no hunter. How come you want to heat jets for that port?\"\"Oh, I don't care about the game preserves, thoughthey're worth seeing,too. It's the people themselves--\"\"But they're Terran settlers, or at least from Terran stock, aren'tthey?\"\"Sure,\" Tau sipped his coffee slowly.\"But there are settlers andsettlers, son. And a lot depends upon when they left Terra and why, andwho they were--also what happened to them after they landedout here.\"\"And Khatkans are really special?\"\"Well, they have an amazing history. The colony was founded by escapedprisoners--and just one racial stock. Theytook off from Earth close tothe end of the Second Atomic War. That was a race war, remember? Whichmade it doubly ugly.\" Tau's mouth twisted in disgust. \"As ifthe colorof a man's skin makes any difference in what lies under it! One side inthat line-up tried to take over Africa--herded most of the natives intoa giantconcentration camp and practiced genocide on a grand scale. Thenthey were cracked themselves, hard and heavy. During the confusion somesurvivors in thecamp staged a revolt, helped by the enemy. Theycaptured an experimental station hidden in the center of the camp andmade a break into space in two shipswhich had been built there. Thatvoyage must have been a nightmare, but they were desperate. Somehow theymade it out here to the rim and set down onKhatka without power enoughto take off again--and by then most of them were dead.\"But we humans, no matter what our race, are a tough breed. Therefugeesdiscovered that climatically their new world was not too different fromAfrica, a lucky chance which might happen only once in a thousand times.So theythrived, the handful who survived. But the white techniciansthey had kidnaped to run the ships didn't. For they set up a color barin reverse. The lighter your skin,the lower you were in the socialscale. By that kind of selective breeding the present Khatkans are verydark indeed.\"They reverted to the primitive for survival.Then, about two hundredyears ago, long before the first Survey Scout discovered them, somethinghappened. Either the parent race mutated, or, as sometimesoccurs, aline of people of superior gifts emerged--not in a few isolated births,but with surprising regularity in five family clans. There was a shortperiod of powerstruggle until they realized the foolishness of civilwar and formed an oligarchy, heading a loose tribal organization. Withthe Five Families to push and lead, a newcivilization developed, andwhen Survey came to call they were no longer savages. Combine bought thetrade rights about seventy-five years ago. Then theCompany and the FiveFamilies got together and marketed a luxury item to the galaxy. You knowhow every super-jet big shot on twenty-five planets wants to sayhe'shunted on Khatka. And if he can point out a graz head on his wall, orwear a tail bracelet, he's able to strut with the best. To holiday onKhatka is both fabulousand fashionable--and very, very profitable forthe natives and for Combine who sells transportation to the travelers.\"\"I hear they have poachers, too,\" Daneremarked.\"Yes, that naturally follows. You know what a glam skin brings on themarket. Wherever you have a rigidly controlled export you're going tohavepoachers and smugglers. But the Patrol doesn't go to Khatka. Thenatives handle their own criminals. Personally, I'd cheerfully take aninety-nine-year sentence in"}
+{"doc_id":"doc_97","qid":"","text":"Project Gutenberg's The Maid of Sker, by Richard Doddridge BlackmoreThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Maid of SkerAuthor: Richard Doddridge BlackmoreRelease Date: July 1, 2014 [EBook #46156]Language: EnglishCharacter setencoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE MAID OF SKER ***Produced by Matthias Grammel, sp1nd and the OnlineDistributedProofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)                        THE MAID OFSKER.[Illustration: \"_All for captain, crew and cargo, was a little helplesschild._\"]                        THE MAID OF SKER.                               BY                         R.D. BLACKMORE,                            AUTHOR OF      'LORNA DOONE,' 'CLARA VAUGHAN,' AND 'CRADOCK NOWELL.'         á¾½Î\u0000ῥῥε, θεοá¿\u0000Ï\u0000ίνÏ\u0000á¾½ á¼\u0000Ï\u0000θÏ\u0000á¼\u0000, κá¼\u0000ι á¼\u0000νθÏ\u0000Ï\u0000Ï\u0000οιÏ\u0000ιν á¼ Ï\u0000ιÏ\u0000Ï\u0000ε,             Ï\u0000Ï Ï\u0000Ï\u0000ῳ á½\u0000Ï\u0000 á¼\u0000ν κá½\u0000λÏ\u0000ῲ Ï\u0000οἱκίλονá¼\u0000ιÏ\u0000εÏ\u0000 á½ Ï\u0000ιν.]                           NEW EDITION,                      WITH A FRONTISPIECE.                  WILLIAM BLACKWOOD ANDSONS                     EDINBURGH AND LONDON                          MDCCCXCIIICONTENTS     CHAP.                                          PAGE        I. FISHERMAN DAVY AFISH OUT OF WATER,         1       II. HUNGER DRIVES HIM A-FISHING,                3      III. THE FISH ARE AS HUNGRY AS HE IS,            7       IV. HE LANDS ANUNEXPECTED FISH,               12        V. A LITTLE ORPHAN MERMAID,                   15       VI. FINDS A HOME OF SOME SORT,                 21      VII. BOAT_VERSUS_ BARDIE,                      27     VIII. CHILDREN WILL BE CHILDREN,                 32       IX. SANDHILLS TURNED TO SAND-HOLES,            38        X.UNDER THE ROCK,                            44       XI. A WRECKER WRECKED,                         49      XII. HOW TO SELL FISH,                          57     XIII. THECORONER AND THE CORONET,               64      XIV. IN ACCORDANCE WITH THE EVIDENCE,           70       XV. A VERDICT ON THEJURY,                     76      XVI. TRUTH LIES SOMETIMES IN A WELL,            81     XVII. FOR A LITTLE CHANGE OF AIR,                89    XVIII. PUBLICAPPROBATION,                        97      XIX. A CRAFT BEYOND THE LAW,                   106       XX. CONFIDENTIAL INTERCOURSE,                 112      XXI.CROSS-EXAMINATION,                        119     XXII. ANOTHER DISAPPOINTMENT,                   125    XXIII. INTO GOOD SOCIETY,                        131     XXIV.SOUND INVESTMENTS,                        137      XXV. A LONG GOOD-BYE,                          145     XXVI. BRAUNTON BURROWS,                         151    XXVII. AFINE SPECTACLE,                         158   XXVIII. SOMETHING ABOUT HIM,                      164     XXIX. A VISIT TO A PARSON,                      171      XXX. ONDUTY,                                  182     XXXI. TWO LOVERS,                               189    XXXII. AMONG THE SAVAGES,                        194   XXXIII. IN A STATE OFNATURE,                     203    XXXIV. WAITING AND LEARNING,                     212     XXXV. THE POLITE FERRYMAN,                      220    XXXVI. UNDER FAIRERAUSPICES,                    227   XXXVII. TWO POOR CHILDREN,                        234  XXXVIII. A FINE OLD GENTLEMAN,                     241    XXXIX. NOTICE TOQUIT,                           250       XL. FORCIBLE EJECTMENT,                       257      XLI. THE RIGHT MAN IN THE RIGHT PLACE,         267     XLII. THE LITTLEMAID AND THE MIDSHIPMAN,       276    XLIII. A FINE PRICE FOR BARDIE,                  283     XLIV. PROVIDES FOR EDUCATION,                   292      XLV.INTRODUCES A REAL HERO,                   298     XLVI. AFTER SEVEN YEARS,                        305    XLVII. MISCHIEF IN A HOUSEHOLD,                  312   XLVIII.A BREATHLESS DISINTERMENT,                320     XLIX. ONE WHO HAS INTERRED HIMSELF,             327        L. A BRAVE MAN RUNSAWAY,                    334       LI. TRIPLE EDUCATION,                         341      LII. GREAT MARCH OF INTELLECT,                 347     LIII. BEATING UP FOR THENAVY,                  356      LIV. TAMING OF THE SAVAGES,                    368       LV. UPON FOREIGN SERVICE,                     374      LVI. EXILES OFSOCIETY,                        380     LVII. MANY WEAK MOMENTS,                        387    LVIII. MORE HASTE, LESS SPEED,                   398      LIX. IN A ROCKYBOWER,                         403       LX. NELSON AND THE NILE,                      411      LXI. A SAVAGE DEED,                            415     LXII. A RASH YOUNGCAPTAIN,                     421    LXIII. POLLY AT HOME,                            430     LXIV. SUSAN QUITE ACQUITS HERSELF,              438      LXV. SO DOES POOROLD DAVY,                    447     LXVI. THE MAID AT LAST IS \"DENTIFIED,\"          453    LXVII. DOG EATS DOG,                             458   LXVIII. THE OLDPITCHER AT THE WELL AGAIN,        465THE MAID OF SKER.CHAPTER I.FISHERMAN DAVY A FISH OUT OF WATER.I am but an ancient fisherman upon the coast ofGlamorganshire, withwork enough of my own to do, and trouble enough of my own to heed, ingetting my poor living. Yet no peace there is for me among myfriendsand neighbours, unless I will set to and try--as they bid me twice a-dayperhaps--whether I cannot tell the rights of a curious adventure whichit pleasedProvidence should happen, off and on, amidst us, now for agood many years, and with many ins and outs to it. They assure me, also,that all good people who canread and write for ten, or it may betwenty, miles around the place I live in, will buy my book--if I canmake it--at a higher price, perhaps, per lb., than they wouldgive meeven for sewin, which are the very best fish I catch: and henceprovision may be found for the old age and infirmities, now gaining uponme, every time Itry to go out fishing.In this encouragement and prospect I have little faith, knowing how muchmore people care about what they eat than what they read.Nevertheless Iwill hope for the best, especially as my evenings now are very long andwearisome; and I was counted a hopeful scholar, fifty years agoneperhaps,in our village school here--not to mention the Royal Navy; andmost of all, because a very wealthy gentleman, whose name will appear inthis story, has promisedto pay all expenses, and £50 down (if I do itwell), and to leave me the profit, if any.Notwithstanding this, the work of writing must be very dull to me,after allthe change of scene, and the open air and sea, and the manysprees ashore, and the noble fights with Frenchmen, and the power ofoaths that made me jump soin his Majesty's navy. God save the King, andQueen, and members of the Royal Family, be they as many as theywill--and they seem, in faith, to be manifold. ButHis power is equal toit all, if they will but try to meet Him.However, not to enter upon any view of politics--all of which are farbeyond the cleverest hand at a baitamong us--I am inditing of a thingvery plain and simple, when you come to understand it; yet containing alittle strangeness, and some wonder, here and there,and apt to movegood people's grief at the wrongs we do one another. Great part of itfell under mine own eyes, for a period of a score of years, orsomethingthereabout. My memory still is pretty good; but if I contradict myself,or seem to sweep beyond my reach, or in any way to meddle with thingswhich Ihad better have let alone, as a humble man and a Christian, Ipray you to lay the main fault thereof on the badness of the times, andthe rest upon human nature.For I have been a roving man, and may havegathered much of evil from contact with my fellow-men, although byorigin meant for good. In this I take some blameto myself; for if I hadpolished my virtue well, the evil could not have stuck to it.Nevertheless, I am, on the whole, pretty well satisfied with myself;hoping to be ofsuch quality as the Lord prefers to those perfectcreatures with whom He has no trouble at all, and therefore noenjoyment.But sometimes, taking up a book, I ampestered with a troop of doubts;not only about my want of skill, and language, and experience, butchiefly because I never have been a man of consummateinnocence,excellence, and high wisdom, such as all these writers are, if we go bytheir own opinions.Now, when I plead among my neighbours, at the mouth of theold well, allthe above, my sad shortcomings, and my own strong sense of them (whichperhaps is somewhat over-strong), they only pat me on the back, andsmileat one another, and make a sort of coughing noise, according to mybashfulness. And then if I look pleased (which for my life I cannot helpdoing), they wink, as itwere, at one another, and speak up like this:--\"Now, Davy, you know better. You think yourself at least as good as anyone of us, Davy, and likely far above us all.Therefore, Davy thefisherman, out with all you have to say, without any French palaver.You have a way of telling things so that we can see them.\"With this, andwith that, and most of all with hinting about aFrenchman, they put me on my mettle, so that I sit upon the side-stonesof the old-well gallery (which aresomething like the companion-rail ofa fore-and-after), and gather them around me, with the householders putforemost, according to their income, and thechildren listening betweentheir legs; and thus I begin, but never end, the tale I now begin toyou, and perhaps shall never end it.CHAPTER II.HUNGER DRIVESHIM A-FISHING.In the summer of the year 1782, I, David Llewellyn, of Newton-Nottage,fisherman and old sailor, was in great distress and trouble, more thanIlike to tell you. My dear wife (a faithful partner for eight-and-twentyyears, in spite of a very quick temper) was lately gone to a betterworld; and I missed hertongue and her sharp look-out at almost everycorner. Also my son (as fine a seaman as ever went aloft), after helpingLord Rodney to his great victory over Grassthe Frenchman, had been lostin a prize-ship called the Tonner, of 54 guns and 500 Crappos, whichsank with all hands on her way home to Spithead, underAdmiral Graves.His young wife (who had been sent to us to see to, with his blessing) nosooner heard of this sad affair as in the Gazette reported, and his paythatweek stopped on her, but she fell into untimely travail, and wasdead ere morning. So I buried my wife and daughter-in-law, and lost allchance to bury my son,between two Bridgend market-days.Now this is not very much, of course, compared with the troubles somepeople have. But I had not been used to this matter,except in case of amessmate; and so I was greatly broken down, and found my eyes so weak ofa morning, that I would not be seen out of doors, almost.The onlyone now to keep a stir or sound of life in my little cottage,which faces to the churchyard, was my orphan grandchild \"Bunny,\"daughter of my son just drowned,and his only child that we knew of.Bunny was a rare strong lass, five years old about then, I think; astout and hearty-feeding child, able to chew every bit of hervictuals,and mounting a fine rosy colour, and eyes as black as Archangel pitch.One day, when I was moping there, all abroad about my bearings, and nobetter"}
+{"doc_id":"doc_98","qid":"","text":"Project Gutenberg's Captain Brassbound's Conversion, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Captain Brassbound's ConversionAuthor: George Bernard ShawPosting Date: January 17, 2009 [EBook #3418]Release Date:September, 2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK CAPTAIN BRASSBOUND'S CONVERSION ***Produced by EveSobolCAPTAIN BRASSBOUND'S CONVERSIONBy Bernard ShawACT IOn the heights overlooking the harbor of Mogador, a seaport on the westcoast of Morocco, themissionary, in the coolness of the late afternoon,is following the precept of Voltaire by cultivating his garden. He isan elderly Scotchman, spiritually a littleweatherbeaten, as having tonavigate his creed in strange waters crowded with other craft but stilla convinced son of the Free Church and the North AfricanMission, witha faithful brown eye, and a peaceful soul. Physically a wiry small-knitman, well tanned, clean shaven, with delicate resolute features anda twinkle ofmild humor. He wears the sun helmet and pagri, theneutral-tinted spectacles, and the white canvas Spanish sand shoes ofthe modern Scotch missionary: butinstead of a cheap tourist's suit fromGlasgow, a grey flannel shirt with white collar, a green sailor knot tiewith a cheap pin in it, he wears a suit of clean whitelinen, acceptablein color, if not in cut, to the Moorish mind.The view from the garden includes much Atlantic Ocean and a long stretchof sandy coast to the south,swept by the north east trade wind,and scantily nourishing a few stunted pepper trees, mangy palms, andtamarisks. The prospect ends, as far as the land isconcerned, inlittle hills that come nearly to the sea: rudiments, these, of the AtlasMountains. The missionary, having had daily opportunities of looking atthisseascape for thirty years or so, pays no heed to it, being absorbedin trimming a huge red geranium bush, to English eyes unnaturallybig, which, with a dustysmilax or two, is the sole product of his petflower-bed. He is sitting to his work on a Moorish stool. In the middleof the garden there is a pleasant seat in theshade of a tamarisk tree.The house is in the south west corner of the garden, and the geraniumbush in the north east corner.At the garden-door of the housethere appears presently a man who isclearly no barbarian, being in fact a less agreeable product peculiarto modern commercial civilization. His frame and fleshare those of anill-nourished lad of seventeen; but his age is inscrutable: only theabsence of any sign of grey in his mud colored hair suggests that he isat allevents probably under forty, without prejudice to the possibilityof his being under twenty. A Londoner would recognize him at once as anextreme but hardyspecimen of the abortion produced by nature in a cityslum. His utterance, affectedly pumped and hearty, and naturally vulgarand nasal, is ready and fluent:nature, a Board School education, andsome kerbstone practice having made him a bit of an orator. His dialect,apart from its base nasal delivery, is not unlike thatof smart Londonsociety in its tendency to replace diphthongs by vowels (sometimesrather prettily) and to shuffle all the traditional vowelpronunciations. Hepronounces ow as ah, and i as aw, using the ordinaryow for o, i for a, a for u, and e for a, with this reservation, thatwhen any vowel is followed by an r hesignifies its presence, not bypronouncing the r, which he never does under these circumstances, but byprolonging and modifyinq the vowel, sometimes even tothe extreme degreeof pronouncing it properly. As to his yol for l (a compendious deliveryof the provincial eh-al), and other metropolitan refinements, amazingtoall but cockneys, they cannot be indicated, save in the above imperfectmanner, without the aid of a phonetic alphabet. He is dressed insomebody else's verysecond best as a coast-guardsman, and gives himselfthe airs of a stage tar with sufficient success to pass as a possiblefish porter of bad character in casualemployment during busy timesat Billingsgate. His manner shows an earnest disposition to ingratiatehimself with the missionary, probably for some dishonestpurpose.THE MAN. Awtenoon, Mr. Renkin. (The missionary sits up quickly, andturns, resigning himself dutifully to the interruption.) Yr honor'seolth.RANKIN(reservedly). Good afternoon, Mr. Drinkwotter.DRINKWATER. You're not best pleased to be hinterrupted in yr bit ogawdnin bow the lawk o me, gavner.RANKIN. Amissionary knows nothing of leks of that soart, or of dislekseither, Mr. Drinkwotter. What can I do for ye?DRINKWATER (heartily). Nathink, gavner. Awve brortnoos fer yer.RANKIN. Well, sit ye doon.DRINKWATER. Aw thenk yr honor. (He sits down on the seat under the treeand composes himself for conversation.) Heverear o Jadge Ellam?RANKIN. Sir Howrrd Hallam?DRINKWATER. Thet's im-enginest jadge in Hingland!--awlus gives the ketwen it's robbry with voylence, bless isawt. Aw sy nathink agin im: awmall fer lor mawseolf, AW em.RANKIN. Well?DRINKWATER. Hever ear of is sist-in-lor: Lidy Sisly Winefleet?RANKIN. Do ye meanthe celebrated Leddy--the traveller?DRINKWATER. Yuss: should think aw doo. Walked acrost Harfricar withnathink but a little dawg, and wrowt abaht it in the DilyMile (theDaily Mail, a popular London newspaper), she did.RANKIN. Is she Sir Howrrd Hallam's sister-in-law?DRINKWATER. Deeceased wawfe's sister: yuss: thet'swot SHE is.RANKIN. Well, what about them?DRINKWATER. Wot abaht them! Waw, they're EAH. Lannid aht of a steamyacht in Mogador awber not twenty minnitsagow. Gorn to the Britishcornsl's. E'll send em orn to you: e ynt got naowheres to put em. Sor emawr (hire) a Harab an two Krooboys to kerry their laggige. Thortawd caman teoll yer.RANKIN. Thank you. It's verra kind of you, Mr. Drinkwotter.DRINKWATER. Down't mention it, gavner. Lor bless yer, wawn't it youasconverted me? Wot was aw wen aw cam eah but a pore lorst sinner? Down'taw ow y'a turn fer thet? Besawds, gavner, this Lidy Sisly Winefleet mawtwor't totike a walk crost Morocker--a rawd inter the mahntns or sechlawk. Weoll, as you knaow, gavner, thet cawn't be done eah withaht ahescort.RANKIN. It'simpoassible: th' would oall b' murrdered. Morocco is notlek the rest of Africa.DRINKWATER. No, gavner: these eah Moors ez their religion; an it mikesemdinegerous. Hever convert a Moor, gavner?RANKIN (with a rueful smile). No.DRINKWATER (solemnly). Nor never will, gavner.RANKIN. I have been at work herefor twenty-five years, Mr. Drinkwotter;and you are my first and only convert.DRINKWATER. Down't seem naow good, do it, gavner?RANKIN. I don't say that. Ihope I have done some good. They come to mefor medicine when they are ill; and they call me the Christian who isnot a thief. THAT is something.DRINKWATER.Their mawnds kennot rawse to Christiennity lawk hahrsken, gavner: thet's ah it is. Weoll, ez haw was syin, if a hescortis wornted, there's maw friend andcommawnder Kepn Brarsbahnd of theschooner Thenksgivin, an is crew, incloodin mawseolf, will see the lidyan Jadge Ellam through henny little excursion inreason. Yr honor mawtmention it.RANKIN. I will certainly not propose anything so dangerous as anexcursion.DRINKWATER (virtuously). Naow, gavner, nor wouldI awst you to. (Shakinghis head.) Naow, naow: it IS dinegerous. But hall the more call for ahescort if they should ev it hin their mawnds to gow.RANKIN. I hopethey won't.DRINKWATER. An sow aw do too, gavner.RANKIN (pondering). 'Tis strange that they should come to Mogador, ofall places; and to my house! I oncemet Sir Howrrd Hallam, years ago.DRINKWATER (amazed). Naow! didger? Think o thet, gavner! Waw, sow aw didtoo. But it were a misunnerstedin, thet wors.Lef the court withaht astine on maw kerrickter, aw did.RANKIN (with some indignation). I hope you don't think I met Sir Howrrdin that way.DRINKWATER. Mawtyeppn to the honestest, best meanin pusson, aw doassure yer, gavner.RANKIN. I would have you to know that I met him privately, Mr.Drinkwotter. His brotherwas a dear friend of mine. Years ago. He wentout to the West Indies.DRINKWATER. The Wust Hindies! Jist acrost there, tather sawd thethowcean (pointingseaward)! Dear me! We cams hin with vennity, an wedeepawts in dawkness. Down't we, gavner?RANKIN (pricking up his ears). Eh? Have you been reading thatlittlebook I gave you?DRINKWATER. Aw hev, et odd tawms. Very camfitn, gavner. (He rises,apprehensive lest further catechism should find him unprepared.)Awllsy good awtenoon, gavner: you're busy hexpectin o Sr Ahrd an Lidy Sisly,ynt yer? (About to go.)RANKIN (stopping him). No, stop: we're oalways ready fortravellershere. I have something else to say--a question to ask you.DRINKWATER (with a misgiving, which he masks by exaggerating his heartysailor manner).An weollcome, yr honor.RANKIN. Who is this Captain Brassbound?DRINKWATER (guiltily). Kepn Brarsbahnd! E's-weoll, e's maw Kepn, gavner.RANKIN. Yes.Well?DRINKWATER (feebly). Kepn of the schooner Thenksgivin, gavner.RANKIN (searchingly). Have ye ever haird of a bad character in theseseas called BlackPaquito?DRINKWATER (with a sudden radiance of complete enlightenment). Aoh, naraw tikes yer wiv me, yr honor. Nah sammun es bin a teolln you thetKepnBrarsbahnd an Bleck Pakeetow is hawdentically the sime pussn. Ynt thetsow?RANKIN. That is so. (Drinkwater slaps his knee triumphantly. Themissionaryproceeds determinedly) And the someone was a verra honest,straightforward man, as far as I could judge.DRINKWATER (embracing the implication). Course awors, gavner: Ev awsaid a word agin him? Ev aw nah?RANKIN. But is Captain Brassbound Black Paquito then?DRINKWATER. Waw, it's the nime is blessed mathergive im at erknee, bless is little awt! Ther ynt naow awm in it. She ware a WustHinjin--howver there agin, yer see (pointing seaward)--leastwaws, naowsheworn't: she were a Brazilian, aw think; an Pakeetow's Brazilian fora bloomin little perrit--awskin yr pawdn for the word. (Sentimentally)Lawk as a Hinglish lidymawt call er little boy Birdie.RANKIN (not quite convinced). But why BLACK Paquito?DRINKWATER (artlessly). Waw, the bird in its netral stite bein green, aneevin bleck air, y' knaow--RANKIN (cutting him short). I see. And now I will put ye anotherquestion. WHAT is Captain Brassbound, or Paquito, or whatever hecallshimself?DRINKWATER (officiously). Brarsbahnd, gavner. Awlus calls isseolfBrarsbahnd.RANKIN. Well. Brassbound, then. What is he?DRINKWATER(fervently). You awsks me wot e is, gavner?RANKIN (firmly). I do.DRINKWATER (with rising enthusiasm). An shll aw teoll yer wot e is, yrhonor?RANKIN (not at allimpressed). If ye will be so good, Mr. Drinkwotter.DRINKWATER (with overwhelming conviction). Then awll teoll you, gavner,wot he is. Ee's a Paffick Genlmn:thet's wot e is.RANKIN (gravely). Mr. Drinkwotter: pairfection is an attribute, notof West Coast captains, but of thr Maaker. And there are gentlemenandgentlemen in the world, espaecially in these latitudes. Which sort ofgentleman is he?DRINKWATER. Hinglish genlmn, gavner. Hinglish speakin; Hinglish"}
+{"doc_id":"doc_99","qid":"","text":"<html><head><title>50-50 Script at IMSDb.</title><meta name=\"description\" content=\"50-50 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"50-50 script, 50-50 movie script, 50-50 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           50/50 (I'M WITH CANCER)</b>                                                         Written by                               WillReiser                                                                                                    <b>                                                               7/2/08</b><b>          FADEIN:</b>                         <b>          OPENING TITLE SEQUENCE</b>                                                  <b>          EXT. SAN DIEGO -DAY</b>                                   It's another picture perfect day in San Diego. The beaches,          golf courses, and yacht clubs are packed with hundredsof          rapturous citizens.                                                  <b>          EXT. BUS STOP - DAY</b>                                   A BUS pulls up and unloads it'spassengers.                                   We follow ADAM SCHWARTZ(25), a kind faced, mild mannered,          pragmatist - who despite his youth has the cynicism ofan old          man. He steps off the bus, crosses the street and approaches<b>          MOUNT SINAIHOSPITAL.</b>                                                  <b>          INT. MOUNT SINAI HOSPITAL - DAY</b>                                   Adam enters the Hospital. Themood is calm. All the chaos one          would expect to find in a hospital of this size is tucked          away behind the sterile and monochromewalls.                                   Adam walks to the reception counter. The RECEPTIONIST is          engrossed with the latest edition of US Weekly. Sheignores          Adam who just stands there awkwardly, unsure of what to do.                                   Adam gives out a small cough to grab her attention."}
+{"doc_id":"doc_100","qid":"","text":"<html><head><title>Blade II Script at IMSDb.</title><meta name=\"description\" content=\"Blade II script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Blade II script, Blade II movie script, Blade II film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><TITLE>\"BLADE II\" -- byDavid Goyer</TITLE><b></HEAD></b><body><b><PRE></b>     BLADE II -- By David Goyer<b>            EXT. COMMUNITY BLOOD BANK -NIGHT</b>            PULL BACK from a neon red cross ablaze in the cold December            night to REVEAL an inner-city, store-front clinic.  Trashand            leaves blow over wet, snowy pavement.            ANGLE ON a PALE FIGURE standing across the street.  He looks            feverish and strung-out, inserious need of a fix.  This is            JARED NOMAK, 20s.  He starts towards the clinic.<b>            INT. COMMUNITY BLOOD BANK - ENTRANCE -NIGHT</b>            Potential DONORS sit in a waiting area, filling out forms,            leafing through informational material.  A sign in the window            reads:\"Se habla Espanol\".  Others read: \"YOU ARE MAKING A            DIFFERENCE\", \"GIVE LIFE\", and \"BECOME A PLATELET DONOR\".  We            overhear abored-looking EMPLOYEE behind the information desk            quizzing someone over the phone:<b>                                EMPLOYEE</b>                      Haveyou recently visited a tropical                      country?  Uh-huh?  In the past twelve                      months have you gotten a tattoo, non                      sterileacupuncture, or undergone any                      ear, skin or body piercing?            We MOVE PAST the employee to Nomak,waiting.<b>                                NURSE (O.S.)</b>                      Jared Nomak?            Nomak looks up.  We get a better look at his face now - he            has"}
+{"doc_id":"doc_101","qid":"","text":"<html><head><title>White Christmas Script at IMSDb.</title><meta name=\"description\" content=\"White Christmas script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"White Christmas script, White Christmas movie script, White Christmas film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>WHITECHRISTMAS</title></head><pre><b>                                    \"WHITE CHRISTMAS\"</b>                                            by                      Melvin Frank, NormanKrasna and Norman Panama<b>                </b><b>               FULL SHOT - REAR AREA - (DAY) - (GLASS)</b>               This is December 24, 1944, in the firstsafe area directly                behind the battle line, in the Italian theatre.               In the distance occasional artillery light flashes are seen                and artilleryrumbles are heard.  The battered terrain shows                the effects of battle.               In the foreground is a recreation area, coveredwith                camouflage; entertainment is in progress on a raised stage.                 Men of the division are seated about on benches, boxes, and                theground.  A camouflaged motor pool of jeeps and tanks is                nearby.<b>               MED. SHOT - NEAR RECREATION AREA</b>               We can HEARLAUGHTER and APPLAUSE from the men as a jeep                with two stars on the front indicating it is the General's                car jounces along a road towardthe side of the recreation                area.  A YOUNG SERGEANT is at the wheel, an ADJUTANT beside                him, and in the rear are GENERAL WAVERLY andGENERAL CARLTON.<b>               JEEP - MED. CLOSE</b>               As it jounces along.  General Waverly is weather-beaten and                weary; his uniform,while neat, shows the effects of long                wear.  General Carlton, on the other hand, is stiff, clean                and fresh from the Pentagon.               He is"}
+{"doc_id":"doc_102","qid":"","text":"<html><head><title>Ghost and the Darkness, The Script at IMSDb.</title><meta name=\"description\" content=\"Ghost and the Darkness, The script at theInternet Movie Script Database.\"><meta name=\"keywords\" content=\"Ghost and the Darkness, The script, Ghost and the Darkness, The movie script, Ghost andthe Darkness, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>the Ghost and theDarkness - by William Goldman</title></head><pre><b>\"THE GHOST AND THE DARKNESS\"</b>byWilliam Goldman<b>FADE IN ON</b>A TINY FIGURE OF AMAN hurrying toward camera. The figure gets larger as he approaches. But as yet we cannot tell who he is or where we are. MALE VOICE (over) This is the mostfamous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you do not tell them at night. (The FIGURE continues togrow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson.And now we can tell that theFIGURE is a YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serious about his life, serious about his career. Hehas been successful in everything he's attempted, in part because of his talents, in part because he is willing to outwork anybody.<b>AND THIS IS WHERE WEARE: ENGLAND.</b>More specifically, in a high-ceilinged corridor of an elegant building - lovely woodwork all around. Everything is neat, everything is clean andin order. MALE VOICE (over) Patterson was thirty. A brilliant engineer. A fine man, but do not become attached to him- there are many fine men in this story butdo not become attached to any of them. (beat) So many of them die.Patterson stops at a large ornate door, knocks. Waits. MALE VOICE (over) And remember"}
+{"doc_id":"doc_103","qid":"","text":"<html><head><title>Misery Script at IMSDb.</title><meta name=\"description\" content=\"Misery script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Misery script, Misery movie script, Misery film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><title>Misery - by William Goldman</title><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script></head><pre><b>                                         \"MISERY\"</b>                                            by                                     WilliamGoldman                                  Based on the Novel by                                       Stephen King<b>                </b><b>               FADE IN ON:</b>               ASINGLE CIGARETTE. A MATCH. A HOTEL ICE BUCKET that holds a                bottle of champagne. The cigarette is unlit. The match is of                the kitchenvariety. The champagne, unopened, is Dom Perignon.                There is only one sound at first: a strong WIND--               --now another sound, sharper--asudden burst of TYPING as we<b>               PULL BACK TO REVEAL</b>               PAUL SHELDON typing at a table in his hotel suite. It's really                acabin that's part of a lodge. Not an ornate place. Western                themed.               He is framed by a window looking out at somegorgeous                mountains. It's afternoon. The sky is grey. Snow is scattered                along the ground. We're out west somewhere. The WINDgrows                stronger--there could be a storm.               PAUL pays no attention to what's going on outside as he                continues to type.               He'sthe hero of what follows. Forty-two, he's got a good                face, one with a certain mileage to it. We are not, in other                words, looking at a virgin.He's been a novelist for eighteen                years and for half that time, the most recent half, a                remarkably successful one.               He pauses for a"}
+{"doc_id":"doc_104","qid":"","text":"<html><head><title>Terminator Salvation Script at IMSDb.</title><meta name=\"description\" content=\"Terminator Salvation script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Terminator Salvation script, Terminator Salvation movie script, Terminator Salvation film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                            TERMINATOR:SALVATION</b><b>          </b><b>          </b>                                 Written by<b>          </b>                       John Brancato & MichaelFerris<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                        REVISEDDRAFT</b><b>                                                             10.12.05</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SUPERON BLACK:</b><b>          </b><b>          LONGVIEW STATE CORRECTIONAL FACILITY, TEXAS, 2003.</b><b>          </b><b>          FADE INON:</b><b>          </b><b>          </b><b>          INT.   DEATH ROW/CELL - DAWN</b><b>          </b>          START TIGHT ON MARCUS WRIGHT. He's anintense, powerful man,          20's-30's, his head shaven. Marcus stares INTO CAMERA with a          resigned expression. We hear the voice of aPRIEST:<b>          </b><b>                               PRIEST</b>                     Yea, though I walk through the valley                     of the shadow of death, I willfear                     no evil: for thou art beside me; thy                     rod and thy staff they comfort me...<b>          </b>          CAMERA PULLS BACK, straightup. MARCUS lies in his cot,          staring at the ceiling. He's smoking a CIGARETTE. This          OVERHEAD ANGLE reveals a PRIEST with a BIBLE, in afolding          chair beside him. A CHESS SET, stacks of BOOKS, WRITING          MATERIALS in the cell. TWO GUARDS wait, shackles in"}
+{"doc_id":"doc_105","qid":"","text":"Project Gutenberg's The Children of the New Forest, by Captain MarryatThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Children of the New ForestAuthor: Captain MarryatRelease Date: May 21, 2007 [EBook #21558]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE CHILDREN OF THE NEW FOREST ***Produced by Nick Hodson of London, EnglandThe Children of the New Forest, byCaptain Marryat.________________________________________________________________________Captain Frederick Marryat was born July 10 1792, anddied August 8 1848.He retired from the British navy in 1828 in order to devote himself towriting.  In the following 20 years he wrote 26 books, many of whichareamong the very best of English literature, and some of which are stillin print.Marryat had an extraordinary gift for the invention of episodes in hisstories.  Hesays somewhere that when he sat down for the day's work, henever knew what he was going to write.  He certainly was a literarygenius.\"The Children of the NewForest\" was published in 1847, thetwenty-fourth book to flow from Marryat's pen, and the last publishedwhilst he was still alive.  It was written for children, andhas beenphenomenally succesful: it is still in print over 150 years later.This e-text was transcribed in 1998 by Nick Hodson, and was reformattedin 2003, andagain in 2005.________________________________________________________________________THE CHILDREN OF THE NEW FOREST, BY CAPTAINFREDERICK MARRYAT.CHAPTER ONE.The circumstances which I am about to relate to my juvenile readers tookplace in the year 1647.  By referring to the historyof England of thatdate they will find that King Charles the First, against whom theCommons of England had rebelled, after a civil war of nearly five years,had beendefeated, and was confined as a prisoner at Hampton Court.  TheCavaliers, or the party who fought for King Charles, had all beendispersed, and theParliamentary army under the command of Cromwell werebeginning to control the Commons.It was in the month of November in this year that KingCharles,accompanied by Sir John Berkely Ashburnham and Legg, made his escapefrom Hampton Court, and rode as fast as the horses could carry themtowardsthat part of Hampshire which led to the New Forest.  The kingexpected that his friends had provided a vessel in which he might escapeto France; but in this hewas disappointed.  There was no vessel ready,and after riding for some time along the shore he resolved to go toTitchfield, a seat belonging to the Earl ofSouthampton.  After a longconsultation with those who attended him, he yielded to their advice,which was, to trust to Colonel Hammond, who was governor ofthe Isle ofWight for the Parliament, but who was supposed to be friendly to theking.  Whatever might be the feelings of commiseration of ColonelHammondtowards a king so unfortunately situated, he was firm in hisduties towards his employers, and the consequence was that King Charlesfound himself again aprisoner in Carisbrook Castle.But we must now leave the king, and retrace history to the commencementof the civil war.  A short distance from the town ofLymington, which isnot far from Titchfield, where the king took shelter, but on the otherside of the Southampton Water, and south of the New Forest, to whichitadjoins, was a property called Arnwood, which belonged to a Cavalier ofthe name of Beverley.  It was at that time a property of considerablevalue, being veryextensive, and the park ornamented with valuabletimber; for it abutted on the New Forest, and might have been supposedto have been a continuation of it.  ThisColonel Beverley, as we mustcall him, for he rose to that rank in the king's army, was a valuedfriend and companion of Prince Rupert's, and commanded severaltroops ofcavalry.  He was ever at his side in the brilliant charges made by thisgallant prince, and at last fell in his arms at the battle of Naseby.Colonel Beverleyhad married into the family of the Villiers, and theissue of his marriage was two sons and two daughters; but his zeal andsense of duty had induced him, at thecommencement of the war, to leavehis wife and family at Arnwood, and he was fated never to meet themagain.  The news of his death had such an effect uponMrs Beverley,already worn with anxiety on her husband's account, that a few monthsafterwards she followed him to an early tomb, leaving the four childrenunderthe charge of an elderly relative till such time as the family ofthe Villiers could protect them; but, as will appear by our history,this was not at that periodpossible.  The life of a king and many otherlives were in jeopardy, and the orphans remained at Arnwood, still underthe care of their elderly relation, at the timethat our historycommences.The New Forest, my readers are perhaps aware, was first enclosed byWilliam the Conqueror as a royal forest for his own amusement,for inthose days most crowned heads were passionately fond of the chase; andthey may also recollect that his successor, William Rufus, met his deathin thisforest by the glancing of an arrow shot by Sir Walter Tyrrell.Since that time to the present day it has continued a royal domain.  Atthe period of which we arewriting it had an establishment of verderersand keepers, paid by the Crown, amounting to some forty or fifty men.At the commencement of the civil war theyremained at their posts, butsoon found, in the disorganised state of the country, that their wageswere no longer to be obtained; and then, when the king haddecided uponraising an army, Beverley, who held a superior office in the forest,enrolled all the young and athletic men who were employed in the forest,andmarched them away with him to join the king's army.  Some fewremained, their age not rendering their services of value, and amongthem was an old andattached servant of Beverley's, a man above sixtyyears of age, whose name was Jacob Armitage, and who had obtained thesituation through Colonel Beverley'sinterest.  Those who remained inthe forest lived in cottages many miles asunder, and indemnifiedthemselves for the non-payment of their salaries by killing thedeer forsale and for their own subsistence.The cottage of Jacob Armitage was situated on the skirts of the NewForest, about a mile and a half from the mansion ofArnwood; and whenColonel Beverley went to join the king's troops, feeling how littlesecurity there would be for his wife and children in those troubledtimes, herequested the old man, by his attachment to the family, not tolose sight of Arnwood, but to call there as often as possible to see ifhe could be of service to MrsBeverley.  The colonel would havepersuaded Jacob to have altogether taken up his residence at themansion; but to this the old man objected.  He had been allhis lifeunder the greenwood tree, and could not bear to leave the forest.  Hepromised the colonel that he would watch over his family, and ever be athand whenrequired; and he kept his word.  The death of Colonel Beverleywas a heavy blow to the old forester, and he watched over Mrs Beverleyand the orphans with thegreatest solicitude; but when Mrs Beverleyfollowed her husband to the tomb he then redoubled his attentions, andwas seldom more than a few hours at a timeaway from the mansion.  Thetwo boys were his inseparable companions, and he instructed them, youngas they were, in all the secrets of his own calling.  Suchwas the stateof affairs at the time that King Charles made his escape from HamptonCourt; and I now shall resume my narrative from where it was broken off.Assoon as the escape of Charles the First was made known to Cromwelland the Parliament, troops of horse were despatched in every directionto the southward,towards which the prints of the horses' hoofs provedthat he had gone.  As they found that he had proceeded in the directionof the New Forest, the troops weresubdivided and ordered to scour theforest, in parties of twelve to twenty, while others hastened down toSouthampton, Lymington, and every other seaport or partof the coastfrom which the king might be likely to embark.  Old Jacob had been atArnwood on the day before, but on this day he had made up his mind toprocuresome venison, that he might not go there again empty-handed; forMiss Judith Villiers was very partial to venison, and was not slow toremind Jacob if the larderwas for many days deficient in that meat.Jacob had gone out accordingly; he had gained his leeward position of afine buck, and was gradually nearing him bystealth, now behind a hugeoak-tree, and then crawling through the high fern, so as to get withinshot unperceived, when on a sudden the animal, which had beenquietlyfeeding, bounded away and disappeared in the thicket.  At the same timeJacob perceived a small body of horse galloping through the glen inwhich the buckhad been feeding.  Jacob had never yet seen theParliamentary troops, for they had not during the war been sent intothat part of the country, but their ironskull-caps, their buffaccoutrements, and dark habiliments, assured him that such these mustbe; so very different were they from the gaily-equipped Cavaliercavalrycommanded by Prince Rupert.  At the time that they advanced, Jacob hadbeen lying down in the fern near to some low black-thorn-bushes; notwishing tobe perceived by them, he drew back between the bushes,intending to remain concealed until they should gallop out of sight; forJacob thought, \"I am a king'sforester, and they may consider me as anenemy; and who knows how I may be treated by them?\"  But Jacob wasdisappointed in his expectations of the troopsriding past him; on thecontrary, as soon as they arrived at an oak-tree within twenty yards ofwhere he was concealed, the order was given to halt and dismount;thesabres of the horsemen clattered in their iron sheaths as the order wasobeyed, and the old man expected to be immediately discovered; but oneof thethorn-bushes was directly between him and the troopers, andeffectually concealed him.  At last Jacob ventured to raise his head andpeep through the bush; andhe perceived that the men were loosening thegirths of their black horses, or wiping away the perspiration from theirsides with handfuls of fern.Apowerfully-framed man, who appeared to command the others, wasstanding with his hand upon the arched neck of his steed, which appearedas fresh andvigorous as ever, although covered with foam andperspiration.  \"Spare not to rub down, my men,\" said he, \"for we havetried the mettle of our horses, and havenow but one half-hour'sbreathing-time.  We must be on, for the work of the Lord must be done.\"\"They say that this forest is many miles in length andbreadth,\"observed another of the men, \"and we may ride many a mile to no purpose;but here is James Southwold, who once was living in it as a verderer;nay, Ithink that he said that he was born and bred in these woods.  Wasit not so, James Southwold?\"\"It is even as you say,\" replied an active-looking young man; \"Iwasborn and bred in this forest, and my father was a verderer before me.\"Jacob Armitage, who listened to the conversation, immediately recognisedthe young"}
+{"doc_id":"doc_106","qid":"","text":"<html><head><title>Bruce Almighty Script at IMSDb.</title><meta name=\"description\" content=\"Bruce Almighty script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Bruce Almighty script, Bruce Almighty movie script, Bruce Almighty film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>  BRUCE ALMIGHTYbySteve Koren & Mark O'Keefe  Rewrite by Steve Oedekerk<b>           7/30/02</b> Shady Acres Entertainment<b></b><b>INT. KOWOLSKI'S BAKERY -KITCHEN - DAY</b>A news crew shuttles around a GIGANTIC COOKIE. Standing byare the KOWOLSKI BROTHERS, GUSTOV and VOL, two SHORT, STOCKY,MEN,along with MOTHER KOWOLSKI and other bakery familyemployees. A \"30 YEAR ANNIVERSARY\" sign hangs in thebackground.BRUCE NOLAN looks into a make-upmirror, desperately tryingto place a large segment of wayward hair.<b>                     BRUCE</b>          Oh, God, no! The hair's wrong.          This is a badsign.               (calling out)          We really need to get a make-up          person?!The segment producer, ALLY LOMAN, stepsover.<b>                     ALLY</b>          Not in the budget. And not to                         *<b>                                                                *</b>          worry,you're going to look great          in this.She holds out a HAIR NET.<b>                     BRUCE</b>          A hair net? I'm not wearing a hair          net. I just didthe hair.<b>                     ALLY</b>               (matter of fact)          Health code. In the kitchen or          around the cookie, you gottahave          it.<b>                     BRUCE</b>               (to crew: re hair net)          You guy's should tell me this          before hand, this is like ahuge          waste of...moose.Bruce spreads the hair net, bends down out of frame, comes uplooking ridiculous and verydisgruntled.<b>                     BRUCE</b>          Remind me to swing by an elementary                   *          school after this and serve lunch.Ally"}
+{"doc_id":"doc_107","qid":"","text":"<html><head><title>Tombstone Script at IMSDb.</title><meta name=\"description\" content=\"Tombstone script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Tombstone script, Tombstone movie script, Tombstone film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><title>TOMBSTONE</title></head><pre><b>TOMBSTONE</b>An original screenplayByKevin Jarre                                           Fourthdraft                                           March 15, 1993ROLL PROLOGUE OVER MAIN TITLE:  a collage of old photos, prints, etc., and silent live-action vignettes, alldark and heavily shadowed like a dimly-remembered dream.  The first images show the opulence of the Gilded Age, the epic vistas of the west, cattle drives andcowtowns with all their violence....<b>                     V.O. NARRATION</b>          \"The economic explosion following          the Civil War createdan          unprecedented nation-wide market          for beef.  Previously worthless          cattle running wild throughout          Texas were gathered intoherds           And driven north to the railheads           In Kansas.  Fortunes were made as           Cowtowns sprang up on the           Prairies, wide-open centersof          Commerce and vice, their streets          Choked with heavily-armed young          Men fresh from the cattle drives.          In those days the correctterm          For a cowhand was 'drover'.          'Cowboy', like 'cowpoke', was          originally an insult implying          deviant sexuality and wasrarely          used.  But these invading drovers          were a wild breed for soon          shootings and wholesale drunken          riots became so frequentthat          ordinary citizens literally could          not walk down the street.  In fact          at their height the cowtowns had          higher murder rates than"}
+{"doc_id":"doc_108","qid":"","text":"The Project Gutenberg EBook of Seventeen, by Booth TarkingtonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Seventeen       A Tale Of Youth And Summer Time And The Baxter Family Especially WilliamAuthor: Booth TarkingtonRelease Date:February 21, 2006 [EBook #1611]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK SEVENTEEN ***Produced by Charles Keller and DavidWidgerSEVENTEENA TALE OF YOUTH ANDSUMMER TIME ANDTHE BAXTER FAMILYESPECIALLY WILLIAMBy Booth TarkingtonSEVENTEENTOS.K.T.CONTENTS     I.      WILLIAM     II.     THE UNKNOWN     III.    THE PAINFUL AGE     IV.     GENESIS AND CLEMATIS     V.      SORROWS WITHIN ABOILER     VI.     TRUCULENCE     VII.    MR. BAXTER'S EVENING CLOTHES     VIII.   JANE     IX.     LITTLE SISTERS HAVE BIG EARS     X.      MR. PARCHER ANDLOVE     XI.     BEGINNING A TRUE FRIENDSHIP     XII.    PROGRESS OF THE SYMPTOMS     XIII.   AT HOME TO HIS FRIENDS     XIV.    TIME DOESFLY     XV.     ROMANCE OF STATISTICS     XVI.    THE SHOWER     XVII.   JANE'S THEORY     XVIII.  THE BIG, FAT LUMMOX     XIX.    \"I DUNNO WHY ITIS\"     XX.     SYDNEY CARTON     XXI.    MY LITTLE SWEETHEARTS     XXII.   FORESHADOWINGS     XXIII.  FATHERS FORGET     XXIV.   CLOTHES MAKE THEMAN     XXV.    YOUTH AND MR. PARCHER     XXVI.   MISS BOKE     XXVII.  MAROONED     XXVIII. RANNIE KIRSTED     XXIX.   ''DON'T FORGET!''     XXX.     THEBRIDE-TO-BESEVENTEENIWILLIAMWilliam Sylvanus Baxter paused for a moment of thought in front of thedrug-store at the corner of Washington Street andCentral Avenue. He hadan internal question to settle before he entered the store: he wishedto allow the young man at the soda-fountain no excuse for saying,\"Well,make up your mind what it's goin' to be, can't you?\" Rudeness of thiskind, especially in the presence of girls and women, was hard to bear,and thoughWilliam Sylvanus Baxter had borne it upon occasion, hehad reached an age when he found it intolerable. Therefore, to avoidoffering opportunity for anything ofthe kind, he decided upon chocolateand strawberry, mixed, before approaching the fountain. Once there,however, and a large glass of these flavors and dilutedice-creamproving merely provocative, he said, languidly--an affectation, for hecould have disposed of half a dozen with gusto: \"Well, now I'm here, Imight as wellgo one more. Fill 'er up again. Same.\"Emerging to the street, penniless, he bent a fascinated and dramaticgaze upon his reflection in the drug-store window, andthen, as heturned his back upon the alluring image, his expression altered toone of lofty and uncondescending amusement. That was his glance at thepassingpublic. From the heights, he seemed to bestow upon the worlda mysterious derision--for William Sylvanus Baxter was seventeen longyears of age, and hadlearned to present the appearance of one whopossesses inside information about life and knows all strangers and mostacquaintances to be of inferior caste,costume, and intelligence.He lingered upon the corner awhile, not pressed for time. Indeed, hefound many hours of these summer months heavy upon his hands,for he hadno important occupation, unless some intermittent dalliance with awork on geometry (anticipatory of the distant autumn) might be thoughtimportant,which is doubtful, since he usually went to sleep on theshady side porch at his home, with the book in his hand. So, havingnothing to call him elsewhere, helounged before the drug-store in theearly afternoon sunshine, watching the passing to and fro of the lowerorders and bourgeoisie of the middle-sized midland citywhich claimedhim (so to speak) for a native son.Apparently quite unembarrassed by his presence, they went about theirbusiness, and the only people who lookedat him with any attention werepedestrians of color. It is true that when the gaze of these fell uponhim it was instantly arrested, for no colored person could havepassedhim without a little pang of pleasure and of longing. Indeed, thetropical violence of William Sylvanus Baxter's tie and the strangebrilliancy of his hat mighthave made it positively unsafe for him towalk at night through the negro quarter of the town. And though no mancould have sworn to the color of that hat,whether it was blue or green,yet its color was a saner thing than its shape, which was blurred,tortured, and raffish; it might have been the miniature model ofavolcano that had blown off its cone and misbehaved disastrously on itslower slopes as well. He had the air of wearing it as a matter of courseand with carelessease, but that was only an air--it was the apple ofhis eye.For the rest, his costume was neutral, subordinate, and even a littleneglected in the matter of a detail ortwo: one pointed flap of his softcollar was held down by a button, but the other showed a frayed threadwhere the button once had been; his low patent-leathershoes were of aluster not solicitously cherished, and there could be no doubt that heneeded to get his hair cut, while something might have been done, too,aboutthe individualized hirsute prophecies which had made independentappearances, here and there, upon his chin. He examined these from timeto time by the senseof touch, passing his hand across his face andallowing his finger-tips a slight tapping motion wherever they detecteda prophecy.Thus he fell into a pleasantmusing and seemed to forget the crowdedstreet.IITHE UNKNOWNHe was roused by the bluff greeting of an acquaintance not dissimilar tohimself in age, manner,and apparel.\"H'lo, Silly Bill!\" said this person, halting beside William SylvanusBaxter. \"What's the news?\"William showed no enthusiasm; on the contrary, a frownof annoyanceappeared upon his brow. The nickname \"Silly Bill\"--long ago compoundedby merry child-comrades from \"William\" and \"Sylvanus\"--was not tohistaste, especially in public, where he preferred to be addressed simplyand manfully as \"Baxter.\" Any direct expression of resentment, however,was difficult,since it was plain that Johnnie Watson intended nooffense whatever and but spoke out of custom.\"Don't know any,\" William replied, coldly.\"Dull times, ain't it?\"said Mr. Watson, a little depressed by hisfriend's manner. \"I heard May Parcher was comin' back to town yesterday,though.\"\"Well, let her!\" returned William, stillsevere.\"They said she was goin' to bring a girl to visit her,\" Johnnie began ina confidential tone. \"They said she was a reg'lar ringdinger and--\"\"Well, what if sheis?\" the discouraging Mr. Baxter interrupted. \"Makeslittle difference to ME, I guess!\"\"Oh no, it don't. YOU don't take any interest in girls! OH no!\"\"No, I do not!\"was the emphatic and heartless retort. \"I never saw onein my life I'd care whether she lived or died!\"\"Honest?\" asked Johnnie, struck by the conviction with whichthis speechwas uttered. \"Honest, is that so?\"\"Yes, 'honest'!\" William replied, sharply. \"They could ALL die, _I_wouldn't notice!\"Johnnie Watson was profoundlyimpressed. \"Why, _I_ didn't know you feltthat way about 'em, Silly Bill. I always thought you were kind of--\"\"Well, I do feel that way about 'em!\" said WilliamSylvanus Baxter, and,outraged by the repetition of the offensive nickname, he began to moveaway. \"You can tell 'em so for me, if you want to!\" he added overhisshoulder. And he walked haughtily up the street, leaving Mr. Watson toponder upon this case of misogyny, never until that moment suspected.It was beyondthe power of his mind to grasp the fact that WilliamSylvanus Baxter's cruel words about \"girls\" had been uttered becauseWilliam was annoyed at being called\"Silly Bill\" in a public place, andhad not known how to object otherwise than by showing contempt for anytopic of conversation proposed by the offender. Thislatter, being ofa disposition to accept statements as facts, was warmly interested,instead of being hurt, and decided that here was something worth talkingabout,especially with representatives of the class so sweepinglyexcluded from the sympathies of Silly Bill.William, meanwhile, made his way toward the \"residencesection\" of thetown, and presently--with the passage of time found himself eased of hisannoyance. He walked in his own manner, using his shoulders toemphasizean effect of carelessness which he wished to produce upon observers. Forhis consciousness of observers was abnormal, since he had it whether anyonewas looking at him or not, and it reached a crucial stage wheneverhe perceived persons of his own age, but of opposite sex, approaching.A person of thisdescription was encountered upon the sidewalk within ahundred yards of his own home, and William Sylvanus Baxter saw her whileyet she was afar off. The quietand shady thoroughfare was empty of allhuman life, at the time, save for those two; and she was upon the sameside of the street that he was; thus it becameinevitable that theyshould meet, face to face, for the first time in their lives. Hehad perceived, even in the distance, that she was unknown to him, astranger,because he knew all the girls in this part of the town whodressed as famously in the mode as that! And then, as the distancebetween them lessened, he saw thatshe was ravishingly pretty; far, farprettier, indeed, than any girl he knew. At least it seemed so, for itis, unfortunately, much easier for strangers to be beautiful.Asidefrom this advantage of mystery, the approaching vision was piquant andgraceful enough to have reminded a much older boy of a spotless whitekitten, for, inspite of a charmingly managed demureness, there wasprecisely that kind of playfulness somewhere expressed about her. Justnow it was most definite in the lookshe bent upon the light and fluffyburden which she carried nestled in the inner curve of her right arm:a tiny dog with hair like cotton and a pink ribbon round hisneck--ananimal sated with indulgence and idiotically unaware of his privilege.He was half asleep!William did not see the dog, or it is the plain, anatomicaltruththat when he saw how pretty the girl was, his heart--his physicalheart--began to do things the like of which, experienced by an elderlyperson, would havebrought the doctor in haste. In addition, hiscomplexion altered--he broke out in fiery patches. He suffered frombreathlessness and from pressure on thediaphragm.Afterward, he could not have named the color of the little parasol shecarried in her left hand, and yet, as it drew nearer and nearer, a rosyhazesuffused the neighborhood, and the whole world began to turn anexquisite pink. Beneath this gentle glow, with eyes downcast in thought,she apparently took nonote of William, even when she and William hadcome within a few yards of each other. Yet he knew that she would lookup and that their eyes must meet--a thingfor which he endeavored toprepare himself by a strange weaving motion of his neck against thefriction of his collar--for thus, instinctively, he strove toobtaingreater ease and some decent appearance of manly indifference. He feltthat his efforts were a failure; that his agitation was ruinous andmust be perceptibleat a distance of miles, not feet. And then, inthe instant of panic that befell, when her dark-lashed eyelids slowlylifted, he had a flash of inspiration.He opened his"}
+{"doc_id":"doc_109","qid":"","text":"<html><head><title>Star Wars: Return of the Jedi Script at IMSDb.</title><meta name=\"description\" content=\"Star Wars: Return of the Jedi script at theInternet Movie Script Database.\"><meta name=\"keywords\" content=\"Star Wars: Return of the Jedi script, Star Wars: Return of the Jedi movie script, Star Wars:Return of the Jedi film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>RETURN <b>OF THE</b><b>JEDI</b>byLawrence Kasdan<b>&</b>George LucasFrom The NovelbyGeorge LucasThird DraftProperty of Lucasfilm Ltd.Completion Date December1, 1981<b>1    SPACE                                                           </b>The boundless heavens serve as a back-drop for the MAIN TITLE, followed by a ROLL-UP,which crawls into infinity.Episode VI<b>RETURN OF THE JEDI</b>Luke Skywalker has returned to his home planet of Tatooine in an attempt to rescue his friendHan Solo from the clutches of theÊvile gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE has secretly begun construction on a newarmored space station even more powerful than the first dreaded Death Star. When completed, this ultimate weapon will spell certain doom for the small band ofRebels struggling to restore freedom to the galaxy...PAN DOWN to reveal a monstrous half-completed Death Star, its massive superstructure curling away fromthe completed section like the arms of a giant octopus. Beyond, in benevolent contrast, floats the small, green moon of ENDOR.An Imperial Star Destroyer movesoverhead toward the massive armored space station, followed by two zipping TIE fighters. A small Imperial shuttle rockets from the main bay of the ship andhustles toward the Death Star.<b>2    INT IMPERIAL SHUTTLE - COCKPIT </b>The shuttle captain makes contact with the Death Star.<b>SHUTTLECAPTAIN</b>Command station, this is ST 321. Code Clearance Blue. We're starting our approach. Deactivate the security shield.DEATH STAR CONTROLLER"}
+{"doc_id":"doc_110","qid":"","text":"<html><head>   <title>\"Beloved,\" early draft, by Richard LaGravenese</title><head><body>   <pre>                               <i><u>BELOVED</u></i>                              Screenplay                                  by                          Richard LaGravenese                         Based on the Novel by                             ToniMorrison     HARPO FILMS     345 N. Maple Drive     Beverly Hills, CA 90210     (310) 278-5559 - O     (310) 278-6110 - F                           October 11,1996     FADE IN...     EXT. 124 BLUESTONE ROAD - DAWN.     It is winter in Ohio. A house sits isolated beside a barren     field. The field stretches beyond, untila line of distant     woods stops it. Around the back of the house stands a rundown     STORAGE SHED, a cold house, a privy and a water pump. A porch     with asingle door serves as the only entrance.     Camera begins a slow move toward the house as we;     SUPER - <b>OHIO, 1865</b>     WE HEAR SOUNDS frominside the house - BUMPS, A CHAIR FALLING     OVER...and FEET RUNNING on wooden floor boards.                                                            CUT TO:     INT.124 BLUESTONE ROAD - DAWN.     C.U. - THE HANDS OF TWO BROTHERS HOLDING EACH OTHER AS THEY     RUN DOWN THE STAIRS..     BULGAR (13 yrs. old)and HOWARD (14 yrs. old) run down the     steps from the second floor. They are fully dressed, carrying     a small bag ofbelongings.                         HOWARD               We gonna need food. Wait here.     Bulgar reluctantly lets go of Howard's hand as the latter     runs into thekitchen. Alone, he edges towards the front     door, when suddenly;     THE DOOR SLOWLY CREAKS OPEN on it's own. Scared, he steps     away slowly.     INT.KITCHEN - DAWN.     Howard is trying to toss some food into a bag. He spots A     CAKE sitting on top the wooden table, with some pieces     already eaten. Hefinds a knife and approaches the table.     He is about to cut into the cake when he sees TWO TINY HAND     PRINTS appear on the cake's surface. Howard stopscold -     dropping the knife.     INT. FRONT ENTRANCE - DAWN.     Howard exits the kitchen and takes Bulgar's hand;                         HOWARD               Comeon!                         DENVER (OS)               Bul?     The boys look up the stairs and see their baby sister, nine     year oldDENVER.                         DENVER               Where you goin?     The brothers are brokenhearted at the sight of her. They love     their sister. But there arestronger forces here.     A MIRROR on a wall beside Howard cracks down the middle.                         HOWARD               We gotta go!     Bulgar looks up toDenver. They exchange a look of deep     affection and pained longing. He wants to take her.                         HOWARD               Bye, Denver. You takecare.                         DENVER               Bye? Bul?     Bulgar is starting to cry. He rushes up the steps and hugs     his sister. He kisses her hard then breaksaway. Denver's     outstretched hand misses his shirt and hangs mid-air.                         DENVER               No..Bul...     Bulgar flies down the steps anddisappears out of the house     holding Howard's hand once more.     Denver sits alone at the top of the stairs.  She sadly looks     up and weeps, as if to thehouse itself:                         DENVER               Now what you go and do that for?     EXT. ROAD TO THE TRAIN - DAWN.     THE VOICE OF SETHE HUMMING AMELODY carries over the images     of:     The two boys running for their lives towards the train,     holding hands all the way.  Howard is the first to reachit.     As it passes by, he throws his bag upon it and jumps in.     Bulgar races beside it as Howard reaches for him.     C.U. - HOWARD'S HAND reaching forBULGAR's...They connect.     WIDE SHOT - The boys are on the train as it leaves town.     On it's route, the train passes a ramshackle GRAVEYARD.     CAMERAMOVES SLOWLY INTO THE GRAVEYARD until it reaches A     HEADSTONE, made with flecked pink stone. Upon the headstone     is only oneword:<b>     BELOVED.</b>     EXT. 124 BLUESTONE RD. - CONTINUOUS.     Camera moves slowly towards the side exterior of 124, into a     Close-Up of aWOMAN looking out of a second floor bedroom     window. It is SETHE, mother of the two boys and Denver. She     hums her melody, softly, sadly, with aresigned understanding     of why her boys are running away...and a deep pain that is     too constant to notice.                                                          FADEOUT;     FADE IN:     INT. 124 - BABY SUGGS BEDROOM - LATER THAT DAY.     BABY SUGGS, grandmother and mother-in-law to Sethe, sits in     her bedfondling colored fabric of BRIGHT GREEN..It is the     only vibrant color in an otherwise drab surrounding. Suggs is     bed-ridden, exhausted to her bones - herface a mosaic of     suffering and sacrifice and tested faith.                         BABY SUGGS               Ya know what I'd love to see? I loved to               see mesome lavender. You got any               lavender? Or even pink - pink'll do.     Sethe is placing folded laundry into a dresser. She stops and     checks her pocketsfor rags or swatches...She looks around     the room..                         SETHE               No. Sorry.                         BABY SUGGS               Ah, winter in Ohio isespecially rough if               you've got an appetite for color.     Suggs goes back to contemplating her green until;                         SETHE (OS)               Ohwait...     Suggs looks up to see Sethe sticking her pink tongue out at     her. Suggs smiles.                         BABY SUGGS               Oh, that's fine. Fine.     Sethelets out a small laugh. She walks toward the window,     stretching her body. Her expression changes as she thinks of     her boys. Baby Suggs reads her like abook.                         BABY SUGGS               They'll be all right. I'm surprised they               lasted here this long.                         SETHE               I don'tknow. Maybe we should have moved.                         BABY SUGGS               What'd be the point? Not a house in the               country ain't packed to therafters with               some dead Negro's grief. We lucky our               ghost is a baby. My husband spirit come               back? Or yours? Don't talk to me!Ha..You               lucky. You got one child left, still               pullin at your skirts. Be thankful. I had               eight. Eight with six fathers. Every one               ofthem gone from me. Four taken, four               chased and all, I expect, worrying               somebody's house into evil. My first born               - alls I canremember of her now is how               she loved the burned bottom of bread. Her               little hands..I wouldn't know'em if they               slapped me. Canyou beat that? Eight               children and that's all I remember.                                        SETHE                    (returning to her work)               You rememberHalle.                         BABY SUGGS               Oh, I remember bits and pieces of all               of'em I guess..Halle, of course..I had               Halle a lifetime.Almost twenty years...               My two girls, sold and gone before I               could even a heard about it, and them               without their grown up teeth yet.My               third child, my son after Halle...I let               that straw boss have me for four months               so's I could keep that boy. Next year,he               had him traded for lumber anyway and me               pregnant with his child. I couldn't love               that child. I wouldn't. Not any ofthe               rest either. God take what He               would....and He did...                         SETHE               The boys wouldn't have left if Hallewere               here.                         BABY SUGGS               Those boys didn't even know him. You had               six whole years of marriage to myHalle               Fathered every one of your children. A               blessing. I learned hard that a man's               just a man, but a son likethat...like               Halle..now that's somebody.     Sethe's mixed feelings show all over her face. Although she     loved Halle, there is clearly somethingunresolved in her.                         SETHE               Just got a few more things to do, then               I'll start supper.     Sethe exits.     EXT. 124 BLUESTONE RD.- LATE DAY.     Denver is playing in the front yard by herself.     Sethe is pumping water into a bucket for clothes washing. A     gentle breeze carries a LEAF intothe bucket. Sethe sees it     floating atop the water for a moment, then picks it up.     C.U. of SETHE as the image triggers a feeling - and the     feeling a memory- from long ago.     Sethe looks around her and finds she is no longer standing in     the barren field of 124...but rather-     MEMORY;     EXT. SWEET HOME -LATE DAY.     A stunning vista of the plantation SWEET HOME - sun beating     down on groves and rows of gorgeous sycamores for as far as     the eye can see.Sethe's figure dwarfed by the majestic     landscape.     Sethe looks frightened. Her breathing grows shallow. She     hears something;     THE SOUND OF AWAGON'S WHEELS - rolling over a road, growing     louder, coming towards her                                                          INTERCUT;     C.U. OF A WAGON WHEELMOVING RAPIDLY ON A ROAD. CAMERA PANS     UP TO THE MAN DRIVING THE WAGON - A STERN WHITE MAN WEARING A     DISTINCTIVE HAT...     SETHETURNS away from the sycamores towards the road to see;     END OF MEMORY;     EXT. 124 BLUESTONE - LATE DAY.     A MAN driving a horse and wagon withtwo children in the     back, coming up Bluestone Road. He wears no hat.     Sethe breathes easily. She looks around her -the reality of     124's barren field hasreturned. The memory of Sweet Home's     sycamores have vanished.     Denver is playing near the road. As the wagon nears 124,     Denver looks up andsmiles. The Man whips the horse hard so     as to ride past the house faster. The children stare at     Denver and 124, with horror and curiosity.     The stares ofthe children destroy Denver's smile. She     watches them go, then turns to hide her upset and sees her     mother watching her.     Sethe looks to Denver withempathy and impotence: wanting to     ease her daughter's pain and knowing full well she cannot.     Hurt and angry, Denver runs past Sethe, towards thewoods.     EXT. WOODS - LATE DAY.     Denver runs with a purpose, knowing exactly where she is     going.     She reaches FIVE BOXWOOD BUSHES planted in aring. The tall     bushes stretch toward each other four feet off the ground,     forming a round, emerald room in the center, seven feet high,     with walls fiftyinches thick of murmuring leaves.     This is Denver's private place. She bends low and crawls     through the leaves into the center. Once there, thislonely     child wipes away her tears and tries to pull herself     together. She lays her face against the cool earth.     INT. 124 BLUESTONE RD. -NIGHT.     Denver walks to her room in her night dress. She passes the     opened door of her mother's bedroom and peeks in:     INT. SETHE'S BEDROOM -NIGHT.     Sethe kneeling by her bed, as if praying...     Beside Sethe, A WHITE DRESS KNEELS as well, with it's sleeve     around Sethe's waist. Like two friendlygrown-up women,     comforting each other in prayer.     Denver tip toes away.     INT. DENVER'S ROOM - NIGHT.     Sethe enters to check on Denver, whom she"}
+{"doc_id":"doc_111","qid":"","text":"The Project Gutenberg EBook of The Mystery of a Hansom Cab, by Fergus HumeThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Mystery of a Hansom CabAuthor: Fergus HumePosting Date: July 2, 2009 [EBook #4223]Release Date: July, 2003First Posted:December 8, 2001Last updated: February 28, 2013Last updated: June 8, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MYSTERYOF A HANSOM CAB ***Produced by Col Choat.  HTML version by Al Haines.The Mystery of a Hansom CabbyFergus HumeCONTENTS      I.  WHAT THE ARGUSSAID.     II.  THE EVIDENCE AT THE INQUEST.    III.  ONE HUNDRED POUNDS REWARD.     IV.  MR. GORBY MAKES A START.      V.  MRS. HAMILTON UNBOSOMSHERSELF.     VI.  MR. GORBY MAKES FURTHER DISCOVERIES.    VII.  THE WOOL KING.   VIII.  BRIAN TAKES A WALK AND A DRIVE.     IX.  MR. GORBY ISSATISFIED AT LAST.      X.  IN THE QUEEN'S NAME.     XI.  COUNSEL FOR THE PRISONER.    XII.  SHE WAS A TRUE WOMAN.   XIII.  MADGE MAKES ADISCOVERY.    XIV.  ANOTHER RICHMOND IN THE FIELD.     XV.  A WOMAN OF THE PEOPLE.    XVI.  MISSING.   XVII.  THE TRIAL.  XVIII.  SAL RAWLINS TELLSALL SHE KNOWS.    XIX.  THE VERDICT OF THE JURY.     XX.  THE \"ARGUS\" GIVES ITS OPINION.    XXI.  THREE MONTHS AFTERWARDS.   XXII.  A DAUGHTER OFEVE.  XXIII.  ACROSS THE WALNUTS AND THE WINE.   XXIV.  BRIAN RECEIVES A LETTER.    XXV.  WHAT DR. CHINSTON SAID.   XXVI.  KILSIP HAS A THEORYOF HIS OWN.  XXVII.  MOTHER GUTTERSNIPE JOINS THE MAJORITY. XXVIII.  MARK FRETTLBY HAS A VISITOR.   XXIX.  MR. CALTON'S CURIOSITY ISSATISFIED.    XXX.  NEMESIS.   XXXI.  HUSH-MONEY.  XXXII.  DE MORTUIS NIL NISI BONUM. XXXIII.  THE CONFESSION.  XXXIV.  THE HANDS OFJUSTICE.   XXXV.  \"THE LOVE THAT LIVES.\"PREFACEIn its original form, \"The Mystery of a Hansom Cab\" has reached thesale of 375,000 copies in this country,and some few editions in theUnited States of America. Notwithstanding this, the present publishershave the best of reasons for believing, that there arethousands ofpersons whom the book has never reached. The causes of this havedoubtless been many, but chief among them was the form of thepublication itself.It is for this section of the public chiefly thatthe present edition is issued. In placing it before my new readers, Ihave been asked by the publishers thoroughly torevise the work, and,at the same time, to set at rest the many conflicting reportsconcerning it and myself, which have been current since its initialissue. The firstof these requests I have complied with, and the manytypographic, and other errors, which disfigured the first edition,have, I think I can safely say, nowdisappeared. The second request Iam about to fulfil; but, in order to do so, I must ask my readers to goback with me to the beginning of all things, so far as thisspecialbook is concerned.The writing of the book was due more to accident than to design. I wasbent on becoming a dramatist, but, being quite unknown, I founditimpossible to induce the managers of the Melbourne Theatres to accept,or even to read a play. At length it occurred to me I might further mypurpose by writinga novel. I should at all events secure a certainamount of local attention. Up to that time I had written only one ortwo short stories, and the \"Cab\" was not only thefirst book I everpublished, but the first book I ever wrote; so to youth and lack ofexperience must be ascribed whatever was wanting in the book. I repeatthat thestory was written only to attract local attention, and no onewas more astonished than I when it passed beyond the narrow circle forwhich it had originally beenintended.My mind made up on this point, I enquired of a leading Melbournebookseller what style of book he sold most of. He replied that thedetective stories ofGaboriau had a large sale; and as, at this time, Ihad never even heard of this author, I bought all his works--eleven orthereabouts--and read them carefully. Thestyle of these storiesattracted me, and I determined to write a book of the same class;containing a mystery, a murder, and a description of low life inMelbourne.This was the origin of the \"Cab.\" The central idea i.e. themurder in a cab--came to me while driving at a late hour to St. Kilda,a suburb of Melbourne; but it tooksome time and much thought to workit out to a logical conclusion. I was two months sketching out theskeleton of the novel, but even so, when I had written it,the resultproved unsatisfactory, for I found I had not sufficiently wellconcealed the mystery upon which the whole interest of the bookdepended. In the first draftI made Frettlby the criminal, but onreading over the M.S. I found that his guilt was so obvious that Iwrote out the story for a second time, introducing thecharacter ofMoreland as a scape-goat. Mother Guttersnipe I unearthed in the slumsoff Little Bourke Street; and I gave what I am afraid was perhaps toovivid apicture of her language and personality. These I have toneddown in the present edition. Calton and the two lodging-house keeperswere actual personages whom Iknew very well, and I do not think I haveexaggerated their idiosyncracies, although many have, I believe,doubted the existence of such oddities. All the scenes inthe book,especially the slums, are described from personal observation; and Ipassed a great many nights in Little Bourke Street, gathering material.Havingcompleted the book, I tried to get it published, but every oneto whom I offered it refused even to look at the manuscript on theground that no Colonial could writeanything worth reading. They gaveno reason for this extraordinary opinion, but it was sufficient forthem, and they laughed to scorn the idea that any good couldcome outof Nazareth--i.e., the Colonies. The story thus being boycotted on allhands, I determined to publish it myself, and accordingly an editionof, I think, somefive thousand copies was brought out at my own cost.Contrary to the expectations of the publishers, and I must add to myown, the whole edition went off inthree weeks, and the public demandeda second. This also sold rapidly, and after some months, proposals weremade to me that the book should be brought out inLondon. Later on Iparted with the book to several speculators, who formed themselves intowhat they called \"The Hansom Cab Publishing Company.\" Taking thebookto London, they published it there with great success, and it had aphenomenal sale, which brought in a large sum of money. The successwas, in the firstinstance, due, in no small degree, to a very kind andgenerous criticism written by Mr. Clement Scott. I may here state thatI had nothing to do with the Company,nor did I receive any money forthe English sale of the book beyond what I sold it for; and, as amatter of fact, I did not arrive in England until a year afterthenovel was published. I have heard it declared that the plot is foundedon a real criminal case; but such a statement is utterly withoutfoundation, as the story ispure fiction from beginning to end. Severalpeople before and since my arrival in England, have assumed theauthorship of the book to themselves; and onegentleman went so far asto declare that he would shoot me if I claimed to have written it. I amglad to say that up to the present he has not carried outhisintention. Another individual had his cards printed, \"Fergus Hume.Author of 'The Mystery of a Hansom Cab,'\" and also added the price forwhich he wasprepared to write a similar book. Many of the papers putthis last piece of eccentricity down to my account.I may state in conclusion, that I belong to New Zealand,and not toAustralia, that I am a barrister, and not a retired policeman, that Iam yet two decades off fifty years of age, that Fergus Hume is my realname, and nota nom-de-plume; and finally, that far from making afortune out of the book, all I received for the English and Americanrights, previous to the issue of this RevisedEdition by my presentpublishers, was the sum of fifty pounds. With this I take my leave, andI trust that the present edition may prove as successful as didthefirst.CHAPTER I.WHAT THE ARGUS SAID.The following report appeared in the Argus newspaper of Saturday, the28th July, 18--\"Truth is said to be strangerthan fiction, and certainly theextraordinary murder which took place in Melbourne on Thursday night,or rather Friday morning, goes a long way towards verifyingthissaying. A crime has been committed by an unknown assassin, within ashort distance of the principal streets of this great city, and issurrounded by aninpenetrable mystery. Indeed, from the nature of thecrime itself, the place where it was committed, and the fact that theassassin has escaped without leaving atrace behind him, it would seemas though the case itself had been taken bodily from one of Gaboreau'snovels, and that his famous detective Lecoq alone wouldbe able tounravel it. The facts of the case are simply these:--\"On the twenty-seventh day of July, at the hour of twenty minutes totwo o'clock in the morning, ahansom cab drove up to the police stationin Grey Street, St. Kilda, and the driver made the startling statementthat his cab contained the body of a man who hehad reason to believehad been murdered. Being taken into the presence of the inspector, thecabman, who gave his name as Malcolm Royston, related thefollowingstrange story:--\"At the hour of one o'clock in the morning, he was driving down CollinsStreet East, when, as he was passing the Burke and Wills'monument, hewas hailed by a gentleman standing at the corner by the Scotch Church.He immediately drove up, and saw that the gentleman who hailed himwassupporting the deceased, who appeared to be intoxicated. Both were inevening dress, but the deceased had on no overcoat, while the otherwore a shortcovert coat of a light fawn colour, which was open. AsRoyston drove up, the gentleman in the light coat said, 'Look here,cabby, here's some fellow awfully tight,you'd better take him home!'\"Royston then asked him if the drunken man was his friend, but this theother denied, saying that he had just picked him up from thefootpath,and did not know him from Adam. At this moment the deceased turned hisface up to the light of the lamp under which both were standing, andthe otherseemed to recognise him, for he recoiled a pace, letting thedrunken man fall in a heap on the pavement, and gasping out 'You?' heturned on his heel, and walkedrapidly away down Russell Street in thedirection of Bourke Street.\"Royston was staring after him, and wondering at his strange conduct,when he was recalled tohimself by the voice of the deceased, who hadstruggled to his feet, and was holding on to the lamp-post, swaying toand fro. 'I wan' g'ome,' he said in a thickvoice, 'St. Kilda.' He thentried to get into the cab, but was too drunk to do so, and finally satdown again on the pavement. Seeing this, Royston got down, andliftinghim up, helped him into the cab with some considerable difficulty. Thedeceased fell back into the cab, and seemed to drop off to sleep; so,after closing thedoor, Royston turned to remount his driving-seat,when he found the gentleman in the light coat whom he had seen holdingup the deceased, close to his elbow."}
+{"doc_id":"doc_112","qid":"","text":"<html><head><title>Remember Me Script at IMSDb.</title><meta name=\"description\" content=\"Remember Me script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Remember Me script, Remember Me movie script, Remember Me film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b></b><b></b><b></b><b>                              REMEMBER ME</b><b></b><b></b><b></b>                              Writtenby<b></b>                     William Fetters & Jenny Lumet<b></b><b></b><b></b><b></b><b></b><b></b>                                           Revised April16th, 2009<b></b><b></b><b>1   EXT. SMITH STREET STATION -- BROOKLYN -- NIGHT                 1</b><b></b>    It's very late. It's quiet. Just thesounds of The City<b></b>    LINDA SANTANA CRAIG, an attractive Hispanic woman in her    thirties, waits at the ELEVATED STATION for the Ftrain.<b></b>    Linda looks great. She's dressed festively but tastefully.    Next to her is her eleven year old DAUGHTER, ALICIA. She is    twirling about theplatform, still jazzed from the birthday    party they attended in The City.<b></b>    Alicia wears a black dress with a pink cardigan and has a pink    handbag.We notice a CHARM BRACELET with four-leaf clovers on    her right wrist.<b></b>    The mother and daughter wait alone at one end of thestation    platform.<b></b>    TWO TEENAGE BOYS wait at the other end. They speak soft,    SLURRED SPANISH to each other.<b></b>    Linda gives the boysa glance and evaluates. She watches them    as Alicia spits a wad of gum into her mom's open hand.<b></b>    The Boys approach. Linda tenses. At the lastsecond the boys    make a hard left turn and disappear down the stairwell. It's    quiet again. Linda relaxes, smiles at her daughter. The F    TRAIN is rounding thefinal bend into the station.<b></b>    Their focus is on this train. It's getting closer, louder.<b></b>    And so they don't see, don't hear the Boys coming back"}
+{"doc_id":"doc_113","qid":"","text":"<html><head><title>Braveheart Script at IMSDb.</title><meta name=\"description\" content=\"Braveheart script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Braveheart script, Braveheart movie script, Braveheart film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                       \"BRAVEHEART\"                                            by                                     RandallWallace                                       Early Draft<b>                </b><b>               FADE IN:</b><b>               EXT. THE SCOTTISH COUNTRYSIDE -DAY</b>               Epic beauty: cobalt mountains beneath a glowering purple sky                fringed with pink, as if the clouds were a lid too smallfor                the earth; a cascading landscape of boulders shrouded in                deep green grass; and the blue lochs, reflecting the sky. We                hear avoice, husky, Scottish...<b>                                     VOICE OVER</b>                         I will tell you of William Wallace.<b>               EXT. MACANDREWSFARM - DAY</b>               A farmhouse and a large barn lie nestled in a Scottish valley.                Riding down the roads that lead in from opposite sidesare                Scottish noblemen in full regalia: eye-popping tartans,                sparkling chestplates. Even the horses are draped in scarlet.                Behindeach nobleman rides a single page boy.<b>                                     VOICE OVER</b>                         Historians from England will say I                          am aliar. But history is written by                          those who have hung heroes.               Another noble rides in from the opposite side. Two moreappear                down the road, converging on the barn.<b>                                     VOICE OVER</b>                         The King of Scotland had diedwithout                          a son, and the king of England, a                          cruel pagan known as Edward the                          Longshanks, claimed the throne"}
+{"doc_id":"doc_114","qid":"","text":"<html><head><title>Perks of Being a Wallflower, The Script at IMSDb.</title><meta name=\"description\" content=\"Perks of Being a Wallflower, The script atthe Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Perks of Being a Wallflower, The script, Perks of Being a Wallflower, The movie script,Perks of Being a Wallflower, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                 THE PERKSOF BEING a WALLFLOWER                            Written by                          Stephen Chbosky    Final Draft<b>    FADE IN:</b><b>1   EXT. TUNNEL -NIGHT                                             1</b>    The titles begin over black. We hear the sound of an old    typewriter. Someone reaching out to us. The belldings,    announcing the end of a line, and we see our title...<b>    THE PERKS OF BEING A WALLFLOWER</b>    Music begins, picture fades up, and we are inthe city.    Downtown Pittsburgh. Looking out of the back window like a    child in the back of a station wagon.    We see lights on buildings and everything thatmakes us    wonder. We see the bridge. And the river below. And then    we enter...    The Tunnel.    We keep moving backwards, watching the lights.Golden,    alive, and hypnotic. The music carries us as we float out of    the tunnel. Onto another bridge. And over the highway.    We move into the night sky,back through the trees, through a    window, and into...<b>2   INT. CHARLIE'S BEDROOM - NIGHT                                  2</b>    It is a neat and tidy littleroom. Few posters or books.    CHARLIE is 15. He is innocent, hopeful, awkward, and likable    to everyone but his classmates. He sits at his desk, writing    aletter in pencil as he tapes the title song through the    radio on his cassette boom box.<b>                         CHARLIE (V.O.)</b>               Dear Friend, I amwriting to you because               she said you listen and understand and               didn't try to sleep with that person at               that party even though you"}
+{"doc_id":"doc_115","qid":"","text":"The Project Gutenberg EBook of Desperate Remedies, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Desperate RemediesAuthor: Thomas HardyRelease Date: November 2000 [EBook #3044]Posting Date: May 25, 2009 Language:English*** START OF THIS PROJECT GUTENBERG EBOOK DESPERATE REMEDIES ***Produced by Les BowlerDESPERATE REMEDIESBy ThomasHardyCONTENTSPREFATORY NOTE     I.     THE EVENTS OF THIRTY YEARS     II.    THE EVENTS OF A FORTNIGHT     III.   THE EVENTS OF EIGHTDAYS     IV.    THE EVENTS OF ONE DAY     V.     THE EVENTS OF ONE DAY     VI.    THE EVENTS OF TWELVE HOURS     VII.   THE EVENTS OF EIGHTEENDAYS     VIII.  THE EVENTS OF EIGHTEEN DAYS     IX.    THE EVENTS OF TEN WEEKS     X.     THE EVENTS OF A DAY AND NIGHT     XI.    THE EVENTS OF FIVEDAYS     XII.   THE EVENTS OF TEN MONTHS     XIII.  THE EVENTS OF ONE DAY     XIV.   THE EVENTS OF FIVE WEEKS     XV.    THE EVENTS OF THREEWEEKS     XVI.   THE EVENTS OF ONE WEEK     XVII.  THE EVENTS OF ONE DAY     XVIII. THE EVENTS OF THREE DAYS     XIX.   THE EVENTS OF A DAY ANDNIGHT     XX.    THE EVENTS OF THREE HOURS     XXI.   THE EVENTS OF EIGHTEEN HOURS            SEQUELPREFATORY NOTEThe following story, the firstpublished by the author, was writtennineteen years ago, at a time when he was feeling his way to amethod. The principles observed in its composition are, nodoubt, tooexclusively those in which mystery, entanglement, surprise, and moralobliquity are depended on for exciting interest; but some of the scenes,and atleast one of the characters, have been deemed not unworthy of alittle longer preservation; and as they could hardly be reproduced in afragmentary form thenovel is reissued complete--the more readily thatit has for some considerable time been reprinted and widely circulatedin America. January 1889.To the foregoingnote I have only to add that, in the present edition of'Desperate Remedies,' some Wessex towns and other places that are commonto the scenes of several ofthese stories have been called for thefirst time by the names under which they appear elsewhere, for thesatisfaction of any reader who may care for consistencyin such matters.This is the only material change; for, as it happened that certaincharacteristics which provoked most discussion in my latest story werepresent inthis my first--published in 1871, when there was no Frenchname for them it has seemed best to let them stand unaltered.T.H. February 1896.I. THE EVENTS OFTHIRTY YEARS1. DECEMBER AND JANUARY, 1835-36In the long and intricately inwrought chain of circumstance whichrenders worthy of record some experiencesof Cytherea Graye, EdwardSpringrove, and others, the first event directly influencing the issuewas a Christmas visit.In the above-mentioned year, 1835, AmbroseGraye, a young architect whohad just begun the practice of his profession in the midland town ofHocbridge, to the north of Christminster, went to London tospend theChristmas holidays with a friend who lived in Bloomsbury. They hadgone up to Cambridge in the same year, and, after graduating together,Huntway,the friend, had taken orders.Graye was handsome, frank, and gentle. He had a quality of thoughtwhich, exercised on homeliness, was humour; on nature,picturesqueness;on abstractions, poetry. Being, as a rule, broadcast, it was all three.Of the wickedness of the world he was too forgetful. To discover evil ina newfriend is to most people only an additional experience: to him itwas ever a surprise.While in London he became acquainted with a retired officer in theNavy namedBradleigh, who, with his wife and their daughter, lived ina street not far from Russell Square. Though they were in no more thancomfortable circumstances, thecaptain's wife came of an ancient familywhose genealogical tree was interlaced with some of the most illustriousand well-known in the kingdom.The young lady,their daughter, seemed to Graye by far the mostbeautiful and queenly being he had ever beheld. She was about nineteenor twenty, and her name was Cytherea.In truth she was not so veryunlike country girls of that type of beauty, except in one respect.She was perfect in her manner and bearing, and they were not. Ameredistinguishing peculiarity, by catching the eye, is often read asthe pervading characteristic, and she appeared to him no less thanperfectionthroughout--transcending her rural rivals in very nature.Graye did a thing the blissfulness of which was only eclipsed by itshazardousness. He loved her at firstsight.His introductions had led him into contact with Cytherea and her parentstwo or three times on the first week of his arrival in London, andaccident and alover's contrivance brought them together as frequentlythe week following. The parents liked young Graye, and having fewfriends (for their equals in blood weretheir superiors in position), hewas received on very generous terms. His passion for Cytherea grew notonly strong, but ineffably exalted: she, without positivelyencouraginghim, tacitly assented to his schemes for being near her. Her father andmother seemed to have lost all confidence in nobility of birth, withoutmoney togive effect to its presence, and looked upon the buddingconsequence of the young people's reciprocal glances with placidity, ifnot actual favour.Graye's wholeimpassioned dream terminated in a sad and unaccountableepisode. After passing through three weeks of sweet experience, he hadarrived at the last stage--akind of moral Gaza--before plunging into anemotional desert. The second week in January had come round, and it wasnecessary for the young architect to leavetown.Throughout his acquaintanceship with the lady of his heart there hadbeen this marked peculiarity in her love: she had delighted in hispresence as asweetheart should do, yet from first to last she hadrepressed all recognition of the true nature of the thread whichdrew them together, blinding herself to itsmeaning and only naturaltendency, and appearing to dread his announcement of them. The presentseemed enough for her without cumulative hope: usually,even if love isin itself an end, it must be regarded as a beginning to be enjoyed.In spite of evasions as an obstacle, and in consequence of them as aspur, hewould put the matter off no longer. It was evening. He tookher into a little conservatory on the landing, and there among theevergreens, by the light of a few tinylamps, infinitely enhancing thefreshness and beauty of the leaves, he made the declaration of a love asfresh and beautiful as they.'My love--my darling, be mywife!'She seemed like one just awakened. 'Ah--we must part now!' she faltered,in a voice of anguish. 'I will write to you.' She loosened her hand andrushedaway.In a wild fever Graye went home and watched for the next morning. Whoshall express his misery and wonder when a note containing these wordswas putinto his hand?'Good-bye; good-bye for ever. As recognized lovers something divides useternally. Forgive me--I should have told you before; but your lovewassweet! Never mention me.'That very day, and as it seemed, to put an end to a painful condition ofthings, daughter and parents left London to pay off apromised visit toa relative in a western county. No message or letter of entreaty couldwring from her any explanation. She begged him not to follow her, andthemost bewildering point was that her father and mother appeared, fromthe tone of a letter Graye received from them, as vexed and sad as heat this suddenrenunciation. One thing was plain: without admitting herreason as valid, they knew what that reason was, and did not intend toreveal it.A week from that dayAmbrose Graye left his friend Huntway's houseand saw no more of the Love he mourned. From time to time his friendanswered any inquiry Graye made by letterrespecting her. But very poorfood to a lover is intelligence of a mistress filtered through a friend.Huntway could tell nothing definitely. He said he believed therehadbeen some prior flirtation between Cytherea and her cousin, an officerof the line, two or three years before Graye met her, which had suddenlybeenterminated by the cousin's departure for India, and the younglady's travelling on the Continent with her parents the whole of theensuing summer, on account ofdelicate health. Eventually Huntway saidthat circumstances had rendered Graye's attachment more hopeless still.Cytherea's mother had unexpectedly inherited alarge fortune and estatesin the west of England by the rapid fall of some intervening lives. Thishad caused their removal from the small house in Bloomsbury,and, as itappeared, a renunciation of their old friends in that quarter.Young Graye concluded that his Cytherea had forgotten him and his love.But he could notforget her.2. FROM 1843 TO 1861Eight years later, feeling lonely and depressed--a man withoutrelatives, with many acquaintances but no friends--AmbroseGraye meta young lady of a different kind, fairly endowed with money and goodgifts. As to caring very deeply for another woman after the loss ofCytherea, it wasan absolute impossibility with him. With all, thebeautiful things of the earth become more dear as they elude pursuit;but with some natures utter elusion is theone special event which willmake a passing love permanent for ever.This second young lady and Graye were married. That he did not, firstor last, love his wife ashe should have done, was known to all; butfew knew that his unmanageable heart could never be weaned from uselessrepining at the loss of its first idol.Hischaracter to some extent deteriorated, as emotional constitutionswill under the long sense of disappointment at having missed theirimagined destiny. And thus,though naturally of a gentle and pleasantdisposition, he grew to be not so tenderly regarded by his acquaintancesas it is the lot of some of those persons to be.The winning andsanguine receptivity of his early life developed by degrees a moodynervousness, and when not picturing prospects drawn from baseless hopehewas the victim of indescribable depression. The practical issue ofsuch a condition was improvidence, originally almost an unconsciousimprovidence, for every debtincurred had been mentally paid off with areligious exactness from the treasures of expectation before mentioned.But as years revolved, the same course wascontinued from the lack ofspirit sufficient for shifting out of an old groove when it has beenfound to lead to disaster.In the year 1861 his wife died, leaving him awidower with two children.The elder, a son named Owen, now just turned seventeen, was taken fromschool, and initiated as pupil to the profession of architect inhisfather's office. The remaining child was a daughter, and Owen's juniorby a year.Her christian name was Cytherea, and it is easy to guess why.3. OCTOBER THETWELFTH, 1863We pass over two years in order to reach the next cardinal event ofthese persons' lives. The scene is still the Grayes' native town ofHocbridge, butas it appeared on a Monday afternoon in the month ofOctober.The weather was sunny and dry, but the ancient borough was to be seenwearing one of its least"}
+{"doc_id":"doc_116","qid":"","text":"<html><head><title>Men in Black 3 Script at IMSDb.</title><meta name=\"description\" content=\"Men in Black 3 script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Men in Black 3 script, Men in Black 3 movie script, Men in Black 3 film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                   MEN IN BLACK 3 </b>                                     Written by                           Etan Cohen & LowellCunningham<b>          CLOSE ON A PAIR OF MIRROR AVIATOR SUNGLASSES</b>          Standard issue throughout the south to abusive, racistprison          guards.          Widen to reveal that, indeed, these glasses are on the          sneering face of just such a man.          We follow theguard<b>          DOWN A DINGY PRISON HALLWAY</b>          Paint peeling off the rusty bars. Somewhere, someone is          playing harmonica. Prisoners yellcomplaints as he passes.          He meets them all with--<b>                         GUARD</b>          Shut up, convict! Get yer hands          off the bars!          Theguard passes through several levels of security doors,          deeper and deeper into the more secure bowels of the prison --          home of the scum of thescum.          Meanwhile...<b>          PRISON VISITING ROOM</b>          The lazy-ass guards in charge of screening visitors read          magazines, watch TV.Footsteps -- someone's here. Which          pisses them off, because that means they actually have to do          their jobs.          The unseen visitor buzzes forhelp. They take their time          getting off their asses. When they finally look up, their          gaze becomes a leer. Follow it to:          DEVIL GIRL, the visitor.Too tall, too muscled, but hot if          you're into that kind of thing -- an R. Crumb drawing come to          life.          She holds a CAKE -- the cutest,perfectly-frosted pink cake          right off the cover of the Betty Crocker cookbook.<b>                         GUARD 2</b>          Lookie here. Yaz's visitor."}
+{"doc_id":"doc_117","qid":"","text":"The Project Gutenberg EBook of Youth, by Joseph ConradThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: YouthAuthor: Joseph ConradRelease Date: May 1996 [EBook #525]Posting Date: June 18, 2009Language: English*** START OF THISPROJECT GUTENBERG EBOOK YOUTH ***Produced by Judith Boss and David WidgerYOUTHA NARRATIVEBy Joseph Conrad  \"... But the Dwarf answered: No;something human is dearer to me  than the wealth of all the world.\" GRIMM'S TALES.TO MY WIFEYOUTHThis could have occurred nowhere but in England, wheremen and seainterpenetrate, so to speak--the sea entering into the life of most men,and the men knowing something or everything about the sea, in the wayofamusement, of travel, or of bread-winning.We were sitting round a mahogany table that reflected the bottle, theclaret-glasses, and our faces as we leaned onour elbows. There was adirector of companies, an accountant, a lawyer, Marlow, and myself. Thedirector had been a _Conway_ boy, the accountant had servedfour years atsea, the lawyer--a fine crusted Tory, High Churchman, the best of oldfellows, the soul of honour--had been chief officer in the P. & O.service in thegood old days when mail-boats were square-rigged at leaston two masts, and used to come down the China Sea before a fair monsoonwith stun'-sails set alowand aloft. We all began life in the merchantservice. Between the five of us there was the strong bond of the sea,and also the fellowship of the craft, which noamount of enthusiasm foryachting, cruising, and so on can give, since one is only the amusementof life and the other is life itself.Marlow (at least I think that ishow he spelt his name) told the story,or rather the chronicle, of a voyage:\"Yes, I have seen a little of the Eastern seas; but what I remember bestis my firstvoyage there. You fellows know there are those voyages thatseem ordered for the illustration of life, that might stand for a symbolof existence. You fight, work,sweat, nearly kill yourself, sometimes dokill yourself, trying to accomplish something--and you can't. Notfrom any fault of yours. You simply can do nothing,neither great norlittle--not a thing in the world--not even marry an old maid, or get awretched 600-ton cargo of coal to its port of destination.\"It was altogether amemorable affair. It was my first voyage to theEast, and my first voyage as second mate; it was also my skipper's firstcommand. You'll admit it was time. He wassixty if a day; a little man,with a broad, not very straight back, with bowed shoulders and one legmore bandy than the other, he had that queer twisted-aboutappearanceyou see so often in men who work in the fields. He had a nut-crackerface--chin and nose trying to come together over a sunken mouth--and itwasframed in iron-grey fluffy hair, that looked like a chin strap ofcotton-wool sprinkled with coal-dust. And he had blue eyes in thatold face of his, which wereamazingly like a boy's, with that candidexpression some quite common men preserve to the end of their days bya rare internal gift of simplicity of heart andrectitude of soul.What induced him to accept me was a wonder. I had come out of a crackAustralian clipper, where I had been third officer, and he seemed tohavea prejudice against crack clippers as aristocratic and high-toned.He said to me, 'You know, in this ship you will have to work.' I saidI had to work in every ship Ihad ever been in. 'Ah, but this isdifferent, and you gentlemen out of them big ships;... but there! Idare say you will do. Join to-morrow.'\"I joined to-morrow. Itwas twenty-two years ago; and I was just twenty.How time passes! It was one of the happiest days of my life. Fancy!Second mate for the first time--a reallyresponsible officer! I wouldn'thave thrown up my new billet for a fortune. The mate looked me overcarefully. He was also an old chap, but of another stamp. Hehad a Romannose, a snow-white, long beard, and his name was Mahon, but he insistedthat it should be pronounced Mann. He was well connected; yet therewassomething wrong with his luck, and he had never got on.\"As to the captain, he had been for years in coasters, then in theMediterranean, and last in the WestIndian trade. He had never beenround the Capes. He could just write a kind of sketchy hand, and didn'tcare for writing at all. Both were thorough good seamen ofcourse,and between those two old chaps I felt like a small boy between twograndfathers.\"The ship also was old. Her name was the _Judea_. Queer name, isn'tit?She belonged to a man Wilmer, Wilcox--some name like that; but he hasbeen bankrupt and dead these twenty years or more, and his name don'tmatter. Shehad been laid up in Shadwell basin for ever so long. You mayimagine her state. She was all rust, dust, grime--soot aloft, dirt ondeck. To me it was like coming outof a palace into a ruined cottage.She was about 400 tons, had a primitive windlass, wooden latches to thedoors, not a bit of brass about her, and a big squarestern. There wason it, below her name in big letters, a lot of scroll work, with thegilt off, and some sort of a coat of arms, with the motto 'Do or Die'underneath. Iremember it took my fancy immensely. There was a touch ofromance in it, something that made me love the old thing--something thatappealed to my youth!\"Weleft London in ballast--sand ballast--to load a cargo of coal in anorthern port for Bankok. Bankok! I thrilled. I had been six years atsea, but had only seenMelbourne and Sydney, very good places, charmingplaces in their way--but Bankok!\"We worked out of the Thames under canvas, with a North Sea pilot onboard.His name was Jermyn, and he dodged all day long about the galleydrying his handkerchief before the stove. Apparently he never slept.He was a dismal man, witha perpetual tear sparkling at the end of hisnose, who either had been in trouble, or was in trouble, or expectedto be in trouble--couldn't be happy unlesssomething went wrong. Hemistrusted my youth, my common-sense, and my seamanship, and made apoint of showing it in a hundred little ways. I dare say hewas right.It seems to me I knew very little then, and I know not much more now;but I cherish a hate for that Jermyn to this day.\"We were a week working up asfar as Yarmouth Roads, and then we gotinto a gale--the famous October gale of twenty-two years ago. It waswind, lightning, sleet, snow, and a terrific sea. Wewere flying light,and you may imagine how bad it was when I tell you we had smashedbulwarks and a flooded deck. On the second night she shifted herballastinto the lee bow, and by that time we had been blown off somewhere onthe Dogger Bank. There was nothing for it but go below with shovels andtry toright her, and there we were in that vast hold, gloomy like acavern, the tallow dips stuck and flickering on the beams, the galehowling above, the ship tossingabout like mad on her side; there weall were, Jermyn, the captain, everyone, hardly able to keep our feet,engaged on that gravedigger's work, and trying to tossshovelfuls of wetsand up to windward. At every tumble of the ship you could see vaguelyin the dim light men falling down with a great flourish of shovels.One ofthe ship's boys (we had two), impressed by the weirdness of thescene, wept as if his heart would break. We could hear him blubberingsomewhere in theshadows.\"On the third day the gale died out, and by-and-by a north-country tugpicked us up. We took sixteen days in all to get from London to theTyne! Whenwe got into dock we had lost our turn for loading, and theyhauled us off to a tier where we remained for a month. Mrs. Beard (thecaptain's name was Beard)came from Colchester to see the old man. Shelived on board. The crew of runners had left, and there remained onlythe officers, one boy, and the steward, amulatto who answered to thename of Abraham. Mrs. Beard was an old woman, with a face all wrinkledand ruddy like a winter apple, and the figure of a younggirl. Shecaught sight of me once, sewing on a button, and insisted on having myshirts to repair. This was something different from the captains' wivesI hadknown on board crack clippers. When I brought her the shirts, shesaid: 'And the socks? They want mending, I am sure, and John's--CaptainBeard's--things are allin order now. I would be glad of something todo.' Bless the old woman! She overhauled my outfit for me, and meantimeI read for the first time _Sartor Resartus_and Burnaby's _Ride toKhiva_. I didn't understand much of the first then; but I remember Ipreferred the soldier to the philosopher at the time; a preferencewhichlife has only confirmed. One was a man, and the other was eithermore--or less. However, they are both dead, and Mrs. Beard is dead, andyouth, strength,genius, thoughts, achievements, simple hearts--all dies.... No matter.\"They loaded us at last. We shipped a crew. Eight able seamen and twoboys. We hauled offone evening to the buoys at the dock-gates, ready togo out, and with a fair prospect of beginning the voyage next day. Mrs.Beard was to start for home by a latetrain. When the ship was fastwe went to tea. We sat rather silent through the meal--Mahon, the oldcouple, and I. I finished first, and slipped away for a smoke,my cabinbeing in a deck-house just against the poop. It was high water, blowingfresh with a drizzle; the double dock-gates were opened, and the steamcollierswere going in and out in the darkness with their lights burningbright, a great plashing of propellers, rattling of winches, and a lotof hailing on the pier-heads. Iwatched the procession of head-lightsgliding high and of green lights gliding low in the night, when suddenlya red gleam flashed at me, vanished, came into viewagain, and remained.The fore-end of a steamer loomed up close. I shouted down the cabin,'Come up, quick!' and then heard a startled voice saying afar inthedark, 'Stop her, sir.' A bell jingled. Another voice cried warningly,'We are going right into that barque, sir.' The answer to this was agruff 'All right,' and thenext thing was a heavy crash as the steamerstruck a glancing blow with the bluff of her bow about our fore-rigging.There was a moment of confusion, yelling, andrunning about. Steamroared. Then somebody was heard saying, 'All clear, sir.'... 'Areyou all right?' asked the gruff voice. I had jumped forward to seethedamage, and hailed back, 'I think so.' 'Easy astern,' said the gruffvoice. A bell jingled. 'What steamer is that?' screamed Mahon. By thattime she was no moreto us than a bulky shadow maneuvering a littleway off. They shouted at us some name--a woman's name, Miranda orMelissa--or some such thing. 'This meansanother month in this beastlyhole,' said Mahon to me, as we peered with lamps about the splinteredbulwarks and broken braces. 'But where's the captain?'\"Wehad not heard or seen anything of him all that time. We went aft tolook. A doleful voice arose hailing somewhere in the middle of the dock,'_Judea_ ahoy!'... Howthe devil did he get there?... 'Hallo!' weshouted. 'I am adrift in our boat without oars,' he cried. A belatedwaterman offered his services, and Mahon struck abargain with him forhalf-a-crown to tow our skipper alongside; but it was Mrs. Beard thatcame up the ladder first. They had been floating about the dock in"}
+{"doc_id":"doc_118","qid":"","text":"The Project Gutenberg eBook, The Way of the World, by William CongreveThis eBook is for the use of anyone anywhere in the United States and mostotherparts of the world at no cost and with almost no restrictions whatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project GutenbergLicense included with this eBook or online at www.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country whereyou are located before using this ebook.Title: The Way of the World       A ComedyAuthor: William CongreveRelease Date: January 25, 2015  [eBook #1292][Thisfile was first posted on March 26, 1998]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE WAY OF THEWORLD***Transcribed from the 1895 Methuen & Co. edition (_Comedies of WilliamCongreve_, _Volume_ 2) by David Price, emailccx074@pglaf.org                           THE WAY OF THE WORLD                                 A COMEDY    _Audire est operæ pretium_, _procedere recte_    _Quimæchis non vultis_.â\u0000\u0000HOR. _Sat._ i. 2, 37.    â\u0000\u0000_Metuat doti deprensa_.â\u0000\u0000_Ibid_.TO THE RIGHT HONOURABLERALPH, EARL OF MOUNTAGUE, ETC.MYLORD,â\u0000\u0000Whether the world will arraign me of vanity or not, that I havepresumed to dedicate this comedy to your lordship, I am yet in doubt;though, it maybe, it is some degree of vanity even to doubt of it.  Onewho has at any time had the honour of your lordshipâ\u0000\u0000s conversation,cannot be supposed to think verymeanly of that which he would prefer toyour perusal.  Yet it were to incur the imputation of too muchsufficiency to pretend to such a merit as might abide the testof yourlordshipâ\u0000\u0000s censure.Whatever value may be wanting to this play while yet it is mine, will besufficiently made up to it when it is once become yourlordshipâ\u0000\u0000s; and itis my security, that I cannot have overrated it more by my dedicationthan your lordship will dignify it by your patronage.That it succeededon the stage was almost beyond my expectation; for butlittle of it was prepared for that general taste which seems now to bepredominant in the palates of ouraudience.Those characters which are meant to be ridiculed in most of our comediesare of fools so gross, that in my humble opinion they should ratherdisturb thandivert the well-natured and reflecting part of an audience;they are rather objects of charity than contempt, and instead of movingour mirth, they ought very oftento excite our compassion.This reflection moved me to design some characters which should appearridiculous not so much through a natural folly (which isincorrigible,and therefore not proper for the stage) as through an affected wit: a witwhich, at the same time that it is affected, is also false.  As there issomedifficulty in the formation of a character of this nature, so thereis some hazard which attends the progress of its success upon the stage:for many come to a playso overcharged with criticism, that they veryoften let fly their censure, when through their rashness they havemistaken their aim.  This I had occasion lately toobserve: for this playhad been acted two or three days before some of these hasty judges couldfind the leisure to distinguish betwixt the character of a Witwoudand aTruewit.I must beg your lordshipâ\u0000\u0000s pardon for this digression from the truecourse of this epistle; but that it may not seem altogether impertinent,I begthat I may plead the occasion of it, in part of that excuse ofwhich I stand in need, for recommending this comedy to your protection.It is only by the countenanceof your lordship, and the _few_ soqualified, that such who write with care and pains can hope to bedistinguished: for the prostituted name of poet promiscuouslylevels allthat bear it.Terence, the most correct writer in the world, had a Scipio and a Lelius,if not to assist him, at least to support him in hisreputation.  Andnotwithstanding his extraordinary merit, it may be their countenance wasnot more than necessary.The purity of his style, the delicacy of histurns, and the justness ofhis characters, were all of them beauties which the greater part of hisaudience were incapable of tasting.  Some of the coarsest strokesofPlautus, so severely censured by Horace, were more likely to affect themultitude; such, who come with expectation to laugh at the last act of aplay, and arebetter entertained with two or three unseasonable jeststhan with the artful solution of the fable.As Terence excelled in his performances, so had he greatadvantages toencourage his undertakings, for he built most on the foundations ofMenander: his plots were generally modelled, and his characters readydrawn tohis hand.  He copied Menander; and Menander had no less light inthe formation of his characters from the observations of Theophrastus, ofwhom he was adisciple; and Theophrastus, it is known, was not only thedisciple, but the immediate successor of Aristotle, the first andgreatest judge of poetry.  These weregreat models to design by; and thefurther advantage which Terence possessed towards giving his plays thedue ornaments of purity of style, and justness ofmanners, was not lessconsiderable from the freedom of conversation which was permitted himwith Lelius and Scipio, two of the greatest and most polite men ofhisage.  And, indeed, the privilege of such a conversation is the onlycertain means of attaining to the perfection of dialogue.If it has happened in any part of thiscomedy that I have gained a turnof style or expression more correct, or at least more corrigible, than inthose which I have formerly written, I must, with equalpride andgratitude, ascribe it to the honour of your lordshipâ\u0000\u0000s admitting me intoyour conversation, and that of a society where everybody else was sowellworthy of you, in your retirement last summer from the town: for it wasimmediately after, that this comedy was written.  If I have failed in myperformance, itis only to be regretted, where there were so many notinferior either to a Scipio or a Lelius, that there should be one wantingequal in capacity to a Terence.If I amnot mistaken, poetry is almost the only art which has not yetlaid claim to your lordshipâ\u0000\u0000s patronage.  Architecture and painting, tothe great honour of ourcountry, have flourished under your influence andprotection.  In the meantime, poetry, the eldest sister of all arts, andparent of most, seems to have resignedher birthright, by havingneglected to pay her duty to your lordship, and by permitting others of alater extraction to prepossess that place in your esteem, to whichnonecan pretend a better title.  Poetry, in its nature, is sacred to the goodand great: the relation between them is reciprocal, and they are everpropitious to it.  Itis the privilege of poetry to address them, and itis their prerogative alone to give it protection.This received maxim is a general apology for all writers whoconsecratetheir labours to great men: but I could wish, at this time, that thisaddress were exempted from the common pretence of all dedications; andthat as Ican distinguish your lordship even among the most deserving, sothis offering might become remarkable by some particular instance ofrespect, which shouldassure your lordship that I am, with all due senseof your extreme worthiness and humanity, my lord, your lordshipâ\u0000\u0000s mostobedient and most obliged humbleservant,                                                           WILL. CONGREVE.PROLOGUE.                         Spoken by MR. BETTERTON.   OF those few fools, who with illstars are curst,   Sure scribbling fools, called poets, fare the worst:   For theyâ\u0000\u0000re a sort of fools which fortune makes,   And, after she has made â\u0000\u0000emfools, forsakes.   With Natureâ\u0000\u0000s oafs â\u0000\u0000tis quite a diffâ\u0000\u0000rent case,   For Fortune favours all her idiot race.   In her own nest the cuckoo eggs wefind,   Oâ\u0000\u0000er which she broods to hatch the changeling kind:   No portion for her own she has to spare,   So much she dotes on her adopted care.   Poets arebubbles, by the town drawn in,   Suffered at first some trifling stakes to win:   But what unequal hazards do they run!   Each time they write they venture alltheyâ\u0000\u0000ve won:   The Squire thatâ\u0000\u0000s buttered still, is sure to be undone.   This author, heretofore, has found your favour,   But pleads no merit from his pastbehaviour.   To build on that might prove a vain presumption,   Should grants to poets made admit resumption,   And in Parnassus he must lose his seat,   If thatbe found a forfeited estate.   He owns, with toil he wrought the following scenes,   But if theyâ\u0000\u0000re naught neâ\u0000\u0000er spare him for his pains:   Damn him themore; have no commiseration   For dulness on mature deliberation.   He swears heâ\u0000\u0000ll not resent one hissed-off scene,   Nor, like those peevish wits, his playmaintain,   Who, to assert their sense, your taste arraign.   Some plot we think he has, and some new thought;   Some humour too, no farceâ\u0000\u0000but thatâ\u0000\u0000s afault.   Satire, he thinks, you ought not to expect;   For so reformed a town who dares correct?   To please, this time, has been his sole pretence,   Heâ\u0000\u0000ll notinstruct, lest it should give offence.   Should he by chance a knave or fool expose,   That hurts none here, sure here are none of those.   In short, our play shall(with your leave to show it)   Give you one instance of a passive poet,   Who to your judgments yields all resignation:   So save or damn, after your owndiscretion.DRAMATIS PERSONÃ\u0000.                                 MEN.FAINALL, in love with Mrs. Marwood,              _Mr. Betterton_.MIRABELL, in love with Mrs.Millamant,           _Mr. Verbruggen_.WITWOUD, follower of Mrs. Millamant,             _Mr. Bowen_.PETULANT, follower of Mrs. Millamant,            _Mr.Bowman_.SIR WILFULL WITWOUD, half brother to Witwoud,    _Mr. Underhill_.and nephew to Lady Wishfort,WAITWELL, servant to Mirabell,                   _Mr.Bright_.                                WOMEN.LADY WISHFORT, enemy to Mirabell, for having     _Mrs. Leigh_.falsely pretended love to her,MRS. MILLAMANT, a finelady, niece to Lady       _Mrs. Bracegirdle_.Wishfort, and loves Mirabell,MRS. MARWOOD, friend to Mr. Fainall, and likes   _Mrs. Barry_.Mirabell,MRS. FAINALL,daughter to Lady Wishfort, and     _Mrs. Bowman_.wife to Fainall, formerly friend to Mirabell,FOIBLE, woman to Lady Wishfort,                  _Mrs.Willis_.MINCING, woman to Mrs. Millamant,                _Mrs. Prince_.                      DANCERS, FOOTMEN, ATTENDANTS.                              SCENE:London.              _The time equal to that of the presentation_.ACT I.â\u0000\u0000SCENE I.                           _A Chocolate-house_.      MIRABELL _and_ FAINALL _risingfrom cards_.  BETTY _waiting_.MIRA.  You are a fortunate man, Mr. Fainall.FAIN.  Have we done?MIRA.  What you please.  Iâ\u0000\u0000ll play on to entertainyou.FAIN.  No, Iâ\u0000\u0000ll give you your revenge another time, when you are not soindifferent; you are thinking of something else now, and play toonegligently: thecoldness of a losing gamester lessens the pleasure ofthe winner.  Iâ\u0000\u0000d no more play with a man that slighted his ill fortunethan Iâ\u0000\u0000d make love to a womanwho undervalued the loss of her reputation.MIRA.  You have a taste extremely delicate, and are for refining on yourpleasures.FAIN.  Prithee, why soreserved?  Something has put you out of humour.MIRA.  Not at all: I happen to be grave to-day, and you are gay; thatâ\u0000\u0000sall.FAIN.  Confess, Millamant and"}
+{"doc_id":"doc_119","qid":"","text":"<html><head><title>Cradle 2 the Grave Script at IMSDb.</title><meta name=\"description\" content=\"Cradle 2 the Grave script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Cradle 2 the Grave script, Cradle 2 the Grave movie script, Cradle 2 the Grave film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>CRADLE TO THEGRAVE             Written by  John O'Brien and Channing Gibson              Story by            John O'Brien          May 2002 Draft<b>      FOREDUCATIONAL</b><b>       PURPOSES ONLY</b><b></b><b>                                                                 2.</b><b>FADE IN:</b><b>EXT. STREETS (LOSANGELES) - DAY</b>End of the day.     An armored truck moves through the city ofLos Angeles.<b>EXT. JEWELRY EXCHANGE - DAY</b>The armored truckpulls up. An ARMORED TRUCK GUARD emergesfrom the back with a satchel and heads inside.<b>INT. JEWELRY EXCHANGE - LOBBY - CONTINUOUSACTION</b>A large foyer. Security station and elevators. PARTY SOUNDScan be heard from a second floor balcony.DOUGLAS is the security guard manning thestation. Seeingthe Armored car Guard entering, he picks up the phone anddials. Beat. Into phone --<b>                         DOUGLAS</b>           Last delivery'sfinally here.The Armored Truck Guard approaches the security station. Ashe and Douglas exchange paperwork, the Armored Truck Guardreferences the soundsfrom upstairs --<b>                           ARMORED TRUCK GUARD</b>           Party?<b>                         DOUGLAS</b>           Introducing a new line ofjewelry.<b>                         ARMORED TRUCK GUARD</b>           Wife wants me to buy her a ruby ring.           Told her to spend a little time with           thefamily jewels first.PING. An ELEVATOR opens. A second security guard's inside.Handing over the satchel and heading out --<b>                           ARMOREDTRUCK GUARD</b>           Keep it real.<b>INT. ELEVATOR - CONTINUOUS ACTION</b>We see the security guard with the satchel use a key-card togain"}
+{"doc_id":"doc_120","qid":"","text":"The Project Gutenberg EBook of Godfrey Morgan, by Jules VerneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Godfrey Morgan       A Californian MysteryAuthor: Jules VerneRelease Date: November 15, 2007 [EBook #23489]Language: English***START OF THIS PROJECT GUTENBERG EBOOK GODFREY MORGAN ***Produced by Taavi Kalju, Martin Pettit and the OnlineDistributed Proofreading Team athttp://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)GODFREY MORGANACALIFORNIAN MYSTERYBYJULES VERNEILLUSTRATED_AUTHOR'S COPYRIGHT EDITION_LONDON: SAMPSON LOW, MARSTON & COMPANY,_Limited_.[Illustration: \"Going! Going!\" _page 15_]CONTENTS.CHAPTER I.                                                                PAGEIn which the reader has theopportunity of buying an Island inthe Pacific Ocean                                                  1CHAPTER II.How William W. Kolderup, of San Francisco, was atloggerheadswith J. R. Taskinar, of Stockton                                  11CHAPTER III.The conversation of Phina Hollaney and Godfrey Morgan, witha pianoaccompaniment                                             24CHAPTER IV.In which T. Artelett, otherwise Tartlet, is duly introducedto thereader                                                     35CHAPTER V.In which they prepare to go, and at the end of which they goforgood                                                          43CHAPTER VI.In which the reader makes the acquaintance of a new personage     53CHAPTER VII.In which it willbe seen that William W. Kolderup was probablyright in insuring his ship                                        62CHAPTER VIII.Which leads Godfrey to bitter reflections onthe mania fortravelling                                                        77CHAPTER IX.In which it is shown that Crusoes do not have everything astheywish                                                         91CHAPTER X.In which Godfrey does what any other shipwrecked man wouldhave done under thecircumstances                                104CHAPTER XI.In which the question of lodging is solved as well as itcouldbe                                                         117CHAPTER XII.Which ends with a thunder-bolt                                   129CHAPTER XIII.In which Godfrey again seesa slight smoke over another partof the Island                                                    143CHAPTER XIV.Wherein Godfrey finds some wreckage, to which he andhiscompanion give a hearty welcome                                  155CHAPTER XV.In which there happens what happens at least once in the lifeof every Crusoe, realor imaginary                               167CHAPTER XVI.In which something happens which cannot fail to surprisethereader                                                           179CHAPTER XVII.In which Professor Tartlet's gun really does marvels             190CHAPTER XVIII.Whichtreats of the moral and physical education of a simplenative of the Pacific                                            203CHAPTER XIX.In which the situation already gravelycompromised becomesmore and more complicated                                        216CHAPTER XX.In which Tartlet reiterates in every key that he would ratherbeoff                                                           228CHAPTER XXI.Which ends with quite a surprising reflection by thenegroCarefinotu                                                       242CHAPTER XXII.Which concludes by explaining what up to now hadappearedinexplicable                                                     260GODFREY MORGAN.CHAPTER I.IN WHICH THE READER HAS THE OPPORTUNITY OF BUYING ANISLAND IN THEPACIFIC OCEAN.\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,the auctioneer, standing behind his rostrum in the roomwhere theconditions of the singular sale were being noisily discussed.\"Island for sale! island for sale!\" repeated in shrill tones again andagain Gingrass, the crier,who was threading his way in and out of theexcited crowd closely packed inside the largest saloon in the auctionmart at No. 10, Sacramento Street.The crowdconsisted not only of a goodly number of Americans from theStates of Utah, Oregon, and California, but also of a few Frenchmen, whoform quite a sixth of thepopulation.Mexicans were there enveloped in their sarapes; Chinamen in theirlarge-sleeved tunics, pointed shoes, and conical hats; one or twoKanucks from thecoast; and even a sprinkling of Black Feet,Grosventres, or Flatheads, from the banks of the Trinity river.The scene is in San Francisco, the capital of California, butnot at theperiod when the placer-mining fever was raging--from 1849 to 1852. SanFrancisco was no longer what it had been then, a caravanserai, aterminus, an_inn_, where for a night there slept the busy men who werehastening to the gold-fields west of the Sierra Nevada. At the end ofsome twenty years the oldunknown Yerba-Buena had given place to a townunique of its kind, peopled by 100,000 inhabitants, built under theshelter of a couple of hills, away from theshore, but stretching off tothe farthest heights in the background--a city in short which hasdethroned Lima, Santiago, Valparaiso, and every other rival, andwhichthe Americans have made the queen of the Pacific, the \"glory of thewestern coast!\"It was the 15th of May, and the weather was still cold. InCalifornia,subject as it is to the direct action of the polar currents, the firstweeks of this month are somewhat similar to the last weeks of March inCentral Europe.But the cold was hardly noticeable in the thick of theauction crowd. The bell with its incessant clangour had broughttogether an enormous throng, and quite asummer temperature caused thedrops of perspiration to glisten on the foreheads of the spectatorswhich the cold outside would have soon solidified.Do notimagine that all these folks had come to the auction-room withthe intention of buying. I might say that all of them had but come tosee. Who was going to be madenough, even if he were rich enough, topurchase an isle of the Pacific, which the government had in someeccentric moment decided to sell? Would the reserveprice ever bereached? Could anybody be found to work up the bidding? If not, it wouldscarcely be the fault of the public crier, who tried his best to temptbuyersby his shoutings and gestures, and the flowery metaphors of hisharangue. People laughed at him, but they did not seem much influencedby him.\"An island! anisle to sell!\" repeated Gingrass.\"But not to buy!\" answered an Irishman, whose pocket did not hold enoughto pay for a single pebble.\"An island which at thevaluation will not fetch six dollars an acre!\"said the auctioneer.\"And which won't pay an eighth per cent.!\" replied a big farmer, who waswell acquainted withagricultural speculations.\"An isle which measures quite sixty-four miles round and has an area oftwo hundred and twenty-five thousand acres!\"\"Is it solid on itsfoundation?\" asked a Mexican, an old customer at theliquor-bars, whose personal solidity seemed rather doubtful at themoment.\"An isle with forests still virgin!\"repeated the crier, \"with prairies,hills, watercourses--\"\"Warranted?\" asked a Frenchman, who seemed rather inclined to nibble.\"Yes! warranted!\" added Felporg,much too old at his trade to be movedby the chaff of the public.\"For two years?\"\"To the end of the world!\"\"Beyond that?\"\"A freehold island!\" repeated the crier,\"an island without a singlenoxious animal, no wild beasts, no reptiles!--\"\"No birds?\" added a wag.\"No insects?\" inquired another.\"An island for the highest bidder!\"said Dean Felporg, beginning again.\"Come, gentlemen, come! Have a little courage in your pockets! Who wantsan island in perfect state of repair, never beenused, an island in thePacific, that ocean of oceans? The valuation is a mere nothing! It isput at eleven hundred thousand dollars, is there any one will bid?Whospeaks first? You, sir?--you, over there nodding your head like aporcelain mandarin? Here is an island! a really good island! Who says anisland?\"\"Pass itround!\" said a voice as if they were dealing with a picture ora vase.And the room shouted with laughter, but not a half-dollar was bid.However, if the lot could notbe passed round, the map of the island wasat the public disposal. The whereabouts of the portion of the globeunder consideration could be accuratelyascertained. There was neithersurprise nor disappointment to be feared in that respect. Situation,orientation, outline, altitudes, levels, hydrography, climatology,linesof communication, all these were easily to be verified in advance.People were not buying a pig in a poke, and most undoubtedly there couldbe no mistake asto the nature of the goods on sale. Moreover, theinnumerable journals of the United States, especially those ofCalifornia, with their dailies, bi-weeklies, weeklies,bi-monthlies,monthlies, their reviews, magazines, bulletins, &c., had been forseveral months directing constant attention to the island whose sale byauction hadbeen authorized by Act of Congress.The island was Spencer Island, which lies in the west-south-west of theBay of San Francisco, about 460 miles from theCalifornian coast, in 32°15' north latitude, and 145° 18' west longitude, reckoning fromGreenwich. It would be impossible to imagine a more isolatedposition,quite out of the way of all maritime or commercial traffic, althoughSpencer Island was relatively, not very far off, and situatedpractically in Americanwaters. But thereabouts the regular currentsdiverging to the north and south have formed a kind of lake of calms,which is sometimes known as the \"Whirlpool ofFleurieu.\"It is in the centre of this enormous eddy, which has hardly anappreciable movement, that Spencer Island is situated. And so it issighted by very fewships. The main routes of the Pacific, which jointhe new to the old continent, and lead away to China or Japan, run in amore southerly direction. Sailing-vesselswould meet with endless calmsin the Whirlpool of Fleurieu; and steamers, which always take theshortest road, would gain no advantage by crossing it. Henceships ofneither class know anything of Spencer Island, which rises above thewaters like the isolated summit of one of the submarine mountains of thePacific.Truly, for a man wishing to flee from the noise of the world,seeking quiet in solitude, what could be better than this island, lostwithin a few hundred miles of thecoast? For a voluntary RobinsonCrusoe, it would be the very ideal of its kind! Only of course he mustpay for it.And now, why did the United States desire to partwith the island? Wasit for some whim? No! A great nation cannot act on caprice in anymatter, however simple. The truth was this: situated as it was,SpencerIsland had for a long time been known as a station perfectly useless.There could be no practical result from settling there. In a militarypoint of view it wasof no importance, for it only commanded anabsolutely deserted portion of the Pacific. In a commercial point ofview there was a similar want of importance, for the"}
+{"doc_id":"doc_121","qid":"","text":"The Project Gutenberg EBook of Comrades, by Thomas DixonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Comrades       A Story of Social Adventure in CaliforniaAuthor: Thomas DixonIllustrator: C. D. WilliamsRelease Date: March 1, 2011[EBook #35447]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK COMRADES ***Produced by David Edwards, Jeannie Howse and theOnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The InternetArchive)       *       *       *       *       *    +-----------------------------------------------------------+    | Transcriber'sNote:                                       |    |                                                           |    | Inconsistent hyphenation in the original document has     |    | beenpreserved.                                           |    |                                                           |    | Obvious typographical errors have been corrected. For     |    | acomplete list, please see the end of this document.     |    |                                                           |    +-----------------------------------------------------------+       *       *       *       *       *Comrades[Illustration]Thomas Dixon JR.    [Illustration: NORMAN CLASPED HER IN HIS ARMS.]  COMRADES  _A STORY OF SOCIALADVENTURE  IN CALIFORNIA_  BY  THOMAS DIXON, Jr.  Illustrated by  C.D. WILLIAMS  [Illustration]  GROSSET & DUNLAP  Publishers  ::  New York  ALL RIGHTSRESERVED, INCLUDING THAT OF TRANSLATION  INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN  COPYRIGHT, 1909, BY THOMAS DIXON,JR.  PUBLISHED, JANUARY, 1909  DEDICATED TO  THE DEAREST LITTLE  GIRL IN THE WORLD, MYDAUGHTER  LOUISECONTENTSCHAPTER                                                      PAGE       I. The Woman in Red                                      3      II. A New Joan ofArc                                    19     III. The Birth of a Man                                   31      IV. Among the Shadows                                    37       V. The Island ofVentura                                48      VI. The Red Flag                                         56     VII. Father and Son                                       73    VIII. Through theEyes of Love                             85      IX. A Faded Picture                                      90       X. Son and Father                                       93      XI. The Way of aWoman                                  103     XII. A Royal Gift                                        105    XIII. The Burning of the Bridges                          110     XIV. The NewWorld                                       118      XV. For the Cause                                       123     XVI. Barbara Chooses a Profession                        130    XVII. ACall for Heroes                                   134   XVIII. A New Aristocracy                                   151     XIX. Some Troubles inHeaven                             166      XX. The Unconventional                                  181     XXI. A Pair of Cold Gray Eyes                            186    XXII. TheFighting Instinct                               192   XXIII. The Cords Tighten                                   207    XXIV. Some InterrogationPoints                           212     XXV. The Master Hand                                     224    XXVI. At the Parting of the Ways                          235   XXVII. The Fruitsof Patience                              246  XXVIII. The New Master                                      257    XXIX. A Test of Strength                                  269     XXX. AVision from the Hilltop                           274    XXXI. In Love and War                                     283   XXXII. A PrimitiveLover                                   291  XXXIII. Equality                                            295   XXXIV. A Brother to the Beast                              306    XXXV. Love andLocksmiths                                 313   XXXVI. The Shining Emblem                                  318LEADING CHARACTERS OF THE STORY_Scene_: California._Time_: 1898-1901  NORMAN WORTH            An Amateur Socialist  COLONEL WORTH           His Father  ELENA STOCKTON          The Colonel's Ward  HERMANWOLF             A Socialist Leader  CATHERINE               His Affinity Wife  BARBARA BOZENTA         A New Joan of Arc  METHODIST JOHN          A Pauper  TOMMOONEY              A Miner  JOHN DIGGS              A Truth Seeker  ROLAND ADAIR            Bard of RamcatILLUSTRATIONS  \"Norman clasped her in hisarms\"                 _Frontispiece_                                                      FACING PAGE  \"'Lift the flag back to itsplace!'\"                         72  Barbara                                                     214  \"Wolf graspedher\"                                          292COMRADESCOMRADESCHAPTER ITHE WOMAN IN RED\"Fools and fanatics!\"Colonel Worth crumpled the morning paper with agesture of rage andwalked to the window.Elena followed softly and laid her hand on his arm.\"What is it, Guardie? I thought you were supremely happy thismorningover the news that Dewey has smashed the Spanish fleet?\"\"And so I am, little girl,\" was the gentle reply, \"or was until my eyefell on this call of theSocialists for a meeting to-night to denouncethe war--denounce the men who are dying for the flag. Read theirsummons.\"He opened the crumpled sheet andpointed to its head lines:\"Down with the Stars and Stripes--up with the Red Flag ofRevolution--the symbol of universal human brotherhood! Come and bringyourfriends. A big surprise for all!\" The Colonel's jaws snappedsuddenly.\"I'd like to give them the surprise they need to-night.\"\"What?\" Elena asked.\"A serenade.\"\"Aserenade?\"\"Yes, with Mauser rifles and Gatling guns. I'd mow them down as Iwould a herd of wild beasts loose in the streets of San Francisco.\"\"Merely for adifference of opinion, Governor?\" lazily broke in avoice from the depths of a heavy armchair.\"If you want to put it so, Norman, yes. Opinions, my boy, aretheessence of life--they may lead to heaven or hell. Opinions makecowards or heroes, patriots or traitors, criminals or saints.\"\"But you believe in free speech?\"persisted the boy.\"Yes. And that's more than any Socialist can say. I don't deny theirright to speak their message. What I can't understand is how thepeople whohave been hounded from the tyrant-ridden countries of theold world and found shelter and protection beneath our flag shouldturn thus to curse the hand thatshields them.\"\"But if they propose to give you a better flag, Governor?\" drawled thelazy voice. \"Why not consider?\"\"Look, Elena! Did the sun ever shine onanything more beautiful? Seeit fluttering from a thousand house-tops--the proud emblem of humanfreedom and human progress! Dewey has lifted it this morningon thefoulest slave-pen of the Orient--the flag that has never met defeat.The one big faith in me is the belief that Almighty God inspired ourfathers to build thisRepublic--the noblest dream yet conceived by themind of man. Dewey has sunk a tyrant fleet and conquered an empire ofslaves without the loss of a single man.The God of our fathers waswith him. We have a message for the swarming millions of the East----\"\"Pardon the interruption, Governor, but I must hold the mirrorup tonature just a moment--your portrait sketched by the poet-laureate ofthe English-speaking world. He speaks of the American:    \"Enslaved, illogical,elate.      He greets the embarrassed gods, nor fears    To shake the iron hand of Fate      Or match with Destiny for beers.    \"Lo! imperturbable herules,      Unkempt, disreputable, vast--    And in the teeth of all the schools      I--I shall save him at the last!\"The Colonel smiled.\"How do you like thepicture?\"\"Not bad for an Englishman, Norman. You know we licked Englandtwice----\"\"And we kin do it again, b' gosh, can't we?\" blustered the younger manwithmock heroics.\"You can bet we can, my son!\" continued the Colonel, quietly. \"Theroar of Dewey's guns are echoing round the world this morning. Thelesson willnot be lost. You will observe that even your English poetforesees at last our salvation.    \"'And in the teeth of all the schools      I--I shall save him at thelast!'\"\"Even in spite of the Socialists?\" queried the boy, with a grin.\"In spite of every foe--even those within our own household. War isthe searchlight of history,the great revealer of national life, ofhidden strength and unexpected weakness. I saw it in the Civilconflict--I've seen it in this little struggle----\"\"Then you doacknowledge it's not the greatest struggle inhistory--that's something to be thankful for in these days ofpatriotism,\" exclaimed Norman, rising and stretchinghimself beforethe open fire while he winked mischievously at Elena.\"It's big enough, my boy, to show us the truth about our nation. Ourold problems are nolonger real. The Union our fathers dreamed hascome at last. We are one people--one out of many--and we can whipSpain before breakfast----\"\"With one handtied behind our back!\" laughed the boy.\"Yes, and blindfolded. It will be easy. But the next serious job willbe to bury a half million deluded fools in this country whocallthemselves Socialists.\"The Colonel paused and a look of foreboding clouded his face as hegazed from the window of his house on Nob Hill over the city ofSanFrancisco, which he loved with a devotion second only to hispassionate enthusiasm for the Union.Elena sat watching him in silent sympathy. He was the oneperfect manof her life dreams, the biggest, strongest, tenderest soul she hadever known. Since the day she crept into his arms a lonely littleorphan ten years oldshe had worshipped him as father, mother,guardian, lover, friend--all in one. She had accepted Norman's loveand promised to be his wife more to please hisfather than from anyoverwhelming passion for the handsome, lazy young athlete. It had comeabout as a matter of course because Colonel Worth wished it.TheColonel turned from the window, and his eyes rested on Elena'supturned face.\"It will be bloody work--but we've got to do it----\"Elena sprang to her feet with astart and a laugh.\"Do what, Guardie? I forgot what you were talking about.\"\"Then don't worry your pretty head about it, dear. It's a job we menwill look after indue time.\"He stooped and kissed her forehead. \"By-by until to-night--I'll dropdown to the club and hear the latest from the front.\"With the firm, swinging stride ofa man who lives in the open theColonel passed through the door of the library.\"Norman, I can't realize that you two are father and son--he looksmore like yourbrother.\"\"At least my older brother----\"\"Yes, of course, but you would never take him for a man offorty-eight. I like the touch of gray in his hair. It meansdignity,strength, experience. I've always hated sap-headed youngsters.\"\"Say, Elena, for heaven's sake, who are you in love with anyhow--withme or theGovernor?\"A smile flickered around the corners of the girl's eyes and mouthbefore she slowly answered:\"I sometimes think I really love you both, Norman--butthere aretimes when I have doubts about you.\"\"Thanks. I suppose I must be duly grateful for small favours, or elseresign myself to call you 'Mother.'\"\"Would such"}
+{"doc_id":"doc_122","qid":"","text":"The Project Gutenberg EBook of Iola Leroy, by Frances E.W. HarperThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Iola Leroy       Shadows UpliftedAuthor: Frances E.W. HarperRelease Date: May 14, 2004 [EBook #12352]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK IOLA LEROY ***Produced by Suzanne Shell and PG Distributed ProofreadersIOLA LEROY,ORSHADOWSUPLIFTED.BYFRANCES E.W. HARPER.1893, PhiladelphiaTO MY DAUGHTERMARY E. HARPER,THIS BOOK IS LOVINGLY DEDICATED.INTRODUCTION.I confess whenI first learned that Mrs. Harper was about to write \"astory\" on some features of the Anglo-African race, growing out of whatwas once popularly known as the\"peculiar institution,\" I had my doubtsabout the matter. Indeed it was far from being easy for me to think thatshe was as fortunate as she might have been inselecting a subject whichwould afford her the best opportunity for bringing out a work of meritand lasting worth to the race--such a work as some of herpersonalfriends have long desired to see from her graphic pen. However, afterhearing a good portion of the manuscript read, and a general statementwith regardto the object in view, I admit frankly that my partialindifference was soon swept away; at least I was willing to wait forfurther developments.Being very desirousthat one of the race, so long distinguished in thecause of freedom for her intellectual worth as Mrs. Harper has had thehonor of being, should not at this late datein life make a blunderwhich might detract from her own good name, I naturally proposed toawait developments before deciding too quickly in favor ofgivingencouragement to her contemplated effort.However, I was perfectly aware of the fact that she had much material inher possession for a most interestingbook on the subject of thecondition of the colored people in the South. I know of no other woman,white or colored, anywhere, who has come so intimately incontact withthe colored people in the South as Mrs. Harper. Since emancipation shehas labored in every Southern State in the Union, save two, ArkansasandTexas; in the colleges, schools, churches, and the cabins not excepted,she has found a vast field and open doors to teach and speak on thethemes ofeducation, temperance, and good home building, industry,morality, and the like, and never lacked for evidences of heartyappreciation and gratitude.Everywherehelp was needed, and her heart being deeply absorbed in thecause she willingly allowed her sympathies to impel her to perform mostheroic services.With her itwas no uncommon occurrence, in visiting cities or towns, tospeak at two, three, and four meetings a day; sometimes to promiscuousaudiences composed ofeverybody who would care to come.But the kind of meetings she took greatest interest in were meetingscalled exclusively for women. In this attitude she couldpour out hersympathies to them as she could not do before a mixed audience; andindeed she felt their needs were far more pressing than any other class.Andnow I am prepared to most fully indorse her story. I doubt whethershe could, if she had tried ever so much, have hit upon a subject sowell adapted to reach alarge number of her friends and the public withboth entertaining and instructive matter as successfully as she has donein this volume.The grand and ennoblingsentiments which have characterized all herutterances in laboring for the elevation of the oppressed will not befound missing in this book.The previous books fromher pen, which have been so very widelycirculated and admired, North and South--\"Forest Leaves,\" \"MiscellaneousPoems,\" \"Moses, a Story of the Nile,\" \"Poems,\"and \"Sketches of SouthernLife\" (five in number)--these, I predict, will be by far eclipsed bythis last effort, which will, in all probability, be the crowning effortofher long and valuable services in the cause of humanity.While, as indicated, Mrs. Harper has done a large amount of work in theSouth, she has at the same timedone much active service in thetemperance cause in the North, as thousands of this class can testify.Before the war she was engaged as a speaker byanti-slaveryassociations; since then, by appointment of the Women's ChristianTemperance Union, she has held the office of \"Superintendent of ColoredWork\" foryears. She has also held the office of one of the Directors ofthe Women's Congress of the United States.Under the auspices of these influential, earnest, andintelligentassociations, she has been seen often on their platforms with theleading lady orators of the nation.Hence, being widely known not only amongst herown race but likewise bythe reformers, laboring for the salvation of the intemperate and othersequally unfortunate, there is little room to doubt that the book willbein great demand and will meet with warm congratulations from a goodlynumber outside of the author's social connections.Doubtless the thousands of coloredSunday-schools in the South, incasting about for an interesting, moral story-book, full of practicallessons, will not be content to be without \"IOLA LEROY, ORSHADOWSUPLIFTED.\"WILLIAM STILL.CONTENTS.ChapterI. The Mystery of Market Speech and Prayer MeetingsII. Contraband of WarIII. Uncle Daniel's StoryIV.Arrival of the Union ArmyV. Release of Iola LeroyVI. Robert Johnson's Promotion and ReligionVII. Tom Anderson's DeathVIII. The Mystified DoctorIX. EugeneLeroy and Alfred LorraineX. Shadows in the HomeXI. The Plague and the LawXII. School-girl NotionsXIII. A Rejected SuitorXIV. Harry LeroyXV. Robert and hisCompanyXVI. After the BattleXVII. Flames in the School-RoomXVIII. Searching for Lost OnesXIX. Striking ContrastsXX. A RevelationXXI. A Home for MotherXXII.Further Lifting of the VeilXXIII. Delightful ReunionsXXIV. Northern ExperienceXXV. An Old FriendXXVI. Open QuestionsXXVII. Diverging PathsXXVIII. Dr. Latrobe'sMistakeXXIX. Visitors from the SouthXXX. Friends in CouncilXXXI. Dawning AffectionsXXXII. Wooing and WeddingXXXIII. ConclusionNoteCHAPTER I.MYSTERY OFMARKET SPEECH AND PRAYER-MEETING.\"Good mornin', Bob; how's butter dis mornin'?\"\"Fresh; just as fresh, as fresh can be.\"\"Oh, glory!\" said the questioner,whom we shall call Thomas Anderson,although he was known among his acquaintances as Marster Anderson's Tom.His informant regarding the condition of themarket was Robert Johnson,who had been separated from his mother in his childhood and reared byhis mistress as a favorite slave. She had fondled him as a petanimal,and even taught him to read. Notwithstanding their relation as mistressand slave, they had strong personal likings for each other.Tom Anderson was theservant of a wealthy planter, who lived in the cityof C----, North Carolina. This planter was quite advanced in life, butin his earlier days he had spent much of histime in talking politics inhis State and National capitals in winter, and in visiting pleasureresorts and watering places in summer. His plantations were left tothecare of overseers who, in their turn, employed negro drivers to aid themin the work of cultivation and discipline. But as the infirmities of agewere pressingupon him he had withdrawn from active life, and given themanagement of his affairs into the hands of his sons. As Robert Johnsonand Thomas Anderson passedhomeward from the market, having boughtprovisions for their respective homes, they seemed to be verylight-hearted and careless, chatting and joking with eachother; butevery now and then, after looking furtively around, one would drop intothe ears of the other some news of the battle then raging between theNorth andSouth which, like two great millstones, were grinding slaveryto powder.As they passed along, they were met by another servant, who said inhurried tones, butwith a glad accent in his voice:--\"Did you see de fish in de market dis mornin'? Oh, but dey war splendid,jis' as fresh, as fresh kin be.\"\"That's the ticket,\" saidRobert, as a broad smile overspread his face.\"I'll see you later.\"\"Good mornin', boys,\" said another servant on his way to market. \"How'seggs dis mornin'?\"\"Fustrate, fust rate,\" said Tom Anderson. \"Bob's got it down fine.\"\"I thought so; mighty long faces at de pos'-office dis mornin'; but I'dbetter move 'long,\" and with abright smile lighting up his face hepassed on with a quickened tread.There seemed to be an unusual interest manifested by these men in thestate of the producemarket, and a unanimous report of its goodcondition. Surely there was nothing in the primeness of the butter orthe freshness of the eggs to change carelesslooking faces into suchexpressions of gratification, or to light dull eyes with such gladness.What did it mean?During the dark days of the Rebellion, when thebondman was turning hiseyes to the American flag, and learning to hail it as an ensign ofdeliverance, some of the shrewder slaves, coming in contact withtheirmasters and overhearing their conversations, invented a phraseology toconvey in the most unsuspected manner news to each other from thebattle-field.Fragile women and helpless children were left on theplantations while their natural protectors were at the front, and yetthese bondmen refrained from violence.Freedom was coming in the wake ofthe Union army, and while numbers deserted to join their forces, othersremained at home, slept in their cabins by night andattended to theirwork by day; but under this apparently careless exterior there was anundercurrent of thought which escaped the cognizance of their masters.Inconveying tidings of the war, if they wished to announce a victory ofthe Union army, they said the butter was fresh, or that the fish andeggs were in goodcondition. If defeat befell them, then the butter andother produce were rancid or stale.Entering his home, Robert set his basket down. In one arm he held abundleof papers which he had obtained from the train to sell to theboarders, who were all anxious to hear from the seat of battle. Heslipped one copy out and, lookingcautiously around, said to Linda, thecook, in a low voice:--\"Splendid news in the papers. Secesh routed. Yankees whipped 'em out oftheir boots. Papers full of it. Itell you the eggs and the butter'smighty fresh this morning.\"\"Oh, sho, chile,\" said Linda, \"I can't read de newspapers, but oleMissus' face is newspaper nuff forme. I looks at her ebery mornin' wenshe comes inter dis kitchen. Ef her face is long an' she walks kine o'droopy den I thinks things is gwine wrong for dem. But efshe comes outyere looking mighty pleased, an' larffin all ober her face, an' steppin'so frisky, den I knows de Secesh is gittin' de bes' ob de Yankees.Robby, honey,does you really b'lieve for good and righty dat demYankees is got horns?\"\"Of course not.\"\"Well, I yered so.\"\"Well, you heard a mighty big whopper.\"\"Anyhow,Bobby, things goes mighty contrary in dis house. Ole Miss is inde parlor prayin' for de Secesh to gain de day, and we's prayin' in decabins and kitchens for deYankees to get de bes' ob it. But wasn't MissNancy glad wen dem Yankees run'd away at Bull's Run. It was nuffin butBull's Run an' run away Yankees. How shedid larff and skip 'bout dehouse. An' den me thinks to myself you'd better not holler till you gitsout ob de woods. I specs 'fore dem Yankees gits froo you'll be"}
+{"doc_id":"doc_123","qid":"","text":"<html><head><title>Conan the Barbarian Script at IMSDb.</title><meta name=\"description\" content=\"Conan the Barbarian script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Conan the Barbarian script, Conan the Barbarian movie script, Conan the Barbarian film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                              CONAN THE BARBARIAN</b>                                  Written by                   Thomas Dean Donnelly & JoshuaOppenheimer                                                                                                                              Based on the writings of                               Robert E.Howard                                                                                                                                                            October 7, 2009<b>          OVERBLACK:</b>                                   In the darkness, we hear the solitary sound of a HEARTBEAT,          resounding like adrum.                         <b>           NARRATOR (V.O)</b>           In between the years when the           oceans drank Atlantis and the rise           of the Sons ofAryas, there was an           age undreamed of, when shining           kingdoms lay spread across the           world like blue mantles under the           stars. Hithercame Conan, the           Cimmerian: a thief, a slayer, a           king born of battle.                                   Muffled sounds, as if underwater, echo: CLANGINGswords, the          guttural CRIES of combat.                         <b>                         UNBORN BABY</b>                                   Eyes closed, floating at peacewithin red glow of the womb.                                   Suddenly, a flash of steel, as a sword pierces the womb, its          tip not an inch from the baby'shead.                                   As the sword is ripped out, light streams in from outside, we          travel with it, into the DIN ofBATTLE.                                                  <b>          EXT. CIMMERIA - MUDDY FIELD - DAY</b>                                   A blonde-haired, armored AESIR"}
+{"doc_id":"doc_124","qid":"","text":"<html><head><title>Soldier Script at IMSDb.</title><meta name=\"description\" content=\"Soldier script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Soldier script, Soldier movie script, Soldier film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             SOLDIER</b>                            Written by                        David WebbPeoples<b>                                                  REVISED DRAFT</b>                                                  October 2, 1997<b>     INT.  HOSPITAL NURSERY -NIGHT</b>     BABIES in bassinets, isolettes, incubators.  BABIES sleeping,     BABIES blinking, BABIES cooing, BABIES chirping, BABIES     squalling.     It's theSQUALLING BABIES, the ones with pinched faces and tiny     bunched fists, that seem to interest the TWO ANONYMOUS MEN in     Military Uniforms.  (Theiranonymity is assured by the angles     from which they are seen; they are hands, they are feet, they are     the backs of heads.)     A lone NURSE watches themgrimly as they make their \"selections,\"     marking the cribs of the most active, noisy BABIES with X's.<b>                                                       CUTTO:</b><b>     EXT.  VAN/HOSPITAL - NIGHT</b>     ANGLE ON VAN DOORS slamming shut on a dozen squalling BABIES in     tiered red cribs.     ANGLE ONTHE VAN pulling away from the loading dock of the large     hospital as a date is SUPERED over thescene...<b>                                1992</b><b>                                                       CUT TO:</b><b>     INT.  CAGE/BASEMENT ROOM - DAY ORNIGHT</b>     Vicious teeth, savage snarls, tearing flesh as three fierce     fighting DOGS battle a single WOLVERINE in large steel cage.     The cage is in themiddle of a gloomy windowless room surrounded     by twenty TWO-YEAR-OLDS seated on folding chairs and dressed in     identical gray overalls.  As the"}
+{"doc_id":"doc_125","qid":"","text":"The Project Gutenberg EBook of This Side of Paradise, by F. Scott FitzgeraldThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: This Side of ParadiseAuthor: F. Scott FitzgeraldPosting Date: August 6, 2008 [EBook #805]Release Date: February, 1997[Last updated:June 22, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THIS SIDE OF PARADISE ***Produced by David Reed, and Ken ReederTHISSIDE OF PARADISEBy F. Scott Fitzgerald      ... Well this side of Paradise!...       There's little comfort in the wise.                              --RupertBrooke.       Experience is the name so many people       give to their mistakes.                              --Oscar Wilde.             To SIGOURNEYFAYCONTENTS     BOOK ONE: The Romantic Egotist      1.   AMORY, SON OF BEATRICE      2.   SPIRES AND GARGOYLES      3.   THE EGOTISTCONSIDERS      4.   NARCISSUS OFF DUTY     [INTERLUDE: MAY, 1917-FEBRUARY, 1919. ]     BOOK TWO: The Education of a Personage      1.   THEDEBUTANTE      2.   EXPERIMENTS IN CONVALESCENCE      3.   YOUNG IRONY      4.   THE SUPERCILIOUS SACRIFICE      5.   THE EGOTIST BECOMES APERSONAGEBOOK ONE--The Romantic EgotistCHAPTER 1. Amory, Son of BeatriceAmory Blaine inherited from his mother every trait, except thestrayinexpressible few, that made him worth while. His father, anineffectual, inarticulate man with a taste for Byron and a habit ofdrowsing over the EncyclopediaBritannica, grew wealthy at thirtythrough the death of two elder brothers, successful Chicago brokers, andin the first flush of feeling that the world was his, wentto Bar Harborand met Beatrice O'Hara. In consequence, Stephen Blaine handed down toposterity his height of just under six feet and his tendency to waveratcrucial moments, these two abstractions appearing in his son Amory.For many years he hovered in the background of his family's life, anunassertive figure witha face half-obliterated by lifeless, silky hair,continually occupied in \"taking care\" of his wife, continually harassedby the idea that he didn't and couldn't understandher.But Beatrice Blaine! There was a woman! Early pictures taken on herfather's estate at Lake Geneva, Wisconsin, or in Rome at the SacredHeart Convent--aneducational extravagance that in her youth was onlyfor the daughters of the exceptionally wealthy--showed the exquisitedelicacy of her features, theconsummate art and simplicity of herclothes. A brilliant education she had--her youth passed in renaissanceglory, she was versed in the latest gossip of the OlderRoman Families;known by name as a fabulously wealthy American girl to Cardinal Vitoriand Queen Margherita and more subtle celebrities that one must havehadsome culture even to have heard of. She learned in England to preferwhiskey and soda to wine, and her small talk was broadened in two sensesduring awinter in Vienna. All in all Beatrice O'Hara absorbed thesort of education that will be quite impossible ever again; a tutelagemeasured by the number of things andpeople one could be contemptuous ofand charming about; a culture rich in all arts and traditions, barren ofall ideas, in the last of those days when the greatgardener clipped theinferior roses to produce one perfect bud.In her less important moments she returned to America, met StephenBlaine and married him--thisalmost entirely because she was a littlebit weary, a little bit sad. Her only child was carried througha tiresome season and brought into the world on a spring dayinninety-six.When Amory was five he was already a delightful companion for her. Hewas an auburn-haired boy, with great, handsome eyes which he wouldgrowup to in time, a facile imaginative mind and a taste for fancy dress.From his fourth to his tenth year he did the country with his motherin her father's privatecar, from Coronado, where his mother became sobored that she had a nervous breakdown in a fashionable hotel, down toMexico City, where she took a mild,almost epidemic consumption. Thistrouble pleased her, and later she made use of it as an intrinsic partof her atmosphere--especially after several astoundingbracers.So, while more or less fortunate little rich boys were defyinggovernesses on the beach at Newport, or being spanked or tutored or readto from \"Do andDare,\" or \"Frank on the Mississippi,\" Amory was bitingacquiescent bell-boys in the Waldorf, outgrowing a natural repugnanceto chamber music and symphonies,and deriving a highly specializededucation from his mother.\"Amory.\"\"Yes, Beatrice.\" (Such a quaint name for his mother; she encouraged it.)\"Dear, don't _think_of getting out of bed yet. I've always suspectedthat early rising in early life makes one nervous. Clothilde is havingyour breakfast brought up.\"\"All right.\"\"I amfeeling very old to-day, Amory,\" she would sigh, her face a rarecameo of pathos, her voice exquisitely modulated, her hands as facileas Bernhardt's. \"My nervesare on edge--on edge. We must leave thisterrifying place to-morrow and go searching for sunshine.\"Amory's penetrating green eyes would look out throughtangled hair athis mother. Even at this age he had no illusions about her.\"Amory.\"\"Oh, _yes_.\"\"I want you to take a red-hot bath as hot as you can bear it, andjustrelax your nerves. You can read in the tub if you wish.\"She fed him sections of the \"Fetes Galantes\" before he was ten; ateleven he could talk glibly, if ratherreminiscently, of Brahms andMozart and Beethoven. One afternoon, when left alone in the hotel atHot Springs, he sampled his mother's apricot cordial, and asthe tastepleased him, he became quite tipsy. This was fun for a while, buthe essayed a cigarette in his exaltation, and succumbed to a vulgar,plebeian reaction.Though this incident horrified Beatrice, it alsosecretly amused her and became part of what in a later generation wouldhave been termed her \"line.\"\"This son ofmine,\" he heard her tell a room full of awestruck, admiringwomen one day, \"is entirely sophisticated and quite charming--butdelicate--we're all delicate; _here_,you know.\" Her hand was radiantlyoutlined against her beautiful bosom; then sinking her voice to awhisper, she told them of the apricot cordial. They rejoiced,for shewas a brave raconteuse, but many were the keys turned in sideboard locksthat night against the possible defection of little Bobby or Barbara....Thesedomestic pilgrimages were invariably in state; two maids, theprivate car, or Mr. Blaine when available, and very often a physician.When Amory had thewhooping-cough four disgusted specialists glared ateach other hunched around his bed; when he took scarlet fever the numberof attendants, including physiciansand nurses, totalled fourteen.However, blood being thicker than broth, he was pulled through.The Blaines were attached to no city. They were the Blaines ofLakeGeneva; they had quite enough relatives to serve in place of friends,and an enviable standing from Pasadena to Cape Cod. But Beatrice grewmore and moreprone to like only new acquaintances, as there werecertain stories, such as the history of her constitution and its manyamendments, memories of her yearsabroad, that it was necessary forher to repeat at regular intervals. Like Freudian dreams, they must bethrown off, else they would sweep in and lay siege to hernerves. ButBeatrice was critical about American women, especially the floatingpopulation of ex-Westerners.\"They have accents, my dear,\" she told Amory, \"notSouthern accentsor Boston accents, not an accent attached to any locality, just anaccent\"--she became dreamy. \"They pick up old, moth-eaten Londonaccentsthat are down on their luck and have to be used by some one. They talkas an English butler might after several years in a Chicago grand-operacompany.\"She became almost incoherent--\"Suppose--time in every Westernwoman's life--she feels her husband is prosperous enough for her tohave--accent--they try toimpress _me_, my dear--\"Though she thought of her body as a mass of frailties, she consideredher soul quite as ill, and therefore important in her life. Shehadonce been a Catholic, but discovering that priests were infinitely moreattentive when she was in process of losing or regaining faith in MotherChurch, shemaintained an enchantingly wavering attitude. Often shedeplored the bourgeois quality of the American Catholic clergy, and wasquite sure that had she lived inthe shadow of the great Continentalcathedrals her soul would still be a thin flame on the mighty altar ofRome. Still, next to doctors, priests were her favoritesport.\"Ah, Bishop Wiston,\" she would declare, \"I do not want to talk ofmyself. I can imagine the stream of hysterical women fluttering at yourdoors, beseechingyou to be simpatico\"--then after an interlude filledby the clergyman--\"but my mood--is--oddly dissimilar.\"Only to bishops and above did she divulge her clericalromance. When shehad first returned to her country there had been a pagan, Swinburnianyoung man in Asheville, for whose passionate kisses andunsentimentalconversations she had taken a decided penchant--they had discussedthe matter pro and con with an intellectual romancing quite devoidofsappiness. Eventually she had decided to marry for background, and theyoung pagan from Asheville had gone through a spiritual crisis, joinedthe CatholicChurch, and was now--Monsignor Darcy.\"Indeed, Mrs. Blaine, he is still delightful company--quite thecardinal's right-hand man.\"\"Amory will go to him one day, Iknow,\" breathed the beautiful lady,\"and Monsignor Darcy will understand him as he understood me.\"Amory became thirteen, rather tall and slender, and morethan ever on tohis Celtic mother. He had tutored occasionally--the idea being that hewas to \"keep up,\" at each place \"taking up the work where he left off,\"yet asno tutor ever found the place he left off, his mind was still invery good shape. What a few more years of this life would have made ofhim is problematical.However, four hours out from land, Italy bound,with Beatrice, his appendix burst, probably from too many meals in bed,and after a series of frantic telegrams toEurope and America, to theamazement of the passengers the great ship slowly wheeled around andreturned to New York to deposit Amory at the pier. You willadmit thatif it was not life it was magnificent.After the operation Beatrice had a nervous breakdown that bore asuspicious resemblance to delirium tremens, andAmory was left inMinneapolis, destined to spend the ensuing two years with his aunt anduncle. There the crude, vulgar air of Western civilization firstcatcheshim--in his underwear, so to speak.          *****A KISS FOR AMORYHis lip curled when he read it.  \"I am going to have a bobbing party,\" it said, \"onThursday,  December the seventeenth, at five o'clock, and I would like it  very much if you could come.                        Yourstruly,  R.S.V.P.                                     Myra St. Claire.He had been two months in Minneapolis, and his chief struggle had beenthe concealing from \"the otherguys at school\" how particularly superiorhe felt himself to be, yet this conviction was built upon shiftingsands. He had shown off one day in French class (he was"}
+{"doc_id":"doc_126","qid":"","text":"Project Gutenberg's The Spanish Curate, by Francis Beaumont and John FletcherThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Spanish Curate       A ComedyAuthor: Francis Beaumont and John FletcherRelease Date: April 25, 2004 [EBook #12141]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE SPANISH CURATE ***Produced by Jonathan Ingram, Jayam Subramanian and PGDistributedProofreaders     THE SPANISH CURATE,     A COMEDY.       *       *       *       *       *     Persons Represented in the Play.     Don Henrique, _anuxorious Lord,     cruel to his Brother_.     Don Jamie, _younger Brother to_ Don     Henrique.     Bartolus, _a covetous Lawyer Husband     to_Amaranta.     Leandro, _a Gentleman who wantonly     loves the Lawyers Wife_.     Angelo, } _Three Gentlemen Friend[s]_     Milanes,} _to_Leandro.     Arsenio,}     Ascanio, _Son to_ Don Henrique.     Octavio, _supposed Husband to_ Jacintha.     Lopez, _the_ Spanish Curate.     Diego, _hisSexton_.     Assistant, _which we call a Judge_.     Algazeirs, _whom we call Serjeants_.     4Parishioners.     Apparitor.     Singers.     Servants.     _WOMEN_.     Violante, _supposed Wife to_ Don     Henrique.     Jacintha, _formerly contracted to_Don     Henrique.     Amaranta, _Wife to_ Bartolus.     A Woman Moor, _Servant to_ Amaranta.       *       *       *       *       *     _The Scene_Spain.       *       *       *       *       *     The principal Actors were,     Joseph Taylor.  } {William Eglestone.     John Lowin.     } {Thomas Polard.     NicholasToolie.} {Robert Benfeild.       *       *       *       *       *     Actus primus. Scena prima.       *       *       *       *       *     _Enter_ Angelo, Milanes, _and_Arsenio.     _Arsenio.     Leandro_ paid all.     _Mil_.     'Tis his usual custom,     And requisite he should: he has now put off     The Funeral black, (your rich heirwears with joy,     When he pretends to weep for his dead Father)     Your gathering Sires, so long heap muck together,     That their kind Sons, to rid them oftheir care,     Wish them in Heaven; or if they take a taste     Of Purgatory by the way, it matters not,     Provided they remove hence; what is befaln     To hisFather, in the other world, I ask not;     I am sure his prayer is heard: would I could use one     For mine, in the same method.     _Ars_.     Fie upon thee.     Thisis prophane.     _Mil_.     Good Doctor, do not school me     For a fault you are not free from: On my life     Were all Heirs in _Corduba_, put to theirOaths,     They would confess with me, 'tis a sound Tenet:     I am sure _Leandro_ do's.     _Ars_.     He is th'owner     Of a fair Estate.     _Mil_.     And fairly hedeserves it,     He's a Royal Fellow: yet observes a mean     In all his courses, careful too on whom     He showers his bounties: he that's liberal     To all alike,may do a good by chance,     But never out of Judgment: This invites     The prime men of the City to frequent     All places he resorts to, and are happy     In hissweet Converse.     _Ars.     Don Jamie_ the Brother     To the Grandee _Don Henrique_, appears much taken     With his behaviour.     _Mil_.     There issomething more in't:     He needs his Purse, and knows how to make use on't.     'Tis now in fashion for your _Don_, that's poor,     To vow all Leagues offriendship with a Merchant     That can supply his wants, and howsoe're     _Don Jamie's_ noble born, his elder Brother     _Don Henrique_ rich, and his Revenueslong since     Encreas'd by marrying with a wealthy Heir     Call'd, Madam _Vi[o]lante_, he yet holds     A hard hand o're _Jamie_, allowing him     A bare annuityonly.     _Ars_.     Yet 'tis said     He hath no child, and by the Laws of _Spain_     If he die without issue, _Don Jamie_     Inherits his Estate.     _Mil_.     Whythat's the reason     Of their so many jarrs: though the young Lord     Be sick of the elder Brother, and in reason     Should flatter, and observe him, he's of anature     Too bold and fierce, to stoop so, but bears up,     Presuming on his hopes.     _Ars_.     What's the young Lad     That all of 'em make so muchof?     _Mil._     'Tis a sweet one,     And the best condition'd youth, I ever saw yet,     So humble, and so affable, that he wins     The love of all that know him,and so modest,     That (in despight of poverty) he would starve     Rather than ask a courtesie: He's the Son     Of a poor cast-Captain, one _Octavio_;     AndShe, that once was call'd th'fair _Jacinta_,     Is happy in being his Mother: for his sake,     _Enter_ Jamie, Leandro, _and_ Ascanio.     (Though in their Fortunesfaln) they are esteem'd of,     And cherish'd by the best. O here they come.     I now may spare his Character, but observe him,     He'l justifie myreport.     _Jam_.     My good _Ascanio_,     Repair more often to me: above Women     Thou ever shalt be welcome.     _Asc_.     My Lord your favours     Mayquickly teach a raw untutour'd Youth     To be both rude and sawcy.     _Lean_.     You cannot be     Too frequent where you are so much desir'd:     And give meleave (dear friend) to be your Rival     In part of his affection; I will buy it     At any rate.     _Jam_.     Stood I but now possess'd     Of what my future hopepresages to me,     I then would make it clear thou hadst a Patron     That would not say but do: yet as I am,     Be mine, I'le not receive thee as aservant,     But as my Son, (and though I want my self)     No Page attending in the Court of _Spain_     Shall find a kinder master.     _Asc_.     I beseechyou     That my refusal of so great an offer     May make no ill construction, 'tis not pride     (That common vice is far from my condition)     That makes you adenyal to receive     A favour I should sue for: nor the fashion     Which the Country follows, in which to be a servant     In those that groan beneath the heavyweight     Of poverty, is held an argument     Of a base abject mind, I wish my years     Were fit to do you service in a nature     That might become a Gentleman(give me leave     To think my self one) My Father serv'd the King     As a Captain in the field; and though his fortune     Return'd him home a poor man, he wasrich     In Reputation, and wounds fairly taken.     Nor am I by his ill success deterr'd,     I rather feel a strong desire that sways me     To follow his profession,and if Heaven     Hath mark'd me out to be a man, how proud,     In the service of my Country, should I be,     To trail a Pike under your bravecommand!     There, I would follow you as a guide to honour,     Though all the horrours of the War made up     To stop my passage.     _Jam_.     Thou art ahopeful Boy,     And it was bravely spoken: For this answer,     I love thee more than ever.     _Mil_.     Pity such seeds     Of promising courage should not growand prosper.     _Ang_.     What ever his reputed Parents be,     He hath a mind that speaks him right and noble.     _Lean_.     You make him blush; it needs notsweet _Ascanio_,     We may hear praises when they are deserv'd,     Our modesty unwounded. By my life     I would add something to the building up     So faira mind, and if till you are fit     To bear Arms in the Field, you'l spend some years     In _Salamanca_, I'le supply your studies     With allconveniences.     _Asc_.     Your goodness (Signiors)     And charitable favours overwhelm me.     If I were of your blood, you could not be     More tender of me:what then can I pay     (A poor Boy and a stranger) but a heart     Bound to your service? with what willingness     I would receive (good Sir) your nobleoffer,     Heaven can bear witness for me: but alas,     Should I embrace the means to raise my fortunes,     I must destroy the lives of my poor Parents     (Towho[m] I ow my being) they in me     Place all their comforts, and (as if I were     The light of their dim eyes) are so indulgent     They cannot brook one shortdayes absence from me;     And (what will hardly win belief) though young,     I am their Steward and their Nurse: the bounties     Which others bestow on meserves to sustain 'em,     And to forsake them in their age, in me     Were more than Murther.     _Enter_ Henrique.     _Aug_.     This is a kind ofbegging     Would make a Broker charitable.     _Mil_.     Here, (sweet heart)     I wish it were more.     _Lean_.     When this is spent,     Seek for supply fromme.     _Jam_.     Thy piety     For ever be remembred: nay take all,     Though 'twere my exhibition to a Royal     For one whole year.     _Asc_.     High Heavensreward your goodness.     _Hen_.     So Sir, is this a slip of your own grafting,     You are so prodigal?     _Jam_.     A slip Sir?     _Hen_.     Yes,     A slip; or callit by the proper name,     Your Bastard.     _Jam_.     You are foul-mouth'd; do not provoke me,     I shall forget your Birth if you proceed,     And use you, (asyour manners do deserve) uncivilly.     _Hen_.     So brave! pray you give me hearing,     Who am I Sir?     _Jam_.     My elder Brother: One     That might havebeen born a fool, and so reputed,     But that you had the luck to creep into     The world a year before me.     _Lean_.     Be more temperate.     _Jam_.     Ineither can nor will, unless I learn it     By his example: let him use his harsh     Unsavoury reprehensions upon those     That are his Hinds, and not on me. TheLand     Our Father left to him alone rewards him,     For being twelve months elder, let that be     Forgotten, and let his Parasites remember     One quality ofworth or vertue in him     That may authorize him, to be a censurer     Of me, or my manners, and I will     Acknowledge him for a Tutor, till then,never.     _Hen_.     From whom have you your means Sir?     _Jam_.     From the will     Of my dead Father; I am sure I spend not     Nor give't upon yourpurse.     _Hen.     But will it hold out     Without my help?     _Jam_.     I am sure it shall, I'le sink else,     For sooner I will seek aid from a Whore,     Than acourtesie from you.     _Hen_.     'Tis well; you are proud of     Your new Exchequer, when you have cheated him     And worn him to the quick, I may befound     In the List of your acquaintance.     _Lean_     Pray you hold     And give me leave (my Lord) to say thus much     (And in mine own defence) I am noGull     To be wrought on by perswasion: nor no Coward     To be beaten out of my means, but know to whom     And why I give or lend, and will donothing     But what my reason warrants; you may be     As sparing as you please, I must be bold     To make use of my own, without yourlicence.     _Jam_.     'Pray thee let him alone, he is not worth thy anger.     All that he do's (_Leandro_) is for my good,     I think there's not a Gentleman of_Spain_,     That has a better Steward, than I have of him.     _Hen_.     Your Steward Sir?     _Jam_.     Yes, and a provident one:     Why, he knows I am givento large expence,     And therefore lays up for me: could you believe else     That he, that sixteen years hath worn the yoke     Of barren wedlock, without hope ofissue     (His Coffers full, his Lands and Vineyards fruitful)     Could be so sold to base and sordid thrift,     As almost to deny himself, the means     And"}
+{"doc_id":"doc_127","qid":"","text":"<html><head><title>Ed TV Script at IMSDb.</title><meta name=\"description\" content=\"Ed TV script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Ed TV script, Ed TV movie script, Ed TV film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>EdTV</title></head><pre><b> ED TV</b> by Lowell Ganz & Babaloo Mandel Sixth Rewrite July 16,1997  This is the first eRelease for the script of the movie \"EdTV\"  This script was scanned, proof read and formatted by Ueli Riegg  eMail: ueli.riegg@gmx.ch; URL: http://studiour.tsx.org<b>  1 INT. HIGH SCHOOLGYMNASIUM - NIGHT</b> The following is shot DOCUMENTARY-STYLE. A GIRLS VOLLEYBALL GAME has just ended. It was a big game. Some kind ofchampionship. ONE TEAM is CELEBRATING -- jumping up and down, squealing and hugging each other. We are focused on the bench of the TEAM TRAT LOST.They're very sad -- several are crying. One girl, in particular, (AMY) is really sobbing. She's sweat- stained, tired and just blubbering. Stuff's coming out of hereyes, her nose, her mouth and the camera is seeing it all. The COACH, a fortyish man looks at all the weeping girls -- Amy in particular.<b> COACH</b> Youquit! You gave up! He KICKS a CHAIR. Now Amy is really a mess. She's crying, coughing, shaking.<b> COACH (CONT'D)</b> (right in Amy's face) You quit!! TheCoach storms off.<b> COACH (CONT'D)</b> Qutters! ... Quitters! Amy is wailing and choking on her own tears. This IMAGE FREEZES.<b> TERRY (V.O.)</b>And that would be it. I don't think you need any narration at all. Just end it right there.<b> REVEAL</b><b>  2 INT. OFFICE - DAY</b><b> BEGIN"}
+{"doc_id":"doc_128","qid":"","text":"The Project Gutenberg EBook of The Cid, by Pierre CorneilleThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The CidAuthor: Pierre CorneilleRelease Date: February 7, 2005 [EBook #14954]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE CID ***Produced by David Garcia, Branko Collin and the Online DistributedProofreading Team.[Transcriber's note: This text is no longercopyrighted; originalcopyright note preserved for accuracy.]Handy Literal TranslationsCORNEILLE'STHE CIDA Literal Translation, byROSCOE MONGAN1896, BYHINDS & NOBLEHINDS, NOBLE & ELDREDGE, Publishers,31-33-35 West Fifteenth Street, New York CityPREFACE.Cid Campeador is the name given in histories,traditions and songs tothe most celebrated of Spain's national heroes.His real name was Rodrigo or Ruy Diaz (i.e. \"son of Diego\"), aCastilian noble by birth. Hewas born at Burgos about the year 1040.There is so much of the mythical in the history of this personage thathypercritical writers, such as Masdeu, have doubtedhis existence; butrecent researches have succeeded in separating the historical from theromantic.Under Sancho II, son of Ferdinand, he served as commander ofthe royaltroops. In a war between the two brothers, Sancho II. and Alfonso VI. ofLeon, due to some dishonorable stratagem on the part of Rodrigo, Sanchowasvictorious and his brother was forced to seek refuge with theMoorish King of Toledo.In 1072 Sancho was assassinated at the siege of Zamora, and as he leftnoheir the Castilians had to acknowledge Alfonso as King. AlthoughAlfonso never forgave the Cid for having, as leader of the Castilians,compelled him to swear thathe (the Cid) had no hand in the murder ofhis brother Sancho, as a conciliatory measure, he gave his cousinXimena, daughter of the Count of Oviedo, to the Cid inmarriage, butafterwards, in 1081, when he found himself firmly seated on the throne,yielding to his own feelings of resentment and incited by the Leonesenobles,he banished him from the kingdom.At the head of a large body of followers, the Cid joined the MoorishKing of Saragossa, in whose service he fought against bothMoslems andChristians. It was probably during this exile that he was first calledthe Cid, an Arabic title, which means the _lord_. He was verysuccessful in all hisbattles.In conjunction with Mostain, grandson of Moctadir, he invaded Valenciain 1088, but afterwards carried on operations alone, and finally, aftera long siege,made himself master of the city in June, 1094. He retainedpossession of Valencia for five years and reigned like an independentsovereign over one of the richestterritories in the Peninsula, but diedsuddenly in 1099 of anger and grief on hearing that his relative, AlvarFañez, had been vanquished and the army which hehad sent to hisassistance had been defeated.After the Cid's death his wife held Valencia till 1102, when she wasobliged to yield to the Almoravides and fly toCastile, where she diedin 1104. Her remains were placed by those of her lord in the monasteryof San Pedro de Cardeña.THE CID.ACT THE FIRST.SceneI.--CHIMÃ\u0000NE and ELVIRA._Chimène._ Elvira, have you given me a really true report? Do youconceal nothing that my father has said?_Elvira._ All my feelingswithin me are still delighted with it. Heesteems Rodrigo as much as you love him; and if I do not misread hismind, he will command you to respond to hispassion._Chimène._ Tell me then, I beseech you, a second time, what makes youbelieve that he approves of my choice; tell me anew what hope I oughttoentertain from it. A discourse so charming cannot be too often heard;you cannot too forcibly promise to the fervor of our love the sweetliberty of manifestingitself to the light of day. What answer has hegiven regarding the secret suit which Don Sancho and Don Rodrigo arepaying to you? Have you not too clearly shownthe disparity between thetwo lovers which inclines me to the one side?_Elvira._ No; I have depicted your heart as filled with anindifference which elates not eitherof them nor destroys hope, and,without regarding them with too stern or too gentle an aspect, awaits thecommands of a father to choose a spouse. This respecthas delightedhim--his lips and his countenance gave me at once a worthy testimony ofit; and, since I must again tell you the tale, this is what he hastenedto sayto me of them and of you: 'She is in the right. Both are worthyof her; both are sprung from a noble, valiant, and faithful lineage;young but yet who show by theirmien [_lit._ cause to easily be readin their eyes] the brilliant valor of their brave ancestors. Don Rodrigo,above all, has no feature in his face which is not thenoble [_lit._high] representative of a man of courage [_lit._ heart], and descendsfrom a house so prolific in warriors, that they enter into life [_lit._take birththere] in the midst of laurels. The valor of his father, inhis time without an equal, as long as his strength endured, wasconsidered a marvel; the furrows on hisbrow bear witness to [_lit._have engraved his] exploits, and tell us still what he formerly was. Ipredict of the son what I have seen of the father, and mydaughter, inone word, may love him and please me.' He was going to the council, thehour for which approaching, cut short this discourse, which he hadscarcelycommenced; but from these few words, I believe that his mind[_lit._ thoughts] is not quite decided between your two lovers. The kingis going to appoint aninstructor for his son, and it is he for whom anhonor so great is designed. This choice is not doubtful, and hisunexampled valor cannot tolerate that we should fearany competition. Ashis high exploits render him without an equal, in a hope so justifiablehe will be without a rival; and since Don Rodrigo has persuadedhisfather, when going out from the council, to propose the affair. I leaveyou to judge whether he will seize this opportunity [_lit._ whether hewill take his timewell], and whether all your desires will soon begratified._Chimène._ It seems, however, that my agitated soul refuses this joy,and finds itself overwhelmed by it.One moment gives to fate differentaspects, and in this great happiness I fear a great reverse._Elvira._ You see this fear happily deceived._Chimène._ Let us go,whatever it may be, to await the issue.Scene II.--The INFANTA, LEONORA, and a PAGE._Infanta (to Page_). Page, go, tell Chimène from me, that to-day sheisrather long in coming to see me, and that my friendship complains of hertardiness. [_Exit Page._]_Leonora._ Dear lady, each day the same desire urges you,and at yourinterview with her, I see you every day ask her how her love proceeds._Infanta._ It is not without reason. I have almost compelled her toreceive thearrows with which her soul is wounded. She loves Rodrigo,and she holds him from my hand; and by means of me Don Rodrigo hasconquered her disdain. Thus,having forged the chains of these lovers, Iought to take an interest in seeing their troubles at an end._Leonora._ Dear lady, however, amidst their good fortuneyou exhibit agrief which proceeds to excess. Does this love, which fills them bothwith gladness, produce in this noble heart [of yours] profound sadness?And doesthis great interest which you take in them render you unhappy,whilst they are happy? But I proceed too far, and become indiscreet._Infanta._ My sadnessredoubles in keeping the secret. Listen, listenat length, how I have struggled; listen what assaults my constancy[_lit._ virtue or valor] yet braves. Love is a tyrantwhich spares noone. This young cavalier, this lover which I give [her]--I love him._Leonora._ You love him!_Infanta._ Place your hand upon my heart, and feel[_lit._ see] how itthrobs at the name of its conqueror! how it recognizes him!_Leonora._ Pardon me, dear lady, if I am wanting in respect in blamingthis passion;a noble princess to so far forget herself as to admit inher heart a simple [_or_, humble] cavalier! And what would the Kingsay?--what would Castile say? Do youstill remember of whom you are thedaughter?_Infanta._ I remember it so well, that I would shed my blood rather thandegrade my rank. I might assuredlyanswer to thee, that, in noble souls,worth alone ought to arouse passions; and, if my love sought to excuseitself, a thousand famous examples might sanction it.But I will notfollow these--where my honor is concerned, the captivation of myfeelings does not abate my courage, and I say to myself always, that,being thedaughter of a king, all other than a monarch is unworthy ofme. When I saw that my heart could not protect itself, I myself gaveaway that which I did not dare totake; and I put, in place of my self,Chimène in its fetters, and I kindled their passions [_lit._ fires] inorder to extinguish my own. Be then no longer surprised ifmy troubledsoul with impatience awaits their bridal; thou seest that my happiness[_lit._ repose] this day depends upon it. If love lives by hope, itperishes with it;it is a fire which becomes extinguished for want offuel; and, in spite of the severity of my sad lot, if Chimène ever hasRodrigo for a husband, my hope is deadand my spirit, is healed.Meanwhile, I endure an incredible torture; even up to this bridal.Rodrigo is dear to me; I strive to lose him, and I lose him with regret,andhence my secret anxiety derives its origin. I see with sorrow thatlove compels me to utter sighs for that [object] which [as a princess] Imust disdain. I feel myspirit divided into two portions; if my courageis high, my heart is inflamed [with love]. This bridal is fatal to me, Ifear it, and [yet] I desire it; I dare to hope fromit only anincomplete joy; my honor and my love have for me such attractions, thatI [shall] die whether it be accomplished, or whether it benotaccomplished._Leonora._ Dear lady, after that I have nothing more to say, exceptthat, with you, I sigh for your misfortunes; I blamed you a short timesince,now I pity you. But since in a misfortune [i.e. an ill-timedlove] so sweet and so painful, your noble spirit [_lit._ virtue]contends against both its charm and itsstrength, and repulses itsassault and regrets its allurements, it will restore calmness to youragitated feelings. Hope then every [good result] from it, and fromtheassistance of time; hope everything from heaven; it is too just [_lit._it has too much justice] to leave virtue in such a long continuedtorture._Infanta._ Mysweetest hope is to lose hope.(_The Page re-enters._)_Page._ By your commands, Chimène comes to see you._Infanta_ (to _Leonora_). Go and converse withher in that gallery[yonder]._Leonora._ Do you wish to continue in dreamland?_Infanta._ No, I wish, only, in spite of my grief, to compose myself[_lit._ to put myfeatures a little more at leisure]. I follow you.[_Leonora goes out along with the Page._]Scene III.--The INFANTA (alone).Just heaven, from which I await myrelief, put, at last, some limit tothe misfortune which is overcoming [_lit._ possesses] me; secure myrepose, secure my honor. In the happiness of others I seekmy own. Thisbridal is equally important to three [parties]; render its completionmore prompt, or my soul more enduring. To unite these two lovers withamarriage-tie is to break all my chains and to end all my sorrows. But Itarry a little too long; let us go to meet Chimène, and, byconversation, to relieve our"}
+{"doc_id":"doc_129","qid":"","text":"Project Gutenberg's Little Lord Fauntleroy, by Frances Hodgson BurnettThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Little Lord FauntleroyAuthor: Frances Hodgson BurnettRelease Date: January 16, 2006 [EBook #479][Last updated: December 9,2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LITTLE LORD FAUNTLEROY ***Produced by Charles Keller and David WidgerLITTLELORD FAUNTLEROYBy Frances Hodgson BurnettICedric himself knew nothing whatever about it. It had never been evenmentioned to him. He knew that his papahad been an Englishman, becausehis mamma had told him so; but then his papa had died when he was solittle a boy that he could not remember very muchabout him, except thathe was big, and had blue eyes and a long mustache, and that it was asplendid thing to be carried around the room on his shoulder. Sincehispapa's death, Cedric had found out that it was best not to talk to hismamma about him. When his father was ill, Cedric had been sent away, andwhen he hadreturned, everything was over; and his mother, who hadbeen very ill, too, was only just beginning to sit in her chair by thewindow. She was pale and thin, and allthe dimples had gone from herpretty face, and her eyes looked large and mournful, and she was dressedin black.\"Dearest,\" said Cedric (his papa had called herthat always, and so thelittle boy had learned to say it),--\"dearest, is my papa better?\"He felt her arms tremble, and so he turned his curly head and looked inherface. There was something in it that made him feel that he was goingto cry.\"Dearest,\" he said, \"is he well?\"Then suddenly his loving little heart told him that he'dbetter put bothhis arms around her neck and kiss her again and again, and keep hissoft cheek close to hers; and he did so, and she laid her face on hisshoulderand cried bitterly, holding him as if she could never let himgo again.\"Yes, he is well,\" she sobbed; \"he is quite, quite well, but we--we haveno one left but eachother. No one at all.\"Then, little as he was, he understood that his big, handsome young papawould not come back any more; that he was dead, as he had heardof otherpeople being, although he could not comprehend exactly what strangething had brought all this sadness about. It was because his mammaalways criedwhen he spoke of his papa that he secretly made up his mindit was better not to speak of him very often to her, and he found out,too, that it was better not to lether sit still and look into the fireor out of the window without moving or talking. He and his mamma knewvery few people, and lived what might have beenthought very lonelylives, although Cedric did not know it was lonely until he grew olderand heard why it was they had no visitors. Then he was told thathismamma was an orphan, and quite alone in the world when his papa hadmarried her. She was very pretty, and had been living as companion to arich old ladywho was not kind to her, and one day Captain Cedric Errol,who was calling at the house, saw her run up the stairs with tears onher eyelashes; and she looked sosweet and innocent and sorrowful thatthe Captain could not forget her. And after many strange things hadhappened, they knew each other well and loved eachother dearly, andwere married, although their marriage brought them the ill-will ofseveral persons. The one who was most angry of all, however, wastheCaptain's father, who lived in England, and was a very rich andimportant old nobleman, with a very bad temper and a very violentdislike to America andAmericans. He had two sons older than CaptainCedric; and it was the law that the elder of these sons should inheritthe family title and estates, which were veryrich and splendid; if theeldest son died, the next one would be heir; so, though he was a memberof such a great family, there was little chance that CaptainCedricwould be very rich himself.But it so happened that Nature had given to the youngest son gifts whichshe had not bestowed upon his elder brothers. He had abeautiful faceand a fine, strong, graceful figure; he had a bright smile and a sweet,gay voice; he was brave and generous, and had the kindest heart in theworld,and seemed to have the power to make every one love him. And itwas not so with his elder brothers; neither of them was handsome,or very kind, or clever.When they were boys at Eton, they were notpopular; when they were at college, they cared nothing for study, andwasted both time and money, and made fewreal friends. The old Earl,their father, was constantly disappointed and humiliated by them; hisheir was no honor to his noble name, and did not promise to end inbeinganything but a selfish, wasteful, insignificant man, with no manly ornoble qualities. It was very bitter, the old Earl thought, that the sonwho was only third,and would have only a very small fortune, should bethe one who had all the gifts, and all the charms, and all the strengthand beauty. Sometimes he almost hatedthe handsome young man because heseemed to have the good things which should have gone with the statelytitle and the magnificent estates; and yet, in thedepths of his proud,stubborn old heart, he could not help caring very much for his youngestson. It was in one of his fits of petulance that he sent him off totravelin America; he thought he would send him away for a while, sothat he should not be made angry by constantly contrasting him with hisbrothers, who were at thattime giving him a great deal of trouble bytheir wild ways.But, after about six months, he began to feel lonely, and longed insecret to see his son again, so hewrote to Captain Cedric and orderedhim home. The letter he wrote crossed on its way a letter the Captainhad just written to his father, telling of his love for theprettyAmerican girl, and of his intended marriage; and when the Earl receivedthat letter he was furiously angry. Bad as his temper was, he hadnever given way toit in his life as he gave way to it when he read theCaptain's letter. His valet, who was in the room when it came, thoughthis lordship would have a fit of apoplexy,he was so wild with anger.For an hour he raged like a tiger, and then he sat down and wrote to hisson, and ordered him never to come near his old home, nor towrite tohis father or brothers again. He told him he might live as he pleased,and die where he pleased, that he should be cut off from his familyforever, and thathe need never expect help from his father as long ashe lived.The Captain was very sad when he read the letter; he was very fond ofEngland, and he dearly lovedthe beautiful home where he had been born;he had even loved his ill-tempered old father, and had sympathized withhim in his disappointments; but he knew heneed expect no kindness fromhim in the future. At first he scarcely knew what to do; he had not beenbrought up to work, and had no business experience, but hehad courageand plenty of determination. So he sold his commission in the Englisharmy, and after some trouble found a situation in New York, and married.Thechange from his old life in England was very great, but he was youngand happy, and he hoped that hard work would do great things for him inthe future. He hada small house on a quiet street, and his little boywas born there, and everything was so gay and cheerful, in a simple way,that he was never sorry for a momentthat he had married the rich oldlady's pretty companion just because she was so sweet and he loved herand she loved him. She was very sweet, indeed, and herlittle boy waslike both her and his father. Though he was born in so quiet and cheap alittle home, it seemed as if there never had been a more fortunate baby.Inthe first place, he was always well, and so he never gave any onetrouble; in the second place, he had so sweet a temper and ways socharming that he was apleasure to every one; and in the third place,he was so beautiful to look at that he was quite a picture. Instead ofbeing a bald-headed baby, he started in life witha quantity of soft,fine, gold-colored hair, which curled up at the ends, and went intoloose rings by the time he was six months old; he had big brown eyes andlongeyelashes and a darling little face; he had so strong a back andsuch splendid sturdy legs, that at nine months he learned suddenly towalk; his manners were sogood, for a baby, that it was delightful tomake his acquaintance. He seemed to feel that every one was his friend,and when any one spoke to him, when he was inhis carriage in thestreet, he would give the stranger one sweet, serious look with thebrown eyes, and then follow it with a lovely, friendly smile; andtheconsequence was, that there was not a person in the neighborhood of thequiet street where he lived--even to the groceryman at the corner, whowasconsidered the crossest creature alive--who was not pleased to seehim and speak to him. And every month of his life he grew handsomer andmoreinteresting.When he was old enough to walk out with his nurse, dragging a smallwagon and wearing a short white kilt skirt, and a big white hat set backon hiscurly yellow hair, he was so handsome and strong and rosy that heattracted every one's attention, and his nurse would come home and tellhis mamma stories ofthe ladies who had stopped their carriages to lookat and speak to him, and of how pleased they were when he talked to themin his cheerful little way, as if he hadknown them always. His greatestcharm was this cheerful, fearless, quaint little way of making friendswith people. I think it arose from his having a very confidingnature,and a kind little heart that sympathized with every one, and wished tomake every one as comfortable as he liked to be himself. It made himvery quick tounderstand the feelings of those about him. Perhaps thishad grown on him, too, because he had lived so much with his father andmother, who were always lovingand considerate and tender and well-bred.He had never heard an unkind or uncourteous word spoken at home; he hadalways been loved and caressed andtreated tenderly, and so his childishsoul was full of kindness and innocent warm feeling. He had always heardhis mamma called by pretty, loving names, and sohe used them himselfwhen he spoke to her; he had always seen that his papa watched over herand took great care of her, and so he learned, too, to be carefulofher.So when he knew his papa would come back no more, and saw how verysad his mamma was, there gradually came into his kind little heart thethought thathe must do what he could to make her happy. He was not muchmore than a baby, but that thought was in his mind whenever he climbedupon her knee andkissed her and put his curly head on her neck, andwhen he brought his toys and picture-books to show her, and when hecurled up quietly by her side as she usedto lie on the sofa. He was notold enough to know of anything else to do, so he did what he could, andwas more of a comfort to her than he could haveunderstood.\"Oh, Mary!\" he heard her say once to her old servant; \"I am sure heis trying to help me in his innocent way--I know he is. He looks at mesometimeswith a loving, wondering little look, as if he were sorry forme, and then he will come and pet me or show me something. He is such alittle man, I really think he"}
+{"doc_id":"doc_130","qid":"","text":"The Project Gutenberg EBook of The Mardi Gras Mystery, by H. Bedford-JonesThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Mardi Gras MysteryAuthor: H. Bedford-JonesIllustrator: John Newton HowittRelease Date: March 22, 2012 [EBook#39229]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MARDI GRAS MYSTERY ***Produced by Darleen Dove, Ernest Schaal, and theOnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/AmericanLibraries.)                             THE MARDI GRAS                                MYSTERY                                BOOKS BY                            H.BEDFORD-JONES                        CONQUEST                        CROSS AND THE HAMMER: A                          TALE OF THE DAYS OFTHE                          VIKINGS                        FLAMEHAIR THE SKALD: A                          TALE OF THE DAYSOF                          HARDREDE                        GOLDEN GHOST                        THE MESA TRAIL                        THE MARDI GRASMYSTERY                        UNDER FIRE[Illustration: \"_'You frightened me, holy man!' she cried gaily.'Confess to you, indeed! Not I.'_\"]                             THEMARDI GRAS                                 MYSTERY                                   BY                            H.BEDFORD-JONES                             [Illustration]                              FRONTISPIECE                                   BY                           JOHN NEWTONHOWITT                    GARDEN CITY, N. Y., AND TORONTO                       DOUBLEDAY, PAGE &COMPANY                                  1921                        COPYRIGHT, 1920, 1921, BY                        DOUBLEDAY, PAGE & COMPANY           ALL RIGHTSRESERVED, INCLUDING THAT OF TRANSLATION           INTO FOREIGN LANGUAGES, INCLUDING THESCANDINAVIAN                                CONTENTS    CHAPTER                                                     PAGE       I.CARNIVAL                                                 3      II. MASQUERS                                                21     III. THE BANDIT                                              38      IV.CALLERS                                                 58       V. THE MASQUER UNMASKS                                     82      VI.CHACHERRE                                              107     VII. IN THE OPEN                                            125    VIII.COMUS                                                  143      IX. ON THE BAYOU                                           169       X.MURDER                                                 190      XI. THE GANGSTERS                                          209     XII. THEULTIMATUM                                          228    XIII. THE COIN FALLS HEADS                                   249     XIV. CHACHERRE'SBUNDLE                                     262      XV. WHEN THE HEAVENS FALL                                  280     XVI. THE IMPREGNABILITY OF MR.FELL                         299    XVII. MI-CARÃ\u0000ME                                              310                             THE MARDIGRAS                                MYSTERY                         THE MARDI GRAS MYSTERY                               CHAPTER I                               _Carnival_Jachin Fellpushed aside the glass curtains between the voluminousover-draperies in the windows of the Chess and Checkers Club, and gazedout upon the riotous streets ofNew Orleans. Half an hour he had beenwaiting here in the lounge room for Dr. Cyril Ansley, a middle-agedbachelor who had practised in Opelousas for twentyyears, and who hadcome to the city for the Mardi Gras festivities. Another man might haveseemed irritated by the wait, but Jachin Fell was quite unruffled.He hadmuch the air of a clerk. His features were thin and unremarkable;his pale eyes constantly wore an expression of wondering aloofness, asthough he saw aroundhim much that he vainly tried to understand. In hisentire manner was a shy reticence. He was no clerk, however, this wasevident from his attire. He was garbedfrom head to foot in soberlyblending shades of gray whose richness was notable only at close view.One fancied him a very precise sort of man, an old maid of thewrongsex.Doctor Ansley, an Inverness flung over his evening clothes, entered thelounge room, and Fell turned to him with a dry, toneless chuckle.\"You're thelimit! Did you forget we were going to the Maillards'to-night?\"Ansley appeared vexed and irritated. \"Confound it, Fell!\" he exclaimed.\"I've been all over townlooking for El Reys. Caught in a crowd--no ElReys yet!\"Again Fell uttered his toneless chuckle. His voice was absolutely level,unmarked by any change ofinflection.\"My dear fellow, there are only three places in the city that can affordto carry El Reys in these parlous times! This club, however, happens tobe one ofthe three. Here, sit down and forget your troubles over a realsmoke! We need not leave for fifteen minutes yet, at least.\"Doctor Ansley laid aside his cape, stick,and hat, and dropped into oneof the comfortable big chairs. He accepted the proffered cigar with asigh. Across his knees he laid an evening paper, whose flaringheadlinesproclaimed an extra.\"I suppose you've been gadding all around the town ever since theRevellers opened the season?\" he inquired.\"Hardly,\" said Fellwith his shy air. \"I'm growing a bit stiff with age,as Eliza said when she crossed the ice. I don't gad much.\"\"You intend to mask for the Maillards'?\" Ansley cast hiseye over thegray business attire of the little man.\"I never mask.\" Jachin Fell shook his head. \"I'll get a domino and go asI am. Excuse me--I'll order a dominonow, and also provide a few more ElReys for the evening. Back in a moment.\"Doctor Ansley, who was himself a non-resident member of the club andsociallyprominent when he could grant himself leisure for society,followed the slight figure of the other man with speculative eyes. Wellas he knew Jachin Fell, heinvariably found the man a source of puzzledspeculation.During many years Jachin Fell had been a member of the most exclusiveNew Orleans clubs. He was evenreceived in the inner circles of Creolesociety, which in itself was evidence supreme as to his position. Atthis particular club he was famed as a wizard master ofchess. He neverentered a tournament, yet he consistently defeated the champions inprivate matches--defeated them with a bewildering ease, a shyandapologetic ease, an ease which left the beholders incredulous andaghast.With all this, Jachin Fell was very much of a mystery, even among hisclosest friends.Very little was known of him; he was inconspicuous to adegree, and it was usually assumed that he was something of a recluse,the result of a thwarted love affairin his youth. He was a lawyer, andcertainly maintained offices in the Maison Blanche building, but henever appeared in the courts and no case of his pleading wasknown.It was said that he lived in the rebuilt casa of some old Spanishgrandee in the Vieux Carre, and that this residence of his was averitable treasure-trove ofhistoric and beautiful things. This was mererumour, adding a spice of romance to the general mystery. Ansley knewhim as well as did most men, and Ansley knewof a few who could boast ofhaving been a guest in Jachin Fell's home. There was a mother, aninvalid of whom Fell sometimes spoke and to whom he appeared todevotehimself. The family, an old one in the city, promised to die out withJachin Fell.Ansley puffed at his cigar and considered these things. Outside, in theNewOrleans streets, was rocketing the mad mirth of carnival. The weekpreceding Mardi Gras was at its close. Since the beginning of the newyear the festival hadbeen celebrated in a steadily climaxing series ofballs and entertainments, largely by the older families who kept to theold customs, and to a smaller extent bysociety at large. Now the finalweek was at hand, or rather the final three days--the period of thegreat balls, the period when tourists were flooding into town;fortourists, the whole time of Mardi Gras was comprised within these threedays. Despite agonized predictions, prohibition had not adverselyaffected Mardi Gras orthe gaiety of its celebration.Now, as ever, was Mardi Gras symbolized by masques. In New Orleans themasquerade was not the pale and pitiful frolic of colderclimes, wherethe occasion is but one for display of jewels and costumes, and whereactual concealment of identity is a farce. Here in New Orleans werejewels andcostumes in a profusion of splendour; but here was preservedthe underlying idea of the masque itself--that in concealment ofidentity lay the life of the thing!Masquers swept the streets gaily; ifharlequin husband flirted with domino wife--why, so much the merrier!There was little harm in the Latin masque, and greatmirth.When Jachin Fell returned and lighted his cigar he sank into one of theluxurious chairs beside Ansley and indicated the newspaper lying acrossthe latter'sknee, its flaring headlines standing out blackly.\"What's that about the Midnight Masquer? He's not appeared again?\"\"What?\" Ansley glanced at him in surprise.\"You've not heard?\"Fell shook his head. \"I seldom read the papers.\"\"Good heavens, man! He showed up last night at the Lapeyrouse dance, twominutes beforemidnight, as usual! A detective had been engaged, but wasafterward found locked in a closet, bound with his own handcuffs. TheMasquer wore his usualcostume--and went through the party famously,stripping everyone in sight. Then he backed through the doors andvanished. How he got in they can't imagine;where he went they can'timagine, unless it was by airplane. He simply appeared, then vanished!\"Fell settled deeper into his chair, pointed his cigar at theceiling,and sighed.\"Ah, most interesting! The loot was valued at about a hundred thousand?\"\"I thought you said you'd not heard of it?\" demanded Ansley.Felllaughed softly and shyly. \"I didn't. I merely hazarded a guess.\"\"Wizard!\" The doctor laughed in unison. \"Yes, about that amount.Exaggerated, of course; still,there were jewels of great value----\"\"The Masquer is a piker,\" observed Fell, in his toneless voice.\"Eh? A piker--when he can make a hundred-thousand-dollarhaul?\"\"Don't dream that those figures represent value, Doctor. They don't! Allthe loot the Masquer has taken since he began work is worth little tohim. Jewels arehard to sell. This game of banditry is romantic, butit's out of date these days. Of course, the crook has obtained a bit ofmoney, but not enough to be worth therisk.\"\"Yet he has got quite a bit,\" returned Ansley, thoughtfully. \"All themen have money, naturally; we don't want to find ourselves bare at somegay carnivalmoment! I'll warrant you've a hundred or so in your pocketright now!\"\"Not I,\" rejoined Fell, calmly. \"One ten-dollar bill. Also I left mywatch at home. And I'm not"}
+{"doc_id":"doc_131","qid":"","text":"<html><head><title>What About Bob? Script at IMSDb.</title><meta name=\"description\" content=\"What About Bob? script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"What About Bob? script, What About Bob? movie script, What About Bob? film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                    \"WHAT ABOUT BOB?\"</b>                                      Screenplay by                                       TomSchulman                                         Story by                              Alvin Sargent and Laura Ziskin<b>                                      SHOOTINGDRAFT</b><b>                </b><b>               OPENING CRAWL ON A BLACK SCREEN</b>               \"Medical journals report only 31 cases in history ofpeople                swallowing their toothbrushes. The champion toothbrush                swallower was a Soviet psychiatric patient who downed 16in                1984. The all-time champion swallower of any object swallowed                2533 objects in 1927.\"<b>               ECU: A TOOTHBRUSH - CREDITSROLLING</b>               We HEAR a man clearing his throat. He enters and a shiny                glob of toothpaste is squeezed onto the bristles.<b>               INT.BOB WILEY'S BATHROOM, MORNING</b>               BOB WILEY, thirties, anxious, begins brushing his teeth.                Suddenly, in trying to brush a back molar,Bob looses control                of the toothbrush and swallows half of it whole. Choking,                gasping, he tries to pull the toothbrush out.<b>               EXT.BOB WILEY'S APARTMENT BUILDING, SAME</b>               PAN and TILT up from a woman walking her dog on the streets                of Manhattan to a third floorapartment window. There is Bob                struggling frantically with the toothbrush.<b>               INT. BOB WILEY'S BATHROOM, MORNING</b>               Bobis losing the battle, and in three excruciating swallows,                like a mouse going down the throat of a snake, the toothbrush                disappears down his"}
+{"doc_id":"doc_132","qid":"","text":"The Project Gutenberg EBook of The Vortex Blaster, by Edward Elmer SmithThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Vortex BlasterAuthor: Edward Elmer SmithRelease Date: September 16, 2007 [EBook #22629]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE VORTEX BLASTER ***Produced by Greg Weeks, V. L. Simpson and the OnlineDistributed Proofreading Team athttp://www.pgdp.net    [Illustration: _The Lensman and the observer helped    Storm into his heavily padded armor. Their movements    were automatic--theointment, the devices--_]  _INTRODUCING \"Storm\" Cloud, who, through tragedy, is    destined to become the most noted figure inthe                      galaxy--THE_                     VORTEX BLASTER              (_Complete in this issue!_)                           by                   E. E. SMITH,Ph.D._Author of \"The Skylark,\" \"Skylark Three,\" \"The Skylark        of Valeron,\" the Lensman stories, etc._Safety devices that do not protect.The \"unsinkable\"ships that, before the days of Bergenholm and of atomicand cosmic energy, sank into the waters of the earth.More particularly, safety devices which, whileprotecting against oneagent of destruction, attract magnet-like another and worse. Such as thearmored cable within the walls of a wooden house. It protectstheelectrical conductors within against accidental external shorts; but,inadequately grounded as it must of necessity be, it may attract andupon occasion hasattracted the stupendous force of lightning. Then,fused, volatilized, flaming incandescent throughout the length, breadth,and height of a dwelling, that dwelling'sexistence thereafter is to bemeasured in minutes.Specifically, four lightning rods. The lightning rods protecting thechromium, glass, and plastic home of NealCloud. Those rods wereadequately grounded, grounded with copper-silver cables the bigness of astrong man's arm; for Neal Cloud, atomic physicist, knew hislightningand he was taking no chances whatever with the safety of his lovely wifeand their three wonderful kids.He did not know, he did not even suspect, thatunder certain conditionsof atmospheric potential and of ground-magnetic stress his perfectlydesigned lightning-rod system would become a super-powerfulmagnet forflying vortices of atomic disintegration.And now Neal Cloud, atomic physicist, sat at his desk in a strained,dull apathy. His face was a yellowish-graywhite, his tendoned handsgripped rigidly the arms of his chair. His eyes, hard and lifeless,stared unseeingly past the small, three-dimensional block portrait ofallthat had made life worth living.For his guardian against lightning had been a vortex-magnet at themoment when a luckless wight had attempted to abate thenuisance of a\"loose\" atomic vortex. That wight died, of course--they almost alwaysdo--and the vortex, instead of being destroyed, was simply broken upinto anindefinite number of widely-scattered new vortices. And one ofthese bits of furious, uncontrolled energy, resembling more nearly ahandful of material rived from asun than anything else with whichordinary man is familiar, darted toward and crashed downward to earththrough Neal Cloud's new house.That home did notburn; it simply exploded. Nothing of it, in it, oraround it stood a chance, for in a fractional second of time the placewhere it had been was a crater of seething,boiling lava--a crater whichfilled the atmosphere to a height of miles with poisonous vapors; whichflooded all circumambient space with lethalradiations.Cosmically, the whole thing was infinitesimal. Ever since man learnedhow to liberate intra-atomic energy, the vortices of disintegration hadbeenbreaking out of control. Such accidents had been happening, werehappening, and would continue indefinitely to happen. More than oneworld, perhaps, had beenor would be consumed to the last gram by suchloose atomic vortices. What of that? Of what real importance are a fewgrains of sand to an ocean beach fivethousand miles long, a hundredmiles wide, and ten miles deep?And even to that individual grain of sand called \"Earth\"--or, in modernparlance, \"Sol Three,\" or\"Tellus of Sol\", or simply \"Tellus\"--theaffair was of negligible importance. One man had died; but, in dying, hehad added one more page to the thick bulk ofnegative results already onfile. That Mrs. Cloud and her children had perished was merelyunfortunate. The vortex itself was not yet a real threat to Tellus. Itwas a\"new\" one, and thus it would be a long time before it would becomeother than a local menace. And well before that could happen--beforeeven the oldest of Tellus'loose vortices had eaten away much of hermass or poisoned much of her atmosphere, her scientists would havesolved the problem. It was unthinkable thatTellus, the point of originand the very center of Galactic Civilization, should cease to exist.       *       *       *       *       *But to Neal Cloud the accident was theultimate catastrophe. Hispersonal universe had crashed in ruins; what was left was not worthpicking up. He and Jo had been married for almost twenty years andthebonds between them had grown stronger, deeper, truer with every passingday. And the kids.... It _couldn't_ have happened ... fate COULDN'T dothis to him... but it had ... it could. Gone ... gone ... GONE....And to Neal Cloud, atomic physicist, sitting there at his desk in torn,despairing abstraction, with black maggotsof thought gnawing holes inhis brain, the catastrophe was doubly galling because of its cruelirony. For he was second from the top in the Atomic ResearchLaboratory;his life's work had been a search for a means of extinguishment ofexactly such loose vortices as had destroyed his all.His eyes focussed vaguely uponthe portrait. Clear, honest gray eyes ...lines of character and of humor ... sweetly curved lips, ready to smileor to kiss....He wrenched his eyes away and scribbledbriefly upon a sheet of paper.Then, getting up stiffly, he took the portrait and moved woodenly acrossthe room to a furnace. As though enshrining it he placed theplasticblock upon a refractory between the electrodes and threw a switch. Afterthe flaming arc had done its work he turned and handed the paper to atall man,dressed in plain gray leather, who had been watching him withquiet, understanding eyes. Significant enough to the initiated of theimportance of this laboratory isthe fact that it was headed by anUnattached Lensman.\"As of now, Phil, if it's QX with you.\"The Gray Lensman took the document, glanced at it, andslowly,meticulously, tore it into sixteen equal pieces.\"Uh, uh, Storm,\" he denied, gently. \"Not a resignation. Leave ofabsence, yes--indefinite--but not aresignation.\"\"Why?\" It was scarcely a question; Cloud's voice was level,uninflected. \"I won't be worth the paper I'd waste.\"\"Now, no,\" the Lensman conceded,\"but the future's another matter. Ihaven't said anything so far, because to anyone who knew you and Jo as Iknew you it was abundantly clear that nothing couldbe said.\" Two handsgripped and held. \"For the future, though, four words were uttered longago, that have never been improved upon. 'This, too, shall pass.'\"\"Youthink so?\"\"I don't think so, Storm--I know so. I've been around a long time. Youare too good a man, and the world has too much use for you, for you togo downpermanently out of control. You've got a place in the world, andyou'll be back--\" A thought struck the Lensman, and he went on in analtered tone. \"Youwouldn't--but of course you wouldn't--you couldn't.\"\"I don't think so. No, I won't--that never was any kind of a solution toany problem.\"Nor was it. Until thatmoment, suicide had not entered Cloud's mind, andhe rejected it instantly. His kind of man did not take the easy way out.After a brief farewell Cloud made hisway to an elevator and was whiskeddown to the garage. Into his big blue DeKhotinsky Sixteen Special andaway.Through traffic so heavy that front-, rear-, andside-bumpers almosttouched he drove with his wonted cool skill; even though, consciously,he did not know that the other cars were there. He slowed,turned,stopped, \"gave her the oof,\" all in correct response to flashing signalsin all shapes and colors--purely automatically. Consciously, he did notknow where hewas going, nor care. If he thought at all, his numbedbrain was simply trying to run away from its own bitter imaging--which,if he had thought at all, he wouldhave known to be a hopeless task. Buthe did not think; he simply acted, dumbly, miserably. His eyes saw,optically; his body reacted, mechanically; his thinkingbrain wascompletely in abeyance.Into a one-way skyway he rocketed, along it over the suburbs and intothe transcontinental super-highway. Edging inward, laneafter lane, hereached the \"unlimited\" way--unlimited, that is, except for beinglimited to cars of not less than seven hundred horsepower, in perfectmechanicalcondition, driven by registered, tested drivers at speeds notless than one hundred and twenty-five miles an hour--flashed hisregistry number at the controlstation, and shoved his right foot downto the floor.       *       *       *       *       *Now everyone knows that an ordinary DeKhotinsky Sporter will do ahundred andforty honestly-measured miles in one honestly measured hour;but very few ordinary drivers have ever found out how fast one of thosebrutal big souped-upSixteens can wheel. They simply haven't got what ittakes to open one up.\"Storm\" Cloud found out that day. He held that two-and-a-half-tonJuggernaut on theroad, wide open, for two solid hours. But it didn'thelp. Drive as he would, he could not outrun that which rode with him.Beside him and within him and behindhim. For Jo was there. Jo and thekids, but mostly Jo. It was Jo's car as much as it was his. \"Babe, thebig blue ox,\" was Jo's pet name for it; because, like PaulBunyan'sfabulous beast, it was pretty nearly six feet between the eyes.Everything they had ever had was that way. She was in the seat besidehim. Every dear,every sweet, every luscious, lovely memory of her wasthere ... and behind him, just out of eye-corner visibility, were thethree kids. And a whole lifetime of thisloomed ahead--a vista ofemptiness more vacuous far than the emptiest reaches of intergalacticspace. Damnation! He couldn't stand much more of--High over theroadway, far ahead, a brilliant octagon flared red. Thatmeant \"STOP!\" in any language. Cloud eased up his accelerator, easeddown his mighty brakes. He pulledup at the control station and atrimly-uniformed officer made a gesture.\"Sorry, sir,\" the policeman said, \"but you'll have to detour here.There's a loose atomicvortex beside the road up ahead--\"Oh! It's Dr. Cloud!\" Recognition flashed into the guard's eyes. \"Ididn't recognize you at first. You can go ahead, of course. It'llbe twoor three miles before you'll have to put on your armor; you'll know whenbetter than anyone can tell you. They didn't tell us they were going tosend for_you_. It's just a little new one, and the dope we got was thatthey were going to shove it off into the canyon with pressure.\"\"They didn't send for me.\" Cloud triedto smile. \"I'm just drivingaround--haven't my armor along, even. So I guess I might as well goback.\"He turned the Special around. A loose vortex--new. There"}
+{"doc_id":"doc_133","qid":"","text":"<html><head><title>Superbad Script at IMSDb.</title><meta name=\"description\" content=\"Superbad script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Superbad script, Superbad movie script, Superbad film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                SUPERBAD</b>                               Written by                      Seth Rogen & EvanGoldberg                                                      July 20, 2006<b>    OPENING CREDITS OVER SUPER-FUNKY BLAXPLOITATION-STYLE MUSIC,</b>    which buildsto an exciting crescendo filling us with the    expectation of a thrilling, action-packed opening sequence.    Instead we get:<b>    INT. SETH'S CAR -MORNING</b>    Seth, seventeen, a bit heavyset, in the midst of a sad    attempt at growing a goatee and clearly a terrible driver,    cruises along while fiddlingwith the CD player. He pulls out    his cell and dials.<b>                           SETH</b>              Yo.<b>    INTERCUT WITH:</b><b>    INT. EVAN'S HOUSE -KITCHEN - CONTINUOUS</b><b>2                                                                   2</b>    Evan, seventeen, a little too tall and slim, a boy who    clearly neverfigured out how to style his hair, is finishing    off a bowl of cereal. He is on his cell phone.<b>                           EVAN</b>              What'sup?<b>                        SETH</b>              I was doing research last night, for next              year, and I think I'm gonna go withBang              Bus.<b>                        EVAN</b>              Which one's Bang Bus?<b>                        SETH</b>              The one where they bang the chickson the              bus. Thirteen bucks a month. Total              access, live Web Cam feed. The works.              It'll be like I'm on the bus, banging              themmyself.<b>                        EVAN</b>              That stuff's bullshit, they're all faking              it. And plus, your parents are gonna look              at the"}
+{"doc_id":"doc_134","qid":"","text":"The Project Gutenberg EBook of The Flea, by Harold RussellThis eBook is for the use of anyone anywhere in the United States and mostother parts of the worldat no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included withthis eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you are located beforeusing this ebook.Title: The FleaAuthor: Harold RussellRelease Date: December 2, 2014 [EBook #47513]Language: EnglishCharacter set encoding: UTF-8***START OF THIS PROJECT GUTENBERG EBOOK THE FLEA ***Produced by Giovanni Fini, Bryan Ness and the OnlineDistributed Proofreading Team athttp://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/AmericanLibraries.)                         TRANSCRIBERâ\u0000\u0000S NOTES:â\u0000\u0000Obvious print and punctuation errors were corrected.â\u0000\u0000Underlined text has been rendered as*underlined text*.The Cambridge Manuals of Science and Literature                               THE FLEA                      CAMBRIDGE UNIVERSITYPRESS                       London: FETTER LANE, E.C.                          C. F. CLAY, MANAGER[Illustration: LOGO]                    Edinburgh: 100, PRINCESSTREET             London: H. K. LEWIS, 136, GOWER STREET, W.C.            WILLIAM WESLEY & SON, 28, ESSEX STREET, STRAND                       Berlin: A.ASHER AND CO.                       Leipzig: F. A. BROCKHAUS                     New York: G. P. PUTNAMâ\u0000\u0000S SONS             Bombay and Calcutta: MACMILLAN ANDCO., LTD.                         _All rights reserved_[Illustration:  _After a drawing by Dr Jordan_Oriental rat-flea (_Xenopsylla cheopis_ Rothsch.).Male.][Illustration; DECORATED FRONT PAGE:                               THE FLEA                                  BY                            HAROLDRUSSELL,                        B.A., F.Z.S., M.B.O.U.                        With nine illustrations                              Cambridge:                        at the UniversityPress                                 1913]                               Cambridge                      PRINTED BY JOHN CLAY, M.A.                        AT THE UNIVERSITY PRESS_Withthe exception of the coat of arms at the foot, the design onthe title page is a reproduction of one used by the earliest knownCambridge printer, John Siberch,1521_PREFACETHE aim of this book is to give in plain language some account of asmall, but noteworthy, group of insects. I have avoided, whenever Icould, usingthe technical terms of zoology. To avoid doing so entirelyis impossible in a book which describes insects in some detail. Notechnical term has, I hope, been usedwithout an explanation.Over thirty years have elapsed since Taschenbergâ\u0000\u0000s German book, _DieFlöhe_, appeared. Our knowledge has made enormousstrides since then.More species of flea are now known from the British Islands alonethan were then known from the whole world. So far as I am aware, nobook,devoted to what is known about fleas, has ever been published inEnglish. The statements about these insects in the general text-booksof entomology arefrequently antiquated and inaccurate. But there isa fairly extensive literature on the _Siphonaptera_ scattered throughscientific periodicals mostly in English,German, Italian, Dutch andRussian. I have given some references in the Bibliography.The naturalists now living who have devoted any time to the specialstudy offleas may almost be counted on oneâ\u0000\u0000s fingers. In England thereare Mr Charles Rothschild and Dr Jordan; in the Shetland Islands, theRev. James Waterston;in Germany, Taschenberg of Halle and Dampf ofKönigsberg; in Russia, Wagner of Kieff; in Holland, Oudemans of Arnhem;in Italy, Tiraboschi of Rome; in theUnited States, Carl Baker and afew others. I have not mentioned medical men who have investigatedfleas in connection with plague.There are small collections offleas in the Natural History Museums atSouth Kensington (London), Paris, Berlin, Königsberg, Vienna, Budapest,S. Petersburg and Washington. Of privatecollections Mr CharlesRothschildâ\u0000\u0000s at Tring is by far the best in the world. It containssomething like a hundred thousand specimens and is most admirablykept.I must express profound and sincere gratitude to Mr Rothschild forhaving helped me in numberless ways and advised me in many difficulties.It is well knownthat the mere mention of fleas is not only considereda subject for merriment, but in some people produces, by subjectivesuggestion, violent irritation of the skin.The scientific studyof fleas has, however, received a great impetus since it has beenascertained that they are the active agents in spreading plague.Rat-fleas areof various kinds, and not all fleas will bite man. Aknowledge of the different species has suddenly become useful. Thehumble, but ridiculous, systematist with hisglass tubes of alcohol forcollecting fleas, his microscopic distinctions, and Latin nomenclaturehas become a benefactor of humanity. Some people seem to bepracticallyimmune to the bites of fleas, but even to such persons their visits areunwelcome. A famous Frenchwoman once declared: â\u0000\u0000_Quant à  moi cenâ\u0000\u0000estpas la morsure, câ\u0000\u0000est la promenade._â\u0000\u0000                                                     H. R.  LONDON,  _September,1913_.CONTENTS  CHAP.                                                     PAGE         Preface                                               v      I.Introductory                                          1     II. The external structure of a flea                     21    III. The mouth-parts andsense-organs                     38     IV. The internal organs of a flea                        52      V. The Human flea and other species                     62     VI. The Chigoesand their allies                         74    VII. Fleas and Plague                                     83   VIII. Rat-fleas and Bat-fleas                              97  Appendix A.Systematic view of the order _Siphonaptera_    108      â\u0000\u0000    B. A list of British fleas and their hosts        110      â\u0000\u0000    C. On collecting and preservingfleas             113      â\u0000\u0000    D. Bibliography                                   118  Index                                                      122LIST OF ILLUSTRATIONS     MaleOriental rat-flea                    _frontispiece_  FIGURE                                                     PAGE  1. The larva of a flea                                       6  2. Types ofgenal and thoracic combs of a flea              26  3. The hind leg of a flea                                   30  4. The mouth-parts of a flea                                43  5. Theantenna of a flea                                    47  6. The alimentary canal of a flea                           53  7. The head of a female dog-flea and a femalecat-flea      71  8. Pregnant female of _Dermatophilus cæcata_                81CHAPTER IINTRODUCTORYFLEAS form a group of insects that have, until recently,been littlestudied by zoologists. We call them insects because they are jointedanimals, or Arthropods, with three pairs of legs in the adultcondition. The reader willbest understand the position which fleasoccupy in the general classification of animals by remembering thatthe arthropods, or jointed animals, are one of a dozensubkingdoms, orphyla, to which the various members of the great animal kingdom havebeen assigned. There is good ground for believing that all theanimalsincluded in each phylum trace their ancestry back to a common primitiveform which lived in more or less remote ages. Besides (1) _Insects_,thearthropods, or jointed animals, include (2) _Crustaceans_, such ascrabs, lobsters, shrimps, wood-lice, water-fleas and barnacles; (3)_Myriapods_, such ascentipedes and millipedes; and (4) _Arachnids_,such as spiders, scorpions, mites and ticks. To all these varied formsof animal life fleas, and other insects, aretherefore more or lessnearly related.The animals belonging to this large and important collection, whichcompose the arthropod phylum, have certain commoncharacteristicfeatures. We find a body made up of a series of more or less completelysimilar segments placed one behind the other. In this they resemblecertainworms which are far less highly organised. The body iselongated, symmetrical on either side, and the mouth and anus are atopposite ends. There is, however, animportant advance on the segmentedworms. Each typical segment carries a pair of appendages which are verydifferent from the foot-stumps that are found oncertain worms. Theseappendages of arthropods are divisible into distinct limb-segments,separated from one another by moveable joints, and acted uponbyspecial muscles.The common ancestor of all the various arthropods which are foundliving on the earth to-day, was probably composed of a series ofsegmentseach very similar to the last and each bearing a pair of verysimilar appendages. In the course of ages, these appendages have beenastoundingly modified in formand in function. So it happens thatwe find in the arthropods of the present day pairs of antennæ, ofmandibles and other mouth-parts, of pincers, of legs, ofswimming-feetand of tail pieces which on close examination can all be traced back toa common structure. The body-segments, also, have been strangelyfusedtogether and modified. All that has been so far said applies equally tofleas and to other insects.It is of great interest, when one comes to make a minutestudy ofthe form and external structure of a flea, to try and trace themodifications that must have taken place in the course of descent fromthe ancestralarthropod; but the relationship of fleas to other insectsliving at the present day is of more immediate concern. Insects arehighly specialized arthropods and fleasare highly specialized insects.This means that they have become vastly modified from the primitiveancestral type and fitted thereby for a life among certaindefined andpeculiar surroundings.It will be unnecessary to remind the reader who knows anything ofzoology or of botany that all classification is now based ondescent.Since naturalists have abandoned a belief in the special creationof the various species of animals now living on the earth and haveconclusively shown thatthey have arisen by descent and modificationfrom other forms, the problem is to reconstruct a vast genealogicaltree. What then were the ancestors of the fleasand to what otherinsects, in consequence, do they appear to be related?It is probable that the ancestors of the fleas were winged insects, andthat the organs offlight were gradually lost, as they became useless,when a partially parasitic life was adopted. At one time entomologistsregarded fleas as wingless flies and placedthem in the order Diptera.Certain supposed scaly plates on their bodies were regarded as theatrophied relics of wings. It is, however, more than doubtfulwhetherthis view is correct; and all modern entomologists who have given anyspecial study to fleas are agreed that they are sufficiently unlikeany other livinginsects to deserve a place in an order by themselves.To this order the name _Siphonaptera_ has been given: which means thatthe insects comprised in it areprovided with sucking mouths and aredestitute of wings. Another name for the order is Aphaniptera, but thisis gradually falling into disuse. Linnæus (1758) only"}
+{"doc_id":"doc_135","qid":"","text":"<html><head><title>Thunderheart Script at IMSDb.</title><meta name=\"description\" content=\"Thunderheart script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Thunderheart script, Thunderheart movie script, Thunderheart film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                       THUNDERHEART</b>                                        Written by                                        JohnFusco                                                                Fourth draft                                                                Oct. 5, 1990<b>                </b>               A DRUM.Beating slow. And deep. Like a heart.<b>               FADE IN:</b><b>               EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN</b>               Something isrising from the Black Hills. A sphere of light,                too red to be the sun. A sphere of contained fire, undulating                in crimson and ochre, and risingslowly, majestically, to                the pulse. To the DRUM. It is the sun. But it is a Paha Sapa                sunrise. A Black Hills sunrise. And it isspectacular.               The DRUM, pounds deeper, bigger, as the sun gets higher.                Stronger. Igniting a vast landscape of gentle slopesand                foothills; throwing shadows on the plains that look like, as                the Indians say, an old man dancing. The grass is golden.                Andhigh. The wind moves through it, snakes through it.                Slowly.<b>               BEGIN CREDITS.</b>               Voices; a TRADITIONAL INDIAN SONG(Lakota), summoning Wakan                Tanka - The Great Mystery.               And now, rising up over one of the small land waves, a head                comes intoview. Shoulders. A man, running in ghostly SLOW                MOTION, his long black hair trailing in the wind. The INDIAN                MAN wears only buckskinpants and a bone choker around his                neck.               Legs and arms churning, the man runs with antelope grace,                backlit by the sunrise,"}
+{"doc_id":"doc_136","qid":"","text":"<html><head><title>Meet Joe Black Script at IMSDb.</title><meta name=\"description\" content=\"Meet Joe Black script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Meet Joe Black script, Meet Joe Black movie script, Meet Joe Black film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b> M E E T   J O E   B LA C K</b> Screenplay by Bo Goldman<b> --------------------------------------------------------------</b><b> EXT. ANNANDALE-ON-HUDSON, N.Y. - 4:00AM</b> A patch of water. PULL BACK TO REVEAL more water.  BACK FARTHER TO REVEAL an expanse of river, up the bank to massive lawn running up to agreat, classic Hudson River manor house; the country estate of William Parrish.<b> INT. PARRISH COUNTRY ESTATE - 4:00 AM</b> MOVE THROUGH Frenchdoors that lead from a wide terrace into an expansive living room, DOWN wide corridors lined with Bierstadt and Cole paintings, the Hudson River School, mistsand trees and small boats and distant humans.<b> INT. PARRISH BEDROOM - 4:00 AM</b> MOVE THROUGH the doorway to reveal a master bedroom furnish-ed with exquisite simplicity, revelatory of its sleeping occupant, WILLIAM PARRISH, 64, a warm but commanding face, a man of maturity yet who exudes a glowof enthusiasm. Although asleep, there is an uncommon restlessness to him. Parrish grips his upper arm as if in pain.  Now the severity of the pain wakes him, hesqueezes his arm.  The wind comes up, through the wind a VOICE is heard distantly, or is it the wind itself:<b>      VOICE (V.O.)</b> ... Yes. Parrish blinks, hashe heard something, has he not, he is not sure, he releases his arm, his grimace of pain fades, the discomfort seems momentarily to have subsided. He rises now,crosses to the bathroom.  As he pees, a breeze outside the window, the wind again, but then the Voice comes up:<b>      VOICE (V.O.)</b> Yes... It isunmistakably a Voice, it is not the wind, Parrish has heard something, he looks around, but no one is there.  He can't finish peeing, turns back to his"}
+{"doc_id":"doc_137","qid":"","text":"The Project Gutenberg EBook of Eastern Standard Tribe, by Cory DoctorowThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.net** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ****     Please follow the copyright guidelines in this file.     **Title:Eastern Standard TribeAuthor: Cory DoctorowRelease Date: November 20, 2005 [EBook #17028]Language: English*** START OF THIS PROJECT GUTENBERGEBOOK EASTERN STANDARD TRIBE ***Eastern Standard TribeCory DoctorowCopyright 2004 CoryDoctorowdoctorow@craphound.comhttp://www.craphound.com/estTor Books, March 2004ISBN: 0765307596--=======Blurbs:=======\"Utterlycontemporary and deeply peculiar -- a hard combination to beat(or, these days, to find).\"- William Gibson,Author of Neuromancer--\"Cory Doctorow knocks meout. In a good way.\"- Pat Cadigan,Author of Synners--\"Cory Doctorow is just far enough ahead of the game to give you that authenticchill of the future, and closeenough to home for us to know that he's talkingabout where we live as well as where we're going to live; a connected worldfull of disconnected people. One ofwhom is about to lobotomise himself throughthe nostril with a pencil. Funny as hell and sharp as steel.\"- Warren Ellis,Author ofTransmetropolitan--=======================A note about this book:=======================Last year, in January 2003, my first novel [http://craphound.com/down ] cameout. I was 31 years old, and I'd been calling myself a novelist since the age of12. It was the storied dream-of-a-lifetime,come-true-at-last. I was and amproud as hell of that book, even though it is just one book among many releasedlast year, better than some, poorer than others;and even though the print-run(which sold out very quickly!) though generous by science fiction standards,hardly qualifies it as a work of mass entertainment.Thething that's extraordinary about that first novel is that it was releasedunder terms governed by a Creative Commons [ http://creativecommons.org ]license thatallowed my readers to copy the book freely and distribute it farand wide. Hundreds of thousands of copies of the book were made and distributedthis way.*Hundreds* of *thousands*.Today, I release my second novel, and my third [http://www.argosymag.com/NextIssue.html ], a collaboration with Charlie Strossisdue any day, and two [http://www.fantasticmetropolis.com/show.html?fn.preview_doctorow ] more [http://www.craphound.com/usrbingodexcerpt.txt ] areunder contract. My career asa novelist is now well underway -- in other words, I am firmly afoot on a longroad that stretches into the future: my future, sciencefiction's future,publishing's future and the future of the world.The future is my business, more or less. I'm a science fiction writer. One wayto know the future is tolook good and hard at the present. Here's a thing I'venoticed about the present: MORE PEOPLE ARE READING MORE WORDS OFF OF MORESCREENS THAN EVERBEFORE. Here's another thing I've noticed about the present:FEWER PEOPLE ARE READING FEWER WORDS OFF OF FEWER PAGES THAN EVER BEFORE.Thatdoesn't mean that the book is *dying* -- no more than the advent of the printingpress and the de-emphasis of Bible-copying monks meant that the book wasdying-- but it does mean that the book is changing. I think that *literature* isalive and well: we're reading our brains out! I just think that the complexsocialpractice of \"book\" -- of which a bunch of paper pages between two coversis the mere expression -- is transforming and will transform further.I intend on figuringout what it's transforming into. I intend on figuring outthe way that some writers -- that *this writer*, right here, wearing myunderwear -- is going to get rich andfamous from his craft. I intend onfiguring out how *this writer's* words can become part of the social discourse,can be relevant in the way that literature at itsbest can be.I don't know what the future of book looks like. To figure it out, I'm doingsome pretty basic science. I'm peering into this opaque, inscrutable systemofpublishing as it sits in the year 2004, and I'm making a perturbation. I'mstirring the pot to see what surfaces, so that I can see if the system revealsitself to meany more thoroughly as it roils. Once that happens, maybe I'll beable to formulate an hypothesis and try an experiment or two and maybe -- justmaybe -- I'll getto the bottom of book-in-2004 and beat the competition tomaking it work, and maybe I'll go home with all (or most) of the marbles.It's a long shot, but I'm apretty sharp guy, and I know as much about thisstuff as anyone out there. More to the point, trying stuff and doing researchyields a non-zero chance of success.The alternatives -- sitting pat, or worse,getting into a moral panic about \"piracy\" and accusing the readers who areblazing new trail of \"the moral equivalent ofshoplifting\" -- have a *zero*percent chance of success.Most artists never \"succeed\" in the sense of attaining fame and modest fortune.A career in the arts is arisky long-shot kind of business. I'm doing what I canto sweeten my odds.So here we are, and here is novel number two, a book called Eastern StandardTribe,which you can walk into shops all over the world and buy [http://craphound.com/est/buy.php ] as a physical artifact -- a very nicephysical artifact, designed byChesley-award-winning art director Irene Galloand her designer Shelley Eshkar, published by Tor Books, a huge, profit-makingarm of an enormous, multinationalpublishing concern. Tor is watching whathappens to this book nearly as keenly as I am, because we're all very interestedin what the book is turning into.To thatend, here is the book as a non-physical artifact. A file. A bunch oftext, slithery bits that can cross the world in an instant, using the Internet,a tool designed tocopy things very quickly from one place to another; and usingpersonal computers, tools designed to slice, dice and rearrange collections ofbits. These toolsdemand that their users copy and slice and dice -- rip, mixand burn! -- and that's what I'm hoping you will do with this.Not (just) because I'm a swell guy, abig-hearted slob. Not because Tor is runby addlepated dot-com refugees who have been sold some snake-oil about thee-book revolution. Because you -- thereaders, the slicers, dicers and copiers-- hold in your collective action the secret of the future of publishing.Writers are a dime a dozen. Everybody's got a novel inher or him. Readers are aprecious commodity. You've got all the money and all the attention and you runthe word-of-mouth network that marks the differencebetween a little book, soonforgotten, and a book that becomes a lasting piece of posterity for its author,changing the world in some meaningful way.I'munashamedly exploiting your imagination. Imagine me a new practice of book,readers. Take this novel and pass it from inbox to inbox, through your IMclients,over P2P networks. Put it on webservers. Convert it to weird, obscureebook formats. Show me -- and my colleagues, and my publisher -- what the futureof booklooks like.I'll keep on writing them if you keep on reading them. But as cool and wonderfulas writing is, it's not half so cool as inventing the future. Thanks forhelpingme do it.Here's a summary of the license: http://creativecommons.org/licenses/by-nd-nc/1.0 Attribution. The licensor permits others to copy, distribute,display, and perform the work. In return, licensees must give the original author credit. No Derivative Works. The licensor permits others to copy, distribute,display and perform only unaltered copies of the work -- not derivative works based on it. Noncommercial. The licensor permits others to copy, distribute, display,and perform the work. In return, licensees may not use the work for commercial purposes -- unless they get the licensor's permission.And here's the licenseitself: http://creativecommons.org/licenses/by-nd-nc/1.0-legalcode THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVECOMMONS PUBLIC LICENSE (\"CCPL\" OR \"LICENSE\"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORKOTHER THAN AS AUTHORIZED UNDER THIS LICENSE IS PROHIBITED. BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREETO BE BOUND BY THE TERMS OF THIS LICENSE. THE LICENSOR GRANTS YOU THE RIGHTS CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OFSUCH TERMS AND CONDITIONS. 1. Definitions a. \"Collective Work\" means a work, such as a periodical issue, anthology or encyclopedia, in which the Work in itsentirety in unmodified form, along with a number of other contributions, constituting separate and independent works in themselves, are assembled into acollective whole. A work that constitutes a Collective Work will not be considered a Derivative Work (as defined below) for the purposes of this License. b.\"Derivative Work\" means a work based upon the Work or upon the Work and other pre-existing works, such as a translation, musical arrangement, dramatization,fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast,transformed, or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License. c.\"Licensor\" means the individual or entity that offers the Work under the terms of this License. d. \"Original Author\" means the individual or entity who created theWork. e. \"Work\" means the copyrightable work of authorship offered under the terms of this License. f. \"You\" means an individual or entity exercising rights underthis License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor toexercise rights under this License despite a previous violation. 2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arisingfrom fair use, first sale or other limitations on the exclusive rights of the copyright owner under copyright law or other applicable laws. 3. License Grant. Subjectto the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicablecopyright) license to exercise the rights in the Work as stated below: a. to reproduce the Work, to incorporate the Work into one or more Collective Works, and toreproduce the Work as incorporated in the Collective Works; b. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly bymeans of a digital audio transmission the Work including as incorporated in Collective Works; The above rights may be exercised in all media and formats whethernow known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other mediaand formats. All rights not expressly granted by Licensor are hereby reserved. 4. Restrictions. The license granted in Section 3 above is expressly made subject to"}
+{"doc_id":"doc_138","qid":"","text":"<html><head><title>Die Hard 2 Script at IMSDb.</title><meta name=\"description\" content=\"Die Hard 2 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Die Hard 2 script, Die Hard 2 movie script, Die Hard 2 film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                     DIE HARD 2</b>                                     Written by                                  Doug Richardson                                    Revisionsby                                 Steven E. de Souza<b>                                                        SHOOTING SCRIPT</b>                                                      November16, 1989                                                  <b>                         (X)</b><b>                         DIE HARD 2</b>          WHILE WE'RE IN BLACK we HEAR aPNEUMATIC \"KA-CHUNK\" and then<b>                         MCCLANE'S VOICE</b>          Holy shit, whoa, whoa -<b>                         FADE IN:</b><b>          1EXT. DULLES TERMINAL - DAY 1</b>          JOHN MCCLANE, long topcoat FLAPPING, comes running out of the          terminal towards an AIRPORT COP in plasticcovered uniform who is          supervising a TOW TRUCK DRIVER who in turn is manhandling a          sedate sedan with Virginia plates and a \"GRANDMOTHER ONBOARD\"          sign on the rear window.<b>                         MCCLANE</b>          I'm here, I'm here, false alarm, let's          just let her down nice and easy-<b>                         COP</b>          Sure. At the impound lot.<b>                         (POINTING)</b>          Next time, read thesign.<b>                         MCCLANE</b>          You don't understand, I'm just meeting          my wife's-plane - you gotta give me          this carback.<b>                         COP</b>          Sure. Tomorrow 8 to four, you pay          40 bucks, we give it back.<b>                         MCCLANE</b>          This ismy mother in law's car. She          already hates me because I'm not a<b>                         DENTIST"}
+{"doc_id":"doc_139","qid":"","text":"The Project Gutenberg EBook of Huntingtower, by John BuchanThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: HuntingtowerAuthor: John BuchanRelease Date: December 6, 2011 [EBook #3782]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK HUNTINGTOWER ***Produced by Edward A. White, Robert F. Jaffe, KirstenTozer, Charlene Taylor, Cathy Maxam and the OnlineDistributedProofreading Team at http://www.pgdp.net (Thisbook was produced from scanned images of public domainmaterial from the Google Printproject.)TRANSCRIBER'S NOTE:In footnote number 1 (page 72) the author refers toa sketch on the frontispiece of the book.  At the time of posting thisbook toProject Gutenberg, it was verified by the content provider thatthere is no frontispiece in this particular edition of Huntingtower.In the plain-text version of thisebook italics are indicated by_underscores_.Obvious typographical errors have been corrected without comment. Oneexample of an obvious typographical error ison page 237 where the word\"shamefaceedly\" was changed to \"shamefacedly\". Other than obvioustypographical errors, the author's original spelling has beenleftintact. This includes the use of unconventional spelling and dialect.Inconsistencies in the author's use of hyphens and accent marks havebeen left unchanged,as in the original text.The following four changes were made to punctuation and spelling:     1. Page 96: An apostrophe was removed from the word \"an'\" inthe     phrase \"I've found a ladder, an auld yin\" (an old one).     2. Page 100: A question mark was changed to a period in the phrase     \"... he realised that hewas in the presence of something the like     of which he had never met in his life before.\"     4. Page 187: An apostrophe was removed from the word \"wing's\"in     the phrase \"... take the wings off a seagull.\"  HUNTINGTOWER  JOHN BUCHAN_By_ JOHN BUCHAN  HUNTINGTOWER  THE PATH OF THE KING  MR.STANDFAST  GREENMANTLE  THE WATCHERS BY THE THRESHOLD  SALUTE TO ADVENTURES  PRESTER JOHN  THE POWER HOUSE  THE THIRTY-NINESTEPS  THE BATTLE OF THE SOMMENEW YORK: GEORGE H. DORAN COMPANY  HUNTINGTOWER  BY  JOHN BUCHAN  NEW [Illustration] YORK  GEORGE H.DORAN COMPANY  COPYRIGHT, 1922,  BY GEORGE H. DORAN COMPANY  [Illustration]  HUNTINGTOWER.  II  PRINTED IN THE UNITED STATES OFAMERICATOW. P. KER_If the Professor of Poetry in the University of Oxford has notforgotten the rock whence he was hewn, this simple story may give himanhour of entertainment. I offer it to you because I think you have met myfriend Dickson McCunn, and I dare to hope that you may even in your manysojourningsin the Westlands have encountered one or other of theGorbals Die-Hards. If you share my kindly feeling for Dickson, you willbe interested in some facts which Ihave lately ascertained about hisancestry. In his veins there flows a portion of the redoubtable blood ofthe Nicol Jarvies. When the Bailie, you remember,returned from hisjourney to Rob Roy beyond the Highland Line, he espoused his housekeeperMattie, \"an honest man's daughter and a near cousin o' the Lairdo'Limmerfield.\" The union was blessed with a son, who succeeded to theBailie's business and in due course begat daughters, one of whom marrieda certainEbenezer McCunn, of whom there is record in the archives ofthe Hammermen of Glasgow. Ebenezer's grandson, Peter by name, wasProvost of Kirkintilloch, andhis second son was the father of my heroby his marriage with Robina Dickson, eldest daughter of one RobertDickson, a tenant-farmer in the Lennox. So there arecoloured threads inMr. McCunn's pedigree, and, like the Bailie, he can count kin, should hewish, with Rob Roy himself through \"the auld wife ayont the fireatStuckavrallachan.\"__Such as it is, I dedicate to you the story, and ask for no betterverdict on it than that of that profound critic of life and literature,Mr.Huckleberry Finn, who observed of the_ Pilgrim's Progress, _that he\"considered the statements interesting, but steep.\"_J.B.CONTENTS                                                    PAGE  PROLOGUE                                            11  CHAPTER     I HOW A RETIRED PROVISION MERCHANTFELT        THE IMPULSE OF SPRING                         17    II OF MR. JOHN HERITAGE AND THE DIFFERENCE        IN POINTS OF VIEW                             28   IIIHOW CHILDE ROLAND AND ANOTHER CAME TO        THE DARK TOWER                                46    IV DOUGAL                                         70     V OF THEPRINCESS IN THE TOWER                   85    VI HOW MR. McCUNN DEPARTED WITH RELIEF AND        RETURNED WITH RESOLUTION                     114   VIISUNDRY DOINGS IN THE MIRK                     135  VIII HOW A MIDDLE-AGED CRUSADER ACCEPTED A        CHALLENGE                                    154    IX THEFIRST BATTLE OF THE CRUIVES               171     X DEALS WITH AN ESCAPE AND A JOURNEY            189    XI GRAVITY OUT OF BED                            209   XIIHOW MR. McCUNN COMMITTED AN ASSAULT        UPON AN ALLY                                 225  XIII THE COMING OF THE DANISH BRIG                 244   XIV THESECOND BATTLE OF THE CRUIVES              257    XV THE GORBALS DIE-HARDS GO INTO ACTION          286   XVI IN WHICH A PRINCESS LEAVES A DARKTOWER        AND A PROVISION MERCHANT RETURNS TO        HIS FAMILY                                   306HUNTINGTOWERPROLOGUEThe girl came into the roomwith a darting movement like a swallow,looked round her with the same birdlike quickness, and then ran acrossthe polished floor to where a young man sat on asofa with one leg laidalong it.\"I have saved you this dance, Quentin,\" she said, pronouncing the namewith a pretty staccato. \"You must be so lonely not dancing,so I willsit with you. What shall we talk about?\"The young man did not answer at once, for his gaze was held by her face.He had never dreamed that the gawkyand rather plain little girl whom hehad romped with long ago in Paris would grow into such a being. Theclean delicate lines of her figure, the exquisite purecolouring of hairand skin, the charming young arrogance of the eyes--this was beauty, hereflected, a miracle, a revelation. Her virginal fineness and herdress,which was the tint of pale fire, gave her the air of a creature of iceand flame.\"About yourself, please, Saskia,\" he said. \"Are you happy now that youare agrown-up lady?\"\"Happy!\" Her voice had a thrill in it like music, frosty music. \"Thedays are far too short. I grudge the hours when I must sleep. They sayit is sadfor me to make my début in a time of war. But the world isvery kind to me, and after all it is a victorious war for our Russia.And listen to this, Quentin.To-morrow I am to be allowed to beginnursing at the Alexander Hospital. What do you think of that?\"The time was January, 1916, and the place a room in thegreat NirskiPalace. No hint of war, no breath from the snowy streets, entered thatcurious chamber where Prince Peter Nirski kept some of the chief of hisfamoustreasures. It was notable for its lack of drapery andupholstering--only a sofa or two and a few fine rugs on the cedar floor.The walls were of a green marbleveined like malachite, the ceiling wasof darker marble inlaid with white intaglios. Scattered everywhere weretables and cabinets laden with celadon china, andcarved jade, andivories, and shimmering Persian and Rhodian vessels. In all the roomthere was scarcely anything of metal and no touch of gilding or brightcolour.The light came from green alabaster censers, and the place swamin a cold green radiance like some cavern below the sea. The air waswarm and scented, andthough it was very quiet there, a hum of voicesand the strains of dance music drifted to it from the pillared corridorin which could be seen the glare of lights fromthe great ballroombeyond.The young man had a thin face with lines of suffering round the mouthand eyes. The warm room had given him a high colour, whichincreasedhis air of fragility. He felt a little choked by the place, which seemedto him for both body and mind a hot-house, though he knew very well thatthe NirskiPalace on this gala evening was in no way typical of the landor its masters. Only a week ago he had been eating black bread with itsowner in a hut on theVolhynian front.\"You have become amazing, Saskia,\" he said. \"I won't pay my oldplayfellow compliments; besides, you must be tired of them. I wishyouhappiness all the day long like a fairy-tale Princess. But a crock likeme can't do much to help you to it. The service seems to be the wrongway round, for hereyou are wasting your time talking to me.\"She put her hand on his. \"Poor Quentin! Is the leg very bad?\"He laughed. \"Oh, no. It's mending famously. I'll be able toget aboutwithout a stick in another month, and then you've got to teach me allthe new dances.\"The jigging music of a two-step floated down the corridor. Itmade theyoung man's brow contract, for it brought to him a vision of dead facesin the gloom of a November dusk. He had once had a friend who used towhistlethat air, and he had seen him die in the Hollebeke mud. Therewas something _macabre_ in the tune.... He was surely morbid thisevening, for there seemedsomething _macabre_ about the house, the room,the dancing, all Russia.... These last days he had suffered from a senseof calamity impending, of a dark curtaindrawing down upon a splendidworld. They didn't agree with him at the Embassy, but he could not getrid of the notion.The girl saw his sudden abstraction.\"Whatare you thinking about?\" she asked. It had been her favouritequestion as a child.\"I was thinking that I rather wished you were still in Paris.\"\"But why?\"\"Because Ithink you would be safer.\"\"Oh, what nonsense, Quentin dear! Where should I be safe if not in myown Russia, where I have friends--oh, so many, and tribes andtribes ofrelations? It is France and England that are unsafe with the German gunsgrumbling at their doors.... My complaint is that my life is toocosseted andpadded. I am too secure, and I do not want to be secure.\"The young man lifted a heavy casket from a table at his elbow. It was ofdark green imperial jade, with awonderfully carved lid. He took off thelid and picked up three small oddments of ivory--a priest with a beard,a tiny soldier and a draught-ox. Putting the three in atriangle, hebalanced the jade box on them.\"Look, Saskia! If you were living inside that box you would think itvery secure. You would note the thickness of thewalls and the hardnessof the stone, and you would dream away in a peaceful green dusk. But allthe time it would be held up by trifles--brittle trifles.\"She shookher head. \"You do not understand. You cannot understand. Weare a very old and strong people with roots deep, deep in the earth.\"\"Please God you are right,\" hesaid. \"But, Saskia, you know that if Ican ever serve you, you have only to command me. Now I can do no morefor you than the mouse for the lion--at thebeginning of the story. Butthe story had an end, you remember, and some day it may be in my powerto help you. Promise to send for me.\"The girl laughed"}
+{"doc_id":"doc_140","qid":"","text":"The Project Gutenberg EBook of The Woodlanders, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The WoodlandersAuthor: Thomas HardyPosting Date: August 30, 2008 [EBook #482]Release Date: April, 1996Language: English***START OF THIS PROJECT GUTENBERG EBOOK THE WOODLANDERS ***THE WOODLANDERSbyThomas HardyCHAPTER I.The rambler who, for old association orother reasons, should trace theforsaken coach-road running almost in a meridional line from Bristol tothe south shore of England, would find himself during thelatter halfof his journey in the vicinity of some extensive woodlands,interspersed with apple-orchards.  Here the trees, timber orfruit-bearing, as the case may be,make the wayside hedges ragged bytheir drip and shade, stretching over the road with easefulhorizontality, as if they found the unsubstantial air anadequatesupport for their limbs.  At one place, where a hill is crossed, thelargest of the woods shows itself bisected by the high-way, as the headof thick hair isbisected by the white line of its parting.  The spotis lonely.The physiognomy of a deserted highway expresses solitude to a degreethat is not reached by meredales or downs, and bespeaks a tomb-likestillness more emphatic than that of glades and pools. The contrast ofwhat is with what might be probably accounts forthis.  To step, forinstance, at the place under notice, from the hedge of the plantationinto the adjoining pale thoroughfare, and pause amid its emptiness foramoment, was to exchange by the act of a single stride the simpleabsence of human companionship for an incubus of the forlorn.At this spot, on the loweringevening of a by-gone winter's day, therestood a man who had entered upon the scene much in the aforesaidmanner.  Alighting into the road from a stile hard by,he, though by nomeans a \"chosen vessel\" for impressions, was temporarily influenced bysome such feeling of being suddenly more alone than before hehademerged upon the highway.It could be seen by a glance at his rather finical style of dress thathe did not belong to the country proper; and from his air, afterawhile, that though there might be a sombre beauty in the scenery, musicin the breeze, and a wan procession of coaching ghosts in the sentimentof this oldturnpike-road, he was mainly puzzled about the way.  Thedead men's work that had been expended in climbing that hill, theblistered soles that had trodden it,and the tears that had wetted it,were not his concern; for fate had given him no time for any butpractical things.He looked north and south, and mechanicallyprodded the ground with hiswalking-stick.  A closer glance at his face corroborated the testimonyof his clothes.  It was self-complacent, yet there was smallapparentground for such complacence.  Nothing irradiated it; to the eye of themagician in character, if not to the ordinary observer, the expressionenthronedthere was absolute submission to and belief in a littleassortment of forms and habitudes.At first not a soul appeared who could enlighten him as he desired,orseemed likely to appear that night.  But presently a slight noise oflaboring wheels and the steady dig of a horse's shoe-tips becameaudible; and there loomed inthe notch of the hill and plantation thatthe road formed here at the summit a carrier's van drawn by a singlehorse.  When it got nearer, he said, with some reliefto himself, \"'TisMrs. Dollery's--this will help me.\"The vehicle was half full of passengers, mostly women.  He held up hisstick at its approach, and the woman whowas driving drew rein.\"I've been trying to find a short way to Little Hintock this lasthalf-hour, Mrs. Dollery,\" he said.  \"But though I've been to GreatHintock andHintock House half a dozen times I am at fault about thesmall village.  You can help me, I dare say?\"She assured him that she could--that as she went to GreatHintock hervan passed near it--that it was only up the lane that branched out ofthe lane into which she was about to turn--just ahead. \"Though,\"continued Mrs.Dollery, \"'tis such a little small place that, as a towngentleman, you'd need have a candle and lantern to find it if ye don'tknow where 'tis.  Bedad! I wouldn't livethere if they'd pay me to.Now at Great Hintock you do see the world a bit.\"He mounted and sat beside her, with his feet outside, where they wereever and anonbrushed over by the horse's tail.This van, driven and owned by Mrs. Dollery, was rather a movableattachment of the roadway than an extraneous object, to thosewho knewit well.  The old horse, whose hair was of the roughness and color ofheather, whose leg-joints, shoulders, and hoofs were distorted byharness anddrudgery from colthood--though if all had their rights, heought, symmetrical in outline, to have been picking the herbage of someEastern plain instead of tugginghere--had trodden this road almostdaily for twenty years.  Even his subjection was not made congruousthroughout, for the harness being too short, his tail wasnot drawnthrough the crupper, so that the breeching slipped awkwardly to oneside.  He knew every subtle incline of the seven or eight miles ofground betweenHintock and Sherton Abbas--the market-town to which hejourneyed--as accurately as any surveyor could have learned it by aDumpy level.The vehicle had asquare black tilt which nodded with the motion of thewheels, and at a point in it over the driver's head was a hook to whichthe reins were hitched at times, whenthey formed a catenary curve fromthe horse's shoulders.  Somewhere about the axles was a loose chain,whose only known purpose was to clink as it went.  Mrs.Dollery, havingto hop up and down many times in the service of her passengers, wore,especially in windy weather, short leggings under her gown formodesty'ssake, and instead of a bonnet a felt hat tied down with ahandkerchief, to guard against an earache to which she was frequentlysubject.  In the rear of the van wasa glass window, which she cleanedwith her pocket-handkerchief every market-day before starting.  Lookingat the van from the back, the spectator could thus seethrough itsinterior a square piece of the same sky and landscape that he sawwithout, but intruded on by the profiles of the seated passengers, who,as theyrumbled onward, their lips moving and heads nodding in animatedprivate converse, remained in happy unconsciousness that theirmannerisms and facialpeculiarities were sharply defined to the publiceye.This hour of coming home from market was the happy one, if not thehappiest, of the week for them.  Snuglyensconced under the tilt, theycould forget the sorrows of the world without, and survey life andrecapitulate the incidents of the day with placid smiles.Thepassengers in the back part formed a group to themselves, and whilethe new-comer spoke to the proprietress, they indulged in aconfidential chat about him asabout other people, which the noise ofthe van rendered inaudible to himself and Mrs. Dollery, sitting forward.\"'Tis Barber Percombe--he that's got the waxenwoman in his window atthe top of Abbey Street,\" said one.  \"What business can bring him fromhis shop out here at this time and not a journeyman hair-cutter,but amaster-barber that's left off his pole because 'tis not genteel!\"They listened to his conversation, but Mr. Percombe, though he hadnodded and spokengenially, seemed indisposed to gratify the curiositywhich he had aroused; and the unrestrained flow of ideas which hadanimated the inside of the van before hisarrival was checkedthenceforward.Thus they rode on till they turned into a half-invisible little lane,whence, as it reached the verge of an eminence, could bediscerned inthe dusk, about half a mile to the right, gardens and orchards sunk ina concave, and, as it were, snipped out of the woodland.  Fromthisself-contained place rose in stealthy silence tall stems of smoke,which the eye of imagination could trace downward to their root onquiet hearth-stonesfestooned overhead with hams and flitches.  It wasone of those sequestered spots outside the gates of the world where mayusually be found more meditationthan action, and more passivity thanmeditation; where reasoning proceeds on narrow premises, and results ininferences wildly imaginative; yet where, from timeto time, no lessthan in other places, dramas of a grandeur and unity truly Sophocleanare enacted in the real, by virtue of the concentrated passions andcloselyknit interdependence of the lives therein.This place was the Little Hintock of the master-barber's search. Thecoming night gradually obscured the smoke of thechimneys, but theposition of the sequestered little world could still be distinguishedby a few faint lights, winking more or less ineffectually through theleaflessboughs, and the undiscerned songsters they bore, in the formof balls of feathers, at roost among them.Out of the lane followed by the van branched a yet smallerlane, at thecorner of which the barber alighted, Mrs. Dollery's van going on to thelarger village, whose superiority to the despised smaller one as anexemplar ofthe world's movements was not particularly apparent in itsmeans of approach.\"A very clever and learned young doctor, who, they say, is in leaguewith the devil,lives in the place you be going to--not because there'sanybody for'n to cure there, but because 'tis the middle of hisdistrict.\"The observation was flung at thebarber by one of the women at parting,as a last attempt to get at his errand that way.But he made no reply, and without further pause the pedestrianplungedtowards the umbrageous nook, and paced cautiously over the dead leaveswhich nearly buried the road or street of the hamlet. As very fewpeople exceptthemselves passed this way after dark, a majority of thedenizens of Little Hintock deemed window-curtains unnecessary; and onthis account Mr. Percombe madeit his business to stop opposite thecasements of each cottage that he came to, with a demeanor which showedthat he was endeavoring to conjecture, from thepersons and things heobserved within, the whereabouts of somebody or other who resided here.Only the smaller dwellings interested him; one or two houses,whosesize, antiquity, and rambling appurtenances signified thatnotwithstanding their remoteness they must formerly have been, if theywere not still, inhabitedby people of a certain social standing, beingneglected by him entirely.  Smells of pomace, and the hiss offermenting cider, which reached him from the backquarters of othertenements, revealed the recent occupation of some of the inhabitants,and joined with the scent of decay from the perishing leaves underfoot.Halfa dozen dwellings were passed without result.  The next, whichstood opposite a tall tree, was in an exceptional state of radiance,the flickering brightness from theinside shining up the chimney andmaking a luminous mist of the emerging smoke.  The interior, as seenthrough the window, caused him to draw up with aterminative air andwatch.  The house was rather large for a cottage, and the door, whichopened immediately into the living-room, stood ajar, so that a ribbonoflight fell through the opening into the dark atmosphere without.Every now and then a moth, decrepit from the late season, would flitfor a moment across the"}
+{"doc_id":"doc_141","qid":"","text":"The Project Gutenberg EBook of The Gambler, by Fyodor DostoyevskyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The GamblerAuthor: Fyodor DostoyevskyPosting Date: March 1, 2009 [EBook #2197]Release Date: May, 2000[Last updated: July 24,2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GAMBLER ***Produced by Martin Adamson.  HTML version by Al Haines.THEGAMBLERByFYODOR DOSTOYEVSKYTranslated by C. J. HogarthIAt length I returned from two weeks leave of absence to find that mypatrons had arrived threedays ago in Roulettenberg. I received fromthem a welcome quite different to that which I had expected. TheGeneral eyed me coldly, greeted me in ratherhaughty fashion, anddismissed me to pay my respects to his sister. It was clear that fromSOMEWHERE money had been acquired. I thought I could even detectacertain shamefacedness in the General's glance. Maria Philipovna, too,seemed distraught, and conversed with me with an air of detachment.Nevertheless, shetook the money which I handed to her, counted it, andlistened to what I had to tell. To luncheon there were expected thatday a Monsieur Mezentsov, a Frenchlady, and an Englishman; for,whenever money was in hand, a banquet in Muscovite style was alwaysgiven. Polina Alexandrovna, on seeing me, inquired why Ihad been solong away. Then, without waiting for an answer, she departed. Evidentlythis was not mere accident, and I felt that I must throw some lightuponmatters. It was high time that I did so.I was assigned a small room on the fourth floor of the hotel (for youmust know that I belonged to the General's suite). Sofar as I couldsee, the party had already gained some notoriety in the place, whichhad come to look upon the General as a Russian nobleman of greatwealth.Indeed, even before luncheon he charged me, among other things,to get two thousand-franc notes changed for him at the hotel counter,which put us in aposition to be thought millionaires at all events fora week! Later, I was about to take Mischa and Nadia for a walk when asummons reached me from the staircasethat I must attend the General.He began by deigning to inquire of me where I was going to take thechildren; and as he did so, I could see that he failed to lookme inthe eyes. He WANTED to do so, but each time was met by me with such afixed, disrespectful stare that he desisted in confusion. In pompouslanguage,however, which jumbled one sentence into another, and atlength grew disconnected, he gave me to understand that I was to leadthe children altogether awayfrom the Casino, and out into the park.Finally his anger exploded, and he added sharply:\"I suppose you would like to take them to the Casino to playroulette?Well, excuse my speaking so plainly, but I know how addicted you are togambling. Though I am not your mentor, nor wish to be, at least I havea right torequire that you shall not actually compromise me.\"\"I have no money for gambling,\" I quietly replied.\"But you will soon be in receipt of some,\" retorted theGeneral,reddening a little as he dived into his writing desk and appliedhimself to a memorandum book. From it he saw that he had 120 roubles ofmine in hiskeeping.\"Let us calculate,\" he went on. \"We must translate these roubles intothalers. Here--take 100 thalers, as a round sum. The rest will be safein myhands.\"In silence I took the money.\"You must not be offended at what I say,\" he continued. \"You are tootouchy about these things. What I have said I have saidmerely as awarning. To do so is no more than my right.\"When returning home with the children before luncheon, I met acavalcade of our party riding to viewsome ruins. Two splendidcarriages, magnificently horsed, with Mlle. Blanche, Maria Philipovna,and Polina Alexandrovna in one of them, and the Frenchman,theEnglishman, and the General in attendance on horseback! The passers-bystopped to stare at them, for the effect was splendid--the Generalcould not haveimproved upon it. I calculated that, with the 4000francs which I had brought with me, added to what my patrons seemedalready to have acquired, the party mustbe in possession of at least7000 or 8000 francs--though that would be none too much for Mlle.Blanche, who, with her mother and the Frenchman, was alsolodging inour hotel. The latter gentleman was called by the lacqueys \"Monsieur leComte,\" and Mlle. Blanche's mother was dubbed \"Madame la Comtesse.\"Perhapsin very truth they WERE \"Comte et Comtesse.\"I knew that \"Monsieur le Comte\" would take no notice of me when we metat dinner, as also that the General wouldnot dream of introducing us,nor of recommending me to the \"Comte.\" However, the latter had livedawhile in Russia, and knew that the person referred to as an\"uchitel\"is never looked upon as a bird of fine feather. Of course, strictlyspeaking, he knew me; but I was an uninvited guest at the luncheon--theGeneral hadforgotten to arrange otherwise, or I should have beendispatched to dine at the table d'hote. Nevertheless, I presentedmyself in such guise that the Generallooked at me with a touch ofapproval; and, though the good Maria Philipovna was for showing me myplace, the fact of my having previously met the Englishman,Mr. Astley,saved me, and thenceforward I figured as one of the company.This strange Englishman I had met first in Prussia, where we hadhappened to sitvis-a-vis in a railway train in which I was travellingto overtake our party; while, later, I had run across him in France,and again in Switzerland--twice within thespace of two weeks! Tothink, therefore, that I should suddenly encounter him again here, inRoulettenberg! Never in my life had I known a more retiring man, forhewas shy to the pitch of imbecility, yet well aware of the fact (for hewas no fool). At the same time, he was a gentle, amiable sort of anindividual, and, even onour first encounter in Prussia I had contrivedto draw him out, and he had told me that he had just been to the NorthCape, and was now anxious to visit the fair atNizhni Novgorod. How hehad come to make the General's acquaintance I do not know, but,apparently, he was much struck with Polina. Also, he was delightedthatI should sit next him at table, for he appeared to look upon me as hisbosom friend.During the meal the Frenchman was in great feather: he was discursiveandpompous to every one. In Moscow too, I remembered, he had blown agreat many bubbles. Interminably he discoursed on finance and Russianpolitics, andthough, at times, the General made feints to contradicthim, he did so humbly, and as though wishing not wholly to lose sightof his own dignity.For myself, I wasin a curious frame of mind. Even before luncheon washalf finished I had asked myself the old, eternal question: \"WHY do Icontinue to dance attendance upon theGeneral, instead of having lefthim and his family long ago?\" Every now and then I would glance atPolina Alexandrovna, but she paid me no attention; untileventually Ibecame so irritated that I decided to play the boor.First of all I suddenly, and for no reason whatever, plunged loudly andgratuitously into the generalconversation. Above everything I wantedto pick a quarrel with the Frenchman; and, with that end in view Iturned to the General, and exclaimed in an overbearingsort ofway--indeed, I think that I actually interrupted him--that that summerit had been almost impossible for a Russian to dine anywhere at tablesd'hote. TheGeneral bent upon me a glance of astonishment.\"If one is a man of self-respect,\" I went on, \"one risks abuse by sodoing, and is forced to put up with insults ofevery kind. Both atParis and on the Rhine, and even in Switzerland--there are so manyPoles, with their sympathisers, the French, at these tables d'hote thatonecannot get a word in edgeways if one happens only to be a Russian.\"This I said in French. The General eyed me doubtfully, for he did notknow whether to beangry or merely to feel surprised that I should sofar forget myself.\"Of course, one always learns SOMETHING EVERYWHERE,\" said the Frenchmanin a careless,contemptuous sort of tone.\"In Paris, too, I had a dispute with a Pole,\" I continued, \"and thenwith a French officer who supported him. After that a section oftheFrenchmen present took my part. They did so as soon as I told them thestory of how once I threatened to spit into Monsignor's coffee.\"\"To spit into it?\" theGeneral inquired with grave disapproval in histone, and a stare, of astonishment, while the Frenchman looked at meunbelievingly.\"Just so,\" I replied. \"You mustknow that, on one occasion, when, fortwo days, I had felt certain that at any moment I might have to departfor Rome on business, I repaired to the Embassy ofthe Holy See inParis, to have my passport visaed. There I encountered a sacristan ofabout fifty, and a man dry and cold of mien. After listening politely,but withgreat reserve, to my account of myself, this sacristan askedme to wait a little. I was in a great hurry to depart, but of course Isat down, pulled out a copy ofL'Opinion Nationale, and fell to readingan extraordinary piece of invective against Russia which it happened tocontain. As I was thus engaged I heard some oneenter an adjoining roomand ask for Monsignor; after which I saw the sacristan make a low bowto the visitor, and then another bow as the visitor took his leave.Iventured to remind the good man of my own business also; whereupon,with an expression of, if anything, increased dryness, he again askedme to wait. Soon athird visitor arrived who, like myself, had come onbusiness (he was an Austrian of some sort); and as soon as ever he hadstated his errand he was conductedupstairs! This made me very angry. Irose, approached the sacristan, and told him that, since Monsignor wasreceiving callers, his lordship might just as well finishoff my affairas well. Upon this the sacristan shrunk back in astonishment. It simplypassed his understanding that any insignificant Russian should dare tocomparehimself with other visitors of Monsignor's! In a tone of theutmost effrontery, as though he were delighted to have a chance ofinsulting me, he looked me up anddown, and then said: \"Do you supposethat Monsignor is going to put aside his coffee for YOU?\" But I onlycried the louder: \"Let me tell you that I am going to SPITinto thatcoffee! Yes, and if you do not get me my passport visaed this veryminute, I shall take it to Monsignor myself.\"\"What? While he is engaged with aCardinal?\" screeched the sacristan,again shrinking back in horror. Then, rushing to the door, he spreadout his arms as though he would rather die than let meenter.Thereupon I declared that I was a heretic and a barbarian--\"Je suisheretique et barbare,\" I said, \"and that these archbishops andcardinals and monsignors,and the rest of them, meant nothing at all tome. In a word, I showed him that I was not going to give way. He lookedat me with an air of infinite resentment.Then he snatched up mypassport, and departed with it upstairs. A minute later the passporthad been visaed! Here it is now, if you care to see it,\"--and Ipulledout the document, and exhibited the Roman visa.\"But--\" the General began.\"What really saved you was the fact that you proclaimed yourself aheretic and a"}
+{"doc_id":"doc_142","qid":"","text":"Project Gutenberg's The Story of a Bad Boy, by Thomas Bailey AldrichThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Story of a Bad BoyAuthor: Thomas Bailey AldrichRelease Date: February 25, 2006 [EBook #1948]Last Updated: June 5,2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF A BAD BOY ***Produced by An Anonymous Volunteer and DavidWidgerTHE STORY OF A BAD BOYby Thomas Bailey AldrichChapter One--In Which I Introduce MyselfThis is the story of a bad boy. Well, not such a very bad, buta prettybad boy; and I ought to know, for I am, or rather I was, that boymyself.Lest the title should mislead the reader, I hasten to assure him herethat I have nodark confessions to make. I call my story the story ofa bad boy, partly to distinguish myself from those faultless younggentlemen who generally figure innarratives of this kind, and partlybecause I really was not a cherub. I may truthfully say I was anamiable, impulsive lad, blessed with fine digestive powers, andnohypocrite. I didn't want to be an angel and with the angels stand; Ididn't think the missionary tracts presented to me by the Rev. WibirdHawkins were half sonice as Robinson Crusoe; and I didn't send mylittle pocket-money to the natives of the Feejee Islands, but spentit royally in peppermint-drops and taffy candy. Inshort, I was a realhuman boy, such as you may meet anywhere in New England, and no morelike the impossible boy in a storybook than a sound orange is likeonethat has been sucked dry. But let us begin at the beginning.Whenever a new scholar came to our school, I used to confront him atrecess with the followingwords: \"My name's Tom Bailey; what's yourname?\" If the name struck me favorably, I shook hands with the newpupil cordially; but if it didn't, I would turn onmy heel, for I wasparticular on this point. Such names as Higgins, Wiggins, and Sprigginswere deadly affronts to my ear; while Langdon, Wallace, Blake, andthelike, were passwords to my confidence and esteem.Ah me! some of those dear fellows are rather elderly boys by thistime--lawyers, merchants, sea-captains,soldiers, authors, what not? PhilAdams (a special good name that Adams) is consul at Shanghai, where Ipicture him to myself with his head closely shaved--henever had too muchhair--and a long pigtail banging down behind. He is married, I hear;and I hope he and she that was Miss Wang Wang are very happytogether,sitting cross-legged over their diminutive cups of tea in a skybluetower hung with bells. It is so I think of him; to me he is hencefortha jewelledmandarin, talking nothing but broken China. Whitcomb is ajudge, sedate and wise, with spectacles balanced on the bridge of thatremarkable nose which, informer days, was so plentifully sprinkled withfreckles that the boys christened him Pepper Whitcomb. Just to thinkof little Pepper Whitcomb being a judge! Whatwould he do to me now, Iwonder, if I were to sing out \"Pepper!\" some day in court? Fred Langdonis in California, in the native-wine business--he used to makethe bestlicorice-water I ever tasted! Binny Wallace sleeps in the Old SouthBurying-Ground; and Jack Harris, too, is dead--Harris, who commanded usboys, of old,in the famous snow-ball battles of Slatter's Hill. Was ityesterday I saw him at the head of his regiment on its way to join theshattered Army of the Potomac? Notyesterday, but six years ago. It wasat the battle of the Seven Pines. Gallant Jack Harris, that never drewrein until he had dashed into the Rebel battery! So theyfound him--lyingacross the enemy's guns.How we have parted, and wandered, and married, and died! I wonder whathas become of all the boys who went to theTemple Grammar School atRivermouth when I was a youngster? \"All, all are gone, the old familiarfaces!\"It is with no ungentle hand I summon them back, for amoment, from thatPast which has closed upon them and upon me. How pleasantly they liveagain in my memory! Happy, magical Past, in whose fairy atmosphereevenConway, mine ancient foe, stands forth transfigured, with a sort ofdreamy glory encircling his bright red hair!With the old school formula I commence thesesketches of my boyhood. Myname is Tom Bailey; what is yours, gentle reader? I take for grantedit is neither Wiggins nor Spriggins, and that we shall get onfamouslytogether, and be capital friends forever.Chapter Two--In Which I Entertain Peculiar ViewsI was born at Rivermouth, but, before I had a chance tobecome very wellacquainted with that pretty New England town, my parents removed to NewOrleans, where my father invested his money so securely in thebankingbusiness that he was never able to get any of it out again. But of thishereafter.I was only eighteen months old at the time of the removal, and itdidn'tmake much difference to me where I was, because I was so small; butseveral years later, when my father proposed to take me North to beeducated, I hadmy own peculiar views on the subject. I instantly kickedover the little Negro boy who happened to be standing by me at themoment, and, stamping my footviolently on the floor of the piazza,declared that I would not be taken away to live among a lot of Yankees!You see I was what is called \"a Northern man withSouthern principles.\"I had no recollection of New England: my earliest memories wereconnected with the South, with Aunt Chloe, my old Negro nurse, andwiththe great ill-kept garden in the centre of which stood our house--awhitewashed stone house it was, with wide verandas--shut out from thestreet by lines oforange, fig, and magnolia trees. I knew I was bornat the North, but hoped nobody would find it out. I looked upon themisfortune as something so shrouded bytime and distance that maybenobody remembered it. I never told my schoolmates I was a Yankee,because they talked about the Yankees in such a scornful wayit mademe feel that it was quite a disgrace not to be born in Louisiana, or atleast in one of the Border States. And this impression was strengthenedby AuntChloe, who said, \"dar wasn't no gentl'men in the Norf no way,\"and on one occasion terrified me beyond measure by declaring that,\"if any of dem mean whitestried to git her away from marster, she wasjes'gwine to knock 'em on de head wid a gourd!\"The way this poor creature's eyes flashed, and the tragic air withwhichshe struck at an imaginary \"mean white,\" are among the most vivid thingsin my memory of those days.To be frank, my idea of the North was about asaccurate as thatentertained by the well-educated Englishmen of the present dayconcerning America. I supposed the inhabitants were divided intotwoclasses--Indians and white people; that the Indians occasionally dasheddown on New York, and scalped any woman or child (giving the preferenceto children)whom they caught lingering in the outskirts afternightfall; that the white men were either hunters or schoolmasters, andthat it was winter pretty much all theyear round. The prevailing styleof architecture I took to be log-cabins.With this delightful picture of Northern civilization in my eye, thereader will easilyunderstand my terror at the bare thought of beingtransported to Rivermouth to school, and possibly will forgive me forkicking over little black Sam, and otherwisemisconducting myself, whenmy father announced his determination to me. As for kicking little Sam--Ialways did that, more or less gently, when anything wentwrong with me.My father was greatly perplexed and troubled by this unusually violentoutbreak, and especially by the real consternation which he saw writteninevery line of my countenance. As little black Sam picked himself up,my father took my hand in his and led me thoughtfully to the library.I can see him now as heleaned back in the bamboo chair and questionedme. He appeared strangely agitated on learning the nature of myobjections to going North, and proceeded atonce to knock down all mypine log houses, and scatter all the Indian tribes with which I hadpopulated the greater portion of the Eastern and Middle States.\"Whoon earth, Tom, has filled your brain with such silly stories?\"asked my father, wiping the tears from his eyes.\"Aunt Chloe, sir; she told me.\"\"And you really thoughtyour grandfather wore a blanket embroidered withbeads, and ornamented his leggins with the scalps of his enemies?\"\"Well, sir, I didn't think that exactly.\"\"Didn'tthink that exactly? Tom, you will be the death of me.\"He hid his face in his handkerchief, and, when he looked up, he seemedto have been suffering acutely. I wasdeeply moved myself, though I didnot clearly understand what I had said or done to cause him to feel sobadly. Perhaps I had hurt his feelings by thinking it evenpossible thatGrandfather Nutter was an Indian warrior.My father devoted that evening and several subsequent evenings to givingme a clear and succinct accountof New England; its early struggles, itsprogress, and its present condition--faint and confused glimmeringsof all which I had obtained at school, where history hadnever been afavorite pursuit of mine.I was no longer unwilling to go North; on the contrary, the proposedjourney to a new world full of wonders kept me awakenights. I promisedmyself all sorts of fun and adventures, though I was not entirely atrest in my mind touching the savages, and secretly resolved to go onboardthe ship--the journey was to be made by sea--with a certain littlebrass pistol in my trousers-pocket, in case of any difficulty with thetribes when we landed atBoston.I couldn't get the Indian out of my head. Only a short time previouslythe Cherokees--or was it the Camanches?--had been removed fromtheirhunting-grounds in Arkansas; and in the wilds of the Southwest the redmen were still a source of terror to the border settlers. \"Troublewith the Indians\" wasthe staple news from Florida published in the NewOrleans papers. We were constantly hearing of travellers being attackedand murdered in the interior of thatState. If these things were done inFlorida, why not in Massachusetts?Yet long before the sailing day arrived I was eager to be off. Myimpatience was increased bythe fact that my father had purchased for mea fine little Mustang pony, and shipped it to Rivermouth a fortnightprevious to the date set for our owndeparture--for both my parents wereto accompany me. The pony (which nearly kicked me out of bed one nightin a dream), and my father's promise that he andmy mother would come toRivermouth every other summer, completely resigned me to the situation.The pony's name was Gitana, which is the Spanish for gypsy;so I alwayscalled her--she was a lady pony--Gypsy.At length the time came to leave the vine-covered mansion among theorange-trees, to say goodby to littleblack Sam (I am convinced he washeartily glad to get rid of me), and to part with simple Aunt Chloe,who, in the confusion of her grief, kissed an eyelash into myeye, andthen buried her face in the bright bandana turban which she had mountedthat morning in honor of our departure.I fancy them standing by the opengarden gate; the tears are rollingdown Aunt Chloe's cheeks; Sam's six front teeth are glistening likepearls; I wave my hand to him manfully then I call out"}
+{"doc_id":"doc_143","qid":"","text":"The Project Gutenberg EBook of The Magnificent Ambersons, by Booth TarkingtonThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Magnificent AmbersonsAuthor: Booth TarkingtonRelease Date: September, 2005 [EBook #8867]Posting Date: August 2,2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MAGNIFICENT AMBERSONS ***Produced by An Anonymous VolunteerTHEMAGNIFICENT AMBERSONSBy Booth TarkingtonChapter IMajor Amberson had \"made a fortune\" in 1873, when other people werelosing fortunes, and themagnificence of the Ambersons began then.Magnificence, like the size of a fortune, is always comparative, as evenMagnificent Lorenzo may now perceive, if hehas happened to haunt NewYork in 1916; and the Ambersons were magnificent in their day and place.Their splendour lasted throughout all the years that sawtheir Midlandtown spread and darken into a city, but reached its topmost during theperiod when every prosperous family with children kept a Newfoundlanddog.Inthat town, in those days, all the women who wore silk or velvet knewall the other women who wore silk or velvet, and when there was a newpurchase of sealskin,sick people were got to windows to see it go by.Trotters were out, in the winter afternoons, racing light sleighs onNational Avenue and Tennessee Street;everybody recognized boththe trotters and the drivers; and again knew them as well on summerevenings, when slim buggies whizzed by in renewals of thesnow-timerivalry. For that matter, everybody knew everybody else's familyhorse-and-carriage, could identify such a silhouette half a mile downthe street, andthereby was sure who was going to market, or to areception, or coming home from office or store to noon dinner or eveningsupper.During the earlier years of thisperiod, elegance of personal appearancewas believed to rest more upon the texture of garments than upon theirshaping. A silk dress needed no remodelling whenit was a year or soold; it remained distinguished by merely remaining silk. Old men andgovernors wore broadcloth; \"full dress\" was broadcloth with\"doeskin\"trousers; and there were seen men of all ages to whom a hat meant onlythat rigid, tall silk thing known to impudence as a \"stove-pipe.\"In town andcountry these men would wear no other hat, and, withoutself-consciousness, they went rowing in such hats.Shifting fashions of shape replaced aristocracy oftexture: dressmakers,shoemakers, hatmakers, and tailors, increasing in cunning and in power,found means to make new clothes old. The long contagion of the\"Derby\"hat arrived: one season the crown of this hat would be a bucket; thenext it would be a spoon. Every house still kept its bootjack, buthigh-topped bootsgave way to shoes and \"congress gaiters\"; and thesewere played through fashions that shaped them now with toes likebox-ends and now with toes like the prowsof racing shells.Trousers with a crease were considered plebeian; the crease proved thatthe garment had lain upon a shelf, and hence was \"ready-made\";thesebetraying trousers were called \"hand-me-downs,\" in allusion to theshelf. In the early 'eighties, while bangs and bustles were havingtheir way with women,that variation of dandy known as the \"dude\" wasinvented: he wore trousers as tight as stockings, dagger-pointed shoes,a spoon \"Derby,\" a single-breasted coatcalled a \"Chesterfield,\" withshort flaring skirts, a torturing cylindrical collar, laundered to apolish and three inches high, while his other neckgear might be aheavy,puffed cravat or a tiny bow fit for a doll's braids. With evening dresshe wore a tan overcoat so short that his black coat-tails hung visible,five inches belowthe over-coat; but after a season or two he lengthenedhis overcoat till it touched his heels, and he passed out of his tighttrousers into trousers like great bags.Then, presently, he was seenno more, though the word that had been coined for him remained in thevocabularies of the impertinent.It was a hairier day thanthis. Beards were to the wearers' fancy,and things as strange as the Kaiserliche boar-tusk moustache werecommonplace. \"Side-burns\" found nourishment uponchildlike profiles;great Dundreary whiskers blew like tippets over young shoulders;moustaches were trained as lambrequins over forgotten mouths; and itwaspossible for a Senator of the United States to wear a mist of whitewhisker upon his throat only, not a newspaper in the land finding theornament distinguishedenough to warrant a lampoon. Surely no more isneeded to prove that so short a time ago we were living in another age!At the beginning of the Ambersons' greatperiod most of the houses ofthe Midland town were of a pleasant architecture. They lacked style, butalso lacked pretentiousness, and whatever does not pretendat all hasstyle enough. They stood in commodious yards, well shaded by leftoverforest trees, elm and walnut and beech, with here and there a line oftallsycamores where the land had been made by filling bayous from thecreek. The house of a \"prominent resident,\" facing Military Square, orNational Avenue, orTennessee Street, was built of brick upon a stonefoundation, or of wood upon a brick foundation. Usually it had a \"frontporch\" and a \"back porch\"; often a \"sideporch,\" too. There was a \"fronthall\"; there was a \"side hall\"; and sometimes a \"back hall.\" From the\"front hall\" opened three rooms, the \"parlour,\" the \"sittingroom,\" andthe \"library\"; and the library could show warrant to its title--for somereason these people bought books. Commonly, the family sat more inthe librarythan in the \"sitting room,\" while callers, when they cameformally, were kept to the \"parlour,\" a place of formidable polish anddiscomfort. The upholstery of thelibrary furniture was a little shabby;but the hostile chairs and sofa of the \"parlour\" always looked new. Forall the wear and tear they got they should have lasted athousand years.Upstairs were the bedrooms; \"mother-and-father's room\" the largest; asmaller room for one or two sons another for one or two daughters;eachof these rooms containing a double bed, a \"washstand,\" a \"bureau,\" awardrobe, a little table, a rocking-chair, and often a chair or two thathad been slightlydamaged downstairs, but not enough to justify eitherthe expense of repair or decisive abandonment in the attic. And therewas always a \"spare-room,\" for visitors(where the sewing-machineusually was kept), and during the 'seventies there developed anappreciation of the necessity for a bathroom. Therefore thearchitectsplaced bathrooms in the new houses, and the older houses tore out acupboard or two, set up a boiler beside the kitchen stove, and soughta newgodliness, each with its own bathroom. The great American plumberjoke, that many-branched evergreen, was planted at this time.At the rear of the house,upstairs was a bleak little chamber, called\"the girl's room,\" and in the stable there was another bedroom,adjoining the hayloft, and called \"the hired man's room.\"House andstable cost seven or eight thousand dollars to build, and people withthat much money to invest in such comforts were classified as the Rich.They paidthe inhabitant of \"the girl's room\" two dollars a week, and,in the latter part of this period, two dollars and a half, and finallythree dollars a week. She was Irish,ordinarily, or German or it mightbe Scandinavian, but never native to the land unless she happened to bea person of colour. The man or youth who lived in thestable had likewages, and sometimes he, too, was lately a steerage voyager, but muchoftener he was coloured.After sunrise, on pleasant mornings, the alleysbehind the stables weregay; laughter and shouting went up and down their dusty lengths, witha lively accompaniment of curry-combs knocking against backfences andstable walls, for the darkies loved to curry their horses in the alley.Darkies always prefer to gossip in shouts instead of whispers; andthey feel thatprofanity, unless it be vociferous, is almost worthless.Horrible phrases were caught by early rising children and carried toolder people for definition, sometimes atinopportune moments; whileless investigative children would often merely repeat the phrases insome subsequent flurry of agitation, and yet bring aboutconsequences soemphatic as to be recalled with ease in middle life.They have passed, those darky hired-men of the Midland town; and theintrospective horsesthey curried and brushed and whacked and amiablycursed--those good old horses switch their tails at flies no more. Forall their seeming permanence they mightas well have been buffaloes--orthe buffalo laprobes that grew bald in patches and used to slide fromthe careless drivers' knees and hang unconcerned, half way totheground. The stables have been transformed into other likenesses, orswept away, like the woodsheds where were kept the stove-wood andkindling that the\"girl\" and the \"hired-man\" always quarrelled over: whoshould fetch it. Horse and stable and woodshed, and the whole tribe ofthe \"hired-man,\" all are gone. Theywent quickly, yet so silently thatwe whom they served have not yet really noticed that they are vanished.So with other vanishings. There were the little buntystreet-cars on thelong, single track that went its troubled way among the cobblestones.At the rear door of the car there was no platform, but a stepwherepassengers clung in wet clumps when the weather was bad and the carcrowded. The patrons--if not too absent-minded--put their fares into aslot; and noconductor paced the heaving floor, but the driver would rapremindingly with his elbow upon the glass of the door to his little openplatform if the nickels and thepassengers did not appear to coincide innumber. A lone mule drew the car, and sometimes drew it off the track,when the passengers would get out and push it onagain. They really owedit courtesies like this, for the car was genially accommodating: a ladycould whistle to it from an upstairs window, and the car would haltatonce and wait for her while she shut the window, put on her hat andcloak, went downstairs, found an umbrella, told the \"girl\" what to havefor dinner, and cameforth from the house.The previous passengers made little objection to such gallantry on thepart of the car: they were wont to expect as much for themselves onlikeoccasion. In good weather the mule pulled the car a mile in a littleless than twenty minutes, unless the stops were too long; but when thetrolley-car came,doing its mile in five minutes and better, it wouldwait for nobody. Nor could its passengers have endured such a thing,because the faster they were carried theless time they had to spare! Inthe days before deathly contrivances hustled them through their lives,and when they had no telephones--another ancient vacancyprofoundlyresponsible for leisure--they had time for everything: time to think, totalk, time to read, time to wait for a lady!They even had time to dance \"squaredances,\" quadrilles, and \"lancers\";they also danced the \"racquette,\" and schottisches and polkas, andsuch whims as the \"Portland Fancy.\" They pushed back thesliding doorsbetween the \"parlour\" and the \"sitting room,\" tacked down crash overthe carpets, hired a few palms in green tubs, stationed three or fourItalian"}
+{"doc_id":"doc_144","qid":"","text":"The Project Gutenberg EBook of The Deserted Village, by Oliver GoldsmithThis eBook is for the use of anyone anywhere in the United States and mostotherparts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project GutenbergLicense included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country whereyou are located before using this ebook.Title: The Deserted VillageAuthor: Oliver GoldsmithIllustrator: The Etching ClubRelease Date: November 19, 2015 [EBook#50500]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERTED VILLAGE ***Produced by David Widger from page imagesgenerouslyprovided by Google BooksTHE DESERTED VILLAGEBy Oliver GoldsmithIllustrated by the Etching ClubNew York: D. Appleton And Co.BroadwayMDCCCLVII[Illustration: 0001][Illustration: 0008]The Illustrations in this Volume are copied, with permission,from a series of Etchings published someyears since by the\"Etching Club.\" Only a few impressions of that work wereprinted, the copper-plates were destroyed, and the book, exceptin a very expensiveform, has long been unattainable. Greatcare has been taken to render the present Wood-blocks as likethe original Etchings as the different methods of engravingwillallow.ILLUSTRATIONS                                                                     Page    Sweet Auburn! loveliest milage of the plain...T. Creswick, R.A....007    Thenever-failing brook, the busy mill........T. Creswick, R.A....008    The hawthorn bush, with seals in shade........C. W. Cope, R.A.....009    The matron's glance thatwould reprove........H. J. Townsend......010    The hollow sounding bittern guards its nest...F. Tayler...........012    These, far departing, seek a kinder shore.....C.Stonhouse........014    Amidst the swains show my book-learn'd skill..J. C. Horsley.......015    And, as a hare, whom hounds and horns pursue..F.Tayler...........016    To spurn imploring famine from the gale.......C. W. Cope, R.A.....017    While resignation gently slopes the way.......T. Creswick,R.A....018    The playful children let loose from school....T. Webster, R.A.....019    All but yon widow'd solitary thing............F. Tayler...........020    The villagepreacher's modest mansion rose....T. Creswick, R.A....021    He chid their wanderings; relieved pain.......C. W. Cope, R.A.....022    Shoulder'd his crutch, andshow'd fields won..C. W. Cope, R.A.....023    Beside the bed where parting life was laid....R. Redgrave, R.A....025    And pluck'd his gown, share the man'ssmile...J. C. Horsley.......026    The village master taught his little school...T. Webster, R.A.....027    Full well they laugh'd with glee..............T. Webster,R.A.....028    Convey'd the dismal tidings when he frown'd...T. Webster, R.A.....028    In arguing too the parson own'd his skill.....C. W. Cope, R.A.....029    Nearyonder thorn, that lifts its head high...T. Creswick, R.A....030    Where village statesmen with looks profound...F. Tayler...........031    But the long pomp, themidnight masquerade....J. C. Horsley.......033    Proud swells the tide with loads of ore.......T. Creswick, R.A....034    If to some common's fenceless limitstray'd...C. Stonhouse........036    Where the poor houseless female lies..........J. C. Horsley.......037    She left her wheel and robes of brown.........J. C.Horsley.......038    The rattling terrors of the vengeful snake....T. Creswick, R.A....040    The cooling brookt the grassy-vested green....T. Creswick,R.A....041    The good old sire the first prepared to go....C. W. Cope, R.A.....042    Whilst her husband strove to lend relief......R. Redgrave, R.A....043    Downwhere yon vessel spreads the sail........T. Creswick, R.A....044    Or winter wraps the polar world in snow.......T. Creswick, R.A....045    As rocks resist the billowsaNd the sky.......T. Creswick, R.A....046Drawn on wood, from the original Etchings, by E. K. Johnson, andengraved by Horace Harral, Thomas Bolton, and JamesCooper.{007}[Illustration: 0016]THE DESERTED VILLAGESweet Auburn! loveliest village of the plain,Where health and plenty cheer'd the labouring swain,Wheresmiling spring its earliest visit paid,And parting summer's lingering blooms delay'd.{008}[Illustration: 0017]Dear lovely bowers of innocence and ease,Seats ofmy youth, when every sport could please,How often have I loiter'd o'er thy green,Where humble happiness endear'd each scene!How often have I paused onevery charm,The shelter'd cot, the cultivated farm,{009}[Illustration: 0020]The never-failing brook, the busy mill,The decent church that topt the neighbouringhill,The hawthorn bush, with seats beneath the shade,For talking age and whispering lovers made!How often have I blest the coming day,When toil remitting lentits turn to play,{010}And all the village train, from labour free,Led up their sports beneath the spreading tree;[Illustration: 0021]While many a pastime circled inthe shade,The young contending as the old survey'd;And many a gambol frolick'd o'er the ground,And sleights of art and feats of strength went round;{011}Andstill, as each repeated pleasure tired,Succeeding sports the mirthful band inspired:The dancing pair that simply sought renown,By holding out to tire each otherdown;The swain mistrustless of his smutted face,While secret laughter titter'd round the place;The bashful virgin's sidelong looks of love,The matron's glance thatwould those looks reprove;These were thy charms, sweet village! sports like these,With sweet succession, taught e'en toil to please;These round thy bowers theircheerful influence shed,These were thy charms--but all these charms are fled.Sweet smiling village, loveliest of the lawn!Thy sports are fled, and all thy charmswithdrawn;Amidst thy bowers the tyrant's hand is seen,And desolation saddens all thy green:One only master grasps the whole domain,And half a tillage stintsthy smiling plain:No more thy glassy brook reflects the day,But choked with sedges works its weedy way;Along thy glades a solitary guest,The hollow-soundingbittern guards its nest;{012}Amidst thy desert walks the lapwing flies,And tires their echoes with unvaried cries.[Illustration: 0025]Sunk are thy bowers inshapeless ruin all,And the long grass o'ertops the mouldering wall;And trembling, shrinking from the spoiler's hand,Far, far away thy children leave theland.{013}Ill  fares the land, to hastening ills a prey,Where wealth accumulates, and men decay:Princes and lords may flourish, or may fade;A breath can makethem, as a breath has made:But a bold peasantry, their country's pride,When once destroy'd, can never be supplied.A time there was, ere England's griefsbegan,When every rood of ground maintain'd its man;For him light labour spread her wholesome store,Just gave what life required, but gave no more:His bestcompanions, innocence and health;And his best riches, ignorance of wealth.But times are alter'd; trade's unfeeling trainUsurp the land, and dispossess theswain;Along the lawn, where scatter'd hamlets rose,Unwieldy wealth and cumbrous pomp repose;And every want to luxury allied,And every pang that folly paysto pride.Those gentle hours that plenty bade to bloom,Those calm desires that ask'd but little room,Those healthful sports that graced the peaceful scene,Lived ineach look, and brighten'd all the green;{014}These, far departing, seek a kinder shore,And rural mirth and manners are no more.[Illustration: 0027]SweetAuburn! parent of the blissful hour,Thy glades forlorn confess the tyrant's power.Here, as I take my solitary roundsAmidst thy tangling walks and ruin'dgrounds,And, many a year elapsed, return to viewWhere once the cottage stood, the hawthorn grew,Remembrance wakes with all her busy train,Swells at mybreast, and turns the past to pain.{015}In all my wanderings round this world of care,In all my griefs--and God has given my share--[Illustration: 0030]Tohusband out life's taper at the close,And keep the flame from wasting by repose:I still had hopes, my latest hours to crown,Amidst these humble bowers to layme down;I still had hopes, for pride attends us still,Amidst the swains to show my book-learn'd skill,{016}Around my fire an evening group to draw,And tell of allI felt, and all I saw;And, as a hare, whom hounds and horns pursue,Pants to the place from whence at first he flew,[Illustration: 0031]I still had hopes, my longvexations past,Here to return--and die at home at last.O blest retirement, friend to life's decline,Retreats from care, that never must be mine:How blest is he whocrowns, in shades like these,A youth of labour with an age of ease;{017}Who quits a world where strong temptations try,And since 'tis hard to combat, learns tofly!For him no wretches, born to work and weep,Explore the mine, or tempt the dangerous deep;[Illustration: 0034]No surly porter stands, in guilty state,Tospurn imploring famine from the gate--But on he moves to meet his latter end,Angels around befriending virtue's friend;Sinks to the grave with unperceiveddecay,While resignation gently slopes the way;{018}And, all his prospects brightening to the last,His heaven commences ere the world be past.[Illustration:0035]Sweet was the sound, when oft, at evening's close,Up yonder hill the village murmur rose:There, as I pass'd with careless steps and slow,The minglingnotes came soften'd from below;The swain responsive as the milk-maid sung,The sober herd that low'd to meet their young;The noisy geese that gabbled o'er thepool,The playful children just let loose from school;{019}The watch-dog's voice that bay'd the whispering wind,And the loud laugh that spoke the vacantmind;[Illustration: 0038]These all in sweet confusion sought the shade,And fill'd each pause the nightingale had made.But now the sounds of population fail:Nocheerful murmurs fluctuate in the gale,No busy steps the grass-grown footway tread,But all the bloomy flush of life is fled;All but yon widow'd solitary thing,Thatfeebly bends beside the plashy spring:{020}She, wretched matron, forced in age, for bread,To strip the brook with mantling cresses spread[Illustration: 0039]Topick her wintry faggot from the thorn,To seek her nightly shed and weep till morn;She only left of all the harmless train,The sad historian of the pensiveplain.{021}Near yonder copse, where once the garden smiled,And still where many a garden flower grows wild,[Illustration: 0042]There, where a few torn shrubsthe place disclose,The village preacher's modest mansion rose.A man he was to all the country dear,And passing rich with forty pounds a year;{022}Remote fromtowns he ran his godly race,Nor e'er had changed, nor wish'd to change his place[Illustration: 0043]Unskilful he to fawn, or seek for power,By doctrines fashion'dto the varying hour;Far other aims his heart had learn'd to prize,More bent to raise the wretched than to rise.{023}His house was known to all the vagranttrain;He chid their wanderings, but relieved their pain:[Illustration: 0046]The long remember'd beggar was his guest,Whose beard descending swept his agedbreast;The ruin'd spendthrift, now no longer proud,Claim'd kindred there, and had his claims allow'd;{024}The broken soldier, kindly bade to stay,Sate by hisfire, and talk'd the night away;Wept o'er his wounds, or, tales of sorrow done,Shoulder'd his crutch, and show'd how fields were won.Pleased with his guests, the"}
+{"doc_id":"doc_145","qid":"","text":"Project Gutenberg's Mrs. Warren's Profession, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Mrs. Warren's ProfessionAuthor: George Bernard ShawRelease Date: February 11, 2006 [EBook #1097][Last updated: July 6,2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MRS. WARREN'S PROFESSION ***Produced by An Anonymous Volunteer and DavidWidgerMRS WARREN'S PROFESSIONby George Bernard Shaw1894With The Author's Apology (1902)THE AUTHOR'S APOLOGYMrs Warren's Profession has beenperformed at last, after a delay ofonly eight years; and I have once more shared with Ibsen the triumphantamusement of startling all but the strongest-headed ofthe Londontheatre critics clean out of the practice of their profession. Noauthor who has ever known the exultation of sending the Press into anhysterical tumult ofprotest, of moral panic, of involuntary and franticconfession of sin, of a horror of conscience in which the power ofdistinguishing between the work of art on thestage and the real lifeof the spectator is confused and overwhelmed, will ever care for thestereotyped compliments which every successful farce ormelodramaelicits from the newspapers. Give me that critic who rushed from my playto declare furiously that Sir George Crofts ought to be kicked. What atriumphfor the actor, thus to reduce a jaded London journalist tothe condition of the simple sailor in the Wapping gallery, who shoutsexecrations at Iago and warnings toOthello not to believe him! Butdearer still than such simplicity is that sense of the sudden earthquakeshock to the foundations of morality which sends a pallidcrowd ofcritics into the street shrieking that the pillars of society arecracking and the ruin of the State is at hand. Even the Ibsen championsof ten years agoremonstrate with me just as the veterans of those bravedays remonstrated with them. Mr Grein, the hardy iconoclast who firstlaunched my plays on the stagealongside Ghosts and The Wild Duck,exclaimed that I have shattered his ideals. Actually his ideals! Whatwould Dr Relling say? And Mr William Archer himselfdisowns me because I\"cannot touch pitch without wallowing in it\". Truly my play must be moreneeded than I knew; and yet I thought I knew how little the othersknow.Do not suppose, however, that the consternation of the Press reflectsany consternation among the general public. Anybody can upset thetheatre critics, in aturn of the wrist, by substituting for theromantic commonplaces of the stage the moral commonplaces of the pulpit,platform, or the library. Play Mrs Warren'sProfession to an audienceof clerical members of the Christian Social Union and of women wellexperienced in Rescue, Temperance, and Girls' Club work, and nomoralpanic will arise; every man and woman present will know that as longas poverty makes virtue hideous and the spare pocket-money of richbachelordommakes vice dazzling, their daily hand-to-hand fight againstprostitution with prayer and persuasion, shelters and scanty alms,will be a losing one. There was a timewhen they were able to urge thatthough \"the white-lead factory where Anne Jane was poisoned\" may be afar more terrible place than Mrs Warren's house, yethell is still moredreadful. Nowadays they no longer believe in hell; and the girls amongwhom they are working know that they do not believe in it, and wouldlaughat them if they did. So well have the rescuers learnt that MrsWarren's defence of herself and indictment of society is the thing thatmost needs saying, that thosewho know me personally reproach me, notfor writing this play, but for wasting my energies on \"pleasantplays\" for the amusement of frivolous people, when I canbuild up suchexcellent stage sermons on their own work. Mrs Warren's Profession isthe one play of mine which I could submit to a censorship without doubtof theresult; only, it must not be the censorship of the minor theatrecritic, nor of an innocent court official like the Lord Chamberlain'sExaminer, much less of peoplewho consciously profit by Mrs Warren'sprofession, or who personally make use of it, or who hold the widelywhispered view that it is an indispensable safety-valvefor theprotection of domestic virtue, or, above all, who are smitten with asentimental affection for our fallen sister, and would \"take her uptenderly, lift her withcare, fashioned so slenderly, young, and SOfair.\" Nor am I prepared to accept the verdict of the medical gentlemenwho would compulsorily sanitate and registerMrs Warren, whilst leavingMrs Warren's patrons, especially her military patrons, free to destroyher health and anybody else's without fear of reprisals. But Ishould bequite content to have my play judged by, say, a joint committee ofthe Central Vigilance Society and the Salvation Army. And the sternermoralists themembers of the committee were, the better.Some of the journalists I have shocked reason so unripely that they willgather nothing from this but a confusednotion that I am accusing theNational Vigilance Association and the Salvation Army of complicity inmy own scandalous immorality. It will seem to them thatpeople who wouldstand this play would stand anything. They are quite mistaken. Suchan audience as I have described would be revolted by many ofourfashionable plays. They would leave the theatre convinced that thePlymouth Brother who still regards the playhouse as one of the gates ofhell is perhaps thesafest adviser on the subject of which he knows solittle. If I do not draw the same conclusion, it is not because I am oneof those who claim that art is exemptfrom moral obligations, and denythat the writing or performance of a play is a moral act, to be treatedon exactly the same footing as theft or murder if itproduces equallymischievous consequences. I am convinced that fine art is the subtlest,the most seductive, the most effective instrument of moral propagandainthe world, excepting only the example of personal conduct; and I waiveeven this exception in favor of the art of the stage, because it worksby exhibitingexamples of personal conduct made intelligible and movingto crowds of unobservant, unreflecting people to whom real life meansnothing. I have pointed outagain and again that the influence of thetheatre in England is growing so great that whilst private conduct,religion, law, science, politics, and morals are becomingmore andmore theatrical, the theatre itself remains impervious to commonsense, religion, science, politics, and morals. That is why I fight thetheatre, not withpamphlets and sermons and treatises, but with plays;and so effective do I find the dramatic method that I have no doubt Ishall at last persuade even London totake its conscience and its brainswith it when it goes to the theatre, instead of leaving them at homewith its prayer-book as it does at present. Consequently, Iam thelast man in the world to deny that if the net effect of performing MrsWarren's Profession were an increase in the number of persons enteringthatprofession, its performance should be dealt with accordingly.Now let us consider how such recruiting can be encouraged by thetheatre. Nothing is easier. Let theKing's Reader of Plays, backed bythe Press, make an unwritten but perfectly well understood regulationthat members of Mrs Warren's profession shall betolerated on the stageonly when they are beautiful, exquisitely dressed, and sumptuouslylodged and fed; also that they shall, at the end of the play, dieofconsumption to the sympathetic tears of the whole audience, or stepinto the next room to commit suicide, or at least be turned out by theirprotectors andpassed on to be \"redeemed\" by old and faithful lovers whohave adored them in spite of their levities. Naturally, the poorer girlsin the gallery will believe in thebeauty, in the exquisite dresses, andthe luxurious living, and will see that there is no real necessity forthe consumption, the suicide, or the ejectment: mere piousforms, allof them, to save the Censor's face. Even if these purely officialcatastrophes carried any conviction, the majority of English girlsremain so poor, sodependent, so well aware that the drudgeries of suchhonest work as is within their reach are likely enough to lead themeventually to lung disease, prematuredeath, and domestic desertion orbrutality, that they would still see reason to prefer the primrose pathto the strait path of virtue, since both, vice at worst andvirtue atbest, lead to the same end in poverty and overwork. It is true that theBoard School mistress will tell you that only girls of a certain kindwill reason in thisway. But alas! that certain kind turns out oninquiry to be simply the pretty, dainty kind: that is, the only kindthat gets the chance of acting on such reasoning.Read the first reportof the Commission on the Housing of the Working Classes [Bluebook C4402, 8d., 1889]; read the Report on Home Industries (sacredword,Home!) issued by the Women's Industrial Council [Home Industries ofWomen in London, 1897, 1s., 12 Buckingham Street, W. C.]; and askyourselfwhether, if the lot in life therein described were your lotin life, you would not prefer the lot of Cleopatra, of Theodora, of theLady of the Camellias, of MrsTanqueray, of Zaza, of Iris. If you cango deep enough into things to be able to say no, how many ignoranthalf-starved girls will believe you are speakingsincerely? To them thelot of Iris is heavenly in comparison with their own. Yet our King, likehis predecessors, says to the dramatist, \"Thus, and thus only, shallyoupresent Mrs Warren's profession on the stage, or you shall starve.Witness Shaw, who told the untempting truth about it, and whom We, bythe Grace of God,accordingly disallow and suppress, and do what in Uslies to silence.\" Fortunately, Shaw cannot be silenced. \"The harlot'scry from street to street\" is louder thanthe voices of all the kings.I am not dependent on the theatre, and cannot be starved into makingmy play a standing advertisement of the attractive side of MrsWarren'sbusiness.Here I must guard myself against a misunderstanding. It is not the faultof their authors that the long string of wanton's tragedies, fromAntonyand Cleopatra to Iris, are snares to poor girls, and are objected toon that account by many earnest men and women who consider Mrs Warren'sProfessionan excellent sermon. Mr Pinero is in no way bound to suppressthe fact that his Iris is a person to be envied by millions of betterwomen. If he made his play falseto life by inventing fictitiousdisadvantages for her, he would be acting as unscrupulously as any tractwriter. If society chooses to provide for its Irises better thanforits working women, it must not expect honest playwrights to manufacturespurious evidence to save its credit. The mischief lies in thedeliberate suppression ofthe other side of the case: the refusal toallow Mrs Warren to expose the drudgery and repulsiveness of plying forhire among coarse, tedious drunkards; thedetermination not to let theParisian girl in Brieux's Les Avaries come on the stage and drive intopeople's minds what her diseases mean for her and forthemselves. Allthat, says the King's Reader in effect, is horrifying, loathsome.Precisely: what does he expect it to be? would he have us represent itas beautiful"}
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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                            THE FAULT IN OUR STARS</b>                                                           Written by                      Scott Neustadter & Michael H.Weber                                                                               Based on the novel by                                  JohnGreen                                                                                                            May 1, 2012<b>                                                          FIRSTDRAFT</b>          HAZEL GRACE LANCASTER (16) lies in the grass, staring up at          the stars. We're CLOSE ON her FACE and we hear:<b>           HAZEL(V.O.)</b>           You have a choice in this world, I           believe, about how to tell sad           stories.          CUT TO a SERIES OF QUICK IMAGES:          -Hazel and the BOY we will come to know as AUGUSTUS \"GUS\"          WATERS (17) at an outdoor restaurant in some magical place.          [They look very muchlike the perfect Hollywood couple.]<b>           HAZEL (V.O.)</b>           On the one hand, you can sugar coat           - the way they do in moviesand           romance novels.          - \"Perfect\" Hazel and \"Perfect\" Gus sit on a BENCH          overlooking an incredible seascape in some foreigncountry.          She rests her head on his shoulder.<b>           HAZEL (V.O.)</b>           Where villains are vanquished           and... heroes are bornand...          - \"Perfect\" Hazel and \"Perfect\" Gus kiss in a dark room.<b>           HAZEL (V.O.)</b>           ... beautiful people learn           beautiful"}
+{"doc_id":"doc_147","qid":"","text":"The Project Gutenberg EBook of War and the Future, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: War and the FutureAuthor: H. G. WellsRelease Date: March 21, 2006 [EBook #1804]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK WAR AND THE FUTURE ***Produced by Morgan L. Owens and David WidgerWAR AND THE FUTUREItaly, France and Britain at Warby H. G.WellsContents     The Passing of the Effigy     The War in Italy (August, 1916)     I. The Isonzo Front     II. The Mountain War     III. Behind the Front     TheWestern War (September, 1916)     I. Ruins     II. The Grades of War     III. The War Landscape     IV. New Arms for Old Ones     V. Tanks     How People ThinkAbout the War     I. Do they Really Think at all?     II. The Yielding Pacifist and the Conscientious Objector     III. The Religious Revival     IV. The Riddle of theBritish     V. The Social Changes in Progress     VI. The Ending of the WarTHE PASSING OF THE EFFIGY1One of the minor peculiarities of this unprecedented war isthe Tour ofthe Front. After some months of suppressed information--in which eventhe war correspondent was discouraged to the point of elimination--itwasdiscovered on both sides that this was a struggle in which Opinionwas playing a larger and more important part than it had ever donebefore. This wild spreadingweed was perhaps of decisive importance;the Germans at any rate were attempting to make it a cultivated flower.There was Opinion flowering away at home,feeding rankly on rumour;Opinion in neutral countries; Opinion getting into great tanglesof misunderstanding and incorrect valuation between the Allies.Theconfidence and courage of the enemy; the amiability and assistance ofthe neutral; the zeal, sacrifice, and serenity of the home population;all were affected.The German cultivation of opinion began longbefore the war; it is still the most systematic and, because of thepsychological ineptitude of the Germans, it isprobably the clumsiest.The French _Maison de la Presse_ is certainly the best organisation inexistence for making things clear, counteracting hostile suggestion,theBritish official organisations are comparatively ineffective; but whatis lacking officially is very largely made up for by the good willand generous efforts of theEnglish and American press. An interestingmonograph might be written upon these various attempts of thebelligerents to get themselves and their proceedingsexplained.Because there is perceptible in these developments, quite over andabove the desire to influence opinion, a very real effort to get thingsexplained. It isthe most interesting and curious--one might almostwrite touching--feature of these organisations that they do notconstitute a positive and defined propagandasuch as the Germansmaintain. The German propaganda is simple, because its ends are simple;assertions of the moral elevation and loveliness of Germany; oftheinsuperable excellences of German Kultur, the Kaiser, and Crown Prince,and so forth; abuse of the \"treacherous\" English who allied themselveswith the\"degenerate\" French and the \"barbaric\" Russians; nonsense about\"the freedom of the seas\"--the emptiest phrase in history--childishattempts to sow suspicionbetween the Allies, and still more childishattempts to induce neutrals and simple-minded pacifists of alliednationality to save the face of Germany by initiatingpeacenegotiations. But apart from their steady record and reminder of Germanbrutalities and German aggression, the press organisations of the Allieshave noneof this definiteness in their task. The aim of the nationalintelligence in each of the allied countries is not to exalt one's ownnation and confuse and divide theenemy, but to get a real understandingwith the peoples and spirits of a number of different nations, anunderstanding that will increase and become a fruitful andpermanentunderstanding between the allied peoples. Neither the English, theRussians, the Italians, nor the French, to name only the bigger Europeanallies, areconcerned in setting up a legend, as the Germans areconcerned in setting up a legend of themselves to impose upon mankind.They are reality dealers in this war,and the Germans are effigymongers. Practically the Allies are saying each to one another, \"Praycome to me and see for yourself that I am very much the humanstuff thatyou are. Come and see that I am doing my best--and I think that isnot so very bad a best....\" And with that is something else still moresubtle,something rather in the form of, \"And please tell me what youthink of me--and all this.\"So we have this curious byplay of the war, and one day I find Mr.Nabokoff,the editor of the _Retch_, and Count Alexy Tolstoy, thatwriter of delicate short stories, and Mr. Chukovsky, the subtle critic,calling in upon me after braving thewintry seas to see the Britishfleet; M. Joseph Reinach follows them presently upon the same errand;and then appear photographs of Mr. Arnold Bennett wading inthe trenchesof Flanders, Mr. Noyes becomes discreetly indiscreet about what he hasseen among the submarines, and Mr. Hugh Walpole catches things fromMr.Stephen Graham in the Dark Forest of Russia. All this is quite over andabove such writing of facts at first hand as Mr. Patrick McGill and adozen other realexperiencing soldiers--not to mention the soldiers'letters Mr. James Milne has collected, or the unforgettable andimmortal _Prisoner of War_ of Mr. ArthurGreen--or such admirable warcorrespondents' work as Mr. Philip Gibbs or Mr. Washburne has done. Someof us writers--I can answer for one--have made ourTour of the Frontswith a very understandable diffidence. For my own part I did not wantto go. I evaded a suggestion that I should go in 1915. I travel badly,Ispeak French and Italian with incredible atrocity, and am an extremePacifist. I hate soldiering. And also I did not want to write anything\"under instruction\". It islargely owing to a certain stiffness in thecomposition of General Delme-Radcliffe is resolved that Italy shall notfeel neglected by the refusal of the invitation fromthe ComandoSupremo by anyone who from the perspective of Italy may seem to be arepresentative of British opinion. If Herbert Spencer had beenalive GeneralRadcliffe would have certainly made him come,travelling-hammock, ear clips and all--and I am not above confessingthat I wish that Herbert Spencer wasalive--for this purpose. I foundUdine warm and gay with memories of Mr. Belloc, Lord Northcliffe, Mr.Sidney Low, Colonel Repington and Dr. Conan Doyle, andanticipating thearrival of Mr. Harold Cox. So we pass, mostly in automobiles that bumptremendously over war roads, a cloud of witnesses each testifying afterhismanner. Whatever else has happened, we have all been photographedwith invincible patience and resolution under the direction of ColonelBarberich in a sunnylittle court in Udine.My own manner of testifying must be to tell what I have seen and whatI have thought during this extraordinary experience. It has beenmynatural disposition to see this war as something purposeful and epic,as it is great, as an epoch, as \"the War that will end War\"--but ofthat last, more anon. I donot think I am alone in this inclination to adramatic and logical interpretation. The caricatures in the French shopsshow civilisation (and particularly Marianne) inconflict with a hugeand hugely wicked Hindenburg Ogre. Well, I come back from this tour withsomething not so simple as that. If I were to be tied down to onewordfor my impression of this war, I should say that this war is _Queer._ Itis not like anything in a really waking world, but like something in adream. It hasn'texactly that clearness of light against darkness orof good against ill. But it has the quality of wholesome instinctstruggling under a nightmare. The world is notreally awake. This vagueappeal for explanations to all sorts of people, this desire to exhibitthe business, to get something in the way of elucidation atpresentmissing, is extraordinarily suggestive of the efforts of the mind towake up that will sometimes occur at a deep crisis. My memory of thistour I have justmade is full of puzzled-looking men. I have seenthousands of _poilus_ sitting about in cafes, by the roadside, intents, in trenches, thoughtful. I have seen Alpinisitting restfully andstaring with speculative eyes across the mountain gulfs towards unseenand unaccountable enemies. I have seen trainloads of woundedstaringout of the ambulance train windows as we passed. I have seen these dimintimations of questioning reflection in the strangest juxtapositions;in Malagasysoldiers resting for a spell among the big shells they werehoisting into trucks for the front, in a couple of khaki-clad Maorissitting upon the step of a horse-van inAmiens station. It is always thesame expression one catches, rather weary, rather sullen, inturned. Theshoulders droop. The very outline is a note ofinterrogation. They lookup as the privileged tourist of the front, in the big automobile orthe reserved compartment, with his officer or so incharge,passes--importantly. One meets a pair of eyes that seems to say:\"Perhaps _you_ understand....\"In which case---...?\"It is a part, I think, of this dispositionto investigate what makeseveryone collect \"specimens\" of the war. Everywhere the souvenir forcesitself upon the attention. The homecoming permissionairebrings withhim invariably a considerable weight of broken objects, bits of shell,cartridge clips, helmets; it is a peripatetic museum. It is as if hehoped for a clue. Itis almost impossible, I have found, to escape thesepieces in evidence. I am the least collecting of men, but I have broughthome Italian cartridges, Austriancartridges, the fuse of an Austrianshell, a broken Italian bayonet, and a note that is worth half a francwithin the confines of Amiens. But a large heavy piece ofexploded shellthat had been thrust very urgently upon my attention upon the Carso Icontrived to lose during the temporary confusion of our party by thearrivaland explosion of another prospective souvenir in our closeproximity. And two really very large and almost complete specimens ofsome species of _Ammonites_unknown to me, from the hills to the eastof the Adige, partially wrapped in a back number of the _Corrieredella Sera_, that were pressed upon me by a friendlyofficer, wereunfortunately lost on the line between Verona and Milan through thegross negligence of a railway porter. But I doubt if they would havethrown anyvery conclusive light upon the war.2I avow myself an extreme Pacifist. I am against the man who first takesup the weapon. I carry my pacifism far beyond theambiguous little groupof British and foreign sentimentalists who pretend so amusingly to besocialists in the _Labour Leader_, whose conception of foreign policyisto give Germany now a peace that would be no more than a breathing timefor a fresh outrage upon civilisation, and who would even make heroes ofthe crazyyoung assassins of the Dublin crime. I do not understand thosepeople. I do not merely want to stop this war. I want to nail down warin its coffin. Modern war isan intolerable thing. It is not a thingto trifle with in this Urban District Council way, it is a thing toend forever. I have always hated it, so far that is as my"}
+{"doc_id":"doc_148","qid":"","text":"<html><head><title>Up Script at IMSDb.</title><meta name=\"description\" content=\"Up script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Up script, Up movie script, Up film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>          </b><b>                                       UP</b><b>          </b>                                   Written by<b>          </b>                   Pete Docter, BobPeterson & Thomas McCarthy<b>          </b><b>          </b><b>                                                                   1.</b><b>          </b>          A 1930'sNEWSREEL.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    \"Movietown News\" presents...                    Spotlight onAdventure!          The mysterious SOUTH AMERICAN JUNGLE. A massive waterfall          cascades down a gigantic, flat-toppedmountain.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    What you are now witnessing is                    footagenever before seen by                    civilized humanity: a lost world in                    South America! Lurking in the                    shadow of majestic ParadiseFalls,                    it sports plants and animals                    undiscovered by science. Who would                    dare set foot on thisinhospitable                    summit?<b>          </b>          A painted portrait of a dashing young adventurer.<b>          </b><b>                              NEWSREELANNOUNCER (V.O.)</b>                    Why, our subject today: Charles                    Muntz!          A massive DIRIGIBLE descends on anairfield.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    The beloved explorer lands his                    dirigible, the\"Spirit of                    Adventure,\" in New Hampshire this                    week, completing a year long                    expedition to the lost"}
+{"doc_id":"doc_149","qid":"","text":"The Project Gutenberg EBook of Quality Street, by J. M. BarrieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Quality Street       A ComedyAuthor: J. M. BarrieRelease Date: February 12, 2010 [EBook #31266]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK QUALITY STREET ***Produced by Al HainesTHE PLAYS OF J. M. BARRIEQUALITY STREETA COMEDYCHARLES SCRIBNER'SSONSNEW YORK ::::::::: 1923COPYRIGHT, 1918, BYJ. M. BARRIEPrinted in the United States of America_All rights reserved under the International CopyrightAct.Performance forbidden and right of representation reserved.Application for the right of performing this play must be made toCharles Frohman, Inc., EmpireTheatre, New York.__THE WORKS OF J. M. BARRIE.__NOVELS, STORIES, AND SKETCHES.__Uniform Edition._  AULD LIGHT IDYLLS, BETTER DEAD.  WHEN AMAN'S SINGLE.  A WINDOW IN THRUMS, AN EDINBURGH ELEVEN.  THE LITTLE MINISTER.  SENTIMENTAL TOMMY.  MY LADY NICOTINE, MARGARETOGILVY.  TOMMY AND GRIZEL.  THE LITTLE WHITE BIRD.  PETER AND WENDY.  _Also_  HALF HOURS, DER TAG.  ECHOES OF THE WAR._PLAYS.__UniformEdition._  DEAR BRUTUS  A KISS FOR CINDERELLA  ALICE SIT-BY-THE-FIRE.  WHAT EVERY WOMAN KNOWS.  QUALITY STREET.  THE ADMIRABLECRICHTON.  ECHOES OF THE WAR.  _Containing_: The Old Lady Shows Her Medals--The New  Word--Barbara's Wedding--A Well-Remembered Voice.  HALFHOURS.  _Containing_: Pantaloon--The Twelve-Pound  Look--Rosalind--The Will._Others in Preparation.__INDIVIDUAL EDITIONS._PETER PAN IN KENSINGTONGARDENS.  Illustrated by ARTHUR RACKHAM.PETER AND WENDY.  Illustrated by F. D. BEDFORD.PETER PAN AND WENDY.  Illustrated by MISS ATTWELL.TOMMYAND GRIZEL.  Illustrated by BERNARD PARTRIDGE.MARGARET OGILVY.*** For particulars concerning _The Thistle Edition_ of the Works of J.M. BARRIE, soldonly by subscription, send for circular.NEW YORK: CHARLES SCRIBNER'S SONSACT ITHE BLUE AND WHITE ROOM_The scene is the blue and white room in thehouse of the Misses Susanand Phoebe Throssel in Quality Street; and in this little country townthere is a satisfaction about living in Quality Street whichevenreligion cannot give.  Through the bowed window at the back we have aglimpse of the street.  It is pleasantly broad and grass-grown, and islinked to theouter world by one demure shop, whose door rings a bellevery time it opens and shuts.  Thus by merely peeping, every one inQuality Street can know at oncewho has been buying a Whimsy cake, andusually why.  This bell is the most familiar sound of Quality Street.Now and again ladies pass in their pattens, a maidperhaps protectingthem with an umbrella, for flakes of snow are falling discreetly.Gentlemen in the street are an event; but, see, just as we raise thecurtain,there goes the recruiting sergeant to remind us that we are inthe period of the Napoleonic wars.  If he were to look in at the windowof the blue and white room allthe ladies there assembled would drawthemselves up; they know him for a rude fellow who smiles at theapproach of maiden ladies and continues to smile afterthey havepassed.  However, he lowers his head to-day so that they shall not seehim, his present design being converse with the Misses Throssel's maid.__Theroom is one seldom profaned by the foot of man, and everything init is white or blue.  Miss Phoebe is not present, but here are MissSusan, Miss Willoughby andher sister Miss Fanny, and Miss HenriettaTurnbull.  Miss Susan and Miss Willoughby, alas, already wear caps; butall the four are dear ladies, so refined that weought not to bediscussing them without a more formal introduction.  There seems nosufficient reason why we should choose Miss Phoebe as our heroineratherthan any one of the others, except, perhaps, that we like hername best.  But we gave her the name, so we must support our choice andsay that she is slightly thenicest, unless, indeed, Miss Susan isnicer.__Miss Fanny is reading aloud from a library book while the others sewor knit.  They are making garments for our bravesoldiers now far awayfighting the Corsican Ogre._MISS FANNY.  '... And so the day passed and evening came, black,mysterious, and ghost-like.  The windmoaned unceasingly like ashivering spirit, and the vegetation rustled uneasily as if somethingweird and terrifying were about to happen.  Suddenly out ofthedarkness there emerged a _Man_.(_She says the last word tremulously but without looking up.  Thelisteners knit more quickly._)The unhappy Camilla wasstanding lost in reverie when, without pausingto advertise her of his intentions, he took both her hands in his.(_By this time the knitting has stopped, and all arelistening as ifmesmerised._)Slowly he gathered her in his arms----(MISS SUSAN _gives an excited little cry._)MISS FANNY.  And rained hot, burning----'MISSWILLOUGHBY.  Sister!MISS FANNY (_greedily_).  'On eyes, mouth----'MISS WILLOUGHBY (_sternly_).  Stop.  Miss Susan, I am indeed surprisedyou should bringsuch an amazing, indelicate tale from the library.MISS SUSAN (_with a slight shudder_).  I deeply regret, MissWilloughby----  (_Sees_ MISS FANNY _readingquickly to herself._)  Oh,Fanny!  If you please, my dear.(_Takes the book gently from her._)MISS WILLOUGHBY.  I thank you.(_She knits severely._)MISS FANNY(_a little rebel_).  Miss Susan is looking at the end.(MISS SUSAN _closes the book guiltily._)MISS SUSAN (_apologetically_).  Forgive my partiality forromance,Mary.  I fear 'tis the mark of an old maid.MISS WILLOUGHBY.  Susan, that word!MISS SUSAN (_sweetly_).  'Tis what I am.  And you also, Mary, mydear.MISS FANNY (_defending her sister_).  Miss Susan, I protest.MISS WILLOUGHBY (_sternly truthful_).  Nay, sister, 'tis true.  We areknown everywhere now,Susan, you and I, as the old maids of QualityStreet.  (_General discomfort._)MISS SUSAN.  I am happy Phoebe will not be an old maid.MISS HENRIETTA(_wistfully_).  Do you refer, Miss Susan, to V. B.?(MISS SUSAN _smiles happily to herself._)MISS SUSAN.  Miss Phoebe of the ringlets as he has called her.MISSFANNY.  Other females besides Miss Phoebe have ringlets.MISS SUSAN.  But you and Miss Henrietta have to employ papers, my dear.(_Proudly_) Phoebe,never.MISS WILLOUGHBY (_in defence of_ FANNY).  I do not approve of MissPhoebe at all.MISS SUSAN (_flushing_).  Mary, had Phoebe been dying you wouldhavecalled her an angel, but that is ever the way.  'Tis all jealousy tothe bride and good wishes to the corpse.  (_Her guests rise, hurt._)My love, I beg yourpardon.MISS WILLOUGHBY.  With your permission, Miss Susan, I shall put on mypattens.(MISS SUSAN _gives permission almost haughtily, and the ladiesretireto the bedroom,_ MISS FANNY _remaining behind a moment to ask aquestion._)MISS FANNY.  A bride?  Miss Susan, do you mean that V. B. hasdeclared?MISS SUSAN.  Fanny, I expect it hourly.(MISS SUSAN, _left alone, is agitated by the terrible scene with_ MISSWILLOUGHBY.)(_Enter_ PHOEBE _in herbonnet, and we see at once that she really isthe nicest.  She is so flushed with delightful news that she almostforgets to take off her pattens before crossing theblue and whiteroom._)MISS SUSAN.  You seem strangely excited, Phoebe.PHOEBE.  Susan, I have met a certain individual.MISS SUSAN.  V. B.?  (PHOEBE _nodsseveral times, and her gleaming eyestell_ MISS SUSAN _as much as if they were a romance from the library._)My dear, you are trembling.PHOEBE(_bravely_).  No--oh no.MISS SUSAN.  You put your hand to your heart.PHOEBE.  Did I?MISS SUSAN (_in a whisper_).  My love, has he offered?PHOEBE(_appalled_).  Oh, Susan.(_Enter_ MISS WILLOUGHBY, _partly cloaked._)MISS WILLOUGHBY.  How do you do, Miss Phoebe.  (_Portentously_)  Susan,I have nowish to alarm you, but I am of opinion that there is a man inthe house.  I suddenly felt it while putting on my pattens.MISS SUSAN.  You mean--a follower--in thekitchen?  (_She courageouslyrings the bell, but her voice falters._)  I am just a little afraid ofPatty.(_Enter_ PATTY, _a buxom young woman, who loves hermistresses andsmiles at them, and knows how to terrorise them._)Patty, I hope we may not hurt your feelings, but--PATTY (_sternly_).  Are you implicating,ma'am, that I have a follower?MISS SUSAN.  Oh no, Patty.PATTY.  So be it.MISS SUSAN (_ashamed_).  Patty, come back, (_Humbly_)  I told afalsehood justnow; I am ashamed of myself.PATTY (_severely_).  As well you might be, ma'am.PHOEBE (_so roused that she would look heroic if she did not spoil theeffect bywagging her finger at_ PATTY).  How dare you.  There is a manin the kitchen.  To the door with him.PATTY.  A glorious soldier to be so treated!PHOEBE.  Thedoor.PATTY.  And if he refuses?(_They looked perplexed._)MISS SUSAN.  Oh dear!PHOEBE.  If he refuses send him here to me.(_Exit PATTY._)MISSSUSAN.  Lion-hearted Phoebe.MISS WILLOUGHBY.  A soldier?  (_Nervously_) I wish it may not be thatimpertinent recruiting sergeant.  I passed him in the streetto-day.He closed one of his eyes at me and then quickly opened it.  I knewwhat he meant.PHOEBE.  He does not come.MISS SUSAN.  I think I hear their voices indispute.(_She is listening through the floor.  They all stoop or go on theirknees to listen, and when they are in this position the_ RECRUITINGSERGEANT _entersunobserved.  He chuckles aloud.  In a moment_ PHOEBE_is alone with him._)SERGEANT (_with an Irish accent_).  Your servant, ma'am.PHOEBE (_advancingsternly on him_).  Sir-- (_She is perplexed, as heseems undismayed._) Sergeant--  (_She sees mud from his boots on thecarpet._)  Oh! oh!  (_Brushes carpet._)Sergeant, I am wishful to scoldyou, but would you be so obliging as to stand on this paper while I doit?SERGEANT.  With all the pleasure in life, ma'am.PHOEBE(_forgetting to be angry_).  Sergeant, have you killed people?SERGEANT.  Dozens, ma'am, dozens.PHOEBE.  How terrible.  Oh, sir, I pray every night that theLord inHis loving-kindness will root the enemy up.  Is it true that theCorsican Ogre eats babies?SERGEANT.  I have spoken with them as have seen him do it,ma'am.PHOEBE.  The Man of Sin.  Have you ever seen a vivandiere, sir?(_Wistfully_)  I have sometimes wished there were vivandieres in theBritish Army.  (_Fora moment she sees herself as one._)  Oh, Sergeant,a shudder goes through me when I see you in the streets enticing thosepoor young men.SERGEANT.  If youwere one of them, ma'am, and death or glory was thecall, you would take the shilling, ma'am.PHOEBE.  Oh, not for that.SERGEANT.  For King and Country,ma'am?PHOEBE (_grandly_).  Yes, yes, for that.SERGEANT (_candidly_).  Not that it is all fighting.  The sack ofcaptured towns--the loot.PHOEBE (_proudly_).  AnEnglish soldier never sacks nor loots.SERGEANT.  No, ma'am.  And then--the girls.PHOEBE.  What girls?SERGEANT.  In the towns that--that we don'tsack.PHOEBE.  How they must hate the haughty conqueror.SERGEANT.  We are not so haughty as all that.PHOEBE (_sadly_).  I think I understand.  I am afraid,"}
+{"doc_id":"doc_150","qid":"","text":"<html><head><title>Gods and Monsters Script at IMSDb.</title><meta name=\"description\" content=\"Gods and Monsters script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Gods and Monsters script, Gods and Monsters movie script, Gods and Monsters film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head>   <title>\"Gods and Monsters\", shooting draft, by Bill Condon</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                         <u>\"GODS ANDMONSTERS\"</u>                              Screenplay                                  by                             Bill Condon                          Based on thenovel                       \"Father of Frankenstein\"                                  by                           Christopher Bram                             May 30,1997<b>                            SHOOTING DRAFT</b><b>     NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS</b><b>     AND SOME\"SCENE OMITTED\" SLUGS. THEY HAVE BEEN REMOVED FOR</b><b>     THIS SOFT COPY.</b><b>     FADE IN:</b><b>     MAIN TITLESBEGIN</b>     Writhing pools of light and dark, out of which emerge images     from \"The Bride of Frankenstein,\" directed by James Whale.     Elsa Lanchester, asthe Monster's Bride, looks up, down,     left, right, startled to be alive.  The Monster stares at     her.  \"Friend?\" he asks, tenderly, desperately.<b>     EXT.COUNTRYSIDE - NIGHT (B & W)</b>     Lightning splits the black-and-white sky, revealing a single     shattered oak in a desolate landscape.  Below, aHUMAN     SILHOUETTE stumbles through the darkness, the top of his     head flat, his arms long and heavy, his boots weighted with     mud.     Suddenly thestorm fades.  Light creeps into the scene, and     color, as we DISSOLVE TO:<b>     THE PACIFIC OCEAN</b>     melting into a hazy morning sky.  In a box"}
+{"doc_id":"doc_151","qid":"","text":"The Project Gutenberg eBook, A Sentimental Journey through France andItaly, by Laurence Sterne, Edited by Henry MorleyThis eBook is for the use of anyoneanywhere in the United States and mostother parts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use itunder the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'llhaveto check the laws of the country where you are located before using this ebook.Title: A Sentimental Journey through France and ItalyAuthor: LaurenceSterneEditor: Henry MorleyRelease Date: April 7, 2015  [eBook #804][This file was first posted on February 12, 1997]Language: EnglishCharacter set encoding:UTF-8***START OF THE PROJECT GUTENBERG EBOOK A SENTIMENTAL JOURNEY THROUGHFRANCE AND ITALY***Transcribed from the 1892 George Bell andSon edition by David Price,email ccx074@pglaf.org                                    A                           SENTIMENTALJOURNEY                                 THROUGH                            FRANCE AND ITALY;                              BY MR. YORICK.                     [THE REV. LAURENCESTERNE, M.A.]                        [FIRST PUBLISHED IN 1768.]THEY order, said I, this matter better in France.â\u0000\u0000You have been inFrance? said my gentleman,turning quick upon me, with the most civiltriumph in the world.â\u0000\u0000Strange! quoth I, debating the matter with myself,That one and twenty miles sailing, forâ\u0000\u0000tis absolutely no further fromDover to Calais, should give a man these rights:â\u0000\u0000Iâ\u0000\u0000ll look into them: so,giving up the argument,â\u0000\u0000I went straight tomy lodgings, put up half adozen shirts and a black pair of silk breeches,â\u0000\u0000â\u0000\u0000the coat I have on,â\u0000\u0000said I, looking at the sleeve, â\u0000\u0000will do;â\u0000\u0000â\u0000\u0000tooka place in the Doverstage; and the packet sailing at nine the next morning,â\u0000\u0000by three I hadgot sat down to my dinner upon a fricaseed chicken, soincontestably inFrance, that had I died that night of an indigestion, the whole worldcould not have suspended the effects of the _droits dâ\u0000\u0000aubaine_;{557}â\u0000\u0000myshirts, and black pair of silk breeches,â\u0000\u0000portmanteau and all, must havegone to the King of France;â\u0000\u0000even the little picture which I have solongworn, and so often have told thee, Eliza, I would carry with me into mygrave, would have been torn from my neck!â\u0000\u0000Ungenerous! to seize upon thewreckof an unwary passenger, whom your subjects had beckoned to theircoast!â\u0000\u0000By heaven! Sire, it is not well done; and much does it grieve me,â\u0000\u0000tis themonarch of a people so civilized and courteous, and so renownedfor sentiment and fine feelings, that I have to reason with!â\u0000\u0000But I have scarce set a foot inyour dominions.â\u0000\u0000CALAIS.When I had fished my dinner, and drank the King of Franceâ\u0000\u0000s health, tosatisfy my mind that I bore him no spleen, but, on thecontrary, highhonour for the humanity of his temper,â\u0000\u0000I rose up an inch taller for theaccommodation.â\u0000\u0000Noâ\u0000\u0000said Iâ\u0000\u0000the Bourbon is by no means acruel race: they may be misled,like other people; but there is a mildness in their blood.  As Iacknowledged this, I felt a suffusion of a finer kind upon mycheekâ\u0000\u0000morewarm and friendly to man, than what Burgundy (at least of two livres abottle, which was such as I had been drinking) could haveproduced.â\u0000\u0000Just God! said I, kicking my portmanteau aside, what is there in thisworldâ\u0000\u0000s goods which should sharpen our spirits, and make somanykind-hearted brethren of us fall out so cruelly as we do by the way?When man is at peace with man, how much lighter than a feather is theheaviest ofmetals in his hand! he pulls out his purse, and holding itairily and uncompressed, looks round him, as if he sought for an objectto share it with.â\u0000\u0000In doing this,I felt every vessel in my framedilate,â\u0000\u0000the arteries beat all cheerily together, and every power whichsustained life, performed it with so little friction, thatâ\u0000\u0000twould haveconfounded the most _physical précieuse_ in France; with all hermaterialism, she could scarce have called me a machine.â\u0000\u0000Iâ\u0000\u0000mconfident, said I to myself, I should have overset her creed.The accession of that idea carried nature, at that time, as high as shecould go;â\u0000\u0000I was at peacewith the world before, and this finishâ\u0000\u0000d thetreaty with myself.â\u0000\u0000â\u0000\u0000Now, was I King of France, cried Iâ\u0000\u0000what a moment for an orphan tohavebeggâ\u0000\u0000d his fatherâ\u0000\u0000s portmanteau of me!THE MONK.CALAIS.I HAD scarce uttered the words, when a poor monk of the order of St.Francis came intothe room to beg something for his convent.  No mancares to have his virtues the sport of contingenciesâ\u0000\u0000or one man may begenerous, as another ispuissant;â\u0000\u0000_sed non quoad hanc_â\u0000\u0000or be it as itmay,â\u0000\u0000for there is no regular reasoning upon the ebbs and flows of ourhumours; they may depend uponthe same causes, for aught I know, whichinfluence the tides themselves: â\u0000\u0000twould oft be no discredit to us, tosuppose it was so: Iâ\u0000\u0000m sure at least formyself, that in many a case Ishould be more highly satisfied, to have it said by the world, â\u0000\u0000I had hadan affair with the moon, in which there was neither sinnor shame,â\u0000\u0000 thanhave it pass altogether as my own act and deed, wherein there was so muchof both.â\u0000\u0000But, be this as it may,â\u0000\u0000the moment I cast myeyes upon him, I waspredetermined not to give him a single sous; and, accordingly, I put mypurse into my pocketâ\u0000\u0000buttoned itâ\u0000\u0000set myself a little moreupon my centre,and advanced up gravely to him; there was something, I fear, forbiddingin my look: I have his figure this moment before my eyes, and thinktherewas that in it which deserved better.The monk, as I judged by the break in his tonsure, a few scattered whitehairs upon his temples, being all that remainedof it, might be aboutseventy;â\u0000\u0000but from his eyes, and that sort of fire which was in them,which seemed more temperâ\u0000\u0000d by courtesy than years, could beno more thansixty:â\u0000\u0000Truth might lie betweenâ\u0000\u0000He was certainly sixty-five; and thegeneral air of his countenance, notwithstanding something seemâ\u0000\u0000d tohavebeen planting-wrinkles in it before their time, agreed to the account.It was one of those heads which Guido has often painted,â\u0000\u0000mild,paleâ\u0000\u0000penetrating,free from all commonplace ideas of fat contentedignorance looking downwards upon the earth;â\u0000\u0000it lookâ\u0000\u0000d forwards; butlookâ\u0000\u0000d as if it lookâ\u0000\u0000d atsomething beyond this world.â\u0000\u0000How one of hisorder came by it, heaven above, who let it fall upon a monkâ\u0000\u0000s shouldersbest knows: but it would have suiteda Bramin, and had I met it upon theplains of Indostan, I had reverenced it.The rest of his outline may be given in a few strokes; one might put itinto the hands ofany one to design, for â\u0000\u0000twas neither elegant norotherwise, but as character and expression made it so: it was a thin,spare form, something above thecommon size, if it lost not thedistinction by a bend forward in the figure,â\u0000\u0000but it was the attitude ofIntreaty; and, as it now stands presented to myimagination, it gainedmore than it lost by it.When he had entered the room three paces, he stood still; and laying hisleft hand upon his breast (a slender whitestaff with which he journeyâ\u0000\u0000dbeing in his right)â\u0000\u0000when I had got close up to him, he introduced himselfwith the little story of the wants of his convent, andthe poverty of hisorder;â\u0000\u0000and did it with so simple a grace,â\u0000\u0000and such an air of deprecationwas there in the whole cast of his look and figure,â\u0000\u0000I wasbewitchâ\u0000\u0000d notto have been struck with it.â\u0000\u0000A better reason was, I had predetermined not to give him a single sous.THE MONK.CALAIS.â\u0000\u0000â\u0000\u0000TIS verytrue, said I, replying to a cast upwards with his eyes, withwhich he had concluded his address;â\u0000\u0000â\u0000\u0000tis very true,â\u0000\u0000and heaven be theirresource who haveno other but the charity of the world, the stock ofwhich, I fear, is no way sufficient for the many _great claims_ which arehourly made upon it.As I pronouncedthe words _great claims_, he gave a slight glance withhis eye downwards upon the sleeve of his tunic:â\u0000\u0000I felt the full force ofthe appealâ\u0000\u0000I acknowledge it,said I:â\u0000\u0000a coarse habit, and that but once inthree years with meagre diet,â\u0000\u0000are no great matters; and the true point ofpity is, as they can be earnâ\u0000\u0000d inthe world with so little industry, thatyour order should wish to procure them by pressing upon a fund which isthe property of the lame, the blind, the aged and theinfirm;â\u0000\u0000the captivewho lies down counting over and over again the days of his afflictions,languishes also for his share of it; and had you been of the _orderofmercy_, instead of the order of St. Francis, poor as I am, continued I,pointing at my portmanteau, full cheerfully should it have been openâ\u0000\u0000d toyou, for theransom of the unfortunate.â\u0000\u0000The monk made me a bow.â\u0000\u0000But ofall others, resumed I, the unfortunate of our own country, surely, havethe first rights; and Ihave left thousands in distress upon our ownshore.â\u0000\u0000The monk gave a cordial wave with his head,â\u0000\u0000as much as to say, Nodoubt there is misery enough inevery corner of the world, as well aswithin our conventâ\u0000\u0000But we distinguish, said I, laying my hand upon thesleeve of his tunic, in return for his appealâ\u0000\u0000wedistinguish, my goodfather! betwixt those who wish only to eat the bread of their ownlabourâ\u0000\u0000and those who eat the bread of other peopleâ\u0000\u0000s, and have nootherplan in life, but to get through it in sloth and ignorance, _for the loveof God_.The poor Franciscan made no reply: a hectic of a moment passâ\u0000\u0000d acrosshischeek, but could not tarryâ\u0000\u0000Nature seemed to have done with herresentments in him;â\u0000\u0000he showed none:â\u0000\u0000but letting his staff fall within hisarms, hepressed both his hands with resignation upon his breast, andretired.THE MONK.CALAIS.MY heart smote me the moment he shut the doorâ\u0000\u0000Psha! said I, withan airof carelessness, three several timesâ\u0000\u0000but it would not do: everyungracious syllable I had utterâ\u0000\u0000d crowded back into my imagination: Ireflected, I hadno right over the poor Franciscan, but to deny him; andthat the punishment of that was enough to the disappointed, without theaddition of unkindlanguage.â\u0000\u0000I considerâ\u0000\u0000d his gray hairsâ\u0000\u0000his courteousfigure seemâ\u0000\u0000d to re-enter and gently ask me what injury he had doneme?â\u0000\u0000and why Icould use him thus?â\u0000\u0000I would have given twenty livres for anadvocate.â\u0000\u0000I have behaved very ill, said I within myself; but I have onlyjust set out upon mytravels; and shall learn better manners as I getalong.THE DESOBLIGEANT.CALAIS.WHEN a man is discontented with himself, it has one advantage however,that itputs him into an excellent frame of mind for making a bargain.Now there being no travelling through France and Italy without achaise,â\u0000\u0000and nature generallyprompting us to the thing we are fittestfor, I walkâ\u0000\u0000d out into the coach-yard to buy or hire something of thatkind to my purpose: an old _désobligeant_{562} in the furthest corner ofthe court, hit my fancy at first sight, so I instantly got into it, andfinding it in tolerable harmony with my feelings, I ordered thewaiter tocall Monsieur Dessein, the master of the hotel:â\u0000\u0000but Monsieur Desseinbeing gone to vespers, and not caring to face the Franciscan, whom I sawon the"}
+{"doc_id":"doc_152","qid":"","text":"The Project Gutenberg EBook of The Cask of Amontillado, by Edgar Allan PoeThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Cask of AmontilladoAuthor: Edgar Allan PoeRelease Date: June 6, 2010 [EBook #1063]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE CASK OF AMONTILLADO ***Produced by Levent Kurnaz.  HTML version by Al Haines.The Cask of AmontilladobyEdgar AllanPoeThe thousand injuries of Fortunato I had borne as I best could, butwhen he ventured upon insult, I vowed revenge.  You, who so well knowthe nature of mysoul, will not suppose, however, that I gave utteranceto a threat.  _At length_ I would be avenged; this was a point definitelysettled--but the very definitivenesswith which it was resolved,precluded the idea of risk.  I must not only punish, but punish withimpunity.  A wrong is unredressed when retribution overtakesitsredresser.  It is equally unredressed when the avenger fails to makehimself felt as such to him who has done the wrong.It must be understood that neither byword nor deed had I givenFortunato cause to doubt my good will.  I continued, as was my wont, tosmile in his face, and he did not perceive that my smile _now_was atthe thought of his immolation.He had a weak point--this Fortunato--although in other regards he was aman to be respected and even feared.  He pridedhimself on hisconnoisseurship in wine.  Few Italians have the true virtuoso spirit.For the most part their enthusiasm is adopted to suit the time andopportunity--topractise imposture upon the British and Austrian_millionaires_.  In painting and gemmary, Fortunato, like his countrymen,was a quack--but in the matter of oldwines he was sincere.  In thisrespect I did not differ from him materially: I was skillful in theItalian vintages myself, and bought largely whenever I could.It wasabout dusk, one evening during the supreme madness of thecarnival season, that I encountered my friend.  He accosted me withexcessive warmth, for he hadbeen drinking much.  The man wore motley.He had on a tight-fitting parti-striped dress, and his head wassurmounted by the conical cap and bells.  I was sopleased to see him,that I thought I should never have done wringing his hand.I said to him--\"My dear Fortunato, you are luckily met.  How remarkablywell youare looking to-day!  But I have received a pipe of what passesfor Amontillado, and I have my doubts.\"\"How?\" said he.  \"Amontillado?  A pipe?  Impossible!  And inthe middleof the carnival!\"\"I have my doubts,\" I replied; \"and I was silly enough to pay the fullAmontillado price without consulting you in the matter. You werenot tobe found, and I was fearful of losing a bargain.\"\"Amontillado!\"\"I have my doubts.\"\"Amontillado!\"\"And I must satisfy them.\"\"Amontillado!\"\"As you areengaged, I am on my way to Luchesi.  If any one has acritical turn, it is he.  He will tell me--\"\"Luchesi cannot tell Amontillado from Sherry.\"\"And yet some foolswill have it that his taste is a match for yourown.\"\"Come, let us go.\"\"Whither?\"\"To your vaults.\"\"My friend, no; I will not impose upon your good nature.  Iperceiveyou have an engagement.  Luchesi--\"\"I have no engagement;--come.\"\"My friend, no.  It is not the engagement, but the severe cold withwhich I perceiveyou are afflicted.  The vaults are insufferably damp.They are encrusted with nitre.\"\"Let us go, nevertheless.  The cold is merely nothing. Amontillado!You havebeen imposed upon.  And as for Luchesi, he cannot distinguishSherry from Amontillado.\"Thus speaking, Fortunato possessed himself of my arm. Putting on amaskof black silk, and drawing a _roquelaire_ closely about my person, Isuffered him to hurry me to my palazzo.There were no attendants at home; they hadabsconded to make merry inhonour of the time.  I had told them that I should not return until themorning, and had given them explicit orders not to stir from thehouse.These orders were sufficient, I well knew, to insure their immediatedisappearance, one and all, as soon as my back was turned.I took from their sconcestwo flambeaux, and giving one to Fortunato,bowed him through several suites of rooms to the archway that led intothe vaults.  I passed down a long and windingstaircase, requesting himto be cautious as he followed. We came at length to the foot of thedescent, and stood together on the damp ground of the catacombs oftheMontresors.The gait of my friend was unsteady, and the bells upon his cap jingledas he strode.\"The pipe,\" said he.\"It is farther on,\" said I; \"but observe thewhite web-work whichgleams from these cavern walls.\"He turned towards me, and looked into my eyes with two filmy orbs thatdistilled the rheum ofintoxication.\"Nitre?\" he asked, at length.\"Nitre,\" I replied.  \"How long have you had that cough?\"\"Ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh!ugh!--ugh!ugh! ugh!\"My poor friend found it impossible to reply for many minutes.\"It is nothing,\" he said, at last.\"Come,\" I said, with decision, \"we will go back;your health isprecious.  You are rich, respected, admired, beloved; you are happy, asonce I was.  You are a man to be missed.  For me it is no matter.  Wewill goback; you will be ill, and I cannot be responsible.  Besides,there is Luchesi--\"\"Enough,\" he said; \"the cough is a mere nothing; it will not kill me.I shall not die of acough.\"\"True--true,\" I replied; \"and, indeed, I had no intention of alarmingyou unnecessarily--but you should use all proper caution. A draught ofthis Medoc willdefend us from the damps.\"Here I knocked off the neck of a bottle which I drew from a long row ofits fellows that lay upon the mould.\"Drink,\" I said, presentinghim the wine.He raised it to his lips with a leer.  He paused and nodded to mefamiliarly, while his bells jingled.\"I drink,\" he said, \"to the buried that repose aroundus.\"\"And I to your long life.\"He again took my arm, and we proceeded.\"These vaults,\" he said, \"are extensive.\"\"The Montresors,\" I replied, \"were a great andnumerous family.\"\"I forget your arms.\"\"A huge human foot d'or, in a field azure; the foot crushes a serpentrampant whose fangs are imbedded in the heel.\"\"Andthe motto?\"\"_Nemo me impune lacessit_.\"\"Good!\" he said.The wine sparkled in his eyes and the bells jingled.  My own fancy grewwarm with the Medoc.  We hadpassed through walls of piled bones, withcasks and puncheons intermingling, into the inmost recesses ofcatacombs.  I paused again, and this time I made bold toseizeFortunato by an arm above the elbow.\"The nitre!\" I said; \"see, it increases.  It hangs like moss upon thevaults.  We are below the river's bed.  The drops ofmoisture trickleamong the bones.  Come, we will go back ere it is too late.  Yourcough--\"\"It is nothing,\" he said; \"let us go on.  But first, another draught oftheMedoc.\"I broke and reached him a flagon of De Grave.  He emptied it at abreath.  His eyes flashed with a fierce light.  He laughed and threwthe bottle upwardswith a gesticulation I did not understand.I looked at him in surprise.  He repeated the movement--a grotesque one.\"You do not comprehend?\" he said.\"Not I,\" Ireplied.\"Then you are not of the brotherhood.\"\"How?\"\"You are not of the masons.\"\"Yes, yes,\" I said; \"yes, yes.\"\"You?  Impossible!  A mason?\"\"A mason,\" Ireplied.\"A sign,\" he said, \"a sign.\"\"It is this,\" I answered, producing a trowel from beneath the folds ofmy _roquelaire_.\"You jest,\" he exclaimed, recoiling a fewpaces.  \"But let us proceedto the Amontillado.\"\"Be it so,\" I said, replacing the tool beneath the cloak and againoffering him my arm.  He leaned upon itheavily.  We continued ourroute in search of the Amontillado.  We passed through a range of lowarches, descended, passed on, and descending again, arrived ata deepcrypt, in which the foulness of the air caused our flambeaux rather toglow than flame.At the most remote end of the crypt there appeared anotherlessspacious.  Its walls had been lined with human remains, piled to thevault overhead, in the fashion of the great catacombs of Paris.  Threesides of this interiorcrypt were still ornamented in this manner.From the fourth side the bones had been thrown down, and laypromiscuously upon the earth, forming at one point amound of somesize.  Within the wall thus exposed by the displacing of the bones, weperceived a still interior recess, in depth about four feet in widththree, inheight six or seven.  It seemed to have been constructed forno especial use within itself, but formed merely the interval betweentwo of the colossal supports ofthe roof of the catacombs, and wasbacked by one of their circumscribing walls of solid granite.It was in vain that Fortunato, uplifting his dull torch, endeavouredtopry into the depth of the recess.  Its termination the feeble light didnot enable us to see.\"Proceed,\" I said; \"herein is the Amontillado.  As for Luchesi--\"\"He is anignoramus,\" interrupted my friend, as he stepped unsteadilyforward, while I followed immediately at his heels.  In an instant hehad reached the extremity of theniche, and finding his progressarrested by the rock, stood stupidly bewildered.  A moment more and Ihad fettered him to the granite.  In its surface were two ironstaples,distant from each other about two feet, horizontally.  From one ofthese depended a short chain, from the other a padlock.  Throwing thelinks about hiswaist, it was but the work of a few seconds to secureit.  He was too much astounded to resist.  Withdrawing the key Istepped back from the recess.\"Pass yourhand,\" I said, \"over the wall; you cannot help feeling thenitre.  Indeed, it is _very_ damp.  Once more let me _implore_ you toreturn.  No?  Then I must positivelyleave you.  But I must firstrender you all the little attentions in my power.\"\"The Amontillado!\" ejaculated my friend, not yet recovered fromhisastonishment.\"True,\" I replied; \"the Amontillado.\"As I said these words I busied myself among the pile of bones of whichI have before spoken.  Throwing themaside, I soon uncovered a quantityof building stone and mortar.  With these materials and with the aid ofmy trowel, I began vigorously to wall up the entrance ofthe niche.I had scarcely laid the first tier of the masonry when I discoveredthat the intoxication of Fortunato had in a great measure worn off. Theearliestindication I had of this was a low moaning cry from the depthof the recess.  It was _not_ the cry of a drunken man. There was then along and obstinate silence.  Ilaid the second tier, and the third, andthe fourth; and then I heard the furious vibrations of the chain.  Thenoise lasted for several minutes, during which, that Imight hearken toit with the more satisfaction, I ceased my labours and sat down uponthe bones. When at last the clanking subsided, I resumed the trowel,andfinished without interruption the fifth, the sixth, and the seventhtier.  The wall was now nearly upon a level with my breast.  I againpaused, and holding theflambeaux over the mason-work, threw a fewfeeble rays upon the figure within.A succession of loud and shrill screams, bursting suddenly from thethroat of thechained form, seemed to thrust me violently back.  For abrief moment I hesitated--I trembled.  Unsheathing my rapier, I beganto grope with it about the recess;but the thought of an instantreassured me.  I placed my hand upon the solid fabric of the catacombs,and felt satisfied.  I reapproached the wall; I replied to the"}
+{"doc_id":"doc_153","qid":"","text":"The Project Gutenberg EBook of The Return of the Soldier, by Rebecca WestThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Return of the SoldierAuthor: Rebecca WestRelease Date: August 24, 2011 [EBook #37189]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE RETURN OF THE SOLDIER ***Produced by Chuck Greif and the Online DistributedProofreading Team at http://www.pgdp.net(This book wasproduced from scanned images of public domain materialfrom the Google Print project.)[Illustration: frontispiece]THE RETURNOF THESOLDIERBYREBECCA WESTNEW [Illustration: colophon] YORKGEORGE H. DORAN COMPANYCOPYRIGHT, 1918,BY GEORGE H. DORAN COMPANYTHE RETURN OFTHE SOLDIER-C-PRINTED IN THE UNITED STATES OF AMERICALIST OF ILLUSTRATIONSHe lay there in the confiding relaxation ofachild                                     _Frontispiece_                                                    FACING                                                      PAGE\"Give it a brush now andthen, like a goodsoul\"                                                    6She would get into the four-foot punt thatwas used as a ferry and bring it oververyslowly                                                  66\"I oughtn't to do it, ought I?\"                        176THE RETURNOF THE SOLDIERCHAPTER I\"Ah, don't begin tofuss!\" wailed Kitty. \"If a woman began to worry inthese days because her husband hadn't written to her for a fortnight!Besides, if he'd been anywhere interesting,anywhere where the fightingwas really hot, he'd have found some way of telling me instead of justleaving it as 'Somewhere in France.' He'll be all right.\"We weresitting in the nursery. I had not meant to enter it again, nowthat the child was dead; but I had come suddenly on Kitty as she slippedthe key into the lock, and Ihad lingered to look in at the high room,so full of whiteness and clear colors, so unendurably gay and familiar,which is kept in all respects as though there werestill a child in thehouse. It was the first lavish day of spring, and the sunlight waspouring through the tall, arched windows and the flowered curtains sobrightlythat in the old days a fat fist would certainly have beenraised to point out the new, translucent glories of the rosebud.Sunlight was lying in great pools on the bluecork floor and the softrugs, patterned with strange beasts, and threw dancing beams, whichshould have been gravely watched for hours, on the white paint andtheblue distempered walls. It fell on the rocking-horse, which had beenChris's idea of an appropriate present for his year-old son, and showedwhat a fine fellowhe was and how tremendously dappled; it picked outMary and her little lamb on the chintz ottoman. And along themantelpiece, under the loved print of thesnarling tiger, in attitudesthat were at once angular and relaxed, as though they were ready forplay at their master's pleasure, but found it hard to keep fromdrowsingin this warm weather, sat the Teddy Bear and the chimpanzee and thewoolly white dog and the black cat with eyes that roll. Everything wasthere exceptOliver. I turned away so that I might not spy on Kittyrevisiting her dead. But she called after me:\"Come here, Jenny. I'm going to dry my hair.\" And when Ilooked again Isaw that her golden hair was all about her shoulders and that she woreover her frock a little silken jacket trimmed with rosebuds. She lookedso likea girl on a magazine cover that one expected to find a large \"15cents\" somewhere attached to her person. She had taken Nanny's bigbasket-chair from its placeby the high-chair, and was pushing it overto the middle window. \"I always come in here when Emery has washed myhair. It's the sunniest room in the house. Iwish Chris wouldn't haveit kept as a nursery when there's no chance--\" She sat down, swept herhair over the back of the chair into the sunlight, and held out tomeher tortoiseshell hair-brush. \"Give it a brush now and then, like a goodsoul; but be careful. Tortoise snaps so!\"I took the brush and turned to the window,leaning my forehead againstthe glass and staring unobservantly at the view. You probably know thebeauty of that view; for when Chris rebuilt Baldry Court afterhismarriage he handed it over to architects who had not so much the wildeye of the artist as the knowing wink of the manicurist, and betweenthem theymassaged the dear old place into matter for innumerablephotographs in the illustrated papers. The house lies on the crest ofHarrowweald, and from its windowsthe eye drops to miles of emeraldpasture-land lying wet and brilliant under a westward line of sleekhills; blue with distance and distant woods, while nearer itrange thesuave decorum of the lawn and the Lebanon cedar, the branches of whichare like darkness made palpable, and the minatory gauntnesses of thetopmostpines in the wood that breaks downward, its bare boughs a closetexture of browns and purples, from the pond on the edge of the hill.[Illustration: \"Give it a brushnow and then, like a good soul\"]That day its beauty was an affront to me, because, like mostEnglishwomen of my time, I was wishing for the return of asoldier.Disregarding the national interest and everything else except the keenprehensile gesture of our hearts toward him, I wanted to snatch myCousinChristopher from the wars and seal him in this green pleasantnesshis wife and I now looked upon. Of late I had had bad dreams about him.By nights I saw Chrisrunning across the brown rottenness ofNo-Man's-Land, starting back here because he trod upon a hand, not evenlooking there because of the awfulness of anunburied head, and not tillmy dream was packed full of horror did I see him pitch forward on hisknees as he reached safety, if it was that. For on the war-films Ihaveseen men slip down as softly from the trench-parapet, and none but thegrimmer philosophers could say that they had reached safety by theirfall. And when Iescaped into wakefulness it was only to lie stiff andthink of stories I had heard in the boyish voice of the modernsubaltern, which rings indomitable, yet has mostof its gay notesflattened: \"We were all of us in a barn one night, and a shell camealong. My pal sang out, 'Help me, old man; I've got no legs!' and I hadtoanswer, 'I can't, old man; I've got no hands!'\" Well, such are thedreams of Englishwomen to-day. I could not complain, but I wished forthe return of our soldier.So I said:\"I wish we could hear from Chris. It is a fortnight since he wrote.\"And then it was that Kitty wailed, \"Ah, don't begin to fuss!\" and bentover her image ina hand-mirror as one might bend for refreshment overscented flowers.I tried to build about me such a little globe of ease as alwaysensphered her, and thought ofall that remained good in our lives thoughChris was gone. I was sure that we were preserved from the reproach ofluxury, because we had made a fine place forChris, one little part ofthe world that was, so far as surfaces could make it so, good enough forhis amazing goodness. Here we had nourished that surpassingamiabilitywhich was so habitual that one took it as one of his physicalcharacteristics, and regarded any lapse into bad temper as a calamity asstartling as thebreaking of a leg; here we had made happinessinevitable for him. I could shut my eyes and think of innumerableproofs of how well we had succeeded, for therenever was so visiblycontented a man. And I recalled all that he did one morning just a yearago when he went to the front.First he had sat in the morning-roomand talked and stared out on thelawns that already had the desolation of an empty stage, although he hadnot yet gone; then broke off suddenly and went aboutthe house, lookinginto many rooms. He went to the stables and looked at the horses and hadthe dogs brought out; he refrained from touching them or speakingtothem, as though he felt himself already infected with the squalor of warand did not want to contaminate their bright physical well-being. Thenhe went to theedge of the wood and stood staring down into the clumpsof dark-leaved rhododendrons and the yellow tangle of last year'sbracken and the cold winter black ofthe trees. (From this very window Ihad spied on him.) Then he moved broodingly back to the house to bewith his wife until the moment of his going, when Kittyand I stood onthe steps to see him motor off to Waterloo. He kissed us both. As hebent over me I noticed once again how his hair was of two colors, brownandgold. Then he got into the car, put on his Tommy air, and said: \"Solong! I'll write you from Berlin!\" and as he spoke his head droppedback, and he set a hardstare on the house. That meant, I knew, that heloved the life he had lived with us and desired to carry with him to thedreary place of death and dirt the completememory of everything abouthis home, on which his mind could brush when things were at their worst,as a man might finger an amulet through his shirt. Thishouse, this lifewith us, was the core of his heart.\"If he could come back!\" I said. \"He was so happy here!\"And Kitty answered:\"He could not have been happier.\"Itwas important that he should have been happy, for, you see, he wasnot like other city men. When we had played together as children in thatwood he had alwaysshown great faith in the imminence of the improbable.He thought that the birch-tree would really stir and shrink and quickeninto an enchanted princess, that hereally was a red Indian, and thathis disguise would suddenly fall from him at the right sundown, that atany moment a tiger might lift red fangs through thebracken, and heexpected these things with a stronger motion of the imagination than theordinary child's make-believe. And from a thousand intimations, fromhisoccasional clear fixity of gaze on good things as though they were aboutto dissolve into better, from the passionate anticipation with which hewent to newcountries or met new people, I was aware that this faith hadpersisted into his adult life. He had exchanged his expectation ofbecoming a red Indian for the equallywistful aspiration of becomingcompletely reconciled to life. It was his hopeless hope that some timehe would have an experience that would act on his life likealchemy,turning to gold all the dark metals of events, and from that revelationhe would go on his way rich with an inextinguishable joy. There hadbeen, ofcourse, no chance of his ever getting it. Literally therewasn't room to swing a revelation in his crowded life. First of all, athis father's death he had been obliged totake over a business that wasweighted by the needs of a mob of female relatives who were all uselesseither in the old way, with antimacassars, or in the newway, withgolf-clubs; then Kitty had come along and picked up his conception ofnormal expenditure, and carelessly stretched it as a woman stretches anew gloveon her hand. Then there had been the difficult task oflearning to live after the death of his little son. It had lain on us,the responsibility, which gave us dignity, tocompensate him for hislack of free adventure by arranging him a gracious life. But now, justbecause our performance had been so brilliantly adequate, howdreary wasthe empty stage!We were not, perhaps, specially contemptible women, because nothingcould ever really become a part of our life until it had been"}
+{"doc_id":"doc_154","qid":"","text":"Project Gutenberg's Germania and Agricola, by Caius Cornelius TacitusThis eBook is for the use of anyone anywhere in the United States and mostother partsof the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg Licenseincluded with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you arelocated before using this ebook.Title: Germania and AgricolaAuthor: Caius Cornelius TacitusPosting Date: February 24, 2015 [EBook #9090]Release Date:October, 2005First Posted: September 4, 2003Language: Latin*** START OF THIS PROJECT GUTENBERG EBOOK GERMANIA AND AGRICOLA ***Produced byDavid Starner, Tapio Riikonen and Distributed ProofreadersThe GERMANIA and AGRICOLAOfCaius Cornelius TacitusWith Notes for CollegesBy W. S. TylerProfessorof the Greek and Latin Languages in Amherst CollegePREFACE.This edition of the Germania and Agricola of Tacitus is designed to meetthe following wants, which,it is believed, have been generally felt byteachers and pupils in American Colleges.1. A Latin text, approved and established by the essential concurrence ofall themore recent editors. The editions of Tacitus now in use in thiscountry abound in readings purely conjectural, adopted without due regardto the peculiarities of theauthor, and in direct contravention of thecritical canon, that, other things being equal, the more difficultreading is the more likely to be genuine. The recentGerman editionslabor to exhibit and explain, so far as possible, the reading of the bestMSS.2. A more copious illustration of the grammatical constructions, alsoofthe rhetorical and poetical usages peculiar to Tacitus, withouttranslating, however, to such an extent as to supersede the properexertions of the student. Fewbooks require so much illustration of thiskind, as the Germania and Agricola of Tacitus; few have received more inGermany, yet few so little here. In a writer soconcise and abrupt asTacitus, it has been deemed necessary to pay particular regard to theconnexion of thought, and to the particles, as the hinges ofthatconnexion.3. A comparison of the writer and his cotemporaries with authors of theAugustan age, so as to mark concisely the changes which had beenalreadywrought in the language and taste of the Roman people. It is chiefly witha view to aid such a comparison, that it has been thought advisable toprefix a Lifeof Tacitus, which is barren indeed of personal incidents,but which it is hoped may serve to exhibit the author in his relation tothe history, and especially to theliterature, of his age.4. The department in which less remained to be done than any other, forthe elucidation of Tacitus, was that of Geography, History,andArchaeology. The copious notes of Gordon and Murphy left little to bedesired in this line; and these notes are not only accessible to Americanscholars in theiroriginal forms, but have been incorporated, more orless, into all the college editions. If any peculiar merit attaches tothis edition, in this department, it will befound in the frequentreferences to such classic authors as furnish collateral information, andin the illustration of the private life of the Romans, by the help ofsuchrecent works as Becker's Gallus. The editor has also been able toavail himself of Sharon Turner's History of the Anglo Saxons, which shedsnot a little light on themanners of the Germans.5. Many of the ablest commentaries on the Germania and Agricola haveappeared within a comparatively recent period, some of themremarkableexamples of critical acumen and exegetical tact, and others, models ofschool and college editions. It has been the endeavor of the editor tobring downthe literature pertaining to Tacitus to the present time, andto embody in small compass the most valuable results of the labors ofsuch recent German editors asGrimm, Günther, Gruber, Kiessling, Dronke,Roth, Ruperti, and Walther.The text is, in the main, that of Walther, though the other editors justnamed have beenconsulted; and in such minor differences as exist betweenthem, I have not hesitated to adopt the reading which seemed best toaccord with the usage and geniusof Tacitus, especially when sanctionedby a decided preponderance of critical suffrage. Other readings have beenreferred to in the Notes, so far as they are of anyconsiderableimportance, or supported by respectable authority. Partly forconvenience, but chiefly as a matter of taste, I have ventured to followthe Germaneditions in dispensing entirely with diacritical marks, and insome peculiarities of less importance, which if not viewed with favor, itis hoped, will not be judged withseverity. The punctuation is the resultof a diligent comparison of the best editions, together with a carefulstudy of the connexion of language and of thought.TheGerman editions above mentioned, together with several French,English, and American works, have not only been constantly before me, buthave been used withgreat freedom, and credit awarded to themaccordingly. Some may think their names should have appeared lessfrequently; others that they should have receivedcredit to a stillgreater extent. Suffice it to say, I have never intended to quote thelanguage, or borrow the thoughts of an author, without giving his name;and inmatters of fact or opinion, I have cited authorities not only whenI have been indebted to them for the suggestion, but whenever, in a caseof coincidence of views,I thought the authorities would be of anyinterest to the student.I have not considered it needful, with German scrupulosity, todistinguish between my ownreferences and those of others. It may safelybe taken for granted, that the major, perhaps the better, part of themhave been derived from foreign sources. Butno references have beenadmitted on trust. They have been carefully verified, and it is hopedthat numerous as they are, they will be found pertinent anduseful,whether illustrative of things, or of mere verbal usage. Some, who usethe book, will doubtless find occasion to follow them out either in wholeor in part;and those who do not, will gain a general impression as tothe sources from which collateral information may be obtained, that willbe of no small value.Thefrequent references to the Notes of Professor Kingsley, will show theestimation in which I hold them. Perhaps I have used them too freely. Myonly apology is, thatso far as they go, they are just what is wanted;and if I had avoided using them to a considerable extent, I must havesubstituted something less perfect of myown. Had they been more copious,and extended more to verbal and grammatical illustrations, these Notesnever would have appeared.The editor is convinced,from his experience as a teacher, that thestudent of Tacitus will not master the difficulties, or appreciate themerits, of so peculiar an author, unless hispeculiarities are distinctlypointed out and explained. Indeed, the student, in reading any classicauthor, needs, not to be carried along on the broad shoulders ofanindiscriminate translator, but to be guided at every step in learning hislessons, by a judicious annotator, who will remove his difficulties, andaid his progress;who will point out to him what is worthy of attention,and guard him against the errors to which he is constantly exposed; forfirst impressions are lively andpermanent, and the errors of the study,even though corrected in the recitation, not unfrequently leave animpression on the mind which is never effaced.Besidesthe aid derived from books, to which the merit of this edition,if it have any merit, will be chiefly owing, the editor takes thisopportunity to acknowledge his manyobligations to those professors andother literary gentlemen, who have extended to him assistance andencouragement. To Prof. H. B. Hackett, of NewtonTheological Seminary,especially, he is indebted for favors, which, numerous and invaluable inthemselves, as the results of a singularly zealous andsuccessfuldevotion to classical learning, are doubly grateful as the tokens of apersonal friendship, which began when we were members of the same classincollege. The work was commenced at his suggestion, and has beencarried forward with his constant advice and co-operation. His ampleprivate library, and,through his influence, the library of the Seminary,have been placed at my disposal; and the notes passed under his eye andwere improved in not a fewparticulars, at his suggestion, though he isin no way responsible for their remaining imperfections. I have alsoreceived counsel and encouragement in all mylabors from my esteemedcolleague, Prof. N. W. Fiske, whose instructions in the same departmentwhich has since been committed to my charge, first taught meto love theGreek and Latin classics. I have only to regret that his ill health andabsence from the country have prevented me from deriving still greateradvantagesfrom his learning and taste. An unforeseen event has, in likemanner, deprived me of the expected cooperation of Prof. Lyman Coleman,now of Nassau HallCollege in N. J., in concert with whom this work wasplanned, and was to have been executed, and on whose ripe scholarship,and familiarity with the Germanlanguage and literature, I chiefly reliedfor its successful accomplishment.I should not do justice to my feelings, were I to omit the expression ofmy obligations tothe printer and publishers for the unwearied patiencewith which they have labored to perfect the work, under all thedisadvantages attending the superintendanceof the press, at such adistance. If there should still be found in it inaccuracies andblemishes, it will not be because they have spared any pains to make it acorrectand beautiful book.It is with unfeigned diffidence that I submit to the public this firstattempt at literary labor. I am fully sensible of its many imperfections,at thesame time I am conscious of an ability to make it better at somefuture day, should it meet the favorable regard of the classical teachersof our land, to whom it isdedicated as an humble contribution to thatcause in which they are now laboring, with such unprecedented zeal.Should it contribute in any measure to a betterunderstanding, or ahigher appreciation by our youthful countrymen of a classic author, fromwhom, beyond almost any other, I have drawn instruction anddelight, Ishall not have labored in vain._Amherst College, June 1, 1847_.PREFACE TO THE REVISED EDITIONThe text of this edition has been carefully revisedand compared withthose of Döderlein, Halle, 1847, Orelli, Zurich, 1848, and Ritter, Bonnand Cambridge, 1848. The notes also have been re-examined and, toaconsiderable extent, re-written; partly to correspond with the progressof my own mind, partly in accordance with suggestions derived from theabove namededitions, and from friendly criticisms either by letter or inthe public journals. Among the journals, I am particularly indebted tothe Bibliotheca Sacra and theNew-Englander; and for communications byletter, I am under especial obligations to Professors Crosby and Sanbornof Dartmouth College, Robbins of Middlebury,and Lincoln of BrownUniversity.In revising the geography of the Germania, I have consulted, withouthowever entering much into detail, Ukert's invaluable treatiseon theGeography of the Greeks and Romans, whose volume on Germany contains atranslation and running commentary on almost the entire work of"}
+{"doc_id":"doc_155","qid":"","text":"<html><head><title>Supergirl Script at IMSDb.</title><meta name=\"description\" content=\"Supergirl script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Supergirl script, Supergirl movie script, Supergirl film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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SPACE </b><b>THE CAMERA PULLS BACK. . . </b><b>INT. ARGO CITY</b>AND REVEALS THE inside of a domed city honeycombed withfantastic arches. The city is inhabited by young beautiful people in luxurious but simple costumes.THE CAMERA ROAMS through the City, observing some peopleseated at a kind of cafe sipping drinks and relaxing; other people are in some kind of exercise class doing beautiful graceful movement; and finally a class of fiveyear old children listen intently to a teacher who is demonstrating a molecular model.<b> TEACHER</b> And now, who can give me the electron wave functionsfor Kryptonian covalent bonding?The five year olds eagerly raise their hands. The teacher points to one.<b>CHILD</b> The cube root of the wavelength over thenatural log of the integral of the speed of light squared.The teacher smiles.<b>TEACHER</b> Well, maybe that was a bit too easy...THE CAMERA ROAMS ONthrough the city, following the sound of a strange, ethereally beautiful singing. The CAMERA discovers the source of the sound: an ARTIST sculpting a beautifulcrystalline object with a MATTERWAND. The wand makes the singing noise as it creates matter out of energy. The Artist, whose name is ZALTAR, sometimeswhistles along in counterpoint. .A small girl is watching him with fascination. Her name is Kara, and she is seven.Behind her, the dome, which encloses the City,marks the edge of the limbo outside.<b>KARA</b>What are you making:<b> ZALTAR</b>It's going to be a tree, I think.<b>KARA </b>What's a tree?<b>"}
+{"doc_id":"doc_156","qid":"","text":"<html><head><title>Little Nicky Script at IMSDb.</title><meta name=\"description\" content=\"Little Nicky script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Little Nicky script, Little Nicky movie script, Little Nicky film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script>    <TITLE>\"LITTLENICKY\" -- by Tim Herlihy, Adam Sandler & Steven Brill</TITLE></head><pre><b> FADE IN:</b><b> EXT. SUBURBIA - NIGHT</b> A beautiful late summernight.  Crickets chirping, sprinklers sprinkling. We PAN across one particular lawn, up one particular tree, where we see THE PEEPER (Jon Lovitz) sitting on alimb.  He has a bottle of wine, some sandwiches, a Walkman.  Suddenly the lights turn on.<b> PEEPER</b> (whispering) Showtime! We see a young motherwalk into the room outside the Peeper's window.  She is wearing business attire.<b> PEEPER (CONT'D)</b> Rough day at the office Mrs. Dunleavy? (takes biteof sandwich) Well you'll feel better once you slip off those work clothes and get into some sweats. The mother sits on the bed and pulls off her shoes, rubbing herfeet.<b> PEEPER (CONT'D)</b> Oh my G-D, yes!  I wish you would let me rub those feet.  Of course I wouldn't use my hands.  Heh heh heh heh... He sips somewine. The mother starts to unbutton her blouse.  She takes it off, revealing a nice bra.<b> PEEPER (CONT'D)</b> Looks like Victoria just told me her secret. Thepeeper frantically writes in a dirty notebook.  Mouthing the words as he goes.<b> PEEPER (CONT'D)</b> Thursday the ninth, eight-thirty p.m., first brassieresighting... (stops writing) I will pleasure myself to this image for months.  MONTHS I TELL YOU! The mother starts to unbutton her pants.  Her young son walks inwearing a scouts uniform.<b> PEEPER (CONT'D)</b> Young Scottie Dunleavy.  What unfortunate timing.  You mother was just getting comfy. The son talks to"}
+{"doc_id":"doc_157","qid":"","text":"<html><head><title>Air Force One Script at IMSDb.</title><meta name=\"description\" content=\"Air Force One script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Air Force One script, Air Force One movie script, Air Force One film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML><HEAD></b><title>Air Force One</title><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><b></HEAD></b><pre>                                    Air Force One                                      Andrew Marlow <b>               FADEIN:</b><b>               INT. C-130 HERCULES TURBO-PROP - NIGHT</b>               Eighteen combat-ready special forces, wearing assault black,                jumppacks and combat gear, stare down the deep end of a                greasy ramp into the night sky.  Village lights flicker 19,000                feet below.               TheSTRIKE FORCE LEADER signals to his team.               Without a moment's hesitation, they dive into the darkness                and plummet towardearth.<b>               EXT. MANSION - NIGHT</b>               A military GUARD, old Soviet-style uniform, rounds the corner                of the large estate toting anAK-47.               A red laser dot appears briefly on his forehead and, after a                beat, the red dot seems to bleed.  The Guard collapsesdead.                 Two other GUARDS are dispatched with single, silenced shots.               A Strike Team member at a junction box awaits asignal.               Through infra-red binoculars the strike Force Leader watches                his assault troops as they takepositions.<b>                                     STRIKE FORCE LEADER</b>                              (intoheadset/in                               Russian)<b>                         GO!</b>               On the estate - as the power goes out.  The team on the                mansion's"}
+{"doc_id":"doc_158","qid":"","text":"The Project Gutenberg EBook of The Lure of the Mask, by Harold MacGrathThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Lure of the MaskAuthor: Harold MacGrathIllustrator: Harrison Fisher             Karl AndersonRelease Date: July 27, 2007 [EBook#22158][Last updated: July 22, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LURE OF THE MASK ***Produced by Rick Niles,Mary Meehan and the OnlineDistributed Proofreading Team at http://www.pgdp.net                      _The_ LURE OF THE MASK                      _By_ HAROLD MACGRATH                      WITH ILLUSTRATIONS BY                         HARRISON FISHER                               AND                          KARLANDERSON                          INDIANAPOLIS                   THE BOBBS-MERRILL COMPANY                           PUBLISHERS                         COPYRIGHT1908                            PRESS OF                        BRAUN WORTH & CO.                     BOOKBINDERS AND PRINTERS                         BROOKLYN, N.Y.TOMYFELLOW TRAVELERANDGENTLE CRITICCONTENTS       I THE VOICE IN THE FOG      II OBJECT, MATRIMONY     III MADAME ANGOT      IV BLINDFOLDED       VTHE MASK      VI INTO THE FOG AGAIN     VII THE TOSS OF A COIN    VIII WHAT MERRIHEW FOUND      IX MRS. SANDFORD WINKS       X CARABINIERI      XITHE CITY IN THE SEA     XII A BOX OF CIGARS    XIII KITTY ASKS QUESTIONS     XIV GREY VEILS      XV MANY NAPOLEONS     XVI O'MALLY SUGGESTS    XVIIGIOVANNI   XVIII THE ARIA FROM IL TROVATORE     XIX TWO GENTLEMEN FROM VERONA      XX KITTY DROPS A BANDBOX     XXI AN INVITATION TO ABALL    XXII TANGLES   XXIII THE DÃ\u0000NOUEMENT    XXIV MEASURE FOR MEASURE     XXV FREE    XXVI THE LETTER   XXVII BELLAGGIOTHE LURE OF THEMASKCHAPTER ITHE VOICE IN THE FOGOut of the unromantic night, out of the somber blurring January fog,came a voice lifted in song, a soprano, rich, full andround, young, yetmatured, sweet and mysterious as a night-bird's, haunting and elusive asthe murmur of the sea in a shell: a lilt from _La Fille deMadameAngot_, a light opera long since forgotten in New York. Hillard,genuinely astonished, lowered his pipe and listened. To sit dreaming byan open window,even in this unlovely first month of the year, in thatgrim unhandsome city which boasts of its riches and still accepts withsmug content its rows upon rows of uglyarchitecture, to sit dreaming,then, of red-tiled roofs, of cloud-caressed hills, of terracedvineyards, of cypresses in their dark aloofness, is not out of thenaturalorder of things; but that into this idle and pleasant dreamthere should enter so divine a voice, living, feeling, pulsing, this wasnot ordinary at all.And Hillard wasglad that the room was in darkness. He rose eagerly andpeered out. But he saw no one. Across the street the arc-lamp burneddimly, like an opal in the matrix,while of architectural outlines notone remained, the fog having kindly obliterated them.The Voice rose and sank and soared again, drawing nearer and nearer.Itwas joyous and unrestrained, and there was youth in it, the touch ofspring and the breath of flowers. The music was Lecocq's, that is tosay, French; but thetongue was of a country which Hillard knew to bethe garden of the world. Presently he observed a shadow emerge from theyellow mist, to come within the circleof light, which, faint as it was,limned in against the nothingness beyond the form of a woman. She walkeddirectly under his window.As the invisible comessuddenly out of the future to assume distinctproportions which either make or mar us, so did this unknown cantatricecome out of the fog that night and enter intoHillard's life, toreadjust its ambitions, to divert its aimless course, to give impetus toit, and a directness which hitherto it had not known.\"Ah!\"He leaned over thesill at a perilous angle, the bright coal of his pipespilling comet-wise to the area-way below. He was only subconscious ofhaving spoken; but this syllable wassufficient to spoil theenchantment. The Voice ceased abruptly, with an odd break. The singerlooked up. Possibly her astonishment surpassed even that ofheraudience. For a few minutes she had forgotten that she was in New York,where romance may be found only in the book-shops; she had forgottenthat it wasnight, a damp and chill forlorn night; she had forgotten thepain in her heart; there had been only a great and irresistible longingto sing.Though she raised herface, he could distinguish no feature, for thelight was behind. However, he was a man who made up his mind quickly.Brunette or blond, beautiful or otherwise, itneeded but a moment tofind out. Even as this decision was made he was in the upper hall,taking the stairs two at a bound. He ran out into the night,bareheaded.Up the street he saw a flying shadow. Plainly she had anticipated hisimpulse and the curiosity behind it. Even as he gave chase the shadowmelted inthe fog, as ice melts in running waters, as flame dissolves insunshine. She was gone. He cupped his ear with his hand; in vain, therecame no sound as ofpattering feet; there was nothing but fog andsilence.\"Well, if this doesn't beat the Dutch!\" he murmured.He laughed disappointedly. It did not matter that he wasthree andthirty; he still retained youth enough to feel chagrined at such atrivial defeat. Here had been something like a genuine adventure, and ithad slipped likewater through his clumsy fingers.\"Deuce take the fog! But for that I'd have caught her.\"But reason promptly asked him what he should have done had he caughtthesinger. Yes, supposing he had, what excuse would he have had to offer?Denial on her part would have been simple, and righteous indignation atbeing accostedon the street simpler still. He had not seen her face,and doubtless she was aware of this fact. Thus, she would have had allthe weapons for defense and he notone for attack. But though reasonargued well, it did not dislodge his longing. He would have beenperfectly happy to have braved her indignation for a singleglance ather face. He walked back, lighting his pipe. Who could she be? Whatpeculiar whimsical freak had sent her singing past his window at oneo'clock of themorning? A grand opera singer, returning home from a latesupper? But he dismissed this opinion even as he advanced it. He knewsomething about grand operasingers. They attend late suppers, it istrue, but they ride home in luxurious carriages and never risk theirgolden voices in this careless if romantic fashion. And inNew Yorknobody took the trouble to serenade anybody else, unless paid in advanceand armed with a police permit. As for being a comic-opera star, herefused toadmit the possibility; and he relegated this well-satisfiedconstellation to the darks of limbo. He had heard a Voice.A vast, shadow loomed up in the middle of thestreet, presently to takeupon itself the solid outlines of a policeman who came lumbering over toadd or subtract his quota of interest in the affair. Hillardwiselystopped and waited for him, pulling up the collar of his jacket, as hebegan to note that there was a winter's tang to the fog.\"Hi, what's all this?\" thepoliceman called out roughly.\"To what do you refer?\" Hillard counter-questioned, puffing. He slippedhis hands into the pockets of his jacket.\"I heard a womansingin', that's what!\" explained the guardian of thelaw.\"So did I.\"\"Oh, you did, huh?\"\"Certainly. It is patent that my ears are as good as yours.\"\"Huh! Seeher?\"\"For a moment,\" Hillard admitted.\"Well, we can't have none o' this in the streets. It's disorderly.\"\"My friend,\" said Hillard, rather annoyed at the policeman'stone, \"youdon't think for an instant that I was directing this operetta?\"\"Think? Where's your hat?\"Hillard ran his hand over his head. The policeman had him here.\"I didnot bring it out.\"\"Too warm and summery; huh? It don't look good. I've been watchin' theseparts fer a leddy. They call her Leddy Lightfinger; an' she hassome O'the gents done to a pulp when it comes to liftin' jools an' trinkets.Somebody fergits to lock the front door, an' she finds it out. Why didyou come outwithout yer lid?\"\"Just forgot it, that's all.\"\"Which way'd she go?\"\"You'll need a map and a search-light. I started to run after hermyself. I heard a voice from mywindow; I saw a woman; I made for thestreet; _niente_!\"\"Huh?\"\"_Niente_, nothing!\"\"Oh! I see; Dago. Seems to me now that this woman was singin'I-taly-an,too.\" They were nearing the light, and the policeman gazed intently atthe hatless young man. \"Why, it's Mr. Hillard! I'm surprised. Well,well! Some dayI'll run in a bunch o' these chorus leddies, jes' fer alesson. They git lively at the restaurants over on Broadway, an' thinthey raise the dead with their singin',which, often as not, is anythin'but singin'. An' here it is, after one.\"\"But this was not a chorus lady,\" replied Hillard, thoughtfully reachinginto his vest for acigar.\"Sure, an' how do you know?\" with renewed suspicions.\"The lady had a singing voice.\"\"Huh! They all think alike about that. But mebbe she wasn't bad atthebusiness. Annyhow....\"\"It was rather out of time and place, eh?\" helpfully.\"That's about the size of it. This Leddy Lightfinger is a case. She hasus all thinkin' onour nights off. Clever an' edjicated, an' jabbers inhalf a dozen tongues. It's a thousan' to the man who jugs her. But shedon't sing; at least, they ain't any reportto that effect. Perhaps yourleddy was jes' larkin' a bit. But it's got to be stopped.\"Hillard passed over the cigar, and the policeman bit off the end,nodding withapproval at such foresight. The young man then profferedthe coal of his pipe and the policeman took his light therefrom,realizing that after such a peace-offeringthere was nothing for him todo but move on. Yet on dismal lonesome nights, like this one, it is agodsend and a comfort to hear one's own voice against thedarkness. Sohe lingered.\"Didn't get a peep at her face?\"\"Not a single feature. The light was behind her.\" Hillard tapped one toeand then the other.\"An' how wasshe dressed?\"\"In fog, for all I could see.\"\"On the level now, didn't you know who she was?\" The policeman gaveHillard a sly dig in the ribs with his club.\"On myword!\"\"Some swell, mebbe.\"\"Undoubtedly a lady. That's why it looks odd, why it brought me into thestreet. She sang in classic Italian. And what's more, for theprivilegeof hearing that voice again, I should not mind sitting on this cold curbtill the milkman comes around in the morning.\"\"That wouldn't be fer long,\" laughedthe policeman, taking out his watchand holding it close to the end of his cigar. \"Twenty minutes after one.Well, I must be gittin' back to me beat. An' you'd betterbe goin' in;it's cold. Good night.\"\"Good night,\" Hillard responded cheerfully.\"Say, what's I-taly-an fer good night?\" still reluctant to go on.\"_Buona notte._\"\"Bonynotty; huh, sounds like Chinese fer rheumatism. Been to Italy?\"\"I was born there,\" patiently.\"No! Why, you're no Dago!\"\"Not so much as an eyelash. The storkhappened to drop the basket there,that's all.\"\"Ha! I see. Well, Ameriky is good enough fer me an' mine,\" complacently.\"I dare say!\"\"An' if this stogy continues t'behave, we'll say no more about thevanishin' leddy.\" And with this the policeman strolled off into the fog,his suspicions in nowise removed. He knew many rich"}
+{"doc_id":"doc_159","qid":"","text":"The Project Gutenberg EBook of The Research Magnificent, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Research MagnificentAuthor: H. G. WellsPosting Date: August 3, 2008 [EBook #1138]Release Date: December, 1997Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE RESEARCH MAGNIFICENT ***Produced by Donald LainsonTHE RESEARCH MAGNIFICENTby H. G.Wells(1915)CONTENTS     THE PRELUDE           ON FEAR AND ARISTOCRACY     THE STORY       I.  THE BOY GROWS UP      II.  THE YOUNG MAN ABOUTTOWN     III.  AMANDA      IV.  THE SPIRITED HONEYMOON       V.  THE ASSIZE OF JEALOUSY      VI.  THE NEW HAROUN AL RASCHIDTHE RESEARCHMAGNIFICENTTHE PRELUDEON FEAR AND ARISTOCRACY1The story of William Porphyry Benham is the story of a man who was ledinto adventure by an idea. Itwas an idea that took possession of hisimagination quite early in life, it grew with him and changed with him,it interwove at last completely with his being. Hisstory is its story.It was traceably germinating in the schoolboy; it was manifestly presentin his mind at the very last moment of his adventurous life. Hebelongedto that fortunate minority who are independent of daily necessities, sothat he was free to go about the world under its direction. It led himfar. It led himinto situations that bordered upon the fantastic, itmade him ridiculous, it came near to making him sublime. And this ideaof his was of such a nature that inseveral aspects he could documentit. Its logic forced him to introspection and to the making of a record.An idea that can play so large a part in a life mustnecessarily havesomething of the complication and protean quality of life itself. It isnot to be stated justly in any formula, it is not to be rendered by anepigram.As well one might show a man's skeleton for his portrait. Yet,essentially, Benham's idea was simple. He had an incurable, an almostinnate persuasion that he hadto live life nobly and thoroughly. Hiscommoner expression for that thorough living is \"the aristocratic life.\"But by \"aristocratic\" he meant something very differentfrom thequality of a Russian prince, let us say, or an English peer. He meant anintensity, a clearness.... Nobility for him was to get something out ofhis individualexistence, a flame, a jewel, a splendour--it is a thingeasier to understand than to say.One might hesitate to call this idea \"innate,\" and yet it comes sooninto a lifewhen it comes at all. In Benham's case we might trace itback to the Day Nursery at Seagate, we might detect it stirring alreadyat the petticoat stage, in variousprivate struttings and valiantdreamings with a helmet of pasteboard and a white-metal sword. We havemost of us been at least as far as that with Benham. Andwe havedied like Horatius, slaying our thousands for our country, or we haveperished at the stake or faced the levelled muskets of the firingparty--\"No, do notbandage my eyes\"--because we would not betray thesecret path that meant destruction to our city. But with Benham thevein was stronger, and it increasedinstead of fading out as he grewto manhood. It was less obscured by those earthy acquiescences, thosediscretions, that saving sense of proportion, which havemade most ofus so satisfactorily what we are. \"Porphyry,\" his mother had discoveredbefore he was seventeen, \"is an excellent boy, a brilliant boy, but, Ibegin tosee, just a little unbalanced.\"The interest of him, the absurdity of him, the story of him, is that.Most of us are--balanced; in spite of occasional reveries we docome toterms with the limitations of life, with those desires and dreams anddiscretions that, to say the least of it, qualify our nobility, we takerefuge in our senseof humour and congratulate ourselves on a certainamiable freedom from priggishness or presumption, but for Benham thateasy declension to a humorousacceptance of life as it is did not occur.He found his limitations soon enough; he was perpetuallyrediscovering them, but out of these interments of the spirit heroseagain--remarkably. When we others have decided that, to be plain aboutit, we are not going to lead the noble life at all, that the thing istoo ambitious andexpensive even to attempt, we have done so becausethere were other conceptions of existence that were good enough for us,we decided that instead of thatglorious impossible being of ourselves,we would figure in our own eyes as jolly fellows, or sly dogs, or sane,sound, capable men or brilliant successes, and soforth--practicablethings. For Benham, exceptionally, there were not these practicablethings. He blundered, he fell short of himself, he had--as you willbetold--some astonishing rebuffs, but they never turned him aside forlong. He went by nature for this preposterous idea of nobility as alinnet hatched in a cage willtry to fly.And when he discovered--and in this he was assisted not a little by hisfriend at his elbow--when he discovered that Nobility was not the simplething hehad at first supposed it to be, he set himself in a mood onlyslightly disconcerted to the discovery of Nobility. When it dawned uponhim, as it did, that one cannotbe noble, so to speak, IN VACUO, he sethimself to discover a Noble Society. He began with simple beliefs andfine attitudes and ended in a conscious research. Ifhe could not getthrough by a stride, then it followed that he must get through by aclimb. He spent the greater part of his life studying and experimentingin thenoble possibilities of man. He never lost his absurd faith inthat conceivable splendour. At first it was always just round the corneror just through the wood; to thelast it seemed still but a little waybeyond the distant mountains.For this reason this story has been called THE RESEARCH MAGNIFICENT. Itwas a real research, itwas documented. In the rooms in Westhaven Streetthat at last were as much as one could call his home, he had accumulatedmaterial for--one hesitates to call ita book--let us say it was ananalysis of, a guide to the noble life. There after his tragic deathcame his old friend White, the journalist and novelist, under apromise,and found these papers; he found them to the extent of a crammedbureau, half a score of patent files quite distended and a writing-tabledrawer-full, andhe was greatly exercised to find them. They were,White declares, they are still after much experienced handling, anindigestible aggregation. On this point Whiteis very assured. WhenBenham thought he was gathering together a book he was dreaming, Whitesays. There is no book in it....Perhaps too, one might hazard,Benham was dreaming when he thought thenoble life a human possibility. Perhaps man, like the ape and the hyaenaand the tapeworm and many other of God'snecessary but less attractivecreatures, is not for such exalted ends. That doubt never seems to havegot a lodgment in Benham's skull; though at times one mightsuppose itthe basis of White's thought. You will find in all Benham's story,if only it can be properly told, now subdued, now loud and amazed anddistressed, butalways traceable, this startled, protesting question,\"BUT WHY THE DEVIL AREN'T WE?\" As though necessarily we ought to be.He never faltered in his persuasionthat behind the dingy face of thisworld, the earthy stubbornness, the baseness and dulness of himselfand all of us, lurked the living jewels of heaven, the light ofglory,things unspeakable. At first it seemed to him that one had only just tohammer and will, and at the end, after a life of willing and hammering,he was stillconvinced there was something, something in the nature ofan Open Sesame, perhaps a little more intricate than one had supposedat first, a little more difficult tosecure, but still in that nature,which would suddenly roll open for mankind the magic cave of theuniverse, that precious cave at the heart of all things, in whichonemust believe.And then life--life would be the wonder it so perplexingly justisn't....2Benham did not go about the world telling people of thisconsumingresearch. He was not the prophet or preacher of his idea. It was tooliving and intricate and uncertain a part of him to speak freely about.It was hissecret self; to expose it casually would have shamed him. Hedrew all sorts of reserves about him, he wore his manifest imperfectionsturned up about him like anovercoat in bitter wind. He was contentto be inexplicable. His thoughts led him to the conviction that thismagnificent research could not be, any more than anyother researchcan be, a solitary enterprise, but he delayed expression; in a mightywriting and stowing away of these papers he found a relief from theunpleasanturgency to confess and explain himself prematurely. So thatWhite, though he knew Benham with the intimacy of an old schoolfellowwho had renewed hisfriendship, and had shared his last days and been awitness of his death, read the sheets of manuscript often with surpriseand with a sense of addedelucidation.And, being also a trained maker of books, White as he read was moreand more distressed that an accumulation so interesting should be soentirelyunshaped for publication. \"But this will never make a book,\"said White with a note of personal grievance. His hasty promise in theirlast moments together hadbound him, it seemed, to a task he now foundimpossible. He would have to work upon it tremendously; and even then hedid not see how it could be done.Thiscollection of papers was not a story, not an essay, not aconfession, not a diary. It was--nothing definable. It went into noconceivable covers. It was just, Whitedecided, a proliferation. A vastproliferation. It wanted even a title. There were signs that Benham hadintended to call it THE ARISTOCRATIC LIFE, and that he hadtried at someother time the title of AN ESSAY ON ARISTOCRACY. Moreover, it wouldseem that towards the end he had been disposed to drop theword\"aristocratic\" altogether, and adopt some such phrase as THE LARGERLIFE. Once it was LIFE SET FREE. He had fallen away more and more fromnearlyeverything that one associates with aristocracy--at the end onlyits ideals of fearlessness and generosity remained.Of all these titles THE ARISTOCRATIC LIFEseemed at first most likea clue to White. Benham's erratic movements, his sudden impulses, hisangers, his unaccountable patiences, his journeys to strangeplaces, andhis lapses into what had seemed to be pure adventurousness, could all beput into system with that. Before White had turned over three pages ofthegreat fascicle of manuscript that was called Book Two, he had foundthe word \"Bushido\" written with a particularly flourishing capitalletter and twice repeated.\"That was inevitable,\" said White with thecomforting regret one feels for a friend's banalities. \"And it dates...[unreadable] this was early....\"\"Modern aristocracy,the new aristocracy,\" he read presently, \"has stillto be discovered and understood. This is the necessary next step formankind. As far as possible I will discoverand understand it, and asfar as I know it I will be it. This is the essential disposition of mymind. God knows I have appetites and sloths and habits andblindnesses,but so far as it is in my power to release myself I will escape tothis....\"3White sat far into the night and for several nights turning over papersand"}
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'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head>   <title>\"8MM\", by Andrew Kevin Walker</title></head><body bgcolor=\"#FFFFFF\">   <pre>                             eightmillimeter                            written by                            Andrew KevinWalker<b>                                                      5/06/97</b>                                                      first<b>     INT.  MIAMI AIRPORT, TERMINAL --DAY</b>     Amongst the weary tourist families and solitary businessmen     sits TOM WELLES, middle-aged, hair neat, suit crisp and     gray.  He's eatingcrackers from a cellophane package,     sipping soda from a paper cup, watching an ARRIVAL GATE.<b>     AT THE GATE</b>     PASSENGERS arrive: thepaunchy, graying men of First Class     leading the pack, except for a handsome YOUNG REPUBLICAN     poster boy hurrying along.<b>     ACROSS THETERMINAL</b>     Welles gets up and FOLLOWS...<b>     EXT.  MIAMI AIRPORT, CURBSIDE -- DAY</b>     Welles comes outside, squinting in the sun, movingdown the     sidewalk, looking back over his shoulder...     The Young Republican is lead to a waiting LIMO by a DRIVER.     Welles moves to the nearby TAXISTAND...<b>     INT.  TAXI -- DAY</b>     Welles gets in, turning in his seat to watch behind.<b>                             CAB DRIVER</b>               Whereto?     Welles keeps watching, sees the limo pull away and pass.<b>                             WELLES</b>               Follow that limousine.  Don't get               tooclose, don't let it get too far               away.  Just keep with it.<b>                             CAB DRIVER</b>               You"}
+{"doc_id":"doc_161","qid":"","text":"<html><head><title>12 Script at IMSDb.</title><meta name=\"description\" content=\"12 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"12 script, 12 movie script, 12 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b>  <META NAME=\"GENERATOR\" CONTENT=\"Adobe PageMill 2.0 Mac\">  <TITLE>12 -Script</TITLE><b></HEAD></b><BODY TEXT=\"#ffffff\" BGCOLOR=\"#000000\" ALINK=\"#4ff7ff\" VLINK=\"#f0fcff\"LINK=\"#20dfdc\"><b><PRE><B><TT><FONT SIZE=-1></FONT></TT></B></b><b><B><TT><FONT SIZE=-1>CUT FROMBLACK</FONT></TT></B></b><b><FONT SIZE=-1></FONT></b><b><B><TT><FONT SIZE=-1>TITLE:</FONT></TT></B><TT><FONT SIZE=-1>FIN</FONT></TT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>Finof red 1957 Chevy Impala convertible driving </FONT></TT><TT><FONT SIZE=-1>somewhere in the West. A car passes going the other</FONT></TT><TT><FONT SIZE=-1>way.</FONT></TT><b><FONT SIZE=-1></FONT></b><B><TT><FONTSIZE=-1>TITLE:</FONT></TT></B><TT><FONT SIZE=-1> PLACE: Los Angeles</FONT></TT><b><FONT SIZE=-1></FONT></b><A HREF=\"#\"TARGET=\"frame33482\"><B><TT><FONT SIZE=-1>MUSIC:</FONT></TT></B><TT><FONT SIZE=-1> Shadowy Men On A Shadowy Planet &quot;GoodCop,</FONT></TT></A><A HREF=\"http://mediahost.singular.com/shadowmen.ram\" TARGET=\"frame33482\"><TT><FONT SIZE=-1>BadCop.&quot;</FONT></TT></A><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT"}
+{"doc_id":"doc_162","qid":"","text":"The Project Gutenberg EBook of The Kempton-Wace Letters, by Jack London and Anna StrunskyThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: The Kempton-Wace LettersAuthor: Jack London        Anna StrunskyRelease Date: February 27, 2010 [EBook#31422]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE KEMPTON-WACE LETTERS ***Produced by Curtis Weyant, Martin Pettit and theOnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/AmericanLibraries.)THE KEMPTON-WACE LETTERS       *       *       *       *       *JACK LONDON'S BOOKS\"_He opened windows for them upon the splendour and thesavagery, thepomp and the pitifulness that he had found in many corners of the earth.He saw that in every scene, in every human activity there was anelementwhich lifted it into the region of the beautiful, and he made all hisreaders see it, whether he was learned or ignorant; cultivated or onlyjust able to read.Full justice has never been done to him. There was nosilver in his purse, only gold._\"--Hamilton Fyfe in \"The Daily Mail.\"The Valley of the Moon              7s. 6d.net and 4s. netJerry of the Islands                7s. 6d. net and 2s. 6d. netMichael, Brother of Jerry           7s. 6d. net and 2s. netHearts of Three                     6s.net and 2s. 6d. netIsland Tales                        7s. 6d. netThe Red One                         6s. net and 2s. netThe Acorn-Planter                   3s. 6d. netThe LittleLady of the Big House    6s. net and 2s. 6d. net[A]The Mutiny of the Elsinore       6s. net and 2s. netThe Strength of the Strong          6s. net and 1s. 6d. netTheNight-Born                      6s. net and 2s. net[A]A Daughter of the Snows          7s. 6d. net and 2s. 6d. netLost Face                           6s. net and 1s. 6d.netSouth Sea Tales                     6s. net and 1s. 6d. netWhen God Laughs                     6s. net and 1s. 6d. net[A]Smoke Bellew                     6s. net and 1s.6d. netThe Kempton-Wace Letters            2s. 6d. netSmoke and Shorty                    6s. and 2s. 6d. netThe Cruise of the Snark             2s. netThe Cruise of theDazzler           1s. 6d. netTurtles of Tasman                   1s. 6d. netBefore Adam                         1s. 6d. netThe Scarlet Plague                  1s. 6d. netThe God ofHis Fathers              1s. 6d. netAdventure                           2s. netThe House of Pride                  1s. 6d. netLove of Life                        1s. 6d. netA Son of theSun                    6s. net and 2s. netAn Odyssey of the North             1s. 6d. netChildren of the Frost               1s. 6d. net[A]John Barleycorn                  6s. netand 2s. net[A]The Jacket                       6s. net and 2s. netRevolution                          2s. netWar of the Classes                  2s. netThe HumanDrift                     6s. net and 2s. netThe Iron Heel                       2s. netThe Road                            2s. net[A] Films have been founded on these novelsMILLS& BOON, Ltd., 49 Rupert St., London, W.1.       *       *       *       *       *THE KEMPTON-WACE LETTERSBYJACK LONDONANDANNA STRUNSKY     \"_And ofnaught else than Love would we           discourse._\"--DANTE, Sonnet II.MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1_Copyright in the UnitedStates of America, 1903, by the MacmillanCompany Printed in Great Britain by Love & Malcomson Ltd. London andRedhill._KEMPTON-WACE LETTERSIFROM DANEKEMPTON TO HERBERT WACELONDON,3 A QUEEN'S ROAD, CHELSEA, S.W.August 14, 19--.Yesterday I wrote formally, rising to the occasion like theconventionalhappy father rather than the man who believes in the miracle and livesfor it. Yesterday I stinted myself. I took you in my arms, glad of whatis andstately with respect for the fulness of your manhood. It isto-day that I let myself leap into yours in a passion of joy. I dwell onwhat has come to pass and inflatemyself with pride in your fulfilment,more as a mother would, I think, and she your mother.But why did you not write before? After all, the great event wasnotwhen you found your offer of marriage accepted, but when you found youhad fallen in love. Then was your hour. Then was the time forcongratulation, whenthe call was first sounded and the reveille of Timeand About fell upon your soul and the march to another's destiny wasbegun. It is always more important to lovethan to be loved. I wish ithad been vouchsafed me to be by when your spirit of a sudden grewwilling to bestow itself without question or let or hope of return,whenthe self broke up and you grew fain to beat out your strength in praiseand service for the woman who was soaring high in the blue wastes. Youhave knownher long, and you must have been hers long, yet no word ofher and of your love reached me. It was not kind to be silent.Barbara spoke yesterday of yourfastidiousness, and we told each otherthat you had gained a triumph of happiness in your love, for you are notof those who cheat themselves. You chooserigorously, straining for theheart of the end as do all rigorists who are also hedonists. Because weare in possession of this bit of data as to your temperamentalcosmos wecan congratulate you with the more abandon. Oh, Herbert, do you knowthat this is a rampant spring, and that on leaving Barbara I trampedout of theconfines into the green, happier, it almost seems, than Ihave ever been? Do you know that because you love a woman and she lovesyou, and that because youare swept along by certain forces, that I amhappy and feel myself in sight of my portion of immortality on earth,far more than because of my books, dear lad, farmore?I wish I could fly England and get to you. Should I have a shade less ofyou than formerly, if we were together now? From your too much green ofwealth, abarrenness of friendship? It does not matter; what is her gaincannot be my loss. One power is mine,--without hindrance, in freedom andin right, to say to Ellen'sson, \"Godspeed!\" to place Hester Stebbins'shand in his, and bid them forth to the sunrise, into the glory of day!Ever your devoted father,DANE KEMPTON.IIFROMHERBERT WACE TO DANE KEMPTONTHE RIDGE,BERKELEY, CALIFORNIA.September 3, 19--.Here I am, back in the old quarters once more, with the oldafternoonclimb across the campus and up into the sky, up to the old rooms, theold books, and the old view. You poor fog-begirt Dane Kempton, could youbuthave lounged with me on the window couch, an hour past, and watchedthe light pass out of the day through the Golden Gate and the nightcreep over theBerkeley Hills and down out of the east! Why should youlinger on there in London town! We grow away from each other, itseems--you with your wonder-singing, Iwith my joyful science.Poesy and economics! Alack! alack! How did I escape you, Dane, when mindand mood you mastered me? The auguries were fair. I, too,should havebeen a singer, and lo, I strive for science. All my boyhood was singing,what of you; and my father was a singer, too, in his own fine way. Dearto me isyour likening of him to Waring.--\"What's become of Waring?\" He_was_ Waring. I can think of him only as one who went away, \"chose landtravel orseafaring.\"Gwynne says I am sometimes almost a poet--Gwynne, you know, ArthurGwynne, who has come to live with me at The Ridge. \"If it were not foryourdismal science,\" he is sure to add; and to fire him I lay it to thedefects of early training. I know he thinks that I never halfappreciated you, and that I do notappreciate you now. If you willrecollect, you praised his verses once. He cherishes that praise amongsthis sweetest treasures. Poor dear good old Gwynne,tender, sensitive,shrinking, with the face of a seraph and the heart of a maid. Never weretwo men more incongruously companioned. I love him for himself.Hetolerates me, I do secretly believe, because of you. He longs to meetyou,--he knew you well through my father,--and we often talk you over.Be sure at everyopportunity I tear off your halo and trundle it about.Trust me, you receive scant courtesy.How I wander on. My pen is unruly after the long vacation; mythoughtyet wayward, what of the fever of successful wooing. And besides, ...how shall I say?... such was the gracious warmth of your letter, of bothyour letters,that I am at a loss. I feel weak, inadequate. It almostseems as though you had made a demand upon something that is not in me.Ah, you poets! It would seemyour delight in my marriage were greaterthan mine. In my present mood, it is you who are young, you who love; Iwho have lived and am old.Yes, I am going tobe married. At this present moment, I doubt not, amillion men and women are saying the same thing. Hewers of wood anddrawers of water, princes andpotentates, shy-shrinking maidens andbrazen-faced hussies, all saying, \"I am going to be married.\" And alllooking forward to it as a crisis in their lives? No. Afterall,marriage is the way of the world. Considered biologically, it is aninstitution necessary for the perpetuation of the species. Why should itbe a crisis? Thesemillion men and women will marry, and the work ofthe world go on just as it did before. Shuffle them about, and the workof the world would yet go on.True, amonth ago it did seem a crisis. I wrote you as much. It did seema disturbing element in my life-work. One cannot view with equanimitythat which appears to betotally disruptive of one's dear little systemof living. But it only appeared so; I lacked perspective, that was all.As I look upon it now, everything fits well and allwill run smoothly Iam sure.You know I had two years yet to work for my Doctorate. I still havethem. As you see, I am back to the old quarters, settled down inthe oldgroove, hammering away at the old grind. Nothing is changed. And besidesmy own studies, I have taken up an assistant instructorship in theDepartmentof Economics. It is an ambitious course, and an importantone. I don't know how they ever came to confide it to me, or how I foundthe temerity to attemptit,--which is neither here nor there. It is allagreed. Hester is a sensible girl.The engagement is to be long. I shall continue my career as charted. Twoyears fromnow, when I shall have become a Doctor of Social Sciences(and candidate for numerous other things), I shall also become abenedict. My marriage and thepresumably necessary honeymoon chime inwith the summer vacation. There is no disturbing element even there. Oh,we are very practical, Hester and I. And weare both strong enough tolead each our own lives.Which reminds me that you have not asked about her. First, let me shockyou--she, too, is a scientist. It was inmy undergraduate days that wemet, and ere the half-hour struck we were quarrelling felicitously overWeismann and the neo-Darwinians. I was at Berkeley at thetime, acocksure junior; and she, far maturer as a freshman, was at Stanford,carrying more culture with her into her university than is given theaverage studentto carry out.Next, and here your arms open to her, she is a poet. Pre-eminently sheis a poet--this must be always understood. She is the greater poet, Itake it, inthis dawning twentieth century, because she is a scientist;not in spite of being a scientist as some would hold. How shall Idescribe her? Perhaps as a George Eliot,"}
+{"doc_id":"doc_163","qid":"","text":"<html><head><title>Arsenic and Old Lace Script at IMSDb.</title><meta name=\"description\" content=\"Arsenic and Old Lace script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Arsenic and Old Lace script, Arsenic and Old Lace movie script, Arsenic and Old Lace film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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Written in white letters on this   overview, the following words :                         This is a Hallowe'en                       tale of Brooklyn,where                        anything can happen--                         and it usually does.   Then :                           At 3 P.M. on this                         particular day,this                             was happening-   Several white circles move on the screen, then the whole screen is   covered by a huge base ball, with «Brooklyn»written on it in   black letters.<b>   BASEBALL GAME - SPECTATORS - EXTERIOR DAY</b>   Close-up of the face of man, screaming :<b>          BASEBALLFAN</b>          I'll knock your block off, you big stiff ! You're a bum !   The camera moves away, so we can see the other baseball spectators   behind the first"}
+{"doc_id":"doc_164","qid":"","text":"<html><head><title>Arbitrage Script at IMSDb.</title><meta name=\"description\" content=\"Arbitrage script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Arbitrage script, Arbitrage movie script, Arbitrage film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                            ARBITRAGE</b>                                                                             Written by                        Nicholas Jarecki                                                                                                    <b>                                                            4/17/11</b><b>          BLACK.</b>                                   Over CREDITS we HEAR:                         <b>           MARIA (O.S.)</b>           ...but you took a huge bet on the           housing crisis in themiddle of the           biggest boom anybody'd ever seen. Why?                         <b>           ROBERT (O.S.)</b>           I'm a child of the 50's. Myfather           welded steel for the Navy. And my           mother worked at the VA.                                                  <b>          INT. ROBERT'S MANSION -DAY</b>                                   As the conversation continues we see:                                   1. A MAID clean an expansive living room, waxing amahogany          table.                                   2. A BUTLER open sliding doors to an empty grand sitting          room.                                   3. An overhead shotas a SERVANT carries packages up a long          winding staircase.                         <b>                          ROBERT</b>           They lived through theDepression,           Pearl Harbor, and the Bomb. And they           didn't think bad things might           happen; they knew they wouldhappen.                         <b>                          MARIA</b>           Is that what's happeningnow?                         <b>                          ROBERT</b>           When I was a kid my favorite           teacher was Mr. James. Mr. James           said that world"}
+{"doc_id":"doc_165","qid":"","text":"<html><head><title>Strangers on a Train Script at IMSDb.</title><meta name=\"description\" content=\"Strangers on a Train script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Strangers on a Train script, Strangers on a Train movie script, Strangers on a Train film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                   STRANGERSON A TRAIN                             by             Raymond Chandler and Czenzi Ormonde<b>FINAL DRAFT</b>October 18, 1950Converted to PDF bySCREENTALK<b>                                       FOR EDUCATIONAL PURPOSES ONLY</b>www.screentalk.org<b></b><b>FADE IN:</b><b>EXT. UNIONSTATION, WASHINGTON, D.C. DAY</b><b>LONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILE</b><b>ENTRANCE TO THE STATION IN THEF.G. LOW CAMERA</b>Activity of cars and taxis arriving and discharging passengerswith luggage, busy redcaps, etcetera.We FOCUS on a taxi pulling up andstopping, The driver handsout modest looking luggage, including a bunch of tennisrackets in cases to a redcap. CAMERA PANS DOWN as thepassenger gets out ofthe taxi so that we see only his shoesand the lower part of his trousers. He is wearing darkcolored brogues and a conservative suit apparently. Thefeet movetoward, the entrance to the station and out ofscene. Immediately a chauffeur-driven limousine drives upand an expensive place of airplane luggage is handed outofthis, and the passenger alighting from the back is seen tobe wearing black and white sport shoes which, as before, areall we see of him. The sport shoes startoff in the wake ofthe brogues.<b>INT. STATION LOBBY</b>CAMERA FOLLOWS the sport shoes and the brogues across thelobby into a passenger tunnel. Thereis the usual activityof passengers walking to and from, a loud-speaker announcingtrains, etc.<b>EXT. PASSENGER TUNNEL</b>As the brogues and the sportshoes emerge to the trainplatform, CAMERA PANS them over to the steps of the train.<b>INT. TRAIN</b>The brogues and the sport shoes pass separately down"}
+{"doc_id":"doc_166","qid":"","text":"The Project Gutenberg EBook of Boon, The Mind of the Race, The Wild Assesof the Devil, and The Last Trump;, by Herbert George WellsThis eBook is for theuse of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project GutenbergLicense includedwith this eBook or online at www.gutenberg.netTitle: Boon, The Mind of the Race, The Wild Asses of the Devil, and The Last Trump;       Being aFirst Selection from the Literary Remains of George       Boon, Appropriate to the TimesAuthor: Herbert George WellsRelease Date: January 15, 2011 [EBook#34962]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK BOON, THE MIND OF THE RACE ***Produced by Malcolm Farmer, Barbara Tozier,and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The InternetArchive/Canadian Libraries)                     Boon, The Mind of the Race,                     The Wild Asses of the Devil,                         _and_ The LastTrump                   Being a First Selection from the                   Literary Remains of George Boon,                       Appropriate to theTimes                     Prepared for Publication by                            REGINALD BLISS             AUTHOR OF \"THE COUSINS OF CHARLOTTE BRONTE,\"              \"ACHILD'S HISTORY OF THE CRYSTAL PALACE,\"                 \"FIRELIGHT RAMBLES,\" \"EDIBLE FUNGI,\"                \"WHALES IN CAPTIVITY,\" AND OTHERWORKS                                 WITH                     An Ambiguous Introduction by                             H. G. WELLS                        T. FISHER UNWIN,LTD.                       LONDON; ADELPHI TERRACE                      _First published in 1915_                        (All rights reserved)INTRODUCTIONWhenever apublisher gets a book by one author he wants an Introductionwritten to it by another, and Mr. Fisher Unwin is no exception to therule. Nobody readsIntroductions, they serve no useful purpose, andthey give no pleasure, but they appeal to the business mind, I think,because as a rule they cost nothing. At anyrate, by the pressure of acertain inseparable intimacy between Mr. Reginald Bliss and myself,this Introduction has been extracted from me. I will confess thatIhave not read his book through, though I have a kind of first-handknowledge of its contents, and that it seems to me an indiscreet,ill-advised book....I have avery strong suspicion that this Introduction idea is designedto entangle me in the responsibility for the book. In America, at anyrate, \"The Life of George Meek,Bath Chairman,\" was ascribed to meupon no better evidence. Yet any one who likes may go to Eastbourneand find Meek with chair and all complete. But in viewof thecomplications of the book market and the large simplicities of thepublic mind, I do hope that the reader--and by that I mean thereviewer--will be able to seethe reasonableness and the necessity ofdistinguishing between me and Mr. Reginald Bliss. I do not wish toescape the penalties of thus participating in, andendorsing, hismanifest breaches of good taste, literary decorum, and friendlyobligation, but as a writer whose reputation is already too crowdedand confused andwho is for the ordinary purposes of every day knownmainly as a novelist, I should be glad if I could escape the publicidentification I am now repudiating. Bliss isBliss and Wells isWells. And Bliss can write all sorts of things that Wells could notdo.This Introduction has really no more to say thanthat.                                                      H. G. WELLS.CONTENTSINTRODUCTIONCHAPTER THE FIRSTTHE BACK OF MISS BATHWICK AND GEORGEBOONCHAPTER THE SECONDBEING THE FIRST CHAPTER OF \"THE MIND OF THE RACE\"CHAPTER THE THIRDTHE GREAT SLUMP, THE REVIVAL OF LETTERS, ANDTHE GARDEN BY THE SEACHAPTER THE FOURTHOF ART, OF LITERATURE, OF MR HENRY JAMESCHAPTER THE FIFTHOF THE ASSEMBLING AND OPENING OF THEWORLD CONFERENCE ON THE MIND OFTHE RACECHAPTER THE SIXTHOF NOT LIKING HALLERY AND THE ROYAL SOCIETY FOR THE DISCOURAGEMENTOFLITERATURECHAPTER THE SEVENTHWILKINS MAKES CERTAIN OBJECTIONSCHAPTER THE EIGHTHTHE BEGINNING OF \"THE WILD ASSES OF THEDEVIL\"CHAPTER THE NINTHTHE HUNTING OF THE WILD ASSES OF THE DEVILCHAPTER THE TENTHTHE STORY OF THE LAST TRUMP       BOON, THE MIND OFTHE RACE, THE WILD ASSES OF THE DEVIL,                        _and_ THE LAST TRUMPCHAPTER THE FIRSTThe Back of Miss Bathwick and George Boon§ 1It isquite probable that the reader does not know of the death ofGeorge Boon, and that \"remains\" before his name upon the title-pagewill be greeted with a certainastonishment. In the ordinary course ofthings, before the explosion of the war, the death of George Boonwould have been an event--oh! a three-quarters of acolumn or more inthe _Times_ event, and articles in the monthlies and reminiscences. Asit is, he is not so much dead as missing. Something happened attheeleventh hour--I think it was chiefly the Admiralty report of thefight off the Falkland Islands--that blew his obituary notices cleanout of the papers. And yet hewas one of our most popular writers, andin America I am told he was in the \"hundred thousand class.\" But nowwe think only of Lord Kitchener's hundredthousands.It is no good pretending about it. The war has ended all that. Boondied with his age. After the war there will be a new sort ofbook-trade and a crop ofnew writers and a fresh tone, and everythingwill be different. This is an obituary, of more than George Boon.... Iregard the outlook with profound dismay. I try tokeep my mind off itby drilling with the Shrewsbury last line of volunteers and trainingdown the excrescences of my physical style. When the war is over willbetime enough to consider the prospects of a superannuated man ofletters. We National Volunteers are now no mere soldiers on paper; wehave fairly washablebadges by way of uniform; we have boughtourselves dummy rifles; we have persuaded the War Office to give us areluctant recognition on the distinctunderstanding that we haveneither officers nor authority. In the event of an invasion, Iunderstand, we are to mobilize and ... do quite a number of usefulthings.But until there is an invasion in actual progress, nothing isto be decided more precisely than what this whiff of printer'sshrapnel, these four full stops,conveys....§ 2I must confess I was monstrously disappointed when at last I could getmy hands into those barrels in the attic in which Boon had stored hissecretwritings. There was more perhaps than I had expected; I do notcomplain of the quantity, but of the disorder, the incompleteness, thewant of discipline andforethought.Boon had talked so often and so convincingly of these secret books hewas writing, he had alluded so frequently to this or that greatproject, he wouldbegin so airily with \"In the seventeenth chapter ofmy 'Wild Asses of the Devil,'\" or \"I have been recasting the thirdpart of our 'Mind of the Race,'\" that it came asan enormous shock tome to find there was no seventeenth chapter; there was not even acompleted first chapter to the former work, and as for the latter,thereseems nothing really finished or settled at all beyond thefragments I am now issuing, except a series of sketches of LordRosebery, for the most part in a toga anda wreath, engaged in alettered retirement at his villa at Epsom, and labelled \"PatricianDignity, the Last Phase\"--sketches I suppress as of no presentinterest--anda complete gallery of imaginary portraits (with severalduplicates) of the Academic Committee that has done so much forBritish literature (the Polignac prize, forexample, and Sir HenryNewbolt's professorship) in the last four or five years. Soincredulous was I that this was all, that I pushed my inquiries fromtheir originalfield in the attic into other parts of the house,pushed them, indeed, to the very verge of ransacking, and in that Igreatly deepened the want of sympathy alreadyseparating me from Mrs.Boon. But I was stung by a thwarted sense of duty, and quite resolvedthat no ill-advised interference should stand between me andthepublication of what Boon has always represented to me as the mostintimate productions of his mind.Yet now the first rush of executorial emotion is over I canbegin todoubt about Boon's intention in making me his \"literary executor.\" Didhe, after all, intend these pencilled scraps, these marginalcaricatures, and--whatseems to me most objectionable--annotatedletters from harmless prominent people for publication? Or was hisselection of me his last effort to prolong what was,I think, if oneof the slightest, one also of the most sustained interests of hislife, and that was a prolonged faint jeering at my expense? Becausealways--it wasnever hidden from me--in his most earnest moments Boonjeered at me. I do not know why he jeered at me, it was always ratherpointless jeering and far belowhis usual level, but jeer he did. Evenwhile we talked most earnestly and brewed our most intoxicatingdraughts of project and conviction, there was always thisscarceperceptible blossom and flavour of ridicule floating like a drowningsprig of blue borage in the cup. His was indeed essentially one ofthose suspended mindsthat float above the will and action; when atlast reality could be evaded no longer it killed him; he never reallybelieved nor felt the urgent need that goads mymore accurate natureto believe and do. Always when I think of us together, I feel that Iam on my legs and that he sits about. And yet he could tell me thingsIsought to know, prove what I sought to believe, shape beliefs to aconviction in me that I alone could never attain.He took life as it came, let his fancy play uponit, selected,elucidated, ignored, threw the result in jest or observation orelaborate mystification at us, and would have no more of it.... Hewould be earnest for atime and then break away. \"The Last Trump\" isquite typical of the way in which he would turn upon himself. It setsout so straight for magnificence; it breaks offso abominably. Youwill read it.Yet he took things more seriously than he seemed to do.This war, I repeat, killed him. He could not escape it. It bore himdown. Hedid his best to disregard it. But its worst stresses caughthim in the climax of a struggle with a fit of pneumonia brought on bya freak of bathing by moonlight--inan English October, a thing he didto distract his mind from the tension after the Marne--and itdestroyed him. The last news they told him was that the Germanshadmade their \"shoot and scuttle\" raid upon Whitby and Scarborough. Therewas much circumstantial description in the morning's paper. They hadsmashed up anumber of houses and killed some hundreds of people,chiefly women and children. Ten little children had been killed ormutilated in a bunch on their way toschool, two old ladies at aboarding-house had had their legs smashed, and so on.\"Take this newspaper,\" he said, and held it out to his nurse. \"Takeit,\" herepeated irritably, and shook it at her.He stared at it as it receded. Then he seemed to be staring at distantthings.\"Wild Asses of the Devil,\" he said at last. \"Oh!Wild Asses of theDevil! I thought somehow it was a joke. It wasn't a joke. There theyare, and the world is theirs.\"And he turned his face to the wall and never"}
+{"doc_id":"doc_167","qid":"","text":"<html><head><title>All About Eve Script at IMSDb.</title><meta name=\"description\" content=\"All About Eve script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"All About Eve script, All About Eve movie script, All About Eve film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>All AboutEve</title></head><pre><b>FADE IN:</b><b>INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT</b>It is not a large room and jammed with tables,mostly forfour but some for six and eight. A long table of honor, forabout thirty people, has been placed upon a dais. Diner is over. Demi-tasses, cigars andbrandy. The overalleffect is one of worn elegance and dogged gentility. It isJune.The CAMERA, as it has been throughout the CREDIT TITLES, ison the SARAHSIDDONS AWARD. It is a gold statuette, about afoot high, of Sarah Siddons as The Tragic Muse. Exquisitelyframed in a nest of flowers, it rests on a miniaturealtar inthe center of the table of honor. Over this we hear the crisp, cultured, precise VOICE ofADDISON deWITT:<b> ADDISON'S VOICE</b> The Sarah SiddonsAward for Distinguished Achievement is perhaps unknown to you. It has been spared the sensational and commercial publicity that attends such questionable\"honors\" as the Pulitzer Prize and those awards presented annually by the film society...The CAMERA has EASED BACK to include some of the table ofhonor and adistinguished gentleman with snow-white hair whois speaking. We do not hear what he says. <b> ADDISON'S VOICE</b> The distinguished looking gentleman isan extremely old actor. Being an actor - he will go on speaking for some time. It is not important what you hear what he says. The CAMERA EASES BACK some"}
+{"doc_id":"doc_168","qid":"","text":"Project Gutenberg's The Shewing-up of Blanco Posnet, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Shewing-up of Blanco PosnetAuthor: George Bernard ShawRelease Date: May, 2004 [EBook #5722]This file was first posted onAugust 17, 2002Last Updated: April 10, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SHEWING-UP OF BLANCO POSNET***Produced by Eve Sobol and Distributed ProofreadersTHE SHEWING-UP OF BLANCO POSNETBy Bernard Shaw1909TRANSCRIBER'S NOTE: The edition fromwhich this work was taken wasprinted without contractions, so there is Ill for I'll and dont fordon't, for example, and show is spelt shew.PREFACETHECENSORSHIPThis little play is really a religious tract in dramatic form. If oursilly censorship would permit its performance, it might possibly help tosetright-side-up the perverted conscience and re-invigorate the starvedself-respect of our considerable class of loose-lived playgoers whosepoint of honor is toderide all official and conventional sermons. As itis, it only gives me an opportunity of telling the story of the SelectCommittee of both Houses of Parliament whichsat last year to enquireinto the working of the censorship, against which it was alleged bymyself and others that as its imbecility and mischievousness could notbefully illustrated within the limits of decorum imposed on the press,it could only be dealt with by a parliamentary body subject to no suchlimits.A READABLEBLUEBOOKFew books of the year 1909 can have been cheaper and more entertainingthan the report of this Committee. Its full title is REPORT FROM THEJOINTSELECT COMMITTEE OF THE HOUSE OF LORDS AND THE HOUSE OF COMMONSON THE STAGE PLAYS (CENSORSHIP) TOGETHER WITH THE PROCEEDINGS OFTHECOMMITTEE, MINUTES OF EVIDENCE, AND APPENDICES. What the phrase \"theStage Plays\" means in this title I do not know; nor does anyone else.Thenumber of the Bluebook is 214.How interesting it is may be judged from the fact that it containsverbatim reports of long and animated interviews between theCommitteeand such witnesses as W. William Archer, Mr. Granville Barker, Mr. J.M. Barrie, Mr. Forbes Robertson, Mr. Cecil Raleigh, Mr. John Galsworthy,Mr.Laurence Housman, Sir Herbert Beerbohm Tree, Mr. W. L. Courtney, SirWilliam Gilbert, Mr. A. B. Walkley, Miss Lena Ashwell, Professor GilbertMurray, Mr. GeorgeAlexander, Mr. George Edwardes, Mr. Comyns Carr,the Speaker of the House of Commons, the Bishop of Southwark, Mr. HallCaine, Mr. Israel Zangwill, Sir SquireBancroft, Sir Arthur Pinero, andMr. Gilbert Chesterton, not to mention myself and a number of gentlemenless well known to the general public, but important inthe world of thetheatre. The publication of a book by so many famous contributors wouldbe beyond the means of any commercial publishing firm. HisMajesty'sStationery Office sells it to all comers by weight at the veryreasonable price of three-and-threepence a copy.HOW NOT TO DO ITIt was pointed out byCharles Dickens in Little Dorrit, which remainsthe most accurate and penetrating study of the genteel littleness ofour class governments in the English language,that whenever an abusebecomes oppressive enough to persuade our party parliamentariansthat something must be done, they immediately set to work tofacethe situation and discover How Not To Do It. Since Dickens's daythe exposures effected by the Socialists have so shattered theself-satisfaction of moderncommercial civilization that it is no longerdifficult to convince our governments that something must be done,even to the extent of attempts at a reconstruction ofcivilization ona thoroughly uncommercial basis. Consequently, the first part of theprocess described by Dickens: that in which the reformers were snubbedby frontbench demonstrations that the administrative departments wereconsuming miles of red tape in the correctest forms of activity, andthat everything was for thebest in the best of all possible worlds,is out of fashion; and we are in that other phase, familiarized by thehistory of the French Revolution, in which the primaryassumption isthat the country is in danger, and that the first duty of all parties,politicians, and governments is to save it. But as the effect of thisis to givegovernments a great many more things to do, it also gives apowerful stimulus to the art of How Not To Do Them: that is to say, theart of contriving methods ofreform which will leave matters exactly asthey are.The report of the Joint Select Committee is a capital illustration ofthis tendency. The case against thecensorship was overwhelming; and thedefence was more damaging to it than no defence at all could havebeen. Even had this not been so, the mere caprice ofopinion had turnedagainst the institution; and a reform was expected, evidence or noevidence. Therefore the Committee was unanimous as to the necessityofreforming the censorship; only, unfortunately, the majority attachedto this unanimity the usual condition that nothing should be done todisturb the existingstate of things. How this was effected may begathered from the recommendations finally agreed on, which are asfollows.1. The drama is to be set entirely free bythe abolition of the existingobligation to procure a licence from the Censor before performing aplay; but every theatre lease is in future to be construed as ifitcontained a clause giving the landlord power to break it and evict thelessee if he produces a play without first obtaining the usual licencefrom the LordChamberlain.2. Some of the plays licensed by the Lord Chamberlain are so viciousthat their present practical immunity from prosecution must be put anend to;but no manager who procures the Lord Chamberlain's licence fora play can be punished in any way for producing it, though a specialtribunal may order him todiscontinue the performance; and even thisorder must not be recorded to his disadvantage on the licence of histheatre, nor may it be given as a judicial reasonfor cancelling thatlicence.3. Authors and managers producing plays without first obtaining theusual licence from the Lord Chamberlain shall be perfectly free todoso, and shall be at no disadvantage compared to those who follow theexisting practice, except that they may be punished, have the licencesof their theatresendorsed and cancelled, and have the performancestopped pending the proceedings without compensation in the event of theproceedings ending in theiracquittal.4. Authors are to be rescued from their present subjection to anirresponsible secret tribunal which can condemn their plays withoutgiving reasons, bythe substitution for that tribunal of a Committee ofthe Privy Council, which is to be the final authority on the fitness ofa play for representation; and thisCommittee is to sit in camera if andwhen it pleases.5. The power to impose a veto on the production of plays is to beabolished because it may hinder the growthof a great national drama;but the Office of Examiner of Plays shall be continued; and the LordChamberlain shall retain his present powers to license plays, butshallbe made responsible to Parliament to the extent of making it possibleto ask questions there concerning his proceedings, especially now thatmembers havediscovered a method of doing this indirectly.And so on, and so forth. The thing is to be done; and it is not to bedone. Everything is to be changed and nothing isto be changed. Theproblem is to be faced and the solution to be shirked. And the word ofDickens is to be justified.THE STORY OF THE JOINT SELECTCOMMITTEELet me now tell the story of the Committee in greater detail, partly asa contribution to history; partly because, like most true stories, it ismoreamusing than the official story.All commissions of public enquiry are more or less intimidated bothby the interests on which they have to sit in judgment and,whentheir members are party politicians, by the votes at the back of thoseinterests; but this unfortunate Committee sat under a quite exceptionalcross fire. First,there was the king. The Censor is a member of hishousehold retinue; and as a king's retinue has to be jealously guardedto avoid curtailment of the royal state nomatter what may be thefunction of the particular retainer threatened, nothing but anexpress royal intimation to the contrary, which is aconstitutionalimpossibility, could have relieved the Committee from the fear ofdispleasing the king by any proposal to abolish the censorship of theLordChamberlain. Now all the lords on the Committee and some of thecommoners could have been wiped out of society (in their sense of theword) by the slightestintimation that the king would prefer not to meetthem; and this was a heavy risk to run on the chance of \"a great andserious national drama\" ensuing on theremoval of the Lord Chamberlain'sveto on Mrs Warren's Profession. Second, there was the Nonconformistconscience, holding the Liberal Government responsiblefor the Committeeit had appointed, and holding also, to the extent of votes enough toturn the scale in some constituencies, that the theatre is the gate ofhell, tobe tolerated, as vice is tolerated, only because the power tosuppress it could not be given to any public body without too serious aninterference with certainLiberal traditions of liberty which are stilluseful to Nonconformists in other directions. Third, there was thecommercial interest of the theatrical managers and theirsyndicates ofbackers in the City, to whom, as I shall shew later on, the censorshipaffords a cheap insurance of enormous value. Fourth, there was thepowerfulinterest of the trade in intoxicating liquors, fiercelydetermined to resist any extension of the authority of teetotaller-ledlocal governing bodies over theatres. Fifth,there were the playwrights,without political power, but with a very close natural monopoly of atalent not only for play-writing but for satirical polemics. Andsinceevery interest has its opposition, all these influences had createdhostile bodies by the operation of the mere impulse to contradict them,always strong inEnglish human nature.WHY THE MANAGERS LOVE THE CENSORSHIPThe only one of these influences which seems to be generallymisunderstood is that of themanagers. It has been assumed repeatedlythat managers and authors are affected in the same way by thecensorship. When a prominent author protests againstthe censorship, hisopinion is supposed to be balanced by that of some prominent managerwho declares that the censorship is the mainstay of the theatre, andhisrelations with the Lord Chamberlain and the Examiner of Plays acherished privilege and an inexhaustible joy. This error was not removedby the evidence givenbefore the Joint Select Committee. The managersdid not make their case clear there, partly because they did notunderstand it, and partly because their mosteminent witnesses were notpersonally affected by it, and would not condescend to plead it, feelingthemselves, on the contrary, compelled by their self-respect toadmitand even emphasize the fact that the Lord Chamberlain in the exercise ofhis duties as licenser had done those things which he ought not tohave done, and"}
+{"doc_id":"doc_169","qid":"","text":"Project Gutenberg's The Legend of Sleepy Hollow, by Washington IrvingThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Legend of Sleepy HollowAuthor: Washington IrvingPosting Date: June 25, 2008 [EBook #41]Release Date: October, 1992Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE LEGEND OF SLEEPY HOLLOW ***Produced by Ilana M. (Kingsley) Newby and Greg NewbyTHELEGEND OF SLEEPY HOLLOWby Washington IrvingFOUND AMONG THE PAPERS OF THE LATE DIEDRICH KNICKERBOCKER.        A pleasing land of drowsy head itwas,          Of dreams that wave before the half-shut eye;        And of gay castles in the clouds that pass,          Forever flushing round a summersky.                                         CASTLE OF INDOLENCE.In the bosom of one of those spacious coves which indent the easternshore of the Hudson, at that broadexpansion of the river denominatedby the ancient Dutch navigators the Tappan Zee, and where they alwaysprudently shortened sail and implored the protectionof St. Nicholaswhen they crossed, there lies a small market town or rural port, whichby some is called Greensburgh, but which is more generally andproperlyknown by the name of Tarry Town. This name was given, we are told, informer days, by the good housewives of the adjacent country, from theinveteratepropensity of their husbands to linger about the villagetavern on market days. Be that as it may, I do not vouch for the fact,but merely advert to it, for the sakeof being precise and authentic.Not far from this village, perhaps about two miles, there is a littlevalley or rather lap of land among high hills, which is one ofthequietest places in the whole world. A small brook glides through it,with just murmur enough to lull one to repose; and the occasionalwhistle of a quail ortapping of a woodpecker is almost the only soundthat ever breaks in upon the uniform tranquillity.I recollect that, when a stripling, my first exploitinsquirrel-shooting was in a grove of tall walnut-trees that shades oneside of the valley. I had wandered into it at noontime, when all natureis peculiarly quiet,and was startled by the roar of my own gun, as itbroke the Sabbath stillness around and was prolonged and reverberatedby the angry echoes. If ever I shouldwish for a retreat whither I mightsteal from the world and its distractions, and dream quietly away theremnant of a troubled life, I know of none more promisingthan thislittle valley.From the listless repose of the place, and the peculiar character of itsinhabitants, who are descendants from the original Dutch settlers,thissequestered glen has long been known by the name of SLEEPY HOLLOW, andits rustic lads are called the Sleepy Hollow Boys throughout all theneighboringcountry. A drowsy, dreamy influence seems to hang over theland, and to pervade the very atmosphere. Some say that the placewas bewitched by a High Germandoctor, during the early days of thesettlement; others, that an old Indian chief, the prophet or wizard ofhis tribe, held his powwows there before the country wasdiscovered byMaster Hendrick Hudson. Certain it is, the place still continues underthe sway of some witching power, that holds a spell over the minds ofthe goodpeople, causing them to walk in a continual reverie. They aregiven to all kinds of marvellous beliefs, are subject to trances andvisions, and frequently see strangesights, and hear music and voices inthe air. The whole neighborhood abounds with local tales, haunted spots,and twilight superstitions; stars shoot and meteorsglare oftener acrossthe valley than in any other part of the country, and the nightmare,with her whole ninefold, seems to make it the favorite scene ofhergambols.The dominant spirit, however, that haunts this enchanted region, andseems to be commander-in-chief of all the powers of the air, is theapparition ofa figure on horseback, without a head. It is said by someto be the ghost of a Hessian trooper, whose head had been carried awayby a cannon-ball, in somenameless battle during the Revolutionary War,and who is ever and anon seen by the country folk hurrying along inthe gloom of night, as if on the wings of thewind. His haunts are notconfined to the valley, but extend at times to the adjacent roads, andespecially to the vicinity of a church at no great distance.Indeed,certain of the most authentic historians of those parts, who have beencareful in collecting and collating the floating facts concerning thisspectre, allegethat the body of the trooper having been buried in thechurchyard, the ghost rides forth to the scene of battle in nightlyquest of his head, and that the rushingspeed with which he sometimespasses along the Hollow, like a midnight blast, is owing to his beingbelated, and in a hurry to get back to the churchyard beforedaybreak.Such is the general purport of this legendary superstition, which hasfurnished materials for many a wild story in that region of shadows; andthe spectreis known at all the country firesides, by the name of theHeadless Horseman of Sleepy Hollow.It is remarkable that the visionary propensity I have mentioned isnotconfined to the native inhabitants of the valley, but is unconsciouslyimbibed by every one who resides there for a time. However wide awakethey may havebeen before they entered that sleepy region, they aresure, in a little time, to inhale the witching influence of the air, andbegin to grow imaginative, to dreamdreams, and see apparitions.I mention this peaceful spot with all possible laud, for it is in suchlittle retired Dutch valleys, found here and there embosomed inthegreat State of New York, that population, manners, and customs remainfixed, while the great torrent of migration and improvement, which ismaking suchincessant changes in other parts of this restless country,sweeps by them unobserved. They are like those little nooks of stillwater, which border a rapid stream,where we may see the straw andbubble riding quietly at anchor, or slowly revolving in their mimicharbor, undisturbed by the rush of the passing current. Thoughmanyyears have elapsed since I trod the drowsy shades of Sleepy Hollow, yetI question whether I should not still find the same trees and the samefamiliesvegetating in its sheltered bosom.In this by-place of nature there abode, in a remote period of Americanhistory, that is to say, some thirty years since, a worthywight of thename of Ichabod Crane, who sojourned, or, as he expressed it, \"tarried,\"in Sleepy Hollow, for the purpose of instructing the children of thevicinity. Hewas a native of Connecticut, a State which supplies theUnion with pioneers for the mind as well as for the forest, and sendsforth yearly its legions of frontierwoodmen and country schoolmasters.The cognomen of Crane was not inapplicable to his person. He was tall,but exceedingly lank, with narrow shoulders, longarms and legs, handsthat dangled a mile out of his sleeves, feet that might have served forshovels, and his whole frame most loosely hung together. His headwassmall, and flat at top, with huge ears, large green glassy eyes, and along snipe nose, so that it looked like a weather-cock perched upon hisspindle neck to tellwhich way the wind blew. To see him striding alongthe profile of a hill on a windy day, with his clothes bagging andfluttering about him, one might have mistakenhim for the genius offamine descending upon the earth, or some scarecrow eloped from acornfield.His schoolhouse was a low building of one large room, rudelyconstructedof logs; the windows partly glazed, and partly patched with leaves ofold copybooks. It was most ingeniously secured at vacant hours, by awithetwisted in the handle of the door, and stakes set against thewindow shutters; so that though a thief might get in with perfect ease,he would find someembarrassment in getting out,--an idea most probablyborrowed by the architect, Yost Van Houten, from the mystery of aneelpot. The schoolhouse stood in arather lonely but pleasant situation,just at the foot of a woody hill, with a brook running close by, anda formidable birch-tree growing at one end of it. From hencethe lowmurmur of his pupils' voices, conning over their lessons, might be heardin a drowsy summer's day, like the hum of a beehive; interrupted now andthen bythe authoritative voice of the master, in the tone of menace orcommand, or, peradventure, by the appalling sound of the birch, as heurged some tardy loitereralong the flowery path of knowledge. Truth tosay, he was a conscientious man, and ever bore in mind the golden maxim,\"Spare the rod and spoil the child.\"Ichabod Crane's scholars certainlywere not spoiled.I would not have it imagined, however, that he was one of those cruelpotentates of the school who joy in thesmart of their subjects; onthe contrary, he administered justice with discrimination rather thanseverity; taking the burden off the backs of the weak, and laying itonthose of the strong. Your mere puny stripling, that winced at the leastflourish of the rod, was passed by with indulgence; but the claims ofjustice were satisfiedby inflicting a double portion on some littletough wrong-headed, broad-skirted Dutch urchin, who sulked and swelledand grew dogged and sullen beneath thebirch. All this he called \"doinghis duty by their parents;\" and he never inflicted a chastisementwithout following it by the assurance, so consolatory to thesmartingurchin, that \"he would remember it and thank him for it the longest dayhe had to live.\"When school hours were over, he was even the companion andplaymateof the larger boys; and on holiday afternoons would convoy some ofthe smaller ones home, who happened to have pretty sisters, or goodhousewives formothers, noted for the comforts of the cupboard. Indeed,it behooved him to keep on good terms with his pupils. The revenuearising from his school was small,and would have been scarcelysufficient to furnish him with daily bread, for he was a huge feeder,and, though lank, had the dilating powers of an anaconda; but tohelpout his maintenance, he was, according to country custom in thoseparts, boarded and lodged at the houses of the farmers whose childrenhe instructed. Withthese he lived successively a week at a time, thusgoing the rounds of the neighborhood, with all his worldly effects tiedup in a cotton handkerchief.That all thismight not be too onerous on the purses of his rusticpatrons, who are apt to consider the costs of schooling a grievousburden, and schoolmasters as mere drones,he had various ways ofrendering himself both useful and agreeable. He assisted the farmersoccasionally in the lighter labors of their farms, helped to makehay,mended the fences, took the horses to water, drove the cows frompasture, and cut wood for the winter fire. He laid aside, too, all thedominant dignity andabsolute sway with which he lorded it in his littleempire, the school, and became wonderfully gentle and ingratiating.He found favor in the eyes of the mothers bypetting the children,particularly the youngest; and like the lion bold, which whilom somagnanimously the lamb did hold, he would sit with a child on one knee,androck a cradle with his foot for whole hours together.In addition to his other vocations, he was the singing-master of theneighborhood, and picked up many bright"}
+{"doc_id":"doc_170","qid":"","text":"The Project Gutenberg EBook of McTeague, by Frank NorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: McTeagueAuthor: Frank NorrisRelease Date: March 12, 2006 [EBook #165]Language: English*** START OF THIS PROJECT GUTENBERGEBOOK MCTEAGUE ***Produced by Pauline J. Iacono and David WidgerMcTEAGUEA Story of San Franciscoby Frank NorrisCHAPTER 1It was Sunday, and,according to his custom on that day, McTeague tookhis dinner at two in the afternoon at the car conductors' coffee-jointon Polk Street. He had a thick gray soup;heavy, underdone meat, veryhot, on a cold plate; two kinds of vegetables; and a sort of suetpudding, full of strong butter and sugar. On his way back to hisoffice,one block above, he stopped at Joe Frenna's saloon and bought a pitcherof steam beer. It was his habit to leave the pitcher there on his way todinner.Oncein his office, or, as he called it on his signboard, \"DentalParlors,\" he took off his coat and shoes, unbuttoned his vest, and,having crammed his little stove full ofcoke, lay back in his operatingchair at the bay window, reading the paper, drinking his beer, andsmoking his huge porcelain pipe while his food digested;crop-full,stupid, and warm. By and by, gorged with steam beer, and overcome by theheat of the room, the cheap tobacco, and the effects of his heavy meal,hedropped off to sleep. Late in the afternoon his canary bird, in itsgilt cage just over his head, began to sing. He woke slowly, finishedthe rest of his beer--very flatand stale by this time--and taking downhis concertina from the bookcase, where in week days it kept the companyof seven volumes of \"Allen's Practical Dentist,\"played upon it somehalf-dozen very mournful airs.McTeague looked forward to these Sunday afternoons as a period ofrelaxation and enjoyment. He invariablyspent them in the same fashion.These were his only pleasures--to eat, to smoke, to sleep, and to playupon his concertina.The six lugubrious airs that he knew,always carried him back to thetime when he was a car-boy at the Big Dipper Mine in Placer County, tenyears before. He remembered the years he had spentthere trundling theheavy cars of ore in and out of the tunnel under the direction of hisfather. For thirteen days of each fortnight his father was asteady,hard-working shift-boss of the mine. Every other Sunday he became anirresponsible animal, a beast, a brute, crazy with alcohol.McTeague rememberedhis mother, too, who, with the help of the Chinaman,cooked for forty miners. She was an overworked drudge, fiery andenergetic for all that, filled with the oneidea of having her son risein life and enter a profession. The chance had come at last when thefather died, corroded with alcohol, collapsing in a few hours. Twoorthree years later a travelling dentist visited the mine and put up histent near the bunk-house. He was more or less of a charlatan, but hefired Mrs. McTeague'sambition, and young McTeague went away with himto learn his profession. He had learnt it after a fashion, mostly bywatching the charlatan operate. He had readmany of the necessary books,but he was too hopelessly stupid to get much benefit from them.Then one day at San Francisco had come the news of his mother'sdeath;she had left him some money--not much, but enough to set him up inbusiness; so he had cut loose from the charlatan and had opened his\"Dental Parlors\"on Polk Street, an \"accommodation street\" of smallshops in the residence quarter of the town. Here he had slowlycollected a clientele of butcher boys, shop girls,drug clerks, and carconductors. He made but few acquaintances. Polk Street called him the\"Doctor\" and spoke of his enormous strength. For McTeague was ayounggiant, carrying his huge shock of blond hair six feet three inchesfrom the ground; moving his immense limbs, heavy with ropes of muscle,slowly,ponderously. His hands were enormous, red, and covered with afell of stiff yellow hair; they were hard as wooden mallets, strongas vises, the hands of theold-time car-boy. Often he dispensed withforceps and extracted a refractory tooth with his thumb and finger.His head was square-cut, angular; the jaw salient,like that of thecarnivora.McTeague's mind was as his body, heavy, slow to act, sluggish. Yet therewas nothing vicious about the man. Altogether he suggested thedraughthorse, immensely strong, stupid, docile, obedient.When he opened his \"Dental Parlors,\" he felt that his life was asuccess, that he could hope for nothingbetter. In spite of the name,there was but one room. It was a corner room on the second floor overthe branch post-office, and faced the street. McTeague made itdo fora bedroom as well, sleeping on the big bed-lounge against the wallopposite the window. There was a washstand behind the screen in thecorner where hemanufactured his moulds. In the round bay window werehis operating chair, his dental engine, and the movable rack on whichhe laid out his instruments. Threechairs, a bargain at the second-handstore, ranged themselves against the wall with military precisionunderneath a steel engraving of the court of Lorenzo de'Medici, whichhe had bought because there were a great many figures in it for themoney. Over the bed-lounge hung a rifle manufacturer's advertisementcalendarwhich he never used. The other ornaments were a smallmarble-topped centre table covered with back numbers of \"The AmericanSystem of Dentistry,\" a stonepug dog sitting before the little stove,and a thermometer. A stand of shelves occupied one corner, filled withthe seven volumes of \"Allen's Practical Dentist.\" Onthe top shelfMcTeague kept his concertina and a bag of bird seed for the canary. Thewhole place exhaled a mingled odor of bedding, creosote, and ether.But forone thing, McTeague would have been perfectly contented. Justoutside his window was his signboard--a modest affair--that read:\"Doctor McTeague. DentalParlors. Gas Given\"; but that was all. It washis ambition, his dream, to have projecting from that corner window ahuge gilded tooth, a molar with enormousprongs, something gorgeous andattractive. He would have it some day, on that he was resolved; but asyet such a thing was far beyond his means.When he hadfinished the last of his beer, McTeague slowly wiped hislips and huge yellow mustache with the side of his hand. Bull-like, heheaved himself laboriously up, and,going to the window, stood lookingdown into the street.The street never failed to interest him. It was one of those crossstreets peculiar to Western cities, situatedin the heart of theresidence quarter, but occupied by small tradespeople who lived in therooms above their shops. There were corner drug stores with huge jarsofred, yellow, and green liquids in their windows, very brave and gay;stationers' stores, where illustrated weeklies were tacked upon bulletinboards; barber shopswith cigar stands in their vestibules; sad-lookingplumbers' offices; cheap restaurants, in whose windows one saw piles ofunopened oysters weighted down bycubes of ice, and china pigs and cowsknee deep in layers of white beans. At one end of the street McTeaguecould see the huge power-house of the cable line.Immediately oppositehim was a great market; while farther on, over the chimney stacks of theintervening houses, the glass roof of some huge public bathsglitteredlike crystal in the afternoon sun. Underneath him the branch post-officewas opening its doors, as was its custom between two and threeo'clock on Sundayafternoons. An acrid odor of ink rose upward to him.Occasionally a cable car passed, trundling heavily, with a stridentwhirring of jostled glass windows.On weekdays the street was very lively. It woke to its work about seveno'clock, at the time when the newsboys made their appearance togetherwith the day laborers. Thelaborers went trudging past in a stragglingfile--plumbers' apprentices, their pockets stuffed with sections oflead pipe, tweezers, and pliers; carpenters, carryingnothing but theirlittle pasteboard lunch baskets painted to imitate leather; gangs ofstreet workers, their overalls soiled with yellow clay, their picksandlong-handled shovels over their shoulders; plasterers, spotted with limefrom head to foot. This little army of workers, tramping steadily inone direction, metand mingled with other toilers of a differentdescription--conductors and \"swing men\" of the cable company going onduty; heavy-eyed night clerks from the drugstores on their way home tosleep; roundsmen returning to the precinct police station to make theirnight report, and Chinese market gardeners teetering pastunder theirheavy baskets. The cable cars began to fill up; all along the streetcould be seen the shopkeepers taking down their shutters.Between seven and eightthe street breakfasted. Now and then a waiterfrom one of the cheap restaurants crossed from one sidewalk to theother, balancing on one palm a tray coveredwith a napkin. Everywherewas the smell of coffee and of frying steaks. A little later, followingin the path of the day laborers, came the clerks and shopgirls,dressed with a certain cheap smartness, always in a hurry, glancingapprehensively at the power-house clock. Their employers followedan hour or solater--on the cable cars for the most part whiskeredgentlemen with huge stomachs, reading the morning papers with greatgravity; bank cashiers and insuranceclerks with flowers in theirbuttonholes.At the same time the school children invaded the street, filling the airwith a clamor of shrill voices, stopping at thestationers' shops, oridling a moment in the doorways of the candy stores. For over half anhour they held possession of the sidewalks, then suddenlydisappeared,leaving behind one or two stragglers who hurried along with greatstrides of their little thin legs, very anxious and preoccupied.Towards eleven o'clockthe ladies from the great avenue a block abovePolk Street made their appearance, promenading the sidewalks leisurely,deliberately. They were at their morning'smarketing. They were handsomewomen, beautifully dressed. They knew by name their butchers and grocersand vegetable men. From his window McTeague sawthem in front of thestalls, gloved and veiled and daintily shod, the subservient provisionmen at their elbows, scribbling hastily in the order books. They allseemedto know one another, these grand ladies from the fashionableavenue. Meetings took place here and there; a conversation was begun;others arrived; groups wereformed; little impromptu receptions wereheld before the chopping blocks of butchers' stalls, or on the sidewalk,around boxes of berries and fruit.From noon toevening the population of the street was of a mixedcharacter. The street was busiest at that time; a vast and prolongedmurmur arose--the mingled shuffling offeet, the rattle of wheels, theheavy trundling of cable cars. At four o'clock the school childrenonce more swarmed the sidewalks, again disappearing withsurprisingsuddenness. At six the great homeward march commenced; the cars werecrowded, the laborers thronged the sidewalks, the newsboys chantedtheevening papers. Then all at once the street fell quiet; hardly a soulwas in sight; the sidewalks were deserted. It was supper hour. Eveningbegan; and one by"}
+{"doc_id":"doc_171","qid":"","text":"<html><head><title>Made Script at IMSDb.</title><meta name=\"description\" content=\"Made script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Made script, Made movie script, Made film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>               <html>               <head>               <title>\"Made\" -- by JonFavreau</title>               </head>               <body>               <pre>               MADE               INT. SPORTSMAN'S LODGE - SAN FERNANDO VALLEY -DAY               A large crowd has gathered to watch two WHITE BOXERS square               off in a temporary ring in the center of a convertedbanquet               hall. One is BOBBY, the other is RICKY. They are drawn               together to start the bout by a bell and a hand gesture as               theREFEREE backs away. Immediately the two fighters unload               a relentless barrage of POWER PUNCHES. Neither man is               holding back, and thepunches all find purchase in the               swelling faces of their opponent. The crowd rises to its               feet in appreciation of this rare level of competitionin               the lower strata of the heavyweight division.                                                                    CUT TO:               EXT. BOBBY'S CAR - COLDWATERCANYON - LOS ANGELES - SUNSET               Bobby drives Ricky home through the winding twists of LA's               landmark canyon. Both their faces areswollen, verging on               the grotesque. Bobby drives a black Special Edition 1979               Trans Am with the gold Firebird stenciled across thehood.               The car is not in great shape, but in its day ruled the               road. A Hawaiian mini warrior mask hangs from the rear view.               The T-topis out, and Ricky struggles to light his               cigarette in the wind. He finally ignites the whole book of               matches in frustration, lights up, then tosses it"}
+{"doc_id":"doc_172","qid":"","text":"<html><head>   <title>\"Demolition Man,\" by Daniel Waters; and Jonathan Lemkin</title></head><body><pre>                             <u>DEMOLITIONMAN</u>                          Participating Writers:                              Peter Lenkov                              Robert Reneau                              DanielWaters                               Fred Decker                             Jonathan Lemkin                                Story by:                              PeterLenkov                              Daniel Waters                             Screenplay by:                              Daniel Waters                             Jonathan Lemkin        SILVERPICTURES                                                  November 19, 1992                                                  c 1992        [NOTE: THE FOLLOWING SCREENPLAY HADNUMBERED SCENES.        THESE HAVE BEEN OMITTED FOR THIS SOFT COPY.]                                 \"The world of the future will                                 be anever more demanding                                 struggle against the limitations                                 of ourintelligence...\"                                                    Norbert Wiener                                 \"On the whole, I'd rather bein                                 Philadelphia...\"                                                    W.C.  Fields                             <u>DEMOLITION MAN</u>        FADE IN:        EXT.BLACK SKY - NIGHT        Dark, ominous clouds of smoke.  A beat of semi-calm.        And then... A long blast of TRACER FIRE cuts through.        Andanother.  And another.  We TILT DOWN to discover we        are --        EXT. LOS ANGELES - AIRBORNE - MOVING - NIGHT (1998)        A city on fire.  A blockhere, block there.  More TRACER        FIRE.  A cross between the LA riots and Gulf War.  A        SUPERED TITLE:  LA RIOT III.  And then FADING INBELOW:        MONTH 4.  We CONTINUE MOVING ABOVE the ravaged city --                                VOICE #1 (V.O.)                         (filtered)                  Youimagine what it was like when                  they had to fly choppers through                  this shit?                                VOICE #2 (V.O.)                  Noteven.        Gliding totally silently INTO FRAME is the biggest,        darkest, midnight blue blimp you've ever seen.  Small        gold letters on the side --LAPD.  Fully armored beneath.        Woven kevlar on the sides.  BULLETS REBOUND with a long        ZZZZZIP off the sides.  PING SOFTLY off the plasticarmor        on the bottom.                                VOICE #1 (V.O.)                  I don't understand where we're                  going and why the hellwe're                  bothering anyhow...        A new voice responds.  This one brooks no discussion --                                SPARTAN (V.O.)                  Becausethere's anger and there's                  frustration, and then there's pure                  fucking evil...        INT. BLIMP POD - CONTINUOUS ACTION -NIGHT        JOHN SPARTAN peers down into the fiery landscape.                                SPARTAN                  Where we're going is purefucking                  evil.                         (beat)                  Thirty people who were riding that                  muni bus are still missing.  I've                  got thisbad hunch about who took                  them and where they are...        EXT. EXTREME SOUTH CENTRAL LA - FROM ABOVE - AIRBORNE -        NIGHT        Wayup ahead, amid the flames, is a fortress.  A square        city block.  Walled.  Something out of the middle ages.        The walls are entirely made from stackedabandoned cars.        INT. BLIMP POD - NIGHT        Spartan is dragging a heavy bag up towards the door.        PILOT #2 looks at himcuriously.                                PILOT #2                  How come they call you Demolition                  Man?  Are you with the bomb squad?        Spartan gets hisbag into position.                                SPARTAN                  I just...                         (shrugs                          apologetically)                  ... demolishthings.        He checks out the window.  They're not quite there.                                SPARTAN                  I do my job, shit happens.                         (to Pilot#1)                  Get a thermo.        The PILOT takes a thermogram of the building in the        middle of the compound.  We see a series ofheat-outlined        figures moving inside.                                PILOT #1                  Six.  One still, in the middle.                  The rest moving around.  Idon't                  see any thirty people.                                SPARTAN                         (checking the thermo)                  What's that?        To the naked eye,out the window, tucked against the        wall of cars, a large tarp.  To the thermo, the still        warm inner workings of the muni bus.  Faint outlines of        theengine, drive train, even seats and frame.  Bingo.        Spartan takes a deep breath.  Loosens up his right        shoulder.  Loosens up his left.  Checks the gun onhis        right hip.  Checks the gun on his left.  They both cross        draw.  Reaches down to the bag at his feet.  LAPD in        reflective letters on the side of abackpack.  Spartan        yanks some kind of rope out of it.                                PILOT #2                  Isn't that for getting people <u>out</u>                  ofburning buildings...                                SPARTAN                  Yeah, sometimes...        Slaps a carabiner onto a big eyebolt by the door.  They're        deadcenter now over the complex below.  He opens the        door.  Jumps out.        EXT. BLIMP - NIGHT        Spartan falls three hundred feet from theblimp.  Dead        silent.  The line runs free behind him.  It's a giant        fireproof bungee cord.  As the downward force of gravity        and the upward pull of thebungee become exactly the        same, Spartan stops dead in the air for just the briefest        moment.  Whips out a Bowie knife and slashes the cord        abovehis head.  Falls free the last ten feet to the roof        of the building.  Lands on his feet.  Lightning cross        draw.  A gun appears in each hand.        EXT.FORTRESS - MAIN BUILDING - ROOFTOP - NIGHT        A lookout pops up on Spartan's right.  Spartan clobbers        him.  Another lookout pops up on Spartan'sleft.  Spartan        ducks, rolls quietly, clobbers him, too.  Listens.  No        one's taken notice.  Holsters the guns.  Moves in towards        the roofhatch.        INT. FORTRESS - MAIN BUILDING - THIRD FLOOR - NIGHT        Stacked with armaments and stolen goods.  M70's straight        outta the NationalGuard Armory.  Crates of ammo.  Stacks        of looted Sony HoloSets still in the boxes.        Spartan makes his way carefully along.  Ready.  Spins at        aSOUND.  Nothing there.  Spartan crouches low.  Slips        around the crates.  At the far end, a very large guard        is doing just the same thing to peer atwhere Spartan        just was.        Spartan launches himself at the guard.  Hammers his head        against the floor.  This guy is not getting up again for        along time.  Spartan spins at a SOUND.  Another equally        large guard dives on Spartan from behind.  He never makes        contact.  Spartan uses hismomentum to fling him past and        into the wall.  This guy isn't getting up again in the        near future either.  Now the room is clear.  Moves        towards thestairs.        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        SIMON PHOENIX snorts a long pale blue line up one        nostril.  A long pink lineup the other.  One blue eye,        one brown eye.  Blond hair.  Black skin.  Looks up at        another thug.  Punches up the security cams on half a        dozenslightly futuristic monitors.  Unconscious guards        can be seen on all of them.  And on the last, Spartan,        coming... Phoenix jabs a loaded orange syringeinto an        arm.  The drugs all hit various lobes.                                PHOENIX                  Motherfucker.        INT. FORTRESS - MAIN BUILDING - STAIRWELL -NIGHT        Spartan creeps quietly down.  Looking, watching,        listening.  Suddenly, the stairs are racked with MACHINE        GUN FIRE.  Chips of concrete flyfrom around his feet.        Spartan flattens against the wall.  Half a beat.  Steps        out FIRING.  The machine gun stops.  A body plummets by        down thecenter shaft of the stairs.                                SPARTAN                  That's a warm welcome.        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR -NIGHT        Phoenix is dumping can after can of gas all over the        floor, the walls, everything.        ANOTHER ANGLE - STAIRWELL AND LANDING        Spartansteps onto the landing.  Checks high and low.        Room is clear.  He can smell the gas.        BACK TO PHOENIX        Simon pries open the fuse box.  Flips off allthe        breakers.  Building is plunged into darkness.        BACK TO SPARTAN        Spartan quietly speaks into the LAPD button mike onhis        lapel.                                SPARTAN                  How 'bout some light, guys?        Half a beat later, blinding white light blows through        thewindows.        EXT. FORTRESS - FROM ABOVE - NIGHT        The blimp casts down a wall of light.  32 million        candlepower pours straight down.        INT.FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        A wild melange of white, white light and dark, dark        shadows.  The gas fumes ripple, refract inthe air.        Lights bounce off the pools of gasoline.  Spartan rolls        into the room.  Both guns come up.                                SPARTAN                  SimonPhoenix.  You're under                  arrest.                         (then)                  Where are the muni passengers?                                PHOENIX                  Fuckyou, Spartan.  They're gone.                  I told the city no one comes down                  here anymore.  Cops figured it                  out, postmen figured itout.  Damn                  bus drivers wouldn't listen.                  Arrest me?  You've got no                  jurisdiction here.  You're in my                  kingdomnow.  Fifty blocks in                  every direction.  And it's mine.                                SPARTAN                         (simply)                  It'sover.                                PHOENIX                  It's over?!                         (knows it's true)                  Yeah.  It's over.  But I've been                  king once,and I ain't ever going                  back to jail.        Spartan keeps the guns trained on Phoenix.  Simon        scratches his arm.  It's a junkie's twitch.  Or isit...        Spartan can't see it, but there's a kitchen match tucked        behind Simon's ear.  Phoenix reaches up to scratch        another itch.  Frees the match inone gestures, strikes        it and tosses it into the pool of gas.  Smiles.  A        friendly happy smile.        The room bursts into flames.  He throws back his headand        laughs.  Spartan dives on him.  Tries to hurl them both        through the window.        But Phoenix is either stronger or just far crazier and        druggedup.  Smashes the two of them into the wall        instead.  They trade blows.  The building gets worse.        AMMO starts to EXPLODE downstairs.        EXT.FORTRESS - MAIN YARD - NIGHT        A giant LAPD wrecker with a cow catcher front blasts        through the main gates.  LAPD Humvees follow.        A youngcop (ZACHARY LAMB) gets out, looks at the main        building, shakes his head in amusement at the        destruction"}
+{"doc_id":"doc_173","qid":"","text":"<html><head><title>Lord of the Rings: Return of the King Script at IMSDb.</title><meta name=\"description\" content=\"Lord of the Rings: Return of the Kingscript at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Lord of the Rings: Return of the King script, Lord of the Rings: Return of theKing movie script, Lord of the Rings: Return of the King film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>              For YourConsideration            Best Adapted Screenplay By    Fran Walsh, Philippa Boyens, Peter Jackson       Based on the Book by J.R.R. Tolkien<b>THE LORD OF THERINGS: THE RETURN OF THE KING</b><b></b><b>BLACK SCREEN . . .</b>SUPER:                New Line Cinema PresentsSUPER:               A WingNut FilmsProduction<b>BLACK SCREEN:</b><b>EXT. RIVER ANDUIN - DAY</b>ANGLE ON: SMEAGOL and his cousin, DEAGOL, sit in a SMALLCORACLE, their FISHINGLINES draped over the side . . . SUNSHINEglinting off the surface of the water.An idyllic image.SUDDENLY . . . DEAGOL's FISHING ROD BENDS under the weightof a<b>LARGE FISH.</b><b>                        DEAGOL</b>                 (excited)            Smeagol, I've got one!                 (he laughs)            I've got a fish,Smeagol!<b>                       SMEAGOL</b>                 (excitedly)            Go on, pull it in.DEAGOL pulls on his ROD, but is HAULED OVERBOARD anddisappearsunderwater with a SPLASH!ANGLE ON: SMEAGOL leaning over the BOAT . . . CONCERNED.                       SMEAGOL(cont'd)                 (worried)            Deagol!<b>EXT. UNDERWATER, RIVER ANDUIN - DAY</b>ANGLE ON: DEAGOL is towed to the RIVER BED by a LARGEFISH. . . he suddenly lets go of the line . . . eyes fixed on aSHINING GOLD RING, lying in 'the SILT.<b></b>                                     Final Revision - October,2003 2<b>EXT. RIVER ANDUIN, GLADDEN FIELDS - DAY</b>CLOSE ON: DEAGOL climbs out of the WATER, onto the RIVER<b>BANK.</b>CLOSE ON: the"}
+{"doc_id":"doc_174","qid":"","text":"The Project Gutenberg EBook of The Call of the Wild, by Jack LondonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Call of the WildAuthor: Jack LondonRelease Date: July 1, 2008 [EBook #215]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE CALL OF THE WILD ***Produced by Ryan, Kirstin, Linda and Rick Trapp in LovingMemory of Ivan Louis ReeseTHE CALL OF THE WILDbyJack London      Contents      I     Into the Primitive      II    The Law of Club and Fang      III   The Dominant Primordial Beast      IV    Who Has Won toMastership      V     The Toil of Trace and Tail      VI    For the Love of a Man      VII   The Sounding of the CallChapter I. Into the Primitive         \"Old longingsnomadic leap,          Chafing at custom's chain;          Again from its brumal sleep          Wakens the ferine strain.\"Buck did not read the newspapers, or he wouldhave known that troublewas brewing, not alone for himself, but for every tide-water dog, strongof muscle and with warm, long hair, from Puget Sound to SanDiego.Because men, groping in the Arctic darkness, had found a yellow metal,and because steamship and transportation companies were booming thefind,thousands of men were rushing into the Northland. These men wanteddogs, and the dogs they wanted were heavy dogs, with strong muscles bywhich to toil, andfurry coats to protect them from the frost.Buck lived at a big house in the sun-kissed Santa Clara Valley. JudgeMiller's place, it was called. It stood back from theroad, half hiddenamong the trees, through which glimpses could be caught of the widecool veranda that ran around its four sides. The house was approachedbygravelled driveways which wound about through wide-spreading lawns andunder the interlacing boughs of tall poplars. At the rear things were oneven a morespacious scale than at the front. There were great stables,where a dozen grooms and boys held forth, rows of vine-clad servants'cottages, an endless and orderlyarray of outhouses, long grape arbors,green pastures, orchards, and berry patches. Then there was the pumpingplant for the artesian well, and the big cementtank where JudgeMiller's boys took their morning plunge and kept cool in the hotafternoon.And over this great demesne Buck ruled. Here he was born, and herehehad lived the four years of his life. It was true, there were otherdogs, There could not but be other dogs on so vast a place, but they didnot count. They cameand went, resided in the populous kennels, or livedobscurely in the recesses of the house after the fashion of Toots, theJapanese pug, or Ysabel, the Mexicanhairless,--strange creatures thatrarely put nose out of doors or set foot to ground. On the other hand,there were the fox terriers, a score of them at least, whoyelpedfearful promises at Toots and Ysabel looking out of the windows at themand protected by a legion of housemaids armed with brooms and mops.But Buckwas neither house-dog nor kennel-dog. The whole realm was his.He plunged into the swimming tank or went hunting with the Judge's sons;he escorted Mollie andAlice, the Judge's daughters, on long twilightor early morning rambles; on wintry nights he lay at the Judge's feetbefore the roaring library fire; he carried theJudge's grandsons on hisback, or rolled them in the grass, and guarded their footsteps throughwild adventures down to the fountain in the stable yard, andevenbeyond, where the paddocks were, and the berry patches. Among theterriers he stalked imperiously, and Toots and Ysabel he utterlyignored, for he wasking,--king over all creeping, crawling, flyingthings of Judge Miller's place, humans included.His father, Elmo, a huge St. Bernard, had been the Judge'sinseparablecompanion, and Buck bid fair to follow in the way of his father. He wasnot so large,--he weighed only one hundred and forty pounds,--for hismother,Shep, had been a Scotch shepherd dog. Nevertheless, one hundredand forty pounds, to which was added the dignity that comes of goodliving and universalrespect, enabled him to carry himself in rightroyal fashion. During the four years since his puppyhood he had livedthe life of a sated aristocrat; he had a fine pridein himself, was evena trifle egotistical, as country gentlemen sometimes become because oftheir insular situation. But he had saved himself by not becoming amerepampered house-dog. Hunting and kindred outdoor delights had kept downthe fat and hardened his muscles; and to him, as to the cold-tubbingraces, thelove of water had been a tonic and a health preserver.And this was the manner of dog Buck was in the fall of 1897, when theKlondike strike dragged men from allthe world into the frozen North.But Buck did not read the newspapers, and he did not know that Manuel,one of the gardener's helpers, was an undesirableacquaintance. Manuelhad one besetting sin. He loved to play Chinese lottery. Also, in hisgambling, he had one besetting weakness--faith in a system; andthismade his damnation certain. For to play a system requires money, whilethe wages of a gardener's helper do not lap over the needs of a wife andnumerousprogeny.The Judge was at a meeting of the Raisin Growers' Association, and theboys were busy organizing an athletic club, on the memorable night ofManuel'streachery. No one saw him and Buck go off through the orchardon what Buck imagined was merely a stroll. And with the exception of asolitary man, no one sawthem arrive at the little flag station knownas College Park. This man talked with Manuel, and money chinked betweenthem.\"You might wrap up the goods beforeyou deliver 'm,\" the stranger saidgruffly, and Manuel doubled a piece of stout rope around Buck's neckunder the collar.\"Twist it, an' you'll choke 'm plentee,\" saidManuel, and the strangergrunted a ready affirmative.Buck had accepted the rope with quiet dignity. To be sure, it was anunwonted performance: but he hadlearned to trust in men he knew, and togive them credit for a wisdom that outreached his own. But when the endsof the rope were placed in the stranger's hands,he growled menacingly.He had merely intimated his displeasure, in his pride believing that tointimate was to command. But to his surprise the rope tightenedaroundhis neck, shutting off his breath. In quick rage he sprang at the man,who met him halfway, grappled him close by the throat, and with a defttwist threwhim over on his back. Then the rope tightened mercilessly,while Buck struggled in a fury, his tongue lolling out of his mouth andhis great chest panting futilely.Never in all his life had he been sovilely treated, and never in all his life had he been so angry. But hisstrength ebbed, his eyes glazed, and he knew nothing whenthe train wasflagged and the two men threw him into the baggage car.The next he knew, he was dimly aware that his tongue was hurting andthat he was beingjolted along in some kind of a conveyance. The hoarseshriek of a locomotive whistling a crossing told him where he was. Hehad travelled too often with the Judgenot to know the sensation ofriding in a baggage car. He opened his eyes, and into them came theunbridled anger of a kidnapped king. The man sprang for histhroat, butBuck was too quick for him. His jaws closed on the hand, nor did theyrelax till his senses were choked out of him once more.\"Yep, has fits,\" the mansaid, hiding his mangled hand from thebaggageman, who had been attracted by the sounds of struggle. \"I'mtakin' 'm up for the boss to 'Frisco. A crackdog-doctor there thinksthat he can cure 'm.\"Concerning that night's ride, the man spoke most eloquently for himself,in a little shed back of a saloon on the SanFrancisco water front.\"All I get is fifty for it,\" he grumbled; \"an' I wouldn't do it over fora thousand, cold cash.\"His hand was wrapped in a bloody handkerchief,and the right trouser legwas ripped from knee to ankle.\"How much did the other mug get?\" the saloon-keeper demanded.\"A hundred,\" was the reply. \"Wouldn'ttake a sou less, so help me.\"\"That makes a hundred and fifty,\" the saloon-keeper calculated; \"andhe's worth it, or I'm a squarehead.\"The kidnapper undid thebloody wrappings and looked at his laceratedhand. \"If I don't get the hydrophoby--\"\"It'll be because you was born to hang,\" laughed the saloon-keeper.\"Here,lend me a hand before you pull your freight,\" he added.Dazed, suffering intolerable pain from throat and tongue, with the lifehalf throttled out of him, Buckattempted to face his tormentors. But hewas thrown down and choked repeatedly, till they succeeded in filing theheavy brass collar from off his neck. Then therope was removed, and hewas flung into a cagelike crate.There he lay for the remainder of the weary night, nursing his wrath andwounded pride. He could notunderstand what it all meant. What did theywant with him, these strange men? Why were they keeping him pent up inthis narrow crate? He did not know why,but he felt oppressed by thevague sense of impending calamity. Several times during the night hesprang to his feet when the shed door rattled open, expecting tosee theJudge, or the boys at least. But each time it was the bulging face ofthe saloon-keeper that peered in at him by the sickly light of a tallowcandle. And eachtime the joyful bark that trembled in Buck's throat wastwisted into a savage growl.But the saloon-keeper let him alone, and in the morning four men enteredandpicked up the crate. More tormentors, Buck decided, for they wereevil-looking creatures, ragged and unkempt; and he stormed and raged atthem through thebars. They only laughed and poked sticks at him, whichhe promptly assailed with his teeth till he realized that that was whatthey wanted. Whereupon he lay downsullenly and allowed the crate to belifted into a wagon. Then he, and the crate in which he was imprisoned,began a passage through many hands. Clerks in theexpress office tookcharge of him; he was carted about in another wagon; a truck carriedhim, with an assortment of boxes and parcels, upon a ferry steamer;hewas trucked off the steamer into a great railway depot, and finally hewas deposited in an express car.For two days and nights this express car was draggedalong at the tailof shrieking locomotives; and for two days and nights Buck neither atenor drank. In his anger he had met the first advances of theexpressmessengers with growls, and they had retaliated by teasing him. When heflung himself against the bars, quivering and frothing, they laughedat him andtaunted him. They growled and barked like detestable dogs,mewed, and flapped their arms and crowed. It was all very silly, heknew; but therefore the moreoutrage to his dignity, and his anger waxedand waxed. He did not mind the hunger so much, but the lack of watercaused him severe suffering and fanned hiswrath to fever-pitch. Forthat matter, high-strung and finely sensitive, the ill treatment hadflung him into a fever, which was fed by the inflammation of hisparchedand swollen throat and tongue.He was glad for one thing: the rope was off his neck. That had giventhem an unfair advantage; but now that it was off, hewould show them.They would never get another rope around his neck. Upon that he wasresolved. For two days and nights he neither ate nor drank, and"}
+{"doc_id":"doc_175","qid":"","text":"The Project Gutenberg EBook of The Spoilers, by Rex BeachThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The SpoilersAuthor: Rex BeachPosting Date: May 2, 2013 [EBook #5076]Release Date: February, 2004First Posted: April 16,2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SPOILERS ***Produced by Charles Franks and the Online Distributed ProofreadingTeam.THE SPOILERSBy REX BEACHAuthor of \"THE AUCTION BLOCK\" \"RAINBOW'S END\" \"THE IRON TRAIL\" Etc.Illustrated       THIS BOOKIS LOVINGLYDEDICATED TO       MY MOTHERCONTENTSCHAPTER    I. THE ENCOUNTER   II. THE STOWAWAY  III. IN WHICH GLENISTER ERRS   IV. THE KILLING    V.WHEREIN A MAN APPEARS   VI. AND A MINE IS JUMPED  VII. THE \"BRONCO KID'S\" EAVESDROPPING VIII. DEXTRY MAKES A CALL   IX. SLUICE ROBBERS    X.THE WIT OF AN ADVENTURESS   XI. WHEREIN A WRIT AND A RIOT FAIL  XII. COUNTERPLOTS XIII. IN WHICH A MAN IS POSSESSED OF A DEVIL  XIV. AMIDNIGHT MESSENGER   XV. VIGILANTES  XVI. IN WHICH THE TRUTH BEGINS TO BARE ITSELF XVII. THE DRIP OF WATER IN THE DARKXVIII. WHEREIN A TRAPIS BAITED  XIX. DYNAMITE   XX. IN WHICH THREE GO TO THE SIGN OF THE SLED AND BUT TWO RETURN  XXI. THE HAMMER-LOCK XXII. THE PROMISE OFDREAMSCHAPTER ITHE ENCOUNTERGlenister gazed out over the harbor, agleam with the lights of anchoredships, then up at the crenelated mountains, blackagainst the sky. Hedrank the cool air burdened with its taints of the sea, while the bloodof his boyhood leaped within him.\"Oh, it's fine--fine,\" he murmured, \"andthis is my country--mycountry, after all, Dex. It's in my veins, this hunger for the North. Igrow. I expand.\"\"Careful you don't bust,\" warned Dextry. \"I've seenmen get plumb drunkon mountain air. Don't expand too strong in one spot.\" He went backabruptly to his pipe, its villanous fumes promptly averting any dangerofthe air's too tonic quality.\"Gad! What a smudge!\" sniffed the younger man. \"You ought to be inquarantine.\"\"I'd ruther smell like a man than talk like a kid. Youdesecrate thehour of meditation with rhapsodies on nature when your aesthetics ain'thoned up to the beauties of good tobacco.\"The other laughed, inflating hisdeep chest. In the gloom he stretchedhis muscles restlessly, as though an excess of vigor filled him.They were lounging upon the dock, while before them lay theSanta Mariaready for her midnight sailing. Behind slept Unalaska, quaint, antique,and Russian, rusting amid the fogs of Bering Sea. Where, a weekbefore,mild-eyed natives had dried their cod among the old bronze cannon, nowa frenzied horde of gold-seekers paused in their rush to the new ElDorado. Theyhad come like a locust cloud, thousands strong, settlingon the edge of the Smoky Sea, waiting the going of the ice that barredthem from their GoldenFleece--from Nome the new, where men foundfortune in a night.The mossy hills back of the village were ridged with graves of thosewho had died on the out-tripthe fall before, when a plague had grippedthe land--but what of that? Gold glittered in the sands, so said thesurvivors; therefore men came in armies. Glenisterand Dextry had leftNome the autumn previous, the young man raving with fever. Now theyreturned to their own land.\"This air whets every animal instinct in me,\"Glenister broke outagain. \"Away from the cities I turn savage. I feel the old primitivepassions--the fret for fighting.\"\"Mebbe you'll have a chance.\"\"How so?\"\"Well,it's this way. I met Mexico Mullins this mornin'. You mind oldMexico, don't you? The feller that relocated Discovery Claim on AnvilCreek last summer?\"\"You don'tmean that 'tin-horn' the boys were going to lynch forclaim-jumping?\"\"Identical! Remember me tellin' you about a good turn I done him oncedown Guadalupeway?\"\"Greaser shooting-scrape, wasn't it?\"\"Yep! Well, I noticed first off that he's gettin fat; high-livin' fat,too, all in one spot, like he was playin' both ends ag'inthe centre.Also he wore di'mon's fit to handle with ice-tongs.\"Says I, lookin' at his side elevation, 'What's accented your middlesyllable so strong,Mexico?'\"'Prosperity, politics, an' the Waldorf-Astorier,' says he. It seemsMex hadn't forgot old days. He claws me into a corner an' says, 'Bill,I'm goin' to pay youback for that Moralez deal.'\"'It ain't comin' to me,' says I. 'That's a bygone!'\"'Listen here,' says he, an', seein' he was in earnest, I let him runon.\"'How much doyou value that claim o' yourn at?'\"'Hard tellin',' says I. 'If she holds out like she run last fall,there'd ought to be a million clear in her.\"\"'How much'll you clean upthis summer?'\"''Bout four hundred thousand, with luck.'\"'Bill,' says he, 'there's hell a-poppin' an' you've got to watch thatground like you'd watch a rattle-snake.Don't never leave 'em get agrip on it or you're down an' out.'\"He was so plumb in earnest it scared me up, 'cause Mexico ain't agabby man.\"'What do you mean?'says I.\"'I can't tell you nothin' more. I'm puttin' a string on my own neck,sayin' THIS much. You're a square man, Bill, an' I'm a gambler, but yousaved my lifeoncet, an' I wouldn't steer you wrong. For God's sake,don't let 'em jump your ground, that's all.'\"'Let who jump it? Congress has give us judges an' courtsan'marshals--' I begins.\"'That's just it. How you goin' to buck that hand? Them's the bestcards in the deck. There's a man comin' by the name of McNamara.Watchhim clost. I can't tell you no more. But don't never let 'em get a gripon your ground.' That's all he'd say.\"\"Bah! He's crazy! I wish somebody would try tojump the Midas; we'denjoy the exercise.\"The siren of the Santa Maria interrupted, its hoarse warning throbbingup the mountain.\"We'll have to get aboard,\" saidDextry.\"Sh-h! What's that?\" the other whispered.At first the only sound they heard was a stir from the deck of thesteamer. Then from the water below them camethe rattle of rowlocks anda voice cautiously muffled.\"Stop! Stop there!\"A skiff burst from the darkness, grounding on the beach beneath. Afigure scrambled outand up the ladder leading to the wharf.Immediately a second boat, plainly in pursuit of the first one, struckon the beach behind it.As the escaping figure mountedto their level the watchers perceivedwith amazement that it was a young woman. Breath sobbed from her lungs,and, stumbling, she would have fallen but forGlenister, who ranforward and helped her to her feet.\"Don't let them get me,\" she panted.He turned to his partner in puzzled inquiry, but found that the oldmanhad crossed to the head of the landing ladder up which the pursuerswere climbing.\"Just a minute--you there! Back up or I'll kick your face in.\" Dextry'svoicewas sharp and unexpected, and in the darkness he loomed tall andmenacing to those below.\"Get out of the way. That woman's a runaway,\" came from the onehigheston the ladder.\"So I jedge.\"\"She broke qu--\"\"Shut up!\" broke in another. \"Do you want to advertise it? Get out ofthe way, there, ye damn fool! Climb up,Thorsen.\" He spoke like a buckomate, and his words stirred the bile of Dextry.Thorsen grasped the dock floor, trying to climb up, but the old minerstamped on hisfingers and the sailor loosened his hold with a yell,carrying the under men with him to the beach in his fall.\"This way! Follow me!\" shouted the mate, making upthe bank for theshore end of the wharf.\"You'd better pull your freight, miss,\" Dextry remarked; \"they'll behere in a minute.\"\"Yes, yes! Let us go! I must getaboard the Santa Maria. She's leavingnow. Come, come!\"Glenister laughed, as though there were a humorous touch in her remark,but did not stir.\"I'm gettin'awful old an' stiff to run,\" said Dextry, removing hismackinaw, \"but I allow I ain't too old for a little diversion in theway of a rough-house when it comes nosin'around.\" He moved lightly,though the girl could see in the half-darkness that his hair wassilvery.\"What do you mean?\" she questioned, sharply.\"You hurry along,miss; we'll toy with 'em till you're aboard.\" Theystepped across to the dockhouse, backing against it. The girl followed.Again came the warning blast from thesteamer, and the voice of anofficer:\"Clear away that stern line!\"\"Oh, we'll be left!\" she breathed, and somehow it struck Glenister thatshe feared this more thanthe men whose approaching feet he heard.\"YOU can make it all right,\" he urged her, roughly. \"You'll get hurt ifyou stay here. Run along and don't mind us. We'vebeen thirty days onshipboard, and were praying for something to happen.\" His voice wasboyishly glad, as if he exulted in the fray that was to come; and nosoonerhad he spoken than the sailors came out of the darkness uponthem.During the space of a few heart-beats there was only a tangle ofwhirling forms with the soundof fist on flesh, then the blot split upand forms plunged outward, falling heavily. Again the sailors rushed,attempting to clinch. They massed upon Dextry only tograsp empty air,for he shifted with remarkable agility, striking bitterly, as an oldwolf snaps. It was baffling work, however, for in the darkness hisblows fell shortor overreached.Glenister, on the other hand, stood carelessly, beating the men off asthey came to him. He laughed gloatingly, deep in his throat, as thoughtheencounter were merely some rough sport. The girl shuddered, for thedesperate silence of the attacking men terrified her more than a din,and yet she stayed,crouched against the wall.Dextry swung at a dim target, and, missing it, was whirled off hisbalance. Instantly his antagonist grappled with him, and they fell tothefloor, while a third man shuffled about them. The girl throttled ascream.\"I'm goin' to kick 'im, Bill,\" the man panted hoarsely. \"Le' me fix'im.\" He swung his heavyshoe, and Bill cursed with stirring eloquence.\"Ow! You're kickin' me! I've got 'im, safe enough. Tackle the big un.\"Bill's ally then started towards the others, hisbody bent, his armsflexed yet hanging loosely. He crouched beside the girl, ignoring her,while she heard the breath wheezing from his lungs; then silentlyheleaped. Glenister had hurled a man from him, then stepped back to avoidthe others, when he was seized from behind and felt the man's armswrapped abouthis neck, the sailor's legs locked about his thighs. Nowcame the girl's first knowledge of real fighting. The two spun back andforth so closely entwined as to beindistinguishable, the othersholding off. For what seemed many minutes they struggled, the young manstriving to reach his adversary, till they crashed againstthe wallnear her and she heard her champion's breath coughing in his throat atthe tightening grip of the sailor. Fright held her paralyzed, for shehad never seenmen thus. A moment and Glenister would be down beneaththeir stamping feet--they would kick his life out with their heavyshoes. At thought of it, the necessityof action smote her like a blowin the face. Her terror fell away, her shaking muscles stiffened, andbefore realizing what she did she had acted.The seaman's backwas to her. She reached out and gripped him by thehair, while her fingers, tense as talons, sought his eyes. Then thefirst loud sound of the battle arose. The manyelled in sudden terror;and the others as suddenly fell back. The next instant she felt a handupon her shoulder and heard Dextry's voice.\"Are ye hurt? No? Come"}
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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                     CODE OF SILENCE</b><b> </b>                                       Written by                 Michael Butler, DennisShryack, Mike Gray & John Mason                                        Story by                             Michael Butler & DennisShryack<b>                                      SHOOTING DRAFT</b><b>                                           1985</b><b>                </b><b>               EXT. CHICAGO -NIGHT TO DAWN</b>               Thundering north through the glass canyons of the Loop, the                elevated train SCREECHES through the city awakening.As it                races north across the river past ancient factories giving                way to high rise splendor, lights glistening against the                dawn, we seethe complex business of bringing a city to life                in the morning.               On the Near North Side an assortment of revelers are winding                uptheir night on the town.               The pressmen loiter outside the Tribune loading docks, and                fishing boats are outbound through the Chicago Riverlocks.               A streetsweeping crew moves through the Fulton Market,                Chicago's central meat and produce distribution center.               At theMerchandise Mart platform the elevated train picks up                two old cleaning ladies wearing babushkas.<b>               EXT. ALLEY - DAY</b>               Theel train RUMBLES north past the aging tenements of Uptown                into the Belmont Avenue Station.               And down below, a garbage truck is slowlyworking its way up                the alley. A garbage man in city overalls WHISTLES to the                driver and the truck stops. He rolls a can to the"}
+{"doc_id":"doc_177","qid":"","text":"The Project Gutenberg EBook of Lisbeth Longfrock, by Hans AanrudThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Lisbeth LongfrockAuthor: Hans AanrudIllustrator: Othar HolmboeTranslator: Laura E. PoulssonRelease Date: August 18, 2008 [EBook#26348]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LISBETH LONGFROCK ***Produced by Chris Curnow, Joseph Cooper and theOnlineDistributed Proofreading Team at http://www.pgdp.net[Illustration: LISBETH LONGFROCK]LISBETH LONGFROCKTRANSLATED FROM THE NORWEGIAN OFHANS AANRUDBYLAURA E. POULSSONILLUSTRATED BYOTHAR HOLMBOEGINN AND COMPANYBOSTON · NEW YORK · CHICAGO · LONDONATLANTA ·DALLAS · COLUMBUS · SAN FRANCISCOCOPYRIGHT, 1907, BYLAURA E. POULSSONALL RIGHTS RESERVEDPRINTED IN THE UNITED STATES OF AMERICATheAthenæum PressGINN AND COMPANY · PROPRIETORS ·BOSTON · U.S.A.PREFACEHans Aanrud's short stories are considered by his own countrymenasbelonging to the most original and artistically finished life picturesthat have been produced by the younger _literati_ of Norway. Theyare generally concernedwith peasant character, and present in truebalance the coarse and fine in peasant nature. The style of speech isoccasionally over-concrete for sophisticated ears,but it is notunwholesome. Of weak or cloying sweetness--so abhorrent to Norwegiantaste--there is never a trace._Sidsel Sidsærk_ was dedicated to the author'sdaughter on her eighthbirthday, and is doubtless largely reminiscent of Aanrud's ownchildhood. If I have been able to give a rendering at all worthy of theoriginal,readers of _Lisbeth Longfrock_ will find that the whole storybreathes a spirit of unaffected poetry not inconsistent with the commonlife which it depicts. This fineblending of the poetic and commonplaceis another characteristic of Aanrud's writings.While translating the book I was living in the region where the scenesof thestory are laid, and had the benefit of local knowledgeconcerning terms used, customs referred to, etc. No pains were sparedin verifying particulars, especiallythrough elderly people on thefarms, who could best explain the old-fashioned terms and who had aclear remembrance of obsolescent details of sæter life. Forthiswelcome help and for elucidations through other friends I wish here tooffer my hearty thanks.Being desirous of having the conditions of Norwegian farm lifemade asclear as possible to young English and American readers, I felt thatseveral illustrations were necessary and that it would be well forthese to be the workof a Norwegian. To understand how the sun can bealready high in the heavens when it rises, and how, when it sets, theshadow of the western mountain cancreep as quickly as it does from thebottom of the valley up the opposite slope, one must have someconception of the narrowness of Norwegian valleys, with steepmountainridges on either side. I felt also that readers would be interested inpictures showing how the dooryard of a well-to-do Norwegian farm looks,how theopen fireplace of the roomy kitchen differs from ourfireplaces, how tall and slender a Norwegian stove is, built withalternating spaces and heat boxes, severalstories high, and howCrookhorn and the billy goat appeared when about to begin their grandtussle up at Hoel Sæter._Sidsel Sidsærk_ has given much pleasureto old and young. I hope that_Lisbeth Longfrock_ may have the same good fortune.LAURA E. POULSSONHOPKINTON,MASSACHUSETTSCONTENTSCHAPTER                                                  PAGE   I. LISBETH LONGFROCK GOES TO HOEL FARM                   1  II. LISBETHLONGFROCK AS SPINNING WOMAN                  12 III. LEAVING PEEROUT CASTLE                               22  IV. SPRING: LETTING THE ANIMALS OUT TOPASTURE           33   V. SUMMER: TAKING THE ANIMALS UP TO THE SÃ\u0000TER           52  VI. THE TAMING OF CROOKHORN                              68 VII. HOMEFROM THE SÃ\u0000TER                                  84VIII. ON GLORY PEAK                                        98  IX. THE VISIT TO PEEROUT CASTLE                         113   X.SUNDAY AT THE SÃ\u0000TER                                 129  XI. LISBETH APPOINTED HEAD MILKMAID                     139LIST OF ILLUSTRATIONSLISBETHLONGFROCK                               _Frontispiece_                                                         PAGEHOEL FARM                                                   4THE BIG KITCHENAT HOEL FARM                               12LISBETH'S ROOM UNDER THE STAIRS                            34THE VALLEY AND THE FARMS                                   52UP ATTHE SÃ\u0000TER                                            68LISBETH LONGFROCKCHAPTER ILISBETH LONGFROCK GOES TO HOEL FARMBearhunter, the big, shaggy old dog atHoel Farm, sat on the stone stepin front of the house, looking soberly around the spacious dooryard.It was a clear, cold winter's day toward the beginning ofspring, andthe sun shone brightly over the glittering snow. In spite of the brightsunshine, however, Bearhunter would have liked to be indoors muchbetter thanout, if his sense of responsibility had permitted; for hispaws ached with the cold, and he had to keep holding them up one afteranother from the stone slab tokeep from getting the \"claw ache.\"Bearhunter did not wish to risk that, because \"claw ache\" is verypainful, as every northern dog knows.But to leave his post aswatchman was not to be thought of just now,for the pigs and the goats were out to-day. At this moment they werebusy with their separate affairs and behavingvery well,--the pigs overon the sunny side of the dooryard scratching themselves against thecorner of the cow house, and the goats gnawing bark from the bigheapof pine branches that had been laid near the sheep barn for theirspecial use. They looked as if they thought of nothing but theirscratching and gnawing; butBearhunter knew well, from previousexperience, that no sooner would he go into the house than both pigsand goats would come rushing over to the doorway anddo all themischief they could. That big goat, Crookhorn,--the new one who hadcome to the farm last autumn and whom Bearhunter had not yet broughtunderdiscipline,--had already strayed in a roundabout way to the verycorner of the farmhouse, and was looking at Bearhunter in aself-important manner, as if she didnot fear him in the least. She wasreally an intolerable creature, that goat Crookhorn! But just let herdare--!Bearhunter felt that he must sit on the cold doorstepfor some timelonger, at any rate. He glanced up the road occasionally as if to seewhether any one was coming, so that the pigs and goats might not thinktheyhad the whole of his attention.He had just turned his head leisurely toward the narrow road that camedown crosswise over the slope from the Upper Farms,when--what in theworld was that!Something _was_ coming,--a funny little roly-poly something. What apity, thought Bearhunter, that his sight was growing sopoor! At anyrate, he had better give the people in the house warning.So he gave several deep, echoing barks. The goats sprang together in aclump and raisedtheir ears; the pigs stopped in the very midst oftheir scratching to listen. That Bearhunter was held in great respectcould easily be seen.He still remained sittingon the doorstep, staring up the road. Neverin his life had he seen such a thing as that now approaching. Perhaps,after all, it was nothing worth giving warningabout. He would take aturn up the road and look at it a little nearer. So, arching his bushytail into a handsome curve and putting on his mostgood-humoredexpression, he sauntered off.Yes, it must be a human being, although you would not think so. Itbegan to look very much like \"Katrine the Finn,\" asthey called her,who came to the farm every winter; but it could not be Katrine--it wasaltogether too little. It wore a long, wide skirt, and from under theskirtprotruded the tips of two big shoes covered with gray woolenstocking feet from which the legs had been cut off. Above the skirtthere was a round bundle ofclothes with a knitted shawl tied aroundit, and from this protruded two stumps with red mittens on. Perched onthe top of all was a smaller shape, muffled up in asmaller knittedshawl,--that, of course, must be the head. Carried at the back was ahuge bundle tied up in a dark cloth, and in front hung a pretty woodenpail,painted red.Really, Bearhunter had to stand still and gaze. The strange figure, inthe meantime, had become aware of him, and it also came to astandstill, as if ina dilemma. At that, Bearhunter walked over to thefarther side of the road and took his station there, trying to lookindifferent, for he did not wish to cause anyfright. The strangefigure then made its way carefully forward again, drawing graduallycloser and closer to its own side of the road. As it came nearer toBearhunterthe figure turned itself around by degrees, until, whendirectly opposite to him, it walked along quite sidewise.Then it was that Bearhunter got a peep through alittle opening in theupper shawl; and there he saw the tip of a tiny, turned-up red nose,then a red mouth that was drawn down a little at the corners as ifready forcrying, and then a pair of big blue eyes that were fastenedupon him with a look of terror.[Illustration: HOEL FARM]Pooh! it was nothing, after all, but a little girl,well bundled upagainst the cold. Bearhunter did not know her--but wait a bit! hethought he had seen that pail before. At any rate it would be absurd totry tofrighten this queer little creature.His tail began to wag involuntarily as he walked across the road totake a sniff at the pail.The little girl did not understand hisaction at once. Stepping back inalarm, she caught her heels in her long frock and down she tumbled bythe side of the road. Bearhunter darted off instantly; butafterrunning a short distance toward the house he stopped and looked at heragain, making his eyes as gentle as he could and wagging his tailenergetically. WithBearhunter that wagging of the tail meant hearty,good-natured laughter.Then the little girl understood. She got up, smiled, and jogged slowlyafter him.Bearhunter trotted leisurely ahead, looking back at her fromtime to time. He knew now that she had an errand at Hoel Farm, and thathe was therefore in dutybound to help her.Thus it was that Lisbeth Longfrock of Peerout Castle made her entranceinto Hoel Farm.                     *      *      *      *      *Peerout Castle wasperched high above the Upper Farms, on a crag thatjutted out from a barren ridge just under a mountain peak called \"TheBig Hammer.\" The real name of thelittle farm was New Ridge,[1] and\"Peerout Castle\" was only a nickname given to it by a joker becausethere was so fine an outlook from it and because it bore noresemblancewhatever to a castle. The royal lands belonging to this castleconsisted of a little plot of cultivated soil, a bit of meadow landhere and there, and someheather patches where tiny blueberry bushesand small mountain-cranberry plants grew luxuriantly. The castle'soutbuildings were a shabby cow house and apigsty. The cow house wasbuilt against the steep hillside, with three walls of loosely builtstone, and its two stalls were dug half their length into the hill. Thetiny"}
+{"doc_id":"doc_178","qid":"","text":"<html><head><title>Easy A Script at IMSDb.</title><meta name=\"description\" content=\"Easy A script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Easy A script, Easy A movie script, Easy A film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                   EASY \"A\"</b>                                                           Writtenby                                                          Bert V.Royal                                                                                                    <b>                                                      FIRSTDRAFT</b>                                                   August 3, 2008                            <b>                         IN DARKNESS:</b>                         <b>           OLIVE(V.O.)</b>           The rumors of my promiscuity have           been greatly exaggerated.                         <b>                          FADEIN:</b>                                                  <b>          INT. OLIVE'S BEDROOM - PRESENT DAY</b>                                   OLIVE PENDERGHAST (17), a cuteteenager, speaks directly into          the WEBCAM atop her computer.                         <b>                          OLIVE</b>           Let the record show that I,Olive           Penderghast, being of sound mind,           ample breast size and the           occasional corny knock knock joke,           do enter this video bloginto           evidence in the case against me.           Because I'm being judged by a jury           of my peers, I will attempt to           insert `like' and `totally' intomy           confession as much as possible. So           here it goes... I confess I'm, in           no small part, to blame for the           vociferous gossip that hasturned           my Varsity letter scarlet, but -           for anyone hoping that the sizzling           details of my sordid past will           provide you with a reason to"}
+{"doc_id":"doc_179","qid":"","text":"<html><head><title>O Brother Where Art Thou? Script at IMSDb.</title><meta name=\"description\" content=\"O Brother Where Art Thou? script at the InternetMovie Script Database.\"><meta name=\"keywords\" content=\"O Brother Where Art Thou? script, O Brother Where Art Thou? movie script, O Brother Where ArtThou? film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>\"O BROTHER,WHERE ART THOU\"</title></head><pre><b> \"O BROTHER, WHERE ART THOU\"</b>   By    Ethan Coen and Joel Coen<b> BLACK</b> In black, we hear achain-gang chant, many voices together, spaced around the unison strike of picks against rock. A title burns in: O muse! Sing in me, and through me tell thestory Of that man skilled in all the ways of contending... A wanderer, harried for years on end... On the sound of an impact we cut to:<b> A PICK</b> splitting arock. As the chant continues, wider angles show the chain-gang at work. They are black men in bleached and faded stripes, chained together, working under abrutal midday sun. It is flat delta countryside; the straight-ruled road stretches to infinity. Mounted guards with shotguns lazily patrol the line. The chain-gangchant is regular and, it seems, timeless. We slowly fade out, returning to<b> BLACK</b> The last of the voices fades. After a long beat we hear the guitarintroduction to Harry McClintock's 'The Big Rock Candy Mountain.'<b> A WHEAT FIELD</b> A road cuts across the middle background. Noonday sun beats down.We hear the distant picks and shovels of men at work and see, rising above ground level, the occasional upraised pick and spade heaving dirt. Men are digging aditch alongside the road. After a long beat, three men pop up in the wheat field in the middle foreground. They wear faded stripes and grey duck- billed caps."}
+{"doc_id":"doc_180","qid":"","text":"<html><head><title>Color of Night Script at IMSDb.</title><meta name=\"description\" content=\"Color of Night script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Color of Night script, Color of Night movie script, Color of Night film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                    COLOR OF NIGHT</b>                                                               Written by                              Billy Ray &Matthew Chapman                         <b>                         CREDITS</b>                                   Credits start on a black screen, then they continue duringthe          whole scene at Michelle's place, and they end at the beginning of          the scene at Bill Capa's office.                         <b>          MICHELLE'S PLACE -INTERIOR DAY</b>                                   Close-up on a silver lipstick stand made into a bad taste musical          box. We see Michelle's hand selecting alipstick then we see          Michelle putting the lipstick on her lips, seated in front of the          mirror of her dressing table. She is dressed in a green frock,and          her face shows that she is quite disturbed.           Her apartment's decoration is very heavy, with a lot of various          useless objects and gold-platedfurniture and many mirrors.           She looks for a new dress in her wardrobe, and get mad at not          finding it. She then goes to a sofa covered with cushions,which          she throws all around the place, still madder at not finding her          dress. A cat, who was lying on the armrest of the sofa, runsaway          hurriedly from the mad Michelle.                         <b>                          MICHELLE</b>           God !...... No !......                                   Michelle isback in front of the mirror of her dressing-table. She          takes the lipstick and put a lot of it on her lips, then on her          teeth, then all around her mouth.She makes faces to herself in          the mirror. She seems more and more disturbed.           She takes a chrome-plated revolver in her drawer, starts to"}
+{"doc_id":"doc_181","qid":"","text":"Project Gutenberg's The House on the Borderland, by William Hope HodgsonThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The House on the BorderlandAuthor: William Hope HodgsonRelease Date: November 10, 2003 [EBook #10002]Last updated: January19, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE HOUSE ON THE BORDERLAND ***Produced by Suzanne Shell, Sjaani and PGDistributed ProofreadersTHE HOUSE ON THE BORDERLANDWilliam Hope Hodgson_From the Manuscript discovered in 1877 by Messrs. Tonnison andBerreggnog inthe Ruins that lie to the South of the Village ofKraighten, in the West of Ireland. Set out here, with Notes_.TO MY FATHER_(Whose feet tread the lostaeons)_Open the door,  And listen!Only the wind's muffled roar,  And the glistenOf tears 'round the moon.  And, in fancy, the treadOf vanishing shoon--  Out inthe night with the Dead.\"Hush! And hark  To the sorrowful cryOf the wind in the dark.  Hush and hark, without murmur or sigh,    To shoon that tread the lostaeons:  To the sound that bids you to die.Hush and hark! Hush and Hark!\"                               _Shoon of the Dead_AUTHOR'S INTRODUCTION TO THEMANUSCRIPTMany are the hours in which I have pondered upon the story that is setforth in the following pages. I trust that my instincts are not awrywhen theyprompt me to leave the account, in simplicity, as it washanded to me.And the MS. itself--You must picture me, when first it was given into mycare, turning itover, curiously, and making a swift, jerky examination.A small book it is; but thick, and all, save the last few pages, filledwith a quaint but legible handwriting,and writ very close. I have thequeer, faint, pit-water smell of it in my nostrils now as I write, andmy fingers have subconscious memories of the soft, \"cloggy\" feelof thelong-damp pages.I read, and, in reading, lifted the Curtains of the Impossible thatblind the mind, and looked out into the unknown. Amid stiff,abruptsentences I wandered; and, presently, I had no fault to charge againsttheir abrupt tellings; for, better far than my own ambitious phrasing,is this mutilatedstory capable of bringing home all that the oldRecluse, of the vanished house, had striven to tell.Of the simple, stiffly given account of weird and extraordinarymatters,I will say little. It lies before you. The inner story must be uncovered,personally, by each reader, according to ability and desire. And evenshould any failto see, as now I see, the shadowed picture and conceptionof that to which one may well give the accepted titles of Heaven and Hell;yet can I promise certainthrills, merely taking the story as a story.WILLIAM HOPE HODGSON December 17, 1907_I_THE FINDING OF THE MANUSCRIPTRight away in the west of Irelandlies a tiny hamlet called Kraighten.It is situated, alone, at the base of a low hill. Far around therespreads a waste of bleak and totally inhospitable country; where,hereand there at great intervals, one may come upon the ruins of some longdesolate cottage--unthatched and stark. The whole land is bare andunpeopled, thevery earth scarcely covering the rock that lies beneathit, and with which the country abounds, in places rising out of the soilin wave-shaped ridges.Yet, in spite ofits desolation, my friend Tonnison and I had elected tospend our vacation there. He had stumbled on the place by mere chancethe year previously, during thecourse of a long walking tour, anddiscovered the possibilities for the angler in a small and unnamed riverthat runs past the outskirts of the little village.I have saidthat the river is without name; I may add that no map that Ihave hitherto consulted has shown either village or stream. They seemto have entirely escapedobservation: indeed, they might never exist forall that the average guide tells one. Possibly this can be partlyaccounted for by the fact that the nearest railwaystation (Ardrahan) issome forty miles distant.It was early one warm evening when my friend and I arrived in Kraighten.We had reached Ardrahan the previousnight, sleeping there in roomshired at the village post office, and leaving in good time on thefollowing morning, clinging insecurely to one of the typicaljauntingcars.It had taken us all day to accomplish our journey over some of theroughest tracks imaginable, with the result that we were thoroughlytired and somewhatbad tempered. However, the tent had to be erected andour goods stowed away before we could think of food or rest. And so weset to work, with the aid of ourdriver, and soon had the tent up upon asmall patch of ground just outside the little village, and quite near tothe river.Then, having stored all our belongings, wedismissed the driver, as hehad to make his way back as speedily as possible, and told him to comeacross to us at the end of a fortnight. We had broughtsufficientprovisions to last us for that space of time, and water we could getfrom the stream. Fuel we did not need, as we had included a smalloil-stove among ouroutfit, and the weather was fine and warm.It was Tonnison's idea to camp out instead of getting lodgings in one ofthe cottages. As he put it, there was no joke insleeping in a room witha numerous family of healthy Irish in one corner and the pigsty in theother, while overhead a ragged colony of roosting fowlsdistributedtheir blessings impartially, and the whole place so full of peat smokethat it made a fellow sneeze his head off just to put it insidethe doorway.Tonnisonhad got the stove lit now and was busy cutting slices of baconinto the frying pan; so I took the kettle and walked down to the riverfor water. On the way, I had topass close to a little group of thevillage people, who eyed me curiously, but not in any unfriendly manner,though none of them ventured a word.As I returned withmy kettle filled, I went up to them and, after afriendly nod, to which they replied in like manner, I asked themcasually about the fishing; but, instead ofanswering, they just shooktheir heads silently, and stared at me. I repeated the question,addressing more particularly a great, gaunt fellow at my elbow;yetagain I received no answer. Then the man turned to a comrade and saidsomething rapidly in a language that I did not understand; and, at once,the wholecrowd of them fell to jabbering in what, after a few moments,I guessed to be pure Irish. At the same time they cast many glances inmy direction. For a minute,perhaps, they spoke among themselves thus;then the man I had addressed faced 'round at me and said something. Bythe expression of his face I guessed thathe, in turn, was questioningme; but now I had to shake my head, and indicate that I did notcomprehend what it was they wanted to know; and so we stoodlooking atone another, until I heard Tonnison calling to me to hurry up with thekettle. Then, with a smile and a nod, I left them, and all in the littlecrowd smiledand nodded in return, though their faces still betrayedtheir puzzlement.It was evident, I reflected as I went toward the tent, that theinhabitants of these few hutsin the wilderness did not know a word ofEnglish; and when I told Tonnison, he remarked that he was aware of thefact, and, more, that it was not at all uncommonin that part of thecountry, where the people often lived and died in their isolated hamletswithout ever coming in contact with the outside world.\"I wish we had gotthe driver to interpret for us before he left,\" Iremarked, as we sat down to our meal. \"It seems so strange for thepeople of this place not even to know what we'vecome for.\"Tonnison grunted an assent, and thereafter was silent for a while.Later, having satisfied our appetites somewhat, we began to talk, layingour plans forthe morrow; then, after a smoke, we closed the flap of thetent, and prepared to turn in.\"I suppose there's no chance of those fellows outside taking anything?\"Iasked, as we rolled ourselves in our blankets.Tonnison said that he did not think so, at least while we were about;and, as he went on to explain, we could lock upeverything, except thetent, in the big chest that we had brought to hold our provisions. Iagreed to this, and soon we were both asleep.Next morning, early, werose and went for a swim in the river; afterwhich we dressed and had breakfast. Then we roused out our fishingtackle and overhauled it, by which time, ourbreakfasts having settledsomewhat, we made all secure within the tent and strode off in thedirection my friend had explored on his previous visit.During the daywe fished happily, working steadily upstream, and byevening we had one of the prettiest creels of fish that I had seen for along while. Returning to the village, wemade a good feed off our day'sspoil, after which, having selected a few of the finer fish for ourbreakfast, we presented the remainder to the group of villagers whohadassembled at a respectful distance to watch our doings. They seemedwonderfully grateful, and heaped mountains of what I presumed to beIrish blessingsupon our heads.Thus we spent several days, having splendid sport, and first-rateappetites to do justice upon our prey. We were pleased to find howfriendly thevillagers were inclined to be, and that there was noevidence of their having ventured to meddle with our belongings duringour absences.It was on a Tuesday thatwe arrived in Kraighten, and it would be on theSunday following that we made a great discovery. Hitherto we had alwaysgone up-stream; on that day, however,we laid aside our rods, and,taking some provisions, set off for a long ramble in the oppositedirection. The day was warm, and we trudged along leisurelyenough,stopping about mid-day to eat our lunch upon a great flat rock near theriverbank. Afterward we sat and smoked awhile, resuming our walk onlywhen wewere tired of inaction.For perhaps another hour we wandered onward, chatting quietly andcomfortably on this and that matter, and on several occasionsstoppingwhile my companion--who is something of an artist--made rough sketchesof striking bits of the wild scenery.And then, without any warning whatsoever,the river we had followed soconfidently, came to an abrupt end--vanishing into the earth.\"Good Lord!\" I said, \"who ever would have thought of this?\"And I staredin amazement; then I turned to Tonnison. He was looking,with a blank expression upon his face, at the place where the riverdisappeared.In a moment hespoke.\"Let us go on a bit; it may reappear again--anyhow, it is worthinvestigating.\"I agreed, and we went forward once more, though rather aimlessly; forwewere not at all certain in which direction to prosecute our search. Forperhaps a mile we moved onward; then Tonnison, who had been gazing aboutcuriously,stopped and shaded his eyes.\"See!\" he said, after a moment, \"isn't that mist or something, overthere to the right--away in a line with that great piece of rock?\"Andhe indicated with his hand.I stared, and, after a minute, seemed to see something, but could not becertain, and said so.\"Anyway,\" my friend replied, \"we'lljust go across and have a glance.\"And he started off in the direction he had suggested, I following.Presently, we came among bushes, and, after a time, out uponthe top ofa high, boulder-strewn bank, from which we looked down into a wildernessof bushes and trees.\"Seems as though we had come upon an oasis in this"}
+{"doc_id":"doc_182","qid":"","text":"The Project Gutenberg EBook of The Hour of the Dragon, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Hour of the DragonAuthor: Robert E. HowardRelease Date: March 2, 2013 [EBook #42243]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE HOUR OF THE DRAGON ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                  THE HOUR OF THE DRAGON                   By Robert E. Howard    [Transcriber's Note: This etext was first published in WeirdTales    December 1935, January, February, March and April 1936. Extensive    research did not uncover any evidence that the U.S. copyright on    thispublication was renewed.]1O Sleeper, Awake!The long tapers flickered, sending the black shadows wavering along thewalls, and the velvet tapestries rippled. Yetthere was no wind in thechamber. Four men stood about the ebony table on which lay the greensarcophagus that gleamed like carven jade. In the upraised righthand ofeach man a curious black candle burned with a weird greenish light.Outside was night and a lost wind moaning among the black trees.Inside the chamberwas tense silence, and the wavering of the shadows,while four pairs of eyes, burning with intensity, were fixed on the longgreen case across which cryptichieroglyphics writhed, as if lent lifeand movement by the unsteady light. The man at the foot of thesarcophagus leaned over it and moved his candle as if he werewritingwith a pen, inscribing a mystic symbol in the air. Then he set down thecandle in its black gold stick at the foot of the case, and, mumblingsome formulaunintelligible to his companions, he thrust a broad whitehand into his fur-trimmed robe. When he brought it forth again it was asif he cupped in his palm a ball ofliving fire.The other three drew in their breath sharply, and the dark, powerful manwho stood at the head of the sarcophagus whispered: 'The Heart ofAhriman!'The other lifted a quick hand for silence. Somewhere a dogbegan howling dolefully, and a stealthy step padded outside the barredand bolted door. But nonelooked aside from the mummy-case over whichthe man in the ermine-trimmed robe was now moving the great flamingjewel while he muttered an incantationthat was old when Atlantis sank.The glare of the gem dazzled their eyes, so that they could not be sureof what they saw; but with a splintering crash, the carvenlid of thesarcophagus burst outward as if from some irresistible pressure appliedfrom within, and the four men, bending eagerly forward, saw theoccupant--ahuddled, withered, wizened shape, with dried brown limbslike dead wood showing through moldering bandages.'Bring that thing _back_?' muttered the small darkman who stood on theright, with a short sardonic laugh. 'It is ready to crumble at a touch.We are fools--''Shhh!' It was an urgent hiss of command from the largeman who held thejewel. Perspiration stood upon his broad white forehead and his eyeswere dilated. He leaned forward, and, without touching the thing withhishand, laid on the breast of the mummy the blazing jewel. Then hedrew back and watched with fierce intensity, his lips moving insoundless invocation.It was as ifa globe of living fire flickered and burned on the dead,withered bosom. And breath sucked in, hissing, through the clenchedteeth of the watchers. For as theywatched, an awful transmutationbecame apparent. The withered shape in the sarcophagus was expanding,was growing, lengthening. The bandages burst and fellinto brown dust.The shriveled limbs swelled, straightened. Their dusky hue began tofade.'By Mitra!' whispered the tall, yellow-haired man on the left. 'Hewas_not_ a Stygian. That part at least was true.'Again a trembling finger warned for silence. The hound outside was nolonger howling. He whimpered, as with anevil dream, and then thatsound, too, died away in silence, in which the yellow-haired man plainlyheard the straining of the heavy door, as if something outsidepushedpowerfully upon it. He half turned, his hand at his sword, but the manin the ermine robe hissed an urgent warning: 'Stay! Do not break thechain! And onyour life do not go to the door!'The yellow-haired man shrugged and turned back, and then he stoppedshort, staring. In the jade sarcophagus lay a living man: atall, lustyman, naked, white of skin, and dark of hair and beard. He laymotionless, his eyes wide open, and blank and unknowing as a newbornbabe's. On hisbreast the great jewel smoldered and sparkled.The man in ermine reeled as if from some let-down of extreme tension.'Ishtar!' he gasped. 'It is Xaltotun!--_andhe lives!_ Valerius!Tarascus! Amalric! Do you see? Do you see? You doubted me--but I havenot failed! We have been close to the open gates of hell this night,andthe shapes of darkness have gathered close about us--aye, they followed_him_ to the very door--but we have brought the great magician back tolife.''Anddamned our souls to purgatories everlasting, I doubt not,' mutteredthe small, dark man, Tarascus.The yellow-haired man, Valerius, laughed harshly.'Whatpurgatory can be worse than life itself? So we are all damnedtogether from birth. Besides, who would not sell his miserable soul fora throne?''There is nointelligence in his stare, Orastes,' said the large man.'He has long been dead,' answered Orastes. 'He is as one newly awakened.His mind is empty after the longsleep--nay, he was _dead_, notsleeping. We brought his spirit back over the voids and gulfs of nightand oblivion. I will speak to him.'He bent over the foot of thesarcophagus, and fixing his gaze on thewide dark eyes of the man within, he said, slowly: 'Awake, Xaltotun!'The lips of the man moved mechanically. 'Xaltotun!'he repeated in agroping whisper.'_You_ are Xaltotun!' exclaimed Orastes, like a hypnotist driving homehis suggestions. 'You are Xaltotun of Python, in Acheron.'Adim flame flickered in the dark eyes.'I was Xaltotun,' he whispered. 'I am dead.''You _are_ Xaltotun!' cried Orastes. 'You are not dead! You live!''I am Xaltotun,'came the eery whisper. 'But I am dead. In my house inKhemi, in Stygia, there I died.''And the priests who poisoned you mummified your body with theirdarkarts, keeping all your organs intact!' exclaimed Orastes. 'But now youlive again! The Heart of Ahriman has restored your life, drawn yourspirit back fromspace and eternity.''The Heart of Ahriman!' The flame of remembrance grew stronger. 'Thebarbarians stole it from me!''He remembers,' muttered Orastes. 'Lifthim from the case.'The others obeyed hesitantly, as if reluctant to touch the man they hadrecreated, and they seemed not easier in their minds when they feltfirmmuscular flesh, vibrant with blood and life, beneath their fingers. Butthey lifted him upon the table, and Orastes clothed him in a curiousdark velvet robe,splashed with gold stars and crescent moons, andfastened a cloth-of-gold fillet about his temples, confining the blackwavy locks that fell to his shoulders. He letthem do as they would,saying nothing, not even when they set him in a carven throne-like chairwith a high ebony back and wide silver arms, and feet like goldenclaws.He sat there motionless, and slowly intelligence grew in his dark eyesand made them deep and strange and luminous. It was as if long-sunkenwitchlightsfloated slowly up through midnight pools of darkness.Orastes cast a furtive glance at his companions, who stood staring inmorbid fascination at their strangeguest. Their iron nerves hadwithstood an ordeal that might have driven weaker men mad. He knew itwas with no weaklings that he conspired, but men whosecourage was asprofound as their lawless ambitions and capacity for evil. He turned hisattention to the figure in the ebon-black chair. And this one spoke atlast.'Iremember,' he said in a strong, resonant voice, speaking Nemedianwith a curious, archaic accent. 'I am Xaltotun, who was high priest ofSet in Python, which wasin Acheron. The Heart of Ahriman--I dreamed Ihad found it again--where is it?'Orastes placed it in his hand, and he drew breath deeply as he gazedinto thedepths of the terrible jewel burning in his grasp.'They stole it from me, long ago,' he said. 'The red heart of the nightit is, strong to save or to damn. It came fromafar, and from long ago.While I held it, none could stand before me. But it was stolen from me,and Acheron fell, and I fled in exile into dark Stygia. Much Iremember,but much I have forgotten. I have been in a far land, across misty voidsand gulfs and unlit oceans. What is the year?'Orastes answered him. 'It is thewaning of the Year of the Lion, threethousand years after the fall of Acheron.''Three thousand years!' murmured the other. 'So long? Who are you?''I am Orastes,once a priest of Mitra. This man is Amalric, baron ofTor, in Nemedia; this other is Tarascus, younger brother of the king ofNemedia; and this tall man is Valerius,rightful heir of the throne ofAquilonia.''Why have you given me life?' demanded Xaltotun. 'What do you require ofme?'The man was now fully alive and awake, hiskeen eyes reflecting theworking of an unclouded brain. There was no hesitation or uncertainty inhis manner. He came directly to the point, as one who knows thatno mangives something for nothing. Orastes met him with equal candor.'We have opened the doors of hell this night to free your soul andreturn it to your bodybecause we need your aid. We wish to placeTarascus on the throne of Nemedia, and to win for Valerius the crown ofAquilonia. With your necromancy you can aidus.'Xaltotun's mind was devious and full of unexpected slants.'You must be deep in the arts yourself, Orastes, to have been able torestore my life. How is it that apriest of Mitra knows of the Heart ofAhriman, and the incantations of Skelos?''I am no longer a priest of Mitra,' answered Orastes. 'I was cast forthfrom my orderbecause of my delving in black magic. But for Amalricthere I might have been burned as a magician.'But that left me free to pursue my studies. I journeyed inZamora, inVendhya, in Stygia, and among the haunted jungles of Khitai. I read theiron-bound books of Skelos, and talked with unseen creatures in deepwells,and faceless shapes in black reeking jungles. I obtained aglimpse of your sarcophagus in the demon-haunted crypts below the blackgiant-walled temple of Set inthe hinterlands of Stygia, and I learnedof the arts that would bring back life to your shriveled corpse. Frommoldering manuscripts I learned of the Heart ofAhriman. Then for a yearI sought its hiding-place, and at last I found it.''Then why trouble to bring me back to life?' demanded Xaltotun, with hispiercing gazefixed on the priest. 'Why did you not employ the Heart tofurther your own power?''Because no man today knows the secrets of the Heart,' answered Orastes.'Noteven in legends live the arts by which to loose its full powers. Iknew it could restore life; of its deeper secrets I am ignorant. Imerely used it to bring you back tolife. It is the use of yourknowledge we seek. As for the Heart, you alone know its awful secrets.'Xaltotun shook his head, staring broodingly into the flamingdepths.'My necromantic knowledge is greater than the sum of all the knowledgeof other men,' he said; 'yet I do not know the full power of the jewel.I did not"}
+{"doc_id":"doc_183","qid":"","text":"The Project Gutenberg EBook of The Adventure of the Dying Detective, by Arthur Conan DoyleThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.netTitle: The Adventure of the Dying DetectiveAuthor: Arthur Conan DoylePosting Date: October 23, 2008 [EBook #2347]Release Date:October, 2000[Last updated: May 3, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ADVENTURE OF DYING DETECTIVE ***Producedby David Brannan.  HTML version by Al Haines.The Adventure of the Dying DetectiveBySir Arthur Conan DoyleMrs. Hudson, the landlady of Sherlock Holmes, wasa long-sufferingwoman.  Not only was her first-floor flat invaded at all hours bythrongs of singular and often undesirable characters but her remarkablelodgershowed an eccentricity and irregularity in his life which musthave sorely tried her patience. His incredible untidiness, hisaddiction to music at strange hours, hisoccasional revolver practicewithin doors, his weird and often malodorous scientific experiments,and the atmosphere of violence and danger which hung aroundhim madehim the very worst tenant in London.  On the other hand, his paymentswere princely. I have no doubt that the house might have been purchasedat theprice which Holmes paid for his rooms during the years that Iwas with him.The landlady stood in the deepest awe of him and never dared tointerfere with him,however outrageous his proceedings might seem.  Shewas fond of him, too, for he had a remarkable gentleness and courtesyin his dealings with women.  Hedisliked and distrusted the sex, but hewas always a chivalrous opponent. Knowing how genuine was her regardfor him, I listened earnestly to her story when shecame to my rooms inthe second year of my married life and told me of the sad condition towhich my poor friend was reduced.\"He's dying, Dr. Watson,\" saidshe.  \"For three days he has beensinking, and I doubt if he will last the day.  He would not let me geta doctor.  This morning when I saw his bones sticking out ofhis faceand his great bright eyes looking at me I could stand no more of it.'With your leave or without it, Mr. Holmes, I am going for a doctorthis very hour,' saidI.  'Let it be Watson, then,' said he.  Iwouldn't waste an hour in coming to him, sir, or you may not see himalive.\"I was horrified for I had heard nothing of hisillness.  I need not saythat I rushed for my coat and my hat.  As we drove back I asked for thedetails.\"There is little I can tell you, sir.  He has been working at acasedown at Rotherhithe, in an alley near the river, and he has broughtthis illness back with him.  He took to his bed on Wednesday afternoonand has nevermoved since.  For these three days neither food nor drinkhas passed his lips.\"\"Good God!  Why did you not call in a doctor?\"\"He wouldn't have it, sir.  You knowhow masterful he is.  I didn'tdare to disobey him.  But he's not long for this world, as you'll seefor yourself the moment that you set eyes on him.\"He was indeeda deplorable spectacle.  In the dim light of a foggyNovember day the sick room was a gloomy spot, but it was that gaunt,wasted face staring at me from the bedwhich sent a chill to my heart.His eyes had the brightness of fever, there was a hectic flush uponeither cheek, and dark crusts clung to his lips; the thin handsuponthe coverlet twitched incessantly, his voice was croaking andspasmodic.  He lay listlessly as I entered the room, but the sight ofme brought a gleam ofrecognition to his eyes.\"Well, Watson, we seem to have fallen upon evil days,\" said he in afeeble voice, but with something of his old carelessness of manner.\"Mydear fellow!\" I cried, approaching him.\"Stand back!  Stand right back!\" said he with the sharp imperiousnesswhich I had associated only with moments of crisis.\"If you approachme, Watson, I shall order you out of the house.\"\"But why?\"\"Because it is my desire.  Is that not enough?\"Yes, Mrs. Hudson was right.  He wasmore masterful than ever.  It waspitiful, however, to see his exhaustion.\"I only wished to help,\" I explained.\"Exactly!  You will help best by doing what you aretold.\"\"Certainly, Holmes.\"He relaxed the austerity of his manner.\"You are not angry?\" he asked, gasping for breath.Poor devil, how could I be angry when I sawhim lying in such a plightbefore me?\"It's for your own sake, Watson,\" he croaked.\"For MY sake?\"\"I know what is the matter with me.  It is a coolie diseasefromSumatra--a thing that the Dutch know more about than we, though theyhave made little of it up to date.  One thing only is certain.  It isinfallibly deadly, andit is horribly contagious.\"He spoke now with a feverish energy, the long hands twitching andjerking as he motioned me away.\"Contagious by touch,Watson--that's it, by touch.  Keep your distanceand all is well.\"\"Good heavens, Holmes!  Do you suppose that such a consideration weighswith me of aninstant?  It would not affect me in the case of astranger.  Do you imagine it would prevent me from doing my duty to soold a friend?\"Again I advanced, but herepulsed me with a look of furious anger.\"If you will stand there I will talk.  If you do not you must leave theroom.\"I have so deep a respect for the extraordinaryqualities of Holmes thatI have always deferred to his wishes, even when I least understoodthem.  But now all my professional instincts were aroused.  Let himbemy master elsewhere, I at least was his in a sick room.\"Holmes,\" said I, \"you are not yourself.  A sick man is but a child,and so I will treat you.  Whether youlike it or not, I will examineyour symptoms and treat you for them.\"He looked at me with venomous eyes.\"If I am to have a doctor whether I will or not, let me atleast havesomeone in whom I have confidence,\" said he.\"Then you have none in me?\"\"In your friendship, certainly.  But facts are facts, Watson, and,after all, youare only a general practitioner with very limitedexperience and mediocre qualifications.  It is painful to have to saythese things, but you leave me no choice.\"I wasbitterly hurt.\"Such a remark is unworthy of you, Holmes.  It shows me very clearlythe state of your own nerves.  But if you have no confidence in me Iwould notintrude my services.  Let me bring Sir Jasper Meek or PenroseFisher, or any of the best men in London.  But someone you MUST have,and that is final.  If youthink that I am going to stand here and seeyou die without either helping you myself or bringing anyone else tohelp you, then you have mistaken your man.\"\"Youmean well, Watson,\" said the sick man with something between a soband a groan.  \"Shall I demonstrate your own ignorance? What do youknow, pray, ofTapanuli fever?  What do you know of the black Formosacorruption?\"\"I have never heard of either.\"\"There are many problems of disease, many strangepathologicalpossibilities, in the East, Watson.\"  He paused after each sentence tocollect his failing strength.  \"I have learned so much during somerecentresearches which have a medico-criminal aspect.  It was in thecourse of them that I contracted this complaint.  You can do nothing.\"\"Possibly not.  But I happento know that Dr. Ainstree, the greatestliving authority upon tropical disease, is now in London.  Allremonstrance is useless, Holmes, I am going this instant tofetch him.\"I turned resolutely to the door.Never have I had such a shock!  In an instant, with a tiger-spring, thedying man had intercepted me.  I heard the sharpsnap of a twisted key.The next moment he had staggered back to his bed, exhausted and pantingafter his one tremendous outflame of energy.\"You won't takethe key from me by force, Watson, I've got you, myfriend.  Here you are, and here you will stay until I will otherwise.But I'll humour you.\"  (All this in little gasps,with terriblestruggles for breath between.)  \"You've only my own good at heart.  Ofcourse I know that very well.  You shall have your way, but give metime to getmy strength.  Not now, Watson, not now.  It's four o'clock.At six you can go.\"\"This is insanity, Holmes.\"\"Only two hours, Watson.  I promise you will go atsix.  Are youcontent to wait?\"\"I seem to have no choice.\"\"None in the world, Watson.  Thank you, I need no help in arranging theclothes.  You will please keepyour distance.  Now, Watson, there isone other condition that I would make.  You will seek help, not fromthe man you mention, but from the one that Ichoose.\"\"By all means.\"\"The first three sensible words that you have uttered since you enteredthis room, Watson.  You will find some books over there. I amsomewhatexhausted; I wonder how a battery feels when it pours electricity intoa non-conductor?  At six, Watson, we resume our conversation.\"But it wasdestined to be resumed long before that hour, and incircumstances which gave me a shock hardly second to that caused by hisspring to the door.  I had stood forsome minutes looking at the silentfigure in the bed.  His face was almost covered by the clothes and heappeared to be asleep.  Then, unable to settle down toreading, Iwalked slowly round the room, examining the pictures of celebratedcriminals with which every wall was adorned.  Finally, in my aimlessperambulation, Icame to the mantelpiece.  A litter of pipes,tobacco-pouches, syringes, penknives, revolver-cartridges, and otherdebris was scattered over it.  In the midst ofthese was a small blackand white ivory box with a sliding lid.  It was a neat little thing,and I had stretched out my hand to examine it more closely, when----Itwas a dreadful cry that he gave--a yell which might have been hearddown the street.  My skin went cold and my hair bristled at thathorrible scream.  As I turnedI caught a glimpse of a convulsed faceand frantic eyes.  I stood paralyzed, with the little box in my hand.\"Put it down!  Down, this instant, Watson--this instant, Isay!\" Hishead sank back upon the pillow and he gave a deep sigh of relief as Ireplaced the box upon the mantelpiece.  \"I hate to have my thingstouched,Watson.  You know that I hate it.  You fidget me beyondendurance. You, a doctor--you are enough to drive a patient into anasylum.  Sit down, man, and let mehave my rest!\"The incident left a most unpleasant impression upon my mind.  Theviolent and causeless excitement, followed by this brutality of speech,so farremoved from his usual suavity, showed me how deep was thedisorganization of his mind.  Of all ruins, that of a noble mind is themost deplorable.  I sat in silentdejection until the stipulated timehad passed.  He seemed to have been watching the clock as well as I,for it was hardly six before he began to talk with the samefeverishanimation as before.\"Now, Watson,\" said he.  \"Have you any change in your pocket?\"\"Yes.\"\"Any silver?\"\"A good deal.\"\"How many half-crowns?\"\"I havefive.\"\"Ah, too few!  Too few!  How very unfortunate, Watson!  However, suchas they are you can put them in your watchpocket.  And all the rest ofyour money inyour left trouser pocket.  Thank you. It will balance youso much better like that.\"This was raving insanity.  He shuddered, and again made a sound betweenacough and a sob.\"You will now light the gas, Watson, but you will be very careful thatnot for one instant shall it be more than half on.  I implore you to becareful,Watson.  Thank you, that is excellent. No, you need not drawthe blind.  Now you will have the kindness to place some letters andpapers upon this table within my"}
+{"doc_id":"doc_184","qid":"","text":"The Project Gutenberg EBook of Agatha's Husband, by Dinah Maria Craik (AKA: Dinah Maria Mulock)This eBook is for the use of anyone anywhere at no costand withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: Agatha's Husband       A NovelAuthor: Dinah Maria Craik (AKA: Dinah Maria Mulock)Posting Date: March 13, 2009 [EBook#21767]Release Date: June 8, 2007Language: English*** START OF THIS PROJECT GUTENBERG EBOOK AGATHA'S HUSBAND ***David WidgerAGATHA'SHUSBANDA NOVELBy The Author Of'John Halifax, Gentleman'DINAH MARIA CRAIK,AKA: Dinah Maria MulockWith Illustrations By Walter CraneMacmillan AndCo.1875INSCRIBED TO M, P.,INMEMORIAL OF THE FRIENDSHIP OF A LIFETIME1852.LIST OF ILLUSTRATIONS.The husband's farewell\"She began leisurely toread\"\"Will you accept it, with my love?\"Arrival at Kingcombe HolmOn horsebackAlong the roadAGATHA'S HUSBAND.CHAPTER I.--If there ever was a womanthoroughly like her name, it was AgathaBowen. She was good, in the first place--right good at heart, thoughwith a slight external roughness (like the sound of theg in her name),which took away all sentimentalism. Then the vowels--the three broadrich a's--which no one can pronounce with nimini-pimini closedlips--howthoroughly they answered to her character!--a character in the which wasnothing small, mean, cramped, or crooked.But if we go on unfolding her in thisway, there will not be theslightest use in writing her history, or that of one in whom her life isbeautifully involved and enclosed--as every married woman's shouldbe--He was still in clouded mystery--an individual yet to be; and two otherindividuals had been \"talking him over,\" feminine-fashion, in MissAgatha Bowen'sdrawing-room, much to that lady's amusement andedification. For, being moderately rich, she had her own suite of roomsin the house where she boarded; andhaving no mother--sorrowful lot fora girl of nineteen!--she sometimes filled her drawing-room with veryuseless and unprofitable acquaintances. These twomarried ladies--oneyoung, the other old--Mrs. Hill and Mrs. Thornycroft--had been for thelast half-hour vexing their very hearts out to find Agatha ahusband--aweakness which, it must be confessed, lurks in the heart of almost everymarried lady.Agatha had been laughing at it, alternately flushing up orlookingscornful, as her mouth had a natural propensity for looking; balancingherself occasionally on the arm of the sofa, which, being rather smalland of a lightfigure, she could do with both impunity and grace; orelse rushing to the open window, ostensibly to let her black kitteninvestigate street-sights from its mistress'sshoulder. Agatha was verymuch of a child still, or could be when she chose.Mrs. Hill had been regretting some two or three \"excellent matches\" ofwhich she feltsure Miss Bowen had thrown away her chance; and youngMrs. Thornycroft had tried hard to persuade her dearest Agatha how verymuch happier she would be ina house of her own, than as a boarder evenin this excellent physician's family. But Agatha only laughed on, anddevoted herself more than ever to the blackkitten.She was, I fear, a damsel who rather neglected the _bienséances_ oflife. Only, in her excuse, it must be allowed that her friends weredoing what theyhad no earthly business to do; since; if there is onesubject above all upon which a young woman has a right to keep herthoughts, feelings, and intentions toherself, and to exact from othersthe respect of silence, it is that of marriage. Possibly, Agatha Bowenwas of this opinion.\"Mrs. Hill, you are a very kind, good soul:and Emma Thornycroft, I likeyou very much; but if--(Oh! be quiet, Tittens!)--if you could manage tolet me and 'my Husband' alone.\"These were the only seriouswords she said--and they were but halfserious; she evidently felt such an irresistible propensity to laugh.\"Now,\" continued she, turning the conversation, andputting on adignified aspect, which occasionally she took it into her head toassume, though more in playfulness than earnest--\"now let me tell youwho you willmeet here at dinner to-day.\"\"Major Harper, of course.\"\"I do not see the 'of course' Mrs. Thornycroft,\" returned Agatha,rather sharply; then, melting into a smile,she added: \"Well, 'ofcourse,' as you say; what more likely visitor could I have than myguardian?\"\"Trustee, my dear; guardians belong to romances, where youngladies arealways expected to hate, or fall in love with them.\"Agatha flushed slightly. Now, unlike most girls, Miss Bowen did not lookpretty when she blushed; herskin being very dark, and not over clear,the red blood coursing under it dyed her cheek, not \"celestial, rosyred,\" but a warm mahogany colour. Perhaps aconsciousness of thisdeepened the unpleasant blushing fit, to which, like most sensitivepeople at her age, she was always rather prone.\"Not,\" continued Mrs.Thornycroft, watching her,--\"not that I think anylove affair is likely to happen in your case; Major Harper is far toomuch of a settled-down bachelor, and at thesame time too old.\"Agatha pulled a comical face, and made a few solemn allusions toMethuselah. She had a peculiarly quick, even abrupt manner ofspeaking,saying a dozen words in the time most young ladies would take to drawlout three; and possessing, likewise, the rare feminine quality of neversaying aword more than was necessary.\"Agatha, how funny you are!\" laughed her easily-amused friend. \"But,dear, tell me who else is coming?\" And she glanceddoubtfully down on agown that looked like a marriage-silk \"dyed and renovated.\"\"Oh, no ladies--and gentlemen never see whether one is dressed inbrocade orsackcloth,\" returned Agatha, rather maliciously;--\"only,'old Major Harper' as you are pleased to call him, and\"----\"Nay, I didn't call him very old--just forty, orthereabouts--though hedoes not look anything like it. Then he is so handsome, and, I must say,Agatha, pays you such extreme attention.\"Agatha laughedagain--the quick, light-hearted laugh of nineteen--andher brown eyes brightened with innocent pleasure.Young Mrs. Thornycroft again looked down uneasily ather dress--not fromovermuch vanity, but because her hounded mind recurred instinctivelyfrom extraneous or large interests to individual and lesser ones.\"Isthere really any one particular coming, my dear? Of course, _you_have no trouble about evening dress; mourning is such easy comfortablewear.\" (Agatha turnedher head quickly aside.) \"That handsome silkof yours looks quite well still; and mamma there,\" glancing at thecontentedly knitting Mrs. Hill--\"old ladies neverrequire much dress;but if you had only told me to prepare for company\"----\"Pretty company! Merely our own circle--Dr. Ianson, Mrs. Ianson, andMissIanson--you need not mind outshining her now\"----\"No, indeed! I am married.\"\"Then the 'company' dwindles down to two besides yourselves; MajorHarper andhis brother.\"\"Oh! What sort of a person is the brother?\"\"I really don't know; I have never seen him. He is just come home fromCanada; the youngest of thefamily--and I hate boys,\" replied Agatha,running the sentences one upon the other in her quick fashion.\"The youngest of the family--how many are there in all?\"inquired theelder lady, her friendly anxiety being probably once more on matrimonialthoughts intent.\"I am sure, Mrs. Hill, I cannot tell. I have never seen any ofthem butMajor Harper, and I never saw him till my poor father died; all whichcircumstances you know quite well, and Emma too; so there is no need totalk athing twice over.\"From her occasional mode of speech, some people might say, and did say,that Agatha Bowen \"had a temper of her own.\" It is very true, shewasnot one of those mild, amiable heroines who never can give a sharp wordto any one. And now and then, probably from the morbid restlessnessof unsatisfiedyouth--a youth, too, that fate had deprived of thosehome-ties, duties, and sacrifices, which are at once so arduous and sowholesome--she had a habit ofcarrying, not only the real black kitten,but the imaginary and allegorical \"little black dog,\" on her shoulder.It was grinning there invisibly now; shaking her curlswith shortquick motion, swelling her rich full lips--those sort of lips which areglorious in smiles, but which in repose are apt to settle into a gravitynot unlikecrossness.She was looking thus--not her best, it must be allowed--when a servant,opening the drawing-room door, announced \"Visitors for Miss Bowen.\"The firstwho entered, very much in advance of the other, appeared withthat easy, agreeable air which at once marks the gentleman, and one longaccustomed to theworld in all its phases, especially to the femininephase; for he bowed over Agatha's hand, and smiled in Agatha's nowbrightening face, with a sort of tendermanliness, that implied hisbeing used to pleasing women, and having an agreeable though not anungenerous consciousness of the fact.\"Are you better--reallybetter? Are you quite sure you have no coldleft? Nothing to make your friends anxious about you?\" (Agatha shook herhead smilingly.) \"That's right; I am soglad.\"And no doubt Major Harper was; for a true kind-heartedness, softenedeven to tender-heartedness, was visible in his handsome face. Which facehad beenfor twenty years the admiration of nearly every woman in everydrawing-room he entered: a considerable trial for any man. Now and thensome independentyoung lady, who had reasons of her own for preferringrosy complexions, turn-up noses, and \"runaway\" chins, might quarrelwith the Major's fine Roman profileand jet-black moustache and hair;but--there was no denying it--he was, even at forty, a remarkablyhandsome man; one of the old school of Chesterfieldperfection, which isfast dying out.Everybody liked him, more or less; and some people--a few men and not afew women, had either in friendship or in warmerfashion--deeplyloved him. Society in general was quite aware of this; nor, it must beconfessed, did Major Harper at all attempt to disprove or ignore thefact. Hewore his honours--as he did a cross won, no one quite knewhow, during a brief service in the Peninsula--neither pompously norboastingly, but with the mildindifference of conscious desert.All this could be at once discerned in his face, voice, and manner;from which likewise a keen observer might draw the safeconclusion that,though a decided man of fashion, and something of a dandy, he was aboveeither puppyism or immorality. And Agatha's rich Anglo-Indian fatherhadnot judged foolishly when he put his only child and her property in thetrust of, as he believed, that rare personage, an honest man.If the girl Agatha, who tookhonesty as a matter of course in everygentleman, endowed this particular one with a few qualities more than hereally possessed, it was an amiable weakness onher part, for which,as Major Harper would doubtless have said with a seriously troubledcountenance, \"no one could possibly blame _him._\"In speaking of theMajor we have taken little notice--as little, indeed,as Agatha did--of the younger Mr. Harper.\"My brother, Miss Bowen. He came home when my sister Emily died.\"Thebrief introduction terminated in a slight fall of voice, which made theyoung lady look sympathisingly at the handsome face that took shades ofsadness as"}
+{"doc_id":"doc_185","qid":"","text":"<html><head><title>Boondock Saints, The Script at IMSDb.</title><meta name=\"description\" content=\"Boondock Saints, The script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Boondock Saints, The script, Boondock Saints, The movie script, Boondock Saints, The film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                   THE BOONDOCK SAINTS</b>                                        Written by<b>                                        TROYDUFFY</b>                                   Shooting Script:  White August 28, 1997<b>                </b><b>               INT.  GOTHIC CHURCH  10:00 A.M.  ST.PATRICK'S DAY</b><b>               DOWNTOWN BOSTON</b>               As we open we see the inside of an enormous church. A young                looking PRIESTin his mid-thirties is finishing the delivery                of the Lord\u0000s Prayer. In the back of the church, in the last                pew, there are two who kneel on thecold, stone floor.               They do not stand to sing, nor do they offer signs of peace                when told, but they pray. They grip and rub theirrosaries.                They mutter their words in Latin.               CONNOR and MURPHY MacMANUS (mid-twenties) are shrouded in                thick waist lengthnavy P-coats, worn leather boots and the                hungry clothes of the poor. The boys heads are shaved and                they have facialhair.<b>                                     MONSIGNOR</b>                              (dismissing young                               priest)                         Thank you FatherMacklepenny, for                          coming all the way across town to be                          our guest speaker today. I hope you                          found our littleparish to your                          liking.               Macklepenny takes his seat on the alter along side the regular                priests of the church. The MacManusbrothers suddenly stand,                as all others remain seated. Each church goer between them                and the aisle shifts his/her position to allow the"}
+{"doc_id":"doc_186","qid":"","text":"The Project Gutenberg EBook of The Reef, by Edith WhartonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The ReefAuthor: Edith WhartonPosting Date: July 12, 2008 [EBook #283]Release Date: June, 1995Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE REEF ***Produced by Gail Jahn, and John HammTHE REEFby Edith WhartonBOOK II\"Unexpected obstacle. Please don'tcome till thirtieth. Anna.\"All the way from Charing Cross to Dover the train had hammered the wordsof the telegram into George Darrow's ears, ringing everychange of ironyon its commonplace syllables: rattling them out like a discharge ofmusketry, letting them, one by one, drip slowly and coldly into hisbrain, orshaking, tossing, transposing them like the dice in some gameof the gods of malice; and now, as he emerged from his compartment atthe pier, and stood facingthe wind-swept platform and the angry seabeyond, they leapt out at him as if from the crest of the waves, stungand blinded him with a fresh fury ofderision.\"Unexpected obstacle. Please don't come till thirtieth. Anna.\"She had put him off at the very last moment, and for the second time:put him off with allher sweet reasonableness, and for one of her usual\"good\" reasons--he was certain that this reason, like the other, (thevisit of her husband's uncle's widow) wouldbe \"good\"! But it was thatvery certainty which chilled him. The fact of her dealing so reasonablywith their case shed an ironic light on the idea that there had beenanyexceptional warmth in the greeting she had given him after their twelveyears apart.They had found each other again, in London, some threemonthspreviously, at a dinner at the American Embassy, and when she had caughtsight of him her smile had been like a red rose pinned on herwidow'smourning. He still felt the throb of surprise with which, amongthe stereotyped faces of the season's diners, he had come upon herunexpected face, withthe dark hair banded above grave eyes; eyes inwhich he had recognized every little curve and shadow as he would haverecognized, after half a life-time, thedetails of a room he had playedin as a child. And as, in the plumed starred crowd, she had stood outfor him, slender, secluded and different, so he had felt, theinstanttheir glances met, that he as sharply detached himself for her. All thatand more her smile had said; had said not merely \"I remember,\" but \"Irememberjust what you remember\"; almost, indeed, as though her memoryhad aided his, her glance flung back on their recaptured moment itsmorning brightness.Certainly, when their distracted Ambassadress--withthe cry: \"Oh, you know Mrs. Leath? That's perfect, for General Farnhamhas failed me\"--had waved themtogether for the march to the dining-room,Darrow had felt a slight pressure of the arm on his, a pressure faintlybut unmistakably emphasizing the exclamation:\"Isn't it wonderful?--InLondon--in the season--in a mob?\"Little enough, on the part of most women; but it was a sign of Mrs.Leath's quality that every movement,every syllable, told with her. Evenin the old days, as an intent grave-eyed girl, she had seldom misplacedher light strokes; and Darrow, on meeting her again, hadimmediatelyfelt how much finer and surer an instrument of expression she hadbecome.Their evening together had been a long confirmation of this feeling.Shehad talked to him, shyly yet frankly, of what had happened to her duringthe years when they had so strangely failed to meet. She had told himof her marriageto Fraser Leath, and of her subsequent life in France,where her husband's mother, left a widow in his youth, had beenre-married to the Marquis de Chantelle, andwhere, partly in consequenceof this second union, the son had permanently settled himself. She hadspoken also, with an intense eagerness of affection, of herlittle girlEffie, who was now nine years old, and, in a strain hardly less tender,of Owen Leath, the charming clever young stepson whom her husband'sdeath hadleft to her care...A porter, stumbling against Darrow's bags, roused him to the fact thathe still obstructed the platform, inert and encumbering as hisluggage.\"Crossing, sir?\"Was he crossing? He really didn't know; but for lack of any morecompelling impulse he followed the porter to the luggage van, singledouthis property, and turned to march behind it down the gang-way. Asthe fierce wind shouldered him, building up a crystal wall against hisefforts, he felt anew thederision of his case.\"Nasty weather to cross, sir,\" the porter threw back at him as they beattheir way down the narrow walk to the pier. Nasty weather, indeed;butluckily, as it had turned out, there was no earthly reason why Darrowshould cross.While he pushed on in the wake of his luggage his thoughts slipped backintothe old groove. He had once or twice run across the man whom AnnaSummers had preferred to him, and since he had met her again he had beenexercising hisimagination on the picture of what her married life musthave been. Her husband had struck him as a characteristic specimen ofthe kind of American as to whomone is not quite clear whether helives in Europe in order to cultivate an art, or cultivates an art as apretext for living in Europe. Mr. Leath's art was water-colourpainting,but he practised it furtively, almost clandestinely, with the disdain ofa man of the world for anything bordering on the professional, whilehe devotedhimself more openly, and with religious seriousness, to thecollection of enamelled snuff-boxes. He was blond and well-dressed, withthe physical distinction thatcomes from having a straight figure, athin nose, and the habit of looking slightly disgusted--as who shouldnot, in a world where authentic snuff-boxes weregrowing daily harder tofind, and the market was flooded with flagrant forgeries?Darrow had often wondered what possibilities of communion there couldhavebeen between Mr. Leath and his wife. Now he concluded that therehad probably been none. Mrs. Leath's words gave no hint of her husband'shaving failed tojustify her choice; but her very reticence betrayedher. She spoke of him with a kind of impersonal seriousness, as if hehad been a character in a novel or a figurein history; and what shesaid sounded as though it had been learned by heart and slightly dulledby repetition. This fact immensely increased Darrow's impressionthathis meeting with her had annihilated the intervening years. She, who wasalways so elusive and inaccessible, had grown suddenly communicative andkind:had opened the doors of her past, and tacitly left him to draw hisown conclusions. As a result, he had taken leave of her with thesense that he was a being singledout and privileged, to whom she hadentrusted something precious to keep. It was her happiness in theirmeeting that she had given him, had frankly left him todo with as hewilled; and the frankness of the gesture doubled the beauty of the gift.Their next meeting had prolonged and deepened the impression. Theyhadfound each other again, a few days later, in an old country house fullof books and pictures, in the soft landscape of southern England.The presence of a largeparty, with all its aimless and agitateddisplacements, had served only to isolate the pair and give them (atleast to the young man's fancy) a deeper feeling ofcommunion, and theirdays there had been like some musical prelude, where the instruments,breathing low, seem to hold back the waves of sound that pressagainstthem.Mrs. Leath, on this occasion, was no less kind than before; but shecontrived to make him understand that what was so inevitably coming wasnot tocome too soon. It was not that she showed any hesitation as tothe issue, but rather that she seemed to wish not to miss any stage inthe gradual reflowering oftheir intimacy.Darrow, for his part, was content to wait if she wished it. Heremembered that once, in America, when she was a girl, and he hadgone to stay withher family in the country, she had been out when hearrived, and her mother had told him to look for her in the garden. Shewas not in the garden, but beyond ithe had seen her approaching down along shady path. Without hastening her step she had smiled and signed tohim to wait; and charmed by the lights andshadows that played upon heras she moved, and by the pleasure of watching her slow advance towardhim, he had obeyed her and stood still. And so she seemednow to bewalking to him down the years, the light and shade of old memories andnew hopes playing variously on her, and each step giving him the visionof adifferent grace. She did not waver or turn aside; he knew she wouldcome straight to where he stood; but something in her eyes said \"Wait\",and again he obeyedand waited.On the fourth day an unexpected event threw out his calculations.Summoned to town by the arrival in England of her husband's mother, sheleftwithout giving Darrow the chance he had counted on, and he cursedhimself for a dilatory blunderer. Still, his disappointment was temperedby the certainty ofbeing with her again before she left for France;and they did in fact see each other in London. There, however, theatmosphere had changed with the conditions.He could not say that sheavoided him, or even that she was a shade less glad to see him; butshe was beset by family duties and, as he thought, a little tooreadilyresigned to them.The Marquise de Chantelle, as Darrow soon perceived, had the samemild formidableness as the late Mr. Leath: a sort ofinsistentself-effacement before which every one about her gave way. It wasperhaps the shadow of this lady's presence--pervasive even during heractual briefeclipses--that subdued and silenced Mrs. Leath. The latterwas, moreover, preoccupied about her stepson, who, soon after receivinghis degree at Harvard, hadbeen rescued from a stormy love-affair, andfinally, after some months of troubled drifting, had yielded to hisstep-mother's counsel and gone up to Oxford for ayear of supplementarystudy. Thither Mrs. Leath went once or twice to visit him, and herremaining days were packed with family obligations: getting, asshephrased it, \"frocks and governesses\" for her little girl, who hadbeen left in France, and having to devote the remaining hours to longshopping expeditions withher mother-in-law. Nevertheless, during herbrief escapes from duty, Darrow had had time to feel her safe in thecustody of his devotion, set apart for someinevitable hour; and thelast evening, at the theatre, between the overshadowing Marquise and theunsuspicious Owen, they had had an almost decisive exchangeof words.Now, in the rattle of the wind about his ears, Darrow continued tohear the mocking echo of her message: \"Unexpected obstacle.\" In such anexistence asMrs. Leath's, at once so ordered and so exposed, he knewhow small a complication might assume the magnitude of an \"obstacle;\"yet, even allowing as impartiallyas his state of mind permitted forthe fact that, with her mother-in-law always, and her stepsonintermittently, under her roof, her lot involved a hundredsmallaccommodations generally foreign to the freedom of widowhood--even so,he could not but think that the very ingenuity bred of such conditionsmight have"}
+{"doc_id":"doc_187","qid":"","text":"The Project Gutenberg EBook of Lothair, by Benjamin DisraeliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: LothairAuthor: Benjamin DisraeliRelease Date: April, 2005  [EBook #7835]Posting Date: July 27, 2009Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK LOTHAIR ***Produced by K. Kay ShearinLOTHAIRBy Benjamin DisraeliCHAPTER 1\"I remember him a little boy,\" said theduchess, \"a pretty little boy,but very shy. His mother brought him to us one day. She was a dearfriend of mine; you know she was one of my bridesmaids?\"\"Andyou have never seen him since, mamma?\" inquired a married daughter,who looked like the younger sister of her mother.\"Never; he was an orphan shortly after;I have often reproached myself,but it is so difficult to see boys. Then, he never went to school, butwas brought up in the Highlands with a rather savage uncle;and if heand Bertram had not become friends at Christchurch, I do not well seehow we ever could have known him.\"These remarks were made in themorning-room of Brentham, where themistress of the mansion sat surrounded by her daughters, all occupiedwith various works. One knitted a purse, anotheradorned a slipper athird emblazoned a page. Beautiful forms in counsel leaned over framesembroidery, while two fair sisters more remote occasionally burstintomelody as they tried the passages of a new air, which had been dedicatedto them in the manuscript of some devoted friend.The duchess, one of the greatestheiresses of Britain, singularlybeautify and gifted with native grace, had married in her teens one ofthe wealthiest and most powerful of our nobles, and scarcelyorder thanherself. Her husband was as distinguished for his appearance and hismanners as his bride, and those who speculate on race were interestedin watchingthe development of their progeny, who in form and color, andvoice, and manner, and mind, were a reproduction of their parents,who seemed only the elderbrother and sister of a gifted circle. Thedaughters with one exception came first, and all met the same fate.After seventeen years of a delicious home they werepresented, andimmediately married; and all to personages of high consideration. Afterthe first conquest, this fate seemed as regular as the order of Nature.Thencame a son, who was now at Christchurch, and then several others,some at school, and some scarcely out of the nursery. There was onedaughter unmarried, andshe was to be presented next season. Thoughthe family likeness was still apparent in Lady Corisande, in generalexpression she differed from her sisters. Theywere all alike with theirdelicate aquiline noses, bright complexions, short upper lips, and eyesof sunny light. The beauty of Lady Corisande was even moredistinguishedand more regular, but whether it were the effect of her dark-brown hairand darker eyes, her countenance had not the lustre of the res, anditsexpression was grave and perhaps pensive.The duke, though still young, and naturally of a gay and joyoustemperament, had a high sense of duty, and strongdomestic feelings. Hewas never wanting in his public place, and he was fond of his wife andhis children; still more, proud of them. Every day when he lookedintothe glass, and gave the last touch to his consummate toilet, he offeredhis grateful thanks to Providence that his family was not unworthy ofhim.His grace wasaccustomed to say that he had only one misfortune, andit was a great one; he had no home. His family had married so manyheiresses, and he, consequently,possessed so many halls and castles, atall of which, periodically, he wished, from a right feeling, to reside,that there was no sacred spot identified with his life inwhich hisheart, in the bustle and tumult of existence, could take refuge.Brentham was the original seat of his family, and he was evenpassionately fond of it; butit was remarkable how very short a periodof his yearly life was passed under its stately roof. So it was hiscustom always to repair to Brentham the moment theseason was over, andhe would exact from his children, that, however short might be the time,they would be his companions under those circumstances. Thedaughtersloved Brentham, and they loved to please their father; but thesons-in-law, though they were what is called devoted to their wives,and, unusual as itmay seem, scarcely less attached to their legalparents, did not fall very easily into this arrangement. The countryin August without sport was unquestionably tothem a severe trial:nevertheless, they rarely omitted making their appearance, and, if theydid occasionally vanish, sometimes to Cowes, sometimes toSwitzerland,sometimes to Norway, they always wrote to their wives, and alwaysalluded to their immediate or approaching return; and their lettersgracefullycontributed to the fund of domestic amusement.And yet it would be difficult to find a fairer scene than Brenthamoffered, especially in the lustrous effulgence of aglorious Englishsummer. It was an Italian palace of freestone; vast, ornate, and inscrupulous condition; its spacious and graceful chambers filled withtreasures ofart, and rising itself from statued and stately terraces.At their foot spread a gardened domain of considerable extent, brightwith flowers, dim with coverts of rareshrubs, and musical withfountains. Its limit reached a park, with timber such as the midlandcounties only can produce. The fallow deer trooped among itsfernysolitudes and gigantic oaks; but, beyond the waters of the broad andwinding lake, the scene became more savage, and the eye caught the darkforms of thered deer on some jutting mount, shrinking with scorn fromcommunion with his gentler brethren.CHAPTER 2Lothair was the little boy whom the duchessremembered. He was aposthumous child, and soon lost a devoted mother. His only relation wasone of his two guardians, a Scotch noble--a Presbyterian and aWhig.This uncle was a widower with some children, but they were girls, and,though Lothair was attached to them, too young to be his companions.Their fatherwas a keen, hard man, honorable and just but with nosoftness of heart or manner. He guarded with precise knowledge and withunceasing vigilance over Lothair'svast inheritance, which was in manycounties and in more than one kingdom; but he educated him in a Highlandhome, and when he had reached boyhood thoughtfit to send him to theHigh School of Edinburgh. Lothair passed a monotonous, if not a dull,life; but he found occasional solace in the scenes of a wild andbeautifulnature, and delight in all the sports of the field and forest,in which he was early initiated and completely indulged. Although anEnglishman, he was fifteen beforehe re-visited his country, and thenhis glimpses of England were brief, and to him scarcely satisfactory. Hewas hurried sometimes to vast domains, which he heardwere his own; andsometimes whisked to the huge metropolis, where he was shown St. Paul'sand the British-Museum. These visits left a vague impression ofbustlewithout kindness and exhaustion without excitement; and he was glad toget back to his glens, to the moor and the mountain-streams.His father, in theselection of his guardians, had not contemplatedthis system of education. While he secured by the appointment of hisbrother-in-law, the most competent andtrustworthy steward of his son'sfortune, he had depended on another for that influence which shouldmould the character, guide the opinions, and form the tastesof hischild. The other guardian was a clergyman, his father's private tutorand heart-friend; scarcely his parent's senior, but exercising overhim irresistibleinfluence, for he was a man of shining talents andabounding knowledge, brilliant and profound. But unhappily, shortlyafter Lothair became an orphan, thisdistinguished man seceded from theAnglican communion, and entered the Church of Rome. From this momentthere was war between the guardians. The uncleendeavored to drive hiscolleague from the trust: in this he failed, for the priest would notrenounce his office. The Scotch noble succeeded, however, in making itafruitless one: he thwarted every suggestion that emanated from theobnoxious quarter; and, indeed, the secret reason of the almost constantresidence of Lothairin Scotland, and of his harsh education, was thefear of his relative, that the moment he crossed the border he might, bysome mysterious process, fall under theinfluence that his guardian somuch dreaded and detested.There was however, a limit to these severe precautions, even beforeLothair should reach his majority.His father had expressed in his willthat his son should be educated at the University of Oxford, and at thesame college of which he had been a member. His unclewas of opinion hecomplied with the spirit of this instruction by sending Lothair to theUniversity of Edinburgh, which would give the last tonic to his moralsystem;and then commenced a celebrated chancery-suit, instituted by theRoman Catholic guardian, in order to enforce a literal compliancewith the educational conditionof the will. The uncle looked uponthis movement as a popish plot, and had recourse to every availableallegation and argument to baffle it: but ultimately in vain.With everyprecaution to secure his Protestant principles, and to guard against theinfluence, or even personal interference of his Roman Catholic guardian,thelord-chancellor decided that Lothair should be sent to Christchurch.Here Lothair, who had never been favored with a companion of his ownage and station, soonfound a congenial one in the heir of Brentham.Inseparable in pastime, not dissociated even in study, sympathizingcompanionship soon ripened into ferventfriendship. They lived somuch together that the idea of separation became not only painful butimpossible; and, when vacation arrived, and Brentham was to bevisitedby its future lord, what more natural than that it should be arrangedthat Lothair should be a visitor to his domain?CHAPTER 3Although Lothair was thepossessor of as many palaces and castles as theduke himself, it is curious that his first dinner at Brentham wasalmost his introduction into refined society. He hadbeen a guest at theoccasional banquets of his uncle; but these were festivals of thePicts and Scots; rude plenty and coarse splendor, with noise insteadofconversation, and a tumult of obstructive defendants, who impeded, bytheir want of skill, the very convenience which they were purposed tofacilitate. Howdifferent the surrounding scene! A table covered withflowers, bright with fanciful crystal, and porcelain that had belongedto sovereigns, who had given a name toits color or its form. Asfor those present, all seemed grace and gentleness, from the radiantdaughters of the house to the noiseless attendants that anticipatedallhis wants, and sometimes seemed to suggest his wishes.Lothair sat between two of the married daughters. They addressed himwith so much sympathy that hewas quite enchanted. When they asked theirpretty questions and made their sparkling remarks, roses seemed to dropfrom their lips, and sometimes diamonds. Itwas a rather large party,for the Brentham family were so numerous that they themselves madea festival. There were four married daughters, the duke and"}
+{"doc_id":"doc_188","qid":"","text":"The Project Gutenberg EBook of Rainbow Valley, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Rainbow ValleyAuthor: Lucy Maud MontgomeryRelease Date: March, 2004 [EBook #5343]This file was first posted on July 3, 2002LastUpdated: April 15, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RAINBOW VALLEY ***Produced by Bernard J. Farber, CarmenBaxter, Dona Rucci,Elizabeth Morton, Rebekah Neely, Joe Johnson, Joan Chovan,Judith Fetterolf, Mary Nuzzo, Sally Drake, Sally Starks,Steve Callis, VirginiaMohlere-Dellinger, Mary MarkOckerbloom and Ben CrowderRAINBOW VALLEYBy L. M. MontgomeryAuthor of \"Anne of Green Gables,\" \"Anne of the Island,\" \"Anne'sHouse ofDreams,\" \"The Story Girl,\" \"The Watchman,\" etc.________________________________________________________________________This book hasbeen put on-line as part of the BUILD-A-BOOK Initiative atthe Celebration of Women Writers through the combined work of Bernard J.Farber, Carmen Baxter,Dona Rucci, Elizabeth Morton, Rebekah Neely, JoeJohnson, Joan Chovan, Judith Fetterolf, Mary Nuzzo, Sally Drake,Sally Starks, Steve Callis, VirginiaMohlere-Dellinger and Mary MarkOckerbloom.http://digital.library.upenn.edu/women/Reformatted by BenCrowder________________________________________________________________________               \"The thoughts of youth are long, longthoughts.\"               --LONGFELLOWTO THE MEMORY OFGOLDWIN LAPP, ROBERT BROOKES AND MORLEY SHIERWHO MADE THE SUPREME SACRIFICE THAT THEHAPPY VALLEYS OF THEIR HOME LANDMIGHT BE KEPT SACRED FROM THE RAVAGE OF THE INVADERCONTENTS      I. Home Again     II. Sheer Gossip    III. TheIngleside Children     IV. The Manse Children      V. The Advent of Mary Vanse     VI. Mary Stays at the Manse    VII. A Fishy Episode   VIII. Miss CorneliaIntervenes     IX. Una Intervenes      X. The Manse Girls Clean House     XI. A Dreadful Discovery    XII. An Explanation and a Dare   XIII. The House on theHill    XIV. Mrs. Alec Davis Makes a Call     XV. More Gossip    XVI. Tit for Tat   XVII. A Double Victory  XVIII. Mary Brings Evil Tidings    XIX. Poor Adam!     XX.Faith Makes a Friend    XXI. The Impossible Word   XXII. St. George Knows All About It  XXIII. The Good-Conduct Club   XXIV. A Charitable Impulse    XXV.Another Scandal and Another \"Explanation\"   XXVI. Miss Cornelia Gets a New Point of View  XXVII. A Sacred Concert XXVIII. A Fast Day   XXIX. A WeirdTale    XXX. The Ghost on the Dyke   XXXI. Carl Does Penance  XXXII. Two Stubborn People XXXIII. Carl Is--not--whipped  XXXIV. Una Visits the Hill   XXXV. \"Letthe Piper Come\"RAINBOW VALLEYCHAPTER I. HOME AGAINIt was a clear, apple-green evening in May, and Four Winds Harbour wasmirroring back the clouds ofthe golden west between its softly darkshores. The sea moaned eerily on the sand-bar, sorrowful even in spring,but a sly, jovial wind came piping down the redharbour road along whichMiss Cornelia's comfortable, matronly figure was making its way towardsthe village of Glen St. Mary. Miss Cornelia was rightfully Mrs.MarshallElliott, and had been Mrs. Marshall Elliott for thirteen years, but evenyet more people referred to her as Miss Cornelia than as Mrs.Elliott. The old namewas dear to her old friends, only one of themcontemptuously dropped it. Susan Baker, the gray and grim and faithfulhandmaiden of the Blythe family atIngleside, never lost an opportunityof calling her \"Mrs. Marshall Elliott,\" with the most killing andpointed emphasis, as if to say \"You wanted to be Mrs. and Mrs.you shallbe with a vengeance as far as I am concerned.\"Miss Cornelia was going up to Ingleside to see Dr. and Mrs. Blythe, whowere just home from Europe.They had been away for three months, havingleft in February to attend a famous medical congress in London; andcertain things, which Miss Cornelia was anxiousto discuss, had takenplace in the Glen during their absence. For one thing, there was a newfamily in the manse. And such a family! Miss Cornelia shook herheadover them several times as she walked briskly along.Susan Baker and the Anne Shirley of other days saw her coming, as theysat on the big veranda atIngleside, enjoying the charm of the cat'slight, the sweetness of sleepy robins whistling among the twilit maples,and the dance of a gusty group of daffodilsblowing against the old,mellow, red brick wall of the lawn.Anne was sitting on the steps, her hands clasped over her knee, looking,in the kind dusk, as girlish as amother of many has any right to be;and the beautiful gray-green eyes, gazing down the harbour road, wereas full of unquenchable sparkle and dream as ever.Behind her, in thehammock, Rilla Blythe was curled up, a fat, roly-poly little creatureof six years, the youngest of the Ingleside children. She had curly redhairand hazel eyes that were now buttoned up after the funny, wrinkledfashion in which Rilla always went to sleep.Shirley, \"the little brown boy,\" as he was known inthe family \"Who'sWho,\" was asleep in Susan's arms. He was brown-haired, brown-eyed andbrown-skinned, with very rosy cheeks, and he was Susan'sespeciallove. After his birth Anne had been very ill for a long time, and Susan\"mothered\" the baby with a passionate tenderness which none of the otherchildren,dear as they were to her, had ever called out. Dr. Blythe hadsaid that but for her he would never have lived.\"I gave him life just as much as you did, Mrs. Dr.dear,\" Susan was wontto say. \"He is just as much my baby as he is yours.\" And, indeed, it wasalways to Susan that Shirley ran, to be kissed for bumps, androckedto sleep, and protected from well-deserved spankings. Susan hadconscientiously spanked all the other Blythe children when she thoughtthey needed it fortheir souls' good, but she would not spank Shirleynor allow his mother to do it. Once, Dr. Blythe had spanked him andSusan had been stormily indignant.\"Thatman would spank an angel, Mrs. Dr. dear, that he would,\" she haddeclared bitterly; and she would not make the poor doctor a pie forweeks.She had taken Shirleywith her to her brother's home during his parents'absence, while all the other children had gone to Avonlea, and she hadthree blessed months of him all toherself. Nevertheless, Susan was veryglad to find herself back at Ingleside, with all her darlings around heragain. Ingleside was her world and in it she reignedsupreme. Even Anneseldom questioned her decisions, much to the disgust of Mrs. RachelLynde of Green Gables, who gloomily told Anne, whenever she visitedFourWinds, that she was letting Susan get to be entirely too much of a bossand would live to rue it.\"Here is Cornelia Bryant coming up the harbour road, Mrs. Dr.dear,\"said Susan. \"She will be coming up to unload three months' gossip onus.\"\"I hope so,\" said Anne, hugging her knees. \"I'm starving for Glen St.Mary gossip,Susan. I hope Miss Cornelia can tell me everything thathas happened while we've been away--EVERYTHING--who has got born, ormarried, or drunk; who hasdied, or gone away, or come, or fought, orlost a cow, or found a beau. It's so delightful to be home again withall the dear Glen folks, and I want to know all aboutthem. Why, Iremember wondering, as I walked through Westminster Abbey which of hertwo especial beaux Millicent Drew would finally marry. Do youknow,Susan, I have a dreadful suspicion that I love gossip.\"\"Well, of course, Mrs. Dr. dear,\" admitted Susan, \"every proper womanlikes to hear the news. I amrather interested in Millicent Drew's casemyself. I never had a beau, much less two, and I do not mind now, forbeing an old maid does not hurt when you getused to it. Millicent'shair always looks to me as if she had swept it up with a broom. But themen do not seem to mind that.\"\"They see only her pretty, piquant,mocking, little face, Susan.\"\"That may very well be, Mrs. Dr. dear. The Good Book says that favour isdeceitful and beauty is vain, but I should not have mindedfinding thatout for myself, if it had been so ordained. I have no doubt we willall be beautiful when we are angels, but what good will it do us then?Speaking ofgossip, however, they do say that poor Mrs. Harrison Millerover harbour tried to hang herself last week.\"\"Oh, Susan!\"\"Calm yourself, Mrs. Dr. dear. She did notsucceed. But I really do notblame her for trying, for her husband is a terrible man. But she wasvery foolish to think of hanging herself and leaving the way clearforhim to marry some other woman. If I had been in her shoes, Mrs. Dr.dear, I would have gone to work to worry him so that he would tryto hang himself insteadof me. Not that I hold with people hangingthemselves under any circumstances, Mrs. Dr. dear.\"\"What is the matter with Harrison Miller, anyway?\" saidAnneimpatiently. \"He is always driving some one to extremes.\"\"Well, some people call it religion and some call it cussedness, beggingyour pardon, Mrs. Dr. dear,for using such a word. It seems they cannotmake out which it is in Harrison's case. There are days when hegrowls at everybody because he thinks he isfore-ordained to eternalpunishment. And then there are days when he says he does not care andgoes and gets drunk. My own opinion is that he is not sound inhisintellect, for none of that branch of the Millers were. His grandfatherwent out of his mind. He thought he was surrounded by big black spiders.They crawledover him and floated in the air about him. I hope I shallnever go insane, Mrs. Dr. dear, and I do not think I will, because it isnot a habit of the Bakers. But, if anall-wise Providence should decreeit, I hope it will not take the form of big black spiders, for I loathethe animals. As for Mrs. Miller, I do not know whether shereallydeserves pity or not. There are some who say she just married Harrisonto spite Richard Taylor, which seems to me a very peculiar reasonfor gettingmarried. But then, of course, _I_ am no judge of thingsmatrimonial, Mrs. Dr. dear. And there is Cornelia Bryant at the gate, soI will put this blessed brown babyon his bed and get my knitting.\"CHAPTER II. SHEER GOSSIP\"Where are the other children?\" asked Miss Cornelia, when the firstgreetings--cordial on her side,rapturous on Anne's, and dignified onSusan's--were over.\"Shirley is in bed and Jem and Walter and the twins are down in theirbeloved Rainbow Valley,\" saidAnne. \"They just came home this afternoon,you know, and they could hardly wait until supper was over beforerushing down to the valley. They love it aboveevery spot on earth. Eventhe maple grove doesn't rival it in their affections.\"\"I am afraid they love it too well,\" said Susan gloomily. \"Little Jemsaid once he wouldrather go to Rainbow Valley than to heaven when hedied, and that was not a proper remark.\"\"I suppose they had a great time in Avonlea?\" said MissCornelia.\"Enormous. Marilla does spoil them terribly. Jem, in particular, can dono wrong in her eyes.\"\"Miss Cuthbert must be an old lady now,\" said Miss Cornelia,getting outher knitting, so that she could hold her own with Susan. Miss Corneliaheld that the woman whose hands were employed always had the advantageover"}
+{"doc_id":"doc_189","qid":"","text":"The Project Gutenberg EBook of The Eagle Cliff, by R.M. BallantyneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Eagle CliffAuthor: R.M. BallantyneRelease Date: November 6, 2007 [EBook #23373]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE EAGLE CLIFF ***Produced by Nick Hodson of London, EnglandThe Eagle Cliff, by R.M.Ballantyne.________________________________________________________________________This is a truly delightful book by this prolific author.  I knowof noother of his books that leaves so many images in the mind, so freshafter many a year.  The scene starts with a young man cycling on hispenny-farthingtowards London.  On the way he has an accident, knockingdown an elderly lady, but fleeing the scene when he sees a policemancoming.  But when he gets homehe finds a telegram informing him thathis friends will be departing very soon in a yacht, to visit theislands on the North-West of Britain, so he joinsthem.Unfortunately there is a fog and the yacht is damaged but all the youngmen and their crew manage to get ashore, finding themselves in theneighbourhoodof a large house, the residence of a gentleman and hisfamily.  They are invited to stay there as his guests, and it is atthis point that the adventures begin,involving fishing, shooting,bird-watching, sailing and so forth.  There is a charming young ladyalso staying in the house, and deploying her hobby ofpainting.  Ourhero falls in love with her, but is very much taken aback when she isjoined by her mother, who turns out to be none other than the elderlylady hehad knocked down back in London.  Even more disastrous was thefire that destroyed the house.  This is a brilliant book, and you willlove it.As a footnote you maybe surprised that one of the children is calledJunkie.  This certainly does not mean that same as it does today:instead it is a nickname given to a favouriteboy-child, and you willfind several examples of this in Ballantyne'sbooks.________________________________________________________________________THE EAGLE CLIFF, BY R.M. BALLANTYNE.CHAPTER ONE.BEGINSTHE TALE--NATURALLY.From the earliest records of history we learn that man has ever beenenvious of the birds, and of all other winged creatures.  He haslongedand striven to fly.  He has also signally failed to do so.We say \"failed\" advisedly, because his various attempts in thatdirection have usually resulted indisappointment and broken bones.  Asto balloons, we do not admit that they fly any more than do ships;balloons merely float and glide, when not otherwiseengaged in tumbling,collapsing, and bursting.This being so, we draw attention to the fact that the nearest approachwe have yet made to the sensation of flying isthat achieved by rushingdown a long, smooth, steep hill-road on a well-oiled and perfectball-bearings bicycle!  Skating cannot compare with this, for thatrequiresexertion; bicycling down hill requires none.  Hunting cannot,no matter how splendid the mount, for that implies a certain element ofbumping, which, howeverpleasant in itself, is not suggestive of thesmooth swift act of flying.We introduce this subject merely because thoughts somewhat similar tothose which we haveso inadequately expressed were burning in the brainof a handsome and joyful young man one summer morning not long ago, as,with legs over the handles, heflashed--if he did not actually fly--downone of our Middlesex hills on his way to London.Urgent haste was in every look and motion of that young man's fineeyesand lithe body.  He would have bought wings at any price had that beenpossible; but, none being yet in the market, he made the most of hiswheel--afifty-eight inch one, by the way, for the young man's legs werelong, as well as strong.Arrived at the bottom of the hill the hilarious youth put his feet tothetreadles, and drove the machine vigorously up the opposite slope.It was steep, but he was powerful.  He breathed hard, no doubt, but henever flagged until hegained the next summit.  A shout burst from hislips as he rolled along the level top, for there, about ten miles off,lay the great city, glittering in the sunshine, andwith only anamber-tinted canopy of its usual smoke above it.Among the tall elms and in the flowering hedgerows between which heswept, innumerable birdswarbled or twittered their astonishment that hecould fly with such heedless rapidity through that beautiful country,and make for the dismal town in suchmagnificent weather.  One aspiringlark overhead seemed to repeat, with persistent intensity, its trill ofself gratulation that it had not been born a man.  Even thecattleappeared to regard the youth as a sort of ornithological curiosity, forthe sentiment, \"Well, you are a goose!\" was clearly written on theirmild faces as he flewpast them.Over the hill-top he went--twelve miles an hour at the least--until hereached the slope on the other side; then down he rushed again, drivingat the firstpart of the descent like an insane steam-engine, till thepace must have increased to twenty miles, at which point, the whirl ofthe wheel becoming too rapid, hewas obliged once more to rest his legson the handles, and take to repose, contemplation, and wiping his heatedbrow--equivalent this, we might say, to thefloating descent of thesea-mew.  Of course the period of rest was of brief duration, for,although the hill was a long slope, with many a glimpse oflovelinessbetween the trees, the time occupied in its flight was short, and, atthe bottom a rustic bridge, with an old inn and a thatched hamlet, withan awkwardlysharp turn in the road beyond it, called for wary andintelligent guidance of this lightning express.Swiftly but safely to the foot of the hill went John Barret (thatwasthe youth's name), at ever-increasing speed, and without check; for noone seemed to be moving about in the quiet hamlet, and the old Englishinn hadapparently fallen asleep.A delicious undulating swoop at the bottom indicates the crossing of thebridge.  A flash, and the inn is in rear.  The hamlet displays nosignof life, nevertheless Barret is cautious.  He lays a finger on the brakeand touches the bell.  He is half-way through the hamlet and all goeswell; still no sign oflife except--yes, this so-called proof of everyrule is always forthcoming, except that there is the sudden appearanceof one stately cock.  This is followedimmediately by its sudden andunstately disappearance.  A kitten also emerges from somewhere, glares,arches, fuffs, becomes indescribable, and--is not!  Two orthreechildren turn up and gape, but do not recover in time to insult, or toincrease the dangers of the awkward turn in the road which is now athand.Barret looksthoughtful.  Must the pace be checked here?  The road isopen and visible.  It is bordered by grass banks and ditches on eitherside.  He rushes close to the leftbank and, careering gracefully to theright like an Algerine felucca in a white squall, dares the laws ofgravitation and centrifugal force to the utmost limitation,anddescribes a magnificent segment of a great circle.  Almost before youcan wink he is straight again, and pegging along with irresistiblepertinacity.Just beyondthe hamlet a suburban lady is encountered, with claspedhands and beseeching eyes, for a loose hairy bundle, animated by thespirit of a dog, stands in the middleof the road, bidding defiance tothe entire universe!  The hairy bundle loses its head all at once,likewise its heart: it has not spirit left even to get out of the way.Amomentary lean of the bicycle first to the left and then to the rightdescribes what artists call \"the line of beauty,\" in a bight of whichthe bundle remains behind,crushed in spirit, but unhurt in body.At the bottom of the next hill a small roadside inn greets our cyclist.That which cocks, kittens, dangers, and dogs could noteffect, the innaccomplishes.  He \"slows.\"  In front of the door he describes an airycirclet, dismounting while yet in motion, leans the lightning expressagainst thewall, and enters.  What! does that vigorous, handsome,powerful fellow, in the flush of early manhood, drink?  Ay, truly hedoes.\"Glass of bitter, sir?\" asks theexuberant landlord.\"Ginger,\" says the young man, pointing significantly to a bit of blueribbon in his button-hole.\"Come far to-day, sir?\" asks the host, as he poursout the liquid.\"Fifty miles--rather more,\" says Barret, setting down the glass.\"Fine weather, sir, for bicycling,\" says the landlord, sweeping in thecoppers.\"Very;good-day.\"Before that cheery \"Good-day\" had ceased to affect the publican's brainBarret was again spinning along the road to London.It was the road on whichthe mail coaches of former days used to whirl,to the merry music of bugle, wheel, and whip, along which so many menand women had plodded in days gone by,in search of fame and fortune andhappiness: some, to find these in a greater or less degree, with much ofthe tinsel rubbed off, others, to find none of them, butinsteadthereof, wreck and ruin in the mighty human whirlpool; and not a few todiscover the fact that happiness does not depend either on fortune orfame, but onspiritual harmony with God in Jesus Christ.Pedestrians there still were on that road, bound for the same goal, and,doubtless, with similar aims; but mail and othercoaches had been drivenfrom the scene.Barret had the broad road pretty much to himself.Quickly he ran into the suburban districts, and here his urgent hastehadto be restrained a little.\"What if I am too late!\" he thought, and almost involuntarily put on aspurt.Soon he entered the crowded thoroughfares, and wascompelled to curbboth steed and spirit.  Passing through one of the less-frequentedstreets in the neighbourhood of Finchley Road, he ventured to give therein tohis willing charger.But here Fortune ceased to smile--and Fortune was to be commended forher severity.Barret, although kind, courteous, manly, sensitive, andreasonablycareful, was not just what he ought to have been.  Although a hero, hewas not perfect.  He committed the unpardonable sin of turning a streetcornersharply!  A thin little old lady crossed the road at the sameidentical moment, slowly.  They met!  Who can describe that meeting?Not the writer, for he did not seeit; more's the pity!  Very few peoplesaw it, for it was a quiet corner.  The parties concerned cannot be saidto have seen, though they felt it.  Both went down.  Itwas awful,really, to see a feeble old lady struggling with an athlete and abicycle!Two little street boys, and a ragged girl appeared as if by magic.  Theyalwaysdo!\"Oh!  I say!  Ain't he bin and squashed 'er?\"Such was the remark of one of the boys.\"Pancakes is plump to 'er,\" was the observation of the other.The raggedgirl said nothing, but looked unspeakable things.Burning with shame, trembling with anxiety, covered with dust andconsiderably bruised, Barret sprang up, lefthis fallen steed, and,raising the little old lady with great tenderness in his arms, sat heron the pavement with her back against the railings, while he pouredoutabject apologies and earnest inquiries.Strange to say the old lady was not hurt in the least--only a good dealshaken and very indignant.Stranger still, a"}
+{"doc_id":"doc_190","qid":"","text":"<html><head><title>It's Complicated Script at IMSDb.</title><meta name=\"description\" content=\"It's Complicated script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"It's Complicated script, It's Complicated movie script, It's Complicated film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b></b><b></b><b></b><b>                           IT'S COMPLICATED</b><b></b><b></b><b></b>                              Writtenby<b></b>                             Nancy Meyers<b></b><b></b><b></b><b></b><b>     FADE IN:</b><b></b><b></b><b>1   EXT. BEACH HOUSE -MONTECITO, CALIFORNIA - DAY                1    </b>    A late afternoon sky, a red tile roof and the Santa Barbara    coast line frame this party of old friends. Atrio plays               Brazilian music as guests carry drinks and nibble on dessert.      <b></b><b></b><b>2   CLOSE - ON A FOURSOME OFFRIENDS                              2</b>    The Couple who live in this house, SALLY AND TED, drink    champagne as they chat with their closest friends, JANEAND        <b>    JAKE.</b><b></b>    JANE is mid-fifties and has embraced that fact. She knows 50    is not the new 40 and because of that, she is stilldescribed    by all who know her as beautiful. Everything about this    woman's appearance screams \"solid.\"<b></b>    The years have been good to JAKE. He'snever lost his looks,    his killer smile, or his ability to charm. He lifts his    glass ofchampagne.                                                <b>                         JAKE</b>               Happy happyhappy...<b></b><b>                         JANE</b>                   (reminding him)               -- Anniversary.<b></b>    Jake pauses, wryly turns to Jane, makingher smile.<b></b><b>                         JAKE</b>               Some things never change.<b></b><b>                            SALLY</b>               Thank"}
+{"doc_id":"doc_191","qid":"","text":"<html><head><title>Neverending Story, The Script at IMSDb.</title><meta name=\"description\" content=\"Neverending Story, The script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Neverending Story, The script, Neverending Story, The movie script, Neverending Story, The filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><!DOCTYPE HTML PUBLIC\"-//W3C//DTD HTML 4.0 Transitional//EN\"><!-- saved from url=(0044)http://www.geocities.com/aranmax/SCRIPT.html --><HTML xmlns:v =\"urn:schemas-microsoft-com:vml\" xmlns:o = \"urn:schemas-microsoft-com:office:office\" xmlns:w =\"urn:schemas-microsoft-com:office:word\"><HEAD><TITLE>Script</TITLE><META http-equiv=Content-Type content=\"text/html;charset=windows-1252\"><META content=\"MSHTML 5.50.4522.1800\" name=GENERATOR></HEAD><BODY lang=EN-US style=\"tab-interval: .5in\" vLink=purplelink=blue><TABLE width=600 border=0><b>  <TBODY></b><b>  <TR></b><b>    <TD></b>      <DD>This Script was transcribed by AranMax at <ahref=\"http://www.geocities.com/aranmax/\">The Neverending Story</a> Page.</DD></TD></TR></TBODY></TABLE><b><P></b><b><P></b><METAcontent=Word.Document name=ProgId><META content=\"Microsoft Word 9\" name=Generator><META content=\"Microsoft Word 9\" name=Originator><LINKhref=\"./Script_files/filelist.xml\" rel=File-List><!--[if gte mso 9]><xml> <o:DocumentProperties>  <o:Author>Aran Peters</o:Author>  <o:LastAuthor>JosephM. Dugandzic</o:LastAuthor>  <o:Revision>2</o:Revision>  <o:TotalTime>462</o:TotalTime>  <o:Created>2000-04-05T06:46:00Z</o:Created>  <o:LastSaved>2000-04-05T06:46:00Z</o:LastSaved>  <o:Pages>37</o:Pages>  <o:Words>7418</o:Words>  <o:Characters>42286</o:Characters>  <o:Company> "}
+{"doc_id":"doc_192","qid":"","text":"<html><head><title>Observe and Report Script at IMSDb.</title><meta name=\"description\" content=\"Observe and Report script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Observe and Report script, Observe and Report movie script, Observe and Report film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>           <b>          </b><b>          </b><b>                                 OBSERVE ANDREPORT</b><b>          </b><b>          </b><b>          </b>                                    Written by<b>          </b>                                    JodyHill<b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          FADEIN:                                                   </b><b>          </b><b>          EXT. CAROLINA MALL - MORNING</b><b>          </b><b>          ONE LONG TRACKINGSHOT FROM THE BACK.</b><b>          </b>          A PERVERT in a trench coat runs along the edge of the          mall. A group of OLD WOMEN is coming towardthe MAIN          ENTRANCE. The Pervert opens his trench coat and flashes          the old women. They SCREAM!<b>          </b>          The Pervert ducks behindthe bushes and runs with the          skill of a Navy SEAL. A FAMILY is walking down the          sidewalk. The Pervert opens his trench coat andflashes          them.<b>          </b>          The Pervert ducks behind a dumpster. He keeps running          and sees a car driving by. The Pervert flashes theCAR.<b>          </b>          The Pervert takes a two-step run, sees ANOTHER LADY,          flashes her. He dives behind a car. Then pops up and          flashesANOTHER GIRL.<b>          </b>          It's an all-out Pervert assault!<b>          </b>          The Pervert then runs across the parking lot, jumps a          fence,and darts from the property -- vanishing as          quickly as a Ninja who just perfectly executed"}
+{"doc_id":"doc_193","qid":"","text":"The Project Gutenberg EBook of The Coming Race, by Edward Bulwer LyttonThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Coming RaceAuthor: Edward Bulwer LyttonRelease Date: February 18, 2006 [EBook #1951]Last Updated: August 28,2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE COMING RACE ***Produced by Fred Ihde and DavidWidgerTHE COMING RACEby Edward Bulwer, Lord LyttonChapter I.I am a native of _____, in the United States of America. My ancestorsmigrated from England inthe reign of Charles II.; and my grandfatherwas not undistinguished in the War of Independence. My family,therefore, enjoyed a somewhat high social position inright of birth;and being also opulent, they were considered disqualified for the publicservice. My father once ran for Congress, but was signally defeated byhistailor. After that event he interfered little in politics, and livedmuch in his library. I was the eldest of three sons, and sent at the ageof sixteen to the old country,partly to complete my literary education,partly to commence my commercial training in a mercantile firm atLiverpool. My father died shortly after I wastwenty-one; and being leftwell off, and having a taste for travel and adventure, I resigned, fora time, all pursuit of the almighty dollar, and became adesultorywanderer over the face of the earth.In the year 18__, happening to be in _____, I was invited by aprofessional engineer, with whom I had madeacquaintance, to visit therecesses of the ________ mine, upon which he was employed.The reader will understand, ere he close this narrative, my reasonforconcealing all clue to the district of which I write, and will perhapsthank me for refraining from any description that may tend to itsdiscovery.Let me say, then,as briefly as possible, that I accompanied theengineer into the interior of the mine, and became so strangelyfascinated by its gloomy wonders, and so interestedin my friend\u0000sexplorations, that I prolonged my stay in the neighbourhood, anddescended daily, for some weeks, into the vaults and galleries hollowedby natureand art beneath the surface of the earth. The engineer waspersuaded that far richer deposits of mineral wealth than had yet beendetected, would be found in anew shaft that had been commenced underhis operations. In piercing this shaft we came one day upon a chasmjagged and seemingly charred at the sides, as ifburst asunder at somedistant period by volcanic fires. Down this chasm my friend causedhimself to be lowered in a \u0000cage,\u0000 having first tested theatmosphereby the safety-lamp. He remained nearly an hour in the abyss. When hereturned he was very pale, and with an anxious, thoughtful expressionof face,very different from its ordinary character, which was open,cheerful, and fearless.He said briefly that the descent appeared to him unsafe, and leading tono result;and, suspending further operations in the shaft, we returnedto the more familiar parts of the mine.All the rest of that day the engineer seemed preoccupied bysomeabsorbing thought. He was unusually taciturn, and there was a scared,bewildered look in his eyes, as that of a man who has seen a ghost. Atnight, as wetwo were sitting alone in the lodging we shared togethernear the mouth of the mine, I said to my friend,--\u0000Tell me frankly what you saw in that chasm: I amsure it was somethingstrange and terrible. Whatever it be, it has left your mind in a stateof doubt. In such a case two heads are better than one. Confide inme.\u0000The engineer long endeavoured to evade my inquiries; but as, while hespoke, he helped himself unconsciously out of the brandy-flask to adegree to whichhe was wholly unaccustomed, for he was a very temperateman, his reserve gradually melted away. He who would keep himself tohimself should imitate the dumbanimals, and drink water. At last hesaid, \u0000I will tell you all. When the cage stopped, I found myself ona ridge of rock; and below me, the chasm, taking a slantingdirection,shot down to a considerable depth, the darkness of which my lamp couldnot have penetrated. But through it, to my infinite surprise, streamedupward asteady brilliant light. Could it be any volcanic fire? In thatcase, surely I should have felt the heat. Still, if on this there wasdoubt, it was of the utmost importanceto our common safety to clear itup. I examined the sides of the descent, and found that I could ventureto trust myself to the irregular projection of ledges, atleast for someway. I left the cage and clambered down. As I drew nearer and nearer tothe light, the chasm became wider, and at last I saw, to myunspeakableamaze, a broad level road at the bottom of the abyss, illumined as faras the eye could reach by what seemed artificial gas-lamps placed atregularintervals, as in the thoroughfare of a great city; and I heardconfusedly at a distance a hum as of human voices. I know, of course,that no rival miners are at workin this district. Whose could be thosevoices? What human hands could have levelled that road and marshalledthose lamps?\u0000The superstitious belief, common tominers, that gnomes or fiends dwellwithin the bowels of the earth, began to seize me. I shuddered at thethought of descending further and braving theinhabitants of this nethervalley. Nor indeed could I have done so without ropes, as from the spotI had reached to the bottom of the chasm the sides of the rocksank downabrupt, smooth, and sheer. I retraced my steps with some difficulty. NowI have told you all.\u0000\u0000You will descend again?\u0000\u0000I ought, yet I feel as if Idurst not.\u0000\u0000A trusty companion halves the journey and doubles the courage. I willgo with you. We will provide ourselves with ropes of suitable lengthandstrength--and--pardon me--you must not drink more to-night, our handsand feet must be steady and firm tomorrow.\u0000Chapter II.With the morning myfriend\u0000s nerves were rebraced, and he was notless excited by curiosity than myself. Perhaps more; for he evidentlybelieved in his own story, and I feltconsiderable doubt of it; not thathe would have wilfully told an untruth, but that I thought he must havebeen under one of those hallucinations which seize on ourfancy or ournerves in solitary, unaccustomed places, and in which we give shape tothe formless and sound to the dumb.We selected six veteran miners to watchour descent; and as the cageheld only one at a time, the engineer descended first; and when he hadgained the ledge at which he had before halted, the cagerearose for me.I soon gained his side. We had provided ourselves with a strong coil ofrope.The light struck on my sight as it had done the day before onmyfriend\u0000s. The hollow through which it came sloped diagonally: it seemedto me a diffused atmospheric light, not like that from fire, but softand silvery, as froma northern star. Quitting the cage, we descended,one after the other, easily enough, owing to the juts in the side, tillwe reached the place at which my friend hadpreviously halted, and whichwas a projection just spacious enough to allow us to stand abreast. Fromthis spot the chasm widened rapidly like the lower end of avast funnel,and I saw distinctly the valley, the road, the lamps which my companionhad described. He had exaggerated nothing. I heard the sounds hehadheard--a mingled indescribable hum as of voices and a dull tramp as offeet. Straining my eye farther down, I clearly beheld at a distance theoutline of somelarge building. It could not be mere natural rock, itwas too symmetrical, with huge heavy Egyptian-like columns, and thewhole lighted as from within. I had aboutme a small pocket-telescope,and by the aid of this, I could distinguish, near the building Imention, two forms which seemed human, though I could not be sure.Atleast they were living, for they moved, and both vanished within thebuilding. We now proceeded to attach the end of the rope we had broughtwith us to theledge on which we stood, by the aid of clamps andgrappling hooks, with which, as well as with necessary tools, we wereprovided.We were almost silent in ourwork. We toiled like men afraid to speak toeach other. One end of the rope being thus apparently made firm to theledge, the other, to which we fastened afragment of the rock, rested onthe ground below, a distance of some fifty feet. I was a younger man anda more active man than my companion, and havingserved on board ship inmy boyhood, this mode of transit was more familiar to me than to him. Ina whisper I claimed the precedence, so that when I gained theground Imight serve to hold the rope more steady for his descent. I got safelyto the ground beneath, and the engineer now began to lower himself.But he hadscarcely accomplished ten feet of the descent, when thefastenings, which we had fancied so secure, gave way, or rather therock itself proved treacherous andcrumbled beneath the strain; and theunhappy man was precipitated to the bottom, falling just at my feet,and bringing down with his fall splinters of the rock, oneof which,fortunately but a small one, struck and for the time stunned me. When Irecovered my senses I saw my companion an inanimate mass beside me,lifeutterly extinct. While I was bending over his corpse in grief andhorror, I heard close at hand a strange sound between a snort and ahiss; and turning instinctivelyto the quarter from which it came, I sawemerging from a dark fissure in the rock a vast and terrible head,with open jaws and dull, ghastly, hungry eyes--the headof a monstrousreptile resembling that of the crocodile or alligator, but infinitelylarger than the largest creature of that kind I had ever beheld in mytravels. Istarted to my feet and fled down the valley at my utmostspeed. I stopped at last, ashamed of my panic and my flight, andreturned to the spot on which I had leftthe body of my friend. Itwas gone; doubtless the monster had already drawn it into its den anddevoured it. The rope and the grappling-hooks still lay where theyhadfallen, but they afforded me no chance of return; it was impossible tore-attach them to the rock above, and the sides of the rock were toosheer and smoothfor human steps to clamber. I was alone in this strangeworld, amidst the bowels of the earth.Chapter III.Slowly and cautiously I went my solitary way down thelamplit road andtowards the large building I have described. The road itself seemed likea great Alpine pass, skirting rocky mountains of which the onethroughwhose chasm I had descended formed a link. Deep below to the left laya vast valley, which presented to my astonished eye the unmistakeableevidencesof art and culture. There were fields covered with a strangevegetation, similar to none I have seen above the earth; the colour ofit not green, but rather of a dulland leaden hue or of a golden red.There were lakes and rivulets which seemed to have been curved intoartificial banks; some of pure water, others that shonelike pools ofnaphtha. At my right hand, ravines and defiles opened amidst the rocks,with passes between, evidently constructed by art, and bordered bytreesresembling, for the most part, gigantic ferns, with exquisite varietiesof feathery foliage, and stems like those of the palm-tree. Others weremore like the"}
+{"doc_id":"doc_194","qid":"","text":"<html><head><title>Dark Star Script at IMSDb.</title><meta name=\"description\" content=\"Dark Star script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Dark Star script, Dark Star movie script, Dark Star film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head>   <title>\"Dark Star\", short film script, by John Carpenter & Dan O'Bannon</title></head><bodybgcolor=\"#ffffff\">   <pre>                    <u>DARK STAR: A SCIENCE FICTION ADVENTURE</u>                 A Screenplay by John Carpenter and DanO'Bannon<b>     OPEN ON BLACK SILENCE.</b>     The sound of electronic music rises, hollow, metallic.     FADE IN on a long TRACKING SHOT through theuniverse.  As the NARRATOR     speaks we move through galaxies, nebulae, solar systems, moving from     the infinite slowly down to a particular planetarysystem deep within     a maze of suns.<b>                                   NARRATOR</b>                              (over)                    It is the mid 22ndCentury.  Mankind                    has explored the boundaries of his                    own solar system, and now he reaches                    out to the endlessinterstellar                    distances of the universe.  He moves                    away from his own small planetary                    system in huge hyperdrivestarships:                    computer-driven, self-supporting,                    closed-system spacecraft that travel                    at mind-staggeringpost-light                    velocities.  Man has begun to spread                    among the stars.  Enormous ships                    embark with generations ofcolonists                    searching the depths of space for                    new earths, now homes, new                    beginnings.  Far in advance ofthese                    colony ships goes a new pioneer: the                    scouts, the pathfinders, a special                    breed of man who has dedicated"}
+{"doc_id":"doc_195","qid":"","text":"<html><head><title>Fright Night (1985) Script at IMSDb.</title><meta name=\"description\" content=\"Fright Night (1985) script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Fright Night (1985) script, Fright Night (1985) movie script, Fright Night (1985) film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  FRIGHT NIGHT</b>                                   Written by                                   TomHolland                                                  <b>                                                          FINAL DRAFT</b>                                                        Sep 6th,1984                         <b>          1.</b><b>                         FADE IN:</b><b>          EXT. FULL MOON - NIGHT (AND CREDITS. ROLL)</b>          Cloudsobscure the starless heavens for a moment, heavy and          ominous in the black firmament. Then suddenly they clear,          exposing a full moon streakedwith red like a killer's          face, a stalking moon staring down at man's evil on the          earth below.          A HOWL breaks the night, a wolf pursuing its preyperhaps,          or perhaps something much, much worse. VOICES break the          perfect stillness.<b>          JONATHAN (V.0.)</b>          What wasthat?<b>          MISS NINA (V.0.)</b>          Just a child of night, Jonathan.          Come, sit here beside me on the          veranda.<b>          JONATHAN(V.0.)</b>          It's chilly out here.<b>          MISS NINA (V.0.)</b>          Oh, no, it isn't. It's beautiful. I          love the night so.<b>          2 EXT. RANCHOCORVALLIS - NIGHT</b>          A middling size town lost somewhere in the Southwest, the          lights of its sixty some thousand residents twinklinglike          so many Christmas lights in the night.<b>          JONATHAN (V.0.)</b>          I've never seen you so beautiful          before, Nina. So pale,so          luminescent, so          He suddenly stops. There is a moment. Then:<b>          MISS NINA (V.0. )</b>          Yes?<b>          JONATHAN"}
+{"doc_id":"doc_196","qid":"","text":"The Project Gutenberg EBook of Bussy D'Ambois and The Revenge of BussyD'Ambois, by George ChapmanThis eBook is for the use of anyone anywhere at nocost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith thiseBook or online at www.gutenberg.orgTitle: Bussy D'Ambois and The Revenge of Bussy D'AmboisAuthor: George ChapmanEditor: Frederick S. BoasRelease Date:March 24, 2007 [EBook #20890]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK BUSSY D'AMBOIS***Produced by Melissa Er-Raqabi, Ted Garvin, Lisa Reigel,Michael Zeug, and the Online Distributed Proofreading Teamat http://www.pgdp.netTranscriber'sNote: Words italicized in the original are surrounded by_underscores_. Words in bold in the original are surrounded by =equalsigns=. Greek words may notdisplay properly--in that case, try theplain text version.BUSSY D'AMBOISANDTHE REVENGE OFBUSSY D'AMBOISBY GEORGE CHAPMANEDITED BYFREDERICK S.BOAS, M.A.PROFESSOR OF ENGLISH LITERATURE INQUEEN'S COLLEGE, BELFASTBOSTON, U.S.A., AND LONDOND. C. HEATH & CO.,PUBLISHERS1905COPYRIGHT, 1905, BYD. C. HEATH & CO.Prefatory NoteIn this volume an attempt is made for the first time to edit _BussyD'Ambois_ and _TheRevenge of Bussy D'Ambois_ in a manner suitable tothe requirements of modern scholarship. Of the relations of this editionto its predecessors some details aregiven in the Notes on the Text ofthe two plays. But in these few prefatory words I should like to callattention to one or two points, and make someacknowledgments.The immediate source of _Bussy D'Ambois_ still remains undiscovered. Butthe episodes in the career of Chapman's hero, vouched forbycontemporaries like Brantôme and Marguerite of Valois, and related insome detail in my _Introduction_, are typical of the material which thedramatist workedupon. And an important clue to the spirit in which hehandled it is the identification, here first made, of part of Bussy'sdying speech with lines put by Seneca intothe mouth of Hercules in hislast agony on Mount Oeta. The exploits of D'Ambois were in Chapman'simaginative vision those of a semi-mythical hero rather than ofaFrenchman whose life overlapped with his own.On the _provenance_ of _The Revenge of Bussy D'Ambois_ I have beenfortunately able, with valuable assistancefrom others, to cast much newlight. In an article in _The Athenæum_, Jan. 10, 1903, I showed that theimmediate source of many of the episodes in the play wasEdwardGrimeston's translation (1607) of Jean de Serres's _Inventaire Généralde l'Histoire de France_. Since that date I owe to Mr. H. Richards,Fellow ofWadham College, Oxford, the important discovery that a numberof speeches in the play are borrowed from the _Discourses_ of Epictetus,from whom Chapmandrew his conception of the character of ClermontD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,has given me valuable help in explainingsome obscure classicalallusions. Dr. J. A. H. Murray, the editor of the _New EnglishDictionary_, has kindly furnished me with the interpretation of adifficultpassage in _Bussy D'Ambois_; and Mr. W. J. Craig, editor ofthe _Arden_ Shakespeare, and Mr. Le Gay Brereton, of the University ofSidney, have been goodenough to proffer helpful suggestions. Finally Iam indebted to Professor George P. Baker, the General Editor of thisSeries, for valuable advice and help on a largenumber of points, whilethe proofs of this volume were passing through the press.                                                           F. S. B.BiographyGeorge Chapman wasprobably born in the year after Elizabeth'saccession. Anthony Wood gives 1557 as the date, but the inscription onhis portrait, prefixed to the edition of _TheWhole Works of Homer_ in1616, points to 1559. He was a native of Hitchin in Hertfordshire, as welearn from an allusion in his poem _Euthymiæ Raptus_ or _TheTeares ofPeace_, and from W. Browne's reference to him in _Britannia's Pastorals_as \"the learned shepheard of faire Hitching Hill.\" According to Wood \"in1574 orthereabouts, he being well grounded in school learning was sentto the University.\" Wood is uncertain whether he went first to Oxford orto Cambridge, but he issure, though he gives no authority for thestatement, that Chapman spent some time at the former \"where he wasobserved to be most excellent in the Latin & Greek tongues, but not inlogic or philosophy, and therefore I presume that that was the reasonwhy he took no degree there.\"His life for almost a couple ofdecades afterwards is a blank, though ithas been conjectured on evidences drawn from _The Shadow of Night_ and_Alphonsus Emperor of Germany_,respectively, that he served in one ofSir F. Vere's campaigns in the Netherlands, and that he travelled inGermany. _The Shadow of Night_, consisting of two\"poeticall hymnes\"appeared in 1594, and is his first extant work. It was followed in 1595by _Ovid's Banquet of Sence_, _The Amorous Zodiac_, and otherpoems.These early compositions, while containing fine passages, are obscureand crabbed in style.[v-1] In 1598 appeared Marlowe's fragmentary _HeroandLeander_ with Chapman's continuation. By this year he hadestablished his position as a playwright, for Meres in his _PalladisTamia_ praises him both as a writerof tragedy and of comedy. We knowfrom Henslowe's _Diary_ that his earliest extant comedy _The BlindeBegger of Alexandria_ was produced on February 12,1596, and that forthe next two or three years he was working busily for this enterprisingmanager. _An Humerous dayes Myrth_ (pr. 1599), and _All Fooles_(pr.1605) under the earlier title of _The World Runs on Wheels_,[vi-1] werecomposed during this period.Meanwhile he had begun the work with which his name ismost closelylinked, his translation of Homer. The first instalment, entitled _SeavenBookes of the Iliades of Homere, Prince of Poets_, was published in1598, andwas dedicated to the Earl of Essex. After the Earl's executionChapman found a yet more powerful patron, for, as we learn from theletters printed recently in _TheAthenæum_ (cf. _Bibliography_, sec.III), he was appointed about 1604 \"sewer (i. e. cupbearer) in ordinary,\"to Prince Henry, eldest son of James I. The Princeencouraged him toproceed with his translation, and about 1609 appeared the first twelvebooks of the _Iliad_ (including the seven formerly published) with afine\"Epistle Dedicatory,\" to \"the high-born Prince of men, Henry.\" In1611 the version of the _Iliad_ was completed, and that of the _Odyssey_was, at Prince Henry'sdesire, now taken in hand. But the untimely deathof the Prince, on November 6th, 1612, dashed all Chapman's hopes ofreceiving the anticipated reward of hislabours. According to a petitionwhich he addressed to the Privy Council, the Prince had promised him onthe conclusion of his translation £300, and \"uppon hisdeathbed a goodpension during my life.\" Not only were both of these withheld, but hewas deprived of his post of \"sewer\" by Prince Charles. Neverthelesshecompleted the version of the _Odyssey_ in 1614, and in 1616 he publisheda folio volume entitled _The Whole Works of Homer_. The translation, inspite of itsinaccuracies and its \"conceits,\" is, by virtue of itssustained dignity and vigour, one of the noblest monuments ofElizabethan genius.By 1605, if not earlier,Chapman had resumed his work for the stage. Inthat year he wrote conjointly with Marston and Jonson the comedy of_Eastward Hoe_. On account of somepassages reflecting on the Scotch,the authors were imprisoned. The details of the affair are obscure.According to Jonson, in his conversation later withDrummond, Chapmanand Marston were responsible for the obnoxious passages, and hevoluntarily imprisoned himself with them. But in one of therecentlyprinted letters, which apparently refers to this episode, Chapmandeclares that he and Jonson lie under the Kings displeasure for \"twoclawses and both ofthem not our owne,\" i. e., apparently, written byMarston.[vii-1] However this may be, the offenders were soon released,and Chapman continued energetically hisdramatic work. In 1606 appearedtwo of his most elaborate comedies, _The Gentleman Usher_ and _MonsieurD'Olive_, and in the next year was published his firstand mostsuccessful tragedy, _Bussy D'Ambois_. In 1608 were produced twoconnected plays, _The Conspiracie and Tragedie of Charles, Duke ofByron_, dealingwith recent events in France, and based upon materialsin E. Grimeston's translation (1607) of Jean de Serres' History. AgainChapman found himself in troublewith the authorities, for the Frenchambassador, offended by a scene in which Henry IV's Queen was introducedin unseemly fashion, had the performance of theplays stopped for atime. Chapman had to go into hiding to avoid arrest, and when he cameout, he had great difficulty in getting the plays licensed forpublication,even with the omission of the offending episodes. Hisfourth tragedy based on French history, _The Revenge of Bussy D'Ambois_,appeared in 1613. It had beenpreceded by two comedies, _May-Day_(1611), and _The Widdowes' Teares_ (1612). Possibly, as Mr Dobellsuggests (_Athenæum_, 23 March, 1901), the coarsesatire of the latterplay may have been due to its author's annoyance at the apparent refusalof his suit by a widow to whom some of the recently printed lettersareaddressed. In 1613 he produced his _Maske of the Middle Temple andLyncolns Inne_, which was one of the series performed in honour of themarriage of thePrincess Elizabeth and the Elector Palatine. Anotherhymeneal work, produced on a much less auspicious occasion, was anallegorical poem, _AndromedaLiberata_, celebrating the marriage of theEarl of Somerset with the divorced Lady Essex in December, 1613.The year 1614, when the _Odyssey_ was completed,marks the culminatingpoint of Chapman's literary activity. Henceforward, partly perhaps owingto the disappointment of his hopes through Prince Henry's death,hisproduction was more intermittent. Translations of the _Homeric Hymns_,of the _Georgicks_ of Hesiod, and other classical writings, mainlyoccupy the period till1631. In that year he printed another tragedy,_Cæsar and Pompey_, which, however, as we learn from the dedication, hadbeen written \"long since.\" Theremaining plays with which his name hasbeen connected did not appear during his lifetime. A comedy, _The Ball_,licensed in 1632, but not published till 1639,has the names of Chapmanand Shirley on the title-page, but the latter was certainly its mainauthor. Another play, however, issued in the same year, and ascribedtothe same hands, _The Tragedie of Chabot, Admiral of France_ makes theimpression, from its subject-matter and its style, of being chiefly dueto Chapman. In1654 two tragedies, _Alphonsus Emperour of Germany_ and_The Revenge for Honour_, were separately published under Chapman'sname. Their authorship,however, is doubtful. There is nothing in thestyle or diction of _Alphonsus_ which resembles Chapman's undisputedwork, and it is hard to believe that he had ahand in it. _The Revengefor Honour_ is on an Oriental theme, entirely different from thosehandled by Chapman in his other tragedies, and the versification"}
+{"doc_id":"doc_197","qid":"","text":"The Project Gutenberg EBook of Anne Of Avonlea, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Anne Of AvonleaAuthor: Lucy Maud MontgomeryRelease Date: March 7, 2006 [EBook #47]Language: English*** START OF THISPROJECT GUTENBERG EBOOK ANNE OF AVONLEA ***Produced by An Anonymous Volunteer and David WidgerANNE OF AVONLEAby Lucy Maud MontgomeryTomyformer teacherHATTIE GORDON SMITHin grateful remembrance of hersympathy and encouragement.     Flowers spring to blossom where she walks     Thecareful ways of duty,     Our hard, stiff lines of life with her     Are flowing curves of beauty.     --WHITTIER     I         An Irate Neighbor     II        Selling in Hasteand Repenting at Leisure     III       Mr. Harrison at Home     IV        Different Opinions47     V         A Full-fledged Schoolma'am     VI        All Sorts andConditions of Men . . . and women     VII       The Pointing of Duty     VIII      Marilla Adopts Twins     IX        A Question of Color     X         Davy in Search of aSensation     XI        Facts and Fancies     XII       A Jonah Day     XIII      A Golden Picnic     XIV       A Danger Averted     XV        The Beginning ofVacation     XVI       The Substance of Things Hoped For     XVII      A Chapter of Accidents     XVIII     An Adventure on the Tory Road     XIX       Just a HappyDay     XX        The Way It Often Happens     XXI       Sweet Miss Lavendar     XXII      Odds and Ends     XXIII     Miss Lavendar's Romance     XXIV      A Prophetin His Own Country     XXV       An Avonlea Scandal     XXVI      Around the Bend     XXVII     An Afternoon at the Stone House     XXVIII    The Prince Comes Backto the Enchanted Palace     XXIX      Poetry and Prose     XXX       A Wedding at the Stone HouseIAn Irate NeighborA tall, slim girl, \"half-past sixteen,\" withserious gray eyes and hairwhich her friends called auburn, had sat down on the broad red sandstonedoorstep of a Prince Edward Island farmhouse one ripeafternoon inAugust, firmly resolved to construe so many lines of Virgil.But an August afternoon, with blue hazes scarfing the harvest slopes,little winds whisperingelfishly in the poplars, and a dancing slendorof red poppies outflaming against the dark coppice of young firs in acorner of the cherry orchard, was fitter fordreams than dead languages.The Virgil soon slipped unheeded to the ground, and Anne, her chinpropped on her clasped hands, and her eyes on the splendidmass offluffy clouds that were heaping up just over Mr. J. A. Harrison's houselike a great white mountain, was far away in a delicious world where acertainschoolteacher was doing a wonderful work, shaping the destiniesof future statesmen, and inspiring youthful minds and hearts with highand lofty ambitions.To besure, if you came down to harsh facts . . . which, it must beconfessed, Anne seldom did until she had to . . . it did not seem likelythat there was much promisingmaterial for celebrities in Avonleaschool; but you could never tell what might happen if a teacher usedher influence for good. Anne had certain rose-tinted idealsof what ateacher might accomplish if she only went the right way about it; andshe was in the midst of a delightful scene, forty years hence, with afamouspersonage . . . just exactly what he was to be famous for was leftin convenient haziness, but Anne thought it would be rather nice to havehim a college presidentor a Canadian premier . . . bowing low over herwrinkled hand and assuring her that it was she who had first kindled hisambition, and that all his success in lifewas due to the lessons shehad instilled so long ago in Avonlea school. This pleasant vision wasshattered by a most unpleasant interruption.A demure little Jerseycow came scuttling down the lane and five secondslater Mr. Harrison arrived . . . if \"arrived\" be not too mild a term todescribe the manner of his irruption into theyard.He bounced over the fence without waiting to open the gate, and angrilyconfronted astonished Anne, who had risen to her feet and stood lookingat him insome bewilderment. Mr. Harrison was their new righthandneighbor and she had never met him before, although she had seen himonce or twice.In early April,before Anne had come home from Queen's, Mr. Robert Bell,whose farm adjoined the Cuthbert place on the west, had sold out andmoved to Charlottetown. Hisfarm had been bought by a certain Mr. J. A.Harrison, whose name, and the fact that he was a New Brunswick man, wereall that was known about him. But beforehe had been a month in Avonleahe had won the reputation of being an odd person . . . \"a crank,\" Mrs.Rachel Lynde said. Mrs. Rachel was an outspoken lady, asthose of youwho may have already made her acquaintance will remember. Mr. Harrisonwas certainly different from other people . . . and that is theessentialcharacteristic of a crank, as everybody knows.In the first place he kept house for himself and had publicly statedthat he wanted no fools of womenaround his diggings. FeminineAvonlea took its revenge by the gruesome tales it related about hishouse-keeping and cooking. He had hired little John Henry CarterofWhite Sands and John Henry started the stories. For one thing, therewas never any stated time for meals in the Harrison establishment. Mr.Harrison \"got a bite\"when he felt hungry, and if John Henry were aroundat the time, he came in for a share, but if he were not, he had to waituntil Mr. Harrison's next hungry spell.John Henry mournfully averredthat he would have starved to death if it wasn't that he got home onSundays and got a good filling up, and that his mother alwaysgave him abasket of \"grub\" to take back with him on Monday mornings.As for washing dishes, Mr. Harrison never made any pretence of doing itunless a rainySunday came. Then he went to work and washed them all atonce in the rainwater hogshead, and left them to drain dry.Again, Mr. Harrison was \"close.\" When hewas asked to subscribe to theRev. Mr. Allan's salary he said he'd wait and see how many dollars'worth of good he got out of his preaching first . . . he didn'tbelievein buying a pig in a poke. And when Mrs. Lynde went to ask for acontribution to missions . . . and incidentally to see the inside ofthe house . . . he told herthere were more heathens among the old womangossips in Avonlea than anywhere else he knew of, and he'd cheerfullycontribute to a mission for Christianizingthem if she'd undertake it.Mrs. Rachel got herself away and said it was a mercy poor Mrs. RobertBell was safe in her grave, for it would have broken her heart toseethe state of her house in which she used to take so much pride.\"Why, she scrubbed the kitchen floor every second day,\" Mrs. Lynde toldMarilla Cuthbertindignantly, \"and if you could see it now! I had tohold up my skirts as I walked across it.\"Finally, Mr. Harrison kept a parrot called Ginger. Nobody in Avonleahadever kept a parrot before; consequently that proceeding was consideredbarely respectable. And such a parrot! If you took John Henry Carter'sword for it,never was such an unholy bird. It swore terribly. Mrs.Carter would have taken John Henry away at once if she had been sureshe could get another place for him.Besides, Ginger had bitten a pieceright out of the back of John Henry's neck one day when he had stoopeddown too near the cage. Mrs. Carter showed everybodythe mark when theluckless John Henry went home on Sundays.All these things flashed through Anne's mind as Mr. Harrison stood,quite speechless with wrathapparently, before her. In his most amiablemood Mr. Harrison could not have been considered a handsome man; he wasshort and fat and bald; and now, with hisround face purple with rageand his prominent blue eyes almost sticking out of his head, Annethought he was really the ugliest person she had ever seen.All atonce Mr. Harrison found his voice.\"I'm not going to put up with this,\" he spluttered, \"not a day longer,do you hear, miss. Bless my soul, this is the third time, miss. . .  thethird time! Patience has ceased to be a virtue, miss. I warned your auntthe last time not to let it occur again . . .  and she's let it . . . she'sdone it . . .what does she mean by it, that is what I want to know. Thatis what I'm here about, miss.\"\"Will you explain what the trouble is?\" asked Anne, in her mostdignifiedmanner. She had been practicing it considerably of late tohave it in good working order when school began; but it had no apparenteffect on the irate J. A.Harrison.\"Trouble, is it? Bless my soul, trouble enough, I should think. Thetrouble is, miss, that I found that Jersey cow of your aunt's in my oatsagain, not half anhour ago. The third time, mark you. I found her inlast Tuesday and I found her in yesterday. I came here and told youraunt not to let it occur again. She has let itoccur again. Where's youraunt, miss? I just want to see her for a minute and give her a piece ofmy mind . . . a piece of J. A. Harrison's mind, miss.\"\"If you meanMiss Marilla Cuthbert, she is not my aunt, and she has gonedown to East Grafton to see a distant relative of hers who is very ill,\"said Anne, with due increase ofdignity at every word. \"I am very sorrythat my cow should have broken into your oats . . .  she is my cow and notMiss Cuthbert's . . . Matthew gave her to methree years ago when she wasa little calf and he bought her from Mr. Bell.\"\"Sorry, miss! Sorry isn't going to help matters any. You'd better go andlook at thehavoc that animal has made in my oats . . . trampled them fromcenter to circumference, miss.\"\"I am very sorry,\" repeated Anne firmly, \"but perhaps if you keptyourfences in better repair Dolly might not have broken in. It is your partof the line fence that separates your oatfield from our pasture and Inoticed the other daythat it was not in very good condition.\"\"My fence is all right,\" snapped Mr. Harrison, angrier than ever at thiscarrying of the war into the enemy's country. \"Thejail fence couldn'tkeep a demon of a cow like that out. And I can tell you, you redheadedsnippet, that if the cow is yours, as you say, you'd be better employedinwatching her out of other people's grain than in sitting roundreading yellow-covered novels,\" . . . with a scathing glance at theinnocent tan-colored Virgil byAnne's feet.Something at that moment was red besides Anne's hair . . . which hadalways been a tender point with her.\"I'd rather have red hair than none at all,except a little fringe roundmy ears,\" she flashed.The shot told, for Mr. Harrison was really very sensitive about his baldhead. His anger choked him up again andhe could only glare speechlesslyat Anne, who recovered her temper and followed up her advantage.\"I can make allowance for you, Mr. Harrison, because I haveanimagination. I can easily imagine how very trying it must be to find acow in your oats and I shall not cherish any hard feelings against youfor the things you'vesaid. I promise you that Dolly shall never breakinto your oats again. I give you my word of honor on THAT point.\"\"Well, mind you she doesn't,\" muttered Mr.Harrison in a somewhatsubdued tone; but he stamped off angrily enough and Anne heard himgrowling to himself until he was out of earshot.Grievously disturbedin mind, Anne marched across the yard and shut thenaughty Jersey up in the milking pen.\"She can't possibly get out of that unless she tears the fence down,\"she"}
+{"doc_id":"doc_198","qid":"","text":"<html><head><title>Ninja Assassin Script at IMSDb.</title><meta name=\"description\" content=\"Ninja Assassin script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Ninja Assassin script, Ninja Assassin movie script, Ninja Assassin film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b></b><b></b><b></b><b>                         NINJAASSASSIN</b><b></b><b></b><b></b><b></b><b></b>                           Written by<b></b>              Matthew Sand & J. MichaelStraczynski<b></b><b></b><b></b><b></b><b></b>                                      REVISED 2ndDRAFT   6/4/08<b></b><b></b><b>                                                        FADE IN:</b><b></b>    CLOSE ON a Horimono Tattoo as it is being drawninto    flesh. The ink is needled into the surface of the skin,    raw and bloody, the needled brush tapped with the    precision of ritual.<b></b>    The tattoo is inthe style of a Kuniyoshi print: Miyamoto    Musashi thrusting his spear into the writhing dragon.    The image has beauty but retains the violence requiredto    saturate flesh with art.<b></b>    The skin canvas shifts uncomfortably with theneedle-    work.<b></b><b>                             HOLLYWOOD</b>              Fuck!   Fucking-shit-fuck-fucking-              fuck!<b></b>    PULL BACK to revealthat we're in...<b></b><b></b><b>1   INT. TATTOO PARLOR - NIGHT                                      1</b><b></b>    A place of designer furniture, beautiful girlscarrying    towels, tea and cigarettes. Dozens of Yakuza look on as    the process continues, sleeves rolled up or shirts off to    expose the lavish tattoos that covertheir torsos.<b></b>    HOLLYWOOD, the young Yakuza member, is getting his first    tattoo, a relatively small one on his back.<b></b>    He grabs a bottle of"}
+{"doc_id":"doc_199","qid":"","text":"<html><head><title>Die Hard Script at IMSDb.</title><meta name=\"description\" content=\"Die Hard script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Die Hard script, Die Hard movie script, Die Hard film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                              \"DIE HARD\"</b><b>                              </b><b>                              </b>                              Screenplay     <b>                                  </b>                                  by<b>                              </b>                              JebStuart<b>                             </b><b>                             </b>                             Revisionsby<b>                           </b><b>                           </b>                           Steven E.DeSouza<b>                          </b><b>                          </b><b>                          </b><b>                          </b>                          based on thenovel<b>                         </b>                         Nothing LastsForever         <b>                                  </b>                                  by                                                        Roderick Thorp<b>        </b>        WITHREVISION #1  (Blue)    WITH REVISION #5  (Goldenrod)        November 2, 1987            November 5, 1987        WITH REVISION #2  (Pink)    WITH REVISION#6  (Salmon)        November 4, 1987            November 17, 1987        WITH REVISION #3  (Green)   WITH REVISION #7  (Blue)        November 4,1987            November 23, 1987<b>        </b>        WITH REVISION #4  (Yellow)  WITH REVISION #8  (Pink)        November 5, 1987            November 30,1987<b>                                                      SECOND REVISED DRAFT</b>                                                      October 2, 1987A Gordon Company/Silver"}
+{"doc_id":"doc_200","qid":"","text":"The Project Gutenberg eBook, The Tale of Jemima Puddle-Duck, by BeatrixPotterThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of Jemima Puddle-DuckAuthor: Beatrix PotterRelease Date: January 27, 2005  [eBook #14814]Language: EnglishCharacter setencoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK***E-text prepared by Robert Cicconetti,Emmy, and the Project GutenbergOnline Distributed Proofreading Team (http://www.pgdp.net)Note: Project Gutenberg also has an HTML version of this      filewhich includes the original illustrations.      See 14814-h.htm or 14814-h.zip:      (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h/14814-h.htm)      or      (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h.zip)THE TALE OF JEMIMA PUDDLE-DUCKbyBEATRIX POTTERAuthor of \"The Tale of Peter Rabbit,\"&cFrederick Warne & Co., Inc.New York1908[Illustration][Illustration]    A FARMYARD TALE    FOR    RALPH AND BETSY[Illustration]What a funny sight it is to seea brood of ducklings with a hen!--Listen to the story of Jemima Puddle-duck, who was annoyed because thefarmer's wife would not let her hatch her owneggs.[Illustration]Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing toleave the hatching to some one else--\"I have not the patience to sit onanest for twenty-eight days; and no more have you, Jemima. You would letthem go cold; you know you would!\"\"I wish to hatch my own eggs; I will hatch themall by myself,\" quackedJemima Puddle-duck.[Illustration]She tried to hide her eggs; but they were always found and carried off.Jemima Puddle-duck becamequite desperate. She determined to make a nestright away from the farm.[Illustration]She set off on a fine spring afternoon along the cart-road that leadsoverthe hill.She was wearing a shawl and a poke bonnet.[Illustration]When she reached the top of the hill, she saw a wood in the distance.She thought that itlooked a safe quiet spot.[Illustration]Jemima Puddle-duck was not much in the habit of flying. She ran downhill afew yards flapping her shawl, and then shejumped off into the air.[Illustration]She flew beautifully when she had got a good start.She skimmed along over the tree-tops until she saw an open place inthemiddle of the wood, where the trees and brushwood had been cleared.[Illustration]Jemima alighted rather heavily, and began to waddle about in search ofaconvenient dry nesting-place. She rather fancied a tree-stump amongst sometall fox-gloves.But--seated upon the stump, she was startled to find an elegantlydressedgentleman reading a newspaper.He had black prick ears and sandy coloured whiskers.\"Quack?\" said Jemima Puddle-duck, with her head and her bonneton oneside--\"Quack?\"[Illustration]The gentleman raised his eyes above his newspaper and looked curiously atJemima--\"Madam, have you lost your way?\" saidhe. He had a long bushy tail whichhe was sitting upon, as the stump was somewhat damp.Jemima thought him mighty civil and handsome. She explained thatshe hadnot lost her way, but that she was trying to find a convenient drynesting-place.[Illustration]\"Ah! is that so? indeed!\" said the gentleman with sandywhiskers, lookingcuriously at Jemima. He folded up the newspaper, and put it in hiscoat-tail pocket.Jemima complained of the superfluous hen.\"Indeed! howinteresting! I wish I could meet with that fowl. I wouldteach it to mind its own business!\"[Illustration]\"But as to a nest--there is no difficulty: I have a sackful offeathers inmy wood-shed. No, my dear madam, you will be in nobody's way. You may sitthere as long as you like,\" said the bushy long-tailed gentleman.He ledthe way to a very retired, dismal-looking house amongst thefox-gloves.It was built of faggots and turf, and there were two broken pails, one ontop of another, byway of a chimney.[Illustration]\"This is my summer residence; you would not find my earth--my winterhouse--so convenient,\" said the hospitablegentleman.There was a tumble-down shed at the back of the house, made of oldsoap-boxes. The gentleman opened the door, and showed Jemimain.[Illustration]The shed was almost quite full of feathers--it was almost suffocating; butit was comfortable and very soft.Jemima Puddle-duck was rathersurprised to find such a vast quantity offeathers. But it was very comfortable; and she made a nest without anytrouble at all.[Illustration]When she came out, thesandy whiskered gentleman was sitting on a logreading the newspaper--at least he had it spread out, but he was lookingover the top of it.He was so polite, thathe seemed almost sorry to let Jemima go home forthe night. He promised to take great care of her nest until she came backagain next day.He said he loved eggsand ducklings; he should be proud to see a finenestful in his wood-shed.[Illustration]Jemima Puddle-duck came every afternoon; she laid nine eggs in thenest.They were greeny white and very large. The foxy gentleman admired themimmensely. He used to turn them over and count them when Jemima wasnotthere.At last Jemima told him that she intended to begin to sit next day--\"and Iwill bring a bag of corn with me, so that I need never leave my nest untiltheeggs are hatched. They might catch cold,\" said the conscientiousJemima.[Illustration]\"Madam, I beg you not to trouble yourself with a bag; I will provide oats.Butbefore you commence your tedious sitting, I intend to give you atreat. Let us have a dinner-party all to ourselves!\"May I ask you to bring up some herbs from thefarm-garden to make asavoury omelette? Sage and thyme, and mint and two onions, and someparsley. I will provide lard for the stuff--lard for the omelette,\"saidthe hospitable gentleman with sandy whiskers.[Illustration]Jemima Puddle-duck was a simpleton: not even the mention of sage andonions made hersuspicious.She went round the farm-garden, nibbling off snippets of all the differentsorts of herbs that are used for stuffing roast duck.[Illustration]And shewaddled into the kitchen, and got two onions out of a basket.The collie-dog Kep met her coming out, \"What are you doing with thoseonions? Where do you goevery afternoon by yourself, Jemima Puddle-duck?\"Jemima was rather in awe of the collie; she told him the whole story.The collie listened, with his wise head onone side; he grinned when shedescribed the polite gentleman with sandy whiskers.[Illustration]He asked several questions about the wood, and about the exactposition ofthe house and shed.Then he went out, and trotted down the village. He went to look for twofox-hound puppies who were out at walk with thebutcher.[Illustration]Jemima Puddle-duck went up the cart-road for the last time, on a sunnyafternoon. She was rather burdened with bunches of herbs and twoonions ina bag.She flew over the wood, and alighted opposite the house of the bushylong-tailed gentleman.[Illustration]He was sitting on a log; he sniffed the air,and kept glancing uneasilyround the wood. When Jemima alighted he quite jumped.\"Come into the house as soon as you have looked at your eggs. Give metheherbs for the omelette. Be sharp!\"He was rather abrupt. Jemima Puddle-duck had never heard him speak likethat.She felt surprised, anduncomfortable.[Illustration]While she was inside she heard pattering feet round the back of the shed.Some one with a black nose sniffed at the bottom of thedoor, and thenlocked it.Jemima became much alarmed.[Illustration]A moment afterwards there were most awful noises--barking, baying, growlsand howls,squealing and groans.And nothing more was ever seen of that foxy-whiskered gentleman.Presently Kep opened the door of the shed, and let out JemimaPuddle-duck.[Illustration]Unfortunately the puppies rushed in and gobbled up all the eggs before hecould stop them.He had a bite on his ear and both the puppieswere limping.[Illustration]Jemima Puddle-duck was escorted home in tears on account of those eggs.[Illustration]She laid some more in June, and she waspermitted to keep them herself:but only four of them hatched.Jemima Puddle-duck said that it was because of her nerves; but she hadalways been a badsitter.***END OF THE PROJECT GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK********** This file should be named 14814.txt or 14814.zip*******This and all associated files of various formats will be found in:http://www.gutenberg.org/dirs/1/4/8/1/14814Updated editions will replace the previousone--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, sothe Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         THENEXT THREE DAYS</b>                              Written by                              Paul Haggis<b>                                                     SHOOTINGSCRIPT</b>                                                      August 6, 2009<b>    FADE IN:</b><b>1   INT. SUV -- DAY                                                 1</b>    Nosound. We are in a speeding SUV. The passenger, LARA,    unsnaps her seat belt and reaches for the door handle. The    driver, JOHN, sees her door open anddives to GRAB her. The    SUV spins, HORNS BLARE, TIRES SCREECH, cars swerve to avoid    collision. We aren't sure what is happening, but weknow    something has gone terribly wrong. Cut to BLACK. Read:<b>                       THE LAST THREE YEARS</b><b>2   INT. STEAK HOUSE --NIGHT                                       2</b>    Two couples sit at a table, picking at dessert, JOHN and    LARA BRENNAN on one side, MICK and ERIT on the other.JOHN               is attractive in a worn kind of way, but has the eyes of a    kid with a discipline problem. You have to really know him    to understand if he ismocking you or agreeing with you. He    is a master of irony and has a true enjoyment of the absurd.    LARA looks beautiful even in her wrinkled suit. Sheappears    to have had a hard day at the office. She's been drinking    at dinner; it hasn't eased her nerves. John's good-looking    brother, MICK, boasts his bluecollar roots and a gorgeous,              if slightly trashy, girlfriend, ERIT, who isn't ashamed of    her body or sharing her opinions. JOHN and MICK arelaughing.            Lara puts cash on the tray beside Mick's credit card.                <b>                           LARA</b>               You know what? If you were"}
+{"doc_id":"doc_202","qid":"","text":"The Project Gutenberg EBook of Press Cuttings, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Press CuttingsAuthor: George Bernard ShawRelease Date: May, 2004 [EBook #5723]Posting Date: May 28, 2009Language: English***START OF THIS PROJECT GUTENBERG EBOOK PRESS CUTTINGS ***Produced by Eve SobolPRESS CUTTINGSBernard Shaw1913TRANSCRIBER'S NOTE: Theedition from which this etext was taken lackscontractions, so it reads dont for don't and Ill for I'll, for example.The play has been reproduced exactly asprinted.The forenoon of the first of April, 1911.General Mitchener is at his writing table in the War Office, openingletters. On his left is the fireplace, with a fireburning. On hisright, against the opposite wall is a standing desk with an officestool. The door is in the wall behind him, half way between the tableand the desk.The table is not quite in the middle of the room: it isnearer to the hearthrug than to the desk. There is a chair at each endof it for persons having business withthe general. There is a telephoneon the table. Long silence.A VOICE OUTSIDE. Votes for Women!The General starts convulsively; snatches a revolver from adrawer,and listens in an agony of apprehension. Nothing happens. He puts therevolver back, ashamed; wipes his brow; and resumes his work. Heis startledafresh by the entry of an Orderly. This Orderly is anunsoldierly, slovenly, discontented young man.MITCHENER. Oh, it's only you. Well?THE ORDERLY. Anotherone, sir. Shes chained herself.MITCHENER. Chained herself? How? To what? Weve taken away the railingsand everything that a chain can be passed through.THEORDERLY. We forgot the doorscraper, sir. She laid down on the flagsand got the chain through before she started hollerin. Shes lying therenow; and she says thatyouve got the key of the padlock in a letter in abuff envelope, and that you will see her when you open it.MITCHENER. Shes mad. Have the scraper dug up and lether go home with ithanging round her neck.THE ORDERLY. Theres a buff envelope there, sir.MITCHENER. Youre all afraid of these women (picking the letter up).Itdoes seem to have a key in it. (He opens the letter, and takes out a keyand a note.) \"Dear Mitch\"--Well, I'm dashed!THE ORDERLY. Yes Sir.MITCHENER. Whatdo you mean by Yes Sir?THE ORDERLY. Well, you said you was dashed, Sir; and you did look ifyoull excuse my saying it, Sir--well, you looked it.MITCHENER (whohas been reading the letter, and is too astonished toattend to the Orderlys reply). This is a letter from the Prime Ministerasking me to release the woman with thiskey if she padlocks herself,and to have her shown up and see her at once.THE ORDERLY (tremulously). Dont do it, governor.MITCHENER (angrily). How oftenhave I ordered you not to address me asgovernor. Remember that you are a soldier and not a vulgar civilian.Remember also that when a man enters the army heleaves fear behind him.Heres the key. Unlock her and show her up.THE ORDERLY. Me unlock her! I dursent. Lord knows what she'd do to me.MITCHENER(pepperily, rising). Obey your orders instantly, Sir, and dontpresume to argue. Even if she kills you, it is your duty to die for yourcountry. Right about face. March.(The Orderly goes out, trembling.)THE VOICE OUTSIDE. Votes for Women! Votes for Women! Votes for Women!MITCHENER (mimicking her). Votes for Women!Votes for Women! Votes forWomen! (in his natural voice) Votes for children! Votes for babies!Votes for monkeys! (He posts himself on the hearthrug, and awaitstheenemy.)THE ORDERLY (outside). In you go. (He pushes a panting Suffraget intothe room.) The person sir. (He withdraws.)The Suffraget takes off her tailormade skirt and reveals a pair offashionable trousers.MITCHENER (horrified). Stop, madam. What are you doing? You must notundress in my presence. I protest.Not even your letter from the PrimeMinister--THE SUFFRAGET. My dear Mitchener: I AM the Prime Minister. (He tears offhis hat and cloak; throws them on thedesk; and confronts the General inthe ordinary costume of a Cabinet minister.)MITCHENER. Good heavens! Balsquith!BALSQUITH (throwing himself intoMitchener's chair). Yes: it is indeedBalsquith. It has come to this: that the only way that the PrimeMinister of England can get from Downing Street to the WarOffice isby assuming this disguise; shrieking \"VOTES for Women\"; and chaininghimself to your doorscraper. They were at the corner in force. Theycheered me.Bellachristina herself was there. She shook my hand and toldme to say I was a vegetarian, as the diet was better in Holloway forvegetarians.MITCHENER. Whydidnt you telephone?BALSQUITH. They tap the telephone. Every switchboard in London is intheir hands or in those of their young men.MITCHENER. Where onEarth did you get that dress?BALSQUITH. I stole it from a little Exhibition got up by my wife inDowning Street.MITCHENER. You dont mean to say its a Frenchdress?BALSQUITH. Great Heavens, no. My wife isnt allowed even to put on hergloves with French chalk. Everything labelled Made in Camberwell. Sheadvised meto come to you. And what I have to say must be said here toyou personally, in the most intimate confidence, with the most urgentpersuasion. Mitchener:Sandstone has resigned.MITCHENER (amazed). Old Red resigned!BALSQUITH. Resigned.MITCHENER. But how? Why? Oh, impossible! the proclamation of martiallawlast Tuesday made Sandstone virtually Dictator in the metropolis, and toresign now is flat desertion.BALSQUITH. Yes, yes, my dear Mitchener; I know all thatas well as youdo: I argued with him until I was black in the face and he so redabout the neck that if I had gone on he would have burst. He is furiousbecause wehave abandoned his plan.MITCHENER. But you accepted it unconditionally.BALSQUITH. Yes, before we knew what it was. It was unworkable, youknow.MITCHENER. I dont know. Why is it unworkable?BALSQUITH. I mean the part about drawing a cordon round Westminster at adistance of two miles; andturning all women out of it.MITCHENER. A masterpiece of strategy. Let me explain. The Suffragets area very small body; but they are numerous enough to betroublesome--evendangerous--when they are all concentrated in one place--say inParliament Square. But by making a two-mile radius and pushing thembeyondit, you scatter their attack over a circular line twelve mileslong. A superb piece of tactics. Just what Wellington would have done.BALSQUITH. But the women wontgo.MITCHENER. Nonsense: they must go.BALSQUITH. They wont.MITCHENER. What does Sandstone say?BALSQUITH. He says: Shoot them down.MITCHENER.Of course.BALSQUITH. Youre not serious?MITCHENER. Im perfectly serious.BALSQUITH. But you cant shoot them down! Women, you know!MITCHENER(straddling confidently). Yes you can. Strange as it may seemto you as a civilian, Balsquith, if you point a rifle at a woman andfire it, she will drop exactly as aman drops.BALSQUITH. But suppose your own daughters--Helen and Georgina.MITCHENER. My daughters would not dream of disobeying the proclamation.(Asan after thought.) At least Helen wouldnt.BALSQUITH. But Georgina?MITCHENER. Georgina would if she knew shed be shot if she didnt. Thatshow the thing wouldwork. Military methods are really the most mercifulin the end. You keep sending these misguided women to Holloway andkilling them slowly and inhumanely byruining their health; and it doesno good: they go on worse than ever. Shoot a few, promptly and humanely;and there will be an end at once of all resistance andof all thesuffering that resistance entails.BALSQUITH. But public opinion would never stand it.MITCHENER (walking about and laying down the law). Theres nosuch thingas public opinion.BALSQUITH. No such thing as public opinion!!MITCHENER. Absolutely no such thing as public opinion. There are certainpersons whoentertain certain opinions. Well, shoot them down. When youhave shot them down, there are no longer any persons entertaining thoseopinions alive:consequently there is no longer any more of the publicopinion you are so much afraid of. Grasp that fact, my dear Balsquith;and you have grasped the secret ofgovernment. Public opinion is mind.Mind is inseparable from matter. Shoot down the matter and you kill themind.BALSQUITH. But hang it all--MITCHENER(intolerantly). No I wont hang it all. It's no use comingto me and talking about public opinion. You have put yourself into thehands of the army; and you arecommitted to military methods. And thebasis of all military methods is that when people wont do what they aretold to do, you shoot them down.BALSQUITH. Oh,yes; it's all jolly fine for you and Old Red. You dontdepend on votes for your places. What do you suppose will happen at thenext election?MITCHENER. Have nonext election. Bring in a Bill at once repealingall the reform Acts and vesting the Government in a properly trainedmagistracy responsible only to a Council of War.It answers perfectly inIndia. If anyone objects, shoot him down.BALSQUITH. But none of the members of my party would be on the Councilof War. Neither shouldI. Do you expect us to vote for making ourselvesnobodies?MITCHENER. You'll have to, sooner or later, or the Socialists will makenobodies of the lot of you bycollaring every penny you possess. Do yousuppose this damned democracy can be allowed to go on now that the mobis beginning to take it seriously and using itspower to lay hands onproperty? Parliament must abolish itself. The Irish parliament voted forits own extinction. The English parliament will do the same if thesamemeans are taken to persuade it.BALSQUITH. That would cost a lot of money.MITCHENER. Not money necessarily. Bribe them with titles.BALSQUITH. Do youthink we dare?MITCHENER (scornfully). Dare! Dare! What is life but daring, man? \"Todare, to dare, and again to dare\"--WOMAN'S VOICE OUTSIDE. Votes forWomen!Mitchener, revolver in hand, rushes to the door and locks it. Balsquithhides under the table.A shot is heard.BALSQUITH (emerging in the greatest alarm).Good heavens, you haventgiven orders to fire on them have you?MITCHENER. No; but its a sentinel's duty to fire on anyone who persistsin attempting to passwithout giving the word.BALSQUITH (wiping his brow). This military business is really awful.MITCHENER. Be calm, Balsquith. These things must happen; theysavebloodshed in the long run, believe me. Ive seen plenty of it; and Iknow.BALSQUITH. I havent; and I dont know. I wish those guns didnt make sucha devil ofa noise. We must adopt Maxim's Silencer for the army riflesif we are going to shoot women. I really couldnt stand hearing it.Some one outside tries to open thedoor and then knocks.MITCHENER and BALSQUITH. Whats that?MITCHENER. Whos there?THE ORDERLY. It's only me, governor. Its all right.MITCHENER(unlocking the door and admitting the Orderly, who comesbetween them). What was it?THE ORDERLY. Suffraget, Sir.BALSQUITH. Did the sentry shoot her?THEORDERLY. No, Sir: she shot the sentry.BALSQUITH (relieved). Oh: is that all?MITCHENER (most indignantly). All? A civilian shoots down one of HisMajesty's"}
+{"doc_id":"doc_203","qid":"","text":"The Project Gutenberg EBook of Erdgeist (Earth-Spirit), by Frank WedekindThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Erdgeist (Earth-Spirit)       A Tragedy in Four ActsAuthor: Frank WedekindTranslator: Samuel EliotRelease Date: August 13, 2009[EBook #29682]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ERDGEIST (EARTH-SPIRIT) ***Produced by Michael Roe, Alexander Bauerand the OnlineDistributed Proofreading Team at http://www.pgdp.net  [ Transcriber's Note:  Every effort has been made to replicate this text as faithfullyas  possible, including inconsistencies in spelling and hyphenation;  changes (corrections of spelling and punctuation) made to the  original text are listed at theend of this text.  Text that was _italic_ in the original is marked with _.  Text that was =spaced= in the original is marked with=.]                           ERDGEIST                             LULU                      BY FRANK WEDEKIND                ERDGEIST (EARTH-SPIRIT)$1.00                PANDORA'S BOX (In Preparation)                           ERDGEIST                        (Earth-Spirit)                    A Tragedy in FourActs                              BY                        FRANK WEDEKIND              Translated by Samuel A. Eliot, Jr.                           NEW YORK                   ALBERT ANDCHARLES BONI                             1914                       Copyright, 1914                              by                   Albert and Charles Boni  \"I was created out of rankerstuff  By Nature, and to the earth by Lust am drawn.  Unto the spirit of evil, not of good,  The earth belongs. What deities send to us  From heaven are onlyuniversal goods;  Their light gives gladness, but makes no man rich;  And in their state possession not obtains.  Therefore, the stone of price, all-treasuredgold,  Must from the powers of falsehood be enticed,  The evil race that dwells beneath the day.  Not without sacrifice their favor is gained,  And no man livethwho from serving them  Hath extricated undefiled his soul.\"CHARACTERS  DR. SCHÃ\u0000N, newspaper owner and editor.  ALVA, his son, a writer.  DR. GOLL,M.D.  SCHWARZ, an artist.  PRINCE ESCERNY, an African explorer.  ESCHERICH, a reporter.  SCHIGOLCH, a beggar.  RODRIGO, an acrobat.  HUGENBERG, aschoolboy (played by a girl.)  FERDINAND, a coachman.  LULU.  COUNTESS GESCHWITZ.  HENRIETTE, a servant.PROLOGUE(At rise, is seen the entrance to atent, out of which steps ananimal-tamer, with long, black curls, dressed in a white cravat, avermilion dress-coat, white trowsers and white top-boots. He carriesinhis left hand a dog-whip and in his right a loaded revolver, andenters to the sound of cymbals and kettle-drums.)  Walk in! Walk in to the menagery,  Proudgentlemen and ladies lively and merry!  With avid lust or cold disgust, the very  Beast without Soul bound and made secondary  To human genius, to stay andsee!  Walk in, the show'll begin!--As customary,  One child to each two persons comes in free.  Here battle man and brute in narrow cages  Where one in haughtdisdain his long whip lashes  And one, with growls as when the thunder rages,  Against the man's throat murderously dashes,--  Where now the crafty conquers,now the strong,  Now man, now beast, lies cowed the floor along;  The animal rears,--the human on all fours!  One ice-cold look of dominance--  The beastsubmissive bows before that glance,  And the proud heel upon his neck adores.  Bad are the times! Ladies and gentlemen  Who once before my cage in throngingcrescents  Crowded, now honor operas, and then  Ibsen, with their so highly valued presence.  My boarders here are so in want of fodder  That they reciprocallydevour each other.  How well off at the theater is a player,  Sure of the meat upon his ribs, albeit  His frightful hunger may tear him and he it  And colleagues'inner cupboards be quite bare!--  Greatness in art we struggle to inherit,  Although the salary never match the merit.  What see you, whether in light or sombreplays?  =House-animals=, whose morals all must praise,  Who wreak pale spites in vegetarian ways,  And revel in an easy cry or fret,  Just like thoseothers--down in the parquet.  This hero has a head by one dram swirled;  That is in doubt whether his love be right;  A third you hear despairing of theworld,--  Full five acts long you hear him wail his plight,  And no man ends him with a merciful sleight!  But the =real= beast, the =beautiful=, =wild=beast,  Your eyes on =that=, _I_, ladies, only feast!  You see the Tiger, that habitually  Devours whatever falls before his bound;  The Bear, so ravenousoriginally,  Who at a late night-meal sinks dead to ground;  You see the Monkey, little and amusing,  From sheer ennui his petty powers abusing,--  He has sometalent, of all greatness scant,  So, impudently, coquettes with his own want!  Upon my soul, within my tent's a mammal,  See, right behind the curtain, here,--aCamel!  And all my creatures fawn about my feet  When my revolver cracks--                  (He shoots into the audience.)                                     Behold!  Brutestremble all around me. I am cold:  The =man= stays cold,--you, with respect, to greet.  Walk in!--You hardly trust yourselves in here?--  Then very well, judgefor yourselves! Each sphere  Has sent its crawling creatures to your telling:  Chameleons and serpents, crocodiles,  Dragons, and salamanderschasm-dwelling,--  I know, of course, you're full of quiet smiles  And don't believe a syllable I say.--       (He lifts the entrance-flap and calls into the tent.)  Hi,Charlie!--bring our =Serpent= just this way!  (A stage-hand with a big paunch carries out the actress of =Lulu= in  her Pierrot costume, and sets her down beforethe animal-tamer.)  She was created to incite to sin,  To lure, seduce, poison--yea, murder, in  A manner no man knows.--My prettybeast,                      (Tickling Lulu's chin.)  Only be =unaffected=, and not pieced  Out with distorted, artificial folly,  Even if the critics praise thee for 't lesswholly.  Thou hast no right to spoil the shape most fitting,  Most =true=, of =woman=, with meows and spitting!  And mind, all foolery and making faces  The=childish simpleness= of =Vice= disgraces.  Thou shouldst--to-day I speak emphatically--  Speak =naturally= and not unnaturally,  For the first principle inevery art,  Since earliest times, was =True= and =Plain=, not =Smart=!                       (To the public.)  There's nothing special now to see in her,  But wait andwatch what later will occur!  Her strength about the Tiger she coils stricter:  He roars and groans!--Who'll be the final victor?--  Hop, Charlie, march! Carry her toher place,  (The stage-hand carries Lulu in his arms; the animal-tamer                    pats her on the hips.)  Sweet innocence--my dearest treasure-case!      (Thestage-hand carries Lulu back into the tent.)  And now I'll tell the best thing in the day:  My poll between the teeth of a beast of prey!  Walk in! Tho to be sure theshow's not new,  Yet everyone takes pleasure in its view!  Wrench open this wild animal's jaws I dare,  And he to bite dares not! My pate's so =fair=,  So =wild=,so =gaily decked=, it wins respect!  I offer it him with confidence unchecked.  One =joke=, and my two temples crack!--but, lo,  The lightning of my eyes I willforego,  Staking my =life= against a =joke=! and throw  My whip, my weapons, down. I am in my skin!  I yield me to this beast!--His name do ye know?  --Thehonored public! that has just walked in!  (The animal-tamer steps back into the tent, accompanied                by cymbals and kettledrums.)ACT I_A roomy studio.Entrance door at the rear, left. Another door at lowerleft to the bed-room. At centre, a platform for the model, with aSpanish screen behind it and a Smyrna rug infront. Two easels at lowerright. On the upper one is the picture of a young girl's head andshoulders. Against the other leans a reversed canvas. Belowthese,toward centre, an ottoman, with a tiger-skin on it. Two chairs alongthe left wall. In the back-ground, right, a step-ladder.__Schön sits on the foot of theottoman, inspecting critically thepicture on the further easel. Schwarz stands behind the ottoman, hispalette and brushes in his hands._SCHÃ\u0000N. Do you know,I'm getting acquainted with a brand new side of thelady.SCHWARZ. I have never painted anyone whose expression changed socontinuously. I could hardly keep asingle feature the same two daysrunning.SCHÃ\u0000N. (Pointing to the picture and observing him.) Do you find that init?SCHWARZ. I have done everythingimaginable to call forth some sort ofquiet in her mood by my conversation during the sittings.SCHÃ\u0000N. Then I understand the difference. (Schwarz dips his brushin theoil and draws it over the features of the face.) Do you think thatmakes it look more like her?SCHWARZ. We can only work with art as scientifically aspossible.SCHÃ\u0000N. Tell me--SCHWARZ. (Stepping back.) The color had sunk in pretty well, too.SCHÃ\u0000N. (Looking at him.) Have you ever loved a woman in yourlife?SCHWARZ. (Goes to the easel, puts a color on it, and steps back on theother side.) The dress isn't made to stand out enough yet. We don't seethe living bodyunder it.SCHÃ\u0000N. I make no doubt that the workmanship is good.SCHWARZ. If you'll step this way....SCHÃ\u0000N. (Rising.) You must have told her regularghost-stories.SCHWARZ. As far back as you can.SCHÃ\u0000N. (Stepping back, knocks down the canvas that was leaning againstthe lower easel.) Excuseme--SCHWARZ. (Picking it up.) That's all right.SCHÃ\u0000N. (Surprised.) What is that?SCHWARZ. Do you know her?SCHÃ\u0000N. No. (Schwarz sets the picture on theeasel. It is of a ladydressed as Pierrot with a long shepherd's crook in her hand.)SCHWARZ. A costume-picture.SCHÃ\u0000N. But, really, you've succeeded with=her=.SCHWARZ. You know her?SCHÃ\u0000N. No. And in that costume--?SCHWARZ. It isn't nearly finished yet. (Schön nods.) What would youhave? While she isposing for me I have the pleasure of entertainingher husband.SCHÃ\u0000N. What?SCHWARZ. We talk about art, of course,--to complete my good fortune!SCHÃ\u0000N.But how did you make such a charming acquaintance?SCHWARZ. As they're generally made. An ancient, tottering little mandrops in on me here to know if I canpaint his wife. Why, of course,were she as wrinkled as Mother Earth! Next day at ten prompt the doorsfly open, and the fat-belly drives this little beauty in beforehim. Ican feel even now how my knees shook. Then comes a sap-green lackey,stiff as a ramrod, with a package under his arm. Where is thedressing-room?Imagine my plight. I open the door there (pointingleft). Just luck that everything was in order. The sweet thing vanishesinto it, and the old fellow posts himselfoutside as a bastion. Twominutes later out she steps in this Pierrot. (Shaking his head.) Inever saw anything like it. (He goes left and stares in atthebedroom.)SCHÃ\u0000N. (Who has followed him with his eyes.) And the fat-belly standsguard?SCHWARZ. (Turning round.) The whole body in harmony withthatimpossible costume as if it had come into the world in it! Her way ofburying her elbows in her pockets, of lifting her little feet from therug,--the blood often"}
+{"doc_id":"doc_204","qid":"","text":"<html><head><title>Taxi Driver Script at IMSDb.</title><meta name=\"description\" content=\"Taxi Driver script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Taxi Driver script, Taxi Driver movie script, Taxi Driver film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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Onthe surface he appears good-looking, even handsome; he hasaquiet steady look and a disarming smile which flashes fromnowhere, lighting up his whole face. But behind that smile,around his dark eyes, in his gaunt cheeks,one can see theominous stains caused by a life of private fear, emptinessand loneliness. He seems to have wandered in from a landwhere it is always cold, acountry where the inhabitantsseldom speak. The head moves, the expression changes, butthe eyes remain ever-fixed, unblinking, piercing empty space.Travis isnow drifting in and out of the New York City nightlife, a dark shadow among darker shadows.  Not noticed, noreason to be noticed, Travis is one with hissurroundings.He wears rider jeans, cowboy boots, a plaid western shirtand a worn beige Army jacket with a patch reading, &quot;KingKong Company"}
+{"doc_id":"doc_205","qid":"","text":"<html><head><title>Man on the Moon Script at IMSDb.</title><meta name=\"description\" content=\"Man on the Moon script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Man on the Moon script, Man on the Moon movie script, Man on the Moon film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>Man on the Moon      Manon the Moon (1999)      by Scott Alexander and Larry Karaszewski.<b>FADE IN:</b><b>INT. VOID - DAY</b>Standing in a nonexistent set is ANDY KAUFMAN,looking a bitnervous.  Wide-eyed, tentative, he stares at us with aneedy, unsettling cuteness.  His hair is slicked-down, andhe wears the \"FRIENDLY WORLD\"costume from the Andy Kaufmanspecial.Finally, Andy speaks -- in a peculiar FOREIGN ACCENT.<b> ANDY (AS FOREIGN MAN)</b> Hallo.  I am Andy.  Welcoomto my movie. (beat; he gets upset) I hoped the story of my life would be nice...but it turned out terrible!  It is all LIES!  Tings are mixed up... real people I knewplay different people.  WHAT A MESS! So I broke into Universal and cut out the junk.  Now it's much shorter.  In fact, this is the end of the movie.  So tanks forcomink! Bye-bye!Andy puts a needle on a phonograph, and swelling CLOSINGCREDITS MUSIC starts to play.  FINAL CREDITS roll.Andy stands frozen, awkwardlylooking at the audience.Every time the music ends he picks up the needle andrestarts the music.  He does that as many times as thecredits require.Finally,CREDITS END.  And then--a sly smile.  He leans in.DROPS HIS ACCENT and WHISPERS.<b> ANDY (AS REGULAR VOICE)</b> Okay!  Just my friends are left.  Iwanted to get rid of those other people... they would have laughed in the wrong places. (beat) I was only kidding about the movie... it's actually PRETTY GOOD! Itshows everything... from me as a little boy until my death -- (his eyes pop; he covers his mouth) Oops!!  I wasn't supposed to talk about that!  Oh.  Eh, uh, webetter just begin.  It starts back in Great Neck, Long Island...Andy turns to a primitive 16mm PROJECTOR and turns it on.WHIR!  He smiles at the flickering"}
+{"doc_id":"doc_206","qid":"","text":"<html><head><title>Lord of the Rings: Fellowship of the Ring, The Script at IMSDb.</title><meta name=\"description\" content=\"Lord of the Rings: Fellowshipof the Ring, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Lord of the Rings: Fellowship of the Ring, The script, Lord ofthe Rings: Fellowship of the Ring, The movie script, Lord of the Rings: Fellowship of the Ring, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>BLACK SCREENSUPER:New Line Cinema PresentsSUPER: A Wingnut Films Production<b>BLACK CONTINUES... ELVISH SINGING....A WOMAN'S VOICE IS</b>whispering, tinged withSADNESS and REGRET:<b>                    GALADRIEL (V.O.)</b>              (Elvish: subtitled)          \"I amar prestar sen: han mathon ne nen,          han mathonne chae...a han noston ned          wilith.\"              (English:)          The world is changed: I feel it in the          water, I feel it in the earth, I smell it          in theair...Much that once was is lost,          for none now live who remember it.<b>SUPER: THE LORD OF THE RINGS</b><b>EXT. PROLOGUE -- DAY</b>IMAGE:FLICKERING FIRELIGHT. The NOLDORIN FORGE in EREGION.MOLTEN GOLD POURS from the lip of an IRON LADLE.<b>                    GALADRIEL(V.O.)</b>          It began with the forging of the Great          Rings.IMAGE: THREE RINGS, each set with a single GEM, are receivedby the HIGHELVES-GALADRIEL, GIL-GALAD and CIRDAN.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          Three were given to the Elves,immortal,          wisest...fairest of all beings.IMAGE: SEVEN RINGS held aloft in triumph by the DWARF LORDS.<b>                    GALADRIEL (V.O.)(CONT'D)</b>          Seven to the Dwarf Lords, great miners          and craftsmen of the mountain halls.IMAGE: NINE RINGS clutched tightly by the KINGS OFMEN...asif holding-close a precious secret.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          And Nine...nine rings were gifted to the          race of Men"}
+{"doc_id":"doc_207","qid":"","text":"<html><head><title>Rescuers Down Under, The Script at IMSDb.</title><meta name=\"description\" content=\"Rescuers Down Under, The script at the InternetMovie Script Database.\"><meta name=\"keywords\" content=\"Rescuers Down Under, The script, Rescuers Down Under, The movie script, Rescuers Down Under,The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>(c) 1990 The Walt DisneyCompanyCompiled by Scott A. Concilla (skippy6400@delphi.com) July '95<b>THE CHARACTERS:</b>    Major characters (voiced by...)         Bernard (BobNewhart)         Miss Bianca (Eva Gabor)         Wilbur (John Candy)         Jake (Tristan Rogers)         Cody (Adam Ryen)         Percival McLeach (George C.Scott)    Minor characters         Joanna (Frank Welker)         Frank (Wayne Robson)         Krebbs (Douglas Seale)         Chairmouse (Bernard Fox)         Doctor(Bernard Fox)         Red (Peter Firth)         Baitmouse (Billy Barty)         Francois (Ed Gilbert)         Faloo (Carla Meyer)         Mother (Carla Meyer)         Nursemouse (Russi Taylor)    Non-speaking         Polly; Kookie; Snake; Marahute; Dowager; Milktoast; Cricket Cook;         Telegraph mice; Nelson; Sparky; Twister;Razorback; Ranger.Release date:  November 16, 1990Running time:  74 minutes<b>                          THE RESCUERS DOWNUNDER</b>                            The Complete Script(opening:     The camera slowly zooms through a variety of insects and rocks.              We follow a smallyellow bug climb up a blade of grass.  As it              spreads its wings to fly, we are whisked along the Australian              outback and prairie by Ayers rock andeventually slow down as we              approach Cody's house.)(scene:  inside Cody's room.  The camera pans around to show Cody sleeping         in hishammock.  The sound of Faloo's call is heard.  Cody hears         it, jumps out of bed, and runs to the window.  He puts on his         shirt and grabs his"}
+{"doc_id":"doc_208","qid":"","text":"The Project Gutenberg EBook of Overruled, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: OverruledAuthor: George Bernard ShawPosting Date: May 28, 2009 [EBook #3830]Release Date: March, 2003First Posted: September30, 2001Last Updated: March 5, 2006Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OVERRULED ***Produced by Eve Sobol.  HTMLversion by Al Haines.TRANSCRIBER'S NOTE: In the printed version of this text, allapostrophes for contractions such as \"can't\", \"wouldn't\" and \"he'd\"were omitted,to read as \"cant\", \"wouldnt\" and \"hed\". This etextrestores the omitted apostrophes.OVERRULEDBERNARD SHAW1912PREFACE TO OVERRULED.THEALLEVIATIONS OF MONOGAMY.This piece is not an argument for or against polygamy. It is a clinicalstudy of how the thing actually occurs among quite ordinarypeople,innocent of all unconventional views concerning it. The enormousmajority of cases in real life are those of people in that position.Those who deliberatelyand conscientiously profess what are oddlycalled advanced views by those others who believe them to beretrograde, are often, and indeed mostly, the last peoplein the worldto engage in unconventional adventures of any kind, not only becausethey have neither time nor disposition for them, but because thefriction set upbetween the individual and the community by theexpression of unusual views of any sort is quite enough hindrance tothe heretic without being complicated bypersonal scandals. Thus thetheoretic libertine is usually a person of blameless family life,whilst the practical libertine is mercilessly severe on all otherlibertines,and excessively conventional in professions of socialprinciple.What is more, these professions are not hypocritical: they are for themost part quite sincere. Thecommon libertine, like the drunkard,succumbs to a temptation which he does not defend, and against which hewarns others with an earnestness proportionate tothe intensity of hisown remorse. He (or she) may be a liar and a humbug, pretending to bebetter than the detected libertines, and clamoring for theircondignpunishment; but this is mere self-defence. No reasonable person expectsthe burglar to confess his pursuits, or to refrain from joining in thecry of StopThief when the police get on the track of another burglar.If society chooses to penalize candor, it has itself to thank if itsattack is countered by falsehood. Theclamorous virtue of the libertineis therefore no more hypocritical than the plea of Not Guilty which isallowed to every criminal. But one result is that the theoristswhowrite most sincerely and favorably about polygamy know least about it;and the practitioners who know most about it keep their knowledge veryjealously tothemselves. Which is hardly fair to the practice.INACCESSIBILITY OF THE FACTS.Also it is impossible to estimate its prevalence. A practice to whichnobodyconfesses may be both universal and unsuspected, just as avirtue which everybody is expected, under heavy penalties, to claim,may have no existence. It isoften assumed--indeed it is the officialassumption of the Churches and the divorce courts that a gentleman anda lady cannot be alone together innocently. Andthat is manifestblazing nonsense, though many women have been stoned to death in theeast, and divorced in the west, on the strength of it. On the otherhand,the innocent and conventional people who regard the gallantadventures as crimes of so horrible a nature that only the mostdepraved and desperate charactersengage in them or would listen toadvances in that direction without raising an alarm with the noisiestindignation, are clearly examples of the fact that mostsections ofsociety do not know how the other sections live. Industry is the mosteffective check on gallantry. Women may, as Napoleon said, be theoccupation ofthe idle man just as men are the preoccupation of theidle woman; but the mass of mankind is too busy and too poor for thelong and expensive sieges which theprofessed libertine lays to virtue.Still, wherever there is idleness or even a reasonable supply ofelegant leisure there is a good deal of coquetry and philandering.Itis so much pleasanter to dance on the edge of a precipice than to goover it that leisured society is full of people who spend a great partof their lives in flirtation,and conceal nothing but the humiliatingsecret that they have never gone any further. For there is no pleasingpeople in the matter of reputation in thisdepartment: every insult isa flattery; every testimonial is a disparagement: Joseph is despisedand promoted, Potiphar's wife admired and condemned: in short,you arenever on solid ground until you get away from the subject altogether.There is a continual and irreconcilable conflict between the naturaland conventionalsides of the case, between spontaneous human relationsbetween independent men and women on the one hand and the propertyrelation between husband andwife on the other, not to mention theconfusion under the common name of love of a generous naturalattraction and interest with the murderous jealousy thatfastens on andclings to its mate (especially a hated mate) as a tiger fastens on acarcase. And the confusion is natural; for these extremes are extremesof thesame passion; and most cases lie somewhere on the scale betweenthem, and are so complicated by ordinary likes and dislikes, byincidental wounds to vanity orgratifications of it, and by classfeeling, that A will be jealous of B and not of C, and will tolerateinfidelities on the part of D whilst being furiously angry whentheyare committed by E.THE CONVENTION OF JEALOUSYThat jealousy is independent of sex is shown by its intensity inchildren, and by the fact that very jealouspeople are jealous ofeverybody without regard to relationship or sex, and cannot bear tohear the person they \"love\" speak favorably of anyone underanycircumstances (many women, for instance, are much more jealous of theirhusbands' mothers and sisters than of unrelated women whom they suspecthim offancying); but it is seldom possible to disentangle the twopassions in practice. Besides, jealousy is an inculcated passion,forced by society on people in whom itwould not occur spontaneously.In Brieux's Bourgeois aux Champs, the benevolent hero finds himselfdetested by the neighboring peasants and farmers, notbecause hepreserves game, and sets mantraps for poachers, and defends his legalrights over his land to the extremest point of unsocial savagery, butbecause,being an amiable and public-spirited person, he refuses to doall this, and thereby offends and disparages the sense of property inhis neighbors. The same thing istrue of matrimonial jealousy; the manwho does not at least pretend to feel it and behave as badly as if hereally felt it is despised and insulted; and many a manhas shot orstabbed a friend or been shot or stabbed by him in a duel, or disgracedhimself and ruined his own wife in a divorce scandal, against hisconscience,against his instinct, and to the destruction of his home,solely because Society conspired to drive him to keep its own lowermorality in countenance in thismiserable and undignified manner.Morality is confused in such matters. In an elegant plutocracy, ajealous husband is regarded as a boor. Among the tradesmenwho supplythat plutocracy with its meals, a husband who is not jealous, andrefrains from assailing his rival with his fists, is regarded as aridiculous, contemptibleand cowardly cuckold. And the laboring classis divided into the respectable section which takes the tradesman'sview, and the disreputable section which enjoysthe license of theplutocracy without its money: creeping below the law as its exemplarsprance above it; cutting down all expenses of respectability andevendecency; and frankly accepting squalor and disrepute as the price ofanarchic self-indulgence. The conflict between Malvolio and Sir Toby,between themarquis and the bourgeois, the cavalier and the puritan,the ascetic and the voluptuary, goes on continually, and goes on notonly between class and class andindividual and individual, but in theselfsame breast in a series of reactions and revulsions in which theirresistible becomes the unbearable, and the unbearabletheirresistible, until none of us can say what our characters really arein this respect.THE MISSING DATA OF A SCIENTIFIC NATURAL HISTORY OF MARRIAGE.Ofone thing I am persuaded: we shall never attain to a reasonablehealthy public opinion on sex questions until we offer, as the data forthat opinion, our actualconduct and our real thoughts instead of amoral fiction which we agree to call virtuous conduct, and which wethen--and here comes in the mischief--pretend isour conduct and ourthoughts. If the result were that we all believed one another to bebetter than we really are, there would be something to be said for it;but theactual result appears to be a monstrous exaggeration of thepower and continuity of sexual passion. The whole world shares the fateof Lucrezia Borgia, who,though she seems on investigation to have beenquite a suitable wife for a modern British Bishop, has been invested bythe popular historical imagination with allthe extravagances of aMessalina or a Cenci. Writers of belles lettres who are rash enough toadmit that their whole life is not one constant preoccupationwithadored members of the opposite sex, and who even countenance LaRochefoucauld's remark that very few people would ever imaginethemselves in love ifthey had never read anything about it, aregravely declared to be abnormal or physically defective by critics ofcrushing unadventurousness and domestication.French authors of saintlytemperament are forced to include in their retinue countesses of ardentcomplexion with whom they are supposed to live in sin.Sentimentalcontroversies on the subject are endless; but they are useless, becausenobody tells the truth. Rousseau did it by an extraordinary effort,aided by asuperhuman faculty for human natural history, but the resultwas curiously disconcerting because, though the facts were soconventionally shocking that peoplefelt that they ought to matter agreat deal, they actually mattered very little. And even at thateverybody pretends not to believe him.ARTIFICIALRETRIBUTION.The worst of that is that busybodies with perhaps rather more than anormal taste for mischief are continually trying to make negligiblethingsmatter as much in fact as they do in convention by deliberatelyinflicting injuries--sometimes atrocious injuries--on the partiesconcerned. Few people have anyknowledge of the savage punishments thatare legally inflicted for aberrations and absurdities to which nosanely instructed community would call any attention.We create anartificial morality, and consequently an artificial conscience, bymanufacturing disastrous consequences for events which, left tothemselves, would dovery little harm (sometimes not any) and beforgotten in a few days.But the artificial morality is not therefore to be condemned offhand.In many cases it may savemischief instead of making it: for example,though the hanging of a murderer is the duplication of a murder, yet itmay be less murderous than leaving the matter"}
+{"doc_id":"doc_209","qid":"","text":"<html><head><title>Black Dahlia, The Script at IMSDb.</title><meta name=\"description\" content=\"Black Dahlia, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Black Dahlia, The script, Black Dahlia, The movie script, Black Dahlia, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                            TheBlack Dahlia                               Written by                             Josh Friedman                         Based on the novel by                             JamesEllroy<b>     CREDITS ROLL OVER</b>     Black and white newsreel footage from the 1930s. Clips from     prize fights featuring two different boxers againstvarious     opponents. One a light heavyweight--pure finesse, a     counterpunches; the other, stouter and stronger, a     headhunting puncher.     Theintercutting of the two fighters suggests a possible     showdown at the end of the newsreel. No such luck.<b>     END CREDITS</b><b>     CLOSE UPON:</b>     A TRIPLE CARBON LAPD \"INCIDENT REPORT\" FORM trapped in an old     Corona typewriter. The keys pound letters into theblank     spaces.<b>     INCIDENT: THE ZOOT SUIT RIOTS...JUNE 10, 1943...</b><b>     REPORTING OFFICER...DWIGHT \"BUCKY\"BLEICHERT</b><b>     EXT. BOYLE HEIGHTS - EVERGREEN AND WABASH - DUSK</b>     A WORLD WAR II ERA PERSONNEL CARRIER transports twentysilent     LAPD officers into the heart of downtown Los Angeles. The     sounds of glass breaking and men screaming serves as backdrop     for their arrival.     Wefocus in on BUCKY BLEICHERT, 26, (The counterpuncher from     the newsreels) as he jumps from the carrier.     Bucky's minus his gun but plus a WWI tin helmetand a three     pound truncheon.<b>     BUCKY'S POV:</b>     Hundreds of in-uniform GI's use baseball bats and two-by-     fours to beat the shit out of ZootSuit-wearing Mexicans.     Most of the cops wander to the edge of the race riot and     hobnob with the pockets of MPs and Shore Patrol who've chosen     to"}
+{"doc_id":"doc_210","qid":"","text":"<html><head><title>Ginger Snaps Script at IMSDb.</title><meta name=\"description\" content=\"Ginger Snaps script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Ginger Snaps script, Ginger Snaps movie script, Ginger Snaps film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b>                                  GINGER SNAPS</b>                                   Written by                                  KarenWalton                                                     July 15th, 1996<b>          FADE IN</b><b>          EXT. FITZGERALD HOME -- NIGHT</b>          The house is dark.The moon is almost full. A dog barks.          A melancholy voice, worn for its age, narrates:          BRIGITTE (V/o)          Ever try bein' different? An, I          don'tmean jus' thinkin' about          it, either. Ginger an' me - I          mean I...          The house numbers read 669. The 9 slips: the number now          reads666.<b>          BRIGITTE (CON'T/V/O)</b>          Ginger an' I? Went for different.          Big time.          There's a light on in a basement window. We creep upto it,          crushing the tulip. borders on the way. The window is propped          open with a sneaker: it looks like somebody's foot is caught          in it. Musicplays inside-<b>          INT. GIRLS' BASEMENT BEDROOM - NIGHT</b>          Gyrating in her underwear to bad-girl grunge, BRIGITTE          FITZGERALD (15)straddles GINGER FITZGERALD (also 15 and in          underwear) on one of the twin single beds. Both girls have          cigarettes lolling on their lower lips. Bothgirls have          pierced eyebrows, pierced noses and streaked hair. Brigitte          has blue nail polish on. Ginger hasbreasts.<b>          GINGER</b>          Brigitte. Quit dickin' around.          Jus' do it.          Brigitte reluctantly stops her thrashing and douses a cotton          ballin rubbing alcohol.          Without looking up from her TANK GIRL comic, Ginger hauls her          own shirt up to expose her navel.          Brigitte swabs Ginger's"}
+{"doc_id":"doc_211","qid":"","text":"<html><head><title>Walk to Remember, A Script at IMSDb.</title><meta name=\"description\" content=\"Walk to Remember, A script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Walk to Remember, A script, Walk to Remember, A movie script, Walk to Remember, A filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           A WALK TOREMEMBER                            Screenplay by                            Karen Janszen                     Based on the novel by                        Nicholas Sparks       Noportion of this script may be performed, reproduced,       or used by any means, or quoted or published in any       medium without the prior written consent ofWarner Bros.                                             July 27, 2000<b>WARNER BROS.                                 © 2000</b>4000 WarnerBoulevard                        WARNER BROS.Burbank, California 91522                    All Rights Reserved<b></b><b>BLACK</b>A young man'sV.O.:<b>                         ADULT LANDON (V.O.)</b>           I was born in Beaufort, North           Carolina. A place where the air           always smells of pineand salt and           sea.The voice is gentle. Slightly Southern in inflection.   Ayoung doctor's soothing manner.<b>FADE IN:</b><b>EXT. COASTAL NORTHCAROLINA (DECEMBER) (PRESENT)</b>A vast view of the coastline in winter -- beaches, rivers,sea marshes, inlets -- ebbing andflowing.<b>                         ADULT LANDON (V.O.)</b>           For many, days and nights are           spent fishing Pamlico Sound or           crabbing the NeuseRiver.The CAMERA FINDS a small coastal town, edged by a harboron which fishermen toil.<b>EXT. BEAUFORT, NORTH CAROLINA - MORNING(DECEMBER)</b>The CAMERA, MOVING inland, CROSSES OVER modest housesdecked with plastic rooftop Santas...<b>                         ADULT LANDON"}
+{"doc_id":"doc_212","qid":"","text":"<html><head><title>Usual Suspects, The Script at IMSDb.</title><meta name=\"description\" content=\"Usual Suspects, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Usual Suspects, The script, Usual Suspects, The movie script, Usual Suspects, The film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE>The Usual Suspects</TITLE><b></HEAD></b><pre>The Usual SuspectsWritten ByChristopher McQuarrieProduced and Directed By Bryan SingerRevised, 05/25/94 White<BR>Revised, 06/01/94 Blue<BR>Revised, 06/07/94 Pink<BR>Revised,06/11/94 Yellow<BR><b>SCRIPT DATE 5/25/94</b><b>1 -BLACK</b>     The lonely sound of a buoy bell in the distance. Water     slapping against a smooth,flat surface in rhythm. The     creaking of wood.     Off in the very far distance, one can make out the sound of     sirens.     SUDDENLY, a single match ignites andinvades the darkness. It     quivers for a moment. A dimly lit hand brings the rest of the     pack to the match. A plume of yellow-white flame flaresand     illuminates the battered face of DEAN KEATON, age forty. His     salty-gray hair is wet and matted. His face drips with water     or sweat. A large cut runsthe length of his face from the     corner of his eye to his chin. It bleeds freely. An un-lit     cigarette hangs in the corner of his mouth.     In the half-light we canmake out that he is on the deck of a     large boat. A yacht, perhaps, or a small freighter. He sits     with his back against the front bulkhead of the wheelhouse.     His legs are twisted at odd, almost impossible angles. He     looks down.     A thin trail of liquid runs past his feet and off into the     darkness. Keatonlights the cigarette on the burning pack of     matches before throwing them into the liquid.     The liquid IGNITES with a poof.     The flame runs up the stream,gaining in speed and intensity.     It begins to ripple and rumble as it runs down the deck     towards the"}
+{"doc_id":"doc_213","qid":"","text":"<html><head><title>187 Script at IMSDb.</title><meta name=\"description\" content=\"187 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"187 script, 187 movie script, 187 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>       187<br>                by<br><br>          Scott Yagemann<br><br><br><br><br>       REVISED SHOOTINGDRAFT<br><br>         November 4, 1996<br><br><br><br><br>FOR EDUCATIONAL PURPOSES ONLY<br><br>    Rev.7/10/96<br><br><br>                             1   8   7<br><br><br>1   EXT. LOWER MANHATTAN SKYLINE - BROOKLYN BRIDGE - MORNING    1<br>    RUSHHOUR<br><br>    ON a pair of black Dexter penny loafers diligently<br>    pedaling an old Schwinn mountain bike. ADJUST ANGLE now<br>    to meet thebicyclist...<br><br>    He's African-American. Anywhere from 33 to 40. Wears<br>    wire-rim glasses, a fresh white oxford shirt, creased<br>    slacks and asolid green tie. An unobtrusive figure, at<br>    once familiar and yet undiscerning. The type you'd pass<br>    on a sidewalk and never even notice. He'sTREVOR GARFIELD.<br><br>    ADJUST ANGLE FURTHER now to reveal the upper promenade<br>    bike path and a dramatic view of Lower Manhattanbehind<br>    him. Morning sun glimmers off the Trade Center towers.<br><br>    Trevor's shadow skitters along the wooden path, 160 ft.<br>    above theEast River.<br><br>    A fat briefcase, strapped to the back of his bike, rocks<br>    back and forth as he pumps the pedals.<br><br>    FROM ABOVE now asweeping view of Trevor, alone on the<br>    bike path, a speck, suspended above a sea of rush hour<br>    traffic on the bridge below.<br><br><br>2   EXT.ATLANTIC AVENUE (BEDFORD STUYVESANT) - MORNING         2<br><br>    A wrought-iron train trestle covered with graffiti shakes<br>    as an \"EL\" TRAIN"}
+{"doc_id":"doc_214","qid":"","text":"<html><head><title>Swordfish Script at IMSDb.</title><meta name=\"description\" content=\"Swordfish script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Swordfish script, Swordfish movie script, Swordfish film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>SWORDFISH         by     Skip Woods     January 2001Final Production Draft<b>FOR EDUCATIONAL</b><b> PURPOSESONLY</b><b></b><b>1   BLACKNESS                                                     1</b>    We hear OVER...<b>                              GABRIEL(V.O.)</b>                You know the problem with                Hollywood? They make shit.                Unbelievable, unremarkable shit.                I'm not somegrungy filmmaker-                wannabee searching for                existentialism through a haze of                bong-smoke. It's easy to pick                apart badacting, short-sighted                directing, or the purely moronic                stringing together of words many                of the studios term as prose.No,                I'm talking the lack of realism.                Realism. Not a pervasive element                in the modern Americancinematic                vision.<b>    FADE IN:</b><b>    INT. STARBUCKS COFFEE SHOP - MORNING</b>    Three men sit at a window booth drinking coffeeand    talking. Two of the men sit on one side of the table;    STANLEY is in his early thirties, AGENT ROBERTS, early    forties. Both wear suits, the younger's isfairly    expensive and well cut, the other's is polyester, enough    said. The MAN across, however, is quite different. He    is what they used to call a\"cool-cat.\"<b>                              GABRIEL (MAN)</b>                Take Dog Day Afternoon for                example. Arguably Pacino's                greatestperformance, excepting                The Godfather, Part I, and                Scarface, of course. A                masterpiece of directing, easily                Lumet's best."}
+{"doc_id":"doc_215","qid":"","text":"The Project Gutenberg EBook of Thuvia, Maid of Mars, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Thuvia, Maid of MarsAuthor: Edgar Rice BurroughsPosting Date: June 23, 2008 [EBook #72]Release Date: July, 1993First Posted:November 14, 2001[Last updated: October 10, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THUVIA, MAID OF MARS ***Producedby Judith Boss and Charles Keller.  HTML version by Al Haines.Thuvia, Maid of MarsByEdgar Rice Burroughs             CONTENTS CHAPTER    I  Carthoris andThuvia   II  Slavery  III  Treachery   IV  A Green Man's Captive    V  The Fair Race   VI  The Jeddak of Lothar  VII  The Phantom Bowmen VIII  The Hall ofDoom   IX  The Battle in the Plain    X  Kar Komak, the Bowman   XI  Green Men and White Apes  XII  To Save Dusar XIII  Turjun, the Panthan  XIV  Kulan Tith'sSacrifice       Glossary of Names and TermsTHUVIA, MAID OF MARSCHAPTER ICARTHORIS AND THUVIAUpon a massive bench of polished ersite beneath thegorgeous bloomsof a giant pimalia a woman sat.  Her shapely, sandalled foot tappedimpatiently upon the jewel-strewn walk that wound beneath thestatelysorapus trees across the scarlet sward of the royal gardensof Thuvan Dihn, Jeddak of Ptarth, as a dark-haired, red-skinnedwarrior bent low toward her,whispering heated words close to herear.\"Ah, Thuvia of Ptarth,\" he cried, \"you are cold even before thefiery blasts of my consuming love!  No harder than yourheart, norcolder is the hard, cold ersite of this thrice happy bench whichsupports your divine and fadeless form!  Tell me, O Thuvia ofPtarth, that I may stillhope--that though you do not love me now,yet some day, some day, my princess, I--\"The girl sprang to her feet with an exclamation of surpriseanddispleasure.  Her queenly head was poised haughtily upon her smoothred shoulders.  Her dark eyes looked angrily into those of the man.\"You forget yourself,and the customs of Barsoom, Astok,\" she said.\"I have given you no right thus to address the daughter of ThuvanDihn, nor have you won such a right.\"The manreached suddenly forth and grasped her by the arm.\"You shall be my princess!\" he cried.  \"By the breast of Issus, thoushalt, nor shall any other come betweenAstok, Prince of Dusar,and his heart's desire.  Tell me that there is another, and I shallcut out his foul heart and fling it to the wild calots of thedeadsea-bottoms!\"At touch of the man's hand upon her flesh the girl went pallidbeneath her coppery skin, for the persons of the royal women ofthe courts ofMars are held but little less than sacred.  The actof Astok, Prince of Dusar, was profanation.  There was no terrorin the eyes of Thuvia of Ptarth--only horror forthe thing the manhad done and for its possible consequences.\"Release me.\"  Her voice was level--frigid.The man muttered incoherently and drew her roughlytoward him.\"Release me!\" she repeated sharply, \"or I call the guard, and thePrince of Dusar knows what that will mean.\"Quickly he threw his right arm about hershoulders and strove todraw her face to his lips.  With a little cry she struck him fullin the mouth with the massive bracelets that circled her free arm.\"Calot!\" sheexclaimed, and then:  \"The guard!  The guard!  Hastenin protection of the Princess of Ptarth!\"In answer to her call a dozen guardsmen came racing acrossthescarlet sward, their gleaming long-swords naked in the sun, themetal of their accoutrements clanking against that of their leathernharness, and in theirthroats hoarse shouts of rage at the sightwhich met their eyes.But before they had passed half across the royal garden to whereAstok of Dusar still held thestruggling girl in his grasp, anotherfigure sprang from a cluster of dense foliage that half hid a goldenfountain close at hand.  A tall, straight youth he was, withblackhair and keen grey eyes; broad of shoulder and narrow of hip; aclean-limbed fighting man.  His skin was but faintly tinged withthe copper colour that marksthe red men of Mars from the otherraces of the dying planet--he was like them, and yet there was asubtle difference greater even than that which lay in hislighterskin and his grey eyes.There was a difference, too, in his movements.  He came on in greatleaps that carried him so swiftly over the ground that thespeedof the guardsmen was as nothing by comparison.Astok still clutched Thuvia's wrist as the young warrior confrontedhim.  The new-comer wasted no timeand he spoke but a single word.\"Calot!\" he snapped, and then his clenched fist landed beneath theother's chin, lifting him high into the air and depositing him inacrumpled heap within the centre of the pimalia bush beside theersite bench.Her champion turned toward the girl.  \"Kaor, Thuvia of Ptarth!\" hecried.  \"It seemsthat fate timed my visit well.\"\"Kaor, Carthoris of Helium!\" the princess returned the young man'sgreeting, \"and what less could one expect of the son of suchasire?\"He bowed his acknowledgment of the compliment to his father, JohnCarter, Warlord of Mars.  And then the guardsmen, panting fromtheir charge, came upjust as the Prince of Dusar, bleeding at themouth, and with drawn sword, crawled from the entanglement of thepimalia.Astok would have leaped to mortal combatwith the son of DejahThoris, but the guardsmen pressed about him, preventing, though itwas clearly evident that naught would have better pleased CarthorisofHelium.\"But say the word, Thuvia of Ptarth,\" he begged, \"and naught willgive me greater pleasure than meting to this fellow the punishmenthe has earned.\"\"Itcannot be, Carthoris,\" she replied.  \"Even though he has forfeitedall claim upon my consideration, yet is he the guest of the jeddak,my father, and to him alonemay he account for the unpardonableact he has committed.\"\"As you say, Thuvia,\" replied the Heliumite.  \"But afterward heshall account to Carthoris, Prince ofHelium, for this affront tothe daughter of my father's friend.\" As he spoke, though, thereburned in his eyes a fire that proclaimed a nearer, dearer causefor hischampionship of this glorious daughter of Barsoom.The maid's cheek darkened beneath the satin of her transparent skin,and the eyes of Astok, Prince of Dusar,darkened, too, as he readthat which passed unspoken between the two in the royal gardens ofthe jeddak.\"And thou to me,\" he snapped at Carthoris, answeringthe youngman's challenge.The guard still surrounded Astok.  It was a difficult position forthe young officer who commanded it.  His prisoner was the son ofamighty jeddak; he was the guest of Thuvan Dihn--until but now anhonoured guest upon whom every royal dignity had been showered.To arrest him forciblycould mean naught else than war, and yet hehad done that which in the eyes of the Ptarth warrior merited death.The young man hesitated.  He looked toward hisprincess.  She, too,guessed all that hung upon the action of the coming moment.  Formany years Dusar and Ptarth had been at peace with each other.Their greatmerchant ships plied back and forth between the largercities of the two nations.  Even now, far above the gold-shotscarlet dome of the jeddak's palace, she couldsee the huge bulkof a giant freighter taking its majestic way through the thinBarsoomian air toward the west and Dusar.By a word she might plunge these twomighty nations into a bloodyconflict that would drain them of their bravest blood and theirincalculable riches, leaving them all helpless against the inroadsof theirenvious and less powerful neighbors, and at last a preyto the savage green hordes of the dead sea-bottoms.No sense of fear influenced her decision, for fear isseldom knownto the children of Mars.  It was rather a sense of the responsibilitythat she, the daughter of their jeddak, felt for the welfare ofher father's people.\"Icalled you, Padwar,\" she said to the lieutenant of the guard,\"to protect the person of your princess, and to keep the peacethat must not be violated within theroyal gardens of the jeddak.That is all.  You will escort me to the palace, and the Prince ofHelium will accompany me.\"Without another glance in the direction ofAstok she turned, andtaking Carthoris' proffered hand, moved slowly toward the massivemarble pile that housed the ruler of Ptarth and his glitteringcourt.  Oneither side marched a file of guardsmen.  Thus Thuviaof Ptarth found a way out of a dilemma, escaping the necessityof placing her father's royal guest underforcible restraint, andat the same time separating the two princes, who otherwise wouldhave been at each other's throat the moment she and the guardhaddeparted.Beside the pimalia stood Astok, his dark eyes narrowed to mere slitsof hate beneath his lowering brows as he watched the retreatingforms of thewoman who had aroused the fiercest passions of hisnature and the man whom he now believed to be the one who stoodbetween his love and itsconsummation.As they disappeared within the structure Astok shrugged his shoulders,and with a murmured oath crossed the gardens toward another wingof thebuilding where he and his retinue were housed.That night he took formal leave of Thuvan Dihn, and though nomention was made of the happening within thegarden, it was plainto see through the cold mask of the jeddak's courtesy that onlythe customs of royal hospitality restrained him from voicing thecontempt hefelt for the Prince of Dusar.Carthoris was not present at the leave-taking, nor was Thuvia.  Theceremony was as stiff and formal as court etiquette could makeit,and when the last of the Dusarians clambered over the rail of thebattleship that had brought them upon this fateful visit to thecourt of Ptarth, and the mightyengine of destruction had risenslowly from the ways of the landing-stage, a note of relief wasapparent in the voice of Thuvan Dihn as he turned to one ofhisofficers with a word of comment upon a subject foreign to thatwhich had been uppermost in the minds of all for hours.But, after all, was it so foreign?\"InformPrince Sovan,\" he directed, \"that it is our wish that thefleet which departed for Kaol this morning be recalled to cruiseto the west of Ptarth.\"As the warship,bearing Astok back to the court of his father,turned toward the west, Thuvia of Ptarth, sitting upon the samebench where the Prince of Dusar had affronted her,watched thetwinkling lights of the craft growing smaller in the distance.Beside her, in the brilliant light of the nearer moon, sat Carthoris.His eyes were not uponthe dim bulk of the battleship, but on theprofile of the girl's upturned face.\"Thuvia,\" he whispered.The girl turned her eyes toward his.  His hand stole out tofindhers, but she drew her own gently away.\"Thuvia of Ptarth, I love you!\" cried the young warrior.  \"Tell methat it does not offend.\"She shook her headsadly.  \"The love of Carthoris of Helium,\" shesaid simply, \"could be naught but an honour to any woman; but youmust not speak, my friend, of bestowing uponme that which I maynot reciprocate.\"The young man got slowly to his feet.  His eyes were wide inastonishment.  It never had occurred to the Prince of HeliumthatThuvia of Ptarth might love another.\"But at Kadabra!\" he exclaimed.  \"And later here at your father'scourt, what did you do, Thuvia of Ptarth, that might have"}
+{"doc_id":"doc_216","qid":"","text":"<html><head><title>Machine Gun Preacher Script at IMSDb.</title><meta name=\"description\" content=\"Machine Gun Preacher script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Machine Gun Preacher script, Machine Gun Preacher movie script, Machine Gun Preacher filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  MACHINE GUNPREACHER</b>                                                                                                                 Written by                                     JasonKeller                                                            based on the life of SamChilders                                                                                                    <b>          FINAL SHOOTINGDRAFT</b>                         <b>                                                                   9/30/2010</b>          This is true...<b>          EXT. VILLAGE - NIGHT -(2003)</b>                                   The night is stillborn.                                   Without sound or movement and nothing is in definition. All we see          aredegrees of blackness in this unlit world. The vague impressions          of an African village in the void... a ragged line of tukuls (straw          huts)... a bicyclepropped against a mud wall... a soccer ball in          the dirt...                         <b>          INT. TUKUL - NIGHT</b>                                   And we find aSudanese family asleep on reed mats. A mother, father          and their two boys. The younger boy we'll come to know as \"WILLIAM\"          (9). His older brother\"CHRISTOPHER\" (12) curled next to him.                         <b>          EXT. VILLAGE - NIGHT</b>                                   And slowly the blackness begins to"}
+{"doc_id":"doc_217","qid":"","text":"                             THE SQUAW MANThis ebook is for the use of anyone anywhere in the United States andmost other parts of the world at no cost and withalmost no restrictionswhatsoever. You may copy it, give it away or re-use it under the termsof the Project Gutenberg License included with this ebook or onlineathttp://www.gutenberg.org/license. If you are not located in the UnitedStates, youâ\u0000\u0000ll have to check the laws of the country where you arelocated beforeusing this ebook.Title: The Squaw ManAuthor: Julie Opp FavershamRelease Date: August 14, 2016 [EBook #52804]Language: EnglishCharacter set encoding:UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE SQUAW MAN ***Produced by Al Haines.[Illustration: Cover art][Illustration: \"â\u0000\u0000BIGFATHERâ\u0000\u0000SEND FOR LITTLE HALâ\u0000\u0000HAL SEE THE RISING SUNâ\u0000\u0000\"See page 250]                            *The Squaw Man*                               *ANovel*                                  *By                          Julie Opp Faversham*                       *Adapted from the Play by                          Edwin MiltonRoyle*                                New York                            Grosset & Dunlap                               Publishers            Published by arrangement with Harper &Brothers                 Copyright, 1906, by HARPER & BROTHERS.                         _All rights reserved._                       Published December,1906.                                   TO                           WILLIAM FAVERSHAM                            *ILLUSTRATIONS*\"THE SQUAW MAN\" . . . Cover Inlay\"â\u0000\u0000BIGFATHERâ\u0000\u0000SEND FOR LITTLE HALâ\u0000\u0000HAL SEE THE RISING SUNâ\u0000\u0000\" . . .Frontispiece\"ALMOST AS ONE MAN THEY THRUST THEIR REVOLVERS INTOBUDâ\u0000\u0000S FACE\"\"SHE DREW HERSELF UP CLOSE TO HIM, AND SAID â\u0000\u0000ME KILL â\u0000\u0000UMâ\u0000\u0000\"\"â\u0000\u0000YES, DIANA. MY BOYâ\u0000\u0000MY SONâ\u0000\u0000\"_The illustrationsin this book are reproduced from photographs ofscenes in the play, made by Hallâ\u0000\u0000s Studio, New York; the cover inlay byMorrison,Chicago._                                 *HOME*                            *THE SQUAW MAN*                              *CHAPTER I*It was Jimâ\u0000\u0000s last day at home.  He stood inthe centre of the fragrantgarden and watched the glory of color suffusing the Surrey hills towardsthe west.  With a sigh he turned away and walked to thehouse.\"Whereâ\u0000\u0000s Diana?\" he called, as he came from the garden through thecasement-window of the library.\"Dianaâ\u0000\u0000why, sheâ\u0000\u0000s in bed an hour ago, Ishould hope,\" replied his aunt,Lady Elizabeth Kerhill. \"She and Mabel went with Bates to see thedecorations and then said good-night.  Surely you didnâ\u0000\u0000texpect me toallow the children to stay up for the ball?\"Mabel was her daughter; Diana Marjoribanks was a young girl of thirteen,who had come to visit her.\"Poorimps! they were so excited all day, and followed me about thegun-room where I was doing some packing.  They wanted me to coax you toallow them to see theball, and the tenantry welcome Henry to-night.\"Lady Kerhill elevated her eyebrows in questioning amazement at Jim, asshe nervously twisted the lace of hergown, and with an impatientgesture motioned the subject aside.  She was a tall, angular woman, witha profile like the head on a bronze coin; there was asuggestion of theeagle in her personality, and by her friends she was likened to thefamous Sarah Churchill, the first Duchess of Marlborough.To-night her faceshowed that anxious thoughts were crowding in on heras she apprehensively watched the big, carved oak door leading into thehall. Jim knew his auntâ\u0000\u0000sfirmness of character, and as silence followedhis words, he feared further discussion was useless; but the wistfulfaces of the children at tea-time in the nursery,as they coaxed him toplead for them to see the fun, made him venture a final appeal.\"You know, Aunt, Sir Charles brought Di over to stay with Mabel so thatshemight see the festivities and incidentally say good-bye to me, soyou might turn angel and let Diana dance once with me at the verybeginning of the ball.  Ishaâ\u0000\u0000nâ\u0000\u0000t see my little playfellow for ages, youknow.\"A sound from outside held Lady Elizabethâ\u0000\u0000s attention more intently thanJimâ\u0000\u0000s pleadingwords.  He crossed to her in the window-enclosure andlaid his hand caressingly on her shoulder.\"The Colonel wired me that we were leaving Paddington at nineto-morrowmorning, and India is a long way off, Auntie mine.\"\"Nonsense,\" answered Lady Elizabeth, as she rose from the deepwindow-seat.  \"You are almosttwenty, and Diana is only a babeâ\u0000\u0000isnâ\u0000\u0000tshe, Henry?\"  She glanced up and appealed to the young man who rathernoisily entered the library.\"Whoâ\u0000\u0000s ababe?  Diana?  Why, mater, sheâ\u0000\u0000s a little witch, and I promisedher Iâ\u0000\u0000d let her see the illuminations at ten and then old Burrow shouldcarry her off tobed.\"Henry Wynnegate, seventh Earl of Kerhill, dropped into a great settleclose to the fire.  The ball was for the tenantry in celebration of hisreturn, after fiveyearsâ\u0000\u0000 absence with his regiment.  He was a tall,heavy-set young soldier of seven-and-twenty, with the famous Wynnegatebeauty, but it was marred by theshifting expression of his ratherdeep-set eyes and the heavy lines about his mouth.  Self was his god: itshowed in every expression of his face and in every actionof his life.Jim Wynnegate, his cousin, the son of the younger brother of the lateEarl, Henryâ\u0000\u0000s father, turned from the window as Henry entered.  In theyoungboyâ\u0000\u0000s faceâ\u0000\u0000for he seemed younger than his yearsâ\u0000\u0000one could easilytrace the family resemblance; but Jim, with his great, clean spiritshining in hishonest gray eyes, invited confidence and won it, from amongrel dog to a superior officer.  He was taller than Henry, and asslim as a young sapling.  The delicate,sensitive mouth was balanced bya strong chin.In the oak-lined room, grown almost black with age, the candle-lightsflickering in the heavy brass sconces, stoodthese three lastdescendants of a great family. The Earlâ\u0000\u0000s brother, Dick Wynnegate, hadrun away with the daughter of an impecunious colonel.  A fewyearslater, while on service in India, he was shot, and the young wife livedonly to bring the tiny boy Jim home and to leave him with herhusbandâ\u0000\u0000sbrother.  Even then the fortunes of the Wynnegates were somewhatimpaired, but the old Earl had taken the boy to his heart, and on hisdeath hadconfided him to his wife to share their fortune with his sonHenry.  His last words were, \"Be good to poor Dickâ\u0000\u0000s boy.\"  The estateswere entailed, so noprovision could be made by him for Jim, but LadyKerhill, in her cold, just fashion, had tried to make Dickâ\u0000\u0000s boy happy.Deep in his heart, Jim remembered theyears that followed; rememberedthe selfish domination of the elder boy; remembered the blind adorationof his aunt for her son, the bearer of the torch, who wasto carry onthe golden light of the house of Kerhill.  In the Anglo-Saxon idolatryof the Countess of Kerhill for the male of the family, all the oldtraditions and beliefswere justified.  Her boyâ\u0000\u0000-the man-child who wasto be the head of the houseâ\u0000\u0000was her obsession. The tiny, flower-likegirl who came shortly before herhusbandâ\u0000\u0000s death, learned soon to turnto Cousin Jim for comfort when her brother carelessly crushed her littlejoys, as he selfishly planned and fought for hisown gratification.Instinctively Jim watched his aunt, who, at Henryâ\u0000\u0000s word, had started tomove towards him.\"Of course, if you care to go and fetch Diana, Ishall be happy,\" LadyKerhill said.Henry lounged back in his chair.  \"Well, if I forget, Jim can rememberfor meâ\u0000\u0000eh, Jim?\"Lady Kerhillâ\u0000\u0000s face became graveas she leaned over Henryâ\u0000\u0000s chair andclosely studied the flushed face.  She found there confirmation of thefear that had preyed on her mind for the pasthalf-hour.\"Oh, Henry, youâ\u0000\u0000ve broken your word,\" she whispered.The reckless challenge of Henryâ\u0000\u0000s dark eyes as he moved impatiently inhis chair was hisonly answer. Then in a burst of ill-concealedresentment he rose: \"Donâ\u0000\u0000t nag, mother.\"He swayed slightly as he crossed to the open casement. As Jim turnedtohim, he sullenly pushed him aside.\"And donâ\u0000\u0000t you preach,\" he muttered, as he started for the garden.Jim quickly caught him by the shoulder, \"Pull yourselftogether, Henry.Itâ\u0000\u0000s eight oâ\u0000\u0000clock and the people are gathering in the park.\"Henryâ\u0000\u0000s only reply was a snarl as he disappeared in the shadow ofthetrees.The broad window opened level on an Old World garden that led into thegreat park beyond.  The late twilight of the July night was bathing parkandgarden in a curious, unearthly light which made strange spectres ofthe slowly waving yew-trees.  The scent of the rose-bushes, the call ofthe late nightingale tohis mate, and the ghostly sundial,sentinel-like, guarding the old place, made a fitting environment forMaudsley Towers.On a slight hill beyond the park, Jim couldsee the ruins of the famousNorman church.  To the right, at the farther end of the garden, was theFairiesâ\u0000\u0000 Corner. There among the trees the fairies of thefield weresupposed to sleep, and to listen to and grant the requests of thechildren, who had the courage to venture to them at even-tide.  Jimâ\u0000\u0000sthoughts werebusy to-night; all the old memories seemed to tug at hisheartstrings.He had carried Diana Marjoribanks there on her first visit to theTowers.  She was six thenand he was twelve.  She had clung to him andhid her head on his shoulderâ\u0000\u0000the tiny body had stiffened with fearâ\u0000\u0000asthey made their way to the darkenclosure of the trees.  He could stillhear her prayer.\"Dear Fairy, please make Henry kinder to poor Jim, poor Mabel, and poorme!\"Even then, Henry had been thelittle tyrant of the Towers.And yet to-night Henryâ\u0000\u0000s wish, as of old, was law to his mother.  Sheconceded Diana to him at his first careless request, although inallprobability he would forget the longing child in the nurseryâ\u0000\u0000forget hispromise to give her pleasure, as he had forgotten so often when he was aboy.Jimroused himself; as he turned to Lady Elizabeth he caught a glimpseof her with the mask off, the bitter disappointment of the motherâ\u0000\u0000sheart showing in everyline of her proud face.  He crossed to her, butthe sound of carriage-wheels turning into the driveway heralded theapproach of the first arrivals, and before Jimcould speak the doorswere thrown open to the guests.Lady Elizabeth gave one look of appeal to Jim. It said: \"Help Henry andme!\"Up-stairs in the right wing ofthe old house, a tall, slender childcrouched close to the nursery window. She had crept from her cot, and,wrapped in a coverlet, waited, and clung to the beliefthat Henry wouldcome for her.  Jim had said he would try, but Henry had promised.  Shewas old enough to know that what Henry desired he obtained.  Herlittleface was pressed closer and closer to the window as she listened to theswelling music and saw the guests thronging towards the park.  Carriageafter carriagebrought its load of finery, until the child fancied thatthe entire county must be gathered below.  She could see through theclimbing roses down into the library,which jutted out at a sharp anglealmost opposite to the nursery window.  But of Jim or Henry she couldcatch no glimpse.The stars began to creep out and blink atthe tiny figure in thewindow-seat.  Gradually the entire house grew quiet.  Allâ\u0000\u0000even theservantsâ\u0000\u0000had joined the revelry in the park.The music crashed"}
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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                    HOWTO LOSE FRIENDS AND ALIENATE PEOPLE</b>                                                          Written by                              PeterStraughan<b>                                               09/05/07 SHOOTING SCRIPT</b><b>         FADE IN:</b>                         <b>          1 TV SCREEN - BLACKAND WHITE MOVIE 1</b>           ...British, fifties, a melodrama. We're looking at an           ACTRESS - glamorous, young - but very much in theback           ground of the scene - a secretary typing at her desk.<b>                          REVERSE</b>           A YOUNG BOY sits watching the film, his clothes andthe           room around him telling us this is England in the 1960s. He           is staring raptly at the actress.<b>           SIDNEY (V.O.)</b>           All my lifeI've been a Looky-           Loo.<b>                          DISSOLVE TO:</b>                         <b>          2 INT. GOLDEN GLOBES AWARDS - EVENING2</b><b>                          SLOW-MOTION</b>           We are CLOSE on an extremely handsome YOUNG MAN staring           past us with a dazzlingsmile.<b>           SIDNEY (V.O.)</b>           My name's Sidney Young. I'm a           journalist...a hack. (Beat) Yeah,           that...that isn't me.           We PANright and down to our hero - SIDNEY YOUNG -           thirties, an odd-ball with a knack for getting people to           dislike him.<b>           SIDNEY (CONT'D)(V.O.) (CONT'D)</b>           This is me at the Golden Globe           Awards in L.A. this year. That's           my Armani tuxedo. That's a Rolex           Sea-Dweller"}
+{"doc_id":"doc_219","qid":"","text":"The Project Gutenberg EBook of A King, and No Kingby Francis Beaumont and John FletcherThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.netTitle: A King, and No KingAuthor: Francis Beaumont and John FletcherRelease Date: May 10, 2004 [EBook #12312]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK A KING, AND NO KING ***Produced by Jonathan Ingram, Jayam Subramanian and PGDistributedProofreadersA KING, AND NO KING.By Francis Beaumont and John FletcherPersons Represented in the Play.Arbaces, _King_  of Iberia.Tigranes, _Kingof_  Armenia.Gobrias, _Lord Protector, and Father of_  Arbaces.Bacurius, _another Lord_.Mardonius.)Bessus,  ) _Two Captains_Ligo[n]es, _Fatherof_  Spaconia._Two Gentlemen_._Three Men and a Woman_.Philip, _a servant, and two Citizens Wives_._A Messenger_._A Servant to_  Bacurius._TwoSword-men_._A Boy_.Arane,  ) _The [Queen-Mother_.Panthea,) _Her Daughter_.Spaconia,) _A Lady Daughter of_  LigonesMandane,) _A waiting woman, andother attendants_.       *       *       *       *       *_Actus primus. Scena prima_.       *       *       *       *       *_Enter_  Mardonius _and_  Bessus, _TwoCaptains_._Mar_.  _Bessus_, the King has made a fair hand on't, he has ended the  Wars at a blow, would my sword had a close basket hilt to hold  Wine, andthe blade would make knives, for we shall have nothing  but eating and drinking._Bes_.  We that are Commanders shall do well enough._Mar_.  Faith _Bessus_,such Commanders as thou may; I had as lieve set  thee Perdue for a pudding i'th' dark, as _Alexander_  the Great._Bes_.  I love these jestsexceedingly._Mar_.  I think thou lov'st 'em better than quarrelling _Bessus_, I'le  say so much i'thy behalf, and yet thou 'rt valiant enough upon a  retreat, I thinkthou wouldst kill any man that stopt thee if  thou couldst._Bes_.  But was not this a brave Combate _Mardonius_?_Mar_.  Why, didst thou see't?_Bes_.  Youstood wi'me._Mar_.  I did so, but me thought thou wink'dst every blow they strook._Bes_.  Well, I believe there are better souldiers than I, that never saw  twoPrinces fight in lists._Mar_.  By my troth I think so too _Bessus_, many a thousand, but  certainly all that are worse than thou have seen as much._Bes_.  'Twasbravely done of our King._Mar_.  Yes, if he had not ended the wars: I'me glad thou dar'st talk of  such dangerous businesses._Bes_.  To take a Prince prisoner inthe heart of's own Country in single  combat._Mar_.  See how thy blood curdles at this, I think thou couldst be  contented to be beaten i'this passion._Bes_.  ShallI tell you truly?_Mar_.  I._Bes_.  I could willingly venture for't._Mar_.  Um, no venture neither _Bessus_._Bes_.  Let me not live, if I do not think 'tis a braverpiece of service  than that I'me so fam'd for._Mar_.  Why, art thou fam'd for any valour?_Bes_.  Fam'd! I, I warrant you._Mar_.  I'me e'en heartily glad on't, Ihave been with thee e're since  thou cam'st to th'wars, and this is the first word that ever I  heard on't, prethee who fames thee._Bes_.  The Christianworld._Mar_.  'Tis heathenishly done of'em in my conscience, thou deserv'st it  not._Bes_.  Yes, I ha' don good service._Mar_.  I do not know how thou maystwait of a man in's Chamber, or thy  agility of shifting of a Trencher, but otherwise no service good  _Bessus_._Bes_.  You saw me do the service yourself._Mar_.  Not so hasty sweet _Bessus_, where was it, is the placevanish'd?_Bes_.  At _Bessus_  desp'rate redemption._Mar_.  At _Bessus_  desp'rateredemption, where's that?_Bes_.  There where I redeem'd the day, the place bears my name._Mar_.  Pray thee, who Christened it?_Bes_.  TheSouldiers._Mar_.  If I were not a very merrily dispos'd man, what would become of  thee? one that had but a grain of choler in the whole composition  of hisbody, would send thee of an errand to the worms for  putting thy name upon that field: did not I beat thee there i'th'  head o'th' Troops with a Trunchion, becausethou wouldst needs  run away with thy company, when we should charge the enemy?_Bes_.  True, but I did not run._Mar_.  Right _Bessus_, I beat thee outon't._Bes_.  But came I not up when the day was gone, and redeem'dall?_Mar_.  Thou knowest, and so do I, thou meanedst to flie, and thy fear  making theemistake, thou ranst upon the enemy, and a hot charge  thou gav'st, as I'le do thee right, thou art furious in running  away, and I think, we owe thy fear for ourvictory; If I were the  King, and were sure thou wouldst mistake alwaies and run away  upon th' enemy, thou shouldst be General by this light._Bes_.  You'l neverleave this till I fall foul._Mar_.  No more such words dear _Bessus_, for though I have ever known  thee a coward, and therefore durst never strike thee, yet ifthou  proceedest, I will allow thee valiant, and beat thee._Bes_.  Come, our King's a brave fellow._Mar_.  He is so _Bessus_, I wonder how thou cam'st to knowit. But if  thou wer't a man of understanding, I would tell thee, he is  vain-glorious, and humble, and angry, and patient, and merry and  dull, and joyful andsorrowful in extremity in an hour: Do not  think me thy friend for this, for if I ear'd who knew it, thou  shouldst not hear it _Bessus_. Here he is with his prey inhis  foot._Enter &c. Senet Flourish_._Enter_  Arbaces _and_  Tigranes, _Two Kings and two Gentlemen_._Arb_.  Thy sadness brave _Tigranes_  takesaway  From my full victory, am I become  Of so small fame, that any man should grieve  When I o'recome him? They that plac'd me here,  Intended it an honourlarge enough, (though he  For the most valiant living, but to dare oppose me single,  Lost the day. What should afflict you, you are as free as I,  To be myprisoner, is to be more free  Than you were formerly, and never think  The man I held worthy to combate me  Shall be us'd servilely: Thy ransom is  To take myonly Sister to thy Wife.  A heavy one _Tigranes_, for she is  A Lady, that the neighbour Princes send  Blanks to fetch home. I have been too unkind  To her_Tigranes_, she but nine years old  I left her, and ne're saw her since, your wars  Have held me long and taught me though a youth,  The way to victory, she wasa pretty child,  Then I was little better, but now fame  Cries loudly on her, and my messengers  Make me believe she is a miracle;  She'l make you shrink, as Idid, with a stroak  But of her eye _Tigranes_._Tigr_.  Is't the course of _Iberia_  to use their prisoners thus?  Had fortune thrown my name above _Arbace_,  Ishould not thus have talk'd Sir, in _Armenia_  We hold it base, you should have kept your temper  Till you saw home again, where 'tis the fashion  Perhaps tobrag._Arb_.  Be you my witness earth, need I to brag,  Doth not this captive Prince speak  Me sufficiently, and all the acts  That I have wrought upon his sufferingLand;  Should I then boast! where lies that foot of ground  Within his whole Realm, that I have not past,  Fighting and conquering; Far then from me  Beostentation. I could tell the world  How I have laid his Kingdom desolate  By this sole Arm prop't by divinity,  Stript him out of his glories, and have sent  Thepride of all his youth to people graves,  And made his Virgins languish for their Loves,  If I would brag, should I that have the power  To teach the Neighbourworld humility,  Mix with vain-glory?_Mar_.  Indeed this is none._Arb.  _Tigranes_, Nay did I but take delight  To stretch my deeds as others do, on words,  Icould amaze my hearers._Mar_.So you do._Arb_.  But he shall wrong his and my modesty,  That thinks me apt to boast after any act  Fit for a good man to doupon his foe.  A little glory in a souldiers mouth  Is well-becoming, be it far from vain._Mar_.  'Tis pity that valour should be thus drunk._Arb_.  I offer you mySister, and you answer  I do insult, a Lady that no suite  Nor treasure, nor thy Crown could purchase thee,  But that thou fought'st with me._Tigr_.  Though thisbe worse  Than that you spake before, it strikes me not;  But that you think to overgrace me with  The marriage of your Sister, troubles me.  I would give worldsfor ransoms were they mine,  Rather than have her._Arb_.  See if I insult  That am the Conquerour, and for a ransom  Offer rich treasure to theConquered,  Which he refuses, and I bear his scorn:  It cannot be self-flattery to say,  The Daughters of your Country set by her,  Would see their shame, runhome and blush to death,  At their own foulness; yet she is not fair,  Nor beautiful, those words express her not,  They say her looks have somethingexcellent,  That wants a name: yet were she odious,  Her birth deserves the Empire of the world,  Sister to such a brother, that hath ta'ne  Victory prisoner, andthroughout the earth,  Carries her bound, and should he let her loose,  She durst not leave him; Nature did her wrong,  To Print continual conquest on hercheeks,  And make no man worthy for her to taste  But me that am too near her, and as strangely  She did for me, but you will think I brag._Mar_.  I do I'le besworn. Thy valour and thy passions sever'd, would  have made two excellent fellows in their kinds: I know not  whether I should be sorry thou art so valiant, orso passionate,  wou'd one of 'em were away._Tigr_.  Do I refuse her that I doubt her worth?  Were she as vertuous as she would be thought,  So perfect that noone of her own sex  Could find a want, had she so tempting fair,  That she could wish it off for damning souls,  I would pay any ransom, twenty lives  Rather thanmeet her married in my bed.  Perhaps I have a love, where I have fixt  Mine eyes not to be mov'd, and she on me,  I am not fickle._Arb_.  Is that all thecause?  Think you, you can so knit your self in love  To any other, that her searching sight  Cannot dissolve it? So before you tri'd,  You thought your self a matchfor me in [f]ight,  Trust me _Tigranes_, she can do as much  In peace, as I in war, she'l conquer too,  You shall see if you have the power to stand  The force ofher swift looks, if you dislike,  I'le send you home with love, and name your ransom  Some other way, but if she be your choice,  She frees you: To _Iberia_  youmust._Tigr_.  Sir, I have learn'd a prisoners sufferance,  And will obey, but give me leave to talk  In private with some friends before I go._Arb_.  Some to awaithim forth, and see him safe,  But let him freely send for whom he please,  And none dare to disturb his conference,  I will not have him know what bondageis,                                           [_Exit Tigranes_.  Till he be free from me. This Prince, _Mardonius_,  Is full of wisdom, valour, all the graces  Man canreceive._Mar_.   And yet you conquer'd him._Arb_.  And yet I conquer'd him, and could have don't  Hadst thou joyn'd with him, though thy name in Arms  Begreat; must all men that are vertuous  Think suddenly to match themselves with me?  I conquered him and bravely, did I not?_Bes_.  And please your Majesty, Iwas afraid at first._Mar_.   When wert thou other?_Arb_.  Of what?_Bes_.  That you would not have spy'd your best advantages, for your  Majesty in my opinionlay too high, methinks, under favour, you  should have lain thus._Mar_.  Like a Taylor at a wake._Bes_.  And then, if please your Majesty to remember, at one"}
+{"doc_id":"doc_220","qid":"","text":"The Project Gutenberg EBook of The Lady, or the Tiger?, by Frank R. StocktonThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Lady, or the Tiger?Author: Frank R. StocktonLast updated: December 28, 2008Posting Date: July 20, 2008 [EBook #396]ReleaseDate: January, 1995Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LADY, OR THE TIGER? ***Produced by Edward A. Malone.THELADY, OR THE TIGER?byFrank R. StocktonIn the very olden time there lived a semi-barbaric king, whose ideas,though somewhat polished and sharpened by theprogressiveness ofdistant Latin neighbors, were still large, florid, and untrammeled, asbecame the half of him which was barbaric. He was a man ofexuberantfancy, and, withal, of an authority so irresistible that, at his will,he turned his varied fancies into facts. He was greatly given toself-communing, and,when he and himself agreed upon anything, thething was done.  When every member of his domestic and politicalsystems moved smoothly in its appointedcourse, his nature was blandand genial; but, whenever there was a little hitch, and some of hisorbs got out of their orbits, he was blander and more genial still,fornothing pleased him so much as to make the crooked straight and crushdown uneven places.Among the borrowed notions by which his barbarism had becomesemifiedwas that of the public arena, in which, by exhibitions of manly andbeastly valor, the minds of his subjects were refined and cultured.But even here theexuberant and barbaric fancy asserted itself. Thearena of the king was built, not to give the people an opportunity ofhearing the rhapsodies of dying gladiators,nor to enable them to viewthe inevitable conclusion of a conflict between religious opinions andhungry jaws, but for purposes far better adapted to widen anddevelopthe mental energies of the people. This vast amphitheater, with itsencircling galleries, its mysterious vaults, and its unseen passages,was an agent ofpoetic justice, in which crime was punished, or virtuerewarded, by the decrees of an impartial and incorruptible chance.When a subject was accused of a crime ofsufficient importance tointerest the king, public notice was given that on an appointed day thefate of the accused person would be decided in the king's arena,astructure which well deserved its name, for, although its form and planwere borrowed from afar, its purpose emanated solely from the brain ofthis man, who,every barleycorn a king, knew no tradition to which heowed more allegiance than pleased his fancy, and who ingrafted on everyadopted form of human thoughtand action the rich growth of hisbarbaric idealism.When all the people had assembled in the galleries, and the king,surrounded by his court, sat high up on histhrone of royal state onone side of the arena, he gave a signal, a door beneath him opened, andthe accused subject stepped out into the amphitheater.Directlyopposite him, on the other side of the inclosed space, were two doors,exactly alike and side by side. It was the duty and the privilege ofthe person on trialto walk directly to these doors and open one ofthem. He could open either door he pleased; he was subject to noguidance or influence but that of theaforementioned impartial andincorruptible chance. If he opened the one, there came out of it ahungry tiger, the fiercest and most cruel that could be procured,whichimmediately sprang upon him and tore him to pieces as a punishment forhis guilt. The moment that the case of the criminal was thus decided,doleful ironbells were clanged, great wails went up from the hiredmourners posted on the outer rim of the arena, and the vast audience,with bowed heads and downcasthearts, wended slowly their homeward way,mourning greatly that one so young and fair, or so old and respected,should have merited so dire a fate.But, if theaccused person opened the other door, there came forth fromit a lady, the most suitable to his years and station that his majestycould select among his fairsubjects, and to this lady he wasimmediately married, as a reward of his innocence. It mattered not thathe might already possess a wife and family, or that hisaffectionsmight be engaged upon an object of his own selection; the king allowedno such subordinate arrangements to interfere with his great schemeofretribution and reward. The exercises, as in the other instance, tookplace immediately, and in the arena. Another door opened beneath theking, and a priest,followed by a band of choristers, and dancingmaidens blowing joyous airs on golden horns and treading an epithalamicmeasure, advanced to where the pairstood, side by side, and thewedding was promptly and cheerily solemnized. Then the gay brass bellsrang forth their merry peals, the people shouted gladhurrahs, and theinnocent man, preceded by children strewing flowers on his path, ledhis bride to his home.This was the king's semi-barbaric method ofadministering justice. Itsperfect fairness is obvious. The criminal could not know out of whichdoor would come the lady; he opened either he pleased, withouthavingthe slightest idea whether, in the next instant, he was to be devouredor married. On some occasions the tiger came out of one door, and onsome out of theother. The decisions of this tribunal were not onlyfair, they were positively determinate: the accused person wasinstantly punished if he found himself guilty, and,if innocent, he wasrewarded on the spot, whether he liked it or not. There was no escapefrom the judgments of the king's arena.The institution was a verypopular one. When the people gatheredtogether on one of the great trial days, they never knew whether theywere to witness a bloody slaughter or a hilariouswedding.  Thiselement of uncertainty lent an interest to the occasion which it couldnot otherwise have attained. Thus, the masses were entertained andpleased,and the thinking part of the community could bring no chargeof unfairness against this plan, for did not the accused person havethe whole matter in his ownhands?This semi-barbaric king had a daughter as blooming as his most floridfancies, and with a soul as fervent and imperious as his own. As isusual in suchcases, she was the apple of his eye, and was loved by himabove all humanity. Among his courtiers was a young man of thatfineness of blood and lowness ofstation common to the conventionalheroes of romance who love royal maidens. This royal maiden was wellsatisfied with her lover, for he was handsome andbrave to a degreeunsurpassed in all this kingdom, and she loved him with an ardor thathad enough of barbarism in it to make it exceedingly warm andstrong.This love affair moved on happily for many months, until one day theking happened to discover its existence. He did not hesitate nor waverin regard to hisduty in the premises. The youth was immediately castinto prison, and a day was appointed for his trial in the king's arena.This, of course, was an especiallyimportant occasion, and his majesty,as well as all the people, was greatly interested in the workings anddevelopment of this trial. Never before had such a caseoccurred; neverbefore had a subject dared to love the daughter of the king. In afteryears such things became commonplace enough, but then they were innoslight degree novel and startling.The tiger-cages of the kingdom were searched for the most savage andrelentless beasts, from which the fiercest monstermight be selectedfor the arena; and the ranks of maiden youth and beauty throughout theland were carefully surveyed by competent judges in order thattheyoung man might have a fitting bride in case fate did not determine forhim a different destiny. Of course, everybody knew that the deed withwhich theaccused was charged had been done. He had loved the princess,and neither he, she, nor any one else, thought of denying the fact; butthe king would not think ofallowing any fact of this kind to interferewith the workings of the tribunal, in which he took such great delightand satisfaction. No matter how the affair turnedout, the youth wouldbe disposed of, and the king would take an aesthetic pleasure inwatching the course of events, which would determine whether or nottheyoung man had done wrong in allowing himself to love the princess.The appointed day arrived. From far and near the people gathered, andthronged the greatgalleries of the arena, and crowds, unable to gainadmittance, massed themselves against its outside walls.  The king andhis court were in their places, oppositethe twin doors, those fatefulportals, so terrible in their similarity.All was ready. The signal was given. A door beneath the royal partyopened, and the lover of theprincess walked into the arena.  Tall,beautiful, fair, his appearance was greeted with a low hum ofadmiration and anxiety. Half the audience had not known sogrand ayouth had lived among them. No wonder the princess loved him! What aterrible thing for him to be there!As the youth advanced into the arena he turned,as the custom was, tobow to the king, but he did not think at all of that royal personage.His eyes were fixed upon the princess, who sat to the right of herfather.Had it not been for the moiety of barbarism in her nature it isprobable that lady would not have been there, but her intense andfervid soul would not allow her tobe absent on an occasion in whichshe was so terribly interested. From the moment that the decree hadgone forth that her lover should decide his fate in theking's arena,she had thought of nothing, night or day, but this great event and thevarious subjects connected with it. Possessed of more power, influence,andforce of character than any one who had ever before been interestedin such a case, she had done what no other person had done,--she hadpossessed herself ofthe secret of the doors. She knew in which of thetwo rooms, that lay behind those doors, stood the cage of the tiger,with its open front, and in which waited thelady.  Through these thickdoors, heavily curtained with skins on the inside, it was impossiblethat any noise or suggestion should come from within to the personwhoshould approach to raise the latch of one of them. But gold, and thepower of a woman's will, had brought the secret to the princess.And not only did she knowin which room stood the lady ready to emerge,all blushing and radiant, should her door be opened, but she knew whothe lady was. It was one of the fairest andloveliest of the damsels ofthe court who had been selected as the reward of the accused youth,should he be proved innocent of the crime of aspiring to one sofarabove him; and the princess hated her. Often had she seen, or imaginedthat she had seen, this fair creature throwing glances of admirationupon the person ofher lover, and sometimes she thought these glanceswere perceived, and even returned. Now and then she had seen themtalking together; it was but for amoment or two, but much can be saidin a brief space; it may have been on most unimportant topics, but howcould she know that? The girl was lovely, but shehad dared to raiseher eyes to the loved one of the princess; and, with all the intensityof the savage blood transmitted to her through long lines of whollybarbaric"}
+{"doc_id":"doc_221","qid":"","text":"<html><head><title>Source Code Script at IMSDb.</title><meta name=\"description\" content=\"Source Code script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Source Code script, Source Code movie script, Source Code film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  SOURCE CODE</b>                                  Written by                                  BenRipley<b>                                                          1/18/2007</b>                         <b>                         SOURCE CODE</b>          Darkness.          A SOUNDslowly builds: the rhythmic rocking of a TRAIN'S          WHEELS over RAILROAD TRACKS...<b>          INT. HIGH SPEED TRAIN - MORNING</b>          COLTERjolts awake. Sunlight hits his face.          He blinks. A stunned beat. He's disoriented.          Slowly he turns his head to one side...          PASSENGERS. Fillingmost of the seats. Office workers on          their morning commute into a city.          Turning the other way, he's confronted with a window. Trees          flash by,splitting the rising sunlight into a hypnotic          strobe pattern.          Colter looks to be thirty years old. A military buzz cut. A          disciplined physique, leanand spare, almost gaunt. Skin          burnished by years of desert sandstorms and equatorial sun.          His expression, prematurely aged by combat, isperpetually          wary, sometimes predatory, accustomed to trouble.          Despite his military bearing, Colter wears a button down          shirt and navy sportscoat. On his wrist is a digital watch.          It reads 7:40 a.m.          He swallows. A strange, creeping panic.          He has no idea where he is.<b>          EXT.NEW JERSEY COUNTRYSIDE - MORNING</b>          The train hurls straight at us.          NEW ANGLE -- Skimming alongside as the train twists and          turns,sucking up track -- feet, yards, miles of it.          Beneath it, the curving rails, which the rushing train barely          seems to touch. They vibrate with an eerie,"}
+{"doc_id":"doc_222","qid":"","text":"The Project Gutenberg EBook of The Black Dwarf, by Sir Walter ScottThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Black DwarfAuthor: Sir Walter ScottRelease Date: February 15, 2006 [EBook #1460]Last Updated: August 30, 2016Language:EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE BLACK DWARF ***Produced by An Anonymous Volunteer and DavidWidgerTHE BLACK DWARFby Sir Walter ScottCONTENTS.     I.    Tales of my Landlord     Introduction by \u0000Jedediah Cleishbotham\u0000      II.   Introduction to THEBLACK DWARF     III.  Main text of THE BLACK DWARF     Note:  Footnotes in the printed book have been inserted in the     etext in square brackets (\u0000[]\u0000) closeto the place where     they were referenced by a suffix in the original text.     Text in italics has been written in capital letters.I. TALES OF MYLANDLORDCOLLECTED AND REPORTED BY JEDEDIAH CLEISHBOTHAM, SCHOOLMASTER ANDPARISH-CLERK OF GANDERCLEUGH.INTRODUCTION.As I may,without vanity, presume that the name and official descriptionprefixed to this Proem will secure it, from the sedate and reflectingpart of mankind, to whom only Iwould be understood to address myself,such attention as is due to the sedulous instructor of youth, and thecareful performer of my Sabbath duties, I will forbearto hold upa candle to the daylight, or to point out to the judicious thoserecommendations of my labours which they must necessarily anticipatefrom the perusal ofthe title-page. Nevertheless, I am not unaware,that, as Envy always dogs Merit at the heels, there may be those whowill whisper, that albeit my learning andgood principles cannot(lauded be the heavens) be denied by any one, yet that my situation atGandercleugh hath been more favourable to my acquisitions inlearningthan to the enlargement of my views of the ways and works of the presentgeneration. To the which objection, if, peradventure, any such shall bestarted,my answer shall be threefold:First, Gandercleugh is, as it were, the central part--the navel (SIFAS SIT DICERE) of this our native realm of Scotland; so that men,fromevery corner thereof, when travelling on their concernments of business,either towards our metropolis of law, by which I mean Edinburgh, ortowards ourmetropolis and mart of gain, whereby I insinuate Glasgow,are frequently led to make Gandercleugh their abiding stage and place ofrest for the night. And it mustbe acknowledged by the most sceptical,that I, who have sat in the leathern armchair, on the left-hand side ofthe fire, in the common room of the Wallace Inn,winter and summer,for every evening in my life, during forty years bypast (the ChristianSabbaths only excepted), must have seen more of the manners andcustomsof various tribes and people, than if I had sought them out by myown painful travel and bodily labour. Even so doth the tollman at thewell-frequentedturn-pike on the Wellbraehead, sitting at his ease inhis own dwelling, gather more receipt of custom, than if, moving forthupon the road, he were to require acontribution from each person whomhe chanced to meet in his journey, when, according to the vulgar adage,he might possibly be greeted with more kicks thanhalfpence.But, secondly, supposing it again urged, that Ithacus, the most wise ofthe Greeks, acquired his renown, as the Roman poet hath assured us, byvisitingstates and men, I reply to the Zoilus who shall adhere to thisobjection, that, DE FACTO, I have seen states and men also; for I havevisited the famous cities ofEdinburgh and Glasgow, the former twice,and the latter three times, in the course of my earthly pilgrimage. And,moreover, I had the honour to sit in the GeneralAssembly (meaning, asan auditor, in the galleries thereof), and have heard as much goodlyspeaking on the law of patronage, as, with the fructification thereofinmine own understanding, hath made me be considered as an oracle uponthat doctrine ever since my safe and happy return to Gandercleugh.Again--and thirdly, Ifit be nevertheless pretended that my informationand knowledge of mankind, however extensive, and however painfullyacquired, by constant domestic enquiry,and by foreign travel, is,natheless, incompetent to the task of recording the pleasant narrativesof my Landlord, I will let these critics know, to their owneternalshame and confusion as well as to the abashment and discomfiture of allwho shall rashly take up a song against me, that I am NOT the writer,redacter, orcompiler, of the Tales of my Landlord; nor am I, in onesingle iota, answerable for their contents, more or less. And now, yegeneration of critics, who raiseyourselves up as if it were brazenserpents, to hiss with your tongues, and to smite with your stings, bowyourselves down to your native dust, and acknowledgethat yours havebeen the thoughts of ignorance, and the words of vain foolishness. Lo!ye are caught in your own snare, and your own pit hath yawned foryou.Turn, then, aside from the task that is too heavy for you; destroynot your teeth by gnawing a file; waste not your strength by spurningagainst a castle wall;nor spend your breath in contending in swiftnesswith a fleet steed; and let those weigh the Tales of my Landlord, whoshall bring with them the scales of candourcleansed from the rust ofprejudice by the hands of intelligent modesty. For these alone they werecompiled, as will appear from a brief narrative which my zeal fortruthcompelled me to make supplementary to the present Proem.It is well known that my Landlord was a pleasing and a facetious man,acceptable unto all theparish of Gandercleugh, excepting only theLaird, the Exciseman, and those for whom he refused to draw liquor upontrust. Their causes of dislike I will touchseparately, adding my ownrefutation thereof.His honour, the Laird, accused our Landlord, deceased, of havingencouraged, in various times and places, thedestruction of hares,rabbits, fowls black and grey, partridges, moor-pouts, roe-deer, andother birds and quadrupeds, at unlawful seasons, and contrary tothelaws of this realm, which have secured, in their wisdom, the slaughterof such animals for the great of the earth, whom I have remarked to takean uncommon(though to me, an unintelligible) pleasure therein. Now, inhumble deference to his honour, and in justifiable defence of my frienddeceased, I reply to this charge,that howsoever the form of suchanimals might appear to be similar to those so protected by the law, yetit was a mere DECEPTIO VISUS; for what resembledhares were, in fact,HILL-KIDS, and those partaking of the appearance of moor-fowl, weretruly WOOD PIGEONS and consumed and eaten EO NOMINE, and nototherwise.Again, the Exciseman pretended, that my deceased Landlord did encouragethat species of manufacture called distillation, without having anespecialpermission from the Great, technically called a license, fordoing so. Now, I stand up to confront this falsehood; and in defianceof him, his gauging-stick, and penand inkhorn, I tell him, that Inever saw, or tasted, a glass of unlawful aqua vitae in the house ofmy Landlord; nay, that, on the contrary, we needed not suchdevices, inrespect of a pleasing and somewhat seductive liquor, which was vendedand consumed at the Wallace Inn, under the name of MOUNTAIN DEW. Ifthereis a penalty against manufacturing such a liquor, let him show methe statute; and when he does, I\u0000ll tell him if I will obey it or no.Concerning those who came tomy Landlord for liquor, and went thirstyaway, for lack of present coin, or future credit, I cannot but say ithas grieved my bowels as if the case had been mineown. Nevertheless, myLandlord considered the necessities of a thirsty soul, and would permitthem, in extreme need, and when their soul was impoverished forlackof moisture, to drink to the full value of their watches and wearingapparel, exclusively of their inferior habiliments, which he wasuniformly inexorable inobliging them to retain, for the credit of thehouse. As to mine own part, I may well say, that he never refused methat modicum of refreshment with which I amwont to recruit nature afterthe fatigues of my school. It is true, I taught his five sons Englishand Latin, writing, book-keeping, with a tincture of mathematics,andthat I instructed his daughter in psalmody. Nor do I remember me ofany fee or HONORARIUM received from him on account of these my labours,except thecompotations aforesaid. Nevertheless this compensation suitedmy humour well, since it is a hard sentence to bid a dry throat waittill quarter-day.But, truly, wereI to speak my simple conceit and belief, I think myLandlord was chiefly moved to waive in my behalf the usual requisitionof a symbol, or reckoning, from thepleasure he was wont to take in myconversation, which, though solid and edifying in the main, was, likea well-built palace, decorated with facetious narrativesand devices,tending much to the enhancement and ornament thereof. And so pleased wasmy Landlord of the Wallace in his replies during such colloquies,thatthere was no district in Scotland, yea, and no peculiar, and, as itwere, distinctive custom therein practised, but was discussed betwixtus; insomuch, thatthose who stood by were wont to say, it was wortha bottle of ale to hear us communicate with each other. And not a fewtravellers, from distant parts, as well asfrom the remote districts ofour kingdom, were wont to mingle in the conversation, and to tell newsthat had been gathered in foreign lands, or preserved fromoblivion inthis our own.Now I chanced to have contracted for teaching the lower classes with ayoung person called Peter, or Patrick, Pattieson, who had beeneducatedfor our Holy Kirk, yea, had, by the license of presbytery, his voiceopened therein as a preacher, who delighted in the collection of oldentales and legends,and in garnishing them with the flowers of poesy,whereof he was a vain and frivolous professor. For he followed not theexample of those strong poets whom Iproposed to him as a pattern, butformed versification of a flimsy and modern texture, to the compoundingwhereof was necessary small pains and less thought.And hence I havechid him as being one of those who bring forward the fatal revolutionprophesied by Mr. Robert Carey, in his Vaticination on the Death ofthecelebrated Dr. John Donne:     Now thou art gone, and thy strict laws will be     Too hard for libertines in poetry;     Till verse (by thee refined) in this lastage     Turn ballad rhyme.I had also disputations with him touching his indulging rather aflowing and redundant than a concise and stately diction in hisproseexercitations. But notwithstanding these symptoms of inferior taste,and a humour of contradicting his betters upon passages of dubiousconstruction in Latinauthors, I did grievously lament when PeterPattieson was removed from me by death, even as if he had been theoffspring of my own loins. And in respect hispapers had been left inmy care (to answer funeral and death-bed expenses), I conceived myselfentitled to dispose of one parcel thereof, entitled, \u0000Tales ofmyLandlord,\u0000 to one cunning in the trade (as it is called) of bookselling.He was a mirthful man, of small stature, cunning in counterfeiting ofvoices, and in"}
+{"doc_id":"doc_223","qid":"","text":"The Project Gutenberg EBook of The Recruiting Officer, by George FarquharThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Recruiting OfficerAuthor: George FarquharCommentator: Elizabeth InchbaldRelease Date: August 8, 2011 [EBook#37012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RECRUITING OFFICER ***Produced by Delphine Lettau and the OnlineDistributedProofreading Canada Team at http://www.pgdpcanada.net THE RECRUITING OFFICER, A COMEDY, IN FIVE ACTS; BY GEORGE FARQUHAR, ESQ. ASPERFORMED AT THE THEATRE ROYAL, COVENT GARDEN. PRINTED UNDER THE AUTHORITY OF THE MANAGERS FROM THE PROMPT BOOK. WITH REMARKS BYMRS. INCHBALD. LONDON: PRINTED FOR LONGMAN, HURST, REES, AND ORME PATERNOSTER ROW. WILLIAM SAVAGE, PRINTER, LONDON.REMARKS.If the twolast acts of this drama were equal to the three first, itwould rank the foremost among Farquhar's works; for these are brilliantin wit, humour, character, incident,and every other requisite necessaryto form a complete comedy. But the decrease of merit in a play, onapproaching its conclusion, is, as in all other productions,of mostunfortunate consequence.The author was himself a recruiting officer, and possibly gathered allthe materials for this play on the very spot where he hasplaced hisscene--Shrewsbury. He has dedicated the piece \"to all friends round theWrekin,\" and has thanked the inhabitants of the town for thatcheerfulhospitality, which made, he adds, \"the recruiting service, to some menthe greatest fatigue on earth, to me the greatest pleasure in theworld.\"He evenacknowledges, that he found the country folk, whom he has hereintroduced--meaning those most excellently drawn characters of Rose, herbrother, and the tworecruits,--under the shade of that beforementionedhill near Shrewsbury, the Wrekin; and it may be well supposed, that hediscovered Serjeant Kite in his ownRegiment, and Captain Plume in hisown person. Certainly those characters have every appearance of beingcopied from life--and probably, many other of hisSalopian acquaintancehave here had their portraits drawn to perfection.The disguise of Sylvia in boy's clothes, is an improbable, and romanticoccurrence; yet it isone of those dramatic events, which were consideredas perfectly natural in former times; although neither history, nortradition, gives any cause to suppose, thatthe English ladies wereaccustomed to attire themselves in man's apparel; and reason assuresus, that they could seldom, if ever, have concealed their sex bysuchstratagem.Another incident in the \"Recruiting Officer\" might have had its value ahundred years ago--just the time since the play was first acted; but tothepresent generation, it is so dull, that it casts a heaviness uponall those scenes, whereon it has any influence. Fortune-tellers are nowa set of personages, inwhom, and in whose skill or fraud, no rationalperson takes interest; and though such people still exist by theirprofession, they are so vile, they are beneathsatire; and their dupessuch ideots, they do not even enjoy sense enough, for their folly toproduce risibility.Perhaps, the author despised this part of his play, asmuch as theseverest critic can do; but having expended his store of entertainmentupon the foregoing scenes, he was compelled to supply the bulk of thetwo lastacts, from the scanty fund of wasted spirits, and exhaustedinvention.The life of Farquhar was full of adventures.--As a student, he wasexpelled the college ofDublin, for adventuring profane wit upon asacred theme, given to him by his tutor for his exercise.As an actor, he forsook the stage in grief and horror, onhavingunknowingly made use of a real sword, instead of a counterfeit one, bywhich he wounded a brother performer, with whom he had to fence in atragedy,nearly to the loss of his life.In love, and marriage, his enterprises were still more unhappilyterminated.--And merely as an author, and a soldier, can any eventsofhis life be accounted prosperous.As a dramatic writer, Farquhar was eminently successful; and in hismilitary capacity, he was ever honoured andbeloved--whether fightingwith a great army in Flanders, or recruiting with a small party inShropshire.DRAMATIS PERSONÃ\u0000. CAPTAIN PLUME          _Mr.Holman._ JUSTICE BALANCE        _Mr. Murray._ WORTHY                 _Mr. Whitfield._ SERJEANT KITE          _Mr. Knight._ BULLOCK                _Mr. Fawcett._FIRST RECRUIT          _Mr. Munden._ SECOND RECRUIT         _Mr. Emery._ WELSH COLLIER          _Mr. Farley._ CONSTABLE              _Mr. Thompson._CAPTAIN BRAZEN         _Mr. Lewis._ MELINDA                _Miss Chapman._ ROSE                   _Mrs. Gibbs._ LUCY                   _Mrs. Litchfield._SYLVIA                 _Mrs. Johnson._ _SCENE--Shrewsbury._THE RECRUITING OFFICER.ACT THE FIRST.SCENE I._The Market Place.__Drum beats the Grenadier'sMarch.--Enter_ SERJEANT KITE, _followed by_THOMAS APPLETREE, COSTAR PEARMAIN, _and the_ MOB.Kite. [_Making a Speech._] If any gentlemen soldiers orothers, havea mind to serve his majesty, and pull down the French king; if any'prentices have severe masters, any children have undutiful parents; ifany servantshave too little wages, or any husband too much wife, letthem repair to the noble Serjeant Kite, at the sign of the Raven, inthis good town of Shrewsbury, andthey shall receive present relief andentertainment.--[_Drum._]--Gentlemen, I don't beat my drums here toinsnare or inveigle any man; for you must know,gentlemen, that I am aman of honour: besides, I don't beat up for common soldiers; no, I listonly grenadiers; grenadiers, gentlemen.----Pray, gentlemen,observethis cap--this is the cap of honour; it dubs a man a gentleman, in thedrawing of a trigger; and he, that has the good fortune to be born sixfoot high, wasborn to be a great man--Sir, will you give me leave totry this cap upon your head?_Cost._ Is there no harm in't? won't the cap list me?_Kite._ No, no, no morethan I can.--Come, let me see how it becomesyou._Cost._ Are you sure there is no conjuration in it? no gunpowder plotupon me?_Kite._ No, no, friend; don'tfear, man._Cost._ My mind misgives me plaguily.--Let me see it--[_Going to put iton._] It smells woundily of sweat and brimstone. Smell, Tummas._Tho._ Ay,wauns does it._Cost._ Pray, Serjeant, what writing is this upon the face of it?_Kite._ The crown, or the bed of honour._Cost._ Pray now, what may be that samebed of honour?_Kite._ Oh! a mighty large bed! bigger by half than the great bed atWare--ten thousand people may lie in it together, and never feeloneanother._Cost._ My wife and I would do well to lie in't, for we don't care forfeeling one another----But do folk sleep sound in this same bed ofhonour?_Kite._Sound! ay, so sound that they never wake._Cost._ Wauns! I wish again that my wife lay there._Kite._ Say you so! then I find, brother----_Cost._ Brother! holdthere friend; I am no kindred to you that I knowof yet.--Lookye, serjeant, no coaxing, no wheedling, d'ye see--If I havea mind to list, why so--if not, why 'tis notso--therefore take your capand your brothership back again, for I am not disposed at this presentwriting.--No coaxing, no brothering me, 'faith._Kite._ I coax! Iwheedle! I'm above it, sir: I have served twentycampaigns----but, sir, you talk well, and I must own that you are a man,every inch of you; a pretty, young,sprightly fellow!--I love a fellowwith a spirit; but I scorn to coax; 'tis base; though I must say, thatnever in my life have I seen a man better built. How firm andstrong hetreads! he steps like a castle! but I scorn to wheedle any man--Come,honest lad! will you take share of a pot?_Cost._ Nay, for that matter, I'll spend mypenny with the best he thatwears a head, that is, begging your pardon, sir, and in a fair way._Kite._ Give me your hand then; and now, gentlemen, I have nomore tosay but this--here's a purse of gold, and there is a tub of humming aleat my quarters--'tis the king's money, and the king's drink--he's agenerous king,and loves his subjects--I hope, gentlemen, you won'trefuse the king's health._All Mob._ No, no, no._Kite._ Huzza, then! huzza for the king, and the honour ofShropshire._All Mob._ Huzza!_Kite._ Beat drum.     [_Exeunt, shouting.--Drum beating the Grenadier's March._     _Enter_ PLUME, _in a Riding Habit_._Plume._By the Grenadier's march, that should be my drum, and by thatshout, it should beat with success.--Let me see--four o'clock--[_Lookingon his Watch._] At tenyesterday morning I left London--an hundred andtwenty miles in thirty hours is pretty smart riding, but nothing to thefatigue of recruiting.     _Enter_KITE._Kite._ Welcome to Shrewsbury, noble captain! from the banks of theDanube to the Severn side, noble captain! you're welcome._Plume._ A very elegantreception, indeed, Mr. Kite. I find you arefairly entered into your recruiting strain--Pray what success?_Kite._ I've been here a week, and I've recruitedfive._Plume._ Five! pray what are they?_Kite._ I have listed the strong man of Kent, the king of the gipsies, aScotch pedlar, a scoundrel attorney, and a Welshparson._Plume._ An attorney! wert thou mad? list a lawyer! discharge him,discharge him, this minute._Kite._ Why, sir?_Plume._ Because I will have nobody inmy company that can write; afellow that can write, can draw petitions--I say this minute dischargehim._Kite._ And what shall I do with the parson?_Plume._ Canhe write?_Kite._ Hum? he plays rarely upon the fiddle._Plume._ Keep him, by all means--But how stands the country affected?were the people pleased with thenews of my coming to town?_Kite._ Sir, the mob are so pleased with your honour, and the justicesand better sort of people, are so delighted with me, that weshall soondo your business----But, sir, you have got a recruit here, that youlittle think of._Plume._ Who?_Kite._ One that you beat up for the last time you werein the country.You remember your old friend Molly, at the Castle?_Plume._ She's not with child, I hope?_Kite._ She was brought to-bed yesterday._Plume._ Kite,you must father the child._Kite._ And so her friends will oblige me to marry the mother._Plume._ If they should, we'll take her with us; she can wash, youknow,and make a bed upon occasion._Kite._ Ay, or unmake it upon occasion. But your honour knows that I ammarried already._Plume._ To how many?_Kite._ I can'ttell readily--I have set them down here upon the back ofthe muster-roll. [_Draws it out._] Let me see--_Imprimis_, Mrs. ShelySnikereyes; she sells potatoesupon Ormond key, in Dublin--Peggy Guzzle,the brandy woman at the Horse Guards, at Whitehall--Dolly Waggon, thecarrier's daughter, at Hull--Mademoiselle VanBottomflat, at theBuss--then Jenny Oakum, the ship-carpenter's widow, at Portsmouth; butI don't reckon upon her, for she was married at the same time totwolieutenants of marines, and a man of war's boatswain._Plume._ A full company--you have named five--come, make them half adozen--Kite, is the child a boy,or a girl?_Kite._ A chopping boy._Plume._ Then set the mother down in your list, and the boy in mine;enter him a grenadier, by the name of Francis Kite, absent"}
+{"doc_id":"doc_224","qid":"","text":"Project Gutenberg's The Fatal Dowry, by Philip Massinger and Nathaniel FieldThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Fatal DowryAuthor: Philip Massinger        Nathaniel FieldEditor: Charles Lacy LockertRelease Date: October 23, 2013 [EBook#44015]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FATAL DOWRY ***Produced by RobertCicconetti, Jennifer Linklater and theOnline Distributed Proofreading Team at http://www.pgdp.net(This file was produced from images generously madeavailableby The Internet Archive/Canadian Libraries)  THE FATAL DOWRY  BY  PHILIP MASSINGER AND  NATHANIEL FIELD  EDITED, FROM THE ORIGINAL QUARTO,  WITHINTRODUCTION AND NOTES  A DISSERTATION  PRESENTED TO THE  FACULTY OF PRINCETON UNIVERSITY  IN CANDIDACY FOR THE DEGREE  OF DOCTOR OFPHILOSOPHY  BY  CHARLES LACY LOCKERT, JR.  ASSISTANT PROFESSOR OF ENGLISH, KENYON COLLEGE  PRESS OF  THE NEW ERA PRINTINGCOMPANY  LANCASTER, PA.  1918  Accepted by the Department of English, June, 1916PREFACEThis critical edition of _The Fatal Dowry_ was undertaken as aThesisin partial fulfilment of the requirements for the degree of Ph.D. atPrinceton University. It was compiled under the guidance and directionof Professor T. M.Parrott of that institution, and every page ofit is indebted to him for suggestion, advice, and criticism. I canbut inadequately indicate the scope of his painstakingand scholarlysupervision, and can even less adequately express my appreciation ofhis ever-patient aid, which alone made this work possible.I desire also toacknowledge my debt to Professor J. Duncan Spaethof Princeton University, for his valuable suggestions in regard tothe presentation of my material, notably inthe Introduction; also toProfessor T. W. Baldwin of Muskingum College and Mr. Henry Bowman,both of them then fellow graduate students of mine at Princeton,forassistance on several occasions in matters of special inquiry; and toDr. M. W. Tyler of the Princeton Department of History for directing mein clearing up alego-historical point; and finally to the libraries ofYale and Columbia Universities for their kind loan of needed books.INTRODUCTIONIn the Stationerâ\u0000\u0000sRegister the following entry is recorded under thedate of â\u0000\u000030º Martij 1632:â\u0000\u0000  CONSTABLE Entred for his copy vnder the hands of Sir HENRYHERBERT    and master _SMITHWICKE_ warden a Tragedy called _the ffatall    Dowry_.    Vj d.In the year 1632 was published a quarto volume whose title-pagewasinscribed: _The Fatall Dowry_: a Tragedy: As it hath been often Actedat the Private House in Blackfriars, by his Majesties Servants.Written by P. M. andN. F. London, Printed by John Norton, for FrancisConstable, and are to be sold at his shop at the Crane, in PaulsChurchyard. 1632.That the initials by which theauthors are designated stand for PhilipMassinger and Nathaniel Field is undoubted.LATER TEXTSThere is no other seventeenth century edition of _The FatalDowry_. Itwas included in various subsequent collections, as follows:I. _The Works of Philip Massinger_--edited by Thomas Coxeter,1759--re-issued in 1761, withan introduction by T. Davies.II. _The Dramatic Works of Philip Massinger_--edited by John MonckMason, 1779.III. _The Plays of Philip Massinger_--edited byWilliam Gifford, 1805.There was a revised second edition in 1813, which is still regarded asthe Standard Massinger Text, and was followed in subsequent editionsofGifford.IV. _Modern British Drama_--edited by Sir Walter Scott, 1811. The textof this reprint of _The Fatal Dowry_ is Giffordâ\u0000\u0000s.V. _Dramatic Works ofMassinger and Ford_--edited by Hartley Coleridge,1840 (_et seq._). This follows the text of Gifford.VI. _The Plays of Philip Massinger._ From the Text of WilliamGifford.With the Addition of the Tragedy Believe as You List. Edited by FrancisCunningham, 1867 (_et seq._). The Fatal Dowry in this edition, as inthe preceding,is a mere reprint of the Second Edition of Gifford.VII. _Philip Massinger._ Selected Plays. (Mermaid Series.) Edited byArthur Symons, 1887-9 (_et seq._).Inaddition to the above, _The Fatal Dowry_ appeared in _The Plays ofPhilip Massinger_, adapted for family reading and the use of youngpersons, by the omission ofobjectionable passages,--edited by Harness,1830-1; and another expurgated version was printed in the _Mirror ofTaste and Dramatic Censor_, 1810. Both ofthese are based on the textof Gifford.The edition of Coxeter is closest of all to the Quarto, following evenmany of its most palpable mistakes, and adding someblunders on itsown account. Mason accepts practically all of Coxeterâ\u0000\u0000s corrections,and supplies a great many more variants himself, not all of which areveryhappy. Both these eighteenth century editors continually contractfor the sake of securing a perfectly regular metre (e. g.: _Youâ\u0000\u0000re_for _You are_, I, i, 139;_thâ\u0000\u0000 honours_ for _the honours_, I, ii, 35;etc.), while Giffordâ\u0000\u0000s tendency is to give the full form for even thecontractions of the Quarto, changing its_â\u0000\u0000emâ\u0000\u0000s_ to _themâ\u0000\u0000s_, etc.Gifford can scarce find words sharp enough to express his scorn for hispredecessors in their lack of observance of the textof the Quarto,yet he himself frequently repeats their gratuitous emendations whenthe original was a perfectly sure guide, and he has almost a maniafortampering with the Quarto on his own account. Symonsâ\u0000\u0000 _Mermaid_ text,while based essentially on that of Gifford, in a number of instancesdeparts fromit, sometimes to make further emendations, but more oftento go back from those of Gifford to the version of the original, sothat on the whole this is the best textyet published.There has been a German translation by the Graf von Baudisson, underthe title of _Die Unselige Mitgift_, in his _Ben Jonson und seineSchule_,Leipsig, 1836; and a French translation, in prose, underthe title of _La dot fatale_ by E. Lafond in _Contemporains deShakespeare_, Paris, 1864.DATEThe date ofthe composition or original production of _The Fatal Dowry_is not known. The Quarto speaks of it as having been â\u0000\u0000often acted,â\u0000\u0000 sothere is nothing toprevent our supposing that it came into existencemany years before its publication. It does not seem to have beenentered in Sir Henry Herbertâ\u0000\u0000s OfficeBook.[1] This would indicate itsappearance to have been prior to Herbertâ\u0000\u0000s assumption of the duties ofhis office in August, 1623. In seeking a more precisedate we can dealonly in probabilities.[2]The play having been produced by the Kingâ\u0000\u0000s Men, a company in whichField acted, it was most probably writtenduring his associationtherewith. This was formed in 1616; the precise date of his retirementfrom the stage is not known. His name appears in the patent ofMarch27, 1619, just after the death of Burbage, and again and for the lasttime in a livery list for his Majestyâ\u0000\u0000s Servants, dated May 19, 1619.It is absent fromthe next grant for livery (1621) and from the actorsâ\u0000\u0000lists for various plays which are assigned to 1619 or 1620. We maytherefore assume safely that hisconnection with the stage ended beforethe close of 1619. On the basis of probability, then, the field isnarrowed to 1616-19.[3]More or less presumptive evidencemay be adduced for a yet morespecific dating. During these years that Field acted with the Kingâ\u0000\u0000sMen, two plays appeared which bear strong internalevidence of beingproducts of his collaboration with Massinger and Fletcher: _The Knightof Malta_ and _The Queen of Corinth_. While several parallelsofphraseology are afforded for _The Fatal Dowry_ by these (as, indeed, byevery one of the works of Massinger) they are not nearly so numerousor so striking assimilarities discoverable between it and certainother dramas of the Massinger _corpus_. With none does the connectionseem so intimate as with _The UnnaturalCombat_. Both plays open witha scene in which a young suppliant for a fatherâ\u0000\u0000s cause is counseled,in passages irresistibly reminiscent of each other, to layaside prideand modesty for the parentâ\u0000\u0000s sake, because not otherwise can justicebe gained, and it is the custom of the age to sue for it shamelessly.Moreover,the offer by Beaufort and his associates to Malefort of anyboon he may desire as a recompense for his service, and his acceptanceof it, correspond strikingly inboth conduct and language with theconferring of a like favor upon Rochfort by the Court (I, ii, 258ff.); while the request which Malefort prefers, that his daughterbemarried to Beaufort Junior, and the language with which that young manacknowledges this meets his own dearest wish, bear a no less patentresemblance tothe bestowal of Beaumelle upon Charalois (II, ii,284-297). Now this last parallel is significant, because _The UnnaturalCombat_ is an unaided production ofMassinger, while the analogue in_The Fatal Dowry_ occurs in a scene that is by the hand of Field. Thesimilarity may, of course, be only an accident, butpresumably it isnot. Then did Field borrow from Massinger, or did Massinger from Field?The most plausible theory is that _The Unnatural Combat_ waswrittenimmediately after _The Fatal Dowry_, when Massingerâ\u0000\u0000s mind was sosaturated with the contents of the tragedy just laid aside that he wasliable toecho in the new drama the expressions and import of lines inthe old, whether by himself or his collaborator. That at any rate thechronological relationship of thetwo plays is one of juxtaposition isfurther attested by the fact that in minor parallelisms,[4] too, to_The Fatal Dowry_, _The Unnatural Combat_ is richer than anyother workof Massinger.Unfortunately _The Unnatural Combat_ is itself another play of whosedate no more can be said with assurance than that it preceeds theentryof Sir Henry Herbert into office in 1623, though its crude horrors,its ghost, etc., suggest moreover that it is its authorâ\u0000\u0000s initialindependent venture in thefield of tragedy, his _Titus Andronicus_, anill-advised attempt to produce something after the â\u0000\u0000grand mannerâ\u0000\u0000 ofhalf a generation back. Next in closenessto _The Fatal Dowry_ amongthe works of Massinger as regards the number of its reminiscences ofphraseology stands his share of _The Virgin Martyr_; next inclosenessas regards the _strikingness_ of these parallels stands his share of_The Little French Lawyer_. These two plays can be dated _circa_1620.       *       *       *       *       *To sum up:_The Fatal Dowry_ appears to antedate the installation of Sir HenryHerbert in 1623.It was probably written whileField was with the Kingâ\u0000\u0000s Men; with whomhe became associated in 1616, and whom he probably quitted in 1619.The indications point to its compositionduring the latter part of thisthree-year period (1616-19), for it yields more and closer parallelsto _The Virgin Martyr_ and _The Little French Lawyer_, datedabout1620, than to _The Knight of Malta_ and _The Queen of Corinth_, dated1617-8,--closer, indeed, than to any work of Massinger save one, _TheUnnaturalCombat_, itself an undated but evidently early play, withwhich its relationship is clearly of the most intimate variety.       *       *       *       *       *The following"}
+{"doc_id":"doc_225","qid":"","text":"The Project Gutenberg EBook of The Sorrows of Satan, by Marie CorelliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Sorrows of Satan       or, The Strange Experience of One Geoffrey Tempest,       Millionaire, A RomanceAuthor: Marie CorelliReleaseDate: March 14, 2013 [EBook #42332]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SORROWS OF SATAN ***Produced by JulieBarkley, David Wilson and the OnlineDistributed Proofreading Team at http://www.pgdp.netTHE SORROWS OF SATANORTHE STRANGE EXPERIENCE OFONEGEOFFREY TEMPEST, MILLIONAIREA ROMANCEBY MARIE CORELLIMETHUEN & CO. LTD., LONDON_36 Essex Street W.C._ _FirstPublished                                    November 1895  Second, Third, Fourth, Fifth, Sixth, Seventh,      Eighth, Ninth, TenthEditions                           1895  Eleventh, Twelfth, Thirteenth, Fourteenth, Fifteenth,      Sixteenth, Seventeenth, Eighteenth, Nineteenth,      Twentieth,Twenty-first, Twenty-second, Twenty-third,      Twenty-fourth, Twenty-fifth, Twenty-sixth,      Twenty-seventh, Twenty-eighth, Twenty-ninth,      Thirtieth,Thirty-first, Thirty-second Editions         1896  Thirty-third, Thirty-fourth, Thirty-fifth,Thirty-sixth      Editions                                                1897  Thirty-seventh, Thirty-eighth,Thirty-ninth      Editions                                                1898  Fortieth and Forty-first Editions                           1899  Forty-secondEdition                                        1900  Forty-third and Forty-fourth Editions                       1901  Forty-fifth and Forty-sixthEditions                        1902  Forty-seventh Edition                                       1903  Forty-eighth Edition                                        1904  Forty-ninth andFiftieth Editions                           1905  Fifty-first Edition                                         1906  Fifty-second and Fifty-third Editions                       1907  Fifty-fourthEdition                                        1908  Fifty-fifth Edition                                         1909  Fifty-sixth Edition                                         1910  Fifty-seventhEdition                                       1911  Fifty-eighth Edition                                        1913  Fifty-ninth Edition                                         1914  SixtiethEdition                                            1916  Sixty-first Edition                                         1917  Sixty-second and Sixty-thirdEditions                       1918  Sixty-fourth Edition                                        1920  Sixty-fifth Edition (Cheap Edition)                         1920  Sixty-sixthEdition    \"      \"                             1922  Sixty-seventh Edition  \"      \"                             1931  Sixty-eighthEdition   \"      \"                             1936                            Reprinted, 1952_68.2CATALOGUE NO. 2075/VPRINTED IN GREAT BRITAINTHE SORROWS OFSATANIDo you know what it is to be poor? Not poor with the arrogant povertycomplained of by certain people who have five or six thousand a year tolive upon,and who yet swear they can hardly manage to make both endsmeet, but really poor,--downright, cruelly, hideously poor, with apoverty that is graceless, sordidand miserable? Poverty that compelsyou to dress in your one suit of clothes till it is wornthreadbare,--that denies you clean linen on account of theruinouscharges of washerwomen,--that robs you of your own self-respect, andcauses you to slink along the streets vaguely abashed, instead ofwalking erectamong your fellow-men in independent ease,--this is thesort of poverty I mean. This is the grinding curse that keeps down nobleaspiration under a load of ignoblecare; this is the moral cancer thateats into the heart of an otherwise well-intentioned human creature andmakes him envious and malignant, and inclined to theuse of dynamite.When he sees the fat idle woman of society passing by in her luxuriouscarriage, lolling back lazily, her face mottled with the purple and redsignsof superfluous eating,--when he observes the brainless and sensualman of fashion smoking and dawdling away the hours in the Park, as ifall the world and itsmillions of honest hard workers were createdsolely for the casual diversion of the so-called 'upper' classes,--thenthe good blood in him turns to gall, and hissuffering spirit rises infierce rebellion, crying out--\"Why in God's name, should this injusticebe? Why should a worthless lounger have his pockets full of gold bymerechance and heritage, while I, toiling wearily from morn till midnight,can scarce afford myself a satisfying meal?\"Why indeed! Why should the wicked flourishlike a green bay-tree? I haveoften thought about it. Now however I believe I could help to solve theproblem out of my own personal experience. But ... such anexperience!Who will credit it? Who will believe that anything so strange andterrific ever chanced to the lot of a mortal man? No one. Yet it istrue;--truer thanmuch so-called truth. Moreover I know that many menare living through many such incidents as have occurred to me, underprecisely the same influence,conscious perhaps at times, that they arein the tangles of sin, but too weak of will to break the net in whichthey have become voluntarily imprisoned. Will they betaught, I wonder,the lesson I have learned? In the same bitter school, under the sameformidable taskmaster? Will they realize as I have been forced todo,--aye,to the very fibres of my intellectual perception,--the vast,individual, active Mind, which behind all matter, works unceasingly,though silently, a very eternal andpositive God? If so, then darkproblems will become clear to them, and what seems injustice in theworld will prove pure equity! But I do not write with any hope ofeitherpersuading or enlightening my fellow-men. I know their obstinacy toowell;--I can gauge it by my own. My proud belief in myself was, at onetime, not to beoutdone by any human unit on the face of the globe. AndI am aware that others are in similar case. I merely intend to relatethe various incidents of my career indue order exactly as theyhappened,--leaving to more confident heads the business of propoundingand answering the riddles of human existence as best theymay.During a certain bitter winter, long remembered for its arctic severity,when a great wave of intense cold spread freezing influences not aloneover the happyisles of Britain, but throughout all Europe, I, GeoffreyTempest, was alone in London and well-nigh starving. Now a starving manseldom gets the sympathy hemerits,--so few can be persuaded to believein him. Worthy folks who have just fed to repletion are the mostincredulous, some of them being even moved to smilewhen told ofexisting hungry people, much as if these were occasional jests inventedfor after-dinner amusement. Or, with that irritating vagueness ofattentionwhich characterizes fashionable folk to such an extent thatwhen asking a question they neither wait for the answer nor understandit when given, the well-dinedgroups, hearing of some one starved todeath, will idly murmur 'How dreadful!' and at once turn to thediscussion of the latest 'fad' for killing time, ere it takes tokillingthem with sheer _ennui_. The pronounced fact of being hungry soundscoarse and common, and is not a topic for polite society, which alwayseats more thansufficient for its needs. At the period I am speaking ofhowever, I, who have since been one of the most envied of men, knew thecruel meaning of the wordhunger, too well,--the gnawing pain, the sickfaintness, the deadly stupor, the insatiable animal craving for merefood, all of which sensations are frightful enoughto those who are,unhappily, daily inured to them, but which when they afflict one who hasbeen tenderly reared and brought up to consider himselfa'gentleman,'--God save the mark! are perhaps still more painful to bear.And I felt that I had not deserved to suffer the wretchedness in which Ifound myself. Ihad worked hard. From the time my father died, leavingme to discover that every penny of the fortune I imagined he possessedwas due to swarming creditors,and that nothing of all our house andestate was left to me except a jewelled miniature of my mother who hadlost her own life in giving me birth,--from that time Isay, I had putmy shoulder to the wheel and toiled late and early. I had turned myUniversity education to the only use for which it or I seemedfitted,--literature. Ihad sought for employment on almost every journalin London,--refused by many, taken on trial by some, but getting steadypay from none. Whoever seeks to liveby brain and pen alone is, at thebeginning of such a career, treated as a sort of social pariah. Nobodywants him,--everybody despises him. His efforts are derided,hismanuscripts are flung back to him unread, and he is less cared for thanthe condemned murderer in gaol. The murderer is at least fed andclothed,--a worthyclergyman visits him, and his gaoler willoccasionally condescend to play cards with him. But a man gifted withoriginal thoughts and the power of expressing them,appears to beregarded by everyone in authority as much worse than the worst criminal,and all the 'jacks-in-office' unite to kick him to death if they can. Itookboth kicks and blows in sullen silence and lived on,--not for thelove of life, but simply because I scorned the cowardice ofself-destruction. I was young enough notto part with hope tooeasily;--the vague idea I had that my turn would come,--that theever-circling wheel of Fortune would perchance lift me up some day asitnow crushed me down, kept me just wearily capable of continuingexistence,--though it was merely a continuance and no more. For aboutsix months I got somereviewing work on a well-known literary journal.Thirty novels a week were sent to me to 'criticise,'--I made a habit ofglancing hastily at about eight or ten ofthem, and writing one columnof rattling abuse concerning these thus casually selected,--theremainder were never noticed at all. I found that this mode ofactionwas considered 'smart,' and I managed for a time to please my editor whopaid me the munificent sum of fifteen shillings for my weekly labour.But on onefatal occasion I happened to change my tactics and warmlypraised a work which my own conscience told me was both original andexcellent. The author of ithappened to be an old enemy of theproprietor of the journal on which I was employed;--my eulogistic reviewof the hated individual, unfortunately for me,appeared, with the resultthat private spite outweighed public justice, and I was immediatelydismissed.After this I dragged on in a sufficiently miserable way,doing 'hackwork' for the dailies, and living on promises that never becamerealities, till, as I have said, in the early January of the bitterwinter alluded to, I foundmyself literally penniless and face to facewith starvation, owing a month's rent besides for the poor lodging Ioccupied in a back street not far from the BritishMuseum. I had beenout all day trudging from one newspaper office to another, seeking forwork and finding none. Every available post was filled. I had alsotried,"}
+{"doc_id":"doc_226","qid":"","text":"<html><head><title>Adjustment Bureau, The Script at IMSDb.</title><meta name=\"description\" content=\"Adjustment Bureau, The script at the InternetMovie Script Database.\"><meta name=\"keywords\" content=\"Adjustment Bureau, The script, Adjustment Bureau, The movie script, Adjustment Bureau, The filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             THE ADJUSTMENT BUREAU</b>                                  Written by                                 GeorgeNolfi                           Based on a short story by                                 Philip K Dick <b>          BLACK SCREEN</b>          The sounds of a large crowd, butmuffled, as if we're inside,          and hearing the crowd through a window or door. FADE IN ON:<b>          INT. SOME SORT OF LOBBY -- DAY</b>          DAVIDNORRIS, 33, is having a private moment, looking down,          thinking. He wears a suit and tie. He seems relaxed and          confident. Content. Completely inhis element.          In one of his hands he's absentmindedly twirling a couple of          individually-wrapped Ricola throat lozenges. We hear the          muffledvoice of someone on a PA system outside:<b>          VOICE ON PA SYSTEM</b>          Thank you so much for coming today--          A man in a BLUE BLAZERwalks up to David.<b>                         BLUE BLAZER</b>          Congressman Norris-?          Now REVEAL that we're ±fl: the entry hall of the AdminBuilding          at St. Johns University. A thousand people crowd the quad          out front. \"Norris for Senate\" placardseverywhere.<b>                         BLUE-BLAZER</b>          Fred O'Malley with the DNC. I've          never seen a crowd this big turn          out so early in thecycle.          CHARLIE TRAYNOR, 36, arrives--.<b>                         CHARLIE</b>          Just wait 'till you see how they          respond to him..          David pops"}
+{"doc_id":"doc_227","qid":"","text":"<html><head><title>Thor Script at IMSDb.</title><meta name=\"description\" content=\"Thor script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Thor script, Thor movie script, Thor film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                    THOR</b>                                 Written by                         Ashley Miller & Zack Stentz <b>          FADEIN:</b>          On the blackness of SPACE, beautiful and mysterious, strewn          with a billion stars.          Atop a building, a wrought-iron sign -- aHAMMER-WIELDING          BLACKSMITH -- spins listlessly in the wind as a swirling          breeze kicks up. A hint of what's to come.<b>          1 EXT. PUENTEANTIGUO, NEW MEXICO - NIGHT 1</b>          A main street extends before us in this one-horse town, set          amid endless flat, arid scrubland. A large SUVslowly moves          down the street and heads out of town.<b>          2 EXT. SUV - NIGHT 2</b>          The SUV sits parked in the desert. Suddenly, the roofpanels          of the SUV FOLD OPEN. The underside of the panels house a          variety of hand-built ASTRONOMICAL DEVICES, which now point          at thesky.          JANE FOSTER (late 20's) pops her head through the roof. She          positions a MAGNETOMETER, so its monitor calibrates withthe          constellations above. It appears to be cobbled together from          spare parts of other devices.<b>                         JANE</b>          Hurry!          Wehear a loud BANG followed by muffled CURSING from below.          Jane offers a hand down to ERIK SELVIG (60) who emerges as          well, rubbing hishead.<b>          JANE (CONT'D)</b>          Oh-- watch your head.<b>                         SELVIG</b>          Thanks. So what's this \"anomaly\"\u0000          of yourssupposed to look like?<b>                         JANE</b>          It's a little different each time.          Once it looked like, I don't know,          melted stars, pooling in"}
+{"doc_id":"doc_228","qid":"","text":"Project Gutenberg's Wieland; or The Transformation, by Charles Brockden BrownThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Wieland; or The Transformation       An American TaleAuthor: Charles Brockden BrownPosting Date: August 7, 2008 [EBook#792]Release Date: January, 1997Language: English*** START OF THIS PROJECT GUTENBERG EBOOK WIELAND; OR THE TRANSFORMATION ***WIELAND; ORTHE TRANSFORMATIONAn American Taleby Charles Brockden Brown          From Virtue's blissful paths away          The double-tongued are sure tostray;          Good is a forth-right journey still,          And mazy paths but lead to ill.Advertisement.The following Work is delivered to the world as the first of aseriesof performances, which the favorable reception of this will induce theWriter to publish. His purpose is neither selfish nor temporary,but aims at theillustration of some important branches of the moralconstitution of man. Whether this tale will be classed with the ordinaryor frivolous sources of amusement, orbe ranked with the few productionswhose usefulness secures to them a lasting reputation, the reader mustbe permitted to decide.The incidents related areextraordinary and rare. Some of them, perhaps,approach as nearly to the nature of miracles as can be done by thatwhich is not truly miraculous. It is hoped thatintelligent readers willnot disapprove of the manner in which appearances are solved, but thatthe solution will be found to correspond with the known principlesofhuman nature. The power which the principal person is said to possesscan scarcely be denied to be real. It must be acknowledged to beextremely rare; but nofact, equally uncommon, is supported by the samestrength of historical evidence.Some readers may think the conduct of the younger Wieland impossible.Insupport of its possibility the Writer must appeal to Physicians and tomen conversant with the latent springs and occasional perversions ofthe human mind. Itwill not be objected that the instances of similardelusion are rare, because it is the business of moral painters toexhibit their subject in its most instructive andmemorable forms. Ifhistory furnishes one parallel fact, it is a sufficient vindication ofthe Writer; but most readers will probably recollect an authenticcase,remarkably similar to that of Wieland.It will be necessary to add, that this narrative is addressed, in anepistolary form, by the Lady whose story it contains,to a smallnumber of friends, whose curiosity, with regard to it, had been greatlyawakened. It may likewise be mentioned, that these events tookplace betweenthe conclusion of the French and the beginning of therevolutionary war. The memoirs of Carwin, alluded to at the conclusionof the work, will be published orsuppressed according to the receptionwhich is given to the present attempt.C. B. B. September 3, 1798.Chapter II feel little reluctance in complying with yourrequest. You know notfully the cause of my sorrows. You are a stranger to the depth of mydistresses. Hence your efforts at consolation must necessarily fail.Yetthe tale that I am going to tell is not intended as a claim upon yoursympathy. In the midst of my despair, I do not disdain to contributewhat little I can to thebenefit of mankind. I acknowledge your right tobe informed of the events that have lately happened in my family. Makewhat use of the tale you shall thinkproper. If it be communicatedto the world, it will inculcate the duty of avoiding deceit. It willexemplify the force of early impressions, and show theimmeasurableevils that flow from an erroneous or imperfect discipline.My state is not destitute of tranquillity. The sentiment that dictatesmy feelings is not hope.Futurity has no power over my thoughts. To allthat is to come I am perfectly indifferent. With regard to myself, Ihave nothing more to fear. Fate has done itsworst. Henceforth, I amcallous to misfortune.I address no supplication to the Deity. The power that governs thecourse of human affairs has chosen his path. Thedecree that ascertainedthe condition of my life, admits of no recal. No doubt it squares withthe maxims of eternal equity. That is neither to be questionednordenied by me. It suffices that the past is exempt from mutation. Thestorm that tore up our happiness, and changed into dreariness and desertthe bloomingscene of our existence, is lulled into grim repose; butnot until the victim was transfixed and mangled; till every obstacle wasdissipated by its rage; till everyremnant of good was wrested from ourgrasp and exterminated.How will your wonder, and that of your companions, be excited by mystory! Every sentiment willyield to your amazement. If my testimonywere without corroborations, you would reject it as incredible. Theexperience of no human being can furnish a parallel:That I, beyond therest of mankind, should be reserved for a destiny without alleviation,and without example! Listen to my narrative, and then say what it isthathas made me deserve to be placed on this dreadful eminence, if,indeed, every faculty be not suspended in wonder that I am still alive,and am able to relate it. Myfather's ancestry was noble on the paternalside; but his mother was the daughter of a merchant. My grand-father wasa younger brother, and a native of Saxony.He was placed, when he hadreached the suitable age, at a German college. During the vacations,he employed himself in traversing the neighbouring territory. Ononeoccasion it was his fortune to visit Hamburg. He formed an acquaintancewith Leonard Weise, a merchant of that city, and was a frequent guestat his house.The merchant had an only daughter, for whom his guestspeedily contracted an affection; and, in spite of parental menaces andprohibitions, he, in due season,became her husband.By this act he mortally offended his relations. Thenceforward he wasentirely disowned and rejected by them. They refused to contributeanything to his support. All intercourse ceased, and he received from themmerely that treatment to which an absolute stranger, or detested enemy,would beentitled.He found an asylum in the house of his new father, whose temper waskind, and whose pride was flattered by this alliance. The nobility ofhis birth was putin the balance against his poverty. Weise conceivedhimself, on the whole, to have acted with the highest discretion, inthus disposing of his child. My grand-fatherfound it incumbent on himto search out some mode of independent subsistence. His youth hadbeen eagerly devoted to literature and music. These had hithertobeencultivated merely as sources of amusement. They were now converted intothe means of gain. At this period there were few works of taste inthe Saxondialect. My ancestor may be considered as the founder of theGerman Theatre. The modern poet of the same name is sprung from the samefamily, and, perhaps,surpasses but little, in the fruitfulness of hisinvention, or the soundness of his taste, the elder Wieland. His lifewas spent in the composition of sonatas anddramatic pieces. They werenot unpopular, but merely afforded him a scanty subsistence. He diedin the bloom of his life, and was quickly followed to the grave byhiswife. Their only child was taken under the protection of the merchant.At an early age he was apprenticed to a London trader, and passed sevenyears ofmercantile servitude.My father was not fortunate in the character of him under whose carehe was now placed. He was treated with rigor, and full employmentwasprovided for every hour of his time. His duties were laborious andmechanical. He had been educated with a view to this profession, and,therefore, was nottormented with unsatisfied desires. He did not holdhis present occupations in abhorrence, because they withheld him frompaths more flowery and more smooth,but he found in unintermittedlabour, and in the sternness of his master, sufficient occasions fordiscontent. No opportunities of recreation were allowed him. Hespentall his time pent up in a gloomy apartment, or traversing narrow andcrowded streets. His food was coarse, and his lodging humble. His heartgraduallycontracted a habit of morose and gloomy reflection. He couldnot accurately define what was wanting to his happiness. He was nottortured by comparisons drawnbetween his own situation and thatof others. His state was such as suited his age and his views as tofortune. He did not imagine himself treated withextraordinary orunjustifiable rigor. In this respect he supposed the condition ofothers, bound like himself to mercantile service, to resemble his own;yet everyengagement was irksome, and every hour tedious in its lapse.In this state of mind he chanced to light upon a book written by one ofthe teachers of theAlbigenses, or French Protestants. He entertained norelish for books, and was wholly unconscious of any power they possessedto delight or instruct. This volumehad lain for years in a corner ofhis garret, half buried in dust and rubbish. He had marked it as it lay;had thrown it, as his occasions required, from one spot toanother; buthad felt no inclination to examine its contents, or even to inquire whatwas the subject of which it treated.One Sunday afternoon, being induced toretire for a few minutes to hisgarret, his eye was attracted by a page of this book, which, by someaccident, had been opened and placed full in his view. He wasseated onthe edge of his bed, and was employed in repairing a rent in some partof his clothes. His eyes were not confined to his work, but occasionallywandering,lighted at length upon the page. The words \"Seek and yeshall find,\" were those that first offered themselves to his notice.His curiosity was roused by these so faras to prompt him to proceed.As soon as he finished his work, he took up the book and turned tothe first page. The further he read, the more inducement he foundtocontinue, and he regretted the decline of the light which obliged himfor the present to close it.The book contained an exposition of the doctrine of the sectofCamissards, and an historical account of its origin. His mind was in astate peculiarly fitted for the reception of devotional sentiments. Thecraving which hadhaunted him was now supplied with an object. His mindwas at no loss for a theme of meditation. On days of business, he roseat the dawn, and retired to hischamber not till late at night. He nowsupplied himself with candles, and employed his nocturnal and Sundayhours in studying this book. It, of course, aboundedwith allusions tothe Bible. All its conclusions were deduced from the sacred text. Thiswas the fountain, beyond which it was unnecessary to trace the streamofreligious truth; but it was his duty to trace it thus far.A Bible was easily procured, and he ardently entered on the study of it.His understanding had received aparticular direction. All his reverieswere fashioned in the same mould. His progress towards the formation ofhis creed was rapid. Every fact and sentiment in thisbook were viewedthrough a medium which the writings of the Camissard apostle hadsuggested. His constructions of the text were hasty, and formed on anarrowscale. Every thing was viewed in a disconnected position. Oneaction and one precept were not employed to illustrate and restrictthe meaning of another. Hence"}
+{"doc_id":"doc_229","qid":"","text":"Project Gutenberg's The History of the Peloponnesian War, by ThucydidesThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The History of the Peloponnesian WarAuthor: ThucydidesTranslator: Richard CrawleyRelease Date: December, 2004 [EBook#7142]Posting Date: May 1, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PELOPONNESIAN WAR ***Produced by Albert ImrieTHEHISTORY OF THE PELOPONNESIAN WARBy Thucydides 431 BCTranslated by Richard Crawley     With Permission           to     CONNOP THIRLWALL     Historian ofGreece     This Translation of the Work of His     Great Predecessor     is Respectfully Inscribed     by --The Translator--CONTENTS     BOOK I     CHAPTER I     Thestate of Greece from the earliest Times to the     Commencement of the Peloponnesian War     CHAPTER II     Causes of the War--The Affair ofEpidamnus--     The Affair of Potidaea     CHAPTER III     Congress of the Peloponnesian Confederacy at     Lacedaemon     CHAPTER IV     From the End of thePersian to the Beginning of     the Peloponnesian War--The Progress from     Supremacy to Empire     CHAPTER V     Second Congress atLacedaemon--Preparations for     War and Diplomatic Skirmishes--Cylon--     Pausanias--Themistocles     BOOK II     CHAPTER VI     Beginning of thePeloponnesian War--First     Invasion of Attica--Funeral Oration of Pericles     CHAPTER VII     Second Year of the War--The Plague of Athens--     Position andPolicy of Pericles--Fall of Potidaea     CHAPTER VIII     Third Year of the War--Investment of Plataea--     Naval Victories of Phormio--Thracian Irruption     intoMacedonia under Sitalces     BOOK III     CHAPTER IX     Fourth and Fifth Years of the War--Revolt of     Mitylene     CHAPTER X     Fifth Year of the War--Trial andExecution of the     Plataeans--Corcyraean Revolution     CHAPTER XI     Sixth Year of the War--Campaigns of Demosthenes     in Western Greece--Ruin ofAmbracia     BOOK IV     CHAPTER XII     Seventh Year of the War--Occupation of pylos--     Surrender of the Spartan Army in Sphacteria     CHAPTERXIII     Seventh and Eighth Years of the War--End of     Corcyraean Revolution--Peace of Gela--     Capture of Nisaea     CHAPTER XIV     Eighth and Ninth Yearsof the War--Invasion of     Boeotia--Fall of Amphipolis--Brilliant Successes     of Brasidas     BOOK V     CHAPTER XV     Tenth Year of the War--Death of Cleonand     Brasidas--Peace of Nicias     CHAPTER XVI     Feeling against Sparta in Peloponnese--League     of the Mantineans, Eleans, Argives,and     Athenians--Battle of Mantinea and breaking up of     the League     CHAPTER XVII     Sixteenth Year of the War--The Melian     Conference--Fate ofMelos     BOOK VI     CHAPTER XVIII     Seventeenth Year of the War--The Sicilian     Campaign--Affair of the Hermae--Departure ofthe     Expedition     CHAPTER XIX     Seventeenth Year of the War--Parties at Syracuse--     Story of Harmodius and Aristogiton--     Disgrace ofAlcibiades     CHAPTER XX     Seventeenth and Eighteenth Years of the War--     Inaction of the Athenian Army--Alcibiades at     Sparta--Investment ofSyracuse     BOOK VII     CHAPTER XXI     Eighteenth and Nineteenth Years of the War--     Arrival of Gylippus at Syracuse--Fortification     of Decelea--Successesof the Syracusans     CHAPTER XXII     Nineteenth Year of the War--Arrival of     Demosthenes--Defeat of the Athenians at Epipolae--     Folly and Obstinacy ofNicias     CHAPTER XXIII     Nineteenth Year of the War--Battles in the Great     Harbour--Retreat and Annihilation of the     Athenian Army     BOOKVIII     CHAPTER XXIV     Nineteenth and Twentieth Years of the War--     Revolt of Ionia--Intervention of Persia--The     War in Ionia     CHAPTERXXV     Twentieth and Twenty-first Years of the War--     Intrigues of Alcibiades--Withdrawal of the     Persian Subsidies--Oligarchical Coup d'Etat     atAthens--Patriotism of the Army at Samos     CHAPTER XXVI     Twenty first Year of the War--Recall of     Alcibiades to Samos--Revolt of Euboea and     Downfallof the Four Hundred--Battle of CynossemaBOOK ICHAPTER I_The State of Greece from the earliest Times to the Commencement of thePeloponnesianWar_Thucydides, an Athenian, wrote the history of the war between thePeloponnesians and the Athenians, beginning at the moment that it brokeout, andbelieving that it would be a great war and more worthy ofrelation than any that had preceded it. This belief was not withoutits grounds. The preparations of boththe combatants were in everydepartment in the last state of perfection; and he could see the rest ofthe Hellenic race taking sides in the quarrel; those whodelayed doingso at once having it in contemplation. Indeed this was the greatestmovement yet known in history, not only of the Hellenes, but of a largepart ofthe barbarian world--I had almost said of mankind. For thoughthe events of remote antiquity, and even those that more immediatelypreceded the war, could notfrom lapse of time be clearly ascertained,yet the evidences which an inquiry carried as far back as waspracticable leads me to trust, all point to the conclusionthat therewas nothing on a great scale, either in war or in other matters.For instance, it is evident that the country now called Hellas had inancient times nosettled population; on the contrary, migrations were offrequent occurrence, the several tribes readily abandoning their homesunder the pressure of superiornumbers. Without commerce, withoutfreedom of communication either by land or sea, cultivating no moreof their territory than the exigencies of life required,destitute ofcapital, never planting their land (for they could not tell when aninvader might not come and take it all away, and when he did comethey had no wallsto stop him), thinking that the necessities of dailysustenance could be supplied at one place as well as another, they caredlittle for shifting their habitation, andconsequently neither builtlarge cities nor attained to any other form of greatness. The richestsoils were always most subject to this change of masters; such asthedistrict now called Thessaly, Boeotia, most of the Peloponnese, Arcadiaexcepted, and the most fertile parts of the rest of Hellas. The goodnessof the landfavoured the aggrandizement of particular individuals, andthus created faction which proved a fertile source of ruin. It alsoinvited invasion. Accordingly Attica,from the poverty of its soilenjoying from a very remote period freedom from faction, never changedits inhabitants. And here is no inconsiderable exemplificationofmy assertion that the migrations were the cause of there being nocorrespondent growth in other parts. The most powerful victims of war orfaction from the restof Hellas took refuge with the Athenians as asafe retreat; and at an early period, becoming naturalized, swelled thealready large population of the city to such aheight that Attica becameat last too small to hold them, and they had to send out colonies toIonia.There is also another circumstance that contributes not a littleto myconviction of the weakness of ancient times. Before the Trojan warthere is no indication of any common action in Hellas, nor indeed of theuniversalprevalence of the name; on the contrary, before the time ofHellen, son of Deucalion, no such appellation existed, but the countrywent by the names of thedifferent tribes, in particular of thePelasgian. It was not till Hellen and his sons grew strong in Phthiotis,and were invited as allies into the other cities, that one byone theygradually acquired from the connection the name of Hellenes; though along time elapsed before that name could fasten itself upon all. Thebest proof ofthis is furnished by Homer. Born long after the TrojanWar, he nowhere calls all of them by that name, nor indeed any of themexcept the followers of Achilles fromPhthiotis, who were the originalHellenes: in his poems they are called Danaans, Argives, and Achaeans.He does not even use the term barbarian, probablybecause theHellenes had not yet been marked off from the rest of the world by onedistinctive appellation. It appears therefore that the severalHelleniccommunities, comprising not only those who first acquired the name,city by city, as they came to understand each other, but also those whoassumed itafterwards as the name of the whole people, were before theTrojan war prevented by their want of strength and the absence of mutualintercourse from displayingany collective action.Indeed, they could not unite for this expedition till they had gainedincreased familiarity with the sea. And the first person known to usbytradition as having established a navy is Minos. He made himself masterof what is now called the Hellenic sea, and ruled over the Cyclades,into most of whichhe sent the first colonies, expelling the Cariansand appointing his own sons governors; and thus did his best to put downpiracy in those waters, a necessary stepto secure the revenues for hisown use.For in early times the Hellenes and the barbarians of the coast andislands, as communication by sea became morecommon, were tempted toturn pirates, under the conduct of their most powerful men; the motivesbeing to serve their own cupidity and to support the needy.Theywould fall upon a town unprotected by walls, and consisting of a merecollection of villages, and would plunder it; indeed, this came to bethe main source oftheir livelihood, no disgrace being yet attached tosuch an achievement, but even some glory. An illustration of thisis furnished by the honour with which some ofthe inhabitants of thecontinent still regard a successful marauder, and by the question wefind the old poets everywhere representing the people as askingofvoyagers--\"Are they pirates?\"--as if those who are asked the questionwould have no idea of disclaiming the imputation, or their interrogatorsof reproachingthem for it. The same rapine prevailed also by land.And even at the present day many of Hellas still follow the old fashion,the Ozolian Locrians for instance, theAetolians, the Acarnanians, andthat region of the continent; and the custom of carrying arms is stillkept up among these continentals, from the old piraticalhabits.The whole of Hellas used once to carry arms, their habitations beingunprotected and their communication with each other unsafe; indeed,to wear arms wasas much a part of everyday life with them as with thebarbarians. And the fact that the people in these parts of Hellas arestill living in the old way points to a timewhen the same mode of lifewas once equally common to all. The Athenians were the first to layaside their weapons, and to adopt an easier and more luxuriousmode oflife; indeed, it is only lately that their rich old men left off theluxury of wearing undergarments of linen, and fastening a knot of theirhair with a tie ofgolden grasshoppers, a fashion which spread totheir Ionian kindred and long prevailed among the old men there. On thecontrary, a modest style of dressing,more in conformity with modernideas, was first adopted by the Lacedaemonians, the rich doing theirbest to assimilate their way of life to that of the common"}
+{"doc_id":"doc_230","qid":"","text":"The Project Gutenberg EBook of Tancred, by Benjamin DisraeliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Tancred       Or, The New CrusadeAuthor: Benjamin DisraeliRelease Date: December 3, 2006 [EBook #20004]Last Updated: September6, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK TANCRED ***Produced by DavidWidgerTANCREDORTHE NEW CRUSADEBy Benjamin Disraeli[Illustration: cover][Illustration: frontplate][Illustration: tancred-frontis-p72][Illustration:tancred-frontis-label][Illustration: tancred-titlepage][Illustration: page001]CHAPTER I.     _A Matter of Importance_IN THAT part of the celebrated parish of St.George which is bounded onone side by Piccadilly and on the other by Curzon Street, is a districtof a peculiar character. â\u0000\u0000Tis cluster of small streets of littlehouses,frequently intersected by mews, which here are numerous, and sometimesgradually, rather than abruptly, terminating in a ramification ofthosemysterious regions. Sometimes a group of courts develops itself, andyou may even chance to find your way into a small market-place. Those,however, whoare accustomed to connect these hidden residences ofthe humble with scenes of misery and characters of violence, need notapprehend in this district any appealto their sympathies, or any shockto their tastes. All is extremely genteel; and there is almost as muchrepose as in the golden saloons of the contiguous palaces.At any rate,if there be as much vice, there is as little crime.No sight or sound can be seen or heard at any hour, which could pain themost precise or the mostfastidious. Even if a chance oath may float onthe air from the stable-yard to the lodging of a French cook, â\u0000\u0000tis ofthe newest fashion, and, if responded to withless of novel charm, therepartee is at least conveyed in the language of the most polite ofnations. They bet upon the Derby in these parts a little, are interestedinGoodwood, which they frequent, have perhaps, in general, a weaknessfor play, live highly, and indulge those passions which luxury andrefinement encourage;but that is all.A policeman would as soon think of reconnoitring these secluded streetsas of walking into a house in Park Lane or Berkeley Square, to which,in fact,this population in a great measure belongs. For here reside thewives of house-stewards and of butlers, in tenements furnished by thehonest savings of theirhusbands, and let in lodgings to increase theirswelling incomes; here dwells the retired servant, who now devoteshis practised energies to the occasional festival,which, with hisaccumulations in the three per cents., or in one of the public-houses ofthe quarter, secures him at the same time an easy living, and thecasualenjoyment of that great world which lingers in his memory. Here may befound his graceâ\u0000\u0000s coachman, and here his lordshipâ\u0000\u0000s groom, who keepsabook and bleeds periodically too speculative footmen, by betting oddson his masterâ\u0000\u0000s horses. But, above all, it is in this district thatthe cooks have eversought a favourite and elegant abode. An air ofstillness and serenity, of exhausted passions and suppressed emotion,rather than of sluggishness and of dullness,distinguishes this quarterduring the day.When you turn from the vitality and brightness of Piccadilly, thepark, the palace, the terraced mansions, the sparklingequipages, thecavaliers cantering up the hill, the swarming multitude, and enterthe region of which we are speaking, the effect is at first almostunearthly. Not acarriage, not a horseman, scarcely a passenger; thereseems some great and sudden collapse in the metropolitan system, as ifa pest had been announced, or anenemy were expected in alarm by avanquished capital. The approach from Curzon Street has not this effect.Hyde Park has still about it something of Arcadia.There are woods andwaters, and the occasional illusion of an illimitable distance of sylvanjoyance. The spirit is allured to gentle thoughts as we wander in whatisstill really a lane, and, turning down Stanhope Street, behold thathouse which the great Lord Chesterfield tells us, in one of his letters,he was â\u0000\u0000buildingamong the fields.â\u0000\u0000 The cawing of the rooks in hisgardens sustains the tone of mind, and Curzon Street, after a long,straggling, sawney course, ceasing to bea thoroughfare, and losingitself in the gardens of another palace, is quite in keeping with allthe accessories.In the night, however, the quarter of which we arespeaking is alive.The manners of the population follow those of their masters. They keeplate hours. The banquet and the ball dismiss them to their homes atatime when the trades of ordinary regions move in their last sleep, anddream of opening shutters and decking the windows of their shops.At night, the chariotwhirls round the frequent corners of these littlestreets, and the opening valves of the mews vomit forth their legionof broughams. At night, too, the footman,taking advantage of a ballat Holdernesse, or a concert at Lansdowne House, and knowing that,in either instance, the link-boy will answer when necessary forhissummoned name, ventures to look in at his club, reads the paper, talksof his master or his mistress, and perhaps throws a main. The shops ofthis district,depending almost entirely for their custom on the classeswe have indicated, and kept often by their relations, follow the orderof the place, and are most busywhen other places of business areclosed.A gusty March morning had subsided into a sunshiny afternoon, nearly twoyears ago, when a young man, slender, abovethe middle height, with aphysiognomy thoughtful yet delicate, his brown hair worn long, slightwhiskers, on his chin a tuft, knocked at the door of a houseinCarrington Street, May Fair. His mien and his costume denoted acharacter of the class of artists. He wore a pair of green trousers,braided with a black stripedown their sides, puckered towards thewaist, yet fitting with considerable precision to the boot of Frenchleather that enclosed a well-formed foot. His waistcoatwas of maroonvelvet, displaying a steel watch-chain of refined manufacture, and ablack satin cravat, with a coral brooch. His bright blue frockcoat wasfroggedand braided like his trousers. As the knocker fell from theprimrose-coloured glove that screened his hand, he uncovered, andpassing his fingers rapidly throughhis hair, resumed his new silk hat,which he placed rather on one side of his head.â\u0000\u0000Ah! Mr. Leander, is it you?â\u0000\u0000 exclaimed a pretty girl, who openedthedoor and blushed.â\u0000\u0000And how is the good papa, Eugenie? Is he at home? For I want to see himmuch.â\u0000\u0000â\u0000\u0000I will show you up to him at once, Mr.Leander, for he will be veryhappy to see you. We have been thinking of hearing of you,â\u0000\u0000 she added,talking as she ushered her guest up the narrow staircase.â\u0000\u0000The good papahas a little cold: â\u0000\u0000tis not much, I hope; caught at Sir Wallingerâ\u0000\u0000s, alarge dinner; they would have the kitchen windows open, whichspoilt allthe entrées, and papa got a cold; but I think, perhaps, it is as muchvexation as anything else, you know if anything goes wrong, especiallywith theentrées------â\u0000\u0000â\u0000\u0000He feels as a great artist must,â\u0000\u0000 said Leander, finishing her sentence.â\u0000\u0000However, I am not sorry at this moment to find him aprisoner, for Iam pressed to see him. It is only this morning that I have returned fromMr. Coningsbyâ\u0000\u0000s at Hellingsley: the house full, forty covers everyday,and some judges. One does not grudge oneâ\u0000\u0000s labour if we areappreciated,â\u0000\u0000 added Leander; â\u0000\u0000but I have had my troubles. One of mymarmitons hasdisappointed me: I thought I had a genius, but on thethird day he lost his head; and had it not been---- Ah! good papa,â\u0000\u0000he exclaimed, as the door opened,and he came forward and warmly shookthe hand of a portly man, advanced in middle life, sitting in an easychair, with a glass of sugared water by his side, andreading a Frenchnewspaper in his chamber robe, and with a white cotton nightcap on hishead.â\u0000\u0000Ah! my child,â\u0000\u0000 said Papa Prevost, â\u0000\u0000is it you? You seeme a prisoner;Eugenie has told you; a dinner at a merchantâ\u0000\u0000s; dressed in a draught;everything spoiled, and I------â\u0000\u0000 and sighing, Papa Prevost sippedhis_eau sucrée_.â\u0000\u0000We have all our troubles,â\u0000\u0000 said Leander, in a consoling tone; â\u0000\u0000butwe will not speak now of vexations. I have just come from thecountry;Daubuz has written to me twice; he was at my house last night; I foundhim on my steps this morning. There is a grand affair on the tapis.The son of theDuke of Bellamont comes of age at Easter; it is to be abusiness of the thousand and one nights; the whole county to be feasted.Camachoâ\u0000\u0000s wedding will dofor the peasantry; roasted oxen, and acapon in every platter, with some fountains of ale and good Porto. Ourmarmitons, too, can easily serve the provincialnoblesse; but there isto be a party at the Castle, of double cream; princes of the blood,high relatives and grandees of the Golden Fleece. The dukeâ\u0000\u0000s cook isnotequal to the occasion. â\u0000\u0000Tis an hereditary chef who gives dinners of thetime of the continental blockade. They have written to Daubuz to sendthem the firstartist of the age,â\u0000\u0000 said Leander; â\u0000\u0000and,â\u0000\u0000 added he, withsome hesitation, â\u0000\u0000Daubuz has written to me.â\u0000\u0000â\u0000\u0000And he did quite right, mychild,â\u0000\u0000 said Prevost, â\u0000\u0000for there is not aman in Europe that is your equal. What do they say? That Abreu rivalsyou in flavour, and that Gaillard has not lessinvention. But who cancombine _goût_ with new combinations? â\u0000\u0000Tis yourself, Leander; and thereis no question, though you have only twenty-five years,that you are thechef of the age.â\u0000\u0000â\u0000\u0000You are always very good to me, sir,â\u0000\u0000 said Leander, bending his headwith great respect; â\u0000\u0000and I will not denythat to be famous when you areyoung is the fortune of the gods. But we must never forget that I had anadvantage which Abreu and Gaillard had not, and that Iwas your pupil.â\u0000\u0000â\u0000\u0000I hope that I have not injured you,â\u0000\u0000 said Papa Prevost, with an air ofproud self-content. â\u0000\u0000What you learned from me came atleast from a goodschool. It is something to have served under Napoleon,â\u0000\u0000 added Prevost,with the grand air of the Imperial kitchen. â\u0000\u0000Had it not beenforWaterloo, I should have had the cross. But the Bourbons and the cooksof the Empire never could understand each other: They brought over anemigrant chef,who did not comprehend the taste of the age. He wished tobring everything back to the time of the _oeil de bouf_. When Monsieurpassed my soup of Austerlitzuntasted, I knew the old family was doomed.But we gossip. You wished to consult me?â\u0000\u0000â\u0000\u0000I want not only your advice but your assistance. This affair oftheDuke of Bellamont requires all our energies. I hope you will accompanyme; and, indeed, we must muster all our forces. It is not to be deniedthat there is awant, not only of genius, but of men, in our art. Thecooks are like the civil engineers: since the middle class have taken togiving dinners, the demand exceeds thesupply.â\u0000\u0000â\u0000\u0000There is Andrien,â\u0000\u0000 said Papa Prevost; â\u0000\u0000you had some hopes of him?â\u0000\u0000â\u0000\u0000He is too young; I took him to Hellingsley, and he lost his"}
+{"doc_id":"doc_231","qid":"","text":"<html><head><title>Verdict, The Script at IMSDb.</title><meta name=\"description\" content=\"Verdict, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Verdict, The script, Verdict, The movie script, Verdict, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                      \"THE VERDICT\"                                      Screenplay by                                       DavidMamet                                      Shooting Draft<b>                </b><b>               INT. FIRST FUNERAL PARLOR - DAY</b>               A working-class funeral inprogress. THIRTY PEOPLE and an                inexpensive bier SEEN from the back of the hall.<b>               ANGLE</b>               A MAN's back FILLS theSCREEN. He is dressed in a black suit;                his hands are clasped behind him. ANOTHER MAN stands next to                him. The Second Man reaches behindthe First Man's back and                puts a discreetly folded ten-dollar bill into his hands.<b>               ANGLE</b>               These Two Men from the front. Bothsomber, in their early                fifties. They begin to walk down the aisle of the funeral                parlor.<b>               ANGLE</b>               The WIDOW. Awoman in her late fifties sitting by the bier                receiving condolences. The Two Men approach her. The First                Man (the recipient of the money)speaks:<b>                                     FUNERAL DIRECTOR</b>                         Mrs. Dee, this is Frank Galvin -- a                          very good friend of ours, anda very                          fine attorney.<b>                                     GALVIN</b>                         It's a shame about your husband,                          Mrs.Dee.               The Widow nods.<b>                                     GALVIN</b>                         I knew him vaguely through the Lodge.                          He was awonderful man.                              (shakes head in                               sympathy)                         It was a crime what happened to him.                          A"}
+{"doc_id":"doc_232","qid":"","text":"<html><head><title>French Connection, The Script at IMSDb.</title><meta name=\"description\" content=\"French Connection, The script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"French Connection, The script, French Connection, The movie script, French Connection, The filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>The FrenchConnection</title></head><pre>                                         Rev. April 26, 1971<b>                 THE FRENCHCONNECTION</b>                           by          ERNEST TIDYMAN and WILLIAM FRIEDKINDIRECTOR: William FriedkinPRODUCER: PhilipD'Antoni<b></b><b>EXT. LE VALLON</b>Opening shot - High angle on Lincoln along small bay withboats.Ext. Bar - Waist to full figure Pan Right toLeft.  Detectivecomes out eating pizza, looking around.  He crosses streetand stops against wall of impasse Michael.He looks O.S. left,His POV - L.S. of Lincolnbehind fishing nets.Waist shot of Detective looking and eating.M.S. of Lincoln.C.S. of Detective looking O.S. Left.Pan Right to Left with Charnier coming out fromFonfon withthree friends and they walk to the Lincoln.Pan Left to Right with Lincoln passing in front of theDetective.<b>EXT. CAFE LA SAMARITAINE</b>Highangle from balcony.  Zoom on Detective seated at thecafe, reading a newspaper.Cut on Lincoln along sidewalk of the cafe, then zoom back todiscover Detectiveseated.<b>EXT. MARSEILLE STREETS</b>Low angle from stairs Rue des Repenties and Pan Left toRight to Rue Sainte Francoise following the Detective.Pan Leftto Right with Detective from Rue des Repenties toRue Baussenque.Low angle between Rue des Moulins and Rue des Accoules withDetective passing by.Ext. Rue"}
+{"doc_id":"doc_233","qid":"","text":"<html><title>Pump Up The Volume Transcript</title><pre>Happy Harry Hardon - Did you ever get the feeling that everything in America is completely fuckedup. You know that feeling that the whole country is like one inch away from saying 'That's it, forget it.' You think about it. Everything is polluted. Theenvironment, the government, the schools you name it. Speaking of schools. I was walking the households the other day and I asked myself. Is there live afterhigh school? Because I can't face tomorrow, let alone a whole year of this shit. Yeah, you got it folks. It's me again with a little attitude for all you out here andwaiting for Atlanta. All you nice people living in the middle of America the beautiful. Lets see, we're on er 92 FM tonight and it feels like a nice clean little band sofar. No one else is using it. The price is right. Heh, heh. And yes folks you guest it. Tonight I am as horny as a ten peckerd house, so stay tuned because this isHappy Harry Hardon reminding you to eat your cereal with a fork and do your homework in the dark..Murdock - Mr. Travis, Louis Travis. It's just for a second.MrWoodward - So, I'll pick you up after your yearbook.Paige Woodward - Okay, dad.Mr Woodward - And no big dates tonight, you have to be well rested for yourHistory examtomorrow.Paige - Okay.Mazz - Yo Paige, anytime anywhere beautiful. Mr. Paige.Nora Diniro - Oh, Miss Paige Woodward arriving.Janie - So rich, sosmart.Nora - So perfect.Murdock - Cheryl, good to see you. You're going to see the principal this morning.Cheryl - Can you tell me what this is about.Murdock -We'll see. Excuse Misses Creswood.Luis Chavez - Yes.Nora  - Check this out.Janie - What is it?Nora -  It's this guy. He's got a pirate radio station. Hiss name isHappy Harry Hardon. He's a total sex maniac.Janie - Off course.Nora - He comes on every night at ten o'clock.Happy Harry Hardon - Okay, down to business. Igot my wild cherry diet Pepsi and I got my Black Jack gum here and I got that feeling, mmm that familiar feeling that something rank is going down up there.Yeah, I can smell it. I can almost taste it. The rankness in the air. It's everywhere. It's running through that old pipeline out there, trickling along the dumbconcrete river and coming up the drains of those lovely tracktones we all live in. I mean I don't know. Everywhere I look it seems everything is sold out.Annie -They say this is where the reception is the coolest.Johnathan - Then he'll probably live right around here.Mazz - Fucking Yuppies.Happy Harry Hardon - My dadsold out. And my mom sold out years ago when she had me. And then they sold me out when they brought me to this hole in the world. They made meeverything I am today so naturally I hate the bastards. Speaking of which, I am running a contest on the best way to put them out of their misery. Tonight wehave number twelve of one hundred things to do with your body when you're all alone. Now are you ready of the incredible sound of Happy Harry Hardon comingon his own face. Oh, my god, it's very possible you know. Oh, oh this is a champion one. I'm going for it. He's still growing. This... Yes, Happy Harry Hardon willgo to any language to keep his three listeners glued with Huwy Bluwy to their radios. But the question is. How far will you go? How far can you go to amaze anddiscuss the sensational Happy Harry Hardon. I mean. How serious are you? I ask you that. dear listener.Mr Woodward - Hi beautiful. You know I can't figure outhow you manage to get such greatgrades and you listen to that radio all night. You know. Tomorrow don't forget Yale interview. And I don't want you to look toosleepy. You know. Goodnight Sweetheart.Happy Harry Hardon - I'm getting a lot of letters here guys. Here. Dear Happy Harry Hardon, my boyfriend won't talk tome anymore. How do I show him that I really love him? Look, I don't know anything about these letters asking for love advice. I mean, if I knew anything aboutlove I would be out there making it instead of talking to you guys. So just send me stuff to box 20710, USA Mail Paradise Hill Mess Arizona 84012. Repliesguarantied. Dear Harry, I think your boring and upknocktius and have a high opinion of yourself. Course I'm you I'll probably thinking I sent this to myself. I thinkschool is okay. if you just look at it right. I like your music, but I really don't see why you can't be cheerful for one second. I tell you since you ask. I just arrivedin this stupid suburb. I have no friends, no money, no car, no licence. And even if I did have a licence all I can do is drive out to some stupid mall. Maybe if I'mlucky play some fucking video games, smoke a joint and get stupid. You see, there's nothing to do anymore. Everything decents been done. All the great themeshave been used up. Turned into theme parks. So I don't really find it cheerful to be living in totally exhausted decade where there is nothing to look forward toand no one to look up to. That was deep. Oh no, not again. The creature stirs. Oh God, I think it is going to be a gusher. This is the sixth time in an hour. Ohgod...Annie - He sounds like he chronically masturbated.Johnathan - He prides himself on it.Happy Harry Hardon - You see, I take care of it. Oh, or else I'm goingto explode. I just... Excuse me while I... While I... While I... Oh yeah... Oh yeah... Oh yeah, this is the big one. I'm gonna explode... Oh, take cover Arizona here Icome.Mazz - Any time now, man.Happy Harry Hardon - Oh God... Oh God... This is the best. Oh God yeah... Free at last, I'm beat. I'm whipped. It's quitting time.Gotta recuperate.Mazz - There he goes. Some time he's on for five minutes, some time he's on for five hours. That's my man.Marla Hunter - God, I feel so out oftouch here.Brian Hunter - We didn't move out here to stay in touch.Marla Hunter - And why did we move out here?Brian Hunter - Oh, because it's a nice place tolive. I'm making good money and I'm theyoungest school commissioner in the History of Arizona.Marla Hunter - Brian, you know what. The man I married lovedhis work. Not power andmoney.Brian Hunter - That's all right I still love my work. And I love power and money.Marla Hunter - Young radical Brain, you werealways fighting against the system. And now you are...Brian Hunter - I am the system, yeah. Is that a beer?Mark Hunter (Happy Harry Hardon) - Sure!MarlaHunter - Have you notice his behaviour lately?Brian Hunter - What about him?Marla Hunter - He's just so unhappy here.Brian Hunter - I'll go talk to him.<Brian'sStudy>Brian Hunter - Hi, what's up?Mark - I was just looking for some stamps.Brian Hunter - Oh fine, I got some right here. Sending a letter to one of yourfriends back east?Mark - No, I thought I might send away for an inflatable date.Brian Hunter - You know, one of these days you're going to have to watch yourselfyoung man.Mark - I love it when you call me young man.Brian Hunter - You know when I was your age I was in all the teams and a bunch of clubs. Look all I'msaying is that school must have some really terrific programs, it's very highly rated.Mark - Just save it for the masses.Brian Hunter - Mark, they've got twelvehundred students down there. Surely some of themhave gotta be cool.Mark - Look the deal is I get decent grades and you guys leave me alone.<Back at HupertHumphrey>Janie - Okay so who is this guy?Nora - I don't know, nobody knows who he is, but he really hates this school so I guess he goes here.Janie - But allthe guys that go here are geeks.Nora - Maybe not my dear! LaterJanie - Later?<English Class>Jan Emerson - And so then the logi cars questioned the fewremaining death spurs more and more they began to fade away until there was nothing left of them and they disappeared from the face of the earth.......... Hmm,pretty good hey? Leading with your heart, not your mind. I wondered if you would tell us what you were thinking when you wrote this?Mark - I just wrote it latelast night.Jan - That's obvious it's practically a night book. Mark, I was hoping you'd share your feelings about it. <Bell rings> Saved by the bell. Don't think If Ididn't read your composition it won't be read. Mark! We're looking for new writers for The Clarion. Don't be embarrassed of your talent.<Murdock's woodworkclass. A Happy Harry Hardon Tape blasting out of a stereo>Class - Morning Mr. MurdockMurdock - I'm not stupid you know.<Staff room>Creswood - This schoolis judged on one category only: Academic scores. The lesson of modern education is that nothing comes easily, no pain, no gain.Murdock <enters> - Excuse meeveryone do you want to listen to this, it's the third this week. It's unbelievable.<Murdock plays a tape with Happy Harry Hardon simulating masturbation>Jan -<laughs>Creswood - Jan! This is no laughing matter.<School Library>Nora - Hi!Mark - HiNora - You're in my writing class right.Mark - Right.Nora - Yeah I likeEmerson (Jan) she's pretty funky. <Nora look at the date on Marks book> Now you're in trouble!.... You owe me twenty five cents...... \"How To Talk Dirty AndInfluence People\" by Lenny Bruce. Who's he?... Any good?Mark - He's alright.Nora - Talk a lot.Mark - Not to much no.<Mark leaves and Nora looks down atchecklist of possible Hard Harrys'>Nora - Cute, but no way!<A ten o'clock show>  Happy Harry Hardon - Guess who? It's ten o'clock do you care where yourparents are? After all it's a jungle out there. <Everybody Knows plays> I don't know. Everywhere I look it seems that someone's getting butt surfed by thesystem. Parents are always talking about the system, and the sixties and how cool it was. Well look at where the sixties got them hey! Come on people now smileon your brother everybody together try and love one another right now!!! Now that was the sixties, this is a song from the nineties from my buddies theDescendants. <The Descendants play> I hate the sixties, I hate school, I hate principals, I hate vice principles!! But my true pure refined hatred is reserved forguidance councillors. Happy Harry just happens to have in his very hands a copy of a memo written by Mr. David Deaver, guidance councillor extrordinaire to oneMiss Loretta Creswood, high school principle. \"I found Cheryl un-remorseful about her current condition\" Bastard can't even say she's knocked up. \"And she'sunwilling to minimise it's affect on the morals of the student population.\" Guidance councillors!!!!! If they knew anything about career moves would they haveended up as guidance councillors? What do you say we call Deaver up hey? Happy Harry Hardon just happens to have the home phone numbers of everyemployee up at Paradise Hills. Here we go, there you are Mr. Deesky <Happy Harry Hardon rings up Mr Deaver>.Deaver - Deaver residence, David Deaverspeaking.Happy Harry Hardon - Hey this is WKPS, we're doing a piece on high schools. We understand that your a guidance councillor.Deaver - I'm head ofguidance at Hubert Humphrey High in Paradise Hills Arizona. I've been there seven years.Happy Harry Hardon - Can you tell me a bit about what you do.Deaver -I run a comprehensive American values program, erm in which we discuss ethical situations, sex education and drug abuse.Happy Harry Hardon - What do yousay to young people who look around at the world and see it's become, like you know, a sleazy country, a place you just can't trust. Like your school for example.Why is it, it wins all of these awards and students are dropping out like flies, why..why is that. Now my listeners are interested in the decision to expel Cheryl"}
+{"doc_id":"doc_234","qid":"","text":"The Project Gutenberg EBook of Shadows in Zamboula, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org/licenseTitle: Shadows in ZamboulaAuthor: Robert E. HowardRelease Date: February 25, 2013 [EBook #42196]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK SHADOWS IN ZAMBOULA ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                          SHADOWS IN ZAMBOULA                          By Robert E. Howard    [Transcriber's Note: This etext was first published inWeird Tales    November 1935. Extensive research did not uncover any evidence that    the U.S. copyright on this publication was renewed.]1 A Drum Begins'Perilhides in the house of Aram Baksh!'The speaker's voice quivered with earnestness and his lean, black-nailedfingers clawed at Conan's mightily muscled arm as hecroaked hiswarning. He was a wiry, sun-burnt man with a straggling black beard, andhis ragged garments proclaimed him a nomad. He looked smaller andmeanerthan ever in contrast to the giant Cimmerian with his black brows, broadchest, and powerful limbs. They stood in a corner of the Sword-Makers'Bazar, andon either side of them flowed past the many-tongued,many-colored stream of the Zamboula streets, which is exotic, hybrid,flamboyant and clamorous.Conanpulled his eyes back from following a bold-eyed, red-lippedGhanara whose short skirt bared her brown thigh at each insolent step,and frowned down at hisimportunate companion.'What do you mean by peril?' he demanded.The desert man glanced furtively over his shoulder before replying, andlowered hisvoice.'Who can say? But desert men and travelers _have_ slept in the house ofAram Baksh, and never been seen or heard of again. What became of them?_He_swore they rose and went their way--and it is true that no citizenof the city has ever disappeared from his house. But no one saw thetravelers again, and men saythat goods and equipment recognized astheirs have been seen in the bazars. If Aram did not sell them, afterdoing away with their owners, how came theyhere?''I have no goods,' growled the Cimmerian, touching the shagreen-boundhilt of the broadsword that hung at his hip. 'I have even sold myhorse.''But it is notalways rich strangers who vanish by night from the houseof Aram Baksh!' chattered the Zuagir. 'Nay, poor desert men have sleptthere--because his score is lessthan that of the other taverns--andhave been seen no more. Once a chief of the Zuagirs whose son had thusvanished complained to the satrap, Jungir Khan, whoordered the housesearched by soldiers.''And they found a cellar full of corpses?' asked Conan in good-humoredderision.'Nay! They found naught! And drove thechief from the city with threatsand curses! But--' he drew closer to Conan and shivered--'something elsewas found! At the edge of the desert, beyond the houses,there is aclump of palm trees, and within that grove there is a pit. And withinthat pit have been found human bones, charred and blackened! Not once,but manytimes!''Which proves what?' grunted the Cimmerian.'Aram Baksh is a demon! Nay, in this accursed city which Stygians builtand which Hyrkanians rule--wherewhite, brown and black folk mingletogether to produce hybrids of all unholy hues and breeds--who can tellwho is a man, and who a demon in disguise? AramBaksh is a demon in theform of a man! At night he assumes his true guise and carries his guestsoff into the desert where his fellow demons from the waste meetinconclave.''Why does he always carry off strangers?' asked Conan skeptically.'The people of the city would not suffer him to slay their people, butthey carenaught for the strangers who fall into his hands. Conan, youare of the West, and know not the secrets of this ancient land. But,since the beginning of happenings,the demons of the desert haveworshipped Yog, the Lord of the Empty Abodes, with fire--fire thatdevours human victims.'Be warned! You have dwelt for manymoons in the tents of the Zuagirs,and you are our brother! Go not to the house of Aram Baksh!''Get out of sight!' Conan said suddenly. 'Yonder comes a squad ofthecity-watch. If they see you they may remember a horse that was stolenfrom the satrap's stable--'The Zuagir gasped, and moved convulsively. He duckedbetween a booth anda stone horse-trough, pausing only long enough to chatter: 'Be warned,my brother! There are demons in the house of Aram Baksh!' Then hedarteddown a narrow alley and was gone.Conan shifted his broad sword-belt to his liking, and calmly returnedthe searching stares directed at him by the squad ofwatchmen as theyswung past. They eyed him curiously and suspiciously, for he was a manwho stood out even in such a motley throng as crowded thewindingstreets of Zamboula. His blue eyes and alien features distinguished himfrom the Eastern swarms, and the straight sword at his hip added pointto the racialdifference.The watchmen did not accost him, but swung on down the street, while thecrowd opened a lane for them. They were Pelishtim, squat, hook-nosed,withblue-black beards sweeping their mailed breasts--mercenaries hiredfor work the ruling Turanians considered beneath themselves, and no lesshated by themongrel population for that reason.Conan glanced at the sun, just beginning to dip behind the flat-toppedhouses on the western side of the bazar, and hitchingonce more at hisbelt, moved off in the direction of Aram Baksh's tavern.With a hillman's stride he moved through the ever-shifting colors of thestreets, where theragged tunics of whining beggars brushed against theermine-trimmed khalats of lordly merchants, and the pearl-sewn satin ofrich courtezans. Giant black slavesslouched along, jostlingblue-bearded wanderers from the Shemitish cities, ragged nomads from thesurrounding deserts, traders and adventurers from all thelands of theEast.The native population was no less heterogenous. Here, centuries ago,the armies of Stygia had come, carving an empire out of the easterndesert.Zamboula was but a small trading-town then, lying amidst a ringof oases, and inhabited by descendants of nomads. The Stygians built itinto a city and settled itwith their own people, and with Shemite andKushite slaves. The ceaseless caravans, threading the desert from eastto west and back again, brought riches andmore mingling of races. Thencame the conquering Turanians, riding out of the East to thrust back theboundaries of Stygia, and now for a generation Zamboulahad been Turan'swesternmost outpost, ruled by a Turanian satrap.The babel of a myriad tongues smote on the Cimmerian's ears as therestless pattern of theZamboula streets weaved about him--cleft now andthen by a squad of clattering horsemen, the tall, supple warriors ofTuran, with dark hawk-faces, clinking metaland curved swords. Thethrong scampered from under their horses' hoofs, for they were the lordsof Zamboula. But tall, somber Stygians, standing back in theshadows,glowered darkly, remembering their ancient glories. The hybridpopulation cared little whether the king who controlled their destiniesdwelt in dark Khemior gleaming Aghrapur. Jungir Khan ruled Zamboula,and men whispered that Nafertari, the satrap's mistress, ruled JungirKhan; but the people went their way,flaunting their myriad colors inthe streets, bargaining, disputing, gambling, swilling, loving, as thepeople of Zamboula have done for all the centuries its towersandminarets have lifted over the sands of the Kharamun.Bronze lanterns, carved with leering dragons, had been lighted in thestreets before Conan reached thehouse of Aram Baksh. The tavern was thelast occupied house on the street, which ran west. A wide garden,enclosed by a wall, where date-palms grew thick,separated it from thehouses farther east. To the west of the inn stood another grove ofpalms, through which the street, now become a road, wound out intothedesert. Across the road from the tavern stood a row of deserted huts,shaded by straggling palm trees, and occupied only by bats and jackals.As Conan camedown the road he wondered why the beggars, so plentiful inZamboula, had not appropriated these empty houses for sleeping quarters.The lights ceased somedistance behind him. Here were no lanterns,except the one hanging before the tavern gate: only the stars, the softdust of the road underfoot, and the rustle ofthe palm leaves in thedesert breeze.Aram's gate did not open upon the road, but upon the alley which ranbetween the tavern and the garden of the date-palms.Conan jerkedlustily at the rope which depended from the bell beside the lantern,augmenting its clamor by hammering on the iron-bound teakwork gate withthehilt of his sword. A wicket opened in the gate and a black facepeered through.'Open, blast you,' requested Conan. 'I'm a guest. I've paid Aram for aroom, and aroom I'll have, by Crom!'The black craned his neck to stare into the starlit road behind Conan;but he opened the gate without comment, and closed it againbehind theCimmerian, locking and bolting it. The wall was unusually high; butthere were many thieves in Zamboula, and a house on the edge of thedesert mighthave to be defended against a nocturnal nomad raid. Conanstrode through a garden where great pale blossoms nodded in thestarlight, and entered the tap-room,where a Stygian with the shavenhead of a student sat at a table brooding over nameless mysteries, andsome nondescripts wrangled over a game of dice in acorner.Aram Baksh came forward, walking softly, a portly man, with a blackbeard that swept his breast, a jutting hook-nose, and small black eyeswhich werenever still.'You wish food?' he asked. 'Drink?''I ate a joint of beef and a loaf of bread in the _suk_,' grunted Conan.'Bring me a tankard of Ghazan wine--I've gotjust enough left to pay forit.' He tossed a copper coin on the wine-splashed board.'You did not win at the gaming-tables?''How could I, with only a handful of silverto begin with? I paid youfor the room this morning, because I knew I'd probably lose. I wanted tobe sure I had a roof over my head tonight. I notice nobodysleeps in thestreets in Zamboula. The very beggars hunt a niche they can barricadebefore dark. The city must be full of a particularly blood-thirsty brandofthieves.'He gulped the cheap wine with relish, and then followed Aram out of thetap-room. Behind him the players halted their game to stare after himwith acryptic speculation in their eyes. They said nothing, but theStygian laughed, a ghastly laugh of inhuman cynicism and mockery. Theothers lowered their eyesuneasily, avoiding one another's glance. Thearts studied by a Stygian scholar are not calculated to make him sharethe feelings of a normal human being.Conanfollowed Aram down a corridor lighted by copper lamps, and it didnot please him to note his host's noiseless tread. Aram's feet were cladin soft slippers and thehallway was carpeted with thick Turanian rugs;but there was an unpleasant suggestion of stealthiness about theZamboulan.At the end of the winding corridorAram halted at a door, across which aheavy iron bar rested in powerful metal brackets. This Aram lifted andshowed the Cimmerian into a well-appointed"}
+{"doc_id":"doc_235","qid":"","text":"<html><head><title>Death to Smoochy Script at IMSDb.</title><meta name=\"description\" content=\"Death to Smoochy script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Death to Smoochy script, Death to Smoochy movie script, Death to Smoochy film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>DEATH TOSMOOCHY           by      Adam Resnick      December 2000       Early Draft<b>   FOR EDUCATIONAL</b><b>    PURPOSES ONLY</b><b></b><b>BEGINCREDITS</b><b>EXT. KIDNET STUDIO -C - EVENING</b>A man in a puffy foam-rubber rhinoceros costume dancingunder the bright friendly lights of atelevision studio.Another rhino and various foam-rubber animals dancebehind him to the happy MUSIC. The rhino finishes hisnumber and takes a bow. A bleacherfull of kids burstsinto wild applause.<b>INT. BACKSTAGE - MOMENTS LATER</b>After the taping. The rhino lumbers down the hallwaytoward wardrobe. He issuddenly grabbed by two large menand dragged out through the exit into...<b>INT. DARK PARKING GARAGE</b>... where several   thugs in overcoats emergefrom theshadows and start   beating him with lead pipes. One ofthe men pulls out   a GUN and SHOOTS the rhino severaltimes. The SHOTS    REVERBERATEthrough the empty garage.<b>FINAL CREDIT:</b><b>                                       CUT TO BLACK:</b><b>SUPERIMPOSE:    ONE YEAR EARLIER</b><b>FADEUP ON:</b><b>INT. TELEVISION STUDIO - DAY</b>It's the taping of another children's show -- \"RainbowRandolph and the Krinkle Kids.\" RANDOLPH SMILEY,aclean-cut man with a happy face and yellow bow tie,dances through Rainbowland with the \"Krinkle Kids\"(little people in top hats). He sings one of hissignaturesongs: \"Friends Come In All Sizes.\" One ofthe main Krinkle Kids -- ANGELO PIKE -- dancesbehindhim.<b>                         RANDOLPH</b>                 (singing)          'Friends come in all sizes          That's a fact! It's True!          All colors of the"}
+{"doc_id":"doc_236","qid":"","text":"<html><head><title>Synecdoche, New York Script at IMSDb.</title><meta name=\"description\" content=\"Synecdoche, New York script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Synecdoche, New York script, Synecdoche, New York movie script, Synecdoche, New York filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                          SYNECDOCHE, NEW YORK</b>                               Written by                            CharlieKaufman<b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007.</b><b>          A1INT. CADEN AND ADELE'SBEDROOM - FALL 2005 - MORNING A1</b>          Darkness. The sound of a radio and pots and pans clanging          fades in. Caden, 40, opens his eyes in bed,and groggily          looks at himself in the bureau mirror. The bedside clock          reads 7:45.<b>          1 INT. CADEN AND ADELE'S KITCHEN - FALL 2005 -SAME1</b>          Adele, 40, in t-shirt and sweats, mixes a bowl of instant          oatmeal, puts it in the microwave.<b>          RADIO VOICE</b>          ... aLabor Day luncheon today --<b>          OLIVE (O.S.) RADIO VOICE</b>          Mommy! Done! -- at Stuckey Hall --<b>          ADELERADIOVOICE</b>          Okay!-- in downtown Schenectady --          Adele leaves the kitchen. Caden, also 40, enters as she's          leaving. He's dressed in a rattyterrycloth robe.<b>          CADENADELE</b>          Morning. Morning. Tried not to wake          you.<b>          CADEN</b>          Thanks. You didn't. I was just--          As Caden's voice goes under, we follow Adele into --<b>          2 INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS 2</b>          Olive,4, sits on the toilet. Adele enters, rips some toilet          paper off the roll and proceeds to wipe Olive. The phone          rings in the"}
+{"doc_id":"doc_237","qid":"","text":"<html><head><title>Bad Teacher Script at IMSDb.</title><meta name=\"description\" content=\"Bad Teacher script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Bad Teacher script, Bad Teacher movie script, Bad Teacher film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  BAD TEACHER</b>                                  Written by                        Lee Eisenberg & GeneStupnitsky                                                    June 6, 2008                         <b>                         FADE IN:</b><b>          EXT. JOHN ADAMS MIDDLE SCHOOL- DAY</b>          To establish.          A school marquee with removable plastic letters reads,          \"GOOD LUCK WITH FINALS!\" A JANITOR opens the glassand          starts removing the letters.<b>          INT. TEACHER'S LOUNGE - DAY</b>          POP! A Champagne cork hits the ceiling.          TEACHERS whorarely get to drink at work, jockey for          position, holding out their plastic flutes. (Note:          female teachers outnumber male teachers12:1.)          PRINCIPAL WALLY SNUR, 40s, balding, faces the teachers.          He has a habit of blinking hard before speaking.<b>                         PRINCIPALSNUR</b>          Well, it's been another great year here          at JAMS. Who can forget Mr. Pinkus'          haunted classroom? Sandy, thank you.          SANDYPINKUS, 40s, sporting a ponytail, smiles, clearly          enjoying the small compliment.<b>                         SANDY</b>          I ain't afraid of noghost.          The other teachers laugh.<b>                         PRINCIPAL SNUR</b>          Or the wild success of...<b>          VOICE (O.C.)</b>          Wally, canI just say one quick thing?          Wally turns to AMY SQUIRREL, late 20s, cute and          wholesome. Any trace of sexuality she might have is          wiped awayby her adult pigtails. She treats students          and adults alike -- like students.<b>                         AMY</b>          Just wanted to remind everyone the"}
+{"doc_id":"doc_238","qid":"","text":"<html><head><title>Sessions, The Script at IMSDb.</title><meta name=\"description\" content=\"Sessions, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Sessions, The script, Sessions, The movie script, Sessions, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           THE SESSIONS</b>                     (formerly The Surrogate)                            Written by                            BenLewin                                             Based On A True Story<b>    EXT.   BERKELEY,CALIFORNIA.   DAY</b><b>1                                                                 1</b>    SUBTITLE Berkeley, California -1981-<b>    DISSOLVE TO ACTUAL TVNEWS FOOTAGE FROM 1981</b>    A busy intersection near the UC Berkeley campus. A strange,    self-propelled motorized gurney whirrs into view andmakes    its way over a pedestrian crosswalk. The passenger, MARK    O'BRIEN, in his early 30s, is visible only from the neck up.    The rest of him is covered by ablanket. He operates the    gurney with a mouth control and a set of mirrors positioned    around his head.<b>                          NEWS REPORTER(V.O.)</b>               Mark O'Brien has been going to UC               Berkeley since 1978. That's O'Brien               in the motorized gurney headingfor               class last week.    The gurney continues along a leafy promenade on the campus.    Passers-by just go about their normalbusiness.<b>                         NEWS REPORTER (V.O.)</b>               He had polio when he was 6 years               old. The disease left hisbody               crippled but his mind remained               sharp and alert, and since he               wanted to be a writer, Mark O'Brien               entered Cal tomajor in English and               learn his trade.    We hear a voice reciting a verse of poetry as we follow Mark    in his contraption.<b>                          MARK"}
+{"doc_id":"doc_239","qid":"","text":"Project Gutenberg's Tarzan and the Jewels of Opar, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Tarzan and the Jewels of OparAuthor: Edgar Rice BurroughsPosting Date: June 23, 2008 [EBook #92]Release Date: December,1995First Posted: November 1, 2001Last updated: May 26, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK TARZAN AND THE JEWELSOF OPAR ***Produced by Judith Boss.  HTML version by Al Haines.Tarzan and the Jewels of OparByEdgar Rice BurroughsContentsCHAPTER   1  Belgian andArab   2  On the Road to Opar   3  The Call of the Jungle   4  Prophecy and Fulfillment   5  The Altar of the Flaming God   6  The Arab Raid   7  The Jewel-Room ofOpar   8  The Escape from Opar   9  The Theft of the Jewels  10  Achmet Zek Sees the Jewels  11  Tarzan Becomes a Beast Again  12  La SeeksVengeance  13  Condemned to Torture and Death  14  A Priestess But Yet a Woman  15  The Flight of Werper  16  Tarzan Again Leads the Mangani  17  TheDeadly Peril of Jane Clayton  18  The Fight For the Treasure  19  Jane Clayton and The Beasts of the Jungle  20  Jane Clayton Again a Prisoner  21  The Flight tothe Jungle  22  Tarzan Recovers His Reason  23  A Night of Terror  24  Home1Belgian and ArabLieutenant Albert Werper had only the prestige of the name hehaddishonored to thank for his narrow escape from being cashiered.  Atfirst he had been humbly thankful, too, that they had sent him to thisGodforsaken Congopost instead of court-martialing him, as he had sojustly deserved; but now six months of the monotony, the frightfulisolation and the loneliness had wrought achange.  The young manbrooded continually over his fate.  His days were filled with morbidself-pity, which eventually engendered in his weak and vacillatingminda hatred for those who had sent him here--for the very men he had atfirst inwardly thanked for saving him from the ignominy of degradation.He regrettedthe gay life of Brussels as he never had regretted thesins which had snatched him from that gayest of capitals, and as thedays passed he came to center hisresentment upon the representative inCongo land of the authority which had exiled him--his captain andimmediate superior.This officer was a cold, taciturn man,inspiring little love in thosedirectly beneath him, yet respected and feared by the black soldiers ofhis little command.Werper was accustomed to sit for hoursglaring at his superior as thetwo sat upon the veranda of their common quarters, smoking theirevening cigarets in a silence which neither seemed desirousofbreaking.  The senseless hatred of the lieutenant grew at last into aform of mania.  The captain's natural taciturnity he distorted into astudied attempt to insulthim because of his past shortcomings.  Heimagined that his superior held him in contempt, and so he chafed andfumed inwardly until one evening his madnessbecame suddenly homicidal.He fingered the butt of the revolver at his hip, his eyes narrowed andhis brows contracted.  At last he spoke.\"You have insulted mefor the last time!\" he cried, springing to hisfeet.  \"I am an officer and a gentleman, and I shall put up with it nolonger without an accounting from you, youpig.\"The captain, an expression of surprise upon his features, turned towardhis junior.  He had seen men before with the jungle madness uponthem--the madnessof solitude and unrestrained brooding, and perhaps atouch of fever.He rose and extended his hand to lay it upon the other's shoulder.Quiet words of counsel wereupon his lips; but they were never spoken.Werper construed his superior's action into an attempt to close withhim.  His revolver was on a level with the captain'sheart, and thelatter had taken but a step when Werper pulled the trigger.  Without amoan the man sank to the rough planking of the veranda, and as he fellthemists that had clouded Werper's brain lifted, so that he sawhimself and the deed that he had done in the same light that those whomust judge him would seethem.He heard excited exclamations from the quarters of the soldiers and heheard men running in his direction.  They would seize him, and if theydidn't kill himthey would take him down the Congo to a point where aproperly ordered military tribunal would do so just as effectively,though in a more regular manner.Werperhad no desire to die.  Never before had he so yearned for lifeas in this moment that he had so effectively forfeited his right tolive.  The men were nearinghim.  What was he to do?  He glanced aboutas though searching for the tangible form of a legitimate excuse forhis crime; but he could find only the body of theman he had socauselessly shot down.In despair, he turned and fled from the oncoming soldiery.  Across thecompound he ran, his revolver still clutched tightly inhis hand.  Atthe gates a sentry halted him.  Werper did not pause to parley or toexert the influence of his commission--he merely raised his weapon andshotdown the innocent black.  A moment later the fugitive had tornopen the gates and vanished into the blackness of the jungle, but notbefore he had transferred therifle and ammunition belts of the deadsentry to his own person.All that night Werper fled farther and farther into the heart of thewilderness.  Now and again thevoice of a lion brought him to alistening halt; but with cocked and ready rifle he pushed ahead again,more fearful of the human huntsmen in his rear than of thewildcarnivora ahead.Dawn came at last, but still the man plodded on.  All sense of hungerand fatigue were lost in the terrors of contemplated capture.  Hecouldthink only of escape.  He dared not pause to rest or eat until therewas no further danger from pursuit, and so he staggered on until atlast he fell and couldrise no more.  How long he had fled he did notknow, or try to know.  When he could flee no longer the knowledge thathe had reached his limit was hidden fromhim in the unconsciousness ofutter exhaustion.And thus it was that Achmet Zek, the Arab, found him.  Achmet'sfollowers were for running a spear through thebody of their hereditaryenemy; but Achmet would have it otherwise.  First he would question theBelgian.  It were easier to question a man first and killhimafterward, than kill him first and then question him.So he had Lieutenant Albert Werper carried to his own tent, and thereslaves administered wine and food insmall quantities until at last theprisoner regained consciousness.  As he opened his eyes he saw thefaces of strange black men about him, and just outside thetent thefigure of an Arab.  Nowhere was the uniform of his soldiers to be seen.The Arab turned and seeing the open eyes of the prisoner upon him,entered thetent.\"I am Achmet Zek,\" he announced.  \"Who are you, and what were you doingin my country?  Where are your soldiers?\"Achmet Zek!  Werper's eyes wentwide, and his heart sank.  He was inthe clutches of the most notorious of cut-throats--a hater of allEuropeans, especially those who wore the uniform ofBelgium.  For yearsthe military forces of Belgian Congo had waged a fruitless war uponthis man and his followers--a war in which quarter had never beenaskednor expected by either side.But presently in the very hatred of the man for Belgians, Werper saw afaint ray of hope for himself.  He, too, was an outcast andan outlaw.So far, at least, they possessed a common interest, and Werper decidedto play upon it for all that it might yield.\"I have heard of you,\" he replied, \"andwas searching for you.  Mypeople have turned against me.  I hate them.  Even now their soldiersare searching for me, to kill me.  I knew that you would protectmefrom them, for you, too, hate them.  In return I will take service withyou.  I am a trained soldier.  I can fight, and your enemies are myenemies.\"Achmet Zekeyed the European in silence.  In his mind he revolved manythoughts, chief among which was that the unbeliever lied.  Of coursethere was the chance that he didnot lie, and if he told the truth thenhis proposition was one well worthy of consideration, since fightingmen were never over plentiful--especially white men withthe trainingand knowledge of military matters that a European officer must possess.Achmet Zek scowled and Werper's heart sank; but Werper did notknowAchmet Zek, who was quite apt to scowl where another would smile, andsmile where another would scowl.\"And if you have lied to me,\" said Achmet Zek, \"Iwill kill you at anytime.  What return, other than your life, do you expect for yourservices?\"\"My keep only, at first,\" replied Werper.  \"Later, if I am worth more,wecan easily reach an understanding.\" Werper's only desire at themoment was to preserve his life.  And so the agreement was reached andLieutenant Albert Werperbecame a member of the ivory and slave raidingband of the notorious Achmet Zek.For months the renegade Belgian rode with the savage raider.  He foughtwith asavage abandon, and a vicious cruelty fully equal to that of hisfellow desperadoes.  Achmet Zek watched his recruit with eagle eye, andwith a growing satisfactionwhich finally found expression in a greaterconfidence in the man, and resulted in an increased independence ofaction for Werper.Achmet Zek took the Belgian intohis confidence to a great extent, andat last unfolded to him a pet scheme which the Arab had long fostered,but which he never had found an opportunity toeffect.  With the aid ofa European, however, the thing might be easily accomplished.  Hesounded Werper.\"You have heard of the man men call Tarzan?\" heasked.Werper nodded.  \"I have heard of him; but I do not know him.\"\"But for him we might carry on our 'trading' in safety and with greatprofit,\" continued theArab.  \"For years he has fought us, driving usfrom the richest part of the country, harassing us, and arming thenatives that they may repel us when we come to'trade.' He is veryrich.  If we could find some way to make him pay us many pieces of goldwe should not only be avenged upon him; but repaid for much that hehasprevented us from winning from the natives under his protection.\"Werper withdrew a cigaret from a jeweled case and lighted it.\"And you have a plan to makehim pay?\" he asked.\"He has a wife,\" replied Achmet Zek, \"whom men say is very beautiful.She would bring a great price farther north, if we found it toodifficult tocollect ransom money from this Tarzan.\"Werper bent his head in thought.  Achmet Zek stood awaiting his reply.What good remained in Albert Werper revolted atthe thought of sellinga white woman into the slavery and degradation of a Moslem harem.  Helooked up at Achmet Zek.  He saw the Arab's eyes narrow, and heguessedthat the other had sensed his antagonism to the plan.  What would itmean to Werper to refuse?  His life lay in the hands of thissemi-barbarian,  whoesteemed the life of an unbeliever less highlythan that of a dog.  Werper loved life.  What was this woman to him,anyway?  She was a European, doubtless, amember of organized society.He was an outcast.  The hand of every white man was against him.  Shewas his natural enemy, and if he refused to lend himself toherundoing, Achmet Zek would have him killed.\"You hesitate,\" murmured the Arab.\"I was but weighing the chances of success,\" lied Werper, \"and myreward.  As"}
+{"doc_id":"doc_240","qid":"","text":"<html><head><title>Blade Runner Script at IMSDb.</title><meta name=\"description\" content=\"Blade Runner script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Blade Runner script, Blade Runner movie script, Blade Runner film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Blade Runner - ByHampton Fancher</title></head><pre><b>                                </b><b>                                BLADE RUNNER</b>                               Screenplayby<b>                              HAMPTON FANCHER</b>        July 24, 1980                    Brighton Productions Inc.                                         1420 No. BeachwoodDrive                                         Hollywood, Calif. 90028<b>                                ****************</b><b>        INT. TYRELL CORPORATION LOCKERROOM - DAY               1</b><b>        THE EYE                                                 2</b>        It's magnified and deeply revealed.  Flecks of green        and yellowin a field of milky blue.  Icy filaments        surround the undulating center.        The eye is brown in a tiny screen.  On the metallic        surface below, the wordsVOIGHT-KAMPFF are finely        etched.  There's a touch-light panel across the top        and on the side of the screen, a dial that registers        fluctuations of theiris.        The instrument is no bigger than a music box and sits        on a table between two men.  The man talking is big,        looks like an over-stuffedkid.  \"LEON\" it says on        his breast pocket.  He's dressed in a warehouseman's        uniform and his pudgy hands are folded expectantly in        hislap.  Despite the obvious heat, he looks very cool.        The man facing him is lean, hollow cheeked and dressed        in gray.  Detached and efficient, he lookslike a cop        or an accountant.  His name is HOLDEN and he's all        business, except for the sweat on his face.        The room is large and humid.  Rows of"}
+{"doc_id":"doc_241","qid":"","text":"The Project Gutenberg eBook, Catriona, by Robert Louis StevensonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: CatrionaAuthor: Robert Louis StevensonRelease Date: November 11, 2012  [eBook #589][This file was first posted on May 15,1996]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK CATRIONA***Transcribed from the 1904 Cassell andCompany edition by David Price,email ccx074@pglaf.org                                 CATRIONADEDICATION.                                    To                 CHARLES BAXTER,_Writer to the Signet_.MY DEAR CHARLES,It is the fate of sequels to disappoint those who have waited for them;and my David, having been left to kick his heelsfor more than a lustrein the British Linen Companyâ\u0000\u0000s office, must expect his late re-appearanceto be greeted with hoots, if not with missiles.  Yet, when Iremember thedays of our explorations, I am not without hope.  There should be left inour native city some seed of the elect; some long-legged, hot-headedyouthmust repeat to-day our dreams and wanderings of so many years ago;he will relish the pleasure, which should have been ours, to follow amongnamed streetsand numbered houses the country walks of David Balfour, toidentify Dean, and Silvermills, and Broughton, and Hope Park, and Pilrig,and poor old Lochendâ\u0000\u0000ifit still be standing, and the Figgate Whinsâ\u0000\u0000ifthere be any of them left; or to push (on a long holiday) so far afieldas Gillane or the Bass.  So, perhaps, his eyeshall be opened to beholdthe series of the generations, and he shall weigh with surprise hismomentous and nugatory gift of life.You are stillâ\u0000\u0000as when first Isaw, as when I last addressed youâ\u0000\u0000in thevenerable city which I must always think of as my home.  And I have comeso far; and the sights and thoughts of myyouth pursue me; and I see likea vision the youth of my father, and of his father, and the whole streamof lives flowing down there far in the north, with the soundof laughterand tears, to cast me out in the end, as by a sudden freshet, on theseultimate islands.  And I admire and bow my head before the romanceofdestiny.                                                                  R. L. S._Vailima_, _Upolu_,_Samoa_, 1892.CATRIONAâ\u0000\u0000Part Iâ\u0000\u0000THE LORD ADVOCATECHAPTERIâ\u0000\u0000A BEGGAR ON HORSEBACKThe 25th day of August, 1751, about two in the afternoon, I, DavidBalfour, came forth of the British Linen Company, a porterattending mewith a bag of money, and some of the chief of these merchants bowing mefrom their doors.  Two days before, and even so late as yestermorning,Iwas like a beggar-man by the wayside, clad in rags, brought down to mylast shillings, my companion a condemned traitor, a price set on my ownhead for acrime with the news of which the country rang.  To-day I wasserved heir to my position in life, a landed laird, a bank porter by mecarrying my gold,recommendations in my pocket, and (in the words of thesaying) the ball directly at my foot.There were two circumstances that served me as ballast to so muchsail.The first was the very difficult and deadly business I had still tohandle; the second, the place that I was in.  The tall, black city, andthe numbers andmovement and noise of so many folk, made a new world forme, after the moorland braes, the sea-sands and the still country-sidesthat I had frequented up tothen.  The throng of the citizens inparticular abashed me.  Rankeillorâ\u0000\u0000s son was short and small in thegirth; his clothes scarce held on me; and it was plain Iwas illqualified to strut in the front of a bank-porter.  It was plain, if I didso, I should but set folk laughing, and (what was worse in my case) setthem askingquestions.  So that I behooved to come by some clothes of myown, and in the meanwhile to walk by the porterâ\u0000\u0000s side, and put my handon his arm as thoughwe were a pair of friends.At a merchantâ\u0000\u0000s in the Luckenbooths I had myself fitted out: none toofine, for I had no idea to appear like a beggar on horseback;but comelyand responsible, so that servants should respect me.  Thence to anarmourerâ\u0000\u0000s, where I got a plain sword, to suit with my degree in life.  Ifelt saferwith the weapon, though (for one so ignorant of defence) itmight be called an added danger.  The porter, who was naturally a man ofsome experience, judged myaccoutrement to be well chosen.â\u0000\u0000Naething kenspeckle,â\u0000\u0000 {1} said he; â\u0000\u0000plain, dacent claes.  As for therapier, nae doubt it sits wiâ\u0000\u0000 your degree; butan I had been you, I wouldhas waired my siller better-gates than that.â\u0000\u0000  And he proposed I shouldbuy winter-hosen from a wife in the Cowgate-back, thatwas a cousin ofhis own, and made them â\u0000\u0000extraordinar endurable.â\u0000\u0000But I had other matters on my hand more pressing.  Here I was in thisold, black city,which was for all the world like a rabbit-warren, notonly by the number of its indwellers, but the complication of itspassages and holes.  It was, indeed, a placewhere no stranger had achance to find a friend, let be another stranger.  Suppose him even tohit on the right close, people dwelt so thronged in these tall houses,hemight very well seek a day before he chanced on the right door.  Theordinary course was to hire a lad they called a _caddie_, who was like aguide or pilot, ledyou where you had occasion, and (your errands beingdone) brought you again where you were lodging.  But these caddies, beingalways employed in the samesort of services, and having it forobligation to be well informed of every house and person in the city, hadgrown to form a brotherhood of spies; and I knew fromtales of Mr.Campbellâ\u0000\u0000s how they communicated one with another, what a rage ofcuriosity they conceived as to their employerâ\u0000\u0000s business, and howtheywere like eyes and fingers to the police.  It would be a piece of littlewisdom, the way I was now placed, to take such a ferret to my tails.  Ihad three visits tomake, all immediately needful: to my kinsman Mr.Balfour of Pilrig, to Stewart the Writer that was Appinâ\u0000\u0000s agent, and toWilliam Grant Esquire ofPrestongrange, Lord Advocate of Scotland.  Mr.Balfourâ\u0000\u0000s was a non-committal visit; and besides (Pilrig being in thecountry) I made bold to find the way to itmyself, with the help of mytwo legs and a Scots tongue.  But the rest were in a different case.  Notonly was the visit to Appinâ\u0000\u0000s agent, in the midst of the cryabout theAppin murder, dangerous in itself, but it was highly inconsistent withthe other.  I was like to have a bad enough time of it with my LordAdvocate Grant,the best of ways; but to go to him hot-foot from Appinâ\u0000\u0000sagent, was little likely to mend my own affairs, and might prove the mereruin of friendAlanâ\u0000\u0000s.  The whole thing, besides, gave me a look ofrunning with the hare and hunting with the hounds that was little to myfancy.  I determined, therefore, tobe done at once with Mr. Stewart andthe whole Jacobitical side of my business, and to profit for that purposeby the guidance of the porter at my side.  But itchanced I had scarcegiven him the address, when there came a sprinkle of rainâ\u0000\u0000nothing tohurt, only for my new clothesâ\u0000\u0000and we took shelter under apend at thehead of a close or alley.Being strange to what I saw, I stepped a little farther in.  The narrowpaved way descended swiftly.  Prodigious tall housessprang upon eachside and bulged out, one storey beyond another, as they rose.  At the toponly a ribbon of sky showed in.  By what I could spy in the windows,andby the respectable persons that passed out and in, I saw the houses to bevery well occupied; and the whole appearance of the place interested melike a tale.Iwas still gazing, when there came a sudden brisk tramp of feet in timeand clash of steel behind me.  Turning quickly, I was aware of a party ofarmed soldiers,and, in their midst, a tall man in a great coat.  Hewalked with a stoop that was like a piece of courtesy, genteel andinsinuating: he waved his hands plausibly ashe went, and his face wassly and handsome.  I thought his eye took me in, but could not meet it.This procession went by to a door in the close, which aserving-man in afine livery set open; and two of the soldier-lads carried the prisonerwithin, the rest lingering with their firelocks by the door.There can nothingpass in the streets of a city without some following ofidle folk and children.  It was so now; but the more part melted awayincontinent until but three wereleft.  One was a girl; she was dressedlike a lady, and had a screen of the Drummond colours on her head; buther comrades or (I should say) followers wereragged gillies, such as Ihad seen the matches of by the dozen in my Highland journey.  They allspoke together earnestly in Gaelic, the sound of which waspleasant in myears for the sake of Alan; and, though the rain was by again, and myporter plucked at me to be going, I even drew nearer where they were,tolisten.  The lady scolded sharply, the others making apologies andcringeing before her, so that I made sure she was come of a chiefâ\u0000\u0000shouse.  All the whilethe three of them sought in their pockets, and bywhat I could make out, they had the matter of half a farthing among theparty; which made me smile a little tosee all Highland folk alike forfine obeisances and empty sporrans.It chanced the girl turned suddenly about, so that I saw her face for thefirst time.  There is nogreater wonder than the way the face of a youngwoman fits in a manâ\u0000\u0000s mind, and stays there, and he could never tell youwhy; it just seems it was the thinghe wanted.  She had wonderful brighteyes like stars, and I daresay the eyes had a part in it; but what Iremember the most clearly was the way her lips were atrifle open as sheturned.  And, whatever was the cause, I stood there staring like a fool.On her side, as she had not known there was anyone so near, she lookedatme a little longer, and perhaps with more surprise, than was entirelycivil.It went through my country head she might be wondering at my new clothes;with that,I blushed to my hair, and at the sight of my colouring it isto be supposed she drew her own conclusions, for she moved her gilliesfarther down the close, and theyfell again to this dispute, where Icould hear no more of it.I had often admired a lassie before then, if scarce so sudden and strong;and it was rather my dispositionto withdraw than to come forward, for Iwas much in fear of mockery from the womenkind.  You would have thought Ihad now all the more reason to pursue mycommon practice, since I had metthis young lady in the city street, seemingly following a prisoner, andaccompanied with two very ragged indecent-likeHighlandmen.  But therewas here a different ingredient; it was plain the girl thought I had beenprying in her secrets; and with my new clothes and sword, and atthe topof my new fortunes, this was more than I could swallow.  The beggar onhorseback could not bear to be thrust down so low, or, at least of it,not by thisyoung lady.I followed, accordingly, and took off my new hat to her the best that Iwas able.â\u0000\u0000Madam,â\u0000\u0000 said I, â\u0000\u0000I think it only fair to myself to let youunderstand Ihave no Gaelic.  It is true I was listening, for I have friends of my ownacross the Highland line, and the sound of that tongue comes friendly;but for"}
+{"doc_id":"doc_242","qid":"","text":"The Project Gutenberg EBook of Pillars of Society, by Henrik IbsenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Pillars of SocietyAuthor: Henrik IbsenTranslator: R. Farquharson SharpPosting Date: February 27, 2010 [EBook #2296]Release Date:August, 2000Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PILLARS OF SOCIETY ***Produced by Martin Adamson.  HTML version by AlHaines.Pillars of SocietyA play in four acts.byHenrik IbsenTranslated by R. Farquharson SharpDRAMATIS PERSONAE  Karsten Bernick, a shipbuilder.  Mrs.Bernick, his wife.  Olaf, their son, thirteen years old.  Martha Bernick, Karsten Bernick's sister.  Johan Tonnesen, Mrs. Bernick's younger brother.  Lona Hessel,Mrs. Bernick's elder half-sister.  Hilmar Tonnesen, Mrs. Bernick's cousin.  Dina Dorf, a young girl living with the Bernicks.  Rorlund, a schoolmaster.  Rummel, amerchant.  Vigeland and Sandstad, tradesman  Krap, Bernick's confidential clerk.  Aune, foreman of Bernick's shipbuilding yard.  Mrs. Rummel.  Hilda Rummel,her daughter.  Mrs. Holt.  Netta Holt, her daughter.  Mrs. Lynge.Townsfolk and visitors, foreign sailors, steamboat passengers, etc.,etc.(The action takes place atthe Bernicks' house in one of the smallercoast towns in Norway)ACT I.(SCENE.--A spacious garden-room in the BERNICKS' house. In theforeground on the left isa door leading to BERNICK'S business room;farther back in the same wall, a similar door. In the middle of theopposite wall is a large entrance-door, which leadsto the street. Thewall in the background is almost wholly composed of plate-glass; a doorin it opens upon a broad flight of steps which lead down to the garden;asun-awning is stretched over the steps. Below the steps a part of thegarden is visible, bordered by a fence with a small gate in it. On theother side of the fenceruns a street, the opposite side of which isoccupied by small wooden houses painted in bright colours. It issummer, and the sun is shining warmly. People areseen, every now andthen, passing along the street and stopping to talk to one another;others going in and out of a shop at the corner, etc.In the room agathering of ladies is seated round a table. MRS. BERNICKis presiding; on her left side are MRS. HOLT and her daughter NETTA,and next to them MRS. RUMMELand HILDA RUMMEL. On MRS. BERNICK'S rightare MRS. LYNGE, MARTHA BERNICK and DINA DORF. All the ladies are busyworking. On the table lie great piles oflinen garments and otherarticles of clothing, some half finished, and some merely cut out.Farther back, at a small table on which two pots of flowers and a glassofsugared water are standing, RORLUND is sitting, reading aloud from abook with gilt edges, but only loud enough for the spectators to catcha word now and then.Out in the garden OLAF BERNICK is running aboutand shooting at a target with a toy crossbow.After a moment AUNE comes in quietly through the door on theright.There is a slight interruption in the reading. MRS. BERNICK nods to himand points to the door on the left. AUNE goes quietly across, knockssoftly at the doorof BERNICK'S room, and after a moment's pause,knocks again. KRAP comes out of the room, with his hat in his hand andsome papers under his arm.)Krap: Oh, itwas you knocking?Aune: Mr. Bernick sent for me.Krap: He did--but he cannot see you. He has deputed me to tell you--Aune: Deputed you? All the same, I wouldmuch rather--Krap: --deputed me to tell you what he wanted to say to you. You mustgive up these Saturday lectures of yours to the men.Aune: Indeed? Isupposed I might use my own time--Krap: You must not use your own time in making the men useless inworking hours. Last Saturday you were talking to themof the harm thatwould be done to the workmen by our new machines and the new workingmethods at the yard. What makes you do that?Aune: I do it for thegood of the community.Krap: That's curious, because Mr. Bernick says it is disorganising thecommunity.Aune: My community is not Mr. Bernick's, Mr. Krap! AsPresident of theIndustrial Association, I must--Krap: You are, first and foremost, President of Mr. Bernick'sshipbuilding yard; and, before everything else, youhave to do yourduty to the community known as the firm of Bernick & Co.; that is whatevery one of us lives for. Well, now you know what Mr. Bernick had tosayto you.Aune: Mr. Bernick would not have put it that way, Mr. Krap! But I knowwell enough whom I have to thank for this. It is that damned Americanboat. Thosefellows expect to get work done here the way they areaccustomed to it over there, and that--Krap: Yes, yes, but I can't go into all these details. You knownowwhat Mr. Bernick means, and that is sufficient. Be so good as to goback to the yard; probably you are needed there. I shall be down myselfin a little while.--Excuse me, ladies! (Bows to the ladies and goesout through the garden and down the street. AUNE goes quietly out tothe right. RORLUND, who has continuedhis reading during the foregoingconversation, which has been carried on in low tones, has now come tothe end of the book, and shuts it with a bang.)Rorlund:There, my dear ladies, that is the end of it.Mrs. Rummel: What an instructive tale!Mrs. Holt: And such a good moral!Mrs. Bernick: A book like that really gives onesomething to thinkabout.Rorlund: Quite so; it presents a salutary contrast to what,unfortunately, meets our eyes every day in the newspapers andmagazines.Look at the gilded and painted exterior displayed by anylarge community, and think what it really conceals!--emptiness androttenness, if I may say so; nofoundation of morality beneath it. In aword, these large communities of ours now-a-days are whited sepulchres.Mrs. Holt: How true! How true!Mrs. Rummel: Andfor an example of it, we need look no farther than atthe crew of the American ship that is lying here just now.Rorlund: Oh, I would rather not speak of suchoffscourings of humanityas that. But even in higher circles--what is the case there? A spiritof doubt and unrest on all sides; minds never at peace, andinstabilitycharacterising all their behaviour. Look how completely family life isundermined over there! Look at their shameless love of casting doubt oneven themost serious truths!Dina (without looking up from her work): But are there not many bigthings done there too?Rorlund: Big things done--? I do notunderstand--.Mrs. Holt (in amazement): Good gracious, Dina--!Mrs. Rummel (in the same breath): Dina, how can you--?Rorlund: I think it would scarcely be agood thing for us if such \"bigthings\" became the rule here. No, indeed, we ought to be only toothankful that things are as they are in this country. It is trueenoughthat tares grow up amongst our wheat here too, alas; but we do our bestconscientiously to weed them out as well as we are able. The importantthing is tokeep society pure, ladies--to ward off all the hazardousexperiments that a restless age seeks to force upon us.Mrs. Holt: And there are more than enough of themin the wind,unhappily.Mrs. Rummel: Yes, you know last year we only by a hair's breadthescaped the project of having a railway here.Mrs. Bernick: Ah, myhusband prevented that.Rorlund: Providence, Mrs. Bernick. You may be certain that your husbandwas the instrument of a higher Power when he refused to haveanythingto do with the scheme.Mrs. Bernick: And yet they said such horrible things about him in thenewspapers! But we have quite forgotten to thank you, Mr.Rorlund. Itis really more than friendly of you to sacrifice so much of your timeto us.Rorlund: Not at all. This is holiday time, and--Mrs. Bernick: Yes, but it is asacrifice all the same, Mr. Rorlund.Rorlund (drawing his chair nearer): Don't speak of it, my dear lady.Are you not all of you making some sacrifice in a goodcause?--and thatwillingly and gladly? These poor fallen creatures for whose rescue weare working may be compared to soldiers wounded on the field ofbattle;you, ladies, are the kind-hearted sisters of mercy who prepare the lintfor these stricken ones, lay the bandages softly on their wounds, healthem and curethem.Mrs. Bernick: It must be a wonderful gift to be able to see everythingin such a beautiful light.Rorlund: A good deal of it is inborn in one--but it can be to agreatextent acquired, too. All that is needful is to see things in the lightof a serious mission in life. (To MARTHA:) What do you say, MissBernick? Have you not feltas if you were standing on firmer groundsince you gave yourself up to your school work?Martha: I really do not know what to say. There are times, when I aminthe schoolroom down there, that I wish I were far away out on thestormy seas.Rorlund: That is merely temptation, dear Miss Bernick. You ought toshut thedoors of your mind upon such disturbing guests as that. By the\"stormy seas\"--for of course you do not intend me to take your wordsliterally--you mean therestless tide of the great outer world, whereso many are shipwrecked. Do you really set such store on the life youhear rushing by outside? Only look out into thestreet. There they go,walking about in the heat of the sun, perspiring and tumbling aboutover their little affairs. No, we undoubtedly have the best of it, whoareable to sit here in the cool and turn our backs on the quarter fromwhich disturbance comes.Martha: Yes, I have no doubt you are perfectly right.Rorlund: And in ahouse like this, in a good and pure home, wherefamily life shows in its fairest colours--where peace and harmonyrule-- (To MRS. BERNICK:) What are youlistening to, Mrs. Bernick?Mrs. Bernick (who has turned towards the door of BERNICK'S room): Theyare talking very loud in there.Rorlund: Is there anythingparticular going on?Mrs. Bernick: I don't know. I can hear that there is somebody with myhusband.(HILMAR TONNESEN, smoking a cigar, appears in the doorwayon the right,but stops short at the sight of the company of ladies.)Hilmar: Oh, excuse me-- (Turns to go back.)Mrs. Bernick: No, Hilmar, come along in; you arenot disturbing us. Doyou want something?Hilmar: No, I only wanted to look in here--Good morning, ladies. (ToMRS. BERNICK:) Well, what is the result?Mrs.Bernick: Of what?Hilmar: Karsten has summoned a meeting, you know.Mrs. Bernick: Has he? What about?Hilmar:  Oh, it is this railway nonsense over again.Mrs.Rummel: Is it possible?Mrs. Bernick: Poor Karsten, is he to have more annoyance over that?Rorlund:  But how do you explain that, Mr. Tonnesen? You know thatlastyear Mr. Bernick made it perfectly clear that he would not have arailway here.Hilmar: Yes, that is what I thought, too; but I met Krap, hisconfidential clerk,and he told me that the railway project had beentaken up again, and that Mr. Bernick was in consultation with three ofour local capitalists.Mrs. Rummel: Ah, Iwas right in thinking I heard my husband's voice.Hilmar:  Of course Mr. Rummel is in it, and so are Sandstad and MichaelVigeland, \"Saint Michael\", as they callhim.Rorlund:  Ahem!Hilmar: I beg your pardon, Mr. Rorlund?Mrs. Bernick: Just when everything was so nice and peaceful.Hilmar: Well, as far as I am concerned,I have not the slightestobjection to their beginning their squabbling again. It will be alittle diversion, any way.Rorlund: I think we can dispense with that sort of"}
+{"doc_id":"doc_243","qid":"","text":"<html><head><title>Jaws 2 Script at IMSDb.</title><meta name=\"description\" content=\"Jaws 2 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Jaws 2 script, Jaws 2 movie script, Jaws 2 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                         \"JAWS 2\"                                  Final DraftScreenplay                                            by                                      Carl Gottlieb                                     Based on aStory                                            by                                      Howard Sackler<b>                </b><b>               FADE IN:</b><b>               UNDERWATER -DAY</b>               Dramatically lit by sunlight filtering down from the surface.               A dim shape, massive, threatening, swims towards us fromthe                distance. Then it divides -- what was one is two, and the                shape becomes reality; two divers in Scuba gear swimming                side byside. They are wearing minimal rubber, considering                the cool New England waters: \"Farmer John\" wetsuits with cut-               off legs, assortedsport-diving paraphernalia, including an                expensive camera with a flash attachment.               One motions \"Down there,\" the other signals \"OK, I seeit,\"                and they dive deeper, into darker waters, where the shafts                of sunlight pour into the depths, broken up by seaweed and                floatingvegetation into cathedral-like columns of                illumination.<b>               SEA BOTTOM - DAY</b>               The wreck of the working fisherman's boat\"ORCA,\" formerly                under the command of the late Captain Quint, deceased these                four years.               Buried in the sand near it, stillconnected by rusting strands                of cable, the mangled remains of a shark cage, glimmering                with stainless steel highlights. A fitful flash of"}
+{"doc_id":"doc_244","qid":"","text":"<html><head><title>Breakfast Club, The Script at IMSDb.</title><meta name=\"description\" content=\"Breakfast Club, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Breakfast Club, The script, Breakfast Club, The movie script, Breakfast Club, The film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE BREAKFASTCLUB</title></head><pre>                      The Breakfast Club                    written and directed by                         John Hughes<b>BLANKSCREEN:</b>     Against Black, TITLE CARD:           \"...and these children that you spit on,            as they try to change their worlds are           immune to yourconsultations.  They're         quite aware of what they're going through...                                        - David Bowie\"     The Blank Screen and Title Card SHATTERto reveal...<b>1. EXT. SHERMER HIGH SCHOOL - DAY</b>     During Brian's monologue, we see various views of things     inside the school including Bender'slocker.<b>                          BRIAN (VO)</b>               Saturday...March 24, 1984.  Shermer               High School, Shermer, Illinois.               60062.  DearMr. Vernon...we accept               the fact that we had to sacrifice a               whole Saturday in detention for               whatever it was that we didwrong,               what we did was wrong.  But we think               you're crazy to make us write this               essay telling you who we think we               are,what do you care?  You see us               as you want to see us...in the               simplest terms and the most               convenient definitions.  You seeus               as a brain, an athelete, a basket               case, a princess and a criminal.               Correct?  That's the way we saw each               other at seveno'clock this morning.               We were brainwashed...<b>                                                  CUT TO:</b><b>2. INT. CLAIRE'S CAR - DAY</b>     We see"}
+{"doc_id":"doc_245","qid":"","text":"<html><head><title>Kingdom, The Script at IMSDb.</title><meta name=\"description\" content=\"Kingdom, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Kingdom, The script, Kingdom, The movie script, Kingdom, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                       THEKINGDOM</b>                        Written by<b>                 MATTHEW MICHAELCARNAHAN</b><b>                                                        8/18/2006</b><b></b><b>1   OMITTED - SEE68A                                             1</b><b>2   INT. WASHINGTON, DC ELEMENTARY SCHOOL - DAY                   2</b>    We're in a kindergarten classroom of25 SIX YEAR OLDS. All    sitting on the floor, legs crossed. Sitting in front of the    kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY    and his dadRONALD FLEURY, in a dark suit.    Little Kevin has a large cardboard square with pictures from    different stages of his life taped to it. He's telling the    classabout the photos.    We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT    ON Fleury.<b>                         KEVIN FLEURY</b>              This is myFredricksburg house and              my grandma Ruth playing with my              skateboard ramp. It's a Tony Hawk              jump ramp.    A little girl, MICK raisesher hand.<b>                        KEVIN FLEURY (CONT'D)</b>              Mick?    Silence from Mick<b>                        MICK</b>              I forgot what I wasgoing to say.    Kevin points to another picture.<b>                        KEVIN FLEURY</b>              This is me at my second birthday              party with my momand my dad.              That's my cake.    Fleury looks down sweet at his son.<b>                        KEVIN FLEURY (CONT'D)</b>              This is me with my momat the zoo              and this is my dad and me and my              grandpa Willie.    Kevin points to another photo.<b>                        KEVIN FLEURY"}
+{"doc_id":"doc_246","qid":"","text":"The Project Gutenberg EBook of Our Southern Highlanders, by Horace KephartThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Our Southern HighlandersAuthor: Horace KephartRelease Date: March 20, 2010 [EBook #31709]Language: English*** START OF THISPROJECT GUTENBERG EBOOK OUR SOUTHERN HIGHLANDERS ***Produced by David Garcia, Stephanie Eason, and the OnlineDistributed Proofreading Team athttp://www.pgdp.net. (Thisfile was produced from images generously made availableby The Kentuckiana Digital Library.)OUR SOUTHERNHIGHLANDERS[Illustration: Photo by U. S. Forest ServiceBig Tom Wilson, the bear hunter, who discovered the body of Prof. ElishaMitchell where he perished nearthe summit of the Peak that afterwardwas named in his honor]  OUR SOUTHERN HIGHLANDERS  BY  HORACE KEPHART  AUTHOR OF \"THE BOOK OF CAMPINGAND WOODCRAFT,\" \"CAMP  COOKERY,\" \"SPORTING FIREARMS,\" ETC.  _Illustrated_  NEW YORK  OUTING PUBLISHING COMPANY  MCMXVI  COPYRIGHT, 1913,BY  OUTING PUBLISHING COMPANY  All rights reserved  First Printing, November 1913  Second Printing, December 1913  Third Printing, January 1914  FourthPrinting, April 1914CONTENTSCHAPTER                                      PAGE   I. \"SOMETHING HIDDEN; GO AND FIND IT\"       11  II. \"THE BACK OFBEYOND\"                     28 III. THE GREAT SMOKY MOUNTAINS                50  IV. A BEAR HUNT IN THE SMOKIES               75   V. MOONSHINELAND                          110  VI. WAYS THAT ARE DARK                      126 VII. A LEAF FROM THE PAST                    145VIII. \"BLOCKADERS\" AND \"THEREVENUE\"          167  IX. THE OUTLANDER AND THE NATIVE            191   X. THE PEOPLE OF THE HILLS                 212  XI. THE LAND OF DOWITHOUT                  234 XII. HOME FOLKS AND NEIGHBOR PEOPLE          256XIII. THE MOUNTAIN DIALECT                    276 XIV. THE LAW OF THEWILDERNESS               305  XV. THE BLOOD-FEUD                          327 XVI. WHO ARE THE MOUNTAINEERS?               354XVII. \"WHEN THE SLEEPERWAKES\"                378ILLUSTRATIONSBig Tom Wilson, the bear hunter              _Frontispiece_                                                FACING PAGEMap ofAppalachia                                         8A family of pioneers in the twentieth century            16\"The very cliffs are sheathed with trees and shrubs\"     24At thePost-Office                                       32The author in camp in the Big Smokies                    40\"Bob\"                                                    48\"There are few juttingcrags\"                            56The bears' home--laurel and rhododendron                 64The old copper mine                                      72\"What soldiers thesefellows would make underleadership of some backwoods Napoleon\"                   80\"By and by up they came, carrying the bear onthe trimmedsapling\"                                     88Skinning a frozen bear                                   96\"... Powerful steep and laurely....\"                    104Mountain still-househidden in the laurel               112Moonshine still, side view                              120Moonshine still in full operation                       128Corn mill and blacksmithforge                          136A tub-mill                                              152Cabin on the Little Fork of Sugar Fork of HazelCreek in which the author lived alone forthree years   160A mountain home                                         176Many of the homes have but one window                   192Theschoolhouse                                         208\"At thirty a mountain woman is apt to have aworn and faded look\"                                    216The misty veil offalling water                         232An average mountain cabin                               240A bee-gum                                               248Let the women do thework                               264\"Till the sky-line blends with the sky itself\"          288Whitewater Falls                                        312The road follows thecreek--there may be a dozenfords in a mile                                         320\"Dense forest and luxuriant undergrowth\"                336[Illustration: APPALACHIAThewavy black line shows the outer boundaries of Southern AppalachianRegion. The shaded portion shows the chief areas covered by highmountains, 3,000 to 6,700feet above sea-level.]OUR SOUTHERN HIGHLANDERSOUR SOUTHERN HIGHLANDERSCHAPTER I\"SOMETHING HIDDEN; GO AND FIND IT\"In one of Poe's minortales, written in 1845, there is a vague allusionto wild mountains in western Virginia \"tenanted by fierce and uncouthraces of men.\" This, so far as I know, wasthe first reference inliterature to our Southern mountaineers, and it stood as their onlycharacterization until Miss Murfree (\"Charles Egbert Craddock\") beganherstories of the Cumberland hills.Time and retouching have done little to soften our Highlander'sportrait. Among reading people generally, South as well as North,toname him is to conjure up a tall, slouching figure in homespun, whocarries a rifle as habitually as he does his hat, and who may tilt itsmuzzle toward a strangerbefore addressing him, the form of salutationbeing:\"Stop thar! Whut's you-unses name? Whar's you-uns a-goin' ter?\"Let us admit that there is just enough truthin this caricature to giveit a point that will stick. Our typical mountaineer is lank, he isalways unkempt, he is fond of toting a gun on his shoulder, and hiscuriosityabout a stranger's name and business is promptly, thoughpolitely, outspoken. For the rest, he is a man of mystery. The greatworld outside his mountains knowsalmost as little about him as he doesof it; and that is little indeed. News in order to reach him must be ofsuch widespread interest as fairly to fall from heaven;correspondingly,scarce any incidents of mountain life will leak out unless they be ofsensational nature, such as the shooting of a revenue officer inCarolina, themassacre of a Virginia court, or the outbreak of anotherfeud in \"bloody Breathitt.\" And so, from the grim sameness of suchreports, the world infers that battle,murder, and sudden death arecommonplaces in Appalachia.To be sure, in Miss Murfree's novels, as in those of John Fox, Jr., andof Alice MacGowan, we do meetcharacters more genial than feudists andillicit distillers; none the less, when we have closed the book, who isit that stands out clearest as type and pattern of themountaineer? Isit not he of the long rifle and peremptory challenge? And whether thisbe because he gets most of the limelight, or because we have a furtivelikingfor that sort of thing (on paper), or whether the armed outlaw beindeed a genuine protagonist--in any case, the Appalachian people remainin public estimationto-day, as Poe judged them, an uncouth and fiercerace of men, inhabiting a wild mountain region little known.The Southern highlands themselves are amysterious realm. When Iprepared, eight years ago, for my first sojourn in the Great SmokyMountains, which form the master chain of the Appalachian system,Icould find in no library a guide to that region. The most diligentresearch failed to discover so much as a magazine article, writtenwithin this generation, thatdescribed the land and its people. Nay,there was not even a novel or a story that showed intimate localknowledge. Had I been going to Teneriffe or Timbuctu, thelibrarieswould have furnished information a-plenty; but about this housetop ofeastern America they were strangely silent; it was _terra incognita_.On the map Icould see that the Southern Appalachians cover an area muchlarger than New England, and that they are nearer the center of ourpopulation than any othermountains that deserve the name. Why, then, solittle known? Quaintly there came to mind those lines familiar to myboyhood: \"Get you up this way southward,and go up into the mountain;and see the land, what it is; and the people that dwelleth therein,whether they be strong or weak, few or many; and what the land isthatthey dwell in, whether it be good or bad; and what cities they be thatthey dwell in, whether in tents, or in strongholds; and what the landis, whether it be fator lean, whether there be wood therein or not.\"In that dustiest room of a great library where \"pub. docs.\" are stored,I unearthed a government report on forestrythat gave, at last, a clearidea of the lay of the land. And here was news. We are wont to think ofthe South as a low country with sultry climate; yet its mountainchainsstretch uninterruptedly southwestward from Virginia to Alabama, 650miles in an air line. They spread over parts of eight contiguous States,and cover anarea somewhat larger than England and Scotland, or aboutthe same as that of the Alps. In short, the greatest mountain system ofeastern America is massed inour Southland. In its upper zone one sleepsunder blankets the year round.In all the region north of Virginia and east of the Black Hills ofDakota there is but onesummit (Mount Washington, in New Hampshire) thatreaches 6,000 feet above sea level, and there are only a dozen othersthat exceed 5,000 feet. By contrast,south of the Potomac there areforty-six peaks, and forty-one miles of dividing ridges, that rise above6,000 feet, besides 288 mountains and some 300 miles ofdivide thatstand more than 5,000 feet above the sea. In North Carolina alone themountains cover 6,000 square miles, with an _average_ elevation of 2,700feet,and with twenty-one peaks that overtop Mount Washington.I repeated to myself: \"Why, then, so little known?\" The Alps and theRockies, the Pyrennees and theHarz are more familiar to the Americanpeople, in print and picture, if not by actual visit, than are theBlack, the Balsam, and the Great Smoky Mountains. It is truethat summertourists flock to Asheville and Toxaway, Linville and Highlands, passingtheir time at modern hotels and motoring along a few macadamed roads,butwhat do they see of the billowy wilderness that conceals most of thenative homes? Glimpses from afar. What do they learn of the realmountaineer? Hearsay. For,mark you, nine-tenths of the Appalachianpopulation are a sequestered folk. The typical, the average mountainman prefers his native hills and his primitiveancient ways.We read more and talk more about the Filipinos, see more of the Chineseand the Syrians, than of these three million next-door Americans who areofcolonial ancestry and mostly of British stock. New York, we say, is acosmopolitan city; more Irish than in Dublin, more Germans than inMunich, more Italians thanin Rome, more Jews than in nine Jerusalems;but how many New Yorkers ever saw a Southern mountaineer? I am sure thata party of hillsmen fresh from the backsettlements of the Unakas, ifdropped on the streets of any large city in the Union, and left to theirown guidance, would stir up more comment (and probably moretrouble)than would a similar body of whites from any other quarter of the earth;and yet this same odd people is more purely bred from old American stockthanany other element of our population that occupies, by itself, sogreat a territory.The mountaineers of the South are marked apart from all other folks bydialect, bycustoms, by character, by self-conscious isolation. So trueis this that they call all outsiders \"furriners.\" It matters not whetheryour descent be from Puritan or"}
+{"doc_id":"doc_247","qid":"","text":"Project Gutenberg's Marius the Epicurean, Volume One, by Walter Horatio PaterThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Marius the Epicurean, Volume OneAuthor: Walter Horatio PaterPosting Date: June 13, 2009 [EBook #4057]Release Date: May,2003First Posted: October 25, 2001Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MARIUS THE EPICUREAN, VOLUME ONE ***Produced byAlfred J. Drake.  HTML version by Al Haines.MARIUS THE EPICUREAN, VOLUME ONEWALTER HORATIO PATERLondon: 1910. (The Library Edition.)NOTES BY THEE-TEXT EDITOR:Notes: The 1910 Library Edition employs footnotes, a style inconvenientin an electronic edition.  I have therefore placed an asteriskimmediatelyafter each of Pater's footnotes and a + sign after my ownnotes, and have listed each chapter's notes at that chapter's end.Pagination and Paragraphing: To avoidan unwieldy electronic copy, Ihave transferred original pagination to brackets.  A bracketed numeralsuch as [22] indicates that the material immediately followingthenumber marks the beginning of the relevant page.  I have preservedparagraph structure except for first-line indentation.Hyphenation: I have not preservedoriginal hyphenation since an e-textdoes not require line-end or page-end hyphenation.Greek typeface: For this full-text edition, I have transliteratedPater'sGreek quotations.  If there is a need for the original Greek,it can be viewed at my site, http://www.ajdrake.com/etexts, aVictorianist archive that contains thecomplete works of Walter Paterand many other nineteenth-century texts, mostly in first editions.MARIUS THE EPICUREAN, VOLUME ONE WALTERPATER    Cheimerinos oneiros, hote mêkistai hai vyktes.+    +\"A winter's dream, when nights are longest.\"    Lucian, The Dream, Vol. 3.CONTENTS    PART THEFIRST    1. \"The Religion of Numa\": 3-12    2. White-Nights: 13-26    3. Change of Air: 27-42    4. The Tree of Knowledge: 43-54    5. The Golden Book:55-91    6. Euphuism: 92-110    7. A Pagan End: 111-120    PART THE SECOND    8. Animula Vagula: 123-143    9. New Cyrenaicism: 144-157    10. On theWay: 158-171    11. \"The Most Religious City in the World\": 172-187    12. \"The Divinity that Doth Hedge a King\": 188-211    13. The \"Mistress and Mother\" ofPalaces: 212-229    14. Manly Amusement: 230-243MARIUS THE EPICUREAN, VOLUME ONEPART THE FIRSTCHAPTER I: \"THE RELIGION OF NUMA\"[3] As, in thetriumph of Christianity, the old religion lingeredlatest in the country, and died out at last as but paganism--thereligion of the villagers, before the advance of theChristian Church;so, in an earlier century, it was in places remote from town-life thatthe older and purer forms of paganism itself had survived the longest.While,in Rome, new religions had arisen with bewildering complexityaround the dying old one, the earlier and simpler patriarchal religion,\"the religion of Numa,\" aspeople loved to fancy, lingered on withlittle change amid the pastoral life, out of the habits and sentimentof which so much of it had grown. Glimpses of such asurvival we maycatch below the merely artificial attitudes of Latin pastoral poetry;in Tibullus especially, who has preserved for us many poetic details ofoldRoman religious usage.     At mihi contingat patrios celebrare Penates,     Reddereque antiquo menstrua thura Lari:[4] --he prays, with unaffectedseriousness.  Something liturgical,with repetitions of a consecrated form of words, is traceable in one ofhis elegies, as part of the order of a birthdaysacrifice.  The hearth,from a spark of which, as one form of old legend related, the childRomulus had been miraculously born, was still indeed an altar; andtheworthiest sacrifice to the gods the perfect physical sanity of theyoung men and women, which the scrupulous ways of that religion of thehearth had tended tomaintain.  A religion of usages and sentimentrather than of facts and belief, and attached to very definite thingsand places--the oak of immemorial age, the rockon the heath fashionedby weather as if by some dim human art, the shadowy grove of ilex,passing into which one exclaimed involuntarily, in consecratedphrase,Deity is in this Place!  Numen Inest!--it was in natural harmony withthe temper of a quiet people amid the spectacle of rural life, likethat simpler faithbetween man and man, which Tibullus expresslyconnects with the period when, with an inexpensive worship, the oldwooden gods had been still pressed for roomin their homely littleshrines.And about the time when the dying Antoninus Pius ordered his goldenimage of Fortune to be carried into the chamber of his successor(nowabout to test the truth of the old Platonic contention, that the worldwould at last find itself [5] happy, could it detach some reluctantphilosophic student fromthe more desirable life of celestialcontemplation, and compel him to rule it), there was a boy living in anold country-house, half farm, half villa, who, for himself,recruitedthat body of antique traditions by a spontaneous force of religiousveneration such as had originally called them into being.  More than acentury and ahalf had past since Tibullus had written; but therestoration of religious usages, and their retention where they stillsurvived, was meantime come to be the fashionthrough the influence ofimperial example; and what had been in the main a matter of familypride with his father, was sustained by a native instinct of devotioninthe young Marius.  A sense of conscious powers external toourselves, pleased or displeased by the right or wrong conduct of everycircumstance of daily life--thatconscience, of which the old Romanreligion was a formal, habitual recognition, was become in him apowerful current of feeling and observance.  Theold-fashioned, partlypuritanic awe, the power of which Wordsworth noted and valued so highlyin a northern peasantry, had its counterpart in the feeling oftheRoman lad, as he passed the spot, \"touched of heaven,\" where thelightning had struck dead an aged labourer in the field: an uprightstone, still withmouldering garlands about it, marked the place.  Hebrought to that system of symbolic [6] usages, and they in turndeveloped in him further, a greatseriousness--an impressibility to thesacredness of time, of life and its events, and the circumstances offamily fellowship; of such gifts to men as fire, water, theearth, fromlabour on which they live, really understood by him as gifts--a senseof religious responsibility in the reception of them.  It was areligion for the mostpart of fear, of multitudinous scruples, of ayear-long burden of forms; yet rarely (on clear summer mornings, forinstance) the thought of those heavenly powersafforded a welcomechannel for the almost stifling sense of health and delight in him, andrelieved it as gratitude to the gods.The day of the \"little\" or privateAmbarvalia was come, to becelebrated by a single family for the welfare of all belonging to it,as the great college of the Arval Brothers officiated at Rome intheinterest of the whole state.  At the appointed time all work ceases;the instruments of labour lie untouched, hung with wreaths of flowers,while masters andservants together go in solemn procession along thedry paths of vineyard and cornfield, conducting the victims whose bloodis presently to be shed for thepurification from all natural orsupernatural taint of the lands they have \"gone about.\" The old Latinwords of the liturgy, to be said as the procession moved on itsway,though their precise meaning was long [7] since become unintelligible,were recited from an ancient illuminated roll, kept in the paintedchest in the hall,together with the family records.  Early on that daythe girls of the farm had been busy in the great portico, filling largebaskets with flowers plucked short frombranches of apple and cherry,then in spacious bloom, to strew before the quaint images of thegods--Ceres and Bacchus and the yet more mysterious Dea Dia--astheypassed through the fields, carried in their little houses on theshoulders of white-clad youths, who were understood to proceed to thisoffice in perfecttemperance, as pure in soul and body as the air theybreathed in the firm weather of that early summer-time.  The cleanlustral water and the full incense-boxwere carried after them.  Thealtars were gay with garlands of wool and the more sumptuous sort ofblossom and green herbs to be thrown into the sacrificialfire,fresh-gathered this morning from a particular plot in the old garden,set apart for the purpose.  Just then the young leaves were almost asfragrant as flowers,and the scent of the bean-fields mingledpleasantly with the cloud of incense.  But for the monotonousintonation of the liturgy by the priests, clad in their strange,stiff,antique vestments, and bearing ears of green corn upon their heads,secured by flowing bands of white, the procession moved in absolutestillness, allpersons, even the children, abstaining from [8] speechafter the utterance of the pontifical formula, Favetelinguis!--Silence!  Propitious Silence!--lest any wordssave thoseproper to the occasion should hinder the religious efficacy of the rite.With the lad Marius, who, as the head of his house, took a leading partin theceremonies of the day, there was a devout effort to completethis impressive outward silence by that inward tacitness of mind,esteemed so important by religiousRomans in the performance of thesesacred functions.  To him the sustained stillness without seemed reallybut to be waiting upon that interior, mental conditionof preparationor expectancy, for which he was just then intently striving.  Thepersons about him, certainly, had never been challenged by thoseprayers andceremonies to any ponderings on the divine nature: theyconceived them rather to be the appointed means of setting suchtroublesome movements at rest.  Bythem, \"the religion of Numa,\" sostaid, ideal and comely, the object of so much jealous conservatism,though of direct service as lending sanction to a sort ofhighscrupulosity, especially in the chief points of domestic conduct, wasmainly prized as being, through its hereditary character, somethinglike a personaldistinction--as contributing, among the otheraccessories of an ancient house, to the production of that aristocraticatmosphere which separated them fromnewly-made people.  But [9] in theyoung Marius, the very absence from those venerable usages of alldefinite history and dogmatic interpretation, had alreadyawakened muchspeculative activity; and to-day, starting from the actual details ofthe divine service, some very lively surmises, though scarcely distinctenough tobe thoughts, were moving backwards and forwards in his mind,as the stirring wind had done all day among the trees, and were likethe passing of somemysterious influence over all the elements of hisnature and experience.  One thing only distracted him--a certain pityat the bottom of his heart, and almost on hislips, for the sacrificialvictims and their looks of terror, rising almost to disgust at thecentral act of the sacrifice itself, a piece of everyday butcher'swork, such aswe decorously hide out of sight; though some then presentcertainly displayed a frank curiosity in the spectacle thus permittedthem on a religious pretext.  The"}
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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             HOT TUB TIME MACHINE</b>                                 Written by                                 JoshHeald<b>                         </b><b>                         </b><b>                         </b>          Hot Tub Time Machine Theme          Lyrics by JoshHeald          Music by Def Leppard, Styx, Journey, Poison, or Whitesnake          Water cranked to a hundred and three          Got my tunes, my snacks, my booze,my skis          (Got the) freshest moves you ever seen          When I'm soakin in my Hot Tub Time Machine          When you're going back to the 80s...          Andyou might be fuckin some ladies...          You bring your button fly jeans and some sweet hair gel          Want blow? All you gotta do is yell          (Yeah you're)lookin real smooth, (and you're) lookin real mean          When you're soakin in your Hot Tub Time Machine          Yeah!          Hot Tub - Time Machine!          HotTub - Time Machine!          C'mon!           (Sweet guitar solo - 16 measures]           Relaxed as hell when you're goin through time          That's the 54 jetsworkin' on your spine           (Yeah) you gotta be loose and you gotta be lean          When you roll up in your Hot Tub Time Machine          Yeah your shirt's a littlepsychedelic...          And you're lookin kinda like Tom Selleck...          Yeah the chicks are wetter than the Everglades          But double bag your dude, don'twanna get AIDS          Just listen right up, consider me your dean          In the college of the Hot Tub Time Machine          Yeah!          Hot Tub - Time"}
+{"doc_id":"doc_249","qid":"","text":"<html><head><title>Life As A House Script at IMSDb.</title><meta name=\"description\" content=\"Life As A House script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Life As A House script, Life As A House movie script, Life As A House film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Life as a House -By Mark Andrus</title><b></HEAD></b><BODY><pre> LIFE AS A HOUSE<b> WRITTEN BY MARK ANDRUS</b><b> FADE IN:</b>            A clock alarmSOUNDS over TITLES on BLACK.  We HEAR someone            clearing congested lungs, coughing up phlegm; a slight crash            STOPS both the cough and thealarm.<b>            EXT. GEORGE'S BEACH SHACK - MORNING</b>            The cottage is a tiny, peeling paint rat-trap set dead center            on a small oceanfront cul-de-sac, surrounded by four massive            post-modern mansions.<b>            INT. GEORGE'S BEACH SHACK BEDROOM -MORNING</b>            GEORGE NELSON, 42, squints and shivers as the spotty morning            light and ocean breeze enter through an openwindow.  Bold            waves crash against the cliffs outside the room.  A five-foot            wide stack of hand hewed beams are piled pyramidstyle,            making movement in the room next to impossible.  George            stands shirtless in underwear and coughs again.  He steps            over a pile oftools and stands at the window, facing the            sea.  A happy sounding tune by Guster, \"WHAT YOU WISH FOR,\"            begins with the lyrics: 'Woke uptoday, to everything gray            and all that I saw just keeps going on and on...'<b>            EXT. WEBBER'S HOUSE - MORNING</b>            The post-modernhouse is three-levels of concrete and glass.<b>            INT. SAM WEBBER'S BEDROOM - MORNING</b>            SAM is sixteen with spiky black hair, a nose ring,"}
+{"doc_id":"doc_250","qid":"","text":"<html><head><title>Hancock Script at IMSDb.</title><meta name=\"description\" content=\"Hancock script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Hancock script, Hancock movie script, Hancock film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                       HANCOCK</b>                                      Written by                             Vincent Ngo & VinceGilligan<b>       </b><b>          </b><b>          FADE IN:</b>          BLACK. It's everywhere. It swallows the screen. And so we stare          into a sea ofBLACK.<b>          NARRATOR (V.0.)</b>          I saw a severed head once. Except for the,          paleness, it looked healthy, well-fed.          The end cameabruptly you could tell          'cause the mouth froze in mid-sentence.          \"Shh.  ,\" the curled lips attempted. Like          it started saying \"shucks\" or\"Shirley\"          or... \"shit happens.\" Your eyes don't          forget things like that. Like you don't          forget the sound animals make when          they'rehumping. Primal.          Raw. They endure          in you forever because the senses have a          brain all their own and they recall long          after you'vesuccumbed to the la-la of          forgetfulness.          (a pregnant beat)          Sometimes when it's dark out,-so dark          it's black, I'll seeHIM.<b>          (BEAT)</b>          And it starts all over again.          From this blackness, a streak of LIGHTNING splits the night sky.<b>          EXT. SKY -NIGHT</b>           We are in the eye of a STORM, an angry mass of clo uds raging          o f a howling WIND. across the black sky..It brings RAIN and THUNDERan d the swirl          An ENTITY emerges from this moist darkness.          weather and advances into our scope of visibilityies through the          A FLASH, oflightning erupts and it illuminates the sky. We SEE          the approaching entity as it hovers before us.          It's a man.          It's a man, plus.          It's a"}
+{"doc_id":"doc_251","qid":"","text":"The Project Gutenberg EBook of Z. Marcas, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Z. MarcasAuthor: Honore de BalzacTranslator: Clara Bell and OthersRelease Date: August, 1999  [Etext #1841]Posting Date: March 3,2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK Z. MARCAS ***Produced by John Bickers, and DagnyZ. MARCASBy Honore DeBalzacTranslated by Clara Bell and Others                             DEDICATION  To His Highness Count William of Wurtemberg, as a token of the  Author's respectfulgratitude.                                                      DE BALZAC.Z. MARCASI never saw anybody, not even among the most remarkable men of theday, whoseappearance was so striking as this man's; the study of hiscountenance at first gave me a feeling of great melancholy, and at lastproduced an almost painfulimpression.There was a certain harmony between the man and his name. The Z.preceding Marcas, which was seen on the addresses of his letters, andwhich henever omitted from his signature, as the last letter of thealphabet, suggested some mysterious fatality.MARCAS! say this two-syllabled name again and again; doyou not feel asif it had some sinister meaning? Does it not seem to you that its ownermust be doomed to martyrdom? Though foreign, savage, the name hasaright to be handed down to posterity; it is well constructed, easilypronounced, and has the brevity that beseems a famous name. Is it notpleasant as well asodd? But does it not sound unfinished?I will not take it upon myself to assert that names have no influence onthe destiny of men. There is a certain secret andinexplicable concordor a visible discord between the events of a man's life and his namewhich is truly surprising; often some remote but very real correlationisrevealed. Our globe is round; everything is linked to everythingelse. Some day perhaps we shall revert to the occult sciences.Do you not discern in that letter Zan adverse influence? Does it notprefigure the wayward and fantastic progress of a storm-tossed life?What wind blew on that letter, which, whatever language wefind it in,begins scarcely fifty words? Marcas' name was Zephirin; Saint Zephirinis highly venerated in Brittany, and Marcas was a Breton.Study the name oncemore: Z Marcas! The man's whole life lies in thisfantastic juxtaposition of seven letters; seven! the most significant ofall the cabalistic numbers. And he died atfive-and-thirty, so his lifeextended over seven lustres.Marcas! Does it not hint of some precious object that is broken with afall, with or without a crash?I hadfinished studying the law in Paris in 1836. I lived at that timein the Rue Corneille in a house where none but students came to lodge,one of those large houseswhere there is a winding staircase quite atthe back lighted below from the street, higher up by borrowedlights, and at the top by a skylight. There were fortyfurnishedrooms--furnished as students' rooms are! What does youth demand morethan was here supplied? A bed, a few chairs, a chest of drawers,alooking-glass, and a table. As soon as the sky is blue the student openshis window.But in this street there are no fair neighbors to flirt with. In frontis the Odeon,long since closed, presenting a wall that is beginning togo black, its tiny gallery windows and its vast expanse of slate roof.I was not rich enough to have a goodroom; I was not even rich enoughto have a room to myself. Juste and I shared a double-bedded room on thefifth floor.On our side of the landing there were buttwo rooms--ours and a smallerone, occupied by Z. Marcas, our neighbor. For six months Juste and Iremained in perfect ignorance of the fact. The old woman whomanaged thehouse had indeed told us that the room was inhabited, but she had addedthat we should not be disturbed, that the occupant was exceedinglyquiet.In fact, for those six months, we never met our fellow-lodger,and we never heard a sound in his room, in spite of the thinness of thepartition that divided us--oneof those walls of lath and plaster whichare common in Paris houses.Our room, a little over seven feet high, was hung with a vile cheappaper sprigged with blue.The floor was painted, and knew nothing ofthe polish given by the _frotteur's_ brush. By our beds there was onlya scrap of thin carpet. The chimney openedimmediately to the roof, andsmoked so abominably that we were obliged to provide a stove at our ownexpense. Our beds were mere painted wooden cribs likethose in schools;on the chimney shelf there were but two brass candlesticks, with orwithout tallow candles in them, and our two pipes with some tobacco inapouch or strewn abroad, also the little piles of cigar-ash left there byour visitors or ourselves.A pair of calico curtains hung from the brass window rods, and oneachside of the window was a small bookcase in cherry-wood, such as everyone knows who has stared into the shop windows of the Quartier Latin,and in whichwe kept the few books necessary for our studies.The ink in the inkstand was always in the state of lava congealed in thecrater of a volcano. May not any inkstandnowadays become a Vesuvius?The pens, all twisted, served to clean the stems of our pipes; and, inopposition to all the laws of credit, paper was even scarcerthan coin.How can young men be expected to stay at home in such furnishedlodgings? The students studied in the cafes, the theatre, the Luxembourggardens, in_grisettes'_ rooms, even in the law schools--anywhere ratherthan in their horrible rooms--horrible for purposes of study, delightfulas soon as they were used forgossiping and smoking in. Put a cloth onthe table, and the impromptu dinner sent in from the best eating-housein the neighborhood--places for four--two of themin petticoats--showa lithograph of this \"Interior\" to the veriest bigot, and she will bebound to smile.We thought only of amusing ourselves. The reason for ourdissipation layin the most serious facts of the politics of the time. Juste and I couldnot see any room for us in the two professions our parents wished us totakeup. There are a hundred doctors, a hundred lawyers, for one that iswanted. The crowd is choking these two paths which are supposed to leadto fortune, but whichare merely two arenas; men kill each other there,fighting, not indeed with swords or fire-arms, but with intrigue andcalumny, with tremendous toil, campaigns inthe sphere of the intellectas murderous as those in Italy were to the soldiers of the Republic. Inthese days, when everything is an intellectual competition, a manmustbe able to sit forty-eight hours on end in his chair before a table, asa General could remain for two days on horseback and in his saddle.The throng ofaspirants has necessitated a division of the Faculty ofMedicine into categories. There is the physician who writes and thephysician who practises, the politicalphysician, and the physicianmilitant--four different ways of being a physician, four classes alreadyfilled up. As to the fifth class, that of physicians who sellremedies,there is such a competition that they fight each other with disgustingadvertisements on the walls of Paris.In all the law courts there are almost as manylawyers as there arecases. The pleader is thrown back on journalism, on politics, onliterature. In fact, the State, besieged for the smallest appointmentsunder thelaw, has ended by requiring that the applicants shouldhave some little fortune. The pear-shaped head of the grocer's son isselected in preference to the squareskull of a man of talent who hasnot a sou. Work as he will, with all his energy, a young man, startingfrom zero, may at the end of ten years find himself below thepointhe set out from. In these days, talent must have the good luck whichsecures success to the most incapable; nay, more, if it scorns the basecompromiseswhich insure advancement to crawling mediocrity, it willnever get on.If we thoroughly knew our time, we also knew ourselves, and we preferredthe indolence ofdreamers to aimless stir, easy-going pleasure to theuseless toil which would have exhausted our courage and worn out theedge of our intelligence. We hadanalyzed social life while smoking,laughing, and loafing. But, though elaborated by such means as these,our reflections were none the less judicious andprofound.While we were fully conscious of the slavery to which youth iscondemned, we were amazed at the brutal indifference of the authoritiesto everythingconnected with intellect, thought, and poetry. How oftenhave Juste and I exchanged glances when reading the papers as we studiedpolitical events, or thedebates in the Chamber, and discussed theproceedings of a Court whose wilful ignorance could find no parallel butin the platitude of the courtiers, the mediocrityof the men formingthe hedge round the newly-restored throne, all alike devoid of talent orbreadth of view, of distinction or learning, of influence or dignity!Couldthere be a higher tribute to the Court of Charles X. than thepresent Court, if Court it may be called? What a hatred of the countrymay be seen in thenaturalization of vulgar foreigners, devoid oftalent, who are enthroned in the Chamber of Peers! What a perversion ofjustice! What an insult to the distinguishedyouth, the ambitions nativeto the soil of France! We looked upon these things as upon a spectacle,and groaned over them, without taking upon ourselves toact.Juste, whom no one ever sought, and who never sought any one, was, atfive-and-twenty, a great politician, a man with a wonderful aptitude forapprehendingthe correlation between remote history and the facts of thepresent and of the future. In 1831, he told me exactly what would anddid happen--the murders, theconspiracies, the ascendency of the Jews,the difficulty of doing anything in France, the scarcity of talent inthe higher circles, and the abundance of intellect in thelowest ranks,where the finest courage is smothered under cigar ashes.What was to become of him? His parents wished him to be a doctor. But ifhe were a doctor,must he not wait twenty years for a practice? Youknow what he did? No? Well, he is a doctor; but he left France, he is inAsia. At this moment he is perhapssinking under fatigue in a desert, ordying of the lashes of a barbarous horde--or perhaps he is some Indianprince's prime minister.Action is my vocation. Leavinga civil college at the age of twenty, theonly way for me to enter the army was by enlisting as a common soldier;so, weary of the dismal outlook that lay before alawyer, I acquired theknowledge needed for a sailor. I imitate Juste, and keep out of France,where men waste, in the struggle to make way, the energy neededfor thenoblest works. Follow my example, friends; I am going where a man steershis destiny as he pleases.These great resolutions were formed in the little roomin thelodging-house in the Rue Corneille, in spite of our haunting the BalMusard, flirting with girls of the town, and leading a careless andapparently reckless life.Our plans and arguments long floated in theair.Marcas, our neighbor, was in some degree the guide who led us to themargin of the precipice or the torrent, whomade us sound it, and showedus beforehand what our fate would be if we let ourselves fall into it.It was he who put us on our guard against the time-bargains a"}
+{"doc_id":"doc_252","qid":"","text":"The Project Gutenberg EBook of House Rats and Mice, by David E. LantzThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: House Rats and Mice       Farmers' Bulletin 896Author: David E. LantzRelease Date: March 10, 2011 [EBook #35542]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK HOUSE RATS AND MICE ***Produced by Erica Pfister-Altschul, Larry B. Harrison andthe OnlineDistributed Proofreading Team athttp://www.pgdp.net  [Transcriber's Note:  The following suspected errors have been changed in this text:    Page 6: \"highdays\"changed to \"highways\"    Page 11: \"abbatoirs\" changed to \"abattoirs\"    Page 11: Added missing \".\" to \"FIG. 5.\"]    Page 14: Added missing \".\" to \"FIG.10.\"]HOUSE RATS AND MICEDAVID E. LANTZAssistant Biologist[Illustration]FARMERS' BULLETIN 896UNITED STATES DEPARTMENT OFAGRICULTURE       *       *       *       *       *Contribution from the Bureau of Biological SurveyE. W. NELSON, Chief    Washington, D.C.                                      October, 1917    Show this bulletin to a neighbor. Additional copies may be obtained    free from the Division of Publications, UnitedStates Department of    Agriculture                            WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917The rat is the worst animal pest in the world.Fromits home among filth it visits dwellings and storerooms to polluteand destroy human food.It carries bubonic plague and many other diseases fatal to man andhasbeen responsible for more untimely deaths among human beings than allthe wars of history.In the United States rats and mice each year destroy crops andotherproperty valued at over $200,000,000.This destruction is equivalent to the gross earnings of an army of over200,000 men.On many a farm, if the graineaten and wasted by rats and mice could besold, the proceeds would more than pay all the farmer's taxes.The common brown rat breeds 6 to 10 times a year andproduces an averageof 10 young at a litter. Young females breed when only three or fourmonths old.At this rate a pair of rats, breeding uninterruptedly andwithoutdeaths, would at the end of three years (18 generations) be increased to359,709,482 individuals.For centuries the world has been fighting rats withoutorganization andat the same time has been feeding them and building for them fortressesfor concealment. If we are to fight them on equal terms we mustdenythem food and hiding places. We must organize and unite to ridcommunities of these pests. The time to begin is now.HOUSE RATS ANDMICE.CONTENTS.                                                   Page.    Destructive habits                                 3    Protection of food and otherstores                5      Rat-proof building                               5      Keeping food from rats and mice                  9    Destroying rats andmice                          11      Traps                                           11      Poisons                                         15      Domesticanimals                                18      Fumigation                                      18      Rat viruses                                     19      Naturalenemies                                 20    Organized efforts to destroy rats                 20      Community efforts                               21      State and nationalaid                          21    Important repressive measures                     23DESTRUCTIVE HABITS OF HOUSE RATS AND MICE.Losses from depredations of houserats amount to many millions ofdollars yearly--to more, in fact, than those from all other injuriousmammals combined. The common house mouse[1] and thebrown rat[2] (fig.1), too familiar to need description, are pests in nearly all parts ofthe country; while two other kinds of house rats, known as the blackrat[3] andthe roof rat,[4] are found within our borders.[Illustration: FIG. 1.--Brown rat.]Of these four introduced species--for none is native to America--thebrown rat is themost destructive, and, except the mouse, the mostnumerous and most widely distributed. Brought to America just beforethe Revolution, it has supplanted andnearly exterminated its lessrobust relative the black rat; and in spite of the constant warfare ofman has extended its range and steadily increased in numbers.Itsdominance is due to its great fecundity and its ability to adapt itselfto all sorts of surroundings. It breeds (in the middle part of theUnited States) six or moretimes a year and produces from 6 to 20 young(average 10) in a litter. Females breed when only 3 or 4 months old.Thus a pair, breeding uninterruptedly andwithout deaths, could in threeyears (18 generations) produce a posterity of 359,709,480 individuals.Mice and the black and roof rats produce smaller litters, butthe periodof gestation, about 21 days, and the number of litters are the same forall.Rats and mice are practically omnivorous, feeding upon all kinds ofanimal andvegetable matter. The brown rat makes its home in the openfield, the hedge row, and the river bank, as well as in stone walls,piers, and all kinds of buildings. Itdestroys grains when newlyplanted, while growing, and in the shock, stack, mow, crib, granary,mill, elevator, or ship's hold, and also in the bin and feed trough.Itinvades store and warehouse and destroys furs, laces, silks, carpets,leather goods, and groceries. It attacks fruits, vegetables, and meatsin the markets, anddestroys by pollution ten times as much as itactually eats. It destroys eggs and young poultry, and eats the eggs andyoung of song and game birds. It carriesdisease germs from house tohouse and bubonic plague from city to city. It causes disastrousconflagrations; floods houses by gnawing lead water pipes;ruinsartificial ponds and embankments by burrowing; and damages foundations,floors, doors, and furnishings of dwellings.Unlike the brown rat the black ratrarely migrates to the fields. It hasdisappeared from most parts of the Northern States, but is occasionallyfound in remote villages or farms. At our seaports itfrequently arriveson ships from abroad, but seldom becomes very numerous. The roof rat iscommon in many parts of the South, where it is a persistent pest incaneand rice fields. It maintains itself against the brown rat partlybecause of its habit of living in trees. The common house mouse by nomeans confines itsactivities to the inside of buildings, but is oftenfound in open fields, where its depredations in shock and stack are wellknown.Not only are mice and rats,especially the brown rat, a cause ofdestruction and damage to property, but they are also a constant menaceto the health of man. It has been proved that theyare the chief meansof perpetuating and transmitting bubonic plague and that they playimportant rôles in conveying other diseases to human beings. Theyareparasites, without redeeming characteristics, and should everywhere berouted and destroyed.PROTECTION OF FOOD AND OTHER STORES FROM RATS ANDMICE.Past attempts to exterminate rats and mice have failed, not so muchbecause of lack of effective means as because of the neglect ofnecessary precautionsand the absence of concerted endeavors. We haverendered our work abortive by continuing to provide subsistence andhiding places for the animals. If theseadvantages are denied,persistent and general use of the usual methods of destruction willprove far more successful.RAT-PROOF BUILDING.First in importance, asa measure of rat repression, is the exclusion ofthe animals from places where they find food and safe retreats forrearing their young.The best way to keep ratsfrom buildings, whether in city or in country,is to use cement in construction. As the advantages of this material arecoming to be generally understood, its use israpidly extending to allkinds of buildings. The processes of mixing and laying this materialrequire little skill or special knowledge, and workmen ofordinaryintelligence can successfully follow the plain directions contained inhandbooks of cement construction.[5]Many modern public buildings are so constructedthat rats can find nolodgment in the walls or foundations, and yet in a few years, throughnegligence, such buildings often become infested with thepests.Sometimes drain pipes are left uncovered for hours at a time. Oftenouter doors, especially those opening on alleys, are left ajar. A commonmistake isfailure to screen basement windows which must be opened forventilation. However the intruders are admitted, when once inside theyintrench themselves behindfurniture or stores, and are difficult todislodge. The addition of inner doors to vestibules is an importantprecaution against rats. The lower edge of outer doors topublicbuildings, especially markets, should be reinforced with light metalplates to prevent the animals from gnawing through. Any opening leftaround water,steam, or gas pipes, where they go through walls, shouldbe closed carefully with concrete to the full depth of the wall.=Dwellings.=--In constructing dwellinghouses the additional cost ofmaking the foundations rat-proof is slight compared with the advantages.The cellar walls should have concrete footings, and thewalls themselvesshould be laid in cement mortar. The cellar floor should be of mediumrather than lean concrete. Even old cellars may be made rat-proofatcomparatively small expense. Rat holes may be permanently closed with amixture of cement, sand, and broken glass, or sharp bits of crockery orstone.On afoundation like the one described above, the walls of a woodendwelling also may be made rat-proof. The space between the sheathing andlath, to the height ofabout a foot, should be filled with concrete.Rats can not then gain access to the walls, and can enter the dwellingonly through doors or windows. Screening allbasement and cellar windowswith wire netting is a most necessary precaution.=Old buildings in cities.=--Aside from old dwellings, the chief refugesfor rats incities are sewers, wharves, stables, and outbuildings.Modern sewers are used by the animals merely as highways and not asabodes, but old-fashioned bricksewers often afford nesting crannies.[Illustration: FIG. 2.--Rat-proofing a frame dwelling by concrete sidewall (United States Public Health Service, New Orleans,La., 1914).]Wharves, stables, and outbuildings in cities should be so built as toexclude rats. Cement is the chief means to this end. Old tumble-downbuildings andwharves should not be tolerated in any city. (See fig. 2.)In both city and country, wooden floors of sidewalks, areas, and porchesare commonly laid upon timbersresting on the ground. Under such floorsrats have a safe retreat from nearly all enemies. The conditions can beremedied in towns by municipal action requiringthat these floors bereplaced by others made of cement. Areas or walks made of brick areoften undermined by rats and may become as objectionable as thoseofwood. Wooden floors of porches should always be well above the ground.=Farm buildings.=--Granaries, corncribs, and poultry houses may be maderat-proof bya liberal use of cement in the foundations and floors; orthe floors may be of wood resting upon concrete. Objection has beenurged against concrete floors for"}
+{"doc_id":"doc_253","qid":"","text":"<html><head><title>Glengarry Glen Gross Script at IMSDb.</title><meta name=\"description\" content=\"Glengarry Glen Gross script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Glengarry Glen Gross script, Glengarry Glen Gross movie script, Glengarry Glen Gross film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Glengarry GlenRoss</title><pre><b>                     GLENGARRY GLEN ROSS</b>                             by                         David Mamet<b></b><b>SCENE ONE</b>A boothat a Chinese restaurant, Williamson and Levene areseated at thebooth.<b>                         LEVENE</b>            John...John...John.  Okay.  John.            John.  Look:                   (pause)            The Glengarry Highland'sleads,            you're sending Roma out.  Fine.            He's a good man.  We know what he            is.  He's fine.  All I'm saying,            you look at the board,he's            throwing...wait, wait, wait, he's            throwing them away, he's throwing            the leads away.  All that I'm            saying, that you're wastingleads.            I don't want to tell you your job.            All that I'm saying, things get            set, I know they do, you get a            certain mindset... A guy getsa            reputation.  We know how this...all            I'm saying, put a closer on the job.            There's more than one man for the...            Put a...wait asecond, put a proven            man out...and you watch, now wait a            second--and you watch your dollar            volumes...You start closing them            forfifty 'stead of twenty-            five...you put a closer on the...<b>                         WILLIAMSON</b>            Shelly, you blew thelast...<b>                         LEVENE</b>            No.  John.  No.  Let's wait, let's            back up here, I did...will you            please?  Wait a"}
+{"doc_id":"doc_254","qid":"","text":"Project Gutenberg's Venus in Furs, by Ritter von Leopold Sacher-MasochThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Venus in FursAuthor: Ritter von Leopold Sacher-MasochTranslator: Fernanda SavagePosting Date: October 20, 2011 [EBook#6852]Release Date: November, 2004[This file was first posted on February 2, 2003]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK VENUSIN FURS ***Produced by Avinash Kothare, Tom Allen, Tiffany Vergon,Charles Aldarondo, Charles Franks and the Online DistributedProofreading Team.VENUS INFURSOf this book, intended forprivate circulation, only1225 copies have beenprinted, and type afterwarddistributed.VENUS IN FURSByLEOPOLD VONSACHER-MASOCHTranslated from the GermanByFERNANDA SAVAGEINTRODUCTIONLeopold von Sacher-Masoch was born in Lemberg, Austrian Galicia,onJanuary 27, 1836. He studied jurisprudence at Prague and Graz, and in1857 became a teacher at the latter university. He published severalhistorical works, butsoon gave up his academic career to devotehimself wholly to literature. For a number of years he edited theinternational review, _Auf der Hohe_, at Leipzig, butlater removed toParis, for he was always strongly Francophile. His last years he spentat Lindheim in Hesse, Germany, where he died on March 9, 1895. In 1873hemarried Aurora von Rumelin, who wrote a number of novels under thepseudonym of Wanda von Dunajew, which it is interesting to note is thename of the heroineof _Venus in Furs_. Her sensational memoirs whichhave been the cause of considerable controversy were published in 1906.During his career as writer an endlessnumber of works poured fromSacher-Masoch's pen. Many of these were works of ephemeral journalism,and some of them unfortunately pure sensationalism, foreconomicnecessity forced him to turn his pen to unworthy ends.There is, however, a residue among his works which has a distinctliterary and even greaterpsychological value. His principal literaryambition was never completely fulfilled. It was a somewhatprogrammatic plan to give a picture of contemporary life in allitsvarious aspects and interrelations under the general title of the_Heritage of Cain_. This idea was probably derived from Balzac's_Comedie Humaine_. The wholewas to be divided into six subdivisionswith the general titles _Love, Property, Money, The State, War,_ and_Death_. Each of these divisions in its turn consisted ofsix novels,of which the last was intended to summarize the author's conclusionsand to present his solution for the problems set in the others.This extensive planremained unachieved, and only the first two parts,_Love_ and _Property_, were completed. Of the other sections onlyfragments remain. The present novel,_Venus in Furs_, forms the fifthin the series, _Love_.The best of Sacher-Masoch's work is characterized by a swiftnarration and a graphic representation ofcharacter and scene and arich humor. The latter has made many of his shorter stories dealingwith his native Galicia little masterpieces of local color.There is,however, another element in his work which has caused hisname to become as eponym for an entire series of phenomena at one endof the psycho-sexual scale.This gives his productions a peculiarpsychological value, though it cannot be denied also a morbid tingethat makes them often repellent. However, it is well toremember thatnature is neither good nor bad, neither altruistic nor egoistic, andthat it operates through the human psyche as well as through crystalsand plantsand animals with the same inexorable laws.Sacher-Masoch was the poet of the anomaly now generally known as_masochism_. By this is meant the desire on thepart of the individualaffected of desiring himself completely and unconditionally subject tothe will of a person of the opposite sex, and being treated by thispersonas by a master, to be humiliated, abused, and tormented, evento the verge of death. This motive is treated in all its innumerablevariations. As a creative artistSacher-Masoch was, of course, on thequest for the absolute, and sometimes, when impulses in the humanbeing assume an abnormal or exaggerated form, thereis just for amoment a flash that gives a glimpse of the thing in itself.If any defense were needed for the publication of work likeSacher-Masoch's it is well toremember that artists are the historiansof the human soul and one might recall the wise and tolerant Montaigne'sessay _On the Duty of Historians_ where hesays, \"One may cover oversecret actions, but to be silent on what all the world knows, and thingswhich have had effects which are public and of so muchconsequence is aninexcusable defect.\"And the curious interrelation between cruelty and sex, again andagain, creeps into literature. Sacher-Masoch has notcreated anythingnew in this. He has simply taken an ancient motive and developed itfrankly and consciously, until, it seems, there is nothing further tosay on thesubject. To the violent attacks which his books met hereplied in a polemical work, _Ã\u0000ber den Wert der Kritik_.It would be interesting to trace the masochistictendency as it occursthroughout literature, but no more can be done than just to allude toa few instances. The theme recurs continually in the _Confessions_ofJean Jacques Rousseau; it explains the character of the chevalier inPrévost's _Manon l'Escault_. Scenes of this nature are found in Zola's_Nana_, in ThomasOtway's _Venice Preserved_, in Albert Juhelle's _LesPecheurs d'Hommes_, in Dostojevski. In disguised and unrecognized formit constitutes the undercurrent ofmuch of the sentimental literatureof the present day, though in most cases the authors as well as thereaders are unaware of the pathological elements out ofwhich theircharacters are built.In all these strange and troubled waters of the human spirit one mightwish for something of the serene and simple attitude of theancientworld. Laurent Tailhade has an admirable passage in his _Platres etMarbres_, which is well worth reproducing in this connection:\"Toutefois, les Hellènes,dans, leurs cités de lumière, de douceuret d'harmonie, avaient une indulgence qu'on peut nommer scientifiquepour les troubles amoureux de l'esprit. S'ils neregardaient pasl'aliéné comme en proie a la visitation d'un dieu (idée orientale etfataliste), du moins ils savaient que l'amour est une sorted'envoûtement,une folie où se manifeste l'animosité des puissancescosmiques. Plus tard, le christianisme enveloppa les âmes deténèbres. Ce fut la grande nuit.L'Ã\u0000glise condamna tout ce qui luiparût neuf ou menaçant pour les dogmes implaçable qui reduisaient lemonde en esclavage.\"Among Sacher-Masoch'sworks, _Venus in Furs_ is one of the mosttypical and outstanding. In spite of melodramatic elements and otherliterary faults, it is unquestionably a sincere work,written withoutany idea of titillating morbid fancies. One feels that in the heromany subjective elements have been incorporated, which are adisadvantage to thework from the point of view of literature, but onthe other hand raise the book beyond the sphere of art, pure andsimple, and make it one of those appallinghuman documents whichbelong, part to science and part to psychology. It is the confessionof a deeply unhappy man who could not master his personal tragedyofexistence, and so sought to unburden his soul in writing down thethings he felt and experienced. The reader who will approach the bookfrom this angle and whowill honestly put aside moral prejudices andprepossessions will come away from the perusal of this book with adeeper understanding of this poor miserable soulof ours and a lightwill be cast into dark places that lie latent in all of us.Sacher-Masoch's works have held an established position in Europeanletters for somethinglike half a century, and the author himself wasmade a chevalier of the Legion of Honor by the French Government in1883, on the occasion of his literary jubilee.When several years agocheap reprints were brought out on the Continent and attempts weremade by various guardians of morality--they exist in all countries--tohave them suppressed, the judicial decisions were invariablyagainst the plaintiff and in favor of the publisher. Are Americanschildren that they must be protectedfrom books which any Europeanschool-boy can purchase whenever he wishes? However, such seems to bethe case, and this translation, which has long been inpreparation,consequently appears in a limited edition printed for subscribersonly. In another connection Herbert Spencer once used these words:\"The ultimateresult of shielding men from the effects of folly, is tofill the world with fools.\" They have a very pointed application inthe case of a work like _Venus in Furs_.F.S.Atlantic CityApril, 1921VENUS IN FURS  _\"But the Almighty Lord hath struck him,  and hath delivered him into the hands of  a woman.\"_--The Vulgate, Judith,xvi. 7.My company was charming.Opposite me by the massive Renaissance fireplace sat Venus; she wasnot a casual woman of the half-world, who under thispseudonym wageswar against the enemy sex, like Mademoiselle Cleopatra, but the real,true goddess of love.She sat in an armchair and had kindled a cracklingfire, whosereflection ran in red flames over her pale face with its white eyes,and from time to time over her feet when she sought to warm them.Her head waswonderful in spite of the dead stony eyes; it was allI could see of her. She had wrapped her marble-like body in a hugefur, and rolled herself up trembling like acat.\"I don't understand it,\" I exclaimed, \"It isn't really cold anylonger. For two weeks past we have had perfect spring weather. Youmust be nervous.\"\"Muchobliged for your spring,\" she replied with a low stony voice,and immediately afterwards sneezed divinely, twice in succession. \"Ireally can't stand it here muchlonger, and I am beginning tounderstand--\"\"What, dear lady?\"\"I am beginning to believe the unbelievable and to understand theun-understandable. All of asudden I understand the Germanic virtue ofwoman, and German philosophy, and I am no longer surprised that you ofthe North do not know how to love, haven'teven an idea of what loveis.\"\"But, madame,\" I replied flaring up, \"I surely haven't given you anyreason.\"\"Oh, you--\" The divinity sneezed for the third time, andshruggedher shoulders with inimitable grace. \"That's why I have always beennice to you, and even come to see you now and then, although I catcha cold everytime, in spite of all my furs. Do you remember the firsttime we met?\"\"How could I forget it,\" I said. \"You wore your abundant hair inbrown curls, and you hadbrown eyes and a red mouth, but I recognizedyou immediately by the outline of your face and its marble-likepallor--you always wore a violet-blue velvet jacketedged withsquirrel-skin.\"\"You were really in love with the costume, and awfully docile.\"\"You have taught me what love is. Your serene form of worship letmeforget two thousand years.\"\"And my faithfulness to you was without equal!\"\"Well, as far as faithfulness goes--\"\"Ungrateful!\"\"I will not reproach you withanything. You are a divine woman, butnevertheless a woman, and like every woman cruel in love.\"\"What you call cruel,\" the goddess of love replied eagerly,"}
+{"doc_id":"doc_255","qid":"","text":"<html><head><title>Arcade Script at IMSDb.</title><meta name=\"description\" content=\"Arcade script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Arcade script, Arcade movie script, Arcade film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                   Arcade                                     by                                David S. Goyer                       Last revised November 6,1990<b>INT. ARCADE WORLD -- ELECTRONIC DARKNESS</b>We don't know if it's night or day.  It's just black.And maybe...maybe intermittent SPARKS racingby.  So quick we barelyperceive them.  Like the sparks you imagine when your eyes are closed.<b>BREATHING,</b>slow and hollow, filling up the entireworld.  It's eerie as hell.  Afeeling of utter loneliness.And now the breathing recedes, fading into the darkness.  Whatever itwas...it's gone now.<b>MAINCREDITS ROLL.</b>We hear CELLOS.  Four of them.  Weaving an intricate melody.And now the visuals.  BRIGHTLY COLORED SHAPES spinningin.  Equallyintricate, matching the music.  They grow and flourish, like flowersopening up in time lapse photography.<b>FRACTALS...</b>is what they'recalled.  The visual manifestation of geometric formulas.The Mandelbrot Set.  The Julia Set.  Each mathematic form made up ofprogressively smaller forms and oninto infinity.Glorious and beautiful.  Forms folding in upon themselves andregenerating.This is creation we're witnessing.This is life in the making.<b> DISSOLVETO:</b><b>INT. COUNSELOR'S OFFICE -- DAY</b><b>AN EYE</b>For a brief moment we still hear the CELLOS.  And in the eye, the last ofthe fractals arespinning away, leaving us with the iris.  A nice blueone.  This is ALEX MANNING'S eye.<b> ALEX (V.O.)</b> Time.  That's all I ever think about anymore.  It'slike there's never enough of it, you know?<b> CUT TO:</b><b>INT.  MANNING HOUSE, HALLWAY -- DAY</b>This is a flashback, in case you're"}
+{"doc_id":"doc_256","qid":"","text":"Project Gutenberg's The Time Machine, by H. G. (Herbert George) WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Time MachineAuthor: H. G. (Herbert George) WellsRelease Date: October 2, 2004 [EBook #35][Last updated: October 3,2014]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TIME MACHINE ***The Time Machine, by H. G. Wells [1898]IThe Time Traveller(for so it will be convenient to speak of him)was expounding a recondite matter to us. His grey eyes shone andtwinkled, and his usually pale face was flushed andanimated. Thefire burned brightly, and the soft radiance of the incandescentlights in the lilies of silver caught the bubbles that flashed andpassed in our glasses.Our chairs, being his patents, embraced andcaressed us rather than submitted to be sat upon, and there was thatluxurious after-dinner atmosphere whenthought roams gracefullyfree of the trammels of precision. And he put it to us in thisway--marking the points with a lean forefinger--as we sat and lazilyadmiredhis earnestness over this new paradox (as we thought it)and his fecundity.'You must follow me carefully. I shall have to controvert one or twoideas that arealmost universally accepted. The geometry, forinstance, they taught you at school is founded on a misconception.''Is not that rather a large thing to expect us tobegin upon?'said Filby, an argumentative person with red hair.'I do not mean to ask you to accept anything without reasonableground for it. You will soon admitas much as I need from you. Youknow of course that a mathematical line, a line of thickness _nil_,has no real existence. They taught you that? Neither hasamathematical plane. These things are mere abstractions.''That is all right,' said the Psychologist.'Nor, having only length, breadth, and thickness, can a cubehave areal existence.''There I object,' said Filby. 'Of course a solid body may exist. Allreal things--''So most people think. But wait a moment. Can an_instantaneous_cube exist?''Don't follow you,' said Filby.'Can a cube that does not last for any time at all, have a realexistence?'Filby became pensive. 'Clearly,'the Time Traveller proceeded, 'anyreal body must have extension in _four_ directions: it must haveLength, Breadth, Thickness, and--Duration. But through anaturalinfirmity of the flesh, which I will explain to you in a moment, weincline to overlook this fact. There are really four dimensions,three which we call the threeplanes of Space, and a fourth, Time.There is, however, a tendency to draw an unreal distinction betweenthe former three dimensions and the latter, because ithappens thatour consciousness moves intermittently in one direction along thelatter from the beginning to the end of our lives.''That,' said a very young man,making spasmodic efforts to relighthis cigar over the lamp; 'that ... very clear indeed.''Now, it is very remarkable that this is so extensively overlooked,'continuedthe Time Traveller, with a slight accession ofcheerfulness. 'Really this is what is meant by the Fourth Dimension,though some people who talk about the FourthDimension do not knowthey mean it. It is only another way of looking at Time. _There isno difference between Time and any of the three dimensions ofSpaceexcept that our consciousness moves along it_. But some foolishpeople have got hold of the wrong side of that idea. You have allheard what they have tosay about this Fourth Dimension?''_I_ have not,' said the Provincial Mayor.'It is simply this. That Space, as our mathematicians have it, isspoken of as havingthree dimensions, which one may call Length,Breadth, and Thickness, and is always definable by reference tothree planes, each at right angles to the others. Butsomephilosophical people have been asking why _three_ dimensionsparticularly--why not another direction at right angles to the otherthree?--and have eventried to construct a Four-Dimension geometry.Professor Simon Newcomb was expounding this to the New YorkMathematical Society only a month or so ago. Youknow how on a flatsurface, which has only two dimensions, we can represent a figure ofa three-dimensional solid, and similarly they think that by modelsof threedimensions they could represent one of four--if they couldmaster the perspective of the thing. See?''I think so,' murmured the Provincial Mayor; and, knittinghisbrows, he lapsed into an introspective state, his lips moving as onewho repeats mystic words. 'Yes, I think I see it now,' he said aftersome time, brightening ina quite transitory manner.'Well, I do not mind telling you I have been at work upon thisgeometry of Four Dimensions for some time. Some of my resultsarecurious. For instance, here is a portrait of a man at eightyears old, another at fifteen, another at seventeen, another attwenty-three, and so on. All these areevidently sections, as itwere, Three-Dimensional representations of his Four-Dimensionedbeing, which is a fixed and unalterable thing.'Scientific people,'proceeded the Time Traveller, after the pauserequired for the proper assimilation of this, 'know very well thatTime is only a kind of Space. Here is a popularscientific diagram,a weather record. This line I trace with my finger shows themovement of the barometer. Yesterday it was so high, yesterday nightit fell, thenthis morning it rose again, and so gently upward tohere. Surely the mercury did not trace this line in any of thedimensions of Space generally recognized? Butcertainly it tracedsuch a line, and that line, therefore, we must conclude was alongthe Time-Dimension.''But,' said the Medical Man, staring hard at a coal in thefire, 'ifTime is really only a fourth dimension of Space, why is it, and whyhas it always been, regarded as something different? And why cannotwe move in Time aswe move about in the other dimensions of Space?'The Time Traveller smiled. 'Are you sure we can move freely inSpace? Right and left we can go, backward andforward freely enough,and men always have done so. I admit we move freely in twodimensions. But how about up and down? Gravitation limits us there.''Notexactly,' said the Medical Man. 'There are balloons.''But before the balloons, save for spasmodic jumping and theinequalities of the surface, man had no freedomof verticalmovement.''Still they could move a little up and down,' said the Medical Man.'Easier, far easier down than up.''And you cannot move at all in Time, youcannot get away from thepresent moment.''My dear sir, that is just where you are wrong. That is just wherethe whole world has gone wrong. We are alwaysgetting away from thepresent moment. Our mental existences, which are immaterial and haveno dimensions, are passing along the Time-Dimension with auniformvelocity from the cradle to the grave. Just as we should travel _down_if we began our existence fifty miles above the earth's surface.''But the greatdifficulty is this,' interrupted the Psychologist.'You _can_ move about in all directions of Space, but you cannotmove about in Time.''That is the germ of my greatdiscovery. But you are wrong to saythat we cannot move about in Time. For instance, if I am recallingan incident very vividly I go back to the instant of itsoccurrence:I become absent-minded, as you say. I jump back for a moment. Ofcourse we have no means of staying back for any length of Time, anymore than asavage or an animal has of staying six feet above theground. But a civilized man is better off than the savage in thisrespect. He can go up against gravitation in aballoon, and whyshould he not hope that ultimately he may be able to stop oraccelerate his drift along the Time-Dimension, or even turn aboutand travel theother way?''Oh, _this_,' began Filby, 'is all--''Why not?' said the Time Traveller.'It's against reason,' said Filby.'What reason?' said the Time Traveller.'You canshow black is white by argument,' said Filby, 'but you willnever convince me.''Possibly not,' said the Time Traveller. 'But now you begin to seethe object of myinvestigations into the geometry of FourDimensions. Long ago I had a vague inkling of a machine--''To travel through Time!' exclaimed the Very Young Man.'Thatshall travel indifferently in any direction of Space and Time,as the driver determines.'Filby contented himself with laughter.'But I have experimental verification,'said the Time Traveller.'It would be remarkably convenient for the historian,' thePsychologist suggested. 'One might travel back and verify theaccepted account ofthe Battle of Hastings, for instance!''Don't you think you would attract attention?' said the Medical Man.'Our ancestors had no great tolerance foranachronisms.''One might get one's Greek from the very lips of Homer and Plato,'the Very Young Man thought.'In which case they would certainly plough you forthe Little-go.The German scholars have improved Greek so much.''Then there is the future,' said the Very Young Man. 'Just think!One might invest all one'smoney, leave it to accumulate atinterest, and hurry on ahead!''To discover a society,' said I, 'erected on a strictly communisticbasis.''Of all the wild extravaganttheories!' began the Psychologist.'Yes, so it seemed to me, and so I never talked of it until--''Experimental verification!' cried I. 'You are going toverify_that_?''The experiment!' cried Filby, who was getting brain-weary.'Let's see your experiment anyhow,' said the Psychologist, 'thoughit's all humbug, youknow.'The Time Traveller smiled round at us. Then, still smiling faintly,and with his hands deep in his trousers pockets, he walked slowlyout of the room, and weheard his slippers shuffling down the longpassage to his laboratory.The Psychologist looked at us. 'I wonder what he's got?''Some sleight-of-hand trick or other,'said the Medical Man, andFilby tried to tell us about a conjurer he had seen at Burslem; butbefore he had finished his preface the Time Traveller came back,andFilby's anecdote collapsed.The thing the Time Traveller held in his hand was a glitteringmetallic framework, scarcely larger than a small clock, andverydelicately made. There was ivory in it, and some transparentcrystalline substance. And now I must be explicit, for this thatfollows--unless his explanation isto be accepted--is an absolutelyunaccountable thing. He took one of the small octagonal tables thatwere scattered about the room, and set it in front of the fire,withtwo legs on the hearthrug. On this table he placed the mechanism.Then he drew up a chair, and sat down. The only other object on thetable was a smallshaded lamp, the bright light of which fell uponthe model. There were also perhaps a dozen candles about, two inbrass candlesticks upon the mantel and severalin sconces, so thatthe room was brilliantly illuminated. I sat in a low arm-chairnearest the fire, and I drew this forward so as to be almost betweenthe TimeTraveller and the fireplace. Filby sat behind him, lookingover his shoulder. The Medical Man and the Provincial Mayor watchedhim in profile from the right, thePsychologist from the left. TheVery Young Man stood behind the Psychologist. We were all on thealert. It appears incredible to me that any kind of trick,howeversubtly conceived and however adroitly done, could have been playedupon us under these conditions.The Time Traveller looked at us, and then at the"}
+{"doc_id":"doc_257","qid":"","text":"<html><head><title>Cellular Script at IMSDb.</title><meta name=\"description\" content=\"Cellular script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Cellular script, Cellular movie script, Cellular film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>       CELLULAR</b>              by         Larry Cohen         Revised by        Chris Morgan     Current Revisions byJ. Mackye Gruber &Eric Bress                                July 16, 2003<b></b><b>TITLES OVER YELLOW BACKGROUND.</b>We PULL BACK to reveal we're looking at THE SUN. Inthedistance lie the gorgeous San Gabriel Mountains and theDowntown Los Angeles skyline.In ONE LONG TRACKING SHOT, we CRANE PAST some trees torevealthe vast expansive homes scattered in the hills of Brentwood.HOMEOWNERS walk dogs, a PAPERBOY chucks papers fr9m agleaming mountain bike... It'searly in the morning, and thelandscapers haven't come with their leaf blowers yet.CONTINUE BOOMING DOWN to road level to face    the resplendentMartinresidence. We STEADICAM down the fr    ont walk, able toadmire the manicured hedges and the black E   scalade in thedriveway, to the front door decoratedwith    a whimsicalplacard that reads, \"The Martins\" -- and we    pass THROUGH THEKEYHOLE into the foyer.<b>INT. JESSICA'S HOUSE - MORNING</b>WeTRACK through the living room, passing framed photos of anathletic eleven year old boy, and we hear a WOMAN'S VOICE asshe comes down the stairs with aGOLDEN RETRIEVER at herside.<b>                     WOMAN</b>               (into phone)          Yes Donna, I'm out the door.We TRACK over the Woman's shoulderand follow her into thekitchen, unable to see her face.<b>                     WOMAN (CONT'D)</b>          Just inform Kayleigh that          anesthesia is on the wayto prep          the epidural and I'll be there as          soon as I can.Still looking over her shoulder, we watch her absentlystraighten a PHOTOGRAPH of her son on"}
+{"doc_id":"doc_258","qid":"","text":"<html><head><title>Go Script at IMSDb.</title><meta name=\"description\" content=\"Go script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Go script, Go movie script, Go film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                                   GO                                                  written by                                                 JohnAugust<b>                1/14/98       -   PRODUCTION DRAFT</b><b>                3/18/98       -   BLUE REVISIONS</b><b>                3/25/98       -   PINKREVISIONS</b><b>                4/20/98       -   YELLOW REVISIONS</b><b>                4/27/98       -   GREENREVISIONS</b><b>                5/05/98       -   GOLDENROD REVISIONS</b><b>                8/20/98       -   BUFFREVISIONS</b><b>                8/26/98       -   SALMON REVISIONS</b>This script is copyright © 1998 John August<b></b><b>             EXT. A DITCH -NIGHT</b>             A light rain and crickets CHIRPING. Somewhere in the night,             DANCE MUSIC is blaring, but here it's only a whisper witha             beat.             Water trickles out of a jagged pipe. Splashing up mud, the             riverlet weaves through hamburger wrappers andsunbleached             beer cans, spent condoms and an old Spin magazine.             The tiny stream ripples past glass and trash and the body ofa             woman. Face up, breathing. Dead grass caught in her braids.             Her name is RONNA MARTIN. She's eighteen and bleeding.             Bleeding alot.             She tries to         push herself up, but the dirt around her crumbles.             Her legs are         useless. Despite it all, there's a smileof             perverse joy         to her face, like she's just remembered the             punchline to         a favorite joke.<b>                                          CLAIRE"}
+{"doc_id":"doc_259","qid":"","text":"Project Gutenberg's The Passionate Friends, by Herbert George WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Passionate FriendsAuthor: Herbert George WellsRelease Date: October 26, 2009 [EBook #30340]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE PASSIONATE FRIENDS ***Produced by Carl Hudkins, Martin Pettit and the OnlineDistributed Proofreading Team athttp://www.pgdp.netThe Passionate FriendsBy H. G. WELLSAuthor of \"Marriage.\"[Illustration]WITH FRONTISPIECEA. L. BURT COMPANY, PUBLISHERS114-120East Twenty-third Street - - New YorkPUBLISHED BY ARRANGEMENT WITH HARPER & BROTHERSCOPYRIGHT, 1913, BY HARPER & BROTHERSPRINTED IN THEUNITED STATES OF AMERICAPUBLISHED OCTOBER, 1913TOL. E. N. S.[Illustration: \"OUR KISSES WERE KISSES OF MOONLIGHT\" See p.85]CONTENTSCHAP.                                            PAGE   I. MR. STRATTON TO HIS SON                       1  II. BOYHOOD                                      14 III.INTENTIONS AND THE LADY MARY CHRISTIAN       40  IV. THE MARRIAGE OF THE LADY MARY CHRISTIAN      73   V. THE WAR IN SOUTHAFRICA                     102  VI. LADY MARY JUSTIN                            132 VII. BEGINNING AGAIN                             197VIII. THIS SWARMING BUSINESS OFMANKIND           220  IX. THE SPIRIT OF THE NEW WORLD                 246   X. MARY WRITES                                 280  XI. THE LASTMEETING                            318 XII. THE ARRAIGNMENT OF JEALOUSY                 358THE PASSIONATE FRIENDSCHAPTER THE FIRSTMR. STRATTON TO HISSON§ 1I want very much to set down my thoughts and my experiences of life. Iwant to do so now that I have come to middle age and now that myattitudes areall defined and my personal drama worked out I feel thatthe toil of writing and reconsideration may help to clear and fix manythings that remain a little uncertainin my thoughts because they havenever been fully stated, and I want to discover any lurkinginconsistencies and unsuspected gaps. And I have a story. I havelivedthrough things that have searched me. I want to tell that story as wellas I can while I am still a clear-headed and active man, and while manydetails thatmay presently become blurred and altered are still rawlyfresh in my mind. And to one person in particular do I wish to think Iam writing, and that is to you, myonly son. I want to write my storynot indeed to the child you are now, but to the man you are going to be.You are half my blood and temperamentally altogethermine. A day willcome when you will realize this, and want to know how life has gone withme, and then it may be altogether too late for me to answeryourenquiries. I may have become inaccessible as old people are sometimesinaccessible. And so I think of leaving this book for you--at any rate,I shall write it asif I meant to leave it for you. Afterwards I canconsider whether I will indeed leave it....The idea of writing such a book as this came to me first as I sat by thedeadbody of your grandfather--my father. It was because I wanted sogreatly such a book from him that I am now writing this. He died, youmust know, only a fewmonths ago, and I went to his house to bury himand settle all his affairs.At one time he had been my greatest friend. He had never indeed talkedto me abouthimself or his youth, but he had always showed anextraordinary sympathy and helpfulness for me in all the confusion andperplexities into which I fell. This did notlast to the end of hislife. I was the child of his middle years, and suddenly, in a year orless, the curtains of age and infirmity fell between us. There came anillness,an operation, and he rose from it ailing, suffering, dwarfedand altogether changed. Of all the dark shadows upon life I think thatchange through illness andorganic decay in the thoughts and spirits ofthose who are dear and close to us is the most evil and distressing andinexplicable. Suddenly he was a changeling, abeing querulous andpitiful, needing indulgence and sacrifices.In a little while a new state of affairs was established. I ceased toconsider him as a man to whomone told things, of whom one could expecthelp or advice. We all ceased to consider him at all in that way. Wehumored him, put pleasant things before him,concealed whatever wasdisagreeable. A poor old man he was indeed in those concluding years,weakly rebellious against the firm kindliness of my cousin,hishousekeeper and nurse. He who had once been so alert was now at timesastonishingly apathetic. At times an impish malice I had never known inhim beforegleamed in little acts and speeches. His talk rambled, andfor the most part was concerned with small, long-forgotten contentions.It was indistinct and difficult tofollow because of a recent loss ofteeth, and he craved for brandy, to restore even for a moment the senseof strength and well-being that ebbed and ebbed awayfrom him. So thatwhen I came to look at his dead face at last, it was with something likeamazement I perceived him grave and beautiful--more grave andbeautifulthan he had been even in the fullness of life.All the estrangement of the final years was wiped in an instant from mymind as I looked upon his face. Therecame back a rush of memories, ofkind, strong, patient, human aspects of his fatherhood. And I rememberedas every son must remember--even you, my dear,will some day rememberbecause it is in the very nature of sonship--insubordinations,struggles, ingratitudes, great benefits taken unthankfully, slightsanddisregards. It was not remorse I felt, nor repentance, but a tremendousregret that so things had happened and that life should be so. Why isit, I thought, thatwhen a son has come to manhood he cannot take hisfather for a friend? I had a curious sense of unprecedented communionas I stood beside him now. I felt thathe understood my thoughts; hisface seemed to answer with an expression of still and sympatheticpatience.I was sensible of amazing gaps. We had never talkedtogether of love,never of religion.All sorts of things that a man of twenty-eight would not dream of hidingfrom a coeval he had hidden from me. For some days Ihad to remain inhis house, I had to go through his papers, handle all those intimatepersonal things that accumulate around a human being year byyear--letters,yellowing scraps of newspaper, tokens, relics kept,accidental vestiges, significant litter. I learnt many things I hadnever dreamt of. At times I doubted whether Iwas not prying, whether Iought not to risk the loss of those necessary legal facts I sought, andburn these papers unread. There were love letters, and manysuchtouching things.My memories of him did not change because of these new lights, but theybecame wonderfully illuminated. I realized him as a young man, Ibeganto see him as a boy. I found a little half-bound botanical book withstencil-tinted illustrations, a good-conduct prize my father had won athis preparatoryschool; a rolled-up sheet of paper, carbonized and dryand brittle, revealed itself as a piece of specimen writing, stiff withboyish effort, decorated in ambitious andfaltering flourishes and stillbetraying the pencil rulings his rubber should have erased. Already yourwriting is better than that. And I found a daguerreotypeportrait of himin knickerbockers against a photographer's stile. His face then was notunlike yours. I stood with that in my hand at the little bureau in hisbedroom,and looked at his dead face.The flatly painted portrait of his father, my grandfather, hangingthere in the stillness above the coffin, looking out on the world hehadleft with steady, humorous blue eyes that followed one about theroom,--that, too, was revivified, touched into reality and participationby this and that,became a living presence at a conference of lives.Things of his were there also in that life's accumulation....There we were, three Strattons together, and down inthe dining-roomwere steel engravings to take us back two generations further, and wehad all lived full lives, suffered, attempted, signified. I had aglimpse of thelong successions of mankind. What a huge inaccessiblelumber-room of thought and experience we amounted to, I thought; howmuch we are, how little wetransmit. Each one of us was but a variation,an experiment upon the Stratton theme. All that I had now under my handswas but the merest hints and vestiges,moving and surprising indeed, butcasual and fragmentary, of those obliterated repetitions. Man is acreature becoming articulate, and why should those men haveleft so muchof the tale untold--to be lost and forgotten? Why must we all repeatthings done, and come again very bitterly to wisdom our fathers haveachievedbefore us? My grandfather there should have left me somethingbetter than the still enigma of his watching face. All my life so farhas gone in learning verypainfully what many men have learnt before me;I have spent the greater part of forty years in finding a sort ofpurpose for the uncertain and declining decadesthat remain. Is it nottime the generations drew together and helped one another? Cannot webegin now to make a better use of the experiences of life so thatoursons may not waste themselves so much, cannot we gather into books thatmen may read in an hour or so the gist of these confused andmultitudinous realitiesof the individual career? Surely the time iscoming for that, when a new private literature will exist, and fathersand mothers behind their rôles of rulers,protectors, and supporters,will prepare frank and intimate records of their thought and theirfeeling, told as one tells things to equals, without authority orreservesor discretions, so that, they being dead, their children mayrediscover them as contemporaries and friends.That desire for self-expression is indeed already almostan instinctwith many of us. Man is disposed to create a traditional wisdom. For methis book I contemplate is a need. I am just a year and a half from abittertragedy and the loss of a friend as dear as life to me. It isvery constantly in my mind. She opened her mind to me as few people opentheir minds to anyone. In away, little Stephen, she died for you. And Iam so placed that I have no one to talk to quite freely about her. Theone other person to whom I talk, I cannot talk toabout her; it isstrange, seeing how we love and trust one another, but so it is; youwill understand that the better as this story unfolds. For eight longyears beforethe crisis that culminated in her tragic death I never sawher; yet, quite apart from the shock and distresses of that time, it hasleft me extraordinarily lonely anddesolate.And there was a kind of dreadful splendor in that last act of hers,which has taken a great hold upon my imagination; it has interwoven witheverythingelse in my mind, it bears now upon every question. I cannotget away from it, while it is thus pent from utterance.... Perhapshaving written this to you I maynever show it you or leave it for youto see. But yet I must write it. Of all conceivable persons you, whenyou have grown to manhood, are the most likely tounderstand.§ 2You did not come to see your dead grandfather, nor did you know verymuch about the funeral. Nowadays we do not bring the sweet egotisms,"}
+{"doc_id":"doc_260","qid":"","text":"<html><head><title>Basquiat Script at IMSDb.</title><meta name=\"description\" content=\"Basquiat script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Basquiat script, Basquiat movie script, Basquiat film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>BLACKWe HEAR \"WaltzingMatilde,\" by Tom Waits.<b>INT. MUSEUM OF MODERN ART - DAY (DREAM SEQUENCE IN GRAINY BLACK</b><b>AND WHITE)</b>Fade out music.Silence.Awell-dressed black BOY and his MOTHER walk through severalgalleries.They stand before Picasso's \"Guernica,\" holding hands.The mother is disturbed. Crying.Theboy looks up, confused and frightened, concerned to see hismother crying in public. She looks at him tenderly.Her brow furrows. She stops crying. She stares justabove hiseyes.Something's happening: she looks with wonder at the top of hishead... his eyes roll upward, trying to see - it's a crown!He raises his hands. Hetouches it.A beam of light illuminates the crown, casting its glow on hismother's face.The beam gets whiter, the rest of the screen gets black.<b>INT.CARDBOARD BOX</b>Silence. In darkness, we hear a VOICE - imbued with a sense ofits own history:<b>                      VOICE (O.S.)</b>           Everybodywants to get on the Van Gogh           boat. There's no trip so horrible that           someone won't take it. The idea of the           unrecognized genius slaving awayin a           garret is a deliciously foolish one. We           must credit the life of Vincent Van Gogh           for really sending this myth into orbit.           How manypictures did he sell? One? He           couldn't give them away. We are so ashamed           of his life that the rest of art history           will be retribution for VanGogh's neglect.           No one wants to be part of a generation           that ignores another Van Gogh.The beam of light shines through a small hole. It falls uponasleeping, dreaming, delighted face. It belongs to JEAN MICHEL<b>BASQUIAT.</b>OUTDOOR, DAYTIME SOUNDS filter in.<b></b>Hearing the voice, Jean"}
+{"doc_id":"doc_261","qid":"","text":"<html><head><title>Deep Cover Script at IMSDb.</title><meta name=\"description\" content=\"Deep Cover script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Deep Cover script, Deep Cover movie script, Deep Cover film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                        DEEP COVER</b>                                        Written by                              Michael Tolkin and HenryBean                                         Story by                                      Michael Tolkin<b>                                      SHOOTINGDRAFT</b><b>                </b><b>               EXT. CLEVELAND STREET - NIGHT (1970)</b>               Rain. Christmas lights. A rusted out '56 Lincolnrattles                down the bleak boulevard. In it: JOE STEVENS, an angry, black                man in his late 20's, beside him his 10-year-old son, JOE<b>               JR.</b>               Joe Jr. stares out the window at passing: boarded buildings,                whores with raincoats over their heads trying to flagdown a                john, a black Santa, a knot of drinkers. Breaking the silence:<b>                                     JOE STEVENS</b>                         Your motherokay?<b>                                     JOE JR.</b>                         Yes, sir.               They stop at a light. Joe Stevens tries to furtively snort a                littlesomething. He spots Joe Jr. watching.<b>                                     JOE STEVENS</b>                              (firm, without irony)                         Don't you dothis shit, boy. Don't                          you ever fuckin' touch it, you hear                          me?               Joe Jr. stares, silent; Joe Jr.'s about to hithim.<b>                                     JOE STEVENS</b>                              (continuing)                         You hear me, goddam it?               The boy nods.Satisfied, Joe Sr. draws in the stuff. It makes                him feel good, strong, worried and determined all at once.<b>                                     JOE"}
+{"doc_id":"doc_262","qid":"","text":"<html><head><title>Youth in Revolt Script at IMSDb.</title><meta name=\"description\" content=\"Youth in Revolt script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Youth in Revolt script, Youth in Revolt movie script, Youth in Revolt film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>          </b><b>                                YOUTH IN REVOLT</b><b>          </b>                                  Writtenby<b>          </b>                                  Gustin Nash<b>          </b><b>          </b>                                                       July 13,2007<b>          </b><b>          </b>          OVER BLACK comes the sound of deep HEAVING BREATHS. Moist          FLESH FLAPPING accompaniment. Someoneis beating off.          A pause as the someone turns the page of a magazine.          The beating off resumes at a quickened pace. The SQUEAKING of          bedsprings joins in.          Another page is turned. Feverish THUMPING until a MALE VOICE          lets out a quiet MOAN.          The breathing gradually slows tonormal and lets out a          relieved sigh of finality.<b>                              NICK (V.O.)</b>                    My name... is Nick.          NICK TWISP, 16, stares upat the ceiling. He's glassy eyed          from the exertion...<b>          INT. NICK'S ROOM - DAY</b>          ...sprawled on the bed, trousers around his ankles, awell          thumbed issue of Penthouse covers his privates.<b>                              NICK (V.O.)</b>                    My last name, which I loath,is                    Twisp.          Nick pulls up his trousers and leaps off the bed. He pulls          the drawer under his mattress out.<b>                              NICK(V.O.)</b>                    The next thing you should know                    about me is that I am obsessed with                    sex.          A view of the drawer revealsit to be filled with neatly          filed issues of Penthouse and Hustler. He puts the most          recently utilized magazine in its place.<b>                              NICK"}
+{"doc_id":"doc_263","qid":"","text":"<html><head><title>S. Darko Script at IMSDb.</title><meta name=\"description\" content=\"S. Darko script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"S. Darko script, S. Darko movie script, S. Darko film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>           </b><b>          </b><b>          </b><b>                                     S.DARKO</b><b>          </b><b>          </b>                                     Written by<b>          </b>                                   NathanAtkins<b>          </b><b>          </b><b>          </b><b>          </b>                                                         Seconddraft<b>          </b><b>          </b><b>          </b><b>          EXT. WHEAT FIELD - MORNING</b><b>          </b>          SAMANTHA DARKO (18) opens hereyes. She squints as the summer          sun shrinks her pupils to pinhole size. She sits up slowly,          looks around... and finds herself in midst of anendless          wheat field.<b>          </b>          Sam is pretty and demure. Her coppery hair flows past her          shoulders. Disoriented, she stands and gazesat the infinite          golden shimmer. Amber waves of grain. Patches of forest in          the distance. It's quiet. Serene. Beautiful...<b>          </b>          Shesmiles, and starts walking.<b>          </b><b>          </b><b>          EXT. ARKANSAS HIGHWAY 40 - MORNING</b><b>          </b>          She emerges atthe shoulder of a rural stretch of highway in          Arkansas. Adjacent to her position, on the other side of the          deserted lanes, is a TRUCKSTOP.<b>          </b><b>          </b><b>          EXT. TRUCK STOP - MORNING</b><b>          </b>          Amongst the TRACTOR-TRAILERS parked in theback lot is a          white, late-80s model CHEVROLET CELEBRITY. Sam makes her way          across the asphalt toward the"}
+{"doc_id":"doc_264","qid":"","text":"The Project Gutenberg EBook of The Rivals, by Richard Brinsley SheridanThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Rivals       A ComedyAuthor: Richard Brinsley SheridanRelease Date: March 6, 2008 [EBook #24761]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK THE RIVALS ***Produced by Kent CooperThe RIVALSA ComedyBy Richard Brinsley Sheridan* * * * * * *PREFACEApreface to a play seems generally to be considered as a kind ofcloset-prologue, in which--if his piece has been successful--the authorsolicits that indulgence fromthe reader which he had beforeexperienced from the audience: but as the scope and immediate object ofa play is to please a mixed assembly in _representation_(whosejudgment in the theatre at least is decisive,) its degree of reputationis usually as determined as public, before it can be prepared for thecooler tribunal ofthe study. Thus any farther solicitude on the partof the writer becomes unnecessary at least, if not an intrusion: and ifthe piece has been condemned in theperformance, I fear an address tothe closet, like an appeal to posterity, is constantly regarded as theprocrastination of a suit, from a consciousness of theweakness of thecause. From these considerations, the following comedy would certainlyhave been submitted to the reader, without any farther introductionthanwhat it had in the representation, but that its success hasprobably been founded on a circumstance which the author is informedhas not before attended atheatrical trial, and which consequentlyought not to pass unnoticed.I need scarcely add, that the circumstance alluded to was thewithdrawing of the piece, toremove those imperfections in the firstrepresentation which were too obvious to escape reprehension, and toonumerous to admit of a hasty correction. There arefew writers, Ibelieve, who, even in the fullest consciousness of error, do not wishto palliate the faults which they acknowledge; and, however triflingtheperformance, to second their confession of its deficiencies, bywhatever plea seems least disgraceful to their ability. In the presentinstance, it cannot be said toamount either to candour or modesty inme, to acknowledge an extreme inexperience and want of judgment onmatters, in which, without guidance from practice,or spur fromsuccess, a young man should scarcely boast of being an adept. If it besaid, that under such disadvantages no one should attempt to write aplay, Imust beg leave to dissent from the position, while the firstpoint of experience that I have gained on the subject is, a knowledgeof the candour and judgment withwhich an impartial publicdistinguishes between the errors of inexperience and incapacity, andthe indulgence which it shows even to a disposition to remedythedefects of either.It were unnecessary to enter into any further extenuation of what wasthought exceptionable in this play, but that it has been said, thatthemanagers should have prevented some of the defects before itsappearance to the public--and in particular the uncommon length of thepiece as representedthe first night. It were an ill return for themost liberal and gentlemanly conduct on their side, to suffer anycensure to rest where none was deserved. Hurry inwriting has long beenexploded as an excuse for an author;--however, in the dramatic line,it may happen, that both an author and a manager may wish to fillachasm in the entertainment of the public with a hastiness notaltogether culpable. The season was advanced when I first put the playinto Mr. Harris's hands: itwas at that time at least double the lengthof any acting comedy. I profited by his judgment and experience in thecurtailing of it--till, I believe, his feeling for thevanity of ayoung author got the better of his desire for correctness, and he leftmany excrescences remaining, because he had assisted in pruning so manymore.Hence, though I was not uninformed that the acts were still toolong, I flattered myself that, after the first trial, I might withsafer judgment proceed to removewhat should appear to have been mostdissatisfactory. Many other errors there were, which might in part havearisen from my being by no means conversant withplays in general,either in reading or at the theatre. Yet I own that, in one respect, Idid not regret my ignorance: for as my first wish in attempting a playwas toavoid every appearance of plagiary, I thought I should stand abetter chance of effecting this from being in a walk which I had notfrequented, and where,consequently, the progress of invention was lesslikely to be interrupted by starts of recollection: for on subjects onwhich the mind has been much informed,invention is slow of exertingitself. Faded ideas float in the fancy like half-forgotten dreams; andthe imagination in its fullest enjoyments becomes suspicious ofitsoffspring, and doubts whether it has created or adopted.With regard to some particular passages which on the first night'srepresentation seemed generallydisliked, I confess, that if I felt anyemotion of surprise at the disapprobation, it was not that they weredisapproved of, but that I had not before perceived thatthey deservedit. As some part of the attack on the piece was begun too early to passfor the sentence of _judgment_, which is ever tardy in condemning, ithasbeen suggested to me, that much of the disapprobation must havearisen from virulence of malice, rather than severity of criticism: butas I was moreapprehensive of there being just grounds to excite thelatter than conscious of having deserved the former, I continue not tobelieve that probable, which I am suremust have been unprovoked.However, if it was so, and I could even mark the quarter from whence itcame, it would be ungenerous to retort: for no passionsuffers morethan malice from disappointment. For my own part, I see no reason whythe author of a play should not regard a first night's audience as acandid andjudicious friend attending, in behalf of the public, at hislast rehearsal. If he can dispense with flattery, he is sure at leastof sincerity, and even though theannotation be rude, he may rely uponthe justness of the comment. Considered in this light, that audience,whose _fiat_ is essential to the poet's claim, whetherhis object befame or profit, has surely a right to expect some deference to itsopinion, from principles of politeness at least, if not from gratitude.As for the littlepuny critics, who scatter their peevish strictures inprivate circles, and scribble at every author who has the eminence ofbeing unconnected with them, as they areusually spleen-swoln from avain idea of increasing their consequence, there will always be founda petulance and illiberality in their remarks, which should placethemas far beneath the notice of a gentleman, as their original dulness hadsunk them from the level of the most unsuccessful author.It is not without pleasurethat I catch at an opportunity of justifyingmyself from the charge of intending any national reflection in thecharacter of Sir Lucius O'Trigger. If any gentlemenopposed the piecefrom that idea, I thank them sincerely for their opposition; and if thecondemnation of this comedy (however misconceived theprovocation)could have added one spark to the decaying flame of national attachmentto the country supposed to be reflected on, I should have been happy initsfate, and might with truth have boasted, that it had done more realservice in its failure, than the successful morality of a thousandstage-novels will ever effect.Itis usual, I believe, to thank the performers in a new play, for theexertion of their several abilities. But where (as in this instance)their merit has been so strikingand uncontroverted, as to call for thewarmest and truest applause from a number of judicious audiences, thepoet's after-praise comes like the feeble acclamationof a child toclose the shouts of a multitude. The conduct, however, of theprincipals in a theatre cannot be so apparent to the public. I thinkit therefore but justiceto declare, that from this theatre (the onlyone I can speak of from experience) those writers who wish to try thedramatic line will meet with that candour andliberal attention, whichare generally allowed to be better calculated to lead genius intoexcellence, than either the precepts of judgment, or the guidanceofexperience.The AUTHOR* * * * * * *DRAMATIS PERSONAE  As originally acted at COVENT GARDEN THEATRE in 1775  Sir ANTHONY ABSOLUTE  CAPTAINABSOLUTE  FAULKLAND  ACRES  Sir LUCIUS O'TRIGGER  FAG  DAVID  THOMAS  Mrs. MALAPROP  LYDIA LANGUISH  JULIA  LUCY  Maid, Boy, Servants,&c.SCENE--Bath.Time of action--Five hours.* * * * * * *PROLOGUEBy the AUTHOR[Enter SERJEANT-AT-LAW, and ATTORNEY following, and giving apaper.]SERJEANT  What's here!--a vile cramp hand! I cannot see  Without my spectacles.ATTORNEY                        He means his fee.  Nay, Mr. Serjeant, goodsir, try again.  [Gives money.]SERJEANT  The scrawl improves! [more] O come, 'tis pretty plain.  Hey! how's this? Dibble!--sure it cannot be!  A poet's brief! apoet and a fee!ATTORNEY  Yes, sir! though you without reward, I know,  Would gladly plead the Muse'scause.SERJEANT                                      So!--so!ATTORNEY  And if the fee offends, your wrath should fall  On me.SERJEANT        Dear Dibble, no offence atall.ATTORNEY  Some sons of Phoebus in the courts we meet,SERJEANT  And fifty sons of Phoebus in the Fleet!ATTORNEY  Nor pleads he worse, who with a decentsprig  Of bays adorns his legal waste of wig.SERJEANT  Full-bottom'd heroes thus, on signs, unfurl  A leaf of laurel in a grove of curl!  Yet tell your client, that, inadverse days,  This wig is warmer than a bush of bays.ATTORNEY  Do you, then, sir, my client's place supply,  Profuse of robe, and prodigal of tie--  Do you, withall those blushing powers of face,  And wonted bashful hesitating grace,  Rise in the court, and flourish on the case.  [Exit.]SERJEANT  For practice thensuppose--this brief will show it,--  Me, Serjeant Woodward,--counsel for the poet.  Used to the ground, I know 'tis hard to deal  With this dread court, fromwhence there's no appeal;  No tricking here, to blunt the edge of law,  Or, damn'd in equity, escape by flaw:  But judgment given, your sentence mustremain;  No writ of error lies--to Drury Lane:    Yet when so kind you seem, 'tis past dispute  We gain some favour, if not costs of suit.  No spleen is here! I seeno hoarded fury;--  I think I never faced a milder jury!  Sad else our plight! where frowns are transportation.  A hiss the gallows, and a groan damnation!  Butsuch the public candour, without fear  My client waives all right of challenge here.  No newsman from our session is dismiss'd,  Nor wit nor critic we scratch off thelist;  His faults can never hurt another's ease,  His crime, at worst, a bad attempt to please:  Thus, all respecting, he appeals to all,  And by the general voice willstand or fall.* * * * * * *PrologueBy the AUTHORSPOKEN ON THE TENTH NIGHT, BY MRS. BULKLEY.  Granted our cause, our suit and trial o'er,  The worthyserjeant need appear no more:  In pleasing I a different client choose,  He served the Poet--I would serve the Muse.  Like him, I'll try to merit your applause,  A"}
+{"doc_id":"doc_265","qid":"","text":"<html><head><title>Proposal, The Script at IMSDb.</title><meta name=\"description\" content=\"Proposal, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Proposal, The script, Proposal, The movie script, Proposal, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>          </b><b>                                   THE PROPOSAL</b><b>          </b><b>          </b>                                    Writtenby<b>          </b>                                  Pete Chiarelli<b>          </b><b>          </b>                                                            June 16,2006<b>          </b><b>          FADE IN:</b><b>          INT. MARGARET'S APARTMENT - EARLY MORNING</b>          The sun peeks over thehorizon.   There's a stunning view of          Central Park from this apartment, but whoever lives here isn't          watching.          As we wander through expensivefurniture, a steady THUMP, THUMP,          THUMP echoes through the apartment.   Eventually, we see MARGARET          MILLS (37) running on a treadmill,watching \"The O.C.\" on Tivo,          and reading a manuscript.          She sprints as the clock on her treadmill goes to zero.   As she          hits a button to stopthe treadmill...<b>          INT. WOMAN'S APARTMENT - EARLY MORNING</b>          A hand knocks an alarm clock off a table to shut itup.   RICHARD          PAXTON (26) wakes up on pink sheets and looks around to figure          out where he is. There are multiple framed pictures of thesame          model on the walls.          Richard looks at the clock and gets up quickly when he sees it is          6:16 AM.   Unfortunately for him, he is very hungover.<b>          RICHARD</b>          Where are my clothes?          A blob beneath the sheets next to him answers.   SIMONE is the          model on the walls andis really, really hot.<b>          SIMONE</b>          In the kitchen.   I think.   Can I make you          some coffee?<b>          RICHARD</b>          Sorry, I gotta"}
+{"doc_id":"doc_266","qid":"","text":"<html><head><title>Ugly Truth, The Script at IMSDb.</title><meta name=\"description\" content=\"Ugly Truth, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Ugly Truth, The script, Ugly Truth, The movie script, Ugly Truth, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           THE UGLY TRUTH</b>                      Screenplay/Revisions by                           NicoleEastman                           Tracey Jackson                             Peter Hume                   David Diamond & David Weissman                            RogerKumble                       Current Revisions by                Karen McCullah Lutz & Kirsten Smith                                                    February 14, 2008<b>1   INT.KPHX TV - LOBBY - DAY                                      1</b>    ABBY RICHTER, 30's, pretty, driven and absolutely in control,    walks through the lobby, greeting theSECURITY GUARD.<b>                        ABBY</b>              Morning, Freddy.<b>                        SECURITY GUARD</b>              Morning, Abby. Anotherpeaceful              day?<b>                        ABBY</b>              If you say so...<b>2   INT. KPHX - CORRIDOR - MORNING - MOMENTSLATER                  2</b>    JOY, 40's, the associate producer, falls in step with Abby.<b>                        JOY</b>                  (panicked)              We've gotproblems.<b>                         ABBY</b>              There are no problems, Joy.   Only              solutions.<b>                        JOY</b>              The sky-cam onthe traffic copter              has a cracked lens and they can't              fix it.<b>                         ABBY</b>              Okay, that's a problem.                (thinking,then...)              Call Matt Hardwick down at Media              Services. He's got a few Sky Cams              and he owes me. Now, where aremy              weathermen?    Joy opens a door to a waiting area.<b>3   INT. KPHX - WAITING AREA - MORNING - CONTINUOUS                 3</b>    Several"}
+{"doc_id":"doc_267","qid":"","text":"<html><title>Point Break script</title><pre>                        POINT BREAK                             by                       JamesCameron                             &                      Kathryn Bigelow                   From the Screenplay by                       W. Peter IliffFADE IN:We are in the belly of awave.Light refracts in a constant collision of water.SLOW MOTION, the hallucinatory prisms, like liquiddiamonds taking flight, dreamlike...EXT.  OCEAN -DUSKBacklit against a flaming sun a solitary SURFER glidesacross the green glassy peak.  TIME IS STRETCHED until hismovements gain a grace and fluidity notof this world.Total Zen concentration.  Body weight centered, eyesforward and on the next section.EXT.  URBAN STREET - DUSKSLOW MOTION ON a blacksedan.Creeping along store fronts.  Past a Winchell's.PEOPLE splash steps down rain-washed sidewalks in DREAMMOTION.  The sedan turns past the FIRSTVIRGINIA BANK andinto an alley.INT.  BLACK SEDANTWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoatsand hats.  Under their hats strips ofScotch tape stretchtaut from the base of their nose to their forehead,hideously distorting their features.  Makes them look likehuman PIGS.EXT.  OCEANSILVERYin this light, almost metallic, as if from somefuture-scape.  The lone surfer SHREDS a long, endlessright wall.ACCELERATING INTO REAL TIME -- as he stares intothe pit,digs in, drops into the sweet spot on the wave, hunkersdown.His moves becoming aggressive, frenzied--INT.  BLACK SEDANAn M-16 clip is SMACKED intoplace and cocked with aCACHACK!  Ammo clips are SNICK-SNICKED into handgun buttsand a long clip is SSSNICKED into an UZI.Watches are checked.  The PIGNOSE people nod to eachother.EXT.  BANKPig Nose #1, steals into position near the glass doors,slams his back to the wall, weapon to cheek, breathfast.EXT.  OCEANFAST NOW -- the surfboard rips a brutal gash in the faceof the wave.  The surfer TRIMS down the line, pivoting theboard and going straightdown, CARVING the bottom.  Heslashes viciously back toward the lip and--In a radical INVERTED AIR ATTACK sails SIX feet above thewave in an explosion ofwater--INT.  BANK--BAAAAAAMMM!Glass doors explode OPEN and Pig Nose #1 SPINS inside.  Hefires a burst into the ceiling.  BRRAAMM!!                         PIGNOSE #1          EVERYBODY on the floor!PEOPLE drop.VERY FAST HERE--Two bandits handle BANK EMPLOYEES and customers--Another PIG NOSE watches thedoor--Pig Nose #1 moves behind counter, Uzi and canvas sack inhand.INT.  SURVEILLANCE VANDark. Monitors SHOW SLOW SCANS of the bank INTERIOR.TwoMEN wear headphones and black windbreakers with FBIstenciled on the back.  One watches with binoculars.                         BINOCULARS          Bingo.  We'reon.  Let's go.          Where's the big college          quarterback?!  Are you with us,          Utah?EXT.  BANK WALLA MAN in his twenties.  His head spins revealingrain-slicked hair and face, eyes wide, bright.  An edgyhandsomeness to him.He pops a stick of Wrigley's in his mouth, rests a shotgunon one leg and leans againstthe wall.  He wears aheadset... through which we hear the FBI guy yelling forhim.This is JOHNNY UTAH.                         BINOCULARS (FILTERED)          Utah,where the hell are ya!?Utah takes his headset off...INT.  BANKPig Nose #1 LEAPS over the counter, holds a canvas sackfilled with booty from tellers'drawers.                         PIG NOSE #1          Fuckin' shake it!Pig Nose #2 nods with his snubby nose, hurries toward theexit.EXT.  FIRST VIRGINIA BANKThebandits burst through the doors and sprint to thealley where they jump into the SEDAN.  THE DRIVER, theWOMAN PIG NOSE, punches it and the TIRES WHIRRRon theslick pavement.The sedan launches down the alley.Utah running.  Like a freight train.  Splashing through across-alley.  He doesn't break stride as he slamshisshoulder into a large, steel GARBAGE DUMPSTER.DRIVING it like a football training sled into the ALLEYwhere--THE SEDAN LOCKS 'EM UP seconds too late as itSKIDS andSLAMS into it, CRUNCHING into the brick wall and--Still alive -- GRINDS into reverse back down the alley,HEADLIGHTS SMASHED, it guns it backwardas--UTAH leaps over the dumpster and sprints after the car.He has a brick in his right hand.  He cocks it back.Johnny HEAVES the brick thirty yardsand--SMASH!  The brick EXPLODES into the windshield,SPIDERWEBBING the glass.Lady Pignose flinches from the glass fragments thrown intoherface.                         LADY PIGNOSE          Son of a bitch!The car slews backward onto the street, slamming a parkedcar.  Lady Pignose slams the thing intoDRIVE, cuts thewheel hard, and punches it, skidding on wet pavement.UTAH hurtles from the alley.  He leaps, somehow TACKLESthe DRIVER'S door handle andis dragged along the street.He pulls himself up, reaches inside the window, and whipsthe steering wheel hard right.The SEDAN fishtails into a parkedToyota.  Utah bouncesforward, slamming into the asphalt.  Glass shards andcrushed steel are strewn everywhere, as radiator steamwhistles hot.Pig Nose #2,riding shotgun, is trapped.  Can't get hiscrushed door open.  The DRIVER pushes open her door.Gropes for her pistol.  Utah springs -- no respect for alady.  Heslams the door, pins her arm and slams again andagain until the gun drops.  Utah kicks it away as thewoman collapses in pain.Pig Nose #1 bails out and runsacross parking lot.  Utahleaps up onto the crushed hood and draws down with theshotgun.                         UTAH          Halt.  FBI!Pig Nose #1 spins.  We sensereckless anger.  He raisesthe UZI.  Utah squeezes the trigger.No death.  No blood.Just buzzers and flashing bulbs.Pig Nose's flak vest lights up like a pinballmachine.Utah's laser weapon hit the \"kill zone\".  Pig Nose ripsthe tape off his face and the FBI CADET shakes his head indisgust.OBSERVERS step forward.  Bankcustomers.  Bank tellers.All FBI personnel.  MEDICAL STAFF offer the woman driverassistance.  Pig Nose #1 heads for Johnny, but is subduedby otheragents.                         PIG NOSE #1 (FBI CADET)          I wanna say just two words to you,          asshole, SIMU-LATION!!!  Johnny-          fuckin' Utah.  Guyslike you will do          anything to win!Utah stares back in defiance.The SURVEILLANCE van pulls up nearby.BINOCULARS runs out and pinches two fingerstogether,right in Johnny's face.                         BINOCULARS          This far, Utah!  You're this far          from being the most overqualified          guy BurgerKing ever had.  Get me?!                         UTAH          Yes sir.  Sir?                         BINOCULARS          What?Johnny gestures to thecar.                         UTAH          I did stop the perpetrators.Utah turns to go.  As he passes he casually raises hislaser-shotgun and re-triggers Pig Nose's flakvest.LIGHTS AND BUZZERS.Pig Nose explodes.  More agents restrain him.Screams and shoving matches and pissed off guys.Utah walks off, down the simulatedstreet, past a signwhich bears the FBI SEAL and reads \"Combat Village,Quantico, Virginia.\"                                            DISSOLVE TO:EXT.  PACIFIC OCEAN -DAYRed sky.  A luminous Pacific.  Five foot faces.  Nicecurl.  A lineup of SURFERS wait outside the break.Silhouetted, bobbing like a pack of sea mammals.INT./EXT.  TAXIA flood of orange through the windshield as the cab crawlsdown Ocean Park to the sea.  CAMERA HANDHELD from the backseat.The driver turns tous.                         DRIVER          Anywhere?  You don't care?                         UTAH (V.O.)          Anywhere.  I've just never seen the          oceanbefore.                                            CUT TO:EXT.  VENICE BEACHJOHNNY UTAH trudging across the sand, holding his shoes.Garment bag and a big duffel overhis shoulder.He looks silly in his dark suit, tie loosened, wearing aturned around baseball cap.He wiggles his toes in the sand, looks around like a kid.A pack ofBOUNCING BEAUTIES jog through frame.Utah grins, reaches up and turns his cap around.It reads \"I Love L.A.\"                                            CUTTO:EXT.  FEDERAL BUILDINGLooking down the face of the concrete monolith at Wilshireand Veteran.  Ant-like, Johnny Utah's tiny figure movestoward theentrance.                         VOICE (OVER)          Day One in LA, special agent Utah.          You may have been top two percent of          your class at Quantico butyou have          exactly zero hours in the field          here.  You know nothing...INT.  FEDERAL BUILDING - FBI BULLPENSupervising Agent BEN HARP leads Utahacross the bullpen.Rows of desks.  Agents sitting at computer terminals.Data hell.  Looks like he got a job at Xerox.                         HARP          You know lessthan nothing.  If you          even knew that you knew nothing, at          least that would be something, but          you don't.                         UTAH          Yes,sir.Utah is wearing a suit, carrying a briefcase.  Harp ismid-thirties, confident of stride, tanned of skin, perfectofhair.  GQ.  Aggressive.                         HARP          Eating solid breakfasts, Utah?                         UTAH          Sir?                         HARP          All the foodgroups?  Avoiding          sugar?  Caffeine?  I see to it that          my people maintain cardiovascular          fitness.  We stay off hardliquor,          cigarettes...                         UTAH                  (poker face)          I take the skin off chicken.Harp glances at him, eyes narrowing.  They reachaglassed-in compound of small offices.  Harp swings thedoor open and the other agents look up as Utah enters.                         HARP          This is us.  BankRobbery.  And          you're in the bank-robbery capital          of the world--                         UTAH          1322 last year in LA county.  Up 26          percent fromthe year before.                         HARP          That's right.  And we nailed over a          thousand of them.  We did it by          crunching data.  Goodcrime-scene          work, good lab work, good data-base          analysis.  Nobody had to tackle a          car once.  You getting the signal,          specialagent?                         UTAH          Zero distortion, sir.He picks up a donut from someone's desk, a succulentglazed jelly.                         UTAH          I lovethese things.He looks right at Harp.  Takes a big fuck-you bite.                         HARP          You're a real blue-flame special,          aren't you, Utah?  I don'tknow why          they sent you to LA.  Must be an          asshole shortage.                         UTAH          Not so far.                                            CUTTO:UNDERWATERA blue field with a pulsing network of rippling lines.VOOM!  A figure rockets down INTO FRAME in a curtain ofbubbles.  A gawky AGENT, in lessthan stylish FBI trunks,flails around blindfolded looking for bricks at the bottomof a pool.INT.  GYMNASIUM POOL - DAYThe pool casts wavy distortions upon TWODOZEN MEN, allgrumbling as they stand in line, wearing T-shirts with FBIlogos, sweats and sneakers.  We hear a splash, and the menshuffleforward.                         PAPPAS (V.O.)          The dolls love this baby.  It brings          them luck when they rub it -- right          between their buttons.CLOSEON tape measure wrapped around a generous belly.PULL BACK to reveal VETERAN AGENT COREY measuring theample waist of ANGELO PAPPAS.  This 54 year"}
+{"doc_id":"doc_268","qid":"","text":"The Project Gutenberg EBook of Palamon and Arcite, by John DrydenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Palamon and ArciteAuthor: John DrydenEditor: George E. EliotRelease Date: February, 2005 [EBook #7490]This file was first posted onMay 10, 2003Last Updated: May 10, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PALAMON AND ARCITE ***Produced by TedGarvin, Charles Franks and the DistributedProofreaders TeamDRYDEN'S PALAMON AND ARCITEEdited With Introduction And Notes By George E. Eliot, A.M.EnglishMaster In The Morgan SchoolToHenry A. BeersProfessor Of English Literature In Yale UniversityWho First Aroused My Interest In DrydenAnd Directed My Study OfHis WorksThis Volume Is Respectfully InscribedPREFACE.To edit an English classic for study in secondary schools is difficult.The lack of anything like uniformity inthe type of examination requiredby the colleges and universities complicates treatment. Not only do twodistinct institutions differ in the scope and character oftheirquestions, but the same university varies its demands from year to year.The only safe course to pursue is, therefore, a generally comprehensiveone. Buthere, again, we are hampered by limited space, and are forcedto content ourselves with a bare outline, which the individualinstructor can fill in as much or aslittle as he pleases.The ignorance of most of our classical students in regard to the historyof English literature is appalling; and yet it is impossible properlytostudy a given work of a given author without some knowledge of thebackground against which that particular writer stands. I have,therefore, sketched thepolitics, society, and literature of the age inwhich Dryden lived, and during which he gave to the world his _Palamonand Arcite_. In the critical comments of theintroduction I havecontented myself with little more than hints. That particular line ofstudy, whether it concerns the poet's style, his verse forms, orthepossession of the divine instinct itself, can be much moresatisfactorily developed by the instructor, as the student's knowledgeof the poem grows.It is certainlya subject for congratulation that so many youth will beintroduced, through the medium of Dryden's crisp and vigorous verse, toone of the tales of Chaucer. May itnow, as in his own century,accomplish the poet's desire, and awaken in them appreciative admirationfor the old bard, the best story-teller in the Englishlanguage.G. E. E. CLINTON, CONN., July 26, 1897.INTRODUCTION.THE BACKGROUND.The fifty years of Dryden's literary production just fill the last halfof theseventeenth century. It was a period bristling with violentpolitical and religious prejudices, provocative of strife that amountedto revolution. Its social life ran thegamut from the severity of theCommonwealth Puritan to the unbridled debauchery of the RestorationCourtier. In literature it experienced a remarkabletransformation inpoetry, and developed modern prose, watched the production of thegreatest English epics, smarted under the lash of the greatest Englishsatires,blushed at the brilliant wit of unspeakable comedies, andapplauded the beginnings of English criticism.When the period began, England was a Commonwealth.Charles I., byobstinate insistence upon absolutism, by fickleness and faithlessness,had increased and strengthened his enemies. Parliament had seized thereins ofgovernment in 1642, had completely established its authority atNaseby in 1645, and had beheaded the king in front of his own palace in1649. The army hadaccomplished these results, and the army proposed toenjoy the reward. Cromwell, the idolized commander of the Ironsides, wasplaced at the head of thenew-formed state with the title of LordProtector; and for five years he ruled England, as she had been ruled byno sovereign since Elizabeth. He suppressedParliamentary dissensionsand royalist uprisings, humbled the Dutch, took vengeance on theSpaniard, and made England indisputably mistress of the ocean. Hewassucceeded, at his death in 1658, by his son Richard; but the father'sstrong instinct for government had not been inherited by the son. Thenation, homesick formonarchy, was tiring of dissension and bickering,and by the Restoration of 1660 the son of Charles I became Charles II ofEngland.Scarcely had thedemonstrations of joy at the Restoration subsided whenLondon was visited by the devouring plague of 1665. All who could fledfrom the stricken city wherethousands died in a day. In 1666 came thegreat fire which swept from the Tower to the Temple; but, while itdestroyed a vast deal of property, it prevented by itsviolentpurification a recurrence of the plague, and made possible therebuilding of the city with great sanitary and architecturalimprovements.Charles possessedsome of the virtues of the Stuarts and most of theirfaults. His arbitrary irresponsibility shook the confidence of thenation in his sincerity. Two parties, the Whigsand the Tories, cameinto being, and party spirit and party strife ran high. The question atissue was chiefly one of religion. The rank and file of ProtestantEnglandwas determined against the revival of Romanism, which acontinuation of the Stuart line seemed to threaten. Charles was aProtestant only from expediency, andon his deathbed accepted the RomanCatholic faith; his brother James, Duke of York, the heir apparent, wasa professed Romanist.Such an outlook incited theWhigs, under the leadership of Shaftesbury,to support the claims of Charles' eldest illegitimate son, the Duke ofMonmouth, who, on the death of his father in1685, landed in England;but the promised uprising was scarcely more than a rabble of peasantry,and was easily suppressed. Then came the vengeance of James,as foolishas it was tyrannical. Judge Jeffries and his bloody assizes sent scoresof Protestants to the block or to the gallows, till England would endureno more.William, Prince of Orange, who had married Mary, the eldestdaughter of James, was invited to accept the English crown. He landed atTorbay, was joined byChurchill, the commander of the king's forces,and, on the precipitate flight of James, mounted the throne of England.This event stands in history as the ProtestantRevolution of 1688.During William's reign, which terminated in 1702, Stuart uprisings weresuccessfully suppressed, English liberties were guaranteed by thefamousBill of Rights, Protestant succession was assured, and liberaltoleration was extended to the various dissenting sects.Society had passed through quite asgreat variations as had politicsduring this half-century. The roistering Cavalier of the first Charles,with his flowing locks and plumed hat, with his maypoles andmorricedances, with his stage plays and bear-baitings, with his carousals andgallantries, had given way to the Puritan Roundhead. It was a serious,sober-mindedEngland in which the youth Dryden found himself. If thePuritan differed from the Cavalier in political principles, they wereeven more diametrically opposed inmode of life. An Act of Parliamentclosed the theaters in 1642. Amusements of all kinds were frowned uponas frivolous, and many were suppressed by law. The oldEnglish feasts atMichaelmas, Christmas, Twelfth Night, and Candlemas were regarded asrelics of popery and were condemned. The Puritan took hisreligionseriously, so seriously that it overpowered him. The energy and fervorof his religious life were illustrated in the work performed byCromwell's chaplain,John Howe, on any one of the countless fast days.\"He began with his flock at nine in the morning, prayed during a quarterof an hour for blessing upon the day'swork, then read and explained achapter for three-quarters of an hour, then prayed for an hour, preachedfor an hour, and prayed again for a half an hour, thenretired for aquarter of an hour's refreshment--the people singing all thewhile--returned to his pulpit, prayed for another hour, preached foranother hour, andfinished at four P.M.\"At the Restoration the pendulum swung back again. From the strainedmorality of the Puritans there was a sudden leap to the mostextravagantlicense and the grossest immorality, with the king and the court in thevan. The theaters were thrown wide open, women for the first time wentuponthe stage, and they acted in plays whose moral tone is so low thatthey cannot now be presented on the stage or read in the drawing-room.Of course they voicedthe social conditions of the time. Marriage tieswere lightly regarded; no gallant but boasted his amours. Revelry ranriot; drunkenness became a habit andgambling a craze. The courtscintillated with brilliant wits, conscienceless libertines, andscoffing atheists. It was an age of debauchery and disbelief.The splendor ofthis life sometimes dazzles, the lack of conveniencesappalls. The post left London once a week. A journey to the country mustbe made in your own lumberingcarriage, or on the snail-slow stagecoachover miserable roads, beset with highwaymen. The narrow, ill-lightedstreets, even of London, could not be traversedsafely at night; andladies, borne to routs and levees in their sedan chairs, were lighted bylink-boys, and were carried by stalwart, broad-shouldered bearerswhocould wield well the staves in a street fight. Such were the conditionsof life and society which Dryden found in the last fifty years of theseventeenthcentury.Strong as were the contrasts in politics and manners during Dryden'slifetime, they were paralleled by contrasts in literature no lessmarked. Dryden wasborn in 1631; he died in 1700. In the year of hisbirth died John Donne, the father of the Metaphysical bards, orMarinists; in the year of his death was born JamesThomson, who was togive the first real start to the Romantic movement; while between thesetwo dates lies the period devoted to the development ofFrenchClassicism in English literature.At Dryden's birth Ben Jonson was the only one of the great Elizabethandramatists still living, and of the lesser stars in thesame galaxy,Chapman, Massinger, Ford, Webster, and Heywood all died during hisboyhood and youth, while Shirley, the last of his line, lingered till1667. Of theolder writers in prose, Selden alone remained; but asDryden grew to manhood, he had at hand, fresh from the printers, thewhole wealth of Commonwealth prose,still somewhat clumsy with Latinismor tainted with Euphuism, but working steadily toward that simplestrength and graceful fluency with which he was himself tomark thebeginning of modern English prose.Clarendon, with his magnificently involved style, began his famous_History of the Great Rebellion_ in 1641. Ten yearslater Hobbespublished the _Leviathan_, a sketch of an ideal commonwealth. Baxter,with his _Saints' Everlasting Rest_ sent a book of religious consolationintoevery household. In 1642 Dr. Thomas Browne, with the simplicity ofa child and a quaintness that fascinates, published his _ReligioMedici_; and in 1653 dear oldsimple-hearted Isaak Walton told us in his_Compleat Angler_ how to catch, dress, and cook fish. Thomas Fuller,born a score or more of years before Dryden, inthe same town,Aldwinkle, published in 1642 his _Holy and Profane State_, a collectionof brief and brisk character sketches, which come nearer modern prosethan"}
+{"doc_id":"doc_269","qid":"","text":"<html><head><title>Friday the 13th Script at IMSDb.</title><meta name=\"description\" content=\"Friday the 13th script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Friday the 13th script, Friday the 13th movie script, Friday the 13th film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>\"FRIDAY THE13th\"</title></head><pre><b>              FADE IN:</b><b> </b><b> </b><b>         1    EXT.  ROAD - DAY</b><b> </b>              The TRACK isSILENT.<b> </b>              The CAMERA looks at a sign.  It reads:<b> </b><b>                                    CAMP CRYSTALLAKE</b>                                     Established 1935<b> </b>              Gradually we can begin to hear, in the BG, the SOUNDS of              CHILDRENplaying.<b> </b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         2    EXT. SOFTBALL FIELD - DAY</b><b></b>              In the BG a few dozen CHILDREN, in camp uniforms, are enjoying              a game of softball.<b> </b>              In the FG CLAUDETTE is lookingfor someone.  CLAUDETTE is 17              years old.  She is pretty.  She wears a t-shirt with \"Assistant              Counsellor\" written on it.  She fills out the shirtvery well.<b> </b>              Failing to find whomever she is looking for, CLAUDETTE walks              quickly in the opposite direction.<b> </b>              TheCAMERA holds on the game for a few seconds and we<b>              SUPERIMPOSE:</b><b> </b><b>                                       JULY 4, 1958</b><b></b>              The CHILDREN'S VOICES FADE slowly.<b> </b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         3    EXT.RIFLE RANGE - DAY</b><b> </b>              ECU as a COUNSELLOR squeezes off a shot.<b> </b>              The paper target is ripped in the black.<b>"}
+{"doc_id":"doc_270","qid":"","text":"The Project Gutenberg EBook of The Outlaw of Torn, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Outlaw of TornAuthor: Edgar Rice BurroughsRelease Date: July 8, 2008 [EBook #369]Last updated: February 12, 2012Lastupdated: August 31, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE OUTLAW OF TORN ***Produced by Judith BossTHE OUTLAWOF TORNBy Edgar Rice BurroughsTo My FriendJOSEPH E. BRAYCHAPTER IHere is a story that has lain dormant for seven hundred years. At firstit was suppressedby one of the Plantagenet kings of England. Later itwas forgotten. I happened to dig it up by accident. The accident beingthe relationship of my wife's cousin to acertain Father Superior in avery ancient monastery in Europe.He let me pry about among a quantity of mildewed and musty manuscriptsand I came across this. Itis very interesting--partially since it is abit of hitherto unrecorded history, but principally from the fact thatit records the story of a most remarkable revenge andthe adventurouslife of its innocent victim--Richard, the lost prince of England.In the retelling of it, I have left out most of the history. Whatinterested me was theunique character about whom the tale revolves--thevisored horseman who--but let us wait until we get to him.It all happened in the thirteenth century, and whileit was happening,it shook England from north to south and from east to west; and reachedacross the channel and shook France. It started, directly, in theLondonpalace of Henry III, and was the result of a quarrel between the Kingand his powerful brother-in-law, Simon de Montfort, Earl of Leicester.Never mind thequarrel, that's history, and you can read all about it atyour leisure. But on this June day in the year of our Lord 1243, Henryso forgot himself as to very unjustlyaccuse De Montfort of treason inthe presence of a number of the King's gentlemen.De Montfort paled. He was a tall, handsome man, and when he drew himselftohis full height and turned those gray eyes on the victim of hiswrath, as he did that day, he was very imposing. A power in England,second only to the Kinghimself, and with the heart of a lion in him, heanswered the King as no other man in all England would have dared answerhim.\"My Lord King,\" he cried, \"that yoube my Lord King alone prevents Simonde Montfort from demanding satisfaction for such a gross insult. Thatyou take advantage of your kingship to say what youwould never dare saywere you not king, brands me not a traitor, though it does brand you acoward.\"Tense silence fell upon the little company of lords andcourtiers asthese awful words fell from the lips of a subject, addressed to hisking. They were horrified, for De Montfort's bold challenge was to thembut little shortof sacrilege.Henry, flushing in mortification and anger, rose to advance upon DeMontfort, but suddenly recollecting the power which he represented, hethoughtbetter of whatever action he contemplated and, with a haughtysneer, turned to his courtiers.\"Come, my gentlemen,\" he said, \"methought that we were to have aturnwith the foils this morning. Already it waxeth late. Come, De Fulm! Come,Leybourn!\" and the King left the apartment followed by his gentlemen,all of whomhad drawn away from the Earl of Leicester when it becameapparent that the royal displeasure was strong against him. As thearras fell behind the departing King,De Montfort shrugged his broadshoulders, and turning, left the apartment by another door.When the King, with his gentlemen, entered the armory he wasstillsmarting from the humiliation of De Montfort's reproaches, and as helaid aside his surcoat and plumed hat to take the foils with De Fulm,his eyes alighted onthe master of fence, Sir Jules de Vac, who wasadvancing with the King's foil and helmet. Henry felt in no mood forfencing with De Fulm, who, like the othersycophants that surroundedhim, always allowed the King easily to best him in every encounter.De Vac he knew to be too jealous of his fame as a swordsman topermithimself to be overcome by aught but superior skill, and this day Henryfelt that he could best the devil himself.The armory was a great room on the mainfloor of the palace, off theguard room. It was built in a small wing of the building so that ithad light from three sides. In charge of it was the lean,grizzled,leather-skinned Sir Jules de Vac, and it was he whom Henry commanded toface him in mimic combat with the foils, for the King wished to gowithhammer and tongs at someone to vent his suppressed rage.So he let De Vac assume to his mind's eye the person of the hated DeMontfort, and it followedthat De Vac was nearly surprised into an earlyand mortifying defeat by the King's sudden and clever attack.Henry III had always been accounted a goodswordsman, but that dayhe quite outdid himself and, in his imagination, was about to runthe pseudo De Montfort through the heart, to the wild acclaim ofhisaudience. For this fell purpose he had backed the astounded De Vac twicearound the hall when, with a clever feint, and backward step, the masterof fencedrew the King into the position he wanted him, and with thesuddenness of lightning, a little twist of his foil sent Henry's weaponclanging across the floor of thearmory.For an instant, the King stood as tense and white as though the hand ofdeath had reached out and touched his heart with its icy fingers.The episodemeant more to him than being bested in play by the bestswordsman in England--for that surely was no disgrace--to Henry itseemed prophetic of the outcome of afuture struggle when he shouldstand face to face with the real De Montfort; and then, seeing in DeVac only the creature of his imagination with which he hadvested thelikeness of his powerful brother-in-law, Henry did what he should liketo have done to the real Leicester. Drawing off his gauntlet he advancedclose toDe Vac.\"Dog!\" he hissed, and struck the master of fence a stinging blow acrossthe face, and spat upon him. Then he turned on his heel and strode fromthearmory.De Vac had grown old in the service of the kings of England, but hehated all things English and all Englishmen. The dead King John, thoughhated by allothers, he had loved, but with the dead King's bones DeVac's loyalty to the house he served had been buried in the Cathedral ofWorcester.During the years hehad served as master of fence at the English Court,the sons of royalty had learned to thrust and parry and cut as onlyDe Vac could teach the art, and he had beenas conscientious in thedischarge of his duties as he had been in his unswerving hatred andcontempt for his pupils.And now the English King had put upon himsuch an insult as might onlybe wiped out by blood.As the blow fell, the wiry Frenchman clicked his heels together, andthrowing down his foil, he stood erect andrigid as a marble statuebefore his master. White and livid was his tense drawn face, but hespoke no word.He might have struck the King, but then there wouldhave been left tohim no alternative save death by his own hand; for a king may not fightwith a lesser mortal, and he who strikes a king may not live--theking'shonor must be satisfied.Had a French king struck him, De Vac would have struck back, and gloriedin the fate which permitted him to die for the honor ofFrance; but anEnglish King--pooh! a dog; and who would die for a dog? No, De Vac wouldfind other means of satisfying his wounded pride. He would revelinrevenge against this man for whom he felt no loyalty. If possible, hewould harm the whole of England if he could, but he would bide his time.He could afford towait for his opportunity if, by waiting, he couldencompass a more terrible revenge.De Vac had been born in Paris, the son of a French officer reputed thebestswordsman in France. The son had followed closely in the footstepsof his father until, on the latter's death, he could easily claim thetitle of his sire. How he hadleft France and entered the service ofJohn of England is not of this story. All the bearing that the life ofJules de Vac has upon the history of England hinges uponbut two of hismany attributes--his wonderful swordsmanship and his fearful hatred forhis adopted country.CHAPTER IISouth of the armory of Westminster Palacelay the gardens, and here, onthe third day following the King's affront to De Vac, might have been aseen a black-haired woman gowned in a violet cyclas, richlyembroideredwith gold about the yoke and at the bottom of the loose-pointed sleeves,which reached almost to the similar bordering on the lower hem ofthegarment. A richly wrought leathern girdle, studded with precious stones,and held in place by a huge carved buckle of gold, clasped the garmentabout her waistso that the upper portion fell outward over the girdleafter the manner of a blouse. In the girdle was a long dagger ofbeautiful workmanship. Dainty sandalsencased her feet, while a wimpleof violet silk bordered in gold fringe, lay becomingly over her head andshoulders.By her side walked a handsome boy of aboutthree, clad, like hiscompanion, in gay colors. His tiny surcoat of scarlet velvet was richwith embroidery, while beneath was a close-fitting tunic of whitesilk. Hisdoublet was of scarlet, while his long hose of white werecross-gartered with scarlet from his tiny sandals to his knees. On theback of his brown curls sat aflat-brimmed, round-crowned hat in which asingle plume of white waved and nodded bravely at each move of the proudlittle head.The child's features were wellmolded, and his frank, bright eyes gavean expression of boyish generosity to a face which otherwise would havebeen too arrogant and haughty for such a merebaby. As he talked withhis companion, little flashes of peremptory authority and dignity, whichsat strangely upon one so tiny, caused the young woman at timestoturn her head from him that he might not see the smiles which she couldscarce repress.Presently the boy took a ball from his tunic, and, pointing at a littlebushnear them, said, \"Stand you there, Lady Maud, by yonder bush. Iwould play at toss.\"The young woman did as she was bid, and when she had taken her placeandturned to face him the boy threw the ball to her. Thus they playedbeneath the windows of the armory, the boy running blithely after theball when he missed it,and laughing and shouting in happy glee when hemade a particularly good catch.In one of the windows of the armory overlooking the garden stood a grim,gray,old man, leaning upon his folded arms, his brows drawn together ina malignant scowl, the corners of his mouth set in a stern, cold line.He looked upon the gardenand the playing child, and upon the lovelyyoung woman beneath him, but with eyes which did not see, for De Vac wasworking out a great problem, the greatestof all his life.For three days, the old man had brooded over his grievance, seeking forsome means to be revenged upon the King for the insult which Henry hadputupon him. Many schemes had presented themselves to his shrewdand cunning mind, but so far all had been rejected as unworthy of theterrible satisfaction whichhis wounded pride demanded.His fancies had, for the most part, revolved about the unsettledpolitical conditions of Henry's reign, for from these he felt he"}
+{"doc_id":"doc_271","qid":"","text":"<html><head><title>Sweeney Todd: The Demon Barber of Fleet Street Script at IMSDb.</title><meta name=\"description\" content=\"Sweeney Todd: TheDemon Barber of Fleet Street script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Sweeney Todd: The Demon Barber of FleetStreet script, Sweeney Todd: The Demon Barber of Fleet Street movie script, Sweeney Todd: The Demon Barber of Fleet Street film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>            SWEENEYTODD: THE DEMON BARBER OF FLEET STREET</b>                            Written by                            John Logan                       Music and Lyricsby                         Stephen Sondheim                  Adapted from the Stage Musical         \"Sweeney Todd: The Demon Barber of Fleet Street\"               Music andLyrics by Stephen Sondheim                       Book by Hugh Wheeler              Based on a version of \"Sweeney Todd\"                       by ChristopherBond                                               18th DECEMBER, 2006<b>                                                                   PAGE 1.</b><b>1   INT. DARK CHAMBER --NIGHT                                     1</b>    Foreboding organ music is heard...    We are looking down at a rough brick floor ... is it an    alley? ... a cobblestonestreet? ... a warehouse? a factory?    ... we're not sure...    The flickering glow of flame is the only illumination...    The ominous organ music continuesas...    From the bottom of the frame...    A dark pool of blood slowly begins to spread ... moving up    the frame, defying gravity ... the flickering flamereflected    in the blood...    Finally, the pool of blood fills the entire frame.<b>    SUDDENLY--</b>    A shrill factory whistle blows--    ENORMOUSLY LOUD --blood-chilling and spine-shattering --    the whistle is a bizarre combination of sound: a factory    whistle; a hog being slaughtered; a dog snarling; aroaring    inferno; a human scream--    And a man's face appears, upside down, reflected in the pool    of blood.    He is THE GENTLEMAN, a slender dandy in"}
+{"doc_id":"doc_272","qid":"","text":"The Project Gutenberg EBook of The Tale of Tom Kitten, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of Tom KittenAuthor: Beatrix PotterRelease Date: January 29, 2005 [EBook #14837]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE TALE OF TOM KITTEN ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).[Illustration]THE TALE OFTOM KITTENBYBEATRIX POTTER_Author of__\"The Tale of Peter Rabbit\", &c._[Illustration]FREDERICKWARNEFirst published 19071907 by Frederick Warne & Co.Printed and bound in Great Britain byWilliam Clowes Limited, Beccles and LondonDEDICATEDTOALLPICKLES,--ESPECIALLY TO THOSE THATGET UPON MY GARDEN WALL[Illustration]Once upon a time there were three little kittens, and their nameswereMittens, Tom Kitten, and Moppet.They had dear little fur coats of their own; and they tumbled about thedoorstep and played in the dust.But one day theirmother--Mrs. Tabitha Twitchit--expected friends to tea;so she fetched the kittens indoors, to wash and dress them, before thefine companyarrived.[Illustration][Illustration]First she scrubbed their faces (this one is Moppet).Then she brushed their fur, (this one is Mittens).[Illustration][Illustration]Thenshe combed their tails and whiskers (this is Tom Kitten).Tom was very naughty, and he scratched.Mrs. Tabitha dressed Moppet and Mittens in clean pinafores andtuckers;and then she took all sorts of elegant uncomfortable clothes out of achest of drawers, in order to dress up her son Thomas.[Illustration][Illustration]TomKitten was very fat, and he had grown; several buttons burst off. Hismother sewed them on again.When the three kittens were ready, Mrs. Tabitha unwiselyturned them outinto the garden, to be out of the way while she made hot buttered toast.\"Now keep your frocks clean, children! You must walk on your hindlegs.Keep away from the dirty ash-pit, and from Sally Henny Penny, and from thepig-stye and the Puddle-Ducks.\"[Illustration][Illustration]Moppet and Mittenswalked down the garden path unsteadily. Presently theytrod upon their pinafores and fell on their noses.When they stood up there were several greensmears!\"Let us climb up the rockery, and sit on the garden wall,\" said Moppet.They turned their pinafores back to front, and went up with a skip and ajump;Moppet's white tucker fell down into the road.[Illustration][Illustration]Tom Kitten was quite unable to jump when walking upon his hind legs introusers. He cameup the rockery by degrees, breaking the ferns, andshedding buttons right and left.He was all in pieces when he reached the top of the wall.Moppet and Mittenstried to pull him together; his hat fell off, and therest of his buttons burst.[Illustration][Illustration]While they were in difficulties, there was a pit pat paddle pat!and thethree Puddle-Ducks came along the hard high road, marching one behind theother and doing the goose step--pit pat paddle pat! pit pat waddle pat!Theystopped and stood in a row, and stared up at the kittens. They hadvery small eyes and looked surprised.[Illustration][Illustration]Then the two duck-birds,Rebeccah and Jemima Puddle-Duck, picked up thehat and tucker and put them on.Mittens laughed so that she fell off the wall. Moppet and Tom descendedafterher; the pinafores and all the rest of Tom's clothes came off on theway down.\"Come! Mr. Drake Puddle-Duck,\" said Moppet--\"Come and help us to dresshim!Come and button up Tom!\"[Illustration][Illustration]Mr. Drake Puddle-Duck advanced in a slow sideways manner, and picked upthe various articles.But he putthem on _himself!_ They fitted him even worse than Tom Kitten.\"It's a very fine morning!\" said Mr. Drake Puddle-Duck.[Illustration][Illustration]And he andJemima and Rebeccah Puddle-Duck set off up the road, keepingstep--pit pat, paddle pat! pit pat, waddle pat!Then Tabitha Twitchit came down the garden andfound her kittens on thewall with no clothes on.[Illustration][Illustration]She pulled them off the wall, smacked them, and took them back to thehouse.\"Myfriends will arrive in a minute, and you are not fit to be seen; I amaffronted,\" said Mrs. Tabitha Twitchit.She sent them upstairs; and I am sorry to say she toldher friends thatthey were in bed with the measles; which was not true.[Illustration][Illustration]Quite the contrary; they were not in bed: _not_ in theleast.Somehow there were very extraordinary noises over-head, which disturbedthe dignity and repose of the tea party.And I think that some day I shall have tomake another, larger, book, totell you more about Tom Kitten![Illustration]As for the Puddle-Ducks--they went into a pond.The clothes all came off directly,because there were no buttons.[Illustration][Illustration]And Mr. Drake Puddle-Duck, and Jemima and Rebeccah, have been looking forthem ever since.End ofProject Gutenberg's The Tale of Tom Kitten, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TOM KITTEN ******** This fileshould be named 14837.txt or 14837.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/3/14837/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editionsmeans that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermissionand without paying copyright royalties.  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+{"doc_id":"doc_273","qid":"","text":"<html><head><title>Mulholland Drive Script at IMSDb.</title><meta name=\"description\" content=\"Mulholland Drive script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Mulholland Drive script, Mulholland Drive movie script, Mulholland Drive film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object(); 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Mulholland DriveScreenplay</title><body><pre><b> M  U  L  H  O  L  L  A  N  D</b><b> D  R  I  V  E    </b><b> 1/5/1999</b><b>    </b><b> M U L H 0 L L A ND             D R I V E</b><b>    </b><b>EXT.  NIGHT - HOLLYWOOD HILLS, LOS ANGELES</b><b>    </b>Darkness. Distant sounds of freeway traffic. Thenthe closersound of a car - its headlights illumine an oleander bush andthe limbs of an Eucalyptus tree. Then the headlights turn - astreet sign is suddenly brightlylit. The words on the signread... \"Mulholland Drive.\" The car moves under the sign asit turns and the words fall once again into darkness.<b>    </b><b> CUTTO:</b><b>    </b><b>EXT. NIGHT - MULHOLLAND DRIVE</b><b>    </b>Gliding we follow the car - an older black Cadillac limousine- as it winds its way upMulholland Drive through thedarkness of the Hollywood Hills. There is no one else on theroad. As we drift closer to the car...<b>    </b><b> CUTTO:</b><b>    </b><b>INT. BLACK CADILLAC LIMOUSINE - NIGHT</b><b>    </b>Two men in dark suits are sitting in the front seat. Abeautiful, younger,dark-haired woman sits in back. She sitsclose up against the door and stares out into the darkness.She seems to be thinking about something. Suddenly sheturnsand looks ahead. The car is slowing and moving off to theside of the road.<b>    </b><b> DARK-HAIRED WOMAN</b> What are you doing? You don't stophere ...<b>    </b>The car stops - half on, half off the road at a dark, blindcurve. Both men turn to the woman.<b>    </b><b> DRIVER</b> Get out of the"}
+{"doc_id":"doc_274","qid":"","text":"The Project Gutenberg EBook of On the Fourfold Root of the Principle ofSufficient Reason and On the Will in Nat, by Arthur SchopenhauerThis eBook is for theuse of anyone anywhere in the United States and mostother parts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give itaway or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the UnitedStates, you'll haveto check the laws of the country where you are located before using this ebook.Title: On the Fourfold Root of the Principle of Sufficient Reasonand On the Will in Nature: Two Essays (revised edition)Author: Arthur SchopenhauerTranslator: Karl HillebrandRelease Date: January 19, 2016 [EBook#50966]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK PRINCIPLE OF SUFFICIENT REASON ***Produced byCharlene Taylor, Sharon Joiner, Bryan Ness andthe Online Distributed Proofreading Team athttp://www.pgdp.net (This book was produced from scannedimagesof public domain material from the Google Booksproject.)TRANSCRIBER'S NOTE:Italics have been transcribed using _underscores_, bold with =equalsigns=,spaced text with +plus signs+, small capitals as ALL CAPITALS,and text in superscript is preceded by a ^carat. Inconsistencies inhyphenation, punctuation,spelling and abbreviations have not beencorrected. A list of other corrections can be found at the end of thedocument.  _BOHN'S PHILOSOPHICALLIBRARY._  TWO ESSAYS  BY  ARTHUR SCHOPENHAUER.  LONDON: GEORGE BELL AND SONS  PORTUGAL ST. LINCOLN'S INN, W.C.  CAMBRIDGE: DEIGHTON,BELL & CO.  NEW YORK: THE MACMILLAN CO.  BOMBAY: A. H. WHEELER & CO.  ON  THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENT REASON  AND  ONTHE WILL IN NATURE.  TWO ESSAYS BY  ARTHUR SCHOPENHAUER.  TRANSLATED BY MME. KARL HILLEBRAND.  _REVISED EDITION._  LONDON  GEORGE BELLAND SONS  1907  CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.  TOOKS COURT, CHANCERY LANE, LONDON.TRANSLATOR'S PREFACE.In venturing to laythe present translation[1] before the public, Iam aware of the great difficulties of my task, and indeed can hardlyhope to do justice to the Author. In fact, had itnot been for theconsiderations I am about to state, I might probably never havepublished what had originally been undertaken in order to acquire aclearercomprehension of these essays, rather than with a view topublicity.  [1] From the fourth edition by Julius Frauenstädt. \"Fourfold Root,\"  Leipzig, 1875; \"Will inNature,\" Leipzig, 1878.The two treatises which form the contents of the present volume have somuch importance for a profound and correct knowledge ofSchopenhauer'sphilosophy, that it may even be doubted whether the translation ofhis chief work, \"Die Welt als Wille und Vorstellung,\" can contributemuchtowards the appreciation of his system without the help atleast of the \"Vierfache Wurzel des Satzes vom zureichenden Grunde.\"Schopenhauer himself repeatedlyand urgently insists upon a previousthorough knowledge of Kant's philosophy, as the basis, and of hisown \"Fourfold Root,\" as the key, to his own system,asserting thatknowledge to be the indispensable condition for a right comprehensionof his meaning. So far as I am aware, neither the \"Fourfold Root\"nor the \"Willin Nature\" have as yet found a translator; therefore,considering the dawning interest which has begun to make itself feltfor Schopenhauer's philosophy in Englandand in America, and the factthat no more competent scholar has come forward to do the work, it maynot seem presumptuous to suppose that this version may beacceptableto those who wish to acquire a more than superficial knowledge of thisremarkable thinker, yet whose acquaintance with German does not permitthemto read his works in the original.Now although some portions of both the Essays published in the presentvolume have of course become antiquated, owing to thesubsequentdevelopment of the empirical sciences, while others--such as, forinstance, Schopenhauer's denunciation of plagiarism in the cases ofBrandis and Rosasin the beginning of Physiology and Pathology[2]--canhave no interest for the reader of the present day, I have neverthelessgiven them just as he left them andrefrained from all suppression oralteration. And if, on the whole, the \"Will in Nature\" may be lessindispensable for a right understanding of our philosopher'sviewsthan the \"Fourfold Root,\" being merely a record of the confirmationswhich had been contributed during his lifetime by the various branchesof NaturalScience to his doctrine, that _the thing in itself is thewill_, the Second Essay has nevertheless in its own way quite as muchimportance as the First, and is, in asense, its complement. For theyboth throw light on Schopenhauer's view of the Universe in its doubleaspect as Will and as Representation, each being as it were_a résumé_of the exposition of one of those aspects. My plea for uniting them inone volume, in spite of the difference of their contents and the widelapse oftime (seventeen years) which lies between them, must be, thatthey complete each other, and that their great weight and intrinsicvalue seem to point them out aspeculiarly fitted to be introduced tothe English thinker.  [2] See \"Will in Nature,\" pp. 9-18 of the original; pp. 224-234 of  the present translation.In endeavouringto convey the Author's thoughts as he expressesthem, I have necessarily encountered many and great difficulties. Hismeaning, though always clearly expressed,is not always easy to seize,even for his countrymen; as a foreigner, therefore, I may often havefailed to grasp, let alone adequately to render, that meaning. Inthiscase besides, the responsibility for any want of perspicuity cannotbe shifted by the translator on to the Author; since the consummateperfection ofSchopenhauer's prose is universally recognised, even bythose who reject, or at least who do not share, his views. An eminentGerman writer of our time has nothesitated to rank him immediatelyafter Lessing and Göthe as the third greatest German prose-writer, andonly quite recently a German professor, in a speechdelivered withthe intent of demolishing Schopenhauer's philosophy, was reluctantlyobliged to admit that his works would remain on account of theirliterary value.Göthe himself expressed admiration for the clearness ofexposition in Schopenhauer's chief work and for the beauty of his style.The chief obstacle I haveencountered in translating these Essays, didnot therefore consist in the obscurity of the Author's style, nor evenin the difficulty of finding appropriate termswherewith to convey hismeaning; although at times certainly the want of complete precision inour philosophical terminology made itself keenly felt and theselectionwas often far from easy: it lay rather in the great difference in theway of thinking and of expressing their thoughts which lies betweenthe two nations.The regions of German and English thought are indeedseparated by a gulf, which at first seems impassable, yet which mustbe bridged over by some means orother, if a right comprehension is tobe achieved. The German writer loves to develop synthetically a singlethought in a long period consisting of various members;he proceedssteadily to unravel the seemingly tangled skein, while he keeps thereader ever on the alert, making him assist actively in the processand never lettinghim lose sight of the main thread. The Englishauthor, on the contrary, anxious before all things to avoid confusionand misunderstanding, and ready for this endnot only to sacrificeharmony of proportion in construction, but to submit to the necessityof occasional artificial joining, usually adopts the analyticalmethod. Heprefers to divide the thread of his discourse into severalsmaller skeins, easier certainly to handle and thus better suiting theconvenience of the English thinker, towhom long periods are trying andbewildering, and who is not always willing to wait half a page or morefor the point of a sentence or the gist of a thought.Wherever it couldbe done without interfering seriously with the spirit of the original,I have broken up the longer periods in these essays into smallersentences, inorder to facilitate their comprehension. At times howeverSchopenhauer recapitulates a whole side of his view of the Universein a single period of what seemsintolerable length to the Englishreader: as, for instance, the _résumé_ contained in the Introductionto his \"Will in Nature,\"[3] which could not be dividedwithout damageto his meaning. Here therefore it did not seem advisable to sacrificethe unity and harmony of his design and to disturb both his form andhismeaning, in order to minister to the reader's dislike for mentalexertion; in keeping the period intact I have however endeavoured tomake it as easy tocomprehend as possible by the way in which thesingle parts are presented to the eye.  [3] Pp. 2 and 3 of the original, and pp. 216 to 218 of thepresent  translation.As regards the terms chosen to convey the German meaning, I can hardlyhope to have succeeded in every case in adequately rendering it,stillless can I expect to have satisfied my English readers. Several wordsof frequent occurrence and of considerable importance for the rightunderstanding of theoriginal, have been used at different times bydifferent English philosophers in senses so various, that, until ourphilosophical terminology has by universal consentattained far greaterprecision than at present, it must always be difficult for the writeror translator to convey to the reader's mind precisely the same thoughtthatwas in his own. To prevent unnecessary confusion however, byleaving too much to chance, I will here briefly state those terms whichgive most latitude formisapprehension, explaining the sense in whichI employ them and also the special meaning attached to some of them bySchopenhauer, who often differs in thisfrom other writers. They are asfollows.(_a._) _Anschauung_ (_anschauen_, literally 'to behold') I haverendered differently, according to its double meaning inGerman. Whenused to designate the mental act by which an object is perceived, asthe cause of a sensation received, it is rendered by _perception_.When used tolay stress upon _immediate_, as opposed to _abstract_representation, it is rendered by _intuition_. This last occurs howevermore often in the adjectiveform.(_b._) _Vorstellung_ (_vorstellen_, literally 'to place before') Irender by _representation_ in spite of its foreign, unwelcome sound tothe English ear, asbeing the term which nearest approaches the Germanmeaning. The faculty of representation is defined by Schopenhauerhimself as \"an exceedingly complicatedphysiological process in thebrain of an animal, the result of which is the consciousness of a_picture_ there.\"(_c._) _Auffassung_ (_auffassen_, literally 'to catchup') has somany shades of meaning in German that it has to be translated in manydifferent ways according to the relation in which it stands in thecontext. Itsignifies _apprehension_, _comprehension_, _perception_,_viewing_ and _grasping_.(_d._) _Wahrnehmung_ (_wahrnehmen_, from _wahr_, true, and_nehmen_, totake), is translated by _apprehension_ or _perception_, according tothe degree of consciousness which accompanies it.But the two words which"}
+{"doc_id":"doc_275","qid":"","text":"The Project Gutenberg EBook of Indiscretions of Archie, by P. G. WodehouseThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Indiscretions of ArchieAuthor: P. G. WodehouseRelease Date: June 25, 2008 [EBook #3756]Language: English*** START OF THISPROJECT GUTENBERG EBOOK INDISCRETIONS OF ARCHIE ***Produced by Charles Franks, Chuck Greif and the OnlineDistributed ProofreadingTeamINDISCRETIONS OF ARCHIEBy P. G. WodehouseIt wasn't Archie's fault really. Its true he went to America and fell inlove with Lucille, the daughter of amillionaire hotel proprietor and ifhe did marry her--well, what else was there to do?From his point of view, the whole thing was a thoroughly good egg; butMr.Brewster, his father-in-law, thought differently, Archie hadneither money nor occupation, which was distasteful in the eyes of theindustrious Mr. Brewster; but thereal bar was the fact that he had onceadversely criticised one of his hotels.Archie does his best to heal the breach; but, being something of an ass,genuspriceless, he finds it almost beyond his powers to placate \"theman-eating fish\" whom Providence has given him as a father-in-lawP. G. WodehouseAUTHOR OF\"THE LITTLE WARRIOR,\" \"A DAMSEL IN DISTRESS,\" \"UNEASY MONEY,\"ETC.NEW YORKGEORGE H. DORAN COMPANYCOPYRIGHT,1921, BY GEORGE H, DORANCOMPANYCOPYRIGHT, 1920, BY INTERNATIONAL MAGAZINE COMPANY (COSMOPOLITANMAGAZINE)PRINTED IN THE UNITED STATES OF AMERICADEDICATIONTO B. W. KING-HALL My dear Buddy,-- We have been friends for eighteen years. A considerable proportion of my books were written under your hospitable roof.And yet I have never dedicated one to you. What will be the verdict of Posterity on this? The fact is, I have become rather superstitious about dedications. Nosooner do you label a book with the legend--                          TO MY                        BEST FRIEND                            X than X cuts you in Piccadilly, or you bringa lawsuit against him. There is a fatality about it. However, I can't imagine anyone quarrelling with you, and I am getting more attractive all the time, so let's takea chance. Yours ever, P. G. WODEHOUSE.CONTENTS         I   DISTRESSING SCENE IN A HOTEL        II   A SHOCK FOR MR. BREWSTER       III   MR. BREWSTERDELIVERS SENTENCE        IV   WORK WANTED         V   STRANGE EXPERIENCE OF AN ARTIST'S MODEL        VI   THE BOMB       VII   MR. ROSCOE SHERRIFFHAS AN IDEA      VIII   A DISTURBED NIGHT FOR DEAR OLD SQUIFFY        IX   A LETTER FROM PARKER         X   DOING FATHER A BIT OFGOOD        XI   SALVATORE CHOOSES THE WRONG MOMENT       XII   BRIGHT EYES-AND A FLY      XIII   RALLYING ROUND PERCY       XIV   THE SAD CASE OFLOONEY BIDDLE        XV   SUMMER STORMS       XVI   ARCHIE ACCEPTS A SITUATION      XVII   BROTHER BILL'S ROMANCE     XVIII   THE SAUSAGECHAPPIE       XIX   REGGIE COMES TO LIFE        XX   THE SAUSAGE CHAPPIE CLICKS       XXI   THE-GROWING BOY      XXII   WASHY STEPS INTO THE HALL OFFAME     XXIII   MOTHER'S-KNEE      XXIV   THE MELTING OF MR. CONNOLLY       XXV   THE WIGMORE VENUS      XXVI   A TALE OF A GRANDFATHERCHAPTER I.DISTRESSING SCENE\"I say, laddie!\" said Archie.\"Sir?\" replied the desk-clerk alertly. All the employes of the HotelCosmopolis were alert. It was one of the thingson which Mr. DanielBrewster, the proprietor, insisted. And as he was always wandering aboutthe lobby of the hotel keeping a personal eye on affairs, it wasneversafe to relax.\"I want to see the manager.\"\"Is there anything I could do, sir?\"Archie looked at him doubtfully.\"Well, as a matter of fact, my dear olddesk-clerk,\" he said, \"I want tokick up a fearful row, and it hardly seems fair to lug you into it. Whyyou, I mean to say? The blighter whose head I want on acharger is thebally manager.\"At this point a massive, grey-haired man, who had been standing closeby, gazing on the lobby with an air of restrained severity, asif daringit to start anything, joined in the conversation.\"I am the manager,\" he said.His eye was cold and hostile. Others, it seemed to say, might likeArchieMoffam, but not he. Daniel Brewster was bristling for combat.What he had overheard had shocked him to the core of his being. TheHotel Cosmopolis was his ownprivate, personal property, and the thingdearest to him in the world, after his daughter Lucille. He pridedhimself on the fact that his hotel was not like other NewYork hotels,which were run by impersonal companies and shareholders and boards ofdirectors, and consequently lacked the paternal touch which madetheCosmopolis what it was. At other hotels things went wrong, and clientscomplained. At the Cosmopolis things never went wrong, because he wason the spot tosee that they didn't, and as a result clients nevercomplained. Yet here was this long, thin, string-bean of an Englishmanactually registering annoyance anddissatisfaction before his very eyes.\"What is your complaint?\" he enquired frigidly.Archie attached himself to the top button of Mr. Brewster's coat,and wasimmediately dislodged by an irritable jerk of the other'ssubstantial body.\"Listen, old thing! I came over to this country to nose about in searchof a job, becausethere doesn't seem what you might call a generaldemand for my services in England. Directly I was demobbed, the familystarted talking about the Land ofOpportunity and shot me on to a liner.The idea was that I might get hold of something in America--\"He got hold of Mr. Brewster's coat-button, and was againshaken off.\"Between ourselves, I've never done anything much in England, and Ifancy the family were getting a bit fed. At any rate, they sent me overhere--\"Mr.Brewster disentangled himself for the third time.\"I would prefer to postpone the story of your life,\" he said coldly,\"and be informed what is your specific complaintagainst the HotelCosmopolis.\"\"Of course, yes. The jolly old hotel. I'm coming to that. Well, it waslike this. A chappie on the boat told me that this was the bestplace tostop at in New York--\"\"He was quite right,\" said Mr. Brewster.\"Was he, by Jove! Well, all I can say, then, is that the other New Yorkhotels must be prettymouldy, if this is the best of the lot! I took aroom here last night,\" said Archie quivering with self-pity, \"and therewas a beastly tap outside somewhere which wentdrip-drip-drip all nightand kept me awake.\"Mr. Brewster's annoyance deepened. He felt that a chink had been foundin his armour. Not even the most paternalhotel-proprietor can keep aneye on every tap in his establishment.\"Drip-drip-drip!\" repeated Archie firmly. \"And I put my boots outsidethe door when I went tobed, and this morning they hadn't been touched.I give you my solemn word! Not touched.\"\"Naturally,\" said Mr. Brewster. \"My employes are honest\"\"But I wantedthem cleaned, dash it!\"\"There is a shoe-shining parlour in the basement. At the Cosmopolisshoes left outside bedroom doors are not cleaned.\"\"Then I think theCosmopolis is a bally rotten hotel!\"Mr. Brewster's compact frame quivered. The unforgivable insult had beenoffered. Question the legitimacy of Mr. Brewster'sparentage, knock Mr.Brewster down and walk on his face with spiked shoes, and you did notirremediably close all avenues to a peaceful settlement. But makearemark like that about his hotel, and war was definitely declared.\"In that case,\" he said, stiffening, \"I must ask you to give up yourroom.\"\"I'm going to give itup! I wouldn't stay in the bally place anotherminute.\"Mr. Brewster walked away, and Archie charged round to the cashier'sdesk to get his bill. It had been hisintention in any case, though fordramatic purposes he concealed it from his adversary, to leave the hotelthat morning. One of the letters of introduction which hehad broughtover from England had resulted in an invitation from a Mrs. van Tuyl toher house-party at Miami, and he had decided to go there at once.\"Well,\"mused Archie, on his way to the station, \"one thing's certain.I'll never set foot in THAT bally place again!\"But nothing in this world is certain.CHAPTER II. ASHOCK FOR MR. BREWSTERMr. Daniel Brewster sat in his luxurious suite at the Cosmopolis,smoking one of his admirable cigars and chatting with his oldfriend,Professor Binstead. A stranger who had only encountered Mr. Brewster inthe lobby of the hotel would have been surprised at the appearance ofhissitting-room, for it had none of the rugged simplicity which was thekeynote of its owner's personal appearance. Daniel Brewster was a manwith a hobby. He waswhat Parker, his valet, termed a connoozer. Hiseducated taste in Art was one of the things which went to make theCosmopolis different from and superior toother New York hotels. He hadpersonally selected the tapestries in the dining-room and the variouspaintings throughout the building. And in his private capacityhe was anenthusiastic collector of things which Professor Binstead, whosetastes lay in the same direction, would have stolen without a twinge ofconscience if hecould have got the chance.The professor, a small man of middle age who wore tortoiseshell-rimmedspectacles, flitted covetously about the room, inspecting itstreasureswith a glistening eye. In a corner, Parker, a grave, lean individual,bent over the chafing-dish, in which he was preparing for his employerand his guesttheir simple lunch.\"Brewster,\" said Professor Binstead, pausing at the mantelpiece.Mr. Brewster looked up amiably. He was in placid mood to-day. Twoweeks andmore had passed since the meeting with Archie recorded in theprevious chapter, and he had been able to dismiss that disturbing affairfrom his mind. Since then,everything had gone splendidly with DanielBrewster, for he had just accomplished his ambition of the momentby completing the negotiations for the purchase ofa site furtherdown-town, on which he proposed to erect a new hotel. He liked buildinghotels. He had the Cosmopolis, his first-born, a summer hotel inthemountains, purchased in the previous year, and he was toying with theidea of running over to England and putting up another in London, That,however, wouldhave to wait. Meanwhile, he would concentrate on this newone down-town. It had kept him busy and worried, arranging for securingthe site; but his troubleswere over now.\"Yes?\" he said.Professor Binstead had picked up a small china figure of delicateworkmanship. It represented a warrior of pre-khaki days advancingwith aspear upon some adversary who, judging from the contented expression onthe warrior's face, was smaller than himself.\"Where did you get this?\"\"That?Mawson, my agent, found it in a little shop on the east side.\"\"Where's the other? There ought to be another. These things go in pairs.They're valueless alone.\"Mr.Brewster's brow clouded.\"I know that,\" he said shortly. \"Mawson's looking for the other oneeverywhere. If you happen across it, I give you carte blanche to buyitfor me.\"\"It must be somewhere.\"\"Yes. If you find it, don't worry about the expense. I'll settle up, nomatter what it is.\"\"I'll bear it in mind,\" said ProfessorBinstead. \"It may cost you a lotof money. I suppose you know that.\"\"I told you I don't care what it costs.\"\"It's nice to be a millionaire,\" sighed Professor"}
+{"doc_id":"doc_276","qid":"","text":"<html><head><title>Chasing Amy Script at IMSDb.</title><meta name=\"description\" content=\"Chasing Amy script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Chasing Amy script, Chasing Amy movie script, Chasing Amy film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>ChasingAmy</title></head><pre> Chasing Amy Written by Kevin Smith<b> INT. COMIC BOOK STORE - DAY</b> A pile of COMIC BOOKS are on a shelf next to myriadothers. The most prominent one is called \u0000BLUNTMAN AND CHRONIC'.  A hand reaches in and pulls one out of frame. HOLDEN opens the comic and flips throughit He shakes his head.  BANKY looks over his shoulder.<b> BANKY</b> Felt Like this fucking day would never come.  Issue two - on the shelf.<b> HOLDEN</b>Yippee.<b> BANKY</b> Don't start, alright!  This is a cool moment, and I'd appreciate you not trying to ruin it.  How often does a guy get the opportunity topurchase something with his name on it! (points to name on cover) Banky Edwards- right! (points to the other) Holden McNeil.<b> HOLDEN</b> I know myname.<b> BANKY</b> C'mon, sour puss.  We got the rest of our lives to be artists.  But it's supply and demand.  And right now, the unwashed masses demandthis.<b> HOLDEN</b> (off comic) This is easy, alright!  And right now it pays the bills.  Just don't forget that we're better than this.<b> BANKY</b> I'll tell youwho we're better than: these two fags right here. They approach the counter, where STEVE-DAVE, the store manager, and WALT the Fan-boy, play a cardgame.<b> BANKY</b> (lays books on the counter) Alright Old-Maid's - take a break from the Crazy-8's marathon and ring us up.<b> STEVE-DAVE</b> (notlooking up) Well, well,well, Walt Did you see who it is!  The local celebrities.  Quick - get them to autograph one of their books so we can sell it for triple it's"}
+{"doc_id":"doc_277","qid":"","text":"Project Gutenberg's Rise and Fall of Cesar Birotteau, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Rise and Fall of Cesar BirotteauAuthor: Honore de BalzacTranslator: Katharine Prescott WormeleyRelease Date: October, 1999  [Etext#1942]Posting Date: March 6, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RISE AND FALL OF CESAR BIROTTEAU ***Produced byJohn Bickers, and DagnyRISE AND FALL OF CESAR BIROTTEAUBy Honore De BalzacTranslated by Katharine Prescott WormeleyPART I. CESAR AT HISAPOGEEIDuring winter nights noise never ceases in the Rue Saint-Honore exceptfor a short interval. Kitchen-gardeners carrying their produce to marketcontinuethe stir of carriages returning from theatres and balls. Nearthe middle of this sustained pause in the grand symphony of Parisianuproar, which occurs about oneo'clock in the morning, the wife ofMonsieur Cesar Birotteau, a perfumer established near the Place Vendome,was startled from her sleep by a frightful dream. Shehad seen herdouble. She had appeared to herself clothed in rags, turning with ashrivelled, withered hand the latch of her own shop-door, seeming to beat thethreshold, yet at the same time seated in her armchair behind thecounter. She was asking alms of herself, and heard herself speaking fromthe doorway and alsofrom her seat at the desk.She tried to grasp her husband, but her hand fell on a cold place.Her terror became so intense that she could not move her neck,whichstiffened as if petrified; the membranes of her throat became gluedtogether, her voice failed her. She remained sitting erect in the sameposture in themiddle of the alcove, both panels of which were wideopen, her eyes staring and fixed, her hair quivering, her ears filledwith strange noises, her heart tightenedyet palpitating, and her personbathed in perspiration though chilled to the bone.Fear is a half-diseased sentiment, which presses so violently upon thehumanmechanism that the faculties are suddenly excited to the highestdegree of their power or driven to utter disorganization. Physiologistshave long wondered at thisphenomenon, which overturns their systemsand upsets all theories; it is in fact a thunderbolt working within thebeing, and, like all electric accidents, capriciousand whimsical in itscourse. This explanation will become a mere commonplace in the daywhen scientific men are brought to recognize the immense partwhichelectricity plays in human thought.Madame Birotteau now passed through several of the shocks, in some sortelectrical, which are produced by terribleexplosions of the will forcedout, or held under, by some mysterious mechanism. Thus during aperiod of time, very short if judged by a watch, but immeasurablewhencalculated by the rapidity of her impressions, the poor woman had thesupernatural power of emitting more ideas and bringing to the surfacemorerecollections than, under any ordinary use of her faculties, shecould put forth in the course of a whole day. The poignant tale of hermonologue may be abridgedinto a few absurd sentences, as contradictoryand bare of meaning as the monologue itself.\"There is no reason why Birotteau should leave my bed! He has eatensomuch veal that he may be ill. But if he were ill he would have wakedme. For nineteen years that we have slept together in this bed, in thishouse, it has neverhappened that he left his place without tellingme,--poor sheep! He never slept away except to pass the night in theguard-room. Did he come to bed to-night?Why, of course; goodness! howstupid I am.\"She cast her eyes upon the bed and saw her husband's night-cap, whichstill retained the almost conical shape of hishead.\"Can he be dead? Has he killed himself? Why?\" she went on. \"For thelast two years, since they made him deputy-mayor, he is_all-I-don't-know-how_. Toput him into public life! On the word of anhonest woman, isn't it pitiable? His business is doing well, for he gaveme a shawl. But perhaps it isn't doing well? Bah! Ishould know ofit. Does one ever know what a man has got in his head; or a womaneither?--there is no harm in that. Didn't we sell five thousand francs'worthto-day? Besides, a deputy mayor couldn't kill himself; he knowsthe laws too well. Where is he then?\"She could neither turn her neck, nor stretch out her hand topullthe bell, which would have put in motion a cook, three clerks, and ashop-boy. A prey to the nightmare, which still lasted though hermind was wide awake, sheforgot her daughter peacefully asleep in anadjoining room, the door of which opened at the foot of her bed. At lastshe cried \"Birotteau!\" but got no answer. Shethought she had called thename aloud, though in fact she had only uttered it mentally.\"Has he a mistress? He is too stupid,\" she added. \"Besides, he loves metoowell for that. Didn't he tell Madame Roguin that he had never beenunfaithful to me, even in thought? He is virtue upon earth, that man. Ifany one ever deservedparadise he does. What does he accuse himself ofto his confessor, I wonder? He must tell him a lot of fiddle-faddle.Royalist as he is, though he doesn't know why,he can't froth up hisreligion. Poor dear cat! he creeps to Mass at eight o'clock as slyly asif he were going to a bad house. He fears God for God's sake; hellisnothing to him. How could he have a mistress? He is so tied to mypetticoat that he bores me. He loves me better than his own eyes; hewould put them out for mysake. For nineteen years he has never said tome one word louder than another. His daughter is never considered beforeme. But Cesarine is here--Cesarine!Cesarine!--Birotteau has never hada thought which he did not tell me. He was right enough when he declaredto me at the Petit-Matelot that I should never knowhim till I triedhim. And _not here_! It is extraordinary!\"She turned her head with difficulty and glanced furtively about theroom, then filled with those picturesqueeffects which are the despairof language and seem to belong exclusively to the painters of genre.What words can picture the alarming zig-zags produced byfallingshadows, the fantastic appearance of curtains bulged out by the wind,the flicker of uncertain light thrown by a night-lamp upon the folds ofred calico, therays shed from a curtain-holder whose lurid centrewas like the eye of a burglar, the apparition of a kneeling dress,--inshort, all the grotesque effects which terrifythe imagination at amoment when it has no power except to foresee misfortunes and exaggeratethem? Madame Birotteau suddenly saw a strong light in the roombeyondher chamber, and thought of fire; but perceiving a red foulard whichlooked like a pool of blood, her mind turned exclusively to burglars,especially whenshe thought she saw traces of a struggle in the way thefurniture stood about the room. Recollecting the sum of money whichwas in the desk, a generous fear putan end to the chill ferment of hernightmare. She sprang terrified, and in her night-gown, into the verycentre of the room to help her husband, whom shesupposed to be in thegrasp of assassins.\"Birotteau! Birotteau!\" she cried at last in a voice full of anguish.She then saw the perfumer in the middle of the nextroom, a yard-stickin his hand measuring the air, and so ill wrapped up in his green cottondressing-gown with chocolate-colored spots that the cold hadreddenedhis legs without his feeling it, preoccupied as he was. When Cesarturned about to say to his wife, \"Well, what do you want, Constance?\"his air andmanner, like those of a man absorbed in calculations, wereso prodigiously silly that Madame Birotteau began to laugh.\"Goodness! Cesar, if you are not an odditylike that!\" she said. \"Whydid you leave me alone without telling me? I have nearly died of terror;I did not know what to imagine. What are you doing there, flyingopento all the winds? You'll get as hoarse as a wolf. Do you hear me,Birotteau?\"\"Yes, wife, here I am,\" answered the perfumer, coming into the bedroom.\"Comeand warm yourself, and tell me what maggot you've got in yourhead,\" replied Madame Birotteau opening the ashes of the fire, which shehastened to relight. \"Iam frozen. What a goose I was to get up in mynight-gown! But I really thought they were assassinating you.\"The shopkeeper put his candlestick on thechimney-piece, wrapped hisdressing-gown closer about him, and went mechanically to find a flannelpetticoat for his wife.\"Here, Mimi, cover yourself up,\" he said.\"Twenty-two by eighteen,\" heresumed, going on with his monologue; \"we can get a superb salon.\"\"Ah, ca! Birotteau, are you on the high road to insanity? Areyoudreaming?\"\"No, wife, I am calculating.\"\"You had better wait till daylight for your nonsense,\" she cried,fastening the petticoat beneath her short night-gownand going to thedoor of the room where her daughter was in bed.\"Cesarine is asleep,\" she said, \"she won't hear us. Come, Birotteau,speak up. What is it?\"\"Wecan give a ball.\"\"Give a ball! we? On the word of an honest woman, you are dreaming, myfriend.\"\"I am not dreaming, my beautiful white doe. Listen. Peopleshouldalways do what their position in life demands. Government has broughtme forward into prominence. I belong to the government; it is my duty tostudy itsmind, and further its intentions by developing them. The Ducde Richelieu has just put an end to the occupation of France bythe foreign armies. According toMonsieur de la Billardiere, thefunctionaries who represent the city of Paris should make it their duty,each in his own sphere of influence, to celebrate the liberationof ourterritory. Let us show a true patriotism which shall put these liberals,these damned intriguers, to the blush; hein? Do you think I don't lovemy country? Iwish to show the liberals, my enemies, that to love theking is to love France.\"\"Do you think you have got any enemies, my poor Birotteau?\"\"Why, yes, wife, wehave enemies. Half our friends in the quarter areour enemies. They all say, 'Birotteau has had luck; Birotteau is a manwho came from nothing: yet here he isdeputy-mayor; everything succeedswith him.' Well, they are going to be finely surprised. You are thefirst to be told that I am made a chevalier of the Legion ofhonor. Theking signed the order yesterday.\"\"Oh! then,\" said Madame Birotteau, much moved, \"of course we must givethe ball, my good friend. But what haveyou done to merit the cross?\"\"Yesterday, when Monsieur de la Billardiere told me the news,\" saidBirotteau, modestly, \"I asked myself, as you do, what claims Ihad toit; but I ended by seeing what they were, and in approving the actionof the government. In the first place, I am a royalist; I was woundedat Saint-Roch inVendemiaire: isn't it something to have borne armsin those days for the good cause? Then, according to the merchants, Iexercised my judicial functions in a wayto give general satisfaction. Iam now deputy-mayor. The king grants four crosses to the municipality ofParis; the prefect, selecting among the deputies suitablepersons to bethus decorated, has placed my name first on the list. The king moreoverknows me: thanks to old Ragon. I furnish him with the only powder heiswilling to use; we alone possess the receipt of the late queen,--poor,dear, august victim! The mayor vehemently supported me. So there it is.If the king gives"}
+{"doc_id":"doc_278","qid":"","text":"The Project Gutenberg EBook of Letters of Two Brides, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Letters of Two BridesAuthor: Honore de BalzacTranslator: R. S. ScottRelease Date: October, 1999  [Etext #1941]Posting Date:November 23, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS OF TWO BRIDES ***Produced by John Bickers andDagnyLETTERS OF TWO BRIDESBy Honore de BalzacTranslated by R. S. ScottDEDICATION  To George Sand  Your name, dear George, while casting a reflectedradiance on my  book, can gain no new glory from this page. And yet it is neither  self-interest nor diffidence which has led me to place it there,  but only the wishthat it should bear witness to the solid  friendship between us, which has survived our wanderings and  separations, and triumphed over the busy malice of theworld. This  feeling is hardly likely now to change. The goodly company of  friendly names, which will remain attached to my works, forms an  element of pleasurein the midst of the vexation caused by their  increasing number. Each fresh book, in fact, gives rise to fresh  annoyance, were it only in the reproaches aimed atmy too prolific  pen, as though it could rival in fertility the world from which I  draw my models! Would it not be a fine thing, George, if the  future antiquarian ofdead literatures were to find in this  company none but great names and generous hearts, friends bound by  pure and holy ties, the illustrious figures of thecentury? May I  not justly pride myself on this assured possession, rather than on  a popularity necessarily unstable? For him who knows you well, it  is happinessto be able to sign himself, as I do here,  Your friend,  DE BALZAC.  PARIS, June 1840.LETTERS OF TWO BRIDESFIRST PARTI. LOUISE DE CHAULIEU TO RENEE DEMAUCOMBE. PARIS, September.Sweetheart, I too am free! And I am the first too, unless you havewritten to Blois, at our sweet tryst of letter-writing.Raise thosegreat black eyes of yours, fixed on my opening sentence,and keep this excitement for the letter which shall tell you of my firstlove. By the way, why always\"first?\" Is there, I wonder, a second love?Don't go running on like this, you will say, but tell me rather howyou made your escape from the convent where youwere to take your vows.Well, dear, I don't know about the Carmelites, but the miracle of my owndeliverance was, I can assure you, most humdrum. The cries ofan alarmedconscience triumphed over the dictates of a stern policy--there's thewhole mystery. The sombre melancholy which seized me after you lefthastenedthe happy climax, my aunt did not want to see me die of adecline, and my mother, whose one unfailing cure for my malady was anovitiate, gave way beforeher.So I am in Paris, thanks to you, my love! Dear Renee, could you haveseen me the day I found myself parted from you, well might you havegloried in the deepimpression you had made on so youthful a bosom. Wehad lived so constantly together, sharing our dreams and letting ourfancy roam together, that I verilybelieve our souls had become weldedtogether, like those two Hungarian girls, whose death we heard aboutfrom M. Beauvisage--poor misnamed being! Neversurely was man better cutout by nature for the post of convent physician!Tell me, did you not droop and sicken with your darling?In my gloomy depression, Icould do nothing but count over the tieswhich bind us. But it seemed as though distance had loosened them; Iwearied of life, like a turtle-dove widowed of hermate. Death smiledsweetly on me, and I was proceeding quietly to die. To be at Blois, atthe Carmelites, consumed by dread of having to take my vows there,aMlle. de la Valliere, but without her prelude, and without my Renee! Howcould I not be sick--sick unto death?How different it used to be! That monotonousexistence, where every hourbrings its duty, its prayer, its task, with such desperate regularitythat you can tell what a Carmelite sister is doing in any place, atanyhour of the night or day; that deadly dull routine, which crushes outall interest in one's surroundings, had become for us two a world oflife and movement.Imagination had thrown open her fairy realms, and inthese our spirits ranged at will, each in turn serving as magic steedto the other, the more alert quickeningthe drowsy; the world fromwhich our bodies were shut out became the playground of our fancy, whichreveled there in frolicsome adventure. The very _Lives ofthe Saints_helped us to understand what was so carefully left unsaid! But the daywhen I was reft of your sweet company, I became a true Carmelite, suchas theyappeared to us, a modern Danaid, who, instead of trying to filla bottomless barrel, draws every day, from Heaven knows what deep, anempty pitcher, thinking tofind it full.My aunt knew nothing of this inner life. How could she, who has made aparadise for herself within the two acres of her convent, understand myrevoltagainst life? A religious life, if embraced by girls of our age,demands either an extreme simplicity of soul, such as we, sweetheart, donot possess, or else an ardorfor self-sacrifice like that which makesmy aunt so noble a character. But she sacrificed herself for a brotherto whom she was devoted; to do the same for anunknown person or an ideais surely more than can be asked of mortals.For the last fortnight I have been gulping down so many reckless words,burying so manyreflections in my bosom, and accumulating such a storeof things to tell, fit for your ear alone, that I should certainlyhave been suffocated but for the resource ofletter-writing as a sorrysubstitute for our beloved talks. How hungry one's heart gets! I ambeginning my journal this morning, and I picture to myself that yoursisalready started, and that, in a few days, I shall be at home in yourbeautiful Gemenos valley, which I know only through your descriptions,just as you will live thatParis life, revealed to you hitherto only inour dreams.Well, then, sweet child, know that on a certain morning--a red-letterday in my life--there arrived from Parisa lady companion and Philippe,the last remaining of my grandmother's valets, charged to carry me off.When my aunt summoned me to her room and told me thenews, I could notspeak for joy, and only gazed at her stupidly.\"My child,\" she said, in her guttural voice, \"I can see that you leaveme without regret, but thisfarewell is not the last; we shall meetagain. God has placed on your forehead the sign of the elect. You havethe pride which leads to heaven or to hell, but yournature is too nobleto choose the downward path. I know you better than you know yourself;with you, passion, I can see, will be very different from what it iswithmost women.\"She drew me gently to her and kissed my forehead. The kiss made my fleshcreep, for it burned with that consuming fire which eats away herlife,which has turned to black the azure of her eyes, and softened the linesabout them, has furrowed the warm ivory of her temples, and cast asallow tinge overthe beautiful face.Before replying, I kissed her hands.\"Dear aunt,\" I said, \"I shall never forget your kindness; and if it hasnot made your nunnery all that it oughtto be for my health of body andsoul, you may be sure nothing short of a broken heart will bring meback again--and that you would not wish for me. You will notsee mehere again till my royal lover has deserted me, and I warn you that if Icatch him, death alone shall tear him from me. I fear no Montespan.\"She smiled andsaid:\"Go, madcap, and take your idle fancies with you. There is certainlymore of the bold Montespan in you than of the gentle la Valliere.\"I threw my arms roundher. The poor lady could not refrain fromescorting me to the carriage. There her tender gaze was divided betweenme and the armorial bearings.At Beaugencynight overtook me, still sunk in a stupor of the mindproduced by these strange parting words. What can be awaiting me in thisworld for which I have sohungered?To begin with, I found no one to receive me; my heart had been schooledin vain. My mother was at the Bois de Boulogne, my father at theCouncil; mybrother, the Duc de Rhetore, never comes in, I am told,till it is time to dress for dinner. Miss Griffith (she is not unlike agriffin) and Philippe took me to myrooms.The suite is the one which belonged to my beloved grandmother, thePrincess de Vauremont, to whom I owe some sort of a fortune which noone has evertold me about. As you read this, you will understandthe sadness which came over me as I entered a place sacred to so manymemories, and found the rooms justas she had left them! I was to sleepin the bed where she died.Sitting down on the edge of the sofa, I burst into tears, forgetting Iwas not alone, and rememberingonly how often I had stood there by herknees, the better to hear her words. There I had gazed upon her face,buried in its brown laces, and worn as much by ageas by the pangs ofapproaching death. The room seemed to me still warm with the heat whichshe kept up there. How comes it that Armande-Louise-Marie deChaulieumust be like some peasant girl, who sleeps in her mother's bed the verymorrow of her death? For to me it was as though the Princess, who diedin 1817,had passed away but yesterday.I saw many things in the room which ought to have been removed. Theirpresence showed the carelessness with which people,busy with theaffairs of state, may treat their own, and also the little thought whichhad been given since her death to this grand old lady, who will alwaysremainone of the striking figures of the eighteenth century. Philippeseemed to divine something of the cause of my tears. He told me that thefurniture of the Princesshad been left to me in her will and that myfather had allowed all the larger suites to remain dismantled, as theRevolution had left them. On hearing this I rose,and Philippe openedthe door of the small drawing-room which leads into the reception-rooms.In these I found all the well-remembered wreckage; the panelsabovethe doors, which had contained valuable pictures, bare of all but emptyframes; broken marbles, mirrors carried off. In old days I was afraidto go up thestate staircase and cross these vast, deserted rooms; so Iused to get to the Princess' rooms by a small staircase which runsunder the arch of the larger one andleads to the secret door of herdressing-room.My suite, consisting of a drawing-room, bedroom, and the prettymorning-room in scarlet and gold, of which I havetold you, lies in thewing on the side of the Invalides. The house is only separated from theboulevard by a wall, covered with creepers, and by a splendid avenueoftrees, which mingle their foliage with that of the young elms onthe sidewalk of the boulevard. But for the blue-and-gold dome of theInvalides and its gray stonemass, you might be in a wood.The style of decoration in these rooms, together with their situation,indicates that they were the old show suite of the duchesses,whilethe dukes must have had theirs in the wing opposite. The two suites aredecorously separated by the two main blocks, as well as by the centralone, whichcontained those vast, gloomy, resounding halls shown meby Philippe, all despoiled of their splendor, as in the days of mychildhood.Philippe grew quite"}
+{"doc_id":"doc_279","qid":"","text":"The Project Gutenberg EBook of Out of Time's Abyss, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Out of Time's AbyssAuthor: Edgar Rice BurroughsPosting Date: July 30, 2008 [EBook #553]Release Date: June, 1996[Last updated:November 24, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OUT OF TIME'S ABYSS ***Produced by Judith Boss.Out of Time'sAbyssByEdgar Rice BurroughsChapter IThis is the tale of Bradley after he left Fort Dinosaur upon the westcoast of the great lake that is in the center of theisland.Upon the fourth day of September, 1916, he set out with fourcompanions, Sinclair, Brady, James, and Tippet, to search along thebase of the barrier cliffsfor a point at which they might be scaled.Through the heavy Caspakian air, beneath the swollen sun, the five menmarched northwest from Fort Dinosaur, nowwaist-deep in lush, junglegrasses starred with myriad gorgeous blooms, now across openmeadow-land and parklike expanses and again plunging into denseforestsof eucalyptus and acacia and giant arboreous ferns with featheredfronds waving gently a hundred feet above their heads.About them upon the ground,among the trees and in the air over themmoved and swung and soared the countless forms of Caspak's teeminglife.  Always were they menaced by some frightfulthing and seldom weretheir rifles cool, yet even in the brief time they had dwelt uponCaprona they had become callous to danger, so that they swungalonglaughing and chatting like soldiers on a summer hike.\"This reminds me of South Clark Street,\" remarked Brady, who had onceserved on the traffic squad inChicago; and as no one asked him why, hevolunteered that it was \"because it's no place for an Irishman.\"\"South Clark Street and heaven have something incommon, then,\"suggested Sinclair.  James and Tippet laughed, and then a hideous growlbroke from a dense thicket ahead and diverted their attention toothermatters.\"One of them behemoths of 'Oly Writ,\" muttered Tippet as they came to ahalt and with guns ready awaited the almost inevitable charge.\"Hungry loto' beggars, these,\" said Bradley; \"always trying to eateverything they see.\"For a moment no further sound came from the thicket.  \"He may befeeding now,\"suggested Bradley.  \"We'll try to go around him.  Can'twaste ammunition.  Won't last forever.  Follow me.\"  And he set off atright angles to their former course,hoping to avert a charge.  Theyhad taken a dozen steps, perhaps, when the thicket moved to the advanceof the thing within it, the leafy branches parted, and thehideous headof a gigantic bear emerged.\"Pick your trees,\" whispered Bradley.  \"Can't waste ammunition.\"The men looked about them.  The bear took a couple ofsteps forward,still growling menacingly.  He was exposed to the shoulders now.Tippet took one look at the monster and bolted for the nearest tree;and then thebear charged.  He charged straight for Tippet.  The othermen scattered for the various trees they had selected--all exceptBradley.  He stood watching Tippet andthe bear.  The man had a goodstart and the tree was not far away; but the speed of the enormouscreature behind him was something to marvel at, yet Tippetwas in afair way to make his sanctuary when his foot caught in a tangle ofroots and down he went, his rifle flying from his hand and fallingseveral yardsaway.  Instantly Bradley's piece was at his shoulder,there was a sharp report answered by a roar of mingled rage and painfrom the carnivore.  Tippet attemptedto scramble to his feet.\"Lie still!\" shouted Bradley.  \"Can't waste ammunition.\"The bear halted in its tracks, wheeled toward Bradley and then backagain towardTippet.  Again the former's rifle spit angrily, and thebear turned again in his direction.  Bradley shouted loudly.  \"Come on,you behemoth of Holy Writ!\" hecried.  \"Come on, you duffer!  Can'twaste ammunition.\"  And as he saw the bear apparently upon the verge ofdeciding to charge him, he encouraged the idea bybacking rapidly away,knowing that an angry beast will more often charge one who moves thanone who lies still.And the bear did charge.  Like a bolt of lightninghe flashed down uponthe Englishman.  \"Now run!\"  Bradley called to Tippet and himselfturned in flight toward a nearby tree.  The other men, nowsafelyensconced upon various branches, watched the race with breathlessinterest.  Would Bradley make it?  It seemed scarce possible.  And ifhe didn't!  Jamesgasped at the thought.  Six feet at the shoulderstood the frightful mountain of blood-mad flesh and bone and sinew thatwas bearing down with the speed of anexpress train upon the seeminglyslow-moving man.It all happened in a few seconds; but they were seconds that seemedlike hours to the men whowatched.  They saw Tippet leap to his feet atBradley's shouted warning.  They saw him run, stooping to recover hisrifle as he passed the spot where it hadfallen.  They saw him glanceback toward Bradley, and then they saw him stop short of the tree thatmight have given him safety and turn back in the direction ofthe bear.Firing as he ran, Tippet raced after the great cave bear--the monstrousthing that should have been extinct ages before--ran for it and firedeven as thebeast was almost upon Bradley.  The men in the treesscarcely breathed.  It seemed to them such a futile thing for Tippet todo, and Tippet of all men!  They hadnever looked upon Tippet as acoward--there seemed to be no cowards among that strangely assortedcompany that Fate had gathered together from the fourcorners of theearth--but Tippet was considered a cautious man.  Overcautious, somethought him.  How futile he and his little pop-gun appeared as hedashedafter that living engine of destruction!  But, oh, how glorious!It was some such thought as this that ran through Brady's mind, thougharticulated it might havebeen expressed otherwise, albeit moreforcefully.Just then it occurred to Brady to fire and he, too, opened upon thebear, but at the same instant the animalstumbled and fell forward,though still growling most fearsomely.  Tippet never stopped running orfiring until he stood within a foot of the brute, which layalmosttouching Bradley and was already struggling to regain its feet.Placing the muzzle of his gun against the bear's ear, Tippet pulled thetrigger.  The creaturesank limply to the ground and Bradley scrambledto his feet.\"Good work, Tippet,\" he said.  \"Mightily obliged to you--awful waste ofammunition, really.\"And thenthey resumed the march and in fifteen minutes the encounterhad ceased even to be a topic of conversation.For two days they continued upon their perilousway.  Already thecliffs loomed high and forbidding close ahead without sign of break toencourage hope that somewhere they might be scaled.  Late intheafternoon the party crossed a small stream of warm water upon thesluggishly moving surface of which floated countless millions of tinygreen eggs surroundedby a light scum of the same color, though of adarker shade.  Their past experience of Caspak had taught them thatthey might expect to come upon a stagnantpool of warm water if theyfollowed the stream to its source; but there they were almost certainto find some of Caspak's grotesque, manlike creatures.  Alreadysincethey had disembarked from the U-33 after its perilous trip through thesubterranean channel beneath the barrier cliffs had brought them intothe inland sea ofCaspak, had they encountered what had appeared to bethree distinct types of these creatures.  There had been the pureapes--huge, gorillalike beasts--and thosewho walked, a trifle moreerect and had features with just a shade more of the human cast aboutthem.  Then there were men like Ahm, whom they had capturedandconfined at the fort--Ahm, the club-man.  \"Well-known club-man,\" Tylerhad called him.  Ahm and his people had knowledge of a speech.  Theyhad alanguage, in which they were unlike the race just inferior tothem, and they walked much more erect and were less hairy: but it wasprincipally the fact that theypossessed a spoken language and carrieda weapon that differentiated them from the others.All of these peoples had proven belligerent in the extreme.  Incommonwith the rest of the fauna of Caprona the first law of nature as theyseemed to understand it was to kill--kill--kill.  And so it was thatBradley had no desireto follow up the little stream toward the poolnear which were sure to be the caves of some savage tribe, but fortuneplayed him an unkind trick, for the pool wasmuch closer than heimagined, its southern end reaching fully a mile south of the point atwhich they crossed the stream, and so it was that after forcing theirwaythrough a tangle of jungle vegetation they came out upon the edgeof the pool which they had wished to avoid.Almost simultaneously there appeared south ofthem a party of naked menarmed with clubs and hatchets.  Both parties halted as they caughtsight of one another.  The men from the fort saw before them ahuntingparty evidently returning to its caves or village laden with meat.They were large men with features closely resembling those of theAfrican Negro thoughtheir skins were white.  Short hair grew upon alarge portion of their limbs and bodies, which still retained aconsiderable trace of apish progenitors.  They were,however, adistinctly higher type than the Bo-lu, or club-men.Bradley would have been glad to have averted a meeting; but as hedesired to lead his party southaround the end of the pool, and as itwas hemmed in by the jungle on one side and the water on the other,there seemed no escape from an encounter.On thechance that he might avoid a clash, Bradley stepped forward withupraised hand.  \"We are friends,\" he called in the tongue of Ahm, theBo-lu, who had been held aprisoner at the fort; \"permit us to pass inpeace.  We will not harm you.\"At this the hatchet-men set up a great jabbering with much laughter,loud andboisterous.  \"No,\" shouted one, \"you will not harm us, for weshall kill you.  Come!  We kill!  We kill!\" And with hideous shoutsthey charged down upon theEuropeans.\"Sinclair, you may fire,\" said Bradley quietly.  \"Pick off the leader.Can't waste ammunition.\"The Englishman raised his piece to his shoulder and tookquick aim atthe breast of the yelling savage leaping toward them.  Directly behindthe leader came another hatchet-man, and with the report of Sinclair'srifle bothwarriors lunged forward in the tall grass, pierced by thesame bullet.  The effect upon the rest of the band was electrical.  Asone man they came to a sudden halt,wheeled to the east and dashed intothe jungle, where the men could hear them forcing their way in aneffort to put as much distance as possible betweenthemselves and theauthors of this new and frightful noise that killed warriors at a greatdistance.Both the savages were dead when Bradley approached toexamine them, andas the Europeans gathered around, other eyes were bent upon them withgreater curiosity than they displayed for the victim ofSinclair'sbullet.  When the party again took up the march around the southern endof the pool the owner of the eyes followed them--large, round eyes,almost"}
+{"doc_id":"doc_280","qid":"","text":"<html><head><title>Wild At Heart Script at IMSDb.</title><meta name=\"description\" content=\"Wild At Heart script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Wild At Heart script, Wild At Heart movie script, Wild At Heart film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>WILD ATHEART</title></head><pre>                <b>W I L D  A T  H E A R T</b>      a love story      written by      David Lynch based on the book by      BarryGiffordAnd now the story of Sailor and Lula.....<b>1. EXT. CITY STREET - DAY</b>A MAN rides a screaming massive Japanese motorcycle - wound out tomaximum R.P.M. up the street.<b> CUT TO:</b><b>2. SIGN BY ROADSIDE</b>The sign reads \u0000KIDS PLAYING - SPEED BUMPS\u0000.<b> CUT TO:</b><b>3.EXT. CITY STREET - DAY</b>With a whine from hell, the front tire of the motorcycle hits a speed bump.The motorcycle becomes airborne and on the way upslices itself in half as it scrapes along the full length of a Datsun Kingcab.In the air, the rider and motorcycle twist violently as they fly by.The motorcycle bouncesoff a black \u000066 Chevrolet and makes a sound like the end of the world.The rider hits the same Chevy a moment later.  Like a broken ragdoll shot from a canon,the man punches through the back window blowing glass for a block.  He stops somewhere under the front seat and a bubble of blood forms out his nose.Themotorcycle continues on sliding and spinning with an ear-piercing howl for one entire city block.<b> CUT TO:</b><b>4. EXT. NEIGHBORHOOD STREETS -VACANT LOT - DAY</b>Two rabid dogs fight ferociously in a vacant lot - ripping each other\u0000s flesh.  An OLD COUPLE, both with walkers, inch painfully along"}
+{"doc_id":"doc_281","qid":"","text":"Project Gutenberg's Tom Swift and his Electric Rifle, by Victor AppletonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Tom Swift and his Electric RifleAuthor: Victor AppletonPosting Date: January 16, 2009 [EBook #3777]Release Date: February, 2003Lastupdated November 10, 2010Last updated: April 22, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK TOM SWIFT AND HIS ELECTRICRIFLE ***Produced by This etext was produced by Charles Franks,Greg Weeks, and the Online Distributed Proofreading Team.TOM SWIFT AND HIS ELECTRICRIFLEORDaring Adventures in Elephant Landby VICTOR APPLETONCONTENTS     I   TOM WANTS EXCITEMENT    II   TRYING THE NEW GUN   III   A DIFFICULTTEST    IV   BIG TUSKS WANTED     V   RUSH WORK    VI   NEWS FROM ANDY   VII   THE BLACK HAWK FLIES  VIII   OFF FOR AFRICA    IX   ATTACKED BY AWHALE     X   OFF IN THE AIRSHIP    XI   ANCHORED TO EARTH   XII   AMONG THE NATIVES  XIII   ON THE ELEPHANT TRAIL   XIV   A STAMPEDE    XV   LIONSIN THE NIGHT   XVI   SEEKING THE MISSIONARIES  XVII   SHOTS FROM ABOVE XVIII   NEWS OF THE RED PYGMIES   XIX   AN APPEAL FOR HELP    XX   THEFIGHT   XXI   DRIVEN BACK  XXII   A NIGHT ATTACK XXIII   THE RESCUE  XXIV   TWO OTHER CAPTIVES   XXV   THE ROGUE ELEPHANT--CONCLUSIONCHAPTERITOM WANTS EXCITEMENT\"Have you anything special to do to-night, Ned?\" asked Tom Swift,the well-known inventor, as he paused in front of his chum'swindow,in the Shopton National Bank.\"No, nothing in particular,\" replied the bank clerk, as he stackedup some bundles of bills. \"Why do you ask?\"\"I wanted youto come over to the house for a while.\"\"Going to have a surprise party, or something like that?\"\"No, only I've got something I'd like to show you.\"\"A newinvention?\"\"Well, not exactly new. You've seen it before, but not since I'veimproved it. I'm speaking of my new electric rifle. I've got itready to try, now, and I'dlike to see what you think of it. There'sa rifle range over at the house, and we can practice some shooting,if you haven't anything else to do.\"\"I haven't, and I'll beglad to come. What are you doing in thebank, anyhow; putting away more of your wealth, Tom?\"\"Yes, I just made a little deposit. It's some money I got fromthegovernment for the patents on my sky racer, and I'm salting it downhere until Dad and I can think of a better investment.\"\"Good idea. Bring us all the moneyyou can,\" and the bank clerk, whoheld a small amount of stock in the financial institution, laughed,his chum joining in with him.\"Well, then. I'll expect you overthis evening,\" went on theyouthful inventor, as he turned to leave the bank.\"Yes, I'll be there. Say, Tom, have you heard the latest about AndyFoger?\"\"No, Ihaven't heard much since he left town right after I beat himin the aeroplane race at Eagle Park.\"\"Well, he's out of town all right, and I guess for a long timethistrip. He's gone to Europe.\"\"To Europe, eh? Well, he threatened to go there after he failed tobeat me in the race, but I thought he was only bluffing.\"\"No, he'sreally gone this time.\"\"Well, I, for one, am glad of it. Did he take his aeroplane along?\"\"Yes, that's what he went for. It seems that this Mr. Landbacher,theGerman who really invented it, and built it with money which Mr.Foger supplied, has an idea he can interest the German or some otherEuropean government inthe machine. Andy wanted to go along withhim, and as Mr. Foger financed the scheme, I guess he thought itwould be a good thing to have some one representhim. So Andy'sgone.\"\"Then he won't bother me. Well, I must get along. I'll expect youover to-night,\" and with a wave of his hand Tom Swift hurried fromthebank.The young inventor jumped into his electric runabout which stoodoutside the institution, and was about to start off when he saw anewsboy selling paperswhich had just come in from New York, on themorning train.\"Here, Jack, give me a TIMES,\" called Tom to the lad, and he tossedthe newsboy a nickel. Then, afterglancing at the front page, andnoting the headings, Tom started off his speedy car, in which, onone occasion, he had made a great run, against time. He wassoon athome.\"Well, Dad, I've got the money safely put away,\" he remarked to anaged gentleman who sat in the library reading a book. \"Now we won'thave toworry about thieves until we get some more cash in.\"\"Well, I'm glad it's coming in so plentifully,\" said Mr. Swift witha smile. \"Since my illness I haven't been ableto do much, Tom, andit all depends on you, now.\"\"Don't let that worry you, Dad. You'll soon be as busy as ever,\"for, following a serious operation for an ailmentof the heart, Mr.Swift, who was a veteran inventor, had not been able to do much. Butthe devices of his son, especially a speedy monoplane, which Tominvented,and sold to the United States Government, were nowbringing them in a large income. In fact with royalties from hisinventions and some gold and diamonds whichhe had secured on twoperilous trips, Tom Swift was quite wealthy.\"I'll never be as busy as I once was,\" went on Mr. Swift, a littleregretfully, \"but I don't knowthat I care as long as you continueto turn out new machines, Tom. By the way, how is the electric riflecoming on? I haven't heard you speak of it lately.\"\"It'spractically finished, Dad. It worked pretty well the time Itook it when we went on the trip to the caves of ice, but I'veimproved it very much since then. In fact I'mgoing to give it asevere test to-night. Ned Newton is coming over, and it may be thatthen we'll find out something about it that could be bettered. But Ithink not.It suits me as it is.\"\"So Ned is coming over to see it; eh? You ought to have Mr. Damonhere to bless it a few times.\"\"Yes, I wish I did. And he may come along atany moment, as it is.You never can tell when he is going to turn up. Mrs. Baggert saysyou were out walking while I was at the bank, Dad. Do you feelbetter afterit?\"\"Yes, I think I do, Tom. Oh, I'm growing stronger every day, but itwill take time. But now tell me something about the electric gun.\"Thereupon the younginventor related to his father some facts aboutthe improvements he had recently made to the weapon. It was dinnertime when he had finished, and, after themeal Tom went out to theshed where he built his aeroplanes and his airships, and in whichbuilding he had fitted up a shooting gallery.\"I'll get ready for the trialto-night,\" he said \"I want to see whatit will do to a dummy figure. Guess I'll make a sort of scarecrowand stuff it with straw. I'll get Eradicate to help me. Rad! Isay,Rad! Where are you?\"\"Heah I is, Massa Tom! Heah I is,\" called a colored man as he camearound the corner of a small stable where he kept hismuleBoomerang. \"Was yo'-all callin' me?\"\"Yes, Rad, I want you to help make a scarecrow.\"\"A scarecrow, Massa Tom! Good land a' massy! What fo' yo' want obascarecrow? Yo'-all ain't raisin' no corn, am yo'?\"\"No, but I want something to shoot at when Ned Newton comes overto-night.\"\"Suffin t' shoot at? Why MassaTom! Good land a' massy! Yo'-allain't gwine t' hab no duel, am yo'?\"\"No, Rad, but I want a life-size figure on which to try my newelectric gun. Here are some oldclothes, and if you will stuff themwith rags and straw and fix them so they'll stand up, they'll dofirst-rate. Have it ready by night, and set it up at the far end oftheshooting gallery.\"\"All right, Massa Tom. I'll jest do dat, fo' yo',\" and leaving thecolored man to stuff the figure, after he had showed him how, Tomwent back intothe house to read the paper which he had purchasedthat morning.He skimmed over the news, thinking perhaps he might see something ofthe going abroad ofAndy Foger with the German aeroplane, but therewas nothing.\"I almost wish I was going to Europe,\" sighed Tom. \"I will certainlyhave to get busy at something,soon. I haven't had any adventuresince I won the prize at the Eagle Park aviation meet in my skyracer. Jove! That was some excitement! I'd like to do thatoveragain, only I shouldn't want to have Dad so sick,\" for just beforethe race, Tom had saved his father's life by making a quick run inthe aeroplane, to bring acelebrated surgeon to the invalid's aid.\"I certainly wish I could have some new adventures,\" mused Tom, ashe turned the pages of the paper. \"I could afford totake a triparound the earth after them, too, with the way money is coming innow. Yes, I do wish I could have some excitement. Hello, what'sthis! A big elephanthunt in Africa. Hundreds of the huge creaturescaptured in a trap--driven in by tame beasts. Some are shot fortheir tusks. Others will be sent to museums.\"He wasreading the headlines of the article that had attracted hisattention, and, as he read, he became more and more absorbed in it.He read the story through twice,and then, with sparkling eyes, heexclaimed:\"That's just what I want. Elephant shooting in Africa! My! With mynew electric rifle, and an airship, what couldn't afellow do overin the dark continent! I've a good notion to go there! I wonder ifNed would go with me? Mr. Damon certainly would. Elephant shootingin Africa! Inan airship! I could finish my new sky craft in shortorder if I wanted to. I've a good notion to do it!\"CHAPTER IITRYING THE NEW GUNWhile Tom Swift is thusabsorbed in thinking about a chance to huntelephants, we will take the opportunity to tell you a little moreabout him, and then go on with the story.Many of youalready know the young inventor, but those who do notmay be interested in hearing that he is a young American lad, fullof grit and ginger, who lives with hisaged father in the town ofShopton, in New York State. Our hero was first introduced to thepublic in the book, \"Tom Swift and His Motorcycle.\"In that volume itwas related how Tom bought a motor-cycle from aMr. Wakefield Damon, of Waterford. Mr. Damon was an eccentricindividual, who was continually blessinghimself, some one else, orsomething belonging to him. His motor-cycle tried to climb a treewith him, and that was why he sold it to Tom. The two thusbecameacquainted, and their friendship grew from year to year.After many adventures on his motor-cycle Tom got a motor-boat, andhad some exciting times inthat. One of the things he and his fatherand his chum, Ned Newton, did, was to rescue, from a burning balloonthat had fallen into Lake Carlopa, an aeronautnamed John Sharp.Later Tom and Mr. Sharp built an airship called the Red Cloud, andwith Mr. Damon and some others had a series of remarkable fights.In theRed Cloud they got on the track of some bank robbers, andcaptured them, thus foiling the plans of Andy Foger, a town bully,and one of Tom's enemies, andputting to confusion the plot of Mr.Foger, Andy's father.After many adventures in the air Tom and his friends, in a submarineboat, invented by Mr. Swift, wentunder the ocean for sunkentreasure and secured a large part of it.It was not long after this that Tom conceived the idea of a powerfulelectric car, which proved, tobe the speediest of the road, and init he won a great race, and saved from ruin a bank in which hisfather and Mr. Damon were interested.The sixth book of theseries, entitled \"Tom Swift and His WirelessMessage,\" tells how, in testing a new electric airship, which afriend of Mr. Damon's had invented, Tom, the inventor"}
+{"doc_id":"doc_282","qid":"","text":"The Project Gutenberg EBook of The Ball at Sceaux, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Ball at SceauxAuthor: Honore de BalzacTranslator: Clara BellRelease Date: May, 1998  [Etext #1305]Posting Date: February 22,2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE BALL AT SCEAUX ***Produced by DagnyTHE BALL AT SCEAUXBY HONORE DEBALZACTranslated By Clara Bell              To Henri de Balzac, his brother Honore.THE BALL AT SCEAUXThe Comte de Fontaine, head of one of the oldest familiesin Poitou, hadserved the Bourbon cause with intelligence and bravery during the warin La Vendee against the Republic. After having escaped all the dangerswhichthreatened the royalist leaders during this stormy period ofmodern history, he was wont to say in jest, \"I am one of the men whogave themselves to be killed onthe steps of the throne.\" And thepleasantry had some truth in it, as spoken by a man left for dead at thebloody battle of Les Quatre Chemins. Though ruined byconfiscation, thestaunch Vendeen steadily refused the lucrative posts offered to himby the Emperor Napoleon. Immovable in his aristocratic faith, he hadblindlyobeyed its precepts when he thought it fitting to choosea companion for life. In spite of the blandishments of a rich butrevolutionary parvenu, who valued thealliance at a high figure, hemarried Mademoiselle de Kergarouet, without a fortune, but belonging toone of the oldest families in Brittany.When the secondrevolution burst on Monsieur de Fontaine he wasencumbered with a large family. Though it was no part of the noblegentlemen's views to solicit favors, he yieldedto his wife's wish, lefthis country estate, of which the income barely sufficed to maintain hischildren, and came to Paris. Saddened by seeing the greediness ofhisformer comrades in the rush for places and dignities under the newConstitution, he was about to return to his property when he received aministerial despatch,in which a well-known magnate announced to him hisnomination as marechal de camp, or brigadier-general, under a rulewhich allowed the officers of the Catholicarmies to count the twentysubmerged years of Louis XVIII.'s reign as years of service. Some dayslater he further received, without any solicitation, ex officio,thecrosses of the Legion of Honor and of Saint-Louis.Shaken in his determination by these successive favors, due, as hesupposed, to the monarch'sremembrance, he was no longer satisfied withtaking his family, as he had piously done every Sunday, to cry \"Vive leRoi\" in the hall of the Tuileries when the royalfamily passed throughon their way to chapel; he craved the favor of a private audience.The audience, at once granted, was in no sense private. Theroyaldrawing-room was full of old adherents, whose powdered heads, seen fromabove, suggested a carpet of snow. There the Count met some old friends,whoreceived him somewhat coldly; but the princes he thought ADORABLE,an enthusiastic expression which escaped him when the most gracious ofhis masters, towhom the Count had supposed himself to be known onlyby name, came to shake hands with him, and spoke of him as the mostthorough Vendeen of them all.Notwithstanding this ovation, none ofthese august persons thought of inquiring as to the sum of his losses,or of the money he had poured so generously into thechests of theCatholic regiments. He discovered, a little late, that he had made warat his own cost. Towards the end of the evening he thought he mightventure ona witty allusion to the state of his affairs, similar, asit was, to that of many other gentlemen. His Majesty laughed heartilyenough; any speech that bore thehall-mark of wit was certain to pleasehim; but he nevertheless replied with one of those royal pleasantrieswhose sweetness is more formidable than the anger ofa rebuke. One ofthe King's most intimate advisers took an opportunity of going up to thefortune-seeking Vendeen, and made him understand by a keen andpolitehint that the time had not yet come for settling accounts with thesovereign; that there were bills of much longer standing than his on thebooks, and there,no doubt, they would remain, as part of the history ofthe Revolution. The Count prudently withdrew from the venerable group,which formed a respectfulsemi-circle before the august family; then,having extricated his sword, not without some difficulty, from among thelean legs which had got mixed up with it, hecrossed the courtyard ofthe Tuileries and got into the hackney cab he had left on the quay. Withthe restive spirit, which is peculiar to the nobility of the oldschool,in whom still survives the memory of the League and the day of theBarricades (in 1588), he bewailed himself in his cab, loudly enoughto compromise him,over the change that had come over the Court.\"Formerly,\" he said to himself, \"every one could speak freely to theKing of his own little affairs; the nobles couldask him a favor, or formoney, when it suited them, and nowadays one cannot recover the moneyadvanced for his service without raising a scandal! By Heaven!the crossof Saint-Louis and the rank of brigadier-general will not make good thethree hundred thousand livres I have spent, out and out, on the royalcause. Imust speak to the King, face to face, in his own room.\"This scene cooled Monsieur de Fontaine's ardor all the more effectuallybecause his requests for aninterview were never answered. And,indeed, he saw the upstarts of the Empire obtaining some of the officesreserved, under the old monarchy, for the highestfamilies.\"All is lost!\" he exclaimed one morning. \"The King has certainly neverbeen other than a revolutionary. But for Monsieur, who never derogates,and is somecomfort to his faithful adherents, I do not know what handsthe crown of France might not fall into if things are to go onlike this. Their cursed constitutional systemis the worst possiblegovernment, and can never suit France. Louis XVIII. and Monsieur Beugnotspoiled everything at Saint Ouen.\"The Count, in despair, waspreparing to retire to his estate,abandoning, with dignity, all claims to repayment. At this momentthe events of the 20th March (1815) gave warning of a freshstorm,threatening to overwhelm the legitimate monarch and his defenders.Monsieur de Fontaine, like one of those generous souls who do notdismiss a servant ina torrent of rain; borrowed on his lands tofollow the routed monarchy, without knowing whether this complicity inemigration would prove more propitious to himthan his past devotion.But when he perceived that the companions of the King's exile werein higher favor than the brave men who had protested, sword inhand,against the establishment of the republic, he may perhaps have hoped toderive greater profit from this journey into a foreign land than fromactive anddangerous service in the heart of his own country. Nor washis courtier-like calculation one of these rash speculations whichpromise splendid results on paper, andare ruinous in effect. He was--toquote the wittiest and most successful of our diplomates--one of thefaithful five hundred who shared the exile of the Court atGhent,and one of the fifty thousand who returned with it. During the shortbanishment of royalty, Monsieur de Fontaine was so happy as to beemployed by LouisXVIII., and found more than one opportunity of givinghim proofs of great political honesty and sincere attachment. Oneevening, when the King had nothing betterto do, he recalled Monsieur deFontaine's witticism at the Tuileries. The old Vendeen did not let sucha happy chance slip; he told his history with so much vivacitythata king, who never forgot anything, might remember it at a convenientseason. The royal amateur of literature also observed the elegant stylegiven to somenotes which the discreet gentleman had been invited torecast. This little success stamped Monsieur de Fontaine on the King'smemory as one of the loyal servantsof the Crown.At the second restoration the Count was one of those special envoys whowere sent throughout the departments charged with absolutejurisdictionover the leaders of revolt; but he used his terrible powers withmoderation. As soon as the temporary commission was ended, the HighProvost found aseat in the Privy Council, became a deputy, spokelittle, listened much, and changed his opinions very considerably.Certain circumstances, unknown to historians,brought him into suchintimate relations with the Sovereign, that one day, as he came in, theshrewd monarch addressed him thus: \"My friend Fontaine, I shalltakecare never to appoint you to be director-general, or minister. Neitheryou nor I, as employees, could keep our place on account of our opinions.Representativegovernment has this advantage; it saves Us the trouble Weused to have, of dismissing Our Secretaries of State. Our Council isa perfect inn-parlor, whither publicopinion sometimes sends strangetravelers; however, We can always find a place for Our faithfuladherents.\"This ironical speech was introductory to a rescriptgiving Monsieur deFontaine an appointment as administrator in the office of Crown lands.As a consequence of the intelligent attention with which he listened tohisroyal Friend's sarcasms, his name always rose to His Majesty'slips when a commission was to be appointed of which the members wereto receive a handsomesalary. He had the good sense to hold his tongueabout the favor with which he was honored, and knew how to entertain themonarch in those familiar chats inwhich Louis XVIII. delighted asmuch as in a well-written note, by his brilliant manner ofrepeating political anecdotes, and the political orparliamentarytittle-tattle--if the expression may pass--which at that time was rife.It is well known that he was immensely amused by every detail ofhisGouvernementabilite--a word adopted by his facetious Majesty.Thanks to the Comte de Fontaine's good sense, wit, and tact, everymember of his numerousfamily, however young, ended, as he jestinglytold his Sovereign, in attaching himself like a silkworm to the leavesof the Pay-List. Thus, by the King's intervention,his eldest sonfound a high and fixed position as a lawyer. The second, before therestoration a mere captain, was appointed to the command of a legion onthereturn from Ghent; then, thanks to the confusion of 1815, when theregulations were evaded, he passed into the bodyguard, returned to aline regiment, andfound himself after the affair of the Trocaderoa lieutenant-general with a commission in the Guards. The youngest,appointed sous-prefet, ere long became a legalofficial and director ofa municipal board of the city of Paris, where he was safe from changesin Legislature. These bounties, bestowed without parade, and assecretas the favor enjoyed by the Count, fell unperceived. Though the fatherand his three sons each had sinecures enough to enjoy an income insalaries almostequal to that of a chief of department, their politicalgood fortune excited no envy. In those early days of the constitutionalsystem, few persons had very preciseideas of the peaceful domain of thecivil service, where astute favorites managed to find an equivalent forthe demolished abbeys. Monsieur le Comte de Fontaine,"}
+{"doc_id":"doc_283","qid":"","text":"The Project Gutenberg EBook of Cicero's Brutus or History of FamousOrators; also His Orator, or Accomplished Speaker., by CiceroThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project GutenbergLicense includedwith this eBook or online at www.gutenberg.netTitle: Cicero's Brutus or History of Famous Orators; also His Orator, or AccomplishedSpeaker.Author: CiceroPosting Date: November 15, 2011 [EBook #9776]Release Date: January, 2006First Posted: October 15, 2003Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK CICERO'S BRUTUS ***Produced by Anne Soulard, Ted Garvin, and the ProjectGutenberg Online Distributed ProofreadingTeamCICERO'S BRUTUS,ORHISTORY OF FAMOUS ORATORS:ALSO,HIS ORATOR,ORACCOMPLISHED SPEAKER.Now first translated into English by E.JonesPREFACE.As the following Rhetorical Pieces have never appeared before in theEnglish language, I thought a Translation of them would be nounacceptableoffering to the Public. The character of the Author (Marcus TulliusCicero) is so universally celebrated, that it would be needless, andindeedimpertinent, to say any thing to recommend them.The first of them was the fruit of his retirement, during the remains ofthe _Civil War_ in Africa; and wascomposed in the form of a Dialogue. Itcontains a few short, but very masterly sketches of all the Speakerswho had flourished either in Greece or Rome, with anyreputation ofEloquence, down to his own time; and as he generally touches the principalincidents of their lives, it will be considered, by an attentive reader,as a_concealed epitome of the Roman history_. The conference is supposedto have been held with Atticus, and their common friend Brutus, inCicero's garden atRome, under the statue of Plato, whom he alwaysadmired, and usually imitated in his dialogues: and he seems in this tohave copied even his _double titles_,calling it _Brutus, or the Historyof famous Orators_. It was intended as a _supplement_, or _fourth book_,to three former ones, on the qualifications of anOrator.The second, which is intitled _The Orator_, was composed a very short timeafterwards (both of them in the 61st year of his age) and at the requestofBrutus. It contains a plan, or critical delineation, of what he himselfesteemed the most finished Eloquence, or style of Speaking. He calls it_The Fifth Part, orBook_, designed to complete his _Brutus_, and _theformer three_ on the same subject. It was received with great approbation;and in a letter to Lepta, who hadcomplimented him upon it, he declares,that whatever judgment he had in Speaking, he had thrown it all into thatwork, and was content to risk his reputation onthe merit of it. But it isparticularly recommended to our curiosity, by a more exact account of therhetorical _composition_, or _prosaic harmony_ of the ancients,than is tobe met with in any other part of his works.As to the present Translation, I must leave the merit of it to be decidedby the Public; and have only toobserve, that though I have not, to myknowledge, omitted a single sentence of the original, I was obliged, insome places, to paraphrase my author, to render hismeaning intelligibleto a modern reader. My chief aim was to be clear and perspicuous: if Ihave succeeded in _that_, it is all I pretend to. I must leave it toablerpens to copy the _Eloquence_ of Cicero. _Mine_ is unequal to the task.BRUTUS, OR THE HISTORY OF ELOQUENCE.When I had left Cilicia, and arrived atRhodes, word was brought me of thedeath of Hortensius. I was more affected with it than, I believe, wasgenerally expected. For, by the loss of my friend, I sawmyself for everdeprived of the pleasure of his acquaintance, and of our mutualintercourse of good offices. I likewise reflected, with Concern, that thedignity of ourCollege must suffer greatly by the decease of such aneminent augur. This reminded me, that _he_ was the person who firstintroduced me to the College, wherehe attested my qualification uponoath; and that it was _he_ also who installed me as a member; so that Iwas bound by the constitution of the Order to respectand honour him as aparent. My affliction was increased, that, in such a deplorable dearth ofwife and virtuous citizens, this excellent man, my faithful associateinthe service of the Public, expired at the very time when the Commonwealthcould least spare him, and when we had the greatest reason to regret thewant of hisprudence and authority. I can add, very sincerely, that in_him_ I lamented the loss, not (as most people imagined) of a dangerousrival and competitor, but of agenerous partner and companion in thepursuit of same. For if we have instances in history, though in studies ofless public consequence, that some of the poetshave been greatlyafflicted at the death of their contemporary bards; with what tenderconcern should I honour the memory of a man, with whom it is moregloriousto have disputed the prize of eloquence, than never to have met with anantagonist! especially, as he was always so far from obstructing_my_endeavours, or I _his_, that, on the contrary, we mutually assisted eachother, with our credit and advice.But as _he_, who had a perpetual run of felicity,left the world at ahappy moment for himself, though a most unfortunate one for his fellow-citizens; and died when it would have been much easier for him tolamentthe miseries of his country, than to assist it, after living in it as longas he _could_ have lived with honour and reputation;--we may, indeed,deplore hisdeath as a heavy loss to _us_ who survive him. If, however, weconsider it merely as a personal event, we ought rather to congratulatehis fate, than to pity it;that, as often as we revive the memory of thisillustrious and truly happy man, we may appear at least to have as muchaffection for him as for ourselves. For if weonly lament that we are nolonger permitted to enjoy him, it must, indeed, be acknowledged that thisis a heavy misfortune to _us_; which it, however, becomesus to supportwith moderation, less our sorrow should be suspected to arise from motivesof interest, and not from friendship. But if we afflict ourselves, onthesupposition that _he_ was the sufferer;--we misconstrue an event, which to_him_ was certainly a very happy one.If Hortensius was now living, he wouldprobably regret many otheradvantages in common with his worthy fellow-citizens. But when he beheldthe Forum, the great theatre in which he used to exercisehis genius, nolonger accessible to that accomplished eloquence, which could charm theears of a Roman, or a Grecian audience; he must have felt a pang ofwhichnone, or at least but few, besides himself, could be susceptible. Even _I_am unable to restrain my tears, when I behold my country no longerdefensible bythe genius, the prudence, and the authority of a legalmagistrate,--the only weapons which I have learned to weild, and to whichI have long been accustomed,and which are most suitable to the characterof an illustrious citizen, and of a virtuous and well-regulated state.But if there ever was a time, when the authorityand eloquence of anhonest individual could have wrested their arms from the hands of hisdistracted fellow-citizens; it was then when the proposal of acompromiseof our mutual differences was rejected, by the hasty imprudence of some,and the timorous mistrust of others. Thus it happened, amongothermisfortunes of a more deplorable nature, that when my declining age, aftera life spent in the service of the Public, should have reposed in thepeacefulharbour, not of an indolent, and a total inactivity, but of amoderate and becoming retirement; and when my eloquence was properlymellowed, and had acquiredits full maturity;--thus it happened, I say,that recourse was then had to those fatal arms, which the persons who hadlearned the use of them in honourableconquest, could no longer employ toany salutary purpose. Those, therefore, appear to me to have enjoyed afortunate and a happy life, (of whatever State theywere members, butespecially in _our's_) who held their authority and reputation, either fortheir military or political services, without interruption: and thesoleremembrance of them, in our present melancholy situation, was a pleasingrelief to me, when we lately happened to mention them in the courseofconversation.For, not long ago, when I was walking for my amusement, in a privateavenue at home, I was agreeably interrupted by my friend Brutus, andT.Pomponius, who came, as indeed they frequently did, to visit me;--twoworthy citizens who were united to each other in the closest friendship,and were so dearand so agreeable to me, that, on the first sight of them,all my anxiety for the Commonwealth subsided. After the usualsalutations,--\"Well, gentlemen,\" said I,\"how go the times? What news haveyou brought?\" \"None,\" replied Brutus, \"that you would wish to hear, orthat I can venture to tell you for truth.\"--\"No,\" saidAtticus; \"we arecome with an intention that all matters of state should be dropped; andrather to hear something from you, than to say any thing which mightserveto distress you.\" \"Indeed,\" said I, \"your company is a present remedy formy sorrow; and your letters, when absent, were so encouraging, that theyfirstrevived my attention to my studies.\"--\"I remember,\" repliedAtticus, \"that Brutus sent you a letter from Asia, which I read withinfinite pleasure: for he advised youin it like a man of sense, and gaveyou every consolation which the warmest friendship could suggest.\"--\"True,\" said I, \"for it was the receipt of that letter whichrecovered mefrom a growing indisposition, to behold once more the cheerful face ofday; and as the Roman State, after the dreadful defeat near Cannae,firstraised its drooping head by the victory of Marcellus at Nola, which wassucceeded by many other victories; so, after the dismal wreck of ouraffairs, both publicand private, nothing occurred to me before the letterof my friend Brutus, which I thought to be worth my attention, or whichcontributed, in any degree, to theanxiety of my heart.\"--\"That wascertainly my intention,\" answered Brutus; \"and if I had the happiness tosucceed, I was sufficiently rewarded for my trouble. But Icould wish tobe informed, what you received from Atticus which gave you such uncommonpleasure.\"--\"That,\" said I, \"which not only entertained me; but, Ihope,has restored me entirely to myself.\"--\"Indeed!\" replied he; \"and whatmiraculous composition could that be?\"--\"Nothing,\" answered I; \"could havebeen amore acceptable, or a more seasonable present, than that excellentTreatise of his which roused me from a state of languor and despondency.\"--\"You mean,\" saidhe, \"his short, and, I think, very accurate abridgmentof Universal History.\"--\"The very same,\" said I; \"for that little Treatisehas absolutely saved me.\"--\"I amheartily glad of it,\" said Atticus; \"butwhat could you discover in it which was either new to you, or sowonderfully beneficial as you pretend?\"--\"It certainlyfurnished manyhints,\" said I, \"which were entirely new to me: and the exact order oftime which you observed through the whole, gave me the opportunity Ihadlong wished for, of beholding the history of all nations in one regularand comprehensive view. The attentive perusal of it proved an excellentremedy for my"}
+{"doc_id":"doc_284","qid":"","text":"Project Gutenberg's Bliss, and Other Stories, by Katherine MansfieldThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Bliss, and Other StoriesAuthor: Katherine MansfieldRelease Date: December 8, 2013 [EBook #44385]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK BLISS, AND OTHER STORIES ***Produced by Paul Haxo from page images generously madeavailable by the Internet Archiveand the University ofMichigan Library.BLISSAND OTHER STORIES\". . . _but I tell you, my lord fool, out of this nettle danger, wepluck this flower,safety._\"BLISSAND OTHER STORIESBYKATHERINE MANSFIELDLONDON: CONSTABLE& COMPANY LIMITED_Published_ 1920_Reprinted_ 1920_Reprinted_1921_Reprinted_ 1921_Reprinted_ 1921_Reprinted_ 1922_Reprinted_ 1922_Reprinted_ 1923_Reprinted_ 1924_Reprinted_ 1925Printed in Great Britain at_TheMayflower Press, Plymouth._ William Brendon & Son, Ltd.TOJOHN MIDDLETONMURRYCONTENTS                                       PAGEPRELUDE  .   .   .   .   .   .   .   .    1JE NE PARLE PAS FRANÃ\u0000AIS.   .   .   .   71BLISS    .   .   .   .   .   .   .   .  116THE WINDBLOWS   .   .   .   .   .   .  137PSYCHOLOGY   .   .   .   .   .   .   .  145PICTURES     .   .   .   .   .   .   .  157THE MAN WITHOUT A TEMPERAMENT    .   .  172MR.REGINALD PEACOCK'S DAY   .   .   .  194SUN AND MOON     .   .   .   .   .   .  208FEUILLE D'ALBUM  .   .   .   .   .   .  218A DILL PICKLE    .   .   .   .   .   .  228THELITTLE GOVERNESS .   .   .   .   .  239REVELATIONS  .   .   .   .   .   .   .  262THE ESCAPE   .   .   .   .   .   .   .  272PRELUDE1THERE was not an inch of room forLottie and Kezia in the buggy. WhenPat swung them on top of the luggage they wobbled; the grandmother'slap was full and Linda Burnell could not possibly haveheld a lump ofa child on hers for any distance. Isabel, very superior, was perchedbeside the new handy-man on the driver's seat. Hold-alls, bags andboxes werepiled upon the floor. \"These are absolute necessities thatI will not let out of my sight for one instant,\" said Linda Burnell,her voice trembling with fatigue andexcitement.Lottie and Kezia stood on the patch of lawn just inside the gate allready for the fray in their coats with brass anchor buttons and littleround caps withbattleship ribbons. Hand in hand, they stared withround solemn eyes first at the absolute necessities and then at theirmother.\"We shall simply have to leavethem. That is all. We shall simply haveto cast them off,\" said Linda Burnell. A strange little laugh flewfrom her lips; she leaned back against the buttoned leathercushionsand shut her eyes, her lips trembling with laughter. Happily at thatmoment Mrs. Samuel Josephs, who had been watching the scene frombehind herdrawing-room blind, waddled down the garden path.\"Why nod leave the chudren with be for the afterdoon, Brs. Burnell?They could go on the dray with thestoreban when he comes in theeveding. Those thigs on the path have to go, dod't they?\"\"Yes, everything outside the house is supposed to go,\" said LindaBurnell,and she waved a white hand at the tables and chairs standingon their heads on the front lawn. How absurd they looked! Either theyought to be the other way up,or Lottie and Kezia ought to stand ontheir heads, too. And she longed to say: \"Stand on your heads,children, and wait for the store-man.\" It seemed to her thatwould beso exquisitely funny that she could not attend to Mrs. Samuel Josephs.The fat creaking body leaned across the gate, and the big jelly of aface smiled.\"Dod't you worry, Brs. Burnell. Loddie and Kezia can havetea with by chudren in the dursery, and I'll see theb on the drayafterwards.\"The grandmotherconsidered. \"Yes, it really is quite the best plan. Weare very obliged to you, Mrs. Samuel Josephs. Children, say 'thankyou' to Mrs. Samuel Josephs.\"Two subduedchirrups: \"Thank you, Mrs. Samuel Josephs.\"\"And be good little girls, and--come closer--\" they advanced, \"don'tforget to tell Mrs. Samuel Josephs when you wantto. . . .\"\"No, granma.\"\"Dod't worry, Brs. Burnell.\"At the last moment Kezia let go Lottie's hand and darted towards thebuggy.\"I want to kiss my granma good-byeagain.\"But she was too late. The buggy rolled off up the road, Isabelbursting with pride, her nose turned up at all the world, LindaBurnell prostrated, and thegrandmother rummaging among the verycurious oddments she had had put in her black silk reticule at thelast moment, for something to give her daughter. Thebuggy twinkledaway in the sunlight and fine golden dust up the hill and over. Keziabit her lip, but Lottie, carefully finding her handkerchief first, setup awail.\"Mother! Granma!\"Mrs. Samuel Josephs, like a huge warm black silk tea cosy, envelopedher.\"It's all right, by dear. Be a brave child. You come and blay inthedursery!\"She put her arm round weeping Lottie and led her away. Kezia followed,making a face at Mrs. Samuel Josephs' placket, which was undone asusual,with two long pink corset laces hanging out of it. . . .Lottie's weeping died down as she mounted the stairs, but the sight ofher at the nursery door with swolleneyes and a blob of a nose gavegreat satisfaction to the S. J.'s, who sat on two benches before along table covered with American cloth and set out with immenseplatesof bread and dripping and two brown jugs that faintly steamed.\"Hullo! You've been crying!\"\"Ooh! Your eyes have gone right in.\"\"Doesn't her nose lookfunny.\"\"You're all red-and-patchy.\"Lottie was quite a success. She felt it and swelled, smiling timidly.\"Go and sit by Zaidee, ducky,\" said Mrs. Samuel Josephs,\"and Kezia,you sid ad the end by Boses.\"Moses grinned and gave her a nip as she sat down; but she pretendednot to notice. She did hate boys.\"Which will youhave?\" asked Stanley, leaning across the table verypolitely, and smiling at her. \"Which will you have to beginwith--strawberries and cream or bread anddripping?\"\"Strawberries and cream, please,\" said she.\"Ah-h-h-h.\" How they all laughed and beat the table with theirteaspoons. Wasn't that a take in! Wasn't itnow! Didn't he fox her!Good old Stan!\"Ma! She thought it was real.\"Even Mrs. Samuel Josephs, pouring out the milk and water, could nothelp smiling. \"Youbustn't tease theb on their last day,\" she wheezed.But Kezia bit a big piece out of her bread and dripping, and thenstood the piece up on her plate. With the biteout it made a dearlittle sort of a gate. Pooh! She didn't care! A tear rolled down hercheek, but she wasn't crying. She couldn't have cried in front ofthose awfulSamuel Josephs. She sat with her head bent, and as thetear dripped slowly down, she caught it with a neat little whisk ofher tongue and ate it before any of themhad seen.2After tea Kezia wandered back to their own house. Slowly she walked upthe back steps, and through the scullery into the kitchen. Nothing wasleft in itbut a lump of gritty yellow soap in one corner of thekitchen window sill and a piece of flannel stained with a blue bag inanother. The fireplace was choked up withrubbish. She poked among itbut found nothing except a hair-tidy with a heart painted on it thathad belonged to the servant girl. Even that she left lying, andshetrailed through the narrow passage into the drawing-room. The Venetianblind was pulled down but not drawn close. Long pencil rays ofsunlight shone throughand the wavy shadow of a bush outside danced onthe gold lines. Now it was still, now it began to flutter again, andnow it came almost as far as her feet. Zoom!Zoom! a blue-bottleknocked against the ceiling; the carpet-tacks had little bits of redfluff sticking to them.The dining-room window had a square of coloured glassat each corner.One was blue and one was yellow. Kezia bent down to have one more lookat a blue lawn with blue arum lilies growing at the gate, and then atayellow lawn with yellow lilies and a yellow fence. As she looked alittle Chinese Lottie came out on to the lawn and began to dust thetables and chairs with a cornerof her pinafore. Was that reallyLottie? Kezia was not quite sure until she had looked through theordinary window.Upstairs in her father's and mother's room shefound a pill box blackand shiny outside and red in, holding a blob of cotton wool.\"I could keep a bird's egg in that,\" she decided.In the servant girl's room therewas a stay-button stuck in a crack ofthe floor, and in another crack some beads and a long needle. She knewthere was nothing in her grandmother's room; shehad watched her pack.She went over to the window and leaned against it, pressing her handsagainst the pane.Kezia liked to stand so before the window. Sheliked the feeling ofthe cold shining glass against her hot palms, and she liked to watchthe funny white tops that came on her fingers when she pressed themhardagainst the pane. As she stood there, the day flickered out anddark came. With the dark crept the wind snuffling and howling. Thewindows of the empty houseshook, a creaking came from the walls andfloors, a piece of loose iron on the roof banged forlornly. Kezia wassuddenly quite, quite still, with wide open eyes andknees pressedtogether. She was frightened. She wanted to call Lottie and to go oncalling all the while she ran downstairs and out of the house. But ITwas justbehind her, waiting at the door, at the head of the stairs,at the bottom of the stairs, hiding in the passage, ready to dart outat the back door. But Lottie was atthe back door, too.\"Kezia!\" she called cheerfully. \"The storeman's here. Everything is onthe dray and three horses, Kezia. Mrs. Samuel Josephs has given us abigshawl to wear round us, and she says to button up your coat. Shewon't come out because of asthma.\"Lottie was very important.\"Now then, you kids,\" called thestoreman. He hooked his big thumbsunder their arms and up they swung. Lottie arranged the shawl \"mostbeautifully\" and the storeman tucked up their feet in apiece of oldblanket.\"Lift up. Easy does it.\"They might have been a couple of young ponies. The storeman felt overthe cords holding his load, unhooked thebrakechain from the wheel,and whistling, he swung up beside them.\"Keep close to me,\" said Lottie, \"because otherwise you pull the shawlaway from my side,Kezia.\"But Kezia edged up to the storeman. He towered beside her big as agiant and he smelled of nuts and new wooden boxes.3It was the first time that Lottieand Kezia had ever been out so late.Everything looked different--the painted wooden houses far smallerthan they did by day, the gardens far bigger and wilder.Bright starsspeckled the sky and the moon hung over the harbour dabbling the waveswith gold. They could see the lighthouse shining on Quarantine Island,andthe green lights on the old coal hulks.\"There comes the Picton boat,\" said the storeman, pointing to a littlesteamer all hung with bright beads.But when theyreached the top of the hill and began to go down theother side the harbour disappeared, and although they were still inthe town they were quite lost. Other cartsrattled past. Everybodyknew the storeman.\"Night, Fred.\"\"Night O,\" he shouted.Kezia liked very much to hear him. Whenever a cart appeared in thedistance she"}
+{"doc_id":"doc_285","qid":"","text":"The Project Gutenberg EBook of Father Goriot, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Father GoriotAuthor: Honore de BalzacTranslator: Ellen MarriageRelease Date: March, 1998  [Etext #1237]Posting Date: February 22,2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK FATHER GORIOT ***Produced by DagnyFATHER GORIOTBy Honore DeBalzacTranslated by Ellen Marriage     To the great and illustrious Geoffroy Saint-Hilaire, a token     of admiration for his works andgenius.                                                      DE BALZAC.FATHER GORIOTMme. Vauquer (_nee_ de Conflans) is an elderly person, who for the pastforty years haskept a lodging-house in the Rue Nueve-Sainte-Genevieve,in the district that lies between the Latin Quarter and the FaubourgSaint-Marcel. Her house (known inthe neighborhood as the _MaisonVauquer_) receives men and women, old and young, and no word has everbeen breathed against her respectable establishment;but, at the sametime, it must be said that as a matter of fact no young woman has beenunder her roof for thirty years, and that if a young man stays thereforany length of time it is a sure sign that his allowance must be of theslenderest. In 1819, however, the time when this drama opens, there wasan almostpenniless young girl among Mme. Vauquer's boarders.That word drama has been somewhat discredited of late; it has beenoverworked and twisted to strangeuses in these days of dolorousliterature; but it must do service again here, not because this story isdramatic in the restricted sense of the word, but becausesome tears mayperhaps be shed _intra et extra muros_ before it is over.Will any one without the walls of Paris understand it? It is open todoubt. The onlyaudience who could appreciate the results of closeobservation, the careful reproduction of minute detail and local color,are dwellers between the heights ofMontrouge and Montmartre, in a valeof crumbling stucco watered by streams of black mud, a vale of sorrowswhich are real and joys too often hollow; but thisaudience is soaccustomed to terrible sensations, that only some unimaginable andwell-neigh impossible woe could produce any lasting impression there.Now andagain there are tragedies so awful and so grand by reason of thecomplication of virtues and vices that bring them about, that egotismand selfishness are forced topause and are moved to pity; but theimpression that they receive is like a luscious fruit, soon consumed.Civilization, like the car of Juggernaut, is scarcely stayedperceptiblyin its progress by a heart less easy to break than the others that liein its course; this also is broken, and Civilization continues on hercoursetriumphant. And you, too, will do the like; you who with thisbook in your white hand will sink back among the cushions of yourarmchair, and say to yourself,\"Perhaps this may amuse me.\" You willread the story of Father Goriot's secret woes, and, dining thereafterwith an unspoiled appetite, will lay the blame of yourinsensibilityupon the writer, and accuse him of exaggeration, of writing romances.Ah! once for all, this drama is neither a fiction nor a romance! _All istrue_,--sotrue, that every one can discern the elements of the tragedyin his own house, perhaps in his own heart.The lodging-house is Mme. Vauquer's own property. It isstill standingin the lower end of the Rue Nueve-Sainte-Genevieve, just where the roadslopes so sharply down to the Rue de l'Arbalete, that wheeled trafficseldompasses that way, because it is so stony and steep. This positionis sufficient to account for the silence prevalent in the streets shutin between the dome of thePantheon and the dome of the Val-de-Grace,two conspicuous public buildings which give a yellowish tone to thelandscape and darken the whole district that liesbeneath the shadow oftheir leaden-hued cupolas.In that district the pavements are clean and dry, there is neither mudnor water in the gutters, grass grows in thechinks of the walls. Themost heedless passer-by feels the depressing influences of a place wherethe sound of wheels creates a sensation; there is a grim lookabout thehouses, a suggestion of a jail about those high garden walls. A Parisianstraying into a suburb apparently composed of lodging-houses andpublicinstitutions would see poverty and dullness, old age lying down to die,and joyous youth condemned to drudgery. It is the ugliest quarter ofParis, and, it maybe added, the least known. But, before all things,the Rue Nueve-Sainte-Genevieve is like a bronze frame for a picture forwhich the mind cannot be too wellprepared by the contemplation of sadhues and sober images. Even so, step by step the daylight decreases,and the cicerone's droning voice grows hollower as thetraveler descendsinto the Catacombs. The comparison holds good! Who shall say which ismore ghastly, the sight of the bleached skulls or of dried-uphumanhearts?The front of the lodging-house is at right angles to the road, andlooks out upon a little garden, so that you see the side of the housein section, as itwere, from the Rue Nueve-Sainte-Genevieve. Beneath thewall of the house front there lies a channel, a fathom wide, paved withcobble-stones, and beside it runsa graveled walk bordered by geraniumsand oleanders and pomegranates set in great blue and white glazedearthenware pots. Access into the graveled walk isafforded by a door,above which the words MAISON VAUQUER may be read, and beneath, in rathersmaller letters, \"_Lodgings for both sexes, etc._\"During the daya glimpse into the garden is easily obtained through awicket to which a bell is attached. On the opposite wall, at the furtherend of the graveled walk, a greenmarble arch was painted once upona time by a local artist, and in this semblance of a shrine a statuerepresenting Cupid is installed; a Parisian Cupid, so blisteredanddisfigured that he looks like a candidate for one of the adjacenthospitals, and might suggest an allegory to lovers of symbolism. Thehalf-obliterated inscriptionon the pedestal beneath determines the dateof this work of art, for it bears witness to the widespread enthusiasmfelt for Voltaire on his return to Paris in1777:              \"Whoe'er thou art, thy master see;               He is, or was, or ought to be.\"At night the wicket gate is replaced by a solid door. The little gardenisno wider than the front of the house; it is shut in between the wallof the street and the partition wall of the neighboring house. A mantleof ivy conceals the bricksand attracts the eyes of passers-by to aneffect which is picturesque in Paris, for each of the walls is coveredwith trellised vines that yield a scanty dusty crop offruit, andfurnish besides a subject of conversation for Mme. Vauquer and herlodgers; every year the widow trembles for her vintage.A straight path beneath thewalls on either side of the garden leads toa clump of lime-trees at the further end of it; _line_-trees, as Mme.Vauquer persists in calling them, in spite of the factthat she was a deConflans, and regardless of repeated corrections from her lodgers.The central space between the walls is filled with artichokes androws ofpyramid fruit-trees, and surrounded by a border of lettuce,pot-herbs, and parsley. Under the lime-trees there are a fewgreen-painted garden seats and a woodentable, and hither, during thedog-days, such of the lodgers as are rich enough to indulge in a cupof coffee come to take their pleasure, though it is hot enough toroasteggs even in the shade.The house itself is three stories high, without counting the atticsunder the roof. It is built of rough stone, and covered withtheyellowish stucco that gives a mean appearance to almost every house inParis. There are five windows in each story in the front of the house;all the blindsvisible through the small square panes are drawn up awry,so that the lines are all at cross purposes. At the side of the housethere are but two windows on eachfloor, and the lowest of all areadorned with a heavy iron grating.Behind the house a yard extends for some twenty feet, a space inhabitedby a happy family ofpigs, poultry, and rabbits; the wood-shed issituated on the further side, and on the wall between the wood-shed andthe kitchen window hangs the meat-safe, justabove the place where thesink discharges its greasy streams. The cook sweeps all the refuseout through a little door into the Rue Nueve-Sainte-Genevieve,andfrequently cleanses the yard with copious supplies of water, under painof pestilence.The house might have been built on purpose for its present uses. Accessisgiven by a French window to the first room on the ground floor, asitting-room which looks out upon the street through the two barredwindows already mentioned.Another door opens out of it into thedining-room, which is separated from the kitchen by the well of thestaircase, the steps being constructed partly of wood,partly of tiles,which are colored and beeswaxed. Nothing can be more depressing thanthe sight of that sitting-room. The furniture is covered with horse hairwovenin alternate dull and glossy stripes. There is a round table inthe middle, with a purplish-red marble top, on which there stands, byway of ornament, the inevitablewhite china tea-service, covered witha half-effaced gilt network. The floor is sufficiently uneven, thewainscot rises to elbow height, and the rest of the wall spaceisdecorated with a varnished paper, on which the principal scenes from_Telemaque_ are depicted, the various classical personages beingcolored. The subjectbetween the two windows is the banquet given byCalypso to the son of Ulysses, displayed thereon for the admiration ofthe boarders, and has furnished jokesthese forty years to the youngmen who show themselves superior to their position by making fun of thedinners to which poverty condemns them. The hearth isalways so cleanand neat that it is evident that a fire is only kindled there on greatoccasions; the stone chimney-piece is adorned by a couple of vasesfilled withfaded artificial flowers imprisoned under glass shades, oneither side of a bluish marble clock in the very worst taste.The first room exhales an odor for which thereis no name in thelanguage, and which should be called the _odeur de pension_. The dampatmosphere sends a chill through you as you breathe it; it has astuffy,musty, and rancid quality; it permeates your clothing; after-dinnerscents seem to be mingled in it with smells from the kitchen andscullery and the reek ofa hospital. It might be possible to describeit if some one should discover a process by which to distil from theatmosphere all the nauseating elements with which itis charged by thecatarrhal exhalations of every individual lodger, young or old. Yet,in spite of these stale horrors, the sitting-room is as charming andas delicatelyperfumed as a boudoir, when compared with the adjoiningdining-room.The paneled walls of that apartment were once painted some color, nowa matter ofconjecture, for the surface is incrusted with accumulatedlayers of grimy deposit, which cover it with fantastic outlines. Acollection of dim-ribbed glass decanters,metal discs with a satin sheenon them, and piles of blue-edged earthenware plates of Touraine warecover the sticky surfaces of the sideboards that line the room."}
+{"doc_id":"doc_286","qid":"","text":"<html><head><title>Two For The Money Script at IMSDb.</title><meta name=\"description\" content=\"Two For The Money script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Two For The Money script, Two For The Money movie script, Two For The Money film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                    TWO FOR THE MONEY</b>                                       Written by                                       DanGilroy                                                        Final Draft: 10-29-04<b>               EXT. HOME MOVIE - 1982 - DAY</b>               A DAD tosses a baseball to hisSON.  The boy swings, connects,                sends the ball flying.  DAD smiles. <b> </b><b>                                     BRANDON LANG'SVOICE</b>               That's me.  Five years old.  I remember that day.  Believe it                or not, I remember that hit.  I remember it because of thesmile                that spread over my dad's face...<b> </b><b>               EXT. HOME MOVIE - 1983 - DAY</b>               BRANDON shooting hoops.  DAD drinksa Bud, frowns as he misses. <b>                </b><b> </b><b>                                     BRANDON VOICEOVER</b>               I would've stood there all day tosink one.  Just to see that                smile...  <b> </b><b>               EXT. HOME MOVIE - 1984 - DAY</b>               BRANDON runs, wears a too-big helmetand pads.  A DOG chases                him as DAD throws a football -- long pass -- TIME SLOWS and --<b></b><b>               </b><b>                                     BRANDON VOICEOVER</b>               To pop, sports were a religion.  To me, it was aboutpurity,                a place where all wrongs could be made right, or at least temporarily                forgotten.  I was going to fill the whole house withtrophies                for him.  There was no doubt in my mind, I was going to make                him happy...<b> </b>               BRANDON catches the"}
+{"doc_id":"doc_287","qid":"","text":"<html><head><title>Never Been Kissed Script at IMSDb.</title><meta name=\"description\" content=\"Never Been Kissed script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Never Been Kissed script, Never Been Kissed movie script, Never Been Kissed film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD>       <TITLE>\"Never Been Kissed\" </TITLE><LINK rel=\"stylesheet\" type=\"text/css\" href=\"style.css\"title=\"style1\"><META http-equiv=\"Content-Type\"content=\"text/html; charset=iso-8859-1\"><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script> </HEAD><divid=\"Layer1\"><b></HEAD></b><body></p><p><p ID=\"act\">NEVER BEEN KISSED</p><p><p ID=\"act\">Revised Draft by Jenny Bicks</p><p><pID=\"act\">Based on the Original Screenplay by</p><p><p ID=\"act\">Abby Kohn & Marc Silverstein</p><p><p ID=\"act\">6/26/98 revision</p><p><pID=\"act\">CLOSE UP ON A GIRL'S FACE</p><p><p ID=\"act\">It's Josie Geller, 25, cute, blonde and scared out of her wits. We hear the chanting of acrowd.</p><p><P ID=\"speaker\">CROWD<P ID=\"dia\">Josie! Josie! Josie!</p><p><P ID=\"speaker\">JOSIE (V.O.)<P ID=\"dia\">You know in some movies howthey have a dream sequence only they don't tell you it's a dream?</p><p><p ID=\"act\">Pull out to reveal Josie on pitcher's mound of a--</p><p><pID=\"slug\">EXTERIOR. A BASEBALL STADIUM -- NIGHT</p><p><p ID=\"act\">It's packed. Reporters line the field. All eyes are on Josie.</p><p><PID=\"speaker\">JOSIE<b> (V.O.)</b><P ID=\"dia\">This is so not a dream.</p><p><p ID=\"act\">The stadium clock sets at 5:00. The crowd goes crazy. Josietakes a deep, nervous breath and smiles, \"Oh God.\"</p><p><p ID=\"slug\">INTERIOR. ELECTRONICS STORE -- CONTINUOUS</p><p><p ID=\"act\">Multipleimages of Josie play across rows of TV sets. A crowd has gathered.</p><p><P ID=\"speaker\">JOSIE<b> (V.O.)</b><P ID=\"dia\">It wasn't supposed to be like"}
+{"doc_id":"doc_288","qid":"","text":"<html><head><title>Star Wars: A New Hope Script at IMSDb.</title><meta name=\"description\" content=\"Star Wars: A New Hope script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Star Wars: A New Hope script, Star Wars: A New Hope movie script, Star Wars: A New Hope filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                        STAR WARS</b>                                        Episode IV<b>                                        A NEWHOPE</b>                                         From the<b>                                  JOURNAL OF THEWHILLS</b>                                            by                                       George Lucas                                   Revised FourthDraft                                     January 15, 1976<b>                                      LUCASFILM LTD.</b><b>                </b>               A long time ago, in a galaxyfar, far, away...               A vast sea of stars serves as the backdrop for the main title.                War drums echo through the heavens as a rollup slowlycrawls                into infinity.                    It is a period of civil war. Rebel spaceships,                     striking from a hidden base, have won theirfirst                     victory against the evil Galactic Empire.                    During the battle, Rebel spies managed to steal                     secret plans to the Empire'sultimate weapon, the                     Death Star, an armored space station with enough                     power to destroy an entire planet.                    Pursued bythe Empire's sinister agents, Princess                     Leia races home aboard her starship, custodian of                     the stolen plans that can save her peopleand                     restore freedom to the galaxy...               The awesome yellow planet of Tatooine emerges from a total                eclipse, her two moons"}
+{"doc_id":"doc_289","qid":"","text":"<html><head><title>Descendants, The Script at IMSDb.</title><meta name=\"description\" content=\"Descendants, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Descendants, The script, Descendants, The movie script, Descendants, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           THE DESCENDANTS</b>                              Written by                Alexander Payne, Nat Faxon & JimRash<b>1   EXT. THE OCEAN - DAY                                              1</b>    CLOSE ON a beautiful 40-YEAR-OLD WOMAN at the helm of a    powerfulSPEEDBOAT -- her hair tossed back by the wind, her    mouth in a euphoric grin.<b>                                                        FADE OUT.</b><b>2   CREDITS --ARCHIVAL FOOTAGE                                       2</b><b>                         MATT (V.O.)</b>               My missionary ancestors came to the               islandsand told the Hawaiians to put               on clothes, work hard, believe in               Christ, and stop surfing and hula               dancing. They made businessdeals               along the way -- buying an island, or               marrying a princess and inheriting her               land. Now their descendants wear               bikinisand running shorts, play beach               volleyball and surf, and take up hula               dancing. Hawai'i has always been a               place ofcontradiction.<b>3   EXT. HONOLULU - DAY                                               3</b>    VARIOUS SHOTS of Honolulu begin a pattern of montages tobe    interspersed throughout the film.<b>                         MATT (V.O.)</b>               My friends on the mainland think just               because I live in Hawai'i, Ilive in               paradise. Like a permanent vacation --               we're all just out here drinking mai-               tais, shaking our hips, andcatching               waves. Are they nuts? How can they               possibly think our families are less               screwed up, our heart attacks"}
+{"doc_id":"doc_290","qid":"","text":"<html><head><title>Cliffhanger Script at IMSDb.</title><meta name=\"description\" content=\"Cliffhanger script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Cliffhanger script, Cliffhanger movie script, Cliffhanger film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           CLIFFHANGER</b>                            Written by                          Michael France<b>        EXT. MOUNTAINRANGE - HELICOPTER SHOT - DAY</b>        An unparalleled set of sheer mountains -- part of the Colorado        Rockies. The peaks rise a challenging half mileand more out        of the valley -- wind-whipped snow mists over the mountains        like a low fog. The tranquility is broken as a helicopter        BLASTS intoview, fighting the wind as it heads for the center        of it all.        Our CREDITS fly us past and through this magnificent range.        There are sky-piercingpeaks that slope up to a narrow, high        pinnacle -- and others that are steel, straight-up approaches        to large plateaus. One of the mountains has a crystallake on        top -- with a waterfall that drains from it and exits from the        middle of a mountain wall. Nearby, an abandoned cable ladder        is bolted intothe same wall, leading to the top.<b>        BACK IN THE HELICOPTER</b>        We can see a man sitting in its doorway, looking out --<b>        INT/EXTHELICOPTER - BINOCULAR POV</b>        The glasses scan systematically, slowly -- to us, it looks        like nothing more than a field of gray andwhite.<b>                                        FRANK (O.S.)</b>                      Nothing yet.<b>        EXT. THE MOUNTAINS - LONG SHOT</b>        The helicopter nowcircles this tallest mountain -- \"The        Tower\", separated from a lower but equally formidable peak by        a chasm of two hundred feet -- that drops 3,500 feetbelow.<b>        INSIDE HELICOPTER - FRANK AND MAGGIE</b>        Spotter FRANK NEWELL (50s) scans the mountain wall.  MAGGIE        DEIGHAN (30s)"}
+{"doc_id":"doc_291","qid":"","text":"The Project Gutenberg EBook of When We Dead Awaken, by Henrik IbsenThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: When We Dead AwakenAuthor: Henrik IbsenCommentator: William ArcherTranslator: William ArcherRelease Date: December, 2003[EBook #4782]Posting Date: February 17, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN ***Produced bySonia KWHEN WE DEAD AWAKENBy Henrik Ibsen.Introduction and translation by William Archer.INTRODUCTION.From _Pillars of Society_ to _John GabrielBorkman_, Ibsen's plays hadfollowed each other at regular intervals of two years, save when hisindignation over the abuse heaped upon _Ghosts_ reduced to asingleyear the interval between that play and _An Enemy of the People_. _JohnGabriel Borkman_ having appeared in 1896, its successor was expected in1898;but Christmas came and brought no rumour of a new play. In aman now over seventy, this breach of a long-established habit seemedominous. The new NationalTheatre in Christiania was opened in Septemberof the following year; and when I then met Ibsen (for the last time) hetold me that he was actually at work on anew play, which he thought ofcalling a \"Dramatic Epilogue.\" \"He wrote _When We Dead Awaken_,\"says Dr. Elias, \"with such labour and such passionate agitation,sospasmodically and so feverishly, that those around him were almostalarmed. He must get on with it, he must get on! He seemed to hearthe beating of darkpinions over his head. He seemed to feel the grimVisitant, who had accompanied Alfred Allmers on the mountain paths,already standing behind him with upliftedhand. His relatives are firmlyconvinced that he knew quite clearly that this would be his last play,that he was to write no more. And soon the blow fell.\"_When WeDead Awaken_ was published very shortly before Christmas 1899.He had still a year of comparative health before him. We find him inMarch 1900, writing toCount Prozor: \"I cannot say yet whether or notI shall write another drama; but if I continue to retain the vigour ofbody and mind which I at present enjoy, I donot imagine that I shall beable to keep permanently away from the old battlefields. However, if Iwere to make my appearance again, it would be with newweapons andin new armour.\" Was he hinting at the desire, which he had long agoconfessed to Professor Herford, that his last work should be a drama inverse?Whatever his dream, it was not to be realised. His last letter(defending his attitude of philosophic impartiality with regard to theSouth African war) is datedDecember 9, 1900. With the dawn of the newcentury, the curtain descended upon the mind of the great dramatic poetof the age which had passed away._WhenWe Dead Awaken_ was acted during 1900 at most of the leadingtheatres in Scandinavia and Germany. In some German cities (notablyin Frankfort on Main) iteven attained a considerable number ofrepresentatives. I cannot learn, however, that it has anywhere held thestage. It was produced in London, by the StateSociety, at the ImperialTheatre, on January 25 and 26, 1903. Mr. G. S. Titheradge played Rubek,Miss Henrietta Watson Irene, Miss Mabel Hackney Maia, and Mr.LaurenceIrving Ulfheim. I find no record of any American performance.In the above-mentioned letter to Count Prozor, Ibsen confirmed thatcritic's conjecture that\"the series which ends with the Epilogue reallybegan with _The Master Builder_.\" As the last confession, so to speak,of a great artist, the Epilogue will always beread with interest. Itcontains, moreover, many flashes of the old genius, many strokes of theold incommunicable magic. One may say with perfect sincerity thatthereis more fascination in the dregs of Ibsen's mind than in the \"firstsprightly running\" of more common-place talents. But to his saneadmirers the interest of theplay must always be melancholy, because itis purely pathological. To deny this is, in my opinion, to cast a slurover all the poet's previous work, and in greatmeasure to justify thecriticisms of his most violent detractors. For _When We Dead Awaken_ isvery like the sort of play that haunted the \"anti-Ibsenite\"imaginationin the year 1893 or thereabouts. It is a piece of self-caricature, aseries of echoes from all the earlier plays, an exaggeration of mannerto the pitch ofmannerism. Moreover, in his treatment of his symbolicmotives, Ibsen did exactly what he had hitherto, with perfect justice,plumed himself upon never doing: hesacrificed the surface realityto the underlying meaning. Take, for instance, the history of Rubek'sstatue and its development into a group. In actual sculpturethisdevelopment is a grotesque impossibility. In conceiving it we aredeserting the domain of reality, and plunging into some fourth dimensionwhere the propertiesof matter are other than those we know. This is anabandonment of the fundamental principle which Ibsen over and over againemphatically expressed--namely,that any symbolism his work might befound to contain was entirely incidental, and subordinate to the truthand consistency of his picture of life. Even when hedallied with thesupernatural, as in _The Master Builder_ and _Little Eyolf_, he wasalways careful, as I have tried to show, not to overstep decisivelytheboundaries of the natural. Here, on the other hand, without anysuggestion of the supernatural, we are confronted with the whollyimpossible, the inconceivable.How remote is this alike from hisprinciples of art and from the consistent, unvarying practice of hisbetter years! So great is the chasm between _John GabrielBorkman_ and_When We Dead Awaken_ that one could almost suppose his mental breakdownto have preceded instead of followed the writing of the latterplay.Certainly it is one of the premonitions of the coming end. It is Ibsen's_Count Robert of Paris_. To pretend to rank it with his masterpieces isto show a veryimperfect sense of the nature of their mastery.WHEN WE DEAD AWAKEN.A DRAMATIC EPILOGUE.CHARACTERS.      PROFESSOR ARNOLD RUBEK, asculptor.      MRS. MAIA RUBEK, his wife.      THE INSPECTOR at the Baths.      ULFHEIM, a landed proprietor.      A STRANGER LADY.      A SISTER OFMERCY.      Servants, Visitors to the Baths, and Children.The First Act passes at a bathing establishment on the coast; the Secondand Third Acts in theneighbourhood of a health resort, high in themountains.ACT FIRST.   [Outside the Bath Hotel. A portion of the main building can be seen   to the right.   An open,park-like place with a fountain, groups   of fine old trees, and shrubbery.  To the left, a little pavilion   almost covered with ivy and Virginia creeper.  A table andchair   outside it.  At the back a view over the fjord, right out to sea,   with headlands and small islands in the distance.  It is a calm,   warm and sunny summermorning.   [PROFESSOR RUBEK and MRS. MAIA RUBEK are sitting in basket chairs   beside a covered table on the lawn outside the hotel, havingjust   breakfasted.  They have champagne and seltzer water on the table,   and each has a newspaper.  PROFESSOR RUBEK is an elderly man of   distinguishedappearance, wearing a black velvet jacket, and   otherwise in light summer attire.  MAIA is quite young, with   a vivacious expression and lively, mocking eyes,yet with a   suggestion of fatigue.  She wears an elegant travelling dress.MAIA.[Sits for some time as though waiting for the PROFESSOR to saysomething, thenlets her paper drop with a deep sigh.] Oh dear, dear,dear--!PROFESSOR RUBEK.[Looks up from his paper.] Well, Maia? What is the matter with you?MAIA.Justlisten how silent it is here.PROFESSOR RUBEK.[Smiles indulgently.] And you can hear that?MAIA.What?PROFESSOR RUBEK.The silence?MAIA.Yes, indeed Ican.PROFESSOR RUBEK.Well, perhaps you are right, _mein Kind_. One can really hear thesilence.MAIA.Heaven knows you can--when it's so absolutelyoverpowering as it ishere--PROFESSOR RUBEK.Here at the Baths, you mean?MAIA.Wherever you go at home here, it seems to me. Of course there was noiseandbustle enough in the town. But I don't know how it is--even thenoise and bustle seemed to have something dead about it.PROFESSOR RUBEK.[With a searchingglance.] You don't seem particularly glad to be athome again, Maia?MAIA.[Looks at him.] Are you glad?PROFESSOR RUBEK.[Evasively.] I--?MAIA.Yes, you, whohave been so much, much further away than I. Are youentirely happy, now that you are at home again?PROFESSOR RUBEK.No--to be quite candid--perhaps notentirely happy--MAIA.[With animation.] There, you see! Didn't I know it!PROFESSOR RUBEK.I have been too long abroad. I have drifted quite away fromallthis--this home life.MAIA.[Eagerly, drawing her chair nearer him.] There, you see, Rubek! We hadmuch better get away again! As quickly as ever wecan.PROFESSOR RUBEK.[Somewhat impatiently.] Well, well, that is what we intend to do, mydear Maia. You know that.MAIA.But why not now--at once? Onlythink how cozy and comfortable we couldbe down there, in our lovely new house--PROFESSOR RUBEK.[Smiles indulgently.] We ought by rights to say: our lovelynew home.MAIA.[Shortly.] I prefer to say house--let us keep to that.PROFESSOR RUBEK.[His eyes dwelling on her.] You are really a strange littleperson.MAIA.Am I so strange?PROFESSOR RUBEK.Yes, I think so.MAIA.But why, pray? Perhaps because I'm not desperately in love with mooningabout uphere--?PROFESSOR RUBEK.Which of us was it that was absolutely bent on our coming north thissummer?MAIA.I admit, it was I.PROFESSOR RUBEK.It wascertainly not I, at any rate.MAIA.But good heavens, who could have dreamt that everything would havealtered so terribly at home here? And in so short a time,too! Why, itis only just four years since I went away--PROFESSOR RUBEK.Since you were married, yes.MAIA.Married? What has that to do with thematter?PROFESSOR RUBEK.[Continuing.] --since you became the Frau Professor, and found yourselfmistress of a charming home--I beg your pardon--a veryhandsome house, Iought to say. And a villa on the Lake of Taunitz, just at the point thathas become most fashionable, too--. In fact it is all very handsomeanddistinguished, Maia, there's no denying that. And spacious too. We neednot always be getting in each other's way--MAIA.[Lightly.] No, no, no--there'scertainly no lack of house-room, and thatsort of thing--PROFESSOR RUBEK.Remember, too, that you have been living in altogether more spaciousanddistinguished surroundings--in more polished society than you wereaccustomed to at home.MAIA.[Looking at him.] Ah, so you think it is _I_ that havechanged?PROFESSOR RUBEK.Indeed I do, Maia.MAIA.I alone? Not the people here?PROFESSOR RUBEK.Oh yes, they too--a little, perhaps. And not at all in thedirection ofamiability. That I readily admit.MAIA.I should think you must admit it, indeed.PROFESSOR RUBEK.[Changing the subject.] Do you know how it affectsme when I look at thelife of the people around us here?MAIA.No. Tell me.PROFESSOR RUBEK.It makes me think of that night we spent in the train, when we"}
+{"doc_id":"doc_292","qid":"","text":"The Project Gutenberg EBook of Lone Star Planetby Henry Beam Piper and John Joseph McGuireThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.orgTitle: Lone Star PlanetAuthor: Henry Beam Piper and John Joseph McGuireRelease Date: January 3, 2007 [EBook #20121][This filewas first posted on December 16, 2006]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LONE STAR PLANET ***Produced by Greg Weeks,Malcolm Farmer, and the Online DistributedProofreading Team at http://www.pgdp.net                     LONE STAR PLANET                           by             H. BeamPiper and John J. McGuireTranscriber's Note:This etext was prepared from a 1979 reprint of the 1958 original. There isno evidence that the copyright on thispublication was renewed.Obvious typesetting errors in the source text have been correctedLone Star PlanetSFace booksA Division of Charter CommunicationsInc.A GROSSET & DUNLAP COMPANY360 Park Avenue SouthNew York, New York 10010LONE STAR PLANETCopyright © 1958 by Ace Books, Inc.Originallypublished as A PLANET FOR TEXANSAll rights reserved. No part of this book may be reproduced in any formor by any means, except for the inclusion of briefquotations in areview, without permission in writing from the publisher.All characters in this book are fictitious. Any resemblance to actualpersons, living or dead,is purely coincidental.This Ace Printing: April 1979Printed in U.S.A.CHAPTER IThey started giving me the business as soon as I came through the doorinto theSecretary's outer office.There was Ethel K'wang-Li, the Secretary's receptionist, at her desk.There was Courtlant Staynes, the assistant secretary totheUndersecretary for Economic Penetration, and Norman Gazarin, fromProtocol, and Toby Lawder, from Humanoid Peoples' Affairs, and RaoulChavier, and HansMannteufel, and Olga Reznik.It was a wonder there weren't more of them watching the condemned man'smarch to the gibbet: the word that the Secretary hadcalled me in musthave gotten all over the Department since the offices had opened.\"Ah, Mr. Machiavelli, I presume,\" Ethel kicked off.\"Machiavelli, Junior.\" Olgapicked up the ball. \"At least, that's theway he signs it.\"\"God's gift to the Consular Service, and the Consular Service's gift toPolicy Planning,\" Gazarin added.\"Takeit easy, folks. These Hooligan Diplomats would as soon shoot youas look at you,\" Mannteufel warned.\"Be sure and tell the Secretary that your friends all wantimportantposts in the Galactic Empire.\" Olga again.\"Well, I'm glad some of you could read it,\" I fired back. \"Maybe even afew of you understood what it was allabout.\"\"Don't worry, Silk,\" Gazarin told me. \"Secretary Ghopal understands whatit was all about. All too well, you'll find.\"A buzzer sounded gently on EthelK'wang-Li's desk. She snatched up thehandphone and whispered into it. A deathly silence filled the room whileshe listened, whispered some more, then hung itup.They were all staring at me.\"Secretary Ghopal is ready to see Mr. Stephen Silk,\" she said. \"Thisway, please.\"As I started across the room, Staynes begandrumming on the top of thedesk with his fingers, the slow reiterated rhythm to which a man marchesto a military execution.\"A cigarette?\" Lawder inquiredtonelessly. \"A glass of rum?\"There were three men in the Secretary of State's private office. GhopalSingh, the Secretary, dark-faced, gray-haired, slender andelegant,meeting me halfway to his desk. Another slender man, in black, with asilver-threaded, black neck-scarf: Rudolf Klüng, the Secretary of theDepartmentof Aggression.And a huge, gross-bodied man with a fat baby-face and opaque black eyes.When I saw him, I really began to get frightened.The fat man wasNatalenko, the Security Coördinator.\"Good morning, Mister Silk,\" Secretary Ghopal greeted me, his handextended. \"Gentlemen, Mr. Stephen Silk, about whomwe were speaking.This way, Mr. Silk, if you please.\"There was a low coffee-table at the rear of the office, and four easychairs around it. On the round brasstable-top were cups and saucers, acoffee urn, cigarettes--and a copy of the current issue of the _GalacticStatesmen's Journal_, open at an article entitled_Probable FutureCourses of Solar League Diplomacy_, by somebody who had signed himselfMachiavelli, Jr.I was beginning to wish that the pseudonymousMachiavelli, Jr. had neverbeen born, or, at least, had stayed on Theta Virgo IV and been awineberry planter as his father had wanted him to be.As I sat down andaccepted a cup of coffee, I avoided looking at theperiodical. They were probably going to hang it around my neck beforethey shoved me out of the airlock.\"Mr.Silk is, as you know, in our Consular Service,\" Ghopal was sayingto the others. \"Back on Luna on rotation, doing something in Mr.Halvord's section. He is thegentleman who did such a splendid job forus on Assha--Gamma Norma III.\"And, as he has just demonstrated,\" he added, gesturing toward the_Statesman'sJournal_ on the Benares-work table, \"he is a student bothof the diplomacy of the past and the implications of our presentpolicies.\"\"A bit frank,\" Klüngcommented dubiously.\"But judicious,\" Natalenko squeaked, in the high eunuchoid voice thatcame so incongruously from his bulk. \"He aired his singularlyaccuratepredictions in a periodical that doesn't have a circulation of more thana thousand copies outside his own department. And I don't think thepublic'ssemantic reactions to the terminology of imperialism is as badas you imagine. They seem quite satisfied, now, with the change in thetitle of your department,from Defense to Aggression.\"\"Well, we've gone into that, gentlemen,\" Ghopal said. \"If the articlereally makes trouble for us, we can always disavow it. There'snocensorship of the _Journal_. And Mr. Silk won't be around to draw fireon us.\"_Here it comes_, I thought.\"That sounds pretty ominous, doesn't it, Mr. Silk?\"Natalenko titteredhappily, like a ten-year-old who has just found a new beetle to pull thelegs out of.\"It's really not as bad as it sounds, Mr. Silk,\" Ghopal hastenedtoreassure me. \"We are going to have to banish you for a while, but Idaresay that won't be so bad. The social life here on Luna has probablybegun to pall,anyhow. So we're sending you to Capella IV.\"\"Capella IV,\" I repeated, trying to remember something about it. Capellawas a GO-type, like Sol; that wouldn't be sobad.\"New Texas,\" Klüng helped me out._Oh, God, no!_ I thought.\"It happens that we need somebody of your sort on that planet, Mr.Silk,\" Ghopal said. \"Someof the trouble is in my department and some ofit is in Mr. Klüng's; for that reason, perhaps it would be better ifCoördinator Natalenko explained it to you.\"\"Youknow, I assume, our chief interest in New Texas?\" Natalenko asked.\"I had some of it for breakfast, sir,\" I replied. \"Supercow.\"Natalenko tittered again. \"Yes, NewTexas is the butcher shop of thegalaxy. In more ways than one, I'm afraid you'll find. They justbutchered one of our people there a short while ago. OurAmbassador, infact.\"That would be Silas Cumshaw, and this was the first I'd heard about it.I asked when it had happened.\"A couple of months ago. We just heardabout it last evening, when thenews came in on a freighter from there. Which serves to point upsomething you stressed in your article--the difficulties of tryingtorun a centralized democratic government on a galactic scale. But we haveanother interest, which may be even more urgent than our need for NewTexan meat.You've heard, of course, of the z'Srauff.\"That was a statement, not a question; Natalenko wasn't trying to insultme. I knew who the z'Srauff were; I'd run intothem, here and there. Oneof the extra-solar intelligent humanoid races, who seemed to have beenevolved from canine or canine-like ancestors, instead ofprimates. Mostof them could speak Basic English, but I never saw one who would admitto understanding more of our language than the 850-wordBasicvocabulary. They occupied a half-dozen planets in a small star-clusterabout forty light-years beyond the Capella system. They had developednormal-spacereaction-drive ships before we came into contact withthem, and they had quickly picked up the hyperspace-drive from us backin those days when the SolarLeague was still playing Missionaries ofProgress and trying to run a galaxy-wide Point-Four program.In the past century, it had become almost impossible foranybody to getinto their star-group, although z'Srauff ships were orbiting in on everyplanet that the League had settled or controlled. There were z'Sraufftradersand small merchants all over the galaxy, and you almost neversaw one of them without a camera. Their little meteor-mining boats wereeverywhere, and all ofthem carried more of the most modern radar andastrogational equipment than a meteor-miner's lifetime earnings wouldpay for.I also knew that they were one ofthe chief causes of ulcers andpremature gray hair at the League capital on Luna. I'd done a littlereading on pre-spaceflight Terran history; I had been impressedby theparallel between the present situation and one which had culminated, twoand a half centuries before, on the morning of 7 December, 1941.\"What,\"Natalenko inquired, \"do you think Machiavelli, Junior would doabout the z'Srauff?\"\"We have a Department of Aggression,\" I replied. \"Its mottoes are, 'Stoptroublebefore it starts,' and, 'If we have to fight, let's do it on theother fellow's real estate.' But this situation is just a little toodelicate for literal application of thoseprinciples. An unprovokedattack on the z'Srauff would set every other non-human race in thegalaxy against us.... Would an attack by the z'Srauff on NewTexasconstitute just provocation?\"\"It might. New Texas is an independent planet. Its people aredescendants of emigrants from Terra who wanted to get awayfrom the ruleof the Solar League. We've been trying for half a century to persuadethe New Texan government to join the League. We need their planet, forbothstrategic and commercial reasons. With the z'Srauff for neighbors,they need us as much at least as we need them. The problem is to makethem understandthat.\"I nodded again. \"And an attack by the z'Srauff would do that, too, sir,\"I said.Natalenko tittered again. \"You see, gentlemen! Our Mr. Silk picks thingsup veryhandily, doesn't he?\" He turned to Secretary of State Ghopal.\"You take it from there,\" he invited.Ghopal Singh smiled benignly. \"Well, that's it, Stephen,\" he said.\"Weneed a man on New Texas who can get things done. Three things, to beexact.\"First, find out why poor Mr. Cumshaw was murdered, and what can bedoneabout it to maintain our prestige without alienating the New Texans.\"Second, bring the government and people of New Texas to a realizationthat they needthe Solar League as much as we need them.\"And, third, forestall or expose the plans for the z'Srauff invasion ofNew Texas.\"_Is that all, now?_ I thought. _Hedoesn't want a diplomat; he wants amagician._\"And what,\" I asked, \"will my official position be on New Texas, sir? Orwill I have one, of any sort?\"\"Oh, yes,indeed, Mr. Silk. Your official position will be that ofAmbassador Plenipotentiary and Envoy Extraordinary. That, I believe, isthe only vacancy which exists in the"}
+{"doc_id":"doc_293","qid":"","text":"<html><head><title>Titanic Script at IMSDb.</title><meta name=\"description\" content=\"Titanic script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Titanic script, Titanic movie script, Titanic film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                               T I T A N I C</b>                              a screenplay by                               James Cameron<b>1BLACKNESS</b>Then two faint lights appear, close together... growing brighter. Theyresolve into two DEEP SUBMERSIBLES, free-falling toward us likeexpresselevators.One is ahead of the other, and passes close enough to FILL FRAME, lookinglike a spacecraft blazing with lights, bristling withinsectilemanipulators.TILTING DOWN to follow it as it descends away into the limitless blacknessbelow. Soon they are fireflies, then stars. Thengone.<b>                                                                   CUT TO:</b><b>2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP</b>PUSHING IN on one of the fallingsubmersibles, called MIR ONE, right up toits circular viewport to see the occupants.INSIDE, it is a cramped seven foot sphere, crammed with equipment.ANATOLYMIKAILAVICH, the sub's pilot, sits hunched over his controls... singingsoftly in Russian.Next to him on one side is BROCK LOVETT. He's in his late forties,deeplytanned, and likes to wear his Nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. He is a wiley, fast-talkingtreasurehunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. Right now, he is propped against the CO2scrubber, fastasleep and snoring.On the other side, crammed into the remaining space is a bearded wide-bodynamed LEWIS BODINE, sho is also asleep. Lewis is an R.O.V.(REMOTELYOPERATED VEHICLE) pilot and is the resident Titanic expert.Anatoly glances at the bottom sonar and makes a ballast"}
+{"doc_id":"doc_294","qid":"","text":"The Project Gutenberg eBook, A Man's Woman, by Frank NorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: A Man's WomanAuthor: Frank NorrisRelease Date: June 20, 2005  [eBook #16096]Language: English***START OF THE PROJECTGUTENBERG EBOOK A MAN'S WOMAN***E-text prepared by Suzanne Shell, Mary Meehan, Project Gutenberg BeginnersProjects, and the Project GutenbergOnline Distributed Proofreading Team(http://www.pgdp.net)A MAN'S WOMANbyFRANK NORRIS1904The following novel was completed March 22, 1899, and sentto theprinter in October of the same year. After the plates had been madenotice was received that a play called \"A Man's Woman\" had been writtenby AnneCrawford Flexner, and that this title had been copyrighted.As it was impossible to change the name of the novel at the time thisnotice was received, it has beenpublished under its original title.F.N.New York.A MAN'S WOMANI.At four o'clock in the morning everybody in the tent was still asleep,exhausted by the terriblemarch of the previous day. The hummocky iceand pressure-ridges that Bennett had foreseen had at last been met with,and, though camp had been broken at sixo'clock and though men and dogshad hauled and tugged and wrestled with the heavy sledges until fiveo'clock in the afternoon, only a mile and a half had beencovered. Butthough the progress was slow, it was yet progress. It was not theharrowing, heart-breaking immobility of those long months aboard theFreja. Everyyard to the southward, though won at the expense of abattle with the ice, brought them nearer to Wrangel Island and ultimatesafety.Then, too, at supper-timethe unexpected had happened. Bennett, moved nodoubt by their weakened condition, had dealt out extra rations to eachman: one and two-thirds ounces ofbutter and six and two-thirds ouncesof aleuronate bread--a veritable luxury after the unvarying diet ofpemmican, lime juice, and dried potatoes of the pastfortnight. The menhad got into their sleeping-bags early, and until four o'clock in themorning had slept profoundly, inert, stupefied, almost without movement.Buta few minutes after four o'clock Bennett awoke. He was usually upabout half an hour before the others. On the day before he had been ableto get a meridianaltitude of the sun, and was anxious to complete hiscalculations as to the expedition's position on the chart that he hadbegun in the evening.He pushed back theflap of the sleeping-bag and rose to his full height,passing his hands over his face, rubbing the sleep from his eyes. He wasan enormous man, standing six feettwo inches in his reindeer footnipsand having the look more of a prize-fighter than of a scientist. Evenmaking allowances for its coating of dirt and its harsh, blackstubbleof half a week's growth, the face was not pleasant. Bennett was an uglyman. His lower jaw was huge almost to deformity, like that of thebulldog, the chinsalient, the mouth close-gripped, with great lips,indomitable, brutal. The forehead was contracted and small, the foreheadof men of single ideas, and the eyes,too, were small and twinkling, oneof them marred by a sharply defined cast.But as Bennett was fumbling in the tin box that was lashed upon thenumber foursledge, looking for his notebook wherein he had begun hiscalculations for latitude, he was surprised to find a copy of the recordhe had left in the instrument boxunder the cairn at Cape Kammeni at thebeginning of this southerly march. He had supposed that this copy hadbeen mislaid, and was not a little relieved to comeacross it now. Heread it through hastily, his mind reviewing again the incidents of thelast few months. Certain extracts of this record ran as follows:\"Arcticsteamer Freja, on ice off Cape Kammeni, New SiberianIslands, 76 deg. 10 min. north latitude, 150 deg. 40 min. eastlongitude, July 12, 1891.... We accordinglyfroze the ship in onthe last day of September, 1890, and during the following winterdrifted with the pack in a northwesterly direction.... On Friday,July 10, 1891,being in latitude 76 deg. 10 min. north; longitude150 deg. 10 min. east, the Freja was caught in a severe nip betweentwo floes and was crushed, sinking in abouttwo hours. We abandonedher, saving 200 days' provisions and all necessary clothing,instruments, etc....\"I shall now attempt a southerly march over the ice toKolyuchin Bayby way of Wrangel Island, where provisions have been cached, hopingto fall in with the relief ships or steam whalers on the way. Ourparty consistsof the following twelve persons: ... All well withthe exception of Mr. Ferriss, the chief engineer, whose left handhas been badly frostbitten. No scurvy in the partyas yet. We haveeighteen Ostiak dogs with us in prime condition, and expect to dragour ship's boat upon sledges.\"WARD BENNETT, Commanding Freja ArcticExploring Expedition.\"Bennett returned this copy of the record to its place in the box, andstood for a moment in the centre of the tent, his head bent to avoidtheridge-pole, looking thoughtfully upon the ground.Well, so far all had gone right--no scurvy, provisions in plenty. Thedogs were in good condition, his mencheerful, trusting in him as in agod, and surely no leader could wish for a better lieutenant and comradethan Richard Ferriss--but this hummocky ice--thesepressure-ridges whichthe expedition had met the day before. Instead of turning at once to hisciphering Bennett drew the hood of the wolfskin coat over hishead,buttoned a red flannel mask across his face, and, raising the flap ofthe tent, stepped outside.Under the lee of the tent the dogs were sleeping, movelessbundles offur, black and white, perceptibly steaming. The three great McClintocksledges, weighted down with the Freja's boats and with theexpedition'simpedimenta, lay where they had been halted the evening before.In the sky directly in front of Bennett as he issued from the tent threemoons,hooped in a vast circle of nebulous light, shone roseate througha fine mist, while in the western heavens streamers of green, orange,and vermilion light,immeasurably vast, were shooting noiselessly fromhorizon to zenith.But Bennett had more on his mind that morning than mock-moons andauroras. To the southand east, about a quarter of a mile from the tent,the pressure of the floes had thrown up an enormous ridge of shatteredice-cakes, a mound, a long hill ofblue-green slabs and blocks huddlingtogether at every conceivable angle. It was nearly twenty feet inheight, quite the highest point that Bennett could discover.Scramblingand climbing over countless other ridges that intervened, he made hisway to it, ascended it almost on hands and knees, and, standing upon itshighestpoint, looked long and carefully to the southward.A wilderness beyond all thought, words, or imagination desolatestretched out before him there forever andforever--ice, ice, ice,fields and floes of ice, laying themselves out under that gloomy sky,league after league, endless, sombre, infinitely vast, infinitelyformidable.But now it was no longer the smooth ice over which theexpedition had for so long been travelling. In every direction,intersecting one another at ten thousandpoints, crossing andrecrossing, weaving a gigantic, bewildering network of gashed, jagged,splintered ice-blocks, ran the pressure-ridges and hummocks. Inplaces ascore or more of these ridges had been wedged together to form one hugefield of broken slabs of ice miles in width, miles in length. Fromhorizon tohorizon there was no level place, no open water, no pathway.The view to the southward resembled a tempest-tossed ocean suddenlyfrozen.One of these ridgesBennett had just climbed, and upon it he now stood.Even for him, unencumbered, carrying no weight, the climb had beendifficult; more than once he had slippedand fallen. At times he hadbeen obliged to go forward almost on his hands and knees. And yet it wasacross that jungle of ice, that unspeakable tangle ofblue-green slabsand cakes and blocks, that the expedition must now advance, dragging itsboats, its sledges, its provisions, instruments, and baggage.Bennettstood looking. Before him lay his task. There under his eyes wasthe Enemy. Face to face with him was the titanic primal strength of achaotic world, thestupendous still force of a merciless nature, waitingcalmly, waiting silently to close upon and crush him. For a long time hestood watching. Then the great brutaljaw grew more salient than ever,the teeth set and clenched behind the close-gripped lips, the cast inthe small twinkling eyes grew suddenly more pronounced.One huge fistraised, and the arm slowly extended forward like the resistless movingof a piston. Then when his arm was at its full reach Bennett spoke asthough inanswer to the voiceless, terrible challenge of the Ice.Through his clenched teeth his words came slow and measured.\"But I'll break you, by God! believe me, Iwill.\"After a while he returned to the tent, awoke the cook, and whilebreakfast was being prepared completed his calculations for latitude,wrote up his ice-journal,and noted down the temperature and thedirection and velocity of the wind. As he was finishing, RichardFerriss, who was the chief engineer and second incommand, awoke andimmediately asked the latitude.\"Seventy-four-fifteen,\" answered Bennett without looking up.\"Seventy-four-fifteen,\" repeated Ferriss,nodding his head; \"we didn'tmake much distance yesterday.\"\"I hope we can make as much to-day,\" returned Bennett grimly as he putaway hisobservation-journal and note-books.\"How's the ice to the south'ard?\"\"Bad; wake the men.\"After breakfast and while the McClintocks were being loaded BennettsentFerriss on ahead to choose a road through and over the ridges. It wasdreadful work. For two hours Ferriss wandered about amid the broken iceall buthopelessly bewildered. But at length, to his great satisfaction,he beheld a fairly open stretch about a quarter of a mile in lengthlying out to the southwest and nottoo far out of the expedition's lineof march. Some dozen ridges would have to be crossed before this levelwas reached; but there was no help for it, so Ferrissplanted his flagswhere the heaps of ice-blocks seemed least impracticable and returnedtoward the camp. It had already been broken, and on his way he mettheentire expedition involved in the intricacies of the first rough ice.All of the eighteen dogs had been harnessed to the number two sledge,that carried thewhaleboat and the major part of the provisions, andevery man of the party, Bennett included, was straining at thehaul-ropes with the dogs. Foot by foot thesledge came over the ridge,grinding and lurching among the ice-blocks; then, partly by guiding,partly by lifting, it was piloted down the slope, only in the endtoescape from all control and come crashing downward among the dogs,jolting one of the medicine chests from its lashings and butting itsnose heavily againstthe foot of the next hummock immediately beyond.But the men scrambled to their places again, the medicine chest wasreplaced, and Muck Tu, the Esquimaudog-master, whipped forward hisdogs. Ferriss, too, laid hold. The next hummock was surmounted, the dogspanting, and the men, even in that icy air, reeking"}
+{"doc_id":"doc_295","qid":"","text":"<html><head><title>Klute Script at IMSDb.</title><meta name=\"description\" content=\"Klute script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Klute script, Klute movie script, Klute film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Moviescripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><title>Klute</title></head><pre><b>INT. DINING ROOM - TOM GRUNEMANN HOUSE - DAY</b>CLOSE SHOT of TOM GRUNEMANN,attractive youngexecutive, sitting at the head of the dining roomtable carving a turkey for Thanksgiving Day dinner.There are joyous sounds of celebration. TheCAMERAPANS around the table revealing the happy familyand guests. Among them are KLUTE and CABLE.Camera stops at Mrs. Grunemann who sits at the footofthe table opposite her husband. She smilesacross at him with pleasure. We cut to TomGrunemann smiling back at her. We cut back to acloseup of Mrs.Grunemann  looking back at herhusband with love. We cut back to Tom Grunemann'schair - only now it is empty. The joyous soundsdisappear on this cut. Itappears that TomGrunemann has disappeared before our eyes. Onemoment he is there, and the next moment he is gone.The camera pans back down the table,only now it isempty except for Grunemann's children and Mrs.Grunemann. She is now dressed in something dark.She and the three children sit eating anothermealin emptiness. She has changed from a joyous womanto a woman bereaved.<b>INT. RESEARCH PLANT: ON ROSS - DAY</b>The industrial frontier. SPECIALAGENT ROSS stepsinto frame, glancing (perhaps idly, a littleimpatiently) in this direction at some loudindustrial goings-on just beyond camera, thenreturnstoward GROUP.The group includes CABLE and a YOUNGER FBI AGENTwith clipboard, to whom KLUTE is supplyingpreliminary data. KLUTE's manner is"}
+{"doc_id":"doc_296","qid":"","text":"<html><head><title>Wonder Boys Script at IMSDb.</title><meta name=\"description\" content=\"Wonder Boys script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Wonder Boys script, Wonder Boys movie script, Wonder Boys film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE WONDERBOYS</title></head><pre><b>                            WONDER BOYS</b><b>                BASED ON THE NOVEL BY MICHAELCHABON</b>                       Screenplay/Steve Kloves January 21, 1999 (Pink Revision) January 15, 1999 (Blue Revision) December 18,1998 All IS A BLUR. . ....then WORDS appear, twisting and vaguely transparent, reflected on the window GRADY TRIPP stands before as he reads from a sheaf of NEATLY-TYPEDPAGES.<b> GRADY</b> 'The young girl sat perfectly still in the confessional...<b>1 INT. CLASSROOM - UNIVERSITY - AFTERNOON</b> Grady--45-year-oldnovelist, professor, and insomniac--is in the midst of reading a story to the dozen college STUDENTS who make up his Advanced Writing Workshop.<b>GRADY</b> ...listening to her father's boots scrape like chalk on the ancient steps of the church, then grow faint, then disappear altogether.' As he finishes,GRADY ponders a PAIR of MAINTENANCE MEN, perched on ladders in the quad below, stringing a LARGE BANNER between two bare trees. The BANNERreads:<b> WELCOME TO WORDFEST</b> GRADY turns, peers at his students. They look as if they've been on a field trip to the DMV. GRADY (cont'd) (a wave ofthe pages) So. .Anyone? A GIRL with jet-black hair turns to a PALE YOUNG MAN sitting at a desk in the back of the classroom. He is JAMES LEER, 19. Like GRADYa moment before, he is staring out the window.<b> CARRIE MCWHIRTY </b> Let me get this straight. The girl with the big lips is depressed because, each night,"}
+{"doc_id":"doc_297","qid":"","text":"<html><head><title>Chinatown Script at IMSDb.</title><meta name=\"description\" content=\"Chinatown script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Chinatown script, Chinatown movie script, Chinatown film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                        CHINATOWN</b>                                        Written by                                       RobertTowne<b>                </b>               FULL SCREEN PHOTOGRAPH Grainy but unmistakably a man and                woman making love. Photograph shakes.SOUND of a man MOANING                in anguish. The photograph is dropped, REVEALING ANOTHER,                MORE compromising one. Then another, andanother. More moans.<b>                                     CURLY'S VOICE</b>                              (crying out)                         Oh, no.<b>               INT. GITTES'OFFICE</b>               CURLY drops the photos on Gittes' desk. Curly towers over                GITTES and sweats heavily through his workman's clothes,his                breathing progressively more labored. A drop plunks on Gittes'                shiny desk top.               Gittes notes it. A fan whiffs overhead. Gittesglances up at                it. He looks cool and brisk in a white linen suit despite                the heat. Never taking his eyes off Curly, he lights a                cigaretteusing a lighter with a \"nail\" on his desk.               Curly, with another anguished sob, turns and rams his fist                into the wall, kicking the wastebasket ashe does. He starts                to sob again, slides along the wall where his fist has left                a noticeable dent and its impact has sent the signedphotos                of several movie stars askew.               Curly slides on into the blinds and sinks to his knees. He                is weeping heavily now, and is insuch pain that he actually                bites into the blinds.               Gittes doesn't move from his"}
+{"doc_id":"doc_298","qid":"","text":"<html><head><title>All the King's Men Script at IMSDb.</title><meta name=\"description\" content=\"All the King's Men script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"All the King's Men script, All the King's Men movie script, All the King's Men film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                    ALL THE KING'S MEN</b>                                        Written by                                      RobertRossen                                  Based on the novel by                                    Robert Penn Warren<b>                                      SHOOTINGDRAFT</b><b>                                           1949</b><b>                </b>               Interior: Jack Burden's Desk, The Chronicle, Day               Jack Burden islooking over the morning edition of \"The                Chronicle.\" He reads the society page. A man enters and leans                across hisdesk.<b>                                     MAN</b>                         Burden! Jack Burden! The boss wants                          to see you.               He folds his paper,rises, and walks by the presses into                Madison's office.               Interior: Madison's Office, Day               Madison, the city editor, is correcting copy athis desk.<b>                                     MADISON</b>                         Hey, Jack, ever hear of a fellow                          called WillieStark?<b>                                     JACK</b>                         No. Who'd he shoot?<b>                                     MADISON</b>                         Oh, county...uh... treasurer, or                          something like that.<b>                                     JACK</b>                         What's so special abouthim?<b>                                     MADISON</b>                         They say he's an honest man. What I                          want you to do is to hop intoyour                          car...<b>                                     JACK</b>                         Why, you promised me a"}
+{"doc_id":"doc_299","qid":"","text":"<html><head><title>Time Machine, The Script at IMSDb.</title><meta name=\"description\" content=\"Time Machine, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Time Machine, The script, Time Machine, The movie script, Time Machine, The film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE TIME MACHINE- by David Duncan</title></head><pre>                              H. G. Wells'<b>                    T H E   T I M E   M A C H I N E</b>                        A George PalProduction                               Screenplay                                   by<b>                              DAVID DUNCAN</b>     Draft revised thru 6-25-59<b>     FADEIN:</b><b>     M.G.M. TRADEMARK                                       A.1</b>     Leo the Lion ROARS over the FANFARE,then<b>                                                 FADE OUT:</b><b>     GLIDING OBJECTS IN A WIDE DARK VOID - (ANIMATION)</b>             Out of the SILENTdarkness a short white       A             fluted column surmounted by a SUNDIAL             appears.  It floats in, waveringly, until             it becomes clearly visible,then drifts             off as though moving in some huge orbit.             Next an HOURGLASS floats in from the left      B             of the screen.  The faint HISSINGOF             RUNNING SAND breaks the stillness of space.             As the hourglass glides across the screen,     C             it is met by a GREEK WATER CLOCKaccompanied             by the sound OF DRIPPING WATER.             A MEDIEVAL CLOCK with weights arises as its    D             horizontal escapement TICKSLOUDLY.  Mean-             while the sundial, hourglass and water clock             return, drifting at diverse angles across             the screen.     THE SOUND of thevarious devices continues to MOUNT.             A FIGURE wheels past, with the face of a       E             clock and the body carved like a drummer             of the"}
+{"doc_id":"doc_300","qid":"","text":"The Project Gutenberg eBook, The American Senator, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The American SenatorAuthor: Anthony TrollopeRelease Date: May 4, 2002  [eBook #5118]Most recently updated: April 8,2011Language: English***START OF THE PROJECT GUTENBERG EBOOK THE AMERICAN SENATOR***E-text prepared by Tapio Riikonenand revised by Joseph E.Loewenstein, M.D.THE AMERICAN SENATORbyAnthony TrollopeFirst published in serial form in _Temple Bar Magazine_ May, 1876,through July, 1877, and inbook form in 1877 by Chapman and Hall.CONTENTS   VOLUME I.          I. DILLSBOROUGH.         II. THE MORTON FAMILY.        III. THE MASTERSFAMILY.         IV. THE DILLSBOROUGH CLUB.          V. REGINALD MORTON.         VI. NOT IN LOVE.        VII. THE WALK HOME.       VIII. THE PARAGON'S PARTYAT BRAGTON.         IX. THE OLD KENNELS.          X. GOARLY'S REVENGE.         XI. FROM IMPINGTON GORSE.        XII. ARABELLA TREFOIL.       XIII. ATBRAGTON.        XIV. THE DILLSBOROUGH FEUD.         XV. A FIT COMPANION,--FOR ME AND MY SISTERS.        XVI. MR. GOTOBED'S PHILANTHROPY.       XVII.LORD RUFFORD'S INVITATION.      XVIII. THE ATTORNEY'S FAMILY IS DISTURBED.        XIX. \"WHO VALUED THE GEESE?\"         XX. THERE ARECONVENANCES.        XXI. THE FIRST EVENING AT RUFFORD HALL.       XXII. JEMIMA.      XXIII. POOR CANEBACK.       XXIV. THE BALL.        XXV. THE LASTMORNING AT RUFFORD HALL.       XXVI. GIVE ME SIX MONTHS.      XXVII. \"WONDERFUL BIRD!\"   VOLUME II.          I. MOUNSER GREEN.         II. THESENATOR'S LETTER.        III. AT CHELTENHAM.         IV. THE RUFFORD CORRESPONDENCE.          V. \"IT IS A LONG WAY.\"         VI. THE BEGINNING OFPERSECUTION.        VII. MARY'S LETTER.       VIII. CHOWTON FARM FOR SALE.         IX. MISTLETOE.          X. HOW THINGS WERE ARRANGED.         XI. \"YOUARE SO SEVERE.\"        XII. THE DAY AT PELTRY.       XIII. LORD RUFFORD WANTS TO SEE A HORSE.        XIV. THE SENATOR IS BADLY TREATED.         XV. MR.MAINWARING'S LITTLE DINNER.        XVI. PERSECUTION.       XVII. \"PARTICULARLY PROUD OF YOU.\"      XVIII. LORD RUFFORD MAKES UP HIS MIND.        XIX.IT CANNOT BE ARRANGED.         XX. \"BUT THERE IS SOME ONE.\"        XXI. THE DINNER AT THE BUSH.       XXII. MISS TREFOIL'S DECISION.      XXIII. \"INTHESE DAYS ONE CAN'T MAKE A MAN MARRY.\"       XXIV. THE SENATOR'S SECOND LETTER.        XXV. PROVIDENCE INTERFERES.       XXVI. LADY USHANT ATBRAGTON.      XXVII. ARABELLA AGAIN AT BRAGTON.   VOLUME III.          I. \"I HAVE TOLD HIM EVERYTHING.\"         II. \"NOW WHAT HAVE YOU GOT TOSAY?\"        III. MRS. MORTON RETURNS.         IV. THE TWO OLD LADIES.          V. THE LAST EFFORT.         VI. AGAIN AT MISTLETOE.        VII. THE SUCCESSOF LADY AUGUSTUS.       VIII. \"WE SHALL KILL EACH OTHER.\"         IX. CHANGES AT BRAGTON.          X. THE WILL.         XI. THE NEW MINISTER.        XII. \"IMUST GO.\"       XIII. IN THE PARK.        XIV. LORD RUFFORD'S MODEL FARM.         XV. SCROBBY'S TRIAL.        XVI. AT LAST.       XVII. \"MY OWN, OWNHUSBAND.\"      XVIII. \"BID HIM BE A MAN.\"        XIX. \"IS IT TANTI?\"         XX. BENEDICT.        XXI. ARABELLA'S SUCCESS.       XXII. THE WEDDING.      XXIII.THE SENATOR'S LECTURE.--NO. I.       XXIV. THE SENATOR'S LECTURE.--NO. II.        XXV. THE LAST DAYS OF MARY MASTERS.       XXVI. CONCLUSION.VOLUMEI.CHAPTER I.DILLSBOROUGH.I never could understand why anybody should ever have begun to liveat Dillsborough, or why the population there should havebeen at anytime recruited by new comers. That a man with a family should clingto a house in which he has once established himself is intelligible.The butcher whosupplied Dillsborough, or the baker, or theironmonger, though he might not drive what is called a roaring trade,nevertheless found himself probably able to live,and might wellhesitate before he would encounter the dangers of a more energeticlocality. But how it came to pass that he first got himself toDillsborough, or hisfather, or his grandfather before him, hasalways been a mystery to me. The town has no attractions, and neverhad any. It does not stand on a bed of coal andhas no connectionwith iron. It has no water peculiarly adapted for beer, or fordyeing, or for the cure of maladies. It is not surrounded by beautyof scenery strongenough to bring tourists and holiday travellers.There is no cathedral there to form, with its bishops, prebendaries,and minor canons, the nucleus of a clericalcircle. It manufacturesnothing specially. It has no great horse fair, or cattle fair, oreven pig market of special notoriety. Every Saturday farmers andgraziers andbuyers of corn and sheep do congregate in a sleepyfashion about the streets, but Dillsborough has no character of itsown, even as a market town. Its chief gloryis its parish church,which is ancient and inconvenient, having not as yet received any ofthose modern improvements which have of late become commonthroughoutEngland; but its parish church, though remarkable, is hardlycelebrated. The town consists chiefly of one street which is over amile long, with a squareor market-place in the middle, round whicha few lanes with queer old names are congregated, and a second smallopen space among these lanes, in which thechurch stands. As youpass along the street north-west, away from the railway station andfrom London, there is a steep hill, beginning to rise just beyondthemarket-place. Up to that point it is the High Street, thenceit is called Bullock's Hill. Beyond that you come to NorringtonRoad,--Norrington being the next town,distant from Dillsboroughabout twelve miles. Dillsborough, however, stands in the county ofRufford, whereas at the top of Bullock's Hill you enter the countyofUfford, of which Norrington is the assize town. The Dillsboroughpeople are therefore divided, some two thousand five hundred ofthem belonging to Rufford, andthe remaining five hundred to theneighbouring county. This accident has given rise to not a fewfeuds, Ufford being a large county, with pottery, and ribbons,andwatches going on in the farther confines; whereas Rufford issmall and thoroughly agricultural. The men at the top of Bullock'sHill are therefore disposed to thinkthemselves better than theirfellow-townsfolks, though they are small in number and not speciallythriving in their circumstances.At every interval of ten years,when the census is taken, thepopulation of Dillsborough is always found to have fallen off in someslight degree. For a few months after the publication of thefiguresa slight tinge of melancholy comes upon the town. The landlord of theBush Inn, who is really an enterprising man in his way and who haslooked about inevery direction for new sources of business, becomestaciturn for a while and forgets to smile upon comers; Mr. Ribbs,the butcher, tells his wife that it is out of thequestion that sheand the children should take that long-talked-of journey to thesea-coast; and Mr. Gregory Masters, the well-known old-establishedattorney ofDillsborough, whispers to some confidential friend thathe might as well take down his plate and shut up his house. But in amonth or two all that is forgotten, andnew hopes spring up even inDillsborough; Mr. Runciman at the Bush is putting up new stables forhunting-horses, that being the special trade for which he nowfindsthat there is an opening; Mrs. Ribbs is again allowed to suggestMare-Slocumb; and Mr. Masters goes on as he has done for the lastforty years, making thebest he can of a decreasing business.Dillsborough is built chiefly of brick, and is, in its own way,solid enough. The Bush, which in the time of the presentlandlord'sfather was one of the best posting inns on the road, is not onlysubstantial, but almost handsome. A broad coach way, cut through themiddle of thehouse, leads into a spacious, well-kept, clean yard,and on each side of the coach way there are bay windows looking intothe street,--the one belonging to thecommercial parlour, and theother to the so-called coffee-room. But the coffee-room has in truthfallen away from its former purposes, and is now used for afarmer'sordinary on market days, and other similar purposes. Travellers whorequire the use of a public sitting-room must all congregate in thecommercial parlourat the Bush. So far the interior of the house hasfallen from its past greatness. But the exterior is maintained withmuch care. The brickwork up to the eaves is wellpointed, fresh, andcomfortable to look at. In front of the carriage-way swings on twomassive supports the old sign of the Bush, as to which it may bedoubtedwhether even Mr. Runciman himself knows that it has swungthere, or been displayed in some fashion, since it was the custom forthe landlord to beat up wine tofreshen it before it was given to thecustomers to drink. The church, too, is of brick--though the towerand chancel are of stone. The attorney's house is of brick,whichshall not be more particularly described now as many of the sceneswhich these pages will have to describe were acted there; and almostthe entire HighStreet in the centre of the town was brick also.But the most remarkable house in Dillsborough was one standing in ashort thoroughfare called Hobbs Gate, leadingdown by the side of theBush Inn from the market-place to Church Square, as it is called. Asyou pass down towards the church this house is on the right hand,andit occupies with its garden the whole space between the market-placeand Church Square. But though the house enjoys the privilege of alarge garden,--solarge that the land being in the middle of a townwould be of great value were it not that Dillsborough is in itsdecadence,--still it stands flush up to the street uponwhich thefront door opens. It has an imposing flight of stone steps guardedby iron rails leading up to it, and on each side of the door thereis a row of threewindows, and on the two upper stories rows ofseven windows. Over the door there is a covering, on which there aregrotesquely-formed, carved wooden faces;and over the centre of eachwindow, let into the brickwork, is a carved stone. There are alsonumerous underground windows, sunk below the earth andprotectedby iron railings. Altogether the house is one which cannot fail toattract attention; and in the brickwork is clearly marked the date,1701,--not the verybest period for English architecture as regardsbeauty, but one in which walls and roofs, ceilings and buttresses,were built more substantially than they are to-day.This was the onlyhouse in Dillsborough which had a name of its own, and it was calledHoppet Hall, the Dillsborough chronicles telling that it had beenoriginallybuilt for and inhabited by the Hoppet family. The onlyHoppet now left in Dillsborough is old Joe Hoppet, the ostler at theBush; and the house, as was well known,had belonged to some memberof the Morton family for the last hundred years at least. The gardenand ground it stands upon comprise three acres, all of whicharesurrounded by a high brick wall, which is supposed to be coevalwith the house. The best Ribston pippins,--some people say the onlyreal Ribston pippins,--in all"}
+{"doc_id":"doc_301","qid":"","text":"<html><head><title>Lincoln Script at IMSDb.</title><meta name=\"description\" content=\"Lincoln script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Lincoln script, Lincoln movie script, Lincoln film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                           LINCOLN</b>                          Written by                         TonyKushner                                                                                                               Based in Part on           Team of Rivals: The Political Genius of AbrahamLincoln           By Doris Kearns Goodwin                                                                                                                                                     Final ShootingScript                                                     December 20, 2011<b>          EXT. BATTLEFIELD, JENKINS' FERRY, ARKANSAS -DAY</b>                                   Heavy grey skies hang over a flooded field, the water two          feet deep. Cannons and carts, half-submerged andtilted,          their wheels trapped in the mud below the surface, are still          yoked to dead and dying horses and oxen.                                   A terrible battleis taking place; two infantry companies,          Negro Union soldiers and white Confederate soldiers, knee-          deep in the water, staggering because of themud beneath,          fight each other hand-to-hand, with rifles, bayonets,          pistols, knives and fists. There's no discipline or strategy,          nothingdepersonalized: it's mayhem and each side intensely          hates the other. Both have resolved to take no prisoners.                         <b>           HAROLDGREEN (V.O.)</b>           Some of us was in the Second Kansas           Colored. We fought the rebs at           Jenkins' Ferry last April, just           after they'dkilled every Negro           soldier they captured at Poison           Springs.                                                  <b>          EXT. PARADE GROUNDS ADJACENT TO"}
+{"doc_id":"doc_302","qid":"","text":"The Project Gutenberg EBook of All the Way to Fairyland, by Evelyn SharpThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: All the Way to Fairyland       Fairy StoriesAuthor: Evelyn SharpIllustrator: Mrs. Percy DearmerRelease Date: November 3, 2009 [EBook#30400]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ALL THE WAY TO FAIRYLAND ***Produced by Al Haines[Illustration: Cover art]Allthe Way to FairylandFairy StoriesBYEVELYN SHARPAUTHOR OF \"WYMPS\"WITH EIGHT COLOURED ILLUSTRATIONSAND A COVER BY MRS. PERCY DEARMERJOHNLANETHE BODLEY HEADLONDON AND NEW YORK1898COPYRIGHT, 1897, BYJOHN LANE.FIRST EDITIONUniversity Press:JOHN WILSON AND SON, CAMBRIDGE,U.S.A._By the Same author:_WYMPS: FAIRY TALES.  With eight coloured illustrations by Mrs. PercyDearmer.THE MAKING OF A SCHOOLGIRL.AT THE RELTONARMS.THE MAKING OF A PRIG.[Illustration: A PRINCESS FLOATING ABOUT ON A SOFT WHITE CLOUD]THESE STORIESARE FORGEOFFREY ANDCHRISTOPHERTRISTAN AND ISEULTMARGARET AND BOYANDEVERARDAND ALL THE OTHER CHILDRENWHO WOULD LIKE TO GOALL THE WAY TOFAIRYLANDContentsCHAPTER    I.  THE COUNTRY CALLED NONAMIA   II.  WHY THE WYMPS CRIED  III.  THE STORY OF HONEY AND SUNNY   IV.  THE LITTLEPRINCESS AND THE POET    V.  THE WONDERFUL TOYMAKER   VI.  THE PROFESSOR OF PRACTICAL JOKES  VII.  THE DOLL THAT CAME STRAIGHT FROMFAIRYLAND VIII.  THOSE WYMPS AGAIN!List of IllustrationsBY MRS. PERCY DEARMER    I.  A PRINCESS FLOATING ABOUT ON A SOFT WHITE CLOUD ._Frontispiece_   II.  THE WYMPS SAY THAT QUEER BEGAN IT  III.  SUNNY WAS SO ASTONISHED THAT SHE STOPPED CRYING AT ONCE   IV.  \"COME WITH ME,POET,\" SAID THE LITTLE PRINCESS    V.  THE ROCKING-HORSES RUSHED OVER THE GROUND   VI.  HE CURLED HIMSELF UP IN THE SUN AND CLOSED HISEYES  VII.  THE LADY EMMELINA IS ALWAYS KEPT IN HER PROPER PLACE NOW VIII.  \"WILL YOU COME AND PLAY WITH ME, LITTLE WISDOM?\"The CountryCalled NonamiaEver so long ago, in the wonderful country of Nonamia, there lived anabsent-minded magician.  It is not usual, of course, for a magician tobeabsent-minded; but then, if it were usual it would not have happenedin Nonamia.  Nobody knew very much about this particular magician, forhe lived in his castlein the air, and it is not easy to visit any onewho lives in the air.  He did not want to be visited, however; visitorsalways meant conversation, and he could notendure conversation.  This,by the way, was not surprising, for he was so absent-minded that healways forgot the end of his sentence before he was half-waythroughthe beginning of it; and as for his visitors' remarks--well, if he hadhad any visitors, he would never have heard their remarks at all.  So,when some onedid call on him, one day,--and that was when he had beenliving in his castle in the air for seven hundred and seventy-sevenyears and had almost forgotten whohe was and why he was there,--themagician was so astonished that he could not think of anything to say.\"How did you get here?\" he asked at last; for even anabsent-mindedmagician cannot remain altogether silent, when he looks out of hiscastle in the air and sees a Princess in a gold and silver frock, witha bright littlecrown on her head, floating about on a soft white cloud.\"Well, I just came, that's all,\" answered the Princess, with aparticularly friendly smile.  \"You see, I havenever been able to findmy own castle in the air, so when the West Wind told me about yours Iasked him to blow me here.  May I come in and see what it islike?\"\"Certainly not,\" said the magician, hastily.  \"It is not like anything;and even if it were, I should not let you come in.  Don't you knowthat, if you were toenter another person's castle in the air, it wouldvanish away like a puff of smoke?\"\"Oh, dear!\" sighed the Princess.  \"I did so want to know what a realcastle in theair was like.  I wonder if yours is at all like mine!\"\"Tell me about yours,\" said the magician.  \"I may be able to help youto find it.\"  Of course, he only said this inorder to prevent her fromcoming inside his own castle.  At the same time, a little conversationwith a friendly Princess in a gold and silver gown is not atallunpleasant, when one has lived in a castle in the air for seven hundredand seventy-seven years.\"My castle in the air is much bigger than yours,\" sheexplained.  \"Ithas ever so many rooms in it,--a large room to laugh in and a smallroom to cry in--\"\"To cry in?\" interrupted the magician.  \"Why, no one everthinks ofcrying in a castle in the air!\"\"One never knows,\" answered the Princess, gravely.  \"Supposing I wereto prick my finger, what should I do if there was n't aroom to cry in?Then, there is a middling-sized room to be serious in; for there isjust a chance that I might want to be serious sometimes, and it wouldbe as wellto have a room, in case.\"\"Perhaps it would,\" observed the magician, who had never listened soattentively to a conversation in the whole of his longlife.  \"Whatelse will you have in your castle?\"\"I shall have lots of nice books that end happily,\" answered thePrincess; \"and they shall be talking books, so that Ineed not readthem to find out what they are about.  I shall have plenty of happythoughts in my castle, too, and lots of nice dreams piled up in heaps,and--well,there is just one thing more.\"\"What is that?\" asked the magician.\"Well, I think I should like to have a Prince in my castle, a nicePrince, who would not want to bejust dull and princely like all theprinces I have ever danced with, but a Prince who would like my castleexactly as I have built it and would play with me all daylong.  Thatwould be something like a Prince, wouldn't it?\"\"You could not possibly have a Prince,\" said the magician.  \"If youallowed some one else even to lookinto your castle in the air, itwould vanish away like a puff of smoke.  I have lived in my castle forseven hundred and seventy-seven years, and I have neverallowed any oneto put a foot in it.\"\"Is it so beautiful, then, your castle in the air?\" asked the Princess,wonderingly.\"I'm sure I don't know,\" said the absent-mindedmagician; \"I don'tthink I ever noticed.  I came to live in it, because it was the onlyplace in which I could be left alone.  That reminds me, that if you donot goaway at once I shall be obliged to become exceedingly angry withyou.\"\"By all means,\" said the Princess, who had the most charming manners inthe world; \"but Ishould like to have my castle first.\"\"I have n't got it here,\" said the magician, looking about him vaguely.\"I know I saw it somewhere not long ago, but I can'tremember what Idid with it.  However, if you ask the people of Nonamia, they will beable to tell you where it has gone.  You will find that they areveryobliging.\"\"Will they not be surprised?\" asked the Princess.\"Dear me, no!  The Nonamiacs are never surprised at anything,\" said themagician; and he drew inhis head from the window.  The Princess in thegold and silver frock sailed away on her cloud, and landed presently inthe flat, green country of Nonamia.\"Have youseen my castle in the air?\" she asked, very politely, of thefirst Nonamiac she met.\"What is it like?\" asked the Nonamiac, without showing the leastsurprise.\"It isever so large and ever so beautiful, and it is packed full ofhappiness, and there is a nice Prince inside,\" answered the Princess.\"Ah,\" said the Nonamiac; \"then itmust be the one I saw being blownalong by the South Wind.  But there was no Prince inside.\"The Princess thanked him and hastened away in the direction oftheSouth Wind until she met another Nonamiac, to whom she explained aspolitely as before what she wanted to know.\"Ah,\" said the Nonamiac, \"that must be thecastle I met just now as itwas being carried off by the North Wind.  But I saw no Prince inside.\"The Princess turned round and hurried after the North Wind as fastasshe could go.  As soon as she met another Nonamiac, however, she had toturn round once more, for he told her that her castle had just beenstolen by the EastWind; and when she had been walking quite a longtime in the direction of the East Wind, she met yet another Nonamiac,who told her that it was the West Windwho had taken away her castle inthe air.\"It is too bad!\" said the little Princess, sitting down exhausted on alarge stone by the side of the road.  \"Why should allthe winds beplaying with my castle in the air?\"\"Castles in the air generally go to the winds,\" observed a traveller ina dusty brown cloak, who was sitting onanother large stone, not veryfar off.  She was quite sure he had not been there the moment before,but, in Nonamia, there was nothing remarkable aboutthat.  The Princesswiped the tears out of her eyes with a small lace handkerchief, andlooked at the stranger.\"Mine is a very particular castle in the air, you see,\"she said.  \"Itis ever so large and ever so beautiful, and it is packed with happinessand dreams, and _perhaps_ there is a Prince in it, too.\"\"A Prince?\" said thestranger.  \"What sort of Prince?\"\"A nice Prince,\" explained the Princess, \"who can play games and tellstories and be amusing.  All the Princes I know can donothing butdance, and they are not at all amusing.  I am afraid, though,\" sheadded, sighing, \"that I am going to have my castle without a Prince,after all.\"\"Wouldit do,\" asked the traveller in the dusty brown cloak, \"if youwere to have a Prince without a castle?\"\"Oh, no!\" answered the Princess, decidedly.  \"If you knew howbeautifulmy castle in the air is, you would not even ask such a stupid question!\"Then she again took up her small lace handkerchief, and she brushed thedustfrom her gold and silver gown, and polished up her bright littlegold crown, and made herself as neat and dainty as a Princess shouldbe; for, in Nonamia, onenever knows what may happen next, and it isjust as well to be prepared.  And, in fact, no sooner was she quitetidy than the West Wind came hurrying along withher castle in the air;and the Princess gave a shout of joy and sprang inside it; and the WestWind blew, and blew, and blew, until the castle that was packed fullofhappiness, and the little Princess in the gold and silver gown, wereboth completely out of sight.  The traveller looked after them and felta little forlorn; then hepicked up his stick and walked on until hecame to the magician's castle.  This may seem a little surprising, ashe had no wings of any kind and the magician'scastle was in the air;but it must be remembered that it all happened in Nonamia.\"Dear, dear!  Here 's another of them!\" grumbled the magician, when helookedout of his window and saw the stranger standing below.  Afterbeing alone for seven hundred and seventy-seven years, it was a littleexhausting to have twovisitors on the same day.  Besides, a travellerin a dusty brown cloak is not at all the same thing as a daintyPrincess in a gold and silver gown.\"Good-day,\" said thestranger.  \"Are you the magician who has given acastle in the air to a Princess in a gold and silver frock with abright little crown on her head?\"\"Very likely; but Icannot say for certain,\" said the absent-mindedmagician.  \"I believe there was something of the kind, now you come tomention it; but I could n't tell you what it"}
+{"doc_id":"doc_303","qid":"","text":"<html><head><title>Frozen River Script at IMSDb.</title><meta name=\"description\" content=\"Frozen River script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Frozen River script, Frozen River movie script, Frozen River film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             FROZEN RIVER</b>                              Written by                             Courtney Hunt<b>    FADEIN:</b><b>1   EXT. INTERNATIONAL SEAWAY BRIDGE - DAY                      1</b>    A sign reads \"Bridge to Canada.\"    A steep 1940's era customs bridgearches over the St.    Lawrence River.    Cars and trucks line up in different lanes. Customs    officials inspect and question impatient drivers.    Beyond them asmaller sign: \"THANK YOU FOR VISITING    MASSENA NEW YORK, IT WORKS, for business, for family, for    you\".<b>2   EXT. BELOW THE BRIDGE -DAY                                 2</b>    The river stretches for miles in either direction,    frozen, and still with trees on either side.<b>3   EXT. RAY'S TRAILER YARD,MASSENA NEW YORK - DAY             3</b>    RAY EDDY, 38, a bit worn for her years, with a long red    ponytail, wearing an old bathrobe, sits in thepassenger    seat of her RED PLYMOUTH HORIZON with the door open,    smoking a cigarette, thinking. Her breath is visible in    the cold morning air.    Her barefeet rest on the cold ground.    Her 1970's rusted out TRAILER HOME SITS in front of her    on CINDER BLOCKS AT A SLIGHT TILT. Beside it, a small    SHED andbehind it the CONCRETE FOUNDATION FOR A HOUSE.    Around her, the yard is littered with junk: a rusted ski    lift chair, the front end of a Plymouth Duster anda    SMILING DUCK Kiddie Ride.    Beyond the yard, flat, winterbare land.    After a moment, a lanky boy of 15, her son, TROY, JR.,    leans out the trailerdoor.<b>                            T.J.</b>               We're out of Capt'n Crunch.    His breath is visible in the cold.<b>                             RAY</b>               Just"}
+{"doc_id":"doc_304","qid":"","text":"The Project Gutenberg EBook of Felix Holt, The Radical, by George EliotThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org/licenseTitle: Felix Holt, The RadicalAuthor: George EliotRelease Date: September 28, 2012 [EBook #40882]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK FELIX HOLT, THE RADICAL ***Produced by Juliet Sutherland, Jane Robins and the OnlineDistributed Proofreading Team athttp://www.pgdp.net    [Illustration: ESTHER LYON.]    FELIX HOLT, THE RADICAL    BY GEORGE ELIOT    Upon the midlands now the industrious muse dothfall,    The shires which we the heart of England well may call.        *       *       *       *       *    My native country thou, which so brave spirits hast bred,    Ifthere be virtues yet remaining in the earth,    Or any good of thine thou bred'st into my birth,    Accept it as thine own, whilst now I sing of thee,    Of all thy laterbrood the unworthiest though I be.                                           --DRAYTON; _Polyolbion_.    _WITH ILLUSTRATIONS_    BOSTON    DE WOLFE, FISKE &COMPANY    361 AND 365 WASHINGTON STREETFELIX HOLT, THE RADICAL.INTRODUCTION.Five-and-thirty years ago the glory had not yet departed from theoldcoach roads: the great roadside inns were still brilliant withwell-polished tankards, the smiling glances of pretty barmaids, and therepartees of jocose hostlers;the mail still announced itself by themerry notes of the horn; the hedge-cutter or the rick-thatcher mightstill know the exact hour by the unfailing yet otherwisemeteoricapparition of the pea-green Tally-ho or the yellow Independent; andelderly gentlemen in pony-chaises, quartering nervously to make way forthe rolling,swinging swiftness, had not ceased to remark that timeswere finely changed since they used to see the pack-horses and hear thetinkling of their bells on this veryhighway.In those days there were pocket boroughs, a Birmingham unrepresented inParliament and compelled to make strong representations out of it,unrepealedcorn-laws, three-and-sixpenny letters, a brawny andmany-breeding pauperism, and other departed evils; but there were somepleasant things, too, which havealso departed. _Non omnia grandior ætasquæ fugiamus habet_, says the wise goddess: you have not the best of itin all things, O youngsters! the elderly manhas his enviable memories,and not the least of them is the memory of a long journey in mid-springor autumn on the outside of a stage coach. Posterity may beshot, like abullet through a tube, by atmospheric pressure, from Winchester toNewcastle: that is a fine result to have among our hopes; but the slow,oldfashioned way of getting from one end of our country to the other isthe better thing to have in the memory. The tube-journey can never lendmuch to picture andnarrative; it is as barren as an exclamatory O!Whereas, the happy outside passenger, seated on the box from the dawn tothe gloaming, gathered enough storiesof English life, enough of Englishlabors in town and country, enough aspects of earth and sky, to makeepisodes for a modern Odyssey. Suppose only that hisjourney took himthrough that central plain, watered at one extremity by the Avon, at theother by the Trent. As the morning silvered the meadows with theirlonglines of bushy willows marking the water-courses, or burnished thegolden corn-ricks clustered near the long roofs of some midlandhomestead, he saw thefull-uddered cows driven from their pasture to theearly milking. Perhaps it was the shepherd, head-servant of the farm,who drove them, his sheep-dog followingwith a heedless, unofficial air,as of a beadle in undress. The shepherd, with a slow and slouching walk,timed by the walk of grazing beasts, moved aside, as ifunwillingly,throwing out a monosyllabic hint to his cattle; his glance, accustomedto rest on things very near the earth, seemed to lift itself withdifficulty to thecoachman. Mail or stage coach for him belonged to themysterious distant system of things called \"Gover'ment,\" which, whateverit might be, was no business ofhis, any more than the most outlyingnebula or the coal-sacks of the southern hemisphere: his solar systemwas the parish; the master's temper and the casualtiesof lambing-timewere his region of storms. He cut his bread and bacon with hispocket-knife, and felt no bitterness except in the matter of pauperlaborers and thebad-luck that sent contrarious seasons and thesheep-rot. He and his cows were soon left behind, and the homestead,too, with its pond overhung by elder-trees,its untidy kitchen-gardenand cone-shaped yew-tree arbor. But everywhere the bushy hedgerowswasted the land with their straggling beauty, shrouded thegrassyborders of the pastures with catkined hazels, and tossed their longblackberry branches on the corn-fields. Perhaps they were white withMay, or starred withpale pink dog-roses; perhaps the urchins werealready nutting among them, or gathering the plenteous crabs. It wasworth the journey only to see thosehedgerows, the liberal homes ofunmarketable beauty--of the purple blossomed, ruby-berried nightshade,of the wild convolvulus climbing and spreading intendriled strengthtill it made a great curtain of pale-green hearts and white trumpets, ofthe many-tubed honey-suckle which, in its most delicate fragrance, hidacharm more subtle and penetrating than beauty. Even if it were winter,the hedgerows showed their coral, the scarlet haws, the deep-crimsonhips, with lingeringbrown leaves to make a resting-place for the jewelsof the hoar-frost. Such hedgerows were often as tall as the laborers'cottages dotted along the lanes, orclustered into a small hamlet, theirlittle dingy windows telling, like thick-filmed eyes, of nothing but thedarkness within. The passenger on the coach-box, bowledalong abovesuch a hamlet, saw chiefly the roofs of it: probably it turned its backon the road, and seemed to lie away from everything but its own patch ofearthand sky, away from the parish church by long fields and greenlanes, away from all intercourse except that of tramps. If its facecould be seen, it was most likelydirty; but the dirt was Protestantdirt, and the big, bold, gin-breathing tramps were Protestant tramps.There was no sign of superstition near, no crucifix or imageto indicatea misguided reverence: the inhabitants were probably so free fromsuperstition that they were in much less awe of the parson than of theoverseer. Yetthey were saved from the excess of Protestantism by notknowing how to read, and by the absence of handlooms and mines to be thepioneers of Dissent: theywere kept safely in the _via media_ ofindifference, and could have registered themselves in the census by abig black mark as members of the Church ofEngland.But there were trim cheerful villages too, with a neat or handsomeparsonage and gray church set in the midst; there was the pleasanttinkle of theblacksmith's anvil, the patient cart horses waiting at hisdoor; the basket-maker peeling his willow wands in the sunshine; thewheelwright putting his last touch toa blue cart with red wheels; hereand there a cottage with bright transparent windows showing pots full ofblooming balsams or geraniums, and little gardens infront all doubledaisies or dark wallflowers; at the well, clean and comely womencarrying yoked buckets, and toward the free school small Britonsdawdling on, andhandling their marbles in the pockets of unpatchedcorduroys adorned with brass buttons. The land around was rich andmarly, great corn-stacks stood in therick-yards--for the rick-burnershad not found their way hither; the homesteads were those of richfarmers who paid no rent, or had the rare advantage of a lease,andcould afford to keep the corn till prices had risen. The coach would besure to overtake some of them on their way to their outlying fields orto the market-town,sitting heavily on their well-groomed horses, orweighing down one side of an olive-green gig. They probably thought ofthe coach with some contempt, as anaccommodation for people who had nottheir own gigs, or who, wanting to travel to London and such distantplaces, belonged to the trading and less solid part ofthe nation. Thepassenger on the box could see that this was the district of protuberantoptimists, sure that old England was the best of all possible countries,andthat if there were any facts which had not fallen under their ownobservation, they were facts not worth observing: the district of cleanlittle market-towns withoutmanufactures, of fat livings, anaristocratic clergy, and low poor-rates. But as the day wore on thescene would change: the land would begin to be blackened withcoal-pits,the rattle of handlooms to be heard in hamlets and villages. Here werepowerful men walking queerly with knees bent outward from squatting inthe mine,going home to throw themselves down in their blackened flanneland sleep through the daylight, then rise and spend much of their highwages at the ale-housewith their fellows of the Benefit Club; here thepale eager faces of the handloom-weavers, men and women, haggard fromsitting up late at night to finish theweek's work, hardly begun tillthe Wednesday. Everywhere the cottages and the small children weredirty, for the languid mothers gave their strength to the loom;piousDissenting women, perhaps, who took life patiently, and thought thatsalvation depended chiefly on predestination, and not at all oncleanliness. The gables ofDissenting chapels now made a visible sign ofreligion, and of a meeting-place to counterbalance the ale-house, evenin the hamlets; but if a couple of oldtermagants were seen tearing eachother's caps, it was a safe conclusion that, if they had not receivedthe sacraments of the Church, they had not at least given intoschismatic rites, and were free from the errors of Voluntaryism. Thebreath of the manufacturing town, which made a cloudy day and a redgloom by night on thehorizon, diffused itself over all the surroundingcountry, filling the air with eager unrest. Here was a population notconvinced that old England was as good aspossible; here weremultitudinous men and women aware that their religion was not exactlythe religion of their rulers, who might therefore be better thantheywere, and who, if better, might alter many things which now made theworld perhaps more painful than it need be, and certainly more sinful.Yet there werethe gray steeples too, and the churchyards, with theirgrassy mounds and venerable headstones, sleeping in the sunlight; therewere broad fields and homesteads,and fine old woods covering a risingground, or stretching far by the roadside, allowing only peeps at thepark and mansion which they shut in from theworking-day world. In thesemidland districts the traveller passed rapidly from one phase of Englishlife to another: after looking down on a village dingy withcoal-dust,noisy with the shaking of looms, he might skirt a parish all of fields,high hedges, and deep rutted lanes; after the coach had rattled over thepavement ofa manufacturing town, the scenes of riots and trades-unionmeetings, it would take him in another ten minutes into a rural region,where the neighborhood of thetown was only felt in the advantages of anear market for corn, cheese, and hay, and where men with a considerablebanking account were accustomed to say that"}
+{"doc_id":"doc_305","qid":"","text":"Project Gutenberg's The Lady With The Dog and Other Stories, by Anton ChekhovThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org/licenseTitle: The Lady With The Dog and Other StoriesAuthor: Anton ChekhovRelease Date: September 9, 2004 [EBook #13415][Lastupdated: July 29, 2017]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LADY WITH THE DOG ***Produced by James RuskTHE TALESOF CHEKHOVVOLUME 3THE LADY WITH THE DOG AND OTHER STORIESBYANTON TCHEKHOVTranslated by CONSTANCE GARNETTCONTENTSTHE LADY WITH THEDOGA DOCTOR'S VISITAN UPHEAVALIONITCHTHE HEAD OF THE FAMILYTHE BLACK MONKVOLODYAAN ANONYMOUS STORYTHE HUSBANDTHE LADY WITH THEDOGIIT was said that a new person had appeared on the sea-front: a lady witha little dog. Dmitri Dmitritch Gurov, who had by then been a fortnightat Yalta, andso was fairly at home there, had begun to take an interestin new arrivals. Sitting in Verney's pavilion, he saw, walking on thesea-front, a fair-haired young lady ofmedium height, wearing a _béret_;a white Pomeranian dog was running behind her.And afterwards he met her in the public gardens and in the squareseveraltimes a day. She was walking alone, always wearing the same_béret_, and always with the same white dog; no one knew who she was,and every one calledher simply \"the lady with the dog.\"\"If she is here alone without a husband or friends, it wouldn't be amissto make her acquaintance,\" Gurov reflected.He wasunder forty, but he had a daughter already twelve years old, andtwo sons at school. He had been married young, when he was a student inhis second year, andby now his wife seemed half as old again as he. Shewas a tall, erect woman with dark eyebrows, staid and dignified, and, asshe said of herself, intellectual. Sheread a great deal, used phoneticspelling, called her husband, not Dmitri, but Dimitri, and he secretlyconsidered her unintelligent, narrow, inelegant, was afraid ofher, anddid not like to be at home. He had begun being unfaithful to her longago--had been unfaithful to her often, and, probably on that account,almost alwaysspoke ill of women, and when they were talked about in hispresence, used to call them \"the lower race.\"It seemed to him that he had been so schooled by bitterexperience thathe might call them what he liked, and yet he could not get on for twodays together without \"the lower race.\" In the society of men he wasboredand not himself, with them he was cold and uncommunicative; butwhen he was in the company of women he felt free, and knew what to sayto them and how tobehave; and he was at ease with them even when he wassilent. In his appearance, in his character, in his whole nature, therewas something attractive andelusive which allured women and disposedthem in his favour; he knew that, and some force seemed to draw him,too, to them.Experience often repeated, trulybitter experience, had taught him longago that with decent people, especially Moscow people--always slow tomove and irresolute--every intimacy, which at firstso agreeablydiversifies life and appears a light and charming adventure, inevitablygrows into a regular problem of extreme intricacy, and in the long runthesituation becomes unbearable. But at every fresh meeting with aninteresting woman this experience seemed to slip out of his memory, andhe was eager for life,and everything seemed simple and amusing.One evening he was dining in the gardens, and the lady in the _béret_came up slowly to take the next table. Herexpression, her gait, herdress, and the way she did her hair told him that she was a lady, thatshe was married, that she was in Yalta for the first time and alone,andthat she was dull there.... The stories told of the immorality in suchplaces as Yalta are to a great extent untrue; he despised them, and knewthat such storieswere for the most part made up by persons who wouldthemselves have been glad to sin if they had been able; but when thelady sat down at the next table threepaces from him, he rememberedthese tales of easy conquests, of trips to the mountains, and thetempting thought of a swift, fleeting love affair, a romance withanunknown woman, whose name he did not know, suddenly took possession ofhim.He beckoned coaxingly to the Pomeranian, and when the dog came up tohimhe shook his finger at it. The Pomeranian growled: Gurov shook hisfinger at it again.The lady looked at him and at once dropped her eyes.\"He doesn't bite,\"she said, and blushed.\"May I give him a bone?\" he asked; and when she nodded he askedcourteously, \"Have you been long in Yalta?\"\"Five days.\"\"And I havealready dragged out a fortnight here.\"There was a brief silence.\"Time goes fast, and yet it is so dull here!\" she said, not looking athim.\"That's only the fashion tosay it is dull here. A provincial will livein Belyov or Zhidra and not be dull, and when he comes here it's 'Oh,the dulness! Oh, the dust!' One would think he camefrom Grenada.\"She laughed. Then both continued eating in silence, like strangers, butafter dinner they walked side by side; and there sprang up betweenthemthe light jesting conversation of people who are free and satisfied, towhom it does not matter where they go or what they talk about. Theywalked and talkedof the strange light on the sea: the water was of asoft warm lilac hue, and there was a golden streak from the moon uponit. They talked of how sultry it was aftera hot day. Gurov told herthat he came from Moscow, that he had taken his degree in Arts, but hada post in a bank; that he had trained as an opera-singer, buthad givenit up, that he owned two houses in Moscow.... And from her he learntthat she had grown up in Petersburg, but had lived in S---- since hermarriage twoyears before, that she was staying another month in Yalta,and that her husband, who needed a holiday too, might perhaps come andfetch her. She was not surewhether her husband had a post in a CrownDepartment or under the Provincial Council--and was amused by her ownignorance. And Gurov learnt, too, that shewas called Anna Sergeyevna.Afterwards he thought about her in his room at the hotel--thought shewould certainly meet him next day; it would be sure tohappen. As he gotinto bed he thought how lately she had been a girl at school, doinglessons like his own daughter; he recalled the diffidence, theangularity, thatwas still manifest in her laugh and her manner oftalking with a stranger. This must have been the first time in her lifeshe had been alone in surroundings in whichshe was followed, looked at,and spoken to merely from a secret motive which she could hardly fail toguess. He recalled her slender, delicate neck, her lovely greyeyes.\"There's something pathetic about her, anyway,\" he thought, and fellasleep.IIA week had passed since they had made acquaintance. It was a holiday. Itwassultry indoors, while in the street the wind whirled the dust roundand round, and blew people's hats off. It was a thirsty day, and Gurovoften went into thepavilion, and pressed Anna Sergeyevna to have syrupand water or an ice. One did not know what to do with oneself.In the evening when the wind had dropped alittle, they went out on thegroyne to see the steamer come in. There were a great many peoplewalking about the harbour; they had gathered to welcome someone,bringing bouquets. And two peculiarities of a well-dressed Yalta crowdwere very conspicuous: the elderly ladies were dressed like young ones,and there weregreat numbers of generals.Owing to the roughness of the sea, the steamer arrived late, after thesun had set, and it was a long time turning about before itreached thegroyne. Anna Sergeyevna looked through her lorgnette at the steamer andthe passengers as though looking for acquaintances, and when sheturnedto Gurov her eyes were shining. She talked a great deal and askeddisconnected questions, forgetting next moment what she had asked; thenshe droppedher lorgnette in the crush.The festive crowd began to disperse; it was too dark to see people'sfaces. The wind had completely dropped, but Gurov and AnnaSergeyevnastill stood as though waiting to see some one else come from thesteamer. Anna Sergeyevna was silent now, and sniffed the flowers withoutlooking atGurov.\"The weather is better this evening,\" he said. \"Where shall we go now?Shall we drive somewhere?\"She made no answer.Then he looked at her intently,and all at once put his arm round herand kissed her on the lips, and breathed in the moisture and thefragrance of the flowers; and he immediately looked roundhim, anxiouslywondering whether any one had seen them.\"Let us go to your hotel,\" he said softly. And both walked quickly.The room was close and smelt of thescent she had bought at the Japaneseshop. Gurov looked at her and thought: \"What different people one meetsin the world!\" From the past he preservedmemories of careless,good-natured women, who loved cheerfully and were grateful to him forthe happiness he gave them, however brief it might be; and ofwomen likehis wife who loved without any genuine feeling, with superfluousphrases, affectedly, hysterically, with an expression that suggestedthat it was not lovenor passion, but something more significant; and oftwo or three others, very beautiful, cold women, on whose faces he hadcaught a glimpse of a rapaciousexpression--an obstinate desire tosnatch from life more than it could give, and these were capricious,unreflecting, domineering, unintelligent women not in theirfirst youth,and when Gurov grew cold to them their beauty excited his hatred, andthe lace on their linen seemed to him like scales.But in this case there was stillthe diffidence, the angularity ofinexperienced youth, an awkward feeling; and there was a sense ofconsternation as though some one had suddenly knocked atthe door. Theattitude of Anna Sergeyevna--\"the lady with the dog\"--to what hadhappened was somehow peculiar, very grave, as though it were herfall--so itseemed, and it was strange and inappropriate. Her facedropped and faded, and on both sides of it her long hair hung downmournfully; she mused in a dejectedattitude like \"the woman who was asinner\" in an old-fashioned picture.\"It's wrong,\" she said. \"You will be the first to despise me now.\"There was a water-melonon the table. Gurov cut himself a slice andbegan eating it without haste. There followed at least half an hour ofsilence.Anna Sergeyevna was touching; there wasabout her the purity of a good,simple woman who had seen little of life. The solitary candle burning onthe table threw a faint light on her face, yet it was clearthat she wasvery unhappy.\"How could I despise you?\" asked Gurov. \"You don't know what you aresaying.\"\"God forgive me,\" she said, and her eyes filled withtears. \"It'sawful.\"\"You seem to feel you need to be forgiven.\"\"Forgiven? No. I am a bad, low woman; I despise myself and don't attemptto justify myself. It's notmy husband but myself I have deceived. Andnot only just now; I have been deceiving myself for a long time. Myhusband may be a good, honest man, but he is aflunkey! I don't knowwhat he does there, what his work is, but I know he is a flunkey! I wastwenty when I was married to him. I have been tormented by"}
+{"doc_id":"doc_306","qid":"","text":"<html><head><title>Grudge, The Script at IMSDb.</title><meta name=\"description\" content=\"Grudge, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Grudge, The script, Grudge, The movie script, Grudge, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                      THE GRUDGE</b><b>          </b>                                      Written by                                     StephenSusco<b>          </b><b>          </b><b>          </b><b>          </b>                                  Based on the films                         Ju-on, Ju-on 2 and Ju-on:The Grudge                                          By                                   Takashi Shimizu<b>          </b>                                               Production Draft -BLUE                                               Revised, January 26, 2004<b>          </b><b>          </b><b>          1   INT. PETER & MARIA'S BEDROOM -DAY                               1</b><b>          </b>              FADE IN on MARIA (late 20s), asleep in bed. She's              breathtakingly beautiful. Morning light fillsthe room.      The              sound of wind, and rippling cloth.<b>          </b>              Maria stirs, and opens her eyes.     She stretchescontentedly.<b>          </b>              Then she frowns.    Rolls over.    She's alone in the bed?<b>          </b>              No, she's not: PETER (20s) sits on theedge, his back to her.              Two fresh, steaming mugs of coffee sit on a tray nearhim.<b>          </b><b>                                     MARIA</b>                        Hey.     Are you okay?<b>          </b>              Peter doesn't turn. He slowlystands and walks forward              towards an OPEN WINDOW.<b>          </b>              There's something strange about the way he moves --stiffly,              almost jerkily, straining his joints and muscles.<b>          </b>              Maria gets out of bed,"}
+{"doc_id":"doc_307","qid":"","text":"<html><head><title>Departed, The Script at IMSDb.</title><meta name=\"description\" content=\"Departed, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Departed, The script, Departed, The movie script, Departed, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             THE DEPARTED</b><b>                           </b>                              Writtenby<b>          </b>                           William Monahan         <b>          </b><b>          </b><b>          </b>           Based on InfernalAffairs<b>          </b><b>          </b><b>          SCRIPT AS SHOT COMPILED SEPTEMBER 2006</b><b>                              </b><b>          FADE UPON</b><b>          </b><b>          THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS</b><b>          AGAINST THEHARBOR.</b><b>          </b><b>                                 COSTELLO (V.O.)</b>                       I don't want to be a product of my                       environment.I want my environment                       to be a product...of me.<b>          </b><b>          YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WESEE</b><b>          THROUGH DIESEL SMOKE: A BUSING PROTEST IN PROGRESS. THE</b><b>          SCHOOL-BUS, FULL OF BLACK KIDS, IS HIT WITHBRICKS, ROCKS.</b><b>          N.B.: (THIS IS NOT SETTING THE LIVE ACTION IN 1974; IT IS A</b><b>          HISTORICAL MONTAGE, THE BACKGROUNDFOR COSTELLO'S V.O.).</b><b>          </b><b>          INT. THE AUTOBODY SHOP. DAY.</b><b>          </b>          COSTELLO's profile passes in a darkroom.<b>          </b><b>                                 COSTELLO (V.O.)</b>                       Years ago, we had the Church. That                       was only a way ofsaying we had                       each other. The Knights of Columbus                       were head-breakers. They took over                       their piece of the"}
+{"doc_id":"doc_308","qid":"","text":"Project Gutenberg's Peter Pan in Kensington Gardens, by J. M. BarrieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Peter Pan in Kensington GardensAuthor: J. M. BarriePosting Date: August 27, 2008 [EBook #1332]Release Date: May, 1998Language:English*** START OF THIS PROJECT GUTENBERG EBOOK PETER PAN IN KENSINGTON GARDENS ***Produced by Ron BurkeyPETER PAN IN KENSINGTONGARDENSBy J. M. BarrieCONTENTS     Peter Pan     The Thrush's Nest     The Little House     Lock-Out TimePeter PanIf you ask your mother whether she knewabout Peter Pan when she was alittle girl she will say, \"Why, of course, I did, child,\" and if youask her whether he rode on a goat in those days she will say,\"Whata foolish question to ask, certainly he did.\" Then if you ask yourgrandmother whether she knew about Peter Pan when she was a girl, shealso says, \"Why, ofcourse, I did, child,\" but if you ask her whether herode on a goat in those days, she says she never heard of his having agoat. Perhaps she has forgotten, just asshe sometimes forgets your nameand calls you Mildred, which is your mother's name. Still, she couldhardly forget such an important thing as the goat. Thereforethere wasno goat when your grandmother was a little girl. This shows that, intelling the story of Peter Pan, to begin with the goat (as most peopledo) is as silly asto put on your jacket before your vest.Of course, it also shows that Peter is ever so old, but he is reallyalways the same age, so that does not matter in the least.His ageis one week, and though he was born so long ago he has never had abirthday, nor is there the slightest chance of his ever having one. Thereason is thathe escaped from being a human when he was seven days'old; he escaped by the window and flew back to the Kensington Gardens.If you think he was the onlybaby who ever wanted to escape, it showshow completely you have forgotten your own young days. When David heardthis story first he was quite certain that hehad never tried to escape,but I told him to think back hard, pressing his hands to his temples,and when he had done this hard, and even harder, hedistinctlyremembered a youthful desire to return to the tree-tops, and with thatmemory came others, as that he had lain in bed planning to escape assoon as hismother was asleep, and how she had once caught him half-wayup the chimney. All children could have such recollections if they wouldpress their hands hard totheir temples, for, having been birds beforethey were human, they are naturally a little wild during the first fewweeks, and very itchy at the shoulders, wheretheir wings used to be. SoDavid tells me.I ought to mention here that the following is our way with a story:First, I tell it to him, and then he tells it to me, theunderstandingbeing that it is quite a different story; and then I retell it with hisadditions, and so we go on until no one could say whether it is morehis story ormine. In this story of Peter Pan, for instance, the baldnarrative and most of the moral reflections are mine, though not all,for this boy can be a stern moralist, butthe interesting bits about theways and customs of babies in the bird-stage are mostly reminiscencesof David's, recalled by pressing his hands to his temples andthinkinghard.Well, Peter Pan got out by the window, which had no bars. Standingon the ledge he could see trees far away, which were doubtless theKensingtonGardens, and the moment he saw them he entirely forgot thathe was now a little boy in a nightgown, and away he flew, right over thehouses to the Gardens. It iswonderful that he could fly without wings,but the place itched tremendously, and, perhaps we could all fly if wewere as dead-confident-sure of our capacity to doit as was bold PeterPan that evening.He alighted gaily on the open sward, between the Baby's Palace and theSerpentine, and the first thing he did was to lie onhis back and kick.He was quite unaware already that he had ever been human, and thought hewas a bird, even in appearance, just the same as in his early days,andwhen he tried to catch a fly he did not understand that the reason hemissed it was because he had attempted to seize it with his hand, which,of course, a birdnever does. He saw, however, that it must be pastLock-out Time, for there were a good many fairies about, all too busyto notice him; they were getting breakfastready, milking their cows,drawing water, and so on, and the sight of the water-pails made himthirsty, so he flew over to the Round Pond to have a drink. Hestooped,and dipped his beak in the pond; he thought it was his beak, but, ofcourse, it was only his nose, and, therefore, very little water came up,and that not sorefreshing as usual, so next he tried a puddle, and hefell flop into it. When a real bird falls in flop, he spreads out hisfeathers and pecks them dry, but Peter couldnot remember what wasthe thing to do, and he decided, rather sulkily, to go to sleep on theweeping beech in the Baby Walk.At first he found some difficulty inbalancing himself on a branch, butpresently he remembered the way, and fell asleep. He awoke long beforemorning, shivering, and saying to himself, \"I neverwas out in such acold night;\" he had really been out in colder nights when he was a bird,but, of course, as everybody knows, what seems a warm night to a birdisa cold night to a boy in a nightgown. Peter also felt strangelyuncomfortable, as if his head was stuffy, he heard loud noises that madehim look round sharply,though they were really himself sneezing. Therewas something he wanted very much, but, though he knew he wanted it, hecould not think what it was. What hewanted so much was his mother toblow his nose, but that never struck him, so he decided to appeal to thefairies for enlightenment. They are reputed to know agood deal.There were two of them strolling along the Baby Walk, with their armsround each other's waists, and he hopped down to address them. Thefairies havetheir tiffs with the birds, but they usually give a civilanswer to a civil question, and he was quite angry when these two ranaway the moment they saw him.Another was lolling on a garden-chair,reading a postage-stamp which some human had let fall, and when he heardPeter's voice he popped in alarm behind atulip.To Peter's bewilderment he discovered that every fairy he met fled fromhim. A band of workmen, who were sawing down a toadstool, rushed away,leavingtheir tools behind them. A milkmaid turned her pail upside downand hid in it. Soon the Gardens were in an uproar. Crowds of fairieswere running this way andthat, asking each other stoutly, who wasafraid, lights were extinguished, doors barricaded, and from the groundsof Queen Mab's palace came the rubadub ofdrums, showing that the royalguard had been called out.A regiment of Lancers came charging down the Broad Walk, armed withholly-leaves, with which they jogthe enemy horribly in passing. Peterheard the little people crying everywhere that there was a human in theGardens after Lock-out Time, but he never thoughtfor a moment that hewas the human. He was feeling stuffier and stuffier, and more and morewistful to learn what he wanted done to his nose, but he pursuedthemwith the vital question in vain; the timid creatures ran from him, andeven the Lancers, when he approached them up the Hump, turned swiftlyinto aside-walk, on the pretence that they saw him there.Despairing of the fairies, he resolved to consult the birds, but now heremembered, as an odd thing, that allthe birds on the weeping beech hadflown away when he alighted on it, and though that had not troubled himat the time, he saw its meaning now. Every livingthing was shunninghim. Poor little Peter Pan, he sat down and cried, and even then he didnot know that, for a bird, he was sitting on his wrong part. It isablessing that he did not know, for otherwise he would have lost faithin his power to fly, and the moment you doubt whether you can fly, youcease forever to beable to do it. The reason birds can fly and we can'tis simply that they have perfect faith, for to have faith is to havewings.Now, except by flying, no one can reachthe island in the Serpentine,for the boats of humans are forbidden to land there, and thereare stakes round it, standing up in the water, on each of whichabird-sentinel sits by day and night. It was to the island that Peter nowflew to put his strange case before old Solomon Caw, and he alighted onit with relief, muchheartened to find himself at last at home, as thebirds call the island. All of them were asleep, including the sentinels,except Solomon, who was wide awake on oneside, and he listened quietlyto Peter's adventures, and then told him their true meaning.\"Look at your night-gown, if you don't believe me,\" Solomon said,andwith staring eyes Peter looked at his nightgown, and then at thesleeping birds. Not one of them wore anything.\"How many of your toes are thumbs?\" saidSolomon a little cruelly, andPeter saw to his consternation, that all his toes were fingers. Theshock was so great that it drove away his cold.\"Ruffle your feathers,\"said that grim old Solomon, and Peter tried mostdesperately hard to ruffle his feathers, but he had none. Then he roseup, quaking, and for the first time since hestood on the window-ledge,he remembered a lady who had been very fond of him.\"I think I shall go back to mother,\" he said timidly.\"Good-bye,\" replied SolomonCaw with a queer look.But Peter hesitated. \"Why don't you go?\" the old one asked politely.\"I suppose,\" said Peter huskily, \"I suppose I can still fly?\"You see, hehad lost faith.\"Poor little half-and-half,\" said Solomon, who was not reallyhard-hearted, \"you will never be able to fly again, not even on windydays. You must livehere on the island always.\"\"And never even go to the Kensington Gardens?\" Peter asked tragically.\"How could you get across?\" said Solomon. He promised verykindly,however, to teach Peter as many of the bird ways as could be learned byone of such an awkward shape.\"Then I sha'n't be exactly a human?\" Peterasked.\"No.\"\"Nor exactly a bird?\"\"No.\"\"What shall I be?\"\"You will be a Betwixt-and-Between,\" Solomon said, and certainly he wasa wise old fellow, for that isexactly how it turned out.The birds on the island never got used to him. His oddities tickled themevery day, as if they were quite new, though it was really thebirdsthat were new. They came out of the eggs daily, and laughed at him atonce, then off they soon flew to be humans, and other birds came outof other eggs,and so it went on forever. The crafty mother-birds, whenthey tired of sitting on their eggs, used to get the young one to breaktheir shells a day before the righttime by whispering to them that nowwas their chance to see Peter washing or drinking or eating. Thousandsgathered round him daily to watch him do thesethings, just as you watchthe peacocks, and they screamed with delight when he lifted the cruststhey flung him with his hands instead of in the usual way withthemouth. All his food was brought to him from the Gardens at Solomon'sorders by the birds. He would not eat worms or insects (which theythought very silly ofhim), so they brought him bread in their beaks.Thus, when you cry out, \"Greedy! Greedy!\" to the bird that flies awaywith the big crust, you know now that you"}
+{"doc_id":"doc_309","qid":"","text":"<html><head><title>Saint, The Script at IMSDb.</title><meta name=\"description\" content=\"Saint, The script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Saint, The script, Saint, The movie script, Saint, The film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML><HEAD>       <TITLE>THE SAINT</TITLE></b><LINK rel=\"stylesheet\" type=\"text/css\"><META http-equiv=\"Content-Type\" content=\"text/html;charset=iso-8859-1\"><style type=\"text/css\">BODY { background-color: \"#FFFFFF\"; font-family: Courier New, Helvetica, sans-serif; font-size:10.0pt }DIV {position:absolute; left:5px; top:20px; width:734px; height:500px;  }#loc { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.2in;margin-bottom:0in;margin-left:0.8in;text-transform:uppercase } #slug { font-family:Courier New; font-weight: normal; margin-top:0in; margin-right:1.2in;margin-bottom:0in; margin-left:0.8in; text-transform:uppercase;<b> </b><b>} </b>#act { font-family:Courier New; font-weight: normal;margin-top:0in;margin-right:1.8in; margin-bottom:0in;margin-left:0.8in } #speaker { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.in;margin-bottom:0in;margin-left:2.8in;text-transform:uppercase }#spkdir { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.7in;margin-bottom:0in;margin-left:2.2in }#dia { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.6in;margin-bottom:0in;margin-left:1.6in }#pg { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.75in;margin-bottom:0in;margin-left:6.5in }#right { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:0.75in;margin-bottom:0in;margin-left:5.0in }</style><div id=\"Layer1\"><b></HEAD></b><b><BODY></b></p><p><p ID=\"slug\">THE S A I N T </p><p><p"}
+{"doc_id":"doc_310","qid":"","text":"<html><head><title>Fright Night Script at IMSDb.</title><meta name=\"description\" content=\"Fright Night script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Fright Night script, Fright Night movie script, Fright Night film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  FRIGHT NIGHT</b>                                   Written by                                   Marti Noxon<b>          EXT. SUBURBANNEIGHBORHOOD -- NIGHT</b><b>                         FADE UP:</b>          Moving through a tract development. The houses are like          Mexican food -- thebasic elements are all the same, just          mixed differently.          A gloomy night, no moon. And a slightly ominous pattern          emerges...          Green,thriving lawns and meticulously tended homes abut          brown yards and porches littered with old newspapers and          pizza joint flyers.          Each third orfourth house is FOR SALE or, worse, seemingly          abandoned. This area is in danger of becoming a ghost town.          A deep, commanding voice pierces thesilence:<b>          VOICE (O.S.)</b>          Defy reason. Defy everything you          know.          Now we move in on one of the homes. Not the nicest onthe          block, but inhabited. Lights on in the windows.<b>          INT. SUBURBAN HOME/VARIOUS -- NIGHT</b>          Inside the house. A middle-classfamily lives here. The          living room is empty, but the TV's on.<b>          ON THE TELEVISION</b>          A commercial for PETER VINCENT. A Las Vegasinstitution,          he's a magician whose show is all Gothic, horror-movie          imagery.          Peter's wiry, hot -- a rock and roll bad boy. He's cuttinga          girl up with a chain saw. And grinning like a mad man.<b>                         TELEVISION ANNOUNCER</b>          Peter Vincent's \"FRIGHTNIGHT.\"          The family DOG is up on the coffee table eating what's left          of a fast food burger and fries, still in the box.<b>          TELEVISION"}
+{"doc_id":"doc_311","qid":"","text":"<html><head><title>Last Chance Harvey Script at IMSDb.</title><meta name=\"description\" content=\"Last Chance Harvey script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Last Chance Harvey script, Last Chance Harvey movie script, Last Chance Harvey film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                          LAST CHANCE HARVEY</b><b>          </b><b>          </b><b>          </b>                              Writtenby<b>          </b>                             Joel Hopkins<b>          </b><b>          </b><b>          </b>          Sound of a piano being played. Sparse butbeautiful.<b>          </b><b>                                                           FADE IN:</b><b>          </b><b>          </b><b>          INT. RECORDING ROOM -DAY</b><b>          </b>          HARVEY SHINE, mid-60's, sits at a piano in a scruffy          recording room, tinkering. We hold on his slightly sad,          intensegaze. Just then a shaft of crude light illuminates          him, accompanied by a knocking sound. From behind a studio          window, JOHNNIE, a young rockertype in his 20's beckons.          Harvey closes the piano lid.<b>          </b><b>          </b><b>          INT. STUDIO - DAY</b><b>          </b>          Johnnie,unpacking his lunch and turning on various buttons,          sits at a mixing desk. In front of him are 2 large TV          monitors. Harvey joinshim.<b>          </b><b>                              HARVEY</b>                    Put my score upfirst.<b>          </b><b>                              JOHNNIE</b>                    They don't want to hear it,Harvey.<b>          </b><b>                              HARVEY</b>                    I know, but I want to hear it. Put                    itup.<b>          </b><b>                              JOHNNIE</b>                    I'm backed up already,"}
+{"doc_id":"doc_312","qid":"","text":"<html><head><title>Fletch Script at IMSDb.</title><meta name=\"description\" content=\"Fletch script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Fletch script, Fletch movie script, Fletch film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><title>Fletch - by Phil Alden Robinson from a draft by Andrew Bergman.  May 4, 1986 draft</title><styletype=\"text/css\">  <b> </b>body{ font-family: \"Courier New\", Courier, monospace; font-size: 10pt;<b> </b><b>}</b></style></head><body><tableborder=\"0\" width=\"650\">  <tr>    <td><p align=\"left\">May 4, 1986</p><p align=\"right\">PRODUCERS:PETER<b>DOUGLAS</b><b>ALANGREISMAN</b>DIRECTOR:MICHAEL RITCHIE</p><p align=\"center\">&nbsp;</p><p align=\"center\"><u>FLETCH</u></p><p align=\"center\">FinalDraftScreenplay</p><p align=\"center\">by</p><p align=\"center\">PHIL ALDEN ROBINSON</p><p align=\"center\">From a Draft</p><palign=\"center\">by</p><p align=\"center\">ANDREW BERGMAN</p><p align=\"center\">Based on the novel</p><p align=\"center\">by</p><palign=\"center\">GREGORY MC DONALD</p><p align=\"center\">&nbsp;</p><p align=\"center\"><u>FLETCH</u></p><p>FADEIN</p><ol>    <li>EXT.CALIFORNIA BEACH &#150;        DAY 1<p>Seagulls        squawk, and the waves pound, but we&#146;re not talking        about MalibuColony, here. This is a fairly rundown beach        area, catering to lower-echelon surfers, vagrants, and        strung out druggies of all ages, several of whomstand or        sit on their haunches by a dilapidated old hamburger        stand. Over the stand is a faded sign: &quot;FAT        SAM&#146;SHAMBURGERS&quot;.</p>        <p>A simple but haunting        electronic melody plays in the b.g.</p>    </li>    <li>INT. &quot;FAT        SAM&#146;S&quot;"}
+{"doc_id":"doc_313","qid":"","text":"The Project Gutenberg EBook of The Good Shepherd, by AnonymousThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Good Shepherd       A Life of Christ for ChildrenAuthor: AnonymousRelease Date: June 11, 2006 [EBook #18558]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE GOOD SHEPHERD ***Produced by Al Haines[Frontispiece: \"I am the good shepherd. . .\"]THEGOOD SHEPHERDA LIFE OF CHRIST FOR CHILDRENFLEMING H. REVELL COMPANYNEW YORK : : CHICAGO : : TORONTOPublishers of Evangelical LiteratureTABLEOF CONTENTSCHAPTER    I.  WHY JESUS CAME TO THIS WORLD   II.  JESUS IS BORN IN BETHLEHEM  III.  THE BOYHOOD OF JESUS   IV.  JOHN THEBAPTIST    V.  JESUS BEGINS HIS WORK   VI.  SOME WORDS AND WORKS OF JESUS  VII.  A FRIEND FOR THE SORROWFUL VIII.  MORE WONDERFUL WORKSAND WORDS   IX.  THE MAN BORN BLIND, AND LAZARUS    X.  THE PRODIGAL SON, AND OTHER STORIES   XI.  THE LAST DAYS IN JERUSALEM  XII.  THECRUCIFIXION AND THE RESURRECTION   XX   SELECTED SONGS, PSALMS, AND PRAYERSLIST OF ILLUSTRATIONS\"I am the good shepherd . . .\" . . . . . ._Frontispiece_Map of Palestine at the time of ChristThe shepherd's careBethlehemNazareth, from hill aboveJewish women grinding cornThe River JordanJericho,from plains aboveA modern Jew's wedding party in GalileeJacob's wellRuins of CapernaumThe good SamaritanBethanyChild at prayerThe shepherd's care (2ndversion)The shepherd's care (3rd version)The Jordan near BethabaraMount of Olives and JerusalemGethsemaneCalvaryThe empty tombThe Sea of GalileeTheMount of OlivesCHAPTER IWHY JESUS CAME TO THIS WORLDIn the beginning, before the world was made, the Lord Jesus lived inheaven.  He lived in that happyplace with God.  Then God made theworld.  He told the hills to come up out of the earth, and the seas torun down into the deep places which He had made forthem.  He made thegrass, the trees, and all the pretty flowers.  He put the sun, themoon, and the stars in the sky.  He filled the water with swimmingfish, the airwith flying birds, and the dry land with walking andcreeping animals.  And then He said, 'Let _Us_ make man.'  Who weremeant by 'Us'?  Who was with God whenHe made the world?  It was Jesus.The Bible says:'THE WORD (that means Jesus) WAS WITH GOD, AND THE WORD WAS GOD.  THESAME WAS IN THEBEGINNING WITH GOD.  ALL THINGS WERE MADE BY HIM.'So after He had made everything else, God made a man, and named himAdam.  God put Adam intothe beautiful Garden of Eden, and at first hewas good and very happy.  God also made a woman, named Eve, to be hiswife, and to help him to take care of thegarden.  All the fruit in thegarden, except what grew on one tree, was given to Adam and Eve to eat;all the animals were their servants; and God was theirFriend.A wicked angel, who had been turned out of heaven, saw how happy Adamand Eve were, and he was angry, and thought, 'I will make them as badandunhappy as I am; I will make them do what God has told them not todo.  Then he will turn them out of Eden, and they and their childrenwill be my servants forever, and I shall be king of the world.'So the wicked angel, whose name was Satan, came into Eden.  He got Adamand Eve to take the fruit which God had toldthem not to eat, and Godhad to send them out of the beautiful garden; for God had said He wouldpunish Adam and Eve if they took that fruit, and God alwayskeeps Hisword.But God went on loving Adam and Eve even when He knew that He mustpunish them, and He tried to make them good in this way.  He thought,'Iwill send My dear Son down to the earth.  He shall become a littlechild, and grow up to be a man, and shall die for the sins of theworld.'Hundreds and hundreds ofyears passed away before Jesus came.  But agreat many of the people who lived in Palestine were expecting Him.God had said that when Jesus came, He wouldbe a Jew.  The Jews werevery proud about that.  They often talked about the coming of Jesus.When they talked about Him, they called Him the Messiah.Justbefore Jesus was born, the Jews were very unhappy.  Roman soldiershad been fighting with them, and had conquered them, and made themservants of the greatRoman king.  He was called Augustus Caesar, andhe gave the Jews another king called Herod.  He was very wicked.[Illustration: Map of Palestine at the time ofChrist.]The Jews longed to get rid of Herod, and many of them thought, 'It willbe all right when the Messiah comes.  The Messiah will fight againstthe Romans; Hewill drive them away from our land; and then He will beour King instead of that wicked Herod.'  But only a few Jews rememberedthat Jesus was coming to fightagainst Satan and against sin.The place where the Jews lived had four or five names.  It was calledthe Land of Canaan at the first, then the Land of Promise, andthen theLand of Israel.  But we call it the Holy Land, or Palestine.If you look at the map of Palestine, you will see a river running fromthe north of Palestine to thesouth.  That river is called the Jordan.And Palestine is divided into four parts,--one at the top (we call thatthe north), one at the bottom (we call that the south),one in themiddle, and one on the other or eastward side of the Jordan.The part in the North is called Galilee.  The part in the south iscalled Judaea.  The part inthe middle is called Samaria.  The part onthe other side of the Jordan is called Perea.Palestine is full of hills, with great holes, called caves, in theirsides.  Palestineis not very big; England is about six times, and NewYork State about five times larger.  Washington is called the capitalof the United States.  The capital ofPalestine was Jerusalem.Jerusalem was a very beautiful city.  It was built on four or fivehills which were very close together.  One of these hills was calledMountMoriah.  On the top of Mount Moriah there was a great Templewhere the Jews went to pray.  Part of the Temple was called the HolyPlace, the part at the very topof the mountain.  It was splendid withits shining gold and white marble, but it was not very large, for thepeople were not allowed to go into it.  When it was timefor the Jewsto go to the Temple, silver trumpets were blown once, twice, threetimes, and then the gates were thrown open, and the people crowded intothecourts.CHAPTER IIJESUS IS BORN IN BETHLEHEMMary, the mother of Jesus, lived in the little town of Nazareth, amongthe hills of Galilee.  She was going to bemarried to a carpentercalled Joseph, who, like herself, lived in Nazareth.  One day God sentthe angel Gabriel to Mary with a message.  Mary, when she saw andheardthe angel, was a little frightened.  But the angel told her he had someglad news for her.  Jesus, the Son of God, the Messiah, was coming intothe world verysoon, and He was to come in the form of a baby, asMary's little child.  And Gabriel said that when He was born, Mary mustcall Him JESUS.Mary had a cousinnamed Elizabeth, who lived more than a hundred milesaway from Nazareth, and Mary longed to talk with her about all thesewonderful things.  So she got readyfor a long journey, and went offinto the hill country of Judaea to see Elizabeth.And God had also promised to send Elizabeth a son.  And soon afterMary's visit thebaby was born, and all Elizabeth's friends were glad,and came to see her, and to thank God with her for His great kindness.The little Jew babies have a namegiven to them when they are eightdays old.  And Elizabeth's son was named John.One night, soon after Mary got back from her cousin Elizabeth's house,the angelof the Lord spoke to Joseph in a dream.  The angel toldJoseph to marry Mary, and he told him Mary's secret about the Son ofGod coming to earth as her littlechild, and he said to Joseph, 'THOUSHALT CALL HIS NAME JESUS, FOB HE SHALL SAVE HIS PEOPLE FROM THEIRSINS.'  When Joseph woke up, his first thoughtwas to do what the angelhad told him, and he at once took Mary to his own home as his wife.About this time Caesar Augustus, the great Emperor at Rome, sentwordto Herod that he was to take a census of the Jews.  Everybody's namehad to be written down and his age, and many other things about him.Every twentyyears Augustus had a census taken, so that he might knowhow much money the Jews ought to pay him, and how many Jew soldiers heought to have.InPalestine, at census time, people had to go to the towns where theirfathers' fathers lived a long time ago, and had to have their names putdown there instead ofhaving them put down in their own homes.  Now,both Joseph and Mary belonged to the family of the great king David,who was born in Bethlehem.  So Mary hadto prepare for a long journey,and go with her husband to Bethlehem.  Bethlehem is six miles fromJerusalem.  It is on the top of a hill, and people have to climbup asteep road to get into the town.An inn is a large house that people stay at when they are on a journey.The inns in Palestine have four walls, with a door infront, and with agreat empty space for camels and horses inside.  In the middle of theempty space is a fountain; and all round the walls, a little bit higherthan thepart where the animals are, there are a number of places likeempty stone arbors.  These empty places are called _leewans_, and theyare open in front, so thateverybody can see into them.  Yet Mary andJoseph, after all their long journey from Nazareth, could not find evenan empty _leewan_ to lie down in.[Illustration:The shepherd's care.]Near that inn there was a place in which asses and camels were kept.It was perhaps a cave in the side of the hill.  And because there wasnoroom for them in the inn, Mary and Joseph had to go into that stableto sleep, and in that stable Jesus Christ was born.  Mary wrapped Himin swaddling clothes,and laid Him in the manger in the place where theanimals' food was kept.On the hill where Bethlehem stands there are green places whereshepherds feed theirflocks.  There are wild animals in Palestine; andall night long the shepherds of Bethlehem watched to see that no harmhappened to their sheep.  One night anangel of the Lord stood by themand a bright light shown round about them.  The shepherds were afraid;but the angel said, 'FEAR NOT; FOR BEHOLD, I BRINGYOU GOOD TIDINGS (ORNEWS) OF GREAT JOY, WHICH SHALL BE TO ALL PEOPLE.  FOR UNTO YOU IS BORNTHIS DAY IN THE CITY OF DAVID A SAVIOUR,WHICH is CHRIST THE LORD.'And suddenly there was seen with the angel a number of the angels ofheaven.  And they praised God, and said, 'GLORY TO GOD INTHE HIGHEST,AND ON EARTH PEACE, GOOD WILL TOWARD MEN.'When the light faded, and the song ended, and the angels had gone backinto heaven, theshepherds climbed quickly over the hillside toBethlehem.  And there, in the stable near the inn, they found Mary andJoseph, and the Babe lying in the manger, asthe angels had said.Jesus was the eldest son of His mother.  And the eldest sons in Jewishhouses, when they were forty days old, were taken to the Temple,andgiven to God.So now, when Jesus was nearly six weeks old, He was brought fromBethlehem by Mary and Joseph to the Temple at Jerusalem.  The"}
+{"doc_id":"doc_314","qid":"","text":"The Project Gutenberg EBook of Self-control, by Mary BruntonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Self-controlAuthor: Mary BruntonRelease Date: October 27, 2012 [EBook #41196]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK SELF-CONTROL ***Produced by Delphine Lettau, fh and the Online DistributedProofreading Team athttp://www.pgdp.net    SELF-CONTROL    _A Novel by_    MARY BRUNTON    His warfare is within.--There unfatigued    His fervent spirit labours.--There hefights,    And there obtains fresh triumphs o'er himself,    And never-withering wreaths, compared with which    The laurels that a Caesar reaps areweeds                                                   Cowper                           TO                   MISS JOANNA BAILLIEMADAM,You would smile to hear the insect of a day paythe tribute of itspraise to the lasting oak which aided its first feeble soaring--Smilethen;--for a person whom nature, fortune, and inclination, alike, havemarkedfor obscurity, one whose very name may never reach your ear,offers this tribute of respect to the author of PLAYS on the PASSIONS.The pleasure of expressingheart-felt admiration is not, however, myonly motive for inscribing this tale to you. Unknown to the world bothas an individual and as an author, I own myselfdesirous of giving apledge of spotless intention in my work, by adorning it with the name ofone whose writings force every unvitiated heart to glow with awarmerlove of virtue. On one solitary point I claim equality with you:--Inpurity of intention I yield not even to JOANNA BAILLIE.May I venture to avow anotherfeeling which has prompted this intrusion?What point so small that vanity cannot build on it a resting-place! Willyou believe that this trifle claims affinity with thePlays on thePassions?--Your portraitures of the progress and of the consequences ofpassion,--portraitures whose exquisite truth gives them the force oflivingexamples,--are powerful warnings to watch the first risings ofthe insidious rebel. No guard but one is equal to the task. Theregulation of the passions is theprovince, it is the triumph ofRELIGION. In the character of Laura Montreville the religious principleis exhibited as rejecting the bribes of ambition; bestowingfortitude inwant and sorrow; as restraining just displeasure; overcomingconstitutional timidity; conquering misplaced affection; and triumphingover the fear ofdeath and of disgrace.This little tale was begun at first merely for my own amusement. It ispublished that I may reconcile my conscience to the time which ithasemployed, by making it in some degree useful. Let not the term soimplied provoke a smile! If my book is read, its uses to the author areobvious. Nor is a workof fiction necessarily unprofitable to thereaders. When the vitiated appetite refuses its proper food, thealternative may be administered in a sweetmeat. It may beimprudent toconfess the presence of the medicine, lest the sickly palate, thuswarned, turn from it in loathing. But I rely in this instance on theworld of thephilosopher, who avers that 'young ladies never readprefaces'; and I am not without hope, that with you, and with all whoform exceptions to this rule, the avowalof a useful purpose may be aninducement to tolerate what otherwise might be thought unworthy ofregard.Perhaps in an age whose lax morality, declining theglorious toils ofvirtue, is poorly 'content to dwell in decencies for ever', emulationmay be repressed by the eminence which the character of Laura claimsover theordinary standard of the times. A virtue which, thoughessentially Christian, is certainly not very popular in this Christiancountry, may be stigmatized as romantic;a chilling term of reproach,which has blighted many a fair blossom of goodness ere it ripened intofruit. Perhaps some of my fair countrywomen, finding it difficulttotrace in the delineation of Self-Control any striking feature of theirown minds, may pronounce my picture unnatural. It might be enough toreply, that I do notascribe any of the virtues of Laura to nature, and,least of all, the one whose office is to regulate and control nature.But if my principal figure want the air, andvivacity of life, the blamelies in the painter, not in the subject. Laura is indebted to fancy forher drapery and attitudes alone. I have had the happiness ofwitnessing,in real life, a self-command operating with as much force, permanence,and uniformity, as that which is depicted in the following volumes. Toyou,Madam, I should perhaps further apologize for having left in mymodel some traces of human imperfection; while, for the generality of myreaders, I breathe afervent wish, that these pages may assist inenabling their own hearts to furnish proof that the character of Laura,however unnatural, is yet not unattainable.  Ihave the honour to be,    with great respect,      Madam,        Your obedient Servant,          The AUTHOR                                          January1811.CONTENTS  Chapter I               1  Chapter II             10  Chapter III            18  Chapter IV             23  Chapter V              33  ChapterVI             39  Chapter VII            45  Chapter VIII           56  Chapter IX             62  Chapter X              73  Chapter XI             82  ChapterXII            90  Chapter XIII          102  Chapter XIV           116  Chapter XV            132  Chapter XVI           147  Chapter XVII          161  ChapterXVIII         185  Chapter XIX           201  Chapter XX            215  Chapter XXI           229  Chapter XXII          242  Chapter XXIII         260  ChapterXXIV          270  Chapter XXV           283  Chapter XXVI          298  Chapter XXVII         312  Chapter XXVIII        329  Chapter XXIX          346  ChapterXXX           367  Chapter XXXI          387  Chapter XXXII         402  Chapter XXXIII        413  Chapter XXXIV         426CHAPTER IIt was on a still evening in June,that Laura Montreville left herfather's cottage, in the little village of Glenalbert, to begin asolitary ramble. Her countenance was mournful, and her step languid;forher health had suffered from long confinement, and her spirits wereexhausted by long attendance on the deathbed of her mother. That labourof duty had beenlessened by no extrinsic circumstance; for Lady HarrietMontreville was a peevish and refractory patient; her disorder had beentedious as well as hopeless; andthe humble establishment of a half-payofficer furnished no one who could lighten to Laura the burden ofconstant attendance. But Laura had in herself that whichsoftens alldifficulty, and beguiles all fatigue--an active mind, a strong sense ofduty, and the habit of meeting and of overcoming adverse circumstances.CaptainMontreville was of a family ancient and respectable, but so farfrom affluent, that, at the death of his father, he found his wealth, asa younger son, to consist onlyof £500, besides the emoluments arisingfrom a lieutenancy in a regiment of foot. Nature had given him a fineperson and a pleasing address; and to the nationalopinions of a Scotishmother, he was indebted for an education, of which the liberality suitedbetter with his birth than with his fortunes. He was inLondonnegotiating for the purchase of a company, when he accidentally met withLady Harriet Bircham. Her person was shewy, and her manners had theglare,even more than the polish of high life. She had a livelyimagination, and some wit; had read a little, and knew how to shew thatlittle to advantage. The fine personof Montreville soon awakened theonly sort of sensibility of which Lady Harriet was possessed; and herpreference was sufficiently visible in every step of itsprogress. To bedistinguished by a lady of such rank and attractions, raised inMontreville all the vanity of three-and-twenty; and, seen through thatmedium, LadyHarriet's charms were magnified to perfections. Montrevillesoon was, or fancied himself, desperately in love. He sued, and wasaccepted with a frankness, to whichsome stiff advocates for femaledecorum might give the harsh name of forwardness. Montreville was inlove, and he was pleased to call it the candour of a noblemind.As his regiment was at this time under orders for the West Indies, LadyHarriet prevailed on him to exchange to half-pay; and her fortune beingno more than£5000, economy, no less than the fondness for solitudenatural in young men in love, induced him to retire to the country withhis bride, who had reasons of herown for wishing to quit London. He hadbeen educated in Scotland, and he remembered its wild scenery with theenthusiasm of a man of taste, and a painter. Hesettled therefore in thevillage of Glenalbert, near Perth; and to relieve his conscience fromthe load of utter idleness at twenty-three, began the superintendenceofa little farm. Here the ease and vivacity of Lady Harriet made her for awhile the delight of her new acquaintance. She understood all the artsof courtesy; and,happy herself, was for a while content to practisethem. The store of anecdote, which she had accumulated in herintercourse with the great, passed with hercountry neighbours forknowledge of the world. To Scotish ears, the accent of the higher ranksof English conveys an idea of smartness, as well as of gentility;andLady Harriet became an universal favourite.Those who succeed best in amusing strangers, are not, it has beenremarked, the most pleasing in domestic life:they are not even alwaysthe most entertaining. Lady Harriet's spirits had ebbs, which commonlytook place during her tête-à -têtes with Captain Montreville.Outwardattractions, real or imaginary, are the natural food of passion: butsound principles must win confidence, and kindness of heart engageaffection. PoorMontreville soon gave a mournful assent to these truths;for Lady Harriet had no principles, and her heart was a mere 'pulsationon the left side.' Her passion forher husband soon declined; and hermore permanent appetite for admiration finding but scanty food in asolitary village, her days passed in secret discontent oropenmurmurings. The narrowness of their finances made her feel the necessityof economy, though it could not immediately instruct her in the art ofit; andMontreville, driven from domestic habits by the turmoil of ahousehold, bustling without usefulness, and parsimonious withoutfrugality, was on the point ofreturning to his profession, or ofseeking relief in such dissipation as he had the means of obtaining,when the birth of a daughter gave a new turn to all his hopesandwishes.'I should not wish the girl to be a beauty,' said he to his friend, thevillage pastor. 'A pretty face is of no use, but to blind a lover';--andhe sighed, as herecollected his own blindness. Yet he was delighted tosee that Laura grew every day more lovely. 'Wit only makes womentroublesome,' said he;--but before Laurawas old enough to shew theuncommon acuteness of her understanding, he had quite forgotten that heever applied the remark to her. To amuse her infancybecame his chosenrecreation; to instruct her youth was afterwards his favouriteemployment. Lady Harriet, too, early began to seek food for her vanityin thesuperior endowments of her child, and she forthwith determinedthat Laura should be a paragon. To perfect her on Nature's plan, neverentered the head of this"}
+{"doc_id":"doc_315","qid":"","text":"The Project Gutenberg eBook, The Condition of the Working-Class in Englandin 1844, by Frederick Engels, Translated by Florence Kelley WischnewetzkyThiseBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of theProject Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Condition of the Working-Class in England in 1844       with a Prefacewritten in 1892Author: Frederick EngelsRelease Date: December 13, 2005  [eBook #17306]Language: EnglishCharacter set encoding: ISO-646-US(US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE CONDITION OF THE WORKING-CLASSIN ENGLAND IN 1844***Transcribed from the January1943 George Allen & Unwin reprint of theMarch 1892 edition by David Price, email ccx074@coventry.ac.ukThe Condition of the Working-Class in England in1844With a Preface written in 1892byFREDERICK ENGELS_Translated by Florence Kelley Wischnewetzky__London_GEORGE ALLEN & UNWIN LTD_MuseumStreet_PREFACEThe book, an English translation of which is here republished, was firstissued in Germany in 1845.  The author, at that time, was young,twenty-four years of age, and his production bears the stamp of his youth withits good and its faulty features, of neither of which he feels ashamed.It wastranslated into English, in 1885, by an American lady, Mrs. F.Kelley Wischnewetzky, and published in the following year in New York.The American edition beingas good as exhausted, and having never beenextensively circulated on this side of the Atlantic, the present Englishcopyright edition is brought out with the fullconsent of all partiesinterested.For the American edition, a new Preface and an Appendix were written inEnglish by the author.  The first had little to do with thebook itself;it discussed the American Working-Class Movement of the day, and is,therefore, here omitted as irrelevant, the second--the originalpreface--is largelymade use of in the present introductory remarks.The state of things described in this book belongs to-day, in manyrespects, to the past, as far as England isconcerned.  Though notexpressly stated in our recognised treatises, it is still a law of modernPolitical Economy that the larger the scale on whichCapitalisticProduction is carried on, the less can it support the petty devices ofswindling and pilfering which characterise its early stages.  Thepettifoggingbusiness tricks of the Polish Jew, the representative inEurope of commerce in its lowest stage, those tricks that serve him sowell in his own country, and aregenerally practised there, he finds tobe out of date and out of place when he comes to Hamburg or Berlin; and,again, the commission agent, who hails from Berlinor Hamburg, Jew orChristian, after frequenting the Manchester Exchange for a few months,finds out that, in order to buy cotton yarn or cloth cheap, he, too,hadbetter drop those slightly more refined but still miserable wiles andsubterfuges which are considered the acme of cleverness in his nativecountry.  The fact is,those tricks do not pay any longer in a largemarket, where time is money, and where a certain standard of commercialmorality is unavoidably developed, purelyas a means of saving time andtrouble.  And it is the same with the relation between the manufacturerand his \"hands.\"The revival of trade, after the crisis of 1847,was the dawn of a newindustrial epoch.  The repeal of the Corn Laws and the financial reformssubsequent thereon gave to English industry and commerce all theelbow-room they had asked for.  The discovery of the Californian and Australiangold-fields followed in rapid succession.  The Colonial markets developedat anincreasing rate their capacity for absorbing English manufacturedgoods.  In India millions of hand-weavers were finally crushed out by theLancashirepower-loom.  China was more and more being opened up.  Aboveall, the United States--then, commercially speaking, a mere colonialmarket, but by far thebiggest of them all--underwent an economicdevelopment astounding even for that rapidly progressive country.  And,finally, the new means of communicationintroduced at the close of thepreceding period--railways and ocean steamers--were now worked out on aninternational scale; they realised actually, what hadhitherto existedonly potentially, a world-market.  This world-market, at first, wascomposed of a number of chiefly or entirely agricultural countriesgrouped aroundone manufacturing centre--England--which consumed thegreater part of their surplus raw produce, and supplied them in returnwith the greater part of theirrequirements in manufactured articles.  Nowonder England's industrial progress was colossal and unparalleled, andsuch that the status of 1844 now appears to usas comparatively primitiveand insignificant.  And in proportion as this increase took place, in thesame proportion did manufacturing industry become apparentlymoralised.The competition of manufacturer against manufacturer by means of pettythefts upon the workpeople did no longer pay.  Trade had outgrown suchlowmeans of making money; they were not worth while practising for themanufacturing millionaire, and served merely to keep alive thecompetition of smallertraders, thankful to pick up a penny wherever theycould.  Thus the truck system was suppressed, the Ten Hours' Bill wasenacted, and a number of othersecondary reforms introduced--much againstthe spirit of Free Trade and unbridled competition, but quite as much infavour of the giant-capitalist in hiscompetition with his less favouredbrother.  Moreover, the larger the concern, and with it the number ofhands, the greater the loss and inconvenience caused byevery conflictbetween master and men; and thus a new spirit came over the masters,especially the large ones, which taught them to avoidunnecessarysquabbles, to acquiesce in the existence and power of Trades' Unions, andfinally even to discover in strikes--at opportune times--a powerful meanstoserve their own ends.  The largest manufacturers, formerly the leadersof the war against the working-class, were now the foremost to preachpeace andharmony.  And for a very good reason.  The fact is, that allthese concessions to justice and philanthropy were nothing else but meansto accelerate theconcentration of capital in the hands of the few, forwhom the niggardly extra extortions of former years had lost allimportance and had become actual nuisances;and to crush all the quickerand all the safer their smaller competitors, who could not make both endsmeet without such perquisites.  Thus the development ofproduction on thebasis of the capitalistic system has of itself sufficed--at least in theleading industries, for in the more unimportant branches this is far frombeingthe case--to do away with all those minor grievances whichaggravated the workman's fate during its earlier stages.  And thus itrenders more and more evidentthe great central fact, that the cause ofthe miserable condition of the working-class is to be sought, not inthese minor grievances, but _in the Capitalistic Systemitself_.  Thewage-worker sells to the capitalist his labour-force for a certain dailysum.  After a few hours' work he has reproduced the value of that sum;but thesubstance of his contract is, that he has to work another seriesof hours to complete his working-day; and the value he produces duringthese additional hours ofsurplus labour is surplus value, which cost thecapitalist nothing, but yet goes into his pocket.  That is the basis ofthe system which tends more and more to splitup civilised society into afew Rothschilds and Vanderbilts, the owners of all the means ofproduction and subsistence, on the one hand, and an immense numberofwage-workers, the owners of nothing but their labour-force, on the other.And that this result is caused, not by this or that secondary grievance,but by thesystem itself--this fact has been brought out in bold reliefby the development of Capitalism in England since 1847.Again, the repeated visitations of cholera,typhus, smallpox, and otherepidemics have shown the British bourgeois the urgent necessity ofsanitation in his towns and cities, if he wishes to save himselfandfamily from falling victims to such diseases.  Accordingly, the mostcrying abuses described in this book have either disappeared or have beenmade lessconspicuous.  Drainage has been introduced or improved, wideavenues have been opened out athwart many of the worst \"slums\" I had todescribe.  \"LittleIreland\" has disappeared, and the \"Seven Dials\" arenext on the list for sweeping away.  But what of that?  Whole districtswhich in 1844 I could describe as almostidyllic, have now, with thegrowth of the towns, fallen into the same state of dilapidation,discomfort, and misery.  Only the pigs and the heaps of refuse arenolonger tolerated.  The bourgeoisie have made further progress in the artof hiding the distress of the working-class.  But that, in regard totheir dwellings, nosubstantial improvement has taken place, is amplyproved by the Report of the Royal Commission \"on the Housing of thePoor,\" 1885.  And this is the case, too, inother respects.  Policeregulations have been plentiful as blackberries; but they can only hedgein the distress of the workers, they cannot remove it.But whileEngland has thus outgrown the juvenile state of capitalistexploitation described by me, other countries have only just attained it.France, Germany, and especiallyAmerica, are the formidable competitorswho, at this moment--as foreseen by me in 1844--are more and morebreaking up England's industrial monopoly.  Theirmanufactures are youngas compared with those of England, but increasing at a far more rapidrate than the latter; and, curious enough, they have at thismomentarrived at about the same phase of development as English manufacture in1844.  With regard to America, the parallel is indeed most striking.True, theexternal surroundings in which the working-class is placed inAmerica are very different, but the same economical laws are at work, andthe results, if not identicalin every respect, must still be of the sameorder.  Hence we find in America the same struggles for a shorter working-day, for a legal limitation of theworking-time, especially of women andchildren in factories; we find the truck-system in full blossom, and thecottage-system, in rural districts, made use of by the\"bosses\" as ameans of domination over the workers.  When I received, in 1886, theAmerican papers with accounts of the great strike of 12,000Pennsylvaniancoal-miners in the Connellsville district, I seemed but to read my owndescription of the North of England colliers' strike of 1844.  The samecheatingof the workpeople by false measure; the same truck-system; thesame attempt to break the miners' resistance by the capitalists' last,but crushing, resource,--theeviction of the men out of their dwellings,the cottages owned by the companies.I have not attempted, in this translation, to bring the book up to date,or to pointout in detail all the changes that have taken place since1844.  And for two reasons: Firstly, to do this properly, the size of thebook must be about doubled; and,secondly, the first volume of \"DasKapital,\" by Karl Marx, an English translation of which is before thepublic, contains a very ample description of the state of the"}
+{"doc_id":"doc_316","qid":"","text":"The Project Gutenberg EBook of The Old Wives' Tale, by Arnold BennettThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Old Wives' TaleAuthor: Arnold BennettPosting Date: November 28, 2011 [EBook #5247]Release Date: March, 2004First Posted:June 10, 2002[Last Updated: December 8, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE OLD WIVES' TALE ***Produced byCharles Franks and the Online Distributed Proofreading TeamThe Old Wives' TaleArnold BennettTo W. W. K.PREFACE TO THIS EDITIONIn the autumn of 1903 Iused to dine frequently in a restaurant in theRue de Clichy, Paris. Here were, among others, two waitresses thatattracted my attention. One was a beautiful, paleyoung girl, to whom Inever spoke, for she was employed far away from the table which Iaffected. The other, a stout, middle-aged managing Breton woman,hadsole command over my table and me, and gradually she began to assumesuch a maternal tone towards me that I saw I should be compelled toleave thatrestaurant. If I was absent for a couple of nights runningshe would reproach me sharply: \"What! you are unfaithful to me?\" Once,when I complained about someFrench beans, she informed me roundly thatFrench beans were a subject which I did not understand. I then decidedto be eternally unfaithful to her, and Iabandoned the restaurant. Afew nights before the final parting an old woman came into therestaurant to dine. She was fat, shapeless, ugly, and grotesque.Shehad a ridiculous voice, and ridiculous gestures. It was easy to seethat she lived alone, and that in the long lapse of years she haddeveloped the kind ofpeculiarity which induces guffaws among thethoughtless. She was burdened with a lot of small parcels, which shekept dropping. She chose one seat; and then,not liking it, choseanother; and then another. In a few moments she had the wholerestaurant laughing at her. That my middle-aged Breton should laughwasindifferent to me, but I was pained to see a coarse grimace of gigglingon the pale face of the beautiful young waitress to whom I had neverspoken.I reflected,concerning the grotesque diner: \"This woman was onceyoung, slim, perhaps beautiful; certainly free from these ridiculousmannerisms. Very probably she isunconscious of her singularities. Hercase is a tragedy. One ought to be able to make a heartrending novelout of the history of a woman such as she.\" Every stout,ageing womanis not grotesque--far from it!--but there is an extreme pathos in themere fact that every stout ageing woman was once a young girl with theuniquecharm of youth in her form and movements and in her mind. Andthe fact that the change from the young girl to the stout ageing womanis made up of an infinitenumber of infinitesimal changes, eachunperceived by her, only intensifies the pathos.It was at this instant that I was visited by the idea of writing thebook whichultimately became \"The Old Wives' Tale.\" Of course I feltthat the woman who caused the ignoble mirth in the restaurant would notserve me as a type of heroine.For she was much too old and obviouslyunsympathetic. It is an absolute rule that the principal character of anovel must not be unsympathetic, and the wholemodern tendency ofrealistic fiction is against oddness in a prominent figure. I knew thatI must choose the sort of woman who would pass unnoticed in a crowd.Iput the idea aside for a long time, but it was never very distantfrom me. For several reasons it made a special appeal to me. I hadalways been a convincedadmirer of Mrs. W. K. Clifford's most preciousnovel, \"Aunt Anne,\" but I wanted to see in the story of an old womanmany things that Mrs. W. K. Clifford hadomitted from \"Aunt Anne.\"Moreover, I had always revolted against the absurd youthfulness, theunfading youthfulness of the average heroine. And as a protestagainstthis fashion, I was already, in 1903, planning a novel (\"Leonora\") ofwhich the heroine was aged forty, and had daughters old enough to be inlove. Thereviewers, by the way, were staggered by my hardihood inoffering a woman of forty as a subject of serious interest to thepublic. But I meant to go much fartherthan forty! Finally as a supremereason, I had the example and the challenge of Guy de Maupassant's \"UneVie.\" In the nineties we used to regard \"Une Vie\" withmute awe, asbeing the summit of achievement in fiction. And I remember being verycross with Mr. Bernard Shaw because, having read \"Une Vie\" atthesuggestion (I think) of Mr. William Archer, he failed to see in itanything very remarkable. Here I must confess that, in 1908, I read\"Une Vie\" again, and in spiteof a natural anxiety to differ from Mr.Bernard Shaw, I was gravely disappointed with it. It is a fine novel,but decidedly inferior to \"Pierre et Jean\" or even \"FortComme laMort.\" To return to the year 1903. \"Une Vie\" relates the entire lifehistory of a woman. I settled in the privacy of my own head that mybook about thedevelopment of a young girl into a stout old lady mustbe the English \"Une Vie.\" I have been accused of every fault except alack of self-confidence, and in a fewweeks I settled a further point,namely, that my book must \"go one better\" than \"Une Vie,\" and that tothis end it must be the life-history of two women instead ofonly one.Hence, \"The Old Wives' Tale\" has two heroines. Constance was theoriginal; Sophia was created out of bravado, just to indicate that Ideclined to considerGuy de Maupassant as the last forerunner of thedeluge. I was intimidated by the audacity of my project, but I hadsworn to carry it out. For several years I lookedit squarely in theface at intervals, and then walked away to write novels of smallerscope, of which I produced five or six. But I could not dally forever,and in theautumn of 1907 I actually began to write it, in a villagenear Fontainebleau, where I rented half a house from a retired railwayservant. I calculated that it would be200,000 words long (which itexactly proved to be), and I had a vague notion that no novel of suchdimensions (except Richardson's) had ever been written before.So Icounted the words in several famous Victorian novels, and discovered tomy relief that the famous Victorian novels average 400,000 wordsapiece. I wrote thefirst part of the novel in six weeks. It was fairlyeasy to me, because, in the seventies, in the first decade of my life,I had lived in the actual draper's shop of theBaines's, and knew it asonly a child could know it. Then I went to London on a visit. I triedto continue the book in a London hotel, but London was toodistracting,and I put the thing away, and during January and February of 1908, Iwrote \"Buried Alive,\" which was published immediately, and was receivedwithmajestic indifference by the English public, an indifference whichhas persisted to this day.I then returned to the Fontainebleau region and gave \"The OldWives'Tale\" no rest till I finished it at the end of July, 1908. It waspublished in the autumn of the same year, and for six weeks afterwardthe English publicsteadily confirmed an opinion expressed by a certainperson in whose judgment I had confidence, to the effect that the workwas honest but dull, and that when itwas not dull it had a regrettabletendency to facetiousness. My publishers, though brave fellows, weresomewhat disheartened; however, the reception of the bookgraduallybecame less and less frigid.With regard to the French portion of the story, it was not until I hadwritten the first part that I saw from a study of mychronologicalbasis that the Siege of Paris might be brought into the tale. The ideawas seductive; but I hated, and still hate, the awful business ofresearch; and Ionly knew the Paris of the Twentieth Century. Now I wasaware that my railway servant and his wife had been living in Paris atthe time of the war. I said to the oldman, \"By the way, you wentthrough the Siege of Paris, didn't you?\" He turned to his old wife andsaid, uncertainly, \"The Siege of Paris? Yes, we did, didn't we?\"TheSiege of Paris had been only one incident among many in their lives. Ofcourse, they remembered it well, though not vividly, and I gained muchinformationfrom them. But the most useful thing which I gained fromthem was the perception, startling at first, that ordinary people wenton living very ordinary lives in Parisduring the siege, and that tothe vast mass of the population the siege was not the dramatic,spectacular, thrilling, ecstatic affair that is described inhistory.Encouraged by this perception, I decided to include the siege in myscheme. I read Sarcey's diary of the siege aloud to my wife, and Ilooked at the picturesin Jules Claretie's popular work on the siegeand the commune, and I glanced at the printed collection of officialdocuments, and there my research ended.It hasbeen asserted that unless I had actually been present at apublic execution, I could not have written the chapter in which Sophiawas at the Auxerre solemnity. Ihave not been present at a publicexecution, as the whole of my information about public executions wasderived from a series of articles on them which I read inthe ParisMatin. Mr. Frank Harris, discussing my book in \"Vanity Fair,\" said itwas clear that I had not seen an execution, (or words to that effect),and he proceededto give his own description of an execution. It was abrief but terribly convincing bit of writing, quite characteristic andquite worthy of the author of \"Montes theMatador\" and of a man who hasbeen almost everywhere and seen almost everything. I comprehended howfar short I had fallen of the truth! I wrote to Mr. FrankHarris,regretting that his description had not been printed before I wrotemine, as I should assuredly have utilized it, and, of course, Iadmitted that I had neverwitnessed an execution. He simply replied:\"Neither have I.\" This detail is worth preserving, for it is a reproofto that large body of readers, who, when a novelisthas really carriedconviction to them, assert off hand: \"O, that must be autobiography!\"ARNOLD BENNETT.CONTENTSBOOK I.MRS. BAINES   I. THE SQUARE  II.THE TOOTH III. A BATTLE  IV. ELEPHANT   V. THE TRAVELLER  VI. ESCAPADE VII. A DEFEATBOOK II.CONSTANCE   I. REVOLUTION  II. CHRISTMAS AND THEFUTURE III. CYRIL  IV. CRIME   V. ANOTHER CRIME  VI. THE WIDOW VII. BRICKS AND MORTARVIII. THE PROUDEST MOTHERBOOK III.SOPHIA   I. THEELOPEMENT  II. SUPPER III. AN AMBITION SATISFIED  IV. A CRISIS FOR GERALD   V. FEVER  VI. THE SIEGE VII. SUCCESSBOOK IV.WHAT LIFE IS   I.FRENSHAM'S  II. THE MEETING III. TOWARDS HOTEL LIFE  IV. END OF SOPHIA   V. END OF CONSTANCEBOOK IMRS. BAINESCHAPTER ITHE SQUAREIThose twogirls, Constance and Sophia Baines, paid no heed to themanifold interest of their situation, of which, indeed, they had neverbeen conscious. They were, forexample, established almost precisely onthe fifty-third parallel of latitude. A little way to the north ofthem, in the creases of a hill famous for its religious orgies,rosethe river Trent, the calm and characteristic stream of middle England.Somewhat further northwards, in the near neighbourhood of the highestpublic-house inthe realm, rose two lesser rivers, the Dane and theDove, which, quarrelling in early infancy, turned their backs on eachother, and, the one by favour of the"}
+{"doc_id":"doc_317","qid":"","text":"<html><head><title>Woodsman, The Script at IMSDb.</title><meta name=\"description\" content=\"Woodsman, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Woodsman, The script, Woodsman, The movie script, Woodsman, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                                 THEWOODSMAN</b><b>          </b>                             Based on the play by          <b>       </b>                                StevenFechter<b>          </b>                                  Written by<b>          </b>                       Steven Fechter & NicoleKassell<b>          </b><b>          </b><b>          </b>            Winner 1st Prize 2001 Slamdance ScreenplayCompetition<b>          </b><b>          </b><b>          </b>                                                      July 30,2002<b>          </b><b>          </b><b>          </b><b>          BEGIN TITLES - OPENING SEQUENCE MONTAGE</b><b>          </b>            Over black weHEAR the rhythmic sound of machinery. This          sound will continue throughout the title sequence as other          sounds fade in and out. We move forwardand back in time.<b>          </b><b>          EXT. APARTMENT - DAY</b><b>          </b>          A sparrow flutters in birdseed on a window sill. Morebirds          crowd a bird feeder that hangs above.<b>          </b><b>          EXT. SCHOOL PLAYGROUND - DAY</b><b>          </b>          A lone child swingslazily on a swing. Other children tear          about in a wild game of chase.<b>          </b><b>          INT. LUMBERYARD WAREHOUSE -DAY</b><b>          </b>          CLOSE on a piece of wood as it is fed through a wood chipper.<b>          </b>          A man finishes feeding the log into the"}
+{"doc_id":"doc_318","qid":"","text":"The Project Gutenberg EBook of Louis Lambert, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Louis LambertAuthor: Honore de BalzacTranslator: Clara Bell and James WaringRelease Date: October, 1999  [Etext #1943]PostingDate: March 6, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LOUIS LAMBERT ***Produced by John Bickers, and DagnyLOUISLAMBERTBy Honore De BalzacTranslated by Clara Bell and James Waring                              DEDICATION                \"Et nunc et semper dilectoe dicatum.\"LOUISLAMBERTLouis Lambert was born at Montoire, a little town in the Vendomois,where his father owned a tannery of no great magnitude, and intendedthat his sonshould succeed him; but his precocious bent for studymodified the paternal decision. For, indeed, the tanner and his wifeadored Louis, their only child, and nevercontradicted him in anything.At the age of five Louis had begun by reading the Old and NewTestaments; and these two Books, including so many books, hadsealed hisfate. Could that childish imagination understand the mystical depths ofthe Scriptures? Could it so early follow the flight of the Holy Spiritacross theworlds? Or was it merely attracted by the romantic toucheswhich abound in those Oriental poems! Our narrative will answer thesequestions to some readers.Onething resulted from this first reading of the Bible: Louis went allover Montoire begging for books, and he obtained them by those winningways peculiar to children,which no one can resist. While devotinghimself to these studies under no sort of guidance, he reached the ageof ten.At that period substitutes for the army werescarce; rich familiessecured them long beforehand to have them ready when the lots weredrawn. The poor tanner's modest fortune did not allow oftheirpurchasing a substitute for their son, and they saw no means allowed bylaw for evading the conscription but that of making him a priest; so,in 1807, theysent him to his maternal uncle, the parish priest of Mer,another small town on the Loire, not far from Blois. This arrangement atonce satisfied Louis' passion forknowledge, and his parents' wish notto expose him to the dreadful chances of war; and, indeed, his taste forstudy and precocious intelligence gave grounds forhoping that he mightrise to high fortunes in the Church.After remaining for about three years with his uncle, an old and notuncultured Oratorian, Louis left himearly in 1811 to enter the collegeat Vendome, where he was maintained at the cost of Madame de Stael.Lambert owed the favor and patronage of this celebratedlady to chance,or shall we not say to Providence, who can smooth the path of forlorngenius? To us, indeed, who do not see below the surface of humanthings,such vicissitudes, of which we find many examples in the lives of greatmen, appear to be merely the result of physical phenomena; to mostbiographers thehead of a man of genius rises above the herd assome noble plant in the fields attracts the eye of a botanist inits splendor. This comparison may well be applied toLouis Lambert'sadventure; he was accustomed to spend the time allowed him by his unclefor holidays at his father's house; but instead of indulging, afterthemanner of schoolboys, in the sweets of the delightful _far niente_ thattempts us at every age, he set out every morning with part of a loafand his books, andwent to read and meditate in the woods, to escapehis mother's remonstrances, for she believed such persistent study to beinjurious. How admirable is a mother'sinstinct! From that time readingwas in Louis a sort of appetite which nothing could satisfy; he devouredbooks of every kind, feeding indiscriminately on religiousworks,history, philosophy, and physics. He has told me that he foundindescribable delight in reading dictionaries for lack of other books,and I readily believedhim. What scholar has not many a time foundpleasure in seeking the probable meaning of some unknown word? Theanalysis of a word, its physiognomy andhistory, would be to Lambertmatter for long dreaming. But these were not the instinctive dreams bywhich a boy accustoms himself to the phenomena of life,steels himselfto every moral or physical perception--an involuntary education whichsubsequently brings forth fruit both in the understanding and characterof aman; no, Louis mastered the facts, and he accounted for them afterseeking out both the principle and the end with the mother wit of asavage. Indeed, from theage of fourteen, by one of those startlingfreaks in which nature sometimes indulges, and which proved howanomalous was his temperament, he would utter quitesimply ideas ofwhich the depth was not revealed to me till a long time after.\"Often,\" he has said to me when speaking of his studies, \"often have Imade the mostdelightful voyage, floating on a word down the abyss ofthe past, like an insect embarked on a blade of grass tossing on theripples of a stream. Starting fromGreece, I would get to Rome, andtraverse the whole extent of modern ages. What a fine book mightbe written of the life and adventures of a word! It has, ofcourse,received various stamps from the occasions on which it has served itspurpose; it has conveyed different ideas in different places; but is itnot still granderto think of it under the three aspects of soul,body, and motion? Merely to regard it in the abstract, apart from itsfunctions, its effects, and its influence, is enoughto cast one intoan ocean of meditations? Are not most words colored by the idea theyrepresent? Then, to whose genius are they due? If it takes greatintelligenceto create a word, how old may human speech be? Thecombination of letters, their shapes, and the look they give to theword, are the exact reflection, inaccordance with the character of eachnation, of the unknown beings whose traces survive in us.\"Who can philosophically explain the transition from sensationtothought, from thought to word, from the word to its hieroglyphicpresentment, from hieroglyphics to the alphabet, from the alphabet towritten language, ofwhich the eloquent beauty resides in a seriesof images, classified by rhetoric, and forming, in a sense, thehieroglyphics of thought? Was it not the ancient modeof representinghuman ideas as embodied in the forms of animals that gave rise to theshapes of the first signs used in the East for writing down language?Thenhas it not left its traces by tradition on our modern languages,which have all seized some remnant of the primitive speech of nations,a majestic and solemntongue whose grandeur and solemnity decrease ascommunities grow old; whose sonorous tones ring in the Hebrew Bible,and still are noble in Greece, but growweaker under the progress ofsuccessive phases of civilization?\"Is it to this time-honored spirit that we owe the mysteries lyingburied in every human word? In theword _True_ do we not discern acertain imaginary rectitude? Does not the compact brevity of its soundsuggest a vague image of chaste nudity and the simplicityof Truth inall things? The syllable seems to me singularly crisp and fresh.\"I chose the formula of an abstract idea on purpose, not wishing toillustrate the case by aword which should make it too obvious to theapprehension, as the word _Flight_ for instance, which is a directappeal to the senses.\"But is it not so with everyroot word? They are all stamped with aliving power that comes from the soul, and which they restore to thesoul through the mysterious and wonderful action andreaction betweenthought and speech. Might we not speak of it as a lover who finds onhis mistress' lips as much love as he gives? Thus, by theirmerephysiognomy, words call to life in our brain the beings which theyserve to clothe. Like all beings, there is but one place where theirproperties are at fullliberty to act and develop. But the subjectdemands a science to itself perhaps!\"And he would shrug his shoulders as much as to say, \"But we are too highand toolow!\"Louis' passion for reading had on the whole been very well satisfied.The cure of Mer had two or three thousand volumes. This treasure hadbeen derived fromthe plunder committed during the Revolution in theneighboring chateaux and abbeys. As a priest who had taken the oath,the worthy man had been able tochoose the best books from among theseprecious libraries, which were sold by the pound. In three years LouisLambert had assimilated the contents of all thebooks in his uncle'slibrary that were worth reading. The process of absorbing ideas by meansof reading had become in him a very strange phenomenon. His eyetookin six or seven lines at once, and his mind grasped the sense with aswiftness as remarkable as that of his eye; sometimes even one word in asentence wasenough to enable him to seize the gist of the matter.His memory was prodigious. He remembered with equal exactitude the ideashe had derived from reading,and those which had occurred to him inthe course of meditation or conversation. Indeed, he had every form ofmemory--for places, for names, for words, things,and faces. He notonly recalled any object at will, but he saw them in his mind, situated,lighted, and colored as he had originally seen them. And this powerhecould exert with equal effect with regard to the most abstract effortsof the intellect. He could remember, as he said, not merely the positionof a sentence in thebook where he had met with it, but the frame ofmind he had been in at remote dates. Thus his was the singular privilegeof being able to retrace in memory thewhole life and progress of hismind, from the ideas he had first acquired to the last thought evolvedin it, from the most obscure to the clearest. His brain,accustomed inearly youth to the mysterious mechanism by which human faculties areconcentrated, drew from this rich treasury endless images full of lifeandfreshness, on which he fed his spirit during those lucid spells ofcontemplation.\"Whenever I wish it,\" said he to me in his own language, to which a fundofremembrance gave precocious originality, \"I can draw a veil overmy eyes. Then I suddenly see within me a camera obscura, where naturalobjects are reproducedin purer forms than those under which they firstappeared to my external sense.\"At the age of twelve his imagination, stimulated by the perpetualexercise of hisfaculties, had developed to a point which permitted himto have such precise concepts of things which he knew only from readingabout them, that the imagestamped on his mind could not have beenclearer if he had actually seen them, whether this was by a process ofanalogy or that he was gifted with a sort of secondsight by which hecould command all nature.\"When I read the story of the battle of Austerlitz,\" said he to me oneday, \"I saw every incident. The roar of thecannon, the cries of thefighting men rang in my ears, and made my inmost self quiver; I couldsmell the powder; I heard the clatter of horses and the voices ofmen; Ilooked down on the plain where armed nations were in collision, just asif I had been on the heights of Santon. The scene was as terrifying asa passagefrom the Apocalypse.\" On the occasions when he brought all hispowers into play, and in some degree lost consciousness of his physicalexistence, and lived on"}
+{"doc_id":"doc_319","qid":"","text":"<html><head><title>Alien 3 Script at IMSDb.</title><meta name=\"description\" content=\"Alien 3 script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Alien 3 script, Alien 3 movie script, Alien 3 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\"/><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> Alien III Screenplay byJohn Fasano     Story by Vincent Ward & John Fasano<b> </b><b> FIRST DRAFT</b> March 29, 1990\"But how will you die when your timecomes, Narcissus,since you have nomother?  Without a mother, one cannotlove.  Without a mother, one cannot die.\" - Hesse<b>ALIEN III</b><b>THE SCREEN IS BLACK</b>Apinpoint of light appears.Red.  An ember. Unseen BELLOWS blow.<b>GLASS FURNACE</b>The embers glow.  Flame.The fire GROWS.<b>A RIVER OF MOLTENGLASS</b>Heated by the furnace to over 1,300 degrees fahrenheit. White Hot.<b>GLASS FACTORY</b>Flickering flame casts dancing shadows on woodenwalls.  Coarsely grained wood.  Moisture blasted out by years ofintense heat.  Timbers split.  Patched with new wood,it too now old anddry.<b>SMOKE</b>Billows up the walls.Hangs as an angry, black cloud amongst the rafters and beams ofthe vaulted ceiling.  Almost obscures --<b>AMAN</b>On a narrow LEDGE, twenty feet about the Glassworks' floor. His clothing is Medieval.  A rough textured cassock. He is a MONK.LOUVERS are set intothe wall.  He angles them open.The smoke begins to escape.The Monk turns, raises arms and LEAPS from his lofty perch --Gently gliding down to the floor withthe aid of a FLOWING FOX --a primitive hand-held pulley that runs down a rope.He lands next to the glass furnace, surrounded by --<b>MORE MONKS</b>Bytheir dress.  With Blowing Iron and Pontil.They blow and shape the molten glass.  Crack off the finishedpieces.  The old way.<b>ONE PARTICULARMONK</b>Black skinned, early fifties.Stirs his five foot long blowing iron in the molten glass, buthe is watching something else.  It moves him to song.Lilting"}
+{"doc_id":"doc_320","qid":"","text":"<html><head><title>12 Years a Slave Script at IMSDb.</title><meta name=\"description\" content=\"12 Years a Slave script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"12 Years a Slave script, 12 Years a Slave movie script, 12 Years a Slave film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                             12 YEARS A SLAVE</b>                               Written by                              JohnRidley<b>                              CARD: 1841</b><b>                               FADE IN:</b>                         <b>          1 INT. TOWNHOUSE/STUDY - DAY1</b><b>           -EARLY APRIL, 1841-</b>           We are close on a PAIR OF BLACK HANDS as they open A<b>           FINELY WRAPPED PACKET OF VIOLINSTRINGS.</b>           WE CUT TO the hands stringing a VIOLIN. It's not a high           end piece, but it is quite nice.           WE CUT TO a wide shot of the study.Sitting in a chair           with violin in hand is SOLOMON NORTHUP; a man in his late           twenties. Everything about Solomon, his mien and manner,           isdistinguished. But he, too, seems a hardy individual.           Someone who has known manual labor in his time.           Solomon begins to lightly play his violin, asif testing           the strings, their tuning. Satisfied, Solomon begins to           play vigorously. As he does, we make a HARD CUTTO:                         <b>           INT. HOUSE/LIVING ROOM - EVENING</b>           We come in on a lively affair. A dinner party is being           thrown within theconfines of a fairly stately house. In           attendance are EIGHT COUPLES. All are WHITE and all are           FAIRLY YOUNG, in their early twenties. The men andwomen           are dressed in very fine attire. We should get the sense           that for the most part they are people of means.           The furniture has been setaside in the living room. At           the moment the couples are engaged in the dancing of a<b>           REEL.</b>           The music they are dancing to is being"}
+{"doc_id":"doc_321","qid":"","text":"<html><head><title>Meet John Doe Script at IMSDb.</title><meta name=\"description\" content=\"Meet John Doe script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Meet John Doe script, Meet John Doe movie script, Meet John Doe film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                  <b>   </b><b>                                  MEET JOHNDOE</b><b>                                     </b>                             Written by Robert Riskin<b>                                     </b>               based on a story byRichard Connell and Robert Presnell<b>                                      </b>                         Ext. Bulletin Office -Sidewalk.<b>                                     </b>                         Close-up: Of a time-worn plaque against                          the side of a building. It reads:<b></b><b>                                                              </b><b>                         THE BULLETIN</b><b>                                     </b>                         \"A freepress for a free people.\"<b>                                     </b>                         While we read this, a pair of hands                          come in holding pneumaticchisel which                          immediately attacks the sign. As the                          lettering is beingobliterated,<b>                                      </b>                         Dissolve to: Close-up: A new plaque                          on which the lettering has beenchanged                          to:<b>                                      </b><b>                         THE NEWBULLETIN</b><b>                                     </b>                         \"A streamlined newspaper for astreamlined                          era.\"<b>                                      </b>                         Cut to: Int. Bulletin outer office.                          Full shot: Of a"}
+{"doc_id":"doc_322","qid":"","text":"<html><head><title>L.A. Confidential Script at IMSDb.</title><meta name=\"description\" content=\"L.A. Confidential script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"L.A. Confidential script, L.A. Confidential movie script, L.A. Confidential film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head>   <title>\"L.A. Confidential\", by Brian Helgeland</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                             <u>L.A. CONFIDENTIAL</u>                                    by                              BrianHelgeland                     Based on the novel by James Ellroy                                                 November 16, 1995                                                 MinorRevisions<b>        FADE IN:</b>        OVER the opening strains of \"I LOVE YOU, CALIFORNIA,\" a        MONTAGE:  a mixture of headlines, newsreel footageand        live action.  <u>Economy Booming</u>!  <u>Postwar Optimism</u>!  <u>L.A.:</u>        <u>City of the Future</u>!  But most prominent amongthem:        <u>GANGLAND</u>!  Police photographers document crime scenes.        The meat wagon hauls ex-button men to the morgue.  Where        will itend?<b>        EXT. L.A. SKYLINE - SUNSET</b>        Palm trees in silhouette against a cherry sky.  City        lights twinkle.  Los Angeles.  A place whereanything is        possible.  A place where dreams come true.  As the sky        darkens, triple-kleig lights begin to sweep back and        forth.<b>        EXT.MANSION (HANCOCK PARK) - NIGHT</b>        The KLEIG LIGHTS are out front.  Valets hurry to park a        line of elegantcars.<b>                                MAYOR (V.O.)</b>                  Ladies and gentlemen, I give you                  the future of Los Angeles!<b>        INT. HANCOCKPARK MANSION - BALLROOM - NIGHT</b>        The MAYOR yanks a cloth to reveal a MODEL of L.A. criss-        crossed by an elaborate FREEWAY SYSTEM.  The"}
+{"doc_id":"doc_323","qid":"","text":"The Project Gutenberg EBook of Rose in Bloom, by Louisa May AlcottThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Rose in Bloom       A Sequel to \"Eight Cousins\"Author: Louisa May AlcottPosting Date: December 31, 2008 [EBook #2804]Release Date:September, 2001Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ROSE IN BLOOM ***Produced by David ReedROSE IN BLOOMA Sequel to\"Eight Cousins\"By Louisa May AlcottPrefaceAs authors may be supposed to know better than anyone else what theyintended to do when writing a book, I begleave to say that there isno moral to this story. Rose is not designed for a model girl, and theSequel was simply written in fulfillment of a promise, hoping toaffordsome amusement, and perhaps here and there a helpful hint, to otherroses getting ready to bloom.L. M. AlcottSeptember 1876Contents     Chapter  1.Coming Home     Chapter  2.  Old Friends with New Faces     Chapter  3.  Miss Campbell     Chapter  4.  Thorns Among the Roses     Chapter  5.  PrinceCharming     Chapter  6.  Polishing Mac     Chapter  7.  Phebe     Chapter  8.  Breakers Ahead     Chapter  9.  New Year's Calls     Chapter  10.  The Sad and SoberPart     Chapter  11.  Small Temptations     Chapter  12.  At Kitty's Ball     Chapter  13.  Both Sides     Chapter  14.  Aunt Clara's Plan     Chapter  15.  Alas forCharlie!     Chapter  16.  Good Works     Chapter  17.  Among the Haycocks     Chapter  18.  Which Was It?     Chapter  19.  Behind theFountain     Chapter  20.  What Mac Did     Chapter  21.  How Phebe Earned Her Welcome     Chapter  22.  Short and SweetChapter 1 COMING HOMEThree youngmen stood together on a wharf one bright October dayawaiting the arrival of an ocean steamer with an impatience which founda vent in lively skirmishes with asmall lad, who pervaded the premiseslike a will-o'-the-wisp and afforded much amusement to the other groupsassembled there.\"They are the Campbells, waitingfor their cousin, who has been abroadseveral years with her uncle, the doctor,\" whispered one lady to anotheras the handsomest of the young men touched hishat to her as he passed,lugging the boy, whom he had just rescued from a little expedition downamong the piles.\"Which is that?\" asked the stranger.\"PrinceCharlie, as he's called a fine fellow, the most promising of theseven, but a little fast, people say,\" answered the first speaker with ashake of the head.\"Are theothers his brothers?\"\"No, cousins. The elder is Archie, a most exemplary young man. He hasjust gone into business with the merchant uncle and bids fair to beanhonor to his family. The other, with the eyeglasses and no gloves, isMac, the odd one, just out of college.\"\"And the boy?\"\"Oh, he is Jamie, the youngest brotherof Archibald, and the pet of thewhole family. Mercy on us he'll be in if they don't hold on to him!\"The ladies' chat came to a sudden end just there, for by thetimeJamie had been fished out of a hogshead, the steamer hove in sight andeverything else was forgotten. As it swung slowly around to enter thedock, a boyishvoice shouted, \"There she is! I see her and Uncle andPhebe! Hooray for Cousin Rose!\" And three small cheers were given witha will by Jamie as he stood on apost waving his arms like a windmillwhile his brother held onto the tail of his jacket.Yes, there they were Uncle Alec swinging his hat like a boy, with Phebesmilingand nodding on one side and Rose kissing both hands delightedlyon the other as she recognized familiar faces and heard familiar voiceswelcoming herhome.\"Bless her dear heart, she's bonnier than ever! Looks like a Madonnadoesn't she? with that blue cloak round her, and her bright hair flyingin the wind!\" saidCharlie excitedly as they watched the group upon thedeck with eager eyes.\"Madonnas don't wear hats like that. Rose hasn't changed much, but Phebehas. Why,she's a regular beauty!\" answered Archie, staring with all hismight at the dark-eyed young woman with the brilliant color and glossyblack braids shining in thesun.\"Dear old Uncle! Doesn't it seem good to have him back?\" was all Macsaid, but he was not looking at \"dear old uncle\" as he made the ferventremark, for hesaw only the slender blond girl nearby and stretched outhis hands to meet hers, forgetful of the green water tumbling betweenthem.During the confusion thatreigned for a moment as the steamer settled toher moorings, Rose looked down into the four faces upturned to hers andseemed to read in them something thatboth pleased and pained her. Itwas only a glance, and her own eyes were full, but through the mist ofhappy tears she received the impression that Archie wasabout the same,that Mac had decidedly improved, and that something was amiss withCharlie. There was no time for observation, however, for in a momenttheshoreward rush began, and before she could grasp her traveling bag,Jamie was clinging to her like an ecstatic young bear. She was withdifficulty released fromhis embrace to fall into the gentler onesof the elder cousins, who took advantage of the general excitement towelcome both blooming girls with affectionateimpartiality. Then thewanderers were borne ashore in a triumphal procession, while Jamiedanced rapturous jigs before them even on the gangway.Archieremained to help his uncle get the luggage through the CustomHouse, and the others escorted the damsels home. No sooner were theyshut up in a carriage,however, than a new and curious constraint seemedto fall upon the young people, for they realized, all at once, thattheir former playmates were men and womennow. Fortunately, Jamiewas quite free from this feeling of restraint and, sitting bodkinwisebetween the ladies, took all sorts of liberties with them andtheirbelongings.\"Well, my mannikin, what do you think of us?\" asked Rose, to break anawkward pause.\"You've both grown so pretty, I can't decide which I likebest. Phebe isthe biggest and brightest-looking, and I was always fond of Phebe, butsomehow you are so kind of sweet and precious, I really think I must hugyouagain,\" and the small youth did it tempestuously.\"If you love me best, I shall not mind a bit about your thinking Phebethe handsomest, because she is. Isn't she,boys?\" asked Rose, with amischievous look at the gentlemen opposite, whose faces expressed arespectful admiration which much amused her.\"I'm so dazzled bythe brilliancy and beauty that has suddenly burstupon me, I have no words to express my emotions,\" answered Charlie,gallantly dodging the dangerousquestion.\"I can't say yet, for I have not had time to look at anyone. I will now,if you don't mind.\" And, to the great amusement of the rest, Mac gravelyadjustedhis eyeglasses and took an observation.\"Well?\" said Phebe, smiling and blushing under his honest stare, yetseeming not to resent it as she did the lordly sort ofapproval whichmade her answer the glance of Charlie's audacious blue eyes with a flashof her black ones.\"I think if you were my sister, I should be very proud ofyou, becauseyour face shows what I admire more than its beauty truth and courage,Phebe,\" answered Mac with a little bow full of such genuine respectthatsurprise and pleasure brought a sudden dew to quench the fire of thegirl's eyes and soothe the sensitive pride of the girl's heart.Rose clapped her hands justas she used to do when anything delightedher, and beamed at Mac approvingly as she said: \"Now that's a criticismworth having, and we are much obliged. I wassure you'd admire my Phebewhen you knew her, but I didn't believe you would be wise enough to seeit at once, and you have gone up many pegs in myestimation, I assureyou.\"\"I was always fond of mineralogy you remember, and I've been tappinground a good deal lately, so I've learned to know precious metalswhen Isee them,\" Mac said with his shrewd smile.\"That is the latest hobby, then? Your letters have amused us immensely,for each one had a new theory orexperiment, and the latest wasalways the best. I thought Uncle would have died of laughter over thevegetarian mania it was so funny to imagine you living onbread andmilk, baked apples, and potatoes roasted in your own fire,\" continuedRose, changing the subject again.\"This old chap was the laughingstock of hisclass. They called him DonQuixote, and the way he went at windmills of all sorts was a sight tosee,\" put in Charlie, evidently feeling that Mac had been patted onthehead quite as much as was good for him.\"But in spite of that the Don got through college with all the honors.Oh, wasn't I proud when Aunt Jane wrote to usabout it and didn't sherejoice that her boy kept at the head of his class and won the medal!\"cried Rose, shaking Mac by both hands in a way that caused Charlietowish \"the old chap\" had been left behind with Dr. Alec.\"Oh, come, that's all Mother's nonsense. I began earlier than the otherfellows and liked it better, so Idon't deserve any praise. Prince isright, though. I did make a regular jack of myself, but on the wholeI'm not sure that my wild oats weren't better than some I'veseen sowed.Anyway, they didn't cost much, and I'm none the worse for them,\" saidMac placidly.\"I know what 'wild oats' means. I heard Uncle Mac say Charliewas sowing'em too fast, and I asked Mama, so she told me. And I know that he wassuspelled or expended, I don't remember which, but it was somethingbad,and Aunt Clara cried,\" added Jamie all in one breath, for he possessed afatal gift of making malapropos remarks, which caused him to be a terrorto hisfamily.\"Do you want to go on the box again?\" demanded Prince with a warningfrown.\"No, I don't.\"\"Then hold your tongue.\"\"Well, Mac needn't kick me, for I wasonly...\" began the culprit,innocently trying to make a bad matter worse.\"That will do,\" interrupted Charlie sternly, and James subsided, acrushed boy, consolinghimself with Rose's new watch for the indignitieshe suffered at the hands of the \"old fellows\" as he vengefully calledhis elders.Mac and Charlie immediately beganto talk as hard as their tongues couldwag, bringing up all sorts of pleasant subjects so successfullythat peals of laughter made passersby look after the merry loadwithsympathetic smiles.An avalanche of aunts fell upon Rose as soon as she reached home, andfor the rest of the day the old house buzzed like a beehive.Eveningfound the whole tribe collected in the drawing rooms, with the exceptionof Aunt Peace, whose place was empty now.Naturally enough, the elders settledinto one group after a while, andthe young fellows clustered about the girls like butterflies around twoattractive flowers. Dr. Alec was the central figure in oneroom and Rosein the other, for the little girl, whom they had all loved and petted,had bloomed into a woman, and two years of absence had wrought acuriouschange in the relative positions of the cousins, especially the threeelder ones, who eyed her with a mixture of boyish affection and manlyadmiration thatwas both new and pleasant.Something sweet yet spirited about her charmed them and piqued theircuriosity, for she was not quite like other girls, and ratherstartledthem now and then by some independent little speech or act which madethem look at one another with a sly smile, as if reminded that Rose was\"Uncle's"}
+{"doc_id":"doc_324","qid":"","text":"The Project Gutenberg EBook of West Indian Fables by James Anthony FroudeExplained by J. J. Thomas, by J. J. (John Jacob) ThomasThis eBook is for the useof anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project GutenbergLicense includedwith this eBook or online at www.gutenberg.netTitle: West Indian Fables by James Anthony Froude Explained by J. J. ThomasAuthor: J. J. (JohnJacob) ThomasPosting Date: June 13, 2009 [EBook #4068]Release Date: May, 2003First Posted: November 1, 2001Language: English*** START OF THISPROJECT GUTENBERG EBOOK WEST INDIAN FABLES ***Produced by Alfred J. Drake.  HTML version by Al Haines.FROUDACITY (1889)J.J. ThomasWEST INDIANFABLES BY JAMES ANTHONY FROUDEEXPLAINED BY J. J. THOMASContentsPreface by J.J. ThomasBOOK I.  Introduction: 27-33  Voyage out: 34-41  Barbados:41-44  St. Vincent: 44-48  Grenada: 48-50BOOK II.  Trinidad: 53-55  Reform in Trinidad: 55-80  Negro Felicity in the West Indies: 81-110BOOK III.  SocialRevolution: 113-174  West Indian Confederation: 175-200  The Negro as a Worker: 201-206  Religion for Negroes: 207-230BOOK IV.  Historical Summary orRésumé: 233-261, endFROUDACITYPREFACE[5] Last year had well advanced towards its middle--in fact it wasalready April, 1888--before Mr. Froude's bookof travels in the WestIndies became known and generally accessible to readers in thoseColonies.My perusal of it in Grenada about the period above mentioneddisclosed,thinly draped with rhetorical flowers, the dark outlines of a scheme tothwart political aspiration in the Antilles.  That project is sought tobe realized bydeterring the home authorities from granting an electivelocal legislature, however restricted in character, to any of theColonies not yet enjoying such anadvantage. An argument based on thecomposition of the inhabitants of those Colonies is confidently reliedupon to confirm the inexorable mood of DowningStreet.[6] Over-large and ever-increasing,--so runs the argument,--the Africanelement in the population of the West Indies is, from its past historyand its actualtendencies, a standing menace to the continuance ofcivilization and religion.  An immediate catastrophe, social,political, and moral, would most assuredly bebrought about by thegranting of full elective rights to dependencies thus inhabited.Enlightened statesmanship should at once perceive the immense benefitthatwould ultimately result from such refusal of the franchise.  Thecardinal recommendation of that refusal is that it would avertdefinitively the political domination ofthe Blacks, which mustinevitably be the outcome of any concession of the modicum of right soearnestly desired.  The exclusion of the Negro vote beinginexpedient,if not impossible, the exercise of electoral powers by the Blacks mustlead to their returning candidates of their own race to the locallegislatures, andthat, too, in numbers preponderating according to themajority of the Negro electors.  The Negro legislators thus supreme inthe councils of the Colonies wouldstraightway proceed to passvindictive and retaliatory laws against their white fellow- [7]colonists.  For it is only fifty years since the White man and theBlack manstood in the reciprocal relations of master and slave.Whilst those relations subsisted, the white masters inflicted, and theblack slaves had to endure, the hideousatrocities that are inseparablefrom the system of slavery.  Since Emancipation, the enormous stridesmade in self-advancement by the ex-slaves have only hadthe effect ofprovoking a resentful uneasiness in the bosoms of the ex-masters.  Theformer bondsmen, on their side, and like their brethren of Hayti, areeaten upwith implacable, blood-thirsty rancour against their formerlords and owners.  The annals of Hayti form quite a cabinet ofpolitical and social object lessons which,in the eyes of Britishstatesmen, should be invaluable in showing the true method of dealingwith Ethiopic subjects of the Crown.  The Negro race in Hayti, inorderto obtain and to guard what it calls its freedom, has outraged everyhumane instinct and falsified every benevolent hope.  The slave-ownersthere had notbeen a whit more cruel than slave-owners in the otherislands.  But, in spite of this, how ferocious, how sanguinary, [8] howrelentless against them has thevengeance of the Blacks been in theirhour of mastery!  A century has passed away since then, and,notwithstanding that, the hatred of Whites still rankles intheirsouls, and is cherished and yielded to as a national creed and guide ofconduct.  Colonial administrators of the mighty British Empire, thelesson which Historyhas taught and yet continues to teach you in Haytias to the best mode of dealing with your Ethiopic colonists liespatent, blood-stained and terrible before you,and should be takendefinitively to heart.  But if you are willing that Civilization andReligion--in short, all the highest developments of individual andsociallife--should at once be swept away by a desolating vandalism ofAfrican birth; if you do not recoil from the blood-guiltiness thatwould stain your consciencesthrough the massacre of ourfellow-countrymen in the West Indies, on account of their race,complexion and enlightenment; finally, if you desire thosemodernHesperides to revert into primeval jungle, horrent lairs wherein theBlacks, who, but a short while before, had been ostensibly civilized,shall be revellers,as high-priests and [9] devotees, in orgies ofdevil-worship, cannibalism, and obeah--dare to give the franchise tothose West Indian Colonies, and then rue theconsequences of yourinfatuation!...Alas, if the foregoing summary of the ghastly imaginings of Mr. Froudewere true, in what a fool's paradise had the wisest andbest amongst usbeen living, moving, and having our being!  Up to the date of thesuggestion by him as above of the alleged facts and possibilities ofWest Indianlife, we had believed (even granting the correctness of hisgloomy account of the past and present positions of the two races) thatto no well-thinking West IndianWhite, whose ancestors may have,innocently or culpably, participated in the gains as well as the guiltof slavery, would the remembrance of its palmy days beotherwise thanone of regret.  We Negroes, on the other hand, after a lapse of timeextending over nearly two generations, could be indebted only toprecarioustradition or scarcely accessible documents for any knowledgewe might chance upon of the sufferings endured in these Islands of theWest by those of our racewho have gone before us.  Death, withundiscriminating hand, had gathered [10] in the human harvest ofmasters and slaves alike, according to or out of thenormal laws ofnature; while Time had been letting down on the stage of our existencedrop-scene after drop-scene of years, to the number of something likefifty,which had been curtaining off the tragic incidents of the pastfrom the peaceful activities of the present.  Being thus circumstanced,thought we, what rationalelements of mutual hatred should now continueto exist in the bosoms of the two races?With regard to the perpetual reference to Hayti, because of ouronenesswith its inhabitants in origin and complexion, as a criterion for theexact forecast of our future conduct under given circumstances, thisappeared to us,looking at actual facts, perversity gone wild in themanufacture of analogies.  The founders of the Black Republic, we hadall along understood, were not in anysense whatever equipped, as Mr.Froude assures us they were, when starting on their self-governingcareer, with the civil and intellectual advantages that hadbeentransplanted from Europe.  On the contrary, we had been taught toregard them as most unfortunate in the circumstances under which [11]they so gloriouslyconquered their merited freedom.  We saw them free,but perfectly illiterate barbarians, impotent to use the intellectualresources of which their valour had madethem possessors, in the shapeof books on the spirit and technical details of a highly developednational existence.  We had learnt also, until this new interpreterofhistory had contradicted the accepted record, that the continuedfailure of Hayti to realize the dreams of Toussaint was due to thefatal want of confidencesubsisting between the fairer and darkersections of the inhabitants, which had its sinister and disastrousorigin in the action of the Mulattoes in attempting tosecure freedomfor themselves, in conjunction with the Whites, at the sacrifice oftheir darker-hued kinsmen.  Finally, it had been explained to us thattheremembrance of this abnormal treason had been underlying andperniciously influencing the whole course of Haytian national history.All this establishedknowledge we are called upon to throw overboard,and accept the baseless assertions of this conjuror-up of inconceivablefables!  He calls upon us to believe that,in spite of being free,educated, progressive, and at peace with [12] all men, we West IndianBlacks, were we ever to become constitutionally dominant in ournativeislands, would emulate in savagery our Haytian fellow-Blacks who, atthe time of retaliating upon their actual masters, were torturedslaves, bleeding andrendered desperate under the oppressors' lash--andall this simply and merely because of the sameness of our ancestry andthe colour of our skin!  One wouldhave thought that Liberia would havebeen a fitter standard of comparison in respect of a colouredpopulation starting a national life, really and truly equipped withtherequisites and essentials of civilized existence.  But such a referencewould have been fatal to Mr. Froude's object: the annals of Liberiabeing a persistentrefutation of the old pro-slavery prophecies whichour author so feelingly rehearses.Let us revert, however, to Grenada and the newly-published \"Bow ofUlysses,\"which had come into my hands in April, 1888.It seemed to me, on reading that book, and deducing therefrom theforegoing essential summary, that a critic wouldhave little more todo, in order to effectually exorcise this negrophobic politicalhobgoblin, than to appeal to [13] impartial history, as well as tocommon sense, inits application to human nature in general, and to theactual facts of West Indian life in particular.History, as against the hard and fast White-master andBlack-slavetheory so recklessly invented and confidently built upon by Mr. Froude,would show incontestably--(a) that for upwards of two hundred yearsbefore theNegro Emancipation, in 1838, there had never existed in oneof those then British Colonies, which had been originally discoveredand settled for Spain by the greatColumbus or by his successors, theConquistadores, any prohibition whatsoever, on the ground of race orcolour, against the owning of slaves by any free personpossessing thenecessary means, and desirous of doing so; (b) that, as a consequenceof this non-restriction, and from causes notoriously historical,numbers ofblacks, half-breeds, and other non-Europeans, besides suchof them as had become possessed of their \"property\" by inheritance,availed themselves of this virtuallicense, and in course of timeconstituted a very considerable proportion of the slave-holding sectionof those communities; (c) that these [14] duskyplantation-ownersenjoyed and used in every possible sense the identical rights andprivileges which were enjoyed and used by their pure-blooded"}
+{"doc_id":"doc_325","qid":"","text":"The Project Gutenberg EBook of Degeneration, by Max NordauThis eBook is for the use of anyone anywhere in the United States and mostother parts of theworld at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you are locatedbefore using this ebook.Title: DegenerationAuthor: Max NordauRelease Date: February 9, 2016 [EBook #51161]Language: EnglishCharacter set encoding:UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK DEGENERATION ***Produced by Giovanni Fini, David Edwards and the OnlineDistributed ProofreadingTeam at http://www.pgdp.netTRANSCRIBERâ\u0000\u0000S NOTES:--Obvious print and punctuation errors were corrected.--Whereas adequate characters are notavailable, superscript has beenrendered as a^b and a^{bc}.                             DEGENERATION                          BY THE SAMEAUTHOR.                      _Uniform with this Volume._                         CONVENTIONAL LIES OF                           OURCIVILIZATION.                   PARADOXES.                      LONDON: WILLIAMHEINEMANN.                             DEGENERATION                                  BY                              MAX NORDAU                               AUTHOROF      â\u0000\u0000CONVENTIONAL LIES OF OUR CIVILIZATION,â\u0000\u0000 â\u0000\u0000PARADOXES,â\u0000\u0000 ETC.                  Translated from the Second Edition                          ofthe German Work                            Popular Edition                                LONDON                           WILLIAMHEINEMANN                                 1898                        [_All rights reserved_]                _First Edition_      _February, 1895._                 _New Impressions,March 4, 1895;                     March 22, 1895; April, 1895; May,                     1895; June, 1895; August, 1895;                     November, 1895; (PopularEdition),                     September, 1898._                               Dedicated                                  TO                            CÃ\u0000SAR LOMBROSO,           PROFESSOROF PSYCHIATRY AND FORENSIC MEDICINE AT                    THE ROYAL UNIVERSITY OF TURIN,                                  BY                              THEAUTHOR.                                  TO                       PROFESSOR CÃ\u0000SAR LOMBROSO,                               _TURIN_.      _DEAR AND HONOURED MASTER_ ,_Idedicate this book to you, in open and joyful recognition of thefact that without your labours it could never have been written.__The notion of degeneracy, firstintroduced into science by Morel, anddeveloped with so much genius by yourself, has in your hands alreadyshown itself extremely fertile in the most diversedirections. Onnumerous obscure points of psychiatry, criminal law, politics, andsociology, you have poured a veritable flood of light, which thosealone have notperceived who obdurately close their eyes, or who aretoo short-sighted to derive benefit from any enlightenment whatsoever.__But there is a vast and importantdomain into which neither you noryour disciples have hitherto borne the torch of your method--the domainof art and literature.__Degenerates are not alwayscriminals, prostitutes, anarchists, andpronounced lunatics; they are often authors and artists. These,however, manifest the same mental characteristics, and forthe mostpart the same somatic features, as the members of the above-mentionedanthropological family, who satisfy their unhealthy impulses with theknife of theassassin or the bomb of the dynamiter, instead of with penand pencil.__Some among these degenerates in literature, music, and painting havein recent yearscome into extraordinary prominence, and are revered bynumerous admirers as creators of a new art, and heralds of the comingcenturies.__This phenomenon isnot to be disregarded. Books and works of artexercise a powerful suggestion on the masses. It is from theseproductions that an age derives its ideals of moralityand beauty. Ifthey are absurd and anti-social, they exert a disturbing and corruptinginfluence on the views of a whole generation. Hence the latter,especially theimpressionable youth, easily excited to enthusiasm forall that is strange and seemingly new, must be warned and enlightenedas to the real nature of the creationsso blindly admired. This warningthe ordinary critic does not give. Exclusively literary and æstheticculture is, moreover, the worst preparation conceivable for atrueknowledge of the pathological character of the works of degenerates.The verbose rhetorician exposes with more or less grace, or cleverness,the subjectiveimpressions received from the works he criticises,but is incapable of judging if these works are the productions ofa shattered brain, and also the nature of themental disturbanceexpressing itself by them.__Now I have undertaken the work of investigating (as much as possibleafter your method), the tendencies of thefashions in art andliterature; of proving that they have their source in the degeneracyof their authors, and that the enthusiasm of their admirers isformanifestations of more or less pronounced moral insanity, imbecility,and dementia.__Thus, this book is an attempt at a really scientific criticism, whichdoesnot base its judgment of a book upon the purely accidental,capricious and variable emotions it awakens--emotions depending onthe temperament and mood ofthe individual reader--but upon thepsycho-physiological elements from which it sprang. At the same time itventures to fill a void still existing in your powerfulsystem.__I have no doubt as to the consequences to myself of my initiative.There is at the present day no danger in attacking the Church, forit no longer has thestake at its disposal. To write against rulersand governments is likewise nothing venturesome, for at the worstnothing more than imprisonment could follow, withcompensating gloryof martyrdom. But grievous is the fate of him who has the audacity tocharacterize æsthetic fashions as forms of mental decay. The authororartist attacked never pardons a man for recognising in him a lunaticor a charlatan; the subjectively garrulous critics are furious when itis pointed out howshallow and incompetent they are, or how cowardlyin swimming with the stream; and even the public is angered whenforced to see that it has been running afterfools, quack dentists,and mountebanks, as so many prophets. Now, the graphomaniacs and theircritical bodyguard dominate nearly the entire press, and in thelatterpossess an instrument of torture by which, in Indian fashion, they canrack the troublesome spoiler of sport, to his lifeâ\u0000\u0000s end.__The danger, however, towhich he exposes himself cannot deter a manfrom doing that which he regards as his duty. When a scientific truthhas been discovered, he owes it to humanity,and has no right towithhold it. Moreover, it is as little possible to do this as for awoman voluntarily to prevent the birth of the mature fruit of her womb.__Withoutaspiring to the most distant comparison of myself with you,one of the loftiest mental phenomena of the century, I may yet take formy example the smilingserenity with which you pursue your own way,indifferent to ingratitude, insult, and misunderstanding.__Pray remain, dear and honoured master, ever favourablydisposedtowards your gratefully devoted_      _MAX NORDAU_.CONTENTS  BOOK I.  _FIN-DE-SIÃ\u0000CLE._  CHAPTERI.                                                        PAGE  THE DUSK OF THE NATIONS                                  1  CHAPTER II.  THESYMPTOMS                                             7  CHAPTER III.  DIAGNOSIS                                               15  CHAPTERIV.  ETIOLOGY                                                34  BOOK II.  _MYSTICISM._  CHAPTER I.  THE PSYCHOLOGY OF MYSTICISM                             45  CHAPTERII.  THE PRE-RAPHAELITES                                     67  CHAPTER III.  SYMBOLISM      100  CHAPTERIV.  TOLSTOISM                                              144  CHAPTER V.  THE RICHARD WAGNER CULT                                171  CHAPTER VI.  PARODIES OFMYSTICISM                                  214  BOOK III.  _EGO-MANIA._  CHAPTER I.  THE PSYCHOLOGY OF EGO-MANIA                            241  CHAPTERII.  PARNASSIANS AND DIABOLISTS                             266  CHAPTER III.  DECADENTS AND Ã\u0000STHETES                                 296  CHAPTERIV.  IBSENISM                                               338  CHAPTER V.  FRIEDRICH NIETZSCHE                                    415  BOOK IV.  _REALISM._  CHAPTERI.  ZOLA AND HIS SCHOOL                                    473  CHAPTER II.  THE â\u0000\u0000YOUNG GERMANâ\u0000\u0000 PLAGIARISTS                         506  BOOK V.  _THETWENTIETH CENTURY._  CHAPTER I.  PROGNOSIS                                              536  CHAPTERII.  THERAPEUTICS                                           550                       DEGENERATIONBOOK I._FIN-DE-SIÃ\u0000CLE_.CHAPTER I.THE DUSK OF THENATIONS.FIN-DE-SIÃ\u0000CLE is a name covering both what is characteristic of manymodern phenomena, and also the underlying mood which in themfindsexpression. Experience has long shown that an idea usually derivesits designation from the language of the nation which first formedit. This, indeed, is a lawof constant application when historians ofmanners and customs inquire into language, for the purpose of obtainingsome notion, through the origins of someverbal root, respecting thehome of the earliest inventions and the line of evolution in differenthuman races. _Fin-de-siècle_ is French, for it was in France thatthemental state so entitled was first consciously realized. The word hasflown from one hemisphere to the other, and found its way into allcivilized languages. Aproof this that the need of it existed. The_fin-de-siècle_ state of mind is to-day everywhere to be met with;nevertheless, it is in many cases a mere imitation ofa foreign fashiongaining vogue, and not an organic evolution. It is in the land of itsbirth that it appears in its most genuine form, and Paris is the rightplace inwhich to observe its manifold expressions.No proof is needed of the extreme silliness of the term. Only thebrain of a child or of a savage could form the clumsyidea that thecentury is a kind of living being, born like a beast or a man, passingthrough all the stages of existence, gradually ageing and decliningafter bloomingchildhood, joyous youth, and vigorous maturity, to diewith the expiration of the hundredth year, after being afflicted inits last decade with all the infirmities ofmournful senility. Sucha childish anthropomorphism or zoomorphism never stops to considerthat the arbitrary division of time, rolling ever continuously along,isnot identical amongst all civilized beings, and that while thisnineteenth century of Christendom is held to be a creature reeling toits death presumptively in direexhaustion, the fourteenth century ofthe Mahommedan world is tripping along in the baby-shoes of its firstdecade, and the fifteenth century of the Jews strides"}
+{"doc_id":"doc_326","qid":"","text":"The Project Gutenberg EBook of Coming Attraction, by Fritz LeiberThis eBook is for the use of anyone anywhere in the United States and mostother parts of theworld at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you are locatedbefore using this ebook.Title: Coming AttractionAuthor: Fritz LeiberRelease Date: January 30, 2016 [EBook #51082]Language: English*** START OF THISPROJECT GUTENBERG EBOOK COMING ATTRACTION ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                           Coming Attraction                            BY FRITZ LEIBER                       Illustrated by Paul Calle           [Transcriber's Note:This etext was produced from                 Galaxy Science Fiction November 1950.         Extensive research did not uncover any evidence that         the U.S.copyright on this publication was renewed.]           Women will always go on trying to attract men ...             even when the future seems to have no future!Thecoupe with the fishhooks welded to the fender shouldered up overthe curb like the nose of a nightmare. The girl in its path stoodfrozen, her face probably stiffwith fright under her mask. For once myreflexes weren't shy. I took a fast step toward her, grabbed her elbow,yanked her back. Her black skirt swirled out.Thebig coupe shot by, its turbine humming. I glimpsed three faces.Something ripped. I felt the hot exhaust on my ankles as the bigcoupe swerved back into thestreet. A thick cloud like a black flowerblossomed from its jouncing rear end, while from the fishhooks flew ablack shimmering rag.\"Did they get you?\" I asked thegirl.She had twisted around to look where the side of her skirt was tornaway. She was wearing nylon tights.\"The hooks didn't touch me,\" she said shakily. \"Iguess I'm lucky.\"I heard voices around us:\"Those kids! What'll they think up next?\"\"They're a menace. They ought to be arrested.\"Sirens screamed at a risingpitch as two motor-police, theirrocket-assist jets full on, came whizzing toward us after the coupe.But the black flower had become a thick fog obscuring thewhole street.The motor-police switched from rocket assists to rocket brakes andswerved to a stop near the smoke cloud.\"Are you English?\" the girl asked me.\"You have an English accent.\"Her voice came shudderingly from behind the sleek black satin mask.I fancied her teeth must be chattering. Eyes that were perhapsbluesearched my face from behind the black gauze covering the eyeholes ofthe mask. I told her she'd guessed right. She stood close to me. \"Willyou come to myplace tonight?\" she asked rapidly. \"I can't thank younow. And there's something you can help me about.\"My arm, still lightly circling her waist, felt her bodytrembling. Iwas answering the plea in that as much as in her voice when I said,\"Certainly.\" She gave me an address south of Inferno, an apartmentnumber and atime. She asked me my name and I told her.\"Hey, you!\"I turned obediently to the policeman's shout. He shooed away the smallclucking crowd of masked womenand barefaced men. Coughing from thesmoke that the black coupe had thrown out, he asked for my papers. Ihanded him the essentialones.       *       *       *       *       *He looked at them and then at me. \"British Barter? How long will you bein New York?\"Suppressing the urge to say, \"For asshort a time as possible,\" I toldhim I'd be here for a week or so.\"May need you as a witness,\" he explained. \"Those kids can't use smokeon us. When they do that,we pull them in.\"He seemed to think the smoke was the bad thing. \"They tried to kill thelady,\" I pointed out.He shook his head wisely. \"They always pretendthey're going to, butactually they just want to snag skirts. I've picked up rippers withas many as fifty skirt-snags tacked up in their rooms. Of course,sometimesthey come a little too close.\"I explained that if I hadn't yanked her out of the way, she'd have beenhit by more than hooks. But he interrupted, \"If she'd thought itwas areal murder attempt, she'd have stayed here.\"I looked around. It was true. She was gone.\"She was fearfully frightened,\" I told him.\"Who wouldn't be?Those kids would have scared old Stalin himself.\"\"I mean frightened of more than 'kids.' They didn't look like 'kids.'\"\"What did they look like?\"I tried without muchsuccess to describe the three faces. A vagueimpression of viciousness and effeminacy doesn't mean much.\"Well, I could be wrong,\" he said finally. \"Do you knowthe girl? Whereshe lives?\"\"No,\" I half lied.The other policeman hung up his radiophone and ambled toward us,kicking at the tendrils of dissipating smoke. Theblack cloud no longerhid the dingy facades with their five-year-old radiation flash-burns,and I could begin to make out the distant stump of the EmpireStateBuilding, thrusting up out of Inferno like a mangled finger.\"They haven't been picked up so far,\" the approaching policemangrumbled. \"Left smoke for fiveblocks, from what Ryan says.\"The first policeman shook his head. \"That's bad,\" he observed solemnly.I was feeling a bit uneasy and ashamed. An Englishmanshouldn't lie, atleast not on impulse.\"They sound like nasty customers,\" the first policeman continued in thesame grim tone. \"We'll need witnesses. Looks as if youmay have to stayin New York longer than you expect.\"I got the point. I said, \"I forgot to show you all my papers,\" andhanded him a few others, making surethere was a five dollar bill inamong them.       *       *       *       *       *When he handed them back a bit later, his voice was no longer ominous.My feelings ofguilt vanished. To cement our relationship, I chattedwith the two of them about their job.\"I suppose the masks give you some trouble,\" I observed. \"OverinEngland we've been reading about your new crop of masked femalebandits.\"\"Those things get exaggerated,\" the first policeman assured me. \"It'sthe menmasking as women that really mix us up. But, brother, when wenab them, we jump on them with both feet.\"\"And you get so you can spot women almost as wellas if they had nakedfaces,\" the second policeman volunteered. \"You know, hands and allthat.\"\"Especially all that,\" the first agreed with a chuckle. \"Say, is ittruethat some girls don't mask over in England?\"\"A number of them have picked up the fashion,\" I told him. \"Only a few,though--the ones who always adopt thelatest style, however extreme.\"\"They're usually masked in the British newscasts.\"\"I imagine it's arranged that way out of deference to American taste,\"Iconfessed. \"Actually, not very many do mask.\"The second policeman considered that. \"Girls going down the street barefrom the neck up.\" It was not clearwhether he viewed the prospect withrelish or moral distaste. Likely both.\"A few members keep trying to persuade Parliament to enact a lawforbidding allmasking,\" I continued, talking perhaps a bit too much.The second policeman shook his head. \"What an idea. You know, masks area pretty good thing, brother.Couple of years more and I'm going tomake my wife wear hers around the house.\"The first policeman shrugged. \"If women were to stop wearing masks, insixweeks you wouldn't know the difference. You get used to anything,if enough people do or don't do it.\"I agreed, rather regretfully, and left them. I turned north onBroadway(old Tenth Avenue, I believe) and walked rapidly until I was beyondInferno. Passing such an area of undecontaminated radioactivity alwaysmakes aperson queasy. I thanked God there weren't any such in England,as yet.The street was almost empty, though I was accosted by a couple ofbeggars with facestunneled by H-bomb scars, whether real or of makeupputty, I couldn't tell. A fat woman held out a baby with webbed fingersand toes. I told myself it would havebeen deformed anyway and that shewas only capitalizing on our fear of bomb-induced mutations. Still,I gave her a seven-and-a-half-cent piece. Her mask mademe feel I waspaying tribute to an African fetish.\"May all your children be blessed with one head and two eyes, sir.\"\"Thanks,\" I said, shuddering, and hurried pasther.\"... There's only trash behind the mask, so turn your head, stick toyour task: Stay away, stay away--from--the--girls!\"       *       *       *       *       *This lastwas the end of an anti-sex song being sung by somereligionists half a block from the circle-and-cross insignia of afemalist temple. They reminded me only faintlyof our small tribeof British monastics. Above their heads was a jumble of billboardsadvertising predigested foods, wrestling instruction, radio handies andthe like.Istared at the hysterical slogans with disagreeable fascination. Sincethe female face and form have been banned on American signs, the veryletters of theadvertiser's alphabet have begun to crawl with sex--thefat-bellied, big-breasted capital B, the lascivious double O. However,I reminded myself, it is chiefly themask that so strangely accents sexin America.A British anthropologist has pointed out, that, while it took morethan 5,000 years to shift the chief point of sexualinterest from thehips to the breasts, the next transition to the face has taken lessthan 50 years. Comparing the American style with Moslem tradition isnot valid;Moslem women are compelled to wear veils, the purpose ofwhich is concealment, while American women have only the compulsion offashion and use masks tocreate mystery.Theory aside, the actual origins of the trend are to be found inthe anti-radiation clothing of World War III, which led to maskedwrestling, now afantastically popular sport, and that in turn led tothe current female fashion. Only a wild style at first, masks quicklybecame as necessary as brassieres andlipsticks had been earlier in thecentury.I finally realized that I was not speculating about masks in general,but about what lay behind one in particular. That's thedevil of thethings; you're never sure whether a girl is heightening lovelinessor hiding ugliness. I pictured a cool, pretty face in which fearshowed only in widenedeyes. Then I remembered her blonde hair, richagainst the blackness of the satin mask. She'd told me to come at thetwenty-second hour--ten p.m.I climbed to myapartment near the British Consulate; the elevatorshaft had been shoved out of plumb by an old blast, a nuisance in thesetall New York buildings. Before itoccurred to me that I would begoing out again, I automatically tore a tab from the film strip undermy shirt. I developed it just to be sure. It showed that thetotalradiation I'd taken that day was still within the safety limit. I'mnot phobic about it, as so many people are these days, but there's nopoint in taking chances.Iflopped down on the day bed and stared at the silent speaker and thedark screen of the video set. As always, they made me think, somewhatbitterly, of the twogreat nations of the world. Mutilated by eachother, yet still strong, they were crippled giants poisoning the planetwith their dreams of an impossible equality andan impossible success.I fretfully switched on the speaker. By luck, the newscaster wastalking excitedly of the prospects of a bumper wheat crop, sown byplanesacross a dust bowl moistened by seeded rains. I listenedcarefully to the rest of the program (it was remarkably clear ofRussian telejamming) but there was no"}
+{"doc_id":"doc_327","qid":"","text":"The Project Gutenberg EBook of Heartbreak House, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Heartbreak HouseAuthor: George Bernard ShawPosting Date: January 13, 2009 [EBook #3543]Release Date: November,2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK HEARTBREAK HOUSE ***Produced by Eve SobolHEARTBREAK HOUSEA FANTASIA INTHE RUSSIAN MANNER ON ENGLISH THEMESBy Bernard Shaw1913-1916HEARTBREAK HOUSE AND HORSEBACK HALLWhere Heartbreak HouseStandsHeartbreak House is not merely the name of the play which follows thispreface. It is cultured, leisured Europe before the war. When theplay was begun nota shot had been fired; and only the professionaldiplomatists and the very few amateurs whose hobby is foreign policyeven knew that the guns were loaded. ARussian playwright, Tchekov, hadproduced four fascinating dramatic studies of Heartbreak House, ofwhich three, The Cherry Orchard, Uncle Vanya, and TheSeagull, had beenperformed in England. Tolstoy, in his Fruits of Enlightenment, had shownus through it in his most ferociously contemptuous manner. Tolstoydidnot waste any sympathy on it: it was to him the house in which Europewas stifling its soul; and he knew that our utter enervation andfutilization in thatoverheated drawingroom atmosphere was deliveringthe world over to the control of ignorant and soulless cunning andenergy, with the frightful consequenceswhich have now overtakenit. Tolstoy was no pessimist: he was not disposed to leave the housestanding if he could bring it down about the ears of its prettyandamiable voluptuaries; and he wielded the pickaxe with a will. He treatedthe case of the inmates as one of opium poisoning, to be dealt with byseizing thepatients roughly and exercising them violently until theywere broad awake. Tchekov, more of a fatalist, had no faith in thesecharming people extricatingthemselves. They would, he thought, be soldup and sent adrift by the bailiffs; and he therefore had no scruple inexploiting and even flattering their charm.TheInhabitantsTchekov's plays, being less lucrative than swings and roundabouts,got no further in England, where theatres are only ordinary commercialaffairs, thana couple of performances by the Stage Society. We staredand said, \"How Russian!\" They did not strike me in that way. Justas Ibsen's intensely Norwegian playsexactly fitted every middle andprofessional class suburb in Europe, these intensely Russian playsfitted all the country houses in Europe in which the pleasures ofmusic,art, literature, and the theatre had supplanted hunting, shooting,fishing, flirting, eating, and drinking. The same nice people, the sameutter futility. Thenice people could read; some of them couldwrite; and they were the sole repositories of culture who had socialopportunities of contact with our politicians,administrators, andnewspaper proprietors, or any chance of sharing or influencing theiractivities. But they shrank from that contact. They hated politics. Theydidnot wish to realize Utopia for the common people: they wished torealize their favorite fictions and poems in their own lives; and, whenthey could, they livedwithout scruple on incomes which they did nothingto earn. The women in their girlhood made themselves look like varietytheatre stars, and settled down laterinto the types of beauty imaginedby the previous generation of painters. They took the only part of oursociety in which there was leisure for high culture, andmade it aneconomic, political and; as far as practicable, a moral vacuum; and asNature, abhorring the vacuum, immediately filled it up with sex and withall sortsof refined pleasures, it was a very delightful place at itsbest for moments of relaxation. In other moments it was disastrous. Forprime ministers and their like, itwas a veritable Capua.Horseback HallBut where were our front benchers to nest if not here? The alternativeto Heartbreak House was Horseback Hall, consisting ofa prison forhorses with an annex for the ladies and gentlemen who rode them, huntedthem, talked about them, bought them and sold them, and gavenine-tenthsof their lives to them, dividing the other tenth between charity,churchgoing (as a substitute for religion), and conservativeelectioneering (as asubstitute for politics). It is true that the twoestablishments got mixed at the edges. Exiles from the library, themusic room, and the picture gallery would befound languishing among thestables, miserably discontented; and hardy horsewomen who slept at thefirst chord of Schumann were born, horribly misplaced, intothe gardenof Klingsor; but sometimes one came upon horsebreakers and heartbreakerswho could make the best of both worlds. As a rule, however, the twowereapart and knew little of one another; so the prime minister folk hadto choose between barbarism and Capua. And of the two atmospheres it ishard to saywhich was the more fatal to statesmanship.Revolution on the ShelfHeartbreak House was quite familiar with revolutionary ideas on paper.It aimed at beingadvanced and freethinking, and hardly ever went tochurch or kept the Sabbath except by a little extra fun at weekends.When you spent a Friday to Tuesday in ityou found on the shelf in yourbedroom not only the books of poets and novelists, but of revolutionarybiologists and even economists. Without at least a few playsby myselfand Mr Granville Barker, and a few stories by Mr H. G. Wells, Mr ArnoldBennett, and Mr John Galsworthy, the house would have been out ofthemovement. You would find Blake among the poets, and beside him Bergson,Butler, Scott Haldane, the poems of Meredith and Thomas Hardy, and,generallyspeaking, all the literary implements for forming the mind ofthe perfect modern Socialist and Creative Evolutionist. It was a curiousexperience to spend Sunday indipping into these books, and the Mondaymorning to read in the daily paper that the country had just beenbrought to the verge of anarchy because a new HomeSecretary or chief ofpolice without an idea in his head that his great-grandmother mightnot have had to apologize for, had refused to \"recognize\" somepowerfulTrade Union, just as a gondola might refuse to recognize a 20,000-tonliner.In short, power and culture were in separate compartments. Thebarbarianswere not only literally in the saddle, but on the frontbench in the House of commons, with nobody to correct their incredibleignorance of modern thought andpolitical science but upstarts fromthe counting-house, who had spent their lives furnishing their pocketsinstead of their minds. Both, however, were practised indealing withmoney and with men, as far as acquiring the one and exploiting the otherwent; and although this is as undesirable an expertness as that ofthemedieval robber baron, it qualifies men to keep an estate or a businessgoing in its old routine without necessarily understanding it, just asBond Streettradesmen and domestic servants keep fashionable societygoing without any instruction in sociology.The Cherry OrchardThe Heartbreak people neither could norwould do anything of the sort.With their heads as full of the Anticipations of Mr H. G. Wells asthe heads of our actual rulers were empty even of the anticipationsofErasmus or Sir Thomas More, they refused the drudgery of politics, andwould have made a very poor job of it if they had changed their minds.Not that theywould have been allowed to meddle anyhow, as only throughthe accident of being a hereditary peer can anyone in these days ofVotes for Everybody get intoparliament if handicapped by a seriousmodern cultural equipment; but if they had, their habit of living in avacuum would have left them helpless end ineffective inpublicaffairs. Even in private life they were often helpless wasters of theirinheritance, like the people in Tchekov's Cherry Orchard. Even those wholived withintheir incomes were really kept going by their solicitorsand agents, being unable to manage an estate or run a business withoutcontinual prompting from thosewho have to learn how to do such thingsor starve.From what is called Democracy no corrective to this state of thingscould be hoped. It is said that every peoplehas the Governmentit deserves. It is more to the point that every Government has theelectorate it deserves; for the orators of the front bench can edifyordebauch an ignorant electorate at will. Thus our democracy moves in avicious circle of reciprocal worthiness and unworthiness.Nature's Long CreditsNature'sway of dealing with unhealthy conditions is unfortunately notone that compels us to conduct a solvent hygiene on a cash basis. Shedemoralizes us with longcredits and reckless overdrafts, and then pullsus up cruelly with catastrophic bankruptcies. Take, for example, commondomestic sanitation. A whole citygeneration may neglect it utterlyand scandalously, if not with absolute impunity, yet without any evilconsequences that anyone thinks of tracing to it. In ahospital twogenerations of medical students way tolerate dirt and carelessness, andthen go out into general practice to spread the doctrine that freshair is a fad,and sanitation an imposture set up to make profits forplumbers. Then suddenly Nature takes her revenge. She strikes at thecity with a pestilence and at thehospital with an epidemic of hospitalgangrene, slaughtering right and left until the innocent young have paidfor the guilty old, and the account is balanced. Andthen she goes tosleep again and gives another period of credit, with the same result.This is what has just happened in our political hygiene. Politicalscience hasbeen as recklessly neglected by Governments and electoratesduring my lifetime as sanitary science was in the days of Charles theSecond. In internationalrelations diplomacy has been a boyishly lawlessaffair of family intrigues, commercial and territorial brigandage,torpors of pseudo-goodnature produced bylaziness and spasms offerocious activity produced by terror. But in these islands we muddledthrough. Nature gave us a longer credit than she gave to FranceorGermany or Russia. To British centenarians who died in their beds in1914, any dread of having to hide underground in London from theshells of an enemyseemed more remote and fantastic than a dread of theappearance of a colony of cobras and rattlesnakes in Kensington Gardens.In the prophetic works of CharlesDickens we were warned againstmany evils which have since come to pass; but of the evil of beingslaughtered by a foreign foe on our own doorsteps there wasno shadow.Nature gave us a very long credit; and we abused it to the utmost. Butwhen she struck at last she struck with a vengeance. For four yearsshe smoteour firstborn and heaped on us plagues of which Egypt neverdreamed. They were all as preventable as the great Plague of London, andcame solely because theyhad not been prevented. They were not undone bywinning the war. The earth is still bursting with the dead bodies of thevictors.The Wicked Half CenturyIt isdifficult to say whether indifference and neglect are worse thanfalse doctrine; but Heartbreak House and Horseback Hall unfortunatelysuffered from both. For half"}
+{"doc_id":"doc_328","qid":"","text":"<html><head><title>Monkeybone Script at IMSDb.</title><meta name=\"description\" content=\"Monkeybone script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Monkeybone script, Monkeybone movie script, Monkeybone film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                               MONKEYBONE</b>                               Written by                                Sam Hamm                based on thecomic book \"Dark Town\" by                    Kaja Blackley and Vanessa Chong<b>                                                           SEVENTHDRAFT</b><b>                                                         3 FEBRUARY 1999</b><b>FADE IN:</b><b>MAIN CREDITS ROLL</b>over BLACK SCREEN, withPORTENTOUS SPOOKY MUSIC underneath. Just as themusic reaches its crescendo, we hear a simian SCREECH.A BUCK-TOOTHED CARTOON MONKEY swings paston a vine. TITLE WIPES IN withhim:                             MONKEYBONE(tm)                                   in<b>                            \"FREUD CHICKEN!\"</b><b>TIGHTCLOSEUP - STANLEY (ANIMATED)</b>A POCKETWATCH swings back and forth in F.G. Gaping at it is a goofy,bespectacled CARTOON CHARACTER, sucking histhumb as his EYES move backand forth. After a moment, the LEFT EYE freezes in place - but the righteye keeps going back and forth with thewatch.                           SHRINK'S VOICE (o.s.)            Back, Stanley...you're going back...back to when            it all began. Are you going back yet? Comeon,            get back, ve haven't got all day.Now BOTH EYES are locked in place. The patient is hypnotized.<b>INT. SCHOOLROOM - DAY (ANIMATED)</b>Asquat, lumpy TEACHER, MISS HUDLAPP, is straining to erase theGettysburg Address, which is written along the very top of theblackboard. There's an obtrusive,rhythmic BANGING noice in B.G.<b>                           STANLEY (V.O.)</b>            It was third grade. The teacher was Miss            Hudlapp. She was kinda"}
+{"doc_id":"doc_329","qid":"","text":"The Project Gutenberg EBook of Marianela, by Benito Pérez GaldósThis eBook is for the use of anyone anywhere in the United States and mostother parts ofthe world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg Licenseincluded with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you arelocated before using this ebook.Title: MarianelaAuthor: Benito Pérez GaldósTranslator: Clara BellRelease Date: April 28, 2015 [EBook #48818]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK MARIANELA ***Produced by Josep Cols Canals, Roberto Marabini and theOnline DistributedProofreading Team at http://www.pgdp.net(This file was produced from images generously madeavailable by The Internet Archive/AmericanLibraries.)Transcriber's Notes: Format Conventions  Italic text is denoted by _underscores_  Bold text is denoted by =equal signs=  Superscripts are denoted by'^{XX}'. For example: 1^{st}  MARIANELA  BY  B. PEREZ GALDÃ\u0000S  Author of \"Gloria,\" etc.  From the Spanish by CLARA BELL  REVISED AND CORRECTED INTHE UNITED STATES  NEW YORK  WILLIAM S. GOTTSBERGER, PUBLISHER  11 MURRAY STREET  1883  Entered according to Act of Congress, in the year1883  By William S. Gottsberger  In the Office of the Librarian of Congress, at Washington  THIS TRANSLATION WAS MADE EXPRESSLY FOR THEPUBLISHER  Press of  William S. Gottsberger  New YorkTRANSLATOR'S PREFACE.Those who have read \"Gloria\" will, it is hoped, hail with pleasureanother work bythe same writer, Perez Galdós--different it is true,but in its way not less delightful.The strongly-marked humor and darkly-painted tragedy of \"Gloria\" arenot tobe found in \"Marianela;\" the characters are distinct and crisplysketched, but with a tender hand, the catastrophe is pitiable, rathershocking; the whole tone isidyllic.I have not hesitated to translate literally the Spanish words ofendearment; for though they are foreign to the calmer spirit of ournorthern tongue they aretoo characteristic to be lost, and they arestrangely pathetic as the only outlet found for the imprisoned spiritof the hapless little heroine.  CLARABELL.CONTENTS.  CHAP.                                     PAGE.  I.--Gone Astray.                              1  II.--Guided Right.                           10  III.--A Dialogue whichexplains much.        24  IV.--Stony Hearts.                           35  V.--Labor, and a Landscape withFigures.     52  VI.--Absurdities.                            62  VII.--More Absurdities.                      73  VIII.--And yet more.                         84  IX.--The BrothersGolfin.                    98  X.--Nobody's Children.                      117  XI.--The Patriarch of Aldeacorba.           124  XII.--DoctorCelipin.                       136  XIII.--Between two Baskets.                 144  XIV.--How the Virgin Mary appeared to Nela. 151  XV.--The ThreeChildren.                    164  XVI.--The Vow.                              172  XVII.--A Fugitive.                          179  XVIII.--Nela decides that she mustgo.      192  XIX.--Nela is Tamed.                        201  XX.--A New World.                           220  XXI.--Eyes thatKill.                       234  XXII.--Farewell.                            260MARIANELA.CHAPTER I.GONE ASTRAY.The sun had set. After the brief interval of twilight thenight fellcalm and dark, and in its gloomy bosom the last sounds of a sleepyworld died gently away. The traveller went forward on his way,hastening his step asnight came on; the path he followed was narrowand worn by the constant tread of men and beasts, and led gently up ahill on whose verdant slopes grewpicturesque clumps of wild cherrytrees, beeches and oaks.--The reader perceives that we are in the northof Spain.Our traveller was a man of middle age, stronglybuilt, tall andbroad-shouldered; his movements were brisk and resolute, his stepfirm, his manner somewhat rugged, his eye bold and bright; his pacewas nimble,considering that he was decidedly stout, and he was--thereader may at once be told, though somewhat prematurely--as good asoul as you may meet withanywhere. He was dressed, as a man in easycircumstances should be dressed for a journey in spring weather, withone of those round shady hats, which, fromtheir ugly shape, have beennicknamed mushrooms (_hongo_), a pair of field-glasses hanging to astrap, and a knotted stick which, when he did not use it tosupport hissteps, served to push aside the brambles when they flung their thornybranches across so as to catch his dress.He presently stopped, and gazing roundthe dim horizon, he seemed vexedand puzzled. He evidently was not sure of his way and was lookinground for some passing native of the district who might givehim suchtopographical information as might enable him to reach his destination.\"I cannot be mistaken,\" he said to himself. \"They told me to cross theriver by thestepping-stones--and I did so--then to walk on, straighton. And there, to my right, I do in fact, see that detestable townwhich I should call _Villafangosa_ byreason of the enormous amount ofmud that chokes the streets.--Well then, I can but go 'on, straighton'--I rather like the phrase, and if I bore arms, I wouldadopt itfor my motto--in order to find myself at last at the famous mines ofSocartes.\"But before he had gone much farther, he added: \"I have lost myway,beyond a doubt I have lost my way.--This, Teodoro Golfin, is theresult of your 'on, straight on.' Bah! these blockheads do not knowthe meaning of words;either they meant to laugh at you or elsethey did not know the way to the mines of Socartes. A huge miningestablishment must be evident to the senses, with itsbuildings andchimneys, its noise of hammers and snorting of furnaces, neighing ofhorses and clattering of machinery--and I neither see, nor hear, norsmellanything. I might be in a desert! How absolutely solitary! If Ibelieved in witches, I could fancy that Fate intended me this night tohave the honor of makingacquaintance with some. Deuce take it! why isthere no one to be seen in these parts? And it will be half an houryet before the moon rises. Ah! treacherous Luna,it is you who are toblame for my misadventure.--If only I could see what sort of place Iam in.--However, what could I expect?\" and he shrugged his shoulderswiththe air of a vigorous man who scorns danger. \"What, Golfin, afterhaving wandered all round the world are you going to give in now? Thepeasants were right afterall: 'on, straight on.' The universal law oflocomotion cannot fail me here.\"And he bravely set out to test the law, and went on about a kilometrefarther, followingthe paths which seemed to start from under his feet,crossing each other and breaking off at a short distance, in a thousandangles which puzzled and tired him.Stout as his resolution was, atlast he grew weary of his vain efforts. The paths, which had at firstall led upwards, began to slope downwards as they crossed eachother,and at last he came to so steep a slope that he could only hope to getto the bottom by rolling down it.\"A pretty state of things!\" he exclaimed, trying toconsole himself forthis provoking situation by his sense of the ridiculous. \"Where haveyou got to now my friend? This is a perfect abyss. Is anything to beseen atthe bottom. No, nothing, absolutely nothing--the hill-side hasdisappeared, the earth has been dug away. There is nothing to be seenbut stones and barren soiltinged red with iron. I have reached themines, no doubt of that--and yet there is not a living soul to be seen,no smoky chimneys; no noise, not a train in thedistance, not even adog barking. What am I to do? Out there the path seems to slope upagain.--Shall I follow that? Shall I leave the beaten track? Shall I gobackagain? Oh! this is absurd! Either I am not myself or I will reachSocartes to-night, and be welcomed by my worthy brother! 'On, straighton.'\"He took a step, andhis foot sank in the soft and crumbling soil.\"What next, ye ruling stars? Am I to be swallowed up alive? If onlythat lazy moon would favor us with a little light wemight see eachother's faces--and, upon my soul, I can hardly expect to find Paradiseat the bottom of this hole. It seems to be the crater of someextinctvolcano.... Nothing could be easier than a slide down this beautifulprecipice. What have we here?... A stone; capital--a good seat while Ismoke a cigar andwait for the moon to rise.\"The philosophical Golfin seated himself as calmly as if it were abench by a promenade, and was preparing for his smoke, when he heardavoice--yes, beyond a doubt, a human voice, at some little distance--aplaintive air, or to speak more accurately, a melancholy chant of asingle phrase, of whichthe last cadence was prolonged into a \"dyingfall,\" and which at last sank into the silence of the night, so softlythat the ear could not detect when itceased.\"Come,\" said the listener, well pleased, \"there are some human beingsabout. That was a girl's voice; yes, certainly a girl's, and a lovelyvoice too. I like thepopular airs of this country-side. Now it hasstopped.... Hark! it will soon begin again.... Yes, I hear it oncemore. What a beautiful voice, and what a pathetic air!You mightbelieve that it rose from the bowels of the earth, and that SeñorGolfin, the most matter-of-fact and least superstitious man in thisworld, was going tomake acquaintance with sylphs, nymphs, gnomes,dryads, and all the rabble rout that obey the mysterious spirit of theplace.--But, if I am not mistaken, the voiceis going farther away--thefair singer is departing.... Hi, girl, child, stop--wait a minute!...\"The voice which had for a few minutes so charmed the lost wandererwithits enchanting strains was dying away in the dark void, and at theshouts of Golfin it was suddenly silent. Beyond a doubt the mysteriousgnome, who wassolacing its underground loneliness by singing itsplaintive loves, had taken fright at this rough interruption by a humanbeing, and fled to the deepest caverns ofthe earth, where preciousgems lay hidden, jealous of their own splendor.\"This is a pleasant state of things--\" muttered Golfin, thinking thatafter all he could do nobetter than light his cigar.--\"There seems noreason why it should not go on for a hundred years. I can smoke andwait. It was a clever idea of mine that I couldwalk up alone to themines of Socartes. My luggage will have got there before me--a signalproof of the advantages of 'on, straight on.'\"A light breeze at thisinstant sprang up, and Golfin fancied heheard the sound of footsteps at the bottom of the unknown--orimaginary--abyss before him; he listened sharply, and in aminute feltquite certain that some one was walking below. He stood up and shouted:\"Girl, man, or whoever you are, can I get to the mines of Socartes bythisroad?\"He had not done speaking when he heard a dog barking wildly, and then amanly voice saying: \"Choto, Choto! come here!\"\"Hi there!\" cried the traveller.\"My good friend--man, boy, demon, orwhatever you are, call back your dog, for I am a man of peace.\"\"Choto, Choto!...\"Golfin could make out the form of a large,black dog coming towardshim, but after sniffing round him it retired at its master's call;and at that moment the traveller could distinguish a figure, a"}
+{"doc_id":"doc_330","qid":"","text":"Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Tale of the Flopsy BunniesAuthor: Beatrix PotterRelease Date: November 30, 2004 [EBook #14220]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***Produced by Michael Ciesielski and the Online DistributedProofreadingTeam.[Illustration][Illustration]    THE TALE OF    THE FLOPSY BUNNIES    BY    BEATRIX POTTER    _Author of    \"The Tale of Peter Rabbit,\"&c._[Illustration]    FREDERICK WARNE & CO., INC.    NEW YORK    1909    FOR ALL LITTLE FRIENDS    OF    MR. MCGREGOR & PETER &BENJAMIN[Illustration]It is said that the effect of eating too much lettuce is \"soporific.\"_I_ have never felt sleepy after eating lettuces; but then _I_ am notarabbit.They certainly had a very soporific effect upon the Flopsy Bunnies!When Benjamin Bunny grew up, he married his Cousin Flopsy. They had alarge family,and they were very improvident and cheerful.I do not remember the separate names of their children; they weregenerally called the \"FlopsyBunnies.\"[Illustration][Illustration]As there was not always quite enough to eat,--Benjamin used to borrowcabbages from Flopsy's brother, Peter Rabbit, who kepta nursery garden.Sometimes Peter Rabbit had no cabbages to spare.[Illustration][Illustration]When this happened, the Flopsy Bunnies went across the field to arubbishheap, in the ditch outside Mr. McGregor's garden.Mr. McGregor's rubbish heap was a mixture. There were jam pots and paperbags, and mountains ofchopped grass from the mowing machine (which alwaystasted oily), and some rotten vegetable marrows and an old boot or two.One day--oh joy!--there were aquantity of overgrown lettuces, which had\"shot\" into flower.[Illustration]The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,they wereovercome with slumber, and lay down in the mown grass.Benjamin was not so much overcome as his children. Before going to sleephe was sufficiently wideawake to put a paper bag over his head to keepoff the flies.The little Flopsy Bunnies slept delightfully in the warm sun. From thelawn beyond the garden came thedistant clacketty sound of the mowingmachine. The bluebottles buzzed about the wall, and a little old mousepicked over the rubbish among the jam pots.(I cantell you her name, she was called Thomasina Tittlemouse, awoodmouse with a long tail.)[Illustration][Illustration]She rustled across the paper bag, andawakened Benjamin Bunny.The mouse apologized profusely, and said that she knew Peter Rabbit.While she and Benjamin were talking, close under the wall, theyheard aheavy tread above their heads; and suddenly Mr. McGregor emptied out asackful of lawn mowings right upon the top of the sleeping FlopsyBunnies!Benjamin shrank down under his paper bag. The mouse hid in a jam pot.[Illustration][Illustration]The little rabbits smiled sweetly in their sleep under theshower ofgrass; they did not awake because the lettuces had been so soporific.They dreamt that their mother Flopsy was tucking them up in a hay bed.Mr.McGregor looked down after emptying his sack. He saw some funny littlebrown tips of ears sticking up through the lawn mowings. He stared at themfor sometime.Presently a fly settled on one of them and it moved.Mr. McGregor climbed down on to the rubbish heap--\"One, two, three, four! five! six leetle rabbits!\" saidhe as he droppedthem into his sack. The Flopsy Bunnies dreamt that their mother wasturning them over in bed. They stirred a little in their sleep, but stillthey didnot wake up.[Illustration][Illustration]Mr. McGregor tied up the sack and left it on the wall.He went to put away the mowing machine.While he was gone, Mrs.Flopsy Bunny (who had remained at home) cameacross the field.She looked suspiciously at the sack and wondered where everybody was?[Illustration]Then themouse came out of her jam pot, and Benjamin took the paper bagoff his head, and they told the doleful tale.Benjamin and Flopsy were in despair, they could notundo the string.But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in thebottom corner of the sack.[Illustration]The little rabbits were pulled outand pinched to wake them.Their parents stuffed the empty sack with three rotten vegetable marrows,an old blacking-brush and two decayedturnips.[Illustration]Then they all hid under a bush and watched for Mr. McGregor.[Illustration]Mr. McGregor came back and picked up the sack, and carried itoff.He carried it hanging down, as if it were rather heavy.The Flopsy Bunnies followed at a safe distance.[Illustration]The watched him go into his house.And thenthey crept up to the window to listen.[Illustration]Mr. McGregor threw down the sack on the stone floor in a way that wouldhave been extremely painful to theFlopsy Bunnies, if they had happened tohave been inside it.They could hear him drag his chair on the flags, and chuckle--\"One, two, three, four, five, six leetlerabbits!\" said Mr. McGregor.[Illustration][Illustration]\"Eh? What's that? What have they been spoiling now?\" enquired Mrs.McGregor.\"One, two, three, four, five,six leetle fat rabbits!\" repeated Mr.McGregor, counting on his fingers--\"one, two, three--\"\"Don't you be silly; what do you mean, you silly old man?\"\"In the sack!one, two, three, four, five, six!\" replied Mr. McGregor.(The youngest Flopsy Bunny got upon the window-sill.)Mrs. McGregor took hold of the sack and felt it. Shesaid she could feelsix, but they must be _old_ rabbits, because they were so hard and alldifferent shapes.\"Not fit to eat; but the skins will do fine to line my oldcloak.\"\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buymyself baccy!\"\"Rabbit tobacco! I shall skin them and cut off theirheads.\"[Illustration]Mrs. McGregor untied the sack and put her hand inside.When she felt the vegetables she became very very angry. She said that Mr.McGregorhad \"done it a purpose.\"[Illustration]And Mr. McGregor was very angry too. One of the rotten marrows came flyingthrough the kitchen window, and hit theyoungest Flopsy Bunny.It was rather hurt.[Illustration]Then Benjamin and Flopsy thought that it was time to go home.[Illustration]So Mr. McGregor did not gethis tobacco, and Mrs. McGregor did not get herrabbit skins.[Illustration]But next Christmas Thomasina Tittlemouse got a present of enoughrabbit-wool to makeherself a cloak and a hood, and a handsome muff and apair of warm mittens.[Illustration][Illustration]THE TALE OF THE FLOPSY BUNNIESBY BEATRIX POTTERF.WARNE & CoEnd of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OF THEFLOPSY BUNNIES ******** This file should be named 14220.txt or 14220.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/2/2/14220/Produced by Michael Ciesielski and the Online Distributed ProofreadingTeam.Updated editions will replace theprevious one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in theseworks, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  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+{"doc_id":"doc_331","qid":"","text":"The Project Gutenberg EBook of Immensee, by Theodore W. StormThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: ImmenseeAuthor: Theodore W. StormPosting Date: July 28, 2010 [EBook #6650]Release Date: October, 2004Language: English***START OF THIS PROJECT GUTENBERG EBOOK IMMENSEE ***Produced by Delphine Lettau, Charles Franks, and the OnlineDistributed ProofreadingTeam.IMMENSEEBY THEODOR W. STORMTRANSLATED BY C. W. BELL M. A.PREFACEWe are at the beginning of a new era which will, it is to be hoped, bemarkedby a general _rapprochement_ between the nations. The need toknow and understand one another is being felt more and more. It followsthat the study of foreignlanguages will assume an ever-increasingimportance; indeed, so far as language, literature, and music areconcerned, one may safely assert that _fas est et abhoste doceri_.All those who wish to make acquaintance with the speech of theirneighbours, or who have allowed their former knowledge to grow rusty,willwelcome this edition, which will enable them, independently ofbulky dictionaries, to devote to language study the moments of leisurewhich offer themselves inthe course of the day.The texts have been selected from the double point of view of theirliterary worth and of the usefulness of their vocabulary; inthetranslations, also, the endeavour has been to unite qualities of stylewith strict fidelity to the original.INTRODUCTIONTheodor W. Storm, poet and short-storywriter (1817-1888), was born inSchleswig. He was called to the Bar in his native town, Husum, in1842, but had his licence to practise cancelled in 1853for'Germanophilism,' and had to remove to Germany. It was only in 1864that he was able to return to Husum, where in 1874 he became a judgeof the Court ofAppeals.As early as 1843 he had made himself known as a lyrical poet of theRomantic School, but it was as a short-story writer that he first tooka prominentplace in literature, making a most happy _début_ withthe story entitled _Immensee_.There followed a long series of tales, rich in fancy and in humour,althoughtheir inspiration is generally derived from the humble townand country life which formed his immediate environment; but he wrotenothing that excels, in depthand tenderness of feeling, the charmingstory of _Immensee_; and taking his work all in all, Storm stillranks to-day as a master of the short story in Germanliterature, richthough it is in this form of prose-fiction.IMMENSEETHE OLD MANOne afternoon in the late autumn a well-dressed old man was walkingslowly downthe street. He appeared to be returning home from a walk,for his buckle-shoes, which followed a fashion long since out of date,were covered with dust.Under hisarm he carried a long, gold-headed cane; his dark eyes, inwhich the whole of his long-lost youth seemed to have centred, andwhich contrasted strangely with hissnow-white hair, gazed calmly onthe sights around him or peered into the town below as it lay beforehim, bathed in the haze of sunset. He appeared to be almostastranger, for of the passers-by only a few greeted him, although manya one involuntarily was compelled to gaze into those grave eyes.At last he halted before ahigh, gabled house, cast one more glanceout toward the town, and then passed into the hall. At the sound ofthe door-bell some one in the room within drew asidethe green curtainfrom a small window that looked out on to the hall, and the face of anold woman was seen behind it. The man made a sign to her withhiscane.\"No light yet!\" he said in a slightly southern accent, and thehousekeeper let the curtain fall again.The old man now passed through the broad hall,through an inner hall,wherein against the walls stood huge oaken chests bearing porcelainvases; then through the door opposite he entered a small lobby,fromwhich a narrow staircase led to the upper rooms at the back of thehouse. He climbed the stairs slowly, unlocked a door at the top, andlanded in a room ofmedium size.It was a comfortable, quiet retreat. One of the walls was lined withcupboards and bookcases; on the other hung pictures of men and places;on atable with a green cover lay a number of open books, and beforethe table stood a massive arm-chair with a red velvet cushion.After the old man had placed hishat and stick in a corner, he sat downin the arm-chair and, folding his hands, seemed to be taking his restafter his walk. While he sat thus, it was growinggradually darker; andbefore long a moonbeam came streaming through the window-panes and uponthe pictures on the wall; and as the bright band of lightpassed slowlyonward the old man followed it involuntarily with his eyes.Now it reached a little picture in a simple black frame. \"Elisabeth!\"said the old man softly;and as he uttered the word, time had changed:_he was young again_.       *       *       *       *       *THE CHILDRENBefore very long the dainty form of a littlemaiden advanced towardhim. Her name was Elisabeth, and she might have been five years old.He himself was twice that age. Round her neck she wore a redsilkkerchief which was very becoming to her brown eyes.\"Reinhard!\" she cried, \"we have a holiday, a holiday! No school thewhole day and none to-morroweither!\"Reinhard was carrying his slate under his arm, but he flung it behindthe front door, and then both the children ran through the house intothe garden andthrough the garden gate out into the meadow. Theunexpected holiday came to them at a most happily opportune moment.It was in the meadow that Reinhard,with Elisabeth's help, had built ahouse out of sods of grass. They meant to live in it during the summerevenings; but it still wanted a bench. He set to work atonce; nails,hammer, and the necessary boards were already to hand.While he was thus engaged, Elisabeth went along the dyke, gatheringthe ring-shaped seedsof the wild mallow in her apron, with the objectof making herself chains and necklaces out of them; so that whenReinhard had at last finished his bench in spite ofmany a crookedlyhammered nail, and came out into the sunlight again, she was alreadywandering far away at the other end of the meadow.\"Elisabeth!\" hecalled, \"Elisabeth!\" and then she came, her hairstreaming behind her.\"Come here,\" he said; \"our house is finished now. Why, you have gotquite hot! Come in, andlet us sit on the new bench. I will tell you astory.\"So they both went in and sat down on the new bench. Elisabeth took thelittle seed-rings out of her apron andstrung them on long threads.Reinhard began his tale: \"There were once upon a time threespinning-women...\"[1][1] The beginning of one of the best known ofGrimm's fairy tales.\"Oh!\" said Elisabeth, \"I know that off by heart; you really must notalways tell me the same story.\"Accordingly Reinhard had to give up thestory of the threespinning-women and tell instead the story of the poor man who was castinto the den of lions.\"It was now night,\" he said, \"black night, youknow, and the lionswere asleep. But every now and then they would yawn in their sleep andshoot out their red tongues. And then the man would shudder andthinkit was morning. All at once a bright light fell all about him, andwhen he looked up an angel was standing before him. The angel beckonedto him with his handand then went straight into the rocks.\"Elisabeth had been listening attentively. \"An angel?\" she said. \"Hadhe wings then?\"\"It is only a story,\" answered Reinhard;\"there are no angels, youknow.\"\"Oh, fie! Reinhard!\" she said, staring him straight in the face.He looked at her with a frown, and she asked him hesitatingly:\"Well,why do they always say there are? mother, and aunt, and at school aswell?\"\"I don't know,\" he answered.\"But tell me,\" said Elisabeth, \"are there no lionseither?\"\"Lions? Are there lions? In India, yes. The heathen priests harnessthem to their carriages, and drive about the desert with them. WhenI'm big, I mean togo out there myself. It is thousands of times morebeautiful in that country than it is here at home; there's no winterat all there. And you must come with me. Willyou?\"\"Yes,\" said Elisabeth; \"but mother must come with us, and your motheras well.\"\"No,\" said Reinhard, \"they will be too old then, and cannot comewithus.\"\"But I mayn't go by myself.\"\"Oh, but you may right enough; you will then really be my wife, andthe others will have no say in the matter.\"\"But motherwill cry!\"\"We shall come back again of course,\" said Reinhard impetuously. \"Nowjust tell me straight out, will you go with me? If not, I will go allalone, and then Ishall never come back again.\"The little girl came very near to crying. \"Please don't look soangry,\" said she; \"I will go to India with you.\"Reinhard seized both herhands with frantic glee, and rushed out withher into the meadow.\"To India, to India!\" he sang, and swung her round and round, so thather little red kerchief waswhirled from off her neck. Then hesuddenly let her go and said solemnly:\"Nothing will come of it, I'm sure; you haven't the pluck.\"\"Elisabeth! Reinhard!\" someone was now calling from the garden gate.\"Here we are!\" the children answered, and raced home hand in hand.       *       *       *       *       *IN THE WOODSSothe children lived together. She was often too quiet for him, andhe was often too head-strong for her, but for all that they stuck toone another. They spent nearlyall their leisure hours together: inwinter in their mothers' tiny rooms, during the summer in wood andfield.Once when Elisabeth was scolded by the teacher inReinhard's hearing,he angrily banged his slate upon the table in order to turn uponhimself the master's wrath. This failed to attract attention.But Reinhard paid nofurther attention to the geography lessons, andinstead he composed a long poem, in which he compared himself to ayoung eagle, the schoolmaster to a greycrow, and Elisabeth to a whitedove; the eagle vowed vengeance on the grey crow, as soon as his wingshad grown.Tears stood in the young poet's eyes: he feltvery proud of himself.When he reached home he contrived to get hold of a littleparchment-bound volume with a lot of blank pages in it; and on the firstpages heelaborately wrote out his first poem.Soon after this he went to another school. Here he made many newfriendships among boys of his own age, but this did notinterrupt hiscomings and goings with Elisabeth. Of the stories which he hadformerly told her over and over again he now began to write down theones which shehad liked best, and in doing so the fancy often tookhim to weave in something of his own thoughts; yet, for some reason hecould not understand, he could nevermanage it.So he wrote them down exactly as he had heard them himself. Then hehanded them over to Elisabeth, who kept them carefully in a drawer ofherwriting-desk, and now and again of an evening when he was presentit afforded him agreeable satisfaction to hear her reading aloud toher mother these little talesout of the notebooks in which he hadwritten them.Seven years had gone by. Reinhard was to leave the town in order toproceed to his higher education. Elisabethcould not bring herself tothink that there would now be a time to be passed entirely withoutReinhard. She was delighted when he told her one day that he"}
+{"doc_id":"doc_332","qid":"","text":"<html><head><title>Toy Story Script at IMSDb.</title><meta name=\"description\" content=\"Toy Story script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Toy Story script, Toy Story movie script, Toy Story film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><b><TITLE>TOY STORY</TITLE></b><script><b><!--</b><b>/*</b>Break-out-of-framesscriptBy Website Abstraction (http://wsabstract.com)Over 400+ free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!=top)top.location.href=location.href<b>// --></b></script><b></HEAD></b><b><PRE></b><b>                      \"TOY STORY\"</b>                   Original Storyby                     John Lasseter                      Pete Docter                     Andrew Stanton                       Joe Ranft                     Screenplay by                      JossWhedon                     Andrew Stanton              Joel Cohen and Alec Sokolow<b>                       </b><b>                                                 FINALDRAFT</b>                                                 November 1995<b>                         \"TOY STORY\"</b><b>FADE IN:</b><b>INT. ANDY'S BEDROOM</b>A rowof moving boxes lie on the floor of the room.  Theyare drawn up in crayon to look like a miniature Western town.The bedroom is lined with cloud wallpaper givingtheimpression of sky.One of the boxes has a children's illustrated \"WANTED\"poster of a Mr. Potato Head taped to it.A MR. POTATO HEAD DOLL is set in front ofthe poster.  TheVOICE OVER of ANDY, a 6-year-old boy, can be heard actingout all the voices of the scene.<b>                         ANDY (AS POTATOHEAD)</b>            Alright everyone, this is a stick-            up!  Don't anybody move!  Now empty            that safe!A GROUP OF TOYS have been crowdedtogether in front of the\"BANK\" box.Andy's hand lowers a CERAMIC PIGGY BANK in front of Mr.Potato Head and shakes out a pile of coins to the floor.  Mr.Potato"}
+{"doc_id":"doc_333","qid":"","text":"<html><head><title>Thelma & Louise Script at IMSDb.</title><meta name=\"description\" content=\"Thelma & Louise script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Thelma & Louise script, Thelma & Louise movie script, Thelma & Louise film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THELMA &LOUISE</title></head><pre><b>                                    \"THELMA & LOUISE\"</b>                                            by                                      CallieKhouri                                  Final shooting script<b>                                       JUNE 5, 1990</b><b>                </b><b>               FADEIN:</b><b>               INT.  RESTAURANT - MORNING (PRESENT DAY)</b>               LOUISE is a waitress in a coffee shop.  She is in herearly-               thirties, but too old to be doing this.  She is very pretty                and meticulously groomed, even at the end of her shift.  She                isslamming dirty coffee cups from the counter into a bus                tray underneath the counter.  It is making a lot of RACKET,                which she is obliviousto.  There is COUNTRY MUZAK in the                b.g., which she hums along with.<b>               INT.  THELMA'S KITCHEN - MORNING</b>               THELMA is ahousewife.  It's morning and she is slamming                coffee cups from the breakfast table into the kitchen sink,                which is full of dirty breakfast dishesand some stuff left                from last night's dinner which had to \"soak\".  She is still                in her nightgown.  The TV is ON in the b.g.               From thekitchen, we can see an incomplete wallpapering                project going on in the dining room, an obvious \"do-it-               yourself\" attempt byThelma.<b>               INT.  RESTAURANT - MORNING</b>               Louise goes to the pay phone and dials a number.<b>               INT.  THELMA'S KITCHEN -"}
+{"doc_id":"doc_334","qid":"","text":"The Project Gutenberg EBook of Pellucidar, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: PellucidarAuthor: Edgar Rice BurroughsPosting Date: July 26, 2008 [EBook #605]Release Date: July, 1996[Last update: July 8,2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PELLUCIDAR ***Produced by Judith BossPELLUCIDARByEdgar RiceBurroughsCONTENTSCHAPTER       PROLOGUE    I  LOST ON PELLUCIDAR   II  TRAVELING WITH TERROR  III  SHOOTING THE CHUTES--ANDAFTER   IV  FRIENDSHIP AND TREACHERY    V  SURPRISES   VI  A PENDENT WORLD  VII  FROM PLIGHT TO PLIGHT VIII  CAPTIVE   IX  HOOJA'S CUTTHROATSAPPEAR    X  THE RAID ON THE CAVE-PRISON   XI  ESCAPE  XII  KIDNAPED! XIII  RACING FOR LIFE  XIV  GORE AND DREAMS   XV  CONQUEST ANDPEACEPROLOGUESeveral years had elapsed since I had found the opportunity to do anybig-game hunting; for at last I had my plans almost perfected for areturnto my old stamping-grounds in northern Africa, where in otherdays I had had excellent sport in pursuit of the king of beasts.The date of my departure had beenset; I was to leave in two weeks.  Noschoolboy counting the lagging hours that must pass before thebeginning of \"long vacation\" released him to the deliriousjoys of thesummer camp could have been filled with greater impatience or keeneranticipation.And then came a letter that started me for Africa twelve days aheadofmy schedule.Often am I in receipt of letters from strangers who have foundsomething in a story of mine to commend or to condemn.  My interest inthisdepartment of my correspondence is ever fresh.  I opened thisparticular letter with all the zest of pleasurable anticipation withwhich I had opened so manyothers.  The post-mark (Algiers) had arousedmy interest and curiosity, especially at this time, since it wasAlgiers that was presently to witness the termination ofmy coming seavoyage in search of sport and adventure.Before the reading of that letter was completed lions and lion-huntinghad fled my thoughts, and I was in astate of excitement bordering uponfrenzy.It--well, read it yourself, and see if you, too, do not find food forfrantic conjecture, for tantalizing doubts, and for agreat hope.Here it is:DEAR SIR: I think that I have run across one of the most remarkablecoincidences in modern literature.  But let me start at the beginning:Iam, by profession, a wanderer upon the face of the earth.  I have notrade--nor any other occupation.My father bequeathed me a competency; some remoterancestors lust toroam.  I have combined the two and invested them carefully and withoutextravagance.I became interested in your story, At the Earth's Core, notso muchbecause of the probability of the tale as of a great and abiding wonderthat people should be paid real money for writing such impossibletrash.  You willpardon my candor, but it is necessary that youunderstand my mental attitude toward this particular story--that youmay credit that which follows.Shortlythereafter I started for the Sahara in search of a rather rarespecies of antelope that is to be found only occasionally within alimited area at a certain season of theyear.  My chase led me far fromthe haunts of man.It was a fruitless search, however, in so far as antelope is concerned;but one night as I lay courting sleep atthe edge of a little clusterof date-palms that surround an ancient well in the midst of the arid,shifting sands, I suddenly became conscious of a strange soundcomingapparently from the earth beneath my head.It was an intermittent ticking!No reptile or insect with which I am familiar reproduces any suchnotes.  I lay foran hour--listening intently.At last my curiosity got the better of me.  I arose, lighted my lampand commenced to investigate.My bedding lay upon a rug stretcheddirectly upon the warm sand.  Thenoise appeared to be coming from beneath the rug.  I raised it, butfound nothing--yet, at intervals, the sound continued.I duginto the sand with the point of my hunting-knife.  A few inchesbelow the surface of the sand I encountered a solid substance that hadthe feel of wood beneath thesharp steel.Excavating about it, I unearthed a small wooden box.  From thisreceptacle issued the strange sound that I had heard.How had it come here?What didit contain?In attempting to lift it from its burying place I discovered that itseemed to be held fast by means of a very small insulated cable runningfarther into thesand beneath it.My first impulse was to drag the thing loose by main strength; butfortunately I thought better of this and fell to examining the box.  Isoon sawthat it was covered by a hinged lid, which was held closed bya simple screwhook and eye.It took but a moment to loosen this and raise the cover, when, tomyutter astonishment, I discovered an ordinary telegraph instrumentclicking away within.\"What in the world,\" thought I, \"is this thing doing here?\"That it was aFrench military instrument was my first guess; but reallythere didn't seem much likelihood that this was the correctexplanation, when one took into account theloneliness and remotenessof the spot.As I sat gazing at my remarkable find, which was ticking and clickingaway there in the silence of the desert night, trying toconvey somemessage which I was unable to interpret, my eyes fell upon a bit ofpaper lying in the bottom of the box beside the instrument.  I pickedit up andexamined it.  Upon it were written but two letters:D. I.They meant nothing to me then.  I was baffled.Once, in an interval of silence upon the part of thereceivinginstrument, I moved the sending-key up and down a few times.  Instantlythe receiving mechanism commenced to work frantically.I tried to recallsomething of the Morse Code, with which I had playedas a little boy--but time had obliterated it from my memory.  I becamealmost frantic as I let my imaginationrun riot among the possibilitiesfor which this clicking instrument might stand.Some poor devil at the unknown other end might be in dire need ofsuccor.  The veryfranticness of the instrument's wild clashingbetokened something of the kind.And there sat I, powerless to interpret, and so powerless to help!It was then that theinspiration came to me.  In a flash there leapedto my mind the closing paragraphs of the story I had read in the clubat Algiers:Does the answer lie somewhereupon the bosom of the broad Sahara, atthe ends of two tiny wires, hidden beneath a lost cairn?The idea seemed preposterous.  Experience and intelligencecombined toassure me that there could be no slightest grain of truth orpossibility in your wild tale--it was fiction pure and simple.And yet where WERE the otherends of those wires?What was this instrument--ticking away here in the great Sahara--but atravesty upon the possible!Would I have believed in it had I not seenit with my own eyes?And the initials--D. I.--upon the slip of paper!David's initials were these--David Innes.I smiled at my imaginings.  I ridiculed the assumptionthat there wasan inner world and that these wires led downward through the earth'scrust to the surface of Pellucidar.  And yet--Well, I sat there all night,listening to that tantalizing clicking,now and then moving the sending-key just to let the other end know thatthe instrument had been discovered.  In themorning, after carefullyreturning the box to its hole and covering it over with sand, I calledmy servants about me, snatched a hurried breakfast, mounted myhorse,and started upon a forced march for Algiers.I arrived here today.  In writing you this letter I feel that I ammaking a fool of myself.There is no DavidInnes.There is no Dian the Beautiful.There is no world within a world.Pellucidar is but a realm of your imagination--nothing more.BUT--The incident of the findingof that buried telegraph instrument uponthe lonely Sahara is little short of uncanny, in view of your story ofthe adventures of David Innes.I have called it one ofthe most remarkable coincidences in modernfiction.  I called it literature before, but--again pardon mycandor--your story is not.And now--why am I writingyou?Heaven knows, unless it is that the persistent clicking of thatunfathomable enigma out there in the vast silences of the Sahara has sowrought upon mynerves that reason refuses longer to function sanely.I cannot hear it now, yet I know that far away to the south, all alonebeneath the sands, it is still poundingout its vain, frantic appeal.It is maddening.It is your fault--I want you to release me from it.Cable me at once, at my expense, that there was no basis of factforyour story, At the Earth's Core.Very respectfully yours,COGDON NESTOR,  ---- and ---- Club,    Algiers.      June 1st, --.Ten minutes after reading this letter Ihad cabled Mr. Nestor asfollows:Story true.  Await me Algiers.As fast as train and boat would carry me, I sped toward my destination.For all those dragging daysmy mind was a whirl of mad conjecture, offrantic hope, of numbing fear.The finding of the telegraph-instrument practically assured me thatDavid Innes haddriven Perry's iron mole back through the earth's crustto the buried world of Pellucidar; but what adventures had befallen himsince his return?Had he found Dianthe Beautiful, his half-savage mate, safe among hisfriends, or had Hooja the Sly One succeeded in his nefarious schemes toabduct her?Did Abner Perry, thelovable old inventor and paleontologist, stilllive?Had the federated tribes of Pellucidar succeeded in overthrowing themighty Mahars, the dominant race of reptilianmonsters, and theirfierce, gorilla-like soldiery, the savage Sagoths?I must admit that I was in a state bordering upon nervous prostrationwhen I entered the ----and ---- Club, in Algiers, and inquired for Mr.Nestor.  A moment later I was ushered into his presence, to find myselfclasping hands with the sort of chap that theworld holds only too fewof.He was a tall, smooth-faced man of about thirty, clean-cut, straight,and strong, and weather-tanned to the hue of a desert Arab.  Ilikedhim immensely from the first, and I hope that after our three monthstogether in the desert country--three months not entirely lacking inadventure--he foundthat a man may be a writer of \"impossible trash\"and yet have some redeeming qualities.The day following my arrival at Algiers we left for the south, Nestorhavingmade all arrangements in advance, guessing, as he naturally did,that I could be coming to Africa for but a single purpose--to hasten atonce to the buriedtelegraph-instrument and wrest its secret from it.In addition to our native servants, we took along an Englishtelegraph-operator named Frank Downes.  Nothingof interest enlivenedour journey by rail and caravan till we came to the cluster ofdate-palms about the ancient well upon the rim of the Sahara.It was the veryspot at which I first had seen David Innes.  If he hadever raised a cairn above the telegraph instrument no sign of itremained now.  Had it not been for the chancethat caused Cogdon Nestorto throw down his sleeping rug directly over the hidden instrument, itmight still be clicking there unheard--and this story stillunwritten.When we reached the spot and unearthed the little box the instrumentwas quiet, nor did repeated attempts upon the part of our telegraphersucceed in"}
+{"doc_id":"doc_335","qid":"","text":"<html><head><title>Adaptation Script at IMSDb.</title><meta name=\"description\" content=\"Adaptation script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Adaptation script, Adaptation movie script, Adaptation film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>     ADAPTATION                byCharlie Kaufman and Donald Kaufman       adapted from the book<b>      THE ORCHIDTHIEF</b>                by           Susan Orlean                                     September 24, 1999                                          Second Draft<b></b><b>EXT. ROCKYTERRAIN - DAY</b>Endless barren landscape. No sign of life. The atmosphereis hazy, toxic-looking. Volcanoes erupt. Meteors bombard.Lightning strikes,concussing murky pools of water. Silence.<b>INT. LARGE EMPTY LIVING ROOM - MORNING</b><b>SUBTITLE: HOLLYWOOD, CA, FOUR BILLION AND FORTYYEARS LATER</b>Beamed ceilings and ostentatious fireplace. A few birthdaycards on the mantel, two of them identical: \"To Our Dear Sonon His FortiethBirthday.\" Charlie Kaufman, a fat, baldingman in a purple sweater with tags still attached, paces theroom. His incantational voice-over carpets thescene.<b>                    KAUFMAN (V.O.)</b>          I am old. I am fat. I am bald. My          toenails have turned strange. I am          repulsive. How repulsive? Idon't know          for I suffer from a condition called Body          Dysmorphic Disorder. I am fat, but am I          as fat as I think? My therapist says no,          butpeople lie. I believe others call me          Fatty behind my back. Or Fatso. Or,          facetiously, Slim. But I also believe          this is simply my own pervertedform of          self-aggrandizement, that no one really          talks about me at all. What possible          interest is an old, bald, fat man to          anyone? I amrepulsive. I have never          lived. I blame myself. I --<b>EXT. STATE ROAD 29 - DAWN</b>A lonely two-lane highway cutting through"}
+{"doc_id":"doc_336","qid":"","text":"The Project Gutenberg EBook of The Great Shadow and Other Napoleonic Talesby Arthur Conan DoyleThis eBook is for the use of anyone anywhere at no costand withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook oronline at www.gutenberg.netTitle: The Great Shadow and Other Napoleonic TalesAuthor: Arthur Conan DoyleRelease Date: March 22, 2004 [EBook#11656]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT SHADOW ***Produced by Lionel G. SearTHE GREAT SHADOW ANDOTHER NAPOLEONIC TALESA. CONAN DOYLECONTENTSTHE GREAT SHADOW  I.    THE NIGHT OF THE BEACONS  II.   COUSIN EDIE OF EYEMOUTH  III.  THESHADOW ON THE WATERS  IV.   THE CHOOSING OF JIM  V.    THE MAN FROM THE SEA  VI.   A WANDERING EAGLE  VII.  THE SHADOW ON THE LAND  VIII. THECOMING OF THE CUTTER  IX.   THE DOINGS AT WEST INCH  X.    THE RETURN OF THE SHADOW  XI.   THE GATHERING OF THE NATIONS  XII.  THE SHADOW ONTHE LAND  XIII. THE END OF THE STORM  XIV.  THE TALLY OF DEATH  XV.   THE END OF ITTHE CRIME OF THE BRIGADIERTHE \"SLAPPING SAL\"THE GREATSHADOW.CHAPTER I.THE NIGHT OF THE BEACONS.It is strange to me, Jock Calder of West Inch, to feel that though now,in the very centre of the nineteenthcentury, I am but five-and-fiftyyears of age, and though it is only once in a week perhaps that my wifecan pluck out a little grey bristle from over my ear, yet Ihave livedin a time when the thoughts and the ways of men were as different asthough it were another planet from this.  For when I walk in my fields Ican see,down Berwick way, the little fluffs of white smoke which tellme of this strange new hundred-legged beast, with coals for food and athousand men in its belly, forever crawling over the border.On a shiny day I can see the glint of the brass work as it takes thecurve near Corriemuir; and then, as I look out to sea, there is thesamebeast again, or a dozen of them maybe, leaving a trail of black in theair and of white in the water, and swimming in the face of the wind aseasily as a salmonup the Tweed.  Such a sight as that would have struckmy good old father speechless with wrath as well as surprise; for he wasso stricken with the fear ofoffending the Creator that he was chary ofcontradicting Nature, and always held the new thing to be nearly akin tothe blasphemous.  As long as God made thehorse, and a man downBirmingham way the engine, my good old dad would have stuck by thesaddle and the spurs.But he would have been still more surprisedhad he seen the peace andkindliness which reigns now in the hearts of men, and the talk in thepapers and at the meetings that there is to be no more war--save,ofcourse, with blacks and such like.  For when he died we had beenfighting with scarce a break, save only during two short years, for verynearly a quarter of acentury.  Think of it, you who live so quietly andpeacefully now!  Babies who were born in the war grew to be bearded menwith babies of their own, and still thewar continued.  Those who hadserved and fought in their stalwart prime grew stiff and bent, and yetthe ships and the armies were struggling.  It was no wonderthat folkcame at last to look upon it as the natural state, and thought how queerit must seem to be at peace.  During that long time we fought the Dutch,wefought the Danes, we fought the Spanish, we fought the Turks, wefought the Americans, we fought the Monte-Videans, until it seemed thatin this universalstruggle no race was too near of kin, or too far away,to be drawn into the quarrel.  But most of all it was the French whom wefought, and the man whom of allothers we loathed and feared and admiredwas the great Captain who ruled them.It was very well to draw pictures of him, and sing songs about him, andmake asthough he were an impostor; but I can tell you that the fear ofthat man hung like a black shadow over all Europe, and that there was atime when the glint of afire at night upon the coast would set everywoman upon her knees and every man gripping for his musket.  He hadalways won: that was the terror of it.  TheFates seemed to be behindhim.  And now we knew that he lay upon the northern coast with a hundredand fifty thousand veterans, and the boats for theirpassage.  But it isan old story, how a third of the grown folk of our country took up arms,and how our little one-eyed, one-armed man crushed their fleet.Therewas still to be a land of free thinking and free speaking inEurope.There was a great beacon ready on the hill by Tweedmouth, built up oflogs and tar-barrels; and Ican well remember how, night after night, Istrained my eyes to see if it were ablaze.  I was only eight at thetime, but it is an age when one takes a grief to heart,and I felt asthough the fate of the country hung in some fashion upon me and myvigilance.  And then one night as I looked I suddenly saw a littleflicker on thebeacon hill--a single red tongue of flame in thedarkness.  I remember how I rubbed my eyes, and pinched myself, andrapped my knuckles against the stonewindow-sill, to make sure that Iwas indeed awake.  And then the flame shot higher, and I saw the redquivering line upon the water between; and I dashed intothe kitchen,screeching to my father that the French had crossed and the Tweedmouthlight was aflame.  He had been talking to Mr. Mitchell, the law studentfromEdinburgh; and I can see him now as he knocked his pipe out at theside of the fire, and looked at me from over the top of his hornspectacles.\"Are you sure,Jock?\" says he.\"Sure as death!\" I gasped.He reached out his hand for the Bible upon the table, and opened it uponhis knee as though he meant to read to us; buthe shut it again insilence, and hurried out.  We went too, the law student and I, andfollowed him down to the gate which opens out upon the highway.  Fromtherewe could see the red light of the big beacon, and the glimmer of asmaller one to the north of us at Ayton.  My mother came down with twoplaids to keep the chillfrom us, and we all stood there until morning,speaking little to each other, and that little in a whisper.  The roadhad more folk on it than ever passed along it atnight before; for manyof the yeomen up our way had enrolled themselves in the Berwickvolunteer regiments, and were riding now as fast as hoof could carrythemfor the muster.  Some had a stirrup cup or two before parting, andI cannot forget one who tore past on a huge white horse, brandishing agreat rusty sword in themoonlight.  They shouted to us as they passedthat the North Berwick Law fire was blazing, and that it was thoughtthat the alarm had come from EdinburghCastle.  There were a few whogalloped the other way, couriers for Edinburgh, and the laird's son, andMaster Clayton, the deputy sheriff, and such like.  Andamong othersthere was one a fine built, heavy man on a roan horse, who pulled up atour gate and asked some question about the road.  He took off his hattoease himself, and I saw that he had a kindly long-drawn face, and agreat high brow that shot away up into tufts of sandy hair.\"I doubt it's a false alarm,\" saidhe.  \"Maybe I'd ha' done well to bidewhere I was; but now I've come so far, I'll break my fast with theregiment.\"He clapped spurs to his horse, and away he wentdown the brae.\"I ken him weel,\" said our student, nodding after him.  \"He's a lawyerin Edinburgh, and a braw hand at the stringin' of verses.  Wattie Scottis hisname.\"None of us had heard of it then; but it was not long before it was thebest known name in Scotland, and many a time we thought of how hespeered his wayof us on the night of the terror.But early in the morning we had our minds set at ease.  It was grey andcold, and my mother had gone up to the house to make apot of tea forus, when there came a gig down the road with Dr. Horscroft of Ayton init and his son Jim.  The collar of the doctor's brown coat came over hisears,and he looked in a deadly black humour; for Jim, who was butfifteen years of age, had trooped off to Berwick at the first alarm withhis father's new fowlingpiece.  All night his dad had chased him, andnow there he was, a prisoner, with the barrel of the stolen gun stickingout from behind the seat.  He looked as sulkyas his father, with hishands thrust into his side-pockets, his brows drawn down, and his lowerlip thrusting out.\"It's all a lie!\" shouted the doctor as hepassed.  \"There has been nolanding, and all the fools in Scotland have been gadding about the roadsfor nothing.\"His son Jim snarled something up at him on this,and his father struckhim a blow with his clenched fist on the side of his head, which sentthe boy's chin forward upon his breast as though he had been stunned.Myfather shook his head, for he had a liking for Jim; but we all walkedup to the house again, nodding and blinking, and hardly able to keep oureyes open now thatwe knew that all was safe, but with a thrill of joyat our hearts such as I have only matched once or twice in mylifetime.Now all this has little enough to do withwhat I took my pen up to tellabout; but when a man has a good memory and little skill, he cannot drawone thought from his mind without a dozen others trailingout behind it.And yet, now that I come to think of it, this had something to do withit after all; for Jim Horscroft had so deadly a quarrel with his father,that he waspacked off to the Berwick Academy, and as my father had longwished me to go there, he took advantage of this chance to send me also.But before I say a wordabout this school, I shall go back to where Ishould have begun, and give you a hint as to who I am; for it may bethat these words of mine may be read by somefolk beyond the bordercountry who never heard of the Calders of  West Inch.It has a brave sound, West Inch, but it is not a fine estate with abraw house upon it,but only a great hard-bitten, wind-swept sheep run,fringing off into links along the sea-shore, where a frugal man mightwith hard work just pay his rent and havebutter instead of treacle onSundays.  In the centre there is a grey-stoned slate-roofed house with abyre behind it, and \"1703\" scrawled in stonework over thelintel of thedoor.  There for more than a hundred years our folk have lived, until,for all their poverty, they came to take a good place among the people;for in thecountry parts the old yeoman is often better thought of thanthe new laird.There was one queer thing about the house of West Inch.  It has beenreckoned byengineers and other knowing folk that the boundary linebetween the two countries ran right through the middle of it, splittingour second-best bedroom into anEnglish half and a Scotch half.  Now thecot in which I always slept was so placed that my head was to the northof the line and my feet to the south of it.  Myfriends say that if Ihad chanced to lie the other way my hair might not have been so sandy,nor my mind of so solemn a cast.  This I know, that more than once inmylife, when my Scotch head could see no way out of a danger, my goodthick English legs have come to my help, and carried me clear away.But at school Inever heard the end of this, for they would call me\"Half-and-half\" and \"The Great Britain,\" and sometimes \"Union Jack.\"When there was a battle between theScotch and English boys, one sidewould kick my shins and the other cuff my ears, and then they would bothstop and laugh as though it were something funny.At"}
+{"doc_id":"doc_337","qid":"","text":"<html><head><title>Pineapple Express Script at IMSDb.</title><meta name=\"description\" content=\"Pineapple Express script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Pineapple Express script, Pineapple Express movie script, Pineapple Express film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                         PINEAPPLE EXPRESS</b>                             Written by<b>          </b>              Judd Apatow, Seth Rogen & EvanGoldberg<b>          </b><b>          </b><b>          </b>                                               November 28, 2006<b>          </b><b>          </b><b>          EXT.FARMLAND - DAWN</b><b>          </b>          IN BLACK AND WHITE, A black 1930s Cadillac speeds down                 the only visible road amidst endless plainsof farmland.          The road curves sharply ahead - the car accelerates.          Ignoring the turn, the Caddy drives directly off the road          and through amassive field of emptiness.<b>          </b>          The car abruptly stops in the middle of the vacant field.          GENERAL BRAT (58, a patch covers one of hiseyes) and          AGENT BLACK SUIT (an agent in a black suit) step out of          the car.<b>          </b>          Although there is clearly nothing in sight formiles, the          General scans his surroundings with concern.<b>          </b><b>          TITLE CARD UP: THEPAST                                      </b><b>          </b>          Agent Black Suit crouches down and pulls open a METAL          HATCH in the ground. Both men walkdown the hatch and          into the earth.<b>          </b><b>          </b><b>          INT. UNDERGROUND FACILITY - MOMENTSLATER</b><b>          </b>          They descend a metal staircase and walk with great          urgency down a narrow corridor. The hallway spills intoa          hauntingly huge metal room with a lone SCIENTIST standing          in the middle. The Scientist immediately begins leading          them across the"}
+{"doc_id":"doc_338","qid":"","text":"The Project Gutenberg EBook of The Gods are Athirst, by Anatole FranceThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Gods are AthirstAuthor: Anatole FranceTranslator: Mrs. Wilfrid JacksonRelease Date: December 24, 2007 [EBook#24010]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GODS ARE ATHIRST ***Produced by R. Cedron, Camille François, HenryCraig andthe Online Distributed Proofreading Team athttp://www.pgdp.net (This file was produced from imagesgenerously made available by The InternetArchive)THE WORKS OF ANATOLE FRANCEIN AN ENGLISH TRANSLATIONEDITED BY FREDERIC CHAPMANTHE GODS ARE ATHIRST[Illustration]THE GODSAREATHIRSTBY ANATOLE FRANCEA TRANSLATION BYMRS. WILFRID JACKSON[Illustration]NEW YORK: JOHN LANE COMPANYLONDON: JOHN LANE, THE BODLEYHEADTORONTO: BELL & COCKBURN MCMXIVCopyright, 1913 byJOHN LANE COMPANYTHE GODS ARE ATHIRSTIÃ\u0000variste Gamelin, painter, pupil of David,member of the Section duPont-Neuf, formerly Section Henri IV, had betaken himself at an earlyhour in the morning to the old church of the Barnabites, which forthreeyears, since 21st May 1790, had served as meeting-place for the GeneralAssembly of the Section. The church stood in a narrow, gloomy square,not far fromthe gates of the Palais de Justice. On the façade, whichconsisted of two of the Classical orders superimposed and was decoratedwith inverted brackets andflaming urns, blackened by the weather anddisfigured by the hand of man, the religious emblems had been batteredto pieces, while above the doorway had beeninscribed in black lettersthe Republican catchword of \"Liberty, Equality, Fraternity or Death.\"Ã\u0000variste Gamelin made his way into the nave; the same vaultswhich hadheard the surpliced clerks of the Congregation of St. Paul sing thedivine offices, now looked down on red-capped patriots assembled toelect theMunicipal magistrates and deliberate on the affairs of theSection. The Saints had been dragged from their niches and replaced bythe busts of Brutus,Jean-Jacques and Le Peltier. The altar had beenstripped bare and was surmounted by the Table of the Rights of Man.It was here in the nave that twice a week,from five in the evening toeleven, were held the public assemblies. The pulpit, decorated with thecolours of the Nation, served as tribune for the speakers whoharanguedthe meeting. Opposite, on the Epistle side, rose a platform of roughplanks, for the accommodation of the women and children, who attendedthesegatherings in considerable numbers.On this particular morning, facing a desk planted underneath the pulpit,sat in red cap and _carmagnole_ complete the joinerfrom the PlaceThionville, the _citoyen_ Dupont senior, one of the twelve forming theCommittee of Surveillance. On the desk stood a bottle and glasses,anink-horn, and a folio containing the text of the petition urging theConvention to expel from its bosom the twenty-two members deemedunworthy.Ã\u0000varisteGamelin took the pen and signed.\"I was sure,\" said the carpenter and magistrate, \"I was sure you wouldcome and give in your name, _citoyen_ Gamelin. You arethe real thing.But the Section is lukewarm; it is lacking in virtue. I have proposed tothe Committee of Surveillance to deliver no certificate of citizenshipto any onewho has failed to sign the petition.\"\"I am ready to sign with my blood,\" said Gamelin, \"for the proscriptionof these federalists, these traitors. They have desiredthe death ofMarat: let them perish.\"\"What ruins us,\" replied Dupont senior, \"is indifferentism. In a Sectionwhich contains nine hundred citizens with the right tovote there arenot fifty attend the assembly. Yesterday we were eight and twenty.\"\"Well then,\" said Gamelin, \"citizens must be obliged to come underpenalty of afine.\"\"Oh, ho!\" exclaimed the joiner frowning, \"but if they all came, thepatriots would be in a minority.... _Citoyen_ Gamelin, will you drink aglass of wine to thehealth of all good sansculottes?...\"On the wall of the church, on the Gospel side, could be read the words,accompanied by a black hand, the forefinger pointing tothe passageleading to the cloisters: \"_Comité civil, Comité de surveillance, Comitéde bienfaisance._\" A few yards further on, you came to the door oftheerstwhile sacristy, over which was inscribed: _Comité militaire_.Gamelin pushed this door open and found the Secretary of the Committeewithin; he waswriting at a large table loaded with books, papers, steelingots, cartridges and samples of saltpetre-bearing soils.\"Greeting, _citoyen_ Trubert. How are you?\"\"I?...I am perfectly well.\"The Secretary of the Military Committee, Fortuné Trubert, invariablymade this same reply to all who troubled about his health, less bywayof informing them of his welfare than to cut short any discussion on thesubject. At twenty-eight, he had a parched skin, thin hair, hecticcheeks and bentshoulders. He was an optician on the Quai des Orfèvres,and owned a very old house which he had given up in '91 to asuperannuated clerk in order to devote hisenergies to the discharge ofhis municipal duties. His mother, a charming woman, whose memory a fewold men of the neighbourhood still cherished fondly, haddied at twenty;she had left him her fine eyes, full of gentleness and passion, herpallor and timidity. From his father, optician and mathematicalinstrument makerto the King, carried off by the same complaint beforehis thirtieth year, he inherited an upright character and an industrioustemperament.Without stopping hiswriting:\"And you, _citoyen_,\" he asked, \"how are you?\"\"Very well. Anything new?\"\"Nothing, nothing. You can see,--we are all quiet here.\"\"And thesituation?\"\"The situation is just the same.\"The situation was appalling. The finest army of the Republic blockadedin Mayence; Valenciennes besieged; Fontenaytaken by the Vendéens; Lyonsrebellious; the Cévennes in insurrection, the frontier open to theSpaniards; two-thirds of the Departments invaded or revolted;Parishelpless before the Austrian cannon, without money, without bread!Fortuné Trubert wrote on calmly. The Sections being instructed byresolution of theCommune to carry out the levy of twelve thousand menfor La Vendée, he was drawing up directions relating to the enrolmentand arming of the contingentwhich the \"Pont-Neuf,\" erstwhile \"HenriIV,\" was to supply. All the muskets in store were to be handed over tothe men requisitioned for the front; the NationalGuard of the Sectionwould be armed with fowling-pieces and pikes.\"I have brought you here,\" said Gamelin, \"the schedule of thechurch-bells to be sent to theLuxembourg to be converted into cannon.\"Ã\u0000variste Gamelin, albeit he had not a penny, was inscribed among theactive members of the Section; the lawaccorded this privilege only tosuch citizens as were rich enough to pay a contribution equivalent inamount to three days' work, and demanded a ten days'contribution toqualify an elector for office. But the Section du Pont-Neuf, enamouredof equality and jealous of its independence, regarded as qualified bothfor thevote and for office every citizen who had paid out of his ownpocket for his National Guard's uniform. This was Gamelin's case, whowas an _active_ citizen of hisSection and member of the MilitaryCommittee.Fortuné Trubert laid down his pen:\"_Citoyen_ Ã\u0000variste,\" he said, \"I beg you to go to the Convention andaskthem to send us orders to dig up the floor of cellars, to wash thesoil and flag-stones and collect the saltpetre. It is not everything tohave guns, we must havegunpowder too.\"A little hunchback, a pen behind his ear and a bundle of papers in hishand, entered the erstwhile sacristy. It was the _citoyen_ Beauvisage,of theCommittee of Surveillance.\"_Citoyens_,\" he announced, \"we have bad news: Custine has evacuatedLandau.\"\"Custine is a traitor!\" cried Gamelin.\"He shall beguillotined,\" said Beauvisage.Trubert, in his rather breathless voice, expressed himself with hishabitual calmness:\"The Convention has not instituted a Committeeof Public Safety for fun.It will enquire into Custine's conduct. Incompetent or traitor, he willbe superseded by a General resolved to win the victory,--and _çaira!_\"He turned over a heap of papers, scrutinizing them with his tired eyes:\"That our soldiers may do their duty with a quiet mind and stout heart,they must beassured that the lot of those they leave behind at home issafeguarded. If you are of the same opinion, _citoyen_ Gamelin, you willjoin me in demanding, at thenext assembly, that the Committee ofBenevolence concert measures with the Military Committee to succour thefamilies that are in indigence and have a relativeat the front.\"He smiled and hummed to himself: \"_Ã\u0000a ira! ça ira!..._\"Working twelve and fourteen hours a day at his table of unpainted dealfor the defence ofthe fatherland in peril, this humble Secretary of theSectional Committee could see no disproportion between the immensity ofthe task and the meagreness of hismeans for performing it, so filledwas he with a sense of the unity in a common effort between himself andall other patriots, so intimately did he feel himself onewith theNation at large, so merged was his individual life in the life of agreat People. He was of the sort who combine enthusiasm withlong-suffering, who, aftereach check, set about organizing the victorythat is impossible, but is bound to come. And verily they _must_ win theday. These men of no account, who haddestroyed Royalty and upset theold order of things, this Trubert, a penniless optician, this Ã\u0000varisteGamelin, an unknown dauber, could expect no mercy fromtheir enemies.They had no choice save between victory and death. Hence both theirfervour and their serenity.IIQuitting the Barnabites, Ã\u0000variste Gamelin set offin the direction ofthe Place Dauphine, now renamed the Place de Thionville in honour of acity that had shown itself impregnable.Situated in the busiest quarter ofParis, the _Place_ had long lost thefine stateliness it had worn a hundred years ago; the mansions formingits three sides, built in the days of Henri IV in oneuniform style, ofred brick with white stone dressings, to lodge splendour-lovingmagistrates, had had their imposing roofs of slate removed to make wayfor two orthree wretched storeys of lath and plaster or had even beendemolished altogether and replaced by shabby whitewashed houses, and nowdisplayed only a seriesof irregular, poverty-stricken, squalid fronts,pierced with countless narrow, unevenly spaced windows enlivened withflowers in pots, birdcages, and rags hangingout to dry. These wereoccupied by a swarm of artisans, jewellers, metal-workers, clockmakers,opticians, printers, laundresses, sempstresses, milliners, and afewgrey-beard lawyers who had not been swept away in the storm ofrevolution along with the King's courts.It was morning and springtime. Golden sunbeams,intoxicating as newwine, played on the walls and flashed gaily in at garret casements.Every sash of every window was thrown open, showing thehousewives'frowsy heads peeping out. The Clerk of the Revolutionary Tribunal, whohad just left his house on his way to Court, distributed amicable tapson the"}
+{"doc_id":"doc_339","qid":"","text":"<html><head><title>We Own the Night Script at IMSDb.</title><meta name=\"description\" content=\"We Own the Night script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"We Own the Night script, We Own the Night movie script, We Own the Night film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                 WE OWN THE NIGHT</b>                                    Written by                                    JamesGray<b>          </b><b>          </b><b>          </b><b>          FADE IN:</b><b>          </b><b>          A PAIR OF SMOKESTACKS AGAINST AN ORANGEAUTUMN SUN SKY...</b>          THE CAMERA ZOOMS OUT to REVEAL: A CEMETERY in the          foreground. TOMBSTONES blend into a NEVER-ENDING SEAOF          MIDDLE-CLASS ROW HOUSES in the distance, and nothing seems          to separate the two. A NEWLY DUG GRAVE is in the LOWER          LEFT-HANDCORNER of our FRAME.<b>          </b>          MILITARY DRUMS. HUNDREDS of POLICEMEN, in their DRESS          BLUES, ENTER from FRAME RIGHT. A FEWCOPS CARRY a COFFIN.<b>          </b><b>          SUPERIMPOSE ON THE SCREEN'S LEFT SIDE: THE FOLLOWING WORDS</b><b>          FADEIN--PARAGRAPH BY PARAGRAPH:</b><b>          </b>          New York, New York.   1988.<b>          </b>          A new breed of narcotics has swept the greatcity, bringing          with it a ferocious crime wave more terrifying than any in          recent memory.<b>          </b>          The old criminal order is gone. In itsplace, new ethnic          groups rise up to seize control without respect for          traditional rules of engagement.<b>          </b>          Outmanned andoutgunned, demoralized by cutbacks and          scandal, the Police find themselves burying one of their          own at the rate of twice amonth...<b>          </b>          The WORDS TURN BLOOD RED, then DISAPPEAR. The POLICE LOWER          THE COFFIN when they arrive at the SITE. As we"}
+{"doc_id":"doc_340","qid":"","text":"The Project Gutenberg EBook of A Crystal Age, by W. H. HudsonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: A Crystal AgeAuthor: W. H. HudsonPosting Date: March 24, 2014 [EBook #7401]Release Date: February, 2005First Posted: April 24,2003Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A CRYSTAL AGE ***Produced by Eric Eldred, David Garcia and the OnlineDistributedProofreading Team.A CRYSTAL AGEBY W. H. HUDSONPREFACE_Romances of the future, however fantastic they may be, have for mostof us a perennial if mildinterest, since they are born of a very commonfeeling--a sense of dissatisfaction with the existing order of things,combined with a vague faith in or hope of abetter one to come. Thepicture put before us is false; we knew it would be false before lookingat it, since we cannot imagine what is unknown any more than wecanbuild without materials. Our mental atmosphere surrounds and shuts us inlike our own skins; no one can boast that he has broken out of thatprison. The vast,unbounded prospect lies before us, but, as the poetmournfully adds, \"clouds and darkness rest upon it.\" Nevertheless wecannot suppress all curiosity, or helpasking one another, What is yourdream--your ideal? What is your News from Nowhere, or, rather, what isthe result of the little shake your hand has given to theold pasteboardtoy with a dozen bits of colored glass for contents? And, most importantof all, can you present it in a narrative or romance which will enableme topass an idle hour not disagreeably? How, for instance, does itcompare in this respect with other prophetic books on the shelf?__I am not referring to livingauthors; least of all to that flamingo ofletters who for the last decade or so has been a wonder to our islandbirds. For what could I say of him that is not known toevery one--thathe is the tallest of fowls, land or water, of a most singular shape, andhas black-tipped crimson wings folded under his delicaterose-coloredplumage? These other books referred to, written, let us say, from thirtyor forty years to a century or two ago, amuse us in a way their poordeadauthors never intended. Most amusing are the dead ones who takethemselves seriously, whose books are pulpits quaintly carved anddecorated with preciousstones and silken canopies in which they standand preach to or at their contemporaries.__In like manner, in going through this book of mine after so many yearsIam amused at the way it is colored by the little cults and crazes, andmodes of thought of the 'eighties of the last century. They were soimportant then, and now,if remembered at all, they appear so trivial!It pleases me to be diverted in this way at \"A Crystal Age\"--to find, infact, that I have not stood still while the worldhas been moving.__This criticism refers to the case, the habit, of the book rather thanto its spirit, since when we write we do, as the red man thought,impartsomething of our souls to the paper, and it is probable that if I wereto write a new dream of the future it would, though in some respectsvery different fromthis, still be a dream and picture of the human racein its forest period.__Alas that in this case the wish cannot induce belief! For now I rememberanother thingwhich Nature said--that earthly excellence can come in noway but one, and the ending of passion and strife is the beginning ofdecay. It is indeed a hard saying,and the hardest lesson we can learnof her without losing love and bidding good-by forever to hope._W. H. H.A CRYSTAL AGEChapter 1I do not quite know how ithappened, my recollection of the whole matterebbing in a somewhat clouded condition. I fancy I had gone somewhere ona botanizing expedition, but whether athome or abroad I don't know. Atall events, I remember that I had taken up the study of plants with agood deal of enthusiasm, and that while hunting for somevariety in themountains I sat down to rest on the edge of a ravine. Perhaps it was onthe ledge of an overhanging rock; anyhow, if I remember rightly, thegroundgave way all about me, precipitating me below. The fall was avery considerable one--probably thirty or forty feet, or more, and I wasrendered unconscious. Howlong I lay there under the heap of earth andstones carried down in my fall it is impossible to say: perhaps a longtime; but at last I came to myself and struggledup from the_debris_, like a mole coming to the surface of the earth to feelthe genial sunshine on his dim eyeballs. I found myself standing (oddlyenough, on allfours) in an immense pit created by the overthrow of agigantic dead tree with a girth of about thirty or forty feet. The treeitself had rolled down to the bottom ofthe ravine; but the pit in whichit had left the huge stumps of severed roots was, I found, situated in agentle slope at the top of the bank! How, then, I could havefallenseemingly so far from no height at all, puzzled me greatly: it looked asif the solid earth had been indulging in some curious transformationpranks duringthose moments or minutes of insensibility. Anothersingular circumstance was that I had a great mass of small fibrousrootlets tightly woven about my wholeperson, so that I was like acolossal basket-worm in its case, or a big man-shaped bottle coveredwith wicker-work. It appeared as if the roots had _grown_ roundme!Luckily they were quite sapless and brittle, and without bothering mybrains too much about the matter, I set to work to rid myself of them.After stripping thewoody covering off, I found that my tourist suit ofrough Scotch homespun had not suffered much harm, although the clothexuded a damp, moldy smell; also thatmy thick-soled climbing boots hadassumed a cracked rusty appearance as if I had been engaged in somebrick-field operations; while my felt hat was in such adiscolored andbattered condition that I felt almost ashamed to put it on my head. Mywatch was gone; perhaps I had not been wearing it, but my pocket-bookinwhich I had my money was safe in my breast pocket.Glad and grateful at having escaped with unbroken bones from such adangerous accident, I set outwalking along the edge of the ravine,which soon broadened to a valley running between two steep hills; andthen, seeing water at the bottom and feeling very dry,I ran down theslope to get a drink. Lying flat on my chest to slake my thirst animalfashion, I was amazed at the reflection the water gave back of my face:it was,skin and hair, thickly encrusted with clay and rootlets! Havingtaken a long drink, I threw off my clothes to have a bath; and aftersplashing about for half an hourmanaged to rid my skin of itsaccumulations of dirt. While drying in the wind I shook the loose sandand clay from my garments, then dressed, and, feeling greatlyrefreshed,proceeded on my walk.For an hour or so I followed the valley in its many windings, but,failing to see any dwelling-place, I ascended a hill to get a viewofthe surrounding country. The prospect which disclosed itself when I hadgot a couple of hundred feet above the surrounding level, appearedunfamiliar. The hillsamong which I had been wandering were now behindme; before me spread a wide rolling country, beyond which rose amountain range resembling in the distanceblue banked-up clouds withsummits and peaks of pearly whiteness. Looking on this scene I couldhardly refrain from shouting with joy, so glad did the sunlitexpanse ofearth, and the pure exhilarating mountain breeze, make me feel. Theseason was late summer--that was plain to see; the ground was moist, asif fromrecent showers, and the earth everywhere had that intense livinggreenness with which it reclothes itself when the greater heats areover; but the foliage of thewoods was already beginning to be touchedhere and there with the yellow and russet hues of decay. A more tranquiland soul-satisfying scene could not beimagined: the dear old motherearth was looking her very best; while the shifting golden sunlight, themysterious haze in the distance, and the glint of a widestream not veryfar off, seemed to spiritualize her \"happy autumn fields,\" and bringthem into a closer kinship with the blue over-arching sky. There was onelargehouse or mansion in sight, but no town, nor even a hamlet, and notone solitary spire. In vain I scanned the horizon, waiting impatientlyto see the distant puff ofwhite steam from some passing engine. Thistroubled me not a little, for I had no idea that I had drifted so farfrom civilization in my search for specimens, orwhatever it was thatbrought me to this pretty, primitive wilderness. Not quite a wilderness,however, for there, within a short hour's walk of the hill, stood theonegreat stone mansion, close to the river I had mentioned. There werealso horses and cows in sight, and a number of scattered sheep weregrazing on the hillsidebeneath me.Strange to relate, I met with a little misadventure on account of thesheep--an animal which one is accustomed to regard as of a timid andinoffensivenature. When I set out at a brisk pace to walk to the houseI have spoken of, in order to make some inquiries there, a few of thesheep that happened to be nearbegan to bleat loudly, as if alarmed, andby and by they came hurrying after me, apparently in a great state ofexcitement. I did not mind them much, butpresently a pair of horses,attracted by their bleatings, also seemed struck at my appearance, andcame at a swift gallop to within twenty yards of me. Theyweremagnificent-looking brutes, evidently a pair of well-groomed carriagehorses, for their coats, which were of a fine bronze color, sparkledwonderfully in thesunshine. In other respects they were very unlikecarriage animals, for they had tails reaching to the ground, likefuneral horses, and immense black leoninemanes, which gave them astrikingly bold and somewhat formidable appearance. For some momentsthey stood with heads erect, gazing fixedly at me, andthensimultaneously delivered a snort of defiance or astonishment, so loudand sudden that it startled me like the report of a gun. This tremendousequine blastbrought yet another enemy on the field in the shape of ahuge milk-white bull with long horns: a very noble kind of animal, butone which I always prefer to admirefrom behind a hedge, or at adistance through a field-glass. Fortunately his wrathful mutterings gaveme timely notice of his approach, and without waiting todiscover hisintentions, I incontinently fled down the slope to the refuge of a groveor belt of trees clothing the lower portion of the hillside. Spent andpanting frommy run, I embraced a big tree, and turning to face the foe,found that I had not been followed: sheep, horses, and bull were allgrouped together just where I hadleft them, apparently holding aconsultation, or comparing notes.The trees where I had sought shelter were old, and grew here and there,singly or in scatteredgroups: it was a pretty wilderness of mingledtree, shrub and flower. I was surprised to find here some very large andancient-looking fig-trees, and numbers ofwasps and flies were busyfeeding on a few over-ripe figs on the higher branches. Honey-bees alsoroamed about everywhere, extracting sweets from the autumnbloom, andfilling the sunny glades with a soft, monotonous murmur of sound.Walking on full of happy thoughts and a keen sense of the sweetness oflife"}
+{"doc_id":"doc_341","qid":"","text":"The Project Gutenberg EBook of The Time Traders, by Andre NortonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Time TradersAuthor: Andre NortonRelease Date: August 29, 2006 [EBook #19145]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE TIME TRADERS ***Produced by Greg Weeks, Irma Spehar and the OnlineDistributed Proofreading Team at http://www.pgdp.netTHETIME TRADERSBY ANDRE NORTON_Science Fiction_THE STARS ARE OURS!STAR BORNTHE TIME TRADERS_Historical Fiction_YANKEE PRIVATEER_Edited byAndre Norton_BULLARD OF THE SPACE PATROLSPACE SERVICESPACE PIONEERSSPACE POLICE_Andre Norton_THE TIMETRADERSCLEVELAND AND NEWYORKTHE WORLD PUBLISHING COMPANY_Published by_ The World Publishing Company 2231 West 110th Street,Cleveland 2, Ohio_Published simultaneously inCanada by_ Nelson, Foster & Scott Ltd._Library of Congress Catalog Card Number: 58-11154_SECOND PRINTING2WP759Copyright (c) 1958 by The WorldPublishing Company All rights reserved. Nopart of this book may be reproduced in any form without writtenpermission from the publisher, except for briefpassages included in areview appearing in a newspaper or magazine. Printed in the UnitedStates of America.Transcriber's note:Extensive research did notuncover any evidence that the copyright onthis publication was renewed.THE TIME TRADERSCHAPTER 1To anyone who glanced casually inside the detention roomthe young mansitting there did not seem very formidable. In height he might have beena little above average, but not enough to make him noticeable. Hisbrownhair was cropped conservatively; his unlined boy's face was not one tobe remembered--unless one was observant enough to note those light-grayeyes andcatch a chilling, measuring expression showing now and then foran instant in their depths.Neatly and inconspicuously dressed, in this last quarter of thetwentiethcentury his like was to be found on any street of the city tenfloors below--to all outward appearances. But that other person underthe protective coloring soassiduously cultivated could touch heights ofencased and controlled fury which Murdock himself did not understand andwas only just learning to use as a weaponagainst a world he had alwaysfound hostile.He was aware, though he gave no sign of it, that a guard was watchinghim. The cop on duty was an old hand--heprobably expected some reactionother than passive acceptance from the prisoner. But he was not goingto get it. The law had Ross sewed up tight this time. Whydidn't theyget about the business of shipping him off? Why had he had thatafternoon session with the skull thumper? Ross had been on the defensivethen, and hehad not liked it. He had given to the other's questions allthe attention his shrewd mind could muster, but a faint, very faint,apprehension still clung to the memoryof that meeting.The door of the detention room opened. Ross did not turn his head, butthe guard cleared his throat as if their hour of mutual silence haddried hisvocal cords. \"On your feet, Murdock! The judge wants to seeyou.\"Ross rose smoothly, with every muscle under fluid control. It never paidto talk back, to allowany sign of defiance to show. He would go throughthe motions as if he were a bad little boy who had realized his errors.It was a meek-and-mild act that had paidoff more than once in Ross'scheckered past. So he faced the man seated behind the desk in the otherroom with an uncertain, diffident smile, standing withboyishawkwardness, respectfully waiting for the other to speak first.Judge Ord Rawle. It was his rotten luck to pull old Eagle Beak on hiscase. Well, he wouldsimply have to take it when the old boy dished itout. Not that he had to remain stuck with it later....\"You have a bad record, young man.\"Ross allowed his smile tofade; his shoulders slumped. But underconcealing lids his eyes showed an instant of cold defiance.\"Yes, sir,\" he agreed in a voice carefully cultivated toshakeconvincingly about the edges. Then suddenly all Ross's pleasure in theskill of his act was wiped away. Judge Rawle was not alone; that blastedskull thumperwas sitting there, watching the prisoner with the samekeenness he had shown the other day.\"A very bad record for the few years you have had to make it.\"EagleBeak was staring at him, too, but without the same look of penetration,luckily for Ross. \"By rights, you should be turned over to the newRehabilitationService....\"Ross froze inside. That was the \"treatment,\" icy rumors of which hadspread throughout his particular world. For the second time since he hadenteredthe room his self-confidence was jarred. Then he clung with adegree of hope to the phrasing of that last sentence.\"Instead, I have been authorized to offer you achoice, Murdock. Onewhich I shall state--and on record--I do not in the least approve.\"Ross's twinge of fear faded. If the judge didn't like it, there mustbesomething in it to the advantage of Ross Murdock. He'd grab it for sure!\"There is a government project in need of volunteers. It seems that youhave tested outas possible material for this assignment. If you signfor it, the law will consider the time spent on it as part of yoursentence. Thus you may aid the country whichyou have heretoforedisgraced----\"\"And if I refuse, I go to this rehabilitation. Is that right, sir?\"\"I certainly consider you a fit candidate for rehabilitation.Yourrecord--\" He shuffled through the papers on his desk.\"I choose to volunteer for the project, sir.\"The judge snorted and pushed all the papers into a folder. Hespoke to aman waiting in the shadows. \"Here then is your volunteer, Major.\"Ross bottled in his relief. He was over the first hump. And since hisluck had held sofar, he might be about to win all the way....The man Judge Rawle called \"Major\" moved into the light. At the firstglance Ross, to his hidden annoyance, foundhimself uneasy. To face upto Eagle Beak was all part of the game. But somehow he sensed one didnot play such games with this man.\"Thank you, your honor. Wewill be on our way at once. This weather isnot very promising.\"Before he realized what was happening, Ross found himself walking meeklyto the door. Heconsidered trying to give the major the slip when theyleft the building, losing himself in a storm-darkened city. But they didnot take the elevator downstairs.Instead, they climbed two or threeflights up the emergency stairs. And to his humiliation Ross foundhimself panting and slowing, while the other man, who musthave been agood dozen years his senior, showed no signs of discomfort.They came out into the snow on the roof, and the major flashed a torchskyward, guidingin a dark shadow which touched down before them. Ahelicopter! For the first time Ross began to doubt the wisdom of hischoice.\"On your way, Murdock!\" Thevoice was impersonal enough, but that veryimpersonality got under one's skin.Bundled into the machine between the silent major and an equally quietpilot inuniform, Ross was lifted over the city, whose ways he knew aswell as he knew the lines on his own palm, into the unknown he wasalready beginning to regarddubiously. The lighted streets andbuildings, their outlines softened by the soft wet snow, fell out ofsight. Now they could mark the outer highways. Ross refusedto ask anyquestions. He could take this silent treatment; he _had_ taken a lot oftougher things in the past.The patches of light disappeared, and the countryopened out. The planebanked. Ross, with all the familiar landmarks of his world gone, couldnot have said if they were headed north or south. But moments laternoteven the thick curtain of snowflakes could blot out the pattern of redlights on the ground, and the helicopter settled down.\"Come on!\"For the second time Rossobeyed. He stood shivering, engulfed in aminiature blizzard. His clothing, protection enough in the city, didlittle good against the push of the wind. A hand grippedhis upper arm,and he was drawn forward to a low building. A door banged and Ross andhis companion came into a region of light and very welcome heat.\"Sitdown--over there!\"Too bewildered to resent orders, Ross sat. There were other men in theroom. One, wearing a queer suit of padded clothing, a bulbousheadgearhooked over his arm, was reading a paper. The major crossed to speak tohim and after they conferred for a moment, the major beckoned Ross withacrooked finger. Ross trailed the officer into an inner room lined withlockers.From one of the lockers the major pulled a suit like the pilot's, andbegan to measure itagainst Ross. \"All right,\" he snapped. \"Climb intothis! We haven't all night.\"Ross climbed into the suit. As soon as he fastened the last zipper hiscompanionjammed one of the domed helmets on his head. The pilot lookedin the door. \"We'd better scramble, Kelgarries, or we may be groundedfor the duration!\"Theyhurried back to the flying field. If the helicopter had been asurprising mode of travel, this new machine was something straight outof the future--a needle-slimship poised on fins, its sharp nose liftingvertically into the heavens. There was a scaffolding along one side,which the pilot scaled to enter the ship.Unwillingly,Ross climbed the same ladder and found that he must wedgehimself in on his back, his knees hunched up almost under his chin. Tomake it worse, cramped asthose quarters were, he had to share them withthe major. A transparent hood snapped down and was secured, sealing themin.During his short lifetime Ross hadoften been afraid, bitterly afraid.He had fought to toughen his mind and body against such fears. But whathe experienced now was no ordinary fear; it was panicso strong that itmade him feel sick. To be shut in this small place with the knowledgethat he had no control over his immediate future brought him face tofacewith every terror he had ever known, all of them combined into onehorrible whole.How long does a nightmare last? A moment? An hour? Ross could not timehis.But at last the weight of a giant hand clamped down on his chest,and he fought for breath until the world exploded about him.He came back to consciousnessslowly. For a second he thought he wasblind. Then he began to sort out one shade of grayish light fromanother. Finally, Ross became aware that he no longerrested on hisback, but was slumped in a seat. The world about him was wrung with avibration that beat in turn through his body.Ross Murdock had remained atliberty as long as he had because he wasable to analyze a situation quickly. Seldom in the past five years hadhe been at a loss to deal with any challengingperson or action. Now hewas aware that he was on the defensive and was being kept there. Hestared into the dark and thought hard and furiously. He wasconvincedthat everything that was happening to him this day was designed withonly one end in view--to shake his self-confidence and make himpliable.Why?Ross had an enduring belief in his own abilities and he also possesseda kind of shrewd understanding seldom granted to one so young. He knewthatwhile Murdock was important to Murdock, he was none too importantin the scheme of things as a whole. He had a record--a record so badthat Rawle might easily"}
+{"doc_id":"doc_342","qid":"","text":"<html><head><title>Chronicle Script at IMSDb.</title><meta name=\"description\" content=\"Chronicle script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Chronicle script, Chronicle movie script, Chronicle film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                          CHRONICLE</b>                          Written by                          Max Landis                      Based on a storyby                   Josh Trank and Max Landis<b>   FROM ANDREW'S FIRST CAMERA.</b>   CUT - to indicate time lapses within a scene<b>   INT. DETMERRESIDENCE - ANDREW'S ROOM</b>   The room is dingy. Unkempt. The camera sits on the bed, on   its side, facing the door. We can hear someone movingaround   off screen.   The door handle clicks; someone's trying it.    Then nothing.   Then, suddenly, loud pounding on the door.   Andrew's voice is scratchy andprone to cracking.   He speaks   with a rushed mix of fear and anxiety.<b>                    ANDREW (O.S.)</b>          What do you want, I'm gettingready          for school-<b>                    MR. DETMER (O.S.)</b>          Why is the door locked, unlock this          fucking door right now.   The bed stirs asAndrew sits down.<b>                    MR. DETMER (O.S.) (CONT'D)</b>          I said unlock this door. UNLOCK<b>          THE DOOR. OPEN THE DOOR,NOW.</b><b>                    ANDREW (O.S.)</b>          You're drunk-<b>                     MR. DETMER (O.S.)</b>          Listen, you don't tell me- IFI'M<b>          DRUNK, OR-</b><b>                    ANDREW (O.S.)</b>          It's seven thirty. In the AM.          You're drunk, dad, that'scrazy-<b>                    MR. DETMER (O.S.)</b>          What're you doing in there.<b>                    ANDREW (O.S.)</b>          I'm filmingthis.<b>                    MR. DETMER (O.S.)</b>          What?<b>                    ANDREW (O.S.)</b>          I bought a camera. I'm filming all          your shit from"}
+{"doc_id":"doc_343","qid":"","text":"The Project Gutenberg eBook, Mary Barton, by Elizabeth Cleghorn GaskellThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Mary Barton       A Tale of Manchester LifeAuthor: Elizabeth Cleghorn GaskellRelease Date: August 10, 1999  [eBook #2153]Thisrevision released December 9, 2013Language: English***START OF THE PROJECT GUTENBERG EBOOK MARY BARTON***E-text prepared by Les Bowler, St.Ives, Dorset,and revised by Joseph E. Loewenstein, M.D.Editorial note:      _Mary Barton_, Elizabeth Cleghorn Gaskell's first novel,      was published(anonymously) in 1848 by Chapman and Hall.MARY BARTONA Tale of Manchester LifebyELIZABETH GASKELL   \"'How knowest thou,' may the distressedNovel-wright exclaim,   'that I, here where I sit, am the Foolishest of existing   mortals; that this my Long-ear of a fictitious Biography shall   not find one and theother, into whose still longer ears it   may be the means, under Providence, of instilling somewhat?'   We answer, 'None knows, none can certainly know:therefore,   write on, worthy Brother, even as thou canst, even as it is   given thee.'\"      CARLYLE.CONTENTS            PREFACE.         I. A MYSTERIOUSDISAPPEARANCE.        II. A MANCHESTER TEA-PARTY.       III. JOHN BARTON'S GREAT TROUBLE.        IV. OLD ALICE'S HISTORY.         V. THE MILL ONFIRE--JEM WILSON TO THE RESCUE.        VI. POVERTY AND DEATH.       VII. JEM WILSON'S REPULSE.      VIII. MARGARET'S DEBUT AS A PUBLICSINGER.        IX. BARTON'S LONDON EXPERIENCES.         X. RETURN OF THE PRODIGAL.    XI. MR. CARSON'S INTENTIONS REVEALED.       XII. OLD ALICE'SBAIRN.      XIII. A TRAVELLER'S TALES.       XIV. JEM'S INTERVIEW WITH POOR ESTHER.        XV. A VIOLENT MEETING BETWEEN THE RIVALS.       XVI.MEETING BETWEEN MASTERS AND WORKMEN.      XVII. BARTON'S NIGHT-ERRAND.     XVIII. MURDER.       XIX. JEM WILSON ARRESTED ONSUSPICION.        XX. MARY'S DREAM--AND THE AWAKENING.       XXI. ESTHER'S MOTIVE IN SEEKING MARY.      XXII. MARY'S EFFORTS TO PROVE ANALIBI.     XXIII. THE SUB-POENA.      XXIV. WITH THE DYING.       XXV. MRS. WILSON'S DETERMINATION.      XXVI. THE JOURNEY TO LIVERPOOL.     XXVII. INTHE LIVERPOOL DOCKS.    XXVIII. \"JOHN CROPPER, AHOY!\"      XXIX. A TRUE BILL AGAINST JEM.       XXX. JOB LEGH'S DECEPTION.      XXXI. HOW MARYPASSED THE NIGHT.     XXXII. THE TRIAL AND VERDICT--\"NOT GUILTY.\"    XXXIII. REQUIESCAT IN PACE.     XXXIV. THE RETURN HOME.      XXXV. \"FORGIVE USOUR TRESPASSES.\"     XXXVI. JEM'S INTERVIEW WITH MR. DUNCOMBE.    XXXVII. DETAILS CONNECTED WITH THE MURDER.   XXXVIII.CONCLUSION.PREFACE.Three years ago I became anxious (from circumstances that need not bemore fully alluded to) to employ myself in writing a work offiction.Living in Manchester, but with a deep relish and fond admiration forthe country, my first thought was to find a frame-work for my storyin some rural scene;and I had already made a little progress in atale, the period of which was more than a century ago, and the placeon the borders of Yorkshire, when I bethoughtme how deep might bethe romance in the lives of some of those who elbowed me daily in thebusy streets of the town in which I resided. I had always felt adeepsympathy with the care-worn men, who looked as if doomed to strugglethrough their lives in strange alternations between work and want;tossed to and froby circumstances, apparently in even a greaterdegree than other men. A little manifestation of this sympathy, anda little attention to the expression of feelings onthe part of someof the work-people with whom I was acquainted, had laid open to methe hearts of one or two of the more thoughtful among them; I sawthat theywere sore and irritable against the rich, the even tenorof whose seemingly happy lives appeared to increase the anguishcaused by the lottery-like nature of theirown. Whether the bittercomplaints made by them, of the neglect which they experienced fromthe prosperous--especially from the masters whose fortunes theyhadhelped to build up--were well-founded or no, it is not for me tojudge. It is enough to say, that this belief of the injustice andunkindness which they endurefrom their fellow-creatures, taints whatmight be resignation to God's will, and turns it to revenge in toomany of the poor uneducated factory-workers ofManchester.The more I reflected on this unhappy state of things between thoseso bound to each other by common interests, as the employers andthe employedmust ever be, the more anxious I became to give someutterance to the agony which, from time to time, convulses this dumbpeople; the agony of sufferingwithout the sympathy of the happy, orof erroneously believing that such is the case. If it be an error,that the woes, which come with ever-returning tide-like floodtooverwhelm the workmen in our manufacturing towns, pass unregardedby all but the sufferers, it is at any rate an error so bitter inits consequences to allparties, that whatever public effort can doin the way of legislation, or private effort in the way of mercifuldeeds, or helpless love in the way of \"widow's mites,\"should bedone, and that speedily, to disabuse the work-people of so miserablea misapprehension. At present they seem to me to be left in a state,whereinlamentations and tears are thrown aside as useless, but inwhich the lips are compressed for curses, and the hands clenched andready to smite.I know nothing ofPolitical Economy, or the theories of trade. I havetried to write truthfully; and if my accounts agree or clash with anysystem, the agreement or disagreement isunintentional.To myself the idea which I have formed of the state of feeling amongtoo many of the factory-people in Manchester, and which I endeavouredtorepresent in this tale (completed above a year ago), has receivedsome confirmation from the events which have so recently occurredamong a similar class on theContinent.OCTOBER, 1848.CHAPTER I.A MYSTERIOUS DISAPPEARANCE.   Oh! 'tis hard, 'tis hard to be working     The whole of the live-long day,   When all theneighbours about one     Are off to their jaunts and play.   There's Richard he carries his baby,     And Mary takes little Jane,   And lovingly they'll bewandering     Through field and briery lane.   MANCHESTER SONG.There are some fields near Manchester, well known to the inhabitantsas \"Green Heys Fields,\"through which runs a public footpath to alittle village about two miles distant. In spite of these fieldsbeing flat and low, nay, in spite of the want of wood (thegreat andusual recommendation of level tracts of land), there is a charm aboutthem which strikes even the inhabitant of a mountainous district,who sees andfeels the effect of contrast in these common-place butthoroughly rural fields, with the busy, bustling manufacturing townhe left but half-an-hour ago. Here andthere an old black and whitefarm-house, with its rambling outbuildings, speaks of other times andother occupations than those which now absorb the populationof theneighbourhood. Here in their seasons may be seen the country businessof hay-making, ploughing, &c., which are such pleasant mysteriesfor townspeople towatch; and here the artisan, deafened with noiseof tongues and engines, may come to listen awhile to the delicioussounds of rural life: the lowing of cattle, themilk-maids' call,the clatter and cackle of poultry in the old farm-yards. You cannotwonder, then, that these fields are popular places of resort atevery holidaytime; and you would not wonder, if you could see, or Iproperly describe, the charm of one particular stile, that it shouldbe, on such occasions, a crowdedhalting-place. Close by it is adeep, clear pond, reflecting in its dark green depths the shadowytrees that bend over it to exclude the sun. The only place whereitsbanks are shelving is on the side next to a rambling farm-yard,belonging to one of those old-world, gabled, black and white housesI named above, overlookingthe field through which the publicfootpath leads. The porch of this farm-house is covered by arose-tree; and the little garden surrounding it is crowded withamedley of old-fashioned herbs and flowers, planted long ago, when thegarden was the only druggist's shop within reach, and allowed to growin scrambling andwild luxuriance--roses, lavender, sage, balm (fortea), rosemary, pinks and wallflowers, onions and jessamine, in mostrepublican and indiscriminate order. Thisfarm-house and garden arewithin a hundred yards of the stile of which I spoke, leading fromthe large pasture field into a smaller one, divided by a hedgeofhawthorn and black-thorn; and near this stile, on the further side,there runs a tale that primroses may often be found, and occasionallythe blue sweet violet onthe grassy hedge bank.I do not know whether it was on a holiday granted by the masters, ora holiday seized in right of Nature and her beautiful spring time bytheworkmen, but one afternoon (now ten or a dozen years ago) thesefields were much thronged. It was an early May evening--the Aprilof the poets; for heavyshowers had fallen all the morning, andthe round, soft, white clouds which were blown by a west wind overthe dark blue sky, were sometimes varied by oneblacker and morethreatening. The softness of the day tempted forth the young greenleaves, which almost visibly fluttered into life; and the willows,which thatmorning had had only a brown reflection in the waterbelow, were now of that tender gray-green which blends so delicatelywith the spring harmony ofcolours.Groups of merry and somewhat loud-talking girls, whose ages mightrange from twelve to twenty, came by with a buoyant step. They weremost of themfactory girls, and wore the usual out-of-doors dress ofthat particular class of maidens; namely, a shawl, which at mid-dayor in fine weather was allowed to bemerely a shawl, but towardsevening, or if the day were chilly, became a sort of Spanish mantillaor Scotch plaid, and was brought over the head and hung looselydown,or was pinned under the chin in no unpicturesque fashion.Their faces were not remarkable for beauty; indeed, they were belowthe average, with one or twoexceptions; they had dark hair, neatlyand classically arranged, dark eyes, but sallow complexions andirregular features. The only thing to strike a passer-by wasanacuteness and intelligence of countenance, which has often beennoticed in a manufacturing population.There were also numbers of boys, or rather young men,rambling amongthese fields, ready to bandy jokes with any one, and particularlyready to enter into conversation with the girls, who, however, heldthemselvesaloof, not in a shy, but rather in an independent way,assuming an indifferent manner to the noisy wit or obstreperouscompliments of the lads. Here and therecame a sober quiet couple,either whispering lovers, or husband and wife, as the case mightbe; and if the latter, they were seldom unencumbered by aninfant,carried for the most part by the father, while occasionally eventhree or four little toddlers had been carried or dragged thusfar, in order that the whole"}
+{"doc_id":"doc_344","qid":"","text":"The Project Gutenberg EBook of Savrola, by Winston Spencer ChurchillThis eBook is for the use of anyone anywhere in the United States and mostother partsof the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg Licenseincluded with this eBook or online atwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you arelocated before using this ebook.Title: Savrola       A Tale of the Revolution in LauraniaAuthor: Winston Spencer ChurchillRelease Date: January 24, 2016 [EBook#50906]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK SAVROLA ***Produced by Al Haines  SAVROLA  A TALE OF THE REVOLUTION INLAURANIA  BY  WINSTON SPENCER CHURCHILL  AUTHOR OF \"THE RIVER WAR: AN ACCOUNT OF THE RECOVERY  OF THE SOUDAN\" AND \"THE STORY OF THEMALAKAND  FIELD FORCE\"  LONGMANS, GREEN, AND CO.  91 AND 93 FIFTH AVENUE, NEW YORK  LONDON AND BOMBAY  1900  COPYRIGHT, 1899,BY  LONGMANS, GREEN, AND CO.  ALL RIGHTS RESERVED  TYPOGRAPHY BY J. B. CUSHING & CO., NORWOOD, MASS.  THIS BOOK IS INSCRIBED  TO  THEOFFICERS  OF THE  IVTH (QUEEN'S OWN) HUSSARS  IN WHOSE COMPANY THE AUTHOR LIVED  FOR FOUR HAPPY YEARSPREFATORY NOTEThis story was writtenin 1897, and has already appeared in serial formin _Macmillan's Magazine_.  Since its first reception was notunfriendly, I resolved to publish it as a book, and Inow submit itwith considerable trepidation to the judgment or clemency of the public.WINSTON S. CHURCHILL.  CONTENTS  I.  An Event of PoliticalImportance  II.  The Head of the State  III.  The Man of the Multitude  IV.  The Deputation  V.  A Private Conversation  VI.  On Constitutional Grounds  VII.  TheState Ball  VIII.  \"In the Starlight\"  IX.  The Admiral  X.  The Wand of the Magician  XI.  In the Watches of the Night  XII.  A Council of War  XIII.  The Action ofthe Executive  XIV.  The Loyalty of the Army  XV.  Surprises  XVI.  The Progress of the Revolt  XVII.  The Defence of the Palace  XVIII.  From a Window  XIX.  AnEducational Experience  XX.  The End of the Quarrel  XXI.  The Return of the Fleet  XXII.  Life's CompensationsCHAPTER I.AN EVENT OF POLITICALIMPORTANCE.There had been a heavy shower of rain, but the sun was already shiningthrough the breaks in the clouds and throwing swiftly changing shadowsonthe streets, the houses, and the gardens of the city of Laurania.Everything shone wetly in the sunlight: the dust had been laid; the airwas cool; the trees lookedgreen and grateful.  It was the first rainafter the summer heats, and it marked the beginning of that delightfulautumn climate which has made the Lauraniancapital the home of theartist, the invalid, and the sybarite.The shower had been heavy, but it had not dispersed the crowds thatwere gathered in the great squarein front of the Parliament House.  Itwas welcome, but it had not altered their anxious and angry looks; ithad drenched them without cooling theirexcitement.  Evidently an eventof consequence was taking place.  The fine building, where therepresentatives of the people were wont to meet, wore an aspectofsombre importance that the trophies and statues, with which an ancientand an art-loving people had decorated its façade, did not dispel.  Asquadron ofLancers of the Republican Guard was drawn up at the foot ofthe great steps, and a considerable body of infantry kept a broad spaceclear in front of theentrance.  Behind the soldiers the people filledin the rest of the picture.  They swarmed in the square and the streetsleading to it; they had scrambled on to thenumerous monuments, whichthe taste and pride of the Republic had raised to the memory of herancient heroes, covering them so completely that they lookedlikemounds of human beings; even the trees contained their occupants, whilethe windows and often the roofs, of the houses and offices whichoverlooked thescene were crowded with spectators.  It was a greatmultitude and it vibrated with excitement.  Wild passions surged acrossthe throng, as squalls sweep across astormy sea.  Here and there aman, mounting above his fellows, would harangue those whom his voicecould reach, and a cheer or a shout was caught up bythousands who hadnever heard the words but were searching for something to giveexpression to their feelings.It was a great day in the history of Laurania.  Forfive long yearssince the Civil War the people had endured the insult of autocraticrule.  The fact that the Government was strong, and the memory of thedisordersof the past, had operated powerfully on the minds of the moresober citizens.  But from the first there had been murmurs.  There weremany who had borne armson the losing side in the long struggle thathad ended in the victory of President Antonio Molara.  Some hadsuffered wounds or confiscation; others had undergoneimprisonment;many had lost friends and relations, who with their latest breath hadenjoined the uncompromising prosecution of the war.  The Governmenthadstarted with implacable enemies, and their rule had been harsh andtyrannical.  The ancient constitution to which the citizens were sostrongly attached and ofwhich they were so proud, had been subverted.The President, alleging the prevalence of sedition, had declined toinvite the people to send their representatives tothat chamber whichhad for many centuries been regarded as the surest bulwark of popularliberties.  Thus the discontents increased day by day and year byyear:the National party, which had at first consisted only of a fewsurvivors of the beaten side, had swelled into the most numerous andpowerful faction in theState; and at last they had found a leader.The agitation proceeded on all sides.  The large and turbulentpopulation of the capital were thoroughly devoted to therising cause.Demonstration had followed demonstration; riot had succeeded riot; eventhe army showed signs of unrest.  At length the President had decidedtomake concessions.  It was announced that on the first of Septemberthe electoral writs should be issued and the people should be accordedan opportunity ofexpressing their wishes and opinions.This pledge had contented the more peaceable citizens.  The extremists,finding themselves in a minority, had altered theirtone.  TheGovernment, taking advantage of the favourable moment, had arrestedseveral of the more violent leaders.  Others, who had fought in the warand hadreturned from exile to take part in the revolt, fled for theirlives across the border.  A rigorous search for arms had resulted inimportant captures.  Europeannations, watching with interested andanxious eyes the political barometer, were convinced that theGovernment cause was in the ascendant.  But meanwhile thepeoplewaited, silent and expectant, for the fulfilment of the promise.At length the day had come.  The necessary preparations for summoningthe seventythousand male electors to record their votes had beencarried out by the public officials.  The President, as the customprescribed, was in person to sign thenecessary writ of summons to thefaithful citizens.  Warrants for election would be forwarded to thevarious electoral divisions in the city and the provinces, andthosewho were by the ancient law entitled to the franchise would give theirverdict on the conduct of him whom the Populists in bitter hatred hadcalled theDictator.It was for this moment that the crowd was waiting.  Though cheers fromtime to time arose, they waited for the most part in silence.  Evenwhen thePresident had passed on his way to the Senate, they hadforeborne to hoot; in their eyes he was virtually abdicating, and thatmade amends for all.  Thetime-honoured observances, the long-lovedrights would be restored, and once more democratic government would betriumphant in Laurania.Suddenly, at the topof the steps in the full view of the people, ayoung man appeared, his dress disordered and his face crimson withexcitement.  It was Moret, one of the CivicCouncil.  He wasimmediately recognised by the populace, and a great cheer arose.  Manywho could not see him took up the shout, which re-echoed throughthesquare, the expression of a nation's satisfaction.  He gesticulatedvehemently, but his words, if he spoke at all, were lost in the tumult.Another man, an usher,followed him out hurriedly, put his hand on hisshoulder, appeared to speak with earnestness, and drew him back intothe shadow of the entrance.  The crowd stillcheered.A third figure issued from the door, an old man in the robes ofmunicipal office.  He walked, or rather tottered feebly down the stepsto a carriage, whichhad drawn up to meet him.  Again there werecheers.  \"Godoy!  Godoy!  Bravo, Godoy!  Champion of the People!Hurrah, hurrah!\"It was the Mayor, one of thestrongest and most reputable members ofthe party of Reform.  He entered his carriage and drove through theopen space, maintained by the soldiery, into thecrowd, which, stillcheering, gave way with respect.The carriage was open and it was evident that the old man was painfullymoved.  His face was pale, his mouthpuckered into an expression ofgrief and anger, his whole frame shaken with suppressed emotion.  Thecrowd had greeted him with applause, but, quick to notice,were struckby his altered appearance and woeful looks.  They crowded round thecarriage crying: \"What has happened?  Is all well?  Speak, Godoy,speak!\"  Buthe would have none of them, and quivering with agitationbade his coachman drive the faster.  The people gave way slowly,sullenly, thoughtfully, as men whomake momentous resolutions.Something had happened, untoward, unforeseen, unwelcome; what this was,they were anxious to know.And then began a period ofwild rumour.  The President had refused tosign the writs; he had committed suicide; the troops had been orderedto fire; the elections would not take place, afterall; Savrola hadbeen arrested,--seized in the very Senate, said one, murdered addedanother.  The noise of the multitude changed into a dull dissonant humofrising anger.At last the answer came.  There was a house, overlooking the square,which was separated from the Chamber of Representatives only by anarrowstreet, and this street had been kept clear for traffic by thetroops.  On the balcony of this house the young man, Moret, the CivicCouncillor, now reappeared, andhis coming was the signal for a stormof wild, anxious cries from the vast concourse.  He held up his handfor silence and after some moments his words becameaudible to thosenearest.  \"You are betrayed--a cruel fraud--the hopes we had cherishedare dashed to the ground--all has been done in vain--  Cheated!cheated!cheated!\"  The broken fragments of his oratory reached farinto the mass of excited humanity, and then he shouted a sentence,which was heard by thousands andrepeated by thousands more.  \"Theregister of citizenship has been mutilated, and the names of more thanhalf the electors have been erased.  To your tents, ohpeople ofLaurania!\"For an instant there was silence, and then a great sob of fury, ofdisappointment, and of resolve arose from the multitude.At this moment thepresidential carriage, with its four horses, itspostilions in the Republican livery, and an escort of Lancers, movedforward to the foot of the steps, as there emerged"}
+{"doc_id":"doc_345","qid":"","text":"<html><head><title>Megamind Script at IMSDb.</title><meta name=\"description\" content=\"Megamind script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Megamind script, Megamind movie script, Megamind film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type ='text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                               MEGAMIND</b>                                    Written by                    Alan Schoolcraft & BrentSimons<b>      CREDITS SEQUENCE</b>      <b>      NEWSPAPER HEADLINE MONTAGE:</b>            HEADLINES flash before us, displaying theiraccompanying      photographs.      <b>      \"UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND!</b>            PHOTO: A chiseled, statuesqueman wearing the COOLEST SUPER      HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a      confident smile at the lens. This is UBERMAN,champion of<b>      METRO CITY.</b>      <b>      \"UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!\"</b>            PHOTO: Wide-shot of Uberman inmid-flight lifting the GIANT      ROBOT in the sky above the city buildings.      <b>      \"MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUMHEIST!\"</b>            PHOTO: Uberman stands knee-deep in water. He has his enemy by      the collar. The villain blocks his face from the shot witha<b>      METALLIC GAUNTLET.</b>            The images start to flash by even quicker, each showing the      MYSTERIOUS VILLAIN in various stages ofhumiliation. In each      photograph he successfully blocks his face with his armored      glove.            We ZOOM IN to the last headline.      <b>      \"MASTERMIND BEHIND BARS ONCE AGAIN - THANKS TO UBERMAN!\"</b>            PHOTO: Uberman stands in a gallant pose with his fists on his      hips, obviously tryingto accentuate the \"U\" insignia on his      chest.      <b>      END OF CREDITS SEQUENCE</b>      <b>      EXT. BUILDING - DAY</b>            We DISSOLVE from"}
+{"doc_id":"doc_346","qid":"","text":"The Project Gutenberg Etext of Barchester Towers by AnthonyTrollope*******************************************************************THIS EBOOK WAS ONE OF PROJECT GUTENBERG'S EARLY FILESPRODUCED AT ATIME WHEN PROOFING METHODS AND TOOLS WERE NOT WELL DEVELOPED. THEREIS AN IMPROVED EDITION OF THIS TITLE WHICH MAY BEVIEWED AS EBOOK(#3409) athttps://www.gutenberg.org/ebooks/3409*******************************************************************Copyright laws are changing allover the world, be sure to checkthe copyright laws for your country before posting these files!!Please take a look at the important information in this header.Weencourage you to keep this file on your own disk, keeping anelectronic path open for the next readers.  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+{"doc_id":"doc_347","qid":"","text":"<html><head><title>Hebrew Hammer, The Script at IMSDb.</title><meta name=\"description\" content=\"Hebrew Hammer, The script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Hebrew Hammer, The script, Hebrew Hammer, The movie script, Hebrew Hammer, The filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async =true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <tdbgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <tdbackground=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web'slargest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size =\"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><b>                                  THE HEBREW HAMMER</b>                                     Written by                                  JonathanKesselman            Over BLACK, we hear the first few bars of Jingle Bells. The            music morphs into an OMINOUS SCORE.             With a thunderous BOOM,comes a TITLE CARD reading \"HANUKKAH<b>            PAST.\"</b><b>            EXT. PUBLIC ELEMENTARY SCHOOL - DAY</b>            We start on JESUS ON ACRUCIFIX, and then violently CRANE            down to reveal MORDECHAI (10), a timid little Hasidic boy            standing nervously at the foot of thestatue.            Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS            4 HOMOS\" scrawled across it. He clutches his Sandy Koufax            lunchboxtightly as he looks off into the distance. He's got            quite a large bulge in his pants for a child his age.            We see a menacing, EXTREMELY WIDE ANGLEshot of the school.            Superimposed over the picture are the words, \"ST. PETER,<b>            PAUL, AND MARY PUBLIC ELEMENTARY SCHOOL.\"</b>            Mordechai takes a deep breath, and walks towards the school.<b>            EXT. SCHOOLYARD - MOMENTS LATER</b>            Mordechai walkspast a row of bleachers occupied by FOUR<b>            GENTILE CHILDREN.</b><b>                                GENTILE BOY 1</b>                      Hey Mordechai,look. I dropped a penny.            He drops a penny. The other children cackle.            The Gentile Girl next to him holds up a bag of"}
+{"doc_id":"doc_348","qid":"","text":"<html><head><title>Inglourious Basterds Script at IMSDb.</title><meta name=\"description\" content=\"Inglourious Basterds script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Inglourious Basterds script, Inglourious Basterds movie script, Inglourious Basterds film script\"><metaname=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www')+ '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>          </b><b>                                 INGLOURIOUS BASTERDS</b><b>          </b><b>          </b>                                      Writtenby<b>          </b>                                   Quentin Tarantino<b>          </b><b>          </b><b>          1.</b><b>          EXT - DAIRY FARM-DAY</b>          The modest dairy farm in the countryside of Nancy, France (what the          French call cow country).          We Read a SUBTITLE in the skyabove the farm house;<b>          CHAPTER ONE</b><b>          \"ONCE UPON A TIME IN...</b><b>          NAZI OCCUPIED FRANCE\"</b>          This SUBTITLEdisappears, and is replaced by another one;<b>          \"1941</b>          One year into the German          occupation of France\".          The farm consists of ahouse, small barn, and twelve cows spread          about.          The owner of the property, a bull of a man FRENCH FARMER, brings a axe          up and down on Atree stump blemishing his property. However simply by          sight, you'd never know if he's been beating at this stump for the last          year, or just startedtoday.<b>          JULIE</b>          One of his three pretty teenage daughters, is hanging up laundry on          the clothes line. As she hangs up a white bedsheet, she hears a          noise, moving the sheet aside she see's;<b>          JULIE'S POV:</b>          A Nazi town car convertible, with two little nazi flagsattached to          the hood, a NAZI SOLDIER behind the wheel, a NAZI OFFICER alone in the          back seat, following TWO OTHER NAZI SOLDIERS onmotorcycles, coming up          over the hill on the country road leading to their farm.<b>          JULIE</b>          Pappa.          The French Farmer sinks his axe"}
+{"doc_id":"doc_349","qid":"","text":"The Project Gutenberg EBook of Rilla of Ingleside, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Rilla of InglesideAuthor: Lucy Maud MontgomeryPosting Date: May 19, 2009 [EBook #3796]Release Date: February, 2003First Posted:September 12, 2001[Last updated: June 17, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RILLA OF INGLESIDE ***Produced bySheila Perkins.  HTML version by Al HainesRilla of InglesidebyLucy Maud MontgomeryCONTENTS       I  GLEN \"NOTES\" AND OTHER MATTERS      II  DEW OFMORNING     III  MOONLIT MIRTH      IV  THE PIPER PIPES       V  \"THE SOUND OF A GOING\"      VI  SUSAN, RILLA, AND DOG MONDAY MAKE ARESOLUTION     VII  A WAR-BABY AND A SOUP TUREEN    VIII  RILLA DECIDES      IX  DOC HAS A MISADVENTURE       X  THE TROUBLES OF RILLA      XI  DARKAND BRIGHT     XII  IN THE DAYS OF LANGEMARCK    XIII  A SLICE OF HUMBLE PIE     XIV  THE VALLEY OF DECISION      XV  UNTIL THE DAYBREAK     XVI  REALISM AND ROMANCE    XVII  THE WEEKS WEAR BY   XVIII  A WAR-WEDDING     XIX  \"THEY SHALL NOT PASS\"      XX  NORMAN DOUGLASSPEAKS OUT IN MEETING     XXI  \"LOVE AFFAIRS ARE HORRIBLE\"    XXII  LITTLE DOG MONDAY KNOWS   XXIII  \"AND SO, GOODNIGHT\"    XXIV  MARY IS JUSTIN TIME     XXV  SHIRLEY GOES    XXVI  SUSAN HAS A PROPOSAL OF MARRIAGE   XXVII  WAITING  XXVIII  BLACK SUNDAY    XXIX  \"WOUNDED ANDMISSING\"     XXX  THE TURNING OF THE TIDE    XXXI  MRS. MATILDA PITTMAN   XXXII  WORD FROM JEM  XXXIII  VICTORY!   XXXIV  MR. HYDE GOES TO HISOWN PLACE AND SUSAN TAKES A HONEYMOON    XXXV  \"RILLA-MY-RILLA!\"CHAPTER IGLEN \"NOTES\" AND OTHER MATTERSIt was a warm, golden-cloudy,lovable afternoon. In the big living-roomat Ingleside Susan Baker sat down with a certain grim satisfactionhovering about her like an aura; it was four o'clock andSusan, who hadbeen working incessantly since six that morning, felt that she hadfairly earned an hour of repose and gossip. Susan just then wasperfectly happy;everything had gone almost uncannily well in thekitchen that day. Dr. Jekyll had not been Mr. Hyde and so had notgrated on her nerves; from where she sat shecould see the pride of herheart--the bed of peonies of her own planting and culture, blooming asno other peony plot in Glen St. Mary ever did or could bloom,withpeonies crimson, peonies silvery pink, peonies white as drifts ofwinter snow.Susan had on a new black silk blouse, quite as elaborate as anythingMrs.Marshall Elliott ever wore, and a white starched apron, trimmedwith complicated crocheted lace fully five inches wide, not to mentioninsertion to match. ThereforeSusan had all the comfortableconsciousness of a well-dressed woman as she opened her copy of theDaily Enterprise and prepared to read the Glen \"Notes\" which,as MissCornelia had just informed her, filled half a column of it andmentioned almost everybody at Ingleside. There was a big, blackheadline on the front page ofthe Enterprise, stating that someArchduke Ferdinand or other had been assassinated at a place bearingthe weird name of Sarajevo, but Susan tarried not overuninteresting,immaterial stuff like that; she was in quest of something really vital.Oh, here it was--\"Jottings from Glen St. Mary.\" Susan settled downkeenly,reading each one over aloud to extract all possiblegratification from it.Mrs. Blythe and her visitor, Miss Cornelia--alias Mrs. MarshallElliott--were chatting togethernear the open door that led to theveranda, through which a cool, delicious breeze was blowing, bringingwhiffs of phantom perfume from the garden, andcharming gay echoes fromthe vine-hung corner where Rilla and Miss Oliver and Walter werelaughing and talking. Wherever Rilla Blythe was, there waslaughter.There was another occupant of the living-room, curled up on a couch,who must not be overlooked, since he was a creature of markedindividuality, and,moreover, had the distinction of being the onlyliving thing whom Susan really hated.All cats are mysterious but Dr. Jekyll-and-Mr. Hyde--\"Doc\" forshort--wastrebly so. He was a cat of double personality--or else, asSusan vowed, he was possessed by the devil. To begin with, there hadbeen something uncanny about thevery dawn of his existence. Four yearspreviously Rilla Blythe had had a treasured darling of a kitten, whiteas snow, with a saucy black tip to its tail, which shecalled JackFrost. Susan disliked Jack Frost, though she could not or would notgive any valid reason therefor.\"Take my word for it, Mrs. Dr. dear,\" she was wont tosay ominously,\"that cat will come to no good.\"\"But why do you think so?\" Mrs. Blythe would ask.\"I do not think--I know,\" was all the answer Susan wouldvouchsafe.With the rest of the Ingleside folk Jack Frost was a favourite; he wasso very clean and well groomed, and never allowed a spot or stain to beseen on hisbeautiful white suit; he had endearing ways of purring andsnuggling; he was scrupulously honest.And then a domestic tragedy took place at Ingleside. Jack Frosthadkittens!It would be vain to try to picture Susan's triumph. Had she not alwaysinsisted that that cat would turn out to be a delusion and a snare? Nowtheycould see for themselves!Rilla kept one of the kittens, a very pretty one, with peculiarly sleekglossy fur of a dark yellow crossed by orange stripes, andlarge,satiny, golden ears. She called it Goldie and the name seemedappropriate enough to the little frolicsome creature which, during itskittenhood, gave noindication of the sinister nature it reallypossessed. Susan, of course, warned the family that no good could beexpected from any offspring of that diabolical JackFrost; but Susan'sCassandra-like croakings were unheeded.The Blythes had been so accustomed to regard Jack Frost as a member ofthe male sex that they couldnot get out of the habit. So theycontinually used the masculine pronoun, although the result wasludicrous. Visitors used to be quite electrified when Rillareferredcasually to \"Jack and his kitten,\" or told Goldie sternly, \"Go to yourmother and get him to wash your fur.\"\"It is not decent, Mrs. Dr. dear,\" poor Susanwould say bitterly. Sheherself compromised by always referring to Jack as \"it\" or \"the whitebeast,\" and one heart at least did not ache when \"it\" wasaccidentallypoisoned the following winter.In a year's time \"Goldie\" became so manifestly an inadequate name forthe orange kitten that Walter, who was just thenreading Stevenson'sstory, changed it to Dr. Jekyll-and-Mr. Hyde. In his Dr. Jekyll moodthe cat was a drowsy, affectionate, domestic, cushion-loving puss,wholiked petting and gloried in being nursed and patted. Especially did helove to lie on his back and have his sleek, cream-coloured throatstroked gently while hepurred in somnolent satisfaction. He was anotable purrer; never had there been an Ingleside cat who purred soconstantly and so ecstatically.\"The only thing Ienvy a cat is its purr,\" remarked Dr. Blythe once,listening to Doc's resonant melody. \"It is the most contented sound inthe world.\"Doc was very handsome; hisevery movement was grace; his posesmagnificent. When he folded his long, dusky-ringed tail about his feetand sat him down on the veranda to gaze steadily intospace for longintervals the Blythes felt that an Egyptian sphinx could not have madea more fitting Deity of the Portal.When the Mr. Hyde mood came uponhim--which it invariably did beforerain, or wind--he was a wild thing with changed eyes. Thetransformation always came suddenly. He would spring fiercely fromareverie with a savage snarl and bite at any restraining or caressinghand. His fur seemed to grow darker and his eyes gleamed with adiabolical light. There wasreally an unearthly beauty about him. Ifthe change happened in the twilight all the Ingleside folk felt acertain terror of him. At such times he was a fearsomebeast and onlyRilla defended him, asserting that he was \"such a nice prowly cat.\"Certainly he prowled.Dr. Jekyll loved new milk; Mr. Hyde would not touch milkand growledover his meat. Dr. Jekyll came down the stairs so silently that no onecould hear him. Mr. Hyde made his tread as heavy as a man's. Severalevenings,when Susan was alone in the house, he \"scared her stiff,\" asshe declared, by doing this. He would sit in the middle of the kitchenfloor, with his terrible eyes fixedunwinkingly upon hers for an hourat a time. This played havoc with her nerves, but poor Susan reallyheld him in too much awe to try to drive him out. Once shehad dared tothrow a stick at him and he had promptly made a savage leap towardsher. Susan rushed out of doors and never attempted to meddle with Mr.Hydeagain--though she visited his misdeeds upon the innocent Dr.Jekyll, chasing him ignominiously out of her domain whenever he daredto poke his nose in anddenying him certain savoury tidbits for whichhe yearned.\"'The many friends of Miss Faith Meredith, Gerald Meredith and JamesBlythe,'\" read Susan, rolling thenames like sweet morsels under hertongue, \"'were very much pleased to welcome them home a few weeks agofrom Redmond College. James Blythe, who wasgraduated in Arts in 1913,had just completed his first year in medicine.'\"\"Faith Meredith has really got to be the most handsomest creature Iever saw,\"commented Miss Cornelia above her filet crochet. \"It'samazing how those children came on after Rosemary West went to themanse. People have almost forgottenwhat imps of mischief they wereonce. Anne, dearie, will you ever forget the way they used to carry on?It's really surprising how well Rosemary got on with them.She's morelike a chum than a step-mother. They all love her and Una adores her.As for that little Bruce, Una just makes a perfect slave of herself tohim. Ofcourse, he is a darling. But did you ever see any child look asmuch like an aunt as he looks like his Aunt Ellen? He's just as darkand just as emphatic. I can't see afeature of Rosemary in him. NormanDouglas always vows at the top of his voice that the stork meant Brucefor him and Ellen and took him to the manse bymistake.\"\"Bruce adores Jem,\" said Mrs Blythe. \"When he comes over here hefollows Jem about silently like a faithful little dog, looking up athim from under hisblack brows. He would do anything for Jem, I verilybelieve.\"\"Are Jem and Faith going to make a match of it?\"Mrs. Blythe smiled. It was well known that MissCornelia, who had beensuch a virulent man-hater at one time, had actually taken tomatch-making in her declining years.\"They are only good friends yet, MissCornelia.\"\"Very good friends, believe me,\" said Miss Cornelia emphatically. \"Ihear all about the doings of the young fry.\"\"I have no doubt that Mary Vance seesthat you do, Mrs. MarshallElliott,\" said Susan significantly, \"but I think it is a shame to talkabout children making matches.\"\"Children! Jem is twenty-one and Faithis nineteen,\" retorted MissCornelia. \"You must not forget, Susan, that we old folks are not theonly grown-up people in the world.\"Outraged Susan, who detestedany reference to her age--not from vanitybut from a haunting dread that people might come to think her too oldto work--returned to her \"Notes.\"\"'Carl Meredith"}
+{"doc_id":"doc_350","qid":"","text":"The Project Gutenberg EBook of The Fortunes and Misfortunes of the FamousMoll Flanders &c., by Daniel DefoeThis eBook is for the use of anyone anywhere atno cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith thiseBook or online at www.gutenberg.netTitle: The Fortunes and Misfortunes of the Famous Moll Flanders &c.Author: Daniel DefoeRelease Date: March 19, 2008[EBook #370]Last Updated: October 18, 2016Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MOLL FLANDERS ***The Fortunes &Misfortunes of the Famous Moll Flanders &c.Who was Born in Newgate, and during a Life of continu'd Variety forThreescore Years, besides her Childhood, wasTwelve Year a Whore, fivetimes a Wife (whereof once to her own Brother), Twelve Year a Thief,Eight Year a Transported Felon in Virginia, at last grew Rich,liv'dHonest, and dies a Penitent.  Written from her own Memorandums . . .by Daniel DefoeTHE AUTHOR'S PREFACEThe world is so taken up of late with novelsand romances, that it willbe hard for a private history to be taken for genuine, where the namesand other circumstances of the person are concealed, and onthisaccount we must be content to leave the reader to pass his own opinionupon the ensuing sheet, and take it just as he pleases.The author is here supposed tobe writing her own history, and in thevery beginning of her account she gives the reasons why she thinks fitto conceal her true name, after which there is nooccasion to say anymore about that.It is true that the original of this story is put into new words, andthe style of the famous lady we here speak of is a littlealtered;particularly she is made to tell her own tale in modester words thatshe told it at first, the copy which came first to hand having beenwritten in languagemore like one still in Newgate than one grownpenitent and humble, as she afterwards pretends to be.The pen employed in finishing her story, and making it whatyou now seeit to be, has had no little difficulty to put it into a dress fit to beseen, and to make it speak language fit to be read.  When a womandebauched fromher youth, nay, even being the offspring of debaucheryand vice, comes to give an account of all her vicious practices, andeven to descend to the particularoccasions and circumstances by whichshe ran through in threescore years, an author must be hard put to itwrap it up so clean as not to give room, especially forviciousreaders, to turn it to his disadvantage.All possible care, however, has been taken to give no lewd ideas, noimmodest turns in the new dressing up of thisstory; no, not to theworst parts of  her expressions.  To this purpose some of the viciouspart of her life, which could not be modestly told, is quite left out,andseveral other parts are very much shortened.  What is left 'tishoped will not offend the chastest reader or the modest hearer; and asthe best use is made even ofthe worst story, the moral 'tis hoped willkeep the reader serious, even where the story might incline him to beotherwise.  To give the history of a wicked liferepented of,necessarily requires that the wicked part should be make as wicked asthe real history of it will bear, to illustrate and give a beauty tothe penitentpart, which is certainly the best and brightest, ifrelated with equal spirit and life.It is suggested there cannot be the same life, the same brightness andbeauty, inrelating the penitent part as is in the criminal part.  Ifthere is any truth in that suggestion, I must be allowed to say 'tisbecause there is not the same taste andrelish in the reading, andindeed it is too true that the difference lies not in the real worth ofthe subject so much as in the gust and palate of the reader.But as thiswork is chiefly recommended to those who know how to readit, and how to make the good uses of it which the story all alongrecommends to them, so it is to behoped that such readers will be morepleased with the moral than the fable, with the application than withthe relation, and with the end of the writer than with thelife of theperson written of.There is in this story abundance of delightful incidents, and all ofthem usefully applied.  There is an agreeable turn artfully giventhemin the relating, that naturally instructs the reader, either one way orother.  The first part of her lewd life with the young gentleman atColchester has so manyhappy turns given it to expose the crime, andwarn all whose circumstances are adapted to it, of the ruinous end ofsuch things, and the foolish, thoughtless, andabhorred conduct of boththe parties, that it abundantly atones for all the lively descriptionshe gives of her folly and wickedness.The repentance of her lover at theBath, and how brought by the justalarm of his fit of sickness to abandon her; the just caution giventhere against even the lawful intimacies of the dearest friends,andhow unable they are to preserve the most solemn resolutions of virtuewithout divine assistance; these are parts which, to a justdiscernment, will appear tohave more real beauty in them all theamorous chain of story which introduces it.In a word, as the whole relation is carefully garbled of all the levityand loosenessthat was in it, so it all applied, and with the utmostcare, to virtuous and religious uses.  None can, without being guiltyof manifest injustice, cast any reproachupon it, or upon our design inpublishing it.The advocates for the stage have, in all ages, made this the greatargument to persuade people that their plays areuseful, and that theyought to be allowed in the most civilised and in the most religiousgovernment; namely, that they are applied to virtuous purposes, andthatby the most lively representations, they fail not to recommendvirtue and generous principles, and to discourage and expose all sortsof vice and corruption ofmanners; and were it true that they did so,and that they constantly adhered to that rule, as the test of theiracting on the theatre, much might be said in theirfavour.Throughout the infinite variety of this book, this fundamental is moststrictly adhered to; there is not a wicked action in any part of it,but is first and lastrendered unhappy and unfortunate; there is not asuperlative villain brought upon the stage, but either he is brought toan unhappy end, or brought to be apenitent; there is not an ill thingmentioned but it is condemned, even in the relation, nor a virtuous,just thing but it carries its praise along with it.  What canmoreexactly answer the rule laid down, to recommend even thoserepresentations of things which have so many other just objectionsleaving againstthem?  namely, of example, of bad company, obscenelanguage, and the like.Upon this foundation this book is recommended to the reader as a workfrom everypart of which something may be learned, and some just andreligious inference is drawn, by which the reader will have somethingof instruction, if he pleases tomake use of it.All the exploits of this lady of fame, in her depredations uponmankind, stand as so many warnings to honest people to beware of them,intimatingto them by what methods innocent people are drawn in,plundered and robbed, and by consequence how to avoid them.  Herrobbing a little innocent child,dressed fine by the vanity of themother, to go to the dancing-school, is a good memento to such peoplehereafter, as is likewise her picking the gold watch fromthe younglady's side in the Park.Her getting a parcel from a hare-brained wench at the coaches in St.John Street; her booty made at the fire, and again atHarwich, all giveus excellent warnings in such cases to be more present to ourselves insudden surprises of every sort.Her application to a sober life andindustrious management at last inVirginia, with her transported spouse, is a story fruitful ofinstruction to all the unfortunate creatures who are obliged toseektheir re-establishment abroad, whether by the misery of transportationor other disaster; letting them know that diligence and applicationhave their dueencouragement, even in the remotest parts of the world,and that no case can be so low, so despicable, or so empty of prospect,but that an unwearied industrywill go a great way to deliver us fromit, will in time raise the meanest creature to appear again in the world,and give him a new case for his life.There are a few ofthe serious inferences which we are led by the handto in this book, and these are fully sufficient to justify any man inrecommending it to the world, and muchmore to justify the publicationof it.There are two of the most beautiful parts still behind, which thisstory gives some idea of, and lets us into the parts of them, buttheyare either of them too long to be brought into the same volume, andindeed are, as I may call them, whole volumes of themselves, viz.: 1.The life of hergoverness, as she calls her, who had run through, itseems, in a few years, all the eminent degrees of a gentlewoman, awhore, and a bawd; a midwife and amidwife-keeper, as they are called;a pawnbroker, a childtaker, a receiver of thieves, and of thieves'purchase, that is to say, of stolen goods; and in a word,herself athief, a breeder up of thieves and the like, and yet at last a penitent.The second is the life of her transported husband, a highwayman, who itseems, liveda twelve years' life of successful villainy upon the road,and even at last came off so well as to be a volunteer transport, not aconvict; and in whose life there is anincredible variety.But, as I have said, these are things too long to bring in here, soneither can I make a promise of the coming out by themselves.We cannot say,indeed, that this history is carried on quite to the endof the life of this famous Moll Flanders, as she calls herself, fornobody can write their own life to the full endof it, unless they canwrite it after they are dead.  But her husband's life, being written bya third hand, gives a full account of them both, how long theylivedtogether in that country, and how they both came to England again,after about eight years, in which time they were grown very rich, andwhere she lived, itseems, to be very old, but was not so extraordinarya penitent as she was at first; it seems only that indeed she alwaysspoke with abhorrence of her former life,and of every part of it.In her last scene, at Maryland and Virginia, many pleasant thingshappened, which makes that part of her life very agreeable, but theyarenot told with the same elegancy as those accounted for by herself;so it is still to the more advantage that we break off here.MOLL FLANDERSMy true name is sowell known in the records or registers at Newgate,and in the Old Bailey, and there are some things of such consequencestill depending there, relating to myparticular conduct, that it isnot be expected I should set my name or the account of my family tothis work; perhaps, after my death, it may be better known; atpresentit would not be proper, nor not though a general pardon should beissued, even without exceptions and reserve of persons or crimes.It is enough to tellyou, that as some of my worst comrades, who areout of the way of doing me harm (having gone out of the world by thesteps and the string, as I often expectedto go), knew me by the nameof Moll Flanders, so you may give me leave to speak of myself underthat name till I dare own who I have been, as well as who Iam.I have been told that in one of neighbour nations, whether it be inFrance or where else I know not, they have an order from the king, thatwhen any criminal is"}
+{"doc_id":"doc_351","qid":"","text":"<html><head><title>12 Monkeys Script at IMSDb.</title><meta name=\"description\" content=\"12 Monkeys script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"12 Monkeys script, 12 Monkeys movie script, 12 Monkeys film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 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    e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>TwelveMonkeys</title></head><pre><b> TWELVE MONKEYS</b><b>     </b>           An original screenplay by David Peoples<b>        &</b> Janet Peoples Inspiredby<b>     </b> LA JETEE, a Chris Marker Film Production Draft June 27, 1994<b> FADE IN:</b><b> INT.  CONCOURSE/AIRPORT TERMINAL - BAY</b> CLOSEON A FACE.  A nine year old boy, YOUNG COLE, his eyes wide with wonder. watching something intently.  We HEAR the sounds of the P.A. SYSTEM droning FlightInformation mingled with the sounds of urgent SHOUTS, running FEET, EXCLAMATIONS. YOUNG COLE'S POV:  twenty yards away, a BLONDE MAN is sprawled onthe floor, blood oozing from his gaudy Hawaiian shirt. A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S view, rushes to the injured man,kneels beside him, ministering to his wound. ANGLE ON YOUNG COLE, flanked by his PARENTS, their faces out of view, as they steer him away. FATHER'S VOICE(o.s.) Come on, Son --this is no place for us. YOUNG COLE resists momentarily, mesmerized by the drama. YOUNG COLE'S POV:  intermittently visible through aconfusion of FIGURES rushing through the foreground, the BLONDE MAN reaching up and touching the cheek of the kneeling BRUNETTE in a gesture of enormoustenderness, a gesture of farewell, while the P.A. SYSTEM continues its monotonous monotone...<b> P.A. SYSTEM</b> Flight 784 for San Francisco is now readyfor boarding at inmate number 66578, Greely.<b> INT.  PRISON DORMITORY/FUTURE - ETERNAL NIGHT</b><b> PRISON P.A. SYSTEM</b> --number 5429,"}
+{"doc_id":"doc_352","qid":"","text":"<html><head><title>12 and Holding Script at IMSDb.</title><meta name=\"description\" content=\"12 and Holding script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"12 and Holding script, 12 and Holding movie script, 12 and Holding film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTSCONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var_gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') +'.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The InternetMovie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br><center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 =new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\" valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <td width=\"180\"> <divalign=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9class=heading>Alphabetical<tr align=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><ahref=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><a href=\"/alphabetical/D\">D</a>        <td><ahref=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><ahref=\"/alphabetical/H\">H</a><tr align=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><ahref=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><a href=\"/alphabetical/M\">M</a>        <td><ahref=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><ahref=\"/alphabetical/Q\">Q</a><tr align=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><ahref=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><a href=\"/alphabetical/V\">V</a>        <td><ahref=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a> <td><a href=\"/genre/Adventure\">Adventure</a> <td><ahref=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><ahref=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><a href=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><ahref=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><a href=\"/genre/Sci-Fi\">Sci-Fi</a> <td><ahref=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\"class=heading>Sponsor<tr> <td width=\"300\" bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\";//--></script> <script type=\"text/javascript\" src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><tablewidth=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr> <td><ahref=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">SouthPark</a><tr> <td><a href=\"/TV/Stargate SG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3 class=heading>International<tr> <td><ahref=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><tdclass=heading>Movie Software<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr><td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><a href=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/Movie Scripts/Star Wars: Revengeof the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: TheForce Awakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/CollateralScript.html\">Collateral<td>10/10<tr><td><a href=\"/Movie Scripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\"border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <td align=\"center\"><SCRIPT LANGUAGE=\"Javascript\"TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\"action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\" name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\"value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = '';return;\">Message</textarea> <table><tr><td> <button onClick=\"javascript:makeNewWindow(); return false;\"><imgsrc=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALLSCRIPTS</a><br><br></div><td width=\"10\"></td><td valign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                             12 ANDHOLDING</b><b>          </b><b>          </b>                               Written by<b>          </b>                           Anthony S Cipriano<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                          04.06.04</b><b>          </b><b>          </b><b>          </b><b>          FADE IN:</b><b>          </b><b>          EXT. NEIGHBORHOOD STREET - MORNING</b><b>          </b>          TWIN BOYS, RUDY AND JACOB CARGES (12),ride their bikes          through a suburban neighborhood.<b>          </b>          Rudy, the more athletic of the two, rides at a breakneck          pace. Jacob ridesslowly due to a HOCKEY MASK that he wears          over his face. It's making it difficult for him to see. The          boys turn down a DIRT PATH and ride deep intosome WOODS.<b>          </b><b>          INT. WOODS - CONTINUOUS</b><b>          </b>          Rudy and Jacob ride to the edge of a CLEARING andstop.          Across from the clearing is a large OAK TREE, which has a          TREE HOUSE perched high up in it's branches. The boys          cautiously look aroundand whisper.<b>          </b><b>                               JACOB</b>                     You see`em?<b>          </b><b>                               RUDY</b>                     No. But that doesn't mean they're                     not here.<b>          </b>          After abeat, Rudy gets off his bike and starts walking          towards the tree house.   Jacob stays behind, eyeing"}
+{"doc_id":"doc_353","qid":"","text":"The Project Gutenberg EBook of The Vampyre; A Tale, by John William PolidoriThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Vampyre; A TaleAuthor: John William PolidoriPosting Date: October 21, 2009 [EBook #6087]Release Date: July, 2004First Posted:November 3, 2002[Last updated: May 26, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE VAMPYRE; A TALE ***Produced by ananonymous Project Gutenberg volunteer.                                 THE                               VAMPYRE;                               A Tale.                       By John WilliamPolidori                               LONDON                 PRINTED FOR SHERWOOD, NEELY, AND JONES                           PATERNOSTERROW                                1819              [Entered at Stationers' Hall, March 27, 1819]           Gillet, Printer, Crown Court, Fleet Street,London.                         EXTRACT OF A LETTER                             FROM GENEVA.                            ______________\"I breathe freely in the neighbourhood ofthis lake; the ground uponwhich I tread has been subdued from the earliest ages; the principalobjects which immediately strike my eye, bring to myrecollectionscenes, in which man acted the hero and was the chief object ofinterest. Not to look back to earlier times of battles and sieges,here is the bust ofRousseau--here is a house with an inscriptiondenoting that the Genevan philosopher first drew breath under itsroof. A little out of the town is Ferney, theresidence of Voltaire;where that wonderful, though certainly in many respects contemptible,character, received, like the hermits of old, the visits of pilgrims,notonly from his own nation, but from the farthest boundaries ofEurope. Here too is Bonnet's abode, and, a few steps beyond, the houseof that astonishing womanMadame de Stael: perhaps the first of hersex, who has really proved its often claimed equality with, the noblerman. We have before had women who have writteninteresting novels andpoems, in which their tact at observing drawing-room characters hasavailed them; but never since the days of Heloise have thosefacultieswhich are peculiar to man, been developed as the possible inheritanceof woman. Though even here, as in the case of Heloise, our sex havenot beenbackward in alledging the existence of an Abeilard in theperson of M. Schlegel as the inspirer of her works. But to proceed:upon the same side of the lake,Gibbon, Bonnivard, Bradshaw, andothers mark, as it were, the stages for our progress; whilst upon theother side there is one house, built by Diodati, the friend ofMilton,which has contained within its walls, for several months, that poetwhom we have so often read together, and who--if human passions remainthe same, andhuman feelings, like chords, on being swept by nature'simpulses shall vibrate as before--will be placed by posterity in thefirst rank of our English Poets. You musthave heard, or the ThirdCanto of Childe Harold will have informed you, that Lord Byron residedmany months in this neighbourhood. I went with some friends afew daysago, after having seen Ferney, to view this mansion. I trod the floorswith the same feelings of awe and respect as we did, together, thoseofShakespeare's dwelling at Stratford. I sat down in a chair of thesaloon, and satisfied myself that I was resting on what he had madehis constant seat. I found aservant there who had lived with him;she, however, gave me but little information. She pointed out hisbed-chamber upon the same level as the saloon anddining-room, andinformed me that he retired to rest at three, got up at two, andemployed himself a long time over his toilette; that he never went tosleepwithout a pair of pistols and a dagger by his side, and that henever ate animal food. He apparently spent some part of every day uponthe lake in an English boat.There is a balcony from the saloon whichlooks upon the lake and the mountain Jura; and I imagine, that it musthave been hence, he contemplated the storm somagnificently describedin the Third Canto; for you have from here a most extensive view ofall the points he has therein depicted. I can fancy him like thescathedpine, whilst all around was sunk to repose, still waking toobserve, what gave but a weak image of the storms which had desolatedhis own breast.  The sky ischanged!--and such a change; Oh, night!  And storm and darkness, ye are wond'rous strong,  Yet lovely in your strength, as is the light  Of a dark eye in woman!Far along  From peak to peak, the rattling crags among,  Leaps the lire thunder! Not from one lone cloud,  But every mountain now hath found a tongue,  AndJura answers thro' her misty shroud,  Back to the joyous Alps who call to her aloud!  And this is in the night:--Most glorious night!  Thou wer't not sent forslumber! let me be  A sharer in thy far and fierce delight,--  A portion of the tempest and of me!  How the lit lake shines a phosphoric sea,  And the big rain cometdancing to the earth!  And now again 'tis black,--and now the glee  Of the loud hills shakes with its mountain mirth,  As if they did rejoice o'er a young;earthquake's birth,  Now where the swift Rhine cleaves his way between  Heights which appear, as lovers who have parted  In haste, whose mining depths sointervene,  That they can meet no more, tho' broken hearted;  Tho' in their souls which thus each other thwarted,  Love was the very root of the fond rage  Whichblighted their life's bloom, and then departed--  Itself expired, but leaving; them an age  Of years all winter--war within themselves to wage.I went down to thelittle port, if I may use the expression, whereinhis vessel used to lay, and conversed with the cottager, who had thecare of it. You may smile, but I have mypleasure in thus helping mypersonification of the individual I admire, by attaining to theknowledge of those circumstances which were daily around him. Ihavemade numerous enquiries in the town concerning him, but can learnnothing. He only went into society there once, when M. Pictet took himto the house of alady to spend the evening. They say he is a verysingular man, and seem to think him very uncivil. Amongst other thingsthey relate, that having invited M. Pictetand Bonstetten to dinner,he went on the lake to Chillon, leaving a gentleman who travelled withhim to receive them and make his apologies. Another evening,beinginvited to the house of Lady D---- H----, he promised to attend,but upon approaching the windows of her ladyship's villa, andperceiving the room to be fullof company, he set down his friend,desiring him to plead his excuse, and immediately returned home. Thiswill serve as a contradiction to the report which you tellme iscurrent in England, of his having been avoided by his countrymen onthe continent. The case happens to be directly the reverse, as he hasbeen generallysought by them, though on most occasions, apparentlywithout success. It is said, indeed, that upon paying his first visitat Coppet, following the servant who hadannounced his name, he wassurprised to meet a lady carried out fainting; but before he had beenseated many minutes, the same lady, who had been so affectedat thesound of his name, returned and conversed with him a considerabletime--such is female curiosity and affectation! He visited Coppetfrequently, and ofcourse associated there with several of hiscountrymen, who evinced no reluctance to meet him whom his enemiesalone would represent as an outcast.Though Ihave been so unsuccessful in this town, I have been morefortunate in my enquiries elsewhere. There is a society three or fourmiles from Geneva, the centre ofwhich is the Countess of Breuss, aRussian lady, well acquainted with the agrémens de la Société, and whohas collected them round herself at her mansion.It was chiefly here,I find, that the gentleman who travelled with Lord Byron, asphysician, sought for society. He used almost every day to cross thelake byhimself, in one of their flat-bottomed boats, and return afterpassing the evening with his friends, about eleven or twelve at night,often whilst the storms wereraging in the circling summits of themountains around. As he became intimate, from long acquaintance, withseveral of the families in this neighbourhood, I havegathered fromtheir accounts some excellent traits of his lordship's character,which I will relate to you at some future opportunity. I must,however, free him fromone imputation attached to him--of having inhis house two sisters as the partakers of his revels. This is, likemany other charges which have been brought againsthis lordship,entirely destitute of truth. His only companion was the physician Ihave already mentioned. The report originated from the followingcircumstance: Mr.Percy Bysshe Shelly, a gentleman well known forextravagance of doctrine, and for his daring, in their profession,even to sign himself with the title of ATHeos inthe Album atChamouny, having taken a house below, in which he resided with Miss M.W. Godwin and Miss Clermont, (the daughters of the celebrated Mr.Godwin)they were frequently visitors at Diodati, and were often seenupon the lake with his Lordship, which gave rise to the report, thetruth of which is here positivelydenied.Among other things which the lady, from whom I procured theseanecdotes, related to me, she mentioned the outline of a ghost storyby Lord Byron. Itappears that one evening Lord B., Mr. P. B. Shelly,the two ladies and the gentleman before alluded to, after havingperused a German work, which was entitledPhantasmagoriana, beganrelating ghost stories; when his lordship having recited the beginningof Christabel, then unpublished, the whole took so strong a holdofMr. Shelly's mind, that he suddenly started up and ran out of theroom. The physician and Lord Byron followed, and discovered himleaning against amantle-piece, with cold drops of perspirationtrickling down his face. After having given him something to refreshhim, upon enquiring into the cause of his alarm,they found that hiswild imagination having pictured to him the bosom of one of the ladieswith eyes (which was reported of a lady in the neighbourhood wherehelived) he was obliged to leave the room in order to destroy theimpression. It was afterwards proposed, in the course of conversation,that each of the companypresent should write a tale depending uponsome supernatural agency, which was undertaken by Lord B., thephysician, and Miss M. W. Godwin.[1] My friend, thelady abovereferred to, had in her possession the outline of each of thesestories; I obtained them as a great favour, and herewith forward themto you, as I wasassured you would feel as much curiosity as myself,to peruse the ebauches of so great a genius, and those immediatelyunder his influence.\"[1] Since publishedunder the title of \"Frankenstein; or, The ModernPrometheus.\"                             THE VAMPYRE.  ________________________________________________________________                            INTRODUCTION.                              __________THE superstition upon which this tale is founded is very general inthe East.Among the Arabians it appears to be common: it did not,however, extend itself to the Greeks until after the establishment ofChristianity; and it has only assumed"}
+{"doc_id":"doc_354","qid":"","text":"The Project Gutenberg EBook of The Defenders, by Philip K. DickThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The DefendersAuthor: Philip K. DickIllustrator: Ed EmshwillerRelease Date: May 12, 2009 [EBook #28767]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK THE DEFENDERS ***Produced by Greg Weeks, Stephen Blundell and the OnlineDistributed Proofreading Team athttp://www.pgdp.netThe DefendersBy PHILIP K. DICKIllustrated by EMSH    _No weapon has ever been frightful enough to put a stop to    war--perhaps becausewe never before had any that thought for    themselves!_[Illustration]Taylor sat back in his chair reading the morning newspaper. The warmkitchen and the smellof coffee blended with the comfort of not havingto go to work. This was his Rest Period, the first for a long time, andhe was glad of it. He folded the secondsection back, sighing withcontentment.\"What is it?\" Mary said, from the stove.\"They pasted Moscow again last night.\" Taylor nodded his head inapproval. \"Gave ita real pounding. One of those R-H bombs. It's abouttime.\"He nodded again, feeling the full comfort of the kitchen, the presenceof his plump, attractive wife, thebreakfast dishes and coffee. This wasrelaxation. And the war news was good, good and satisfying. He couldfeel a justifiable glow at the news, a sense of pride andpersonalaccomplishment. After all, he was an integral part of the war program,not just another factory worker lugging a cart of scrap, but atechnician, one ofthose who designed and planned the nerve-trunk of thewar.\"It says they have the new subs almost perfected. Wait until they get_those_ going.\" He smacked hislips with anticipation. \"When they startshelling from underwater, the Soviets are sure going to be surprised.\"\"They're doing a wonderful job,\" Mary agreedvaguely. \"Do you know whatwe saw today? Our team is getting a leady to show to the schoolchildren. I saw the leady, but only for a moment. It's good forthechildren to see what their contributions are going for, don't youthink?\"She looked around at him.\"A leady,\" Taylor murmured. He put the newspaper slowlydown. \"Well,make sure it's decontaminated properly. We don't want to take anychances.\"\"Oh, they always bathe them when they're brought down from thesurface,\"Mary said. \"They wouldn't think of letting them down without the bath.Would they?\" She hesitated, thinking back. \"Don, you know, it makesmeremember--\"He nodded. \"I know.\"       *       *       *       *       *He knew what she was thinking. Once in the very first weeks of the war,before everyone hadbeen evacuated from the surface, they had seen ahospital train discharging the wounded, people who had been showeredwith sleet. He remembered the waythey had looked, the expression ontheir faces, or as much of their faces as was left. It had not been apleasant sight.There had been a lot of that at first, in theearly days before thetransfer to undersurface was complete. There had been a lot, and ithadn't been very difficult to come across it.Taylor looked up at his wife.She was thinking too much about it, thelast few months. They all were.\"Forget it,\" he said. \"It's all in the past. There isn't anybody upthere now but the leadys,and they don't mind.\"\"But just the same, I hope they're careful when they let one of themdown here. If one were still hot--\"He laughed, pushing himself awayfrom the table. \"Forget it. This is awonderful moment; I'll be home for the next two shifts. Nothing to dobut sit around and take things easy. Maybe we can take ina show. Okay?\"\"A show? Do we have to? I don't like to look at all the destruction, theruins. Sometimes I see some place I remember, like San Francisco.Theyshowed a shot of San Francisco, the bridge broken and fallen in thewater, and I got upset. I don't like to watch.\"\"But don't you want to know what's goingon? No human beings are gettinghurt, you know.\"\"But it's so awful!\" Her face was set and strained. \"Please, no, Don.\"Don Taylor picked up his newspapersullenly. \"All right, but thereisn't a hell of a lot else to do. And don't forget, _their_ cities aregetting it even worse.\"She nodded. Taylor turned the rough, thinsheets of newspaper. His goodmood had soured on him. Why did she have to fret all the time? They werepretty well off, as things went. You couldn't expect tohave everythingperfect, living undersurface, with an artificial sun and artificialfood. Naturally it was a strain, not seeing the sky or being able to goany place orsee anything other than metal walls, great roaringfactories, the plant-yards, barracks. But it was better than being onsurface. And some day it would end andthey could return. Nobody_wanted_ to live this way, but it was necessary.He turned the page angrily and the poor paper ripped. Damn it, the paperwas gettingworse quality all the time, bad print, yellow tint--Well, they needed everything for the war program. He ought to know that.Wasn't he one of the planners?Heexcused himself and went into the other room. The bed was stillunmade. They had better get it in shape before the seventh hourinspection. There was a one unitfine--The vidphone rang. He halted. Who would it be? He went over and clickedit on.\"Taylor?\" the face said, forming into place. It was an old face, grayand grim.\"This is Moss. I'm sorry to bother you during Rest Period, butthis thing has come up.\" He rattled papers. \"I want you to hurry overhere.\"Taylor stiffened. \"What isit? There's no chance it could wait?\" Thecalm gray eyes were studying him, expressionless, unjudging. \"If youwant me to come down to the lab,\" Taylorgrumbled, \"I suppose I can.I'll get my uniform--\"\"No. Come as you are. And not to the lab. Meet me at second stage assoon as possible. It'll take you about a halfhour, using the fast carup. I'll see you there.\"The picture broke and Moss disappeared.       *       *       *       *       *\"What was it?\" Mary said, at the door.\"Moss.He wants me for something.\"\"I knew this would happen.\"\"Well, you didn't want to do anything, anyhow. What does it matter?\" Hisvoice was bitter. \"It's all thesame, every day. I'll bring you backsomething. I'm going up to second stage. Maybe I'll be close enough tothe surface to--\"\"Don't! Don't bring me anything! Notfrom the surface!\"\"All right, I won't. But of all the irrational nonsense--\"She watched him put on his boots without answering.       *       *       *       *       *Mossnodded and Taylor fell in step with him, as the older man strodealong. A series of loads were going up to the surface, blind carsclanking like ore-trucks up theramp, disappearing through the stagetrap above them. Taylor watched the cars, heavy with tubular machineryof some sort, weapons new to him. Workers wereeverywhere, in the darkgray uniforms of the labor corps, loading, lifting, shouting back andforth. The stage was deafening with noise.\"We'll go up a way,\" Mosssaid, \"where we can talk. This is no place togive you details.\"They took an escalator up. The commercial lift fell behind them, andwith it most of the crashing andbooming. Soon they emerged on anobservation platform, suspended on the side of the Tube, the vast tunnelleading to the surface, not more than half a mileabove them now.\"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a longway down.\"Moss laughed. \"Don't look.\"They opened a door and enteredan office. Behind the desk, an officerwas sitting, an officer of Internal Security. He looked up.\"I'll be right with you, Moss.\" He gazed at Taylor studying him.\"You'rea little ahead of time.\"\"This is Commander Franks,\" Moss said to Taylor. \"He was the first tomake the discovery. I was notified last night.\" He tapped aparcel hecarried. \"I was let in because of this.\"Franks frowned at him and stood up. \"We're going up to first stage. Wecan discuss it there.\"\"First stage?\" Taylorrepeated nervously. The three of them went down aside passage to a small lift. \"I've never been up there. Is it allright? It's not radioactive, is it?\"\"You're likeeveryone else,\" Franks said. \"Old women afraid of burglars.No radiation leaks down to first stage. There's lead and rock, and whatcomes down the Tube isbathed.\"\"What's the nature of the problem?\" Taylor asked. \"I'd like to knowsomething about it.\"\"In a moment.\"They entered the lift and ascended. When theystepped out, they were ina hall of soldiers, weapons and uniforms everywhere. Taylor blinked insurprise. So this was first stage, the closest undersurface level tothetop! After this stage there was only rock, lead and rock, and the greattubes leading up like the burrows of earthworms. Lead and rock, andabove that, wherethe tubes opened, the great expanse that no livingbeing had seen for eight years, the vast, endless ruin that had oncebeen Man's home, the place where he hadlived, eight years ago.Now the surface was a lethal desert of slag and rolling clouds. Endlessclouds drifted back and forth, blotting out the red Sun.Occasionallysomething metallic stirred, moving through the remains of a city,threading its way across the tortured terrain of the countryside. Aleady, a surfacerobot, immune to radiation, constructed with feverishhaste in the last months before the cold war became literally hot.Leadys, crawling along the ground, movingover the oceans or through theskies in slender, blackened craft, creatures that could exist where no_life_ could remain, metal and plastic figures that waged awar Man hadconceived, but which he could not fight himself. Human beings hadinvented war, invented and manufactured the weapons, even invented theplayers,the fighters, the actors of the war. But they themselves couldnot venture forth, could not wage it themselves. In all the world--inRussia, in Europe, America,Africa--no living human being remained. Theywere under the surface, in the deep shelters that had been carefullyplanned and built, even as the first bombsbegan to fall.It was a brilliant idea and the only idea that could have worked. Upabove, on the ruined, blasted surface of what had once been a livingplanet, theleady crawled and scurried, and fought Man's war. Andundersurface, in the depths of the planet, human beings toiled endlesslyto produce the weapons tocontinue the fight, month by month, year byyear.       *       *       *       *       *\"First stage,\" Taylor said. A strange ache went through him. \"Almost tothesurface.\"\"But not quite,\" Moss said.Franks led them through the soldiers, over to one side, near the lip ofthe Tube.\"In a few minutes, a lift will bring somethingdown to us from thesurface,\" he explained. \"You see, Taylor, every once in a while Securityexamines and interrogates a surface leady, one that has been abovefor atime, to find out certain things. A vidcall is sent up and contact ismade with a field headquarters. We need this direct interview; we can'tdepend on vidscreencontact alone. The leadys are doing a good job, butwe want to make certain that everything is going the way we want it.\"Franks faced Taylor and Moss andcontinued: \"The lift will bring down aleady from the surface, one of the A-class leadys. There's anexamination chamber in the next room, with a lead wall in thecenter, sothe interviewing officers won't be exposed to radiation. We find thiseasier than bathing the leady. It is going right back up; it has a jobto get back"}
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+{"doc_id":"doc_0","qid":"","text":"Project Manager: Can I close this ?User Interface: Uh we don't have any changes , do we ?Project Manager: Oh , okay .User Interface: So no .{vocalsound}Project Manager: {vocalsound} There we go . Okay , here we are again . Detailed design {disfmarker} oh , come on . Well {disfmarker} Ah {gap} sForgot to insert the minutes , but it's about the same thing we discussed before . Uh {disfmarker} Could open that anyway , think . Other design {disfmarker}anyway , we took as {disfmarker} we took w we took rubber as as the material last time . We also {gap} that you're just busy with it . Took the advanced chip tot uh implement the advanced features . Well , we discussed the design , no sharp corners , we rounded it off , like you see on the {gap} other screen , which isfine . Um {gap} we agreed that the colour should be b uh yellow and black . Yellow in the back because it's m trendy , more trendy than black anyway . So{vocalsound} then we ca yeah . We agreed that we would implement both the L_C_D_ and speech recognition , but I'll get to that in a moment . 'Cause somechanges in the finances have left us implications anyway . So so , like I said , we had no insight in finances , no prices ,Marketing: Hmm .Project Manager: but wehave 'em now , and it's bad . Anyway . We are Oh . Prototype presentation , well first you guys built the prototype . So {vocalsound} you could {gap}{disfmarker} could present that . But um let's see what be handy to do . Nee {disfmarker} no , you just go ahead and present the {disfmarker} w we'll scrap itlater because {disfmarker} {gap} What ?Industrial Designer: I think it's more or less the same as we had .User Interface: It's basically what we agreed upon,Marketing: Hmm ?Project Manager: Oh that'sUser Interface: but just a little bit more specified .Industrial Designer: No much sProject Manager: hasn't changedthat much , huh ?Industrial Designer: No no no , not at all .Project Manager: I didn't expect anyway {gap} . You just coloured it . {vocalsound}User Interface: Uhs Final design . {vocalsound} Basically in {gap} {disfmarker} what we discussed , cover and buttons will be made of rubber , yellow colour , black components ,as you can see right over here .Project Manager: Mm-hmm . I like the menu .User Interface: We chose a different type of colour for the menu . A bit darkeryellow so that it com really shows in this keypad .Project Manager: Mm-hmm .User Interface: If you put them all black , it's not really that good a contrast.Project Manager: And I suppose the the the yellow is not printed on the on the rubber . It's it's part of the rubber , I suppose .User Interface: So {disfmarker}ProbabProject Manager: I think that's more I think that's more durable anyway than printed on to {disfmarker}User Interface: Yeah . That's the beIndustrialDesigner: Hmm .User Interface: And it {disfmarker} I guess it's more easier to just paint it on the rubberIndustrial Designer: Yeah , of course .User Interface:than to uh {disfmarker}Industrial Designer: That's uh the integration story again .Marketing: Mm yeah . Okay .User Interface: So we have it's a bit round shaped,Project Manager: {vocalsound} Oh yeah .User Interface: that's what we had uh {disfmarker} We chose the buttons to be uh teletext , okay button , favouritechannel and the mute .Project Manager: Mm-hmm .User Interface: So that's basically what we chose there .Project Manager: Okay .User Interface: If you haveanything to add , please interrupt me .Industrial Designer: No , uh this is just a description of what we see there .Project Manager: Yeah .Industrial Designer: So{disfmarker}User Interface: {vocalsound} Oh .Industrial Designer: Speaks for itself .Marketing: Yeah .User Interface: That's pretty much it .Project Manager:{vocalsound} Okay . Now it's my time to ruin everything . Well , not ruin everything , but {disfmarker} no , nah .User Interface: Oh sorry . {vocalsound}ProjectManager: Finances , that's what we have here , what you drew . We have battery power , we have advanced chips and the sam the sensor . The sample sensorand uh {disfmarker} for speak recognition anyway . So which {disfmarker} you see the {disfmarker} which is de o one of the most expensive parts . So{disfmarker} well , we have sin one curve , {vocalsound} a design . Rubber design . And we had a special colour . Suppose yellow is a special colour . So just halfa Euro for {gap} {disfmarker} You have pushbuttons and an L_C_D_ display . You have the total of seventeen Euros in production cost ,Industrial Designer:Hmm .Project Manager: which is higher than the twelve and a half that we are permitted to use . So ,Marketing: Hmm .Project Manager: easy . What do we scrap. Well think I had the best solution that I came up with is just to s take out the speech recognition .Industrial Designer: I dUser Interface: I'd say that too.Industrial Designer: Yeah .Project Manager: Because the L_C_D_ has more support on customer side .Industrial Designer: Hmm .Project Manager: There areninety one percent of uh the people , or something like that . But ninety percent who favour an L_C_D_ display , and only sixty percent that favour speechrecognition . I think it's also harder to {disfmarker}User Interface: Uh we don't really have a extra function with the speech sample ,Marketing: Yeah .UserInterface: which you can't do with a normal remote control ,Industrial Designer: Hmm .Project Manager: {gap} . So I juUser Interface: which people already do .So {disfmarker}Project Manager: I took that out . So {disfmarker} and so it's still stuck with thirteen , so I had to take out the special colour I suppose . And ,yeah , I didn't see anything else I could take out . Yeah , I could take out the push-buttons ,Marketing: PushbutProject Manager: but we need those . So ,generally what I came up with , in order to be cou to to have production cost of twelve and a half Euros , spe scrap speech recognitionIndustrial Designer: Huh .{vocalsound} {vocalsound}Marketing: Special colour , yeah .Project Manager: and the separate covers can account for the {disfmarker} if people want it , we'lljust {disfmarker} then we'll do it in black . We'll just deliver it in black , have the {disfmarker} it has all the function that it's supposed to have , and if you want it{disfmarker} if you want the custom design , then you can buy the separate covers .User Interface: Well ,Project Manager: You make it d orange or whatever youwant .User Interface: I'd {disfmarker} I tend to disagree with you on that , because the trend issue was a big issue when we started designing this .ProjectManager: It was a big issue , but {disfmarker}User Interface: So can't we just basically extend it to thirteen ?Project Manager: I'll just go back . Uh let's just{disfmarker} let's see what {disfmarker} okay , let's just see what we {disfmarker} no , we we have to be under twelve and a half .Marketing: Yeah , it{disfmarker}Project Manager: It {disfmarker} it's not {disfmarker}Marketing: The pProject Manager: uh the project is a no-go if we go over twelve and a half,Industrial Designer: Okay , but there's another problem .Marketing: And the pProject Manager: so .User Interface: Okay .Industrial Designer: But there'sanother problem .Marketing: What {disfmarker}Industrial Designer: If we take another cover , for instance black , then we also need another button frame ,'cause black and black doesn't work obviously .Project Manager: I think you {disfmarker} that's what you were ass assigned to do really , to to see how b th boththose work together .Industrial Designer: Huh . Huh . Yeah .Project Manager: So I think {disfmarker} yeah , it's {disfmarker} I think it's y one of the{disfmarker} it's a good way to um to help people uh to make {disfmarker} to keep the product trendy too .Industrial Designer: Hmm .Project Manager: Justkeep {disfmarker} you just make new covers for the {disfmarker} for it ,Industrial Designer: Hmm .Project Manager: like we agreed before .Industrial Designer:Right . I agree .Project Manager: And everything that's left is is the basic function that uh that we want our product to have . Because the expensive parts are ineither the advanced chip . But we need that for the L_C_D_ display .User Interface: Yeah . We do .Industrial Designer: Mm-hmm .Project Manager: Then again ,we have the L_C_D_ display , which is also expensive . B yeah , but those go together . And yeah , we could take out the curve .Industrial Designer: Or say let'slose rubber , take plastic .User Interface: We could take out a curve indeed .Project Manager: Could {disfmarker} we could take out the curve . Is that an option?Industrial Designer: Yes .Marketing: {gap} .Project Manager: For you ?Industrial Designer: Although we are demolishing a little bit the style .Marketing: But uhthe {disfmarker} and {disfmarker}User Interface: I think the colour is more important than the really the curve ,Project Manager: Yeah .Industrial Designer: But{disfmarker}Project Manager: {vocalsound}User Interface: because if you just end up with an entirely black remote control {disfmarker}Project Manager: I thinkit's {disfmarker} it it does ruin it ,Marketing: Yeah . The people {disfmarker}Project Manager: but the fact that I t took that decision or tIndustrial Designer: Yeah.Project Manager: Took this example actually , not really decision , but the example is because we do offer the um {vocalsound} the possibility of adding yourown custom covers . So you can change {gap} any colour you want . So it's just you deliver a basic remote control with a possibility to change you into whateveryou want .Industrial Designer: Can we then not also uh change the material ? We take plastic for the basic coverProject Manager: You can take plastic ,IndustrialDesigner: and {disfmarker}Project Manager: but I d it's something that's stuck into my mind is that {disfmarker} something that really came forward from themarketing research is that people like the the the the squishy feeling of {disfmarker} the spongy feeling of the {disfmarker}Marketing: Spongy , yeah .IndustrialDesigner: We can put those to the to the other covers .Project Manager: and it really makes it {disfmarker} also makes it different from the existing remotecontrols ,Marketing: Yeah .Project Manager: because they're all plastic .Marketing: And {disfmarker}Project Manager: So which in in turn {disfmarker}{vocalsound}Industrial Designer: That's true .Project Manager: Rubber would increase durabilityIndustrial Designer: But {disfmarker}Project Manager: becauseit doesn't break .Industrial Designer: okay . But what do you then suggest we'd lose ? Because we have to lose two things and {disfmarker} I guess .ProjectManager: I al like I said , I lost the speech recognition and I lost the special colour ,Marketing: But {disfmarker} {vocalsound}Industrial Designer: Yes .ProjectManager: which would make this black a black and grey .Industrial Designer: Okay , and that's enough ?Project Manager: Yeah , that's that that that's enough ,becauseUser Interface: So black and grey is okay .Project Manager: I guess those are the basic colours .Marketing: But {disfmarker}Project Manager: So{disfmarker} Oh .User Interface: {vocalsound} Which we can fabricate ,Industrial Designer: Hmm .Project Manager: I think those are basic col They want to{disfmarker}User Interface: okay .Marketing: The people want to pay for for it , so why why uh {vocalsound} do we have to keep us uh uh um on the twelve and"}
+{"doc_id":"doc_1","qid":"","text":"Project Manager: Is that alright now ? {vocalsound} Okay . Sorry ? Okay , everybody all set to start the meeting ? Okay , we've got half an hour for this one umto uh discuss the um functional design .Marketing: Could you plug me in ?User Interface: {vocalsound}Marketing: {vocalsound} Okay . Thanks .Project Manager:All ready to go ? Okay .Marketing: Okay . {vocalsound}Project Manager: Um so hopefully you've all been working away , and I've put the minutes of the lastmeeting in the project folder . Um so I guess just to to recap on uh what we did last time . Um kind of uh got to know each other a little bit and uh got familiarwith all the equipment and started to discuss um a bit about the project , you know , cost-wise how much how much money we had to s Um just want to tell youthat you have three new requirements , which is the {disfmarker} The first one {vocalsound} is that um uh the company's decided that teletext is outdated uhbecause of how popular the internet is . Nobody uses teletext very much anymore , so we don't really need to consider that in the functionality of the{disfmarker} of the remote control .Marketing: 'Kay .Project Manager: Um they've also suggested that we um we only use the remote control to control thetelevision , not the V_C_R_ , D_V_D_ or anything else . I think the worry is that if the project becomes too complex then it'll affect um how long it takes us to getit into into production , the time to market . So um , we're just gonna keep it simple and it'll just control the T_V_ .Marketing: Okay .Project Manager: And theother thing was that the company want the corporate colour and slogan to be implemented in the new design . Um I'm not entirely sure what the corporate colouris . It might be yellow , because there seems to be a lot of yellow everywhere .Marketing: And the slogan , like the actual written slogan , or just to embody theidea of the slogan ?Project Manager: Well that's the thing , I'm I'm not sure um {vocalsound} uh th because on the the company website , uh what does it say{disfmarker} Uh something {disfmarker}Marketing: 'Bout putting the fashion in electronics .Industrial Designer: Mm yeah .Project Manager: Yeah , I mean dothey {disfmarker} {vocalsound} Is that something they want actually written on it , 'cause it's quite long . Um or yeah , just the idea , but I'm not sure . So that'ssomething we can discuss as well . So those are the three things , just not to worry about teletext , uh only control the T_V_ , and um and uh incorporate the uhcolour and slogan of the company . Um so is everybody okay with any of that , or do you want me to recap at all ?Industrial Designer: Nope , we're all set .ProjectManager: Right um , time for presentations then . Who would like to go first ?User Interface: {vocalsound} I'll go first .Project Manager: Okay , cool .Marketing:Sure .User Interface: Alright um , can I st steal this from the back of your laptop ? Uh {disfmarker}Project Manager: Oh yeah , of course , yeah . G go on ahead.Marketing: {vocalsound}User Interface: {gap} so this is the technical functions design . Um {vocalsound} {disfmarker} Right {gap} to do the um {vocalsound}the design I have I've had a look online , I've had a look at the homepage , which has given us um some insp inspiration from previous products .ProjectManager: Mm-hmm .User Interface: Um I've had a look at the previous products to see what they offer and um I would like to ask you guys for um {vocalsound}your ideas about the design at the end of the meeting . Um unfortunately we're not allowed to talk outside the meeting room , so {disfmarker}Project Manager:{vocalsound} Okay .Marketing: Right .User Interface: Um , having a look at the existing products , I found out that um it tends to come in sort of two extremes ,there's either um a very complicated one that's got lots of buttons , lots of colours , very confusing , you don't know what you're doing . {vocalsound} Um in thatcase the the labelling tends to be very bad . Um there's an example I'll show you at the end , um {gap} sh show you now . Uh {disfmarker} {vocalsound}ProjectManager: {vocalsound} Alright {gap} .User Interface: {gap} here um the button there and there . This one's prog . Sorry . That one's perg and that one's prog ,and it doesn't really tell you what it does . Um , not sure if you had a a look at the other um control in that example . Um it's a very simple one . It's got only thebasic functions mm but um {vocalsound} it's the same size as the the hard to use one .Project Manager: Oop .User Interface: {vocalsound} Uh it looked a bitclunky . They're very big and not very much use for {gap} buttons . {vocalsound} Um , {vocalsound} and it's just very hard to access the advanced functions .There's there's nothing for instance for a slow motion button . Um , my own preferences , I prefer the the clunky one . Um it's very easy to use . Um butunfortunately it does lack the advanced functions which I I quite like having on the controls . {vocalsound} Um so I believe the the advanced functions shouldmaybe be hidden in a drawer , or something like tha {gap} from the bottom of it . So , {vocalsound} now I'd like to ask for your preferences . Um not sure ofhow long we've got , uh {disfmarker}Project Manager: Um . Well we can chat away for uh for five minutes or so I think at at most .Marketing: Mm-hmm .ProjectManager: Just a couple of minutes anyway .Marketing: M yeah , like a lot of a lot of what I've um read and prepared for this meeting fits in really closely withwhat with what Craig's just gone over . So in part I could I could give you some of my personal preferences but I could also th add some to this which is justabout sort of um sort of market research .Project Manager: Mm-hmm .Marketing: But anyway ,Project Manager: Shall we sh well we'll stick to kind of your areafor now .Marketing: um we might come to that later .Industrial Designer: Which which is the clunky one , the one on left or on the right?. .User Interface:{vocalsound} Um , the clunky one is the one on the right .Industrial Designer: Okay .Project Manager: Yeah .Marketing: Um clunky in what sense , like um hheavier ? Larger ?User Interface: Um I think it's supposed to be the same size , but um it's got much fewer buttons . It's , you know , it's very spreadoutMarketing: I see , so it's more just basic .Project Manager: Looks kind of {disfmarker} Yeah .User Interface: and kind of {disfmarker} you knowMarketing:Right , okay .User Interface: , I get the idea it'd be sort of about this size . {vocalsound} {gap} got very few buttons on it and {disfmarker}Marketing: Yeah.Industrial Designer: {vocalsound}Marketing: Yeah . Sure .Project Manager: Well I think it's a valid point . I mean like the one on the left looks quite um quitecomplicated , and that P_R_T_ p P_R_O_T_ thing is incredibly confusing . Um so I see I see why yo you know you might prefer the simpler design , but yeah youdon't want to lose out on , you know , what it does , so maybe you knowMarketing: Mm-hmm .Project Manager: you know you get a lot of remote controls whereyou kind of flip the thing open ,Industrial Designer: {vocalsound}Project Manager: I think that's a good idea .Marketing: Mm-hmm .Project Manager: I think it's agood idea . {vocalsound}Marketing: Mm-hmm .User Interface: Um , {vocalsound} do we have any functions that um we'd want on it ?Marketing: Mm-hmm .UserInterface: I mean so far I've got um on and off , um switch the channel up and down , and put the volume up and down .Project Manager: Mm-hmm . Uh-huh.User Interface: Um they're just the the very basics you could use for a T_V_ .Project Manager: Uh-huh , and then actual numbers for channels as well , yeah.User Interface: Okay . Um , you say that's a h a required one or a requested one ? Would you likeMarketing: Which was that ?User Interface: um the channelslike the the numbers on thing , um {disfmarker}Marketing: Up {disfmarker} the numbers , or the up down ?Project Manager: God , I wou I would say that'srequired ,Marketing: {vocalsound}Project Manager: I mean there's no way anybody's gonna buy a remote control these days when if you can't actuallyindividually select channels ,Marketing: Yeah .Project Manager: I mean would anybody disagree with that ?Marketing: Yeah .Project Manager: Um , what else , uh{disfmarker} {vocalsound} So don't need to worry about teletext ,Marketing: {vocalsound}Project Manager: don't need to worry about V_C_R_ , uh any kind oflike display controls at all do you think we need to worry about ,Marketing: We don't ? No ?Project Manager: you know like brightness and contrast ?Marketing:Yeah . Well I think I think es essentially what we're doing right now is we're categorising . We're saying well we want this to be a product that offers all the sort ofmore tricky features but we want them to be in another area ?Project Manager: Mm .Marketing: Is that right ?Project Manager: Yeah .Marketing: Is that whatwe're we're doing ?User Interface: Um , yeah .Marketing: We're kind of like sorting them an Or are we actually eliminating things we just don't want the productto have ?User Interface: Um {disfmarker}Project Manager: I think {disfmarker} are you are you maybe kind of thinking what we absolutely have to have andwhat would be nice ?User Interface: Uh , to start with um sort of a bit both , um we need to find out exactly what we have to haveProject Manager: Mm-hmm.User Interface: um and after that we can add things if they're possible .Project Manager: Okay , right . Well , do you wanna maybe just , at this point decide onwhat we absolutely must have as a p as a function of this .Marketing: Yeah .Project Manager: Um , so so far , just to recap you've got volume and channel controland {disfmarker}Marketing: Yep .User Interface: There's um on and off , um volume and channel , and skip to certain channels with the numbers .ProjectManager: Right okay . Um {disfmarker}Marketing: Well , one one way I would look at this um would be that we a approach the different controls in terms of umlike control types , so that for the user it's very clear what they want to do where they go .Project Manager: Mm-hmm yeah .Marketing: Uh and also think maybea little bit about sorta w w what would just wanna be acc easily accessible .Project Manager: OkaMarketing: For example if we had audio controls , those could besomething people set up very rarely . Maybe they're un they're they're they're in a little area but covered up um ,Project Manager: Mm-hmm .Marketing: thingslike channel and volume um are used all the time , so we just have them right out on top , um very just very sort of self-explanatory . Um so maybe we need tothink about having three or more groupings of controls , you know like one which are just the the habitual ones that should be right within your natural grip . Andothers that are uh also availableIndustrial Designer: {vocalsound}Marketing: and then others that are concealed .Project Manager: Okay .Marketing: Somethinglike that .Project Manager: Uh well , just to to wrap up quickly on this this little section {disfmarker} Have I just lost {disfmarker} Oh no . Um , uh do you thinkmaybe that's the only kind of uh essential requirements , and then maybe just things that would be nice if it could do would be things like audio set up anddisplay set up and things like that , maybe like a mute button , that sort of thing . Any of {disfmarker} you anything to add to that at all ?Marketing: Yeah"}
+{"doc_id":"doc_2","qid":"","text":"Marketing: Hello .Project Manager: {gap} . {gap} .Marketing: Yes , I made it . English from now on {vocalsound} . {vocalsound}Industrial Designer:{vocalsound} {gap} . {vocalsound}Marketing: Drawing or {disfmarker}Project Manager: Yeah just testing .Marketing: Yeah .Project Manager: Mm ? English.Industrial Designer: Just kidding .Project Manager: {gap} .Industrial Designer: So annoying .Project Manager: Break is over .Marketing: Ooh it works .ProjectManager: Whoo .Marketing: {vocalsound} Spicy .Project Manager: {vocalsound} Spicy .Marketing: Where are are all the other presentations ?IndustrialDesigner: I just put it in the in the shared folder so it should be {disfmarker}Marketing: The conceptual or {disfmarker}Industrial Designer: yeah I think so .Yeah , conceptual design . What or whatever does it {disfmarker}Marketing: Ah . Because I see only my own presentation {vocalsound} {gap}User Interface:{vocalsound}Industrial Designer: No no no , can you go back one ?Marketing: yeah .Industrial Designer: Uh 'cause it has to be PowerPoint pre yeah componentsdesign , that's it .Marketing: This ? {gap} I'll just put it in there .Project Manager: So , he's coming .Industrial Designer: {gap} . {vocalsound} I did get a bitmore done than the last time ,Marketing: Or not .User Interface: Okay .Project Manager: Oh okay .Industrial Designer: 'cause I knew that I didn't have time so Ijust copy and paste everything into the {disfmarker}User Interface: {vocalsound}Marketing: Ah ,Project Manager: Ah . She {gap} .Marketing: I can't cut andpaste it into the other folder but {disfmarker}Project Manager: You can look at the final report , 'cause I have to record everything we are deciding and such , soI'm trying to write it down between everything else .Marketing: Move to meeting room .Industrial Designer: {vocalsound} Sometimes I have these pop-ups orthese sounds and there's nothing there ,Marketing: Yeah .Project Manager: Oh .Industrial Designer: and also with {disfmarker} I don't know how to usePowerPoint , so it takes me forever to get something done with it .Marketing: Yeah me too , {gap} .User Interface: {vocalsound} I I've got the same problem aswell . {vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: Yeah .Project Manager: Yeah .Marketing: Yeah.Project Manager: Here we go again . Welcome . Uh we have again three presentations and then we have to decide on what concepts the mobile phone has to uh{disfmarker} f the remote control has to support .Industrial Designer: ThiProject Manager: So who wants go .Industrial Designer: Mm-hmm .Marketing: Yes.Project Manager: Yes ?Industrial Designer: Who wants to start ?Marketing: Me first again or {disfmarker}Project Manager: Yeah sure . Doesn't matter .UserInterface: Oh . No . Yeah . No problemMarketing: yeah . Alright . Did you open it already or {disfmarker}Project Manager: No .Marketing: no . Ah . Ah . Yes . Sowelcome to the marketing presentation once again . Um this time about trendwatching . {vocalsound} Uh well there has been inv investigation again , in the inthe remote control market . Uh it shows a number of developments . Uh I will address them uh in a moment . Um fashion watch watchers uh have detected thetrends for young public , because that's our public . Um well fruit and vegetables will be will be the most important theme for clothing , uh shoes and furniture .And the feel of the material is expected to be spongey . So um the developments I will address them {disfmarker}Project Manager: {vocalsound}Marketing: ohyeah well this is the fruit and vegetables looks of fresh bright colours . So to give you an idea . Um well the developments ? Uh development one . {vocalsound}Uh well most important aspect for remote control happens to be a fancy look-and-feel . Instead of the current uh functional look-and-feel . Um well fancy standsfor an original look-and-feel of the case and the interface . And the second most important aspect is that a remote control should be technological uh innovative .Um well it stands for the use of technical features that do not exist in current remote controls . I think we pretty much covered that with our screen and um andspeech recognition ,Industrial Designer: Sound . Yeah yeah uh uh .Marketing: so I don't expect that to be a problem . And the third development um is that theremote control should be easy to use . Um {disfmarker} Well the first aspect uh was twice as important as the second aspect,w which was twice as important asthe third aspect .Project Manager: Mm-hmm .Marketing: So um that kind of gets you this ratios . So fancy look-and-feel uh is the most important uh point ofattention .Project Manager: {gap} .Marketing: Uh so the fruits and vegetables in combination with the spongey material . Um well technolog technologicalinnovation , we've covered that pretty much I guess . Um and easy to use , I don't think that will be problem . So my point of attention is especially this part.Industrial Designer: Yeah .Marketing: That this will be a crux . So that was the marketing uh presentation . I had only one document left .Industrial Designer:And shall I go first ?User Interface: Yeah . No . I I don't mi I don't mind .Industrial Designer: So I {disfmarker}User Interface: That's {disfmarker}ProjectManager: {vocalsound} Yeah yeah sure . No .Marketing: So kind of this {disfmarker}User Interface: Do you want to go first ? Okay .Industrial Designer: Yeah?Marketing: {vocalsound} So a k a small example .User Interface: {vocalsound} Yeah .Marketing: Kind of this this look .User Interface: {vocalsound}Marketing:Uh nothing about the buttons but just sponge kind of thing , and and some fruit and coloursUser Interface: Yeah .Marketing: I dunno . {vocalsound} Just made aquick design .User Interface: {vocalsound}Project Manager: Cool . {vocalsound} Yeah you're just the user interface hmm ?User Interface: It's better than thanmy uh drawing . {vocalsound}Industrial Designer: Alright .Marketing: Alright . {vocalsound}User Interface: Yeah okay but I have to design the{disfmarker}Industrial Designer: Uh components .Project Manager: Yeah layout .User Interface: Yeah .Project Manager: Yeah okay .Industrial Designer: Oh no.Marketing: Yeah . It's okay .Project Manager: You probably opened it .Industrial Designer: Yeah true . Um {disfmarker}Project Manager: F_ five .Marketing: F_five .Industrial Designer: Alright . So {vocalsound}Marketing: {vocalsound}Industrial Designer: I'm dealing with the components design . Um let's see . I uh usedsome design examples we had uh from similar products . And I used uh possibilities from our manufacturing department about current components which willhave to be implemented in the design . That's why I had to , wanted to go first . Well they gave me um an idea about what people want . We're f mainly focusingon this group , but I want to make the distinction clear . Uh I could not drag the pictures into the the slides so s so I don't have examples of how it looks like . Butit comes down to what you uh what you think we should do with the spongey and the fruity looking uh type . If you , the young dynamic people want soft primarycolours uh , which looks like fruits you know , you can {disfmarker} and shapes that are curved and not uh solid straight lines anymore . So this basically umyeah goes on to what you were mentioning earlier . There is a lot of um {vocalsound} factors involved in choosing the components .User Interface:{vocalsound}Project Manager: {vocalsound}Industrial Designer: There's a lot of options that we have to discuss . Uh for example the energy source . we havefour types . The basic battery . Uh we have a hand dynamo , which we yeah we Dutch refer to it as the kneipgatt .Project Manager: Yeah .Industrial Designer: Uhthe kinetic provision of energy which means if you move the thing , if you shake it .Project Manager: {vocalsound}Industrial Designer: Which will be fun fortoddlers right , if they wanna use the {disfmarker}Project Manager: {vocalsound}Marketing: Yeah .Industrial Designer: And uh of course solar cells . But I dunnohow we would use that into the design of the actual product .Marketing: Wi an indoors .Industrial Designer: So uh my {disfmarker}Project Manager: Yeah okay.Marketing: Oh .Project Manager: Calculator's can do it .Industrial Designer: yeah also also in you know countries where there's n isn't much light like inScandinavia , they wouldn't be y able to use it half of the year you know .User Interface: {vocalsound} Yeah .Marketing: {vocalsound} Yeah .Project Manager:Mm-hmm .Industrial Designer: So that's not cool either . So um {vocalsound} for the uh a case , there's uh the traditional uncurved flat hard case . Single curved, which means that it has uh curves in one dimension . Or the double curved . Um {vocalsound} I wasn't able to finish my uh personal preferences sheet , butwell you know that we will have to go for the double curved 'cause it's daring and different from what we have now . Uh the case materials .Marketing: Yeah.Industrial Designer: Well we have all kinds of hard uh materials like the the hard plastic , the wood and the titanium . I would definitely go for rubber 'cause it fitsmost in what people wanna see nowadays .Marketing: Yeah .Industrial Designer: Um poo , this is a lot of text . I wasn't able to organise this yet . We have yeahseveral uh interface designs . Uh we can use a scroll buttons for the menus , but we already kind of decided to go for the f for the pushbuttons , for the the arrowbuttons .User Interface: Yeah . Pushbuttons . Yeah .Industrial Designer: So that's not really interesting .Marketing: Yeah .Industrial Designer: Electronics ? Yeah ,{vocalsound} maybe we wanna decide on what electronics to use {gap} the advanced chip I think is easiest to implement uh for the production , 'cause they theycan print it better . Um {disfmarker} Yeah . I think this is about it . Yeah I was working on some per personal preferences . I first uh chose for the battery , 'causeyeah I'm traditional and that's the most obvious , easiest choice to go to . But I really think that we should maybe uh think about the kinetic energy ,UserInterface: Yeah .Industrial Designer: where you have to move the thing to be able to use it .User Interface: Yeah .Project Manager: Yeah .User Interface: As anoptional uh feature .Marketing: Yeah .User Interface: Or combine uh both with a with one uhProject Manager: Uh I think you can only fit one uh source of energyon the {disfmarker}Industrial Designer: Yeah maybe we {disfmarker}Marketing: I guess we can only choose one .User Interface: Okay .Industrial Designer: Ican imagine that the kinetic uh type energy source would be more expensive to make . But it is more longlasting , that the people don't have to ever buybatteries again .Project Manager: YeahMarketing: Yeah . And it's more fun .Project Manager: I didn't receive any info uh .Industrial Designer: And it's also morefun yeah . I always chuck my uh remote control around , so {disfmarker}Marketing: Yeah , just playing with itProject Manager: Yeah .Marketing: and{disfmarker} especially when the material's rubber . It can be done , I mean , you can't harm it ,Project Manager: S yeah it's safe .User Interface: {vocalsound}And throw it {gap} .Industrial Designer: Yeah y exactly .Marketing: so it's a perfect combination I guess .Industrial Designer: You don't have to be scared about"}
+{"doc_id":"doc_3","qid":"","text":"Grad H: stGrad F: So we 're on .Grad H: Yeah . That 's better .Grad F: And , {comment} somewhere is my agenda . I think the most important thing is Morganwanted to talk about , uh , the ARPA {pause} demo .Professor D: Well , so , here 's the thing . Um , why don't we s again start off with {disfmarker} with , uh ,Yeah , I 'll get it . I 'll get the door . Um , I think we want to start off with the agenda . And then , given that , uh , Liz and Andreas are gonna be {pause} ten ,fifteen minutes late , we can try to figure out what we can do most effectively without them here . So {disfmarker} {vocalsound} So {disfmarker} so , one thingis , yeah , talk about demo ,Grad F: OK . So , uh {disfmarker} uh , IBM transcription status ,Professor D: IBM transcription . Uh , what else ?Grad F: ProfessorD:  What 's SmartKom ? SmartKom ?Grad F: Uh , we wanna talk about if w if we wanna add the data to the mar Meeting Recorder corpus .PhD E: The data . Thedata which we are collecting here .Professor D: What {disfmarker} what {disfmarker} what are we collecting here ?PhD E: Data ?Grad F: So why don't we havethat on the agenda and we 'll {disfmarker} we 'll get to it and talk about it ?PhD E: The SmartKom data ?Professor D: Yeah , right .PhD E: Yeah .Professor D: Uh ,right . Uh .Grad F: Uh , reorganization status .Professor D: Reorganization status .Postdoc A: Oh . Files and directories ?Professor D: Files and directories .Grad F:Yep . Uh - huh . Absinthe , which is the multiprocessor UNIX {disfmarker} Linux . I think it was {pause} Andreas wanted to talk about segmentation andrecognition , and update on SRI recognition experiments .Professor D: Um {disfmarker}Grad F: And then if ti if there 's time I wanted to talk about digits , but itlooked like we were pretty full , so I can wait till next week .Professor D: Right . OK . Well , let 's see . I think the a certainly the segmentation and recognition wewanna maybe focus on when An - Andreas is here since that was particularly his thing .PhD E: And also the SmartKom thing should bProfessor D: SmartKom also, Andreas . Absinthe , I think also he has sort of been involved in a lot of those things .Grad F: At least ,Professor D: Yeah .Grad F: yeah , he 'll t he 'll probably beinterested .Professor D: Yeah .Grad F: But .Professor D: Um So , I mean , I think they 'll be inter I 'll be interested in all this , but {disfmarker} but , uh , probably, if we had to pick something {pause} that we would talk on for ten minutes or so while they 're coming here . Or I guess it would be , you think , reorganizationstatus , or {disfmarker} ?Grad F: Yeah . I mean , I think , Chuck was the one who added out the agenda item . I don't really have anything to say other than thatwe still haven't done it .PhD B: Well , I mean , I uh {disfmarker} {vocalsound} just basically that {disfmarker}Grad F: So .PhD B: maybe I said {disfmarker}maybe we said this before {disfmarker} just that we met and we talked about it and we sort of have a plan for getting things organized and {disfmarker}PostdocA: And I {disfmarker} and I think a crucial part of that is the idea of {disfmarker} of not wanting to do it until right before the next level zero back - up so thatthere won't be huge number of {disfmarker} of added ,PhD B: Right .Postdoc A: uh {disfmarker}Grad F: Right .PhD B: That {disfmarker} that was basically it .Not {disfmarker} not much @ @ {disfmarker}Grad F: Although Dave basically said that if we wanna do it , just tell him and he 'll do a d level zero then .PostdocA: Yeah . Uh - huh . Oh , excellent .Grad F: So .Postdoc A: Oh , good .PhD B: Oh , so maybe we should just go ahead and get everything ready , and{disfmarker}Grad F: Yep . So , I think we do need to talk a little bit about {disfmarker} Well , we don't need to do it during this meeting .PhD B: Yeah .Grad F:We have a little more to discuss . But , uh , we 're {disfmarker} we 're basically ready to do it . And , uh , I have some web pages on ts {comment} more of thebackground . So , naming conventions and things like that , that I 've been trying to keep actually up to date . So . And I 've been sharing them with U - d UWfolks also .Postdoc A: I 'm sorry , you 've been what ? Showing them ?Professor D: OK .Postdoc A: Sharing them .Grad F: Sharing them with the UW folks.Postdoc A: OK . OK .Professor D: OK . Well , maybe uh , since that {disfmarker} that was a pretty short one , maybe we should talk about the IBM transcriptionstatus . Someone can {vocalsound} fill in Liz and Andreas later . UhGrad F: OK . So , we , uh {disfmarker} we did another version of the beeps , where weseparated each beeps with a spoken digit . Chuck came up here and recorded some di himself speaking some digits , and so it just goes \" beep one beep \" andthen the phrase , and then \" beep two beep \" and then the phrase . And that seems pretty good . Um , I think they 'll have a b easier time keeping track of wherethey are in the file .PhD E: And we have done that on the {pause} automatic segmentations .Grad F: And we did it with the automatic segmentation , and I don'tthink {disfmarker} We ne we didn't look at it in detail . We just sent it to IBM . We {disfmarker} we sorta spot - checked it .PhD B: I listened to {pause} probably, uh , five or ten minutes of it from the beginning .PhD E: Yeah .Grad F: Oh , really ?PhD B: Yeah .Grad F: OK .PhD B: And {disfmarker}Grad F: I sorta spot -checked here and there and it sounded pretty good . So . I think it 'll work .Professor D: OK .Grad F: And , uh , we 'll just hafta see what we get back from them .Uh {disfmarker}PhD B: And the main thing will be if we can align what they give us with what we sent them . I mean , that 's the crucial part .Grad F: Right .PhDB: And I think we 'll be able to do that at {disfmarker} with this new beep format .Grad F: Yep . Well , I think it 's also they are much less likely to d have errors.PhD B: Mm - hmm .Grad F: I mean , so the problem wi last time is that there were errors in the transcripts where they put beeps where there weren't any , or{disfmarker} and they put in extraneous beeps .PhD B: Right . Yeah .Grad F: And with the numbers there , it 's much less likely .PhD B: Yeah , one interestingnote is {disfmarker} uh , or problem {disfmarker} I dunno if this was just because of how I play it back , I say , uh , SND - play and then the file , every once in awhile , @ @ {comment} uh , like a beep sounds like it 's cut into two beeps .PhD E: Yeah . Into two pieces .PhD B: Yeah , and I {disfmarker} I dunno if that 's an, uh , artifact of playback {disfmarker}PhD E: Yeah . Yep .PhD B: bu uh , I don't think it 's probably in the original file . Um , but , uh {disfmarker}PhD E: Irecognize that , too . Yeah .Grad F: Ha . That 's interesting . I didn't hear that .PhD B: Yeah . But with this new format , um , that hopefully they 're not hearingthat , and if they are , it shouldn't throw them .PhD E: Yep .PhD B: So .Grad F: Well , maybe we better listen to it again , make sure , but , I mean , certainly thesoftware shouldn't do that ,PhD B: Yeah . That 's what I thought .Grad F: so .Postdoc A: Mm - hmm .PhD B: I it 's probably just , you know , mmm , somehow theaudio {pause} device gets hung for a second ,PhD E: Yeah . Some latency or something .Grad F: Hiccups .PhD E: Yeah ?Postdoc A: As long as they have onenumber , and they know that there 's only one beep maximum {vocalsound} that goes with that number .PhD B: or {disfmarker}PhD E: Yeah .PhD B: Yeah .Right .Grad F: Yeah . The only {disfmarker} the only part that might be confusing is when Chuck is reading digits .PhD B: Right .PhD E: Yep .Postdoc A: Well ,you know , actually , are we having them {disfmarker}PhD B: So {vocalsound} thGrad F: \" Seven four eight beep seven beep {vocalsound} eight three two \".Postdoc A: Yeah , but are we having them do digits ?Grad F: Yes . Because , uh , we don't {disfmarker} we didn't {disfmarker} In order to cut them out we 'dhave to listen to it .PhD B: We {disfmarker} we didn't cut those out .PhD E: Yeah . They are not transcribed yet . So . Yeah .Postdoc A: OK .PhD E: Yeah .Grad F:And we wanted to avoid doing that ,Postdoc A: OK .Grad F: so we {disfmarker} they are transcribing the digits .Postdoc A: OK .PhD B: We can {disfmarker} wecan ignore it when we get it back ,Grad F: Although we could tell them {disfmarker} {comment} {vocalsound} we could tell them , if you hear someone readinga digits string just say \" bracket digit bracket \"PhD B: huh .Grad F: and don't bother actually computing the di writing down the digits .PhD B: Yeah .Postdoc A:That 'd be great . That 'd be what I 'm having the transcribers here do , cuz it can be extracted later .Grad F: Yep . And then I wanted to talk about {disfmarker}but as I said I {disfmarker} we may not have time {disfmarker} what we should do about digits . We have a whole pile of digits that haven't been transcribed.Professor D: Le - let 's talk about it , because that 's {disfmarker} that 's something that I {disfmarker} I know Andreas is less interested in than Liz is ,Grad F:OK .Professor D: so , you know . It 's good {disfmarker}Grad F: Do we have anything else to say about transcription ? About IBM stuff ?PhD B: Uh , Brian{disfmarker} I {disfmarker} I {vocalsound} sent bresset {disfmarker} {vocalsound} {vocalsound} sent Brian a message about {pause} {vocalsound} themeeting and I haven't heard back yet . So . I g hope he got it and hopefully he 's {disfmarker}Grad F: OK .Postdoc A: Hmm .PhD B: maybe he 's gone , I dunno .He didn't even reply to my message . So . I should probably ping him just to make sure that he got it . Grad F: Alright . So , we have a whole bunch of digits , ifwe wanna move on to digits .Professor D: Actually , maybe I {disfmarker} One {disfmarker} one relate more related thing in transcription . So that 's the IBMstuff . We 've got that sorted out . Um , how 're we doing on the {disfmarker} on the rest of it ?Postdoc A: We 're doing well . I {disfmarker} I hire {disfmarker} I've hired two extra people already , expect to hire two more .Grad F: Hmm .Postdoc A: And , um , {vocalsound} I 've prepared , um , uh , a set of five which I 'm{disfmarker} which I 'm calling set two , which are now being edited by my head transcriber , {vocalsound} in terms of spelling errors and all that . She 's alsochecking through and mar and {disfmarker} {vocalsound} and monitoring , um , the transcription of another transcriber . You know , I mean , she 's goingthrough and doing these kinds of checks .Professor D: Uh - huh .Postdoc A: And , I 've moved on now to what I 'm calling set three . I sort of thought if I do it insets {disfmarker} groups of five , then I can have , like , sort of a {disfmarker} a parallel processing through {disfmarker} through the {disfmarker} the current.Professor D: Uh - huh .Postdoc A: And {disfmarker} and you indicated to me that we have a g a goal now , {vocalsound} for the {disfmarker} for the , um ,{nonvocalsound} {vocalsound} the , uh , DARPA demo , of twenty hours . So , I 'm gonna go up to twenty hours , be sure that everything gets processed , andreleased , and {disfmarker} {pause} {comment} and that 's {disfmarker} that 's what my goal is . Package of twenty hours right now , {vocalsound} and thenonce that 's done , move on to the next .Professor D: Yeah , uh , so twenty hours . But I guess the other thing is that , um , that {disfmarker} that 's kindatwenty hours ASAP because the longer before the demo we actually have the twenty hours , the more time it 'll be for people to actually do cool things with it"}
+{"doc_id":"doc_4","qid":"","text":"Project Manager: Mm .Marketing: So ,Project Manager: So , uh now {vocalsound}Marketing: Hi Christa . {vocalsound}Project Manager: it's the {disfmarker}{vocalsound} Hi Sammy . {vocalsound} It's the detail design meeting , so we're going {disfmarker} last meeting . So um , first uh Mark and Rama are going topresent uh the prototype . Uh then uh Sammy will propose some uh crite cr criteria to evaluate this prototype . Then , w we {disfmarker} {vocalsound}UserInterface: {vocalsound} {vocalsound} Yes . {vocalsound}Marketing: {vocalsound} Yes . {vocalsound}Project Manager: {vocalsound} And then we going to dosome finance to see if uh it is uh feasibleUser Interface: And chocolate ? {vocalsound}Project Manager: {vocalsound} and uh at the end we will we will umevaluate ourself as a team . {vocalsound} And that's all . Okay . So first , {vocalsound} let's uh see the prototype .Marketing: Mm .Industrial Designer: Yeah.Project Manager: {vocalsound}Industrial Designer: Uh , here we have our prototype model .Project Manager: Okay . And you have some slides then ?UserInterface: Mm-hmm .Industrial Designer: Yeah . Yeah , we have also some slides .Project Manager: {gap} Yeah . Mm .User Interface: Yes , and place some slides.Project Manager: Okay . Uh so in which uh {disfmarker}User Interface: Uh , participant three . {vocalsound} Prototype .Industrial Designer: In {disfmarker}Yeah .Project Manager: Mm okay . Mm .Industrial Designer: Five .Project Manager: {vocalsound}User Interface: {vocalsound} Uh , so this is our remote control.Industrial Designer: Him .Project Manager: {vocalsound}User Interface: It's a r working prototype . You can use it now by switching all these buttons . So first ,I present as we came to this perfect model ,Project Manager: {vocalsound}User Interface: and then we'll give some technical specifications .Marketing: Yeah.Project Manager: Mm-hmm .User Interface: That's {vocalsound} well {vocalsound} {vocalsound} , so that's that . Please , next slide . We analysed all thefruitsProject Manager: {vocalsound}User Interface: and contacted NASA , and uh made some {vocalsound} real good {disfmarker}Project Manager: MASA ?{vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound}User Interface: Yeah . If you can see this , and the stars are showing that{gap} . And um , {vocalsound} s society will accept that . For sure .Marketing: Mm-hmm .User Interface: {vocalsound} And making some analysis of differentfruits , we choose the ultimate form , ultimate colours , and uh ultimate smell of it . S please , next slide . But we still didn't want to go far from our titanium idea, 'cause it's the most of the moder the m the {gap} modern material we can p select . And it's practical . And it's still say it's for our needs , so please presssomething . And as I said , {vocalsound} it's perfect . {vocalsound}Project Manager: {vocalsound} Okay . {vocalsound} {vocalsound} {vocalsound}UserInterface: {vocalsound} Please press it .Industrial Designer: Experience . ExplanatUser Interface: Everyone is {gap} f really uh really glad to obtain an{disfmarker} {vocalsound} s such a r such a device .Marketing: Such a nice thing . {vocalsound}Industrial Designer: See this {gap} . {vocalsound}UserInterface: So you can touch it with your hands .Marketing: Can I ?User Interface: Sure . Yes . {vocalsound}Industrial Designer: You can {disfmarker}Marketing:Ho-ho . {vocalsound} {vocalsound} {vocalsound} imitating flatulence] {vocalsound}Project Manager: What do you say ? {vocalsound}User Interface:NMarketing: It says {vocalsound} {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} You must say it .Industrial Designer: {vocalsound}Spongy .Marketing: I will uh {disfmarker}Project Manager: {vocalsound} One day .Marketing: I'll buy it . {vocalsound}User Interface: Yeah .{vocalsound}Marketing: If I if I need so . {vocalsound}Project Manager: He {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound}Marketing:Hopefully my daughter will like it . {vocalsound}User Interface: Okay . Y and we got the answer . Uh , it is , yes , of course .Marketing: Yes , of course . Of ccourse . {vocalsound}User Interface: {gap} , please next slide . Um , this is a prototype . You can have a look at it , and {disfmarker} That's all I wanted to say.Marketing: Ah .User Interface: Now it's technical specification by our colleague .Industrial Designer: Hmm .Project Manager: Hmm .Industrial Designer: So{disfmarker}Marketing: Oh , there is {vocalsound} a button missing .Project Manager: {vocalsound}Industrial Designer: Yeah .Marketing: {vocalsound} Okay .{vocalsound}Industrial Designer: This this is really flexible . You can add your buttons .Marketing: It's in option . {vocalsound}Industrial Designer: {vocalsound}Yeah . So function , mm {disfmarker}Project Manager: Mm-hmm .Industrial Designer: {vocalsound} So , as we discussed , we have to switch on switch offwhenever we want . And so , we have buttons and using L_C_D_ , or like you can use this {vocalsound} jog wheel and select which ever option on the L_C_D_ ,and then do on and off . {vocalsound} Then you ha you'll have volume control . So , you you can press these buttons to increase or decrease the volume .ProjectManager: {vocalsound}Industrial Designer: And we have some L_C_D_ controls . Like , m switching the L_C_D_ display if you want to use L_C_D_ , or you don'twant you can just use normal button .Project Manager: Mm-hmm .Industrial Designer: And we have speech recognition . Here you have microphone , and then itdate records your voice , and then it try to recognise .Marketing: Hmm .Project Manager: {vocalsound}Industrial Designer: And it can also do the action .ProjectManager: {vocalsound}Industrial Designer: And location finder . And we want to do the location basically using speech recogniser . You can just say , where is myremote control .Marketing: Mm-hmm .Industrial Designer: Or uh , you can just give some nickname to your remote control , like Bobby {gap} .Project Manager:{vocalsound} Bobby . {vocalsound} Mm-hmm .Marketing: {vocalsound} Hey , babe .Industrial Designer: {vocalsound} And then , {vocalsound} it will say hi .{vocalsound}Marketing: {vocalsound} Bob . {vocalsound} Hey Bob . {vocalsound}Industrial Designer: {vocalsound} Yeah , hi , and then you can use it .{vocalsound}Marketing: Okay ,Project Manager: Hmm . {vocalsound} 'Kay . {vocalsound} {vocalsound} {vocalsound} {vocalsound}Marketing: that's good.Industrial Designer: So , {vocalsound} um our team is now fruits . Mainly strawberry . So , you can {vocalsound} have {disfmarker} {vocalsound}Marketing:{vocalsound} Oh , these are strawberries . {vocalsound}Industrial Designer: And then you can see the look L_C_D_ and all the switches .Project Manager:{vocalsound} Are colourful . Yeah . {vocalsound} {vocalsound} {vocalsound}Industrial Designer: {vocalsound} Material , we want to stick to titanium .{vocalsound} We will send , we want to {disfmarker} {vocalsound}Marketing: {vocalsound} Fruit smelling spongy titanium . {vocalsound} I didn't know it exist ,but that's great .Industrial Designer: Yeah , or s {vocalsound} So , we want to have {vocalsound} simple and perfect shapes , like I shown in these phones . Youcan have your own designs and and you can feel simple designs . {vocalsound} {vocalsound} And you can choose colours on your day for each day , or evenmany colours .Marketing: Ha .Project Manager: Ho-ho . That's for the L_C_D_ or for the titanium ?Marketing: You mean we can change the colour uh ofthIndustrial Designer: For the L_C_D_ .Marketing: Yeah . Yeah okay , for the L_C_D_ .Industrial Designer: With titanium it's {disfmarker} it is silver .Marketing:Tit titanium is {disfmarker}User Interface: We are still working on titanium .Project Manager: Mm-mm .Industrial Designer: Yeah .User Interface: So , r we'llstart with L_C_D_ .Marketing: Uh , okay .Project Manager: {vocalsound}Industrial Designer: Mm , yeah . {vocalsound}User Interface: You can ask Bob . It'sTuesday . {vocalsound}Industrial Designer: Yeah .Project Manager: {vocalsound} Hey , you know you're theme today . {vocalsound}Marketing: {vocalsound}Yeah , Bob , please . {vocalsound} {gap} Tuesday colour . {vocalsound}Industrial Designer: Yeah . Even you can configure your colours for its {disfmarker} the{disfmarker} depending on your mood , or sMarketing: Okay .Project Manager: Hmm .Marketing: Mm-hmm .Project Manager: {vocalsound}Marketing:{vocalsound} Black for Sunday . {vocalsound}Industrial Designer: {vocalsound} And you can have many colours on weekends . Or {disfmarker}{vocalsound}Project Manager: And w wait , wh what are the strawberries for ? {vocalsound} {vocalsound} Wh whIndustrial Designer: Huh ?Marketing: On theL_C_D_ ?Industrial Designer: Ah , these are like sensors .Marketing: Oh .Project Manager: Mm-hmm . {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound} Of course .User Interface: That's location sensors .Marketing: {vocalsound} What do you think ? {vocalsound} Strawberry sensors . {vocalsound}Very useful .Project Manager: Okay . {vocalsound} Strawberries .Industrial Designer: So , {vocalsound}Marketing: {vocalsound} {vocalsound}IndustrialDesigner: after this meeting we'll propose a party for our success for {disfmarker}Project Manager: {vocalsound} Ah . {vocalsound}Marketing: Lounge meeting .{vocalsound}Industrial Designer: {vocalsound} So , if you are vegetarian or you have any options , please let us know .Marketing: {vocalsound}User Interface:Yeah , and we can just {gap} some strawberry first . Um {disfmarker}Industrial Designer: Yeah .Project Manager: {vocalsound} Okay . {vocalsound} Mm-hmm .{vocalsound}Marketing: Alright . Good . {vocalsound}User Interface: Oops .Industrial Designer: SMarketing: So , huh . Interesting . In interesting . Mm mm.Project Manager: {vocalsound} {vocalsound} Uh {disfmarker} {vocalsound}Industrial Designer: So , any specific questions for {disfmarker}Project Manager:we'll see in the financial part if uh {vocalsound} all {vocalsound} {gap} {vocalsound} gets into {disfmarker}User Interface: {vocalsound}Marketing:{vocalsound} It makes sense .Industrial Designer: Yeah . {vocalsound}User Interface: Let's make a party first maybe . {vocalsound} {vocalsound}ProjectManager: {vocalsound} {vocalsound} W Who is the five uh {disfmarker} fifty millions we {vocalsound} first make a party in ?Industrial Designer: Yeah . Thenwe can discuss {disfmarker} We can {disfmarker} {vocalsound} {vocalsound} Yeah , then we can have how much for how money is left .{vocalsound}Marketing: So uh , this is {disfmarker}Project Manager: Mm-hmm .Marketing: What a design .Project Manager: Okay . {vocalsound} Uh , so{disfmarker} Let's uh ,Marketing: {vocalsound} It's my turn .Project Manager: yeah , let's see if uh th it's meet the evaluation criterium .{vocalsound}Marketing: Mm-hmm . Let's see if this {disfmarker} Yeah , if you meet {vocalsound} the evaluation criterion .Industrial Designer: {vocalsound}Yeah . {vocalsound}Project Manager: Oops .Marketing: {vocalsound}Industrial Designer: Fudge .Marketing: Yeah . So , evaluation please . So . You made a very"}
+{"doc_id":"doc_5","qid":"","text":"Industrial Designer: {vocalsound}Marketing: Are you sure I got it all {disfmarker} head's kinda small .User Interface: How're we placed in terms of the{disfmarker}Marketing: Okay . {gap}User Interface: alright .Marketing: We're okay ?Industrial Designer: {vocalsound} Guess I should probably try to sit upstraight .User Interface: {vocalsound}Project Manager: Like that ? Okay , cool .Marketing: We're good ?Industrial Designer: Oh , I think mine's fallen off .UserInterface: It fell {disfmarker} That's why .Marketing: I guess it's gonna be hard to drink coffee .Industrial Designer: {vocalsound}Marketing: Mm .User Interface:{vocalsound}Marketing: Uh okay .User Interface: Ah .Project Manager: Okay ? {vocalsound} Right , so I'm just gonna start this PowerPoint real quick . Yeah ,PowerPoint .Industrial Designer: Wow .User Interface: {vocalsound}Marketing: Very official .Project Manager: Yeah , well , you know , {vocalsound}{vocalsound} {vocalsound} {vocalsound} .Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Yeah I kinda like this I'm kindagetting into it . Right . Um . So just to kick off the meeting basically um so we're working now for a real reaction , this is uh so it {vocalsound} right . Just got anagenda to set out what we're gonna try to accomplish in this particular first meeting . Um {vocalsound} We're gonna just do a quick opening and we canhopefully all get acquainted with one another um then we're gonna start {disfmarker} talk a little bit about tool training . Essentially that means getting used tothe only thing that we haven't tried out yet , the whiteboard . {vocalsound} Um {vocalsound} we've got a general plan for the project how we're gonna go aboutaccomplishing this and then just a bit of discussion close up . Um I {gap} guess you know game or something um {vocalsound} in real life um so yeah basically Iwant to {disfmarker} I'm just gonna {disfmarker} you got {disfmarker} of course you can discuss that , I'm thinking about um {vocalsound} uh proposing thatsince we've got this weird blend of ourselves and our roles that we just don't ask , don't tell . {vocalsound} Um so um if you say something about marketing ,right , sorted , um {vocalsound} y isMarketing: {vocalsound} You're just gonna believe me ,Industrial Designer: {vocalsound}Marketing: we'll go from there.Project Manager: Exactly . Um I meanMarketing: Fair enough .Project Manager: obvi if if you guys {disfmarker} if if at the same time if you {disfmarker} likelogically if something doesn't {disfmarker} like if I'm like we're gonna sell a remote control that's the size of this paper book you know um you say like well thatdoesn't seem like such a good idea because of X_ obviously go with it . I mean we'll discuss it but I'm not gonna ask do you know that or uh yeah it seemslikeMarketing: Prove itProject Manager: {vocalsound} yeah yeah exactlyMarketing: yeah , okay .Project Manager: so , 'cause we're {disfmarker} what we're sortof role playing is y g yeah you're gonna tap into your own knowledge as well {vocalsound} um . And that's the same for your when we do introductions I meanum and you talk about your background you know have fun , you know maybe you went to um {vocalsound} uh you know maybe i you're like in Maine you wentto U_C_S_B_ but you wanna say you went to Harvard or something like that , why not , you knowIndustrial Designer: {vocalsound}Marketing:{vocalsound}Project Manager: you can {disfmarker} this is you know I guess we can have a little bit of fun with it . So are you guys okay with that does thatseem logical ?Industrial Designer: Oh yeah , that's fine .User Interface: Sure .Marketing: Works for me .Project Manager: Sweet . Cool . So I guess that that{vocalsound} we're totally {disfmarker} we're making a remote control which is thrillingIndustrial Designer: Right .Project Manager: um uh but the idea is thatwe can make something based on the whole corporate model I dunno if you guys had time to check the {disfmarker} in real life I dunno if you guys uh{vocalsound} checked the um {vocalsound} uh the corporate website . Um we've got to make something as fashionable as possible , that's kind of the corporatestrategy is we're gonna try to take ordinary stuff that nobody really thinks about and try to make it nice you know like John Lewis nice or you know if you go toDebenham's or something . So um basically we are reinventing the wheel but we wanna try to do it in a user friendly um slick sleek kind of way . {vocalsound}Um way we're gonna go about doing that is basically at first we're gonna start on the basics . And that's where I'm gonna need you guys the User InterfaceDesigners and the um {vocalsound} um the other designer that I can't remember ,Marketing: {vocalsound}Project Manager: the the I_D_ and the U_I_D_ rightum {vocalsound} the Industrial DesignerIndustrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: hey right onalright ,User Interface: Mm .Project Manager: getting into it umMarketing: There you go .Project Manager: to guide me and guide us on this project 'cause you'regonna be {disfmarker} you're g you guys are the bottom you know you're like no you can't do that you can't have you know X_ and Y_ um at the same time .And then um we'll work up from what is necessary to more like what would be good , you know like um {vocalsound} I I think you guys probably got the sameemails I did but the idea of um , yes a coffee pot needs to be able to hold coffee but it's also better if it's not like really cheap glass so that it if you touch it youhurt your hand , or something like that . Um and so we'll work up from there and um then we'll meet on and talk about it and then finally we'll incorporate as kindof the last stage you know where you guys build or tell me {vocalsound} tell us what's possible and then you tell us what we can um hope for and what way to gotake the the the take the basics and make it nicer and then ov obviously uh the U_I_D_ and the I_D_ you know you you can keep on the you know sort of at thecutting edge of how to get about maximising what is possible um to try t of sync it all up . So that's the detailed design . So it's a three stage kind of thing . Umright so for now just for th the white board um basically uh just to get used to it , I haven't tried it yet either um I'm just gonna start and um mm carry like fiveremotes around um and just write down {disfmarker} I'm just gonna write down one of the names of my um desert discs you know if you {disfmarker} if youwere trapped on a desert island and you could only bring five C_D_s along with you name one of them that you could , not all five , if you wanna write all five gofor it but name one of them that you could um . Oh , we skipped introductions . Nice . I'm a excellent Project Manager . Um .Marketing: {vocalsound}ProjectManager: I'm Marty ,Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: um I went to uni at uh U_C_ Santa Barbara and I'm hereworking on a P_H_D_ in psychology . Um yeah . So {disfmarker}Marketing: I'm Sarah , I went to Michigan , and I'm here doing cultural studies and I'm theMarketing Manager or something . Marketing ,Project Manager: Expert {vocalsound}Marketing: yeah Expert . Expert .Project Manager: Don't play yourself down .Expert {vocalsound}User Interface: {vocalsound}Marketing: Fine . That's me .User Interface: I'm Ron . I uh once upon a time studied in Victoria and I am theUser Interface Designer .Industrial Designer: I'm Nathan , I'm from California , and I'm here doing a Masters degree in social anthropology .Project Manager:Where did you go to uni Nathan ?Industrial Designer: {vocalsound} U_C_L_A_ .Project Manager: Oh brilliant . Cool . My little brother goes there .IndustrialDesigner: Yeah . Okay .Project Manager: Right so desert island discs .Marketing: So .Project Manager: Yeah .Marketing: So do we have to wait for you to write itdown or are you gonna tell us ?Project Manager: Well I'll t iMarketing: I'm waiting to know .Project Manager: no no yeah I'm just gonna write a couple of 'emdown . See I'm a big music fan I don't know if you guys are , I'm assuming everybody likes music to some lesser or greater extentMarketing: Uh{disfmarker}Project Manager: but there's some other options , if you're a T_V_ slutMarketing: Fair enough .Project Manager: like I am like Smallville terribletelevision showIndustrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: but I happen to love it ,Marketing: Oh , Smallville .UserInterface: {vocalsound} {vocalsound}Project Manager: it's rubbish but I love it .Marketing: I went to high school with Tom Willing actually .Project Manager: Tthe the main c the main character ?Marketing: The guy . Yeah .Project Manager: Wow . Is he a wanker ?User Interface: {vocalsound}Marketing: Yeah .{vocalsound} Very much so . Hell of a soccer player but a total bastard nonetheless .Project Manager: He looks really tall , like he's gotta be like six six.Marketing: Yeah . He is a big guy . Yeah .Project Manager: Yeah . Um okay so {vocalsound} I really like Jeff Buckley . You guys heard of Jeff Buckley ?IndustrialDesigner: Mm-hmm .Marketing: Mm-hmm .Project Manager: Um that's cool 'cause like not very many people have . Um {vocalsound} and um oh well I might aswell throw a British person in there um you can't go wrong with Radiohead .User Interface: {vocalsound}Project Manager: It's a rMarketing: Good call .ProjectManager: {vocalsound} Okay so it really works just like a pen only makes noises I think . It's kinda weird . AnywayMarketing: Interesting .Project Manager: yeah. Yeah , you're like press and it's {vocalsound} .Marketing: {vocalsound}Project Manager: Kinda cool .Industrial Designer: {vocalsound}Project Manager: You'llsee . Alright so umUser Interface: {vocalsound}Project Manager: whoever wants to get up next , you can write down some telly that you watch or whatever youwant .Marketing: I guess I'll go next then .Project Manager: Right on .User Interface: Go for it .Marketing: Okay . Don't wanna lose all my mikes , plugged in here. Okay . This is basically just pen practice huh ?Project Manager: WMarketing: Okay . Oh you're much taller than me so I'm gonna write down here . Um . Rightnow I'm listening to a lot of somebody nobody's ever heard of , Chris Bathgate ,Project Manager: Mm .Marketing: local Michigan folk singer ,Project Manager:Nice .Industrial Designer: Wow .Marketing: really lameUser Interface: {vocalsound}Marketing: and uh uh what else did I bring with me ? Probably classical , tototally geek it out ,Project Manager: Okay yeah yeah .Marketing: yeah I think . And my family guy D_V_D_sProject Manager: Well yeah .Marketing: but we don'tneed to write that one down .Project Manager: Oh , family guy . Isn't h has hIndustrial Designer: {vocalsound}Project Manager: do you watch the new season?Marketing: No . Are you getting it online ,Project Manager: {vocalsound} I think I'm gonna start downloading itMarketing: or is it on sky ?Project Manager: yeah.Marketing: Yeah , that'd be nice .User Interface: Alright . Think I'm just gonna put down one uh one C_D_ . Anybody ?Project Manager: Mm-mm .IndustrialDesigner: No .User Interface: No ? {gap} no ?Marketing: 'Fraid not .User Interface: Afro beat orchestra , very cool .Project Manager: Afro beat orchestra ? Very"}
+{"doc_id":"doc_6","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): We'll call this meeting to order. Welcome to the fifth meeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic.  Pursuant to the order passed on Monday, April20, the committee is meeting today to consider ministerialannouncements, to allow members of the committee to present petitions, and to question ministers, including the Prime Minister, about the COVID-19 pandemic.Tomorrow, May8, Dr.AndreaMcCrady, Dominion Carillonneur, will give a special recital to mark the 75th anniversary of Victory in Europe Day. Victory in EuropeDay, VE Day, commemorates the formal acceptance of Germany's surrender by allied forces at the end of the Second World War. While the pandemic prevents usfrom gathering to celebrate in person, tomorrow at noon the voice of our nation will ring out in remembrance of this milestone in our history. Today's meeting istaking place by video conference. The proceedings will be made available via the House of Commons website. Just so you are aware, the webcast will alwaysshow the person speaking rather than the entire committee. I would like to remind members that, as in the House of Commons or committee, they should nottake photos of their colleagues or film the proceedings. In order to facilitate the work of the interpreters and to allow the meeting to proceed smoothly, I wouldask you to follow some instructions. The video conference will be interpreted as in normal meetings of committees and in the House. In the lower part of yourscreen, you can choose the language: floor, English or French. Please wait until I call on you by name before you begin to speak. When you are ready to speak,click on the microphone icon to activate your microphone, or hold the space bar down while you are speaking. If you release the bar, your microphone will revertto mute, just like a walkie-talkie. Honourable members, I would like to remind you that if you want to speak English, you should be on the English channel. If youwant to speak French, you should be on the French channel. Should you wish to alternate between the two languages, you should change the channel to thelanguage that you are speaking each time you switch languages. Please direct your remarks through the chair. Should you need to request the floor outside ofyour designated speaking time, you should activate your mike and state that you have a point of order. If a member of the committee wishes to intervene on apoint of order raised by another person, you should use the raised hand function to indicate to the chair that you wish to speak. To do this, click on the participantbutton at the bottom of your screen. When the list appears, you will see the raised hand option beside your name. Speak slowly and clearly at all times. When youare not speaking, leave your microphone on mute. It is highly recommended that you use a headset with a microphone. You have to remember to switchlanguages. Should any technical challenges arise, for example, in relation to interpretation, please advise the chair immediately by raising a point of order, andthe technical team will work on resolving them. Please note that we may need to suspend during these times in order to correct a problem. I want to remind thehonourable members to mute their microphones when they are not speaking. If you get accidentally disconnected, please try to rejoin the meeting with theinformation you used to join initially. If you are unable to rejoin, please contact our technical support team. Before we get started, please note that in the topright-hand corner of your screen is a button that you can use to change views. Speaker view allows you to focus on the person currently speaking; gallery viewallows you to see a larger number of participants. You can click through the multiple pages in the gallery view to see who is on and how many more participantsthere are. I understand there are no ministerial announcements today. We will now proceed to presenting petitions for a period not exceeding 15 minutes. I wouldlike to remind members that any petition presented during the meeting of the special committee must have already been certified by the clerk of petitions. Inaddition, to ensure a petition is considered properly presented, the certificate of the petition and each page of the petition for a petition certified in a previousParliament should be mailed to the committee no later than 6 p.m. the day before. Now we'll go to presenting petitions. Mr. Genuis.Mr. Garnett Genuis (SherwoodParkFort Saskatchewan, CPC): Mr. Chair, five years ago when Parliament passed Bill C-14, then justice minister Jody Wilson-Raybould said that it represented afinely tuned balance between access and safeguards. It also included a five-year review. Petitioners on the first petition I'm presenting are very concerned to seeBill C-7 before Parliament, which removes safeguards ahead of that five-year review. Petitioners specifically mention their concerns about the removal of themandatory 10-day reflection period, which can already be waived in certain circumstances. They are concerned about reducing the number of witnesses requiredto oversee it and ensure that a request has been properly made. I commend that petition to the consideration of the House. The second and final petition that Iwill be presenting today is with respect to Senate Bill S-204. This would make it a criminal offence for a person to go abroad and receive an organ from a personwho did not consent. This responds specifically to concerns about organ harvesting in the People's Republic of China involving Falun Gong practitioners andincreasing concerns that this is being or about to be applied to Uighurs as well. Canada can and should take action on this. Petitioners are noting that in theprevious Parliament there were bills on this, Bill C-350 and Bill S-240. Now, in this Parliament there is a bill, Bill S-204, and the petitioners hope that this 43rdParliament will be the one that gets it passed.The Chair: We will go to Ms. May.Ms. Elizabeth May (SaanichGulf Islands, GP): Thank you, Mr. Chair. It's an honour.This is my first occasion to present a petition in our virtual format of the COVID-19 committee. Thank you to you and your staff, Mr. Chair, for developing asystem that allows us to present petitions electronically. The petition I am presenting today, which was previously approved, is from a number of constituentswho are concerned that we pursue the Paris Agreement to hold the global average temperature increase to no more than 1.5C. The Paris Agreement itselfembeds in it the concept of Just Transition with a capital J and a capital T, the concept of just transition ensuring fairness and support for all workers in the fossilfuel sector. The petitioners call upon the Government of Canada to move forward with an act to ensure just transition and to ensure adequate funding so thatworkers and communities dependent on the fossil fuel sector receive meaningful support to ensure security in their lives in the transition to more sustainableenergy use. Thank you, Mr. Speaker.The Chair: Those are all the petitions for today. I want to thank the honourable members for their usual collaboration andnow we'll go on toMr. James Bezan (SelkirkInterlakeEastman, CPC): On a point of order, Mr. Chair, on Tuesday, at our COVID-19 committee of the wholemeeting, I was asking a question which started at 12:56:06 and was cut off at 1:00:32, so I still have 34 seconds of time remaining in my question time of fiveminutes. You said it could be no more than five minutes but that I had up to five minutes. Thirty-four seconds leaves a lot of time to have a quick question and aquick response. If you believe that my time was unjustly cut off and that it was unfair treatment of the official opposition when we were raising our points oforder, I would ask that the 34 seconds be tacked on to the opening round for the opposition and credited to Rosemarie Falk, who will be leading off for theConservatives.The Chair: Normally what happens is the chair uses judgment, and with 35 seconds, there isn't enough time obviously for a full question or answer,most of the time. I'll take it under advisement. I can't allot it. I want everyone to know that I do have a timer next to me and I am timing the questions, and I willbe treating the answers the same way. If it's a 25-second question, it will be a 25-second answer. Thank you for bringing that up. I believe that issue has beenremedied. We've taken a little bit of the chair's ability to give judgment on it, but it will be from now on. Thank you.Mr. James Bezan: Mr. Chair, 34 seconds is aconsiderable amount of time to do a short question and a short answer.The Chair: I appreciate the advice. Thank you, Mr. Bezan. We'll now proceed to thequestioning of ministers. I would like to remind the honourable members that no member will be recognized for more than five minutes at a time and thatmembers may split their time with one or more members by so indicating to the chair. Ministers responding to the questions should do so by simply turning ontheir microphone and speaking. Our first questioner is Ms. Falk.Mrs. Rosemarie Falk (BattlefordsLloydminster, CPC): Mr. Chair, yesterday, Elizabeth May and theleader of the separatists declared oil to be dead. It's certainly not dead, but it's dying under the Trudeau government. Will the Prime Minister stand up forCanada's energy workers, or does he agree with the fringe left and those who want to destroy our country?Ms. Elizabeth May: I have a point of order.The Chair:Go ahead, Ms. May.Ms. Elizabeth May: Mr. Chair, I believe that the language that the honourable member just used is unparliamentaryMr. Garnett Genuis: That'snot a point of order.Ms. Elizabeth May: We can have differences of opinion, but it is absolutely  Some hon. members: Debate.  Ms. Elizabeth May: unacceptableand violates my privileges to  An hon member: Debate.  Ms. Elizabeth May: No, it's not debate. I would ask the chair to rule on that, not the member from theConservative Party. It is unacceptable to assert that anyone who wants to make a point about our economy is trying to destroy the country. This allegation is aviolation of my privilege.   An hon. member: She was also named by theThe Chair: Order. I didn't recognize anyone. I don't know who is speaking, so I'll juststart talking myself. I want to remind honourable members to have respect in their questions and in their answers. When you refer to someone, please refer tothem respectfully. This is a committee of the House, and I would expect no less of the honourable members. We'll go to the right honourable Prime Minister. Youhave 16 seconds.Right Hon. Justin Trudeau (Prime Minister): Thank you very much, Mr. Chair. As I pointed out this morning in my press conference, we cannotmove forward on a transformation of our energy sector without supporting the workers in that energy sector. We need their innovation and we need their hardwork if we are going to lower our emissions, if we are going to reach ourThe Chair: We'll go to Ms. Falk again.Mrs. Rosemarie Falk: Mr. Chair, it has been 43 dayssince the finance minister promised Canada's energy sector liquidity through the Business Development Bank of Canada. For 43 days the finance minister hasfailed to deliver on that promise. These delays cost jobs and they are costing us Canadian businesses. If the government doesn't step up to support our energy"}
+{"doc_id":"doc_7","qid":"","text":"Project Manager: Right w welcome to the the first meeting of uh Real Reaction's uh um development meetings for our our new television remote control . Uh thisfollows our very successful entry into the the consumer market over the last year or so um which we want to to build on , taking advantage of the uh the thelatest developments in in technology and the uh the latest uh {vocalsound} uh feelings in in consumer design and and demand and uh we want to make this thethe very best product th that's possible for everybody , uh one that everybody wants , uh at a good price for the consumer and at a good price for the company .Uh and to that end we need all to work together uh to do that . Um and uh b in no particular order because ev everybody is uh {vocalsound} just as vital to thisprojectMarketing: Mm .Project Manager: um {vocalsound} I'll just go round th the table , Andrew , marketing , um m Kendra with the uh um {disfmarker}designing the the the User Interface uh uh and Kate with the the industrial design . Um . {vocalsound} What's uh {disfmarker} the the th th project is is here todo , is is to to get this this project up and moving , ev everybody is is free to uh say wh whatever they want , uh everybody has a contribution to make and uh{vocalsound} everybody feel free to interrupt me at any time to to say what you want to say . Um in in terms of the immediate meeting the uh um {gap}everybody knows everybody else , everybody's worked for the the company for a while , if if an anybody feels that they need to say more about themselvesplease do , if if if anybody wants to b briefly give their their background so that everybody's quite clear what everybody uh {disfmarker} uh everybody'sexperience is please do so . Uh in fact I'd I'd I'd welcome anybody to uh say something briefly about themselves , in fact we will do that by by going round thetable quickly and and saying what what contribution you {disfmarker} you're looking to make . So we'll start with Andrew .Marketing: Oh my name's Andrew I'ma {disfmarker} I'm the Market Research person for this uh for this meeting and this uh project for creating this new remote control and uh yeah I'll be uhpresenting information statistics on what people want to want to uh get from this new design , what people want to {gap} like {disfmarker} and from a fashionpoint of view and the practicality point of view .Project Manager: Right {vocalsound} Kendra .User Interface: {vocalsound} I'm Kendra and I'm the Us UserInterface Designer and um {vocalsound} I haven't had a whole lot of experience in this kind of thing before but I'm m so I'll be {vocalsound} working on thedesign .Project Manager: Right at least means you haven't got any preconceived ideas so .User Interface: Right . Yep , I'm just open to being creative .IndustrialDesigner: {vocalsound} Uh I'm Katie ,Project Manager: Yep , good .Industrial Designer: I'm the Industrial Designer and I'll just be I guess presenting about thethe inter workings of our little remote control and uh {disfmarker} yeah .Project Manager: Okay , very very quickly , um {vocalsound} this {disfmarker} I don'twant to make this meeting too structured because the the whole idea is that it's a um you know a think tank . Everybody says what they {gap} what they want tosay , uh and we don't want to be constrained by uh kind of convention or uh uh slides on screens or or anything else um but um briefly um th th this is what wewant to do . The the remote control needs to be original , there has to be something about it that uh other remote controls don't have so that as soon as peoplesee it they think um yes that's different , uh I want one , um and that goes along with being trendy , uh uh you know the I want it uh scenario . User-friendly asas we all know , remote controls can be uh uh very user-unfriendly so we want to make ours one that people can pick upMarketing: {vocalsound}ProjectManager: and think oh yes that's {disfmarker} it's obvious how that works , uh and they also want to look at the price and think oh yeah that's something that{disfmarker} I may not need another remote control but uh it's such a nice one I'm gonna have one . And last but not least , or indeed first of all , it it must makethe company money , and we make the company money by producing what the consumer wants . The uh the further work to be done is i the um the functionaldesign , uh what it uh what it must actually do , the uh conceptual design , uh how we actually present that to the consumer and th the the detailed design i is uhhow we get that into production . Uh now th the main design tool that we have available to us at the moment is is the white board and uh uh {vocalsound} let usvery quickly do what i what it says in the in the in the prompt slide here , um {disfmarker} In fact I suggest to avoid everybody untangling themselves from theuh the the wires , that we don't do that , um So I I {disfmarker} everybody knows what whiteboard is so we'll um uh we'll do a virtual drawing on the on on thewhiteboard of of your your own uh uh favourite animal , but le let's go round the table , your favourite animal .Marketing: Um , badger . {vocalsound}ProjectManager: Mm and why ?Marketing: Uh it's it's got nice contrast with black {vocalsound} and white and uh {vocalsound}Project Manager: Uh-huh .Marketing: Ifeel they're {gap} underdog kind of statusProject Manager: Oh rightMarketing: and they're , theProject Manager: uh my my wife says my beard looks like abadger's arse 'cause of the the white streaks in it . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Um probably a duckMarketing:{vocalsound}Project Manager: Kendra .User Interface: I just {disfmarker} I li I like the way they look and they're just nice animals and I like how they can fly orswim or walk around or whatever .Project Manager: Uh-huh . Right , okay .Industrial Designer: Uh 's horses , no particular reason why {vocalsound} .ProjectManager: Uh-huh , {gap} fair enough yeah .User Interface: {vocalsound}Project Manager: I'm not sure that I've got any favourite animal to be quite honest , Ithink homo sapienIndustrial Designer: {vocalsound} {vocalsound}Project Manager: because of their {disfmarker} their uh overall ability to uh uh{disfmarker}User Interface: {vocalsound}Marketing: Make mobile phones and T_V_ remotes {vocalsound} {disfmarker}Project Manager: Sorry ?IndustrialDesigner: {vocalsound}Marketing: to make T_V_ remotes {vocalsound} .Project Manager: Indeed absolutely yes ,Industrial Designer: {vocalsound}ProjectManager: tha that's um {disfmarker} Okay and uh w we need to keep in mind here that the uh {disfmarker} we want to sell this for for twenty five Euro um , wewant to m make an overall profit for the the company of fifty million Euros so we're we're looking at selling a lot of these um ag across the the entire planet andand we're looking at a gross profit of fifty percent . {vocalsound} It needs to cost twelve Euros fifty to make . Um so we're not only looking at a a very trendyoriginal product , we're looking at making it at a very good price . Um , okay , um {vocalsound} would anybody like t like to to start by giving their o um sort ofquick views of of current remote controls .User Interface: Well I think {disfmarker} I find a lot of them really complicated to use with all the different buttons anduh it's handiest when you have one that works both the D_V_D_ player or whatever and the T_V_ as well . Um , but that {disfmarker} it's easy to {gap} if youcan switch back and forth instead of having to {vocalsound} press a bunch of different buttonsProject Manager: No .User Interface: and {disfmarker} so I thinkit's is best when they're clearly labelled and you can see which buttons you're supposed to use , you know .Project Manager: Any any thoughts about buttons orany oth other way of approaching the p the uh the problem ? Or anybody else , strong feelings about remote controls ? Are there you know , bad ones they'veused or good ones they've used or ones that they've lost and never found again ?Industrial Designer: Um {disfmarker} {vocalsound} I think it's important thatyou should be able to {disfmarker} when you when you press the buttons it'll actually pick up the signals from kind of anywhere and you shouldn't have to likecontort yourself and twist your remote control to get it {disfmarker} the T_V_ to actually pick up the signal .Marketing: Yeah .User Interface: Yeah .Marketing:Think a lot of the time , remotes that come with T_V_ players and {gap} T_V_s and D_V_ players , like they aren'tIndustrial Designer: Mm .Marketing: like anarea that's put a lot of effort into , they're very boring , very plain .Industrial Designer: Mm .Marketing: Like it's very {disfmarker} a very {disfmarker} like ummaking a a stylish remote control would be a very like {disfmarker} Easily put us one step ahead of the current competition .Project Manager: Um what so whwhat's in in {disfmarker} what particular style features are you thinking about ?Marketing: {vocalsound} Um . Something that looks looks {disfmarker} doesn'tlook like remote control .Industrial Designer: {vocalsound}Marketing: So if you want , {vocalsound} something that looks like uh {disfmarker} something thatmakes you think oh what's this ? Like this pen doesn't really look like a pen ,Project Manager: Uh-huh .Marketing: but it makes you think oh .Project Manager:{gap} . YeahMarketing: So , sorry that's a bit vague {vocalsound} .Project Manager: d no I mean do you think there's a risk if it doesn't look like remote control ,{vocalsound} people won't see it as a remote control um and uh {disfmarker}Marketing: Uh I suppose suppose that's up to the marketing to to make makepeople aware of the product .Project Manager: Uh-huh . Any other thoughts about um th the physical appearance of a {disfmarker} of remote controls ?UserInterface: I think something that's comfortable to hold because sometimes you get the remote controls that are just those big , rectangular thingsIndustrialDesigner: Mm .Marketing: Mm .User Interface: and uh they're kind of awkward to hold onto ,Marketing: {vocalsound}User Interface: so something that's morecomfortable that fits in a person's hand better .Project Manager: I mean th the thing that i immediately comes to mind is computer mouses which um I mean yyou get all sorts of shapes in the shopsIndustrial Designer: Mm .User Interface: Yeah .Marketing: Yeah .Industrial Designer: Mm .Project Manager: and s youknow some quite fancy ones um than the {vocalsound} {disfmarker}User Interface: Yeah .Project Manager: some from personal experience which lookniceIndustrial Designer: {vocalsound}Project Manager: but {vocalsound} aren't particularly comfortable . Um {vocalsound} any thoughts about buttons or flatscreens or uh uh {disfmarker}User Interface: Yeah .Marketing: Well from the mouse idea you could , {gap} remote is a piece of plastic with the big rubberbuttons sticking out of it which you press , whereas if you want {gap} {disfmarker} could all be flat and the buttons are very kind of almost subtle that instead ofbeing raised out of the device uh you push into device you see , like a mouse button .Project Manager: Yes , I mean {vocalsound} the only thing is if if you'rewatching television in a in a a darkened room um you need to be able to uhIndustrial Designer: Mm .Marketing: I suppose .Project Manager: fi find the button"}
+{"doc_id":"doc_8","qid":"","text":"Project Manager: Okay , well I think we're ready to begin . Right , my name's Adam Duguid , we're here because of real reaction , um , we have in thegroupMarketing: Oh , Ebenezer Ademesoye . Would you like me to spell that ?Project Manager: Um , yeah ,Marketing: SProject Manager: go for it mate.Marketing: Um , N_E_Z_Project Manager: N_ E_ Z_ .Marketing: E_R_ .Project Manager: Ebenezer . And your role is ?Marketing: I'm the Marketing Expert.Project Manager: You're the Marketing Expert , okay . Next we have ?Industrial Designer: Tarik Rahman . T_A_R_I_K_ .Project Manager: T_ R_ I_ K_ . And yourrole in this is ?Industrial Designer: Industrial Designer .Project Manager: Industrial Designer . And , lastly we have ?User Interface: Uh , Dave Cochrane .ProjectManager: And you're going to be the User Interface ,User Interface: User Interface Defin Designer , yes .Project Manager: is it ? Designer . Okay . Right . This isthe agenda for today's meeting . As you can see , w opening , acquaintance , tool training , project plan discussion , and closing . Um , we already got n throughopening , and partially through acquaintance . So , the reason we're here , we're gonna design a new remote control , as you probably all know . The very broadoverview is original , trendy , and user-friendly . Course , we'll have to go into a bit more um detail than that , but uh {vocalsound} personally I think that theoriginal is gonna be a very key aspect to this design . Um , there's a lot of remote controls out there anyway , so we're gonna need something that's really gonnaset it apart . This is how today seems to be going to work . We're gonna have the three kay phases , as you've probably already been told , the functional ,architectural , and the detailed design . Um {disfmarker} First one's gonna be covering the user requirement spec , technical functions , working design . Secondseems to be conceptual components , properties , materials , and the last one is a detailed analysis of our design so far . Of course , you've all got the similaremails , I believe , right . {vocalsound} What can I say ? Ebenezer , you wanna have a {disfmarker} you wanna draw your favourite animal {vocalsound}?Industrial Designer: {vocalsound}Marketing: Sure . {vocalsound} Whiteboard . 'Kay . S okay . I will make this quick , since we don't have much time .{vocalsound} Um . {vocalsound} 'Kay , so it's not the best picture in the world .Project Manager: {vocalsound}Marketing: {vocalsound} Here we have anelephant . First point , begins with an E_ , same like Ebenezer . Also , elephants have a very good memory , much like myself ,Industrial Designer:{vocalsound}Marketing: and I can't remember back when I used to live back in Nigeria , but I think I used to have a pet elephant . So elephants are big , strongand gentle , and they have great memories , and they begin with the letter E_ , just like Ebenezer .Project Manager: Brilliantly done . Thank you .{vocalsound}Marketing: Thank you .Project Manager: Tarik , would you like to have a shot at a bit of artistry ?Industrial Designer: {gap} .Project Manager: Oh ,um ,Marketing: Oh . Oh {vocalsound} ohProject Manager: you can clip them to your belt .Industrial Designer: Do we take them off ?Marketing: I think yougaIndustrial Designer: Oh right ,Project Manager: You should also l um have your {disfmarker} the lapel mic on as well .Industrial Designer: okay .Marketing:The little {disfmarker} The the {disfmarker}Industrial Designer: Ah-ha .Marketing: Oh that's good , we can clip them on . Okay . Yeah ,Industrial Designer:{vocalsound} Now where do I put the {disfmarker}Marketing: Just um somewhere {disfmarker}Project Manager: Yep , the {gap} , it's just across there , that'sit . Yep .Industrial Designer: Is this supposed to be clipped as well ?Project Manager: Yeah .Marketing: I think so .Project Manager: It'll follow you if you{disfmarker}Marketing: Yeah . There you go .Project Manager: You can probably just stick it in your pocket for now , I wouldn't worry too much . Should havegood range .Industrial Designer: {vocalsound} Uh , destroying your elephant here .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer:{vocalsound} {vocalsound} {vocalsound} Uh , here we have a tiger . Uh {disfmarker} I've always loved tigers . They're just {disfmarker} they're big , they'rebiggest cats , uh I did a project on cats in the wild when I was a kid and uh it was my favourite cat , just 'cause it was {disfmarker} looks the best , the stripes ,orange . My dad used to talk about {disfmarker} he's from Bangladesh so he used to tell me all about them when he was {disfmarker} when I was a kid . And uhthey're just the most feared of of uh animals in the wild . So uh that's why I like them . Didn't say an anything about me really but {vocalsound}Project Manager:{vocalsound} Excellent , thank you very much . Dave , if you'd like to uh have a dash .User Interface: Um {disfmarker} {vocalsound} Um , the monkey , um .The one f uh {disfmarker} in fact this is a {gap} somewhat oblique reference in fact to uh {disfmarker} well my {disfmarker} I have a three uh three y year olddaughter who h who who who is affectionately known as Miss Monkey . Um , monkeys have attitude . Which I think is a good thing . And I mean fr {vocalsound}and from uh from the point of view of sort of the study of human evolution they and other primates are terribly interesting . Um , so I like monkeys . And and thth th th thi thi this one seems to have perhaps more attitude than most .Industrial Designer: {vocalsound}Project Manager: Cheers . Hardly what I'd call the bestdrawing in the world but it'll do for now . Also not quite as feared as your average tiger , but uh cats are one of my favourite animals , they're very independent ,they're snotty as hell at the best of times , and uh , what can you say , you got to love those qualities in an animal . Right . I think we've all managed to masterthe whiteboard there by looks of it , so , on to it . Project finance . As you can see , twelve point five Euros per unit . That's not a terrible lot as far as I'm aware ,and we're hoping to sell them for twenty five . If we're aiming for fifty million Euros we're gonna have to be selling an awful lot of them .Marketing: Oh , that wasprofiting , that was an amount , so that's the amount made ,Project Manager: Yep .Marketing: okay .Project Manager: Well , fifty million , and if you're makingtwelve point five Euros on each one , then , awful lot need to be sold .Marketing: Yeah .Project Manager: Okay . Now we better actually just get on with the uhthe meat of the project . So I'm gonna guess that we've all used remote controls . Any ideas of where you think a new remote control could go into this market?User Interface: Well , one thing I'm aware of is , th there uh um at the sort of v very high price end of the market there's there's a em emerging market for sortof touch screen L_C_D_ remotes that can be uh programmed in m much more sophisticated ways than sort of conventional models , so you get the sort of youget um you {vocalsound} you can redesign the interface to your own needs , you can programme in macros , and you get a much greater degree um um I meanyou get in these sort of {vocalsound} three in one , five in one , whatevers , but you can get integration between the different uh the the the diff the differentthings that it's designed to control , to a much greater extent , and you can have one uh you know one macro to turn the uh you know turn the T_V_ to the rightchannel , get the uh re uh rewind the tape in the V_C_R_ and get it to play once it's rewound , for instance .Project Manager: Okay .User Interface: Um b itoccurs to me there might be a niche for uh for a remote that aimed towards some of that sort of functionality but using a just conventional push button design .And therefore putting it into a um well much lower price bracket .Project Manager: Okay , yeah , tha that's true , with the price range we're looking at , going fora touch screen would probably be possibly out of our {disfmarker}User Interface: Absolutely prohibitive ,Project Manager: yeah .User Interface: yeah .Marketing:Oh .Project Manager: But you think uh again something to control multiple units in uh a simple fashion .User Interface: Yeah , I mean I wouldn't like to say you g{vocalsound} I mean you get ones that you can switch between multiple units , but something that could um operate between multiple units in a more integratedfashion . Some {gap} and ideally something into which it would have some at least limited facility for {vocalsound} um running macros .Project Manager: Wouldthe the idea something along the lines of , one on button would turn on say the video recorder , the T_V_ , maybe the sound system as well , all in one go , isthat kind of {disfmarker}User Interface: For instance , um let's say oh oh um , or um you know you pr uh you press uh say the play button for the D_V_D_ playerand it turns the T_V_ on and onto the right channel as well , umProject Manager: Okay , that sounds like a a good strong idea . Um {disfmarker}Marketing:'KayProject Manager: {vocalsound} Any takes on this ?Marketing: Well um I've noticed that uh gaming c is becoming quite popular with television , um when Iwas younger we used to e play games using our cable , using the cable subscribed the cable providers ,User Interface: Mm-hmm .Marketing: but our remotecontrols would get worn out really easily , and {vocalsound} the remote control was not a great kind of keyboar , um keypad , for playing games .ProjectManager: Okay .Marketing: So perhaps one that was more um specialised for game playing or interactive television . They they've recently brought out this newremote control , for people to set their favourite channels , or um to record things . Instead of people entering in what time things start , you simply stri slide abar to say what time it begins ,Project Manager: Okay .Marketing: and slide another bar to say what time it ends , you know that's {disfmarker}Project Manager:Yeah I've heard {disfmarker} I've seen the bar-code design before ,Industrial Designer: Mm .User Interface: Mm-hmm .Project Manager: yeah .Marketing: Yeah ,it's it's taken out the {disfmarker} Y you don't have to be uh really clever to use a remote control . I think for gaming , you know you want you want some bigbuttons for up , down , left and right , shoot .Project Manager: {vocalsound}Marketing: {vocalsound} Uh , you wanna be able to change angles in interactivetelevision , so you need buttons to change the television angle , the camera angles and stuff like that .Project Manager: Okay , wellIndustrial Designer: 'Kay.Project Manager: we're beginning to run out of time now , so , we've got a couple of ideas ,Marketing: Yeah .Project Manager: we can {disfmarker} we'll have towork fast , um , alright as you can see we've got thirty minutes until the next meeting , so {vocalsound} we'll have to try and decide on some of the basicfunctionality , um , how the user interface might work , that'll be a key aspect especially if the idea of um some kind of macros facility because you have toprogram it , you have to have a lot of response back , or at least some kind . Um {disfmarker}User Interface: Mm-hmm .Project Manager: And we're gonnamaybe n try and have to figure outMarketing: What the user wants uh .Project Manager: what the user wants , yes .Marketing: Okay .Project Manager: Um , right"}
+{"doc_id":"doc_9","qid":"","text":"Project Manager: All set ? Okay . Cool . Right . So um basically I'm just gonna go over real quickly um some news I've just got from the board on how we'resupposed to do with this um {vocalsound} remote control . And then I'm gonna turn over to you guys to make brief presentations um on what you've found andthen we'll have a bit of discussion . So basically uh what I've just found out from the board I dunno if you guys got this email as well but it needs to be televisiononly . So no {disfmarker} we're not doing D_V_D_ , we're not doing anything else ,Marketing: Okay .Project Manager: it's just gonna be a television remote .{vocalsound} Um it also needs to have the company colours included in it .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Um so that's red andblack . And it has to have the slogan , case you guys forget the slogan it's , we put fashion in electronics . Um and no teletext . I'm not sure what teletext is butI'm assuming you guys do , so we don't wanna include that um in this particular design . {vocalsound} For reasons that I don't really know . There's {disfmarker}but it's the board so there you go . So basically um given those guidelines which will have some effect on how we design we'll discuss it later I mean 'cause it'stelevision only we'll be able to change our uh {vocalsound} um well we can s sacrifice more function for a better television remote . {vocalsound} Anyway . SoI'm gonna turn over to the Industrial Designer uh to go ahead and make a presentation on {disfmarker}Industrial Designer: Okay . So do I unplug this bit here?Project Manager: Oh , right yeah .Marketing: Gotta plug you in .Project Manager: Yep . Might have to hit function F_ eight but it looks like it's gonna come up .Yep . Cool .Industrial Designer: Okay . Right . That's page one of my presentation .Project Manager: Brilliant .Marketing: Very nice . For your first PowerPoint it'slovely .Industrial Designer: So the uh method . We're gonna have to understand how remote controls work and res uh successfully complete this project . Umremote control works as follows . This is all pretty basic stuff you guys . Um sends message to another system , so there's an energy source involved in that like abattery or solar power , something along those lines , there's an integrated circuit , which is the microchip , um and that actually compose the messages andusually the way a a remote control works is it sends infrared bits to another system . A user interface controls the chip , basically that's the casing and thebuttons and um accordingly the messages as well . So my findings , um I just did a preliminary study here and uh I found that too much metal in remote designcould potentially cause interference with the ability of the remote to send commands . And too much metal can cause remotes to behave unexpectedly byreceiving false signals . Um too much metal is used sometimes and people pick up radio signals and the like , and there's also the possibility of the remotecatching on fire and injuring the customer , just think of those lawsuits , that'd be really bad .Marketing: {vocalsound}Project Manager: {vocalsound} 'Kay.Industrial Designer: Therefore I suggest primarily plastic construction . Um , components . Just some ideas that I had , um , energy source , it's kinda hip to beeco friendly so I thought maybe we could do something with solar power with an alkaline battery backup . Um the user interface , I was {disfmarker} since wecan't use metal I was thinking maybe a high grade recycled plastic .Project Manager: Mm .Industrial Designer: The chip , um , silicon based chip I don't really seeany way around that , we can't really be different in that respect . Um , the sender well I'm thinking infrared 'cause it is the industry standard , multi channel ,that's a word I made up , I don't really know what it means .Project Manager: 'Kay . Fair enough .Marketing: {vocalsound}Industrial Designer: Uh PAL andN_T_S_C_ compatible and uh probably a two hundred foot range .Project Manager: 'Kay .Industrial Designer: Uh and the receiver of course is any number ofelectronic devices . Um but in this case it'll only be T_V_s . Um personal preferences , I really think that we should use plastic as opposed to metal , um , thecompany simply can't afford this kinds of lawsuitsMarketing: Fine .Industrial Designer: which adm admittedly is gonna come at the cost of a certain aestheticvalue ,Project Manager: {vocalsound} Is is there a way that we can use um modern types of polymers , or mo modern types of plasticsIndustrial Designer: 'causewe were thinking {disfmarker}Project Manager: that maybe do have some kind of aesthetic value um like if a white {disfmarker} like if we talk about like well likeon the lapt on these laptops and other ones they use a a pretty nice ,Industrial Designer: Right .Marketing: It needs , yeah .Project Manager: you can do i is theresome kind of nice colo der quality plastic that we can work with ?Industrial Designer: Yeah that shouldn't be a problem . Um for example the plastic they have onyour laptop there is something that's perfectly possible for us to do .Project Manager: Okay , okay .Industrial Designer: {vocalsound} That's the end of mypresentation .Marketing: Cool .Project Manager: Great . Thank you very much Nathan . {vocalsound} Um if next we can have the um User Interface Developer goahead and make a brief presentation that'd be great as well .User Interface: {vocalsound}Project Manager: S plug yourself in here . Mm . {vocalsound} Um hitfunction F_ eight real quickly , hold down {disfmarker} Mm .Industrial Designer: {vocalsound}Marketing: Looks like you're in okay .Industrial Designer: Is itplugged in well ? There it goes . Computer adjusting .User Interface: ThProject Manager: There you go . Sweet .Marketing: There you go .User Interface: Well so. Here we have a uh my technical functions design presentation . Um so a few of the requirements we need here . Uh we n basically need to operate an electronicdevice , it needs to be universal um and possibly uh operate several different types of devices although we now uh find that uh that that's no problem .ProjectManager: Yeah sorry I couldn't get that g to use before .User Interface: Um so some of my findings . Um basically wanna send messages uh to a television set .Um that would be any number of different things uh such as switch on the television , uh switch to the next channel , that sort of thing , I think we're all quite uhquite uh intelligent and know know what a normal remote control does . Um {vocalsound} now some of the other things I found is a a complicated remote controlsorry that we can't quite see my red there very wellProject Manager: Oh yeah look at that .Industrial Designer: Mm . {vocalsound}User Interface: but uh thisremote control has many functions um so it can do a lot of things but it uh it is quite complicatedProject Manager: Mm-hmm .User Interface: and most users willfind it uh find that they won't use most of the functions because they don't know how to use them and don't wanna take the time to learn how to do it . As youalso notice it's quite a boring design . Um . Another remote control , slightly different , it's a simpler remote control uh many less buttons but uh has many fewerfunctions , um m much easier for the user to manipulate and use . Um it also has a bit of a cheap look and it's also quite boring . SoProject Manager:{vocalsound} Nice .Industrial Designer: {vocalsound}User Interface: my personal preferences .Marketing: {vocalsound}User Interface: {vocalsound}Revolutionise the idea of uh a remote control . Um so attain the functionality of a complicated device but use a simple formatted display uh for the user to to workwith . And I was gonna add another uh slide here but I didn't quite have time there .Project Manager: {vocalsound} Okay .User Interface: Um . Just incorporatingsome of the ideas that we had previously like uh having multiple face but it's uh {gap} .Project Manager: Great . Thanks for that Ron .Marketing: Right .ProjectManager: {vocalsound} 'KayMarketing: Does that mean I'm up ?Project Manager: yep that's you .Marketing: I think so . Okay .User Interface: I can plug you in.Marketing: Oh that would be perfect . Thank you . Slide show up and running .Project Manager: Give it a little bit .Marketing: Or not . Uh . Oh there we go .Perfect . Okay . So this is me . Um basically I was looking through some marketing reports that we've got and we had a usability test where we were actually sort{disfmarker} like watching a hundred people {vocalsound} use T_V_ remotes and see what it is that they're using and then they filled out a questionnaire aboutwhat they like and what they don't about their general T_V_ remote control practices . Um pretty much through testing we were finding out that most of the time, everybody's used to using changing the channel , turning it on , using the volume , m the majority of the time that's all that's going on , the other functionshappen , for some people they're important , but the primary uses are really really basic . Um and so big complicated remotes like one we saw in the lastpresentation are really not the general public's use , they're not using a lot of it , they don't need it , they even find it frustrating when there are all those buttonsthat they don't know what to do with . {vocalsound} And um we also found out that uh fifty percent of our people , their {disfmarker} the worst thing about aremote is how often they lose it . And then they can't find it in the room . So I think what we were talking about with a pager or something , will really come intoplay with a lot of these people . {vocalsound} Um there's also a survey about what they liked about remotes ,Industrial Designer: {vocalsound}Marketing: andpretty much they all think they're hideous and not very useful , and the younger demographics are all really interested in voice recognition options . I don't knowif that's something we're ready to look into technically , that's up to the design people , but it is s something worth thinking about , especially since the youngerdemographic's obviously the one that's gonna keep growing , so if that's the direction we're headed in it's something to think about . Um but basically it really isthe primary functions and getting it to look nice , which are the standards . {vocalsound} So it's a good start for us .Project Manager: {vocalsound} That's great .Thank you Sarah . Right . So umMarketing: Need to unplug this ?Project Manager: yep I'll just uh switch that back here .Marketing: Need it back .ProjectManager: I'll finish up with just a bit of discussion plan on for the next phase .Marketing: There you go .Project Manager: {vocalsound} Right so I think we'vecovered most of these important questions through this um {vocalsound} through you guys's presentations um {vocalsound} we've got uh y the IndustrialDesigner suggests uh or pretty much emphatically suggested that we need to go with plastic . {vocalsound} Um Sarah , she's recommended that we go forsimpler functions , so fewer functions um but we need to decide who are we selling this to , you s your stats suggested that seventy five percent of people underthirty five wanted , thought about voice control ,Marketing: Oh right .Project Manager: {vocalsound} um so do we wanna go for that , or do we want to go for anolder demographic , and my thought is {vocalsound} um {vocalsound} we've got w if we're gonna go for a sleek look I mean we are putting the fashion in"}
+{"doc_id":"doc_10","qid":"","text":"Project Manager: Welcome back .Industrial Designer: I'm sorry to be late .Project Manager: Welcome back everybody .User Interface: Yeah . Thanks .ProjectManager: So this meeting agenda will be the detailed design meeting . And uh opening and uh P_M_s {gap} of the meet minutes , uh prototype presentationfrom uh Christine and uh Agnes .Industrial Designer: Agnes , yes .Project Manager: Yes and uh evaluation criteria . The finance , it's uh from my side , from themanagement , and uh production evaluation . Then uh closing . So we have forty minutes to discuss and uh finalise and close the product and project and tomove further , okay , so {disfmarker} Okay , let's talk about uh maybe first uh for the prototype .User Interface: Mm , okay .Project Manager: So I handle to{disfmarker}User Interface: I've done a presentation , but it pretty much covers work that we've both done , so if I'm missing anything , Christine can justcorrect me .Project Manager: So shall I go to {disfmarker} sorry .Industrial Designer: Uh thank you , so you did a PowerPoint presentation , good for you .{vocalsound}Project Manager: Yep . S Okay , let's go to A_M_I_ .User Interface: {vocalsound} It's not the biggest PowerPoint presentation in the world , but{disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So in two or three or {disfmarker}Industrial Designer:{vocalsound}User Interface: Three . Um . {vocalsound} No it's {disfmarker}Marketing: Probably . Technical pa I would think .User Interface: think it's the lastone . No , then this is {vocalsound} the la yeah , that one , final design .Marketing: Ha .Project Manager: Yeah .User Interface: It is named appropriately , youjust couldn't see the name .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Um okay , can I have the mouse ?ProjectManager: Yes .User Interface: Thanks . Alright , so from {disfmarker} when we were discussing specifying the case in the last meeting , we decided that wewanted an ergonomic shape , the material that we chose was wood , and uh the colour would be customisable , 'cause you can stain the wood whatever colour .Um , so in terms of function , you have to be able to turn the T_V_ on and off , volume and channel control , menu control , voice recognition control , and we'veincorporated the L_C_D_ screen on the flip panel as part of the design , if we figure out it's too expensive , well then you just take it off . {vocalsound} Um , so{vocalsound} to unveil our lovely product . This is our remote control , with the flip panel as you can see .Marketing: {vocalsound}User Interface: So if you lift upthe panel , you can see the lovely yellow L_C_D_ display . {vocalsound} Um , this is actually hard to do . The yellow button you have is the on off button , so it'sreally big , hard to miss . You have the the red um triangles are the toggles for changing the volume . So up {disfmarker} volume up , down {disfmarker} volumedown . The green are the channel changing . {vocalsound} S And it's one of those very light , very touchable displays . And then you have the numeric pad in thedark blue at the bottom , and on the right-hand side you have the access to the menu on the T_V_ , and on the left-hand side you have the the the ability to turnoff the voice recognition . So this is pretty much what we had on the white board the last time .Project Manager: Mm-hmm .User Interface: So .IndustrialDesigner: Um and uh I could {disfmarker}User Interface: {vocalsound} Oh yes .Industrial Designer: Yeah the dUser Interface: Additional feature on the back isthat you can have your own customised backing and I suppose you could do the same thing on the flip case on the front . So that you can really make this ahighly highly customisable remote control .Industrial Designer: We haven't um uh specified where the speaker or the microphone will be placed . That depends onthe uh s design of the circuit board inside and uh what room is left um {disfmarker}User Interface: Yeah .Project Manager: I think the microphone is on on thetop , uh on the middle , the {disfmarker} under the flip .Industrial Designer: Yes , okay . Uh-huh .Project Manager: So that will be the safe , so p any{disfmarker} the chip {disfmarker} it's not on the chip because you need to have microphone {gap} to {disfmarker}Industrial Designer: No , I mean it dependson the design of the circuit board .Project Manager: Yes .User Interface: But it shouldn't be under the flip either , because you can have the remote control closed, but you still might want to activate it by voice .Project Manager: {vocalsound} Uh it's it's {disfmarker} Yeah , but uh uh my opinion I think it's better under theflip because whenever you want to uh the talk , okay , so then you can speak then you can close it . But if you put it on the on the flip , okay , then uh technical Idon't think it's uh feasible , 'cause most of the time you speak then it will be recognised .User Interface: But if you've already got the remote control in your handyou need to open the flip to use the voice , why use the voice , why not just use your hand ? I mean the whole point of the voice is that if the remote control issitting there and I'm too lazy to reach over and pick it up , I can just use my voice .Industrial Designer: Maybe I've got my hand in the popcorn bowl and I'mholding my cup of Coca-Cola in the other hand .User Interface: Yeah . And you don't wanna let go of either one . {vocalsound}Marketing: I don't wanna say .Louder . {vocalsound} Yeah .User Interface: {vocalsound} I mean it doesn't have to be on the flip , it can be on the side somewhere .Marketing: Can also be onthe side .Project Manager: Yeah , the sides maybe is good .User Interface: Yeah .Industrial Designer: Mm-hmm .User Interface: So , I mean I can pass thisaround if anyone wants to {disfmarker}Project Manager: Yes . So it's maybe good idea .Industrial Designer: Yeah , y better you pass it around with a napkin .{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} No , because y you can easily put a microphone on the side that would have no problemwould haven't been {disfmarker} not be damaged or anything , and it'd be accessible all the time to voice .User Interface: {vocalsound} {vocalsound} Yeah.Project Manager: Yes . Yeah {vocalsound} .User Interface: Yeah , exactly .Marketing: Yeah .Project Manager: So it's maybe good idea . S sIndustrial Designer:It's um {disfmarker} It's um {disfmarker}Marketing: Compliments to the artist .Industrial Designer: You need to work on the weight a little bit .{vocalsound}User Interface: Yes .Marketing: Uh {vocalsound} .Project Manager: Okay . S {vocalsound} I'm fine , I'm satisfiUser Interface: And maybe the shapeof the buttons ,Project Manager: I'm satisfied .User Interface: the little egg shapes aren't the most economical , but {disfmarker}Industrial Designer:{vocalsound} We're glad you're satisfied .Project Manager: Of course it's it's it's looks more heo heavy , but I think when it's completely {gap} maybe it's a lessweight .User Interface: Yeah . I mean this is plasticene .Project Manager: Yes .User Interface: There's only so much you can do . We could have possibly made ita lot thinner as well . {vocalsound} But {disfmarker} And part of the thing is m a lot of people say that they don't like something that's too light , because theydon't feel like they have enough control over it .Industrial Designer: Mm-hmm .User Interface: So I mean maybe this is excessively heavy , but I think it needs tohave some weight ,Project Manager: Yep .User Interface: it needs to feel like you're still holding something . {vocalsound} So that's pretty much it for ourpresentation actually .Project Manager: That's your uh prototype model ?User Interface: Yeah .Project Manager: Okay , that's good , thank you very much.Marketing: {vocalsound}Project Manager: So any comments or uh {disfmarker}Marketing: Well , the prototype is is very well within the design and ideas thatwe've we've talked about on the previous meetings .Project Manager: Okay .Marketing: Now it goes into this next phase as the financial uh marketing uh{disfmarker}Project Manager: {vocalsound} Yes , that uh {disfmarker} So I'll come back to the {disfmarker} {gap} So evaluation criteria , I think uh that will begood , so then let's come to the finance uh , I have some uh calculations which I made uh as for uh the budget . So here you can uh look like uh the energy{gap} and uh {gap} dynamo and uh kinetic and solar cells . Uh it's optional , somewhat optional and Ed wants the chip on print , that's what uh we were talkingabout that .Industrial Designer: {vocalsound}Project Manager: So then we have sample sensor and sample speaker , then uh we have the wood material , thenspecial colour and push button . So it's uh {disfmarker} actually , our budget was uh twelve point five Euro , but uh it's coming to nine point nine five Euro , sowe are under uh {disfmarker} below the budget , okay , so still we are saving some money . I think it's a good figure . {vocalsound}Industrial Designer: Yes ,great I {disfmarker} I'm surprised .Marketing: {vocalsound}Industrial Designer: {vocalsound} Congratulations . {vocalsound}Project Manager: {vocalsound}Than thank you . {vocalsound}Marketing: Well we haven't come to mine yet , so {vocalsound}Industrial Designer: Oh , okayUser Interface:{vocalsound}Industrial Designer: . It's gonna cost a long way to c you know , cost a lot of money to market it , is it ?Marketing: we're gonna have a bit ofdifference of opinion , yes . {vocalsound} {vocalsound}Project Manager: So maybe it's {disfmarker} for some money we can utilise for our uh marketing , for thesales , okay , and uh {disfmarker}Marketing: {vocalsound} Well , it just depends on if we're gonna add a {vocalsound} o on this pr provisionary cost analysis ,we do not have a L_C_ display . L_C_ display is gonna be very expensive ,User Interface: No we do , but it's not filled in .Marketing: it's gonna be{disfmarker}Project Manager: It's not .Industrial Designer: Thirty .Marketing: It's not {disfmarker} it doesn't say .User Interface: It's number thirty .ProjectManager: Yeah . Yeah .Marketing: We don't have the price up there ,User Interface: Oh , yeah , yeah ,Project Manager: Yeah . Yeah .User Interface: you're right ,sorry , yes .Industrial Designer: Yeah .Marketing: okay , so if we add approximately two to three Euro per remote , now we're up around about twelve , twelveand a half as to what uh the company had initially uh requested . Um {disfmarker}Industrial Designer: So that means we can put the uh {disfmarker} theL_C_D_ in , yeah .Marketing: Display in . But as far as production um I'm putting up a question because we're talking about profit also , and in mine you'll see uh{vocalsound} the problem with uh our survey , the p the possibility that how many units can be sold , what percentage of the market , etcetera etcetera becausethat {gap} has to be taken in into consideration .Project Manager: {vocalsound}Marketing: Uh this is just production cost , it is not uh advertising cost , it's nottransportation cost uh {disfmarker}Project Manager: Yes , so still uh we have twelve point five Euro .Marketing: {vocalsound} And that will inflate quite a bit thecost of the uh {disfmarker} the cost of the unit for the company .Project Manager: Yes . {gap} Yeah , but {disfmarker} Yes . Yep .User Interface: Um-hmm"}
+{"doc_id":"doc_11","qid":"","text":"Project Manager: Well hi everyone again .User Interface: Hello .Industrial Designer: Hello .Marketing: HelloProject Manager: Um {vocalsound} like before we uh{disfmarker} I have to redo the meetings from {vocalsound} {disfmarker} n th the minutes from the last meetingMarketing: Mm-hmm .Project Manager: and sohere we go . Uh it was discussed in the last meeting uh which was opened by the presentation from the interface um designer {vocalsound} that uh looks wouldbe very important on this new remoteUser Interface: Designer . {vocalsound}Marketing: {vocalsound}Project Manager: and um it is to send messages of courseto the T_V_ . It should have nine channel buttons , a next button , volume buttons , subtitle buttons , switch to control features , colour contrast , sharpnessetcetera . It should have a memory switch , a mute button in case the telephone rings or something . Uh speech recognition is one of her very f favourite personaluh features she would like see d d to be integrated in this um in this new remote . Um . {vocalsound} Should be child friendly design with few buttons , colourfulmaybe with s star shaped or other shaped buttons . Um she uh presented also an oversized remote which she guarantees nobody will ever be able to lose .UserInterface: {vocalsound}Project Manager: Um {disfmarker}Marketing: And she was challenged on that point {vocalsound}Project Manager: {vocalsound} that'sright . {vocalsound}User Interface: {vocalsound} Yes . {vocalsound}Industrial Designer: {vocalsound}Project Manager: But uh her very f personal favouritereally she , she would very much like to see a speech recogniser integrated in this remote . The industrial designer um presented her uh {vocalsound} thoughtson the issue . She would like a special case made out of plastic that is very strong , not using any harmful materials , should be recyclable and should be colourful. Should have an integrated circuit board that's highly sophisticated and temperature resistant . She would like to see a timer and or alarm facility integrated . Uhtechnically this thing would also have a resistor and a capacitor , diode transistor , resonator , and if possible a rechargeable battery . Uh and of course a circuitboard . And how it would works , you press the button , the chip is morse {disfmarker} morse code related relays the {disfmarker} uh to the generat to thegenerator amplification and uh the circuit board is very inexpensive to build and so she thinks this is a great feature uh to to to consider .Marketing: Okay .ProjectManager: She would like uh {disfmarker} this whole thing should be push buttons with a simple chip uh scrolling method is more expensive and not that practicalanymore . Should be battery operated and of course she would have the special cases . The marketing expert uh who has to finally come up with {disfmarker} toto to market this product has been watching the competition , has done some research on the internet and also has used h her personal observations to come upwith the fact that such a remote sh should be small , easy to use and it should be eye catching . From her point of view of course one of the most important factsis that we should get to market before our competition does . To do that uh maybe one or two features should be developed on which we could dwell on or inother words on which our campaign could be built on . Too many new features or too many points would only confuse matter . So we prefer to have one or twofeatures that can be really uh driven home . Um it should have a fruit and vegetable design and should have a soft feel . She feels that's really what people wanttoday . And the decision that we took last time was that uh the special feature we would like to see is a speech recogniser , the energy should be battery uhshould be on a chip , should be trendy design , compact and strong , and should have buttons . And that concludes the presentation from the last minutes{disfmarker} from the last meeting . Now uh we are ready for the presentation of the prototype .User Interface: Yeah .Industrial Designer: Yeah .User Interface:Just the look like , the button part I'll explain .Industrial Designer: Yeah . Uh so this is our {disfmarker} what uh we have made . This is a model of the remotecontrol which we are going to build .Project Manager: Mm-hmm .Industrial Designer: Uh this is us in a snail shape so uh it it is attractiveMarketing: Mm-hmm.Industrial Designer: um and it's {disfmarker} it's blue in colour uh bright and uh it has yellow buttons and all the different colour buttonsMarketing: Mm-hmm.Industrial Designer: so it is a {disfmarker} uh uh a {disfmarker} looks-wise it is beautiful .Marketing: Mm-hmm .Industrial Designer: Uh and also compact inshape .Marketing: Mm-hmm .Industrial Designer: Uh um and also i it it will be easily fit into {disfmarker} into the hands and you can access all the buttons easily.Marketing: Mm-hmm . Mm-hmm . Mm-hmm . Good .Industrial Designer: Yeah ,Project Manager: {vocalsound}Industrial Designer: oops , sorry .{vocalsound}Marketing: {vocalsound} You used to have all the buttons {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Um yeahand um uh the material which we are going to use for the case is uh plastic and uh w which which is s strong um uh and also uh for the {disfmarker} Um thematerial is plastic and uh for the buttons it is uh s soft rubber um and alsMarketing: Oh that's good ,Industrial Designer: yeah .Marketing: no , that's nice andfriendly .Industrial Designer: Yeah because uh uh you'll be touching the buttons more so it is soft when you touch it .Marketing: Mm-hmm . Mm .Project Manager:Mm-hmm ,Marketing: Mm-hmm .Project Manager: mm-hmm .Industrial Designer: And then um uh for the {disfmarker} for the led , for the light emitting diode itis a fluorescent greenMarketing: Mm-hmm .Industrial Designer: and it's a {disfmarker} a {disfmarker} it is a bulb like an ordinary infrared .Marketing: Mm-hmm.Industrial Designer: And {disfmarker} and the button {disfmarker} button's part uh will be explained by F Francina .User Interface: Okay .Marketing: Okay .UserInterface: Now the um {disfmarker} we decided upon including certain features on our remote . Now these features includes the s um signal emitting uh signal{disfmarker} it's the led or L_E_D_ the infrared .Project Manager: Mm-hmm ,Marketing: Yeah , okay , mm-hmm .Project Manager: mm-hmm .User Interface:Now uh we have included the switch on and off button .Marketing: Mm-hmm .User Interface: Now we have included another feature that is the mutebuttonMarketing: Mm-hmm .User Interface: on the side of the model . Then we have included one to nine buttonsMarketing: Mm-hmm .User Interface: forcontrolling the programmes {disfmarker} the different channels .Marketing: Mm-hmm .User Interface: We have also included two buttons for increasing ordecreasing the volume .Marketing: Mm-hmm .User Interface: And we have also included two buttons for scrolling up and scrolling down the programme channels. Now our {disfmarker} our model also contains a button which is called as the menu button .Marketing: Mm .Project Manager: What kind of button ?UserInterface: Menu button .Project Manager: Menu ? Uh menu th menu , uh one one .User Interface: Yes , menu {disfmarker}Marketing: Menu button .{vocalsound}User Interface: At the centreMarketing: Mm-hmm .User Interface: we have included a button which is fluorescent green colour and this is the menubutton which will control the colour , sharpness , brightnessMarketing: Mm-hmm . Of the screen . Mm , mm-hmm .User Interface: of this uh picture . We havealso included a button which is called as the swapping button . Now this is uh a special , special feature which we have included . Now this button is an elongatedshaped button and this is slightly flexible so if it is turned towards the right it will take to the previous channel , if it is turned towards the right it will take to thenext channel . It will take the user to the previous and the next channel so this is a swapping button .Marketing: The next channel in the numeric pattern , or{disfmarker}User Interface: No , swapping is if if example you're {disfmarker} you're watching the second channel and then you go to the tenth channel and ifyou want to go back to the second channel you can swap , this button .Marketing: Yeah , mm-hmm . Mm .User Interface: Yes .Marketing: Okay , okay .UserInterface: And at the end , it {disfmarker} this remote has inbuilt voice recogniser which c which will recognise the user's voice and then it'll act accordingly.Project Manager: Okay . Mm-hmm . Mm-hmm .User Interface: So this is our proposed model .Marketing: Okay .User Interface: Now the marketing expert hastoMarketing: Mm-hmm .Industrial Designer: Tell , yeah .User Interface: give her suggestion whether it'll be sellable {vocalsound} or it'll be cost effective.Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay , well um what {disfmarker} what I really like a lot about it is that you can reach the wholething with one thumb ,User Interface: Yes , yes .Marketing: that you can really hold it in one h you don't need two handsIndustrial Designer: Mm-hmm.Marketing: and it's easily reachable even for somebody with a small hand , yeah ?Project Manager: Yes the buttons are all raised , right ?Marketing: The buttonsare all raisedProject Manager: Are raised , mm-hmm .User Interface: Yes .Marketing: and if you hold it in the centre of your hand you can even reach it over hereso you don't have to turn it around , turn it upside down , move it up , up and down ,Project Manager: Right . Or have two hands to operate it , yeah .Marketing: Ireally like that .User Interface: Mm .Industrial Designer: Mm-hmm .Marketing: You really did a good job on that , my little designers .User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Um and um I like the idea that the on-off button is in a really prominent place . That'sthat's a really good good thing .Project Manager: Yes , and it sort of sticks up so that you really {disfmarker}Marketing: Yeah , that's great .Project Manager: youdon't have to g first go like oh yeah here it's on and yeah , mm-hmm .Industrial Designer: Hmm . Mm-hmm .Marketing: Mm-hmm .User Interface: Abs okay.Marketing: The colour's very attractive . Um the um these buttons uh around here are the muteUser Interface: No , these {disfmarker} the front buttons whichare here , are the mute buttons .Marketing: and {disfmarker} these {disfmarker} mm-hmm On both sides they're mute ?User Interface: Yes , yes .Marketing: Soyou can push either one ?User Interface: Yes .Marketing: Okay .Project Manager: So if you're left-handed or right-handed it doesn't matter .Marketing: And thisbrings the menu up on the screen ?User Interface: {vocalsound} Pardon me ? This is the menu {disfmarker} yes , yes .Marketing: This brings the menu up onthe screen and the orange ones are {disfmarker}User Interface: A the {disfmarker} the {disfmarker} these {disfmarker} these two are th to increase ordecrease the volumes ,Marketing: Okay .User Interface: and these two are to uh scroll the programme channels .Marketing: F f okay .User Interface: Scroll up orscroll down the channels .Marketing: Right , very good . Uh it looks mm looks like something I can sell .User Interface: {vocalsound}Industrial Designer:"}
+{"doc_id":"doc_12","qid":"","text":"Industrial Designer: Now what .Project Manager: 'Kay , hello everybody . Uh , I guess you all know what is it about , you all received the email , I guess . Uh , weare actually doing this meeting to start a new project which is about designing a remote control . So I'm going to be the project manager of this uh project . Anduh so I'm {disfmarker} present myself . I'm Fabien Cardinaux and uh I I guess you can present yourself . So I dunno , you can starts .User Interface:{vocalsound}Industrial Designer: Okay , so my name is Petre {gap} . You can call me Petre {gap} , or Peter if you like . I don't care {gap} .Project Manager:Okay .Marketing: Uh my name's Bob Mor .Project Manager: And you are ? In the project ?Industrial Designer: Uh , in the project I'm supposed to be the technic.Marketing: Oh , sorry .Project Manager: {gap}Marketing: 'Kay . So my name's Bob Morris . I'm the Marketing Expert for this project .Industrial Designer: Bob,Marketing: Bob yeah .Industrial Designer: okay .User Interface: My name is Hamed Getabdar , and uh I'm going to be Interface Designer in this project.Industrial Designer: Okay .Project Manager: So , uh , so today we are doing a short meeting to present the project , so um We are gooding we are going topresent the tool we are {vocalsound} we are going to use during all this project . We are talking about the project plan , and we are going to to discuss about stour first ideas and so on , and , yeah . So we have around twenty five minutes to do this meeting . Um . So what is the goal of this project ? Is to design a newremote control . So it should be , of course , new and original , and um it should be trendy , and user friendly . That mean it's a very challenging project , and uhuh . So w it's {disfmarker} we will try to do our best , and hopefully come with something very new and that people want to buy . So , um {disfmarker} Sowhat's uh what are we going to do during this all this project ? So it's more like we are going to do inv individual work all in o in o our specialities and we aregoing to meet each other quite often to discuss and to find a good way . Um . Yeah and everything is {disfmarker} will be like this . Um so now we are going to toget used t to to the tools we are going to use all {disfmarker} during all this project . So we can try to use uh the whiteboard here . So {gap} uh .IndustrialDesigner: Okay .Project Manager: For example we can try to write what is our our favourite animal and write the f our favourite characteristics about it . Mm . Uh{vocalsound} . So uh {disfmarker} {gap} So I will ask you all to do the same .Industrial Designer: Okay .Project Manager: Just to get used to the whiteboard.Industrial Designer: So probably I would try to try to draw the animal . Well sh should I draw the picture of the animal ?Project Manager: Yeah , yeah , you candraw the picture , of course {vocalsound} .Industrial Designer: I I th I think I should .Marketing: Yeah go ahead .Industrial Designer: Okay , so . Um{vocalsound} . Okay , American , um . Um . I would use the bird . So I tried to sketch it out . I had to first uh write it down because I am not absolutely sure if Ican draw it , but ah . Can you recognise it {vocalsound} as a bird ?Project Manager: {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay{vocalsound} it's your turn to {disfmarker}Marketing: Okay , okay . {vocalsound} So I think my favourite animal would be a c a cat .Project Manager: Oh.Marketing: That's its head .Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: Um I probably like cats the most because they're cuddly andfurry and uh playful .Project Manager: {vocalsound}Industrial Designer: {gap}User Interface: {vocalsound}Marketing: Okay .User Interface: I dunno if I shouldgo with this {gap} {vocalsound} .Industrial Designer: Oh it's okay .Project Manager: {vocalsound}Marketing: Thanks . {vocalsound}User Interface: If it isenough line .Industrial Designer: {vocalsound}Marketing: {vocalsound} {vocalsound} Maybe put it upUser Interface: {vocalsound} I'm sorry .{vocalsound}Marketing: {disfmarker} Put it a Maybe put it on the desk or something .Industrial Designer: Yeah .User Interface: {vocalsound}IndustrialDesigner: I should get used to the tool , so .Marketing: {vocalsound}User Interface: {vocalsound} Okay .Industrial Designer: {vocalsound} Oh just wait {gap} alittle bit . C could we put it here , to make it as straight as possible ?User Interface: {vocalsound} {vocalsound}Project Manager: {vocalsound}IndustrialDesigner: {vocalsound} Ah probably not .User Interface: {vocalsound} They should be remote .Marketing: {vocalsound}Industrial Designer: Okay , it{disfmarker} it works like this .Marketing: Uh , that's better .User Interface: Okay , thanks .Marketing: Your lapel microphone's fallen off .User Interface:{vocalsound}Industrial Designer: Are you left-handed ?User Interface: No .Industrial Designer: Oh , pity {vocalsound} .User Interface: Okay . Should I clean ?{vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Okay , I think like horses uh because they are strong and beautiful , so if I want to write ithere , I think I can . {vocalsound} Oh {vocalsound} .Marketing: {vocalsound}Project Manager: Never mind . {vocalsound}Industrial Designer: Ah , it's maybebetter if you leave it .Marketing: {vocalsound} Yeah . Yeah . Maybe we should just continue .Project Manager: Yeah .Marketing: Yeah , don't worry about it .{vocalsound}User Interface: {gap}Project Manager: {gap} , no worry .Marketing: No .Industrial Designer: {gap}User Interface: Okay .Industrial Designer: Youwon't draw them , or ?Project Manager: You can draw it , if you want . {vocalsound}Industrial Designer: {vocalsound}User Interface: I dunno if I can .Marketing:{vocalsound}Industrial Designer: Just try . I would like to see how it looks like .User Interface: {vocalsound} Okay .Industrial Designer: {vocalsound}UserInterface: {vocalsound} It may be like a cow or I dunno , whatever .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} I'mnot good very good in drawing . Okay , so this is very {vocalsound} {disfmarker} It's a bird , I think . I dunno what is it . {vocalsound}Industrial Designer: No , Ithink it's clear .User Interface: {vocalsound} Four . Okay . Mm-hmm . Mm . Yeah . I'm shameful {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound} Oh that's good , it's good .Industrial Designer: It's okay . It's in it's indeed beautiful .Project Manager: Good .Marketing: Yeah , and strong .{vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Yeah . {vocalsound} Okay .Industrial Designer: Okay .Marketing:{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Bob . Have to remember it . Bob .Project Manager: So good um{disfmarker} So , let's talk about money . Uh we are going to to sell {disfmarker} we want to sell uh this remote control for twenty five Euro Euro . And uh ourexpected profit will be around fifty million Euro . And uh we are trying to to have a market all around the world . So {gap} n not only for Switzerland , but for theworld . Uh . So , um . The {disfmarker} We expect a production cost of maximum uh twelve point fifty Euro .Industrial Designer: Per unit , I guess .ProjectManager: {vocalsound} Yeah , of course .Industrial Designer: Y oh okay .Project Manager: Um , so we can start today to have a first idea of what we want to dowhat are our experiments with remote control , and any idea ? So , if you have some experience , good or bad , with remote controls you can share it and saywhat you f what is your idea . Anything .Industrial Designer: Okay .Marketing: Well , from experience , um I've had remote controls in the past that have hadvery {disfmarker} they've had lots and lots of buttons and they've been very small , and it's been very hard to to to use , because there's so many buttons , andyou know it's very hard to see which buttons do what , and the buttons are very small and very hard to press . Um and and normally you only every use , youknow , on a T_V_ remote you only ever use , mostly , you know , f four or f six buttons . Um .Project Manager: Mm .Industrial Designer: Oh .Marketing: So it'sfrustrated me in the past , th that .Industrial Designer: Okay , I have also some points uh . Maybe two points . Uh first would be that in current remote controlsthere is no back light {vocalsound} , so if you are if you are uh playing with this in the dark room it's it's probably worth to to have something like uh back light.Project Manager: Yeah .Industrial Designer: And maybe it could be also dependant on the the amount of of light in the room , so that if if it's in the day it doesn'tneed to be back lighted because it works on the battery , so . So something like this . And the second thing , f second point from me would be that in a normalremote control there is uh {disfmarker} there are two buttons for volume control .Project Manager: Yeah .Industrial Designer: But I prefer like a potential-meteror something like .Marketing: Ah , okay . Okay .Industrial Designer: You know , some slider or {disfmarker}Project Manager: Okay .Industrial Designer: Not justtwo discrete buttons for volume ,User Interface: Mm-hmm .Marketing: Okay , n {vocalsound}Industrial Designer: but something which {disfmarker}ProjectManager: Mm-hmm . Yeah .Marketing: Is that because the {disfmarker} of the discrete volume levels , or is thatIndustrial Designer: Yeah , but I can reach{disfmarker} In uh one second I can mute it down , or or make a high volume .Project Manager: {gap} Are you not afraid that if you take your remote controlyou can move the slide and it could {gap} {disfmarker} the the volume can go up very quicklyMarketing: Yeah .Industrial Designer: Ah , n .Project Manager: andit can {disfmarker}Industrial Designer: If it drops to the floor then it starts to scream {gap} .Project Manager: Yeah , also if y when you take the the remotecontrol , for example on the table , you take it and you push the button and everything is very loud , andIndustrial Designer: {vocalsound} Yeah , f It dependswhat what you feel about that .Project Manager: you have a heart attack {vocalsound} . Okay .Marketing: Yeah .Industrial Designer: Yeah but we can we canthink of these things afterwards , but if {gap} you have some more notes on that .Project Manager: Yeah so you can {disfmarker}User Interface: Uh I{disfmarker} Yeah ,Project Manager: Do you have something ?User Interface: just a simple experience . I uh I prefer um remote control working with radiowaves , because remote control working with infra-red rays you should you should you should keep it in a specific direction and then try it hard to tune {gap}.Project Manager: Yeah , that's true . Yeah without obstacles and {gap} .Industrial Designer: Okay .Project Manager: Okay . Let's continue .Industrial Designer:Um .Project Manager: I have a meeting in five minutes , so maybe we should hurry .Marketing: Okay .Project Manager: Um . So we will close uh this meeting.Industrial Designer: Okay , just a second . {gap}Project Manager: So we will have a next meeting in uh thirty minutes .Industrial Designer: {vocalsound}ProjectManager: Um . Uh . The {disfmarker} So I will ask you to do some work . Uh the the interface interface developer will work on the on the design of the remote"}
+{"doc_id":"doc_13","qid":"","text":"PhD E: Yeah .Professor B: Um , so . If we can't , we can't . But uh we 're gonna try to make this an abbreviated meeting cuz the {disfmarker} the next{disfmarker} next occupants were pushing for it , so . Um . So . Agenda is {disfmarker} according to this , is transcription status , DARPA demos XML tools ,disks , backups , et cetera andGrad H: Does anyone have anything to {pause} add to the agenda ?Professor B: OK . Should we just go in order ? Transcriptionstatus ? Who 's {disfmarker} that 's probably you .Postdoc A: I can do that quickly . Um I hired several more transcribers , They 're making great progress.Professor B: Seven ?Postdoc A: Seve - several , several .Professor B: Oh .Postdoc A: And uh {disfmarker} and uh , uh I 've been uh finishing up the uh doublechecking . I hoped to have had that done by today but it 's gonna take one more week .Grad H: UmPhD D: I gGrad H: as a somewhat segue into the next topic ,um could I get a hold of uh the data even if it 's not really corrected yet just so I can get the data formats and make sure the information retrieval stuff is working?Postdoc A: Certainly . Yeah I mean , it 's in the same place it 's been .Grad H: So can you just {disfmarker} Oh , it is .Postdoc A: Uh - huh . No change .Grad H:OK . Just {disfmarker} So , \" transcripts \" is the sub - directory ?Postdoc A: Uh {disfmarker} Yes . Uh - huh .Grad H: OK . So I 'll {disfmarker} I 'll probably justmake some copies of those rather than use the ones that are there .Postdoc A: OK .Grad H: Um and then just {disfmarker} we 'll have to remember to deletethem once the corrections are made .Postdoc A: OK .Professor B: OK , whPhD D: I also got anot a short remark to the transcription . I 've uh just processed thefirst five EDU meetings and they are chunked up so they would {disfmarker} they probably can be sent to IBM whenever they want them .Grad C: Cool .PhD F:Well the second one of thosePhD D: Yep . It 's already at IBM ,PhD F: is already at IBM .PhD D: but the other ones {disfmarker}PhD F: That 's the one that{pause} we 're waiting to hear from them on .PhD D: Yeah . Yeah .Postdoc A: OK .PhD F: Yeah .Postdoc A: These are separate from the ones that{disfmarker}PhD F: As soon as {disfmarker}Postdoc A: I mean , these are {disfmarker}PhD F: They 're the IBM set .PhD D: Yep .Grad H: It 's this one .PostdocA: Excellent . Good .PhD F: Yeah . And so as soon as we hear from Brian that this one is OKGrad H: Is my mike on ? Yeah .PhD F: and we get the transcript backand we find out that hopefully there are no problems matching up the transcript with what we gave them , then uh we 'll be ready to go and we 'll just send themthe next four as a big batch ,Postdoc A: Excellent .PhD F: and let them work on that .Grad H: And so we 're doing those as disjoint from the ones we 'retranscribing here ?PhD F: Yes , exactly .Grad H: OK , good .PhD F: We 're sort of doing things in parallel , that way we can get as much done a at once .Grad H:Yeah , I think that 's the right way to do it ,PhD F: Yeah .Grad H: especially for the information retrieval stuff . Anything else on transcription status ?Postdoc A:Hm - mmm .Grad H: OK .Professor B: DARPA demos , we had the submeeting the other day .Grad H: Right , which uh {disfmarker} So I 've been working onusing the THISL tools to do information retrieval on meeting data and the THISL tools are {disfmarker} there 're two sets , there 's a back - end and a front - end, so the front - end is the user interface and the back - end is the indexing tool and the querying tool . And so I 've written some tools to convert everything intothe right for file formats . And the command line version of the indexing and the querying is now working . So at least on the one meeting that I had thetranscript for uh conveniently you can now do information retrieval on it , do {disfmarker} type in a {disfmarker} a string and get back a list of start - end timesfor the meeting ,PhD F: What {disfmarker} what kind of uh {disfmarker} what does that look like ? The string that you type in .Grad H: uh of hits .PhD F: Whatare you {disfmarker} are you {disfmarker} are they keywords , or are they {disfmarker} ?Grad H: Keywords .PhD F: OK . I see .Grad H: Right ? And so{disfmarker} and then it munges it to pass it to the THISL IR which uses an SGML - like format for everything .PhD F: I see .Professor B: And then does it playsomething back or that 's something you 're having to program ?Grad H: Um , right now , I have a tool that will do that on a command line using our standardtools ,Professor B: Yeah .Grad H: but my intention is to do a prettier user interface based either {disfmarker} So {disfmarker} so that 's the other thing I wantedto discuss , is well what should we do for the user interface ? We have two tools that have already been written . Um the SoftSound guys did a web - based one,Professor B: Mm - hmm .Grad H: um , which I haven't used , haven't looked at . Dan says it 's pretty goodProfessor B: Mm - hmm .Grad H: but it does mean youneed to be running a web server .Professor B: Mm - hmm .Grad H: And so it {disfmarker} it 's pretty big and complex . Uh and it would be difficult to port toWindows because it means porting the web server to Windows .Professor B: Mm - hmm .Grad H: Uh the other option is Dan did the Tcl - TK THISL GUI front - endfor Broadcast NewsProfessor B: Yeah .Grad H: which I think looks great . I think that 's a nice demo . Um and that would be much easier to port to Windows . Andso I think that 's the way we should go .Postdoc A: I {disfmarker} Can I ask a question ? So um as it stands within the {disfmarker} the Channeltrans interface ,it 's possible to do a find and a play .Grad H: Mm - hmm .Postdoc A: You can find a searched string and play . So e Are you {disfmarker} So you 're adding likeum , I don't know , uh are they fuzzy matches or are they {pause} uh {disfmarker} ?Grad H: It 's a sort of standard , text - retrieval - based {disfmarker} So it's uh term frequency , inverse document frequency scoring .Postdoc A: OK .Grad H: Um and then there are all sorts of metrics for spacing how far apart theyhave to be and things like that . So it {disfmarker} it 'sPostdoc A: It 's a lot more sophisticated than the uh the basically Windows - based {disfmarker}Grad H: iit 's like doing a Google query or anyth anything else like that .Postdoc A: OK .Grad H: So i it uses {disfmarker} So it pr produces an index ahead of time so youdon't {disfmarker} you 're not doing a linear search through all the documents . Cuz you can imagine if {disfmarker} with {disfmarker} if we have the sixty hours' worth you do {disfmarker} wouldn't wanna do a search .Postdoc A: Hm - mmm . Good .Grad H: Um you have to do preindexing and so that {disfmarker} thesetools do all that . And so the work to get the front - end to work would be porting it {disfmarker} well {disfmarker} uh to get it to work on the UNIX systems , ourside is just rewriting them and modifying them to work for meetings .Professor B: Mm - hmm .Grad H: So that it understands that they 're different speakers andthat it 's one big audio file instead of a bunch of little ones and just sorta things like that .Professor B: Mm - hmm .PhD G: Mm - hmm .PhD F: So what does theuser see as the result of the query ?Grad H: On which tool ?PhD F: THISL .Grad H: The THISL GUI tool which is the one that Dan wrote , Tcl - TKPhD F: Yeah.Grad H: um you type in a query and then you get back a list of hits and you can type on them and listen to them . Click on them rather {comment} with a mouse.PhD F: Ah .Professor B: MmmPhD F: So if you typed in \" small heads \" or something you couldGrad H: Right , you 'd get {disfmarker}PhD F: get back a uh uh{comment} something that would let you click and listen to some audio where that phrase had occurredGrad H: something {disfmarker} You {disfmarker} you 'dget to listen to \" beep \" .PhD F: or someProfessor B: That was a really good look . It 's too bad that that couldn't {vocalsound} come into the {disfmarker}GradH: You couldn't get a video .PhD G: Guess who I practice on ?Postdoc A: At some point we 're gonna have to say what that private joke is , that keeps coming up.Professor B: Yeah . And then again , maybe not . So , {vocalsound} uh {disfmarker} Yeah , that soun that sounds reasonable . Yeah , it loo it {disfmarker} my{disfmarker} my recollection of it is it 's {disfmarker} it 's a pretty reasonable uh demo sort of format .Grad H: Right .PhD F: Yeah that sounds good .Grad H:And so I think there 'd be minimal effort to get it to work , minimallyPhD F: That sounds really neat .Grad H: and then we 'd wanna add things like query byspeaker and by meeting and all that sort of stuff . Um Dave Gelbart expressed some interest in working on that so I 'll work with him on it . And it {disfmarker} it's looking pretty good , you know , the fact that I got the query system working . So if we wanna just do a video - based one I think that 'll be easy .Professor B:Mm - hmm .Grad H: If we wanna get it to Windows it 's gonna be a little more work because the THISL IR , the information retrieval tool 's {disfmarker} um , Ihad difficulty just compiling them on Solaris .Professor B: Mm - hmm .Grad H: So getting them to compile on Windows might be challenging .Professor B: Mm -hmm .PhD F: But you were saying that {disfmarker} that the uh {disfmarker} that there 's that set of tools , uh , Cygnus tools , that {disfmarker}Grad H: So . Itcertainly helps .PhD F: Uh - huh .Grad H: Um , I mean without those I wouldn't even attempt it .Professor B: Mm - hmm .PhD F: Yeah .Grad H: But what those{disfmarker} they {disfmarker} what those do is provide sort of a BSD compatibility layer ,Professor B: Mm - hmm .Grad H: so that the normal UNIX functioncalls all work .Professor B: Mm - hmm .PhD F: And you have to have all the oGrad H: Um , But the problem is that {disfmarker} that the THISL tools didn't useanything like Autoconf and so you have the normal porting problems of different header files and th some things are defined and some things aren't and uhdifferent compiler work - arounds and so on . So the fact that um it took me a day to get it c to compile under Solaris means it 's probably gonna take me ssignificantly more than that to get it to compile under Windows .Professor B: How about having it run under free BSD ?PhD E: Well what you need{disfmarker}Grad H: Free BSD would probably be easier .PhD E: All you need to do is say to Dan \" gee it would be nice if this worked under Autoconf \" and it 'llbe done in a day .Grad H: That 's true .PhD D: Uh {disfmarker}PhD E: Right ?Grad H: Actually you know I should check because he did port it to SPRACHcorePhDE: Right .Grad H: so he might have done that already .PhD E: I {disfmarker} I {disfmarker} I wouldn't be surprised .Professor B: So {disfmarker}Grad H: I 'llcheck at that {disfmarker}Professor B: But it would {disfmarker} what would serve {disfmarker} would serve both purposes , is if you contact him and ask him ifhe 's already done it .PhD E: What I {disfmarker}PhD F: How does it play ?Grad H: Yeah , right .Professor B: If he has then you learn , if he hasn't then he 'll do it.Grad H: Right .Postdoc A: Wow .PhD F: I hope he never listens to these meetings .Grad H: That 's right . So , and I 've been corresponding with Dan and alsowith uh uh , SoftSound guy , uh {disfmarker}Postdoc A: It 's amazing .Professor B: Yeah .Grad H: Blanking on his name .Professor B: Tony Robinson ?PhD F:"}
+{"doc_id":"doc_14","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. We've received no apologies forabsence. Can I ask if there are any declarations of interest from Members, please? No. Okay, thank you. Item 2 this morning is the Children (Abolition of Defenceof Reasonable Punishment) (Wales) Bill: Stage 2 proceedings. I'm pleased to welcome Julie Morgan AM, Deputy Minister for Health and Social Services; KarenCornish, deputy director, children and families division at Welsh Government; and Emma Gammon, lawyer for Welsh Government. Thank you for attending thismorning and welcome to the committee. I'm just going to run through the procedures that we're going to follow now. As I said, the purpose of the meeting is toundertake Stage 2 proceedings on the Children (Abolition of Defence of Reasonable Punishment) (Wales) Bill. For these proceedings, Members should have copiesof the marshalled list of amendments, the groupings of the amendments for debate and the voting order for the amendments. The marshalled list of amendmentsis the list of all amendments tabled, marshalled into the order in which the sections appear in the Bill. The order in which we consider amendments will be thedefault order—that is, sections 1 to 3 and the long title. You will see from the groupings list that amendments have been grouped to facilitate debate. However,the order in which they're called and moved for decision is dictated by the marshalled list. Members will, therefore, need to follow the two papers, although I willadvise Members when I call them whether they're being called to speak in the debate or to move their amendments for a decision. There will be one debate oneach group of amendments. Members who wish to speak in a particular group should indicate to me in the usual way. I will call the Deputy Minister to speak oneach group. For the record, in accordance with the convention agreed by the Business Committee, as Chair I will move amendments in the name of the DeputyMinister. For expediency, I will assume that the Deputy Minister wishes me to move all of her amendments, and I will do so at the appropriate place in themarshalled list. Deputy Minister, if you do not want a particular amendment to be moved, please indicate to me at the relevant point in proceedings. In line withour usual practice, legal advisers to the committee and the Deputy Minister are not expected to provide advice on the record. If Members wish to seek legaladvice during proceedings, please do so by passing a note to the legal adviser and, if necessary, we can adjourn. My intention is to try to dispose of allamendments during today's meeting. I will call a short break in proceedings at an appropriate time, if necessary. Okay, thank you. So, we will proceed, then, togroup 1, which is the duty to promote public awareness. The lead amendment in the group is amendment 1 in the name of the Deputy Minister. I moveamendment 1 in the Deputy Minister's name and call on the Deputy Minister to speak to her amendment and the other amendments in this group.Julie MorganAM: Thank you very much, Chair. My amendments 1 and 4 will place a duty on Welsh Ministers to provide information and increase awareness about the changein the law to ensure that the public are made aware of how the law will change as a result of the defence of reasonable punishment being abolished and thatphysical punishment would be prohibited once the Act commences. I tabled these amendments in response to this committee's recommendation—this was arecommendation from this committee in the Stage 1 report, so I have responded to that. I've already made a commitment to a high-intensity awareness-raisingcampaign over approximately six years from Royal Assent, should the Bill be passed. I've considered amendments 1A to 1E, which have been tabled by JanetFinch-Saunders, and which relate to the duty to raise awareness. Amendment 1A introduces a reference to public understanding. We don't think, actually, thatthis adds anything to the Government amendment, which already mentions awareness. It makes the awareness-raising duty open-ended with no time limit,which is not necessary. By commencement, messaging around the change in the law will be embedded. The awareness-raising campaign will continue for anumber of years. Therefore, an ongoing duty referring specifically to the law change would not be required. I understand, of course, that the awareness-raisingcampaign needs to be comprehensive, well planned and to reach out to all those people and all those communities who need to be aware of the law change, andunderstand how to respond to it. But I don't think it's helpful or necessary to highlight specific groups, such as visitors to Wales, on the face of the Bill—that's theapproach taken in amendment 1E—as it risks placing too much emphasis on certain groups at the expense of others. In relation to children, the committee willknow that I'm fully committed to children’s rights, and that Welsh Ministers are already under a duty to have due regard to the rights of children whenever theyexercise their functions. An additional due regard requirement, such as the one set out in amendment 1D, relating specifically to the need to promote awarenessamong children is not needed. This would be part and parcel of the Welsh Government approach to putting children’s rights at the heart of our policy making.Similarly, I don't think it's necessary for the Bill to set out specifically the topics that need to be covered in the awareness-raising campaign, as is suggested inamendments 1B and 1C. That level of detail, I don't think, is for the face of the Bill. Information required about parenting support will be considered by theparenting expert group, under the auspices of the Bill’s strategic implementation group, working with my officials and the expert stakeholder group on theawareness-raising campaign. And, really, their thinking should not be constrained in any way by specifications on the face of the Bill. I think we always need tobear in mind that what the Bill does is remove a defence to an existing criminal offence; it does not create a new offence. And in this context, it doesn't makesense for this Bill to contain a provision requiring the provision of information about how a person may raise concerns if it appears to them that a child is beingphysically punished. As I set out in my letter to this committee responding to recommendation 15 on this point, safeguarding is everyone’s business, and, as now,the public have a role in highlighting to relevant services if they are concerned about a child. I'm asking for the support of Members for amendments 1 and 4, andI ask Members to reject amendments 1A to 1E because this would place unnecessary provisions on the face of the Bill.Lynne Neagle AM: Thank you, DeputyMinister. Are there other Members who wish to speak? Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you, Chair. I wish to speak to amendments 1A to1E, which relate to the Deputy Minister's amendment on the duty to promote public awareness. While we believe it is absolutely imperative that the public aremade aware of this controversial change in the law, the Deputy Minister's amendment lacks a number of key points that the committee were actually keen toaddress at Stage 1. An important thread runs throughout each and every amendment that I've tabled within this group—that of a sustained awareness campaign,which not only stretches beyond the implementation of the Bill, but serves as a duty for future administrations. Amendment 1A: primarily, amendment 1Achanges amendment 1 to include the promotion of understanding changes to the law. I don't think it's enough for the Welsh Government to say that the publicshould be made aware of the coming into force of section 1 and that a public awareness campaign needs to be sustained until the Welsh Government's objectiveshave been achieved. Despite the fact that it is intended to change behaviour, the consequences of this law are far greater than that of organ donation orprohibiting smoking indoors. Instead of an opt-out system or a civil offence, this law will remove a defence for parents, information on which could be there ontheir records for the rest of their lives, potentially separate parents, and could affect employment chances. As such, whilst we agree with the necessity of theawareness campaign, it is important too that the Welsh Government take stock and ensures that parents are not penalised due to a weak awareness campaign.The witnesses we heard before this committee also noted the necessity of ensuring that the public understands—Lynne Neagle AM: Janet, Dawn is asking if you'lltake an intervention.Janet Finch-Saunders AM: Yes.Dawn Bowden AM: I just wanted to know—could you give us examples of any other piece of legislation wherethere's been indefinite public awareness campaigns once it's been passed?Janet Finch-Saunders AM: There's a lot of legislation. The first Assembly term when Iwas here—Dawn Bowden AM: Yes, what I'm asking—Janet Finch-Saunders AM: I'm trying to respond—Dawn Bowden AM: What I'm asking for is: can you give usspecific examples of where there have been indefinite public awareness campaigns running indefinitely past the enactment of a piece of legislation?JanetFinch-Saunders AM: The very first term that I was an Assembly Member, we passed 25 pieces of separate legislation. Even today, as I sit here, the public are notaware of many of those pieces of legislation. This particular piece of legislation will have a profound effect on the parenting of children in Wales. So, therefore, Ithink there is a necessity for both children and parents to become involved, and I shall speak now—Dawn Bowden AM: With respect, Chair, that's not the questionI asked.Janet Finch-Saunders AM: —to my amendments.Lynne Neagle AM: I can call you in the debate, if you'd like to make a more substantive contribution onthis. Yes.Janet Finch-Saunders AM: The witnesses who we heard from before this committee also noted the necessity of ensuring that the public understands theimplications. And that's what we're talking about here, Members—the implications of removing this defence. Strikingly, the Office of Police and CrimeCommissioner for Gwent stated the following: 'the potential for public resistance to the Bill through misunderstanding or confusion over it implications may posethe largest barrier to its implementation.' If you are intent on removing the defence of reasonable punishment, it is therefore not unreasonable to ensure thatlaw-abiding parents fully understand the ramifications of this Bill. Additionally, the committee found that while the current Welsh Government's intention todeliver a public awareness campaign was beyond doubt, future Governments may have less of a commitment. This places further weight on the fact that theWelsh Government should be under a duty to promote awareness and understanding of the Bill beyond its commencement. Furthermore, the Children (EqualProtection from Assault) (Scotland) Bill quite clearly notes that, under section 2, the Scottish Ministers must take such steps as they consider appropriate topromote public awareness and understanding about the effect of section 1 on the abolition for the defence of reasonable punishment. Therefore, I would be"}
+{"doc_id":"doc_15","qid":"","text":"Marketing: {vocalsound} Okay . Oh I totally {disfmarker} Yeah 'cause I moved it . {vocalsound} 'S put it over here . Then we don't have to worry about it .UserInterface: {vocalsound} Ready for this ?Project Manager: All set ? Cool . Alright , it is PowerPoint time . I've done more PowerPoints in this particular experimentthan I've ever done in my life before this experiment {vocalsound}Industrial Designer: {vocalsound} Yeah {vocalsound} .Project Manager: which is kind of fun.User Interface: {vocalsound} Oh man . {vocalsound}Project Manager: So uh here we have our detailed design meeting where we will um look at the prototypeand um {vocalsound} {disfmarker} right so um , I finally figured out what this whole second bullet point is about in my {disfmarker} that my coach was sendingto me . It means I'm supposed to read the minutes from the previous meeting .Industrial Designer: Oh really ?Project Manager: I think . {vocalsound}IndustrialDesigner: Okay .Marketing: Huh .Project Manager: I don't know . Otherwise it's just saying I'm the secretaryMarketing: {vocalsound} {vocalsound}ProjectManager: and I'm {disfmarker} therefore I'm taking the minutes , s so just to go um {vocalsound} just real briefly to go over minutes from last meeting , uh , Iwill open them slowly , no ? Wait for it , wait for it . {vocalsound}Marketing: Yeah that's not you . {vocalsound}Project Manager: No . That's how the{disfmarker}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Wait .User Interface: {vocalsound}Project Manager: This is , this is veryhigh-powered stuff here , double-clicking , there we go . So um basically the moral of the story from our last minute uh {disfmarker} last meeting was that{vocalsound} um we that we had meetings from {disfmarker} uh we had presentations done by the Industrial Designer , uh or from Nathan , and Ron and fromSarah about what we can do here um and what sort of limitations we're operating with um {disfmarker} uh excuse me what limitations we're operating under ,what kind of risk we'd be looking at with some of the various approaches we were discussing and we essentially came to the conclusion that we should develop aremote with uh voice recognition , I_E_ that had a vaguely non-remote like shape um because you didn't really need to use it as a remote since you could justuse your voice . That would include some {disfmarker} mostly just the simple design features for a television operation but with a slide or a fold-out bay for moreadvanced functions for users . Um , and uh the uh uh the U_I_D_ and the I_D_ were asked to go ahead and start developing a prototype for us to look at .{vocalsound} So . That's sorted , back to the main {vocalsound} meet here , um , go ahead and take it away guys .Industrial Designer: Well . Uh , we haveassembled our prototype , um . What's to be said about it ? Um , we took into account a lot of the things that we went over in the last meeting , um . Some of themost important things to consider are that we decided not to go for the touch screen which you can seeProject Manager: Mm-hmm .Industrial Designer: andopted for some very large buttons for the primary functions , um . This is going to be the on off buttonProject Manager: {vocalsound} {vocalsound}IndustrialDesigner: and we have these buttons to go through the channels um and then two volume buttons down here , d uh we decided those were the most importantuh buttons . And then , for the more advanced uh functions there is a slide out panel here um and you can see that there are lots of other things going on . Butthis actually can slide back in and provides a very nice aesthetic when it's all put away , um . As far as the uh whole visible light thing , we decided to go with themultiple colours coming out ,User Interface: {vocalsound}Marketing: Ah .Project Manager: {vocalsound} Nice . {vocalsound}User Interface:{vocalsound}Industrial Designer: why not ?Marketing: {vocalsound} Fair enough .User Interface: {vocalsound}Industrial Designer: Of course , if that's annoyingfor some people that function can be turned off . Um .Project Manager: {vocalsound} Perfect .Industrial Designer: Go ahead .User Interface: No it's important to{vocalsound} we talked a quite a bit about uh you know the the interchangeable uh faces and what we've done here is come up with a bit of a natural lookhereMarketing: Mm .User Interface: um f we call it fruityMarketing: Right .Industrial Designer: {vocalsound}User Interface: if you will . Um . Right , um,Marketing: Appropriate , okay .User Interface: of course that's uh interchangeableIndustrial Designer: {vocalsound}User Interface: and uh I think it would bedesirable for the uh for the regular product in the in the in the in the first packaging to be something a little bit more subduedMarketing: Mm 'kay .User Interface:but this is kind of something that can be doneMarketing: It is an option .User Interface: um and as you can see on the television there uh we have the uh voicedetector device um on the top there .Project Manager: {vocalsound} Oh , right .Industrial Designer: That's this here .Project Manager: {vocalsound}Marketing:Ah . I see .User Interface: Um . So that that will work quite well with with regard to finding this uh contraption . Um , what other things do we see here , well , umif you give it a touch it does have actually a bit of a spongy feel ,Project Manager: {vocalsound}User Interface: um , so I think that will work well with regards toour market . Um and uh let's see , well clearly there's gonna be some more colours and what not available . {vocalsound} Um uh do you have anything else toadd to that ?Industrial Designer: Um I worried about the materials , it is uh {disfmarker} the entire thing is covered in a rubber coating so it's very durable uh ,it's not gonna break like some types of plastic that's dropped . Um , and of course as you can see and if you touch it it does have that nice squishy feel .UserInterface: It's actually important to note that the television , uh you know if there's an earthquake or anything like that , that i it actually is edible inside .ProjectManager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Fact , I dunno if you noticed, but I wrote the uh the company's name on the telephone screen ,Project Manager: Oh well done yeah , yeah oh okIndustrial Designer: I thought that was kindanice .Marketing: Nice .Industrial Designer: This was actually an apple on the inside .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer:This {disfmarker}User Interface: {vocalsound}Marketing: Do we need to worry about um rot factors ? {vocalsound}Project Manager: {vocalsound}UserInterface: Um {vocalsound} it's encased in a new uh type of uhMarketing: Oh okay , there's preservatives involved ,Project Manager: {vocalsound}IndustrialDesigner: Yeah .User Interface: polymer yeah .Marketing: we don't need to worry ,Industrial Designer: We got a bit ahead of ourselves ,User Interface: It's fine.Marketing: okay .Industrial Designer: I know we're not talking about making televisions at this point or anything like that , but {disfmarker}User Interface: Hmm.Marketing: Fair enough .Project Manager: {vocalsound} Edible televisions , it's a wave of the future . {vocalsound}Marketing: No but {disfmarker}UserInterface: It's pos a possible new product .Marketing: {vocalsound} It's a couple years off at least . Okay .User Interface: Um , but I think that's {disfmarker} Ithink that sums up the main features of our {disfmarker} of the remote ,Project Manager: Brilliant .Industrial Designer: Right .User Interface: um I dunno if youguys have any questions or f whether that uh {disfmarker} whether we need to worry about any uh other marketing areas or anything of that nature . Um , didwe come in under budget ?Industrial Designer: Uh we did , yeah . This cost {disfmarker} well to put this into um production , we're looking at about {disfmarker}what was our goal ? It was twelve fifty Euro um and this actually came in at about eleven ninety nine .Project Manager: {vocalsound}Industrial Designer: Um , soI was quite pleased with that .User Interface: Mm-hmm .Industrial Designer: One thing that we didn't do um {disfmarker} obviously we had a choice with thebuttons whether to use scroll buttons or standard rubber buttons , but we just went for a classic rubber button and um since we did thatMarketing: Mm .IndustrialDesigner: we didn't have to use as many microchips which was quite nice and that's what helped keep the cost down .Project Manager: Brilliant .IndustrialDesigner: So even though it has a lot of modern technology , um for example the voice recognition ,Marketing: Mm .Industrial Designer: in a lot of ways it's just asimple remote and um I think if we shopped around for other manufacturers um we might be able to get even cheaper .Marketing: Okay .User Interface: Mm .{vocalsound} Did we talk about the voice recognition uh option ?Industrial Designer: And {disfmarker} Oh no , we haven't talked about that yet have we ?UserInterface: So uh so uh yeah on the back here you all noticed this area here which is actually the voice recognition uh uh consoleProject Manager:{vocalsound}Marketing: Okay .User Interface: and uh I think it's nicely designed into the into the overall look .Marketing: Yeah .User Interface: Um , butbasically the voice recognition uh incorporates um the latest designs that our research team has been able to cufw uh come up with . Basically uh quite similar tothe coffee maker um design that we were talking about earlierMarketing: Mm 'kay .User Interface: and um , I think that uh has given a proven um {vocalsound}ease of use and what not .Industrial Designer: Hmm . Yeah .User Interface: And uh allows features like the remote actually talking back to the user um , so.Marketing: Right .Project Manager: Cool .Industrial Designer: Any questions ?Project Manager: No , noMarketing: {vocalsound} Do we have um other , for lackof a better word , skins ? Covers ?Project Manager: I think that's {disfmarker} {vocalsound}User Interface: {vocalsound}Marketing: In play now or are thoseones gonna be developed later once we see how the couple we have g go or ?Industrial Designer: Um , do you wanna answer this oneMarketing: Do we knowwhere we stand on that yet ?Industrial Designer: or do you want me to answer it ?User Interface: Well we didn't quite have enough material uh {vocalsound}.Marketing: Oh I wasn't expecting a prototypeIndustrial Designer: Yeah , yeah .User Interface: Oh I see ,Marketing: I just didn't know {disfmarker} if you guyshad any in mind yet . {vocalsound}User Interface: right , um .Industrial Designer: Um , well {vocalsound} as you can see this is just a most superficial layer andum it'd be very easy to put another layer of something else like {disfmarker}Marketing: Okay . Just veneer really ,User Interface: Right .Marketing: yeah . Okay.User Interface: Actually this bottom red ring here just unclipsMarketing: Mm-hmm .User Interface: and then you put a a new a new uh a new plate on top of that.Marketing: And the whole thing {disfmarker}Project Manager: {vocalsound}Marketing: OkayUser Interface: So I mean there are {disfmarker} I{disfmarker}Marketing: RightUser Interface: we definitely priced out a spongy {disfmarker} even spongier non-natural look um materialsMarketing: Yeah ."}
+{"doc_id":"doc_16","qid":"","text":"Grad A: OK , we 're recording .Professor F: We can say the word \" zero \" all we want ,PhD G: I 'm doing someProfessor F: but just {disfmarker}PhD G: squarebrackets , coffee sipping , square brackets .PhD B: That 's not allowed , I think .Postdoc C: Cur - curly brackets .Grad E: Is that voiced or unvoiced ?Grad A: Curlybrackets .PhD B: Curly brackets .Professor F: Curly brackets .Grad A: Right .PhD B: Oops .Professor F: Well , correction for transcribers .PhD G: Mmm !{comment} {vocalsound} Gar - darn !Professor F: Yeah .Postdoc C: Channel two .Grad A: Do we use square brackets for anything ?Postdoc C: Yeah . Uh{disfmarker}Grad E: These poor transcribers .Professor F: uPostdoc C: Not ri not right now . I mean {disfmarker} No .PhD D: There 's gonna be some zeros fromthis morning 's meeting because I noticed thatProfessor F: uPhD D: Barry , I think maybe you turned your mike off before the digits were {disfmarker} Oh , wasit during digits ? Oh , so it doesn't matter .Professor F: Yeah .Grad A: It 's still not a good idea .PhD B: So it 's not {disfmarker} it 's not that bad if it 's at the end, but it 's {disfmarker} in the beginning , it 's {pause} bad .PhD D: Yeah . Yeah .Grad A: Yeah , you wanna {disfmarker} you wanna keep them on so you get{pause} good noise {disfmarker} noise floors , through the whole meeting .Postdoc C: That 's interesting . Hmm .Professor F: Uh , I probably just should haveleft it on . Yeah I did have to run , but {disfmarker}Grad E: Is there any way to change that in the software ?Grad A: Change what in the software ?Grad E:Where like you just don't {disfmarker} like if you {disfmarker} if it starts catching zeros , like in the driver or something {disfmarker} in the card , or somewherein the hardware {disfmarker} Where if you start seeing zeros on w across one channel , you just add some {vocalsound} random , @ @ {comment} noise floor{disfmarker} like a small noise floor .Grad A: I mean certainly we could do that , but I don't think that 's a good idea . We can do that in post - processing if{disfmarker} if the application needs it .Grad E: Yeah .PhD B: Manual post - processing .Professor F: Well , I {disfmarker} u I actually don't know what thedefault {comment} is anymore as to how we 're using the {disfmarker} the front - end stuff but {disfmarker} for {disfmarker} for {disfmarker} when we use theICSI front - end ,Grad A: As an argument .Professor F: but um , there is an {disfmarker} there is an o an option in {disfmarker} in RASTA , which , um ,{vocalsound} in when I first put it in , uh , back in the days when I actually wrote things , uh , {vocalsound} I {pause} did actually put in a random bit or so thatwas in it ,Grad E: OK .Professor F: but {vocalsound} then I realized that putting in a random bit was equivalent to adding uh {disfmarker} adding flat spectrum,Grad E: Right .Professor F: and it was a lot faster to just add a constant to the {disfmarker} {vocalsound} to the spectrum . So then I just started doingthatGrad E: Mmm . OK .Professor F: instead of calling \" rand \" {comment} or something ,Grad E: Right .Professor F: so . So it d it does that . Gee ! Here we allare !Grad A: Uh , so the only agenda items were Jane {disfmarker} was Jane wanted to talk about some of the IBM transcription process .Professor F: There 's anagenda ?Grad A: I sort of {vocalsound} condensed the three things you said into that . And then just {disfmarker} I only have like , this afternoon and maybetomorrow morning to get anything done before I go to Japan for ten days . So if there 's anything that n absolutely , desperately needs to be done , you should letme know now .Professor F: Uh , and you just sent off a Eurospeech paper , so .PhD G: Right . I hope they accept it .Professor F: Right .PhD G: I mean , I{disfmarker} both actu as {disfmarker} as a submission and {disfmarker} {vocalsound} you know , as a paper . Um {disfmarker} but {disfmarker}Grad A: Wellyeah , you sent it in {pause} late .Professor F: Yeah , I guess you {disfmarker} first you have to do the first one ,Grad A: Yeah .Professor F: and then{disfmarker} Yeah .PhD G: We actually exceeded the delayed deadline by o another day , so .PhD B: Oops .Professor F: Oh they {disfmarker} they had someextension that they announced or something ?PhD G: Well yeah . Liz had sent them a note saying \" could we please {pause} have another \" {comment} {pause}I don't know , \" three days \" or something , and they said yes .PhD D: And then she said \" Did I say three ?Grad A: Oh ,PhD D: I meant four . \"Grad A: that wasthe other thing uh ,PhD G: But uGrad A: uh , Dave Gelbart sent me email , I think he sent it to you too , {comment} that um , there 's a special topic , section insi in Eurospeech on new , corp corpors corpora . And it 's not due until like May fifteenth .Professor F: Oh this isn't the Aurora one ?Grad A: No .Professor F: It 'sanother one ?Grad A: It 's a different one .PhD B: No it 's {disfmarker} Yeah . Yeah .Grad E: Huh !Grad A: And uh ,Professor F: Oh !PhD B: I got this mail from{disfmarker}Grad A: I s forwarded it to Jane as I thought being the most relevant person . Um {disfmarker} So , I thought it was highly relevant{disfmarker}Postdoc C: Yeah I 'm {disfmarker}Professor F: That 's {disfmarker}Grad A: have you {disfmarker} did you look at the URL ?Postdoc C: Yeah . Ithink so too . Um , I haven't gotten over to there yet ,Grad A: Mm - hmm .Postdoc C: but what {disfmarker} our discussion yesterday , I really {disfmarker} I{disfmarker} I wanna submit one .PhD B: Was this {pause} SmartKom message ? I think {pause} Christoph Draxler sent this ,Postdoc C: Yeah . And , youoffered to {disfmarker} to join me , if you want me to .Grad A: I 'll help ,PhD B: yeah .Grad A: but obviously I can't , really do , most of it ,Postdoc C: Yeah . Yeah, that 's right .PhD G: I think several people {disfmarker} sent this ,Grad A: so .PhD B: Yeah .Postdoc C: Uh - huh .PhD G: yeah .Grad A: But any {disfmarker}any help you need I can certainly provide .Professor F: Well ,PhD G: Yeah .Professor F: that 's {disfmarker} that 's a great idea .PhD G: Well {disfmarker} there{disfmarker} there were some interesting results in this paper , though . For instance that Morgan {disfmarker} uh , accounted for fifty - six percent of theRobustness meetings in terms of number of words .Grad A: Wow .Postdoc C: In {disfmarker} in terms of what ? In termPhD G: Number of words .Postdoc C: One? Wow ! OK .Grad A: That 's just cuz he talks really fast .Postdoc C: Do you mean ,Professor F: n No .Grad A: I knowPhD B: Oh . Short words .Postdoc C: because{disfmarker} is it partly , eh , c correctly identified words ? Or is it {disfmarker} or just overall volume ?PhD G: No . Well , according to the transcripts .Grad A:But re well regardless . I think it 's {disfmarker} he 's {disfmarker} he 's in all of them ,Postdoc C: Oh . OK .Professor F: Yeah .PhD G: I mean , we didn't mentionMorgan by nameGrad A: and he talks a lot .PhD G: we just {disfmarker}Grad A: One participant .Professor F: Well {disfmarker} we have now , but{disfmarker}PhD G: We {disfmarker} we {disfmarker} we {disfmarker} something about {disfmarker}Grad A: Did you identify him as a senior {pause} member?PhD G: No , we as identify him as the person dominating the conversation .Professor F: Well .Grad A: Yeah .Postdoc C: OK .Professor F: I mean I get these AARPthings , but I 'm not se really senior yet , but {disfmarker}PhD G: RightProfessor F: Um ,PhD G: Hmm .Professor F: but uh , other than that delightful result ,what was the rest of the paper about ?PhD G: Um , well it was about {disfmarker} it had three sectionsProfessor F: You sent it to me but I haven't seen it yet.PhD G: uh {disfmarker} three kinds of uh results , if you will . Uh , the one was that the {disfmarker} just the {disfmarker} the amount of overlapGrad A: Thegood , the bad , and the ugly .PhD G: um , s in terms of {disfmarker} in terms of number of words and also we computed something called a \" spurt \" , which isessentially a stretch of speech with uh , no pauses exceeding five hundred milliseconds . Um , and we computed how many overlapped i uh spurts there were andhow many overlapped words there were . {vocalsound} Um , for four different {pause} corpora , the Meeting Recorder meetings , the Robustness meetingsSwitchboard and CallHome , and , found {disfmarker} and sort of compared the numbers . Um , and found that the , uh , you know , as you might expect theMeeting Recorder {pause} meetings had the most overlap uh , but next were Switchboard and CallHome , which both had roughly the same , almost identical infact , and the Robustness meetings were {disfmarker} had the least , so {disfmarker} One sort of unexpected result there is that uh two - party telephoneconversations have {vocalsound} about the same amount of overlap ,Grad A: I 'm surprised .PhD G: sort of in gen you know {disfmarker} order of magnitude -wise as , uh {disfmarker} as face - to - face meetings with multiple {disfmarker}Grad A: I have {disfmarker} I had better start changing all my slides !PhD G:Yeah . Also , I {disfmarker} in the Levinson , the pragmatics book , {comment} in you know , uh , textbook , {vocalsound} there 's {disfmarker} I found thisgreat quote where he says {vocalsound} you know {disfmarker} you know , how people {disfmarker} it talks about how uh {disfmarker} how {disfmarker} howpeople are so good at turn taking ,Postdoc C: Mm - hmm . Yeah . Yeah .PhD G: and {vocalsound} so {disfmarker} they 're so good that {vocalsound} generally ,u the overlapped speech does not {disfmarker} is less than five percent .Postdoc C: Oh , that 's interesting . Yeah .PhD G: So , this is way more than five percent.Grad E: Did he mean face {disfmarker} like face - to - face ? Or {disfmarker} ?PhD G: Well , in real conversations ,Grad E: Hmm .PhD G: everydayconversations .Postdoc C: Mm - hmm .PhD G: It 's s what these conversation analysts have been studying for years and years there .Postdoc C: Mm - hmm .PhDB: But {disfmarker}Postdoc C: Well , of course , no , it doesn't necessarily go against what he said , cuz he said \" generally speaking \" . In order to {disfmarker}to go against that kind of a claim you 'd have to big canvassing .Grad A: Hmm .PhD B: And in fPhD G: Well , he {disfmarker} he made a claim {disfmarker}GradA: Well {disfmarker}PhD G: Well {disfmarker}Grad A: PhD B: But {disfmarker}Professor F: Yeah , we {disfmarker} we have pretty limited sample here .PhD B:Five percent of time or five percent of what ?Grad A: Yeah , I was gonna ask that too .Postdoc C: Yeah .PhD B: Yeah .Postdoc C: Exactly .PhD G: Well it 's time.PhD B: Yeah , so {disfmarker}Postdoc C: It 's {disfmarker} i it 's not against his conclusion ,PhD G: So {disfmarker} {vocalsound} but still {disfmarker} but still{disfmarker} uPostdoc C: it just says that it 's a bi bell curve , and that , {vocalsound} you have something that has a nice range , in your sampling .PhD G: Yeah. So there are slight {disfmarker} There are differences in how you measure it , but still it 's {disfmarker} {vocalsound} You know , the difference between um{disfmarker} between that number and what we have in meetings , which is more like , {vocalsound} you know , close to {disfmarker} in meetings like these ,uh {disfmarker} you know , close to twenty percent .Postdoc C: Mm - hmm . Mm - hmm .Professor F: But what was it like , say , in the Robustness meeting , for"}
+{"doc_id":"doc_17","qid":"","text":"The Acting Chair (Mr. Bruce Stanton (Simcoe North, CPC)): Honourable members, I call this meeting to order. Welcome to the 15thmeeting of the House ofCommons Special Committee on the COVID-19 Pandemic. This will be a hybrid meeting. Members will be participating via video conference or in person.  I willremind you that in order to avoid issues with sound, members participating in person should not also be connecting by video conference. In order to ensure thatthose joining the meeting via video conference can be seen and heard by those in the chamber, two screens have been set up here on either side of the Speaker'schair, and members in the chamber can listen to the floor audio or to interpretation using the earpieces on their desks. Before speaking, please wait until Irecognize you by name and please direct your remarks through the chair. For those joining by video conference, I'd like to remind you to leave your microphoneson mute when you are not speaking. Also, please note that if you want to speak in English, you need to be on the English channel for interpretation, and if youwant to speak French, you should do so on the French channel. Should you wish to alternate between the two languages, please change to the channel for thelanguage that you happen to be using at the time. Should members participating by video conference need to request the floor outside their designated speakingtimes, they should activate their mic and state that they have a point of order. Those in the Chamber can rise in the usual way. Please note that today'sproceedings will be televised in the same way as a typical sitting of the House. We will now proceed to ministerial announcements. I invite the Right Hon. PrimeMinister to take the floor.Right Hon. Justin Trudeau (Papineau, Lib.): Thank you, Mr.Chair. I rise today to address what so many people of colour live with everyday. Over the past few days, we've seen horrific reports of police violence against black men and women south of the border, but these are not isolated incidentsor elsewhere problems. Prejudice, discrimination and violence are a lived reality for far too many people. They are a result of systems that far too often condone,normalize, perpetrate and perpetuate inequality and injustice against people of colour. As a country, we are not concerned bystanders simply watching what ishappening next door. We are part of it. The calls for justice, for equality and for peace are found echoed in our communities, because anti-black racism ishappening here, everywhere in Canada, every single day. This is something that our own staff, cabinet ministers and colleagues face even in these halls. Over thepast few days, I've heard many of these personal stories directly from them. I'm not just talking about acts of violence. I'm also talking about microaggressions,which many of us may not even see. That is the daily reality of far too many racialized Canadians, and it needs to stop. When it comes to being an ally, I havemade serious mistakes in the past, mistakes that I deeply regret and continue to learn from. I want to thank my colleagues, community leaders and fellowCanadians for opening my eyes to what is really going on in our communities and for helping me better understand both privilege and power. I'm not perfect, butnot being perfect is not a free pass to not do the right thing. It's not an excuse to not step up, stand up for each other, be an ally. I know that for so many peoplelistening right now, the last thing you want to hear is another speech on racism from a white politician. I'm not here today to describe a reality I do not know or tospeak to a pain I have not felt. I'm here because I want you to know that our government is listening. We hear your calls for justice, equality and accountability.We acknowledge your frustration, your anger, your heartbreak. We see you.  Since coming to office, our government has taken many concrete steps to fightanti-black racism, systemic discrimination and injustice across the country. We are working directly with the communities and their leaders to close the gaps thatpersist in Canada. For example, we have provided $9million to support programs for black Canadian youth. We have made significant investments to enable thePublic Health Agency of Canada to provide more mental health services to people who have experienced racism or intergenerational trauma. We are helpingcommunity organizations to obtain funding to purchase equipment or lease space. We have also created the anti-racism secretariat, which has an envelope of$4.6million, to address systemic barriers, such as employment, justice and social participation, that perpetuate injustice. We have made progress, but we knowthe work is far from being done.  Over the past five years, our government has worked with communities to recognize and address injustices. We've taken actionto support community organizations, invest in better data and fight racism. While we've made some progress, there is still so much more to do, because here arethe facts in Canada: Anti-black racism is real. Unconscious bias is real. Systemic discrimination is real. For millions of Canadians, it is their daily, lived reality. Thepain and damage it causes are real too. Mr. Chair, every Canadian who has felt the weight of oppression, every student who has the courage to demand a betterfuture, every person who marches and posts and reads and fights, from Vancouver to Montreal to Halifax, expects more than the status quo. They expect moreand deserve better.  The Government of Canada has a lot of work to do, but we're ready. We're ready to work with our opposition colleagues, community leadersand Canadians to make our country a more just and fair place. Racism never has a place in this country, and we will do everything we can to eradicate it fromcoast to coast to coast. Thank you, Mr.Chair.The Acting Chair (Mr. Bruce Stanton): The honourable Leader of the Opposition.Hon. Andrew Scheer (Leader of theOpposition): Thank you very much, Mr. Chair. Over the past week, we have all been affected by the heartbreaking killing of George Floyd in the United States.The video is painful to watch. No one should ever have to plead for help while a crime is being committed, ignored by other members of law enforcement. Thetragedy triggered marches, occupations, protests and, unfortunately, riots. However, I hope it has mostly sparked conversations. Racism is real, painful andunacceptable.  No one should ever feel unsafe because of the colour of their skin, especially around police officers who have a duty and a responsibility to upholdthe law for all. Here in Canada, we are fortunate to live in a country that is welcoming, tolerant and inclusive. Canada was a beacon of freedom to so manyescaping slavery during the U.S. Civil War. Our nation has benefited immensely from great Canadians who overcame prejudices and discrimination to serve theircommunities and make Canada a better country: Lincoln Alexander, elected as a Conservative in 1968, was the first black member of Parliament and went on tobecome the first black cabinet minister; John Ware was born into slavery in South Carolina but, following the American Civil War, was a leading figure in bringingthe first cattle to Alberta and spearheading the ranching industry that would become the backbone of the province; Josiah Henson escaped slavery to become athriving businessman in Ontario; and of course, Viola Desmond challenged segregation in Nova Scotia. Black Canadians throughout history have not just built thisnation with their contributions; they have also represented Canada with excellence and pride on the world stage, like Harry Jerome, who represented Canada inthree Olympic Games and won a bronze medal in 1964. He would go on to become a teacher in British Columbia, once again serving with excellence to try tomake a better world for the next generation. Throughout our history, black Canadians have put their lives on the line for their fellow Canadians, bravely servingaround the world in our armed forces. While there are many things we can point to in our history with pride, that is not to say that we have a perfect record, northat we are immune to the threat of racism or that anti-black racism is just an American problem. Canada has had its own dark episodes of racism that cannot beignoredsadly, not just in our past. Every day, there are people who experience discrimination or racism in some form. Throughout this pandemic, we have seen atroubling spike in anti-Asian racism. No one should be attacked in their community or targeted on the bus because of the colour of their skin. Nor should places ofworship be broken into and desecrated, like the synagogue in Montreal. The Conservatives condemn all acts of anti-semitism, racism and discrimination. In apeaceful and free country like Canada, there is absolutely no room for intolerance, racism or extremism of any kind.  But the violence and destruction we haveseen in response are not the answer. Millions of people are protesting peacefully across the United States and in Canada, and we must always protect the rights ofpeople who are protesting peacefully and within the law for a just cause and separate them from those who exploit tragedies to commit acts of violence. Mr.Floyd's brother, Terrence, said that violence will not bring his brother back. Instead, he has called for peace and justice and urged the crowds to educatethemselves and to vote. Out of such tragedy, Mr. Chair, that is a powerful message about how each one of us can use our democratic rights to effect change. In apeaceful and free country like Canada, there is absolutely no room for intolerance, racism and extremism of any kind. We are not born believing we are betterthan one another. We are all created in the image and likeness of God, and because of that, we are all equal. An infinite value exists in each one of us.  Canada isan incredibly diverse country. Canada is a nation of immigrants that stands on the traditional territories of first nations, Inuit and Mtis people. Waves ofnewcomers have come to Canada for a better life because our country is built on a rock-solid foundation of enduring values, democratic institutions, the rule oflaw and fundamental and universal human rights. Everyone comes here because Canada is built on solid values, democratic institutions, and respect for the ruleof law, as well as for fundamental, universal human rights. We must absolutely protect these values, because they are what sets us apart. They allow Canada tooffer what so many other countries simply cannot. There are those who say that diversity is our strength, and that is true, but it doesn't quite capture the fullpicture. Diversity is the result of our strength, and our strength is and always has been our freedom. It is the freedom for people to preserve and pass on theircultural traditions and the opportunity to live in peace with those around them; the freedom to live your life with equality under the law, regardless of your race orethnic background; and the economic freedom that so many governments around the world deny their people. It is that economic freedom that ensures that hardwork pays off. It gives people the ability to work towards their dreams and choose their own path in life. Together, generations of Canadians who trace their rootsback to countries around the world have built Canada to truly the greatest country on earth, the true north strong and free. To ensure that our people remain"}
+{"doc_id":"doc_18","qid":"","text":"Project Manager: So we come to the third meetings . I have {gap} good .Industrial Designer: {vocalsound}Project Manager: Um so in the last meeting we havediscussed the functional design and now we will talk about the conceptual design . So we will talk about some specific details .Industrial Designer: Okay so I thinkI will do my presentation on the components concept so can you please uh open uh {disfmarker} I'm participant two .Project Manager: This{disfmarker}Industrial Designer: Components design .Project Manager: {gap}Industrial Designer: Okay so uh the first thing uh I have done is to to made areview together with the uh manufactural uh department and have which components was uh available to build a remote control . So for energy sources we havewe have to choose between the solar energy , hand dynamo and uh kinetic um well uh kinetic uh technique {vocalsound} to to store the energy .User Interface:{vocalsound}Marketing: {vocalsound}Industrial Designer: We also um {vocalsound} we also can put a regular battery in the in the remote control . Now{disfmarker}Project Manager: Uh this is what we have decided in the last meeting . But if we use battery {disfmarker}Industrial Designer: Yeah b uh f well uh Imeant uh by by battery I meant uh I will not have a uh a wire between the remote control and the energy source but uh I didn't fou we didn't decide yet whichkind of battery we will put inside the the remote . So uh it's a point to discuss . Then uh the case material we have uh uh also several choices , like wood , rubber, titanium or latex . {vocalsound} But uh well it's not a a re uh well a real issue for the {vocalsound} {disfmarker} from the technical uh point of view .Concerning the interface uh we can we can put mm just simple buttons or scrolls or buttons uh much more complicated , but it also requires that the chip toprocess the button is more complicated so .User Interface: Mm .Industrial Designer: {vocalsound} And uh this is the last point , the choice of chips . So what Ihave f found is that I think basic battery or kinetic uh energy uh collection is the is the better way to provide energy because I think solar energy wi won't work{vocalsound} in a cluttered uh {vocalsound} uh environment .User Interface: Mm .Industrial Designer: So um so I think we can start with these two main things. For the case uh well uh I think that uh titanium is um is a good choice because it's trendy and it's uh it's uh well it's modern and uh user are are are{disfmarker} mm will be uh very happy to have a {vocalsound} a a nice remote . For the interface uh I think that we can ach achieve uh all the desiredfunctionalities by s just uh using uh rubber buttons , simple buttons and th thus this allow to use a regular chip {vocalsound} that are uh well cheaper .{vocalsound}User Interface: Mm .Industrial Designer: And s so uh we can move to the next slide .User Interface: Sorry .Industrial Designer: Yeah .UserInterface: What is this single curved {disfmarker} what does it mean ?Industrial Designer: Well uh uh i i it's uh it's the the shape of the um of the remote .UserInterface: So it's it's not {disfmarker}Industrial Designer: You you will have the {disfmarker} well um the the curve will fit into your hand when you grab the{disfmarker}User Interface: Yo l yeah . When you hold on it , it is comfortable to hold .Industrial Designer: Yeah . It's more confog f comfortable that if these uhit's completely flat .User Interface: Okay . Yeah . And the battery , is it kind of a rechargeable or it doesn't matter ?Industrial Designer: Yeah the um that's thepoint . The kinetic one is uh y you can recharge uh by the um {disfmarker}User Interface: That that's what it means by kinetic .Industrial Designer: {vocalsound}Yeah and by {disfmarker} well by just by moving the ar uh your arm the mm well the remote will uh accumulate energy .User Interface: Okay . Mm-hmm . Okay.Industrial Designer: But I d I don't know it's {disfmarker} if it is feasible because I don't know if yet if if the user will move enough to provide the remote um allthe necessary energy .User Interface: Mm . {vocalsound} Mm . Okay . Yeah . Yeah . We we might check with our R_ and D_ department to see if they have thisproduct {vocalsound} ready for market . {vocalsound}Industrial Designer: Yeah . {vocalsound} And {disfmarker} yeah and so can you go to the next slideplease . So and uh that's uh that summarize well what I have said .User Interface: Mm mm . {vocalsound} {vocalsound} WhaIndustrial Designer: So uh you'reright we can uh see in our uh R_ and D_ uh {vocalsound} if the kinetic metal is sufficient to provide enough energy .User Interface: Ah the department . Mm.Industrial Designer: {vocalsound} That's it .User Interface: Uh {disfmarker} So I um keep in touch with the R_ and D_ department .Industrial Designer: OhyeahUser Interface: {vocalsound}Industrial Designer: I take care , it's all right .User Interface: {vocalsound} So the titanium case is the normal case that{disfmarker} I'll show you some pictures that I have and you tell me whether they are titanium case or not .Industrial Designer: {vocalsound} All right . Yeah.User Interface: 'Cause I am not very sure , plastic , titanium or whatever . There's another point I want to make , is that the uh {disfmarker} well you've seenthem I le na my presentation that um I point out some {disfmarker} why buttons are not the mm not the only ways you can {vocalsound} use {disfmarker} Yeah. Yeah , maybe nIndustrial Designer: {vocalsound}Project Manager: We will , okay .User Interface: {vocalsound}Project Manager: Three .User Interface: Yeah .{vocalsound} So the user interface is uh i it uses the aspect uh of a computer system , a programme which can be seen or heard or otherwise perceived by thehuman userProject Manager: {gap}User Interface: and the commands and mechanism the user uses to control its operation and input data . So you s this givesyou the ways to input data and we have uh {disfmarker} we are more {disfmarker} we emphasise more on the graphical user interface here . The idea is torepresent buttons as figures , diagrams , symbols and on so you you can easily when you look at the symbols you understand what it is doing .Project Manager:What's the function of this button .User Interface: Yeah . Yeah . So .Project Manager: I think it makes the the interface really {disfmarker}User Interface: Ea easyto use . So next one .Project Manager: Graphical user interface {gap} .User Interface: {gap} function five . So I can use the button , the mouse maybe .ProjectManager: A graphical user interface emphasise the use of pictures .User Interface: Yeah . So next line . So the {disfmarker} here are some examples . So theycluster the buttons together . They group them into col they colour them and uh they have different forms as well . Mm but this interface are kind of confusing .Uh basically there are too many buttons . Right . Next one .Industrial Designer: Yeah .User Interface: So some people are propose voice recognition and so{disfmarker} ah by the way I receive an email from the from one our departments saying that the voice recognition has been used in the coffee machine{vocalsound} for this by a companyIndustrial Designer: {vocalsound}User Interface: when you tell the {disfmarker} you say good morning coffee machine andthe machine are reply to you . So I just got an email saying that .Industrial Designer: Mm-hmm mm mm .User Interface: And it seems like this voice recognitiontechnology is ready to be used so we might consider that , supposedly .Industrial Designer: Yeah fine .User Interface: {vocalsound} The next one . Mm sosomebody {disfmarker} some people use uh some people use a spinning wheel th with the L_C_ display so instead of using the mm buttons you have a L_C_D_screen and then there you can u you can use that as buttons , you can use that as real {disfmarker} so so that could be an option as well . Touch screen , I mean.Project Manager: Yeah .User Interface: Next one . And some people propose a scroll button . Integrated with push buttons or you may have scroll button insteadof p just the push button . Like the one we have here . Uh , next one . So mmProject Manager: Mm-hmm .User Interface: so there are a few aspects that Icollected here . So s basically this deals with special users , children , handicapped people , old people , and uh mm and prog basically they are programmable ,specially for children . And uh mm {disfmarker} yeah yeah . And then they also secure uh covers , to protect uh secure and hidden programming and batterycovers that will protect your settings . So {disfmarker} But we don't have to integrate all these complicated features . I'm just saying that the {disfmarker}currently in the market there are there are control there are remote controllers f {gap} customisable for different people . Yeah , so that's the point . The nextone . And uh you see this is the one where you have the protection cover . Mm maybe useful for children , they migh you you they only see the buttons outside .And for adults wh where you have more control you can see the one inside . So the adults might wanna have a key to lock that to pr so children will not touch thebutton inside .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: S a good idea .User Interface: The next one .Industrial Designer:{vocalsound}User Interface: So this guy {disfmarker} this is another company that provides big buttons . At {disfmarker} I see that that is useful for old peopleand then you don't get it lost . But for our product we don't need a big one because you have voice recognition e eventually with use .Industrial Designer: Yeah.User Interface: And you can call your remote controller if you don't know where it is .Industrial Designer: {vocalsound}User Interface: {vocalsound} T_V_remote controller where are you ?Project Manager: {vocalsound}User Interface: And then , he will beeps and to say that I am here , {vocalsound} for example.Industrial Designer: {vocalsound}Project Manager: {gap} We should include speech synthesis in this case , no ?User Interface: Is it possible ?IndustrialDesigner: Yeah .Marketing: Yeah .User Interface: Uh ? {vocalsound}Industrial Designer: Yeah but uh as Norman say if uh there is uh already a commercialproduct available who t who do this we we can check uh to integrate it i into our uh new remote control .Marketing: Yeah .User Interface: Yeah . Yeah . Yeah .Yeah . And uh , this is another one where you can uh {disfmarker} the the the part that's a V_ standing for the volume . So there's a up arrow and a down arrow. But you the see that in the V_ , the V_ appears to be the down arrow on the top {disfmarker} on the top up arrow {disfmarker} {vocalsound} if you{disfmarker}Project Manager: Mm-hmm .User Interface: up arrow there's a V_ like as as if it's turning down so it's confusing interface , so I wanna avoid thiskind of thing in the design .Industrial Designer: Yeah yeah .User Interface: And here are {disfmarker} is uh here is a s short summary that I summary that Icompiled after the findings I found . Big buttons are convenient , voice recognition helps , push buttons , scroll buttons , spinning wheels can be used asnavigation tools . And uh user customisable is important and finally simplicity simplicity is the key . Yeah . So {vocalsound} we have many concepts"}
+{"doc_id":"doc_19","qid":"","text":"Project Manager: Okay , welcome to the detailed design meeting . Again , I'm gonna take minutes . Oh , we're gonna have a prototype presentation first .UserInterface: {gap}Project Manager: Uh , who's gonna give the prototype presentation ? You two guys ? Okay . Go ahead .Industrial Designer: Yes . {vocalsound}{gap}User Interface: {gap} .Marketing: {vocalsound} {vocalsound} {gap} . {vocalsound}User Interface: {gap} coffee .Marketing: {vocalsound}IndustrialDesigner: 'Kay , we've made a prototype . Um , we've got uh {vocalsound} uh our aspects from the last meeting . Uh , especially we looked at the form , materialand the colour . Um , we've uh drawn here the p prototype . The logo is uh is uh {vocalsound} is pretty uh {vocalsound} obvious to see on the on the remotecontrol ,User Interface: {vocalsound} {vocalsound}Industrial Designer: but it is necessary when you want to build your uh company f to a level higher . Um ,{vocalsound} our interface elements , there are shown in the in the drawing . Maybe you can uh point them uh {disfmarker} The functions .User Interface: Uh ,well the uh {disfmarker} all the functions are discussed uh {disfmarker} I think the most of the functions are uh uh obvious . Uh , it's a little bit . Uh , powerbutton . Uh then the the the nine uh channels .Project Manager: {vocalsound}User Interface: Uh the volume uh uh at the side , and the other side is theprogrammes . And then we had uh just uh two buttons , we place them in the middle , uh the menu , and for the teletextProject Manager: Oh no , the the themute button misses now .User Interface: {vocalsound} {disfmarker} I thought that was thMarketing: Alright , I {disfmarker}Project Manager: Do y do you{disfmarker}User Interface: Oh , the mute button .Project Manager: did we want to have a m mute button ?Industrial Designer: But uh that{disfmarker}Marketing: Yeah .Industrial Designer: It's uh here then , in the middle .User Interface: Yeah .Project Manager: Huh .Marketing: Alright , and uh yougotta point out which is the volume um uh button and which is the programme button .Industrial Designer: Yes , umUser Interface: {vocalsound} Well , yeah mouh moIndustrial Designer: we've discUser Interface: Yeah , well most of them are right-handed .Industrial Designer: Most of the usersMarketing: Yeah , but youyou gotta make it clear on the {disfmarker} on {disfmarker}User Interface: Yeah well , I don't have time in uh anymore on the {disfmarker}Industrial Designer:Yes , y there there will be a p a little a little P_ on that and a little uh {disfmarker} yeah .Marketing: Yeah , and a and a triangle on that .User Interface: Oh yeah ,just progr programme above , I think .Marketing: Yes . Next to that I kinda miss a zero actually .User Interface: {vocalsound}Project Manager: {vocalsound}Wait , there's {disfmarker} was one thing I wanted to ask .Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}Industrial Designer: {vocalsound}Project Manager: Uh , there are different ways for remote controls to uh {vocalsound} do uh likeMarketing:{vocalsound}Project Manager: uh d I call it teens and twenties . Uh , y th th th the two numbers .Industrial Designer: Yes .Marketing: All n no , that's um{vocalsound} kinda dependent on the television .User Interface: Yeah , true , yeah .Industrial Designer: It's a television . Yes .Project Manager: Yeah , but do wehave {disfmarker} do we need extra buttons ,User Interface: Uh {disfmarker}Project Manager: {vocalsound} for example some uh some have to{disfmarker}User Interface: Uh I think so .Marketing: I think {disfmarker}Industrial Designer: Yes , yes , you have you have a lot of standard buttons that has tobe uh on it , uh th with the one and a double uh uh {disfmarker}Marketing: Yeah , I think you should add {disfmarker} {vocalsound}User Interface: Zero?Marketing: A cross , or whatever . Yeah , line .Project Manager: Yeah , but you don't you don't actually need them ,User Interface: May maybe here ?IndustrialDesigner: yes .Project Manager: becau b l a lot of remote controls work that y when y that you when you fir you push the one first , then you have a couple ofseconds {disfmarker}User Interface: Yeah . And then a second .Marketing: No , that's dependent on the television .Project Manager: No , I don't think so.Industrial Designer: Yes , you have televisions , then you have to , you know , you have to uh press {disfmarker}Marketing: I do know so .User Interface: Is itdepending on television ?Project Manager: Nah , I don't think so really ,Marketing: Yeah .Project Manager: because you have a {disfmarker} I know some remotecontrols that don't have these buttons , but you still can , know , obviously you can still select the twenty {disfmarker} uh a number in the twenty or in the ten.Industrial Designer: Yes , but but a lot {disfmarker} uh {disfmarker}Marketing: Yes , but uh uh no uh remote control nowadays are um {disfmarker}{vocalsound} they come with the television . Or actually , the other way around .Project Manager: No , I think {disfmarker} uh I really think it's nMarketing: But{disfmarker} {vocalsound}Project Manager: because you can {disfmarker} when when you put a button on it with like one and uh then a dash , it's the samething as when you just push the one ,Marketing: Yeah .Project Manager: because it i it first gives you the functionality of that that uh separate button you alsohad to uh apply .Industrial Designer: Yes , butMarketing: Yeah , well {disfmarker} but su {vocalsound} If {disfmarker}Industrial Designer: some televisionsdon't accept uh that that {disfmarker}Project Manager: Yeah , because that's i it's for television . It's exact the same thing .Industrial Designer: No , no , butsMarketing: No no no . So some television respond differently . Look , if uh i iProject Manager: No , listen listen . When you push the button , the remote controlgives a signal . I in th in the first place it gives a signal which it would also send when you put a separate button on it .Marketing: Yes . Yes , that's true .ProjectManager: The one with dash , that signal gi and when y whe when you don't push another button on the remote control within five seconds , then the remotecontrol gives a signal for channel one .User Interface: Yeah . True .Marketing: No {disfmarker}Project Manager: I think it works that way , really .Marketing: No ,it it it works uh if you haven't got uh a special button for it , uh if you push a one , then on your television there will appear a one and a a line , which is an emptyspace .Project Manager: {vocalsound} Yeah , but it's exact the same {gap} that w would appear when you put a separate button {disfmarker} push a separatebutton .Industrial Designer: Yes , but some some old televisions uh you have to uh click on uh a special button , uh then you go to a a next level , you can pushtwo buttons .Project Manager: Yeah , but you don't underst uh you don't understand my point .Marketing: Yep . {vocalsound} True .Project Manager: I think it'sexact the same thing when yIndustrial Designer: You want {disfmarker} Yes , but some television don't support it .Project Manager: No , but then they would awould also support that button , because it's the same thing .User Interface: But the exProject Manager: Listen , with {disfmarker} that that's that special butbutton {gap} you're talking about , eh ? That's just a signal to recei ju they send a t signal to the v tv T_V_ that they have to put a one in {disfmarker} on yourscreen and a dash , which you can pu so you can uh still put another number on it . When you don't have that separate button , and you push y one , it's exactlythe same thing . Do y you {disfmarker} the remote control gives that same signal as it would give when you only had {disfmarker}Industrial Designer: No,Marketing: No , s some some televisions need the input first uh and and you cIndustrial Designer: a remote can {disfmarker}Project Manager: Yeah .IndustrialDesigner: Yes ,Project Manager: But you give the input .Industrial Designer: so they need {disfmarker} no , they need {disfmarker}Project Manager: You pushthe one . That's the same thing as the button with the one and it {disfmarker}Marketing: No , that's not true .Project Manager: yes it it is .Marketing: It's simplynot true . It's simply not true .Project Manager: Think about it .User Interface: Yeah .Industrial Designer: No ,User Interface: You uh you can wai when you pushthe one you can show on the telly a one and just a dash , and then wait uh two uh seconds or something {disfmarker}Industrial Designer: but uh{disfmarker}Marketing: Uh {disfmarker}Project Manager: And it's the same thing what happens and a g remote control gives another signal after five secondsthat is just one .Marketing: No , remote control doesn't give signal after five seconds . Remote control is a stupid thing . If you push a button , it sends itimmediately to to the television .Project Manager: Yeah , that's true . Yeah , but I m uh but it's {disfmarker} I I know for sure that some televisions that w th ththe remote control supplied , only ha has the c these buttons with a one and a dash and a two and a dash , but when you use a bu a n remote control that doesn'tsport these buttons , it still works .Industrial Designer: Yeah , it {disfmarker}Project Manager: But okay , we we'll implMarketing: No , definitely not . Definitelynot .User Interface: We'll discuss them in the usability lab .Project Manager: No , we'll apply them then for now .User Interface: Uh eva evaluation .Marketing:{vocalsound}User Interface: I don't know uh I don't know if if it's it's necessary .Project Manager: Yeah , app just apply them next to the zero , the one and thetwo .User Interface: Yeah ?Project Manager: Yeah , I think so . Yeah , for now , if we don't know for sure whether {disfmarker} {vocalsound}User Interface:{vocalsound} Okay .Industrial Designer: And the button for the SCART uh audio video uh external input .Marketing: Yes .User Interface: Ach .Project Manager:Yeah but {disfmarker}Marketing: Uh , you can access that uh via zero , and then minus , I guess .Project Manager: okay . {vocalsound} What I said about uh theremote control sending another signal , that that might not be true ,Marketing: Yeah .User Interface: Yeah .Project Manager: but I still think i it it {disfmarker} allT_V_s in some ways support it , I don't know . I think it's more c is m maybe we don't {disfmarker} uh we both don't really understand how it i how it reallyworks ,Industrial Designer: No , no .Project Manager: but I think there's more to in than wha than what you just said .Industrial Designer: Uh , remote controlsends one signal at one button uh press .Project Manager: I do think that uh m T_V_s support mur multiple kind of remote controls . MIndustrial Designer: Uh ,some {disfmarker} N some televisions when when you want to go further than uh ten {disfmarker}Project Manager: Th won't work wi with uh{disfmarker}Industrial Designer: No , you have to you have to uh give the television uh two or more signals .Project Manager: to have that special button.Industrial Designer: When you uh press one button , you give one signal . And the older televisions need more signals to go a level higher . But{disfmarker}Project Manager: Okay , well we'll see .Marketing: Yep .Industrial Designer: When you make the technology that that it will uh give more signals , it"}
+{"doc_id":"doc_20","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: So in last meeting we have discussed the conceptual design and we asked you to prepare a prototype for thefor the remote control .User Interface: {vocalsound} Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So {gap} .{vocalsound} So let's see the {disfmarker} what did you prepare .User Interface: Yeah , so can you go out to the shared folder ? Mm the shared folder .ProjectManager: Sh share folder for th your presentation ?User Interface: Yes . We have a presentation .Project Manager: Because I have here {disfmarker}IndustrialDesigner: {vocalsound}User Interface: {vocalsound} Uh {disfmarker} {gap} So I got the participant uh three . W uh {vocalsound} . Three . It's the final design ,yeah .Project Manager: Okay just one {gap} .Industrial Designer: {vocalsound}User Interface: {vocalsound} S so so I discussed with Guillaume .IndustrialDesigner: Mm . {vocalsound} Yeah .User Interface: Right . {vocalsound} And uh {vocalsound} so we have {vocalsound} {disfmarker} and we we are bothagreed on some two versions of the prototypes , because we were no not decided whether we wanted to have an L_C_D_ or not because it's too expensive . Sowe come up with two versions . One with and one without L_C_D_s . Um but both comes with a charger and then detachable and uh or {gap} control module .And detachable big buttons for all people um . So {vocalsound} .Industrial Designer: {vocalsound} S okay so I'll show you the the two prototypes {vocalsound} .Here we have the first one with the beautiful uh L_C_D_ um display . You you can s here . And you can uh just um browse into the the navigation menu by uhjoystick joystick-like uh button .User Interface: Mm .Industrial Designer: You can uh choose the direction and if you just push on it it's considered like a enterfunction .User Interface: Mm . Mm-hmm .Industrial Designer: You have on the mm on the side here the microphone for the {vocalsound} for the speechrecognition system here .User Interface: {vocalsound}Industrial Designer: And here the the switch that control if you want {disfmarker}Project Manager: Whyyou why you you put it in the the side ?Industrial Designer: Well I I I think uh it's the {disfmarker}Project Manager: It's not a good place maybe {gap} .IndustrialDesigner: Yeah but {disfmarker}User Interface: No i i it's the all around camer uh microphone isn't it . The the microphone picks up the speeches from anywhere.Industrial Designer: Yeah .Marketing: Is it an only a single mic or a microphone array ?Industrial Designer: Well so it's a microphone array .User Interface:{vocalsound}Project Manager: Oh it's very costly , microphone array {vocalsound} .Marketing: Mm-hmm .Industrial Designer: {vocalsound} NoUser Interface:Yeah {vocalsound}Industrial Designer: it's just a single microphone , and you {disfmarker} I I think uh we we put it here because I think when you when you arebrowsing your L_C_D_ you will be close to {disfmarker}User Interface: Mm .Marketing: Yeah .Industrial Designer: well it's better to to to place it here th thanhere , for instance .User Interface: Yeah {vocalsound} yeah .Marketing: Okay .Industrial Designer: And here is a little switch that control if you want the thespeaker uh recognition system to um to be on or off . And uh so this remote control comes up with its charger .Project Manager: How much does it cost this one?Industrial Designer: Well this this prototype is um made for about uh well fi fi fifteen fifteen dollarsUser Interface: For the {disfmarker}Project Manager: Fifteendollars ?User Interface: Yeah .Industrial Designer: {vocalsound} fifteen dollars ,Project Manager: Ah it's above it's above the budget .Industrial Designer: but uhwell it's not it's not uh {disfmarker} yeah , but uh it's just a prototype and if we uh if we optimises the um the uh {disfmarker} voila .Marketing: The cost wouldbe le reduced .Industrial Designer: Yeah the {gap} and the the production costs we we can achieve uh about ten dollars . {gap}User Interface: Mm . Hmm.Project Manager: How many b battery is there ?Industrial Designer: How many , excuse me ?Project Manager: Battery .Industrial Designer: Well uh f battery ,we use uh about uh {disfmarker}User Interface: Is it n the two A_A_s batteries in it .Industrial Designer: Yeah .User Interface: A_A_ rechargeable batteries.Industrial Designer: Rechargeable of course ,User Interface: Yeah rechargeable batteries .Industrial Designer: because we have the charger .User Interface: Wehave the charger so it's no problem .Industrial Designer: Yeah and you just {disfmarker}Project Manager: So one one battery ?Industrial Designer: On uh yeahone battery .Marketing: Is that two or one ?User Interface: {vocalsound}Project Manager: It's kinetic reserve .User Interface: {vocalsound} Actually uh it's aflexible thing .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: You just n uh {disfmarker}Marketing: Now what is the whole day ratingfor that ?Industrial Designer: The {disfmarker} excuse me ?Marketing: Whole day's rating .User Interface: {vocalsound}Marketing: What type of battery?Industrial Designer: Oh yeah it's just a r uh simple battery a rechargeable uh {disfmarker}User Interface: Yeah yeah .Industrial Designer: if you uh like it's exist.Marketing: Something like a two A_ , A_ three size batteries ?Industrial Designer: Yeah .User Interface: Yeah {vocalsound} .Marketing: Mm-hmm .IndustrialDesigner: So and if you want to charge the battery you just put the remote control like that to plug in the the chargerUser Interface: Yeah . Yeah .IndustrialDesigner: and uh leave it uh alone , it's alright .User Interface: Mm . {vocalsound} At uh {vocalsound} yeah .Industrial Designer: Then the next time you pick it ,ohProject Manager: {vocalsound}Industrial Designer: it works {vocalsound} .User Interface: I forgot to tell you there is only a single button there , b this button{disfmarker}Industrial Designer: Yeah just explain the button uh Norman .User Interface: yeah alright . This button is like the mouse {disfmarker} is like ajoystick ,Industrial Designer: {vocalsound}User Interface: you can move in three hundred and sixty degrees of direction so you can make a turn and it{disfmarker} the additi functions associated to all the actions you ma you have a click you have a double click all in a single button {vocalsound} .ProjectManager: Mm .Industrial Designer: {vocalsound}User Interface: You can move up , down , left , right , or you can do a swing . So a swing to the left , a swing tothe right defines other functions . So even though it's a single button , but it is pretty s flexible because of the three hundred and sixty degree movement{vocalsound} .Marketing: And the L_C_D_ is this one , on the remote ?User Interface: Yeah . This is the version y that comes with L_C_D_ .Industrial Designer:Yep .Marketing: Yeah .User Interface: Here I present another version without the L_C_D_ .Industrial Designer: {vocalsound}Project Manager: I think it's not agood idea because after maybe one or two months of function is {gap} getting destroyed .User Interface: Mm .Project Manager: If youUser Interface: Uh okaythis is new prototype uh {vocalsound} .Project Manager: {gap} {disfmarker}Industrial Designer: Yeah it's {disfmarker}Project Manager: {vocalsound}IndustrialDesigner: So we have the the second version also with the different uh button configuration . The second version is also simpler , we d uh we had just uh I haveto put the microphone also {vocalsound} .User Interface: {vocalsound} Yeah yeah .Marketing: {vocalsound}Industrial Designer: So basically th it's the same uh{disfmarker}Marketing: Uh-huh and also the switch .Project Manager: {vocalsound}Industrial Designer: yeah {vocalsound} .Marketing: {vocalsound} Okay.Industrial Designer: Basically it's the same uh things uh uh as uh I presented before . But here we have uh we have uh four buttons for navigation . Press onebutton uh acting as a a enter button .User Interface: Mm . {vocalsound}Industrial Designer: So um yeah according to what you said it's more robust to the user.Project Manager: Mm-hmm .User Interface: {vocalsound}Marketing: Mm-hmm .Industrial Designer: And uh it's also cheaper to produce . We can produce uhsuch remote control for about uh four dollars . {vocalsound}Project Manager: No four dollars , it's {vocalsound} {gap} good . {gap}User Interface:{vocalsound}Marketing: And I think you forgot a point here to have an button to find the charger ,User Interface: Oh noMarketing: because that's a major that'sa {disfmarker}User Interface: th actually th we'll come to that point in our {disfmarker}Industrial Designer: Yeah it's it's it's embed in the uh speech recognitionsystem .User Interface: Yeah .Marketing: OkayIndustrial Designer: So {disfmarker}Marketing: and if you disable speech recognition system then ?User Interface:W w I'll I'll come to that point later on .Industrial Designer: {vocalsound} so Norman will explain to you {vocalsound} .Marketing: Mm hmm hmm hmm hmmhmm .Project Manager: And we will we will serve the charger with this ?User Interface: Yeah .Marketing: Okay .Industrial Designer: Yeah yeah of course mm{gap} .User Interface: Th they {vocalsound} either these with the {disfmarker} uh the the charger anyProject Manager: With the remote control .User Interface:in either versions you they they ha they use the same charger yeah .Project Manager: Okay so the price of the charger included in the {disfmarker}UserInterface: Uh it's a standard module so you should get it for a cheap price uh {vocalsound} .Project Manager: {vocalsound}Industrial Designer: {vocalsound}{vocalsound} Thank thank you {vocalsound} .Project Manager: Mm-hmm . {vocalsound}Industrial Designer: And so mm-hmm .User Interface: It's that samecharger that you can use for the hand-phone but uh again depends on the types . I think we have to investigate more on that , but {vocalsound}{disfmarker}Project Manager: The price should be below twelve and a half Euro .User Interface: {vocalsound} Yeah . YeahProject Manager: Well that's{disfmarker} so {disfmarker}User Interface: but as the Marketing Manager says , people is willing to {disfmarker} people are willing to pay more for good design.Project Manager: We have we have just {vocalsound} {disfmarker}Marketing: Yeah people are willing to pay more ,User Interface: {vocalsound}IndustrialDesigner: {vocalsound}Marketing: but the company is not willing to invest more at the moment .Project Manager: The price of selling is twenty five Euros .UserInterface: Yeah . Yeah . Mm-hmm .Project Manager: And the price of production {disfmarker}User Interface: {vocalsound}Industrial Designer: Alright please uhgo on Norman with the special features {vocalsound} .Marketing: Or uh {disfmarker}User Interface: Yeah we'll we'll come up to that , the the the thing thatmakes this the controller cheap is that it is modular so you want more function you pay more . If you want less function i i if you want a reasonable price you payfor the functions that you add on to the system ,Marketing: {vocalsound}User Interface: so is uh modular .Project Manager: That's for this basis function and ifyou want more you pay more .User Interface: Yeah yeah ,Project Manager: {gap}User Interface: for example the L_C_D_ , you can take it you can put it"}
+{"doc_id":"doc_21","qid":"","text":"Project Manager: So welcome . The first kick-off meeting . What shall we do ? First the opening , then the rest . What are we going to do . We m have to make anew remote control .Industrial Designer: {vocalsound}Project Manager: It has to be original , trendy and user-friendly . So we will get back th on that . First wehave to make a functional design . After that we have to make a conceptual design , and then after that a detailed design . So we'll discuss that later . First wehave a look at {gap} . So first to {disfmarker} we have to make a small painting . What have {disfmarker} do we have to do . First you can save the documents .We have to do that every time we make something . You can print it . No . And we have to use {vocalsound} the pen and the eraser . So {disfmarker} Now . Weall have to use this one .Industrial Designer: {vocalsound}Project Manager: You have to make your own favourite animal .Marketing: {vocalsound}ProjectManager: So I'll make an example .Marketing: Yep .Project Manager: First don't touch that things .Industrial Designer: {vocalsound}Project Manager:{vocalsound} You can use the pen . And then you can make {vocalsound} um something .Industrial Designer: {vocalsound} Nice .Marketing: {vocalsound}{vocalsound}Project Manager: {vocalsound} Um you can change some things .Industrial Designer: {vocalsound}Project Manager: Um format , line , and changeit . {gap} {disfmarker} {vocalsound} {vocalsound} And you can change the colour .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer:An elephant . {vocalsound}Project Manager: {vocalsound} So that's it . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: So{disfmarker} So and after it you have to save it .Marketing: {vocalsound}Project Manager: Now we can make a new one .Marketing: Okay .Project Manager: Youhave to paint now . {vocalsound} So you're next .Marketing: Oh . {vocalsound}User Interface: {vocalsound}Industrial Designer: 'Kay .Marketing: Well we will try. Where it going ?Industrial Designer: {gap} .User Interface: Hmm . That's uh strange . {vocalsound}Industrial Designer: {gap} .Project Manager: What is goingon ?Industrial Designer: {gap} pop-ups .Project Manager: What are you {disfmarker} What ?Marketing: Hmm .Project Manager: {vocalsound}IndustrialDesigner: {vocalsound}Marketing: {vocalsound}Project Manager: {gap} .Marketing: {vocalsound}Industrial Designer: What is this , Pictionary .Marketing:{vocalsound}Industrial Designer: {vocalsound}Marketing: Uh {disfmarker}Project Manager: Um {disfmarker}Industrial Designer: Uh a bird .Project Manager: Isa {disfmarker} It is a {disfmarker} It is a {disfmarker}Industrial Designer: Bird .Project Manager: A duck .Marketing: {vocalsound}Industrial Designer:{vocalsound}Marketing: Mm .Project Manager: {vocalsound}Marketing: So {disfmarker} Now save ?Project Manager: Yes .Industrial Designer: Yeah .ProjectManager: Hmm .Marketing: Now uh blank ?Project Manager: Blank , yes .User Interface: Yeah .Marketing: Yeah .Project Manager: Okay next one .{vocalsound}Marketing: {vocalsound}User Interface: Okay . Let's try this . Uh {disfmarker}Industrial Designer: {vocalsound} Whoo .Marketing: Yeah , yeah.User Interface: {vocalsound} Um . Mm-hmm . Mm .Project Manager: {vocalsound} Oh . {vocalsound}Industrial Designer: Oh not . Oh . {vocalsound}UserInterface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay . Okay . Yeah . No problem .Marketing: {vocalsound}Industrial Designer: Shithappens . {vocalsound}Marketing: {vocalsound} {vocalsound} I'm not getting anything uh on my screen now . Okay .Industrial Designer: A parrot . Ish.Marketing: Wow . Oh .Project Manager: {vocalsound}Marketing: {vocalsound}Industrial Designer: He did it before .Marketing: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: Uh{disfmarker}Project Manager: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}User Interface: No , no . Yeah . Okay .Marketing: {vocalsound} Nice.Project Manager: Very good .Industrial Designer: Oh .User Interface: Uh blank .Industrial Designer: Thank you .Project Manager: {vocalsound}{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Okay . Very good . So um you can always go back . {gap} So{disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} That's it . So that was two . Now next . The budget . The b Uh we will sell the t at twentyfive Euros . And we have only twenty of twelve and a half Euro to make it . So {vocalsound} now we have to think about what we will make . First I wanna hearfrom you . Uh what are your experiences with remote controls . So {disfmarker}Industrial Designer: Uh I will start .Project Manager: F first {gap} .IndustrialDesigner: Uh {disfmarker} {gap}Marketing: {vocalsound}Industrial Designer: Big one , they are uh not easy to use . Um I have one set and uh a remote control, when I dropped it , uh it broke . So that won't be uh our goal , I think .User Interface: No .Industrial Designer: And uh g big buttons , {vocalsound} m uh that'seasier to use than uh {disfmarker} I think . Not all the small buttons , you don't know {disfmarker}Project Manager: Is this positive or negative , that uh bigbuttons ?Industrial Designer: Big buttons , positive .Project Manager: Positive .Industrial Designer: All all small buttons like when you have uh like a hundredbuttons on your remote control , you won't know what they're working for .Project Manager: Okay . What are your experiences ?User Interface: Uh well I thinkthe the the goal of a remote control is that it's it it has an influence on the T_V_ set .Project Manager: Mm .User Interface: And that it controls the channels andthe the volume . And uh I I I think it's positive if there's a a LED uh uh a LED on the corner of the of the remote . So that you know it s it still has batteries on it{disfmarker} in it . And that if you push the button the LED uh gives a light , and uh and you see that it's working . And uh yeah . Uh {disfmarker}ProjectManager: So and do they always have that ?User Interface: Yeah , but {disfmarker} No no no . But I {disfmarker} my my experience is that it it it's convenientto have that .Project Manager: It's easy to you .User Interface: Yeah . Yeah .Project Manager: Okay . 'Kay .Marketing: Uh at home we have a T_V_ , a video uhrecorder , a D_V_D_ player , and a satellite receiver . We have uh four distinctive remote controls for that .Industrial Designer: {vocalsound} Thank you.Marketing: That's not really ea easy .Industrial Designer: Help also . {vocalsound} Thank you .Marketing: So it would be nice if we have one for all . And we alsohad a remote control for our radio set . But um i it it had a lot of buttons on it , and you didn't know which one was what . And it was uh uh v {vocalsound} noteasy to use . So we n barely used it .Project Manager: Okay so they have too much . So next .User Interface: Hmm .Project Manager: For our own remote controlwe have to think how do we make it . So what ideas do you have for it , for the new remote control ? What what does it have to have ? {vocalsound}IndustrialDesigner: The weight . Not not too heavy .Project Manager: Not too heavy . Yes .Industrial Designer: Not much buttons .Project Manager: Yeah .IndustrialDesigner: Bust-free . That when you drop it , it won't break . Like uh some kind of rubber on it . Or hard uh hard plastic . Uh buttons not too small . Uh somethinglike when you uh lose your uh remote control , sometimes it happen . Uh it between the couch and you can't find it .Project Manager: Yes .Industrial Designer:When you push a but a button on the T_V_ , then you hear some {gap} {disfmarker} uh some sort of bleep .User Interface: {vocalsound}Project Manager: Likea phone .Industrial Designer: And then you uh , hey there there's remote control .Project Manager: Okay .Marketing: Yeah .Industrial Designer:{vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Project Manager: So ,Industrial Designer: Next .Project Manager: that's{gap} .User Interface: Yeah well that's {disfmarker} that are good ideas . Uh {disfmarker} Yeah well the LED on the corner , that that indicates that it's working. If you push a button . Um {disfmarker} Yeah . And looking on the budget , not too expensive uh material . So probably plastic or something . Uh{disfmarker}Project Manager: Okay .Industrial Designer: {vocalsound}Marketing: Yeah I think it uh {disfmarker} from a marketing point of view , it also has tolook nice . Or you won't sell it .Project Manager: Yes .Marketing: And um yeah uh on our website we can see what products we already have . And it should workwith as many uh as possible of them .Project Manager: Okay . This is {disfmarker} It has to be compatible with other things .Marketing: Yes .Project Manager:Okay .Industrial Designer: I have one more idea . Just popped up .Project Manager: Yes ?Industrial Designer: Uh it it won't take a lot of batteries . So you don't{disfmarker} won't have to change the batteries uh once a week or uh once every two weeks .Project Manager: No battery use . So more ideas ?User Interface:Mm no .Project Manager: No okay . It's only the first ideas . So {vocalsound} uh what are we going to do now is {disfmarker} Next meeting is in half an h hour .Uh {disfmarker} {vocalsound} Okay . Next meeting , half an hour . Um , what you have to do . Well look on your {gap} . And {disfmarker} Next instructionsyou'll get in your email . So {disfmarker} This is the first meeting . See you later in half an hour .User Interface: Yes .Industrial Designer: Okay . Thank you.Marketing: Okay ."}
+{"doc_id":"doc_22","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from SuzyDavies, and I'm very pleased to welcome Angela Burns, who is substituting for Suzy this morning. We've also received apologies from Dawn Bowden. Can I alsowelcome Siân Gwenllian to the meeting? Siân is joining us from her constituency office via video-conference. Can I ask Members if they've got any declarations ofinterest, please? Hefin.Hefin David AM: Apologies. I'm currently registered as an associate lecturer at Cardiff Metropolitan University, although I haven't done anywork for them for some time.Lynne Neagle AM: Okay. Thank you very much. We'll move on, then, to item 2 this morning, which is our evidence session on thehigher education new academic year allocations. I'm very pleased to welcome David Blaney, who is chief executive of the Higher Education Funding Council forWales, and Bethan Owen, who is deputy chief executive of HEFCW. Thank you, both, for attending this morning. We're looking forward to hearing what you've gotto say. If you're happy, we'll go straight into questions from Members, and the first questions are from Angela Burns.Angela Burns AM: Good morning. Thank youvery much, indeed. I just wanted to talk about, really, the financial sustainability of the higher education sector because, as we know, there's been all sorts ofthings going on in the press. So, can I just start with, actually, quite a technical question and ask you what the financial indicators look like for the universitieshere in Wales, and are there particular indicators that are really flashing warning signals to you?Dr David Blaney: Well, shall I just start with a couple ofcontextualising comments and Bethan can come in then with some detail? It's undeniably the case there are financial challenges facing our universities. Theyresult from three main causes: one is the impact of the demographic dip of 18-year-olds, which is deeper and longer in Wales than it is elsewhere in the UK.There are increased pension costs and, actually, increased costs generally. And, of course, we also have current uncertainty as a result of the Augar review inEngland, and whether that might play into Wales, and also Brexit. These challenges are not unique to Wales; the majority of the UK universities are actuallytaking out cost one way or another. So, this is not a Welsh issue. Before the Diamond review of fees and funding in Wales, there was a pre-existing funding gap inresource between England and Wales, and even now, that's still the case. So, Welsh higher education institutions are approximately £40 million worse off thanthey would be in the English system. That's a challenge, and that is a result from a political decision to invest in students, and that's fine. The money's gone intothe system but it hasn't gone into universities, necessarily. So, these are serious challenges for institutions to manage, but I think it is a managed situation. We'renot seeing a crisis; we are seeing some real challenges, and there is a distinction, I think, between—. We have to understand, though, that taking out cost tobalance the books has a detrimental effect on the capacity. Obviously it impacts on the people who lose their jobs immediately, but there's a medium to longerterm impact on the capacity of the system to deliver for Wales. They are taking out capacity; they're not cutting at fat now, they're cutting out core capacity. Andso, the range of the curriculum, the range of research and innovation, the range of the contribution that universities can make will be diminished by that. Andagainst that backdrop, the introduction of the Diamond reforms is hugely important—delivery of that is going to be really important—and we are really pleased tosee the Minister able to meet her commitments in respect of that. The Diamond money is coming in. This forthcoming year will be the first year we see anincrease in the resource, through us, to higher education. And the projections in future years are better still, and that will be extremely important. Theperformance of the sector is very good; we had the national student survey results out yesterday. Wales is still the best in the UK, which is excellent. We have thebest impact from research in Wales across the UK. So, all of that is very positive, but that is also being done at some cost. There are some very tired staff inuniversities, and we've seen some stuff in the press recently about some of the impact of stress there as well.Angela Burns AM: Can I bring you back to thefinancial element of that? Can I just ask a question: what are the university reserves looking like at present?Dr David Blaney: Here, I refer to my learnedfriend.Bethan Owen: The reserves are a measure. There's a difference between the distributable reserves—I don't have those numbers before me, but looking atreserves, what is more important are those reserves that are available as cash or liquid cash. So, universities have reserves, but a large amount of that is tied upin their estates, so they're not immediately realisable. So, one of the key measures that we're looking at, which is even more important than surpluses anddeficit, is the operating cash that our universities are generating at the moment. When we look at operating cash in 2017-18, they were generating, as apercentage of income, about 7.6 per cent, which contrasts with nearly 10 per cent for the same year for English institutions. And that represents their capacity togenerate surplus cash to meet their costs, which now, increasingly, include the costs of servicing their borrowings. So, again, because capital funding has notbeen as available to universities as it was, they've invested in their estates and that's largely been funded by borrowings. The costs of those borrowings have tobe met on an annual basis, so that's becoming an increasing proportion of the operating cash that universities have.Angela Burns AM: I just asked that questionbecause I know that about four years ago, the universities were sitting on substantial reserves and were less than keen to deploy them back into actually usingthem for the students—it was more about building up the war chest, if you like, of the universities. And I just really wanted to have an understanding of how thatpicture might have changed over the last four years and are they actually skinnier cats now, rather than before.Bethan Owen: We can get you that analysis, buteven four years ago, I think the definition of exactly what's meant by reserves, it's really important to look at what are distributable reserves as opposed to theassets that universities have.Angela Burns AM: Yes, I do understand the difference.Bethan Owen: And, there are also differences in the way that universities havesecured funding for investing in their estates. So, for example, Cardiff University have had a bond rather than borrowing, which you draw down as you'respending. So, in the short term, the reserves of Cardiff will appear as though they have significant cash balances, but all of those are restricted for investment inthe estate and, over the next two or three years, will be utilised for that.Angela Burns AM: So, overall, you're painting a picture of a sector that's under asignificant degree of financial stress, and this is obviously using your key financial indicators. Do you monitor each and every university, or do you wait for themto come back and tell you what their situation is?Bethan Owen: We monitor, we receive forecasts, five-year forecasts, and we meet frequently with all ouruniversities now. It varies, depending on the risks of the universities, as to how frequently we meet, but we're actually meeting with every university becauseeven the forecast that we received last July, the changes, even in the 12-month period, are significant enough for us to need a better understanding of what thelatest position is. The forecasts, if I just run through—. We had a sector that, in 2017-18, had a deficit. Although it had a turnover and income of £1.5 billion,which had increased, nonetheless it had a small deficit of 0.4 per cent of income in 2017-18, which was an improvement on the deficit the year before of 1.7 percent, but notably, again, the sector in England were looking at surpluses of 3 per cent to 4 per cent in the same period. The forecasts that we had this time lastyear were indicating that, for 2018-19, we should have a sector that's roughly in a break-even position, but that has to be caveated with waiting for new forecastsin July, where there will have to be a reflection of the pension costs, and there have been significant changes in pension costs, both for the teachers' pensionscheme and the universities' superannuation scheme as well, and those will be significant costs that universities have to build into their forecasts at a time whentheir income, certainly their fee income, is not increasing, and that is the challenge.Angela Burns AM: Are we going to lose any universities in the next couple ofyears?Dr David Blaney: I don't think so. As I said earlier on, we're not seeing a crisis, we're seeing really challenging circumstances for institutions to manage. Atthe moment, our sense is they are managing them, so one of the things we try to do is to make sure that, insofar as we can see it, we are making sure that theinstitutions are alert to the challenges they're facing, and are actually engaging those challenges properly, and we are seeing that at the moment. So I think whatwe will see if the pressure continues unabated is more costs being taken out, so more jobs being lost, more capacity being lost, but that's not the same as fallingover. I don't see people falling over. There is always the possibility of structural change within the sector, and that might be one of the solutions that institutionsthink about, but it's not a policy position, and it's not always a good short-term response to crisis anyway, actually. But I think, as I say, we're in a managedsituation, but the challenges are quite acute. But I don't see an institution falling over in the foreseeable future.Angela Burns AM: When you talk about structuralchange, are you referring to the fact that certain offshoots or divisions might close? I bring this up because I'm the Assembly Member for Carmarthen West andSouth Pembrokeshire, and I have had multiple representations from students, and their parents, who are about to go to Lampeter and who've been told thatcourses are being restructured, there's a massive staff loss, and they have concerns about whether the three-year commitment they're about to make to a courseis going to be able to be sustained. So I am trying to drill down a little bit, because I think it's only fair for the students to know what they're up against, and alsoit's a bit like in the great depression—you can start a run on something, can't you? Because if enough people believe it, then suddenly enough people will stopgoing to what is an excellent little university, really top-quality in medieval literature, in archaeology. And I'm just talking about one, but I know there areproblems in other universities around Wales, so I just wondered if you could comment on that and also what processes you as HEFCW might have in place toprotect any student who does find themselves in a situation where their course appears to be disappearing before their eyes.Dr David Blaney: So, there's quite alot in that question, actually. Let me try not to forget any of the elements. First of all, your comment about causing a run is a serious consideration. So, if we look"}
+{"doc_id":"doc_23","qid":"","text":"Marketing: {vocalsound}Project Manager: Okay .Marketing: {gap} .Project Manager: Right . Okay . Alright . Is everyone here ? {vocalsound}Marketing:{vocalsound} Yep . {vocalsound}User Interface: Yep .Project Manager: Okay . This is our conceptual design meeting . And {disfmarker} {vocalsound} I'll justtake a few minutes and uh go through the previous minutes . Um then each of you will have your presentation , um and then we will need to make a decision onthe concept for the remote control . And then we'll have uh forty minutes for finishing up . Um {disfmarker} {vocalsound} I'll go through the mee through theminutes first . Um , we just refreshed our our uh goal of making the finest remote control available .Industrial Designer: {vocalsound}Project Manager:{vocalsound} Um we decided that , or we know that we need to use company colours , company logo . Um {vocalsound} and our Marketing Expert uh gave ussome i uh information from interviews with a hundred different remote users . Um with some statistics that backed basically what we were thinking before .People thought their remotes were ugly , um um that remotes zap a lot . Um they only use uh a finite amount of buttons .Industrial Designer:{vocalsound}Project Manager: Um and that they often lose the {disfmarker} it's easy to lose a remote . Um which were all things we were thinking we would{disfmarker} wanna make it simple . Um {disfmarker} {vocalsound} And uh some sort of locator . Either a button or tracking device . Um {disfmarker} And thatit should look different than what's out there . Um {disfmarker} Kind of mixed mixed response on the speech recognition . The younger people said they wanted it, older people did not . Um uh I think we decided that um the expense was not necessarily worth it , and that it was probably a gimmick , that um wouldincreasingly wear on the consumers' nerves . Um {vocalsound} {disfmarker} Then the User Interface Designer um explored some of the technical functions ofthe remote . Um the simple versus the um the complex . The simple one being better for a user , the complex better for an engineer . Um {disfmarker} Um andsome personal preferences that were found in that would be that it should be a user-oriented remote , something simple . Um and that we didn't wanna go with auniversal remote , because uh increasing cost and increasing complexity . Um we would just have a T_V_ remote . Um and that we should also focus on theappearance of the remote . Have it s be something that looks different . And finally our um Industrial Designer uh gave us a rundown of how the remote will work. Um from energy source , um uh what we would use . Batteries because we don't wanna have a a cable . Um {disfmarker} {vocalsound} How that would powerthe remote and the lamp . If we were to to have one . Uh um the user interface then would connect to a chip , {vocalsound} which would work with the infraredcontrols uh to send the signal to the T_V_ . Um {disfmarker} I believe then we came up with a couple of ideas for what we think the design of the remote will be .Um {disfmarker} {vocalsound} Um something that will fit into uh easily into someone's hand . {vocalsound} And with a , just a few buttons . Just the basics .And with a scrolling um function also . Okay and I will leave that , leave it at that . So {disfmarker} Marketing ?Marketing: Okay .Project Manager: We'rewatching trends .Marketing: Yep . Can I have your cable please ?Project Manager: I suppose that you can have this .Industrial Designer: {vocalsound}Marketing:Thanks . Okay so I was looking at trend-watching . Um unfortunately I wasn't given too much information . I was given a brief executive summary , and then anupdate on some recent fashion trends that we might like to look at . And then I'll just tell you some personal preferences that I got from that . Um okay the mostimportant finding was that the fancy look-and-feel seems to be twice as important to the users as the current functional look-and-feel design , which I think we'vekind of already discussed before . Um the second most important finding was that the remote should be technologically innovative . And again these are all thingswe've kind of already come up with on our own , but this just backs it up . And thirdly the remote would be easy to use . As far as fashion update , we've learnedthat fruits and vegetables will be the most important theme for cloths , shoes and furniture .Industrial Designer: {vocalsound}Marketing: So that might be a bitof a challenge to incorporate this into our remote , but we can try . Um and also , as opposed to last year , this year the material is expected to be spongy in feel .{vocalsound} Okay so from that um , as we've already said , we need to focus on a fancy look-and-feel . Um I think we've already discovered that it's kind ofhard to go away from the traditional rectangular design . But I think that , even if it's very subtle , we need to kind of trick our consumers , so they at least getthe idea that they're getting something that's new and modern and sleek and {disfmarker} Whether it's through the shape or the colours or all of that . Um fortechnologically innovative , we've talked about the tracking device . We brought up the idea of having two pieces , which we could discuss further . And Manuelhad suggested um the energy source and the user interface , discussing some of those , um that we could change a little bit . We need to keep it simple , havelimited buttons , which I think the two piece idea might be really beneficial for . {vocalsound} Um {vocalsound} we need to incorporate this fashion trend of fruitsand vegetables . I don't know , I mean I guess the two options are if we had our remote in the shape of a fruit or vegetable .Project Manager: {vocalsound} Abanana shape ?User Interface: Oh it was sort of banana shaped . {gap}Marketing: {vocalsound} Yeah . Yeah . Right . Or with exterior designs . But my questionis , I mean the stereotypically speaking , you kind of picture males with their remote controls , and I'm not sure how they'd feel about having fruity logos on theoutside .Project Manager: {vocalsound}Marketing: So maybe we could have something that's somewhat removable , or I don't know , different options for female, male target groups . And then the spongy feel . I guess we could look at mobile phones and other technology that's out there . C and look at different types ofmaterial that {vocalsound} might please our users who want spongy-feeling remote controls . So that's that .Project Manager: So possibly like a uh ,IndustrialDesigner: Alright .Marketing: {vocalsound}Project Manager: sorry , just to butt in for a second . Possibly uh like a cover like they have for mobile phones?Marketing: That's what I was thinking yeah .User Interface: Those like , yeah , sort of spongy ones .Project Manager: You have one with a flag , and one with abanana and one that's a spongyUser Interface: {vocalsound}Marketing: {vocalsound} {vocalsound} Yeah . So when you buy your remote you can buyProjectManager: feel to it . {vocalsound} You can {disfmarker}Marketing: various coverings .Project Manager: Mm various covers .User Interface: What's it called ? Custyou {disfmarker} {vocalsound} personalised , yeah .Marketing: Personalise your remote . {vocalsound}Project Manager: We could leave that to the coverdepartment . {vocalsound}User Interface: Yeah . {vocalsound}Marketing: {vocalsound} Mm-hmm .Industrial Designer: {vocalsound}Project Manager:{vocalsound} {vocalsound} We all know they've got nothing to do all day .Industrial Designer: {vocalsound}Marketing: {vocalsound}Industrial Designer:{vocalsound}User Interface: Okay . Why can't I see the {disfmarker} crazy . Um yeah I {disfmarker} talking about the interface concept and how the customerrelates to , will use the , consumer will use the actual device . Um so I've looked at some of the stuff I was sent , um , try and get some inspiration . But keep inmind that our own ideas that we had . Um I was sent some information from the company saying that they , the technology department have devised a newspeech recognition technology , where you can program questions into such devices . They gave an example of a coffee machine where you program a question ,you program the answer , and the machine responds accordingly . Um okay . There's different ways of a user can use products l like a remote . Um there's agraphical use , where you you look at pictures and well on a screen . A command line where you obviously type things in , and you get a response . Um and thenit ju that's just to point out the sort of inconsistent u sort of use of interface in remotes . You can't really see that picture well , but there's various differentremotes , once again with lots of different buttons on , making it more complicated .Industrial Designer: {vocalsound}User Interface: So , then I had a look atnew products that are on the market . Not necessarily remote controls but ones that you'll recognise . Um this is the voice , there is a voice recognition remotecontrol , which can control mus multiple devices . I have a {disfmarker} there is a picture {gap} . You surf your favourite channels uh with your voice . Store upto eighty speech samples , controls four devices , T_V_ , cable , satellite , V_C_R_ , D_V_D_ and audio . And you can record your own v verbal labels , that areconnected to remote control functions . So the technology is there . Um the one on the left is very similar to what we drew up on the board in the previousmeeting , where there {disfmarker} has scroll down functions on the side . You can sort of just make those out . And then on the right is obviously an iPod ,which is you know possibly one of the simplest things to use out there , and really is , and all that is is just a a nice big scroll menu that y you sort of go through .That is a {vocalsound} possibility . And nothing's simpler really . Um then there's things like this , which is a a a kid's remote , where the the parents have thefacility to control and program what children can watch before . So the remote control it o only allows them to access the channels that their parents want themto watch . And um it means that th children have a novelty of having their own remote control . So I don't know {gap} if there's a possibility of having oneremote contr you know like we just had two components , maybe it can have more components you know , different remotes . Um the point made at the endthere here is that you have to be sort of be {disfmarker} need to be clear on your um devices , as to what , you know , things you use . Sometimes an arrowpointing down , which may suggest volume down , could become confused just as a V_ for volume . Just little things like that , which would need to be made clearin the design . Um I think , d carrying on from what I've already said , a user friendly remote with minimum buttons . Maybe we've so suggested this two-partthing , where if it was to have a speech recognition thing , you could maybe control that on the {disfmarker} do it {disfmarker} or program all that on the controlbit . And then just have the simple sort of hand-held thing that we sort of devised earlier , as the actual remote . Um I don't {disfmarker} it could be a graphicaldisplay , the actual remote contr the actual control port maybe could have like an iPod where you just sort of control through the menus . Stuff like {gap} gets"}
+{"doc_id":"doc_24","qid":"","text":"User Interface: Hmm .Industrial Designer: {vocalsound}Project Manager: Good morning everybody .Industrial Designer: {vocalsound} Good morning .{vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} Good morning .Marketing: Good morning .Project Manager: So , we are asked to tomake uh uh a new remote control for television . And the characteristics of this new remote control should be original and trendy and of course user user friendly. So people can {gap} can use it without any any problem .User Interface: {vocalsound}Project Manager: {gap} .Industrial Designer: {vocalsound}ProjectManager: I don't know .Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} {vocalsound}Industrial Designer: Well , Ithink we should set the the points to to drive the project and uhUser Interface: Mm . B did you send us an email about this ?Project Manager: Uh , not yet ,UserInterface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: but if you want {disfmarker}User Interface: Yeah , we we received an email aboutthis uh d designs . {vocalsound}Project Manager: Do you want do you want me to send you a mail ?Industrial Designer: {vocalsound}User Interface:{vocalsound} Ah it's Okay . {vocalsound}Project Manager: {vocalsound} Or {disfmarker}Industrial Designer: {vocalsound}Marketing: Or you can put it in theshared folder .User Interface: Yeah , you see the email ? You {gap} email . The v very {disfmarker} no , no the first one .Marketing: No , I didn't get it .UserInterface: It's inside .Project Manager: Uh {disfmarker}Marketing: This one .User Interface: No , no .Marketing: No .User Interface: The third one . Oh , youdidn't get anything .Marketing: No , {gap} .User Interface: It's strange . {vocalsound} {vocalsound} Mm . {vocalsound}Project Manager: {gap} .User Interface:I got an email about the dis about the discussion . Yeah .Project Manager: You get email , {gap} . {vocalsound}User Interface: I dunno from who .IndustrialDesigner: Yeah , from the account manager .Marketing: {vocalsound}User Interface: {vocalsound} From the account manager . You have received the sameemail , right ?Industrial Designer: Yeah .User Interface: Yeah .Marketing: I think it's for your guys to {vocalsound} how to design it all the aspects so you needthat information .User Interface: Yeah .Industrial Designer: Yeah , I think so .User Interface: Yeah , so each of us has a role to do .Marketing: YeahProjectManager: SMarketing: {vocalsound} I think {gap} assign your uh roles .User Interface: In each {disfmarker}Project Manager: For each for each one .UserInterface: We already have our role .Marketing: For each person , yeah .User Interface: {vocalsound} 'Kay , we can {disfmarker}Project Manager: So there are{disfmarker} so we have three {disfmarker}User Interface: So there are three kinds of designs , that's all .Project Manager: f yeah . We have functional design ,conceptual design , and detail design .User Interface: Okay , alright . {vocalsound}Project Manager: So , who will be the the responsible for the functional design? Any any volunteer ?Industrial Designer: {vocalsound} I think our uh responsibilities will be assigned when we {disfmarker} in our mail we received from theaccount manager .User Interface: {vocalsound} Yeah , yeah .Industrial Designer: UhUser Interface: I'm doing the interface .Project Manager: You are doingthIndustrial Designer: No , I'm doing the interface . {vocalsound}Project Manager: {gap} .User Interface: Are you using the {disfmarker} you are doing the in{disfmarker}Industrial Designer: Yeah I I'm I'm {disfmarker} Well , maybe we have {disfmarker} okay so I {gap} industrial design . It was a little confusionabout my uh {disfmarker}Project Manager: {vocalsound}User Interface: Ah {vocalsound} {disfmarker}Industrial Designer: but it's alright .Project Manager:Okay , I'll for industrial design .User Interface: Okay .Industrial Designer: Yeah .Project Manager: Okay . And and you {disfmarker} Norman ?User Interface: Mm? Um working on i . {vocalsound} User interface . {vocalsound}Industrial Designer: User .Project Manager: And {disfmarker} And {disfmarker}Marketing: Uh ,I'm into marketing .Project Manager: {gap} doing the marketing .Marketing: {gap} yeah nothing much in the project .Project Manager: Nothing related here tothe {disfmarker}Marketing: Marketing in this design .User Interface: Yes .Marketing: A design is basically for industrial design and the user interface .ProjectManager: {vocalsound}User Interface: You see the second mail ? Yeah , it's inside . Go down . Appendix .Marketing: Yeah , this is {gap} .User Interface: Seethere's a role for everybody .Marketing: Yeah , that's right ,User Interface: Even for the marketing .Marketing: first {gap} . {gap} us user define .ProjectManager: Next {gap} .User Interface: But look at your role , your marketing role .Marketing: There's a trend watching .Project Manager: I don't know .UserInterface: Yeah , that's your role .Project Manager: I {gap} .Industrial Designer: Well , I think we can have a little discussion about what has to be doneProjectManager: {vocalsound}Industrial Designer: and what are your ideas about the {disfmarker}Project Manager: About the design or {disfmarker} Maybe we'lldiscuss this later , no ?Industrial Designer: Well , w we want to have a new re remote control for for T_V_ distribution I guess .Project Manager: Mm-hmm.Industrial Designer: So we have to {vocalsound} plan how how it would be developed and uhUser Interface: Mm .Marketing: Yeah .Industrial Designer: how wecan make it work {vocalsound} .User Interface: Yes .Marketing: I mean working remotes we already have . This will be something different from the otherremotes {disfmarker} remote controls .Industrial Designer: {vocalsound}Project Manager: What we we have to keep in mind the {disfmarker} thesecharacteristics .Industrial Designer: Yeah , I dunno I {disfmarker}Project Manager: And of course it should not be very costly .Marketing: Yeah , that's right.Project Manager: So {disfmarker} {vocalsound}Industrial Designer: {vocalsound} Yeah .User Interface: Mm-hmm .Industrial Designer: {vocalsound} Well I Ithink that Norman and I would think about um the technical points and um we should discuss it in the next meeting , orUser Interface: Need to collect information. {vocalsound}Industrial Designer: Yeah . {vocalsound}Project Manager: About the {disfmarker} about what ?User Interface: Um . {vocalsound} I I'm part ofdesign , perhaps . Uh , what is most important in a {disfmarker} in a remote control ? What is the most important function aspect ? Uh .Project Manager: Youmean the external {gap} or {disfmarker}Industrial Designer: Well , you have to make it work .Project Manager: {vocalsound} Yeah of g of course .UserInterface: {vocalsound} That's alright .Industrial Designer: {vocalsound} That's the {vocalsound} that's the big thing .Project Manager: {vocalsound}UserInterface: Yeah , it should be easy to work with .Project Manager: Yeah {gap} .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: We can thinkabout an interface with uh well {disfmarker}User Interface: Uh . We {disfmarker} maybe you can have a speech uh recognition interface . You just tell thetelevision I want {disfmarker} which channel .Project Manager: You won't {disfmarker}User Interface: Or or you can say for example , um {disfmarker}{vocalsound} I want uh to list all the programme tonight . Y you know {gap} , instead of {gap} uh remote control it's doing the {disfmarker} some searching foryou , so you don't have to look for the channel you want . Just say maybe I just want to press {disfmarker} I wanna have a button for all the movies tonight . Ora button for all the magazines , all the information {disfmarker} documentary tonight . And then you list a few , and I will choose from the list . So instead ofpressing the channel number , I am choosing the programmes directly . Yeah , that's one way of uh making it useful .Industrial Designer: Yeah , yeah .ProjectManager: I I think if we include a lot of technology on the remote control it will be very costly .User Interface: No , because {disfmarker} no ,Project Manager: S{vocalsound}User Interface: it's not very {disfmarker} a lot . Th this information exists . For example you can get um {vocalsound} {disfmarker}ProjectManager: Like s uh you you you say we can use speech .User Interface: You can use uh {disfmarker} well for example {disfmarker} anything . {vocalsound} The{vocalsound} the idea of using speech to reduce the button , but uh and it's more natural . Yeah .Industrial Designer: I {disfmarker} I think if you want t tochoose uh from a list of programme or or something like that you you may have to to use uh w uh I dunnoMarketing: I'm a {disfmarker} okay .User Interface:Yeah . Yeah .Marketing: I mean the main uh function of remote control is to have something in the handProject Manager: In the hand .Marketing: and we shouldbe very careful about the size of the remote control .Project Manager: Yeah .User Interface: Yeah .Industrial Designer: Yeah .Marketing: If we are going to add aspeech interface , I'm not sure with {gap} trendy slim size of the remote control it would be able to put a speech recogUser Interface: Yeah . Yes , possible.Marketing: if you want to put a speech recognition system f interface for that I think the T_V_ itself could have it .User Interface: Yeah . But{disfmarker}Industrial Designer: Yeah .Marketing: And I could talk to the T_V_ {disfmarker} television itself .Project Manager: Except if if you are far from theT_V_ .Marketing: I need not have an {disfmarker}User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound}Marketing: I mean we have some {gap}or something , different technology but {disfmarker}Project Manager: This is {vocalsound} it's {disfmarker}User Interface: Yeah , yeah . But th the main idea Iwanted to s I wanted to say is that um {vocalsound} there should be a function , instead of choosing the ch T_V_ channel , there's a option you can choose ,either T_V_ channels or or pr or the or the contain or the contents of the programme .Industrial Designer: On the content .Marketing: Mm-hmm , yeah .IndustrialDesigner: Yeah , yeah it's it's a good idea it's a good ideaProject Manager: Mm-hmm .User Interface: So it's more powerful . Yeah .Industrial Designer: but I Ithink that technically it would be um a little bit uh uh more tricky to to achieve this than just to {disfmarker}User Interface: No . No , because you see now all theT_V_ programmes are available on the webs . They they are {disfmarker} they are {disfmarker} they are available in X_M_L_ format or whatever the format .We don't care . We just say that this are some content . We just want to retrieve the content and then classi sort them by the types of programmes . Some of thewebsites they already provide this service ,Industrial Designer: Yeah yeah .User Interface: so we can just use the service available . Download it uh to the{disfmarker} to this remote control .Project Manager: Mm .User Interface: And then there's {disfmarker} there are only six buttons for six categories , or sevseven . The most there are only seven buttons . So I just choose the category one and you reuse the same button , for example to to choose among the the"}
+{"doc_id":"doc_25","qid":"","text":"Postdoc A: OK .Grad G: How about channelProfessor C: Yeah , go ahead .Grad E: We 're recording .Grad G: Alright .Professor C: Alright , and no crash .PostdocA: Hmm .Grad E: I pre - crashed it .Professor C: Yeah .PhD F: Pre - crashed !PhD D: It never crashes on me .Grad E: I think it 's actually {disfmarker}PhD D:What is {disfmarker} what is that ?Grad E: it depends on if the temp files are there or not , that {disfmarker} at least that 's my current working hypothesis ,PhDD: Ah .Grad E: that I think what happens is it tries to clear the temp files and if they 're too big , it crashes .PhD D: Ah .PhD B: When the power went out theother day and I restarted it , it crashed the first time .Grad E: Oh , that 's right .PhD B: After the power outPhD D: So then there would be no temp files .ProfessorC: Yeah .PhD D: OK . {comment} Hmm .Grad E: Uh , no , it doesn't {disfmarker} it doesn't clear those necessarily ,PhD D: Oh wait {disfmarker} It {disfmarker}it doesn't clear them , OK .Grad E: so .Professor C: Hmm , no connection .Grad E: It 's {disfmarker} i they 're called temp files , but they 're not actually in thetemp directory they 're in the scratch , so . They 're not backed up , but they 're not erased either on power failure .PhD D: But that 's usually the meeting that Irecorded , and it neve it doesn't crash on me .PhD B: Well this wasn't {disfmarker} Actually , this wasn't a before your meeting , this was , um , Tuesdayafternoon when , um , uh , Robert just wanted to do a little recording ,Grad E: Oh well .PhD D: Oh {disfmarker} Oh , right .PhD B: and the power had gone outearlier in the day .PhD D: OK . Huh , OK .Professor C: I don't know when would be a good excuse for it , but I just can't wait to be giving a talk t and{disfmarker} and {disfmarker} and use the example from last week with everybody t doing the digits at once .Grad E: Yeah .Postdoc A: That was fun .ProfessorC: I 'd love to play somebody that .Postdoc A: That was fun .PhD D: It was quick .Professor C: It was . It was really efficient .PhD B: Talk about a good noiseshield . You know ? You wanted to pe keep people from listening in , you could like have that playing outside the room . Nobody could listen in .Professor C: Yeah.PhD D: Well , I had this idea we could make our whole meeting faster that way .Professor C: Yeah . Everybody give the reports about what they were doing atexactly the same time ,PhD D: And we 'll just all leave ,PhD B: And then we 'll {disfmarker} we 'll go back later and review the individual channels ,Professor C:yeah .PhD D: and {disfmarker}Grad E: Yep , and then everyone can listen to it later .PhD B: right ?Grad E: Yes . Absolutely .PhD B: If you wanna know what{disfmarker}Professor C: Actually isn't that what we have been doing ?PhD D: Yeah .Grad E: It 's what it sounds like .PhD B: Practically , huh . With all theoverlaps .Postdoc A: Yeah .Professor C: What are we doing ?Grad E: I {disfmarker} Since I 've been gone all week , I didn't send out a reminder for an agenda ,so .Professor C: Yeah , and I 'm just {disfmarker}Grad E: Do we have anything to talk about or should we just read digits and go ?PhD B: I wouldn't mind hearinghow the conference was .Professor C: What conference ?PhD D: Uh , I had one question about {disfmarker}Grad E: Yeah , really . It 's all a blur .PhD D: Aren'tthe UW folks coming this weekend ?Grad E: Yep .PhD F: No . The next ,PhD D: Next weekend ?Grad E: Next weekend , week from {disfmarker}PhD F: right?Professor C: That is right . The next weekend .PhD D: Sorry , not {disfmarker} not {disfmarker} not the days coming up , but {disfmarker}PhD F: It 's like the{disfmarker}Grad E: A week from Saturday .PhD D: Yeah ,Professor C: That 's when they 're coming .PhD D: within ten days .Professor C: That 's correct .PhD D:So , are we {disfmarker} do we have like an agenda or anything that we should be {disfmarker}Professor C: No , but that would be a good idea .PhD D: OK.Professor C: Why don't we wPhD F: So {disfmarker} so the deal is that I can , um , {vocalsound} uh , I can be available after , uh , like ten thirty or something .I don't know how s how early you wanted to {disfmarker}Professor C: They 're not even gonna be here until eleven or so .Grad E: That 's good .PhD F: Oh , OK .So {disfmarker}Professor C: Cuz they 're flying up that day .PhD D: Wait , this is on {disfmarker} on Sunday ?Professor C: Saturday .PhD D: Or Saturday?Professor C: Saturday .PhD F: Saturday .Professor C: S Saturday .PhD D: OK .Grad E: Well , yProfessor C: Yeah .PhD F: Mm - hmm .Grad E: Eurospeech is dueon Friday and then I 'm going down to San {disfmarker} uh , San Jose Friday night , so , if {disfmarker} you know , if we start nice and late Saturday that 's agood thing .Professor C: No , I mean , they 're flying up from {disfmarker} from {disfmarker}Grad E: Seattle .Professor C: down from Seattle .Grad E: They 'reflying from somewhere to somewhere ,Professor C: Yeah , and they 'll end up here . So b and also Brian Kingsbury is actually flying from , uh , the east coast onthat {disfmarker} that morning .Postdoc A: Excellent .Professor C: So , i I {disfmarker} I will be {disfmarker} I mean , he 's taking a very early flightPhD F: Oh.Professor C: and we do have the time work difference running the right way , but I still think that there 's no way we could start before eleven . It might end upreally being twelve . So when we get closer we 'll find people 's plane schedules , and let everybody know . Uh , So . That 's good .Grad E: But , uh , yeah maybean agenda , or at least some things to talk about would be a good idea .Professor C: Well we can start gathering those {disfmarker} those ideas , but then we{disfmarker} we should firm it up by next {disfmarker} next Thursday 's meeting .Postdoc A: Will we have time to , um , to prepare something that we{disfmarker} in the format we were planning for the IBM transcribers by then , or {disfmarker} ?Grad E: Oh yeah . Absolutely .Postdoc A: OK .Grad E: So haveyou heard back from Brian about that , Chuck ?PhD B: Yes , um , he 's {disfmarker} I {disfmarker} I 'm sorry , I should have forwarded that along . Uh ,{vocalsound} oh I {disfmarker} I think I mentioned at the last meeting , he said that , um , he talked to them and it was fine {disfmarker} with the beeps theywould be {disfmarker} That 's easy for them to do .Grad E: Great . OK . So , uh , oh , though Thi - Thilo isn't here , um , but , uh , I {disfmarker} I have theprogram to insert the beeps . What I don't have is something to parse the output of the channelized transcripts to find out where to put the beeps , but thatshould be really easy to do . So do we have a meeting that that 's been done with ,Postdoc A: He 's {disfmarker} he 's {disfmarker}Grad E: that we 've tightenedit up to the point where we can actually give it to IBM and have them try it out ?Postdoc A: He generated , um , a channel - wise presegmented version of ameeting , but it was Robustness rather than EDU so I guess depends on whether we 're willing to use Robustness ?PhD B: Well for this experiment I think we canuse pre pretty much anything .Grad E: Mm - hmm .Postdoc A: OK .PhD B: This experiment of just {disfmarker}Grad E: Well we had {disfmarker} we had talkedabout doing maybe EDU as a good choice , though . Well , {vocalsound} whatever we have .PhD B: Well we 've talked about that as being the next ones wewanted to transcribe .Grad E: Right .Postdoc A: OK .PhD B: But for the purpose of sending him a sample one to {disfmarker} fGrad E: Yeah , maybe it doesn'tmatter .Postdoc A: Great .PhD B: I {disfmarker} I don't think it mattePostdoc A: I 'll {disfmarker} I 'll {disfmarker} I 'll , um , get {disfmarker} make thatavailable .Grad E: OK , and has it been corrected ?Postdoc A: Oh , well , wait . Um {disfmarker}Grad E: Hand - checked ? Cuz that was one of the {vocalsound}processes we were talking about as well .PhD B: Right , so we need to run Thilo 's thing on it ,Postdoc A: That 's right .PhD B: and then we go in and adjust theboundaries .Postdoc A: Yeah that 's right . Yeah , we haven't done that . I {disfmarker} I could set someone on that tomorrow .PhD B: Right .Grad E: And timehow long it takes .PhD B: OK .Postdoc A: I think they 're coming {disfmarker}PhD B: And we probably don't have to do necessarily a whole meeting for that if wejust wanna send them a sample to try .Postdoc A: OK . What would be a good number of minutes ?PhD B: I don't know , maybe we can figure out how long it 'lltake @ @ to {disfmarker} to do .Grad E: Um , I don't know , it seems to me w we probably should go ahead and do a whole meeting because we 'll have totranscribe the whole meeting anyway sometime .Professor C: Yes except that if they had {disfmarker} if there was a choice between having fifteen minutes thatwas fully the way you wanted it , and having a whole meeting that didn't get at what you wanted for them {disfmarker} It 's just dependent of how much{disfmarker}Grad E: Like I {disfmarker} I mean I guess if we have to do it again anyway , but , uhProfessor C: Yeah .PhD B: I guess , the only thing I 'm notsure about is , um , how quickly can the transcribers scan over and fix the boundaries ,Postdoc A: Mm - hmm .PhD B: and {disfmarker} I mean , is it pretty easy?Grad E: I think it 's gonna be one or two times real time at {disfmarker} Wow , excuse me , two or more times real time , right ? Cuz they have to at least listento it .Professor C: Can we pipeline it so that say there 's , uh , the transcriber gets done with a quarter of the meeting and then we {disfmarker} you run itthrough this other {disfmarker} other stuff ? Uh ,Grad E: Well the other stuff is I B I 'm just thinking that from a data {disfmarker} keeping - track - of - the -data point of view , it may be best to send them whole meetings at a time and not try to send them bits and pieces .Professor C: OK , so . Oh , that 's right . Sothe first thing is the automatic thing , and then it 's {disfmarker} then it 's {disfmarker} then it 's the transcribers tightening stuff up ,Grad E: Right .Postdoc A:Mm - hmm .Professor C: and then it 's IBM .Postdoc A: Mm - hmm , mm - hmm .Grad E: Right .Professor C: OK , so you might as well ha run the automatic thingover the entire meeting , and then {disfmarker} and then , uh , you would give IBM whatever was fixed .Postdoc A: And have them fix it over the entire meetingtoo ?Grad E: Right .Professor C: Well , yeah , but start from the beginning and go to the end , right ? So if they were only half way through then that 's what you'd give IBM .Postdoc A: OK .Professor C: Right ?PhD B: As of what point ? I mean . The {disfmarker} I guess the question on my mind is do we wait for thetranscribers to adjust the marks for the whole meeting before we give anything to IBM , or do we go ahead and send them a sample ? Let their{disfmarker}Professor C: Why wouldn't we s @ @ w i if they were going sequentially through it , why wouldn't we give them {disfmarker} I mean i are we tryingto get something done by the time Brian comes ?PhD B: Well I {disfmarker} I {disfmarker} I mean , I don't know .Grad E: That was the question . Though.Professor C: So if we {disfmarker} if we were , then it seems like giving them something , whatever they had gotten up to , would be better than nothing .PhDB: Yeah . Uh . That {disfmarker} I agree . I agree .Grad E: Well , I don't think {disfmarker} I mean , h they {disfmarker} they typically work for what , four"}
+{"doc_id":"doc_26","qid":"","text":"Professor C: OK . So uh , he 's not here ,PhD D: So .Professor C: so you get to {disfmarker}PhD D: Yeah , I will try to explain the thing that I did this{disfmarker} this week {disfmarker} during this week .Professor C: Yeah .PhD D: Well eh you know that I work {disfmarker} I begin to work with a new featureto detect voice - unvoice .PhD E: Mm - hmm .PhD D: What I trying two MLP to {disfmarker} to the {disfmarker} with this new feature and the fifteen feature uhfrom the eh bus base systemPhD E: The {disfmarker} the mel cepstrum ?PhD D: No , satly the mes the Mel Cepstrum , the new base system {disfmarker} thenew base system .PhD E: Oh the {disfmarker}PhD D: Yeah , we {disfmarker}PhD E: OK , the Aurora system .PhD D: yeah the Aurora system with the new filter ,VAD or something like that .PhD E: OK .PhD D: And I 'm trying two MLP , one one that only have t three output , voice , unvoice , and silence ,Professor C: Mm -hmm .PhD D: and other one that have fifty - six output . The probabilities of the allophone . And I tried to do some experiment of recognition with that and onlyhave result with {disfmarker} with the MLP with the three output . And I put together the fifteen features and the three MLP output . And , well , the result are li alittle bit better , but more or less similar .Professor C: Uh , I {disfmarker} I 'm {disfmarker} I 'm slightly confused .PhD E: Hmm .Professor C: What {disfmarker}what feeds the uh {disfmarker} the three - output net ?PhD D: Voice , unvoice , and siProfessor C: No no , what feeds it ? What features does it see ?PhD D: Thefeature {disfmarker} the input ? The inputs are the fifteen {disfmarker} the fifteen uh bases feature .Professor C: Uh - huh .PhD D: the {disfmarker} with thenew code . And the other three features are R , the variance of the difference between the two spectrum ,Professor C: Uh - huh .PhD D: the variance of the auto -correlation function , except the {disfmarker} the first point , because half the height value is R - zeroProfessor C: Mm - hmm . Mm - hmm . Mm - hmm . Mm -hmm .PhD D: and also R - zero , the first coefficient of the auto - correlation function . That is like the energy with these three feature ,Professor C: Right .PhD D:also these three feature .Professor C: You wouldn't do like R - one over R - zero or something like that ? I mean usually for voiced - unvoiced you 'd do{disfmarker} yeah , you 'd do something {disfmarker} you 'd do energyPhD D: Yeah .Professor C: but then you have something like spectral slope , which is youget like R - one ov over R - zero or something like that .PhD D: Uh yeah .PhD E: What are the R 's ?Professor C: R correlations .PhD E: I 'm sorry I missed it .PhDD: No , R c No .PhD E: Oh .PhD D: Auto - correlation ? Yes , yes , the variance of the auto - correlation function that uses thatProfessor C: Ye - Well that 's thevariance , but if you just say \" what is {disfmarker} \" I mean , to first order , um yeah one of the differences between voiced , unvoiced and silence is energy .Another one is {disfmarker} but the other one is the spectral shape .PhD D: Yeah , I I 'll {disfmarker} The spectral shape ,Professor C: Yeah , and so R - one overR - zero is what you typically use for that .PhD D: yeah . No , I don't use that {disfmarker} I can't use {disfmarker}Professor C: No , I 'm saying that 's whatpeople us typically use .PhD D: Mmm .Professor C: See , because it {disfmarker} because this is {disfmarker} this is just like a single number to tell you um \"does the spectrum look like that or does it look like that \" .PhD D: Mm - hmm .Grad A: Oh . R {disfmarker} R {disfmarker} R - zero .Professor C: Right ?PhD D:Mm - hmm .Professor C: So if it 's {disfmarker} if it 's um {disfmarker} if it 's low energy uh but the {disfmarker} but the spectrum looks like that or like that , it's probably silence .PhD D: Mm - hmm .Professor C: Uh but if it 's low energy and the spectrum looks like that , it 's probably unvoiced .PhD D: Yeah .Professor C:So if you just {disfmarker} if you just had to pick two features to determine voiced - unvoiced , you 'd pick something about the spectrum like uh R - one over R -zero , um and R - zeroPhD D: Mm - hmm , OK .Professor C: or i i you know you 'd have some other energy measure and like in the old days people did like uhzero crossing counts .PhD D: Yeah , yeah .Professor C: Right . S SPhD D: Well , I can also th use this .Professor C: Yeah . Um ,PhD D: Bec - because the resultare a little bit better but we have in a point that everything is more or less the similar {disfmarker} more or less similar .Professor C: Yeah . But umPhD D: It 'snot quite better .Professor C: Right , but it seemed to me that what you were what you were getting at before was that there is something about the differencebetween the original signal or the original FFT and with the filter which is what {disfmarker} and the variance was one take uh on it .PhD D: Yeah , I used this too.Professor C: Right . But it {disfmarker} it could be something else . Suppose you didn't have anything like that . Then in that case , if you have two nets , Alright, and this one has three outputs , and this one has fPhD D: Mm - hmm .Professor C: whatever , fifty - six , or something ,PhD D: Mm - hmm .Professor C: if youwere to sum up the probabilities for the voiced and for the unvoiced and for the silence here , we 've found in the past you 'll do better at voiced - unvoiced -silence than you do with this one . So just having the three output thing doesn't {disfmarker} doesn't really buy you anything . The issue is what you feed it .PhDD: Yeah . Yeah , I have {disfmarker} yeah .Professor C: So uhPhD D: No {disfmarker}PhD E: So you 're saying take the features that go into the voiced -unvoiced - silence net and feed those into the other one , as additional inputs , rather than having a separate {disfmarker}Professor C: w W well that 's anotherway .PhD D: Yeah .Professor C: That wasn't what I was saying but yeah that 's certainly another thing to do . No I was just trying to say if you b if you bring thisinto the picture over this , what more does it buy you ?PhD E: Mmm .Professor C: And what I was saying is that the only thing I think that it buys you is um basedon whether you feed it something different . And something different in some fundamental way . And so the kind of thing that {disfmarker} that she was talkingabout before , was looking at something uh ab um {disfmarker} something uh about the difference between the {disfmarker} the uh um log FFT uh log power uhand the log magnitude uh F F - spectrum uh and the um uh filter bank .PhD D: Yeah .Professor C: And so the filter bank is chosen in fact to sort of integrate outthe effects of pitch and she 's saying you know trying {disfmarker} So the particular measure that she chose was the variance of this m of this difference , butthat might not be the right number .PhD D: Mm - hmm . Maybe .Professor C: Right ? I mean maybe there 's something about the variance that 's {disfmarker}that 's not enough or maybe there 's something else that {disfmarker} that one could use , but I think that , for me , the thing that {disfmarker} that struck mewas that uh you wanna get something back here , so here 's {disfmarker} here 's an idea . uh What about it you skip all the {disfmarker} all the really cleverthings , and just fed the log magnitude spectrum into this ?PhD D: Ah {disfmarker} I 'm sorry .Professor C: This is f You have the log magnitude spectrum , andyou were looking at that and the difference between the filter bank and {disfmarker} and c c computing the variance .PhD D: Yeah . Mm - hmm .Professor C:That 's a clever thing to do .PhD D: Mm - hmm .Professor C: What if you stopped being clever ? And you just took this thing in here because it 's a neural net andneural nets are wonderfulPhD D: Mm - hmm .Professor C: and figure out what they can {disfmarker} what they most need from things , and I mean that 's whatthey 're good at .PhD D: Yeah .Professor C: So I mean you 're {disfmarker} you 're {disfmarker} you 're trying to be clever and say what 's the statistic thatshould {disfmarker} we should get about this difference but uh in fact , you know maybe just feeding this in or {disfmarker} or feeding both of them inPhD E:Hmm .Professor C: you know , another way , saying let it figure out what 's the {disfmarker} what is the interaction , especially if you do this over multipleframes ?PhD D: Mm - hmm .Professor C: Then you have this over time , and {disfmarker} and both kinds of measures and uh you might get uh something better.PhD D: Mm - hmm .Professor C: Um .PhD E: So {disfmarker} so don't uh {disfmarker} don't do the division , but let the net have everything .Professor C: That's another thing you could do yeah . Yeah .PhD D: Yeah .Professor C: Um . I mean , it seems to me , if you have exactly the right thing then it 's better to do itwithout the net because otherwise you 're asking the net to learn this {disfmarker} you know , say if you wanted to learn how to do multiplication .PhD E: Mm -hmm .Professor C: I mean you could feed it a bunch of s you could feed two numbers that you wanted to multiply into a net and have a bunch of nonlinearities inthe middle and train it to get the product of the output and it would work . But , it 's kind of crazy , cuz we know how to multiply and you {disfmarker} you 'd beyou know much lower error usually {vocalsound} if you just multiplied it out . But suppose you don't really know what the right thing is . And that 's what thesesort of dumb machine learning methods are good at . So . Um . Anyway . It 's just a thought .PhD E: How long does it take , Carmen , to train up one of thesenets ?PhD D: Oh , not too much .PhD E: Yeah .PhD D: Mmm , one day or less .PhD E: Hmm .Professor C: Yeah , it 's probably worth it .Grad A: What are{disfmarker} what are your f uh frame error rates for {disfmarker} for this ?PhD D: Eh fifty - f six uh no , the frame error rate ?Grad A: OPhD D: Fifty - six I think.Professor C: Is that {disfmarker} maybe that 's accuracy ?PhD D: Percent .Grad A: Fif - fifty - six percent accurate for v voice - unvoicePhD D: The accuracy .Mm - hmm . No for , yes f I don't remember for voice - unvoice ,Grad A: Oh , OK .PhD D: maybe for the other one .Grad A: OK .Professor C: Yeah , voiced -unvoiced hopefully would be a lot better .PhD D: for voiced . I don't remeGrad A: Should be in nineties somewhere .PhD D: Better . Maybe for voice - unvoice.Grad A: Right .PhD D: This is for the other one . I should {disfmarker} I can't show that .Grad A: OK .PhD D: But I think that fifty - five was for the {disfmarker}when the output are the fifty - six phone .Grad A: Mm - hmm .PhD D: That I look in the {disfmarker} with the other {disfmarker} nnn the other MLP that wehave are more or less the same number . Silence will be better but more or less the same .Professor C: I think at the frame level for fifty - six that was the kind ofnumber we were getting for {disfmarker} for uh um reduced band width uh stuff .PhD D: I think that {disfmarker} I {disfmarker} I {disfmarker} I think that forthe other one , for the three output , is sixty sixty - two , sixty three more or less .Grad A: Mm - hmm .Professor C: That 's all ?PhD D: It 's {disfmarker} Yeah.Professor C: That 's pretty bad .PhD D: Yeah , because it 's noise also .Grad A: Oh yeah .Professor C: Aha !PhD D: And we haveProfessor C: Aha ! Yeah . Yeah .OK .PhD D: I know .Professor C: But even i in {disfmarker} Oh yeah , in training . Still , Uh . Well actually , so this is a test that you should do then . Um , if you"}
+{"doc_id":"doc_27","qid":"","text":"Project Manager: Okay . Hi Team . Hope you had a good lunch .Marketing: {gap}Project Manager: {vocalsound} Okay we're back for the conceptual designmeeting . Um let's get started . 'Kay , here is the agenda for today's meeting . Um we're gonna open it and I'm gonna keep the minutes as Project Manager .We're gonna have three presentations , one from each of you again . And then we are going to come to decision on the remote control concepts and then we'regonna close it up . And we have forty minutes again . 'Kay , and just to reiterate um after this meeting the team will reach a decision on the concepts of theremote control . Okay . Let's go ahead and start off with your presentations . Who would like to go first ?Industrial Designer: Just trying to move mine right now.Project Manager: Okay . Um Courtney would you mind starting us off ?Marketing: Yeah {gap} .Project Manager: Okay . Trend watching ? 'Kay .Marketing: Yeah .Okay , so trend watching . Uh since we do put the fashion in electronics , it is kind of important how our product looks . So I guess we can go ahead and go to thenext . So what they want . Right now customers want fancy versus functional . Um basically about fifty eight percent of what they {disfmarker} like of theproduct that they want , describing like the {disfmarker} in order of how much they want , fifty eight per cent of the decision of what it should look like , fancyversus functional , and then it has to also be technologically innovative , and yet easy to use . So the customer basically is confused . They don't know exactlywhat they want . They want us to tell them . {gap}Industrial Designer: They want everything , but simply .Marketing: Yes . Exactly .Industrial Designer:{vocalsound} Okay .Marketing: So we can go to next .Project Manager: Mm 'kay .Marketing: Okay . So in Milan and Paris recently the trends have been showingthat clothing , shoes and furniture are basically just covered with fruits and vegetable patterns .Project Manager: {vocalsound}Industrial Designer:{vocalsound}Marketing: So I don't know if we want to go with that um and also the spongy feel is in in contrast to last year . I don't know really , I mean I guessthe spongy could relate to the buttons if we want toProject Manager: Mm . Mm .Marketing: rather than like a hard clicky button that you find on like some mobilesand stuff , you'd want like a softer touch . I mean do you guys know what I mean .Project Manager: Right . Yes .Industrial Designer: {vocalsound} YeahthMarketing: Yeah . Um . But as for the fruits and vegetable patterns , I don't know if we really want to go with that , because it is just a trend ,Project Manager:Right .Marketing: and our product we want to stay around for much longer than just a few months ,Project Manager: Right . People don't buy a new remote everyso often .Industrial Designer: {vocalsound} I I can {disfmarker}Marketing: because {disfmarker} Yeah . I mean that could just be a Spring thing right now.Industrial Designer: I can address some of that issue , I think , with uh my presentation .Marketing: Okay . Awesome .Project Manager: Okay .Marketing: Um sodesign preferences , um we need easy to read like large buttons , clearly labelled so that , I mean 'cause we talked about that being a problem . Um and then alsobuttons illuminating upon touch , you said that in your design , with the bulb . Um and that could also tie in with the colour scheme . Uh we need the RealReaction logo and colour scheme obviously . That's one of our key goals , we wanna promote our product .User Interface: {gap}Marketing: And I was thinkingabout different types of designs and I came up with something . Actually right here . So what we could do is something like an old-fashioned telephone like this ,where we put the buttons around , like we'd put a big on-off button or something else in the middle , I mean it could be the arrows or whatever for channel upand down , and then put the numbers around in like an old-fashioned dial shape . 'Cause then it'll appeal to older generation and like said retro's cool . So it'sclassically retro .Project Manager: Hmm .Marketing: So I mean that's just an idea if you guys like it .Project Manager: Very good . I like it . {vocalsound} Okay ,ready for the next slide ?Marketing: {vocalsound} And , yep . And that's it . {vocalsound}Project Manager: Op mm 'kay .Industrial Designer: {vocalsound} Okay.Project Manager: Great . Great presentation . Ready ?User Interface: Okay hang on .Project Manager: 'Kay .User Interface: See if it's there .{vocalsound}Project Manager: Which one is it ?User Interface: {vocalsound} I don't know . Hang on .Project Manager: {gap}User Interface: Interface concepts ,no ?Project Manager: Interface concepts new .User Interface: Either refresh it , or it sh {disfmarker}Project Manager: YUser Interface: Oh wait , maybe I didn'tput it there . Hang on .Project Manager: 'Kay .Industrial Designer: Mine will always read copy of something or other .Project Manager: Sorry ?Industrial Designer:{vocalsound} I I copied mine before I sent it over .Project Manager: Oh okay .User Interface: Sorry , hang on . Don't know {gap} .Project Manager: Oh there wego .User Interface: Okay .Project Manager: {gap}User Interface: Okay , um {vocalsound} looking at the interface concept , it's gonna be mostly examples ofpossibilities of where we can go with this . Uh if you wanna start the next slide .Project Manager: Sure .User Interface: Um uh can't really see , but there's twopossible ways , on the r left , if you see on th on the sides of of the remote , you have the sort of scroll down , so you have that option right there . And then alsothere's the idea of the base . That's sort of like an idea there . And then on the right , we have what's really big trend right now , it's the iPod . It's becomingreally {gap} and so you have this sort of very very simplistic menu section uh with the round buttons , and it's sort of like you have the both {gap} kind of trendyand hip , but also very sleek and um and very simple , but technologically advanced . So if you wanted to do that th if we could find a way of sort of like{vocalsound} using that idea in a remote control then sort of look into it , but {disfmarker} Anyway , next .Project Manager: Mm 'kay .User Interface: Um there'sthe idea of like being able to do it by feel as well as by um by sight . You'd you know you're in the dark , you don't wanna be looking at the remote control . Andthe picture particularly is pointing out if you look at the top volume button it's a V_ , and so yo you're kind of feeling a V_ like volume up . What it really is is a V_and what it you think it is is down , because the down arrow .Project Manager: Mm .User Interface: And so it's like a sort of a criticism you'd probably turn that othe other way up . Um but then you have {disfmarker} you could either do it by raised type , which could be you know , iffy , um sort of old-fashioned in a way.Project Manager: Mm .User Interface: Either that or just have it by shape , for example you have a specific triangular shape that you know you're looking at theup and down arrow . And then the round ones you sort of feel by , you know , that's the second one down , that sort of thing . So it's sort of looking into how wewanted t to do it by feel .Project Manager: Okay .User Interface: Okay . Um this is sort of an example of going for a s certain demographic . Um this is particularlygeared towards children .Marketing: That's cute .Project Manager: {gap}User Interface: Um it's very cute , and we could probably change it to yellow , brightyellow for like a the for the company logo . Um and you have the shapes and it's very simplistic and friendly looking . Um and then the other thing that it wouldbe able to do is just to pro be ab you program certain {disfmarker} {vocalsound} channels that only these children would watch , so it's like they ch watch , youknow , the C_ Beebies or something like that ,Project Manager: {vocalsound}User Interface: uh keep them away from other channels . So that's like another arUm ,Project Manager: Okay .User Interface: I mean , these are three examples sort of looking at it . You have the wider section for the main controls there . Uhyou could see how many buttons there are . And then on the left you have an example of the round buttons , and a simpler design . On the bottom we probablywouldn't need that , because it's more for like a D_V_D_ {vocalsound} function which we are not gonna be using . Um . So again it's sort of like just give youideas and then down at the bottom you have the logos and that's where you could put the R_R_ , Real Reaction .Project Manager: 'Kay .User Interface: And thenfinally these are like the sort of same examples , but also some more , just possibilities that we could go with . None of them I'm particularly keen on by the way .{vocalsound}Industrial Designer: Hmm .Marketing: Yeah .Project Manager: No .User Interface: {vocalsound} {vocalsound} But it's sort of like just takingaspects out of that and saying , well out of this one we like , you know the round section of um , b or we'd like the the button size on this .Project Manager: Mm .Or I like , you know , the black finish or the silver finish or whatever .Marketing: {vocalsound}User Interface: Right .Marketing: I have four of those remotes.Project Manager: {vocalsound} Good lord .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Okay . Ready ? Oh , yeah .Okay .User Interface: That's it .Project Manager: Great job .Industrial Designer: Okay , my turn .Project Manager: Okay .Marketing: {vocalsound} Okay.Industrial Designer: Whoo .Project Manager: What's the title ?Industrial Designer: It'll be copy of component design .Project Manager: Got it .IndustrialDesigner: Yeah . Th that looks like it . 'Kay . So basic remote operation runs as follows , press button makes connection with the power source and the rest of thecircuit , chip senses the connection , chip produces a morse code infra-red signal , specific to that button . So you press the button , it produces uh a signal that'sencoded specifically for that button . Transistors amplify that signal and it goes to the T_V_'s centre , which interprets the signal response accordingly , changeschannel etcetera . So that being said {disfmarker} Next slide , please . Findings oh which were the required materials for the basic internal construction , so allthe really simplistic functions that we just discussed , we need rubber for buttons , aluminium for battery y contacts , integrated circuit which consists of a diode ,transistor , resonator , resistors , and a capacitator , all those basic things that make a circuit function . Um fibreglass and thin copper wire to create the actualcircuit board itself . An L_E_D_ , which is a light emitting diode , um contact discs for the buttons , plastic for the casing , and a power-source , whateverpower-source we've actually determined we want . Next slide , please . Thank you . Uh personal preferences , uh to save money for the components , the remoteshould be mass-produced and basic materials should be bought en masse . Um if we find another company who can produce the required chips , casing , L_E_D_, any additional materials we decide we require at a less expensive rate than we ourselves are producing , we should go for it . {vocalsound} Next slide , please .Um just talking to the um manufacturing division . They suggested power options , solar cells , hand dynamo , and kinetic power , so you shake it and it increases"}
+{"doc_id":"doc_28","qid":"","text":"Marketing: {vocalsound} Hello . {vocalsound}Project Manager: {gap}Marketing: {vocalsound} Dang it .Project Manager: {vocalsound} And then you have toplace your laptop exactly on the marked spot .Marketing: Alright .User Interface: {gap}Project Manager: It's important to place your laptop exactly on themarked spot over here .User Interface: Okay . No , that's okay . Joost , your mouse .Marketing: What ?User Interface: No mouse needed ?Marketing: I've got atouch-pad .User Interface: Mm .Marketing: Do you know how how I can wake it up ?User Interface: A touch-pad ?Marketing: No , my laptop .User Interface: Slapit .Marketing: {vocalsound} You with your brilliant ideas . I don't know if I can touch the power button . Do you know how how I can wake it up ?User Interface:Is {disfmarker}Project Manager: No . Yeah . Try the power button .Marketing: Oh .User Interface: {vocalsound}Marketing: Come on , move it .User Interface:Um {disfmarker}Marketing: Now , wake up , bitch .Project Manager: Huh .User Interface: F_ five . F_ five {gap} .Industrial Designer: I've lost my screen . Uh{disfmarker} {vocalsound}Marketing: Yeah , so did I .User Interface: I don't .Marketing: I closed it . That wasn that wasn't very smart , I guess .User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: Come on . Get back to me . Yes .Industrial Designer: Yes .User Interface: {vocalsound}IndustrialDesigner: I closed the {disfmarker}Marketing: I closed it .User Interface: You've got your name . {vocalsound}Project Manager: Yeah , my name is name.Marketing: No , I didn't restart it , I just closed it . Yes .User Interface: Hope it working .Marketing: Alright .Industrial Designer: No .User Interface: Never closeyour laptop .Project Manager: Yeah ? Everybody's ready ?User Interface: Yeah .Marketing: Great . Thanks .Project Manager: Great . Well , welcome to the kick-offmeeting . I uh forgot to put my name over here , it's uh {vocalsound} it's Martin . Uh , so you all know .Marketing: {vocalsound}Project Manager: Well , this isthe agenda for today . Well , the opening is what I'm doing right now .User Interface: {vocalsound}Project Manager: Uh , we gonna do some acquaintanceacquaintance things . Uh give some um examples of the tool training , project plan discussion and the closing . We have twenty five minutes . Okay , the projectaim is to design a new remote control .Marketing: Mm-hmm .Project Manager: Uh , some of the {vocalsound} oje objectives are that is has to be original , trendy, and user-friendly . So now we all know what ourUser Interface: Okay .Project Manager: goal is . Um , I {disfmarker} oh forget {disfmarker} I forget the wholeacquaintance part , but we we all know each other . We all know each other's names . Joost , Guido , Antek .User Interface: What is your name ?Marketing: Yes.Industrial Designer: Yes . Antek .User Interface: Antek Ahmet . And Joost . {gap}Project Manager: Okay . I think we uh al already uh been through that part.User Interface: Okay . Yeah .Project Manager: Okay , it consists of uh three levels of design . Uh we begin with the functional design , then we go to theconceptual design and the detailed design . Every uh level of design consists of some individual work , and we uh close it with a meeting . You all received anemail with a example of our explanation of what uh the particular level of design uh means to the different uh functions , and uh you p you probably read thatalready , so I don't have to tell you about that .User Interface: Yes .Marketing: Yes .Project Manager: Okay , first we're gonna um uh gonna try some differentthings with the tools we have over here , so you get acquainted with these uh um uh meeting tools . We have the smart-boards , uh the thes those two boards .This is the presentation boards , wh which one I'm using right now . You can uh um {disfmarker} there's a document folder called um the sh {vocalsound} shareddocument folder . You can upload your uh documents to that folder and then you can open them over here , so you can do your PowerPoint presentations on thisscreen . We also have the white-board . Uh , we're gonna skip through thUser Interface: Can we see the white-board on our laptops ?Project Manager: No , no .Just on the on the screen over there .User Interface: No , I saw I saw the file , the smart-board that X_B_K_ but {disfmarker}Project Manager: Oh , no . Probablyis , but I don't know if the software is on the laptop {gap} . Is is {disfmarker} if it's mainly a thing for in the meeting , so I don't think it's {disfmarker} I don'tknow if it's important .User Interface: Okay .Project Manager: This an explanation of the smart-boards . There is a tool-bar over here . It's quite simple . Youhave the the pen function , eraser function . It's like a very simple uh paint application . Uh , we {disfmarker} well , we use the same file during uh the whole day, and uh you can make new sheets by uh by pu puttin pressing on the blank button . It works like this . Oh . {vocalsound} If pen is selected , yes .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Oh , no no .User Interface: With that pen ?Project Manager: It's not {disfmarker} But it is pen . It's notworking like a pen yet .User Interface: Mm .Project Manager: Huh . Huh .User Interface: Mm .Project Manager: It's doing some stuff now . So you can use a pen.User Interface: Little bit slower .Project Manager: You can use an eraser . And you can make new uh fi uh new blanks , and you can change uh the line width andthe colour of the pen by pressing on forward , which y you have to select pen format . And then select current colour or line width . So , it's quite easy . Uh well ,now you're all uh acquainted with the different tools . Right , we're gonna try out the electronic white-boards . Uh , every participant should draw his favouriteanimal and some of its favourite characteristics ,User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: on blank sheets with differentcolours , with different pen widths . Uh , I'll start off then . {vocalsound}Marketing: {vocalsound}Project Manager: I'll use this uh same sheet . Alright . Oh , letme think . Different colours . Oh .Marketing: {vocalsound}Project Manager: Well , I'm gonna draw um a p piranha . Uh , a fish .User Interface: {vocalsound}piranha . Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Uh . {vocalsound}User Interface: {vocalsound} {vocalsound}ProjectManager: Mm-hmm . I'm gonna use some different colour {gap} now .User Interface: Oh .Marketing: {vocalsound}Project Manager: Some {disfmarker} a littlewhite . Looks like a fish . Think it is . Oh .User Interface: {vocalsound}Project Manager: Oh . {vocalsound} Uh , colour . This is black ? I think so .User Interface:Yellow {gap} {disfmarker}Project Manager: Oh . Oh , this is just uh {vocalsound} useless uh drawings but {disfmarker}Marketing: {vocalsound}ProjectManager: Oh teeth . I need teeth . {vocalsound} Well , they're not supposed to be green , or whatever colour this is .Marketing: {vocalsound}User Interface:Hmm .Project Manager: Okay . What was uh {disfmarker} I have su to sum up its favourite characterisUser Interface: Different .Project Manager: Well , I like itsuh sharp {disfmarker} razor sharp teeth . {vocalsound} Plus , uh the the big uh forehead and uh a small uh , well a small actual face . And I like its overall uhaggressive look and {disfmarker} Well , that's what I like about uh piranha . I think that's kind of what uh the intention should be .User Interface: Okay .ProjectManager: Well , who wants to be next ?Marketing: Nobody , I guess . {vocalsound}User Interface: {vocalsound} I will try . Yeah . I will try . Uh{disfmarker}Project Manager: You go , Guido ? Okay . Uh , make a new sheet . Uh , it's by pressing on blank .User Interface: Blank ?Project Manager: Yep .UserInterface: Okay . Then pen again ?Marketing: {vocalsound}Project Manager: Yep .User Interface: Okay .Project Manager: And uh {disfmarker} so in the formatmenu you can choose the different uh colours and uh pen widths .User Interface: Okay , um {disfmarker}Marketing: Format .User Interface: {gap} control . Uh{disfmarker} Ah , purple . Um , I don't know what my uh favourite uh animal is ,Marketing: {vocalsound}User Interface: but the easiest animal I can think is is abird .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: Uh I will {disfmarker}Marketing: {vocalsound}Project Manager:{vocalsound}Marketing: {vocalsound} You know , I thought of that actually .User Interface: That's my bird . {vocalsound} {vocalsound} Yeah ?Marketing: Yeah.User Interface: Isn't it quite {disfmarker} it's a little bit light .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}User Interface: Uh , another colour maybe . A red one .Marketing: {vocalsound}User Interface: A small one . Uh , line width . Two ? Three . Ohthat's okay . That's another one .Marketing: {vocalsound}Project Manager: {vocalsound} Well , tell us something about uh your favourite characteristics of theseuh particular birds .User Interface: {vocalsound} Ano {vocalsound} Uh {vocalsound} uh {vocalsound} it's a {disfmarker} {vocalsound}Marketing: Its simplicity .{vocalsound}Project Manager: {vocalsound}User Interface: Yeah , it's uh the most simple uh animal I know , I think .Marketing: {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Um , I don't know . Maybe because uh there's there's some s uh free uh maybe inthe sky or something like that .Project Manager: Oh , okay . Okay .User Interface: Maybe a little bit . Yeah . I don't know .Project Manager: Okay . No , uh it'sclear .User Interface: So {gap} more uh birds ?Project Manager: N no {vocalsound} no .Industrial Designer: {vocalsound}Marketing: {vocalsound}ProjectManager: We get your point . Okay . Who wants to be next ?User Interface: {vocalsound} {gap} Okay , {vocalsound} okay , {vocalsound} okay .Marketing:{vocalsound} Yeah , whatever . I'll go next .User Interface: {vocalsound}Marketing: Thanks .User Interface: MMarketing: I haven't got a favourite animal too ,so {disfmarker}User Interface: Pictionary . {vocalsound}Project Manager: {vocalsound}Marketing: Oh . {vocalsound} What should I draw ?Industrial Designer:{vocalsound}Project Manager: Oh .User Interface: A cow .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}UserInterface: {vocalsound} Okay .Marketing: Thank you ,Project Manager: {vocalsound}Marketing: I'll draw a penguin . {vocalsound} Yeah . {vocalsound} I'll drawa penguin . Whatever . I can't draw , so you can start to laugh already .Project Manager: {vocalsound} I'll do so . {vocalsound}Industrial Designer:{vocalsound}Marketing: Whatever . Something like that .Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing: Come on.User Interface: Yeah , it's little bit hard .Marketing: Mm hmm hmm , orange .User Interface: Orange , of course .Marketing: Whatever .User Interface:{vocalsound}Marketing: {vocalsound} Oh , {vocalsound} it's better than your bird .User Interface: {gap} Uh yeah .Industrial Designer: {vocalsound}Marketing:Everything's better than your bird .User Interface: {vocalsound} Yeah . {vocalsound} True .Marketing: Whatever .User Interface: {vocalsound}Marketing: Hey ,"}
+{"doc_id":"doc_29","qid":"","text":"User Interface: Oops .Project Manager: So , hello everyone . {vocalsound} We're here to have a kick-off meeting for the design of a {disfmarker} f for thebeginning of new project um {vocalsound} uh remote control for the design for a new remote control {vocalsound} . I'm the Project Manager Christa Pavlov and{vocalsound} okay let's begin . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So I'm first going to do an opening then we get used to oneanothers and we speak about this tool we're going to design and try to make a project plan , some discussion and then we talk of uh the next meeting . So um wewant to to do a new remote control . It has to be original , trendy and user friendly .Marketing: {vocalsound}Project Manager: Um I think the important points wehave to t talk about are uh it's functional design , it's conceptual design , and desail detailed design . {gap} and for that we're going um all to work individuallyand then have meeting during the whole day . Um , so {vocalsound} let's try the whiteboard {vocalsound} .Marketing: {vocalsound} {vocalsound} Wow .{vocalsound}Project Manager: {vocalsound} Um so any of you who want to go .User Interface: Yeah , for favourite animals .Project Manager: {vocalsound}UserInterface: It's gonna be not my favourite one but the one I can draw .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound} And it's gonna be {disfmarker} you'll try to guess .Marketing: Wow . {vocalsound} {vocalsound} Complex .Project Manager: Wow .{vocalsound}Industrial Designer: {vocalsound}Marketing: Huh ? A cat .Project Manager: {vocalsound}Industrial Designer: No . {vocalsound}Project Manager:{vocalsound}User Interface: No . {vocalsound}Industrial Designer: {vocalsound}Marketing: No . Darn . {vocalsound} Uh .Project Manager: A rabbit .UserInterface: Yes , that's a rabbit .Project Manager: {vocalsound} A rabbit .User Interface: That's my favourite one .Marketing: A what ?Industrial Designer: Rabbit.Marketing: A r a rabbit , oh oh yeah , where is the carrot ? {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} That's it .Marketing: Okay{vocalsound} mm-hmm .Project Manager: You want to go ?Industrial Designer: {vocalsound}Marketing: I am not very good at uh {vocalsound} this kind of stuff.User Interface: Hmm . {vocalsound}Industrial Designer: {vocalsound}Marketing: My favourite animal is {disfmarker} {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound} You waMarketing: {vocalsound}User Interface: Wow . {vocalsound}Project Manager: A humanIndustrialDesigner: {vocalsound}Marketing: Guess .Project Manager: {vocalsound} ah .Marketing: {vocalsound} A human , yay . It's a very complex animal{vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: No .Marketing: and um {disfmarker} yeah . Characteristics of thisthis animal is {vocalsound} dangerous . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Mm I think you'resupposed to , yeah .Industrial Designer: Is the white {disfmarker} okay .Project Manager: Hmm .Industrial Designer: I guess you can {disfmarker} {vocalsound}{gap} . {vocalsound}Project Manager: {vocalsound}User Interface: Wow . That's cobra .Marketing: Ah , a kind of uh snake ? Cobra ?Industrial Designer: Yeahuh not really .Marketing: Exactly {vocalsound} . {vocalsound}Industrial Designer: {vocalsound} Small cobra . {vocalsound}Project Manager: {vocalsound}UserInterface: No , it just {disfmarker} small cobra , yeah .Project Manager: {vocalsound} Is that a worm ? Or {vocalsound} {disfmarker} {vocalsound}Marketing:Uh-huh . {vocalsound}User Interface: It's co c quite recognisable . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound} What about you uh {vocalsound}Project Manager: {vocalsound} Uh yeah Christa Pavlov {vocalsound} Mm .Marketing: Christa ? {vocalsound}UserInterface: Christa {vocalsound} Christa .Industrial Designer: Chris . {vocalsound}Marketing: A fish . {vocalsound}Industrial Designer: Mm .User Interface: Hmm.Project Manager: Smiling fish {vocalsound} .Industrial Designer: Smile fish . {vocalsound}User Interface: {vocalsound} Okay .Marketing: A smiling fish .{vocalsound} Mm-hmm .Project Manager: Mm-hmm .Marketing: So , w whiteboard is working ? {vocalsound}Project Manager: Yeah . {vocalsound}UserInterface: {vocalsound}Industrial Designer: Yeah . {vocalsound}Marketing: Good . {vocalsound} Next . {vocalsound}Project Manager: Next . Let's talk aboutmoney .User Interface: Just tr try to guess who is a User Interface Designer .Marketing: {vocalsound} Yeah , well . {vocalsound}Industrial Designer:{vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} According to the drawings .Industrial Designer: {vocalsound} Yeah , you're{disfmarker}Project Manager: {vocalsound}Marketing: Not me . {vocalsound}User Interface: {vocalsound} Okay .Project Manager: {vocalsound} So.Marketing: So . Twenty five Euro for a remote control .Project Manager: Yeah , mm that's the price we want to {disfmarker}Industrial Designer: Hmm .ProjectManager: that's the aim for the price for the remote control .Marketing: Okay .Project Manager: We aim to do {vocalsound} this profit . {vocalsound}IndustrialDesigner: {vocalsound}User Interface: {vocalsound} On the international market .Marketing: {vocalsound} 'tis big number .Project Manager: {vocalsound} Yeah. Mm-hmm .Industrial Designer: Yeah , we're to sell two million then .Project Manager: {vocalsound}User Interface: Wow .Marketing: Mm-hmm .ProjectManager: Mm {vocalsound} for a production cost of mm twelve fifty Euros maximum . {vocalsound} 'Kay {vocalsound} . So any of you have experience inremote controls ? {vocalsound}Industrial Designer: Mm yeah .Marketing: Uh yes , we have plenty at home .Project Manager: {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound} In fact , my daughter likes l {vocalsound} {gap} {vocalsound} remote controls .Industrial Designer: {vocalsound}ProjectManager: {vocalsound} That {disfmarker}User Interface: Mm . To eat ? {vocalsound}Industrial Designer: {vocalsound}Marketing: To eat ? Yeah , mainly , andto break . {vocalsound}Project Manager: {vocalsound} {vocalsound} So that could be a great um {vocalsound} application .Industrial Designer:{vocalsound}Project Manager: Remote controls children proof . Mm mm-hmm .Marketing: Mm-hmm . Yeah .User Interface: Children proof .Marketing:{vocalsound} Ye ye yeah .User Interface: Hmm .Marketing: So she likes uh buttons {vocalsound} which make click ,Project Manager: {vocalsound} Okay.Industrial Designer: Yeah , pretProject Manager: {vocalsound}Marketing: so {vocalsound} it has to click .Project Manager: So they have to be waterproof maybe?Marketing: It has to be uh wha {vocalsound} baby proof {vocalsound}Project Manager: {vocalsound} 'Cause they eat {disfmarker} she ate it .{vocalsound}Industrial Designer: {vocalsound}Marketing: yeah {vocalsound} but mainly it has to be very robustProject Manager: Mm-hmm .Marketing: becauseeven if she's not very tall she's uh {vocalsound} high enough so that uh when she throw it away it's uh {disfmarker}Industrial Designer: Yeah .Project Manager:{vocalsound}Industrial Designer: {vocalsound} Ah .Marketing: So it has to be very robust .User Interface: Okay , unbreakable .Marketing: Unbreakable , yeah.User Interface: Uh-huh .Industrial Designer: Yeah , we have some child lock or something , yeah .Marketing: Mm-hmm .Project Manager: Mm-hmm .Marketing:And uh {vocalsound} it has to be nice looking ,Industrial Designer: Yeah .Marketing: colourful , maybe {disfmarker}Project Manager: Colourful , yeah mm .UserInterface: Colourful ? That's not practical .Marketing: colourful , because uh nobody has colourful remote controlIndustrial Designer: Yeah .Project Manager: No ,that's a good idea .Industrial Designer: Yeah , it's always black or {disfmarker} yeah .Marketing: , they're always black , yeah ,Project Manager: Mm mm-mm.User Interface: No .Marketing: but this one could be I dunno , purple or bProject Manager: Yeah . {vocalsound}User Interface: But how gonna {disfmarker}okay , just uh but it's uh monochrome it's n it's not like {disfmarker}Industrial Designer: Yeah .Marketing: Yeah , yeah .Project Manager: No ,Industrial Designer:Yeah .Project Manager: because you think , why not .User Interface: Otherwise you will never find it .Marketing: One colour .Industrial Designer: Yeah.Marketing: Yeah , yeah .Industrial Designer: Yeah even we can change colours , no ? Like the uhMarketing: Oh like the phones ,Industrial Designer: like thephones and these things we c yeah .Marketing: yeah , it could change colours , yeah .User Interface: Cool .Project Manager: Mm-hmm .Industrial Designer: Atleast for children like one colour and {gap} . {vocalsound}User Interface: ChMarketing: Yeah . {vocalsound}Project Manager: Good idea .Marketing: Good.Industrial Designer: And it should be really {gap} small and {gap} .Project Manager: Small also ? Don't you think {disfmarker}Industrial Designer: Huh not sobig like {disfmarker} yeah .Project Manager: No uh , not too much buttons or {disfmarker} mm .Industrial Designer: Yeah , not too much buttons and{disfmarker}Marketing: {vocalsound} Should it be , y you know these uh remote controls where um they are what they call a universal ret remote controlProjectManager: Mm-hmm .Marketing: so y you can decide that now it's the remote control for the television , then it's the remote control for the the sound system , orfor your refrigeratorIndustrial Designer: Uh . Yeah .Project Manager: {vocalsound} {vocalsound} Yeah ,Industrial Designer: {vocalsound}Marketing:{vocalsound} whatever {vocalsound}Project Manager: that's {disfmarker}Marketing: I dunno if it's {disfmarker}Project Manager: {vocalsound}Marketing: Or ifwe should have a targeted re remote control .Project Manager: Okay .Marketing: {vocalsound} So colour , robustness , easy to use , size ,Project Manager: So , Ithink there's {disfmarker}Marketing: yeah , size matters , yeah . {vocalsound}Industrial Designer: Yeah . Colour , {vocalsound} size , shProject Manager: Soyou you think it's better if small than bigger .Industrial Designer: Yeah , maybe at least n not bigger than this I guess . {vocalsound}Marketing: Mm .UserInterface: Yeah , but without any extremes like n not of this size , not too large . Okay .Marketing: {vocalsound}Project Manager: No , not too small , yeah.Industrial Designer: Yeah yeah , at least it should hold in your hand n properly , like {gap} .Marketing: Yeah .Project Manager: Hmm .User Interface: Yeah , likea palm sized .Industrial Designer: Yeah . {vocalsound}User Interface: Just to hold it .Marketing: Mm .Project Manager: Okay .Marketing: But uh what would bedifferent from this , from the others ? I dunno if {vocalsound} {disfmarker}Industrial Designer: Uh maybe we can change the colours that {disfmarker} at leastthe frame . Mm . S so then it depends {disfmarker}Marketing: Yeah , at least the colour would be different .Industrial Designer: you are to {disfmarker}Project"}
+{"doc_id":"doc_30","qid":"","text":"User Interface: Okay .Industrial Designer: Okay , almost there .Project Manager: Okay . We'll sta I'll use the PowerPoint , I guess . How was that , was that fun?User Interface: Mm . Very fun .Industrial Designer: Yeah , yeah .Project Manager: {vocalsound} Okay . Uh oh I've forgotten to mail you the minutes , but I willdo .Industrial Designer: Okay .Marketing: Hmm .Project Manager: {vocalsound} Upsidaisy . {vocalsound} Um {vocalsound} {vocalsound} Um we{disfmarker}Marketing: E excuse me I forgot myProject Manager: Yeah .Marketing: copy . {gap}Project Manager: Alright , okay , yeah .Industrial Designer:{vocalsound}Project Manager: He's gonna get his pen .User Interface: Oh right . Okay .Project Manager: Um {vocalsound} Will you guys first with your prototypeum before we get to the good news ?Industrial Designer: Yeah , there's good news ?Project Manager: Uh {vocalsound} {vocalsound}Industrial Designer: Oh.User Interface: Mm .Project Manager: we have budget problems .Industrial Designer: Oh . Cutbacks .Project Manager: I'm afraid you're all sacked . Oops.Industrial Designer: {vocalsound}Project Manager: I don't even have this on . {vocalsound}Industrial Designer: Hmm .Project Manager: {vocalsound}{vocalsound} Okay , have you got a presentation to make ?Industrial Designer: Okay .Marketing: No , not mine yet .Project Manager: No . OkayIndustrialDesigner: Oh .Project Manager: so it's just your your show .Industrial Designer: Um maybe we should bring {gap} so that the camera can see {gap} . Yeah.Project Manager: {vocalsound}User Interface: Okay . Sure .Industrial Designer: Okay .Project Manager: {vocalsound}User Interface: We made three for you.Project Manager: Three ? Oh .User Interface: Um one's based on the banana , one's based on the tomatoProject Manager: Tomato ? What tomato ?{vocalsound}User Interface: and the other one is stMarketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: I don't recall a tomato .{vocalsound}User Interface: Look . Oh yeah , well yeah , we had v some red left over .Project Manager: Ah I see , okay . {vocalsound}User Interface: So . Okay, so this is the um non to non uh no buttons one , or as mm few buttons as possible ,Project Manager: Mm-hmm .User Interface: mainly speak recognition . Theyellow there is the umProject Manager: Logo .User Interface: the slogan , yeah ,Project Manager: Okay , brilliant .User Interface: that we need to incorporate ,it's very simple . If you do need buttons , you can flip it over , and there's some there ,Project Manager: Okay .User Interface: um but mainly it's speechrecognition .Project Manager: Okay , so the buttons would be like , you know individual users , or {disfmarker}User Interface: Yeah .Project Manager: Yeah .UserInterface: Yeah and {vocalsound} yeah they might project things onto the screen which you can do on there .Project Manager: Alright , okay .User Interface: MmI'm not sure about that . Um and this one is the one w more like the one w that we looked at earlier .Project Manager: Right .User Interface: {vocalsound} Yeah ,you guys can have a look at that if you want .Project Manager: That's groovy . {vocalsound}Industrial Designer: {gap}Marketing: Yeah . {vocalsound} Uh can Ihave {gap}Project Manager: {vocalsound} Well I like the feel of it , I like the feel of it .User Interface: Yeah , sure . Um that one is {disfmarker}Marketing: Ohsorry s {vocalsound}User Interface: Oh no , it's delicate .Project Manager: At Oh dear .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface:That's that's already got its stand that one . That's it stand .Project Manager: Alright , okay .User Interface: It does also lie flat , but that's the that yellow standthere represents the the charging stand .Project Manager: Okay , brilliant mm .User Interface: Um the black on the back is the slogan .Project Manager: Okay ,nice and obvious there {vocalsound} ,User Interface: Uh yeah , that {gap} {disfmarker}Marketing: {vocalsound}User Interface: Well , we did think of that.Project Manager: if it's standing up , I guess , yeah .User Interface: Yeah , if it's standing up it's it's on there , but also we're gonna have the company name onthe front , which is the little black kind of line in the middle .Project Manager: Oh right , okay , brilliant . Like that from its centre .User Interface: So um andthat's the um transmit the L_E_D_ thing . These are the s two scroll ones which we thought could be channel up and down and volume up and down . We n wereweren't sure about putting them there , because um i it's it kind of could get bashed .Project Manager: Where you're , yeah , uh were you're holding it kind of{disfmarker}User Interface: Yeah . Well , if you hold it , you can {disfmarker} you all can hold it , is {disfmarker} it does actually feel quite ergonomic ,ProjectManager: Mm-hmm .User Interface: if you've got small hands .Project Manager: Yeah . {vocalsound}Industrial Designer: Mm .Marketing: {vocalsound}ProjectManager: Okay .User Interface: {vocalsound} Um , obviously I don't think that's real sized {gap} .Project Manager: Yeah , okay .User Interface: It would have tobe a bit bigger .Project Manager: Yeah , scale model , yeah .User Interface: Okay . Um that's a speaker at the top , so you can speak into it like a littlewalkie-talkie as well for speak recognition .Project Manager: Mm-hmm .User Interface: Um and {vocalsound} um then the buttons . Yeah kind of self-explanatory, just buttons whenever you need them . Tried to keep it simple . Oh that's the charging base prongs at the bottom .Project Manager: {vocalsound} Alright ,excellent .User Interface: {vocalsound} We used those {gap} . And um then the big red button in the middle is the on and off one .Project Manager: Okay .UserInterface: It's not in the traditional place ,Project Manager: No .User Interface: but um it's quite an obvious place .Project Manager: It's out of the way as well , Isuppose , so . Excellent .User Interface: So {vocalsound} there we go and and um we have the banana-based one too .Industrial Designer: Oh yeah , yeah.Project Manager: Yep . {vocalsound}Industrial Designer: This one is uh , I suppose for the younger audiences .User Interface: {vocalsound}Industrial Designer:A a more friendly type of {disfmarker}Project Manager: Okay , {vocalsound} so so Barney the banana {gap} .Industrial Designer: Right , right . It's to uh inducemore television watching I suppose or {disfmarker}Project Manager: Ah excellent , just what we need .Industrial Designer: Yeah .User Interface: Yeah .IndustrialDesigner: Say it for the camera .Project Manager: {vocalsound} Lo Sort of Loch Ness banana . {vocalsound}User Interface: {vocalsound}Marketing: Mm-hmm.User Interface: Mm-hmm .Industrial Designer: Right , right .Project Manager: Cool {gap} yeah . Well , nice to have uh options at least .Industrial Designer: Yep. {vocalsound}User Interface: Yeah .Project Manager: 'Kay and {disfmarker}User Interface: {vocalsound} So are there any um improvements or issues or{disfmarker} {vocalsound}Industrial Designer: It won't stand .Project Manager: Oh there are issues , oh there are issues .Industrial Designer: {vocalsound} Justlet it lie down , it wont stand . {vocalsound}User Interface: {vocalsound}Project Manager: Um main problem that we have unfortunately being finance .IndustrialDesigner: {vocalsound}User Interface: Oh .Project Manager: Uh , let's just enter in the um evaluation criteria .Industrial Designer: {vocalsound}ProjectManager: Um {vocalsound} unfortunately the unit we are currently going to produce minus the extra scroll buttons , uh it's gonna cost us fourteen point six Euros.Marketing: Mm .User Interface: Oh .Project Manager: So we have toIndustrial Designer: What's on the uh on the left ? {gap}Project Manager: rea Sorry , I'veaccidentally highlighted somehow {disfmarker} Um . {vocalsound} There we go .Industrial Designer: Okay .Project Manager: Oh god , why is it doing that ?UserInterface: Ooh .Project Manager: There we go . {vocalsound} So basically , um in order to save our two Euros um I was thinking that we could have essentiallythe same shape , but just have it flattened .User Interface: Mm-hmm .Project Manager: Um .User Interface: More like a traditional remote control .ProjectManager: Yeah , I mean it's already got a kind of cool shape , so but it wouldn't have to be curved sort of in and out .User Interface: Mm-hmm . Mm-hmm.Project Manager: And by doing so {disfmarker} Oh no , hold on . Doesn't save us quite as much . I don't know what's going on with this again .IndustrialDesigner: W why is the uh double curved two of them ?Project Manager: Oh , good point .Marketing: And double curve on both sides ?Project Manager: Um.Marketing: Curve {vocalsound} . Yeah , this is double-curve ,Project Manager: That's {vocalsound} sort of curve in and out .Marketing: no ?Industrial Designer:Is iMarketing: This is double-curve . It {disfmarker} This one is single curve .Industrial Designer: Mm .Marketing: 'Cause this is single curve , this is curved onboth sides . So double-curve .Project Manager: No , I think it means double curved as in umUser Interface: Like an S_ shape .Project Manager: like uh {gap} asingle curve on that bottom half , and the double curved would be if it was that similar curve upward .User Interface: Okay .Project Manager: Okay , I might bewrong though .Marketing: Like this , one curve on this side , one curve on that side .Project Manager: I don't think that counts as a curve , I think that's just ashape .Marketing: Hmm . Hmm .Industrial Designer: {vocalsound}Project Manager: A curvature is like the {disfmarker} this case .User Interface: Okay.Marketing: Maybe .Industrial Designer: {vocalsound} 'Cause that's the uh the biggest expense there , right .User Interface: Okay .Industrial Designer: {gap}got two of them {disfmarker}Project Manager: Yeah , and why why I've got it two , I don't know , I can't seem to select any more however .Industrial Designer:Okay . Well we can work around that um {disfmarker} {vocalsound}Project Manager: {vocalsound}User Interface: Mm-hmm .Project Manager: Right . No.Industrial Designer: {vocalsound} Cut things out . But you think it should be one .Project Manager: It's meant to be one , yeah , I don't know why I put two inthere ,Industrial Designer: Okay .Project Manager: but um {disfmarker} Hold on till I find it , I think this shift button might be stuck again . No maybe the shiftbutton's stuck in .Industrial Designer: Yeah .Marketing: Mm .Project Manager: {vocalsound} Um okay , so that would take away three , which would give us{disfmarker}Marketing: Should {disfmarker}Industrial Designer: {vocalsound}Project Manager: Oh that's fine .Industrial Designer: Yeah , so we're {disfmarker}{vocalsound}Project Manager: Eleven uh eleven Euros sixty .User Interface: Cool . Cool .Project Manager: Um {vocalsound}User Interface: So we could even addsomething .Project Manager: We cou Oh not quite , have the scroll-wheel , unfortunately .Industrial Designer: We should fire the accountants .Project Manager:What ?Industrial Designer: Fire the accountants . {vocalsound}Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound}Industrial Designer: Ahyeah , we could add things .Project Manager: {vocalsound}Industrial Designer: Maybe if you click back in that bottom right cell , where you're starting from , and"}
+{"doc_id":"doc_31","qid":"","text":"Professor A: We 're going ? OK . Sh - Close your door on {disfmarker} door on the way out ?Grad B: OK . Thanks .Professor A: Thanks .Grad B: Oh .Professor A:Yeah . Probably wanna get this other door , too . OK . So . Um . {vocalsound} {vocalsound} What are we talking about today ?PhD E: Uh , well , first there areperhaps these uh Meeting Recorder digits that we tested .Professor A: Oh , yeah . That was kind of uh interesting .PhD E: So .Professor A: The {disfmarker} boththe uh {disfmarker} {vocalsound} the SRI System and the othPhD E: Um .Professor A: And for one thing that {disfmarker} that sure shows the {vocalsound}difference between having a lot of uh training data {vocalsound} or not ,PhD E: Of data ? Yeah .Professor A: uh , the uh {disfmarker} {vocalsound} The best kindof number we have on the English uh {disfmarker} on near microphone only is {disfmarker} is uh three or four percent .PhD E: Mm - hmm .Professor A: And uhit 's significantly better than that , using fairly simple front - ends {vocalsound} on {disfmarker} {vocalsound} on the uh {disfmarker} {vocalsound} uh , withthe SRI system .PhD E: Mm - hmm .Professor A: So I th I think that the uh {disfmarker} But that 's {disfmarker} that 's using uh a {disfmarker} a pretty hugeamount of data , mostly not digits , of course , but {disfmarker} but then again {disfmarker} Well , yeah . In fact , mostly not digits for the actual training the HM Ms whereas uh in this case we 're just using digits for training the H MPhD E: Yeah . Right .Professor A: Did anybody mention about whether the {disfmarker}the SRI system is a {disfmarker} {vocalsound} is {disfmarker} is doing the digits um the wor as a word model or as uh a sub s sub - phone states ?PhD E: Iguess it 's {disfmarker} it 's uh allophone models ,Professor A: Yeah . Probably .PhD E: so , well {disfmarker}Professor A: Huh ?PhD E: Yeah . I think so ,because it 's their very d huge , their huge system .Professor A: Yeah .PhD E: And . But . So . There is one difference {disfmarker} Well , the SRI system{disfmarker} the result for the SRI system that are represented here are with adaptation . So there is {disfmarker} It 's their complete system and {disfmarker}including on - line uh unsupervised adaptation .Professor A: That 's true .PhD E: And if you don't use adaptation , the error rate is around fifty percent worse , Ithink , if I remember .Professor A: OK .PhD E: Yeah .Professor A: It 's tha it 's that much , huh ?PhD E: Nnn . It 's {disfmarker} Yeah . It 's quite significant.Professor A: Oh . OK .PhD E: Yeah .Professor A: Still .PhD E: Mm - hmm .Professor A: But {disfmarker} but uh what {disfmarker} what I think I 'd be interestedto do given that , is that we {disfmarker} we should uh {vocalsound} take {disfmarker} I guess that somebody 's gonna do this , right ? {disfmarker} is to takesome of these tandem things and feed it into the SRI system , right ?PhD E: Yeah .Professor A: Yeah .PhD E: We can do something like that .Professor A: Yeah .Because {disfmarker}PhD E: Yeah . But {disfmarker} But I guess the main point is the data because uh {vocalsound} I am not sure . Our back - end is{disfmarker} is fairly simple but until now , well , the attempts to improve it or {disfmarker} have fail Ah , well , I mean uh what Chuck tried to {disfmarker} to{disfmarker} to doProfessor A: Yeah , but he 's doing it with the same data , right ? I mean so to {disfmarker} {vocalsound} So there 's {disfmarker} there 's{disfmarker} there 's two things being affected .PhD E: Yeah . So it 's {disfmarker} Yeah .Professor A: I mean . One is that {disfmarker} that , you know , there's something simple that 's wrong with the back - end . We 've been playing a number of statesPhD E: Mm - hmm .Professor A: uh I {disfmarker} I don't know ifhe got to the point of playing with the uh number of Gaussians yetPhD E: Mm - hmm .Professor A: but {disfmarker} but uh , uh , you know . But , yeah , so farhe hadn't gotten any big improvement ,PhD E: Mm - hmm .Professor A: but that 's all with the same amount of data which is pretty small .PhD E: Yeah .ProfessorA: And um .PhD E: Mmm . So , yeah , we could retrain some of these tandem on {disfmarker} on huge {disfmarker}Professor A: Well , you could do that , but I'm saying even with it not {disfmarker} with that part not retrained , just {disfmarker} just using {disfmarker} having the H M Ms {disfmarker} much better HMPhD E: Ah , yeah . Just {disfmarker} f for the HMM models .Professor A: Yeah .PhD E: Yeah . Mm - hmm . Mm - hmm .Professor A: Um . {vocalsound} But justtrain those H M Ms using different features , the features coming from our Aurora stuff .PhD E: Yeah .Professor A: So .PhD E: Yeah . But {vocalsound} what wouldbe interesting to see also is what {disfmarker} what {disfmarker} perhaps it 's not related , the amount of data but the um recording conditions . I don't know .Because {vocalsound} it 's probably not a problem of noise , because our features are supposed to be robust to noise .Professor A: Well , yeah .PhD E: It 's not aproblem of channel , because there is um {vocalsound} {vocalsound} normalization with respect to the channel . So {disfmarker}Professor A: I {disfmarker} I{disfmarker} I 'm sorry . What {disfmarker} what is the problem that you 're trying to explain ?PhD E: The {disfmarker} the fact that {disfmarker} the resultwith the tandem and Aurora system are {vocalsound} uh so much worse .Professor A: That the {disfmarker} Oh . So much worse ? Oh .PhD E: Yeah .ProfessorA: I uh but I 'm {disfmarker} I 'm almost certain that it {disfmarker} it {disfmarker} {vocalsound} I mean , that it has to do with the um amount of training data.PhD E: It {disfmarker}Professor A: It {disfmarker} it 's {disfmarker} it 's orders of magnitude off .PhD E: Yeah but {disfmarker} Yeah . Yeah but we train onlyon digits and it 's {disfmarker} it 's a digit task , so . Well .Professor A: But {disfmarker} but having a huge {disfmarker} If {disfmarker} {vocalsound} if youlook at what commercial places do , they use a huge amount of data .PhD E: It {disfmarker} Mm - hmm .Professor A: This is a modest amount of data .PhD E:Alright . Yeah .Professor A: So . {vocalsound} I mean , ordinarily you would say \" well , given that you have enough occurrences of the digits , you can just trainwith digits rather than with , you know \" {disfmarker}PhD E: Mm - hmm . Mm - hmm .Professor A: But the thing is , if you have a huge {disfmarker} in otherwords , do word models {disfmarker} But if you have a huge amount of data then you 're going to have many occurrences of similar uh allophones .PhD E: Right .Mmm .Professor A: And that 's just a huge amount of training for it .PhD E: Yeah .Professor A: So it 's {vocalsound} um {disfmarker} {vocalsound} I{disfmarker} I think it has to be that , because , as you say , this is , you know , this is near - microphone ,PhD E: Mm - hmm .Professor A: it 's really prettyclean data .PhD E: Mm - hmm .Professor A: Um . Now , some of it could be the fact that uh {disfmarker} let 's see , in the {disfmarker} in these multi - trainthings did we include noisy data in the training ?PhD E: Yeah .Professor A: I mean , that could be hurting us actually , for the clean case .PhD E: Yeah . Well ,actually we see that the clean train for the Aurora proposals are {disfmarker} are better than the multi - train ,Professor A: It is if {disfmarker} Yeah .PhD E:yeah .Professor A: Yeah . Cuz this is clean data , and so that 's not too surprising .PhD E: Mm - hmm .Professor A: But um . Uh . So .PhD E: Well , o I guess whatI meant is that well , let 's say if we {disfmarker} if we add enough data to train on the um on the Meeting Recorder digits , I guess we could have better resultsthan this .Professor A: Uh - huh . Mm - hmm .PhD E: And . What I meant is that perhaps we can learn something uh from this , what 's {disfmarker} what 'swrong uh what {disfmarker} what is different between TI - digits and these digits and {disfmarker}Professor A: What kind of numbers are we getting on TI -digits ?PhD E: It 's point eight percent , so .Professor A: Oh . I see .PhD E: Four - Fourier .Professor A: So in the actual TI - digits database we 're getting pointeight percent ,PhD E: Yeah . Yeah .Professor A: and here we 're getting three or four {disfmarker} three , let 's see , three for this ?PhD E: Mm - hmm .ProfessorA: Yeah . Sure , but I mean , um point eight percent is something like double uh or triple what people have gotten who 've worked very hard at doing that .PhD E:Mm - hmm .Professor A: And {disfmarker} and also , as you point out , there 's adaptation in these numbers also . So if you , you know , put the ad adap takethe adaptation off , then it {disfmarker} for the English - Near you get something like two percent .PhD E: Mmm .Professor A: And here you had , you know ,something like three point four . And I could easily see that difference coming from this huge amount of data that it was trained on .PhD E: Mm - hmm .ProfessorA: So it 's {disfmarker}PhD E: Mm - hmm .Professor A: You know , I don't think there 's anything magical here .PhD E: Yeah .Professor A: It 's , you know , weused a simple HTK system with a modest amount of data . And this is a {disfmarker} a , you know , modern {vocalsound} uh system uh has {disfmarker} has alot of nice points to it .PhD E: Yeah . Mm - hmm .Professor A: Um . So . I mean , the HTK is an older HTK , even . So . Yeah it {disfmarker} it 's not thatsurprising .PhD E: Mm - hmm .Professor A: But to me it just {disfmarker} it just meant a practical {vocalsound} point that um if we want to {vocalsound}publish results on digits that {disfmarker} that people pay {vocalsound} attention to we probably should uh {disfmarker} Cuz we 've had the problem before thatyou get {disfmarker} show some {vocalsound} nice improvement on something that 's {disfmarker} that 's uh , uh {disfmarker} it seems like too large anumber , and uh {vocalsound} uh people don't necessarily take it so seriously .PhD E: Mm - hmm .Professor A: Um . Yeah . Yeah . So the three point four percentfor this uh is {disfmarker} is uh {disfmarker} So why is it {disfmarker} It 's an interesting question though , still . Why is {disfmarker} why is it three point fourpercent for the d the digits recorded in this environment as opposed to {vocalsound} the uh point eight percent for {disfmarker} for {disfmarker} for the originalTI - digits database ? Um .PhD E: Yeah . th that 's {disfmarker} th that 's my pointProfessor A: Given {disfmarker} given the same {disfmarker} Yeah . So ignore{disfmarker} ignoring the {disfmarker} the {disfmarker} the SRI system for a moment ,PhD E: I {disfmarker} I {disfmarker} I don't I {disfmarker} Mm - hmm.Professor A: just looking at {vocalsound} the TI - di the uh tandem system , if we 're getting point eight percent , which , yes , it 's high . It 's , you know , it{disfmarker} it 's not awfully high ,PhD E: Mm - hmm .Professor A: but it 's , you know {disfmarker} it 's {disfmarker} it 's high . Um . {vocalsound} Why is it{vocalsound} uh four times as high , or more ?PhD E: Yeah , I guess .Professor A: Right ? I mean , there 's {disfmarker} {vocalsound} even though it 's close -miked there 's still {disfmarker} there really is background noise .PhD E: Mm - hmm .Professor A: Um . And {vocalsound} uh I suspect when the TI - digits wererecorded if somebody fumbled or said something wrong or something that they probably made them take it over .PhD E: Mm - hmm .Professor A: It was not"}
+{"doc_id":"doc_32","qid":"","text":"User Interface: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Mm uh .Marketing: {vocalsound} {gap} We're the first .User Interface: Mm .We're the first ones . {vocalsound}Marketing: Marketing Expert , yes .Project Manager: Mm .Marketing: {vocalsound}Project Manager: So you found your spots.Marketing: Yes .User Interface: {vocalsound} Move to the meeting room . {vocalsound}Marketing: Bling bling . {vocalsound} Yeah .User Interface: Okay.Marketing: Right . {vocalsound}Project Manager: Okay .Marketing: Uh {vocalsound} where has my screen gone ?Industrial Designer: Hi .User Interface: Hello ,good day . {vocalsound}Marketing: {vocalsound}Industrial Designer: Oh yeah , we have to talk in English ,Marketing: Hmm .Industrial Designer: huh .UserInterface: Yep .Marketing: Yeah . My screen is gone .Project Manager: It's called black . {vocalsound}Marketing: {vocalsound} Oh .User Interface: Kick-offmeeting , wow . It's uh looks uh nice .Industrial Designer: I'm afraid I'm a bit slow for this stuff uh .Project Manager: {vocalsound} Okay .User Interface: Hmm?Marketing: {vocalsound}Industrial Designer: I'm afraid I'm a bit too slow . {vocalsound} I don't know how much preparation you guys did ,User Interface: Yeah.Industrial Designer: but not a lot .Marketing: Yeah .User Interface: No , it's {disfmarker} it was uh not enough .Project Manager: You see this beautifulpresentation .Marketing: Yeah . Very nice .Project Manager: Okay let's get started .Marketing: Yeah .Project Manager: Uh I sort of prepared this .User Interface:{vocalsound}Project Manager: Uh opening acquaintance , tool training , uh how to use the things here . Uh project plan discussion , and yeah then the rest of themeeting .Marketing: Mm .Industrial Designer: Mm-hmm .Project Manager: Um we're supposed to develop a new remote control , that's both original , trendy anduser-friendly . So ,Marketing: {vocalsound} {vocalsound}Project Manager: hope you have good ideas . I don't . {vocalsound}User Interface: {vocalsound} I didmy best .Project Manager: Um we're work we're working uh from top to bottom . Uh functional design ,Industrial Designer: Not yet .Project Manager: then we dosome in individual work , then we have a meeting to discuss the results , etcetera etcetera . And at the end of the day we should have a prototype drawn up . Uhwe have available the smart board and the whiteboard . Um uh we should take some practice . I have some instructions now to do that .Marketing: Yeah .ProjectManager: Uh well you know how to {disfmarker} the documents work . So {disfmarker} Uh this for toolbar . You see it next . Um we have a pen . And we can usethis pen to perform . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Yes .Industrial Designer: Operations .Project Manager:So {disfmarker}User Interface: {vocalsound}Project Manager: It doesn't always work . Yes .Marketing: Yeah .Project Manager: Okay so you can draw.Marketing: Draw . Alright .Project Manager: Okay and in the format menu you can select colour and line width , etcetera etcetera . Okay ?Marketing: 'Kay.Project Manager: Uh {disfmarker} Okay . Each of you can uh take some practice and you should draw an animal . Uh you should explain {disfmarker} Uh withdifferent colours and with different pen widths .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: And you should explain why youdraw that particular animal .User Interface: {vocalsound} Okay .Marketing: {vocalsound} Don't take up too much space . {vocalsound}Project Manager: So ,Julian .User Interface: Um yeah .Industrial Designer: Different pen widths , how do you do that ?User Interface: {vocalsound}Project Manager: Uh with theformat menu .Industrial Designer: Oh okay .Project Manager: And use different colours etcetera .User Interface: {vocalsound} It's a giraffe . Yeah .ProjectManager: And {vocalsound} what's that supposed to be ? {vocalsound}Industrial Designer: Are you serious ?Marketing: {vocalsound} Should it be one{disfmarker}Project Manager: Oh yeah . {vocalsound} Oh yeahUser Interface: {vocalsound} Okay .Project Manager: four legs . Uh-huh .{vocalsound}Marketing: Giraffe's yellow . {vocalsound}User Interface: Uh it needs some uh some yellow uh {disfmarker} Oh format .Marketing: Can you useone blank sheet per drawing ? OrProject Manager: Yeah .Marketing: so y you must save it at the endProject Manager: YeahMarketing: and then{disfmarker}Project Manager: you can press the next button , which is uh {disfmarker} yeah . I'll show you .User Interface: That's some spots .IndustrialDesigner: I in the file option menu .Project Manager: Yeah . In file menu .Marketing: Okay ,User Interface: No .Marketing: then m make a new one .UserInterface: {vocalsound}Industrial Designer: How much time do we have to draw anyway ? {vocalsound}Project Manager: {vocalsound} Yeah .User Interface:{vocalsound}Industrial Designer: 'Cause I can take forever on this .Project Manager: {gap}User Interface: Okay . Do I have to explain uh why I chose this uhthis animal ?Project Manager: Yeah . {vocalsound}User Interface: I think it's a it's a great animal .Project Manager: What is it ? {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} It's a it's a giraffe .Project Manager: A giraffe okay . Yeah I see a long neckUser Interface:Yeah , that's a {disfmarker}Project Manager: but {disfmarker} {vocalsound}Marketing: It's more like a dinosaur . {vocalsound}User Interface: {vocalsound} Um{disfmarker} Okay I'll will give it an uh an eye .Project Manager: Okay . That's nice of you .Marketing: {vocalsound} Uh .User Interface: Hey . Come on.Marketing: Some leaf to eat . {vocalsound}User Interface: {gap} {vocalsound}Project Manager: Okay . Yeah pretty good . Uh could you press the next uh{disfmarker}User Interface: The next ? Yes .Project Manager: Okay . Then uh {disfmarker} {gap} .User Interface: Here you go . {vocalsound}Marketing: Yeah .Thanks .User Interface: Hmm .Marketing: Yeah .User Interface: {vocalsound}Industrial Designer: Is this part of our a acquai or introduction to each other?Project Manager: Yeah sorry , introduction and get acquaintedMarketing: {vocalsound} Uh {disfmarker}Project Manager: and {disfmarker}Industrial Designer:Alright .Project Manager: That's the idea , so {disfmarker}Industrial Designer: Uh . Your line broke .Marketing: {vocalsound} Yeah . Alright .User Interface:{vocalsound}Project Manager: Yeah it's a bit slow ,Marketing: It's not that fast .Project Manager: so {disfmarker}Marketing: Yeah .Project Manager: Yeah .{vocalsound}Marketing: {vocalsound} I see . It misses the spot .Project Manager: {gap} pressure .Industrial Designer: I'm guessing a turtle . No . {vocalsound}I'm kidding .Marketing: {vocalsound} I say good guess . Uh {disfmarker}Project Manager: Why a turtle ?Industrial Designer: Because of its shell .Marketing:Because it's slow . {vocalsound}Project Manager: {vocalsound} It's slow .User Interface: 'Cause it's soProject Manager: You were slow tooUser Interface: 'causeit's green . {vocalsound}Project Manager: so {disfmarker}Marketing: Yeah I was a bit slow too .Industrial Designer: Dude you're a good drawer .Marketing: So{disfmarker} {vocalsound} Uh some other line uh width uh {disfmarker}Industrial Designer: Do you have a turtle pet ?Project Manager: {vocalsound}UserInterface: {vocalsound}Marketing: {vocalsound} No . {vocalsound}Industrial Designer: Uh okay .Marketing: I dunno . {vocalsound} Does it have legs ?{vocalsound}Industrial Designer: Yeah yeah yeah .Project Manager: Yeah sure .Marketing: Yeah ?Project Manager: Yeah not exactly legs but {disfmarker} Morelike finsMarketing: {vocalsound}Industrial Designer: Stumpy stuff .Project Manager: or {disfmarker}Marketing: It's more like a tank . Yeah that's finsIndustrialDesigner: They kind of l look like mole legs . With sharp nails on .Marketing: but I don't know where . {vocalsound}Project Manager: Yeah .Marketing: Somespots . Ah some eye .Project Manager: {vocalsound} YeahMarketing: {vocalsound}Project Manager: it's l looks very friendly . {vocalsound}Marketing: Yeahthat's a fr {vocalsound} friendly turtle I guess .Industrial Designer: {vocalsound}Marketing: Yeah well I think it's uh fair enough .Project Manager: Yeah okay.Industrial Designer: A little tail maybe .Project Manager: {vocalsound} {gap} {vocalsound}User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: Right . {vocalsound} I don't know what the position is . {vocalsound} Does it have ears ?Industrial Designer: Uh no .Project Manager:No .User Interface: No .Marketing: No . Oh okay .Industrial Designer: The little holes maybe .Marketing: Can you erase earsProject Manager: Yeah yeah yeah.User Interface: {vocalsound}Marketing: or {disfmarker}Project Manager: There's a a gum ,Marketing: Yeah ? Alright .Project Manager: gum to {gap}.Marketing: Eraser .Industrial Designer: And why did you choose this animal ?Marketing: So {disfmarker}Project Manager: He said it was slow .Marketing: Idunno . I it just came into my mind . So there's no particular reasonIndustrial Designer: Alright .Marketing: I {gap} pen .Project Manager: {vocalsound} I like it .{vocalsound}Marketing: Yeah . Well I'm {disfmarker} guess I'm done .Project Manager: Okay . {gap}Marketing: That's my turtle .Project Manager: Your turnNiels .Industrial Designer: Alright .Marketing: How to select the next or {disfmarker}Project Manager: The nextMarketing: here .Project Manager: yeah .IndustrialDesigner: {gap} Colours were under formatMarketing: {vocalsound} Yeah .Project Manager: Makes new paper .Marketing: Here you go .Project Manager: Yeah.Industrial Designer: right ? Let's see .Project Manager: Orange .Industrial Designer: How am I gonna do this ? Um {disfmarker} Mm uh .User Interface: A rabbitI think .Project Manager: Kangaroo .User Interface: Kangaroo . {vocalsound}Industrial Designer: {vocalsound} Not quite actually .User Interface: Fox.Marketing: A fox yeah .Project Manager: Dog .Marketing: Firefox .User Interface: {vocalsound}Industrial Designer: No .Project Manager: Cat .IndustrialDesigner: Aye . {vocalsound} It's a cat .Project Manager: It's a cat .User Interface: Mm .Industrial Designer: Not quite yet through .Marketing: A cat who had anaccident or {disfmarker} {vocalsound}Project Manager: Why a cat ?Industrial Designer: Uh yeah I dunno . They're my favourite pets .Project Manager: You havesome uh ?Industrial Designer: Uh I have colour already . Yeah I'm not so good at drawing with this kind ofProject Manager: {vocalsound} The pen ,IndustrialDesigner: st Oh shit . Um {disfmarker}Project Manager: yeah .Industrial Designer: Excuse my language .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Sure . {vocalsound}Industrial Designer: I don't know how to draw its face . But you get the idea .Project Manager: Yeah .{vocalsound} Alright .Industrial Designer: It's a cat . It's my favourite uh pet animal , 'cause they're cute , they're independent and cuddly , I dunno .{vocalsound}Project Manager: Okay .Industrial Designer: That's it .Project Manager: Yeah .Industrial Designer: Or do I need to use more colours and"}
+{"doc_id":"doc_33","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies, although DawnBowden is running late. I'll take this opportunity to welcome Dawn formally to the committee but also to place on record our thanks to John Griffiths for hisservice to the committee. Are there any declarations of interest, please? No. Okay. Item 2, then, this morning is a scrutiny session with a focus on higher andfurther education. I'm very pleased to welcome Kirsty Williams, Cabinet Secretary for Education, Eluned Morgan, Minister for Welsh Language and LifelongLearning, and Huw Morris, who is the group director of skills, higher education and lifelong learning. Thank you all for your attendance this morning. If you'reokay with it, we'll go straight into questions. The first questions are from Suzy Davies.Suzy Davies AM: Thank you, Chair. If we can just start with teacher trainingand teacher training for secondary school teachers in particular, obviously there's been what looks like a trend in recent years in filling the places for secondaryschool training. Obviously, this is at Welsh teacher training centres. Do you think there's still a problem recruiting teachers into the 300 priority places, or is therea trend where things are getting better?Kirsty Williams AM: Thank you, Suzy. I think, for this year's intake, although we're in touch with our providers, we're notin a position to be able to give figures for this year's intake for a couple of months. But what we have seen over recent years is that we are only recruiting toabout 65 per cent of those targets. So, there is still a job of work to do to understand and to respond to those needs. So, what we're doing is first of all makingsure that our ITE provision is world class, so that, actually, Welsh centres are the place to go to train to be a teacher. You'll be aware that we've recently beenthrough an accreditation process for new ITE provision that will start in the next academic year. We have looked at financial incentives. It's not the whole answer,I think, to these issues, but it's part of a mixture of things that we need to do. You'll be aware that, for priority subjects, with graduates with the very highestlevels of qualifications, those financial incentives are now £20,000 a year. We're also embarking on our first ever national ITE recruitment marketing exercise. Wehave initially done some work in the last year specifically targeting Welsh students in studying for priority subject degrees, e-mailing them, sending themmaterials to ask them to consider (1) becoming a teacher, and (2) crucially coming to do that training here in Wales. We are now part of a full nationalprogramme of ITE recruitment, giving people that idea that you can serve your nation and your community by training to be a teacher. So, there's a wholepackage of things we need to do. In January of this year I set up an advisory board on the recruitment and retention of teaching staff, and we are awaiting somereports from that advisory group on what they feel that we should do next.Suzy Davies AM: Thank you for that answer. I can see there's a lot of activity, but whatexactly is it responding to? Presumably, some research has been done about why people don't want to become teachers so that the answers you come up withare appropriate answers. I can't believe it's just about ITE, although this is very valuable, what you're talking about. Is there something that's running throughour younger learners at the moment that makes them think that teaching isn't a profession they want to go into? Is that something that's happening just in Walesor is it happening elsewhere as well?Kirsty Williams AM: No. I think what you will find is that this isn't a uniquely Welsh issue. I think they are suffering quiteacute problems across the border, which proves to me that money isn't necessarily the entire answer, because, despite higher financial incentives to join ITEcourses, they're not able to do that in England either. So, that proves to me—what the research does show—that it's not money alone that will get people ontothese courses. Interestingly, I don't even think it's a UK problem. Recently, as you'll be aware via my written statement, I attended the AtlanticRim Collaboratory, which is a system-to-system conference. If you talk to education systems in different parts of the world, the one common factor that we are allgrappling with is teacher recruitment and retention. In the USA, they have seen a 40 per cent drop in the number of students training to be teachers. So, in theCalifornian system, significant teacher shortages, and in Oregon, Washington. I met with New York state—significant teacher recruitment and retention problemsin New York state, and in Finland, Australia. So, this is a common issue across the globe, really. That's why we set up the advisory group under the chairmanshipof Professor John Gardner—it's to understand what the issues are exactly that are preventing people or putting people off. One of the things that we have gotstrong performance in, and I think this is perhaps something that we're trying to follow up on, are employment-based routes into qualified teacher status—so,those are people who are training on the job. Those remain strong. There's high demand for those places, so much so that we've increased those places to 90 lastyear and 90 again this year, which says to me that—there's definitely a place for the traditional, 'Take a year off, do a postgraduate certificate in education in auniversity for a year'—actually, that type of course suits some students but it might be preventing other people from pursuing a qualification in teaching, which iswhy, of course, from next year, we will have our unique part-time PGCE route into qualification. So, that allows people to perhaps combine some of theiremployment opportunities, so they can earn while they learn, or maybe they've got caring responsibilities that prevent them from going to do a full-time course. Ithink that will give us an alternative route that people can take to gain qualified teacher status and work in our schools. So, there's no one thing, I think, that wecan do that will solve this issue. But it is an international issue, I agree with that.Suzy Davies AM: Okay. Well, that's what I was after finding out, and, actually,what you've just said about the part-time PGCE is pretty interesting as well, because if you can bring your outside world experience into teaching, that's got tohelp, hasn't it?Kirsty Williams AM: Can I just agree with you? I think that is really, really important—that we have a diversity in our teaching workforce. I thinkthe different dynamic that brings to a school and the experience that brings to children is really, really valuable. I was up in the Deeside Sixth just last week,talking to the A-level chemistry teacher. She had been a teacher for a while, she'd gone into industry, worked in industry, and now had come back into teaching.She said that she felt that that made her a better educator and she could talk with knowledge and experience about the opportunities outside of teaching that thestudents in front of her could pursue. I'm very keen to increase the diversity in our teaching workforce and I'm very keen in looking at career changers, whoperhaps have different life experience and work experience, coming into our teaching profession.Suzy Davies AM: Thank you for that. Part of that diversity, ofcourse—it would be great if you had more people interested in qualifying to teach through the medium of Welsh. Great aspirations; the trend's going the otherway. No-one can solve this in 280 characters, I get that, but can you give us some indication about why you think this is proving still such an unattractive optionwhen it's clear that there's a policy for this country to improve the number of Welsh speakers? You'd have thought there'd be a pretty good carrot for this.KirstyWilliams AM: Sure. Again, data for recruitment for the 2018-19 cohort is not yet available and we are, as I said, keeping in touch with our ITE centres to keep aclose eye on them. I think an important thing to recognise is that there is a difference between the number of people who are on courses where there is a specificdesignation that enables them to teach through the medium of Welsh and those people who have linguistic ability and Welsh ability but don't necessarily do acourse that allows them. So, there is a difference. We do think that, for the 2016-17 cohort, there were an additional 130 qualifiers that, actually, were fluent inWelsh and who could have gone on to teach in Welsh-medium schools, didn't necessarily do a course that gave them that designation. But, clearly, we've gotthree academic years now to get to the targets that we've set ourselves. The evaluation of Welsh-medium provision in ITE reported at the end of last month, andthe Minister and officials are busy working now to implement the recommendations of the report that was published, I think, on 28 September, to be able to movethis agenda forward. Again, we've got new incentives, this year, both for people starting their course and then for teachers who complete their QTS after a year.So, we've added in new financial incentives this year to try and address some of those issues. But, clearly, these are ambitious targets and we will need to have astep change over the next three years if we're to meet them.Suzy Davies AM: Thank you for that, Cabinet Secretary. Thank you for that answer. We're nowtalking about cohorts of students coming into PGCE and teaching degrees. If they're from Wales, they will have had Welsh as part of their education from dayone, and we'll accept there are varying qualities in different parts of Wales, different attitudes towards it as well. But there isn't a single a person now who's beenthrough Welsh education who can say they have no Welsh at all, unless they've moved into the system from, say, England very, very recently. What is being donewithin the teaching qualifications, including the degrees, to ensure that, at least in Welsh universities, those nascent Welsh language skills are at least kept alive,even though we're not talking necessarily about being at a level where people can teach through the medium? It's the age-old question: once the school gatecloses, is that the end of their Welsh use? So, is there something—it won't be Donaldson, but in the teacher training qualifications—that is keeping this going and,hopefully, increasing the usability of the Welsh skills they have?Kirsty Williams AM: Well, in terms of how we can encourage children who have got Welsh skills asa result of their education up to 16, how they can continue to use those skills and, potentially, use them in the workplace, I'm sure Eluned will want to talkabout some of the work, for instance, in other, non-teaching sectors. But, with regard to ITE, you'll be aware that, in the evaluation report, as I said, that waspublished, the report comes forward with two options in how we could develop an intervention programme to support Welsh language skills amongst all primaryand secondary ITE entrants. So, what we'll be doing now as a result of that report is that we'll be working very closely with our ITE centres to develop and agreeupon minimum provision that constitutes those skill levels within ITE provision for all teachers.Suzy Davies AM: Thank you.Lynne Neagle AM: Llyr.Llyr GruffyddAM: You have your targets for 2021, in terms of numbers of teachers coming through the system, which is positive, although, clearly, the report or the review"}
+{"doc_id":"doc_34","qid":"","text":"Project Manager: {vocalsound} Good to see you all again . Let's see if that comes up . This is our functional design meeting . Um . Just a sec while my PowerPointcomes up . Et voila . Okay . Mm um we put the fashion in electronics . Let's start . Okay , our agenda today um {disfmarker} just check the time , it's twelvethirteen . Um . I'm gonna do an opening , talk about um {disfmarker} did you all get the minutes ? I e-mailed them to you . I'm also putting 'em {disfmarker}them in the shared folder .User Interface: Yep .Project Manager: So um then I {disfmarker} we'll talk about our general objectivesIndustrial Designer: Right.Project Manager: and have your three presentations . Um I'll talk about the new project requirements I've just received , and then we have to make a decisionon our remote control functions . Finally we'll just close . We're starting this meeting at approximately twelve thirteen and we have forty minutes . So{disfmarker} First of all the functional design objectives . Uh we need to keep in mind the user requirement specification , what needs and desires are to befulfilled , the {gap} functions design , what effects the apparatus should have , and the working design , how the apparatus actually works to fulfil its function .Okay , three presentations , um you can go in any order you choose um .Marketing: {gap} Mm shall we go in the order that you just did it ?Project Manager:Sure , please do .Marketing: I dunno . How do I hook my screen up ?Industrial Designer: I think , you might have to disconnect Rose .Project Manager: Yes I do .Yeah .User Interface: Well there's a wee a wee plug just just that one thereMarketing: Where does it go ? Mm-hmm . Hmm , I'm not supposed to move this ,UserInterface: {vocalsound}Marketing: but {disfmarker}User Interface: Ah that's it , yep .Marketing: {gap}User Interface: And then you have to press function F_eightProject Manager: Function , F_ eight , yeah .User Interface: I think it is on your laptop .Project Manager: The blue one , F_N_ .Marketing: Where's function ?No signal .Project Manager: Is it plugged in all the way and you screwed it in and {disfmarker}Industrial Designer: Yeah .Marketing: Ah , wait , 's screw in.Industrial Designer: I I think you just have to push it in really hard .Marketing: Push the screw .User Interface: That's it .Industrial Designer: Oh , got it .ProjectManager: Mm 'kay .Marketing: Mm alrightProject Manager: It's taking it a little bit {disfmarker}Marketing: I've never attached to anything .Industrial Designer:Mm , neither have I .Project Manager: 'Kay there you go .Marketing: Alright , so ,Industrial Designer: Alright .Marketing: I don't know if you guys are able to getaccess to um the report that was online or if I'm the only one who is . But , I don't even know how to play this . No .Project Manager: Press the little presentation. It's the um {disfmarker} it looks like a Y_ kind of {disfmarker} over there above Draw . There , that one , there you go .Marketing: Alright . So we're just gonnatalk a little bit about the functional requirements that people specified when they were asked . Um I guess Real Reaction did some market research . They had ahundred subjects and their usability lab and they watched them watch T_V_ and recorded the frequency that they used particular buttons and the relevance thatthose buttons had . What they found was they analysed people's desires and needs . Focusing on their desires , um people specifically said that they thoughtremotes were ugly {vocalsound} , seventy five per cent of the a hundred subjects noted that and that they {disfmarker} more importantly though , eighty percent said that they would be willing to pay more for a fancier looking remote . I don't know anything beyond what fancy means ,Industrial Designer: Hmm.Marketing: but that's particularly of use to us , I think . Um also they did some questions on voice recognition and found that the desire for voice recognition wasinversely related to age , so younger people were more inclined to want something with voice recognition , whereas the older people in the like sixty and abovesegment or so did not really think that they would pay more money for voice recognitions .Industrial Designer: 'Kay .Marketing: Um people also had certainfrustrations , that I think that we could try to take into consideration with our design . That being people k um frustrated with losing their remotes . I think , overfifty percent of the people mentioned that that was their biggest frustration . People are also frustrated with the difficulty it is to learn how to use a remote and Ithink that ties back to what you were saying beforeIndustrial Designer: Hmm .Marketing: just that there's too many buttons , it just needs to be easy to use . Italso mentioned something called R_S_I_ and I was hoping someone might be able to inform me as to what R_S_I_ is ,User Interface: Repetitive strain injury.Marketing: because I don't know .Project Manager: {gap}User Interface: Repetitive strain injury .Marketing: What ? Ah . There we go .User Interface: So if you{disfmarker}Marketing: Wow . People do not like that . So I guess sort of the carpal tunnel type thing , people do not like that , um the repetitive use , I guess ,caused a strain . Um looking at the needs people specified , the problem right now is that people's remotes are not matching their operating behaviour . Peopleare only using ten per cent of the buttons that they have offered to them on their remote . And what people do most often is changing the channel and changingthe volume . People also zap like to change the channel , about um sixty five per cent during an hour of use . So we really just need to focus in on those volumesand channel changers rather than things like the audio settings , the screen settings and the channel settings , because they're used much more infrequently andprobably just complicate what's going on . So I think that some things that we might wanna think about , the idea of an L_C_D_ screen was brought up althoughthey didn't have any details on what people's preferences on that were , so I dunno know if that's coming to me later , or something like that . But something forus to consider also just the phenomenon that less is more when it comes to the buttons on the remote or what we wanna make easiest to use , make sure that ,you know , something like an audio setting isn't given as much importance and visibility on the remote as something like channel changing that's used a lot moreoften . And basically in order for us to win over to the consumer we just need to focus on what it looks like , that it has a fancy appeal and that it's not ugly{vocalsound} and that it feels like the way they're gonna use it , so it doesn't give them any hand injuries or things like that .Industrial Designer: Hmm .ProjectManager: Thank you very much . That was that was great .Industrial Designer: Mm 'kay .Project Manager: Um {vocalsound} 's move on to the next presentationum on effects . Was that you ?Marketing: Hmm .Project Manager: Great .Marketing: Yeah , have I unscrewed it ?Project Manager: Push . User interface , right .Interface .Marketing: Here we go .User Interface: Cheers .Marketing: Mm-hmm . And I think that's in the shared , if I did it right , if anyone wants to look at it.Project Manager: Mm 'kay , thank you .Industrial Designer: Okay , great .Marketing: {vocalsound}Project Manager: Okay .User Interface: Here we go . Right soI'm gonna talk about the technical technical functions design of the remote control um . We need to start by considering what a remote control actually is . It's adevice that allows us to produce certain effects on our television , so i it's basically a communication device . We we tell the remote control what we want to do , itsends a message to the television saying change the channel , change the volume , uh yeah , adjust these settings , adjust the brightness . Um how do weactually go about designing a new television remote control ? First thing to do is to come up with the design specifications . We need to know what our finalproduct is gonna be like , so we need a a clear idea of exactly what this product does , uh how it works , and what the end-user is gonna want from this product .Um . Oh , a way I'd suggest that we could go about this is by designing uh several different prototypes of user interfaces for this product , um and then uh tryingto get some feedback uh aboutMarketing: {vocalsound}User Interface: h how well these particular prototypes work , uh sorta find out what people think of 'em .Um using a remote control is is quite a subjective experience . Um ,Project Manager: Hmm .User Interface: and different different people sort of prefer differentthings . Um we should remember that remote controls are a a fairly standard piece of equipment . When a users using a remote control , he or she expects thebuttons to be in certain places . So in some sense we're gonna we're gonna have to aim for a device which is fairly conventional in design uh so that we're notcompletely shocking people . But I think within that there is also room for us to introduce novel ideas uh and to make something that's that's perhaps a little bitdifferent , something that stands out . Um also in in designing the user interface we need to consider practicalities . Uh the first of these is is technological ye uhwhat can we do with the current state of technology as it is . The second is is economic , uh we need to find a balance between features and price . So as youmentioned things like voice recognition would would add to the price uh but it would also im improve the design of the product .Project Manager: Hmm .UserInterface: So I had a look on the {disfmarker} on the web uh to see if I could find a few examples of existing television remote controls . In analysing these wecan consider what what things {disfmarker} what's good about them , uh what things do they get right , what's bad about them , what's wrong with 'em , umhow we can improve on the designs that that that I found and what can we do to make our product stand out from from the large majority of remote controls .Here's two examples uh probably at the extreme ends of the spectrum .Project Manager: {vocalsound}User Interface: Um on the left here we've got uh anengineering-based design for a remote control ,Industrial Designer: {vocalsound}User Interface: so it's one that's got lots of buttons , it's it's fully featured ,everything you might possibly want to do is there , you know , it's got forward , backwards , up , down , channel numbers , volume , uh freeze frame . Yeah , it'sit's fully featured and it might take a while to get to learn to use it , but once you've learned it you can {disfmarker} you can do whatever you want with yourT_V_ . The one on the right is a lot more basic . It's just got the essential functions of the T_V_ changing the channel , play , stop , volume . It would be a lotquicker to learn to use it , but again th it's it's swings and roundabouts . There are disadvantages , you can't use it say to to freeze the television picture . Uhthere's a lot of features that are missing from that remote control . So we've got to to find our {disfmarker} find a way of striking a balance between the two . Umas I said before , remote controls are subjective , different people want want different things . Um personally wa what I want from a remote control is a devicethat's simple , it it's easy to use , uh it's got big buttons for doing the things I do most often , changing the volume , changing the channel . It it does everything"}
+{"doc_id":"doc_35","qid":"","text":"Professor B: Are we on ? We 're on . OK .PhD E: Is it on ?PhD D: Yeah .Professor B: Yeah . OK ,PhD D: One , two {disfmarker} u OK .PhD A: Why is it so cold inhere ?Professor B: so , uh , we haven't sent around the agenda . So , i uh , any agenda items anybody has , wants to talk about , what 's going on ?Postdoc G: I cI could talk about the meeting .Grad H: Does everyone {disfmarker} has everyone met Don ?Postdoc G: Yeah .Professor B: It 's on ?PhD C: Now , yeah .PhD D:Yeah .Grad H: Yeah ? OK .PhD D: Yeah .Grad F: Hello .Professor B: OK , agenda item one ,PhD D: We went {disfmarker}Grad F: Yeah .Professor B: introduce Don. OK , we did that . Uh {disfmarker}PhD A: Well , I had a {disfmarker} just a quick question but I know there was discussion of it at a previous meeting that Imissed , but just about the {disfmarker} the wish list item of getting good quality close - talking mikes on every speaker .Professor B: OK , so let 's {disfmarker}let 's {disfmarker} So let 's just do agenda {pause} building right now . OK , so let 's talk about that a bit .PhD A: I mean , that was {disfmarker}Professor B: Uh, @ @ tuss close talking mikes , better quality . OK , {vocalsound} uh , we can talk about that . You were gonna {disfmarker} starting to say something ?PostdocG: Well , you {disfmarker} you , um , already know about the meeting {comment} that 's coming up and I don't know if {disfmarker} if this is appropriate forthis . I don't know . I mean , maybe {disfmarker} maybe it 's something we should handle outside of the meeting .Professor B: No , no , that 's OK .PhD E: Whatmeeting ?Professor B: We can {disfmarker} so {disfmarker} we can ta so n NIST is {disfmarker} NIST folks are coming by next weekPostdoc G: OK .Professor B:and so we can talk about that .Postdoc G: Yeah .Professor B: I thinkPhD E: Who 's coming ?Professor B: Uh , uh , John FiscusPostdoc G: Mm - hmm .Professor B:and , uh , I think George Doddington will be around as well . Uh , OK , so we can talk about that . Uh , I guess just hear about how things are going with , uh , uh, the transcriptions . That 's right .Postdoc G: Sure . Mm - hmm .Professor B: That would sorta be an obvious thing to discuss . Um , An - anything else , uh ,strike anybody ?PhD A: Uh , we started {pause} running recognition on {pause} one conversation but it 's the r {pause} isn't working yet . So , But if anyone has{disfmarker}Professor B: OK .PhD E: WhaPhD A: uh , the main thing would be if anyone has , um , knowledge about ways to , uh , post - process the wave formsthat would give us better recognition , that would be helpful to know about .Professor B: Um ,Grad H: Dome yeah , it sounds like a topic of conversation.Professor B: Yeah , so , uh {disfmarker}PhD E: What about , uh , is there anything new with the speech , nonspeech stuff ?PhD C: Yeah , we 're working more onit but , {vocalsound} it 's not finished .Professor B: OK . Alright , that seems like a {disfmarker} a good collection of things . And we 'll undoubtedly think of{pause} other things .Postdoc G: I had thought under my topic that I would mention the , uh , four items that I {disfmarker} I , uh , put out for being on theagenda f on that meeting , which includes like the pre - segmentation and the {disfmarker} and the developments in multitrans .Professor B: Oh , under the NISTmeeting .Postdoc G: Yeah , under the NIST thing .Professor B: OK .Postdoc G: Yeah .Professor B: Alright , why don't we start off with this , u u I guess the orderwe brought them up seems fine .Postdoc G: Yeah .Professor B: Um , so , better quality close talking mikes . So the one issue was that the {disfmarker} the , uh ,lapel mike , uh , isn't as good as you would like . And so , uh , it {disfmarker} it 'd be better if we had close talking mikes for everybody . Right ?PhD A: Ri - um,Professor B: Is that {disfmarker} is that basically the point ?PhD A: yeah , the {disfmarker} And actually in addition to that , that the {disfmarker} the closetalking mikes are worn in such a way as to best capture the signal . And the reason here is just that for the people doing work not on microphones but on sort oflike dialogue and so forth , uh {disfmarker} or and even on prosody , which Don is gonna be working on soon , it adds this extra , you know , vari variable foreach speaker to {disfmarker} to deal with when the microphones aren't similar .Professor B: Mm - hmm .Grad H: Right .PhD A: So {disfmarker} And I also talkedto Mari this morning and she also had a strong preference for doing that . And in fact she said that that 's useful for them to know in starting to collect their datatoo .Professor B: Mm - hmm . Right , so one thGrad H: Well , so {disfmarker}Professor B: uh , well one thing I was gonna say was that , um , i we could get more, uh , of the head mounted microphones even beyond the number of radio channels we have because I think whether it 's radio or wire is probably second - order. And the main thing is having the microphone close to you ,PhD A: Mm - hmm .Professor B: u although , not too close .Grad H: Right , so , uh , actually the wayJose is wearing his is {disfmarker} is c {pause} correct .PhD D: Yeah . Is {disfmarker}Grad H: The good way . So you want to {disfmarker}Professor B: Yeah.PhD D: I it 's not cor it 's correct ?Professor B: Is .Grad H: Yeah , th that 's good .Professor B: Yes .PhD D: Yeah .Grad H: So it 's towards the corner of yourmouth so that breath sounds don't get on it .PhD D: Yeah . Yeah .Grad H: And then just sort of about , uh , a thumb or {disfmarker} a thumb and a half awayfrom your {disfmarker} from your mouth .PhD D: Yeah . Yeah . Uh , yeah .Professor B: Right .PhD A: But we have more than one type of {disfmarker}ProfessorB: How am I dPhD A: I mean , for instance , you 're {disfmarker}PhD C: Yeah .Grad H: And this one isn't very adjustable ,PhD D: Yeah .Grad H: so this about asgood as I can getPhD A: Right .PhD D: Yeah .Grad H: cuz it 's a fixed boom .PhD D: Is fixed . Yeah .PhD A: But if we could actually standardize , you know , the{disfmarker} the microphones , uh , as much as possible that would be really helpful .Professor B: Yeah .PhD E: Mm - hmm .PhD D: Yeah .Grad H: Mm - hmm.Professor B: Well , I mean it doesn't hurt to have a few extra microphones around ,PhD D: Yeah .Professor B: so why don't we just go out and {disfmarker} andget an order of {disfmarker} of if this microphone seems OK to people , uh , I 'd just get a half dozen of these things .Grad H: Well the onl the only problem withthat is right now , um , some of the Jimlets aren't working . The little {disfmarker} the boxes under the table .Professor B: Yeah .Grad H: And so , w Uh , I 'veonly been able to find three jacks that are working .Professor B: Yeah .PhD E: Can we get these , wireless ?Grad H: So {disfmarker}Professor B: No , but mypoint is {disfmarker}PhD A: But y we could just record these signals separately and time align them with the start of the meeting .Professor B: R r right{disfmarker}Grad H: I {disfmarker} I 'm not sure I 'm follow . Say that again ?Professor B: Right now , we 've got , uh , two microphones in the room , that arenot quote - unquote standard . So why don't we replace those {disfmarker}Grad H: OK , just two .Professor B: Well , however many we can plug in . You know ,if we can plug in three , let 's plug in three .Grad H: OK .PhD D: Mm - yeah .Professor B: Also what we 've talked before about getting another , uh , radio ,GradH: Right .Professor B: and so then that would be , you know , three {pause} more .Grad H: Right . OK .PhD D: Mm - hmm .Professor B: So , uh {disfmarker} sowe should go out to our full complement of whatever we can do , but have them all be the same mike . I think the original reason that it was done the other waywas because , it w it was sort of an experimental thing and I don't think anybody knew whether people would rather have more variety or {disfmarker}{vocalsound} or , uh , more uniformity ,PhD A: Right .Professor B: but {disfmarker} @ @ {comment} but uh , sounds {disfmarker} sounds fine .Grad H: Soundslike uniformity wins .PhD D: Right .PhD A: Well , for short term research it 's just {disfmarker} there 's just so much effort that would have to be done up front nuh ,Professor B: Yeah .Grad H: Well {disfmarker}PhD A: so {disfmarker} yeah , uniformity would be great .Grad H: Yeah .PhD E: Is it because {disfmarker} You{disfmarker} you 're saying the {disfmarker} for dialogue purposes , so that means that the transcribers are having trouble with those mikes ? Is that what youmean ?PhD A: Well Jane would know more about the transcribers .PhD E: Or {disfmarker} ?Postdoc G: And that 's true . I mean , I {disfmarker} we did discussthis . Uh , and {disfmarker} and {disfmarker}Grad H: Yep . Couple times .Postdoc G: a couple times , so , um , yeah , the transcribers notice {disfmarker} And infact there 're some where , um {disfmarker} ugh well , I mean there 's {disfmarker} it 's the double thing . It 's the equipment and also how it 's worn .PhD A:Right .Postdoc G: And he 's always {disfmarker} they always {disfmarker} they just rave about how wonderful Adam 's {disfmarker} Adam 's channel is .Grad H:What can I say .Postdoc G: And then ,PhD A: So does the recognizer .Professor B: Yeah .Postdoc G: Yeah .Grad H: Oh , really ? Yeah , I 'm not surprised . I mean, \" Baaah ! \"PhD A: Even if {disfmarker} if you 're talking on someone else 's mike it 's still {pause} you wPostdoc G: Yeah , but I mean it 's not just that , it 'salso you know youProfessor B: Yeah .PhD C: Yeah .Postdoc G: It 's also like n no breathing , no {disfmarker} You know , it 's like it 's {disfmarker} it 's um,Professor B: Yeah .Postdoc G: it 's really {disfmarker} {nonvocalsound} it makes a big difference from the transcribers ' point of viewGrad H: Yeah , it 's anadvantage when you don't breath .Postdoc G: and also from the research s point of view .PhD A: Right .Professor B: When we 're doing {disfmarker}Grad H:Yeah , I think that the point of doing the close talking mike is to get a good quality signal . We 're not doing research on close talking mikes .Postdoc G: Yeah.Professor B: Yeah .Grad H: So we might as well get it as uniform as we can .PhD A: Right .Professor B: Now , this is locking the barn door after the horse wasstolen . We do have thirty hours , of {disfmarker} of speech , which is done this way .Grad H: Yeah .PhD A: That 's OK .Professor B: But {disfmarker} but , uh ,yeah , for future ones we can get it a bit more uniform .PhD A: Great , great .Grad H: So I think just do a field trip at some point .Professor B: Yeah , probably{disfmarker} yeah , to the store we talked about and that {disfmarker}Grad H: Yep .Postdoc G: And there was some talk about , uh , maybe the h headphonesthat are uncomfortable for people , to {disfmarker}Grad H: Yep . So , as {disfmarker} as I said , we 'll do a field trip and see if we can get all of the same mikethat 's more comfortable than {disfmarker} than these things , which I think are horrible .Postdoc G: OK . Good .Grad H: So .PhD A: Great , thank you very much.PhD E: Especially for people with big heads .PhD A: It 's makes our job a lot easier .Professor B: OK . OK .Grad H: And , you know , we 're researchers , so we allhave big heads .Professor B: OK .PhD E: Yeah .Professor B: Yeah . Uh , OK , second item was the , uh , NIST visit , and what 's going on there .Postdoc G: Yeah .OK , so , um , uh , Jonathan Fiscus is coming on the second of February and I 've spoken with , uh , {pause} u u a lot of people here , not everyone . Um , and ,"}
+{"doc_id":"doc_36","qid":"","text":"PhD A: OK , we 're on .Professor C: OK , what are we talking about today ?PhD B: I don't know . Do you have news from the conference talk ? Uh , that wasprogrammed for yesterday {disfmarker} I guess .Professor C: Uh {disfmarker}PhD D: YesterdayProfessor C: Uh {disfmarker}PhD D: Yesterday morning on videoconference .Professor C: Uh ,PhD B: WellProfessor C: oh , I 'm sorry .Grad E: Oh . Conference call .Professor C: I know {disfmarker} now I know what you 'retalking about . No , nobody 's told me anything .PhD B: Alright .PhD A: Oh , this was the , uh , talk where they were supposed to try to decide {disfmarker}PhDB: To {disfmarker} to decide what to do ,PhD A: Ah , right .PhD B: yeah .PhD D: Yeah .Professor C: Yeah . No , that would have been a good thing to find outbefore this meeting , that 's . No , I have no {disfmarker} I have no idea . Um , Uh , so I mean , let 's {disfmarker} let 's assume for right now that we 're justkind of plugging on ahead ,PhD B: Yeah .Professor C: because even if they tell us that , uh , the rules are different , uh , we 're still interested in doing what we're doing . So what are you doing ?PhD B: Mm - hmm . Uh , well , we 've {disfmarker} a little bit worked on trying to see , uh , what were the bugs and theproblem with the latencies .PhD D: To improve {disfmarker}PhD B: So , We took {disfmarker} first we took the LDA filters and , {vocalsound} uh , we designednew filters , using uh recursive filters actually .Professor C: So when you say \" we \" , is that something Sunil is doing or is that {disfmarker} ?PhD B: I 'm sorry?Professor C: Who is doing that ?PhD B: Uh , us . Yeah .Professor C: Oh , oh . Oh , OK .PhD B: So we took the filters {disfmarker} the FIR filters {vocalsound}and we {comment} designed , uh , IIR filters that have the same frequency response .PhD D: But {disfmarker}Professor C: Mm - hmm .PhD B: Well , similar ,but that have shorter delays .Professor C: Mm - hmm .PhD B: So they had two filters , one for the low frequency bands and another for the high frequency bands. And so we redesigned two filters . And the low frequency band has sixty - four milliseconds of delay , and the high frequency band filter has something likeeleven milliseconds compared to the two hundred milliseconds of the IIR filters . But it 's not yet test . So we have the filters but we still have to implement aroutine that does recursive filteringProfessor C: OK .PhD B: and {disfmarker}Professor C: You {disfmarker} you had a discussion with Sunil about this though?PhD B: No . No .Professor C: Uh - huh . Yeah , you should talk with him .PhD B: Yeah , yeah .Professor C: Yeah . No , I mean , because the {disfmarker} the{disfmarker} the {disfmarker} the whole problem that happened before was coordination ,PhD B: Mm - hmm .Professor C: right ? So {disfmarker} so you needto discuss with him what we 're doing ,PhD B: Yeah .Professor C: uh , cuz they could be doing the same thing and {disfmarker} or something .PhD B: Mm - hmm. Uh , I {disfmarker} yeah , I don't know if th that 's what they were trying to {disfmarker} They were trying to do something different like taking , uh{disfmarker} well , using filter that takes only a pastProfessor C: Right .PhD B: and this is just a little bit different . But I will I will send him an email and tell himexactly what we are doing , so .Professor C: Yeah , yeah . Um ,PhD B: Um ,Professor C: I mean {disfmarker} We just {disfmarker} we just have to be in contactmore . I think that {disfmarker} the {disfmarker} the fact that we {disfmarker} we did that with {disfmarker} had that thing with the latencies was indicative ofthe fact that there wasn't enough communication .PhD B: Mm - hmm .Professor C: So .PhD B: Alright .Professor C: OK .PhD B: Um , Yeah . Well , there is w one ,um , remark about these filters , that they don't have a linear phase . So ,Professor C: Right .PhD B: Well , I don't know , perhaps it {disfmarker} perhaps itdoesn't hurt because the phase is almost linear but . Um , and so , yeah , for the delay I gave you here , it 's {disfmarker} it 's , uh , computed on the five hertzmodulation frequency , which is the {disfmarker} mmm , well , the most important for speech so . Uh , this is the first thing .Professor C: So that would be , uh ,a reduction of a hundred and thirty - six milliseconds ,PhD D: The low f fPhD B: Yeah .Professor C: which , uh {disfmarker} What was the total we ended up withthrough the whole system ?PhD B: Three hundred and thirty .Professor C: So that would be within {disfmarker} ?PhD B: Yeah , but there are other points actually, uh , which will perhaps add some more delay . Is that some other {disfmarker} other stuff in the process were perhaps not very {disfmarker} um perf well , notvery correct , like the downsampling which w was simply dropping frames .Professor C: Yeah .PhD B: Um , so we will try also to add a nice downsampling havinga filter that {disfmarker} that {disfmarker}Professor C: Uh - huh .PhD B: well , a low - pass filter at {disfmarker} at twenty - five hertz . Uh , because wh when{disfmarker} when we look at the LDA filters , well , they are basically low - pass but they leave a lot of what 's above twenty - five hertz .Professor C: Yeah .PhDB: Um , and so , yeah , this will be another filter which would add ten milliseconds again .Professor C: Yeah .PhD B: Um , yeah , and then there 's a third thing , isthat , um , basically the way on - line normalization was done uh , is just using this recursion on {disfmarker} on the um , um , on the feature stream ,ProfessorC: Yeah .PhD B: and {disfmarker} but this is a filter , so it has also a delay . Uh , and when we look at this filter actually it has a delay of eighty - five milliseconds. So if we {disfmarker}Professor C: Eighty - five .PhD B: Yeah . If we want to be very correct , so if we want to {disfmarker} the estimation of the mean t t to{disfmarker} to be {disfmarker} well , the right estimation of the mean , we have to t to take eighty - five milliseconds in the future . Mmm .Professor C: Hmm !That 's a little bit of a problem .PhD B: Yeah . Um , But , well , when we add up everything it 's {disfmarker} it will be alright . We would be at six so , sixty - five ,plus ten , plus {disfmarker} for the downsampling , plus eighty - five for the on - line normalization . So it 'sProfessor C: Uh ,PhD B: plus {disfmarker} plus eightyfor the neural net and PCA .Professor C: yeah , but then there 's {disfmarker} Oh .PhD B: So it would be around two hundred and forty {disfmarker} so , well,Professor C: Just {disfmarker} just barely in there .PhD B: plus {disfmarker} plus the frames , but it 's OK .PhD A: What 's the allowable ?Professor C: Two - fifty, unless they changed the rules .PhD B: Hmm .Professor C: Which there is {disfmarker} there 's some discussion of .PhD A: What were they thinking of changingit to ?Professor C: But {disfmarker}PhD B: Yeah .Professor C: Uh , well the people who had very low latency want it to be low {disfmarker} uh , very{disfmarker} {vocalsound} very very narrow , uh , latency bound . And the people who have longer latency don't . So .PhD A: Huh .PhD B: So , yeah .ProfessorC: Unfortunately we 're the main ones with long latency , butPhD A: Ah !Professor C: But , uh ,PhD B: Yeah , and basically the best proposal had something likethirty or forty milliseconds of latency .Professor C: you know , it 's {disfmarker} Yeah .PhD B: So . Well .Professor C: Yeah , so they were basically {disfmarker} Imean , they were more or less trading computation for performance and we were , uh , trading latency for performance . And they were dealing with noiseexplicitly and we weren't , and so I think of it as complementary , that if we can put the {disfmarker}PhD A: Think of it as what ?Professor C: Complementary.PhD A: Hmm .Professor C: I think the best systems {disfmarker} so , uh , everything that we did in in a way it was {disfmarker} it was just adamantly insistingon going in with a brain damaged system , which is something {disfmarker} actually , we 've done a lot over the last thirteen years . Uh , {vocalsound} which iswe say , well this is the way we should do it . And then we do it . And then someone else does something that 's straight forward . So , w th w this was a test thatlargely had additive noise and we did {disfmarker} we adde did absolutely nothing explicitly to handle ad additive noise .PhD A: Right .Professor C: We just , uh ,you know , trained up systems to be more discriminant . And , uh , we did this , uh , RASTA - like filtering which was done in the log domain and was tending tohandle convolutional noise . We did {disfmarker} we actually did nothing about additive noise . So , um , the , uh , spectral sub subtraction schemes a coupleplaces did seem to seem to do a nice job . And so , uh , we 're talking about putting {disfmarker} putting some of that in while still keeping some of our stuff . Ithink you should be able to end up with a system that 's better than both but clearly the way that we 're operating for this other stuff does involved some latencyto {disfmarker} to get rid of most of that latency . To get down to forty or fifty milliseconds we 'd have to throw out most of what we 're doing . And {disfmarker}and , uh , I don't think there 's any good reason for it in the application actually . I mean , you 're {disfmarker} you 're {disfmarker} you 're speaking to arecognizer on a remote server and , uh , having a {disfmarker} a {disfmarker} a quarter second for some processing to clean it up . It doesn't seem like it 's thatbig a deal .PhD A: Mm - hmm .Professor C: These aren't large vocabulary things so the decoder shouldn't take a really long time , and .PhD A: And I don't thinkanybody 's gonna notice the difference between a quarter of a second of latency and thirty milliseconds of latency .Professor C: So . No . What {disfmarker} whatdoes {disfmarker} wa was your experience when you were doing this stuff with , uh , the {disfmarker} the {disfmarker} the surgical , uh , uh , microscopes andso forth . Um , how long was it from when somebody , uh , finished an utterance to when , uh , something started happening ?PhD A: Um , we had a silencedetector , so we would look for the end of an utterance based on the silence detector .Professor C: Mm - hmm .PhD A: And I {disfmarker} I can't remember nowoff the top of my head how many frames of silence we had to detect before we would declare it to be the end of an utterance .Professor C: Mm - hmm . Mm -hmm .PhD A: Um , but it was , uh , I would say it was probably around the order of two hundred and fifty milliseconds .Professor C: Yeah , and that 's when you'd start doing things .PhD A: Yeah , we did the back trace at that point to get the answer .Professor C: Yeah . Of course that didn't take too long at that point .PhDA: No , no it was pretty quick .Professor C: Yeah .PhD A: So {disfmarker}Professor C: Yeah , so you {disfmarker} you {disfmarker} so you had aPhD A: thiswProfessor C: so you had a {disfmarker} a quarter second delay before , uh , plus some little processing time ,PhD A: Right .Professor C: and then the{disfmarker} the microscope would start moving or something .PhD A: Right .Professor C: Yeah .PhD A: Right .Professor C: And there 's physical inertia there , soprobably the {disfmarker} the motion itself was all {disfmarker}PhD A: And it felt to , uh , the users that it was instantaneous . I mean , as fast as talking to aperson . It {disfmarker} th I don't think anybody ever complained about the delay .Professor C: Yeah , so you would think as long as it 's under half a second or"}
+{"doc_id":"doc_37","qid":"","text":"Project Manager: Think we can first {disfmarker}Industrial Designer: Mm .User Interface: Right it was function F_ eight or something .Industrial Designer:ThaUser Interface: This one right there .Industrial Designer: Okay .User Interface: Okay .Industrial Designer: Who is gonna do a PowerPoint presentation ?UserInterface: Think we all {gap} {disfmarker}Industrial Designer: You will as well ?User Interface: Huh . Oh I thought we all were .Industrial Designer: Okay .UserInterface: Yeah , I have one too , okay .Project Manager: {gap} .User Interface: SIndustrial Designer: Yep .Marketing: {gap} .User Interface: Whoops I forgot toput the thing on {vocalsound} {disfmarker}Project Manager: Right . I just wanna {disfmarker} 'cause basically I can't re I've {disfmarker} really crap atremembering everyone's name so I just wanna {disfmarker} rather than going uh Miss Marketing and Miss this and Miss that {vocalsound} wanted to know yournames again .User Interface: Okay .Industrial Designer: Okay I'm {disfmarker}Project Manager: {gap} just gonna leave this up here 'cause I'll {vocalsound} youknow . So {disfmarker}Industrial Designer: Okay .User Interface: Yeah . Sure , that's a good idea .Industrial Designer: I'm Catherine with a C_ . C_A_T_H_ E_R_I_N_E_ .Project Manager: Okay , andUser Interface: Uh Gabriel .Project Manager: Gabriel . E_L_ is it ?User Interface: E_L_ .Project Manager: 'Kay . And you're sr R_E_I_S_S_ {vocalsound} {gap}Marketing: I am Reissa . R_E_I_S_S_A_ . Double S_ A_ , yeah {vocalsound} yeah . Sorry .Project Manager: Okay .Marketing:{vocalsound}Project Manager: 'S just a bit nicer calling people by their names I think .Industrial Designer: Right .User Interface: {vocalsound}IndustrialDesigner: True .Project Manager: {vocalsound} Uh , right .Marketing: Mm 'kay .Project Manager: Okay , right , welcome to meeting B_ . Um this is gonna go a lotbetter than the last meeting , basically ,Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: uh 'cause I know what I'm supposed tobe doing now .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} I am your Project Manager , and , uh yeah , I'm justhere toIndustrial Designer: {vocalsound}Project Manager: {gap} sort of liaise between the three of you and get things going , get people talking and and I'mgonna be making notes and sending them off to the powers that be and stuff basically . Um right , this {disfmarker} for the purposes of this meeting{disfmarker} what this meeting is all about is um I'm gonna have some presentations from all three of you , what you've been working on for the last wee while ,when you haven't been getting hit with spam on your computers and and , you know , filling out silly questionnaires and things .Industrial Designer:{vocalsound}Marketing: {vocalsound}Project Manager: But hopefully you've been {disfmarker} actually been doing something productive . So we're gonna{disfmarker} each of you gonna give us a litt a little presentation . {vocalsound} Um .Marketing: Mm .Project Manager: Then we're gonna {vocalsound} work ,you know , from each of your presentations . We'll we'll uh talk about what we actually need as a final coming together of it all . Um and then we'll , yeah , we'll{gap} sort of conclude {gap} anything else comes up at the end of it .Industrial Designer: How long is the meeting ?Project Manager: This meeting it's not verylong . It's uh probably down to about thirty five minutes now . So I want each of your presentations to not be too long , five five minutes , something like that.Industrial Designer: Okay . {vocalsound} No problem . {vocalsound}Project Manager: Um if you haven't done a PowerPoint thingy , it doesn't matter , it it just itjust says that you {disfmarker} it's {disfmarker} that's just one particular medium . If you haven't had time to prepare one , you can draw stuff on the noteboard, you can talk to us , you can {disfmarker} you know however you want to do your little presentation , basically , you can . Don't feel pressurised into using thisthing . 'Cause I don't .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Uh okay . So um . You okay over there ? Reissa ,Marketing: I'm fine .Yeah .Project Manager: are you uh b are you joining in with this meeting hereMarketing: I uh yeah , yeah .Project Manager: or are y or are y or are you are youjust are you just uh doing some Internet shopping there ? {vocalsound}User Interface: Think she's finishing up her presentation .Marketing: D I mean , I I'mfinishing off my presentation .Industrial Designer: {vocalsound}Marketing: No no . {vocalsound} Uh I'm done . Okay .Project Manager: Okay , jolly good . Alright, let's have um {disfmarker} well , we all know that it's it's a remote control that we're gonna be dealing with .Marketing: Mm .Project Manager: I think the firstthing we should look at is um {vocalsound} probably the um what it is that it is actually supposed to be . So that's gonna be you Catherine ,Industrial Designer:Okay .Project Manager: if we wanna hear from you first .Industrial Designer: Okay . Um just connecting this .Project Manager: You don't have to worry aboutscrewing it in just {disfmarker}Industrial Designer: Are we getting i Really ?Project Manager: there you go .Industrial Designer: Okay . Cool . Okay . So I've got avery quick uh {disfmarker} Uh . Okay .Marketing: {vocalsound}Industrial Designer: So the working design , I've got a very quick presentation on this , so umI've {disfmarker} oh no , you can't see a thing . {vocalsound} Oh well , I'm gonna draw it on the board then . It's in blue uh , and I couldn't change it .UserInterface: Oh . {vocalsound}Project Manager: Ah .Industrial Designer: We it's fine on my screen , but never mind . So um {vocalsound} the idea is that we'vegot the energy source um , which in our case will pr , oh well {disfmarker} okay , never mind . So um I think maybe uh two batteries , I dunno what they'recalled {gap} six , or something like that .Project Manager: Mm-hmm .Industrial Designer: Uh and then {vocalsound} um then on the uh remote control itself willhave um the sender for the signal , which could be uh an infra-red signal , um which will be sent by an electronic chip . And uh the chip will be controlled by theuser interface . So we'll hear about that later from Gabriel .Project Manager: Mm-hmm .Industrial Designer: And uh the sender will send to the telly itself aninfra-red signal to tell it to switch on or switch channels . Um and that's it really for the working design .Project Manager: Great . Okay .Industrial Designer: Sorrythe presentation wasn't very uh clear but {disfmarker}Project Manager: I prefer the pe I prefer the human touch personally .Industrial Designer: Really ? Cool.Project Manager: Yeah .Industrial Designer: Um , should I erase this or {disfmarker}Project Manager: Do you wanna just give us a moment , I just wanna copythis down .Industrial Designer: Okay .Project Manager: Um I dunno if you guys have got any questions for Catherine on any of this ?Industrial Designer: Fine .{vocalsound} Or suggestions ?Marketing: Is a battery like the only way of {disfmarker}Industrial Designer: Well , it's just , you don't want it plugged in really ,sUser Interface: Yeah , alternate energy source , like win wind power or {disfmarker}Project Manager: {vocalsound} Yeah , you blow on it and i{vocalsound}Industrial Designer: In indoors . {vocalsound}Marketing: No , no {disfmarker}User Interface: {vocalsound} Bicycle power .Marketing: No I meantlike {disfmarker}Industrial Designer: {vocalsound}Marketing: No 'cause like cha 'cause {disfmarker} always changing um um batteries can get like annoying.Industrial Designer: {vocalsound}Marketing: The battery's down and {disfmarker} maybe {vocalsound} , I dunno , solar charged ? {vocalsound}IndustrialDesigner: I dunno , swi I th I th I think changing your batteries once every six months is not really a pain , but {disfmarker}Project Manager: Yeah , it's workedfor the last fifty years you know .Marketing: Mm . Yeah .User Interface: One question I have , and I don't know how much control we have over this is um , as faras the infra-red signal , do we have control over , you know , how far away you can be from the receiving unit , the the T_V_ , and still have it be operational ? Imean , maybe we want one with a strong signal stream .Project Manager: How far away is your television ?Industrial Designer: Yeah .Project Manager: It's nevergonna be more than it's never gonna be , you kno unless you've got a T_V_ the size of a football pitch , it's not {disfmarker} doesn't have to go that far ,UserInterface: Uh {disfmarker}Industrial Designer: Well , the thing is uh you you don't {disfmarker}Project Manager: does it ? Doesn't have to go through a wall ,because you're not gonna be looking through a wall .User Interface: That's true .Marketing: Yeah , but if like you're on the phone in the other room and you needturn television off or something and you don't really want to go into the {disfmarker} put the telephone down , and go into the other room .{vocalsound}Industrial Designer: Well , we can make the the signal strong enough to go through walls if if you fancy it . I didn't think about that but{disfmarker}Marketing: How about Bluetooth ? {gap} Instead of using infra-red , use Bluetooth .Industrial Designer: Why not ? I just think that it's it's gonnacost moreMarketing: Isn't that a better signal ?Project Manager: Yeah , yeah I d it sounds like you {gap} you w don't wanna overcomplicate things .IndustrialDesigner: and I'm I'm not sure it's {disfmarker} you're gonna use it .Marketing: Mm {vocalsound} .Project Manager: You know we don't need it .IndustrialDesigner: It's a fancy idea uh it's quite nice , but then I don't th I dunno , either you {disfmarker} if you wanna watch the telly you're in the room ,ProjectManager: Yeah , exactly .Industrial Designer: you are gonna {disfmarker}Project Manager: Basically , we're we're desi we're designing and marketing a televisionremote control unit .Industrial Designer: But {disfmarker}Project Manager: We're not w w w w designing something that you can plug in a headset to and andyou know connect to your laptop computer and stuff . It's uh {disfmarker}Marketing: Mm .Industrial Designer: Oh , we can we can keep the idea if you i We cansee at a later stage , maybe , I don't {disfmarker}Marketing: 'S just an idea .Project Manager: Okay . Right , well done , Catherine . Um Gab Gabriel let's uh let'shear from you on on on such things .User Interface: Okay .Industrial Designer: Do you need the border ?User Interface: Uh I'm just gonna use the PowerPoint uh.Industrial Designer: Okay . {vocalsound} Sorry .User Interface: Technical {gap} . Okay .Marketing: {vocalsound} {vocalsound}User Interface: Okay , so , whilethis is warming up ,Marketing: Adjusting .User Interface: there it is uh .Marketing: Yeah .User Interface: So I'm doing the user interface design .Project Manager:Mm-hmm .User Interface: Yeah , and basically uh , as far as methods , I was I was looking looking at looking at uh already existing remotes , trying to find someinspiration from designs that are already out there . Thinking of what we can retain , what we can do away with , uh what we what we can perfect a little bit as faras design um . {gap} we don't want to do something that's too radical of a change , I guess , I mean people want a remote that's familiar , that has their"}
+{"doc_id":"doc_38","qid":"","text":"Grad B: Sorry . Mental {disfmarker} mental Palm Pilot . Right . Hence {pause} no problem .Grad F: Let 's see . So . What ? I 'm supposed to be on channel five ?Her . Nope . Doesn't seem to be ,Grad B: Hello {pause} I 'm channel one .Grad F: yeah .Grad D: Grad E: What does your thing say on the back ?Grad D: Testing.Grad F: Nnn , five . Alright , I 'm five .Grad D: Sibilance . Sibilance . {comment} {pause} Three , three . I am three .Grad B: Eh .Grad D: See , that matches theseat up there . So .Grad F: Yeah , well , I g guess {pause} it 's coming up then , or {disfmarker}Grad D: Cuz it 's {disfmarker} That starts counting from zeroand these start counting from one . Ergo , the classic off - by - one error .Grad B: But mine is correct .Grad D: Is it ?Grad E: No .Grad B: It 's one . Channel one.Grad D: Your mike {pause} number {pause} is what we 're tGrad E: Look at the back .Grad B: Oh , oh , oh ! Oh .Grad D: Ho !Grad B: So {disfmarker}Grad D: I've bested you again , Nancy .Grad B: But your p No , but the paper 's correct .Grad D: The paper is correct .Grad B: Look at the paper .Grad D: I didn't det I wassaying the microphone , not the paper .Professor C: Nnn ,Grad B: Oh .Professor C: it 's nGrad B: OK .Professor C: It 's always offset . Yeah .Grad B: Yes , you 'vebested me again . That 's how I think of our continuing interaction . Damn ! Foiled again !Grad D: So is Keith showing up ? He 's talking with George right now .Uh , is he gonna get a rip {disfmarker} uh {disfmarker} rip himself away from {disfmarker} from that ?Grad B: He 'll probably come later .Professor C: What{disfmarker} He - he he 's probably not , is my guess .Grad D: Oh , then it 's just gonna be the five of us ?Professor C: Yeah .Grad E: Well , he {disfmarker} hewas very affirmative in his way of saying he will be here at four . But {pause} you know , that was before he knew about that George lecture probably .ProfessorC: Right . This {disfmarker} this is not {disfmarker} It 's not bad for the project if Keith is talking to George . OK . So my suggestion is we justGrad B: Forgeahead .Professor C: Forge ahead , yeah .Grad E: Cool .Grad B: Are you in charge ?Grad E: Sure . Um . Well , I sort of had informal talks with most of you . So ,Eva just reported she 's really happy about the {pause} CBT 's being in the same order in the XML as in the um {disfmarker} be Java declaration formatGrad F:Yeah . The eGrad E: so you don't have to do too much in the style sheet transversion .Grad F: Uh , yeah . Yeah , so .Grad E: The {disfmarker} uh , Java{disfmarker} the embedded Bayes {pause} wants to take input {disfmarker} uh , uh , a Bayes - net {disfmarker} in {disfmarker} in some Java notation and Evais using the Xalan style sheet processor to convert the XML that 's output by the Java Bayes for the {disfmarker} into the , uh , E Bayes input .Grad D: Mmm.Grad F: Actually , maybe I could try , like , emailing the guy and see if he has any something already .Professor C: Sure .Grad E: Hmm .Grad F: That 'd be weird, that he has both the Java Bayes and the embedded Bayes in {disfmarker}Grad D: But that 's some sort of conversion program ?Grad F: Yeah . Yeah . And putthem into different {pause} formats . Oh {disfmarker}Grad D: I think you should demand things from him .Grad F: Yep , he could do that , too .Professor C: Hecharges so much . Right .Grad D: Yeah .Professor C: No , I think it 's a good idea that you may as well ask . Sure .Grad F: Yeah .Grad E: And , um , well {pause}pretty mu pretty much on t on the top of my list , I would have asked Keith how the \" where is X ? \" {pause} hand parse is standing . Um . {pause} But we 'llskip that . Uh , there 's good news from Johno . The generation templates are done .Grad D: So the trees {pause} for {disfmarker} the XML trees for the{disfmarker} for the gene for the synthesizer are written . So I just need to {pause} do the , uh {disfmarker} write a new set of {pause} tree combining rules .But I think those 'll be pretty similar to the old ones . So . Just gonna be {disfmarker} you know {disfmarker}Professor C: Oh ! You were gonna send me a noteabout hiring {disfmarker}Grad E: Yes .Professor C: I didn't finish the sentence but he understood it .Grad D: I know what he 's talking about .Professor C: OK .But Nancy doesn't .Grad B: Hiring somebody .Grad E: We {disfmarker} w um {disfmarker}Grad D: The guy .Grad E: OK , so {pause} natural languagegeneration {pause} produces not a {disfmarker} just a surface string that is fed into a text - to - speech but , a {pause} surface string with a syntax tree that 'sfed into a concept - to - speech .Professor C: No .Grad B: Yeah . Mm - hmm . Better .Grad E: Now and this concept - to - speech module has {pause} certainrules on how {pause} if you get the following syntactic structure , how to map this onto prosodic rules .Grad B: Mm - hmm . Sure . Mm - hmm .Grad E: And Feyhas foolheartedly agreed to rewrite uh , the German concept uh syntax - to - prosody rules {disfmarker}Grad B: I didn't know she spoke German .Grad E: No ,she doesn't .Grad B: Oh , OK .Grad E: But she speaks English .Grad B: Oh . Rewrite the German ones into English . OK , got it .Grad E: Into English . And umtherefore {pause} the , uh {disfmarker} if it 's OK that we give her a couple of more hours per week , then {pause} she 'll do that .Grad B: OK , got it .Grad D:What {pause} language is that {pause} written i Is that that Scheme thing that you showed me ?Grad E: Yeah . That 's the LISP - type scheme .Grad D: Sheknows how to program in Scheme ? I hope ?Grad E: No , I {disfmarker} My guess is {disfmarker} I {disfmarker} I asked for a commented version of that file ? Ifwe get that , then it 's {pause} doable , even without getting into it , even though the Scheme li uh , stuff is really well documented in the {pause} Festival .GradD: Well , I guess if you 're not used to functional programming , Scheme can be completely incomprehensible . Cuz , there 's no {disfmarker} Like {pause} there's lots of unnamed functionsProfessor C: Syntax . Yeah .Grad D: and {disfmarker}Grad B: Mm - hmm .Grad D: You know ?Professor C: Anyway , it {disfmarker}We 'll sort this out . Um . But anyway , send me the note and then I 'll - I 'll check with , uh , Morgan on the money . I {disfmarker} I don't anticipate anyproblem but we have to {pause} ask . Oh , so this was {disfmarker} {nonvocalsound} You know , on the generation thing , um if {comment} sh y she 's reallygoing to do that , then we should be able to get prosody as well . So it 'll say it 's nonsense with perfect intonation .Grad D: Are we gonna {disfmarker} Can wechange the voice of the {disfmarker} of the thing , because right now the voice sounds like a murderer .Grad E: Yep . We ha we have to change the voice .GradB: Wh - Which one ?Grad D: The {disfmarker} the little Smarticus {disfmarker} Smarticus sounds like a murderer .Grad B: Oh .Grad A: That 's good to know.Grad D: \" I have your reservations . \"Grad A: But I will not give them to you unless you come into my lair .Grad E: It is {disfmarker} Uh , we have the choicebetween the , uh , usual Festival voices , which I already told the SmartKom people we aren't gonna use because they 're really bad .Grad B: Festival ?ProfessorC: It 's the name of some program ,Grad B: Oh , oh . Got it . OK .Professor C: the {disfmarker} the synthesizer .Grad A: You know , the usual party voices .GradE: But , umGrad B: Yeah , I know . That doesn't sound , {vocalsound} exactly right either .Grad E: OGI has , uh , crafted a couple of diphone type voices that arereally nice and we 're going to use {pause} that . We can still , um , d agree on a gender , if we want . So we still have male or female .Grad B: I think{disfmarker} Well , let 's just pick whatever sounds best .Grad E: Hmm ?Grad B: Whatever sounds best .Grad E: Uh .Grad B: Unfortunately , probably malevoices , a bit more research on .Grad D: Does OGI stand for {disfmarker} ? {comment} Original German Institute ?Professor C: OregoGrad B: So .Professor C:OrGrad E: Oregon .Grad B: Oregon Graduate InstiProfessor C: Oregon @ @ {comment} Graduate InstituteGrad D: Oh .Grad E: Try Oregon .Grad D: Ah.Professor C: It turns out there 's the long - standing links with these guys in the speech group .Grad B: Hmm !Professor C: Very long .Grad D: Hmm !Grad E:Hmm .Professor C: In fact , there 's this guy who 's basically got a joint appointment , Hynek {pause} Hermansky . He 's - spends a fair amount of time here .Anyway . Leave it . Won't be a problem .Grad E: OK . And it 's probably also absolutely uninteresting for all of you to , um learn that as of twenty minutes ago ,David and I , per accident , uh managed to get the whole SmartKom system running on the {disfmarker} uh , ICSI Linux machines with the ICSI NT machinesthereby increasing the number of running SmartKom systems in this house from {pause} one on my laptop to three .Grad B: Mmm , that 's good .Grad D: Howwas this by accident ?Grad B: Yeah , I know . Tha - that 's the part I didn't understand .Grad E: Um , I suggested to try something that was really kind of{disfmarker} even though against better knowledge shouldn't have worked , but it worked .Grad B: Hmm !Grad E: Intuition .Grad A: Yeah .Grad B: Will it workagain ,Grad E: Maybe {disfmarker} maybe {disfmarker} maybe a bit for the AI i intuition thing .Grad B: or {disfmarker} ?Grad D: Yeah .Grad E: OK . And , um ,we 'll never found out why . It - it 's just like why {disfmarker} why the generation ma the presentation manager is now working ?Grad A: Hmm ! This issomething you ha you get used to as a programmer , right ?Grad E: WhichGrad A: You know , {comment} and it 's cool , it works out that way .Grad E: Hmm .So , {vocalsound} the {disfmarker} the people at Saarbruecken and I decided not to touch it ever again . Yeah , that would work . OK . Um {disfmarker} I wasgonna ask you where something is and what we know about that .Grad A: Where {disfmarker} OK .Grad B: Where the \" where is \" construction is .Grad A: What{disfmarker} what thing is this ?Grad E: Where is X ?Grad A: OK .Grad E: Oh , but by {disfmarker} Uh , we can ask , uh , did you get to read all four hundredwords ?Professor C: I did .Grad E: Was it OK ? Was it ?Professor C: Yeah .Grad D: I {disfmarker} I wa I was looking at it . It doesn't follow logically . It doesn't{disfmarker} The first paragraph doesn't seem to have any link to the second paragraph .Grad A: And so on .Professor C: Yeah .Grad D: Yeah .Grad E: Hmm .That {disfmarker}Professor C: You know , i Yeah , it {disfmarker}Grad D: Each paragraph is good , though . I liProfessor C: I i Yeah . Well , it it 's fine .Grad A: Itwas written by committee .Professor C: Anyway . Um . But c the meeting looks like it 's , it 's gonna be good . So . I think it 's uh {disfmarker}Grad E: Yeah .GradB: Yeah , I didn't know about it until {pause} Robert told me , like , Professor C: Yeah , I {disfmarker} I ra I ran across it in {disfmarker} I don't even knowwhere , you know {disfmarker} some just {disfmarker} some weird place . And , uh , yeah , I I 'm surprised I didn't know about itGrad B: Y yeah . Well , yeah . Iwas like , why didn't Dan tell me ?Professor C: since we know all the invited speakers , anGrad A: Right .Professor C: Right , or some Anyway . So {disfmarker}But anyway , yeah . I so I {disfmarker} I did see that . Oh wha Yeah . Before we get started on this st so I also had a nice email correspondence with Daphne"}
+{"doc_id":"doc_39","qid":"","text":"Project Manager: {vocalsound} Okay ? Good afternoon . Hope you have good lunch .User Interface: Hi .Industrial Designer: Afternoon . Yeah , we had falafel.Project Manager: Oh . Nice . And you ?User Interface: Uh , yes , I had something similar but non-vegetarian .Project Manager: {vocalsound} Okay . So today isum our third meeting . It will be about the conceptual design {vocalsound} uh . If I come back to uh the minutes of the last meetings um . We decided not to gofor speech recognition technologies because of some reasons and we are not decided about u the use of L_C_D_ screen on on the remote control because of costs. So maybe we cou wi will be able to clarify this this question to today . Uh at the end of the meeting we should take decision on that point . So I hope uh thatyour respective pr presentations uh will help us . So each of you have some presentatio presentation to perform um who starts ?Marketing: Okay , {gap} .ProjectManager: So marketing .Marketing: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} So you are {disfmarker} yousaved your y your presentation somewhere ?Marketing: Yep .Project Manager: So you're four ?Marketing: Four , yeah .Project Manager: Which is trend watch .{vocalsound} Okay . Mr Marketing Experts .Marketing: Yeah that's me .Project Manager: So {gap} {vocalsound}Marketing: {vocalsound} Uh . Well I investigatethe preference more d I investigate deeper the preference of the users . Uh so the the current investigation th uh th uh sorry the current the n current trends?User Interface: Yeah .Project Manager: Mm-hmm .Marketing: Yeah ? Okay . {vocalsound} {gap} Okay . {vocalsound} Well wha {vocalsound} what I found{disfmarker} um can you {disfmarker}Project Manager: Next slide ? Yeah .Marketing: Yeah . Thank you . What I found in order of importance from less to moreimportant is that people want an easy to use device . After they they want something new technologic technologically speaking , but the most {disfmarker} whatthey what they find more more interesting , more {disfmarker} or more important it's uh a fancy look and feel instead of uh instead of the current the currenttrend which was f the functional look and feel .Industrial Designer: {vocalsound}Marketing: So now more more cool aspect , ma more {disfmarker} a cooleraspect uh rather than a device with many functions and many buttons with {disfmarker} instead of i instead of ha of a device which can do many things , a devicewhich is pleasant to to watch , to see .Project Manager: Okay .Marketing: Uh also {disfmarker} Well {vocalsound} in in Euro in in Paris and and {vocalsound}Milan the {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: in Paris and in Paris and Milan the the currenttrend of {gap} uh of clothes , furniture and all this all this fashion it's {vocalsound} it's fruit and the the the theme is fruit and vegetables .User Interface:{vocalsound}Project Manager: Mm .Marketing: And also {vocalsound} in the in the U_S_A_ the the current {disfmarker} the mor the most popular feeling it's it'sa spongy . Spongy means eponge ?Industrial Designer: Mm-hmm .Marketing: So maybe we should we should think in in this direction , so {disfmarker}UserInterface: What what do you mean by {vocalsound} fruit and vegetables and spongy ?Marketing: {vocalsound}User Interface: What {disfmarker} you meanclotheIndustrial Designer: Spongy means it it's like spMarketing: Fruit vegetables is the the new {disfmarker} have you seen the last exposition of clothes inMilan ?User Interface: No , I missed that one .Marketing: Yeah , I I didn't miss an {vocalsound}Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: I didn't miss and I saw that the fruit , there are many fr pictures of fruits and vegetables in the clothes.User Interface: Oh , they're {disfmarker} okay so they're not like dressed as a carrot they just have like pictures of fruit on , okay .Marketing: No no , not notyet , not yet .Project Manager: {vocalsound}Marketing: Yeah , yeah .User Interface: So we're not gonna have a remote control in the shape of of a banana,Marketing: So te textu textures , yeah .User Interface: just maybe {disfmarker}Marketing: Yeah .User Interface: {vocalsound}Marketing: Vegetable texturesand all this kind .Project Manager: Drawings of bananas .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Uh {vocalsound}UserInterface: Okay and {vocalsound} {disfmarker}Project Manager: Uh-huh .Marketing: yeah , yeah .Industrial Designer: But what's your suggestion how we canhave some shape like that on the remote ?Project Manager: Well so this is in the next slide certainly .Marketing: Uh no no , it's not .Project Manager: It's not ?{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} It's {disfmarker} {vocalsound}User Interface: So which fruit are you thinking of ?Marketing:And {disfmarker} Um .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {gap} I ha I haven't thought of any particular fruit , but thegeneral aspect of the of the remote control may may {disfmarker} could remind some kind of vegetable , some kind of instead of vegetable , some natur mm uhnatural object or something .Industrial Designer: Mm-hmm .Marketing: But yeah it it depends on the {disfmarker}Project Manager: So maybe you maybe youcan display a banana on the L_C_D_ . {vocalsound}User Interface: {vocalsound} Oh , so you want the remote control to be the shape of a fruit ,Project Manager:{vocalsound} {vocalsound}User Interface: or you want just some kind of like fruit logo on the {disfmarker} {gap}Industrial Designer: Means buttons are in theshape of fruits ,Marketing: Yeah maybe the shape the shape {disfmarker}Industrial Designer: buttons are in the frape {disfmarker} shape of fruits or something ,apple , banana , something like that .Marketing: No , not n not not too much focus , not too much focu not n not too s not too similar to a fruit because next yearthe ten the trend the trend will be different .Project Manager: Apple for channel one . {vocalsound}Industrial Designer: {vocalsound} Mm-hmm . Mm-hmm.Marketing: So we shouldn't be at re really attached to to the trendUser Interface: So something that looks half like a fruit and half like an elephant .{vocalsound}Marketing: but {disfmarker} For instance , yeah . African or as an elephant ?Industrial Designer: That we can discuss afterwards {vocalsound}.Project Manager: {vocalsound} Okay .User Interface: But {disfmarker} okay ,Marketing: {vocalsound}User Interface: I'm not , I'm not really sure if uh thatwould really appeal to everyone though , maybe just to fashion gurus , like maybe just like a little bit n a little fruit picture somewhere in the corner , but I don'tknow about uh I dunno how ergonomic a , an orange is .Marketing: Well ma maybe we we should further specify what target are we focusing . I think in myopinion we should focus on on young people because they are more open to new devi new devicesUser Interface: To fruit ?Marketing: and also yeah according tothe marketing report ninety p ninety five percent of young people was {vocalsound} was was able to to buy a a n a cooler remote control .User Interface: But is ituh is fruit cool ?Marketing: What ?Project Manager: That's a question .Marketing: What ?User Interface: Is fruit cool ?Marketing: Yeah ? Uh {disfmarker} Is thenew trend of the {disfmarker}User Interface: Well I guess , you know , Apple has the iPod so , {vocalsound} imagi {vocalsound}Marketing: {vocalsound}UserInterface: just 'cause they have an apple on their on their product , doesn't mean fruit is cool . {vocalsound}Marketing: No I think we we should think about a ashape with it {disfmarker} a device with a shape of some {disfmarker}User Interface: Okay , but it has to be easy to uh to use though and to hold you know ,you don't wanna pear or a watermelon . {vocalsound}Marketing: Yeah . Don don't you think we can find uh the shape of a fruit which is handy to use ?UserInterface: Well , probably the only thing is a banana that I can think of ,Industrial Designer: Banana .User Interface: a cucumber .Industrial Designer: Mm-hmm.Project Manager: Maybe too long .User Interface: I dunno .Marketing: Or mUser Interface: Maybe . Too green .Marketing: Maybe . {vocalsound}ProjectManager: {vocalsound}User Interface: So , but I mean you also have to {disfmarker} you have to also have , fit r all the buttons and {disfmarker} you know.Project Manager: A banana .Marketing: Um {disfmarker}User Interface: It's , it {disfmarker}Marketing: Yeah .User Interface: The thing is you have t normallywith um with buttons , they have to be at some point attached to a circuit board so if you're gonna have things like {gap} on a cylindrical kind of device it may bedifficult to kind of to build .Project Manager: {vocalsound} {vocalsound}Industrial Designer: I don't th it will be rolling a lot .Marketing: Yeah but I li I like youridea that we shouldn't have a lot of buttons b buttons soProject Manager: Okay . Yeah and you you you will not have pla enough {disfmarker} a lot of place to puta L_C_D_ on a banana also .User Interface: Yeah .Marketing: Uh do you want a an L_C_D_ with twenty five Euros ? {vocalsound}Project Manager: {vocalsound}Well , you're the Marketing Expert you should tell us if it is too much or not .User Interface: Well , this is {disfmarker}Marketing: I think {disfmarker} Well ,according to the to the report people are more interested in in a fa fancy look and feel and in a technological inno in innovation ,Project Manager:{vocalsound}Marketing: so , I will give more importance to the look and feel than {disfmarker} rather than theProject Manager: {vocalsound} So {disfmarker}So you you you suggest to go fMarketing: new inputs and also it's {disfmarker} I'm not convinced about this L_C_D_ because you need uh internet connection ,you need more things , it's not just buying a new control re remote , you need {disfmarker} buying control remote , buying uhProject Manager: Okay .{vocalsound} S so you're simplyMarketing: more things . It's not so simple .Project Manager: you're simply looking s to a remote control that looks like a bananawith few buttons {disfmarker} with only a few buttons .Marketing: For instance , yeah . Yeah for for for {disfmarker} given an an example yeah .{vocalsound}Project Manager: Okay good . So maybe you can go ahead ?Marketing: Yeah no , it's what I already said .Project Manager: Okay . {vocalsound}Thanks . Um . Okay , I'll give the floor . So you are User Interface guy . So you're three ?User Interface: Okay . Yeah .Project Manager: And it's this one .UserInterface: Yep .Project Manager: Go for it .User Interface: {vocalsound} Yep . Okay . So . S next uh slide . Okay . So I received an email um around lunchtimeletting me know that the brilliant minds at our technology division had developed an integrated programmable sample sensor sample speaker unit , um which is away for you to have a conversation with your coffee machine and or remote control {vocalsound} .Industrial Designer: But it's just a speaker right ?UserInterface: It's {disfmarker} no , what it is , it's it's very {disfmarker}Industrial Designer: It's not a microphone .User Interface: It has a has a microphone , has a"}
+{"doc_id":"doc_40","qid":"","text":"Project Manager: So we are here to talk about functional design . Now hopefully we've all got a better idea from {vocalsound} {disfmarker} than we did f leavingthe last meeting as to what it is we are up to now . So here's an agenda . Uh I'll open . Um you should know that I'll be taking minutes during all the meetings ,as I was struggling to our last time uh and that'll be easier for me now because I'm not actually giving the whole presentation . Uh the additional points are justthe stuff that we sent and that I forwarded on from upper management having a few bright ideas to make our lives painful .Industrial Designer: {vocalsound}{vocalsound}Project Manager: Um {vocalsound} now {vocalsound} you can all give your presentations . We can talk about the requirements and hopefully cometo some decisions . {vocalsound} Right , forty minutes for this meeting , so a bit more time than the last one . Here's the additional points I just wanted to putthose in there to see if you guys had any comments on them . Uh did you all receive that email ?User Interface: Yep .Marketing: Yeah .Project Manager: So doesanyone have any overall {gap}Marketing: Well {vocalsound} uh what comes up for me is that if we're gonna if we're gonna be marketing a product that is goingto be uh having {vocalsound} no teletext , people are very comfortable {vocalsound} with {vocalsound} the idea of having teletext and using teletext , and sowe're not {disfmarker} we're gonna be a new product without something that people are very comfortable having right now .Project Manager: Mm . Mm . Yep.Marketing: So that's , from a marketing perspective I I see I see a lack .Project Manager: Mm .Marketing: And so we have to go , I think , in the other direction .What are we gonna have that makes this thing better than {disfmarker}Project Manager: Well tha that first point could uh also be an op opportunity because inseeing that teletext is becoming outdated , some sort remote control that can work with the Internet {disfmarker} {vocalsound} there is the opportunity that'spresented , I guess .Marketing: {vocalsound} Right . Yeah . No , I I agree with you .Project Manager: Okay .Marketing: So what I'm talking about is I see thatone side we're eliminating something so we have to come up with another side which is , what are we gonna be targeting our market uh that {vocalsound}identifies our product as better than {disfmarker} because it doesn't have teletext it has ta-ta-ta-ta-ta .Project Manager: Okay .Marketing: So that's that's thatwas my reactions .Project Manager: Yeah . but but we are sort of being dictated that this should only be for the television .Marketing: Yeah yeah .ProjectManager: So we're quite fixed . So we're really probably , in terms of marketing , are looking for that's uh that's a cost winner rather than a fantastic new featureproduct .Marketing: Yep .Industrial Designer: {vocalsound} Yeah bu but we we're designing only the remote ,Project Manager: Yeah .Marketing: Okay .IndustrialDesigner: we not design the T_V_ .Project Manager: Hmm .Industrial Designer: So uh we're gonna be removing the teletext out of any T_V_ that we{disfmarker} people use our remote with .Marketing: Yeah . 'Kay .Project Manager: Hmm .Marketing: That's right .Industrial Designer: So it's kind of a stupiddecision .Marketing: I think we take with you .Project Manager: But there's also the potential for mark there's a market here for our lost teletext .User Interface:Right .Project Manager: For example someone that just goes to the shop that wants a replacement {disfmarker} wants it as {vocalsound} cheap as possible .Twenty-five Euros is the selling price , we really have to innovate here I guess .Marketing: That's what I'm that's what I'm talking about is is that we have to findsomething that is gonna be very attractive about this product 'cause somebody , some people are gonna be hap unhappy 'cause it took {disfmarker} they can'tac access their teletext .Project Manager: Mm .Marketing: Okay . 'Cause we're talking about {vocalsound} eighty percent or ninety percent or ninety-five percentof the televisions out there are are teletext .Project Manager: K yeah .Marketing: So so it's it's not that I'm criticizing the product at all . It's just when weeliminate that then what do we bring ? What are we bringing in to take the place of this ,Project Manager: Mm 'kay .Marketing: and we have to d {disfmarker} inmy opinion we have to double up .Industrial Designer: {vocalsound}Marketing: If we lose one we need to bring two or three .Project Manager: Okay . Okay Ithink that the {vocalsound} last point is probably quite uh straightforward . Obviously the the {disfmarker} w it has to be branded . 'Kay .Industrial Designer: Sothen the double R_ will be our our {disfmarker}Project Manager: On the product yeah . Can you handle that black and yellow ?User Interface: I think one of{disfmarker}Industrial Designer: I tho I tho I thou I think Rol Ro Rolls-Royce might mind , but don't worry .User Interface: I think w , yeah , one of the thingsthat we should also keep in mind um when we're doing this {disfmarker} I mean our company's slogan is we put the fashion in electronics , right . So I think ourkind of {disfmarker} our target here is to {vocalsound} have some kind of very like sleek {vocalsound} nice look remote and we want it to be functional as well ,but I think one of the main selling points is that we don't want it to be clunky like like this thing here .Project Manager: Mm .User Interface: You know we don'twanna a big clunker . We want something that looks nice and it's fashionable and so {disfmarker}Marketing: So you have this ?Project Manager: Nah . So wehave three presentations , and I think we'll go in order of participant number here . So we can have a look at the working design first from participant two . That's{disfmarker} {gap} Okay .Industrial Designer: Yes .User Interface: That's fine . Okay soProject Manager: Mm it's enough . But uh click it on off ?User Interface:so you all know me , I'm the Industrial Designer . And we've some basic components that um our remote is gonna need , just basically every remote'll need 'em.Industrial Designer: {vocalsound}User Interface: We need some kinda of power d power source . Um we have to decide on our our user interface , which is hisdepartment , but the in user interface is also a major component . Um we need a programmable digital signal processor to um to take the input from the user andtranslate that into uh into electronic signal , which we pass to the infra-red L_E_D_ , which you aim at the television uh which {disfmarker} and it receives thatsignal . You need a on-off switch um I don't know how that got in there . And uh we also need to um have the {vocalsound} {disfmarker} if we want a universalremote we need to have encryption codes for the different makes of T_V_s . So we need to know all the different you know all the different signals and so that'llrequire some memory as well . Um so here's just a basic layout of how how the remote would work . You ha the v the power source is in the upper right-handcorner there , and you can see that uh we have the user interface here which is connected to the chip which does all our signal processing , and then passes thatsignal on to the infra-red L_E_D_ and that signal is then emitted and received by the television at the photo-transistor . So {vocalsound} those are the basiccomponents that need to go into this and everything else is pretty much uh open to move around .Marketing: Now is {disfmarker} would this be {vocalsound}considered just a standard uh um {disfmarker}User Interface: I think any desMarketing: This is not this is not cutting edge technology we're talking here .UserInterface: No .Marketing: We're talking about existing technology .User Interface: Right I think {disfmarker}Marketing: Nothing is being modified or upgraded ornew discoveries .User Interface: Yeah this is just {disfmarker} this is just a basic layout of ev {vocalsound} of all the components that w w are gonna beabsolutely necessary f to have a working remote . We can add things in like if we wanted some voice recognition , I mean that {vocalsound} I mean{vocalsound} that you can kinda say would {vocalsound} would fall under the user interface and the digital signal processing chip .Marketing: Okay . Okay.Project Manager: Do we have an idea of costs of different components ?User Interface: Um well the most the most costly components are gonna be the chip andthe uh th it could als basically the user interface and the casing are gonna be expensive as well .Project Manager: 'Kay .User Interface: Um the L_E_D_ and thethe transistors and everything else are you know they're they're pretty cheap . So depending on what we want our functionality to be , um the chip could beexpensive or it could be cheap .Project Manager: Mm 'kay .User Interface: Um depending on the n amount of memory we need in there and stuff like that and hand h {vocalsound} you know how much power .Project Manager: Do we have any ballpark figures for that yet ? No .User Interface: Uh I don't have any figuresright now .Project Manager: 'Kay .User Interface: We uh we have to wait until we get to a more specific design phase for that .Project Manager: Yeah .UserInterface: Um but {disfmarker} and I think a significant part of the cost could be the actual the actual casing itself and and you know the the b the buttons andthings like that , I think .Marketing: N okay . Mm . Mm the shell ?User Interface: Yeah . Basically yeah .Marketing: Okay .Project Manager: Okay .User Interface:So yeah . That's all I have really .Project Manager: Okay . Thanks . And we have participant three , which I believe is Pedro .Industrial Designer: {vocalsound} I{disfmarker}Project Manager: I can give you that to click on .Industrial Designer: Hey mouse .Marketing: {vocalsound}Industrial Designer: Open .{vocalsound}Project Manager: And you wanna get {disfmarker}Industrial Designer: When we're fighting over it's also more {disfmarker} lot more fun .{vocalsound}Project Manager: View a slide show , that's what you wanna do , yeah ? Just go up to view .User Interface: Click , don't {disfmarker} Yeah.Industrial Designer: Uh .Project Manager: Mm 'kayIndustrial Designer: This doesn't work . {vocalsound} So yeah function design . Um you guys know me , Pedro, and um what I found is we want to do fashion and I think , honestly , we should keep technology low and just simple basically and try to aim for design . Ifbasically a case will will cost the same if it looks good or bad so we ma we have to make it look good . Um something cute and small . The big chunky remotes aredied in the eighties . So we should just go for something that people will like to actually look at .Project Manager: {vocalsound}Industrial Designer: And umalthough mo most people will buy s televisions and everything for uh {disfmarker} that have loads of loads of little functions and everything and they mostly endup using simple functions and little things and most the people won't won't get too mad of actually having to go the {disfmarker} to the s to the television to , forinstance , tune in their {disfmarker} the stations . There's no need to have that in the remote . So um um as for what I would recommend for uh the the interfacedesign , and uh I will change the colours on the on the logo , but {vocalsound} um we should go for the user-oriented device , so simple controls and good"}
+{"doc_id":"doc_41","qid":"","text":"Grad E: As usual .Grad B: Yes . Whew ! I almost forgot {pause} about the meeting . I woke up twenty minutes ago , thinking , what did I forget ?Grad D: It 'sgreat how the br brain sort of does that .Grad E: Something 's not right here .Grad B: Internal alarms .Grad D: OK . So the news for me is A , my forthcomingtravel plansGrad B: Yes .Grad D: in two weeks from today ? Yeah ? More or less ? I 'll be off to Sicily and Germany for a couple , three days .Grad B: Now whatare y what are you doing there ? I forgot ?Grad D: OK , I 'm flying to Sicily basically to drop off Simon there with his grandparents . And then I 'm flying toGermany t to go to a MOKU - Treffen which is the meeting of all the module - responsible people in SmartKom ,Grad B: Mmm .Grad D: and , represent ICI andmyself I guess there . And um . That 's the mmm actual reason . And then I 'm also going up to EML for a day , and then I 'm going to {vocalsound} meet thevery big boss , Wolfgang Walster , in Saarbruecken and the System system integration people in Kaiserslautern and then I 'm flying back via Sicily pick up my soncome back here on the fourth of July . And uh .Grad E: What a great time to be coming back to theGrad B: God bless America .Grad E: You 'll see maybe{disfmarker} see the fireworks from your plane coming in .Grad D: And I 'm sure all the {disfmarker} the people at the airport will be happy to work on that day.Grad E: Yeah . You 'll get even better service than usual .Grad B: Wait , aren't you flying on Lufthansa though ?Grad D: Mm - hmm . Alitalia .Grad B: Oh . Wellthen the {disfmarker} you know , it 's not a big deal . Once you get to the United States it 'll be a problem , butGrad D: Yeah . And um , that 's that bit of news ,and the other bit of news is we had {disfmarker} you know , uh , I was visited by my German project manager who A , did like what we did {disfmarker} whatwe 're doing here , and B , is planning to come here either three weeks in July or three weeks in August , to actually work .Grad B: On {disfmarker} ?Grad D:With us .Grad B: Oh .Grad D: And we sat around and we talked and he came up {disfmarker} we came up {disfmarker} with a pretty strange idea . And that 'swhat I 'm gonna lay on you now . And um , maybe it might be ultimately the most interesting thing for Eva because she has been known to complain about thefact that the stuff we do here is not weird enough .Grad C: OK .Grad D: So this is so weird it should even make you happy .Grad C: Uh . {comment} OK .Grad E:Oh great .Grad D: Imagine if you will , {vocalsound} that we have a system that does all that understanding that we want it to do based on utterances .Grad B:Mm - hmm .Grad D: It should be possible to make that system produce questions . So if you have the knowledge of how to interpret \" where is X ? \" under givenconditions , situational , user , discourse and ontological {vocalsound} conditions , you should also be able to make that same system ask \" where is X ? \"Grad E:Mm - hmm .Grad D: in a sper certain way , based on certain intentions . So in instead of just being able to observe phenomenon , um , and , guess the intentionwe might be able just to sort of give it an intention , and make it produce an utterance .Grad E: Hmm .Grad B: Well , like in AI they generally do the take in , andthen they also do the generation phase , like Nancy 's thing . Or uh , you remember , in the {disfmarker} the hand thing in one - eighty - two , like not only was itable to recognize but it was also to generate based upon situations . You mean that sort of thing ?Grad D: Absolutely .Grad B: OK .Grad D: And once you 've donethat what we can do is have the system ask itself . And answer , understand the answer , ask something else , and enter a dialogue with itself . So the{disfmarker} the ba basic {disfmarker} the same idea as having two chess computers play against each other .Grad E: Except this smacks a little bit more of aschizophrenic computer than AI .Grad D: Yeah you c if you want , you can have two parallel {vocalsound} machines um , asking each other . What would thatgive us ? Would A be something completely weird and strange , and B , i if you look at all the factors , we will never observe people let 's say , in wheelchairsunder {disfmarker} you know , in {disfmarker} under all conditions ,Grad E: That 's good .Grad D: you know , when they say \" X \" , and there is a ride at thegoal , and the parking is good , we can never collect enough data . It 's {disfmarker} it 's {disfmarker} it 's not possible .Grad E: Mm - hmm . Right , right .GradD: But maybe one could do some learning . If you get the system to speak to itself , you may find n break downs and errors and you may be able to learn . Andmake it more robust , maybe learn new things . And um , so there 's no {disfmarker} no end of potential things one could get out of it , if that works . And hewould like to actually work on that with us .Grad B: Well then , he probably should be coming back a year {pause} from now .Grad D: So Yeah , I w See the{disfmarker} the generation bit , making the system generate {disfmarker} generate something , {comment} is {disfmarker} shouldn't be too hard .Grad B:Well , once the system understands things .Grad E: Yeah . No problem .Grad B: I just don't think {disfmarker} I think we 're probably a year away from gettingthe system to understand things .Grad D: Yeah . Well , if we can get it to understand one thing , like our \" where is \" run through we can also , maybe , e make itsay , or ask \" where is X ? \" Or not .Grad E: Mmm , I don't know . e I 'm sort of {disfmarker} have the impression that getting it to say the right thing in the rightcircumstances is much more difficult than getting it to understand something given the circumstances and so on , you know , I mean just cuz it 's sort of harderto learn to speak correctly in a foreign language , rather than learning to understand it . Right ? I meanGrad D: Grad E: just the fact that we 'll get {disfmarker}The point is that getting it to understand one construction doesn't mean that it will n always know exactly when it 's correct to use that construction . Right ?GradD: It 's {disfmarker} it 's uh {disfmarker} Well , I 've {disfmarker} I 've done generation and language production research for fo four {disfmarker} four and ahalf years . And so it 's {disfmarker} it 's {disfmarker} you 're right , it 's not the same as the understanding . It 's in some ways easier and some ways harder .nuh ?Grad E: Yeah .Grad D: But , um , I think it 'd be fun to look at it , or into that question .Grad E: Nnn , yeah .Grad D: It 's a pretty strange idea . And so that's {disfmarker} that 's {disfmarker} But {disfmarker}Grad B: The basic idea I guess would be to give {disfmarker} allow the system to have intentions , basically? Cuz that 's basically what needs to be added to the system for it .Grad D: Well , look at th eee , I think even {disfmarker} think even {disfmarker} What it{disfmarker} would be the {disfmarker} the prior intention . So let 's uh {disfmarker} uh , let 's say we have this {disfmarker}Grad B: Well we 'd have to seedthat , I mean .Grad D: No . Let 's {disfmarker} we have to {disfmarker} we have some {disfmarker} some top - down processing , given certain setting . OK ,now we change nothing , and just say ask something . Right ?Grad B: Grad D: What would it ask ?Grad B: It wouldn't know what to ask . I mean .Grad D: ItshurGrad B: Unless it was in a situation . We 'd have to set up a situation where , it didn't know where something was and it wanted to go there .Grad D: Yeah!Grad C: Mm - hmm .Grad D: Yeah .Grad B: Which means that we 'd need to set up an intention inside of the system . Right ? Which is basically , \" I don't knowwhere something is and I need to go there \" .Grad D: Eh , nGrad E: Yeah .Grad D: Ooh , do we really need to do that ? Because ,Grad B: Well , no I guess not .ExcelGrad D: s It 's {disfmarker} i I know it 's {disfmarker} it 's strange , but look at it {disfmarker} look at our Bayes - net . If we don't have {disfmarker} Let's assume we don't have any input from the language . Right ? So there 's also nothing we could query the ontology , but we have a certain user setting . If youjust ask , what is the likelihood of that person wanting to enter some {disfmarker} something , it 'll give you an answer .Grad B: Sure .Grad D: Right ? That 'sjust how they are . And so , @ @ whatever that is , it 's the generic default intention . That it would find out . Which is , wanting to know where something is ,maybe nnn {disfmarker} and wanting {disfmarker} I don't know what it 's gonna be , but there 's gonna be something thatGrad E: Well you 're not gonna{disfmarker} are you gonna get a variety of intentions out of that then ? I mean , you 're just talking about like given this user , what 's the th what is it{disfmarker} what is that user most likely to want to do ?Grad D: Well you can observe some user and context stuff and ask , what 's the posterior probabilitiesof all of our decision nodes .Grad E: And , have it talk about {disfmarker} OK .Grad D: You could even say , \" let 's take all the priors , let 's observe nothing \" ,and query all the posterior probabilities . It - it 's gonna tell us something . Right ?Grad B: Well , it will d r assign values to all the nodes . Yes .Grad D: And{disfmarker} Yes . And come up with posterior probabilities for all the values of the decision nodes . Which , if we have an algorithm that filters out whatever the{disfmarker} the best or the most consistent answer out of that , will give us the intention ex nihilo . And that is exactly what would happen if we ask it toproduce an utterance , it would be b based on that extension , ex nihilo , which we don't know what it is , but it 's there . So we wouldn't even have to{disfmarker} t to kick start it by giving it a certain intention or observing anything on the decision node . And whatever that {disfmarker} maybe that would leadto \" what is the castle ? \" ,Grad B: I 'm just {disfmarker}Grad D: or \" what is that whatever \" .Grad B: I guess what I 'm afraid of is if we don't , you know , set upa {pause} situation , {comment} we 'll just get a bunch of garbage out , like you know , everything 's exactly thirty percent .Grad D: No {disfmarker}Grad C:Mmm .Grad D: Yeah . So what we actually then need to do is {disfmarker} is write a little script that changes all the settings , you know , go goes through all thepermutations , which is {disfmarker} we did a {disfmarker} didn't we calculate that once ?Grad B: Well that was {disfmarker} that was absurdly low , in the lastmeeting ,Grad D: It 's a {disfmarker}Grad C: Uh ,Grad B: cuz I went and looked at it cuz I was thinking , that could not be right , and it would {disfmarker} itwas on the order of twenty output nodes and something like twenty {disfmarker}Grad C: And like thirty input nodesGrad B: thirty input nodes .Grad C: or some{disfmarker}Grad B: So to test every output node , uh , would at least {disfmarker} Let 's see , so it would be two to the thirty for every output node ? Which isvery th very large .Grad D: Oh ! That 's nGrad E: Oh .Grad D: that 's {disfmarker} that 's nothing for those neural guys . I mean , they train for millions andmillions of epochs .Grad B: Well , I 'm talking aboutGrad D: So .Grad B: Oh , I was gonna take a drink of my water . I 'm talking about billions and billions andbillions and a number {disfmarker} two to the thirty is like a Bhaskara said , we had calculated out and Bhaskara believes that it 's larger than the number of"}
+{"doc_id":"doc_42","qid":"","text":"Project Manager: Wait for the marketing director actually , so . Anyways . Uh . See , shall we wait ? I'm not sure if he's late or delayed or whatever , so I'm gonnastart soon , we have now {disfmarker} don't have much time anyway .User Interface: Oh , there he is .Industrial Designer: Okay ,Marketing: Yes .ProjectManager: There you are ,Industrial Designer: we {disfmarker}Marketing: Sorry ,Project Manager: okay .Marketing: a little bit of pl little problem with computer.Project Manager: Uh no problem . We're about to start , so have a seat . Okay , welcome again .Marketing: {vocalsound} {gap} .Project Manager: Today ,functional design phase . I'll take you over the minutes of last last meeting . Okay , that was just to get to know each other ,Marketing: Uh .Project Manager:have a little thoughts on what your vision is and {disfmarker} on this project , so {disfmarker} I put the minutes on the {disfmarker} I made on the on the p thethe project share , so if you wanna review them , they're there . I will do so after every meeting , so if you have some information you wanna take back you canfind it there . Anyways , um today three presentations , from every one of you . Um after that I got some new project requirements from project board , so we'regonna go af go after {disfmarker} over this later . But I wanna start with uh stuff you did first , so we can see what everybody came up with . And after that wecan have the new requirements and share some thoughts , so . Who would like {disfmarker} wanna go first ?Marketing: Yeah , sure , no problem .ProjectManager: Take it .User Interface: Go ahead .Marketing: Um there was a little problem with my computer so not uh the whole uh presentation uh{disfmarker}Project Manager: {vocalsound} Anyway , let's see what you have .Marketing: Yeah . Um {disfmarker} Okay ,Project Manager: Uh it's still a bit open.Marketing: I want to open the my s oh no .Project Manager: You should close it on your own notebook , I guess . Yeah . So there ?Marketing: Oh no ,ProjectManager: Okay .Marketing: that's okay . Uh slide show . Yes . The functional requirements , it's uh {vocalsound} uh very important for uh the user , he he wantsto {disfmarker} yeah . The the method we used uh it it's not m not a slide , because it went wrong , but the method we use uh , um {vocalsound} we tested it wuh with uh a hundred uh men , and we asked them to w uh what the remote uh f feel uh like and uh what what's uh important . Uh {disfmarker}Project Manager:If I can cut in , is it people or men ? {vocalsound}Marketing: People ,Project Manager: Is it people , okay .Marketing: sorry .Project Manager: 'Cause I thought itwas only men ,Marketing: Both women and men ,Project Manager: so {disfmarker}Marketing: yeah .Project Manager: 'Kay .Marketing: Okay . Uh the findings umuh {vocalsound} seventy five percent of the users find most remote controls ugly . Um {disfmarker}User Interface: That's pretty shocking uh .{vocalsound}Project Manager: So we have to s we have to do something about that .Marketing: Yeah , and {disfmarker} yeah , most th th they want to spendmoney for a better system , for better remote control , so we can do uh a l a little uh nice things with it , and um they use {disfmarker} yeah , they use zap a lot ,um uh fifty percent say they only {disfmarker} So that's the most important things .Project Manager: Okay .Marketing: Um {disfmarker} oh yeah , not all of it isit on mine on my PowerPoint presentation ,Project Manager: Okay , just talk ahead .Marketing: but um uh the relevant buttons are the power , the channelselection and the volume selection .Project Manager: Mm-hmm .Marketing: It's uh the most basic buttons that a user wants uh {vocalsound} to use . Uh lessimportant is tel teletext ,Project Manager: Mm-hmm . {vocalsound}Marketing: uh um they use it , but it's not uh very uh important uh on the scale of zero to tenthey six and a half uhProject Manager: Okay , that's okay .User Interface: {vocalsound}Marketing: and {disfmarker} but not important is the channel selection ,the the {vocalsound} {disfmarker} hmm ?Project Manager: That's a little weird .Marketing: Oh , {vocalsound}User Interface: {vocalsound} Which channelselection ?Marketing: the the {disfmarker} no no no no no , that's very important , but uh w and not important in the audio settings , display settingsProjectManager: Okay ,Marketing: and uh {disfmarker}Project Manager: we can we can hide those under a menu or something ,User Interface: Oh , okay .Marketing:Yeah .Project Manager: okay .Marketing: {vocalsound} Um new preferences preferences . Uh um um beep to find your control , was {disfmarker}ProjectManager: That's like a button on your T_V_ ?Marketing: that was {gap} in the test , the the most people uh f find it uh irritating uh when they cannot find a remtheir remote control ,Project Manager: Remote , okay .Industrial Designer: Mm .Marketing: so uh I think it's a bee beep to sound it and uh you can find it . Andanother thing uh they want was uh speech recognition um so they can say uh what they want to {disfmarker} let's go to channel one and uh that's uh kind ofthings .Project Manager: Okay .Marketing: And they want maybe an uh L_C_D_ screen um to to look it um wh what's on every channel uh and uh what do I wantwith it ?User Interface: {vocalsound}Project Manager: We wanna have a little preview on the remote control . Preview what's on the channel .Marketing:{vocalsound} Yeah .Project Manager: Okay .User Interface: Is that manageable ? 'Cause it sounds pretty expensive too .Project Manager: That sounds too{disfmarker}Marketing: Yeah .Project Manager: It's possible , but uh I think it's expensive , but do continue .User Interface: Okay .Marketing: Yeah . Um{disfmarker} Uh my personal preferences is uh a button for my favourite channel , so I can uh I dunno , so I can zap to my uh f uh quick uh to my favouritechannel wh what I uh {disfmarker} so , the remote mu must see or um must um {vocalsound} see wha what mine preferences are for which channel ,ProjectManager: Okay , you don't set it yourself ,Marketing: so I can zap t to {disfmarker}Project Manager: it just remembers the channel that you are on most , forexample .Marketing: What ?Project Manager: You want the {disfmarker} you want it to be programmed , for example y programmed fMarketing: Yeah .ProjectManager: or you want it to recognise your favourite channel ?Marketing: Yeah .Project Manager: Let's see , you you spend twenty minutes each day on thatchannel ,Marketing: Recognise {disfmarker}Project Manager: so it recognises your favourite channel .Marketing: Yeah . Yeah , that's uh what my personalpreference like .Project Manager: Okay , so it's it it does {disfmarker} it recognise itself , you don't have to set it {disfmarker}Marketing: No ,Project Manager:Okay .Marketing: itself . Maybe it's easier to {vocalsound} to sell it , but {disfmarker}Project Manager: Okay .Marketing: I don't know it's manageable , but wewill uh we will see .Project Manager: I see .Marketing: Yeah , it's a little bit uh it's the end of it .Project Manager: Okay .Marketing: It's a little bit uh I lost it ,UserInterface: Okay .Marketing: the computer uh crashed ,Project Manager: {vocalsound} No problem , it's it's okay ,Marketing: so .Project Manager: that's{disfmarker} Yeah , go ahead .User Interface: Shall I go ? Okay .Marketing: Yeah .User Interface: So , some technical functions .Marketing: Darn computer .UserInterface: Basically I have some issues which you discussed earlier . Uh let's just start with the method .Marketing: Yeah .User Interface: {vocalsound} It soundsreally easy , what does the user do , what does the th remote control do , but there are quite some issues . So the things I'm going to concentrate on are the useraspect , because the technical aspect , that's pretty much covered . We can do that . What goes wrong {vocalsound} at the user . Gets the remote control .Where is the remote control ? We've all had it once , I want to watch some television ,Marketing: Yeah .User Interface: where's the remote control ? That was oneof your ideas which you posted in the network folder ,Marketing: Yeah .Project Manager: That seems very good .User Interface: a really good idea . Uh these arejust the issues . I come to some uh personal experience , findings , possible solutions later . Searches for the button . There are many buttons on a remotecontrol which are not clear . Uh so either we lose those or we try to make it a little bit more clear .Project Manager: Mm-hmm .User Interface: Uh also symbolstend to fade after a while .Marketing: Mm uh .User Interface: There's nothing more annoying than faded symbols , because you don't know which channel is thisbutton , so possibly we could find uh something for that ,Project Manager: Okay , so have it more {disfmarker} make it more durable actually . Okay .UserInterface: yes . Uh covered that . Oh yes , user presses the button . Um usually when you have a lot of buttons , buttons are small . So you press more onceremote control goes kablouey or something like that ,Project Manager: Okay , so the buttons should be {disfmarker}User Interface: so we have to pay attentionnot to put too mun too many buttons on uh the remote control . {vocalsound}Project Manager: Mm-hmm . Yeah .User Interface: And possibly also the size , somore important buttons , biggerProject Manager: Wow . The s Yeah . Make it {disfmarker} make them bigger .User Interface: siProject Manager: Even moredurable uh .User Interface: So this is basically what I h had in mind in the {disfmarker} fade-proof symbols , locator , a sound , uh so clear we should stick toexisting symbols , but maybe we could do a little uh investigation to see whether some symbols are uh {disfmarker} need to be replaced by others . Uh{disfmarker}Project Manager: Okay .User Interface: This I pretty much covered . {vocalsound} So what we want to go to is not this one ,Project Manager: Yeah ,it's true .User Interface: but more {disfmarker} less buttons , easy , some bigger buttons .Marketing: Yeah .User Interface: that's basically uh what I had in mind. SoProject Manager: Yeah , that's clear .User Interface: This is not the final design ,Project Manager: No , of course uh {disfmarker}User Interface: this is just ageneral idea of how I'd like to see uh basically the general idea .Project Manager: Yeah . I must say that it {disfmarker} Hmm .User Interface: {vocalsound} Sothat was it .Project Manager: That was it . Okay , that was good . So we agree on the the part that we need to get something on the on the remote to find itsomewhere and increase it {disfmarker} the durability of of the thing ,User Interface: Yeah , I think it's a really good idea .Project Manager: so {disfmarker}UserInterface: Yeah .Project Manager: The other aspects , we'll just see how {disfmarker} what you came up with and what's possible for that budget .User Interface:Yeah .Project Manager: Okay .Industrial Designer: Okay , that's fine . Um . Okay , now work a little with me . Okay . Well ,Project Manager:{vocalsound}Industrial Designer: let's start it as it is . Okay , uh the method . There are a few questions that need to be answered , uh you already uh talkedabout it a little bit . Which buttons are wanted , uh is our remote control universal or should it be programmable . Uh if it should be programmeab grammeale"}
+{"doc_id":"doc_43","qid":"","text":"Marketing: Did you get my email with the slides ? Ah . Tricky .Industrial Designer: I guess I have to change the pen otherwise . Will be completely different.Marketing: Dunno . Maybe they're supposed {disfmarker} the pen's supposed to go over the seats . Might be seat floor rather than person . Yeah , put it back.Industrial Designer: Yeah . And do you think {vocalsound} it's {gap} .Marketing: Yep {vocalsound} . Yeah .Project Manager: {vocalsound} Okay .Marketing:Jo's making faces at me . {vocalsound}Industrial Designer: Yeah .Project Manager: So . Matthew is uh late again .Marketing: Mm-hmm .Project Manager:{vocalsound} Probably an important man . Um . So well it is important for him to be here uh .Industrial Designer: {vocalsound} Yeah .Project Manager: He he he{disfmarker}Industrial Designer: So what can you {disfmarker} {gap} ?Project Manager: You did work together didn't you ?Industrial Designer: Yeah we will{disfmarker} yeah , so I will be able to to summarize uh our meeting ,Project Manager: Yes .Industrial Designer: but still I think uh it would be in very importantif the uh as um main designer . I think we can put on the {gap} here .Project Manager: Yes . Yes .Industrial Designer: Uh basically w yeah we we designed thetwo uh items .Project Manager: Mm . Um yesIndustrial Designer: Um , can we have a phone ,Project Manager: but w we {disfmarker} {vocalsound}{vocalsound}Industrial Designer: can someone {disfmarker}Project Manager: Yes , maybe we should phone him . Um well {disfmarker} Um ,Industrial Designer:it's really w well designed {vocalsound} .Marketing: Mm . Mm , object tracking . {vocalsound}Project Manager: when he is not here we will just we just have tocontinue . Um so just for record I I will take uh notes again .Industrial Designer: Yeah .Marketing: Okay .Project Manager: And um well {vocalsound} first thinguh I was uh uh I got an email from uh from my superior again that we really should stay within the budget of the uh twelve Euro and fifty cents .IndustrialDesigner: 'Kay .Project Manager: when you stay in it's good , when you don't stay in you have to redesign . There is no {vocalsound} uh no negotiation uh{vocalsound} possible in this matter . So we have to consider that . {vocalsound} Good .Industrial Designer: Yep .Project Manager: Um so maybe Anna , you canhave your presentation .Marketing: Well we can't {disfmarker} no {disfmarker} we can't do evaluation 'til we have a design .Project Manager: Okay Matthew .Nice uh you are here .Industrial Designer: Great .Project Manager: Great . Great . Oh ma maybe then you can start now with mm presenting your uh yourdesigns .Industrial Designer: Yep . So I will start by the the basic one that uh fits into uh eight Euros actually , right , seven eight Euros ,Marketing: Mm-hmm.Industrial Designer: and uh well first for both they have um a special shape , maybe the designer can uh explain better than me , but uh it's like a surf board.Marketing: Mm 'kay .Industrial Designer: And you you are supposed to surf to browse to surf T_V_ , maybe the web , and uh it's kind of interesting shapebecause um unconsciously people want to s to surf {vocalsound} when they see this stuff .Marketing: {vocalsound}Project Manager: {vocalsound}UserInterface: {vocalsound}Project Manager: {vocalsound}User Interface: Or browse .Industrial Designer: And also it's not too far from um a mobile .Marketing:Mm-hmm .Project Manager: Mm .Industrial Designer: So people are used to that kind of shape ,User Interface: Mm .Marketing: Mm-hmm .Industrial Designer:right . Don't take care too much about the colour because w yeah we don't take {disfmarker}User Interface: Now we are supposed to give some oper offers rightnow .Industrial Designer: yeah . So here would be basically the the the infrared uh uh ledMarketing: {vocalsound} Mm-hmm .Project Manager: Eye .UserInterface: {vocalsound} I {disfmarker} yeah .Industrial Designer: yeah L_A_ L_A_ L_E_D_ ,User Interface: L_E_D_ .Industrial Designer: the on-off button , inred .Marketing: Mm-hmm .Industrial Designer: Here would be the volume . On the on the left ,Marketing: Oh yeah .Project Manager: Uh-huh .IndustrialDesigner: okay , so {gap}User Interface: Mm-hmm , hmm .Project Manager: Yes .Industrial Designer: easy to turn on t and off . And um so this is a very cheapversion so there are {disfmarker} maybe you can carry on uh Matthew .User Interface: Also {vocalsound} so you have uh uh browsing the channels ,actuallyMarketing: Mm-hmm .User Interface: so you can go up and down the channels ,Marketing: Yeah .User Interface: uh , if you have a video or somethingyou can forward , back .Industrial Designer: How can you change from V_C_R_ to uh T_V_ , by the way ?User Interface: Oh {gap} no no no , this is a single{disfmarker} this this is a model with just the T_V_ one .Industrial Designer: Okay yeah . Yeah yeah .Project Manager: Ah , okay .User Interface: No no justsorry , this is a standard T_V_ one , we are not talking about that . So and then we have usually there twelve keys but we know that we rel that we have only tendigits .Marketing: Mm-hmm .User Interface: The extra two are for uh having or giving an option for uh having more than one channel . And the other one is forthe teletext or something you want to browse through from that . Actually .Industrial Designer: Yeah .Marketing: Okay soProject Manager: Mm-hmm .Marketing:it's it's t a very basic remote then , it's only {disfmarker}User Interface: It's a very basic minimal thingMarketing: Mm .Project Manager: Yeah . Yeah . Yeah .UserInterface: which you can {disfmarker} which is which is also available in the market , actually that's what it {gap} {disfmarker} that it {disfmarker}{vocalsound} iIndustrial Designer: {vocalsound}User Interface: and would cost us to build it about eight Euros .Project Manager: Mm .Marketing: Mm .IndustrialDesigner: Seven , eight , ei eight Euros .Project Manager: Exce except for the for the special shape , the surfing board , it has a quite a a conventional layout ofbuttons uh .User Interface: Yeah . Yeah .Industrial Designer: Yeah .User Interface: So this one modelMarketing: Can I see ?User Interface: and uh {disfmarker}yeah . Sure .Marketing: Thanks . Okay I like the volume control , that's good .Industrial Designer: {gap} {vocalsound}User Interface: {vocalsound} Th{vocalsound} this is a magic one but I know we don't want to talk about that ,Marketing: {vocalsound}User Interface: you know like {vocalsound}IndustrialDesigner: {vocalsound}User Interface: uh i i i it is a very futuristic , it's like uh it's like a brain machine interface and all this stuff we are thinking about in thefuture , it can come .Project Manager: {vocalsound}Marketing: Uh-huh .Industrial Designer: Yeah .Project Manager: {vocalsound}Marketing: So it doesn'tactually have buttons .User Interface: {vocalsound} So that uh {vocalsound} {disfmarker} then what we look tMarketing: Did you wanna see ?User Interface:yeah .Project Manager: Mm-hmm . Yeah no you can carry on ,User Interface: This is a model ,Project Manager: I just look how it feels all .User Interface: yeah.Project Manager: Yes it really feels like like like a mobile phone .Marketing: Mm .Industrial Designer: Yeah .User Interface: Yep .Project Manager: Just I'm{disfmarker}Industrial Designer: Yeah actually , yeah .Project Manager: I really want to talk to it .Marketing: {vocalsound} It won't talk back .{vocalsound}Project Manager: But {gap} .Industrial Designer: {vocalsound}Project Manager: {vocalsound} So but but continue with your uhUser Interface: Uhso wellProject Manager: mm-hmm .User Interface: then the this is the {vocalsound} a more a little uh smoothIndustrial Designer: {gap}User Interface: and itgives a lot of functionality , uh in this way , so all we have uh th you see there are only six keys , but don't worry they are ma they are doing the job of twelvekeys actually here .Marketing: Right .Project Manager: Mm .User Interface: And so they have more space actuallyMarketing: Mm-hmm .User Interface: and uhit's easy to uh use this and uh you have um so this is a standard uh {gap} uh infrared eye , and then you have a power button , which l volume , what you have,Project Manager: Mm-hmm .User Interface: and then other than that you have uh channel up and down and uh f slow pause or s slow loIndustrial Designer: Play, pause .User Interface: yeah s pause or stop , and uh then uh you can uh you have a L_C_D_ display , hereProject Manager: Mm-hmm .User Interface: and uh ythis is a functional thing which can change like it's a toggle switch which could change the function say , y you press it {disfmarker}Project Manager: FromD_V_D_ player to television or something .Industrial Designer: Exactly yeah . To audio and to video on demand .User Interface: Yeah . I really can change it,Project Manager: Yes .User Interface: so {disfmarker}Project Manager: Mm .User Interface: Instead of having many switches , y {vocalsound}Marketing:Mm-hmm .Project Manager: Yes and and and then you get feedback via the L_C_D_ yeah .User Interface: The L_C_D_ can display what is that on that ,IndustrialDesigner: Yes .Project Manager: Mm-hmm .User Interface: and uh well you can have a integrated microphone over here ,Industrial Designer: This is the orangebutton , the {vocalsound} microphone .User Interface: or in the button th here ,Project Manager: Mm-hmm .User Interface: so which can uh basically you wantto do a speech recognition and uh that channel a lot of information can be di displayed here directly on the um on your on your display .Industrial Designer: Anyeah .User Interface: And here is a small L_E_D_ which is like blinking one ,Project Manager: Mm-hmm .User Interface: which tells you like uh are you runningout of the battery , and which is can be useful for the locating as I was talking earlierProject Manager: Mm-hmm {vocalsound} .Industrial Designer: Yeah .UserInterface: okay . And uh well then we have a cover basically , basically you don't need much of the time this ,Industrial Designer: Yeah .User Interface:{vocalsound} when you need you can use it , and this gives additional functionality that tomorrow you want you can add a tactile thing to this coverProjectManager: Mm . YeahIndustrial Designer: {vocalsound} Crazy dis designer ,User Interface: you know .Industrial Designer: okay . {vocalsound}User Interface:Design enter {vocalsound} .Project Manager: but but but but uh i in there uh when this is closed , will it also uh cover up the L_C_D_ screen ?User Interface:Yeah .Industrial Designer: Yeah yeah yeah yeah .User Interface: Yeah . It's basically to do that .Project Manager: But but the L_C_D_ screen I mean is a very uhwell an eye-attracting featureIndustrial Designer: Yeah .User Interface: {vocalsound}Project Manager: which shouldn't be shouldn't be {disfmarker}UserInterface: Actually when you are watching the T_V_ , {vocalsound} when you are watching anything or listening to them , you hardly care about what is gettingdisplayed here ,Industrial Designer: Oh actually {disfmarker} well .Project Manager: {vocalsound} That th that's true .User Interface: you know , uh you want touh {disfmarker} and this gives a protection to the L_C_D_ actually , giving a cover to that actually . Gives a protectionProject Manager: Mm .User Interface:"}
+{"doc_id":"doc_44","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call the meeting to order. Welcome to the seventh meeting of the Special Committee on theCOVID-19 Pandemic. Please note that today's proceedings will be televised in the same way as a typical sitting of the House. We will proceed to ministerialannouncements. I understand that there are no ministerial announcements. That's confirmed. We will now proceed to presenting petitions for a period notexceeding 15minutes. I would like to remind members that any petition presented during a meeting of the special committee must have already been certified bythe clerk of petitions. Once the petition is presented, the member is asked to bring it here to the Table. Mr.Manly is the first one to be allowed to present apetition.Mr. Paul Manly (NanaimoLadysmith, GP): Thank you, Mr. Chair. I rise today to present a petition that has many signatures from constituents inNanaimoLadysmith. They're calling for a ban on cosmetic testing using animals. They want us to follow the European Union model, under which the use of animalsin cosmetic testing has been banned. Moving forward, they're calling for a ban on the sale and manufacture of animal-tested cosmetics and their ingredients inCanada.The Chair: Mr. Poilievre is next.Hon. Pierre Poilievre (Carleton, CPC): Thank you very much, Mr. Chair. I rise today to table e-petition 2466, initiated by aconstituent of mine in Stittsville, a beautiful west Ottawa community. The petition has collected 827 signatures from every province and territory. It was collectedby Cara, a mother from my riding who suffered an unthinkable tragedy. Her 11-year-old son Joshua drowned in a boating accident on the St. Lawrence River atRockport, Ontario. Joshua was not wearing a life jacket. Worse, Cara's family had to wait 48 days to recover Joshua's body. Cara is now working tirelessly toamend the small vessel regulations to make it mandatory for children under the age of 14 to wear a life jacket or PFD while they are passengers in or drivers ofsmall vessels covered under parts 2, 3, and 4 of the regulations. I support Cara's efforts, and I'm honoured to table this petition on her behalf.The Chair: Seeingno further petitions to be presented, we'll continue, and we will now proceed to the questioning of ministers. Please note that we will suspend the proceedingsevery 45minutes to allow employees who provide support for the sitting to replace each other safely. Go ahead, Mr. Scheer.Hon. Andrew Scheer (Leader of theOpposition): It was revealed yesterday that this government's policy was to ignore fraud. The Prime Minister's reaction was to act as if everything was normal. Infact, we've learned that over 200,000cases of suspected fraud have been identified in the benefit applications. The Prime Minister is failing our future generations.Our children and grandchildren are going to pay back billions of dollars that he's borrowing to pay tax cheats. Will the Prime Minister protect taxpayers andimmediately begin a review of these 200,000cases of suspected fraud?Right Hon. Justin Trudeau (Prime Minister): Our priority was to get money out quickly to allCanadians who needed it, and that's exactly what we've done. Millions of Canadians have received the money they so desperately needed. Having said that, Iwant to make it very clear, Mr.Chair: Fraud is unacceptable. We have measures in place to detect fraud. All fraudsters will be required to pay back the moneythey fraudulently received from the government. We're going to make sure that this is done in the coming months.Hon. Andrew Scheer: Mr. Chair, Conservativesagree that those who need help should get it, and no one is arguing that they shouldn't, but reports indicate that the Liberals have ordered public servants to turna blind eye to 200,000 cases of suspected fraud. It's a simple question: Yes or no, did the government instruct any government department to ignore red flags orwarnings of fraudulent cases?Right Hon. Justin Trudeau: Mr. Chair, the priority in this situation was getting money out to the millions of Canadians who needed itas quickly as possible, but of course fraud is unacceptable. That's why we have put safeguards in place to ensure that anyone who received that moneyfraudulently will have to repay it.Hon. Andrew Scheer: It's a yes-or-no question, Mr. Chair. Did the government give any kind of instruction to public servants inany department to ignore red flags or warnings of fraudulent cases, yes or no?Right Hon. Justin Trudeau: The instruction to government officials was to getmoney out to those who needed it as quickly as possible. We have put measures in place to detect fraud. People who got this money fraudulently will have torepay.Hon. Andrew Scheer: Mr. Chair, it is clear that he can't answer a yes-or-no question, so we can all assume what the answer must be. In other situations,the government is saying no to people. It's letting so many Canadians down. Small business owners who don't happen to have a CRA payroll number or abusiness account are ineligible for the government supports. Individuals, owner-operators, and those who are earning $1 more than $1,000 are being told thatthey don't qualify for the emergency response benefits. Meanwhile, fraudsters are getting them. Does the Prime Minister think it's fair to tell people who arefollowing all the rules no, while telling government officials to allow fraudulent cases to be processed?Right Hon. Justin Trudeau: Mr. Chair, Canadians well knowthat this is an unprecedented situation, one in which we had to get help to as many Canadians as possible as quickly as possible. That is exactly what we did. Wecontinue to work very hard to fill gaps for people who should get money but haven't been able to, and, as I said, we have strong measures to counter fraud.Anyone who got this money fraudulently will have to repay it.Hon. Andrew Scheer: Mr. Chair, when these programs were first designed, the Prime Minister saidthat he acknowledged that there were problems and that they would be fixed later. Well, here we are in May, and hundreds of thousands of Canadians are beingtold no for purely technical and bureaucratic reasons. Will the Prime Minister make the simple changes to allow business owners who don't happen to have abusiness bank account, who don't happen to have a CRA payroll number and individuals who are ineligible for the emergency response benefit because they'vebeen paid by family members through dividends to qualify, or is he going to continue to let hundreds of thousands of Canadians down during this pandemic?RightHon. Justin Trudeau: Mr. Chair, from the beginning of this pandemic, we moved extremely rapidly to get help and support to millions of Canadians. That was thepriority, and that's what we've been doing for the past two months. As we've said, we will continue to tweak and improve the programs to make sure that morepeople who need help will get it. We are working the best we can, as fast as we can, to help those millions of Canadians who need support.The Chair: You havetime for about a 15-second question, Mr. Scheer.Hon. Andrew Scheer: Mr. Chair, the Prime Minister indicated that he would support Taiwan's inclusion in theWHO only as a non-state observer. Of course, that designation does not exist. Participants of the WHO are either states or NGOs. Will the Prime Minister supportTaiwan's participation as a state observer?The Chair: The Right Honourable Prime Minister has 15 seconds or less, please.Right Hon. Justin Trudeau: Mr. Chair,we will continue with our one China policy, but we have always advocated Taiwan's meaningful inclusion in international bodies where it makes sense to do so,and that includes at the WHO.The Chair: Mr.Blanchet now has the floor.Mr. Yves-Franois Blanchet (BeloeilChambly, BQ): Thank you very much, Mr.Chair. OnFriday, students in Quebec and Canada will be able to apply for the Canada emergency student benefit, which is a good thing. This program was necessary,particularly because the number of students who won't be able to get back their jobs from last year is much higher than the number of jobs that might beavailable to these young people. There are also issues of duration. We don't know how long these jobs will remain unavailable. People talked about a risk to beingin the labour market and meeting the needs of the labour market. On April29, the Deputy Prime Minister made a formal commitment to ensure that theseprograms are accompanied by work incentives for youth and all CESB recipients. So that everyone knows what they're getting into, I'd like to know whether theemployment incentives that will accompany the Canada emergency response benefit will be known by Friday.Right Hon. Justin Trudeau: I thank the hon. memberfor understanding the importance of supporting students who, for the most part, won't be able to get the summer jobs they were counting on. Young people don'tjust want to earn money; they also want to gain work experience. That's why we're setting up programs, including Canada summer jobs, but also anotherprogram with 76,000new jobs for young people in important sectors, so that young people can also get jobs. We will continue to work with youth and employersto ensure that gaps in the labour market are addressed, while ensuring that youth are well-supported.Mr. Yves-Franois Blanchet: That's very interesting, but itdoesn't answer my question at all. People in the fishing, tourism and agricultural sectors, as well as municipalities and, from the very beginning, of course, theGovernment of Quebec, more generally, have expressed fears that job gains will cause people to lose their benefits and discourage them from going to work. Theonly way to avoid that is to ensure that people keep more money as they work more. That is the principle. In fact, we propose that over the $1,000no-penaltylimit, half of the earnings be exempt from penalty. Is this something that could be considered? Since it's been two weeks since the commitment was made and it'surgent, can we act now? The emergency shouldn't last eight months.Right Hon. Justin Trudeau: Mr.Chair, young people need money, but they also need workexperience. This is an unprecedented situation, which is why we're working with seasonal industries and the different regions to make sure they have a sufficientworkforce in their situation. Students can be part of it, but at the same time we must provide the necessary support for those who can't find a job. That's why wecontinue to work with the industries involved to ensure that they have a sufficient workforce while we support students.Mr. Yves-Franois Blanchet: Unfortunately,the spirit of it doesn't seem to have been understood. I doubt that, even in the best-case scenario, the government will be able to get all the jobs needed in atimely manner for all these young people to decide to go ahead. So, first of all, there will be a shortage of jobs. Second, people aren't crazy. If they earn less byworking than they earn by not working, all the good faith in the world won't solve the problem. Can we make sure that people keep more money in their pocketsas they work more? I think we can have a clear answer, given the timeframe. People are going to start registering for the program on Friday. The principles aregood, but a clear answer would be good too.Right Hon. Justin Trudeau: Beginning Friday, students will be able to apply for the Canada emergency student"}
+{"doc_id":"doc_45","qid":"","text":"Grad E: I guess .Grad A: OK , we 're on . So just make sure that th your wireless mike is on , if you 're wearing a wireless .Grad E: Check one . Check one .GradA: And you should be able to see which one {disfmarker} which one you 're on by , uh , watching the little bars change .Grad B: So , which is my bar ? Mah !Number one .Grad A: Yep .Grad E: Sibilance . Sibilance .Grad A: So , actually , if you guys wanna go ahead and read digits now , as long as you 've signed theconsent form , that 's alright .Grad E: Are we supposed to read digits at the same time ?Grad A: No . No .Grad E: Oh , OK .Grad A: Each individually . We 'retalking about doing all at the same time but I think cognitively that would be really difficult . {vocalsound} To try to read them while everyone else is .Grad E:Everyone would need extreme focus .Grad A: So , when you 're reading the digit strings , the first thing to do is just say which transcript you 're on .Professor C:Other way . We m We may wind up with ver We {disfmarker} we may need versions of all this garbage .Grad B: For our stuff . Yeah .Professor C: Yeah .Grad A:Um . So the first thing you 'd wanna do is just say which transcript you 're on .Professor C: Yeah .Grad A: So . You can see the transcript ? There 's two largenumber strings on the digits ? So you would just read that one . And then you read each line with a small pause between the lines . And the pause is just so theperson transcribing it can tell where one line ends and the other begins . And I 'll give {disfmarker} I 'll read the digit strings first , so can see how that goes . Um. Again , I 'm not sure how much I should talk about {pause} stuff before everyone 's here .Professor C: Mmm . Well , we have one more coming .Grad A: OK .Well , why don't I go ahead and read digit strings and then we can go on from there .Professor C: OK . Well , we can start doing it .Grad A: Thanks . So , uh , justalso a note on wearing the microphones . All of you look like you 're doing it reasonably correctly , but you want it about two thumb widths away from your mouth, and then , at the corner . And that 's so that you minimize breath sounds , so that when you 're breathing , you don't breathe into the mike . Um . Yeah , that 'sgood . And uh {disfmarker} So , everyone needs to fill out , only once , the speaker form and the consent form . And the short form {disfmarker} I mean , youshould read the consent form , but uh , the thing to notice is that we will give you an opportunity to edit a all the transcripts . So , if you say things and you don'twant them to be released to the general public , which , these will be available at some point to anyone who wants them , uh , you 'll be given an opportunity byemail , uh , to bleep out any portions you don't like . Um . On the speaker form just fill out as much of the information as you can . If you 're not exactly sureabout the region , we 're not exactly sure either . So , don't worry too much about it . The {disfmarker} It 's just self rating . Um . And I think that 's about it . Imean , should I {disfmarker} Do you want me to talk at all about why we 're doing this and what this project is ?Professor C: Um , yeah .Grad A: or {disfmarker}?Professor C: No . There was {disfmarker} there was {disfmarker} Let 's see . Oh {disfmarker}Grad E: Does Nancy know that we 're meeting in here ?Grad B: Isent an email .Professor C: She got an emai she was notified .Grad E: Oh yeah , she got an e Yeah , yeah .Professor C: Whether she knows {vocalsound} isanother question . Um . So are the people going to be identified by name ?Grad A: Well , what we 're gonna {disfmarker} we 'll anonymize it in the transcript .Um , but not in the audio .Professor C: Right .Grad A: So theProfessor C: OK . So , then in terms of people worrying about , uh , excising things from thetranscript , it 's unlikely . Since it {disfmarker} it does isn't attributed . Oh , I see , but the a but the {disfmarker} but the {disfmarker}Grad A: Right , so if I said, \" Oh , hi Jerry , how are you ? \" , we 're not gonna go through and cancel out the \" Jerry \"s .Professor C: Yeah . Sure .Grad A: Um , so we will go through and ,in the speaker ID tags there 'll be , you know , M - one O seven , M - one O eight .Professor C: Right .Grad A: Um , but uh ,Professor C: Right .Grad A: um , it wuh , I don't know a good way of doing it on the audio , and still have people who are doing discourse research be able to use the data .Professor C: OK . Mm -hmm . No , I {disfmarker} I wasn't complaining ,Grad A: Yep .Professor C: I just wanted to understand .Grad A: Right .Professor C: OK .Grad B: Well , we canmake up aliases for each of us .Grad A: Yeah , I mean , whatever you wanna do is fine ,Professor C: Right .Grad F: OK .Grad A: but we find that {disfmarker} Wewant the meeting to be as natural as possible . So , we 're trying to do real meetings .Professor C: OK .Grad A: And so we don't wanna have to doaliasesProfessor C: Right .Grad A: and we don't want people to be editing what they say .Grad B: Right .Grad A: So I think that it 's better just as a pro post -process to edit out every time you bash Microsoft .Professor C: Right .Grad B: Mm - hmm .Grad A: You know ?Professor C: Right . Um , OK . So why don't you tellus brieflyGrad A: OK . So thProfessor C: your {disfmarker} give {disfmarker} give your e normal schpiel .Grad A: Um . So this is {disfmarker} The project iscalled Meeting Recorder and there are lots of different aspects of the project . Um . So my particular interest is in the PDA of the future . This is a mock - up ofone . Yes , we do believe the PDA of the future will be made of wood . Um . {comment} The idea is that you 'd be able to put a PDA at the table at an impromptumeeting , and record it , and then be able to do querying and retrieval later on , on the meeting . So that 's my particular interest , is a portable device to do m uh, information retrieval on meetings . Other people are interested in other aspects of meetings . Um . So the first step on that , in any of these , is to collect somedata . And so what we wanted is a room that 's instrumented with both the table top microphones , and these are very high quality pressure zone mikes , as wellas the close talking mikes . What the close talk ng talking mikes gives us is some ground truth , gives us , um , high quality audio , um , especially for people whoaren't interested in the acoustic parts of this corpus . So , for people who are more interested in language , we didn't want to penalize them by having only the farfield mikes available . And then also , um , it 's a very , very hard task in terms of speech recognition . Um . And so , uh , on the far field mikes we can expectvery low recognition results . So we wanted the near field mikes to at least isolate the difference between the two . So that 's why we 're recording in parallel withthe close talking and the far field at the same time . And then , all these channels are recorded simultaneously and framed synchronously so that you can also dothings like , um , beam - forming on all the microphones and do research like that . Our intention is to release this data to the public , um , probably through fthrough a body like the LDC . And , uh , just make it as a generally available corpus . Um . {vocalsound} There 's other work going on in meeting recording . So ,we 're {disfmarker} we 're working with SRI , with UW , Um . NIST has started an effort which will include video . We 're not including video , obviously . And uh{disfmarker} and then also , um , a small amount of assistance from IBM . Is also involved . Um . Oh , and the digit strings , this is just a more constrained task .Um . So because the general environment is so challenging , we decided to {disfmarker} to do at least one set of digit strings to give ourselves something easier .And it 's exactly the same digit strings as in TI - digits , which is a common connected digits corpus . So we 'll have some , um , comparison to be able to be made.Professor C: OK .Grad A: Anything else ?Professor C: No .Grad A: OK , so when the l last person comes in , just have them wear a wireless . It should be onalready . Um . Either one of those . And uh , read the digit strings and {disfmarker} and fill out the forms . So , the most important form is the consent form , sojust be s be sure everyone signs that , if they consent .Grad B: I 'm sure it 's pretty usual for meetings that people come late ,Grad A: Yeah .Grad B: so you willhave to leave what you set .Grad A: Right . And uh , just give me a call , which , my number 's up there when your meeting is over .Professor C: Yep .Grad A:And {disfmarker} I 'm going to leave the mike here but it 's n {nonvocalsound} Uh , but I 'm not gonna be on so don't have them use this one . It 'll just besitting here .Grad B: Input ? Yeah . There we go .Professor C: By the way , Adam , we will be using the , uh , screen as well .Grad B: Yep .Professor C: So , youknow . Wow ! Organization . So you guys who got email about this {pause} oh f uh , Friday or something about what we 're up to .Grad E: No .Grad F: No .GradB: I got it .Grad E: What was the nature of the email ?Professor C: Oh , this was about {pause} um , inferring intentions from features in context , and the words, like \" s go to see \" , or \" visit \" , or someGrad B: Wel - we I {disfmarker} uh {disfmarker} I {disfmarker} I {disfmarker}Professor C: You didn't get it ?Grad E: Idon't think I did .Professor C: I guess these g have got better filters . Cuz I sent it to everybody . You just blew it off .Grad E: Ah .Professor C: OK .Grad B: It 'sreally simple though . So this is the idea . Um . We could pursue , um , if we thought it 's {disfmarker} it 's worth it but , uh , I think we {disfmarker} we willagree on that , um , to come up with a {disfmarker} with a sort of very , very first crude prototype , and do some implementation work , and do some{disfmarker} some research , and some modeling . So the idea is if you want to go somewhere , um , and focus on that object down {disfmarker} Oh , I canactually walk with this . This is nice . down here . That 's the Powder - Tower . Now , um , {vocalsound} we found in our , uh , data and from experiments , thatthere 's three things you can do . Um , you can walk this way , and come really , really close to it . And touch it . But you cannot enter or do anything else . Unlessyou 're interested in rock climbing , it won't do you no good standing there . It 's just a dark alley . But you can touch it . If you want to actually go up or into thetower , you have to go this way , and then through some buildings and up some stairs and so forth . If you actually want to see the tower , and that 's whatactually most people want to do , is just have a good look of it , take a picture for the family , {comment} you have to go this way , and go up here . And thereyou have a vre really view {disfmarker} It exploded , the {disfmarker} during the Thirty years - war . Really uh , interesting sight . And um , these uh{disfmarker} these lines are , um , paths ,Grad E: Mmm .Grad B: or so That 's ab er , i the street network of our geographic information system . And you can tellthat we deliberately cut out this part . Because otherwise we couldn't get our GIS system to take {disfmarker} to lead people this way . It would always use theclosest point to the object , and then the tourists would be faced , you know , in front of a wall , but it would do them absolutely no good . So , {vocalsound} whatwe found interesting is , first of all , intentions differ . Maybe you want to enter a building . Maybe you want to see it , take a picture of it . Or maybe you actually"}
+{"doc_id":"doc_46","qid":"","text":"Industrial Designer: Oops That's as far as it goes {vocalsound} .Project Manager: Hi guys uh good morning everybody here . And uh I want to introduce myself ,uh my name is uh Shrida Daseri and uh I'm a project manager for this new project which we are going to discuss now . So I want to introduce first of all uh thenames and the colleagues here . And what you're uh drawing ?User Interface: {vocalsound} Uh sure my name is Agnes and I'm an user {disfmarker} usabilityuser interface designer .Marketing: {vocalsound} My name is Ed and I do accounting .Project Manager: Uh how you spell your name uh ?Marketing: E_D_.Project Manager: E_D_ okay .Marketing: Mm .Project Manager: And ?Industrial Designer: Do you also do marketing ?Marketing: {vocalsound} No {vocalsound}.Project Manager: So only accounting ? Okay .Marketing: Accounting , yes .Project Manager: And ?Industrial Designer: And I'm Christine ,Project Manager:Mm-hmm .Industrial Designer: and my role in this uh scenario is to be the industrial designer .Project Manager: Industrial designer .Industrial Designer: But I'mnot really one .Project Manager: So who is uh marketing , nobody in the marketMarketing: Marketing is uh , is me {vocalsound} .Project Manager: It's you , okay. So thanks for coming for the meeting first of all , and uh we have a long time , just twenty-five minutes to discuss about uh this project and the the projectinitiation . First of all I want to ask uh Mister Ed about your uh marketing plan and your product plan and uh {disfmarker}Marketing: {vocalsound} Well I thinkthat we'll see that throughout the day in how we're going to put this together as a marketing to to market the product . We'll have to see on a through discussionon where we're gonna go from here and from {disfmarker} with this .Project Manager: Mm-hmm but uh do you already have like a functional design or atechnical design or {disfmarker}Marketing: {vocalsound} Uh for the moment not yet .Project Manager: Oh for the moment not yet , okay , but uh what's what'syour uh {disfmarker} do you have some project plan , something with you or {disfmarker}Marketing: {vocalsound} Good question {vocalsound} . No , this islike I said that we have to be discussed between all of us and we'll go from there . We'll have to {disfmarker} simply we'll have to work on it together .ProjectManager: Mm-hmm . Okay , so uh by when you think you can uh give me some kind of uh project plan , okay , a discussion with uh {disfmarker}Marketing:Certainly by the next meeting .Project Manager: By next meeting , okay that will be great . Uh Okay , so there's any questions or uh first of all about uh thisproject ?Industrial Designer: What is the goal of the project ?Project Manager: Uh the goal of the project I think maybe I'll uh hand out to the Ed , okay , so toexplain uh what is the project because he's in the sales and the accounting .Marketing: {vocalsound}Industrial Designer: {vocalsound}Marketing: I'm in the salesI'm supposed to explain them what to do {vocalsound} . We have to define exactly what our product is , from uh {disfmarker}Project Manager: Yes , so can youexplain uh what exactly the product is ?Marketing: From what I had in mind we're supposed to be marketing coffee , is that right ?Project Manager: Oh I think uh, if I'm not wrong , we're making the remote control .User Interface: Um I was wondering {disfmarker}Marketing: Remote controls , 'cause I had two differentthings . I had a first part of mine was to make a remote control for a new f remote control for television , and afterward I had a discussion about coffee so{vocalsound}Project Manager: {vocalsound} Yes .Marketing: we'll start with the remote control for television then . So we're have to design something that isvery user friendly .Project Manager: Mm-hmm .User Interface: Mm-hmm .Marketing: Something uh visual that has something that will will draw people to buy theproduct ,Project Manager: Mm-hmm .Marketing: because I think everybody's experienced with uh remote controls , and some remote controls are are worth uhthrowing out the window . Uh th most of them ar I don't know we're have to come up with a new idea on how to make it a lot easier to use ,Project Manager:Mm-hmm .Marketing: 'cause a lot of times uh spend uh half a day through the instruction book trying to figure out how to use it .Project Manager: Mm-hmm.User Interface: Mm .Project Manager: And uh what abo uh Christine , what about your uh the industrial design plan ? Are you have a design already on thisproduct or uh you're still working on the design ?Industrial Designer: Um no , I I have not begun working on the design ,Project Manager: Mm-hmm .IndustrialDesigner: and um I uh I actually didn't know we were designing a remote control , I thought we were designing a new monitor . Um the website I went to look athad some announcements about an introduction of a um uh some sort of a seven inch um monitor , and um I understood that that was the project goal . So umI'm glad I didn't d do any work um ahead of time because uh I clearly didn't understand the project goal .Project Manager: Okay .Industrial Designer: Um I justdid s see that we were starting a new project together and there was going to be a four member team composed of these people , and um that's about uh that's{disfmarker}Project Manager: Mm-hmm .Industrial Designer: and I I read through the different steps , and what my responsibilities were relative to the steps.Project Manager: So uh you'll be leading the team for your design team or how many members is working in the team , for the design ?Industrial Designer:{vocalsound} Uh for the industrial design ?Project Manager: Yes .Industrial Designer: Um well , I would th think that depends on how much money you give us.Project Manager: Okay .Marketing: {vocalsound}Project Manager: That's {gap}Industrial Designer: Um because uh , you know , you can uh you can make it uh{disfmarker} {vocalsound} you have different choices with different financial models .Project Manager: Yeah , but uh before we talk about uh the finance , okay ,uh do you have some idea how we can uh sell this product or project in the market and how much is going to benefit to the company and uh of course it's to theindividual also .Industrial Designer: {vocalsound} Well , you know um , I kind of think that in general you have to do uh um y you have to have something that'svery fashionable , that's uh very attractive {disfmarker} that um people see and recognize uh its goal , and uh they immediately wanna have it uh have one oftheir own . So it would {disfmarker} really would need to um {disfmarker} {vocalsound} something like the iPod would be good , seems to have caught on fairlywell ,Project Manager: Mm-hmm .Industrial Designer: so um d uh you know , I don't care what it does , just so it looks cool .Project Manager: Okay , but uh uhwhen you think you can give me like a kind of design on the functional design or the technical design ?Industrial Designer: {vocalsound} Well , uh I've got a lot ofother projects I'm doing right now um and so I'll have to wait and see how those uh how those go . If they uh go quickly then uh it could be a month . If um if Irun into any problems in my other projects it might be six months .Project Manager: Yeah , but uh I need something in the writing , so like uh what's yourfunctional design , what's your technical design , and uh how many people you need for this project , and what's the time frame you're looking , okay , and whatis the budget , maybe uh initial budget you're looking , okay , and uh how is going to the market , okay ,Industrial Designer: Mm-hmm . Mm-hmm .ProjectManager: so you've you've had to meet with the marketing team and how they're going to market and what are the marketing strategic plan , okay , when areyou going to introduce , okay , and by the time you introduce the product and uh you know there there would be a competition , okay , so I need some kind of uhuh the plan in the writing from you . Okay , and it's poIndustrial Designer: {vocalsound} And when would you like that ?Project Manager: B as soon as possible.Industrial Designer: {vocalsound} Uh well if uh if we have enough time uh then d do you think um two weeks is a {disfmarker} is close enough ?ProjectManager: Yes I think uh that would be good , because I need to go to the management and uh tell them what we are going to do , and uh what cost is , okay ,and what's the time frame and what's the project plan , because uh without any uh documentations , I cannot go to the management and say , so we are going todo this and we need this much money , okay , so then it's it's difficult for me to say , okay , that's the reason I need uh some kind of plan from you , initially ,okay , then we can have the further discussion again .Industrial Designer: Uh {vocalsound} are there other people who will be contributing to the plan ?ProjectManager: Yes , of course , if you need some help , uh so let me know . So , who are the people you need uh from the marketing or uh the technical side or uh theadministration point of view , okay , to add in any documentation , or some technical point of view ,Industrial Designer: {vocalsound}Project Manager: so just letme know so I can uh coordinate all the teams .Industrial Designer: Okay , I'll get back to you on that .Project Manager: Yes . Thank you . Okay . And uh Ed uh sowhat's {disfmarker} what do you think about uh this uh project for the remote control and d do you have some already planned something for your marketingstrategy or uh the sales strategy ?Marketing: Well not yet other than uh doing research and taking remote controls and looking what other companies have to douh , what they're building , their designs , their ideas ,Project Manager: {vocalsound} Hmm . {vocalsound}Marketing: uh also have to pinpoint which marketwe're gonna go into .Project Manager: Mm-hmm .Marketing: It should be a fairly large market because uh the number of people that uh {disfmarker} thecompetition ,Project Manager: Mm-hmm .Marketing: uh th I agree it has to be something {disfmarker} it has to be something new , it has to be something thatthat draws people saying eh , I like this . Whether it works or not , they have to first say I like this , I like the design , and then it's gotta be simple to use .ProjectManager: Yes , so what I uh prefer maybe uh you need to interact uh more with the Christine , okay , because you know what she is going to do it , okay , andyou know how to sell it . Okay , because uh she is doing the design , but you are the core because you are in the marketing , okay ,Marketing: Yeah .ProjectManager: so because you need to sell {disfmarker} and you're the responsible for the all the money , the finance , okay , tomorrow .Marketing: Mm-hmm.Project Manager: So , what I prefer , okay , so you need to interact with the Christine more and uh within her team , okay , who is using the functional design ortechnical design , okay ,Marketing: Mm-hmm .Project Manager: and uh you need to come up with some kind of plan , okay , how we are going to do the{disfmarker} your sales plan , okay , thMarketing: Do we already have a cost limit on this , th an idea of how much uh we want to market this for , how much it'sgonna sell for ,Project Manager: Th That {disfmarker} that'sMarketing: that's up that's up to us to decide , eh ? {vocalsound}Project Manager: Yes , that's"}
+{"doc_id":"doc_47","qid":"","text":"PhD A: It 's not very significant .Professor B: Uh , channel one . Yes .Grad D: Channel three .Professor B: OK .PhD F: Mm - hmm .Grad D: Channel three .PhD A:TaGrad D: Channel three . Alright .Professor B: OK , did you solve speech recognition last week ?Grad E: Almost .Professor B: Alright ! Let 's do image processing.PhD C: Yes , again .PhD A: Great .PhD C: We did it again , Morgan .Professor B: Alright !Grad E: Doo - doop , doo - doo .PhD A: What 's wrong with {disfmarker}?Professor B: OK . It 's April fifth . Actually , Hynek should be getting back in town shortly if he isn't already .PhD C: Is he gonna come here ?Professor B: Uh .Well , we 'll drag him here . I know where he is .PhD C: So when you said \" in town \" , you mean {pause} Oregon .Professor B: U u u u uh , I meant , you know ,this end of the world , yeah , {vocalsound} is really what I meant ,PhD C: Oh .Grad E: Doo , doo - doo .Professor B: uh , cuz he 's been in Europe .Grad E: Doo -doo .Professor B: So .PhD C: I have something just fairly brief to report on .Professor B: Mmm .PhD C: Um , I did some {pause} experim uh , uh , just a fewmore experiments before I had to , {vocalsound} uh , go away for the w well , that week .Professor B: Great !PhD C: Was it last week or whenever ? Um , sowhat I was started playing with was the {disfmarker} th again , this is the HTK back - end . And , um , I was curious because the way that they train up themodels , {vocalsound} they go through about four sort of rounds of {disfmarker} of training . And in the first round they do {disfmarker} uh , I think it 's threeiterations , and for the last three rounds e e they do seven iterations of re - estimation in each of those three . And so , you know , that 's part of what takes solong to train the {disfmarker} the {disfmarker} the back - end for this .Professor B: I 'm sorry , I didn't quite get that . There 's {disfmarker} there 's four andthere 's seven and {disfmarker} I {disfmarker} I 'm sorry .PhD C: Yeah . Uh , maybe I should write it on the board . So , {vocalsound} there 's four rounds oftraining . Um , I g I g I guess you could say iterations . The first one is three , then seven , seven , and seven . And what these numbers refer to is the number oftimes that the , uh , HMM re - estimation is run . It 's this program called H EProfessor B: But in HTK , what 's the difference between , uh , a {disfmarker} aninner loop and an outer loop in these iterations ?PhD C: OK . So what happens is , um , at each one of these points , you increase the number of Gaussians in themodel .Professor B: Yeah . Oh , right ! This was the mix up stuff .PhD C: Yeah . The mix up .Professor B: That 's right .PhD C: Right .Professor B: I remember now.PhD C: And so , in the final one here , you end up with , uh {disfmarker} for all of the {disfmarker} the digit words , you end up with , uh , three {pause}mixtures per state ,Professor B: Yeah .PhD C: eh , in the final {pause} thing . So I had done some experiments where I was {disfmarker} I {disfmarker} I wantto play with the number of mixtures .Professor B: Mm - hmm .PhD C: But , um , uh , I wanted to first test to see if we actually need to do {pause} this manyiterations early on .Grad E: Uh , one , two ,Professor B: Mm - hmm .PhD C: And so , um , I {disfmarker} I ran a couple of experiments where I {vocalsound}reduced that to l to be three , two , two , {vocalsound} uh , five , I think , and I got almost the exact same results .Professor B: Mm - hmm .PhD C: And{disfmarker} but it runs much much faster . So , um , I {disfmarker} I think m {pause} it only took something like , uh , three or four hours to do the fulltraining ,Professor B: As opposed to {disfmarker} ?PhD F: Good .PhD C: as opposed to wh what , sixteen hours or something like that ? I mean , it takes{disfmarker} you have to do an overnight basically , the way it is set up now .PhD F: Yeah . It depends .PhD A: Mm - hmm .Professor B: Mm - hmm .PhD C: So ,uh , even we don't do anything else , doing something like this could allow us to turn experiments around a lot faster .Professor B: And then when you have yourfinal thing , do a full one , so it 's {disfmarker}PhD C: And when you have your final thing , we go back to this .PhD F: Yeah .PhD C: So , um , and it 's a realsimple change to make . I mean , it 's like one little text file you edit and change those numbers , and you don't do anything else .PhD F: Oh , this is a{disfmarker}PhD A: Mm - hmm .PhD C: And then you just run .PhD F: OK .PhD C: So it 's a very simple change to make and it doesn't seem to hurt all that much.PhD A: So you {disfmarker} you run with three , two , two , five ? That 's aPhD C: So I {disfmarker} Uh , I {disfmarker} I have to look to see what the exactnumbers were .PhD A: Yeah .PhD C: I {disfmarker} I thought was , like , three , two , two , five ,PhD A: Mm - hmm .PhD C: but I I 'll {disfmarker} I 'll doublecheck . It was {vocalsound} over a week ago that I did it ,PhD A: OK . Mm - hmm .PhD C: so I can't remember exactly .Grad E: Oh .PhD C: But , uh{disfmarker}Professor B: Mm - hmm .PhD C: um , but it 's so much faster . I it makes a big difference .Grad E: Hmm .PhD C: So we could do a lot moreexperiments and throw a lot more stuff in there .PhD F: Yeah .Professor B: That 's great .PhD C: Um . Oh , the other thing that I did was , um , {vocalsound} Icompiled {pause} the HTK stuff for the Linux boxes . So we have this big thing that we got from IBM , which is a five - processor machine . Really fast , but it 'srunning Linux . So , you can now run your experiments on that machine and you can run five at a time and it runs , {vocalsound} uh , as fast as , you know , uh ,five different machines .PhD A: Mm - hmm .PhD F: Mm - hmm .PhD C: So , um , I 've forgotten now what the name of that machine is but I can {disfmarker} Ican send email around about it .PhD A: Yeah .PhD C: And so we 've got it {disfmarker} now HTK 's compiled for both the Linux and for , um , the Sparcs . Um ,you have to make {disfmarker} you have to make sure that in your dot CSHRC , {vocalsound} um , it detects whether you 're running on the Linux or a{disfmarker} a Sparc and points to the right executables . Uh , and you may not have had that in your dot CSHRC before , if you were always just running theSparc . So , um ,PhD A: Mm - hmm .PhD C: uh , I can {disfmarker} I can tell you exactly what you need to do to get all of that to work . But it 'll {disfmarker} itreally increases what we can run on .Grad E: Hmm . Cool .PhD C: So , {vocalsound} together with the fact that we 've got these {pause} faster Linux boxes andthat it takes less time to do {pause} these , um , we should be able to crank through a lot more experiments .PhD A: Mm - hmm .PhD C: So .Grad E: Hmm .PhDC: So after I did that , then what I wanted to do {comment} was try {pause} increasing the number of mixtures , just to see , um {disfmarker} see how{disfmarker} how that affects performance .PhD A: Yeah .PhD C: So .Professor B: Yeah . In fact , you could do something like {pause} keep exactly the sameprocedure and then add a fifth thing onto itPhD C: Mm - hmm .Professor B: that had more .PhD C: Exactly .Professor B: Yeah .PhD C: Right . Right .Grad E: So at{disfmarker} at the middle o where the arrows are showing , that 's {disfmarker} you 're adding one more mixture per state ,PhD C: Uh - huh . Uh ,Grad E: or{disfmarker} ?PhD C: let 's see , uh . It goes from this {disfmarker} uh , try to go it backwards {disfmarker} this {disfmarker} at this point it 's two mixtures{pause} per state . So this just adds one . Except that , uh , actually for the silence model , it 's six mixtures per state .Professor B: Mm - hmm .PhD C: Uh , so itgoes to two .Grad E: OK .PhD C: Um . And I think what happens here is {disfmarker}Professor B: Might be between , uh , shared , uh {disfmarker} sharedvariances or something ,PhD C: Yeah . I think that 's what it is .Professor B: or {disfmarker}PhD C: Uh , yeah . It 's , uh {disfmarker} Shoot . I {disfmarker} I{disfmarker} I can't remember now what happens at that first one . Uh , I have to look it up and see .Grad E: Oh , OK .PhD C: Um , there {disfmarker} becausethey start off with , uh , an initial model which is just this global model , and then they split it to the individuals . And so , {vocalsound} it may be that that 'swhat 's happening here . I {disfmarker} I {disfmarker} {vocalsound} I have to look it up and see . I {disfmarker} I don't exactly remember .Grad E: OK.Professor B: OK .PhD C: So . That 's it .Professor B: Alright . So what else ?PhD A: Um . Yeah . There was a conference call this Tuesday . Um . I don't know yetthe {disfmarker} {vocalsound} what happened {vocalsound} Tuesday , but {vocalsound} the points that they were supposed to discuss is still , {vocalsound} uh, things like {vocalsound} the weights , uh {disfmarker}Professor B: Oh , this is a conference call for , uh , uh , Aurora participant sort of thing .Grad E: For{disfmarker}PhD A: Yeah . Yeah .Professor B: I see .PhD A: Mmm .Professor B: Do you know who was {disfmarker} who was {disfmarker} since we weren't inon it , uh , do you know who was in from OGI ? Was {disfmarker} {vocalsound} was {disfmarker} was Hynek involved or was it SunilPhD A: I have no idea.Professor B: or {disfmarker} ?PhD A: Mmm , I just {disfmarker}Professor B: Oh , you don't know . OK .PhD A: Yeah .Professor B: Alright .PhD A: Um , yeah . Sothe points were the {disfmarker} the weights {disfmarker} how to weight the different error rates {vocalsound} that are obtained from different language and{disfmarker} and conditions . Um , it 's not clear that they will keep the same kind of weighting . Right now it 's a weighting on {disfmarker} on improvement.Professor B: Mm - hmm .PhD A: Some people are arguing that it would be better to have weights on uh {disfmarker} well , to {disfmarker} to combine errorrates {pause} before computing improvement . Uh , and the fact is that for {disfmarker} right now for {pause} the English , they have weights {disfmarker}they {disfmarker} they combine error rates , but for the other languages they combine improvement . So it 's not very consistent . Um {disfmarker}Professor B:Mm - hmm .PhD A: Yeah . The , um {disfmarker} Yeah . And so {disfmarker} Well , {vocalsound} this is a point . And right now actually there is a thing also ,{vocalsound} uh , that happens with the current weight is that a very non - significant improvement {pause} on the well - matched case result in {pause} hugedifferences in {disfmarker} {vocalsound} in the final number .Professor B: Mm - hmm .PhD A: And so , perhaps they will change the weights to {disfmarker}PhDC: Hmm .PhD A: Yeah .PhD C: How should that be done ? I mean , it {disfmarker} it seems like there 's a simple way {disfmarker}PhD A: Mm - hmm .PhD C: Uh, this seems like an obvious mistake or something .Professor B: Well , I mean , the fact that it 's inconsistent is an obvious mistake .PhD C: Th - they 're{disfmarker}Professor B: But the {disfmarker} but , um , the other thing {disfmarker}PhD A: InProfessor B: I don't know I haven't thought it through , but one{disfmarker} one would think that {vocalsound} each {disfmarker} It {disfmarker} it 's like if you say what 's the {disfmarker} what 's the best way to do anaverage , an arithmetic average or a geometric average ?PhD C: Mm - hmm .Professor B: It depends what you wanna show .PhD A: Mm - hmm .Professor B:"}
+{"doc_id":"doc_48","qid":"","text":"Lynne Neagle AM: Good afternoon. Can I welcome Members to the virtual meeting of the Children, Young People and Education Committee this afternoon? Inaccordance with Standing Order 34.19, I've determined that the public are excluded from the committee's meeting, in order to protect public health. Inaccordance with Standing Order 34.21, notice of this decision was included in the agenda for this meeting, which was published last Thursday. This meeting is,however, being broadcast live on Senedd.tv, with all participants joining via video-conference. A record of proceedings will be published as usual. Aside from theprocedural adaptation related to conducting proceedings remotely, all other Standing Order requirements for committees remain in place. The meeting isbilingual, and simultaneous translation from Welsh to English is available. Can I remind everyone that the microphones will be controlled centrally, so there's noneed to turn them on and off individually? We've received apologies for absence from Hefin David AM, and there is no substitution. Can I ask Members if there areany declarations of interest, please? No. Okay, thank you. Can I just note for the record that if for any reason I drop out of the meeting, the committee hasagreed that Dawn Bowden AM will temporarily chair while I try to rejoin? Moving on, then, to item 2 this afternoon, which is an evidence session with the WelshGovernment in relation to the impact of the coronavirus pandemic on health and social services as they relate to children and young people in Wales. I'm verypleased to welcome Vaughan Gething AM, the Minister for Health and Social Services; Julie Morgan AM, Deputy Minister for Health and Social Services; AlbertHeaney, deputy director general of the health and social services group; Nicola Edwards, deputy director, childcare, play and early years; Jean White, chiefnursing officer; and Tracey Breheny, who is deputy director of mental health, substance misuse and vulnerable groups. Thank you all very much for yourattendance today—we appreciate your time. We've got lots of questions that we'd like to cover, which we'll go straight into, with questions from SiânGwenllian.Sian Gwenllian AM: Good afternoon. How much do we understand about how this virus impacts children and young people, and their role intransmitting the virus? And how important is it that this is considered in the Welsh Government's exit strategy, especially in the context of reopeningschools?Vaughan Gething AM: Okay. I think it's fair to say that our understanding is developing across all age ranges about the virus and its impact. It's still thecase that children and young people are less likely to be affected significantly by COVID-19 than people with a range of healthcare conditions, and in particularthe age grade that we've seen, and that's underpinned the advice we've given to the whole population about self-isolation by people in age categories, as well asthe extremely vulnerable group we advise to shield. We still don't understand everything about the role that children have to play in the transmitting of the virus,and this is one of the difficulties we face. Because in cold and flu, children transmit the virus and they're also susceptible, in particular to the flu, as well; that'swhy we have a childhood immunisation programme for the flu as well. We do know that there's some developing evidence about what's called a Kawasaki-likesyndrome, but that's affecting very small numbers of children. We have one possible case in Wales—a child who's in critical care—but that isn't confirmed. That'sstill a developing knowledge base. So, the rest of the world is still trying to understand that too. But the generals still apply—that children are less likely to beaffected than older people, but can nevertheless still become unwell, and that's, if you like, one of the few positives in this condition. But as I say, we're stilllearning, so I won't try and present a fully accurate or finalised picture of knowledge in this area.Sian Gwenllian AM: And in terms—[Inaudible.]Vaughan GethingAM: Chair. Sorry. Excuse me, Chair. Sorry—with apologies to the Member, my translation stopped after a while, so I heard the first part translated, and then itjust fell off. I'm really sorry, but I didn't want to try to answer a different question to the one that may be being asked, and don't think that's fair to the Memberor other members of the committee.Lynne Neagle AM: Can we check that translation is back on, please, and maybe Siân could repeat her question?VaughanGething AM: I can hear it, yes.Lynne Neagle AM: Okay, Siân, would you mind repeating that, please?Sian Gwenllian AM: Not at all. I was discussing NHS services,including critical care services, and I was asking whether there is sufficient capacity in place to manage any increase. We, of course, hope that there won't be anyincrease, but should there be an increase, particularly in paediatric cases of coronavirus—let's say such a thing were to happen and this rare syndrome that youmentioned did emerge here in Wales—do we have the capacity in place to deal with these, and with the impact of coronavirus more generally onchildren?Vaughan Gething AM: At this point in time, the answer is 'yes', and there is always a significant caveat, though, and the 'but' that comes in there is thatdespite the fact that we've got a plan for surge capacity in paediatric care—. So, when we increased critical care right across the national health service, we ofcourse looked at paediatric care as part of that as well. So, we can flex up our capacity. But the challenge in all of that this is—it's part of my caution and theGovernment's caution about moves out of lockdown. So, it's much easier to go into lockdown than to come out of it, and I know you heard evidence from theMinister for Education last week about the approach that she wants to take and the principles behind doing that. So, actually, we'll need to think carefully about ifwe are reopening schools, even on a limited basis, what that then does to the circulation of coronavirus within that group of children as well as within the widercommunity, and then to try to understand whether the current capacity we have planned for in surge capacity is still going to be enough, because, actually, oneof the real success stories of the first stage of the fight with coronavirus is that we haven't had our critical care capacity filled up. It's been extended, and theextension has meant that we haven't been overtopped. If we hadn't done that, we definitely would have been. And we'll need to carry on testing ourselves andseeing what's happening and looking at the evidence and making sure that the plan we already have got that we published for paediatric critical care is still fit forpurpose, and again to reconsider if we need to do things differently. But that's part of the difficulty of being a Minister at the moment—you don't know everythingthat's coming, and on this disease in particular, we do know that we're still learning with each passing day.Lynne Neagle AM: [Inaudible.]—Siân?Sian GwenllianAM: Hello. Yes, those are the questions I had on that section.Lynne Neagle AM: Okay. Lovely. Thank you very much. Right, we'll move on now then to somequestion on access to health services from Dawn Bowden.Dawn Bowden AM: Thank you, Chair. Minister, just some concern that you will have heard about interms of parents and carers maybe not taking their children into the healthcare system for other conditions while the coronavirus pandemic is with us. How areyou monitoring that situation at the moment and have you had to look at your own commutation strategy in relation to that?Vaughan Gething AM: We've had tolook at some specifics around communication, so challenges about not just different languages, but about how we get messages to people in a very differentenvironment, and it's really challenging. So, for example, our health visitor service has absolutely not stopped. We've had to think about the way it works, and Ihad this conversation earlier this week with the chief nurse. But the bigger challenge are parents refusing to engage with the service. I understand people's fearand anxiety, but that then means that their family, and in particular their child, isn't getting the sort of proactive care that we would want them to have. So,there's a real concern both at the professional leadership end and for the chief nurse and for Ministers as well about how we can get through. That's actuallyabout rebuilding people's confidence in the service, and that isn't straightforward because there's a broader concern about coronavirus still circulating. But I thinkfor us it's really important to reiterate that we have thought again about how to provide the service. We've thought about how to protect staff and families andthe very clear message to parents is to please make sure that when health and care professionals are calling to help and support your family, please discuss yourconcerns with them. We're doing even more remotely, via telephone and online as well. There are times you need to be physically in the same place, for exampleon routine vaccinations, because we certainly haven't stopped that programme either, and I really wouldn't want to see that one of the unintended consequencesof what we've done is that if parents don't engage with that service, we could potentially see a rise in other diseases. We're all, I think—not just you in yourconstituency, but others who are on this call and others as well—seeing an occasional reappearance of measles, and that's because people didn't engage with thevaccination programme. I don't want, either myself or a different health Minister in the future, to be sat here talking about how in years to come the failure toengage in a vaccination programme has led to clearly avoidable but significant harm to children and young people and the communities they live in.Lynne NeagleAM: Thank you. Jean, you wanted to come in.Vaughan Gething AM: You need to unmute yourself. Oh, no—Professor Jean White: Thank you. I just want to add towhat the Minister said. So, I approached the immunisation lead in Public Health Wales to see exactly what has been happening recently and they said at the verybeginning of the outbreak parents were very reluctant about coming forward for their routine immunisations, but recently, through lots of energy from theimmunisation clinics and the leads within it reaching out to families, that trend seems to have turned and there's now a much better attendance. One of the mostimportant things we can do to protect our children is to make sure they have their vaccinations. So, yes, there was a bit of a downturn, but it does seem to beimproving at the moment. Thank you.Dawn Bowden AM: Okay, thank you. And that answered my second question, Chair, so I'm happy to leave it there. Thankyou.Lynne Neagle AM: Okay, thank you very much. We're going to go on now to some questions about mental health from Siân Gwenllian. Siân.Sian GwenllianAM: It's a cause of great concern to us all, of course, in terms of the impact of this crisis on mental health and well-being among our children and young people.So, what assessment has the Government undertaken of the impact on these aspects in young people and what work is being done to understand the impact ofthe pandemic? What longer term measures will be put in place and what support services will be put in place?Vaughan Gething AM: Again, I think it's helpful that"}
+{"doc_id":"doc_49","qid":"","text":"Project Manager: So {disfmarker} Hello . {vocalsound}Marketing: Good afternoon . Sorry I'm a little late .Project Manager: No problem .Marketing: Got stuck inthe traffic .Project Manager: Okay . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: That's possible on uh this timeof day . Starts at three o'clock . Uh {disfmarker} {vocalsound}Marketing: Yeah .Project Manager: Uh , let me see . Our fourth and last meeting . There he is . Yes. Okay this our last meeting . In this meeting we will discuss our final design . And we will do some evaluation about the , not only the product , but also theproject . And then we're going to close the project today as well . So after this you will be uh free to go and uh spend all your money . {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: And this uh design , detailed design meetinguh we will discuss uh the look-and-feel of the design , the usability interface design , and we will do the product evaluation . Um , in order to do that we have thisagenda . We'll have the prototype presentation first . Then we will set up some evaluation cri um criteria . {vocalsound} Then we will look at the finance . Uh wewill have to see if everything we wanna do is also possible within our budget . Because everything costs money , and the more functions you wanna have themore money it will cost . So we have to see if it fits within the twelve and a half Euro per remote . But we will see that later . Then we will do the project uhevaluation , and the closing after that .Industrial Designer: {vocalsound}Project Manager: We've got forty minutes . So we will be finished at half past three . Butfirst um we will do the {disfmarker} this is prototype presentation . So , if some yeah if somebody wants step forward .Industrial Designer: Okay . Well this iswhat me and Richard came up with . The default spot for the on-off button . The mute button just below that . Then there's the volume and channel selectors .Simple plus-minus button . Uh we thought of a help button . If you hold it and you press another button , uh the help goes to the L_C_D_ screen . Then there'sthe zero to {disfmarker} one to zero buttons . A button for teletext . A button for the subtitles . And the company logo . So it's rather simple prototype . And uhwe'll have to see from testing uh how the users take it .Project Manager: Okay .Marketing: Um , {vocalsound} is this the moment where we ask or can askquestions about the functionality ?User Interface: So {disfmarker} Yeah . Yeah .Industrial Designer: Sure uh just pop in at any time .Marketing: Um , whenyou're in teletext there usually are buttons where you just you just press it and you g go to the next teletext page .User Interface: Uh , that's just uh the normaluh as th as the normal uh remote controls uh {disfmarker} So um {disfmarker} You put it uh {disfmarker} you um came in uh page uh one hundred . Now youcan use the normal uh one to zero buttons .Marketing: Mm-hmm .User Interface: And you {disfmarker} But you can also uh use the um button th for uhchanging the the channel . S so uh the shifting uh button . Uh for uh yeah shif shifting up in uh on t on t uh teletext , and shifting uh down . So{disfmarker}Marketing: Okay . Okay . Um {disfmarker} Yeah .Project Manager: Okay . Uh but um I thought in a few meetings earlier we uh uh tried to keep it uhsimple . Uh just a few buttons and large buttons .User Interface: Oh yeah ?Project Manager: But uh I think these are altogether quite a quite a few buttons . SoI'm wondering if we if we neely {disfmarker} really need all of those buttons .User Interface: {vocalsound} {vocalsound}Industrial Designer: I think if you lookat most controls , they've got more buttons than this .Project Manager: That's right .User Interface: Yeah .Industrial Designer: And well the on-off button , it's it'sa necessity .Project Manager: Yeah .User Interface: Yeah .Industrial Designer: You can't drop that one . The volume and channel buttons , you need youobviously need those those .Project Manager: Yeah .Industrial Designer: The mute button could be replaced uh by pressing the volume-down button twice . So wecould cancel that one . I think the help button really is necessaryUser Interface: Yeah yeah .Industrial Designer: because there's no other way to know whensomeone wants to know what a button does .Project Manager: Mm .User Interface: Uh , or you can build in uh when you press uh one button uh uh{disfmarker}Project Manager: Long time . Yeah .User Interface: Yeah .Project Manager: If you put {disfmarker}User Interface: But m Yeah . We disc discuss thatalready . But uh we think uh old people uh don't know that uh option . So uh they just put in uh put {vocalsound} press uh the button and uh{disfmarker}Project Manager: Yeah . Okay .Industrial Designer: Well , {vocalsound} you can't leave out the number buttons I guess .Project Manager: Yeah.User Interface: And uh {disfmarker}Project Manager: Uh teletext and subtitles are yeah necessary .Industrial Designer: And {disfmarker} {vocalsound}UserInterface: Oh .Industrial Designer: Yeah .Marketing: Yeah .Project Manager: Okay .Industrial Designer: So it's rather basic already .Marketing: Yeah . Think so .That's what I pointed out earlier . If you just make a control for just the T_V_ there's just not much to gain here .Project Manager: Yep .User Interface: Yeah.Project Manager: Okay . So we had somebody about th interfa Something about the design of the buttons there ?Industrial Designer: Yeah , they're{disfmarker}Project Manager: Just n normal plain buttons .User Interface: Yeah . Yeah ,Industrial Designer: It's rather hard to draw on the white-board .UserInterface: it {disfmarker}Industrial Designer: But they're supposed to be equal sized , round , with a with a little logo on it for the for the volume , the thetriangle and stuff .Project Manager: Yeah . 'Kay .User Interface: Yeah yeah . Just to recognise it , so uh {disfmarker}Industrial Designer: Just for recognition.User Interface: Uh yeah and now we don't need uh LEDs or um {disfmarker} Y uhProject Manager: No .User Interface: s some uh remote controls uh do it also,Project Manager: No .User Interface: but um uh because we use the little display we don't uh have to use it . Uh so {disfmarker}Project Manager: Yeah . Okay.Industrial Designer: So and for the materials we've just chosen for rubber buttons . With a a different colour than the case .User Interface: Nay .ProjectManager: Yep .Industrial Designer: So they jump out .Project Manager: Okay .Industrial Designer: And uh that's about it .Project Manager: That's nice . Thenbecause we only have thirty minutes left , I will move on to the finance part , which is pretty exciting , to see if it's all possible what we wanna do . And I can tellyou that we're going to have a pretty hard time producing this for twelve and a half Euros .Marketing: {vocalsound}User Interface: Mm .Project Manager: If wesee {disfmarker} I don't know if I've filled in correctly , so just correct me if you see uh something wrong . I counted two batteries . But maybe we can also useone . I don't know if it's possible .Marketing: Since it rechargeable .Project Manager: It's rechargeable . That's right .User Interface: Yeah we can u just uh {gap}{disfmarker}Project Manager: Okay . That's two Euros off . {vocalsound}User Interface: 'Kay . {vocalsound}Project Manager: We need the advanced chip . Sothere's not much to uh {vocalsound} to save there .Industrial Designer: Yep .Project Manager: {vocalsound} Here we have the single curves . Uh we can see thatthe difference between uncurved and the single curved is one Euro . Um ,User Interface: Mm .Project Manager: I don't know , but I think the single curved isgood for design , and also for the display to have a prominent place on the remote control .User Interface: Yeah .Project Manager: I think we have to keep that.Industrial Designer: Yes .User Interface: Yeah .Project Manager: Then we have the case material supplements . It's plastic . It's the cheapest one we need . Sothat's uh not much to save either . But then the biggest costs are the buttons . So maybe we really should try to discard some buttons to uh keep our costs low.User Interface: Okay .Project Manager: Because you have to {disfmarker} we will have to get the twelve and a half Euros at the end . Um ,User Interface: Yeah.Project Manager: so if we {disfmarker} Let's fir first count the buttons we have now .User Interface: Uh {disfmarker} Sixteen , I believe so .Project Manager:Because I {disfmarker} {vocalsound} Sixteen . Nah , that will be even more then . Eighteen Euros . So ,User Interface: Uh seventeen . Uh with the help button.Project Manager: seventeen .Industrial Designer: {vocalsound}Marketing: Um {disfmarker}Project Manager: Okay , including the help ?Industrial Designer: Yep.Marketing: Damn .Project Manager: Yeah . Uh seventeen .User Interface: Yeah .Project Manager: I think we can uh discard the help and the mute button uh bypressing down volume long , or pressing down a a number long .Marketing: {vocalsound}User Interface: {gap} .Industrial Designer: Yep .Project Manager: Thatsaves us uh one Euro already . 'Cause then we have got fifteen I think ?Industrial Designer: Yeah .Marketing: Wouldn't {disfmarker}Project Manager: Fifteenbuttons .Marketing: Yeah . No . That wouldn't be an option .Project Manager: And this is {disfmarker}Marketing: Uh , d I assume you'd count the volume andchannel thingies for two buttons each , right ?Project Manager: No those are one , I think .User Interface: Yeah . Where did uh {disfmarker}{vocalsound}Marketing: Well , think actually there're two buttons ,User Interface: Uh , it's just one button .Marketing: aren't they ?User Interface: But , um{disfmarker} Yeah . There were uh two uh for one big button . But they are uh more expensive than the small ones . Uh , yeah . So {disfmarker}ProjectManager: Yeah but th it's not stated in this files .User Interface: It's just a {gap} .Project Manager: So maybe we can we can even make one button with thevolume and the channel in one , by pressingMarketing: Well I was thinking , maybe you could just integrate three of those numbers to one button .ProjectManager: That's possibility as well .Marketing: That would cut the cost .Project Manager: So {disfmarker} And it's good for the design as well . So you can make{disfmarker} Uh let's see . If you make this {disfmarker} {vocalsound} Looks a bit like uh a cross . {vocalsound} Plus . Min .User Interface: But I don't don'tknow if if it's cheaper .Project Manager: Uh s yeah channel .User Interface: So uh ,Project Manager: Yeah wUser Interface: we've still got four buttons , but justum {disfmarker} So {disfmarker}Project Manager: Yeah th I think they count uh the materials .User Interface: You got uh not not a butt button itself , but uh onthe um {disfmarker}Project Manager: Yeah on the chip there . Yeah .User Interface: Yeah . On the chip you've got still uh four uh four buttons .IndustrialDesigner: Yeah .Marketing: Mm-hmm .Project Manager: That's right . That's right .User Interface: So {disfmarker}Project Manager: But I think because we havethe advanced chipMarketing: Yeah .Project Manager: {vocalsound} we can just count this as one button .User Interface: Yeah , but {disfmarker}Marketing:"}
+{"doc_id":"doc_50","qid":"","text":"Grad A: OK , we 're on .Professor B: Yeah .Grad A: So , I think this is gonna be a pretty short meeting because I have four agenda items , three of them wererequested by Jane who is not gonna be at the meeting today .  So . {vocalsound} The uh first was transcription status . Does anyone besides Jane know what thetranscription status is ?PhD F: Um , sort of , I do , peripherally .PhD C: Is that English ?PhD F: Um {disfmarker} Well first of all with IBM I got a note from Brianyesterday saying that they finally made the tape for the thing that we sent them a {pause} week or week and a half agoPhD D: That 's our system .Grad A: Ugh!PhD F: and that it 's gone out to the transcribers and hopefully next week we 'll have the transcription back from that .Grad A: C can I have a pen ?PhD F: Um{disfmarker} Jane seems to be um moving right along on the transcriptions from the ICSI side . She 's assigned , I think probably five or six m more meetings.PhD C: Yeah , I think we 're up to MR thirteen or something .PhD D: Mmm .PhD F: Yeah , so um , I guess she 's hired some new transcribersPhD D: Speaking{disfmarker}Grad E: Which meetings is she transcribing ?PhD F: and {disfmarker} Um well we 've {disfmarker} we 've run out of E D Us because a certainnumber of them are um , sort of awaiting to go to IBM .Grad E: OK .PhD C: For IBM , yeah .PhD D: Hmm .Grad E: OK .PhD F: and the rest are in process beingtranscribed uh here .PhD D: So does she have transcribers right now who are basically sitting idle because there 's no data back from IBMGrad E: So we 're doingsome in parallel .Grad A: Yep .PhD F: No .Grad A: No , no .PhD F: Oh no no .Grad A: We haven't done that process .PhD D: no ?PhD F: No . We 're not waiting onthem .Grad A: So . They ' r they 're doing the full transcription process .PhD D: Oh . Oh , OK .Grad E: So they 're just doing their own thing until {disfmarker}PhDF: Yeah .PhD D: Because I {disfmarker} I need to ask Jane whether it 's {disfmarker} it would be OK for her {disfmarker} um , s some of her people totranscribe uh some of the initial data we got from the SmartKom data collection , which is these short like five or seven minute sessions .PhD F: We 're doing it inparallel , yeah .Grad E: OK .PhD C: Yep .PhD D: Um and we want it {disfmarker} You know , we need {disfmarker} The {disfmarker} Again , we {disfmarker} wehave a similar uh logistic set - up where we are supposed to send the data to MunichGrad A: Right .PhD D: and get it transcribed and get it back . But to getgoing we would like some of the data transcribed right away so we can get started .Grad A: Yep , sounds familiar .PhD D: And so um I wanted to ask Jane if{disfmarker} if uh , you know , maybe one of their transcribers could {disfmarker} could do {disfmarker} I mean since these are very short , that should reallybe uh ,Professor B: Mm - hmm .PhD D: um {disfmarker} It 's {disfmarker}PhD C: There 's only two channels . So it 's only {disfmarker} Yeah .PhD D: Yeah .PhDC: As the synthesis doesn't have to be transcribed I think .PhD D: It 's only two {disfmarker} Right , sPhD C: So .PhD D: Yeah . So {disfmarker} So it 's basicallyone channel to transcribe . And it 's {disfmarker} One session is only uh like seven {disfmarker}Professor B: So that should have ma many fewer {disfmarker}And it 's also not uh a bunch of interruptions with people and all that ,PhD D: Right . And some of it is read speech , so we could give them the {disfmarker} thething that they 're readingProfessor B: right ? So . Yeah .PhD D: and they just may {disfmarker}Grad A: Make sure it 's right .PhD C: Yep .PhD D: And so um ,um , I guess since she 's {disfmarker} I was gonna ask her but since she 's not around I {disfmarker} maybe I 'll {disfmarker}Professor B: Yeah , well it certainlyseems {disfmarker}PhD D: Uh if {disfmarker} if that 's OK with you to {disfmarker} to , you know , get that stuff uh {disfmarker} to ask her for that , then I 'lldo that .Professor B: Yeah . Yeah , if we 're held up on this other stuff a little bit in order to encompass that , that 's OK because I I um , I mean I still have highhopes that the that the IBM pipeline 'll work out for us , so it 's {disfmarker}PhD D: Yeah . OK , yeah .Professor B: Yeah .PhD D: Alrighty .PhD F: Oh , yeah , andalso related to the transcription stuff , so I 've been trying to keep a web page uh up to date f showing what the current status is of the trans of all the things we've collected and what stage each meeting is in , in terms of whether it 's {disfmarker}Grad A: Can you mail that out to the list ?PhD F: Mm - hmm , yeah I will . I{disfmarker} That 's the thing that I sent out just to foo people saying can you update these pagesGrad A: Oh , OK , OK .PhD F: and so that 's where I 'm puttingit but I 'll {disfmarker} I 'll send it out to the list telling people to look at it .Grad A: Yeah , I haven't done that . So . I have lots of stuff to add that 's just in myown directory .PhD F: Yeah .Grad A: I 'll try to get to that . OK . So Jane also wanted to talk about participant approval , but I don't really think there 's much totalk about . I 'm just gonna do it . And uh , if anyone objects too much then they can do it instead .Professor B: You are going to {disfmarker}Grad A: I 'm gonnasend out to the participants , uh , with links to web pages which contain the transcripts and allow them to {pause} suggest edits . And then bleep them out.Professor B: OK .Grad A: For the ones that we have . Um {disfmarker}PhD C: So but it 's just transcripts , not the {disfmarker} not the audio ?Grad A: Nope ,they 'll have access to the audio also .PhD C: OK , yeah , yep . Ah .Grad A: I mean that 's my intention . Because the transcripts might not be right .PhD C: Yeah.PhD F: So {disfmarker}Grad A: So you want people to be able to listen to them .PhD C: Yeah .PhD F: So , um the audio that they 're gonna have access to , willthat be the uncompressed version ? Or will you have scripts that like uncompress the various pieces and {disfmarker}Grad A: Oh , that 's a good point . That 's agood point . Yeah , it 's {disfmarker} it 's probably going to have to be the uncompressed versions because , uh , uh , it takes too long to do random accessdecompression .PhD F: Hmm . Yeah , I was just wondering because we 're uh running out of the un - backed - up disk space onGrad A: Well , that was the otherpoint .PhD F: Oh , was that another one ?Grad A: Yep , that 's another agenda item .PhD F: OK . I 'll wait .Grad A: So , uh {disfmarker} But that is a good pointso we 'll get to that , too . Um , DARPA demo status , not much to say . The back - end stuff is working out fine . It 's more or less ready to go . I 've added somestuff that uh indes indexes by the meeting type MR , EDU , et cetera and also by the user ID . So that the front - end can then do filtering based on that as well .Uh {disfmarker} The back - end is uh , going more slowly as I s I think I said before just cuz I 'm not much of a Tcl - TK programmer . And uh Dave Gelbart sayshe 's a little too busy . So I think Don and I are gonna work on that and {disfmarker} and you and I can just talk about it off - line more .Grad E: Right .Grad A:But uh {pause} the back - end was pretty smooth .Professor B: OhGrad A: So I think , we 'll have something . It may not be as {disfmarker} As pretty as wemight like , but we 'll have something .Professor B: I wondered whe when we would reach Dave 's saturation point . He 's sort of been {disfmarker} beenvolunteering for everythingGrad A: Yeah .Professor B: and {pause} and uh {disfmarker}PhD D: Mm - hmm .Professor B: O K . Finally said he was too busy . Iguess we reached it .Grad A: Yeah , he {disfmarker} he actually {disfmarker} he volunteered but then he s then he retracted it . So . Oh well . Um{disfmarker}Grad E: And , also um , I was just showing Andreas , I got um an X Waves kind of display , and I don't know how much more we can do with it{disfmarker} with like the prosodic stuff where we have like stylized pitches and signals and the transcripts on the bottomGrad A: Oh , cool .Grad E: so , rightnow it 's just an X Waves and then you have three windows but I don't know , it looked pretty nice and I 'm sure it {disfmarker} think it has potential for a littlesomething ,Grad A: For a demo ?Grad E: yeah , for a demo .Grad A: Yeah , sounds good .Grad E: So {disfmarker}Professor B: OK , so again , the issue is{disfmarker} For July , the issue 's gonna be what can we fit into a Windows machine , uh , and so on , but {disfmarker}Grad E: Oh . OK .Grad A: So it might justbe slides .Grad E: Yeah , OK .PhD C: Well {disfmarker} {pause} Yeah .Grad E: Well , we 'll see , um {disfmarker}PhD C: I 've been putting together uhTranscriber things for Windows so i And I installed it on Dave Gelbart 's PC and it worked just fine . So hopefully that will work .PhD D: Really ? So is that{disfmarker} Because there 's some people um {disfmarker} It would be cool if we could uh get that to work uh at {disfmarker} at SRIPhD C: Yeah . Yep .PhD D:because the um {disfmarker}Grad A: Well Transcriber is Tcl - TK , very generic with Snack ,PhD D: we have m m We have more Windows machines to run the{disfmarker}PhD C: Yeah .Grad A: so basically anything you can get Snack to run on , it will work .PhD D: Right .PhD C: Yeah . Yeah but {disfmarker} But theproblem is the version Transcriber works with , the Snack version , is one point six whatever and that 's not anymore supported . It 's not on {disfmarker} on theweb page anymore . But I just wrote an email to {disfmarker} to the author of {disfmarker} to the Snack author and he sent me to one point six whateverlibraryGrad A: Well I thought it was packaged with Transcriber ?PhD C: and so it works . Yeah , but then you can't add our patches and then the {disfmarker} thenew version is {disfmarker} is totally differentGrad A: Oh .PhD C: a and in {disfmarker} yeah , in terms of {disfmarker} of the source code .Grad A: Ah .PhD C:You {disfmarker} you can't find the Tcl files anymore . It 's some whatever wrapped thingPhD D: Mmm .PhD C: and you can't {disfmarker} you can't access thatso you have to install {disfmarker} First install Tcl then install Snack and then install the Transcriber thing and then do the patches .Grad A: Patch . Ugh !PhD D: I{disfmarker} I wonder if {disfmarker} if we should contribute our changes back to the authors so that they maintain those changes along {disfmarker}PhD C:Yeah . Yeah .Grad A: We have {disfmarker} Yeah b it 's just hasn't made it into the release yet .PhD D: We have ? Oh . Oh , OK .PhD F: So did you um put the uh{disfmarker} {vocalsound} the NT version out on the uh Meeting Recorder page ? Or {disfmarker}PhD C: No , I haven't done that yet . I 'm {disfmarker} ohNope . But I definitely will do that .Professor B: So , can some of the stuff that Don 's talking about somehow fit into this Uh , mean you just have a set ofnumbers that are associated with the {disfmarker}Grad E: Yeah .PhD C: So {disfmarker}Grad E: Yeah , it 's basically ASCII files or binary files , whateverrepresentation . Just three different {disfmarker} It 's a waveform and just a stylized pitch vector basically so it 's {disfmarker}PhD D: So {disfmarker} So{disfmarker} Well {disfmarker}Grad E: I mean we could do it in Matl - {comment} I mean you could do it in a number of different places I 'm sure .PhD D: But{disfmarker} But it would be cool if the Transcriber interface had like another window for the {disfmarker} you know , maybe above the waveform where it would"}
+{"doc_id":"doc_51","qid":"","text":"Project Manager: Okay um , welcome to our detailed design meeting . I'm pretty excited . Let's start it's approximately fifteen forty or something like that . Okayum the agenda {disfmarker} we're gonna do an opening and then um I'll talk about the minutes from the last meeting , what we d discussed um , then we'll havethe prototype presentation and a look at the evaluation criteria . We'll look at the finances and finally a {disfmarker} do a production evaluation and close . So ,starting off with the um last {disfmarker} the last one , oh I don't have it here um , but we talked about energy , we're gonna use a kinetic battery um , we wantto use a simple chip , because we're not gonna need a a shuffle um , we're gonna need a scroll um , we're choosing a latex case w in fruity colours that's curvedand um we're using push buttons uh with a supplement of an on-screen menu . And it sounded like we had set um like eight or nine buttons , including fivepre-set channels . Okay ? Let's do the look and feel design presentation first .User Interface: Right , do you wanna start ?Industrial Designer: Right , well wemade three different prototypes and I guess we'll start with with this one . Um we have our colours not {disfmarker} are not fixed , but this is the general shape .Um it's {disfmarker} you hold it sort of either like like this in your left hand or you switch it over and uh it's easily adaptable to either hand . You can push thebuttons with your thumb like a mobile phone , or you can push them with your index finger of your other hand , or even {disfmarker} I mean there's a wholevariety , you can hold it like this and press it with your same index finger . Uh we have the on off button at the tip , very visible , very big . We have our up anddown buttons , which are also gonna be our channel selectors , and we have our little menu button here . If you push {disfmarker} if you're just pushing thesenormally , they're the menu buttons , if {disfmarker} uh the volume buttons rather . If you press select once , they become channel changing buttons . If wepress select three times , the menu with the other features and pro possibly also with your T_V_ channel choices shows up , and you have your five presets downhere . Um if people wanna grab hold of that , see how it feels in your hand . That's our number one prototype . Um do you wanna present the potato ,ProjectManager: {gap} like a little lightning in it .Industrial Designer: or shall I present the Martian ?User Interface: Okay ,Project Manager: The little lightning bolt in it ,very cute .User Interface: um {disfmarker} What {disfmarker} We call that one the rhombus ,Marketing: I could {disfmarker}Project Manager: The v therhombus rhombus ?User Interface: uh the rhombus .Industrial Designer: That's the rhombus , yep .User Interface: Um this one is known as the potato , uhit'sIndustrial Designer: {vocalsound}User Interface: it's a {vocalsound}Marketing: {vocalsound}User Interface: how can I present it ? It's an ergonomic shape ,so it it fits in your hand nicely . Um it's designed to be used either in your left hand or or in your right hand . Um I've gone here just for just for four buttons onthis one . Um the two blue buttons here are for adjusting the volume . So you've got volume up and volume down on the other side here . Um the red ones arefor uh changing channels , channel up and channel down and that's um moves between your favourite channels that you've selected . Uh this middle button herebrings up the on-screen menu and when you're working in the on-screen menu you use the other four buttons to navigate around the menu system and themiddle button uh to select and that's basically it , that's the potato .Project Manager: Um on , off ?User Interface: Uh that would be one of your channels ,basically ,Project Manager: Okay .User Interface: so like channel zero would be t to switch switch the machine off ,Project Manager: Yeah we turn it off .UserInterface: yeah .Marketing: Could the middle button of the on-screen menu function as a power button ?User Interface: Um not really ,Industrial Designer:{gap}User Interface: it would make it hard to turn the machine off , to turn your T_V_ off .Project Manager: Mm-hmm .Industrial Designer: If you pressed andheld it maybe .User Interface: Yeah yeah , that that'd be one way of doing it , yeah . That'd work , yeah .Marketing: If you like held it down , that would be on off.Industrial Designer: Yeah . On off , that's a possibility , yeah .Project Manager: Okay .Industrial Designer: And then finally we have um the Martian or the pear ,either way . Um it's a bit different , just a little bit more of a creative feel . Uh you have the on off toggle stem on the top . {vocalsound} We have the five presetseeds {vocalsound} .Project Manager: {vocalsound}Industrial Designer: {vocalsound} And then you have on the sides to make it a little bit morethree-dimensional , you have your channel changing , volume changing buttons and your menu button right here in the middle . So , that's for your considerationas well , plus it's an interesting talking point to have standing up .User Interface: Let's pass .Industrial Designer: We figured it could stand up like this on yourtable , if you wanted it to , if I made the bot the bottom flat . {vocalsound}Project Manager: Uh-huh . {vocalsound}Marketing: Sorry , what's the yellow one inthe middle ,Industrial Designer: {vocalsound} Uh the menu select button . {vocalsound}Marketing: I forgot .Project Manager: {gap} Very interesting .{vocalsound} I think that one's my favourite .Industrial Designer: {vocalsound}User Interface: So that's {disfmarker} So that's our three prototypes . Umbasically , in terms of making decisions , what we'd need to do is first of all decide on a form uh which of the three different shapes we want , then decide whatkind of button layout we want , how many buttons , and then to choose what colours we want to make the buttons and if we wanna put any text on the device ,like label on the buttons or put a brand name or or a logo on it or whatever .Marketing: {vocalsound}Project Manager: Mm-hmm .Industrial Designer: We werewe were thinking that normally we'd go for fruity colours , but maybe we're also thinking that your sort of middle aged man , for an example customer , might notwant a fruity coloured remote , so m maybe we'd have one version that's a bit toned down ,Project Manager: Mm 'kay .Industrial Designer: maybe with with lesscontrasts on it . Yeah , something still a little bright to make it hard to lose , but {disfmarker}User Interface: Would {disfmarker} Yeah , but we don't want it tolook like a kids' toy {gap} .Industrial Designer: {gap} yeah .Project Manager: Now that was one thing that we brought up over email . I don't know if you pickedup your email , but um the f the um feature that we considered for it not getting lost .User Interface: Yeah .Industrial Designer: Right . Well we were we weretalking about that a little bit when we got that email and we think that each of these are so distinctive , that it {disfmarker} it's not just like another piece oftechnology around your house . It's gonna be somewhere that it can be seen .Project Manager: Mm-hmm .Industrial Designer: So we're we're not thinking thatit's gonna be as critical to have the loss {disfmarker}Marketing: But if it's like under covers or like in a couch you still can't see it .Project Manager: It's really{disfmarker} Would it be very difficult to um just have an external device that like I dunno , you tape to your to your T_V_ um that when you press it you ha alittle light beep goes off ? Do you think that would be conceptually possible ?Industrial Designer: I think {disfmarker}User Interface: I think it would be difficulttechnologically ,Project Manager: Mm-hmm .User Interface: because if your if your remote's lost it's probably under the settee and in that case you can't youcan't send an infrared sing signal to it to find it ,Project Manager: Mm .User Interface: s so it's {disfmarker} I'm not quite sure how it would workProject Manager:That's true , mm 'kay .Industrial Designer: Yeah .User Interface: and then I wonder if it's if it's more just a gimmick then anything else . Uh I mean ho how manytimes do you really , seriously lose your remote control and would would a device like that actually help you to find it ?Industrial Designer: There might besomething that you can do in the circuit board and the chip to make it make a noise or something , but it would take a lot more development than we have thisafternoon .Project Manager: Mm-hmm . Okay , that's a fair evaluation . Getting lost . Um we {disfmarker} so we do we've decided not to worry about that fornow . Okay 'cause {disfmarker} well , the designs are very bright , so you're right , they're gonna stick out , but um {disfmarker}Industrial Designer: So d dopeople have a preference as far as feel and functionality ? Um .Marketing: I feel like this is simil {vocalsound} or it's sort of what already exists so if we're tryingto think of something sort of like new and fun , even though this is like what you're init I'm initially drawn to , just 'cause it's like comfortable and like notdifferent . I sort of like this one , like I I don't know why , it just it's like small but still sort of like cute looking , I dunno . But I also like the b the side buttons onthat one , like I think that's kind of neat .Project Manager: Mm-hmm .Marketing: But I dunno how much any of this has to do with the fashionable , sort of coollooking thing that we also need to focus on {vocalsound} .Project Manager: Could we maybe have like an extra button on the top for on off ? So then w wewouldn't have to have like a dual function ?Industrial Designer: Mm yeah ,User Interface: Yeah , it's possible , yeah , yeah .Marketing: Ah ,Industrial Designer:that's good , that's good .Marketing: there we go .Industrial Designer: Here , stick it on .User Interface: {vocalsound} Put an extra the button on {gap}{vocalsound} .Marketing: {vocalsound}Project Manager: Sure .Industrial Designer: {vocalsound}Project Manager: Um uh why don't we do a product evaluationusing your criteria , if you've developed some ?Marketing: Well do we w {vocalsound} like I think we're supposed to have one that we do it for .Project Manager:Oh okay . Okay .Marketing: That was {vocalsound} {disfmarker}Industrial Designer: So where {disfmarker}Marketing: I was a little vague on what exactly I'msupposed to do , but let me {disfmarker} I have to like write something on the whiteboard , so .Project Manager: Okay . Do you need thisIndustrial Designer:{vocalsound}Project Manager: or just write on the white board ?Marketing: No , I actually don't have like a PowerPointy thing ,Project Manager: Okay .IndustrialDesigner: Right .Marketing: 'cause I think it would be redundant .Industrial Designer: Okay .Marketing: I dunno .Project Manager: It's kind of like uh like ajoystick kind of thing ,Industrial Designer: {vocalsound} Ooh .Project Manager: you know ,User Interface: {vocalsound} Cool .Project Manager: kinda push it{vocalsound} .Industrial Designer: {vocalsound} Hey .Project Manager: 'Kay .Industrial Designer: {vocalsound}Project Manager: Maybe a little smaller than that{gap} .Industrial Designer: No , I kinda like it .User Interface: {vocalsound}Industrial Designer: That's hard to miss .User Interface: It makes look more fruity aswell .Project Manager: Oh it does ,Industrial Designer: {vocalsound}Project Manager: it's kind of like {disfmarker}Industrial Designer: {vocalsound}"}
+{"doc_id":"doc_52","qid":"","text":"Grad B: So I guess this is more or less now just to get you up to date , Johno . This is what , uh ,Grad C: This is a meeting for me .Grad B: um , Eva , Bhaskara ,and I did .Grad D: Did you add more stuff to it ? {pause} later ?Grad B: Um . Why ?Grad D: Um . I don't know . There were , like , the {disfmarker} you know ,@ @ and all that stuff . But . I thought you {disfmarker} you said you were adding stuffGrad B: Uh , no .Grad D: but {pause} I don't know .Grad B: This is{disfmarker} Um , Ha ! Very nice . Um , so we thought that , {vocalsound} We can write up uh , an element , and {disfmarker} for each of the situation nodesthat we observed in the Bayes - net ? So . What 's the situation like at the entity that is mentioned ? if we know anything about it ? Is it under construction ? Or isit on fire or something {pause} happening to it ? Or is it stable ? and so forth , going all the way um , f through Parking , Location , Hotel , Car , Restroom , @ @{comment} Riots , Fairs , Strikes , or Disasters .Grad C: So is {disfmarker} This is {disfmarker} A situation are {disfmarker} is all the things which can behappening right now ? Or , what is the situation type ?Grad B: That 's basically {pause} just specifying the {disfmarker} the input for the {disfmarker} w what'sGrad C: Oh , I see y Why are you specifying it in XML ?Grad B: Um . Just because it forces us to be specific about the values {pause} here ?Grad C: OK .Grad B:And , also , I mean , this is a {disfmarker} what the input is going to be . Right ? So , we will , uh {disfmarker} This is a schema . This is {disfmarker}Grad C:Well , yeah . I just don't know if this is th l what the {disfmarker} Does {disfmarker} This is what Java Bayes takes ? as a Bayes - net spec ?Grad B: No , becauseI mean if we {disfmarker} I mean we 're sure gonna interface to {disfmarker} We 're gonna get an XML document from somewhere . Right ? And that XMLdocument will say \" We are able to {disfmarker} We were able to observe that w the element , um , @ @ {comment} of the Location that the car is near . \" Sothat 's gonna be {disfmarker} {vocalsound} {comment} Um .Grad C: So this is the situational context , everything in it . Is that what Situation is short for , shisituational context ?Grad B: Yep .Grad C: OK .Grad B: So this is just , again , a an XML schemata which defines a set of possible , uh , permissible XML structures, which we view as input into the Bayes - net . Right ?Grad C: And then we can r {pause} uh possibly run one of them uh transformations ? That put it into theformat that the Bayes n or Java Bayes or whatever wants ?Grad B: Yea - Are you talking {disfmarker} are you talking about the {disfmarker} the structure ?GradC: Well it {disfmarker}Grad B: I mean when you observe a node .Grad C: When you {disfmarker} when you say {pause} the input to the {pause} v Java Bayes ,{comment} it takes a certain format ,Grad B: Um - hmm .Grad C: right ? Which I don't think is this . Although I don't know .Grad B: No , it 's certainly not this .Nuh .Grad C: So you could just {disfmarker} Couldn't you just run a {disfmarker}Grad B: XSL . {comment} Yeah .Grad C: Yeah . To convert it into the JavaBayes for format ?Grad B: Yep .Grad C: OK .Grad B: That 's {disfmarker} That 's no problem , but I even think that , um {disfmarker} I mean , once{disfmarker} Once you have this sort of as {disfmarker} running as a module {disfmarker} Right ? What you want is {disfmarker} You wanna say , \" OK , giveme the posterior probabilities of the Go - there {pause} node , when this is happening . \" Right ? When the person said this , the car is there , it 's raining , andthis is happening . And with this you can specify the {disfmarker} what 's happening in the situation , and what 's happening with the user . So we get{disfmarker} After we are done , through the Situation we get the User Vector . So , this is a {disfmarker}Grad C: So this is just a specification of all the possibleinputs ?Grad B: Yep . And , all the possible outputs , too . So , we have , um , for example , the , uh , Go - there decision nodeGrad C: OK .Grad B: which has twoelements , going - there and its posterior probability , and not - going - there and its posterior probability , because the output is always gonna be all the decisionnodes and all the {disfmarker} the {disfmarker} a all the posterior probabilities for all the values .Grad C: And then we would just look at the , eh , Struct that wewanna look at in terms of if {disfmarker} if we 're only asking about one of the {disfmarker} So like , if I 'm just interested in the going - there node , I wouldjust pull that information out of the Struct that gets return that would {disfmarker} that Java Bayes would output ?Grad B: Um , pretty much , yes , but I think it's a little bit more complex . As , if I understand it correctly , it always gives you all the posterior probabilities for all the values of all decision nodes . So , whenwe input something , we always get the , uh , posterior probabilities for all of these . Right ?Grad C: OK .Grad B: So there is no way of telling it t not to tell usabout the EVA {pause} values .Grad C: Yeah , wait I agree , that 's {disfmarker} yeah , use {disfmarker} oh , uh {pause} Yeah , OK .Grad B: So {disfmarker}so we get this whole list of {disfmarker} of , um , things , and the question is what to do with it , what to hand on , how to interpret it , in a sense . So y you saidif you {disfmarker} \" I 'm only interested in whether he wants to go there or not \" , then I just look at that node , look which one {disfmarker}Grad C: Look atthat Struct in the output ,Grad B: Yep .Grad C: right ?Grad B: Look at that Struct in the {disfmarker} the output , even though I wouldn't call it a \" Struct \" . But.Grad C: Well i well , it 's an XML Structure that 's being res returned ,Grad B: Oh . Mm - hmm .Grad C: right ?Grad B: So every part of a structure is a \" Struct \" .Yeah .Grad C: Yeah , I just uh {disfmarker} I just was {disfmarker} abbreviated it to Struct in my head , and started going with that .Grad B: That element orobject , I would say .Grad C: Not a C Struct . That 's not what I was trying to kGrad B: Yeah .Grad C: though yeah .Grad B: OK . And , um , the reason is{disfmarker} why I think it 's a little bit more complex or why {disfmarker} why we can even think about it as an interesting problem in and of itself is{disfmarker} Um . So . The , uh {disfmarker} Let 's look at an example .Grad C: Well , w wouldn't we just take the structure that 's outputted and then runanother transformation on it , that would just dump the one that we wanted out ?Grad B: Yeah . w We 'd need to prune . Right ? Throw things away .Grad C: Well, actually , you don't even need to do that with XML .Grad B: NoGrad C: D Can't you just look at one specific {disfmarker}Grad B: Yeah , exactly . The{disfmarker} @ @ {comment} Xerxes allows you to say , u \" Just give me the value of that , and that , and that . \" But , we don't really know what we 'reinterested in {pause} before we look at the complete {disfmarker} at {disfmarker} at the overall result . So the person said , um , \" Where is X ? \" and so , wewant to know , um , is {disfmarker} Does he want info ? o on this ? or know the location ? Or does he want to go there ? Let 's assume this is our {disfmarker}our question .Grad C: Sure .Grad B: Nuh ? So . Um . Do this in Perl . So we get {disfmarker} OK . Let 's assume this is the output . So . We should con be able toconclude from that that {disfmarker} I mean . It 's always gonna give us a value of how likely we think i it is that he wants to go there and doesn't want to gothere , or how likely it is that he wants to get information . But , maybe w we should just reverse this to make it a little bit more delicate . So , does he wannaknow where it is ? or does he wanna go there ?Grad C: He wants to know where it is .Grad B: Right . I {disfmarker} I {disfmarker} I tend to agree . And if it 's{disfmarker} If {disfmarker}Grad C: Well now , y I mean , you could {disfmarker}Grad B: And i if there 's sort of a clear winner here , and , um {disfmarker}and this is pretty , uh {disfmarker} indifferent , then we {disfmarker} then we might conclude that he actually wants to just know where , uh t uh , he does wantto go there .Grad C: Uh , out of curiosity , is there a reason why we wouldn't combine these three nodes ? into one smaller subnet ? that would just basically be{pause} the question for {disfmarker} We have \" where is X ? \" is the question , right ? That would just be Info - on or Location ? Based upon {disfmarker}GradB: Or Go - there . A lot of people ask that , if they actually just wanna go there . People come up to you on campus and say , \" Where 's the library ? \" You 'regonna say {disfmarker} y you 're gonna say , g \" Go down that way . \" You 're not gonna say \" It 's {disfmarker} It 's five hundred yards away from you \" or \" It's north of you \" , or {disfmarker} \" it 's located {disfmarker} \"Grad C: Well , I mean {disfmarker} But the {disfmarker} there 's {disfmarker} So you just havethree decisions for the final node , that would link thes these three nodes in the net together .Grad B: Um . I don't know whether I understand what you mean .But . Again , in this {disfmarker} Given this input , we , also in some situations , may wanna postulate an opinion whether that person wants to go there now thenicest way , use a cab , or so s wants to know it {disfmarker} wants to know where it is because he wants something fixed there , because he wants to visit t it orwhatever . So , it {disfmarker} n I mean {disfmarker} a All I 'm saying is , whatever our input is , we 're always gonna get the full output . And some{disfmarker} some things will always be sort of too {disfmarker} not significant enough .Grad C: Wha Or i or i it 'll be tight . You won't {disfmarker} it 'll be hardto decide .Grad B: Yep .Grad C: But I mean , I guess {disfmarker} I guess the thing is , uh , this is another , smaller , case of reasoning in the case of anuncertainty , which makes me think Bayes - net should be the way to solve these things . So if you had {disfmarker} If for every construction ,Grad B: Oh !GradC: right ? you could say , \" Well , there {disfmarker} Here 's the Where - Is construction . \" And for the Where - Is construction , we know we need to l look atthis node , that merges these three things togetherGrad B: Mm - hmm .Grad C: as for th to decide the response . And since we have a finite number ofconstructions that we can deal with , we could have a finite number of nodes .Grad B: OK . Mm - hmm .Grad C: Say , if we had to y deal with arbitrary language ,it wouldn't make any sense to do that , because there 'd be no way to generate the nodes for every possible sentence .Grad B: Mm - hmm .Grad C: But since wecan only deal with a finite amount of stuff {disfmarker}Grad B: So , basically , the idea is to f to feed the output of that belief - net into another belief - net .GradC: Yeah , so basically take these three things and then put them into another belief - net .Grad B: But , why {disfmarker} why {disfmarker} why only those three? Why not the wholGrad C: Well , I mean , d For the Where - Is question . So we 'd have a node for the Where - Is question .Grad B: Yeah . But we believe that allthe decision nodes are {disfmarker} can be relevant for the Where - Is , and the Where {disfmarker} How - do - I - get - to or the Tell - me - something - about.Grad C: You can come in if you want .Grad B: Yes , it is allowed .Grad C: As long as y you 're not wearing your h your h headphones . Well , I do I {disfmarker}"}
+{"doc_id":"doc_53","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to meeting number 22 of the House of Commons SpecialCommittee on the COVID-19 Pandemic. A reminder to all members that in order to avoid issues with sound, members participating in person should not also beconnected to the video conference. For those joining via video conference, I would like to remind you that, when speaking, you should be on the same channel asthe language you are speaking. As usual, please direct your remarks through the chair. I understand we don't have any ministerial announcements today, so we'llproceed to presenting petitions. I would like to remind members that any petition presented during a meeting of the special committee must have already beencertified by the clerk of petitions. For members participating in person, we ask that they please come and drop the signed certificate off at the table once thepetition is presented. The first petition will be presented by Ms.May.Ms. Elizabeth May (SaanichGulf Islands, GP): Mr. Chair, it's an honour to rise in meetingnumber 22 of the COVID-19 committee, otherwise known as something like the House of Commons. I'm here to present two petitions containing hundreds ofsignatures on the issue of the treatment of Falun Gong practitioners by the People's Republic of China, particularly the practice that's alleged of involuntary organharvesting. The petitioners ask the Government of Canada to condemn this practice and to publicly call for an end to the persecution of Falun Gong in the People'sRepublic of China. The second petition is from residents throughout SaanichGulf Islands concerned about what was, at the time this petition was submitted, afuture problem. It remains an issue, and I present it on behalf of petitioners who wish the Government of Canada not to put public funds into purchasing ormaintaining the Trans Mountain pipeline or towards any expansion of the pipeline.The Chair: Next we'll go to Ms. Kwan.Ms. Jenny Kwan (Vancouver East, NDP):Mr. Chair, I rise to table two petitions. The first petition deals with the COVID-19 situation. The petitioners note the pandemic is having a devastating impact onmany Canadians nationwide, especially those who have low to modest income, small business gig workers, freelancers, artists, film industry workers, non-salariedworkers and individuals on fixed incomes such as seniors and those on disability. It further notes that rent, mortgage and utility payments are due at the end ofeach month, putting countless Canadians at risk of losing their housing. It is paramount there be safe self-isolation opportunities for all individuals in this country.To that end, the petitioners are calling for the government to immediately enact a nationwide rent freeze, eviction freeze, mortgage freeze and utility freeze,enforce mortgage deferrals for homeowners without penalty or interest charges from financial institutions and provide direct assistance in the form of a monthly,universal, direct payment of $2,000 per month for all, with an additional $250 per child immediately. The second petition deals with the Trans Mountain pipelineexpansion. These petitioners join the hundreds of thousands of people who are opposed to the expansion. Trans Mountain, in building the pipeline, brings massiveenvironmental and economic risk with no substantial benefit to British Columbia or to local residents. Approximately 40,000 barrels of oil have already leakedfrom existing Kinder Morgan pipelines, including two major spills in Burnaby since 2007. I might note, Mr. Chair, that just this past weekend there was yetanother spill to the tune of 1,195 barrels here in British Columbia. There is no known scientific technology to clean up the bitumen when there is a spill, and thenumber of tankers would go from eight to 34 per month into the Burrard Inlet. It puts at risk many residential neighbourhoods and the traditional territories of atleast 15 first nations.The Chair: May I interrupt for a moment, Ms. Kwan. I want to remind all members in the House that when presenting a petition, the idea isto be as concise as possible. Ms. Kwan, I'll let you wrap up, please.Ms. Jenny Kwan: Thank you, Mr. Chair. The petitioners are calling for the government toimmediately act to prevent this new oil pipeline from proceeding through British Columbia.The Chair: Thank you. We'll now go to Mr. Genuis.Mr. Garnett Genuis(Sherwood ParkFort Saskatchewan, CPC): Mr. Chair, I have four petitions to present today. The first petition reflects the outrage of my constituents at theever-expanding order in council from the government banning more and more firearms. In particular, the petitioners highlight the failure of the government to acton the issue of illegal guns. The petitioners note that virtually all violent crimes committed in Canada, including the recent shooting in Nova Scotia, involve illegalfirearms in the hands of those who are already not permitted to possess them. The petition has two asks. First of all, it asks that we reverse the order in councilbanning certain firearms, but also that we propose measures that will effectively address the illegal use of firearms by criminals while respecting the rights oflaw-abiding citizens. It also asks that we ensure that substantial changes to firearms laws in future actually be made by Parliament, not by the government actingin an unaccountable manner. The second petition deals with Bill C-8, which is the government's bill around conversion therapy. The petitioners support efforts toban conversion therapy. They express concern about problems in the wording of the definition used in the legislation. They're asking the government to supportamendments to fix the definition to address the issue of conversion therapy and ensure that the definition is correct and doesn't criminalize certain forms ofcounselling that individuals may voluntarily enter into. The third petition is regarding Bill S-204, a bill in the Senate that seeks to make it a criminal offence for aperson to go abroad to receive an organ without consent, dealing especially with the horrific practice of forced organ harvesting and trafficking in China. Thepetitioners are supportive of Bill S-204 and want to see it move forward. The final petition is with respect to Bill C-7. There's been much discussion in this Houseabout the need to do better in terms of long-term care. Rather than working to do better in long-term care, unfortunately we've seen the government removingvital safeguards in the area of euthanasia. I think our focus should be on assisting life rather than removing safeguards that are required in association with theeuthanasia regime. The petitioners are particularly concerned about the government's plan to remove a 10-day reflection period that normally takes place. Thatperiod can already be waived under certain circumstances, but Bill C-7 proposes to remove it entirely as well as reduce the number of witnesses involved. Thepetitioners are quite concerned about what's going on in Bill C-7 and call for it to be stopped or amended.The Chair: Presenting petitions. We'll proceed tostatements by members. We'll start off with Mr. Manly.Mr. Paul Manly (NanaimoLadysmith, GP): Mr. Chair, we are in the midst of a global pandemic and aneconomic shock. Recent events have ripped open the wound of systemic racism in our country. Racialized and marginalized communities have beendisproportionally affected by the pandemic. Thousands of seniors in long-term care facilities have died. It is clear that we need system change. In the past,governments have bailed out banks and corporations because they were too big to fail. It is time to bail out humanity and the planet. No one will be immune fromthe threat of climate change and mass extinction. Both are the result of the exploitation of the natural world in the name of the economy. Humans created theeconomy. We can choose to change it. We must protect our environment or perish. COVID-19 has demonstrated that together we can take courageous action forthe common good. We need to do the same for the climate crisis, because humanity and our planet are too big to fail.The Chair: We'll now go to Mr.Spengemann.Mr. Sven Spengemann (MississaugaLakeshore, Lib.): Mr. Speaker, today marks World Elder Abuse Awareness Day. Underestimated andunder-reported, elder abuse exists across the world. At risk of neglect and assault, many of the most vulnerable older persons reside in our long-term carefacilities. They are the seniors who have built our country and shaped our communities, who have shown us resilience, courage and selflessness, who have madeus stronger, and whose work and teachings continue to inspire us. They are parents and grandparents, brothers and sisters, friends and mentors. We have notbeen there for them in the same way they've been there for us throughout their lives. The Canadian Forces report, alongside the climbing disproportionate deathtoll in our long-term care facilities, has reconfirmed the ugly, indefensible reality of elder abuse and neglect in Canada. In my community, we mourn the deaths of68 seniors from one long-term care facility alone, Camilla Care. We must make the same unwavering commitment to older persons as they have shown to us. Wemust protect and uphold their human rights. We must do better.The Chair: Before proceeding, I just want to bring up to the members in the background that wewant to keep it as simple and as parliamentary as possible in keeping it neutral. We'll now move to Mr. Barrett.Mr. Michael Barrett (LeedsGrenvilleThousandIslands and Rideau Lakes, CPC): During these trying times, the residents of LeedsGrenvilleThousand Islands and Rideau Lakes have risen to the challenge.They've made sacrifices and gone above and beyond to make the lives of their neighbours better and to keep our communities safe. It would be impossible to listeveryone who has emerged as a community hero, but I'd like to highlight a few, like Lily, an eight-year-old from Elgin who raised funds for her local food bank bybuilding and selling squirrel picnic tables, and Louise Boardman from Spencerville who's making masks for long-term care facilities and selling others in support ofthe Breast Cancer Action centre. The Knights of Columbus in Prescott raised funds and are distributing some $27,000 in support of charitable groups throughoutthe region. The Knights of Columbus in Kemptville are working overtime operating the local food bank. Who can forget our top-notch health care workers likeHannah and Mary at the Brockville COVID-19 testing centre? It is the people of LeedsGrenvilleThousand Islands and Rideau Lakes that make it so great. Toeveryone working to make a difference and to all of our essential workers, thank you.The Chair: Next is Mr. Anandasangaree.Mr. Gary Anandasangaree(ScarboroughRouge Park, Lib.): Mr. Chair, the Indian Act enshrined racism into Canadian law in 1876, and, through residential schools, the child welfare system,our legal system and our police, we criminalized and tore apart indigenous peoples. The deaths of Chantel Moore and Rodney Levi and the assault on Chief AllanAdam are recent examples of systemic racism within the RCMP. Sadly, the RCMP leadership has failed to acknowledge this reality and its root causes. These samesystems negatively impact black Canadians. Anti-black racism has resulted in more young black men being jailed, children being streamed or excluded from"}
+{"doc_id":"doc_54","qid":"","text":"Project Manager: Afternoon guys . It's gonna be {gap} .Marketing: Rock and roll .Project Manager: Oh . {vocalsound} {gap} 'Kay .Marketing: So do we need tore-train Mike on how to put his mic on ?Project Manager: We may do .Industrial Designer: Think sMarketing: Okay , can he get it all by himself this time ?ProjectManager: I dunno , I'm feeling like a big boy .Industrial Designer: Mm . ProMarketing: {gap}Industrial Designer: Probably not , 'cause he's 'S been listening to{gap} too much .Marketing: So {disfmarker}Industrial Designer: He's getting retarded . Yay .Marketing: I believe I can fly .User Interface: Alright well we gotsome exciting stuff for you guys .Industrial Designer: Or not .User Interface: Or not . {vocalsound}Industrial Designer: Yeah .Marketing: Just what I needed wassomething exciting . Remember , I'm an old man .Industrial Designer: {vocalsound}Project Manager: 'Kay , ready to go ?User Interface: All ready .ProjectManager: 'Kay so we've got our conceptual design meeting .Industrial Designer: Apparently I'm old as well .Project Manager: Hopefully we've all got excitingideas now .Marketing: Thirty's really young , eh ?User Interface: {vocalsound} We do .Project Manager: Uh k exciting ideas . 'Kay so here's our agenda ouragenda . UmIndustrial Designer: {vocalsound}Project Manager: I'm gonna open . I'm gonna talk for a bit about what we're gonna do . I'm gonna take somenotes . We're gonna all do a presentation , and then hopefully we're gonna make some decisions now . {vocalsound} Yep . {vocalsound} Well when I sayhopefully , we have to . SoUser Interface: Alright .Project Manager: I'm gonna let you guys talk before we make decisions . And does anyone really want to gofirst ?User Interface: I guess I'll go first .Industrial Designer: {vocalsound}Project Manager: You p two ?User Interface: Yeah .Project Manager: What's{disfmarker}User Interface: Component , I think . Yeah .Project Manager: Components design .User Interface: Yep that's it .Industrial Designer: Presented byname . {vocalsound}User Interface: My name is {vocalsound} .Project Manager: {vocalsound} Your name is name ?Marketing: Jose he man is .User Interface:My name is name .Project Manager: Huh hi name .Industrial Designer: My name is Inigo Montoya .Project Manager: {vocalsound}Industrial Designer: You killedmy father .User Interface: {vocalsound} Sorry I did this in a bit of a rush .Industrial Designer: Prepare to die . {vocalsound}Marketing: N name .ProjectManager: Right . {vocalsound}User Interface: So so here's a look inside your really old-looking remote control . Um you've got {vocalsound} a printed{vocalsound} a printed uh circuit board here , and you've got all these buttons which kinda press down little rubber {vocalsound} nubbies into these little holesthat activate {disfmarker}Marketing: {vocalsound}Project Manager: We've all broke a remote control ri um s yeah . {vocalsound}User Interface: Yeah we've allbroken a remote control .Industrial Designer: {vocalsound}Marketing: {vocalsound} I've {disfmarker}User Interface: So you've also got um {disfmarker} you'vegot your chip here , your batteries here , and some sorta electronics . Um {disfmarker}Marketing: I just love you tech guys , huh .Industrial Designer: Yeahthere's a thingy and a dingy and {disfmarker}Project Manager: {vocalsound} You press this and it does thUser Interface: Well {vocalsound}{disfmarker}Marketing: {vocalsound} Yeah y do jabber {vocalsound}User Interface: so you've got {disfmarker} here's here's a transistor , and this amplifiesyour signal ,Industrial Designer: {vocalsound}User Interface: um you've got the L_E_D_ here on the end of the uh uh on the end of the printed circuit board . Umyou've got a couple diodes here for I don't know who and whatnot {vocalsound} .Project Manager: {vocalsound} I dunno who and whatnot .User Interface: So{disfmarker} {vocalsound} exactly .Industrial Designer: Nah .User Interface: So um we've got a {disfmarker} i in this in this uh drawing he uh in this examplehere , this is a eighteen pin um uh chip {vocalsound} I dunno .Marketing: P Yeah .User Interface: Uh it's two double A_ batteries .Industrial Designer:{vocalsound}User Interface: This is pretty standard remote . So here are options for our power sources . You can use a basic battery , which we've alreadydiscussed , um {vocalsound} th our tech department also said we have the option of doing some kind of hand dynamo where maybe you crank it or somethinglike that .Project Manager: {vocalsound} 'Kay . {vocalsound}Industrial Designer: {vocalsound} I wanna change that {vocalsound} .User Interface: I don't knowif that's really {vocalsound}Marketing: {vocalsound} I I gotta I gotta flashlight , and uh {disfmarker}User Interface: I don't know we got some qu crazy guysdown there in that department so {vocalsound} {disfmarker}Industrial Designer: {vocalsound}Project Manager: Okay .User Interface: You shake it .Marketing:yeah but it's interesting 'cause you shake it like this {vocalsound} .User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: Like this{vocalsound} .User Interface: So that's the next bullet is the um the kinetic provision of energy ,Marketing: And that's on the camera {vocalsound} .IndustrialDesigner: {vocalsound}User Interface: so it's like that flashlight where you have to shake it {vocalsound} .Marketing: Yeah .Project Manager: 'Kay .UserInterface: Uh we've got solar cells , which I don't think is a very good idea because um you could not use your remote at night {vocalsound} which doesn't makea lot of sense .Project Manager: Mm 'kay .User Interface: And finally we've got our cradle o our power cradle idea .Project Manager: Okay so we basically havebattery versus cradle here ?User Interface: M battery versus cradle I think is {disfmarker} yeah .Project Manager: Okay .Industrial Designer: I like the kinetic.Project Manager: So we have battery versus cradle {vocalsound} {disfmarker}Marketing: I g I I figured you would . Yes . {vocalsound} Yeah .User Interface: Itcould be fun {vocalsound} .Project Manager: It's actually a novel thing because you could sell it a as a novelty , just to be actually serious for a minute here ,UserInterface: Yeah .Project Manager: you could {disfmarker}User Interface: Well it is it is more uh {disfmarker} I mean it is more eco-friendly than the than thecradle 'cause you're still using power off the grid with the cradle . So umProject Manager: Mm . Hmm .User Interface: our case design . We have uh choices inmaterials and choices in the general shapes that we can do . Our material choices are a plastic latex um ty or plastic , a rubber latex type thing , uh wood , ortitanium . If we go with titanium we're gonna be uh limited in the amount of shapes we can do because it's tough to shape the titanium , and uh {disfmarker}Yeah persProject Manager: Wood wood would ge would give us a little bit of a marketing niche , wouldn't it .User Interface: I think wood i{vocalsound}Marketing: {vocalsound} It it it {disfmarker}Project Manager: Nah .User Interface: I I can't see anybody wanting to use a wooden remote , it's justanti-technology really , you know .Marketing: Uh .Project Manager: Okay . Hmm .Marketing: Uh uh to me in a marketing sense it's not it's not relative . We canwe can o we can uh accentuate whatever {disfmarker} whatever product you put in there we can find a way to accentuate it .User Interface: Right .ProjectManager: Okay .User Interface: And what we may be able to do , and I think this might be the best option is to combine some {disfmarker} a couple of these .Um my recommendation personally would be to do some kind of a plastic inner shell with a like a rubber outer shell , to make it um to mak uh like a thick plasticinner shell and a t um kind of a {disfmarker} to have that rubber outer shell to make it more durable , and also maybe i I think it feels a little better than theplastic .Project Manager: 'Kay . Do you get a good grip on the rubber ? Yeah okay . {vocalsound}User Interface: Yeah um {disfmarker}Marketing: And if youmake it from that super rubber , when you drop it on the floor it can bounce right back up in your hand .User Interface: Yeah .Marketing: You don't even need tolean down to get it .User Interface: The advantages of working with plastic and rubber is {disfmarker} w we we'll have a lot more um options just in terms ofshapeIndustrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: because you can extrude plastic in basically any shape you want . So um{disfmarker} and then we can cover you know the breakable bits with rubber yeah so um {disfmarker}Project Manager: Okay .User Interface: But basically theseare {vocalsound} curved and double-curved I I believe that the tech department , in their um {vocalsound} in their {vocalsound} message to me , that theywere referring to the number of th curves in the bottom . I have no idea exactly what they're talking about ,Project Manager: Okay .User Interface: but that'swhat they told me , {vocalsound} uncurved , flat , curved , or double-curved .Industrial Designer: {vocalsound}User Interface: I would guess this like this penwould be kinda like a double-curved , where it's curved on m m multiple axes , right ? I think curved means just curved in one axis and double-curved is curved intwo axesProject Manager: Okay .User Interface: or surfaces . I have no idea .Project Manager: I think it might mean something like that sorta shape because adouble curve rather than a {disfmarker}Marketing: Mm-hmm yeah that's {disfmarker} yeah that's what I see .Project Manager: yeah that's what {gap} .UserInterface: Oh okay oh like a wave , okay .Marketing: Yeah that's what I see also .User Interface: Alright that makes sense okay . Um okay , with the interface wehave the following options , we can u we can use push buttons , we can use a scroll wheel with an integrated push button , and L_C_D_ display ,Marketing: Ooh.User Interface: or multiple scrolling wheels . Um so these are all options that the user interface guy can uh {disfmarker} has at his disposal to put together auser interface .Project Manager: Okay .User Interface: For electronics , we have these very technical um {vocalsound} descriptions here . A simple chip , which isthe least expensive , but I have no numbers to give you ,Project Manager: {vocalsound}User Interface: a regular chip , which is {vocalsound} like the mediumporridge {disfmarker} the {vocalsound} medium expense uh {disfmarker}Project Manager: {vocalsound} D do we have actually any concept of what thedifference is between a simple chip and an advanced chip ?User Interface: Yes the difference is , with a simple chip {disfmarker} a simple chip will operate{disfmarker} oh why doesn't this scroll up ? Previous previous , okay . A simple chip is required to operate push buttons .Project Manager: Okay .User Interface:Um {vocalsound} an advanced chip is required to to operate um the L_C_D_ display , and it didn't say specifically , but I I have a hunch that a regular chip isgonna be the scroll wheel and the multiple scroll wheels .Project Manager: Okay .User Interface: So but yeah .Project Manager: Yeah that makes sense . Sopresentation from {disfmarker} I guess design would go best . Next .User Interface: That's the end of my presentation .Project Manager: Technical functions or"}
+{"doc_id":"doc_55","qid":"","text":"Marketing: Just put it on the deskt {gap} desktop .Project Manager: No on the desktop you'll find you should find that there's a project documents link . A wellactually just there .Marketing: Project documents ,Project Manager: Yeah . That's it .Marketing: yeah .Project Manager: If you dump it in there .Marketing: What'syour username ?Project Manager: Your username .Marketing: What's your username and password ? Mm-hmm . Sorry .Project Manager: Okay .Marketing: Okay. There we go .Project Manager: Excellent . Right . Hopefully that's us ready to uh to go . So . Functional design meeting . We'll have to flesh out some of the uhstuff . Um we'll start with the minutes of the last meeting . Not a lot thankfully to say . We introduced ourselves , discussed the possibility of a macro facility ,interac interacting the T_V_ a bit more , um mentioning of bar-code , joystick for user manipulation , um and ergonomics of the remote control as well . Um it'scome to my attention the following . Teletext has become outdated due to the populat popularity of the internet . Remote control should only be used for theT_V_ . Um due for uh time to market and possibly also cost issues . Um also key is the corporate image should stay recognisable , um f uh your colour and sloganof course is down at the bottom there . Um . Now . Just to say quickly uh I would have thought that only being used for a television the macro facility may nownot be required .User Interface: Mm .Project Manager: Um or at l its functionality would have been of limited use . So to the point in my opinion anyway that itmight not be worth pursuing . Um if anybody disagrees we can uh definitely say so . Um and hopefully we'll just crack on and we'll get everything going . Um I'dlike to if possible hear from our Marketing Expert first , to help us gain an idea of where we're going to go .Marketing: 'Kay .Project Manager: So um I'll just loadup your presentation from here if you want .Marketing: Sure . Um , sh would you like to {vocalsound} I'll just do it from here .Project Manager: Yep . Sorry . Uh .Is yours the {disfmarker}Marketing: Um , try second one maybe . Try it , yeah maybe .Project Manager: Oh sorry . Okay , right .Marketing: Yeah . Okay . Oh , Ithought I put in my last name , I guess not , but {gap} .Project Manager: Uh if you {disfmarker} that's all right . If you {disfmarker} do you want me to justcycle through it for you or ?Marketing: Okay . {vocalsound} Oh yeah , that'd be fine , that'd be great .Project Manager: Yeah ?Marketing: Okay . Functionalrequirement by me Ebenezer . {vocalsound}Project Manager: Okay .Marketing: Okay , so um we did some research , we asked one hundred people their opinionson remote controls . We asked some uh open ended questions , just , what are your opinions on the remote control , got a lot of re responses , and we askedsome very specific questions , and we got a lot of good feedback . Please bear in mind this is only a hundred people , so even when the groups are divided intofifteen to twenty five , twenty five to thirty five , there's only maybe ten people {vocalsound} fifteen people in each group .Project Manager: Okay .Marketing:Okay . {vocalsound} So we got {disfmarker} some the bad stuff we got , remotes are often lost . I often lose my remote control , the back of the couch , someplace , and even if it's not lost permanently , it takes me a few minutes to find it . {vocalsound} Most buttons are not used any more , like you said , teletext isoutdated now . I remember trying to load a D_V_D_ player recently , and there were so many buttons , it took me I don't know maybe ten minutes to to gothrough each button , 'cause you have to press the shift button to access the yellow buttons , you know there's just a lot of stuff that no one really uses . And ifthey do , not very often . Takes too long to master the remote control . I've seen some remote controls that are big , they have a lot of buttons , you have to holddown more than one key at one time to do something , they're just not great to use . We just got a lot of bad complaints about remote controls , people do notlike remote controls . Some of the good stuff we got . Between the age of uh fifteen and twenty five , most people would be willing to pay extra for voicerecognition software . Now don't get excited yet , I've got more to say on that . Most people'd be willing to pay for that um most people want remote controls tobe pretty , they want it to be fancy , th they they want it to be different , everybody has a white remote control with black buttons , and a red button and a greenbutton , not everybody wants that . {vocalsound} {vocalsound} Finally , my opinion .Project Manager: Yep .Marketing: The voice recognition thing is cool . Anduh voice recognition , the software , open source software exist already . It's a bit sketchy at some times , uh , you're not gonna get good always accurate results, but for a very fixed number of words , you know you have , how many different words can you have for a remote control , up , down , left , right , channel five ,channel seven , you know , how many , you can't have that many words . For a fixed vocabulary it works quite well . I'm pretty sure people would buy it . Butafter a while people may wanna return it , because {vocalsound} if you have to to say som I mean most people use a remote control for switching to channels ,and they say they do that about ninety eight percent of the time . Using the remote control , ninety eight percent of the time for changing channels , and that'sfor flickering through channels . So if you have to say up , up , up , up , if you have to do that all the time , then people might get a bit fed up with that and theymay return it . {vocalsound} However , {vocalsound} oh , because the voice recognition software exists already , there's no need to spend money on researchand development , but this does mean the need for microphones in the in the remote control , which is an unusual feature in my opinion . But if we do have thevoice recognition thing , there's a lot of stuff that you can uh get rid of . See , you could {disfmarker} there're two options . Either you have voice recognition byitself , which I think is a bit impractical for like night time if you wanna be watching television and you wanna be quiet , or I don't know you have a visitor cominground and the remote's only trained for you , it's a bit impractical to have just voice recognition by itself . So you can have voice recognition and a regular remote. But imagine you got rid of the regular remote part , then you can design the remote to look any way you want it to look , because there are no restrictions onphysical size , or shape , it it could be as fancy as you want it to be , you know , it could be like a lollipop or something like that , something weird like that . Aslong as the voice recognition stuff works , that's that's fine .Project Manager: Okay , yep .Marketing: So we have the three birds , we have the design , that{vocalsound} we have the the fancy bit , right , the voice recognition's fancy , it's cool , it's different , it's radical , so , and then we have an extra bit I don'tremember {vocalsound} so I'm pretty sure people will buy the remote , but is it practical to have a voice recognition system in a remote control , I think is a bigquestion . Um , will people will people be willing to wait for the the period that it'll take to train the remote , 'cause I think it will the remote will uh get better overtime with the same user user , but for the first week or for the first two weeks are you willing to wait , are you willing to have a bad remote control .{vocalsound} And uh what if you have visitors come round , they stay the night , they wanna use the T_V_ , they can't use the remote because they speakdifferently to you . Um , how do you account for regional accents and stuff like that . Uh , will people return the remote control , {vocalsound} I think a lot ofyoung people will buy the remote control , if they have the money , you know , so ,Project Manager: Mm-hmm . If you could uhMarketing: do our audience havethe money , but would they return it after a while because it's not as fast as pressing a button , it's not a practical . So . These are things I think we shouldconsider .Project Manager: sorMarketing: I think it's cool ,Project Manager: if you could speed it up a bit , yeah . If you could uh speed it up a bit please , yeah.Marketing: I'm sorry ? Sure .Project Manager: Sorry .Marketing: I'm about to end , yeah .Project Manager: Cool .Marketing: I think it's cool but there aredefinitely some considerations .Project Manager: Okay . Excellent .Marketing: So , yeah .Project Manager: Right . Um . Hear from the {vocalsound} UserInterface Designer now I think might be an idea .User Interface: Okay .Project Manager: Um , you've got your presentation now ,Industrial Designer:{vocalsound} How did {disfmarker} where did {disfmarker}User Interface: Yeah , it's in the it's in the folderProject Manager: is it on the {disfmarker}IndustrialDesigner: where did you get all your in information {gap} ?User Interface: yeah .Project Manager: is it ? Okay .Marketing: There was uh a website , uh ,IndustrialDesigner: Oh .Project Manager: {vocalsound} Technical functions ?Marketing: right here .Industrial Designer: Ah , okay .User Interface: Mm .Project Manager:No . Yeah . Okay .User Interface: Okay , this is a {vocalsound} brief run through of the um of the technical functions of the remote . As um is uh the the thepresentation is uh already slightly obsolete because I {vocalsound} had in mind something that would uh be i be aimed at controlling multiple devices but uhthere's still stuff of relevance , soProject Manager: Okay .User Interface: press on . I've looked at {vocalsound} looked at a num {vocalsound} uh couple of otheruh remote control models just for an idea of basic design principles . Um and wasn't really satisfied by what I saw I have to say so this is more sort of springboardfor uh how these could be improved on . {vocalsound} Um um basically the job of the device is to send commands to an appliance , in this case the television set. Um to save you getting off your backside . Um and there's two main trends in th in the sort of design practice . On the one hand {disfmarker} and this uh thisparticularly relates to its sort of earliest models where with you know i so so many buttons on it so about the size of the television set . Um giving you everypossible function that the that the device has , the remote control controls . And most of these functions are not going to be used , it creates a rather userunfriendly interface . And on the other hand there's a user focused approach that pares things down to just what {vocalsound} what is most likely to get used .Um {vocalsound} With uh {disfmarker} a and a and of course there is a certain amount of sort of loss of function here obviously , but mostly that's relativelyperipheral functions . And so you go for something that's fairly intuitive to use , and um well f the for the most part for T_V_ remote it's uh tha that would bechannel control and volume . Um and if you {vocalsound} if you if you are wanting to incorporate uh control of a D_V_ {vocalsound} D_V_D_ or uh {vocalsound}V_C_R_ presumably into that then there's a play , pause , stop , rewind , fast-forward , record , so forth . Um . My own view is that we should definitely be goingfor a user focused design . Um but uh the pro {vocalsound} I think the problem with a lot of the sort of user focused designs that are about is that they sort of"}
+{"doc_id":"doc_56","qid":"","text":"Professor D: OK .PhD A: Mike . Mike - one ?PhD B: Ah .Professor D: We 're on ? Yes , please . I mean , we 're testing noise robustness but let 's not get silly . OK ,so , uh , you 've got some , uh , Xerox things to pass out ?PhD A: Yeah ,Professor D: That are {disfmarker}PhD A: um .Professor D: Yeah .PhD A: Yeah . Yeah , I'm sorry for the table , but as it grows in size , uh , it .Professor D: Uh , so for th the last column we use our imagination . OK .PhD B: Ah , yeah .Professor D: Ah.PhD A: Uh , yeah .PhD B: Uh , do you want @ @ .Professor D: This one 's nice , though . This has nice big font .PhD A: Yeah .Grad C: Let 's see . Yeah . Chop!Professor D: Yeah .PhD A: SoProfessor D: When you get older you have these different perspectives . I mean , lowering the word hour rate is fine , but havingbig font !PhD A: Next time we will put colors or something .Professor D: That 's what 's {disfmarker}PhD A: Uh .Professor D: Yeah . It 's mostly big font . OK .PhDA: OK , s so there is kind of summary of what has been done {disfmarker}Professor D: Uh {disfmarker} Go ahead .PhD A: It 's this . Summary of experimentssince , well , since last weekProfessor D: Oh . OK .PhD A: and also since the {disfmarker} we 've started to run {disfmarker} work on this . Um . {pause} Sosince last week we 've started to fill the column with um {vocalsound} uh features w with nets trained on PLP with on - line normalization but with delta also ,because the column was not completely {disfmarker}Professor D: Mm - hmm . Mm - hmm . PhD A: well , it 's still not completely filled ,Professor D: PhD A: but{pause} we have more results to compare with network using without PLP and {pause} finally , hhh , {comment} um {pause} ehhh {comment} PL - uh deltaseems very important . Uh {pause} I don't know . If you take um , let 's say , anyway Aurora - two - B , so , the next {disfmarker} t the second , uh , part of thetable ,Professor D: Mm - hmm .PhD A: uh {pause} when we use the large training set using French , Spanish , and English , you have one hundred and sixwithout delta and eighty - nine with the delta .Professor D: a And again all of these numbers are with a hundred percent being , uh , the baseline performance,PhD A: Yeah , on the baseline , yeah . So {disfmarker}Professor D: but with a mel cepstra system going straight into the HTK ?PhD A: Yeah . Yeah . So now wesee that the gap between the different training set is much {pause} uh uh much smallerProfessor D: Yes .PhD A: um {disfmarker}Grad C: It 's out of the way.PhD A: But , actually , um , for English training on TIMIT is still better than the other languages . And  Mmm , {pause} Yeah . And f also for Italian , actually . Ifyou take the second set of experiment for Italian , so , the mismatched condition ,Professor D: Mm - hmm .PhD A: um {pause} when we use the training onTIMIT so , it 's multi - English , we have a ninety - one number ,Professor D: Mm - hmm .PhD A: and training with other languages is a little bit worse .ProfessorD: Um {disfmarker} Oh , I see . Down near the bottom of this sheet .PhD A: So ,Professor D: Uh , {comment} {pause} yes .PhD A: yeah .Professor D: OK .PhDA: And , yeah , and here the gap is still more important between using delta and not using delta . If y if I take the training s the large training set , it 's{disfmarker} we have one hundred and seventy - two ,Professor D: Yes .PhD A: and one hundred and four when we use delta .Professor D: Yeah .PhD A: Uh .{pause} Even if the contexts used is quite the same ,Professor D: Mm - hmm .PhD A: because without delta we use seventeenths {disfmarker} seventeen frames. Uh . Yeah , um , so the second point is that we have no single cross - language experiments , uh , that we did not have last week . Uh , so this is training the neton French only , or on English only , and testing on Italian .Professor D: Mm - hmm .PhD A: And training the net on French only and Spanish only and testing on ,uh TI - digits .Professor D: Mm - hmm .PhD A: And , fff {comment} um , yeah . What we see is that these nets are not as good , except for the multi - English ,which is always one of the best . Yeah , then we started to work on a large dat database containing , uh , sentences from the French , from the Spanish , from theTIMIT , from SPINE , uh from {comment} uh English digits , and from Italian digits . So this is the {disfmarker} another line {disfmarker} another set of lines inthe table . Uh , @ @ with SPINEProfessor D: Ah , yes . Mm - hmm .PhD A: and {pause} uh , actually we did this before knowing the result of all the data , uh , sowe have to to redo the uh {disfmarker} the experiment training the net with , uh PLP , but with delta . ButProfessor D: Mm - hmm .PhD A: um this {disfmarker}this net performed quite well . Well , it 's {disfmarker} it 's better than the net using French , Spanish , and English only . Uh . So , uh , yeah . We have alsostarted feature combination experiments . Uh many experiments using features and net outputs together . And this is {disfmarker} The results are on the otherdocument . Uh , we can discuss this after , perhaps {disfmarker} well , just , @ @ . Yeah , so basically there are four {disfmarker} four kind of systems . The firstone , yeah , is combining , um , two feature streams , uh using {disfmarker} and each feature stream has its own MPL . So it 's the {disfmarker} kind of similarto the tandem that was proposed for the first . The multi - stream tandem for the first proposal . The second is using features and KLT transformed MLP outputs .And the third one is to u use a single KLT trans transform features as well as MLP outputs . Um , yeah . Mmm . You know you can {disfmarker} you can commentthese results ,PhD B: Yes , I can s I would like to say that , for example , um , mmm , if we doesn't use the delta - delta , uh we have an improve when we use ssome combination . But whenPhD A: Yeah , we ju just to be clear , the numbers here are uh recognition accuracy .PhD B: w Yeah , this {disfmarker} Yeah , thisnumber recognition accPhD A: So it 's not the {disfmarker} {vocalsound} Again we switch to another {disfmarker}PhD B: Yes , and the baseline {disfmarker}the baseline have {disfmarker} i is eighty - two .Professor D: Baseline is eighty - two .PhD B: YeahPhD A: So it 's experiment only on the Italian mismatched forthe moment for this .Professor D: Uh , this is Italian mismatched .PhD A: Um .PhD B: Yeah , by the moment .PhD A: Mm - hmm .Professor D: OK .PhD B: Andfirst in the experiment - one I {disfmarker} I do {disfmarker} I {disfmarker} I use different MLP ,Professor D: Mm - hmm .PhD B: and is obviously that the multi- English MLP is the better . Um . for the ne {disfmarker} rest of experiment I use multi - English , only multi - English . And I try to combine different type offeature , but the result is that the MSG - three feature doesn't work for the Italian database because never help to increase the accuracy .PhD A: Yeah , eh ,actually , if w we look at the table , the huge table , um , we see that for TI - digits MSG perform as well as the PLP ,Professor D: Mm - hmm .PhD A: but this isnot the case for Italian what {disfmarker} where the error rate is c is almost uh twice the error rate of PLP .Professor D: Mm - hmm .PhD A: So , um{vocalsound} uh , well , I don't think this is a bug but this {disfmarker} this is something in {disfmarker} probably in the MSG um process that uh I don't knowwhat exactly . Perhaps the fact that the {disfmarker} the {disfmarker} there 's no low - pass filter , well , or no pre - emp pre - emphasis filter and that there issome DC offset in the Italian , or , well , something simple like that . But {disfmarker} that we need to sort out if want to uh get improvement by combining PLPand MSGProfessor D: Mm - hmm .PhD A: because for the moment MSG do doesn't bring much information .Professor D: Mm - hmm .PhD A: And as Carmen said ,if we combine the two , we have the result , basically , of PLP .Professor D: I Um , the uh , baseline system {disfmarker} when you said the baseline system wasuh , uh eighty - two percent , that was trained on what and tested on what ? That was , uh Italian mismatched d uh , uh , digits , uh , is the testing ,PhD B: Yeah.Professor D: and the training is Italian digits ?PhD B: Yeah .Professor D: So the \" mismatch \" just refers to the noise and {disfmarker} and , uh microphone andso forth ,PhD A: Yeah .PhD B: Yeah .Professor D: right ? So , um did we have {disfmarker} So would that then correspond to the first line here of where thetraining is {disfmarker} is the uh Italian digits ?PhD B: The train the training of the HTK ?Professor D: The {disfmarker}PhD B: Yes . Ah yes !Professor D: Yes.PhD B: This h Yes . Th - Yes .Professor D: Yes . Training of the net ,PhD B: Yeah .Professor D: yeah . So , um {disfmarker} So what that says is that in amatched condition , {vocalsound} we end up with a fair amount worse putting in the uh PLP . Now w would {disfmarker} do we have a number , I suppose for thematched {disfmarker} I {disfmarker} I don't mean matched , but uh use of Italian {disfmarker} training in Italian digits for PLP only ?PhD B: Uh {pause} yes?PhD A: Uh {pause} yeah , so this is {disfmarker} basically this is in the table . Uh {pause} so the number is fifty - two ,PhD B: Another table .PhD A: uh{disfmarker}Professor D: Fifty - two percent .PhD A: Fift - So {disfmarker} No , it 's {disfmarker} it 's the {disfmarker}PhD B: No .Professor D: No , fifty - twopercent of eighty - two ?PhD A: Of {disfmarker} of {disfmarker} of uh {pause} eighteen {disfmarker}PhD B: Eighty .PhD A: of eighteen .PhD B: Eighty .PhD A:So it 's {disfmarker} it 's error rate , basically .PhD B: It 's plus six .PhD A: It 's er error rate ratio . So {disfmarker} Professor D: Oh this is accuracy ! PhD A: Uh ,so we have nine {disfmarker} nine {disfmarker} let 's say ninety percent .PhD B: Yeah .Professor D: Oy ! {comment} OK . Ninety .PhD A: Yeah . Um {comment}which is uh {comment} what we have also if use PLP and MSG together ,Professor D: Yeah .PhD A: eighty - nine point seven .Professor D: OK , so even just PLP ,uh , it is not , in the matched condition {disfmarker} Um I wonder if it 's a difference between PLP and mel cepstra , or whether it 's that the net half , for somereason , is not helping .PhD A: Uh . P - PLP and Mel cepstra give the same {disfmarker} same results .Professor D: Same result pretty much ?PhD A: Well , wehave these results . I don't know . It 's not {disfmarker} Do you have this result with PLP alone , {comment} j fee feeding HTK ?Professor D: So , sPhD A: That{disfmarker} That 's what you mean ?PhD B: Yeah ,PhD A: Just PLP at the input of HTK .PhD B: yeah yeah yeah yeah , at the first {disfmarker} and the{disfmarker} Yeah .PhD A: Yeah . So , PLP {disfmarker}Professor D: Eighty - eight point six .PhD A: Yeah .Professor D: Um , so adding MSGPhD A: Um{disfmarker}Professor D: um {disfmarker} Well , but that 's {disfmarker} yeah , that 's without the neural net ,PhD A: Yeah , that 's without the neuralnetProfessor D: right ?PhD A: and that 's the result basically that OGI has also with the MFCC with on - line normalization .Professor D: But she had said eighty -two .PhD A: This is the {disfmarker} w well , but this is without on - line normalization .Professor D: Right ? Oh , this {disfmarker} the eighty - two .PhD A: Yeah.PhD B: PhD A: Eighty - two is the {disfmarker} it 's the Aurora baseline , so MFCC . Then we can use {disfmarker} well , OGI , they use MFCC {disfmarker} th"}
+{"doc_id":"doc_57","qid":"","text":"Professor B: I think for two years we were two months , uh , away from being done .PhD A: And what was that , Morgan ? What project ?Professor B: Uh , the ,uh , TORRENT chip .PhD A: Oh .Professor B: Yeah . We were two {disfmarker} we were {disfmarker}PhD C: Yeah .Professor B: Uh , uh , we went through it{disfmarker} Jim and I went through old emails at one point and {disfmarker} and for two years there was this thing saying , yeah , we 're {disfmarker} we 'retwo months away from being done . It was very {disfmarker} very believable schedules , too . I mean , we went through and {disfmarker} with the schedules{disfmarker} and we {disfmarker}PhD A: It was true for two years .Professor B: Yeah . Oh , yeah . It was very true .PhD A: So , should we just do the same kindof deal where we {pause} go around and do , uh , status report {pause} kind of things ? OK . And I guess when Sunil gets here he can do his last or something .So .Professor B: Yeah . So we {pause} probably should wait for him to come before we do his .PhD C: Mm - hmm .PhD A: OK . That 's a good idea .Professor B:Yeah .Grad F: OK .Professor B: Yeah .PhD A: Any objection ? Do y OK , MProfessor B: All in favorPhD A: Do you want to start , Morgan ? Do you have anything ,or {disfmarker} ?Professor B: Uh , I don't do anything . I {disfmarker} No , I mean , I {disfmarker} I 'm involved in discussions with {disfmarker} with peopleabout what they 're doing , but I think they 're {disfmarker} since they 're here , they can talk about it themselves .Grad F: OK . So should I go so that , uh ,PhDA: Yeah . Why don't you go ahead , Barry ?Grad F: you 're gonna talk about Aurora stuff , per se ?PhD A: OK .Grad F: OK . Um . Well , this past week I 've justbeen , uh , getting down and dirty into writing my {disfmarker} my proposal . So , um {disfmarker} Mmm . I just finished a section on , uh {disfmarker} ontalking about these intermediate categories that I want to classify , um , as a {disfmarker} as a middle step . And , um , I hope to {disfmarker} hope to get this ,um {disfmarker} a full rough draft done by , uh , Monday so I can give it to Morgan .PhD A: When is your , uh , meeting ?Grad F: Um , my meetingPhD A: Yeah.Grad F: with , uh {disfmarker} ? Oh , oh , you mean the {disfmarker} the quals .PhD A: The quals . Yeah .Grad F: Uh , the quals are happening in July twenty -fifth .PhD A: Oh . Soon .Grad F: Yeah .PhD A: Uh - huh .Grad F: D - Day .PhD A: Yeah .Grad F: Uh - huh .PhD A: So , is the idea you 're going to do this paperand then you pass it out to everybody ahead of time and {disfmarker} ?Grad F: Right , right . So , y you write up a proposal , and give it to people ahead of time, and you have a short presentation . And , um , and then , um {disfmarker} then everybody asks you questions .PhD A: Hmm .Grad F: Yeah .PhD A: I remembernow .Grad F: Yep . So , um .PhD A: Have you d ? I was just gonna ask , do you want to say any {disfmarker} a little bit about it ,Grad F: Y sPhD A: or{disfmarker} ? Mmm .Grad F: Oh . Uh , a little bit about {disfmarker} ?PhD A: Wh - what you 're {disfmarker} what you 're gonna {disfmarker} You said{disfmarker} you were talking about the , uh , particular features that you were looking at ,Grad F: Oh , the {disfmarker} the {disfmarker}PhD A: or{disfmarker}Grad F: Right . Well , I was , um , I think one of the perplexing problems is , um , for a while I was thinking that I had to come up with a completeset of intermediate features {disfmarker} in intermediate categories to {disfmarker} to classify right away . But what I 'm thinking now is , I would start with{disfmarker} with a reasonable set . Something {disfmarker} something like , um , um {disfmarker} like , uh , re regular phonetic features , just to {disfmarker}just to start off that way . And do some phone recognition . Um , build a system that , uh , classifies these , um {disfmarker} these feat uh , these intermediatecategories using , uh , multi - band techniques . Combine them and do phon phoneme recognition . Look at {disfmarker} then I would look at the errors producedin the phoneme recognition and say , OK , well , I could probably reduce the errors if I included this extra feature or this extra intermediate category . That would{disfmarker} that would reduce certain confusions over other confusions . And then {disfmarker} and then {vocalsound} reiterate . Um , build the intermediateclassifiers . Uh , do phoneme recognition . Look at the errors . And then postulate new {disfmarker} or remove , um , intermediate categories . And then do itagain .PhD A: So you 're gonna use TIMIT ?Grad F: Um , for that {disfmarker} for that part of the {disfmarker} the process , yeah , I would use TIMIT .PhD A:Mm - hmm .Grad F: And , um , then {disfmarker} after {disfmarker} after , uh , um , doing TIMIT . Right ?PhD A: Mm - hmm .Grad F: Um , that 's {disfmarker}{vocalsound} that 's , um {disfmarker} that 's just the ph the phone recognition task .PhD A: Yeah .Grad F: Uh , I wanted to take a look at , um , things that Icould model within word . So , I would mov I would then shift the focus to , um , something like Schw - Switchboard , uh , where I 'd {disfmarker} I would beable to , um {disfmarker} to model , um , intermediate categories that span across phonemes ,PhD A: Mm - hmm .Grad F: not just within the phonemes ,themselves , um , and then do the same process there , um , on {disfmarker} on a large vocabulary task like Switchboard . Uh , and for that {disfmarker} forthat part I would {disfmarker} I 'd use the SRI recognizer since it 's already set up for {disfmarker} for Switchboard . And I 'd run some {disfmarker} some sortof tandem - style processing with , uh , my intermediate classifiers .PhD A: Oh . So that 's why you were interested in getting your own features into the SRI files.Grad F: Yeah . That 's why I {disfmarker} I was asking about that .PhD A: Yeah . Yeah .Grad F: Yeah . Um , and I guess that 's {disfmarker} that 's it . Any{disfmarker} any questions ?PhD A: Sounds good . So you just have a few more weeks , huh ?Grad F: Um , yeah . A few more .PhD A: It 's about a month fromnow ?Grad F: It 's a {disfmarker} it 's a month and {disfmarker} and a week .PhD A: Yeah .Grad F: Yeah .PhD A: So , uh , you want to go next , Dave ? And we'll do {disfmarker}Grad E: Oh . OK , sure . So , um , last week I finally got results from the SRI system about this mean subtraction approach . And , um , we{disfmarker} we got an improvement , uh , in word error rate , training on the TI - digits data set and testing on Meeting Recorder digits of , um , {vocalsound}six percent to four point five percent , um , on the n on the far - mike data using PZM F , but , um , the near - mike performance worsened , um , from one pointtwo percent to two point four percent . And , um , wh why would that be , um , {vocalsound} considering that we actually got an improvement in near - mikeperformance using HTK ? And so , uh , with some input from , uh , Andreas , I have a theory in two parts . Um , first of all HTK {disfmarker} sorry , SR - the SRIsystem is doing channel adaptation , and so HTK wasn't . Um , so this , um {disfmarker} This mean subtraction approach will do a kind of channel {pause}normalization and so that might have given the HTK use of it a boost that wouldn't have been applied in the SRI case . And also , um , the {disfmarker} Andreaspointed out the SRI system is using more parameters . It 's got finer - grained acoustic models . So those finer - grained acoustic models could be more sensitiveto the artifacts {pause} in the re - synthesized audio . Um . And me and Barry were listening to the re - synthesized audio and sometimes it seems like you get ofa bit of an echo of speech in the background . And so that seems like it could be difficult for training , cuz you could have {pause} different phones {pause} linedup with a different foreground phone , {vocalsound} um , {vocalsound} depending on {pause} the timing of the echo . So , um , I 'm gonna try training on alarger data set , and then , eh , the system will have seen more examples o of these artifacts and hopefully will be more robust to them . So I 'm planning to usethe Macrophone set of , um , read speech , and , um {disfmarker} Hmm .Professor B: I had another thought just now , which is , uh , remember we were talkingbefore about {disfmarker} we were talking in our meeting about , uh , this stuff that {disfmarker} some of the other stuff that Avendano did , where they were ,um , getting rid of low - energy {pause} sections ? Um , uh , if you {disfmarker} if you did a high - pass filtering , as Hirsch did in {pause} late eighties to reducesome of the effects of reverberation , uh , uh , Avendano and Hermansky were arguing that , uh , perhaps one of the reasons for that working was ma may nothave even been the filtering so much but the fact that when you filter a {disfmarker} an all - positive power spectrum you get some negative values , and yougotta figure out what to do with them if you 're gonna continue treating this as a power spectrum . So , what {disfmarker} what Hirsch did was , uh , set them tozero {disfmarker} set the negative values to zero . So if you imagine a {disfmarker} a waveform that 's all positive , which is the time trajectory of energy , um ,and , uh , shifting it downwards , and then getting rid of the negative parts , that 's essentially throwing away the low - energy things . And it 's the low - energyparts of the speech where the reverberation is most audible . You know , you have the reverberation from higher - energy things showing up in {disfmarker} Soin this case you have some artificially imposed {pause} reverberation - like thing . I mean , you 're getting rid of some of the other effects of reverberation , butbecause you have these non - causal windows , you 're getting these funny things coming in , uh , at n And , um , what if you did {disfmarker} ? I mean , there 'snothing to say that the {disfmarker} the processing for this re - synthesis has to be restricted to trying to get it back to the original , according to some equation .I mean , you also could , uh , just try to make it nicer .Grad E: Uh - huh .Professor B: And one of the things you could do is , you could do some sort of VAD - likethingGrad E: Mm - hmm .Professor B: and you actually could take very low - energy sections and set them to some {disfmarker} some , uh , very low or{disfmarker} or near zero {pause} value . I mean , uh , I 'm just saying if in fact it turns out that {disfmarker} that these echoes that you 're hearing are , uh{disfmarker}Grad E: Uh - huh .Professor B: or pre - echoes , whichever they are {disfmarker} are {disfmarker} are , uh , part of what 's causing the problem ,you actually could get rid of them .Grad E: Uh - huh .Professor B: Be pretty simple . I mean , you do it in a pretty conservative wayGrad E: OK .Professor B: sothat if you made a mistake you were more likely to {pause} keep in an echo than to throw out speech .Grad E: Hmm .PhD G: Um , what is the reverberation time{pause} like {pause} there ?Grad E: In thi in this room ? Uh {disfmarker}PhD G: On , uh , the {disfmarker} the one what {disfmarker} the s in the speech thatyou are {disfmarker} you are using like ?Grad E: Y Yeah . I {disfmarker} I {disfmarker} I {disfmarker} I don't know .Professor B: So , it 's this room .PhD G: It's , uh {disfmarker}Professor B: It 's {disfmarker} it 's this room .PhD G: Oh , this room ?Professor B: So {disfmarker}PhD G: OK .Professor B: so it 's"}
+{"doc_id":"doc_58","qid":"","text":"Project Manager: So is {disfmarker} Why not save that .Marketing: No , you'll ha have to open it up from elsewhere .Project Manager: {gap} {disfmarker} Doyou want to replace existing file , no . {vocalsound} I actually tried to transfer it to My Documents , but {disfmarker}Marketing: Yeah , you have to you have toclose that window . 'Cause that's the save one isn't it , so {disfmarker} And then find it .Project Manager: {gap} spreadsheet .Marketing: {vocalsound}ProjectManager: {vocalsound} Yeah , but I've ta uhMarketing: {vocalsound}Project Manager: right , I'll just re-do it . That's the easiest way . {vocalsound}{vocalsound} Right .User Interface: Well we've made our prototype anyway . We can have a good look at that . {vocalsound}Marketing: You pass it round tohave a look .User Interface: {vocalsound} Mm-hmm . Y no , it's a slightly curved around the sides . {vocalsound}Marketing: {vocalsound} Mm very nice .UserInterface: Um , it's almost curved like up to the main display as well . And the little line at the bottom indicates the bit {disfmarker} the panel that you pull down.Marketing: Mm-hmm .User Interface: And the extra function buttons are below that panel on the little line .Marketing: Mm-hmm .User Interface: And we've gotthe stick on the button with the company logo on .Marketing: Mm-hmm .Industrial Designer: We also have a apple slash cherry design at the top .User Interface:{vocalsound}Marketing: {vocalsound} So it is , yeah .Industrial Designer: {vocalsound} {gap} {vocalsound}Marketing: Cherry would be alright actually .UserInterface: Yeah ,Marketing: Yeah .User Interface: it's a bit more fun , isn't it ? And it's kinda not really at a kind of {disfmarker} you think apple , you thinkcomputers , like Apple Mac .Industrial Designer: Yeah , yeah , we might get a {disfmarker}Marketing: Mm-hmm . Copyright , yeah . What's this this one ?UserInterface: Yeah , and cherries are fun , summery .Marketing: What's that one there ?User Interface: Ah , that's the mute .Industrial Designer: For the M_ .{vocalsound}Marketing: Oh , okay . Right .User Interface: {gap} {vocalsound} It {disfmarker} it'd probably have to be labelled mute .Marketing:{vocalsound}Industrial Designer: They're thinking {disfmarker}User Interface: But um , we didn't have anything small enough to write .Marketing: Uh-huh.Industrial Designer: For the first time , well it was hard to get the h um the actual labelling on the individual buttons .Marketing: Okay . Mm-hmm .{vocalsound}User Interface: Yeah . Uh , we just chose simple shapes for all them .Marketing: {vocalsound}User Interface: Um , the important ones are thevolume ones . So we made them a bit bigger . The mute could possibly be a bit smaller .Marketing: Mm-hmm .Industrial Designer: Hum , you separate off incolour the volume related buttons from the channel related buttons , so you've got the volume in orange on design there ,User Interface: {vocalsound}{vocalsound}Marketing: Yeah .Industrial Designer: and the the channel is in blue .User Interface: Mm-hmm .Project Manager: R right . Um ,User Interface: Yeah, and we chose a V_ plus and V_ minus .Project Manager: all these things have cost implications . And so when I done my thing on cost {vocalsound} a{disfmarker} I had assumed that the only uh button that would be a different colour would be the uh the red apple button . So {disfmarker} However , I've now{gap} . {vocalsound} But um , {vocalsound} yeah so uh but there would be a cost implication on that ,Marketing: I'll see if I can find them .Project Manager: anduh {disfmarker} as I suppose that {vocalsound} so whether {vocalsound} wanted to put in all these colours , would be uh open to debate , I suppose .IndustrialDesigner: Yeah , sisUser Interface: Well the colours wouldn't {disfmarker} like that's {disfmarker} they wouldn't be too important ,Marketing: Have{disfmarker}User Interface: but we didn't have any white Play-Doh . {vocalsound} So that's where the colour buttons came from . {vocalsound}ProjectManager: {vocalsound} An important consideration .Marketing: {vocalsound}Project Manager: {vocalsound} Right , okay so um {disfmarker} {vocalsound} Andthe second one underneath would be the idea for the {disfmarker}Industrial Designer: Yes , we'll have the slide-away .Project Manager: Right , okay . So we'vegot um detail design meeting .Industrial Designer: Bottom .Project Manager: Right . So {disfmarker} So , we've got {vocalsound} prototype presentation , whichwe've just done , evaluation criteria , um and finance , so I guess w we have to evaluate if that meets the various uh aspects that we're looking for uh from umour previous meeting .Marketing: Mm-hmm .User Interface: {vocalsound}Project Manager: So other than the fact that it doesn't have the second layer , but umobviously obviously it would .Marketing: Mm-hmm .Industrial Designer: Mm-hmm .User Interface: {vocalsound}Project Manager: {vocalsound} But other thanthat , we got the red apple . We got the buttons and the only thing that has really changed is the is the colouration of the buttons ,Industrial Designer: Yes , yes.Project Manager: and {vocalsound} the bit after the evaluation criteria is uh is the finance . {vocalsound} And the {vocalsound} and the cost implication.Industrial Designer: Okay .Marketing: Right .Project Manager: The only snag about this is that uh {vocalsound} the cost is probably kind of important . So um ,and then the production evaluation , as to how easy that would be to uh to manufacture .Industrial Designer: Mm-hmm .Project Manager: Um , and whether itwould uh {disfmarker}Marketing: {vocalsound} {vocalsound} So if you had to do a presentation or {disfmarker} will you just work it on the prototype ?IndustrialDesigner: This this is a {disfmarker}User Interface: Uh , that's it . {vocalsound}Industrial Designer: yes , this is our presentation of the prototype .Marketing:That's the prProject Manager: Right , so uh as far as the the finance of it would be concern would be to make sure that the cost {disfmarker} aye the productioncost 'cause you may remember that was one of the first uh considerations was to be in d under um uh twelve fifty or two and a half {disfmarker} uh twelve and ahalf Euros .Marketing: Okay .Industrial Designer: Mm-hmm .Project Manager: So , there's no redesign . So that should uh {disfmarker} Right , so , seems to methat the thing that I have to do is is quickly find that uh {disfmarker}Industrial Designer: Could we get this on the board just so we can see {disfmarker} or doyou mean do you have the figures there ?Marketing: {gap} we should {gap} plug it in .Project Manager: Right .Marketing: Do you wanna plu do you wanna plugit in into the the back of that one .Project Manager: Okay .Industrial Designer: 'Kay , Alice . So , shMarketing: We could do it as we d go along , the productioncosts , looking at the prototype .Project Manager: Right . {gap} .Industrial Designer: 'Kay this should be then .Project Manager: {vocalsound} Okay , so , by thefact that we've got uh the simple chip and the uh kinetic energy source , we've got a single curved case . We've got a rubber uh case materials supplements . So ,we had decided that we're having rubber buttons and {disfmarker}Industrial Designer: Mm-hmm . {vocalsound} Have a push button interface .Project Manager:Okay . W the button supplements .Industrial Designer: Um {disfmarker}Project Manager: Well , originally , I thought there would just be uh one in there becauseit was the one red apple . But {disfmarker}Industrial Designer: Um {disfmarker}Project Manager: So the so the real w the real question then would come in . Doyou make all the buttons {disfmarker}Marketing: Well do we'll do it on the prototype ,Project Manager: OMarketing: so do two , see how much it is .ProjectManager: Well , so we've got one special button form , which was the apple . Everything else is gonna be a standard .Industrial Designer: Yeah .Marketing: Yeah.Project Manager: We've got special material , rubber , wood , titanium , et cetera and that ,Industrial Designer: And then we'd have {disfmarker}ProjectManager: so , I was {disfmarker} {vocalsound} originally , I was thinking {gap} rubber wasn't special ,Marketing: Mm-hmm .Project Manager: but according tothis , maybe it is .Marketing: Mm-hmm .Project Manager: {vocalsound} So {disfmarker} And the r I mean effectively we've got sixteen buttons that we're gonnahave on there .Marketing: Yeah . I think you just do one , don't you , for the {disfmarker}Project Manager: W {vocalsound} I don't know {vocalsound} is{vocalsound} is {vocalsound} is the sort of answer , is that meant to be all sixteen buttons , and therefore {disfmarker} I mean , what's the op The option wasmaybe not to have rubber buttons , but just to have the one that was soft and spongy , and therefore {disfmarker}Marketing: I think I think it's just it's just aone . Else {disfmarker}Project Manager: Whereas it would be {disfmarker} the special colour would be for the {disfmarker} So you would only have the onespecial button that was rubber , whereas the rest would be hard plastic . {vocalsound}Marketing: I thi I think I think the button supplement i is just a supplementfor all the buttons {gap} made in a different material , rather than per button .Project Manager: Mm .Marketing: I don't know though .Project Manager: I would{vocalsound} {vocalsound} {disfmarker} Every design change is uh {disfmarker} {vocalsound} sound] I dunno ,Marketing: Hmm .Project Manager: um{disfmarker} {vocalsound} Okay , um , if we just had all the buttons as standard , except for the one red apple , then that would take care of that , I guess .We'd have one special colour and one special button form .Marketing: Mm-hmm .Project Manager: And when I plugged that in last time {disfmarker} {gap}remember it has to be under twelve and a half . As far as I know , that um {vocalsound} that took care of the uh of the various supplements .Marketing:Mm-hmm .Project Manager: And if {disfmarker} What happened ?Marketing: You've just gone off the window into another one . It's on the bottom row .UserInterface: Maybe if you just minimise that one in the top right-hand corner of the little box .Project Manager: {vocalsound}User Interface: Yeah .ProjectManager: Now , right . {vocalsound}User Interface: {vocalsound}Project Manager: Okay , so , but the point would be that if we uh if we just did special{disfmarker} Sorry , you were saying that it would be that one , that you would put in one there .Marketing: Yeah . Yeah .Project Manager: Okay .IndustrialDesigner: So that's nine point one there so we've got some {disfmarker}Project Manager: So it {disfmarker} Well , is it s is {disfmarker} no , it's nine pointseven I've got .Industrial Designer: 'Kay .Marketing: Mm-hmm .Project Manager: Okay .Industrial Designer: Just give us a bit of {disfmarker}Project Manager:So , that would {vocalsound} that would work out fine if uh uh as assuming your correction are are {vocalsound} {disfmarker} assuming that that one changecovers all the buttons , then that would be fine .Marketing: Mm-hmm . Mm-hmm .Project Manager: And there's nothing else as far as I can see that we we had uhplanned to put on {gap} .User Interface: SMarketing: {vocalsound}Industrial Designer: I {gap} switching around those th um on the electronics we got the"}
+{"doc_id":"doc_59","qid":"","text":"Project Manager: Mm-hmm .Industrial Designer: Mm yeah .Project Manager: Okay . {vocalsound} I g yeah . Time is it ?Marketing: {vocalsound} Fourteen twentysix .Project Manager: Okay . Lovely to see you all again . Um {vocalsound} it's our conceptual design meeting and it's starting at approximately fourteen twentyfive and so we have forty minutes for this one again and so we'll go just after three o'clock . Um okay {vocalsound} our agenda , we're gonna do an opening , I'mgonna review the minutes of the last meeting , then we'll have your three presentations um and then we'll have to make a decision on the remote controlconcepts , and finally we'll close . SoIndustrial Designer: Okay .Project Manager: opening . Um these are our minutes from r the functional design . We decidedour target group is the focus on who can afford it , because we have international appeal and we said it's for all age groups , different um functions of it . Ourmain objectives were simplicity and fashion . {vocalsound} And s um in specific functions are something to keep the remote from getting lost , large buttons forthe essential functions , a possibility for extra functions , like a sliding a sliding piece {vocalsound} and a long-life battery or a charging station . Okay , now threepresentations . I'd like to do it in this order , first do the conceptual specification of components , properties and materials {vocalsound} um and then theconceptual specification of user interface {vocalsound} and finally trend watching .Industrial Designer: That would be me .User Interface: Yep .IndustrialDesigner: Alright . Well .Project Manager: Mm . 'kay . Function F_ eight it . There we go .Industrial Designer: Alright . Um I'm very excited by this one actuallyguys I uh had a lot of fun doing it . Components design . This is where you look at what does it take to make a remote control and what should we make ourspecific remote control out of . {vocalsound} Um . So , we need to examine each element separately , but we're designing a full thing , so you wanna keep itintegrated as a whole . The main elements of remote controls in general , and therefore ours as well , are the case , the buttons , the circuit board with the chipand the battery . These are all things that we had sort of addressed before , but I'm gonna take each one a little bit separately here as we figure out what theyshould be made of and what they should look like . The case , uh the options that I've gotten from headquarters about what we can do , um there's there's theshape of a case , we could do a flat sh a flat case , a curved case or maybe even a double double-curved case . I haven't seen any pictures of what this exactlylooks like yet , just keep that in mind , but these are the options that we have from manufacturing and we can make our case out of plastic , the m the main basewill be plastic , but we have all these sort of fashion and technological elements we can add in , wood , latex , titanium , rubber or other coloured types of plastic .That would be our case . Um buttons , for buttons we have um pushbuttons , which is what Real Reaction uses the most often , but we also have scror scrollwheels ,Project Manager: Mm .Industrial Designer: which can have integrated pushbuttons , or we could go all high-tech and have an L_ L_C_D_ screen .{vocalsound} Um circuit board and chip we can have a simple one , a regular one or an advanced one , depending on what our other needs are . And then batteryI think is where things get most exciting . We're talking about long-life batteries here . {vocalsound} Um we can we can have your sort of basic double A_batteries , but we also have these options of um {vocalsound} using a kinetic battery , like are used in high-tech watches , where you just have to move it a littlebit to get it to power up . Um so simple movements like pushing buttons would recharge the battery . Or a solar battery , although there are slight um{vocalsound} complications with solar batteries as in we can't use a latex case if we have a solar battery .Project Manager: Hmm .Industrial Designer: Or umsomething they only described as the type of battery you find in torches from about fifty years ago , flashlights . Not quite sure what that is , but that's thedescription that I received , so that's what I'm passing on to you . {vocalsound} So those are our options . Um personal preferences that I was thinking through{disfmarker} here's what we've been talking about all through , fashion and simplicity . So if we're going for fashion in our cases , I think that what we're gonnawanna look at is a curved or a double-curved case , probably with a variety of design elements . Maybe titanium , maybe some wood . We're gonna have toinvestigate that better when I get specifics of the actual materials , but that's sort of what I have in mind . And we wanna go for simplicity . Probably pushbuttons, but I'm sort of intrigued by the idea of a scroll scroll wheel , if anyone has anythingProject Manager: Mm .Industrial Designer: any ideas on that ? I mean I knowthe iPods and things right now have touch scroll um buttons which are exactly like what they're describing , so that might be something we wanna look into . AndI'm really intrigued by the idea of a kinetic battery . {vocalsound} Solar I don't think would be such a good idea , because how often are you sure that yourremote control will get a certain amount of light .Project Manager: {vocalsound}Industrial Designer: But this idea of the kinetic , that you don't have to replace ,and that a simple just shaking it around will make it work , I think that that m would be a very interesting thing . But I think we'd also wanna go for e a simplechip or regular chip to keep our costs down . Uh we really only need a regular or advanced chip t if we're gonna start using an L_C_D_ . So I think we want to beaware of not making things overly t technological if they don't need to be , 'cause that'll keep our manufacturing price way down . That's what I have for options .Um I'd appreciate anyone's input , but that's what I'm seeing for the future of the the look of this thing . {vocalsound}Marketing: Is double-curved like{disfmarker} would be like two hands kind of thing ?Industrial Designer: I'm not sure . I haven't received any specificMarketing: {vocalsound} Okay .IndustrialDesigner: visuals of this yet .Marketing: 'Cause I'm imagining like double-curved is like , you know , like two sides that curveIndustrial Designer: This is what I'msort of {disfmarker}Marketing: and then like one curve would just be like a single vertical-ish kind of looking thing ,Industrial Designer: {vocalsound} Yeah . I'mnot sure ,Marketing: but I've no idea .Industrial Designer: but I'll let you know as soon as I get any pictures .Marketing: Sounds good .Project Manager: Yeah , Iwonder {disfmarker}Industrial Designer: I know if we do have a double-curved case , it can't have any titanium in it . But the titanium , they were quite{disfmarker} they're marketing quite hard to us as being used in the space programme , so that could be quite interesting .User Interface: {vocalsound}{vocalsound}Industrial Designer: Space-age remote .Project Manager: Mm-hmm . {vocalsound} Just an interesting marketing kind of element .IndustrialDesigner: Just all things to keep in mind . Yeah . {vocalsound} That's about all I have to do , guys . I hope I didn't go through that too quickly .Project Manager:Uh just a real quick question um the weight of these different elements , have you {disfmarker}Industrial Designer: Yeah , nProject Manager: no idea , okay.Industrial Designer: no idea , no idea . Um I'm assuming that a kinetic battery isn't gonna take up that much weight ,Project Manager: Mm-hmm .IndustrialDesigner: and that a tita titanium is very light , I know ,Project Manager: Mm-hmm .Industrial Designer: um but other than {disfmarker}Project Manager:{gap}Industrial Designer: that's really basic , I mean , that's all I have gotten so far . {vocalsound}Project Manager: Okay .Industrial Designer: Alright ? Anyother questions ?User Interface: Uh-huh . Don't think so .Industrial Designer: No ? Okay .Project Manager: Mm 'kay .Industrial Designer: I have save this in theuh shared projects , if anyone wants to lookProject Manager: Thank you , perfect .Industrial Designer: and I have c considerable notes on the topic as well , ifanyone needs any more information . Uh {disfmarker}Marketing: Thanks .Project Manager: Um if you made notes yourself you can put those on our um{disfmarker} underneath our {disfmarker} oh , uh in your book ,Industrial Designer: Just in my notebook ,Project Manager: then don't worry about that.Industrial Designer: but if anyone has any specific questions , don't hesitate to email me or something . Alright ? Uh I guess I can {disfmarker}Project Manager:'Kay now we're um concepts concepts of user interface . {vocalsound}Marketing: {vocalsound}Project Manager: Yeah , um . This one's so much tighter than theother one .Industrial Designer: {vocalsound} I know .Project Manager: Okay . Nope . There we go . Here you are .User Interface: Jess .Industrial Designer: G oh, geez .User Interface: Alright , so I'm gonna describe the the concept of the user interface of this des device . Um we've talked about uh the two essentialproperties of the user interface . We want it to be simple and we want it to be fashionable . Um other {disfmarker} we've also got to remember that this is adevice that serves as a useful purpose . Uh we want people to be able to use it s as a remote control , so we need to determine what the essential functions of thed of the device are and make sure that we include {disfmarker} that we've included all of those and that we actually end up with a device that is going to beuseful to people . We have a number of different choices for a design concept um and s that's that's something that that I'll show you some examples of um , butessentially we need to choose how how is this device going to work ,Industrial Designer: {vocalsound}User Interface: how how {disfmarker} what kind of modelis there going to be for user interaction with this device . Uh once we've chosen a a concept for it , we can then design the features around the concept , makingsure that we get all the essential functions in the device and uh the extra functions and the more advanced features . And of course we also have to make it lookcool .Industrial Designer: {vocalsound}User Interface: So basically ,Marketing: {vocalsound}User Interface: that's what we don't want . {vocalsound} M we don'twant lots of buttons , uh complicated features . We want something that looks nice and simple .Industrial Designer: Hmm .User Interface: Here's a a fairly simpledevice . This is an an iPod from Apple . Um I think the main thing to notice about it is it just has four buttons . It's very minimalistic in its design . Uh you usethese four buttons to m to move around a range of settings on the small L_C_D_ screen . Um {vocalsound} the thing I like about this is that it's very very quickto access the main features . Uh you can just about make out uh that the button {disfmarker} three buttons are uh previous track , next track and play pause .They're the main the main features of the iPod , the things you will use a all the time . Um then if you want to do anything more advanced , you go into the littlemenu on the L_C_D_ screen and you use the buttons just to scroll around and and find the more advanced features that you want . So I think that's that's a good"}
+{"doc_id":"doc_60","qid":"","text":"Project Manager: {vocalsound} Okay . Good morning everybody .Industrial Designer: Good morning .Project Manager: Oh , everybody is not ready .UserInterface: Uh almost .Project Manager: Alright .User Interface: Ready .Project Manager: Okay , let's go . So , we're here today to to have our first kick-offmeeting about uh this new project we're going to tak to talk about in a few minutes . Um so I will be uh Sebastian the Project Manager . Um you are the{disfmarker}User Interface: I'm uh Michael . I'm the user interface designer .Project Manager: Okay .Marketing: Hi I'm Guillermo {gap} . I'm the MarketingExpert .Industrial Designer: And I am Hemant , the industrial designer .Project Manager: Okay , very good . Thanks for being here . Um so let's have a look to thethe agenda . So , we are going to go through this agenda uh and mainly first to uh {vocalsound} to make {disfmarker} to to be used to the tools uh available inthis nice and smart meeting room we have here . Um then we'll go to uh the plans for project and have general discussions about it . So , the goal of this projectis to uh developed a new remote control . Um it should be original , trendy , and also user friendly . As usual we will follow the the project method um{vocalsound} that we are using in the {disfmarker} in our company . It is in three step as you know . First the functional design . The second's a conceptualdesign , and then the detailed design . During each step uh of each design we wi you will work uh s separately , individually on uh your specific tasks and will mwe will meet to um to discuss and take decisions about uh what you've you've you did and what uh we will do next . So first , we have to to train ourself with allthe um the tools availables in the in this nice meeting room and uh particularly the the white board so uh we are going to go through the white board and takesome um s some notes or do some drawings . So who want to start ? Mister {gap} .User Interface: Ah well if no one else wants to , yeah . Okay so , want me todraw my favourite animal .Project Manager: {vocalsound}User Interface: {vocalsound} Let's see . Well , I don't really have a favourite animal , but umProjectManager: You have one in mind ?User Interface: uh I think I have one in mind , so uh {disfmarker} {vocalsound} I'm gonna {vocalsound} {gap} about the uhspider because you can actually draw it pretty well in the corner of a white board . The spider has a {disfmarker} spider lives in a web {vocalsound} and uh it haseight legs , and uh it can move all about the web in two dimensions . Unless it's a three dimensional web which y they have sometimes . There are some spidersthat live in like {disfmarker} that have like uh kind of a a big ball of a of a web . And uh the other thing is some spiders can actually uh fly like uh they have uhthey let out like uh a stream of like the web building material but it's it acts like a parachute so they can actually kind of go and find new uh {disfmarker} build anew web somewhere else . So I think they did this in uh in Charlotte's Web that movie that little uh {disfmarker} well it's actually a book first but uh um at theend all the the spiders kinda flew away .Project Manager: Okay .User Interface: So , that's my animal .Project Manager: Th thank you . Very interesting .{vocalsound} Guillermo you want to ?Marketing: {vocalsound} 'kay {vocalsound} I dunno why , but {vocalsound} when I was a child I I wanted to be a apantherProject Manager: {vocalsound}Marketing: {vocalsound} not a pink panther ,Industrial Designer: But don't you think it's very difficult to draw a panther?Marketing: or maybe yes .Project Manager: {vocalsound} It would be very funny for us .Marketing: Uh yeah yeah .Industrial Designer: So bad I don't like it .{vocalsound} {vocalsound}Project Manager: Oh .Industrial Designer: {vocalsound}Marketing: Okay it's a friendly panther .User Interface:{vocalsound}Industrial Designer: {vocalsound}User Interface: Maybe it's happy 'cause it just ate someone .Marketing: Yeah maybe {vocalsound} .UserInterface: {vocalsound}Marketing: Um . Actually , honestly I I I dunno what's what's his it's be behaviour , I dunno if if it's the male who who hunts or it's thefemale uh , I I I have watched that lions di didn't hunt it's the the female lions who who hunt , so {disfmarker} but {vocalsound} I like it because it's fast , andit's black as well , so it can he {disfmarker} it can hide itself very easily and it's it's {disfmarker} it looks like um {vocalsound} powerful , strong , uh I dunno . I Iwatch a a film about a black panther when I was a child and {vocalsound} I was in that age when everything was shocking me a lot . {vocalsound}UserInterface: {vocalsound}Project Manager: Okay . Thank you .Marketing: Okay .Project Manager: Hemant .Industrial Designer: Um sure .Project Manager:{vocalsound}User Interface: So you don't like pink panthers ? {vocalsound}Marketing: I like it {vocalsound} .Project Manager: {gap} {gap}Industrial Designer:Oh yeah . Thanks . This lapel is coming out once in a while . It's not very strong . Okay . So , not the favourite animal , but I think I'll draw elephant .ProjectManager: {vocalsound}Industrial Designer: I'll try to draw elephant {vocalsound} . It's a problem . Okay , thanks . Okay so , elephant goes like this , {gap} andthen it has four feet {vocalsound} . I don't know whether there's any dist there should be any distance or not , but I think this is the easiest . And then we haveit's trunk . And yep something like this {vocalsound} .Project Manager: {vocalsound}Industrial Designer: An eye , cute {vocalsound} .Marketing:{vocalsound}Industrial Designer: Yeah , so {disfmarker}Project Manager: Poor elephant {vocalsound} .Industrial Designer: {vocalsound} and sometimes theyhave a hump . It seems that uh elephants are pretty friendly and they they have one very important way {disfmarker} a different way of walking . So when theywalk , wherever they are going to put their first feet , the second feet will always be . When they'll come to that position the second , the third feet will be there .That's the way they walk . And that's very peculiar about them . None of the other animals walk like this . And they are very useful to human beings . At least fewfew hundred years ago when there was no means of transportations or something , or when they had to carry huge um loads from one place to another ,elephants were very useful . And they are found in um usually the warm countries . And um they are the biggest terrestrial animal . That's what I know aboutthem . So , that's what I wanted to tell about elephants .User Interface: So is this uh an Indian or an African elephant , 'cause you haven't drawn the ears?Industrial Designer: There are two kind of uh yeah , they are very different , Indian and African elephants . So Indian elephant is having one bump , I think , andthe African have two . And then there's a difference in the trunk of the animals , these elephants who are Indian and {disfmarker} So at some {disfmarker} forsome elephants it's {disfmarker} the trunk is having one {disfmarker} Do we have some message there ?Project Manager: Yes . We have to {disfmarker} I haveto catch you ,Industrial Designer: Wind upProject Manager: sorry . We have to to go through the meeting .Industrial Designer: ? Okay , some other time .UserInterface: Okay .Industrial Designer: Thank you .Project Manager: Thank you {vocalsound} .User Interface: We can discuss that off-line .Project Manager: Yeahwe'll discuss a f a fly or do {disfmarker} we'll do another meeting abo on elephants .Industrial Designer: {vocalsound} Thanks .Project Manager: {vocalsound}So {vocalsound}User Interface: {vocalsound}Project Manager: so another important part of the project is about money , uh and about {disfmarker} so aboutfinances . So {vocalsound} we should target selling price of twenty-five Euro for this remote control and uh we have um {vocalsound} {disfmarker} which whichwould generate a profit of of um {vocalsound} fifty million Euros , okay . And we should target the inter an international market .User Interface: So could I justask one question , um is this a stand-alone unit that we're gonna be selling ? So it's gonna be you already have a T_V_ but you're buying an extra remote controlfor it or something ?Project Manager: O this is the {vocalsound} next topic we have to discuss exactly ,User Interface: Okay , alright .Project Manager: so let's goto it . So um we should decide which kind of remote control we want to uh we want to uh we want to go . Should be should should it be um specific remote controlto some specific device ? Should it be a universal one ? And uh etcetera . So um {vocalsound} so I'm waiting for your for your inputs very quickly because wehave only three three minutes to go .User Interface: Okay well , so , it seems the the first thing that they've kinda specified is the price like based on how muchprofit we wanna make , which seems to {disfmarker} a kind of a little strange if we don't know what the the product is yet , but I guess if that's {disfmarker} ifthat's the requirement that we need to to design the the product to actually fit that that price bracket so , I guess we're gonna need to find out what's actually{disfmarker} you know , what people ar are willing to pay for {disfmarker} um what kind of product they're expecting for twenty-five EuroProject Manager: Okay.User Interface: because it seems quite a lot for a remote control ,Project Manager: Okay I think this is more a job to ourUser Interface: so it's{disfmarker}Project Manager: market person yeah .Industrial Designer: Marketing person .User Interface: Yeah .Project Manager: So it should be the topic ofmaybe of the next meeting just to to have an overview of this and uh in which direction we should go .Industrial Designer: Mm-hmm .Project Manager: So weneed to close the meeting . Uh we'll have a new meeting soon and uh so {gap} the work every every of you ha have t d to do . So um you have to work on the onthe working design , you have to uh work on the technical functions , and uh you have to work on us user requirements specs , alright ?Marketing: Yeah .ProjectManager: Um you will receive some information by emails , i as usual . Thanks for coming today .User Interface: Okay .Project Manager: Thanks .IndustrialDesigner: Thanks .User Interface: Alright ."}
+{"doc_id":"doc_61","qid":"","text":"Project Manager: Okay . Um welcome to our second meeting . This is the functional design meeting . And I hope you all had a good individual working time . Okay, let's get started . Okay , here's the agenda for the meeting . After the opening um I am going to fulfil the role of secretary , take the meeting minutes . Andwe're gonna have three presentations , one from each of you . Then we're gonna discuss some new project requirements . Um gonna come to a decision on thefunctions of the remote control . And then we're gonna close up the meeting . And we're gonna do this all in about forty minutes . {gap} Okay . First I want todiscuss the goals of this meeting . First we need to determine the user requirements and the question that we can ask ourselves is what needs and desires are tobe fulfilled by this remote control . And then we're going to determine the technical functions , what is the effect of the apparatus , what actually is it supposed todo , what do people pick up the remote and use it for . And then lastly we're going to determine its working design , how exactly will it perform its functions ,that's the whole technical side of {disfmarker} 'Kay I'll just give you a minute , 'cause it looks like you're making some notes .User Interface:{vocalsound}Project Manager: 'Kay . Oh , well let's go ahead and ,User Interface: {vocalsound} {vocalsound}Project Manager: {gap} back , previous .UserInterface: {vocalsound}Project Manager: So what I wanna do right now is hear from all three of you , on your research that you just did . Who would like to startus off ? 'Kay .User Interface: I don't mind going first .Project Manager: Okay . Um do you have a PowerPoint or no ?User Interface: Yeah , it's in the {disfmarker}should be in the m Project .Project Manager: Okay .Marketing: Do you want us to do our PowerPoints now or {disfmarker}User Interface: You know you couldyou could do it yourself actually .Project Manager: Oh .Industrial Designer: Did you send it ?Project Manager: Save it in the project documents .User Interface:Put it in Project Documents ,Project Manager: Okay .User Interface: yeah .Project Manager: Mm-mm-mm . This one ?User Interface: Sure . {vocalsound}ProjectManager: Okay .User Interface: Yeah .Industrial Designer: Okay . Great .User Interface: Okay . Um well , the function {vocalsound} of a remote control , as whatuh we've been informed , is basically to send messages to the television set , for example , switch it on , switch it off , go to this channel , go to channel nine ,turn the volume up , etcetera . Um some of the considerations is just um for example the what it needs to include it's the numbers , you know , zero to nine , soyou can move to a channel , the power button on slash off , the channel going up and down , volume going up and down , and then mute , a mute function . Andthen functions for V_H_S_ , D_V_D_ , for example , play , rewind , fast-forward , stop , pause , enter . And enter would be for like , you know , the menus .{vocalsound} And then other menus for D_V_ as well as T_V_ , whether that means like um we can go and decide the brightness of the screen , things like that ,all the more complicated functions of menus .Project Manager: {gap}User Interface: And we can decide if that's what we want , {gap} , um if we want to includethat on the remote , if that's something that would stay on the T_V_ itself , for example .Project Manager: Okay . Okay .User Interface: These are two examples .Um and you can see on the left , it's got a lot more buttons ,Project Manager: {vocalsound}User Interface: and I don't know if you can read it , but it says , step ,go to , freeze , um slow , repeat , program , mute , and so those are some of the buttons and so it gives you an idea of s one example . And then on the right ,it's a lot more simpler , it's got volume , it's got the play the like circle set , which is play , rewind , but it's also what is {disfmarker} fast-forward is also like nexton a menu . So you have functions that are d uh duplicating .Project Manager: Right .User Interface: And you have a mute button and then the numbers and theeject , and the power button . So that gives you two different kinds , a more complex and more simple version . Okay .Project Manager: Ready .User Interface:And then lastly , it's just the questions that we want to consider like what functions do we want it to include , and how simple , complex it should be ? And whatfunctions it needs to complete . Uh , what are needed to complete insulation process , 'cause , you know , that's something that also has to be considered and it'sgonna be hopefully a one-time thing , when you set it up it should be set to go , but we have to include the functions that can allow it to set up i in the first place.Project Manager: {gap}User Interface: So that's it .Project Manager: Alright . Very good presentation . Thank you . You speak with such authority on the matter.User Interface: Mm . Left .Project Manager: {vocalsound} Okay . Who would like to um follow that one up ? Now , that we've discussed {disfmarker}Marketing: Ican go .Project Manager: Okay . Do you want me to run it or you wanna {disfmarker}Marketing: Yeah , you should run it .Project Manager: Okay . {vocalsound}Functional requirements .Marketing: {vocalsound} Mm yes .Project Manager: 'Kay . Alright . Now we have Courtney with the functional requirements .Marketing:Yes , okay so we tested a hundred subjects in our lab , and we just we watched them and we also made them fill out a questionnaire , and we found that the{vocalsound} users are not typically happy with current remote controls . Seventy five percent think they're ugly . Eighty percent want {disfmarker} they've{disfmarker} are willing to spend more , which is good news for us um if we make it look fancier , and basically w we just need something that really I meanthere's some other points up there , but they {disfmarker} it needs to be snazzy and it {disfmarker} but yet simple .User Interface: {gap} Wait .Marketing: Sothat's really what we need to do . And we need we need it to be simple , yet it needs to be high-tech looking . So {disfmarker}User Interface: And that meaningwhat ?Marketing: Like {disfmarker} They like I guess use the buttons a lot .User Interface: Okay .Marketing: Yeah .User Interface: {gap}Marketing: I don't know. It's from my uh research .Project Manager: Okay , what do you mUser Interface: Right .Marketing: My team wasn't very clear .Project Manager: Oh , I'm sorry.User Interface: Only use ten percent of the buttons .Project Manager: What do you mean by um the current remote controls do not match well with the operatingbehaviour of the user , like they have to press the buttons .Marketing: {vocalsound} That's okay . I I think it's like the engineering versus user ,Project Manager:Okay .Marketing: whereas like the engineering she showed that the engineering ones are more complexProject Manager: Oh , right .Marketing: and users don'treally need all of the buttons that are contained on there , because they only use ten percent of the buttons really .Project Manager: The buttons . Okay.Industrial Designer: {vocalsound}Project Manager: Yeah . Okay .Industrial Designer: We only use ten per cent of our brains . {vocalsound}User Interface:{vocalsound} {vocalsound}Marketing: Good point .Project Manager: It works .Marketing: It's a necessary evil .Industrial Designer: {vocalsound} yeah .ProjectManager: {vocalsound} Ready for the next slide ?Marketing: Mm-hmm . {vocalsound} And so people say that they typically lose it , as you yourself know ,because you probably lose your remote control all the time ,Project Manager: Hmm .Marketing: much like any small appliance like a cellphone ,User Interface:Lost .Marketing: and they {disfmarker} we need something simple , because most people , well thirty four percent say that it's just too much time to learn how touse a new one , and we don't want to go {disfmarker} we don't want to vary too far from the normal standard remote ,User Interface: SMarketing: but I meanthey do need to be able to identify it , and R_S_I_ , I'm not very sure what that is .Project Manager: It's okay . It's very important . {vocalsound}Marketing: Yes ,it is important for the remote control world .Project Manager: {vocalsound}User Interface: Wait , is that like your {disfmarker} ergonomics like your handmovements or something ?Marketing: ShProject Manager: Could be , yeah .Marketing: Uh possibly .Industrial Designer: Do we really need t to provide moreinformation on what R_S_I_ is ?User Interface: Like {disfmarker} {vocalsound}Project Manager: Oh .Marketing: Uh yeah , that's what my web site said , IUserInterface: Channel , volume , power .Project Manager: I think that's a pretty good guess though .Marketing: don't know .User Interface: {vocalsound}Marketing:Yeah , I would assume so .User Interface: It's like if you're holding it {disfmarker}Marketing: I think we're supposed to know it as remote control experts .ProjectManager: Yeah . It's okay . {vocalsound}Marketing: {vocalsound} But also s so the channel , the volume and the power buttons are the most important on ourcompany website you can find like the specific statistics concerning to how much each button is used , but those are the definitely the top ones .Project Manager:Okay . Next slide ?Marketing: Yes . And so personally I think that we need a modern eye-catching design , but it it really needs to be simple . So saying from yyour slide , your presentation , the engineering versus the user-specified remotes , I think that we should go with something that's more user-friendly .ProjectManager: User-friendly .Marketing: Where the engineering ones , the boxes , tend to make it look more complicated than it really is . Um the functionality of theproduct really needs to be considered as to like what type of buttons do we really need on it . And it needs to be open to a wide range of consumers , so eventhough we need a small number of buttons , we also need to take in {disfmarker} like are most people going to be using it for a D_V_D_ player , a TiVo , whatwhat exactly are we using it for , as well as the age range . So we need a hip , but not a corny marketing scheme for promoting our product .User Interface:{gap}Marketing: And also we found {disfmarker} our team found that speech recognition is {disfmarker} it's like an up-and-coming thing they really{disfmarker} consumers are really interested in it , and since our findings found that people are willing to pay more money for a remote for it to be morehigh-class we could consider it .Project Manager: And so just to {disfmarker} just to clarify by speech recognition you mean they would say , channel five , andthe thing would go to channel five ?Marketing: I guess so , yeah .User Interface: {vocalsound}Project Manager: Okay .User Interface: {gap} to just say , whereare you , and thing beeps , you know . {vocalsound}Project Manager: {vocalsound} Oh , that'd be lovely .Marketing: Yeah , I guess we can interpret it like , wecan just try out different types of speech recognition within our remote programme .User Interface: Yeah .Project Manager: {vocalsound} Didn't they{disfmarker} um didn't our rival companies manufacture a remote that you would press the button on the T_V_ and it would {disfmarker} the remote would beepso if you have lost it {disfmarker}User Interface: It's kinda like what the remote phone used to do .Project Manager: Mm . Oh , yeah , that's true .User Interface:"}
+{"doc_id":"doc_62","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to today's meeting of the Children, Young People and Education Committee. We've received noapologies for absence. Can I ask Members whether there are any declarations of interest, please?Darren Millar AM: Yes, I have a declaration of interest, Chair. Iunderstand that my daughter features in one of the videos that is going to be used to contribute evidence to this inquiry. And, in addition, I'm a governor of oneof the schools that features in the video.Lynne Neagle AM: Thank you, Darren. So, item 2, then, today is our first session on the provision of textbooks andlearning resources for pupils, which is a video of interviews with young people and teachers. The committee team has been out to take video evidence aroundWales, and we're now going to watch the results of that on the screen. Okay. Well, I'm sure that the committee would want me to place on record our thanks tothe young people and the teachers who took part in that very helpful and informative video. We'll move on now then to our evidence session, and I'm verypleased to welcome Gareth Pierce, chief executive of the WJEC, Mike Ebbsworth, assistant director educational support, WJEC, Philip Blaker, chief executive ofQualifications Wales, and Emyr George, associate director general qualifications at Qualifications Wales. So, thank you all of you for attending and thank you forthe papers that you provided in advance as well. If you're happy, we'll go straight into questions now, and if I can just start by asking you to outline what you seeas your role in ensuring that students and teachers in Wales have the resources that they need to pass general qualifications and what you think the role ofcommercial publishers and Welsh Government is.Philip Blaker: Shall I start? So, Qualifications Wales is the regulator of the awarding bodies, so we regulateawarding bodies. Our powers are structured around the regulating of awarding bodies. We don't regulate commercial publishers nor the provision of textbookswithin that. In regulating the awarding body, our primary focus is also on the design of the qualifications and then the delivery of the assessment. So, it's muchmore around the assessment side than teaching resources. That said, when we are going through the design of the qualifications, we go through an approvalprocess, so we develop approval criteria and we ask WJEC to submit their specifications against those approval criteria and sample assessment materials as well.So, our focus is very much on making sure that teachers are able, through the sample assessment materials and the specifications, to have a good understandingof what is going to be expected of them in the examinations and of their pupils in the examinations. So, that's setting out the knowledge, skills andunderstandings that will be assessed by WJEC when those exams are sat. We have in the past pulled together groups of people to look at issues like resources.So, during the last round of approvals, we pulled together interested parties in Welsh Government, regional consortia and WJEC to look at resources that wouldbe available with a view to facilitating the discussion about who would be best placed to fill the gaps where there may be perceived to be gaps in resources. Ourother primary role is in maintaining standards. So, as the regulator of qualifications, what we want to do is we want to make that the awards of qualifications—so,the grades that people get—are fair. One of the things we do is set out the way in which the awarding bodies will set grades—so, the awarding process, themethods that will be used—and then we monitor WJEC's award of grades against those processes. During a period of change, we prescribe the use of comparableoutcomes as the primary approach, largely because comparable outcomes are designed for circumstances like this, where there's a change in a specificationparticularly, because there are any number of reasons, including resources, why performance may be different from one year to the next, but comparableoutcomes is there to ensure that, all things being equal, if the cohorts have the same ability, the same grade should be awarded from one year to the next. We dorecognise that there have been delays in textbooks. Much of that has been related to the timelines that we've all had to deliver new specifications against, whichhave been far from ideal for everybody involved. We think that particularly our role moving forward will be looking at the timelines for reforms that will benecessary for the new curriculum to make sure that this situation isn't repeated and that there is sufficient time in future reforms to allow for greater systemreadiness. In terms of the roles of others, Welsh Government have a role at the moment in terms of grant funding of translation of materials into Welsh medium.And there is, through the common model at the moment—and this is a model that is common between England and Wales—a reliance on commercial publishersto provide textbooks. Now, that's something that probably needs to be looked at in the future in terms of potential different models for how that might beachieved and also, potentially, around a paradigm shift in what's expected of those materials. So, I think that sets out Qualification Wales's position inparticular.Lynne Neagle AM: Thank you. Gareth.Gareth Pierce: Thank you very much. The WJEC does provide what's required in a regulatory sense, and there aretwo things there—the specification, which tends to be very comprehensive in providing guidance in terms of drawing up a programme of teaching, and alsoexemplar assessments, which include marking, and those go to the regulator before they are published. So, those samples go to the regulator. The WJEC also doinvest a great deal in resources that we produce digitally in both languages simultaneously. Each new course has substantial teaching guidance, which includes agreat deal of useful information for teachers and pupils. And we run a professional development programme for teachers that is free of charge when courses arenew, and then annually there is some charge for those events. They are face-to-face events, or, increasingly, they are webinars. The WJEC also encouragespublishers to take an interest in providing textbooks. We don't have a commercial agreement with publishers. Indeed, the regulations as they stand in Wales,Northern Ireland and England preclude examination bodies from having commercial links with providers of textbooks, but that is something that emerges fromthe three-nation regime that existed in terms of qualifications. So, that is one point that we noted as something that needs to be considered for Wales as wemove forward, whether it would be possible—. As we are not talking about examination boards competing with each other in Wales for GCSE and A-levels, inpassing, that is something that I would want to suggest may deserve review. We encourage publishers to take an interest. At the moment, these tend to beEngland-based—Hodder Education and Illuminate Education, for example—and then the Welsh Government does provide funding to the WJEC to support theprocess of providing Welsh-language versions for those textbooks. So, we use that funding to provide editorial support to the process, and also to pay fortranslation costs, and we give significant guidance in terms of terminology. We have a language services team including excellent editors and translators withinthe WJEC, and we work closely with external translators too, and we use translation technology increasingly, which facilitates a great many things. Beyond that, Ithink the WJEC does see the need for flexibility, particularly when difficulties arise, and you heard there of some of the methods used by Mike and others to getdigital resources available earlier than the print versions. And I should also note perhaps that, as the WJEC is very much involved with stakeholders, we feel thatwe do have a contribution to make in terms of ideas for the future.Lynne Neagle AM: Thank you. We heard in the video that teachers are spending a lot of theirtime actually translating materials. What is your view on that as a good use of teachers' time in Wales?Gareth Pierce: I think the question of translation is aninteresting one. There was talk about pupils translating and teachers translating. I think perhaps we need to understand what causes the need for that because,as I mentioned earlier, there are so many resources available digitally in both languages at the same time. Perhaps an interesting question is: is that sourceuseful for teachers, being able to draw resources from two sources? Another interesting question, I think, is—. The Welsh language, of course, is a language thatis used in an educational context, but we are in a big world that's an English language world. I'm very aware that many of the websites we refer to in ourresources and many of the case studies, as was mentioned in that video—they are available in English only. Therefore, I think another interesting question is: canwe discover what those additional resources are that are worth translating? And, certainly, it would be very unfortunate if there were a dozen Welsh-mediumschools, for example, translating material from the same website independently of each other. If there are a few websites, or a few case studies, in this bigexternal digital world that are worth translating, shouldn't we able to source those early? Because I don't think it's a good use of teachers' time. But I also thinkthat the use of both languages is an interesting one. What is the vision in terms of teaching in a Welsh-medium class, in particular, perhaps, in the A-levelclasses? I'm sure that some teachers feel that there is a way of enriching the teaching by referring to terms in both languages, as well as explaining those termsin their own language. But the impression I got from the video was that there was quite a lot of mechanical translating happening, and perhaps there is a need tounderstand more of the context.Lynne Neagle AM: Llyr on this.Llyr Gruffydd AM: Just to pick up on your point on the additional materials, whose role would it beto asses this or to take that overview, and then to respond to the demand?Gareth Pierce: Mike, in the WJEC, has conversations about resources in the team he'spart of.Mike Ebbsworth: Yes. That is extremely important—to identify, as Gareth has just said, those materials that need to be translated, and noteverything needs to. We've made a lot of use recently of speaking with teachers and the consortia, and ensuring then that we are focusing on those things thatneed that attention.Llyr Gruffydd AM: But would you—? The question I'm asking is: would you still see that as a core part of your work, although it's notnecessarily essential in terms of the provision that you're required to provide?Gareth Pierce: Yes, we invest substantially from the WJEC budget into digitalresources. So, through the types of conversations that Mike mentioned, in terms of identifying needs, deciding on priorities with teachers in individual subjectareas, that can provide very useful information for us in terms of prioritisation. Of course, the digital packages that we create are already based onconversations with teachers.Llyr Gruffydd AM: So, it's already happening to a certain extent.Gareth Pierce: Well, yes, but we could always go a step further.Llyr"}
+{"doc_id":"doc_63","qid":"","text":"User Interface: Hi .Industrial Designer: Hi .Project Manager: Hello .Marketing: {vocalsound}User Interface: Oh .Project Manager: Good morning .User Interface:Good morning .Industrial Designer: Morning .Marketing: Good morning .Project Manager: Uh before I start with the with the meeting I have a few things to tellyou about the the setting we're in , uh because we're uh being watched by uh Big Brother . So um {disfmarker}Marketing: By Big Brother ?Project Manager: Yeah. {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: Okay .Project Manager: This uh {disfmarker} These are cameras , so are these . This thing uhthat looks like a pie ,Marketing: Mm-hmm .Project Manager: are actually all microphones .Marketing: Yeah . Okay .Project Manager: So you must be careful withuh with uh all this . And uh as I can see you uh you have placed your laptops uh exactly on the place where it must be . And that has to do with the camerasettings , so we don't have our uh laptops in front of the cameras .Marketing: Of our faces .Project Manager: And {disfmarker} Indeed . So they can see our faces.Marketing: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: {vocalsound}Project Manager: Welcome at the kick-off meeting . My name is uhDanny Wolfs . {vocalsound} Uh this is the agenda for today . Uh first a little opening . Uh I will introduce myself , uh and uh I think it's very uh good to introduceuh yourself . Uh then uh a little bit of acquaintance , acquaintance to uh to to ourselves . So uh we get to know each other . Uh that will be done uh with a tooltraining from the he these two uh smart boards . Then the project plan . What we're going to do , and how we're going to do it . Uh and discussion about that anda little closing at the end . {vocalsound} Okay uh , my name is uh Danny Wolfs . I'm the Project Manager . What's your name ?User Interface: I'm Juergen Toffs .I'm the User Interface Designer .Project Manager: User interface , okay .Industrial Designer: Hi , my name's uh {gap} . I'm the Industrial Designer .ProjectManager: Industrial , yes .Marketing: I'm uh Tim {gap} . Um my function is the Marketing Expert .Project Manager: Okay , thank you . First a little about theproject aim . Uh the the the aim is to make a new remote control . Uh maybe you have read uh read the website . It's a very uh , yeah , very uh ambitious uhcompany . They uh they wanna do something else . I w Uh there must be a new remote control . Uh first of all uh it must be original , uh and trendy . That's twothings really uh close to each other . But at the same time uh user-friendly . And they have uh {disfmarker} Yeah , that's uh very important uh for them . Uhthere are three stages . There is a functional design . So uh what are we going uh to uh to do ? What are we going to uh uh make f uh kind of functions in theremote ? And why are we going to do it ? Then the conceptual design . How are going to do it ? {vocalsound} And that's uh really global . Uh because at thedetailed design , how , part two , uh we go uh to dig in uh really about how the the te the technical of {disfmarker} If it's uh it's possible technical-wise.Marketing: {vocalsound}Project Manager: Uh each stage is uh {vocalsound} uh is broken up in two uh two stages , individual work and a meeting . So it's uh it'svery straightforward . {vocalsound} Okay , the tool training . We have two smart boards . {vocalsound} This one is for the presentations , the PowerPointpresentations or the Word presentation of whatever you uh you had . Uh and this is uh only for uh drawing . So uh we uh must let it uh stand on this uh thisprogramme . {vocalsound} This is called a smart boardMarketing: {vocalsound} Speaks for itself .Project Manager: thing uh {disfmarker} Yeah , it speaks foritself . Um and as you uh may have heard , the documents in the shared folder uh can be uh showed on this screen . Not in y the the My Documents . So if youwanna show something , put it in the shared folder . {vocalsound} Uh {disfmarker} This uh is {gap} very straightforward , with the save , the print , the undo ,the blank , the select , the pen . Well , I don't uh gonna explain it all ,Marketing: {vocalsound}Project Manager: because I think you know uh how it works . Umwe must not forget uh everything we draw on here , uh all must be saved . We we may not delete anything . So uh if you have uh drawn something , save it .Never delete it . That's a very important uh thing .Marketing: {vocalsound}Project Manager: Okay . Uh little uh little {vocalsound} kinda exercise to uh knoweach other .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} At uh the white board on the left . Every uh every one of us uhmust draw our favourite animal ,Industrial Designer: {vocalsound}Project Manager: {vocalsound} and uh tell uh tell us why we uh had uh chosen that animal .Uh important is that we use different colours , {vocalsound} and uh different pen widths . Widths . Widths .Marketing: I have a question .Project Manager: Yes?Marketing: Um this exercise , um did the company board tell you to do it ,Project Manager: Yeah .Industrial Designer: {vocalsound}Marketing: or uh did youjust make it up yourself ?Project Manager: No no no . It's uh it's uh {vocalsound} {disfmarker} I I I must do it .Marketing: It's part of the introduction ,ProjectManager: Yeah , yeah , yeah . 'Cause we uh really don't know each other ,Marketing: okay .Project Manager: and uh it's kinda new . So getting used to eachother , we can uh have a little fun then , before we uh dig in really to the hard stuff .Marketing: Okay . {vocalsound}Project Manager: That kind of thing . Wouldyou start with drawing your uh favourite animal ?Marketing: Um , yeah . I don't know really how it works . But maybe you can show us first ?Project Manager:{vocalsound} Okay , okay . Yeah , okay . Drawing goes with uh this thing . Do not touch your hand on uh this little uh thingy here . That's uh important.Marketing: {vocalsound}Project Manager: So hold it uh like this .User Interface: {vocalsound} {vocalsound}Marketing: You g you get electrocuted or{disfmarker}Project Manager: Yeah , kinda . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: So , {vocalsound} um{disfmarker} You must p p uh push a little uh {disfmarker} Good . Because {disfmarker} And uh wait uh wait a few seconds . It's not uh fully real-time , so uhwatch it .User Interface: Ach . {gap}Project Manager: Oh yeah . Well I'm gonna paint in the red .User Interface: {vocalsound}Project Manager: Oh .UserInterface: Ooph .Project Manager: That's the background colour . {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Well ,undo . Um {disfmarker} The pen ? No . One minute please . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Yeah , that's the one . Well , five .Okay . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} My favourite animal huh ?Industrial Designer: {vocalsound}Marketing: It's likePictionary ? {vocalsound}Industrial Designer: {vocalsound}Project Manager: Yeah , you can guess what it is .Marketing: The the one who says it first{vocalsound} gets a raise .Project Manager: {vocalsound} May uh paint uh next .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: It's a pork ? {vocalsound}Project Manager: {vocalsound} No , it's not an orc .{vocalsound}User Interface: {vocalsound}Project Manager: You don't see it uh at the ears ?Marketing: Mm yeah , I have it at home . {vocalsound}ProjectManager: You have an orc at home ?User Interface: Very artistic .Industrial Designer: {vocalsound}Project Manager: Thank you .Marketing: {vocalsound}ProjectManager: So it's a cat . {vocalsound}Marketing: What's it called ?Project Manager: Simba . 'Cause uh we have a cat at homeMarketing: Ah .Project Manager: andhe's called Simba . 'Cause he looks like the uh the the lion from The Lion King .User Interface: Okay . {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} Miniature size ?Project Manager: So we uh found it kinda cool to uh name it after a lion .Marketing: Okay . {vocalsound}Project Manager: He'shappy with us , so uh he's smiling .User Interface: Wow . He does have body uh {disfmarker} {vocalsound} Huh .Project Manager: No , only the face . Becausewe have we have twen twenty five minutes . So we uh {disfmarker}Marketing: Okay . We have to speed up .Project Manager: Yeah .Marketing: Remember youuse uh different colours , and different pen widths .Project Manager: Yeah . Okay , who wants to go next ?Marketing: I {disfmarker} Okay .Project Manager: Yeah?Industrial Designer: {vocalsound}Project Manager: So choose a colour , choose a pen width and draw a {disfmarker}User Interface: You don't have to changethe colour and the pen width during uh the drawing .Marketing: Save it .Project Manager: Yeah .User Interface: Or {disfmarker}Marketing: You have to save it.Project Manager: Save it , okay .Industrial Designer: {vocalsound}Marketing: I've done it . New ? 'Kay .User Interface: You have to draw uh push hard on thepen or uh {disfmarker}Marketing: Mm uh {disfmarker} Not really .Project Manager: Kind of firm touch .User Interface: {vocalsound}Marketing: That one .UserInterface: Oh . Uh hmm .Marketing: Yeah ? Okay . Open . Which one is it ? Smart board ?Project Manager: Yeah .User Interface: Okay .Industrial Designer:{vocalsound}Marketing: Okay . And now ? Okay . Okay , thanks . 'Kay , I've speed up . 'Kay , that's fine . Line width .Industrial Designer: By the way , why wasyour cat uh red ?Project Manager: Because uh my cat is red uh at home .User Interface: Oh .Industrial Designer: Oh , okay . {vocalsound}Project Manager: And Ihave red hair , so uh must be red .User Interface: It's a very bloody cat .Industrial Designer: {vocalsound} Oh , yeah , sure .User Interface: It's a frog .{vocalsound}Industrial Designer: No , it's a turtle . {vocalsound}User Interface: {vocalsound} Uh it's an apple . {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound} It's not an apple .Industrial Designer: Must be a dog . {vocalsound}User Interface: A dog ? {vocalsound}IndustrialDesigner: Yeah .Marketing: Hmm . Colour . {vocalsound} Something like this . Smaller .Project Manager: {vocalsound}User Interface: Huh ?Industrial Designer:{vocalsound}User Interface: Oh , it is a turtle .Project Manager: It is a turtle . Why a turtle ? Why ? Tim ?Marketing: Um {disfmarker} 'Cause I liked TeenageMutant Hero Turtles .Project Manager: {vocalsound} You watched it a lot ?User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} Uh ?Project Manager: You watched it a lot ?User Interface: It's uh inside its shell . You'll be uh finished sooner .Marketing: No , it's uh{disfmarker}Project Manager: It's a scared turtle .Marketing: No no . {vocalsound} It's coming up . Mm . Uh .User Interface: Wow .Project Manager:{vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay , Tim . Thank you . {vocalsound}Marketing:Something like this . {vocalsound} Okay , you know {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Very artistic .Project"}
+{"doc_id":"doc_64","qid":"","text":"Marketing: {gap}Project Manager: {gap} {vocalsound}Marketing: I dunno . {vocalsound} Throwing away my toothpick .User Interface: Hi there .ProjectManager: Yo . Ow .Industrial Designer: {vocalsound}Project Manager: {gap} {vocalsound}Marketing: 'Kay .Project Manager: Uh {disfmarker}Marketing: Niceuser interface .Project Manager: Yeah . What the {disfmarker} Uh {disfmarker}Marketing: {gap}Project Manager: Yeah well , ja well let's just start .Marketing:'Kay .Project Manager: {vocalsound} {vocalsound} I've uh made a presentation uh but uh I'll open it on the Smartboard , so we can all see it .Marketing: Rightlet's see it .Project Manager: So it's in the project documents because that's what we can find here . Well {gap} . {vocalsound}Industrial Designer:{vocalsound}Project Manager: Very nice . Well this is called the the the kick-off meeting . So uh {vocalsound} I'm the Project Manager , so I had to fill it in,Marketing: 'Kay .Project Manager: and uh hmm . {vocalsound} {vocalsound} Oh sorry . {vocalsound} And {gap} an uh a nice agenda . {vocalsound} Uh we'lldo the opening and then uh we'll meet each other , what uh we already do , so , that's not uh very much trouble . I'll I'll show you the the tools we have here , sothat we can all use them . Then uh we'll look at the project plan from uh Real Reaction .Marketing: {vocalsound}Project Manager: We'll discuss about our firstideas about the project , and then uh we'll close the meeting , and then we can uh individually uh do our things and then uh we'll get back here . So {vocalsound}this the opening we'll uh {disfmarker} We have to uh design a new television remote control . You have heard that uh already I think , so .Marketing: Mm-hmm.Project Manager: Um we want it to be original , so a nice uh a nice new design . Uh trendy , it's {vocalsound} also for young people , and we have to just uhmake it uh modern . And uh friendly , so size does matter . And uh {disfmarker} Well it has to be a have the the right uh the right buttons on the right place ,that kin those kind of things .Industrial Designer: Mm-hmm .Project Manager: Other uh {disfmarker} There happen to be uh three stages . {gap} functional ,conceptual , and d detailed design . Um so every time we we'll do some individual work , get meeting , talk about it , uh and then go into the next phase . That'sjust it . {vocalsound} Um {disfmarker} We have uh these two Smartboards . Um well as I just showed , there's a project management folder , a projectdocument folder on the desktop . It just works exactly the same as a computer . You just uh click on the on the folder and you open the everything you you put init with your laptop . So you can uh make uh {vocalsound} Words Excel , everything . Um and the w the r uh the rest uh also works the same so uh when youopen a notepad you uh you just get your uh things , you can uh draw . This is a uh well a drawing board . {gap} you have a {disfmarker} these different uhfunctions on the board . You can see them there . So you have a a nice pen , and it's works just like a bal ball pen . {vocalsound} This is just a {gap} . I want touh {disfmarker} Oh yeah . Of course w {vocalsound} doesn't work any more . {vocalsound}Industrial Designer: {vocalsound} {vocalsound}User Interface:{vocalsound}Industrial Designer: Maybe you should try to write on the on the big white uh {disfmarker}Project Manager: Yes I will {disfmarker}IndustrialDesigner: Does it ? Yeah . It works .Project Manager: eraser {gap} so .Industrial Designer: {vocalsound} {vocalsound} Wonderful .Project Manager: It's fantasfantastic . We can uh uh well you can save a file . So if uh we draw we have to save everything . Don't throw anything away .Industrial Designer: Mm-hmm.Project Manager: Uh just we can start a new one , and we just go on , and don't throw anything away .Marketing: {vocalsound}Project Manager: Just uh letthem all uh stand here . We can delete , but we don't do that . Um you can here select a pen , you can draw anything you want . It's a bit uh childish you have towrite . It's not as fast as you w you know it , but it does work sometimes .Industrial Designer: {vocalsound} {gap} .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound} Well it's just like a normal uh paint .Industrial Designer: {vocalsound}Project Manager: So it's gone .IndustrialDesigner: {vocalsound} Alright , yep .Project Manager: Well we are designers , so we have to have a a more uh a Smartboard . So that's fantastic . Um well thisuh speaks for itself . We going to try it . So um we all uh are going to uh draw a nice animal on this board ,User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: not my idea . {vocalsound}Industrial Designer: {vocalsound}Marketing: Alright , yourfavourite animal ? {vocalsound}Project Manager: Yes our your favourite . So um I'm to going to have to draw a kangaroo ,Industrial Designer:{vocalsound}Project Manager: but I'm going d I'm not going to . I'm just uh going to uh well draw a nice uh beastMarketing: {vocalsound} Grizzly bear .{vocalsound}Project Manager: w I dunno what I'm going to design .Industrial Designer: {vocalsound}Project Manager: Oh um {vocalsound} doesn't{disfmarker} oh .Industrial Designer: I hope this was part of the assignment and not uh your uh {disfmarker}Project Manager: Yeah , 'kay . Hmm ?IndustrialDesigner: I hope this was part of the assignment and not uh your personal uh enjoyment .Marketing: {vocalsound}Project Manager: I just said it's not myideaMarketing: Yeah .Project Manager: but I am the Project Manager ,Industrial Designer: {vocalsound}Project Manager: and officially this is my idea .{vocalsound} So {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer: I I I {vocalsound} I understand . Alright .Marketing: We're kindalosing time , though .Project Manager: what ?Marketing: We're losing time , but {disfmarker}Project Manager: Ah {vocalsound} the first the first meeting is justa bit uh loose , loosen up , a bit uh meeting each otherIndustrial Designer: {gap} so start {disfmarker}Marketing: Alright .Project Manager: {gap} well uh uhnice yeah . {vocalsound} ShIndustrial Designer: {vocalsound} Yep yes .Project Manager: I hope our Industrial Designer does this better because uh this is uh{disfmarker}Industrial Designer: Don't uh count on it .Project Manager: No {vocalsound} {vocalsound} so a a few legs .Marketing: Do we have to guess ?ProjectManager: {vocalsound} Yes yesMarketing: {vocalsound} A hippo ? {vocalsound}Project Manager: guess . {vocalsound} Well I should make it an hippo now .{vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} I think it's a mouse or a rat .User Interface: {vocalsound}Marketing: Yeah .ProjectManager: {vocalsound} No I don't think so .Marketing: {vocalsound}Industrial Designer: Oh . Oh I know it .Project Manager: Well what is it , huh ?IndustrialDesigner: It's a hedgehog .Marketing: I don't know how to call it .Project Manager: YeahMarketing: A hedgehog ? {vocalsound}Project Manager: {gap} difficultEnglish word . I didn't knew it myself {gap} . {vocalsound}Marketing: {gap} .Industrial Designer: Well I'm amazed uh about your uh drawing skills .{vocalsound}Marketing: {vocalsound}Project Manager: Our characteristics sum it up . Well it's uh very {vocalsound} uh painfulIndustrial Designer:{vocalsound}Marketing: {vocalsound}Project Manager: {disfmarker} {vocalsound} those kind of thing . So we can uh just uh {disfmarker}Marketing:{vocalsound}Industrial Designer: {vocalsound} Yeah .Marketing: {vocalsound} {vocalsound}Project Manager: We're going back and now uh our IndustrialDesigner can uh draw its uh most favourite animal .Industrial Designer: {vocalsound} {vocalsound} I am the Industrial Designer .Marketing: Alright . Thank you.Project Manager: Huh .Industrial Designer: Chief , I am the Industrial Designer .Project Manager: Oh uh but this uh marketing designer .Industrial Designer:Yeah .Project Manager: {vocalsound}Industrial Designer: {vocalsound} I think {disfmarker} It's pr it resembles {vocalsound} the animal drawn by {gap}.Marketing: {vocalsound}Project Manager: {vocalsound} {gap}Marketing: It's {gap} . {vocalsound}Project Manager: what kind of animal is that then ?{vocalsound}Industrial Designer: I think {disfmarker} can I say it ?Marketing: Yeah sure .Project Manager: Uh it {gap} . {vocalsound}Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: It's a rabbit . {vocalsound} Well {disfmarker} Looks very nice , right ?Project Manager: Yeah .IndustrialDesigner: It looks amazing .Project Manager: No no no . What are you going to do ? {vocalsound}User Interface: We want to erase it . {vocalsound}ProjectManager: No no .Marketing: {vocalsound}Project Manager: No no save it and start a new uh {disfmarker} save it and start a new black uh doc {gap} a blankdocument .Industrial Designer: These are very impor {vocalsound}Marketing: Yes .Industrial Designer: These are very important documents , of course , uhthese drawings , uh {disfmarker}Project Manager: Yeah well we have to save everythingMarketing: Yes uh right .Project Manager: so now um the next one uh{disfmarker} {gap} and then save it and start an blank document .User Interface: {vocalsound} Thanks .Marketing: You go man .Project Manager: {vocalsound}Yeah . There's also different colours and different uh well pen widths uh the line the the thickness thickness .Marketing: Alright .Project Manager: So um well youshould uh try it but uh {disfmarker}Marketing: I should have made mine a white rabbit . {vocalsound}Project Manager: Well y y y you could have but uh{vocalsound} .Industrial Designer: And he deliberately draws a animal we don't know the English word for .Project Manager: It speaks for itself .Marketing:{vocalsound}Project Manager: {vocalsound} What the {disfmarker} {vocalsound}Industrial Designer: It looks like an uh {disfmarker}Project Manager: uh just aduck . {vocalsound}Industrial Designer: It looks like that beast from Sesame Street .Project Manager: {vocalsound} Nice . {vocalsound}Marketing:{vocalsound} {gap} .Industrial Designer: Yeah .User Interface: Big bird . {vocalsound}Project Manager: {vocalsound} Is it a duck ?Marketing: You're standing infront of it ,Industrial Designer: It's it's uh {disfmarker}Project Manager: Is it a plane ? {vocalsound}Marketing: I can't see it . Alright , thank you . Yeah it's a bird, but what kind of bird ?Industrial Designer: {vocalsound}Project Manager: It doesn't draw uh circles uh that easy uh .Industrial Designer: Do we have to uh{disfmarker}Marketing: You have to push harder .Project Manager: Yeah just a bit a bit childish ,User Interface: Mm .Project Manager: a bit {vocalsound}.Industrial Designer: But we have uh {vocalsound} do we have to name the specific species of the bird ?Marketing: Release your anger .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} Uh no I don't .Industrial Designer: No ?User Interface: It'sjust a bird .Project Manager: Well uh save the documentIndustrial Designer: Well wonderful .Project Manager: and then uh {disfmarker}User Interface:"}
+{"doc_id":"doc_65","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies for absence thismorning. Can I ask if there are any declarations of interest from Members, please? No. Okay. Thank you. Item 3 this morning then is a scrutiny session on earlychildhood education and care, and I'm very pleased to welcome Julie Morgan AM, Deputy Minister for Health and Social Services; Jo-anne Daniels, director ofcommunities and tackling poverty at Welsh Government; and Nicola Edwards, deputy director of the childcare, play and early years division in Welsh Government.Thank you all for your attendance. We’re very much looking forward to the session. If you're happy, we'll go straight into questions, and the first ones are fromHefin David.Hefin David AM: Good morning, Deputy Minister. What are your primary objectives? Is it supporting the development of children or getting parentsinto work?Julie Morgan AM: Well, I think you'll be aware from the range of programmes that we've got that we do feel it’s important to support both children andparents. There's obviously lots of evidence to show how important the early years are for children, how important they are for their development, and so, that isone of our primary objectives. But we also know how important it is for parents to have stable jobs, reasonably paid, so that can also help with the developmentof the children. So, we really see it that our plans are for both parents and children, and we believe that a high-quality, early-childhood education and caresystem can provide that. And, of course, in terms of when we talk about jobs as well, I think it’s really important to remember that the childcare system is a bigemployer as well and a very important employer. So that, actually, itself provides jobs.Hefin David AM: So, the evidence we've seen suggests that, historically,Governments in the UK and devolved have focused on primarily getting parents into work. So, are you suggesting then that your focus is to change that andmove towards early child development?Julie Morgan AM: No, what I'm saying is that we want to give parents the opportunity to work. We don't want childcare tobe a barrier to parents working because we think that working is one the best routes out of poverty, but we do also want to make sure that children have thegreatest experience that they can have in the early years. So, we see it as one.Hefin David AM: Okay. And that's quite a policy challenge to deliver both at thesame time.Julie Morgan AM: The situation as it is is complex, and I think it needs simplifying. It is a challenge, but it’s probably one of the most importantchallenges we've got in Government, because what we offer to families with young children is one of the most important things we do.Hefin David AM: And inyour evidence to the committee, you said that the Welsh Government’s approach 'will build on a wide variety of programmes that are continually developing inorder to support parents, families and children during the early years.' And you've just said you want to simplify that. How do you simplify that, particularly withregard to the provision of funding and the way these things connect from the birth of a child into school? How will simplification look, and what will happen?JulieMorgan AM: Well, we're not at the stage of being able to say what it will look like at the moment, but we're looking at ways of simplifying, because I think it’sabsolutely right, it is a very complex system, because it’s grown up from all different routes. But we are having lots of pilot projects that are looking at ways ofsimplifying the system. We have got pathway projects in, I think it’s eight local authorities, who are looking at ways of joining up the whole system. So, we arelooking at that, and I absolutely except that it is very complex and we want to find ways of making it simpler and easier to understand. So, we are working withlocal authorities and health boards to see how we can actually work together and simplify things.Hefin David AM: And it's good to hear that that's your objective.Can I just come back to the first thing you said: 'We can't say yet what we're going to do'?Julie Morgan AM: No.Hefin David AM: So, when will we have a policyplan and something that we can interrogate in more detail?Julie Morgan AM: Well, I think we are near getting to an announcement where we will be able to saywhat direction we're going in, and because we have had—. Some of this work has been going on for a year or so, and we're getting the results of those pathfinderprojects coming in. So, when we do have all those results, we will be able to say the direction that we want to go in, and I hope we'll be able to do that verysoon.Hefin David AM: Before Christmas?Julie Morgan AM: I hope so.Hefin David AM: Okay. And finally from me—Julie Morgan AM: I'm sorry I can't say too muchabout that because we haven't actually—. We need to—.Hefin David AM: Well, it does sound like something is imminent.Julie Morgan AM: Yes.Hefin David AM:Okay. And that's as far as you're willing to go. And if that's as far as you're willing to go, then I'll stop asking.Lynne Neagle AM: I've got a supplementary fromSiân.Hefin David AM: Okay.Julie Morgan AM: Yes, that's fine.Sian Gwenllian AM: I just want to understand a little about the pilot, the pathfinders in eight localauthority areas. Is the focus there on the child or is it on parents returning to work?Julie Morgan AM: The focus is on an early years system, but we've workedboth locally and nationally. So, it's looking at both. I mean, actually, I think, perhaps, Nicola, would you like to or one of you like to describe one of theprogrammes?Sian Gwenllian AM: And can you just explain the vision? Is it a child-centred early years provision that we're thinking of in thesepathfinder—?Jo-Anne Daniels: So, in 'Prosperity for All', we set out that early years was one of the key priority areas, and within that we said that we wanted tocreate a more joined-up and more responsive system. So, when we talk about a system, we're talking about the services that are provided by health boards, sohealth visiting, midwifery, speech and language support, other kinds of therapeutic services, as well as all the important services that local authorities areproviding, such as support for parenting, advice and guidance, employment support and childcare, obviously. And we've got eight pathfinders. I'll try andremember each of them. So, Flintshire, Newport, Blaenau Gwent, Neath Port Talbot, Swansea, Ceredigion, Pembrokeshire—and then I've missed one, I think,because I've only got to seven—who have been working with us to look at how all of those services are currently delivered in their local area and whether andhow they can reorganise those services to improve accessibility, to improve take-up, but essentially to improve the efficacy of those programmes in terms ofsupporting children, but often, obviously, in supporting children you have to support parents too and support the home.Sian Gwenllian AM: So, would you say it'sa child-centred approach?Jo-Anne Daniels: Absolutely, because it's about making sure that we deliver the best start in life for children in Wales, but obviouslyparents are a critical element of that, so can't be excluded.Lynne Neagle AM: And how long have they been going for?Jo-Anne Daniels: So, those eight pathfindersstarted their work in—I think it was—February this year. And they're still in the very early stages in terms of actually unpicking and mapping the current provisionof services across their areas and then moving on to the stage where they'll develop proposals for how they might change the delivery of early years.LynneNeagle AM: Okay, thank you. Julie.Julie Morgan AM: Just to say also, the one in Flintshire is also testing the impact of consistent funding rates for education andchildcare. So, that's been going longer than the others. So, that's another important area because there's an evaluation of that project under way at themoment.Lynne Neagle AM: Thank you.Jo-Anne Daniels: Sorry, but Caerphilly was the one that I forgot to mention.Lynne Neagle AM: Oh dear. [Laughter.]HefinDavid AM: That's absolutely unforgivable. [Laughter.]Lynne Neagle AM: Hefin. [Laughter.]Julie Morgan AM: Very significant.Hefin David AM: In your report, the'Alignment of the Childcare Offer for Wales to the Foundation Phase', one of the recommendations was that 'The Welsh Government, local authority education andchildcare policy and delivery teams could merge'. So, looking behind the scenes, those disparate parts of policy, delivering the foundation phase and childcareoffer should merge. Is that the case? Has that been put under way and should we be looking at this structure in more depth?Julie Morgan AM: Well, probably notat the structure at this time because the report that you're referring to was looking at the first year of the delivery of the childcare offer and it did make a numberof points, which we have taken on board. For example, we issued guidance last year regarding the delivery of the foundation phase, which supports widening thenumber of non-maintained settings that are able to deliver early education and we're also supporting co-location and partnership working between education andchildcare providers through our capital investment programme. I think it's about £81 million that we put into the capital investment where we aredeveloping childcare facilities co-located with the education facilities, because that was one of the things that came out from this report you're referring to. And, Imean, obviously, early years is one of the key priorities within 'Prosperity for All' and, obviously, education sits within one portfolio with the Minister forEducation, and childcare is with me. But we're doing what we can to work together to try to bring those together, and that was one of the proposals in that report.But it's still very early to think about, at this stage, a structural change.Hefin David AM: And I remember when you were on the committee here with me, sittingnext to me, we had those discussions about co-location. I know the problem with not having co-location is that you could end up seeing a child travelling betweenthree or more locations during the course of a day. Are you suggesting now that the actions you're taking will resolve that issue universally, or will it lead to apiecemeal resolution? And, if so, to what extent, what percentage of children will see that resolved as an issue?Julie Morgan AM: Certainly, the co-location is notgoing to solve it universally because although we've been able to develop a lot of new facilities, or build on old facilities, there will be a lot of areas that we won'thave covered. So, I can't say that there's going to be a situation where everything is going to be co-located because I don't think that would be feasible, and,forsome of the providers, they wouldn't be in a position to move to a school. But ideally it's a good situation, but, certainly, I think the discussions that there wereon the committee, it's not ideal to take children for long distances between different providers, let alone the effect it has on the climate change issue. It's whetherit's good for children as well. So, I can't say that they will ever be co-located, but as I said in response to your earlier question, we are encouraging thedevelopment of the foundation phase in non-maintained settings, which, obviously, is quite significant.Lynne Neagle AM: Okay. Thank you. I've got some"}
+{"doc_id":"doc_66","qid":"","text":"PhD A: Eh , we should be going .Professor B: So ne next week we 'll have , uh , both Birger {pause} and , uh , Mike {disfmarker} Michael {disfmarker} MichaelKleinschmidt and Birger Kollmeier will join us .PhD D: Uh - huh .Professor B: Um , and you 're {disfmarker} {vocalsound} you 're probably gonna go up in acouple {disfmarker} three weeks or so ? When d when are you thinking of going up to , uh , OGI ?PhD D: Yeah , like , uh , not next week but maybe the weekafter .Professor B: OK . Good . So at least we 'll have one meeting with {vocalsound} yo with you still around , and {disfmarker} and {disfmarker}PhD D: Uh -huh .Professor B: That 's good .PhD D: Um , Yeah . Well , {vocalsound} maybe we can start with this . Mmm .Professor B: All today , huh ?PhD D: Yeah.Professor B: Oh .PhD D: Um . Yeah . So there was this conference call this morning , um , and the only topic on the agenda was just to discuss a and to come at{disfmarker} uh , to get a decision about this latency problem .Professor B: No , this {disfmarker} I 'm sorry , this is a conference call between different Aurorapeople or just {disfmarker} ?PhD D: Uh , yeah . It 's the conference call between the Aurora , {vocalsound} uh , group .Professor B: It 's the main conference call. OK .PhD D: Uh , yeah . There were like two hours of {pause} discussions , and then suddenly , {vocalsound} uh , people were tired , I guess , and they decidedon {nonvocalsound} a number , two hundred and twenty , um , included e including everything . Uh , it means that it 's like eighty milliseconds {pause} less thanbefore .Professor B: And what are we sitting at currently ?PhD D: Um .Professor B: Yeah .PhD D: So , currently d uh , we have system that has two hundred andthirty . So , that 's fine .Professor B: Two thirty .PhD D: Yeah . So that 's the system that 's described on the second point of {pause} this {vocalsound}document .Professor B: So it 's {disfmarker} we have to reduce it by ten milliseconds somehow .PhD D: Yeah . But that 's {disfmarker} Yeah . That 's not aproblem , I {disfmarker} I guess .Professor B: OK . W It 's {disfmarker} it 's p d primary {disfmarker} primarily determined by the VAD at this point ,PhD D: Um.Professor B: right ?PhD D: Yeah .Professor B: S so we can make the VAD a little shorter .PhD D: Yeah . At this point , yeah .Professor B: That 's {disfmarker}PhDD: Yeah , uh - huh .Professor B: Yeah . We probably should do that pretty soon so that we don't get used to it being a certain way .PhD D: Uh - huh .Professor B:Yeah .PhD D: Um .Professor B: Was Hari on the {disfmarker} on the phone ?PhD D: Yeah , sure .Professor B: OK .PhD D: Well , it was mainly a discussion{vocalsound} between Hari and {vocalsound} David ,Professor B: Hmm .PhD D: who was like {disfmarker}Professor B: Yeah .PhD D: Uh ,Professor B: OK .PhDD: mmm {disfmarker} Uh , yeah . So , the second thing is the system that we have currently . Oh , yes . We have , like , a system that gives sixty - two percentimprovement , but {vocalsound} if you want to stick to the {disfmarker} {vocalsound} this latency {disfmarker} Well , it has a latency of two thirty , but{vocalsound} if you want also to stick to the number {vocalsound} of features that {disfmarker} limit it to sixty , {vocalsound} then we go a little bit down but it's still sixty - one percent . Uh , and if we drop the tandem network , then we have fifty - seven percent .Professor B: Uh , but th the two th two thirty includes thetandem network ?PhD D: Yeah .Professor B: OK . And i is the tandem network , uh , small enough that it will fit on the terminal size in terms of {disfmarker}?PhD D: Uh , no , I don't think so .Professor B: No .PhD D: No .Professor B: OK .PhD D: It 's still {disfmarker} in terms of computation , if we use , like , their wayof computing the {disfmarker} the maps {disfmarker} the {disfmarker} the MIPs , {vocalsound} I think it fits ,Professor B: Mm - hmm . Mm - hmm .PhD D: butit 's , uh , m mainly a problem of memory .Professor B: Right .PhD D: Um , and I don't know how much {pause} this can be discussed or not , because it 's{disfmarker} it could be in ROM , so it 's maybe not that expensive . But {disfmarker}Professor B: Ho - how much memory d ? H how many {disfmarker} ?PhDD: I d I d uh , I {disfmarker} I don't kn remember exactly , but {disfmarker} {vocalsound} Uh . Yeah , I c I {disfmarker} I have to check that .Professor B: Yeah. I 'd like to {pause} see that , cuz maybe I could think a little bit about it , cuz we {vocalsound} maybe we could make it a little smaller or {disfmarker} I mean ,it 'd be {disfmarker} it 'd be neat if we could fit it all .PhD D: Uh - huh .Professor B: Uh , I 'd like to see how far off we are .PhD D: Mm - hmm .Professor B: But Iguess it 's still within their rules to have {disfmarker} have it on the , uh , t uh , server side . Right ?PhD D: Yeah . Yeah .Professor B: OK .PhD D: Mmm.Professor B: And this is still {disfmarker} ? Uh , well , y you 're saying here . I c I should just let you go on .PhD D: Yeah , there were small tricks to make thistandem network work . Uh , {vocalsound} mmm , and one of the trick was to , {vocalsound} um , use {vocalsound} some kind of hierarchical structure where{pause} the silence probability is not computed by {pause} the final tandem network but by the VAD network . Um , so apparently it looks better when ,{vocalsound} uh , we use the silence probability from the VAD networkProfessor B: Huh .PhD D: and we re - scale the other probabilities by one minus the silenceprobability . Um . So it 's some kind of hierarchical thing , {vocalsound} uh , that Sunil also tried , um , {vocalsound} {vocalsound} on SPINE and apparently ithelps a little bit also . Mmm . And . Yeah , the reason w why {disfmarker} why we did that with the silence probability was that , {vocalsound} um{disfmarker}Professor B: Could {disfmarker} ? Uh , uh , I 'm {disfmarker} I 'm really sorry . Can you repeat what you were saying about the silence probability?PhD D: Mm - hmm .Professor B: I only {disfmarker} My mind was some {disfmarker}PhD D: Yeah . So there is the tandem network that e e e estimates thephone probabilitiesProfessor B: Yeah . Yeah .PhD D: and the silence probabilities also .Professor B: Right .PhD D: And {vocalsound} things get better when ,instead of using the silence probability computed by the tandem network , we use the silence probability , uh , given by the VAD network ,Professor B: Oh .PhDD: um ,Professor B: The VAD network is {disfmarker} ?PhD D: Which is smaller , but maybe , um {disfmarker} So we have a network for the VAD which has onehundred hidden units , and the tandem network has five hundred . Um . So it 's smaller but th the silence probability {pause} from this network seems , uh ,better .Professor B: OK .PhD D: Mmm . Uh . Well , it looks strange , but {disfmarker}Professor B: Yeah . But {disfmarker}PhD D: but itProfessor B: OK .PhD D:Maybe it 's {disfmarker} has something to do to {vocalsound} the fact that {vocalsound} we don't have infinite training data and {disfmarker}Professor B: Wedon't ?PhD D: Well ! And so {disfmarker} Well , things are not optimalProfessor B: Yeah .PhD D: and {disfmarker} Mmm {disfmarker}Grad E: Are you{disfmarker} you were going to say why {disfmarker} what made you {disfmarker} wh what led you to do that .PhD D: Yeah . Uh , there was a p {comment}problem that we observed , um , {vocalsound} {vocalsound} that there was {disfmarker} there were , like , many insertions in the {disfmarker} in the system.Professor B: Mm - hmm .PhD D: Mmm .Professor B: Hmm .PhD D: Actually plugging in the tandem network was increasing , I {disfmarker} I {disfmarker} Ithink , the number of insertions .Professor B: Mm - hmm .PhD D: And , {vocalsound} um {disfmarker} So it looked strange and then just using the {disfmarker}the other silence probability helps . Mmm . Um {disfmarker} Yeah . The next thing we will do is train this tandem on more data .Professor B: So , you know , in away what it might {disfmarker} i it 's {disfmarker} it 's a little bit like {vocalsound} combining knowledge sources .PhD D: Um {disfmarker}Professor B: Right ?Because {vocalsound} the fact that you have these two nets that are different sizes {pause} means they behave a little differently ,PhD D: Mm - hmm .ProfessorB: they find different {pause} things . And , um , if you have , um {disfmarker} f the distribution that you have from , uh , f speech sounds is w {comment} sortof one source of knowledge .PhD D: Mm - hmm .Professor B: And this is {disfmarker} and rather than just taking one minus that to get the other , which isessentially what 's happening , you have this other source of knowledge that you 're putting in there . So you make use of both of them {vocalsound} in{disfmarker} in {pause} what you 're ending up with . Maybe it 's better .PhD D: Yeah .Professor B: Anyway , you can probably justify anything if what 's usePhDD: Yeah .Professor B: Yeah .PhD D: And {disfmarker} and the features are different also . I mean , the VAD doesn't use the same features there are .Professor B:Mm - hmm .Grad E: Hmm .Professor B: Oh !PhD D: Um {disfmarker}Professor B: That might be the key , actually .PhD D: Mm - hmm .Professor B: Cuz you werereally thinking about speech versus nonspeech for that .PhD D: Mm - hmm .Professor B: That 's a good point .PhD D: Mmm . Uh . Well , there are other thingsthat {vocalsound} we should do but , {vocalsound} um , {vocalsound} it requires time and {disfmarker} {vocalsound} We have ideas , like {disfmarker} so ,these things are like hav having a better VAD . Uh , we have some ideas about that . It would {disfmarker} {vocalsound} probably implies working a little bit onfeatures that are more {vocalsound} suited to a voice activity detection .Professor B: Mm - hmm .PhD D: Working on the second stream . Of course we haveideas on this also , but {disfmarker} {vocalsound} w we need to try different things and {disfmarker} Uh , but their noise estimation , um {disfmarker}{vocalsound} uh {disfmarker}Professor B: I mean , back on the second stream , I mean , that 's something we 've talked about for a while . I mean , I think{nonvocalsound} that 's certainly a high hope .PhD D: Yeah . {vocalsound} Mmm .Professor B: Um , so we have this {disfmarker} this default idea about justusing some sort of purely spectral thing ?PhD D: Uh , yeah .Professor B: for a second stream ?PhD D: But , um , we {disfmarker} we did a first try with this , andit {disfmarker} it {vocalsound} clearly hurts .Professor B: But , uh , how was the stream combined ?PhD D: Uh . {vocalsound} It was c it was just combined , um, by the acoustic model . So there was , no neural network for the moment .Professor B: Right . So , I mean , if you just had a second stream that was justspectral and had another neural net and combined there , that {disfmarker} that , uh , {vocalsound} might be good .PhD D: Mm - hmm . Yeah . Mm - hmm . Mm- hmm . Mmm . Yeah . Um {disfmarker} Yeah , and the other thing , that noise estimation and th um , maybe try to train {disfmarker} uh , the training data forthe t tandem network , right now , is like {disfmarker} i is using the noises from the Aurora task and {vocalsound} {vocalsound} I think that people might ,{vocalsound} um , try to argue about that because {vocalsound} then in some cases we have the same noises in {disfmarker} for training the network {pause}"}
+{"doc_id":"doc_67","qid":"","text":"Project Manager: Okay . Everybody found his place again ? Yeah ?Marketing: Yes .Project Manager: That's nice . Okay so this is our second meeting . And uh stillfailing ? {vocalsound}Marketing: Yeah .Project Manager: Uh now we're going um into the functional design . Um important thing of this phase is that we're goingto uh try to get an agreement about the user requirements , technical function design , and the working design . So that we can move onto the second uh phase .But first this phase . Um first an announcement . There's a little adaptation in the air conditioning system . So {disfmarker}Marketing: {vocalsound}ProjectManager: {vocalsound} There's our {vocalsound} ghost mouse again . That that means that you can have a little trouble with , little trouble with the airconditioning , that's because of this uh {disfmarker}User Interface: Okay .Project Manager: It's in wing C_ and E_ .Marketing: Okay .Project Manager: So itshould be over in a in a while , couple of days . But it's going to be cold anyway , so {vocalsound} I don't think you're gonna need it .User Interface:{vocalsound}Marketing: No .Project Manager: Then our agenda . Now first the opening . Uh this time I will take the minutes . Uh you're going to have apresentation . All of you . Um and we've got forty minutes for the whole uh prese for the whole uh presentations . So uh I suggest we take about seven minutesper presentation , and then we can have a little discussion about the new project requirements uh which have been sent to me . And then the decision on thecontrol functions uh which we wanna include and those which we don't wanna include . So we've got forty minutes for all of it . So I suggest um let's start withthe first presentation .Marketing: Yes .Project Manager: Um who wants to be first ?Marketing: Think I'll go first .Project Manager: Okay . So{disfmarker}Marketing: {vocalsound}Project Manager: Just maybe it's easier if you um {disfmarker} Yeah I think you will tell {gap} your presentation as well .Just which function you have and what you're gonna talk about . {vocalsound}Marketing: 'Kay . My name is Freek Van Ponnen . I'm the Market Expert . But youalready knew that . Um I've done some research . We have we uh have been doing research in a usability lab where we observed um users operating remotecontrols . Uh we let them fill out a questionnaire . We had one hundred of these uh test subjects . Uh in addition we did some market research . Uh see what themarket consists of . What ages are involved . Well these are three quite astonishing results , I thought . Um remotes are being considered ugly . F uh seventy fivepercent of the um people questioned uh indicated that they thought their remote were was ugly . Um and an additional eighty percent indicated that they wouldspend more money on a fancy-looking remote control . So {disfmarker} Um in addition remotes were not very functional . Fifty percent of the people indicatedthey only loo used about ten percent of the buttons on a remote control . And fifty percent of the people indicated that their remote tended to get lost in theirroom . SoUser Interface: Mm .Marketing: some things . Then we did some research to the most relevant functions . Channel selection and volume selection umboth got a ten on a scale of one to ten for relevancy . The power button got a nine . And teletext got a six and a half . So these are the most most uh importantfunctions on a remote control . Then there are some one-time use function . That's what I like to call them . That uh audio settings , video settings , and channelsettings buttons . Which are not really used very frequently , but are still considered to be of some importance . Um channel selection was also indicated to beused very frequently . One hundred and sixty eight times per hour . Then these are the {disfmarker} This is the market . Um sixty percent of the market consistsof users between the ages sixteen and forty f six . Um {disfmarker} Main characteristic of this group is that they're very critical on the remote control . Um theylike to use new f new functions . But they also are very critical . They won't spend their money very easily . So {disfmarker} Um the users of forty six to sixty fiveyears cons The make up forty percent of the market . They are not really very interested in features . But they do tend to spend their money a lot easier . What Ithink this indicates for our um design . I think we should make a remote for the future . And this means we would um have to focus on the age ages sixteen toforty five . Uh this also makes up most the biggest part of the market , so that will also be where our main profit would be gettable . Um this would mean wewould have to make a fancy design . Um {disfmarker} The results also indicated that um about one quarter of the people questioned thought that the remotecontrol caused R_S_ R_S_I_ . Um this is certainly something to take into account . And thirty four percent thought that it was hard to learn a n how to operate anew control , remote control . So these are two factors that I think should be included in the design . Besides of course that the remote must look very nice . Andthe functionality {disfmarker} As a lot of people indicated , they only use about ten percent of the buttons , I think we should make very few buttons . Uh this willalso be uh beneficial to the design of the remote . Uh I think the most frequently used buttons should be emphasised . Especially the channel selection and audiouh selection buttons . 'Cause they're used most and so they should be robust . They shouldn't break down easily . Um {disfmarker} Then as mo as a lot of peopleindicated that their um remote got lost in the room , it might be and I say might be because it would um certainly boost the uh production costs a lot . But itmight be a good idea to make a docking station . And this would , could get a button in it which would send a signal to the remote which would then beep . Soyou'd know where it is in the room . And in addition to this it could um recharge the batteries in the remote if you put it in . Then um a surprisingly great deal ofpeople w indicated that um an L_C_D_ screen in the remote control would be preferred . This was um mostly people in the age of sixteen to twenty five . But uptill forty five it remains feasible . This would also greatly increase the production costs but I think these are just some small factors we could consider .ProjectManager: Okay .Marketing: That would be all .Project Manager: Thank you . So anybody have um any questions until now ?Marketing: Any questions ?ProjectManager: About functional requirements ?User Interface: Mm-hmm .Project Manager: OkayIndustrial Designer: No .Project Manager: that's clear . {gap} Now tothe second .Marketing: 'Kay . {vocalsound}Project Manager: {vocalsound}User Interface: Uh okay . Um I've been looking at uh the user interface of it . Um f forthe techno f functions uh of of it . Um {disfmarker}Project Manager: Yeah . Yeah you can take your time .User Interface: Okay .Project Manager: We've got uhplenty of time ,User Interface: Mm ?Marketing: YeahProject Manager: so {disfmarker}Marketing: you should go to the top thingy . Slide show .User Interface: Oh.Project Manager: {gap}User Interface: Uh .Project Manager: Yeah . There it is . Yeah .User Interface: Okay .Marketing: Oh yeah .User Interface: Um yeah . Ithink uh we uh must use the general functions uh of the uh remote control . Uh uh I've do I've uh done a little uh research on the internet and {gap} not muchinformation about it , {gap} {disfmarker} Um about uh interface but uh {disfmarker} Uh {disfmarker} Yeah I I've been thinking about a simple manner uh to puta lot of functions uh uh in one um in one uh remote control . Uh so uh you've got a lot of devi uh devices like uh D_V_D_ uh uh television , uh stereo . So um{disfmarker} But uh it must be uh user-friendly . So um uh you c you can't put a a lot of uh functions uh in one uh {disfmarker} Yeah . Uh uh uh {disfmarker}Yeah . In one um remote control .Project Manager: One remote .User Interface: But um {disfmarker} Yeah .Project Manager: {gap}User Interface: Um yeah .Got uh many functions in one uh remote control , um but um yeah you can see , this is uh quite simple uh remote control .Project Manager: {vocalsound}UserInterface: Um few uh buttons but uh {disfmarker} This uh re uh remote control got a a lot of uh buttons . Um uh people uh don't like it , uh so um {disfmarker}Well what uh I was uh thinking about was um uh keep the general functions uh like they are . So uh like uh the on-off uh button . Uh keep it uh yeah l like a redbutton . Uh everybody everybody knows it so uh uh you don't have to change that . Um {disfmarker} My personal uh preferences um . Use a display for uhspecific uh functions of the different uh device . So um {disfmarker} Wh what I was th uh thinking about was um you've got um {disfmarker} Uh this the remotecontrol uh {vocalsound}Project Manager: {vocalsound} {gap}Industrial Designer: {vocalsound}User Interface: and uh you got here the general functions , uhlike uh the on-off button uh sound uh {vocalsound} I dunno um {disfmarker} And um here you've got a s kind of a display . It's a touchscreen . So um yeah yougot a general f uh f the functions of the device uh for a D_V_D_ player or uh so um the pl yeah um f for uh playing uh reverse uh {gap} . And um you got here uhreal buttons for uh selecting uh a device . So um this button is for a D_V_D_ or {vocalsound} {disfmarker} So um for every um device you've got a uh a f a b apart uh display of a part buttons . So uh you you never got uh all the buttons uh on w one device .Project Manager: Hmm . {vocalsound}User Interface: So uhthat's uh my uh idea about it .Project Manager: 'Kay .User Interface: Um yeah and {disfmarker} Uh let's see . Uh yeah . So a touchscreen . Uh and um th thebuttons uh the real buttons uh we have to use um . We better c um uh use uh quite uh large buttons uh for um yeah . Everybody uh have to use it so{disfmarker} Uh ol even even old people um young people . So uh we must keep uh buttons uh quite s uh simple and quite large . So uh {disfmarker} Um{disfmarker}Project Manager: Yeah .User Interface: Yeah . Uh yeah . That was uh my uh part of it .Project Manager: Okay .User Interface: So{disfmarker}Project Manager: Anybody has questions about the technical functions ?Industrial Designer: WellProject Manager: {gap}Industrial Designer: I thinkif we are gonna use a touchscreen uh we're gonna go way above the twelve and a half Euros .Project Manager: Yeah .User Interface: N I I don't think so . Uh yougot uh quite a cheap uh touchscreen . S um it's uh not uh in colour or something .Project Manager: Touchscreen .User Interface: Uh it's just uh um one colo Uhyeah . Uh I seen uh w uh something on the internet uh not today but uh a few uh weeks ago . Uh you got uh yeah quite an uh a kind of uh touchscreen um andit's uh {vocalsound} for uh twenty uh Euros or uh less uh .Project Manager: Huh .User Interface: So it's possible .Marketing: Hmm .Project Manager: 'Kay . That'snice . Uh {disfmarker}Marketing: Well it would certainly make a fancy design .User Interface: Yeah .Project Manager: Yeah .Industrial Designer: But the{disfmarker} It wouldn't be very robust .Marketing: So {disfmarker}Industrial Designer: It's very fragile and you can get scratches on it .Marketing: That is true"}
+{"doc_id":"doc_68","qid":"","text":"Marketing: Oh right okay . {vocalsound} I cover myself up . {vocalsound}Project Manager: I feel like Madonna with one of these on . I said I feel like Madonnawith one of these on . {vocalsound}Industrial Designer: {vocalsound}Marketing: {gap} .Project Manager: {vocalsound}Marketing: {vocalsound} I've alwayswanted one of these , I really have . {vocalsound} Where do you buy 'em from ? {vocalsound} They're {gap} .Project Manager: {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Right . Hello everybody .User Interface: Hello .Project Manager: Back again for another wonderfulmeeting .Industrial Designer: {gap} .Marketing: {vocalsound}Project Manager: Is uh everyone ready ?User Interface: Yeah .Industrial Designer: Almost .{vocalsound}Marketing: Yeah .Project Manager: Okay , we c we can hold on for a minute .Marketing: {vocalsound} Oh my gosh . {vocalsound} {gap}{vocalsound}Project Manager: I figured with the spam thing , if you can't beat it , join in . {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}User Interface: That's the kind of spam that everybody likes to receive .Marketing: {vocalsound} {vocalsound} {vocalsound}Industrial Designer:Mm 'kay .Project Manager: Are you ready ? Okay , right , well , I take it that you are all ready now .Marketing: {vocalsound}Project Manager: Um alright first offwe'll just uh recap from our last meeting . Um {vocalsound} which was we got together just to basically decide on {disfmarker} well to talk about what it is thatwe were actually uh supposed to be doing ,Marketing: {vocalsound}Project Manager: and who we all are and stuff like that , mm get bit more of an idea togetherof what's going on . {vocalsound} Um what we are gonna talk about in this meeting is um now that we know what it is that we are doing , now we know that it'sa T_V_ remote and stuff and you guys have just been off doing some some uh R_ and D_ for that , that's research and development for those that haven't heardthat before ,User Interface: {vocalsound}Marketing: Mm-hmm .Project Manager: see I'm learning all sorts of new technologi terms in technology today . Umyeah , we're gonna hear your uh th three little presentations ,Marketing: {vocalsound}Project Manager: whether they be on computer or on the whiteboard orwhatever you want .User Interface: Hmm . {vocalsound} Do you have any preference uh of order ?Project Manager: Um I'd like to um hearMarketing:{vocalsound}Project Manager: o I'd like to hear who's g who's on the um from from uh Catherine actually first . I want {disfmarker} what I'd like to hear about isuh if we've finally decided on um what sort of energy we're gonna be using andIndustrial Designer: {vocalsound}Marketing: Batteries .User Interface: I think sheis still finishing her {gap} . {vocalsound}Industrial Designer: No no no no , it's fine I'm just preparing .Project Manager: It's just that {disfmarker} yeah , let'slet's hear from you first .Industrial Designer: Okay .User Interface: Hmm .Industrial Designer: Where is that thing ?User Interface: Okay , it's uh {vocalsound}{disfmarker}Marketing: It's here .Industrial Designer: Oh sorry , couldn't see .Marketing: {vocalsound}Industrial Designer: Would that work ?Project Manager:Get yourself in position . {vocalsound}Industrial Designer: {vocalsound} Okay , so that's me again .Marketing: Ah .Industrial Designer: {vocalsound} Um so umfor the energy sources we can have a basic battery , a hand dynamo which is {disfmarker} which was used uh in the fifties for torches , if you remember thatkind of {disfmarker} which wouldn't be v wouldn't be v vProject Manager: I don't think any of us remember the fifties .User Interface: Is it like a crank thing orsomething {gap} .Industrial Designer: yeah , yeah . It wouldn't be very fancy .Marketing: {vocalsound}Industrial Designer: You can have a kinetic provision ofenergy , which is used on some watches these days . So if you have just a bit of gentle movement that {disfmarker} it will give it the energy to work .Marketing:Mm .Industrial Designer: Or you can use solar cells , but I'm not sure about that indoors , really , but {disfmarker}User Interface: Well , there's sometimescombinations , I mean , like calculators do combinations of battery with {disfmarker} but also using some solar power .Industrial Designer: Yeah .ProjectManager: Do {gap} sol solar panel things , do they have to work from the sun or can they work from a light bulb ?Marketing: Mm .Project Manager: Doesanybody know ?Industrial Designer: I dunno actually .User Interface: Uh I think , it has to be on the on the solar energy , but I don't know .Industrial Designer: Idunno . Um . Think the the uh what would cost the less would be the basic battery , really .Project Manager: Okay .Industrial Designer: And uh if we wantsomething fancier , I think the kinetic provision of energy could be nice ,Marketing: Mm .Industrial Designer: but I don't know if it's worth the cost . So we've gotto discuss that .Project Manager: Mm . Okay , jolly good .Industrial Designer: {vocalsound} For the case of the remotes itself , um they can be a general case ,which is just a flat one . You can have uh a curved one or a double curved one , if you know what I mean , so {disfmarker}Project Manager: What's a doublecurved one ?Industrial Designer: You know , kind of more ergonomic , that kind of suits the palm of your hand , that kind of thing .Project Manager: Okay.Industrial Designer: So {disfmarker} {vocalsound} Um then the case material itself , so it can be uh uh either plastic or latex , uh rubber , wood , or titanium .And th for each of them you have uh cases where {disfmarker} for example titanium , you can't use it for {disfmarker} if you if we're choosing a double curvedcase , we can't choose titanium . And if we are choosing um solar cells then we can't choose latex for the case material , so we just have to take that into account. But if we're choosing just the flat case then we can go for anything . And I think we discussed earlier on the R_ S_ I_ problem thing , so we could uh{disfmarker}Project Manager: So that might be an idea of using the rubber ,Industrial Designer: Yeah .Project Manager: but then it should , you know{disfmarker}User Interface: Let's have a squeezable remote . {vocalsound}Project Manager: yeah .Industrial Designer: Yeah . And also it doesn't break as easilymaybe ,Project Manager: {gap} when a T_V_ programme's got one {gap}Industrial Designer: I dunno {disfmarker}User Interface: {vocalsound}ProjectManager: watching the match and {gap} your team's just lost , you can fuzz it across the room and it'll bounce off the wall back at you .Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: Yeah .Project Manager: Yeah , I like that idea .Marketing: Mm .Industrial Designer: So rubber would be{disfmarker} Okay .Marketing: I think rubber's {disfmarker}Project Manager: Rubber , we're all we're all going {disfmarker} we're all liking that idea ? You thinkyou can market that ?Marketing: But after my after my fashion thing , I think you'll realise that rubber is more {disfmarker}Project Manager: Ooh , we like rubber, ooh . {vocalsound}Industrial Designer: Uh s so if dMarketing: People . {vocalsound}Industrial Designer: okay . And then there are the push-buttons , so youcan have basic push-buttons or a scroll-wheels , like you have on a mouse , um or you could have um L_C_D_ , which gives you a display . Um scroll buttons , aswell .Project Manager: Uh-huh .Industrial Designer: So if you use a rubber double curved case , you must use rubber push-buttons . So if we're going for rubberthen we have to decide for the case . Um and if we choose double curved then we have to go for rubber push-buttons .Project Manager: Well , we're gonna gowith {gap} I think we've decided that it's gonna be a rubber case so {disfmarker}Industrial Designer: So it's a constraint . Yeah , but is it a double curved one ornot ? {vocalsound} If it's not a double curved , then we've got the choice for the push-buttons , if it's a double curve , we've gotta go for rubber push-buttons . Ifthat makes sense .Project Manager: {gap} push buttons instead of the wheel ?Industrial Designer: Yeah . {gap} .User Interface: If it's rubber , isn't it malleableanyway , {gap} it doesn't matter if it's double {disfmarker} I mean isn't a rubber case , mean it's completely flexed , I mean , it it flexes to whatever they want itto ? Mean so what's the difference between a normal rubber case and a rubble doub double {disfmarker} rubber double curved case ? {vocalsound}ProjectManager: {gap} rubble double double . {vocalsound}Industrial Designer: No , but na le you see , you've got , okay , the energy that's one thing ,ProjectManager: I'll have a Big Mac , please . {vocalsound}Industrial Designer: then you have the case is uh , whether it's flat or curved . And that's {disfmarker}{vocalsound} we don't care if it's rub rubber or not , but then we've decided that we going for rubber for the case material . So if we've chosen rub rubber and ifnow we have the choice for the case whether it's flat , single curved or double curved . And I'm just saying if it {disfmarker} if we choose it to be double curvedthen we need to go {disfmarker} I dunno why , but we need to go for uh rubber push-buttons . So , either {disfmarker}User Interface: Okay .IndustrialDesigner: I dunno we just need to decide on the on the case .Project Manager: Let's have rubber push buttons , hey .User Interface: Okay . Go rubber . Gorubber the whole way .Industrial Designer: Let's go crazy . {vocalsound} And then , do I have a last slide ? Yes , I do . Um so the push-buttons themselves theycan be just simple or they can be {disfmarker} so that's just the electronics between the but behind the push-buttons .Project Manager: Yeah .IndustrialDesigner: Um and the price that go with it with it , so the simple push-buttons are gonna be the cheapest . Uh if we get a scroll-wheel , that's a higher price range. If we get an advanced chip which is um used for the L_C_D_ , the display thing , then that's even more expensive .Project Manager: {vocalsound} Simple , yeah. Chip on print . It's a bit {gap} . {vocalsound} Okay , uh what I'm not understanding hereIndustrial Designer: Mm .Project Manager: {vocalsound} is uh , okay ,advanced chip on print , which I presume is like one P_C_B_ and that's got all the electronics on one board including the um infra-red sender ?IndustrialDesigner: {gap} . Yeah .Marketing: {vocalsound}Industrial Designer: The infra-red . Yeah .Project Manager: Right . Um what a what alternatives do we have tothat ? {vocalsound} Y um {vocalsound} what alternatives do we have to the chip on print ?Industrial Designer: Well , if if it's not chip on print then , I guess , youget different chip components , and you build them separately and doesn't include the infra-red . It's less expensive mm {disfmarker}Project Manager:{vocalsound} so it sounds {disfmarker}Industrial Designer: Technically speaking , it's not as advanced , but it does the job , too . {vocalsound}Project Manager:So , why would we not go for that ? If it's something that's inside the the unit . {vocalsound} I it doesn't affects whether the customer's gonna buy it or not.Industrial Designer: Fo It doesn't , yeah , yeah , yeah . Totally . Yeah .Project Manager: Um we wanna go for an i i all {vocalsound}Industrial Designer: So let's"}
+{"doc_id":"doc_69","qid":"","text":"Professor C: Starts {disfmarker} No . No .PhD D: No . That 's a different thing .Professor C: There 's another {disfmarker} I don't know . It starts with a P orsomething . I forget the word for it , but it 's {disfmarker} it 's umPhD D: Oh .Professor C: Typically when you {disfmarker} you 're ab r starting around forty formost people , it starts to harden and then it 's just harder for the lens to shift thingsPhD D: Oh .Professor C: and th the {disfmarker} the symptom is typicallythat you {disfmarker} {vocalsound} you have to hold stuff uh uh further away to {disfmarker} to see it .PhD E: Uh - huh . Yeah .Professor C: In fact , uh m mybrother 's a {pause} gerontological psychologist and he {disfmarker} he uh {vocalsound} came up with an {disfmarker} an uh {disfmarker} a uh body age testwhich uh gets down to sort of only three measurements that are good enough st statistical predictors of all the rest of it . And one of them is {disfmarker} is thedistance {vocalsound} that you have to hold it at .PhD D: Give someone a piece of paper and then they {disfmarker} Oh .PhD E: Yeah .Professor C: Yeah .GradA: We 're {disfmarker} we 're live by the way , so we 've got a good intro hereProfessor C: Oh . Yeah . About how old I am .Grad A: Yep .Professor C: OK .GradA: We can edit that out if you want .PhD D: Oh , that 's optional .Professor C: No , that 's OK .Grad A: OK . So . This time the form discussion should be veryshort ,PhD D: You know .PhD E: Mm - hmm .Grad A: right ?Professor C: It also should be {pause} later .Grad A: OK .Professor C: Because Jane uh is not here yet.Grad A: Good point .Professor C: And uh she 'll be most interested in that . Uh , she 's probably least involved in the signal - processing stuff so maybe we canjust {disfmarker} just uh , I don't think we should go though an elaborate thing , but um uh Jose and I were just talking about {vocalsound} the uh{nonvocalsound} uh , speech e energy thing ,PhD E: The @ @ {disfmarker}Professor C: and I uh {disfmarker}PhD E: Yeah .Professor C: We didn't talk about thederivatives . But I think , you know , the {disfmarker} the {disfmarker} i if I can {disfmarker} if you don't mind my {disfmarker} my speaking for you for a bit ,um {vocalsound} Uh . Right now , that he 's not really showing any kind of uh distinction , but uh {disfmarker} but we discussed a couple of the possible thingsthat uh he can look at . Um . And uh one is that uh this is all in log energy and log energy is basically compressing the distances {vocalsound} uh {pause}between things . Um {pause} Another is that he needs to play with the {disfmarker} the different uh {pause} uh temporal sizes . He was {disfmarker} he{disfmarker} he was taking everything over two hundred milliseconds uh , and uh he 's going to vary that number and also look at moving windows , as wediscussed before . Um And uh {disfmarker} and the other thing is that the {disfmarker} yeah doing the {disfmarker} {vocalsound} subtracting off the mean andthe variance in the {disfmarker} {pause} uh and dividing it by the {pause} standard deviation in the log domain , {vocalsound} may not be {pause} the rightthing to do .Grad A: Hi Jane !PhD E: Hi .Grad A: We just started .PhD E: Yeah .Grad A: Could you take that mike there ?PhD D: Are these the long term means ?Like , over the whole {disfmarker} I mean , the means of {pause} what ?Grad A: Thanks .Professor C: Uh B Between {disfmarker} between {disfmarker}PhD D:All the frames in the conversation ?Professor C: No .PhD D: Or of things that {disfmarker}Professor C: Between {disfmarker} Neither . It 's uh between thepauses {pause} uh for some segment .PhD E: No .PhD D: Oh .Professor C: And so i i his {disfmarker} his {disfmarker} He 's making the constraint it has to be atleast two hundred milliseconds .PhD D: Oh .Professor C: And so you take that . And then he 's {disfmarker} he 's uh measuring at the frame level {disfmarker}still at the frame level , of what {disfmarker}PhD D: Right .Professor C: and then {disfmarker} and then just uh normalizing with that larger amount . um and{disfmarker} But one thing he was pointing out is when he {disfmarker} he looked at a bunch of examples in log domain , it is actually pretty hard to see{vocalsound} the change . And you can sort of {pause} see that , because of j of just putting it on the board that {vocalsound} if you sort of have log - X plus log- X , that 's the log of X plus the log of twoPhD E: Yep .PhD D: Yeah , maybe it 's not log distributed .PhD E: Mmm . Yeah .Professor C: and it 's just , {pause} youknow , it {disfmarker} it diminishes the {pause} effect of having two of them .PhD E: Professor C: Um .PhD D: But you could do like a C D F there instead ? Imean , we don't know that the distribution here is normally .Professor C: Yes , right . So {disfmarker} So what I was suggesting to him is that {disfmarker}PhDD: So just some kind of a simple {disfmarker}Professor C: Actually , a PDF . But , you know , uh But , either way .PhD D: PDFProfessor C: Yeah . Yeah , eith eithuh {vocalsound} BPhD D: Yeah .PhD E: Yeah .PhD D: Something like that where it 's sort of data driven .Professor C: Yeah , but I think {pause} also u I think agood first indicator is when the {disfmarker} the {disfmarker} the researcher looks at {vocalsound} examples of the data and can not see a change {pause} inhow big the {disfmarker} the signal is , {vocalsound} when the two speaker {disfmarker}PhD E: Yeah . Yeah .Professor C: Then , that 's a problem right there .So . I think you should at least be able ,PhD D: Oh yeah .Professor C: doing casual looking and can get the sense , \" Hey , there 's something there . \" and thenyou can play around with the measures . And when he 's looking in the log domain he 's not really seeing it .PhD D: Oh yeah .PhD E: Yeah .Professor C: So . Andwhen he 's looking in straight energy he is , so that 's a good place to start .PhD E: Yeah .Professor C: Um . So that was {disfmarker} that was the discussion wejust had . Um . {vocalsound} The other thing Actually we ca had a question for Adam in this . Uh , when you did the {vocalsound} sampling ? uh {pause} overthe {pause} speech segments or s or sampling over the {disfmarker} the individual channels in order to do the e uh the {pause} amplitude equalization ,{vocalsound} did you do it over just the entire {disfmarker} everything in the mike channels ?PhD E: How {disfmarker}Professor C: You didn't try to find speech?Grad A: No , I just took over the entire s uh entire channel um {pause} sampled ten minutes randomly .Professor C: Right , OK . So then that means thatsomeone who didn't speak {pause} very much {vocalsound} would be largely represented by silence .Grad A: Yep .Professor C: And someone who would{disfmarker} who would be {disfmarker} So the normalization factor probably is {pause} i i i {pause} is {disfmarker} is {disfmarker}Grad A: Yeah , this wasquite quick and dirty , and it was just for {pause} listening .PhD E: Yeah .Professor C: Yeah .Grad A: And for listening it seems to work really well .Professor C:OK .PhD E: Yeah .Professor C: Yeah .PhD E: Yeah .Grad A: So .Professor C: Yeah . But that 's {disfmarker}Grad A: But , it 's not {disfmarker} Not a goodmeasure .Professor C: Right . So thPhD E: Yeah .Professor C: OK . So yeah there {disfmarker} there {disfmarker} there {disfmarker} There 's a good chancethen given that different people do talk different amounts {pause} that there is {disfmarker} there {disfmarker} there is still a lot more to be gained from gainnorm normalization with some sortPhD E: Yeah . Yeah . Mmm .Grad A: Yes , absolutely .Professor C: if {disfmarker} if we can figure out a way to do it .PhD E:Yeah .Professor C: Uh . But we were agreed that in addition to that {comment} uh there should be {pause} s stuff related to pitch and harmonics and so forth.PhD E: Yeah .Professor C: So we didn't talk at all about uh the other derivatives , but uh again just {disfmarker} just looking at {disfmarker} Uh , I think uh Lizhas a very good point , that in fact it would be much more graphic just to show {disfmarker} Well , actually , you do have some distributions here , uh for thesecases .PhD E: Yeah . Yeah .Professor C: You have some histograms , um {pause} and {pause} uh , they don't look very separate .PhD E: Yeah .Professor C: uh{vocalsound} {pause} separated .PhD E: This is the {disfmarker} the first derivate of log of frame energy uh without any kind of normalization .PhD D: What{disfmarker}Professor C: Yeah . Yeah . Yeah .PhD D: Log energy . Sorry .PhD E: These the These are the {disfmarker} the first experiments uh with commentuhPhD D: Frame energy .Grad A: Except that {pause} it 's hard to judge this because the {disfmarker} they 're not normalized . It 's just number of frames .PhDD: Yeah .Professor C: Yeah .PhD D: Yeah .PhD E: Yeah .Grad A: But yeah , even so .PhD D: W {vocalsound} I mean , what I meant is , even if you use linear ,{pause} you know , raw {pause} measures , like {pause} raw energy or whatever ,Professor C: \" Number \" {disfmarker}PhD D: maybe we shouldn't make anyassumptions about the distribution 's shape , and just use {disfmarker} you know , use the distribution to model the {disfmarker} {vocalsound} {pause} themean , or what y you know , rather than the mean take some {disfmarker}Professor C: Yeah . But {disfmarker} And so in {disfmarker} in these he 's got that.PhD D: Yeah .Professor C: He 's got some pictures . But he doesn't {disfmarker} he doesn't in the {disfmarker} he iPhD E: Yeah .Professor C: just in derivatives, but not in the {disfmarker}PhD D: Yeah . Oh .Professor C: but he d but he doesn't {disfmarker} doesn't {disfmarker}PhD D: Right . So , we don't {pause}know what they look like {pause} on the , {pause} tsk {disfmarker} {comment} For the raw .Professor C: But he didn't h have it for the energy . He had it forthe derivatives . Yeah .PhD D: Yeah . So . I mean , there might be something there . I don't know .Professor C: Yeah .PhD D: Huh .Grad A: InterestingPhD E:Here I {disfmarker} IProfessor C: Oh that {disfmarker} yeah that 's a good qPhD E: in {disfmarker} No I {disfmarker} I {disfmarker} I haven't theresultProfessor C: did {disfmarker} did you have this sort of thing , for just the {disfmarker} just the l r uh the {disfmarker} the unnormalized log energy ? OK .Yeah . So she {disfmarker} she 's right .PhD E: but it 's the {disfmarker} it 's the {disfmarker} the {disfmarker} the following .Professor C: That 's a{disfmarker}PhD D: Well it might be just good to know what it looks like .Professor C: Yeah . That 's {disfmarker} That 's uh {pause} cuz I 'd mentioned scatterplots before but she 's right ,PhD D: Cuz {disfmarker}PhD E: Huh ?Professor C: I mean , even before you get the scatter plots , just looking at a single feature{vocalsound} uh , looking at the distribution , is a good thing to do .PhD E: Yeah . Catal - uh {disfmarker} Combining the different possibilities of uh theparameters . I {disfmarker} I {disfmarker} I {disfmarker} I mean the {disfmarker} the {disfmarker} the scatter plot {pause} combining eh different {pause} ntwo combination .Professor C: Yeah , but {disfmarker} but what she 's saying {pause} is , which is right , is {pause} lePhD E: combination of two , {pause} ofenergy and derivate {disfmarker}Professor C: I mean , let 's start with the {disfmarker} Before we get complicated , let 's start with the most basic wh thing ,"}
+{"doc_id":"doc_70","qid":"","text":"Marketing: It's Play-Doh .Project Manager: Play-Doh's edible . Did you know that ? It's definitely {disfmarker}Marketing: Because kids {disfmarker} yeah.Industrial Designer: I used to eat it .User Interface: I've , I've definitely eaten it before . I didn't know was edible . {vocalsound} {gap} .Project Manager: Yeah .It's it's chew proof . {vocalsound}Marketing: But um , it's it's made edible 'cause , yeah . It's made edible 'cause kids eat it ,Project Manager: Yeah .Marketing:and if it's wasn't edible then {disfmarker} Well , normal babies . {vocalsound}User Interface: Actually that makes sense , because I remember like , peopl Idunno if my Mom ever did it but I remember other people's Moms making like home-made Play-Doh where you just like make the {gap} colouring and makesome sort of sort of dough .Project Manager: Yeah .Marketing: Oh yeah it is , yeah . Oh yeah .Project Manager: {vocalsound} Right .User Interface: Mm-hmm.Project Manager: Everybody everybody ready ?Industrial Designer: Yep .User Interface: Yeah .Project Manager: Okay , let's have your um {disfmarker} let's get{gap} have the uh presentation ?Industrial Designer: {vocalsound}User Interface: We've got some {gap} .Industrial Designer: We've got a cool prototype .UserInterface: Yeah , it's pretty exciting . So , everything uh that we wanted we wanted it to be ergonomic and to be made out of rubber , very simple and easy to use,Industrial Designer: Double curved .Project Manager: Nice .User Interface: yeah , double curved ,Marketing: {vocalsound}User Interface: um but also somethingthat was gonna jump out at people , something that would be different uh , separate it from the other remotes out on the market . So uh I think if you put this inthe palm of your hand , you'll see what a nice thing we have going here .Project Manager: {vocalsound}Marketing: That is cool .User Interface: So , basically , ifyou hold it like that , the one on your thumb , yeah , {vocalsound} the thumb button is the power button .Project Manager: Mm-hmm . Mm-hmm .User Interface:Your index finger is channel up , middle finger is channel down , ring finger is volume up , your pinkie is volume down .Marketing: What's the big blue thing ?UserInterface: That's the lock button , has a L_ L_ on itMarketing: Oh cool .User Interface: and then the M_ is a mute button . And then it also has digitProjectManager: {gap} what button ? Um . Oh mute .User Interface: For muting the uh {disfmarker}Marketing: And mute .User Interface: Um and then then you canalso {disfmarker} there's a numeric keypad on the top so you can key directly to the to the channel if you want .Marketing: {vocalsound}Project Manager: Okay.User Interface: So it's really basic functionalities as far as what keys are available , but we think it's very comfortable and very innovative and it looks different.Project Manager: That certainly does .Marketing: {vocalsound}User Interface: So all the , I mean the important keys are right at your f f you know right at uh ata convenient place for you to to access them .Project Manager: Mm .Industrial Designer: Which is ant anti-R_S_I_ .User Interface: So you don't you {disfmarker}Yeah . It should be .Project Manager: Mm .User Interface: And it's also conformable to the size of your hand . I mean if that's too big , it's a rubber remote , soyou can , you knowProject Manager: Yeah . 'S great .User Interface: change that . So d does that uh what {disfmarker} mesh with what you guys were hopingand for and expecting or does it {disfmarker}Marketing: Oh it's so cute .Industrial Designer: {vocalsound}Project Manager: I have one thing about it , but it's asmall thing , but it'd mean we'd have to make a right-handed one and a left-handed one .Industrial Designer: Oh right , yeah .User Interface: Ah , that's goodthinking , yeah .Project Manager: But , that's I don't see why that's not possible .User Interface: Yeah , if we build rocket ships why can't we build left-handedand right-handed uh remotes .Project Manager: Yeah . {gap} They make left-handed scissors , you know . {vocalsound}User Interface: {vocalsound} Yeah , Ididn't I didn't think about that , but I'd {disfmarker} yeah , {gap} .Marketing: Yeah , but then but then you can learn to use your right h like I was just thinking ifthere's left-handers and right-handers in the family , what , they have two remotes ?Project Manager: Yes sIndustrial Designer: Yeah , I know I know people whohave left-handed and right-handed people in the family and they all use the computer {vocalsound} for the whole {disfmarker} the same computer the fes familyand they have a mouse , and everybody is using right-handed mouse .Project Manager: Mm . Sure . Sure .Marketing: Yeah , I'm sure they'll be able to{disfmarker}User Interface: Uh-huh .Marketing: I mean it's only pressing buttons , you don't have to do anything , you know , extraordinary . I think everybodycan press a button with their left and right hand so {disfmarker}User Interface: Yeah .Industrial Designer: Imagine d are you right handed ?Project Manager:Yeah .Industrial Designer: Imagine you're doing it with your left hand , I don't think it's too {disfmarker}Marketing: Yeah , it's not {disfmarker}IndustrialDesigner: But we can have both uh {disfmarker}Marketing: Yeah . Have them in stock .Project Manager: Yeah .Industrial Designer: Yeah .Marketing: Make 'emmore appealing as well .Project Manager: But um other than that , I mean uh and that's um , you know , that's just something , I think I think it's great , yeah ,great idea .User Interface: Do you think it says {vocalsound} R_R_ ?Industrial Designer: {gap} I think it does . {vocalsound}User Interface: {vocalsound}ProjectManager: I think it's , well , if the R_R_ motto is , we bring fashion to to electronics , I'd say that could be quite fashionable .User Interface: Fashion to electronics. Yeah .Industrial Designer: Yeah .User Interface: Yeah . And it's got the b the black and yellow and blue .Project Manager: {vocalsound} Yeah .User Interface:Plus red , which is sort of a a fruit and vegetable uh uh .Project Manager: {vocalsound} Yeah .Marketing: {gap} . {vocalsound} {vocalsound}Industrial Designer:{vocalsound} There you go .User Interface: So that's that's {vocalsound} our end of things wha uh {disfmarker}Project Manager: Yeah , very good , yeah .UserInterface: That's {disfmarker}Project Manager: It's come up with what we've you know , the things that's what we've {disfmarker} what we were looking atdoing , hasn't it , {gap} all seems to be there .User Interface: Yeah .Project Manager: Well done .Marketing: And all the playing around is uh {disfmarker}ProjectManager: Um before we move on {disfmarker}Marketing: Yeah , I'm just {disfmarker} do you wanna plug in ?Project Manager: I need that cable .Marketing:Okay .Project Manager: Thank you . Yeah . Um . One thing I do need to do {disfmarker} we need to look at , is the costs .User Interface: The costs , was thatwhat you said ?Industrial Designer: Play-Doh is very cheap . {vocalsound}Project Manager: Well , yeah . {vocalsound}User Interface: {vocalsound}Marketing:Mm .Project Manager: {gap} um {disfmarker}Marketing: Play-Doh won't last very long everybody'll go like , oops , it's gone . {vocalsound} {vocalsound}UserInterface: But it's edible .Marketing: Mm-hmm . Mm-hmm .Industrial Designer: Chew proof .User Interface: {vocalsound}Marketing: Well , they'll buy more ofthem if you eat them , {gap} .User Interface: That was the main criteria from the last meeting , it had to be chew proof .Industrial Designer: {vocalsound}ProjectManager: Yeah . Uh right . {vocalsound} Okay , now I think we'll do this {disfmarker} I could do {disfmarker} you know , I can do this o on my own or I could doit with you ,Marketing: Yeah .Industrial Designer: Oh ho-ho .Project Manager: but it's just easy enough to go through it with you , so we're going for the kineticpower .Industrial Designer: Yep .Project Manager: {vocalsound} And the electronics , we decided on it being just a simple , the easiest thing that's inside it . Ooh.Industrial Designer: {vocalsound}Project Manager: So {disfmarker} the case , we've gone for the double curved . Um and it's made out of rubber .{vocalsound} The interface is push-buttons . And button supplements well they're in diff special colours , aren't they ?Marketing: Yeah .Project Manager: So{gap} special colours .User Interface: Yeah .Marketing: It's better for {disfmarker}Project Manager: Special form , yeah , they're a special form there in shapesand stuff .User Interface: Yeah , I mean , {vocalsound} these these ones on the side are curved kind of , so {disfmarker}Marketing: And special material .ProjectManager: Yep . Yeah . Um . Are they made out of any special material ?Industrial Designer: Rubber .Project Manager: No they're not . They're not made out ofwood or titanium or rubber or anything , they're just simple {disfmarker}User Interface: The buttons are rubber .Marketing: Well they're rubber , aren't they?Project Manager: Okay . Right .Industrial Designer: Yeah .Project Manager: So let's see if that comes within budget . And it does . That is gonna cost uh{disfmarker}Industrial Designer: {gap} .Marketing: We're under budget .Project Manager: Yeah . That's gonna cost ten ten Euro seventy cents a unit to make .And our target was it had to come in at under twelve fifty .User Interface: That's cool . Yeah . Yeah .Project Manager: So ,User Interface: And we're actua actuallymaking a better profit than we expected .Project Manager: this is all very very good . The bosses will be very pleased .User Interface: {vocalsound}ProjectManager: Okay , let's just save this so I can e-mail it to you . Uh .Marketing: {vocalsound}Project Manager: {vocalsound} Save it in {gap} save it in the uh{vocalsound} my documents .Marketing: It's already saved , I think .Project Manager: Splendid . Okay . So uh , that's {gap} done with this with this um doodah ,so you're {gap} . Gonna do {disfmarker} what you were gonna do ,Marketing: Thank you . Mm .Project Manager: your evaluation .Marketing: Oh , yeah . This iswhere we all get to {vocalsound} I get to write on the , oops , on the board . Right .Project Manager: {vocalsound}Marketing: Oh . 'S function{disfmarker}Project Manager: F_ eight .Marketing: Okay .Project Manager: {gap} I love the smell of that Play-Doh .User Interface: {vocalsound} Yeah ,ProjectManager: {vocalsound} I cou {gap} . {vocalsound}Marketing: Mm .User Interface: have some have some .Marketing: Okay . So , {vocalsound} evaluation .We're gonna do it all together so we evaluate each criteria . I've got the criterias . And we have to do it on a scale of one to seven , one being true , so it's it'smore like it's {disfmarker} fits the criteria , and seven being as in it doesn't fit the criteria . And the criterias are , and I'll draw this up on the board {disfmarker}{vocalsound} so we have a box {disfmarker} {gap} . And this is false , this is just like to keep you informed . So seven's here and one's here and then you've gotin the middle . {vocalsound} So the first criteria . Do you all get what we're doing ?Industrial Designer: Mm-hmm .User Interface: Mm-hmm .Marketing: Okay ,cool . Okay , first criteria , look and feel . So the does remote look and feel fashionable to what we talked about ? As it {disfmarker} is it colour-wise and is itspongy ?User Interface: Mm .Marketing: So what mark should we give for that ?Project Manager: I would give it a seven .User Interface: Yeah .Marketing: As in"}
+{"doc_id":"doc_71","qid":"","text":"Industrial Designer: {gap} .User Interface: Hello {vocalsound} . 'Kay .Project Manager: You all saw the newsflash ?Industrial Designer: It's {disfmarker}ProjectManager: Or you got the same message ?Marketing: Yeah I I just saw it one minute ago .Project Manager: {vocalsound} Yeah sorry .Industrial Designer: I don'tknow .Marketing: When I uh {disfmarker}Industrial Designer: I didn't see it yet I think .User Interface: Newsflash ? D did I miss something ?Marketing:{vocalsound} Yeah .Project Manager: Yeah . Yeah I received an email so I thought I I can't mail you so I thought I'd just drop it in the folder , but{disfmarker}Marketing: Yeah pretty much .Industrial Designer: Hey what's wrong with my computer ?User Interface: Okay .Project Manager: Is it unlocked ?UserInterface: No .Industrial Designer: {gap} .Marketing: Mm . Yeah that's my presentation . {vocalsound}Project Manager: Woah . I uh kind of opened it {gap}.User Interface: Mm .Industrial Designer: Huh ?Marketing: Mm ?Project Manager: Uh {disfmarker}Industrial Designer: What the {disfmarker}Marketing: Oh right.User Interface: I think you have to uh change your desktop uhProject Manager: Okay .Marketing: {vocalsound}User Interface: size .Marketing: Ooh .{vocalsound}Project Manager: 'Kay . Everybody ready ?Industrial Designer: Not really .Marketing: Well {disfmarker}Industrial Designer: Sorry .Project Manager:No no no . Yes yes yes .User Interface: {gap} computer is uh not functioning ?Marketing: Alright .Project Manager: {vocalsound} Okay .Industrial Designer:Okay . Where do I find this ? I'm not so g display huh ?User Interface: Uh display .Marketing: {vocalsound}User Interface: And then uh settings ?IndustrialDesigner: Appearance ?Marketing: Huh .User Interface: Mm I'm not sure I {gap} .Marketing: {vocalsound} You read the newsflash ? {vocalsound}ProjectManager: 'Kay . Can we get startedUser Interface: No .Industrial Designer: No what was it about ?Marketing: Hmm .Project Manager: or is there some pressingissue ?Industrial Designer: Yeah my computer is not functioning properly .Project Manager: Oh no pressing .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound} Did you plug in the power cable when you come back ?Industrial Designer: Yeah yeah . No but my screen is reducedin size . {vocalsound}Project Manager: {vocalsound} Yeah . That's difficult . Yeah .User Interface: {vocalsound}Marketing: What ? {vocalsound}IndustrialDesigner: Yeah .Project Manager: {vocalsound}Industrial Designer: Feedback .Marketing: Hmm .User Interface: Okay .Project Manager: {vocalsound}IndustrialDesigner: Okay .Marketing: {gap} alt delete . {vocalsound}Project Manager: {vocalsound} Yeah .User Interface: {vocalsound} Format . {vocalsound}ProjectManager: Format save .Marketing: {gap} . So it doesn't draw the attention away .Project Manager: Yeah .Industrial Designer: This is dreadful .User Interface: Imade uh uh my own map .Project Manager: Oh yeah sure .Industrial Designer: No not this , but the task .User Interface: It's a {disfmarker}Project Manager: Youhave Playstation also ?User Interface: Yeah .Industrial Designer: {vocalsound} Yeah . {vocalsound} No that's okay . No I just flapped it , closed it , took it hereand then this happened . Ah . Uh {disfmarker} where was it ? In settings ? Okay . Alright . Thank you .Project Manager: Huh .Industrial Designer: Do you guyslike your tasks ?User Interface: Yeah .Marketing: Yeah . {vocalsound}Industrial Designer: I spent a lot of time thinking about what I was gonna do and then acouple of minutes before this I get my function you know the information that I need .User Interface: Yeah wa wa you actually {disfmarker} Yeah . But it it's notclear what you have to to to type uh type in your presentation .Industrial Designer: So frustrating .Marketing: Yeah .Industrial Designer: So{disfmarker}Marketing: Yeah . I I had a whole idea and then just was typing it and then oh . I have to do that so switch .Industrial Designer: Yeah {disfmarker}Yeah exactly . This presentation is mainly based on my own ideas 'cause I hadn't time to intergrate tha the information yet so {disfmarker}User Interface: Yeah.Marketing: Mm .Industrial Designer: Really annoying .Project Manager: Okay . So there we are again .Marketing: By your humble P_M_ .Project Manager: Yeah.Marketing: {vocalsound}Project Manager: Okay this is the agenda . Um we have three presentations , I heard .Marketing: {vocalsound}User Interface: Really .{vocalsound}Project Manager: Yeah really . {vocalsound} So who wants to start ?Marketing: Yeah that's fine {gap} .Industrial Designer: Yeah .Marketing: Wehave to start it right away ? {vocalsound}Project Manager: Yeah . Uh this is you ?Marketing: Functional ? Yeah functional requirements .Project Manager: 'Kay.Marketing: Alright . I'm gonna talk about functional requirements . Um {disfmarker} Well uh some research has be done uh has been done . Uh observing of onehundred uh subjects in the usability lab using a remote control . Uh and they also filled in a questionnaire . The findings were um , well you can see them foryourself . They disliked the look-and-feel of current remotes controls . {vocalsound} Users think they're ugly . Um {vocalsound} they do not match the theoperating behaviour of the users . So they they d they don't match what they want to have on it . Um {vocalsound} they are often lost somewhere in the room .Um it takes too much time to learn how to use a new remote control . And they're bad for R_S_I_ . {vocalsound} I don't know uh how a user can reach that butokay . Um {vocalsound}Industrial Designer: TsMarketing: there is also uh was also some research on uh the most relevant and and and irrelevant uh f functions .Uh most irrelevant and less used were audio settings , mono , stereo , uh pitch , bass . Um screen settings for brightness and colour and stuff like that . Um butthey are used . I mean the {disfmarker}Industrial Designer: So they do need to be in the {disfmarker}Project Manager: Yeah .Marketing: Yeah they do need tobe on the on the remote control .Industrial Designer: Alright .Marketing: I mean if you can't control the the sound settings {disfmarker} I mean if you dislike avery uh loud bass or something , you you need to change that .Project Manager: {vocalsound} {gap} often .Marketing: So um yeah we have to .IndustrialDesigner: By the way my T_V_ doesn't have an equ equaliser butMarketing: We c we c Yeah I mean w we can't {disfmarker}Project Manager: {vocalsound} Nextgeneration does . {vocalsound}Industrial Designer: {disfmarker} okay .Marketing: my my T_V_ has ,Industrial Designer: No . {vocalsound} Alright .Marketing:but we we can leave them uh away . Uh most relevant , uh most used functions , uh they speak for themselves I guess . Uh power button , uh channel , volumeselection . Uh teletext but we can skip that because I saw the newsflash , and teletext is so outdated that it it's i should not be used uh any more in the future.Project Manager: N not used anymore .Marketing: So forget this one .User Interface: Okay .Marketing: Uh channel settings , so for programming uh yourchannels in in the right order .Project Manager: Yeah .Industrial Designer: By the way where did you guys get that newsflash from ?User Interface: Yeah .{vocalsound} I was wondering uh {disfmarker}Industrial Designer: I didn't get anything .Marketing: Yeah , {vocalsound} on on the project uh{disfmarker}Project Manager: Yeah . Not by mail . I receiv the mail but you don't . So {disfmarker}User Interface: But you you've got more information than{disfmarker} uh .Marketing: No so it's a text file n in the project folder . So teletext can be skipped .Project Manager: That's in the presentation , so{disfmarker}Industrial Designer: Alright .Marketing: Um there was some research on new features in a remote control . Uh about an L_C_D_ screen uh andspeech recognition . Well we got an update for the for the audience . Or the the the targeted group . So it's above forty I guess .Project Manager: Uh below Ibelieve .Marketing: The new product ? Or below {vocalsound}Project Manager: Yeah below forty .Marketing: because that's pretty relevant .Project Manager:Mm-hmm .Marketing: I thought I read a {disfmarker}Project Manager: Our current customers are in the age group forty plus .Marketing: Yeah ?Project Manager:And the new product should reach new markets , which is the customers below forty .Marketing: Below ? Okay well {vocalsound}User Interface: But where didyou get uh that information ?Project Manager: That's in a newsflash .Marketing: that's that's in the newsflaProject Manager: {vocalsound}User Interface: Okay .{vocalsound}Marketing: okay that's a good to know . Um because you see see a clear distinction between the age groups , concerning the features .UserInterface: Yeah .Marketing: I mean uh above forty people are not so interested uh not so interested in a screen or speech recognition . Uh but below that agethey uh they pretty much are . So I think we can build that in . Um {disfmarker} Yeah well we can skip this part as well , because I thought I read above forty sowe could skip the features , but we just have to build them in because uh they find it very interesting . Um well we have to keep all the classic functions but makethe buttons as user-friendly as possible . Um and and also there's {disfmarker} so not only the design of the bus uh buttons but o how you can push them , andstuff like that . So the physical uh aspect of it . Um {disfmarker} And I think {disfmarker} and certainly for for the for the lower age groups , uh nice design ,which uh does not make the remote control {gap} in your room .User Interface: Yeah .Marketing: It's it's actually a part of your interior , of of your design in yourroom . So it's {vocalsound} the people can say , well what's that , well that's my remote control , so it's d it has to look nice and feel nice , and and have all thefunctions that uh {disfmarker}Project Manager: Yeah . But it also needs to have corporate identity .Marketing: Yeah so the the logo has to beProject Manager:Present and the colours .Marketing: uh present yeah , and the colours as well .Project Manager: {vocalsound} So we can't change much of that .IndustrialDesigner: Do we have {disfmarker} uh yeah {gap} .Marketing: Yeah so but I I don't think that's that's a problem because the thing has to have a colour anyway, and most of the times there is a brand present on it .Project Manager: Mm-hmm . Mm-hmm . Yeah . Yeah .Marketing: So I think that's not gonna gonna affect itvery uh very much .Project Manager: Okay .Marketing: Well that are the the consequences uh on a marketing uh part .Project Manager: {vocalsound} 'Kay.Industrial Designer: Alright .Marketing: Yes .User Interface: Okay .Project Manager: It's open already so you can use {gap} toMarketing: {gap} .ProjectManager: find yours .User Interface: Mm . It's {disfmarker}Project Manager: F_ five .User Interface: F_ five . Okay .Project Manager: {vocalsound} Go Jurgen.User Interface: Oh . What is this ?Marketing: {vocalsound}User Interface: Oh no . {vocalsound}Industrial Designer: {vocalsound}User Interface: How do I uh{disfmarker}Project Manager: {vocalsound} You pressed alt F_ four ? {vocalsound}User Interface: No no no . I pressed the mouse button .Project Manager: Oh"}
+{"doc_id":"doc_72","qid":"","text":"Project Manager: Okay . Uh door is closed . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Well , let's begin . Because if we have as much timeas the last uh meeting , we'll have to hurry up .Marketing: I'm listening .Industrial Designer: {vocalsound}Marketing: Right .Project Manager: Um well I'll startwith the presentation again , the agenda .Industrial Designer: {vocalsound}Marketing: Great .Project Manager: Yo . So . {vocalsound} {vocalsound} Uh{disfmarker} {vocalsound} This one I think .Marketing: {vocalsound}Project Manager: {vocalsound} Uh yeah . Well alright . Um well , I'll show you the notes .It's not as uh interesting as it should be because we just uh had the meeting ,Marketing: {vocalsound}Project Manager: but I'll show them . We'll get yourpresentations again on the conceptual design . Um {disfmarker} Then we'll have to dec decide about the control , the remote control concepts . I've put a f uh afile in the project management folder , which says exactly uh what kind of decisions we should take .Industrial Designer: Mm-hmm .Project Manager: So{vocalsound} this time we exactly know what to decide about .Marketing: {vocalsound} Alright , great .Project Manager: And then we'll close again .IndustrialDesigner: Alright .Project Manager: Uh {disfmarker} Well these are some examples , but we'll talk about them later . We'll {vocalsound} first look at your uhpresentations . Alright ?Industrial Designer: Mm-hmm .Project Manager: Walter will uh start again this time ?Marketing: Yeah , great .Project Manager: Yo.Marketing: Alright , Trendwatch .Project Manager: 'Kay .Marketing: {gap}Project Manager: {vocalsound}Marketing: Right . I will speak about uh latest trendstrends , latest fashion updates , and uh things we must not do .Project Manager: 'Kay .Marketing: Uh the trends . {vocalsound} It's very important that uh thecontrol is fancy looking and good uh feeling . Uh this because of our last model was very functional , but {vocalsound} it uh people didn't like that , so our newmo model must be very good-looking . That's uh something you uh have to take a look at .Industrial Designer: Mm-hmm . Alright .Marketing: And uh the feelinghas to be very great . Also the menus and things like that they have to they have to feel great .Industrial Designer: Alright .Marketing: Um there's a minus uh twotimes here , because this is the most important point . This is uh two times as less important ,Project Manager: Less . {vocalsound}Industrial Designer:{vocalsound}Marketing: and uh same for this one . {vocalsound} Um , technological technological innovations , that's uh regarded very highly too .ProjectManager: {vocalsound}Marketing: Uh such as an uh L_C_D_ screen , uh speech uh acknowledgement , as we uh talked about earlier .Project Manager: Well ,yeah .Marketing: So we have to have uh something like that , like we uh {disfmarker}Project Manager: L_C_D_ and our uh our fronts .Marketing: Right .{vocalsound} Uh the last point is easy to use . Well I think that uh speaks for s for itself . I don't know who's uh who's going to look at that .Industrial Designer:Easy to use ?Project Manager: Well , easy to use uh s is a bit uh contradictionary with the first uh {disfmarker}Marketing: Yeah ?Industrial Designer: I thinkthat's your taUser Interface: {gap}Project Manager: Functional is not an issue , and then easy to use .Marketing: Yeah , I know .Project Manager: Well we haveto choose one of them . {vocalsound}Marketing: I think we have to go for the first one .Project Manager: Yeah . {vocalsound}Industrial Designer: Mm.Marketing: It's the most important one . So {gap} we have to uh take that one .Project Manager: Okay .Marketing: So it it {vocalsound} it isn't very importantthat {vocalsound} that it works easy .User Interface: Well something fancy looking can be can be easy to use .Industrial Designer: {vocalsound}Marketing:{vocalsound} But {vocalsound} it has to look great .Project Manager: Yeah . We'll we'll look at uh {gap} .Industrial Designer: You {disfmarker} Yeah . Yeah ,yeah ,Marketing: We'll see . {vocalsound}Industrial Designer: you can make a very complicated uh uh remote anyway , so ease of use {disfmarker}{vocalsound} It's not a very comp complicated device .Marketing: Yeah , right . But the most important thing is that it looks great and people say {gap} wow ,that's real great uh great concept .Project Manager: 'Kay .Industrial Designer: Alright .Marketing: Alright . Uh these are the new colours of this year .UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: So it must be very bright , very colourful .Project Manager: {vocalsound}IndustrialDesigner: {vocalsound} {vocalsound}Marketing: People like this .Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: So we we have to thinkuh in this direction .Project Manager: So {disfmarker}Marketing: So i set your mind to it .User Interface: {vocalsound}Project Manager: Well{disfmarker}Marketing: Findings ? Fashion update ? Fruit and vegetables are cool .Industrial Designer: {vocalsound} Uh you think ?Marketing: I am told .{vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: The group we are targeting is uh very pleased with fruit and vegetables.Industrial Designer: {vocalsound}Marketing: So {vocalsound} we we we might cons consider in front of uh in in that sort of uh way .Industrial Designer:{vocalsound}Project Manager: Yeah , well {disfmarker}User Interface: Bananas .Marketing: Uh furthermore uh material , that's your part , should be very strong. I was thinking of something like uh {vocalsound} well uh iron plate over it ,Industrial Designer: Mm .Marketing: maybe in a colour or something ,ProjectManager: Yeah .Marketing: that looks so f really flashy but it it is also strong .Industrial Designer: {gap}Project Manager: BMarketing: And that's uh also for theyounger public .Project Manager: Well the the handy thing about our fronts is that we can follow these trends e ev every year . Th this year it's fruits but nextyear it's it's something totally different .Marketing: Yeah , that's great .User Interface: Yeah .Marketing: But I think we can all make the the fronts of titanium orsomething uh really thin .Project Manager: Yes .Marketing: So it looks very heavy but you can still uh use it very easily .Project Manager: Yep , alright .IndustrialDesigner: Mm .Marketing: Well , the don'ts . Older people like dark colours and simple shapes . Well we don't want uh older people ,User Interface:{vocalsound}Marketing: we want young people .Industrial Designer: {vocalsound} {gap}Marketing: So uh we're gonna turn that around .Project Manager:{vocalsound}Industrial Designer: Alright .Marketing: We're gonna have real uh cool shapes and lots of colours . Right ?Project Manager: Wood is popular . Aha.Marketing: Okay . We don't want wood .Project Manager: {vocalsound} Yeah yeah yeah .Industrial Designer: Yeah , among the old people , yeah .Marketing:Old people . So , that's it for me .Project Manager: Alright . Nice , uh well {gap} show us .Industrial Designer: Right , I am going to tell you something about thecomponents design . Uh again I have uh put up the specification properties . This uh so um uh the different uh components of the of of the device . And thematerials ? Um I have heard several things , so I uh I'll have to change that on the way . But uh the case ? Uh I suggested uh in the previous meeting hard plastic. But uh as you indicated uh it should be strong .Marketing: Yeah , we should change that .Industrial Designer: It should feel strong . So maybe plastic is not uhsufficient .Project Manager: Well maybe it it it is ,Industrial Designer: We should move to uh something {disfmarker}Project Manager: but it doesn't look strong .So maybe {disfmarker}Industrial Designer: Well yeah . Y Hard plastic i is of course uh pretty pretty tough , but it doesn't have a really really tough look . So{disfmarker}Marketing: No no no .Project Manager: But we still have to look at our price of course . Because uh if we want an L_C_D_ uh window etcetera uh{disfmarker}Industrial Designer: Yeah . Also {disfmarker} Yeah . Mm-hmm . But we'll return to that .Project Manager: Yeah ?Industrial Designer: Uh the buttonsof course rubber , I think everyone agrees . And electrical cables , copper is all pretty basic stuff . The chips made of silicon , I guess . I think that's the best uhway to do it .Project Manager: {vocalsound}Industrial Designer: And infra infrared l LED is uh just a simple bulb .Marketing: {vocalsound}Industrial Designer:Then I've uh {vocalsound} had a few findings , made a few findings . Uh the target audience product style . Um it's uh um generally the case that uh senior andwealthy people above uh forty five years old uh like , as you said , uh particularly the traditional materials as such as wood and materials such as that . They alsolike straightforward shapes and luxurious style . But of course that's not our uh things this . So this is things we must not do .Project Manager: Yes .IndustrialDesigner: And then we have uh young uh and dynamic uh people , which is of course our uh group , the people we aim at . Um under forty five years old . Uhthey like soft materials uh with primary colours . Soft materials is of course uh agai again a bit a contradiction with uh our uh material choice of what you said ,that uh it should be hard an and and and and strong looking .Marketing: Mm . Yeah .User Interface: Yeah .Industrial Designer: But they like soft materials , uh sowe might uh we have to consider that . And also they like curved round shapes . So not uh too formal like like uh the older people want . And if uh also a findingbut not very ap applicable here , that sports and gaming devices such as uh discmans for jogging and that those kind of devices , gaming devices , should definethe characteristics of the device . But uh since we don't have a really a sports or gaming device , so we don't really have to consider that .Project Manager: Sportsuh , they're uh that uh are accessible on on your L_C_D_ uh window uhUser Interface: Soccer fronts . {vocalsound} Mm .Marketing: {vocalsound}ProjectManager: {disfmarker} Huh ? {vocalsound}Industrial Designer: Mm .Project Manager: That's nice . {vocalsound}User Interface: Hmm .Project Manager: All the{gap} results ?Industrial Designer: Well I also have um several examples of uh styles ,Marketing: We keep coming back to the fronts . {vocalsound}ProjectManager: {vocalsound}User Interface: Yeah . {vocalsound}Industrial Designer: so you can get a clear picture of uh what I mean .Project Manager: Yeah.Industrial Designer: Uh {vocalsound} these are the basic uh older older peoples' stuff .User Interface: {vocalsound}Project Manager: Yeah .Marketing:{vocalsound} Yeah .Industrial Designer: It was not very uh interesting uh , very classical looking ,Project Manager: Mm-hmm . {vocalsound} Nai . Uh no.Industrial Designer: but that's n that's not what we want .User Interface: Hmm .Industrial Designer: We have these kind of things . I don't know what exactlythey are .Marketing: {vocalsound} Fruity . {vocalsound} Fruity .Industrial Designer: It looks like {disfmarker} Well you know uh you recognise the shapes,Project Manager: {vocalsound}Industrial Designer: it's very primary colours , uh bright colours and uh round shapes .Project Manager: {vocalsound}Industrial"}
+{"doc_id":"doc_73","qid":"","text":"Project Manager: {vocalsound} Uh welcome back after lunch , I hope uh you had a good lunch together . For uh this meeting the main agenda okay uh to discussabout the conceptual design meeting . Okay and the agenda will be the opening and uh {disfmarker} that's uh {disfmarker} the product manager or secretarythat's me and uh the presentations from the Christine and uh Agnes and from Mister Ed . And finally in this meeting we have to decideMarketing:{vocalsound}Project Manager: and we are to take a decision on the remote control concept and uh the functional design So we have forty minutes , I think it's uhlittle bit uh low , but I I hope we can finish it up {vocalsound} so I'll handle to the the functional team , to the Christine , okay , to discuss about uh thecomponents concept .Industrial Designer: Okay . So uh , if you could open the PowerPoint presentation .Marketing: {vocalsound}Industrial Designer: I'm numbertwo .Project Manager: You're number two . 'KayIndustrial Designer: {vocalsound} Components design , there we go .Marketing: {vocalsound}IndustrialDesigner: So uh can we put it in slide show mode ? Yeah .Project Manager: The next one .Industrial Designer: Right here , is that little {disfmarker} that one ,yes please .Marketing: {vocalsound}Industrial Designer: Thank you .Project Manager: {vocalsound}Industrial Designer: I'll take the mouse . {vocalsound} SouhProject Manager: {vocalsound}Industrial Designer: we were looking he specifically at the components uh {disfmarker} the following components , uh the case, the power supply , uh the means of communications with the television set . In instance we had talked about using some sort of speech recognition ,ProjectManager: {vocalsound}Industrial Designer: you have to have microphone {disfmarker} well no you don't actually I haven't {disfmarker} have to havemicrophone in the device , but um maybe you do have it a a way {disfmarker}Marketing: {vocalsound}Industrial Designer: it has to it has to hear thespeakerUser Interface: Mm-hmm .Industrial Designer: and um , so it could be in the television set , could be in the device , but somewhere you have to put themicrophone , um and a w a way of making beeps or sounds so you can find it when it's gets lost . Um so the other w thing that we {disfmarker} So . Our methodfor going about this is we've looked at uh the histo hi historical record , what's worked , what hasn't and then we also um {disfmarker} we wanted to evaluatesome new materialsMarketing: {vocalsound}Industrial Designer: and we contacted manufacturing for their input because , course , we m might {vocalsound}come up and choose the material that then manufacturing didn't have the technologies or capabilities to offer us , so uh this is the approach that we took duringour um {disfmarker} our research .Marketing: {vocalsound}Industrial Designer: So um for the case , um we told we were making a specifica specific assumptionthat it would be curved in design .Marketing: {vocalsound} {vocalsound} {vocalsound}Industrial Designer: Course , you know , I wanted it to be expandable andshrinkable , but um that uh doesn't seem to b be one of the choic non-option we can uh {disfmarker} we can really seriously explore ,User Interface:{vocalsound} {vocalsound}Industrial Designer: {vocalsound} so then we were thinking about um rubber , but um unfortunately that's been eliminated becauseof the heat uh factorUser Interface: {vocalsound}Industrial Designer: and th um there might be some {vocalsound} problems with the m uh how it's{disfmarker} {vocalsound} uh goes with the board . {vocalsound} Uh and uh then th plastic also has this problem of melting and it's brittle {disfmarker} it getsbrittle after a while ,User Interface: {vocalsound}Industrial Designer: so um we still had titanium and and wood available , but um unfortunately uh uh titanium'salso been eliminated uh ,User Interface: {vocalsound}Industrial Designer: the m people in manufacturing said that you couldn't make d curved cases out oftitanium , although how {vocalsound} Apple did it with th PowerBook I'm not su quite sure but uh nevertheless um they've eliminated all of our options exceptwood .User Interface: {vocalsound} At least it's environmentally friendly . {vocalsound}Industrial Designer: {vocalsound} So , {vocalsound} this is our finding.Marketing: {vocalsound}Industrial Designer: And a as she said , it's an environmentally friendly uh material , so we're {disfmarker} we're {vocalsound}currently uh proposing ,Marketing: {vocalsound}Industrial Designer: uh we'll get to all my personal preferences in just a second .Marketing:{vocalsound}Industrial Designer: So then there's this other matter of the chips and um well we could use a simple design on the board ,User Interface:{vocalsound}Project Manager: {vocalsound}Industrial Designer: {disfmarker} uh these simple chips , but that's only works for the bu you don't get very muchum intelligence with this simple one . And um then there was the regular which {vocalsound} I regret that I've forgotten exactly why I'm eliminating that one .Uh the other option was this advanced chip on print , {vocalsound} and uh we liked th we we found that it it includes this infrared sender ,Marketing:{vocalsound}Industrial Designer: which w 'member the beam was {disfmarker} that was an important component of finding the right chip .Marketing:{vocalsound}Industrial Designer: And uh manufacturing has told us that they've um uh recently developed a uh a sensor and a speaker that would uh beintegrated into this advanced chip on print , so uh we we uh now jumping right to our personal preferences um I I'd really think we should , you know , use someof uh some really exotic woods , like um ,User Interface: {vocalsound}Industrial Designer: you know uh , well you guys come from tropical countries so you cankinda think of some trees and some nice woods . I think that people will might really want to design their own cases , you see , they could do sort of a{disfmarker} this um three-dimensional design on the internet , and then they could submit their orders , kinda like you submit a custom car order , you know ,and you can choose the colour and the size of the wheels and the colours of the leather and things like that , and then I uh think we should go with the solar cellsas well as the um microphone and speaker on the advanced chip . So this is the findings of our researchMarketing: {vocalsound}Industrial Designer: and myrecommendations um for the new remote control w um would be to have um have it be made out of wood . Do you have any problems with that ?ProjectManager: {vocalsound} Can you go back uh one slide ?Industrial Designer: I'm not sure , how do I {disfmarker} Oh , I know , let's see .User Interface: Thankyou . Yeah .Industrial Designer: Let's go back up here .Project Manager: Yes , uh {gap} question , uh , what's mean exactly , advanced chip on print ? What's themeaning of that ?Industrial Designer: I think it's um um a multiple uh chip design um {vocalsound} and it's uh maybe printed on to the circuit board .UserInterface: {vocalsound}Project Manager: Mm-hmm .Marketing: {vocalsound}Industrial Designer: Uh I could find out more about that uh before the next fi nextmeeting .Project Manager: Yeah , is it means it's on the {disfmarker} yeah is it on a micro-proc micro-processor based or uh {disfmarker}Industrial Designer:{vocalsound} I don't know , but I'll find out more at our next meeting .Project Manager: Okay , tha that would be great , so if you find out from the technologybackground , okay , so that would be good .Marketing: {vocalsound}Industrial Designer: Sounds good .User Interface: Why was the plastic eliminated as apossible material ?Industrial Designer: Because um it gets brittle , cracks {disfmarker}User Interface: Mm-hmm .Industrial Designer: Um We want {disfmarker}we expect these um {vocalsound} uh these remote controls to be around for several hundred years . So . {vocalsound} Good ex {vocalsound} {gap} Goodexpression . {vocalsound}User Interface: {vocalsound} WhicMarketing: Wow ,User Interface: {vocalsound} Which {disfmarker}Marketing: {vocalsound} goodexpression . Well after us . {vocalsound}User Interface: {vocalsound}Industrial Designer: I don't know , speak for yourself , I'm planning to be around for a while. {vocalsound}User Interface: Although I think {disfmarker} {vocalsound}Marketing: {vocalsound}User Interface: I think with wood though you'd run into thesame types of problems , wouldn't you , I mean it chips , it if you drop it ,Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: uh it's{disfmarker} I'm not su {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Project Manager: So {gap} so you're not convinced about the the wood ,yes .User Interface: {vocalsound}Industrial Designer: {vocalsound} {gap} you're what ?Marketing: Actually , I'm ready to sell it .User Interface: I think{vocalsound} if you re if you use really good quality wood , then it might work ,Marketing: I'm ready to sell it .Industrial Designer: {vocalsound} You think ?{vocalsound} And you could {disfmarker} you could sell oils with it , to take care of it .User Interface: but you can't just use {disfmarker}Marketing: No y{vocalsound} no no no , the o the only w the only wood you can use are the ones that are hard , extremely hard wood ,User Interface: Yeah , exactly , yeah.Marketing: but there are some very pretty woods out there {vocalsound} .Industrial Designer: {vocalsound} Well I'm glad you {disfmarker}User Interface:{vocalsound}Marketing: That's actually very innovative idea .Industrial Designer: {vocalsound} Okay , good .User Interface: {vocalsound}Industrial Designer:{vocalsound} Sorr having a hard time keeping wi control over my face . {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}Marketing: Well, it's actually a very innovative n different idea that uh you know you can choose your colour of wood , your type of wood .Industrial Designer: Mm-hmm .UserInterface: The stain .Marketing: {vocalsound} I mean it's {disfmarker} each person is gonna have their own personalised , individualised speech recognitionremote control in wood , that's not on the market .Industrial Designer: Mm .User Interface: {vocalsound}Project Manager: Yeah , so it it's looks good the thedesign the functional design uh , what about yo you ?Marketing: {vocalsound}User Interface: {vocalsound} Um , in terms of comments on this or in terms of myown {disfmarker}Project Manager: Yes , in t yes , in term in terms of comments first {disfmarker}Marketing: {vocalsound} In turns of wow .{vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: She works in the cubicle next to me so she's uh she was alreadya little bit prepared for this {vocalsound} .User Interface: Y yeah .Marketing: {vocalsound} {vocalsound}Industrial Designer: Luckily Ed was not .{vocalsound}User Interface: {vocalsound}Marketing: Wood ? {vocalsound}User Interface: {vocalsound} I think we can get the quality materials then{vocalsound} it shouldn't influence the design principles too much , which you'll see with my presentation .Marketing: {vocalsound} {vocalsound}User Interface:"}
+{"doc_id":"doc_74","qid":"","text":"PhD A: Alright . We 're on .Professor B: Test , um . Test , test , test . Guess that 's me . Yeah . OK .Grad D: Ooh , Thursday .Professor B: So . There 's two sheetsof paper in front of us .PhD A: What are these ?PhD E: Yeah . So .Professor B: This is the arm wrestling ?PhD C: Uh . Yeah , we formed a coalition actually .PhD E:Yeah . Almost .PhD C: We already made it into one .Professor B: Oh , good .PhD C: Yeah .Professor B: Excellent .PhD E: Yeah .Professor B: That 's the best thing.PhD E: Mm - hmm .Professor B: So , tell me about it .PhD E: So it 's {disfmarker} well , it 's {pause} spectral subtraction or Wiener filtering , um , depending onif we put {disfmarker} if we square the transfer function or not .Professor B: Right .PhD E: And then with over - estimation of the noise , depending on the , uh{disfmarker} the SNR , with smoothing along time , um , smoothing along frequency .Professor B: Mm - hmm .PhD E: It 's very simple , smoothing things.Professor B: Mm - hmm .PhD E: And , um , {vocalsound} the best result is {vocalsound} when we apply this procedure on FFT bins , uh , with a Wiener filter.Professor B: Mm - hmm .PhD E: And there is no noise addition after {disfmarker} after that .Professor B: OK .PhD E: So it 's good because {vocalsound}{vocalsound} it 's difficult when we have to add noise to {disfmarker} to {disfmarker} to find the right level .Professor B: OK .PhD A: Are you looking at one in{disfmarker} in particular of these two ?PhD E: Yeah . So the sh it 's the sheet that gives fifty - f three point sixty - six .Professor B: Mm - hmm .PhD E: Um ,{vocalsound} the second sheet is abo uh , about the same . It 's the same , um , idea but it 's working on mel bands , {vocalsound} and it 's a spectralsubtraction instead of Wiener filter , and there is also a noise addition after , uh , cleaning up the mel bins . Mmm . Well , the results are similar .Professor B:Yeah . I mean , {vocalsound} it 's {disfmarker} {comment} it 's actually , uh , very similar .PhD E: Mm - hmm .Professor B: I mean , {vocalsound} if you look atdatabases , uh , the , uh , one that has the smallest {disfmarker} smaller overall number is actually better on the Finnish and Spanish , uh , but it is , uh , worseon the , uh , Aurora {disfmarker}PhD E: It 's worse on {disfmarker}Professor B: I mean on the , uh , TI - TI - digits ,PhD E: on the multi - condition in TI - digits .Yeah .Professor B: uh , uh . Um .PhD E: Mmm .Professor B: So , it probably doesn't matter that much either way . But , um , when you say u uh , unified do youmean , uh , it 's one piece of software now , or {disfmarker} ?PhD E: So now we are , yeah , setting up the software .Professor B: Mm - hmm .PhD E: Um , itshould be ready , uh , very soon . Um , and wePhD A: So what 's {disfmarker} what 's happened ? I think I 've missed something .Professor B: OK . So a weekago {disfmarker} maybe you weren't around when {disfmarker} when {disfmarker} when Hynek and Guenther and I {disfmarker} ?PhD C: Hynek was here .PhDA: Yeah . I didn't .Professor B: Oh , OK . So {disfmarker} Yeah , let 's summarize . Um {disfmarker} And then if I summarize somebody can tell me if I 'm wrong, which will also be possibly helpful . What did I just press here ? I hope this is still working .PhD E: p - p - pProfessor B: We , uh {disfmarker} we looked at ,{nonvocalsound} uh {disfmarker} anyway we {disfmarker} {vocalsound} after coming back from QualComm we had , you know , very strong feedback and , uh, I think it was {vocalsound} Hynek and Guenter 's and my opinion also that , um , you know , we sort of spread out to look at a number of different ways ofdoing noise suppression . But given the limited time , uh , it was sort of time to {pause} choose one .PhD A: Mm - hmm . Mmm .Professor B: Uh , and so , uh , ththe vector Taylor series hadn't really worked out that much . Uh , the subspace stuff , uh , had not been worked with so much . Um , so it sort of came down tospectral subtraction versus Wiener filtering .PhD A: Hmm .Professor B: Uh , we had a long discussion about how they were the same and how they were d uh ,completely different .PhD A: Mm - hmm .Professor B: And , uh , I mean , fundamentally they 're the same sort of thing but the math is a little different so thatthere 's a {disfmarker} a {disfmarker} {vocalsound} there 's an exponent difference in the index {disfmarker} you know , what 's the ideal filtering , anddepending on how you construct the problem .PhD A: Uh - huh .Professor B: And , uh , I guess it 's sort {disfmarker} you know , after {disfmarker} after thatmeeting it sort of made more sense to me because {vocalsound} um , if you 're dealing with power spectra then how are you gonna choose your error ? Andtypically you 'll do {disfmarker} choose something like a variance . And so that means it 'll be something like the square of the power spectra . Whereas when you're {disfmarker} when you 're doing the {disfmarker} the , uh , um , {vocalsound} looking at it the other way , you 're gonna be dealing with signalsPhD C: Mm -hmm .Professor B: and you 're gonna end up looking at power {disfmarker} uh , noise power that you 're trying to reduce . And so , eh {disfmarker} so thereshould be a difference {vocalsound} of {disfmarker} you know , conceptually of {disfmarker} of , uh , a factor of two in the exponent .PhD A: Mm - hmm.Professor B: But there 're so many different little factors that you adjust in terms of {disfmarker} of , uh , {vocalsound} uh , over - subtraction and {disfmarker}and {disfmarker} and {disfmarker} and {disfmarker} and so forth , um , that {vocalsound} arguably , you 're c and {disfmarker} and {disfmarker} and thechoice of do you {disfmarker} do you operate on the mel bands or do you operate on the FFT beforehand . There 're so many other choices to make that are{disfmarker} are almost {disfmarker} well , if not independent , certainly in addition to {pause} the choice of whether you , uh , do spectral subtraction orWiener filtering , that , um , {vocalsound} @ @ again we sort of felt the gang should just sort of figure out which it is they wanna do and then let 's pick it , goforward with it . So that 's {disfmarker} that was {disfmarker} that was last week . And {disfmarker} {vocalsound} and , uh , we said , uh , take a week , goarm wrestle , you know ,Grad D: Oh .Professor B: figure it out . I mean , and th the joke there was that each of them had specialized in one of them .PhD A: Oh ,OK .Professor B: And {disfmarker} and so they {disfmarker} so instead they went to Yosemite and bonded , and {disfmarker} and they came out with a single{disfmarker} single piece of software . So it 's {vocalsound} another {disfmarker} another victory for international collaboration . So .PhD A: So {disfmarker} soyou guys have combined {disfmarker} or you 're going to be combining the software ?Professor B: Uh .PhD C: Well , the piece of software has , like , plenty ofoptions ,PhD E: Oh boy .PhD C: like you can parse command - line arguments . So depending on that , it {disfmarker} it becomes either spectral subtraction orWiener filtering .PhD A: Oh , OK .PhD C: So , yePhD A: They 're close enough .Professor B: Well , that 's fine , but the thing is {disfmarker} the important thing isthat there is a piece of software that you {disfmarker} that we all will be using now .PhD C: Yeah . Yeah .Professor B: Yes .PhD C: There 's just one piece ofsoftware .PhD E: Yeah .Professor B: Yeah .PhD E: I need to allow it to do everything and even more {disfmarker} more than this .PhD C: Right .PhD E: Well , ifwe want to , like , optimize different parameters of {disfmarker}PhD C: Parameters . Yeah .Professor B: Sure .PhD E: Yeah , we can do it later . But , still{disfmarker} so , there will be a piece of software with , {vocalsound} {vocalsound} uh , will give this system , the fifty - three point sixty - six , by default and{disfmarker}Professor B: Mm - hmm .PhD A: How {disfmarker} how is {disfmarker} how good is that ?PhD E: Mm - hmm .PhD A: I {disfmarker} I {disfmarker}I don't have a sense of {disfmarker}PhD E: It 's just one percent off of the {pause} best proposal .PhD C: Best system .PhD E: It 's between {disfmarker} i weare second actually if we take this system .PhD A: OK .Professor B: Yeah .PhD C: Yeah .PhD E: Right ?PhD A: Compared to the last evaluation numbers ? Yeah.Professor B: But , uh {disfmarker} w which we sort of were beforePhD C: Yeah .PhD E: Mm - hmm . Yeah .Professor B: but we were considerably far behind .And the thing is , this doesn't have neural net in yet for instance . You know ?PhD E: Mm - hmm .PhD A: Hmm .Professor B: So it {disfmarker} so , um , it 's{disfmarker} it it 's not using our full bal bag of tricks , if you will .PhD A: Mm - hmm .Professor B: And , uh , and it {disfmarker} it is , uh , very close inperformance to the best thing that was there before . Uh , but , you know , looking at it another way , maybe more importantly , uh , {vocalsound} we didn'thave any explicit noise , uh , handling {disfmarker} stationary {disfmarker} dealing with {disfmarker} e e we didn't explicitly have anything to deal withstationary noise .PhD A: Mm - hmm .Professor B: And now we do .PhD A: So will the {pause} neural net operate on the output from either the Wiener filtering orthe spectral subtraction ? Or will it operate on the original ?Professor B: Well , so {disfmarker} so {disfmarker} so argu arguably , I mean , what we should do{disfmarker} I mean , I gather you have {disfmarker} it sounds like you have a few more days of {disfmarker} of nailing things down with the software and soon . But {disfmarker} and then {disfmarker} but , um , {vocalsound} arguably what we should do is , even though the software can do many things , we shouldfor now pick a set of things , th these things I would guess , and not change that .PhD E: Mm - hmm .Professor B: And then focus on {pause} everything that 'sleft . And I think , you know , that our goal should be by next week , when Hynek comes back , {vocalsound} uh , to {disfmarker} uh , really just to have a firmpath , uh , for the {disfmarker} you know , for the time he 's gone , of {disfmarker} of , uh , what things will be attacked . But I would {disfmarker} I would{disfmarker} I would thought think that what we would wanna do is not futz with this stuff for a while because what 'll happen is we 'll change many other thingsin the system ,PhD A: Mm - hmm .Professor B: and then we 'll probably wanna come back to this and possibly make some other choices . But , um .PhD A: Butjust conceptually , where does the neural net go ? Do {disfmarker} do you wanna h run it on the output of the spectrally subtracted {disfmarker} ?PhD E: Mmm.Professor B: Well , depending on its size {disfmarker} Well , one question is , is it on the , um , server side or is it on the terminal side ? Uh , if it 's on the serverside , it {disfmarker} you probably don't have to worry too much about size .PhD A: Mm - hmm .Professor B: So that 's kind of an argument for that . We do still ,however , have to consider its latency . So the issue is {disfmarker} is , um , {vocalsound} for instance , could we have a neural net that only looked at the past?PhD A: Right .Professor B: Um , what we 've done in uh {disfmarker} in the past is to use the neural net , uh , to transform , {vocalsound} um , all of thefeatures that we use . So this is done early on . This is essentially , {vocalsound} um , um {disfmarker} I guess it 's {disfmarker} it 's more or less like a spee a"}
+{"doc_id":"doc_75","qid":"","text":"Project Manager: Okay . Here we go . Alright , the agenda for thi oh . Alright . Um the agenda for this meeting {vocalsound} is um {disfmarker} we'll initiallyhave the prototype presentation by our two designers . And then we will evaluate it , given the criteria that um that we gave gave it . And um talk about ourfinances , whether we were under or over our budget . I have a um a spreadsheet where we can calculate um our prices for every aspect of of what we've made ,given our options . And um evaluate the product , as a group .Industrial Designer: Okay .Project Manager: And um {disfmarker} So first we'll have the prototypepresentation . Do you need the um PowerPoint for this ?Industrial Designer: Um yeah . I just got a few slides , so show them .Project Manager: Alright .IndustrialDesigner: Thank you . Do you want to present it ? {vocalsound}User Interface: {vocalsound} Um {disfmarker}Industrial Designer: Yeah , here we are .UserInterface: {vocalsound} This is what we came up with . It's a pretty simple design . It's um based on a mango ? Yeah . And {vocalsound} we{disfmarker}Marketing: {vocalsound}Project Manager: On ?Industrial Designer: {vocalsound} Mango shape .Project Manager: {vocalsound} A mango . Okay.User Interface: Yeah . And we have the company logo here and this will be the infrared hereIndustrial Designer: The L_E_D_ .User Interface: and this'll be thepower point , the on off button kind {disfmarker}Project Manager: Oh . Okay .User Interface: yeah .Marketing: I'm sorry .Project Manager: Oops .Marketing:What was the {disfmarker} where's the L_E_D_ ?User Interface: It's in the middle of one of the little R_s .Marketing: Oh . Okay .User Interface: And then theother one is the power . And uh we just have a simple design . We wanted it all to beIndustrial Designer: So it's palm-held .User Interface: accessible from yourthumbIndustrial Designer: Yeah .User Interface: {disfmarker} yeah palm-heldProject Manager: Yeah .User Interface: and all the buttons are accessible from yourthumb .Project Manager: Notice you have a number ten button .User Interface: So you don't have to {disfmarker} Oh that was a mistake , wasn't it ?ProjectManager: {vocalsound} Okay . {vocalsound}Industrial Designer: You just need the nought . {vocalsound}User Interface: Right no , that's a zero .Marketing:{vocalsound}User Interface: {vocalsound} Take that one off . {vocalsound} Sorry . I was in charge of the numbers . {vocalsound}Project Manager:{vocalsound} No problem .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Ah .User Interface: And this is just if you'vegot like eleven or twelve or thirt the plus .Industrial Designer: So one plus one would be eleven ,User Interface: {vocalsound} You can go one , three orsomething .Industrial Designer: or {disfmarker}Project Manager: Oh . You press a plus button ?User Interface: You press that first and then you go one threeyeah .Project Manager: Oh okay . I've never heard of that kind before .User Interface: Well we just thought , we have all the numbers here , so we wantedsomething representative of numbers larger than ten and {disfmarker}Project Manager: Yeah .Industrial Designer: Yeah because if you {disfmarker} on youraverage um remote , if you press one twice you just go to {disfmarker} um or uh say you wanted channel twelve , you press one , and then you go to channelone , and then two then you'd just go to channel two , instead of twelve .Project Manager: Yeah .Marketing: Oh , there's no eProject Manager: Oh .IndustrialDesigner: So if you did like one plus two you could go to channel twelve , or two plus two is channel twenty two .User Interface: So the plus and then{disfmarker}Marketing: okay .User Interface: yeah .Project Manager: IMarketing: Okay .Project Manager: But {disfmarker} Would you have to go zero plus oneif you wanted to go to channel one or two ?User Interface: No no , th all {disfmarker} that's why we have all these numbers . These numbers um these numbersall work independently up to nine . {vocalsound}Project Manager: Yeah but I mean if you press , it'll go to that channel right away . 'Cause you gotta press theplus afterwards .User Interface: Yeah . Oh no . Uh , the plus is only for if you're going past the number nine .Project Manager: Yeah I know , but if if I wanna goto say number like sixty five , channel sixty five , if I press the six it'll go to channel six , and then I'll press the plus , and then it'll go to six and then put the fiveand it'll go to sixty five ?Marketing: Sixty .User Interface: You p Oh . No you press the plus first .Industrial Designer: Oh .User Interface: I I {disfmarker} well itdoesn't {disfmarker} we haven't really s I would've thought you pressed the plus first and then the six five ,Marketing: {vocalsound}User Interface: but she saysplus {disfmarker} {vocalsound} press {disfmarker} which {disfmarker}Industrial Designer: Well I don't mind , we can further define that .User Interface: whatdo you think is simpler ?Project Manager: I th Um {disfmarker}User Interface: It's a {disfmarker}Industrial Designer: I wouldn't have thought it'd be a problemthat it went to channel six first , in like on the way to channel sixty five .User Interface: Yeah .Project Manager: Yeah it wouldn't be a problem . But I was justwonderingIndustrial Designer: But I suppose it's not as snappy .User Interface: Yeah .Project Manager: like as long as we realise that's what it'll do .Marketing:Well the there is a {disfmarker} there's a delay on remotes I think .User Interface: Oops . Yeah .Marketing: Where you can have it {disfmarker}IndustrialDesigner: Yeah .Marketing: it's like a five second input time .Industrial Designer: Yeah . If you don't put it {disfmarker}Marketing: So as long as you hit themdadaIndustrial Designer: Yeah . Yeah ,User Interface: Yeah .Industrial Designer: that {disfmarker} yeah .Marketing: {vocalsound} it should be fine .ProjectManager: Yeah .Marketing: As long as there's not a big pause between the t hitting the two buttons .Industrial Designer: Mm-hmm .User Interface: Yeah . So{disfmarker}Industrial Designer: Um {disfmarker}Marketing: Was there {disfmarker} so on the top there is volume and {disfmarker}Industrial Designer: Andchannel ,User Interface: A channel .Industrial Designer: which is so you could just go like that without thinking about it , like {disfmarker}Marketing: Channel upvolume up . Okay cool .Project Manager: C_ and V_ .User Interface: Just so we can flick {disfmarker}Project Manager: Right , where um where's the powerbutton ?Marketing: Yeah .User Interface: It's in the middle of one of the little R_s . {vocalsound}Industrial Designer: It's the bigger R_ .Marketing: It's the R_.Project Manager: Oh okay .Industrial Designer: So it's just like {vocalsound} .User Interface: Yeah ,Project Manager: Yeah .User Interface: so it's all accessible .Without m taking your hand off the remote .Industrial Designer: We deciProject Manager: Yeah .Industrial Designer: Yeah um we went for like a a circular designfor the numbersMarketing: Mm-hmm .Industrial Designer: because we thought that's kind of a more natural movement than just going like that with your thumb.Project Manager: Oh okay .Industrial Designer: Uh e ergonomics are all considered .Project Manager: Yeah .Marketing: Mm-hmm .Project Manager: Ergonomic ,definitely ergonomic .User Interface: And {vocalsound} it might actually help with the repetitive stress injury as well .Marketing: {vocalsound}IndustrialDesigner: It could cause another type of repetitive stress injury though .User Interface: Okay . {vocalsound}Industrial Designer: But yeah , no I mean it's adifferent movementMarketing: {vocalsound}Industrial Designer: so {disfmarker} yeah .User Interface: Yeah .Industrial Designer: Um and the feel of it , I mean ,we've made this out of Play Doh , which is representing the , you know , the rubber , and the spongy rubberness .Project Manager: {vocalsound}User Interface:{vocalsound}Project Manager: The spon yeah .User Interface: Yeah . {vocalsound}Industrial Designer: Um 'cause it was said before in the material specificationthat this {disfmarker} the {disfmarker} this anti-R_S_I_ um material is often used in stress balls so this has got a you know a bit of give to it ,Project Manager:Yeah .Industrial Designer: and it just feels feels different .User Interface: Yeah .Project Manager: Bit of a stress ball feel .Industrial Designer: Would you like tofeel it yourselves ?User Interface: Yeah . {vocalsound}Project Manager: Yes . I would .Industrial Designer: How it fits in the palm of your hand ?Marketing:{vocalsound}Project Manager: My goodness .Industrial Designer: {vocalsound} Thanks .Marketing: {vocalsound}Project Manager: {vocalsound} There you go.Industrial Designer: And you ? {vocalsound}Project Manager: Genevieve ?Marketing: YesProject Manager: Yeah . {vocalsound}Marketing: . Oh it's nice . Oh Ithink I killed the five .Industrial Designer: {vocalsound}Marketing: I did .Project Manager: And something hmm . {vocalsound}Marketing: I killed the four . Ohgod . {vocalsound}Industrial Designer: O Okay , as for the colours , we were presented with um a limited range of colours for this prototype .User Interface: OfPlay Doh yeah .Marketing: Oh it smells good . {vocalsound}Industrial Designer: But we're thinking that , seeing as we're having it in interchangeable casinganyway , that this is not necessarily a representation of the true colours that we would necessarily use . Or the combination . Um and we're thinking to carry-onwith the fruit and vegetable theme , the colour um combination just could just be named after different fruit , like banana could be black and yellow , watermelonred and green ,Project Manager: Oh right .Industrial Designer: or vanilla might be the most popular if it just uh blends inUser Interface: 'Cause it'd be quite subtleand {disfmarker}Industrial Designer: more settled cream instead of the others are all a bit garish .Project Manager: Yeah . It looks more {disfmarker} Think likevanilla and banana would .Industrial Designer: Banana's more representative of our colour scheme , like the company {disfmarker} the yellow and black .ProjectManager: Okay yeah .User Interface: Yeah .Industrial Designer: So that {disfmarker} for corporate identity that would probably be the most strength .UserInterface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: I mean watermelon , you know , m probably appealing tothe {disfmarker}Project Manager: Kinda Christmas , you know .Industrial Designer: yeah , seasonal .User Interface: Yeah , yeah , yeah . {vocalsound}IndustrialDesigner: Apple green , brown , more kinda trendy , you know , khaki {disfmarker}Project Manager: Yeah .User Interface: The pomegranate's kinda girly andfunky kind of ,Project Manager: Cool .User Interface: and then the vanilla's more for the more sophisticated {vocalsound} customer who just wants somethingthat fits in with all decor .Project Manager: {vocalsound}Industrial Designer: Yeah . Okay . Um yeah we thought of the components it was definitely um a focus ofergonomics and just a single ha handheld device , I mean you don't need to use both hands , one hand to hold this and type in with the other , you can just useyour thumb .User Interface: Yeah .Industrial Designer: Um , as we said the rubber's probably used for comfort and anti-R_S_I_ and that's about it .Project"}
+{"doc_id":"doc_76","qid":"","text":"User Interface: {vocalsound}Industrial Designer: Okay . {vocalsound} Yeah . That's okay . That's okay .Marketing: {vocalsound}Industrial Designer: Okay.Project Manager: Am I starting now ? Anytime ? Oh sorry . 'Kay , um . Alright , welcome back fro to the second meeting . And um I hope you had a productivelast thirty minutes .User Interface: {vocalsound}Project Manager: Um , and um , I'll be taking minutes on this one , and um {disfmarker} Being hooked up to thePowerPoint for this meeting isn't very necessary for uh myself , because it'll be more about uh , what you guys are bringing to the meeting today . Um , so , thefirst presentation we'll be looking at is Poppy's presentation . And , um {disfmarker} So , sorry ? So , um , take it away Poppy .Industrial Designer: Okay . Um ,do I need to {disfmarker} {gap}Project Manager: It's , it's plugged in . So , um {disfmarker}Industrial Designer: plugged in .User Interface: F_ eight , w .Function F_ eight .Industrial Designer: F_ okay . Function F_ eight . Sorry about this guys .Project Manager: No problem .User Interface: {gap}IndustrialDesigner: 'Kay . {gap} is on . Right . {gap} Okay . I will take this time just to apologise .User Interface: {vocalsound}Industrial Designer: I , I only , uh ,received my emails later on . 'Cause I was too busy carried away doing my own thing ,Marketing: {vocalsound}Industrial Designer: which is not obviously not avery good part of a team-working thing .User Interface: {vocalsound}Industrial Designer: But there we go .Project Manager: I'm sure it's fine .IndustrialDesigner: Um , so I was looking at how we're going to go about the working design , and what we actually need to do , and what the remote control needs to do .And it needs to um allow a person to have a portable desi device , so they can control the television from wherever they are . They don't need to actuallymanually touch the television set . So , it gives them much more flexibility , and allows them to be where they want to be . Um , from {disfmarker} Uh , on afunctional side of things , we found out that wh from our previous meeting , we decided that there're certain points that will make our product unique . Um , oneis the visibility in the dark , which was um Genevieve's idea . So we need to think about how we could bring this in um technically . And we could use illuminatedbuttons , which we are all familiar with when we're using a mobile phone , or um something fam familiar . A automatically , um lights up at first touch . Or wecould use fluorescent materials which would just um take in the light during the day , and then as soon as they go off they would glow in the dark . Um , also wecould use um an alarm . So if we lost the um remote control , perhaps there could be a button on the television set itself , which you could press , and then analarm from the handset would sound where it was , hopefully in the room . Maybe behind a cushion or somewhere .Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: Um , so that would work . Um , oop . Go back there . Um , another thing I think we d missed out on on the last meeting was thefact that we should consider the environmental impact of our design . Um , from previous researches I've carried out on other projects , um we've learnt aboutsmart materials where um um specific alloys of metals have a shape memory .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: So theycan be heated and um and cooled , and they change the shape of um the metal . So , for example , a screw that's holding something together could expand and itwould force all the components apart . So um , the benefits of this for our product would be that when it came to the end of its product life , if it was heated , umeverything would spring apart . So , all the um individual components could be easily separated , and then some could be reused , some could be recycled , and Ithink that would be very important for products now . Especially 'cause there's much uh responsibility for all the um companies who are coming up with like newdesigns . 'Cause all , we all know that our resources are being limited , and we have to be very environmentally conscious .Project Manager: Right , um , onequestion . This , um , self-destructible uh metal , it allows for recycling materials ?Industrial Designer: Yeah .Project Manager: So that , um , someone could havethis product for as long as they felt that they wanted it , and then once they contribute it , then that company can break down the part , the parts better?Industrial Designer: Um {disfmarker} And then {disfmarker} Yeah . Yeah they would , um you would make the , the product as you normally would , apart fromthe , the bits that hold it all together would be made out of this shape-memory alloy . And that's the part that would um allow all the other parts to be separatedat the end . I mean , the user would return the p product to the company , 'cause it's the product's responsibility to get rid of what they've made . Um , and thenthe company could then just use , make use of this shape-memory alloys to split up the components ,Project Manager: Yeah .Industrial Designer: and then eitherreuse some bits , and other bits which are obviously gonna wear out with time , or not usable , they might be like be able to put into scrap metal . Something likethe case , if it's scratched or something , you would want to reuse it , but you might be able to melt it down and reuse it again somewhere else .Project Manager:Mm-hmm . Would we be the company that would break down these , or uh metals ? Or would we contribute to another group ?Industrial Designer: You could{disfmarker} we could probably empl em employ a , a side company or something to do that for us . But it would be our responsibility to get that done and todispose of the products that we made . For a certain percentage at least .Project Manager: Alright .Industrial Designer: Not every , not a hundred percent ofeverything we produce ,Project Manager: Okay . This sounds like a really great idea .Industrial Designer: but {disfmarker}Project Manager: One thing we have toconsider is our uh one hundred percent um turnover goal that we have for our financial sector .Industrial Designer: Yeah . Yeah .Project Manager: Um , so we'llhave to investigate how much that will cost us , cost the company ,Industrial Designer: Yeah .Project Manager: um 'cause it sounds very labour-intensive . Youwould have to hire a number of people , and it might be more expensive .Industrial Designer: Well I {disfmarker} the fact of the shape-memory alloys is thatthey , they don't need to be manually de um deconstructed . Like , you don't have to individually um unscrew all the screws . Because of this , their properties aresmart material .Project Manager: Mm-hmm .Industrial Designer: All you need is just the heat , so they self-destruct themselves .Project Manager: Alright . We'llstill have to investigate the financial implications .Industrial Designer: So I suppose it does need like high contact , yeah , you know high uh quality machinery ,and very specific machinery , but {disfmarker}Project Manager: Alright . I like the environmental approach . Um , we'll have to see if that can meet our financialgoals as well .Industrial Designer: Yeah . Okay . Um also there is um components . This'll be how it uh will actually work . But I haven't put this plan together yet.Project Manager: I'm sorry , could you {disfmarker}Industrial Designer: There we goProject Manager: Those were um {disfmarker}Industrial Designer: . Sorry ,should I go back . This would actually show the circuit diagram . Although I haven't come up with the final circuit yet .Project Manager: Okay .Industrial Designer:So I just {gap} put all those components in .Project Manager: So those are what , um , we'll c construct the remote . Those are all the {disfmarker}IndustrialDesigner: Yeah . I it just shows what sort of energy source . It could be a battery , like rechargeable probably . Um , an' yeah , well how the infrared will actuallybe sent through the chip to be received by the chip on the television set itself .Project Manager: Alright . Great .Industrial Designer: Okay ? So , now is it F_ eightagain to escape ? Or escape ? There we go . Okay .Project Manager: Alright . Thank you very much . And , um , the next presenter will be Tara .IndustrialDesigner: Thank you .User Interface: {vocalsound}Industrial Designer: There you go Tara .User Interface: Thanks . Can you see ?Marketing: Oh ,{vocalsound}User Interface: Do you think {disfmarker} Is it uh , function eight yeah ?Project Manager: Yeah .Industrial Designer: Function F_ eight .Marketing:{vocalsound} Function F_ eight .Project Manager: Function F_ eight . Sorry .Industrial Designer: The one at the top .User Interface: Oh right . Okay .Marketing:That looks right .Project Manager: Yeah .User Interface: Okay . I'm the User {vocalsound} um User Interface Designer . Uh , the technical functions design of theapparatus is the effect the apparatus should have . Um , in this case it's the function of the remote control , which is to send messages to the television ,television set . By taking inspiration from other similar designs , we'll try and come up with an original trendy remote control , which is sellable international .There're two functional design options . A multifunctional remote control , which can be used for several entertainment devices . And a single function remotecontrol , used specifically for the television . {vocalsound}Marketing: I'm sorry , what was that last one . Multifunctional and {disfmarker}User Interface: Sorry .Um , a single function just for the television itself .Marketing: Ch Oh , I see .User Interface: Yeah . Um , multifunctional controls can be difficult to use , as themultitude of buttons can be confusing . A single function remote control is simpler to use , but it means you have to have other remote controls for your otherentertainment devices .Marketing: 'Kay .User Interface: Um , I think that a single function remote control would be preferable , because it's easier to use . It'd bemore compatible with a range of television sets , making it more internationally sellable . Um , it will make an original design more obtainable , as we have lessfunctional necessities to include in the design . And it would be more profitable as it would be more simplistic . And less functions would have to be included . So itwould be cheaper to make . And probably more sellable just because it's more compatible with a r a wider range of devices . Does anyone have any questions ?{vocalsound}Marketing: {vocalsound} So as far as we know , um , a single function television remote control is us usable internationally ?User Interface: Well ,it's just that , when we're creating it , we're , we have to make it um compatible with different brands of devices .Marketing: {gap} Right .User Interface: And itwould be easier to make it compatible with just different brands of television devices rather than other ent ,Marketing: D_V_D_s and V_C_R_ ?User Interface:yeah ,Project Manager: Right .Marketing: Okay .User Interface: other entertainment devices .Project Manager: Does everyone agree with this ? Does anyoneobject and , and find the multifunctional might be a better way to go ?Industrial Designer: Um , {vocalsound} I was just wondering about the , what , whatGenevieve said before , about having like some hidden controls like having the outer casing . And that would probably , um , I d , well well what you said before"}
+{"doc_id":"doc_77","qid":"","text":"Project Manager: Okay . {vocalsound} Well , let's start . What are we doing ? Oops . {vocalsound}User Interface: Hmm .Industrial Designer: Ah , pinball .ProjectManager: {vocalsound} Okay . Okay . Not doing .Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:Mm . Ah . Hey . {vocalsound} Ah .Project Manager: Uh {disfmarker}User Interface: Oh .Marketing: Now I have my screen back too . {vocalsound}ProjectManager: Very good .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .Industrial Designer: {vocalsound}Marketing: Yeah .ProjectManager: {vocalsound} {gap} we have presentations . So first , it's your turn .Industrial Designer: {gap}User Interface: Mine . Oh , great .Project Manager:{vocalsound} Yeah . Isn't it amazing . {vocalsound}Industrial Designer: Huh . {vocalsound}Marketing: {vocalsound} Yeah . Very interesting .User Interface: Uh{disfmarker}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Industrial Designer . Interface concept.User Interface: {vocalsound} Yes , well uh let's uh talk about the interface uh concept . Uh , first I'll uh I'll uh discuss the buttons we just chose , uh show yousome samples , uh uh discuss some colours and design maybe , already . And uh my personal preferences . {vocalsound} Well we chose the power button toswitch the television on and off . The bu uh the mute button to switch the volume on and o on and off . The channels buttons , one to nine , and uh off uh uh zeroto nine , and the uh button to choose uh higher channels than nine . Uh the volume and channel quadrants , uh left and right , up and down arrows , to uh do thevolume and channel . And the menu menu button to man manipulate the L_C_D_ uh display . Um , I found some uh interesting uh uh samples . Examples.Industrial Designer: {vocalsound}User Interface: Um , well uh what's pretty standard is uh that it's {disfmarker} that they're all pretty uh uh high uh{disfmarker}Marketing: Large .User Interface: Yeah . Yeah . Large and and and pretty thin and uh and long .Marketing: A lot {disfmarker} a lot of buttonsbuttons .User Interface: Um , power buttons are mostly at the top uh left or right . Um , well we see the the the same uh arrows . Like there . And uh{disfmarker} Yeah , well arrow b buttons can be blue . And what's interesting is the the the icons on the buttons . Some buttons have icons like the play and stop, but we don't use that . But uh , these we we have to choose the right icons , or or letters . Uh this is the V_ for volume , but they're both uh a V_ .ProjectManager: {vocalsound}User Interface: So it's it's not really very uh clear what's the function of that .Marketing: Yeah .User Interface: Um {disfmarker} Yeah . So, that's {disfmarker}Project Manager: {vocalsound} Can you go back one page ? For the uh menu , what do we use for that ? We don't have buttons for themenu .User Interface: Uh , well {disfmarker}Project Manager: Or we may have to use channel of the volume and channel {gap} .User Interface: Yeah . I thoughtthat was our uh idea .Project Manager: Okay . But {gap} uh {disfmarker}User Interface: So , uh how {disfmarker}Project Manager: You have to put it on the{disfmarker}User Interface: Like this .Project Manager: Yeah .User Interface: Or or this . And that the menu button is okay .Project Manager: Yeah but , has tobe clear that you can use the arrows .User Interface: {vocalsound} Yeah , okay .Marketing: Yes .User Interface: Uh , so the {disfmarker} The icons on the arrows, as well , you mean .Project Manager: Mm-hmm . Yes . The second one .User Interface: Yeah . Uh , well that's something to uh think about .{vocalsound}Project Manager: Okay .Industrial Designer: Uh , maybe I'll have something in my uh presentation . And you will see it .User Interface: Okay.Marketing: Okay . {vocalsound}User Interface: Um , well I don't I don't know if we have to discuss this already , or in the next uh meeting .Industrial Designer:{vocalsound}User Interface: But uh , as we have to uh to to design the the case and the whole uh remote control in our uh our our corporate uh company uh uhcolours and the logo , I would uh recommend a yellow case . Uh , round edges . The logo at the bottom . And uh , well maybe each each uh set of buttons uh hasuh has his own colour . So , it's good . Uh , recognisable . K so , I think .Project Manager: {vocalsound} Not too much colours .User Interface: Uh , no . Not toomuch .Project Manager: No , it's not flower power .User Interface: But uh {disfmarker} No , no , no . But this has to be has to be trendy and uh {disfmarker} and{gap} {disfmarker} {vocalsound}Project Manager: S okay .User Interface: Uh , yeah so good uh good icons on the buttons , and uh and big buttons is my uhpersonal uh opinion .Project Manager: Okay .User Interface: That was that .Project Manager: Thank you . So , you're next .Industrial Designer: I'm next , okay .{vocalsound} Yes . No . Here we go .Marketing: {vocalsound}Project Manager: {vocalsound} {vocalsound}Industrial Designer: Uh , at first we will uh I will f uhsay something about what younger people want ,Marketing: {gap} Okay .Project Manager: {vocalsound}Marketing: Mm-hmm .Industrial Designer: our uh groupw uh w uh we want to uh sell our remote controls to . And then , I'll discuss what my opinion is about the costs , about uh what battery is in it , what kind ofbuttons also . First uh , the younger people , they want like soft mat uh materials and primary colours . Like , totally yellow , totally red . Uh , so it's visible . Uh ,the shapes are curved and round , like uh you also said . Maybe it's nice to uh get a remote control not like all the other ones , straight and uh flat and long . Butto give him the shape of your hand , so you {disfmarker} it's easier to use or something like that . But that's just an idea . And then , I'll have to discuss aboutthe costs uh of all the things for the remote control . The battery , there are few options . Uh , I think the best option is to use uh the basic battery . So ,everybody can buy it uh at the at the supermarket . Or use uh a k uh kinetic battery like uh within a watch . When you uh shake it a few times , it it's loaded . Uh, the the form of the remote control , I think it's also nice {gap} have it curved . And maybe like it's hand-shaped . Uh , so uh you take it here in your hand andhere are the buttons . Uh material , you use plastic . Hard plastic uh because uh {gap} it won't have to burst uh like in the {disfmarker} in one time . And alsorubber because the younger people like that , what we see in the research . Uh the push-buttons . We have one new thing uh discovered . It's a scroll push uhthing like a mouse . Maybe it's uh easy to use uh for the channels . When you want to go m move up , you just scroll up and click on the button , if you wanna seethe next , uh if you wanna see that channel . And also for the mouse , uh for the volume , it's also uh easy to use . Just scroll a bit up , scroll a bit down . Andthat's also easy just w when you have a thing like this , and you get it here . You can do it with your thumb . And with your l left hand you can uh push thebuttonsMarketing: Hmm .Industrial Designer: uh if you {gap} push uh channel one , you can see channel one . The electrics um with a scroll push uh button , wemust use regular uh chips . There are also uh simple chips . They are uh cheaper . Um , but then we have just a basic uh uh remote control , and I think there area lot of those uh things , and people won't buy it any more . They have seen enough of it . And you have also advanced um chips . But that's with the L_C_D_ uhscreen . And the costs will increase a lot more . And I think our budget is too low to use and an L_C_D_ , and the chip who is more expensive . And maybe it'salso then uh thoughtful if we u uh use uh as um different kind of uh shapes for the {disfmarker} for remote control , that we then use the primary colours . Like ,you get a yellow uh remote control , red one , blue one , et cetera . You have any more questions about this ? I think the main thing is we look at the costs.Marketing: Yep .Project Manager: Hmm .Industrial Designer: And not too basic , not a basic remote control , who everybody already has .Marketing: Yeah . But ,thi i uh {disfmarker} This is with an L_C_D_ ? No ,Industrial Designer: Not with an L_C_D_ .Marketing: not .Project Manager: No , isn't .Industrial Designer: No.Project Manager: But the L_C_D_ is easy when you use the scroll uh buttons . Then you can scroll , you see what number , and then you push .IndustrialDesigner: Yeah . But then , what I say , the costs will uh get a lot higher .Project Manager: But then it's not easy to use scroll uh wheel . If you don't{disfmarker}Industrial Designer: Th then you'll see it on the television .Project Manager: Hmm , yes . But then . Yeah , then you go one down one up . When youscroll .Industrial Designer: but l when you see a menu uh on the television , it's like you see uh one to twenty , you go uh uh s scroll up , and push number twtwenty . YeahProject Manager: but like we said before , it has to be used on every television . Yeah So you may not be uh {disfmarker}Industrial Designer:{vocalsound}Project Manager: No . The television must do that . So {disfmarker}Industrial Designer: Mm-hmm . Yeah , I think the younger people will havenewer televisions , which can provide our uh remote control .Project Manager: Yeah but young people have to have all their uh room . And mostly they aresmaller . So {disfmarker}Industrial Designer: Yes . But that won't be a problem . I think .Project Manager: Most the times that are not advanced televisions.Industrial Designer: No , but then we'll get to the regular uh remote controls .Marketing: {vocalsound}Industrial Designer: And I think , what I said , everybodyhas them uh has them already . And they go to a uh supermarket and buy them uh for two Euros . Uh , and ge and get the most cheapest uh thing . And I thinkwe must look further to uh to devel d develop something news .Project Manager: Okay .Marketing: Uh , can you give an indication in b uh in the cost differencebetween uh the chip with L_C_D_ or without ?Industrial Designer: {vocalsound} I got it on my screen and it was uh higher . But I don't know uh how muchhigher . {vocalsound}Marketing: 'Cause it {disfmarker}Project Manager: That's important .Marketing: I think if we have an L_C_D_ , it will also sell a lot better.Industrial Designer: That's true .Marketing: And that might uh bring back the costs uh {disfmarker}Industrial Designer: But then we'll {disfmarker} I think wemust discuss who {disfmarker} uh what will be better . If we have a better shape of the um remote control , or better options on it . With a scroll menu , a wscroll thing , and a L_C_D_ . And then a flat um remote control . Or , a more hand-shaped remote control , with scroll , without L_C_D_ .Project Manager: Yeah .Maybe you can look how how much it is for the L_C_D_ .Industrial Designer: I can uh look on my uh {disfmarker} {vocalsound}Project Manager: {vocalsound}It's very important .Industrial Designer: {gap} Uh {disfmarker} Note that the push-button requires a simple chip chip . A scroll wheel requires minimally aregular chip , which is a higher price range . The display requires a advanced chip , which is which in turn is more expensive than the regular chip .Project"}
+{"doc_id":"doc_78","qid":"","text":"Lynne Neagle AM: Okay, good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies for absence.Can I ask Members whether there are any declarations of interest, please? No. Okay. Thank you. Item 2 this morning is our evidence session with the CabinetSecretary for Education for our inquiry into the status of the Welsh baccalaureate qualification. I'm very pleased to welcome Kirsty Williams AM, Cabinet Secretaryfor Education; Kevin Palmer, who is deputy director, pedagogy, leadership and professional learning; and Andrew Clark, deputy director, further education andapprenticeships division. So, thank you all for attending, and we're looking forward to hearing what you've got to say. If you're happy, Cabinet Secretary, we'll gostraight to questions.Kirsty Williams AM: Of course.Lynne Neagle AM: And the first questions are from Julie Morgan.Julie Morgan AM: Thank you very much,Chair, and bore da. I was going to ask some general questions about the value of the baccalaureate. Could you give us your views on how the Welsh bac is valuedby learners and teachers?Kirsty Williams AM: Bore da, Julie, and thank you very much for your question. Firstly, I'd like to begin by saying that I as the CabinetSecretary value the qualification very much indeed. I believe that it helps ensure that we are able to give our young people in Wales a broad and balancedcurriculum, recognising the need to develop knowledge and skills in core subjects but recognising also that the purpose of education is to help prepare ourchildren for further study and the world of work, and I believe that the skills challenge element of the baccalaureate does just that. I meet with young people andteachers all the time who tell me about the positive experiences they have had studying for the Welsh bac, and much of that was evidenced in QualificationsWales's review into the Welsh baccalaureate. They did focus group work with a representative sample, and many of the learners expressed the fact that they haveenjoyed studying for the qualification and have gained a great deal from it. I meet regularly with individuals who have been able to use their bac to successfullygain a place at university, so I believe there's a huge value for Welsh young people being able to study this particular qualification alongside the more traditionalqualifications that perhaps we're all used to. I think the challenge is that, given that many people are very familiar with what a GCSE is and, as parents, we willknow what that is and many of us will have done—some of us are so old we'll have done O-levels. We know what those traditional qualifications look like, andtherefore a new qualification—there's always a job of work to do to communicate that, if people aren't used to it, but I value it hugely. I think that, whilst there isalways room for improvement—and, of course, you'll be aware of the review that Qualifications Wales undertook and that has suggested ways in which we canfurther improve and refine the qualification, but I think it is a valuable piece of work for Welsh young people to undertake.Julie Morgan AM: It's great that you'vebeen around listening to learners and what they have said about it. Have you had any negative feedback?Kirsty Williams AM: Well, occasionally, of course, we dohave concerns raised with us, and those concerns are similar to the ones that have been raised in the Qualifications Wales review. So, for instance, we sometimeshave concerns about how some students balance the Welsh bac with other qualifications they may be taking. Some teachers feed back around the workloadissues associated with the Welsh baccalaureate. For some students, there may be concerns about the nature of the Welsh bac and whether that can impactnegatively on their well-being. And, obviously, that's why Qualifications Wales have undertaken this piece of work so that we can refine, if necessary, thatqualification and how we continue to look at how we ensure my belief that taking the Welsh bac should be the norm for students but also recognising that, insome cases, there needs to be flexibility to ensure that the well-being of the student is not compromised.Julie Morgan AM: And so would you say that it's valuedby learners more or less at key stage 4 or post 16?Kirsty Williams AM: Well, I think that, as I said, the vast majority of students I meet report very positivelyabout the opportunities that are afforded for studying at that level. Occasionally, we hear from students who I believe think that in studying the subject they maybe compromising their chances because they want to do additional A-levels, and I'm sure we'll come on to, later on, whether universities, and whether the RussellGroup universities in particular, value the qualification. But I feel that there are particular strengths. And I think what's really important, and, in talking touniversities, since the qualification became graded, rather than just a pass/fail qualification—I think that added rigour since 2015 has been particularly importantin ensuring that there's real value in students undertaking that work.Julie Morgan AM: And what about the effect that the leadership in the school has on the waythat the bac is received? Have you—?Kirsty Williams AM: As always, Julie, leadership is crucial, and students' experiences can be very coloured by the attitudetowards the teacher delivering that particular course. And, therefore, we need to continue, alongside the WJEC and Qualifications Wales, to ensure that the Welshbac is communicated to children in a positive way, the benefits are explained to children and their parents, and, also, we need to ensure that those who aretasked with teaching Welsh bac in their schools or colleges feel confident in their ability to do so and to ensure that students have a really positive experience ofthat qualification, because if you're being taught by someone who is telling you, 'Oh, I don't know why we're having to do this', then, obviously that's going tocolour how you feel about it. And, if I'm honest, I recently attended a youth forum, where young people from the county were discussing all sorts ofissues—everything from the environment to their experience in school—and I was struck by the group of year 12 and year 13 students. I specifically asked themabout the bac—I always take the opportunity to ask them about their experience of the baccalaureate. One school, the group of students said, 'It's fantastic. Wereally enjoy it. It's really valuable. I'm learning a lot.' Students from a school seven miles away—just seven miles away—said, 'Oh, I don't know why we're havingto do this.' And I suspect that that has got more to do with how that is being delivered in their institutions than it has about the quality of the qualification. So, weneed to keep ensuring that those who are tasked with this see it as important, communicate that to students, and have the confidence and the ability to deliver areally positive experience.Julie Morgan AM: I think our experiences in the committee are very similar. Within the same room, actually, we've had two completelydifferent sets of views. So, what do you intend to do to try to ensure that there's consistent support and enthusiasm for the bac from the leaders?Kirsty WilliamsAM: Well, first of all, we have the design group of Qualifications Wales looking to address some of the issues that arose out of the report around ensuring that,especially from a teacher workload perspective, it's not too onerous in terms of assessment. So, there's that to do to make sure that we're not asking children toduplicate and do things over and over and over again, which, of course, for any of us, would be wearing and we would question to the value of. So, there's thedesign group looking at the qualification itself. We are ensuring, as part of our professional learning for teachers that—. There are existing opportunities via theregional consortia for support for teaching of the qualification. The WJEC has resources and support available, but we will look, as we roll out our nationalapproach to professional learning, at that the professional learning needs of those already in the system are addressed. Of course, our accreditation for our newinitial teacher education is predominantly addressed at being able to deliver the new curriculum, but, if you think about the elements of 'Successful Futures' andthe skills and the knowledge and the pedagogy associated with that, it's very much in line with the Welsh baccalaureate challenge certificate. So, actually, thereare opportunities via initial teacher education as well, and we continue to need to look to work with our partners to be able to reinforce why this is a worthwhilequalification. And I have to say I think the best people to do that—. It's not me. I'd like to see past students of the Welsh baccalaureate being able to talk abouttheir own experiences and why it's made a difference to them. I come across individuals for whom their place at university has been secured by that Welshbaccalaureate, and, all of a sudden, if that's what's got you your place, it becomes a lot more valuable than perhaps it was six months before. We need to makesure that students are aware, and teachers and school leaders are aware, of the importance that this qualification has.Lynne Neagle AM: Suzy, did you have asupplementary?Suzy Davies AM: Yes. I've got one on IT, but I'll leave that one. I just want to go back to Julie's question about whether there was a differentperspective or a different sense of value for students who are post 16 and those who are pre 16. When one of the college leaders here was asked whether he hadpeople coming to him in his FE college who've been through the pre-16 bac and had heard evidence or had stories of, basically, those children cobbling togethertheir bac in the last four weeks of term before they got there, he said that yes, that is his experience. Does that worry you at all, because, of course, the wholepurpose of bac is to teach skills over a period of time, and its purpose cannot be fulfilled by getting it all done in the last term of—which year am I in?—year 11, inorder to satisfy the curriculum?Kirsty Williams AM: Yes. Obviously, that's not the experience that we would want young people to have, and, as someone who hashad a daughter just finish year 11, that's certainly not the experience that my daughter had in her particular school, and I have another daughter who has justgone into year 10, where the Welsh bac has started in year 10 and it is a a two-year course in which elements are undertaken. Obviously, we will need toaddress, as part of the design group and the work that Qualifications Wales is doing, how that is playing out in individual schools. But that would not be a positiveexperience; we want this to be taken in exactly the same way as we would expect a GCSE to be taught over a period of two years. But, Andrew, I don't know ifthere's anything you'd like to add from the college perspective.Andrew Clark: I think it is variable. I think that it will depend on the feeder schools to the collegesand it'll depend upon the delivery models that are in existence in those schools. It's been around as a qualification now for about a decade, I think. There havebeen differences in the way that the subject has been—sorry, not the subject, the qualification has been delivered. And I think it'll be helped by a recent reviewby Qualifications Wales, because they're doing a survey at the moment as to different delivery models in different locations, and that, perhaps, will inform more"}
+{"doc_id":"doc_79","qid":"","text":"Project Manager: Uh 'kay . So {disfmarker}Marketing: So so so .User Interface: Put on your mic .Industrial Designer: {vocalsound} So you forgot how this worksagain ?User Interface: Boss .Project Manager: Yep .Industrial Designer: {gap} Boss .Marketing: Maybe . Maybe maybe maybe .Project Manager: Okay so we'rehere to talk about the detailed design of the product , 'kay ?User Interface: Yep .Project Manager: And here's the agenda for this meeting . Uh I'm just gonnaopen , say a few boring words to start with again , and start taking minutes afterwards . You guys are gonna give us a presentation of our wonder product that Ican see some demonstrations of over there . Looks cool . And then we're gonna evaluate it .Marketing: {vocalsound} BraUser Interface: {vocalsound}ProjectManager: Then we're gonna talk about finance , and I've got a lovely Excel spreadsheet that I knocked up in the last five minutes for this . And uhIndustrialDesigner: {vocalsound} Hmm you knocked it up ?Project Manager: yep . And {vocalsound} we're gonna evaluate the product and close .User Interface:{vocalsound}Industrial Designer: {vocalsound}Project Manager: Got forty minutes to do this in . We should be fine . Let's try and keep this one on schedule.User Interface: Alright .Project Manager: So {disfmarker}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Your thing is in {disfmarker} whereis it ? Is it in {disfmarker}User Interface: Three , three .Industrial Designer: Thi third third third . The end product thingy . Yeah .Project Manager: Who wants it?User Interface: Pedro can have it .Industrial Designer: {vocalsound}User Interface: I like {disfmarker}Industrial Designer: {gap} .User Interface: I'll help talk.Industrial Designer: {vocalsound} Um yeah so what we ended up with . Production costs estimated by our manufacturing department and um the researchdepartment , which is us , is uh fifteen point eight Euros ,User Interface: {vocalsound}Industrial Designer: someone forgot the {vocalsound} units thereUserInterface: Unit price .Industrial Designer: yeah , uh unit price {disfmarker} unit production price cost thing . Um we implemented the basic functions , which isjust T_V_ functions plus the locator , which was one of the marketing things , cradle , scroll wheel for uh the {vocalsound} the channels , and uh we implementedthe f the the way of putting the new and revolutionary zapping , your favourite channels functionality , in the scroll .Project Manager: Zapping your favouritechannels , eh ?Industrial Designer: Yeah .User Interface: Scrolling through your favourites list .Project Manager: Oh okay okay .Industrial Designer: Zapping youknow zapping .Project Manager: Ah 'kay okay , that's favourites .Industrial Designer: Maybe it's just a Portuguese thing {vocalsound} . And um yeah that was theresult .Project Manager: Ah 'kay . I like the the the the logo on there as well .Industrial Designer: {vocalsound}User Interface: It's very prominent {vocalsound}.Project Manager: It is very prominent . So this is the {disfmarker}User Interface: So {vocalsound} here I'll give you the {disfmarker} so this is the cradle unit ,and this is the actual remote itself . Um so the scroll bar is {disfmarker} or the scroll wheel is this this green little scrolly guy here , um and then the volumecontrols are here and here .Project Manager: Okay .User Interface: Uh you've got the keypad which is the numbers uh f from zero to nine and then ten . This isthe power button . Uh we have our um {vocalsound} we have the enter button and uh what was the other button here ? This is the teletext .Industrial Designer:Start s the the start uh to to toUser Interface: The programme button ,Industrial Designer: programme yeah .Project Manager: Ah , okay I see .User Interface:yeah the programme button . So this bl this button will be used both for the favourites and for programming {vocalsound} your uh the um the type of televisionyou wanna use . So um the plastic is the white area of this {disfmarker} of the model here , and the red area is like a rubber covering .Project Manager: It'spretty cool .User Interface: So you can see that when it lays like this or like this {disfmarker} and the buttons are all gonna be rubber , so it's pretty hard toactually damage it um {disfmarker}Project Manager: Is that {disfmarker} could that be easy to {disfmarker} for the scroll wheel to be rotated if it lands on it?User Interface: Yeah that might be a possible a mi uh possible problem , but if you drop it {disfmarker}Industrial Designer: Not helping {vocalsound} .ProjectManager: {vocalsound}User Interface: yeah {vocalsound} .Project Manager: Oh well I guess it depends on the stiffness a little of it .User Interface: Yeah and itdepends on if it's sliding , but I think it's pretty ergonomic . You can feel it .Project Manager: Mm . Feels good .Industrial Designer: {vocalsound}Project Manager:I take it that this is gonna be slightly lighter in the final design as well .User Interface: Yeah of course . Well this is clay {vocalsound} .Industrial Designer:{vocalsound}Project Manager: {vocalsound} Yeah it's kinda cool . You have to reach a little bit don't you .User Interface: Yeah the the power button is a bit of areach , but I think we might scale down the final model a bit .Project Manager: Ah yeah that wouldn't make sense .User Interface: {vocalsound} These{disfmarker} this is a bit larger than it would be , but {disfmarker}Project Manager: It's cool . I'm impressed .Industrial Designer: Don't have no one to handlethat .User Interface: {vocalsound}Project Manager: And hold it so {vocalsound} {disfmarker}Marketing: Mm that's {disfmarker}Project Manager: wh what's themarketing perspective ?Marketing: oh that's {disfmarker} oh I like it . I mean you guys gave me more than I was asking for , so I'm happy because we've gotsome really marketable features in this . Yeah I think it's good . Good good good job .User Interface: Mm Pedro can demonstrate the the paging ability .IndustrialDesigner: Yeah . So you ha you have like the the base station with um the little button for the where's my remote .User Interface: Beep beep beep .Marketing:{vocalsound} Uh plaUser Interface: {vocalsound}Industrial Designer: The locator function .Marketing: I'm haProject Manager: {vocalsound} Okay .Marketing:It's great . That's great . It's a great feature .User Interface: Um beep beep beep {vocalsound}Project Manager: Mm it's impressing .Industrial Designer:{vocalsound} Wicked isn't it ? {vocalsound}Project Manager: {vocalsound} So let me get it ,User Interface: so {vocalsound}Project Manager: if I press thisbutton {disfmarker}User Interface: beep beep beep {vocalsound}Project Manager: I see . That's pretty cool . Hang on . {vocalsound}User Interface: beep beepbeep {vocalsound} be shut up . {vocalsound}Industrial Designer: {vocalsound}Marketing: So you can take this ho take this home with you tonight and you canpush that and he'll be across town {disfmarker}User Interface: Beep beep beep {vocalsound}Project Manager: {vocalsound} {vocalsound} I plan to do that aswell .User Interface: okay . Um no no no tha that's alriProject Manager: {vocalsound} So the the two blue {disfmarker} are are those for the the it to charge offof {disfmarker} in ?User Interface: Exactly that's exactly what those are for .Project Manager: Ah okay okay .User Interface: And um there's one other featurethat we were debating , but we decided to go against it , is um {disfmarker} you couldIndustrial Designer: {vocalsound}Project Manager: {vocalsound}UserInterface: beep beep beep {vocalsound} {disfmarker}Industrial Designer: {vocalsound}User Interface: we were thinking that it might be interesting to have atrigger button here because you have this finger {disfmarker}Project Manager: Yeah {vocalsound} it's the right shape isn't it ?User Interface: it it's it kinda feelslike there should be something there , but we couldn't figure out what button is important enough to put there . And we we don't wanna accidentally be hitting thepower button like that so {disfmarker}Project Manager: But maybe if you had a trigger plus the scroll then that would get past the the problem of it landing andscrolling ,User Interface: Mm .Project Manager: 'cause then it would need to be hit on both sides {gap} .User Interface: Right . So maybe in a final design phasewe might tweak that a little bit ,Project Manager: Okay .User Interface: but {disfmarker}Marketing: Uh , I can see that .Project Manager: But it's definitely gotoptions for like different types of models and things as well based on that , hasn't it ?User Interface: Mm-hmm .Marketing: Yep I like . Good job .Project Manager:So is that the the final colour scheme as well or ?Marketing: {vocalsound} No no .User Interface: Oh no this is {vocalsound} just what we had to work with at thetime .Project Manager: Okay .User Interface: So we'll leave the colour scheme up to the marketing people .Project Manager: The {disfmarker} hmm .UserInterface: {vocalsound} Careful .Project Manager: It came off . The scroll wheels , {gap} a problem with them not being sort of {disfmarker}User Interface:{vocalsound}Industrial Designer: {vocalsound}Project Manager: I don't think the user interface guy wants to touch it anymore .Marketing: Well I mean of course, I mean {disfmarker}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: My my s my suggestion is we're gonna go go to the silvers andblacks like most of the televisions .Project Manager: Mm .Marketing: You know some blend of silvers and blacks .User Interface: {vocalsound} Beep beep beep .{vocalsound}Project Manager: {vocalsound} Okay enough of that .Industrial Designer: {vocalsound}Project Manager: Well i it's cool guys . 'Kay so are we donewith the this presentation ?User Interface: Yeah .Industrial Designer: Ja .Project Manager: Okay . {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound}Project Manager: Now now .User Interface: {vocalsound}Marketing: So you're not gonna find my uh my folder up there I gotta do mine up at theboard .Project Manager: Have you ? Okay .Marketing: Yeah yeah . So {vocalsound} {disfmarker}Project Manager: Can I not get your get at stuff from yourshared folder now ?Marketing: No it's not in there because I had the computer problem and I I I cou I couldn't create it .Project Manager: Oh I see I see.Marketing: I couldn't create it in the PowerPoint ,Project Manager: {vocalsound}Marketing: and I think I've got this really strange cable . So what I had ,basically going from the PowerPoint format , is that uh yeah yeah I like this a lot . Is this one of the tests is to see how we can adapt to s changing situations inthe in the meeting room ?Project Manager: {vocalsound}Industrial Designer: {vocalsound} Nah .User Interface: {vocalsound}Marketing: So what we had is wehad the method . That's not how you spell method , is it ?User Interface: No way .Project Manager: {vocalsound}Marketing: No A_ {vocalsound} . {gap} .{vocalsound} So this doesn't go so fast this way . And when I speak about method I speak about the marketing of the product huh . And uh to me with thisproduct we got uh {disfmarker} we got {vocalsound} basically three things to market . We've got the features , we have the uh characteristics , and we have the{vocalsound} I I don't know what we would call the other part {disfmarker} what we call you know the the {vocalsound} the corp corporate {disfmarker} Help"}
+{"doc_id":"doc_80","qid":"","text":"Project Manager: Okay , all set ? Welcome to the conceptual design meeting .User Interface: Uh , okay .Industrial Designer: Yes .Project Manager: The agenda .The opening . I'll again be the secretary and make minutes , take minutes , uh and it will be three presentations , just like the last meeting . So um ,{vocalsound} who wants to start off ? Technical uh designer again ?User Interface: {vocalsound} Again .Project Manager: Okay .User Interface: Hmm .ProjectManager: Uh , yeah . Uh , before we begin it , I want to say I've I've put the minutes of the uh second meeting in the shared folder , but they're still not uh quiteokay . It uh it uh still some technical difficulties so the the first part of the minutes are very hard to read , because there are two documents that uh were layeredover each other .User Interface: Mm-hmm .Marketing: {vocalsound}Project Manager: So {disfmarker}Marketing: Okay .Project Manager: But uh , from now on Iwon't use my pen anymore , so will be p just {vocalsound} ordinary keyboard .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: Uh , may be better , yeah .Marketing: Keyboard work . Yeah .Project Manager: I think it {gap} will will be more uh easy for you toread the minutes .User Interface: Yeah .Marketing: Alright .Industrial Designer: Okay , when we talk about uh components design , um it's really about thematerial and the {disfmarker} and uh uh really the stuff we build uh the remote controls of . Um , a remote control consist of uh components and the componentsof a remote control consist of uh properties and material . We have to choose th uh these uh wisely and it could affect uh uh a kind of grow of {disfmarker} in uhin buying uh the remote controls . Um , the components of a remote control are of course uh the case . Uh the properties of the case , um it has to be solid uh inhard material like uh hard plastic uh with soft rubber for uh falling and and uh uh {disfmarker} yeah , it feels uh good in your hand .Marketing:{vocalsound}Industrial Designer: Mm the buttons has to be uh solid too , and the material is soft rubber . Uh I've got a uh email from the possibilities of RealReaction . Um uh they're telling me that um when we build uh a remote control of um of plastic or rubber , the uh buttons have to be uh rubber too . Mm{disfmarker} It's okay . Yeah . I when we use a rubbled {disfmarker} a doubled curved case , we must use a rubber push-buttons to {disfmarker} uh the therubber double-curved case is a is a t uh three-dimensional uh curve in the in the design , which is uh necessary when we want to be trendy . Uh {disfmarker}UmUser Interface: Oh .Industrial Designer: the energy source , uh I've got a lot of possibilities for that too . Um , uh the basic battery , which I thi prefer becauseof its uh its non uh non-depending of of of uh um {disfmarker} Uh here you have to have a hand uh {disfmarker} yeah , kinetic uh energy . Also in uh this one ,like in the watches , but a remote control can lie on a table for a day , and then you push uh a button and {disfmarker} so you don't have to uh walk with it allthe all the time . Mm , solar cells are also uh a bit weird for uh remote controls .Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound}{vocalsound}Industrial Designer: Um uh also the case material , uh I think that plastic is the is the best with rubber , because uh wood or titanium would also bea bit weird .User Interface: Oh titanium is probably trendy , I think . {gap} .Marketing: That's true , I guess . Yeah .User Interface: Well , maybe a little bitexpensive .Marketing: {vocalsound}User Interface: I don't know .Industrial Designer: Uh , they don't tell anything about the cost of uh titanium .Marketing: Huh.Industrial Designer: Um the chip {disfmarker} uh the chip set uh and the board is uh all off the shelf . Also , the speaker in the remote control , when we want toretrieve it . Um , the base station is also off the shelf , all the materials and the components are uh just available in uh in our uh factory . Mm , I've told about uhthe three first points . Mm , the simple electronical chip uh is is available uh with the LED transmitter uh transmitter . Uh , it's all uh off the shelf and even thespeaker and the wireless retriever are all uh available in our company . Um , another possibility . I uh yeah , I looked up on was uh the L_C_D_ displays . Couldbe uh something special to our uh remote control , and it's possible , but it only cost a bit more , but maybe it can be uh within the limits of twenty five Euros.Project Manager: Twelve and a half . Actually {disfmarker}Industrial Designer: Ah yeah .Marketing: Yeah .User Interface: Yeah , production cost .IndustrialDesigner: {vocalsound} I th I got an email with uh some examples and it {disfmarker} these were were the most trendiest one .User Interface:{vocalsound}Industrial Designer: You see uh a covers , which can be {disfmarker}Project Manager: What are those , t tooth uh brushes , or soUser Interface:{vocalsound}Industrial Designer: Um , I don't know . Um {disfmarker}Marketing: {vocalsound}Project Manager: But it's actually kind of uh {disfmarker}UserInterface: I {disfmarker}Project Manager: well , it resembles the design I had in mind for this projIndustrial Designer: Yes .Project Manager: You know the thecartoonish {vocalsound} Alessi kind of design .Marketing: Yep .Industrial Designer: Yes , maybe we can uh bri uh bring a couple of uh couple of types of uh{disfmarker}Project Manager: And we can we can steal their ideas .Marketing: {vocalsound}Industrial Designer: maybe a kind of uh whole uh um a whole set ofuh different uh remote controls .Project Manager: Huh .Industrial Designer: Maybe we can bring a whole line uh with uh with a {gap} huge variety of uhProjectManager: Well , it's a possibility , too .Industrial Designer: uh house uh stuff .User Interface: Different colours also .Industrial Designer: Like uh {vocalsound}maybe radios and uh television also uh in this in this {disfmarker} in the same style , but {disfmarker}Project Manager: Uh-uh .Marketing: {vocalsound} Yeah ,that'll be for the future , I guess .Project Manager: Okay .User Interface: {vocalsound} Yeah . {vocalsound}Project Manager: {vocalsound} Next time we're here. {vocalsound}Industrial Designer: Yes , because we have to uh {disfmarker} we have to {disfmarker} {vocalsound} we have to bring the logo and all the stuffuh back into it .Marketing: {vocalsound} Yeah . {vocalsound}Project Manager: Oh , okay .Marketing: Yeah . Definitely .Project Manager: Okay .User Interface:{vocalsound} Okay .Industrial Designer: Thank you . {vocalsound}Marketing: Alright .User Interface: {gap} uh {disfmarker}Marketing: {vocalsound} Yeah .That's okay .User Interface: Ah .Marketing: {vocalsound}User Interface: Well , I shall go to the next slide . UmMarketing: {vocalsound}User Interface: um , I stilldon't have any information about user requirements .Marketing: {vocalsound}User Interface: I was thinking about just uh the basic functions and I got uh{disfmarker}Project Manager: Oh , we decided upon that in the last meeting . Didn't we ?User Interface: Yeah , but but then wh I don't know when there are newuser requirements .Project Manager: Oh , okay . Well , tha I didn't receive any new requirements or somethiUser Interface: I ha I ha I have the I have{disfmarker}Project Manager: Just {disfmarker}User Interface: nothing .Project Manager: no , but we decided to use only b basic functions only .User Interface:Well , I have here a couple of basic functions I could think of .Project Manager: Okay .User Interface: I dunno if they're {disfmarker} maybe a little bit more , but{disfmarker}Project Manager: Well we {disfmarker} maybe we can think of that later . W just {disfmarker}User Interface: Yeah .Project Manager: these are theones you already summed up in the {disfmarker}User Interface: Yeah , I I uh {vocalsound} well , I pointed them out here , just to make it a little bit easier.Project Manager: Okay .User Interface: Um Another function uh is {disfmarker} of course we already discuss it on the side . Um , I don't know what costs of it .Uh , I've no idea about it . Uh , I was also looking for what you said , for {disfmarker} I got an email uh uh about uh L_C_D_ in in in front of the remote control .I don't know if that's a good idea , or maybe it's a little bit too much for twelve and a half . Production .Project Manager: Yeah .User Interface: If we got alreadyuh something like a base .Industrial Designer: Uh-huh .Project Manager: That might get redundant also maybe . I don't know what kind of information it would{disfmarker}User Interface: Yeah , I don't know . I d I uh ju I was just thinking about it . Then I got a pop-ups to go to the meeting . But {disfmarker}Marketing:Mm yeah .Project Manager: Yeah . Yeah , it's okay .Industrial Designer: Maybe we can bring t uh uh teletext to the t {vocalsound} to the remote control .{vocalsound}User Interface: The remote control .Marketing: {vocalsound} Then you {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}{gap} a little uh too {disfmarker} {vocalsound} A little bit {disfmarker}Marketing: and then you've got a flag s {vocalsound} Very big R_C_ . Yeah .ProjectManager: Okay . {vocalsound} That's not {disfmarker} {vocalsound} It was not a good idea .User Interface: A little bit too big , I think . Exactly .IndustrialDesigner: {vocalsound}Marketing: {vocalsound}Project Manager: Okay .User Interface: Um , yeah . Well , the functions are are not more to discuss , I think.Project Manager: No . No .User Interface: It's it's just the base things we already discussed that the {disfmarker} no V_C_R_ or that kind of{disfmarker}Marketing: No .User Interface: uh , so that's very easy . Um {disfmarker}Project Manager: But you do mention the next and previous uh button.User Interface: Mm-hmm .Project Manager: {gap}User Interface: Well , that's next channel . I mean {gap} next channel .Marketing: Next channel , previouschannel .Project Manager: Oh , okay , o okay okay .User Interface: Uh {disfmarker} Um {disfmarker} oh , I I got an email with {disfmarker} {vocalsound} withan uh a remote control with a base .Project Manager: Huh .User Interface: So , it's uh just an idea . And I um {disfmarker} {vocalsound} uh thinked of thebutton sizes and I'm not sure uh if they have to be big or uh just small {disfmarker} {vocalsound}Industrial Designer: But you're the expert .{vocalsound}Marketing: I think it depends on the function .User Interface: Well , I'm not a e I'm the expert for user-friendly , but not for trendiness .ProjectManager: Mm-hmm .User Interface: Maybe it {disfmarker} {vocalsound}Marketing: Well , if you save uh {disfmarker} Perhaps uh s tiny buttons aren'tuser-friendly , then we wouldn't im implement that of course .Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound} Well uh {vocalsound}{disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: okay , that's your point . Um , yeah . Yeah , okay .Marketing:{vocalsound}User Interface: Yeah , I've nothing to {vocalsound} sIndustrial Designer: {vocalsound}Project Manager: Well , w when we only use basic functions ,we have the possibility to make the buttons larger .Marketing: Oh , that's right .User Interface: Uh , with a little bit larger , yeah .Marketing: Yeah .User"}
+{"doc_id":"doc_81","qid":"","text":"Project Manager: {vocalsound} Wouldn't wanna be Project Manager . {vocalsound} Uh , what we going to do .Industrial Designer: {vocalsound}Marketing:{vocalsound}Project Manager: Um , once again I'm uh gonna take minutes . So , um no presentation for me . Uh , first we have a prototype presentation by G_and G_ .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Afterwards some uhUser Interface: Yo .Marketing: J_ andJ_ . {vocalsound}Project Manager: eval eval evaluIndustrial Designer: Evaluation .Project Manager: evaluationUser Interface: Evaluation criteria .Marketing:Evaluation .Project Manager: s {vocalsound} sorry .Industrial Designer: {vocalsound}Project Manager: Uh evaluation crit criteria . Uh , in combination with thefinance I um {vocalsound} uh I received uh a an uh an Excel uh fileUser Interface: {vocalsound}Marketing: Hmm .Project Manager: which we have to fill in lateron . Um , you see . Uh , and then we must see uh if we uh stay under the twelve and a half Euro .Marketing: Hmm . Interesting . Ah , okay .Project Manager: So ,that's uh that's a bigUser Interface: {vocalsound} Oops .Marketing: {vocalsound} Cool . {vocalsound}Industrial Designer: Mm-hmm . That's gonna be t problem.Project Manager: l so let's uh wait it uh umMarketing: {vocalsound} {vocalsound} {vocalsound}Project Manager: we have we have must {disfmarker} uh ,UserInterface: Some creative uh {disfmarker}Project Manager: we must have uh some time for that uh because it will be uh {disfmarker} yeah , quite a lot ofmathematics .User Interface: Oh . Yeah .Project Manager: And after that , uh uh an evaluation of uh the process how we uh how we have done it here with theSMARTboard , with the with our laptops , with the {disfmarker} all uh all this . And uh afterwards , uh we closing . Once again , forty minutes , so uh let's start.User Interface: Ok okay .Project Manager: I would g give the word to um G_ and G_ for the prototype presentation .User Interface: Shall I give a shortintroduction and then uh {disfmarker}Industrial Designer: Yeah , well sure .Marketing: J_ and J_ .Project Manager: J_ and J_ .User Interface: Okay .{vocalsound} J_ and J_ , okay .Marketing: Jane and Jane .Project Manager: {vocalsound}Marketing: 'Kay guys , take it away .User Interface: Take it away.Industrial Designer: Hi .Project Manager: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Um , this was our first concept . We decided to usea single touch-screen . So , we've worked out this concepts , how to how to hold it , where to put the buttons and and stuff . And um , well , we began with uhwith a form of shape , that is uh is easy to hold w in one hand , left or right handed .Industrial Designer: {vocalsound}User Interface: So , we made i it a little bitless thick and uh it has some ar artistic meaning . No ? This uh isn't nothing . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}UserInterface: Idea maybe uh is better .Project Manager: {vocalsound}User Interface: Um well , during the meeting I showed you the concept of uh placing thebuttons on top , usable with your thumb , and uh the menu structure , uh if necessary , with your other hand , so it's just gonna hold it easily .Project Manager:{vocalsound}User Interface: And it has to be acce accessible with your uh other hand too , of course .Project Manager: {vocalsound} {vocalsound}UserInterface: So we began uh working out a concept .Industrial Designer: Yeah , uh well , and as you saw , we would just have the basic remote with the panelL_C_D_ uh screen . Well , these would be the main buttons , h you could uh change them later on in your own profile if you want to . But , well it's standard theywill be delivered with this kind of uh set-up . We have the {gap} more advanced menu uh setting right here . We have the sub-menus and stu stuff . We made atop {disfmarker} oh , or a front view . Just so like you wanna uh back view . As you can see , this uh {disfmarker} there , there are uh two uh weird bumps in it.Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} This is for uh the added uh effect of uh well uh y youth and dynamic .And uh this is for the artistic effect .Project Manager: {vocalsound}Industrial Designer: Well , what we figured is uh we'll show you a picture {gap} later on {gap}you have more b a better idea after that . But , idea is for to stay in balance with these two uh {disfmarker} with these two .Marketing: Hmm .IndustrialDesigner: And so when you put it on the table , it will just {gap} lay down . It won't {vocalsound} uh roll around or stuff . But it will lie more in your hand like anold telephone maybe , or like these old uh phones .Project Manager: Mm .Industrial Designer: Y you you may get the idea . So thi this is about uh how we figuredit should be . The s panel we g you would hide with some more uh rubber layers , like we discussed early on . Uh , you would s you wouldn't see the uh straightpanel , but more fluidly and round .User Interface: Yeah , the panel just uh of course goes like this .Industrial Designer: Yeah .User Interface: But the overlayinglayer is uh a little bit uh curved and stuff .Project Manager: No , okay .Marketing: Okay .Industrial Designer: And uh , in these bumps you could actually uh {gap}put some electronics uh that would {disfmarker} you can make a more thinner uh design ,Marketing: Yeah .Industrial Designer: and that would actually look verynice , yeah .User Interface: Yeah .Industrial Designer: And uh , about the colour , what have {disfmarker}User Interface: Yeah . Oh , we added that this um canbe held with your hands for this {disfmarker} maximum is om yeah , one and a half centimetres . So , you have room here for your battery and maybe evenother um electronic chips . S and you can just be the the layer of the touchscreen and some {disfmarker} have some wires underneath it to make it as uh thin aspossible in the middle for good grip .Marketing: Okay . Hmm .Industrial Designer: {vocalsound} Yeah , f uh , as colours , do you do you have the picture in uh{disfmarker}User Interface: Yeah .Industrial Designer: Oh yeah . Now , well this is the idea about uh the bumps . Uh , you can see there's a v a very uh youthfuluh dynamic uh exterior . It uh {disfmarker} you just want to hold it you uh you are young and uh dynamic like us .Marketing: 'S l {disfmarker} it's like an uhEaster egg .User Interface: Yeah .Industrial Designer: Yeah , it's like an e but this is for children . We we want a more adult version . But , this is like a remotecontrol for children .Marketing: {vocalsound}Project Manager: It's called a weemote {vocalsound}Industrial Designer: {vocalsound} {gap} . A weemote.Marketing: Weemote .Project Manager: Weemote .Industrial Designer: Yeah . Hey , that's actually a brilliant uh marketing stand .User Interface:{vocalsound}Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Industrial Designer: Uh , but {vocalsound} {disfmarker}Marketing:{vocalsound} Wait what I w got in mind . {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: So this actually basic theidea . We we just want to build a more uh adult vers adult version of of this .Project Manager: Yeah , I can imagine that .Marketing: Mm-hmm .IndustrialDesigner: {vocalsound} And and for colours , we we figured starting with basic colours like uh white or metallic grey . Those are the technological colours actually,User Interface: Yeah . It would be best to to appeal to a broad public and make the covers exchangeable ,Industrial Designer: so it dUser Interface: so the youngpeople will buy an orange and a red and blue and a purple ,Industrial Designer: Or blue or whatever .User Interface: but when the o older people uh go in theshop and they see uh an orange um remote control , it would be less appealing than a white one . And young people , we think , are a little bit more flexible,Marketing: Hmm .User Interface: they think , ah I'll buy for a couple of Euros some noi nice hip uh {disfmarker}Marketing: Hmm . Maybe it's an idea to sell itwithout a cover , so that you can pick a cover in the in the shop .User Interface: Well , um I think a cover is necessary , 'cause als otherwise you'll just have theL_C_D_ screen .Marketing: Yeah , okay . Yeah , okay .User Interface: So , there must be some cheap standard cover , um maybe white or something ,Marketing:Hmm . Mm .User Interface: that's could comes with it and you can buy , so we can make extra money .Project Manager: Yeah , but uh you d you mustn't forgetthat uh our target aim is younger people .Marketing: Oui okay .Project Manager: Uh , we had decided to uh put uh some flashy fruity colours in it , uh and uh inthe survey from uh Milan and Paris uh it uh it came out that uh uh the d the older people are uh more willing to uh to spend money on extra features . So I thinkuh it will be a better idea to have some uh flashy fruity colours as as a standard ,User Interface: Okay . The other way around , you mean .Industrial Designer:{gap} Oh yeah .Project Manager: and for the people who uh really want uh a more sophisticated , more traditional look , they're willing to pay uh that .UserInterface: Uh-huh .Project Manager: They want uh {disfmarker} {vocalsound} they want more luxury stuff ,Industrial Designer: Yeah .Project Manager: but theyhave the money to do it and they want to b to buy that .User Interface: Mm-hmm .Project Manager: So , maybe it's an idea to put that as an extra and not as astandard .User Interface: Okay .Marketing: Yeah .Industrial Designer: Yeah . Yeah , maybe {disfmarker} yeah , perhaps you're right . Uh , I I would I wouldactually agree with this sounds logical .User Interface: Okay , yeah .Marketing: An another idea . Uh , maybe we could uh develop a cover uh with wood style.Project Manager: Yeah .Marketing: {vocalsound} They'll please the elder users as well .Project Manager: Yeah .User Interface: Well yeah , a colour of{disfmarker} a wood style , a white c and uh a couple of h hip uh fruity colours .Project Manager: {vocalsound} Yeah .User Interface: And lea uh l deliveredstandard with a fruity colour , but not too not too much .Industrial Designer: Nah . Yeah .Marketing: Yes . Not not too uh {disfmarker} yeah .User Interface: Thisis banana and mango , not not purple or p orange and yellow .Marketing: Yeah , exactly .Project Manager: Yeah . But , the mai I think th uh the standard must besome kind of uh uh attractive flashy colours .Marketing: Yeah . Or blue or {disfmarker}Project Manager: Not too , but w a little ,User Interface: Ah . Mm-hmm.Project Manager: because that's our aim .Industrial Designer: Yeah ,User Interface: Yeah .Industrial Designer: li like like this like this .Project Manager: Yeah.Industrial Designer: This isn't this isn't too much , is it ?User Interface: Yeah , okay . No . Yeah .Industrial Designer: I fMarketing: {gap} .Project Manager: Well ,the buttons don't have to be uh all uh all of {gap}Industrial Designer: Yeah . {vocalsound} The buttons ,Marketing: Well I I I think so .Industrial Designer: I{disfmarker} {vocalsound}Marketing: Yeah , except for the buttons it's {disfmarker} it could be a standard model .Project Manager: yeah . It {disfmarker} Yeah.User Interface: Okay .Industrial Designer: Yeah , uh something like this would be nice .Project Manager: Okay .User Interface: Okay .Industrial Designer: Okay ,"}
+{"doc_id":"doc_82","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to the Children, Young People and Education committee this morning. We've received apologies forabsence from Siân Gwenllian and there is no substitute this morning. Can I ask if Members have got any declarations of interest they'd like to make, please? No?Okay. Thank you. Item 2 this morning, then, is a further session on our follow-up on our 'Mind over matter' report. I'm very pleased to welcome Carol Shillabeer,who is chief executive of Powys Teaching Health Board, and who manages the Together for Children and Young People programme. Thank you very much forattending, and thank you for the written update that you provided in advance to the committee. We've got a lot of ground that we want to cover this morning, soif it's okay we'll go straight into questions. If I can just start and ask you if you're satisfied with the progress that's been made since the programme wasestablished in 2015.Carol Shillabeer: Thank you very much for that question, Chair. I've got to say 'yes', in many regards. So, the key focus of the programme inthe early stages was about improving access to specialist child and adolescent mental health services. We developed the windscreen model—or we lifted thewindscreen model. Other models that are very similar have been talked about as well, and our big focus was on ensuring that we could make immediate progressaround access to specialist CAMHS. It's some years ago now since this committee did the original report, and obviously Healthcare Inspectorate Wales and theWales Audit Office had done reports in the past, and I think there was a need for a programme that could focus on action. You'll see in the written update that wecovered quite a large number of areas, and so therefore had to make a prioritisation. The prioritisation was at the specialist CAMHS end. We have provided thecommittee with a red, amber or green rating of where we feel that we were, and that was just before submission of the evidence. Overall I would say we havemade progress. I recognise you recognise that in your 'Mind over matter' report, and that is pleasing. What I would say, though, is that there's a still a lot to bedone. Certainly over the last nine months or so, we've seen a real momentum around the whole-school approach work, which we're not actually leading now as aprogramme, although we facilitated the workshop held in September. But that's got a real momentum, and the absolute priority now is the early help andenhanced support part of the work moving forward, and I'm sure we will come on to that in more detail. But we know there is more community workforce inspecialist CAMHS, we know we're seeing children in a shorter time frame, and we know we're accepting more referrals, so our indicators are telling us we aremaking progress.Lynne Neagle AM: Thank you. And you referred to the work on the whole-school approach, which is very welcome, and I recognise that theprogramme has been involved in driving that as well. But I'm sure you'll also recognise the emphasis that the committee has placed on this being a whole-systemapproach to children and young people's mental health, and we feel very strongly that if any of the areas get out of balance, then it will jeopardise the progress inother parts of the programme. Are there any particular areas where you feel you haven't made enough progress that you'd like to draw the committee's attentionto?Carol Shillabeer: This is maybe about what the programme's done, but really around the broader sense as well. I'm going to be very straight and say weshould have made more progress on psychological therapies. I'm disappointed that we haven't. I'm assured that we've got capacity in place now and the drive inplace to get the Matrics Cymru framework developed for children and young people. I've had discussions with the national psychological therapies committee,who have owned this, and we're working together more on this area. That's not to say for one minute that health boards and local areas haven't been working onpsychological therapy service provision and changing the models, but that is an area we should have made, I think, earlier progress on. There's been a generalreflection from myself and the Together for Children and Young People programme board over the phase of the programme. I think we started very strongly; Ithink we probably had a bit of a lull in the middle, if I'm truthful about that—we had a change of personnel, and we really gathered a momentum over the lastyear or 18 months, and that has helped to push us from a focus on specialist CAMHS into that whole-school approach. But, if I could just agree with yourcomments about the whole system, it has to be the whole system and that's why the real focus now on early help and enhanced support is critical. If I can justsay, in case I don't get a chance to say this later, I was delighted to see the focus on youth work yesterday, because what is clear is for that part, the early helpand enhanced support, this isn't just about the NHS and it's not just about education, it's about every part of the system, really, which does make it morecomplex. But I just wanted to say that I think that youth work has perhaps not have the recognition that it's needed and yesterday was a positive step.LynneNeagle AM: Okay, thank you. We've got some questions now on early help and enhanced support from Janet Finch-Saunders.Janet Finch-Saunders AM: Thankyou. Good morning. In terms of local primary mental health support services, what is your understanding of the issues leading to some health boards not meetingthe Mental Health (Wales) Measure 2010 targets for assessment and therapy for children and young people, and how much of this is due to an increase indemand?Carol Shillabeer: Yes, thanks very much. So, it's important to say, I think, at the outset, just by way of reminder, that the target, quite rightly, changedfor children and young people. The target changed some years ago for adults, so it was only right that there was an equalisation around children. So, the serviceswere working, a couple of years ago, with significant demand and then a change in the standard. I think you're absolutely right; your question alludes to the factthat some health boards are struggling to maintain the full performance around seeing children, particularly within the 28 days. I would say—. And we've hadsome discussion about whether the impact of the mental health Measure has actually drawn perhaps some of the workforce, the staff, who would have beenworking at that earlier stage in local primary mental health, into a bit more of the secondary element, which is why the review being undertaken by the NHSdelivery unit into primary care CAMHS is so critical, because, actually, if we don't have—and I believe we don't have—enough capacity in that part of the system,then referrals will move towards the more specialist end of this. So, I think we will have seen, by the evidence submission, that demand has increased, not just inWales but in the UK, and it has increased significantly. We are doing reasonably well at meeting that demand—so, we have more contacts, more staff, shorteraccess times, so that is a good news story. We've not got it completely sustained at this stage, and therefore the focus of the delivery unit's primary care CAMHSreport is what more can we do in that part of the system to help to see children and young people or provide consultation and liaison to others and support peopleat that level of intervention.Janet Finch-Saunders AM: Thank you. I know, from my own experience as a constituency AM, I have families who tell me that theycan't get into the early interventions and eventually things just become so—they end up in the more specialist ones and believe that that's—. And I don't like toput it in resource terms, but it's false economy in terms of the impact on the child and the family, but, obviously, in terms of cost as well. Do you find that that's acommon theme across Wales?Carol Shillabeer: Yes. I think that the thrust of that is absolutely right. So, we absolutely need to see children and families at theearliest intervention and that's why this is a whole system, not compartmentalised. I think there have been really good attempts in a couple of areas of thatgreater reach out and that earlier help—hot clinics and those sorts of initiatives that help people not to get in a long queue for specialist CAMHS, but can besupported, often by telephone, at that earlier stage. My sense of where we go next, in terms of, you know, you talk about early help and enhanced support for allthe 'missing middle', as you referred to it in your report, is to make sure we've got a fully joined-up, multi-agency team approach to that. And I think that willneed some resourcing to support that, yet to be fully determined. But yesterday's announcement about youth work, the Government's commitment to primarycare, CAMHS, et cetera—that's all going to be very helpful to prevent those young people having to go into specialist CAMHS. And just a final note on that, if Imay—at the beginning of the programme, we had a report from Hafal called 'Making Sense' and there were 10 key asks, if you like, of the system and the servicefrom young people who had experience of the service. They said, 'Please don't medicalise it'—I'm paraphrasing now, of course—'Please don't medicalise it; pleasefocus on supporting teachers and others who can support us at an earlier stage and then, when we really need help, please ensure that it is there at that morespecialist level.' That's been a bit of a guiding principle for the programme. So, that reflects the questions that you were asking, really.Janet Finch-Saunders AM:Thank you. What are the outcomes of the stakeholder workshop held last week on early help and enhanced support? And how are the actions going to be takenforward and implemented? And also, given that the Together for Children and Young People programme comes to an end in October of this year, who, in yourview, is best placed to forward this work stream, and what will be the biggest challenges? It's a bit of a long question, so, break it up however you like.CarolShillabeer: That's absolutely fine.Janet Finch-Saunders AM: And what will be the biggest challenges that they will face?Carol Shillabeer: Yes, I think that'shelpfully laid out in three stages. So, you're absolutely right, there was a highly successful workshop last week really focusing on early help and enhancedsupport. It brought all of the agencies together, which was—and actually had a bit of a waiting list, apparently, for places. So, there was a lot of demand and a lotof interest in this. In relation to the next steps, there is a planning group reflection in early July, in terms of the outcomes of the workshop or the outputs of theworkshop, and there are three commitments that have been made to this stage. One is that we develop those values-led approaches that will bring multipleagencies together to have that common purpose. The second one is to develop the ingredients for successful working in this area, and then, thirdly, to determineor propose priorities and sequencing of next steps. So, that's the next stage of that. I'm pretty sure we'll come on shortly—or hopefully—to the potential of theregional partnership boards. There is some work that we are doing as a programme with the children's commissioner in terms of working more with the regional"}
+{"doc_id":"doc_83","qid":"","text":"Project Manager: Okay Right {vocalsound} Um well this is the kick-off meeting for our our project . Um {vocalsound} and um this is just what we're gonna bedoing over the next twenty five minutes . Um so first of all , just to kind of make sure that we all know each other ,Marketing: Mm-hmm .Project Manager: I'mLaura and I'm the project manager . {vocalsound} Do you want to introduce yourself again ?Marketing: Great .Industrial Designer: Hi , I'm David and I'msupposed to be an industrial designer .Project Manager: Okay .Marketing: And I'm Andrew and I'm uh our marketingUser Interface: Um I'm Craig and I'm UserInterface .Marketing: expert .Project Manager: Great . Okay . {vocalsound} Um so we're designing a new remote control and um {disfmarker} Oh I have torecord who's here actually . So that's David , Andrew and Craig , isn't it ? And you all arrived on time . Um yeah so des uh {vocalsound} design a new remotecontrol . Um , as you can see it's supposed to be original , trendy and user friendly . Um so that's kind of our our brief , as it were . Um and so there are threedifferent stages to the design . Um I'm not really sure what what you guys have already received um in your emails . What did you get ?Industrial Designer: Um ,I just got the project announcement about what the project is {vocalsound} .Project Manager: Mm-hmm .Industrial Designer: Designing a remote control.Marketing: Mm-hmm .Industrial Designer: That's about it , didn't get anything else .Marketing: Mm-hmm . Yeah , that's that's it .Project Manager: Is that whateverybody got ?Industrial Designer: Did you get the same thing ?User Interface: Yeah .Project Manager: Okay .Marketing: Yeah .Project Manager: Um . So we'regonna have like individual work and then a meeting about it . And repeat that process three times . Um and at this point we get try out the whiteboard over there. Um . {vocalsound} So uh you get to draw your favourite animal and sum up your favourite characteristics of it . So who would like to go first ?Marketing: I willgo . That's fine .Project Manager: Very good . {vocalsound}Marketing: Alright . So {disfmarker} {vocalsound} {vocalsound} This one here , right ?ProjectManager: Mm-hmm .Marketing: Okay . Very nice . Alright . My favourite animal is like {disfmarker} {vocalsound} {vocalsound} A beagle .Project Manager:{vocalsound}Marketing: Um charac favourite characteristics of it ? Is that right ?Project Manager: Yeah . Yeah .Marketing: Uh , right , well basically um highpriority for any animal for me is that they be willing to take a lot of physical affection from their family . And , yeah that they have lots of personality and uh be fitand in robust good health .Industrial Designer: {vocalsound}Marketing: So this is blue . Blue beagle . My family's beagle .Project Manager: Right .Marketing:{vocalsound}Project Manager: Lovely . {vocalsound}User Interface: {gap} Well , my favourite animal would be a monkey .Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Then they're small cute and furry , and uh when planet of the apes becomes real ,{vocalsound} I'm gonna be up there with them .Marketing: {vocalsound}Industrial Designer: Cool .Project Manager: Right .User Interface: {vocalsound}{vocalsound}Industrial Designer: There's too much gear . {vocalsound}Project Manager: You can take as long over this as you like , because we haven't got anawful lot to discuss .Industrial Designer: {vocalsound}Project Manager: Ok oh we do we doUser Interface: {vocalsound}Project Manager: Don't feel like you're ina rush , anyway .Industrial Designer: Okay .Marketing: I coulda told you a whole lot more about beagles .Project Manager: Ach {gap} why not{disfmarker}Marketing: Boy , let me tell you . {vocalsound}Project Manager: We might have to get you up again then .User Interface: {vocalsound}ProjectManager: I don't know what mine is . I'm gonna have to think on the spot now .Marketing: Impressionist .Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: Can't draw . {vocalsound}User Interface: {vocalsound}Industrial Designer: Um .Project Manager: Is that a whale ?{vocalsound}Industrial Designer: Yeah . Um , well anyway , I don't know , it's just the first animal I can think off the top of my head . Um . Yes . Big reason is'cause I'm allergic to most animals . Allergic to animal fur ,Project Manager: Ah .Industrial Designer: so um fish was a natural choice . Um , yeah , and I kind oflike whales . They come in and go {vocalsound} eat everything in sight . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer:And they're quite harmless and mild and interesting .Marketing: {vocalsound} Alright . Mm .Project Manager: Okay . God , I still don't know what I'm gonna writeabout . Um .Marketing: Superb sketch , by the way .Industrial Designer: {vocalsound} Tail's a bit big , I think . {vocalsound}Project Manager: I was gonnachoose a dog as well .Marketing: {vocalsound}Project Manager: But I'll just draw a different kind of dog .Marketing: Yep .Project Manager: M my favourite animalis my own dog at home . {vocalsound} Um {disfmarker} That doesn't really look like him , actually . He looks more like a pig , actually . Ah well .Marketing: I seea dog in there .Project Manager: Do you ?User Interface: {vocalsound}Project Manager: Oh that's very good of you .Marketing: Yep . {vocalsound} Now I see arooster .Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: Uh .Marketing: What kind is it ?ProjectManager: Um he's a mixture of uh various things . Um and what do I like about him , um {disfmarker} That's just to suggest that his tail wags .Marketing:{vocalsound}Industrial Designer: {vocalsound}Project Manager: Um he's very friendly and cheery and always pleased to see you , and very kind of affectionateand um {vocalsound} uh and he's quite quite wee as well so you know he can {disfmarker} doesn't take up too much space .Marketing: {vocalsound}ProjectManager: Um and uh {disfmarker} And he does a funny thing where he chases his tail as well ,Industrial Designer: {vocalsound}Project Manager: which is quiteamusing , so {disfmarker}Marketing: Is he aware that th it's his own cha tail he's chasing ?Project Manager: It is . I think it is . He only does it after he's had hisdinnerMarketing: {vocalsound}Project Manager: and um he'll just all of a sudden just get up and start chasing his tail 'round the living room .Industrial Designer:{vocalsound} It's an after dinner dog then .Marketing: Hmm .Project Manager: Yeah , so uh {disfmarker}Marketing: Probably when he was little he got lots ofattention for doing it and has forever been conditioned .Project Manager: Yeah , maybe . Maybe . {vocalsound} Right , um where did you find this ?Marketing:{vocalsound}Project Manager: Just down here ? Yeah .Industrial Designer: {vocalsound}Project Manager: Okay . {vocalsound} Um what are we doing next ? Uhum . Okay , uh we now need to discuss the project finance . Um so according to the brief um we're gonna be selling this remote control for twenty five Euro , umand we're aiming to make fifty million Euro . Um so we're gonna be selling this on an international scale . And uh we don't want it to cost any more than uh twelvefifty Euros , so fifty percent of the selling price .Marketing: 'Kay . Um , can we just go over that again ?Project Manager: Sure .Marketing: Uh , so bas at twelAlright , yeah . Okay . So cost {disfmarker} like production cost is twelve fifty ,Project Manager: All together .Marketing: but selling price is {disfmarker} is thatwholesale or retail ? Like on the shelf .Project Manager: Um I dunno . I imagine {disfmarker} That's a good question .Marketing: Our sale our sale anyway.Project Manager: I imagine it probably is our sale actuallyMarketing: Yeah , okay okay .Project Manager: because it's probably up to the the um the retailer to uhsell it for whatever price they want . Um .Marketing: Okay . Mm-hmm .Project Manager: But I {disfmarker} I don't know ,Marketing: Alright .Project Manager: Imean do you think the fact that it's going to be sold internationally will have a bearing on how we design it at all ?Marketing: Yes . {vocalsound}Project Manager:Think it will ? Um .Marketing: Mm-hmm . Mm-hmm .Project Manager: {vocalsound} Hmm .Marketing: Well right away I'm wondering if there's um th th uh , likewith D_V_D_ players , if there are zones .Project Manager: Oh yeah , regions and stuff , yeah .Marketing: Um f frequencies or somethingProject Manager: Yeah .Okay .Marketing: um as well as uh characters , um different uh keypad styles and s symbols .Industrial Designer: Hmm .Project Manager: Yeah . Well for aremote control , do you think that will be {disfmarker}Marketing: Um .Project Manager: I suppose it's depends on how complicated our remote control is.Marketing: I don't know . Yeah .Industrial Designer: It does make sense from maybe the design point of view 'cause you have more complicated characters likeEuropean languages , then you need more buttons .Project Manager: Yeah , yeah .Marketing: Yeah .Industrial Designer: So , possibly .Marketing: Yeah .ProjectManager: Okay .Marketing: And then a and then al the other thing international is on top of the price . I'm thinking the price might might appeal to a certainmarket in one region , whereas in another it'll be different , so {disfmarker}Project Manager: What , just like in terms of like the wealth of the country?Marketing: Just a chara just a characteristic of the {disfmarker}Project Manager: Like how much money people have to spend on things like ?Marketing: Just{disfmarker} Or just like , basic product podi positioning , the twenty five Euro remote control might be a big hit in London , might not be such a big hit in Greece, who knows ,Project Manager: Aye , I see what you mean , yeah .Marketing: something like that , yeah .Project Manager: Marketing . Good marketing thoughts.Marketing: {vocalsound} Yep .Project Manager: Oh gosh , I should be writing all this down . Um .Marketing: Right away I'm making some kind of assumptionsabout what what information we're given here ,Project Manager: Mm .Marketing: thinking , 'kay trendy probably means something other than just basic ,ProjectManager: Yeah .Marketing: something other than just standard . Um so I'm wondering right away , is selling twenty five Euros , is that sort of the {disfmarker}thi is this gonna to be like the premium product kinda thing or {disfmarker}Project Manager: Yeah , yeah . Like how much does , you know , a remote controlcost .Marketing: Uh-huh .Project Manager: Well twenty five Euro , I mean that's um that's about like eighteen pounds or something , isn't it ? Or no , is it as muchas that ?Marketing: Mm-hmm .Project Manager: Sixteen seventeen eighteen pounds .Marketing: Yep . Yeah , I'd say so , yeah .Project Manager: Um , I dunno ,I've never bought a remote control , so I don't know how how good a remote control that would get you . Um .Marketing: No . Yeah , yeah . {vocalsound}ProjectManager: But yeah , I suppose it has to look kind of cool and gimmicky .Marketing: Mm-hmm .Project Manager: Um right , okay . Let me just scoot on ahead here. Okay . Um well d Does anybody have anything to add to uh to the finance issue at all ? ThinMarketing: Do we have any other background information on like"}
+{"doc_id":"doc_84","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I've received no apologies forabsence. Can I ask Members if there are any declarations of interest, please? No. Okay, thank you. Item 2 this morning is our scrutiny session on Estyn's annualreport 2018-19. I'm very pleased to welcome Meilyr Rowlands, Her Majesty's Chief Inspector, Estyn; Jassa Scott, strategic director at Estyn; and Claire Morgan,strategic director at Estyn. Thank you all for attending. We're looking forward to hearing what you've got to say. We'll go straight into questions from SuzyDavies.Suzy Davies AM: Bore da. Good morning, everybody. Thank you for the papers upfront, in which you say that the most striking feature of the educationsystem, looking forward, of course is the curriculum and the change that that's bringing. How can we be sure that, during this period of change, standards don'tslip? And also, from the point of view of scrutiny, will we be back in a situation where we're being told, 'You can't compare one set of results against the previousyear's results, because of the nature of the change'?Meilyr Rowlands: Bore da, bawb. Thank you for the invitation to come here. I think that's a good question. Ithink any kind of major educational reform has got risks attached to it, particularly if those changes were made too quickly. I think this process of reform hasbeen going on in the background for a few years now, so I think there is a track record of standards and provision not slipping. We've seen small incrementalimprovements. So, overall, I think we can be fairly confident that standards won't slip during this period of preparation.Suzy Davies AM: Can I just ask: is thatbased on your evidence around primary schools, where the sort of ethos that we've seen in the curriculum has been already articulated through the foundationphase?Meilyr Rowlands: The track record I'm talking about is across the board, so it's very difficult to think of anything that's actually got worse over the lastthree or four years, so it's difficult to say that standards of provision is slipping. It might not be improving as quickly as we would like, but the purpose of majorcurriculum and, more generally, educational reform is to make sure that we do get a more substantial sort of improvement. I think we should congratulate theprofession for the work they've been doing. A large number of schools and teachers and leaders have been part of preparing the new curriculum and all theassociated work, as well as doing the day job. I think their commitment and their engagement with curriculum reform, and engagement with wider educationreform, is to be congratulated. So, I think going forward, we must make sure that that is continued; that this process that's called co-construction—engaging withthe profession, making sure that they're behind all the changes—continues. I think that's what's going to make sure that we don't see any slippage.Suzy DaviesAM: Okay, and on that point of comparing year on year, we will be able to make those comparisons legitimately then?Meilyr Rowlands: Yes, certainly, in terms ofour inspection outcomes and our inspection work, yes.Suzy Davies AM: Okay. That's great, thank you. Can I just ask you then about the difference inpreparedness between primary and secondary schools, which I've just mentioned previously, and also what your views are on the impact of funding for schools onthat as well? Because we're in a situation where a number of primary schools have got surplus funds, sometimes that's because of end of year additional fundsjust being magicked up, but there is a serious worry that so many secondary schools are in deficit and that, overall, secondary schools are in deficit. Is there acorrelation between those two positions, that secondary schools may be less ready for this than primary schools?Meilyr Rowlands: I think it's probably true to saythat secondary schools have a greater challenge than primary schools generally in terms of preparedness for the new curriculum. I think that's why we welcomedthe phasing in of the new curriculum. With any sort of education reform, you've got that danger of people wanting to see change as soon as possible on the onehand, and on the other hand you need time to pilot things, to make sure that people have the right professional learning and make sure that there's opportunityfor evaluation and thinking and so forth. So, we've got to get that balance right.Suzy Davies AM: Sorry, that could be difficult to do if a school doesn't havemoney to create that space, couldn't it?Meilyr Rowlands: Yes. You raised two issues, I think. One, about the difference between primary and secondary: I thinkwhat I'm saying there is I think the fact that the new curriculum is going to be brought in for all the years in primary, but it's going to be phased in year by yearfor secondary is a recognition of that difference. In terms of funding, probably everyone in this room, and certainly me included, would like to see more money forthe education system—any educationalist would like to see that. But, you know, that is a decision for local and central Government to decide how much they canafford. I think there is an argument for saying that the funding has become more challenging for schools over time.Suzy Davies AM: Can I ask, just to keep it ontrack, are you finding that that's having an impact on secondary schools particularly—their ability to make space to get their heads around the curriculum?MeilyrRowlands: I don't think you can make that straightforward correlation. But if you do look at surpluses and reserves, they have been more or less constant forprimary schools over a long period of time, but they have declined for secondary schools. So, I think there probably is an argument for saying that we need tolook at the funding of secondary schools in particular because, overall, they're in deficit now. So, I think there is an argument for looking at that. The other thingthat's worth saying about funding is that even a small decrease in real terms can be disproportionately time consuming to manage. So, you know, if you have alarge school and you have to maybe make one member of staff redundant, it can have a real big effect on the morale in the school. But also the time it takes forthe headteacher and the senior staff to make those decisions can take their eye off the educational ball because they're looking at these financial and staffingissues.Suzy Davies AM: Okay, thank you. Siân might develop that a little bit further on. The final question from me is: there's a general concern about thenumber of teachers that we have in the system at the moment, particularly at secondary level and in particular subjects as well. How do you think we canimprove that? What impact is it likely to have on the ability of secondary schools to really get a grip on this?Meilyr Rowlands: Obviously, the most importantresource for the education system is the teachers. So, it is a concern that recruitment is getting more and more difficult and that targets for initial teacher trainingare not being hit. And we're not seeing them hit, if I remember correctly, even in primary, let alone secondary. So, there is a challenge, and I think we've got tolook at this in the round. We've got to make sure that we have both a long-term strategy and a shorter term strategy for this. So, long term, we've got to makesure that education is an attractive option for young people and more mature people to want to go into. So, that is partly to do with workload and staff well-being.I think there's a general acceptance now that that needs to be higher up on the agenda, that people need to take that seriously, and there's work going onregarding the workload issue.Suzy Davies AM: I suppose what I'm coming to, and I will finish with this, Chair, is, we're asking our existing workforce to undertakea fair bit of continuous professional development—let's call it that—in order to get ready for this curriculum when they've barely got time for lunch as it is. Do youthink that's going to have an impact on the ability of secondary schools to get to grips with this, albeit that there'll be a phasing in?Meilyr Rowlands: Yes. I think itwill have an effect, but I think it'll have a positive effect. I think the new curriculum, one of the things about the new curriculum is that it re-professionalises theprofession. It gives back agency and ownership to teachers. I think it's really important. And one of the reasons why teaching maybe hasn't been that attractive aprofession is that teachers in the past have just been delivering a set curriculum, and now they've got a much more creative part in deciding for themselves howto teach something and what to teach. So, I think that is a very important part of attracting intelligent people into the profession.  There are short-term things weneed to do, of course, as well. I think we need to have a much more varied set of routes into teaching, so I welcome some of the part-time Open Universitycourses, for example. So, there are lots of ways—we were talking about maybe converting people from primary into secondary, particularly in Welsh-medium,where there's a shortage. So, all those kinds of varied routes, I think, into teaching, are important as well.Suzy Davies AM: Degree apprenticeships,potentially.Meilyr Rowlands: Yes, I think it's well worth exploring that. Yes.Suzy Davies AM: Lovely. Thank you. Thank you, Chair.Lynne Neagle AM: Okay. SiânGwenllian now has some questions on secondary schools causing concern. Siân.Sian Gwenllian AM: Yes. Just before going on to that, just to pick up on that lastpoint that you made about the shortage of teachers and losing teachers during the first year of their training. Has Estyn done any themed work on that particularissue, or do you intend to do anything on that? Also, looking at the financial incentives and how they compare with the situation in England, for example; do weneed, perhaps, to think about financial incentives, not just for specific subjects, but for going to schools where there are particular issues, perhaps?MeilyrRowlands: Well, yes, there are currently discussions ongoing between us and the Government about working in those early years for teachers. It's possible thatwe will be undertaking work in the near future on that. I know that Professor Mick Waters is looking at this currently, and we've had the discussion with him. AndI think we would welcome the opportunity to look at this particular period. Now, we are, of course, looking at initial teacher training, but we haven't looked at thefirst couple of years for many a year.Sian Gwenllian AM: Right, thank you very much. And for your information, I've commissioned a piece of work on thatparticular issue, and that work will be published in due course. So, I hope to have a discussion with you about that.Meilyr Rowlands: Thank you very much.Yes.Sian Gwenllian AM: In terms of the secondary schools, that’s where the problem lies, isn’t it, rather than the primary sector. How much of a concern is it toyou that children’s chances of going to a secondary school that is good or better appear to be 50:50, and that, indeed, over 10 per cent of secondary schools arejudged to be failing and 12 per cent are under Estyn review? How much of a concern is that to you?Meilyr Rowlands: Well, it is of concern to us, of course. I hopethat we will have an opportunity to talk about the positive aspects of the education system in Wales, because there are a number of good things we can report"}
+{"doc_id":"doc_85","qid":"","text":"Professor B: Is it starting now ?PhD E: Yep .Professor B: So what {disfmarker} what {disfmarker} from {disfmarker} what {disfmarker}Grad A: Hello ?ProfessorB: Whatever we say from now on , it can be held against us , right ?PhD E: That 's right .Professor B: and uhGrad A: It 's your right to remain silent .Professor B:Yeah . So I {disfmarker} I {disfmarker} the {disfmarker} the problem is that I actually don't know how th these held meetings are held , if they are very informaland sort of just people are say what 's going onPhD E: Yeah .Professor B: andPhD E: Yeah , that 's usually what we do .Professor B: OK .PhD E: We just sorta goaround and people say what 's going on , what 's the latest uh {disfmarker}Professor B: Yeah . OK . So I guess that what may be a {disfmarker} reasonable is if Iuh first make a report on what 's happening in Aurora in general , at least what from my perspective .PhD E: Yeah . That would be great .Professor B: And{disfmarker} and uh so , I {disfmarker} I think that Carmen and Stephane reported on uh Amsterdam meeting ,PhD D: Uh oProfessor B: which was kind ofinteresting because it was for the first time we realized we are not friends really , but we are competitors . Cuz until then it was sort of like everything was likewonderful and {disfmarker}PhD E: Yeah . It seemed like there were still some issues ,Professor B: Yeah .PhD E: right ? that they were trying to decide ?ProfessorB: There is a plenty of {disfmarker} there 're plenty of issues .PhD E: Like the voice activity detector ,Professor B: Well and what happened was that they realizedthat if two leading proposals , which was French Telecom Alcatel , and us both had uh voice activity detector . And I said \" well big surprise , I mean we couldhave told you that {pause} n n n four months ago , except we didn't because nobody else was bringing it up \" .PhD E: Right .Professor B: Obviously FrenchTelecom didn't volunteer this information either , cuz we were working on {disfmarker} mainly on voice activity detector for past uh several monthsPhD E: Right.Professor B: because that 's buying us the most uh thing . And everybody said \" Well but this is not fair . We didn't know that . \" And of course uh the{disfmarker} it 's not working on features really . And be I agreed .PhD E: Right .Professor B: I said \" well yeah , you are absolutely right , I mean if I wish thatyou provided better end point at speech because uh {disfmarker} or at least that if we could modify the recognizer , uh to account for these long silences ,because otherwise uh that {disfmarker} that {disfmarker} th that wasn't a correct thing . \" And so then ev ev everybody else says \" well we should {disfmarker}we need to do a new eval evaluation without voice activity detector , or we have to do something about it \" .PhD E: Right .Professor B: And in principle I{disfmarker} uh I {disfmarker} we agreed .PhD E: Mm - hmm .Professor B: We said uh \" yeah \" . Because uh {disfmarker} but in that case , uh we would like tochange the uh {disfmarker} the algorithm because uh if we are working on different data , we probably will use a different set of tricks .PhD E: Right .ProfessorB: But unfortunately nobody ever officially can somehow acknowledge that this can be done , because French Telecom was saying \" no , no , no , now everybodyhas access to our code , so everybody is going to copy what we did . \" Yeah well our argument was everybody ha has access to our code , and everybody alwayshad access to our code . We never uh {disfmarker} uh denied that . We thought that people are honest , that if you copy something and if it is protected{disfmarker} protected by patent then you negotiate , or something ,PhD E: Yeah . Right .Professor B: right ? I mean , if you find our technique useful , we arevery happy .PhD E: Right .Professor B: But {disfmarker} And French Telecom was saying \" no , no , no ,PhD E: Mm - hmm .Professor B: there is a lot of littletricks which uh sort of uh cannot be protected and you guys will take them , \" which probably is also true . I mean , you know , it might be that people will takeuh uh th the algorithms apart and use the blocks from that . But I somehow think that it wouldn't be so bad , as long as people are happy abou uh uh uh honestabout it .PhD E: Yeah .Professor B: And I think they have to be honest in the long run , because winning proposal again {disfmarker} uh what will be available this {disfmarker} will be a code . So the uh {disfmarker} the people can go to code and say \" well listen this is what you stole from me \"PhD E: Mm - hmm.Professor B: you know ?PhD E: Right .Professor B: \" so let 's deal with that \" .PhD E: Right .Professor B: So I don't see the problem . The biggest problem ofcourse is that f that Alcatel French Telecom cl claims \" well we fulfilled the conditions . We are the best . Uh . We are the standard . \" And e and other people don'tfeel that , because they {disfmarker} so they now decided that {disfmarker} that {disfmarker} is {disfmarker} the whole thing will be done on well - endpointeddata , essentially that somebody will endpoint the data based on clean speech , because most of this the SpeechDat - Car has the also close speaking mike andendpoints will be provided .PhD E: Mm - hmm . Ah .Professor B: And uh we will run again {disfmarker} still not clear if we are going to run the {disfmarker} if weare allowed to run uh uh new algorithms , but I assume so . Because uh we would fight for that , really . uh but {disfmarker} since uh u u n u {disfmarker} atleast our experience is that only endpointing a {disfmarker} a mel cepstrum gets uh {disfmarker} gets you twenty - one percent improvement overall and twenty- seven improvement on SpeechDat - CarPhD E: Hmm .Professor B: then obvious the database {disfmarker} uh I mean the {disfmarker} the {disfmarker} the{disfmarker} uh the baseline will go up . And nobody can then achieve fifty percent improvement .PhD E: Right .Professor B: So they agreed that uh there will bea twenty - five percent improvement required on {disfmarker} on uh h u m bad mis badly mismatched {disfmarker}PhD E: But wait a minute , I thought theendpointing really only helped in the noisy cases .Professor B: It uh {disfmarker}PhD E: Oh , but you still have that with the MFCC .Professor B: Y yeah .PhD E:OK .Professor B: Yeah but you have the same prob I mean MFCC basically has an enormous number of uh insertions .PhD E: Yeah . Right . Yeah . Yeah . Yeah.Professor B: And so , so now they want to say \" we {disfmarker} we will require fifty percent improvement only for well matched condition , and only twenty -five percent for the serial cases . \"PhD E: Hmm .Professor B: And uh {disfmarker} and they almost agreed on that except that it wasn't a hundred percent agreed. And so last time uh during the meeting , I just uh brought up the issue , I said \" well you know uh quite frankly I 'm surprised how lightly you are making thesedecisions because this is a major decision . For two years we are fighting for fifty percent improvement and suddenly you are saying \" oh no we {disfmarker} wewill do something less \" , but maybe we should discuss that . And everybody said \" oh we discussed that and you were not a mee there \" and I said \" well a lot ofother people were not there because not everybody participates at these teleconferencing c things . \" Then they said \" oh no no no because uh everybody isinvited . \" However , there is only ten or fifteen lines , so people can't even con you know participate . So eh they agreed , and so they said \" OK , we will discussthat . \" Immediately Nokia uh raised the question and they said \" oh yeah we agree this is not good to to uh dissolve the uh uh {disfmarker} the uh {disfmarker}the criterion . \"PhD E: Mm - hmm .Professor B: So now officially , Nokia is uh uh complaining and said they {disfmarker} they are looking for support , uh I thinkQualComm is uh saying , too \" we shouldn't abandon the fifty percent yet . We should at least try once again , one more round . \"PhD E: Mm - hmm .Professor B:So this is where we are .PhD E: Mm - hmm .Professor B: I hope that {disfmarker} I hope that this is going to be a adopted .PhD E: Hmm .Professor B: NextWednesday we are going to have uh another uh teleconferencing call , so we 'll see what uh {disfmarker} where it goes .PhD E: So what about the issue of umthe weights on the {disfmarker} for the different systems , the well - matched , and medium - mismatched and {disfmarker}Professor B: Yeah , that 's what{disfmarker} that 's a g very good uh point , because David says \" well you know we ca we can manipulate this number by choosing the right weights anyways . \"So while you are right but {disfmarker} uh you know butPhD E: Mm - hmm .Professor B: Uh yeah , if of course if you put a zero {disfmarker} uh weight zero on amismatched condition , or highly mismatched then {disfmarker} then you are done .PhD E: Mm - hmm .Professor B: But weights were also deter already decideduh half a year ago . So {disfmarker}PhD E: And they 're the {disfmarker} staying the same ?Professor B: Well , of course people will not like it . Now{disfmarker} What is happening now is that I th I think that people try to match the criterion to solution .PhD E: Mm - hmm .Professor B: They have solution .Now they want to {vocalsound} make sure their criterion is {disfmarker}PhD E: Right .Professor B: And I think that this is not the right way .PhD E: Yeah.Professor B: Uh it may be that {disfmarker} that {disfmarker} Eventually it may ha may ha it may have to happen . But it 's should happen at a point whereeverybody feels comfortable that we did all what we could .PhD E: Mm - hmm .Professor B: And I don't think we did .PhD E: Mm - hmm .Professor B: Basically , Ithink that {disfmarker} that this test was a little bit bogus because of the data and uh essentially {pause} there were these arbitrary decisions made , and{disfmarker} and everything . So , so {disfmarker} so this is {disfmarker} so this is where it is . So what we are doing at OGI now is uh uh uh working basicallyon our parts which we I think a little bit neglected , like noise separation . Uh so we are looking in ways is {disfmarker} in uh which {disfmarker} uh with whichwe can provide better initial estimate of the mel spectrum basically , which would be a l uh , f more robust to noise , and so far not much uh success .PhD E:Hmm .Professor B: We tried uh things which uh a long time ago Bill Byrne suggested , instead of using Fourier spectrum , from Fourier transform , use thespectrum from LPC model . Their argument there was the LPC model fits the peaks of the spectrum , so it may be m naturally more robust in noise . And Ithought \" well , that makes sense , \" but so far we can't get much {disfmarker} much out of it .PhD E: Hmm .Professor B: uh we may try some standardtechniques like spectral subtraction and {disfmarker}PhD E: You haven't tried that yet ?Professor B: not {disfmarker} not {disfmarker} not much . Or even I wasthinking about uh looking back into these totally ad - hoc techniquesPhD E: Hmm .Professor B: like for instance uh Dennis Klatt was suggesting uh the one way touh deal with noisy speech is to add noise to everything .PhD E: Hmm !Professor B: So . {comment} I mean , uh uh add moderate amount of noise to all data.PhD E: Oh !Professor B: So that makes uh th any additive noise less addi less a a effective ,PhD E: I see .Professor B: right ? Because you already uh had the"}
+{"doc_id":"doc_86","qid":"","text":"Grad F: OK .PhD C: Adam , what is the mike that , uh , Jeremy 's wearing ? Grad F: It 's the ear - plug mike .Postdoc A: Ear - plug .PhD E: That 's good .PhD C: Isthat a wireless , or {disfmarker} ? Oh .Grad F: No .Grad G: It 's wired .Professor B: Oh !Postdoc A: Is that {disfmarker} Does that mean you can't hear anythingduring the meeting ?Grad D: It 's old - school .Grad F: Huh ? What ? Huh ?Professor B: Should we , uh , close the door , maybe ?Grad F: It {disfmarker} it 's afairly good mike , actually .Professor B: So it 's {disfmarker} Yeah . Huh .Grad F: Well , I shouldn't say it 's a good mike . All I really know is that the signal levelis OK . I don't know if it 's a {disfmarker} the quality .Professor B: Well , that 's aGrad F: Ugh ! So I didn't send out agenda items because until five minutes agowe only had one agenda item and now we have two . So . {vocalsound} And , uh .Professor B: OK . So , just to repeat the thing bef that we said last week , itwas there 's this suggestion of alternating weeks on {vocalsound} more , uh , automatic speech recognition related or not ? Was that sort of {pause} the division?Grad F: Right .Professor B: So which week are we in ?Grad F: Well {disfmarker} We haven't really started , but I thought we more {disfmarker} we more or lessdid Meeting Recorder stuff last week , so I thought we could do , uh {disfmarker}Professor B: I thought we had a thing about speech recognition last week too.PhD C: Yeah .Grad F: But I figure also if they 're short agenda items , we could also do a little bit of each .Professor B: Yeah .Grad F: So . I seem to be havingdifficulty getting this adjusted . Here we go .Professor B: OK .Grad F: So , uh , as most of you should know , I did send out the consent form thingies and , uh , sofar no one has made any {disfmarker} Ach ! {comment} {comment} any comments on them . So , no on no one has bleeped out anything .Professor B: Um .Yeah .Grad F: So . I don't expect anyone to . But .Professor B: Um . {vocalsound} So , w what follows ? At some point y you go around and get people to signsomething ?Grad F: No . We had spoken w about this beforeProfessor B: Yeah , but I 've forgotten .Grad F: and we had decided that they have {disfmarker} theyonly needed to sign once . And the agreement that they already signed simply said that we would give them an opportunity . So as long as we do that , we 'recovered .Professor B: And how long of an opportunity did you tell them ?Grad F: Uh , July fifteenth .Professor B: July fifteenth . Oh , so they have a plenty of time, and yGrad F: Yep .Professor B: Given that it 's that long , um , um {disfmarker} Why was that date chosen ? You just felt you wanted to {disfmarker} ?Grad F:Jane told me July fifteenth . So , that 's what I set it .Postdoc A: Oh . I just meant that that was {pause} the release date that you had on the {pause} data.Professor B: Oh , OK .Grad F: Oh . I {disfmarker} I didn't understand that there was something specific .Postdoc A: I , uh {disfmarker} I thought{disfmarker}Grad F: You {disfmarker} y you had {disfmarker}Professor B: I don't {disfmarker}Grad F: I had heard July fifteenth , so that 's what I put .PostdocA: Mm - hmm .Professor B: No , the only {disfmarker} th the only {pause} mention I recall about that was just that July fifteenth or so is when {vocalsound} thismeeting starts .Grad F: So .Postdoc A: That 's right . That 's why .Professor B: Oh , I see .Postdoc A: You said you wanted it to be available then .Professor B: OK.Postdoc A: I didn't mean it to be the hard deadline .Professor B: Right .Postdoc A: It 's fine with me if it is , or we cou But I thought it might be good to remindpeople two weeks prior to thatProfessor B: wPostdoc A: in case , uh {disfmarker} you know , \" by the way {pause} this is your last {disfmarker} \"Professor B:Right .Postdoc A: Uh . Yeah .Professor B: We probably should have talked about it , cuz i because if we wanna be able to give it to people July fifteenth , ifsomebody 's gonna come back and say \" OK , I don't want this and this and this used \" , uh , clearly we need some time to respond to that . Right ?Grad F: Yeah .As I said , we {disfmarker} I just got one dateProfessor B: Yeah .PhD H: Damn !Grad F: and that 's the one I used .Professor B: Yeah .Grad F: So . But I can senda follow - up . I mean , it 's almost all us . I mean the people who are in the meeti this meeting was , uh , these {disfmarker} the meetings that {disfmarker} in{disfmarker} are in set one .PhD C: Was my {disfmarker} was my response OK ?Postdoc A: That 's right .PhD C: I just wrote you {disfmarker} replied to theemail saying they 're all fine .Grad F: Right . I mean , that 's fine .PhD C: OK , good .Grad F: I {disfmarker} we don't {disfmarker} My understanding of what we{pause} had agreed upon when we had spoken about this months ago was that , uh , we don't actually need a reply .PhD C: That makes it easy .Grad F: We justneed to tell them that they can do it if they want .Professor B: OK . I just didn't remember , but {disfmarker}Grad F: And so no reply is no changes .Postdoc A:And he 's got it so that the default thing you see when you look at the page is \" OK \" .Professor B: OK .Postdoc A: So that 's very clear all the way down the page ,\" OK \" . And they have two options they can change it to . One of them is {pause} \" censor \" , and the other one is \" incorrect \" . Is it {disfmarker} is{disfmarker} your word is \" incorrect \" ?Grad F: Right .Postdoc A: Which means also we get feedback on {pause} if {pause} um , there 's something that they wthat needs to be {pause} adjusted , because , I mean , these are very highly technical things . I mean , it 's an added , uh , level of checking on the accuracy ofthe transcription , as I see it . But in any case , people can agree to things that are wrong .Grad F: Well {disfmarker}Postdoc A: So .Grad F: Yeah . The reason Idid that it was just so that people would not censor {disfmarker} not ask to have stuff removed because it was transcribed incorrectly ,Postdoc A: And the reasonI liked it was because {disfmarker}Grad F: as opposed to , uh {disfmarker}Postdoc A: was because it , um {disfmarker} it gives them the option of , uh , beingable to correct it .Grad F: Right .Postdoc A: Approve it and correct it . And {pause} um . So , you have {pause} it nicely set up so they email you and , uh{disfmarker}Grad F: When they submit the form , it gets processed and emailed to me .Postdoc A: Mm - hmm . Mm - hmm . And I wanted to say the meetingsthat are involved in that set are Robustness and Meeting Recorder .Grad F: So .Postdoc A: The German ones will be ready for next week . Those are three{disfmarker} three of those . A different set of people . And we can impose {disfmarker}PhD C: The German ones ?Postdoc A: Uh , well .PhD H: Yeah . Those{disfmarker} uh {disfmarker}Professor B: NSA .Postdoc A: OK . I spoke loosely . The {disfmarker} the German , French {disfmarker} Sorry , the German ,{vocalsound} Dutch , and Spanish ones .PhD E: Spanish . Yeah .Grad F: Mm - hmm .PhD C: Oh , those are the NSA meetings ?PhD E: The non - native{disfmarker}PhD H: Those are {disfmarker}Postdoc A: Yeah . Uh - huh .Professor B: German , Dutch , Swiss and Spanish .PhD C: Oh , oh ! OK .PhD E: The allnon - native {disfmarker}Postdoc A: That 's {disfmarker} that 's {disfmarker} that 's rGrad F: Mm - hmm .PhD H: Uh - huh .PhD C: OK . I 'd {disfmarker} IdPostdoc A: Yeah . {pause} It 's the other group .Professor B: I It was the network {disfmarker} network services group .PhD C: OK .Postdoc A: Uh - huh . Yeah, exactly . Yeah .Professor B: Yeah .Postdoc A: I didn't mean to {pause} isolate them .Professor B: Otherwise known as the German , Dutch , and Spanish.Postdoc A: Yeah . Sorry . It was {disfmarker} it was not the best characterization .Grad F: Mm - hmm .Postdoc A: But what {disfmarker} {vocalsound} what Imeant to say was that it 's the other group that 's not {disfmarker} n no m no overlap with our present members . And then maybe it 'd be good to set an explicitdeadline , something like {pause} a week {pause} before that , uh , J July fifteenth date , or two weeks before .Professor B: I mean , I would suggest we discuss{disfmarker} I mean , if we 're going to have a policy on it , that we discuss the length of time that we want to give people ,Grad F: Mm - hmm .Professor B: sothat we have a uniform thing . So , tha that 's a month , which is fine . I mean , it seems {disfmarker}PhD C: Twelve hours .Grad F: Well , the only thing I said inthe email is that {pause} the data is going to be released on the fifteenth . I didn't give any other deadline .Postdoc A: Mm - hmm .Grad F: So my feeling is ifsomeone after the fifteenth says , \" wow I suddenly found something \" , we 'll delete it from our record . We just won't delete it from whatever 's already beenreleased .Postdoc A: Hmm . That 's a little bit difficult .Grad F: What else can we do ?Postdoc A: Yeah .Grad F: If someone says \" hey , look , I {pause} foundsomething in this meeting and {pause} it 's libelous and I want it removed \" . What can we do ?Postdoc A: Well . {pause} That 's true .Grad F: We have toremove it .Postdoc A: I {disfmarker} I agree with that part , but I think that it would {disfmarker} it , uh {disfmarker} we need to have , uh , a {disfmarker} a{disfmarker} a message to them very clearly that {vocalsound} beyond this date , you can't make additional changes .Professor B: I mean , um , I {disfmarker}I {disfmarker} {vocalsound} i I think that somebody might {pause} request something even though we say that . But I think it 's good to at least start someplace like that .Postdoc A: Mm - hmm . Good .Professor B: So if we agreed , {vocalsound} OK , how long is a reasonable amount of time for people to have{disfmarker} if we say two weeks , or if we say a month , I think we should just say that {disfmarker} say that , you know , i a as {pause} um , {vocalsound} \"per the {disfmarker} the {disfmarker} the , uh , page you signed , you have the ability to look over this stuff \" and so forth \" and , uh , because we w \" these , uh{disfmarker} I would {disfmarker} I would imagine some sort of generic thing that would say \" because we , uh , will continually be making these things available{vocalsound} to other researchers , uh , this can't be open - ended and so , uh , uh , please give us back your response within this am you know , within thisamount of time \" , whatever time we agree upon .Grad F: Well , did you read the email and look at the pages I sent ?Professor B: Did I ? No , I haven't yet . No ,just {disfmarker}Grad F: No . OK , well why don't you do that and then make comments on what you want me to change ?Professor B: No , no . I 'm not sayingthat you should change anything . I I 'm {disfmarker} what I 'm {disfmarker} what I 'm {disfmarker} {vocalsound} I 'm trying to spark a discussion hopefullyamong people who have read it so that {disfmarker} that you can {disfmarker} {vocalsound} you can , uh , decide on something .Postdoc A: Mm - hmm.Professor B: So I 'm not telling you what to decide .Postdoc A: Mm - hmm .Professor B: I 'm just saying you should decide something ,Postdoc A: OK .ProfessorB: and then {disfmarker}Grad F: I already did decide something , and that 's what 's in the email .Postdoc A: Yeah , yeah . OK , so {disfmarker}Grad F: And ifyou disagree with it , why don't you read it and give me comments on it ?Postdoc A: Yeah . Well {disfmarker} I {disfmarker} I think that there 's one missing line"}
+{"doc_id":"doc_87","qid":"","text":"Project Manager: Hello again .User Interface: Hello .Industrial Designer: Hi . {vocalsound}Marketing: Hey , Project Manager .Project Manager: {vocalsound}UserInterface: Um , Project Manager , I have something to tell you .Project Manager: Mm yeah .User Interface: I have a little problems with my laptop .ProjectManager: Okay .User Interface: And uh s s s so I had a little less time to complete .Project Manager: Okay .User Interface: No , a little problem , uh {vocalsound}big problem . I just thought {disfmarker}Marketing: What was it , problem ?User Interface: Um , it didn't work anymore . {vocalsound}Marketing: The laptop?User Interface: The entire Windows uh {disfmarker}Marketing: It hang {disfmarker} hung .User Interface: It it hung . {vocalsound}Project Manager:{vocalsound}Marketing: Ha-ha . Oh . Project Manager .Project Manager: {vocalsound} Yes . {vocalsound} Yes .Industrial Designer: {vocalsound}Marketing:You're our Project Manager .Project Manager: {vocalsound} Your project manager . {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound}Project Manager: Welcome to the conceptual design meetingIndustrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}ProjectManager: for Real Reaction .Marketing: {vocalsound}Project Manager: Uh , hello again . Uh it's uh the same as the last time . Uh uh , also this time there will beuh three presentations .Industrial Designer: {vocalsound}Project Manager: And we um must uh reach a decision on uh the remote control concepts . Um uh , andat the end , uh I uh , when I finish it off I have some uh input from uh a master class I uh {vocalsound} visited . {vocalsound} {gap} information .{vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: During lunch , yeah .Marketing: Master .User Interface: He's the master ,yeah . {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: The the the the the concepts on uh{disfmarker} we uh {disfmarker} where we uh must reach a decision on . Um uh , our {disfmarker} from uh are of two sorts .Marketing: Master of{disfmarker}Project Manager: Components concepts and user interface concepts . Uh , the first one is uh really about the the the the the total package uh withuh {disfmarker} Well , we have decided to do a {disfmarker} do the uh {disfmarker} with a touch-screen that must be a case around it so uh it won't be uh uh asbreakable . Uh how how about the energy ? Can you uh can you reload it or uh just have batteries which you must exchange ? Uh , the user interface concept .Uh , with the type and uh the the supplements . So uh where to put what button . {vocalsound} And uh uh I would say uh {disfmarker} Jans , can you begin?Industrial Designer: Yeah , sure .Project Manager: Okay .Marketing: {vocalsound}Project Manager: At the end , uh {disfmarker} I will take notes uh and at theend of the minutes uh will uh be at the shared folder .Industrial Designer: Okay . Uh , let me see . I think it's this one . Ha .User Interface: Wow .IndustrialDesigner: Right . Uh , well , I'll be talking about the components .Marketing: {vocalsound}Industrial Designer: Uh , what I did was I reviewed previously useditems uh by uh two two uh different uh age groups .Project Manager: Mm-hmm .Industrial Designer: Uh below forty five and above . And uh I just uh watch whatthe differences are and I checked uh , well , what what d do we want , and {gap} how can we uh d aim a at uh the target group . Well uh what I found was that asenior um {disfmarker}Project Manager: {vocalsound}Industrial Designer: {vocalsound} senior citizens uh {disfmarker} {vocalsound}Marketing: {vocalsound}I'm sorry . {vocalsound}Industrial Designer: Ye Ah , it's {vocalsound} it's okay .Marketing: Okay . Go on . {vocalsound}Industrial Designer: Uh {disfmarker}{vocalsound} They , well , they like more the {disfmarker} they like the traditional materials , like wood and and such more .Marketing: {vocalsound}IndustrialDesigner: Wood and chrome .Project Manager: {vocalsound}Industrial Designer: And uh uh they like uh straightforward shapes . Um , uh they they they they likeluxurious uh styles , where whereas the young and dynamic , they like a more uh soft materials . Think of the Teletubbies , for instance .Project Manager:{vocalsound}Industrial Designer: Uh uh , soft and fluffy and colourful and {disfmarker}Marketing: {vocalsound}Industrial Designer: Well uh , shapes are curvedand round .Marketing: {vocalsound}Industrial Designer: Y y you get {vocalsound} the picture . And uh they like sports and gaming , and that gives them uh thevitality . Uh , so w well uh , firsProject Manager: One one little question .Industrial Designer: Yes .Project Manager: Um about the the material .IndustrialDesigner: Yeah .Project Manager: Uh a soft material for a remote control ?Industrial Designer: No , I'll I'll get to that .Project Manager: Okay . Yeah .IndustrialDesigner: You you'll see . Yeah .Project Manager: Thank you . {vocalsound}Industrial Designer: Uh , well f first off , let's start start with the energy . W I uh I hada choice between uh a few different uh sources .Project Manager: Mm-hmm .Industrial Designer: But uh the two basic sources that I found were the best possiblewere the battery uh versus kinetic . Uh kinetic , that's when you move something , then uh it gets energy . I figured , well that's ki kinda high-tech , when whenyou have a remote control that well , when you pick it up , it has power . That would be actually very nice , uh I figured .Project Manager: Oh .IndustrialDesigner: Well , we could also use a battery , that's a bit {disfmarker}Marketing: Yeah but when the power gets low , you have to shake it or something ?ProjectManager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Yeah . Yeah yeah , you c just you have to shake it around a little bit .Marketing: Uh ,and uh uh {disfmarker}Industrial Designer: And then then it d then it has some more uh energy .Project Manager: {vocalsound}Marketing: Hmm .IndustrialDesigner: Well , y you could just go for a battery . Or you can go for both ?User Interface: Oh , have you considered the option of using a solar panel ?IndustrialDesigner: Yeah , I actually did . But uh the thing is about solar panel is you have to have l uh light . Well , sunlight preferably .User Interface: W {gap} nah.Industrial Designer: Uh , and you you could you could use normal light , but uh you wouldn't get the same amount of energy that you would from a battery orsomething .User Interface: Mm . Yeah .Industrial Designer: Uh for uh ultimate b uh {vocalsound} n uh use of uh solar panels , you could actually use uh{disfmarker} you could use uh solar panels , but uh you ha you'd have to implement them into uh the remote control , leaving you uh a bit less space for theinterface .Marketing: Mm yeah . It's too less space .User Interface: Yeah .Industrial Designer: So uh {disfmarker} so i i it it wo what's actually {disfmarker} I I cjust in f I've figured it out that well , uh seeing that you'll always be uh within the l uh distance of T_V_ , and the {disfmarker} from T_V_ there comes a a awhole bunch of light . So it would actually power itself uh from a T_V_ .Marketing: {vocalsound}User Interface: Yeah .Industrial Designer: But , well you just takeup all the space , and you wouldn't uh have the full amount of power actually used .User Interface: Okay .Project Manager: But you prefer kinetic ?IndustrialDesigner: So {disfmarker} I I prefer kinetic because it's uh {disfmarker} well , the costs aren't that much higher , and um , ju just a bit more high-tech than thana normal battery .Project Manager: Okay . Yeah , but you don't move a a remote control too much .Industrial Designer: I mean , if {disfmarker} No , but uh dWell , you pick it up and you press buttons and y well , you {disfmarker}Project Manager: And that's enough to to keep the energy level uh{disfmarker}Industrial Designer: Yeah , well uh actually it is .Project Manager: Okay .Industrial Designer: And it it {disfmarker} if it isn't , you just shake it a bitand and add add with power up again .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Yeah .Industrial Designer: But , what l what Jareksaid , you could you could use a battery that you'd just keep it on the recharging whenever it moves . And for rest , you'd just add juice on the battery .ProjectManager: Okay .Marketing: And when the battery doesn't work , I usually shake it too . So {disfmarker}Project Manager: {vocalsound} Thank you , Tim .{vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Exactly . {vocalsound}Marketing: {vocalsound} Like slamming on it . {vocalsound}It's exactly the same . {vocalsound}Industrial Designer: And so that {disfmarker} Uh {disfmarker} {vocalsound} Uh well ,User Interface: {vocalsound}IndustrialDesigner: f furthermore , you you {disfmarker} we {gap} {disfmarker} uh checked uh the cases .Marketing: {vocalsound}Project Manager:{vocalsound}Industrial Designer: We have uh different options uh concerning the cases . You ha I {disfmarker} you sim uh you simply add a basic uh standarduh model uh {disfmarker} it was kind of square and uh I figured that's a bit boring . So you you {disfmarker} we could go for uh the single curved or the doublecurved . Um , single curve , it's just a {disfmarker} well , uh , you know , it's just uh a nice curve . Or but but you could go in a in an double curves . And that's{gap} like several different dimensions .Project Manager: Yeah .Industrial Designer: That gives you an whole new uh effecProject Manager: Dynamic dynamiclook ?Marketing: Hmm .Industrial Designer: Yeah , that gives you a younger and uh more high-tech look , I f I figured . But , that uh we'll discuss later.Marketing: But , are you going to draw it ?Industrial Designer: What ?User Interface: Th th yeah . Yeah .Industrial Designer: You want me to draw in three-D_?Marketing: The {disfmarker} Yeah . Yeah .Project Manager: {vocalsound}Marketing: Uh , I c I can't imagine .Industrial Designer: {vocalsound} Uh , yeah , I caI ca I could I could show you . I could show you .Marketing: I can't imagine how how how it looks like .User Interface: {vocalsound}Industrial Designer: Well uhlet's say y uh you uh {disfmarker}Marketing: Yeah .Industrial Designer: Let's say that's your standard uh {disfmarker}Marketing: Design .User Interface: Yeah.Industrial Designer: That's a bit your d standard design . But you could actually go like uh something like this .Marketing: Mm-hmm .Industrial Designer: Andthen uh in three-D_ effect you could go {disfmarker} {vocalsound}User Interface: Um {disfmarker} {vocalsound}Marketing: Uh {disfmarker}Project Manager:{vocalsound} {vocalsound}Industrial Designer: So y you you just {disfmarker} Yeah , this is a {disfmarker} this {vocalsound} bit uh difficulty in{disfmarker}Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} I didn't take a major in art . So {disfmarker} {vocalsound}But but you could have uh uh a whole new uh the back back the the the depth , you could you could uh just play around a bit with .Marketing: Oh , okay . Okay.Industrial Designer: You you don't have to use standard uh {disfmarker}Marketing: Oh , okay .Project Manager: A little artistic .Industrial Designer: Yeah you"}
+{"doc_id":"doc_88","qid":"","text":"Project Manager: Okay we all all set ? Right . Well this is the uh final detailed design meeting . Um we're gonna discuss the look and feel design , the userinterface design , and we're gonna evaluate the product . And the end result of this meeting has to be a decision on the details of this remote control , likeabsolute final decision , um and then I'm gonna have to specify the final design in the final report . So um just from from last time to recap , we said we weregonna have a snowman shaped remote control with no L_C_D_ display , no need for talk-back , it was hopefully gonna be kinetic power and battery uh withrubber buttons , maybe backlighting the buttons with some internal L_E_D_s to shine through the casing , um hopefully a jog-dial , and incorporating the slogansomewhere as well . Anything I've missed ?Industrial Designer: No .Project Manager: Okay um so uh if you want to present your prototype go ahead .UserInterface: Uh-oh . This is it ? {vocalsound}Industrial Designer: Ninja Homer , made in Japan . {vocalsound}User Interface: Um , there are a few changes we'vemade .Project Manager: Okay .User Interface: Um , well look at the expense sheet , and uh it turned to be quite a lot expensive to have open up and have lots ofbuttons and stuff inside ,Project Manager: Mm . Mm-hmm .User Interface: so instead we've um {disfmarker} this is gonna be an L_C_D_ screen , um just a avery very basic one , very small um with access to the menu through the the scroll wheel and uh confirm um button .Marketing: Mm 'kay .User Interface: Uh ,apart from that , it's just pretty much the same as we discussed last time .Industrial Designer: And there isn't uh d it doesn't open up to the advanced functions ?the advanced functions are still hidden from you , but they're hidden in the sense that um they're not in use .Marketing: Where are they ?Industrial Designer: Umthey're in the L_C_D_ panel and the jog-dial ?Marketing: Ah , right .Industrial Designer: Okay 'cause {disfmarker}Project Manager: So w what kind of thing uh isgonna be {disfmarker}Marketing: Great .User Interface: {vocalsound}Industrial Designer: The L_C_D_ panel just displays um functionally what you're doing . Ifyou're using an advanced function right , like um c brightness , contrast , whatever , it will just say {disfmarker}Marketing: Right . Okay .Industrial Designer: Youknow it's like it only has four columns , it's a very simple L_C_D_ like , whereas many {disfmarker} the minimum amount we need that the user will automaticallyknow like this is brightness or this is contrast .Marketing: Right .Project Manager: Mm-hmm . Okay cool .Marketing: Right , 'kay .Industrial Designer: It mighteven be one , a bit more complex L_C_D_ panel with pictures like maybe the sun or the , you know , the the symbols of the various functions .Marketing:OkayProject Manager: Oh right okay .Marketing: Mm-hmm , and what is this here ?Project Manager: Cool .Industrial Designer: That's a number pad .Marketing:Okay so the number pad is {disfmarker} 'Kay , great .Project Manager: Where are we gonna have the slogan ?Industrial Designer: Um they're al along this{disfmarker}User Interface: You know , just like right inside there .Industrial Designer: Yeah .Project Manager: Okay cool .Industrial Designer: You have thisspace here , and then you have this thing on the side as well , or at the bottom .Project Manager: {vocalsound}Industrial Designer: 'Cause slogans are usuallyquite small , right ,Project Manager: Okay .Industrial Designer: they're not like hugeMarketing: Mm .Industrial Designer: so they're sMarketing: Yep .IndustrialDesigner: Say a button's aboutProject Manager: Okay .Marketing: Looks good .Industrial Designer: say a button's about this size , right , so you would still haveplenty of space for a slogan , say even for that .Marketing: Yep . {vocalsound} Mm-hmm .Project Manager: So if this isn't to scale , what kind of dimensions areyou thinking about here ?User Interface: {vocalsound} Well {vocalsound} we want the other buttons to be big enough to push easily with a fingerProjectManager: Mm-hmm .User Interface: so we reckon maybe that'll be about the same size as the palm of your hand . {gap}Marketing: Okay .Industrial Designer:Yep so that would be about a centimetre for a button , so one two three four centimetres . Plus maybe half o fiveMarketing: Mm-hmm .Industrial Designer: sixseven eight ,Marketing: About nine in total .Project Manager: Six , seven , eight , nine , ten .Industrial Designer: about yeah nine total .Project Manager: So we'retalking about ten centimetres .Marketing: That sounds good . Yeah .Project Manager: That would be good . So ten centimetres in height .Marketing: Yep.Industrial Designer: Nine , ten . Yep .Project Manager: Okay um {vocalsound} .Marketing: That'd be good , in fact a pen is about ten centimetres usually , sothat would be {disfmarker} that sounds like a really good size , if you see it there .Project Manager: Yeah . That's great and it's very bright as well . So um okay.Marketing: Mm . Is it possible {disfmarker} uh I'm just gonna bring up the idea of colours . Is these are these the colours that {disfmarker} of production , or isthis just what we had available ?User Interface: Well I'm {disfmarker} We're gonna have again the the sort of the foggy um yellow from last time that lit up whenyou pushed the button .Marketing: Right .Project Manager: Okay so just {disfmarker}User Interface: Um {disfmarker}Project Manager: could you just list all thethings that it does s so I can write them in the report .User Interface: But um {vocalsound} this button um , because it's red it's sort of very prominent , we'regonna use it as uh {disfmarker} it can be the power button if you hold it for maybe two seconds it'll send a stand-by signal .Industrial Designer: {vocalsound}Excuse me .Project Manager: Mm-hmm .User Interface: Um apart from that it's gonna be used as a confirm button for the L_C_D_ screenIndustrial Designer:Sure .Project Manager: Okay .User Interface: and you use this as a jog-dial .Project Manager: Okay so that's like an okay button , right .Marketing: Mm-hmm.Industrial Designer: Oh we've discussed how h high it is , but how wide is it ? {vocalsound}User Interface: I don't know . {vocalsound}Project Manager: Okay.Marketing: How high is it ?Industrial Designer: No as in the height , but what about the width ?Marketing: Yeah .Project Manager: Oh ohUser Interface: Didn'tput five centimetres .Project Manager: like depth of the actual thing .Industrial Designer: Do we need five ? I don't think five is {disfmarker}User Interface: Um.Industrial Designer: be about th three and a half .Marketing: Okay .Project Manager: Oh is this k to get an idea of scale from your from your thing there okay.User Interface: Something by there .Industrial Designer: Yeah , yeah .Marketing: Sure .Project Manager: So you can power on and off , what else can you do?Marketing: Three and a half .User Interface: Um you can skip straight to a channel using these buttons .Project Manager: Okay .User Interface: Um , weregonna have the volume control here , but um because we've got the the L_C_D_ and the jog-dial we just thought we'd um use that as the volume .ProjectManager: Okay jog-dial for volume . And what else do you do with the jog-dial ?Marketing: Mm-hmm .User Interface: Um you can use it for um more advancedfunctions like contrast , colour and {disfmarker}Project Manager: Contrast , brightness ,User Interface: Um yeah .Project Manager: yeah , and anything else?User Interface: Um just whatever else we wanted to include as the advanced functions , um we didn't actually go through and specify the {disfmarker}ProjectManager: Well of the designers what are they ?User Interface: Uh what can a T_V_ do ?Industrial Designer: Okay things like um brightness , contrast ,ProjectManager: Uh-huh .Industrial Designer: um maybe tuning the channels .Project Manager: Okay channel tuning .Industrial Designer: Um .Project Manager: That's agood one .Industrial Designer: What else ? Um the various inputs . Are you having a V_C_R_ , are you having {disfmarker} you know which input do you have?Marketing: Mm-hmm , mm-hmm .Project Manager: Okay auxiliary inputs .Marketing: Mm-hmm ,Industrial Designer: Um .Marketing: probably colour orsharpness .Industrial Designer: Yep , colour , sharpness . Um a lot of these things will have to be um free and open for users to define them .Project Manager:Sharpness . Okay what about uh sound settingsMarketing: Mm-hmm .Project Manager: ? Uh d can you change any of those at all ?Marketing: Audio .IndustrialDesigner: Audio , we have like your basic y your base , your mid-range , your high range .User Interface: Um .Industrial Designer: Um .User Interface: {gap} thethe balance hmm .Industrial Designer: Yep , left-right balance , um maybe even pre-programmed sound modes , like um the user could determine like a series ofsound modes ,Project Manager: Okay .Industrial Designer: and then what could happen would be um when you click on that then it would go to that setting.Marketing: Mm-hmm .Project Manager: Okay ,Marketing: Mm 'kay .Industrial Designer: Yeah .Project Manager: is there anything else at all it can do ? That{disfmarker} 'cause that's that's fine . Just need to know so I can write it down . Okay um right I g I guess that's it , so we can now um {vocalsound}{disfmarker} We can now have a little look at the the Excel sheet and price listing , and see if we need to um if we need to rethink anything at all .User Interface:Mm-hmm .Project Manager: So um for this first part here power-wise , have we got battery ?Industrial Designer: The battery .Project Manager: Do we havekinetic as well ?Industrial Designer: No .Project Manager: No . Okay ,Industrial Designer: Um .Project Manager: just battery .Industrial Designer: We need an{disfmarker}Project Manager: And that's because of cost restraints is it ?Industrial Designer: Yep .Project Manager: OkayUser Interface: Yeah .IndustrialDesigner: Yeah advanced chip .Project Manager: um what about the electronics here ?Industrial Designer: We need an advanced chip I think , yep .ProjectManager: Advanced chip .Industrial Designer: Let me just confirm that . Yes I think so . Yep .Project Manager: Okay um the case , what does it mean by singleand double , do you know ?User Interface: Um I think single would just be sort of one sort of oval whereas double is this sort of thing .Industrial Designer: Yeah.Project Manager: So we want double-curved ?Industrial Designer: Yep .Project Manager: Okay . Um .Industrial Designer: Plastic .Project Manager: Is there anyrubber at all in the buttons or anyIndustrial Designer: I think we're gonna have to skip the rubber .Project Manager: Okay ,Industrial Designer: Um .ProjectManager: um and we wanted special colours didn't we ?Industrial Designer: Yep .Project Manager: So I'll have to put that {disfmarker} Oh no wait we{disfmarker} ho how many colours have we got there ?Industrial Designer: For the case itself , one colour . It's one special colour .Project Manager: Just onecolour , okay .Industrial Designer: 'Cause the case unit itself , the rest of our components go on top of it .Project Manager: Okay so interface-wise , is it this thirdoption we have , the two of them there ?Marketing: Mm .Industrial Designer: Yes . One and the L_C_ display .Project Manager: Okay and then buttons , we have"}
+{"doc_id":"doc_89","qid":"","text":"Professor D: OK . So , uh You can fill those out , uh {pause} after , actually , so So , I got , uh {pause} these results from , uh , Stephane . Also , um , I thinkthat , uh {pause} um {pause} we might hear later today , about other results . I think s that , uh , there were some other very good results that we 're gonnawanna compare to . But , {vocalsound} r our results from other {disfmarker} other places , yeah .PhD A: I I 'm sorry ? I didn'tProfessor D: Um , I got this fromyouPhD A: Yeah .Professor D: and then I sent a note to Sunil about the {disfmarker} cuz he has been running some other systemsPhD A: Mm - hmm .ProfessorD: other than the {disfmarker} the ICSI OGI one .PhD A: Oh yeah .Professor D: So {pause} um , I wan wanna {disfmarker} wanna see what that is . But , uh ,you know , so we 'll see what it is comparatively later . But {pause} it looks like , umPhD A: M yeah .Professor D: You know most of the time , even {disfmarker}I mean even though it 's true that the overall number for Danish {disfmarker} we didn't improve it If you look at it individually , what it really says is that there 's, um , uh Looks like out of the six cases , between the different kinds of , uh , matching conditions {pause} out of the six cases , there 's basically , um , a couplewhere it stays about the same , uh , three where it gets better , and one where it gets worse .PhD A: Yeah .Professor D: Uh , go ahead .PhD A: Y Actually , uh ,um , for the Danish , there 's still some kind of mystery because , um , um , when we use the straight features , we are not able to get these nice number withthe ICSI OGI one , I mean . We don't have this ninety - three seventy - eight , we have eightPhD E: Eighty - nine forty - four .PhD A: yeah . Uh , so , uh , that 'sprobably something wrong with the features that we get from OGI . Uh , and Sunil is working on {disfmarker} on trying to {disfmarker} to check everything.Professor D: Oh , and {disfmarker} and we have a little time on that {disfmarker} and {disfmarker} actually soPhD A: Hmm ?Professor D: We have a little bit oftime on that , actually .PhD A: Yeah .Professor D: We have a day or so , so When {disfmarker} when {disfmarker} when do you folks leave ?PhD A: Uh , Sunday.Professor D: Sunday ? So So , uh Yeah , until Saturday midnight , or something , we have W we {disfmarker} we have time , yeah . Well , that would be good .That 'd be good .PhD A: Yeah .Professor D: Yeah . Uh , and , you know , i u when whenever anybody figures it out they should also , for sure , email Hynekbecause Hynek will be over there {vocalsound} telling people {vocalsound} what we did , so he should know .PhD A: Mmm . Yeah .Professor D: Good , OK . So ,um So , we 'll {disfmarker} we 'll hold off on that a little bit . I mean , even with these results as they are , it 's {disfmarker} it 's {disfmarker} it 's really not thatbad . But {disfmarker} but , uh , um And it looks like the overall result as they are now , even without , you know , any {disfmarker} any bugs being fixed is that, uh , on the {disfmarker} the other tasks , we had this average of , uh , forty uh {disfmarker} nine percent , or so , improvement . And here we have somewhatbetter than that than the Danish , and somewhat worse than that on the German , but I mean , it sounds like , uh , one way or another , the methods that we 'redoing can reduce the error rate from {disfmarker} from mel ceptrum {pause} down by , you know {pause} a fourth of them to , uh , a half of them . Somewherein there , depending on the {pause} exact case . So So that 's good . I mean , I think that , uh , one of the things that Hynek was talking about wasunderstanding what was in the other really good proposals and {disfmarker} and trying to see if what should ultimately be proposed is some , uh , combination ofthings . Um , if , uh {disfmarker} Cuz there 's things that they are doing {pause} there that we certainly are not doing . And there 's things that we 're doing that{pause} they 're not doing . And {disfmarker} and they all seem like good things .PhD A: Yeah .Professor D: SoPhD E: Mmm , yeah .PhD C: How much{disfmarker} how much better was the best system than ours ?Professor D: So Well , we don't know yet .PhD C: Mmm .Professor D: Uh , I mean , first place ,there 's still this thing to {disfmarker} to work out , and second place {disfmarker} second thing is that the only results that we have so far from before werereally development set results .PhD C: Oh , OK .Professor D: So , I think in this community that 's of interest . It 's not like everything is being pinned on theevaluation set . But , um , for the development set , our best result was a little bit short of fifty percent . And the best result of any system was about fifty - four ,where these numbers are the , uh , relative , uh , reduction in , uh , word error rate .PhD C: Oh , OK .Professor D: And , um , the other systems were , uh ,somewhat lower than that . There was actually {disfmarker} there was much less of a huge range than there was in Aurora one . In Aurora one there were{disfmarker} there were systems that ba basically didn't improve things .PhD C: Hmm .Professor D: And here the {disfmarker} the worst system {pause} stillreduced the error rate by thirty - three percent , or something , in development set .PhD C: Oh , wow .Professor D: So {disfmarker} so , you know , sort ofeverybody is doing things between , well , roughly a third of the errors , and half the errors being eliminated , {vocalsound} uh , and varying on different test setsand so forth .PhD C: Mm - hmm .Professor D: So I think Um {pause} It 's probably a good time to look at what 's really going on and seeing if there 's a{disfmarker} there 's a way to combine the best ideas while at the same time not blowing up the amount of , uh , resources used , cuz that 's {disfmarker} that's critical for this {disfmarker} this test .PhD C: Do we know anything about {disfmarker} who {disfmarker} who 's was it that had the lowest on the dev set?Professor D: Um , uh , the , uh , the there were two systems that were put forth by a combination of {disfmarker} of , uh , French Telecom and Alcatel . And ,um they {disfmarker} they differed in some respects , but they e em one was called the French Telecom Alcatel System the other was called the Alcatel FrenchTelecom System , {vocalsound} uh , which is the biggest difference , I think . But {disfmarker} but there 're {disfmarker} there 're {disfmarker} there 're someother differences , too . Uh , and {disfmarker} and , uh , they both did very well ,PhD C: Uh - huh .Professor D: you know ? So , {vocalsound} um , myimpression is they also did very well on {disfmarker} on the {disfmarker} the , uh , evaluation set , but , um , I {disfmarker} I we haven't seen {disfmarker} you've - you haven't seen any final results for thatPhD C: And they used {disfmarker} the main thing that {disfmarker} that they used was spectral subtraction?Professor D: yeah .PhD C: OrProfessor D: There is a couple pieces to it . There 's a spectral subtraction style piece {disfmarker} it was basically , you know ,Wiener filtering . And then {disfmarker} then there was some p some modification of the cepstral parameters , where they {disfmarker}PhD A: Yeah , actually ,something that 's close to cepstral mean subtraction . But , uh , the way the mean is adapted {disfmarker} um , it 's signal dependent . I 'm {disfmarker} I 'm ,uh So , basically , the mean is adapted during speech and not during silence .Professor D: Yeah .PhD A: But it 's very close to {disfmarker} to cepstral meansubtraction .Professor D: But some people have done {vocalsound} {pause} exactly that sort of thing , of {disfmarker} of {disfmarker} and the {disfmarker} Imean it 's not {disfmarker} To {disfmarker} to look in {pause} speech only , to try to m to measure these things during speech ,PhD A: Yeah , yeah .ProfessorD: that 's p that 's not that uncommon . But i it it {disfmarker} so it looks like they did some {disfmarker} some , uh , reasonable things , uh , and they 're notthings that we did , precisely . We did unreasonable things , {vocalsound} which {disfmarker} because we like to try strange things , and {disfmarker} and , uh ,and our things worked too .PhD C: Hmm .Professor D: And so , um , uh , it 's possible that some combination of these different things that were done would bethe best thing to do . But the only caveat to that is that everybody 's being real conscious of how much memory and how much CPU they 're usingPhD C: Mm -hmm .Professor D: because these , {vocalsound} {vocalsound} {vocalsound} uh , standards are supposed to go on cell phones with m moderate resources inboth respects .PhD C: Did anybody , uh , do anything with the models as a {disfmarker} an experiment ? OrProfessor D: Uh , they didn't report it , if they did.PhD C: N nobody reported it ?Professor D: Yeah . I think everybody was focused elsewhere . Um , now , one of the things that 's nice about what we did is , wedo have a {disfmarker} a , uh {disfmarker} a filtering , which leads to a {disfmarker} a , uh {disfmarker} a reduction in the bandwidth in the modulationspectrum , which allows us to downsample . So , uh , as a result of that we have a reduced , um , transmission rate for the bits .PhD C: Mm - hmm .Professor D:That was misreported the first time out . It {disfmarker} it said the same amount because for convenience sake in the particular way that this is being tested , uh, they were repeating the packets . So it was {disfmarker} they were s they {disfmarker} they had twenty - four hundred bits per second , but they were literallycreating forty - eight hundred bits per second , {vocalsound} um , even though y it was just repeated .PhD C: Oh . Mm - hmm . Right .Professor D: So , uh , inpracticePhD C: So you could 've had a repeat count in there or something .Professor D: Well , n I mean , this was just a ph phoney thing just to {disfmarker} tofit into the {disfmarker} the software that was testing the errors {disfmarker} channel errors and so on .PhD C: Oh . Oh .Professor D: So {disfmarker} so inreality , if you put this {disfmarker} this system in into , uh , the field , it would be twenty - four hundred bits per second , not forty - eight hundred . So , um , sothat 's a nice feature of what {disfmarker} what we did . Um , but , um , well , we still have to see how it all comes out .PhD C: Hmm .Professor D: Um , and thenthere 's the whole standards process , which is another thing altogether .PhD C: When is the development set {disfmarker} I mean , the , uh , uh , test setresults due ? Like the day before you leave or something ?Professor D: Uh , probably the day after they leave , but we 'll have to {disfmarker} {vocalsound} we'll have to stop it the day before {comment} we leave .PhD A: Yeah , yeah . SoPhD C: Huh .Professor D: I think tha I think the {disfmarker} the meeting is on thethirteenth or something .PhD A: Yeah , this Tuesday , yeah .Professor D: And , uh , they , uh Right . And the {disfmarker} the , uh , results are due like the daybefore the meeting or something . SoPhD A: Yeah , probably , wellProfessor D: I th I think {disfmarker} I I think they are ,PhD A: Yeah , wellProfessor D: yeah .So {pause} {vocalsound} um , since we have a bit farther to travel than {vocalsound} some of the others , {vocalsound} uh , we 'll have to get done a littlequicker . But , um , I mean , it 's just tracing down these bugs . I mean , just exactly this sort of thing of , you know , why {disfmarker} why these features seem"}
+{"doc_id":"doc_90","qid":"","text":"User Interface: Okay .Project Manager: So I see all everybody's here , 'kay .Marketing: Mm-hmm .Industrial Designer: Yep .Project Manager: And we can startmeeting .User Interface: Okay {vocalsound} .Marketing: What's the agenda for this meeting ?Project Manager: The {disfmarker} I will uh present here agendawith with with with slides to you .Marketing: Okay .Project Manager: Um as you can see here .Industrial Designer: {vocalsound}User Interface:{vocalsound}Industrial Designer: Perfect .Project Manager: So first uh just to mention I will take notes uh of this meetingMarketing: Mm-hmm .Project Manager:and uh I will try to work them out and give them to you . I've also made notes of the previous meeting and um I was about to send them you but {vocalsound}then uh I had to go to this uh meeting so you will get them too uhMarketing: Mm-hmm .User Interface: Next .Project Manager: Um .Industrial Designer: So y youare the secretary also .Project Manager: Yes . Indeed .Industrial Designer: Right ? Okay .Project Manager: Then I hope you all have uh worked out {vocalsound}some some uh {vocalsound} some some presentations about uh about well you the the task given to you in the previous meeting .Industrial Designer: Perfectlyyeah yeah of course uh-huh .User Interface: {gap}Project Manager: Um . W We will uh in a minute we will uh {vocalsound} start with them . Um , we will see inwhich order we will handle them of . Um then I will uh bring in some some some new requirements I I got uh from the uh account manager , I try to work themout , they were quite abstract , and we can have maybe have com some discussion about it . Uh Um about the functionsMarketing: Mm-hmm .Project Manager:and {disfmarker} Well in this meeting we should really {vocalsound} try to reach a decision about the target group and the functionality of the{disfmarker}Marketing: Mm .Industrial Designer: You mean the social target group who we wants to target ?Project Manager: Yes I mean well yes w who are wegoing to uh to well to sell this ,Marketing: Mm .User Interface: {gap}Industrial Designer: Oh the customers , okay .Marketing: Yeah .Project Manager: thecustomers , indeed yes . Think that's that's important matter .Marketing: That's the big question yeah .Project Manager: Uh . {vocalsound} So {vocalsound} Andthen uh we will close this meeting uhUser Interface: {vocalsound}Project Manager: and after this meeting we'll uh we'll have a lunch . Good . Um . Maybe umwhy uh Anna can you c do you have a presentations ?Marketing: No , I don't .Project Manager: You don't have presentation ?Marketing: I wasn't . No .ProjectManager: Uh you want a table to to uhMarketing: I c I can talk about it but I have no slides or anything .Project Manager: Yes yes maybe maybe you can uh canjust talk about it or maybe you can use the whiteboard if necessary um .Marketing: Mm-hmm . Well I've just been um presented with some research we've donein a small focus group so , a hundred people , just asked them about their remote control usage habits and what they want in a remote control . Um . It's{disfmarker} probably can't email this to you , I've just got a web page with some data on it . Um basically it's saying that users generally dislike the look andfeel of their remote controls . Um seventy five u seventy five percent of users find most remote controls ugly . Um .Project Manager: Mm-hmm .Marketing: Eightypercent of users would spend more money when a remote control would look fancy . Um . Current remote controls do not match well the operating behaviour ofthe user . Uh seventy five percent of users said they zap a lot , so they use their remote control quite frequently while they're watching television . Uh . Fiftypercent of users say that they only use ten percent of the buttons , so they've got a remote control with a lot of functionality but really most of the time they onlyuse a small part of that .Project Manager: Mm .Marketing: Um .Project Manager: Do you Do you have this uh information on the web page you said ?Marketing: Ihave an a web page yes .Project Manager: Yes , mayb maybe you can can send an email to me later uh . Uh about this .Marketing: Yep . Yep , sure . Mm-hmm .So basically um there's a breakdown of how much they use the different functions on a rem remote control . Um , power and volume selection are only used a fewtimes within this uh per hour . Um , channel selection is used a hundred and sixty eight times um {vocalsound} and then there's things like channel settings ,audio settings , which are only used very infrequently .Project Manager: Mm .Marketing: Um . Teletext is used um fourteen times in the hour , so it is used butnot nearly as much as the channel selection is used . Um .Project Manager: Mm .Marketing: An interesting thing that this report has brought up is that um fiftyfifty percent of users report that the remote control gets lost a lot of the time in the room , so some way of some way of locating the remote control would be veryuseful to a lot of users . Um .Project Manager: Yes yes , I have {vocalsound} that too {vocalsound} .Industrial Designer: {vocalsound}Marketing: Thirty fourpercent said it takes too long to learn to use a remote control , they want something that's easier to use straight away , more intuitive perhaps .Project Manager:Mm .Marketing: Um .Industrial Designer: It's it's easy to learn or how do you say it's {disfmarker}Marketing: Thirty four percent said it took too much time tolearn to use a new one . Yep .Industrial Designer: Okay too much time to learn . Okay .Marketing: Um . And thirty {disfmarker} twenty six percent said remotecontrols are bad for R_S_I_ .Industrial Designer: Not enough {gap}Marketing: I don't know how we'd go about combating that .User Interface: {gap} . What doyou mean there ?Marketing: For R_S_I_ ? Respet Repetitive strain injury .User Interface: Okay .Marketing: So . But {disfmarker}Project Manager: Mm . Theythink that or do their doctor the doctor says ?Marketing: Mm .Project Manager: {vocalsound} But it's it's the opinion of the uh of the users huh ?Marketing: Yeah .That's what the report says yeah .Project Manager: So mm .Marketing: Um and then it's got a demographic breakdown on {disfmarker}Industrial Designer:Maybe y y you cannot put this webpage online on the {disfmarker}Marketing: Uh I should be able to actually , if I email it to you now .User Interface: You candisconnect it thereProject Manager: {vocalsound} You can maybe just just {disfmarker}User Interface: no ?Marketing: Oh no , yeah .Industrial Designer: Ah it's{vocalsound} it okay it's a webpage on the C_ it's a fileMarketing: Yeah .Industrial Designer: okay .Marketing: Um , s hang on .Industrial Designer: O otherwiseyou yeah . You can connect this one .Project Manager: {gap}User Interface: Then you can connect this one or this one yeah .Project Manager: {vocalsound}UserInterface: All to your computer .Industrial Designer: Yeah .Marketing: Well .Industrial Designer: So these are important numbers that Matthew and I need to takeinto account for our functional um {disfmarker}User Interface: Oh yeah .Project Manager: {gap}Marketing: Oh I need to muck around with this . It's probablyeasier if you put it on yours and then I'll just email it to you . It's just a web link .Project Manager: Hmm .Industrial Designer: Yeah {gap}User Interface: Okay.Industrial Designer: Yeah these numbers have have to be have to be taken into account for the uh both yeah user interface and functional design .UserInterface: Hmm . {vocalsound} Yeah .Marketing: One thing it goes on to talk about , which is interesting , is the {disfmarker} hang on a minute .IndustrialDesigner: Because if there are many numbers and we need to select to to constraint uh our design based on what is more important .Marketing: Mm-hmm . Yep.Project Manager: Mm-hmm .Marketing: Um , one thing is interesting is talking about um speech recognition in a remote control .Industrial Designer: Speechrecognition in {disfmarker}Marketing: And who would pay more for that and whether people would find it useful .Project Manager: D do you have numbers o o onthat ?Industrial Designer: Ah okay .Marketing: Yes , I'll just get this up .Industrial Designer: So that we don't {disfmarker} Do we not need any button on theremote control {vocalsound}Marketing: Well potentially yeah , um {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer:it would be all based on speech .Marketing: I think even for interestiIndustrial Designer: Okay . Interesting idea .Marketing: yeah I think that would not work sowell . You wanna have both options .Industrial Designer: Okay .Project Manager: Well it would it would be a solution for uh when your remote control is lost,Marketing: Mm-hmm .Project Manager: I mean when it has speech recognition then uh i then it doesn't matter where it is , my {disfmarker} well it's{disfmarker} we should be in range ,Industrial Designer: Yeah .Marketing: Mm .Project Manager: or maybe it can respond and produce sound , so say where it is. But the these are all quite fancy featuresIndustrial Designer: Yeah .Project Manager: I'm not sure whether we will we can make this for {vocalsound} for twelveEuro fi and fifty cents {vocalsound} .User Interface: Well it would be fMarketing: Yeah .Industrial Designer: Yeah .User Interface: No you can't .IndustrialDesigner: And we don't know where the state of the art of speech recognition is , maybe you know ?User Interface: Oh . Well , {vocalsound} it depends you knowlike there is uh it's a very small vocabulary that you want to do the operations like you want to say on , off , one , two , twenty three ,Project Manager: Mm.Industrial Designer: But it's quite noisy if there is the T_V_ uh shouting .Marketing: Mm .User Interface: yeah .Marketing: Yeah .Project Manager: Yes ,UserInterface: It's it's going to be liProject Manager: that that that that's mm .User Interface: it's not going to be s so easy but u usually it's going to be more of anisolated caseProject Manager: Do you have some more important factsUser Interface: but it's {disfmarker} but I don't know with twenty fiMarketing: Um{disfmarker}Project Manager: or can we go to the next presentation ?Industrial Designer: Okay . SoMarketing: Well {disfmarker}Industrial Designer: you had toto to summarise maybe the {disfmarker}Marketing: This is now talking about um who would pay for speech recognition in a remote control , who would pay morefor it , um . Ninety percent of the fifteen to twenty five year old market said that they would pay more , it goes down from there , seventy six percent for twentyfive to thirty five , thirty five percent for thirty five to forty five , um twenty two percent for forty five to fifty five and then eight percent for fifty five to sixty five.Project Manager: Mm .User Interface: Okay it's uh decline .Marketing: Yeah .User Interface: Okay .Marketing: But we shProject Manager: Mm-hmm . Declinewith age , mm .Marketing: Yeah , it really depends where we're gonna be targeting this product , um ,User Interface: {vocalsound}Project Manager: Mm .{vocalsound}Marketing: which we'll be talking about later I think .Industrial Designer: Mm .Project Manager: Yes . We will talk about it later .{vocalsound}Marketing: Did you get the email ?Project Manager: Okay . {vocalsound}Marketing: Yep , that one .Industrial Designer: Mm-hmm .Marketing: Just"}
+{"doc_id":"doc_91","qid":"","text":"Project Manager: Yep . Soon as I get this . Okay . This is our last meeting . Um I'll go ahead and go through the minutes from the previous meeting . Uh and thenwe'll have a , the prototype presentation . {vocalsound} Um then we will um do an evaluation . Uh or we'll see what , what we need to have under the criteria forthe evaluation . Then we'll go through the finance and see if we fall within the budget . Um then we'll do the evaluation , and then we can finish up after that withum any changes that we'll need to make , or hopefully everything will fall right in line . Um let's see , minutes from the last meeting . Um we looked at uh the thetrends . We had uh the fashion trends that people want a fancy look-and-feel . It was twice as important as anything else . Um they liked fruit and vegetables inthe new styles . Um and a spongy feel . So we were talking about trying to incorporate those into our prototype . Um they wanted limited buttons and simplicity .Um then we looked at the uh the method for coming up with our own remote . Um looking at other other devices . Um the iPod , we really liked the look of that .Um we also had uh the kid's remote for a simple idea . Um a two part remote , which was what were were originally looking at . Uh and then um there was talk ofspee uh speech recognition um becoming more uh predominant and easier to use . But I think we've still decided not to go with that . {vocalsound} Then welooked at the components um the materials for the case , the different energy sources , the different types of chips , um and made a decision on what we weregoing to use to make our remote . Um and basically how , what were making for the prototype . So I'm going to leave it at that and let you guys take over .UserInterface: The prototype discussion .Project Manager: The prototype yeah . Do you need a {disfmarker} this ?User Interface: No . {vocalsound}Project Manager:Okay .Industrial Designer: {vocalsound} Can try to plug that in thereUser Interface: There is our remo {gap} the banana .Marketing: {vocalsound}IndustrialDesigner: but {disfmarker}User Interface: Um {vocalsound} yeah basically we we st went with the colour yellow . Um working on the principle of a fruit whichwas mentioned , it's basically designed around a banana .Project Manager: {vocalsound}User Interface: Um but it would be held in such a fashion ,Marketing:{vocalsound}User Interface: where it is , obviously it wouldn't be that floppy 'cause this would be hard plastic . These would be like the rubber , the rubber grips .So that's so that would hopefully help with grip , or like the ergonomics of it . Um but all the controlling would be done with this scroll wheel . You have to useyour imagination a little bit . And this here represents the screen , where you , where you'd go through .Project Manager: Very nice .User Interface: And the thesimplest functions would be um almost identical to an iPod , where that one way ch through channels , that way th other way through channels . Volume up anddown . And then to access the more complicated functions you'd you sorta go , you press that and go through the menus . It's that that simple . That justrepresents the infrared uh beam . That's a simple on and off switch . Um I don't know , we could use the voice . T that blue bits should be yellow , that that'd bewhere the batteries would be I suppose . And um {vocalsound} that's about it . It's as simple as you , we could make it really .Industrial Designer: Right .UserInterface: Is there anything you want to add ?Industrial Designer: That's what we have there . That's plastic . Plastic covered with rubber . We might uh addsome more underneath here . Maybe give it , give it a form . I mean you're supposed to hold it like that , but um just if you grab it , take it from somewhere ,UserInterface: Yeah .Project Manager: Mm-hmm .Industrial Designer: so {disfmarker} yeah ,User Interface: Doesn't make much make much difference .IndustrialDesigner: you have some rub yeah .User Interface: You could work left-handed or right-handed I suppose .Industrial Designer: Exactly , {gap} use both . Mightas well think about {disfmarker}User Interface: T the actual thing might be smaller .Industrial Designer: Th think about the button as well . Like either put eitherone {gap} one on either side orUser Interface: {vocalsound} Yeah .Project Manager: What but what's that button ?Industrial Designer: not do it at all . It's aquick on-off button .User Interface: Just the on and off .Project Manager: Uh , 'kay .Industrial Designer: That's umMarketing: {vocalsound}Industrial Designer:yeah I think it's pretty important . So you don't have to fiddle with that .Project Manager: 'Kay .Industrial Designer: Right ? Um that's not um {disfmarker}ProjectManager: {vocalsound}Industrial Designer: I'd say a bit smaller would probably be nice . You wanna play with that over there .User Interface: Yeah .IndustrialDesigner: There you go .User Interface: It's you know it's flimsy 'cause it's made out of heavy Play-Doh ,Marketing: {vocalsound}Project Manager: Would youlike to uh {disfmarker}Industrial Designer: Right .User Interface: but {disfmarker}Marketing: Pretty impressive .Project Manager: Well done .User Interface:{vocalsound}Marketing: {vocalsound} Kind of a banana .User Interface: And whether or not it would fall into the cost {gap} everything I suppose . With thescroll and the L_C_D_ .Project Manager: Well luckily we are going to find out . Or not luckily . Um do you have a marketing presentation for us .IndustrialDesigner: {vocalsound}Marketing: {vocalsound} I do . Okay . You guys are gonna help me do an evaluation of the criteria . Um . Okay . So first I'll just discusssome of the criteria that I found . Just based on the past trend reports that I was looking at earlier . And then we'll do a group evaluation of the prototype . Andthen we will calculate the average score to see how we did . Um so the criteria we're gonna be looking at are the complaints um that we heard from the users whowere interviewed earlier . So we're gonna be doing it based on a seven point scale . And one is going to mean true , that we did actually achieve that . With sevenbeing false , we did not achieve that . {gap} . Okay . So for the first one , we need to decide , did we solved the problem of the users who complained about anugly remote ? {vocalsound}Industrial Designer: {vocalsound} {vocalsound} .User Interface: {vocalsound}Project Manager: I think it's definitely different thananything else out there .User Interface: {vocalsound}Marketing: Mm .User Interface: Yeah .Project Manager: So if they think that what is out there is ugly , thenyes I would say , I would say most definitely .Marketing: {vocalsound}User Interface: I would {gap} .Project Manager: It's bright .User Interface: It's bright . It's{disfmarker}Project Manager: It still has your traditional black .User Interface: It's curved . It's not {disfmarker} there's no sharpIndustrial Designer:{vocalsound}User Interface: angles to it .Project Manager: Yep , not angular .Marketing: Mm .Industrial Designer: I'd say , when it comes to the ergonomics , theform and stuff , yes that's definitely more beautiful than your average .Marketing: {vocalsound}Industrial Designer: However the colour , we don't have a say inthat .Marketing: Yeah I think the colours detract a little bit . {vocalsound}User Interface: Some people might say it . Yeah .Industrial Designer: That has been ,that has been dictated pretty much by the company .Project Manager: Mm .Industrial Designer: So uh to answer that honestly I would rather say like uh , wehave not solved the problem completely with the ugly remote because the colour is ugly , definitely .Project Manager: {vocalsound} Yep .Marketing: That's true .Yeah .Project Manager: {vocalsound}User Interface: Yeah .Industrial Designer: 'S nothing you can say about that . I mean I much prefer something like brushedchrome with that form .User Interface: Yeah .Industrial Designer: But {disfmarker}Project Manager: Yeah something more modern to go {disfmarker} a amodern colour to go with the modern form .Industrial Designer: Right . Right . It's different . You don't want your uh three feet huge L_C_D_ dis display in yourliving room that's hanging from the wall to be controlled with something like that .Marketing: Um okay so , do you think , since we {disfmarker} This was a a signcriteria , do you think maybe we should put it somewhere in the middle then ?Industrial Designer: Yeah .Marketing: Does that sound good ?Project Manager:Yeah .User Interface: Yeah .Industrial Designer: {vocalsound}Marketing: What do you think ? Three ? Four ?Project Manager: I would sayMarketing: Five ?ProjectManager: four . {vocalsound}Industrial Designer: Yeah . {vocalsound}Marketing: {vocalsound} Four is fair . Okay .Project Manager: Very non-committal , four.Marketing: Okay , the second one . Did we make it simple for new users ?Industrial Designer: It's very intuitive , I think yeah .User Interface: Yeah . I think thatwas the main aim , one of the main aims that we had .Industrial Designer: {vocalsound} S give it a one .Marketing: One ,Project Manager: Yeah .Marketing: 'kay. Okay . Um , do the controls now match the operating behaviour of the users ?User Interface: Uh yeah . 'Cause we've we've brought it down to basically fourcontrols {gap} most common , which are channel and volume .Marketing: I'd say that {disfmarker}Project Manager: Mm-hmm .Industrial Designer: Right .UserInterface: And then the other ones are just a matter of just going , just scrolling further .Project Manager: S scrolling through and selecting a few .IndustrialDesigner: Right . So that's a one .Marketing: So one ?Project Manager: I think that's a one .Marketing: Yeah ? {vocalsound} Okay . Okay um the fourth one .How about the problem of a remote being easily lost ? One of the number one complaints .Industrial Designer: Something that big and that yellow you just don'tlose anymore .Project Manager: {vocalsound}User Interface: {vocalsound} Yeah .Marketing: {vocalsound} Whether you want to or not , you're not gonna lose it. {vocalsound}User Interface: It's bright yellow .Industrial Designer: {vocalsound}User Interface: Bright yellow's hard to lose . But um if we were to , if we were, that , the speech recognition . That , we could maybe just use that solely for the the finding thing . That was what we'd we'd mentioned .Project Manager: So ifwe incorporate speech recognition into it then it could {disfmarker}User Interface: Just just to use , to find it when it was lost . But like I said , like I don't thinkyou'd lose something so yellow so easily .Industrial Designer: Oops . Hmm .User Interface: And it's not gonna fall , like a rectangle would slip down behind things. That's gonna be a difficult shape to {disfmarker}Industrial Designer: Well what {disfmarker}Project Manager: And it is quite bright and {disfmarker}UserInterface: Yeah .Marketing: {vocalsound}User Interface: Maybe in the middle again , three or four or something ?Project Manager: Uh {disfmarker}IndustrialDesigner: SMarketing: Okay .User Interface: I mean you know {gap} loo losing things is one of those things that people can lose , I mean a million ways .ProjectManager: Yeah .User Interface: You can pick it up and walk away with it and then you've lost it .Industrial Designer: Mm .Marketing: That's true .ProjectManager: But if we do go with the , with the speech recognition , then it , then our scale goes up quite a bit I think .Marketing: Mm .Industrial Designer: Oh yeah"}
+{"doc_id":"doc_92","qid":"","text":"Project Manager: Mm-hmm ? Okay . Ooh .User Interface: {gap}Industrial Designer: So we're 'kay ? On the {gap} or {disfmarker} No . I dunno where to put it'cause the {disfmarker} Okay . Could you s take it off ? {gap} .Marketing: Is that alright ? {vocalsound} {gap} or {disfmarker} Okay .Industrial Designer: Okay.Marketing: Keeps coming off . 'S fiddly .Project Manager: Hmm . {gap}Marketing: {vocalsound} Right .Project Manager: How do we sta wa how do we start ?Does anybody know ?Marketing: Oh , another one .Project Manager: So that's this {disfmarker}Industrial Designer: {vocalsound}Project Manager: Oh okay ,right .Industrial Designer: Are we free to take notes uh {disfmarker} Okay .Project Manager: Uh {vocalsound} {gap} . {vocalsound} {gap} . Hmm . Okay , justhang on a second everybody . I haven't actually looked at this yet .Marketing: {vocalsound} Ah .Project Manager: {gap} um {disfmarker}Marketing: Very nice.Project Manager: I haven't looked at it , but let's just start it off and we'll see what happens . If you're all ready .User Interface: Yeah .Project Manager: So{gap} is the agenda ? Opening , acquaintance , tool training and project plan , discussion and then closing . Project aim is a new remote control . It's original , uhtrendy and it's user-friendly .Marketing: 'Kay .Project Manager: Project method , functional design , individual work , another meeting , conceptual design ,individual work , and a meeting of details design , individual work and a meeting . Tool training . Try out the whiteboard , every participant should draw theirfavourite animal and sum up their favourite characteristics of that animal .Marketing: Okay .Project Manager: Um . Uh Miss Industrial Designer , would you like togo first ?Industrial Designer: Okay . So are we supposed to bring the little things for the {disfmarker}Project Manager: Yeah , why don't you just c , I think justclip on {disfmarker} clipMarketing: {vocalsound}Project Manager: {disfmarker} do you have a belt ?Industrial Designer: Mm .Marketing: Clip {gap} .ProjectManager: Or put 'em in your pocket , yeah .Industrial Designer: Yeah . {vocalsound} {gap} okay . So my favourite animal {disfmarker}Project Manager: Yeah ,what's your favourite animal ?Industrial Designer: 'Kay um {disfmarker}Marketing: Ah .Project Manager: Is it rude ?Marketing: It's an elephant .{vocalsound}User Interface: {vocalsound}Project Manager: That's a very good elephant .User Interface: The back end of an elephant .Marketing: Oh my gosh ,I'm never gonna be able to draw that well . {vocalsound}Project Manager: 'Kay , and you want to write up on there , it says you've gotta sum up your f f yourfavourite characteristics of that animal .Industrial Designer: Um {vocalsound} okay , it's big , it's got a great memory .Marketing: Does it ? Oh .IndustrialDesigner: Supposed to have a great memory , we say an elephant never forgets .Project Manager: Mm .Marketing: Mm .Industrial Designer: And uh dunno knowwhy but {vocalsound} looks like nice to me .Project Manager: Okay . Wonderful , well done .Industrial Designer: Nice animal .Project Manager: Do you want touse the wipe {disfmarker} the m the wiper and wipe it off ?Industrial Designer: Okay .Project Manager: And Mister aesthetics designer do you wanna go next?User Interface: {vocalsound} Aesthetic yep , sure .Marketing: I have no idea what my favourite animal is .User Interface: 'Kay , my favourite animal ,Marketing:{vocalsound}User Interface: uh let's see .Marketing: Oh .User Interface: Dunno if any of you have seen Napoleon Dynamite before .Marketing: It's{disfmarker}User Interface: It's a liger {vocalsound} ,Project Manager: No .Marketing: A what ?User Interface: a combination of a lion and tiger {vocalsound}.Marketing: Alright .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Have you not seen Napoleon Dynamite ?Marketing: How{gap} .Project Manager: No .Industrial Designer: No .User Interface: Oh it's a hilarious movie .Marketing: No .User Interface: You have to see it . And and it'sbest characteristic is it's pretty much the awesomest animal . But you have to see the movie to fully appreciate it . {vocalsound}Project Manager: Okay , welldone .Marketing: Great . Me ?Project Manager: Yeah . Miss mar Miss Marketing ?Marketing: Okay . Not quite sure how this is gonna work .User Interface: There{gap} go .Marketing: {vocalsound} Cool . {vocalsound} Uh {vocalsound} well I'll try my best {vocalsound} to draw . Can I just draw the face ?Project Manager:Um yeah , I think you can just draw the face , but then you'll have to describe in writing how the rest of it looks . {vocalsound}Marketing: Ooh . It's a cat .ProjectManager: That's a very pr pretty cat .Marketing: {vocalsound} Which also has what ? A big fat body and big {disfmarker} and a long tail .Project Manager: Okay ,do y do you wanna do some {disfmarker} write {vocalsound}Marketing: {vocalsound} Why ?Project Manager: you wanna just write some words about it?Marketing: Because um cuddly . And usually cats are very friendly . Usually . And they're healing as well . They heal . And they can feel when a human's gotproblems so {disfmarker}Project Manager: Wow , so they're kinda spiritual .Industrial Designer: {vocalsound}Marketing: So , that's why I like cats .ProjectManager: Well done .Marketing: There we are , that's me . {vocalsound}Project Manager: Okay .Marketing: {vocalsound}Project Manager: Um , I don't actuallyhave a favourite animal ,Marketing: Mm .Project Manager: but for the for th for this meeting I'll s draw a little {disfmarker}Marketing: {vocalsound} Mm-hmm.Project Manager: Uh . I honestly can't draw for toffee . Uh .User Interface: {vocalsound}Industrial Designer: {vocalsound} Really ?Marketing:{vocalsound}Project Manager: Yeah .Industrial Designer: Oh that's a {disfmarker}Project Manager: {gap} noUser Interface: {vocalsound}Industrial Designer:{vocalsound}User Interface: A prairie dog ?Project Manager: {gap} no {vocalsound} uh {disfmarker}User Interface: {vocalsound} Oh a squirrel ?ProjectManager: That's exactly what it is .User Interface: {vocalsound}Project Manager: Uh not a very good one {disfmarker} {vocalsound}Industrial Designer: Not badI would say .User Interface: Yeah , that's pretty good .Project Manager: Okay , well , you got it's a s It's a squirrel , and I like them , because they're cute andstupid .User Interface: {vocalsound}Industrial Designer: Very good .Marketing: Ah .User Interface: Alright .Project Manager: Right . Okay , so , I guess that wasthe test to see if this equipment is all working .Marketing: {vocalsound}Project Manager: Mm . Let's move on to the next page . Okay , project finance , sellingprice twenty five Euros , profit aim fifty million Euros .Marketing: Market range internationally sold .Project Manager: Yeah . Production cost , ah right it's gotta be{disfmarker} can't cost any more than twelve fifty to make .Marketing: Ah right okay .Project Manager: {gap} experience with with remote control , so talk aboutwho who's used what . Any ideas ? Stuff like that . Next meeting starts in thirty minutes . {vocalsound} At quarter to twelve . {vocalsound}User Interface: So Ithink before we close uh , we are expected {disfmarker} I mean the last slide wanted us to maybe discuss longer what our what our ideas where . I mean if youwanna go back to the last slide . Uh {disfmarker}Project Manager: Yeah .User Interface: SMarketing: Yeah .User Interface: Yeah , I think we're {disfmarker} Imean before we close the meeting , we're supposed to come up with some ideas for {disfmarker}Project Manager: Oh k so we're actually supposed to be doingthis discussion like right now are we or {disfmarker}User Interface: Yeah .Marketing: Yeah .Project Manager: oh okay .Industrial Designer: Mm .User Interface:Yeah .Project Manager: I thought this was just t giving us instructions for the re to do next , but {disfmarker}User Interface: Yeah , I think this is just thepreliminary , get some rough ideas for what our experiences with remote controls have been and and what we would {disfmarker} roughly what we wouldincorporate into a new one maybe .Project Manager: Okay . Right , who's got experiences with remote controls then ? Pretty much everybody .IndustrialDesigner: {vocalsound} Yeah .User Interface: Yeah , I think we've all got {disfmarker}Marketing: Uh . {vocalsound}Project Manager: Um .Industrial Designer: Isthis a T_V_ one we are supposed to make ?Marketing: Yeah . Yeah it's a T_V_ remote control .Industrial Designer: Okay .Project Manager: 'Kay um .Marketing:Well . {vocalsound}Industrial Designer: TMarketing: A new remote control for T_V_ . What would I like ? {vocalsound} Um .Project Manager: W what{disfmarker} You want it big do you want it small . Are we are we going for like like telephones are going little teeny tiny things or we are going for somethingthat's that's big and {disfmarker}Marketing: Medium .User Interface: Mm . Yeah it seems like there's like {disfmarker} there's sort of a tension between twoideas , I mean , you want you want one remote that maybe can work uh all all of the functions of T_V_ and if you have whatever associated with T_V_ theD_V_D_ player , or something like that ,Project Manager: {vocalsound} Video and ts hi-fi and stuff .User Interface: but like at the same time you don't wannareally busy remote with a thousand buttons on it or something .Project Manager: Maybe you {disfmarker} yeahUser Interface: Mm .Project Manager: now ththat's the other thing is it's gotta be cheap .User Interface: Yeah .Project Manager: 'Cause I I I mean I was thinking something that's got different like maybe a aan L_C_D_ display on it that's got different pages for different devices ,Marketing: {vocalsound}Project Manager: but that would p that would probably be quiteexpensive .Marketing: Mm .Industrial Designer: But how do we know how much uh , I mean , how much do we have per {disfmarker} how much ?Marketing:Twelve fifty .Industrial Designer: Twelve fifty . {vocalsound}User Interface: It g can't be more than twelve fifty per unit .Marketing: Each .Project Manager: Perunit , yeah .User Interface: Cost .Industrial Designer: So do we have to be realistic within the budget or {disfmarker}Project Manager: Well at the moment wecould , wa I mean we {disfmarker}Industrial Designer: Close pr I don't know how much it would cost . Yeah .Marketing: Guess {disfmarker}Project Manager:'cause we this is what we th what we're doing at the moment is just saying what what we'd like , and then after we after we've found out what we can like , somedifferent ideas , we can then go and do the research to find out if these {disfmarker} any of these ideas are feasible or not .Industrial Designer: Right .ProjectManager: So would be nice to have something that that controls lots of different things .User Interface: Yeah .Project Manager: Um .Marketing: Couldn't we havelike one that comes out ? {vocalsound} Like so you have one in like {disfmarker} mmIndustrial Designer: Yeah .Marketing: it doesn't have to be really thick . Imean remote controls can be thin bits . And then you have one for your D_V_D_ and you sort of slide it out , and then you have another one , you slide it out.Project Manager: {vocalsound} 'Kay .Marketing: {gap} have slides . And then it all comes compactProject Manager: Okay , that's {gap} .Marketing: into one ."}
+{"doc_id":"doc_93","qid":"","text":"Marketing: I wanna find our if our remote works .Project Manager: Me too . {vocalsound}Marketing: Oh . {vocalsound}Project Manager: Okay . Um here's theagenda for our last meeting .Marketing: Whoohoo .Project Manager: Um after the opening we're going to have a prototype presentation , then we're going todiscuss the evaluation criteria and the financing of our remote . Then we're going to evaluate the product and I think the whole production process , and thenwe're gonna close it up , and we have forty minutes , so let's get started . Oh , no , let's have the prototype presentation .Industrial Designer: Mm 'kay ,UserInterface: {gap}Industrial Designer: you ready ?User Interface: Um sure . You or me ?Industrial Designer: Y you read that stuff , since you wrote it .UserInterface: Okay . Well , since our materials aren't exactly what we were going for , I'm just gonna translate what this all means for you .Industrial Designer: I'llbe the Vanna .User Interface: {vocalsound} The base is gonna be gunmetal gray , which is what we had decided , and it's gonna be plastic . Um then there's thelatex cover , which is what you see as red . Um because it can be replaceable , we just kinda went with the colour .Project Manager: Right .User Interface: Umand then the buttons are actually kind of poking through rather than on top . Um and the buttons will be a l much lighter blue , almost see-through .ProjectManager: Hmm .User Interface: It's just sort of a very pale blue and a light-up yellow .Marketing: That's nice .Project Manager: Yeah .User Interface: The wholething lights up if you press any button , rather than it {disfmarker} just that one button will light up .Marketing: Good .User Interface: Um and then at the bottomwe have our logo . Um bright yellow sort of design with the R_R_ {vocalsound} which will actually look like our logo .Project Manager: {vocalsound} Great .UserInterface: And then on the side you have the buttons . {vocalsound} They're one button , but they kind of push up and down .Project Manager: Okay .UserInterface: I don't think they're scrolling .Industrial Designer: No . They're just buttons .User Interface: {vocalsound} Right , yeah . And then {disfmarker} yeah ,the buttons .Industrial Designer: On off switch will be here and as you've noticed on our prototype um they've ended up with a curvature kind of , by concave sortof thing , except for , you know , {gap} can't see underneath .Marketing: Yeah .Industrial Designer: So I'm hoping that when we get to production we canactually make them like that , because they're very nice to stock {gap} you know , stick your finger in . Um the two squared buttons are are two probably leastused , menu , mute ,User Interface: Thumb-shaped .Marketing: Yeah .Industrial Designer: and then these are the numbers , so our channel and our volume willbe on either side .User Interface: Yeah . And then the last thing is just that it'll be black labelling on top , just which we didn't do . {vocalsound}Project Manager:Okay . And did you determine um the curvature of the bottom part of it for the hand , is it gonna be a single or a double ?User Interface: {vocalsound}IndustrialDesigner: I'd say a single .Project Manager: Single . Single sounds good ,User Interface: Single .Project Manager: 'cause it's not big enough to really constitute adouble .Marketing: Yeah .Industrial Designer: Yeah , it's only actually the size of my hand .User Interface: Right .Project Manager: Great . Great . I think you didan awesome job .Marketing: Yeah , I think it's a beautiful {disfmarker}Project Manager: It is beautiful , and it's everything that we discussed .User Interface:{vocalsound}Marketing: Yeah . Good job , you guys .Project Manager: Good job .Industrial Designer: Whoohoo .User Interface: Oh thank you .{vocalsound}Marketing: Those are really good .Project Manager: Alright {vocalsound}Industrial Designer: {gap}Project Manager: what's next in our agenda ?Um we're gonna discuss the evaluation criteria , and that's with Courtney .Marketing: Okay , it's a PowerPoint presentation . I don't really know exactly what weshould uh talk about . It's under evaluation .Project Manager: Right .Marketing: Alright . Um so these are the criteria we're gonna ask , is it easy to use , is itfashionable uh {disfmarker} yeah , I guess we should write these down so we can reference them .Project Manager: Mm .User Interface: Feel good meaning what?Marketing: Like does it feel good , like {disfmarker}User Interface: Physically ,Project Manager: Right .User Interface: okay .Marketing: yeah , physically .UserInterface: {gap}Project Manager: Sqi {vocalsound}Marketing: {vocalsound} {vocalsound} That's just for current trend .Project Manager: Right .User Interface:{vocalsound}Marketing: It doesn't really count , you guys .Industrial Designer: Yeah , it was a little difficult to incorporate the cover with the cherry fruit on it.User Interface: {vocalsound}Marketing: Yeah . But it's {disfmarker} so we do have removable covers , right ?Project Manager: Right .Industrial Designer: Yes.User Interface: {gap}Marketing: Yeah , well then that's covered .Project Manager: 'Kay .Marketing: And so we n k everybody have that ?Project Manager: I'llwait .Marketing: Yeah , she's got it .User Interface: Yeah .Marketing: It's good . Yeah . Okay so , we're using the criteria uh for a seven point scale , and so weneed to discuss how we feel . It falls within this range , so for easy to use , do we feel it's very easy to use ?Project Manager: Are we going to indiUser Interface:True or false , easy to use .Project Manager: I say we individually rate {disfmarker} what do you say ?Marketing: You guys {disfmarker}Project Manager: Justorally .User Interface: {vocalsound} Yeah .Project Manager: Why not ? We have {disfmarker} okay .Marketing: Okay .Project Manager: Um easy to use . I votesix .Marketing: Oh wait , that's false .Project Manager: Oh ,User Interface: {vocalsound}Project Manager: two .Marketing: Okay .Industrial Designer: I'd say twoas well .User Interface: Yeah , two .Marketing: Two . That's what I say .Project Manager: Uh hello , we're great .User Interface: {vocalsound}Marketing: Okay ,fashionable ?Project Manager: {vocalsound} Um one .Industrial Designer: At the moment , no .Project Manager: No .Marketing: No . I mean like no , I think it'svery fashionable .Project Manager: Me too , very chic . {vocalsound}Marketing: I thi I would give it a one .Project Manager: One , I give it a one .IndustrialDesigner: Okay .User Interface: {vocalsound}Industrial Designer: I'll give it a two , because at the moment it's not looking that way .Project Manager: Oh , andma it's a prototype ,Marketing: Well , that's that's just like {disfmarker} that's a clay , it's a prototype .Project Manager: right .User Interface: Mm I don't thinkit's that fashionable .Marketing: What do you think ?User Interface: I'd give it like three or four .Project Manager: Well , now I'm {gap} .Marketing: Okay .ProjectManager: So , the average is about a two .User Interface: {vocalsound} But then I'm not fashionable , soMarketing: Yeah , it's a two .Project Manager: Two orthree . Two point five .User Interface: don't use my opinion .Marketing: That's okay . Yeah .Industrial Designer: Neither are all o all the customers we have ,either .Marketing: {vocalsound} UmUser Interface: {vocalsound}Marketing: does it feel good ?Project Manager: Imagine , since we obviously don't have that.User Interface: Does it feel good ?Marketing: I feel like {disfmarker}Industrial Designer: Uh the shape of it actually does uh .Project Manager: And it's i it is veryergonomically designed . It's gonna be curved .User Interface: Yeah , it's gonna be thicker .Project Manager: Yeah .User Interface: Depth .Marketing: I think itfeels good .Project Manager: I think so too .Marketing: I'll give it a two .Project Manager: 'Kay . Two .User Interface: {vocalsound} I'll give it a one .Marketing:What do you say ?Industrial Designer: I'd say a two .Project Manager: Alright , average is two .Marketing: Okay .Project Manager: Is it technologically innovative? Oh sorry I'm taking over your job here .User Interface: {vocalsound}Marketing: Oh no , it's fine ,Project Manager: Go right ahead . {vocalsound}Marketing:you're {disfmarker} I mean you're Project Manager .Industrial Designer: {vocalsound}Marketing: Um yeah , I mean and it {disfmarker} does it have voice{disfmarker} I mean the phrase recognition on it ?Project Manager: Yes . Right ? We were able to do it with that kind of chip .User Interface: Oh right , the{disfmarker}Industrial Designer: We could do it with the chip , yes . It wasn't {disfmarker} we have no reflection of it on the prototype ,Marketing: And there'sno way you can represent it on here . YProject Manager: Yeah , right .Industrial Designer: but that's because it's only two dimensions , really .Project Manager:That was {disfmarker} 'kay . And we discussed that being included .User Interface: {vocalsound}Marketing: {vocalsound} Yeah , so .User Interface: Right.Marketing: Then yes , then I would {disfmarker} well it isn't {disfmarker} what else would it need for it to be technologically innovative ?Industrial Designer: It{disfmarker}Project Manager: Well we don' have the {disfmarker} you know , we can't say channel , and it changes the channel , channel eight .Marketing: Andit doesn't cover anything other then T_V_ ,Project Manager: Right .Marketing: so I'd probably give it a three .Industrial Designer: Yeah .Project Manager: Okay.Marketing: Even though it is {disfmarker} for just a T_V_ remote it's uh very advanced . But it is just a T_V_ remote .Project Manager: Yeah . I'd go for a threeor four on that one , so {disfmarker}User Interface: Yeah I go four .Project Manager: okay , let's go for a three point five .User Interface: {vocalsound}{vocalsound}Industrial Designer: Three and an half .Project Manager: Alright , and the last criteria {disfmarker} is it is it um {disfmarker}User Interface:Squishy and fruity .Marketing: {vocalsound} Well yeah , so I'd give it a two .Project Manager: Well , we've covered that with theUser Interface: It's just trendy ,basically .Project Manager: trendy . Sure . Capable . Very capable .Industrial Designer: It's capable of being squishy and fruity .Marketing: Oh , it's very capableof being squishy and fruity .User Interface: {vocalsound} Okay .Project Manager: And {vocalsound} it's very important . 'Kay , there we go .Marketing: Yeah.Project Manager: So .Marketing: Okay , next .Project Manager: Next . {vocalsound}Marketing: {vocalsound} So um our re model slightly resembling a giantdelicious cookie appears to be a winner ,Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: and uh hopefully we'll sell millions . Goodjob , team . {vocalsound}Industrial Designer: {vocalsound} How did you get that in there ?User Interface: {vocalsound}Marketing: {vocalsound} {vocalsound}What ?Industrial Designer: The {vocalsound} slightly resembling a giant delicious cookie .Project Manager: {vocalsound} It does .User Interface:{vocalsound}Marketing: It {vocalsound} it does . {vocalsound}Industrial Designer: {vocalsound} That was good .Project Manager: {vocalsound} Very good.Marketing: Thanks .Project Manager: Alright , let's go back to this {disfmarker} {vocalsound} No , that's it . Hmm . Oops . Okay , so now uh we're moving on tofinance , okay . I'm gonna show you an Excel spreadsheet and we're going to fill it in together based on what components we're including in our remote and see if"}
+{"doc_id":"doc_94","qid":"","text":"Professor E: Let 's see . Test ? Test ? Yeah . OK .Grad A: Hello ?PhD B: Channel one .Grad A: Hello ?PhD C: Test .Professor E: I was saying Hynek 'll be here nextweek , uh , Wednesday through Friday {disfmarker} uh , through Saturday , and , um , I won't be here Thursday and Friday . But my suggestion is that , uh , atleast for this meeting , people should go ahead , uh , cuz Hynek will be here , and , you know , we don't have any Czech accent yet , uh , {vocalsound} as far as Iknow , so {disfmarker} There we go .PhD F: OK .Professor E: Um . So other than reading digits , what 's our agenda ?PhD F: I don't really have , uh , anythingnew . Been working on {pause} Meeting Recorder stuff . So .Professor E: OK . Um . Do you think that would be the case for next week also ? Or is {disfmarker} is, uh {disfmarker} ? What 's your projection on {disfmarker} ?PhD F: Um .Professor E: Cuz the one thing {disfmarker} the one thing that seems to me we reallyshould try , if you hadn't tried it before , because it hadn't occurred to me {disfmarker} it was sort of an obvious thing {disfmarker} is , um , adjusting the , uh ,sca the scaling and , uh , insertion penalty sorta stuff .PhD F: I did play with that , actually , a little bit . Um . What happens is , uh , {vocalsound} when you getto the noisy stuff , you start getting lots of insertions .Professor E: Right .PhD F: And , um , so I 've tried playing around a little bit with , um , the insertionpenalties and things like that .Professor E: Yeah .PhD F: Um . I mean , it {disfmarker} it didn't make a whole lot of difference . Like for the well - matched case ,it seemed like it was pretty good . Um . {vocalsound} I could do more playing with that , though . And , uh {disfmarker}Professor E: But you were looking at melcepstrum .PhD F: and see . Yes .Professor E: Right .PhD F: Oh , you 're talking about for th {vocalsound} for our features .Professor E: Right . So , I mean , i it it's not the direction that you were working with that we were saying what 's the {disfmarker} uh , what 's the best you can do with {disfmarker} with melcepstrum . But , they raised a very valid point ,PhD F: Mmm .Professor E: which , I guess {disfmarker} So , to first order {disfmarker} I mean , you have otherthings you were gonna do , but to first order , I would say that the conclusion is that if you , um , do , uh , some monkeying around with , uh , the exact HTKtraining and @ @ {comment} with , uh , you know , how many states and so forth , that it {disfmarker} it doesn't particularly improve the performance . In otherwords , that even though it sounds pretty dumb , just applying the same number of states to everything , more or less , no matter what language , isn't so bad .Right ? And I guess you hadn't gotten to all the experiments you wanted to do with number of Gaussians ,PhD F: Right .Professor E: but , um , let 's just{disfmarker} If we had to {disfmarker} if we had to draw a conclusion on the information we have so far , we 'd say something like that . Right ?PhD F: Mm -hmm .Professor E: Uh , so the next question to ask , which is I think the one that {disfmarker} that {disfmarker} that Andreas was dre addressing himself to inthe lunch meeting , is , um , we 're not supposed to adjust the back - end , but anybody using the system would .PhD F: Yeah .Professor E: So , if you were justadjusting the back - end , how much better would you do , uh , in noise ? Uh , because the language scaling and insertion penalties and so forth are probably setto be about right for mel cepstrum .PhD F: Mm - hmm .Professor E: But , um , they 're probably not at all set right for these things , particularly these things thatlook over , uh , larger time windows , in one way or another with {disfmarker} with LDA and KLT and neural nets and {vocalsound} all these things . In the fapast we 've always found that we had to increase the insertion penalty to {disfmarker} to correspond to such things . So , I think that 's , uh , @ @ {comment}that 's kind of a first - order thing that {disfmarker} that we should try .PhD F: So for th so the experiment is to , um , run our front - end like normal , with thedefault , uh , insertion penalties and so forth , and then tweak that a little bit and see how much of a difference it makesProfessor E: So by \" our front - end \" Imean take , you know , the Aurora - two s take some version that Stephane has that is , you know , our current best version of something .PhD F: if we were{disfmarker} Mm - hmm .Professor E: Um . I mean , y don't wanna do this over a hundred different things that they 've tried but , you know , for some versionthat you say is a good one . You know ? Um . How {disfmarker} how much , uh , does it improve if you actually adjust that ?PhD F: OK .Professor E: But it isinteresting . You say you {disfmarker} you have for the noisy {disfmarker} How about for the {disfmarker} for the mismatched or {disfmarker} or {disfmarker}or {disfmarker} or the {disfmarker} or the medium mismatched conditions ? Have you {disfmarker} ? When you adjusted those numbers for mel cepstrum , didit {disfmarker} ?PhD F: Uh , I {disfmarker} I don't remember off the top of my head . Um . Yeah . I didn't even write them down . I {disfmarker} I {disfmarker}I don't remember . I would need to {disfmarker} Well , I did write down , um {disfmarker} So , when I was doing {disfmarker} I just wrote down some numbersfor the well - matched case .Professor E: Yeah .PhD F: Um . Looking at the {disfmarker} I wrote down what the deletions , substitutions , and insertions were , uh, for different numbers of states per phone .Professor E: Yeah .PhD F: Um , but , uh , that {disfmarker} that 's all I wrote down .Professor E: OK .PhD F: So . I{disfmarker} I would {disfmarker} Yeah . I would need to do that .Professor E: OK . So {disfmarker}PhD F: I can do that for next week .Professor E: Yeah . And ,um {disfmarker} Yeah . Also , eh , eh , sometimes if you run behind on some of these things , maybe we can get someone else to do it and you can supervise orsomething . But {disfmarker} but I think it would be {disfmarker} it 'd be good to know that .PhD F: OK . I just need to get , um , {vocalsound} front - end , uh ,stuff from youPhD B: Hmm .PhD F: or you point me to some files {pause} that you 've already calculated .PhD B: Yeah . Alright .Professor E: OK . Uh .PhD F: Iprobably will have time to do that and time to play a little bit with the silence model .Professor E: Mm - hmm .PhD F: So maybe I can have that for next weekwhen Hynek 's here .Professor E: Yeah .PhD B: Mm - hmm .Professor E: Yeah . Cuz , I mean , the {disfmarker} the other {disfmarker} That , in fact , might havebeen part of what , uh , the difference was {disfmarker} at least part of it that {disfmarker} that we were seeing . Remember we were seeing the SRI systemwas so much better than the tandem system .PhD F: Hmm .Professor E: Part of it might just be that the SRI system , they {disfmarker} they {disfmarker} theyalways adjust these things to be sort of optimized ,PhD F: Is there {disfmarker} ?Professor E: and {disfmarker}PhD F: I wonder if there 's anything that we coulddo {vocalsound} to the front - end that would affect the insertion {disfmarker}Professor E: Yes . I think you can .PhD F: What could you do ?Professor E: Well ,um {disfmarker} uh , part of what 's going on , um , is the , uh , the range of values . So , if you have something that has a much smaller range or a much largerrange , and taking the appropriate root .PhD F: Oh . Mm - hmm .Professor E: You know ? If something is kind of like the equivalent of a bunch of probabilitiesmultiplied together , you can take a root of some sort . If it 's like seven probabilities together , you can take the seventh root of it or something , or if it 's in thelog domain , divide it by seven .PhD F: Mm - hmm .Professor E: But {disfmarker} but , um , that has a similar effect because it changes the scale of the numbers{disfmarker} of the differences between different candidates from the acoustic modelPhD F: Oh , right .Professor E: as opposed to what 's coming from thelanguage model .PhD F: So that w Right . So , in effect , that 's changing the value of your insertion penalty .Professor E: Yeah . I mean , it 's more directly likethe {disfmarker} the language scaling or the , uh {disfmarker} the model scaling or acoustic scaling ,PhD F: That 's interesting .Professor E: but you know thatthose things have kind of a similar effect to the insertion penaltyPhD F: Mm - hmm .Professor E: anyway . They 're a slightly different way of {disfmarker} ofhandling it .PhD F: Right .Professor E: So , um {disfmarker}PhD F: So if we know what the insertion penalty is , then we can get an idea about what range ournumber should be in ,Professor E: I think so .PhD F: so that they {pause} match with that .Professor E: Yeah . Yeah . So that 's why I think that 's another reasonother than curiosity as to why i it would in fact be kinda neat to find out if we 're way off . I mean , the other thing is , are aren't we seeing {disfmarker} ? Y yPhDF: Mm - hmm .Professor E: I 'm sure you 've already looked at this bu in these noisy cases , are {disfmarker} ? We are seeing lots of insertions . Right ? Theinsertion number is quite high ?PhD B: Yeah .Professor E: I know the VAD takes pre care of part of that ,PhD F: Yeah .PhD B: Yeah .Professor E: but{disfmarker}PhD F: I 've seen that with the mel cepstrum . I don't {disfmarker} I don't know about {pause} the Aurora front - end , but {disfmarker}PhD B: Ithink it 's much more balanced with , uh {disfmarker} when the front - end is more robust . Yeah . I could look at it {disfmarker} at this . Yeah . Mm - hmm.Professor E: Yeah . Wha - what 's a typical number ?PhD B: I don't {disfmarker} I don't know .Professor E: Do we {disfmarker} ? Oh , you {disfmarker} oh , youdon't know .PhD B: I don't have this in {disfmarker}Professor E: OK . I 'm sure it 's more balanced ,PhD B: Mm - hmm .Professor E: but it {disfmarker} it{disfmarker} it wouldn't surprise me if there 's still {disfmarker}PhD B: Mm - hmm .Professor E: I mean , in {disfmarker} in the {disfmarker} the {disfmarker}the old systems we used to do , I {disfmarker} I {disfmarker} uh , I remember numbers kind of like insertions being half the number of deletions , as being{disfmarker} and both numbers being {disfmarker} tend to be on the small side comparing to {disfmarker} to , uh , substitutions .PhD B: Mm - hmm .PhD F:Well , this {disfmarker} the whole problem with insertions was what I think , um , we talked about when the guy from OGI came down {pause} that one time and{disfmarker} and that was when people were saying , well we should have a , uh , uh , voice activity detector {disfmarker}Professor E: Right .PhD F: that ,because all that stuff {comment} that we 're getting thr the silence that 's getting through is causing insertions . So .PhD B: Mmm .Professor E: Right .PhD F: I 'llbet you there 's still a lot {vocalsound} of insertions .PhD B: Mm - hmm .Professor E: Yeah . And it may be less of a critical thing . I mean , the fact that some getby may be less of a critical thing if you , uh , get things in the right range .PhD F: Mm - hmm .Professor E: So , I mean , the insertions is {disfmarker} is asymptom . It 's a symptom that there 's something , uh , wrong with the range .PhD F: Right .Professor E: But there 's {disfmarker} uh , your {disfmarker} your{disfmarker} your substitutions tend to go up as well . So , uh , I {disfmarker} I {disfmarker} I think that ,PhD F: Mm - hmm .Professor E: uh , the most obvious"}
+{"doc_id":"doc_95","qid":"","text":"Project Manager: So we come again for the the second meeting .User Interface: Mm-hmm .Project Manager: Uh for the aim of this meeting now is to to makepresentation about uh the work for each one .User Interface: {vocalsound}Project Manager: And {gap} take the the decision about the the design and thefunctionality of the the remote control .User Interface: Okay . {vocalsound}Project Manager: And we have {disfmarker} think I got a new project requirement.Industrial Designer: Okay .Project Manager: So I think uh teletext becomes outdated . So the popularity of the {disfmarker} since the popularity of the internet,Industrial Designer: Okay .Project Manager: and I think we don't need lighting adaptive , so the remote control should be only used for the the television . And ofcourse we should have our image {gap} in the in the design . So , let's start with the the industrial designer .User Interface: {vocalsound}Project Manager:{gap} .User Interface: {vocalsound}Industrial Designer: Yeah , alright .Project Manager: Or y you can use the whiteboard if you want .Industrial Designer: So uh{disfmarker} Well I have a PowerPoint pr presentation stored in my in my personal folderProject Manager: Here .Industrial Designer: so I I I think you can reachit from here .Marketing: Just go to explorer .Project Manager: Oh okay .Marketing: Or open . Participant two .Industrial Designer: Participant two .ProjectManager: This one .Industrial Designer: Yeah .Marketing: Open uh .Industrial Designer: Uh open . {vocalsound}Project Manager: Do you want to open{disfmarker}User Interface: Because it's open you mean . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} Right , so um I will talkabout the the w working design and {disfmarker}User Interface: {vocalsound} F_ five .Marketing: Slide show , view slide show , {gap} .Project Manager: Ah.Industrial Designer: And um well I I will present my my first idea on how to build the {disfmarker} our new remote control for television .User Interface:{vocalsound}Industrial Designer: So uh can you go one page down , please . So I think the first things to do is to define the hardware components neededs toachieve uh what we want to do .User Interface: {vocalsound}Industrial Designer: So uh mm I'm thin uh {vocalsound} I think uh I I'll do a survey about what isuh what is available on the market and what what is the the cheapest possible {vocalsound} things we hav we can use . Then uh I will try with the technical teamto to build a prototype and to see uh with uh h how this little box {vocalsound} would uh look look like .User Interface: {vocalsound}Industrial Designer: Andhow an and we can uh start troubleshooting first uh com communication problems or things like that .User Interface: {vocalsound}Industrial Designer: And whenwe are ready with this first prototype I I think we can add some software functionalities on a programmable chip like browsing by content or um things like that .Okay so can you go down uh {disfmarker} So , wha what I think {vocalsound} for now {vocalsound} is {vocalsound} we don't want to have a remote control wwhich is wiredUser Interface: {vocalsound}Project Manager: {vocalsound}Industrial Designer: so uh I think we u we can use a battery for the {gap} . Then twoprogrammable chips for both software functionalities and communication . And the communication with the T_V_ set is uh made through uh infraredcommunication So uh this is the {vocalsound} the schema of the {vocalsound} o of the future uh remote controlsUser Interface: Did you draw it ?{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Wow . {vocalsound}Industrial Designer: so uh you can you can see the components , uhbattery and uh the two chips goes to the infrared uh connection to the T_V_ set .User Interface: This {gap} .Project Manager: This {disfmarker}User Interface:What is the other chip for ? The one on top .Industrial Designer: The one on top is for the um {disfmarker} well the functionali the functionalitiesUser Interface:{vocalsound}Marketing: One is a communication .Industrial Designer: and the the th red um {disfmarker} sorry the green one is is to {disfmarker} well , puttingthings together , um f transform the data into uh qu into the format to to {gap} uh to communicate with the T_V_ set .User Interface: For men . To the{disfmarker} in {disfmarker} {vocalsound} Okay .Industrial Designer: And , that's it . I think we should use a F_P_G_A_ for {vocalsound} for the functionalitieswhich is easy to to tUser Interface: Mm . What is F_P_G_A_ ?Industrial Designer: It's field programmable uh something array .Marketing: {vocalsound} Gatewayarrays .Industrial Designer: {vocalsound} Yeah .Marketing: It's a field programmable gateway arrays .User Interface: So why's it {disfmarker} how is it differentfrom the Bluetooth ?Industrial Designer: Well , uh a F_P_G_A_ is just a chip you can uh you can {gap} pr programme it uh wi with wh whatever you want .UserInterface: Yeah . Programme it .Marketing: Yeah {gap} .User Interface: Okay .Industrial Designer: And uh well the Bluetooth chip is just responsible to uh makethe communication uh between uh the two devices .User Interface: Yeah . {vocalsound} Uh {disfmarker} So this are the {disfmarker} they have to worktogether ? Or ? Do they have to work together or two separate choice {disfmarker}Industrial Designer: No . Well , th the F_P_G_A_ will produce the the data tosend .User Interface: Okay .Marketing: Or it's something like {disfmarker} isn't hardware the first one ? And the second one is for the software .User Interface: Isthe is the software par alri okay .Industrial Designer: Yeah .Marketing: Yeah to run th to make it run .User Interface: Okay , okay .Marketing: That's it .UserInterface: So you can control {gap} if you want , right ?Industrial Designer: Yeah {vocalsound} .Marketing: No .Industrial Designer: Alright and that's it for theworking design .User Interface: {vocalsound}Industrial Designer: So if you have any questions ?User Interface: Mm .Marketing: Okay , and how about thebattery power ? Uh you mean that battery would be somewhere there and the remote contro the power to the battery comes through infrared ?IndustrialDesigner: Uh no no no no , I think uh we have uh to to uh have uh embedded uh b batteries in in the {disfmarker}Project Manager: {gap} .Marketing: Into the{vocalsound}Industrial Designer: yeah into the t .Marketing: more compact and uh {disfmarker} okay , {gap}Industrial Designer: Yeah , yeah .User Interface:{vocalsound}Industrial Designer: And uh I I don't think it will need um {vocalsound} very uh much power to make it run , so {disfmarker}User Interface:{vocalsound} Mm . Mm .Marketing: Yeah , yeah . Okay .User Interface: Mm . You can put it on the charger when uh you when you don't need to use it .IndustrialDesigner: Yeah . It's a good idea .Marketing: Yeah , that's right .User Interface: Yeah .Marketing: Having a charger rather than putting the battery cells always.User Interface: Yeah , yeah .Industrial Designer: Yeah .Marketing: People don't like it to have to buy the batteries when they run out .User Interface: Yeah . Mm. Uh {disfmarker} mm .Marketing: We just make a small chargerUser Interface: Y yeah , yeah .Marketing: and put it {disfmarker}Project Manager: You can iyeah .User Interface: Because you are using because you are using Bluetooth , if some people have P_D_A_ they can use their P_D_A_ to control the T_V_ if theywant to , right ?Industrial Designer: That's a good idea .Marketing: {vocalsound}Project Manager: MaIndustrial Designer: Also , but but {vocalsound} I I I thinkuh the the goal is to sell our remote {vocalsound} control .Project Manager: {vocalsound}User Interface: {vocalsound} I dunno . {vocalsound}Marketing: Bu{vocalsound}Project Manager: Yeah we can change the b {gap} .Marketing: Our remote ,Project Manager: Yeah .Marketing: we do not want to make it P_D_A_ .{vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} S {vocalsound} okay , so charger for {gap} is the {gap} .Project Manager: Um.User Interface: {vocalsound} So is mine .Project Manager: It's mine . Participant one , no ?User Interface: Oh . Yeah , this your {disfmarker}Project Manager:Mm . Oh we have {gap} so let's move to to user interface design {gap} .User Interface: Yeah . {vocalsound} So you can open uh {vocalsound}Project Manager:Participant {disfmarker}User Interface: three . Yeah . {vocalsound} So {disfmarker} So I'm working on the technical functions design . {gap} can you show thenext slide . So the the purpose is to to find uh the important questions to ask is what effect should the apparatus have . So {vocalsound} so I found on a webs onthe internetProject Manager: {vocalsound} During the weekend .Industrial Designer: {vocalsound}User Interface: {vocalsound} {disfmarker} yeah .{vocalsound} I spent a lot of time searching {vocalsound}Industrial Designer: {vocalsound}Project Manager: That's good . {vocalsound}User Interface: and uhand I found that uh the function of remote control is to send messages to television set .Industrial Designer: {vocalsound} {vocalsound} {vocalsound}ProjectManager: Mm-hmm .User Interface: {vocalsound} For example switch on , switch off , switch the next channel and so on and so on .Marketing: GUser Interface:So I found two very good prototypes for {vocalsound} for this interface from our competitorsIndustrial Designer: {vocalsound}User Interface: so can you{vocalsound} {disfmarker}Industrial Designer: {vocalsound}Project Manager: This are usual functionality {gap} .User Interface: Yeah , yeah , yeah . Ours is abit uh different . So these are two example . One is from {vocalsound} {gap} the other one is from , yeah , uh engineering centr yeah .Project Manager: Tasks.Industrial Designer: {vocalsound}User Interface: This is the most competing prototypes I've found {vocalsound} .Industrial Designer: {vocalsound}UserInterface: But then uh loo but then I found if you look at {disfmarker} you see on the left one there are too many buttons {disfmarker}Industrial Designer:{vocalsound}Project Manager: And they are small {gap} .User Interface: Yeah . O on the right I tried to play with {vocalsound} the problem is that uh if I havehundred channels I have uh I have to choo press the other button to choose the hundred channels and I have to compose the numberIndustrial Designer:{vocalsound} Yeah .User Interface: so it's very lousy .Project Manager: Mm-hmm .User Interface: {vocalsound} So you {vocalsound} so you move to the nextthe next one .Industrial Designer: Of course .User Interface: Yeah , so I talk about the problem . And then I I look at the user manual they are a hundred pagesthick , so we don't want that .Project Manager: Yeah .User Interface: {vocalsound} So I propose the easy to use uh prototype . You can navigate on T_V_ screenand we can {gap} the user's preference and we need to have the T_V_ connected to internet so we end {disfmarker} in order to access the T_V_ programmes byX_M_L_ and we need some {disfmarker} to do some preprocessing . From the technical aspect , the processing should be done on the T_V_ set than on the{vocalsound} on the remote controller , right ?Industrial Designer: {vocalsound}User Interface: {vocalsound} And then we {disfmarker} the speech recognition"}
+{"doc_id":"doc_96","qid":"","text":"Project Manager: Is everyone ready to start ?Industrial Designer: Yeah . {vocalsound}User Interface: Yeah .Marketing: {vocalsound} Yes .Project Manager: Okay. Great . Well , welcome to the third meeting of conceptual design . I'll just get the PowerPoint presentation up and running . Okay . Um , on the agenda for this ,um , for this particular meeting , we'll have your three presentations on what you've done since our last meeting , after we came up with um some general ideasof our design . And , um , then we have to make some key decisions on , on our remote control concept , and how we're gonna make it , what uh materials we'regonna use , and that sort of thing .Industrial Designer: {vocalsound}Project Manager: The meeting will be forty minutes long .Industrial Designer: Okay .ProjectManager: And um we will once again have Poppy as our first presenter .Industrial Designer: {vocalsound} Okay .Project Manager: Alright , and I will switch upPowerPoint .Industrial Designer: Thank you .Project Manager: Okay .Industrial Designer: Should be just loading . {vocalsound} Okay . Oh , although I can't see iton my screen . That says go here . Okay . I've been doing some research into the different components that we could use , um what's available to us f to actuallymake the remote control . Um , first of all we have to look at how the remote control is actually made , and what is it happens inside the casing , which is moreyour field . Um , thes main internal feature is a circuit board , which contains all the elec electronics and also the contacts with the power source .Marketing:{vocalsound}Industrial Designer: Which is not necessarily a battery , as we're about to see . Um , there are several components of , um , the circuit board thatwe need to consider , where we'll be getting them from , what they'll be made of . Um , including the integrated circuit , which is also known as the chip . Which iswhere all the main information is uh contained . Um , diodes , transistors , resonators , resistors , and capacit capacitors all need to be considered as well . Um ,and all their positioning in the circuit .Project Manager: Um {disfmarker} Are they all included , like mandatorily , or r are these different options ?IndustrialDesigner: Uh , these , they're all different options , they're all separate , apart from the chip , which we will probable decide whether we buy a simple , a regular ,advanced .Project Manager: Yeah .Industrial Designer: We can go into that later . Um , all the other things are individual components that we'd have to get inseparately , and work out the most , like , effective um circuit , including all the wires and everything like that . And the L_E_D_ of course , that's a light emittingdiode . So , we could , so we've got flex flexibility with colours and things , with that as well .Project Manager: Mm .Industrial Designer: Okay , there are lots ofdifferent possibilities for the energy source . We could use a basic battery , but that brings with it , like they need to be recharged and the bulk , the size of it aswell . And they're not so great to dispose of , environmentally . {vocalsound} There's a hand-powered dynamo which is a sort of thing that was used for torchesfifty years ago . A bit out of date . Kinetic energy is something that's been recently developed .Project Manager: Um {disfmarker} What is a hand-powereddynamo ?Industrial Designer: Um , where you manually charge up the power .Project Manager: Just every , every once in a while ?Industrial Designer: Like youwind up something .Project Manager: Just every once in a while or constantly ?Industrial Designer: Sorry ? Yeah . Every once in a while I thinkProject Manager:Alright . It'd be kind of strange to always be cranking it I think .Industrial Designer: . But it's {disfmarker} Yeah . It would be like going a step back in time .UserInterface: {vocalsound} Yeah .Industrial Designer: I don't think it would really be with kind of cutting edge technology .Project Manager: No .{vocalsound}Marketing: {vocalsound}Industrial Designer: Whereas kinetic energy is a new idea that's being used by some watches and other devices , whereyou just shake the device and it gives it power . I mean , the kinetic energy is transformed into power to make the circuit work . Um , or there's solar power ,which we've been considering inside a building , which is where it's gonna be used , might not be quite so useful .Project Manager: Right .Industrial Designer: But, good to look into , renewable energy , always the way . Um , lots of considerations for the case , like what sort of shape it would be , curved or flat . That's got alot to do with the ergonomics . Like how it's comfortable and s sits in the hand . We don't want something that's huge and you can't pick up . Or too small . Or tooslidy . I know I've had a remote control before which you couldn't tell which was the front and the back ,User Interface: {vocalsound}Industrial Designer: 'causeit had so many buttons on , and the shape was so symmetrical that I'd be pressing like a volume button instead of the on button .Marketing: Mm .IndustrialDesigner: Because you can't really see which way round it is .Project Manager: Right .Industrial Designer: Um , we also can choose what materials {disfmarker}um , the {disfmarker} we could use metal , we could use rubber which might be more um ideal for the anti-R_S_I_ . It's like the same sort of rubber that's usedin stress balls and things like that , so it's very like soft , not so stressful on your hands .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} Wood.Project Manager: {vocalsound}Industrial Designer: Um , again , stepping back in time again there .User Interface: {vocalsound}Industrial Designer: I don'tthink that's quite up to date with what we're looking for here .Project Manager: Yeah .Industrial Designer: Um , titanium is not gonna be possible , even though itjust it beyond our budget really . But , would've been maybe for future projects . Um right our choice for buttons as well . We've developed some {disfmarker}we've got some good advances in technology , with our research team have found some uh new multiple um option scroll buttons . I think that was brought upfor , um , {disfmarker} they're basically quite a flexible design , modern , you don't have to use individual buttons . You can just slide up and down . I'm surewe're all quite familiar with those on mobiles or computer laptop pads .Project Manager: Mm-hmm .User Interface: Yeah .Project Manager: Um one thing with thescroll buttons though . It , it {disfmarker}Industrial Designer: {vocalsound}Project Manager: we would have to have an L_C_D_ umIndustrial Designer: Yeah .That's true .Project Manager: display , and the glow in the dark thing might be difficult .Industrial Designer: And that would lead to an advanced {disfmarker}yeah . If we have {disfmarker} yeah . We're going on to that later with the advanc with the L_C_D_ that means we'd need a really advanced chip .ProjectManager: Yeah .Industrial Designer: And it's unlikely that that's gonna be in our budget .Marketing: Mm-hmm .Industrial Designer: Um , also we've got theintegrated pushbutton , which is what we're most familiar with . It's the most straightforward . But you can in like incorporate that with a scroll button as well .{gap} . Got decisions to make there . And this is what I was just saying before . Linked in the different {disfmarker} depends on what type of buttons we haveand the inputs . Um simple would go with the pushbutton . Um , regular you could link with the scroll button . And the advanced we'd have to go with a L_C_D_ sdisplay .Project Manager: Right .Industrial Designer: {vocalsound} My personal preferences ? I think we could go for the kinetic energy source . I don't , I thinkthat's quite um an advanced kind of technology . It's not been seen before , so it could be quite a , a novelty factor , attractive as well . And also energy saving'cause you're producing the energy , you don't need an external sort of battery supply or solar panels . You just give it a shake .Project Manager: Yeah .IndustrialDesigner: {vocalsound} Sounds brilliant to me .Project Manager: Uh .Industrial Designer: Rubber casing I thing would probably the best , if we're going for theanti-R_S_I_ and like more choice with um aesthetics . Like it could be pretty much any colour we want . Um , and gives you , yeah , more flexibility there . Andprobably the regular chip as opposed to the simple ,Marketing: {vocalsound}Industrial Designer: then we could possibly have the scroll and the push , but noL_C_D_ , 'cause we probably can't afford that one .Project Manager: Yeah . Um , one concern with the rubber casing is that it would be rubber encapsulating all ofthese {vocalsound} chips and diodes and delicate technology asIndustrial Designer: Mm-hmm .Project Manager: like as the exterior . This is the one thing that'sprotecting its innards .Industrial Designer: I think that would , uh there would be an in sort of more internal casing . And the rubber would just be the , what's incontact with the human .Project Manager: Yeah . Another thing is it might be more difficult {disfmarker} if it's a rubber exterior {gap} talking about putting oninterchangeable plates .Industrial Designer: {vocalsound} Yeah .Project Manager: Um , is it {disfmarker}Industrial Designer: Yeah .Marketing: Mm-hmm .ProjectManager: I don't see how a like a rubber plate going on top it would stay there . Like if it was sort of like a clip-on plastic plate . It would work that way .IndustrialDesigner: Maybe if the , um , if it was just kind of a , more of a rubber coating which was on to a case .User Interface: WIndustrial Designer: So , it was kind of ,the whole thing would be removable .User Interface: Like plastic with rubber , kind of on topIndustrial Designer: Yeah .Project Manager: Yeah .IndustrialDesigner: Like {disfmarker} I can't think of what .User Interface: Well , there's , there is a certain phone that has like a rubber casing ,Project Manager: Yeah.Industrial Designer: Yeah . Or like an {disfmarker}User Interface: b like a Nokia it is .Marketing: Mm-hmm .Industrial Designer: you can get sort of outer casingfor iPods and something , that's just {disfmarker} it's protective as well .User Interface: It's {disfmarker} yeah .Project Manager: Yeah .Marketing: Like the skin?Industrial Designer: It , it stops it , I mean ,Marketing: Yeah .Industrial Designer: it would reduce the impact if it was dropped or something , as well , 'cause itwouldn't damage itself so easily .Project Manager: Yeah .User Interface: {vocalsound}Project Manager: Alright . So maybe the {disfmarker}Industrial Designer: Ithink i maybe a mixture of both there , maybe .Marketing: Okay .Project Manager: Yeah .Industrial Designer: Yeah .Marketing: So the actual remote would behard plastic and the casings rubber .Industrial Designer: And then {disfmarker} yeah . Yeah .User Interface: Yeah .Marketing: Okay .Project Manager: Yeah.Marketing: And the buttons obviously are rubber .Industrial Designer: Yeah .User Interface: Yeah .Marketing: Okay .Project Manager: Yeah .Marketing:{vocalsound}Project Manager: That sounds good . I , um , is it possible to put designs onto this type of rubber ?Industrial Designer: As far as I know . It shouldbe .Project Manager: Okay ,Marketing: {vocalsound}Project Manager: we'll just say yeah . {vocalsound}User Interface: {vocalsound}Project Manager: Yes , justwhy not .Industrial Designer: Yeah . Yeah , yeah . {vocalsound}Project Manager: {vocalsound} Alright . I like the kinetic energy source idea .Industrial Designer:"}
+{"doc_id":"doc_97","qid":"","text":"Project Manager: Uh it fell off . One , two , three , four , yeah , we're ready . Okay . Welcome to this second meeting . Um it's now quarter after twelve and we'regiven forty minutes um for this meeting . This is a meeting on functional design . Um and I wanna welcome you all and thank you all for doing some research inbetween . Um I did {disfmarker} took the minutes from the first meeting and I'll show them to you in a moment . Um I know each of you have a presentation andum in thinking about the forty minutes , I thought it would take only like three minutes for the previous minutes , um each of you having about seven minutes ormaybe a little more , maybe a little less for your pre presentations and a little discussion , because there's {disfmarker} I happen to have been told there weresome new project requirements and we have to make some uh decision on what functions it will have . Okay ? Is this ap everybody agree with this ?IndustrialDesigner: Oops .User Interface: Yes .Marketing: Yes .Project Manager: Okay . Um and after the meeting there'll be things to be done and as you can see it sayswe get to get lunch , um and then some more individual work and then putting minutes away and individual actions . {vocalsound} Um but uh now for theminutes of the first meeting . And go to that one . Um as you can see it was this earlier today . Um Kate , Steph , Sarah and myself in our four capacities werepresent . I opened the meeting , the product was developed uh and reviewed , and we talked about the financial end of it . Um and it had some implications , umthe four million sales target and new ideas of not too many buttons , bright colours and some of the influence of the Japanese . And we closed early so you couldthen proceed with your research and getting your reports together for tod this meeting {vocalsound} Anybody have any questions on those minutes ? Are theycomplete , did they discuss everything that we covered last time ? 'Kay .Industrial Designer: Uh I think so ,Project Manager: Did I miss something ?IndustrialDesigner: we we we talked about the the individual roles that we each had as well .Marketing: Mm-hmm .Project Manager: Yeah . I'm afraid I incorporated{vocalsound} that when I said who was present , but {disfmarker} yes , we did ,Industrial Designer: {vocalsound} Okay .Project Manager: and we did a little bitof uh team building of uh of making the pictures ,Marketing: {vocalsound} Okay , I accept the minutes .Project Manager: but I didn't think those wereappropriate to the minutes necessarily . So um as a group I think we've {disfmarker} are {disfmarker} they're accepting the minutes . And uh {disfmarker} okay.Marketing: Is that what we're supposed to say ?Project Manager: Yeah .User Interface: Yeah , I do .Project Manager: Good . Um , then we'll move to the threepresentations . Okay ?Marketing: Okay .Project Manager: Okay . Mm we need to move this . Who wants to go f first ? {vocalsound} That's as far as it goes .UserInterface: Uh not really meant to touch those microphones . Oh it doesn't have any on , does it ? That's fine .Marketing: Excellent , thank you .IndustrialDesigner: Oy , big loop under the table .Project Manager: She said we didn't need to screw it in .Marketing: Okay . Okay , that looks good .Project Manager: It'sdoing its thing . There we are .Marketing: Alright . Thank you very much . Um . One of the the biggest issues I found about um from last meeting was the factthat we need to sell four million of these um remote controls and I think that this is an opportunity to really take Real Reaction in the direction of of similar{disfmarker} of handheld tools that have been used and are used by many of us and to kind of bring the remote control into the si same realm as an accessibleum useful electronic device , as opposed to something that is lost in the couch and what have you . So um my main goal here is to re-envision the remote controlin in this context and to think about menu functionality and current technology and the fact that it could be interactive with other tools . Um some of the researchuh in the market has shown that people really are not happy with remote controls as they are now , and um that means we do need to make some decisionsabout what what keys or or buttons on the on the remote control to perhaps keep and and what ones to discard . And if we devote some energy into this , I thinkthe um recent productions of Real Reaction , the I go everywhere power and the high definition D_V_D_ players {disfmarker} although it makes immediate senseto {vocalsound} have our remote control interact with these , I think we can also use this as a platform to make it interact with other tools . And um in fact Ithink the high definition D_V_D_ players and all of this will come along in the uh {disfmarker} will only benefit from the positive feedback {vocalsound} from ourwell designed tool . So again , most uh users really dislike the current look and feel of remote controls . Um {vocalsound} fifty percent {disfmarker} I think of allthese uh numbers the most important is fifty percent of user say they only use ten percent of the buttons . And eighty percent of users , and if we think about this{vocalsound} there are a lot of uh television , D_V_D_ , stereo remote control users out there , eighty percent would spend more money on a remote control thatlooks fancy .Industrial Designer: Could {disfmarker} can I ask where these figures come from , is this market research we've {disfmarker}Marketing: Um it wasmarket research and there were a hundred people in the room , so eighty out of a hundred said they would spend more money .Project Manager: Now in between, as the Project Manager , they sent me an email from the powers that beIndustrial Designer: Mm-hmm .Project Manager: um that teletext is outdatedumMarketing: Mm-hmm .Project Manager: and the internet is coming in as important , but that they want this remote control to only be for T_V_ um withincorporating the corporate image , colour and slogan .Marketing: Mm-hmm . {vocalsound} Well I think we can {disfmarker} I I think we can really focus on thisremote and and again bring the Real Reaction um brand in in and and get some positive marketing for our other tools , even if we directly don't um advertise{vocalsound} for the I go everywhere line .Project Manager: Mm .Marketing: So an interesting um element was the would you pay more for speech recognitionquestion . So these market research uh uh questionnaires {vocalsound} looked into your your uh concern about technologyProject Manager: Hmm .IndustrialDesigner: {vocalsound}Marketing: and s specifically wanted to find out information about speech recognition .Project Manager: Okay .Marketing: Now the earlyadopters , those of us who grew up with technology and uh luck lucky for us have the uh cash to to pay for it , the young age group without the mortgages andresponsibilities , ninety one percent of them {vocalsound} would pay more for speech recognition in a remote control . Very interesting , I I leave this up to thegroup to decide if we wanna use this uh if {disfmarker} and you know , the the designers ,Project Manager: Mm .Marketing: but ninety one percent , fifteen totwenty five {disfmarker}Project Manager: Is that a large enough target market to target it ?Marketing: Well , I I I think {disfmarker} especially in terms ofgrowth , I think this would be a very smart group to target . I mean s three quarters of the next age group , twenty five to thirty five are interested , and uh withthe technologies improving , if we can get these uh {disfmarker}Project Manager: In real numbers , does the ninety one percent and the seventy six percenttranslate to ex in excess of the four million ?Marketing: {vocalsound} Yeah . To {disfmarker} {vocalsound} Um yes .Project Manager: Or eight million.Marketing: Yes . But would you pay more and does it work and is it approachable and and did I know that it was it was an {disfmarker}Project Manager: Hmm.Marketing: that's a that's a very good question .Project Manager: {vocalsound} Yeah .Industrial Designer: Um {disfmarker}Marketing: I don't know if speechrecognition should be um should be included ,Project Manager: Mm .Marketing: but I think it's an interesting {disfmarker} I think that maybe shows more aboutuh being open to technology .Project Manager: Mm .User Interface: Uh it definitely needs uh a lot more researchMarketing: Shall I go back ?User Interface: onlike how much more it would be and any , you know , existing examples ,Marketing: Yeah , yeah .User Interface: and what reactions to them have been , andthat sort of thing .Marketing: Yeah .Industrial Designer: How d I'm wondering how how ou how our target price compares with the the typical price of thesethings . I expect an Industrial Designer should know that , but if we're aiming to to build this thing for twelve Euros fifty , um is that a lot or a little ?Marketing:Exactly . I mean I I I uh did not receive any information on that , but I think the competition , sussing out what other people are doing and what's in the pipelineis very very important , because um there is a question about do you want an L_C_D_ screen and and that wasn't responded to , but uh some of the largerremotes do have screens where you can navigate , you know , so it turns into something {disfmarker} uh perhaps you all have seen uh the Osbournes whereOzzy Osbourne is is attempting to manage his super entertainment system with something that looks like a uh a small tray .Industrial Designer: {vocalsound} Shsurely he's in the wrong age group .Marketing: You know ,Project Manager: {vocalsound} {vocalsound}Marketing: it's {disfmarker} I a and I think , you know{disfmarker}Industrial Designer: He must be w one of a s small population . {vocalsound}Marketing: {vocalsound} No , no ,Project Manager: Mm .Marketing:you {disfmarker} Kate , you're exactly right there . {vocalsound} But I think the key is to get the early adopters , people who are familiar with technology andand uh they'll be {disfmarker}Project Manager: But we're not looking at whether they're early adopters on that screen ,Marketing: Uh , mm .Project Manager:that's looking at age groups .Marketing: Exactly . I {vocalsound} yes , and I'm making and I'm making the the uh uh leap that people who are familiar{disfmarker} younger people are l are more familiar with technology than than older people . Or comfortable ,Project Manager: Leap . {vocalsound} Hmm . Mm.Marketing: you know , um so {disfmarker}Project Manager: Okay , you had the other power channel .Marketing: I think the most important thing is an attractivestreamlined remote control and to be extraordinarily reductionist , power , channel , volume and everything else is is uh up to the designers . {vocalsound} Andthis is this is also supported by the market research .Project Manager: Okay .Marketing: {vocalsound} Thank you . That's my contribution .Project Manager:Alright . And we'll turn to the next presentation . I think she said we don't need to screw it in , just stick it in . And then press , what ? F F_N_ and F_ eight . Nextto the control button on the bottom , and then F_ eight at the top .User Interface: Yeah , press them .Project Manager: And then w be patient . {vocalsound}UserInterface: Yeah , here we go .Project Manager: Tada .Industrial Designer: And if you want it to go into slide show mode , it's that little button there .User"}
+{"doc_id":"doc_98","qid":"","text":"Postdoc B: Alright .Professor C: So , uh {disfmarker}Grad F: Um , so I wanted to discuss digits briefly , but that won't take too long .Professor C: Oh good . Right. OK , agenda items , Uh , we have digits , What else we got ?PhD A: New version of the presegmentation .Professor C: New version of presegmentation .PostdocB: Um , do we wanna say something about the , an update of the , uh , transcript ?PhD G: Yeah , why don't you summarize the {disfmarker}Professor C: Updateon transcripts .PhD G: And I guess that includes some {disfmarker} the filtering for the , the ASI refs , too .Postdoc B: Mmm .Professor C: Filtering for what ?PhDG: For the references that we need to go from the {disfmarker} the {pause} fancy transcripts to the sort of {nonvocalsound} brain - dead .Postdoc B: It 'll{disfmarker} it 'll be {disfmarker} basically it 'll be a re - cap of a meeting that we had jointly this morning .Professor C: Uh - huh .PhD G: With Don , as well.Postdoc B: Mm - hmm .Professor C: Got it . Anything else more pressing than those things ? So {disfmarker} So , why don't we just do those . You said yourswas brief , so {disfmarker}Grad F: OK . OK well , the , w uh as you can see from the numbers on the digits we 're almost done . The digits goes up to {pause}about four thousand . Um , and so , uh , we probably will be done with the TI - digits in , um , another couple weeks . um , depending on how many we read eachtime . So there were a bunch that we skipped . You know , someone fills out the form and then they 're not at the meeting and so it 's blank . Um , but those arealmost all filled in as well . And so , once we 're {disfmarker} it 's done it would be very nice to train up a recognizer and actually start working with this data .PhDD: So we 'll have a corpus that 's the size of TI - digits ?Grad F: And so {disfmarker} One particular test set of TI - digits .PhD D: Test set , OK .Grad F: So , I{disfmarker} I extracted , Ther - there was a file sitting around which people have used here as a test set . It had been randomized and so onPhD D: Grad F: andthat 's just what I used to generate the order . of these particular ones .PhD D: Oh ! Great . Great .Professor C: So , I 'm impressed by what we could do , Is takethe standard training set for TI - digits , train up with whatever , you know , great features we think we have , uh for instance , and then test on uh this test set.Grad F: Um {disfmarker}Professor C: And presumably uh it should do reasonably well on that , and then , presumably , we should go to the distant mike , and itshould do poorly .PhD D: Yeah .Professor C: And then we should get really smart over the next year or two , and it {disfmarker} that should get better .Grad F:Right . And inc increase it by one or two percent , yeah .Professor C: Yeah , {vocalsound} Yeah .Grad F: Um , but , in order to do that we need to extract out theactual digits .Professor C: Right .Grad F: Um , so that {disfmarker} the reason it 's not just a transcript is that there 're false starts , and misreads , and miscuesand things like that . And so I have a set of scripts and X Waves where you just select the portion , hit R , um , it tells you what the next one should be , and youjust look for that . You know , so it {disfmarker} it 'll put on the screen , \" The next set is six nine , nine two two \" . And you find that , and , hit the key and itrecords it in a file in a particular format .Professor C: So is this {disfmarker}Grad F: And so the {disfmarker} the question is , should we have the transcribers dothat or should we just do it ? Well , some of us . I 've been do I 've done , eight meetings , something like that , just by hand . Just myself , rather . So it will nottake long . Um {disfmarker}Professor C: Uh , what {disfmarker} what do you think ?Postdoc B: My feeling is that we discussed this right before coffee and I thinkit 's a {disfmarker} it 's a fine idea partly because , um , it 's not un unrelated to their present skill set , but it will add , for them , an extra dimension , it might bean interesting break for them . And also it is contributing to the , uh , c composition of the transcript cuz we can incorporate those numbers directly and it 'll be amore complete transcript . So I 'm {disfmarker} I think it 's fine , that part .Grad F: There is {disfmarker} there is {disfmarker}Professor C: So you think it 's fineto have the transcribers do it ?Postdoc B: Mm - hmm .Professor C: Yeah , OK .Grad F: There 's one other small bit , which is just entering the information which ats which is at the top of this form , onto the computer , to go along with the {disfmarker} where the digits are recorded automatically .PhD D: Good .Professor C:Yeah .Grad F: And so it 's just , you know , typing in name , times {disfmarker} time , date , and so on . Um , which again either they can do , but it is , you know, firing up an editor , or , again , I can do . Or someone else can do .Postdoc B: And , that , you know , I 'm not , that {disfmarker} that one I 'm not so sure if it's into the {disfmarker} the , things that , I , wanted to use the hours for , because the , the time that they 'd be spending doing that they wouldn't be able to beputting more words on .Professor C: Mmm .Postdoc B: But that 's really your choice , it 's your {disfmarker}PhD D: So are these two separate tasks that canhappen ? Or do they have to happen at the same time before {disfmarker}Grad F: No they don't have {disfmarker} this {disfmarker} you have to enter the databefore , you do the second task , but they don't have to happen at the same time .PhD D: OK .Grad F: So it 's {disfmarker} it 's just I have a file whi which hasthis information on it , and then when you start using my scripts , for extracting the times , it adds the times at the bottom of the file . And so , um , I mean , it 'seasy to create the files and leave them blank , and so actually we could do it in either order .PhD D: Oh , OK .Grad F: Um , it 's {disfmarker} it 's sort of nice tohave the same person do it just as a double - check , to make sure you 're entering for the right person . But , either way .Professor C: Yeah . Yeah just by way ofuh , uh , a uh , order of magnitude , uh , um , we 've been working with this Aurora , uh data set . And , uh , the best score , on the , nicest part of the data , thatis , where you 've got training and test set that are basically the same kinds of noise and so forth , uh , is about , uh {disfmarker} I think the best score wassomething like five percent , uh , error , per digit .PhD A: Per digit .Professor C: So , that {disfmarker}Grad F: Per digit .Professor C: You 're right . So if you weredoing {pause} ten digit , uh , recognition , {vocalsound} you would really be in trouble . So {disfmarker} So the {disfmarker} The point there , and this is uh carnoise uh , uh things , but {disfmarker} but real {disfmarker} real situation ,PhD D: Mm - hmm .Professor C: well , \" real \" , Um , the {disfmarker} uh there 's onemicrophone that 's close , that they have as {disfmarker} as this sort of thing , close versus distant . Uh but in a car , instead of {disfmarker} instead of having aprojector noise it 's {disfmarker} it 's car noise . Uh but it wasn't artificially added to get some {disfmarker} some artificial signal - to - noise ratio . It was justpeople driving around in a car . So , that 's {disfmarker} that 's an indication , uh that was with , many sites competing , and this was the very best score and soforth , so . More typical numbers likePhD D: Although the models weren't , that good , right ? I mean , the models are pretty crappy ?Professor C: You 're right . Ithink that we could have done better on the models , but the thing is that we got {disfmarker} this {disfmarker} this is the kind of typical number , for all of the ,uh , uh , things in this task , all of the , um , languages . And so I {disfmarker} I think we 'd probably {disfmarker} the models would be better in some than inothers . Um , so , uh . Anyway , just an indication once you get into this kind of realm even if you 're looking at connected digits it can be pretty hard .PhD D:Hmm .Postdoc B: Hmm . It 's gonna be fun to see how we , compare at this . Very exciting . s @ @ .Professor C: Yeah .PhD D: How did we do on the TI - digits?Grad F: Well the prosodics are so much different s it 's gonna be , strange . I mean the prosodics are not the same as TI - digits , for example .Professor C: Yeah.Grad F: So I 'm {disfmarker} I 'm not sure how much of effect that will have .PhD D: H how do {disfmarker}PhD G: What do you mean , the prosodics ?Grad F:Um , just what we were talking about with grouping . That with these , the grouping , there 's no grouping at all , and so it 's just {disfmarker} the only sort ofdiscontinuity you have is at the beginning and the end .PhD G: So what are they doing in Aurora , are they reading actual phone numbers ,Grad F: Aurora I don'tknow . I don't know what they do in Aurora .PhD G: or , a {disfmarker} a digit at a time , or {disfmarker} ?Professor C: Uh , I 'm not sure how {disfmarker}PhDG: Cuz it 's {disfmarker}Professor C: no , no I mean it 's connected {disfmarker} it 's connected , uh , digits ,PhD G: Connected .Professor C: yeah . But .Grad F:But {disfmarker} Right .PhD G: So there 's also the {disfmarker} not just the prosody but the cross {disfmarker} the cross - word modeling is probably quitedifferent .PhD D: H HowGrad F: But in TI - digits , they 're reading things like zip codes and phone numbers and things like that ,PhD G: Right .PhD D: do we doon TI - digits ?Grad F: so it 's gonna be different . I don't remember . I mean , very good , right ?Professor C: Yeah , I mean we were in the .Grad F: One and ahalf percent , two percent , something like that ?Professor C: Uh , I th no I think we got under a percent , but it was {disfmarker} but it 's {disfmarker} but Imean . The very best system that I saw in the literature was a point two five percent or something that somebody had at {disfmarker} at Bell Labs , or . Uh , but. But , uh , sort of pulling out all the stops .Grad F: Oh really ?Postdoc B: s @ @ . It s strikes me that there are more {disfmarker} each of them is moreinformative because it 's so , random ,Grad F: OK . Alright .PhD D: Hmm .Professor C: But I think a lot of systems sort of get half a percent , or three - quarters apercent ,Grad F: Right .Professor C: and we 're {disfmarker} we 're in there somewhere .Grad F: But that {disfmarker} I mean it 's really {disfmarker} it 's{disfmarker} it 's close - talking mikes , no noise , clean signal , just digits , I mean , every everything is good .Professor C: Yeah .PhD G: It 's the beginning oftime in speech recognition .Grad F: Yes , exactly .Professor C: Yeah .Grad F: And we 've only recently got it to anywhere near human .PhD G: It 's like the , singlecell , you know , it 's the beginning of life ,PhD D: Pre - prehistory .PhD G: yeah .Grad F: And it 's still like an order of magnitude worse than what humans do.PhD G: Right .Professor C: Yeah .Grad F: So .Professor C: When {disfmarker} When they 're wide awake , yeah . Um ,Grad F: Yeah . After coffee .Professor C:after coffee , you 're right . Not after lunch .Grad F: OK , so , um , what I 'll do then is I 'll go ahead and enter , this data . And then , hand off to Jane , and thetranscribers to do the actual extraction of the digits .Professor C: Yeah . Yeah . One question I have that {disfmarker} that I mean , we wouldn't know the answerto now but might , do some guessing , but I was talking before about doing some model modeling of arti uh , uh , marking of articulatory , features , with overlapand so on .Grad F: Hmm .Professor C: And , and , um , On some subset . One thought might be to do this uh , on {disfmarker} on the digits , or some piece of"}
+{"doc_id":"doc_99","qid":"","text":"Grad D: And we already got the crash out of the way . It did crash , so I feel much better , earlier .Professor F:  Yeah .Postdoc E: Interesting . Hmm .Professor F:Will you get the door , and {disfmarker} ? Grad D: OK , so um .Professor F: OK . You collected an agenda , huh ?Grad D: I did collect an agenda . So I 'm gonnago first . Mwa - ha - ha ! It shouldn't take too long .Postdoc E: Yeah .Grad D: Um , so we 're pretty much out of digits . We 've gone once through the set . Um ,so the only thing I have to doProfessor F: No there 's only ten .Grad D: Yeah , that 's right . so I {disfmarker} I just have to go through themProfessor F: Well ,OK .Grad D: and uh pick out the ones that have problems , and either correct them or have them re - read . So we probably have like four or five more forms tobe read , to be once through the set . I 've also extracted out about an hour 's worth . We have about two hours worth . I extracted out about an hour 's worthwhich are the f digits with {disfmarker} for which whose speaker have speaker forms , have filled out speaker forms . Not everyone 's filled out a speaker form .So I extracted one for speakers who have speaker forms and for meetings in which the \" key \" file and the transcript files are parsable . Some of the early keyfiles , it looks like , were done by hand , and so they 're not automatically parsable and I have to go back and fix those . So what that means is we have about anhour of transcribed digits that we can play with . Um , Liz {disfmarker}Professor F: So you think two {disfmarker} you think two hours is the {disfmarker} is thetotal that we have ?Grad D: Yep , yeah .Professor F: And you think we th uh , I {disfmarker} I didn't quite catch all these different things that are not quite right ,but you think we 'll be able to retrieve the other hour , reasonably ?Grad D: Yes , absolutely .Professor F: OK .Grad D: So it 's just a question of a little hand -editing of some files and then waiting for more people to turn in their speaker forms . I have this web - based speaker form , and I sent mail to everyone whohadn't filled out a speaker form , and they 're slowly s trickling in .Professor F: So the relevance of the speaker form here , sGrad D: It 's for labeling the extractedaudio files .Professor F: Oh , OK .Grad D: By speaker ID and microphone type .Professor F: Wasn't like whether they were giving us permission to use their digitsor something .Grad D: No , I spoke with Jane about that and we sort of decided that it 's probably not an issue that {disfmarker} We edit out any of the errorsanyway . Right ? So the there are no errors in the digits ,Professor F: Yeah .Grad D: you 'll always read the string correctly . So I can't imagine why anyone wouldcare . So the other topic with digits is uh , Liz would like to elicit different prosodics , and so we tried last week with them written out in English . And it just didn'twork at all because no one grouped them together . So it just sounded like many many more lines instead of anything else . So in conversations with Liz and uhJane we decided that if you wrote them out as numbers instead of words it would elicit more phone number , social security number - like readings . The problemwith that is it becomes numbers instead of digits . When I look at this , that first line is \" sixty one , sixty two , eighteen , eighty six , ten . \" Um , and so thequestion is does anyone care ? Um , I 've already spoken with Liz and she feels that , correct me if I 'm wrong , that for her , connected numbers is fine ,PostdocE: Mm - hmm .Grad D: as opposed to connected digits . Um , I think two hours is probably fine for a test set , but it may be a little short if we actually wanna dotraining and adaptation and all that other stuff .Professor F: Yeah Um , do um you want different prosodics , so if you always had the same groupings youwouldn't like that ? Is that correct ?PhD G: Well , we actually figured out a way to {disfmarker}Grad D: Yeah , the {disfmarker} the {disfmarker}PhD G: the{disfmarker} the groupings are randomly generated .Professor F: No but , I was asking if that was something you really cared about because if it wasn't , itseems to me if you made it really specifically telephone groupings that maybe people wouldn't , uh , go and do numbers so much . You know if it if it 's{disfmarker}PhD A: Uh {disfmarker}PhD G: I think they may still do it , um ,Professor F: Maybe some , but I probably not so much .PhD B: What about putting ahyphen between the numbers in the group ?PhD G: And {disfmarker}Professor F: Right ? So if you {disfmarker} if {disfmarker} if you have uhGrad D: Six dashone , you mean ?Professor F: if you go six six six uh dash uh two nine three one .PhD G: I {disfmarker} well OK {disfmarker} I {disfmarker} it might help , Iwould like to g get away from having only one specific grouping .Professor F: That 's what I was asking , yeah .PhD G: Um , so if that 's your question ,ProfessorF: Yeah .PhD G: but I mean it seems to me that , at least for us , we can learn to read them as digitsPostdoc E: Yeah .PhD G: if that 's what people want . I{disfmarker} I 'mPostdoc E: Yeah .PhD G: don't think that 'd be that hard to read them as single digits .Postdoc E: I agree .PhD G: Um , and it seems like thatmight be better for you guys since then you 'll have just more digit data ,Grad D: Right .PhD G: and that 's always a good thing .Grad D: Yep .PhD G: It 's a littlebit better for me too because the digits are easier to recognize . They 're better trained than the numbers .Grad D: So we could just , uh , put in the instructions \"read them as digits \" .Professor F: Right .PhD G: Right . Right , read them as single digits , so sixty - one w is read as six one ,Postdoc E: Mm - hmm .PhD G: andif people make a mistake we {disfmarker}Grad D: How about \" O \" versus \" zero \" ?Professor F: I mean , the other thing is we could just bag it because it 's{disfmarker} it 's {disfmarker} it 's - I 'm not worrying about it I mean , because we do have digits training data that we have from uh from OGI . I 'm sorry ,digits {disfmarker} numbers training that we have from OGI , we 've done lots and lots of studies with that . And um .PhD G: But it 's nice to get it in this roomwith the acousProfessor F: Yeah .PhD G: I mean {disfmarker} for {disfmarker} it 's {disfmarker}Professor F: No , no , I guess what I 'm saying is thatGrad D:Just let them read it how they read it .Professor F: to some extent maybe we could just read them {disfmarker} have them read how {disfmarker} how they readit and it just means that we have to expand our {disfmarker} our vocabulary out to stuff that we already have .PhD G: Right . Well that 's fine with me as long as{disfmarker} It 's just that I didn't want to cause the people who would have been collecting digits the other way to not have the digits .Professor F: Yeah . Wecan go back to the other thing later .PhD G: So {disfmarker}Professor F: I mean we s we {disfmarker} we 've {disfmarker} We can do this for awhilePhD G: OK.Professor F: and then go back to digits for awhile , or um . Do yo I mean , do you want {disfmarker} do you want this {disfmarker} Do you need training data oradaptation data out of this ?PhD G: OK .Professor F: How much of this do you need ? with uh the {disfmarker}PhD G: It 's actually unclear right now . I justthought well we 're {disfmarker} if we 're collec collecting digits , and Adam had said we were running out of the TI forms , I thought it 'd be nice to have them ingroups , and probably , all else being equal , it 'd be better for me to just have single digitsProfessor F: OK .PhD G: since it 's , you know , a recognizer 's gonnado better on those anyway , um , and it 's more predictable . So we can know from the transcript what the person said and the transcriber , in general .ProfessorF: OK , well if you prePhD G: But if they make mistakes , it 's no big deal if the people say a hundred instead of \" one OO \" . and also w maybe we can just letthem choose \" zero \" versus \" O \" as they {disfmarker} as they like because even the same person c sometimes says \" O \" and sometimes says \" zero \" indifferent context ,Professor F: Yeah .PhD G: and that 's sort of interesting . So I don't have a Specific need cuz if I did I 'd probably try to collect it , you know ,without bothering this group , but If we can try it {disfmarker}Grad D: OK so {disfmarker} so I can just add to the instructions to read it as digits not asconnected numbers .Postdoc E: Mm - hmm .PhD G: Right , and you can give an example like , you know , \" six {disfmarker} sixty - one would be read as six one\" .Grad D: Right .Postdoc E: Mm - hmm . And i actually it 's no more artificial than what we 've been doing with words .PhD G: And I think people will get it.Postdoc E: I 'm sure people can adapt to this , read it single .PhD G: Right , right .Postdoc E: The spaces already bias it toward being separated .PhD G: It 's justeasier to read .Postdoc E: And I know I 'm gonna find this easier than words .PhD G: Right .Grad D: Oh yeah , absolutely , cognitively it 's much easier .PhD G:OK I also had a hard {disfmarker} hard time with the words ,Professor F: Yeah .PhD G: but then we went back and forth on that . OK , so let 's give that atryGrad D: OK . And is the spacing alright or do you think there should be more space between digits and groups ?Professor F: OK .PhD G: and {disfmarker}GradD: Or is that alright ?PhD G: I mean what do other people think cuz you guys are reading {comment} them .Postdoc E: I think that i it 's fine .Grad D: OK.Postdoc E: I it {disfmarker} it {disfmarker} to me it looks like you 've got the func the idea of grouping and you have the grou the idea of separationPhD G: OK.Postdoc E: and , you know , it 's just a matter of u i the instructions , that 's all .PhD G: Great . OK .Grad D: And I think there are about ten different goupingpatternsProfessor F: Let 's try it .PhD G: Well let 's give it a try .Grad D: isn't that right , Liz ? That we did .PhD G: Righ - right , and you just {disfmarker} they're randomly {nonvocalsound} generated and randomly assigned to digits .Postdoc E: I did {disfmarker} Mm - hmm .Professor F: So we have{disfmarker}Postdoc E: Go ahead .Professor F: Sorry , I {disfmarker} I was just gonna say , so we have in the vicinity of forty hours of {disfmarker} ofrecordings now . And you 're saying two hours , uh , is digits , so that 's roughly the ratio then ,Grad D: Yep .Professor F: something like twenty {disfmarker}twenty to one . Which I guess makes {disfmarker} makes sense . So if we did another forty hours of recordings then we could get another couple hours of this.Grad D: Right .Professor F: Um , yeah like you say , I think a couple hours for a {disfmarker} for a {disfmarker} for a test {disfmarker} test set 's OK . It 'd benice to get , you know , more later because we 'll {disfmarker} we might use {disfmarker} use this up , uh , in some sense ,Postdoc E: Mm - hmm .Grad D: Right.Professor F: but {disfmarker} but uh {disfmarker}Postdoc E: Yeah , I also would like to argue for that cuz it {disfmarker} it seems to me that , um , there 's areal strength in having the same test replicated in {disfmarker} a whole bunch of times and adding to that basic test bank .Grad D: Right .Postdoc E: Hmm ? Cuzthen you have , you know , more and more , u chances to get away from random errors . And I think , um , the other thing too is that right now we have sort of astratified sample with reference to dialect groups , and it might be {disfmarker} there might be an argument to be made for having uh f for replicating all of the"}
+{"doc_id":"doc_100","qid":"","text":"Project Manager: Hi Kate . {vocalsound} Okay , carry on .Industrial Designer: Just just carry on . {vocalsound}Project Manager: {vocalsound} Alright um this isthe beginning of the third meeting , the conceptual design meeting . Um our agenda should be um that we're opening the meeting , I have {disfmarker} theminutes from the previous meeting are on the shared f drive at this point . Um and we should each have a presentation to make . Um we have certain decisionsto make and we have forty minutes total . It's twenty five after two at the moment , so forty minutes is five after three , {vocalsound} um which I'll be keepingan eye on the clock for us . Okay . {vocalsound} Um there are the decisions we have to turn to , but we'll come back to them in a minute after I take us to theminutes of the previous meeting . Right um as we remember , I opened the meeting , the four of us were present , the meeting {disfmarker} the first meeting'sminutes were reviewed and approved . Um Sarah , you presented a marketing research report um which pretty much rep represented that fifteen to thirty fiveyear olds uh it has to be hand-held , power , channel , volume , number keys , possibly a speech recognition . And then Steph did a second presentation um thatthose functions plus streamlining them with big user-friendly keys that were easy to use . I think all of us agreed with those things . Kate presented a workingdesign of {disfmarker} going after {disfmarker} going over the basics on the whiteboard um that it should be a simple mass-produced device , because of thetwelve and a half Pence cost . Um but we did talk about possibly using rechargeable batteries and having a docking place as a selling point . Um and the newrequirements that it for {disfmarker} be for T_V_ only um and that it include the l so slogan and colour of the uh corporate design be included . Um {vocalsound}the corporate image . So we agreed that the target market would be fifteen to thirty five with more money than sense , that were decision makers . Alternativelyit would be a manufacturer to enclose it with the T_V_ , but it still should meet those parameters . Um and that the function we agreed was volume , power ,numbers , enter , channels , a way to move between channels , easy to use and hand-held . {vocalsound} Um at that point we agreed that Sarah would look atthe current cost of competition , what what do the current ones sell for . Um and Steph was gonna look at ec ergonomics . Kate was gonna look at cost andfeasibility of the various possibilities that we discussed . And I was to type up these minutes and work on the final report . Is this a fair presentation of what ourlast meeting was ?User Interface: Yeah .Industrial Designer: Mm-hmm .User Interface: Yes .Project Manager: Okay . Right . So we're ready to close that and goback to our {disfmarker} That one . Right . We're up to the point of the {disfmarker} Go back . Um {vocalsound} the three presentations . So we're going to pullthe plug on me and turn to Sarah . Is that okay ? Is that alright with everybody else ?Industrial Designer: Mm-hmm . {vocalsound}User Interface: Yep .ProjectManager: Especially since Kate asked to be last . {vocalsound} Sarah , I'm sorry if I misspelled your name , I didn't know whether it was S_A_R_A_ or{vocalsound} S_A_R_H_ .Marketing: {vocalsound} {vocalsound} I respond to either .Project Manager: You respond to whatever you get , huh ?{vocalsound}Marketing: No worries .Project Manager: Okay . Um , did you do your {disfmarker} Hit {disfmarker}User Interface: Yeah , {gap}Project Manager:Ah , there it is . Ta-da .Marketing: Okay , first thing I want to address is um one of the points that Florence brought up , which was uh current cost of thecompetition devices , similar to the ones that Stephanie uh showed us and and they're uh twenty to sixty Euros , depending on uh branding .User Interface: Right.Marketing: Some of them that have a higher brand recognition are on the more expensive end . But I think that with the current um price that we're searchingfor , we're well within , even on the lower end , of the uh of the market .Project Manager: Mm 'kay .Marketing: But I'm going to move on to more interesting um{vocalsound} more vibrant things . {vocalsound} So , I investigated the remote control market in greater detail , and my uh {disfmarker} the theme of what Iwas to work on was uh trend watch .User Interface: {vocalsound}Marketing: And {vocalsound}Project Manager: 'Kay .User Interface: {vocalsound}IndustrialDesigner: {vocalsound} Sorry . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: I'm glad to see the marketing budget is being so well spent on {vocalsound} {gap} . {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} I know that you all are a distance from cutting edge marketing research ,IndustrialDesigner: {vocalsound}Marketing: so you know , I'm just gonna try to cloak it in really professional terms here . What's hot , fruit and veg . Spongy .IndustrialDesigner: {vocalsound}User Interface: {vocalsound}Marketing: And this is all over the catwalks , Paris , Milan , and I'm talking about clothing , furniture , shoes. {vocalsound}Industrial Designer: {vocalsound}Marketing: This is really interesting change from past years ,Project Manager: Mm .User Interface:{vocalsound}Marketing: because it is much more organic , um some would say approachable . {vocalsound} And I think if we're to refashion our view of what wewant in a remote control , we should perhaps think about incorporating technologically interesting fabrics and some of the bold colours into a simple handset . So. {vocalsound} I also did a little research on um {vocalsound} what again are the most important priorities in uh decision making about uh purchasing . Fancy .Functional is out . And f the fancy , and that's exactly the term , I'm I'm thinking polished , elegant , {vocalsound} you know , kind of innovative , but a cut above. This is twice as important as the next finding , which is technologically innovative . This is interesting , 'cause I think in the last meeting we were talking abouttechnology as being so important , but maybe what's innovative is having it simple with um with uh technologically {vocalsound} superior fabrics or uh , youknow , designed in interesting substances . Ease of use . Again , pretty low , I mean it's the top three , but each of the uh fancy and technologically innovative arefar more important . So I think we should cloak the streamlined remote control device in a series of {vocalsound} fruit {vocalsound} fruit themed sleeves .UserInterface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} I think that's a good idea . Don't you ? {vocalsound}Marketing: {vocalsound} Y yeah ,you know {disfmarker}Project Manager: It sounds like the the uh covers that they use for the remote , you know , your t your cell phone .User Interface: Yes.Marketing: Exactly . {vocalsound} Exactly . I was thinking though that instead of having something uh like patterned , you know , so , you know , somethingsimilar to a summer dress . {gap} you know , it would have like fruit and veg , is that we actually make these spongy .Project Manager: Mm .Marketing: Theycould be {disfmarker} ini initially I thought we could start with kind of um fruit that would suit kind of uh a long uh hand-held , so banana , pineapple and pear .Um it could actually {disfmarker} the sleeve could {vocalsound} take up a lot of the {vocalsound} development and the remote control , we'd just need to getreductionist on it . {vocalsound}User Interface: {vocalsound} {vocalsound}Marketing: They could be interchangeable , they're spongy , that goes back toergonomic , and the youngsters love 'em , fun for the whole family , everyone can have their own . So what we're talking about is changing . this concept .Everyone has a T_V_ remote , but then we add in the fact that they could each have their own individual fruit .User Interface: {vocalsound}Marketing:{vocalsound} That's what's hot on the catwalks . {vocalsound} So , this is my {disfmarker} This is what I'm thinking .Project Manager: Hmm .User Interface:{vocalsound} {vocalsound}Project Manager: Uh-huh mm . In most families , don't {disfmarker} isn't the remote {disfmarker} is a remote .Marketing: Y yeah ,but I think I think what this would allow is perhaps a person in the family who had the most opinion about it {disfmarker} we all need a remote ,Project Manager:Mm .Marketing: but the person who is really perhaps active in personalising , I'm thinking the teenager , the {disfmarker} someone fifteen to thirty five would goout and get this additional thing the same way as you mentioned that people would get the cell phone covers .User Interface: {vocalsound} So when your dad'ssitting there , overriding your decision , going no we're gonna watch this , you can bring out your own remote and be like zap , no we're gonna watch this.Marketing: {vocalsound} Yeah . W and {vocalsound} plus I think {disfmarker}Project Manager: Mm . Well actually some households do have three and fourT_V_sMarketing: {vocalsound} Uh yeah .User Interface: {gap}Project Manager: and they would have a remote for each one ,Marketing: Yeah .Project Manager:so .Marketing: Yeah . So this is an idea and I I {disfmarker} you know , this is exactly what the research has uh has shown . So I really open this up to uh anyother feedback . This {vocalsound} spongy fruit and veg .Industrial Designer: Yeah , I I think we're gonna have some trouble when we get down to thecomponent design on this .Marketing: Thanks . {vocalsound} Alright .Project Manager: Hmm .Industrial Designer: Spongy is gonna be difficult , I'm afraid .UserInterface: Yep . {vocalsound} And as for as for um well budgeting as well , if we're gonna have lots of different interchangeable components .Project Manager:Hmm . {vocalsound}Marketing: {vocalsound} I I just have my ear to the market , guys . {gap} {disfmarker}User Interface: {vocalsound} Is this {gap} to themarket {gap} ?Industrial Designer: Yeah , I mean basically we can make these things out of wood , titanium , plastic or rubber . I suppose rubber is the closestto spongy ,Marketing: Is spongiest , yeah .Industrial Designer: yeah .Marketing: That would add {disfmarker}Industrial Designer: I was thinking titanium myself.User Interface: I was thinking titanium , I was thinking it's just {disfmarker} I have been influenced by pictures of iPods , and they're also minimalist and shiny.Marketing: Mm-hmm . {vocalsound} They are and they they would fulfil the uh first um priority , which is fancy . I think many of us would associate those withfancy . Something else we could do is uh call it something that's fruit and veg oriented . We could call it uh {disfmarker} {vocalsound} The name .ProjectManager: Are we talking about the device itself or the c or a cover for the device that would be an interchangeable cov cover as a separate product ?Marketing:{vocalsound} Well it would be uh a a very simple product that would have a spongy sleeve that would be interchangeable . So {disfmarker}Project Manager:Perhaps perhaps that desi that particular suggestion needs to go back to managementUser Interface: Yeah , but it's kind of pointless , isn't it ?Project Manager:"}
+{"doc_id":"doc_101","qid":"","text":"Project Manager: That should hopefully do the trick , um . 'Kay . Sorry about the small delay . Falling a little bit behind schedule . And that's uh fifteen twenty five. Okay . So just to try and roughly go over what we agreed in the last one , um we're gonna go for something uh uh how was it ? Uh The new black , I believe.Marketing: {gap} .Project Manager: Um something that looks good 'cause that seems to be in preference to actual functionality in the end , though we shouldnever avoid functionality , of course . Uh many of our components are gonna be standard , off the shelf , but it seemed like we were gonna require at least anadvanced chip and we were still very much for the idea of using an L_C_D_ display . Um other things were we were hoping to use rubber , most likely gonna bedouble curved , etcetera . Okay . So um due to your hard work , we might as well let the uh two designers go first , and uh show us the prototype .User Interface:Okay , it's a {disfmarker}Project Manager: Quite how the best way to do this is , I'm not sure ,Industrial Designer: {vocalsound}User Interface: {gap} I think ifwe both step upProject Manager: but {disfmarker}User Interface: and uh outline our ideas . Okay . Now do {disfmarker} uh doing the prototype gave us a bitmore insight into the ergonomics of the design . Um for one thing , it turned out that the only point at which it needs to be articulated for handedness is um is h iis down here for the uh L_E_D_ . As it turned out , the whole thing transfers from the right to left hand fairly well from the point of view of operating the uhfunction buttons and joystick , though it might be an idea to be able to a adjust the positions for the base of the joystick just a little bit for uh {disfmarker}ProjectManager: Okay .User Interface: {gap} ju just a thought . You could simply have a slightly ovoid shaped joystick that could then just be turn uh twisted round , sothat the uh sticky uh so that the bit that sticks out a bit more is on one side or the other . But as you as you see with the uh {vocalsound} with holding it in theleft hand , the L_ uh the L_C_D_ is nowhere useful , so that would need to be articulated uh if we're going to retain {gap} ergonomic design . Um now I I gotyour note about uh keeping the cost down .Project Manager: I'm afraid yeah .User Interface: Yeah .Project Manager: We'll go into that a bit more ,User Interface:{gap} this design could be done with um with uh plastic casing .Project Manager: but please go on .User Interface: Though I would recommend around the grippart here in the middle , having maybe just a rubber grip over that which would allow for a slightly more sort of bio-morphic form , and a bit more ergonomic aswell . As for the um as for the single curve , um well this edge and this edge , like I say it would be nice to have some curvature to it , but it's not absolutelynecessary . Really the curve that's most needed is the underside so that the jo so that the joystick rests over the the edge of the hand like this . Um and you havethe uh transmitter here and a wee speaker for the uh for the uh for the uh fi uh for the remote control finder . So .Project Manager: {vocalsound}User Interface:Any further comments ?Industrial Designer: Um obviously it's gonna be bulkier than how it looks , because it's gonna be flat on one side , so the L_C_D_ will be ssticking down like this , won't it ?User Interface: Mm-hmm . Yeah .Industrial Designer: 'Cause it {disfmarker} you can't get it curved .User Interface: Yeah , Imean theIndustrial Designer: Uh because of costs .User Interface: uh {disfmarker} Yeah .Industrial Designer: And it's plastic as well , so it won't be ascomfortable on the hand .User Interface: Yeah . I mean with the with the rubber design it could i you know it could pretty much mould very much to the to theuser's hand .Project Manager: Mm .User Interface: One nice wee feature if we could if we could still do the rubber , I though of was to have {gap} the uh rubberextend beyond the end of the uh {vocalsound} of the rigid substructure . So it has a wee sort of tail that you just drape over your wrist so it stays in positionnicely .Project Manager: {vocalsound}User Interface: Mm . Lovely . Um .Industrial Designer: Yeah , {gap} . {vocalsound}Project Manager: Okay , yeah . Great .Um .Marketing: Right . Yeah I've got a {disfmarker} if you load up my evaluation document .Project Manager: Yeah , okay {gap} .User Interface: Okay .ProjectManager: Excellent work .Marketing: Mm .Project Manager: Um .Marketing: Uh evaluation . {vocalsound} Basic point uh have a list of criteria that we need torate the prototype by . {vocalsound} Um then we will {disfmarker} it's a seven s um seven seven step kinda evaluation process . So um not seven steps , sevenscale . So after we've finished doing all the ratings for each criteria , we average that and that will give us some type of uh confidence in our prototype . And uhthe criteria {gap} based on Real Reactions' kinda goals and policies , marketing strategies , and also those I put together from the user requirements phase . 'Kay. Um if you flip the {disfmarker} {vocalsound} So , those are the criteria . And uh perhaps I could have put 'em a bit better , but you notice a few things thatwe've totally abandoned , which means {vocalsound} that uh the product will score very badly on some of those points .Project Manager:{vocalsound}Marketing: {vocalsound} Put it mildly . So we have um true ? One , t Seven , eight , oh . Fourth . Okay , so we have to go through each point . If weimagine it's actually straight , and just give it a a score . So um how well would you say the prototype is uh how well have we realised the dream of being able tostop remotes from from being lost , or to be able to find them once they are lost . I mean , uh is the homing thing still {disfmarker} the locator , is that still{disfmarker}User Interface: Yeah , that's still part of the design .Marketing: Sure . And Adam , we can keep that in ?Project Manager: Yeah , I believe so . So Imean I don't think anybody could actually stop a remote being lost ,Marketing: Okay .Project Manager: 'cause that would mean doing something about thehuman element ,Marketing: {vocalsound} Sure .Project Manager: but I'd like to think that we've done something about finding the damn thing once we have.Marketing: TUser Interface: Mm . Mm . And making it a bright colour helpsMarketing: Sure .User Interface: with the {disfmarker} personally I would have gonefor purple {gap} . {vocalsound}Project Manager: {vocalsound}Marketing: Mm . Bright colour . So we still have that noise thing , yeah ?User Interface: Mm-hmm.Marketing: Os on a scale of one to seven , how would you guys rate it for finding {gap} finding it once it's lost ?User Interface: I'd say number one .Marketing:Number one ?Industrial Designer: One . Yeah . {vocalsound}Marketing: Okay . Number number one for the first criteria .User Interface: I think w if it was justthe sounder then th {gap} I mean something I've found with uh w w with say tr trying to find uh a cordless phone or a m mobile , you can hear it , but you can'tquite pin it dow pin down where it is .Marketing: Yeah you can tell what room the mobile is {disfmarker}User Interface: BuIndustrial Designer: What about{disfmarker} what if the the volume on the T_V_'s turned up massively and uh you just wanna turn down the volume {gap} can't find remote . Suppose youhave to go to the T_V_ and do it manually . Mm .Marketing: Yeah .User Interface: Yeah .Project Manager: Mm . UmMarketing: Yeah .Industrial Designer: Like yyou wouldn't hear the speaker {gap} .Marketing: Mm-hmm .Project Manager: just before we go through all of the steps here , um well what we'll do isMarketing:You wanna say something ?Project Manager: um if we can look at the criteria you're gonna evaluate , and then we'll come back to the product evaluation if that'salright .Marketing: That's fine .Project Manager: Yeah , is that {disfmarker}Marketing: Oh that's that's fine .Project Manager: Um so is there anything here thatyou that you wanted to cover as in the criteria that you've covered ? And then we'll come back pretty much promptly to this .Marketing: What do you mean cr isthere anything I wanna {disfmarker}Project Manager: I is there any of these criteria that need any explaining ? Or is there anything that yous thought tha reallywould stand out compared to the others ?Marketing: Um , a few . {vocalsound} Something I neglected from my initial research is that Real Reactions has a a goalstrategy that all of the products be inspired by material fashion , and clothing fashion . That is why fruit and veg being popular in the home and in clothing wasimportant and they want all their products to be somehow inspired by current trends in fashion . So they say we put the fashion in electronics , well they reallymean it they they're very big on fashion ,Project Manager: Okay .Marketing: so . That's this bit right here . And uh this bit is this one easy to use for visitors or foranybody ? I guess it's just the same as saying easy to use interface , so it's kinda condensed into one . And we can come back to it , you said .Project Manager:Okay .Marketing: So .Project Manager: No and which we will do very very shortly . Um . Okay . Slight problem we had was that we have an amazing four Eurosover budget for what we were hoping to do . Um most of it stems from the use of the L_C_D_ which I think in the end accounted for about half of our expenditurebecause of course we required a chip as well . Um the only way to get this down was either to ditch the a L_C_D_ , at which point we've removed a large part ofhow we were gonna interface , {gap} require more buttons , etcetera . Or what we did was that we um we as in I as I was quickly going over it was altering theactual structure . Um changing it to plastic and a solid unit with a single curve design would allow us to come back into the um proposed costs and we're justscraping it in , we've got point two of a Euro left over there . So we're just managing it really . Even then as well , um there was no criteria technically defined fora joystick so I've used what I think's appropriate . With any luck that won't mean that we've incurred more cost than we can actually afford to . It blows a lot ofour really good ideas kind of slightly to one side , for example the possibility of having a U_S_B_ connection is definitely not viable now . Um .Marketing: Differentlanguages ?Project Manager: That should still be viable . We've got an advanced chip , we've got the use of the L_C_D_ . So being able to communicate inmultiple languages is still very much a possibility .Marketing: Yeah . {vocalsound}Project Manager: Um but what's something we need to decide on is how we'regonna go from here . {vocalsound} We do need to try and come up with an idea which could be continued with other people if need be . Um . We can I can bringthe excel up sheet up and uh show you if you wish um . I really think as m much as it pains me is that we might have to go with plastic and some kind of soliddesign , possibly meaning that the L_C_D_ wouldn't be in this perfect place . It might be s stuck like slightly between what would be good for left handed andwhat would be good for a right handed person .User Interface: Mm-hmm I suppose o one thing that could be done is h {vocalsound} is have it um circular andhave it s {vocalsound} so that the uh the pink {gap} actually goes a bit over the pinkie finger . Mm .Project Manager: Okay .Marketing: Mm .User Interface: So"}
+{"doc_id":"doc_102","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 14thmeeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic.  This will be a hybrid meeting. Some members will be participating via video conference and some will be participating inperson. In order to ensure that those joining the meeting via video conference can be seen and heard by those in the chamber, two screens have been set up oneither side of the Speaker's chair, and members in the chamber can listen to the floor audio or to interpretation using their earpiece at their desk. Beforespeaking, please wait until I recognize you by name, and please direct your remarks through the chair. For those joining via video conference, I would like toremind you to leave your mike on mute when you are not speaking. Also, please note that if you want to speak in English, you should be on the English channel.If you want to speak French, you should be on the French channel. Should you wish to alternate between the two languages, you should change the channel tothe language that you are speaking each time you switch languages. Should members participating by video conference need to request the floor outside theirdesignated speaking times, they should activate their mic and state that they have a point of order. Those in the Chamber can rise in the usual way. Please notethat today's proceedings will be televised in the same way as a typical sitting of the House. We'll now proceed to ministerial announcements. I understand thatthere are none. Now we'll proceed to the tabling of documents. Mr.LeBlanc has a document he wants to table. Go ahead, Mr.LeBlanc.Hon. Dominic LeBlanc: Mr.Chair, I have the honour to table, in both official languages, a report entitled \"Democracy Matters, Debates Count: A report on the 2019 Leaders' DebatesCommission and the future of debates in Canada. Mr. Chair, on behalf of all of us, I want to thank the Right Honourable David Johnston for his continuedservice.The Chair: Good. We'll now proceed to the presenting of petitions, for a period not exceeding 15 minutes. I would like to remind members that anypetition presented during a meeting of the special committee must have already been certified by the clerk of petitions. For members participating in person, weask that you please come to the front and drop off your certificate at the table once the petition has been presented. In presenting petitions, the first presentertoday is Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Thank you, Mr. Chair. I'm pleased to be presenting a petition in support of BillS-204. This is a bill in the Senate, put forward by Senator Salma Ataullahjan. It would make it a criminal offence for a person to go abroad and receive an organfor which there has not been consent by the donor. It also creates a mechanism by which someone could be deemed inadmissible to Canada if they were involvedin organ harvesting and trafficking. This bill is designed to confront and address the horrific practice by which, in certain casesfor instance, inside Chinaminoritycommunities or dissidents may be targeted and have their organs removed as they're killed and used for transplantation. Petitioners are supportive of Bill S-204,and they want to see it passed as soon as possible.The Chair: Our next petition will go to Mr. Viersen.Mr. Arnold Viersen (Peace RiverWestlock, CPC): Mr. Chair, Iam presenting a petition today signed by Canadians who are concerned that Bill C-7 removes safeguards from the current euthanasia regime, including themandatory 10-day waiting period. Mr. Chair, these people who are signing this petition would like to see an improvement in assisted living, not assisted dying.TheChair: We'll now go to Ms. Zahid.Mrs. Salma Zahid (Scarborough Centre, Lib.): Thank you, Mr. Chair. I would like to present an e-petition signed by over 40people. It asks that the Government of Canada recognize the Republic of Somaliland as an autonomous state that may result in foreign investments, direct accessof development aid, foreign aid for disaster relief and infrastructure development investment loans.The Chair: Now we'll proceed to Statements by Members for aperiod not exceeding 15 minutes. Each statement will be for a maximum of one minute. I remind members that if they exceed that time limit, they will beinterrupted.  Our first statement goes to Monsieur El-Khoury.Mr. Fayal El-Khoury (LavalLes les, Lib.): Mr.Chair, I thank the government for the way it hasmanaged this global crisis and its impact on Canadians. It has acted in a robust, rapid and very effective way. Our Prime Minister has been awarded the medal ofhonour, courage and humanity worldwide. Canada is one of the few countries that has acted in the best interests of its citizens and maintained their dignity inthese uncertain times. While addressing Canadians, our right honourable Prime Minister showed us leadership, the importance of transparency, and integrity. Hekept us united. His top priority was saving lives, along with finding realistic solutions regarding the economic impact on our daily life. Because of his outstandingleadership, we're admired across the world, which is another distinguished privilege of being Canadian. Thank you, Mr. Chair.The Chair: We'll now go to Mr.Epp.Mr. Dave Epp (Chatham-KentLeamington, CPC): COVID-19 has emptied food banks across Canada, even in an agricultural community like Chatham-Kent, soWes Thompson and James Rasmussen, along with Alysson Storey, Randi Bokor, Maureen Geddes, Chris and Terry Johnston, Jason King, Fannie Vavoulis andBrent Wilken, grew an idea into the community's largest-ever food drive. Project manager Morna McDonald estimates that over 3,000 volunteers ended uphelping in the May 16 Miracle. Residents put non-perishable foodstuffs on their doorsteps, with drop-off centres organized for rural areas. Volunteer groupstravelled predetermined routes while maintaining physical distancing. The community collected an amazing 678,000 pounds of food. They accidentally exceededby over 20% the record in the Guinness World Records book for collected food in a single day. Chatham-Kent has restocked their food banks and reaffirmed theircommunity pride. It's an honour to represent such a community.The Chair: We'll now go to Mr. Sarai. We have a point of order from Mr. d'Entremont.Mr. Chrisd'Entremont (West Nova, CPC): As much as I like seeing my friends on the big screens, there are no big screens yet, so we don't know who's on and who's noton. I was wondering if there was going to be a TV coming up soon here, Mr. Chair.The Chair: There is a technical issue, and it is being worked on. We're workingon it as we go through. The other alternative is that we suspend until we fix it. If it's okay, we'll just continue. I think we can all hear the members who arespeaking. This is one of the realities of a virtual or hybrid system. Our next statement will go to Mr. Sarai.Mr. Randeep Sarai (Surrey Centre, Lib.): Thank you, Mr.Chair, and mabuhay to all the Filipino Canadians across this country. In June across Canada we recognize Filipino Heritage Month to raise awareness andcelebrate the Filipino community. Here in Surrey Centre, and across Canada, the Filipino community makes important contributions to our cities and has helpedshape Canada into the vibrant multicultural society that we all know and love today. Now more than ever, during these challenging times we must come togetheras Canadians to celebrate the rich heritage and history of our Filipino neighbours. Throughout June, please join me in celebrating our fellow citizens of Filipinodescent by recognizing all the incredible ways in which they have contributed to making Canada a better place for all of us. Happy Filipino Heritage Month. Thankyou, Mr. Chair.The Chair: Mr.Perron.Mr. Yves Perron (BerthierMaskinong, BQ): Good afternoon, Mr.Chair. Today is World Milk Day, and I would like to recognizethe exceptional work and dedication shown by everyone in the industry. They ensure we have a nutritious, high quality product every day. Let's take part in thelocal consumption movement and rediscover the exceptional products of our dairy producers and processors. Enjoy the yogurts, cheeses and other productsbecause it's true that milk is good. I would also like to thank BrunoLetendre, outgoing chair of the Producteurs de lait du Qubec, and I congratulate the new chair,DanielGobeil. The dairy industry has been sacrificed several times in trade agreements. The government's broken promises are piling up. The payment ofcompensation is still uncertain. Action must be taken. The first step must be the direct allocation of import quotas to processors, and the second must be the fullpayment of the promised compensation. We demand a formal commitment from the government.The Chair: We'll now continue with Mr.Iacono.Mr. Angelo Iacono(Alfred-Pellan, Lib.): Mr.Chair, June is Italian Heritage Month. The situation is special this year, since Italy has been hard hit by COVID-19, with more than30,000deaths. Like me, many Italian Canadians still have family and friends in Italy, and the news has sometimes been very difficult to take, yet that has notdetracted from the great co-operation that exists between Canada and Italy.  Today I would like to highlight the solidariet italiana in our community. During thepandemic, Canadians of Italian descent have been united to support anziani, our famiglie and our amici in Italy by participating in the fundraising campaignCOVID-19 AiutiAMO lItalia to support the Italian Red Cross response activities. I send a special salute to to my cugino Giuseppe, who is still on the road torecovery from COVID-19. The Chair: We'll continue with Mr. Kram.Mr. Michael Kram (ReginaWascana, CPC): Mr. Chair, I would like to acknowledge all of theorganizations in Saskatchewan and across Canada that are working hard to help small businesses adapt to the challenges of the current pandemic. In particular, Iwould like to thank the Regina Downtown Business Improvement District, or RDBID. As soon as the pandemic hit, RDBID launched a daily electronic newsletter tokeep their members informed of support programs, local initiatives and local success stories. They have used their social media channels on a daily basis topromote takeout and delivery services, online and curbside services offered by restaurants and retailers. They have also launched a number of their owninitiatives to help businesses access e-commerce. Through persistent communication and a lot of long hours, RDBID has helped businesses in downtown Reginato weather the storm. Because of their hard work, downtown Regina will come through this pandemic better than ever.The Chair: Mr.Lauzon now has the floor.Mr.Stphane Lauzon (ArgenteuilLa Petite-Nation, Lib.): Mr.Chair, high-speed Internet will be to the 21stcentury what electricity was to the 20th: an essential service.We are currently experiencing a drastic change in our morals, our consumption patterns and our socialization habits. We are turning to the Internet to read thenews, contact our friends and complete our purchases. Isolation associated with COVID-19 has only accelerated this trend. Unfortunately, not all regions ofCanada have reliable, affordable, high-speed access. I would like to reassure the citizens of my riding about the efforts that we are making as a government, but"}
+{"doc_id":"doc_103","qid":"","text":"Sian Thomas: Bore da. Unfortunately, the Chair, Lynne Neagle, is unable to attend today's meeting. Therefore, in accordance with Standing Order 17.22, I call fornominations for a temporary Chair, for the duration of the meeting.Julie Morgan AM: I nominate John Griffiths.Sian Thomas: Any further nominations? I thereforedeclare that John Griffiths has been appointed temporary Chair, and I invite him to chair for the duration of today's meeting.John Griffiths AM: Thank you verymuch. I thank the Members for that. Welcome, everyone, to this meeting of the Children, Young People and Education Committee. The first item on our agendatoday is apologies, substitutions, declarations of interest. Obviously, Lynne Neagle isn't able to be with us today. We haven't received any other apologies. Arethere any declarations of interest? No. We will move on then to item 2 on our agenda, the continuation of our inquiry into targeted funding to improve educationaloutcomes, and evidence session 8. And I'm very pleased to welcome Estyn here this morning to give evidence to the committee. Would you like to introduceyourselves for the record, please?Meilyr Rowlands: Meilyr Rowlands, chief inspector.Claire Morgan: Claire Morgan, strategic director.Simon Brown: Simon Brown,strategic director.John Griffiths AM: Okay. Thank you. And welcome again. If it's okay, we'll move straight into questions—we have quite a number of questions toget through this morning. Firstly, Llyr.Llyr Gruffydd AM: Thank you, Chair, and good morning. I just want to start by asking about your perception of how schoolsare using the pupil development grant funding, and to what extent they are genuinely targeting that funding exclusively towards children eligible for free schoolmeals.Meilyr Rowlands: Thank you for the question. This grant has been targeted far better by now than it was originally. Estyn has made several reportsregarding the effectiveness of the grant, and, really, going back to before this specific grant, to a similar grant, called RAISE. At the start of this grant, the fundingwas often spent on tackling underachievement, rather than dealing with the underachievement of children who are eligible for free school meals specifically. But,over a period of time, we have seen that it is targeted much better by now. That's not to say that the targeting is working perfectly still, and I think that we areseeing examples where the targeting isn't going just to children who receive free school meals. Schools sometimes interpret poverty in a slightly wider way thanthat. In terms of what schools are doing with the grant, we have given evidence to you of the kinds of things that they are doing. They are tracking progress ofpupils, they are trying to improve attendance, they are trying to work with families and the community in general, they're doing work specifically to improvehow children are doing in exams, in key stage 4, specifically—a lot of funding is being spent on that—improving the confidence of students, taking students onextra-curricular activities, improving literacy and numeracy. Those are the kinds of activities they're being used for.Llyr Gruffydd AM: Because the research byIpsos MORI and the Wales Institute of Social and Economic Research, Data and Methods has shown that there is some kind of blurring—I think that's the termthat they use—in terms of who is eligible. But you are relatively comfortable with the fact that there is sufficient targeting happening. You referred to the fact thatit is used, perhaps, to reach a slightly wider cohort than just those who are eligible for free school meals, but you do feel that that balance, from your experience,is acceptable.Meilyr Rowlands: Yes, certainly, it has improved a great deal. When I was looking at this initially, the targeting wasn’t happening at all. It was beingspent on children who were underachieving, and one of the things that we did notice in the first report was that much more funding was being spent on boys thangirls. And, of course, that raised the question immediately that it wasn't being spent then on children who are eligible for free school meals, becausethose numbers are equal. So, it wasn’t, but it has improved. There is a discussion about who exactly should have it and whether free school meals is the bestdefinition. So, I think that schools are perhaps not following that exactly, but within the spirit of the grant, I think I’m fairly comfortable. There is a specificquestion—I don’t know if you are going to ask this—regarding more able and talented pupils.Llyr Gruffydd AM: That's where I was going next.Meilyr Rowlands:So, if there is a cohort of pupils who are missing out on this, they are the more able and talented pupils who receive free school meals. There are a number ofreasons for this, I think. One of them is that there’s still some feeling that less able children should be receiving this grant, children who are underachieving.Schools don’t always identify underachievement of those more able children. It seems that they are doing okay, but if they were given more support, they woulddo even better.Llyr Gruffydd AM: So, is it a lack of awareness of the nature of the grant, and that the individual has to be targeted rather than just those who areunderachieving? Is that the problem? Or is it the regime that focuses on exam results and the need to draw those pupils who are underachieving up, rather thanincentivising those who are achieving to achieve better?Meilyr Rowlands: A bit of both, I'd say. And the third factor is identifying children who are more able. Ithink that we have a bit of work to do in that regard. I was in a conference for headteachers last week, where there was new data being discussed, and that datashowed the progress of children from a certain point, year 6 tests. I think that kind of data will be very useful, because what that data can do is help secondaryschools to identify more able children and that they are underachieving. Even though they're doing quite well, that kind of value-added data is very useful. So, Ithink that that will help as well.Llyr Gruffydd AM: Thank you.John Griffiths AM: Mark, did you want to pursue these matters further?Mark Reckless AM: Yes. I justwanted to ask about the more able and talented stream. It was good to read in your report an increased emphasis on this and to see your awareness of itsimportance in the PDG as well. Can I just ask—? Would you look at one area regarding schools' engagement with the Seren network, particularly for the moreable and talented, and what more Estyn can do through its inspection criteria and otherwise to encourage this from schools?Meilyr Rowlands: Well, I think Estynhas always been very strongly focused on improving the performance of more able pupils. For example, in last year's annual report I raised it, and a lot of thedebate around this now, I think, was generated by some of the things I've said in previous annual reports. We gave a lot of evidence to the—. Paul Flynn, I think,did the—no, who did the report? Paul Murphy did the report. So, we gave evidence to that. And on Seren, I'm particularly proud that my alma mater, JesusCollege, is a very strong supporter of the Seren work. So, I'm personally quite interested in the work of Seren. And we look at the performance of more ablepupils in all our inspections. It's a particular part of our inspection framework—looking at the relative performance of different groups. So, we look at the differentperformance of boys and girls, free school meals and non-free school meals, ethnic minorities, but we also look at the performance of more able pupils inparticular, and we question schools about how they provide for the more able pupils, and we've referred to Seren in several of our inspection reports.MarkReckless AM: And where schools work particularly hard to engage with Seren and take up opportunities from that and push as many pupils as appropriate to workwith that, is that something that you would recognise within your inspection reports? And, on the other side, where schools don't do that, is that something youwould pull them up on?Meilyr Rowlands: Yes, we've done that. We've done it in several reports.Claire Morgan: Throughout our inspections, we are looking for bestpractice, because part of our strategy is always to identify where there are weaknesses, but actually to point schools in the direction of where they can find asolution. So, capturing different approaches to more able and talented is part of the role of inspection.Mark Reckless AM: Thank you.Llyr Gruffydd AM: Justbriefly, you touched earlier on using the measure of those who are eligible for free school meals as a way to identify children from disadvantaged backgrounds sothat you can target this funding. Varied evidence has been given to us on this. Do you have an opinion on whether that's the best way?Meilyr Rowlands: Itcertainly is a good way of doing it. There is a strong correlation between children who underachieve and that measure, so it is a strong measure. But, there isscope to discuss how exactly it does work. For example, some people say that if you have received free school meals for a period of time and now you're notreceiving them, then perhaps you should still be receiving the funding for a period of time, for example. So, there are ways of fine-tuning that measure, I think.It's worth considering those approaches.John Griffiths AM: Thanks for that. We move on now to Michelle.Michelle Brown AM: Thank you. Good morning, everyone.You've reported that the proportion of schools making effective use of the PDG remains around two thirds of secondary and primary schools, meaning that a thirdare still not using that PDG effectively. Why do you think this is?Meilyr Rowlands: I think that sort of proportion broadly corresponds to the schools that don'thave particularly good leadership. I think, ultimately, all of these sorts of initiatives come down to strong leadership and effective leadership—that they know howto organise and use those grants effectively. One of the shortcomings that we often identify is evaluation—that money has been spent on a particular way of usingthe grant, but it has not been evaluated well. So, I think quite a lot of it is to do with generic leadership skills. But those are some of the specific shortcomings todo with evaluation.Michelle Brown AM: Are there any patterns by region or type of school in that?Meilyr Rowlands: I don't think there's any patterns that we'veidentified in terms of region.Claire Morgan: As Meilyr said, it's very strongly linked to leadership capacity.Michelle Brown AM: Okay. Thank you. What are the mosteffective uses of PDG, from your point of view? Is there something in particular that you think that schools should be focusing on?Meilyr Rowlands: I think there'sa lot of evidence on what constitutes good practice in this area. There's the Welsh Government guidance, there's our guidance, there's a lot of research—theSutton Trust toolkit—and they're the sorts of things I mentioned earlier. I think that more attention does need to be given to the community-focused element ofthis work. So, schools do a lot of things that they are in control of—the things I mentioned earlier: things like improving attendance, offering extra-curricularactivities, literacy and numeracy support, tracking pupils—all those sorts of things. But an important element of this, I think, is engaging with the learners, butalso with parents and the community. I think what we've found is that the most effective schools—the ones that really do make a big difference to this cohort of"}
+{"doc_id":"doc_104","qid":"","text":"Grad A: OK . We seem to be recording .Professor G: Alright !Grad A: So , sorry about not {disfmarker}Professor G: We 're not crashing .PhD D: Number four.Grad A: not pre - doing everything . The lunch went a little later than I was expecting , Chuck .PhD E: Hmm ?Professor G: OK .PhD B: Chuck was telling toomany jokes , or something ?Grad A: Yep . Pretty much .PhD E: Yeah .Professor G: OK . {vocalsound} Does anybody have an agenda ?Grad A: No .Postdoc F: Well, I 'm {disfmarker} I sent a couple of items . They 're {disfmarker} they 're sort of practical .Professor G: I thought {pause} somebody had .Postdoc F: I don'tknow if you 're {disfmarker}Professor G: Yeah , that 's right .Postdoc F: if {disfmarker} if that 's too practical for what we 're {pause} focused on .Grad A: Imean , we don't want anything too practical .Professor G: Yeah , we only want th useless things .Grad A: Yeah , that would be {disfmarker}Professor G: Yeah .No , why don't we talk about practical things ?Postdoc F: OK .Professor G: Sure .Postdoc F: Well , um , I can {pause} give you an update on the {pause}transcription effort .Professor G: Great .Postdoc F: Uh , maybe {nonvocalsound} raise the issue of microphone , uh , um procedures with reference to the{pause} cleanliness of the recordings .Professor G: OK , transcription , uh , microphone issues {disfmarker}Postdoc F: And then maybe {nonvocalsound} ask , thuh , these guys . The {disfmarker} we have great {disfmarker} great , uh , p steps forward in terms of the nonspeech - speech pre - segmenting of the signal.Professor G: OK .Grad A: Well , we have steps forward .PhD C: Yeah .Postdoc F: Well , it 's a {disfmarker} it 's a big improvement .PhD C: I would prefer this.Professor G: Yes . Yeah , well . OK . Uh {disfmarker}PhD D: We talk about the {disfmarker} {vocalsound} the results ofProfessor G: You have some{disfmarker} Yeah .Grad A: I have a little bit of IRAM stuffProfessor G: OK .PhD D: use {disfmarker}Grad A: but {pause} I 'm not sure if that 's of generalinterest or not .Professor G: Uh , bigram ?Grad A: IRAM .PhD D: IRAM .Professor G: IRAM .Grad A: IRAM , bigram ,Professor G: Well , m maybe .PhD D: Bi -Bigram .Grad A: you know .Professor G: Yeah , let 's {disfmarker} let 's see where we are at three - thirty .PhD B: Hmm .Professor G: Um {disfmarker}PhD B:Since , uh {disfmarker} since I have to leave as usual at three - thirty , can we do the interesting stuff first ?Postdoc F: I beg your pardon ?Professor G: Well{disfmarker}PhD C: Which is {disfmarker} ?Grad A: What 's the interesting stuff ?Postdoc F: I beg your pardon ?PhD D: Yeah .Professor G: Yeah . Th - now youget to tell us what 's the interesting part .PhD E: Please specify .Professor G: But {disfmarker}PhD B: Well , uh , I guess the work that 's been {pause} done onsegmentation would be most {disfmarker}PhD C: Yeah .Postdoc F: I think that would be a good thing to start with .PhD B: Yeah .Professor G: OK . Um , and , um, {vocalsound} the other thing , uh , which I 'll just say very briefly that maybe relates to that a little bit , which is that , um , uh , one of the suggestions thatcame up in a brief meeting I had the other day when I was in Spain with , uh , Manolo Pardo and {vocalsound} Javier , uh , Ferreiros , who was {pause} herebefore , was , um , why not start with what they had before but add in the non - silence boundaries . So , in what Javier did before when they were doing , um{disfmarker} h he was looking for , uh , speaker change {pause} points .PhD D: Mm - hmm .Professor G: Um . As a simplification , he originally did this onlyusing {pause} silence as , uh , a {pause} putative , uh , speaker change point .PhD C: Yeah .Professor G: And , uh , he did not , say , look at points where youwere changing broad sp uh , phonetic class , for instance . And for Broadcast News , that was fine . Here obviously it 's not .PhD D: Yeah .Professor G: And , um ,so one of the things that they were pushing in d in discussing with me is , um , w why are you spending so much time , uh , on the , uh , feature issue , uh , whenperhaps if you sort of deal with what you were using beforePhD D: Uh - huh .Professor G: and then just broadened it a bit , instead of just ta using silence asputative change point also {disfmarker} ?PhD D: Nnn , yeah .Professor G: So then you 've got {disfmarker} you already have the super - structure withGaussians and H - you know , simple H M Ms and so forth . And you {disfmarker} you might {disfmarker} So there was a {disfmarker} there was a little bit of a{disfmarker} a {disfmarker} a {disfmarker} a difference of opinion because I {disfmarker} I thought that it was {disfmarker} it 's interesting to look at whatfeatures are useful .PhD D: Yeah .Professor G: But , uh , on the other hand I saw that the {disfmarker} they had a good point that , uh , if we had something thatworked for many cases before , maybe starting from there a little bit {disfmarker} Because ultimately we 're gonna end up {vocalsound} with some s su kind ofstructure like that ,PhD D: Yeah .Professor G: where you have some kind of simple HMM and you 're testing the hypothesis that , {vocalsound} uh , there is achange .PhD D: Yeah .Professor G: So {disfmarker} so anyway , I just {disfmarker} reporting that .PhD D: OK .Professor G: But , uh , uh {disfmarker} So . Yeah, why don't we do the speech - nonspeech discussion ?Postdoc F: Yeah . Do {disfmarker} I {disfmarker} I hear {disfmarker} you {disfmarker} you didn't{disfmarker}PhD C: Speech - nonspeech ? OK .Postdoc F: Uh - huh . Yeah .PhD C: Um , so , uh , what we basically did so far was using the mixed file to{disfmarker} to detect s speech or nonspeech {pause} portions in that .Professor G: Mm - hmm .PhD C: And what I did so far is I just used our old Munichsystem , which is an HMM - ba based system with Gaussian mixtures for s speech and nonspeech . And it was a system which used only one Gaussian for silenceand one Gaussian for speech . And now I added , uh , multi - mixture possibility for {disfmarker} {vocalsound} for speech and nonspeech .Professor G: Mm -hmm . Mm - hmm .PhD C: And I did some training on {disfmarker} on one dialogue , which was transcribed by {disfmarker} Yeah . We {disfmarker} we did anons s speech - nonspeech transcription .PhD D: Jose .PhD C: Adam , Dave , and I , we did , for that dialogue and I trained it on that . And I did some pre -segmentations for {disfmarker} for Jane . And I 'm not sure how good they are or what {disfmarker} what the transcribers say . They {disfmarker} they can useit or {disfmarker} ?Postdoc F: Uh , they {disfmarker} they think it 's a terrific improvement . And , um , it real it just makes a {disfmarker} a world of difference.Professor G: Hmm .Postdoc F: And , um , y you also did some something in addition which was , um , for those in which there {nonvocalsound} was , uh , quietspeakers in the mix .PhD C: Yeah . Uh , yeah . That {disfmarker} that was one {disfmarker} one {disfmarker} one thing , uh , why I added more mixtures for{disfmarker} for the speech . So I saw that there were loud {disfmarker} loudly speaking speakers and quietly speaking speakers .Professor G: Mm - hmm .PhDC: And so I did two mixtures , one for the loud speakers and one for the quiet speakers .Grad A: And did you hand - label who was loud and who was quiet , ordid you just {disfmarker} ?PhD C: I did that for {disfmarker} for five minutes of one dialogueGrad A: Right .PhD C: and that was enough to {disfmarker} to trainthe system .PhD B: W What {disfmarker} ?PhD D: Yeah .PhD C: And so it {disfmarker} it adapts , uh , on {disfmarker} while running . So .PhD B: What kind of ,uh , front - end processing did you do ?PhD C: Hopefully .PhD D: OK .PhD C: It 's just our {disfmarker} our old Munich , uh , loudness - based spectrum on melscale twenty {disfmarker} twenty critical bands and then loudness .PhD B: Mm - hmm .PhD C: And four additional features , which is energy , loudness , modifiedloudness , and zero crossing rate . So it 's twenty - four {disfmarker} twenty - four features .PhD B: Mmm .Professor G: Mm - hmm .Postdoc F: And you alsoprovided me with several different versions ,PhD C: Yeah .Postdoc F: which I compared .PhD C: Yeah .Postdoc F: And so you change {nonvocalsound}parameters . What {disfmarker} do you wanna say something about the parameters {nonvocalsound} that you change ?PhD C: Yeah . You can specify{vocalsound} the minimum length of speech or {disfmarker} and silence portions which you want . And so I did some {disfmarker} some modifications in thoseparameters , basically changing the minimum {disfmarker} minimum {pause} length for s for silence to have , er to have , um {disfmarker} yeah {disfmarker}to have more or less , uh , silence portions in inserted . So .Grad A: Right . So this would work well for , uh , pauses and utterance boundaries and things like that.PhD D: Yeah .PhD C: Yeah . Yeah .Grad A: But for overlap I imagine that doesn't work at all ,PhD C: Yeah .PhD D: Yeah .Grad A: that you 'll have plenty of ssections that are {disfmarker}PhD C: Yeah .PhD D: Yeah .PhD C: That 's it . Yeah .Postdoc F: Mm - hmm , mm - hmm .PhD D: Yeah .Grad A: But{disfmarker}Postdoc F: That 's true . But {nonvocalsound} it {disfmarker} it saves so much time {disfmarker} the {disfmarker} the {nonvocalsound}transcribersProfessor G: Um {disfmarker}Grad A: Yep .Postdoc F: just enormous , enormous savings . Fantastic .Professor G: That 's great . Um , just qu onequickly , uh , still on the features . So {vocalsound} you have these twenty - four features .PhD C: Yeah .Professor G: Uh , a lot of them are spectral features . Isthere a {disfmarker} a transformation , uh , like principal components transformation or something ?PhD C: No .Grad A: Yeah . It was IS two .PhD C: No . W wwe {disfmarker} originally we did thatProfessor G: Just {disfmarker}PhD C: but we saw , uh , when we used it , uh , f for our close - talking microphone , which{disfmarker} yeah , for our {disfmarker} for our recognizer in Munich {disfmarker} we saw that w it 's {disfmarker} it 's not {disfmarker} it 's not so necessary .It {disfmarker} it works as well f with {disfmarker} with {disfmarker} without , uh , a LDA or something .Professor G: OK . OK . No , I was j {pause} curious.PhD C: Yeah .Postdoc F: Mm - hmm .Professor G: Yeah , I don't think it 's a big deal for this application ,PhD C: Yeah .PhD D: Right .Professor G: but{disfmarker} but {disfmarker} Yeah , it 's a {disfmarker}Postdoc F: Mm - hmm . OK . But then there 's another thing that also Thilo 's involved with , which is ,um {disfmarker} OK , and {disfmarker} and also Da - Dave Gelbart . So there 's this {disfmarker} this problem of {disfmarker} and w and {disfmarker} so wehad this meeting . Th - the {nonvocalsound} {disfmarker} also Adam , before the {disfmarker} the {disfmarker} before you went away . Uh we , um{disfmarker} regarding the representation {nonvocalsound} of overlaps , because at present , {nonvocalsound} {vocalsound} um , because {nonvocalsound} ofthe limitations of {vocalsound} th the interface we 're using , overlaps are , uh , not being {nonvocalsound} encoded by {nonvocalsound} the transcribers in ascomplete {nonvocalsound} and , uh , detailed a way as it might be , and as might be desired {disfmarker} I think would be desired in the corpus ultimately"}
+{"doc_id":"doc_105","qid":"","text":"Marketing: {vocalsound} That went well , thank you .Project Manager: That's great .Industrial Designer: {vocalsound} 'Kay .Marketing: Perfect .Project Manager:Alright , let me just PowerPoint this up . {vocalsound} {vocalsound} {vocalsound} Right so um this meeting will be about the conceptual design , don't ask me sprecisely what conceptual design is , it's just something important that we need to do . Um , think of it {disfmarker} 's kind of uh turning the abstract into slightlymore concrete . In this meeting ideally we'll come to some final decisions on what we're gonna do for the prototype . Um . Right so um , apologies for the lastmeeting , it was brought to my attention that I did not make the roles clear enough , um , so I will attempt to do so more accurately in this particular meeting .Um , fair enough , thanks for the input , 's always good . Um . So , basically all we're gonna do is have some presentations again much like last time , um , andgonna go through you , uh whoever wants to go first is f fine by me um and we'll collate what we know about um what we discussed in the last meeting , possibledirections . {vocalsound} And then we'll make some more decisions on um basic uh firm up our idea on how we want this remote control to look and work . So ,perfect . So , without th further ado , whoever wants to go first is free to .Industrial Designer: I'll go first .Project Manager: Alright Nathan ,Marketing: Go ahead.Project Manager: take it away . It is Nathan right ? I'm not calling you the wrong name over and over again ?Industrial Designer: No Nathan's fine .Marketing:{vocalsound}Project Manager: {vocalsound} Good .Industrial Designer: It's either Nathan or participant two .Project Manager: {vocalsound}Marketing:{vocalsound}User Interface: {vocalsound} Mister participant two that is . {vocalsound}Industrial Designer: Uh .Project Manager: {vocalsound}Marketing: Nice.Industrial Designer: Okay . Um ,Project Manager: Nice .Industrial Designer: basically what I'm gonna have to talk to you about today is um component designand it's been brought to my attention that we may be somewhat limited as to what we can do because of what our manufacturer offers ,Project Manager: Mm.Industrial Designer: so {disfmarker} Basically what I'm gonna be doing is talking to you about that . Um , components of a remote control , okay . We've alreadykind of gone over this but we're gonna have to get into more detail and probably have to reach some conclusions some time soon . Energy source , um , ourmanufacturer offers a variety of energy sources , your standard battery , solar cells . Our manufacturer didn't say anything about lithium so we might have tolook {disfmarker} if we do go that route , we might have to look elsewhere . Um , and also there's a kinetic energy possibility . Basically , it's like a um{disfmarker} the idea of moving the remote would create enough energy to keep it running . So that's one possibility but I don't know whether that would bepowerful enough to illuminate a touch screen .Project Manager: Hmm .Industrial Designer: So we'll have to look into that .Marketing: Mm .Industrial Designer:Um , the case , we have a few options , plastic , rubber or wood . Um and then as far as the way it's shaped , we can do standard boring flat , which we probablydon't wanna do , curved or very sexy double curved .Project Manager: What kind of th thickness are we looking at ?Industrial Designer: Um , I imagine that wecould specify . Um , I don't see any reason to go outside of the convention of three or four millimetres . Yeah .Project Manager: Okay , brilliant .IndustrialDesigner: Um , the buttons , there are multiple scroll buttons available from our manufacturer , but to use those we'd have to use more chips , um and that wouldcost us more . And if we do go with the rubber doubled curved case um we'll have to use rubber push buttons because the other buttons aren't compatible withthat .Project Manager: Hmm .Industrial Designer: Um and just a little note there ,Marketing: Right .Industrial Designer: touch screen equals many chips whichequals many Euro .Project Manager: {vocalsound}Marketing: {vocalsound} Right . Nice .Industrial Designer: Um , one thing that I noticed was that mostremotes operate on a infrare on the infrared part of the spectrum . So you notice when you push a button on a remote you can't see anything coming out of it butin fact there is light coming out of the remote and you know the television can detect that . And if you were to record {disfmarker} if you were to make a videorecording you could actually see the light . Uh one thing that I thought might be interesting was to use part {disfmarker} use visible light coming out of theremote , just kind of as a fun gimmick .Project Manager: Hmm .Industrial Designer: So you could actually see something coming out of the remote when youpushed it .Marketing: Interesting .Industrial Designer: Course it'd have to be a part of the spectrum that wouldn't damage the human eye or anything like that.Project Manager: {vocalsound} M Maybe {disfmarker}User Interface: {vocalsound}Marketing: Mm . Good call .Project Manager: is there an option that we canhave that off or on so a person can select like {disfmarker}Industrial Designer: Yeah .Marketing: Choose it .Industrial Designer: I am sure that we could do that .Um , of course {disfmarker}Project Manager: Yeah I like the idea , it's a good idea .Industrial Designer: Yeah , just as a fun gimmick .Project Manager: Yeah.Industrial Designer: Just to set us apart a little bit . Um , and then on to the circuit board that we're gonna use , also known as the chip . Uh , we really don'thave any way around the T_A_ one one eight three five .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Um findings , okay ,we're very limited by what our current manufacturers can offer , um and my question to all of you is , should we look to other manufacturies or should we justmake do with what we have available ?User Interface: Interesting question .Industrial Designer: 'S a bit of a challenge question .Project Manager: Mm .UserInterface: Yes .Marketing: Well I'd say shop around but with our time constraints , is that really a feasible option ?Project Manager: Mm .Industrial Designer:Right , that's my concern too . Um , if we do go the lithium battery route then we'll have to go outside our current manufacturer . My personal preference is{disfmarker} I'll just throw my cards on the table , uh I think we should probably go the solar battery route , just to kinda keep with the environmentally friendlytheme that we have going on . Uh , I like the idea of the visible light signalling , that's something to set us apart and uh I was thinking about {disfmarker} I wasthinking of ways that we could produce the remote in a variety of different case materials to suit different tastes . So we're not so confined by one style and saysome {disfmarker} you know , say our {disfmarker} the one {disfmarker}Marketing: Right .Industrial Designer: if we just go with one and it doesn't go over wellthen we're in a bad situation .Project Manager: Mm .Marketing: Right .Project Manager: Can we do marketing piloting too ? Try to see what kind {disfmarker}before we launch {disfmarker} can we see how they're received ?Marketing: Um {disfmarker} It's an option , uh but actually there's {disfmarker} I've got someresearch already on like what we're looking at and trends in casing right nowProject Manager: Okay . Okay .Marketing: which actually might even come into playbeforehand ,Project Manager: Okay , perfect .Marketing: it may help us decide for now . Temporarily anyway .Project Manager: Great , thank you very muchNathan .Industrial Designer: Oh yeah , you're welcome .Project Manager: That's perfect , so I guess that makes sense for you to take it from here .Marketing:{vocalsound} I guess so , 'cause I found some interesting things . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound} Did you ? {vocalsound}Marketing: You waiting for me ? {vocalsound}Project Manager: Fascinating , compelling even .Marketing: I know , what ateaser ain't it . Um . {vocalsound} Right . SoUser Interface: {vocalsound}Marketing: current market trends . Screen . Um , basically I was looking at what's goingon in the remote control market right now and what's going on in other design fields , to see sort of what's what's trendy , what's new , what's happening . Um ,remote control right now {disfmarker} basically everybody says they want newer , fancier , more exciting {disfmarker} they're sick of this boring , normal ,functional , um {disfmarker} that we need innovative design options and there needs to be an easy user interface . Um the challenge is that current trends rightnow , across the board in fashion , in furniture , in technology , is a very organic fruit and vegetable kind of thing .User Interface: {vocalsound}Project Manager:{vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Now I'm notsaying we should have , you know , tomato shaped remote controls or anything , but I think it is possible maybe to use um natural colours , like if wood is anoption , that whole organic , sleek , clean ,Industrial Designer: Mm .Marketing: v line thing may be something we can look into . Different skin options , or if wecan't afford this touch plate thing , or touch face screen interface um , maybe having the b images be specific , like you could choose your menu bullets tobeProject Manager: {vocalsound} Tomatoes . {vocalsound}Marketing: a different shapeIndustrial Designer: {vocalsound}User Interface:{vocalsound}Marketing: or {vocalsound} okay , not the example I would choose , but you know what I mean to t sort of {disfmarker} and th apparently the feelof the next couple of years is spongy ,Project Manager: {vocalsound}Industrial Designer: Mm . {vocalsound}User Interface: {vocalsound} I like it , I like it .{vocalsound}Marketing: uh not something I I've come up with a {gap} though if we can get around to getting piloting , I thought maybe a casing option like uhnot like a skin , but like a holder almost if you could do like um , leather options or wood options or something {disfmarker}Industrial Designer: Hmm . I shouldhave mentioned this um . As far as the rubber that we can use {disfmarker} we can use a rubber as part of the case ,Marketing: Mm-hmm .Industrial Designer: ithas a consistency of those stress balls .User Interface: Yes .Marketing: Mm . {vocalsound}Project Manager: Slick , slick .User Interface: Fabulous .Marketing:Might be an interesting way to go . Um , yeah so something to sit on for now . So overall I think we should stick with what we're finding , everyone's looking foreasy to use , technologically innovative and this fancy new {disfmarker} I think perhaps the double curve thing and maybe this rubber option is our best way togo for right now .Industrial Designer: Mm .Marketing: {vocalsound} Um .Project Manager: Interface , oh the interface graphics for the um{disfmarker}Marketing: {vocalsound} Yeah . Um . Well I d but then if the touch screen thing isn't gonna work out for us that's really a non-issue .ProjectManager: Yeah .Industrial Designer: I like the idea of of rubber too because it's {disfmarker} tends to be associated with being durable , something that you can"}
+{"doc_id":"doc_106","qid":"","text":"Professor A: OK .Grad B: OK we 're on and we seem to be working .PhD C: Yes .Professor A: OK .Grad B: We didn't crash {disfmarker} we 're not crashinganymorePhD C: One , two , three , four , fGrad B: and it really bothers me .Professor A: Yeah ?PhD C: No crashing .PhD G: I do . I crashed when I started thismorning .Grad B: You crashed {disfmarker} crashed this morning ? I did not crash this morning .PhD C: Yeah ?Professor A: Oh ! Well maybe it 's just , you know, how many t u u u u how many times you crash in a day .PhD G: Really ? Yeah . Maybe , yeah .Professor A: First time {disfmarker} first time in the day , youknow .PhD G: Or maybe it 's once you 've {pause} done enough meetings {comment} it won't crash on you anymore .PhD E: Yeah .PhD C: No ?Postdoc F: Yeah.PhD G: It 's a matter of experience .PhD E: Yeah .Professor A: Yeah .Postdoc F: Self - learning , yeah .Professor A: That 's {disfmarker} that 's great .PhD G:Yeah .Professor A: Uh .PhD C: Yeah .Professor A: Do we have an agenda ? Liz {disfmarker} Liz and Andreas can't sh can't {disfmarker} uh , can't come .Grad B:I do .Professor A: So , they won't be here .Grad B: I have agenda and it 's all me .PhD G: Did {disfmarker}Grad B: Cuz no one sent me anything else .PhD G: Didthey send , uh , the messages to you about the meeting today ?Grad B: I have no idea but I just got it a few minutes ago .PhD G: Oh .Grad B: Right when youwere in my office it arrived .PhD G: Oh . OK , cuz I checked my mail . I didn't have anything .Grad B: So , does anyone have any a agenda items other than me ?I actually have one more also which is to talk about the digits .Professor A: Uh , right , so {disfmarker} so I {disfmarker} I was just gonna talk briefly about theNSF ITR .PhD C: Mm - hmm . Yeah .Grad B: Oh , great .Professor A: Uh , and then , you have {disfmarker}Postdoc F: Can wProfessor A: I mean , I won't saymuch , but {disfmarker} {comment} uh , but then , uh , you said {disfmarker} wanna talk about digits ?Grad B: I have a short thing about digits and then uh Iwanna talk a little bit about naming conventions , although it 's unclear whether this is the right place to talk about it . So maybe just talk about it very briefly andtake the details to the people who {disfmarker} for whom it 's relevant .Professor A: Right .PhD C: Yeah .Postdoc F: I could always say something abouttranscription . I 've been {disfmarker} {vocalsound} but {disfmarker} but {disfmarker} uh , well {disfmarker}Professor A: Well if we {disfmarker} Yeah , weshouldn't add things in just to add things in . I 'm actually pretty busy today ,Postdoc F: Yeah .Professor A: so if we can {disfmarker} {comment} {vocalsound}we {disfmarker}Postdoc F: Yeah , yeah , yeah .Professor A: a short meeting would be fine .Postdoc F: This does sound like we 're doing fine , yeah . That won'tdo .Grad B: So the only thing I wanna say about digits is , we are pretty much done with the first test set . There are probably forms here and there that aremarked as having been read that weren't really read . So I won't really know until I go through all the transcriber forms and extract out pieces that are in error .So I wa Uh . Two things . The first is what should we do about digits that were misread ? My opinion is , um , we should just throw them out completely , andhave them read again by someone else . You know , the grouping is completely random ,PhD C: Uh - huh .Grad B: so it {disfmarker} it 's perfectly fine to put a{disfmarker} a group together again of errors and have them re - read , just to finish out the test set .Postdoc F: Oh ! By {disfmarker} throw them outcompletely ?Grad B: Um , the other thing you could do is change the transcript to match what they really said . So those are {disfmarker} those are the twooptions .PhD C: Yeah .Postdoc F: Mm - hmm .Professor A: But there 's often things where people do false starts . I know I 've done it , where I say {disfmarker}say a {disfmarker}Grad B: What the transcribers did with that is if they did a correction , and they eventually did read the right string , {comment} you extractthe right string .PhD G: Oh , you 're talking about where they completely read the wrong string and didn't correct it ?PhD E: Yeah .Grad B: Yeah . And didn'tnotice . Which happens in a few places .PhD E: Yeah .PhD G: Ah .PhD C: Yeah .Grad B: So {disfmarker} so {disfmarker}Postdoc F: Well , and s and you 'retalking string - wise , you 're not talking about the entire page ?Grad B: Correct .PhD E: Yeah .Postdoc F: I get it .Grad B: And so the {disfmarker} the twooptions are change the transcript to match what they really said , but then {disfmarker} but then the transcript isn't the Aurora test set anymore . I don't thinkthat really matters because the conditions are so different . And that would be a little easier .PhD G: Well how many are {disfmarker} how {disfmarker} howoften does that happen ?Grad B: Mmm , five or six times .PhD G: Oh , so it 's not very much .Grad B: No , it 's not much at all .PhD G: Seems like we should justchange the transcriptsPhD E: Yeah .Grad B: OK .PhD G: to match .Professor A: Yeah , it 's five or six times out of {pause} thousands ?PhD C: Yeah .Grad B: Fourthousand .Professor A: Four thousand ?PhD C: Four thous Ah ! Four thousand .PhD G: Yeah , it 's {disfmarker}Professor A: Yeah , I would , uh , {vocalsound} takdo the easy way ,PhD G: Yeah .Professor A: yeah .Grad B: OK .PhD C: Yeah .Professor A: It {disfmarker} it 's kinda nice {disfmarker} I mean , wh who knowswhat studies people will be doing on {disfmarker} on speaker - dependent thingsPhD C: Mmm .Professor A: and so I think having {disfmarker} having it all{disfmarker}PhD C: Yeah .Professor A: the speakers who we had is {disfmarker} is at least interesting .PhD G: So you {disfmarker} um , how many digits havebeen transcribed now ?Grad B: Four thousand lines . And each line is between one and about ten digits .PhD G: Four thousand lines ?Grad B: I didn't{disfmarker} I didn't compute the average . I think the average was around four or five .Professor A: So that 's a couple hours of {disfmarker} of , uh , speech ,probably .PhD G: Wow .Grad B: Yep . Yep .Professor A: Which is a yeah reasonable {disfmarker} reasonable test set .PhD C: Mm - hmm .PhD G: Mm - hmm.Grad B: And , Jane , I do have a set of forms which I think you have copies of somewhere .Postdoc F: Mm - hmm . Yeah , true .Grad B: Oh you do ? Oh OK ,good , good .Postdoc F: Mm - hmm . Mm - hmm .Grad B: Yeah , I was just wond I thought I had {disfmarker} had all of them back from you . And then the otherthing is that , uh , the forms in front of us here that we 're gonna read later , were suggested by LizPostdoc F: No , not yet .Grad B: because she wanted to elicitsome different prosodics from digits . And so , uh , I just wanted people to , take a quick look at the instructionsPhD C: Mm - hmm . PhD E: Eight eight two twotwo nine .Grad B: and the way it wa worked and see if it makes sense and if anyone has any comments on it .Professor A: I see . And the decision here , uh , wasto continue with uh the words rather than the {disfmarker} the numerics .Grad B: Uh , yes , although we could switch it back . The problem was O and zero .Although we could switch it back and tell them always to say \" zero \" or always to say \" O \" .Postdoc F: Oh {disfmarker}Professor A: Or neither .PhD C: Yeah.Professor A: But it 's just two thing {disfmarker} ways that you can say it .Grad B: Mm - hmm .Professor A: Right ?Grad B: Sure .Postdoc F: Oh .Professor A: Um{disfmarker} um ,PhD E: Yeah .Professor A: that 's the only thought I have because if you t start talking about these , you know u tr She 's trying to get atnatural groupings , but it {disfmarker} there 's {disfmarker} there 's nothing natural about reading numbers this way .Grad B: Right .Professor A: I mean if yousaw a telephone number you would never see it this way .Grad B: The {disfmarker} the problem also is she did want to stick with digits . I mean I 'm speakingfor her since she 's not here .Professor A: Yeah .Grad B: But , um , the other problem we were thinking about is if you just put the numerals , {comment} theymight say forty - three instead of four three .PhD E: Yeah .PhD G: Mmm .PhD C: Yeah .PhD E: Yeah .PhD C: Yeah .Postdoc F: Well , if there 's space , though ,between them . I mean , you can {disfmarker} With {disfmarker} when you space them out they don't look like , uh , forty - three anymore .PhD E: Yeah .GradB: Well , she and I were talking about it ,Professor A: Yeah .Grad B: and she felt that it 's very , very natural to do that sort of chunking .Professor A: She 's right. It 's {disfmarker} it {disfmarker} it 's a different problem . I mean it 's a {disfmarker} it 's a {disfmarker} it 's an interesting problem {disfmarker} I mean , we've done stuff with numbers before , and yeah sometimes people {disfmarker} If you say s \" three nine eight one \" sometimes people will say \" thirty - nineeighty - one \" or \" three hundred {disfmarker} three hundred eighty - nine one \" , or {disfmarker} I don't think they 'd say that ,PhD C: Yeah .Professor A: but{disfmarker} but thGrad B: Not very frequentlyProfessor A: no {disfmarker}Grad B: but , {vocalsound} they certainly could .Professor A: But {disfmarker} Yeah. Uh , th thirty - eight ninety - one is probably how they 'd do it .Grad B: So . I mean , this is something that Liz and I spoke aboutProfessor A: But {disfmarker} Isee .Grad B: and , since this was something that Liz asked for specifically , I think we need to defer to her .Professor A: Mm - hmm .PhD C: Yeah .Professor A: OK. Well , we 're probably gonna be collecting meetings for a while and if we decide we still wanna do some digits later we might be able to do some different verdifferent versions ,Grad B: Do something different ,Professor A: but this is the next suggestion ,Grad B: yeah .Professor A: so . OK . OK , so uh e l I guess , let me, uh , get my {disfmarker} my short thing out about the NSF . I sent this {disfmarker} actually this is maybe a little side thing . Um , I {disfmarker} I sent towhat I thought we had , uh , in some previous mail , as the right joint thing to send to , which was \" M {disfmarker} MTG RCDR hyphen joint \" .Grad B: It was .Joint . Yep .Professor A: But then I got some sort of funny mail saying that the moderator was going to {disfmarker}Grad B: It 's {disfmarker} That 's becausethey set the one up at UW {disfmarker}Postdoc F: Grad B: that 's not on our side , that 's on the U - dub {comment} side .Professor A: Oh .Grad B: And so U -UW set it up as a moderated list .Postdoc F: Yeah .Professor A: Oh , OK .Grad B: And , I have no idea whether it actually ever goes to anyone so you might justwanna mail to MariProfessor A: No {disfmarker} no , th I got {disfmarker} I got , uh , little excited notes from Mari and Jeff and so on ,Grad B: and{disfmarker}Professor A: so it 's {disfmarker}Grad B: OK , good .Professor A: Yeah .Grad B: So the moderator actually did repost it .Professor A: Yeah .Grad B:Cuz I had sent one earlier {disfmarker} Actually the same thing happened to me {disfmarker} I had sent one earlier . The message says , \" You 'll be informed \"and then I was never informed but I got replies from people indicating that they had gotten it , so .Professor A: Right .Grad B: It 's just to prevent spam.Professor A: I see . Yeah so O {disfmarker} OK . Well , anyway , I guess {disfmarker} everybody here {disfmarker} Are y are {disfmarker} you are on that list ,"}
+{"doc_id":"doc_107","qid":"","text":"Project Manager: Okay . Everybody ready ?Marketing: Okay .Industrial Designer: Yeah .Project Manager: Uh I think the first thing we do is introduceourselvesMarketing: I think so .Project Manager: and everybody's name and what your function is ?Marketing: Yeah , that's a good plan .Project Manager: Somaybe we start with you ?User Interface: Okay . Yeah , my name is Francina . And I'm uh an user interface {disfmarker} my role is uh {disfmarker} the mainresponsibility is user interface .Project Manager: Mm-hmm .User Interface: And my role is to design uh a television remote control .Project Manager: Mm-hmm .Okay .Marketing: And I'm a marketing person . I wanna figure out how to sell them .Project Manager: Mm-hmm . And your name is ?Marketing: My name isEileen .Project Manager: Okay .Industrial Designer: Yeah . Uh I'm Jeanne-Oui . Um uh my role is industrial designer and my responsibilities are uh uh um dealwith the {vocalsound} technical-functional designs and specifications of user interface and dealing with user interface design .Project Manager: Very good . Andas you already know I am Betty . I am the project manager for today . So why don't we look at the presentation {vocalsound} to see what we really are supposedto do . {vocalsound} Um .Marketing: Okay .Project Manager: {vocalsound} Yes y opening , acquaintance , tool training {disfmarker} well , the tools are , I think, we already {disfmarker} I guess the tool is really our {disfmarker} the computer , as far as I can see .Marketing: Mm-hmm .Project Manager: Uh we get inseach of us will get instructions and we'll take it from there . Project plan , that falls under the same heading pretty much . Um , I don't think we have any greatdiscussion at this point .Marketing: No .Project Manager: Um . Here is what this thing should be . This thing we are gonna um uh design is a new remote control .Uh should be original {vocalsound} , trendy , and , of course , user friendly .Marketing: Mm-hmm . {vocalsound} {vocalsound}Project Manager: So maybe youwanna make some notes of that .Marketing: Okay .Project Manager: Okay ?Marketing: Mm-hmm .Project Manager: All right . {vocalsound} Here is what thefunctional design is supposed to achieve . Um . That is it's gonna be individual work and then at the meeting we'll discuss what uh we have come up with . Thesame goes for the conceptual design , there will be individual work whic and then discussion afterwards . Detailed design , same thing basically .Marketing: Mm'kay so {disfmarker} Three different types of design that we're gonna be concerned with okay .Project Manager: Mm-hmm . Mm-hmm .Marketing: Functional ,conception and detailed .Project Manager: I can't write with this thing . {vocalsound}Marketing: {vocalsound} Maybe we should redesign it . {vocalsound}ProjectManager: {vocalsound} Yes . {vocalsound}Industrial Designer: {vocalsound}Marketing: After we've finished the remote control we'll get to that .ProjectManager: {vocalsound} Yeah , okay . All right ? Then , tool training try out the white board , participant can draw their favourite animal . Does anybody want togo and see how the white board works ? So that in case we have to , in the next meeting , present something on the white board . You wanna go Eileen and{disfmarker}Marketing: Okay , I'll see what I can do .Project Manager: Whether you {disfmarker} without hanging yourself . {vocalsound}Marketing: See if I rSee if I remember how to draw a kitty cat or a rabbit or something . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound}Project Manager: And remember you have to press so it works .Marketing: So that it will record okay .Project Manager: Mm-hmm .Marketing: Umuh um traditional kitty cat .Project Manager: {vocalsound} Fat , a fat cat . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} I've a very fat cat.Industrial Designer: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} And it likes to sit likethat .Project Manager: Okay .Marketing: Okay .Project Manager: And you're Francine , right ? Would you like s like just to see um how it feels , so that you have alittle idea ?User Interface: Yes , I'm Francina . Yes , sure . {vocalsound}Project Manager: In {disfmarker}Marketing: Am I supposed to wipe off that or{disfmarker}Project Manager: No , no . No , that's okay .User Interface: No , Okay .Marketing: okay .Project Manager: I don't know , we'll get to that later.Marketing: Okay .User Interface: What should I draw ? {vocalsound}Industrial Designer: {vocalsound} {vocalsound} Snake .User Interface: I'm going to draw asnake . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .User Interface: How does it look like ? {vocalsound}IndustrialDesigner: {vocalsound}Marketing: Uh , okay .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: I hope the kitty cat is hungry'cause I don't like snakes . {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}ProjectManager: Here's the project finance uh which , of course , we all have to think about when we design this thing . Um selling price is supposed to be twenty fiveEuro . Uh profit aim for the company is fifty million Euro ,Marketing: Mm-hmm . {vocalsound}Project Manager: the market range unlimited meaninginternationalMarketing: Okay .Project Manager: and the production cost should not exceed {disfmarker} hopefully should be less than twelve fifty Euro.Marketing: Mm 'kay that should keep everybody on their toes and challenged .Project Manager: Mm-hmm .Marketing: Profit . Um is fifty mm .Project Manager:So these are all things , of course , to remember with the budget and when you design {vocalsound} to materials , cost , etcetera . Now , uh the discussion Iguess is um does anyone of you have experience with remote control ?Marketing: Oops .Project Manager: I exp I s 'cause we we use 'em {disfmarker} we use'em , right , everyday .Industrial Designer: Yeah , of course , using remote control . Yeah .User Interface: Yes .Project Manager: And um now having used aremote control for years does anybody already have like an idea like things you didn't like with it , things you would like to change , things you would like toimprove with this thing ye any first ideas ? Would you like it to be smaller , bigger ,Industrial Designer: Uh .Project Manager: have more have more buttons on itor maybe clearly {disfmarker} better marked buttons , you know , things like that ?User Interface: Yeah , I {disfmarker}Industrial Designer: Yeah .UserInterface: Yes , I I feel that all the remote should be very compact .Industrial Designer: Yeah .Project Manager: Small , right . Mm-hmm .User Interface: Yeah ,those which we get here nowadays it's very long .Project Manager: Mm-hmm .User Interface: And um and it should have multi-purpose . Like uh the remotecontrol which we use for T_V_ , it shou uh it should be used f uh for some other purpose also , like controlling the uh temperature inside the house or forair-conditioners , or for heating system .Project Manager: Mm-hmm .Industrial Designer: Audio player . Oh . Okay .Project Manager: So it should be amulti-functional uh gadget that would um control all your household uh uh machines basically .User Interface: Yes , exactly Yes .Industrial Designer: Hmm .UserInterface: Yes .Industrial Designer: {vocalsound} Divides us {disfmarker}User Interface: Yeah . Exactly .Industrial Designer: {vocalsound} Yeah . Yeah.Marketing: {vocalsound} At um twelve fifty Euros per {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}ProjectManager: Well .Marketing: Well who knows if we get a really good designer maybe we can do that .Industrial Designer: Yeah .Marketing: {vocalsound} Wecertainly can try to {disfmarker} I agree with her that to market something successfully it should do some more things .Project Manager: It should be somethingnew {disfmarker} it should be s it it should do something different than than just what we have .Marketing: That's right .Project Manager: Now , of course , theother thing to think there is maybe the design .User Interface: Yeah .Industrial Designer: Yeah , of course .User Interface: Yeah , design should be , yeah{disfmarker} it should be different . All the {disfmarker} almost all the remotes {disfmarker}Project Manager: Like trendy no like f for earlier we saw maybe itshould be something trendy you know . Maybe it should {disfmarker} different colours or materials or you know .User Interface: Yes , exactly .IndustrialDesigner: Yeah , maybe ten {disfmarker} I do yeah , coloursUser Interface: Are different shapes .Industrial Designer: and al shapes also . Yeah .User Interface:Yes .Project Manager: Um so yeah shapes right , you know , like kidney shape feels better in your hand or something , you know .User Interface: Yes .IndustrialDesigner: Yeah of course yeah .Marketing: Yeah okay , friendly shape , that would help .Project Manager: Yeah .Marketing: I think another thing that would helpis um if it beeps when you clap ,Project Manager: Yes .Marketing: because I think one of the big things that happens is people lose them . They can't find it.Project Manager: {vocalsound} That is true ,User Interface: {vocalsound}Project Manager: because they put a newspaper or they put it behind a plant or , weyou know , whatever .Marketing: {vocalsound}Industrial Designer: Yeah . {vocalsound}Project Manager: And and they {disfmarker} suddenly the phone ringsand they want to turn the T_V_ off and they say , where the hell is my {vocalsound} my remote control yeah ?Marketing: Mm-hmm .Industrial Designer:{vocalsound}Project Manager: Well or yeah or if it's really , if it's really in a dark spot that it gives out a a sound or a signal .Marketing: So some {disfmarker}{vocalsound}Industrial Designer: Yeah , some beep or something like that ,Project Manager: Yeah . Mm-hmm .User Interface: Or a bMarketing: Uh so , so it'sreally the beep or , or a light should blink .Industrial Designer: so that we can go {disfmarker}Project Manager: So if lost {disfmarker} If lost uh signal with bthrow signal , you know .User Interface: Should haIndustrial Designer: Yeah .User Interface: A fluorescent signal , yeah .Marketing: Mm 'kay .Industrial Designer:Yeah , maybe it should have a light so that we can , we can just recognise where it is .Project Manager: Exactly , I mean just {vocalsound} that's what I'm saying.Industrial Designer: Yeah , yeah . May not be beep .Project Manager: I'm just saying throw signal meaning just whether it's a beep or whether a light or{disfmarker}Industrial Designer: Beep or uh it's a light , maybe it's a light .Marketing: And do you think a good c c um clue for that is that it would respond to aclap or it would respond to your voice or it would respond {disfmarker} what what should you have to do to make it beep or blink ?Project Manager: Okay , my{disfmarker} my idea is maybe that the minute it's really hidden , in in other words if it's like in a dark spot , uh meaning you know like a newspaper is on top , asweater is on top or it it's behind a plant , at that moment it's it's like , it's like um , what you call it {disfmarker} a light s sensors , you know ?Marketing:"}
+{"doc_id":"doc_108","qid":"","text":"Project Manager: Uh fourth meeting . {vocalsound}User Interface: We have to do what ?Project Manager: Some extra deciding .Industrial Designer:{vocalsound} W what ? Alri alright . We'll see .Project Manager: {vocalsound} Well {disfmarker}User Interface: Oh .Project Manager: {gap} I'll show you thenotes again . Very interesting .Industrial Designer: {vocalsound}Project Manager: Well you'll you two will uh present us your prototype .Industrial Designer: Yeah.Project Manager: Then um {disfmarker} I guess that's your bit ? I I didn't s see anything about it ,Marketing: Yeah .Project Manager: so {vocalsound} I alreadyuh thought you uh you were {gap} to do that .Industrial Designer: {vocalsound}Project Manager: So the you're uh {gap} .Marketing: {vocalsound}ProjectManager: I'll show you how we're going to do with financing this uh design .User Interface: Mm .Industrial Designer: Yeah , that's important too . Yeah .{vocalsound}Project Manager: And then we'll evaluate , after after we have redesigned it .User Interface: {vocalsound} Bit late . {vocalsound}Project Manager:Because uh well we'll see about the costs . Um we'll uh evaluate our p our uh production and then uh we can close .Industrial Designer: Alright .Project Manager:Well the finance uh we'll do later , so um firstly uh {vocalsound} I'll show you the notes . {vocalsound} I don't think it's very interesting . {vocalsound}UserInterface: I think it is .Project Manager: Oh nei . Uh no . {vocalsound} Alright . This is copy paste . So {disfmarker}Industrial Designer: From me of course , yeah.Project Manager: Of course . You had some very strange layout .Industrial Designer: Well from us all , yeah , from all of us . Yeah . {vocalsound} It's a nicechorus , yeah .Project Manager: {vocalsound} Well um {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: We ge we wentthrough the agenda ,Industrial Designer: {vocalsound}Project Manager: and well we had some uh some presentations from you three . And uh I summarisedwhat you said to us . So uh I don't think it's very interesting and go through it again .Industrial Designer: Repeat it yeah . Alright .Project Manager: So uh{disfmarker} This is what we decided . It's also copy paste from what we made together . So we still know that .Marketing: Okay .Project Manager: And then uhwe can we can uh use the time better . Well uh next you two will uh present uh the pot prototype for us .Industrial Designer: Alright , we both uh will ?ProjectManager: Yeah .Industrial Designer: Or one of us will ?User Interface: {vocalsound} Alright .Industrial Designer: Uh {disfmarker}User Interface: No you go andI'll uh supplement you .Industrial Designer: Alright . If I make mistakes uh you'll uh {disfmarker}User Interface: {vocalsound} Yeah .Project Manager: Correct .{vocalsound}Industrial Designer: Right . Uh well this is our design .Marketing: {vocalsound}Industrial Designer: Uh it's pretty uh much uh like uh Mike draw uhdrew uh the in the during the last meeting . With uh the different uh perspectives of it . Uh we'll begin uh with the front . We have of course uh the the roundshape uh the round uh basic shape . Um with uh the upper part being the front . Th So there's this part um {vocalsound} which is made of hard plastic , the front. And uh we're we're using different colours . Of course for the launch we use the basic ugly colours ,Project Manager: {vocalsound} Yeah .Industrial Designer:and later we'll put out uh more interesting covers with different patterns and pictures and everything .Project Manager: Mm-hmm .Industrial Designer: Butbasically , different colours , bright colours not black , too dark . Fancy colours . {vocalsound} Um then we have uh the lower part {vocalsound} of the of thedevice . Uh which is of course um part of the back actually , because it's also titanium . You can see it also on the on the on the side view , that only this part isthe front , and the rest of it , the under uh the under side uh of it , yeah , the back side and the lower part of the front is of course titanium made of titanium ,and has the titanium colour of course , the look . Um then we have uh on back on the front uh the logo in the upper corner ,Project Manager: Mm .IndustrialDesigner: uh which is uh made uh which is also part of the back , part of the titanium uh titanium part .User Interface: Yeah , it's a double R_ , but{disfmarker}Industrial Designer: Yeah ?User Interface: It's a double R_ .Industrial Designer: It's a double R_ . Yeah the logo {disfmarker}User Interface: But{vocalsound} it's very difficult to to draw that in {disfmarker} Yeah .Project Manager: Yeah , alright .Industrial Designer: Uh uh it's difficult to draw so small , butit's our double R_ uh logo is in there .Project Manager: Okay . Yeah .Industrial Designer: Um so that's the logo in the upper lef uh right corner . Then we have thebuttons . Uh it's difficult to draw again the little oval or round {disfmarker} I think oval will be better for the for the d for the different uh channel buttons .UserInterface: Oval yeah .Project Manager: Alright .Industrial Designer: So {gap} uh oval , n those are here . And then we have the m The mUser Interface: Channelup and volume ?Industrial Designer: Yeah the the con the the the , yeah , the t volume and the channel controls uh in the middle here . Um um with kind of arrowshapes , which makes it also a bit more exciting than basic round or um uh {vocalsound} uh square buttons . And also here are the two uh buttons we agreed on. We have the Okay button . Oh nei we uh the Okay button's here in the middle of the of the operators , of the channel and uh volume um changers .ProjectManager: Mm-hmm .User Interface: Yeah .Industrial Designer: And then we've here the Menu button and the {disfmarker}Project Manager: Alright .UserInterface: Menu for the L_C_D_ screen .Industrial Designer: And the video button . The {disfmarker}Project Manager: So {disfmarker}Marketing: Mm right .UserInterface: {vocalsound}Industrial Designer: Yeah . And of course this low part , this is the L_C_D_ screen .Project Manager: 'Kay .Industrial Designer: Uh this iswhat we made of it . You can make uh suggestions uh if you want .Project Manager: Well if I look at it , the side the side view {disfmarker}User Interface: Well ,at the back {disfmarker} {vocalsound}Industrial Designer: Maybe we maybe we should finish first uh our talkUser Interface: Yeah .Industrial Designer: and thenyou can add suggestions .Project Manager: Oh yeah alright . Yeah {gap} .Industrial Designer: Maybe I I don't want to {disfmarker} {vocalsound} I don't want tosuppress you but n I'll uh finish this uh quick .Project Manager: {gap}Industrial Designer: Um okay I've had everything I guess on the front ?User Interface: Nothe back . With the logo and our uh l uh {disfmarker}Industrial Designer: Yeah the back . Yeah . {vocalsound} We thought about {disfmarker} Yeah , uh theback is of course totally titanium . {vocalsound} And we thought about the logo big in the middle .Project Manager: Mm-hmm .Industrial Designer: Just so againthe double R_ . We have then the logo on front and on the back .Marketing: Mm-hmm .Industrial Designer: Maybe that's too muchProject Manager: Okay.Industrial Designer: but you have to say uh say that if you think that way .User Interface: No I don't think {disfmarker} And the {disfmarker}IndustrialDesigner: And the company slogan , we thought in a kind of arc shape uh above the logo .Project Manager: Yeah .Marketing: Yeah .Industrial Designer: That'sbasically what we were thinking about ,Project Manager: {vocalsound} Okay .Industrial Designer: and {disfmarker}Project Manager: WUser Interface: And aboutthe side view um {disfmarker} This the front won't be as thick ,Industrial Designer: {vocalsound}User Interface: but again th the the drawing technique makes itvery difficult to to really uh {disfmarker}Project Manager: Well I see , but {disfmarker}Industrial Designer: Oh and uh before I forget . Yeah the the voice , ofcourse ,Project Manager: Well . Yeah I see it .Industrial Designer: the voice recorder is uh at the bottom .Project Manager: Yes .Industrial Designer: And you canrecord it uh using , yeah , the the the back of the f w device .Marketing: {vocalsound}Project Manager: When I look at uh when I look at this side view , I think wwhen I have that in my hand , it's terrible .User Interface: Well , it won't be visible . Mm ?Project Manager: If if you look if if this this is thick , and this is thin , thth then it that it lies over your hands . But {disfmarker}Industrial Designer: Why ? {vocalsound} Well it fits uh it it it it fits the hand , {vocalsound}UserInterface: Yeah .Industrial Designer: mean uh the the the the {disfmarker}Project Manager: Well what what what I what I agree is that when uh when um youhave such of uh an arc in the middle , so that the the a the ends and the fronts is a bit thicker , so th then it falls over your hands .Marketing: Yeah , I agree .UserInterface: {gap} If y {vocalsound} If you handle a remote , you you usually don't have your hand straight like this .Industrial Designer: {vocalsound} In themiddle in the {disfmarker}User Interface: You you have it a bit uh {disfmarker} Yeah .Marketing: It depends on the size . If it's kinda small , this is is great . Butif it's it's larger , then you want to grab it .Project Manager: And how large is it ?User Interface: Yeah .Marketing: Yeah , that's the question .Industrial Designer:That's the question .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Uh well {disfmarker} Yeah . H What do you suggest I meanwe do ? {gap} This was Mike's prototype ,Project Manager: Well uh {disfmarker}Marketing: {vocalsound}Industrial Designer: and y you seemed to agreed on it.Project Manager: Well the sides I haven't seen yet , uh {gap} ?Industrial Designer: But now you have a totally different {gap} .User Interface: Well , they laythere all the time .Industrial Designer: The size ? Yeah well the size doesn't really matter w I mean {disfmarker}Project Manager: They the the the the the sideview ,Industrial Designer: Side ? Uh oh the side ?Project Manager: we didn't uh {disfmarker}Industrial Designer: W we we he drew the s the side ,User Interface:Yeah yeah .Industrial Designer: but you d you weren't paying attention as usual .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer:Well any case , we'll discuss it now . Uh I think uh this is a pretty good uh good idea {gap} .Marketing: Yeah , I agree with the L_C_D_ screen . You have it inyour palm like this , and you can watch uh watch the screen . And if you have it li in the middle , your hand might be over it .Project Manager: Yeah .UserInterface: {vocalsound}Industrial Designer: But you you hold it like this .User Interface: Yeah you you don't you don't grab it ,Industrial Designer: You're notholding it like this or something .User Interface: you you {disfmarker} {vocalsound}Industrial Designer: You , yeah , y How do you call it ? Yeah .ProjectManager: {vocalsound}Industrial Designer: Well y y y you don't have it like this .Project Manager: No no no .Industrial Designer: You have it more like this .UserInterface: {vocalsound}Industrial Designer: {gap} You you you're using buttons this way , or if you're right-handed , this way .Marketing: Like you're holdingyour telephone .Project Manager: Yep .User Interface: Yeah .Industrial Designer: So you {disfmarker} Yeah . So {disfmarker}Marketing: Because if you have a"}
+{"doc_id":"doc_109","qid":"","text":"Project Manager: Okay . So , now um , {vocalsound} last time . Can you uh {vocalsound} push the button ? {vocalsound} One time please . So {disfmarker}{vocalsound} I'm still the secretary . Now uh , I ask you to presentate the prototype . One of your {disfmarker} you two .User Interface: {vocalsound}IndustrialDesigner: I don't care . {vocalsound}User Interface: Oh this , you mean ?Project Manager: Yes . The prototype .Industrial Designer: Huh ?User Interface: Yes ,well uh this is it . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} This is it .Project Manager: Well , thank you . Uh , now{disfmarker}User Interface: It's uh it's uh it's yellow . And uh , this is rubber . And and and this too . TheProject Manager: {vocalsound}User Interface: the sides.Project Manager: Yes .User Interface: And the rest is hard plastic . And uh {disfmarker} We uh we had some uh {vocalsound} {disfmarker} We had a new idea{vocalsound} that that this can uh can be uh uh turned inside .Industrial Designer: {vocalsound}User Interface: And then it covers the {disfmarker} thesebuttonsProject Manager: Okay .User Interface: until here or something .Marketing: Yes .User Interface: And then you can still use the the power button and themute and the the joystick .Project Manager: Mm-hmm .User Interface: So , you can still operate uh all the things . Because you don't always use the menu . Andthen it can break .Project Manager: Okay . And the buttons ?User Interface: Uh , well uh {disfmarker}Industrial Designer: Big . {vocalsound}User Interface: Bigbuttons . And everything is blue , except the power button . And the mute . Of uh {disfmarker} yeah , and the mute and the the other button . {vocalsound}Yeah . Channel higher channel button .Industrial Designer: {gap} .Marketing: Yeah .Project Manager: And the joystick is for the volume and the channels .UserInterface: Uh , yes . Yes ,Industrial Designer: Yes .User Interface: that's uh {disfmarker} {vocalsound}Industrial Designer: {vocalsound}User Interface: Veryobvious .Project Manager: {vocalsound}Industrial Designer: Up is channel up . Down is channel down . To the right is volume up . To the left is volume down.User Interface: Yeah .Project Manager: Okay , so if joystick and L_C_D_ . What's the R_R_ {gap} d {vocalsound}User Interface: R_R_'s the l the the the thecompany uh logo .Industrial Designer: The R_R_ ?Project Manager: Okay . Very good .Industrial Designer: {vocalsound}Project Manager: So , we have{disfmarker}Marketing: That's on the rub rubber part .User Interface: Uh , yes . Yes . That's about here .Project Manager: So , what they say on the side is putfashion there . Yes . It's good .User Interface: Oh .Project Manager: So , that's it . That's prototype .Marketing: Yeah ?Project Manager: Now , the finance .{vocalsound} We don't know if it's {disfmarker} th it {disfmarker} if it's okay .Marketing: Alright . {vocalsound}Project Manager: So , I'm gonna look.Marketing: Do we {disfmarker}Project Manager: We have {disfmarker}Marketing: Do we change the {disfmarker}Project Manager: Sorry ?Marketing: Do wechange the the order ? Or are we going to uh ev evaluate it first ?Project Manager: Finance is um {disfmarker} Yeah it's {disfmarker} No , first uh {disfmarker}Yes . We have to evaluate the product yet .Marketing: Okay .Project Manager: Sorry .Marketing: That's uh um {disfmarker} {gap} That can be none . Um , wegonna do the evaluation now , together . But I have uh a introduction how it works . So , it will come up . Uh-oh . Okay . Um , yeah . Well , we uh {disfmarker}uh , I have um thinked a few evaluation uh criterias , uh based on um our marketing strategy , on uh the latest trends , on user preferences . Uh , we have aseven point scale from uh true , as well . To false , seven ? And on base of each c uh criteria , we need to um give a rating . We can uh {disfmarker} Well , it looklike this . But we gonna uh do it here , they said . {vocalsound} So , you hope found out how to do it with a Word document . Yeah . Okay , yeah . Yeah . Um ,well uh we have the Word documentProject Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Criteria .Marketing: You {disfmarker}{gap} So we open up that blank here . Um {disfmarker} {vocalsound} Think I can {disfmarker} Uh , what this just an example . So , this not very important .But um , if I can get a number in here . Hmm .Project Manager: No , it's okay .Marketing: Well , uh we can't do that .Industrial Designer: I'll get it .ProjectManager: Oh , it's okay .Marketing: Um , so uh you have to think of it as uh the remote control is techno technologically innovative . Uh , and then we have to uhagree on the rating together . And in the end , we will c uh count an average of all rating . The first uh on each item .Project Manager: What do you think?Marketing: Yeah , I think it's uh {disfmarker} {vocalsound} Uh , well technologically using , it's not uh {disfmarker} it doesn't contain many new features . Onlythe L_C_D_ . So , it {disfmarker} Um , I think I will give it a {disfmarker} yeah , yeah , yeah {gap} , a four . Hmm .Industrial Designer: I think the scroll-buttonis something also uh new . What uh {disfmarker} not anoth uh ,Marketing: {vocalsound}Industrial Designer: not a lot of uh {disfmarker} a lot of uh remotecontrols have . I think technologically I'll give it an seven . Si six six .Project Manager: {gap} Yeah .Industrial Designer: Sorry , six .Marketing: So now i I thinkyou uh see it {gap} um its statement .Industrial Designer: Oh , true or false .Marketing: And you {gap} true or false .Industrial Designer: Oh , uh I'll I'll give ituh a t a two .Marketing: And true is one . So , yeah . Yeah .Project Manager: Two .Industrial Designer: Sorry .Project Manager: You ?User Interface: Three.Project Manager: Me too . So it's a three .Marketing: 'Kay . Um , well {disfmarker} It's a one . {vocalsound} The first item . So , okay the second item . Um , thisproduct is for all sorts of customers .User Interface: Mm {disfmarker}Marketing: Well , it's a statement which uh I disagree with , because we uh really aim uh atat young market and I think the way it looked uh c uh totally in yellow , it's not uh really aimed for all customers . It doesn't look like that .Project Manager: Soit's a {disfmarker}Marketing: That's uh a six .Industrial Designer: Five .User Interface: Mm , four .Project Manager: Yes , it's for the younger g group . So it's uhhalf half of the people .User Interface: Yeah , but it's it's {disfmarker}Project Manager: So I think it's four .User Interface: Yeah . I mean it still has l large buttonsand not m many buttons .Project Manager: No .User Interface: So {disfmarker} I mean , the colours are for young people ,Industrial Designer: Mm-hmm .UserInterface: butProject Manager: Yes . So , I think it's four .User Interface: older {disfmarker}Marketing: {vocalsound}User Interface: Yeah .Industrial Designer:Maybe version uh three point O_ uh {disfmarker} {vocalsound} has other colours . {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Yeah .Maybe .Project Manager: Okay . Give it a four .Industrial Designer: Four .Project Manager: Yep .Marketing: Four . Uh , okay . Mm .Project Manager: We put thefashion in electronics .Marketing: That's uh the motto of our company . Yeah , well do we do this with uh this product ? I um {disfmarker} Yeah . I think if we dothis , as it's uh uh c uh it's really orientates on the design . Um , so I would give it a two .Industrial Designer: Me too a two , because only the battery is not uhtechin uh technologically high standard . But the rest of it is . So , I think a two .Project Manager: {vocalsound}User Interface: Yes . Two .Project Manager: Uh , Isay uh a five .Marketing: Two .Project Manager: It's not fashion , it's new . It must be a fashion . But it isn't .Industrial Designer: It {disfmarker} it will be fashion.Project Manager: Yes . It w If it's not a fashion we can put it in it . So , it must be a fashion . I think it's a five .Industrial Designer: {vocalsound}ProjectManager: {vocalsound}Marketing: Uh {disfmarker} {vocalsound} Okay .User Interface: Then make it th three .Marketing: Okay . Yes , I'll think of that too.Project Manager: No . Oh .Industrial Designer: 'Kay . Three is okay .Marketing: Yeah , agree ?Project Manager: I use my feet though . {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound} Oh , we'll wait outside .Marketing: {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound} A three .Project Manager: Okay .User Interface: {vocalsound}Marketing: Yeah okay .Industrial Designer: {vocalsound}Project Manager:{vocalsound}Marketing: The next element um is the product looks good . Well personally , I do not prefer a um remote control that's fully in yellow . So , I wouldgive this a five .Industrial Designer: I give it a one . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {gap} . Yes , a one . Ilike it .Project Manager: Well , I say three . So , counting then is two and a half . {vocalsound}Marketing: We have to do our uh {disfmarker}Industrial Designer:Say two .Marketing: Two or three ?Project Manager: Okay , two .Industrial Designer: Two .Marketing: Two . Okay .Industrial Designer: {vocalsound}ProjectManager: {vocalsound}Marketing: So , well we gonna do the next part . Uh , yep . Uh uh , the next statement . It has not too much buttons . Um , yeah , I I haveuh said is not because uh a low number is better . And in the end we calculate an average . So , um that's why it's a negative in it . Um , well this one of our aimsnot have too much buttons . So , um uh did we uh do that ? Well , uh if we go to {vocalsound} uh this fashion , I {disfmarker} We still have caused uh a lot of uhbuttons for the numbers . But you can you can go for that . And um that way , you don't have a lot of buttons over . So , I would give this a two .IndustrialDesigner: One .Project Manager: {vocalsound} You ?User Interface: One . {vocalsound}Project Manager: Me too . One .Marketing: One . {vocalsound} Um , but{vocalsound} where where is the {gap} ?Industrial Designer: {vocalsound}Project Manager: Next , six . It does not get lost easily .Marketing: So {disfmarker}Yeah , did we implement uh the sound ?Industrial Designer: {vocalsound} Uh {disfmarker} {vocalsound}User Interface: Yes . {vocalsound}Marketing:{vocalsound}Industrial Designer: Just a small thing . {vocalsound}Project Manager: No , we did not . So , but can it get lost if it's such a thing ?User Interface:Yeah , but uh {disfmarker} Yeah .Industrial Designer: Ah . Yellow .Project Manager: I don't think so .Marketing: {vocalsound}Industrial Designer: Looks like apistol .Project Manager: Yes . Not a not a normal shapes . So {disfmarker}Industrial Designer: Uh {disfmarker} It won't get between uh the pillows uh on thecouch .Project Manager: No . It won't get lost .Marketing: Yeah .Project Manager: So {disfmarker}Industrial Designer: Uh {disfmarker}Marketing: It won't.Project Manager: A one ? {vocalsound}User Interface: Yeah .Industrial Designer: Yeah , o one .Project Manager: Okay , a one .Marketing: One .Project Manager:Next .Marketing: Okay , um well we aimed for the younger market .Project Manager: {gap}Marketing: Uh yeah , did we achieve that . I think with the way itlooks and um it is designed , I will give it a two .Project Manager: Yeah me {disfmarker} {gap}Industrial Designer: Yeah . Me too .Project Manager: That was our"}
+{"doc_id":"doc_110","qid":"","text":"Project Manager: {vocalsound} So um nice to see you again . Uh . So , uh . Tod uh for this meeting I will take the notes and do the minutes . Uh so we will seeour three presentations . Um we will start with the uh Manager Expert wi who will talk about uh user re requirements , whats user needs and what it desire forthis devi device .Marketing: Okay , can I have the laptop over here , or ?Project Manager: Yep . Oh , I don't think so . I think you have to come here .Marketing:Okay . Have to get up . {vocalsound}Project Manager: I dunno . I think it should stay .Marketing: Excuse me .Industrial Designer: Yeah , that's it .ProjectManager: {gap}Marketing: {vocalsound} Okay .Project Manager: Should stay in the square here . {vocalsound}Marketing: Okay .Project Manager: Oh , maybe.Marketing: Okay , so basically I'm gonna present some findings of a study we conducted uh into uh what users want in this remote control .Project Manager: Oh, you can put it here . Oh that's okay , it's jusMarketing: Um so first of all we {disfmarker} what we did is we um conducted a an experiment with a hundred testsubjects . Um we put them in a in our um usability laboratory and got them to , you know , um play with remote controls , and also to complete , after they'ddone that , to complete a questionnaire uh to tell us what they like and what they don't like in remote controls . {vocalsound} {vocalsound} So basically um themajor things we found out was that um basically users don't like the look and feel of of most remote controls that are currently on the market . Um they , youknow , seventy five percent of the people we we uh did the experiments on , found that rem remote the remote controls that they'd used in the past were ugly .Completely ugly . Um they they didn't match the operating behaviour of the user , that is , you know , the the way users use remote controls when they'rewatching T_V_ . Um , that the layout of the remote controls didn't match they way that they used it . Um and thirdly they say that w half of the users that we umtested said that they only used ten percent of the buttons that uh are on remote controls . Um so we collect we also some collected some usage statistics uhbased on how these test subjects were using their remote control . And from this we basically came up with the figure that the channel buttons , the channelselection buttons are the most {disfmarker} by far the most used buttons on the remote control . Um and you can see they're used a hundred and sixty eighttimes per hour on average , um , while the user's watching T_V_ .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Um the closestbutton that was used , well the cl the button that was used that was closest to the channel button was the teletext button , um which was used fourteen times perhour , followed by the volume button , which was four times per hour , um , all the other , all the other um buttons , such as ch um audio and picture selectionum configuration buttons and things were used , you know , l approx well less than or equal to one times per hour . Um we also asked users um which buttonshad the most importance to them , you know , which which buttons they felt were the most important buttons on on the remote control . And basically they came{disfmarker} they said the channel , volume , and power buttons had the highest relevance to users , um note that only power was very infrequently used , itonly had a b a a fr usage frequency of about one times per hour , but users ranked it as having a very very high relevance . Um and the audio and picture settingshad a very {disfmarker} that well the users thought that um w the audio and picture settings were very uh weren't very important to them um , and they usedthem very infrequently a as well . {vocalsound} So we asked users what what um frustrates them the most about um current remote controls . And fifty percentof the users said that uh what frustrates them is losing the remote control um somewhere in the room and not being able to find it . Um {vocalsound} they alsosaid that it um it takes a lot of time to learn a new remote control , especially when there's many buttons and it's a , you know , a c a a unintuitive interface . Umand then thirdly , they {disfmarker} some users commented on the fact that the the you know the way that you have to hold and press buttons on a remotecontrol ar are bad and um cause u repetitive strain injury . {vocalsound} We also asked some users about some specific features that they'd like to see in the{disfmarker} on the remote control . In particular , do they want an L_C_D_ d display , and secondly , do they think speech recognition uh is a useful feature tohave on a remote control .Project Manager: {vocalsound}Marketing: Um basically our findings are that um amongst a younger age groups uh the answer is umvoverwhelmingly yes . They want these features , they want these high technology features .Industrial Designer: {vocalsound}Marketing: Um for instance , ninetyone percent of pe of people aged between fifteen and twenty five said yes , they want these features . Whereas um {vocalsound} the the trend was as users asusers um became older and older uh they were less likely to want these sort of features in a um in a remote control . So I guess it depends on where we'refocusing our our market . Um and as our company motto is putting fashion in electronics , um I think we're focusing on the younger younger um targetdemographic , and so maybe we should think about adding these sort of high technology features into our remote control .Project Manager: Hmm .Marketing:That's my dic that's my presentation . Thank you .Project Manager: Thank you .Industrial Designer: {vocalsound}User Interface: Okay .Project Manager: So , ummaybe now we can talk about a user interface and uh about the technical function of this device . So uh Pet Peter , can you talk say something about that?Industrial Designer: Well , okay , yeah . Yeah , but the user user interface is responsible .Project Manager: No .User Interface: B you think uh I I'm UserInterface Manager .Project Manager: Ah .Industrial Designer: Okay , so {gap} .Marketing: {vocalsound}Project Manager: {vocalsound} Sorry , I'm {disfmarker}Sorry . Sorry .User Interface: {vocalsound} Okay . Okay .Project Manager: {gap}User Interface: If I could go there with this cable .Industrial Designer: You'rescaring me with L_C_D_ man . And speech recognition in remote unit , it will be very e expensive .Marketing: {vocalsound} Yeah , it's true , but , you know ,they're features that users want ,Industrial Designer: {vocalsound}Marketing: so it's {disfmarker}Industrial Designer: Yeah .Marketing: And our production costof twelve fifty Euros per per unit is fairly high I think ,User Interface: {gap}Industrial Designer: Yeah .Marketing: so I think we can afford to to add these sort offeatures into our remote .Industrial Designer: At least we have couple of months t to work on it so so it will be cheaper finally . {vocalsound}User Interface:{vocalsound} Sh okay . {gap}Marketing: It is true .User Interface: Where's delete button ? Okay . Oh I'm sorry . {vocalsound} {gap}Industrial Designer:{vocalsound}Project Manager: {gap}User Interface: {gap} Okay .Marketing: That's the wrong one , I think .Project Manager: Yeah , it's still Bob Morris .UserInterface: Oh . Presentation three ?Project Manager: {vocalsound} Yeah you should have put yes .Industrial Designer: Because you cancelled it . Yeah .ProjectManager: Click on yes .User Interface: Oh . {vocalsound}Project Manager: {gap} yeah .Industrial Designer: Yep .User Interface: Okay , so here is mypresentation about technical function design . I will talk about different components and s of system and how they react together . Okay , uh , first what is aremote control ? Simply it's a device , as you know , for uh , for sending some commands by some waves to uh another device to to tell different commands uhwith this device . And the main idea we don't use any cable and we can rec react simpler with the device . Uh i it has different blocks , different blocks . Uh first isremote control have sh ha should have some electric circuits uh making interface with uh keyboard and uh r reading uh keyboard and reading the keyboard uhcommands . And then inter then make uh these keyboard commands , uh in interpret these int uh keyboard commands . And then there should be uh anelectronic circuit making uh electronic signals according to these commands and uh finally there is a transmitter which is a cord or a a diode making uh making uhwaves to transmit through the air and uh uh this air this uh wave uh will be received by the by the other device like a television or whatever , to uh r to realise thecommand . Okay , {vocalsound} uh about {disfmarker} what I found about uh different uh these different blocks are uh , usually there are two different methodsuh to {disfmarker} for designing a remote control . They are based on infra-red uh waves or uh uh radio waves .Industrial Designer: You still want me thepresentation .User Interface: There are two different uh uh solutions I mean . This is uh this can be uh uh the the differences the th between different kind ofwaves , infra-red or radio waves . And uh also as uh I understood , and uh I think it was a part of uh Bob , uh uh presentation , people prefer to have uh to haveuh the remote control with less button . So for the electronic part , working and interfacing , with button , we should we should try to t try to design a remotecontrol having uh some some simpler buttons or some rolling buttons to just to just to search between different options , and showing o something on T_V_ andputting less lesser stuff on the uh on the remote control . And uh personal preferences , uh uh uh uh certainly a remote control with {disfmarker} uh working withradio waves is uh preferred because uh you can pr you can take it in any direction and you don't need to tune it any way . And uh uh again , using bigger buttonsand less number of buttons are also preferred , as I see . Okay . That was my presentation .Marketing: Okay . I have a question .User Interface: Uh-huh.Marketing: Do you think radio waves um will interfere with other appliances in the home ?User Interface: Uh , I don't think so , because uh we can make uh weca we can make this wave in a specific frequency . So they can be in a range which is not inter interfering with the {vocalsound} with other devices inside thehome .Marketing: Okay .Project Manager: So can we use any any frequency ?Industrial Designer: Yeah , it should be okay {gap} .Project Manager: We have theright to use any frequency ?User Interface: Uh no but as I know , there is a range for uh for this uh f for for uh for this stuff , for designing this circuit . We can wecan we can tune our uh transmitter to work in this range , and for this range we don't need to ask any permission .Project Manager: Okay . And what happen withuh radio waves when two neighbours have the same {disfmarker} have our remote control , for example ? And so do they have the same frequency , or ?UserInterface: Uh for this I'm not uh I I don't know the solution , but one solution can be something like putting uh p password or something inside the wave , so theonly your T_V_ can understand itProject Manager: Okay . A kind of identification {gap} ,User Interface: Yeah , identification code inside the"}
+{"doc_id":"doc_111","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from SuzyDavies and there is no substitute. Janet Finch-Saunders is joining us from the Assembly offices in Colwyn Bay via video conference. Can I ask Members if thereare any declarations of interest, please? No. Okay. Item 2, then, this morning is a post-legislative scrutiny session on the Higher Education (Wales) Act 2015. I'mvery pleased to welcome Kirsty Williams AM, Minister for Education, and Huw Morris, who is director of the skills, higher education and lifelong learning group inWelsh Government. Thank you, both, for attending, and thank you for the paper that you provided in advance. I will just start the questioning by asking whetheryou are planning to repeal the 2015 higher education Act, or will it be amended by the post-compulsory education and training Bill?Kirsty Williams AM: Thank youvery much, Chair. I'm very pleased to be with the committee again this morning, although it's in slightly unusual circumstances. As a piece of post-legislativescrutiny, this was a Bill that was taken forward by a different Minister in a different administration, but I think it is really valuable work in the context of thequestion you just set out: what can we learn from the implementation of this piece of legislation as we move forward with our reform journey and with thisGovernment and my proposals to introduce a new commission for tertiary education? There is much, at the moment, that lies within the 2015 Act that we willlook to bring forward into the new legislation, but there are certainly experiences—and I'm sure we'll come on to some of the evidence that has been receivedabout what's worked, what perhaps hasn't worked—that we all want to reflect on and be mindful of as we take forward the new Bill, including the report of thiscommittee as part of it. So, it is our intention that this Bill will be superceded by the new PCETR Bill.Lynne Neagle AM: Okay, thank you. We've got a series ofquestions now from Siân Gwenllian.Sian Gwenllian AM: Good morning. Do you believe that the Act has fulfilled all the Government's objectives? Where are theweaknesses?Kirsty Williams AM: Diolch yn fawr, Siân. As I've said, it's a bit difficult to place myself in the mind of the previous Minister when this legislation wasfirst envisaged and then taken through. You'll be aware that there were four main reasons for the introduction of the Bill: around regulation of institutions inWales; safeguarding the contribution made to public good arising from Welsh Government's financial support for the sector; maintaining a focus on fair access;and preserving and protecting the principle of institutional autonomy. I think the evidence that has been received by the committee to date shows that there aredifferent views about the effectiveness of whether all four strategic aims have been achieved. I think those strategic aims are still really, really important andcertainly will underpin our thought process going forward, but we have to recognise the higher education and research Bill across the border in England, theimplementation of new student support measures in Wales, as well as the report that was done by Ellen Hazelkorn, I think, means it is appropriate that we moveforward with different proposals, not just regulation of the HE sector but the post-compulsory sector as a whole. We will look to see what we can do to strengthenor whether there is more that we need to do to achieve those four objectives, because I think those four objectives are still very, very relevant. But we have tohave legislation now that is fit for the circumstances we currently find ourselves in and, hopefully, futureproofs us for how we want to see the sector develop inthe future.Sian Gwenllian AM: Do you feel perhaps that the legislation itself hasn't been strong enough, and that you then have had to drive some of theseobjectives through the annual remit letter, rather than through legislation, and that's why the strengthening is required?Kirsty Williams AM: Certainly, I see theremit letter as a really, really important way in which national priorities and the priorities of an elected Government can be clearly stated, communicated to theHigher Education Funding Council for Wales, and then HEFCW use their powers to ensure that that happens. So, certainly, I see the remit letter as being a veryimportant mechanism for ensuring, as I said, that those national priorities are clearly articulated, and then change happens.Sian Gwenllian AM: Has the currentlegislation been framed around institutional autonomy so that it's not possible for institutions to fulfil any national outcomes, and is that going to be an element ofthe new Bill?Kirsty Williams AM: Well, certainly, the 2015 Act contains numerous provisions that protect universities' privileges and autonomy. And that's reallyimportant, and those are principles that I am committed to in any legislation that I bring forward. We'll certainly be looking to see how we can carry thoseprotections into the forthcoming Bill, but, at the same time, we do have to ensure appropriate regulation and accountability of institutions for their public fundingand the privileges that they enjoy. And I think there are a number of ways in which that can happen. We have a very positive working relationship with the HigherEducation Funding Council for Wales, and I am very fortunate to have a very positive working relationship with the sector. The remit letters are a really importantway in which we can lay out those national priorities. I don't think there's anything in the legislation per se that prevents those national priorities being articulatedand being acted upon.Sian Gwenllian AM: I don't think that's what HEFCW has said in their evidence. They've said that the Bill has been framed in a way whereit's not possible for institutions to fulfil any requirements. You're talking about the remit letter; maybe you need to have that discussion there, but, in terms of theBill itself, you can't make them fulfil any national outcomes. Shouldn't there be a discussion looking to move in a direction where there are national outcomesbeing set through legislation, because there is public money going into that?Kirsty Williams AM: Well, I don't know whether we need national outcomes throughlegislation, because those national priorities, potentially, will change over time. What is really important, and what we will be seeking to do in the new legislation,is look to move to a system of outcome agreements. So, there is a very clear expectation that the commission will have, in regulating the sector, andco-ordinating and funding the sector, to create a system of outcome agreements, where those outputs will reflect national priorities, and that's one of the thingsthat we've consulted on, and will look to take forward in the new legislation.Sian Gwenllian AM: Okay. That's clear enough. What about private providers? TheAct, or the Act as it stands, makes it a requirement for a regulated institution to be a charity, and that means it's not possible to regulate alternative privateproviders under the Act, even though they can provide higher education in Wales. What is your view on this, and will the new legislation continue with therequirement of being a charity?Kirsty Williams AM: Okay. So, I think, first of all, it's important to make the distinction between the scale of private providers, andwhat could be termed as 'unregulated providers' in the Welsh system, as opposed to the English system. And I think that's a really important distinction to make.So, currently, under the current legislation, unregulated providers can only access Welsh Government student support if they're designated on a case-by-casebasis. So, we do have a circumstance where—and a process in place, to manage this. So, we have a specific designation policy, which is operated on our behalf byHEFCW. Only six organisations were designated on a case-by-case basis in the 2018-19 academic year, so the scale here is small. Three of those were furthereducation colleges. So, when we talk about a private provider, perhaps people would have a view of a private university, but, actually, three of those were FEcolleges, which we would all be familiar with. And the three private providers were the Centre for Alternative Technology, the training arm of the Church in Walesand the Newport and District Group Training Association. All three of those are actual charities. So, in order for their courses to be specifically designated, thethree crucial questions that those providers have to answer are: quality—is what they’re providing to students of a good quality; the financial viability of theinstitution, again, to try to protect the interests of the students who may find themselves embarking on a course in an institution that isn’t viable; as well as theircontribution to private—sorry, not to private good—public good. And we are considering how that part of the sector will be regulated in the forthcominglegislation. But, Huw, I don't know if there's anything else to add?Huw Morris: Well, just to say that there are a very small number of private providers, as theMinister has outlined, and, in comparison with England, where I think the last figures said that there were between 300 and 400 private providers in England, youget a sense of the differences that exist there. And, if you look at what happened over recent years, it has been those small private providers across the UK whohave been most financially challenged and a number of them have stopped their operations, with consequences for the students. So, we’ve been keen to putstudents at the front of things to make sure that the institutions that they’re enrolling with are strong and have good quality.Sian Gwenllian AM: Okay. So, whatyou're saying is that you will continue with a charitable status, or not—Kirsty Williams AM: At this stage—Sian Gwenllian AM: —or are you still thinking aboutit?Kirsty Williams AM: Well, at this stage, I think the charitable status will continue to be an important part of what we will take forward.Sian Gwenllian AM: Justturning finally to part-time fees and postgraduate fees, do you have an intention to regulate this part in the new legislation?Kirsty Williams AM: I have to say that,at present, we've not identified an urgent reason to designate these courses as qualifying courses for the purposes of a fee limit. And there are a number ofreasons for that. Actually, the current Act—the 2015 Act—does not permit the fee regulation of postgraduate courses, other than PGCE courses for IT purposes. Inthe case of part-time courses, I'm currently content that fee levels are not exceeding the amount of student support made available by the Welsh Government.So, I think we are, at this moment, relaxed about that, and there are some difficulties around deciding and introducing fee limits on postgraduate courses. I thinkwhat's really important to me is the success at the moment of attracting people to postgraduate and part-time study in Wales, as a result of our reforms tostudent finance. But, clearly, we'll need to keep that under review. But, at this current moment, the Act precludes fee regulation in some areas and there's not apressing policy need that we've identified to date.Lynne Neagle AM: Okay. Thank you. Okay, we're going to move on now to some questions about the level ofambition in the higher education Act and any lessons for the PCET Bill, from Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you. To what extent has the"}
+{"doc_id":"doc_112","qid":"","text":"Project Manager: Okay . Right . Conceptual design meeting . Right . Okay , so {disfmarker} Right well um from the last meeting {vocalsound} I was trying tosend you the minutes , but uh it didn't work out too well , so maybe in sort of um quick summary of the last uh meeting , I can quickly give you what we what wehad .User Interface: {vocalsound}Project Manager: Uh right , so {disfmarker} Wishing I hadn't closed the damn {disfmarker} Right so we had the fact that we'regonna have the the logo uh the company logo in its uh colour scheme incorporated onto the the device the remote device . We had uh made our decisions aboutuh made our decisions about uh the device itself , that it was gonna be simple to make it uh enable us to complete the project in time . We're gonna have uheffectively two pages , a front page which had the uh features that the uh the customers most wanted , and then the uh the backup features on the second pageso that it could uh meet the technical requirements . And the customers wouldn't have to look at them too often , only as and when required . So . So basicallywhat decisions uh have we uh made ? Uh have there been any uh changes ?Industrial Designer: I think we all have a presentation again ,Project Manager: Right.Industrial Designer: so if we go through those and then umMarketing: Yeah .Project Manager: Three presentation , yeah .Industrial Designer: {gap} . Shall I gofirst again ? {gap}Project Manager: So {disfmarker} Yeah , fine .Marketing: Okay .Industrial Designer: I see {gap} this a little more smoothly than the last one .{vocalsound}Project Manager: {vocalsound}Industrial Designer: Okay right , let's get started . Um basically the uh for the {disfmarker} Um I'll {gap} backactually . For the components design , um next step is basically the the way the remote's gonna work is still the same idea as before . We still have the userinterface which is all the buttons we're gonna incorporate . Then there is a chip and still the sender . So um yes {gap} including the power s supply as well . UmI'll go on to my findings in each of these areas . Uh first in the power supply , we have the option of just the standard battery , um . {vocalsound} There's adynamo . Any of you think of kind of like the the old torches which you wind up {gap} um . There's a kinetic option , which if any of you've seen those newwatches which you kind of you power up by waving around , um it just requires a small amount of movement which would mean the batteries wouldn't have to bereplaced . Um that's one option ,Marketing: Mm-hmm .Industrial Designer: but I think that was gonna cost a little more . And then there's solar cells . Um as afinal option . For the buttons , we have um an integrated push button , which is {disfmarker} Oh just to say all all these are um supplied by Real Reaction . So Iguess for the ease of for quickness and ease we should take them from at least like one of these options .Project Manager: Okay .Industrial Designer: Um so forthe buttons there's an integrated push button , which I guess is just the same as the standard ones . This says it's uh similar to uh the button on the mouse for anormal {disfmarker} for like uh like modern computer . Um there's a scroll wheel which is {disfmarker} you know the new mouse has just got like the centresection which you can scroll up and down , which may be for the volume .Project Manager: Mm-hmm .Industrial Designer: You could do do that .Marketing:Mm-hmm .Industrial Designer: Um one issue for the buttons is , depending on which material we use , if we use rubber buttons then it requires a rubber case , sowe have to take that into consideration . Um moving on to the printed sProject Manager: What would be the cost do do we know ?Industrial Designer: Um that'son the next {disfmarker}Project Manager: {gap}Industrial Designer: I th I think the there wasn't too much difference in the cost , that that related to the actualbuttons , but it does affect the printed circuit board . Um which is the next section . Basically for the circuit board which is the middle , it's just {disfmarker} see itdown there the chips like the like the workings of the actual um of the remote .Project Manager: Mm-hmm .Industrial Designer: The firm supplies a simple , aregular and an advanced um circuit board . And there's different prices according to each . So if we've got the scroll wheel for one of the buttons , that wouldrequire a slightly more advanced circuit board than if we just had a standard um push button .Project Manager: Mm-hmm .Industrial Designer: Um one final thingwe came up with was some information on the speech recognition . There's a small unit available through the company um which obviously would be an extracost , but it wouldn't affect the size of the remote too much . Um and I guess that would require a more advanced circuit board , so there is an extra price in thatsense . There is th sorry an extra cost in that sense . Um going to my personal preferences , um I thought possibly for power we could use kinetic um which is theidea of the watches um that you move you move the remote around to power it up . And this would avoid batteries running out , having to replace batteries andsuch like . Um for the buttons , I thought we'd probably get away with just having the standard um push buttons rather than the scroll wheel . Um and for thecircuit board , again depends on which features we want in the actual in the remote . So if we wanted the scroll wheel and wanted the voice recognition , um thenwe'd have to get a a more costly circuit board . And that's it .Marketing: 'Kay .Project Manager: {gap} with the printed circuit boards you were going for the{disfmarker}User Interface: Thanks . {vocalsound}Industrial Designer: Um i it kind of depends um if we're gonna have the speech recognition , we'd have toprobably get an advanced one . I'm guessing .Project Manager: Mm-hmm .Industrial Designer: Uh but I don't know , so that is something I'll have to look into.Project Manager: But are we going f R right .Industrial Designer: Um that's a that's a decision for all of us . Um .Project Manager: So are we able to make thatdecision now in a sense that this is the point at which we're discussing that issue ,Industrial Designer: Yeah yeah . We decide . Yeah .Marketing: Mm-hmm.Project Manager: so would it not be best to {disfmarker} rather than {disfmarker} I mean one way is to do each of the presentations and then make decisionsgoing back to the various presentations as they were . The other way would be to do the presentationMarketing: Mm-hmm .Project Manager: and then make thedecision at that point in time .Industrial Designer: Um . Maybe wUser Interface: Yeah , that's probably a better one , to discuss it straight away .Project Manager:'Cause at that point then you've got the details up there , so if we wanted to know for instance that the scroll wheel required the regular {gap} and what requiredadvance . Then if we were able to see that down then we could make the decision at that point in timeIndustrial Designer: Um .Project Manager: and then thatwould be the end of that issue . Does that make sense ?Industrial Designer: Yes .User Interface: {vocalsound} Um I have a lot of the information there.Marketing: Mm-hmm .User Interface: It might not be very clear .Industrial Designer: Is there {disfmarker}User Interface: Unless you want to plug it back in toyours .Industrial Designer: Um . We could do , yeah . Um yeah we should {gap} .Project Manager: {vocalsound}Industrial Designer: As I say it only specifiedthat we need a more advanced circuit board for the scroll wheel ,Project Manager: Mm-hmm .Industrial Designer: it didn't {disfmarker} The voice recognitioncame as a separate piece of information . Um .Project Manager: No the scroll wheel required the regular , so the {disfmarker}Industrial Designer: Yeah if if you{gap} down um . It's just this bit at the bottom which I've highlighted ,Project Manager: Hmm .Industrial Designer: but the scroll wheel requires a mini mminimally a regular chip ,Project Manager: {vocalsound}Industrial Designer: which is in the higher price range .Project Manager: Okay . The display requires anadvanced chipUser Interface: I think the scroll wheel um {disfmarker}Project Manager: the display requires an advanced chip which in turn is more expense.Industrial Designer: Also the display's for something else which we decided against . Um but that bit {disfmarker}Project Manager: Okay .Industrial Designer:And note that the push button just requires a simple chip , so that would keep the price down .Project Manager: Down .User Interface: Yeah , and if we're goingfor sleek and sexy , I think a scroll wheel is maybe a bit kinda bulky ?Marketing: Mm-hmm .User Interface: I I've got um pictures well I've seen pictures with itkind of sticking off the side of it ,Project Manager: Right . Okay .User Interface: and they don't really look great .Industrial Designer: 'Kay . So maybe just asimple push button , and that would cut costs on the {disfmarker}Project Manager: So . So we're going for p Okay . So {gap} is um {disfmarker}Marketing: Soare we going for the w are we going for the simple one , are we ?User Interface: Yeah , a simple pushbuttons .Project Manager: Simple push button .{vocalsound}Marketing: Okay .Industrial Designer: {gap} Did everyone get this on the speech recognition ? The um it was basically what we said before , theidea that you record in a set message , and then it picks up that message um and replies to you .Project Manager: Mm-hmm .Marketing: Yeah .IndustrialDesigner: So it is basically the concept we discussed before . Um but then we don't know for sure whether it would require a more complicated circuit board.Marketing: {gap}Industrial Designer: I'm guessing it would , but {gap} got like the definite information . Maybe we should go on what we're certain of ratherthan {disfmarker}Project Manager: So if we go for the simple push button , so effectively we're going for the simple printed circuit board are we ? Or are wegoing for the regular ?Industrial Designer: Um if it's just the push button then it just needs the simple circuit board .Project Manager: Mm-mm . But is there anyother {disfmarker} {vocalsound} I mean okay , that's true for the {disfmarker} for for that element , but we have to take all {gap} el elements intoconsideration . And so if there is one element that requires the more expensive one , or say the regular one , or the more advanced , then that would have to bethe same for all of them . SMarketing: Mm .User Interface: Hmm . But {disfmarker}Marketing: I suppose we need we need to find out what circuit board thatrequires , maybe before we {gap} m make a decision .Project Manager: Right .User Interface: But the way that I interpret that um it doesn't seem to send out asignal to the telly , it just {disfmarker} it's like a parrot just rep reply replying to your message .Project Manager: Mm-hmm .Marketing: Oh yeah , I suppose so ,yeah .Industrial Designer: So maybe that would be something separate , yeah .User Interface: So I don't think it would effect our circuit board .Project Manager:No .Marketing: Yeah .Industrial Designer: Okay , so we'd have a simple circuit boardProject Manager: {vocalsound}Industrial Designer: and that would be anextra that would be in addition to it .User Interface: Yeah .Industrial Designer: Oh that makes sense .User Interface: And I don't think you could really perform"}
+{"doc_id":"doc_113","qid":"","text":"Grad D: Channel one .PhD G: Test .PhD E: Hello .Grad D: Channel three .PhD G: Test .PhD A: Uh - oh .Professor F: So you think we 're going now , yes ? OK ,good . Alright Going again Uh {disfmarker} So we 're gonna go around as before , and uh do {disfmarker} do our digits . Uh transcript one three one one dashone three three zero . {comment} three two three {comment} four seven six five {comment} five three one six two four one {comment} six seven {comment}seven {comment} eight {comment} nine zero nine four zero zero three {comment} zero one five eight {comment} one seven three five three {comment} twosix eight zero {comment} three six two four three zero seven {comment} four {comment} five zero six nine four {comment} seven four {comment} eight fiveseven {comment} nine six one five {comment} O seven eight O two {comment} zero nine six zero four zero zero {comment} one {comment} two {comment}Uh {disfmarker} Yeah , you don't actually n need to say the name .Grad C: OK , {vocalsound} this is Barry Chen and I am reading transcriptProfessor F: That 'llprobably be bleeped out .Grad C: OK .Professor F: So . That 's if these are anonymized , but {vocalsound} Yeah {disfmarker}Grad C: Oh . {comment} OK.Professor F: uh {disfmarker} I mean {disfmarker} not that there 's anything defamatory about uh {disfmarker} eight five seven or {vocalsound} or anything ,butGrad C: OK .Professor F: Uh , anyway . Uh {disfmarker} so here 's what I have for {disfmarker} I {disfmarker} I was just jotting down things I think th w thatwe should do today . Uh {disfmarker} This is what I have for an agenda so far Um , We should talk a little bit about the plans for the uh {disfmarker} the fieldtrip next week . Uh {disfmarker} a number of us are doing a field trip to uh Uh {disfmarker} OGI And uh {disfmarker} mostly uh First though about the logisticsfor it . Then maybe later on in the meeting we should talk about what we actually you know , might accomplish . Uh {disfmarker}Grad C: OK .Professor F: Uh , inand {pause} kind of go around {disfmarker} see what people have been doing {disfmarker} talk about that , {pause} a r progress report . Um , Essentially . Um{disfmarker} And then uh {disfmarker} Another topic I had was that uh {disfmarker} uh {disfmarker} Uh {disfmarker} Dave here had uh said uh \" Give mesomething to do . \" And I {disfmarker} I have {disfmarker} I have uh {disfmarker} failed so far in doing that . And so maybe we can discuss that a little bit . Ifwe find some holes in some things that {disfmarker} that {disfmarker} someone could use some help with , he 's {disfmarker} he 's volunteering to help .PhD A:I 've got to move a bunch of furniture .Professor F: OK , always count on a {vocalsound} serious comment from that corner . So , um , uh , and uh , then uh ,talk a little bit about {disfmarker} about disks and resource {disfmarker} resource issues that {disfmarker} that 's starting to get worked out . And then ,anything else anybody has that isn't in that list ? Uh {disfmarker}Grad D: I was just wondering , does this mean the battery 's dying and I should change it?Professor F: Uh I think that means the battery 's O K . {disfmarker}PhD A: Let me see .Professor F: d {disfmarker} do youGrad D: Oh OK , so thPhD A: Yeah ,that 's good . You 're alright ?Grad D: Cuz it 's full .Professor F: Yeah . Yeah .Grad D: Alright .Professor F: Yeah . Yeah . It looks full of electrons . OK . Plenty ofelectrons left there . OK , so , um , uh . OK , so , uh , I wanted to start this with this mundane thing . Um {disfmarker} Uh {disfmarker} I {disfmarker} I{disfmarker} it was {disfmarker} it was kind of my bright idea to have us take a plane that leaves at seven twenty in the morning .Grad C: Oh , yeah , that 'sright .Professor F: Um . Uh {vocalsound} this is uh {disfmarker} The reason I did it uh was because otherwise for those of us who have to come back the sameday it is really not much of a {disfmarker} of a visit . Uh {disfmarker} So um the issue is how {disfmarker} how {disfmarker} how would we ever accomplishthat ? Uh {disfmarker} what {disfmarker} what {disfmarker} what part of town do you live in ?Grad C: Um , I live in , um , the corner of campus . The , um ,southeast corner .Professor F: OK . OK , so would it be easier {disfmarker} those of you who are not , you know , used to this area , it can be very tricky to get tothe airport at {disfmarker} at uh , you know , six thirty . Um . So . Would it be easier for you if you came here and I drove you ? Yeah ? Yeah , yeah , OK .PhD G:Yeah , perhaps , yeah .Grad C: Yeah . Sure .PhD E: Yeah .Professor F: OK , so if {disfmarker} if everybody can get here at six .PhD E: At six .Professor F: Yeah , I'm afraid we need to do that to get there on time .Grad C: Six , OK .Professor F: Yeah , so . Oh boy . Anyway , so .PhD A: Will that {pause} be enough time?Professor F: Yeah . Yeah , so I 'll just pull up in front at six and just be out front . And , uh , and yeah , that 'll be plenty of time . It 'll take {disfmarker} it{disfmarker} it {disfmarker} it won't be bad traffic that time of day and {disfmarker} and uhPhD A: I guess once you get past the bridge {pause} that thatwould be the worst .PhD B: Yeah , Oakland .Professor F: Going to Oakland .PhD A: Yeah .Grad C: Oakland .PhD A: Once you get past the turnoff to the {pause}Bay Bridge .Professor F: Bridge oh , the turnoff to the bridgePhD A: Yeah .Professor F: Won't even do that .PhD B: Yeah .Professor F: I mean , just go downMartin Luther King .PhD A: Yeah . OK . Mm - hmm .Professor F: And then Martin Luther King to nine - eighty to eight - eighty ,PhD A: Yeah .Professor F: and it 's{disfmarker} it 'd take us , tops uh thirty minutes to get there .PhD A: Oh , I {disfmarker}Professor F: So that leaves us fifty minutes before the plane{disfmarker} it 'll just {disfmarker} yeah . So Great , OK so that 'll It 's {disfmarker} I mean , it 's still not going to be really easy but {disfmarker} wellParticularly for {disfmarker} for uh {disfmarker} for Barry and me , we 're not {disfmarker} we 're not staying overnight so we don't need to bring anythingparticularly except for {vocalsound} uh {disfmarker} a pad of paper and {disfmarker} {vocalsound} So , and , uh you , two have to bring a little bitGrad C: OK.Professor F: but uh {disfmarker} you know , don't {disfmarker} don't bring a footlocker and we 'll be OK So .Grad C: s So just {disfmarker}Professor F: W you're staying overnight . I figured you wouldn't need a great big suitcase , yeah .PhD G: Oh yeah . Yeah .Professor F: That 's sort of {pause} {vocalsound} onenight . So . Anyway . OK .Grad C: So , s six AM , in front .Professor F: Six AM in front .Grad C: OK .Professor F: Uh , I 'll be here . Uh {disfmarker} I 'll{disfmarker} I 'll {disfmarker} I 'll {disfmarker} I 'll give you my phone number , If I 'm not here for a few m after a few minutes thenGrad C: Wake you up.Professor F: Nah , I 'll be fine . I just , uh {disfmarker} it {disfmarker} for me it just means getting up a half an hour earlier than I usually do . Not {disfmarker}not {disfmarker} not a lot ,Grad C: OK . Wednesday .Professor F: so OK , that was the real real important stuff . Um , I {disfmarker} I {disfmarker} I figuredmaybe wait on the potential goals for the meeting uh {disfmarker} until we talk about wh what 's been going on . So , uh , what 's been going on ? Why don't westart {disfmarker} start over here .PhD G: Um . {vocalsound} Well , preparation of the French test data actually .Professor F: OK .PhD G: So , {vocalsound} itmeans that um , well , it is , uh , a digit French database of microphone speech , downsampled to eight kilohertz and I 've added noise to one part , with the{disfmarker} actually the Aurora - two noises . And , @ @ so this is a training part . And then {pause} the remaining part , I use for testing and {disfmarker}with other kind of noises . So we can {disfmarker} So this is almost ready . I 'm preparing the {disfmarker} the HTK baseline for this task . And , yeah .ProfessorF: OK Uh , So the HTK base lines {disfmarker} so this is using mel cepstra and so on , or {disfmarker} ? Yeah . OK .PhD G: Yeah .Professor F: And again , I guessthe p the plan is , uh , to uh {disfmarker} then given this {disfmarker} What 's the plan again ?PhD G: The plan with {pause} these data ?Professor F: With{disfmarker} So {disfmarker} So {disfmarker} Does i Just remind me of what {disfmarker} what you were going to do with the {disfmarker} what {disfmarker}what {disfmarker} what {disfmarker} what 's {disfmarker} y You just described what you 've been doing . So if you could remind me of what you 're going to bedoing .PhD G: Yeah .Professor F: Oh , this is {disfmarker} yeah , yeah .PhD G: Uh , yeah .Grad C: Tell him about the cube .PhD G: Well . The cube ? I should tellhim about the cube ?Grad C: Yeah .Professor F: Oh ! Cube . Yeah .PhD G: Yeah .PhD E: Fill in the cube .PhD G: Uh we {disfmarker} actually we want to , mmm ,Uh , {vocalsound} uh , analyze three dimensions , the feature dimension , the {pause} training data dimension , and the test data dimension . Um . Well , whatwe want to do is first we have number for each {pause} uh task . So we have the um , TI - digit task , the Italian task , the French task {pause} and the Finnishtask .Professor F: Yeah ?PhD G: So we have numbers with {pause} uh {disfmarker} systems {disfmarker} I mean {disfmarker} I mean neural networks trainedon the task data . And then to have systems with neural networks trained on , {vocalsound} uh , data from the same language , if possible , with , well , using amore generic database , which is phonetically {disfmarker} phonetically balanced , and . Um .Professor F: So - so we had talked {disfmarker} I guess we hadtalked at one point about maybe , the language ID corpus ?PhD G: Yeah . So .Professor F: Is that a possibility for that ?PhD G: Ye - uh {disfmarker} {pause}Yeah , but , uh these corpus , w w there is a CallHome and a CallFriend also , The CallFriend is for language ind identification . Well , anyway , these corpus are alltelephone speech . So , um . {vocalsound} This could be a {disfmarker} {pause} a problem for {disfmarker} Why ? Because uh , uh , the {disfmarker} theSpeechDat databases are not telephone speech . They are downsampled to eight kilohertz but {disfmarker} but they are not {vocalsound} uh with telephonebandwidth .Professor F: Yeah . That 's really funny isn't it ? I mean cuz th this whole thing is for {pause} developing new standards for the telephone .Grad C:Telephone .Professor F: Yeah .PhD G: Yeah , but the {disfmarker} the idea is to compute the feature before {pause} the {disfmarker} before sending them tothe {disfmarker} Well , {pause} you don't {disfmarker} do not send speech , you send features , computed on th the {disfmarker} {pause} the device ,ProfessorF: Mm - hmm . Yeah , I know , but the reason {disfmarker}PhD G: or {disfmarker} Well .Professor F: Oh I see , so your point is that it 's {disfmarker} it 's{disfmarker} it 's uh {disfmarker} the features are computed locally , and so they aren't necessarily telephone bandwidth , uh or telephone distortions .PhD G:So you {disfmarker} Yeah . Yeah .PhD A: Did you {pause} happen to find out anything about the OGI multilingual database ?Professor F: Yeah , that 's wh that 'swh that 's what I meant .PhD G: Yeah , it 's {disfmarker}Professor F: I said {disfmarker} @ @ , there 's {disfmarker} there 's {disfmarker} there 's an OGI"}
+{"doc_id":"doc_114","qid":"","text":"Lynne Neagle AM: Good afternoon, everyone. Welcome to the first virtual meeting of the Children, Young People and Education Committee. In accordance withStanding Order 34.19, I determine that the public are excluded from the committee's meeting, in order to protect public health. In accordance with StandingOrder 34.21, notice of this decision was included in the agenda for this meeting, which was published last Friday. This meeting is, however, being broadcast liveon Senedd.tv, with all participants joining via video conference. A record of the proceedings will be published as usual. Aside from the procedural adaptationrelating to conducting proceedings remotely, all other Standing Order requirements for committees remain in place. The meeting is bilingual, and simultaneoustranslation from Welsh to English is available. Can I remind all participants that the microphones will be controlled centrally, so there's no need to turn them onand off individually? Can I ask whether there are any declarations of interest, please? No. Okay. Thank you. Can I just then, again, note for the record that, if, forany reason, I drop out of the meeting, the committee has agreed that Dawn Bowden AM will temporarily chair while I try to rejoin? Item 2, then, this afternoon isan evidence session with the Welsh Government on the impact of the coronavirus epidemic on education in Wales. I'm very pleased to welcome Kirsty WilliamsAM, Minister for Education, Steve Davies, director of the education directorate, and Huw Morris, who is group director, skills, higher education and lifelonglearning. Can I welcome you all and thank you for attending? Minister, I understand you'd like to make a short opening statement.Kirsty Williams AM: Thank youvery much, Lynne. And indeed, if I could just begin by, once again, putting on the record my gratitude to everyone who is helping us get through this pandemic.There are a vast number of people who are keeping our school hubs open, looking after vulnerable children, and the children of key workers. Because of them,and their efforts, those key workers are able to carry on their critical roles in responding to COVID-19. I am extremely proud of the way that members of theschool community have gone above and beyond. They have kept their schools open out of hours, over the weekends, on bank holidays, and Easter. And it isreally heartening and humbling to see the way that they have responded to this crisis. And there are teachers, teaching assistants, and many others, who arehelping our children and their parents to keep learning at home. I know that home schooling isn't easy, so I want to say also thank you to parents and carers fortheir efforts at this time. By keeping their children at home, they are helping us to keep people safe, and reducing pressure on our education system, and on ourNHS. Be in no doubt, we are facing many challenges because of this pandemic. My primary concern is, and always will be, the health and well-being of ourchildren, of our young people, and of all the staff in our education settings. And I am very grateful to everyone who is supporting us in these endeavours. Thankyou very much—diolch yn fawr. And I'm now happy to answer questions that members of the committee may have this afternoon.Lynne Neagle AM: Thank youvery much, Minister. I'm sure that the committee echoes the heartfelt thanks you have just given then. The first questions we've got this afternoon are from HefinDavid.Hefin David AM: Good afternoon, Minister. With regard to your five principles, which you've set out today, regarding when schools will reopen, they're veryclear that they require a judgment from you. So could you outline when you think that schools might reopen?Kirsty Williams AM: Thank you, Hefin. I am veryclear that schools will move to a new phase—because, already, schools are open in many settings; we will move to a new phase when it is safe to do so and whenI have advice from the chief medical officer and the chief scientific officer that it is safe to do so. I have made very clear in my statement that that is notimminent. I know that in some cases there has been speculation that a return to normal could be with us quite shortly. I'm clear that a return to normal is notimminent, and therefore I'm not in a position to give a date as to when we will see more schools opening up to more children.Hefin David AM: Have you beengiven any indication at all by the chief medical officer as to when, in the longer term, it might be?Kirsty Williams AM: No, I have not been given a date. What Ihave done today is publish the principles that will aid me in, as you said, me making a decision. So, clearly, we will be relying on the advice of our medical andscientific advisers, but the principles are very clear. Firstly, we will need to consider any decision to have more children returning to school in the context of thesafety and the physical and the emotional well-being of children and young people and the staff. Obviously, I can't make a decision regarding education inisolation. It will have to be taken in the context of the wider Welsh Government response to dealing with this pandemic. Thirdly, it is absolutely crucial in makingany decisions that we have clearly communicated that to parents and to staff, on the information that we have used to reach any decisions, to build confidence forparents and professionals, but also to give them time to plan. It will be impossible to move quickly to new ways of working. And we also have to look at—and it'sbeen paraphrased quite a lot today—if we are looking at certain groups of children accessing more education within a school setting, which groups they should be.And, finally, how do we operationalise that? How do we make those settings as safe as they possibly can be, and how do we tackle some of the difficult challengesof everything from ensuring that we have adequate numbers of workforce available, to the very real questions about how you would do social distancing in thecontext of education, school transport issues, how you would avoid people gathering at the school gate, for instance? So, there are very practical issues thatwould need to be considered and thought through very, very carefully before we could return, before what we could see is a move from where we are now to thenext phase of education, and new approaches to what schooling may look like. But, again, I must be absolutely clear to you, members of the committee, and topeople watching: it is not feasible, in this sense, that we would move from where we are now to what all of us would regard as normal education and what theoperation of schools looked like before the start of this pandemic.Hefin David AM: So, what is clear from what you've said is that it's going to be phased return. Iwould assume that would be the most vulnerable—perhaps additional learning needs pupils would return first. Just reading some of the things that you've saidtoday, can you answer that question? And can I also ask: you said that guiding principle No. 3 will be having the confidence of parents, staff and students, basedon evidence and information, so they can plan ahead. What will that evidence and information be, and how will you know that you've got the confidence ofparents to return?Kirsty Williams AM: Well, as I said, primarily, we will need to take a lead from our scientific and medical advisers. I want to also say that we areobviously working on a four-nation basis and keeping in very close contact with my counterparts in Northern Ireland, Scotland and England. But we're alsolooking beyond the United Kingdom to approaches to education in the face of this pandemic. Members are aware that we as a nation are a member of the AtlanticRim Collaboratory. So, recently I was able to talk to educationalists and Ministers in Iceland, other parts of Europe, North America, South America and Australia.So, we're also looking at best international evidence in this regard. And, clearly, we will need to be very clear, as today is an attempt to be very clear with parentsand our teaching professionals, and the unions that represent them, about the basis of that evidence.Hefin David AM: And could I just ask, with regard to theprinciples, do they then apply to further education and universities?Kirsty Williams AM: Well, of course, when we are discussing these challenges, we are doingthat with our colleagues in both the school sector but also our colleagues in the FE sector, and we're in close contact with colleagues in higher education to sharethinking on these matters.Hefin David AM: But these principles don't apply in those circumstances; these are principles for schools only.Kirsty Williams AM: Theseprinciples are applying to both, and our work in this area is applying to both schools and FE colleges. Clearly, universities, as independent institutions, wewouldn't be able to dictate to. But I want to be absolutely clear: we are working with representatives of the HE sector to include them in this work. And I havereceived, not assurances, but from discussions that I've had with Universities Wales and vice-chancellors, they are very keen to be kept apprised of theseapproaches, because they may well wish to implement something similar within their own institutions.Lynne Neagle AM: Okay. I've got a couple ofsupplementaries now; firstly, from Suzy Davies, and then I'm going to go to Siân Gwenllian. Suzy. No, we can't hear Suzy. Suzy? No. I'll go to Siân, then, andthen I'll come back to Suzy. Siân.Hefin David AM: Chair, I don't think my microphone is muted.Sian Gwenllian AM: Okay. I'll move on to my question to KirstyWilliams. Now, it is clear that any decisions that need to be taken on reopening schools would have to be made in the context of all of the other issues that theWelsh Government has to take into account. And it is entirely clear that the approach of Government towards testing hasn't been sufficiently developed for us toeven start to think about removing restrictions. So, wouldn't it be dangerous, if truth be told, to start to discuss reopening schools when we haven't had thenecessary testing in place for the majority of the population? And doesn't it convey a mixed message that we're starting to relax some of these restrictions when,in reality, the restrictions are still in place and still need to be in place robustly?Kirsty Williams AM: First of all, thank you very much, Siân, for that importantquestion. Can I be absolutely clear, and I thought I had been pretty clear in answering Hefin David, that we are not relaxing any of the restrictions with regard toeducation? As I said to Hefin, it is not imminent that we would see a further phase in the next stage of education here in Wales. What I have done today is toprovide clarity on the nature of the principles that I would use when coming to any discussion. It is the responsibility of me, as the Minister, and indeed of thewider Government, to begin to think about planning for the future. But I have been absolutely clear: we are not moving to an imminent change in how educationis operating at the moment. And I'm also very, very clear that should we be given the opportunity to see more children in our schools, I will only do that when itis safe for me to do so, when I've been advised by the CMO that I am able to do that, and we have given sufficient time and planning to the sector to respond. Itis not going to be easy, and we will need to give them, as a sector, time to be able to address. But if I have not been clear enough, let me say it again: we are not"}
+{"doc_id":"doc_115","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to this morning's Children, Young People and Education Committee. We've received no apologies forabsence. Can I ask Members who are present if they wish to declare any interests? Okay, thank you. Item 2 this morning is our final evidence session for ourinquiry into targeted funding to improve educational outcomes. I'm very pleased to welcome Kirsty Williams AM, Cabinet Secretary for Education; Steve Davies,director of the education directorate; and Ruth Conway, deputy director, support for learners division. Welcome to all of you, and thank you for your attendanceand also for the paper that you've provided in advance. If you're happy, we'll go straight into questions, and the first questions are from Llyr Gruffydd.LlyrGruffydd AM: Bore da. I just want to start by asking some questions around the targeting of the pupil development grant because, clearly, we've had a lot ofevidence around this apparent blurring of eligibility to an extent. I'm just wondering how comfortable you are that the money is being targeted appropriatelybecause, clearly, it's being targeted more widely than just those eligible for free school meals, from some of the evidence we've had, but also that it seems to bepredominantly focused on low-attaining frees—pupils who are eligible for free school meals.Kirsty Williams AM: Thank you, Llyr. I think it's important to beabsolutely clear that when it comes to individual interventions, those individual interventions should only be targeted at those children who are eligible for freeschool meals. But in some cases, schools may use their PDG funding to provide a universal intervention, but we would want to—in challenge advisers' discussionsin schools—we'd want to have evidence that that universal intervention would have a disproportionate effect on the outcomes for children on free school meals.So, for instance, if I give you an example in your own region, Llyr: at Brynteg County Primary School in Wrexham, if you look at that primary school in Wrexham,their results for free-school-meal children at the end of their primary school period in school are equivalent to their non-free-school-meal counterparts. So, thereis no differentiation in those results. One of the things that they've used their PDG for is to really focus on the concept of growth mindset in school. So, that's auniversal thing that they've trained all the teachers in, but what we know is that that has a disproportionate effect on those children who are on free school meals.So, if you're familiar with the concept of a growth mindset, it's about really challenging learners to think that, 'I can do things. If sometimes I fail, I pick myselfup, I'm more resilient.' Now, that has been, as I said, trained to all the teachers in the school—it's an ethos for the whole school—but we have seen that theimpact on the free-school-meal children has been even greater, and now they're at the same level. So, that's the important distinction. Individual intervention perchild has to be targeted at those children who are eligible for free school meals, but sometimes a school will employ a whole-school approach to train their staff,for instance, and that, then, has to demonstrate it has a disproportionate effect on free school meals. So, growth mindset; it may be attachment disorder trainingfor staff, for instance, where we know it's of benefit to everybody, but will have particular benefits for that cohort of students. With regard to more able andtalented, you know, Llyr, that this is an area of concern for me, generally, within the Welsh education system; that we've not been particularly good atidentifying, supporting and driving attainment for those children. I'm absolutely clear that PDG needs to be used for those children who are eligible to drivepotential, whatever the potential of that child is, including more able and talented. And again, I'll give you an example that has been seen as good practice inPembrokeshire: a window on the world bus, again paid for by schools. I don't know if you're aware of it.Llyr Gruffydd AM: We've heard about that.Kirsty WilliamsAM: Oh, you've heard about it; well, it's a really good example the window on the world. And, again, that's very much targeted at raising aspirations and givingchildren who are more able and talented, who are eligible for PDG, those experiences, and to really push them. So, yes, I'm absolutely clear that PDG shouldn'tjust be seen to be getting individuals to the average. For those children who are more able and talented, it should be used to support them—Llyr Gruffydd AM:And we all share those aspirations, I'm sure, and you pointed to examples of good practice, but of course, it's not universal, is it, so what I'm asking is: do youthink that the guidance is sufficient as it is? Do you think that there's a great enough awareness of how the PDG should be used at the coalface? And also, are youconfident that consortia and others have the measures in place to be able to demonstrate that it is being used properly?Kirsty Williams AM: I think, if we look atwhat Estyn has said about PDG, it does actually recognise that the PDG is being used to push more able and talented children, but as always with the system,Llyr, it's whether we can be sure that that is strategic and that it's happening across all of our schools. So, you're—Llyr Gruffydd AM: But not just in relation tomore able and talented, I'm referring to the eligibility and the targeting.Kirsty Williams AM: Oh, the eligibility. You'll be aware that, on the advice of Sir Alasdair,we have employed and appointed new PDG regional advisers, and I think their role is going to be absolutely crucial in spreading that good practice across theregion, whether that's use of PDG for more able and talented, or ensuring that PDG is used in the appropriate way. So, that's there to provide strategic overalladvice. And obviously, we have been very clear with regional challenge advisers, in the relationship and the conversations they're having with individual schools,that they're really challenging their schools about the use of PDG, not just in terms of targeting, but the programmes, what the money is being spent on, whetherthere is an evidence base for that and whether we are clear on impact. So, I think the new regional advisers are going to be crucial in enabling us to ensure moreconsistent practice across the regions.Llyr Gruffydd AM: So, are you content that eligibility for free school meals is the best measure, really, of identifying whichpupils to target?Kirsty Williams AM: Llyr, in the absence of anything better. I'll be the first person to say that maybe it's not as absolutely focused, but in theabsence of anything different to identify a proxy for need, I think it's probably the best that we've got at present. And we will continue to have discussions withlocal government about whether there are different ways. We have to be mindful. Some of the policy levers in this area are out of my hands, so if we look at theroll-out of universal credit, for instance, we've got officials working very hard at the moment to try and understand what universal credit is going to mean andwhere we are going to be able to identify relative need, going forward. We haven't had any additional resource as a result of this, but we're very mindful that,potentially, this has an impact, going forward. And, officials are working all of the time, I must say, in conjunction with the department in England, to understandtheir thinking in this area so that we are in a position to make some decisions about what a notional eligibility for free school meals will look like going forward,but before I make any decisions, I want to assure everybody that there will be a full public consultation on that.Llyr Gruffydd AM: Okay. Finally for now, on thisissue of once a year, in January, if you're eligible for free school meals, then you're in that group for that year. We've had some quite strong evidence about howdifficult that makes longer term planning for a number of schools and we've also been pointed in the direction of what's happened in England with the Ever 6, andI'm just wondering whether you're giving any thought to maybe changing that a little bit.Kirsty Williams AM: Well, we're certainly giving thought to flexibility. Inconversations with Alasdair, who is our independent adviser on this agenda, and individual schools, we're actively giving thought to greater flexibility and maybelonger term projections, so that schools know, for a number of years ahead, what their allocation will be. There are advantages to that system, because you couldgive that flexibility, you could give that long-term approach, but then, how do you make that responsive if a school suddenly has more children? We do know that,actually, the number of free-school-meal pupils is dropping. But there can be changes, you know, regional working in areas of north Wales in tourism, or maybein other areas at Christmas time, parents are able to get a period of work. So, how can we create a more flexible system? We're actively looking at that at themoment. I wouldn't use it as an Ever 6 concept, but as an 'Ever 2' concept. We have looked at Ever 6, and I'm going to be absolutely blunt with you: to introducean Ever 6 concept for Wales would mean in the region of identifying an additional £40 million. I'm going to be absolutely straight and blunt with you: we're not ina position at the moment to be able to identify an additional £40 million to introduce an Ever 6. But issues around flexibility, certainly, are actively underconsideration. In fact, we'll be having a discussion later on today about decisions, going forward, for the next two years.Llyr Gruffydd AM: Thank you.LynneNeagle AM: Darren on this.Darren Millar AM: It's just a very brief point in response to the £40 million price ticket that you just put on that. That's, of course,assuming that you maintain the current level of PDG, yes? So, if you reduced the level of PDG slightly, but made it available to more individuals, if you like, viaallocating it in a different way, then that £40 million price ticket wouldn't be there, would it?Kirsty Williams AM: I was asked a question about had Iever considered an Ever 6. We have looked at that, we've priced that up. I have to make decisions in the envelope of resources that are available to me. Wecould, indeed, change the way in which we allocate PDG money, but we have to do it within the envelope that is available to me, over £90 million. That's asignificant level of investment, but, of course, as always, Darren, we could cut the amount per pupil, but that might have quite challenging swings in allocations.What we have done—because what I am clear on is that there was evidence to suggest that in the secondary sector, a great deal of PDG was being focused onyears 10 and 11, especially year 11, in catch-up provision, and you'll be aware, because we've said this in evidence to the committee in the papers, we've set achallenge to secondary schools to say, 'Actually, the majority of your PDG allocation has to be used in key stage 3.' Now, we have to balance the needs, the moralhazard of turning round to children in years 10 and 11 and saying, 'We're not going to provide catch-up opportunities for you,' because, clearly, those childrenneed that support. But the evidence and the advice that we're receiving is: actually, strong focus on early years, primary and key stage 3, if we get that right,should negate the need for spending money on catch-up at years 10 and 11. That's why we, in our advice to local authorities and schools, say that we want to see"}
+{"doc_id":"doc_116","qid":"","text":"Grad C: Hmm . Testing channel two .Grad E: Two , two . Grad C: Two .Grad E: Two . Oh .Grad D: Hello ?Grad B: Hmm ? Yeah Thank You . OK Well , so Ralf andTilman are here .Professor F: OK . Great . Great .Grad B: Made it safely .Professor F: So the {disfmarker} what w we h have been doing i they would like us all toread these digits . But we don't all read them but a couple people read them .PhD A: OK .Professor F: Uh , wanna give them all with German accents today or{disfmarker} ?Grad B: Sure .Professor F: OK .Grad B: OK and the way you do it is you just read the numbers not as uh each single , so just like I do it .PhD A:Mm - hmm .Grad B: OK . First you read the transcript number . Turn .Grad D: OK , uh {disfmarker} What 's {disfmarker}Professor F: OK . Let 's be done withthis .PhD A: OK .Professor F: OK . this is Ami , who {disfmarker} And this is Tilman and Ralf .PhD A: Hi . Uh - huh . Nice to meet you .Grad D: Hi .Professor F: Hi .OK . So we 're gonna try to finish by five so people who want to can go hear Nancy Chang 's talk , uh downstairs .PhD A: Hmm .Professor F: And you guys are ggiving talks on tomorrow and Wednesday lunch times ,PhD A: Yes .Grad D: Mmm .Professor F: right ? That 's great . OK so , do y do you know what we 're gonnado ?Grad B: I thought two things uh we 'll introduce ourselves and what we do . And um we already talked with Andreas , Thilo and David and some lines of codewere already written today and almost tested and just gonna say we have um again the recognizer to parser thing where we 're working on and that should be noproblem and then that can be sort of developed uh as needed when we get {disfmarker} enter the tourism domain . em we have talked this morning with the{disfmarker} with Tilman about the generator .PhD A: SGrad B: and um There one of our diligent workers has to sort of volunteer to look over Tilman 's shoulderwhile he is changing the grammars to EnglishPhD A: Mm - hmm .Grad B: because w we have {disfmarker} we face two ways . Either we do a syllableconcatenating um grammar for the English generation which is sort of starting from scratch and doing it the easy way , or we simply adopt the ah um more in -depth um style that is implemented in the German system and um are then able not only to produce strings but also the syntactic parse uh not parse not thesyntactic tree that is underneath in the syntactic structure which is the way we decided we were gonna go because A , it 's easier in the beginningPhD A: Mm -hmm .Grad B: and um it does require some {disfmarker} some knowledge of {disfmarker} of those grammars and {disfmarker} and {disfmarker} and some linglinguistic background . But um it shouldn't be a problem for anyone .Professor F: OK So That sounds good . Johno , are you gonna have some time t to do that uhw with these guys ?Grad E: Sure .Professor F: cuz y you 're the grammar maven .Grad E: OK .Professor F: I mean it makes sense ,Grad E: Yeah .Professor F:doesn't it ? Yeah Good . OK . So , I think that 's probably the {disfmarker} the right way to do that . And an Yeah , so I {disfmarker} I actually wanna f to findout about it too , but I may not have time to get in .Grad B: the {disfmarker} the ultimate goal is that before they leave we {disfmarker} we can run through theentire system input through output on at least one or two sample things . And um and by virtue of doing that then in this case Johno will have acquired theknowledge of how to extend it . Ad infinitum . When needed , if needed , when wanted and so forth .Professor F: OK that sounds great .Grad B: And um also umRalf has hooked up with David and you 're gonna continue either all through tonight or tomorrow on whatever to get the er parser interface working .Grad D:Mmm .Grad B: They are thinning out and thickening out lattices and doing this kind of stuff to see what works best .Grad D: Mmm , yep .Professor F: Great . So ,you guys enjoy your weekend ?PhD A: Yes , very much so .Grad D: Yeah , very muchProfessor F: OK , before {disfmarker} before you got put to work ?Grad D:YeahProfessor F: Great . OK , so that 's {disfmarker} Sort of one branch is to get us caught up on what 's going on . Also of course it would be really nice to knowwhat the plans are , in addition to what 's sort of already in code .PhD A: Yes .Professor F: and we can d I dunno w w was there uh a time when we were set up todo that ? It probably will work better if we do it later in the week , after {pause} we actually understand uh better what 's going on .PhD A: Yes .Grad D: Hmm.PhD A: Yeah .Professor F: So when do you guys leave ?PhD A: Um we 're here through Sunday ,Grad D: OhPhD A: so All through Friday would be fine .ProfessorF: Oh , OK , so {disfmarker} OK , So {disfmarker} so anyt we 'll find a time later in the week to uh get together and talk about {pause} your understanding ofwhat SmartKom plans are .PhD A: Mm - hmm .Professor F: and how we can change them .PhD A: Yes . Sure .Professor F: Uh ,Grad B: Should we already set adate for that ? Might be beneficial while we 're all here .Professor F: OK ? um What {disfmarker} what does not work for me is Thursday afternoon . I can doearlier in the day on Thursday , or {pause} um {pause} most of the time on Friday , not all .Grad B: Thursday morning sounds fine ?Professor F: Wha - but ,Johno ,PhD A: Mm - hmm .Professor F: what are your constraints ?Grad E: um Thursday afternoon doesn't work for me , but {disfmarker}Grad B: Neither doesThursday morning , no ?Grad E: Uh Thursday morning should be fine .PhD A: OK .Professor F: Eleven ? Eleven on Thursday ?Grad E: I was just thinking I w I will{pause} have {pause} leavened by eleven .Professor F: Right . Right . This is then out of deference to our non - morning people .PhD A: Mm - hmm . OK . So ateleven ?Grad D: Hmm .PhD A: Thursday around eleven ? OK .Professor F: Yeah . And actually we can invite um Andreas as well .Grad B: Uh he will be inWashington , though .Professor F: Oh that 's true . He 's off {disfmarker} off on his trip already .Grad B: but um David is here and he 's actually knows everythingabout the SmartKom recognizer .Professor F: Thilo . OK well yeah maybe we 'll see if David could make it . That would be good .Grad B: OK so facing to{disfmarker} to what we 've sort of been doing here um well for one thing we 're also using this room to collect data .PhD A: Yeah obviously .Grad B: um um Notthis type of data ,PhD A: Oh , OK .Grad B: no not meeting data but sort of {disfmarker} sort ah our version of a wizard experiment such not like the ones inMunich but pretty close to it .PhD A: Mm - hmm .Grad B: The major difference to the Munich ones is that we do it via the telephonePhD A: OK .Grad B: eventhough all the recording is done here and so it 's a {disfmarker} sort of a computer call system that gives you tourist informationPhD A: Mm - hmm .Grad B: tellsyou how to get places . And it breaks halfway through the experiment and a human operator comes on . and part of that is sort of trying to find out whetherpeople change their linguistic verbal behavior when first thinking they speak to a machine and then to a human .PhD A: Yeah .Grad B: and we 're setting it up sothat we can {disfmarker} we hope to implant certain intentions in people . For example um we have first looked at a simple sentence that \" How do I get to thePowder - Tower ? \" OK so you have the {disfmarker} castle of HeidelbergPhD A: OK .Grad B: and there is a tower and it 's called Powder - Tower .PhD A: Oh , OK. Yeah .Grad B: and um so What will you parse out of that sentence ? Probably something that we specified in M - three - L , that is @ @ {comment} \" action goto whatever domain , object whatever Powder - Tower \" .Grad D: Mmm .Grad B: And maybe some model will tell us , some GPS module , in the mobile scenariowhere the person is at the moment . And um we 've sort of gone through that once before in the Deep Mail project and we noticed that first of all what are{disfmarker} I should 've brought some slides , but what our {disfmarker} So here 's the tower . Think of this as a two - dimensional representation of the tower. And our system led people here , to a point where they were facing a wall in front of the tower . There is no entrance there , but it just happens to be the closestpoint of the road network to the geometric center Because that 's how the algorithm works . So we took out that part of the road network as a hack and then itfound actually the way to the entrance . which was now the closest point of the road network toPhD A: Yeah .Grad B: OK , geometric center . But what weactually observed in Heidelberg is that most people when they want to go there they actually don't want to enter , because it 's not really interesting . They wannago to a completely different point where they can look at it and take a picture .PhD A: Oh , OK .Grad D: Hmm .PhD A: Yeah .Grad B: And so what uh uh a s you slet 's say a simple parse from a s from an utterance won't really give us is what the person actually wants . Does he wanna go there to see it ? Does he wanna gothere now ? Later ? How does the person wanna go there ? Is that person more likely to want to walk there ? Walk a scenic route ? and so forth . There are allkinds of decisions that we have identified in terms of getting to places and in terms of finding information about things . And we are constructing {disfmarker}and then we 've identified more or less the extra - linguistic parameters that may f play a role . Information related to the user and information related to thesituation . And we also want to look closely on the linguistic information that what we can get from the utterance . That 's part of why we implant these intentionsin the data collection to see whether people actually phrase things differently whether they want to enter in order to buy something or whether they just wannago there to look at it . And um so the idea is to construct uh um suitable interfaces and a belief - net for a module that actually tries to guess what the underlyingintention {pause} was . And then enrich or augment the M - three - L structures with what it thought what more it sort of got out of that utterance . So if it canmake a good suggestion , \" Hey ! \" you know , \" that person doesn't wanna enter . That person just wants to take a picture , \" cuz he just bought film , or \" thatperson wants to enter because he discussed the admission fee before \" . Or \" that person wants to enter because he wants to buy something and that you usuallydo inside of buildings \" and so forth . These ah these types of uh these bits of additional information are going to be embedded into the M - three - L structure inan {disfmarker} sort of subfield that we have reserved . And if the action planner does something with it , great . If not you know , then that 's also somethingum that we can't really {disfmarker} at least we {comment} want to offer the extra information . We don't really {disfmarker} um we 're not too worried .PhD A:Mm - hmm .Grad D: Hmm .Grad B: I mean {disfmarker} t s Ultimately if you have {disfmarker} if you can offer that information , somebody 's gonna s dosomething with it sooner or later . That 's sort of part of our belief .Grad E: What was he saying ?Grad B: Um , for example , right now I know the GIS from emailis not able to calculate these viewpoints . So that 's a functionality that doesn't exist yet to do that dynamically ,PhD A: Mm - hmm .Grad B: but if we can offer it"}
+{"doc_id":"doc_117","qid":"","text":"Project Manager: Okay . Hello everyone . {vocalsound} {vocalsound}Industrial Designer: Hi .User Interface: Hi .Marketing: Hi .Project Manager: Um how uh howwe doing ?Industrial Designer: Yeah , good .Project Manager: Uh first we going uh over the minutes of the last meeting , more or less .User Interface: Mm-hmm.Project Manager: Um in the last meeting uh the marketing manager had presented uh her method of working , meaning gathering i suggestions from everyoneto see how she best could market uh this this product at the {disfmarker} within the budget uh that was given . Uh in general {vocalsound} the idea is that itshould be something that is not difficult to use . Um it's also an item that people lose a lot . So we should address that . And , of course , it should be something ss that is very simple to use . In addition to that to make it sell , of course , uh the marketing manager w wishes that it be very attractive ,Marketing:{vocalsound}Project Manager: or like she says put some sizzle into it in one way or another so that the people are buying it now because , in particular withsmaller items , that's a very important fact , 'cause um if they say , well , I go home and think about it , that won't work . Um also mentioned was it should be uh{disfmarker} it should have a very short learning curve . And maybe it could be sold by using a slogan .Industrial Designer: Hmm .Project Manager:{vocalsound} Our technical manager has then said that she feels it should have a chipMarketing: {vocalsound}Project Manager: that has infra-red bits and it hasan interface controls w interface that controls the chip . Therefore , messages uh will be controlled in the same manner . There should be extra features like lidbuttons , maybe a beep . If too many buttons are pressed , mm uh uh child lock um and uh maybe a display clock so that people could um {disfmarker} youcould see the time , you know , what show they want to watch . Also mentioned was uh maybe different shapes . So the components of the thing should bebutton , bulbs , infra infra-red bulbs , battery , chips , wires , and maybe some kind of a holder uh for the for the uh item . Francino who is our umUser Interface:Interface designer .Project Manager: interface designer um uh has mentioned that the {disfmarker} that it , of course , should have an on-off button , and alsohas mentioned an interesting feature that it should have maybe a channel lock . Particularly with maybe small children that they couldn't uh watch a channel thatis undesirable . It should be compact . Her personal favourite was it should be T-shaped . And maybe have an anar alarm-clock . And the material should possiblybe not of non-allergic nature . Uh the different systems uh that exist are infra-red or radio-waves . Uh maybe it should have uh electri electrici electricity savingfeature .Marketing: {vocalsound} {vocalsound}Project Manager: And {vocalsound} even possibly a timer to {disfmarker} so that people can program{vocalsound} their favourite uh uh program on th right from the remote .User Interface: Yes .Project Manager: Uh are we all in agreement that that's about whatwe discussed last time ? Okay .User Interface: Yes .Industrial Designer: Yeah .Marketing: Yeah , I think that pretty much is it . Yeah . Mm-hmm .Project Manager:{vocalsound} Okay , then we {disfmarker} I'm looking for three presentations . And uh I don't know whether the order matters much uh , I don't I don't think so, so whoever w wants {disfmarker}User Interface: Okay , I can start first .Project Manager: Yeah , okay .User Interface: Okay . Now my slide , please .{vocalsound}Project Manager: Okay , your slides . Okay . Oh , come on , close already .Marketing: {vocalsound}Project Manager: And that's number two , right?User Interface: Three .Project Manager: Three .User Interface: Participant three . Yes . Okay .Project Manager: Okay .User Interface: Now as an interfacedesigner , I would give more emphasis on the interface , how the remote looks like so that it is sellable , it is attractive to customers . Next , please . Okay . Nowthe function of a remote is to send messages to the television . This messages could be uh switch on-off message or switch to next channel message or swappingthe channels or switching onto a particular channel , like you can have the numbers one , two , three , four , up to nine .Project Manager: Nine what ? Ninechannel uh switches ?User Interface: Pardon me ?Project Manager: Nine channel switches ? Is {disfmarker} Yeah . Mm-hmm . Mm-hmm .User Interface: Yes ,nine numbers . And then you have swapping of uh buttonProject Manager: Mm-hmm .User Interface: by which {disfmarker} using which you can swap thechannels if you don't want to see the third channel you can swap it to the fourth channel or vice versa . Then it should have a next button , and next buttonchannel by which you can keep on uh v uh mm eh scrolling the channels one by one .Project Manager: Mm-hmm .Industrial Designer: Going to the nex next.Project Manager: Mm-hmm .User Interface: Next slide , please .Project Manager: Mm-hmm .User Interface: Then you should have a button which should whichca which can be used for increasing or decreasing the volume .Project Manager: Mm-hmm .User Interface: Then , there should be a button which can givesubtitles for a particular program which is going on a television . For example , if you are watching a French program and you would like to have a subtitles inEnglish , then there should be a channel which can trigger this mechanism in the television so that the user can see uh the {gap} the subtitles on the screen.Marketing: {vocalsound}Project Manager: Mm-hmm .User Interface: Then there should d uh there should be some buttons which can control features like thecolour , colour of the picture , the contrast , sharpness , brightness of the picture . Now there should be a memory switch . There should be a mute button .Suddenly if if if uh uh viewer he gets a telephone call , and if he want he doesn't want to switch off the uh T_V_ , but he he can reduce the sound , he can bringthe volume down and he can watch {disfmarker} he can uh {disfmarker} while talking he can watch the T_V_ . Now the most important feature I would like tohave in my remote would be the speech recognition feature . It's an integrated progra programmable sample sensor speaker unit . So a remote can be th can beuh designed which can have the voice recognisers , you can record your own voiceProject Manager: Mm-hmm .User Interface: which can be recognised by asvoice recogniser in the television , for example , if you want to see {disfmarker} we if you want to see the ninth channel if you say just say ninth channel , uh thnow the the {disfmarker} uh yeah , the remote will {disfmarker} automatically it will switch to the ninth channel .Marketing: {vocalsound}Project Manager:Mm-hmm . Mm-hmm .User Interface: So the T_V_ will have some recogniser which will recognise the user's voice and accordingly it will change its functionalities.Project Manager: Mm-hmm . Mm-hmm .User Interface: So this is one of the very important feature a remote control can have . So this is one one of theinterface which can be created .Project Manager: Mm-hmm .User Interface: A very simple interface which has all the t uh uh important features .Project Manager:Mm-hmm .User Interface: Then , please , next slide .Project Manager: Mm-hmm .User Interface: Then , these are some of the remotes which are different inshape and colour , but they have many buttons .Project Manager: Mm-hmm .User Interface: So uh sometimes the user finds it very difficult to recognise whichbutton is for what function and all that . So you can you can design an interface which is very simple , and which is user-friendly . Even a kid can use that .ProjectManager: Mm-hmm .User Interface: So can you go on t t uh to the next slide . Yeah , so this is one of the interface or one of the remote which has this vi voicerecogniser .Project Manager: Mm-hmm .Marketing: {vocalsound}User Interface: And this has multi-purpose use , it can be used for T_V_ , it can be used forcable-satellite , it can be used for V_C_R_ , D_V_D_s and audio . And this has in-built voice recogniser .Project Manager: {vocalsound}User Interface: Can you goon to the next slide ? Yeah , now this is an interface for a chil uh for a remote uh uh which a child can use .Project Manager: Mm-hmm .User Interface: Uh this isuser-friendly , it's very attractive and uh children can use it as well as they can play with it . And this comes with different colours , different shapes .IndustrialDesigner: Mm .Project Manager: Mm-hmm .User Interface: And this this uh child uh interface has minimum buttonsMarketing: {vocalsound}User Interface: andall the important uh buttons are there in this small , compact , attractive child interface . Next slide , please . Now this is a big over-sized remote which cannot bemisplaced or it's impossible to misplace .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager:{vocalsound}Marketing: You don't know me .User Interface: {vocalsound} {gap} {vocalsound} {gap} this . {vocalsound}Marketing: {vocalsound} I could losethat in a minute . {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: So this is {disfmarker} {vocalsound} No this is a verybig , you cannot {vocalsound} misplace it anywhere .Marketing: {vocalsound}User Interface: {vocalsound} So this is a jumbo universal remote control and it'simpossible to im misplace or lose . {vocalsound}Marketing: {vocalsound}Project Manager: Mm-hmm .User Interface: This i this is one such interface which canbe created . {vocalsound} And the personal preference {vocalsound} uh would be a spe uh uh to incorporate speech recognisers uh which will respond to user'svoice for a particular uh function .Marketing: {vocalsound}Project Manager: Mm-hmm . Right .User Interface: Thank you , that's {disfmarker}Project Manager:Mm-hmm . Okay , thank you very much . Uh any comments on uh her presentation ?Marketing: Well , um looks like we still have quite a choice of things outthere .Industrial Designer: Mm-hmm .Marketing: Um what uh {vocalsound} I'm {disfmarker} No suggestion's bad .User Interface: Mm yes .Marketing: But uhwe're gonna have to narrow it down a little more . I don't think that we can get uh {disfmarker} The T-shape is good , the child one is good , the too big tomisplace , I think it's just funny .User Interface: Okay . {vocalsound}Marketing: {vocalsound} Um I don't think that's gonna be our impulse purchase at thecheckout counter .Industrial Designer: {vocalsound}Project Manager: Yeah , I I th I think {disfmarker}User Interface: Okay . {gap} {vocalsound}Marketing: It'sit's gonna be a little bit too unwieldy .User Interface: {vocalsound}Project Manager: No , I think the these are her presentations , but uh as far as the decisionmaking we getting to that after afterMarketing: Yeah mm . Mm-hmm . Have to come back to that later . Okay .User Interface: We can .Project Manager: but if{disfmarker} I just wanted to know whether anybody had any any anything to add to her presentation .Marketing: No , I think her presentation was good , andshe really explored all the options . Yeah .Project Manager: Mm right . Mm-hmm . Ho who wants to go next um ? Mm-hmm . Okay ,Industrial Designer: Yeah ,"}
+{"doc_id":"doc_118","qid":"","text":"Project Manager: Hello , uh this meeting we are it's fo should be focused on the conceptual design of the remote control .Marketing: Hello .Industrial Designer:Mm-hmm .User Interface: Hello .Project Manager: Um the goal of this meeting is to reach a decision at the end on the concept and I think the last time we talkedabout an a lot and we had a rough idea of what is going to be , but uh in th at the end of this meeting we have to to reach a decision . So , uh we will have againthree presentation , from all of you , and uh I hope it will be fast because I would like to have time to for long discussion and and decisions . So , who wants tostart ? Okay .User Interface: I sMarketing: Okay .User Interface: No , no , you you can start .Project Manager: So start , uhMarketing: Okay , I'll start . Can youopen my presentation ,Project Manager: {vocalsound}Marketing: please .Project Manager: Uh . {gap}Marketing: I'm number four .Project Manager: This one?Marketing: Trend . Yep . Can you pass the mouse , please . {vocalsound} Oh okay , that's fine .Project Manager: Turn .Marketing: Okay . Um so basically I justwant to presented to you {disfmarker} present to you some recent results we've had from um looking at uh um some remote control market research and somefashion trends around the world . Um the fashion trends we got from talking to our our contacts in the fashion industry based in Paris and Milan . {vocalsound}Um {vocalsound} so f from our market research basically we've come to the conclusion that a fancy look and feel , um as opposed to a functional look and feel ,is our number one priority . Um fancy is is is is the , you know , highest priority .Project Manager: Hmm .Industrial Designer: Hmm .Marketing: Secondly um thatour remote control needs to be techn technologically innovative . Um so this is t number two priority but it's two times less important as the fancy criteria . Umand third thirdly the easiness of use is is the um is is important as well , but again two times less important as the technologically innovativeness of the remotecontrol . {vocalsound} From our f fashion people in Paris and Milan , um we've discovered that this year um fruit the fruit and vegetable motif will be the mostimportant thing in in clothes , shoes and furniture . So , {vocalsound} I'm pretty confident that our remote control fits into the furniture category . And also umthe feel of material this year um is expected to be spongy .Project Manager: Okay .Marketing: Um so hopefully our remote control reflects that s in some way.Industrial Designer: What does it mean , spongy ?Marketing: Uh sort of um squishy .Industrial Designer: Like soft , or something ?Marketing: Um . Yeah soft,Project Manager: {vocalsound}Marketing: like a uh like a sponge .Project Manager: Like a sponge . {vocalsound} Yeah .Marketing: {vocalsound} I don't know .Yeah .Industrial Designer: Okay . I will see .Marketing: Um so in conclusion , we need a our remote control needs to be something that's really fancy , um has lotsof technolog tech technology in it . {vocalsound} Um somehow would be good to have it related to fruit and vegetables with a spongy feel .Project Manager:{vocalsound}Industrial Designer: {vocalsound} Okay .User Interface: {vocalsound}Marketing: And that it's easy to use and from our last meeting our you knowFabian told us that w you know one of the requirements is that we have to reflect the look and feel of our {disfmarker} of th the Real Reaction company . Um.Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah , uh yeah .Marketing: {vocalsound} That's it .Project Manager: Easy to use , is it uh a asmuch as important than technology or fancy thing . It's less important , right ?Marketing: Less important .Project Manager: Yeah yeah .Marketing: So umfanciness first and then two ti you know , half as important as that is technology technology ,Project Manager: Okay .Marketing: and half important as technologyis easy to use . So .Project Manager: {gap} So , Hamed , can you {gap} .User Interface: Yeah . The second one . Could you please show the presentationnumber three .Project Manager: Mm-hmm .Industrial Designer: I think the biggest struggle will be the easy to use feature .Project Manager: {vocalsound} Um .Number ?Industrial Designer: {vocalsound} We'll see .User Interface: Yeah .Project Manager: Three .User Interface: Three .Project Manager: This one ?{vocalsound}User Interface: {vocalsound} Yes . {gap} Just Could you please check if it is the first one or the second . Uh , n n no , it's the first one . The secondone .Project Manager: So it's not this one .User Interface: Uh yeah . Okay . {gap} Okay . So I am going to talk about {disfmarker} a little bit about how thisremote control should be appear to be more easy to use . I think uh I think the feature easy to use is more important than being fancy , but okay , we can discussabout it uh later . Um {vocalsound} generally , generally uh this remote control uh uh should be should be something , in my opinion , uh the first feature is justto be easy to use . So , the more frequent buttons should be larger , they should be placed in a good position uh uh inside the remote control . And uh s uh I canconclude like this , that we shouldn't need to learn how to use it . It should be {disfmarker} we shouldn't need to es open a a t book and uh start reading and uhlearning how to use this uh this uh remote control . {vocalsound} Okay . So what I found out that uh as I said uh I think it's better to put uh more frequent uh uhuh ke uh buttons which are used more in the middle of the remote control , and they should be bigger in size . Uh the shape of remote control should be in a waywhich can {disfmarker} which should be taken easily in hand . It should not be completely like uh a cube . It should be it should have round edge , so uh then it'seasier .Industrial Designer: Exactly .User Interface: And maybe uh just like some toys , some joystick which is easier to take inside the hand . And uh also f uh uhm because because customers doesn't like to buy lots of battery , it should not uh consume lots of energy . Okay . And my personal p uh preference is uh , as Isaid , uh just putting this buttons in a special places and covered some buttons which are not used uh that much like settings button , like mobile phone . Usuallysome mobile phone cover the dialling number part , so we can cover these buttons which are not used or uh number buttons for the for the for the can channels ,and just put uh volume change or s ch can uh channel change buttons uh uh in the remote control . And if the user needed to do some more complex task uh hehe can open the cover and then change settings or something like this . Uh . And also uh I think if we put some some some some some buttons inside of theremote control it can be used easier . Not on remote control . I dunno if I can explain well . But uh just inside . For example , a sliding or rolling uh uh d uh stuff ,if we put it inside then we can easily manipulate with uh thumb . So it can be another uh preference . And uh I dunno but uh I think usage of a speech recogn uh rrecogniser can be good . I know that it consumes lots of energy , but if we do it in some way that it asleeps when there is no sound and when it detects somesound it may consume less energy . And I think it's good because it's something new and usually young people like something new . So it may not be very usefulbut because it's new , people may buy it . Uh I personally think there should be a big difference between uh between something . Otherwise they prefer to buysomething which is coming from a famous company , or . Okay . That's mine .Project Manager: Okay . {gap}Industrial Designer: Uh okay , so good news fromme uh uh for me from Hamed , but bad news from Bob obviously , because spongy design , I don't like it as {gap} {disfmarker}Marketing: {vocalsound}ProjectManager: {vocalsound}Industrial Designer: Okay , so could you please , Fabien , open it .Project Manager: Yeah .Marketing: {vocalsound}Industrial Designer:I'm person two . And which one , uh probably the first one . I'm not sure but check the first one . I {disfmarker} Most of the things I have to write myself on theboard , but {disfmarker}Project Manager: This one , yeah .Industrial Designer: Yeah , that's it . Just {disfmarker} It's only this slide ? Yeah . This this is just uhone thing I wanted to mention and show you that I just uh I just found this , that our company uh developed a s a seven f seven fingers or I'll just{disfmarker}Marketing: Inch .Industrial Designer: Yeah , seven seven inch T_ {disfmarker} T_F_T_ screen , which is good news for us , since we wanted toinclude a display there . Uh so I I probably draw it down raw scheme .Project Manager: Oh , {gap} .Industrial Designer: This is this is the stuff that I can use to{disfmarker}Project Manager: Oops .Industrial Designer: Okay , so the {disfmarker} this will be like the overall scheme or overall requirements from theengineering point of view . Uh first thing is uh this will be the overall shape , no uh I'm not speaking about the real shape of the device , but the shape of theinside of the device . So there will be some circuit uh for the power . So , say power circuit here . Uh the main energy will be taken from batteries that we can uhuh {disfmarker} And if we decide to use the speech recognition stuff there , we must use additional source of energy , which I found the best is to use the solarcells which can which can uh supply everything . I was computing all the all the things related to the speech recognition , and it's okay to use just uh two batteriesand solar cells , so . So no problem . There can be also solar cell . Uh the main board with all the circuits will take at least seven to seven centimetres , so this ismy like hard requirement for the guys from the design .User Interface: Mm-hmm .Industrial Designer: So at least seven to seven . It depends where you put yourscreen , because the screen is uh seven inch , so it depends on you where where you put it .Marketing: {vocalsound}Industrial Designer: It doesn't matter . Umit's just one cord from from the main board to the screen which can be elsewhere . So this will be T_F_T_ . And on the main board we have the um interface tothe microphone , which is somewhere , say here . Interface to the microphone . Then the graphical card uh for the T_F_T_ and the third unit is the I_R_ . Thegood news is that we can uh we decided to use the infra-red unit because our company has also developed the chip for communication by the infra-red , includingall the stuff inside , so it will be very cheap for us . So infra-red here . So the {disfmarker} once again the overall requirements , seven to seven centimetres forthe board , which has to be {disfmarker} which can be spongy but has to be this size , and the T_F_T_ which is seven inches . Um I have to check what I wantedto {disfmarker} Uh from my point of view I don't care about the about the material used for the overall des uh ov all the device .Project Manager: Can you fit anyuh for example a T_F_T_ or any electronic device in a spongy thing , or is there any problem for that ? For example , put electronic card on a spongy thing , I canI can imagine it could be a problem .Industrial Designer: {vocalsound} A all these things in in uh in this box are okay to put in in any shape , basically .ProjectManager: Yep .Industrial Designer: But we have to take care of the T_F_T_ . Well , sponginess . Maybe it a good feature , since it takes {disfmarker} if it's around"}
+{"doc_id":"doc_119","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 13th meeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic. This will be a hybrid meeting. Some members will be participating via video conference and some will be participating inperson. In order to ensure that those joining the meeting via video conference can be seen and heard by those in the chamber, two screens have been set up oneither side of the Chairs chair, and members in the chamber can listen to the floor audio or to interpretation using the earpieces at their desks. Before speaking,please wait until I recognize you by name, and please direct your remarks through the chair. For those joining via video conference, I would like to remind you toleave your mike on muteMr. Ziad Aboultaif (Edmonton Manning, CPC): I have a point of order.The Chair: Can the member wait for the point of order until wefinish the introduction?Mr. Ziad Aboultaif: There is so much noise in the background over there, Mr. Chair.The Chair: That is a very good point of order. I want toremind everyone that when we speak, it is picked up. We have amazing speakersand an amazing Speaker, but that's a whole other storyand amazingmicrophones in the chamber, and they do pick up everything. I know there was some chatter going on in the background. I want to make sure everyone is awareof that. Mr. Aboultaif, that was a very good point of order. I appreciate that. For those joining us via video conference, I would like to remind you to leave yourmikes on mute when you're not speaking. Also, please note that if you want to speak in English, you should be on the English channel, and if you want to speak inFrench, you should be on the French channel. Should you wish to alternate between the two languages, you should change the channel to the language that youare speaking each time you switch languages. Should members participating by video conference wish to request the floor outside their designated speakingtimes, they should activate their mic and state that they have a point of order. Those in the Chamber can rise in the usual way. Please note that today'sproceedings will be televised. I understand that there are no ministerial announcements for today, so we'll continue to the presentation of petitions, for a periodnot exceeding 15 minutes. I would like to remind members that any petition presented during a meeting of the special committee must have already beencertified by the clerk of petitions. For members participating in person, we ask that they please come and drop the signed certificate off at the table once thepetition is presented. The first petition goes to Mr. Manly, who is joining us via video conference.Mr. Paul Manly (NanaimoLadysmith, GP): Thank you, Mr. Chair.This is a petition that calls on the government to deal with helping our honey bees. They are crucial to our food system. They provide hundreds of billions ofdollars worth of services to commercial agricultural crops and other ecological services every year, and the European Union has put heavy restrictions on thechemicals that are affecting them, the neonicotinoids. This petition calls on the Government of Canada, for the sake of bees and our food security, to followEurope's lead and adhere to the precautionary principle by banning the use of neonicotinoids in Canada.The Chair: The next presenter of petitions will be Mr.Genuis, who is very parliamentary and dressed from the waist up, I understand.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Thank you, Mr.Chair, and that is all you need to see for the moment. Canadians are horrified by the military report on the conditions of long-term care in Ontario. It raises bigquestions about the choices facing seniors in certain situations, which is what makes this first petition particularly timely. I am tabling a petition related to BillC-7, the government's euthanasia bill, which seeks to dramatically remove safeguards that the government said were vital only a short time ago. When somepeople are living in deplorable conditions, we cannot truly speak of them as having a choice of when they ought to die. Especially in light of that new information,I commend this petition for the consideration of members of the House. The second petition is in support of Bill S-204 on organ harvesting and trafficking, putforward in the Senate. The bill would make it a criminal offence for a person to go abroad and receive an organ without the donor's consent. This bill seeks tocombat the horrific practice of forced organ harvesting and trafficking.The Chair: The next petition presenter will be Ms. May.Ms. Elizabeth May (SaanichGulfIslands, GP): Thank you, Mr. Chair, and greetings from SaanichGulf Islands. The petition I'm presenting today is petition e-2509, which has been duly certified. Itrelates to what I think many of us will regard as the real heroes of the last few months. In this pandemic, there have often been very underpaid and overworkedfront-line workers who receive minimum wage and nothing more, and who are of course deemed essential services. The petitioners have asked the governmentto implement a wage supplement as a temporary measure to bring the wages for those who are in contact with the general public and working in what has beendeemed an essential service to no less than $20 an hour, in light of their service and the risks they're taking for all of us.The Chair: We have a point of order fromMs. Harder.Ms. Rachael Harder (Lethbridge, CPC): Mr. Chair, the honourable member who just spoke brought up a great point yesterday. She said that when wepresent petitions, we are simply supposed to give one or two sentences before putting them on the table. I believe that was more than one or two sentences.TheChair: I want to remind honourable members that when they are presenting petitions, they should be very concise with the prcis that they give up front, asopposed to going on for a long time. Now we will proceed to statements by members for a period not exceeding 15 minutes, and each statement will be for oneminute. We will start with Mr. Fonseca.Mr. Peter Fonseca (Mississauga EastCooksville, Lib.): Thank you, Mr. Chair. Today I am honoured to recognize the youth inmy riding of Mississauga EastCooksville who are part of the 52nd Mississauga Scouts. For over a decade, I've had the great opportunity to join the Scouts everyyear during the month of May for the door-to-door food drives. This year has been a lot different, owing to the COVID situation, but our Scouts are not used tosaying the word impossible. David Chant, head leader for their cub pack, reached out to share that the youth have found innovative ways to engage ourcommunity through a virtual food bank. I say a big thank you to Scout leaders like David, who are strong role models for our youth, teaching them theimportance of leadership, kindness and giving back. I've always been amazed with the support within our community for the Scouts' food drive. David and hisgroup of Scouts raised over $46,000 worth of food last year for the Mississauga Food Bank and The Compass. Again, I give a huge virtual high-five to all of ouryoung Scouts, who have taken the lead with lots of compassion and care.The Chair: We'll now go on to Mr. Richards.Mr. Blake Richards (BanffAirdrie, CPC): May24 to May 31 is Tourism Week in Canada. This annual celebration is a time for us to recognize the contributions and experiences of Canada's tourism industry.This is a very important industry, and this year's Tourism Week is a little different from what it normally is. The ongoing coronavirus crisis has closed provincialand international borders to recreational travel, and tourism operators from coast to coast have been among the first and hardest hit due to thegovernment-mandated lockdowns. Clear criteria regarding border reopenings and health and safety requirements will allow hospitality and tourism businesses tosufficiently prepare to reopen. This includes rehiring employees, ordering supplies and putting together tour packages and marketing plans. Operators do notneed to be set back any further because of a lack of clarity around reopening. While this Tourism Week is not a celebration like the one we had expected, Ianticipate next year's celebration to be a celebration of an even stronger and more successful tourism industry in Canada.  The 1.8 million Canadians whose jobsdepend on a thriving tourism sector are counting on it.   Bonne semaine to tourism.The Chair: We'll go on to Mr. Rogers.Mr. Churence Rogers(BonavistaBurinTrinity, Lib.): Mr. Chair, Monday was a sad day in my riding of BonavistaBurinTrinity, and indeed our entire province. Please join me as I offersincere condolences to the families of the men who lost their lives at sea in a tragic accident off the coast of St. Lawrence in Placentia Bay.  Ed Norman, his sonScott Norman and his nephew Jody Norman all tragically lost their lives while fishing for crab this past Monday. A fourth man, family friend Isaac Kettle, was alsowith them. After a courageous search mission by Canadian Coast Guard auxiliary members and the Department of National Defence and Provincial Airlines, he isunfortunately still missing. We grieve with the entire town of St. Lawrence as they mourn this tragic loss of life. Mr. Chair, I am sure the entire province ofNewfoundland and Labrador, this parliamentary family and Canadians from coast to coast to coast join me in thinking of these men, along with their friends andfamilies, during this difficult time. Thank you, Mr. Chair.The Chair: We'll now continue with Mr.Simard.Mr. Mario Simard (Jonquire, BQ): Thank you, Mr.Chair. Iwould like to speak to you today about a solid man who unfortunately passed away on May25. We were greatly saddened to learn about the death ofFrancisDufour. This builder of Quebec's political history drew his last breath at the age of91, late Sunday night. Mr.Dufour was the archetypal proudrepresentative of my region who spent his entire life in Jonquire. He first became involved in the Alcan employee's union in Arvida, then continued his civicinvolvement at the municipal level as mayor, then in the Quebec National Assembly as the member for Jonquire. He will be remembered as a man with deep tiesto his community, a man of integrity, a people person, who dedicated himself to serving citizens and advancing the independence movement in Quebec. Onbehalf of the people of the riding of Jonquire and all the people of Quebec, I offer my most sincere condolences to FrancisDufour's family and loved ones. Thankyou.The Chair: We are continuing with MartinezFerrada.Ms. Soraya Martinez Ferrada (Hochelaga, Lib.): Thank you, Mr.Chair. The pandemic has greatly affectedMontreal East, particularly the riding of Hochelaga, which I represent. Today, I'd like to recognize the exceptional work of all the volunteers and organizations inHochelaga that are helping the more vulnerable populations, including Anonyme, CAP St-Barnab, CARE Montral, the Cuisine collective Hochelaga-Maisonneuve,Bouffe Action, the Centre Communautaire Hochelaga, Chic Resto Pop, Jojo Dpannage, Groupe d'Entraide de Mercier-Ouest and many others. I'd like toacknowledge the commitment of the merchants who have rolled up their sleeves, including the Coop Couturires Pop, to make masks. I'd especially like to"}
+{"doc_id":"doc_120","qid":"","text":"Project Manager: {vocalsound} Okay .User Interface: Mm-hmm .Project Manager: So we are here for the concept design meeting . So , we will first start bysummarizing the mm {vocalsound} the previous meeting and the decision we've taken . Uh I will take notes during this meeting so uh that you can uh look at myuh folder to see the summary of this meeting afterwards . So each of you will uh show us the various investigation they've done during uh previous uh hours .We'll then t take decision in concert and then uh uh we will uh define the nest {disfmarker} next task , to have {disfmarker} to be done before the next meeting .So , last time we decided to have a simple interface . We also decided to have a wheel to change channel {disfmarker} previous channel button . Channel digit uhbuttons should be uh protected by plastic cover or something for the remote control to look very simple . We have also button for volume , and to switch on offthe T_V_ . We have also uh the lightening feature for the remote control to be easy to find , and for fast development and low cost we have decided to have noL_C_D_ no voice features . So now uh we will have three presentations . So the conceptual specification by Industrial Designer , the specification of the U_I_ by{disfmarker} or U_I_ {vocalsound}User Interface: Abdul al-Hasred is my name .Project Manager: okay . {vocalsound} And uh the last point is uh trend watchingby Market Expert . So maybe we can start with uh industrial design . So this is the presentation .Industrial Designer: Uh , I_D_ you want ?Project Manager:Maybe I can switch slide uh on your request .Industrial Designer: Yeah . I only v have three slides , so . I just look at the mm {disfmarker} um just this . Onsome web pages to find some documentationProject Manager: Yeah .Industrial Designer: and I think a remote control is , as I s mentioned previously , you justhave a a very simple chip and the mm the user interface is just done usually by push button and in our case we are using a um a wheel control . So uh uh I waslooking basically for that chip , which is uh very very standard , and uh I just looked for the wheel sensor and the standard push button . And um {vocalsound}yeah we can change directly .Project Manager: Yeah .Industrial Designer: In fact I have the number of that element which is very standard for remote control .The push button are usually extremely cheap , but I just have one problem and this is related with the wheel sensor , which seems to be quite expensive .ProjectManager: Okay .User Interface: Mm-hmm .Industrial Designer: And I think we if we could just talk about that if we really need a wheel sensor or if we can not{disfmarker} if if we could combine something with the push button .Project Manager: Okay .Industrial Designer: Uh a wheel sensor is fifty time the price of a a apush button .User Interface: Yeah .Project Manager: But is it a significant price on the whole remote control ?User Interface: Mm .Project Manager: Because wecan afford up to twelve Euros for the price of the remote control .Industrial Designer: Yeah . YeahProject Manager: So will will will this with uh including allpossible things , so buttons , wheel and the chip , be uh lower than twelve Euros to produce ?Industrial Designer: I I th {vocalsound} But I don't think that uh weshould {disfmarker} We should talk about uh the design of the box also which needs some money .User Interface: Yeah .Project Manager: OkayUser Interface:Also have to say {disfmarker}Industrial Designer: But {disfmarker}User Interface: Did you receive the email about the voice recognition ?Industrial Designer:Um that's all {vocalsound}User Interface: No ?Project Manager: You received something {disfmarker}Industrial Designer: yeah . I haven't checUser Interface:Yeah . You we uh an email from the manufacturing division that they have basically a voice recognition chip already developed .Project Manager: Hmm .UserInterface: Says {disfmarker} Yeah . It says that ri right now they just use it to uh to record uh answers to particular questions . But I guess it could be{disfmarker}Project Manager: And could it be adapted ?User Interface: I guess it's possible . I mean instead of recording the answers you can just uh record uhsomething simpler like a command .Project Manager: Okay and there can uh recognize some commands and stuff ?User Interface: Yeah you reco recognizecommands and you can record new commands and stuff , so if they already have it as uh as a chipProject Manager: Okay . Yeah .User Interface: then we wecould use it .Project Manager: Okay maybe we can just uh listen to this presentation and then take decision later on {disfmarker} according to those news.Industrial Designer: Mm-hmm .User Interface: Okay .Industrial Designer: Yeah but I think it's yeah {disfmarker} Sorry , I haven't written my personalreferences . Um {vocalsound} the I I just want to mention the the problem of the the r wheels sensor which is much more expensive than any push button,Project Manager: Okay .Industrial Designer: and if we could reduce that . We we have already some good things uh with um um with the backlight of the pushbutton .User Interface: Mm-hmm . I have a question about that actually {vocalsound} . Um , what is the purpose of the light ?Industrial Designer: Just to tomake something which is uh slightly more design that uh a squarey box with a rubber {disfmarker}User Interface: Is {disfmarker}Project Manager: You caneasily find the button in the dark or so ?User Interface: But {disfmarker} But in th in the dark uh {disfmarker} Yeah but is going to be always turned on , thelight ?Project Manager: It will be turned on when the when the user move the remote control I think , no ?User Interface: But if you move it then you have it ,you don't need to find it .Project Manager: Hmm .User Interface: You can see the buttons better , of course .Project Manager: Yeah . Yeah .User Interface: Yeah.Project Manager: Yeah . True .Industrial Designer: Yeah . Actually .User Interface: But if you move it then you have to have some sensor to {disfmarker} whenyou move it to detect your movement .Industrial Designer: As soon as you thought to move the the remote control you have the light .User Interface: Yeah , butyou need another sensor for that , right ?Industrial Designer: Yeah . Again .User Interface: Yeah {vocalsound} no it's too expensive . {vocalsound}IndustrialDesigner: I don't think that this is really expensive , but at the end this is plenty of unexpen eh very cheap devices but uh the bill starts to be {disfmarker}UserInterface: Okay . Mm . Extra . Yeah , okay . Mm . Yeah , but I expected also the wheel would be cheap but you tell me that it is very expensive so ,IndustrialDesigner: {vocalsound} First of all I was thinking to have a a continuous lightUser Interface: yeah .Industrial Designer: and you w when t you you you you pressthe on button you have the light on your remote control , when you want to turn off your device {disfmarker}User Interface: Mm . Mm-hmm .Project Manager:But it can be uh battery consuming , no ? To have the light always on ?Industrial Designer: Yeah , a little bit . A little bit .User Interface: Mm .Project Manager:Well we will discuss that after maybeIndustrial Designer: Yeah .User Interface: OkayProject Manager: the other presentations .User Interface: . So uh my one , ituh should be in the shared folder .Project Manager: Yeah .User Interface: So . It was last time I saw it .Project Manager: And it is .User Interface: Okay . So,Project Manager: Okay .User Interface: {vocalsound} just move to the next slide . {vocalsound} So basically {vocalsound} want very simple , right ? That's themajor idea , as simple as possible .Project Manager: Yeah . Yeah .User Interface: So I just look at some current designs uh on the web , of usually morecomplicated remote controls . And let's look at two of them because uh th even though they have many buttons they look quite simple . And in our case we justuh reject the buttons what we don't need and it become even simpler .Project Manager: Yeah .User Interface: Um . {vocalsound} So .Project Manager: And alsodoes it uh fit well in hand ? Because it was uh th your wrist problem with the usage .User Interface: Yeah . Well this these uh these remotes are quite big , so goto the next page , so . We have all these buttons as you can see , but most of them , we just need the ones in the middle .Project Manager: Yeah {vocalsound} .Yeah .Industrial Designer: Yeah .User Interface: So , from the bottom or whatever is there , uh the uh the numbers and then the top , uh until the ten also , thismiddle part ,Project Manager: Yeah . Yeah .User Interface: and on the left one is exactly the same . So it's basically more or less how we would like it , with a bigvolume control , big channel control , and mute and power , yeah ?Project Manager: Yeah .User Interface: These are the basic thing .Project Manager: So it's onlythe central part .User Interface: So basically , w software we will build will look more or less the same as these two .Project Manager: Yeah . With a maybe amore ergonomic design on on the bottom part .User Interface: Yeah , if you have , for example {vocalsound} {disfmarker} I think that the volume and thebuttons that are there on the top are not very easy to reach with your thumb .Project Manager: Yeah .User Interface: It could be on the right side , for example.Project Manager: Okay .User Interface: Yeah . Because we don't have these input buttons and this other stuff that they have . And I think that the plastic coveris not very good uh idea becauseProject Manager: Okay .User Interface: you open it , it can break , you ca you can do various things .Project Manager: Okay .SUser Interface: Uh you just need to put the channel numbers somewhere a bit out of the way .Project Manager: Okay . Will be down or {disfmarker}UserInterface: So that they're separate a bit ,Project Manager: Okay .User Interface: yeah . Uh and it's easy to press the other {disfmarker} the big buttons , but uh ,it's not that difficult to press the the channel buttons either . Mm . Yeah , I think that if you put the cover it will be even more difficult for the user .ProjectManager: Okay .User Interface: Alright , you won't {disfmarker} yeah . Usually what {disfmarker} I have noticed that people put the plastic cover on things thatyou normally don't mess with , like buttons for t uh tuning the channels and stuff like that .Project Manager: Okay .User Interface: Yeah . That you want toprotect a bit . And I think it's uh it's reasonable .Project Manager: Okay .User Interface: So , I don't think {disfmarker} Yeah , this is just the the wheel .ProjectManager: Mm .User Interface: We could use the {disfmarker} some wheels can be pushed down , could use the push down of the wheel for the record if we want.Industrial Designer: Mm-hmm .User Interface: Uh so we could just basically use one just wheel and uh user could use just the wheel to do everything with thechannels in that case .Project Manager: Yeah . Maybe the wheel will be a {vocalsound} good advantage over our competitors .Industrial Designer: Mm-hmm.Project Manager: Because otherwise it's pretty standard apart the fact that it's very simple . So maybe it's worse to uh to have more expense on that's thataspect .Industrial Designer: To s Mm-hmm .User Interface: Yeah , I guess the market researcher will tell us all about that .Project Manager: Okay . So we can"}
+{"doc_id":"doc_121","qid":"","text":"Grad A: OK , this is one channel . Can you uh , say your name and talk into your mike one at a time ?PhD C: This is Eric on channel three , I believe .Grad A: OK .Uh , I don't think it 's on there , Jane .Undergrad D: Tasting one two three , tasting .Postdoc E: OK , this is Jane on channel five .Grad A: Uh , I still don't see youJane .Postdoc E: Oh , darn , what am I doing wrong ?Undergrad D: Can you see me on channel four ? Really ?Grad A: Yeah , I sUndergrad D: My lucky day.Postdoc E: Uh , screen no , {disfmarker} it is , oh , maybe it just warmed up ?Grad A: No .Postdoc E: Oh , darn , can you can't see channel five yet ?Grad A: Uh ,well , the mike isn't close enough to your mouth , so .Postdoc E: Oh , this would be k OK , is that better ?Grad A: S uh , try speaking loudly ,Undergrad D: I likethe high quality labelling .Grad A: so ,Postdoc E: Hello ,Grad A: OK , good .Undergrad D: David , can we borrow your labelling machine to improve the quality ofthe labelling a little bit here ?Postdoc E: hello . Alright .Grad A: Thank you .PhD B: One tUndergrad D: How {disfmarker} how many are there , one to five ?PhDB: One five , yeah .Undergrad D: Yeah , please .Postdoc E: Would you like to join the meeting ?Grad A: Well , we don't wanna renumber them ,Postdoc E: I bet{disfmarker}Grad A: cuz we 've already have like , forms filled out with the numbers on them . So , let 's keep the same numbers on them .PhD B: Yeah , OK ,that 's a good idea .Grad A: OK , Dan , are you on ?PhD B: I 'm on {disfmarker} I 'm on two and I should be on .Grad A: Good .PhD B: Yeah .Undergrad D: Wantto join the meeting , Dave ? Do we {disfmarker} do {disfmarker} do we have a spare , uh {disfmarker}Grad A: And I 'm getting lots of responses on differentones , so I assume {pause} the various and assorted P Z Ms are on .Undergrad D: We ' r we 're {disfmarker} we ' r This is {disfmarker} this {disfmarker} this isa meeting meeting .Postdoc E: This is abou we 're {disfmarker} we 're mainly being taped but we 're gonna talk about , uh , transcription for the m futuremeeting meetings .Grad A: Stuff . Yeah , this is not something you need to attend . So .Postdoc E: Yeah . e OK .PhD C: You 're always having one of those days ,Dave .Postdoc E: Y you 'd be welcome .Grad A: Besides , I don't want anyone who has a weird accent .Postdoc E: You 'd be welcome .Grad A: Right , Dan?Undergrad D: So , I don't understand if it 's neck mounted you don't get very good performance .PhD C: It 's not neck mounted . It 's supposed to be h headmounted .Undergrad D: Yeah . It {disfmarker} it should be head mounted . Right ?Grad A: Well , then put it on your head .PhD B: I don't know .PhD C: Right.Grad A: What are you doing ?Undergrad D: Cuz when you do this , you can {disfmarker} Rouww - Rouww .Postdoc E: Why didn't I {disfmarker} you were sayingthat but I could hear you really well on the {disfmarker} on the transcription {disfmarker} on the , uh , tape .Grad A: Well , I m I would prefer that people wore iton their headPhD B: I {disfmarker} I don't know .PhD C: iGrad A: but they were complaining about it . Because it 's not {disfmarker} it doesn't go over the ears.Undergrad D: Why ?Postdoc E: It 's badly designed .Grad A: It 's very badly designed so it 's {disfmarker}PhD B: It 's very badly designed ?Undergrad D: Whatdo you mean it doesn't go over the ears ?PhD B: Why ? It 's not s It 's not supposed to cover up your ears .Grad A: Yeah but , there 's nowhere to put the pad soit 's comfortable .PhD B: I mean , it 's only badly {disfmarker}Postdoc E: So that 's what you 're d He 's got it on his temples so it cuts off his circulation .PhD B:Oh , that 's strange .PhD C: Yeah , that 's {disfmarker} that 's what I have .Grad A: And it feels so good that way .PhD C: It feels so good when I stop .Grad A:So I {disfmarker} I again would like to do some digits .Undergrad D: Somebody wanna {disfmarker}Postdoc E: Try it .Grad A: Um .Undergrad D: Somebodywanna close the door ?Grad A: Sure .PhD B: OK .Postdoc E: We could do it with noise .Grad A: So let me {disfmarker}PhD C: You 're always doing digits .Grad A:Well , you know , I 'm just that sort of {disfmarker} digit - y g sorta guy . OK . So this is Adam .Postdoc E: Uh , this is the same one I had before .Grad A: I doubtit .PhD B: It 's still the same words .Grad A: I think we 're session four by the way . Or m it might be five .Undergrad D: Psss ! Oh , that 's good .Postdoc E:NoGrad A: I didn't bring my previous thing .PhD B: We didn't {disfmarker}Postdoc E: Now , just to be sure , the numbers on the back , this is the channel ?PhDB: That 's the microphone number .Postdoc E: That 's the microphone number .Grad A: Yeah , d leave the channel blank .Postdoc E: Uh - oh . OK , good.Undergrad D: But number has to be {disfmarker} ? So we have to look up the number .Postdoc E: Five {disfmarker}Grad A: Right .Undergrad D: OK , good.Postdoc E: Good . OK . Well , this is Jane , on mike number five . Um . I just start ? Do I need to say anything more ?Grad A: Uh , transcript number .PhD B:Transcript number {disfmarker}PhD C: OK , this is Eric on microphone number three ,Undergrad D: This is Beck on mike four .Grad A: Thanks . Should I turn offthe VU meter Dan ? Do you think that makes any difference ?PhD B: Oh , God . No , let me do it .Grad A: Why ? Are you gonna do something other than hit \" quit\" ?PhD B: No , but I 'm gonna look at the uh , logs as well .Grad A: Oh . Should have done it before .Postdoc E: Uh , you said turn off the what ?Grad A: The VUmeter which tells you what the levels on the various mikes are and there was one hypothesis that perhaps that {disfmarker} {vocalsound} the act of recordingthe VU meter was one of the things that contributed to the errors .Postdoc E: Oh . Oh , I see .Undergrad D: Yeah , but Eric , uh , you didn't think that was areasonable hypothesis , right ?Postdoc E: I See .Grad A: That was me ,Undergrad D: Oh , I 'm sorry yGrad A: I thought that was {disfmarker}Undergrad D: Thatwas malarkey .Grad A: Well , the only reason that could be is if the driver has a bug . Right ? Because the machine just isn't very heavily loaded .Undergrad D: Nochance of that .Grad A: No chance of that . Just because it 's beta . Look OK ?PhD B: Yeah , there {disfmarker} there {disfmarker} there was {disfmarker} therewas a {disfmarker} there was a bug . There was a glitch last time we ran .Undergrad D: Are - are yo are you recording where the table mikes are by the way?PhD B: No .Undergrad D: Do you know which channels {disfmarker}Grad A: Yeah , we usually do that .PhD B: No , we don't .Grad A: Yeah .PhD B: But we{disfmarker} we ought to st we ought to standardize .Undergrad D: Why not ?PhD B: I think , {vocalsound} uh , I s I spoke to somebody , Morgan , {comment}about that . I think {disfmarker} I think we should put mar Well , no , w we can do that .Undergrad D: Why don't you just do this ?Grad A: I mean , that 's whatwe 've done before .PhD B: I know what they {disfmarker} they 're {disfmarker} they 're four , three , two , one . In order now .Undergrad D: Four .PhD B:Three , two , {vocalsound} and one .Undergrad D: Three .PhD B: But I think {disfmarker} I think we should put them in standard positions . I think we shouldmake little marks on the table top .Grad A: Which means we need to move this thing , and sorta decide how we 're actually going to do things .PhD B: So that wecan put them {disfmarker}Postdoc E: Oh , OK .PhD B: I guess that 's the point .Grad A: So .PhD B: It 'll be a lot easier if we have a {disfmarker} if we have thempermanently in place or something like that .Grad A: Right .Postdoc E: I do wish there were big booms coming down from the ceiling .PhD B: You do ?Postdoc E:Yeah .PhD C: Would it make you feel more important ?Grad A: Mmm .Postdoc E: Yeah , yeah , yeah .PhD C: I see .Undergrad D: Wait till the projector getsinstalled .Postdoc E: You know .Grad A: That 'll work .Postdoc E: Oh , that 'll be good .Grad A: That 'll work .PhD B: Oh , gosh .Undergrad D: Cuz it 's gonna hangdown , make noise .Postdoc E: OK .PhD B: When 's it gonna be installed ?Postdoc E: OK .Undergrad D: Well , {vocalsound} it depends onPhD B: I see .UndergradD: Is this b is this being recorded ?Grad A: That 's right .Undergrad D: Uh , I think Lila actually is almost getting r pretty close to even getting ready to put out thepurchase order .PhD B: OK . Cool .Undergrad D: I handed it off to her about a month ago .PhD B: I see .Grad A: OK , so , topic of this meeting is I wanna talk alittle bit about transcription . Um , I 've looked a little bit into commercial transcription services and Jane has been working on doing transcription . Uh , and so wewan wanna decide what we 're gonna do with that and then get an update on the electronics , and then , uh , maybe also talk a little bit about some infrastructureand tools , and so on . Um , you know , eventually we 're probably gonna wanna distribute this thing and we should decide how we 're gonna {disfmarker} howwe 're gonna handle some of these factors . So .PhD B: Distribute what ?Grad A: Hmm ?PhD B: The data ?Grad A: Right . Right . I mean , so we 're {disfmarker}we 're collecting a corpus and I think it 's gonna be generally useful . I mean , it seems like it 's not a corpus which is {disfmarker} uh , has been done before .And so I think people will be interested in having {disfmarker} having it ,PhD B: Oh .Grad A: and so we will {disfmarker}Undergrad D: u Using , like , audio D VDs or something like that ?Grad A: Excuse me ?PhD B: Yes .Undergrad D: Audio D VGrad A: Well , or something . Yeah , audio D V C Ds ,Undergrad D: Or tGradA: you know .Undergrad D: Yeah . tapes .Grad A: And {disfmarker} and so how we do we distribute the transcripts , how do we distribute the audio files , how dowe {disfmarker} how do we just do all that infrastructure ?PhD C: Well , I think {disfmarker} I mean , for that particular issue ther there are known sourceswhere people go to {disfmarker} to find these kind of things like the LDC for instance .Postdoc E: Yeah ,Grad A: Right , but {disfmarker} but so should we do it inthe same format as LDCPostdoc E: that 's right .Grad A: and what does that mean to what we 've done already ?PhD B: Right . The {disfmarker} It 's not somuch the actu The logistics of distribution are secondary to {pause} preparing the data in a suitable form for distribution .PhD C: Right .Grad A: Right . So , uh ,as it is , it 's sort of a {pause} ad - hoc combination of stuff Dan set and stuff I set up , which we may wanna make a little more formal . So .PhD B: And the otherthing is that , um , University of Washington may want to start recording meetings as well ,Grad A: Right .PhD B: in which case w w we 'll have to decide what we've actually got so that we can give them a copy .Grad A: That 's right .Undergrad D: A field trip .Grad A: Yeah . I was actually thinking I wouldn't mind spendingthe summer up there . That would be kind of fun .PhD B: Oh , really ?Grad A: Yeah . Visit my friends and spend some time {disfmarker}PhD B: Different for you .Yes .Grad A: Well , and then also I have a bunch of stuff for doing this digits . So I have a bunch of scripts with X Waves , and some Perl scripts , and other thingsthat make it really easy to extract out {vocalsound} and align where the digits are . And if U d UW 's going to do the same thing I think it 's worth while for themto do these digits tasks as well .Undergrad D: Mm - hmm .Grad A: And what I 've done is pretty ad - hoc , um , so we might wanna change it over to something a"}
+{"doc_id":"doc_122","qid":"","text":"Project Manager: Good morning . Sorry ? Yeah , busy job . Good morning . So {disfmarker} Oh , good morning everyone .User Interface: Good morning.Industrial Designer: Good morning .Project Manager: I'd uh like to welcome you to our first meeting . I've prepared a little presentation . My name is {gap} anduh I hope you will introduce yourself uh in a few minutes , as will I . Um I'm the Project Manager of this project , and uh , well I will tell you {gap} on whatactually is the project . This is uh the agenda for our first meeting . Um this is the opening , then we will get {disfmarker} {gap} I will hope we will get acquaintedto each other . We'll do a little tool training with these two things . We'll take a look at the project plan . Uh there will be time for discussion . Actually we have todiscuss because we have to create a product . And then we will close this session . Um but first of all we I'd like to uh introduce you to this room . Um as youprobably have noticed there are little black uh fields on the table . Um you have to put your laptop exactly in that field so the little cameras can see your face .Um there are camerasIndustrial Designer: {vocalsound}Project Manager: everywhere around the room especially here for your face , of course , and this isn't apie , it's a a set of microphonesIndustrial Designer: {vocalsound}Project Manager: and there are microphones here also . But please uh don't be afraid of them.User Interface: {vocalsound}Project Manager: They won't hurt you . Um well uhUser Interface: Well {vocalsound}Industrial Designer: {vocalsound}ProjectManager: I said I'm the Project Manager and uh I'm hoping uh for a good project and uh I'd like to hear uh who you are and what your functions are uh on thisproject . Let's start with the ladies {vocalsound} {vocalsound} .User Interface: Well uh I'm uh {gap} and my uh function is User Interface Design , I think.Industrial Designer: {vocalsound}User Interface: {vocalsound} So uh that's me .Industrial Designer: Okay , uh I'm {gap} uh I'm the Industrial Designer and Iuh hope to uh {disfmarker} look forward to uh a very uh pleasing uh end of this uh project .Project Manager: Okay , so I .User Interface: Me too .Marketing: Myname's {gap} . I'm uh {vocalsound} Marketing Expert . {vocalsound} My job is in the company to promote company or promote products to the customers . So Ialso h hope we have a pleasant uh working with uh with each other .Project Manager: Okay , well we have some expertise from uh different pieces of the of thecompany .User Interface: {vocalsound}Project Manager: That's good . Um well I said uh we're working on a project and the aim for the project is to to create a{disfmarker} to design a new remote control which uh has to be original , trendy and of course , user friendly . {vocalsound} And uh I hope we have theexpertise to create such a project {disfmarker} such a product . Um the way we hope to achieve that is uh the following methods . It consists of three phases ,namely the functional design , conceptual design and detailed design . As you can see , all of these phases consists of two parts , namely individual work part anda meeting where we will discuss uh our work so far . Okay . But first I will uh tell you something about the tools we have here . I already talked about thecameras and microphones , but they are not of uh much use to us . Uh we will have to take advantage of these two things . They are smart boards . As you cansee , you can give a presentation on them . And uh this one here is a white board . I will uh instruct you about that soon . Um as you also noticed uh thispresentation document is in our uh project folder and every document you put in this folder uh is uh it is possible to show that here in our meeting room . Um andyeah there are available on both smart boards but I think we will uh mainly use this one for the documents in the shared folder . As you can see , this is the sametool bar uh as is located here . Um the most functions uh we will use will be to to add a new page , um uh to go back and forward between pages , and of courseuh to save it every now and then . Um and this is the pen with which you can draw on the board , for instance like this if everything's okay ,User Interface:{vocalsound}Project Manager: but I first have to put it on the pen , you see I'm new to it too .User Interface: {vocalsound}Project Manager: Um and then youcan write things like test or whatever you want .Industrial Designer: {vocalsound}User Interface: Oh .Project Manager: As you can see you have to move it alittle bit slow , it's not such a fast board , it's a smart board but also a slow board .Industrial Designer: {vocalsound}User Interface: {vocalsound}ProjectManager: Uh but you can write things and of course you can also , when you click here , uh erase things , so we have uh est left . And um you can also delete anentire page , but we ask you not to do that . Just simply create a new one and uh start all over because we want to save all the results . Um does everyoneunderstand thisUser Interface: {vocalsound} So we can't erase anything .Project Manager: nice application ?Industrial Designer: Yeah .Marketing: Mm-hmm.Project Manager: Well you can erase it with the eraser , but uh you shouldn't delete an entire page , but just create a new blank one .User Interface: Right.Marketing: SProject Manager: I will delete this one now because we don't use it yet .User Interface: Alright .Project Manager: But you can of course erase whenyou make a mistake , but don't uh delete entire pages . And you can also um let's see I think it's here uh change the uh colour of your pen , for instance take ablue one and uh change the line width like to five . Um that's what you will need for our first exercise , because I'm uh going to ask you to draw your favouriteanimal .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: It's also to gets to know each other because um I'm asking three things, uh for that uh drawing ,Industrial Designer: Okay .Project Manager: to do it on a blank sheet , with different colours and I just showed you how to pick a colour ,and also with different pen widths which I also showed you . Um and a favourite characteristic can be just uh one word . Well I'm not very good at drawing , but Iwill uh go first and um try to draw {disfmarker}User Interface: {vocalsound}Project Manager: Or maybe you should guess what I'm drawing , eh .{vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Good .User Interface: {vocalsound}Industrial Designer: Hmm.Marketing: {gap} No .User Interface: It's a sheep . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: DinosIndustrialDesigner: Seal , a seal . {vocalsound}Marketing: Dinosaur .User Interface: {vocalsound}Marketing: Beaver .User Interface: {gap} A beaver .{vocalsound}Industrial Designer: A be {vocalsound}Project Manager: Well it uhUser Interface: It's weird . {vocalsound}Project Manager: could be everything.Industrial Designer: Mm . With a tail and a mouth .Project Manager: Maybe when I put onUser Interface: It has wings ?Marketing: Turtle .Project Manager: thisthing it could be a turtle , or a snail ,Industrial Designer: Snail . {vocalsound}User Interface: {vocalsound} Well the snail doesn't have legs .Industrial Designer:Okay .Project Manager: But a turtle has . And those are slow . And I hope our project group will not be slow ,Industrial Designer: {vocalsound}Project Manager:but we will uh work to a good resultIndustrial Designer: {vocalsound}Project Manager: and do it uh as fast as we can . Okay , time for another animal . Wouldyou like to go next ?User Interface: {vocalsound}Marketing: {vocalsound} No problem . No problem .Industrial Designer: Sure .User Interface: {vocalsound} Ohright .Marketing: Mm . It was four months ?User Interface: {vocalsound}Marketing: Nice , okay .User Interface: Well . {vocalsound}Industrial Designer:{vocalsound} The hell .User Interface: {vocalsound}Marketing: {vocalsound} To make it a little bit easier . {gap}User Interface: {vocalsound} It's a giraffe.Industrial Designer: Make that cute . {vocalsound}User Interface: Or a dinosaur . {vocalsound}Marketing: No , it's a giraffe . 'Kay .User Interface:{gap}Marketing: I think it's easy to r uh to recognise as a giraffe .User Interface: Yes . Giraffe .Industrial Designer: {gap}Project Manager: Mm-hmm .Marketing:{vocalsound} Yeah , the favourite charis characteristic is that the long neck , {vocalsound} it can reach everything . And I hope I can also reach a lot with thisproject . So that's my favourite animal .Project Manager: Okay .Marketing: Anything else you need to know ?Project Manager: Could you write the words , uhunderneath it ? Or more words .Marketing: Oh , uh {gap}Industrial Designer: {vocalsound} Tall . {vocalsound}User Interface: {vocalsound}Marketing: Tall . So,User Interface: Should I uh {disfmarker}Marketing: 'kay .User Interface: Alright .Marketing: {gap}User Interface: So I can draw , but uh {disfmarker} Uh . Well. {vocalsound} Oh .Industrial Designer: B {vocalsound}Marketing: It's a mouse .User Interface: {vocalsound}Industrial Designer: Bunny rabbit .{vocalsound}Marketing: A bunny rabbit . {vocalsound}User Interface: {gap} Oh wrong one . Uh . {gap}Industrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: {vocalsound} Well uhIndustrial Designer: {gap}User Interface: you can guess what it is , I hope . {vocalsound}Marketing: Uh-huh .No problem .Project Manager: Little rabbits .User Interface: It's a rabbit .Industrial Designer: {vocalsound}User Interface: {vocalsound} And uh well uh it's uhquick , I guess . That's uh my uh favourite animal . {vocalsound}Project Manager: Okay , thank you .Industrial Designer: Okay .Project Manager: And our finaldrawing .User Interface: {vocalsound}Marketing: Bob Ross .User Interface: A dolphin . {vocalsound}Project Manager: {vocalsound}Industrial Designer:{vocalsound} Okay , um .Marketing: Dolphin .Industrial Designer: Uh I uh draw I I've drawn a dolphin because of its intelligence .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Right .Industrial Designer: One of the most intelligent uhProject Manager:Mm-hmm .Industrial Designer: animals in our world .User Interface: Well .Marketing: {gap}User Interface: {vocalsound}Industrial Designer: Yeah intelligent.User Interface: With an E_ .Project Manager: {vocalsound}Industrial Designer: I've I've uh {disfmarker}User Interface: {vocalsound}Industrial Designer: Eraser.Project Manager: {vocalsound}User Interface: You can try out the eraser now . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Pen . Well notperfect , but okay .Project Manager: Okay , wellUser Interface: {gap}Project Manager: thank you very much . I can see we have some uh drawing talent uh inthis group ,Industrial Designer: {vocalsound}User Interface: {vocalsound} Not really . {vocalsound}Project Manager: huh ? Well , nice animals , nice words .Sounds good . Um back to business , back to the money part . Um from the finance department I have learned that we are aiming for a selling price of twenty fiveEuros . And we're hoping for a aim of fifty million Euros and uh we are hoping to achieve that uh by aiming for an international market . And the production cost"}
+{"doc_id":"doc_123","qid":"","text":"Professor E: So . OK . Doesn't look like it crashed . That 's great .Grad G: So I think maybe what 's causing it to crash is I keep starting it and then stopping it tosee if it 's working . And so I think starting it and then stopping it and starting it again causes it to crash . So , I won't do that anymore .Postdoc B: And it lookslike you 've found a way of uh mapping the location to the {disfmarker} without having people have to give their names each time ?PhD A: Sounds like aninitialization thing .Postdoc B: I mean it 's like you have the {disfmarker} So you know that {disfmarker}Grad G: No .Postdoc B: I mean , are you going to writedown {pause} that I sat here ?Grad G: I 'm gonna collect the digit forms and write it down .Postdoc B: OK .PhD C: Oh , OK .Grad G: So {disfmarker} So theyshould be right with what 's on the digit forms . OK , so I 'll go ahead and start with digits . u And I should say that uh , you just pau you just read each line anand then pause briefly .Professor E: And start by giving the transcript number .PhD A: TranPhD D: Transcript {disfmarker} Uh . OK , OK .PhD A: Oh sorry , goahead .Professor E: So uh , you see , Don , the unbridled excitement of the work that we have on this project .Grad H: OK .Professor E: It 's just uh{disfmarker}Grad H: Umh .Professor E: Uh , you know , it doesn't seem like a bad idea to have {comment} that information .Grad G: And I 'm surprised I sort of{disfmarker} I 'm surprised I forgot that ,Professor E: Yeah , I {disfmarker} I 'd {disfmarker} I think it 's someGrad G: but uh I think that would be a good thingto add . After I just printed out a zillion of them .Professor E: Yeah , well , that 's {disfmarker} Um , so I {disfmarker} I do have a {disfmarker} a an agendasuggestion . Uh , we {disfmarker} I think the things that we talk about in this meeting uh tend to be a mixture of uh procedural uh mundane things and uhresearch points and um I was thinking I think it was a meeting a couple of weeks ago that we {disfmarker} we spent much of the time talking about the mundanestuff cuz that 's easier to get out of the way and then we sort of drifted into the research and maybe five minutes into that Andreas had to leave . So{vocalsound} uh I 'm suggesting we turn it around and {disfmarker} and uh sort of we have {disfmarker} anybody has some mundane points that we could sendan email later , uh hold them for a bit , and let 's talk about the {disfmarker} the research - y kind of things . Um , so um the one th one thing I know that wehave on that is uh we had talked a {disfmarker} a couple weeks before um uh about the uh {disfmarker} the stuff you were doing with {disfmarker} with uh umuh l l attempting to locate events , we had a little go around trying to figure out what you meant by \" events \" but I think , you know , what we had meant by \"events \" I guess was uh points of overlap between speakers . But I th I gather from our discussion a little earlier today that you also mean uh interruptions withsomething elsePhD D: Yeah .Professor E: like some other noise .PhD D: Uh - huh . Yeah .Professor E: Yes ? You mean that as an event also .PhD D: ToProfessorE: So at any rate you were {disfmarker} you 've {disfmarker} you 've done some work on thatPhD D: right .Professor E: and um then the other thing would be itmight be nice to have a preliminary discussion of some of the other uh research uh areas that uh we 're thinking about doing . Um , I think especially since you{disfmarker} you haven't been in {disfmarker} in these meetings for a little bit , maybe you have some discussion of some of the p the plausible things to look atnow that we 're starting to get data , uh and one of the things I know that also came up uh is some discussions that {disfmarker} that uh {disfmarker} that uhJane had with Lokendra uh about some {disfmarker} some {disfmarker} some um uh work about I {disfmarker} I {disfmarker} I d I {disfmarker} I don't wantto try to say cuz I {disfmarker} I 'll say it wrong , but anyway some {disfmarker} some potential collaboration there about {disfmarker} about the {disfmarker}about the {disfmarker} working with these data .PhD C: Oh . Sure .Professor E: So . So , uh .Grad G: You wanna just go around ?Professor E: Uh . {pause} Well ,I don't know if we {disfmarker} if this is sort of like everybody has something to contribute sort of thing , I think there 's just just a couple {disfmarker} a couplepeople primarily um but um Uh , wh why don't {disfmarker} Actually I think that {disfmarker} that last one I just said we could do fairly quickly so why don't you{disfmarker} you start with that .Postdoc B: OK . Shall I {disfmarker} shall I just start ? OK .Professor E: Yeah , just explain what it was .Postdoc B: Um , so , uh, he was interested in the question of {disfmarker} you know , relating to his {disfmarker} to the research he presented recently , um of inference structures ,and uh , the need to build in , um , this {disfmarker} this sort of uh mechanism for understanding of language . And he gave the example in his talk about how{pause} um , e a I 'm remembering it just off the top of my head right now , but it 's something about how um , i \" Joe slipped \" you know , \" John had washedthe floor \" or something like that . And I don't have it quite right , but that kind of thing , where you have to draw the inference that , OK , there 's this timesequence , but also the {disfmarker} the {disfmarker} the causal aspects of the uh floor and {disfmarker} and how it might have been the cause of the fall andthat um it was the other person who fell than the one who cleaned it and it {disfmarker} {comment} These sorts of things . So , I looked through the transcriptthat we have so far , {comment} and um , fou identified a couple different types of things of that type and um , one of them was something like uh , during thecourse of the transcript , um um , w we had gone through the part where everyone said which channel they were on and which device they were on , and um ,the question was raised \" Well , should we restart the recording at this point ? \" And {disfmarker} and Dan Ellis said , \" Well , we 're just so far ahead of the gameright now {pause} we really don't need to \" . Now , how would you interpret that without a lot of inference ? So , the inferences that are involved are things like ,OK , so , how do you interpret \" ahead of the game \" ? You know . So it 's the {disfmarker} it 's {pause} i What you {disfmarker} what you int what you draw{disfmarker} you know , the conclusions that you need to draw are that space is involved in recording ,Grad G: Hmm , metaphorically .Postdoc B: that um , i that{pause} i we have enough space , and he continues , like \" we 're so ahead of the game cuz now we have built - in downsampling \" . So you have to sort of getthe idea that um , \" ahead of the game \" is sp speaking with respect to space limitations , that um that in fact downsampling is gaining us enough space , andthat therefore we can keep the recording we 've done so far . But there are a lot of different things like that .Grad G: So , do you think his interest is in using thisas {pause} a data source , or {pause} training material , or what ?Professor E: Well , I {disfmarker} I should maybe interject to say this started off with adiscussion that I had with him , so um we were trying to think of ways that his interests could interact with oursGrad G: Mm - hmm .Professor E: and um uh Ithought that if we were going to project into the future when we had a lot of data , uh and um such things might be useful for that in or before we invested toomuch uh effort into that he should uh , with Jane 's help , look into some of the data that we 're {disfmarker} already have and see , is there anything to this atall ?Grad G: Mm - hmm .Professor E: Is there any point which you think that , you know , you could gain some advantage and some potential use for it . Cuz itcould be that you 'd look through it and you say \" well , this is just the wrong {pause} task for {disfmarker} for him to pursue his {disfmarker} \"Grad G: Wrong ,yeah .Professor E: And {disfmarker} and uh I got the impression from your mail that in fact there was enough things like this just in the little sample that{disfmarker} that you looked at that {disfmarker} that it 's plausible at least .Postdoc B: It 's possible . Uh , he was {disfmarker} he {disfmarker} he{disfmarker} you know {disfmarker} We met and he was gonna go and uh you know , y look through them more systematicallyProfessor E: Yeah .Postdoc B: andthen uh meet again .Professor E: Yeah .Postdoc B: So it 's , you know , not a matter of a {disfmarker}Professor E: Yeah .Postdoc B: But , yeah , I think{disfmarker} I think it was optimistic .Professor E: So anyway , that 's {disfmarker} that 's e a quite different thing from anything we 've talked about that , youknow , might {disfmarker} might {disfmarker} might come out from some of this .PhD C: But he can use text , basically . I mean , he 's talking about just usingtextPostdoc B: That 's his major {disfmarker} I mentioned several that w had to do with implications drawn from intonational contoursPhD C: pretty much , or{disfmarker} ?Postdoc B: and {pause} that wasn't as directly relevant to what he 's doing . He 's interested in these {disfmarker} these knowledge structures,PhD C: OK .PhD D: Yeah , interesting .Postdoc B: inferences that you draw {pause} i from {disfmarker}Professor E: I mean , he certainly could use text , but wewere in fact looking to see if there {disfmarker} is there {disfmarker} is there something in common between our interest in meetings and his interest in{disfmarker} in {disfmarker} in this stuff . So .Grad G: And I imagine that transcripts of speech {disfmarker} I mean text that is speech {disfmarker} probablyhas more of those than sort of prepared writing . I {disfmarker} I don't know whether it would or not , but it seems like it would .Professor E: I don't know ,probably de probably depends on what the prepared writing was . But .Postdoc B: Yeah , I don't think I would make that leap , because i in narratives , you know{disfmarker} I mean , if you spell out everything in a narrative , it can be really tedious ,Grad G: Mm - hmm .Postdoc B: so .Grad G: Yeah , I 'm just thinking ,you know , when you 're {disfmarker} when you 're face to face , you have a lot of backchannel and {disfmarker} And {disfmarker}Postdoc B: Oh . That aspect.Grad G: Yeah . And so I think it 's just easier to do that sort of broad inference jumping if it 's face to face . I mean , so , if I just read that Dan was saying \" we're ahead of the game \" {comment} in that {disfmarker} in that context ,Postdoc B: Well {disfmarker} Yeah .Grad G: I might not realize that he was talkingabout disk space as opposed to anything else .Postdoc B: I {disfmarker} you know , I {disfmarker} I had several that had to do with backchannels and thiswasn't one of them .Grad G: Uh - huh .Postdoc B: This {disfmarker} this one really does um m make you leap from {disfmarker} So he said , you know , \" we 'reahead of the game , w we have built - in downsampling \" .Grad G: Mm - hmm .Postdoc B: And the inference , i if you had it written down , would be{disfmarker}Grad G: I guess it would be the same .Postdoc B: Uh - huh . But there are others that have backchannelling , it 's just he was less interested in those.PhD F: Can I {disfmarker} Sorry to interrupt . Um , I f f f I 've {disfmarker} @ @ {comment} d A minute {disfmarker} uh , several minutes ago , I , like , briefly"}
+{"doc_id":"doc_124","qid":"","text":"Marketing: Is this okay ?Project Manager: Uh yeah . Fine now . Oh , it's not liking us , it went that-a-way . Computer adjusting . Oh . Uh . Okay . {vocalsound} So. Right . You ready back there ? {vocalsound} Uh okay . Welcome everyone . Um this is the kick-off meeting for the day . Um we're the new group uh to create anew remote control for Real Reaction . As you can see our agenda is to open up the meeting , um become acquainted with each other , um have a little trainingon tools , uh create a plan , discuss things and and we only have twenty minut twenty five minutes total . Okay . The new remote control is to be original , trendyand user-friendly . That , Steph , is your part , is the user-friendliness . The originality um is gonna take all of us . Um the trendiness we'll probably go look at{disfmarker} for some marketing research information from you , Sarah . Um and we'll get on with it . Okay , so we'll have a functional design individual work umwith meeting and then conceptual design t and then detailed design . Okay ? Right . Everybody's supposed to try out the whiteboard . Kate , why don't you try itfirst , if you can either bring your things with you , I guess {disfmarker}Industrial Designer: Uh yeah , if I can pick up with all these bits and pieces , hang on.Project Manager: And while you're doing that we'll try and figure out how to hook these things on as well , 'cause we're all gonna have to be able to walk around.Industrial Designer: Uh right , so you want an animal and the characteristics of that animal . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Doyou have to be able to recognise what animal it is ? {vocalsound} Um {disfmarker}Project Manager: Uh I do not think so ,User Interface: {vocalsound}{vocalsound} Are we all gonna draw a cat ?Project Manager: I think it's just to try out the whiteboard . {vocalsound} {vocalsound} Ah {vocalsound} .IndustrialDesigner: {vocalsound} Only animal I could thin I could draw {vocalsound} .Marketing: I know .Industrial Designer: Its a sort of bunny rabbit cat .{vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}Industrial Designer: You can tell it's not a bunny rabbit by the ears .Project Manager:Uh-huh .Industrial Designer: Um I suppose it should have a mouth as well , sort of {disfmarker}Project Manager: Okay .Industrial Designer: Right , yeah .ProjectManager: Great . And the characteristics ?Industrial Designer: Um the favourite characteristics of the cat um {disfmarker} the whiskers I think , um becausethey're the easiest to draw .Project Manager: Uh-huh .Industrial Designer: In fact , I'll give it some more {disfmarker}Project Manager: Okay .IndustrialDesigner: {vocalsound} Oh , and the tailProject Manager: Fantastic . Since you're handy as well , why don't you do yours next , Steph . I think it's to get us usedto using the pen .Industrial Designer: {vocalsound} Yes . Um sure it's not to test our artistic {disfmarker}Project Manager: Uh no . {vocalsound} A mouse-y?Industrial Designer: It's a mouse .User Interface: That's not a mouse-y , no .Industrial Designer: No it's not a mouse . It's a wombat .Project Manager: Oh .UserInterface: It's a ratty .Project Manager: Argh .Industrial Designer: A what ?Project Manager: Rat .User Interface: A ratty .Project Manager: Not a mouse , a rat.Industrial Designer: A webbed foot . Webbed f {vocalsound}User Interface: {vocalsound} It's clothes . That's it's clothes . {vocalsound}Project Manager:{vocalsound}Industrial Designer: Oh right {vocalsound} .User Interface: It's a ratty with a with a with a very long tail .Project Manager: And your favouritecharacteristics of that animal .User Interface: I love whiskers . Uh they're intelligent and they're cheeky {vocalsound} and uh fantastic petsProject Manager: Oh.User Interface: and very friendly .Project Manager: Okay . Kate ?Industrial Designer: {vocalsound} {vocalsound}User Interface: And they sit on your shoulderand whisper the answers to your homework in your ear when you're doing your homework .Project Manager: {vocalsound}Marketing: Thanks .Project Manager:Oh , a fish .Industrial Designer: {vocalsound} Gosh ,User Interface: A shark ?Industrial Designer: why didn't I think of fish ? That's even easier to draw than cat .{vocalsound}Marketing: Mm {vocalsound} this is very representational fish . {vocalsound}Project Manager: Oh , okay .Industrial Designer: {vocalsound}ProjectManager: Fine .Marketing: Um I like them because they're sleekProject Manager: Favourite characteristics ?Marketing: and they have a lot of freedom but theyalso do n uh swim in groups ,Project Manager: 'Kay .Marketing: so .Project Manager: So they have team elements . {vocalsound}Industrial Designer:{vocalsound}Marketing: Do you have a favourite one ?Project Manager: I'm afraid I'm with Steph . And I think your pen's running out of whatever . But I'mafraid I take the coward's way out , and the cat's looking the other way . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}ProjectManager: He's hiding .Marketing: {vocalsound}Project Manager: Um cats are sometimes very independent . My parents had cats . Uh and they can mm decidefor themselves what is best . Okay . Now um {vocalsound} we have to get down to the nitty-gritty of how to make this and this remote control has to be sold{disfmarker} um we're to sell it for twenty five Euros , with a profit aim ultimately of fifty million Euros . That tells you something about how many um we have tosell on an international scale . Um would be an awful lot of these , would be like what , a hundred million of them um to make twenty five Euros on each one andto make a total profit of fifty million . Um the production is to only cost twelve and a half Euros per item . Now if they cost twelve and a half , you're selling it fortwenty five , you're making twelve and a half Euros each . Um and we're to make a profit of fifty million , that's t uh {disfmarker} can you do the maths and howmany are we selling ?Marketing: {vocalsound} Uh yeah . {vocalsound} I was just wondering if that's the um {disfmarker} If fifty percent is normal{disfmarker}Project Manager: Mark-up ?Marketing: B yeah . Um I would think would be more like sixty percent . But um let me {disfmarker}Project Manager:Okay .Marketing: I have two thoughts . One hundred , fifty percent .Project Manager: {gap}Marketing: And and your question is how many do we have to sell?Project Manager: Yes , 'cause our market um is international and your problem is {disfmarker} has to do with marketing of {disfmarker} you know , you gottaknow how many we're going to be selling to know how big a market you have to target and who is that .Marketing: At twenty five . Mm-hmm . Yeah , that's um{disfmarker}Project Manager: To give you a pretty good idea of where you're looking .Marketing: So that's four million of them ?Project Manager: Something likethat ? Okay .Marketing: Yeah .Project Manager: That's fifty million Euros . In order to make fifty million Euros , and you're only getting twelve and a half each{disfmarker}Marketing: And if we make {disfmarker} Mm-hmm .Project Manager: That's a lot of selling . Two four {disfmarker}Marketing: Yeah . Four million.Project Manager: To be fifty , be four million . You'd have to sell four million .Marketing: Hmm .Project Manager: Okay ? Right . Experience with a remote control. Any of you use of remote control for a television or D_V_D_ or something ? You're both nodding ,Industrial Designer: That that that's the sorta product we'retalking about , one that will work for a {disfmarker} in a home environment , for a T_V_s and {disfmarker}Marketing: Yeah .Project Manager: all three . Well I'veseen some remote controls that are for more than one device at a time , but I also have heard about them not working well or not well co-ordinated and you windup working with this one for thi this three and then this one over here for another .User Interface: It is true that you always sit around {disfmarker} you know ,you're sitting on your sofa and you wanna change something , there's five different remotes , and one for the D_V_D_ and one for the video and one for cable andone for whatever else .Industrial Designer: {vocalsound}Marketing: Mm-hmm . Y yeah .Project Manager: And they don't always talk to each other .UserInterface: But I presume this is t I presume this is just for television .Project Manager: Don't know . Okay .Marketing: {vocalsound}Project Manager: Are thereany um ideas for the remote ? What would it be for and what group would be be for ? We have to think about that one .Marketing: We could make a HelloKittyIndustrial Designer: {vocalsound}Marketing: themed remote .Project Manager: {vocalsound}User Interface: I think one in b bright colours would be good .{vocalsound}Marketing: Yeah .Industrial Designer: {vocalsound} I think one that works would be good . {vocalsound}Marketing: We could totally go for theJapan-a-mation . Well I mean there's also the cachet that um uh the Japanese make great {vocalsound} products . Electrical {disfmarker} their industrial designis very good .User Interface: I think one that doesn't have lots of superfluous functions . Like I've got one at home that has well , apart from the obvious ,channels , channel up , channel down , volume ,Marketing: Yeah .User Interface: you know , subtitles , mute , there's a lotta buttons that I've got no idea whatthey do , like {vocalsound} .Project Manager: {vocalsound}Marketing: Well , that's a really good point ,Project Manager: Okay .Marketing: because I think one ofthe things that {disfmarker} being somewhat computer literate , we tend to um go to menus and then make choices , you know , so if it's like an uh volumebutton , you know , you can go in and say mute or or volume . We don't need to have like the l the numbers if we also have uh uh channel up channel down .UserInterface: Mm .Project Manager: Mm . {vocalsound} Okay .Marketing: Mm . We can make it smart like an iPod , you know , make everything menus .UserInterface: Ooh , closing the meeting .Project Manager: Yeah . Um I know this sounds like it was very quick ,User Interface: That was quick .Project Manager: butthe I think that's the industrial design is the first one ,Industrial Designer: Mm .Project Manager: that's Kate , for the working design .Industrial Designer:Mm-hmm .Project Manager: And user , that's you S Steph , for the technical functions design , and for marketing the user requirements specification . I thinkthere's going to be a lot of {disfmarker} we have to help each other and work through this as a group , and I think we all , you know , {vocalsound} we like ourkitty-cat and our rat and our fish , but I think we all have to like each other um to get this done . Uh as it says , we're gonna get individual instructions , but uh Idon't think they allowed a lot of extra time , so I think a little bit of less of this and more at do will set us in good stead . Do you all agree ?Industrial Designer:Mm-hmm .User Interface: Mm-hmm .Project Manager: Alright . Um then I don't see any reason to prolong it and f we should finish this meeting at ni right nowand go into other things . Alright , so this is the end of the first meeting .Marketing: Okay .Industrial Designer: 'Kay .Project Manager: Thank you all ."}
+{"doc_id":"doc_125","qid":"","text":"Project Manager: Right uh . So um . So where's the PowerPoint presentation ? Sorry ? Microsoft PowerPoint , right . Right , okay . So . Right . Okay , so we've gotuh so we've got new project requirements . Um . So basically we've got three things , and we've got forty minutes in which to uh {disfmarker} for this meeting touh to discuss the various options . Um . Three presentations .Industrial Designer: We have a {disfmarker} I guess we have a presentation each , 'cause I've gotone . Um .User Interface: Yeah .Marketing: Yeah ,Project Manager: I see , right .Marketing: I've got one too .Project Manager: That's nice to know , one fromeach of you . Um new project requirements . Um so do we want to do the presentation first , or do we want to um {disfmarker} W I I got um {gap} or or threethings basically , um relating to the remote being only for T_V_ . We discussed that last timeIndustrial Designer: Mm-hmm .Project Manager: and in actual factthat was pr pretty well what we came up with anyway .Marketing: Mm-hmm .Project Manager: So in fact it actually f we won't be forestalled {vocalsound} in asense .Marketing: Mm-hmm .User Interface: {vocalsound}Industrial Designer: {gap}Project Manager: Um we've got uh teletext outdated . Um did you get anyinformation on that ?Industrial Designer: Uh we didn't , no .User Interface: No .Project Manager: Right and the corporate image was the uh final thing .IndustrialDesigner: I d I didn't personally .Marketing: Hmm .Project Manager: So I I got that in email form .User Interface: {vocalsound}Project Manager: Um . Right okay. So I guess if we go ahead with the uh with the three presentations . So we'll start with yourself on the basis that uh {disfmarker}Industrial Designer: Okaythat's fine . I'll just um I'll grab the wire out the back of this one .Project Manager: Sorry , yep .Industrial Designer: {gap}User Interface: {vocalsound}ProjectManager: Oh . {vocalsound}User Interface: What is it ?Industrial Designer: I'm not quite sure how it {disfmarker}User Interface: I think you've got to do umcontrol F_ eight .Industrial Designer: Control {gap} {disfmarker} Doesn't seem to be quite working at the moment .User Interface: Shift F_ eight . {vocalsound}{gap}Industrial Designer: Alt function F_ eight . {vocalsound} Again not doing anything .Marketing: {vocalsound} There's usually a little thing in the top right forthe {disfmarker}Industrial Designer: Oh .User Interface: Ah there ,Marketing: Oh hang on ,User Interface: it's doing something .Marketing: it's just coming on.Industrial Designer: {gap} pressed about five times now .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay , that's me {gap} .Okay , um I have to go {gap} again .Project Manager: {gap} it going ?Industrial Designer: Hopefully that should be it this time . Okay , I think we're there .That's good . Okay , um {disfmarker} Okay I'm gonna be looking at the working design . Um {vocalsound} of the of the remote control . Um I've just got threesections , first is the research I made on the on the remote control itself um . And then that involves the components required in it and the systems uh design ofthe actual the actual remote . Um so having researched the existing models within the market , um I found my research off the internet . Um I've establishedwhat the components required for the remote control to function , actually are . And then also the methods in which these components interact together for theremote to actually do what you want it to do and how it connects with the television . Um the basic components are an energy source which I guess um in mostexisting models would be a battery supply . Whether that'll be sort of two batteries , four batteries , um it may vary .Project Manager: Okay .Industrial Designer:We then have the user interface , which is basically the like the the buttons on the actual remote . Um the various functions used for changing channel , uhchannel up and down , volume , things like that . Um there's also a chip inside the remote which does all the computer type things . And then the sender , whichum is usually , I've found , an infra-red device which sends a signal to the actual television . Um and the last part is receiver which is important in the system butis not actually part of the remote itself , because that's obviously found in the television . {gap} . Um I'm gonna have to actually draw on the board because uh itwas a little tricky on PowerPoint to get this working , so . I'll just go through there . S um um do we have a cloth to wipe this down with , or ? Oh I'll jProjectManager: Uh there's the rubber on the right , I think .User Interface: I think it's that little {disfmarker}Industrial Designer: Oh I see . Oh okay . I'll get rid of thebear.$Project Manager: {gap} it's magic . {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay that's great . Okay , so we start off with a um batterysuppl Uh no , a power supply which we'd probably get {disfmarker} it's probably gonna be the battery . Um we then have a particular button , which may be{disfmarker} {gap} that's obviously there's lots and lots of different buttons . Um but this is how the basic system works . Um that sends {gap} after you pressthat that sends the message to the chip , which um then sends {disfmarker} It sort of interprets which button you've pressed and then sends the appropriatemessage to the sender . {vocalsound} Um . So that's {gap} . That's the remote in itself , that's the components of the remote and how they work together . Sothis is the uh user interface . Um this is the chip itself , which then {gap} , and that's the that's the infra-red sender . And then on the separate thing we have onthe on the television we have a a receiver . And the sender sends a message to the receiver . 'Kay .Project Manager: So the the top bit's the power source , yes ?{gap} .Industrial Designer: Ah yes , that's the power source . Um . {gap} going on to personal preferences , I've said that battery seems the best option for theactual remote , just because of the size . You don't want a a cable attached to the remote otherwise it's not it's not really a remote . Um and then the sender,Marketing: {vocalsound}Industrial Designer: and infra-red um has been used quite successfully . If the battery's on reasonable power , they always seem towork fairly well . You don't have to be point directly at the television itself .Project Manager: So the battery is the {disfmarker} in the sender .Industrial Designer:Um {disfmarker} Yes . 'Kay and that's it for the moment .Marketing: Okay .Project Manager: Okay . So , now more design . {vocalsound}User Interface: Right .Thank you . Mine's not quite as complicated as all that .Project Manager: {vocalsound} That's what we like to hear . {vocalsound}User Interface: {vocalsound}Did I press function ? Yeah .Project Manager: Is it control function ei Oh , th there you go .User Interface: Oh . Um . Okay so I'm gonna talk a bit about thetechnical functions design . I'm Louisa , the User Interface Designer , as you know . {vocalsound} Um so the m basic method of this is to send a signal from theremote to the television set , so that a desired function is performed . Um an example of the function could be to change the volume up or down , uh so obviouslyyou need two different buttons for that . Um to change the channel , either by pressing the number that you want or by channel up or down . Um to switch thetelevision on or off , maybe a standby button . Um here are two example remotes . Um by the look of it they both have um kind of play and fast forward , rewindfunctions , so I think they incorporate a kind of video function which we won't have to worry about . Uh but as you can see , the left remote is quite um quite busylooking , quite complicated . Um whereas the right remote is much simpler , it looks much more user friendly . Um so my personal preference would be the rightremote . So , {vocalsound} it's got nice big buttons , it's got a very limited number of buttons . Um they're nice , kinda clearly labelled . Um I like the use of thekind of um symbols like the triangles and the squares and the arrows as well as the words on the um kind of play functions and all that . So it's very very userfriendly , and it's got a little splash of colour . Could maybe do with some more colour . Um .Project Manager: Well there's a couple of things there . Um we haveto remember that we have our own um logo and colour scheme . So basically we'd have to uh we'd have to be putting that on um the the product .User Interface:Hmm . Do we get to see that ?Project Manager: {vocalsound} I haven't as yet , no .User Interface: Will you be presenting that in a bit ? {vocalsound}ProjectManager: {vocalsound} But uh I got uh I got an email that basically said to uh make sure that uh whatever device we come up with at the end of the day had toincorporate um the corporate colour and slogan . So uh I'm guessing that uh uh I notice on the bottom there it's got uh what's that ? A_P_O_G_E_E_ that mightbe the corporate colour scheme , although the only the only colour I can see in that is the red .Industrial Designer: {gap}User Interface: Hmm .IndustrialDesigner: Would you be able to get rid of the the extra buttons here , the the sort of circular section , because that seems to be for a video as well . So we coulddispense with that little bit as well and just get it down to just the numbers and the volume . Possibly ?User Interface: What do you mean by the circular section?Industrial Designer: J yeah yeah yeah j yeahUser Interface: Like all of that bottom bit ?Project Manager: {vocalsound}Industrial Designer: just this little bit isthat {disfmarker} I think that's still um a video remote part ,User Interface: Yeah .Industrial Designer: so maybe we could get rid of that as well .User Interface:Yeah . And I don't really think that you need nine numbers .Project Manager: Well b uh wUser Interface: I mean how often do you use seven , eight and nine ? Ithink just one to six and then channel up and down should be enough .Project Manager: Well th the on the {disfmarker} {vocalsound}User Interface: Like howoften do you hit nine ?Project Manager: Well uh for for general television purposes obviously you have channels one to five at this point in time ,Marketing:Mm-hmm .Project Manager: and we'd have to have some room for uh future such channels . But but {disfmarker}Industrial Designer: It's just people are used toseeing that , so if we didn't have them then they might think it's {disfmarker} {gap}Project Manager: But , well possibly but the the other thing is that with umthe current expansion of uh channels uh in the process of taking place , certainly the button up and down , but uh I mean {vocalsound} how many channels dowe have to um {disfmarker} actual television channels do we have to uh prepare for ? I would have thought that uh {gap} it's forever expanding and at themoment we've got {disfmarker} although you've onl you've got the five standard , you've got the B_B_C_ have come up with a further sixIndustrial Designer:{vocalsound}Project Manager: and uh there's uh I don't know exactly how many channels there are on uh when you take into account uh Sky and various otherum various others .Marketing: Mm-hmm .Industrial Designer: Hmm .Project Manager: So I would've thought that we wouldn't , you know , rather{disfmarker}User Interface: Hmm .Project Manager: Okay , if the time of flicking from one to other , but presumably it'll take a secondUser Interface:"}
+{"doc_id":"doc_126","qid":"","text":"Project Manager: Okay . {vocalsound} Je croix que c'est dommage de le {disfmarker} it will be sad to destroy this prototype . It really looks like a banana .UserInterface: {vocalsound} It is a banana .Project Manager: It is a banana . {vocalsound}User Interface: It is the essence of bananas . I would be confused with thisthing .Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound} Mm .Industrial Designer: {vocalsound}User Interface:SProject Manager: Okay .Marketing: Mm-hmm . {vocalsound}User Interface: How is everyone ?Project Manager: Hi .Industrial Designer: Hi .Project Manager: Sowe are here for the detailed design meeting .Marketing: {vocalsound}Project Manager: {vocalsound} So {vocalsound}User Interface: Mm-hmm .ProjectManager: we will uh {disfmarker} I will first present what we are going to do in this meeting . Then uh I've {disfmarker} I will also take notes during this meetingand I will send you uh a summary then as usual . We will then look at the evaluation criteria of the prototype presented by uh our two colleagues that make goodwork .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} And uh then we will see the financial aspects and the cost of theproduct . Then we will uh evaluate the product . And uh end with the conclusion of this project and see whether it fits with {disfmarker} it fulf if it fulfil therequirement or not . SoIndustrial Designer: Mm-hmm .Project Manager: d let's start with the cost aspect so so I look at the aspect discussed last time , that is tosay uh to have a standard battery , {vocalsound} to have a yellow banana shaped uh case with uh a rubber material around itIndustrial Designer:{vocalsound}Project Manager: to be uh to feel spongy ,User Interface: Like a banana .Project Manager: {vocalsound} and uh also at the different aspect likehaving a wheel etcetera .Marketing: {vocalsound}Industrial Designer: Mm-hmm .Project Manager: And the cost ended to be ten point seven Euros . So which isuh good , because we had a price gap of twelve point five Euros .Industrial Designer: Mm-hmm .Project Manager: So for the financial aspect it's okay , we can uh{disfmarker} we can continue with this product uh as if ,Marketing: {vocalsound}Project Manager: {vocalsound} and we are now going to see the projectevaluation with uh our marketing expert .Marketing: {vocalsound} Yeah . Okay . So uh you can have my project in {disfmarker}Project Manager: Yeah . Youhave a presentation ?Marketing: Uh yeah just a {disfmarker}Project Manager: Participant four , yes .Marketing: {vocalsound} Four . Evaluation .Project Manager:Okay . Okay .Marketing: Okay . So you can go . We can go through .Project Manager: Okay .Marketing: So I made an evaluation and the the evaluation criteria ismade according to {vocalsound} the users' requirements and the market trends we talked about uh during the previous uh meetings . So you can go through and{disfmarker}Project Manager: Okay .Marketing: okay so uh we have uh six points . We we talked about before .Project Manager: Okay .Marketing: So we wewant to have a product fancy look and feel , technologically innovative , easy to use , fashion , {vocalsound} easy to find in a room , and robust ,Project Manager:Yeah .Industrial Designer: Mm-hmm .Marketing: uh and uh uh I have a scale of uh seven points .Project Manager: Yeah .Marketing: Okay . So I go through allthe uh all the points here ,Project Manager: Yeah .Marketing: and uh according to what you think about the this project you can uh mm make a one point , twopoint or seven point . Okay ?Project Manager: Okay .Marketing: And after we ha we have an an average , and uh we see .Project Manager: Okay .IndustrialDesigner: Mm-hmm .Marketing: The {disfmarker} okay ? {vocalsound} Uh so uh fancy look and feel , what do you think ?Project Manager: Okay . Maybe you canpresen {vocalsound}Marketing: F between o one and seven .Project Manager: okay . Maybe {disfmarker} {vocalsound} hold it .Marketing: {vocalsound}ProjectManager: {vocalsound} So I think it's uh very uh very nice . What do you think ?User Interface: I give it a {disfmarker} I give it a five .Project Manager: Yeah .So it's between one and seven ? Seven is the highest uh ?Marketing: Yeah . {vocalsound} Seven is the {disfmarker}Project Manager: I will give a six .IndustrialDesigner: I will give a a five .Marketing: {vocalsound} Mm-hmm .User Interface: {vocalsound} And you ?Marketing: {gap} sorry .User Interface: Do you vote uhChristine ?Marketing: {gap} eh ?User Interface: Do you also vote ?Marketing: {vocalsound} No , I just want to see something {disfmarker}Project Manager:Maybe we all have to agree on a common {disfmarker}User Interface: Well , we can {gap} very easily {vocalsound} .Project Manager: Yeah .Marketing:Mm-hmm .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Uh I think uh {gap} {vocalsound} and need to {gap} as well{vocalsound} .Project Manager: No problem . SoUser Interface: {vocalsound}Marketing: Need to {disfmarker}Project Manager: this is your{disfmarker}Marketing: uh I don't know if you {disfmarker} we ha we have to put uh one uh f If it's better or {disfmarker}Project Manager: One is most {gap}.User Interface: I {disfmarker}Marketing: Uh-uh .Project Manager: Well , we can choose what we want .Marketing: Um . Yeah .Project Manager: Okay , let's saythat seven is the best .Marketing: Or maybe we can say s seven is the best mm {vocalsound} .Project Manager: Okay . So so do note the grade we have five , sixfor me ,Industrial Designer: Five .Project Manager: five . And what what's your choice ?Marketing: Oh sorry . {vocalsound}Project Manager: How much wouldyou give on the fancy aspect , on the fashionable aspect ?Marketing: Six {disfmarker} Uh s you can {disfmarker} how much what ?Project Manager: How muchwould you {disfmarker} you don't answer to this uh questionnaire ?Marketing: Oh yes I mm I dunno mm , I think six , it's a good uh {disfmarker}User Interface:So it will have five point five average .Project Manager: Five point five average .Marketing: Yeah .Project Manager: Okay .User Interface: Mm .Marketing: Wa can{gap} . {vocalsound}Industrial Designer: {vocalsound}Marketing: Okay .Project Manager: Well , does it {disfmarker}Marketing: {vocalsound} I sorry .UserInterface: {vocalsound}Marketing: Okay . So after , the technological aspect ?Project Manager: Okay , techne technological aspect .Marketing: So we we said uhwe have uh a new technological uh thing with a wheel .Project Manager: Yeah , we have the wheel . We also have the rubber material ,Marketing: Uh .ProjectManager: which make it uh like new also . I think I would give a five .User Interface: It's {gap} four .Project Manager: Four ?Industrial Designer: A four also ,because , except for the wheel , we don't have so much innovation .User Interface: Yeah .Industrial Designer: The rubber is {disfmarker}Project Manager: Okay.Industrial Designer: Uh a four . I I {disfmarker}User Interface: D are we including the voice {disfmarker} are you glu are we including the voice in the end ornot ? Huh ?Project Manager: No .User Interface: No . Okay .Project Manager: SoMarketing: No .Project Manager: what's your uh grade ?Marketing: Four .ProjectManager: Four ? So we have four , four f and five ?Marketing: We can put four ?User Interface: Yeah .Project Manager: Yeah , four . Four , yeah , let's put four.User Interface: For twenty five .Marketing: Everyone is okay or {disfmarker} four poin Four .User Interface: Yeah .Marketing: Okay .Project Manager: Doesn't it{disfmarker} {vocalsound}Marketing: Very easy to use . Do you think it's easy to use ?Project Manager: Yeah , I think so . Yeah .Industrial Designer: Yeah .UserInterface: I give a seven , I think .Industrial Designer: Six .Project Manager: I would give a {disfmarker} I would give a seven as well . It's very easy to use.Industrial Designer: Six .Marketing: Mm , six for me also .Project Manager: SoUser Interface: 'Kay .Marketing: Six point five . {vocalsound}Project Manager: sixpoint five .Industrial Designer: Six six six point five .Project Manager: Okay .Marketing: Okay . {vocalsound} Is it fashion ? {vocalsound}Project Manager: Ohyeah ,User Interface: {vocalsound}Project Manager: its its f its fruit fruit shape .Marketing: Seven ? {vocalsound}Project Manager: I would say seven . And isvery very nice design .Marketing: Yeah it's fashion , because it's a fruit ,User Interface: Yeah , we can we can put a seven here .Marketing: and we say that the{disfmarker}Industrial Designer: Yeah , seven .User Interface: Yeah .Marketing: yeah , seven .Project Manager: Yeah . Seven , okay .User Interface: Yeah . Well, we hope .Industrial Designer: {vocalsound} Easy to find .Marketing: {vocalsound} Uh easy to find in a room ? {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound} I lost my banana . {vocalsound}User Interface: {vocalsound} {vocalsound}Project Manager: I think you can'tmiss it .User Interface: {vocalsound} Yeah .Project Manager: Okay .Marketing: Yeah ?Industrial Designer: Uh .User Interface: Yeah , I think it's cool . I think wecan put a six here .Marketing: We have the lightning , or {disfmarker}Project Manager: Yeah , we have {vocalsound} the {vocalsound}Marketing: The lighting.Project Manager: we don't sesh especially have the lightningUser Interface: {vocalsound} So you'll make the material transparentProject Manager: but{disfmarker}Marketing: {vocalsound}User Interface: so that it uh lights up completely , or {disfmarker}Project Manager: So it's yellow . It's okay .Marketing:{vocalsound} Yeah . {gap}Project Manager: I think it's very easy to {vocalsound} {disfmarker}Marketing: Seven ?Project Manager: I would say seven . It's hardto miss it .Industrial Designer: {vocalsound} Six . Yeah , okay .User Interface: Yeah .Marketing: Is it {disfmarker} is it robust ?Project Manager: Yeah , it'srubber , made of rubber ,Industrial Designer: Uh f yeah , it's ru it's rubber .Project Manager: I think it's m it's uh more rubber than uh other remote control.Industrial Designer: Yeah . {vocalsound}User Interface: Yeah the only problem there might be {disfmarker} which {gap} know , i if it's very sensitive ,ProjectManager: Yeah .User Interface: they will ,Industrial Designer: Yeah .User Interface: I don't know {disfmarker}Project Manager: But it is uh {disfmarker} it issurrounded by rubber material .Industrial Designer: Yeah .User Interface: Yeah , okay .Project Manager: So maybe we can put a six .Industrial Designer: Yeah.User Interface: Mm .Marketing: {vocalsound} Everybody is okay , six .Industrial Designer: Six or five . Five {vocalsound}Project Manager: Six is okay ?UserInterface: Six , yeah , for me .Industrial Designer: Six .Marketing: Yeah . {vocalsound} Okay .Project Manager: Yeah .User Interface: Yeah .Marketing: S now{vocalsound} um so .Project Manager: Tadada . We have to sum up everything .User Interface: Twenty .Marketing: Thirteen uh , twenty , twenty six point five ,uh seven , thirty two , thirty six {gap} .User Interface: Thirty . ThirMarketing: That's that's okay ? Six .Project Manager: {vocalsound} Six is a good{disfmarker}User Interface: Okay .Marketing: Good . Uh if we say that seven it's uh it's the better ,Project Manager: Yeah , the be .Industrial Designer:"}
+{"doc_id":"doc_127","qid":"","text":"Project Manager: Good morning , again .Industrial Designer: One question .User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound} Send .UserInterface: Choose a number ? {vocalsound}Industrial Designer: Submit . {vocalsound}Marketing: {vocalsound} Yep yep yep yep .Project Manager: All set?Industrial Designer: Mm . Yeah .Marketing: Mm-hmm .Project Manager: Good . Okay . Let's see what we can find here . Okay . A very warm welcome again toeveryone .User Interface: {vocalsound}Project Manager: Um here we are already at our uh functional design meeting . Um and this is what we are going to do .The opening , which we are doing now , um and the special note , I'm project manager but on the meetings I'm also the secretary , which means I will make uhminutes as I did of the previous meeting .Industrial Designer: {vocalsound}Project Manager: And uh I also put these as fast as possible in the uh project folder ,so you can see them and review what we have discussed . Um if I'm right , there are three presentations , I guess each one of you has prepared one ? Good .UserInterface: Yes .Project Manager: And um we will also take a look at new project requirements , um if you haven't heard about them yet . And then of course wehave to take a decision on the remote control functions and we have some more time , forty minutes . But I think we will need it . Um well I don't know whowants to go first with his presentation .Industrial Designer: I'll go first . Okay . I'll go first yeah .Marketing: Yeah .Project Manager: You can go first , okay .UserInterface: Well .Marketing: Well , shall I go first with the users ?User Interface: Well {vocalsound}Marketing: I think {disfmarker} well okay no problem .{vocalsound}Project Manager: Is there an order ? I haven't {disfmarker}User Interface: everybody already has his presentation ,Marketing: Ja precies , japrecies , ja preciesUser Interface: {vocalsound} so you can adjust it . {vocalsound}Industrial Designer: So . Huh ? Okay , um {disfmarker}Project Manager: Andone question , uh your name Denni , is it with aMarketing: E_I_E_ .Project Manager: I_E_ {disfmarker} E_I_E_ , okay . Thank you .User Interface:{vocalsound}Industrial Designer: Okay , um I wanted to explain the working design of the remote control . It's possibly very handy if you want to uh design oneof those . Um {vocalsound} well so it basically works uh as I uh uh r wrote down uh in this uh little uh summary . Uh when you press a button , {vocalsound} uhthat's when you do pr for example when you uh want to turn up the volume , um a little connection is made uh the the rubber uh {vocalsound} button justpresses on aProject Manager: Sorry . {vocalsound}Marketing: {gap}User Interface: {vocalsound}Industrial Designer: on a little print plate uh which uh makesuh uh {vocalsound} a connection that uh gives the chips , uh which is uh mounted beneath those uh that plastic of a rubber button . Uh senses that a connectionhas been made , and know and knows what button you pressed , becau uh for example the the volume up or volume down button . Um uh the the chip uh makesa Morse code uh like uh signal which uh then is si uh signalled {vocalsound} to uh several transistors which makes uh which sends the signal to a little let . Youknow what a let is ?User Interface: Yeah .Industrial Designer: Okay . {vocalsound} And that makes uh the the infra-red lights signal which is sent to thetelevision set . Uh which has a sensor in it to uh sense uh the signal of the infra-red . That's basically uh how it works . Um the findings uh uh that I found uhsearching up some uh detailed information about the remote controls , are that uh they are very easy to produce , uh it is pis uh it's possible to uh make them inmass production because it is as eas it is as easy as uh printing a page , uh just uh fibreglass plate um is b uh is uh covered with uh some uh coatings and uh uh{vocalsound} and chips .User Interface: {vocalsound}Industrial Designer: Uh and the technology's already available , we don't have to find out how remotecontrols uh have to work or uh how that how uh to make some chips that are possible to uh to to transmit those uh signals . Uh I made a little uh uh animation of{vocalsound} about how a tran our uh remote controller works .User Interface: {vocalsound}Marketing: {gap}User Interface: Oh right .Marketing: {vocalsound}Animation . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} we telUser Interface: There is something turning .Industrial Designer:There .Project Manager: Yeah , it's a little bug it's in the in the smart board . {vocalsound}Industrial Designer: {vocalsound} Okay . Uh wellUser Interface:{vocalsound}Industrial Designer: the sub-component , I suppose that you understand what a sub-component is , is f in this example it's the button . Uh when itis pressed down , um , the switch is ter is uh is switched on , so with uh the wire is sent to the to the chip in uh co-operation with the battery of course , becauseto make uh a a signal possible you have to have some sort of uh li uh a d ad uh electronic uh {disfmarker}User Interface: {vocalsound}Marketing: Infrared light.Industrial Designer: Yes , uh , okay . Um w after it's being composed by the chip uh the signal uh is transported uh to the infra-red bulb , and from there itsignals a Morse code-like signal to the to the b to the bulb in uh in the television set . Okay . S Uh I wrote down some personal preferences about uh the remotecontrol . Of course it is very handy if the remote control is hand held , so you don't have to uh uh wind it up or something , or just is it's it's very light to uh tomake uh to use it . Uh I personally uh pref prefer that uh it would be p uh come available in the various colours , and uh easy to use buttons . But I suppose thatthe one of the other team members uh uh thought of that uh too . {vocalsound}User Interface: Yeah , I've got it there too . {vocalsound} {vocalsound}IndustrialDesigner: And it is possible for several designs and um easy to use b uh sorry , easy to use buttons . Perhaps soft touch , uh touch screen uh buttons because uhthe rubber buttons are always uh uh they uh slightly uh they can be slightly damaged ,Marketing: {vocalsound}Industrial Designer: uh so the numbers on thebuttons are not possible uh to read anymore . And uh well as I said uh before th uh we can uh make several designs . {vocalsound}User Interface: Yeah.Industrial Designer: Okay , well , that's my contribution to this meeting , and uhMarketing: To this meeting . {vocalsound}Project Manager: Okay , thank you.User Interface: {vocalsound}Industrial Designer: two of these this meeting . So .User Interface: Shall I go uh next ?Project Manager: Yep .User Interface: 'Kay.Project Manager: Please .User Interface: So .Marketing: {vocalsound} Smoking .User Interface: Well uh , my name's {gap} , and I looked at uh technicalfunctions design of the remote . Uh I did this by uh looking at examples of other remote controls , of how they uh they look , and information from the web that Ifound . Um well what I found was that uh th the actual use of the remote control is to send messages to television set , how you uh d what you described uh justearly . And this can be all sorts of medsa messages , turn it on , turn it off , uh change the channel , adjust volume , that kind of thing . Uh play video , teletext ,but also t uh play C_D_ if you use it your C_D_ player the remote control will that one . There are some uh examples of remote controls . You can see they arevery different . The one has got all the functions that you could possibly need and an lot of uh buttons etcetera . And the other is uh more user friendly , little withbig buttons . And uh not n all the the the the stuff you can do with it , but uh the the essential stuff is there . Um {vocalsound} I guess you could better y youshould look at a a user centred uh approach , because the customers have to use them and and if they don't think it's usable they won't uh buy it . A lot ofbuttons they may think from I don't need s as much as that . Uh , well perf personal preferences is is uh a simple remote , with uh the basic functions that youcan need that you could use . But uh keep in mind the new functions of T_V_ what we discussed earlier , split screen and uh is that a function that you shouldhave ? Because all the T_V_s will have them . Or because of only a few and isn't really necessary . And then uh make it {disfmarker} I would make so that youcan could uh use it on more than one appliance . If you have one that uh uh does with the vi the the video , it could also work with uh with the stereo , becauseplay is play and stop stop and that sort of thing . The shu c you could reuse the buttons so that you don't have to have a lot of buttons for uh anything . And itshould be a user friendly , clear buttons , and not too much . And that is my presentation .Project Manager: Okay , thank you .Industrial Designer: Okay .{vocalsound}Marketing: 'Kay . Check . {vocalsound}Industrial Designer: {vocalsound}User Interface: You must still have it open .Marketing: Kijke {gap} 'Kay ,so . {vocalsound} We're going to j discuss the functional requirements of the remote , that m that means that functions user n want to have on the remotecontrol , or just {disfmarker} Yeah , and the users , actually .Industrial Designer: {vocalsound}Marketing: The methods I I prefer is we're going to look whichsection of the users we are going to focus a l on more . Are the younger people going to buy the remote control or the elderly people ? And then {disfmarker} thothat section we're going to focus and adjust the remote more to that section than the whole user section . Okay . Some data . Younger people , from sixteen tothir forty five um years are more interested in fj features like L_C_D_ screens , speech recognition e etcetera . And we possess about two third of the market fromin that range of age . The elderly people , from forty five years to sixty five years are not that much interested in features , and we possess less than two third ,that's two fifth , of the market share in that area . {gap} Goed so .Project Manager: {vocalsound}Industrial Designer: Hmm .Marketing: 'Kay . Findings . Fiftypercent of the users lose their remote often .User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: So we don't have to make it verysmall , like uh like a mobile phone or something , but some somewhat bi bigger than small , so you don't lose it that much anymore . {vocalsound} Seventy fivepercent of the users also find it ugly ,Industrial Designer: Mm .Marketing: and fif seventy five of the users zap a lot , so the buttons sh should be that small , orshouldn't be that complex because we have to search for the buttons , which one are you going to use . Next . Important issues about the remote . I think itwould be better with a personal reference , but okay . Remote control has to have to have a low power usage , because s w seventy five percent of the users onlyzap one time an hour , so the power usage is also one one time an hour , or so , with a high power usage we would use a lot of but batteries . The volume buttonand the channel buttons are the two most important buttons on the remote control , so those {disfmarker} they {disfmarker} those have to h be find very easily. And have to be somewhat like bigger etcetera . It has also be {disfmarker} have to find easily when the label is gone . My colleague also announced it that"}
+{"doc_id":"doc_128","qid":"","text":"Grad E: OK , we 're on .Professor B: OK .Grad E: So , I mean , everyone who 's on the wireless check that they 're on .PhD F: C we {disfmarker}Grad G: Alright.Postdoc C: I see . Yeah .PhD F: Yeah .Grad E: OK , our agenda was quite short .Professor B: Oh , could you {pause} close the door , maybe ? Yeah .Grad E: Sure. Two items , which was , uh , digits and possibly stuff on {disfmarker} on , uh , forced alignment , which Jane said that Liz and Andreas had in information on,Professor B: Grad E: but they didn't ,PhD F: Mm - hmm .Professor B: I guess the only other thing , uh , for which I {disfmarker}Grad E: so .PhD F: We should dothat second , because Liz might join us in time for that .Grad E: OK .Professor B: Um . OK , so there 's digits , alignments , and , um , I guess the other thing ,{vocalsound} which I came unprepared for , uh , {vocalsound} is , uh , to dis s s see if there 's anything anybody wants to discuss about the Saturday meeting.Grad E: Right .Professor B: So . Any {disfmarker} I mean , maybe not .Grad E: Digits and alignments . But {disfmarker}Professor B: Uh .PhD F: Talk aboutaligning people 's schedules .Professor B: Yeah .Grad E: Yeah .Postdoc C: Mm - hmm .Professor B: Yeah . I mean {disfmarker} Right . Yeah , I mean , it was{disfmarker}Grad E: Yeah , it 's forced alignment of people 's schedules .PhD F: Yeah .PhD D: Forced align .PhD F: If we 're very {disfmarker}Professor B: Yeah.PhD F: Yeah .Professor B: With {disfmarker} with {disfmarker} whatever it was , a month and a half or something ahead of time , the only time we could find incommon {disfmarker} roughly in common , was on a Saturday .PhD D: Yeah .Professor B: Ugh .Grad E: Yep .PhD F: It 's pretty sad .Professor B: Yeah .PhD F:Yeah .Postdoc C: Have {disfmarker} Have we thought about having a conference call to include him in more of {disfmarker} {vocalsound} in more of themeeting ? I {disfmarker} I mean , I don't know , if we had the {disfmarker} if we had the telephone on the table {disfmarker}Professor B: No . But , h I mean ,he probably has to go do something .PhD F: No , actually I {disfmarker} I have to {disfmarker} I have to shuttle {pause} kids from various places to variousother places .Professor B: Right ?Postdoc C: I see . OK .Professor B: Yeah .PhD F: So . And I don't have {disfmarker} and I don't , um , have a cell phonePhD D:A cell phone ?PhD F: so I can't be having a conference call while driving .Professor B: R r right .Postdoc C: No . {comment} It 's not good .Professor B: So wehave to {disfmarker} we {disfmarker}Postdoc C: That 's not good .PhD F: Plus , it would make for interesting noise {disfmarker} background noise .Professor B:Grad E: Yep .PhD F: Uh {disfmarker}Professor B: So we have to equip him with a {disfmarker} with a {disfmarker} {vocalsound} with a head - mounted , uh ,cell phoneGrad E: Ye - we and we 'd have to force you to read lots and lots of digits ,Professor B: and {disfmarker}Grad E: so it could get real {disfmarker}{vocalsound} real car noise .PhD F: Oh , yeah .PhD D: Yeah .PhD F: Oh , yeah .Grad G: Take advantage .PhD D: And with the kids in the background .PhD F: I 'lllet {disfmarker} I 'd let {disfmarker}PhD D: Yeah .PhD F: I let , uh , my five - year - old have a try at the digits , eh .Professor B: Yeah .Grad E: So , anyway , Ican talk about digits . Um , did everyone get the results or shall I go over them again ? I mean that it was basically {disfmarker} the only thing that was evenslightly surprising was that the lapel did so well . Um , and in retrospect that 's not as surprising as maybe i it shouldn't have been as surprising as I {disfmarker}as {disfmarker} as I felt it was . The lapel mike is a very high - quality microphone . And as Morgan pointed out , that there are actually some advantages to it interms of breath noises and clothes rustling {pause} if no one else is talking .PhD D: Yeah .PhD F: Exactly .Grad E: Um , so , uh {disfmarker}Grad G: Mm - hmm.Professor B: Well , it 's {disfmarker} Yeah , sort of the bre the breath noises and the mouth clicks and so forth like that , the lapel 's gonna be better on .Grad G:It 's g it {disfmarker}PhD D: Or the cross - talk . Yeah .Professor B: The lapel is typically worse on the {disfmarker} on clothes rustling , but if no one 's rustlingtheir clothes ,Grad E: Right . I mean , a lot of people are just sort of leaning over and reading the digits ,Professor B: it 's {disfmarker} it 's {disfmarker}Grad E:so it 's {disfmarker} it 's a very different task than sort of the natural .PhD D: Yeah . You don't move much during reading digits , I think .Professor B: Yeah .GradE: So .Professor B: Yeah .Grad E: Right .Grad G: Probably the fact that it picks up other people 's speakers {disfmarker} other people 's talking is an indication ofthat it {disfmarker} the fact it is a good microphone .PhD D: Yeah .Professor B: Right . So in the digits , in most {disfmarker} most cases , there weren't otherpeople talking .Grad E: Right . Right .Grad G: So .Professor B: So .PhD F: D do the lapel mikes have any directionality to them ?Professor B: There typically don't, no .PhD F: Because I {disfmarker} I suppose you could make some that have sort of {disfmarker} that you have to orient towards your mouth ,Grad E: Theyhave a little bit ,PhD F: and then it would {disfmarker}Grad E: but they 're not noise - cancelling . So , uh {disfmarker}Professor B: They 're {disfmarker} they're intended to be omni - directional .Grad E: Right .Professor B: And th it 's {disfmarker} and because you don't know how people are gonna put them on , youknow .PhD F: Mm - hmm .Grad E: Right . So , also , Andreas , on that one the {disfmarker} the back part of it should be right against your head . And that will hekeep it from flopping aro up and down as much .PhD F: It is against my head .Grad E: OK .Professor B: Yeah . Um . Yeah , we actually talked about this in the ,uh , front - end meeting this morning , too . Much the same thing ,Grad E: Uh - huh .Professor B: and {disfmarker} and it was {disfmarker} uh , I mean , therethe point of interest to the group was primarily that , um , {vocalsound} the , uh {disfmarker} the system that we had that was based on H T K , that 's used by ,you know , {pause} all the participants in Aurora , {vocalsound} was so much worse {vocalsound} than the {disfmarker} than the S RGrad E: Everybody.Professor B: And the interesting thing is that even though , {vocalsound} yes , it 's a digits task and that 's a relatively small number of words and there 's abunch of digits that you train on , {vocalsound} it 's just not as good as having a {disfmarker} a l very large amount of data and training up a {disfmarker} a{disfmarker} a nice good big {vocalsound} HMM . Um , also you had the adaptation in the SRI system , which we didn't have in this . Um . So . Um .PhD F: Andwe know {disfmarker} Di - did I send you some results without adaptation ?Grad E: No .Professor B: I s I think Stephane , uh , had seen them .Grad E: Or if youdid , I didn't include them , cuz it was {disfmarker}Professor B: So {disfmarker}PhD F: Yeah , I think I did , actually . So there was a significant loss from notdoing the adaptation .Professor B: Yeah .PhD F: Um . A {disfmarker} a {disfmarker} a couple percent or some I mean {disfmarker} Well , I don't know it{disfmarker} Overall {disfmarker} Uh , I {disfmarker} I don't remember , but there was {disfmarker} {nonvocalsound} there was a significant , um , loss or win{comment} from adaptation {disfmarker} with {disfmarker} with adaptation . And , um , that was the phone - loop adaptation . And then there was a very small{disfmarker} like point one percent on the natives {disfmarker} uh , win from doing , um , you know , adaptation to {pause} the recognition hypotheses . And{pause} I tried both means adaptation and means and variances , and the variances added another {disfmarker} or subtracted another point one percent . So ,{vocalsound} it 's , um {disfmarker} that 's the number there . Point six , I believe , is what you get with both , uh , means and variance adaptation .Grad E:Right .Professor B: But I think one thing is that , uh , I would presume {disfmarker} Hav - Have you ever t {vocalsound} Have you ever tried this exact samerecognizer out on the actual TI - digits test set ?PhD F: This exact same recognizer ? No .Professor B: It might be interesting to do that . Cuz my {disfmarker} my{disfmarker} cuz my sense , um {disfmarker}PhD F: But {disfmarker} but , I have {disfmarker} I mean , people {disfmarker} people at SRI are actuallyworking on digits .Grad E: I bet it would do even slightly better .PhD F: I could {disfmarker} and they are using a system that 's , um {disfmarker} you know , his actually trained on digits , um , but h h otherwise uses the same , you know , decoder , the same , uh , training methods , and so forth ,Professor B: Mm - hmm.PhD F: and I could ask them what they get {pause} on TI - digits .Professor B: Yeah , bu although I 'd be {disfmarker} I think it 'd be interesting to just take thisexact actual system so that these numbers were comparablePhD F: Mm - hmm .Professor B: and try it out on TI - digits .PhD F: Well , Adam knows how to run it,Professor B: Yeah .Grad E: Yeah . No problem .PhD F: so you just make a fProfessor B: Yeah . Yeah . Cuz our sense from the other {disfmarker} from the Aurora, uh , task is that {disfmarker}Grad E: And try it with TI - digits ?PhD F: Mm - hmm .Professor B: I mean , cuz we were getting sub one percent {vocalsound}numbers on TI - digits also with the tandem thing .PhD F: Mm - hmm .Professor B: So , {vocalsound} one {disfmarker} so there were a number of things wenoted from this .PhD F: Mmm .Professor B: One is , yeah , the SRI system is a lot better than the HTK {disfmarker}PhD F: Hmm .Professor B: this , you know ,very limited training HTK system .PhD F: Mm - hmm .Professor B: Uh , but the other is that , um , the digits {vocalsound} recorded here in this room with theseclose mikes , i uh , are actually a lot harder than the {pause} studio - recording TI - digits . I think , you know , one reason for that , uh , might be that there 'sstill {disfmarker} even though it 's close - talking , there still is some noise and some room acoustics .PhD F: Mm - hmm . Mm - hmm .Professor B: And anothermight be that , uh , I 'd {disfmarker} I would presume that in the studio , uh , uh , situation recording read speech that if somebody did something a little funnyor n pronounced something a little funny or made a little {disfmarker} that they didn't include it ,Grad E: They didn't include it .Professor B: they made them do itagain .Grad E: Whereas , I took out {pause} the ones that I noticed that were blatant {disfmarker} that were correctable .Professor B: Mmm . Yeah .Grad E: Sothat , if someone just read the wrong digit , I corrected it .Professor B: Yeah .Grad E: And then there was another one where Jose couldn't tell whether{disfmarker} I couldn't tell whether he was saying zero or six . And I asked him and he couldn't tell either .Grad I: Hmm .Grad E: So I just cut it out .Professor B:Yeah .Grad E: You know , so I just e edited out the first , i uh , word of the utterance . Um , so there 's a little bit of correction but it 's definitely not as clean as TI- digits . So my expectations is TI - digits would , especially {disfmarker} I think TI - digits is all {pause} American English .Professor B: Mm - hmm .Grad E:Right ? So it would probably do even a little better still on the SRI system , but we could give it a try .PhD F: Well . But {pause} remember , we 're using a"}
+{"doc_id":"doc_129","qid":"","text":"Grad C: Now can you give me the uh {pause} remote T ?Professor D: OK , so Eva , co uh {disfmarker} could you read your numbers ?Grad A: Go ahead and read. OK .Professor D: Yeah .Grad C: Alright .Professor D: Yeah , let 's get started . Um {disfmarker} Hopefully Nancy will come , if not , she won't .Grad B: Uh ,Robert , do you uh have any way to turn off your uh screensaver on there so that it 's not going off every {disfmarker} uh , it seems to have about at two minute{disfmarker}Grad C: Yeah , I 've {disfmarker} I {disfmarker} uh {disfmarker} it 's not that I didn't try .Grad B: OK .Grad C: and um I {disfmarker} I told it tostay on forever and ever , but if it 's not plugged in it just doesn't obey my commands .Grad B: OK .Grad C: It has a mind .Grad B: Got it .Grad C: But I I just{disfmarker} You know , sort of keep on wiggling .Undergrad E: Wants to conserve .Grad B: Yeah , OK .Grad C: But uh {disfmarker} we 'll just be m m workingon it at intensity so it doesn't happen . We 'll see . Should we plunge right into it ?Professor D: Yeah .Grad C: So , would you like to {disfmarker}Professor D: Ithink so .Grad C: So what I 've tried to do here is list all the decision nodes that we have identified on this {pause} side . Commented and {disfmarker} whatthey 're about and sort of {disfmarker} the properties we may um give them . And here are the uh {disfmarker} tasks to be implemented via our data collection .So all of these tasks {disfmarker} The reading is out of these tasks more or less imply that the user wants to go there , sometime or the other . And analogouslyfor example , here we have our EVA um {disfmarker} intention . And these are the data tasks where w we can assume the person would like to enter , view orjust approach the thing . Analogously the same on the object information we can see that , you know , we have sort of created these tasks before we came upwith our decision nodes so there 's a lot of things where we have no analogous tasks , and {pause} that may or may not be a problem . We can change the tasksslightly if we feel that we should have data for e sort of for every decision node so {disfmarker} trying to im um {disfmarker} implant the intention of going to aplace now , going to a place later on the same tour , or trying to plant the intention of going sometime on the next tour , or the next day or whenever .ProfessorD: Right , right .Grad C: But I think that might be overdoing it a little .Professor D: So {disfmarker} Yeah . So let me pop up a level . And uh s s make sure thatwe 're all oriented the same . So What we 're gonna do today is two related things . Uh one of them is to work on the semantics of the belief - net which is goingto be the main inference engine for thi the system uh making decisions . And decisions are going to turn out to be parameter choices for calls on other modules .so f the natural language understanding thing is uh , we think gonna only have to choose parameters , but You know , a fairly large set of parameters . So to dothat , we need to do two things . One of which is figure out what all the choices are , which we 've done a fair amount . Then we need to figure out whatinfluences its choices and finally we have to do some technical work on the actual belief relations and presumably estimates of the probabilities and stuff . But wearen't gonna do the probability stuff today . Technical stuff we 'll do {disfmarker} uh {disfmarker} another day . Probably next week . But we are gonna worryabout all the decisions and the things that pert that contribute to them . And we 're also , sort of uh in the same process , going to work with Fey on what thereshould be in the dialogues . So One of the s steps that 's coming up real soon is to actually get subjects uh {disfmarker} in here , and have them actually recordlike this . Uh record dialogues more or less . And {disfmarker} depending on what Fey sort of provokes them to say , we 'll get information on different things.Grad C: Well how people phrase different intentions more or less ,Professor D: So {disfmarker} Fo - v yeah people with the {disfmarker} phrase themGrad C:huh ?Professor D: and so {disfmarker} Uh for , you know , Keith and people worrying about what constructions people use , uh {disfmarker} we have some i wehave some ways to affect that by the way the dialogues go . So what Robert kindly did , is to lay out a table of the kinds of uh {pause} things that {disfmarker}that might come up , and , the kinds of decisions . So the uh {disfmarker} uh {disfmarker} on the left are decision nodes , and discreet values . So if{disfmarker} if we 're right , you can get by with um just this middle column worth of decisions , and it 's not all that many , and it 's perfectly feasible technicallyto build belief - nets that will do that . And he has a handout .Grad C: Yeah . Maybe it was too fast plunging in there , because j we have two updates .ProfessorD: Yeah .Grad C: Um you can look at this if you want , these are what our subject 's going to have to fill out . Any comments I can {disfmarker} can still be madeand the changes will be put in correspondingly .Undergrad E: m {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} Yes .GradC: Let me summarize in two sentences , mainly for Eva 's benefit , who probably has not heard about the data collection , at all .Grad A: OK .Grad C: Or have youheard about it ?Grad A: Not that much you didn't .Grad C: No . OK . We were gonna put this in front of people . They give us some information on themselves.Grad A: OK .Grad C: Then {disfmarker} then they will read uh {disfmarker} a task where lots of German words are sort of thrown in between . And um{disfmarker} and they have to read isolated proper names And these change {disfmarker}Professor D: S I don't see a releaseGrad C: No , this is not the releaseform . This is the speaker information form .Professor D: Got it . OK , fine . OK .Grad C: The release form is over there in that box .Professor D: Alright , fairenough .Grad C: And um {disfmarker} And then they gonna have to f um um choose from one of these tasks , which are listed here . They {disfmarker} theypick a couple , say three {disfmarker} uh {disfmarker} uh six as a matter of fact . Six different things they sort of think they would do if they were in Heidelbergor traveling someplace {disfmarker} and um {disfmarker} and they have a map .Grad B: Hmm .Grad C: Like this . Very sketchy , simplified map . And they cantake notes on that map . And then they call this computer system that works perfectly , and understands everything .Grad A: OK .Grad C: And um{disfmarker}Grad B: This is a fictional system obviously ,Grad C: The comp Yeah , the computer system sits right in front of you ,Grad B: huh .Grad C: that 's Fey.Undergrad E: I 've {disfmarker} I understand everything .Professor D: And she does know everything .Undergrad E: Yes I do .Grad C: And she has a way ofmaking this machine talk . So she can copy sentences into a window , or type really fast and this machine will use speech synthesis to produce that . So if you ask\" How do I get to the castle \" then a m s several seconds later it 'll come out of here \" In order to get to the castle you do {disfmarker} \"Grad B: Yeah .Grad C:OK ? And um {disfmarker} And then after three tasks the system breaks down . And Fey comes on the phone as a human operator . And says \" Sorry the systembroke down but let 's continue . \" And we sort of get the idea what people do when they s think they speak to a machine and what people say when they thinkthey speak to a human , or know , or assume they speak to a human .Grad A: OK . Huh .Grad B: Mm - hmm . Mm - hmm .Grad C: That 's the data collection .And um {disfmarker} And Fey has some thirty subjects lined up ? Something ?Undergrad E: Yeah .Grad C: And um {disfmarker} And they 're {disfmarker} rready uh {disfmarker} to roll .Undergrad E: And more and more every day .Grad C: And we 're gonna start tomorrow at three ? four ? one ?Undergrad E:Tomorrow , well we don't know for sure . Because we don't know whether that person is coming or not ,Grad C: OK . Around four - ish .Undergrad E: but{disfmarker}Grad C: And um we 're still l looking for a room on the sixth floor because they stole away that conference room . Um {disfmarker} behind our backs. But {disfmarker}Professor D: Well , there are these {disfmarker} uh {disfmarker} uh {disfmarker} oh , I see , we have to {disfmarker} Yeah , it 's tricky . We'll {disfmarker} let 's {disfmarker} let {disfmarker} we 'll do that off - line , OK .Grad C: Yeah , but I {disfmarker} i i it 's happening . David and {disfmarker}and Jane and {disfmarker} and Lila are working on that as we speak .Professor D: OK .Grad C: OK . That was the uh {disfmarker} the data collection in anutshell . And um {disfmarker} I can report a {disfmarker} so I did this but I also tried to do this {disfmarker} so if I click on here , Isn't this wonderful ? we getto the uh {disfmarker} uh belief - net just focusing on {disfmarker} on the g Go - there node . uh {disfmarker} Analogously this would be sort of the reason nodeand the timing node and so forth .Grad B: Mm - hmm .Grad C: And what w what happened is that um design - wise I 'd sort of n noticed that we can{disfmarker} we still get a lot of errors from a lot of points to one of these sub Go - there User Go - there Situation nodes . So I came up with a couple ofadditional nodes here where um whether the user is thrifty or not , and what his budget is currently like , is going to result in some financial state of the user .How much will he {disfmarker} is he willing to spend ? Or can spend . Being the same at this {disfmarker} just the money available , which may influence us ,whether he wants to go there if it is {disfmarker} you know {disfmarker} charging tons of dollars for admission or its gonna g cost a lot of t e whatever . Twenty- two million to fly to International Space Station , you know . just {disfmarker} Not all people can do that .Professor D: Right .Grad C: So , and this actuallyturned out to be pretty key , because having specified sort of these {disfmarker} uh {disfmarker} this {disfmarker} this {disfmarker} intermediate level Um andsort of noticing that everything that happens here {disfmarker} let 's go to our favorite endpoint one is again more or less {disfmarker} we have {disfmarker}um {disfmarker} then the situation nodes contributing to the {disfmarker} the endpoint situation node , which contributes to the endpoint and so forth . um{disfmarker} I can now sort of draw straight lines from these to here , meaning it g of course goes where the sub - S {disfmarker} everything that comes fromsituation , everything that comes from user goes with the sub - U , and whatever we specify for the so - called \" Keith node \" , or the discourse , what comes fromthe {disfmarker} um {disfmarker} parser , construction parser , um will contribute to the D and the ontology to the sub - O node . And um one just s sort of hasto watch which {disfmarker} also final decision node so it doesn't make sense {disfmarker} t to figure out whether he wants to enter , view or approach an objectif he never wants to go there in the first place . But this makes the design thing fairly simple . And um now all w that 's left to do then is the CPG 's , theconditional probabilities , for the likelihood of a person having enough money , actually wanting to go a place if it costs , you know this or that . And um"}
+{"doc_id":"doc_130","qid":"","text":"Project Manager: Okay , so now we are on the conceptual design meeting . {vocalsound} Uh y getting close to the lastMarketing: Mm-hmm .Project Manager: isthe penultim meeting . {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: How was lunch ? {vocalsound}Project Manager: {vocalsound} Mmgreat . {vocalsound}Marketing: {vocalsound} Thanks {vocalsound}Industrial Designer: {vocalsound} {vocalsound} {vocalsound}Marketing: Don't be sarcastic .{vocalsound} Mark . {vocalsound}Project Manager: So {vocalsound} um I will again do the secretary part uh we will have three presentation first um uh theindustrial design , first Rama then Mark and then Sammy .Marketing: Uh Rama .Industrial Designer: {vocalsound} Ramaro .Project Manager: Um um we have totake a decision on the control {disfmarker} remote control concepts and we have forty minutes .User Interface: Mm .Project Manager: So what we want to{disfmarker} the decision we want to take on this meeting are on the um first on the component concept , so what kind of energy we use uh what kind of chip onprint and one ki kind of case . And also on user interface concept uh what kind of interface we use and if there is some supplements . And at the end um Sammywill give um {vocalsound} a trend watching on what he's {disfmarker} he's been doing . It's {disfmarker} So , let's go . First with Rama . Participant two.Industrial Designer: Yeah , participant two . Component .Project Manager: Mm-hmm . {vocalsound}Industrial Designer: Yep . So we're to mainly design f mainlyneed to know which components we'll use for energy , and the material and interface . For energy there are maybe two or three possibilities . First one , we canuse simple battery , or we can use {vocalsound} traditional solar cells or {disfmarker} mm and the material we can have plastic , rubber which is good for thisR_S_A_Marketing: Ah .Industrial Designer: and then uh titanium , which can be {disfmarker} which have very good look an and then interface we're to use pushbuttons or liquid crystal d L_C_D_ display . And we can use some {gap} , moving {gap} kind of thing . So , as we discussed before , we need to {disfmarker} wewould like to have some speech recognition s chip in our remote control . So this can be simple kind of programmable chip and {disfmarker} which can usemicrophone {gap} sensors . And we also want to look at our remote control , so . Still we are looking for possible uh technical uh specifications and how w easywe can do and within our pri range , like we're to {disfmarker} in our twelve Euros or around that . So we are looking for simple devices or simple technology todo the location of remote control in a room or in a house .Project Manager: Mm-hmm , okay .Industrial Designer: So uh we discussed an {disfmarker}{vocalsound} Excuse me . So we would like to propose battery instead of solar cells and it would be problematic uh to have enough energy with the solarcellsMarketing: Mm-hmm .Industrial Designer: and so we would like to just use simple battery . And also we want to go for titanium design instead of rubber or{disfmarker} and well the problem is with this design we found that we can't use double-curved shapes .Marketing: What is a double-curved shape ?IndustrialDesigner: {vocalsound} Like you can have two curves .Marketing: Uh-huh .User Interface: Why ?Industrial Designer: Uh it's {disfmarker} I think inmanufacturing I guess it's problematic . So , we want to go for simple push buttons because it need a simple chip and it's really lesser {disfmarker} uh re reallyless expensive compared to L_C_D_Marketing: {vocalsound}Industrial Designer: which are uh which needs advanced chip technology and it's more expensive,User Interface: Mm-hmm .Industrial Designer: since we want to put some other features such as speech recognitionMarketing: {vocalsound}Industrial Designer:we want to reduce uh cost .Project Manager: {vocalsound} Um I want to know why it b uh just uh sorry but for the point before uh why not the rubber , if it issomething that it seems to be light .Marketing: The cost .Industrial Designer: Uh {disfmarker} Uh {disfmarker} And also like in {disfmarker} if you put a {gap}it's be difficult to do all the moulding of buttons and these thingsProject Manager: Okay . You m titanium it's more uh {disfmarker}Industrial Designer: and{disfmarker} Yeah .User Interface: W we can use something like you know {vocalsound} the whole body's titanium but there are some rubber or I dunno somerubber parts likeIndustrial Designer: Yeah .Marketing: Mm like this ?Project Manager: Yes so mm {disfmarker}User Interface: to make it feel better and to youknow {disfmarker}Industrial Designer: Like in cell phones recentlyProject Manager: Uh-huh .User Interface: {vocalsound} Yeah . Yeah .Industrial Designer:these {disfmarker} you can {gap} with the rubber in four directions and {disfmarker}Marketing: Mm-hmm .Project Manager: Okay . {gap}Industrial Designer:yeah . But full assembly {disfmarker} We'll use mainly for titanium {gap}Project Manager: Okay .Industrial Designer: rubber is expensiveProject Manager: Okay.Industrial Designer: and also it's bit difficult to do all the shapes uh .Project Manager: Okay .Industrial Designer: And this push buttonsProject Manager: Uh yeahsoIndustrial Designer: {disfmarker} we we would like to use push buttons instead of L_C_D_s and so we want to mo I mean we're {gap} we want to put speechrecognition so we want to reduce price on this technology and so that we can have enough space or enough moneyProject Manager: Okay , s so simple buttonand uh speech recognition for the more complicated .Industrial Designer: for {disfmarker} S SMarketing: Speech {disfmarker}Industrial Designer: Y yeah wehave simple buttons and speech recognition technology ,User Interface: Mm-hmm .Project Manager: Okay .User Interface: Okay , and still we have{disfmarker}Industrial Designer: so {disfmarker}User Interface: mm can we still include the L_ L_S_D_ display ?Marketing: L_C_D_ .User Interface: L_C_D_yeah L_C_D_ .Industrial Designer: Uh lMarketing: Seems not , it's either L_C_D_ or push-button .Industrial Designer: So uhUser Interface: No ,IndustrialDesigner: it's like a {disfmarker}User Interface: it's not gonna be a t no touchable but still like a source of information or source for menus .Marketing: Ah.Industrial Designer: Yeah maybe maybe we can see depending on how we'll come up with our full design then if we have enough money or like for and{disfmarker}User Interface: Okay , so let's try it , let's tIndustrial Designer: because the speech recognition technology will take at least five Euros or {gap} orsomething so we want to reduce the cost on displayMarketing: {gap} The L_C_D_ would {disfmarker}Industrial Designer: or this interMarketing: The displaywould only be display and not uh touch sensitive you mean .User Interface: Yeah , yeah , it's it's not gonna be a touch pad , uh just a display for giving youinformation .Marketing: Just uh for output , yeah .Industrial Designer: Ok Yeah , that can we we can consider ,Marketing: Yeah .Project Manager: {vocalsound}Mm-hmm .Industrial Designer: because like it won't take much money I guess ,User Interface: Mm-hmm .Industrial Designer: because {disfmarker}ProjectManager: Okay .Industrial Designer: Okay , yep .Project Manager: {gap} Mm .Industrial Designer: You have any further questions or ?Marketing: I guess no um .So the batteries uh are going to be very light .Industrial Designer: Yeah . Yeah , we're to go for li and now I think we have many options in the market so we cango for small nickel or alkaline batteriesMarketing: Okay .User Interface: Mm-hmm . Mm-hmm .Industrial Designer: for really light batteries and with uh goodprice .Marketing: So this device on n that can be used for speech recognition could also be used for just uh the finding it basically , instead of clapping why notjust be {disfmarker} ask .Industrial Designer: Yeah , that's {disfmarker} then the the one thing we want to know is like because remote control is used for like inthe household so it it it will be it {disfmarker} m maybe at least five , six people want to use it so so how to uh uh how to define our re speechrecognitionMarketing: Mm-hmm .Industrial Designer: whether we want to do s speaker independent or speaker dependent . If we're going for more speakerindependent then it would be like again cumbersome and we need really m more technologyProject Manager: Okay ,Industrial Designer: and so{disfmarker}Project Manager: for the location . Hmm .Industrial Designer: Yeah , if if everybody in the house n {gap} to locate then we're to go for some speakerindependent technology or something .Marketing: Okay . {vocalsound}Project Manager: Okay . So let's now go to the {disfmarker} you don't have more question?Industrial Designer: {gap}Marketing: No , it's okay .Project Manager: Um mm thank you mm .User Interface: No more questions .Industrial Designer: Yep .Thank you .Marketing: Puts less of constraint on what we can doProject Manager: Yeah .User Interface: Mm yeah , yeah .Marketing: butIndustrial Designer: Yeah.Marketing: it's always like that . We have dreams and the {disfmarker} in the end we find out that it's not feasible . {vocalsound}Project Manager: Yeah , but{disfmarker} mm .Industrial Designer: Oh . We have uh some limitations {gap} . {vocalsound}Marketing: Anyway . {vocalsound} Yeah .User Interface: But stilluh L_S_D_'s already quite nice ,Marketing: L_C_D_ .Project Manager: {vocalsound} Okay . {vocalsound}User Interface: L_C_ {vocalsound}Marketing: L_S_D_is something else ,Industrial Designer: {vocalsound} {vocalsound}Marketing: and it's quite nice as well . {vocalsound}User Interface: I'm an artist , sorry .{vocalsound}Marketing: So ,Project Manager: Um {vocalsound} yeah .User Interface: So uh , that's not {disfmarker}Marketing: go on uh artist .{vocalsound}User Interface: I hope that's not too much .Project Manager: Now let's talk about uh interface .User Interface: Okay . {vocalsound} Uh participantnumber three .Project Manager: Three .Industrial Designer: Three .User Interface: {vocalsound} UhProject Manager: Which one ? {vocalsound}IndustrialDesigner: {vocalsound}Marketing: Hmm . {vocalsound}User Interface: mm mm uh have a look at this {disfmarker}Project Manager: {vocalsound}IndustrialDesigner: {vocalsound}User Interface: no it's {disfmarker} yeah .Project Manager: {vocalsound} Okay .User Interface: {gap} Uh so the concept of the interface. Generally I developed quite a broad concept not only for the interface , but for possible instruction or user's manual and uh all the complex things that cometogether with your T_V_ and remote controls . So let's start with this . We got our perfect remote control with a lot of buttonsMarketing: {vocalsound}{vocalsound} {vocalsound}User Interface: and uh we got explanation for every buttonIndustrial Designer: {vocalsound}User Interface: and you can use yourtime and uh it will take i some days to learn all this buttons and um the L_C_D_ is going to be somewhere here and uh go back button , I don't know really whereit is , maybe one of this buttons , and um power on and off mm I I don't rememberProject Manager: {vocalsound} Mm .Industrial Designer: {vocalsound}"}
+{"doc_id":"doc_131","qid":"","text":"Grad A: Hey , you 're not supposed to be drinking in here dude .Grad D: OK .Grad A: Do we have to read them that slowly ? OK . Sounded like a robot . Um , thisis tGrad C: OK .Grad A: When you read the numbers it kind of reminded me of beat poetry .Grad D: I tried to go for the EE Cummings sort of feeling , but{disfmarker}Grad A: Three three six zero zero . Four two zero zero one seven . That 's what I think of when I think of beat poetry .Grad C: Beat poetry .Grad A:You ever seen \" So I married an axe murderer \" ?Grad C: Uh parts of it .Grad D: Mm - hmm .Grad A: There 's a part wh there 's parts when he 's doing beatpoetry .Grad C: Oh yeah ?Grad A: And he talks like that . That 's why I thi That uh probably is why I think of it that way .Grad D: Hmm . No , I didn't see thatmovie . Who did {disfmarker} who made that ?Grad A: Mike Meyers is the guy .Grad D: Oh . OK .Grad A: It - it 's his uh {disfmarker} it 's his cute romanticcomedy . That 's {disfmarker} that 's {disfmarker} That 's his cute romantic comedy , yeah . The other thing that 's real funny , I 'll spoil it for you . is when he 's{disfmarker} he works in a coffee shop , in San Francisco , and uh he 's sitting there on this couch and they bring him this massive cup of espresso , and he 's like\" excuse me I ordered the large espresso ? \"Grad D: Uh . We 're having , {vocalsound} a tiramisu tasting contest this weekend .Grad A: Wait {disfmarker} do arey So you 're trying to decide who 's the best taster of tiramisu ?Grad D: No ? Um . There was a {disfmarker} a {disfmarker} a fierce argument that broke outover whose tiramisu might be the best and so we decided to have a contest where those people who claim to make good tiramisu make them ,Grad A: Ah .GradD: and then we got a panel of impartial judges that will taste {disfmarker} do a blind taste {vocalsound} and then vote .Grad A: Hmm .Grad D: Should be fun.Grad A: Seems like {disfmarker} Seems like you could put a s magic special ingredient in , so that everyone know which one was yours . Then , if you were tobribe them , you could uh {disfmarker}Grad D: Mm - hmm . Well , I was thinking if um {disfmarker} y you guys have plans for Sunday ? We 're {disfmarker} we're not {disfmarker} it 's probably going to be this Sunday , but um we 're sort of working with the weather here because we also want to combine it with somebarbecue activity where we just fire it up and what {disfmarker} whoever brings whatever you know , can throw it on there . So only the tiramisu is free , nothingelse .Grad A: Well , I 'm going back to visit my parents this weekend , so , I 'll be out of town .Grad D: So you 're going to the west Bay then ? No ,Grad A: No ,the South Bay ,Grad D: south Bay ?Grad A: yeah .Grad D: South Bay .Grad C: Well , I should be free , so .Grad D: OK , I 'll let you know .Grad C: OK .Grad A:We are . Is Nancy s uh gonna show up ? Mmm . Wonder if these things ever emit a very , like , piercing screech right in your ear ?Grad D: They are gonna getmore comfortable headsets . They already ordered them . OK .Grad C: Uh {disfmarker}Grad D: Let 's get started . The uh {disfmarker} Should I go first , withthe uh , um , data . Can I have the remote {vocalsound} control . Thank you . OK . So . On Friday we had our wizard test data test and um {vocalsound} theseare some of the results . This was the introduction . I actually uh , even though Liz was uh kind enough to offer to be the first subject , I sort of felt that she knewtoo much , so I asked uh Litonya . just on the spur of the moment , and she was uh kind enough to uh serve as the first subject .Professor B: Mm - hmm .Grad D:So , this is what she saw as part of {disfmarker} as uh for instr introduction , this is what she had to read {pause} aloud . Uh , that was really difficult for her anduh {disfmarker}Grad C: Because of l all the names , you mean ?Grad D: The names and um this was the uh first three tasks she had to {disfmarker} to masterafter she called the system , and um then of course the system broke down , and those were the l uh uh I should say the system was supposed to break downand then um these were the remaining three tasks that she was going to solve , with a human {disfmarker} Um . There are {disfmarker} here are uh the results. Mmm . And I will not {disfmarker} We will skip the reading now . D Um . And um . The reading was five minutes , exactly . And now comes the {disfmarker}This is the phone - in phase of {disfmarker}Grad C: Wait , can I {disfmarker} I have a question . So . So there 's no system , right ? Like , there was a wizard forboth uh {disfmarker} both parts , is this right ?Grad D: Yeah . It was bo it both times the same person .Grad C: OK .Grad D: One time , pretending to be asystem , one time , to {disfmarker} pretending to be a human , which is actually not pretending .Grad C: OK . And she didn't {disfmarker}Grad D: I should{disfmarker}Grad C: I mean . Well . Isn't this kind of obvious when it says \" OK now you 're talking to a human \" and then the human has the same voice ?GradD: No no no . We u Wait . OK , good question , but uh you {disfmarker} you just wait and see .Grad C: OK .Grad D: It 's {disfmarker} You 're gonna l learn . Andum the wizard sometimes will not be audible , Because she was actually {disfmarker} they {disfmarker} there was some uh lapse in the um wireless , we have tomove her closer .Grad A: Is she mispronouncing \" Anlage \" ? Is it \" Anlaga \" or \" Anlunga \"Grad D: They 're mispronouncing everything ,Grad A: OK .Grad D: butit 's {disfmarker} This is the system breaking down , actually . \" Did I call Europe ? \" So , this is it . Well , if we {disfmarker} we umProfessor B: So , are{disfmarker} are you trying to record this meeting ?Grad D: There was a strange reflex . I have a headache . I 'm really sort of out of it . OK , the uh lessonslearned . The reading needs to be shorter . Five minutes is just too long . Um , that was already anticipated by some people suggested that if we just have bulletshere , they 're gonna not {disfmarker} they 're {disfmarker} subjects are probably not gonna {disfmarker} going to follow the order . And uh she did not .GradC: Really ?Grad D: She {disfmarker} No .Grad C: Oh , it 's surprising .Grad D: She {disfmarker} she jumped around quite a bit .Professor B: S so if you justnumber them \" one \" , \" two \" , \" three \" it 'sGrad D: Yeah , and make it sort of clear in the uh {disfmarker}Professor B: OK . Right .Grad D: Um . We need to{disfmarker} So that 's one thing . And we need a better introduction for the wizard . That is something that Fey actually thought of a {disfmarker} in the lastsecond that sh the system should introduce itself , when it 's called .Professor B: Mm - hmm . True .Grad D: And um , um , another suggestion , by Liz , was thatwe uh , through subjects , switch the tasks . So when {disfmarker} when they have task - one with the computer , the next person should have task - one with ahuman , and so forth .Professor B: Mm - hmm .Grad D: So we get nice um data for that . Um , we have to refine the tasks more and more , which of course wehaven't done at all , so far , in order to avoid this rephrasing , so where , even though w we don't tell the person \" ask {pause} blah - blah - blah - blah - blah \"they still try , or at least Litonya tried to um repeat as much of that text as possible .Grad C: Say exactly what 's on there ? Yeah .Grad D: And uh my suggestionis of course we {disfmarker} we keep the wizard , because I think she did a wonderful job ,Professor B: Great .Grad D: in the sense that she responded quitenicely to things that were not asked for , \" How much is a t a bus ticket and a transfer \" so this is gonna happen all the time , we d you can never be sure.Professor B: Mm - hmm .Grad D: Um . Johno pointed out that uh we have maybe a grammatical gender problem there with wizard .Grad A: Yes .Grad D: So um.Grad A: I wasn't {disfmarker} wasn't sure whether wizard was the correct term for {pause} uh \" not a man \" .Grad C: There 's no female equivalent of{disfmarker}Grad D: But uh {disfmarker}Grad A: Are you sure ?Grad C: No , I don't know .Professor B: Right .Grad C: Not that I know of .Grad D: Well , there iswitch and warlock ,Grad A: Yeah , that 's so @ @ .Professor B: Right .Grad C: Yeah , that 's what I was thinking , but {disfmarker}Grad D: and uh{disfmarker}Professor B: Right . Uh .Grad D: OK . And um {disfmarker} So , some {disfmarker} some work needs to be done , but I think we can uh{disfmarker} And this , and {disfmarker} in case no {disfmarker} you hadn't seen it , this is what Litonya looked at during the uh {disfmarker} um while takingthe {disfmarker} while partaking in the data collection .Grad C: Ah .Professor B: OK , great . So {pause} first of all , I agree that um we should hire Fey , andstart paying her . Probably pay for the time she 's put in as well . Um , do you know exactly how to do that , or is uh Lila {disfmarker} I mean , you know whatexactly do we do to {disfmarker} to put her on the payroll in some way ?Grad D: I 'm completely clueless , but I 'm willing to learn .Professor B: OK . Well , you 'llhave to . Right . So anyway , umGrad D: NProfessor B: So why don't you uh ask Lila and see what she says about you know exactly what we do for someone inthGrad D: Student - type worker ,Professor B: Well , yeah she 's un she 's not a {disfmarker} a student ,Grad D: or {disfmarker} ?Professor B: she justgraduated but anyway .Grad D: Hmm .Professor B: So i if {disfmarker} Yeah , I agree , she sounded fine , she a actually was {pause} uh , more uh , present andstuff than {disfmarker} than she was in conversation , so she did a better job than I would have guessed from just talking to her .Grad D: Yeah .Professor B: So Ithink that 's great .Grad D: This is sort of what I gave her , so this is for example h how to get to the student prison ,Professor B: Yeah .Grad D: and I didn't evenspell it out here and in some cases I {disfmarker} I spelled it out a little bit um more thoroughly ,Professor B: Right .Grad D: this is the information on{disfmarker} on the low sunken castle , and the amphitheater that never came up , and um , so i if we give her even more um , instruments to work with I thinkthe results are gonna be even better .Professor B: Oh , yeah , and then of course as she does it she 'll {disfmarker} she 'll learn @ @ .  So that 's great . Um{pause} And also if she 's willing to take on the job of organizing all those subjects and stuff that would be wonderful .Grad D: Mmm .Professor B: And , uh she 's{disfmarker} actually she 's going to graduate school in a kind of an experimental paradigm , so I think this is all just fine in terms of h her learning things she 'sgonna need to know uh , to do her career .Grad D: Mmm .Professor B: So , I {disfmarker} my guess is she 'll be r r quite happy to take on that job . And , so{disfmarker}Grad D: Yep . Yeah she {disfmarker} she didn't explicitly state that so .Professor B: Great .Grad D: And um I told her that we gonna um figure out ameeting time in the near future to refine the tasks and s look for the potential sources to find people . She also agrees that you know if it 's all just gonna bestudents the data is gonna be less valuable because of that so .Professor B: Well , as I say there is this s set of people next door , it 's not hard toGrad D: We 'realready {disfmarker} Yeah .Professor B: uh {disfmarker}Grad D: However , we may run into a problem with a reading task there . And um , we 'll see .Professor"}
+{"doc_id":"doc_132","qid":"","text":"PhD F: And we 're on .Professor D: OK . Might wanna {vocalsound} close the door so that {disfmarker} Uh , Stephane will {disfmarker}PhD F: I 'll get it.Professor D: YeahPhD F: Hey Dave ? Could you go ahead and turn on , uh , Stephane 's {disfmarker}Grad C: Mm - hmm .Professor D: So that 's the virtualStephane over there .PhD F: OK .Professor G: Do you use a PC for recording ? Or {disfmarker}PhD F: Uh , yeah , a Linux box . Yeah . It 's got , uh , like sixteenchannels going into it .Professor G: Uh - huh . Uh - huh . The quality is quite good ? Or {disfmarker} ?PhD F: Mm - hmm . Yeah , so far , it 's been pretty good.Professor G: Mm - hmm .Professor D: Yeah . So , uh , yeah {disfmarker} the suggestion was to have these guys start to {disfmarker}PhD F: OK . Why don't yougo ahead , Dave ?Grad C: OK . Um , so , yeah , the {disfmarker} this past week I 've been main mainly occupied with , um , getting some results , u from the SRIsystem trained on this short Hub - five training set for the mean subtraction method . And , um , I ran some tests last night . But , um , c the results aresuspicious . Um , it 's , um , {vocalsound} cuz they 're {disfmarker} the baseline results are worse than , um , Andreas {disfmarker} than results Andreas gotpreviously . And {vocalsound} it could have something to do with , um {disfmarker}PhD F: That 's on digits ?Grad C: That 's on digits . It c it {disfmarker} itcould h it could have something to do with , um , downsampling .PhD F: Hmm .Grad C: That 's {disfmarker} that 's worth looking into . Um , d and , um , ap apapart from that , I guess the {disfmarker} the main thing I have t ta I have to talk is , um , where I 'm planning to go over the next week . Um . So I 've beenworking on integrating this mean subtraction approach into the SmartKom system . And there 's this question of , well , so , um , in my tests before with HTK Ifound it worked {disfmarker} it worked the best with about twelve seconds of data used to estimate the mean , but , we 'll often have less {comment} in theSmartKom system . Um . So I think we 'll use as much data as we have {pause} at a particular time , and we 'll {disfmarker} {vocalsound} we 'll concatenateutterances together , um , to get as much data as we possibly can from the user . But , {vocalsound} um , {vocalsound} there 's a question of how to set up themodels . So um , we could train the models . If we think twelve seconds is ideal we could train the models using twelve seconds to calculate the mean , to meansubtract the training data . Or we could , um , use some other amount . So {disfmarker} like I did an experiment where I , um , was using six seconds in test ,um , but , for {disfmarker} I tried twelve seconds in train . And I tried , um , um , the same in train {disfmarker} I 'm a I tried six seconds in train . And sixseconds in train {vocalsound} was about point three percent better . Um , and {disfmarker} {vocalsound} um , it 's not clear to me yet whether that 's{vocalsound} something significant . So I wanna do some tests and , um , {vocalsound} actually make some plots of , um {disfmarker} for a particular amountof data and test what happens if you vary the amount of data in train .PhD F: Mm - hmm .Professor D: Uh , Guenter , I don't know if you t {vocalsound} followedthis stuff but this is , uh , {vocalsound} a uh , uh , long - term {disfmarker} long - term window F F Yeah . Yeah , he {disfmarker} you talked about it .ProfessorG: Yeah , we {disfmarker} we spoke about it already ,Professor D: Oh , OK . So you know what he 's doing .Professor G: yeah .Professor D: Alright .Grad C: y sso I was {disfmarker} I actually ran the experiments mostly and I {disfmarker} I was {disfmarker} I was hoping to have the plots with me today . I just didn'tget to it . But , um {disfmarker} yeah , I wou I would be curious about people 's feedback on this cuz I 'm {disfmarker} {vocalsound} @ @ {comment} I p Ithink there are some I think it 's {disfmarker} it 's kind of like a {disfmarker} a bit of a tricky engineering problem . I 'm trying to figure out what 's the optimalway to set this up . So , um , {vocalsound} I 'll try to make the plots and then put some postscript up on my {disfmarker} on my web page . And I 'll mention itin my status report if people wanna take a look .Professor D: You could clarify something for me . You 're saying point three percent , you take a point threepercent hit , {vocalsound} when the training and testing links are {disfmarker} don't match or something ?PhD E: Hello .Professor D: Is that what it is ?Grad C:w Well , it cProfessor D: Or {disfmarker} ?Grad C: I {disfmarker} I don't think it {disfmarker} it 's {vocalsound} just for any mismatch {vocalsound} you take ahit .Professor D: Yeah .Grad C: i In some cases it might be u better to have a mismatch . Like I think I saw something like {disfmarker} like if you only have twoseconds in test , or , um , maybe it was something like four seconds , you actually do a little better if you , um , {vocalsound} train on six seconds than if youtrain on four seconds .Professor D: Yeah . Right .Grad C: Um , but the case , uh {disfmarker} with the point three percent hit was {vocalsound} using six secondsin test , um , comparing train on twelve seconds {comment} versus train on six seconds .Professor D: And which was worse ?Grad C: The train on twelve seconds.Professor D: OK . But point three percent , uh , w from what to what ? That 's point three percent {disfmarker}Grad C: On {disfmarker} The {disfmarker} the{disfmarker} the accuracies {vocalsound} w went from {disfmarker} it was something vaguely like ninety - five point six accuracy , um , improved to ninety -five point nine wh when I {disfmarker}Professor D: So four point four to four point one .Grad C: OK .Professor D: So {disfmarker} yeah . So about a{disfmarker} about an eight percent , uh , seven or eight percent relative ?Grad C: OK .Professor D: Uh , Yeah . Well , I think in a p You know , if {disfmarker} ifyou were going for an evaluation system you 'd care . But if you were doing a live system that people were actually using nobody would notice . It 's {disfmarker}uh , I think the thing is to get something that 's practical , that {disfmarker} that you could really use .Grad C: Huh . That 's {disfmarker} that 's interesting .Alright , the e uh , I see your point . I guess I was thinking of it as , um , {vocalsound} an interesting research problem . The {disfmarker} how to g I wasthinking that for the ASRU paper we could have a section saying , {vocalsound} \" For SmartKom , we {disfmarker} we d in {disfmarker} we tried this approach in, uh , {vocalsound} interactive system \" , which I don't think has been done before .Professor D: Yeah . Mm - hmm .Grad C: And {disfmarker} and then therewas two research questions from that .Professor D: Mm - hmm .Grad C: And one is the k does it still work if you just use the past history ?Professor D: Mm -hmm .Grad C: Alright , and the other was this question of , um what I was just talking about now . So I guess that 's why I thought it was interesting .ProfessorD: I mean , a short - time FFT {disfmarker} short - time cepstrum calculation , uh , mean {disfmarker} u mean calculation work that people have in commercialsystems , they do this all the time . They {disfmarker} the {disfmarker} they calculate it from previous utterances and then use it , you know .Grad C: Yeah , um.Professor D: But {disfmarker} but , uh , as you say , there hasn't been that much with this long {disfmarker} long - time , uh , spectra work .Grad C: Oh , o Oh ,OK .Professor D: Uh ,Grad C: So that 's {disfmarker} that 's {disfmarker} that 's standard . Um {disfmarker}Professor D: Yeah . Pretty common .Grad C: OK.Professor D: Yeah . Um , but , u uh , yes . No , it is interesting . And the other thing is , I mean , there 's two sides to these really small , uh , gradations inperformance . Um , I mean , on the one hand in a practical system if something is , uh , four point four percent error , four point one percent error , people won'treally tell {disfmarker} be able to tell the difference . On the other hand , when you 're doing , uh , research , you may , eh {disfmarker} you might find that theway that you build up a change from a ninety - five percent accurate system to a ninety - eight percent accurate system is through ten or twelve little things thatyou do that each are point three percent . So {disfmarker} so the {disfmarker} they {disfmarker} they {disfmarker} it 's {disfmarker} I don't mean to say thatthey 're {disfmarker} they 're irrelevant . Uh , they are relevant . But , um , {vocalsound} i for a demo , you won't see it .Grad C: Mm - hmm . Right . OK.Professor D: Yeah .Grad C: And , um , Let 's {disfmarker} l let 's see . Um , OK . And then there 's um , another thing I wanna start looking at , um ,{vocalsound} wi is , um , the choice of the analysis window length . So I 've just been using two seconds just because that 's what Carlos did before . Uh , I wroteto him asking about he chose the two seconds . And it seemed like he chose it a bit informally . So , um , with the {disfmarker} with the HTK set - up I should beable to do some experiments , on just varying that length , say between one and three seconds , in a few different reverberation conditions , um , say this roomand also a few of the artificial impulse responses we have for reverberation , just , um , making some plots and seeing how they look . And , um , so , with the{disfmarker} the sampling rate I was using , one second or two seconds or four seconds is at a power of two um , number of samples and , um , I 'll {disfmarker}I 'll jus f for the ones in between I guess I 'll just zero - pad .Professor D: Mm - hmm . I guess one thing that might also be an issue , uh , cuz part of what you 'redoing is you 're getting a {disfmarker} a spectrum over a bunch of different kinds of speech sounds . Um , and so it might matter how fast someone was talkingfor instance .Grad C: Oh .Professor D: You know , if you {disfmarker} if {disfmarker} if {disfmarker} if there 's a lot of phones in one second maybe you 'll get a{disfmarker} a really good sampling of all these different things , and {disfmarker} {vocalsound} and , uh , on the other hand if someone 's talking slowly maybeyou 'd need more . So {disfmarker}Grad C: Huh .Professor D: I don't know if you have some samples of faster or slower speech but it might make a difference . Idon't know .Grad C: Uh , yeah , I don't {disfmarker} I don't think the TI - digits data that I have , um , {vocalsound} i is {disfmarker} would be appropriate forthat .Professor D: Yeah , probably not . Yeah .Grad C: But what do you {disfmarker} What about if I w I fed it through some kind of , um , speech processingalgorithm that changed the speech rate ?Professor D: Yeah , but then you 'll have the degradation of {disfmarker} of , uh , whatever you do uh , added onto that. But maybe . Yeah , maybe if you get something that sounds {disfmarker} that {disfmarker} that 's {disfmarker} does a pretty job at that .Grad C: Yeah . Well ,uh , just if you think it 's worth looking into .Professor D: You could imagine that .Grad C: I mean , it {disfmarker} it is getting a little away from reverberation.Professor D: Um , yeah . It 's just that you 're making a choice {disfmarker} uh , I was thinking more from the system aspect , if you 're making a choice forSmartKom , that {disfmarker} that {disfmarker} that it might be that it 's {disfmarker} it c the optimal number could be different , depending on"}
+{"doc_id":"doc_133","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call the meeting to order.  Welcome to the third meeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic. Pursuant to the order of reference of Monday, April20, the committee is meeting for the purposes of consideringministerial announcements, allowing members to present petitions, and questioning ministers of the crown, including the Prime Minister, in respect of theCOVID-19 pandemic. I understand there's an agreement to observe a moment of silence in memory of the six members of the Canadian Armed Forces who losttheir lives last Wednesday in a helicopter crash off the coast of Greece.  We'll return to order. Colleagues, we meet today to continue our discussion about howour country is dealing with the COVID-19 pandemic. As we do, Canadians, like everyone around the world, are doing their best to live their lives until thingsimprove. Meanwhile, as we look towards the future, I believe that it is also important to remember our past and to continue to mark the important moments inour shared history. At this very moment, the Dominion Carillonneur, Dr. Andrea McCrady, is performing a special recital to commemorate the 75th anniversary ofthe liberation of the Netherlands by the Canadian Forces. In May 1945, Canadian Forces played a major role in liberating the Dutch people from Nazi occupation.May 5 is now a national holiday in the Netherlands that commemorates the event and the great friendship that now exists between our two countries. Today'smeeting is taking place by video conference. The proceedings will be made available via the House of Commons website. Please be aware that the webcast willalways show the person speaking rather than the entire committee. Let me remind you that, as in the House or in committee, members may not takephotographs of their colleagues or film the proceedings. In order to facilitate the work of our interpreters and ensure orderly meetings, I will outline a few rules.Interpretation of this video conference will be done as it is at normal committee meetings and in the House. At the bottom of your screen, you can choose floor,English or French. As you have seen, I change as I am speaking. I have now switched over to English in order to speak English. If you look at the bottom, youhave a little flag that indicates whether it's English or French, and that's how we will be speaking. It makes it easier. That was where we had a little bit of a glitchin the last session. I understand that there are no statements by ministers. We can now proceed to presenting petitions for a period not exceeding 15 minutes.  Iwould like to remind members that petitions presented during a meeting of the special committee must already have been certified by the clerk of petitions.  Inaddition, to ensure that the petition is considered to have been properly presented, the certificate of the petition and each page of the petition for petitionscertified in a previous Parliament should be emailed to the committee no later than 6 p.m. on the day before the committee. I thank all the members for theirusual co-operation. Thank you all. Now we'll proceed to presenting petitions. Our first petition comes from the honourable member for Sherwood ParkFortSaskatchewan, Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Mr. Chair, I'm pleased to be presenting two petitions today. The firstpetition is with respect to government Bill C-7. Petitioners raised concerns that this bill removes safeguards from the current euthanasia regime. It includesremoving the mandatory 10-day reflection period and the number of required witnesses who will witness a person's consent. The petitioners urge the House ofCommons to immediately discontinue the removal of safeguards for people requesting euthanasia, and to put in place additional measures to protect vulnerablepeople. This would require that bill to be amended or not passed. The second petition is with respect to Senate public bill S-204. This is on organ harvesting andtrafficking. Petitioners call on members of the House, and hopefully the Senate as well, to support Bill S-204, which would make it a criminal offence for a personto go abroad and receive an organ for which there has not been consent. It would also create provisions under which a person could be made inadmissible toCanada if they had been involved in organ harvesting or trafficking. Thank you very much.The Chair: Thank you. I want to remind all the members that there arespecific headsets that have been mandated to all of us. If you don't have one, please talk to your IT ambassador and they will get one to you as quickly aspossible. The reason for them is not so much for what you hear, but that our interpreters are working and there are work conditions that really make it difficult.Part of that is not having the appropriate boom on your headset, which will make it very difficult for them to hear and interpret for our members. Now we go tothe member for BeachesEast York, Mr. Erskine-Smith.Mr. Nathaniel Erskine-Smith (BeachesEast York, Lib.): Mr. Chair, I had to learn how to tie my tie all overagain. It's been so long. I want to thank Jenna Robar, who's led this petition e-2453. The petitioners have noted that there are approximately 60 indigenouslanguages in Canada and that 2019, last year, was declared by the UN to be the year of indigenous languages. They draw attention to article 13 of the UNDRIPand to the TRC's calls to action numbers 13 to 16. Fundamentally, they call upon the Government of Canada to recognize indigenous languages as being officiallanguages of Canada and to have each language recognized nationally, with implementations on regional and provincial levels, acknowledging that many regionshave different languages.Mr. Eric Duncan (StormontDundasSouth Glengarry, CPC): Mr. Chair, I am proud to present a petition on behalf of one of myconstituents, Myles Lynch of St. Andrews West in my riding. Myles made history as the first Canadian ever to survive three double-lung transplants. Myles liveswith cystic fibrosis and has had three lung transplants in the last five years, and he's only 22 years old. Myles created a documentary called 8 Thousand Myles,which had a few showings in my riding. It documented his journey across Canada. One thing Myles has been advocating for is the creation of a national opt-outprogram for organ donation. Myles asked me how he could help raise awareness of that issue. I mentioned to him e-petitions online and getting people across thecountry to sign them. I am proud to have this certified today, with 1,318 signatures, asking the Standing Committee on Health to launch a study into thefeasibility of the creation of a national opt-out program. I give kudos to Myles not only for his strength personally but also for his advocacy for others and forsaving lives in our country by advocating for a better and an improved organ donation system. Kudos to Myles. I'm proud to present this petition today.Mr. PeterJulian (New WestminsterBurnaby, NDP): Mr. Chair, I'm very pleased to present this certified petition on behalf of several dozen residents of Toronto, Mississaugaand Brampton, Ontario, who add their voices to those of the thousands upon thousands of Canadians who have signed similar petitions. Given that Canadians areliving through unprecedented, catastrophic climate events, and at the same time our society, as you know, is suffering from worsening social and economicinequalitieshalf of Canadian families are only $200 away from insolvency in any given monthand particularly given the pandemic that we are currentlyexperiencing, these petitioners are calling on the Government of Canada to support motion M-1, a made-in-Canada green new deal that I am presenting in frontof the House of Commons. It calls on Canada to take bold and rapid action to tackle the climate emergency, and to put in place a shift to a clean and renewableenergy economy.Mr. Gord Johns (CourtenayAlberni, NDP): Mr. Chair, it's an honour to table a petition on behalf of constituents from CourtenayAlberni. They areconcerned, obviously, about fentanyl-related deaths. Over 12,000 Canadians have died over the last four years due to fentanyl-poisoned sources. They cite thatthe current war on drugs has been costly and grossly ineffective; that it has resulted in widespread stigma towards addiction and against those who use illicitdrugs; and that criminalization of particular substances has resulted in the establishment of a drug trade that now trafficks dangerous and lethal products such asfentanyl. They are citing that regulating to ensure safe sources, with proper measures and bylaws, will reduce the criminal element associated with street drugs.Problematic substance use is a health issue and is not resolved through criminalization of personal possession and consumption. They are calling on theGovernment of Canada to declare the current opioid overdose and fenanyl poisoning crisis a national public health emergency under the Emergencies Act. Theyare calling for the government to reform current drug policy to decriminalize personal possession, as has been done in Portugal and other countries, and to createwith urgency and immediacy a system to provide safe and unadulterated access to substances so that people who use substances experimentally, recreationallyor chronically are not at imminent risk of overdose due to a contaminated source.Mr. Brad Vis (MissionMatsquiFraser Canyon, CPC): Mr. Chair, I'm presenting apetition today that contains the concerns of Canadians in my riding with the government's approach to firearms legislation and regulation. The petition highlightsthat the Liberal government's December 5, 2019, Speech from the Throne contains numerous inaccuracies about current firearms legislation and regulation; thatthe term military-style assault rifles is a political phrase undefined in Canadian law; that municipalities are constitutionally unable to enact criminal law to banhandguns in their jurisdictions; that the experts, including chiefs of police, agree that banning firearms and requiring law-abiding gun owners to follow moreunnecessary red tape will not increase public safety; that the majority of guns used in violent crimes are smuggled into Canada from the United States; and thatthe Liberal government continues to target law-abiding firearms owners instead of the gangs, drug traffickers and illegal gun traffickers responsible for violence inour communities. The petitioners in MissionMatsquiFraser Canyon are calling on the government to stop targeting law-abiding firearms owners; to cancel all plansto confiscate firearms legally owned by federally licensed, RCMP-vetted Canadians; and to focus our limited resources on anti-gang enforcement, on reducing theinvolvement of at-risk youth and gangs, on mental health and on providing the Canada Border Services Agency with the tools they need to do their jobeffectively.The Chair: Very good. That's all for petitions today. We will now proceed to the questioning of ministers. I would like to remind honourable membersthat no member shall be recognized for more than five minutes at a time and that members may split their time with one or more members by so indicating tothe chair. Ministers responding to the question should do so by simply turning on their mike and speaking. I want to again remind honourable members to use the"}
+{"doc_id":"doc_134","qid":"","text":"Project Manager: Alright , that did nothing . Okay . Welcome to the meeting everyone . Just gonna attempt to make this into a slide show . Sorry guys.Marketing: You may have to do the function F_ eight thing .Project Manager: I did . Twice .Marketing: Oh , okay . {vocalsound}Project Manager: This'll just takea moment . {vocalsound}User Interface: {vocalsound}Industrial Designer: Okay okay {vocalsound}Marketing: {vocalsound}Project Manager: Or it won't.Marketing: {vocalsound}Project Manager: Okay we'll have to deal with it like this then .Industrial Designer: Okay . {vocalsound}Project Manager: Alright . Um .This is the first meeting uh for developing our , our new product . {gap} I'm Heather , I'm your Project Manager .Industrial Designer: Hello . {vocalsound}UserInterface: {vocalsound}Project Manager: Okay . So um . So that was the opening .Marketing: {vocalsound}Project Manager: The first thing we'll do is getacquainted with one another . If everyone could go around and explain their role and um , and their name .User Interface: {vocalsound}Industrial Designer:Okay . My name's Poppy . I'm the Industrial Designer for this project . Um , I'm going to be responsible for the functional design phase . Also the conceptualdesign and the detailed design for the final product .Project Manager: Nice to meet you Poppy .Industrial Designer: Okay . {vocalsound}User Interface:{vocalsound} My name's Tara and I'm the User Interface Designer .Marketing: {vocalsound}User Interface: I will also be responsible for the functional designphase , the conceptual design phase and the detailed design phase of the user interface design . {vocalsound}Project Manager: Alright .Marketing: Hi , I'mGenevieve . I'm the Marketing Expert . I'm an expert at marketing .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Um , I'll betelling you guys about the user requirement specifications for our new product . Um , I'll be doing some trend-watching in the conceptual design , and productevaluation for the design phase .Project Manager: Alright I'm Heather and I've I said I'm your Project Manager , um Well you can pretty much read what it is thatI'm doing . But um um {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Yeah . And uh tool training is one thing that we'regoing to be doing today , um um as well as planning the project , how we're going to , uh , create this product , and , um , discuss , um , our aims and objects ofthis , Which brings us to our next subject ,Industrial Designer: {vocalsound}Project Manager: is , um , um ,Marketing: {vocalsound}Project Manager: as a teamwe're going to be designing and creating a new kind of remote control . Um , we want this to be a marketable product that can be trendy , um , a completely newstyle , so that , um , can really appeal to a , to a generation that doesn't want a simple plain kind of , uh , channel-changer . And , um , it needs to beuser-friendly for , um , maybe , for an example , for people that , um , can't see the numbers as well , or , um , perhaps an ergonomic design .IndustrialDesigner: Okay . So this is a television remote control ?Project Manager: Yes , it's a television remote control .Industrial Designer: Yeah .Project Manager: Right .I believe I should be taking minutes on this right now . So , alright .Industrial Designer: Okay .Project Manager: Um , yeah . Um , the way that we're going to goabout this is , um , we'll have a time where we can , um come up with new ideas alone , and , and work on the project and then , um , after we've brainstormedand , and thought about , we can come together in a meeting and , and discuss what , what um , what kind of functional design we want to use . Same withconceptual design and detailed design . So , um , making sure that it , it's usable , that as a , um {disfmarker} and that it's , it's feasible to create , and uh , tocome up with a concept of it want , what we want it to look like . Um , tool training . Is , is everyone , um {disfmarker} {gap} Okay .Industrial Designer: Yeah .Got those notes .Marketing: Yeah .Project Manager: Great . Great .Marketing: Thank you .Project Manager: Um One thing that , uh , we're going to do is becomemore acquainted with the , the tools that we have access to for our project . Um , one of them is our whiteboard . And , um , as a sort of team-building moment ,um , I , I'd like us to , um , try out the whiteboard by expressing our favourite animal and the charac characteristics of that animal .Industrial Designer:{vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Um , why that , why that should be your favourite animal . So , um , I , I'massuming that we should do that now .Industrial Designer: Okay .Marketing: {vocalsound}Project Manager: 'Kay .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound} With our microphones still attached to our bodies . Okay . {vocalsound}Industrial Designer: Okay .User Interface:Gosh . {vocalsound}Project Manager: 'Kay , what's my favourite animal ?Industrial Designer: {vocalsound}Project Manager: Do come up .{vocalsound}Industrial Designer: Oh ,User Interface: {vocalsound}Industrial Designer: {gap} to go first . {vocalsound} Oh ,Project Manager: This is ateam-building timeIndustrial Designer: are we all doing it individually ?User Interface: {vocalsound} Yeah . {vocalsound}Project Manager: where , um ,{vocalsound} ,Industrial Designer: Okay , let's stand up and support you {vocalsound}Project Manager: okay cool , um {disfmarker}Industrial Designer:{vocalsound}Project Manager: My favourite animal , which changes all the time , okay ,Industrial Designer: {vocalsound}User Interface: {vocalsound}ProjectManager: right now it is an elk .Industrial Designer: {vocalsound} Okay .User Interface: An elk ?Marketing: {vocalsound}Project Manager: alright , so{disfmarker}User Interface: {vocalsound} A vicious {disfmarker} {vocalsound}Project Manager: And it goes like {disfmarker} Yeah it's got like big antlers ,UserInterface: {vocalsound}Project Manager: yeah . Looks kinda like , like it has holly growing out of its head .Industrial Designer: {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound}Industrial Designer: Do you have elk where you come from ?Project Manager: Yes .Industrial Designer: You do .ProjectManager: YeahMarketing: We have moose too . {vocalsound}Project Manager: we have moose and we have deer .Industrial Designer: Okay .User Interface:{vocalsound}Project Manager: Do you have {disfmarker}User Interface: We have sheep . {vocalsound}Project Manager: {vocalsound} {gap} 'Kay , um.Industrial Designer: {vocalsound} Sheep . Yeah ,Marketing: {vocalsound}Industrial Designer: cows .Project Manager: {vocalsound}Industrial Designer: That's agreat elk .Marketing: Uh-oh , we have a good artist . {vocalsound} {vocalsound}User Interface: That is really good .Project Manager: {vocalsound} Thanks.Industrial Designer: {vocalsound} Yeah . {vocalsound}User Interface: I'm quite {disfmarker} {vocalsound}Project Manager: This is my {disfmarker}UserInterface: {vocalsound}Marketing: Oh , very shapely .Project Manager: Okay .Industrial Designer: Brilliant .Project Manager: That's a sketching of my my elk ,and it , it is my favourite animal right now , 'cause it is a large beautiful majestic creature ,User Interface: {vocalsound}Project Manager: that um , that um{disfmarker}User Interface: {vocalsound}Project Manager: In a way it looks kind of awkward , because it's on spindly legs and it uh {disfmarker}User Interface:{vocalsound}Project Manager: But it can really overcome harsh terrain , and although it's gorgeous it's also very dangerous , because it has um strong antlers ,and uh it can really combat its enemies , even like it it's a it's an herbivore but , uh , it can really defend itself .Industrial Designer: Mm .Project Manager: Yeah.Industrial Designer: Very nice . Okay .Project Manager: Right .Industrial Designer: {vocalsound}Project Manager: Right , I'm gonna take minutes while , um ,you guys express your favourite animals .User Interface: {vocalsound}Industrial Designer: Okay , I'll go next . I am a big animal lover . like all sorts of animals ,but for the moment I'm gonna draw a cat , in memory of my poor cat that died recently . {vocalsound}Marketing: {vocalsound} Oh .Project Manager: Oh.Industrial Designer: It's gonna be a bit of a strange drawing , but never mind .User Interface: {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound}Industrial Designer: Not as artistic as Heather's drawing .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Bit morecartoon style .Project Manager: {vocalsound}Industrial Designer: But I like cats because they're so independent , and they always seem to be doing what theywant to be doing . Um , but that doesn't mean they're completely not sociable , 'cause they enjoy interacting with humans as well , and they seem to enjoy thegood things like sunshine and , um , running around outside as well as being inside , and enjoying their food , and generally just , they just seemed so cool and{vocalsound} they just know what they're doing .User Interface: {vocalsound} {vocalsound}Industrial Designer: Uh I reckon they're sort of , they got it sorted .They know what they want .User Interface: {vocalsound}Industrial Designer: {vocalsound} Basically , that's why I like cats . {vocalsound}User Interface: Verygood . {vocalsound}Project Manager: Great .Industrial Designer: {gap} I'll rub that out . There you go . {vocalsound}User Interface: Okay . I think my favouriteanimal would be a dog , but I'm not really sure {vocalsound} how to draw one .Industrial Designer: Ooh .User Interface: I , I've never drawn a dog , I don't think. I'm tempted to draw a snail 'cause I draw them sometimes {vocalsound} and they're really easy to draw .Marketing: {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: Um ,Project Manager: I forget her name .User Interface: right it's gonna be a really funny dog ,'cause I'm not sure how to draw a dog .Marketing: TaraProject Manager: {vocalsound}Marketing: or Tara .Industrial Designer: Well there are loads of differenttypes of dogs , so I'm sure it'll represent one kind of dog . {vocalsound}User Interface: {vocalsound} It's a cartoon dog I think .Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: A s I don't ev Oh , oh well . {vocalsound} It's a scary cartoon dog . That {disfmarker} This,Industrial Designer: {vocalsound}User Interface: that does not look like a dog .Project Manager: {vocalsound} It looks kinda like a person .{vocalsound}Industrial Designer: {vocalsound} We can pretend . {vocalsound}User Interface: {vocalsound} I'm sorry .Marketing: {vocalsound} That's Pinocchio.User Interface: {vocalsound} {gap} {vocalsound} {vocalsound} How do you draw a dog ? I suppose it has a lon Oh my god . Right . Yous know what it'ssupposed to be .Industrial Designer: {vocalsound} Okay .User Interface: {vocalsound} It's a dog . {vocalsound} . Um , I like dogs because , um , they're sogood to humans , like they can be trained to be police dogs and seeing-eye dogs , and they're just such friendly animals . And , like they're more of a companion"}
+{"doc_id":"doc_135","qid":"","text":"Project Manager: {vocalsound} Um {vocalsound} minutes from the last meeting which were essentially that we uh had decided on roles for each of you ,however , um there are some changes that I've got from on highUser Interface: Okay . {vocalsound}Project Manager: that um are a bit uh {disfmarker} well wwhat I didn't actually realise it was that the uh {vocalsound} this is for a specific television .User Interface: Okay .Project Manager: So the all in one idea goes outthe window . And {vocalsound} they require that the uhUser Interface: Mm-hmm .Project Manager: actually I'll get to that at the end {gap} point number four ,um we'll get what you've got and then we can see what we can adapt from it . So um , presentations , were you {disfmarker} anybody got , raring to go?Marketing: Yeah . Yeah .Project Manager: Raring to go ? Okay . Good stuff . Mm .Marketing: Um . So how {disfmarker}Project Manager: Oh I need to plug youin . {vocalsound}Industrial Designer: {vocalsound}Marketing: S {gap}Project Manager: Just about .User Interface: Wow . {vocalsound}Industrial Designer: It'sa inspired design .Marketing: {gap}User Interface: {vocalsound}Marketing: Sh do you want me to hold it ?Project Manager: Uh there we go , just screw 'em onin . Gonna have to swap them round so {disfmarker} {vocalsound}Marketing: {vocalsound} So , after that ?Project Manager: now , it was function F_ eight.Marketing: F_ eight . {vocalsound} f oh sorry F_ eight .Project Manager: That's the wee blue one . Blue one F_ eight .Marketing: Okay .Project Manager: Shoulddo it , good one .Marketing: Yeah . Yeah . Uh , me again , Rajan the Marketing Expert . Uh , as we have decided in the last meeting that I have to find out , sorry, yeah sure .Project Manager: Hold on , sorry . {gap} and if you just click that it'll go ahead , one at a time .Marketing: Yeah , yeah . Uh actually , sorry I have tosee the other {gap} , sorry .Project Manager: {vocalsound} Sorry , uh .Marketing: Yeah , thank you .Project Manager: {vocalsound}Marketing: Uh , yes , I haveto look at the uh market potential for this product , uh , like consumer likings and everything , what is the potential for this product and are we able to achieveour a net profit or our aims or not ? Then {disfmarker}Project Manager: P press F_ five to start it first .Marketing: Sorry . Okay . Yeah , I can , okay .IndustrialDesigner: Hmm .Project Manager: {vocalsound} Jesus .Marketing: Uh then uh the methodology I adopted to find out all this was market survey . A a detailedmarket survey on consumers was done to find out their likings and dislikings , what they prefer what they not prefer , w what problems they do encounter in allthis type of things . And what we got was , we found that {disfmarker} if you {disfmarker} uh , what they th what problems they are having with different uhremote controls available in the market . Seventy five percent of users they do find it that the remote controls available in the market are ugly . They are not sogood looking . So , we have to put stress on this , uh we have to take care of this fact also like our design , uh should be appropriate , should be good looking forthe consumers . And yes that's wi uh this will definitely , this can definitely put uh uh enhance our sales . Uh and even uh the good thing about this is that eightypercent of users they are willing to pay high uh pay more for this uh good looking remote controls also . So even if the available market goes for the available{disfmarker} uh even if the market goes for the available remote control is less even then we can sell it at twenty five Euros , which maybe which may seemquite high but if our looks are are if the re remote control we design have a good better uh better look uh designs , then we can hope that consumers will preferthese g remote controls .Project Manager: Excellent .Marketing: Then {disfmarker} {gap} And the second thing , some some companies they think that theyshould have more and more functions of the users uh or in their remote controls , but rather than those having more functions in the remote controls we shouldemphasise what actually consumer want , what they operate , rather than making it too complicated . Because mostly it has been found that fifty percent of theusers they use only ten percent of the buttons , so there is no point of having ninety percent buttons making the remote controls too bulky , too complicated tooexpensive a because I think I believe that technology is useful only if uh the consumers they want to use it . Otherwise there is no point of having all this type ofthings . So this will not only reduce the cost of our remote controls but it will increase our profit also . So we have to take care of this fact also . Then . Uh it wasfunction I want to go to .Project Manager: Oh you wanna go back ? Just escape .Marketing: Uh , escape , okay thank you . Then if we look at this slide ,ProjectManager: Okay .Marketing: uh these are in your shared documents , you can see ,Project Manager: Okay .Marketing: like {disfmarker} Uh , sorry .UserInterface: So , sorry {disfmarker} I was just gonna say , what was the question for this ? Or is {disfmarker} are you coming on to that ?Marketing: Ah t look allthe market potential , what uh how we should design consu our remote controls , what they should be there so as to en enhance our profit , enhance our sales.User Interface: Okay . So these percentages are are what ?Marketing: Yeah , these are different age group persons like uh sorry , I can open it in another way.Project Manager: Okay . Speech recognition .Marketing: Uh , yes . If we look at the costs whether the consumers they are willing to uh pay more for speechrecognition in a remote control or not , we can find that they up to a thirty five years age group we have a very good disliking for this uh this uh point , like forspeech recognition in a remote control .Industrial Designer: {vocalsound}Marketing: So we can emphasise on this point also like , because it will definitelyenhance our sales in this ag in this particular age group from uh fifteen to thirty five ,User Interface: Hmm .Marketing: and I uh and I think that most of the usersof the rem uh T_V_ are belong to this age group . So we should look {disfmarker}Project Manager: Hmm . We're als we we're looking at who buys it as well .{gap}Marketing: Yeah . We can look at that that factor also , so yes . {vocalsound}Project Manager: Uh , which I think the twenty five to thirty five is uh usual ,sort of .Marketing: Yeah .User Interface: Mm , mm .Marketing: So , and {disfmarker} {gap}Project Manager: {gap}Marketing: {vocalsound} And then{disfmarker}Project Manager: Fifteen to tweMarketing: Yes . I think so . Uh if we look at this data how how uh h how what are the problems the consumers arefacing with the existing remote controls in the market .Project Manager: {vocalsound}Marketing: They find that thirt uh thirty five percent uh thirty four percentof the consumers they find too difficult to operate a remote control . So it should be in such a way that it should be easy to learn how to operate these remotecontrols and we should provide pl uh spe uh proper manuals for its use also so as that people {disfmarker} consumers could easily learn . They need not to haveany , much technical knowledge to see uh to know how to operate these remote controls .User Interface: Mm-hmm .Marketing: So this is also a very goo uhmajor factor to loo uh take into consideration to enhance our profits and sales . So um this is all aboutProject Manager: Okay . {vocalsound}Marketing: uhmarket potential by me .Project Manager: {vocalsound}User Interface: Mm-hmm .Marketing: Uh , yes , th thank you .Project Manager: Okay , thank you . Um ,{vocalsound} follow on with Helen ? Yeah please .User Interface: Yep , sure , that's cool , um {disfmarker}Marketing: Yeah we have to take that {gap} out.Project Manager: Oh , so we do yeah .Marketing: Sorry .User Interface: Yeah .Marketing: {vocalsound}Project Manager: Fun and games .Marketing: Sorry.Project Manager: Don't know if the cable's gonna be long enough .Marketing: Uh sorry , I have {gap} . {vocalsound}Project Manager: I think I just kicked overwhatever it runs on underneath as well .Marketing: Brian , this one also I {gap} . Yeah .Project Manager: Okay .Marketing: Thank you very much Brian .UserInterface: I can turn my computer quickly if that's okay .Marketing: If you want me to help , yeah .User Interface: Um , yep .Project Manager:{vocalsound}Marketing: Yeah .User Interface: Okay , and then what do I press , F_ eight ?Marketing: Uh F_ eight . Function F_ eight .Project Manager: FunctionF_ eight .User Interface: Oh right .Marketing: Mm s .User Interface: Okay , cool .Marketing: It's not coming . Function F_ eight , okay .User Interface: Oh.Marketing: Yeah .User Interface: Yeah . No signal . {vocalsound}Marketing: {vocalsound} Computer .Project Manager: Hmm .Marketing: Computer adjusting ,yeah .Project Manager: There you go .User Interface: Okay . Cool .Marketing: Yeah .User Interface: Okay and then how do I press the the big one , to get it on tothe big {disfmarker}Project Manager: Uh F_ five .User Interface: F_ five and I press that again to get it off as well do I ?Marketing: Escape .Project Manager: Um, F_ five and escape'll bring it back and just uh the left button for advancing .User Interface: Okay , so um I'm the interface design designer , User InterfaceDesigner sorry , uh I'm concerned with um w what effect the apparatus should have on the user and um I'm I'm also {disfmarker} I want to point out that ourmotto , put the fashion in electronics ,Project Manager: {vocalsound}User Interface: so obviously we as a company we want to make our products trendy andfashionable , it's a big concern of ours . Okay , and how do I press n just the next button ?Project Manager: Uh just a left uhUser Interface: The arrow ? Okay.Project Manager: left mouse button .User Interface: So um I looked at existing designs and also um the information that Raj gave us was very useful about whatpeople like , what people dislike . Um and what people {disfmarker} fashionable , because we said people between twenty five and thirty five were the main umbuyers of of our T_V_ I think .Project Manager: Mm-hmm . Okay .User Interface: So um what they like and what they find fashionable .Project Manager: 'Kay.User Interface: {vocalsound} And ergonomics , we said um , I don't know I haven't actually been able to do any of this myself ,Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: but um maybe that comes up , I don't know .Project Manager: That can come under Arlo as well.User Interface: And the findings , well the basic {disfmarker} that was the basic function to send messages to the television set .Project Manager: Uh .UserInterface: That's what people want to do . Um , so they need to be included , um , but I've got some pictures here of some leading ones . I don't know how to getto them ,Project Manager: Uh if you if you escape then you can see your bar .User Interface: {vocalsound} do I press F_ five is it ? {gap} escape ? Oh okay , cool. I haven't got my glasses on so I hope it's this one .Project Manager: {vocalsound} Uh okay .User Interface: These are two leading um remote controls at themoment .Project Manager: 'Kay .User Interface: You know they're grey , they've I mean this one's got loads of buttons , it's hard to tell from here what they"}
+{"doc_id":"doc_136","qid":"","text":"Grad C: Yeah , we had a long discussion about how much w how easy we want to make it for people to bleep things out . So {disfmarker} Morgan wants to makeit hard .PhD D: It {disfmarker} it doesn't {disfmarker}Grad C: Did {disfmarker} did {disfmarker} did it {disfmarker} ? I didn't even check yesterday whether itwas moving .PhD D: It didn't move yesterday either when I started it .Grad C: So .PhD D: So I don't know if it doesn't like both of us {disfmarker}Grad C:Channel three ? Channel three ?PhD D: You know , I discovered something yesterday on these , um , wireless ones .Grad B: Channel two .Grad C: Mm - hmm?PhD D: You can tell if it 's picking up {pause} breath noise and stuff .Grad C: Yeah , it has a little indicator on it {disfmarker} on the AF .PhD D: Mm - hmm . Soif you {disfmarker} yeah , if you breathe under {disfmarker} breathe and then you see AF go off , then you know {pause} it 's p picking up your mouth noise.PhD F: Oh , that 's good . Cuz we have a lot of breath noises .Grad C: Yep . Test .PhD F: In fact , if you listen to just the channels of people not talking , it 's like\" @ @ \" . It 's very disgustGrad C: What ? Did you see Hannibal recently or something ?PhD F: Sorry . Exactly . It 's very disconcerting . OK . So , um ,Grad C:PhD F: I was gonna try to get out of here , like , in half an hour , um , cuz I really appreciate people coming , and {vocalsound} the main thing that I was gonnaask people to help with today is {pause} to give input on what kinds of database format we should {pause} use in starting to link up things like word transcriptsand annotations of word transcripts , so anything that transcribers or discourse coders or whatever put in the signal , {vocalsound} with time - marks for , like ,words and phone boundaries and all the stuff we get out of the forced alignments and the recognizer . So , we have this , um {disfmarker} I think a starting pointis clearly the {disfmarker} the channelized {pause} output of Dave Gelbart 's program , which Don brought a copy of ,Grad C: Yeah . Yeah , I 'm {disfmarker} I'm familiar with that . I mean , we {disfmarker} I sort of already have developed an XML format for this sort of stuff .PhD F: um , which {disfmarker}PhD D: CanI see it ?Grad C: And so the only question {disfmarker} is it the sort of thing that you want to use or not ? Have you looked at that ? I mean , I had a web pageup .PhD F: Right . So ,Grad C: So {disfmarker}PhD F: I actually mostly need to be able to link up , or {disfmarker} I it 's {disfmarker} it 's a question both ofwhat the representation is and {disfmarker}Grad C: You mean , this {disfmarker} I guess I am gonna be standing up and drawing on the board .PhD F: OK ,yeah . So you should , definitely .Grad C: Um , so {disfmarker} so it definitely had that as a concept . So tha it has a single time - line ,PhD F: Mm - hmm .GradC: and then you can have lots of different sections , each of which have I Ds attached to it , and then you can refer from other sections to those I Ds , if you wantto . So that , um {disfmarker} so that you start with {disfmarker} with a time - line tag . \" Time - line \" . And then you have a bunch of times . I don't e I don'tremember exactly what my notation was ,PhD A: Oh , I remember seeing an example of this .Grad C: but it {disfmarker}PhD F: Right , right .PhD A: Yeah .GradC: Yeah , \" T equals one point three two \" , uh {disfmarker} And then I {disfmarker} I also had optional things like accuracy , and then \" ID equals T one , uh ,one seven \" . And then , {nonvocalsound} I also wanted to {disfmarker} to be i to be able to not specify specifically what the time was and just have a stamp.PhD F: Right .Grad C: Yeah , so these are arbitrary , assigned by a program , not {disfmarker} not by a user . So you have a whole bunch of those . And thensomewhere la further down you might have something like an utterance tag which has \" start equals T - seventeen , end equals T - eighteen \" . So what that 'ssaying is , we know it starts at this particular time . We don't know when it ends .PhD F: OK .Grad C: Right ? But it ends at this T - eighteen , which may besomewhere else . We say there 's another utterance . We don't know what the t time actually is but we know that it 's the same time as this end time .PhD A:Mmm .Grad C: You know , thirty - eight , whatever you want .PhD A: So you 're essentially defining a lattice .Grad C: OK . Yes , exactly .PhD A: Yeah .Grad C:And then , uh {disfmarker} and then these also have I Ds . Right ? So you could {disfmarker} you could have some sort of other {disfmarker} other tag later inthe file that would be something like , um , oh , I don't know , {comment} uh , {nonvocalsound} \" noise - type equals {nonvocalsound} door - slam \" . You know? And then , uh , {nonvocalsound} you could either say \" time equals a particular time - mark \" or you could do other sorts of references . So {disfmarker} or{disfmarker} or you might have a prosody {disfmarker} \" Prosody \" right ? D ? T ? D ? T ? T ?PhD F: It 's an O instead of an I , but the D is good .Grad C: Youlike the D ? That 's a good D .PhD F: Yeah .Grad C: Um , you know , so you could have some sort of type here , and then you could have , um {disfmarker} theutterance that it 's referring to could be U - seventeen or something like that .PhD F: OK . So , I mean , that seems {disfmarker} that seems g great for all of theencoding of things with time and ,Grad C: Oh , well .PhD F: um {disfmarker} I {disfmarker} I guess my question is more , uh , what d what do you do with , say, a forced alignment ?PhD A: How - howPhD F: I mean you 've got all these phone labels , and what do you do if you {disfmarker} just conceptually , if you get ,um , transcriptions where the words are staying but the time boundaries are changing , cuz you 've got a new recognition output , or s sort of {disfmarker} what's the , um , sequence of going from the waveforms that stay the same , the transcripts that may or may not change , and then the utterance which {disfmarker}where the time boundaries that may or may not change {disfmarker} ?PhD A: Oh , that 's {disfmarker} That 's actually very nicely handled here because youcould {disfmarker} you could {disfmarker} all you 'd have to change is the , {vocalsound} um , time - stamps in the time - line without {disfmarker} without ,uh , changing the I Ds .PhD F: Um . And you 'd be able to propagate all of the {disfmarker} the information ?Grad C: Right . That 's , the who that 's why you dothat extra level of indirection . So that you can just change the time - line .PhD A: Except the time - line is gonna be huge . If you say {disfmarker}Grad C: Yes.PhD F: Yeah ,PhD A: suppose you have a phone - level alignment .PhD F: yeah , especially at the phone - level .PhD A: You 'd have {disfmarker} you 'd have{disfmarker}PhD F: The {disfmarker} we {disfmarker} we have phone - level backtraces .Grad C: Yeah , this {disfmarker} I don't think I would do this for phone- level . I think for phone - level you want to use some sort of binary representationPhD F: Um {disfmarker}Grad C: because it 'll be too dense otherwise .PhD F:OK . So , if you were doing that and you had this sort of companion , uh , thing that gets called up for phone - level , uh , what would that look like ?PhD A:WhyGrad C: I would use just an existing {disfmarker} an existing way of doing it .PhD F: How would you {disfmarker} ?PhD A: Mmm . But {disfmarker} but whynot use it for phone - level ?PhD F: H hPhD A: It 's just a matter of {disfmarker} it 's just a matter of it being bigger . But if you have {disfmarker} you know ,barring memory limitations , or uh {disfmarker} I w I mean this is still the mGrad C: It 's parsing limitations . I don't want to have this text file that you have toread in the whole thing to do something very simple for .PhD A: Oh , no . You would use it only {pause} for {pause} purposes where you actually want the phone- level information , I 'd imagine .PhD F: So you could have some file that configures how much information you want in your {disfmarker} in your XML orsomething .Grad C: Right . I mean , you 'd {disfmarker} yPhD F: Um ,PhD A: You {disfmarker}Grad C: I {disfmarker} I am imagining you 'd have multipleversions of this depending on the information that you want .PhD F: cuz th it does get very bush with {disfmarker} Right .Grad C: Um , I 'm just {disfmarker}what I 'm wondering is whether {disfmarker} I think for word - level , this would be OK .PhD F: Yeah .Grad C: For word - level , it 's alright .PhD F: Yeah .Definitely .PhD A: Mm - hmm .Grad C: For lower than word - level , you 're talking about so much data that I just {disfmarker} I don't know . I don't know if that{disfmarker}PhD F: I mean , we actually have {disfmarker} So , one thing that Don is doing , is we 're {disfmarker} we 're running {disfmarker} For every frame, you get a pitch value ,PhD D: Lattices are big , too .PhD F: and not only one pitch value but different kinds of pitch valuesGrad C: Yeah , I mean , for somethinglike that I would use P - filePhD F: depending on {disfmarker}Grad C: or {disfmarker} or any frame - level stuff I would use P - file .PhD F: Meaning {disfmarker}?Grad C: Uh , that 's a {disfmarker} well , or something like it . It 's ICS uh , ICSI has a format for frame - level representation of features . Um .PhD F: OK . Thatyou could call {disfmarker} that you would tie into this representation with like an ID .Grad C: Right . Right . Or {disfmarker} or there 's a {disfmarker} there 's aparticular way in XML to refer to external resources .PhD F: And {disfmarker} OK .Grad C: So you would say \" refer to this external file \" . Um , so that externalfile wouldn't be in {disfmarker}PhD F: So that might {disfmarker} that might work .PhD D: But what {disfmarker} what 's the advantage of doing that versusjust putting it into this format ?Grad C: More compact , which I think is {disfmarker} is better .PhD D: Uh - huh .Grad C: I mean , if you did it at this{disfmarker}PhD F: I mean these are long meetings and with {disfmarker} for every frame ,Grad C: You don't want to do it with that {disfmarker} Anything atframe - level you had better encode binaryPhD F: um {disfmarker}Grad C: or it 's gonna be really painful .PhD A: Or you just compre I mean , I like text formats. Um , b you can always , uh , G - zip them , and , um , you know , c decompress them on the fly if y if space is really a concern .PhD D: Yeah , I was thi I wasthinking the advantage is that we can share this with other people .Grad C: Well , but if you 're talking about one per frame , you 're talking about gigabyte - sizefiles . You 're gonna actually run out of space in your filesystem for one file .PhD F: These are big files . These are really {disfmarker} I mean {disfmarker}GradC: Right ? Because you have a two - gigabyte limit on most O Ss .PhD A: Right , OK . I would say {disfmarker} OK , so frame - level is probably not a good idea .But for phone - level stuff it 's perfectly {disfmarker}PhD F: And th it 's {disfmarker}PhD A: Like phones , or syllables , or anything like that .PhD F: Phones areevery five frames though , so . Or something like that .PhD A: But {disfmarker} but {disfmarker} but most of the frames are actually not speech . So , you know, people don't {disfmarker} v Look at it , words times the average {disfmarker} The average number of phones in an English word is , I don't know , {comment}five maybe ?PhD F: Yeah , but we actually {disfmarker}PhD A: So , look at it , t number of words times five . That 's not {disfmarker} that not {disfmarker}PhD"}
+{"doc_id":"doc_137","qid":"","text":"Project Manager: Excellent . So um I sent you the agenda , it was on the {disfmarker} in the project documents . I don't know if you got a chance to just have alook at it . Anyway , it's {disfmarker} the meeting's gonna follow more or less the same structure as last time , so we'll go round each of you in turn and you cangive your presentations on what you've been up to . Um and at the end of that we need to discuss what you've come up with , so that we can make a decision onthe key remote control concepts , so that's {disfmarker} we need to know about the components' properties , materials , the user interface and any trends thatthe Marketing Expert has been watching .Industrial Designer: {vocalsound} Right .Project Manager: Okay . Um , do you wanna start again ?Industrial Designer:{vocalsound} Okay .Project Manager: Let me {disfmarker}Industrial Designer: Right s {vocalsound}Project Manager: we've got forty minutes .IndustrialDesigner: so I haven't made a PowerPoint presentation ,Project Manager: {vocalsound} You haven't made a PowerPoint , okay .Industrial Designer: yeah , I Ithought I'll use the whiteboard instead .Project Manager: Mm-hmm .Industrial Designer: Um mm , {vocalsound}Project Manager: Let's hope the pen holds out .{vocalsound}Marketing: {vocalsound}Industrial Designer: okay , so basically I'll start off by {disfmarker} uh {vocalsound} I thought I'll use the whiteboardbecause we have so many different options and what we can do is that we can start um uh rubbing off the options that we do not require and putting in theoptions that uh are m or highlighting or underlining them or something like that .Project Manager: Mm-hmm .Industrial Designer: Okay , so uh I'll start again witha brief introduction to {disfmarker} connect that anyway {disfmarker} brief introduction to the insides of a remote controlProject Manager: Yeah .IndustrialDesigner: and uh then we can probably uh discuss the various components . Yeah . Okay , so w what you see here is {disfmarker} so {vocalsound} this is theoutside of the remote , right ? If you open it , you have a circuit board here , right ,Project Manager: Mm-hmm .Industrial Designer: and this is the chip that I wastalking about last time . This basically sends information to a tr uh transistor here , which then uh sends the information to an L_E_D_ device here . If you flip theprinted circuit board , and this is th the most important point here ,Project Manager: Mm-hmm .Industrial Designer: uh {vocalsound} everything else is kind of{disfmarker} Okay , so if you flip the circuit board , this is what it looks like . So you see for example a particular button attaches to a particular place on theP_C_B_ and uhProject Manager: Yeah .Industrial Designer: on pressing this button I {disfmarker} a circuit completes , the information goes to the chip , which issomewhere here and the chip that tra then translates the code into an infra infrared radiation , which goes goes out through there . {vocalsound} So uh theimportant point that I read over the website was uh that the configurations of these printed circuit circuit boards uh are quite cheap to make , you can ge getthem printed as you want to ,Project Manager: Mm-hmm .Industrial Designer: so w we can have a configuration um irrespective of the cost , the way we want tohave . Right ? So that's the important point here ,Project Manager: Mm-hmm .Industrial Designer: so these are the different options that we have . Okay . So thebatteries , I'll start with the battery , right ?Project Manager: Mm-hmm .Industrial Designer: So they can be simple which is like uh the normal batteries in uh our{disfmarker} uh the cells , yeah ?Project Manager: Yeah .Industrial Designer: Uh thes these are the kind {disfmarker} different kind of batteries that thecompany makes , right ? So . And dynamos . Um {vocalsound}Marketing: Does that mean like a wind-up one ?Industrial Designer: yeah , yeah .Marketing:{vocalsound} A wind-up remote .Industrial Designer: So uh I don't know if {disfmarker} even if you want to consider this ,User Interface: {vocalsound}IndustrialDesigner: but these are the different things that the company makes , so th they'll they'll {disfmarker}Project Manager: Okay .Industrial Designer: since uhthey'll come internally from the company , they'll be eas uh cheaper , uh all these options .Project Manager: Mm-hmm .Industrial Designer: So {vocalsound} thethird one is uh the kinetic energy ones .Marketing: You could make the hand dynamo into an exercise bike , and then people could exercise whilst watching T_V_.Industrial Designer: Yeah .Project Manager: And charging their remote ,Marketing: Yeah , and stop worrying about the whole R_S_I_ from the remote thing ,'cause that's just {disfmarker}Project Manager: yeah .User Interface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} Yeah , it's a good option.Project Manager: {vocalsound}User Interface: {vocalsound} So what was what was this k kaIndustrial Designer: The the kinetic energy one is uh that e uh uhthey are usually modern watches , since our hand keeps moving , it keeps the watch ticking .User Interface: Okay .Project Manager: Uh yeah .IndustrialDesigner: But I dunno i if it is a good idea for a remote control , because it'll just lie there for a long while sometimes .Project Manager: Mm-hmm . For a remote ,'cause you {disfmarker} Yeah .Industrial Designer: But as soon as you pick it up it moves and then again it uh re recharges or something .User Interface:Mm-hmm .Project Manager: Yeah .Industrial Designer: And the fourth option is the solar cells , which are also {vocalsound} made by the company .Marketing:Yay .User Interface: {vocalsound}Industrial Designer: Environment friendly . Okay {vocalsound} um so I'll list things and then we can come back and discusswhat what we think from uh everybody's perspective .Project Manager: Yeah {vocalsound} .Industrial Designer: There are different cases that can be provided .They can be {disfmarker} basically the shape of the cases , they can be flat , they can be curved with uh one-sided curved and one side flat ,Project Manager:Mm-hmm .Industrial Designer: and they can be curved with {disfmarker} on both the sides .Project Manager: Mm-hmm .Industrial Designer: {vocalsound}These are the three options , right ? Um {vocalsound} {disfmarker}User Interface: {vocalsound} Um you mean this would be like the the overall shape of theremote control , yeah ,Industrial Designer: Yeah , would it be flat on both the sides , would be curved from one side , or whatever {disfmarker}{vocalsound}User Interface: mm-hmm . Yeah , mm-hmm , mm-hmm .Project Manager: Mm-hmm .User Interface: Mm-hmm mm-hmm .Industrial Designer: uhthere were different kind of supplements available , um like it can be in plastic , rubber , wood , or titanium , right ?Project Manager: Mm-hmm . Okay .IndustrialDesigner: Wo wo wood .Marketing: Did you say wool ?Project Manager: Wood , wood .Marketing: Wood . Oh right .User Interface: {vocalsound}IndustrialDesigner: Yeah . {vocalsound} Not wool . {vocalsound}Marketing: {vocalsound} .Project Manager: {vocalsound} A fluffy remote . {vocalsound}Marketing: Yeah, you'll understand why when we get to my presenta {vocalsound} .Industrial Designer: Oh really ? {vocalsound} Okay . Um the {disfmarker}Project Manager:Huh .Industrial Designer: so uh we can use even um {vocalsound} a certain titanium is also used uh in the company to make uh {vocalsound} uh some spacedesign equipment , so it's kind of um uh it'll be probably nicer to use , because it relates to the overall image of the company , but uh it cannot be used on adouble curved surface . If we choose this , we cannot use titanium . For for these two we can use titanium , wood , rubber , or plastic .Project Manager: Mm.Industrial Designer: Yeah ?Project Manager: Mm-hmm .Industrial Designer: Uh okay , the interface options now . So {vocalsound} we can have push-buttons ,like most remotes do and our company is an expert in making push-buttons .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer:Ooh . Uh we can have scroll wheels like the ones on um uh mouse pointers uh uh {disfmarker}Marketing: Sony .Project Manager: Mm-hmm .Marketing: SonyEricsson mobile phones has it .Industrial Designer: Yeah , yeah , something like that .Marketing: Mm .Industrial Designer: {vocalsound} So , and they have{disfmarker} they can even have an an integrated uh push-button inside the scrolling thing .Project Manager: Okay .Industrial Designer: The scroll plus push . Sothis is something that has been recently developed by the company , um {vocalsound} in the last decade , so not too recent . And L_C_D_s , we can haveL_C_D_s . So these two are recent and and this is q quite old .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} The various electronic options areum uh {vocalsound} so th this concerns firs first of all the the chips I I showed you at uh {disfmarker} so there's there's a chip behind this one , right ? TheP_C_B_ is uh inexpensive , so we can put put in uh whatever we want , but the various integrated circuit options are , we have either a simple oneProjectManager: Mm-hmm .Industrial Designer: or a regular or advanced . And uh the price goes up as we go down , obviously .Project Manager: Mm-hmm .IndustrialDesigner: Um {vocalsound} okay , so the good thing about uh wh wh why why we would want to use advanced u why we might want to use advanced is thatL_C_D_s can only come with the advanced chip .Project Manager: Mm-hmm .Industrial Designer: Um the {disfmarker} we need regular or advanced for uh scrollwheels . Right ? Um {vocalsound} and the chip basically includes the infra infrared sender .Project Manager: Mm-hmm .Industrial Designer: Yeah . Uh besidesthis in electr under electronics uh also the company has started making a sample sender , which is {vocalsound} {disfmarker} did not explained what i what itwas , but I'm guessing that uh {vocalsound} {disfmarker} so they have a sample sender and a sample speaker . So I'm guessing that uh the sample speaker isprobably something like um uh you know , as soon as you press a button , it it mm uh give gives you feedback , one five or whatever . Yeah , on .ProjectManager: Mm-hmm .Industrial Designer: Um {vocalsound} and uh I dunno whether sample sender sender has to do something with voice recognition or not , butanyway .Project Manager: Mm-hmm .Industrial Designer: So , these are the different options that we have . Okay , so {vocalsound} th that's that's basically{disfmarker} now now uh I think that uh we can integrate um {vocalsound} uh you know , uh the user interface uh and uh the marketing things in that , keep uhtaking out things from this and uh underlining things that are important , yeah .Project Manager: Yeah .User Interface: {vocalsound}Project Manager: Mm-hmm .Excellent . Do you wanna stay somewhere near the board , so that if we need to {disfmarker}User Interface: Okay .Industrial Designer: Yeah , yeah , sure . Sure. Yeah .Project Manager: you can sit down , but just {disfmarker} {vocalsound} we might need you to leap up .User Interface: {vocalsound} Okay .ProjectManager: What are you , PowerPoint , or {disfmarker}User Interface: Um I have some PowerPoint , yeah .Industrial Designer: Right .Project Manager: Okay"}
+{"doc_id":"doc_138","qid":"","text":"User Interface: .. .Project Manager: Okay . So , this is uh first meeting of this design project . Um and I um like to show you the agenda for the meeting , I don'tknow if it was sent round to all of you .User Interface: Mm , yeah .Project Manager: Maybe not . Anyway ,User Interface: I didn't receive it yet {vocalsound}.Project Manager: this is the the plan for today's meeting is um firstly just to introduce the project briefly , um although I'm sure you've actually got some of theinformation already . Then the main purpose is to {disfmarker} so that we get to know each other a little bit more .Industrial Designer: Mm-hmm .ProjectManager: Um then we want to practice using some of the tools that we'll be using during the the course of the design project and the meetings , um specificallythe whiteboard over there . Um then we need to go through the specifics of our project plan um and discuss {disfmarker} come up with some preliminary ideasabout it . And then that's it . So we've got twenty five minutes to do that , that's until eleven twenty five .Industrial Designer: {vocalsound} {gap} so shProjectManager: S so any any questions ?Industrial Designer: {gap} {vocalsound} {gap} .Project Manager: Is i {gap} not at this point .User Interface: Not at this point.Project Manager: So this is our project . What we're aiming to do is to create a new remote control for a television . Um we want it to be something original ,something trendy and also something user friendly , so it has to be quite intuitive that people are able to use this product . The method that we're going to use tocomplete the project , that has three components as such . There's the functional design of the the remote control . We're going {disfmarker} the way we'll dothat I think is to to work individually initially and then come together for meetings to to work on that . Um similarly with the conceptual design , we'll start off byworking individually with our own expertise on our own laptops and then we'll bring what we've done together . Um and then the detailed design will come afterthat . We'll pull it all together .Industrial Designer: I'm a bit confused about uh what's the difference between the functional design and conceptual design ? Uh i isit just uh more detail , uh as I understand it ?Project Manager: I think it {disfmarker} th w we're talking the the functional design is more your um area of thingswhere you'll be {disfmarker} we want to look at what functions we need in the remote controlIndustrial Designer: Right .Project Manager: and what what specificthings it it has to doIndustrial Designer: {gap}Project Manager: but the conceptual design is um perhaps bigger than that and includes the {disfmarker} howpeople are going to use it and and that kind of thing .Industrial Designer: How how it will be done . So whe where do we identify the components of our uhproduct ? Uh I think it's it's in the conceptual design phase that we identify the {disfmarker} it's in the conceptual design phase that we identify the componentsof our product ?Project Manager: Um I think we'll we'll start that initially with the functional design already but thenIndustrial Designer: Okay .Project Manager:{disfmarker} yeah . Okay , so that's just a brief overview of the p the the project itself . Um what I'd like us to do now is simultaneously introduce ourselves andstart using some of the tools that we're using for {vocalsound} for the project , specifically the whiteboard .Industrial Designer: Hmm .Project Manager: So eachperson in turn , I'd like us to go up to the whiteboard , the pen's just underneath it there and draw your favourite animal and then tell everyone what the f yourfavourite characteristics of that animal are and while you're doing that tell us your name , what your role is and perhaps how your animal relates to the role thatyou're taking in this project . {vocalsound}Industrial Designer: {vocalsound}Marketing: Why are you looking at me ?User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Would you like to go first ? {vocalsound}Marketing: {vocalsound} Do I have a choice ? {vocalsound}Industrial Designer:{vocalsound}Marketing: Okay . Ooh ooh , things falling everywhere .Project Manager: Oh , yeah ,Marketing: Right , okay .Project Manager: p put them in pockets.Marketing: Cool . Okay .Project Manager: You don't have to hurry , we've got plenty of time .Marketing: So , my name's Cat and I'm really not very good at thiswhole drawing malarkeyIndustrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: so um {disfmarker}User Interface: {vocalsound}Marketing:Okay .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: It's got no eyes .Marketing: Oh , good point . Ah , the eyes always ruin it .Right . Okay , what do {gap} it's eyes like ? Okay , cool . Um this is a rabbit . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Ithought it might be a cat . {vocalsound}User Interface: {vocalsound} Yeah well origi uh at first I thought it was going to be cat . {vocalsound}IndustrialDesigner: {vocalsound}Project Manager: {vocalsound}Marketing: Yeah , I don't think it's furry enough , so we'll make it a fluffy rabbit .User Interface: Yeah nowI now I understand now , yeah . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah I can see by the ears .User Interface: Yeah.Marketing: Okay , right , it's a fluffy rabbit , blue .Industrial Designer: {vocalsound}Marketing: Rabbits don't come in blue but you know .Industrial Designer:{vocalsound}Marketing: Um okay and I like it because it's small {vocalsound} and it's fluffy .Project Manager: {vocalsound}Industrial Designer: {gap}ProjectManager: Mm .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: And one day you'll be able to getical genetically modify them and theywill come in pink .Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: Ah . {vocalsound}Marketing: {vocalsound} Okay ?IndustrialDesigner: Mm .Project Manager: Excellent , and what's your what's your role within the team ?Marketing: I am the um {disfmarker} I need my notebook , mmooh {vocalsound}Industrial Designer: {vocalsound}Marketing: top banana . Thank you . Okay , cool , I am the Marketing Expert {vocalsound} um so like I'mgonna be doing the {disfmarker} apparently according to the little guy in the computer that knows everything {disfmarker} the user g requirements specificationof the functional design , um trend watching in the conceptual design and product evad-valuation in the detailed design {vocalsound}Project Manager:{vocalsound}Industrial Designer: Mm-hmm . Okay .Project Manager: Mm-hmm .Marketing: um so yeah .Industrial Designer: 'Kay .Project Manager: And moreabout yourself , you're from ?Marketing: Um I'm from Leicester ,Project Manager: Mm-hmm .Marketing: um second year . Um what else do you want to know?Industrial Designer: {vocalsound}Marketing: I like sports {vocalsound} um yeah , aerobics , kickboxing , spinningProject Manager: {vocalsound}Marketing: um{vocalsound} and uh {disfmarker}Project Manager: But not with rabbits . {vocalsound}Marketing: not with rabbits , no no .Industrial Designer: Mm .Marketing:And vets , I like vets as well .Industrial Designer: {vocalsound}Marketing: {vocalsound} And yeah um and I like cocktails , especially pink ones .IndustrialDesigner: {vocalsound} Cool .Marketing: Okay ? Cool . {vocalsound}Project Manager: Excellent , to match the rabbit . {vocalsound}User Interface:{vocalsound} {vocalsound} Okay . Um so my name is Maarika . Where's the pen ? Okay .Project Manager: There's a {disfmarker} an {disfmarker} if you havenot enough room there's an eraser there and you can rub it off .User Interface: Yeah , well , or I can make it smaller . {vocalsound} Uh so um um I'm theInterface Designer in this project and my favourite animal , I m I mean I'm not so sure because I'm not so so very um {vocalsound} familiar with all kinds ofanimals , but I do like dogs .Project Manager: {vocalsound}User Interface: Oh , sorry , maybe I should have {disfmarker} shouldn't have said it beforehandbutIndustrial Designer: Mm .User Interface: mm {vocalsound} hmm .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: Um well , there are different kinds of dogs , but okay um .Industrial Designer: {vocalsound}User Interface: {vocalsound}{vocalsound}Industrial Designer: {vocalsound} That's not bad at all .Project Manager: Ah it looks like a dog .Industrial Designer: {vocalsound} Yep .Marketing:Is a bit more impressive than my rabbit .User Interface: Okay .Marketing: I think it needs four legs if it's gonna walk though .Industrial Designer:{vocalsound}User Interface: Yeah , maybe it has some colourful patches , yeah .Marketing: {vocalsound}Project Manager: {vocalsound} {gap} the other legsare on the other side .User Interface: Um yeah and I do like dogs because they are good friends to people and they are loyal . Mm , well that's compared to someother animals like cats . Um they're really much more fun because they are not so independent .Project Manager: {vocalsound}User Interface: Um yeah maybemaybe the fact that they protect their home as well , yeah . Um what it has to do with with my role in the project is hard to say .Project Manager:{vocalsound}User Interface: Uh I hope to be loyal to the projectIndustrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: and not to n not to umlet people doing similar projects know the details of our project or something , {vocalsound} yeah .Industrial Designer: {vocalsound}Project Manager: And wherewhere are you from ?User Interface: I'm from EstoniaProject Manager: Estonia .User Interface: uh , yep . Um so is there anything else you'd like to know ? Oh ,right , my roles ,Industrial Designer: {gap} .User Interface: um so um in the different um {vocalsound} stages of the design , so at first I will be responsible forum for {vocalsound} yeah , designing the technical functions of the um {vocalsound} um of the remote control uh then in the in the conceptual design stage Ineed to um come up with uh interface concept and then in the last um stage I will be responsible for the int infa for the user interface design .Industrial Designer:{gap} .User Interface: {vocalsound} Okay , that's it . {vocalsound}Industrial Designer: Thank you . Okay {vocalsound} um {vocalsound} I'll do some{disfmarker} I'll rub the featuresProject Manager: {vocalsound}Industrial Designer: and let the drawing stay . {vocalsound} 'Kay um my name is Gaurav . Um{vocalsound} my favourite animal {disfmarker} one of my favourite animals is a cow . I've got no idea how to draw a cow .Marketing: {vocalsound}ProjectManager: {vocalsound} Good luck .User Interface: {vocalsound}Industrial Designer: {vocalsound} Uh this is going to be {disfmarker}Marketing: They're not justlike a big round body and then some really skinny legsIndustrial Designer: Yeah , that'll do .Marketing: and then just some horns .Industrial Designer: Okay , solet let me draw the body first .Marketing: {vocalsound}Project Manager: Mm .Industrial Designer: Big , round body , really skinny legs {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound}Industrial Designer: and they've got a long tailMarketing: {vocalsound}Industrial Designer: and a long face ."}
+{"doc_id":"doc_139","qid":"","text":"PhD F: OK .Professor B: Uh . Somebody else should run this . I 'm sick of being the one to sort of go through and say , \" Well , what do you think about this ? \"You wanna {disfmarker} ?PhD D: Yeah .PhD F: Should we take turns ? You want me to run it today ?Professor B: Yeah . Why don't you run it today ? OK .PhD F:OK . OK . Um . Let 's see , maybe we should just get a list of items {disfmarker} things that we should talk about . Um , I guess there 's the usual {pause}updates , everybody going around and saying , uh , you know , what they 're working on , the things that happened the last week . But aside from that is thereanything in particular that anybody wants to bring upPhD D: Mmm .PhD F: for today ? No ? OK . So why don't we just around and people can give updates .PhDE: Oh .PhD F: Uh , do you want to start , Stephane ?PhD C: Alright . Um . Well , the first thing maybe is that the p Eurospeech paper is , uh , accepted . Um .Yeah .PhD F: This is {disfmarker} what {disfmarker} what do you , uh {disfmarker} what 's in the paper there ?PhD C: So it 's the paper that describe basicallythe , um , system that were proposed for the {pause} Aurora .PhD F: The one that we s we submitted the last round ?PhD C: Right , yeah .PhD D: Yeah .PhD F:Uh - huh .PhD C: Um {disfmarker} Yeah . So and the , fff {comment} comments seems {disfmarker} from the reviewer are good . So .PhD F: Hmm .PhD C:Mmm {disfmarker} Yeah .PhD F: Where {disfmarker} where 's it gonna be this year ?PhD C: It 's , uh , Aalborg in Denmark . And it 's ,PhD F: Oh , OK .PhD C:yeah , September .PhD F: Mmm .PhD C: Mmm {disfmarker} Yeah . Then , uh , whhh well , I 've been working on {disfmarker} on t mainly on on - linenormalization this week . Uh , I 've been trying different {disfmarker} slightly {disfmarker} slightly different approaches . Um , the first thing is trying to play alittle bit again with the , um , time constant . Uh , second thing is , uh , the training of , uh , on - line normalization with two different means , one mean for thesilence and one for the speech . Um , and so I have two recursions which are controlled by the , um , probability of the voice activity detector . Mmm . Thisactually don't s doesn't seem to help , although it doesn't hurt . So . But {disfmarker} well , both {pause} on - line normalization approach seems equivalent .Well , they {disfmarker}PhD F: Are the means pretty different {pause} for the two ?PhD C: Yeah . They can be very different . Yeah . Mm - hmm .PhD F: Hmm.Professor B: So do you maybe make errors in different places ? Different kinds of errors ?PhD C: I didn't look , uh , more closely . Um . It might be , yeah . Mm -hmm . Um . Well , eh , there is one thing that we can observe , is that the mean are more different for {disfmarker} for C - zero and C - one than for the othercoefficients . And {disfmarker} Yeah . And {disfmarker} Yeah , it {disfmarker} the C - one is {disfmarker} There are strange {disfmarker} strange thinghappening with C - one , is that when you have different kind of noises , the mean for the {disfmarker} the silence portion is {disfmarker} can be different . And{disfmarker}PhD F: Hmm .PhD C: So when you look at the trajectory of C - one , it 's {disfmarker} has a strange shape and I was expecting th the s that thesetwo mean helps , especially because of the {disfmarker} the strange C - ze C - one shape , uh , which can {disfmarker} like , yo you can have , um , a trajectoryfor the speech and then when you are in the silence it goes somewhere , but if the noise is different it goes somewhere else .PhD F: Oh .PhD C: So which wouldmean that if we estimate the mean based on all the signal , even though we have frame dropping , but we don't frame ev uh , drop everything , but {disfmarker}uh , this can {disfmarker} hurts the estimation of the mean for speech , and {disfmarker} Mmm . {comment} But I still have to investigate further , I think . Um, a third thing is , um , {vocalsound} that instead of t having a fixed time constant , I try to have a time constant that 's smaller at the beginning of theutterances to adapt more quickly to the r something that 's closer to the right mean . T t um {disfmarker} Yeah . And then this time constant increases and Ihave a threshold that {disfmarker}Professor B: Mm - hmm .PhD C: well , if it 's higher than a certain threshold , I keep it to this threshold to still , uh , adapt ,um , the mean when {disfmarker} {vocalsound} if the utterance is , uh , long enough to {disfmarker} to continue to adapt after , like , one secondProfessor B:Mm - hmm . Mm - hmm .PhD C: or {disfmarker} Mmm . Uh , well , this doesn't help neither , but this doesn't hurt . So , well . It seems pretty {disfmarker}PhDF: Wasn't there some experiment you were gonna try where you did something differently for each , um , {vocalsound} uh {disfmarker} I don't know whether itwas each mel band or each , uh , um , FFT bin or someth There was something you were gonna {disfmarker} uh , {comment} some parameter you were gonnavary depending on the frequency . I don't know if that was {disfmarker}PhD C: I guess it was {disfmarker} I don't know . No . u Maybe it 's this {disfmarker}this idea of having different {pause} on - line normalization , um , tunings for the different MFCC 's .PhD F: For each , uh {disfmarker}Professor B: Mm - hmm.PhD C: But {disfmarker} Mm - hmm .PhD F: Yeah . I {disfmarker} I thought , Morgan , you brought it up a couple meetings ago . And then it was somethingabout , uh , some and then somebody said \" yeah , it does seem like , you know , C - zero is the one that 's , you know , the major one \" or , uh , s I can'tremember exactly what it was now .PhD C: Mmm . Yeah . There {disfmarker} uh , actually , yeah . S um , it 's very important to normalize C - zero and {pause}much less to normalize the other coefficients . And , um , actu uh , well , at least with the current on - line normalization scheme . And we {disfmarker} I think ,we {vocalsound} kind of know that normalizing C - one doesn't help with the current scheme . And {disfmarker} and {disfmarker} Yeah . In my idea , I{disfmarker} I was thinking that the {disfmarker} the {disfmarker} the reason is maybe because of these funny things that happen between speech and silencewhich have different means . Um {disfmarker} Yeah . But maybe it 's not so {disfmarker} {vocalsound} so easy to {disfmarker}Professor B: Um , I I reallywould like to suggest looking , um , a little bit at the kinds of errors . I know you can get lost in that and go forever and not see too much , but {disfmarker}{vocalsound} sometimes ,PhD C: Mm - hmm .Professor B: but {disfmarker} but , um , just seeing that each of these things didn't make things better may not beenough . It may be that they 're making them better in some ways and worse in others ,PhD C: Yeah . Mm - hmm .Professor B: or increasing insertions anddecreasing deletions , or {disfmarker} or , um , um , you know , helping with noisy case but hurting in quiet case . And if you saw that then maybe you{disfmarker} it would {disfmarker} {vocalsound} something would occur to you of how to deal with that .PhD C: Mm - hmm . Mm - hmm .PhD D: Hmm .PhD C:Alright . Mmm . Yeah . W um , So that 's it , I think , for the on - line normalization . Um {disfmarker} Yeah . I 've been playing a little bit with some kind ofthresholding , and , mmm , as a first experiment , I think I Yeah . Well , what I did is t is to take , um {disfmarker} {vocalsound} to measure the average{disfmarker} no , the maximum energy of s each utterance and then put a threshold {disfmarker} Well , this for each mel band . Then put a threshold that 'sfifteen DB below {disfmarker} well , uh , a couple of DB below this maximum ,Professor B: Mm - hmm . Mmm .PhD C: and {disfmarker} Actually it was not athreshold , it was just adding noise .Professor B: Mm - hmm .PhD C: So I was adding a white noise energy , uh , that 's fifteen DB below the maximum energy ofthe utterance . And {disfmarker} Yeah . When we look at {disfmarker} at the , um , MFCC that result from this , they are {pause} a lot more smoother . Um ,when we compare , like , a channel zero and channel one utterance {disfmarker} um , so a clean and , uh , the same noisy utterance {disfmarker} well , there isalmost no difference between the cepstral coefficients of the two .PhD F: Hmm .PhD C: Um . And {disfmarker} Yeah . And the result that we have in term ofspeech recognition , actually it 's not {disfmarker} it 's not worse , it 's not better neither , but it 's , um , kind of surprising that it 's not worsePhD F: Hmm .PhDC: because basically you add noise that 's fifteen DB {disfmarker} just fifteen DB below {pause} the maximum energy .Grad A: Sorry .PhD C: And at least{disfmarker}PhD F: So why does that m {pause} smooth things out ? I don't {disfmarker} I don't understand that .Professor B: Well , there 's less difference .Right ?PhD C: It 's {disfmarker} I think , it 's whitening {disfmarker} This {disfmarker} the portion that are more silent ,Professor B: Cuz it 's {disfmarker}PhDC: as you add a white noise that are {disfmarker} has a very high energy , it whitens everythingPhD F: Huh . Oh , OK .PhD C: and {disfmarker} and the high -energy portion of the speech don't get much affected anyway by the other noise . And as the noise you add is the same is {disfmarker} {pause} the shape , it 'salso the same .PhD F: Hmm .Professor B: Yeah .PhD C: So they have {disfmarker} the trajectory are very , very similar . And {disfmarker} and{disfmarker}Professor B: So , I mean , again , if you trained in one kind of noise and tested in the same kind of noise , you 'd {disfmarker} you know , givenenough training data you don't do b do badly . The reason that we d that we have the problems we have is because {pause} it 's different in training and test .Even if {vocalsound} the general kind is the same , the exact instances are different . And {disfmarker} andPhD F: Mm - hmm .Professor B: so when you whitenit , then it 's like you {disfmarker} the {disfmarker} the only noise {disfmarker} to {disfmarker} to first order , the only th noise that you have is white noise andyou 've added the same thing to training and test .PhD F: Mm - hmm .Professor B: So it 's ,PhD F: Hmm .Professor B: uh {disfmarker}PhD F: So would that{pause} be similar to , like , doing the smoothing , then , over time or {disfmarker} ?PhD C: Mm - hmm .Professor B: Well , it 's a kind of smoothing ,PhD C: Ithink it 's {disfmarker} I think it 's different .Professor B: but {disfmarker}PhD C: It 's {disfmarker} it 's something that {disfmarker} yeah , that affects more orless the silence portions because {disfmarker}PhD F: Mm - hmm .PhD C: Well , anyway , the sp the portion of speech that ha have high energy are not ch a lotaffected by the noises in the Aurora database .Professor B: Mm - hmm .PhD C: If {disfmarker} if you compare th the two shut channels of SpeechDat - Car duringspeech portion , it 's n n n the MFCC are not very different . They are very different when energy 's lower , like during fricatives or during speech pauses . And,Professor B: Yeah , but you 're still getting more recognition errors ,PhD C: uh {disfmarker}Professor B: which means {vocalsound} that the differences , eventhough they look like they 're not so big , {vocalsound} are {disfmarker} are hurting your recognition .PhD C: YeProfessor B: Right ?PhD C: Yeah . So it distort"}
+{"doc_id":"doc_140","qid":"","text":"Project Manager: All hooked up . {vocalsound} Okay , so now we are here at the functional design meeting . Um {vocalsound} hopefully this meeting I'll be doinga little bit less talking than I did last time 'cause this is when you get to show us what you've been doing individually . The agenda for the meeting , I put it in thesh shared documents folder . I don't know if that meant that you could see it or not .User Interface: {vocalsound}Project Manager: Did anyone ?IndustrialDesigner: Mm .User Interface: No .Project Manager: No . Oh well . Um I'll try and do that for the next meeting as well so if you check in there , there's a sharedproject documents folder . Um and it should be in there .User Interface: Mm . Um um wi on on a what ? Oh project project documents , yeah , yeah , yeah , okay.Project Manager: Project documents , yeah . So I'll put it in there .User Interface: Oh okay , yeah .Project Manager: Is it best if I send you an email maybe , tolet you know it's there ?User Interface: Yes , I think so .Project Manager: Yep . I'll do that next time . Um {vocalsound} I'll act as secretary for this meeting andjust take minutes as we go through , and then I'll send them to you after the meeting . The main the main focus of this meeting is your presentations that you'vebeen preparing during the time , so we'll go through each of you one by one . Um then we need to briefly discuss the new project requirements that were sent tous . I just sentUser Interface: Yeah , the last minute , yeah ,Project Manager: at the last minute , I'm sorry about that ,User Interface: yeah .Project Manager:but we can see how that affects what you were you were doing .User Interface: Yeah .Project Manager: Um and then we need to , by the end of the meetingcome to some kind of decision on who our target group's going to be and what the functions of the remote control {disfmarker} that's the the main goal is tocome up with those two things , target group and functions of the remote control . And we've got forty minutes to do that in . So I would say{disfmarker}Industrial Designer: You said uh targ target groups ,Project Manager: yeah ?Industrial Designer: what does that mean ?Project Manager: As uh whoit is that we're going to be trying to sell this thing to ,User Interface: {vocalsound} Um {disfmarker}Industrial Designer: Uh okay , 'kay .Project Manager: yeah.Industrial Designer: So are {disfmarker}Project Manager: So we need to {disfmarker} yeah , we need to have a fairly defined group that that we want to focusonIndustrial Designer: Okay .Project Manager: and then look at the functions um of the dem remote control itself . So with that I think it's best if I hand over toyou . Does anyone have a preference for going first ?Industrial Designer: Alright . {vocalsound} I can go first ,Project Manager: You wanna go first ?IndustrialDesigner: yeah .User Interface: Okay . Hmm .Project Manager: Okay , so we need to unplug my laptop and plug in yours .Industrial Designer:{vocalsound}Project Manager: I assume we just pull it out ?User Interface: Mm .Industrial Designer: {vocalsound} {vocalsound} Right . Um {vocalsound} so ffrom the {disfmarker}Project Manager: Just before you start , to make it easier , would you three mind emailing me your presentations ? Once we {disfmarker}you don't have to do it now but when {disfmarker} once you go back ,User Interface: Okay , yeah , afterwards , yeah , okay .Industrial Designer: Right sure.Project Manager: just so that I don't have to scribble everything down .Industrial Designer: Uh okay . {vocalsound} {vocalsound} So n uh with uh with regard tothe {vocalsound} uh working design of this uh uh remote control uh I've identified um {vocalsound} a few basic uh components of the remote and uh{vocalsound} se uh from the design , functional design perspective um w I c we can now uh know wha what exactly the components are and how how they worktogether with each other . {vocalsound} {vocalsound} So {vocalsound} {vocalsound} this is the method that uh I'll mostly be following in my um {vocalsound}in my uh role . Um the identification of the components , uh and uh since since I'm dealing only with the technical aspects , I would need feedback from themarketing person uh and {vocalsound} uh from the user interface person . Uh we'll then integrate this into the product design at a technical levelProjectManager: Hmm .Industrial Designer: and uh basically update and come up with a new design , so it's a cyclical process . {vocalsound} Okay , so {vocalsound}these were the basic findings from today . The last three bullets have been integrated from uh the last minute uh email . Uh I just quickly jotted them down . Um{vocalsound} so basically uh the {disfmarker} as I told you the identification of how the remote control works and what are the various parts to it uh and whatare the different processes um {vocalsound} and how the parts uh communicate with each other . Um {vocalsound} okay , so e the mee email said that teletextis now outdated , so we need to do away with that functionality of the remote control . Um also uh the remote control should be used only for television , becauseincorporating other features um makes it more comp complex . And the reason why teletext is outdated because uh of internet and uh the availability of internetover television . How however , our our remote control would only be dealing uh with the {vocalsound} the use for television , {vocalsound} in order to keepthings simple . Um {vocalsound} also the management wants that um our design should be unique uh it {disfmarker} so {vocalsound} it should incorporate umcolour and the slogan uh that our company um has it as its standard . {vocalsound} Okay , so he he here is a functional overview of the remote control . Um{vocalsound} there's basically an energy source at the heart uh which feeds into the chip and the user interface . The user interf interface communicates with thechip , so {vocalsound} I'll basic go over to the {disfmarker} Okay . {vocalsound} So {vocalsound} if uh if this is our energy source and this is a cell , uh itcommunicates {disfmarker} uh it feeds energy into the into the chip , which basically finds out h uh how how to do everything . There is a user interface here .{vocalsound} So whe when the user presses a button , it feeds into the chip and the chip then generates a response and takes the response to an infraredterminal , um which then {disfmarker} so the output of the chip is an infrared bit code , which is then communicated {vocalsound} to the remote site , which hhas an infrared receiver . Um the there can be uh a bulb here or something to indicate whether the remote is on or communicating . Um so these are the essentso a all the functionality of the remote control , whatever new functions that we need to do , um make the chip more complicated uh and bigger , basically.Project Manager: Mm-hmm .Industrial Designer: {vocalsound} Okay . {vocalsound} Um so {vocalsound} i in my personal preferences um {vocalsound} I'mhoping that we can ke keep the design as simple and clear as possible . This would uh help us uh to upgrade our technology at a future point of time . And uh alsoif we can incorporate uh the latest features in our chip design , so that our um {vocalsound} uh remote control does not become outdated soon and it'scompatible with mot most uh televisions . {vocalsound} That's about it . {vocalsound} So anything that you would like to know or {vocalsound}{disfmarker}Project Manager: Okay .User Interface: {vocalsound} Thanks .Project Manager: Do you have any um i idea about costs at this point ?IndustrialDesigner: {vocalsound} No , I don't have any idea about what each component costs .Project Manager: {vocalsound} BrIndustrial Designer: Um yeah .ProjectManager: Okay . 'Cause that's something to consider , I guess , if we're if we're using more advanced technology , it might increase the price .IndustrialDesigner: Yeah . Certainly , yeah . So so tha yeah , {vocalsound} we definitely need to operate within our constraints ,Project Manager: Yeah .IndustrialDesigner: but um {vocalsound} unfortunately I I do not have any data , so uh I just identified the functional components for that .Project Manager: That's fine .Are there any more questions , or shall we just skip straight to the next one and then we can discuss all of them together at the end ?User Interface:{vocalsound} I think we need like some general discussion at the end probably .Industrial Designer: Yeah , okay .Project Manager: Yeah , I think that will do .Okay , so do you want to {disfmarker}User Interface: Yeah . Yeah , I think since since we were discussing some um design issues then I I I would like to continue{disfmarker}Project Manager: Yes , shall shall we pull this up ?User Interface: okay , yeah .Project Manager: I think that has to come out of there .IndustrialDesigner: Yeah .Project Manager: Yeah .Industrial Designer: Mm 'kay .User Interface: {vocalsound} Thanks .Project Manager: Yeah , I thought those last minutethings , they're gonna hit you the worst . {vocalsound}User Interface: Oh i {vocalsound} Okay , I hope {disfmarker} wait . Should it just {disfmarker}IndustrialDesigner: I it'll take some time .Project Manager: It ta takes a little {disfmarker} Oh , and have you {disfmarker}User Interface: There's just nothing .ProjectManager: you need to then also press on yours , function F_ eight ,User Interface: Oh right , right , right , um {disfmarker}Project Manager: so the blue functionkey at the bottom and F_ eight .User Interface: Okay . NothinIndustrial Designer: Oh , there it is , yeah .User Interface: okay , something is coming up .ProjectManager: {vocalsound} Now it's coming ,Industrial Designer: {vocalsound} It'll come up , it {disfmarker} um uh no signal .Project Manager: computer no signal.User Interface: No signal ? Why ?Project Manager: Maybe again ?Industrial Designer: Yeah yeah , it says something now ,User Interface: Oh . My my computerwent blank now .Industrial Designer: adjusting {disfmarker}Project Manager: Okay , adjusting .User Interface: Adjusting . But {vocalsound} I don't seeanythingIndustrial Designer: Okay .Project Manager: There we go , there we go .User Interface: I don't see anything on my computer now .Industrial Designer:Oh , that's strange .Project Manager: Oh , if you press if you press function and that againUser Interface: This is the problem , but {disfmarker}Project Manager:there's there's usually three modes , one where it's only here , one where it's only there , and one where it's both .Industrial Designer: Okay .User Interface: Um{gap} .Industrial Designer: And one more time .Project Manager: Okay , so one more time .User Interface: Uh now it's {disfmarker} okay . No ? No .IndustrialDesigner: Mm .Project Manager: Should {disfmarker} yeah just wait for a moment , adjusting .User Interface: Oh okay .Project Manager: {vocalsound} Okay.User Interface: Okay , that's fine , that's good . Okay , let's start from the beginning . So I'm going to speak about technical functions design uh just like some{vocalsound} some first issues that came up . Um 'kay , so the method I was um adopting at this point , it's not um for the for the whole um period of the um{vocalsound} all the project but it's just at th at this very moment .Project Manager: Mm-hmm .User Interface: Um uh my method was um to look at um other"}
+{"doc_id":"doc_141","qid":"","text":"Project Manager: Hello .Marketing: Hey guys .User Interface: Hi .Industrial Designer: Hi .Project Manager: Hi .Industrial Designer: I see my bunny is still standing.Project Manager: Yeah .Industrial Designer: No one drawing it .Project Manager: It's too beautiful .User Interface: Yeah , true .Industrial Designer: {vocalsound}Uh I figured uh that much . {vocalsound}Project Manager: {vocalsound}Marketing: Too wicked .User Interface: Mm .Marketing: {vocalsound} {vocalsound}{vocalsound}Project Manager: A minute please , my uh laptop is uh {disfmarker} oh , there it is , thank you . So welcome back . {vocalsound} At the functionaldesign meeting um the plan is uh that uh each one of you , so not me but only you uh will uh present uh the the things you worked on uh the last uh half hour . Iwill uh take minutes and will put uh the minutes that I have uh at the end of the session in the shared folder . {vocalsound} Also the minutes of the previoussession are also in the shared folder now , so you can read that uh now or afterwards . Um {vocalsound} uh I had an email from the from the managementboardMarketing: {vocalsound}Project Manager: uh , I don't know if you a al also uh received it , but there were four points uh which uh I think are very important. First one is uh they think that uh teletext teletext becomes outdated uh and internet will be the the main uh focus . {vocalsound} Uh second one is alsoimportant uh , because it's one of the discussion points of the previous session . Uh the remote control shou should onl only be used for the television , so it uhnot gonna it's not gonna be a multi-purpose remote control , so uh that's one thing to keep in mind .User Interface: {vocalsound}Marketing: {vocalsound}ProjectManager: Uh second , and I think that's important for the Marketing uh Expert , uh the current uh customers uh are in the age group group of uh forty years andolder , but with this uh new remote uh they uh will uh {disfmarker} would like to reach uh a group uh younger than uh forty . Uh and uh I think to keep in mind ,but not really uh for now is that they uh want the the the slogan and the and the logo uh to uh to be recognised more in the remote .Marketing:{vocalsound}Project Manager: So , we have uh forty minutes , so I think uh not more than ten minutes uh uh per presentation uh each , and please uh use uh allthe the the facilities so that you have either SMARTboards , the the Word files , what you uh {disfmarker} whatever you want . So uh Tim , can you start ? Yeah?Marketing: Okay . {vocalsound} 'Kay , welcome . I have some uh new findings on uh Marketing Expert level ,User Interface: Mm-hmm .Marketing: which I willshow you . {vocalsound} The method I used was um giving orders to our usability lab uh to do a questionnaire . Um {vocalsound} one hundred respondents wereinvolved and my marketing uh department generated a report with a lot of results . Um , these were a couple of findings , first page of three . Um , we have threeaudiences of {disfmarker} two audiences , {vocalsound} I'm sorry . Uh the first one , this scale , from sixteen to forty five {gap} age . Uh the second one is fromsixty four {disfmarker} uh forty six to sixty five . Um , as you can see here , the market share for the first audience is about sixty percent {disfmarker} um sixtyfive . Uh second audience audience is uh thirty five percent . Mm {vocalsound} and some interests from the from the age groups , uh it seems like the youngusers of remote controls really like the fancy uh new technology stuff , like uh an L_C_D_ screen on the remote control , um speech recognition . I don't thinkthat's uh really appropriate . Um , {vocalsound} and when you see uh the audience , the age is going up uh {disfmarker} Yeah , they don't really want itanymore , at least the new technologies . Second findings {vocalsound} out of the questionnaire um are the opinion {vocalsound} the opinions uh of theaudience about current remote controls . First point is , seventy five percent of the users find the most repo remote controls very ugly , uh and eighty percent ofthe users would spend more money when a remote control would look fancy . So that's maybe something for the User Interface uh Designer . Okay , thirdfindings . According to the frequency of use versus importance investigation , um {vocalsound} following buttons are most important . Um , I will tell somethingabout the way this uh this test was , yeah , done . Um , {vocalsound} persons were asked uh what the buttons were uh they use most , how much an hour,Project Manager: Mm-hmm .Marketing: and uh in the second table the importance of those buttons . Um , when you multiply them , you get the {disfmarker}these three points . Switching channels , um yeah , that's pretty uh pretty normal , that's what you do with a remote control . Um the second , teletext , uh andthe third , uh volume controls . Um , I think it's good uh that we know what the user want {disfmarker} wants , uh at least the these three points have to be uhvery clear .Project Manager: But it's strange that the the manage board {disfmarker} the management board said that the teletext will be uh outdated by theinternet . So that that's strange .Marketing: Yeah , okay . Yeah , okay , but uh at the moment uh teletext is {disfmarker} Yeah , th the best thing you can get uhon T_V_ , like getting information .Project Manager: Yeah , okay . Yeah .Marketing: So uh , when you ask people , what do they use , {vocalsound} they useteletext and not the internet on a remote control .Project Manager: Okay . Yeah , okay .Marketing: That's ridiculous . {vocalsound}Project Manager: Yeah.Marketing: That's a ne i it {disfmarker} It's a new technology ,Project Manager: Yeah .Marketing: but it's not incorporated right now . Okay , my personalpreferences . Um , I think we should aim at the uh audience from sixteen to forty five . {vocalsound} Mm , first of all um it's the biggest share , the biggestaudience , sixty five percent . Uh second , I think you will get the most revenue from i from it . Um , yeah , people from sixteen to forty five watch a lot of T_V_ ,more than uh people who are el uh elder . Um {vocalsound} second point , {vocalsound} we have to impro improve the most used functions , as I said here ,switching channels , teletext and volume controls . Third point um that came out of the uh {disfmarker} of the questionnaire , uh people used to uh get lost offthe remote controller , so maybe it's an idea for us uh to design ex kind of placeholder uh on side of the , yeah , of the T_V_Project Manager: Yeah , that's a coolidea .Marketing: where you can put the the remote control in . {vocalsound} Um , that's about it , I think . Yeah .Industrial Designer: When you mentioned uhimproving functions , what uh what do you mean by that what what are you think about ?Marketing: Uh not not the r not the functions ,Industrial Designer:{vocalsound} Uh , the funtionability .Marketing: but uh it came out that a lot of buttons weren't even used uh on a remote control . So you can have a remotecontrol full of buttons , a hundreds hundreds of buttons , but if you don't use them , yeah it's {disfmarker}Project Manager: Yeah .Industrial Designer: Ah okay ,so focusing more on the used buttons .Marketing: Yeah , they have to be on itIndustrial Designer: Yeah .Marketing: j just to t to get it done if necessary ,UserInterface: {vocalsound}Marketing: but um the most used buttons uh have to be bigger or {disfmarker}Industrial Designer: Could you use perhaps uh one buttonfor multiple functions , like example pressing it in longer makes it switch to an different function for example .Marketing: Yeah , perhaps .Industrial Designer:Thank you .Marketing: Just for the minor functions perhaps .Industrial Designer: Yeah , ma perhaps , just just an idea .Marketing: Just to get less buttons on theremote control , to make it easier and quicker to learn .Industrial Designer: Yeah .Marketing: Yeah ? 'Kay , that's it .Project Manager: Thank you , Tim .{vocalsound} Janus , can you uh {disfmarker}Industrial Designer: Uh yeah yeah , I'll go , sure . Right uh , I'll be uh explaining a bit about uh working designabout uh the project . Well uh what I did was I dissected uh uh current remote controls and um I viewed how how they w looked , how they worked , uh whatkind of components are involved , and how they are connected together . And uh after that I put up a scheme about how uh these things are organised and I'llshow it to you in in a in a few seconds . And I'll explain a bit about uh how it works and how we could uh build one and why I think several possibilities uh that wediscussed in the earlier meeting falls off . Um right . Uh well what I did was uh I I checked uh remote controls and the uh remote controls of today are all infrared, not like all probably know . And the thing about that is um the remote controls uh have to act as a T_V_ or uh a stereo or something , and those uh have atransmitter that's also focused on infrared , so if we want to uh build uh mm a remote control uh with Bluetooth for instance then uh the T_V_ should haveBluetooth too in order to communicate , so that would mean extra cost for the user and thus uh that's that wouldn't mean a a cheap uh remote control for us . Sothat's probably why most controls are still infrared . Furthermore they all have uh a a very simple structure , so that would probably uh mean lower costs and uh ithat could mean for us a good thing uh 'cause uh well we we should be able to build a relatively cheap uh {gap} a cheap uh remote . Well uh as I mentionedready , we have some Bluetooth {disfmarker} Well it may be possible , but uh I figured it wouldn't be possible in {disfmarker} within our budget , but that's notfor me to decide , but that's maybe something for marketing to look into . F because uh {disfmarker} well my personal opinion is uh is not to do uh Bluetooth{gap} or or radio waves , {vocalsound} although {disfmarker}Marketing: What do you think about uh incorporating Bluetooth or a radio uh receiver uh in theplace-holder next to the T_V_ , connected to the T_V_ ?Industrial Designer: Yeah , actually I have tMarketing: So it's in the wrong product .Industrial Designer:Yeah . Yeah , I actually {disfmarker} I figured that would be that would be rather nice , but then you'd still have the uh {disfmarker} the infrared function . So inin theory you'd actually just move the problem ,Marketing: Yeah . Yeah .Industrial Designer: but uh what I did uh think about was when you mentioned about theuh the cup-holder , is why not uh introduce a speech function like where is the remote . If somebody says , where is the remote , then it goes uh beep uh beepbeep beep or something ,User Interface: {vocalsound}Marketing: {vocalsound} Yeah .Industrial Designer: I dunno , maybe uh maybe something to look into , Idunno uh what the cost {gap} that something like that would be . But it may be uh may be something to explore . Uh I'll I'll just explain a bit of the components .Uh first you have the energy source . The energy source would be a battery , simple uh battery uh that you can find anywhere . I figured that would be best ,'cause when the battery uh stops functioning uh we could just uh use {disfmarker} you could just go out and buy a new one . So we didn't {disfmarker} and wedon't have to do all uh {disfmarker} to be too complicated about that . Uh the energy source is connected to the infrared button , but uh the infrared button uh"}
+{"doc_id":"doc_142","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I have received apologies forabsence from Jack Sargeant, and I'm very pleased to welcome Vikki Howells, who is substituting for Jack this morning. Can I ask whether there are anydeclarations of interest from Members, please? No. Okay. Thank you. Item 2 this morning is our last evidence session on the Children (Abolition of Defence ofReasonable Punishment) (Wales) Bill, and I'm really pleased to welcome back Julie Morgan AM, Deputy Minister for Health and Social Services; Karen Cornish,who is deputy director of the children and families division; and Emma Gammon, who is the lawyer working on the Bill. So, thank you all for coming. If you'rehappy, we'll go straight into questions because we've got lots of ground that we want to cover, and the first questions are from Janet Finch-Saunders.JanetFinch-Saunders AM: Good morning. Thank you, Chair. Good morning, Deputy Minister. Of those individuals who responded to our written consultation in apersonal capacity, nearly 70 per cent do not support this Bill. We also heard a clear message from the parents we met last week who oppose this Bill that, asparents, they understand clearly the difference between child abuse and a light smack from a loving parent. How would you like to respond to that?Julie MorganAM: Thank you very much, Janet, for that question. I think I'd like to start by saying that child abuse is not the issue that the Bill is trying to address. What theBill is trying to do is prohibit all forms of physical punishment, and that is in order to protect children's rights and to ensure that children have the same protectionfrom physical punishment as adults. But I do understand that people have different views, and that's why this process has been so important—for us to hear whatyour views are and what parents' views are. I know that, often, people use different euphemisms really to make light of physical punishment. I've heardexpressions used such as a 'light smack' or a 'loving smack' or a 'tap', and really there can be different interpretations of what is a 'light smack', what is a 'lovingsmack', and that doesn't really cover the issue of the frequency of such actions being taken. But I would say that, however mild it seems to be, the United NationsCommittee on the Rights of the Child recognises that any physical punishment of children, however minor, is incompatible with their human rights, and whyshould a big person hit a little person? That's been the sort of mantra, really, that has taken me through supporting this legislation—that it just seems wrong tome that there is something in the law that could mean that there could be an excuse for that happening. I believe we shouldn't have anything in the law thatdefends the physical punishment of children, and I don't think we should be defining acceptable ways of hitting or punishing children, because I think it does senda confused message to children. It says, 'It's okay for me to hit you, but don't you hit anybody else.' I think it causes confusion. So, I'm confident that updatingthe law will make it much clearer for parents and people working with children—and, of course, I'm sure, as you'll have heard from the evidence you've taken,that people who work with children are overwhelmingly in support of this legislation, and the representative surveys that we've carried out show support for theBill's principles.Janet Finch-Saunders AM: Thank you, Deputy Minister. Last week, during the workshop, a few parents—predominantly all of them, actually—saidthat they use a gentle tap or smacking as part of a toolkit of ways to deal with challenging behaviour or, sometimes, for the safety of the child or, indeed, to carryout the parenting of a child. How do you intend to work with parents going forward, given the finite resources that social care and social services have? I knowfrom the responses we've received to the consultation that parents themselves who have to parent 24 hours a day, seven days a week, they are really, on thescale of things, very upset about this. How do you intend to try and get your message across to those parents on removing what they consider to be part of theirtoolkit when raising children? How do you intend to deal with that aspect?Julie Morgan AM: Well, first of all, I want to say, as I've said in most evidence sessions,that I completely accept that bringing up children is hard. It's very difficult; many of us have done it and we know how tough it can be. But we don't think thatthere is any place for physical punishment in bringing up children. There's a whole range of other ways that you can help parents bring up children, and adviceyou can give them of different methods to use. But, the clear message of this Bill is that we don't want any physical punishment; we don't think it's the right thingto do, and we believe that we are supported by many people in that view.Janet Finch-Saunders AM: Thank you.Lynne Neagle AM: You've got other questions,Janet.Janet Finch-Saunders AM: Okay. Oh, yes. Several consultation responses refer to statistics from Sweden, which they say show that child-on-child violenceactually increased by 1,791 per cent between 1984 and 2010, following the ban on physical punishment in 1979. What is your view on these figures and how canwe be certain that this Bill won't lead to other long-term negative outcomes in Wales?Julie Morgan AM: Well, I'm aware of the debate surrounding theinterpretation of the different statistics from Sweden. What's happened, really, in the academic research is that different academics are focused on differentfigures to support their views, and the methodological ways of doing it makes it quite difficult to have causation. I was very encouraged that a recent study of 88countries concluded that if a country prohibits corporal punishment, the result is association with less youth violence, and this is one of the largest cross-nationalanalyses of youth violence, with more than 400,000 participants. So, there is other evidence, very widespread evidence, which looks at a whole range of people,that is in contrast to the Swedish evidence. But, evidence in this field is mixed and we have considered a wide range of research and reviews, but ultimately thedecision is one that is based on our commitment to children's rights.Janet Finch-Saunders AM: Okay, thank you.Lynne Neagle AM: Do you want question 3?JanetFinch-Saunders AM: I can do it, yes. The Bill's explanatory memorandum says that 'there is no definitive evidence that \"reasonable\" physical punishment causesnegative outcomes for children'. However, we have heard from Equal Protection Network Cymru that international evidence could not be clearer and that theyfound the Wales Centre for Public Policy's report, on which the explanatory memorandum is based, very confusing and very frustrating, and that it didn't tie inwith what they knew. How would you respond to those viewpoints?Julie Morgan AM: We were very keen to get as balanced research as we possibly could, and wedidn't want to just put forward views that we thought agreed with our point of view. So, we were trying to give a balanced point of view, but we did commissionthe Wales Centre for Public Policy to do an independent literature review and we're honestly reporting to you what they said. But they did make it clear, again,which I think I've said in previous evidence sessions, that all physical punishment, under all conditions, is potentially harmful to children. And certainly, there isno peer-reviewed research that says that physically punishing a child is going to improve things, has favourable outcomes. So, I understand what EqualProtection Network Cymru are saying, because there is a lot of very strong evidence, but we're giving you the evidence that we had from the research that wecommissioned.Lynne Neagle AM: Thank you. We've got some questions now from Suzy on implementation.Suzy Davies AM: Thank you, Chair. I've just got acouple of questions on this balance between the steps that will be needed to implement this Bill and the impact that it'll actually have. You've probably heard inevidence that we've received that there are still some concerns out there about how agencies might address malicious reporting; some detail about how thepublic interest test might be applied further along the line; what's going to happen with out-of-hours provision from social services, and so on. There are still,from our perspective, quite a few things that are unknown about the effect on our public services in particular of the implementation of this Bill. Would you agreethat perhaps we should know a little bit more about that before we proceed with supporting the Bill?Julie Morgan AM: Well, it's very difficult, bringing in thislegislation that hasn't been done before. It's very difficult to gauge the impact, and we've covered that, I know, in previous discussions. But I think it's veryimportant to say that we are not creating a new offence. The Bill is removing a defence to an offence of common assault. And I think it's an interesting point tomake that, in Ireland, they introduced similar legislation through an amendment to a Bill, and had no detailed preparation for bringing in the Bill, and in factthere's no evidence that this has caused any difficulties, and no significant negative impacts or increase in workload. But in any case, we have our implementationgroup, which is going to address many of these issues. This met on 14 May. That was the first meeting. You see, I think we do have to take a balance betweenassuming this Bill is going to go through and what we can actually do. We can't presume that the Assembly will accept this Bill, so we have to be staged in whatwe do. But we had the first strategic implementation group on 14 May, and we had representatives from the police, the police and crime commissioners, theCrown Prosecution Service, the Association of Directors of Social Services Cymru, the Association of Directors of Education in Wales, the Welsh Local GovernmentAssociation, the legal profession and the third sector. They're all there, and they're all very keen to make this legislation work and to look at the implications of it.I'd just like to say how grateful I am for all those organisations giving their time and commitment. They've set up four work streams, looking at parenting adviceand support; data collection, evaluation and monitoring; operations, procedures and processes; and out-of-court disposals and diversions. These groups will betaking forward this work and will be looking at many of those issues that you've mentioned, and will also be updated on the progress of the awareness strategythat we will be bringing in. I'm really confident that the legislation will be implemented in a very practical and workable way, because we do have the commitmentof all these agencies, and there's been a huge amount of preparation done in the Welsh Government to prepare for this in a way that, I have to say, hasn't beendone in some of the other countries—as I mentioned, in Ireland. So, as much preparation as could be done is being done and has been done, but we really nowsee that the implementation group is taking forward all these issues, and obviously those agencies that are taking part in the implementation group are, on thewhole, in support of the principles of this Bill.Suzy Davies AM: Well, thank you for that, Minister, but the way I look at this is that you've already said that, if this"}
+{"doc_id":"doc_143","qid":"","text":"Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} Hmm .Project Manager: Okay . Good morningeverybody . Um I'm glad you could all come . I'm really excited to start this team . Um I'm just gonna have a little PowerPoint presentation for us , for our kick-offmeeting . My name is Rose Lindgren . I I'll be the Project Manager . Um our agenda today is we are gonna do a little opening and then I'm gonna talk a little bitabout the project , then we'll move into acquaintance such as getting to know each other a little bit , including a tool training exercise . And then we'll move intothe project plan , do a little discussion and close , since we only have twenty five minutes . First of all our project aim . Um we are creating a new remote controlwhich we have three goals about , it needs to be original , trendy and user-friendly . I'm hoping that we can all work together to achieve all three of those . Um sowe're gonna divide us up into three {vocalsound} compa three parts . First the functional design which will be uh first we'll do individual work , come into ameeting , the conceptional design , individual work and a meeting , and then the detailed design , individual work and a meeting . So that we'll each be doing ourown ideas and then coming together and um collaborating . Okay , we're gonna get to know each other a little bit . So um , what we're gonna do is start off withum let's start off with Amina . Um Alima ,Industrial Designer: Alima .Project Manager: sorry , Alima .Industrial Designer: {vocalsound} {vocalsound}ProjectManager: Um we're gonna do a little tool training , so we are gonna work with that whiteboard behind you . Um introduce yourself , um say one thing aboutyourself and then draw your favourite animal and tell us about it .Industrial Designer: Okay . Um I don't know which one of these I have to bring with me .ProjectManager: Probably both .Industrial Designer: {vocalsound} Right , so , I'm supposed to draw my favourite animal . I have no drawing skills whatsoever . But uhlet's see , introduce myself . My name is Alima Bucciantini . Um I'm from the state of Maine in the US . I'm doing nationalism studies , blah , blah , blah , and Ihave no artistic talents .Project Manager: How do you spell your name ?Industrial Designer: A_ L_ I_ M_ A_ .Project Manager: Thanks .Industrial Designer: Oh ,and I guess I'm the Industrial Designer on this project . So let's see if I can getMarketing: {vocalsound} {vocalsound}Industrial Designer: um here . I will draw alittle turtle for you all . Not necessarily 'cause it's my absolute favourite animal , but just that I think they're drawable . And you have the pretty little shell goingon . Some little eyes . Happy . There you go . That's a turtle .Marketing: Yes .Project Manager: So what are your favourite characteristics ?Industrial Designer:Um . I I like the whole having a shell thing .Project Manager: Mm .Industrial Designer: It's quite cool carry your home around where you go , um quite decorativelittle animals , they can swim , they can , they're very adaptable , they carry everything they need with them , um and they're easy to draw .Project Manager:{vocalsound} Excellent .User Interface: {vocalsound}Project Manager: {vocalsound} Shall we just go around the table ?User Interface: Uh Okay . Well , myname is Iain uhProject Manager: Mm .User Interface: and I'm the User Interface Designer for the project . Um . And I'll try and draw my favourite animal.Industrial Designer: {vocalsound} No ,User Interface: I'll {disfmarker} I should leave that one on thereIndustrial Designer: you can erase the turtle ,UserInterface: shouldn't I {vocalsound} before I callously rub it off .Industrial Designer: it's alright .Project Manager: Might be nice to have them all up there at sametime .User Interface: {vocalsound} Um I'm not gonna draw it quite to scale um .Industrial Designer: {vocalsound}User Interface: {vocalsound} Is that at leastidentifiable ?Industrial Designer: Snake .Marketing: Well .Project Manager: EmIndustrial Designer: Well ,User Interface: It's a whale {vocalsound} , yes.Industrial Designer: snake ? {vocalsound} It's w {vocalsound}User Interface: {vocalsound} Thanks .Marketing: Oh my god , it's better than what I'm gonna beable to do .User Interface: {vocalsound} Um and , yeah , the reason I like whales is 'cause uh they're {disfmarker} well , first of all they're quite intelligent umand also they're they're kind of mysterious , like we don't really know much about them or or understand how they work , how they form groups . And I just findthem interesting animals .Marketing: Take my contraptions with me . Alright , I'm Jessy . I'm from around D_C_ ish sort of in the U_S_ . And we're gonna keepthe deep sea sort of theme going on , {gap} animal . Don't really know how to draw this . Just where can I {disfmarker} Mm . Mm . Maybe if I do the water,Industrial Designer: {vocalsound}Marketing: but how ? Sort of give an idea . {vocalsound} I have no idea how one would explain this . Mm maybe with somewhiskers . Briefly , it's supposed to be a seal .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: You can imagine it in the water . I likethem , because they are like playful and silly sort of have a good time . Not gonna try and pretend like I can get any better than that . {vocalsound}ProjectManager: Mm 'kay . Mm 'kay ? I'm Rose and I'm Project Manager , {vocalsound} from California . Um . Hmm . {vocalsound} S {vocalsound}Industrial Designer:{vocalsound} Oh ,Marketing: It's definitely significantly harder once you are doing it .Industrial Designer: a cat .Project Manager: Um it's actually a coyote.Industrial Designer: Yeah .Project Manager: Let's see . Let's see ,Industrial Designer: Right .Marketing: {vocalsound} That's impressive .Project Manager: let'sgive it a little bit of a snout , I don't know , some teeth .Industrial Designer: That's {disfmarker}Project Manager: Yeah .Industrial Designer: That's prettyimpressive .User Interface: Cool . {vocalsound}Project Manager: {vocalsound} Oh dear . {vocalsound} Yes .Industrial Designer: {vocalsound}Project Manager: Ilive um I live right across the street from an open space in California . We have coyotes howl all the time . So I really enjoy their their singing , you they're reallybeautiful animals . Mm . {vocalsound} Okay um , moving on to slightly more serious stuff . We're gonna talk about project finances . Um we have a couple{vocalsound} we'd like to sell it for about twenty five Euro with the profit aim of um fifteen million Euro um from our sales and because this is such {disfmarker}this is for television it's a {disfmarker} we have a market range of Internet , like it's an international market range , we don't have to worry about specifics . Umin order to make a profit of this magnitude , we need to um be able to produce each one at a maximum of twelve fifty Euro . So we're selling it for twice whatwe'd like to produce it for . Okay um , just to generate a little bit of discussion about the project um , I could {disfmarker} I'd like to hear about your experiencesusing ro remote controls , um your first ideas about um creating a new r remote control , what would be the best um like you {disfmarker} what are the featuresthat you really like what are the features that you don't like , etcetera , so {disfmarker}Marketing: Um I hate when there's like four different buttons and youhave to press to actually turn on the T_V_ like you have to do one for the power of the T_V_ and then like another one to get the actual screen on and somethingelse to get it all going , I don't know . Now they keep combining all different remotes together , and I don't know if I necessarily like that 'cause I feel like you endup with multimedia overload .User Interface: {vocalsound}Marketing: I just wanna watch the T_V_ {vocalsound} um .Project Manager: Hmm .Marketing:{vocalsound} Always gets lost . Some sort of like device to help you find it .User Interface: I've used , I've used remote controls , for things like T_V_ and theC_D_ player and video recorder and I I guess they're they're pretty neat neat little tools uh . You don't have to get up and walk across the room to change achannel .Project Manager: Mm .User Interface: So especially if you're someone really lazy like me they they're pretty nice . Um . I find them {disfmarker} theycan be a bit annoying , especially , like you know if I'm watching T_V_ I have have to have three separate remote controls of {disfmarker} in front of me , youknow , one for the T_V_ , one for the digital box , one for m the video recorder as well . Um . And also they tend to they tend to be a bit confusing , they've gottoo many buttons on them uh too too sort of too sort of complicated when all I really wanna do is switch on and off , change the channel , change the volume.Industrial Designer: Yeah um . I agree with having too many remotes around . My dad has a whole drawer at home of remotes for various things , and I don'tknow how to work half of them um . What's important for me , I guess , is that it's easy to use and that there's not too many buttons , they are not too small ,you know you know you need to n to know what you're doing . And one thing I particularly like is if you are not um sort of moving it around to get it to work withthe infra-red .Marketing: Yeah .Industrial Designer: Um , I think there is a way around that ,User Interface: Yeah .Industrial Designer: but I know in my residenceright now the the television you sort of have to walk all around the room to get it to turn on ,Project Manager: {vocalsound} Mm-hmm .Industrial Designer: so iit's just simpler just to just turn around the T_V_ itself , and I think that's {disfmarker} if we're gonna make a remote control , it should actually work for whatit's doing . So {disfmarker}Marketing: What about like batteries and things like that , like are there some remotes that don don't require like batteries or do allremotes require batteries ?Project Manager: {vocalsound} Um I would imagine all of them ,Industrial Designer: I know .Project Manager: but we could{disfmarker} but it's possible we could use like a lithium battery um that would last a lot longer than like double A_s .Industrial Designer: Yeah , something thatdoesn't {disfmarker}Marketing: Mm-hmm .Project Manager: Um like tho those are the batteries that are used in a lot of um M_P_ three players now and thatkind of thing . Um .Marketing: Mm-hmm .Industrial Designer: Mm .Project Manager: Um . Okay , it seems we have a little bit of a conflict over um to uhcombining all the remotes cont together versus having f five different remotes . So um like you said you don't like having all the buttons on one on one remote ,and yet you don't wanna have five remotes . So how do we work with that ?Industrial Designer: {vocalsound} Yeah .User Interface: Mm .Industrial Designer:Could we get something that just has {disfmarker} No doesn't have all the buttons that you need to program the video recorder or program s other things thatI'm not very coherent about , but that just has your major buttons for {disfmarker} that work for everything , you know volume control , on , off ,ProjectManager: Mm-hmm .Industrial Designer: channel changing .Marketing: And maybe that spatially divides it , so it's like if you're looki if you're trying to get theT_V_ on that's , you know , like the top thing on the remote , I dunno if d be vertical or horizontal in terms of how we're gonna make it , but if it's like all the"}
+{"doc_id":"doc_144","qid":"","text":"Project Manager: {vocalsound} Alright , yeah . {gap} crack on {gap} . Okay so we'll start off with a quick overview of the minutes . I think to sum up the lastmeeting , would be to say um the requirements that we've um set out . Those are we were going to go for what seemed to be a fairly minimal design based on uha small joystick , {vocalsound} L_C_D_ and a couple of other buttons for navigation um with power being I suppose one of the main single purpose buttons . Umwe were also going to use {gap} novelty of being able to locate the remote control again via a small transmitter with any luck , the idea to try and separate usand also because of the minimal design um looks like we'll be able to be fairly adventurous in the actual physical shape of our remote control with any luck . Umthat pretty much sums up the last one . So we'll just crack on , um like to maybe start with the Industrial Designer if it's possible .Industrial Designer:{vocalsound} Uh uh okay .Project Manager: Um uh the con today is the concep today .Industrial Designer: I'll just {disfmarker}Project Manager: This uh meetingis the conceptual design phase and is um {disfmarker} Sorry about this . {gap} . And is to cover things like um what the parts might be made of , um , can we uhoutsource these from elsewhere , um will we have to construct any items ourselves ?Industrial Designer: {vocalsound} Uh I have a presentation {gap} I justsaved it in the uh the folder .Project Manager: Yeah , okay well I'll just uh I'll load it up then . Um {vocalsound} . Which one do yIndustrial Designer: Uh .ProjectManager: Oh , interface concept ?User Interface: Yeah , that's me .Project Manager: That's you . We've got trend watching , that's you .Industrial Designer: It'suh {disfmarker} Components design .Project Manager: Components design .Industrial Designer: {gap} .Project Manager: Okay .Industrial Designer: Alright .{vocalsound} So {disfmarker} {vocalsound} Uh . The case uh le that's what I wrote first of all , could be plastic our plastic . Uh but later on {gap} we found outthat um it can be rubber as well , or titanium or even wood . So uh we decide what it's gonna be . Probably plastic . Uh we need the infra-red transmitter . Getthat off the shelf . Uh joystick we'll probably if we're gonna use it , um could be plastic w or rubber even as well . Um {vocalsound} if you go on to the next slide .Uh {disfmarker} {vocalsound} If you go on to f uh findings , it's like two or three slides down .Project Manager: Okay .Industrial Designer: Right . So , this iswhat I found we can use . Uh three different types of batteries . Um can either use a hand dynamo , or the kinetic type ones , you know that they use in watches ,or else uh a solar powered one .Project Manager: Okay . Now ,Industrial Designer: Um .Project Manager: the kinetic one , we've {disfmarker} 'cause that's theones where like you {disfmarker} the movement causes it .Marketing: Cost is {disfmarker} Yeah .Industrial Designer: {vocalsound} Yeah .Project Manager: Umthe bat uh the battery for a a watch wouldn't require a lot of power , would be my one query .User Interface: Mm .Project Manager: Is a kinetic one going to beable to supply enough power ?User Interface: There's also a watch moves around a great deal more .Project Manager: Do you think ?Industrial Designer: Uh.Marketing: {vocalsound} Yeah .Project Manager: WIndustrial Designer: Yeah , I don't think it would . Um . And solar cells , I dunno about that .Marketing: {gap}yeah .Industrial Designer: Uh . We should probably just use conventional batteries . Um , just like in usual remote controls .Project Manager: Which I suppose aswell would allow us to go off the shelf again , you'd say ?Industrial Designer: Um . Yeah . Um . {vocalsound} And these are three different types of {disfmarker}or two different types {disfmarker} three different types of shapes you can have . Uh one is a flat one , and then more original ones are single curved one or onewith a double curved . Um {vocalsound} the materials are tha there as you can see , but uh you can't have a titanium one for a double curved ,Project Manager:{vocalsound}Marketing: Titanium , the really strong metal , titanium ?Industrial Designer: uh which would be {disfmarker} Yeah ,Marketing: Is it not also it'sexpensive ?Industrial Designer: and light . Uh , i think so as well , yeah .Project Manager: Um . Um .Industrial Designer: They make mountain bikes out of that ,don't they . So it's really light as well .Project Manager: Curious . Um , I don't know if you'd be able to off the top of your head or not , the single curved anddouble curved , would you be able to give an example ?Industrial Designer: Um . {vocalsound} T yeah .Project Manager: Um could you maybe draw something ?I you don't doesn't have to be perfect , it's just 'cause I'm not quite sure if I understand the difference between the two .Industrial Designer: Uh . Well for acurved , well I was thinking to {disfmarker} f for to sit in your {disfmarker} the palm of your hand . Uh maybe like this , with the uh joy pad here . Joystick here .And maybe um an okay button around here , so that the thumb can uh use it quite easily . Um I don't exactly {vocalsound} {disfmarker} Double curved . Itprobably means {disfmarker} this is probably double curved . Uh whereas a single curved would be like that . I guess . Or not necessarily .Project Manager: So itmight literally just be {disfmarker}Marketing: Two curves {gap} .Project Manager: okay .Industrial Designer: Yeah like that . Whereas this is two curves . Um{vocalsound} so I guess that's what they mean by uh double curve .Project Manager: Alright .Industrial Designer: Um which obviously {disfmarker} it looksbetter than the single curve , but uh you can't have it in titanium , which is uh a nice material . {vocalsound} UhProject Manager: Mm .Industrial Designer: andfor the buttons , um it can have the scroll wheel which they use in mouses for com P_C_s . Uh but um it requires a more expensive chip to use , and if you wannause L_C_D_ it's even more expensive . So you have to decide , there's trade-offs there . Um {vocalsound} if you want the buttons to be {disfmarker} oh yeah , ifyou have a double curve uh control and it's rubber , then you have these rubber buttons as well . But {vocalsound} you're gonna ha I reckon you're gonna haveto have uh key a number keypad anyway for the amount of channels these days . You wouldn't want to just have to scroll through all the channels to get to theone you want . You wanna enter just the number of it , if you know it . So um I reckon we're gonna have to have a number keypad anyway . Do you think?Project Manager: Okay , that was definitely something we can talk about . Um so you've got a little bit about the the chip that we might require as well?Industrial Designer: Yeah . So , depends where gonna spend the money if you want the f fancy L_C_D_ display .Project Manager: Um , do you have any idea sofar , like when we're saying that we'd need an advanced chip for an L_C_D_ , does that in shoot the cost up by a drastic amount ? Or ?Marketing: Need anadvanced chip for the L_C_D_ . Is that {disfmarker} did I {disfmarker}Project Manager: Well I think compared to say just pressing {gap} buttons .IndustrialDesigner: Yep .Marketing: Advanced , like three eight six advance .Project Manager: {gap} if you press a button that sends a certain transmission through theinfra-red , whereas I think if we're controlling the L_C_D_ we definitely require a much more powerful chip . Just compared to the chip you would use for pushingbuttons I think is the the point being made .Marketing: Okay . Okay , sure .User Interface: Mm .Project Manager: If I've not over-stepped . Yeah ?IndustrialDesigner: Yeah iProject Manager: Okay , um should I go on , or go back ?Industrial Designer: Um {disfmarker} {vocalsound}Marketing: Mm , if we only havetwelve Pounds fifty , twelve Euros , not even twelve Pounds . Twelve Euros , what's that , like eight pounds or something like that , nine Pounds ?ProjectManager: Well we'd also be relying on the um the bulk buying in producement and such . I assume .Marketing: Okay , that's good point .Project Manager: Wehave to look into the costs of those . So , sorry .Industrial Designer: Uh the previous slides just explain what's in the internal components of the uh remotecontrol . If you go to the one before that uh so it just says what it does , translate the key press into an infra-red signal and this is received by the T_V_ . Uh thechip just needs to detect the signal or detect the key press and then uh it'll send it to the tr the amplifier .Project Manager: Okay .Industrial Designer: And uhthen the next slide just shows how the uh copper wires uh interact with the buttons , the rubber buttons , uh to uh get sent to the chip . So that's just how thecontrol works inside . Um we have to decide on what buttons we're gonna use .Project Manager: Okay .Industrial Designer: {gap} .Project Manager: Um . {gap} .So in the information that you've been supplied , how feasible would you say that the idea of using an L_C_D_ looks ?Industrial Designer: Um {disfmarker} Ithink we can do it if {vocalsound} uh we use conventional batteries and not have solar cells or kinetic . Um and then maybe use single curved uh case . Becausewe might need it to be curved for the uh thumb to use the joyst joystick easily . Um and then you'll need the advanced chip obviously for the L_C_D_ .ProjectManager: Um I mean that sounds like quite a good requirement to me . Um conventional battery would seem to make sense .User Interface: Mm-hmm .ProjectManager: Um I'm not sure if there's any cost differences between single and double curved and I'm {disfmarker} I don't know about anybody else , but plastic orrubber as a traditional form of casing would seem to be a good way forward ? {gap} .User Interface: Mm . Um I'm actually gonna be bold and go oo go straightfor rubber um for reasons I'll go into uh in more detail .Project Manager: Okay .Marketing: I also have a preference for rubber .Project Manager: Okay , well um{disfmarker}Marketing: Based on my research .Project Manager: Yeah , well will we move on to user interface , and {disfmarker}User Interface: {gap} .ProjectManager: yeah ? Um sorry ,User Interface: Mm .Project Manager: as long as {disfmarker} were you ? Yeah . Okay .Industrial Designer: Yep I'm finished .ProjectManager: Um {gap} and d d d interface concept .User Interface: Yep . Now I'm gonna have to work between the uh the slides and the uh {vocalsound} and thewhite boardProject Manager: Yeah .User Interface: 'cause I actually I have some fairly concrete things this time . Uh um I was given a an H_T_M_L_ file givingum various ideas from uh from other previous remote control designs , and pretty much decided to just dump them all . I wasn't very impressed by them andthey didn't seem to re uh nothing I saw seemed to meet the sorts of design specifications that we're going for today . Um so what I ra rather than looking at otherremotes , uh ra oomp be better to simply look at the human hand . Um and try and f um and try and figure out a way of laying out the elements we've alreadydecided on , um so that if r a if {vocalsound} so that the finger is e each finger or thumb is wherever it needs to be already . Um so uh next slide , if you please .Um and what we've basically decided on was the the um the joy uh the joystick , two function buttons and the L_C_D_ , just keep it paired down to the absolute"}
+{"doc_id":"doc_145","qid":"","text":"PhD E: OK .Professor B: OK , so {pause} We {disfmarker} we had a meeting with , uh {disfmarker} with Hynek , um , in {disfmarker} in which , uh , uh , Suniland Stephane , uh {vocalsound} summarized where they were and {disfmarker} and , uh , talked about where we were gonna go . So that {disfmarker} thathappened sort of mid - week . Uh .PhD E: D did {disfmarker} did you guys get your code pushed together ?PhD D: Oh , yeah . Yeah . It 's {disfmarker} it 's{disfmarker} it 's {disfmarker} it was updated yesterday ,PhD E: Cool .PhD D: right ?PhD A: Yeah .PhD D: Yeah .PhD A: You probably received the mail .PhD E:Oh , right , I saw {disfmarker} I saw the note .PhD A: Yeah .PhD E: Mm - hmm .Professor B: What was the update ?PhD A: What was the update ? So there is ththen {disfmarker} the {disfmarker} all the new features that go in .Professor B: Yeah .PhD A: The , um , noise suppression , the re - synthesis of speech aftersuppression . These are the {disfmarker}PhD E: Is the , um {disfmarker} the CVS mechanism working {pause} well ?PhD A: Yeah .PhD E: Are {disfmarker} arepeople , uh , up at OGI grabbing code uh , via that ?PhD D: Uh , I don't think {disfmarker} I don't think {disfmarker}PhD E: Or {disfmarker} ?PhD A: I don'tknow if they use it , but .PhD D: Yeah , I I don't think anybody up there is like {pause} working on it right now .PhD E: Uh - huh . Mmm .Professor B: I think itmore likely that what it means is that when Sunil is up there {vocalsound} he will grab it .PhD D: Yeah . Yeah . So right now nobody 's working on Aurora there.PhD E: Yeah .Professor B: They 're {disfmarker} Yeah . They 're working on a different task .PhD E: I see . I see .PhD D: Yeah .PhD E: OK .Professor B: But what'll happen is {disfmarker} is he 'll go back up there and , uh , Pratibha will come back from {disfmarker} from , uh , the east coast . Uh .PhD E: Mm - hmm.Professor B: And , uh {disfmarker} and {disfmarker} and I guess actually , uh , after Eurospeech for a little bit , uh , he 'll go up there too . So , actuallyeverybody {vocalsound} who 's working on it {comment} will be up there for at least a little while . So they 'll remotely access it {vocalsound} from there .PhDE: So has {disfmarker} Has anybody tried remotely accessing the CVS using , uh , uh , SSH ?Professor B: Yeah . PhD A: Um , I don't know if Hari did that or{disfmarker} You dPhD D: I {comment} can actually do it today . I mean , I can just log into {disfmarker}PhD E: Have you tried it yet ?PhD D: No , I didn't . So II 'll try it today .PhD E: OK .Professor B: Good idea .PhD A: Actually I {disfmarker} I tried wh while {disfmarker} when I installed the {pause} repository , I triedfrom Belgium .Professor B: Yeah .PhD D: Yeah .PhD A: I logged in there and I tried {pause} to import {disfmarker}PhD E: Yeah ? It worked good ?PhD A: Yeah ,it works .PhD E: Oh , good !PhD A: But it 's {disfmarker} So , right now it 's the mechanism with SSH .PhD D: Oh .PhD E: Great !PhD A: I don't {pause} s I didn'tset up {disfmarker} You can also set up a CVS server {pause} on a new port . It 's like well {pause} uh , a main server , or d You can do a CVS server .PhD E:Yeah . Right . Then that 's using the CVS password mechanism and all that ,PhD A: But . Yeah , right .PhD E: right ?PhD A: But I didn't do that because I was notsure about {pause} security problems . I {disfmarker} I would have to {disfmarker}PhD E: So w when you came in from Belgian {disfmarker} {comment}Belgium , using SSH , uh , was it asking you for your own {pause} password into ICSI ? So if yo you can only do that if you have an account at ICSI ?PhD A:Right . Yeah .PhD E: OK .PhD A: Yeah .PhD E: Cuz there is an {disfmarker} a way to set up anonymous CVS right ?PhD A: Yeah , you ha in this way you ca youhave to set up a CVS server but then , yeah , you can access it .PhD E: So that {disfmarker} Oh , OK .PhD A: you {disfmarker} you can set up priorities .PhD E:So the anonymous mechanism {disfmarker}PhD A: You can access them and mostly if you {disfmarker} if y the set the server is set up like this .PhD E: OK .Because a lot of the open source stuff works with anonymous CVS and I 'm just wondering {disfmarker} Uh , I mean , for our transcripts we may want to do that.PhD A: Mm - hmm .Professor B: Yeah .PhD E: Uh .Professor B: Yeah , for this stuff I don't think we 're {pause} quite up to that . I mean , we 're still so much indevelopment .PhD E: Mm - hmm . Yeah ,Professor B: We want to have just the insiders .PhD E: yeah , yeah . Oh , I wasn't suggesting for this . I 'm {pause}thinking of the Meeting Recorder {comment} stuffProfessor B: Yeah .PhD E: but . Yeah . OK . Cool .Professor B: Yeah . So , uh {disfmarker}PhD E: What 's new?Professor B: Well , I mean , I think maybe the thing to me might be {disfmarker} I me I 'm sure you 've just been working on {disfmarker} on , uh , details ofthat since the meeting , right ? And so {disfmarker}PhD A: Mmm , since the meeting , well , I {disfmarker} I 've been {disfmarker} I 've been train training anew VAD and a new {pause} feature net .Professor B: That was {disfmarker} that was Tuesday . OK .PhD A: So they should be ready . Um .Professor B: But Iguess maybe the thing {disfmarker} since you weren't {disfmarker} yo you guys weren't at that {disfmarker} that meeting , might be just {disfmarker} just to ,um , sort of recap , uh , the {disfmarker} the conclusions of the meeting .PhD A: Mm - hmm .PhD E: Oh , great .Professor B: So .PhD E: You 're talking about themeeting with Hynek ?Professor B: Yeah . Cuz that was sort of , uh {disfmarker} we {disfmarker} we 'd sort of been working up to that , that {disfmarker} that ,uh , he would come here this week and {disfmarker} and we would sort of {disfmarker}PhD E: Uh - huh .Professor B: Since he 's going out of town like now , andI 'm going out town in a couple weeks , uh , and time is marching , sort of , given all the mu many wonderful things we could be working on , what {disfmarker}what will we actually focus on ?PhD E: Mm - hmm .Professor B: And , uh {disfmarker} and what do we freeze ? And , you know , what do we {disfmarker} ? So ,um . I mean , this {pause} software that these guys created was certainly a {disfmarker} a key part . So then there 's something central and there aren't at leasta bunch of different versions going off in {disfmarker} in ways that {pause} differ {pause} trivially . Uh , um , and , um ,PhD E: Yeah . That 's {disfmarker} that's nice .Professor B: and then within that , I guess the idea was to freeze a certain set of options for now , to run it , uh , a particular way , and decide on whatthings are gonna be experimented with , as opposed to just experimenting with everything . So keep a certain set of things constant . So , um . Uh , maybedescribe roughly what {disfmarker} what we are keeping constant for now , or {disfmarker} ?PhD A: Yeah . Well . So we 've been working like six weeks on{disfmarker} on the noise compensation and we end up with something that seems reasonable . Um .PhD E: Are you gonna use {disfmarker} which of the twotechniques ?PhD A: So finally it 's {disfmarker} it 's , um , Wiener filtering on FFT bins . And it uses , uh , two steps , smoothing of the transfer function , the firststep , that 's along time , which use recursion . And {vocalsound} after this step there is a further smoothing along frequency , which use a sliding window oftwenty FFT bins . Mmm . And , uh {disfmarker}PhD E: So this is on the {disfmarker} uh , before any mel scaling has been done ?PhD A: Yeah , yeah .PhD E: Thisis {disfmarker}PhD A: It was {disfmarker}Professor B: This {disfmarker} this smoothing is done on the estimate , um , of what you 're going to subtract ? Or onthe thing that has already had something subtracted ?PhD A: Yeah . Uh , {vocalsound} it 's on the transfer function . So {disfmarker}Professor B: Oh , it 's on thetransfer function for the Wiener filter .PhD A: Yeah .Professor B: Yeah , OK .PhD A: Yeah , so basically we tried {vocalsound} different configuration within thisidea . We tried u u applying this on mel bands , having spectral subtraction instead of wiener filtering . Um . Well , finally we end up with {pause} thisconfiguration that works , uh , quite well . So we are going to fix this for the moment and work on the other aspects of {vocalsound} the whole system .PhD E:Mm - hmm .PhD A: So {disfmarker}Professor B: Actually , let me int eh , Dave isn't here to talk about it , but let me just interject . This module , in principle , i Imean , you would know whether it 's {vocalsound} true in fact , is somewhat independent from the rest of it . I mean , because you {disfmarker} you re -synthesize speech , right ?PhD A: Mm - hmm .Professor B: So , um . Uh , well you don't {disfmarker} I guess you don't re - synthesize speech , but you could{disfmarker}PhD A: We {disfmarker} we do not foProfessor B: Uh , but you could .PhD A: Well {disfmarker} well , we do , but we don't {disfmarker} don't re -synthesize . In {disfmarker} in the program we don't re - synthesize and then re - analyze once again . We just use the clean FFT bins .Professor B: But you havea re - synthesized thing that you {disfmarker} that 's an {disfmarker} an option here .PhD A: This is an option that {disfmarker} then you can {disfmarker} Yeah.Professor B: Yeah , I gu I guess my point is that , um , i in some of the work he 's doing in reverberation , one of the things that we 're finding is that , uh , it 's{disfmarker} it 's {disfmarker} for the {disfmarker} for an artificial situation , we can just deal with the reverberation and his techniques work really well . Butfor the real situation uh , problem is , is that you don't just have reverberation , you have reverberation in noise . And if you don't include that in the model , itdoesn't work very well . So in fact it might be a very nice thing to do , to just take the noise removal part of it and put that in front of what he 's looking at . And ,uh , generate new files or whatever , and {disfmarker} and , uh , uh {disfmarker} and then do the reverberation part .PhD A: Mm - hmm .Professor B: So it 's{disfmarker}PhD D: Mmm .Professor B: Anyway .PhD E: So Dave hasn't {pause} tried that yet ?Professor B: No , no . He 's {disfmarker} I mean , ePhD E: Iguess he 's busy with {disfmarker}Professor B: Yeah , prelims , right .Grad C: Pre - prelim hell .Professor B: Yeah .PhD E: Yeah .Professor B: So .PhD E: Yeah.Professor B: Uh , but {disfmarker} but , you know , that 'll {disfmarker} uh , it 's clear that we , uh {disfmarker} we are not {disfmarker} with the real case thatwe 're looking at , we can't just look at reverberation in isolation because the interaction between that and noise is {disfmarker} is considerable . And that 's Imean , in the past we 've looked at , uh , and this is hard enough , the interaction between channel effects and {disfmarker} and , uh {disfmarker} and additivenoise , uh , so convolutional effects and {disfmarker} and additive effects . And that 's hard enough . I mean , I don't think we really {disfmarker} I mean , we 'retrying to deal with that . In a sense that 's what we 're trying to deal with in this Aurora task . And we have , uh , the , uh , uh , LDA stuff that in principle is doingsomething about convolutional effects . And we have the noise suppression that 's doing something about noise . Uh , even that 's hard enough . And{disfmarker} and the on - line normalization as well , in that s category . i i There 's all these interactions between these two and that 's part of why these guys"}
+{"doc_id":"doc_146","qid":"","text":"PhD B: We 're , I mean {pause} we {disfmarker} We didn't have a house before .Professor D: Yeah . Yeah .PhD E: OK .Professor D: We 're on again ? OK .PhD A:Mm - hmm . That is really great .Grad H: Yeah , so if {pause} uh {disfmarker} {pause} So if anyone hasn't signed the consent form , please do so .PhD A: That's terrific .PhD B: Oh , yeah !Professor D: OKGrad H: The new consent form . The new and improved consent form .PhD A: Now you won't be able to walk or rideyour bike , huh ?Professor D: OK .Postdoc F: Uh .PhD B: Right .Professor D: OK .Grad H: And uh , shall I go ahead and do some digits ?Professor D: Uh , we weregonna do that at the end , remember ?Grad H: OK , whatever you want .Professor D: Yeah . Just {disfmarker} just to be consistent , from here on in at least ,that {disfmarker} {pause} that we 'll do it at the end .PhD B: The new consent form .Grad H: It 's uh {disfmarker} {pause} Yeah , it doesn't matter . OK.Professor D: OK Um Well , it ju I mean it might be that someone here has to go ,Postdoc F: Testing , one , two , three .Professor D: and {disfmarker} Right ?That was {disfmarker} that was sort of the point . So , uh {pause} I had asked actually anybody who had any ideas for an agenda {pause} to send it to me andno one did . So ,Grad H: So we all forgot .Professor D: Uh ,Postdoc F: From last time I wanted to {disfmarker} Uh {pause} {pause} The {disfmarker} An iss uh{pause} one topic from last time .Professor D: Right , s OK , so one item for an agenda is uh {pause} Jane has some uh {vocalsound} uh some research to talkabout , research issues . Um {pause} and {pause} Uh , Adam has some short research issues .Grad H: And I have some {pause} short research issues .ProfessorD: Um , I have a {pause} list of things that I think were done over the last three months I was supposed to {vocalsound} {vocalsound} send off , uh {pause}and , um {pause} I {disfmarker} I sent a note about it to uh {disfmarker} to Adam and Jane but I think I 'll just run through it {pause} also and see if someonethinks it 's inaccurate or {pause} uh insufficient .PhD A: A list that you have to send off to who ?Professor D: Uh , to uh uh , IBM .PhD A: Oh .Professor D: OK .They 're , you know {disfmarker}PhD E: Professor D: So . Um , So , uh {pause} so , I 'll go through that . Um , {pause} And , Anything else ? {pause} anyonewants to talk about ?PhD A: What about the , um {disfmarker} your trip , yesterday ?Professor D: No . OK . Um . Sort of off - topic I guess .PhD A: Oh , OK.Professor D: Cuz that 's {pause} Cuz that was all {disfmarker} all about the , uh {disfmarker} I {disfmarker} I {disfmarker} I can chat with you about that{pause} off - line . That 's another thing . Um , And , Anything else ? Nothing else ? Uh , there 's a {disfmarker} I mean , there is a {disfmarker} {pause} a , um{pause} uh {pause} telephone call tomorrow , {pause} which will be a conference call {pause} that some of us are involved in {pause} for uh a possibleproposal . Um , we 'll talk {disfmarker} we 'll talk about it next week if {disfmarker} if something {disfmarker}Grad H: Do you want me to {pause} be there forthat ? I noticed you C C ' ed me , but I wasn't actually a recipient . I didn't quite know what to make of that .Professor D: Uh Well , we 'll talk {disfmarker} talkabout that after our meeting . OK .Grad H: OK .Professor D: Uh , OK . So it sounds like the {disfmarker} the three main things that we have to talk about are , uhthis list , uh Jane and {disfmarker} Jane and Adam have some research items , and , other than that , anything , {pause} as usual , {pause} anything goesbeyond that . OK , uh , Jane , since {disfmarker} since you were sort of cut off last time why don't we start with yours , make sure we get to it .Postdoc F: OK , it's {disfmarker} it 's very {pause} eh {disfmarker} it 's {pause} very brief , I mean {disfmarker} just let me {disfmarker} just hand these out . Oops .Grad H: Isthis the same as the email or different ?PhD C: Thanks .Postdoc F: It 's slightly different . I {disfmarker} {pause} basically the same .Grad H: OK .PhD A: Sameidea ?Postdoc F: But , same idea . So , if you 've looked at this you 've seen it before , so {pause} Basically , {vocalsound} um {pause} as you know , uh{pause} part of the encoding {pause} includes a mark that indicates {pause} an overlap . It 's not indicated {pause} with , um {pause} uh , tight precision , it 'sjust indicated that {disfmarker} OK , so , It 's indicated to {disfmarker} to {disfmarker} so the people know {pause} what parts of sp which {disfmarker} whichstretches of speech were in the clear , versus being overlapped by others . So , I {pause} used this mark and , um {pause} and , uh {pause} uh , {pause}divided the {disfmarker} I wrote a script {pause} which divides things into individual minutes , {pause} of which we ended up with forty {pause} five , and alittle bit . And , uh {pause} you know , minute zero , of course , is the first minute up to {pause} sixty seconds .PhD C: OK .Postdoc F: And , um {pause} Whatyou can see is the number of overlaps {pause} and then {pause} to the right , {pause} whether they involve two speakers , three speakers , or more than threespeakers . And , {pause} um {pause} and , what I was looking for sp sp specifically was the question of {pause} whether they 're distributed evenly throughoutor whether they 're {pause} bursts of them . Um . And {pause} it looked to me as though {disfmarker} uh , you know {disfmarker} y this is just {disfmarker}{pause} eh {disfmarker} eh , this would {disfmarker} this is not statistically {pause} verified , {pause} but it {pause} did look to me as though there are burststhroughout , rather than being {pause} localized to a particular region . The part down there , where there 's the maximum number of {disfmarker} {pause} of ,um {pause} overlaps is an area where we were discussing {pause} {vocalsound} whether or not it would be useful to indi to s to {pause} code {pause} stress ,{pause} uh , sentence stress {pause} as possible indication of , uh {pause} information retrieval . So it 's like , {pause} you know , rather , {pause} livelydiscussion there .Professor D: What was {disfmarker} what 's the {disfmarker} the parenthesized stuff {pause} that says , like {disfmarker} e the first one thatsays six overlaps and then two point eight ?Postdoc F: Oh , th {vocalsound} {pause} That 's the per cent .Professor D: Mmm .Postdoc F: So , six is , uh {pause}two point eight percent {pause} of the total number of overlaps in the {pause} session .PhD E: Mm - hmm .Professor D: Ah .PhD C: Mm - hmm .Postdoc F: Atthe very end , this is when people were , {pause} you know , packing up to go basically , there 's {pause} this final stuff , I think we {disfmarker} {pause} Idon't remember where the digits {pause} fell . I 'd have to look at that . But {pause} the final three there are no overlaps at all . And {pause} couple times there{pause} are not .PhD E: Mm - hmm .Postdoc F: So , i it seems like it goes through bursts {pause} but , um {pause} that 's kind of it .PhD E: Mm - hmm .PostdocF: Now , {pause} Another question is {pause} is there {disfmarker} are there {pause} individual differences in whether you 're likely to be overlapped with or tooverlap with others . And , again {pause} I want to emphasize this is just one {pause} particular {pause} um {disfmarker} {pause} one particular meeting , andalso there 's been no statistical testing of it all , but {pause} I , um {pause} I took the coding of {pause} the {disfmarker} I , you know , my {disfmarker} I hadthis script {pause} figure out , um {pause} who {pause} was the first speaker , who was the second speaker involved in a two - person overlap , I didn't look atthe ones involving three or more . And , um {pause} {pause} this is how it breaks down in the individual cells of {pause} who tended to be overlapping mostoften with who {disfmarker} who else , and {pause} if you look at the marginal totals , which is the ones on the right side and across the bottom , you get{pause} the totals for an individual . So , {vocalsound} um {pause} If you {pause} look at the bottom , those are the , um {pause} numbers of overlaps inwhich {pause} um {pause} Adam was involved as the person doing the overlapping and if you look {disfmarker} I 'm sorry , but you 're o alphabetical , that 'swhy I 'm choosing you And then if you look across the right , {pause} then {pause} that 's where he was the {pause} person who was the sp first speaker in thepair {pause} and got overlap overlapped with by somebody .PhD A: Hmm !PhD E: Mm - hmm .Postdoc F: And , {pause} then if you look down in the summarytable , {pause} then you see that , um {pause} th they 're differences in {pause} whether a person got overlapped with or {pause} overlapped by .Grad H: Isthis uh {pause} just raw counts or is it {disfmarker}Postdoc F: Raw counts .Grad H: So it would be interesting to see how much each person spoke .PhD B: Mm -hmm .PhD C: Yeah .PhD E: Yeah {vocalsound} YeahPostdoc F: Yes , very true {disfmarker} very trueGrad H: Normalized to how much {disfmarker}Postdoc F: itwould be good to normalize with respect to that . Now on the table I did {pause} take one step toward , uh {pause} away from the raw frequencies by putting ,{pause} uh {pause} percentages . So that the percentage of time {pause} of the {disfmarker} of the times that a person spoke , {pause} what percentage{pause} eh , w so . Of the times a person spoke and furthermore was involved in a two two - person overlap , {vocalsound} {vocalsound} what percentage ofthe time were they the overlapper and what percent of the time were they th the overlappee ? And there , it looks like you see some differences , um , {pause}that some people tend to be overlapped {pause} with more often than they 're overlapped , but , of course , uh i e {vocalsound} this is just one meeting ,{pause} uh {pause} there 's no statistical testing involved , and that would be {pause} required for a {disfmarker} for a finding {pause} of {pause} any{pause} kind of {pause} scientific {pause} reliability .Professor D: S so , i it would be statistically incorrect to conclude from this that Adam talked too much orsomething .Grad H: No {disfmarker} no actually , that would be actually statistically correct ,Professor D: Yeah , yeah .Postdoc F: No , no , no .PhD E: Yeah ,yeah . Yeah , yeah .Grad H: butPostdoc F: Yeah , that 's right .Professor D: Yeah . Excuse me .Postdoc F: That 's right . And I 'm {pause} you know , I 'm{disfmarker} I don't see a point of singling people out ,Professor D: B I {disfmarker} I {disfmarker} I rather enjoyed it , but {disfmarker} but thisPostdoc F: now, this is a case where obviously {disfmarker}PhD A: But the numbers speak for themselves .PhD E: He 's {disfmarker} Yeah , yeah , yeah .Postdoc F: Well ,{vocalsound} you know , it 's like {disfmarker} I 'm not {disfmarker} I 'm not saying on the tape who did {pause} better or worseGrad H: Yes , that 's right , soyou don't nee OK .Professor D: Sure .Postdoc F: because {pause} I don't think that it 's {disfmarker} I {pause} you know , and {disfmarker} and th here 's acase where of course , human subjects people would say be sure that you anonymize the results , {pause} and {disfmarker} and , so , might as well do this.Professor D: Yeah .Grad H: Yeah , when {disfmarker} this is what {disfmarker} This is actually {disfmarker} when Jane sent this email first , is what caused me"}
+{"doc_id":"doc_147","qid":"","text":"Project Manager: Alright ? Alright . Thank you for coming to this third meeting of the uh uh design group . Um I think we uh made some definite progress at thelast one um and come up with some interesting uh uh w suggestions for our our new remote control . Um I'll again very quickly uh just present some notes ofthat meeting . Um {vocalsound} the the the problem with existing remote controls , we felt , was that they're ugly um and that people are prepared to pay apremium for something better . Um they've got lots of buttons on them that uh people don't use and find difficult to learn . Um and people lose them . And{vocalsound} We we thought that f for our our new uh uh remote control that everybody will want to rush out and buy , um {vocalsound} that we're{disfmarker} {vocalsound} we should look at speech recognition rather than r rather than buttons , and that if we have any buttons they should be very few ofthem and only for those functions that are actually identified that that people use . That {disfmarker} um {vocalsound} we want to go for uh a long lastingbattery that we gua we guarantee for the life of the uh uh the product and a shape that will be instantly recognisable , A_ um as uh a trendy remote control , andand B_ as uh a Real Reaction product . So that w uh when people are uh happy with that , they will they will want to buy uh everything else from us . Uh{disfmarker} {vocalsound} Okay . So again um , I'll {disfmarker} we'll have the three three presentations from the the the three of you and then uh we'll we'llmake a a final a final uh decision . Um and the the decisions that we need to to make today , finally , are um what energy source we want to use , whether i it ispractical to use uh um a a a long lasting one . And uh I I think our discussion was around the fact that uh if we're gonna go for uh a long lasting power supply ,then basically it's uh sealed for life and uh if anybody does manage to run one down , we'll we'll give them another one . And uh it it'll be uh , you know ,prominently displayed as part of the th the advertising literature that it's um um , you know , for life , guaranteed for life . Um {vocalsound} now the the theinternal chip um {disfmarker} and uh this is where I need uh uh Kate's expert adviceIndustrial Designer: {vocalsound}Project Manager: and given that{vocalsound} th this has to to go to market as quickly as possible um d d do we go for a custom designed chip ? Or or do we buy one off the shelf and andprogramme it ourselves ? Uh I mean I'm I'm I'm n not an expert on these things , but presumably , there must be loads of 'em already on the market that we canmodify .Industrial Designer: {vocalsound}Project Manager: But uh that that's uh that's your area of expertise . And then the uh , you know , the the overalldesign of the case uh is is is Kendra's field and uhUser Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} we we had somediscussions last time as as to uh how we might go forward and we'll we'll finalise those uh da today . Um and thi this is all linked in with the the the user interface, whether we p um {vocalsound} go for voice , buttons , or or a bit of both . Uh and then uh , you know , f for the next meeting Kate will be looking at the the thes the look , feel and design , Kendra the uh ho how the the user actually uses it and and Andrew of course the the product evaluation . And uh Kate and Kendrawill be producing a a model for us to uh to look at .Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Uh so , if if we can have thethe three presentations again please , and uh um p perhaps you'd like to start uh k .Industrial Designer: {vocalsound} Okay . Um {disfmarker}Project Manager:Kate . Oh I'm sorry , oh sorry .Industrial Designer: Um p there we go .Project Manager: {vocalsound}Industrial Designer: {vocalsound} 'Kay , I'll just be talkingabout the components design . And {disfmarker} {vocalsound} Okay , basically I just uh looked at what exactly do remotes do . Uh basically they wait for you topress a key or give a voice command and then this is translated uh into uh light signals which are then seen by the T_V_ . Uh the materials we're gonna need tolook at {disfmarker} uh the two big ones are the integrated circuit chip and the battery and the in integrated circuit chip uh works in conjunction with a a diodetransistor or resonator , uh two more resistors and a capacitor and the battery works in conjunction with a resistor and a capacitor . Um . {vocalsound} Uhbasically what happens is you'll press a number or give a voice command and this creates a a connection within the the remote that allows the chip {disfmarker}the chip then senses this connection and produces a signal in a Morse code format . This signal's sent to the transistor which amplifies it and then sends it on tothe light emitting diode and uh {disfmarker} which is then trai changed into a infrared light which is sent to the T_V_ and sort of seen by the T_V_ and which uhchanges the channels . {vocalsound} Um . Oh . {vocalsound} Uh cool . {vocalsound} Uh so as for how we should end up uh using this in our remote uh t coupleof main questions are the buttons . Uh y the fewer buttons you have , I guess the fewer internal connections and internal codes you're gonna need . Um howeveruh to n not have buttons or to use a voice commands instead of buttons might make these connections more difficult and uh raise the production cost . That'ssomething we should think about . Also we have to work within the company constraints , and the company has informed me via email that uh they're experts atpushbuttons and that seems to be the most uh cost-effective way of producing it . Um also with battery connections the company has some limits on the batterieswe can use , so I was thinking perhaps a combination of solar cells with a back-up basic battery and somehow between the combination of that two we might beable to come up with something that uh will last the the lifetime or the five to ten years and we could still keep that original idea . {vocalsound} Um we also needto look at the chips , uh v custom-designed versus off the shelf , and the custom-designed will give us much more flexibility and enable us to incorporate thevoice function that we all uh seem to have agreed upon . Um , however that's gonna cost more , but uh the off the shelf is gonna be uh cheaper and it's gonna be{disfmarker} allow us to produce it quicker and get out there faster , but it's going to be less flexible with the features , especially things like uh voice activation ,which haven't really been used much on remotes , so there's not really chips out there that would be easy to uh to convert ,Project Manager: {vocalsound} Okay,Industrial Designer: so if we were uh definitely gonna go with the the voice option we'd probably have to design um our own chip . {vocalsound} And that prettymuch sums it up .Project Manager: so how um {disfmarker} sorry , can you uh just put that one back up again , please ? Um .Industrial Designer: Mm . Oh yep ,sorry . {vocalsound} Yep .Project Manager: Uh d d d {vocalsound} okay , I mean uh inevitably a b a custom design chip is gonna be more expensive . Do we dowe know uh by how much ?Industrial Designer: Mm . {vocalsound} Um I don't actually have any price information , no . {vocalsound}Project Manager: And anddo we know how long it'll take to uh develop a a custom chip .Industrial Designer: Um it {disfmarker} a lot longer than an off the shelf chip . Oh w yeah , we did{disfmarker} the the problem is the the the voice technology is not really highly developed ,Project Manager: Right ,Industrial Designer: it's sort of still still in anex experimental form ,Project Manager: okay .Industrial Designer: uh so it would uh {disfmarker} it's hard to predict the time . {vocalsound}Project Manager:Right , I think we need to make a a decision here . Uh given that the company wants this on the market quickly and cheaply ,Industrial Designer: Mm .ProjectManager: that would appear to uh effectively constrain us to an existing chip and thus therefore conventional button technology . Um uh now before we go roundeverybody else , does anybody um h have any have anyti ha anything to say about that ?User Interface: I {disfmarker} I just have a question about that . Umdoes it make a difference if there are just a few commands , for example if you um can pre-programme in like numbers one through ten and pre-programme say ,you know , nine channels and then just use the voice recognition to say channel one and then you've programmed in say B_B_C_ four as your channel one , asyour favourite , it's like to have a certain number of favourites umIndustrial Designer: W just to to incorporate the voice activation in it is is sorta the trick .UserInterface: and that wIndustrial Designer: Once you've got the whole voice chip in there , then it's pretty much the the world {disfmarker} the the sky is your limit,User Interface: Okay . Then it doesn't matter . Okay .Industrial Designer: but to actually {disfmarker} the the big step is to actually get the voice activationchips in there and working .User Interface: Okay .Project Manager: Cause uh I {vocalsound} must say I find it slightly surprising given that , you know , mobilephones incorporate voice activated dialling . So uh um I meanUser Interface: Yeah .Project Manager: I d d for slightly different {disfmarker} well no , I mean , it'sif you you {disfmarker} speak somebody's name and it'll dial the number for you , so uh bu I mean the this this information is from {disfmarker} is {disfmarker}this is the internal company information , is it ?Industrial Designer: Uh bits of it , yeah .Project Manager: So uh {disfmarker}User Interface: Of course mobilephones do tend to be more expensive ,Industrial Designer: Yes , as well .Project Manager: {vocalsound}User Interface: you know , hundred and fifty pounds orsomething . As opposed to the twenty Euros , twenty five Euros .Project Manager: Yeah , mm true , again but if it's without any without any uh p priceinformations that's uh difficult to uhIndustrial Designer: {vocalsound}Project Manager: uh decide .User Interface: Yeah .Marketing: {vocalsound} Also lots ofmobile phones have got a lot of technology in them , not just that , so .Industrial Designer: Mm .Project Manager: Yeah , that's that's right . It's like {disfmarker}it's it's {disfmarker} you can't {disfmarker} 'cause mobile phones are expensive , you can't say it's the voice recognition bit that is .User Interface: {vocalsound}Yeah .Project Manager: But we don't know . Um . {vocalsound} I mean uh I su i I mean if {disfmarker} given that the um the technology is not well developedand and given that it's it's never been done before , um th th the double risk , uh perhaps we ought to uh stick to uh to buttons , since the last thing we want todo is present a product that doesn't work . Um . Thoughts ?User Interface: Well , another thought I {disfmarker}Marketing: Would {disfmarker}User Interface:oh , sorry , go ahead .Marketing: Oh I was just gonna say mayb maybe it sh like um {disfmarker} maybe we can like cut corners somewhere else to bring in overcost .Project Manager: {vocalsound} I mean do w do we think that the voice technology is fundamental to the project ?Industrial Designer: Uh it's fundament wellI mean I guess it it's something we've discussed uh since the the sort of the beginning , so I th I think in in our in our minds it's it's fundamental , but I don't"}
+{"doc_id":"doc_148","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I've received apologies for absencefrom Siân Gwenllian, and I'm very pleased to welcome Helen Mary Jones, who is substituting for Siân today. Can I ask whether Members want to declare anyinterests, please? Can I just, then, place on record that I have got a son who was about to do A-levels, so is affected by the exam decision? We'll move on, then,to our substantive item today, which is an evidence session with the Welsh Government around the impact of the coronavirus pandemic on education in Wales.I'm very pleased to welcome Kirsty Williams, Minister for Education; Steve Davies, who is director of the education directorate; Huw Morris, who is the groupdirector, skills, higher education and lifelong learning; and Rob Orford, who is the chief scientific adviser for health. Thank you all for coming. We know that this isa really difficult and pressurised time for everyone, and we appreciate your attendance. Minister, I understand you wanted to make an opening statementtoday.Kirsty Williams AM: Yes, if that's okay, Chair. As you know, it's not usually my practice to do that, but I think it is important today. COVID-19 coronavirus isone of the most significant issues that the Welsh Government and the people of Wales have dealt with in recent times. Dealing with the impacts of this pandemicis extremely challenging. Things are changing on an hourly basis, and we have to make decisions quickly to ensure public safety. But I would like to assure youthat our aim, and my aim, and my main concern as the education Minister is to protect all staff and pupils in our schools and other educational settings. But wealso have a duty to ensure continuing and continuity of education. Public health is clearly the priority here, but that does not change our belief that no child shouldmiss out on any education, unless absolutely necessary. So, the decision to close all schools from tomorrow for statutory education provision was not takenlightly, but I believe it was necessary, given the advice and recommendations that we had received from a public health perspective and the situation that wasdeveloping on the ground. From next week, schools will have a new purpose. They will help support those most in need, including people involved in theimmediate response to the coronavirus outbreak, and I'm working with my colleagues in the Cabinet, with Government officials and our partners in localgovernment to develop and finalise these plans. The key areas that we're looking at are supporting and safeguarding the vulnerable and ensuring continuity oflearning. This includes all of those who benefit from free school meals and children with additional learning needs. I can confirm that all maintained schools inWales already have access to a range of digital tools that can support distance learning through the world-class Hwb digital learning platform, including virtualclassrooms and video-conferencing facilities. A guide on what tools are available and how schools can use them has been developed and is being promotedwidely. Yesterday, I announced that, whilst there are no easy choices, we have agreed that the best way forward is not to proceed with the summer exam series.Learners due to sit these exams will be awarded a fair grade to recognise their work, drawing on a range of information that is available, and I will announcefurther details shortly, but I felt it necessary to give early certainty to students and to staff. I would like to put on record my thanks to everyone working ineducation settings for the hard work that they have put in over the last few months in dealing with the virus and ensuring that pupils have been able to continueto learn. We need to continue to do this work together, as we face the continuing challenges posed by the coronavirus. Diolch yn fawr.Lynne Neagle AM: Thankyou very much, Minister, for that statement. We'll go to questions from Members now, and I've got some questions from Dawn Bowden.Dawn Bowden AM: Thankyou, Chair. Can I thank you, Kirsty, for your statement and the really difficult decisions that you've been having to make? You've already indicated in yourstatement this morning that these decisions are not taken lightly, and we understand that that is the case across Government. So, thank you for what you'vebeen doing. You've outlined a little bit further there in your statement to us this morning about the new purpose. I take from what you're saying that you haven'treally developed that yet in terms of exactly what that is going to look like. You've talked about the children of key workers, free school meals, additional learningneeds. Is there anything else you can tell us about that at the moment and how you might staff the schools in those particular areas?Kirsty Williams AM: Thankyou, Dawn. So, you're absolutely right, our priority now is to operationalise, with colleagues in local government and schools, a practical response. And I have tosay, we're working to timescales that I would have hoped to have avoided, but given the fact that we're having to make these decisions quite quickly, I hope thatyou will understand that perhaps where we start on Monday might change when we have more time and more opportunities to develop programmes goingforward. Steve will be able to give you more details of the practical work that has already been going on, but our expectation will be that schools will be playingan important part in providing safe and secure places for children of those on the front-line response to dealing with the coronavirus to attend, and work isalready under way with local authorities and individual schools on what that will look like for the emergency situation on Monday. Our other priority is indeed freeschool meals, and, again, where we eventually end up might be a different place to where we are on Monday. Again, we're responding to the emergency situationthat there will be families that were expecting a free school meal on Monday, and, again, individual schools and local authorities are developing those plans atpace to be able to provide an emergency response as we work out a longer term plan to deal with the situation. The same thing also goes for additional learningneeds, and attending to the needs of that particular group of learners. So, those conversations began a few days ago. I had the opportunity to meet with the FirstMinister and Andrew Morgan, the leader of the Welsh Local Government Association, yesterday to talk about what local government could do, and what they werealready doing. Those plans in some places are already quite developed, and are now working at pace, but I hope you will understand that where we start onMonday is the emergency response, and that work will develop as we go forward. But, Steve, perhaps you could—? Because Steve was the one making all thosephone calls and doing the practical operational stuff, rather than me. Steve.Steve Davies: In short, the new purpose is to meet the needs of particular groups ofchildren and young people. In some cases, some of the response to supporting free school meals, in the short term in particular, we may use the schools as partof that, and I'm certain that will happen in some cases. The second area is looking at how we support the children of key workers. Now, there is still work to bedone on identifying exactly the categories of key workers, but I think it's really encouraging that in my discussions yesterday—I spoke with all 22 directors ofeducation, and the examples we're picking up in their work with schools is they're already ahead of the curve in working with schools. So, schools have identifiedthe number of children with health workers. It will grow, and we will need to look at that range. Then, the third area is vulnerable children. They're vulnerablesometimes in terms of education other than at school, vulnerable in terms of mental health, and for those children, as well as having an experience that we wantto be planned, some have compared it to a snow day, particularly on Monday, when you're putting something together in the short term, but it will not be aformal curriculum that those children would normally go through. So, the range of activities—some will be focused on educational activities, some will be cultural,some will be sporting, and that plan will be developed on the basis of the age range of children, which in some cases may go from extremely young children up tothose at the age of 16 in our all-through schools, but there will be a planned set of activities to cater for those children. What we are doing currently—I have staffback at Cathays Park who are in touch and working with directors of education to ensure that schools over the next two days will have been able to identify, atleast at the earlier stage, in terms of health workers, the type and numbers of people. There are already schools who have informed us, and local authorities, oftheir plans for these activities to be starting next week, which is quite amazing, actually, given where we are. But we are expecting, and we're writing to schoolstoday, that during the course of next week, headteachers to be in schools, and with their staff, taking into consideration the health guidance as to which staffshould or should not be in, and in that period from next Monday through the two-week period, to Easter, we expect staff to be both planning for delivery postEaster, but also, as I said, building on and reflecting the good practice that's already in place for schools that have engaged in activities, and I'm sure a number ofthem will be inviting and enabling those children to come in on Monday. So, Monday will be a challenge for some, and not all will be delivering it, but we will beworking so that we can get as much as possible delivered for those groups over the next two weeks, and particularly to have resilient programmes post Easter forthe groups of children in those three categories that I said.Dawn Bowden AM: Those that have been identified. Can I just clarify one thing? One of the identifiedvulnerable groups would clearly be children on the at-risk register. They would be included.Steve Davies: Yes, definitely. Vulnerable children, yes.Kirsty WilliamsAM: In our discussions, we have asked local government to be working with the social services departments and individual schools to identify those children whomay be in that situation. We know that, for some children, being at school is part of their safeguarding arrangements, and obviously we will need to be able torespond to those needs.Steve Davies: I wrote specifically yesterday to all directors of education to be assured that, for those children, the register is up to dateand the plans are in place. I'm working with Albert Heaney my colleague, the director for social services, who is meeting with the 22 directors of social servicestoday to look to ensure that we are joined up in ensuring none of these children fall through the gap.Lynne Neagle AM: Okay. I've got a supplementary fromHefin, and then Suzy.Hefin David AM: A very quick and simple question: how are you going to communicate this to parents? There's a bigger picture and it'schanging all the time, as you said. The Welsh Government have a route to communication. The most helpful thing I've seen is that Public Health Wales have asingle website with information regarding the wider issue of the virus. How will this then be cascaded to schools, because there's obviously a time lag? So, have"}
+{"doc_id":"doc_149","qid":"","text":"Marketing: Right first time this time . Nu There we go . It's not that complicated , but I get it wrong every time . {vocalsound}Industrial Designer: Okay so we arejust waiting for Matthew {gap} .Marketing: For Matthew , yep .Project Manager: Mm . Uh {disfmarker} So I suggest we start the meeting uh without MatthewuhMarketing: Mm-hmm .Industrial Designer: Mm 'kay .Project Manager: he's uh obviously late for some reason . {vocalsound} Good . Um . Today uh we will uhtalk about uh conceptual design . I hope uh you both did some uh some work uh concerning a uh conceptual design .Marketing: Mm-hmm .Project Manager: Umthis will be the uh agenda for the meeting uh {gap} . Uh I will take some minutes uh again .Marketing: Mm-hmm .Project Manager: Um we will have thepresentations of y of you different team members ,Marketing: Yep .Industrial Designer: Yep .Project Manager: and then try to come to decisions uh about theconcepts uh you have presented . So and that uh will uh {disfmarker}Industrial Designer: Mm-hmm .Project Manager: we have some uh forty minutes uh tocomplete this uh .Marketing: Mm-hmm .Project Manager: So um who has the fir do you ha Anna do you have your presentation ready ?Marketing: I have apresentation , I'm just making this {disfmarker}Industrial Designer: Yeah I think {disfmarker} {vocalsound} yeah the {disfmarker} Matthew it is it's importantthat Matthew yeah is hereProject Manager: Okay . AhIndustrial Designer: because it's really a a team uh project with a teamProject Manager: there is Matthew.Industrial Designer: and if someone is not here then we cannot {disfmarker}User Interface: Sorry .Industrial Designer: but it's okay {vocalsound} it's good .{vocalsound}Marketing: Okay I'll just email you this file , my presentation .Project Manager: So . Good . Do {gap} presentation ready ?Marketing: Mm-hmm I'mjust emailing it to you .Project Manager: Oh okay .Industrial Designer: {vocalsound}User Interface: So {disfmarker}Project Manager: So did you manage uh{disfmarker}User Interface: Yeah I sent you the slides , you didn't see them ?Project Manager: Oh yes I see him , good yes .User Interface: Okay . {gap}.Project Manager: No .User Interface: {vocalsound} So {disfmarker} {vocalsound} 'Kay .Marketing: Okay it should've gone through to you .User Interface:{vocalsound}Project Manager: Okay mm yes I have it .User Interface: {vocalsound}Marketing: Mm-hmm . Okay so this is just a presentation on uh the trendsthat we're gonna use to make the product stand out from the rest of the products out there at the moment . Um can I just put this on ? So we have to work out away {disfmarker} what we can do with our product to make it stand out and make it so people wanna buy it . Um . This is {disfmarker} to do this I will notremove my microphone . {vocalsound} We basically used um some focus group surveys which I went through with you last time , the main results of that , andum some research on the current design um and fashion trends that are out there at the moment um ,Industrial Designer: {vocalsound}Marketing: and as part ofthis {disfmarker} The important aspects that came out were things that we've already discussed really . The most important by far was the look and feel of it . Itneeds to be something that's very different from everything else out there . It needs to stand out {vocalsound} . It needs to be not functional like the rest of thethings out there at the moment . Most people find remote controls boring at the moment , we need to have something that looks interesting , that looks exciting ,that will stand out . People will wanna buy it . Um {disfmarker} That was twice as i important as the next item on here which is that it has to be technologicallyinnovative {disfmarker} has to have something else , apart from just the look of it . People have to then think about it and say {gap} got something there that Iwant . That's a really cool feature , and it has to make them wanna buy it again . Third on the list , and again innovative was twice as important as this last umaspect , it has to be easy to use . So they have to be able to {disfmarker} be able to look at it and have some intuitive idea of how to use it um . Drawing on thefashion trends at the moment , uh fruit and vegetables um . This is basically talking about just the the feel of it , so probably not the smell of it , but the brightcolours , um eye-catching , really bold designs , and a spongy feel .User Interface: {vocalsound}Project Manager: Mm .Industrial Designer: Mm-hmm .ProjectManager: Mm .Marketing: Um I had a talk to the design people about this , but having a remote that's tactile , that feels different , that would be really cool . Thatwould make it stand out . Um .Project Manager: Hmm .Industrial Designer: So can you repeat and be more precise about what you just said ?Project Manager:Spongy feel ?Industrial Designer: Uh about the feeling yeah uh yoMarketing: WellUser Interface: {vocalsound} You can {disfmarker}Marketing: ma make it notnecessar sp spongy is the current thing . Spongy is the current texture , but basically there are no reports no remotes at the moment which are spongy or tactileat all , so if we make it like maybe furry or soft or something , that'll be something that sets it apart ,Industrial Designer: Okay .Project Manager: Mm .Marketing:rather than just bare plastic which they all are at the moment .Industrial Designer: Yeah .Project Manager: Okay .Marketing: So as far as the design goes , thevery most important aspect was the design , to the customers . So going with the fruit and vegetable idea , we've got the bright colours , so makes it stand out ,the oranges and the the bright yellows and the florescent colours , part of the fruit and vegetables um . Going back to the idea of taking inspiration from mobilephones , they've all got those {disfmarker} a lot of them have the changeable covers , so they can choose what colour the outside is . That's one way of lookingat it um . Textured feel we just talked about . Maybe it's another way of doing that .Project Manager: Mm-hmm .Marketing: So if it's part of the the changeablecovers then may maybe they can choose a different texture , a spongy one or a soft one or something like that . So they can choose it li as they want to to maybe{disfmarker} to fit in with their decor in their living room , or just what they like , their sports team or whatever .Industrial Designer: Yeah that's a very good idea, yeah . Yeah .Marketing: Um and yeah , still taking the inspiration from the mobile phone design so functionality , the way the mobile phones work , the way thekeypad looks . Also just the way that a lot of industrial design is going into mobile phones at the moment . They're big selling items . People put a lot of thoughtinto that so we can leverage off that , and we can start using some of their ideas . Um back to technological in in innovation , not quite as important , but still abig issue . Um we talked about having a way of finding a remote control if it's been lost , uh that's one thing we could look at . There are other aspects likeL_C_D_ screens and speech recognition which weren't {disfmarker} I don't think , in my personal opinion , gonna be worth the extra expense and the extra effortthat will go into them . I think we're better doing something basic like thisIndustrial Designer: Mm-hmm .Marketing: which is very important and very{disfmarker} will be a really cool feature to put in . And {disfmarker} {gap} use . I had no real specific ideas for this , maybe we just , the basic idea of havingyour core functions big and at the top maybe , by themselves ,Project Manager: Mm . Yes wellMarketing: and then {disfmarker}Project Manager: maybe Matthewcan can give some more information on the {disfmarker}Marketing: yeahUser Interface: Yeah .Marketing: {disfmarker} and then th th the finer details of buttonsyou don't use as much either hidden away or completely separate .Project Manager: Mm .Marketing: Yep {vocalsound} and that's the presentation .UserInterface: Voila .Project Manager: Okay good , that's very clear .User Interface: Yeah .Industrial Designer: Yeah very clear .Project Manager: 'Kay . Um . Uh{disfmarker}Marketing: So does anyone have any comments or ideas on that ? I think you {disfmarker}Project Manager: Maybe we yes well we maybe{vocalsound} can decide later on um {vocalsound} the l the the look and feel of uh I've {disfmarker} it was a good idea maybe to to {disfmarker}IndustrialDesigner: To let the people choose , {gap} you mean ?Project Manager: Yes the the the there are changeable covers ,Industrial Designer: Yeah .Project Manager:but on the other hand I I don't know whether my superiors would be so glad with it because {vocalsound} you have to introduce a complete uh uh new l line ofuh of suppliesMarketing: Hmm .Project Manager: uh it would be uh very complicated uh organisational {disfmarker}Industrial Designer: {vocalsound}Marketing:Well we're selling so many units of this . This is gonna be a mass marketed product , we can afford to have two or three different designs at least .ProjectManager: Hmm . Mm-hmm .Industrial Designer: Yeah a range of uh yeah , a set of three , four different aspects .Marketing: Mm mm .Project Manager: Yes .Mm-hmm .Industrial Designer: Sure that fits the {vocalsound} {disfmarker}Project Manager: Yes {gap} and of course it will be a we we get a {disfmarker} if itworks we can get uh after-salesMarketing: Mm .Project Manager: I mean that would {gap} would be very good I mean those covers could go for for three , fiveEuro {vocalsound} .Industrial Designer: Yeah .Marketing: Mm .Project Manager: That's a very good idea um {disfmarker} And then uh maybe uh we can go a thMatthew's presentation becauseUser Interface: YeahMarketing: Mm-hmm .User Interface: sProject Manager: the {disfmarker}User Interface: then we coulddiscuss later like {disfmarker} we can put all ideas together .Project Manager: Together indeed uh ,Marketing: Mm .User Interface: It should be easier with that.Project Manager: because you ma might have some some information on the the easy to use ,Industrial Designer: Yeah yeah I agree .Marketing: Mm-hmm ,yeah .Project Manager: what you were already mentioning .User Interface: Yeah .Industrial Designer: Yeah .User Interface: So {disfmarker}Industrial Designer:And your part is very related to mineUser Interface: Yeah .Industrial Designer: because when you suggest something then it has to be integrated inside .UserInterface: Yeah so {vocalsound} I'll I'll go with that actuallyMarketing: Mm-hmm .User Interface: so um {vocalsound} {disfmarker} Okay so m so {vocalsound}then the the idea of uh having a remote is generally you have uh different keys and uh different structures , different forms , and uh they could be like buttonsand um they could be of uh a varying sizes if you want to to uh basically emphasize a particular key more than the other , and uh maybe like you can havedifferent colours for example having the r red for the on off switching on and off the button . So this this is the general trend to ha the method they do .{vocalsound}Industrial Designer: Yeah .Marketing: Mm-hmm .User Interface: So what I have found was that uh currently uh the {gap} they are mostly that theT_V_ , V_C_R_ , music system operated ones actually , and they are very specific to each other , but there are some common keys for example if you want to"}
+{"doc_id":"doc_150","qid":"","text":"Industrial Designer: {vocalsound} I'm proud of it . {vocalsound}User Interface: {vocalsound}Project Manager: Okay . This is our final meeting , the detaileddesign meeting . And again I'll take minutes . The {disfmarker} what we have to get through in this meeting is firstly the prototype presentation from you two ,so you can show us what you've been working on so diligently .User Interface: Yeah .Marketing: It does look very cool .Project Manager: Um thenIndustrialDesigner: {vocalsound}Project Manager: {vocalsound} then Cat's going to present the evaluation criteria that we're going to be evaluating this against .UserInterface: {vocalsound}Project Manager: Then I need to say some st a few things about finance , 'cause we have to check that it's within the finance criteria . Umand then we'll be making sure that our product fits both the evaluation criteria from Cat and the financial limits . Um and then we uh will have a brief evaluationof the whole process of production and design that we've been through . So we've got forty minutes . SMarketing: And then do we get to make a remote control?Industrial Designer: {vocalsound}Project Manager: {vocalsound} 'Cause we missed out .User Interface: {vocalsound}Marketing: {vocalsound} Yeah .ProjectManager: SoIndustrial Designer: {vocalsound}Project Manager: it's now {disfmarker} I guess that we're supposed to start at fifteen thirty five , so we've gotuntil four fifteen .Industrial Designer: Uh-huh . How how much do we have , forty minutes ?Project Manager: Is that right ?User Interface: Yeah , about fourfifteen , yeah .Project Manager: Yeah ,Industrial Designer: Yeah .Marketing: Yeah .Project Manager: until about four fifteen . So yeah . {vocalsound}IndustrialDesigner: {vocalsound} Okay , so .Project Manager: Go for it . Do you want {disfmarker}User Interface: So , you said um {disfmarker} are are we starting withthe the {disfmarker}Project Manager: Yes .Industrial Designer: Presentation .User Interface: so will you maybe start with like the mm the shape and things andand then I will explain the the user interface th uh things , like the buttons and the scrolling things and {disfmarker}Industrial Designer: {vocalsound} Okay .{vocalsound} Okay . So um basically going with our trend of vegetables and {vocalsound} {disfmarker} we selected the colour and approximate shape of banana.Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} You think bananas are a safe thing to use ?Project Manager:{vocalsound}Industrial Designer: {vocalsound} Um {disfmarker} {vocalsound}Marketing: It's a bit um phallic .Industrial Designer: Yeah . Um{disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound} Well , but it's it's just an a approximation . {vocalsound}Project Manager: Dual use ,perfect .Industrial Designer: Yeah . {vocalsound}Project Manager: {vocalsound} Dual use , perfect .User Interface: {vocalsound}Marketing: Oh , {vocalsound}{gap} your remote control ? Oh that's just bad . {vocalsound}Project Manager: {vocalsound} Does it vibrate when you press the buttons ?Industrial Designer:{vocalsound} Um so basically it's the it's the flip open thing again .Project Manager: Sorry , sorry .User Interface: {vocalsound}Industrial Designer: So now wewe have the {disfmarker} okay ,Project Manager: Mm-hmm .Industrial Designer: so Ma Maarika will explain you the user interface there . And it flips open on theside , so it opens like that . And we have the user interface o in hereProject Manager: Mm-hmm . Wow .Industrial Designer: and uh {vocalsound} the the L_C_D_and and the scroll are inside . Um well , everything else is probably user interface , so . Yeah , yeah .Project Manager: And it's {disfmarker} the whole thing'smade of rubber , is that {disfmarker}User Interface: Uh yeah .Industrial Designer: {vocalsound} Oh yeah . Yeah , it has , yeah .User Interface: Rubber.Marketing: Is it to scale , or do you think you can make it a bit smaller ?User Interface: Yeah , {gap} . Um it could be made a bit smaller , and and of course itwould be {gap} and {disfmarker}Marketing: Yeah .User Interface: {vocalsound} yeah , but um one thing we actually kind of um forgot while designing , that oneside was supposed to be rounder ,Industrial Designer: {vocalsound} Yeah ,User Interface: so we said the back side round , yeah .Industrial Designer: well , but isince it's made of rubber anyway . I I think it's it's uh {disfmarker}Project Manager: Mm-hmm .Marketing: It l does look like the {gap} curvyUser Interface: Yeah.Marketing: and then the whole shape's curvy , so I would say that this curvy does look quite like a vegetable .Industrial Designer: Yeah .Project Manager: Yeah.Industrial Designer: Mm . Hmm .User Interface: Yeah . And it's spongy as well . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Iwasn't very keen on that , but yeah . {vocalsound}Project Manager: {vocalsound}User Interface: So {vocalsound} so uh the user interface as as we discussedlast time uh mm on on the {vocalsound} on the cover we just have the very basic things .Industrial Designer: {vocalsound}Project Manager: Huh . Mm-hmm.User Interface: So we have that n uh channels here starting from um uh one two three {disfmarker} there would be numbers in in the {disfmarker} on theactual one .Project Manager: Yeah .User Interface: So it's four , up to four , up to seven , up to nine and zero , z zero here .Project Manager: {vocalsound} Sixseven eight nine . I like that .User Interface: Yeah . And then , well this is on off button . It's it's quite standard mm place for it and and also the colour is quiteoften red , so it's it's kind of user friendly .Project Manager: Yeah .User Interface: And then these ones would be for flipping the channels back and {disfmarker}like the previous one and the next one .Project Manager: Uh-huh .User Interface: And and we would also have a l little um thing saying here , previous and neprevon prevon next .Marketing: So where's the volume ?Project Manager: Yeah .User Interface: The volume is is scrolling .Industrial Designer: It's on the side.User Interface: On the side ,Marketing: Ah , you did get that in then ,User Interface: this one . Yeah you just do it like this .Marketing: mm-hmm .User Interface:And and and it's it's on the back is mm cover or back lid , because if you flip it open , you can still do the scrolling here .Marketing: Oh okay , {gap} .ProjectManager: Mm-hmm .User Interface: See ? So the volume is {vocalsound} you just scroll , but then once you flip it open , {vocalsound} okay , there there youhave the screenProject Manager: Yeah .User Interface: and and you have the mm {vocalsound} spinning wheel with options to choose .Project Manager:Mm-hmm .User Interface: You can move back and forth and then if you need to m choose something on the screen , you just push the cen mm the middle button.Project Manager: Mm-hmm .Marketing: Cool . Oh , the thing we forgot was like a mute button .Industrial Designer: {vocalsound} Uh no , we we'd not put {gap}{vocalsound} {disfmarker}User Interface: A mute button .Marketing: Yeah .Industrial Designer: so on on the cover we have the the bare essentials .UserInterface: Well , {gap} we'll have this on the screen , on the display .Project Manager: Y or you could have it {disfmarker} so you {disfmarker} on the wheel ifyou {disfmarker}Marketing: On the wheel , like if you hold the wheel down then it will mute .Industrial Designer: Uh on the L_C_D_ we r you know , the mainmenu will have various options .User Interface: Well , but the but the mute {disfmarker} yeah , the scrolling is kind of you have to scroll all the way to make itmute , right ?Project Manager: But if you hold it in ,Industrial Designer: Mm .Marketing: Yeah , but it's a scroll and click , isn't it ?Project Manager: if it's a scrolland click so you hold it in ?Marketing: Okay , cool .User Interface: Okay , yeah , okay .Marketing: So that {gap} that solves the whole mute issue .IndustrialDesigner: Mm .User Interface: Yeah . {vocalsound} And okay , so i so the the voice recognition is also just part of it .Project Manager: {gap} no .User Interface:You can't really see it in the interface .Industrial Designer: {vocalsound} Yeah , it's hidden in there somewhere .User Interface: Yeah . And we do have the logoon it as well .Project Manager: Mm-hmm , very good .User Interface: So I think it {disfmarker}Project Manager: And it's {disfmarker} {vocalsound} with the theblack and yellow you're even in the right colours .User Interface: Yeah .Marketing: {gap} .Industrial Designer: Cool .User Interface: Yeah , I think um we coulddo l the logo in grey , as it is on the website .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} We ran out of resources here , so .{vocalsound}Marketing: Yeah .User Interface: In the actual one .Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Marketing:{vocalsound}Industrial Designer: You can have a look . {vocalsound}User Interface: So if you have questions .Project Manager: Very good , let's have a look.User Interface: {vocalsound}Project Manager: Test it out . {vocalsound}Marketing: {gap} . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound}User Interface: {vocalsound}Project Manager: Uh it's a sort of intermediate colour , I guess .Marketing: Yeah , oh , we hold the remote .IndustrialDesigner: {vocalsound}Marketing: Oh , but it it does feel all cold and slimy .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: I hatePlay-Do , it's just minging .Industrial Designer: {vocalsound}Marketing: But yeah , uh that's cool , cool .Project Manager: Very good .Marketing: Mm-hmm.Project Manager: Okay , so maybe if we go on to evaluation cri criteriaMarketing: Okay .Project Manager: and then we'll there {disfmarker}Industrial Designer:Yeah , see the budget .Project Manager: I suspect we're gonna have a couple of minor finance issues , but um we'll se I'm sure we can get around them somehow.Marketing: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Project Manager: We'll just send all of our manufacturing to some nice poorcountryIndustrial Designer: {vocalsound}Project Manager: and cut some of the prices that way .User Interface: {vocalsound}Marketing: Wales .{vocalsound}Industrial Designer: {vocalsound}Project Manager: Wales , for example . {vocalsound}Marketing: Mm . Cool , okay . Right , okay . {vocalsound}{vocalsound} Fabulous ,Project Manager: Marketing Expert .Marketing: yeah . Okay , cool . So what we're gonna do is prefer {disfmarker} prepare the evaluationof the new design . {vocalsound} Um so we're gonna be using a seven point scale ,Project Manager: Mm-hmm .Marketing: so one is , you know , yes , it totallymeets with that requirement and seven is , no , it really doesn't , we need to go back and start again . Um , you know . Basically , what I did was I went throughall the like user requirements and things that we've done and we've worked on and like made a list of them . Um you know , so that we can evaluate each oneand like {disfmarker} so it was about going back to the start and saying oh yeah , we did manage to do that , or oh no , we really forgot about that .UserInterface: Yeah .Marketing: Okay ?Project Manager: Mm-hmm .Marketing: Cool , so these are what they are . Oh {disfmarker}Project Manager: So for each of"}
+{"doc_id":"doc_151","qid":"","text":"Project Manager: SoMarketing: So {disfmarker}Project Manager: I hope you're ready for this uh functional design meeting .Marketing: Of course .{vocalsound}Project Manager: Um so I will take the minutes you mm you three are going to do presentation . Um uh we want to know {disfmarker} to{disfmarker} at the end to know the new project's requirement so we need uh to know the the user uh needs that we want to fulfil to fulfil the {disfmarker} fromthe technical part we want to know how it going to work and um third part {vocalsound} uh I don't remember {vocalsound}Marketing: {vocalsound}{vocalsound}Project Manager: which is not very good . Ah of course , how to to design this uh this {disfmarker}Marketing: Nice stuff {vocalsound}ProjectManager: {vocalsound} yeah . So um let's go for the three presentations , so first um Marketing Expert .Marketing: {vocalsound} Who starts ? {vocalsound} Oh .Ha . okay .Project Manager: So wait a minute . Mm .Marketing: So I dunno if I can do that like this ? Yeah ? So it's being modified . Do you want {disfmarker}yeah , open . Read only . I hope I saved it . {vocalsound}Industrial Designer: {vocalsound}Marketing: So , umUser Interface: Sammy Benjo . I know this nameuh .Marketing: yeah , this is my name . {vocalsound}Project Manager: {vocalsound} Sounds uh {disfmarker}User Interface: {vocalsound} We met before.Marketing: So as you know , you {disfmarker} I think you already know me , Sammy Benjo . I am the expert in marketing and I want to tell you about whatpeople uh s want and uh like and dislike in remote controls , and I hope this is going to help you to to design it correctly . So next please . Uh-oh .{vocalsound}Project Manager: Mm {vocalsound} uh .Industrial Designer: Yeah , it is put F_ five {gap} .Project Manager: Hmm .Marketing: {vocalsound} Hmm.Industrial Designer: The full page presentation , yep .Marketing: Yeah maybe in the full pageProject Manager: Okay .User Interface: F_ F_ five .Marketing:because i I spent lots of time doing this presentation , so .Industrial Designer: Yeah . Yep .Project Manager: F_ five .Industrial Designer: Yeah .Marketing: Uh-huhhmm okay .Project Manager: Mm-hmm . Mm .Marketing: So basically uh what I suggest is that uh instead of deciding ourself what what could be and what shouldbe a good uh remote control , let's ask people who are users of remote controls how they feel about w the current remote controls , what they like , what theydon't like and um and what they do with them by the way {vocalsound}Industrial Designer: {vocalsound}Marketing: because they are supposed to be useful .{vocalsound} Don't forget about that . So we've we've conducted a a survey on on the use of uh remote controls and I'd like to show you some of the results wefound on this survey . And next please . Yeah , so basically what we found was that uh there are several things that the user don't like in remote controls . First ofall , they find it very ugly . {vocalsound} Current remote controls as you know they're the same as this one uh they're not nice colour , not nice shape , I meanthey're all the same , and they're not l good looking . Um what is interesting is that in fact it seems that they were {disfmarker} people are ready to pay for niceand look {disfmarker} and fancy looking uh remote control , so I think we should probably spend lots of time in {disfmarker} and effort in that um . And theother thing is that uh the the current remote controls are not so easy to use and it it {disfmarker} the the current uh facilities that they offer do not match whatpeople really want to use their remote controls . For instance uh we see that uh they zap very often so I think this is a very uh important uh functionality that itshould be easy for them to to zap uh in one way or another . And most of the buttons uh on uh current remote controls are not used , so I think we should designsomething where some of the buttons which are those that are used should be easier to see and use than others that only a couple of people are using . Um nextplease . {vocalsound} Now {vocalsound} people are very frustrated w with their {vocalsound} remote controlsIndustrial Designer: {vocalsound}{vocalsound}Marketing: and they for instance uh they don't even find it {vocalsound}Project Manager: {vocalsound}Marketing: it's {vocalsound} it's often lostsomewhere in the in the {disfmarker} in your home and nobody knows where it is .Industrial Designer: Yeah .User Interface: Agree .Marketing: Maybe if we havesomething where we could {vocalsound} ask the remote control please , where are you ?Industrial Designer: Yeah .Project Manager: {vocalsound}IndustrialDesigner: {vocalsound} Yeah .Marketing: {vocalsound} Like uh something to to {disfmarker} like t I think phones . Some of the phones have some of this kindof s functionality . Uh of course phone you can always phone your phoneProject Manager: {vocalsound}Marketing: but {vocalsound} you can't phone your{vocalsound} your remote control .Industrial Designer: {vocalsound} You can {disfmarker} you are {gap} .Project Manager: Why not ? {vocalsound}Marketing:But why not ? Yeah .Industrial Designer: {vocalsound}Marketing: And because of the fact that there are so many buttons in these remote controls that nobodyuse ,Industrial Designer: Hmm .Marketing: in fact they don't even know how to use them , so most of the the people say they they don't know how to{disfmarker} they {disfmarker} to use properly their r remote controls . And uh they are bad for R_S_I_ but uh I don't remember what is R_S_I_ .ProjectManager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay uh tha that's look great .Marketing: {vocalsound} So I think theyare bad . {vocalsound}User Interface: {vocalsound} R_S_I_ mm-hmm .Industrial Designer: {vocalsound} {vocalsound}Marketing: Mm-hmm . Mm nobody hasany idea about that ? Well I'll check uh with myIndustrial Designer: Yeah , it's electromagnetic waves or something kind of maybe uh effect .Marketing: Oh , okay,User Interface: No , I don't think so .Marketing: I think it's a technical thingIndustrial Designer: Yeah ,Marketing: which our {disfmarker}Industrial Designer:because infrared uses some electromagnetic technology ,Project Manager: Mm-hmm . Okay .Marketing: Okay .User Interface: Okay .Industrial Designer: andthose waves have high {disfmarker}Marketing: So , it seems that {vocalsound} it's a lot of people for a concept that we don't know {vocalsound}User Interface:But twenty six percent , do you know {disfmarker}Project Manager: {vocalsound} Or something we don't know . {vocalsound} Mm-hmm .{vocalsound}Industrial Designer: Uh .User Interface: Twenty five . {vocalsound}Industrial Designer: Uh .Marketing: but we have to take this into account .UserInterface: Every fourth , you know . {vocalsound} Every four {disfmarker} some of us knows .Industrial Designer: Yeah it's {disfmarker} People really{vocalsound} {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: So anywayUser Interface: One of us{disfmarker}Marketing: that's for what the biggest frustration uh of the user and umIndustrial Designer: Yeah . Yeah .Marketing: what else do I have ? Next slide? Ah yeah .User Interface: Mm-hmm .Marketing: So we've listed a couple of uhUser Interface: Functions .Marketing: s uh functions that may be uh used by u theuser in the current uh available uh remote controls and uh well the tables look very nice to read but what is important is to understand that the power button isnot used often because in general you {vocalsound} use it only once per session , but it is very relevant . {vocalsound}Project Manager: {vocalsound}Marketing:People want to have a power button . Channel selection is uh o often used {disfmarker} very often used and indeed uh very relevant .Project Manager:{vocalsound}Marketing: {vocalsound} Ah {vocalsound} now I remember what is R_S_I_ {vocalsound}Project Manager: {vocalsound}Marketing: it's repetitivitystress injury . {vocalsound} We have to be careful with that word but {vocalsound} uh anywayIndustrial Designer: Uh .Marketing: I continue my presentation so{disfmarker} yeah ,User Interface: {vocalsound}Marketing: channel selection is um very important , very often used . Volume is not often used but people uhwant to have control on volume and that makes sense of course . And n then you have things which are very much less often used like the settings . Audiosettings , screen settings , even teletext and channel settings . All of them . they're not often used and they are s more or less relevant . It seems that people findteletext teletext uh relevant , even if I personally never use it but seems that it's average relevant at least , so .Project Manager: I have been told that we uhdon't consider teletext , that it's out of date now because of internet .Marketing: I can tell you that uh in a l in a scale between one and ten relevant uh notrelevant to relevant people scored a six on this , which is not as uh these these two one were {disfmarker} had I think ten I think .Project Manager: Mm-hmm.Marketing: But but if you compare with these ones , uh I think they scored a one or two .Industrial Designer: Hmm .Marketing: Not very relevant , so if if thereare good reason not to put teletext it's okay but just know that people find it somehow relevant .Project Manager: Mm-hmmUser Interface: Mm-hmm .ProjectManager: {vocalsound}Marketing: That's for the main functions I think and uh then we can ask uh ourself uh what people don't have that may be useful . Forinstance I think {disfmarker} net next slide . {vocalsound} One of the thing {disfmarker} the trend uh that uh you are probably aware of is the possibility{disfmarker} the eventual possibility of having speech recognition in your remote control , so you wouldn't have to tap tap in your buttons but just tell yourremote control or whatever you need you have what you want . So we've conducted a survey about uh whether people would like or not to have uh this kind of uhfunctionality in their remote control and as we can see it really depends on the age . Young people , probably because it's a buzz word , find it very relevant . Anduh as the age goes up {vocalsound} the {vocalsound} the relevance goes down .Industrial Designer: {vocalsound} Yeah .Marketing: {vocalsound} So now itreally depends on the kind of uh targeting uh wha who are we targeting with this remote control ?Industrial Designer: 'Cause {disfmarker}Marketing: I think if weare targeting young people then uh it's probably something we have to consider . If we are targeting you very old people this is something they really don't knowwhy they {disfmarker} this should be so nowProject Manager: Mm-mm . Okay .Marketing: this is of course , depends on that . And um I don't have anyconclusion , I didn't have time the meeting was very tight , so that's basically my findings . And uh , if you have any question ?Project Manager: Mm I think it'sgood , okay . You done a good review .User Interface: I got one question ,Marketing: I can go back .Industrial Designer: Thank you .Marketing: Yeah onequestion ,User Interface: uh you are a Market ExpertMarketing: yeah ?User Interface: soMarketing: I am . {vocalsound}User Interface: should we aim at the"}
+{"doc_id":"doc_152","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 12th meeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic. This will be the first hybrid meeting of the committee. Some members will be participating via videoconference and somewill be participating in person. This follows the order made by the House on May26,2020. Members who have already participated in a virtual meeting of thespecial committee may actually not notice any change, except for the fact that some members are also participating from the floor of the House. An additionalrubric, that of statements by members, was also added to the proceedings of the committee. In order to ensure that those joining the meeting via videoconference can be seen and heard by those in the chamber, two screens have been set up in the chamber on either side of the Speakers chair. Soundamplification for virtual interventions will be available, and members in the chamber can listen to the floor sound or interpretation using the earpieces on theirdesks. Before speaking, please wait until I recognize you by name. Please also direct your remarks through the Chair. Thank you. For those of you joining viavideo conference, I would like to remind you to leave your mike on mute when you are not speaking. Also, please note that if you want to speak in English, youshould be on the English channel. If you want to speak French, you should be on the French channel. Should you wish to alternate between the two languages,you should change the channel to the language that you are speaking each time you switch languages. Should members participating by videoconference need torequest the floor outside their designated speaking times, they should activate their microphone and state that they have a point of order. Those in the chambercan simply rise in the usual way. Please note that today's proceedings will be televised in the same way as a typical sitting of the House. Next we'll move on toministerial announcements. I understand that there are no ministerial announcements today, so we'll move on to petitions. We'll be presenting petitions for aperiod not exceeding 15 minutes. I would like to remind members that any petition presented during a meeting of the special committee must have already beencertified by the clerk of petitions. For members participating in person, we ask that they please come and drop the signed certificates off at the table once thepetitions are presented. First on our list for presenting petitions is Ms. May, who is joining us virtually.Ms. Elizabeth May (SaanichGulf Islands, GP): Mr. Chair,what an honour to be the first voice coming to you from the screens on either side of the Speaker of the House. I speak to you from SaanichGulf Islands on thetraditional territory of the WSNEC people. Hych'ka Siem. I'm presenting a petition, number 431-00215, and it has been certified. The petitioners call on thisHouse to take note of the fact that Canada is the only country with a universal health care system that does not include the provision of necessary prescriptionmedications. They note that the system across Canada is a patchwork that leaves three million Canadians unprepared and uninsured to be able to purchasenecessary medications. They call on the House assembled to put in place a system of universal national pharmacare, bringing down the cost of drugs through bulkpurchasing. I think I'll call that a summary, Mr. Chair. Thank you very much.The Chair: The next petition will be presented by Mr. Genuis.Mr. Garnett Genuis(Sherwood ParkFort Saskatchewan, CPC): Thank you very much, Mr. Chair. I'm pleased to be presenting two petitions before the committee today. The firstpetition is in support of Bill S-204. This Senate public bill, been put forward by Senator Salma Ataullahjan in the Senate, would make it a criminal offence forsomeone to go abroad to receive an organ for which there has not been consent. It also has a mechanism by which somebody could be deemed inadmissible toCanada for being involved in the horrible practice of forced organ harvesting and trafficking. This bill has been before various Parliaments for over 10 years, andpetitioners are hopeful that this Parliament will be the one that finally takes action to address forced organ harvesting and trafficking. The second petition is putforward by folks who are concerned about Bill C-7, particularly the efforts by the government through Bill C-7 to remove vital safeguards that are currentlyassociated with Canada's euthanasia regime. Petitioners are not happy about the fact that the government is trying to eliminate the 10-day reflection period andremove other safeguards that only four short years ago the government thought were essential for the euthanasia and assisted suicide system that they wereputting in place. The petitioners call on the government to address that, and they are not supportive of these particular efforts to remove vital safeguards fromthat regime. Thank you very much.The Chair: Is anyone else presenting petitions? Seeing none, we'll move on to statements by members. We will now proceedto Statements by Members for a period not exceeding 15minutes. Each statement will be for one minute. The first will be from Mr.Samson. Mr.Samson, you havethe floor.Mr. Darrell Samson (SackvillePrestonChezzetcook, Lib.): Good afternoon, everyone. It's an honour to be presenting an S. O. 31. This spring has been adifficult one for Nova Scotia and the communities of SackvillePrestonChezzetcook. While residents have banded together to tackle the challenges presented byCOVID-19, we have also had to mourn the passing of three remarkable local women: RCMP Constable Heidi Stevenson, well known by many in Cole Harbour andthe surrounding areas; our own Sub-Lieutenant Abbigail Cowbrough, who was based out of 12 Wing Shearwater; and Captain Jenn Casey of the Canadian ForcesSnowbirds. All three women died in the line of duty in separate tragic events while serving our country. These three brave women, who served with honour onland, at sea and in the air, represent the absolute best of us. Heidi, Abbigail and Jenn were inspirational and will not be forgotten. Thank you.The Chair: Next we'llgo to Mr. Bezan.Mr. James Bezan (SelkirkInterlakeEastman, CPC): Thank you, Mr. Chair. Canada needs a prime minister who will create jobs and opportunity, butinstead we have a prime minister who is piling up crippling national debt. Yesterday the PBO predicted the federal deficit this year will hit over $252 billion. That isalmost equivalent to an average year of government spending before the Liberal government. After five years with this debt, Prime Minister, Canada's nationaldebt is set to hit $1 trillion, with almost nothing to show for it. Industries from coast to coast are either closed or are struggling. Canadian workers need anddeserve a prime minister who supports our energy sector and gets our natural resources and agriculture products to market, who supports small business and willmake our tax system encourage job creation and growth, and who will bring advanced manufacturing jobs to Canada and keep the automotive industry growing.Most importantly, we need a Conservative prime minister who will get the government finances under control after the massive debt left by this primeminister.The Chair: Next we'll go to Mr. Anandasangaree.Mr. Gary Anandasangaree (ScarboroughRouge Park, Lib.): Mr. Chair, I speak today with a very heavyheart. Since the COVID-19 outbreak, we've seen a disproportionate number of deaths in long-term care homes. I'm thankful for the Canadian Armed Forces whowere deployed to the Altamont care home in my riding and four other facilities across the GTA. The CAF have brought forward horrifying allegations in theoperation of these homes. They include residents being given expired or improper doses of medication; not being cleaned or changed for a prolonged period oftime; being forcibly fed, causing choking; being bed-bound for weeks; receiving inadequate nutrition, and much more. Mr. Chair, I call upon Premier Ford to placethese five homes under a mandatory management order and to appoint a third party manager to address and rectify these violations. I also call upon the Premierto undertake an independent public inquiry into the tragedy we face in long-term care facilities across Ontario. Finally, Mr. Chair, we need to work with theprovinces and territories to set national standards of care for the most vulnerable in our society. We can and must do better. Thank you, Mr. Chair.The Chair: Wehave a point of order. Go ahead, Ms. May.Ms. Elizabeth May: Thank you, Mr. Chair. I hesitate to interrupt colleagues, but I'm concerned about the petitionpractice, which, as I understand it, is to summarize a petition but not make a speech. I felt one of our colleagues was trespassing on our usual rules.The Chair: Iwill remind honourable members that when a petition is presented, we're expected to give a prcis and make it as concise as possible. Thank you. Mr.Champoux,you have the floor.Mr. Martin Champoux (Drummond, BQ): Mr.Chair, I would like to recognize the resilience of Quebeckers concerned for their jobs or theirbusinesses during the COVID-19 crisis. They need us to plan for after the crisis, and we must do so now. To do so, we need the proper information. We need toknow the status of the public finances. That is why the Bloc Qubcois is demanding that the government present an economic update, and that it do so beforeJune17. This is not about making a spectacle. Everyone knows that the deficit will be huge. We had to provide the people with support and we all agree on that.But we have to know to what extent. We also have to know where we are starting from so that we can plan where we are going. This is about respecting thepublic, because they are the ones who will be paying the bill. In closing, I would like to remind the government that one group is not really contributing to thepublic purse at the moment. I am talking about the tech giants, the GAFAM group, that have never before been used to the extent that they are now, and that arestill not paying a cent in tax in Canada. The Liberals promised to correct this injustice. Now is a great time for them to do so.The Chair: We'll now go to Ms.Sidhu.Ms. Sonia Sidhu (Brampton South, Lib.): Mr. Chair, this week is National Paramedic Services Week. I want to take this opportunity to thank the Peel regionpolice, paramedic and firefighting services for keeping Bramptonians safe. In my riding, organizations have stepped up to help our community. Organizations suchas the Khalsa Aid Society, the Interfaith Council of Peel, the Brampton YMCA, the Prayer Stone Peoples Church, Unity in the Community, Ste. Louise OutreachCentre, Knights Table, the Yogi Divine Society, Vraj Community Service, Regeneration Brampton and many more have made our community stronger during thisdifficult time. I also have to address the report that came out yesterday from our brave Canadian Armed Forces. Like many Canadians, I was shocked by thisreport from the long-term care centres, including one in my riding. The examples of abuse described in the report are unacceptable. Our seniors deserve dignityand respect. We must find a solution. We need to fix this.The Chair: We'll now go to Mrs. Stubbs.Mrs. Shannon Stubbs (Lakeland, CPC): Mr. Chair, Canada's oil"}
+{"doc_id":"doc_153","qid":"","text":"Project Manager: Okay . So welcome back .Marketing: {vocalsound}Project Manager: What do {gap} {disfmarker} do we have to do ? {vocalsound}Marketing:{gap} .Project Manager: So first . I want to say I'm the secretary , so I make the minutes . You find them in your {disfmarker} in the map in the From the group. There's the minutes from the first meeting . You'll find the next minutes also there . Then {vocalsound} I wanna hear from you , what you've done . And afterthat I have some new product requirements . So {disfmarker} And after that we have to make decisions , what we will do . And then we're ready . We have fortyminutes for this meeting . After that we'll have lunch . So first I wanna ask the {disfmarker} {vocalsound} Industrial Designer to tell what he did . So{disfmarker}Industrial Designer: That's my task . Okay . Uh I've {disfmarker} Where have I put it ? My Documents or not ? Hmm . I've save it on my computer ,my presentation .Project Manager: Yeah on your computer , or the {disfmarker}Industrial Designer: But where ?Project Manager: What's the name ?IndustrialDesigner: Uh uh uh {disfmarker}Project Manager: What's the name of it ?Industrial Designer: It was about the working of the remote control .Project Manager:It's the technical function or the functional requirements .Industrial Designer: Nope .Project Manager: {vocalsound}Industrial Designer: Not a {gap} of{disfmarker} Wait . The working design . But I've saved it .Project Manager: Working design .Industrial Designer: But now I don't know where it is . Hmm.Project Manager: Working design . What is this ? Product documents .Industrial Designer: Yeah . And I import this until {disfmarker}Project Manager: On thedesktop . Up . {gap} up . Up . Up .Industrial Designer: One more .Project Manager: Up .Industrial Designer: {vocalsound}Project Manager: Yes . My Documents .Nope .Industrial Designer: What the fuck is this ?Project Manager: Gone . {vocalsound} Well you {disfmarker} Um {disfmarker} Nah . Nah , nah , nah .IndustrialDesigner: {vocalsound}Project Manager: PowerPoint . Working design .Industrial Designer: Yeah that's the empty one .Project Manager: {vocalsound} And{disfmarker}Industrial Designer: I had one .Project Manager: Presentation of working design .Industrial Designer: Uh-huh . Open it . Okay here it is .ProjectManager: Save as {gap} .Marketing: {vocalsound}Project Manager: Uh it's {disfmarker}Marketing: Desktop .Project Manager: Project {gap} .IndustrialDesigner: Project .Marketing: Yeah . Okay . Well .Project Manager: Save .Industrial Designer: Okay .Project Manager: Very good .Industrial Designer: A little laterbut here it is .Marketing: {gap}Project Manager: Okay . So {disfmarker} {vocalsound}Marketing: {vocalsound}Industrial Designer: So okay . It's a little difficultwhat I'm gonna tell you . It's about the working of the remote control . I just had an half an hour j to study itUser Interface: {vocalsound}Industrial Designer:and {vocalsound} I don't get it .Marketing: {vocalsound} Make it .Project Manager: Now have ten minutes to tell it .Industrial Designer: Ten minutes to tell it .Okay . I think it will be a few minutes and {disfmarker}Project Manager: Okay .Industrial Designer: First uh I will tell you something about the findings , what Idiscovered about the remote control . The working bout it {disfmarker} uh of it . Uh then I'll have uh some kind of map , and it's the top of the remote control .With a little bit of science , uh you {disfmarker} I will show that uh in in a few minutes . And then uh what I'll think about it . First , the findings . The remotecontrol is a very difficult uh thing to uh to explain to just all of you wh who haven't seen a remote control uh inside . Uh there's a lot of uh plastic on it ,Marketing:{vocalsound}Industrial Designer: um because its uh not so expensive . And there are uh a lot of uh wires , uh which um connect the components in it , thebattery , and there are um switches and things like that . There's a lot of small uh electronics . So it won't be um uh too expensive to build it . Only twelve Eurofifty I think uh we will make it . Now {gap} {disfmarker} And here I have the top of the remote control . Uh here's some kind of chip . Uh on top of this , thereare uh the numbers . Uh you have all on your remote control . And uh the teletext uh button . And uh here's the battery . And when you push the button , it willuh will be sent to the chip . And the chip will um send it to all kind of sub-components . That's what I said , it's very difficult .Project Manager:{vocalsound}Industrial Designer: And after that it will be sent to the infrared . And that will send it to your television . That's a short h uh how it works . Uh Ithink I can uh make it uh difficult , but we all {vocalsound} we all don't get it . My preferences ? It's uh {disfmarker} it won't be uh {disfmarker} We shouldn'tmake it too big . Uh also for the cost , uh we should only put one battery on it . A long-lasting battery . Uh also for the cost , uh use only plastic . Not othermaterials . Also because of the cost , uh not too much buttons on it . We can also make uh a button uh with a {gap} {disfmarker} menu uh button . And then umthat that you will see it on the T_V_ . And on the T_V_ you can uh switch into the menu .User Interface: Mm-hmm .Industrial Designer: That's {disfmarker} Ithink it's easier . And the bleep signal , y uh you told us . Uh but we can also use it uh a bleep like something , when the battery's empty , then there is a bleep .Then you'll have to change it in a in a week or something . And also the bleep , when {disfmarker} what I told you about uh when you lost it , and you push abutton , and then you hear bleep bleep , and we will find it . This is uh just uh {disfmarker}Project Manager: Oh oh . Two questions .Industrial Designer: Yeah .Yeah .Project Manager: The battery . You say one battery is cheaper . Why ?Industrial Designer: If we w if we use only just one uh small pen-light , then it will becheaper than when we use two .Project Manager: Yeah but when you use two , you can use it two times longer .Industrial Designer: Yeah but then we'll have tomake the um remote control uh long lasting .Project Manager: Okay so it's the size of the remote control .Industrial Designer: {gap} Just {disfmarker} Yeah.Project Manager: Okay and the buttons . When you use it on the television , you've {disfmarker} you need the television , wh which can use it .IndustrialDesigner: Yeah . But uh I think this {disfmarker} our remote control is for the televisions we uh we sell in our company ?Project Manager: Okay .IndustrialDesigner: Or is it also for other company {disfmarker} uh for other televisions ?Project Manager: I think we have to use it also on other televisions though.Industrial Designer: Then this is an option . {vocalsound}Project Manager: So {disfmarker}Industrial Designer: Maybe just a menu button to use it on ourtelevisions . And then we make it easier uh for our televisions . And on the other tele televisions , you can also use it , but then we won't use theProject Manager:Yeah but I don't {disfmarker} I think it {disfmarker} {vocalsound} They are two different things though . We have to choose one . It has to work on o uh alltelevisions .User Interface: Mm .Industrial Designer: Yeah ? Okay . Then I think uh the menu button uh will only work on the newer televisions . And we will uhlook forward and don't make a remote control which for the older televisions .Marketing: Hmm .Project Manager: Okay .Industrial Designer: And I just uh haveone more idea . Uh maybe it's one of your tasks . But {disfmarker} Uh , to have a trendy remote control , we can also um make something like the Nokia ummobile phones . To change covers . So if you have uh a trendy half with all red , uh yellow and something . And then you can put a red cover on it .Marketing:Hmm .Industrial Designer: And also different things .Project Manager: Yeah . Good idea .Industrial Designer: Yes .Marketing: Will this will this add to the cost?Industrial Designer: Uh then it won't be {disfmarker} uh will have just one cover on the uh original one . And then you can buy the covers .Marketing: Yes butyou have to m uh be able to change it . D does it make it more difficult to design ?Industrial Designer: I think it will be a little more difficult , but not too much.Project Manager: Mm-hmm .Marketing: Not much . 'Kay .Industrial Designer: Just like with the Nokia uh mobile phones .Project Manager: Yeah but there aremuch more Nokia telephones than um these ones .Industrial Designer: Just one .Project Manager: {vocalsound}Industrial Designer: Yeah but then we'll have toto just um put five covers on it , and see if it works . If it won't works then we'll get something else . Then we uh won't g uh go further with it .Project Manager:Yeah but are their profits bigger than their cost ?Industrial Designer: Uh a p a {disfmarker} {vocalsound} a cover made in uh in China , it it won't be I guess soexpensive I think .Project Manager: Yeah but there are also design cost . I don't think {disfmarker} When you have a remote control , do you change the cover ?Would you change the cover ?Industrial Designer: Maybe . I wi I won't .Project Manager: No .Industrial Designer: But maybe I think trendy people or like childrenwhere you can paint on it , and uh the the children think , oh this is my remote control , uh I made a picture on it . Uh {disfmarker}Project Manager: N yeah but{disfmarker} I think that too less people would change it for good profit . So {disfmarker}Industrial Designer: Yeah . Okay . And the other people ? What do youthink about it ? {vocalsound}Marketing: Um {disfmarker}User Interface: Yeah it's a good idea . But {disfmarker} If if it {disfmarker} Yeah , I don't {disfmarker}I'm not sure if it will make profit enough to uh {disfmarker}Industrial Designer: Okay .Project Manager: {gap}User Interface: But it's uh yeah it's uh original idea. {vocalsound}Project Manager: Yes it is but I don't think we have to do it .User Interface: No .Industrial Designer: Okay .Marketing: Mm .Industrial Designer:You're the Project Manager . {vocalsound}Project Manager: Okay .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: Yes . That's it.Project Manager: That's clear . {vocalsound} Okay thank you . So now the User Interface Designer .User Interface: Oh . That's me . Uh {disfmarker} Come on .{gap} . Ah .Marketing: Yeah .User Interface: Yes well uh uh I shall give a short talk about the the technical function design .Industrial Designer:{vocalsound}User Interface: {vocalsound} Um I thought the the the technical function design was uh to uh {disfmarker} for a remote control to to to have someinfluence on the T_V_ set . Uh both audio and vide video uh in a cordless way . No cords attached . And uh well , it all by pushing a button on the remote . Thatwas from my own experience and uh and uh the previous meeting . Uh I find some uh some interesting quotes on the web . Uh well the same idea here . Uhmessage to the television . And uh and and and well basic uh operations like on and off , and uh switching channels , and uh {disfmarker} and maybe uh teletextor something like that . Uh well these are two uh remotes , and that's our uh our dilemma I think . Uh {disfmarker} We just heard from the Industrial Designerhow uh difficult it is . But uh shall we make a basic remote control , uh just uh swapping channels and volume and uh power button and well nothing much more ."}
+{"doc_id":"doc_154","qid":"","text":"Project Manager: Okay uh Agnes , you can help me for the slide when {gap}User Interface: Yep . Sure .Project Manager: okay . Okay , welcome back . I hope uhyou have a fresh head and a fresh time . How t now the meeting actually we gathering here to discuss about the functional design meeting . Okay , and uh we'llissue some information from uh all of you . And it's in the , I think uh , in the sharing folder . And uh I will invite uh the Christine and the Ed and uh Agnes todiscuss about on the various subjects . So can you go to the next slide ? Yeah uh the agenda of the meeting is opening . Then uh I'm going to talk about uh theproject management , what I'm going to do , and uh , of course , I'm doing the project management and secretary both , okay , to take the minutes of themeeting . And there are three presentations . One is uh new project requirements . And the second one about uh decision on remote control functions . And uhfinally we are closing . Uh and the meeting time will be uh forty minutes , so you have to be very quick . And I have come up with the {disfmarker} managementcome with the new proposal , okay , and I have to discuss a few points on this . Uh both says new insights in the aim of your project . Uh the one is uh theteletext becomes uh outmoded , okay because if uh because of the computer systems and the new technology . So we don't need to consider really about theteletext all in our new project design . And the second one is about uh the remote control . Should be used only for the T_V_ . That's what our uh managementsays . And the third point , it's very very important to establish our uh marketing or uh corporate image , okay , with this new project or new product . Okay .{vocalsound} So I will invite uh {disfmarker} Agnes , can you go to the third slide ?User Interface: No , this is the third slide .Project Manager: Okay , {gap} . So, I'll invite uh Christine to discuss about uh the functional design .Industrial Designer: 'Kay , do you wanna open the {disfmarker}User Interface: Sure . Um .You're participant sIndustrial Designer: I'm number two .User Interface: Two ?Project Manager: {vocalsound}Industrial Designer: That's it .User Interface: Doyou want the mouse , or do you want me to {disfmarker}Industrial Designer: I'll do the notes . Yeah , thanks .Project Manager: {vocalsound}Industrial Designer:So um well I I figured uh we should um identify some user requirements , and from my experience , I wanna uh , and from {vocalsound} research I did , uh thethe device has to turn the television on and off the first time you press on the big button , you can't uh can't have like uh waffling on this point , you know .ProjectManager: {vocalsound}Industrial Designer: Really have {disfmarker} It needs to be able y y have to be able to find it . Because one of the biggest problems withremote controls is finding them . So uh , I also , since we have to establish our corporate image on the basis of this new product , thought we better look at thingsthat are popular and um ex go beyond those , and , as I said in the first meeting , um {vocalsound} and then uh we might wanna talk eventually about thematerials that are appropriate to use in uh in the construction , especially in the the uh the outside of the productProject Manager: {vocalsound}IndustrialDesigner: so that it gives the appearance , and it is reliable , and so forth . {vocalsound} I did a little history on uh the the uh remote controls and when theywere invented and so forth , so , I guess this guy Zenith uh created the Flashmatic , which I kinda like the idea , 'cause it made me think of um um maybe theremote control made a big flash when uh you turn the T_V_ on and off , that might be interesting . And um {vocalsound} so it was highly directional flash lightthat uh you could turn the picture on and off , and the sound on and off , and change channels c so I think um those are still requirements we have today , uhfifty years later .Project Manager: {vocalsound}User Interface: Mm-hmm .Industrial Designer: And uh it was really a pioneering innovation , but it was uhsensitive to the sun , so that uh it would get {disfmarker} would start off by the {disfmarker} you'd get {disfmarker} it would easily cause um problems . So , uhI {disfmarker} in addition to uh looking at the um {vocalsound} uh the functional requir so all these devices are examples of where uh mm {disfmarker} they{vocalsound} represent examples that are available today {vocalsound} {vocalsound} which I think the one in the middle is r um really uh something to keep inmind .Marketing: Fantastic . {vocalsound}User Interface: {vocalsound} {vocalsound}Industrial Designer: It'd be easy to find . And um it would uh y you'd{vocalsound} {disfmarker} you could throw it at things if if the T_V_ didn't turn on and off , you could use it for something else . And since I'm not really um{vocalsound} Industrial Designer , I didn't really know what to do with this slide . But um {vocalsound} I just {vocalsound} took some {vocalsound} different uhschematics and I put them into this , and I guess this is what a slide might look like if you were drawing a circuit board . {gap} I don't know why um we wereasked to do this . So , uh {vocalsound} personal preferences , {vocalsound} umUser Interface: {vocalsound}Industrial Designer: I think we could uh I I'm reallythinking outside the box here , and I think that we should consider perhaps having an an an a a size uh {vocalsound} {disfmarker} a remote control that changesin size depending on the user preference .User Interface: {vocalsound}Industrial Designer: So something that's very very flexible and inflatable and then youcould shrink it . I think um it could either be {disfmarker} you could go either one extreme , be very colourful , or you could make it clear , and um kind of blendin with things , so you didn't have to um {vocalsound} uh have a problem with the th the decoration of the {disfmarker} of the user's home . Um I think uh itneeds to be waterproof , because uh sometimes they fall into cupsProject Manager: {vocalsound}Industrial Designer: and , you know , it might be out by theswimming pool or something like that . Um {vocalsound} if you uh mi one of {disfmarker} one of my requirements was about needs t to tell you when it's doneits job or not , because half the time , I keep pushing on the remote control , and I don't know if it's actually understood my message , so I think it should giveyou some sort of an oral cue . And uh , course I never wanna replace the battery . {vocalsound} So ,Marketing: {vocalsound}Industrial Designer: that's{disfmarker} those are my f preferences , and that's my presentation .Project Manager: Yeah , let me uh interrupt you uh if you can add other facility , otherfeature , like uh unbreakable .Industrial Designer: Yes .Project Manager: Okay , because uh especially today , you know , you have the family and the kids ,UserInterface: {vocalsound}Project Manager: okay , and the kids throw it and they they play with their remotes and {gap} .Industrial Designer: Run over it with a car.Project Manager: Yes . Okay , so if you can add the feature , okay , for your uh fabric whatever in your outline design okay , with unbreakable , okay , I thinkthat will give a lot of advantage for our product , if I'm not wrong . Maybe you can uh add it in that .Industrial Designer: Good idea . Good idea , I'll I'll uh um{disfmarker} Yes , very good .Project Manager: Okay , uh thank you Christine , and uh uh any questions or uh clarifications , or any discussion on the functionaldesign ?User Interface: Do you have any preconceived ideas in terms of materials ? 'Cause , for example , in the unbreakable thing , doing something plasticwould be harder ,Industrial Designer: Hmm .User Interface: whereas having something like , I dunno , steel or titanium isn't really economically viable .{vocalsound}Industrial Designer: Titanium . Titanium would be {vocalsound} be heavy , too ,Marketing: Titanium . {vocalsound}Industrial Designer: wouldn't it?User Interface: Yeah .Industrial Designer: No , I haven't really um {disfmarker} I wanted feedback , I think we need to rate {disfmarker} rank these , but we'llsee what your uh personal preferences are and your thoughts .User Interface: Yeah . Sure , yeah . No , I just wondering whether {disfmarker} that you had anysort of {disfmarker}Industrial Designer: {vocalsound} I like titanium . It's light .User Interface: Yeah .Industrial Designer: Uh {vocalsound} yeahMarketing:Expensive .User Interface: {vocalsound} The marketing comes out . {vocalsound}Industrial Designer: but uh who who said {disfmarker} who said we were,Marketing: {vocalsound}Project Manager: Yes .Industrial Designer: you know , nobody told me how mu what our financial objective is , so um{disfmarker}Project Manager: {vocalsound} Yeah so {disfmarker}Industrial Designer: It'd be hard to inflate something ou made out of titanium though{vocalsound} .Project Manager: Yeah the the {disfmarker} I'm sorry because uh the last meeting we supposed to discuss about the financial thing .UserInterface: {vocalsound}Marketing: {vocalsound}Project Manager: Uh let me go quickly , maybe if I can go back {vocalsound} . I know the project plan and thebudget . So I can close this , {gap} not sure . Was in uh {disfmarker} S This . So let me see where is this file .User Interface: That's Christine's .Project Manager:This is Christine . {vocalsound}User Interface: And that's mine , I think .Project Manager: That's yours , okay . Saving .Marketing: {vocalsound} {gap}UserInterface: In modified .Marketing: I don't know ,Project Manager: Okay , uhMarketing: I think verbally we can {disfmarker} we can pretty much sell .ProjectManager: I will {disfmarker} I will send you a mail , okay ? The project may be the the project aim , okay . At the end of the day , the company uh wants to makeat least uh the fifty million Euro . Okay , and uh of course the price will be very reasonable on the the sales side . Okay , that maybe Eddie will talk to you aboutuh how much uh the price and uh what's uh {disfmarker} how much its cost for the manufacturing and how much it's going to be {disfmarker} we sell in themarket . Okay . Then uh you can come back with your feedback . And I I have one {disfmarker} maybe the suggestion or opinion . This remote control , okay , itcan be for like universal , to use for any T_V_ . Okay , and it will be slim , okay , and uh {disfmarker}Industrial Designer: {vocalsound} Not fat ?Project Manager:Not fat .Industrial Designer: Not fat , huh .Project Manager: Okay .Industrial Designer: {vocalsound} Might be hard to find , though .Project Manager: Yep . Butlet's try it , okay , with the different uh {disfmarker} the designs , okay , the functional designs .Marketing: Hmm .Industrial Designer: Oh , okay .ProjectManager: Okay ? So any other questions ?Marketing: Uh from her side , I don't think uh there's too many more questions .Project Manager: Okay . Thank youChristine for uh time being ,Marketing: If you can come to the {disfmarker}Project Manager: so then uh Ed , so can you tell about {disfmarker}Marketing: Okay ,from the marketing {disfmarker} yeah , from the marketing side , just to to give an idea what the management is looking for , I was looking for a a remotecontrol to have a sUser Interface: S 'scuse me for one sec .Marketing: I have a sales price of twenty-five Euro , with a production price of uh twelve and a half"}
+{"doc_id":"doc_155","qid":"","text":"Lynne Neagle AM: Okay. Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence fromSuzy Davies and Jack Sargeant and I'm very pleased to welcome Jayne Bryant back, who is substituting for Jack today. Are there any declarations of interestfrom Members, please? No. Okay, thank you. Item 2, then, this morning, is our sixth scrutiny session on the Children (Abolition of Defence of ReasonablePunishment) (Wales) Bill. I'm very pleased to welcome our witnesses this morning: Sally Jenkins, who is chair of All Wales Heads of Children’s Services and ishere representing the Association of Directors of Social Services; Alastair Birch, who is senior system leader for equalities and safeguarding at PembrokeshireCounty Council, who is here representing the Association of Directors of Education Wales; and Councillor Huw David, who is the Welsh Local GovernmentAssociation spokesperson for health and social care and leader of Bridgend County Borough Council. So, thank you all for attending this morning. We're verypleased to have you here. We've got a lot of ground to cover, so, if you're happy, we'll go straight into questions and I'll start just by asking about your generalsupport for the Bill, which is outlined in the evidence. Can you just explain why you think the current law is ineffective or unclear?Alastair Birch: Bore da—bore da,bawb. So, I'm Alastair Birch. The statement, really, from ADEW is that the rights of the child should be educated and achieved, really, under the United NationsConvention on the Rights of the Child. The current legislation has been criticised, obviously, by the UN concerning the defence of reasonable punishment stillbeing within our current legislation. So, we will always—ADEW will always—advocate that the rights of the child be upheld, so that is really the fundamentalaspect in terms of the statement from ADEW, and the position of ADEW is that the rights of the child are fundamental in this process. And there are certainarticles—. I know that the Rights of Children and Young Persons (Wales) Measure 2011 made sure that article 3 and article 4, article 12 and article 37 were afocus in terms of making sure that the best interests of the child were put first, that children expressing their views and opinions was a priority. And we know, forsafeguarding purposes, that the express opinions of the child and the voice of the child are a fundamental aspect of any safe environment, whether it be a schoolor college. So, that is—the position is really following that legal position under the Rights of Children and Young Persons (Wales) Measure.Lynne Neagle AM: Okay,thank you. Nothing to add at this stage, no?Sally Jenkins: I'll just add, on behalf of ADSS and on behalf of children's services and social services more widely, forus, this is not a change in our position, this is not new; this is a position that we, on behalf of the leaders of social services across Wales, have taken over manyyears, going back 20, 25 years. I think what we would say is that we really welcome this Bill and we welcome the proposed change for the clarity it wouldbring—the clarity that it would bring for children, for parents and for professionals. I think what we would recognise is that this is a very little-used piece oflegislation, so it's rare, it's not as if this is something that is going to cast great change across the scene for children and families in Wales, but what it will do isrepresent a change in the reality of how we care and nurture our children. I would echo absolutely what Alastair has said in terms of the rights of the child, butequally, in terms of all of our policies in Wales in terms of promoting well-being for children, this has to be key. So, for us, this is about a natural progression ofchange in how we care for our children in Wales. For children's services at the very sharp end of this world, for us, it brings a true clarity. This continues with anambiguity in how we treat our children and how we care for our children, and the shift for us brings that very much needed clarity.Lynne Neagle AM: Okay, thankyou. The committee has already heard different views about whether there's clear evidence that physical punishment is harmful to children. What evidence doesthe work of social services provide about whether physical punishment is actually harmful?Sally Jenkins: Obviously, what you'll all be aware of is that, as part ofthe consultation for this Bill, the Public Policy Institute did a further piece of research to look at the impact of physical punishment on children. A number of thingsthat we know—we know from across the world that the evidence is that introducing legislation or changing legislation in this way improves children's positionswithin their families. What we know is that children themselves, as Alastair has already referred to, really find physical punishment demeaning and harmful, andfor children it is an emotionally damaging experience. Now, there may be disagreement about that, there will be different views on that, but that's the voice of thechild in this debate. The voice of the child is very clear that physical punishment is for them harmful. I think what we would also say is that, in the world that wework in, it's part of a continuum, and, whilst this is an element of how children are cared for, what we see is a continuum where an acceptance of how we treatchildren in a particular way perpetuates throughout our work. By changing this, it helps that shift to that absolute recognition that our children must be cared forin a way that is physically safe in all dimensions for them.Lynne Neagle AM: Okay, thank you. We've had evidence from the equal protection network that thereasonable punishment defence undermines child protection and fails to protect children because it permits an arbitrary level of violence, which invades children'sphysical integrity, making it a potential pathway to more serious physical or sexual abuse, and you did refer to that just now. Is there anything you want to addon that?Sally Jenkins: I would echo that. I think there is something in this that is about our culture, about how we see our children. It is about how we see oursmallest and most vulnerable people, and if it is acceptable it opens the door to those other, more extreme versions of violence, which then complicates the issuefor us. This is about clarity, and, whilst there is an argument that this is a small episode for a child, it's not a small episode for a child, it is a major episode for achild, and I think absolutely, as you said, the potential for it then to lead on, and over gradation and time to increase the risk for children, is clearly there.LynneNeagle AM: Okay, thank you. The final question from me: your written evidence emphasises the need for greater clarity around the definition of what constitutescorporal punishment, but that contrasts with what we've been told by the children's commissioner and the equal protection network, who've emphasised theimportance of simplicity in the Bill. How do you respond to that view, and is what you're calling for essential to be on the face of the Bill?Sally Jenkins: It's notessential for it to be on the face of the Bill. What we would like to see is discussion within the implementation phase for that nuancing. Absolutely agree in termsof simplicity—I think that is really important—and I've already mentioned clarity. What we don't want to do is further confuse the position. We know that thelegislation in different countries has done that, and there are ways that you can do it, but what we would welcome is an opportunity during the implementationphase for discussion.Lynne Neagle AM: Okay. Thank you.Huw David: And, as a principle, obviously we would welcome full involvement, and we know there's thecommitment from Welsh Government to full involvement in the implementation, because, as with every piece of legislation, implementation is the most importantpart, and we would want to ensure there is that commitment to a major awareness-raising campaign, and there is that from Welsh Government, because we needto take families, carers and parents with us on this. Also we need to ensure that there is that support available to parents and carers that do sometimes strugglewith parenting, and that needs to be a universal offer across Wales. If we're to progress with this, that has to be an option that is offered to every parent inWales.Lynne Neagle AM: Okay. Thank you.Sally Jenkins: Local authorities have already been very heavily involved in terms of looking at this Bill and exploringwhat the issues are and the discussions and looking at what the implications from a local authority perspective will be, as Huw describes, both in terms of theawareness raising, early support and intervention and prevention services for families against the backdrop of the current issues that we have in localgovernment, but also awareness raising—because absolutely it is key that families come with us on this journey. This is not an imposition. This is embracing aculture and a value system for our children.Lynne Neagle AM: Okay, thank you. I've got some questions now from Dawn Bowden on the implementation of theBill.Dawn Bowden AM: Thank you, Chair. So, you've pre-empted me, Huw.Huw David: Right. Sorry. I've got good eyesight; I can't see—. [Laughter.]DawnBowden AM: You've already said, obviously, that you're looking towards working with Welsh Government in terms of its implementation. What's been your role sofar in terms of the implementation of the Bill—local authorities generally, now? Have you had a role? Has Welsh Government been involving you in discussionsaround the introduction of the Bill so far?Huw David: Yes. So, obviously we were consulted—a key consultee—but also our officials have worked very closely withWelsh Government officials to make sure this is implemented successfully, if it is progressed.Sally Jenkins: Our involvement with this, from a social servicesperspective, goes back over two years, directly in working towards this point, never mind the history in terms of work towards this area. But, very directly inrelation to this Bill, we were first involved at least two years ago, to recollect, and that was in a series of workshops with other agencies, for example Children andFamily Court Advisory and Support Service Cymru and the police, and looking in real depth at what the implications would be for us as agencies to look at whatthe likely trajectory would be in terms of our pathways for referral into our services and what that might mean for us. And then particularly, for example, withCAFCASS Cymru in relation to private law, what the fallout might be, and then what, if anything—and that's the discussion that we need to have—that couldmean for children's services in particular, given the pressures that we're already under. So, we've been in constant, I suppose, involvement in terms of the Billalready, as part of the consultation, in terms of the focus groups and in terms of direct work with Welsh Government officials to take this forward. And we areabsolutely committed to continuing with that work.Dawn Bowden AM: Okay. You touched there on the pressures that you're already under, which we fullyappreciate, but you also mentioned in answers to Lynne Neagle earlier on that you welcomed the Bill in terms of its clarity. So, are you confident that the Bill canbe implemented without any major impact on your capacity to deal with it?Sally Jenkins: We've done—. A number of local authorities—my own included, Newport"}
+{"doc_id":"doc_156","qid":"","text":"PhD B: OK . We 're on .Grad E: Hello ?Professor A: OK , so uh {vocalsound} had some interesting mail from uh Dan Ellis . Actually , I think he {disfmarker} he{vocalsound} redirected it to everybody also so uh {vocalsound} the PDA mikes uh have a big bunch of energy at {disfmarker} at uh five hertz uh where thiscame up was that uh I was showing off these wave forms that we have on the web and {disfmarker} and uh {vocalsound} I just sort of hadn't noticed this , butthat {disfmarker} the major , major component in the wave {disfmarker} in the second wave form in that pair of wave forms is actually the air conditioner .GradC: Huh .Professor A: So . So . I {vocalsound} {vocalsound} I have to be more careful about using that as a {disfmarker} as a {disfmarker} {vocalsound} as agood illustration , uh , in fact it 's not , of uh {disfmarker} {vocalsound} of the effects of room reverberation . It is isn't a bad illustration of the effects of uh roomnoise . {vocalsound} on {disfmarker} on uh some mikes uh but So . And then we had this other discussion about um {vocalsound} whether this affects thedynamic range , cuz I know , although we start off with thirty two bits , you end up with uh sixteen bits and {vocalsound} you know , are we getting hurt there ?But uh Dan is pretty confident that we 're not , that {disfmarker} that quantization error is not {disfmarker} is still not a significant {vocalsound} factor there .So . So there was a question of whether we should change things here , whether we should {vocalsound} change a capacitor on the input box for that or whetherwe shouldPhD B: Yeah , he suggested a smaller capacitor , right ?Professor A: Right . But then I had some other uh thing discussions with himPhD B: For the PDProfessor A: and the feeling was {vocalsound} once we start monk monkeying with that , uh , many other problems could ha happen . And additionally we{disfmarker} we already have a lot of data that 's been collected with that , so .PhD B: Yeah .Professor A: A simple thing to do is he {disfmarker} he{disfmarker} he has a {disfmarker} I forget if it {disfmarker} this was in that mail or in the following mail , but he has a {disfmarker} a simple filter , a digitalfilter that he suggested . We just run over the data before we deal with it .PhD B: Mm - hmm .Professor A: um The other thing that I don't know the answer to ,but when people are using Feacalc here , uh whether they 're using it with the high - pass filter option or not . And I don't know if anybody knows .Grad E: Um .{vocalsound} I could go check .Professor A: But . Yeah . So when we 're doing all these things using our software there is {disfmarker} um if it 's {disfmarker} ifit 's based on the RASTA - PLP program , {vocalsound} which does both PLP and RASTA - PLP {vocalsound} um then {vocalsound} uh there is an option therewhich then comes up through to Feacalc which {vocalsound} um allows you to do high - pass filtering and in general we like to do that , because of things likethis and {vocalsound} it 's {disfmarker} it 's pretty {disfmarker} it 's not a very severe filter . Doesn't affect speech frequencies , even pretty low speechfrequencies , at all , but it 'sPhD B: What 's the {pause} cut - off frequency it used ?Professor A: Oh . I don't know I wrote this a while agoPhD B: Is it like twenty?Professor A: Something like that .PhD B: Yeah .Professor A: Yeah . I mean I think there 's some effect above twenty but it 's {disfmarker} it 's {disfmarker} it 's{disfmarker} it 's mild . So , I mean it probably {disfmarker} there 's probably some effect up to a hundred hertz or something but it 's {disfmarker} it 's prettymild . I don't know in the {disfmarker} in the STRUT implementation of the stuff is there a high - pass filter or a pre pre - emphasis or something in the{disfmarker}PhD F: Uh . I think we use a pre - emphasis . Yeah . Yeah .Professor A: So . We {disfmarker} we {disfmarker} we want to go and check that in i foranything that we 're going to use the P D A mike for . {vocalsound} uh He says that there 's a pretty good roll off in the PZM mikes so {vocalsound} we don'tneed {disfmarker} need to worry about them one way or the other but if we do make use of the cheap mikes , {vocalsound} uh we want to be sure to do that{disfmarker} that filtering before we {vocalsound} process it . And then again if it 's uh depending on the option that the {disfmarker} our {disfmarker} oursoftware is being run with , it 's {disfmarker} it 's quite possible that 's already being taken care of . uh But I also have to pick a different picture to show theeffects of reverberation . uhPhD B: Did somebody notice it during your talk ?Professor A: uh No .PhD B: Huh .Professor A: Well . uh Well . If they made outputthey were {disfmarker} they were , you know {disfmarker} they were nice .PhD B: Didn't say anything ?Professor A: But . {vocalsound} I mean the thing is itwas since I was talking about reverberation and showing this thing that was noise , it wasn't a good match , but it certainly was still uh an indication of the factthat you get noise with distant mikes . uh It 's just not a great example because not only isn't it reverberation but it 's a noise that we definitely know what to do.PhD B: Mm - hmm .Professor A: So , I mean , it doesn't take deep {disfmarker} {vocalsound} a new {disfmarker} bold new methods to get rid of uh five hertznoise , so .PhD B: Yeah .Professor A: um {vocalsound} uh But . So it was {disfmarker} it was a bad example in that way , but it 's {disfmarker} it still is{disfmarker} it 's the real thing that we did get out of the microphone at distance , so it wasn't {vocalsound} it w it w wasn't wrong it was inappropriate . So .{vocalsound} So uh , but uh , Yeah , someone noticed it later pointed it out to me , and I went \" oh , man . Why didn't I notice that ? \"PhD B: Hmm .Professor A:um . So . {vocalsound} um So I think we 'll change our {disfmarker} our picture on the web , when we 're @ @ . One of the things I was {disfmarker} I mean , Iwas trying to think about what {disfmarker} what 's the best {vocalsound} way to show the difference an and I had a couple of thoughts one was , {vocalsound}that spectrogram that we show {vocalsound} is O K , but the thing is {vocalsound} the eyes uh and the {vocalsound} the brain behind them are so good atpicking out patterns {vocalsound} from {disfmarker} from noise {vocalsound} that in first glance you look at them it doesn't seem like it 's that bad uh becausethere 's many features that are still preserved . So one thing to do might be to just take a piece of the spec uh of the spectrogram where you can see{vocalsound} that something looks different , an and blow it up , and have that be the part that 's {disfmarker} just to show as well . You know .PhD B: Mm -hmm . Mm - hmm .Professor A: i i Some things are going to be hurt . um {vocalsound} Another , I was thinking of was um {vocalsound} taking some spectralslices , like uh {disfmarker} like we look at with the recognizer , and look at the spectrum or cepstrum that you get out of there , and the {disfmarker} the uh ,um , {vocalsound} the reverberation uh does make it {disfmarker} does change that . And so maybe {disfmarker} maybe that would be more obvious .PhD B:Hmm .Grad C: Spectral slices ?Professor A: Yeah .Grad C: W w what d what do you mean ?Professor A: Well , I mean um all the recognizers look at frames . Sothey {disfmarker} they look at {disfmarker}PhD B: So like one instant in time .Professor A: Yeah , look at a {disfmarker}Grad C: OK .Professor A: So it 's , yeah, at one point in time or uh twenty {disfmarker} over twenty milliseconds or something , {vocalsound} you have a spectrum or a cepstrum .Grad C: OK.Professor A: That 's what I meant by a slice .Grad C: I see .Professor A: Yeah . And {vocalsound} if you look at {disfmarker}PhD B: You could just {disfmarker}you could just throw up , you know , uh {vocalsound} the uh {disfmarker} some MFCC feature vectors . You know , one from one , one from the other , and then, you know , you can look and see how different the numbers are .Professor A: Right . Well , that 's why I saying either {vocalsound} {vocalsound} Well , eitherspectrum or cepstrumPhD B: I 'm just kidding .Professor A: but {disfmarker} {vocalsound} but I think the thing is you wanna {disfmarker} PhD B: I don't meana graph . I mean the actual numbers .Professor A: Oh . I see . Oh . That would be lovely , yeah .PhD B: Yeah . \" See how different these {vocalsound} sequencesof numbers are ? \"Professor A: Yeah . Or I could just add them up and get a different total .PhD B: Yeah . It 's not the square .Professor A: OK . Uh . What else{disfmarker} wh what 's {disfmarker} what else is going on ?PhD F: Uh , yeah . Yeah , at first I had a remark why {disfmarker} I am wondering why the PDA isalways so far . I mean we are always meeting at the {vocalsound} beginning of the table and {vocalsound} the PDA 's there .Professor A: Uh . I guess cuz wehaven't wanted to move it . We {disfmarker} we could {disfmarker} {vocalsound} we could move us ,PhD F: Yeah ?Professor A: and .PhD F: OK .Grad E: That 'sright .PhD F: Well , anyway . Um . Yeah , so . Uh . Since the last meeting we 've {disfmarker} we 've tried to put together um {vocalsound} the clean low - passum downsampling , upsampling , I mean , Uh the new filter that 's replacing the LDA filters , and also {vocalsound} the um delay issue so that {disfmarker} Weconsidered th the {disfmarker} the delay issue on the {disfmarker} for the on - line normalization . Mmm . So we 've put together all this and then we haveresults that are not um {vocalsound} {vocalsound} very impressive . Well , there is no {vocalsound} real improvement .Professor A: But it 's not wer worse andit 's better {disfmarker} better latency ,PhD F: It 's not {disfmarker}Professor A: right ?PhD F: Yeah . Yeah . Well . Actually it 's better . It seems better when welook at the mismatched case but {vocalsound} I think we are like {disfmarker} like cheated here by the {disfmarker} th this problem that {vocalsound} uh insome cases when you modify slight {disfmarker} slightly modify the initial condition you end up {vocalsound} completely somewhere air somewhere else in the{disfmarker} in the space , {vocalsound} the parameters .Professor A: Yeah .PhD F: So . Well . The other system are for instance . For Italian is at seventy -eight {vocalsound} percent recognition rate on the mismatch , and this new system has eighty - nine . But I don't think it indicates something , really . I don't{disfmarker} I don't think it means that the new system is more robustProfessor A: Uh - huh .PhD F: or {disfmarker} It 's simply the fact that {disfmarker} Well.Professor A: Well , the test would be if you then tried it on one of the other test sets , if {disfmarker} if it was {disfmarker}PhD F: YProfessor A: Right . So thiswas Italian , right ?PhD F: Yeah . Yeah .Professor A: So then if you take your changesPhD F: It 's similar for other test setsProfessor A: and then {disfmarker}PhDF: but I mean {vocalsound} from this se seventy - eight um percent recognition rate system , {vocalsound} I could change the transition probabilities for the{disfmarker} the first HMM and {pause} it will end up to eighty - nine also .Professor A: Uh - huh .PhD F: By using point five instead of point six , point four{vocalsound} as in the {disfmarker} the HTK script .Professor A: Uh - huh . Yeah .PhD F: So . Well . That 's {disfmarker}PhD B: Yeah . Yeah I looked at um"}
+{"doc_id":"doc_157","qid":"","text":"Industrial Designer: 'S to do now is to decide how to fulfil what your stuff is ,Marketing: Yeah .Industrial Designer: so in that sense {disfmarker}Project Manager:Okay .Marketing: Yeah , sure .Industrial Designer: so it does kind of make sense , yeah .Project Manager: Okay , well {disfmarker}Marketing: It kinda does makesense , doesn't it , because when we get into the end of meeting we're kind of {vocalsound} talking about action and design as opposed to background .IndustrialDesigner: Yep .Project Manager: Okay .Marketing: Everything I have is kinda background .Project Manager: Okay we all ready to go ?Industrial Designer: Yep.Project Manager: Well how um on the {disfmarker} in this meeting then if we um {disfmarker} I'll just just recap on the minutes from the last meeting . And weuh decided onIndustrial Designer: Yep .Project Manager: decided on our our target group being fifteen to thirty five ,Marketing: {vocalsound} Mm-hmm .ProjectManager: and we decided that it was gonna be non-rechargeable battery-powered , that we're gonna group our audio-visual and other functions into into thosecategories , um {vocalsound} . And I told you guys about the three new requirements about ignoring teletext , ignoring everything except the T_V_ , and tryingto incorporate the the uh corporate colour and slogan . Um so that was the last meeting .Industrial Designer: Mm-hmm .Project Manager: Is there anything{disfmarker} have I forgotten anything ?Industrial Designer: No .Project Manager: Is that everything ?Marketing: Uh that sounds {gap} .Project Manager: Okay .Um so if we have the three presentations , and then if you have anything to kind of {disfmarker} that you know you're gonna want to discuss , maybe just makea note of it , and we'll have all the discussion at the end . That might be a better idea this time .Marketing: Sure .Project Manager: And so if we start off uh withAndrew and then Craig and then David ,Marketing: Okay .Project Manager: if that's alright .Marketing: Sure .Industrial Designer: Yep .Project Manager: Um andthen after that we'll have to make some decisions about stuff , right {vocalsound} .Marketing: Yeah , cool .Project Manager: So if you wanna take this.Marketing: Why don't I get that {vocalsound} ? Hmm .Project Manager: {vocalsound} Screwed in quite tightly . Uh what did {disfmarker} uh how did we leave itwith speech recognition now ? We {disfmarker} did we say we were gonna try {disfmarker} maybe incorporate it but we hadn't made a definite decision on that?Industrial Designer: Mm-hmm .Project Manager: Right . Oh I should also point out that um the you know the kind of final objective of this meeting is to reach adecision on the concepts of the product .Marketing: Okay . {vocalsound}Project Manager: So um {vocalsound} that's kind of the end result hopefully .Marketing:Okay . Um alright so c is it function F_ eight ?Project Manager: {vocalsound} Uh-huh . Hopefully appear in a wee second .Marketing: Hmm . Come on . I think it'sworking .Project Manager: Up there we go .Marketing: Okay great s so let me just start this . {vocalsound} Okay great . So um {vocalsound} uh s move on .Uh-huh {disfmarker} oh where'd it all go ?Project Manager: {vocalsound} Oh no .Marketing: It's not good . Okay lemme just see where I can find it . This looksmore like it . I think I just opened up the template .Project Manager: Oh right .Marketing: Sorry about that . Okay alright so let's have a look here .ProjectManager: Here we go .Marketing: Okay so this was the method that um I've taken . Uh basically what I wanna do here , before we get into it uh too far , is I wantto show you all the background information I have that I think we need to acknowledge if we want this to be successful .Project Manager: Okay .Marketing: Anduh and then sorta g go through some of the way that I've dealt with that information , and then sort of bring us all together into it to see {disfmarker} sorta seehow this fits in with the overall vision . Um so I've tried to take a whole lot of market research and summarise it for us , and then ide identify uh trends that areare sort of in sync and are important to our our uh p project plan that we have so far , and then uh initiate a kind of discussion on design options so that it sortahelps us to to narrow in on on aspects that will inform other uh other elements of the of the project . Does that make sense , tha that sort of strategy ?IndustrialDesigner: Yep .Project Manager: Mm-hmm .Marketing: I thought that that will impact on the rest of what we do , so that's why I suggested we get in this .ProjectManager: Aye a fair point definitely .Marketing: Okay so out of um different uh figures and ratings ob uh of people in general , um consumers in general , thenumber one thing that was found was that uh the br t television remote control , a fancy look and feel , okay , and not , it specified , not a functional look or orfeel , uh b f f fancy .Project Manager: Okay .Marketing: Um however , this is where we kinda have to be very , I think , creative about it . Number two was that itbe innovative . Okay so that tells me that we have to find a way to be innovative without a adding just unnecessary um sort of functional bits to it . Uh and thirdpriority uh for ease of use , so again that kind of gives us a general picture of how it has to be , um {vocalsound} quite user friendly while still having technology .So it {disfmarker} I'll just say right away as a bit of a foreshadowing into how we proceed with this in terms of m marketing , is that I think um {vocalsound}what we should think about is how the um {vocalsound} about how the innovation uh contributes to the look and feel , and not so much to the functionality of it.Project Manager: {vocalsound} Aye right .Marketing: For example like when you pick it up and push it like it all lights up or something , you know what I mean ,like , or it's got something else to it that just seems innovativeProject Manager: Uh-huh .Marketing: because obviously the thing that {disfmarker} the messagehere is ease of use . So how do you make innovation make something more {vocalsound} more easy to use ? Well that's I guess where we're gonna go with this.Project Manager: Okay .Marketing: Okay then there's the other aspect of the back the the market um research I have here is on fashion style , okay , which aswe've agreed is a priority . Uh top European fashion trend um {vocalsound} that I read about says there's this emerging theme of fruit and vegetables , okay,Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: especially in clothes and furniture . And when I first saw that I thought hmm , welldo we want to actually try and think about this trend and how we add something to it , or we get right into it , or we completely steer away from it ,ProjectManager: Okay okay .Marketing: do you know what I mean ? So my my feeling is that we w do want to observe this trend , but we want to think also about thefact that it sort of has to fit in with something which is not specifically electronics . Um 'cause I think what we're in what we're in is partly sort of home decor ,partly something like a computer , um {vocalsound} so I think we might wanna be careful about how you know how quickly we create like a remote control in theshape of an apple or something ,Project Manager: {vocalsound}Marketing: I think that would be pushing it .Industrial Designer: {vocalsound}Marketing: Andthen in terms of m material trends are for things to be soft and spongy and sort of , you might say ergonomic or or friendly to handle , which is {disfmarker}which also in indicated that last year this was this was not the case . So um probably a lot of the competition on the market will be still in last year's mode , so ifwe try and really capitalise on that , I think that'll be in our favour . Um {disfmarker} So these this is the summary of everything . Um style is number one uhthing in the in the market of who we're selling to . Uh innovative design technology's also a must in that it's seen {disfmarker} it'd be seen to be uh cutting edge ,uh but ease of use t has to be insured throughout . That was like the number three thing . And then at the end there are vibrant natural colours um that's the wayI interpreted it anyway , softness in materials , shape , and function , and so I've written at written at the bottom to give us sort of a context of discussion , MaciPods ,Project Manager: Mm-hmm .Marketing: something which is , I'd have to say very high-tech , ten gigabytes , whatever , but when you hold it in your handthere's like no buttons .Project Manager: Mm that's true , yeah .Marketing: You know what a Mac iPod is ? I'm thinking however Mac iPod is sort of last year'sbecause it's very hard and sort of glassy and glossy , so I'm thinking if we imagine that we're taking some of the features of a Mac iPod and we're then making it smore of like a more of like a comfortable type of {disfmarker} or more of like a {disfmarker} {vocalsound} maybe more vibrant to friendly thing to have . Umand then so this is w with all that information what I'm what I'm suggesting in this slide here is that we we take these ideas , and as we get into more the moreum {vocalsound} techni like sort of production side of things , that we think about shape , materials , and themes or series that go throughout . Sort of like a{disfmarker} I dunno like um we think of some kind of a thin theme that unifies it all , that we agree on , uh sorta like a marketing identity . Um {disfmarker}Does that make sense ? Yeah . So {vocalsound} so like I threw out a few ideas there just to kinda get us thinking along those lines like lemon , lime , I dunno ,green colours , pe whatever , it's just an idea , 'cause I'm thinking that some of these ideas will seem quite coherent if we use them in terms of their {disfmarker}what people associate this {disfmarker} them with in terms of texture , shape , colours , things like that .Project Manager: Mm 'kay . Great .Marketing: Like umthe ones the ones which I'm most fond of in terms of giving like a theme to it would be like um like lemon or something like that , you know something which is ,like you see a lot in in other areas . Like I see lots of websites and things that seem to associate with like lemon and lime and {disfmarker}Project Manager: Okay.Marketing: So anyway it's just just an idea .Project Manager: Yeah .Marketing: I'm thinking maybe we could incorporate some of these features into a fairly um{disfmarker} {vocalsound} into something which is {disfmarker} which seems to have something to it which is almost gimmicky because like um like somethingto do with like lighting within it . Like you know just within the simple sense , when you pick up a phone and touch a button it uh lights up , q usually the buttonslight up .Project Manager: Ah .Marketing: How can we build on that ? Maybe like it could light up in different colours or something or or people could buy the buythe control and then it comes with different like covers or something so .Project Manager: Okay .Marketing: Anyway those are {disfmarker} that's all I have,Project Manager: That's great .Marketing: but uh hopefully we can we can revisit those ideas when we get into {disfmarker}Project Manager: Uh-huh . Okaygreat .Marketing: {gap}Project Manager: Um thank you for that . Uh Craig do you wannaMarketing: Yep .Project Manager: uh plug yours in then ?User Interface:Is it working ?Project Manager: {vocalsound} Mm . Not quite .Marketing: Did you press F_ eight ?Industrial Designer: It's probably not sending . Yeah .Project"}
+{"doc_id":"doc_158","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from JulieMorgan, and I'm very pleased to welcome David Rees, who is substituting for her today. Can I ask Members whether there are any declarations of interest,please? No. Okay. Thank you very much. Item 2 this morning, then, is a session with the Minister for Children and Social Care on the Welsh Government'schildcare offer. So, I'm very pleased to welcome Huw Irranca-Davies, Minister for Children and Social Care, also Jo-Anne Daniels, director for communities andtackling poverty, and Owain Lloyd, deputy director for childcare, play and early years. So, thank you, all, for your attendance. If you're happy, we'll go straightinto questions from Members, and the first questions come from Hefin David.Hefin David AM: Good morning, Minister. How has it gone in the early implementerlocal authority areas, and is it something of a mixed bag?Huw Irranca-Davies AM: It's gone well, but I'm glad we've done it through this process of earlyimplementer, actually piloting it, because we're learning lessons as we go along. It has gone well. It's been encouraging, to the extent that we're at the pointwhere we're expanding—we've made announcements on expanding some of the early implementer areas so we can learn more lessons. But, in terms of whatwe're learning, one is the bureaucracy around the current approach that we're taking, because it's being done on the seven early implementers. So, we're askingparents to come in, provide their wage slips, provide the birth certificates, and so on. You're dealing sometimes with parents and families with complex issues andcomplex backgrounds, so it's difficult. And the burden of administration on that is falling to each pilot area. In one case, it's a whole authority, but it's onlyone—that's in Blaenau Gwent. In others, it's smaller areas. So, we're also hitting those—. The other big challenge we're hitting is communication. So, we'rehaving parents, generally, who are outside the areas entirely saying, 'Why haven't we got this yet? Can we please get into it?', which is encouraging. But theother thing we're having is people who are within pilot authorities, where it doesn't extend to the whole authority, saying, 'Well, hold on now, we think we qualifyfor something under universal care, we think we qualify for something on tax credits. Why don't we qualify for this?' 'Well, you're not in the pilot area.' So, we'relearning about these things, but the biggest one, I have to say, is the administrative burden, and I think that's interesting in how we take this forward for a widerroll-out.Hefin David AM: What is the administrative burden? What specifically is that?Huw Irranca-Davies AM: It is that sheer burden on each local authority, andeach pilot area, to administer a scheme where we are asking parents to prove eligibility, to bring in documents to prove their eligibility, to make adjustments as itgoes forward based on what their changing work patterns are, what their salary slips say. It's incredibly bureaucratic. So, yesterday, when we made thestatement following the announcement of the introduction of the Childcare Funding (Wales) Bill, we made clear that our preferred option, as put within thatframework Bill, is actually to build on, and to learn from the lessons as well, the model of the HM Revenue and Customs type of model, where you actuallyhave—and this, by the way, is supported by local authority providers out there—one system that is a centralised system, where there is clarity, that is handled,that has elements of information sharing between Government departments, such as the Department for Work and Pensions, and so on, so that the work is donefor the parents, and the work is done for the local authorities; much cleaner, much simpler.Hefin David AM: How confident are you that you can achieve that by2020?Huw Irranca-Davies AM: We are very confident. But, as I say, I'm more confident in the fact that we're actually piloting it, and phasing this in, because Ithink we've learned from some of the experiences elsewhere, including just over the border in England, where they have a different version of a childcare offer,but they've gone for it in a big-bang approach. And it has led to technical issues, it's led to volume issues, where their anticipation of how many people would buyinto it was overwhelmed by the numbers who actually then came forward for it, and the complexity, I have to say, of individual family situations, whereas whatwe are doing, Hefin, is taking this forward very, very carefully. Each roll-out, each expansion that we're doing of the pilot is not—and I know this has caused somepeople to come back and say, 'Why can't we all have it now?' It's because we're only rolling out to areas where we now need to learn a lesson about whether it'srurality or, as it will be within densely urban areas, where the cost might be slightly higher, and that's allowing us to have the confidence that we'll have it. We'veexpanded the whole offer across Gwynedd—the whole of Gwynedd, Anglesey and Caerphilly. Flintshire now have a cross-authority offer. Rhondda Cynon Taf isanticipating doing this by September. Swansea is planning to do it, they tell us, in due course—in short order—as well. So, we have the confidence now that, withthat learning going on from different pilot areas, we'll have the full roll-out by 2020.Hefin David AM: Is it true to say that, in the early adopter areas, the intensityof demand for the services is not spread evenly across?Huw Irranca-Davies AM: Absolutely.Hefin David AM: And why is that? Is that going to cause a problemacross Wales?Huw Irranca-Davies AM: No, it won't cause a problem. If we were doing this tomorrow, it would cause a problem, but what we're learning isthat there are some economic issues and then there are some cultural issues. So ,there are issues to do with—. It's not capacity, by the way. We're not finding aproblem here with capacity, whether it's in English language provision or whether it's in Welsh language provision, whether it's in children with complex needs,we're not finding that as an issue. But what we are finding is, for example, one of the well-known ones—and I've spoken about this before—is that, in some of thesouth Wales Valleys constituencies, there is a family tradition of doing childcare within the families. I've done it myself. Grandparents, aunts, uncles and so onprovide free, unregistered, unlicensed childcare of a sort. Now that isn't what the scheme is about, by the way, I have to say. So, some of the aspects arecultural, but what we're also doing alongside this, whilst looking at the capacity and looking at how we learnt from the pilot roll-out, is that communicationwith parents and providers and local authorities as well. So, we have a whole programme running alongside it. It's about communicating what the offer is,how simple it is to get invovled in this and where they go to, and, critically, I think, how we do that national roll-out would be important as well.Hefin David AM:So, given the point you've made about grandparents and family, wouldn't it be sensible, then, to offer a subsidy to grandparents to provide this kind of care?HuwIrranca-Davies AM: Unregistered grandparents?Hefin David AM: Well, through some kind of analysis of that.Huw Irranca-Davies AM: Well, we don't think so andthere are good reasons behind this.Hefin David AM: Is it because you say that they wouldn't be registered as carers for their own family member?HuwIrranca-Davies AM: Yes, but there's a deeper reason behind that registration as well. The childcare offer isn't only to just provide childcare; it's the wideraspects that come with this. This childcare offer ties into the foundation years offer. There's an element of education linked to the childcare offer—there's that10 hours of the early education foundation years as well. The two tie together. So, there's an issue here with quality, about socialisation and how children learn inan environment, as opposed to purely—as great as all our grandparents and aunts and uncles are—simply child-minding. That's one important distinction. So,the focus of this scheme is very much on registered licensed providers, which could be, by the way—because we do have them, and we're discussing this at themoment internally and with the Professional Association for Childcare and Early Years and others—grandparents who are actually registered and inspected by thecare inspectorate? We're having those discussions.Hefin David AM: How many of them are there?Huw Irranca-Davies AM: We don't think there is a huge number,but we're trying to bottom this out at the moment. We haven't got the exact number, but we don't think they are huge numbers, but there are, in ourconstituencies, registered, licensed, inspected grandparents who look after other people's children in a little group of four or five or six or seven, but also theirown grandchildren.Hefin David AM: So, they're a kind of grandparents club.Huw Irranca-Davies AM: Yes. Now that, I would say to you—and I know that Darrenraised this on the floor yesterday as well—is markedly different in the nature of it, because it's registered and licensed, than simply informal grandparents oraunts or uncles. I say that as well because we also get people who will say to us, 'I don't want to be paid for looking after my grandchildren; I look after mygrandchildren because I look after them'.Hefin David AM: And what about the view, given that you said that capacity wasn't an issue, of the National DayNurseries Association, which says that Wales has the most fragile childcare sector in Great Britain?Huw Irranca-Davies AM: I don't agree we have the mostfragile, but the childcare offer gives us an opportunity to make it more resilient and more robust. We know from the early piloting, and as we roll it out, that thereis the immense diversity within the childcare sector, and we're talking about everything from those very small terraced homes that have been licensed andregistered to take six or seven children, to large, complex environments that perhaps are on maintained premises within school premises, provided by a voluntaryor third sector organisation. So, there's immense complexity and we know that that differs across Wales, and we also know there's immense regional variation inthe scale and the type of childcare offer. What the roll-out allows us to do, backed by £60 million of capital money behind it, in terms of capital development ofchildcare facilities, backed by a 10-year workforce development plan for childcare—and bear in mind this is bolted in as part of our foundational economyapproach as well—that means, by 2020, we get to the point where we're putting the money into the capital development but also to the workforce development,because in some areas we're finding it's not to do with lack of provision and facilities, it's to do with lack of staff. In other areas, we're finding there are plenty ofstaff but not the adequate facilities. We've got to get it right.Hefin David AM: That's fair enough, but is it realistic to think that there's going to be capacity growthin the next two to three years to deliver the product? Is that realistic to think that that foundational sector can provide that level of staffing?Huw Irranca-DaviesAM: Yes, I think it is, absolutely, because, again, what we're finding is we've got several things going on at once in terms of how we monitor and assess the"}
+{"doc_id":"doc_159","qid":"","text":"User Interface: Okay .Industrial Designer: Or you get it . Okay .User Interface: No I don't think so it has to be like that yeah and you have to adjust the length .Okay , and then .Project Manager: {vocalsound} So we uh {disfmarker} we will wait for Anna , a few minutes .User Interface: Yeah , s yeah , um .IndustrialDesigner: {vocalsound} Mm {vocalsound} . Yours is well {disfmarker} {vocalsound}User Interface: I think you can put anywhere you want , actually . IthinIndustrial Designer: Yeah but the the mic should not {disfmarker}User Interface: It's not a directional mic , anyway .Project Manager: I think it should worklike this .Industrial Designer: {vocalsound}User Interface: Uh .Project Manager: So I will try to get my presentation running .User Interface: Yeah .IndustrialDesigner: Yeah .Project Manager: Mm .Industrial Designer: Mm . Can't help you with that .User Interface: Last .Project Manager: It's no matter .IndustrialDesigner: Okay , it's y yeah .Project Manager: No problem . Ah yes .Industrial Designer: Right .User Interface: Okay .Industrial Designer: Then press uh alUserInterface: Okay .Industrial Designer: This .Project Manager: I don't know .Industrial Designer: You know ?Project Manager: Just try .User Interface: 'Kay .ProjectManager: On this normal {disfmarker}Industrial Designer: Oh oh .User Interface: Alt F_ five .Project Manager: Good . Doesn't appear on the screen here.Industrial Designer: {vocalsound} Right well {disfmarker}Project Manager: Oh .Industrial Designer: Wow . Amazing . It's working {vocalsound} .ProjectManager: Okay . Thank you . {vocalsound} Uh .Marketing: Hold that . Okay .Project Manager: Yes and you can put can clip it uh on your {disfmarker}Marketing:Okay . Mm .Project Manager: Somewhere . So , {vocalsound} good morning , everyone . Um {disfmarker} Welcome at uh {disfmarker} at the kick off meeting ofour uh latest project .Industrial Designer: {vocalsound}Project Manager: I hope you all have been uh updated about it .Industrial Designer: Yeah .ProjectManager: Good .User Interface: So . Yes .Project Manager: So w we will try to structure this uh meeting with an a with an agenda uh as presented here . Um afterthe opening we will tr get acquainted to each other .User Interface: {vocalsound}Project Manager: See what our roles are in this project . So , um {disfmarker}We have been provided with uh some uh w technical tools to uh {disfmarker} to communicate and to well , learn from each other's plans uh as I can say um so wwe will also try to uh to get acquainted to this tools so they are also new to me I don't know whether you worked with them before . Um then we will come to theuh to the to the actual project plan . You all know I hope {vocalsound} how it's about uh the uh new r remote control we are going going to design .Marketing:Mm-hmm .User Interface: Total .Project Manager: Uh then we will uh discuss uh , well , how it should be and uh {disfmarker} wh what uh what our new productshould look lite {disfmarker} like . And uh well then uh after some twenty five minutes I hope uh we can end this meeting . So . Um basically this is about a uh anew c remote control . Um {disfmarker} We {disfmarker} When you design a new product you of {disfmarker} uh you of course want it to be original . Be uh{disfmarker} we want to be distinguished , mm ? People uh want to uh when they look at the shelf want to think , well that's the product I I need . So it needs tobe trendy . I mean trendy is what people want , so then I w they will buy our product . But then , uh , it also should work uh user friendly and uh otherwisepeople uh uh well it will not be uh be rated very well in consumer uh articles and like that .Industrial Designer: {vocalsound}Project Manager: So , the generaloutline of uh new project will be we first uh go through a functional design phase . Um {disfmarker} You all get uh um certain task uh in this uh in this phase anduh then we will meet again and uh discuss this functional design . And the same holds for the uh ph two phases uh after this , the conceptual design and afterthat a a more detailed design in which the the final project should get its definite shape . Alright , but first we will do some uh tool training . In all in front of youuh you see uh the uh notebooks and w uh n note blocks and we have here a a {disfmarker} a {disfmarker} a white-board .User Interface: WhiteboMarketing:Mm-hmm .Project Manager: And um well it should work uh {disfmarker} I've read it from my uh from some colleague that it should work with some kind oftoolbar . I didn't find out yet how it work , but maybe one of you did , so {disfmarker} Um {disfmarker}Industrial Designer: Under documents in the sharedfolder . Okay .Project Manager: Yes . Do {disfmarker} Do we have to say something about that ? I I I'm not fully updated about this shared folder uh .IndustrialDesigner: Yeah , I guess we'll have a shared folder uh with documents that we can share . And uh , yeah .Project Manager: Yes well we will then find out ho howit works .Industrial Designer: Yes .Project Manager: Um . Well , this seems to me , yes , some computer program but I didn't find it yet . So , we'll come to thatlater . So , uh now we will try out the white-board we have here . So , I would suggest uh {disfmarker}Industrial Designer: Each of us is going .Project Manager:Well , yes , um we uh we should try to t to draw on it and then well it should be smart some way . I {disfmarker} {vocalsound} I'm not really sure how this works, but {disfmarker}Industrial Designer: Okay , shall I start ?Marketing: Mm . Yeah .Project Manager: Yes ,User Interface: Yeah ,Project Manager: a good idea Mael.User Interface: you can start it you know .Marketing: I think for us it's just like a normal whiteboard , but they'll be recording what we write down .IndustrialDesigner: So , iUser Interface: No they will record through that . There's a sensor over thereMarketing: Mm . Mm .User Interface: which is going to record thestrokes that you make .Marketing: But for us it's just like a normal whiteboard .Project Manager: Okay .User Interface: Yeah .Project Manager: 'Kay .UserInterface: {vocalsound}Industrial Designer: But it's {disfmarker}Marketing: {vocalsound}Industrial Designer: Actually , I think I cannot go with uh{disfmarker}Project Manager: You {disfmarker} you {disfmarker} D doesn't it work ? Maybe someo Maybe {disfmarker} maybe Anna , maybe you can start.Marketing: Mm-hmm .Industrial Designer: Yeah .Project Manager: Then he can maybe find out to get his cord right .Marketing: I have to draw .Project Manager:So um {disfmarker} L Why don't you draw uh {vocalsound} your favourite animal on on th on the white-board .Industrial Designer: {vocalsound}Marketing: Mmy {disfmarker} my favourite animal . {vocalsound} Sorry this is all tangled up here .Project Manager: Oh , I see uh {disfmarker}Marketing: That's better .UserInterface: Yeah .Marketing: {vocalsound}Project Manager: Yeah . Yes . Mm . So draw it . We will try to guess what it is . {vocalsound}Marketing: Mm-hmm .{vocalsound} I'm a very bad drawer .Project Manager: {vocalsound}Marketing: Weird . Um . You're not gonna be able to guess from my drawing . I'm a baddrawer . Okay .Project Manager: Mm .Marketing: They're ears , by the way .User Interface: 's a cat .Marketing: No . Um close though . Okay so {disfmarker} likea pet animal .Industrial Designer: {vocalsound} Okay .Marketing: {vocalsound} Like a cat .User Interface: Yeah .Project Manager: It's like a cat , so I guess it's acat . {vocalsound}Marketing: No , not a cat though .Project Manager: What is this now ?User Interface: Ah you forget about it .Industrial Designer: You're on theknife .User Interface: Yeah , uh I think it's fine . I just don't want to carry it off . Man , this wires , eh ? We need a wireless microphone .Industrial Designer:{vocalsound}User Interface: You know ? Pro specially we should next project we should take l like that .Marketing: Okay . So .Project Manager: So ,Marketing:It's not a cat ,Project Manager: that's the cat .Marketing: it's a dog .Project Manager: Oh .User Interface: So .Industrial Designer: Mael .Project Manager: It's adog .Marketing: Yes .Project Manager: So but that's also kind of cat ,User Interface: OhProject Manager: isn't it ?User Interface: the dog doesn't have a tail?Marketing: {vocalsound} It's got a tail then .Project Manager: B bo both predators .User Interface: Yeah , sure , yeah .Marketing: Yeah yeah .User Interface: Ithought so . The dogs have a tail .Marketing: So do cats .Project Manager: So , thank you . Uh d did you uh work out cord ?Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: And you guessed cats without a tail . {vocalsound}User Interface: Yeah .Industrial Designer: Yeah , I thinkI will go without {disfmarker} without it ,Marketing: Okay .Project Manager: Okay .Industrial Designer: right ?User Interface: It'll still not extend , right ? It's notup to that .Marketing: Okay , there you go . So what favourite characteristics . Uh . Dogs are always friendly and loyal and fun . A horse ?User Interface: It's ahorse .Marketing: {vocalsound} This is why you're the designer . And I'm marketing . {vocalsound}Project Manager: Yes . Yes , yes this is {disfmarker} Yesdefinitely a horse . Yes . Oh very good . So {disfmarker}Marketing: Ah {vocalsound}Project Manager: I suppose it {disfmarker}User Interface: Ah I think you canput that .Marketing: Mm-hmm . That's it . {vocalsound} A blue and black zebra {vocalsound} .User Interface: {vocalsound} {vocalsound}Marketing:{vocalsound}Project Manager: Yes . Can {disfmarker} you can meet them in Africa , I think . Yes . Very good . So {disfmarker}Marketing: The very rare bluezebras . Yes .User Interface: {gap} I'll tell to get it off my {disfmarker}Project Manager: Ma Matthew ?User Interface: Uh ? Mm-hmm .Project Manager: So{disfmarker}Marketing: You got a lot of room here .Project Manager: Maybe {disfmarker}Marketing: You can probably reach .User Interface: Oh y it's not forthat .Marketing: No ?User Interface: No .Project Manager: I hope you have some space in your uh the horse of uh Mael .User Interface: Okay . Yeah . So whatshould I draw ? Mm . He has already to do cat .Marketing: I took a dog . {vocalsound}Industrial Designer: {vocalsound}Marketing: Um . A mouse ?ProjectManager: This looks likes a cat who has been driven over . {vocalsound}Marketing: {vocalsound} Okay .Industrial Designer: {vocalsound} Yeah .{vocalsound}Project Manager: {vocalsound}Industrial Designer: And we should sum up its favourite charas characteristics , right ?Marketing: Mm-hmm .{vocalsound}Project Manager: Yes , the moustache .Industrial Designer: So {disfmarker}Project Manager: That's {disfmarker} that's definitely a cat .Marketing:Mm-hmm .Industrial Designer: Uh yeah . And i Th They like to sleep , that's why you said you they are like this .Project Manager: {vocalsound} It's quite , youknow {disfmarker} relaxed situation .Marketing: {vocalsound}Industrial Designer: Yeah . {vocalsound}Project Manager: Yes .Marketing: Mm-hmm .ProjectManager: {vocalsound} Yes , okay . {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} She has the small legs .Project Manager: Th thankyou , Matthew .Industrial Designer: Yeah . {vocalsound} Thank you , Matthew .Marketing: {vocalsound} It's a very big rat . Or a very small cat ."}
+{"doc_id":"doc_160","qid":"","text":"Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Right well . Welcome to the {disfmarker} what should be the last of thesemeetings and uh it looks like we've uh done a good job here and uh we'll just go through the the final uh the final details . Um okay , oh the um th the theminutes of the last meeting uh I think we'll take those as read , um {disfmarker} OkayIndustrial Designer: {vocalsound}Project Manager: the um th the the nextuh thing we we we'll have a look at the uh th have a look at the prototypes and uh look at the uh evaluation criteria and finance and then uh uh just tidy up withproduction and um and then we can close . Um So f if if you'd like to uh present your your proposals .Industrial Designer: Uh okay we basically have the samekinda lay-out here it's just um you hold it like this and it gets kinda moulded to the to the shape of your hand , basically . Um on the left we've got the scroll forthe volume , on the right we have buttons for the channels up and down and that kinda {disfmarker} so you can hold it and scroll , or you can hold it and andpush .Project Manager: {vocalsound}Industrial Designer: Uh this is the power key , um it's kinda like the biggest so you know how to turn on .Project Manager:Uh-huh .Industrial Designer: Uh that's the little menu key . This is the infra-red section so you g it'll be sending rays and if you're you know pointing it like that itcan send it ,Project Manager: Yep ,Industrial Designer: or if you hold it up like that it'll send it .Project Manager: yeah , good , good .Industrial Designer: Uh wegot a microphone there which for all the voice commandsProject Manager: Uh-huh .Industrial Designer: so you can you know talk to it like thatProject Manager:Yep ,Industrial Designer: and it'll still understand .Project Manager: right .Industrial Designer: Um the logo is down down there umProject Manager: Uh-huh .UserInterface: Mm .Industrial Designer: and {gap} has the cover on itUser Interface: SIndustrial Designer: and you can see like it just kinda goes {disfmarker} thered bit's the cover and it kinda goes over everythingProject Manager: Yep , yep ,Industrial Designer: and then there's holes for the buttons to come through . Um.Project Manager: mm-hmm .User Interface: And so we figured it would be kind of you know a light weight plastic ,Project Manager: Uh-huh .Industrial Designer:Mm .User Interface: just kind of a light {vocalsound} non-descript greyProject Manager: Yep yep .User Interface: so that people'll wanna buy the coversProjectManager: Yep .User Interface: and then the covers will be that sort of rubbery material like they make iPod covers ,Project Manager: {gap} showing me age ,UserInterface: so they kinda just stretch over .Industrial Designer: Mm .Project Manager: I don't know what i c iPod covers are like .Industrial Designer:{vocalsound}User Interface: {vocalsound} Yeah , wellProject Manager: Yeah {gap} yeah .User Interface: I I didn't know that but yeah they're kind of{disfmarker} it's just kind of a rubbery {disfmarker}Project Manager: Uh-huh .Industrial Designer: Yeah .User Interface: and that way {disfmarker} youknowProject Manager: Okay ,User Interface: spongy like is something that people wantedProject Manager: yep , right .User Interface: and it just sort of stretchesoverIndustrial Designer: Mm-hmm .User Interface: and that way I think probably helps protect it a little bit too as wellProject Manager: Okay .IndustrialDesigner: But it's also e e easier to put on versus like mobile coversUser Interface: and {disfmarker}Industrial Designer: you actually have to screw them on andstuff and you kinda sometimes have to get someone to do that for you . This is very much you should be able to stretch it over yourselfProject Manager: Yep.User Interface: just kinda stretch it overIndustrial Designer: and it'll be fine .Project Manager: Okay , good yeah .Industrial Designer: Yeah .User Interface: andit'll just stay onIndustrial Designer: Yeah .User Interface: and then the buttons come through and so {disfmarker} and then the {disfmarker} each one of 'em onthe very end will have the logo with the yellow circle and the R_R_ .Project Manager: Yep , right .Industrial Designer: Li that'll be {gap} the covers as well , yeahyeah .Project Manager: Yeah , yeah .User Interface: Yeah .Project Manager: I mean tha it's it's a detailed point , I just wondered {disfmarker} I mean h how willpeople put these down I wonder ?User Interface: Like that .Project Manager: Right . Okay {gap} for some strange re reason I had it in my mind that they'd putthem down verticallyIndustrial Designer: Yeah it could stand , yeah .Project Manager: but uh uh {disfmarker}User Interface: {vocalsound} Oh .IndustrialDesigner: Well we could broaden the {disfmarker} broaden it out a bitProject Manager: {vocalsound} Yeah , uh noIndustrial Designer: so it would stand like that.Project Manager: because {gap} particularly if they've dif if they're gonna have it as a you know as a fashion itemIndustrial Designer: Yeah , {gap} standing.Project Manager: uh I mean it it's uh it it's just I mean it's just a minor detailed point , but um as you say you can just make the base a little bit bigger and uh{disfmarker}Industrial Designer: Yeah , we could just widen it out uhProject Manager: Yeah and uh it just needs another uh another logo somewhere is is is is allit gives gives people the option and if if say if they've got them um {gap}Industrial Designer: Mm . Mm .Project Manager: because {gap} actually have several{gap} upon the uh {disfmarker}Marketing: Could have one for your stereo , one for your {gap} D_V_ player .Industrial Designer: Mm , yeah , yeah .ProjectManager: Yeah , well .User Interface: Yeah .Industrial Designer: Have to {disfmarker} if we just lengthen it I guessProject Manager: {vocalsound} YeahIndustrialDesigner: so it comes down to the base of the handUser Interface: Yeah ,Project Manager: but that that's uh {disfmarker} but uhUser Interface: just kind of{disfmarker}Industrial Designer: and then flatten it outProject Manager: noIndustrial Designer: and could sit there .Project Manager: the the the overall uh theoverall concept is uh {disfmarker}Industrial Designer: Yeah , {vocalsound} mm .User Interface: Or just make it little .Project Manager: yeah yeah ,IndustrialDesigner: Yeah . Yeah .User Interface: Somewhere like thatProject Manager: no no , I mean that's {disfmarker} these uh {disfmarker}User Interface: so it justsort of {disfmarker}Industrial Designer: We might {gap} have to lengthen itMarketing: Yeah I kinda had a a kinda {disfmarker} a natural kind of a ideaIndustrialDesigner: so it kinda {disfmarker} your hand still holds it and have it there ,User Interface: Yeah .Industrial Designer: yeah , yeah , yeah like that , like that{gap} . Yeah .Marketing: where it's like more of a kind of {disfmarker} like a kinda maybe slightly like thinner ,User Interface: BuProject Manager: Yeah.Marketing: yeah , kinda like that kinda {gap} like a flower or a plantProject Manager: But uh yeah {disfmarker} but no th but the {disfmarker} yeah the the the{disfmarker}Industrial Designer: Mm .Marketing: for the more natural kinda {disfmarker}User Interface: {gap} .Project Manager: Yeah , yeah , yeah ,IndustrialDesigner: {vocalsound} The final product would actually stand up , yeah {vocalsound} .Project Manager: I mean it it's uh {disfmarker} wouldn'tUser Interface:{gap} fall over .Project Manager: wouldn't do that , indeed yeah . But th th but th yeah th b theUser Interface: Yeah .Project Manager: these were all minorminor uh minor details ,Industrial Designer: Yeah , yeah .User Interface: Yeah .Project Manager: I think the uh the basic concept i i is is absolutely bangonIndustrial Designer: Yeah .User Interface: {gap} . 'S a little longer .Project Manager: and the {disfmarker} iIndustrial Designer: Wee {vocalsound}{disfmarker}Project Manager: it certainly meets our criteria of being uh {disfmarker} of you know looking different .Industrial Designer: Mm .Project Manager:Um , soUser Interface: Yeah .Project Manager: good that's that that's excellent .Industrial Designer: {vocalsound}Project Manager: Um right let us um What's onthe next one ? Oh right yes , let's have a look at the um f finance . Um , now we're given a a clear design brief , uh if I {gap} get the uh spreadsheet up . Oh.Marketing: Uh yeah , {vocalsound} just click there .Project Manager: {gap} .Marketing: Uh the the maximise button .Project Manager: Oh right . Ah . Good , thisis why we need to make these things simple so that the uh the the the boss can understand .Industrial Designer: {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Now I've um {vocalsound} this is the company's uh uh costing for for various uh uh aspects of designand I I I've treated some of these slightly uh liberally given the constraints placed on us , um I wouldn't know for in for instance if if they require us to have it inthe corporate colours , then that is not a special colour , that's a that's a standard colour . Uh , so we're just simply on batteries , the the one th the one decisionI've had to make is that um we're {vocalsound} we will have to find a s a regular standard chip to to do this with and I I um I'm I'm I'm certain that they they arearound so , um that I don't think is a a serious problem . The uh the the voice sensor is is expensive but we we made a a basic decision that that was absolutelyfundamental to the to the design so that that has to stay . Um then again the the the the shape of the case means that it's it's expensive to uh um l to make'cause of the the th the double curves but on the other hand because of our overall fashion concept um we we should exceed the the sales targets . Um it's simplymade of plastic so th that's uh that's no problem and uh um just because the whole {gap} the colour of the the whole thing that's uh uh there's some cost there .Um and uh we haven't actually got a scroll wheel we we we got push buttons and and a simple uh um {vocalsound} slider so um and the and the the buttons areuh uh well I do don't know that they're special colour . Anyway the the costings uh come in at {disfmarker} exactly on target at twelve point five uh but I thi Ithink we have a a very strong case to argue that uh what what we've got is is so in innovative and uh and different that um {vocalsound} any any slightcompromise we have to make on on cost is is offset by the uh you know the uh you know the the the the concept of it being a a fashion accessory and and havingthe the interchangeable coversIndustrial Designer: Mm .Project Manager: so uh um you know the {disfmarker} if if if the management expect us to be techno{gap} again {gap} fail again {disfmarker} technologically innovative um that they they have to accept that we we can't operate absolutely within uh theconstraints that they give ,Industrial Designer: Mm .Project Manager: so uh we we we present this as the uh the company's uh the the company's way forwardand uh uh I I think we can argue that we we have uh come in on on budget . Um . Okay , uh . So um . Does anybody want to uh {disfmarker} uh Andrew do youwant {disfmarker} what do you want to say about um the uh yeah the evaluationMarketing: Evaluation .Project Manager: where where you know well wherewhere we're where where we're at ?Marketing: The {vocalsound} the product or the project ? {vocalsound}Project Manager: The the the well the {disfmarker} I"}
+{"doc_id":"doc_161","qid":"","text":"Project Manager: Okay everybody is ready ? {vocalsound} Good morning again . So , today we are going to have a f second meeting . Oh Michael , hi .UserInterface: Yep .Project Manager: You're late . You have a good reason for that ?User Interface: {vocalsound} Yes .Industrial Designer: {vocalsound}ProjectManager: {vocalsound} Very good {vocalsound} . {vocalsound} Okay , let's have a look to the agenda today . {vocalsound} So , we are going to have a meetingabout the functional design . Um so first before starting I w just going to uh to go quickly to {disfmarker} through the minutes of previous meeting . So uh{vocalsound} basically we we are not decided if w we should go for a universal or specific uh uh remote control , but I have new um new i inputs for {disfmarker}about that topics . I goin I'm going to share with you . {vocalsound} And uh basically we decided to um to uh go to individual actions for each of you uh so umIndustrial Designer should wor was supposed to work on th on th on the working design . You showed us {disfmarker}Industrial Designer: Yep .Project Manager:you ar you you prepare something for us ?Industrial Designer: Yeah . Yep .Project Manager: The U_I_ guy also uh work on that , yeah , and for the mar ourMarketing Expert should deliver some specs .User Interface: Mm .Project Manager: Alright {vocalsound} so {vocalsound} so we are going to go through three ofyour individual presentations . But first I would like quickly to uh to decide of {disfmarker} to give a name to the project . So , I just put d quickly Remo , but ifyou have any o other names that we co could decide for just to to keep something fun for our project we we should {disfmarker} we could discuss quickly . Anyideas ?User Interface: Uh the Powerstick .Industrial Designer: Mm-hmm .Project Manager: {vocalsound} Powerstick , yeah .User Interface: {vocalsound}ProjectManager: What else ? What else ?Marketing: Uh . {vocalsound}User Interface: Maybe a Spanish name would work well .Marketing: Mm I was thinking of the{disfmarker}User Interface: Especially if we're selling into the U_S_ market becasue there's a lot of Spanish speakers there . Maybe something that sounds coolin English but sounds funny in Spanish .Marketing: Mando .User Interface: Mando .Project Manager: Mango ? Mango ?User Interface: What is that ?Marketing:Mando .Project Manager: Mando . M_A_ ? M_A_ ?Marketing: A*_N_ yeah D_O .Project Manager: M_ D_O_ . Mm , okay .Marketing: It doesn't it doesn't soundcool for me ,Project Manager: What does it mean ? Oh .Marketing: but maybe for a Spanish {disfmarker} for I {disfmarker} for {disfmarker}User Interface:What does it mean in Spanish ?Marketing: Control .User Interface: Control .Project Manager: Hmm . Nice .User Interface: Okay . 'Cause it also {disfmarker} likein English it sounds like you know the man's tool you know because you know men like to have control of the remoteMarketing: But {disfmarker} mm , yeah.User Interface: so it might {disfmarker}Marketing: Mando sounds Latino . {vocalsound} {vocalsound}Project Manager: {vocalsound} {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Okay .User Interface: The Mando .Project Manager: {vocalsound} So , let's go forMando ? Yeah ? No objection ?Industrial Designer: Yeah , yeah .User Interface: Yeah that's {gap} .Project Manager: Great . So {disfmarker}User Interface: Andwe could have some like you d you could have the fonts you know special , so you have man in like in in uh in one o in one font and then the O_ as like{disfmarker}Project Manager: Okay , I think this is {disfmarker}User Interface: Although you don't wanna cut uh cut women out of the uh potential buyersthough ,Project Manager: Okay .User Interface: do you ? So {disfmarker}Industrial Designer: Yeah they are the most T_V_ watcher . So we should be careful.User Interface: Yeah .Project Manager: Okay , I think this is more a question of of {disfmarker}User Interface: Marketing .Marketing: But {disfmarker}yeahProject Manager: I I think this is more a question of of look and feel .Marketing: it uh {disfmarker}Project Manager: Something that should be addressedlater We should we should go to other {disfmarker} for the other topics .Marketing: Yeah because if the product will be international {disfmarker}User Interface:Well that's the thing . We need to know who we're selling it to before we can really decide on a {disfmarker}Project Manager: Yeah okay , so let's stick f to ManMando for the nameUser Interface: Um .Project Manager: and we'll see for the for the look and feel later . So let's go for the three presentations right now . So ,who want to start ?User Interface: {vocalsound}Project Manager: So maybe we could start with the market , yeah .Marketing: Maybe maybe I should uh start .Yeah . Mm . Okay .Project Manager: Okay so I have your slides somewhere ?Marketing: Yeah . Should be in participant four .Project Manager: Participant four .{vocalsound} This one ?Marketing: Yeah , yeah . {vocalsound} Uh .Project Manager: S that's coming . Uh {gap}User Interface: Yeah .Project Manager: okay .Great .Industrial Designer: Yep .Marketing: Okay so yeah I will I will give a brief outline about what I what I prepared for this meeting .Project Manager:Mm-hmm .Marketing: For the functional requirements and especially for the for the user requirements . I prepare a marketing report and we have to find theweaknesses and and the the improvements we could do to the current remote controls . And also I di I did a study with {disfmarker} for the incorporation of newtechnologies it seems that the remote controls have been {disfmarker} have remained the same for the last five , ten years . There is no no significant differencebetween the the b the first new controls and {disfmarker}Project Manager: Okay . Sh next slide ?Marketing: Yeah . Yeah .Project Manager: Okay .Marketing: Well{vocalsound} {vocalsound} more {disfmarker} most of the people think that remote controls are ugly , thoroughly . So and they they admit that the the theyshould uh s they would uh spend more money in a fancier remote control , which is which is good and it's interesting point . Also the people are worried aboutabout the R*_S_I_ disease , which is if you repeat the sa the same movement , which is not a {disfmarker} with a not very appropriate device , you you will haveproblems whe when you will get old . So s people are uh are worried about the the shape of the of the remote control . They are also {vocalsound} {disfmarker}they get angry very often because they lost the remote control very often , so I think it would be a good point to to l to to find a a solution to {disfmarker} anybeep any alarm or something incorporated to {disfmarker} with the remote control every time it it get lost .Project Manager: Mm-hmm .Marketing: And also Ifound that young people {disfmarker} the the younger people are the more interested they are in incorporating new technologies in the in the remote control.Project Manager: Okay .Marketing: So {vocalsound} {vocalsound} in my opinion the Mando {disfmarker} this Mando shouldn't be very small because thesmaller it is , the more like {disfmarker} the the liklier it is to get lost . Liklier or more likely ?User Interface: More likely . {gap}Marketing: {gap} likely . Okay .Uh {vocalsound} people also complain because they they they all have the same size of the buttons for buttons who w which are not very use like f uhmemorising channels or or this kind of actions which are not very often but {vocalsound} they they shouldn't they shouldn't have the same importance in the inthe uh in the remote cont in the remote control . Also the z the design should fit the hand shape . So it may be interesting to to think in a {disfmarker} in bothprototypes , for right and left handed people .User Interface: Well th the on the thing is though , most remote controls are used by more than one person . Sounless you're kind of targeting single people you know you're gonna maybeMarketing: {vocalsound} Yeah .User Interface: cut out some {disfmarker} a lot ofyour market .Marketing: I dunno I th Anyway I think it could be int interesting to to release some {disfmarker} a a small fraction of of this remote controls.Industrial Designer: Well maybe it could be a universal design .Marketing: Sorry ?Industrial Designer: A universal design , which is which is good for both thehands .User Interface: Still shaped for yeah for your hand but not for a particular hand , right ?Marketing: Yeah .Industrial Designer: Yeah ? That's right , whetherit's left hand or right hand ,Marketing: Yeah .Industrial Designer: but but {vocalsound} don't you think that the two points are clashing , one thing you are sayingdesign should fit the hand shape and it should not be very small ?Marketing: Sorry ?Industrial Designer: The first and the third point , they are clashing .UserInterface: Well it can still be a {gap} , you can still extend past the hand .Marketing: Yeah .Project Manager: Yeah .Industrial Designer: Okay .User Interface: Uh.Marketing: Like uh {disfmarker}Industrial Designer: So fitting the hand doesn't mean much then .User Interface: Well it means {disfmarker} like , this remotehere is kind of {disfmarker} is very thin and long so instead of having {disfmarker} you know you might have it kind of {disfmarker} a bit biggerIndustrialDesigner: Mm-hmm mm-hmm .Marketing: Yeah , like {disfmarker}User Interface: or , you know , with maybe some some finger molds or something .IndustrialDesigner: Mm-hmm mm-hmm mm-hmm .Project Manager: {vocalsound}Industrial Designer: So it means design should be similar to the traditional ones ?UserInterface: {gap}Industrial Designer: Little sleek , longer ?User Interface: {gap}Industrial Designer: And it should fit the hand .Marketing: No no I was thinking ofso like something {disfmarker}Project Manager: Something with the shape of the palm ?Industrial Designer: Mm-hmm mm-hmm mm-hmm .Marketing: yeah.User Interface: Some finger grips maybe .Marketing: Yeah .User Interface: You could even have some buttons like you know on the sides and everything ,ProjectManager: On the sides .Marketing: Yeah yeah . It sh it shouldn't it shouldn't be symmetric symmetrical .User Interface: but {disfmarker}Industrial Designer:Mm-hm mm-hmm mm-hmm .Marketing: Not anymore . That's what {disfmarker} yeah .Project Manager: And then finally {disfmarker}Marketing: And finally ,the incorporation of a L_C_D_ or a speech recognition system in the remote control could also be interesting , but I don't know if the budget would be largeenough .User Interface: Yeah .Project Manager: Yeah . First I'm just wondering about the L_C_D_ stuff because uh because {disfmarker}Marketing: But most of{disfmarker} yeah most of the young people to thirty to thirty years old were really interested in this kind of technology .Project Manager: Yeah , so maybe it's agood time for me to uh {vocalsound} to bring you to some new uh new informations . We had the new requirements from the {disfmarker} so uh from the headoffices of the company , and so they wanted {disfmarker} so they want to um {disfmarker} they would like to be restricted to T_V_ .User Interface: Yeah .ProjectManager: Okay , I dunno if you had this information already . No ,User Interface: No .Project Manager: so they want us to restrict the remote control to T_V_ only"}
+{"doc_id":"doc_162","qid":"","text":"Professor A:  Am I on ? I guess so . Radio two . Hmm . Radio two .Grad E: Hello ?Professor A: Wow .Grad E: Mm - hmm . Hi ?PhD B: Blow into it , it works reallywell .Grad F: Channel B .Professor A: People say the strangest things when their microphones are on .PhD D: Channel four . Test .PhD C: Uh - oh .PhD D: OK.PhD C: Radio four .Grad E: Hello ?Professor A: So everybody everybody 's on ?PhD D: Today 'sProfessor A: Yeah . So y you guys had a {disfmarker} a meetingwith uh {disfmarker} with Hynek which I unfortunately had to miss . Um and uh somebodyPhD C: Mmm .Professor A: eh e and uh I guess Chuck you weren'tthere either , so the uhPhD B: I was there .Professor A: Oh you were there ?PhD B: With Hynek ?Professor A: Yeah .PhD B: Yeah .Professor A: So everybodyknows what happened except me . OK . {vocalsound} Maybe somebody should tell me .PhD C: Oh yeah . Alright . Well . Uh first we discussed about some of thepoints that I was addressing in the mail I sent last week .Professor A: Uh - huh .PhD C: So . Yeah . About the um , well {disfmarker} the downsampling problem.Professor A: Yeah .PhD C: Uh and about the f the length of the filters and {disfmarker} Yeah .Professor A: What was the {disfmarker} w what was thedownsampling problem again ?PhD C: So we had {disfmarker}Professor A: I forget .PhD C: So the fact that there {disfmarker} there is no uh low - pass filteringbefore the downsampling . Well .Professor A: Uh - huh .PhD C: There is because there is LDA filtering but that 's perhaps not uh the best w mProfessor A:Depends what it 's frequency characteristic is , yeah .PhD C: Well . Mm - hmm .Professor A: So you could do a {disfmarker} you could do a stricter one .PhD D:System onProfessor A: Maybe . Yeah .PhD C: Yeah . So we discussed about this , about the um {disfmarker}Professor A: Was there any conclusion about that?PhD C: Uh \" try it \" . Yeah .Professor A: I see .PhD C: I guess .Professor A: Yeah . So again this is th this is the downsampling {vocalsound} uh of the uh{disfmarker} the feature vector streamPhD C: Uh .Professor A: and um Yeah I guess the {disfmarker} the uh LDA filters they were doing do have um{vocalsound} uh let 's see , so the {disfmarker} the {disfmarker} the feature vectors are calculated every ten milliseconds so uh the question is how far downthey are at fifty {disfmarker} fifty hertz . Uh . {vocalsound} Um .PhD C: Yeah . Mm - hmm .Professor A: Sorry at twenty - five hertz since they 're downsamplingby two . So . Does anybody know what the frequency characteristic is ?PhD C: We don't have yetProfessor A: Oh OK .PhD C: um {vocalsound} So , yeah.Professor A: OK .PhD C: We should have a look first at , perhaps , {vocalsound} the modulation spectrum .Professor A: Yeah .PhD C: Um . So there is this , thereis the um length of the filters . Um . {vocalsound} {vocalsound} So the i this idea of trying to find filters with shorter delays . Um . We started to work with this.Professor A: Hmm - hmm .PhD C: Mmm . And the third point um {vocalsound} {vocalsound} was the um , yeah , {vocalsound} the on - line normalizationwhere , well , the recursion f recursion for the mean estimation {vocalsound} is a filter with some kind of delayProfessor A: Yeah .PhD C: and that 's not takeninto account right now . Um . Yeah . And there again , yeah . For this , the conclusion of Hynek was , well , \" we can try it but {disfmarker} \"Professor A: Uh - huh.PhD C: Um .Professor A: Try {disfmarker} try what ?PhD C: So try to um {vocalsound} {vocalsound} um take into account the delay of the recursion for themean estimation .Professor A: OK .PhD C: Mmm . And this {disfmarker} we 've not uh worked on this yet . Um , yeah . And so while discussing about these{disfmarker} these LDA filters , some i issues appeared , like well , the fact that if we look at the frequency response of these filters it 's uh , well , we don't knowreally what 's the important part in the frequency response and there is the fact that {vocalsound} in the very low frequency , these filters don't {disfmarker}don't really remove a lot . {vocalsound} compared to the {disfmarker} to the uh standard RASTA filter . Uh and that 's probably a reason why , yeah , on - linenormalization helps because it {disfmarker} it ,Professor A: Right .PhD C: yeah , it removed this mean . Um . Yeah , but perhaps everything could {disfmarker}should be {disfmarker} could be in the filter , I mean , uh the {disfmarker} the mean normalization and {disfmarker} Yeah . So . Yeah . So basically that was{disfmarker} that 's {vocalsound} all we discussed about . We discussed about {vocalsound} good things to do also uh well , generally good stuff {vocalsound}to do for the research .Professor A: Mm - hmm .PhD C: And this was this LDA uh tuning perhaps and {vocalsound} Hynek proposed again to his uh TRAPS , so.Professor A: OK .PhD C: Yeah ,Professor A: I mean I g I guess the key thing for me is {disfmarker} is figuring out how to better coordinate between the twosidesPhD C: um .Professor A: cuz {disfmarker} because umPhD C: Mm - hmm .Professor A: uh I was talking with Hynek about it later and the {disfmarker} the{disfmarker} sort of had the sense sort of that {disfmarker} that neither group of people wanted to {disfmarker} to bother the other group too much . And{disfmarker} and I don't think anybody is , you know , closed in in their thinking or are unwilling to talk about things but I think that {vocalsound} you were sortof waiting for them to {vocalsound} tell you that they had something for you and {disfmarker} and that {disfmarker} and expected that they would do certainthings and they were sor they didn't wanna bother youPhD C: Mm - hmm .Professor A: and {vocalsound} they were sort of waiting for you and {disfmarker} and{disfmarker} and uh we ended up with this thing where they {disfmarker} they were filling up all of the possible latency themselves , and they just had hadn'tthought of that . So . Uh . {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} I mean it 's true that maybe {disfmarker} maybe no one reallythought about that {disfmarker} that this latency thing would be such a {disfmarker} a strict issuePhD C: Yeah . Well , but . Yeah . Yeah . Well{disfmarker}Professor A: in {disfmarker} in uh {disfmarker} the other {disfmarker}PhD C: Yeah I don't know what happened really , butProfessor A: Yeah .PhDC: I guess it 's {disfmarker} it 's also so uh the time constraints . Because , {vocalsound} well , we discussed about that {disfmarker} about this problem andthey told us \" well , we will do all that 's possible to have enough space for a network \" but then , yeah , perhaps they were too short with the time andProfessorA: Then they couldn't . I see .PhD C: uh yeah . But there was also problem {disfmarker} perhaps a problem of communication . So , yeah . Now we will try to{disfmarker}Professor A: Just talk more .PhD C: Yeah , slikes and send mails .Professor A: Yeah .PhD C: u s o o Yeah .Professor A: Yeah .PhD C: Uh . OK.Professor A: So there 's um {disfmarker} Alright . Well maybe we should just uh I mean you 're {disfmarker} you 're bus other than that you folks are busydoing all the {disfmarker} all the things that you 're trying that we talked about before right ? And this {disfmarker} machines are busy and {vocalsound} you 'rebusyPhD C: Yeah .Professor A: andPhD C: Basically .Professor A: Yeah . OK . Oh .PhD C: Um .Professor A: Let 's {disfmarker} let 's , I mean , I think that as{disfmarker} as we said before that one of the things that we 're imagining is that uh there {disfmarker} there will be {vocalsound} uh in the system we end upwith there 'll be something to explicitly uh uh do something about noisePhD C: Mm - hmm .Professor A: in addition to the uh other things that we 're talking aboutand that 's probably the best thing to do . And there was that one email that said that {vocalsound} it sounded like uh uh things looked very promising up therein terms of uh I think they were using Ericsson 's {vocalsound} approach or something and {vocalsound} in addition to {disfmarker} They 're doing some noiseremoval thing , right ?PhD C: Yeah , yeah . So yeah we 're {disfmarker} will start to do this also .Professor A: Yeah .PhD C: Uh so Carmen is just looking at theEricsson {disfmarker} Ericsson code .PhD D: Yeah . We modifProfessor A: Mm - hmm .PhD C: AndPhD D: Yeah , I modified it {disfmarker} well , modifying{disfmarker} {vocalsound} I studied Barry 's sim code , more or less . to take @ @ the first step the spectral subtraction . and we have some {disfmarker} thefeature for Italian database and we will try with this feature with the filter to find the result .Professor A: Mm - hmm . Mm - hmm .PhD D: But we haven't resultuntil this moment .Professor A: Yeah , sure .PhD D: But well , we are working in this alsoProfessor A: Yeah .PhD D: and maybe try another type of spectralsubtraction , I don't {disfmarker}Professor A: When you say you don't have a result yet you mean it 's {disfmarker} it 's just that it 's in process or that you{disfmarker} {vocalsound} it finished and it didn't get a good result ?PhD D: No . No , no n we have n we have do the experiment only have the feature{disfmarker} the feature but the experiment havePhD C: Yeah .PhD D: we have not make the experimentProfessor A: Oh . OK .PhD D: and maybe will be goodresult or bad result , we don't know .Professor A: Yeah . Yeah .PhD C: Yeah .Professor A: OK . So um I suggest actually now we {disfmarker} we {disfmarker} wesorta move on and {disfmarker} and hear what 's {disfmarker} what 's {disfmarker} what 's happening in {disfmarker} in other areas like {vocalsound} what 's{disfmarker} what 's happening with your {vocalsound} investigations {vocalsound} about echos and so on .Grad F: Oh um Well um I haven't started writing thetest yet , I 'm meeting with Adam todayProfessor A: Mm - hmm .Grad F: um and he 's going t show me the scripts he has for um {vocalsound} {vocalsound}running recognition on mee Meeting Recorder digits .Professor A: Mm - hmm .Grad F: Uh {vocalsound} I also um {vocalsound} {vocalsound} haven't got thecode yet , I haven't asked Hynek for {disfmarker} for the {disfmarker} for his code yet . Cuz I looked at uh Avendano 's thesis and {vocalsound} I don't reallyunderstand what he 's doing yet but it {disfmarker} {vocalsound} it {disfmarker} it sounded like um {vocalsound} the channel normalization part {vocalsound}um of his thesis um {vocalsound} was done in a {disfmarker} a bit of I don't know what the word is , a {disfmarker} a bit of a rough way um {vocalsound} itsounded like he um he {disfmarker} he {disfmarker} it {disfmarker} it wasn't really fleshed out and maybe he did something that was {vocalsound} interestingfor the test situation but I {disfmarker} I 'm not sure if it 's {vocalsound} what I 'd wanna use so I have to {disfmarker} I have to read it more , I don't reallyunderstand what he 's doing yet .Professor A: OK . Yeah I haven't read it in a while so I 'm not gonna be too much help unless I read it again ,PhD D: It 's myPhDC: Oh yeah ?PhD D: I know this is mine here .Professor A: so . OK . Um . {vocalsound} The um {disfmarker} so you , and then {vocalsound} you 're also gonnabe doing this echo cancelling between the {disfmarker} the close mounted and the {disfmarker} {vocalsound} and the {disfmarker} the {disfmarker} the"}
+{"doc_id":"doc_163","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: Um almost , there's one more thing I have to get out of the {disfmarker} I have to make sure that thisattachment will open .Industrial Designer: {vocalsound} I keep forgetting whether I've done this . {gap} .Project Manager: Ah-ha . Okay . We'll open that whenthe time is right . In the meantime {disfmarker} Closing things down , okay . Let's see what this thing does . Does it come up together or disappear one of themor what ? Ah , we came up together , we're good . Okay . Are we ready to start ? Okay . It's now quarter of four . This is a f another forty minute one so it will endat four twenty five . Okay . Right . Our agenda is , as before , for me to open the meeting , for us to go over the previous minutes , then for the two of you topresent your prototype and for you to g um Sarah present the evaluation criteria . We then have a finance aspect , which is a spreadsheet , an Excel spreadsheet. And I know what you're all thinking of , oh my , um because we're only given a forty minute time period to get it all in , including the production evaluation . Sowe're going to make a very fast track . Okay . Um and as you can see that's what we do next on this thing . So the first thing I have to do is close this so that Ican get to {disfmarker} Where is it ? {vocalsound}Marketing: Red .Project Manager: I need to open mine . Not the agenda .Marketing: Agenda three .ProjectManager: No that th I want the minutes from the previous {disfmarker} minutes .Marketing: Mm .Project Manager: That should be there , minutes . Yeah . Okay. Uh from meeting three , is it alright with you if I don't switch it to show , just use it as is ? 'Cause this way I can more easily flip it . Okay , um obviously all of uswere here for the last meeting , we reviewed the previous minutes before that , um each of you made your presentations . {vocalsound} Um we discussed thevarious possibilities based on what was presented in those presentations . The market trend of fruit and veg , mm spongy , uh fancy and elegant more thantechnologically innovative and that more than easy . Um we decided chip on print would be used . Um we would use plastic with a rubber casing , I think was theconsensus , powered by kinetic energy . There was no decision made on the curvatures or double curvature or straight . Um perhaps the prototype will give us aninkling of that . Um looking like a scroll , but it's really a push button technology , excuse my spelling um that was actually in use , that is uh behind the scenes ispush button which we uh according to Kate have a very good uh grasp on doing that in production . Um we decided that separate fashionable covers coveringyour fruit and veg might be a separate product that could be suggested to management . Um and as suggested um yellow with black buttons with the companylogo , a slogan and image might be a good idea based on the requirements that have been provided to us . Um we did have a few production issues andcoordination of the various bits and we had some conflict of ideas and cost constraints and we ran out of time . Um we had to follow that up and prepare for thelast one . And uh we closed as it ran out of time . Is that a fair presentation of what happened ?Industrial Designer: Yep .User Interface: Yes .Project Manager:Okay , back to this meeting . Um we're down to the prototype presentation .Industrial Designer: Ta-da .User Interface: Alright .Project Manager: Over to you.Industrial Designer: Right .User Interface: Well .Project Manager: Ooh , two .User Interface: Yeah , well you see , each made one , we didn't have enough yellowdough .Project Manager: Ah .Industrial Designer: {vocalsound}User Interface: This is the one that I made .Project Manager: Uh-huh .User Interface: It is uhcurved , easy to hold , hand-held , nice and small with big easy buttons . This is like a scroll , but they are push buttons and they enter {disfmarker} takes youinto the different menus . Of course we need someone who's experienced with the television {gap} . I mean this is the infrared thing that's gonna zap at thetelevision . Uh I'm not quite sure how to make that , but I'm sure it will work . Uh this is on off switch , 'cause I think we do need that , and I think it gives it anice balance .Project Manager: 'Kay .User Interface: And it's gonna have the logo imprinted on it uh in there .Project Manager: Okay .User Interface: Um as forwhat it's actually made of {disfmarker} well the function of these buttons is up , down , left and right {vocalsound} in the different menus .Project Manager:Okay .User Interface: Uh position , I presume that just means right right on it , easy to see . The main feature of it is just a simple design , simple , lack of uhbuttons all over the place . Right ? {vocalsound} Form curved , kind of smooth , hand-held , makes it feel nice to hold . Uh material , I think Kate's gonna tacklethat quite a bit , but I think we have two different options , because we did make a another one , which wa uh is in the shape of banana , it's just {disfmarker} ifyou can imagine this as yellow with black buttons , like just like this but in the shape of a banana ,Project Manager: Mm-hmm . Mm-hmm .User Interface: whichis also nice and easy to hold and feels good and has a similar sort of scroll push button technology , just a slightly different design .Project Manager:{vocalsound}User Interface: Also with on off switch and infrared {disfmarker} {vocalsound} uh I had envisioned it in hard smooth plastic . So like uh{disfmarker} well , I dunno , what's it like ? I guess like an existing remote control , but molded and smooth . Whereas otherwise we'd thought , like with this one{disfmarker} or mix and match , just we were gonna see what you thought , the {disfmarker} uh a more spongy rubber cover with spongy buttons . So we havethe two options we can follow , either the smooth hard plastic or the spongy rubber , depending on cost restraints . And what we well , what conclusion we reachwhen we discuss it . {vocalsound} Uh material {disfmarker} yeah , that's what I have to say about material . Can I scroll down on there and see what else{disfmarker}Industrial Designer: Mm-hmm .User Interface: Well colour , I think {disfmarker} I definitely have a preference towards bright yellow with blackbuttons , because that's the company colours , but if anybody's got any other suggestions , I'm quite willing to consider them as well . {vocalsound} So , it justdepends what you think about these ideas and if I'm {disfmarker} yeah , maybe , Kate , you better say what you think about them .Industrial Designer: Um wellI don't have very much to add . Um the the case {disfmarker} oops , that's the uh on off button just come off our prototype .User Interface:{vocalsound}Industrial Designer: The the case can be either um spongy rubber or hard plastic . We're not absolutely sure about a combination of the two , but itcan be either of those . We have the technology to do that . Um and as for the the actual components um , uh Steph just said this is a {disfmarker} quite a cheapdevice to manufacture . We have simple rubber push buttons um which provide all the functionality we need . Um the um {vocalsound} the diode that actuallydoes the um infrared is at the end , it's the stalk of the banana , or it's just the thing at the end of this version . Um so that's for material . Colour , well uhSteph's the expert on colour . Um we we don't have any particular restrictions on that . Yeah , I think that's all we've got to say really .User Interface: I thin as foras for the fruit or organic theme , I guess this one is obviously fruit shaped .Industrial Designer: A banana .User Interface: This one has n banana , yeah . Thisone has no obvious connections to fruit , but because it's round and molded , it kinda makes you think sort of organic , touchy-feely , kiddie , it's more like{disfmarker} yeah , you'd expect it to be like a child's sorta toy remote control instead of a real one , which I quite like that sort of image . 'Cause it's very bigand chunky and child-friendly andIndustrial Designer: {vocalsound} Would you care to examine the prototypes , see how they feel in the hand ?User Interface:{vocalsound} Hold them , you see , you know . Curvature , is it to your liking ?Project Manager: Oh I see , the on-off's in the back .Industrial Designer: Yes ,that's so that your index finger automatically goes straight to it .User Interface: {vocalsound} If you don't wanna tire out your thumbs after all .Project Manager:And then you can use your thumb . {vocalsound}Industrial Designer: And it was partly we thought the design looked better ,User Interface: Yeah . {gap}ProjectManager: I could see this thing , unless it's reinforced , having a problem with the you know {disfmarker}User Interface: Breaking ,Project Manager: yeah .UserInterface: oh right . {vocalsound} Well you see , that's why hard plastic would be quite a good thing for it , because then it'd just be rigid .Marketing: I like thefact that on both of them the keys play such a prominent role .Project Manager: Hmm .User Interface: Yeah , {gap} we really like we really like that design,Marketing: It's really kind of a {disfmarker}User Interface: I mean it looks just like a logo , that arrangement of the keys . Like a c like a compass point , youknow ,Marketing: Mm-hmm mm-hmm .User Interface: just up , down , left and right , and we think we could make that quite a good feature . And it's like the theiPod scroll wheel , {vocalsound} but better .Marketing: Yeah . But it's also like texting ,User Interface: Yeah . Yeah , yeah ,Marketing: you don't{disfmarker}Industrial Designer: Hmm .User Interface: I mean it {disfmarker} that's what it makes me think of , mobile phones ,Marketing:{vocalsound}Industrial Designer: {vocalsound}User Interface: I was try I was thinking , moving your thumb like this , what does that remind me of ?IndustrialDesigner: And it's a very simple design ,Marketing: Yeah .User Interface: It's texting .Industrial Designer: there's not a lot to wrong , the components are cheapto make .Marketing: It's also in terms of um being lost it's it's quite {disfmarker} it looks quite different .User Interface: Hmm .Marketing: You know , I I d I haveseveral {disfmarker} four remotes , and they all look the same until you get up close and you have to {disfmarker}User Interface: Yeah .Marketing: you know ,this is really identifiable .User Interface: {vocalsound} I mean the thing is we do need to develop our technology of {disfmarker} {vocalsound} I mean actuallyhow to program the menus and what sort of , you know , text box is gonna appear at the bottom of the screen ,Marketing: Mm-hmm . Mm-hmm .User Interface:but we do definitely think that it's a viable option .Project Manager: Okay . The next item is evaluation .Marketing: No , okay .Project Manager: Uh if that's{disfmarker} if you're finished .User Interface: {vocalsound} Uh yeah , we're finished .Marketing: Um {disfmarker}Industrial Designer: Mm-hmm .Marketing:shall I take your uh power ?Project Manager: Oh sorry .Marketing: Oh .Project Manager: {vocalsound} Try again .Marketing: Okay . This is going to be a heavilyinteractive evaluation , and the method here is to evaluate the new remote control in terms of the user requirements and the hot trends introduced by themarketing department . So , this means we're going to go over the priorities that were raised by uh the consumers a as well as incorporate all of our insight into"}
+{"doc_id":"doc_164","qid":"","text":"User Interface: Here we go again .Industrial Designer: {vocalsound} My mouse is not working anymore .User Interface: {vocalsound} Oh .Industrial Designer:{vocalsound} He's uh {disfmarker}Marketing: Oh .User Interface: Okay .Industrial Designer: when I put it in , is is going to beep beep beep .Marketing: Oh , Igot a nice little screen here over here .User Interface: {vocalsound}Marketing: {vocalsound} I got like this big black border uh on every side .Industrial Designer:{vocalsound}Project Manager: Okay .User Interface: Mm , okay .Project Manager: Everybody ready ?Marketing: {vocalsound} I'll I'll fix it .User Interface: Yeah ,it's okay .Project Manager: Welcome at the functional design meeting , again presented by Maarten .Marketing: Yeah , whatever .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Uh this is the agenda , the opening . Uh , we've got three presentations . And I'm gonna show you someof the new projects requirements that were sent to me . And we're gonna make a decision on the remote control functions . We have uh forty minutes .Marketing:Yes .Project Manager: Oh , well this is the {vocalsound} the closing already .User Interface: {vocalsound}Project Manager: So uh {disfmarker} well we start offwith the th the first presentation then . Uh , I think um in uh {disfmarker} we have to do it in uh in right order .User Interface: Okay .Project Manager: Maybe the{disfmarker}Marketing: I don't know what the right order is . So {disfmarker}Project Manager: Well , it {disfmarker}User Interface: No .Industrial Designer: Huh.Project Manager: Oh that . It won't {disfmarker} doesn't {disfmarker} Maybe we should start with the the technical functions .Industrial Designer: Okay ,ProjectManager: Yeah ?Industrial Designer: how can I get this on the whiteboard ?Project Manager: Well it's you dumped the file in the uh in the sh in the projectdocument folder .User Interface: In project .Industrial Designer: Okay , I've done that .Project Manager: You've already done that ?User Interface: No can thatopen .Industrial Designer: Yes .Project Manager: Well let's close this one . We'll just uh open a new one .User Interface: Open it there .Project Manager: Uh , well. Yes . Uh-oh . New thing . Oh yeah , uh I have to say something . Uh , due to some uh technical problems I haven't uh digitized the last uh the meeting minutes .But I'll uh make sure that uh happens next time .Marketing: Mm-hmm .User Interface: Okay . {vocalsound} About the get {disfmarker}Project Manager: And I'llget this one uh in digital uh form too .Industrial Designer: 'Kay , we're going to um uh talk about working design . Um , the method of the remote control is uhelectrical energy , it activates a chip uh in the remote . It's an electrical circuit which compose uh messages in the form of uh uh infrared signals to control thetelevision . Mm , it's a nowadays very uh known , a known uh uh technology . Um , the known technology can make a cost very low . Uh , it's a wild uh{disfmarker} a wide sale uh of uh remote controls in the world . And and the components are very uh very cheap . Um , Uh , diodes , uh bat batteries and uh uhLED lights , they're needed and they're uh everywhere available . Uh , again , it's a fair price . It's a common uh technology uh , like I told um {disfmarker} Uh ,the circuit board , it's the most um important uh um part of the remote control . Uh , we can use for that uh fibreglass with copper wires , it's {disfmarker} it is uh{disfmarker} can be made as fast as printing paper . It's uh {disfmarker} {vocalsound} it's all very uh {disfmarker}Project Manager: Okay .Industrial Designer:Yeah , they're making it uh all the time . Uh ,Project Manager: Okay .Industrial Designer: and it's not uh very specialised uh technology . {vocalsound} I haven'tcome to here , but um I've got uh some uh images of uh remote controls . They were not uh very uh trendy or just uh just a remote control like everyone knows .So I don't know uh why I should put it here . Uh {disfmarker} {vocalsound}Project Manager: {vocalsound} Okay . But it's the technical side of the remote control.User Interface: {vocalsound}Industrial Designer: Yes , but uh I uh haven't made it because uh of the time .Project Manager: Oh . Okay . Well , we'll we'll have toskip that part then .Industrial Designer: {vocalsound} What ?User Interface: Okay .Project Manager: But you don't think it's a problem um to design uh thetechnical part of the remote control ? It's gonna be easy ?Industrial Designer: {vocalsound} No . Yes .Project Manager: Okay .User Interface: But nothingrestricted for user interface ?Project Manager: Yeah . MUser Interface: With technical {disfmarker}Industrial Designer: Um , no , it's uh it's just a part of uh aknown technology , yeah .User Interface: I don't know .Project Manager: Okay .User Interface: 'Kay .Industrial Designer: Remote control is nothing specialnowadays .Project Manager: R regardless of what type of functions we want to implement . Doesn't really matter .User Interface: Okay .Industrial Designer: Um{disfmarker}User Interface: But I kind of uh {disfmarker}Industrial Designer: I don't think so ,Project Manager: Okay . Yeah , {gap} okay .Industrial Designer:because of the {disfmarker} all the televisions uh {disfmarker} there are a few {disfmarker} maybe a couple of televisions with the new functions ,UserInterface: Yes . Uh {disfmarker}Project Manager: Okay .Industrial Designer: but is it useful to put them on a on a standard uh remote ?Project Manager: Well ,we'll see . We'll see later on .User Interface: Well , the technical functions . Um , well I don't know if you got the same uh pictures as I got ,Project Manager: No.User Interface: but uh I got these two ,Industrial Designer: No .User Interface: and I think they're {disfmarker} we have to focus uh on uh the uh one hand theexpert view or the novice user . {vocalsound} th I think it's it's very much uh depending on the user requirements , I don't s uh know who's doing tProjectManager: Well , uh will there be some uh user requirements later on ? {vocalsound} The ones I {disfmarker} I've uh received from the account manager .UserInterface: Yeah , but it {disfmarker} I think that's very important to watch uh what kind of functions there we want to uh put in a remote control .ProjectManager: Yeah . Well , we'll keep this in mind , and then discuss it later on .User Interface: Yeah , well y we can put functions in it when uh {disfmarker} yeah ,when we uh get the user requirements uh and we can update it .Project Manager: Uh-huh . Okay , but this real this uh big d uh distinction between this type ofremote . {gap} we should we should choose one uh {disfmarker} we should not compromise but uh really choose for uh expert viewer or novice vMarketing: Yes, I agree . Yeah .Project Manager: Yeah ? Well , what {disfmarker} that's what you want {disfmarker} trying to say .User Interface: Well , yeah w if you want trya a a huge market , if you want to reach a huge market , uh like elderly people and {disfmarker} we have to choose for novice user .Project Manager: Okay .Okay .User Interface: But I don't know . It's it's really um depending on how how how far the the the remote controls are already in n um in use .ProjectManager: Yeah , well {vocalsound} some of these {disfmarker} Uh , yeah . Well , some of that will {disfmarker} Yeah , but i but it will be more clear when wecome to the uh u uh some of the new requirements .User Interface: Yeah , probably , yeah .Marketing: Yes .Project Manager: So {disfmarker}User Interface: Uhwell , there are l at least uh basic functions , uh like just th the channels uh one till nine , uh on and off switch , which must be clear with a red button orsomething like that . Um , most standard uh have volume , of course , and a mute function , and , of course , the next and previous channel . I think that's justbasic what we need .Project Manager: Mm-hmm .User Interface: And from that on we can {gap} user requirements what we need more . Uh {disfmarker} Yeah ,I just um um I thought Joost was looking at the trendy {disfmarker} the trends in the markets , and I don't know if there uh are any um {disfmarker} uh if youput more functions , more buttons , maybe it's com becoming less trendy or something like that .Marketing: Yes .User Interface: M you can just {vocalsound}you can k {vocalsound}Marketing: {vocalsound} I haven't really found a conclusion like that .User Interface: you can keep it in mind that .Marketing: Yeah .UserInterface: I don't know . Uh , I th I thought the the {disfmarker} with less buttons you can make a more trendier uh {disfmarker}Marketing: Design .UserInterface: yeah , more trendier design , I think . I think .Marketing: Sounds interesting .Project Manager: {vocalsound}User Interface: Yeah ?Marketing:{vocalsound}User Interface: Uh , well , that's all I have to say , I think .Project Manager: Okay .User Interface: Yeah , that was it .Marketing: {vocalsound}Alright .Project Manager: Well , then the Marketing expert can uh tell us something about the current market .Marketing: {vocalsound} Yes .User Interface:{gap} .Marketing: Yeah . It's alright . Um {disfmarker} Alright , I've done some research for functional requirements . Um {disfmarker} yes . The workingmethod um {vocalsound} there were hundred uh uh w h one hundred people , uh how do you say uh , f watched using remote controls in the usability lab andthey also uh filled out a questionnaire uh with a few questions . Uh , I've lined them up here . Uh , ask whether um common remote control looks good or not ,about willingness to spend money on remote control , about zapping behaviour , and uh and stuff like that . I uh have found some interesting things . We do wedo got a market . Um , {vocalsound} three out of four people claim m uh to find remote controls ugly . So if we make a trendy design , we sure have seventy fiseventy five percent of the market , which you can reach . Um , three out of four users uh zaps a lot , as I uh quoted here from the uh results . {vocalsound} Zapbuttons are used one hundred and sixty eight times per hour . That's quite a lot . Um , {vocalsound} relevant options are , of course , power buttons . Although ,only used once per hour . Uh , channel selection , volume and buttons for text , and the more um , yeah , other functions , like audio settings , video settings ,sound settings are not said to be very important and uh very much used . Furthermore , fifty percent says uh they only use ten percent of the buttons on aremote control . That doesn't say we got {disfmarker} we can leave ninety percent off . But it sure um says we shouldn't make it too uh complicated . Fiftypercent also claims uh to have lost a remote control very often in the room . And um {vocalsound} an important thing here , the most important customers uh ,which is over seventy percent of our market , is in the age range of thirty six to sixty five years old . And uh elderly people , our market , are less interested in uhnice features , but more willingly to spend more money on remote controls . So , {vocalsound} what I was thinking {disfmarker} oh , wrong side . We shouldn'timplement too much features on uh on our remote control , because elderly people will get th lost . Group features for a higher usability , uh what I was claimingin the previous meeting . Um , all the settings , about audio settings , video settings and channel settings , which are not very often used , we could group them"}
+{"doc_id":"doc_165","qid":"","text":"Project Manager: Right , so start of the first meeting .Marketing: Mm-hmm .Project Manager: {vocalsound} Uh . Right , so agenda of the first meeting . Where weuh {disfmarker} We have twenty five minutes for this meeting .Industrial Designer: Okay .Project Manager: We uh are to get acquainted . So does everyone wantto say who they are ? {gap} that seem sensible ?Marketing: Yeah . I'm Robin . I'm the Marketing Manager .User Interface: I'm Louisa . I'm the User InterfaceDesigner .Industrial Designer: I'm Nick . I am the Industrial Designer .Project Manager: And I'm Alastair and I'm the project leader . {vocalsound} Alright okay ,so tool training . Um . {vocalsound} Project plan . So does anyone have any uh thoughts as to the tool training that uh is required ?Industrial Designer: TooltrainingUser Interface: I'm not exactly sure what you mean by tool training .Project Manager: Neither am I {gap} .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Oh I see , so we shouldn't really be {disfmarker} Oh right okay , so . So we have the project team , which is to um {vocalsound}basically to come up with a new r remote control device .Industrial Designer: {gap}Project Manager: Uh we have uh {disfmarker} the starting base was theoriginal {vocalsound} which has been in existence now for a period of time . And uh our idea is to uh to make the new remote control device uh more userfriendly than the previous one , and to {vocalsound} to be trendier , to be with it , and therefore to uh to get a bigger market share and bigger audience.Industrial Designer: {vocalsound} Yeah .Project Manager: So um {vocalsound} method of doing this is uh split up as you can see into uh {vocalsound} thefunctional design , the conceptional design , and the detailed design . So um {vocalsound} in each of these uh phases we'll uh basically be handing over toyourselves , the designers of this uh this device .Industrial Designer: Yes .Project Manager: And uh having uh meetings so that we can uh during the course of theday um come up with a better better inst implement than we had before . And therefore um have a successful uh conclusion to the day . Um and you'll be doinguh various designs uh throughout the day to meet this end .Marketing: Mm-hmm , okay .Project Manager: So we've got tool training . Try out whiteboard . Uh .{vocalsound} So we will um .Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Right so everyone's to uh supposedly uh draw theirfavourite animal over on the white board over there . I guess this is uh make sure the whiteboard works . So uh I don't know who wishes to go first .IndustrialDesigner: Okay {gap} .Marketing: {vocalsound}Project Manager: {vocalsound} Do you wish to go f Have a first bash at uh whatever .User Interface: I don'tmind . {vocalsound}Marketing: I dunno . {vocalsound}User Interface: Um .Project Manager: Ah uh . {vocalsound}User Interface: Let's see .Marketing:{gap}User Interface: Good job I got pockets today .Project Manager: But now you you uh you'll move out from the microphone and the camera .Marketing: Yourmicrophone's just {disfmarker}Project Manager: I take it that {disfmarker}User Interface: Are we supposed to do this right now , do you think , or ?ProjectManager: I would {vocalsound} I would guess so . Or {gap} {disfmarker}Marketing: Yeah . I don't know .Industrial Designer: You've lost uh your microphonethere .Project Manager: {vocalsound} Technical problems .User Interface: Oh . Right here we go .Project Manager: I mean you designers are meant to come upwith these sort of things .Industrial Designer: {gap} {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}{vocalsound}User Interface: Okay . I think that I would have to say that my favourite animal is the cat . Little smiley cat there . Um and this would be becausethey're very independent , uh they're very intelligent , compared to dogs maybe .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface:Um {vocalsound} and they can be very very affectionate . Some people don't think so but I know very affectionate cats . Um . Um and they can look afterthemselves .Project Manager: {gap} {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Next . {vocalsound}IndustrialDesigner: Okay , yeah . I'll I'll {disfmarker}User Interface: Shall I rub that out , actually ?Project Manager: I don't see as there's any need to . There's plenty ofspace .Industrial Designer: {gap}Project Manager: I mean whatever . {vocalsound}User Interface: {vocalsound}Marketing: We can have have a wholemenagerie . {vocalsound}Project Manager: Exactly .Industrial Designer: {vocalsound} Shall I see if I can get across without just tangling everything . Okay.Project Manager: We've had more time to prepare over this side ,Industrial Designer: There's one .Project Manager: so we've all stuck our bits and pieces in ourpockets . {vocalsound}Industrial Designer: {vocalsound} Didn't think of that .User Interface: {vocalsound}Marketing: {vocalsound} {vocalsound}IndustrialDesigner: 'Kay uhProject Manager: The three pens are underneath .Industrial Designer: pens are over here . I'll try the red pen . Okay . Um . {vocalsound} I'mgonna go for the bear which I'm {gap} be able to draw very well ,Project Manager: {vocalsound} You get marks for artistic impression . {vocalsound}IndustrialDesigner: but I'll have a bash at it .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Uh .User Interface: {vocalsound}Marketing:{vocalsound}Industrial Designer: {vocalsound} Ooh ooh {gap} I lost it there . I think I've just knocked the microphone . {vocalsound} Um .Marketing:{vocalsound}User Interface: {vocalsound}Project Manager: So you're just doing the face . {vocalsound}Industrial Designer: We'll g then we'll go for a a s smallsmall bear {gap} .User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer:{vocalsound} Um {vocalsound} and I like my animal that looks nothing like a bear because um I dunno maybe because there's so many cartoon characters madeup after the bear like the jungle book characters and stuff like that .Project Manager: {vocalsound}Industrial Designer: {vocalsound} Great .{vocalsound}Marketing: Right . Hello . Um I'm gonna go for the dog , and I'm gonna draw one badly as well . Uh . {gap} looks like it's going to be a dachshundor something .User Interface: That's quite good . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Right . There's my dog . Um{vocalsound} I like dogs because they're very loyal . And they're always happy , so whenever whenever you're feeling sort of a bit a bit down or tired , they'realways coming up and they're always um quite excited . So um you can always have a lot of fun with a dog . And they're also good for exercise as well . You cansorta get out and they they sorta never get tired . And and when they're tired they're quite cute as well , so . {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Okay , that's why I like dogs .Project Manager: {vocalsound} Right , um. {vocalsound} Well I've not actually had too many pets uh over my uh time 'cause to be honest with you uh {gap} I'm not too keen on them anyway . Not toworry . So what my daughters have got at the moment is they've got uh a few fish and so hopefully um won't prove too difficult to draw . Uh {vocalsound}{vocalsound} {gap}User Interface: {vocalsound}Project Manager: As you can see that my artist artistic work is useless as well .Marketing: {vocalsound}ProjectManager: Anyway um . {vocalsound} And uh one of the best uh things about fish is that they don't really take uh too much looking after because uh with most ofthe animals if you're going away on holiday or whatever , you've gotta spend money or get a friend or whatever to look after them for you . Whereas if you gotfish , you just gotta put the food in a a a dripper feed which feeds them over the uh couple of weeks that you're away and uh change the water every couple ofmonths , and buy in a few plants , so . Other than the fact that they keep dying ,Industrial Designer: {vocalsound}Project Manager: uh fish are uh {vocalsound}are not are are are reasonable pets in that uh they're low maintenance .Marketing: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing:{vocalsound} Great .Project Manager: {vocalsound} Right . Okay , uh if we're still all with us . Right okay , so . Work has been done on uh this uh project whereby um twenty five Euros is uh the uh expected uh selling price . That information has come from our marketing manager here . {vocalsound}Marketing:Mm-hmm . {vocalsound} Yeah .Project Manager: So we're looking to sell internationally , not just in Europe . We're looking at um having our production costslimited to uh twelve and an half Euro per unit . And therefore making a profit margin of uh {disfmarker} well not actually a profit margin it's uh {disfmarker}because obviously you're gonna have overheads and various other costs to uh take uh from uh from that to give you your profit margin per unit . And sodepending what the uh the overhead uh costs are will determine uh how many units we're uh looking to sell or projecting to sell at this point in time .IndustrialDesigner: {gap}Project Manager: So um {disfmarker} Experience with remote control , first ideas . New remote . So I guess we're looking at um having adiscussion at this point in time to help uh you um folks design our our new model as it were .Industrial Designer: Yes . {gap}Project Manager: So uh any anythoughts ?Industrial Designer: Um I {gap} with some remote controls the buttons were a little small so they're quite hard to press so maybe we make somethingwith uh easy to press buttons . As that is the main function .Project Manager: Okay , so so basically we're looking for some um {disfmarker} we're looking for adevice that is um robust and and therefore uh won't get damaged too easily .Industrial Designer: Yes .Project Manager: Um we're looking for a device that is uh{disfmarker} What was the other things you said there ?Industrial Designer: Um sort of easy to use so the buttons are accessible .Project Manager: Easy to use .Use .Industrial Designer: {gap} is easy to use and see .Project Manager: And see .Industrial Designer: Yes .Project Manager: Okay . Uh .User Interface: Can Ijust check ? {vocalsound} Is this just a television remote ? Because a lot of um systems are kind of T_V_ video combined now , or T_V_ D_V_D_ combined.Project Manager: Mm-hmm .User Interface: And one of the most annoying things is having like five remotes in the house . So if you've got a combined system ,it could be a combined remote .Industrial Designer: {gap}User Interface: Or is it just a television that we're supposed to be doing ?Marketing: Mm .ProjectManager: Oh I w um basically I'll get back to you on that .Industrial Designer: {gap}Project Manager: But it seems to me sensible ,User Interface:{vocalsound}Project Manager: 'cause {disfmarker} as you rightly said , there's nothing more annoying than having three or four devices littered about the uh"}
+{"doc_id":"doc_166","qid":"","text":"Project Manager: Okay , welcome everyone to our next meeting . I'm busy writing and busy leading the meeting , but um I've prepared a little presentation onceagain um or at least an agenda I think uh the biggest part of the presentation will be uh on your side . Um we are here at the conceptual design meeting , whichis hereby opened . Um once again I will try to uh write some minutes which I just from the previous meeting uh placed inside our project folder , which was quitesome typing . Um today we once again have uh three presentations , if I'm right , and after that we will take a decision on the remote control concepts . And justas the last time we have forty minutes to accomplish that . Okay , wellIndustrial Designer: {vocalsound}Project Manager: I'd say let's start with the firstpresentation .Marketing: 'Kay .Project Manager: Um in the same order as last time ?Industrial Designer: W sure .User Interface: Mm . Alright .Project Manager:Okay . Well , take it away .User Interface: {vocalsound}Industrial Designer: {gap} {vocalsound} Okay uh welcome you all .User Interface:{vocalsound}Marketing: {vocalsound}Industrial Designer: Components design , um {vocalsound} uh first of all uh I would like to uh uh accommodate some ofthose uh things I uh uh {disfmarker} elaborate some of the things I did . I I elaborated on the concept . What should be um uh said about uh the components ,uh its properties and what kind of materials should we use to uh to make uh one of those r remote controls . Uh well first of all I've uh d subtracted some of thecomponents that is that are used uh are w w um {vocalsound} you know from what uh the remote control's formed . Uh first of all , the case , the case , thesurrounding of the of the the remote control . {vocalsound} I would like to uh give you an idea of uh how I thought about .Marketing: Don't destroy my giraffe.Industrial Designer: {vocalsound} Giraffe's gone now .Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: Okay um the case was is madefrom rubber , I suppose . There's one of the {disfmarker} because when you use a remote control a lot of people uh will uh will uh drop their remotecontrolMarketing: Drop it .User Interface: Hmm .Industrial Designer: and they break uh becau the uh titanium was also an option . But uh it's a very expensivematerial . Uh rubber is , I think , uh the best suitable uh material uh to use uh for our uh for our remote control . Um it's poss it's also possible to uh create fancycolours with rubber . Uh rubber l makes it easy to uh to to {disfmarker} it lets lets itself colour . Uh titanium uh you have to paint it and with that uh it's possibleto scratch it or uh yeah make it ugly . Uh rubber uh the total uh piece of rubber that's sor uh that's that's used uh to make the case is uh the same colour , so ifyou scratch it it's still the same colour , perhaps uh it's a little bit damaged . But it's a very strong material . Um {vocalsound} I h I had an idea single covered uhcurved , sorry , single curved .User Interface: {vocalsound}Industrial Designer: Uh so it's t two dimensional . I think it's uh it's best to draw ohUser Interface:{vocalsound} It's a colour . {vocalsound}Industrial Designer: green .Marketing: {vocalsound} Bright colour . Fancy colour . Forward .Industrial Designer: Uh{disfmarker} New . Blank . Okay .Marketing: You have to go tIndustrial Designer: Let's make it uh black . Okay . I thought of an idea like this . Oh {gap} that .{vocalsound} Um delete . Blank . Okay . So it also looks nice when it's on your table .User Interface: {gap}Industrial Designer: So you get uh it doesn't lay flatdown on the table , but it's c it's stands .Marketing: Oh it's a side view .Industrial Designer: Side view yes it's side view so uh I I'm not technically good at ththree D_ modelling ,User Interface: {vocalsound}Industrial Designer: but .Marketing: {vocalsound}Industrial Designer: Um uh it's just an idea I had so it's uh it'svery uh so its also looks nice when it's on the table . Um the graphical user interface and the buttons , uh we also thought about that already . Uh I thought aboutuh the L_C_D_ touch screen , which is uh is easy to clean too . One of the great uh advantages of the L_C_D_ screen you just use some {gap} or uh another uhcleaning uh uh cl some cleaning stuff .User Interface: {vocalsound}Industrial Designer: And um it should be made of strong plastic and it should be bright . Well Ialready uh s uh explained some properties of that material and I think uh well we also we almost concluded about that uh this should uh be uh our uh buttoncomponent .Marketing: True .Industrial Designer: So uh uh that's all about uh the buttons . Uh the batteries , uh we also thought about that already , uh will bechargeable with uh uh an option for a mount station so you can uh put the uh {vocalsound} the remote control in a mount station so its charges itself up insteadof uh plugging it in or something like that . Questions , {gap} ?User Interface: No . {vocalsound}Marketing: No no no no no . Just looking .Industrial Designer:And they should be long lasting , not uh not be empty uh in about uh two minutes or uh thirty minutes or forty minutes of use . And next step is the chip uh ththe component that's uh makes or transmits the signal to the television . Uh there was an option to use s a rather simple chip but I think uh because uh of our uhhighly uh requiring uh requirements , there should be an advanced chip in itUser Interface: {vocalsound}Industrial Designer: with uh also the ability to uhfacilitate speaker speech recognition uh which unfortunately is still in a test phase , so uh there should be some more uh investigation on that side . Uh mypersonal preferences uh I also overheard in the last meeting that there shou we should use uh our own business colours . That was correct , wasn't it ?ProjectManager: Mm-hmm .Industrial Designer: Okay . I think they are rather boring for um for use with rubber .User Interface: {vocalsound}Project Manager: Well ,business colours I thought it was the the slogan and uh the corporate image , so yeah , it needs colour ,Industrial Designer: Okay they should be m sh theyshould be in mind ,Project Manager: but I don't think you have to make the entire thing in the corporate colour . {vocalsound}Industrial Designer: wasn't it ?Okay so it d it doesn't says uh to uh have the slogan ?Project Manager: It must be recognisable .Industrial Designer: Okay okay . Well that's possible of course.User Interface: You can put the R_ and R_ . {vocalsound}Industrial Designer: We could make a little R_ and R_ {gap} on the top of the machine . Uh so they are{vocalsound} pretty boring , I suggest , because just the availability with rubber to make fantastic colours uh and also in a lot of possible colours , so it's possibleto make very uh fancy uh remote controls which peopl uh who people in which people will find they're uh interesting . And uh will buy uh {vocalsound} themfaster when they look at the same old grey or black uh colours . Uh s as I said uh before rubber is uh is impossible to damage severely imp instead of uh of courseyou can break it when you you when you break it in s for example with a pair of scissors or something like that , but i if you drop it it's not uh broken uh rightaway s instead of using uh plastic , hard plastic or uh titanium . And I personally liked uh the single curved uh remote control , because it yeah it makes sense.User Interface: {vocalsound}Industrial Designer: {vocalsound} Okay . Well that's all about my uh my findings .User Interface: Alright .Project Manager: Okay ,thank you .User Interface: I will go next .Marketing: Mm mm mm . Next .User Interface: {gap}Industrial Designer: {gap}User Interface: Alright soIndustrialDesigner: {vocalsound}User Interface: I thought a little bit about the interface . Uh how it should look . And uh {vocalsound} uh we uh determined that will notbe no buttons , but only an L_C_D_ screen , so I had to uh look on that . And the design is therefore based on what we just uh uh thought of . Uh first there aresome new findings and new technology for speech recognition . And this is that uh um uh uh you you ask you give a question through through the device and itanswers you . And they already uh put this in an in a coffee maker . And so that it you say uh good morning , uh coffee maker , and it says t says to you backgood morning Joe or what's your name .Industrial Designer: Mm .User Interface: This uh and there's an easy way to uh program that uh you say record into thedevice into the speaker and then you say the question and three seconds later you say the answer and then when you say the question it gives you the answer .Um perhaps it's useful ,Industrial Designer: Mm .Project Manager: Mm .User Interface: perhaps for because people um lose the remote ,Industrial Designer: Mm.User Interface: they can yell uh remote where are you and {gap} calls or something .Industrial Designer: {vocalsound}Marketing: It's true .User Interface: Andperhaps we could uh implement that .Industrial Designer: {vocalsound} {vocalsound}User Interface: And then I have to go out of the presentation because Itried to make some kind of a a idea of how it should look likeIndustrial Designer: Oh my God . {vocalsound} {vocalsound}User Interface: but I can't draw , so uhdon't {vocalsound} make too much of it {vocalsound} . I tried to uh the L_C_D_ screen I tried to sort of to draw {gap} . I thought uh at least uh the icon for thevolume . I don't know if there is an icon for the program , butIndustrial Designer: Not just a P_ .User Interface: yeah .Marketing: P_ yeah , just a P_ .UserInterface: So uhIndustrial Designer: .. . {gap}User Interface: and then the buttons above and uh belowMarketing: {vocalsound}User Interface: the and the andthe mute button also recognisable as an icon . Um .Marketing: Where's where's the button for two {gap} ?User Interface: I forgot that one . {vocalsound} Ithought I forgot something ,Industrial Designer: {gap}Marketing: Okay .User Interface: but uh {vocalsound} .Industrial Designer: {vocalsound}User Interface:And uh and uh the numbers , that should be a bit larger I think it's not really on scale and and so forth .Industrial Designer: Ah .Marketing: Doesn't matter .UserInterface: Um an options button . And I thought the the button for teletext apar uh apart because it's not really options , I think . It's uh options is the settings ofthe remote and of the T_V_ and that kind of uh thing .Industrial Designer: Mm-hmm .Marketing: No .User Interface: So could call it settings or something.Industrial Designer: Yep .User Interface: But this is a bit uh how I thought it . And uh the L_C_D_ uh somewhere on the remote . Perhaps we could be morecurvy the remote perhaps should , so that it's better in your hand or something uh .Industrial Designer: Oh okay ,User Interface: But uh and and uh a microphmicrophone for the speech uh recognition if we want to implement that .Industrial Designer: yeah .User Interface: Uh and then uh if you press the op optionsbutton , now we have an example of and then you should get the other options with what what you could do and that you could do with something like this this.Industrial Designer: Oh yeah , {gap} .User Interface: And uh it's also uh I thought think we discussed uh earlier that uh older people don't really want to use uhthese extra settings . And older people a also don't really want to use this uh th this kind of option menus . So they want to u use one button and then something"}
+{"doc_id":"doc_167","qid":"","text":"Project Manager: Okay , is everybody ready ?Industrial Designer: Yeah ?Marketing: Yeah I'd to just put on my microphone here and I'll be right with you .ProjectManager: Mm-hmm .Marketing: Okay ?Project Manager: Um {vocalsound} I take it you all have received instructions as to what you were supposed todoIndustrial Designer: Mm ?User Interface: Yes .Project Manager: and um I think the Marketing Manager probably should go first , addressing the needs anddesires .Marketing: {vocalsound} Okay you want me to start right now ?Project Manager: Yeah , mm-hmm .Marketing: Okay .Project Manager:{vocalsound}Marketing: Well , could you um put my slides up 'cause I think it might be helpful if uh we looked at the slides at the same time .Project Manager:Okay . You're participant four .Marketing: I'm participant four I believe . Yes uh-huh .Project Manager: Okay , and now I can uh full screen .Marketing: 'Kay.Industrial Designer: Open .Project Manager: Uh , okay , okay .Marketing: There we go . Okay well I think we have introduced ourselves ,Industrial Designer: Andthen full screen .Marketing: so the functional requirements are {disfmarker} is {vocalsound} is part of my goal but why don't we pass right to the second slide .Cause that's where m my discussion starts . Right well um since I'm in charge of trying to figure out what we should put on this thing since I have to try to sell it.Industrial Designer: Mm-hmm .Marketing: Um {vocalsound} I thought that the method I should follow would be gather suggestions from everybody , and th thereason I just put that there like that is that uh in the init in the initial stage I think I should just be open to lots of suggestions . You know you can say anythingyou want no matter how silly it sounds you know it should run your car , it should heat up your motor if should um turn on your C_D_ {vocalsound} whatever youwant it to do {vocalsound}Industrial Designer: 'Kay .Marketing: um and then as we go on what we'll have to do is accept and eliminate these suggestionsaccording to um design and budget feasibility . So I'll be coming to you um frequently as the Industrial Expert to tell me how hard it's gonna be to add a featureor how expensive it's gonna be or if your time , if it takes five years to develop this it's just something we can't do .Industrial Designer: Mm-hmm . Yeah . Yeah .Yeah . Hmm hmm . Mm .Marketing: So in the beginning just have a big puddle of things that we {disfmarker} anybody can th throw anything inIndustrialDesigner: Yeah .Marketing: and then just weed things out that can't be done for one reason or another , and then the things that seem the most attractive that touh to a customer we'll try to then prioritise those .Industrial Designer: Mm-hmm . Yeah .Marketing: So that was um what I meant there , and as I said on theslide there consulting the Industrial Engineer about that and the other thing is timing is really gonna be as important as money , because if we're gonna sell thisthing , I think the best time to sell it is as a Christmas present . Twenty five Euros makes a nice little present , and we want it to be an impulse purchase,Industrial Designer: Mm .Marketing: we want somebody to see it and think it's , gee I just gotta have that . And take out their wallet and buy it . So it's gotta bereally attractive and it {disfmarker} but it's gotta go to market by September , 'cause anything that you don't already have out there in September showing itaround , isn't gonna sell for Christmas .Industrial Designer: Yeah .Marketing: Um {vocalsound} and then I'll be coming to you as the User Interface person to tryto tell me from your point of view what are the most friendly features that we could put on it and try to prior help me with that prioritising of uh of the featuresand of the the look and the colourUser Interface: Okay .Marketing: and I'll be coming back to you to help weed out those suggestions from that point of view.User Interface: Okay .Marketing: So I'll be coming to you for how much is it gonna cost us and how long is it gonna take you ,Industrial Designer: Mm mm-hmm.Marketing: and I'll be coming to you to tell me what's gonna make somebody take out their wallet you know ,User Interface: What features .Marketing: whatwhat's what's gonna really be what they call a sizzle ,User Interface: S sellable . Yes {vocalsound} .Marketing: 'cause we gotta sell this sizzle {vocalsound}.Industrial Designer: {vocalsound}Marketing: A lot of times the thing that works the best from an engineering point of view isn't the thing that somebody's reallyjust gonna take out their wallet and buy for Christmas for for their child or for their husband or whatever .User Interface: Yes .Marketing: Okay can we go to thenext slide please ? Alright I I already did a little bit of research after our first meeting where we threw out some ideas and it looks to me that within the budgetthat we're looking at the uh the whole house idea really isn't gonna be possible . So I'd like your suggestions to come back to the other slide where I was sayingwe we could suggest anything .Project Manager: {vocalsound}Marketing: I'd like the suggestions to be really specific , so that we'll have a list of things we cancross off , not something like you know whole house control what'll be {vocalsound} {disfmarker} And then I found on the internet from from my research thatsome extended electronic entertainment control should be possible . At the budget that we're looking at and at the price point we're looking at , we should be ableto make it work the T_V_ , the V_C_R_ , the stereo set um maybe something else cute like a coffee pot or one other appliance or maybe a lamp .Project Manager:{vocalsound} Uh okay , can can I at this point interject um something ?Marketing: I have to wind up ? Yeah , sure .Project Manager: Um we have receivedinstruction from higher up that certain things should not be uh considered . Um the one thing for example {disfmarker} something to eliminate maybe that's theteletext ,Marketing: Okay .Project Manager: because that's sort of outdated with the internet ,Industrial Designer: Mm-hmm .Marketing: Okay .Project Manager:and according to to higher management the {disfmarker} it should only control the T_V_ ,Marketing: {vocalsound}Project Manager: mostly because they feelthat it's too comp complex a task to um to to include other things ,Industrial Designer: Complicated , yeah , of course .Project Manager: and they are concernedwith the time to market .Industrial Designer: Yeah .Marketing: Of course , yeah .Project Manager: Okay .User Interface: Okay .Project Manager: Um and the{disfmarker}Marketing: Okay , so that's something {disfmarker}Project Manager: and the third thing that they wanna make sure um that their {disfmarker} thatthe corporate image is being maintained , and that the corporate colour and design are being used on the product , so that it's easy that that that they can beeasily identified as a product of of of the company , and that there's no mistake that it could be somebody else who is bringing this out .Industrial Designer:Mm-hmm .Project Manager: So I just wanted to interject this here so we're not getting too much off track here with uh with the things we wanna look at . Thesewere instructions from higher up so we have to eliminate uh these things , so it's only gonna be T_V_ ,Marketing: Okay so {disfmarker}Project Manager: but theone thing maybe that could be um eliminated is the teletext uh idea .Marketing: Okay .Project Manager: Mm 'kay .User Interface: Okay .Marketing: Alright ,thanks for that . Um alright now {vocalsound} other things that I found out on {disfmarker} in my research is that the complaints that people have about theremote controls that are out there now . 'Cause a lot of them take too much time to learn how to use , and that was thirty four percent but even more importantthe thing that we did address in our last meeting that frequently it's lost somewhere in the room . Um so those are two things that we definitely do wanna address, uh we wanna s make it as simple as possible , we wanna make it um obvious and intuitive to use , and then the things about finding it we talked about the{disfmarker} a light emitting thing as well as uh maybe a beep , and I think that those are things after my research that we definitely wanna try to incorporate .'Kay can we go to the next slide please ? Okay , so , my personal preferences in this um project are really have to concentrate on the sizzle . That is the sellingpoint , the thing that's gonna make it an impulse purchase . Uh because once there's no be-back , well in sales they always say you know , be-backs don't comeback .Industrial Designer: {vocalsound}Marketing: If somebody says , oh I'll come back and get it next week you're dead . They're never gonna come back andbuy it . You've gotta make it attractive enough so they buy it now now now w now is a big word in in my book for selling this thing . And , in order to make itreally sellable we've gotta shorten the learning curve , make sure it's really intuitive and easy to use . We have to have as few buttons as possible , because morebuttons is more confusion , so that's why I'm saying , simplicity is good . Finding it's important , obviously you can't use it if you can't find it . So we've gottaconcentrate on the features that help you find it , and I've already said this several times but I put it down in writing here , it should be an attractive impulsepurchase at twenty five Euros . So it has to have enough value that when somebody looks at it they say , uh twenty five Euros I'm not gonna take that . Has to beso great that they're gonna say , uh twenty five Euros isn't much . Um and then maybe a motto , like we put fashion in electronics might be something we canuse in our marketing campaign .Industrial Designer: Yeah .Marketing: Okay that's uh about it for me right now .Project Manager: {vocalsound} Okay . And uhwho would be next , uh , I guess that would be you . Mm-hmm .Industrial Designer: Yeah 'kay .Project Manager: You want me to get your slide show up?Industrial Designer: Yeah yeah sure .Project Manager: Mm-hmm .Industrial Designer: Thank you .Project Manager: And you are number three ?IndustrialDesigner: Number two ,Project Manager: Number two .Industrial Designer: yeah . Yeah exactly .Project Manager: Okay . Okay .Industrial Designer: Uh can youmake it uh full screen please ?Project Manager: Mm-hmm . Yep .Industrial Designer: No , it's like a well you you have to press here . The cup cup shape here?Marketing: {vocalsound}Project Manager: Yeah yeah , uh-huh .Industrial Designer: The thir third .Project Manager: There , mm-hmm .Industrial Designer: Yeahexactly . Uh so today I'm going to talk about the working design of the remote controller . Um can you go to the next sli slide please ?Marketing: Okay .ProjectManager: Mm-hmm .Industrial Designer: The metal is like uh in a remote controller you have a chip integrated circuit which is like a brain of the remote controller. It takes the power from a battery say a battery it it can be a elec an electric supply like you have to uh like uh switch connec connect connect your remotecontroller to uh power supply from the you know electricity or something like that . It should be a battery because uh uh remote controller should be like you youyou should take it t to wherever you want and then um uh thMarketing: Mm-hmm .Industrial Designer: this integrated circuitry takes energy from the power"}
+{"doc_id":"doc_168","qid":"","text":"Project Manager: {vocalsound} Oh .User Interface: DuProject Manager: Okay . Thanks for coming to this meeting .Marketing: Hm .Project Manager: S how wedoing on our remote ?User Interface: {vocalsound}Project Manager: We have some {disfmarker} we have some ideas and some uh ideas for what people want.User Interface: Uh we yes s I've lo {vocalsound}Marketing: {vocalsound}User Interface: I've done the role that I was asked to do anyway .Project Manager:Yeah .User Interface: {vocalsound} I think .Marketing: {vocalsound}Project Manager: {vocalsound} Alright let's just go over the agenda real quick for thismeeting . See if I can't get things uh moving along here a little bit better . Um I'll go over what we went over last time , which shouldn't take long . Then I believeeach of you have a presentation . Um I've was sent a a couple more requirements for our remote , what they want . Um then we can come to a conclusion on uhwhat we want the remote to do , um and how it's going to do it hopefully . And uh then we'll have the closing . {vocalsound} Um which we'll have forty minutesfor . Uh let's see , the last meeting we went over um {vocalsound} who was responsible for what . I'm responsible for leading the meetings , keeping the notes ,uh and coming up with the final presentation . Um Corinne is our Marketing Expert . She's gonna figure out what what um the consumer wants . Um{vocalsound} Ryan is our User Interface Designer . And Manuel is the Industrial Designer . So you're gonna come up with the ideas Ryan , and you're gonna pick'em apart .User Interface: {vocalsound}Project Manager: {vocalsound} Um we decided our remote , uh we want it to be a universal remote uh that everyonewould want . Um we want to be modern , um fun , different . Uh it needs to be sturdy , um easy to find , so we gonna have that locator function . Um and wewant to be different . Um and then we went over a couple of different ideas . Ball-shaped phone . The keyboard shape . Um we decided that it should probably beone-handed . Something we could use with one hand . Um and that was our last meeting . So um why don't um {disfmarker} Do each of you have a presentation?Marketing: Yep .Project Manager: Okay . I'll hand it off to you and um {disfmarker} Does anyone {disfmarker} do you wanna go first ?Marketing: Sure .ProjectManager: So we can maybe see what uh what the people want .Industrial Designer: {vocalsound}Marketing: What was it ? Function ?Industrial Designer: Eight .F_ eight .Marketing: F_ eight ? Well . {vocalsound} How do I get it {disfmarker}User Interface: Slide show .Project Manager: To go to the next one ?Marketing:Oh right right right .Project Manager: Yeah you click on that guy .Marketing: That one ?Project Manager: Yeah .Marketing: Okay . Alright . Well , this is my report, which is going to be based pretty much on a survey that I was sent . Oh gosh , I've no idea . {vocalsound} GUser Interface: Just press the arrow keys I think .Usually goes to it .Marketing: Okay .Project Manager: {vocalsound}Marketing: Sorry I actually need to see something else on my screen .Project Manager:{vocalsound}Marketing: {vocalsound}Project Manager: Hit F_ eight again .Marketing: Yeah .Project Manager: I think .Marketing: And then ? Again ?ProjectManager: Yeah . You want it to be on both screens , or just just yours ?Marketing: No I want something else on mine . Is that possible ?Project Manager: Yeahbut I think you have to hit escape . And then you can {disfmarker} Yeah .Marketing: Okay but now you don't have that .Project Manager: Oh hit F_ eight again.Marketing: {vocalsound} Sorry guys .Project Manager: I know . I did the same thing . {vocalsound}Marketing: {vocalsound}Project Manager: And then it shouldcome up here shortly . 'Kay .Marketing: {vocalsound} So is there no way I can give you the slideshow andProject Manager: I think {disfmarker} oh give us theslideshow and something on your screen ?Marketing: yeah . Yeah .Project Manager: Mm .Marketing: Oh well .Project Manager: I'm not sure . You could maybeminimise that screen and then have them both up at the same time I think .Marketing: Yeah . It's okay . Okay . Um so first of all , the method that I used was bydoing some marketing research ,Industrial Designer: {vocalsound}Marketing: by um doing research on some interviews that were conducted . And then someinternet research . And I was sent a report that was {disfmarker} I think there were a hundred remote users that they interviewed . And so I will show you someof the results from that , which I think will be helpful . Um okay here are some of the findings . They said that the users dislike the look and feel of their currentremote controls . And seventy five percent of the users find their remote controls to be ugly . Which is a fairly significant number I would say . And eighty percentof the users would be willing to spend more money if they could get a remote that would look fancy . So I think that earlier we were onto something when wewere talking about having it be a modern cool look , I think that's definitely important . Um they say that current remote controls do not match well the operatingbehaviour of the user . Seventy five percent of users said they zap a lot . And if anyone could clarify what that means ?Industrial Designer: {vocalsound} JustjusUser Interface: Is is it j just justMarketing: Zap , does that just mean like changing the channel ?User Interface: just using itIndustrial Designer: yeah .UserInterface: yeah .Marketing: Okay . {vocalsound} Um and fifty percent of the users say that they're only using ten percent of the buttons on their remote control .And there was something else , they kept track of the frequency per hour in using certain buttons . And some of them it looks like barely need to be included at all. Of course channel selection is used the most frequently . And then teletext was the next . Volume and then power . And then audio settings and screen settingsand channel settings were practically never used . So I think we could definitely eliminate or somehow combine a lot of the functions into one button . Um thebiggest user frustrations , as we said fifty percent of people find that their remotes are lost somewhere , and so I think a tracking device of some sort would be agood idea . They said it take {disfmarker} thirty four percent said it takes too much time to learn how to use a new remote . And twenty six percent said that thecontrols are bad for R_S_I_ . {vocalsound}User Interface: A repetitive strain injury .Marketing: What is it ?User Interface: Just repetitive strain injury . I think .That's what I guess .Marketing: Okay . Okay . And so bas okay . Um as far as speech recognition goes , um the younger group looks like they're all for it . Fromthe fifteen to twenty five age group over ninety percent said they would pay more . And it kind of just went down incrementally . The groups at {disfmarker} theolder they get it looks like the less willing they are to pay , so maybe we could discuss this and think {disfmarker} and decide if we think it's worth investing inthis . At least if we're targeting the younger groups . And so in conclusion . Some things that I drew from this are that I think we were correct . We definitely needto focus on a new modern appearance , since so many people seem to be concerned about the ugliness of their remote control . Um a multifunctional remotecould be a good thing to explore . So you only have one rather than five different remotes sitting all over your room . Uh we need to simplify the remote andreduce the number of buttons , get rid of the ones that don't seem to be serving much purpose . And then lastly I thought that maybe we could discuss the ideaof speech recognition . And that's it .Project Manager: 'Kay . Very nice . Now we actually have some ideas of what what people want , what we should focus on .Uh {disfmarker}Marketing: {vocalsound}Project Manager: Wait can I look at that real quick ? {gap} .Marketing: Oh yeah . Sorry did you guys get time to writeeverything that you needed ?User Interface: Yeah .Marketing: 'Kay .User Interface: Having just listened to what Corinne just said , I'll draw on some of the thingsas well . {vocalsound} {gap} Some things that sort of relevant to what I wanna say . 'Kay so I'm just gonna yeah approach the technical functions design . Um{vocalsound} the method I used was to explore the uh technical functions of a remote control .Marketing: {vocalsound}User Interface: And t s simplest approachthat I came to is is to change , programme and operate an electronic device remotely . I mean that's an obvious thing to say , but it's not attached to the devicethat you want to control . Um I had some things sent to me . Not very much . To look at similar devices . Um defined in some them . And then the personalpreferences that I will suggest . Um we discussed a universal one . Um like it's just been brought up again then . But I think a universal remote control is actuallyquite a difficult object to design , and po possibly within maybe the budget that we do it , um because you'd need to know all the spef specifications of a all thelike electronic companies . I'm not sure have you ever come across a universal remote control yourself , but you have to {disfmarker} i they're a nightmare touse . You have to set them , reset them to everything . Um and that would only add buttons . Whereas I think the aim is to take away buttons . So I think it'd bebetter maybe to concentrate on maybe just a universal one for T_V_s . Um or maybe just one that you could we could design and then different people ,manufacturers could use it to set to their specifications , if if the aim is to get something that's unique in design . Um {disfmarker} Okay here here's just twopictures of remote controls . They're just simple T_V_ remote controls . But one is uh user-centred . That is the one on the left . And you can straight away seethere's less buttons . And the other one is {gap} engineer-centred where that's more uh specified for the sort of the elaborate piece of equipment it's trying tocontrol um {disfmarker} {gap} which appeals more to the product that we want , and on what the {gap} have said and the market research and stuff {gap}probably looking at something that should be user-centred . Fewer buttons , simpler to use , and if ten percent um is hidden away {disfmarker} if ten percent iswhat's used , maybe the other fifty percent , the buttons that are used very rarely like programming , they could be hidden maybe under {disfmarker} someremote controls you might have come across have maybe a little flip thi thing where they're hidden away . And the main buttons are the ones you or the ones youcome across . Um and finally , um uh sort I've sort of covered that , our product I think should be user interface orientated . Um {disfmarker} Like I said toconcentrate on T_V_ remote control , a universal remote might be too complex . Um and as what it , the major findings {gap} market researchers have said , it'sthe image and the appearance that people di dislike . So that we should concentrate on something that would set a trend . And that's it .Industrial Designer:{gap} cable there . Thank you .Project Manager: What was your last conclusion on that one ? Focus on uh the iUser Interface: On something on the image of it.Project Manager: the image of it .User Interface: Uh the f the actual design .Project Manager: 'Kay . Good . Good .Industrial Designer: Okay . Gonna talk to you"}
+{"doc_id":"doc_169","qid":"","text":"Grad F: Test .Postdoc G: OK .Professor B: Let 's see , I should be Two .PhD D: Up high {disfmarker}Grad E: As close to your mouth as you can get it .Professor B:LaPhD D: high as you can get .Professor B: Is this channel one ?Postdoc G: Yeah , on your upper lip .PhD H: Channel one one one .Professor B: Gee , OK . Yes .OK .Grad E: OK , so for {disfmarker} for {disfmarker} For people wearing the wireless mikes , like {disfmarker} like this one , I find the easiest way to wear it issorta this {disfmarker} this sorta like that .PhD H: This is {disfmarker} chan channel channel one one two threeGrad F: Channel five , channel five .Professor B:Yeah . Mm - hmm . What do you do ,Grad E: It 's actually a lot more comfortable then if you try to put it over your temples ,Grad F: Test , test test .Professor B:you do it higher ?Grad E: so {disfmarker}Professor B: Mm - hmm .PhD D: Adam 's just trying to generate good uh data for the recognizer there .Postdoc G: Yeah, I think we 're supposed to {disfmarker} that 's right .Grad E: And then also , for {disfmarker} for all of them , if your boom is adjustable , the boom should betowards the corner of your mouth ,Grad F: Test test .PhD A: By the way , there was a bug . Yeah , i it wasn't using the properPhD D: Oh it was .Grad E: andabout a uh a thumb to a thumb and a half distance away from your mouth ,PhD A: basically it wasn't adapting anything .PhD D: Oh .Grad E: so about like I 'mwearing it now .PhD D: Oh that 's interesting . So why didn't you get the same results and the unadapted ?Grad E: so so Jane , you could actually do even a littlecloser to your mouth ,PhD H: It 's not always possible .PhD A: Hmm ?PhD D: Why didn't you get the same results and the unadapted ?Postdoc G: I could{disfmarker} can this be adjuste like this ?Grad E: but {disfmarker}PhD A: Oh , because when it estimates the transformer pro produces like a single matrix orsomething .Grad E: Yep .Postdoc G: Is that @ @ ? OK , thank you .Grad F: Adam , I 'm not {disfmarker}PhD D: O Oh oh I see .Grad F: uh , looks kinda low onchannel five {disfmarker}PhD D: I see , I see .Professor B: OK .Grad F: no ?Grad E: Channel five , s speak again .Grad F: Maybe not .Postdoc G: Hello .PhD A:Basically there were no countsGrad E: Yeah , that 's alright .Grad F: Hello ?Grad E: I mean , we could {disfmarker} we could up the gain slightly if you wanted to.Grad F: It 's OK ?PhD H: Yeah .Grad F: Is this OK ?PhD H: OK .PhD D: I see what you mean .PhD C: Who 's channel B ?Grad E: but {disfmarker} Uh , channel Bis probably Liz .PhD C: Uh oh .PhD H: Uh channel B {disfmarker} I am channel B .Professor B: You wanna close this ,Postdoc G: Channel eight , eight .ProfessorB: orPhD C: No IGrad E: Thank you .PhD H: No , channel B .PhD A: Hello , hello .PhD C: yeah , yeah , you 're channel B .PhD H: Yeah , yeah .PhD C: So can youtalk a bit ? I thought it might be tooPhD H: OK , yeah , channel B , one two three four five .PhD C: OK .Grad E: Yeah , it 's alright . So , the gain isn't real good.Professor B: We 're recording ,PhD C: OK .Professor B: right ?Grad E: OK , so we are recording .PhD H: Ah .Professor B: Yeah .PhD A: OK .Grad E: Um everyoneshould have at least two forms possibly three in front of you depending on who you are .Grad F: Oh .Grad E: Um we {disfmarker} we 're doing a new speakerform and you only have to spea fill out the speaker form once but everyone does need to do it . And so that 's the name , sex , email , et cetera .PhD H: Mm -hmm .Grad E: We {disfmarker} we had a lot of discussion about the variety of English and so on so if you don't know what to put just leave it blank . Um I{disfmarker} I designed the form and I don't know what to put for my own region ,PhD A: Mmm .Grad E: soPhD D: California .PhD A: I think {disfmarker}GradE: California .PhD H: California .PhD A: Um may I make one suggestion ? Instead of age put date of {disfmarker} uh year of birthGrad E: Sure .PhD A: becauseage will change , but The year of birth changes , you know , stays the same , usually .Grad E: Oh .PhD C: A actually , wait a minute ,Grad E: Birth year ?PostdocG: Although on {disfmarker}PhD A: Yeah .PhD C: shouldn't it be the other way around ?PhD D: Not for me .Postdoc G: course on the other {disfmarker} on theother hand you could {disfmarker} you view it as the age at the time of the {disfmarker}PhD C: On the other side ,PhD A: Well the thing is , if ten years fromnow you look at this form knowing that {disfmarker}PhD C: yeah .Postdoc G: Yes , but what we care about is the age at {disfmarker} at the recording daterather than the {disfmarker}PhD C: O yeah .PhD D: But there 's no other date on the form .PhD C: W we don't care how they {disfmarker} old they really are.PhD A: Well {disfmarker} well I don't know .Postdoc G: Yes . {vocalsound} Unless we wanna send them a card .Grad E: Well I guess it depends on how long thecorpus is gonna be collected for .PhD A: Anyway .Postdoc G: Yeah , that 's true .PhD C: I still don't see the problem .Grad E: Either way yeah I think {disfmarker}I think age is alrightPhD A: OK .Grad E: and then um there will be attached to this a point or two these forms uh so that you 'll be able to extract the date offthatPhD A: Mm - hmm .Grad E: so , anyway . And so then you also have a digits form which needs to be filled out every time , the speaker form only once , thedigit form every time even if you don't read the digits you have to fill out the digits form so that we know that you were at the meeting . OK ? And then also if youhaven't filled one out already you do have to fill out a consent form . And that should just be one person whose name I don't know . OK ?Grad F: Do you want this{pause} Adam ?Grad E: Uh sure . Thank you .Professor B: So uhGrad E: OK so should we do agenda items ?Professor B: Uh oh that 's a good idea . I shouldn'trun the meeting .Grad E: Uh well I have {disfmarker} I wanna talk about new microphones and wireless stuff .Postdoc G: Mmm .Grad E: And I 'm sure Liz andAndreas wanna talk about recognition results . Anything else ?PhD C: I guess {disfmarker} what time do we have to leave ? Three thirty ?PhD A: Yeah .PhD C:Yeah ,Grad E: Why don't you go first then .PhD C: so .Professor B: Yeah , good idea .PhD A: OK .PhD C: Um Well , I {disfmarker} I sent out an email s couplehours ago so um with Andreas ' help um Andreas put together a sort of no frills recognizer which is uh gender - dependent but like no adaptation , no cross - wordmodels , no trigrams {disfmarker} a bigram recognizer and that 's trained on Switchboard which is telephone conversations . Um and thanks to Don 's help whwho {disfmarker} Don took the first meeting that Jane had transcribed and um {vocalsound} you know separated {disfmarker} used the individual channels wesegmented it in into the segments that Jane had used and uh Don sampled that so {disfmarker} so eight K um and then we ran up to I guess the first twentyminutes , up to synch time of one two zero zero so is that {disfmarker} that 's twenty minutes or so ? Um yeah because I guess there 's some ,Grad E: Or so.PhD C: and Don can talk to Jane about this , there 's some bug in the actual synch time file that ah uh I 'm {disfmarker} we 're not sure where it came from butstuff after that was a little messier . Anyway so it 's twenty minutes and I actuallyGrad E: Hmm .PhD C: umGrad E: I {disfmarker} was that {disfmarker} did that{disfmarker} did that recording have the glitch in the middle ?Postdoc G: I 'm puzzled by that . I {disfmarker} oh {disfmarker} oh , I see .PhD C: There 's{disfmarker} there 's a {disfmarker}Postdoc G: Oh there was a glitch somewhere .PhD C: yeah , so that actually umGrad F: Was it twenty minutes in ,PhD C: if itwas twenty minutes in then I don't knowPostdoc G: I forgot about that .Grad F: I thought {disfmarker}PhD A: Well it was interesting ,Postdoc G: Well , I mean ,they {disfmarker}PhD A: suddenly {disfmarker} the {disfmarker} the overall error rate when we first ran it was like eighty percentGrad E: I don't rememberwhen it is .Postdoc G: but I was able to can transcribePhD A: but i looking at {disfmarker} the first sentences looked much better than that and then suddenly itturned very bad and then we noticed that the reference was always one off with the {disfmarker} it was actually recognizedPhD C: WelGrad E: Oh no .Grad F:Yeah , that might be {disfmarker} that might be {disfmarker} that might be my fault .Postdoc G: Wow .PhD A: soGrad E: Oh so that was just a parsing mismatch.Grad F: I 'm not {disfmarker}PhD A: OK .PhD C: No actually it was {disfmarker} yeah i it was a complicated bug because they were sometimes one off and thensometimes totally random so umGrad F: yeah , I was pretty certain that it worked up until that time ,Postdoc G: Oh . That 's not good .PhD C: YeahPhD A: OK.PhD C: so that 's what we haveGrad E: Alright .Grad F: soPhD C: but that {disfmarker} that will be completely gone if this synch time problemPostdoc G: Yeah.Grad E: The {disfmarker} the glitchPhD A: So {disfmarker} so we have everything recognized but we scored only the first uh whatever , up to that timetoPostdoc G: And the only glitch {disfmarker}Grad E: yeah .Postdoc G: yeah .PhD C: So you guys know .Professor B: S sorry I haven't seen the email ,PhD C:Yeah .Grad E: Th - thePostdoc G: The {disfmarker} the {disfmarker} well {disfmarker} waitProfessor B: what was the score ?PhD C: So here 's the actual copy ofthe emailPostdoc G: we should say something about the glitch . He {disfmarker} he can say something about the glitch .PhD C: um oh OKGrad E: yeah .PostdocG: Cuz it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} h it 's {disfmarker} it 's very small {disfmarker}PhD C: so does this glitch occur at other{disfmarker}Grad E: There {disfmarker} there {disfmarker} there 's an acoustic glitch that occurs where um the channels get slightly asynchronizedPostdoc G:very small . Yep .PhD C: Oh .PhD A: Mmm .PhD C: Right .Grad E: so the {disfmarker} that {disfmarker} that problem has gone away in the original driver believeit or not when the SSH key gen ran the driver paused for a fraction of a secondProfessor B: Hmm .Grad F: Hmm .Grad E: and so the channels get a littleasynchronous and so if you listen to it in the middle there 's a little part where it starts doing {disfmarker} doing click sounds .Professor B: So {disfmarker}PhDC: And is it only once that that happens ?Grad E: But yeahPhD C: OK .Grad E: it {disfmarker} right once in the middle .PhD C: There 's {disfmarker} the previouspage has some more information about sort of what was wrongProfessor B: so {disfmarker} so un unsurprisingly Adam is the golden voice ,PhD C: butGrad E:Um But that shouldn't affect anythingPhD C: OK so that 's actuallyPostdoc G: S and it {disfmarker}Professor B: you see this here ?PhD C: It {disfmarker} y it 's{disfmarker}Grad E: yeah yeah \" bah \"PhD C: OK no {disfmarker}PhD A: Oh , and {disfmarker}PhD C: What happens is it actually affects the script that Don{disfmarker}PhD D: Huh .PhD C: I mean if we know about it then I guess it could always be checked for itGrad E: Well the acoustic one shouldn't do anything.PhD C: but theyGrad F: Yeah , I don't know exactly what affected itPostdoc G: I agree . I agree .PhD A: I {disfmarker} I have {disfmarker}Grad F: but I 'll{disfmarker} I 'll talk to you about it ,PhD A: Yeah .Grad E: But I {disfmarker} I do remember {disfmarker}PhD C: Yeah .Grad F: I 'll show you the point .Postdoc"}
+{"doc_id":"doc_170","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to the Children, Young People and Education Committee. We've received apologies for absence fromJanet Finch-Saunders. I'd like to take this opportunity to welcome Suzy Davies to the committee, and to thank Mark Reckless and Darren Millar, who have left us,for their service and hard work as members of the committee. Can I ask whether there are any declarations of interest, please? No. Okay. We will move on thento our evidence session on our inquiry into the impact of Brexit on higher and further education. I'm very pleased to welcome Kirsty Williams, Cabinet Secretaryfor Education, and Eluned Morgan AM, Minister for Welsh Language and Lifelong Learning. Can I just ask you to introduce your officials for the record,please?Kirsty Williams AM: Bore da, Lynne, and thank you for the invitation to join you. Eluned and I are joined this morning by Huw Morris, who's the groupdirector at SHELL—skills, higher education and lifelong learning—and Marie Knox, who is deputy director, overseeing European transition.Lynne Neagle AM: Okay,thank you very much, and thank you for coming. We'll go straight into questions, then, and the first questions are from Suzy Davies.Suzy Davies AM: Thank you.I'd like to ask you both, if that's okay, a little bit about preparedness. But if I could start with higher education, I understand that—I don't know, it must be about18 months ago now—Ken Skates told another committee in this place that there had been nine sector analyses done. Presumably, one of those was HE, becauseof the—well, Welsh Government had a presence, and still does, in Brussels, related to higher education. Apparently, those have now been superseded by workthat's been done by Cardiff University. I don't know if you've got any comments on that research, or whether it's been brought to your attention yet.KirstyWilliams AM: Well, Suzy, following the vote, I was very keen that we work very closely with colleagues in higher education and further education, to get anunderstanding from on the ground about the potential impact. So, in terms of preparedness, we started that group in the September, and that work from thatgroup, which includes both HE and FE, has been instrumental in helping the Government form its views, which were articulated in the Government's White Paper,'Securing Wales' Future'. There has been ongoing work being done—as the debate in London and Europe becomes a little bit more clear, then it becomes a littleless clear, and then a little bit more clear, but, bearing in mind the difficulties of working in an ever-changing field, we have been refining those approaches. Eachinstitution has been looking at their own institution, because, as you can imagine, although we have an overview of the sector, the challenges are very differentfor individual institutions—so their exposure, for instance, to the number of European Union students that they have at their college, or the work that they mightbe doing with Horizon 2020, or their success—and there has been considerable success in the HE field in securing structural funds for various projects—theexposure and the potential impact of leaving the EU, in a 'no deal' or in a 'deal' scenario, is very, very different. But I don't know if, Huw, you want to talk anyfurther.Suzy Davies AM: Maybe just to use the 'no deal' scenario is probably the easiest, isn't it?Kirsty Williams AM: The 'no deal'?Suzy Davies AM: Well, yes,because that's the worst-case scenario, so let's look at that one.Huw Morris: As the Cabinet Secretary mentioned, the higher education Brexit workinggroup's been meeting since September 2016 and has been looking at that in general. More recently, when the prospect of no deal became talked about, officialshave been visiting individual institutions to talk to them about their preparedness for that. As you'll be aware, the funding for much of the activity is secured, webelieve, even under a 'no deal' scenario, until December 2020; that's a letter we had from the Chief Secretary to the Treasury. I think the research you'rereferring to may be research that Cardiff University has been doing with the Bevan Foundation and others. I know there's a report due to be launched later today.We have been doing our own research and looking at the impact on HE, FE and apprenticeship providers.Suzy Davies AM: Well, that's really helpful because myunderstanding was that this Cardiff University research had superseded all those nine sector analyses.Huw Morris: That may be true for the economy brief.Certainly, there are published papers by Max Munday and a team at Cardiff University on the impact of Brexit on the Welsh economy, but for HE and FE andapprenticeship provision, it's as the Cabinet Secretary outlined.Suzy Davies AM: So, are there any formal risk assessments that are available for us to scrutinise,for example? For HE and FE for that matter.Kirsty Williams AM: Well, the Higher Education Funding Council for Wales have been doing some specific work; I can'tcomment on how wide they would want that to be shared. We have been doing some broad analysis, as I said, for the sector, looking at what we can do tomitigate the risk, bearing in mind that each institution is an autonomous institution, a principle that they guard really jealously, and rightly so. So, we have been,as Huw said, because the prospect of a 'no deal' has become, perhaps, more to the forefront, officers have been visiting each institution to try and make sure andto satisfy us, as people who fund part of their activity, that they have their own plans in place to deal with these scenarios. We continue to work alongside them topush the issues that we can help them with. So, for instance, we continue to work with officials in Westminster around Erasmus+ provision in a 'no deal' scenario,what a UK stand-alone project would look like, the impacts of a 'no deal' on Horizon 2020. So, we look at the broader picture and we are encouraging continuallyindividual institutions to make sure that they themselves are looking at their specific needs within that.Suzy Davies AM: Well, if there is something that'sshareable, I'm sure we'd be very pleased to see it—Kirsty Williams AM: Anything that we've got—Suzy Davies AM: —particularly with FE, actually, because, ofcourse, we haven't got a HEFCW for FE; you're doing that regulation yourself. I'd expect to see that type of work evidenced somewhere from within WelshGovernment, and we would be able to see that then.Eluned Morgan AM: So, if I could just make some points on FE. We've been actively engaging with the FEsector. We've spoken to every one of the colleges about how they see things developing. I think it's quite a different response than what is going to be happeningin HE.Suzy Davies AM: Yes, because the student thing isn't such an issue, is it?Eluned Morgan AM: You've got to remember that the FE colleges are much moreanchored within their communities, they're much more localised, and so, for example, the number of EU students in these colleges is significantly lower. Thenumber of staff in these colleges—I think they've analysed that there are only about 71 people. So, we're keeping in touch with them and we're letting them knowwhat we are being told in terms of the Home Office settled status and what we can do to protect those 71. But that's a much bigger issue, I think, for highereducation.Suzy Davies AM: What are they telling you about European social fund funding, though, because, as you say, they're locally anchored—the impact onFE of ESF funding is probably more significant than the issues we're talking about with higher education. How are you finding this out? Is this through one-to-oneconversations?Eluned Morgan AM: We are engaging with them all, and, obviously, we're engaging with ColegauCymru, who've done their own analysis, and whatwe found, in particular, is that the real problems are probably in relation to ESF funding and apprenticeships. But what you've got to remember is that that linkbetween apprenticeships and the local work community is absolutely crucial. So, if—Suzy Davies AM: Yes, that's why I asked.Eluned Morgan AM: —the economynosedives, or if there's an issue that we see—just the dislocation of companies in those areas as a result of Brexit—then that will inevitably have an impact on thenumber of apprenticeships that will be on offer. So, it's those kinds of things, but at the moment I think it's worth pointing out that about £15 million a year goesinto the FE sector just in relation to apprenticeships.Suzy Davies AM: Can I just come back finally on that, before handing over? In both your areas ofresponsibility, there's going to be an impact on Welsh Government in how it responds to that, as well. Can you tell me a little bit about the European transitionteam, which I think is about building resilience within the Welsh Government to deal with the impacts of Brexit? Is that a formal arrangement you have withofficials? I don't really know much about this team, but it seems to meet fortnightly to get Welsh Government ready for Brexit, so could you just give us someclues on this?Marie Knox: Yes, in terms of the European transition team, that's the central co-ordinating group that pulls together all the leads in each departmentwho are pulling together the work on European transition. So, I attend that group in relation to higher education and further education, and, obviously, otherrepresentatives in terms of agriculture, transport, the economy, et cetera.Suzy Davies AM: It's great that you're on that group, but what does it actually do?That's the bit I wasn't sure about.Marie Knox: I guess it provides the governance structure for the Welsh Government as a whole in relation to Europeantransition. So, individual departments do their own work, and the European transition team provides the governance structure, and, also, they lead on thediscussions with the Department for Exiting the European Union, No. 10, the Joint Ministerial Committee—those kinds of ministerial arrangements.Suzy DaviesAM: Thank you. I've had enough time, I think.Lynne Neagle AM: Llyr.Llyr Gruffydd AM: I'll ask my questions in Welsh, if I may. This discussion between HEFCWand higher education, these challenges in terms of how ready they are for the changes to come, and the work that the Government is doing with FE, I suspect, ishappening at an organisational level. So, I just want to hear a little about where the student voice comes into that discussion and where the engagement happensin terms of the students.Kirsty Williams AM: So, we have a close working relationship with the National Union of Students. I meet with them regularly, andofficials are in constant touch with the student voice. They have been very clear, and I think there is a huge amount of consensus between the WelshGovernment, what the universities are asking for and what the students are asking for. You'll have seen, only earlier this week, the very powerful campaign byNUS Wales about the importance of Erasmus+ arrangements. There is a huge amount to be gained for Welsh students and young people participating in theErasmus programme. Many of us, I know, have had the opportunity to study abroad as part of our own studies, and there's a lot to be gained from it. We've beenvery clear from the outset, as have the sector and the student voice, about the importance of participation in that scheme.  NUS are also very concerned that"}
+{"doc_id":"doc_171","qid":"","text":"Grad B: Grad D: How many batteries do you go through ?Grad B: Thank you .Professor C: Alright .PhD A: Sure .Professor C: Good . Yeah . OK so , let 's getstarted . Nancy said she 's coming and that means she will be . Um . My suggestion is that Robert and Johno sort of give us a report on last week 's adventures uhto start . So everybody knows there were these guys f uh from Heidelber - uh , uh , actually from uh DFKI uh , part of the German SmartKom project , who werehere for the week and , I think got a lot done .Grad E: Yeah , I think so too . Um . The {disfmarker} we got to the point where we can now speak into theSmartKom system , and it 'll go all the way through and then say something like \" Roman numeral one , am Smarticus . \" It actually says , \" Roemisch einz , amSmarticus , \"Grad B: OK .Grad E: which means it 's just using a German sythesis module for English sentences .Grad B: OK .Grad E: So uh ,Professor C: Itdoesn't know \" I \" .Grad B: OK .Grad E: Um , the uhGrad B: Oh , Am Spartacus . \"Grad D: \" I am Sm - I am Smarticus \" is what it 's saying .PhD A: Right .Grad B:Verstehe . OK .Grad D: I gueGrad E: The uh sythesis is just a question of um , hopefully it 's just a question of exchanging a couple of files , once we have them .And , um , it 's not going to be a problem because we decided to stick to the so - called concept to speech approach . So I 'm {disfmarker} I 'm {disfmarker} I 'mgoing backwards now , so \" synthesis \" is where you sort of make this {disfmarker} uh , make these sounds , and \" concept to speech \" is feeding into thissynthesis module giving it what needs to be said , and the whole syntactic structure so it can pronounce things better , presumably . Then , just with text tospeech .Grad B: Mm - hmm .Grad E: And , uh , Johno learned how to write XML tags . Uh , and did write the tree adjoining grammar for some {disfmarker} somesentences . No , right ?Grad D: Yeah .Grad E: Yeah , for a couple {disfmarker}Grad D: So . Bu - Uh , i The way the uh , the dialogue manager works is it dumpsout what it wants to know , or what it wants to tell the person , to a {disfmarker} er in XML and there 's a conversion system for different uh , to go from XML tosomething else . And th so , the knowledge base for the system , that generates the syntasti syntactic structures for the ge generation is uh , in a LISP - like{disfmarker} the knowledge base is in a LISP - like form . And then the thing that actually builds these syntactic structures is something based on Prolog . So ,you have a {disfmarker} basically , a goal and it , you know , says \" OK , well I 'm gonna try to do the Greet - the - person goal ,Grad B: Mm - hmm .Grad D: soit just starts {disfmarker} uh , it binds some variables and it just decides to , you know , do some subscold . Basically , it just means \" build the tree . \"Grad B:OK .Grad D: And then it passes the tree onto , uh , the ge the generation module .Grad E: But I think that the point is that out of the twelve possible utterancesthat the German system can do , we 've already written the {disfmarker} the syntax trees for three or four .Grad D: We yeah . So , the syntax trees are verysimple . It 's like most of the sentences in one tree ,Grad B: Mm - hmm .Grad D: and instead of , you know , breaking down to , like , small units and buildingback up , they basically took the sentences , and basically cut them in half , or you know , into thirds or something like that , and made trees out of those . And souh , uh Tilman wrote a little tool that you could take LISP notation and generate an XML , uh , tree . Uh , S what do ca structure from the {disfmarker} from theLISP . And so basically you just say , you know , \" noun goes to \" , you know , Er , nah , I don't re I 've never been good at those . So there 's like the VP goes toN and those things in LISP , and it will generate for you .Grad B: OK . N , N , V yeah , OK . Alright .Grad E: And because we 're sticking to that structure , thesynthesis module doesn't need to be changed . So all that f fancy stuff , and the Texas speech version of it , which is actually the simpler version , is gonna bedone in October which is much too late for us . So . This way we {disfmarker} we worked around that . The , uh {disfmarker} the system , um {disfmarker} I canshow you the system . I actually want , at least , maybe , you should be able to start it on your own . If you wanna play around with it , in th in the future . Rightnow it 's brittle and you need to ch start it up and then make ts twenty changes on {disfmarker} on {disfmarker} on {disfmarker} on seventeen modules beforethey actually can stomach it , anything . And send in a {disfmarker} a {disfmarker} a couple of side queries on some dummy center set - up program so that itactually works because it 's designed for this seevit thing , where you have the gestural recognition running with this s Siemens virtual touch screen , which wedon't have here .Grad B: Mm - hmm .Grad E: And so we 're doing it via mouse , but the whole system was designed to work with this thing and it was{disfmarker} It was a lot of engineering stuff . No science in there whatsoever , but it 's working now , and um , that 's the good news . So everything elseactually did prove to be language independent except for the parsing and the generation .Grad D: Why {disfmarker} I had {disfmarker} I did need to changenerate different trees than the German ones , mainly because you know like uh , the gerund in {disfmarker} in German is automatically taken care of with justa regular verb ,Grad E: You have to switch it on .Grad B: Mm - hmm .Grad D: so I 'd uh have to add \" am walking , \"Grad B: OK .Grad D: or I 'd have to add alittle stem for the \" am \" , when I build the {disfmarker} built the tree .Grad B: OK . Yeah , I noticed that um , that some of the examples they had , had youknow , non - English word orders and so on , you know . And then all that good stuff . So .Professor C: Alright .Grad D: Yeah .Grad B: Like .Professor C: So itmight be worth , Keith , you looking at this ,Grad B: Yeah .Professor C: umGrad B: I {disfmarker} I still don't {disfmarker} I still don't really understand e like{disfmarker}Grad D: Well Tilman sGrad B: I mean we sort of say , um {disfmarker} You know , I {disfmarker} I still don't exactly understand sort of theinformation flow uh in {disfmarker} in this thing , or what the modules are and so on . So , you know , like just that such - and - such module uh um decides thatit wants to achieve the goal of greeting the user , and then magically it sort of sProfessor C: Yeah {disfmarker}Grad B: I mean , how does it know which syntacticstructure to pull out , and all that ?Professor C: I thi Yeah . So . I think it 's not worth going over in the group ,Grad B: R uh Sure .Professor C: but sort of whenyou get free and you have the time uh either Robert or Johno or I can walk you through it .Grad B: Yeah , soon . OK .Professor C: And you can ask all thequestions about how this all fits together .Grad B: That 's fine .Professor C: It 's eee {comment} messy but once you understand it you understand it . It 's{disfmarker} it 's {disfmarker} There 's nothing really complicated about it .Grad B: OK .Grad E: No .Grad B: And I remember one thing that {disfmarker} thatcame up in the talk last Wednesday . Um , was this , I {disfmarker} I think he talked about the idea of like , um {disfmarker} He was talking about theselexicalized uh , uh , tree adjoining grammars where you sort of {disfmarker} for each word you , um {disfmarker}Grad D: OK , you know how to do it ?Grad B:For each lexical item , the lexical entry says what all the uh trees are that it can appear in . And of course , that 's not v That 's the opposite of constructional .That 's , you know , that 's {disfmarker} that 's HPSG or whatever .Professor C: Right .Grad B: You know ?Professor C: Right . Now , we 're {disfmarker} we 'renot committed for our research to {pause} do any of those things .Grad B: Yeah . Mm - hmm .Professor C: So uh we are committed for our funding .Grad B:Right .Professor C: OK ? to {pause} uh {disfmarker}Grad B: Make our stuff fit to that .Professor C: Yeah , to {disfmarker} n no , to just get the dem get thedemos they need .Grad B: Uh - huh .Professor C: OK ? So between us all we have t to get th the demos they need . If it turns out we can also give them lotsmore than that by , you know , tapping into other things we do , that 's great .Grad D: You should probably move the microphone closer to your face .Grad B: Mm- hmm .Professor C: But i it turns out not to be in an any of the contractsGrad D: There 's like a little {disfmarker} The twisty thing , you can move it with .GradB: OK .Professor C: and , s deliberately . So , the reason I 'd like you to understand uh what 's going on in this demo system is not because it 's important to theresearch . It 's just for closure . So that if we come up with a question of \" could we fit this deeper stuff in there ? \" or something . You know what the hell we we're talking about fitting in .Grad B: Right . OK .Professor C: So it 's just , uh in the sam same actually with the rest of us we just need to really understand what 'sthere . Is there anything we can make use of ? Uh , is there anything we can give back , beyond th the sort of minimum requirements ? But none of that has ashort time fuse .Grad B: OK .Professor C: So th the demo the demo requirements for this Fall are sort of taken care of as of later this week or something . Andthen {disfmarker} So , it 's probably fifteen months or something until there 's another serious demo requirement .Grad B: Oh OK .Professor C: That doesn'tmean we don't think about it for fifteen months ,Grad B: Right .Professor C: but it means we can not think about it for six months .Grad B: Right , yeah .ProfessorC: So . The plan for this summer uh , really is to step back from the applied project ,Grad E: Right .Professor C: keep the d keep the context open , but actuallygo after the basic issues .Grad B: Hmm . Oh OK .Professor C: And , so The idea is there 's this uh , other subgroup that 's worrying about formalizing the notagetting a notation . But sort of in parallel with that , uh , the hope is tha in particularly you will work on constructions in English Ge - and German for this domain,Grad B: Mm - hmm .Professor C: but y not worry about parsing them or fitting them into SmartKom or any of the other {disfmarker} anything lik any otherconstraints for the time being .Grad B: Yeah . OK . Got it .Professor C: It 's hard enough to get it semantically and syntactically right and then {disfmarker} andget the constructions in their form and stuff .Grad B: Yeah .Professor C: And , I don I don't want you f feeling that you have to somehow meet all these otherconstraints .Grad B: Right , OK .Professor C: Um . And similarly with the parsing , uh we 're gonna worry about parsing uh , the general case you know ,construction parser for general constructions . And , if we need a cut - down version for something , or whatever , we 'll worry about that later .Grad B: OK.Professor C: So I 'd like to , for the summer turn into science mode .Grad B: OK .Professor C: And I assume that 's also , uh , your plan as well .Grad B: So Imean , the {disfmarker} the point is that like the meetings um so far that I 've been at have been {disfmarker} sort of been geared towards this demo ,ProfessorC: Right . Yeah . Yeah .Grad B: and then that 's going to go away pretty soon .Professor C: But {disfmarker} but we we 're switGrad B: OK .Professor C: Right"}
+{"doc_id":"doc_172","qid":"","text":"Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: Okay .Project Manager: Okayeveryone's ready .User Interface: Hello .Project Manager: So we are here for uh for uh functional design .User Interface: {gap}Project Manager: Okay ? So weare here for the functional design meeting mm {vocalsound} so first I will show the agenda so we will uh I will take notes during this meeting so I will try tosummarise it and put that summary in the shared folder if you want to look at it afterwardsUser Interface: {vocalsound}Project Manager: so then uh each of youwill uh lead a presentation on the task that has been required last time so user requirement specification , technical function design and working design . Then Iwill uh present you some new project requirements I received from uh the management board . Then we will take uh the decision on on the remote control uhneeded functions and then I will assign you the task for the next part of the meeting . Of the {disfmarker} of the process . So uh who want to start the thepresentation of what they did ?Industrial Designer: F do you want to start ?User Interface: Make a start yeah .Project Manager: You can start .User Interface: So. {vocalsound}Project Manager: {vocalsound}User Interface: Cable , camera .Project Manager: You have uh PowerPoint ?User Interface: Should be in my{disfmarker} in their folder no ?Project Manager: Ah yeah maybe there . Okay .User Interface: Up .Project Manager: Who are you ? {vocalsound}User Interface:Um at three I think .Project Manager: {vocalsound}User Interface: No ? {vocalsound} Mm .Project Manager: Ouch . And {disfmarker}User Interface:{vocalsound}Industrial Designer: Okay . {vocalsound}Project Manager: We have a technical problem uh .User Interface: Do we think w s in the {disfmarker} inthe wrong folder maybe ? {vocalsound} It is possible .Project Manager: You put it on {disfmarker}Industrial Designer: No .User Interface: It was somewhere insomething like this . I don't remember the name actually must be something like messenger AMI or something .Industrial Designer: What do you have in shortcut ?User Interface: Go up .Industrial Designer: Participant two .User Interface: Yeah go up .Project Manager: Yeah .User Interface: Again . No . Go back .ProjectManager: You have no {disfmarker}User Interface: Uh maybe messenger AMI . Messenger .Project Manager: Over . Okay .User Interface: No . There is nothing.Project Manager: There's no {disfmarker} We have a technical problem .User Interface: Let's go and check .Industrial Designer: Yeah .User Interface: I'll go andcheck .Industrial Designer: Otherwise , could you just describe by hand ?User Interface: Okay .Industrial Designer: With the the whiteboard ?Project Manager: Ifyou remember yeahUser Interface: Yeah . Yeah .Project Manager: but that's {disfmarker}User Interface: So uh . Basically {vocalsound} what we want here is aremote control right .Project Manager: Yeah .User Interface: {vocalsound} So um the question well first of all what to control . So {vocalsound} most peoplewant to have a a remote for their hi-fi and T_V_ and stuff like that .Industrial Designer: Mm-hmm .User Interface: And {disfmarker} but other people want thalso remotes for {vocalsound} controlling uh and toys like robotic pets and little robots and stuffIndustrial Designer: Mm-hmm .User Interface: and other peoplealso want to have remotes for controlling um whole house .Project Manager: Yeah .Industrial Designer: Mm-hmm .User Interface: Yeah , so there's a project Ithink called X_ house or something like that that does that , uh you can integrate your remote with uh computers stuff . So {vocalsound}Industrial Designer:Mm-hmm .User Interface: there is one {disfmarker} that is one thing . The other is the the finder feature yeah by whistling or whatever . Uh if you have thefinder feature then you can also haveIndustrial Designer: Okay .User Interface: uh at the same time as {disfmarker} and general voice commands if you wantyeah . {vocalsound} So I think it should be a package in that case .Industrial Designer: Mm-hmm .User Interface: Uh so the user interface will consist of twoparts . {vocalsound} One is the voice command part and on one is the actual buttons part . {vocalsound} Uh and th the buttons part would be uh a set of buttonsfor choosing devices , a set of buttons for special navigation in space ,Industrial Designer: Mm-hmm . Mm-hmm .User Interface: a set of buttons for{vocalsound} linear access of medium and a set of buttons for random access .Project Manager: Okay .User Interface: Yeah ?Industrial Designer: What do youmean by linear access then ?User Interface: Like a video tape goes forward , backwards , uh fast and stuff yeah .Industrial Designer: Ah .Project Manager: Okayso special navigation , linear access , random accessUser Interface: Um .Project Manager: and there's a fourth one no ?User Interface: Mm ?Project Manager: Sothe better now for special navigation ?User Interface: Yeah . For special navigation for example you might have a T_V_ in the menu and you going to change yeah?Project Manager: Okay . Then linear accessUser Interface: Uh .Project Manager: then random access .User Interface: Mm . Yeah and also parameter changing.Project Manager: Ah yeah parameter okay .User Interface: {vocalsound} So if there are common parameters maybe we should put special buttons for thatumProject Manager: Okay .User Interface: or maybe we could have everything uh generic but uh there are a lot of uh remotes on the market right now and{vocalsound} basically this is most of the {disfmarker} almost everybody has this stuff .Project Manager: Okay . Okay and and voice command did you uh{disfmarker}User Interface: Voice command w we could specify anything . We could assign any button {disfmarker} a command to any button , if we haveenough processing power ,Project Manager: Okay . Okay .User Interface: I guess so . {vocalsound} Yeah .Project Manager: Okay .User Interface: Yeah .ProjectManager: So that's uh that close your investigations ?User Interface: Yeah .Project Manager: Okay .User Interface: Uh yeah I think so .Project Manager: Okay.User Interface: Not so far .Project Manager: Maybe we can have a look at the user requirements with {disfmarker}Marketing: Yeah . {vocalsound} Um I dunno ifyou can open the {disfmarker}Project Manager: I dunno if I can open it . Maybe you can sMarketing: uh m is not here .Project Manager: It's{disfmarker}Marketing: Uh in {disfmarker} yeah okay .Project Manager: Messenger no ?Marketing: No . In document {gap} . Mm computer yeah .ProjectManager: In which folder ?User Interface: Where did you put it ?Marketing: Here . Here .Project Manager: {vocalsound} Short-cut to AMI shared folder ?UserInterface: {gap} mm .Marketing: But it's not {disfmarker} Um .Project Manager: Maybe you can send it to me by email . Just to participant one . At AMI.Marketing: Mm-hmm . Yeah , I can do that .Project Manager: I will try to show it to everyone , that would be more comfortable .Marketing: Okay . Um .ProjectManager: You send it ?Marketing: {vocalsound} It's participant one ?Project Manager: Yeah . Uh this is this email .User Interface: I'm designing the userinterface . {vocalsound}Marketing: Okay . You can uh .Project Manager: Okay . So maybe I can switch slides when you {disfmarker} whenever you ask,Marketing: Yeah .Project Manager: that will be more convenient . So okay , functional requirements .Marketing: Okay so you can {disfmarker} you can go . Okayso {vocalsound} in our usability lab we observed the remote control use among one hundred subjectsProject Manager: Mm .Marketing: and the subjects alsofilled a questionnaireProject Manager: Yeah .Marketing: okay ? And here I have the results so you can see that um seventy five per cent of users find mostremote controls ugly so we have to find something to make them more {vocalsound} more nice , more kind . Eighty per cents of users would spend more moneywhen the remote control would look fancy . {vocalsound} Eighty hundred per cent of users would spend more money when the remote control would look{disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: oh {disfmarker} to {disfmarker} it's not good . {vocalsound} So okay.Project Manager: We can just keep doing that ?Marketing: So it's not in theory {disfmarker} but I I can I can say yeah . {vocalsound}Project Manager: Yeah.Marketing: Fifty f uh seventy five per cent of users say they s zap a lot . So mm {vocalsound} we have to have a remote control uh very um {vocalsound} outfor that . {vocalsound} Uh the buttons have {disfmarker} are to be um uh uh like you say resist resisting to to shocks .Project Manager: Okay .Marketing:{vocalsound} Um and fifty per cents of users say they only use uh {vocalsound} ten per cents of but of the buttons in the {disfmarker} in the remote control.Industrial Designer: {vocalsound}Project Manager: Okay .Marketing: So all the buttons we we have to put are {disfmarker} have to to have um a use a realuseProject Manager: Okay .Marketing: and not only or {disfmarker}Project Manager: Okay , so fewer buttons maybe would be good ?Marketing: Yeah . F notmany buttons , and uh and uh uh u useable buttons {vocalsound} .Project Manager: Okay .User Interface: But what kind of remote controls did you look at?Marketing: Sorry ?User Interface: What kind of task was it ? It was a T_V_ ?Marketing: Yeah . Uh {vocalsound} most for most is T_V_ .Project Manager: Yeah .Yeah but in fact we {disfmarker} it it seems that we are going to make a T_V_ remote control according to new requirements I received from themanagementUser Interface: Huh .Project Manager: bo I will present them in the following .User Interface: Uh-huh . Ah ! Good .Marketing: {vocalsound} 'Kay youcan go so .Project Manager: Okay .Marketing: So there are other frustrations expressed by users , so they said uh they lost uh often the remote control in in theroom so they want to have a way to {vocalsound} toProject Manager: Yeah . To find it .Marketing: to find it .Project Manager: Yeah .Marketing: Um and um lot ofthe time they {disfmarker} it takes too much time to learn how to use a new remote control .Project Manager: Yeah .Marketing: So they want something s reallyvery simple and uh easy to use .Industrial Designer: Mm-hmm .Project Manager: Okay .Marketing: And uh remote controls are bad forProject Manager: What isher other side ?Marketing: R_S_I_ {vocalsound} um {disfmarker}User Interface: Other side yeah , yo wa your wristMarketing: I dunno .Project Manager:{vocalsound}User Interface: It i can become painful you can have tendonditis .Project Manager: Oh yeah ?User Interface: Yeah .Project Manager: I did not knewthat .User Interface: If you also {gap} up on a computer in a strange position .Project Manager: Okay so you {disfmarker} we have to make it uh moreergonomic yeah .User Interface: Ergonomic . But uh {vocalsound} .Marketing: Yeah .User Interface: Have to say ha ha . {vocalsound}Project Manager:{vocalsound} It's your job {vocalsound}Marketing: {vocalsound}Project Manager: Oh . {vocalsound}Marketing: {vocalsound} Uh .Project Manager: Uh sorry"}
+{"doc_id":"doc_173","qid":"","text":"Grad A: Yeah , I think I got my mike on . OK . Let 's see .Professor B: OK . Ami , do yours then we 'll open it and I think it 'll be enough .Grad A: Mmm{disfmarker} Doesn't , uh {disfmarker} It should be the other way . Yeah , now it 's on .PhD F: Right . OK .Professor B: OK . So , we all switched on ?Grad A: Weare all switched on , yeah .Professor B: Alright . Anyway . So , uh , before we get started with the , uh , technical part , I just want to review what I think ishappening with the {disfmarker} our data collection .PhD F: We are all switched on .Professor B: So {disfmarker} {vocalsound} Uh , probably after today ,{vocalsound} that shouldn't come up in this meeting . Th - this {disfmarker} this is s should be im it isn't {disfmarker} There 's another thing going on ofgathering data , and that 's pretty much independent of this . But , uh , I just want to make sure we 're all together on this . What we think is gonna happen isthat , uh , in parallel starting about now {vocalsound} we 're gonna get Fey {vocalsound} to , where you 're working with me and Robert , draft a note that we 'regonna send out to various CogSci c and other classes saying , \" here 's an opportunity to be a subject . Contact Fey . \" And then there 'll be a certain number ofum , hours during the week which she will be available and we 'll bring in people . Uh , roughly how many , Robert ? We d Do we know ?Grad C: Um , fifty wasour {disfmarker} sort of our first {disfmarker}Professor B: OK . So , we 're looking for a total of fifty people , not necessarily by any means all students but we 'lls we 'll start with {disfmarker} with that . In parallel with that , we 're gonna need to actually do the script . And , so , I guess there 's a plan to have a meetingFriday afternoon Uh , with {disfmarker} uh , Jane , and maybe Liz and whoever , on actually getting the script worked out . But what I 'd like to do , if it 's O K ,{vocalsound} is to s to , as I say , start the recruiting in parallel and possibly start running subjects next week . The week after that 's Spring Break , and maybewe 'll look for them {disfmarker} some subjects next doorGrad C: Yeah .Professor B: or {pause} iGrad C: Yeah . Also , Fey will not be here during spring break.Professor B: Oh , OK , then we won't do it .Grad C: So .Professor B: OK . So that 's easy . Um . So , is {disfmarker} Is that make sense to everybody ?Grad C:Yeah . Also , um , F {vocalsound} both Fey and I will , um , {vocalsound} do something of which I may , eh {disfmarker} kindly ask you to {disfmarker} to dothe same thing , which is we gonna check out our social infrastructures for possible subjects . Meaning , {vocalsound} um , kid children 's gymnastic classes , pre- school parents and so forth . They also sometimes have flexible schedules . So , if you happen to be sort of in a non - student social setting , and you knowpeople who may be interested in being subjects {disfmarker} We also considered using the Berkeley High School and their teachers , maybe , and get theminterested in stuff .Professor B: That 's a good idea .Grad C: And , um . So that 's as far as our brainstorming was concerned .Professor B: Oh , yeah . The highschool 's a great idea .Grad C: So . But I {disfmarker} I will just make a first draft of the , uh , note , the \" write - up \" note , send it to you and Fey and then{disfmarker}Professor B: And why don't you also copy Jane on it ?Grad C: And , um , Are we {disfmarker} Have we concurred that , uh , these {disfmarker}these forms are sufficient for us , and necessary ?Professor B: Uh , th I think they 're necessary . This {disfmarker} The permission form .Grad C: Mmm.Professor B: Uh , there has to be one ,Grad C: Nuh . N .Professor B: and I think we 're just gonna use it as it is , and {pause} UmGrad C: N . You happy with that?Professor B: Well , yeah . There 's one tricky part about , um , they have the right um I The last paragraph {comment} \" if you agree to participate you have theopportunity to have anything excised which you would prefer not to have included in the data set . \" OK ? Now that , we had to be included for this other onewhich might have , uh , meetings , you know , about something .Grad C: Mm - hmm .Professor B: In this case , it doesn't really make sense . Um , so what I 'dlike to do is also have our subjects sign a waiver saying \" I don't want to see the final transcript \" .Grad C: Mm - hmm .Professor B: And if they don't {disfmarker}If they say \" no , I 'm not willing to sign that \" , then we 'll show them the final transcript . But , um .Grad C: Yep . Makes sense .Professor B: That , uh{disfmarker} yeah , so we might actually , um S i Jane may say that , \" you know , you can't do this \" , uh , \" on the same form , we need a separate form . \" Butanyway . I 'd {disfmarker} I 'd {disfmarker} I 'd like to , e e um , add an a little thi eh {disfmarker} a thing for them to initial , saying \" nah , do I don't want tosee the final transcript . \"Grad C: Mm - hmm .Professor B: But other than that , that 's one 's been approved , this really is the same project , uh , rec you know .And so forth . So I think we just go with it .Grad C: Yeah . Yeah . OK . So much for the data , except that with Munich everything is fine now . They 're gonna{vocalsound} transcribe . They 're also gonna translate the , uh , German data from the TV and cinema stuff for Andreas . So . They 're {disfmarker} they allseem to be happy now , {vocalsound} with that . So . w c sh should we move on to the technical sides ?Professor B: Yep .Grad C: Well I guess the good{disfmarker} good news of last week was the parser . So , um Bhaskara and I started working on the {disfmarker} {vocalsound} the parser . Then Bhaskarawent to class and once he came back , um , {vocalsound} it was finished . So . It , uh {disfmarker} I didn't measure it , but it was about an hour and ten minutes.Grad D: Yep .Grad C: And , um {disfmarker} and now it 's {disfmarker} We have a complete English parser that does everything the German parser does .GradD: Something like that .Professor B: Which is {vocalsound} not a lot . But {disfmarker}Grad D: That 's the , uh , point .Grad C: The {disfmarker} uh , that 's nota lot .Professor B: OK .Grad D: Yes .Professor B: Right .Grad C: And um .Grad E: What did you end up having to do ? I mean , wha Was there anything {pause}interesting about it at all ?Grad C: Well , if you , eh {disfmarker}Grad D: We 'll show you .Professor B: Yeah , we can show us ,Grad E: or are we gonna see that?Professor B: right ?Grad C: Well , w w We d The first we did is we {disfmarker} we tried to {disfmarker} to do {disfmarker} change the {disfmarker} the \"laufen \" into \" run \" , {vocalsound} or \" running \" , {vocalsound} or \" runs \" .Professor B: Yep .Grad C: And we noticed that whatever we tried to do , it no effect.Grad E: Mm - hmm .Grad C: And we were puzzled .Grad E: OK .Grad C: And , uh , the reason was that the parser i c completely ignores the verb .Grad E: Mm -hmm .Grad C: So this sentence {disfmarker} sentence is {disfmarker} parses the p the same output ,Grad E: Hmm . Interesting parser property .Grad C: um ,even if you leave out , um , all {disfmarker} all of this .Grad E: I see . Yeah .Grad C: So it 's basically feature film and TV .Grad E: TodayGrad C: That 's what youneed .Grad E: OK .Grad C: If {disfmarker} if you 'd add {disfmarker} add Today and Evening , it 'll add Time or not .Grad E: And the {disfmarker} t and the time, right ?Grad C: So it {disfmarker} i it does look at that .Grad E: OK .Grad C: But all the rest is p simply frosting on the cake , and it 's optional for that parser.Grad E: True .Professor B: So , you can sho You {disfmarker} you {disfmarker} Are {disfmarker} are you gonna show us the little templates ?Grad C: And{disfmarker}Grad E: SGrad C: Yeah . We ar we can sh er {disfmarker} I can show you the templates . I {disfmarker} I also have it running here ,Grad E: Theformer end g \" Oh , I see . Uh - huh .Grad C: so if I {vocalsound} do this now , um , {vocalsound} you can see that it parsed the wonderful English sentence , \"Which films are on the cinema today {pause} evening ? \" But , um .Professor B: Well , that sounds {disfmarker}Grad C: Uh do don't worry about it .Professor B:No iGrad C: It could be \" this evening , which {disfmarker} which films are on the cinema \" , or \" running in the cinema , which {disfmarker} \" uh , \" todayevening \" , uh i \" Is anything happening in the cinema this evening ? \"Grad E: OK . OK . Key words , e basically .Professor B: WellGrad C: Ge - elaborate , or ,more or less , {vocalsound} uh {disfmarker}Professor B: Actually , it 's a little tricky , in that there 's some allowable German orders which aren't allowableEnglish orders and so forth . And it is order - based . So it {disfmarker} it {disfmarker} Isn't it ?Grad C: No .Grad D: No .Professor B: Oh . So it {disfmarker} itdoe I it {disfmarker} These {disfmarker} u these optional elements ,Grad C: It is not {disfmarker}Professor B: it 's {disfmarker} it 's actually a set , not asequence ?Grad C: Yeah . We were {disfmarker} I was afraid that , um {disfmarker}Professor B: Oh !Grad E: So it really is key word matching , basically.Professor B: Really a seGrad C: Um .PhD F: e yeah . Mm - hmm .Professor B: Oh , wow .Grad C: Um , I mean , these sentences are just silly .Grad E: Hmm.Grad C: I mean , uh , d these were not the ones we {disfmarker} we actually did it . Um . What 's an idiomatic of phrasing this ? Which films are {pause}showing ?Grad D: Are pl playing at the cinema ?Grad C: playing ?Grad D: Yeah .Grad E: Tonight ?Grad D: I changed that file , actually , where it 's on my account.Grad E: This {disfmarker} this evening ?PhD F: Actually , you would say , \" which films are on tonight ? \"Grad D: You want to get it ? Or {disfmarker} is{disfmarker} di was it easy to get it ?Grad C: Um . I have no net here .Grad D: Oh , OK .Professor B: Do I ?Grad C: OK . So . Wonderful parse , same thing . Um.Professor B: Right .Grad C: Except that we d w we don't have this , uh , time information here now , which is , um {disfmarker} Oh . This {disfmarker} are thereserve . Anyways . {vocalsound} So . Um . These are the {disfmarker} sort of the ten different sentence types that the uh {disfmarker} {vocalsound} theparser was able to do . And it still is , now in English .Professor B: Yeah .Grad E: Mm - hmm .Grad C: And , um {disfmarker} Sorry . And , um you have already tomake it a little bit more elaborate , right ?Grad D: Yeah , I mean I changed those sentences to make it , uh , more , uh , idiomatic . And , of course , you can havei many variations in those sentences , they will still parse fine . So , in a sense it 's pretty broad .Professor B: OK .Grad C: OK . So , if you want to look at thetemplates , {vocalsound} {vocalsound} they 're conveniently located in a file , \" template \" . Um , and this is what I had to do . I had to change , @ @{comment} \" Spielfilm \" to \" film \" , uh , \" Film \" to \" movie \" , cinem \" Kino \" to \" cinema \" {disfmarker} to \" today \" {disfmarker} heu \" heute \" to \" today \",Grad E: Huh .Grad C: evening {disfmarker} \" Abend \" to \" evening \"Professor B: Capitalized as wellGrad A: Hmm .Grad C: And , um .Professor B: Y iGrad D: Onething I was wondering , was , those functions there , are those things that modify the M - three - L basically ?Grad C: Yep .Grad D: OK .Grad C: And that 's{disfmarker} that 's the next step ,Professor B: pGrad C: but we 'll get to that in a second .Professor B: Oh .Grad C: And so this means , um , \" this \" and \" see \""}
+{"doc_id":"doc_174","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: Okay , welcome to the second meeting of this uh design group . Um {vocalsound} I'll briefly go through theuh notes of the of the last meeting uh just done in in note form and I haven't attributed anything to individuals , because we're working strictly as a team hereand uh n nobody's working equally ,User Interface: Sorry .Project Manager: so uh . Um we we s we saw that the the problems with existing remote controls werethe uh b a boring shape and boring colour . Um and and we s we saw that the um what we needed to do was to to make sure the device um controls severalitems , that switching was easy , that you shouldn't need to point the thing at uh anything in particular , um that it need to be contoured to make it interesting ,that the keys might be concave , simply because that hasn't been done before that we know of . Um should have interchangeable fascias so people canpersonalise it , um illuminated so that people can see it in dark rooms . Um and that people might want it as as {disfmarker} in addition to their existing remotecontrols . Um {vocalsound} and that it sh it should just always work , whenever you uh um mm uh use it . And that it shouldn't be too small , mm that it it getslost . Um . {gap} Now uh uh I'll shortly ask for for three three presentations . Uh before I do that , however , I will go through some new project requirementsthat um {disfmarker} the the management have placed on us and uh will be challenging in terms of what we discussed at the first meeting . Um the uh the mathe management has had it's own thoughts on this and uh the they don't necessarily agree with with what we uh we thought . Um and and then we'll{disfmarker} as a result of that we will then talk through the the functions that we see the the device um actually b carrying out , and we have uh forty minutesto do this in and I uh {disfmarker} Anyway . Okay . Now , the n the new requirements are um the the management team see that um teletext is no longer of anyimportance given the uh the rise of the internet . Um and and they want it only to cover televisions . Um now , what is not q quite clear from their directive iswhether they mean th they don't want it to cover teletext or whether they don't want it to cover , you know , videos , D_V_D_s , um satellite boxes , which uh{disfmarker} I mean we saw as being fundamental to the uh to the exercise . The um the actual wording of the directive is that it should cover television only .Um and on that basis um I I think we we need to bear that in mind , um but possibly uh keep at the backs of our minds that the reality that people even whenthey uh no longer {disfmarker} they don't look at teletext anymore , they certainly do look at other things . Um {vocalsound} the device has to incorporate thecompany logo and colours . Um the the logo uh being at b the bottom of the screen there , the the the two R_s in grey against uh a yellow background . Um nowthis doesn't {vocalsound} necessarily mean that we have to give up some of our ideas about making it attractive to the t to the market . But uh do do introducesome some constraints as to how we might do that . Um it also has to be simple , which to some extent goes along w with the first one , and that {disfmarker}we've already said that it must be simple 'cause that's what people want anyway . Um but they also want it to be simple to get it to the market quickly , which ummm {vocalsound} uh is is is their choice , but uh um we we need to talk that through . Um okay , so uh after the meeting it'll be summarised and uhIndustrialDesigner: {vocalsound}User Interface: {vocalsound}Project Manager: um notes sent out and uh etcetera . Okay , so {vocalsound} we'll first of all mm haveindividual reports from everybody . Um again I {vocalsound} {disfmarker} there is no order of precedence here um so I I I'll leave it up to you to {disfmarker}who who who thinks they would like to go go first ?Marketing: Uh I don't mind . {gap}Project Manager: P fine .Marketing: Uh can I steal the cable ?ProjectManager: Oh sorry , you can indeed .Marketing: Cheers .Project Manager: {vocalsound} {vocalsound} {vocalsound}Marketing: {vocalsound} I got a{disfmarker} how do I start there ?Project Manager: Oh , if you click on the um uh the one that that looks like a projection screen , no the one to the right of that. That one .Marketing: That one . Cool . Well these are functionality requirements from the {disfmarker} our our guys down in the the research lab . Tookhundred people and covered all the aspects of what um is needed by people and what they want to see . Um {vocalsound} everything kinda from functionalityand how individual functions are {disfmarker} how mu how how often they're used and how much their necessary and stuff . And general opinions about currentcurrent remotes . See that , as we kinda noticed , seventy five percent of people find their remote controls ugly . So some kind of a new style should beincorporated that's less ugly {vocalsound} . Uh along with um looking less ugly , if it looks better , eighty percent of people said they'd spend more money on it .Which is a a plus for us , if we can make it look better , it'd be uh more cost effective and we can put the price up . Current remote controls do not match theoperating behaviour of the user . I can empl I kinda take that to mean as um {vocalsound} they they don't uh {disfmarker} they , yeah , they only use{disfmarker} they only work for the television or yeah like as in in my flat I've got six remote controls for a stereo system , a digital box , a D_V_D_ player , avideo player and T_V_ . If it was uh {disfmarker} I mean th my behaviour is to use multiple things at the same time and multiple remotes aren't really matchedwell to my behaviour . {vocalsound} Uh again , seventy five percent is {disfmarker} seventy five percent of users say they zap a lot . I took to mean that theyjust {disfmarker} they use it a lot , they use it regularly rather than standing up and manually change channels or volume {gap} . {vocalsound} And uh yeah ,uh I think the big issue is fifty percent users only use ten percent of the buttons , 'cause uh wh if we got a remote that like {disfmarker} well we'll have somebuttons taken off by the lack of teletext , but uh oh and we're going to see uh on the {disfmarker} uh that some of the functions like audio settings aren't hhardly ever used and used very {disfmarker} aren't considered relevant by the user . So I think maybe fewer buttons , which also make the design look sleeker ,I dunno . Uh um yeah and uh frustrations of like people losing remote control .Project Manager: Mm .Marketing: I dunno maybe some kind of system of you pressa button on the T_V_ or maybe that's b it would have to incorporate {gap} , but like some kind of system where you can f use something else to find the remotecontrol . Maybe like it'll beep or something . And um , yep , the uh time taken to learn new remote controls is {disfmarker} Uh don't want to make it toocomplicated , easy to use for uh new {disfmarker} like first time users and stuff . And uh repetitive strain injury , I suppose we should make it more comfortableand make ma possibly even use {disfmarker} have to make it , yeah , fewer buttons , like I was saying about the whole mice {disfmarker} the mouse idea of itfeels more comfortable .Project Manager: Mm .Marketing: Maybe don't even have to hold it as such .Project Manager: Gosh , must be some telly addicts out thereif they get R_S_I_ from their television remote , is all I can say .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound}Marketing: But uh yeah . It also asked um if we would {disfmarker} if people would pay more for speech recognitionProject Manager: {vocalsound}{gap}Marketing: and younger people say they would . And uh there was another section on our {disfmarker} on the report for uh L_C_D_ displays , but the datawasn't there , so . I don't actually know what the results for that were ,Project Manager: Mm . Right . Mm .Marketing: so . {vocalsound} May be incrementallyemitting , but yeah .Project Manager: Yeah , I must say that um the uh {disfmarker} I c can't remember what {vocalsound} um f you know phone service I wasusing the other day , but that had sorta speech recognition which worked uh remarkably well , so that is indeed a uh um a thoughtMarketing: And uh{vocalsound} it would cut out the R_S_I_ as well if you {disfmarker} {vocalsound}Project Manager: and it it cuts out uh {disfmarker} I was was gonna say , youcan't get a lot of R_S_I_ ,Industrial Designer: {vocalsound}Project Manager: j just get jaw ache . Okay , sorry . {vocalsound}Marketing: Yeah , um {disfmarker}oh yeah , so possibly the speech recognition is possibly something could add into the design . Oh , I've got some other things I couldn't fit onto this presentation .Um . You see this okay ? Almost {disfmarker} no ? It's {disfmarker} sorry it's a bit {gap} . I'll read out to you . Uh functionality , uh like people's opinions onfunctionality , the relevance to the remote and how often they're used . So um like the power . Using the using the d swi the power switch to switch on T_V_ is ahigh relevance of nine , but it's not frequently used . You see what I mean ?Project Manager: Yeah . {vocalsound}Marketing: Whereas channel selection , which isvery high relevanceProject Manager: Mm-hmm .Marketing: is used the most . So m we can maybe even start to cut down on {disfmarker} or I was possibly eventhinking of a design that maybe some of the buttons are hidden from everyday use . Maybe like uh a folding ledge or something . So that we can maybe go intothe channel settings and the audio settings ,Industrial Designer: Mm .Marketing: which are low relevanceProject Manager: {vocalsound} Mm-hmm . I mean{disfmarker}Marketing: and rarely used . And keep the v volume selection and channel selection very easily {disfmarker}User Interface: It could be {disfmarker}oh uh I was just gonna say uh maybe like the flip phones that they use ?Industrial Designer: Mm .User Interface: Have you seen the new mo mobilephonesProject Manager: {vocalsound} Yeah .User Interface: that flip out and they have the like texting , and then the numbers on one side ,Marketing: Oh yeah.User Interface: soProject Manager: Mm .User Interface: you could have the most {vocalsound} used buttons on top and flip it out or something .ProjectManager: Hmm , hmm .Industrial Designer: Mm .Marketing: Yeah , like the one that like slides backProject Manager: Uh . Should we actually bite the bullet here?Marketing: and the buttons are concealed underneath .User Interface: Yeah .Industrial Designer: Mm .Project Manager: If people really don't use those buttonsto any extent at all um {vocalsound} remove them altogether .Marketing: Just remove them completely ?Project Manager: We we could actually have we couldactually have a remote control with um {disfmarker}User Interface: That might be the {disfmarker}Project Manager: I wonder whether we could get the remotecontrol with no buttons at all if we went for voice recognition , given that um the {disfmarker} {vocalsound} Um now the the age structure we were looking at{disfmarker} um I mean w we had usage by age structure , what we didn't have was what proportion of people using remotes were in those particular age groups"}
+{"doc_id":"doc_175","qid":"","text":"Grad G: headphones that aren't so uncomfortable .PhD B: I think {disfmarker} Well , this should be off the record ,Professor D: Hmm .PhD B: but I think{disfmarker}Professor D: Uh , OK .Professor A: We 're not recording yet , are we ?Grad G: Well , I don't think {disfmarker}PhD F: No , uh , that {disfmarker}that wasn't recorded .Grad G: No . Um , I don't think they 're designed to be over your ears .PhD B: Yeah , I know . It just {disfmarker} it really hurts . It givesyou a headache , like if you {disfmarker} On your temple {disfmarker}PhD F: Temple squeezers .PhD B: Yeah .Grad G: Yep .PhD B: Yeah .Professor D: Mm -hmm .Grad G: But I definitely {pause} haven't figured it out .Professor A: Um , Meeting Recorder meeting .PhD F: I guess I have to d stop doing this sigh ofcontentment , you know , after sipping cappuccino or something .PhD B: Yeah , with the {disfmarker} We kno I know .Grad G: \" Sip , sigh . \"PhD B: We knowexactly how much you have left in your cup .PhD F: I was just noticing a big sProfessor D: So are we recording now ? Is this {disfmarker}PhD E: Yeah .ProfessorD: Oh ! We 're {disfmarker} we 're {disfmarker} we 're live . OK .PhD E: Yeah .Professor D: So , uh , {vocalsound} what were we gonna talk about again ? So wesaid {disfmarker} we said data collection , which we 're doing .PhD B: Were we gonna do digits ?Professor A: OK . Do we do th do you go around the room{pause} and do names or anything ?Grad G: I think that {disfmarker}PhD E: It 's a good idea .Grad G: u usually we 've done that and also we 've s done digitsas well , but I forgot to print any out . So . Besides with this big a group ,PhD B: You can write them on the board , if you want .Professor D: No . I it 'd be evenbetter with this big {disfmarker}Grad G: it would take too much time .PhD E: Which way is {disfmarker}Grad G: Yeah , but it takes too much time .PhD E: Mari?Postdoc H: What {disfmarker}Professor A: What ?Professor D: It 's not that long .PhD E: Y I think your {disfmarker} your {disfmarker} your thing{nonvocalsound} may be pointing in a funny direction . Sort of it 's {disfmarker} it helps if it points sort of upwards .Professor A: Whoops .PhD E: Sort of it{disfmarker} you know .Professor A: Would it {disfmarker} mPhD E: Yeah .Professor D: w uPhD E: So that thing {disfmarker} the little {disfmarker} th that partshould be pointing upwards .Professor A: So {disfmarker} Oh , this thing .PhD E: That 's it . Yeah .Professor A: Yeah .Postdoc H: Otherwise you just get aheartbeats .Professor A: It 's kind of {disfmarker}Professor D: Oh , yeah , the element , yeah , n should be as close to you {disfmarker} your mouth as possible.Professor A: Yeah . OK .PhD E: That 's good . That kind of thing is good .Postdoc H: It 's a {disfmarker}Professor A: This w Alright .PhD E: Yeah .Professor A:How 's that working ?Professor D: Yeah .PhD E: Oh , yeah . It 's a {disfmarker} It 's working .Professor A: OK .Professor D: Alright . So what we had {pause} wasthat we were gonna talk about data collection , and , um , uh , you {disfmarker} you put up there data format ,Professor A: Um .Professor D: and other tasksduring data collection ,Professor A: So , I think the goal {disfmarker} the goal was what can we do {disfmarker} how can you do the data collection differently toget {disfmarker}Professor D: and {disfmarker}Professor A: what can you add to it to get , um , some information that would be helpful for the user - interfacedesign ? Like {disfmarker}Grad G: Uh , especially for querying .Professor A: Especially for querying . So , getting people to do queries afterwards , getting peopleto do summaries afterwards . Um .Postdoc H: Well , one thing that came up in the morning {disfmarker} in the morning was the , um , i uh , if he {disfmarker} I, um {disfmarker} if he has {disfmarker} s I {disfmarker} I don't remember , Mister Lan - Doctor Landry ?Grad G: Landay . James .Postdoc H: La - Landay ? Sohe has , um , these , uh , um , tsk {comment} note - taking things ,Professor A: Mm - hmm .Postdoc H: then that would sort of be a summary which youwouldn't have to solicit . y if {disfmarker} if we were able to {disfmarker} to do that .Professor A: Well , if {disfmarker} if you actually take notes as a summaryas opposed to n take notes in the sense of taking advantage of the time - stamps . So action item or uh , reminder to send this to so - and - so , blah - blah - blah.Postdoc H: Mm - hmm .Professor A: So that wouldn't be a summary . That would just be {disfmarker} that would b relate to the query side .Grad G: But if wehad the CrossPads , we could ask people , you know , if {disfmarker} if something comes up {vocalsound} write it down and mark it {vocalsound} {pause}somehow ,Postdoc H: Mm - hmm .PhD E: Right . I mean , we {disfmarker} because you 'd have several people with these pads , you could collect different things.Grad G: you know .Professor A: Right .PhD E: I mean , cuz I tend to take notes which are summaries . And so , you know {disfmarker}PhD F: I mean , the down- side to that is that he sort of indicated that the , uh , quality of {vocalsound} the handwriting recognition was quite poor .Professor A: Well {disfmarker}Grad G:But that 's alright . I don't think there 'd be so many that you couldn't have someone clean it upProfessor A: So {disfmarker}Grad G: pretty easily .Professor A:Yeah . We also could come up with some code for things that people want to do so that {disfmarker} for frequent things .PhD F: Yeah .Professor A: And the otherthings , people can write whatever they want . I mean , it 's to some extent , uh , for his benefit . So , if that {disfmarker} you know , if {disfmarker} if we justkeep it simple then maybe it 's still useful .PhD F: Right .Grad G: Yeah .Professor D: I just realized we skipped the part that we were saying we were gonna do atthe front where we each said who we were .Postdoc H: The roll call .Professor A: Right . I thought you did that on purpose .Professor D: Roll call .Professor A: Butanyway , shall we do the roll call ?Professor D: No , not a No , I just {disfmarker} My mind went elsewhere . So , uh , yeah , I 'm Morgan , and where am I ? I 'mon channel three .Grad G: And I 'm Adam Janin on channel A .Postdoc H: I 'm Jane Edwards , I think on channel B .PhD E: I 'm Dan Ellis .PhD F: Eric on channelnine .PhD B: Liz , on channel one .Professor A: Mari on channel zero .Professor C: Katrin on channel two .Postdoc H: Should we have used pseudo - names ?Should we do it a second time with pseudo No . {vocalsound} No .Professor D: I 'm Rocky Raccoon {vocalsound} on channel {disfmarker}PhD E: Let me , uh ,turn that off .Grad G: And , uh , do you want to do the P D As and the {pause} P ZPhD E: Oh . PZM nearest , nearest , next nearest . Next one .Postdoc H: Nextnearest .PhD E: Furthest .Grad G: Far .PhD E: PDM - right , PZA - right {disfmarker} PDA - right , PDA - left .Postdoc H: OK .PhD E: Thanks .Grad G: Yeah , andeventually once this room gets a little more organized , the Jimlets {comment} will be mounted under the table , and these guys will be permanently mountedsomehow . You know , probably with double - sided tape , but {disfmarker} So . You {disfmarker} So we won't have to go through that .Professor A: Hmm.Postdoc H: I have a question on protocol in these meetings , which is when you say \" Jimlet \" and the person listening won't know what that is , sh shou How{disfmarker} how do we get {disfmarker} Is that important information ? You know , the Jimlet {disfmarker} I mean , the box that contains the{disfmarker}Professor D: Well , I mean , suppose we broaden out and go to a range of meetings besides just these internal ones . There 's gonna be lots ofthings that any group of people who know each other have in column {disfmarker} common {comment} that we will not know .Professor A: Right .Postdoc H:Mm - hmm .Professor A: Right .Postdoc H: OK .Professor A: So the there will be jargon that we he There 'll be transcription errors .Postdoc H: Good .Professor D:Yeah .Postdoc H: OK .Professor D: I mean , we {disfmarker} we were originally gonna do this with VLSI design , and {disfmarker} and {disfmarker} and thereason we didn't go straight to that was because immediately ninety percent of what we heard would be {vocalsound} jargon to {disfmarker} to us . So .Grad G:Well , that was just one of the reasons . But , yeah , definitely .Professor D: Yeah .Postdoc H: OK . Good .Professor D: That {disfmarker} that 's right . There wereothers of course . Yeah .Postdoc H: OK , so we were on the data collection {pause} {comment} and the summary issue .Professor D: Right . We can go back.Professor A: So , uh , u u So , actually there 's kind of three issues . There 's the CrossPad issue . Should we do it and , if so , what 'll we have them do ? Um , dowe have s people write summaries ? Everybody or one person ? And then , do we ask people for how they would query things ? Is that {disfmarker}PhD F: There's {disfmarker} there 're sub - problems in that , in that where {disfmarker} or when do you actually ask them about that ?Professor A: Right .PhD F: I mean ,that was {disfmarker} One thing I was thinking about was is that Dan said earlier that , you know , maybe two weeks later , which is when you would want toquery these things , you might ask them then .Professor A: Right .PhD F: But there 's a problem with that in that if {pause} you 're not {disfmarker} If you don'thave an interactive system , it 's gonna be hard to go beyond sort of the first level of question .Professor A: Right .PhD F: Right . And furth id explore the datafurther .Professor A: Right .PhD F: So .Professor D: There 's {disfmarker} there 's another problemGrad G: And {disfmarker}Professor D: which is , um , wecertainly do want to branch out beyond , uh , uh , recording meetings about Meeting Recorder . And , uh , once we get out beyond our little group , the people 'smotivation factor , uh , reduces enormously . And if we start giving them a bunch of other things to do , how {disfmarker} you know , we {disfmarker} we did nyou know another meeting here for another group and {disfmarker} and , uh , they were fine with it . But if we 'd said , \" OK , now all eight of you have to{disfmarker} {vocalsound} have to come up with , uh , the summar \"Grad G: Well , I asked them to and none of them did .Professor D: t See ? There we go.Grad G: So , I {disfmarker} I asked them to send me ideas for queries after the meetingPostdoc H: Mm - hmm .Professor A: They {disfmarker}Grad G: and noone ever did .PhD E: Mm - hmm .Grad G: I didn't follow up either .Professor A: Yeah .Grad G: So I didn't track them down and say \" please do th do it now \" . But, uh , no one spontaneously provided anything .Professor D: I I 'm worried that if you did {disfmarker} even if you did push them into it , it {disfmarker} it{disfmarker} it might be semi - random ,Professor A: Right .Professor D: uh , as opposed to what you 'd really want to know if you were gonna use this thing.PhD E: Right .Professor A: OK .Grad G: I just don't know how else to generate the queries other than getting an expert to actually listen to the meeting and say \"that 's important , that might be a query \" .Postdoc H: Tsk . Well , there is this other thing which y which you were alluding to earlier , which is , um , there arecertain key words like , you know , \" action item \" and things like that , which could be used in , uh , t to some degree finding the structure .Professor A: Yeah"}
+{"doc_id":"doc_176","qid":"","text":"Grad G: Time .Grad C: Thanks .Grad G: Are you Fey ?Undergrad D: I am Fey , yeah .Grad G: Oh .Grad B: What day is today ?Undergrad D: Hi .Grad G: Hi . Ithink we 've met before , like , I remember talking to you about Aspect or something like that at some point or other .Undergrad D: A couple times yeah .Grad F:It 's the uh twenty {disfmarker} nineteenth .Grad B: Nineteenth ?Undergrad D: That 's right , yeah .Grad G: So .Undergrad D: And you were my GSI briefly ,until I dropped the class .Grad F: Grad B: Right , right .Grad G: Oh that 's right .Undergrad D: But .Grad G: Well .Grad C: OK , wh whGrad G: No offense .Grad C:Yeah .Grad G: Like .Grad C: OK . Some in some introductions are in order .Grad G: Oh , OK sorry .Grad C: OK .Grad G: Getting ahead of myself .Grad C: So . Um. For those who don't know {disfmarker} Everyone knows me , this is great . Um , apart from that , sort of the old gang , Johno and Bhaskara have been with usfrom {disfmarker} from day oneGrad G: Yay !Grad E: Hi .Grad C: and um they 're engaged in {disfmarker} in various activities , some of which you will hearabout today . Ami is um our counselor and spiritual guidance and um also interested in problems concerning reference of the more complex type ,PhD A: Well.Grad E: Oh wow .Grad C: and um he sits in as a interested participant and helper . Is that a good characterization ?PhD A: u That 's pretty good , I think .GradC: I don't know .PhD A: Yeah . Thanks .Grad C: OK . Keith is not technically one of us yet ,Grad E: Not yet .Grad C: ha - ha . but um it 's too late for him now.Grad G: \" One of us . \"Grad C: So .Grad E: Yeah right . I 've got the headset on after all .Grad C: Um . Officially I guess he will be joining us in the summer .GradE: yes .Grad C: And um hopefully it is by {disfmarker} by means of Keith that we will be able to get a b a better formal and a better semantic um idea of what aconstruction is and um how we can make it work for us . Additionally his interest um surpasses um English because it also entails German , an extra capability ofspeaking and writing and understanding and reading that language . And um , is there anyone who doesn't know Nancy ? Do you {disfmarker} do you knowNancy ?Grad G: Me ?Grad E: I know Nancy .Grad G: Mm - hmm .Grad B: I made that joke already , Nancy , sadly .Grad C: OK .Grad G: What ?Grad B: The \" Idon't know myself \" joke .Grad G: You did ? When ?Grad B: Uh before you came in .Grad G: Oh .Grad E: Man !Grad G: About me or you ?Grad B: About me .GradG: OK . {vocalsound} OK .PhD A: You could do it about you .Grad B: Yeah .Grad G: Well I didn't know . I didn't mean to be humor copying , but OK , sorry . Yes ,I know myself . It 's OK .Grad C: OK .Grad G: It 's a {disfmarker}Grad C: And um Fey is with us as of six days ago officially ?Undergrad D: Officially ,Grad C:Officially ,Undergrad D: yeah .Grad C: but in reality already um much much longer and um um next to some {disfmarker} some more or less bureaucratic uhstuff with the {disfmarker} the data collection she 's also the wizard in the data collection Um ,Grad G: Of Oz .Undergrad D: It 's very exciting .Grad C: we 'resticking with the term \" wizard \" ,Undergrad D: Yes .Grad C: OK .Undergrad D: Yes .Grad C: and umGrad G: Not witch - like .Grad B: Wizardette .Grad E: Wizard.Grad F: Wizardess .Grad C: Sorceress , I think .Grad G: OK .Undergrad D: Wizard .Grad C: wizard uh by by popular voteGrad G: OK .Grad C: umGrad G: Didn'ttake a vote ? OK .Grad C: OK , um , why don't we get started on that subject anyways . Um , so we 're about to collect data and um the uh s the following thingshave happened since we last met . When will we three meet again ? And umGrad G: More than three of us .Grad C: what happened is that um , \" A \" ,{comment} there was some confusion between you and Jerry with the {disfmarker} that leading to your talking to Catherine Snow , and he was uh he{disfmarker} he agreed completely that some something confusing happened . Um his idea was to get sort of the l the lists of mayors of the department , thestudents . It {disfmarker} it 's exactly how you interpreted it , sort of sGrad E: The list of majors in the department ?Undergrad D: M m Majors ?Grad C: Ma -majors , majors .Undergrad D: Majors ?Grad C: \" Mayors \" .Undergrad D: OK , mayor {disfmarker}Grad C: Majors .Undergrad D: Something I don't know abouttheseGrad G: The department has many mayors .Grad C: Majors and um just sending the {disfmarker} the little write - up that we did on to those emaillistsUndergrad D: OK . OK . Yeah , yeah , yeah . But {disfmarker} Yeah .Grad C: uh {disfmarker}Undergrad D: So it was really Carol Snow who was confused ,not me and not Jerry .Grad C: Yep , yep , yep . OK . So . So , that is uh {disfmarker}Undergrad D: That 's good . So I should still do that .Grad C: Yep .UndergradD: OK .Grad C: And {disfmarker}Undergrad D: And using the thing that you wrote up .Grad C: Yep .Undergrad D: OK .Grad C: Wonderful . And um we have alittle description of asking peop subjects to contact Fey for you know recruiting them for our thing and um there was some confusion as to the consent form ,which is basically that {disfmarker} that what what you just signedGrad G: Right .Grad C: and since we have one already um {disfmarker}Grad G: Did Jerry talkto you about maybe using our class ? the students in the undergrad class that he 's teaching ?Grad C: Um well he said um we {disfmarker} definitely \" yes \",Grad G: eGrad C: however there is always more people in a {disfmarker} in a facul uh in a department than are just taking his class or anybody else 's class atthe momentGrad G: Yeah .Grad C: and one should sort of reach out and try and get them all .Grad G: OK , but th I guess it 's that um people in his class cover adifferent set so {disfmarker} than the c is the CogSci department that you were talking about ?Undergrad D: I guess . SeeGrad G: uh reaching out to ?UndergradD: that 's what I suggested to him , that people like {disfmarker} like Jerry and George and et cetera just {disfmarker}Grad G: Cuz we have you know peoplefrom other areasGrad C: Yeah .Grad G: advertise in their classes as well .Undergrad D: Yeah or even I could {disfmarker} you know I could do the actual{disfmarker}Grad C: Mm - hmm .Grad G: Cuz I mean I {disfmarker} I know how to contact our students ,Undergrad D: That 's generally the way it 's done .GradG: so if there 's something that you 're sending out you can also s um send me a copy ,Grad C: Yeah .Grad G: me or Bhaskara could {disfmarker} either of uscould post it to uh is it {disfmarker}Undergrad D: A mailing list .Grad G: if it 's a general solicitation that you know is just contact you then we can totally pro postit to the news groupGrad C: Mm - hmm . Yeah .Undergrad D: Yeah .Grad G: so .Grad C: Do it . Yeah .Undergrad D: That 's {disfmarker}Grad G: OK , so you 'llsend it or something so .Grad C: As a matter of fact , if you {disfmarker}Undergrad D: I can send it .Grad C: if {disfmarker}Undergrad D: I 'll send it ,Grad G:You can send it to me .Grad C: Now , iUndergrad D: yeah .Grad G: OK . Don't worry , we {disfmarker} this doesn't concern you anymore , Robert .Grad C: How{disfmarker} however I suggest that if you {disfmarker} if you look at your email carefully you may think {disfmarker} you may find that you already have it.Grad G: It 's fine . Oops . Already ? Really ?Grad C: Maybe .Undergrad D: ProbabGrad G: Oops .Grad C: OK . W we 'll see .Grad G: I don't remember gettinganything .Grad C: Anyhow , um the uh Yeah , not only Also we will talk about Linguistics and of course Computer Science .Grad G: Mm - hmm .Grad C: Um andthen , secondly , we had , you may remember , um the problem with the re - phrasing , that subject always re - phrase sort of the task that uh we gave them,Grad B: Right .Grad C: and so we had a meeting on Friday talking about how to avoid that , and it proved finally fruitful in the sense that we came up with a newscenario for how to get the {disfmarker} the subject m to really have intentions and sort of to act upon those , and um there the idea is now that next actually we{disfmarker} we need to hire one more person to actually do that job because it {disfmarker} it 's getting more complicated . So if you know anyone interested in{disfmarker} in what i 'm about to describe , tell that person to {disfmarker} to write a mail to me or Jerry soon , fast . Um {vocalsound} the idea now is to sortof come up with a high level of sort of abstract tasks \" go shopping \" um \" take in uh a batch of art \" um \" visit {disfmarker} do some sightseeing \" blah - blah -blah - blah - blah , sort of analogous to what Fey has started in {disfmarker} in {disfmarker} in compiling {disfmarker} compiling here and already {disfmarker}she has already gone to the trouble of {disfmarker} of anchoring it with specific um o {comment} um entities and real world places you will find in Heidelberg .And um . So out of these f s these high level categories the subject can pick a couple , such as if {disfmarker} if there is a cop uh a category in emptying your rollof film , the person can then decide \" OK , I wanna do that at this place \" , sort of make up their own itinerary a and {disfmarker} and tasks and the person is notallowed to take sort of this h high level category list with them , but uh the person is able to take notes on a map that we will give him and the map will be atourist 's sort of schematic representation with {disfmarker} with symbols for the objects . And so , the person can maybe make a mental note that \" ah yeah Iwanted to go shopping here \" and \" I wanted to maybe take a picture of that \" and \" maybe um eat here \" and then goes in and solves the task with the system ,IE {comment} Fey , and um and we 're gonna try out that {disfmarker} Any questions ?Grad G: so um y you 'll have those say somewhere what their intentionwas {disfmarker} so you still have the {disfmarker} the nice thing about having data where you know what the actual intention was ?Grad C: Mm - hmm . Yeah.Grad G: But they will um {disfmarker} There 's nothing that says you know \" these are the things you want to do \" so they 'll say \" well these are the things Iwant to do \" and {disfmarker} Right , so they 'll have a little bit more natural interaction ?Grad C: Hopefully .Grad G: OK . Mm - hmm .Grad F: So they 'll begiven this map , which means that they won't have to like ask the system for in for like high level information about where things are ?Grad C: Yeah it 's aschematic tourist map . So it 'll be uh i it 'll still require the {disfmarker} that information and AnGrad G: It w it doesn't have like streets on it that would allowthem to figure out their way {disfmarker}Grad C: N not {disfmarker} not {disfmarker} not really the street network . Nuh .Grad G: OK .Grad E: So you 're justsaying like what part of town the things are in or whatever ?Grad C: Yeah a and um the map is more a means for them to have the buildings and their names andmaybe some ma ma major streets and their namesGrad G: Mm - hmm .Grad C: and we want to maybe ask them , if you have {disfmarker} get it sort of isolatedstreet the {disfmarker} the , whatever , \" River Street \" , and they know that {disfmarker} they have decided that , yes , that 's where they want to do this kindof action um that they have it with them and they can actually read them or sort of have the label for the object because it 's too hard to memorize all these st"}
+{"doc_id":"doc_177","qid":"","text":"Project Manager: Good .Industrial Designer: Beep . {vocalsound} {vocalsound} Oh .Project Manager: So well uhUser Interface: What ?Project Manager: welcomeeveryone .User Interface: Yeah .Project Manager: Um as you may have noticed I uhUser Interface: {vocalsound}Industrial Designer: {vocalsound}ProjectManager: created separate folders because it was uh tending to get a little busy in our uh shared project documents uh folder .User Interface: Yeah .ProjectManager: I don't know if everybody uh put their own uh documents in the right folder , which is for now the detailed design meeting .Marketing: That's new one?Project Manager: Yeah .User Interface: We didn't make any uh {disfmarker}Industrial Designer: Uh , we should save that one . {vocalsound}User Interface: Ohin {disfmarker}Project Manager: Then I'll move this one .User Interface: Didn't we just do that ?Industrial Designer: Yeah , save in the folder . Save as project.User Interface: Oh .Project Manager: Oh no , this is just one big document , so you can leave that wherever it is .Industrial Designer: Oh , okay .ProjectManager: {vocalsound} And we have a evaluation left here .User Interface: {vocalsound}Industrial Designer: Hmm hmm .Project Manager: Okay .IndustrialDesigner: Agenda .Project Manager: Well not main documents this time . Oh uh yes .User Interface: Hmm ?Project Manager: I have it open myself I guess . Umwell the detailed design meeting {disfmarker} Huh ? We're finally getting somewhere hopefully .Industrial Designer: {vocalsound}User Interface:{vocalsound}Project Manager: Um what are we going to do ? I've opened it already . Um I'm still going to take some minutes , and if I'm right , you two aregoing to give a prototype presentation ?Industrial Designer: Oh , sorry .Marketing: {vocalsound}Industrial Designer: {gap}Project Manager: Aren't you ?UserInterface: We could . {vocalsound}Project Manager: Yes , you are .Industrial Designer: {vocalsound} {vocalsound}Project Manager: And uh m did you dosomething with evaluation criteria ?Marketing: Yep . Yep .Project Manager: Good . And we have a correct agenda . And uh then we have to look at somethingwhich is less nice , the finance uh aspect , whether we can afford what we have designed ,User Interface: Oops . {vocalsound}Project Manager: and if we can wecan uh commence the final part which is the production or project evaluation , how did we work together and what are the results , and how happy are we withthose . Okay , well finance uh will be later . Now I'd like to give the word to you two .User Interface: Yeah .Industrial Designer: Okay .User Interface:{vocalsound} Well uhIndustrial Designer: Get up stand up . {gap} just {disfmarker}User Interface: we made a prototype .Industrial Designer: 'Kay .UserInterface: We first start with the overall uh {disfmarker} This is about the total remote control .Industrial Designer: View .User Interface: We made it green.Industrial Designer: Just example colour ,User Interface: Yeah .Industrial Designer: so uh there's one of the colours we would like to uh see in our prototype.User Interface: It's a fresh colour . And uh the screen light blue . Oh uh this the scroll button and the microphone on the on the sides here under . And the R_and R_ logo , it just says R_ and R_ now , but uh {disfmarker}Industrial Designer: Okay ?User Interface: Any questions so far ? {vocalsound}Marketing: Bigmicrophone .Industrial Designer: {gap} yeah ,User Interface: Yeah .Industrial Designer: just uh just an idea about how to m th that could also be possible.Marketing: Oh okay . That's the place where it's going to be , not the size . {gap}User Interface: Yeah .Industrial Designer: Uh well , it's an idea in a{disfmarker} so .User Interface: Oh y you {disfmarker} perhaps you should make it a bit big , so people know it's there and uh {disfmarker}Industrial Designer:Do not forget it .User Interface: Uh {disfmarker}Marketing: Mm-hmm .Industrial Designer: To function it it doesn't really have to be sm uh big of course .UserInterface: Hmm .Marketing: Yeah , okay . Of course .Industrial Designer: The microphone could be just a minor uh hole uh on the left uh button .Marketing: Mm .Mm , th yeah .Industrial Designer: Okay umMarketing: Small .Industrial Designer: {vocalsound} we also made some uh ideas about how uh the options menuwould work . Uh using the scroll button on sides uh y uh I uh um {gap} {disfmarker}User Interface: You push the scroll buttonIndustrial Designer: Yeah , youpush the scroll buttonUser Interface: and it's claps out if there's a {disfmarker} {vocalsound}Industrial Designer: and a drop down menu or a pull out menucomes out and uh you get uh you get the options uh becoming available . For example uh T_V_ settings , uh remote settings , et cetera .User Interface: Remotesettings , et cetera . Yeah .Industrial Designer: So uh you can scroll down too with the scroll uh button , uh as you can see {disfmarker} oh , it's here , just pushit in , uh the menu comes out like this and uh i it all becomes visible . Um {disfmarker}User Interface: Yeah . And you could also touch it so that it comes out,Industrial Designer: Yeah , that's cUser Interface: and and use the the the scroll thing as a {disfmarker} with your fingers .Industrial Designer: Yeah . Indeed.User Interface: Yes .Industrial Designer: Okay , um it's also uh nice to see that um we made a small uh menu , uh the options menu uh becoming available whenpressing the uh scroll uh button , and the opportunity to use the teletext , whi which is used uh {disfmarker} which should still be used and we think that it's uhvery handy to put it uh not uh under the options menu , but in uh {disfmarker} Yes . In an apart uh {disfmarker}User Interface: Yeah .Project Manager: So aseparate button for for text ,Industrial Designer: In a separate button , yeah . {vocalsound}User Interface: Yeah .Project Manager: okay .User Interface: Perhapswe should use the teletext sign in p yeah .Industrial Designer: A sign , yeah , just like {disfmarker} Okay , indeed .User Interface: Yeah .Industrial Designer:Okay ,User Interface: Forgot . {vocalsound}Industrial Designer: we can uh modify that later . Okay . Would you like to make any comments about next uh{disfmarker}User Interface: Uh well , this is the total interface uh that f of the L_C_D_ screen . Uh the numbers , which is pretty straight forward . We put ano anan extra button in . We can erase it , but {disfmarker} It's the button where you can switch channels . {gap} just when you are one and you go to two , you can{disfmarker} or if you go to five , you can go back to one with that button . Yeah , that one , yeah .Industrial Designer: Previous page , yeah , indeed .UserInterface: It has a name . And uh uh we put that in ,Industrial Designer: Oh my God .User Interface: I thought it would be handy there . Uh this the one numberor two numbers button . Below that , the page and the sound . And uh in the middle the the mute . Uh battery indicator . {vocalsound}Industrial Designer:{vocalsound} {vocalsound} {vocalsound} It's quite large .User Interface: It's {vocalsound} it's a bit big .Marketing: {vocalsound}User Interface: {vocalsound}And this is the uh the on off uh knop , the stand by uh knop . Or at least it should look like it . And the options uh of teletext .Industrial Designer: Okay . You cansee very clearly now that the uh teletext and options menu isn't uh taking uh much uh {disfmarker} uh it's taking much part of the screen , so it's very uh{disfmarker} when you uh {vocalsound} when you use it , doesn't uh become irritating to see .User Interface: Huh .Industrial Designer: 'Cause if you put it onthe top you always get see the the options menu . 'Cause people regularly uh read from left top to right down ,Project Manager: Mm-hmm .Industrial Designer:so {disfmarker}User Interface: Yeah . Well this about it , I think .Industrial Designer: Okay . Huh .User Interface: Yeah .Project Manager: Thank you . Looks good.User Interface: I will put it back on the {disfmarker} {vocalsound} on the nice green .Industrial Designer: {vocalsound}Project Manager: And I just missedwhen I was typing {disfmarker} The R_R_ stands for ?Industrial Designer: {gap}User Interface: That's the logo of the {disfmarker}Project Manager: Logo , okay. {vocalsound}User Interface: Yeah . It's th th right now it's only R_ R_ , but uh {disfmarker} {vocalsound}Marketing: {vocalsound}Project Manager: Okay well{disfmarker} {vocalsound}Industrial Designer: Full screen .Project Manager: I would have recognised it if it were the right colours of course .{vocalsound}Marketing: Shit .User Interface: Yeah . {vocalsound}Industrial Designer: Alright . {vocalsound}User Interface: Sorry . {vocalsound}Marketing: 'Kay. {gap}Project Manager: Okay , the evaluation criteria ,User Interface: Oh full screen , yeah {vocalsound} {gap} .Industrial Designer: Huh .Project Manager: huh?Marketing: Evaluation . 'Kay , my task was this time to put up a questionnaire by which we can evaluate the design of the remote control by the questions we{gap} {disfmarker} requirements from the {disfmarker} of the users . My name , my job , okay .Industrial Designer: My name , my job . {vocalsound}UserInterface: {vocalsound}Marketing: The methods . Questionnaire with seven point scale from one to seven , from true to false ,User Interface: Right .Marketing:like question , is remote big enough , we can say it's true or it's false by steps . One means absolutely not true , seven {gap} {disfmarker} means true .UserInterface: Yeah .Marketing: The three important things of refa {vocalsound} {gap} are uh from th of this year is {disfmarker} are ,Industrial Designer:{vocalsound} Sorry ,User Interface: {vocalsound} {vocalsound}Industrial Designer: you used the PowerPoint {gap} {disfmarker}Marketing: is the remotecontrol fancy enough ,User Interface: Yeah .Marketing: is it in innovative enough , and is it easy enough to use . And then evaluation itself . Uh .User Interface:{vocalsound}Industrial Designer: What ? {vocalsound}Marketing: So .Industrial Designer: Bling .Marketing: Okay .User Interface: Yeah .Marketing: Firstquestion . Is the design fancy enough ?User Interface: Well {disfmarker}Marketing: Project Manager , what do you think ?Project Manager: Well it's {disfmarker}looks fancy , especially with the green colour . And the the curves which we decided ,User Interface: {vocalsound} Yeah .Marketing: But does it{disfmarker}Project Manager: huh ?Marketing: Yeah .Project Manager: Only what happened to the single curve we spoke about last meeting ?User Interface: Ituh {disfmarker} oh it's in the background . Oh .Industrial Designer: {vocalsound} Now uh the single curved idea was uh {disfmarker} Yeah , okay , you ge um{disfmarker}User Interface: Y you should make uh a sideways uh view .Industrial Designer: Yeah . The sideways view , uh that that that maUser Interface: It willbe , I guess . Oh , we can {disfmarker}Industrial Designer: Ho not that pen . {vocalsound} Not that pen . {vocalsound} {vocalsound} {vocalsound}UserInterface: OhMarketing: {vocalsound} {gap} {vocalsound}Project Manager: {vocalsound} WellUser Interface: g {vocalsound} I would {vocalsound}{disfmarker} smart board .Project Manager: it might work one time , huh . {vocalsound}Industrial Designer: {vocalsound} Suppose so .User Interface:"}
+{"doc_id":"doc_178","qid":"","text":"Lynne Neagle AM: Okay. Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence fromJanet Finch-Saunders, and also from Dawn Bowden, and I'd like to welcome Huw Irranca-Davies, who is substituting for Dawn Bowden. Can I ask Members ifthere are any declarations of interest, please? No. Okay. We'll move on, then, to our evidence session for our inquiry on school improvement and raisingstandards. I'd like to welcome Kirsty Williams AM, Minister for Education, and Steve Davies, director of education. Thank you both for attending and for yourdetailed paper in advance of the meeting. We've got a lot of ground to cover, so we'll go straight into questions, if that's okay. If I can just start by asking you: towhat extent is the Organisation for Economic Co-operation and Development still involved in the Welsh Government's school improvement journey?Kirsty WilliamsAM: First of all, can I thank the committee for their invitation this morning, and their interest in this particular area? As you will be aware, on coming into office,the director and I agreed to ask the OECD to do a rapid review of the state of Welsh education at the beginning of this Assembly term. They did that, and thefeedback from that work informed the publication and content of the national mission. I was very clear in the national mission that I would invite the OECD backto review our progress against that mission, and that has happened in the tail end of last year, and the OECD will publish their latest report on Welsh educationnext month now, in March. So, the expectation is that the report will be published on 23 March, and my intention is to make a statement to the Chamber on 24March. The nature of that review is part of our ongoing development of self-evaluation. So, we talk a lot about self-evaluation in the school system. Actually, thecontinuing relationship with OECD is about self-evaluation of the entirety of the system and Welsh Government. We don't want to accept our own orthodoxy andjust be in a bubble where we are constantly listening to ourselves and those people who might want to agree with us or tell us what we want to hear. So, theOECD is our best attempt of having some external verification of where we are. That's a risk for Ministers and for Government, because we want them to give anhonest evaluation of where we are, but that's a really important tool for me, to ensure that we're constantly testing ourselves. The nature of that review is thatthe OECD were able to talk to whoever they felt it was important to talk to, so that included practitioners on the ground, elements of the middle tier, as well asWelsh Government. And I know, Chair—I hope you'll be pleased to hear this—that the reports of this committee have formed parts of their review, looking at howthe Senedd itself has contributed to and has held the Government to account. So, as I said, we expect our report to be published towards the end of March.LynneNeagle AM: Okay, thank you, Minister. Can I ask about the powers under the School Standards and Organisation (Wales) Act 2013, to ask you to tell us about theuse of those powers either by Welsh Government or by local authorities, and how effective you feel that legislation has been?Kirsty Williams AM: Okay. Well, asyou'll be aware, local authorities have quite extensive powers of intervention in schools if they feel that is necessary. If I'm honest, I think there's a mixed picture,with some local authorities using those powers not on a regular basis, but obviously demonstrating a willingness to use those powers. There are other localauthorities who don't seem to have used them. Since that legislation came into being, there have been a number of reasons, because of course a local authorityhas to give a reason for using those powers of intervention. They usually focus on standards, but sometimes they focus on a breakdown in governancearrangements, perhaps, or a failure or a breakdown in financial management. So, sometimes the budgetary issues trigger an intervention power. And the types ofinterventions that have been used have included, in some cases, appointing additional governors to governing bodies, or suspending a school's delegated budgetso the local authority takes on, then, financial control of that particular school, or sometimes applying to the Welsh Government to entirely replace a governingbody and establish an intervention board. So, if I can give you an example of where that's been used and has been successful, in Flintshire. They applied to WelshGovernment for two interim executive boards, in Sir Richard Gwyn Catholic High School and in Ysgol Trefonnen. They applied to us. Those governing bodies weredissolved. The IEBs were put in place and both of those schools, which had been in special measures, moved quite rapidly, actually, out of special measures.Perhaps the most recent example of this is one that the Chair will know very well in her own constituency of Torfaen, in Cwmbran High School, where Torfaen hasintervened in that case. The Welsh Government has not used those powers to date. My expectation always is that local authorities should be the first port of call,and I would encourage—and we always encourage—local authorities to take a proactive approach to intervention and to use those powers. But it's my belief thatit is they who are best placed initially to do that.Lynne Neagle AM: Thank you, Minister. Can I ask, then, about the national evaluation and improvement resourceand how significant a role that will play in the raising of school standards, and how you feel it's evolved since it was first conceived?Kirsty Williams AM: So, thisbrings us back to the principle of self-evaluation and something, if we're honest, we've not been very good at. If you look at a number of chief inspectors' reportsinto the Welsh education system, self-evaluation has always been identified as something that is missing or underdeveloped in our system to date, hence, then,the work to establish not a new approach, but a more robust approach to self-evaluation. We've done that in conjunction, again, with the OECD, middle tier andpractitioners. It's really important, throughout the entirety of our reform journey that that's done in co-construction, because we want this resource to be usablein schools. So, it's all very well having a conceptual idea and people outside the classroom working on it, but if it's of no practical use to a school leadership team,then we won't see the impact. So, it's—. We're in phase 2 at the moment, where we're doing—. So, the initial resource has been developed by the OECD, middletier and practitioners. We're in the testing phase at the moment and having it evaluated itself, with a view to introducing that resource across the system at thestart of the new academic year, in September 2020. I truly believe that, if we're to make progress in Welsh education, we have to develop the skills within oursystem to have robust self-evaluation. This resource gives us continuity of approach right the way across Wales. So, it's not left to an individual school to come upwith a system; it's right the way across the system. My hope would be that those principles could then be applied to local education authorities, to regional schoolimprovement services and Welsh Government as part of a whole-system approach to self-evaluation. I don't know if there's anything more you want to add,Steve.Steve Davies: Just to add that the other critical partners are Estyn themselves.Kirsty Williams AM: Oh, yes, sorry.Steve Davies: So, they have played acritical role and, as we know, as the Minister has said in the past, she may introduce policy and practice, but if Estyn are part of it then schools, usually, becausethey recognise that it will be part of the inspection process—it gives it greater push and support around it. So, they've been key players within it.Kirsty WilliamsAM: And I think, if I just say as well, that the external perception of what that's about is really important. It's not a test of school readiness for reform, it is agenuine attempt for a school to evaluate their strengths, their weaknesses and where they need to go next. It's not an Estyn checklist. And because of the word'toolkit'—the feedback was that it gave the impression of a checklist, 'Just do this and check list'. So, we're actually going to change the name of that resource.So, it'll be called the national evaluation and improvement resource, rather than the toolkit, because, as I said, the feedback was that 'toolkit' gave the impressionof a checklist exercise, and it's got to be about more than that if it's going to be meaningful. So, it'll be changed to an 'improvement resource'.Lynne Neagle AM:Okay. Before I bring Suzy in, can I just welcome Siân Gwenllian, who is joining us via video-conference in north Wales? Morning, Siân.Sian Gwenllian AM: Goodmorning. Can you hear me?Lynne Neagle AM: We can, yes. We can hear you very nicely, thank you.Sian Gwenllian AM: Okay. Thank you.Lynne Neagle AM: Suzy,you've got a supplementary.Suzy Davies AM: Yes. Only a very quick one. It's about the development of the—Kirsty Williams AM: The resource.Suzy Davies AM:Yes, the resource, thank you—about whether there were any conflicting ideas in the process of development that made it quite difficult to zone in on somethingthat school leadership teams, in particular, could rely on. Were there differences of opinion on what this should look like?Kirsty Williams AM: Not that I'm aware offrom the practitioners that I've spoken to who have been part of that. So, for instance, Suzy, you will know the very small school of Gladestry. The head ofGladestry has been involved in this process, and she said that she'd really enjoyed the process of working alongside Estyn and the OECD as a school leader to beable to shape it. But I'm not aware that there's been conflict in that process.Suzy Davies AM: I'm not suggesting that there has been; I'm just interested as tohow it had worked, that's all.Steve Davies: Chair, I think, inevitably, when you bring stakeholders together, they're not going to be in total agreement as to howit's going to work, and I think initially one of the challenges was having Estyn there as part of the facilitation group. There are always some concerns that,actually, it's coming from a to inspect, oral, judgmental tick box. So, we had some early day challenges where we had to convince—and, ultimately, Estynconvinced them—that they were there to help and support as opposed to to inspect, and that the model that was developed, as the Minister said, was not going tobe a tick box, 'You are good at this part of self-evaluation', it was to build the skillsets up.Suzy Davies AM: Okay. So, it's got their full confidence.Kirsty WilliamsAM: Yes, and I think again, also, what—. You know, four years into the job, what I've reflected on as well is there is this sometimes a feeling out there that theMinister says all the right stuff, but you're not actually going to do it, so, when you talk about a new approach to doing things, you're not actually serious about it.So, trying to build that confidence that we are serious about developing a new system around self-improvement, which is different fromaccountability—sometimes, the practitioners are like, 'Oh, yes, we've heard it all before but it never actually happens.' And I think that's been a part of theconstant—not pressure, but the responsibility on Welsh Government is in following through. So, we said that we were going to do this in the national mission, and"}
+{"doc_id":"doc_179","qid":"","text":"User Interface: {gap}Project Manager: {vocalsound}User Interface: {vocalsound} How do you wear this thing ?Project Manager: Hmm . Mm mm mm .{vocalsound}User Interface: Not too many cables and stuff .Marketing: {gap}User Interface: {vocalsound} {vocalsound}Project Manager: {vocalsound}UserInterface: {vocalsound} Original . {vocalsound}Project Manager: {vocalsound} Is recorded ? Okay ? Okay so welcome everyone . So we are here for the kickoffmeeting of uh the process of designing a new remote control . So I will first start with a warm welcome opening {vocalsound} stuff ,User Interface:{vocalsound}Project Manager: then uh we will uh see what will be uh our product and what will be the different step we will have to design it . And uh then wewill uh discuss if we have few ideas and we will uh end uh by uh dispatching the different task you will be {disfmarker} you will have to fulfil to complete thisprocess . So {disfmarker}User Interface: Uh . Just one thing . Uh , you said twenty-five minutes , but I have something else to do uh , so gotta have anothermeeting uh soon ,Project Manager: {vocalsound}User Interface: so maybe you could hurry up a bit {disfmarker}Project Manager: {vocalsound} sorry ?UserInterface: It's true . I have another meeting so if you could uh {disfmarker}Project Manager: You have another meeting soon ?User Interface: Yeah .ProjectManager: So you have to be quick .Industrial Designer: {vocalsound}User Interface: Yeah , for the lawnmower project .Project Manager: Okay .User Interface:Okay .Project Manager: So the the goal is to have a remote control so to have an advantage over our competitors we have to be original , we have to be trendyand we have to also try to be user-friendly .User Interface: {vocalsound}Project Manager: So uh the design step will be divided in three uh main points . First itwill be the functional design . Third is the conceptual design and then is the desired design . So the functional design is to identify the main user needs , thetechnical function the remote control should fulfil . And then we will move to f conceptual design where we'll specify the different component involved , what kindof user interf interface we want and what are the different uh trend in user interface and stuff like that .Industrial Designer: {vocalsound}Project Manager: Andthen the desired devi design will consist in uh specifically implementing {vocalsound} and detailing the choice we've uh made in the second point . So I will nowask you which is very important for the design of a new remote control for to uh each of us to to draw uh your favourite animal on the white board .UserInterface: {vocalsound} What an original idea .Project Manager: {vocalsound} Do you have any idea of which animal you want to show us ? {vocalsound}UserInterface: Orangutan .Project Manager: Okay {vocalsound} that's good .Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: Nono nProject Manager: {vocalsound} n n {gap}User Interface: Can I give you theProject Manager: You should {disfmarker}User Interface: {disfmarker} no ? ButI don't have to say anything . When I'm drawing the orangutan .Project Manager: {vocalsound} {vocalsound} If you want to react uh about this wonderfuldrawing uh {vocalsound} I'll let you uh comment .User Interface: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}UserInterface: It's an abstract drawing of an orangutan .Project Manager: Okay it's an abstract drawing .User Interface: Yes .Project Manager: I think it's nice andoriginal . {vocalsound}Industrial Designer: {vocalsound} You should write y the name I think . {vocalsound}Marketing: {vocalsound}User Interface: I don't havea red colour . Usually orangutans have red hair so this is a very important but I don't have red pen , so {disfmarker}Project Manager: Okay .User Interface:{vocalsound} Yes .Project Manager: You want to draw something Christine ? {vocalsound}Marketing: {vocalsound} {vocalsound}User Interface:{vocalsound}Marketing: Okay uh sorry . You have to imagine a little bit {vocalsound} um .Project Manager: {vocalsound}Marketing: This {disfmarker}ProjectManager: Of course your animal is recorded so it's not lost . {vocalsound}Marketing: {vocalsound} Sorry too {vocalsound} uh .User Interface: Yes . I know.Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound}Project Manager: Is this uh {disfmarker}User Interface: Wha what is this strange beast ?Marketing: Is it beautiful ? {vocalsound}Project Manager:{vocalsound}Industrial Designer: {vocalsound}User Interface: Is it a monster ?Project Manager: {vocalsound}Marketing: Do you know ? It's a cat .UserInterface: It's a cat ?Industrial Designer: {vocalsound}Marketing: {vocalsound} Isn't it ? {vocalsound}User Interface: I thought these things did not exist.Project Manager: {vocalsound}Marketing: {vocalsound} Yes yesIndustrial Designer: Me {vocalsound}Marketing: is it {disfmarker} like that .User Interface: Ahyeah {vocalsound}Industrial Designer: Ah yeah . Yeah .Marketing: Is it better ?Project Manager: Ah okay it's pretty . {vocalsound}Marketing: {vocalsound}Okay .Project Manager: {vocalsound} Okay it's your cat . {vocalsound}Marketing: {vocalsound} It's my cat .User Interface: Does have a name ?Marketing:{vocalsound} Yeah . {vocalsound}Industrial Designer: {vocalsound}Marketing: The name is Caramel .User Interface: Caramel . Ah-ha .Industrial Designer:Caramel .Marketing: Yeah . {vocalsound}Project Manager: Okay . Olivier , do you want to {vocalsound}Industrial Designer: {vocalsound} And you {vocalsound}{vocalsound} I think I'm too short for the cables . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Okay I go , but next time you'll dosomething I'm sure . {vocalsound} {vocalsound} I'm a bit short on cable .User Interface: Next time I concentrate .Industrial Designer: {vocalsound}ProjectManager: Okay . So what could I draw ? {vocalsound} Maybe I can draw like a very simplified cow . {vocalsound} I don't know if it looks like a cow{vocalsound}User Interface: He looks like a bong .Marketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Like a what ? {vocalsound}UserInterface: Okay . Sorry . No .Industrial Designer: Quite squarey .User Interface: Scary ?Project Manager: {gap} {vocalsound}Industrial Designer: He also .{vocalsound}Marketing: {vocalsound}Project Manager: I dunno it it looks more like a donkey in fact {vocalsound} I would say .User Interface:{vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} I I think we will be finished this uh {disfmarker}Industrial Designer: Mm .Project Manager:Okay so I hope that it helps you uh in the process of designing a remote control .User Interface: Is it for uh for putting a {disfmarker} for logos , no .ProjectManager: {vocalsound} Okay .User Interface: {vocalsound} That's {disfmarker}Project Manager: Let's move on . So {disfmarker} Here the uh financial objectiveof our project . That is to say to to have a production cost lower than twelve point five Euros and have a selling price of twice that price t in order to target a profeprofit of uh fifty uh million Euros .User Interface: I is there a matter for a new remote control ?Project Manager: {vocalsound} Yeah if it's trendy , original I d fulfilthe user needs .User Interface: Is it uh a single device remote control or is it a multi-device remote control ?Project Manager: We have to discuss that point .UserInterface: AhProject Manager: On {disfmarker}User Interface: this is not defined at all ?Project Manager: yeah you you can suggest points like this . So whatwhat {disfmarker}User Interface: Ah , okay .Project Manager: so we have to decide for example if it can control one device or multiple . So what's {disfmarker}what are your ideas about that ?User Interface: {vocalsound}Project Manager: Maybe I can have the {disfmarker} your opinion from the marketing side ?UserInterface: Well uh do we sell other stuff ? Uh if if we bundle the remote control with something uh to sell then it could be a single device , otherwise it could beprogrammable one otherwise who would buy a remote control from us .Project Manager: Okay , so if it selled uh by its own i it it would rather be for multipledevice .User Interface: Yeah .Project Manager: {vocalsound} Do you agree ?Industrial Designer: Mm-hmm .Project Manager: Yeah . So maybe it should be formultiple devices . And uh do you have any ideas um of uh design ideas or any uh uh technical requirement we we should uh fulfil ?Industrial Designer:{vocalsound} I think we shouldn't have too many b for my part . I think {disfmarker}User Interface: No , I couldn I cannot fi think of any requirements right now. {vocalsound}Industrial Designer: If we don't have so many buttons could be nice .Project Manager: {vocalsound} Few buttons . Okay .User Interface:{vocalsound}Project Manager: And do you have it also to be {disfmarker} to be lighted in order to be used in the dark ? Might be a good idea .IndustrialDesigner: {vocalsound} Yeah .Project Manager: Okay . And do you have any um any uh idea of the trend {disfmarker} the trend in domain , what it shouldn't{disfmarker} it should look like , or things like that ?Industrial Designer: {vocalsound} Something which is not squarey maybe uh , not a box .User Interface: Mm.Project Manager: With rou okay . Like for {disfmarker} okay .User Interface: Something like that , least fits in your hand .Project Manager: Okay .User Interface:{vocalsound} Yeah .Industrial Designer: Yeah .User Interface: The basic requirement .Project Manager: So . Fit in your hand , yeah .User Interface:{vocalsound} Only a buck .Project Manager: And also it have , i it may be {vocalsound} it may be important for the remote control to be uh {disfmarker} To , toresist to various shocks that can happen if it fall .User Interface: {vocalsound}Industrial Designer: Mm-hmm .User Interface: Waterproof . {vocalsound}ProjectManager: {vocalsound} Water-proof as well .Industrial Designer: {vocalsound} And I think we should have a device {disfmarker}Project Manager: Maybe it isoriginal because you can uh use it in your uh {disfmarker} in your bath whereas the others can't .User Interface: {vocalsound}Marketing: {vocalsound}ProjectManager: Maybe water-proof would be very original .Industrial Designer: Sorry . {gap}Marketing: {vocalsound}Project Manager: Havin having a water-proofremote control so that the people can uh use it in their bath .User Interface: Mm .Project Manager: That could be uh {disfmarker}User Interface: B it seems uh so, but uh if you don't have an waterproof remote control it means you can just cover it with some plastic and you can sort of fProject Manager: Yeah but , it is stillsomething uh you have to buy and that is um not maybe very {disfmarker}User Interface: And , and that's one of the {disfmarker} that's one of the shock{disfmarker} I mean there are people that have a remote control and they are worried that it's going to break and they put some extra plastic around it .ProjectManager: Yeah , mayb BUser Interface: That's people {gap} they actually do it themselves .Project Manager: But maybe we can bulk it with uh already this"}
+{"doc_id":"doc_180","qid":"","text":"Project Manager: Uh , making a profit of fifty million Euros . {vocalsound}Industrial Designer: Alright so twenty five .User Interface: Mm 'kay .Project Manager:So , it's go gonna have to be be pretty damn trendy . {vocalsound}Industrial Designer: So yeah , I've {disfmarker} The only the only remote controls I've usedusually come with the television , and they're fairly basic .Project Manager: Yeah . Yeah .User Interface: Mm-hmm .Industrial Designer: So uh {disfmarker}{vocalsound}Project Manager: Yeah , I was thinking that as well , I think the the only ones that I've seen that you buy are the sort of one for all type thingswhere they're ,User Interface: Yeah the universal ones . Yeah .Industrial Designer: Mm .Project Manager: yeah . So presumably that might be an idea to put into.Industrial Designer: But but to sell it for twenty five you need a lot of neat features . For sure .Marketing: Slim .Project Manager: Yeah , yeah .User Interface:Yeah .Project Manager: Uh 'cause I mean , what {disfmarker} uh twenty five Euros , that's about I dunno , fifteen Pounds or so ? And that's quite a lot for aremote control .User Interface: Mm-hmm , it's about that .Industrial Designer: Yeah , yeah .User Interface: Mm .Marketing: {vocalsound}User Interface: Um wellmy first thoughts would be most remote controls are grey or black . As you said they come with the T_V_ so it's normally just your basic grey black remotecontrol {gap} functions ,Project Manager: Uh-huh .User Interface: so maybe we could think about colour ?Project Manager: Mm-hmm .User Interface: Make{disfmarker} that might make it a bit different from the rest at least . Um , and as you say , we need to have some kind of gimmick , so um I thought maybesomething like if you lose it and you can whistle ,Project Manager: Okay . {vocalsound} The the keyrings , yeah yeah .User Interface: you know those things ?Because we always lose our remote control .Industrial Designer: Right .Marketing: {vocalsound} Uh yeah uh ,Project Manager: Okay , that's cool .Marketing:being as a Marketing Exper Expert I will like to say like before deciding the cost of this remote control or any other things we must see the market potential forthis product like what is the competition in the market ? What are the available prices of the other remote controls in the prices ?Project Manager: {gap} Okay.Marketing: What speciality other remote controls are having and how complicated it is to use these remote controls as compared to other remote controlsavailable in the market . So before deciding or before finalising this project , we must discuss all these things , like {disfmarker}User Interface: Okay .Marketing:and apart from this , it should be having a good look also , because people really li uh like to play with it when they are watching movies or playing with {gap} orplaying with their C_D_ player , M_P_ three player like any electronic devices .User Interface: Mm . Mm-hmm .Marketing: They really want to have somethinggood , having a good design in their hands ,Project Manager: {gap}User Interface: Mm-hmm . Yeah .Project Manager: Okay .Marketing: so , yes ,ProjectManager: 'Kay .Marketing: all this .Industrial Designer: Uh , what do we think a {disfmarker}Project Manager: So , we're looking for {disfmarker} {gap} 'Kay.Industrial Designer: What do we think a good size would be for this ? {gap}Project Manager: We're {disfmarker}Marketing: {gap}Industrial Designer: 'Cause I Iknow as you add more buttons to the remote it sometimes gets so big and clunkyProject Manager: Sorry , carry on . {vocalsound}User Interface:{vocalsound}Industrial Designer: and there's just like a hundred buttons on it ,Project Manager: Mm-hmm .User Interface: Yeah .Industrial Designer: or youcould have a really small slim one but then you could lose it easily . {vocalsound}Project Manager: Mm-hmm .User Interface: Yeah . Then you lose it , yeah .{vocalsound}Project Manager: Okay .User Interface: Kind of um , maybe more like a P_D_A_ kind of , just hand held , like ,Project Manager: For for uhUserInterface: 'cause {disfmarker}Project Manager: remember we're trying to make it for twelve Euros fifty . {vocalsound}User Interface: Yeah . No , I wasn't , nosorry I wasn't thinking of the screen of like a P_D_A_Project Manager: Okay well right we'll have to um {disfmarker} I'll {disfmarker}User Interface: butProjectManager: we're k having another meeting in half an hour so umUser Interface: Okay .Project Manager: we should all look into a bit uh , oh actually , no , we'llallocate . So you do the looking around at other remote controls .Marketing: Yeah .Project Manager: Um , if you could maybe come up with sort of shapes andsuggested shades or whatever , and you could look into um {vocalsound} basically how how it's made I_E_ like how you make it all in one , how {disfmarker}what sort of materials are available to you whatever . And obviously , other instructions will come from the personal coach .Industrial Designer: Right .ProjectManager: Which will probably just usurp what I said so {disfmarker}User Interface: So you want me to look at shapes and everything you said ?Project Manager:Shapes and colours and {disfmarker} um basically how to make it attractive .User Interface: Yep . Okay .Project Manager: Uh .User Interface: Mm-hmm.Marketing: {gap}Project Manager: And you look at competition and design .Marketing: Yep .Project Manager: Cool . {vocalsound}Industrial Designer:{vocalsound} Okay .User Interface: Okay .Marketing: {gap}Project Manager: SoIndustrial Designer: {gap}Project Manager: we have uh {disfmarker}IndustrialDesigner: Wait for emails ?Marketing: Uh .Project Manager: {vocalsound} Um .Industrial Designer: {vocalsound}Project Manager: {vocalsound}{vocalsound}Industrial Designer: Hmm .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Okay , groovy . And no doubt we'llget um {disfmarker}User Interface: Oh no , {gap} .Project Manager: Sorry .User Interface: SorryProject Manager: We'll get um warnings for next meetings aswell .User Interface: it's okay . Okay , cool .Project Manager: {vocalsound} Okay . I shall {disfmarker} I can't imagine these {gap} are worth much .{vocalsound}Marketing: Hmm .Project Manager: Okay . Fashion into electronic . Okay ."}
+{"doc_id":"doc_181","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order.  Welcome to the 23rd meeting of the House of Commons SpecialCommittee on the COVID-19 Pandemic.  A reminder to all members that in order to avoid issues with sound, members participating in person should not also beconnected to the video conference. For those of you who are joining via video conference, I will remind you that when speaking you should be on the samechannel as the language you are speaking, and please use your headsets. As usual, please direct your remarks through the chair. As I understand, there are noministerial announcements today.  We will now proceed to presenting petitions. I remind members that any petition presented during a meeting of this specialcommittee must have already been certified by the clerk of petitions. For members participating in person, I ask that they please come and drop their signedcertificates off at the table once the petition is presented. I would ask members to be very brief and concise, and to summarize the exact content of the petition.We will continue. The first person presenting a petition today is Ms. May.Ms. Elizabeth May (SaanichGulf Islands, GP): Thank you, Mr. Chair. I present twopetitions this morning. The residents of SaanichGulf Islands are calling on the government to simplify the process for protection of marine protected areas. It's amulti-layered communication process. The marine protected area first proposed in the 1970s for the southern Strait of Georgia, now called the Salish Sea, hasbeen awaiting designation for so long that it was originally endorsed by Jacques Cousteau. That gives us a sense for why petitioners are calling for a simplifiedand more rapid process. The second petition is from petitioners who are very concerned about our obligations under the United Nations Declaration on the Rightsof Indigenous Peoples and our commitments under the Truth and Reconciliation Commission calls to action. They specifically reference the RCMP violation ofUNDRIP in its actions on Wet'suwet'en territory and ask the government to commit to actually living the principles embodied in UNDRIP.The Chair: We will now goto Mr. Hardie.Mr. Ken Hardie (FleetwoodPort Kells, Lib.): Thank you, Mr. Chair. I am presenting a petition on behalf of the one in a million Canadians who suffersevere and adverse effects from vaccinations. GuillainBarre syndrome is very debilitating, and this petition seeks the setting up of a no-fault accident orcompensation system to help offset the loss of work, the loss of wages and the loss of quality of life that many of these people suffer. I'm pleased to present thispetition pursuant to Standing Order 36.The Chair: Mr.Trudel, you have the floor.Mr. Denis Trudel (LongueuilSaint-Hubert, BQ): Mr.Chair, culture is the soul of apeople. Over the past 20years or so, culture, especially music, has never been as accessible as it is now. Paradoxically, creators' incomes have never been so low.The advent of digital technology has completely overturned the system for distributing the wealth generated by creators for the benefit of various Webstakeholders, many of whom are billionaires. This petition addresses these problems and proposes realistic solutions. The first is to set a minimum royalty modelfor streaming platforms for artists. The second is to update the existing private copying system. The third is for Internet and cell phone providers who sell theirservices as direct access to culture to share their profits with artists. The fourth is that the GAFAMs have to pay taxes on their services. Six thousand people havealready signed the first version of this petition, launched last month by musician JordanOfficer and supported by singer BarbaraSecours. As an artist, I am proudto present this petition today because the issues it raises are fundamental to the survival of Quebec culture.The Chair: We'll now continue with Mr. Genuis.Mr.Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Thank you very much, Mr. Chair. I have four petitions to present today. I will be as brief as yousuggested, although I will observe that if some members are going on longer during petitions than they normally do, it might be because the government hastaken away so many of the tools that opposition members normally have for raising important issues in the House. The first petition deals with the issue ofeuthanasia and long-term care. The petitioners are concerned that instead of focusing on improving medically assisted life, something that we know is a majorissue in light of recent revelations, the government has put so much time and legislative energy into efforts to continually further expand euthanasia in Canadaand remove vital safeguards. The second petition speaks to the ongoing conversations happening in Canada around systemic discrimination and systemic racism.I think we do need to reflect on systemic discrimination. This petition deals specifically with Bill 21 in Quebec and raises concerns. The reality of the way that billapplies is that people from certain backgrounds who wish to practise their faith are not able to fully participate in Canadian society if they are employed in thepublic service. This petition asks the government to provide a response on that issue, something it hasn't done in response to past petitions on this. The thirdpetition deals with the issue of firearms. The petitioners want to see the government take a strong response in dealing with illegal guns and gun smuggling. Thepetition notes that the vast majority of firearms-related crimes in Canada involves illegal guns. At the same time, the petitioners are concerned that thegovernment has the wrong focusthat is, harassing law-abiding firearms ownerswithout putting in place substantial measures to deal with illegal guns. Thepetitioners want to see the reversal of the order in council from May 1 and strong measures to deal with illegal firearms. The fourth and final petition deals withBill S-204, a bill that would make it a criminal offence for a Canadian to go abroad and receive an organ from a person who has not consented to giving thatorgan. It would also create a mechanism by which someone could be deemed inadmissible to Canada if they were involved in organ harvesting and trafficking.The petitioners are supportive of Bill S-204 and of similar bills in previous parliaments and would like to see us pass that bill as soon as possible.The Chair:Presenting petitions, Mr. Lamoureux.Mr. Kevin Lamoureux (Winnipeg North, Lib.): Thank you, Mr. Chair. It is with pleasure that I table another petition by theresidents of Winnipeg North. These residents have signed a petition asking the Government of Canada, and in fact all members of Parliament, to put a highpriority on assisting our poorest seniors. The increases to the GIS by $200, and $300 to the OAS, have been well received. They just want to highlight howimportant it is to support our seniors, in particular the poorest of our seniors.The Chair: For members present in the Chamber, a reminder that they are asked tobring their petitions to the table. We'll now proceed to statements by members. We'll go to Ms. Atwin for the first one.Mrs. Jenica Atwin (Fredericton, GP): Thankyou, Mr. Chair. June 21 is National Indigenous Peoples Day, a day of acknowledgement and a day of celebration of the beautiful diversity of indigenous peoplesacross Turtle Island. I wish to recognize the leadership of Chief Shelley Sabattis of the Welamukotuk First Nation in Oromocto, New Brunswick. Each year she andher council, volunteers and staff go above and beyond to show appreciation for their members and to demonstrate pride and culture while promoting well-being.We gather in an event where all are welcome to take part, from traditional hand drum-making with elders to moose meat and tacos. This year we will celebrate abit differently, but we will still stay connected, virtually and in spirit, to the vast network of indigenous peoples and allies. We need each other now more thanever. May we come together in song and stories and in solidarity. We will remember those who are not among us. I hope all of Canada will join us in observingNational Indigenous Peoples Day.  Mawiyapasuwok: let us come together. Nit liech.The Chair: We'll now go to Mr. Beech.Mr. Terry Beech (BurnabyNorthSeymour, Lib.): Mr. Chair, COVID-19 is an unprecedented challenge for all communities across Canada, but as we do our part to flatten the curve, I oftenthink about those who suit up every morning to serve on the front lines of our health care system. My mother is a home care worker and my sister is a nurse.Even before the crisis, they would often share the hardships they faced on a day-to-day basis. It's a tough job at the best of times. In a pandemic, these jobs arelife-threatening. I think we can all agree that these workers deserve more than our good wishes. They deserve a raise. That is why we have worked with theprovinces to implement pandemic pay. In British Columbia more than 250,000 front-line workers are eligible for this program. That works out to a pay increase ofabout $4 an hour. It's a small show of our appreciation for their difficult and priceless contribution to our country. Share this message and say thanks to ourfront-line workers, participate in the 7 p.m. cheer, and order a pizza for your local nurses. It's the least we can do.The Chair: We'll now go on to Mr. Shipley.Mr.Doug Shipley (BarrieSpringwaterOro-Medonte, CPC): Thank you, Mr. Chair. We've been living in difficult times. Slowly, we are getting back to some resemblanceof normalcy, although unfortunately not soon enough for some of our great summer festivals. It will not be normal in BarrieSpringwaterOro-Medonte this summerwithout the iconic Boots and Hearts weekend music festival, Kempenfest, Oro World's Fair, the Elmvale Fall Fair, or the Midhurst Autumnfest. Canada Daycelebrations have been cancelled, but we can still celebrate the great nation we call home. Because of the lack of Canada Day celebrations, I've created HappyCanada Day lawn signs that are available through my constituency office, free to all residents of BarrieSpringwaterOro-Medonte. I'm also hosting a drive-throughparty on Canada Day at the Royal Canadian Legion on St. Vincent Street in Barrie. All are welcome to attend. There will be cupcakes for all. Please drop by thelegion between 11 a.m. and 2 p.m., and we can celebrate Canada Day safely together. Thank you and have a great summer.The Chair: Now we'll go on to Ms.Young.Ms. Kate Young (London West, Lib.): Thank you, Mr. Chair. Among the countless ordinary Canadians who have stepped up to do extraordinary work duringCOVID-19, I wish to draw attention to our teachers. Teachers have always had a special place in my heart. My father was a teacher, and my daughter-in-law,Kelly Webb, is one now. I'm certain that my colleagues can all easily remember a teacher in their past who played an important role in helping them achieve theirpotential. I remember my grade 12 English teacher, Vince Weaver, at Westminster Secondary School in London. He made me realize that I could do so muchmore than I believed. Across the country, as schools closed, teachers did not stop their work. Some took their classes online. Others found innovative ways tocontinue engaging with their students. This is not the school year anyone imagined, and what the next one will look like is unclear, but our teachers in London"}
+{"doc_id":"doc_182","qid":"","text":"Marketing: Great man . Who starts ?Project Manager: Well I'll uh start just with another presentation , so then we can uh look at th at the agenda uh for thismeeting .Marketing: Alright , great . Alright .Project Manager: {vocalsound} Okay . I've put some uh new things in the in the map .Marketing: Mm-hmm .ProjectManager: Uh oh . {vocalsound} This is it . I don't know the shortcut , so {disfmarker} Ah F_ five . Well our functional design meeting , that's the stage we're in.Industrial Designer: Mm .Project Manager: And you also ha all three of you have uh prepared something about it .Marketing: Yes .Project Manager: Well um inwe'll uh just have a look at the at the notes from the previous meeting , what we uh thought we had dec decided . But uh {disfmarker} Uh then we'll uh look atuh the three uh presentations uh from you . I think you have prepared uh all three uh ? {vocalsound}Marketing: 'Kay .Industrial Designer: Well , yeah.Marketing: Yeah .Project Manager: Um we'll look at th the new project requirements we uh {disfmarker} I dunno . Y you also have uh received that mail , thenew project requirements from our bosses ?Industrial Designer: No . {vocalsound}Project Manager: Oh I've received a mail with uh some additional requirements,Marketing: No . You're the only one . {vocalsound}Project Manager: and I'll have a look if {disfmarker}Industrial Designer: Oh .Marketing: Alright .ProjectManager: Well I think we should show them before your presentations , because it's not really uh smart uh to uh to include some things uh we can't , because ofthe new requirements . Well um then we can make some decisions about our remote control functions .Marketing: 'Kay .Project Manager: We have to deb wehave to decide it in this meeting what our function will be . And then uh we can discuss uh some more closely . Uh {disfmarker}Industrial Designer: We haveforty minutes for this uh discussion ?Project Manager: Uh yeah , I think so . {vocalsound}Industrial Designer: Alright .Project Manager: Well uh {gap} the closinguh we'll not uh look at it yet .User Interface: {vocalsound}Marketing: Alright .Project Manager: Um {vocalsound} now I'll look at {gap} show {gap} this board .Um {disfmarker} Well uh notes , first meeting . Now . I gave a disc a a presentation . Uh we familiarised ourself with the boards and then we discussed some firstideas . So we said that uh we have to merge the strong points from our uh competitors , and uh look at their uh remote controls .Marketing: Right .ProjectManager: We should make it uh compatible with our new D_V_D_ and other releases we have , our technical releases .Industrial Designer: Huh ?ProjectManager: Uh not too many one buttons . One recognisable button in the middle , where you do the most important functions with . And um well they can havetwo functions , because uh you have a D_V_D_ and a television .Industrial Designer: {vocalsound} Yeah .Project Manager: Um the design has to fit the hand , beoriginal , but also be familiar . {vocalsound} It's uh one of our ideas .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}Project Manager:{vocalsound} Yeah well that wa It's just thirty minutes ago ,User Interface: {vocalsound}Project Manager: so it's not quite uh {disfmarker} {vocalsound} Butwell I have to do it .Industrial Designer: Mm-hmm , now it's right .Marketing: {vocalsound} Yeah .Project Manager: The materials uh well should be hard plasticwith rubber from {gap} , and uh well the labelling of the buttons should be indestructible . It should be uh recognisable at all times .User Interface:{vocalsound}Industrial Designer: It's meant to be easily wiped out , yeah . {vocalsound}Project Manager: Yes .User Interface: Mm .Marketing: Okay .ProjectManager: Well fronts were to be {gap} just like mobile telephones . And uh the technical aspects um {disfmarker} And also labelling of the buttons , thefunctions should be universal standards . Well that's just uh some ideas from the first meeting . It's quite logical al all of it .Industrial Designer: Mm-hmm .ProjectManager: Um now the new project requirements , I'll just show them . I got this mail from uh our bosses . Well , teletext goes out . We will not use teletext .UserInterface: Oh .Marketing: Okay .Project Manager: Maybe a new sort of thing , but n but not teletext .Industrial Designer: I I disagree , but uh it's not uh t it's notmy place to disagree I guess .Project Manager: Well {disfmarker} the second is a bit sh pity because we just said we wanted to d include the D_V_D_UserInterface: Oh .Project Manager: and they don't want it , because of our time we have for this project .Marketing: Alright .Industrial Designer: Oh , alright .UserInterface: Oh , that's a shame .Project Manager: So that's a shame , because uh especially for the third requirement we want to reach people under the thirtyyears . Because uh we don't have those customers a lot at th at this point . Um well it's a bit pity because it's just those people want to have uh one remotecontrol for all those technical devices they can uh reach it .Marketing: Yeah . But let's forget about it . It's just time-consuming ,Project Manager: Yeah.Marketing: so we uh have to go on .User Interface: {vocalsound}Project Manager: Well and uh our corporate image should stay rec recognisable in our products. So uh we have to uh use uh maybe a slogan , maybe a colour , and um {disfmarker} Yeah well uh on our remote controls the design has to be uh , well as wealready said a actually , uh familiar . Uh not only just uh the shape but also our company .Marketing: Yes .Industrial Designer: Yeah , we are a {vocalsound} realfashionable company . I read uh I read it on the {disfmarker}Project Manager: Yeah . {vocalsound} Yeah .User Interface: Yeah . {vocalsound}IndustrialDesigner: I didn't know what company we were ,Marketing: Mm .Industrial Designer: but we we design uh especially trendy uh trendy trendy stuff .Marketing:{vocalsound}Project Manager: {vocalsound} Yeah . Okay .Industrial Designer: So it has to be uh a modern design . That's important to know , uh when youdesign a thing of course .Project Manager: Yes . I I uh noted uh our uh slogan that we have , our company . It's uh we mm put the fashion in electronics.Industrial Designer: Yeah .Project Manager: So maybe that's a slogan we can put uh somewhere on our remote control or something .Marketing: Right .UserInterface: Yeah .Project Manager: Alright then um we're going to uh have three presentations .Marketing: Yeah .Project Manager: You want to start ?IndustrialDesigner: {vocalsound}Marketing: Yeah . {vocalsound} I think I have to start .Project Manager: {vocalsound} Oh you have to start ? I didn't see anything aboutuh who had to start .Industrial Designer: {vocalsound} The order ? No . {vocalsound}Marketing: {vocalsound} Oh no , no problem .Project Manager: Well s thenstart .User Interface: Mm .Marketing: I I just have to uh to think which file's mine ,User Interface: {vocalsound}Marketing: 'cause I was uh bit in a hurry .ProjectManager: Okay . Well uh {disfmarker}Marketing: I think it's this one . But I'm not sure . {gap}Project Manager: {gap} You already uh opened uh PowerPoint.Marketing: Hmm ? Yeah . S Right .User Interface: {vocalsound}Marketing: Yes . This is it .Project Manager: Yeah .Marketing: Well , I'm going to tell yousomething about functional requirements .Project Manager: Mm-hmm .Marketing: Um to start with these points . Uh next sheet ? Um at first I tell you somethingabout what people dislike about the current uh controls , because it's uh a smart thing to exclude those things . Uh , furthermore it's very important what they dolike and what they do use . {vocalsound} Um then I tell something about um the most important issues . So we have to focus on those three thing three things .And in the end I'll um show you our target {vocalsound} audience or our target product users , customers . Well , {vocalsound} um the first findings are thatpeople um think most controls are very kind of ug ugly .Project Manager: {vocalsound}Marketing: That's seventy five per cent of the current users . They don'tlike it , so we might think about fronts in that section . Um {disfmarker} They also say , that's about uh I thought it was fifty per cent , uh that more money willbe spent on uh better looking controls . So it's very important that you design a a nice looking control . {vocalsound} Um the current user uses his machine justabout well all of the time for a few functions . Uh , almost every user uses it d the the control for just ten per cent of its capacity . So it's really important to makethe the buttons for the common uh tasks kind of big or kind of uh flashy . Furthermore , it's uh {vocalsound} seventy five per cent of the users uh zaps a lot .Thus it might be uh might be smart to make a a big uh zapping button or something in the middle , so you can reach it with your thumb .Industrial Designer:{vocalsound} You can zap away . Yeah . {vocalsound}Marketing: Yeah , yeah right .Project Manager: Yeah .Marketing: Right . A lot of losers um users lose theircontrols in their {vocalsound} in their living room .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: So it might be sensible to makesome kind of a button on your television , that's your um your control beeps or something , that you can find this very easily .Project Manager: {vocalsound} Well{disfmarker} {vocalsound}User Interface: Yeah .Marketing: I dunno , maybe that's an idea .Industrial Designer: Oh .Marketing: 'Cause it's uh a big {disfmarker}I think fifty per cent of the users loses his its control , within the same room .Industrial Designer: {vocalsound} Oh ?Project Manager: It should actually uh{disfmarker} It should actually be loose from the television ,User Interface: {vocalsound} Yeah .Project Manager: because it can also be used for othertelevisions . So if you deliver a small uh click-on device that you can put on your television , that bleeps to your remote control , everyone can use it .Marketing:Yeah but what if you lose your click-on device ?Project Manager: No you can click it on your television .Marketing: Yeah but if someone d somebody else uses it inano other room or something ?Project Manager: {vocalsound} Yeah in another room , yeah .Industrial Designer: {vocalsound}Project Manager: Well yes.Marketing: Nee but it it specifically says it's uh the the control is lost in the same room .User Interface: {vocalsound}Project Manager: Yeah .Industrial Designer:Mm-hmm .Marketing: So {disfmarker} Well a beeping device would be {disfmarker}Project Manager: Well we'll have a look at it , yeah .Marketing: Uhfurthermore the learning time is a problem . Uh thirty four thirty four per cent um thinks it's it's too uh too difficult to learn . So the the learning curve should bevery short uh for the dumbest people should be able to use it .User Interface: {vocalsound}Industrial Designer: I think our uh user uh expert should also considermanual a manual for the remote , of course . Uh {disfmarker}Marketing: Yeah but people don't read manuals .Industrial Designer: I didn't read it ?UserInterface: No .Industrial Designer: Oh , alright .Marketing: No .Industrial Designer: {gap} users to uh add one ? Do you think ?User Interface: I don't think{disfmarker}Marketing: I think you should put more time in the in the design of uh pick up and use , than a manual .User Interface: Yeah . Yes you should"}
+{"doc_id":"doc_183","qid":"","text":"Project Manager: So uh good morning .User Interface: Morning .Marketing: Morning .Project Manager: I see you all find your places .Industrial Designer: Morning.Project Manager: Is everybody sitting on the right place ? Yeah ?Marketing: Yep .Project Manager: I guess so . So {disfmarker} Let's see . First I will introducemyself . I don't know if uh {disfmarker} if everybody knows me , so I'm Bart ,Marketing: My name's Frank .Project Manager: hello . Hello .User Interface: I'm{gap} .Project Manager: Bart . Hello . Hello . Bart .Industrial Designer: {gap}Project Manager: Welcome .Marketing: Thank you .Project Manager: Uh let's see .Uh let's start off um with a little presentation . Uh Now first I'll tell you a little bit about the setting . You can see there are a few cameras here . They'll record uhour actions and you'll have wires and microphones that will record your voice . Uh there are also some microphones there but th um you don't have to pay a lot ofattention on those , because it will uh disappear when you don't attend to it . So is there a project documents folder ? There are some notes in it already I see ,some documents . Uh I'll start with the presentation kick off . Is being modified by the administrator . Uh okay {vocalsound} .User Interface:{vocalsound}Marketing: {vocalsound} Hmm , that's interesting .Project Manager: Let's do it read only . Well I don't know if you've noticed , but uh we're workingfor Real Reaction . Uh it's a company in uh electronics . We put fashion in electronics , uh we make it work , uh we put a lot of effort in design and in the productitself . I'm Bart {gap} the project manager so I'll direct you through the project . This is our agenda . {vocalsound} Uh we have our opening acquaintance , tooltraining , project plan description closing .Marketing: {vocalsound}Project Manager: Uh maybe I can sit down , then I can take some notes or {disfmarker} Let'ssee . Maybe you can take the minutes once in a while .Marketing: Sure .Project Manager: I dunno it's not a lot of work , but just uh if you hear something uh youcan write down , just write it down . Uh as you can see uh it's the opening , aquaintance tool training . Aquaintance is a point we've done a bit . Um have you allseen the corporate website already ? Yeah .User Interface: Yep .Marketing: Yep . Visit it .Project Manager: Have you seen any flaws in it ? I think I found one .{vocalsound} No ?User Interface: Hmm ?Marketing: Can't say I paid much attention to it ,Project Manager: I can see if it works this way . No , it doesn't workhere .Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Okay no problem . But um on the corporate information side there's a thuh {disfmarker} there was Real Remote instead of Real Reaction .Marketing: Oh yeah .Project Manager: Real Remote is not really the company we're{disfmarker} we are , but it's just a little {gap} fault .User Interface: Okay . Yeah .Project Manager: Um okay , what are we going to do ? {vocalsound} Uh ourproject aim is as you can see a new remote control . It has to be original , trendy , and user friendly . So these are uh the points why uh we also hired you .{vocalsound} We've got the Marketing Expert for uh the trendy and user friendly look .Marketing: Okay .Project Manager: And Industrial Designer uh there's alsouser friendly and a bit original . {vocalsound} And we've got our User Interface Designer .User Interface: Yep .Project Manager: He's also uh {disfmarker} That'sabout the new remote control . Uh project method um is uh there are three phases we are going through . First is functional des uh design , individual work ,meetings . After the functional design , then the conceptual design and the detailed design . {vocalsound} I had some role indications on here . But I think youknow it already by yourself . The Industrial Designer is going to work on the working design , uh components design and a bit of the look and feel design . Uh theUser Interface Designer is going to do the technical function design , user interface concept and user interface design . {vocalsound} And the marketing expert isdoing a little bit of user requirement specification , trend watching and project {disfmarker} uh product ev evaluation . So that's a bit what you're going to do .But that will be all worked out in uh other meetings .Marketing: {vocalsound}Project Manager: Then we've got our first tool training . {vocalsound} We are goingto work with a lot of high-tech tools here , so it's ab it's handy if we have a little bit of training first . As you can see we've got the smart boards here and here inthe white board . Um in the white board here there's a little tool bar on this side . Here are some functions . You can save . N uh these functions we don't haveanything to do with , only undo , you can undo a little uh piece of drawing . A blank new document for each person . Uh select a pen , eraser . Capture we don'thave to do anything with . Uh then we've got our pen . This pen . It's really funny because you can draw with it on this page um in the {disfmarker} think it isform of .Marketing: 'Kay .Project Manager: You can also select the current colour and the line width . But then first you have to select the pen function .UserInterface: Hmm .Project Manager: But we're going to work with it in a minute . So okay . Uh that's very simple and it's easy to uh draw your findings anddrawings on there . {vocalsound} Uh then a short thing about documents . We've got our shared folder , project {gap} project {disfmarker} what was it ? Projectdocuments {gap} I think . But all you will found that already because there are a lot of documents in it already , so it will be okay . And these are available on thesmart boards as well , so if you have a document you wanna show , just open it from the folder .User Interface: Okay . Yeah .Project Manager: Here is a simpletool bar . It's what I just said , it's save , print , move back or forward one page . You can switch between the different drawings . And then we're going to try outthe white board .Industrial Designer: {vocalsound}Project Manager: {vocalsound} So as you can see we g all {vocalsound} going to draw a animal .{vocalsound} Just to uh uh just to get a bit familiar with it .User Interface: {vocalsound}Project Manager: {vocalsound} {vocalsound} Mouse wasn't runningaway . {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Marketing: That was interesting .Project Manager: Is everybody {disfmarker} isanybody playing with the mouse ? No .Marketing: {vocalsound} Innocent .Project Manager: Okay . {vocalsound}User Interface: {vocalsound}Project Manager:We're going to uh draw animal . {vocalsound} And uh just sum up a few of its favourite characteristics .Marketing: {vocalsound}Project Manager: Um the onlything we have to uh look after is that we use different colours , and different line width .Marketing: {vocalsound} {vocalsound}Project Manager: Uh there's{disfmarker} I can start from now . I will . You can use this pen by holding it like a like a little child . Because if you hold it like this , the sensors will get blockedand then the drawing won't get good .User Interface: Okay .Marketing: 'Kay .Project Manager: Another thing is you have to be uh a bit slow . 'Cause if you'regoing to draw like really fast then um the pen won't hold up . So we choose form of current colour uh I think grey is appropriate . Then the line width . I thinkseven will be nice . Now you'll see my drawing capabilities .User Interface: {vocalsound}Project Manager: These are not very much , but uh {disfmarker} Uh ,see you have to do it real slow . {vocalsound} Oh {gap}Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}User Interface: Sure .Project Manager: Ah I was trying to draw a dolphin ,User Interface: {vocalsound} {vocalsound}Project Manager: but I thinkhis nose has to be a little bit {disfmarker}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: But it's close .Marketing: I'm thinking about aswordfish .Project Manager: So what {disfmarker} yeah it's {disfmarker} this is bit of the swordfish .User Interface: Yeah . Yeah .Marketing: {vocalsound}ProjectManager: Yeah , he hasn't got an eye .User Interface: {gap} {vocalsound}Industrial Designer: {vocalsound} Mm-hmm .Project Manager: Woah . {vocalsound}Now we've got another function . We've got the eraser .Marketing: {vocalsound} {vocalsound} .Project Manager: {vocalsound} And then you can undo thiseasily .Marketing: Meat .Project Manager: Ah it's okay .User Interface: {vocalsound}Project Manager: And I've got to write down a few of its characteristics . Uhis {disfmarker} They've got no text tool , no . Uh . {vocalsound} Okay .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: This is typically aundo action , I think . {vocalsound}Marketing: Yeah . {vocalsound}Project Manager: Pen . Maybe you have to hold it a bit upside-down . I think that's it becauseif you wan ar are going to do it like this then it will be a stripe . But I don't know , I'm just trying . {vocalsound} {vocalsound} This is not my work ,IndustrialDesigner: {vocalsound}Marketing: {vocalsound}Project Manager: okay .Marketing: Hmm .Project Manager: Maybe you have to use {disfmarker} Oh .Marketing:{vocalsound}Project Manager: Uh . I think it's a {disfmarker} it wants to draw a {disfmarker} another animal ? I don't know . It lives for the fun . So{disfmarker} It's my characteristic uh characteristic about the dolphin . It lives for the fun . So now I'm gonna hand over the pen on the new blank sheet to you.User Interface: Okay .Marketing: Okay . {vocalsound}User Interface: {vocalsound}Project Manager: Go ahead .Marketing: Thank you . Okay . Gonna use adifferent line width . And I'm gonna draw in black . There . 'Kay , I'm not much of an artist , but here we go .Project Manager: Maybe it's easier to draw thesmaller line width , I think . Because this is going a lot better than uh I did .User Interface: Hmm .Industrial Designer: {vocalsound}User Interface: A sheep.Marketing: Mm .Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay .User Interface: {vocalsound}Project Manager: {vocalsound}Marketing: This ismy um {disfmarker} Hmm . Sheep .Project Manager: It's nice . {vocalsound}Marketing: With of courseProject Manager: {vocalsound} Uh .Marketing: little bluedot they always get sprayed on their butts .Project Manager: {vocalsound} It's a real dead sheep ,User Interface: {vocalsound}Marketing: There .ProjectManager: yeah . {vocalsound} For recognition ,Marketing: Yeah . {vocalsound}Project Manager: yeah , I see . {vocalsound} Um maybe you can also write yourname somewhere .Marketing: 'Kay .Project Manager: On just a {disfmarker}Marketing: They are {disfmarker}Project Manager: {vocalsound}Marketing: Comeon . You have to go really slow when you're writing .Project Manager: Yeah .Marketing: They're brilliant animal animals .User Interface: {vocalsound}IndustrialDesigner: {vocalsound} {vocalsound}Marketing: And that's just a little me thingy . So . Guess I'll pass the pen to our User Interface Designer .Project Manager:Nice .User Interface: Okay . Um I'm just gonna draw its uh head , but mm {disfmarker} Let's see . Mm . Uh . {gap} Okay . {vocalsound}Project Manager:{vocalsound} Sweet . {vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: Interesting .User Interface: You know what"}
+{"doc_id":"doc_184","qid":"","text":"Project Manager: {vocalsound}Marketing: {vocalsound}Project Manager: Okay . Good afternoon again .User Interface: {vocalsound}Project Manager: So weshould have our final meeting about the detail designed of {disfmarker} detail design of the product of the remote control . Um {vocalsound} So here is theagenda for today . Uh uh just going to go quickly through the minutes of the last last uh meeting then we have a p presentation of prototype of you two , soundsinteresting . And we'll have um {vocalsound} presentation of evaluation crit criteria by ou our Marketing Experts . Then we'll have to go through financeevaluation of the of the cost of the thing and um hopefully uh we should fit the target o tw of twelve point five uh uh Euro . {vocalsound} Okay . So let's go . Uh ifI go quickly through the minutes of the last meeting . {vocalsound} So we went through th uh w we took this following decisions . No L_C_D_ , no speechrecognition technology , okay , we went through a b to a banana look and feel for the remote control . We went through the use of wheels and but buttons .{vocalsound} And also the use of a basis station for battery ch charging and uh also to um call the to call the mot mote remote control when it is lost . Okay . Um. Good . So guys let {gap} this uh wonderful thing .Industrial Designer: Okay so we can go to the slides .Project Manager: {vocalsound} Oh yeah . Sorry . Um.Industrial Designer: Yeah . Number three . Oh number two sorry .Project Manager: Which is {gap} {disfmarker}Industrial Designer: So final design . Finaldesign . Okay so Michael you can go ahead .User Interface: Yeah so uh following our decision to uh make a yellow {disfmarker} well to make a bananaProjectManager: Yeah can you show it to the the camera maybe .User Interface: remote {disfmarker} okay so we actually have a {disfmarker}Industrial Designer: Youcan pull it out first , maybe .User Interface: We've {disfmarker} well first first of all we made a an attractive {vocalsound} base station uh with a banana leaf uhlook and feel um and uhProject Manager: Mm-hmm . {vocalsound}User Interface: bana sit {disfmarker} the banana sits in there k you know nicely weighted sothat it's not gonna tip over and um this is the remote itself , it's kind of it's it's ergonomic , it fits in the hand uh rather well . We've got the two uh {vocalsound}uh scroll wheels here which you know one on the the left for the uh volume and the one on the right for for the channel and uh underneath {vocalsound} we havethe uh the turbo button which is in like a nice uh trigger position for you know for pressing quite naturally .Project Manager: What's the use uh of the t turbobutton already ?User Interface: This is when you when you uh are scrolling the uh {disfmarker} through the channels you can tell it to to skip th past channelsthat you {disfmarker} quickly rather thProject Manager: Ah yeah yeah an then you stop when you stop it stops .User Interface: Yeah . Well when you stopscrolling the wheel it stops . But normally with uh {disfmarker} it will just uh s stay on each station briefly so you can see the the picture .Industrial Designer: Uh{disfmarker}Project Manager: Uh-huh .Industrial Designer: And we we do have one more functionality . If you take the banana as such and uh you press theturbo button , so it switch ons the switch ons the T_V_ .User Interface: The T_V_ yeah .Project Manager: Which one ?User Interface: The s the turbo button.Industrial Designer: The turbo button .Project Manager: Okay .User Interface: So rather than having uh an extra button for um for the on off switch you just usethe turbo button .Industrial Designer: Additional button .Marketing: What this button for ?User Interface: This is a teletext button . So once you press that thenyou get teletextMarketing: Okay .User Interface: and you can use the the channel selector scroll wheel as uh {disfmarker}Project Manager: To navigate itthrough th through teletext .User Interface: To navigate yeah .Marketing: But if you want to go to page seven hundred ?Industrial Designer: That's right , that'sright .User Interface: Yeah .Project Manager: {gap} with the wheel it's easy .Marketing: How manUser Interface: Well then you can you you have like a little uhnumber selection thing , you press the {gap} the the teletext button uh to move between uh the fields and then you can just scroll the number back and forth soyou have s you go {disfmarker} you scroll to seven and then zero zero and then you can uh {disfmarker}Marketing: I don't understand it . Can you repeat it ?{vocalsound}User Interface: {vocalsound} Well you can you can press press the teletext buttonIndustrial Designer: {vocalsound}User Interface: and then youthen you can you can fIndustrial Designer: So then then both the scroll buttons they are for teletext browsing .Marketing: Yeah .Industrial Designer: And you canteleMarketing: Ah okay okay . Okay . Okay okay .Industrial Designer: yeah ,User Interface: Mm uh {disfmarker}Industrial Designer: once you press the teletextbutton then the scroll buttons they are more for teletext , they are no more for channel or vol volume .Marketing: Okay . I see . I see . Okay . Okay .IndustrialDesigner: Yeah .User Interface: {vocalsound} And this is the uh the infrared uh port .Industrial Designer: That's right .User Interface: Also the top of the banana.Project Manager: Excellent .User Interface: So . And then we haveIndustrial Designer: Yeah .User Interface: in the uh in the base station we have the the buttonat the front for uh for calling the uh the banana .Project Manager: Calling . Excellent .Industrial Designer: Yeah .Project Manager: And the the leaves plays theroles of of antennas ?User Interface: Actually they do .Project Manager: Oh .User Interface: That's that's yeah that's uh that's form and function in the one in theone uh object .Industrial Designer: Yeah . So it always means , whatever the rays goes by they they get reflected and then you are having a better coverage.User Interface: {vocalsound}Industrial Designer: It's like antennas .User Interface: Yeah . So .Marketing: {gap}User Interface: But yeah that's um that's justlike {disfmarker} that's an attractive um base station .Project Manager: Great . {vocalsound}User Interface: {vocalsound} So .Project Manager: So , what else?User Interface: Okay .Industrial Designer: And for the power source we are having solar cells and rechargeable batteries and this and uh the basis station isgoing to have the input from the mm power line for for charging the batteries .Marketing: {vocalsound} Is it really weight ? Is it light or {disfmarker}IndustrialDesigner: It is very light .Project Manager: Yeah , they're light .User Interface: It's it's uh it's about the weight of a banana .Marketing: Okay .Project Manager:{vocalsound}Marketing: Okay .User Interface: You know , to give you the correct look and feel .Project Manager: {gap}Industrial Designer: Yeah .Marketing:OkIndustrial Designer: And we have put these different colours so that people don't mistake them mistake it as a banana .User Interface: {vocalsound}IndustrialDesigner: Otherwise it's you know a child comes and so {disfmarker}Marketing: Okay . Yeah yeah yeah , I see . I under I understand .User Interface: I think achild would try to eat it anyway , so maybe we shouldIndustrial Designer: Yeah .User Interface: consider that . {gap} maybe health and safety aspects .ProjectManager: Ah yeah .Industrial Designer: Mm-hmm .User Interface: {gap}Industrial Designer: Oh we didn't think of that yet . Yeah .User Interface: Yeah .ProjectManager: So for the power source , apparently you still {disfmarker} you you want to use both solar cells and batteries .Industrial Designer: Oh yeah that's right.Project Manager: Uh you mean {disfmarker} okay . So {disfmarker}User Interface: I don't really know if the solar cells are actually necessary any more if youhave a recharging base station .Project Manager: Yeah , where are going to {disfmarker} where are you are you going to place them ?Industrial Designer:Mm-hmm mm-hmm . It'll It'll be always at top somewhere at there .User Interface: If I was gonna place them I'd put them on the on the top here since that'slike uh the black bitProject Manager: You have enough surface ? You {gap} {disfmarker}User Interface: but yeah I don't I really don't think it's necessary to havethe solar cells anymore .Industrial Designer: Yeah because now we are having rechargeable batteriesProject Manager: Okay .User Interface: Mm .IndustrialDesigner: so that that is {gap} .Project Manager: What will be the autonomy ? Roughly ?User Interface: The what sorry ?Project Manager: The autonomy .Autonomy .User Interface: What do you mean ?Project Manager: Uh I mean how long does i how how how long can it be held off a station ?Marketing: How longthe {disfmarker} how long the bit the batteries long .User Interface: Ah . Ah . A long time .Project Manager: Yeah . A long {disfmarker} {vocalsound}UserInterface: {vocalsound} No no no ,Industrial Designer: Eight to ten eight to ten hours .Marketing: {vocalsound}User Interface: it can {disfmarker} it should beweeks .Industrial Designer: N most {disfmarker} no most of the time it's not being used .Project Manager: Yeah , so it's {disfmarker}User Interface: Yeah but ypeople don't like to put it back in the base station all the time people leave wanna leave it on the couch so {disfmarker}Industrial Designer: So when when youare making it on {disfmarker}Project Manager: It's used only when you {disfmarker}Industrial Designer: Mm . Mm-hmm . No eight or eight or ten hours ofworking .User Interface: Ah , okay .Industrial Designer: If you are just leaving like that it'll be much longer .User Interface: Okay .Project Manager: Yeah . Fweeks .User Interface: Yeah .Industrial Designer: Yeah . That's right .Project Manager: Right . Next slide ?Industrial Designer: Yeah . And we are having thespeakers regular chip for control . Pricing is {disfmarker} was a factor so that's why we have gone for a regular chip only not the advanced chip . And uh that's it.Project Manager: Okay . {gap} Okay . Those really sounds very good .Industrial Designer: That's right .Project Manager: {vocalsound} Nothing else to add ?UserInterface: It seems to be falling over .Marketing: I l yeah .Project Manager: Yeah .Marketing: I like I like it . Maybe the the thing that convince me the less is the{vocalsound} the multifunctional buttons . Looks a bit {disfmarker}Industrial Designer: You want to have more functional buttons ?Marketing: Looks a bitpuzzled uh I dunno how to say {vocalsound} that .Industrial Designer: You are not convinced .Marketing: You {disfmarker} the the b the buttons change h htheir function depending if y it's teletext or not {disfmarker}Industrial Designer: Not not many , we we want to keep it simple . So that this button fo is forteletext which is usually also the case , that usually there is a teletext button and once you press that , the channel buttons , they baco become the scrollingbuttons .Marketing: And the volume button will will become {disfmarker}Industrial Designer: It's up to you , means .Project Manager: Well in fact b both will be{disfmarker} could be useful , navigating through teletext .Industrial Designer: Now that {disfmarker} Means let's say this this can move the the larger digits andthis can move the smaller digits .User Interface: Or can move between positions in the in the number .Industrial Designer: That's right .Project Manager: Yeah"}
+{"doc_id":"doc_185","qid":"","text":"Grad A: Why ?Grad D: Um .Grad E: I 'm known . I {disfmarker}Grad A: No , cuz she already told me it , before she told you .Grad E: No , she told me a long timeago . She told me {disfmarker} she told me like two weeks ago .Grad A: Oh , well , it doesn't matter what time .Grad B: OK . You know how to toggle the displaywidth {pause} function {disfmarker}Grad A: Well maybe she hadn't just started transcribing me yet .Grad D: Wow .Grad A: Anyway .Grad D: What is it ?Grad E:Let me explain something to you .Grad D: Um ,Grad E: My laugh is better than yours .Grad D: there .Grad A: I beg to differ .Grad B: Yo .Grad D: Um , OK .GradA: But you have to say something genuinely funny before you 'll get an example .Grad E: Yeah .Grad D: The thing is I don't know how to get to the next page .Here .Grad E: No . You should be {disfmarker} at least be self - satisfied enough to laugh at your own jokes .Grad D: Actually I thought {disfmarker}Grad A: No ,it 's a different laugh .Grad D: There .Grad A: Ooh , wow !Grad D: How weird .Grad E: Oh ! Holy mackerel .Grad A: Wow . Whoa !Grad D: What ? ! Oh . OK . Iwasn't even doing anything . {vocalsound} OK .Grad A: Uh .Grad E: Eva 's got a laptop , she 's trying to show it off .Grad D: That was r actually Robert 's idea .But anyhow . UmProfessor F: O K . So , here we are .Grad E: Once again .Professor F: Once again , right , together . Um , so we haven't had a meeting for awhile , and {disfmarker} and probably won't have one next week , I think a number of people are gone . Um , so Robert , why don't you bring us up to date onwhere we are with EDU ?Grad B: Um , uh in a {disfmarker} in a smaller group we had uh , talked and decided about continuation of the data collection . So Fey 'stime with us is almost officially over , and she brought us some thirty subjects and , t collected the data , and ten dialogues have been transcribed and can belooked at . If you 're interested in that , talk to me . Um , and we found another uh , cogsci student who 's interested in playing wizard for us . Here we 're gonnamake it a little bit more complicated for the subjects , uh this round . She 's actually suggested to look um , at the psychology department students , becausethey have to partake in two experiments in order to fulfill some requirements . So they have to be subjected , {vocalsound} {comment} before they can actuallygraduate . And um , we want to design it so that they really have to think about having some time , two days , for example , to plan certain things and figure outwhich can be done at what time , and , um , sort of package the whole thing in a {disfmarker} in a re in a few more complicated um , structure . That 's for thedata collection . As for SmartKom , I 'm {disfmarker} the last SmartKom meeting I mentioned that we have some problems with the synthesis , which as of thismorning should be resolved . And , so ,Professor F: Good .Grad B: \" should be \" means they aren't yet , but {disfmarker} but I think I have the info now that Ineed . Plus , Johno and I are meeting tomorrow , so maybe uh uh , when tomorrow is over , we 're done . And ha n hav we 'll never have to look at it again Maybeit 'll take some more time , to be realistic , but at least we 're {disfmarker} we 're seeing the end of the tunnel there . That was that . Um , the uh , uh I don'tthink we need to discuss the formalism that 'll be done officially s once we 're done . Um , something happened , in {disfmarker} on Eva 's side with the PRM thatwe 're gonna look at today , and um , we have a visitor from Bruchsal from the International University . Andreas , I think you 've met everyone except Nancy.Grad A: Sorry . Hi . Hi .Grad C: Yeah .Grad B: Hi . Hi .Grad A: So when you said \" Andreas \" I thought you were talking about Stolcke .Grad B: And , um ,Grad A:Now I know that we aren't , OK .Grad B: Andy , you actually go by Andy , right ? Oh , OK .Grad C: Yeah .Grad B: Eh {disfmarker}Grad C: Cuz there is anotherAndreas around ,Grad A: Hmm .Grad C: so , to avoid some confusion .Grad B: That will be {pause} Reuter ? Oh , OK .Grad C: Yeah .Grad B: So my scientificdirector of the EML is also the dean of the International University , one of his many occupations that just contributes to the fact that he is very occupied . And ,um , the {disfmarker} um , he @ @ might tell us a little bit about what he 's actually doing , and why it is s somewhat related , and {disfmarker} by uh usingmaybe some of the same technologies that we are using . And um . Was that enough of an update ?Professor F: I think so .Grad B: In what order shall weproceed ?Grad D: OK .Grad B: Maybe you have your on - line {disfmarker}Grad D: Uh , yeah , sure . Um , so , I 've be just been looking at , um , Ack ! What areyou doing ? Yeah . OK . Um , I 've been looking at the PRM stuff . Um , so , this is , sort of like the latest thing I have on it , and I sorta constructed a couple ofclasses . Like , a user class , a site class , and {disfmarker} and you know , a time , a route , and then {disfmarker} and a query class . And I tried to simplify itdown a little bit , so that I can actually um , look at it more . It 's the same paper that I gave to Jerry last time . Um , so basically I took out a lot of stuff , a lot ofthe decision nodes , and then tried to {disfmarker} The red lines on the , um , graph are the um , relations between the different um , classes . Like , a user haslike , a query , and then , also has , you know um , reference slots to its preferences , um , the special needs and , you know , money , and the user interest . Andso this is more or less similar to the flat Bayes - net that I have , you know , with the input nodes and all that . And {disfmarker} So I tried to construct thedependency models , and a lot of these stuff I got from the flat Bayes - net , and what they depend on , and it turns out , you know , the CPT 's are really big , if Ido that , so I tried to see how I can do , um {disfmarker} put in the computational nodes in between . And what that would look like in a PRM . And so I ended upmaking several classes {disfmarker} Actually , you know , a class of {disfmarker} with different attributes that are the intermediate nodes , and one of them islike , time affordability money affordability , site availability , and the travel compatibility . And so some of these classes are {disfmarker} s some of theseattributes only depend on stuff from , say , the user , or s f just from , I don't know , like the site . S like , um , these here , it 's only like , user , but , if you lookat travel compatibility for each of these factors , you need to look at a pair of , you know , what the um , preference of the user is versus , you know , what typeof an event it is , or you know , which form of transportation the user has and whether , you know , the onsite parking matters to the user , in that case . And thatmakes the scenario a little different in a PRM , because , um , then you have one - user objects and potentially you can have many different sites in {disfmarker}in mind . And so for each of the site you 'll come up with this rating , of travel compatibility . And , they all depend on the same users , but different sites , andthat makes a {disfmarker} I 'm tr I w I wa have been trying to see whether the PRM would make it more efficient if we do inferencing like that . And so , I guessyou end up having fewer number of nodes than in a flat Bayes - net , cuz otherwise you would {disfmarker} c well , it 's probably the same . But um , No , youwould definitely have {disfmarker} be able to re - use , like , {vocalsound} um , all the user stuff , and not {disfmarker} not having to recompute a lot of thestuff , because it 's all from the user side . So if you changed sites , you {disfmarker} you can , you know , save some work on that . But , you know , in the casewhere , it depends on both the user and the site , then I 'm still having a hard time trying to see how um , using the PRM will help . Um , so anyhow , using thoseintermediate nodes then , this {disfmarker} this would be the class that represent the intermediate nodes . And that would {disfmarker} basically it 's justanother class in the model , with , you know , references to the user and the site and the time . And then , after you group them together this {disfmarker} nothe dependencies would {disfmarker} of the queries would be reduced to this . And so , you know , it 's easier to specify the CPT and all . Um , so I think that 'sabout as far as I 've gone on the PRM stuff .Professor F: WellGrad D: Right .Professor F: No . So y you didn't yet tell us what the output is .Grad D: The output.Professor F: So what decisions does this make ?Grad D: OK . So it only makes two decisions , in this model . And one is basically how desirable a site is meaning, um , how good it matches the needs of a user . And the other is the mode of the visit , whether th It 's the EVA decision . Um , so , instead of um , {vocalsound}doing a lot of , you know , computation about , you know , which one site it wants of {disfmarker} the user wants to visit , I 'll come {disfmarker} well , try tocome up with like , sort of a list of sites . And for each site , you know , where {disfmarker} h how {disfmarker} how well it fits , and basically a rating of howwell it fits and what to do with it . So . Anything else I missed ?Professor F: So that was pretty quick . She 's ac uh uh Eva 's got a little write - up on it that uh ,probably gives the {disfmarker} the details to anybody who needs them . Um , so the {disfmarker} You {disfmarker} you didn't look at all yet to see if there 'sanybody has a implementation .Grad D: No , not yet , um {disfmarker}Professor F: OK . So one {disfmarker} so one of the questions , you know , about these PR Ms isGrad D: Mm - hmm .Professor F: uh , we aren't gonna build our own interpreter , so if {disfmarker} if we can't find one , then we uh , go off and dosomething else and wait until s one appears . Uh , so one of the things that Eva 's gonna do over the next few weeks is see if we can track that down . Uh , thepeople at Stanford write papers as if they had one , but , um , we 'll see . So w Anyway . So that 's a {disfmarker} a major open issue . If there is an interpreter ,it looks like you know , what Eva 's got should run and we should be able to actually um , try to solve , you know , the problems , to actually take the data , anddo it . Uh , and we 'll see . Uh , I actually think it is cleaner , and the ability to instantiate , you know , instance of people and sites and stuff , um , will help in theexpression . Whether the inference gets any faster or not I don't know . Uh , it wouldn't surprise me if it {disfmarker} if it doesn't .Grad D: Mm - hmm .ProfessorF: You know , it 's the same kind of information . I think there are things that you can express this way which you can't express in a normal belief - net , uh ,without going to some incredible hacking of {disfmarker} sort of rebuilding it on the fly . I mean , the notion of instantiating your el elements from the ontologyand stuff fits this very nicely and doesn't fit very well into the extended belief - net . So that was one of the main reasons for doing it . Um . I don't know . So , uh, people who have thought about the problem , like Robert i it looked to me like if {comment} Eva were able to come up with a {vocalsound} you know , valuefor each of a number of uh , sites plus its EVA thing , that a travel planner should be able to take it from there . And {disfmarker} you know , with some otherinformation about how much time the person has and whatever , and then plan a route .Grad B: Um - hmm , um , {vocalsound} well , first of all uh , uh , great"}
+{"doc_id":"doc_186","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence fromMichelle Brown and Jack Sargeant; there are no substitutions. Can I ask if Members have any declarations of interest, please? No. Okay. We'll move on, then, toitem 2, which is our scrutiny of the 'Healthy Weight: Healthy Wales' draft strategy, and I'm very pleased to welcome Dr Frank Atherton, the Chief Medical Officerfor Wales, and Nathan Cook, who is the head of the healthy and active branch at Welsh Government. Thank you, both, for attending this morning. We're verymuch looking forward to hearing what you've got to say. If you're happy, we'll go straight into questions. If I can just start by asking about the fact that 'HealthyWeight: Healthy Wales' is an all-age strategy, really, and how confident you are that it will deliver for children and young people.Dr Frank Atherton: Well, we'revery confident. I mean, it has to, quite clearly. We do need to think about the present generation, the problems faced by the current generation. We have highprevalence of overweight and obesity among adults—we know that, and we can't walk away from that because that's translating into demand on health services.But we have to take a focus, a future generation's focus, almost, on the next generation. I don't write off the current generation, we can't afford to do that, butwe do need to think about what can we do that would be different for the next generation so that they don't get into the sorts of problems that we're currentlyseeing with overweight and obesity. We know that the consequences of that for our young people are going to be enormous if we don't do something andsomething quite soon. We know that overweight children go on to become overweight adults, unfortunately, and that brings all the consequences of multipledisease issues—diabetes is often cited—cancer risk et cetera. So, we have to focus on children, and, in fact, during the consultation, we've been very clear thatwe need to engage with children and young people as well. Perhaps we'll get into that at some point, Chair, but, yes, I can give you that assurance.Lynne NeagleAM: Okay, thank you. What my follow-up question, really, is: can you just tell us what kind of engagement you've had with children and young people to informthe draft strategy?Dr Frank Atherton: Well, Nathan may be able to influence some of the detail, but in broad terms, we have discussed with young people in anumber of fora. In fact, I was delighted that we had a young person, Evie Morgan, a schoolgirl from mid Wales, who came to the joint launch on the consultation.She met the Minister there and gave a very good personal account of her views on obesity and overweight. We've been visiting a number of schools during theconsultation process. I'm visiting a school, either this week or next week, at Treorchy, to talk with teachers and young people there. Obviously, we're hopeful thatschools and young people will contribute to the consultation as well. So, we've had quite good input, I would say, from children and young people. There is alwaysmore we can do we and we want to hear those voices.Nathan Cook: I was going to say, we've also had a session with youth ambassadors as well, and what we'veactually produced for the consultation is not just the children and young people's version, but also a toolkit in terms of getting schools really engaged andinvolved in terms of the work that we want them to do to feed into this as well. So, we've already had some really good responses from a lot of youth group andschools already.Lynne Neagle AM: And you've got a structured programme, have you, to roll that out? Okay. Thank you. We've got some questions now onleadership, and the first questions are from Siân Gwenllian.Sian Gwenllian AM: Good morning. I'll be speaking in Welsh. The Minister for health said yesterday, inanswering a question from me on the Chamber floor, that you gave him advice not to have a target in terms of reducing obesity among children. Could youconfirm that that's what your advice was and tell us why you don't think that a target is needed?Dr Frank Atherton: My advice was not that we don't need atarget—we may well need a target, and that's one of the issues we need to consult on—but that the target that had been adopted in England and in Scotland tohalve the prevalence of obesity in children was more aspirational than deliverable, and that if we are to choose a target in Wales, then we need to balancedeliverability with challenge. We need a challenging environment. So, there is something about performance management, because I would be looking to not justthe health system but the health and care system and to public services boards to think about how they're delivering on this, and I think we can use targets tothat. But they are one tool in the box that I would think we could use, and part of the consultation is to ask that question—'If we are to go down a route in Walesof choosing a target, what might that look like?'Sian Gwenllian AM: Okay. So, to be clear, you're not ruling out that maybe we would need a target.Dr FrankAtherton: It's certainly something that we could consider in terms of the final strategy.Sian Gwenllian AM: And is that your opinion too?Nathan Cook: Yes.SianGwenllian AM: Okay. Well, that is contrary to what I was told yesterday on the floor of the Chamber by the Minister, but there we go. I'm glad to hear that you'renot ruling out having a target, because without a target, without something to aim for, how do we know that we're getting there?Dr Frank Atherton: I think yourpoint about evaluation is really important. Whatever we produce at the end of this process—and we're looking to produce a final strategy towards the autumn—wedo need to have a strong evaluation. So, some metrics in there, it would seem, would be appropriate, but what those are, what the nature of those are, do weframe them as targets or ambitions—that's the point we need to consult on.Sian Gwenllian AM: Okay. And the other point, of course, is the investment. If theGovernment is going to be successful in terms of the aim of reducing childhood obesity, then it needs to fund and support the actions. Have you made anassessment of the level of investment needed to implement this plan?Dr Frank Atherton: Resourcing will be important. We currently do make investments in anumber of areas that relate to child health generally, and, of course, obesity and overweight in particular. So, the question of resourcing is important. Now, wecan't quantify an absolute amount of resource that will be needed to deliver until we know exactly what's going to come out of the consultation and what actionswe might want to deliver to a greater degree in Wales. A figure of £8 million to £10 million a year has been banded around as a broad kind of area of what wemight need to invest, but that would need to be drawn from existing programmes. We need to look at existing programmes, how effective they are. Can we makethem more effective? Can we get better value from them? And there may well be a case for new investment, and that's a question, of course, that would need tobe discussed with Ministers when we're producing the final strategy.Nathan Cook: But I think a key consideration as well is we already know there is investmentacross health boards in some kind of obesity-related services. So, I think what we really need to think about across Wales is how we can drive greater scale, howwe can look at current programmes in terms of making sure that they're better evaluated, and how we can make sure that we're also drawing up on the existingresources and capacity out there as well.Sian Gwenllian AM: And does the level of investment depend on what the target is—what the goal is?Dr Frank Atherton: Idon't think you can necessarily just link the two. The issue of resourcing is one that's there irrespective of whether we choose to put a target in place.SianGwenllian AM: But how would we know that it's being used effectively if there isn't something to aim for?Dr Frank Atherton: Which brings you back to thequestion about evaluation. We need proper evaluation of the various programmes that we have.Sian Gwenllian AM: Yes, but without a target, how can youproperly evaluate? If you don't know what you're trying to do, how can you properly evaluate? Anyway, you're open to suggestions about having a target, whichis great. Would you agree that Government could use the revenue that's being produced through the levy on soft drinks towards some of these efforts to—?DrFrank Atherton: Well, of course, there are some consequentials that are coming to the Welsh Government as part of the levy on sugary soft drinks. That funding,of course, is less than we had anticipated, and that reflects, actually, a success story because industry is reformulating, and so the amount of sugar in soft drinksis already starting to decrease, which is a good thing. But to your question: should we use the funding? Well, of course we should use funding. I'm not personallyin favour of hypothecation, I think I'm more interested in the totality of resource that goes into public health programmes than into marginal resource. There are,of course, a number of initiatives that we currently fund through the general revenue. And when I think about obesity, I don't just think about the relatively smallmarginal amounts of money that come in through whatever source, but I think about the totality of the £7 billion we spend in health and social care and how wecan divert and channel some of that towards broad prevention initiatives in general, and towards tackling being overweight and obesity in particular.SianGwenllian AM: You're saying that it's less than expected. Could you give us any kind of figure?Dr Frank Atherton: I'm sorry, could you repeat the question?SianGwenllian AM: You say that there is less money that's come in through these consequentials from the levy, can you mention some sort of figure?Dr FrankAtherton: The figure that I have in mind is about £56 million that's coming in in terms of revenue over a two-year period. But I'd have to confirm that with thecommittee. What the anticipated—. When the sugar levy was first brought in, there was some modelling at UK level about what level of revenue that would bring,but it was based on the amount of sugar that was currently then in drinks and the fact that the sugar has reduced in drinks, I mean, the total amount available tothe UK is less and hence our consequentials are less. Nathan may have some precise figures.Nathan Cook: Yes, I was going to say, there was a mid-year reportdone where the levy has raised £150 million to date since coming into force in April, and the original forecast was £520 million a year. So, I think that shows theamount of work that's been done by industry around reformulation.Sian Gwenllian AM: And the consequentials of that? That is the consequential—£150million.Nathan Cook: On a UK level.Sian Gwenllian AM: Yes, so what's the Welsh consequential?Lynne Neagle AM: Fifty-six.Sian Gwenllian AM: Fifty-six? Gosh,that sounds a lot. Anyway, it's a good sum of money and you're talking about investing £8 million to £10 million. So, obviously, you know, we can be moreambitious because there is money in that pot if that money was ring-fenced for this particular scheme.Dr Frank Atherton: Well, the resource is going to be a real"}
+{"doc_id":"doc_187","qid":"","text":"Professor B: OK So uh today we 're looking at a number of uh things we 're trying and uh fortunately for listeners to this uh we lost some of it 's visual but um gottables in front of us . Um what is {disfmarker} what does combo mean ?PhD C: So combo is um a system where we have these features that go through anetwork and then this same string of features but low - pass filtered with the low - pass filter used in the MSG features . And so these low - pass filtered goesthrough M eh {disfmarker} another MLP and then the linear output of these two MLP 's are combined just by adding the values and then there is this KLT . Umthe output is used as uh features as well .Professor B: Um so let me try to restate this and see if I have it right . There is uh {disfmarker} there is the features uhthere 's the OGI features and then um those features um go through a contextual {disfmarker} uh l l let 's take this bottom arr one pointed to by the bottomarrow . Um those features go through a contextualized KLT . Then these features also uh get um low - pass filteredPhD C: Yeah . Yeah so yeah I could perhapsdraw this on the blackboardProfessor B: Sure . Yeah . Yeah .PhD C: Yeah .PhD D: The graph , yeah another one .Professor B: Yeah , that 's good .PhD C:Professor B: SoPhD C: So we have these features from OGI that goes through the three paths .Professor B: Yeah . Three , OK .PhD C: The first is a KLT usingseveral frames of the features .Professor B: Yeah . Yeah .PhD C: The second path is uh MLP also using nine frames {disfmarker} several frames offeaturesProfessor B: Yeah . Uh - huh .PhD C: The third path is this low - pass filter .Professor B: Uh - huh .PhD C: Uh , MLPProfessor B: Aha ! aha !PhD C: Addingthe outputs just like in the second propose the {disfmarker} the proposal from {disfmarker} for the first evaluation .Professor B: Yeah ? Yeah . Yeah .PhD C: Andthen the KLT and then the two together again .Professor B: No , the KLT . And those two together . That 's it .PhD D: Two HTK .Professor B: OK so that 's{disfmarker} that 's this bottom one .PhD C: Um . So this is {disfmarker} yeahProfessor B: And so uh and then the {disfmarker} the {disfmarker} the one at thetop {disfmarker} and I presume these things that uh are in yellow are in yellow because overall they 're the best ?PhD C: Yeah that 's the reason , yeah.Professor B: Oh let 's focus on them then so what 's the block diagram for the one above it ?PhD C: For the f the f first yellow line you mean ?Professor B: Yeah.PhD C: Yeah so it 's uh basically s the same except that we don't have this uh low - pass filtering so we have only two streams .PhD D: Step .PhD C: Well . There's {disfmarker} there 's no low {disfmarker} low - pass processing used as additional feature stream .Professor B: Mm - hmm . Mm - hmm .PhD C: UmProfessorB: Do you e um they mentioned {disfmarker} made some {disfmarker} uh when I was on the phone with Sunil they {disfmarker} they mentioned someweighting scheme that was used to evaluate all of these numbers .PhD C: Yeah . Uh actually the way things seems to um well it 's uh forty percent for TI - digit ,sixty for all the SpeechDat - Cars , well all these languages . Ehm the well match is forty , medium thirty five and high mismatch twenty - five . Yeah .Professor B:Um and we don't have the TI - digits part yet ?PhD C: Uh , no .Professor B: OK .PhD C: But yeah . Generally what you observe with TI - digits is that the resultare very close whatever the {disfmarker} the system .Professor B: OK . And so have you put all these numbers together into a single number representing that?PhD C: Yeah .Professor B: I mean not {disfmarker}PhD C: Uh not yet .Professor B: OK so that should be pretty easy to do and that would be good{disfmarker}PhD C: No . Mmm yeah , yeah .Professor B: then we could compare the two and say what was better .PhD C: Mmm . Yeah .Professor B: Um and howdoes this compare to the numbers {disfmarker} oh so OGI two is just the top {disfmarker} top row ?PhD D: Yeah .PhD C: So yeah to {disfmarker} actually OGItwo is the {disfmarker} the baseline with the OGI features but this is not exactly the result that they have because they 've {disfmarker} they 're still made somechanges in the featuresProfessor B: OK .PhD C: and {disfmarker} well but uh actually our results are better than their results . Um I don't know by how muchbecause they did not send us the new resultsProfessor B: OK .PhD C: UhProfessor B: Uh OK so the one {disfmarker} one place where it looks like we 're messingthings up a bit is in the highly mismatched Italian .PhD C: Yeah . Yeah .Professor B: AnPhD C: Yeah there is something funny happening here because{disfmarker} yeah .Professor B: Yeah .PhD C: But there are thirty - six and then sometimes we are {disfmarker} we are {disfmarker} we are around forty - twoandProfessor B: Now upPhD C: butProfessor B: Uh so one of the ideas that you had mentioned last time was having a {disfmarker} a second um silence detection.PhD C: Yeah . So there are some results herePhD D: For the Italian .PhD C: uh so the third and the fifth line of the tablePhD D: For this one .Professor B: So filtis what that is ?PhD C: Filt , yeahPhD D: Yeah .PhD C: Um yeah so it seems f for the {disfmarker} the well match and mismatched condition it 's uh it bringssomething . Uh but uh actually apparently there are {disfmarker} there 's no room left for any silence detector at the server side because of the delay . UhwellProfessor B: Oh we can't do it . Oh OK .PhD C: No .PhD D: For that {disfmarker} for that we {disfmarker}Professor B: Oh .PhD C: UhProfessor B: Too bad .Good idea , but can't do it .PhD C: Yeah .Professor B: OK .PhD C: Except I don't know because they {disfmarker} I think they are still working well .Professor B:Uh - huh .PhD C: Uh t two days ago they were still working on this trying to reduce the delay of the silence detector so but yeah if we had time perhaps we couldtry to find uh some kind of compromise between the delay that 's on the handset and on the server side . Perhaps try to reduce the delay on the handset and{disfmarker} but well hmm For the moment they have this large delay on the {disfmarker} the feature computation and so we don'tProfessor B: OK . So Alrightso for now at least that 's not there you have some results with low - pass filter cepstrum doesn't have a huge effect but it {disfmarker} but it looks like it youknow maybe could help in a couple places .PhD C: I thProfessor B: Uh little bit .PhD C: Yeah .Professor B: Um and um um Yeah and uh let 's see What else did wehave in there ? Uh I guess it makes a l um at this point this is I {disfmarker} I guess I should probably look at these others a little bit uh And you {disfmarker}you yellowed these out uh but uh uh Oh I see yeah that {disfmarker} that one you can't use because of the delay . Those look pretty good . Um let 's see thatone Well even the {disfmarker} just the {disfmarker} the second row doesn't look that bad right ? That 's just uh yeah ?PhD C: Yep .Professor B: And{disfmarker} and that looks like an interesting one too .PhD D: Mmm yeah .Professor B: UhPhD C: Actually the {disfmarker} yeah the second line is uh prettymuch like the first line in yellow except that we don't have this KLT on the first {disfmarker} on the left part of the diagram . We just have the features as theyare .Professor B: Mm - hmm .PhD C: UmProfessor B: Yeah . Yeah so when we do this weighted measure we should compare the two cuz it might even come outbetter . And it 's {disfmarker} it 's {disfmarker} it 's a little {disfmarker} slightly simpler .PhD C: Mm - hmm . Yeah .Professor B: So {disfmarker} so there 's{disfmarker} so I {disfmarker} I would put that one also as a {disfmarker} as a maybe . Uh and it {disfmarker} yeah and it 's actually {vocalsound} does{disfmarker} does significantly better on the uh uh highly mismatched Italian , so s and little worse on the mis on the MM case , but uh Well yeah it 's worse thana few thingsPhD C: Mm - hmm .Professor B: so uh let 's see how that c that c c see how that comes out on their {disfmarker} their measure and {disfmarker}are {disfmarker} are we running this uh for TI - digits or uhPhD C: Yeah .Professor B: Now is TI di {disfmarker} is is that part of the result that they get for theuh development {disfmarker} th the results that they 're supposed to get at the end of {disfmarker} end of the month , the TI - digits are there also ?PhD C:Yeah . Yeah . It 's included , yeah .Professor B: Oh OK . OK . And see what else there is here . Um Oh I see {disfmarker} the one {disfmarker} I was lookingdown here at the {disfmarker} the o the row below the lower yellowed one . Uh that 's uh that 's with the reduced uh KLT size {disfmarker} reduceddimensionality .PhD C: Mm - hmm ? Yeah . Yeah .Professor B: What happens there is it 's around the same and so you could reduce the dimension as you weresaying before a bit perhaps .PhD C: Yeah , it 's {disfmarker} it 's significantly worse well but {disfmarker} Mm - hmm .Professor B: It 's significantly worse{disfmarker} it 's {disfmarker} it 's uh it 's {disfmarker} it 's mostly worse .PhD C: Exc - except for the HMPhD D: For many a mismatch it 's worse .PhD C:butProfessor B: Yeah . But it is little . I mean not {disfmarker} not by a huge amount , I don't know . What are {disfmarker} what are the sizes of any of thesesets , I {disfmarker} I 'm {disfmarker} I 'm sure you told me before , but I 've forgotten . So {disfmarker} you know how many words are in uh one of these testsets ?PhD C: UhPhD D: I don't remember .Professor B: About ?PhD C: Um it 's {disfmarker} it depends {disfmarker} well {disfmarker} the well matched isgenerally larger than the other sets and I think it 's around two thousand or three thousand words perhaps , at least .PhD D: Ye But words {disfmarker} well word{disfmarker} I don't know .PhD C: Hmm ? The words , yeah . S sentences .PhD D: Sentences .PhD C: Some sets have five hundred sentences , so .PhD D: Yeah.Professor B: So the {disfmarker} so the sets {disfmarker} so the test sets are between five hundred and two thousand sentences , let 's sayPhD C: Mmm.Professor B: and each sentence on the average has four or five digits or is it {disfmarker} most of them longer orPhD C: Yeah .PhD D: Yeah for the Italian evenseven digits y more or lessPhD C: It {disfmarker} it d Seven digits .PhD D: but sometime the sentence have only one digit and sometime uh like uh the numberof uh credit cards , something like that .Professor B: Mm - hmm . Right , so between one and sixteen . See the {disfmarker} I mean the reason I 'm asking is{disfmarker} is {disfmarker} is we have all these small differences and I don't know how seriously to take them , right ?PhD C: Mm - hmm ?Professor B: So uh iif {disfmarker} if you had uh just you know {disfmarker} to give an example , if you had uh um if you had a thousand words then uh a {disfmarker} a tenth of apercent would just be one word ,PhD C: Yeah .Professor B: right ? So {disfmarker} so it wouldn't mean anything .PhD D: Yeah .Professor B: OhPhD C: Yeah.Professor B: um so um yeah it be kind of {disfmarker} I 'd kind of like to know what the sizes of these test sets were actually .PhD C: Yeah .PhD D: The size thatwe have ?PhD C: We could {disfmarker} we could run {disfmarker} run some kind of significance testsProfessor B: Yeah since these {disfmarker} well also just"}
+{"doc_id":"doc_188","qid":"","text":"Project Manager: Okay . Uh good afternoon . This is our third meeting already .Marketing: Good afternoon .Project Manager: I hope you enjoyed your lunch .{vocalsound} I did anyway . {vocalsound} Um let's see . Presentation three . Okay this is um the second phase uh we're going to discuss today . It's theconceptual design meeting . And a few points of interest in this meeting um are the conceptual specification of components . Uh conceptual specification of design. And also trend-watching . Um these are hopefully the points you addressed in uh your pre uh presentations you're going to show me in a few minutes . Um butfirst I'll show you the agenda . Uh first the opening . Then we have three presentations . Uh after that we have to come to a decision on remote control concepts .How we're going to make it . And then we're closing . We have about forty minutes . Uh so I suggest let's get started . Uh did someone encounter any problemsduring the preparation ? No ?User Interface: No .Project Manager: Everything fine ?Marketing: {gap}Project Manager: That's nice . Then a little uh thing aboutthe last meeting . Uh these are the points um we agreed on . The requirements and the target market . Uh requirements are uh teletext , docking station , audiosignal , small screen , with some extras that uh button information . And we are going to use default materials . Um does somebody have any comments on theserequirements ? Maybe ? No ? These are just the the things we thought of , so maybe if you figured something else or thought of something else , just let me know. And maybe we can uh work it out . And we're going to target uh sixty to to eighty year old customers . So now everybody knows what we're do we're doing , umI suggest let's get started with the presentations . So shall we keep the same uh line-up as uh last time ?Marketing: Sure .Project Manager: Okay .Marketing: I'llstart off then .Project Manager: Good luck . {vocalsound}Marketing: Doh . 'Kay I'm uh gonna inform you about the trend-watching I've done over the past fewdays . Um we've done some market research . We distributed some more enquetes , questionnaires . And um besides that um I deployed some trend-watchers toMilan and Paris to well get all of the newest trends . And I've consulted some additional trend-watch trend-watchers , after the original trend-watchers return ,about what the the best design would be . Um okay these are some overall findings . Um most important thing is the fancy design . Um the research indicatedthat that was by far the most important factor . Um innovativeness was about half as important as the fancy design . By innovativeness this means um functionswhich are not featured in other remote controls . Um about half of , half as important as the innovativeness was the was easy to use . Um for our um group ,we're focusing on the people of sixty to eighty y years old , this is um , these factors are slightly more equal . 'Kay these are some more group specific findings .Uh the older people prefer dark colours . Uh they like recognisable shapes , and familiar material . And our surveys have indicated that especially wood is prettymuch the material for older people . Um this is , this image will give you a little bit of an impression about um the look-and-feel that um the remote should have .Um this leads us to some personal preferences . Uh the remote control and the docking station should uh blend in in the in the room . Um so this would mean nouh eye-catching designs . Just keep it simple and {disfmarker} Well the docking station and small screen would be our main points of interest , because thiswould be the {disfmarker} These would uh be the innovativeness in the remote control . So this would be very important that we {vocalsound} at least includethese features . Um well the trend-watchers I consulted advised that it b should be , the remote control and the docking station should be telephone-shaped . Soyou could imagine that uh the remote control will be standing up straight in the docking station . This is not really {disfmarker} This is pretty much a new shapeto uh older people . So they would prefer uh a design where the remote control just lies flat in the docking station . So it would be kinda more telephone-shaped .Um besides that we would advise um to bring two editions , one with a wood-like colour and maybe feel , and one with a grey-black colour . The wood-like for themore uh exclusive people . People with more money . Uh the grey-black colour for well people with less means . That would be all .Project Manager: Okay . Thankyou . Any questions about the the trends ?Marketing: Any questions ?Project Manager: MaybUser Interface: Mm no .Project Manager: No ? Okay , we go on to thenext one .User Interface: {gap}Project Manager: {vocalsound}User Interface: Um {vocalsound} 'kay um yeah . {gap} uh some uh research uh a about umdesigning of an interface . Um the uh last meeting uh we had a about um uh using a f few buttons . So uh um uh that's w what I what I want to uh uh to do in uhour design . So um finding an attractive uh way to control uh the remote control . Um the uh {disfmarker} I found some uh something about uh speech uhrecognition . So maybe uh we can uh use uh that . Um {disfmarker} Uh and uh using a little uh display . So um findings . Um yeah just um we have just to focuson the primary um functions . So uh only uh buttons uh for uh sound , um for uh on-off , um uh shifting u up uh sa uh ca channel or uh down shifting down . Umuh let's see . Um yeah and {disfmarker} Uh {gap} we uh need some uh new a attractive functions uh uh which attract uh uh people for using it . So uh it's uh likea speak uh speech uh recognition and um a special button for selecting uh subtitles . Just uh what we uh mentioned uh last uh meeting . Um and yeah overall umuser-friendly . So uh using uh large large buttons . Um {disfmarker} It's uh possible to uh uh to make um quite cheap uh system for uh speech uh recognition .Um you can think about um uh when you lost your um remote control , you can uh call it and um it gives an um sig signal . So uh uh yeah . And and uh for uhshifting up a sen uh c ch channel or uh for um uh putting out uh sound or something , you can uh just give a sign uh say um sound off or {disfmarker} A and uhyeah . Television uh put the sound off uh put the sound off uh . Um {disfmarker} Let's see . Uh yeah . I was thinking about the special uh button for uh subtitles ,um just one button to keep it uh simple . Uh one push on the button uh you get uh uh small uh subtitles . Um double push push um , if double click , um so uhyou get uh big uh subtitles , for uh people uh um uh which c f uh who can't uh read small uh subtitles . So uh {disfmarker} Um {disfmarker} Yeah and w we haveto keep uh in general buttons uh so um we've got um the buttons we have to use . The on-off , sound on-off , sound higher or lower , um the numbers , uh zeroto uh uh nine . Um the general buttons m more general b one button for shifting up and shifting down uh channel . Um also we want to uh use a little d display uhfor um for displaying the uh the functions of the buttons . And um we can uh build in a function f which uh shows the channel or some uh which the t television ison . So um made a little uh picture of uh it . Um {disfmarker} See . Um yeah . Just um we can put uh the on-off button uh over in this uh corner , um almost uh eall uh remote controls uh are using a on-off button on that place . Um so uh people uh will uh recognise uh um the button .Industrial Designer: {vocalsound}UserInterface: So um {disfmarker} D display uh of it , it's uh just a small display . Uh um you can put it uh on top . Um it's uh most uh uh place where people uh ,most of {gap} looks at . So uh um and a special uh button for shifting up uh and uh shifting down uh channel , um it's uh on place where um the thumb of of the{disfmarker} So you you can uh easily uh shift up or shift down . Um it's uh quite uh handy place . So um and uh all the f functions for subtitle uh one button , uhfor sound uh {disfmarker} Uh and uh for our design , um uh we have to discuss about it uh I think uh so uh the form of it so {disfmarker}Project Manager: Okay.User Interface: And that's it .Project Manager: Uh thank you . {vocalsound}Industrial Designer: Okay . About the components design . Um for the energy sourcewe can use a basic battery or , a as an optional thing , a kinetic energy , like in a watch , which you just shake and it produces energy . But if we choose for thatoption , the docking station would c become obsolete . So I don't think it's really an option . Uh for the casing , uh the uh manufacturing department can deliveruh a flat casing , single or double curved casing . It's really up the the design that we're gonna use . It's uh doesn't uh imply any technical restrictions . Uh as acase supplement , we could um , I thought of that l later , uh a rubber uh belt , like a anti-slip . Uh for the b buttons , we can use plastic or rubber . And thechip-set , um it says simple here , but it should be advanced , because we're using an L_C_D_ uh screen . And as uh the trend-watcher presentation showed , umpeople like wood , but it raises the price and it doesn't really fit the image , unless we would start two product lines . Form should follow function overall . Um wellthe kinetic energy source is rather fancy . But depends on what we want . I think we should disc discuss that . Um for the case , uh the supplement and thebuttons , it really depends on the designer . And the chip-set uh really should be advanced because otherwise uh it would really be a simple uh remote control .And that's it .Project Manager: Okay . Thank you . So that brings us to the discussion about our concepts . Mm .Marketing: {vocalsound}Project Manager: 'Kay .So these are the points we have to discuss . Um first I think we can talk about the energy source , since that's um has a pretty big influence on production price ,uh and image .User Interface: {gap}Project Manager: Uh so uh f I think first of all we have to see uh it is possible to introduce kinetic energy in our budget , Ithink .Industrial Designer: Yes w there there are four options . We could use the basic normal battery .Project Manager: Yeah .Industrial Designer: Uh a handdynamo .Project Manager: {vocalsound} Okay {gap} . {vocalsound}Industrial Designer: But I don't think that's {vocalsound} really an option .User Interface:{vocalsound}Industrial Designer: You don't wanna swing before you can watch television .Marketing: {vocalsound}Project Manager: {vocalsound} Yeah.Industrial Designer: Uh solar cells . But not every room is very lightUser Interface: Mm .Industrial Designer: so it's not a very good option .Project Manager: No.Industrial Designer: Or the kinetic energy .Project Manager: Yeah . Okay .Marketing: And how exactly does the kinetic energy work ?Industrial Designer: Well yyou basically shake your remote , and then it powers up .Marketing: You just {disfmarker} You use it and it works .User Interface: {vocalsound}IndustrialDesigner: Yeah .Project Manager: Yeah .User Interface: Nah .Marketing: Okay . Well personally I don't think that older people like to shake their remote controlbefore they use it .User Interface: {vocalsound}Industrial Designer: {vocalsound} Yeah . That's true .Marketing: And besides that you mentioned it would makethe docking station obsolete .Industrial Designer: Oh .Marketing: And I think our docking station could be one of the marketing issues with which we can um get"}
+{"doc_id":"doc_189","qid":"","text":"PhD A: OK , we 're going .PhD D: Damn .Professor C: And uh Hans - uh , Hans - Guenter will be here , um , I think by next {disfmarker} next Tuesday or so .PhDB: Oh , OK .PhD D: Mm - hmm .Professor C: So he 's {disfmarker} he 's going to be here for about three weeks ,PhD B: Oh ! That 's nice .PhD A: Just for a visit?Professor C: and , uh {disfmarker} Uh , we 'll see .PhD A: Huh .Professor C: We might {disfmarker} might end up with some longer collaboration or something.PhD A: Cool .Professor C: So he 's gonna look in on everything we 're doingPhD D: Mm - hmm .Professor C: and give us his {disfmarker} his thoughts . And so it'll be another {disfmarker} another good person looking at things .PhD B: Oh . Hmm .Grad E: Th - that 's his spectral subtraction group ?Professor C: Yeah ,GradE: Is that right ?Professor C: yeah .Grad E: Oh , OK . So I guess I should probably talk to him a bit too ?Professor C: Oh , yeah . Yeah . Yeah . No , he 'll bearound for three weeks . He 's , uh , um , very , very , easygoing , easy to talk to , and , uh , very interested in everything .PhD A: Really nice guy .Professor C:Yeah , yeah .PhD B: Yeah , we met him in Amsterdam .Professor C: Yeah , yeah , he 's been here before .PhD B: Oh , OK .Professor C: I mean , he 's{disfmarker} he 's {disfmarker} he 's {disfmarker} he 's {disfmarker}PhD A: Wh - Back when I was a grad student he was here for a , uh , uh {disfmarker} ayear or {comment} n six months .PhD B: I haven't noticed him .Professor C: N nine months .PhD A: Something like that .Professor C: Something like that .PhDA: Yeah .Professor C: Yeah . Yeah . He 's {disfmarker} he 's done a couple stays here .PhD B: Hmm .Professor C: Yeah .PhD A: So , um , {vocalsound}{comment} I guess we got lots to catch up on . And we haven't met for a couple of weeks . We didn't meet last week , Morgan . Um , I went around and talked toeverybody , and it seemed like they {disfmarker} they had some new results but rather than them coming up and telling me I figured we should just wait a weekand they can tell both {disfmarker} you know , all of us . So , um , why don't we {disfmarker} why don't we start with you , Dave , and then , um , we can go on.Grad E: Oh , OK .PhD A: So .Grad E: So , um , since we 're looking at putting this , um {disfmarker} mean log m magnitude spectral subtraction , um , into theSmartKom system , I I did a test seeing if , um , it would work using past only {comment} and plus the present to calculate the mean . So , I did a test , um ,{vocalsound} where I used twelve seconds from the past and the present frame to , um , calculate the mean . And {disfmarker}PhD A: Twelve seconds{disfmarker} Twelve {disfmarker} twelve seconds back from the current {pause} frame , is that what you mean ?Grad E: Uh {disfmarker} Twelve seconds , um ,counting back from the end of the current frame ,PhD A: OK , OK .Grad E: yeah . So it was , um , twen I think it was twenty - one frames and that worked out toabout twelve seconds .PhD A: Mm - hmm .Grad E: And compared to , um , do using a twelve second centered window , I think there was a drop in performancebut it was just a slight drop .PhD A: Hmm !Professor C: Mm - hmm .Grad E: Is {disfmarker} is that right ?Professor C: Um , yeah , I mean , it was pretty{disfmarker} it was pretty tiny . Yeah .Grad E: Uh - huh . So that was encouraging . And , um , that {disfmarker} that {disfmarker} um , that 's encouraging for{disfmarker} for the idea of using it in an interactive system like And , um , another issue I 'm {disfmarker} I 'm thinking about is in the SmartKom system . Sosay twe twelve seconds in the earlier test seemed like a good length of time , but what happens if you have less than twelve seconds ? And , um {disfmarker} SoI w bef before , um {disfmarker} Back in May , I did some experiments using , say , two seconds , or four seconds , or six seconds . In those I trained the modelsusing mean subtraction with the means calculated over two seconds , or four seconds , or six seconds . And , um , here , I was curious , what if I trained themodels using twelve seconds but I f I gave it a situation where the test set I was {disfmarker} subtracted using two seconds , or four seconds , or six seconds .And , um {disfmarker} So I did that for about three different conditions . And , um {disfmarker} I mean , I th I think it was , um , four se I think {disfmarker} Ithink it was , um , something like four seconds and , um , six seconds , and eight seconds . Something like that . And it seems like it {disfmarker} it {disfmarker}it hurts compared to if you actually train the models {comment} using th that same length of time but it {disfmarker} it doesn't hurt that much . Um , u usuallyless than point five percent , although I think I did see one where it was a point eight percent or so rise in word error rate . But this is , um , w where , um , evenif I train on the , uh , model , and mean subtracted it with the same length of time as in the test , it {disfmarker} the word error rate is around , um , ten percentor nine percent . So it doesn't seem like that big a d a difference .Professor C: But it {disfmarker} but looking at it the other way , isn't it {disfmarker} what you're saying that it didn't help you to have the longer time for training , if you were going to have a short time for {disfmarker}Grad E: That {disfmarker} that 'strue . Um ,Professor C: I mean , why would you do it , if you knew that you were going to have short windows in testing .Grad E: WaPhD A: Yeah , it seems likefor your {disfmarker} I mean , in normal situations you would never get twelve seconds of speech , right ? I 'm not {disfmarker} e uPhD B: You need twelveseconds in the past to estimate , right ? Or l or you 're looking at six sec {disfmarker} seconds in future and six in {disfmarker}Professor C: Yeah .Grad E: Um , ttwelve sProfessor C: No , total .Grad E: N n uh {disfmarker} For the test it 's just twelve seconds in the past .PhD B: No , it 's all {disfmarker} Oh , OK .PhD A: Isthis twelve seconds of {disfmarker} uh , regardless of speech or silence ? Or twelve seconds of speech ?Grad E: Of {disfmarker} of speech .PhD A: OK .PhD B:Mm - hmm .Professor C: The other thing , um , which maybe relates a little bit to something else we 've talked about in terms of windowing and so on is , that ,um , I wonder if you trained with twelve seconds , and then when you were two seconds in you used two seconds , and when you were four seconds in , you usedfour seconds , and when you were six {disfmarker} and you basically build up to the twelve seconds . So that if you have very long utterances you have the best,Grad E: Yeah .Professor C: but if you have shorter utterances you use what you can .Grad E: Right . And that 's actually what we 're planning to do inProfessorC: OK . Yeah .Grad E: But {disfmarker} s so I g So I guess the que the question I was trying to get at with those experiments is , \" does it matter what modelsyou use ? Does it matter how much time y you use to calculate the mean when you were , um , tra doing the training data ? \"Professor C: Right . But I mean theother thing is that that 's {disfmarker} I mean , the other way of looking at this , going back to , uh , mean cepstral subtraction versus RASTA kind of things , isthat you could look at mean cepstral subtraction , especially the way you 're doing it , uh , as being a kind of filter . And so , the other thing is just to design afilter . You know , basically you 're {disfmarker} you 're {disfmarker} you 're doing a high - pass filter or a band - pass filter of some sort and {disfmarker} andjust design a filter . And then , you know , a filter will have a certain behavior and you loo can look at the start up behavior when you start up with nothing .GradE: Mm - hmm .Professor C: And {disfmarker} and , you know , it will , uh , if you have an IIR filter for instance , it will , um , uh , not behave in the steady - stateway that you would like it to behave until you get a long enough period , but , um , uh , by just constraining yourself to have your filter be only a subtraction ofthe mean , you 're kind of , you know , tying your hands behind your back because there 's {disfmarker} filters have all sorts of be temporal and spectralbehaviors .Grad E: Mm - hmm .Professor C: And the only thing , you know , consistent that we know about is that you want to get rid of the very low frequencycomponent .Grad E: Hmm .PhD B: But do you really want to calculate the mean ? And you neglect all the silence regions {comment} or you just use everythingthat 's twelve seconds , and {disfmarker}Grad E: Um , you {disfmarker} do you mean in my tests so far ?PhD B: Ye - yeah .Grad E: Most of the silence has beencut out .PhD B: OK .Grad E: Just {disfmarker} There 's just inter - word silences .PhD B: Mm - hmm . And they are , like , pretty short . ShorGrad E: Pretty short.PhD B: Yeah , OK .Grad E: Yeah .PhD B: Yeah . Mm - hmm . So you really need a lot of speech to estimate the mean of it .Grad E: Well , if I only use six seconds, it still works pretty well .PhD B: Yeah . Yeah . Uh - huh .Grad E: I saw in my test before . I was trying twelve seconds cuz that was the best {pause} in my testbeforePhD B: OK .Grad E: and that increasing past twelve seconds didn't seem to help .PhD B: Hmm . Huh .Grad E: th um , yeah , I guess it 's something I needto play with more to decide how to set that up for the SmartKom system . Like , may maybe if I trained on six seconds it would work better when I only had twoseconds or four seconds , and {disfmarker}Professor C: Yeah . Yeah . And , um {disfmarker}Grad E: OK .Professor C: Yeah , and again , if you take this filteringperspective and if you essentially have it build up over time . I mean , if you computed means over two and then over four , and over six , essentially what you 'regetting at is a kind of , uh , ramp up of a filter anyway . And so you may {disfmarker} may just want to think of it as a filter . But , uh , if you do that , then , um, in practice somebody using the SmartKom system , one would think {comment} {disfmarker} if they 're using it for a while , it means that their first utterance ,instead of , you know , getting , uh , a forty percent error rate reduction , they 'll get a {disfmarker} uh , over what , uh , you 'd get without this , uh , um , policy, uh , you get thirty percent . And then the second utterance that you give , they get the full {disfmarker} you know , uh , full benefit of it if it 's this ongoingthing .PhD A: Oh , so you {disfmarker} you cache the utterances ? That 's how you get your , uh {disfmarker}Professor C: Well , I 'm saying in practice , yeah,Grad E: MPhD A: Ah . OK .Professor C: that 's {disfmarker} If somebody 's using a system to ask for directions or something ,PhD A: OK .Professor C: you know, they 'll say something first . And {disfmarker} and to begin with if it doesn't get them quite right , ma m maybe they 'll come back and say , \" excuse me ? \"PhDA: Mm - hmm .Professor C: uh , or some {disfmarker} I mean it should have some policy like that anyway .PhD A: Mm - hmm .Professor C: And {disfmarker}and , uh , uh , in any event they might ask a second question . And it 's not like what he 's doing doesn't , uh , improve things . It does improve things , just notas much as he would like . And so , uh , there 's a higher probability of it making an error , uh , in the first utterance .PhD A: What would be really cool is if youcould have {disfmarker} uh , this probably {disfmarker} users would never like this {disfmarker} but if you had {disfmarker} could have a system where ,"}
+{"doc_id":"doc_190","qid":"","text":"Project Manager: Um we are {disfmarker} So the meeting will have about the same format as the last time . So {gap} switching over I've just left uh my first twoscreens {gap} .User Interface: Mm-hmm .Project Manager: Um {vocalsound} mailed you the minutes of the last meeting uh just to save time .User Interface:Okay . Cool .Project Manager: {vocalsound} Um and is there any questions you have that arised from last meeting that are particularly bothering you ? NUserInterface: Mm um . No , I don't think so .Project Manager: No ? Okay , cool .Industrial Designer: No .Project Manager: Then we shall start with a presentationfrom Raj .Marketing: Yeah . {vocalsound} Hi , me Raj , again . Uh in this meeting I I'm going to discuss about the trend watching , uh how these trends is goingto affect our market potential and how important is this . So we have to look on this . First of all methodology . The met methodology to find out the trend wasincl uh was done in a way {disfmarker} {vocalsound} We have done a rec not only a recent remote control market survey , but we also considered the latest frefashion trends of the market , because we think that this is also a factor which will affect our sales and profit . So what are our findings ? In our {vocalsound} uhin our findings we have seen that {disfmarker} when we did our remote control market survey we found that uh people l uh people do have preference for thofancy mobi uh f remote controls which look and feel very good , rather than having a functional look and feel uh good . So this sh this clearly indicates theirpreference for the design their outlook of the remote controls . So we should take into uh we should consider this factor as the most important factor , becausethis factor is twice as important , the second factor which is further ti twice the as important as the sec as uh the third factor . So this factor becomes the mostimportant factor in our surv uh uh in our mark uh means in take {disfmarker} in designing our rem uh remote controls .User Interface: The last one is the mostimportant one , is it ?Marketing: No the first one is theUser Interface: Oh , sorry .Marketing: uh the outlook of the mobile , the it should have a fancy outlook,Project Manager: {gap}User Interface: Okay .Marketing: the fancy design uh rather than just having a functional look and feel good , it should have a fancy lookand foo feel good .User Interface: Okay .Marketing: The second most important aspect is that remote control should be a technologically uh innovative . We musthave some technological advancement in the remote control tha rather than just putting it as it is as the other remo uh remote controls are . So it uh should betechnologically innovative like glow-in-the-dark or speech recognition , something like that .Project Manager: {vocalsound}Marketing: So that indicates ourtechnological advancement . And the third most important aspect in the ta to take into consideration is that it should be easy to use ,User Interface: Mm-hmm.Marketing: like it shouldn't be too much co complicated ,User Interface: Mm-hmm .Marketing: there shouldn't be too many buttons on this mobi uh remotecontrol , it shouldn't be too complicated uh like this way . And it should be uh {disfmarker} and customers should be provided with manuals that is easy tounderstand in their local language , something . So that they could know how to use these remote controls . When we did uh f fashions uh , recent fashion uh{disfmarker} our recent fashion update shows that {disfmarker}User Interface: {vocalsound} Sorry .Industrial Designer: {vocalsound}Marketing: Ah yeah ?{vocalsound}User Interface: I was just reading fruit and vegetables .Project Manager: {vocalsound}User Interface: Hard to know how we are going toincorporate that . {vocalsound}Marketing: Y yeah uh yeah , we have to , because uh d you can see how people have related their clothes , shoes , {gap} andeverything with fruits and vegetables ,Project Manager: {gap}User Interface: {vocalsound}Marketing: because the g world is now changing it's trend towardsorganic , becoming more and more organic ,User Interface: Okay . Yeah .Industrial Designer: We should make a big sponge lemon ,Marketing: becoming{disfmarker} {vocalsound}Industrial Designer: and then it'd be it would be yellow .Marketing: Yeah . {vocalsound}Project Manager: {vocalsound}User Interface:Yeah .Industrial Designer: It's {disfmarker}Marketing: So {disfmarker} {vocalsound}User Interface: Th that's very good .Industrial Designer: Yeah .Marketing:Yeah . So something like that we we should do .User Interface: Glow-in-the-dark . Okay .Marketing: And people uh the f feel of the material is expected to bespongy rather than just having a plastic look , hard look .Industrial Designer: Mm . {vocalsound}User Interface: Well , that's good .Marketing: {vocalsound} Yeah. Yeah .User Interface: That's what we kind of predicted anyway .Marketing: So so that they could play with it while handi uh while handling it . So that shouldalso be taken into consideration .User Interface: Okay . Okay .Marketing: So these are my views .User Interface: Okay .Marketing: So {disfmarker}UserInterface: Okay , the spongy , not real spongy , you can {vocalsound} {disfmarker}Marketing: No it ca {vocalsound} y a {gap} {disfmarker}User Interface: Doyou think like rubber would be good or does it really want to be like gel kind of stuff ?Marketing: The rubber which is good for health and which is quite disposablethat we can take into coUser Interface: Okay . Quite disposable .Marketing: Yeah . 'Cause we It shouldn't be have any harm to the environment also ,UserInterface: Okay .Marketing: because our company is very well {gap} for taking all these concerns into consideration ,Project Manager: Alright , okay .UserInterface: Oh okay .Marketing: so we don't want to have any harm to the society ,User Interface: Uh-huh . Okay .Marketing: so {disfmarker}Project Manager:Fashion .User Interface: {vocalsound}Project Manager: {vocalsound} Mm 'kay .User Interface: Cool .Marketing: So that's all . {vocalsound}Project Manager:Fruit and veg , well there you go .User Interface: {vocalsound}Project Manager: Just what I think of when I think of a remote control . {vocalsound}{vocalsound}User Interface: Mm .Industrial Designer: {gap}User Interface: A remote control ? Yeah .Marketing: {vocalsound} {gap}User Interface: And werethere any factors that weren't important in the survey , that they said we don't want ?Marketing: S uh we didn't find out any such point .User Interface: Or was itjust {disfmarker} Okay . {vocalsound}Marketing: Uh yes , there could be , but we couldn't find out any , so {disfmarker}Project Manager: Mm-mm-mm-mm.User Interface: Cool .Project Manager: Mm-mm-mm-mm-mm .User Interface: F_ , what is it ? Um .Project Manager: Function F_ eight .User Interface: {gap}yeah .Project Manager: Hmm .User Interface: Okay .Industrial Designer: {gap}Marketing: Yeah . {gap}Project Manager: {gap}Marketing: Oh no , {vocalsound}{gap} .User Interface: No signal . Is that {gap} ?Industrial Designer: No , it's got it's got it .Marketing: Yeah , uh yeah , uh yeah .Industrial Designer:{gap}Marketing: {gap} Yeah . {vocalsound}Project Manager: {vocalsound} Excuse me .User Interface: Okay , and then F_ five , right ?Project Manager: Uh ,yeah {gap} .User Interface: Okay . Um okay , so the interface concept um . Yeah . The interface specification , what people {disfmarker} um how they interactwith it basically , I think . Um so the method , we looked at existing designs , what are the {disfmarker} what's good about them , what's bad about them , um Ilooked at their flaws , so we're going to look at their flaws , everything . Um and what {vocalsound} the survey told us and what we think would be good , so a bitof imagination .Project Manager: Mm 'kay .User Interface: {vocalsound} Uh the findings , I've got some pictures to show you as well .Project Manager:{vocalsound} {gap} either . {vocalsound}Industrial Designer: {vocalsound}Marketing: Hmm .User Interface: {vocalsound} Yeah . {vocalsound} Okay , so mostremote controls use graphical interface , where you um have got s buttons and you point it rather than having the output as a a stream of text or something.Project Manager: Uh okay .User Interface: Um and we also found that there's inconsistent layout , which makes it confusing . So I think for our remote control{disfmarker} There is some inconsistency already in {disfmarker} ec existing in {disfmarker} between remote controls , but I think standard kind of um shapeand uh play and those kind of but buttons like the the top right for on and off or something ,Project Manager: Right , okay . Yeah .User Interface: I think , peoplefind that important,'cause then it's easy to use .Project Manager: {vocalsound}User Interface: And we've got some pictures of some uh new remote controls toshow you .Project Manager: Excellent .User Interface: Do I press Escape F_ five ? Or just {disfmarker}Project Manager: Uh no just escape should uh{disfmarker}User Interface: Escape , okay . Um , oh I still haven't got my glasses on . Yeah , okay . So these are the {disfmarker} some of the pictures ofexisting ones .Project Manager: {vocalsound}Industrial Designer: Wow .User Interface: I'll just walk you through them . This one is a voice recognition .ProjectManager: 'Kay .User Interface: And that's the kind of idea we're going for .Project Manager: Looks pretty complicated .User Interface: There's um an L_C_D_thing , which we thought could {disfmarker} I thought could get a bit confusing and a bit expensive as well for us .Project Manager: Right , okay .User Interface:This one is {disfmarker} got a kind of scroll like a mouse ,Project Manager: Mm-hmm , like the middle button .User Interface: which {disfmarker} Yeah .ProjectManager: Okay .User Interface: Um and {disfmarker} But I'm not exactly sure how you'd use that ,Industrial Designer: {vocalsound}Project Manager: Ah it'skinda like scrolling {disfmarker}User Interface: like would the computer come {disfmarker}Project Manager: uh right , well , if I s if I'm thinking of the right one ,I've got the same thing in front of my monitor , you scroll it and the when you reach the sort of um {vocalsound} menu item that you require , you press themiddle of the scroll .User Interface: Uh-huh , that's like the L_C_D_ one ,Project Manager: Right , okay .User Interface: is it ? But the one below that has got like{vocalsound} a little scroll function on the side . But I presume that the functions must come up on the T_V_ screen .Marketing: {vocalsound} Yeah .ProjectManager: Yeah , presumably .User Interface: I think that's what that is . So these are just a few ideas . Again that's just quite boring shape , grey , looks quitespace-agey , but too many buttons , I think on that one .Industrial Designer: Uh it looks threatening .Project Manager: Yeah , looks like uh looks like somethingout of a jet . {vocalsound}User Interface: Yeah , it does look kind of dangerous .Industrial Designer: {vocalsound} It looks like yeah {gap} .Marketing: Hmm.User Interface: Um this one I thought was really cool . It's w it's got the programmability function that we talked about .Industrial Designer: {vocalsound}UserInterface: You can put it in there , it's for your kids , and it's quite an organic shape and the little circle around there is pretty cool .Project Manager: Okay .User"}
+{"doc_id":"doc_191","qid":"","text":"Project Manager: Okay . Uh first of all I'll start with the costs ,Marketing: {gap} .Project Manager: because that's going to influence our design .User Interface:{vocalsound} Oh no .Marketing: Oh , {gap} . {vocalsound}Project Manager: If you {disfmarker} Don't know if you al already had a look or not ?User Interface:No n I I already did it .Industrial Designer: Did you do your questionnaire already ?Marketing: No .User Interface: It's not much . It's just one question .ProjectManager: Because we have a problem .Industrial Designer: Uh {disfmarker}Marketing: Oh . {vocalsound}Project Manager: If you look closely , you can see .UserInterface: Yeah .Industrial Designer: It wants {disfmarker}Project Manager: Um I already took the liberty to make some suggestions . {gap} . {gap} .{vocalsound} At the moment we have fifteen buttons , one L_C_D_ screen , one advanced chip-on-print . We use a uh sensor , that's for the speech . Uh we usekinetic energy . And we wanted uh the buttons in a special colour . Okay . What's the first thing we should drop ? The special colour of the buttons ?UserInterface: No that's that's for the trendy uh feel and look . So {disfmarker}Project Manager: Okay . Uh {disfmarker}Industrial Designer: Yeah but everything is.Project Manager: Should we switch to a hand dynamo ?User Interface: {vocalsound}Project Manager: Uh that's the still the same idea as the kinetic energybecause you have to use it and do things .Marketing: No .User Interface: Yeah , b but {disfmarker}Marketing: Yeah but young people like that .Project Manager:Batteries ?Marketing: So just do normal battery .Project Manager: Batteries .User Interface: I think the battery option .Industrial Designer: Just a normal batterythen , yeah .Marketing: Yeah .Project Manager: {gap} .Marketing: It has to be twelve and a half .Project Manager: Yeah .Marketing: Or not ? {vocalsound}UserInterface: Oh . {vocalsound}Project Manager: So {disfmarker}Industrial Designer: Oh my goodness .Project Manager: You're going to redesign something.Marketing: {vocalsound}User Interface: Oh no .Project Manager: Okay , so we're at twenty five .Marketing: Uh , yeah . {vocalsound}Project Manager:{vocalsound} Um {disfmarker} Do we keep the shape doubly curved or g do we go for single curved ?Industrial Designer: Well I guess i we'll have to go forsingle curve then . I mean we have to drop on everything .Project Manager: Mm-hmm . {vocalsound} Uh {disfmarker}Marketing: But we can keep it singlecurved with uh top view still curved , but from the side it's it's flat ,Industrial Designer: Yeah .Marketing: and the screen screen is just {disfmarker} Well you justhave to hold it like this then . So {disfmarker}Project Manager: {vocalsound} Yeah . Um {disfmarker}Industrial Designer: How about {disfmarker} Sorry .ProjectManager: Uh another option I saw was to drop the buttons one through nine , so you can't directly access a channel , but instead use only the up and downarrows . That would skip nine buttons and four and a half Euros .Industrial Designer: That's what I was thinking .User Interface: Yeah .Marketing: Alright .ProjectManager: Yeah ?Industrial Designer: A aMarketing: Let's do it then . Yeah .Project Manager: Uh then we have left {disfmarker}User Interface: But we don't haveany basic options any more .Marketing: {gap} we {disfmarker} {vocalsound}Project Manager: Uh yeah . We do .Industrial Designer: And uh 'cause then theydon't have to n They don't need special colour as well .Marketing: F_ eight .Project Manager: They don't need special colours . Fine . That's more like it.Marketing: {vocalsound} Yeah .User Interface: {vocalsound}Project Manager: {vocalsound} You were saying something .Industrial Designer: That was exactlymy point . Like let's drop all the buttons , and just make oneProject Manager: Yeah .Industrial Designer: {disfmarker} I mean we're gonna use the L_C_D_screen anyway . So we'll just have to use it for everything .Project Manager: Mm-hmm . Yeah .Industrial Designer: And then you can make an overview ofchannels in the screen , and select a channel , click {disfmarker}Project Manager: Yeah , some more menu options . Yeah . Okay so maybe we can drop few morebuttons .Industrial Designer: {vocalsound}Project Manager: But um {disfmarker} Now let's look .User Interface: Yeah we c could {disfmarker} We only need thethe the the the menu arrow arrow button uh thing . Everything you can do with with the menu . So {disfmarker} With the display .Industrial Designer:{vocalsound}Project Manager: Mm-hmm .Industrial Designer: Yeah we need one integrated button for everything then .User Interface: Yeah .Marketing: Thejoystick .Project Manager: {vocalsound} Uh {disfmarker}Industrial Designer: Yeah . Kind of . I was {disfmarker} Because {disfmarker}Marketing:{vocalsound}Project Manager: Yeah , scroll-wheel , push-button uh {disfmarker}Industrial Designer: Yeah . If you if you go to {disfmarker}Marketing:Integrated scroll-wheel push-button , yeah .Industrial Designer: If you go to our uh view , like you {disfmarker} if you are in the sound system there , uh andyou wanna adjust the treble for instance ,Project Manager: Yeah . Yeah .Industrial Designer: this is just uh an example ,Project Manager: Mm-hmm .IndustrialDesigner: y y you wanna see a bar on which you can adjust it from zero to ten for example .Project Manager: Mm-hmm . Mm-hmm .Industrial Designer: But youwant a sound preview of how it's gonna sound ,Project Manager: Yeah .Industrial Designer: right ? So you wanna click on it , activate it , whe and when you moveit , hear the difference of the treble coming out or going into the sound .Project Manager: Yeah .Industrial Designer: So you'll you'll need a a kind of a joystick uhbutton .Marketing: Yeah or or the integrated scroll-wheel push-button .Industrial Designer: Yeah .Marketing: So that's kind of on your mouse and then you canclick it , adjust it , click again and then you're out of it .Industrial Designer: Exactly .Marketing: But you still {disfmarker} But you then still need to have{disfmarker} Well you can use the scroll-wheel as well for um maybe for the channels . But you still um {disfmarker}Industrial Designer: Yeah it's r Yeah.Marketing: You still have to have some some button in the menu to go back .User Interface: So you do one inte You can do one integrated scroll-wheelpush-button .Marketing: Yeah .User Interface: And then just drop all the other buttons .Project Manager: Uh yeah .Marketing: Well not all .User Interface: But butth the cost of one integrated button is far more than a few extra push-buttons .Marketing: Not s not sound I guess .Industrial Designer: {vocalsound} No .ProjectManager: Yeah . It's uh {disfmarker} One integrated button is five times the cost of a normal button .Marketing: {vocalsound}User Interface: Yeah .Marketing:Mm .Project Manager: So {disfmarker}User Interface: So we have to to make it s uh more uh {disfmarker} It has to be {disfmarker}Project Manager: You couldalso drop j three more of these , without losing much functionality . You just drop the Okay and the Back .Marketing: Yeah . Wh wh what what what is the what isthe uh sample sensor sample speaker ?Project Manager: Oh , that's for the speech .Marketing: Speech recognition .Project Manager: Yeah .User Interface: Coulddrop the speech recognition . {vocalsound}Marketing: Right .Project Manager: S s Drop speech recognition ?Industrial Designer: {vocalsound} No but{disfmarker}Project Manager: Yeah that's possible . {vocalsound}User Interface: We we dIndustrial Designer: Yeah it's it's expensive , but uh we neverconsidered the possibilities of uh speech recognition . 'Cause it can take the function of a lot of uh uh buttons .Project Manager: Buttons .Marketing: Buttons.Project Manager: That's not very easy to use .User Interface: Yeah .Industrial Designer: IMarketing: No , it can be disturbed by by noise andIndustrial Designer:No .Project Manager: {vocalsound}Industrial Designer: Yeah but lets just say that the speech recognition works .Marketing: stuff like that . Let let let me seewhat's more what's more popular . I guess the the screen was more popular than um than the speech recognition .User Interface: Yeah .Marketing: I have to lookon that . Let me see . {vocalsound} Uh well no I was wrong .Project Manager: {vocalsound}Marketing: There are more people who like speech recognition thanan L_C_D_ screen .Project Manager: Yep . Okay . Because if you d lose the L_C_D_ screen , we {vocalsound} need a lot of {disfmarker}Marketing: But if it{disfmarker} {vocalsound} But it it {disfmarker} it's a it's a both a hypersUser Interface: We lose our whole concept .Project Manager: Yeah .User Interface: Uhso {disfmarker} No we just {disfmarker}Project Manager: We need a lot of extra buttons .Marketing: No , but {disfmarker}User Interface: We keep the L_C_D_.Marketing: Well we Yeah we keep the screen . I mean it's it's about the same . Eight one to ninety one percent , uh sixty six to seventy six .Project Manager:OkayIndustrial Designer: We uh we we haven't really integrated this {disfmarker} the speech into the system ,Project Manager: so we drop the speech .IndustrialDesigner: so we can might as well s drop that . {gap}Project Manager: And drop it yeah ?User Interface: Yeah .Marketing: Yeah . Let's drop the speech .ProjectManager: Okay . S Fo Four less Euros . So we still have three and a half Euro to lose .User Interface: {vocalsound}Marketing: Sixteen Euros .Industrial Designer:{vocalsound} We need to lose some buttons .Marketing: But y yProject Manager: Yeah if you lose the the Back , the Okay button {disfmarker} Uh v let's say weonly have the four arrows , and the Menu button .Marketing: Yeah . Yeah .Project Manager: Then you're {disfmarker}Marketing: And then and then use um{disfmarker}Project Manager: {vocalsound} Oh and the power button we have also .Marketing: The the {disfmarker} Okay . And the menu button does alsodoes the okay function then .Project Manager: Yeah .Marketing: And then when you in the menu {disfmarker}Project Manager: So that's one Euro .Marketing: Sso so you activate the menu .User Interface: If we do uh two integrated scroll-wheel push-buttons , we can drop all the the push-buttons .Project Manager:{vocalsound} Yeah . Yeah ? And {gap} {disfmarker}User Interface: With with one uh integrated button we can uh do the whole menu thing . With the other , wecan do the the channel , the volume , et cetera .Marketing: Yeah yeah . {vocalsound} Yeah . {gap} .Project Manager: That would save zero point two Euroscompared to {disfmarker} No .User Interface: No it's three Euros . No ? Um {disfmarker}Project Manager: Yeah . To This together is more expensive than{disfmarker} Oof , it's almost the same as t keeping this .User Interface: No it's it's n Yeah . Yeah yeah yeah . {vocalsound}Project Manager: And we can dropthese two .Marketing: Well okay .User Interface: It's the {disfmarker}Marketing: For example if you have f f four buttons , {vocalsound} channel up and down ,uh volume left right {disfmarker}Project Manager: Volume .Marketing: Okay , I've {disfmarker} I think we have to keep that .Project Manager: And the powerbutton .Marketing: And then {disfmarker} and the power button . So that's five .Project Manager: That's the basic .Marketing: That's basic . That that's what you"}
+{"doc_id":"doc_192","qid":"","text":"Project Manager: Okay . Oh , that's not gonna work . {vocalsound} Oh , alright . {vocalsound} Okay . Okay . Um alright .Marketing: Uh , uh , um .ProjectManager: I'll just put that there . Uh as you all know we're here to create a brand new fantastic remote . Uh I'm Nick Debusk , I'm the Project Manager . Uh we'lljust get started with everyone kind of letting each other know who they are and what you're doing , what your what your role is um . Go ahead .Marketing: Okay. {vocalsound} I am Corinne Whiting and I will be the Marketing Expert and in each of the three phases I will have a different role . In the function design phase Iwill be talking about user requirement specification , and this means what needs and desires are to be fulfilled , and I'll be doing research to figure this out . Inthe conceptual design phase I will be dealing with trend watching and I'll be doing marketing research on the web . And then finally in the um detailed designphase I will be doing product evaluation and so I will be collecting the requirements and ranking all the requirements to see how we did .Project Manager: 'Kay.User Interface: Hiya , I'm Ryan . Um I'm the User Interface Designer . Um likewise I've three different roles for each stage of design . Um the functional design islooking at the tex technical functions of a remote control . Um in the concept design , the user interface , how the user reacts with the the product . And thedetailed design um {vocalsound} sort of like the user interface design , what they might be looking for , uh things like fashions , what makes wha how we'regonna make it special . That's about it .Industrial Designer: {vocalsound} Right . {vocalsound} I'm Manuel and I'm the Industrial Designer in in this project um .In the functional design phase I'm {disfmarker} I'll be dealing mostly with the requirements , um we'll discuss what the prog what functions the the product hasto fulfil and so and so on . Um I suppose we'll work pretty much together on that one . Um um in the conceptual design um I'll be pro mostly dealing withproperties and materials um of our product .User Interface: Yeah .Industrial Designer: And uh the detailed design {disfmarker} in the detailed design I'll beconcerned with the look and feel of the product itself , um so we're pretty much working together obviously on the design front here . Okay . {vocalsound}ProjectManager: Okay . Um so we've got our opening , our our agenda is the opening , uh acquaintance which we've kinda done . Uh tool training , project plandiscussion and then closing .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Uh grand total of twenty five minutes we have here . Um sowe are putting together a new remote control . Um we want it to be something original . Um of course we're a {disfmarker} not only a electronics company but afashion um conscious electronics company , so we want it to be trendy um and we want it to be easy to use . {vocalsound} Um we've got the functional design ,conceptual design and detailed design um which basically is is the three of you um . And w uh {vocalsound} well um functional design um . Um do we have{disfmarker} um any ideas of of {disfmarker} {vocalsound} maybe d let's just throw out some ideas of what kind of remote control we want to have , and thenwe can go into how we're gonna design it and and how we're gonna do the detailing on it .User Interface: Yeah . Well uh s function of remote control is just just{disfmarker} you know , change channels is its main function .Project Manager: So we want it to be um a T_V_ remote or {disfmarker} I I mean do we want it toto do other things besides just be a a television remote ?User Interface: Oh right . I suppose you c try make it a universal remoteProject Manager: 'Kay .UserInterface: for {disfmarker} could work on all sort of electrical products in in one person's house . But , you know , they all sorta have the same role changingchannels , volumes and then programming .Marketing: Mm .Industrial Designer: {vocalsound}Project Manager: Mm-hmm . 'Kay .Industrial Designer: Mm .UserInterface: I think they all work on the same prin principle as well sorta like {disfmarker} I don't actually know . {gap} But is it just infra-red ? Is that standard?Project Manager: I I think {disfmarker} yeah , yeah , r universal remote .User Interface: Ye yeah .Project Manager: Um this is my first uh go-round withcreating a remote control ,Marketing: Huh . {vocalsound}Project Manager: so {disfmarker}Marketing: {vocalsound} Ours too . {vocalsound}User Interface:{vocalsound}Project Manager: {vocalsound} I think we're all in the same boat here . {vocalsound} Um {disfmarker}User Interface: Um one thing I thought ofwith the remote control is you always lose 'em .Project Manager: Okay .User Interface: So if there's a g a way of finding it quite easily , I thought that'd be quitegood quite a good feature .Marketing: Mm . ChProject Manager: So we should we should set our remote control up to where it has a uhMarketing: Like a trackingdevice ? {vocalsound}Project Manager: like a tracking device or or like a a {disfmarker}User Interface: Oh you can get those key {disfmarker} well you couldwhistle or make a noiseProject Manager: It makes a noise ,User Interface: and it'd beep .Project Manager: there's a button on the T_V_ that you pressIndustrialDesigner: Mm , mm .Project Manager: and {disfmarker}User Interface: Yeah .Marketing: Mm .Industrial Designer: Right .Project Manager: 'Kay .Marketing: Begood .Industrial Designer: So {disfmarker}User Interface: Generally , all remotes are sort of quite similar in their appearance .Project Manager: Yeah . Do wewant {disfmarker}User Interface: Just long .Project Manager: so they're kinda like long and rectangular .User Interface: {vocalsound} Yeah .Project Manager: Dowe want something crazy ?User Interface: Black usually .Project Manager: You know , we want something new that's gonna stand out .User Interface: Yeah.Marketing: Lot more modern .Project Manager: A m a modern {disfmarker} so our remote should be {disfmarker}User Interface: I think so . Maybe sortaspherical or something . A ball .Industrial Designer: {vocalsound}Marketing: Maybe like user-friendly , like a littleUser Interface: Yeah .Marketing: you know ,where you can use both hands , like a little keyboard type thing .User Interface: People {disfmarker}Industrial Designer: Mm .User Interface: I thought maybe ,because people always tend to throw a remote control about the place to one another {disfmarker} if it was in a ball ,Project Manager: 'Kay .User Interface: andmaybe the actual controls are inside or something .Marketing: Mm .Project Manager: Um .Industrial Designer: Well there are of course certain restrictions , youcan't have it be any form and fulfil all functions at the same time ,User Interface: Yeah .Industrial Designer: so there are always the {disfmarker} somerestrictions we have to apply here . Um however um one question is how stable is that thing supposed to be , that refers to the material , pretty much um . Whatare we gonna build that thing out of ?Marketing: Mm .Industrial Designer: How sturdy is it gonna be ? Do we want it to last longer or rather have people whatever, have to buy one every half a year ?Project Manager: {vocalsound} Okay so {disfmarker} yeah , so we want it to be sturdy ,User Interface: Yeah .ProjectManager: we want it to to hold up to somebody's child , you know , throwing it across the room or , as you said , people kinda throw it , so ball-shaped , uh youknow , if it were ball-shaped maybe ,User Interface: Yeah .Project Manager: then it {disfmarker}User Interface: It could be cased on the outside and t everythingcould be inside .Project Manager: 'Kay . Um so we want it to be modern , fun , sturdy , um {disfmarker} So our form and our function . Um we want it to be umeasy to find . {vocalsound} Um {disfmarker} {vocalsound} What else {disfmarker} it {disfmarker} what else do we want it to to do ? So we want it to beuniversal . It's something that we're supposed to sell for about twenty five Euros um and you know , goals for profits are I think somewhere around uh fiftymillion Euros , what they wanna make on it , so .Marketing: Mm . Also since we're partners of the International Remote Control Association , maybe we wannamake it something that would globally appeal .Project Manager: 'Kay .Marketing: That's more on the research end , but {disfmarker} the marketing .ProjectManager: So marketing , you know , how {disfmarker} maybe uh marketing , you could s find out what is the most universally um appealing {vocalsound}remote control out there .Marketing: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: And maybe as far as design goes , maybe we could havedifferent ones for different target audiences ,Project Manager: 'Kay .Marketing: 'cause maybe one won't apply to all of the countries we're targeting .UserInterface: Ye Small .Industrial Designer: Right .Project Manager: Um {disfmarker} {vocalsound} Do you guys have any ideas for what it should look like ? Maybewe could draw it up on the on the board over there . Some ideas ? We want it to be a b a ball ,User Interface: {gap} I'd {disfmarker} I could draw sorta the ballidea .Project Manager: you know , we'll draw up we'll draw up the ball and maybe th um where the buttons are located .User Interface: My original idea was justsimply sort of a sphere , where maybe you {disfmarker} this is where it's connected together , and then when you open it out , it could fol it could be maybe flip ,like a flip phone , and then when you fold it out the middle {disfmarker} Maybe a hinge that'll have to be the strongest part of it . If that {disfmarker} if we diduse a hinge , or if it was just two parts ,Industrial Designer: {vocalsound}User Interface: and then you'd have just sorta you you you know , your buttons . Thingis inside I think , sometimes remotes have too many buttons , so maybe as simple as possible , um as few buttons inside as possible . Um , I dunno , what's theidea for . Just something {disfmarker} maybe if you ha if it had like if some kind of like light or something or lights around it . It's looking a bit like something outof Star Wars at the moment though , to be fair .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} But yeah .Marketing:Futuristic . {vocalsound}Industrial Designer: {vocalsound}User Interface: That was that was a sorta simple idea I hadProject Manager: Uh-huh .User Interface:and then you know you could {gap} about {disfmarker} Right , it would almost be like a ball . So that was just just an idea I had . I don't know whether anybodyelse has other ideas ?Industrial Designer: Right . One problem you'd get with this design is um {disfmarker} the ball is a nice idea because of it's stability really,User Interface: Yeah .Industrial Designer: but of course , since it's a ball , it'll roll , so we'd have to have it flat on one side at least , down here somewhere ,UserInterface: Yeah . Maybe f yeah .Industrial Designer: take away that part . That's one of the big issues . Also also you risk the hinges here . That's that's um aproblem .User Interface: Yeah , that's g that's a good idea . Yeah . The idea {disfmarker} it didn't have to necessarily be f a hinge ,Industrial Designer:{vocalsound} That's that's {vocalsound} interesting of course ,User Interface: that was just one idea though .Industrial Designer: but that's of course a weak"}
+{"doc_id":"doc_193","qid":"","text":"Gareth Rogers: Good morning, and welcome to today's meeting of the Children, Young People and Education Committee. Unfortunately, the Chair is unable toattend today, so in accordance with Standing Order 17.22 I call for nominations for a temporary Chair for the duration of today's meeting.Julie Morgan AM: Inominate John Griffiths.Gareth Rogers: Thank you.Darren Millar AM: I'll second that nomination.Gareth Rogers: As there's only one nomination, I declare thatJohn Griffiths has been appointed as temporary Chair. Thank you, John.John Griffiths AM: Okay. Thank you all very much, and item 1 on our agenda today isintroductions, apologies, substitutions and declarations of interest. We've received apologies from Hefin David and Lynne Neagle. There are no substitutions. Arethere any declarations of interest? No. We will move on then to item 2, and our inquiry into the impact of Brexit on higher and further education, and our firstevidence session. I'm very pleased to welcome the Higher Education Funding Council for Wales here today, and Dr David Blaney as chief executive, and BethanOwen, director of institutional engagement. Welcome to you both. Thanks for coming along to give evidence today. If it's okay with you, we'll move straight toquestions, and Julie Morgan.Julie Morgan AM: Good morning. Bore da. I wondered if we could start off with you telling us what evidence you can see that theBrexit process has had any impact on Welsh higher education so far.Dr David Blaney: Can I preface the response by just reminding you that we are, by contractand by role, apolitical, and a lot of the judgments about the impact of Brexit essentially reflect where people sit politically in terms of whether they think it's agood thing or a bad thing? We're not going to go there, obviously, today, so we'll stick to the facts as we can see them, and hopefully we'll be able to help you,but there are areas where we are unable to help. That's part of the reason.John Griffiths AM: We certainly do not expect you to enter the political fray in anyway.Dr David Blaney: Thank you. But even in terms of your assessment of whether this is going to be a good thing or a bad thing, a good impact or a bad impact,some of that inevitably in the end becomes a matter of your politics on it, so we will be as careful as we can be on that. In terms of the impact of Brexit on highereducation, clearly, the significance here is about the contribution that higher education can make to Wales. So, we fund provision; we don't fund providers,technically, although obviously there's not much provision without providers. So, we are interested in the sustainability of higher education providers, butfundamentally the issue is: what does the HE system in Wales do for Wales, and what impact might Brexit have on the capacity of the system to continue todeliver for Wales? So, we know that universities make annually about £5 billion of impact; 50,000 jobs. Of course, in Wales, all of that economic impact is reallyvery significant, and uncertainty about the relationships and the arrangements with Europe is one of the most significant issues confronting universitymanagement at the moment. That has an impact in a number of ways. We can identify at the moment the extent to which the HE sector in Wales is exposed tosources of income that are located from the EU, so EU students, structural funds, and EU research funding, and so on, from the EU. We can identify some of that,but, actually, what happens in the future is much harder to be clear about. We are beginning to see some impact in terms of applications from EU students and I'llask Bethan to share some details on that in a moment. We're also beginning to pick up, only anecdotally, some signs that there are increasing difficulties in theUK sector, and the Welsh sector as part of that, in playing in some of the EU collaborative research activities. And that, I think, just reflects the extent to whichEU partners consider that British partners might be a stable partner as we go through this transition period. We don't have data on that—that's anecdotal—butthere are signs that some of those relationships are beginning to become a little bit more difficult. In terms of the financial impact of that, clearly, if it is acceptedthat the UK is a net contributor to the EU then, presumably, some of the money—we're almost immediately straight into politics if you're not careful—but some ofthe money will be available back to the UK, and the extent to which Wales benefits or not from that returned money is a function of the political relationshipbetween the Welsh Government and Her Majesty's Government. It's not necessarily the case that Wales will always lose out in that relationship, but that willbecome a matter of politics. There's a broader dimension, which is about the economic impact of Brexit on the UK economy and how much tax revenue there isand all of that. I think it's very hard for us to be definitive about how that's going to play out. I think that depends on the deal and how it all unfolds over the nextseveral years. But we can certainly anticipate some turbulence and exactly how that plays for institutions remains to be seen. We can touch later on on the extentto which they are sighted on this and preparing for it. So, in terms of recruitment, Bethan.Bethan Owen: This is based on the UCAS applications and the reportthat was published at the end of June, 30 June. The European Union-domiciled applicants to Wales have decreased by 8 per cent, which contrasts with a 2 percent increase for English institutions, and non-EU—so international students, not from Europe—have also decreased by 9 per cent to Welsh institutions, againcontrasting with a 7 per cent increase in England. So, those are the signs of changes.John Griffiths AM: Okay. Could I then just ask you what you see as the mainpressures on the Welsh higher education sector at the moment?Bethan Owen: The funding position would be the main pressure. The recommendations made bySir Ian Diamond in his review of higher education funding and student finance are in the process of being implemented, and the changes to the student financearrangements will take effect from this September. However, the recommendations for re-establishing funding at Welsh institutions are expected to take quite abit longer. That funding, when it returns to institutions, is intended to re-establish funding for higher cost provision, both full time and part time; reinstate fundingfor innovation; and maintain, at the very least, the research funding in real terms. Universities, in the meantime, are trying to minimise the cost reductions thatthey're making in order to maintain the infrastructure, so that when the funding comes they can get the best value out of it. We have announced our fundingallocations for 2018-19. For the research and teaching grant, though, we are still funding at a lower level—£12.5 million less—then the starting point for theDiamond report, the 2015-16 starting report. But we expect to be able to start introducing funding from 2019-20 to make a start on implementing Diamond. Andit's probably important to note that the Diamond recommendations predated Brexit, therefore the challenges introduced by Brexit are in addition to those that theDiamond report was addressing. The other pressures relate to student recruitment. I mentioned the EU and international students. There is also the start of areduction, both in Welsh-domiciled and English-domiciled applications to Wales. Enrolments are obviously the key important number, which we'll see later. Andthe other pressures include pay and pension costs, not least the issues around the universities superannuation scheme pension fund, where there's potentially asignificant increase in cost. Increased student expectations for modern facilities and infrastructure bring a requirement for capital expenditure and borrowing,which bring their own pressures. And finally, the uncertainty about potential consequences that could arise from the review in England of fees and funding—theAugar review.John Griffiths AM: In terms of European Union students and enrolment, is Wales forecast to do less well than England and, if so, why might thatbe?Bethan Owen: They are not forecasting it. It's very difficult until the enrolments are made, and it's also very hard to see—the data that we see is theUCAS data. Institutions also recruit directly, so until we see the actual recruitment—. I think the arrangements that have changed from 2018-19 also impact onEU students. So, now, they have to find the full fee, whereas previously they were getting the grant in the same way as Welsh students. So, I'm speculating thatthat might be having an impact as well on EU students' appetite to come.John Griffiths AM: Okay. First of all Llyr, then Mark.Llyr Gruffydd AM: Well, that'sstraight into what I was going to ask, really, about what you think the factors are that led to this 8 per cent or 9 per cent drop in EU students applying to study inWales, where we see a 2 per cent increase in England. Is that it, or are there other things that you've taken into account? What's your assessment of the reasonsbehind this?Dr David Blaney: It's very difficult to be definitive about the reasons, but I think there are probably two. The one that Bethan has already indicated,which is the change in student support arrangements for EU students, will have an effect of perturbation. That's probably relatively temporary—let's hope it is—asthat settles down because, actually, the deal for EU students coming into Wales is no worse than that coming into England. Ours would be better because the feelevel is slightly lower, but we do struggle in Wales in terms of the Anglocentric nature of the media and so on. So, getting the messages out is a challenge. Theother dimension is that when you're in a highly competitive recruitment market, you have to do what you can to look attractive. Part of that is about being able toinvest in facilities, and particularly buildings and kit, and the relative levels of investment between Wales and England over quite a long period of time nowprobably have an impact on that. Certainly, anecdotally I know, from my own family, that a lot of the choices have been made in terms of the state of repair ofcampuses and so on. There's something rational about that, isn't there? If you've got a system that is relatively better invested, then you're likely to have abetter student experience because the resources are likely to be better. So, that's not irrational. We saw a sort of similar but opposite effect when the £9,000 feemaximum limit came in, and some institutions, mostly in England—there was one in Wales—chose to pitch their fee levels really quite low, relative to that £9,000,and caught a cold in the student recruitment market because fee levels denote quality in the student mind. So, the price sensitivities work quite differently. So,again, if you've got a relatively better invested part of the system, then that might well be one of the reasons why it looks more attractive.Llyr Gruffydd AM: Thatlatter factor would affect the whole of the cohort, not just the international recruitment, of course.Dr David Blaney: Indeed. Yes, indeed. The implementation ofthe Diamond recommendations is crucial to that because that's re-balancing where the policy of investment goes.John Griffiths AM: Okay. And Mark.MarkReckless AM: If I heard you correctly earlier, you said that the applications from non-EU students were also down by 8 per cent or 9 per cent. So, forgive me a"}
+{"doc_id":"doc_194","qid":"","text":"Grad B: what things to talk about .Grad F: I 'm {disfmarker} What ? Really ? Oh , that 's horrible ! Disincentive !Grad A: OK , we 're recording .Grad F: Hello?Grad B: Check check {pause} check check .Grad D: Uh , yeah .Grad F: Hello ? Which am I ?Professor C: Oh right .Grad B: Alright . Good .Grad F: Channel fi OK .OK . Are you doing something ? OK , then I guess I 'm doing something . So , um , So basically the result of m much thinking since the last time we met , um ,but not as much writing , um , is a sheet that I have a lot of , like , thoughts and justification of comments on but I 'll just pass out as is right now . So , um , here. If you could pass this around ? And there 's two things . And so one on one side is {disfmarker} on one side is a sort of the revised sort of updated semanticspecification .Grad D: Um {disfmarker} The {disfmarker} wait .Grad F: And the other side is , um , sort of a revised construction formalism .Grad E: This is justone sheet , right ?Grad D: Ah ! Just one sheet .Grad F: It 's just one sheet .Grad D: OK .Grad F: It 's just a {disfmarker} Nothing else .Grad D: Front , back .GradF: Um , Enough to go around ? OK . And in some ways it 's {disfmarker} it 's {disfmarker} it 's very similar to {disfmarker} There are very few changes in someways from what we 've , um , uh , b done before but I don't think everyone here has seen all of this . So , uh , I 'm not sure where to begin . Um , as usual thedisclaimers are there are {disfmarker} all these things are {disfmarker} it 's only slightly more stable than it was before .Grad E: Mm - hmm .Grad F: And , um ,after a little bit more discussion and especially like Keith and I {disfmarker} I have more linguistic things to settle in the next few days , um , it 'll probablychange again some more .Grad E: Yeah .Grad F: Um , maybe I will {disfmarker} let 's start b let 's start on number two actually on the notation , um , becausethat 's , I 'm thinking , possibly a little more familiar to , um {disfmarker} to people . OK , so the top block is just sort of a {disfmarker} sort of abstract nota it 'ssort of like , um , listings of the kinds of things that we can have . And certain things that have , um , changed , have changed back to this . There {disfmarker}there 's been a little bit of , um , going back and forth . But basically obviously all constructions have some kind of name . I forgot to include that you could havea type included in this line .Professor C: What I was gonna {disfmarker} Right .Grad F: So something like , um {disfmarker} Well , there 's an example{disfmarker} the textual example at the end has clausal construction . So , um , just to show it doesn't have to be beautiful It could be , you know , simple oldtext as well . Um , there are a couple of {disfmarker} Uh , these three have various ways of doing certain things . So I 'll just try to go through them . So theycould all have a type at the beginning . Um , and then they say the key word constructionProfessor C: Oh , I see .Grad F: and they have some name .Professor C:So {disfmarker} so the current syntax is if it s if there 's a type it 's before constructGrad F: Yeah , right .Professor C: OK , that 's fine .Grad F: OK , and then ithas a block that is constituents . And as usual I guess all the constructions her all the examples here have only , um , tsk {comment} one type of constituent ,that is a constructional constituent . I think that 's actually gonna turn out to m be certainly the most common kind . But in general instead of the word \"construct \" , th here you might have \" meaning \" or \" form \" as well . OK ? So if there 's some element that doesn't {disfmarker} that isn't yet constructional inthe sense that it maps form and meaning . OK , um , the main change with the constructs which {disfmarker} each of which has , um , the key word \" construct \"and then some name , and then some type specification , is that it 's {disfmarker} it 's pro it 's often {disfmarker} sometimes the case in the first case here thatyou know what kind of construction it is . So for example whatever I have here is gonna be a form of the word \" throw \" , or it 's gonna be a form of the word ,you know , I don't know , \" happy \" , or something like that . Or , you know , some it 'll be a specific word or maybe you 'll have the type . You 'll say \" I need a puh spatial relation phrase here \" or \" I need a directional specifier here \" . So - uh you could have a j a actual type here . Um , or you could just say in the secondcase that you only know the meaning type . So a very common example of this is that , you know , in directed motion , the first person to do something should bean agent of some kind , often a human . Right ? So if I {disfmarker} you know , the um , uh , run down the street then I {disfmarker} I {disfmarker} I run downthe street , it 's typed , uh , \" I \" , meaning category is what 's there . The {disfmarker} the new kind is this one that is sort of a pair and , um , sort of skippingfonts and whatever . The idea is that sometimes there are , um , general constructions that you know , that you 're going to need . It 's {disfmarker} it 's theequivalent of a noun phrase or a prepositional phrase , or something like that there .Grad E: Mm - hmm .Grad F: And usually it has formal um , considerationsthat will go along with it .Professor C: Mm - hmm .Grad F: And then uh , you might know something much more specific depending on what construction you 'retalking about , about what meaning {disfmarker} what specific meaning you want . So the example again at the bottom , which is directed motion , you mightneed a nominal expression to take the place of , you know , um , \" the big th \" , you you know , \" the big {disfmarker} the tall dark man \" , you know , \" walkedinto the room \" .Grad E: Mm - hmm .Grad F: But because of the nature of this particular construction you know not just that it 's nominal of some kind but inparticular , that it 's some kind of animate nominal , and which will apply just as well to like , you know , a per you know , a simple proper noun or to somecomplicated expression . Um , so I don't know if the syntax will hold but something that gives you a way to do both constructional and meaning types . So . OK ,then I don't think the , {comment} um {disfmarker} at least {disfmarker} Yeah . {comment} None of these examples have anything different for formalconstraints ? But you can refer to any of the , um , sort of available elements and scope , right ? which here are the constructs , {comment} to say somethingabout the relation . And I think i if you not if you compare like the top block and the textual block , um , we dropped like the little F subscript . The F subscriptsrefer to the \" form \" piece of the construct .Professor C: Good .Grad F: And I think that , um , in general it 'll be unambiguous . Like if you were giving a formalconstraint then you 're referring to the formal pole of that . So {disfmarker} so by saying {disfmarker} if I just said \" Name one \" then that means name oneformal and we 're talking about formal struc {comment} Which {disfmarker} which makes sense . Uh , there are certain times when we 'll have an exception tothat , in which case you could just indicate \" here I mean the meaningful for some reason \" . Right ? Or {disfmarker} Actually it 's more often that , only to handlethis one special case of , you know , \" George and Jerry walk into the room in that order \" .Grad E: Mm - hmm .Grad F: So we have a few funny things wheresomething in the meaning might refer to something in the form . But {disfmarker} but s we 're not gonna really worry about that for right now and there are wayWe can be more specific if we have to later on . OK , and so in terms of the {disfmarker} the relations , you know , as usual they 're before and ends . I shouldhave put an example in of something that isn't an interval relation but in form you might also have a value binding . You know , you could say that , um , youknow , \" name - one dot \" , t you know , \" number equals \" , you know , a plural or something like that .Grad E: Mm - hmm .Grad F: There are certain things thatare attribute - value , similar to the bindings below but I mean they 're just {disfmarker} us usually they 're going to be value {disfmarker} value fillers , right ?OK , and then again semantic constraints here are just {disfmarker} are just bindings . There was talk of changing the name of that . And Johno and I{disfmarker} I {disfmarker} you {disfmarker} you and I can like fight about that if you like ? but about changing it to \" semantic {pause} n effects \" , which Ithought was a little bit too order - biasedGrad B: Well {disfmarker} ThGrad F: and \" semantic bindings \" , which I thought might be too restrictive in case wedon't have only bindings . And so it was an issue whether constraints {disfmarker} um , there were some linguists who reacted against \" constraints \" , saying , \"oh , if it 's not used for matching , then it shouldn't be called a constraint \" . But I think we want to be uncommitted about whether it 's used for matching or not .Right ? Cuz there are {disfmarker} I think we thought of some situations where it would be useful to use whatever the c bindings are , for actual , you know , sortof like modified constraining purposes .Professor C: Well , you definitely want to de - couple the formalism from the parsing strategy . So that whether or not it 'sused for matching or only for verification , I {disfmarker}Grad E: Yeah .Grad F: Yeah , yeah . It 's used shouldn't matter , right ? Mm - hmm .Professor C: s Forsure . I mean , I don't know what , uh , term we want to useGrad F: Mm - hmm .Professor C: but we don't want to {disfmarker}Grad F: Yeah , uh , there was onetime when {disfmarker} when Hans explained why \" constraints \" was a misleading word for him .Professor C: Yep .Grad F: And I think the reason that he gavewas similar to the reason why Johno thought it was a misleading term , which was just an interesting coincidence . Um , but , uh {disfmarker} And so I was like ,\" OK , well both of you don't like it ?Professor C: It 's g it 's gone .Grad F: Fine , we can change it \" . But I {disfmarker} I {disfmarker} I 'm starting to like itagain .Grad B: But {disfmarker}Grad F: So that that 's why {disfmarker} {comment} That 's why I 'll stick with it .Grad A: Well , you know what ?Grad F: So{disfmarker}Grad A: If you have an \" if - then \" phrase , do you know what the \" then \" phrase is called ?Professor C: ThGrad F: What ? Con - uh , a consequent?Grad A: Yeah .Grad F: Yeah , but it 's not an \" if - then \" .Grad A: No , but {disfmarker}Professor C: I know . Anyway , so the other {disfmarker} the otherstrategy you guys could consider is when you don't know what word to put , you could put no word ,Grad F: Mm - hmm .Professor C: just meaning . OK ? And thethen let {disfmarker}Grad E: Yeah .Grad F: Yeah , that 's true .Grad B: So that 's why you put semantic constraints up top and meaning bindings down{disfmarker} down here ?Grad F: Oh , oops ! No . That was just a mistake of cut and paste from when I was going with it .Grad B: OK .Professor C: OK .Grad F:So , I 'm sorry . I didn't mean {disfmarker} that one 's an in unintentional .Grad B: So this should be semantic and {disfmarker}Grad F: Sometimes I 'mintentionally inconsistentGrad B: Grad F: cuz I 'm not sure yet . Here , I actually {disfmarker} it was just a mistake .Grad B: Th - so this definitely should be \"semantic constraints \" down at the bottom ?Grad E: Sure .Grad F: Yeah .Grad B: OK .Grad F: Well , unless I go with \" meaning \" but i I mean , I kind of like \""}
+{"doc_id":"doc_195","qid":"","text":"Project Manager: Okay , good morning . This is our first team meeting .User Interface: Good day .Marketing: Morning .Industrial Designer: Morning .ProjectManager: I'll be your Project Manager for today , for this project . My name is Mark {gap} will be giving this presentation for you to kick the project off .{vocalsound} That's my uh that's the agenda for today . Well , of course we're new to each other , so I'd like to get acquainted first . So let's do that first , I mean{disfmarker} Let's start with you , can you introduce yourself ? You're our Marketing Expert .Marketing: Yes . {vocalsound} Um my name is Dirk , Dirk Meinfeld .Um I will be uh {gap} Pr Project {disfmarker} the Marketing Expert . And I will see what the user wants and uh what we can do uh with the new produ project{disfmarker} product . {vocalsound}Project Manager: Okay , excellent . And you are User Interface {disfmarker}User Interface: Nick Broer ,Project Manager:Yeah .User Interface: User Interface Designer . I'm going to uh look at the technical design from the uh user point of view .Project Manager: Excellent . Okay.Industrial Designer: My name is Xavier Juergens , I'm the Industrial Designer , and there are three main questions that I have to find an answer to today . Firstone is uh what happens inside the apparatus , second is what is uh the apparatus made of ,Marketing: Hmm .Industrial Designer: and the third is what should itlook like .Project Manager: What should it look like ? Okay .Marketing: Hmm .Project Manager: Oh , let's kick it off . Oh , there we go . So , our new project isabout {disfmarker} we need design a remote control for television set , so , which has to be original , trendy and user-friendly . I took this off our corporatewebsite . {disfmarker} I think well it sums up what we need to do . It's We're inspired by latest fashion , not only electronics , but also the latest trends in clothesand interior design . That's why our product will always fit in your home . So apparently we need to {vocalsound} um be very at um very open to what's currentlyhot in the market . So that's what you need to do to bring us the latest info and what people want .Marketing: Yeah . Yeah .Project Manager: So {disfmarker} Sowe put the fashion in electronics . So that's what we need to go for . Anyway , we'll take this project in three steps , three pha uh three phase of design . Firststep will be the functional design .Marketing: Yeah .Project Manager: And that's basically what we're gonna do . Everybody has uh a piece of individual work and ameeting afterwards , so we can share information about {disfmarker} So I'm gonna keep this short , since we had a technical problem . So skip through this . Uh. Okay . Every meeting we {disfmarker} everybody can present their uh their views and everything , so to help with these , you have {disfmarker} we have theSMARTboards here . We can use a regular PowerPoint presentation . I'm supposed to give you an introduction on this doodling board , so it's {disfmarker}actually it's very easy . Like it says , very simple , you just take out the pen . Like you see here , I'll just take the {disfmarker} take {gap} here . That's it , youjust put it on the board . You see a pen here . You go here , just like using a pen . You can just draw whatever you want . It's like the eraser , can erase whateveryou want . And so it will be easy just to illustrate your views , if you wanna change the format , you just {vocalsound} either take out jus just like the pen , andwhatever you want , your current colour , your line width , just to make the line bigger . So it should be really easy .Marketing: Okay .Project Manager: This is totake the {disfmarker} just take a new slide and back again . We're just gonna keep using this board all the time , so I think it will be {disfmarker} it's very clearfor everyone , I suppose . So I'll take this out . {vocalsound} Okay . We'll use that later . Anyway . Yeah , just just just stuff that you wanna share , just put it inthe in the project folder , like I put my presentation now . I'll put the the minutes of every meeting , I'll put them there too , so everybody can read up if theyhave to leave early or whatever . So next , been here . {vocalsound} Well , {gap} gonna give the electronic white-board uh a shot . So basic idea is we have ablank sheet . Just try whatever you want , and like it says , draw your favourite animal . I think the creative genius should go first . {vocalsound}User Interface:{vocalsound} The creative genius ?Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: Thank you very much .Project Manager: So , drawus your favourite animal .User Interface: {vocalsound} Well , I'm more into the technical aspects of drawing ,Industrial Designer: {vocalsound}User Interface: soI'm not really good at drawing animals ,Project Manager: Draw us a technical animal .User Interface: but uh the animal which I {gap} {disfmarker} Oh .ProjectManager: Yeah , it's still erasing .User Interface: {vocalsound} Pen .Marketing: {vocalsound}User Interface: Uh format . Else my animal will be like king-size . Ipretty much like {vocalsound} a dolphin , because of its uh its freedom basically . Let's see . A head . {gap} actually worked with this . It's like uh it's a very{disfmarker} Uh high-tech .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Bit low-responsive though .Project Manager:{vocalsound} So that's what we don't want .User Interface: Prefer pen and paper .Project Manager: We want a high-responsive product . So {disfmarker} Itlooks more like nuclear bomb .Marketing: {vocalsound} Very nice dolphin .User Interface: It {vocalsound} {vocalsound} doesn't look like a nuclear bomb.Industrial Designer: {vocalsound} {vocalsound}Project Manager: {vocalsound}User Interface: This thing isn't doing what I'm {disfmarker} What I want.Marketing: {vocalsound}Project Manager: Let's go easy on it .User Interface: So {disfmarker} {vocalsound} Yeah , well it does look like a nuclear bomb .ProjectManager: {vocalsound}Marketing: {vocalsound}User Interface: I'll just finish up real soon , because I'm {disfmarker}Marketing: {vocalsound}User Interface: Soit doesn't really look like a dolphin ,Project Manager: {vocalsound} Anyway ,User Interface: but then again , this is all new for me .Project Manager: it should{disfmarker} It {disfmarker} It's supposed to be a dolphin , you like the freedom that it {disfmarker} that it represents .Industrial Designer: Uh-huh .UserInterface: Like the ocean , like swimming . Do that in my spare time , so that's basically an {disfmarker}Project Manager: What do you like ? Okay . Well ,UserInterface: Now we can forget this ever happened .Project Manager: our Marketing Expert . Show us an animal .Marketing: Um an animal .Project Manager: {gap}Pick a {disfmarker} pick a {disfmarker}Marketing: I like the elephant . {vocalsound}Project Manager: pick a clean sheet . Oh . Take a clean sheet first.Marketing: What ? Yeah . Um {disfmarker}Project Manager: Just press next . That's it .Marketing: Oh yeah . Oh , a blank . Okay , next . Free , I like the elephant. It's big , it's strong , so uh uh {disfmarker} Oh , it's a little bit {disfmarker}User Interface: It's not really that responsive , no . {vocalsound}Marketing: Youhave to hold it , right ?Project Manager: {vocalsound}Industrial Designer: Mm .Marketing: Hmm .Project Manager: {vocalsound}Marketing: {gap} It's a beautifulanimal .Project Manager: {vocalsound}Marketing: Oh , you have to p press it pretty hard . With a smile on it ,Project Manager: {vocalsound} It's a cute elephant.User Interface: {vocalsound}Marketing: it's very important . Yeah .Project Manager: {vocalsound}Marketing: And uh not to forget its tail . Oh .Project Manager:It's a nice beard .Marketing: Yeah , it's okay . Yes . {vocalsound}Project Manager: {vocalsound}User Interface: And you was making comments on my dolphin .{vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} I will beat the dolphin . {vocalsound} No .Project Manager: Okay , so it's just a bee.Marketing: Yeah .Project Manager: So I suggest you make us the elephant in the market . The big and strong player in the market . This would be good.Marketing: Yeah . Yeah .Project Manager: Okay , excellent . On to the next one .Industrial Designer: {vocalsound} Okay .Marketing: Uh yeah .IndustrialDesigner: Okay , you should press next .Marketing: {vocalsound} Yeah .Project Manager: Press next . Yeah , it's up there .Industrial Designer: {vocalsound}Okay .Project Manager: That's it .Industrial Designer: Okay , well the animal I'd like to draw is a tiger .Project Manager: {vocalsound}User Interface: You pickeda hard one , didn't you ? {vocalsound}Industrial Designer: My drawing skills are really bad , so .Marketing: Experience with the tiger .Project Manager:{vocalsound}Marketing: What ? They are {disfmarker}Industrial Designer: They are really bad , my drawing skills .Project Manager: {vocalsound}Marketing:Okay uh-huh .Project Manager: Sure looks smooth .Marketing: Oh .Industrial Designer: I'm not sure how the legs should go , but {disfmarker}Project Manager:{vocalsound}Industrial Designer: Uh these are stripes .User Interface: Got it . {vocalsound}Industrial Designer: I've picked this animal because it's very fast . Itis uh it knows exactly what it wants . Uh it hardly ever wastes any resources .Project Manager: What does it want ?Industrial Designer: Uh well , basically uh ithunts for prey , but it does it always in a very well-thought way . Uh it knows exactly what it wants . It never kills an animal uh just for the killing , so it's veryefficient . And it tries to do everything as fast as possible .Project Manager: Okay .Industrial Designer: And it always goes for uh security , in seeking uh uh a hidespot and uh and doing everything ,Marketing: Mm .Industrial Designer: security , speed and efficiency is important . And I think uh those things we can use.Project Manager: I agree .Industrial Designer: {vocalsound}Marketing: Okay .Project Manager: , I'm supposed to draw the animal next . Yay I introduce to theworld the amazing ant .User Interface: {vocalsound}Marketing: {vocalsound} Uh hard worker .Project Manager: Great team-workers .User Interface:{vocalsound}Industrial Designer: Yeah .Marketing: Yeah .Project Manager: Do everything to Uh really small , but together they're really strong . So I'm gonnagive it a smiley face .Industrial Designer: {vocalsound} Oh .Marketing: Yeah , yeah .Project Manager: Not sure where the p {gap} . Just put 'em here . Whatever. {vocalsound}Marketing: {vocalsound}Project Manager: Think it need shoes . So {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} I'm justtoo lazy to draw it all black , so {disfmarker} {vocalsound} That's the coolest ant ever .User Interface: You've done this before , haven't you ?{vocalsound}Industrial Designer: {vocalsound}Project Manager: I love to draw ants . It's my hobby .Marketing: {vocalsound}Project Manager: Anyway{disfmarker} Nah . {vocalsound} Just {disfmarker} I think it's very representative what we drew , I guess . Like you take {disfmarker} just take your freedomand use a a trendy interface that you design for us .Marketing: Yeah .Project Manager: Just {disfmarker} Yeah . You're supposed to make i make it different fromuh from what other people have , and just make it a little distinct . Anyway . {gap} another beep to stop the meeting . See . Warning . Finish meeting now . Uh"}
+{"doc_id":"doc_196","qid":"","text":"Project Manager: Okay . Hi everybody and welcome to our kick-off meeting um for our new product that we're gonna be designing . Um I'm Mandy and I'm theProject Manager . And I know all your names again , Courtney , Fenella and Amber .Marketing: Yep .Project Manager: Alright . Okay ,Industrial Designer: Yep.Project Manager: so first let's go through this PowerPoint . I wonder what button I press ?User Interface: Just do it on the {gap} arrow .Industrial Designer:{gap}Project Manager: Yeah , or how about I just click ? Okay , here is our agenda for this meeting . Um we're gonna start with our opening which was ourintroductions . {vocalsound} We're gonna get to know each other a little bit better . Um tool training , we're going to , I guess , figure out what to do on thisproject with our individual roles . Um we're gonna make a project plan and then have some time for discussion and close up the meeting . Okay , here is ourproject . We're gonna make a new remote control that's um original , trendy and also user-friendly . And how we are going to do it is each of us is going to um{disfmarker} We're gonna have {disfmarker} discuss the functional design first , {vocalsound} how is it gonna be used , what's the actual goal here , it has tooperate T_V_ , blah blah blah . And we're going to do individual work on that and then meet . Same thing with conceptual design . Just the basic overview of theproject and then we're going to do individual work , meet . That's pretty much the the whole process for today . And then the detailed design , just more in-depth, get the actual schematics of the remote . Okay . Alright . First we're gonna start off by using our tools . And the whiteboard thing , do you guys wanna give thata try even though the ink wasn't working or do you wanna do it on here .Industrial Designer: I think we should forgo the whiteboard since we can't actually seewhat we're writing .Marketing: We could {disfmarker} Yeah , we could on here .Project Manager: Alright , let's go forward then .User Interface:{vocalsound}Project Manager: Um right now so we're all gonna draw our favourite animal and then sum up our favourite characteristics of that animal . Even ifyou are not a good drawer like me .User Interface: {vocalsound}Project Manager: {vocalsound} Alright .Industrial Designer: Artistic skills , nil .User Interface:Fine .Project Manager: Um .User Interface: {vocalsound}Marketing: {vocalsound} Oh , thanks . {vocalsound}Project Manager: Bless you .Industrial Designer:{vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} I draw like I'm in grade five .Project Manager:{vocalsound} Oh do I .User Interface: {vocalsound}Project Manager: {vocalsound} 'Kay , about one more minute . {vocalsound} Okay .Marketing:{vocalsound}Project Manager: Okay . And who would like to start us off ?Marketing: I'll go .Project Manager: Alright .Marketing: {vocalsound} Um this is mypicture . I drew fish {disfmarker} {vocalsound} I like fish , because uh , you know , their whole water-vascular system thing .User Interface:{vocalsound}Marketing: It's pretty cool , and um they've got a pretty good habitat and they are pretty sometimes , sometimes vicious but that's okay .ProjectManager: {vocalsound} Only if they're piranhas .Marketing: Yeah .User Interface: {vocalsound}Marketing: Yeah , they they're easy , you know .Project Manager:Alright .Marketing: Yeah .Project Manager: Who wants to go next ?Industrial Designer: I'll go .User Interface: {vocalsound}Industrial Designer: I drew a kitty .It's pretty much impossible to tell that's a cat , but I love cats .Marketing: No I I see it .Project Manager: No , it looks like a cat .User Interface: No , I kne I knew.Marketing: Yeah , it does look like a cat .Industrial Designer: I love cats because they're independent , uh they pretty much know what they want , they get it ,they move on . {vocalsound}Project Manager: I love cats , too . I'm a cat person .User Interface: Yeah .Marketing: I'm allergic to cats .Project Manager: Uh.Industrial Designer: I'm allergic to cats , too . {vocalsound}User Interface: Ah .Marketing: {vocalsound} Oh , okay . {vocalsound}Project Manager: If you'rearound one {disfmarker}User Interface: In my next life .Project Manager: I had a roommate who was um allergic , but if she was around my cat forever shebecame used to it , you know ,Marketing: Yeah , yeah , if you're around them for a long period of time {disfmarker}Project Manager: it's weird . Okay .{vocalsound}Industrial Designer: I still can't sleep with them in my room .Marketing: Oh , yeah , this summer I , oh I had to live with cats . It was crazy .ProjectManager: Okay , Fenella ?Marketing: Yeah .User Interface: Um , I drew a badger . {vocalsound}Project Manager: Badger . Good choice .Industrial Designer: Yay.Marketing: Cool . {vocalsound}User Interface: {vocalsound} Well , yeah .Project Manager: Why a badger ?User Interface: {vocalsound} Uh I dunno , they'regrumpy and nocturnal and {vocalsound} {gap}Marketing: {vocalsound}Industrial Designer: {vocalsound} Are you trying to suggest something ?ProjectManager: {vocalsound}User Interface: Well , a little bit like the {disfmarker} Yes . Um . {vocalsound} And then , if you know Wind in the Willows {gap} badger.Marketing: Oh , okay .User Interface: Yeah and then uh I don't know if you know Brian {gap} . He's Liverpudlian writer .Project Manager: Alright .User Interface:Um {gap} , that kind of books . Badgers are cool in that one too . {vocalsound}Project Manager: Okay . And I'm last . 'Kay . Look at my sad sad giraffe.Marketing: No , that's good .Project Manager: No , no , no , it ends up looking like some kind of a dinosaur , but whatever . I don't know even much aboutgiraffes , but I just love the way they look . They're just such odd creatures , you know . I I like that they're so unique and individual , I guess . I don't knowmuch about their behaviour or anything , though . Only seen a couple in zoos .Marketing: You don't really have to , I mean , if you like 'em {disfmarker}ProjectManager: Yeah , but you can appreciate the way they look . Okay . Alright . Guess we're getting straight back into business here .User Interface: {gap}ProjectManager: Um the selling price for our remote is going to be twenty-five Euro , and our profit aim is fifty million Euro . We're going to make this an internationalproduct marketed in the States , in Europe , in Asia . And um our production cost to make that profit is gonna be a max of twelve fifty Euro per remote . Okay .So we're gonna talk for a little while . Um here are some topics that we might be able to discuss . Expe our experiences with remote controls um , our first ideasabout this new remote , anything that you can bring to the table for this project . So .User Interface: Now ?Project Manager: Yeah . You wanna start us off ?Anybody have anything to offer ?User Interface: {vocalsound}Industrial Designer: Well , we wanna make a multifunctional remote , right ?Project Manager: Right.Industrial Designer: One remote for everything .User Interface: And everything being {disfmarker} Wait , we have what , sound system , T_V_ , D_V_D_ ,V_H_S_ , uh TiVo ?Marketing: Right .Industrial Designer: Um . I think they'll be phasing V_H_S_ out shortly .Marketing: Yeah , TiVo .Project Manager: TiVo .UserInterface: But it's still there , soIndustrial Designer: Okay .User Interface: if po if we're gonna do it {disfmarker}Marketing: It needs to be compatible 'causeuniversal remote controls are never universal .Project Manager: They're never universal . That's right . Esp e especially if you buy a a not big product , D_V_D_player , say , usually it doesn't work if it's not one of the {disfmarker}User Interface: Or if it's not like a Sony , if it's like a {disfmarker} I don't know .ProjectManager: Yeah . Yeah . Something from Sam's club .Industrial Designer: So we'll have to figure it how to cover all the different variances in signals .ProjectManager: Yeah .Marketing: And what we need an insanely good instruction booklet , because you always have to reconfigure all your contraptions to go with theremote anyways .Project Manager: Yeah . 'Kay , and um another thing that I think is important is the d the design of the product , how it feels in your hand . Ifit's just flat and kind of boring th those don't {disfmarker} Nobody wants to buy those any more . They want the ergonomic ones .Marketing: They want like theflashy lights .Project Manager: Yeah .Marketing: Oh like this came from Las Vegas .Project Manager: Ones that ones that look high-tech , too .User Interface: Butat the same time are simple .Project Manager: Right .Marketing: Mm yeah .Project Manager: So that people like my mother can use it .Industrial Designer: Whatabout something with the curvature like that matches the curvature of a hand ?Project Manager: Yeah .User Interface: {vocalsound}Project Manager: 'Kay .Anybody have any experiences with remote controls that they can remember that {disfmarker}User Interface: Just bad ones . {vocalsound}Project Manager:Yeah {gap} . {vocalsound} That's true .User Interface: Um .Industrial Designer: What kinda battery would we want to use ? Because battery changing is usually{disfmarker}User Interface: D Double A_ .Marketing: Double A_ .Industrial Designer: Okay .Project Manager: Do some of them use triple A_s though ?Marketing:Yeah some use triple A_s .Project Manager: Okay .User Interface: Some but {disfmarker}Marketing: So double or triple ?User Interface: Yeah , I guess then it's{disfmarker} If we need to do triple A_ we can , but most people usually have double A_s around .Project Manager: Okay . Yeah . But that has to do with the sizeof it too . Well , w as long as we know that issue is {disfmarker}Industrial Designer: Yeah .User Interface: Right .Project Manager: Here we can{disfmarker}Marketing: Yeah , if we want it to be more thin , then we'd probably wanna go with a triple A_ .Project Manager: Triple A . ButIndustrial Designer:Can you {gap} with a small lithium battery ?Project Manager: it's okay , we don't have to decide about it now , just as long as we remember battery type and sizeis important .User Interface: {vocalsound}Project Manager: Hey . Anything else ? Alright . Moving along . Oh , we're closing the meeting . Next meeting is gonnastart in thirty minutes . Here's what we're going to do . Um the I_D_ , which is who ? Okay , you're going to think about the working design . What do you thinkthat means ? {vocalsound}Marketing: {vocalsound}Project Manager: Okay . And U_I_D_ , the technical fun functions design ,User Interface: Mm-hmm .ProjectManager: making sure it does everything that we need the remote to do , the functionality of it , operating all those different things . Okay . And the marketingperson , that's Courtney , is going to do the user requirements specification . I guess that means specifying um what exactly the user is going to be looking for .Right ? I would think so . Okay .Marketing: Right .Project Manager: And you're gonna get more specific instructions emailed to you in just a little while . Okay , sodoes anybody have anything they wanna say before we close the meeting ? Okay . This meeting is officially over ."}
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+{"doc_id":"doc_0","qid":"","text":"[PREVIOUSLY_ON]You make jumps you can't explain, Will. The evidence explains. Then help me find some evidence. I wouldn't put him out there! Should he gettoo close, I need you to make sure he's not out there alone. I don't think the Shrike killed that girl in the field. This girl's killer thought that she was a pig. Youthink this was a copycat? I think I can help good Will, see his face. Hello? They know.(gunshots)You said he wouldn't get too close.See?(gunshots)(knocking)Jack: We're here!(police radio chatter)Will: Could be a permanent installation in your Evil Minds Museum.Jack: Well, what we learnabout Garrett Jacob Hobbs will help us catch the next one like him. There's still seven bodies unaccounted for.Will: Yeah, well, he was eating them.Jack: Had tobe some parts he wasn't eating.Will: Not necessarily.Jack: All right, what if Hobbs wasn't eating alone? It's a lot of work. Disappearing these girls, butcheringthem, and then not leaving a shred of anything other than what's in this room.Will: Someone he hunted with.Jack: Someone who is in a coma, who alsohappened to be someone he hunted with.Will: Abigail Hobbs is a suspect?Jack: We've been conducting house-to-house interviews at the Hobbs residence, and,uh, at this property also. Hobbs spent a lot of time here. Spent a lot of time with his daughter here. She would make the ideal bait, wouldn't she?Will: Hobbskilled alone. Ah... someone else was here.[SCENE_BREAK](Applause)Will: Thank you. Please stop that. This is how I caught Garrett Jacob Hobbs. It's hisresignation letter. Does anybody see the clue? There isn't one. He wrote a letter, he left a phone number, no address. That's it. Bad bookkeeping and dumb luck.(gasping) Garrett Jacob Hobbs is dead. The question now is how to stop those his story is going to inspire. (projector click) He's already got one admirer. Acopycat.[SCENE_BREAK]Will: Hi.Alana: How are you, Will?Will: Uh, I have no idea.Alana: Um, I didn't want you to be ambushed.Will: This is an ambush?Alana:Ambush is later. Immediately later soon to now. When Jack arrives, consider yourself ambushed.Will: Here's Jack.Jack: How was class?Will: Um, they applauded.It was inappropriate.Jack: Well, the review board would beg to differ. You're up for a commendation. And they've, uh, okayed active return to the field.Alana: Thequestion is, do you want to go back to the field?Jack: I want him back in the field. And I've told the board I'm recommending a psych eval.Will: Are we startingnow?Alana: Oh, the session wouldn't be with me.Jack: Hannibal Lecter's a better fit. Your relationship's not personal. But if you are more comfortable with Dr.Bloom-Will: No, I'm not going to be comfortable with anybody inside my head.Alana: You've never killed anyone before, Will. It's a deadly force encounter. It's alot to digest.Will: I used to work Homicide.Jack: The reason you currently used to work Homicide is because you didn't have the stomach for pulling the trigger.You just pulled the trigger ten times!Will: Wait, so a psych eval isn't a formality?Jack: No, it's so I can get some sleep at night. I asked you to get close to theHobbs thing. I need to know you didn't get too close. How many nights did you spend in Abigail Hobbs' hospital room, Will?Will: Therapy doesn't work onme.Jack: Therapy doesn't work on you because you won't let it.Will: And because I know all the tricks.Jack: Well, perhaps you need to un-learn sometricks.Alana: Why not have a conversation with Hannibal? He was there. He knows what you went through.Jack: Come on, Will. I need my beautysleep![SCENE_BREAK]Will: What's that?Hannibal: Your psychological evaluation. You are totally functional and more or less sane. Well done.Will: Did you justrubber stamp me?Hannibal: Yes. Jack Crawford may lay his weary head to rest knowing he didn't break you and our conversation can proceed unobstructed bypaperwork.Will: Jack thinks that I need therapy.Hannibal: What you need is a way out of dark places when Jack sends you there.Will: Last time he sent me into adark place, I brought something back.Hannibal: A surrogate daughter? You saved Abigail Hobbs' life. You also orphaned her. That comes with certain emotionalobligations, regardless of empathy disorders.Will: You were there. You saved her life too. Do you feel obligated?Hannibal: Yes. I feel a staggering amount ofobligation. I feel responsibility. I've fantasized about scenarios where my actions may have allowed a different fate for Abigail Hobbs.Will: Jack thinks AbigailHobbs helped her dad kill those girls.Hannibal: How does that make you feel?Will: How does it make you feel?Hannibal: I find it vulgar.Will: Me too.Hannibal: Andentirely possible.Will: It's not what happened.Hannibal: Jack will ask her when she wakes up, or he'll have one of us ask her.Will: Is this therapy, or a supportgroup?Hannibal: It's whatever you need it to be. And, Will, the mirrors in your mind can reflect the best of yourself, not the worst of someoneelse.[SCENE_BREAK]Boy1: What is that?Boy2: I bet it's marijuana.Boy3: Mushrooms. Look, they got tubes to water 'em or something.Boy2: No, it's a marijuanaplant.Boy1: That's not marijuana.[SCENE_BREAK]Beverly: I'm pretty sure firearm accuracy isn't a prerequisite for teaching.Will: Well, I've been in the fieldbefore.Beverly: Now you're back in the saddle. Ish.Will: Ish indeed. Took me 10 shots to drop Hobbs.Beverly: Zeller wanted to give you the bullets he pulled outof Hobbs in an acrylic case, but I told him you wouldn't think it was funny.Will: Probably not.Beverly: I suggested one of those clackin' swingin' ball things.Will:That would've been funny.Beverly: You're a Weaver. I took you for an isosceles guy.Will: I have a rotator cuff issue so I have to use the Weaver stance.Beverly:You are tight.Will: I got stabbed when I was a cop.Beverly: Yeah, I got stabbed in the third grade with a number two pencil. Thought I was gonna get leadpoisoning.Will: Uh, no lead in pencils; It's graphite.Beverly: See if that helps with the recoil.Will: That was better. You come all the way down here to teach mehow to shoot?Beverly: No. Jack sent me down here to find out what you know about gardening.(crow cawing)Jack: So, Lecter gave you the all-clear. Therapymight work on you after all.Will: Therapy is an acquired taste which I have yet to acquire. But, uh, it served your purpose. I'm back in the field.Jack: Local policefound tire tracks on a hidden service road and some small animal traps in the surrounding area.Will: He wanted to keep his crop undisturbed.Jack: The only thingmissing is the scarecrow.[SCENE_BREAK]Jimmy: OK, we've got nine bodies, various stages of decay, and as you can see, all very well fertilized.Beverly: Heburied them in a high-nutrient compost. He was enthusiastically encouraging decomposition.Brian: They were buried alive with the intention of keeping them thatway. I mean, for a little while.Jimmy: : Long enough for the fungus to eat away any distinguishing characteristics.Brian: Line and rebar were used to administerintravenous fluids after they were buried. He was feeding them something.Will: No restraints?Jimmy: Just dirt.Beverly: The other end of the air-supply systemcomes up over there.It isn't a very considerate clean air solution, which clearly wasn't a priority, 'cause he isn't lazy.Will: No, he's not.Beverly: You find anyshitakes?Brian: : No.Jack: Welcome back.[SCENE_BREAK]Detective: Tell Sam to give me a call, will you? Thank you. Excuse me.Freddie: I'm one of the parentsof the explorers who found the bodies. I wanted to thank you for being so good with all the boys.Detective: Those boys were very brave.Freddie: They are goodboys.Detective: Yeah.Freddie: You're a local police detective?Detective: Yes ma'am.Freddie: Would it be an imposition to ask a few things? The boys are gonnahave questions and I just want to be as honest with them as-Detective: Of course.Freddie: Can you, uh, tell me what that man is doing over there byhimself?Detective: He's some kind of special consultant. Works for the FBI.Freddie: Huh.(sound muted)(soft ambient pulse)(Sound returns.)Will: I do not bind hisarms or legs as I bury him in a shallow grave. (ventilator pumping) He's alive. But he will never be conscious again. He won't know that he's dying. I don't needhim to. This is my design.[SCENE_BREAK]Detective: I think your family's leaving.Freddie: We drove separately.[SCENE_BREAK](muffled gasp) (Will gasping)Will:I need an EMT!(person gasping)Katz: EMT! We need an EMT!Officer Zeller: Don't touch him![SCENE_BREAK]Will: This may have been premature.Hannibal: Whatdid you see? Out in the field.Will: Hobbs.Hannibal: An association?Will: A hallucination. I saw him lying there in someone else's grave.Hannibal: Did you tell Jackwhat you saw?Will: No!Hannibal: It's stress. Not worth reporting. You displaced the victim of another killer's crime with what could arguably be considered yourvictim.Will: I don't consider Hobbs my victim.Hannibal: What do you consider him?Will: Dead?Hannibal: Is it harder imagining the thrill somebody else feelskilling, now that you've done it yourself? The arms.Why did he leave them exposed? To hold their hands? To feel the life leaving their bodies?Will: No, that's tooesoteric for someone who took the time to bury his victims in a straight line. He's more practical.Hannibal: He was cultivating them.Will: He was keeping themalive. He was feeding them intravenously.Hannibal: But your farmer let his crops die. Save for the one that didn't.Will: Well, and the one that didn't died on theway to the hospital, though they weren't crops; They were the fertilizer. The bodies were covered in fungus.Hannibal: The structure of a fungus mirrors that ofthe human brain an intricate web of connections.Will: So maybe he admires their ability to connect the way human minds can't.Hannibal: Yours can.Will: (laughs)Yep. Um yeah, not physically.Hannibal: Is that what your farmer is looking for? Some sort of connection?[SCENE_BREAK]Hannibal: Have a good evening,Will.[SCENE_BREAK]Hannibal: Miss Kimball?Freddie: Yes.Hannibal: Good evening. Please come in.[SCENE_BREAK]Freddie: I've, uh, never seen a psychiatristbefore. And I am unfortunately thorough, so you're one of three doctors I'm interviewing. It's more or less a bake-off.Hannibal: I'm very supportive of bake-offs.It's important you find someone you're comfortable with.Freddie: I can imagine you as my therapist, which is good. If I can't visualize opening up emotionally, Iknow it would be a problem.Hannibal: May I ask why now?Freddie: Do you mind if I ask you a few questions first?Hannibal: Of course not.Freddie: I love thatyou've written so much on social exclusion. Since that's why I'm here, I was wondering-Hannibal: Are you Freddie Lounds?Freddie: Ah...Hannibal: This isunethical, even for a tabloid journalist.Freddie: I am, uh, I am so embarrassed.Hannibal: I'm afraid I must ask for your bag.Freddie: What?Hannibal: Your bag.Please hand it over. I'd rather not take it from you. Thank you.Freddie: I was recording our conversation.Hannibal: Our conversation? Yours and mine?Freddie:Yes.Hannibal: No other conversation?Freddie: No.Hannibal: You were very persistent about your appointment time. How did you know when Will Graham wouldbe here?Freddie: I may have also recorded your session with Will Graham.Hannibal: You didn't answer the question. How did you know?Freddie: I can't answer"}
+{"doc_id":"doc_1","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. ABERNATHY RESIDENCE - DRIVEWAY -- NIGHT](The lamp post light over the driveway flickers out then goes backon again.)[INT. ABERNATHY RESIDENCE - MASTER BEDROOM -- NIGHT](Open on a framed photo on the bedside table of a man and a woman smiling. Cameramoves over and across the bed to the closed bedroom door. Under the door through the crack we see swirling smoke seeping into the bedroom.)[MARTHA JAMES'BEDROOM](MARTHA JAMES sleeps quietly in her bed.)[SAM ABERNATHY'S BEDROOM](Camera sweeps low across the floor - along the thrown puzzle pieceslittering the carpet and over to the bunk bed ladder. It rises up and finds SAM ABERNATHY sleeping in bed.)[SCENE_BREAK][SABRINA'S BEDROOM](The focus ison the neatly made bed and the stuffed animal on it. Smoke rises up from the floor to cover the bed like a cloud completely obscuring it from ourvision.)[SCENE_BREAK][EXT. ABERNATHY RESIDENCE - FRONT YARD - NIGHT - LATER](The bedroom windows explode and a stream of fire bursts out of thehouse. A fireman walking across the lawn ducks instinctively.)Fireman: Go pull a line towards the garage.(The house is on fire and fire fighters are attempting toput it out.)(Two firemen assist MARTHA JAMES and JESSICA ABERNATHY out of the house.Jessica Abernathy: Sam?Fireman: (o.s.) Knock it down.JessicaAbernathy: (hysterical) Sam? Where is Sam?Fireman: You're going to be all right.(The firemen lead MARTHA JAMES and JESSICA ABERNATHY across the lawnand away from the house fire.)Jessica Abernathy: What about Sam?! Sam!Fireman: I'm going to need you to stay right here, ma'am.Jessica Abernathy: Sam.Where is he? Where is...?(A FIREMAN pushes the door open and exits the house. He's carrying SAM ABERNATHY in his arms.)Fireman: Hey, I got one more!(TheFIREMAN carries SAM over to his mom and the medic.)Fireman: Here you go, pal. You stay right here with your mom.(The MEDIC takes SAM'S hand.)Fireman:Ma'am, is there anybody else in there?Jessica Abernathy: No.(The FIREMEN open another hose and aim it at the house. The house is onfire.)[SCENE_BREAK](CATHERINE and NICK carry their kits and walk toward WARRICK who is standing on the side on the driveway next to the ArsonInvestigator, JACK. They're both watching the fire.)Catherine: Hey.(WARRICK and JACK turn around.)Nick: What's with the 911 page? Fire's not even outyet.Warrick: Jack's an arson investigator. We were here on this same street ten days ago.Jack: Garage fire a few houses down. Deemed intentional.Catherine: Soyou think it's a serial?Warrick: I don't know, but I'm keeping my eyes peeled. Maybe they came back to take a look.Fireman: (o.s.) We got another one.(AFIREMAN comes out of the burning house carrying a body.)Fireman: Got another one.(He makes his way toward the medics. JESSICA ABERNATHY is completelyconfused, but she recognizes her own daughter.)Jessica Abernathy: Sabrina?Fireman: We need a paramedic right now. She's not breathing.(JESSICA kneels downnext to her daughter.)Jessica Abernathy: Sabrina, what are you doing here? You weren't supposed to be here. Sabrina?(The MEDICS work on SABRINA, but she'salready gone.)Jessica Abernathy: (sobbing) Please help me. Please.Catherine: I think our arsonist just turned into a murderer.(Camera rises up above the sceneof the PARAMEDIC working on SABRINA as sounds of her mother sobbing are heard.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK]FADEIN[EXT. ABERNATHY RESIDENCE -- NIGHT](The CORONERS zip up the body bag with SABRINA ABERNATHY inside and put the gurney in the back of theCORONERS' van. CATHERINE and JESSICA ABERNATHY stand off to the side watching.)Jessica Abernathy: She wasn't even burned.Catherine: Smoke inhalationhappens really fast. I'm so sorry. I heard you say she wasn't supposed to be home tonight. Was she with her dad?Jessica Abernathy: My husband died five yearsago in a car accident. She ... was at her friend Molly's house for a sleep-over. At least she was when I went to bed.Catherine: What time was that?JessicaAbernathy: I don't know, 11:00, 11:30.Catherine: Mrs. Abernathy, do you have any idea what may have caused the fire?Jessica Abernathy: I go to bed, I makesure the lights are off, lock the doors.Catherine: Do you know anyone who might want to set fire to your home?Jessica Abernathy: I go to work. I take care of mykids and my mother, and that's my life.[SCENE_BREAK][FRONT YARD - NIGHT - CONTINUOUS](NICK faces the crowd and takes photos of the curiousonlookers.)Nick: Thanks a lot.(He snaps more photos, then puts the camera down.)Nick: Okay, folks, any information you feel like you may have...(MARTHAJAMES taps NICK on his shoulder.)Martha James: How am I going to get my fosamax?Nick: Oh, well, I'll make sure you have your medications by breakfast,okay? You're going to be all right. Everything's okay.(A FIREMAN appears and pulls MARTHA JAMES off to the side.)Nick: This man will take care of you,okay?[FIRETRUCK (PARKED) - FRONT SEAT - NIGHT -- CONTINUOUS](SAM ABERNATHY points to something up above expecting the FIREMAN sitting next to himto explain it to him. WARRICK stands just outside the open passenger seat door and listens.)Sam Abernathy: What does that one do?Fireman: That one? Thatturns on the siren, so we can get to places really fast.Sam Abernathy: To help people burning inside?Fireman: That's right.Sam Abernathy: But not mysister.Fireman: Yeah. (He puts a hand on the little boy's shoulder.) I'm sorry, buddy.Sam Abernathy: It's okay.(SAM looks at the FIREMAN who looks past SAM atWARRICK.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. CASINO - BATHROOM -- NIGHT](In the middle of the bathroom floor is a very largedead man wearing a red shirt with \"735\" in white on the front.)Brass: So the morning cleaning crew found him. No ID, but this was in his pocket.(BRASS explainswhat he knows to SARA and GRISSOM. He shows the paper to SARA.)Sara: Looks like some kind of code.(She looks at the wordlist.)Grissom: \"735\"?Brass: Hisgoal weight? (BRASS shrugs. He gives up while he's ahead.) I'm going to talk to housekeeping.(He turns and leaves the rest room. SARA and GRISSOM stepforward to get to work. GRISSOM puts his kit down on the floor next to the body.)(He opens his kit and removes a camera. He takes a photo of the headwound.)Grissom: That's a nasty head wound.Sara: It's always reassuring to see an empty soap dispenser in a public bathroom.(SARA hands the bagged note toGRISSOM. She leans in close over the bathroom counter and looks at the cracked mirror with blood running down the front.)Sara: So I'm thinking this is how thevic got his head smashed in.(Through the reflection in the mirror, we see GRISSOM stand up behind SARA to look at the mirror.)(Quick flashback to: [BATHROOM- EARLIER] ADAM BRENNER hits his forehead against the mirror. The mirror cracks and ADAM falls back to the floor. Someone standing behind him stepsaside.)(End of flashback. Resume to present.)(GRISSOM holds out a swab. SARA takes it from him.)Sara: Thank you.(She takes a sample of the blood on themirror.)(GRISSOM puts on his latex gloves while staring at the blood stain on the floor. He sees something on the blood.)Grissom: It's common to find somethingin blood. Uncommon to find something on blood.(SARA watches him as he picks up the black thing. He looks down at the body and checks the eyes.)Grissom:Petechial hemorrhaging. Asphyxia.Sara: Head bashed in and asphyxiated. No soap was the least of his problems.(GRISSOM glances up atSARA.)[SCENE_BREAK][EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]Jack (arson Investigator): (V.O.) The smoke detectors' batteries are all dead.[INT.ABERNATHY RESIDENCE - SABRINA'S BEDROOM -- DAY](JACK, the arson investigator, shows CATHERINE, WARRICK and NICK through the house.)Jack (arsonInvestigator): Sabrina's was the only bedroom that sustained any fire damage at all.Catherine: Her mother thought that she wasn't home.(WARRICK takes aphoto.)Catherine: But she wasn't asleep.Jack (arson Investigator): Not in her bed.(CATHERINE walks over to the small space and finds SABRINA'S hide-away -books and other junk - evidence that a teenager had been there.)(Quick flashback to: SABRINA sits in the small space reading the book while music blares in thebackground.)(End of flashback. Resume to present.)Warrick: That would explain why the firemen didn't find her right away.(WARRICK takes a photo.)Jack (arsonInvestigator): But it doesn't explain what she was doing down there.Catherine: If you can explain the behavior of teenagers, more power to you.[KITCHEN](JACKkicks at the burned linoleum on the floor.)Jack (arson Investigator): Adhesive they use to put this stuff down is highly flammable. Crack in the linoleum, the firewill just seek it out and go for it.(CATHERINE looks up at the fluorescent lights on the ceiling. WARRICK takes a photo of the things on the floor.)(CATHERINElooks at the burned stove. WARRICK tries the back door. He opens it and closes it.)Warrick: (to JACK) This door's unlocked.Jack (arson Investigator): The firemensaid they only used one point of entry and exit: The front door.Catherine: Mrs. Abernathy said that she locked all the doors before bed.Warrick: Well, this couldbe how Sabrina got in. Comes home late, forgets to lock the door behind her. It's an opportunity waiting to happen.Jack (arson Investigator): Let's check out theliving room.(He turns and leads them into the next room.)[LIVING ROOM]Jack (arson Investigator): A few cheap, wood panel walls. Polyester curtains, couple offake plants. All highly flammable.(CATHERINE picks up an unburned bottle of alcohol.)Catherine: Plus ... a bar full of liquid fire with a low flash point.(She throwsthe bottle aside. JACK sees the broken table on the floor.)Jack (arson Investigator): Coffee table.(They both approach the remains of the sofa.)Catherine:Couch?Jack (arson Investigator): At some point, I think this was a couch.Catherine: This looks like a liquid pour pattern. High-intensity burn. You think this couldbe the point of origin?(Quick CGI flash to: The couch is on fire and burning. End of flash. Resume to present.)Jack (arson Investigator): I think this is the area ofheaviest damage. The fire spread up and out towards the kitchen.(JACK takes out a tape measure. His voice fades into the background.)[DOOR](WARRICK kneelsin front of the back door and fingerprints the door knob.)[DRIVEWAY](Meanwhile out in the car port, NICK looks around and finds a stack of newspapers onlyslightly burned. He moves the papers and looks at the concrete burns under it.)[LIVING ROOM](CATHERINE works on the sofa when WARRICK approaches her.He puts his kit down.)Catherine: How'd you do?(NICK walks into the room carrying the stack of newspapers.)Warrick: Uh, couple of weak partials. What you got,partner?Nick: Newspapers. I found them in the carport.Catherine: That's on the other side of the house.Nick: Yeah, it's kind of weird. Completely out of the pathof the fire and the firemen said they didn't put them there.Warrick: You know the fire down the street was in the garage.Nick: Well, maybe he started in the"}
+{"doc_id":"doc_2","qid":"","text":"ARC OF INFINITYBY: JOHNNY BYRNEPart TwoFirst Air Date: 5 January 1983Running time: 24:42[SCENE_BREAK]MAXIL: Take themaway.[SCENE_BREAK]ZORAC: Each and every time the Doctor returns to Gallifrey there's violence.HEDIN: Perhaps it is we who should modify ourapproach.ZORAC: He resisted the guard!HEDIN: We send armed guards when a friendly face and a welcoming hand would have sufficed. Are you surprised thathe resisted?[SCENE_BREAK]NYSSA: He's hurt. He must have proper medical attention.MAXIL: He'll recover.MAXIL: The compound is guarded. If you try to leaveagain, my men will shoot to kill. See that the Doctor knows.[SCENE_BREAK]THALIA: Well, where is he?CASTELLAN: The Doctor tried to evade security. Someforce had to be used. He'll be brought here as soon as he's recovered.THALIA: The situation is critical, Castellan.CASTELLAN: Of that fact I am more than aware.If I may pass? I must give my report to the Lord President.[SCENE_BREAK]DOCTOR: Not the most welcoming return.NYSSA: They've taken the main space-timeelement.DOCTOR: That's the only way to keep me and the TARDIS here.NYSSA: What do we do now?DOCTOR: We need a link. Something to prove theconnection between this creature and Gallifrey.NYSSA: And how are we going to find that?[SCENE_BREAK]CASTELLAN: Maxil. The Doctor is secure?MAXIL:Yes.CASTELLAN: The High Council wish to see him the moment he's recovered. And Maxil? See that he's there, or you answer to me.[SCENE_BREAK]TANNOY:KLM announces the arrival of the delayed flight from London.STUART: Excuse me. Tegan Jovanka?TEGAN: Yes.STUART: Robin Stuart.TEGAN: Oh.STUART: I'm afriend of Colin's.TEGAN: Hello. Colin told me you were travelling round together. Is he here?STUART: I'm afraid not.TEGAN: Oh. He is all right?STUART: Look,let's go into town and I'll tell you all about it, okay?[SCENE_BREAK]MAXIL: You're to come with us, Doctor.DOCTOR: There's no need for all the fire power.MAXIL:They have orders to kill at the slightest sign of resistance.DOCTOR: The Council Chamber, I suppose.MAXIL: Yes.DOCTOR: My companion is not involved inthis.MAXIL: Move. My orders are to take you both.[SCENE_BREAK]TEGAN: Two coffees, please.TEGAN: When did you last see Colin?STUART: Well, it'sdifficult.TEGAN: What do you mean, difficult?STUART: It's hard to explain. He's disappeared.TEGAN: Disappeared? Couldn't he have just wandered off?STUART:You're not going to believe this.[SCENE_BREAK]DOCTOR: Councillors.HEDIN: Doctor. A pleasure to see you again.DOCTOR: And you, Hedin. Nyssa, my oldfriend, Councillor Hedin. Councillors, my companion, Nyssa of Traken.THALIA: You are welcome to Gallifrey, Nyssa.NYSSA: Thank you.ZORAC: Well, Doctor, anunpleasant business, this. I'm sure you understand why the Lord President was forced to recall you.DOCTOR: Given the chance, I would have returnedwillingly.CASTELLAN: You've never proved as cooperative in the past.THALIA: If you remember, you were asked to return Romana, and you failed to doso.DOCTOR: Romana chose to stay in E-space.HEDIN: That's all past history.DOCTOR: Yes. Well, now that I'm here, Thalia, have you given any thought to what'shappened?THALIA: There hasn't been much time, Doctor.DOCTOR: Has anyone checked to see if my biodata extracts have been removed from the Matrix,Castellan?CASTELLAN: What are you suggesting, Doctor?DOCTOR: I would have thought that was obvious. None of this could have happened unless the creaturehad that information.CASTELLAN: I should have thought the most importantZORAC: Councillors. The Lord President.BORUSA: You too haveregenerated.DOCTOR: Indeed, President Borusa.BORUSA: And Nyssa of Traken, isn't it? Sorry to have kept you waiting. Please be seated, Councillors.BORUSA:This session of the High Council of Time Lords is now in progress.[SCENE_BREAK]TEGAN: It's the sort of thing the Doctor gets up to.STUART: Doctor?TEGAN: Afriend of mine. Have you reported this to the police?STUART: Of course, but do you think I could tell them the same story?TEGAN: Colin hasdisappeared.STUART: He's a foreign national, a hitchhiker. Unless there's proof of violence, they're not interested. It's the same in any country.TEGAN: We'll seeabout that.STUART: I can't get involved. What I've said is the truth, but I've lost my passport. I can't risk making a fuss.TEGAN: Marvellous, isn't it. First I losemy job. Not to worry, I think. I'll go and see my favourite cousin, cheer myself up. Now this.STUART: I'm sorry. What do you want to do?TEGAN: Tell me yourstory again, every detail. Then we'll go to the police. It's all right. I'll handle it alone.[SCENE_BREAK]BORUSA: The space-time parameters of the Matrix havebeen invaded by a creature from the anti-matter world. We know its composition and how unstable is the magnetism that shields it. The creature must beexpelled immediately if we are to avert disaster.DOCTOR: Without knowing its purpose here.BORUSA: Its presence here must be our first concern. Anti-mattercannot co-exist in harmony in our universe.DOCTOR: Lord President, this creature is here now because it bonded with me. To do so it needed something veryspecial, full and precise details of my biological makeup. Now, I didn't pass this information on. Somebody did. The question is who.CASTELLAN: We consideredthis, Doctor, but the implications are quite preposterous.DOCTOR: Chancellor, can bonding occur without the full imprint of a so-called bioscan?THALIA: Not tomy knowledge. But the power of this creature is outside the limits of what we know, Doctor.DOCTOR: Lord President, I ask for time to have this fullyinvestigated.BORUSA: I'm sorry, Doctor, but we must deal with the situation as it exists now. The time factor involved leaves only one course of action open tous. Commander!BORUSA: You know that capital punishment has long been abolished here in Gallifrey, but there is a precedent for a situation like this. Have younothing further to say, Doctor?DOCTOR: I have a great deal to say.NYSSA: You can't do this! You must destroy the creature.BORUSA: Child, do you think wehave not considered this? The creature is shielded. We have no way of tracing it.NYSSA: So you're prepared to kill the Doctor?BORUSA: Commander! Remove theDoctor to the security compound. As soon as the warrant is issued, you will convey him to a place of termination. I'm sorry, Doctor.NYSSA: No! Youcan't!DOCTOR: Executing me will not alter the fact there's a traitor at work on Gallifrey![SCENE_BREAK]STUART: What did they say?TEGAN: Foreigners getthemselves lost all the time. They'll make routine enquiries. Which means, as you said, they'll do nothing.STUART: Did you tell them about the crypt?TEGAN:Only that Colin was last seen there.STUART: So what now? We can't just abandon Colin.TEGAN: You are telling me the truth?STUART: Yes, I am.TEGAN: Let's seeif we can find Colin ourselves.[SCENE_BREAK]NYSSA: Time Lords, I beg of you, think what you're doing. The creature knew the TARDIS' location, time zonecoordinates, bioscan. That information could only have come from here, from Gallifrey.CASTELLAN: Only the High Council of Time Lords can extract such datafrom the Matrix. You too accuse us of treason.NYSSA: Can you deny the possibility? At least give the Doctor time.BORUSA: There is no time, nor can proof ofwhat you say change things. We must prevent the full bonding.NYSSA: But the Doctor is innocent.THALIA: What would you have us do? Spare the Doctor andcondemn untold billions to destruction? That is the choice we face here.[SCENE_BREAK]DAMON: Doctor.DOCTOR: Damon!MAXIL: I must speak to theDoctor.DOCTOR: He is a friend of mine.MAXIL: I have my orders.DOCTOR: You don't have to relish them so much.[SCENE_BREAK]BORUSA: We have listened towhat you say, but the decision must stand.HEDIN: Lord President, in view of what she says, couldn't we at least delay carrying out the judgement?THALIA: Wecan't risk it, Hedin.ZORAC: We're sorry, child, but truly there's no other choice.NYSSA: So much for your justice.CASTELLAN: All that remains is the warrant oftermination. The precise wording should be in the Matrix.HEDIN: What would we do without your diligence.BORUSA: This session of the High Council is nowadjourned.[SCENE_BREAK]DAMON: Nyssa of Traken, I am Damon, a friend of the Doctor's. We must talk, but not here.[SCENE_BREAK]HEDIN: Castellan.HEDIN:I'm worried by what both the Doctor and his companion have said.CASTELLAN: The possible connection between this creature and Gallifrey?HEDIN: Yes. And thefact that a Time Lord could be a traitor. You do intend to pursue it?CASTELLAN: They were both overwrought.HEDIN: But if it were trueCASTELLAN: I'm sure I'dknow if such a serious breach of security had occurred.[SCENE_BREAK]NYSSA: You're sure it was the Doctor's biodata extract?DAMON: Yes, I managed to pass itto him on his way to the compound.NYSSA: We must tell the High Council immediately.DAMON: But who to trust? Only members of the High Council have accessto biodata information.NYSSA: We must find a way to speak to the Doctor.DAMON: That could be difficult. He's closely confined.[SCENE_BREAK]TIME LORD: TheDoctor is to be terminated.OMEGA: Good. You are prepared?TIME LORD: Yes. The Matrix is already programmed.[SCENE_BREAK]MAXIL: You wanted to seeme?DOCTOR: Your guards will not allow me to leave the console room.MAXIL: They have their orders.DOCTOR: If I'm to die, I want to prepare myself mentally.For that I need to be alone.MAXIL: Which is the nearest room?DOCTOR: My companion's. It has already been searched.MAXIL: Then you may withdraw. But besensible, Doctor. If you try to lose yourself in the corridors of the TARDIS, my men will hunt you down, and your death will be far from dignified andpainless.[SCENE_BREAK]HEDIN: Nyssa, Damon.NYSSA: We had to see you, Councillor.HEDIN: I'm deeply sorry for what has happened.NYSSA: Councillor Hedin,we need your help.HEDIN: Anything I can do.NYSSA: We must see the Doctor. Can you arrange it?HEDIN: Difficult. The Castellan is very possessive about hischarges.DAMON: The Doctor isn't a criminal.HEDIN: True, but what has happened makes him very dangerous.NYSSA: Please, try.HEDIN: I said difficult, Nyssa,but not impossible. Especially with one so sensitive to public opinion as the Castellan is.[SCENE_BREAK]DOCTOR: My bioscan.[SCENE_BREAK]STUART: I justdon't think it's wise, that's all.TEGAN: I'm not scared to go into that crypt, if that's what you mean.STUART: Look, I feel bad enough about Colin. What ifsomething happens to you?TEGAN: Don't worry on my account. How much further is it?STUART: Just over the next bridge.[SCENE_BREAK]MAXIL: Waithere.DAMON: I feel there is something wrong.NYSSA: What?DAMON: The Castellan agreed too quickly to our visiting the Doctor. Even if he knows he can'trefuse, he always attempts to make it appear he's granting you permission. I mean, that's the Castellan's way.[SCENE_BREAK]DOCTOR: So soon? What aboutmy appeal?[SCENE_BREAK]MAXIL: You have visitors, Doctor.NYSSA: Doctor.DOCTOR: How did you get in here?NYSSA: Councillor Hedin arranged it with the"}
+{"doc_id":"doc_3","qid":"","text":"OPEN IN LORELAI'S FRONT YARD[An airport shuttle van drops Lorelai and Rory off in front of their house, then pulls away]LORELAI: Agh!RORY: And we'rehome.LORELAI: How long does a freakin' van ride take?RORY: Not that long!LORELAI: Everybody in the world's life flashed before my eyes. That's how much timeI had. I thought we were gonna die on that van.RORY: It seemed a good possibility.LORELAI: Ugh, that van ride felt longer than our train ride from Paris toPrague, and we had that group of French boys singing Sk8er Boi and smelling like a soccer field sitting all around us.[Babette comes out of her house and rushesover to them]BABETTE: Oh my God, you're back! Morey, they're back! Are you hurt? Are you bleeding?LORELAI: Oh, we're fine.BABETTE: You're fine? They'refine! Morey!MOREY: [opens his front door] Yeah?BABETTE: They're fine!MOREY: Okay. [goes back inside]BABETTE: What the hell happened to you two?According to the itinerary that Rory gave me, you were supposed to be home on Saturday.LORELAI: The itinerary that Rory gave you?BABETTE: So when yougirls didn't show up, we panicked! Morey?MOREY: [opens front door] Yeah?BABETTE: Didn't we panic?MOREY: Yeah. [goes inside]LORELAI: Hey, Morey, you everthought about just staying out here at times like these?BABETTE: By Sunday night, I was a complete basketcase. I thought you'd been kidnapped by some crazySandinistas or something.LORELAI: 'Cause the Sandinista movement is so popular in France.BABETTE: So, finally, I just started calling consulates.RORY:Consulates?LORELAI: How many consulates?BABETTE: Ah, jeez, all of 'em. Anyhow, you're here. Let's go inside, I wanna hear all about Europe. Morey, I'm goingin!MOREY: [calls from his house] Okay.[Babette goes into Lorelai's house]LORELAI: You gave her an itinerary?RORY: I thought it would be good for someone toknow where we were.LORELAI: Oh, you gave her an itinerary and she called every consulate in the world.RORY: If we were caught smuggling hash over theborder and we were thrown in some Turkish prison, wouldn't you want someone to know that we were in Turkey?LORELAI: Where'd we get this hash we weresmuggling?RORY: You were at a café, you met a guy, he was sweet-talking you, he put the stuff in your purse when you weren't looking.LORELAI: At least tell mehe was cute.RORY: He was not bad for a hash dealer.LORELAI: Hm.[they walk into the house]BABETTE: [calls from the kitchen] I'm making cocoa!LORELAI:She's making cocoa 'cause you gave her an itinerary.RORY: I may have given her the itinerary, but you're the one who got us busted for drugsmuggling.LORELAI: Reality has absolutely no place in our world.[they walk to the kitchen]BABETTE: Okay, I wanna hear all about Europe. Come on, tell me,what'd you see?LORELAI: Well, everything. Uh, Notre Dame, the Roman Baths, St. Peter's Basilica.RORY: Mom touched the Pope.BABETTE: You'rekidding!LORELAI: Actually, I just touched his car. Then one of the Swiss guards in the fruity cool clothing busted me.RORY: Luckily, Mom's fluent inflirting.LORELAI: And flirting with a guy in a pompom hat and a skirt is quite an accomplishment.BABETTE: Well, it sounds like you had a terrific trip.RORY: Itwas. [Lorelai signals for her to fake a yawn, and Rory does]LORELAI: Aw, are you okay, hon?RORY: Yeah, I'm just a little sleepy.BABETTE: Aw, of course, yougirls must be wiped. I'll, uh, get out of here.LORELAI: Oh, but thanks, Babette.BABETTE: Well, goodnight, sleep tight. I'll talk to you tomorrow. Morey, I'mcoming home! [leaves]RORY: I'm gonna go unpack.LORELAI: Oh, unpack tomorrow.RORY: No, if I leave stuff packed overnight, everything's gonna getgross.LORELAI: Everything's already gross.[they walk into Rory's bedroom]RORY: Ahhh.[Rory walks to the closet as Lorelai gets on the bed]LORELAI: Oh myGod, your bed feels good.RORY: Do not get comfortable. I will sleep on top of you if I have to.LORELAI: Oh man, smell this. [holds up a pillow]RORY:What?LORELAI: I forgot that pillows don't have to smell like feet. You know, I have to say, I think it's good I did this hostel thing in my thirties, and I'll tell youwhy.RORY: [hugging the clothes in her closet] I missed you, I missed you all!LORELAI: If I had done it in my twenties or teens, I would've been naïve enough tothink that hostels were exotic and romantic. But once you're in your thirties, you've lived enough to know they're gross and should be avoided at all costs.RORY:[to her clothes] I had a dream about you in Copenhagen. You were there, and you, and you, and you.LORELAI: Listen, since we slept on the plane, we should goto sleep now, but get up really early tomorrow. We don't wanna blow this whole week being jet-lagged. We need to establish normal sleeping patterns.RORY:Fine.LORELAI: Okay. I'm gonna go take a shower and leave you alone to make out with your sock drawer.RORY: Close the door.[Lorelai leaves. Rory pulls openher sock drawer]RORY: Hello, boys.[opening credits]CUT TO LORELAI'S HOUSE[Rory is organizing the souvenirs in the living room. Lorelai walks down the stepstalking on the phone]LORELAI: [on phone] Gilmore, Lorelai, yes. My daughter's name is Lorelai also. Well, very confusing or, in your case, extremely convenient.Uh, no, see, we were never missing, it was a big mistake.RORY: Who are you talking to?LORELAI: Belgium.RORY: Ah.LORELAI: [on phone] Yes, uh huh, BabetteDell. She got our arrival dates mixed up and she was just worried, but we're fine, we're here. We just loved your fries. Okay, sure, bye bye. [hangs up] Okay,Belgium's done, Lisbon's calling me back, Berlin had no idea what I was talking about, and Paris is pissed.RORY: At who?LORELAI: Ugh, who knows? Okay, I'mtaking a break and then I'm taking on the Netherlands. I still cannot believe Babette did this.RORY: She just loves us.LORELAI: Well, be a little less lovable, wouldyou, 'cause it's costing me a fortune. Try being one of those kids where people are like, \"Oh really, she was kidnapped? Hey, well, thin the herd.\"RORY: Very nice.Hey, who are the rosary beads for?LORELAI: They're mine.RORY: What do you need rosary beads for?LORELAI: They're cute.RORY: They're for prayer.LORELAI:Well, pray they match my blue suit?RORY: They have just upgraded you to a queen-size bed, Jacuzzi tub, junior suite in hell.LORELAI: Hm. Oh, Pietaplacemat?RORY: Oh, Gypsy.LORELAI: How are you feeling?RORY: You know, not bad. Just a little spacy.LORELAI: Like a cold medicine buzz?RORY: Maybe we gotlucky and missed the jet lag.LORELAI: I hope so because we have a very big week ahead of us.RORY: Oh yeah?LORELAI: Yes. In fact, I have here in my hand aschedule of all the activities we are going to partake in over this week, the final week of Rory Gilmore's life before she enters the ivy-covered hallowed halls ofYale University.RORY: Schedule, please.LORELAI: Okay. Today we get these presents out to our friends and then we hit the mall.RORY: Got it.LORELAI:Tomorrow we get an early start and we hit three of the crappier movies that are out.RORY: And then we have dinner at Grandma's.LORELAI: Which I willconveniently not put down on my list in the hopes that that magically goes away. Uh, okay, the next day we hit New York, see your fancy art galleries, hit theStrand.RORY: Yes!LORELAI: Pizza at John's. Um, Sunday, pick up all the stuff you need for school, and then there's a barbecue at Sookie's. Monday is mani/pedi,facial, haircut, go to the psychic, and stock up for Tuesday, the day of all days - Godfather I, II, and III, with extra showings of the Sofia death scene over andover as long as the Mallomars hold out.RORY: The perfect day!LORELAI: I agree.RORY: And I think we have just enough of the biscotti that we brought back fromMilan to last us the rest of the week.LORELAI: Oh, good. Well, everything's in order, so, uh, let's get going and get this stuff out of here.RORY: Okay.LORELAI:Wow, we sure have a lot of gifts. Do we like this many people?RORY: I didn't think so. Maybe we're getting soft in our old age.LORELAI: Okay, well, I guess weshould get some tote bags.RORY: What tote bags?LORELAI: We must have tote bags.RORY: Where would we get tote bags?LORELAI: Excuse me, every womanwho's ever purchased seventy-five dollars worth of Clinique products has some tote bags.RORY: We don't have tote bags.LORELAI: Well, how are we supposed toget this stuff out of here?CUT TO SIDEWALK[Lorelai and Rory walk down the street wearing their backpacks]LORELAI: Now we're the quirky backpackladies.RORY: One of the kinder nicknames that have been attributed to us.LORELAI: Let's just be very efficient about this. Okay, we'll start with Patty, work ourway clockwise around the town, end with Andrew. And let's stick with the 'my mom touched the Pope' anecdote. It's quick, it's peppy, and everybody likes a nicePope story.RORY: Do we have time to stop at Luke's? I'm starving.LORELAI: Absolutely. This is our week, this week we do anything we want.RORY: I like thisweek.LORELAI: Hey, I wonder if Luke and Nicole actually went on that cruise.RORY: I thought he was going.LORELAI: Yeah, I know, but I wonder if he actuallywent.RORY: Why wouldn't he?LORELAI: Well, I don't know. Because he'd have to pack and leave, plus he'd have to buy a bathing suit.RORY: Well, I hope hewent. He could use a good vacation. Plus, he really seems to like Nicole.LORELAI: Mmhmm. Yeah, he does. Oh, hey, looks like the soda shop is open.RORY: Oh,cool.[They stop outside the soda shop and see Luke and Taylor arguing inside]LUKE: I am gonna kill you.TAYLOR: Oh, please, you are not.LUKE: I am, too. I'mgonna kill you. I should've killed you before. I should've killed you the minute you put up those unicorn topiaries in the park, but, hey, hindsight, right?RORY: Aw,I've missed that.LORELAI: What do you think, biscotti moment?RORY: Absolutely.[Lorelai and Rory eat biscotti while they watch Luke and Taylor argue]TAYLOR:You don't have to yell, Luke.LUKE: You put a giant window in my wall.TAYLOR: So what?LUKE: A giant window! Right here! You can see my entire diner. Andwhen I'm in my diner, I can see your whole stupid store.TAYLOR: I don't understand why yours is a diner and mine is a stupid store.LUKE: Look at this place!Look at you. All you need is six dancing penguins and Mary Poppins floating in the corner to bring back two of the worst hours of my childhood.TAYLOR: I don'tthink you had a childhood. I think you came out a bitter surly killjoy.LUKE: You can't change the basic structure of this place without my okay! What?TAYLOR:Your hand is near the wax lips.LUKE: So?TAYLOR: If you could just move it so you don't accidentally touch the candy. Lucas. [Luke rummages through thedifferent boxes of candy] What are you doing? You stop that right now!LUKE: [throws candy in the air] Look at all the pretty candy!TAYLOR: Agh, stop it rightnow!LORELAI: [gasps] Oh my God!RORY: Hm, what? What's the matter?LORELAI: Luke.RORY: Yeah, he's finally lost it.LORELAI: No, we forgot Luke.RORY: Weforgot Luke what? Oh, we forgot to bring him back a gift. Oh no!LORELAI: We kept putting it off and putting it off.RORY: We couldn't find anything goodenough.LORELAI: We should've gotten him that bullfighter's uniform.RORY: Well, so what do we do?LORELAI: Well, we have to just pick up something here and"}
+{"doc_id":"doc_4","qid":"","text":"[Scene: Paige's car. Paige is driving along the road, talking on her phone to Phoebe.]Paige: Okay, so I've stopped at five herb shops but I finally found some eyeof newt. So if it's good enough for Shakespeare's witches, I figured it'd help us put a serious dent in Cole.Phoebe: Look, we've tried everything to vanquish himbut nothing works, okay. So I just say we watch our backs and get on with our lives. Speaking of which, do you think eye of newt would work on the womanthat's trying to sue me?Paige: Is she demonic?Phoebe: Well, she's demonically stupid. Paige, I am seriously worried that I'm going to lose my job over this.Paige:For giving bad advice in your column?Phoebe: No, the advice wasn't bad, I never told her she should leave the guy at the altar.Paige: Either way, what happenedto freedom of the press?Phoebe: Well, apparently some dirt bag lawyer is finding a way around it. (Paige passes a demon wearing a suit, standing on the side ofthe road. He waves his hand and something blows on her car. Her car spins out of control and Paige screams.) Paige? (Paige's car crashes into another car andshe is knocked unconscious.) Paige, are you okay? Paige, do you hear me? Are you okay? Paige.[Scene: A demonic strip bar. Women in bikinis are dancing on thestage, while demonic men watch them close by. Cole is amongst the demons, watching a dancer straight in front of him. The demon from the street shimmersinto the middle of the room, who a waitress bumps into. He looks around and approaches Cole.]Demon: Cole.Cole: How'd it go?Demon: It was beautiful.Cole:Was the other driver hurt?Demon: Oh, yeah.Cole: Good.Demon: Now all you gotta do is a little mind control on the witnesses and maybe a cop, and we'regolden.Cole: Let's get outta here.(Cole starts to get up but a dancer walks over and pushes him back down.)Dancer: No time for one little dance?Cole: Kaia, I waswaiting for you earlier.Kaia: I'll make it up to you.Demon: Boss.(Cole gives him a look and he walks away.)Cole: You know what I want.(Kaia shapeshifts intoPhoebe and gives him a lap dance.)Opening Credits[Scene: Hospital. Room. Piper, Phoebe and Paige are there. Paige is in the hospital bed, Phoebe sits on theend of the bed, and Piper sits beside in a chair.]Piper: Are you sure you don't want to call Leo?Paige: No, no, it's just a mild concussion and besides, I don'tdeserve to be healed. I know better than to talk on the phone and drive, I don't know what I was thinking.Piper: Do you remember what happened?Paige: I wasspeaking to Phoebe and then the next thing I know the car just started spinning out of control.Phoebe: Hm, it's kinda like my career.Paige: Oh, honey, it's notthat bad is it?Phoebe: I think it is. The newspaper's lawyers wanna meet with me and I don't think it's because they're huge Phoebe fans.Piper: Well, I'll see youyour career and raise you my club. The health inspector's coming back today and the plumbing just exploded, again.Paige: What is going on with us? Is Mercuryin retrograde?Phoebe: Have you thought about using a magical band-aid?Piper: I'd do it in a heartbeat if I wasn't afraid of the personal gainconsequences.Phoebe: See, this is why demons always have the upper hand, you know. They can use their magic whenever they want to.Paige: Yeah, well, youknow, that's what separates good from evil.Phoebe: Yeah, I know that but it's still very tempting. I mean, you could fix your plumbing, I could turn some lawyersinto toads.Piper: Aunt Phoebe, little wiccans have very big ears that can hear you.Phoebe: Oh, I'm sorry, baby, I was only kidding! Mostly. (to Paige) Are yougoing to be okay because I have to go get fired now.Paige: You are not getting fired and I'm fine.Phoebe: From your mouth and god's ears. (She kisses Paige onthe head and turns to Piper's stomach.) Okay, bye, my little niece.(She kisses Piper's stomach.)Piper: You're smashing me.Phoebe: I love you.Piper: Get offme!(Phoebe leaves.)Paige: This is no segue but you and I need to talk about vanquishing Cole.Piper: 'Cause we don't have enough problems at themoment?Paige: No, because he's actually our biggest problem at the moment. Okay, look at Phoebe, it's totally beaten her down.Piper: I don't know, she seemedkind of cheerful considering the state of her career.Paige: That's this wonderful thing called denial. Okay, the Phoebe I know would never roll over for lawyers likethat. This morning when I was talking to her about vanquishing Cole, she told me I was wasting my time. I'm telling you she is off.Piper: Alright, okay, already.Well, we'll spend the afternoon with our noses in potions. But can I go save the soul source of our income first?Paige: Yeah, go, I'll see you later.Piper: Are youokay to orb?Paige: I'm perfectly fine to orb. Go.Piper: Alright.(Piper leaves the room. Paige gets up to get dressed and two police officers knock at the door.)Cop#1: Paige Matthews?Paige: Yeah?Cop #1: You're under arrest.[Scene: Cole's office. Cole's there. The demon stands at the doorway.]Demon: Felony hit and run.She's going down.(He walks over to Cole.)Cole: And P3?Demon: Health inspector's there, our guys are in place. I've gotta say, using the law to bring down theCharmed Ones was genius, sir. They'll never figure it out.Cole: Oh, they will figure it out, it'll just be too late. (He shows him some blueprints of the manor.) TheHalliwell manor. The doorway to the spiritual nexus. All the power that we need.Demon: Oh, man. Right under the witches' house. Who knew?Cole: I did.Demon:Is that why they're so damn strong?Cole: Ah, partly. The Nexus packs a punch. The power can go either way, in good hands, good gets a power boost. But whenwe tap into it, evil spreads.Demon: How far?Cole: Far enough. The police, the politicians, and Phoebe. She will be consumed by evil and she will finally give intoour love and then I will torture and kill her sisters and we'll live happily ever after.Demon: Sir, I thought the point of all this was to give you the power toreorganise the Underworld above ground.Cole: Yes, it is, it is. But to be united, evil must have a happy leader and for me to be happy, I need... (Phoebe walks incarrying a picnic basket.) Phoebe, what are you doing here?Phoebe: I came to see you, baby. I thought we could have a little picnic.(She walks over to him andgives him a big kiss on the lips.)Cole: Kaia, what the hell do you think you're doing?(Phoebe shapeshifts into Kaia.)Kaia: Damn, how'd you know it was me?(Shecurls her hair around her finger.)Cole: Well, for starters Phoebe hates me and she doesn't drink and she uses a little less tongue.Demon: Since when does astripper follow a guy back from work?Cole: Hey, hey, hey, Dex, go easy, she's got a little crush.Dex: With all do respect, sir, Kieran demons are manipulativevixens and this one has an agenda that goes way beyond a little crush.Cole: Sure, she can smell power, can't you Kaia? Maybe she wants to be my newqueen.Kaia: Just send this one away and I'll prove my worth.(She strokes his chest.)Cole: I'm afraid I can't, I'm in love with someone else.Kaia: But I can giveher to you, I can be her.Cole: No. You're good for the occasional dance but beyond that I need the real thing.Dex: Alright, you heard him, get out and stay gone.Otherwise, I'll make sure you do.(Kaia storms towards the door.)Cole: Not like that. Go out the way you came in. In this office we keep up appearances.(Kaiashapeshifts into Phoebe.)Phoebe: You want me, I can feel it.(She leaves.)Dex: Insolent.Cole: Hot though.[SCENE_BREAK][Scene: P3. Piper, Leo and the HealthInspector are there. The Inspector has stamped a file saying 'condemned'.]Piper: Oh, no, no, no, don't do that. Come on, you've gotta give me anotherchance.Health Inspector: And why is that?Piper: Because, because, because...Leo: Because we've been in business nearly four years and we haven't failed aninspection yet.Health Inspector: Well, I'd have to disagree with that, Mr. Wyatt. You've failed two this week.Piper: Yeah, but this week has been bad, likestrangely bad and we'll have the plumbing fixed tomorrow so can't you just come back then?Health Inspector: Well, your record has been impeccable until now.(A rat squeaks and crawls past his feet.) Whoa, hello. (Piper gasps.) Rats too.Piper: No! No, we don't have rats. They don't live here. They're just, they're justtrying to ruin my life.Health Inspection: Rodent infestation takes longer than a day to clear up. Close down, address the problem, and we'll schedule anotherinspection in a few weeks.Piper: I won't need another inspection in a few weeks because if I stay closed that long, I'll be out of business.Health Inspector: Sorry,there's nothing I can do.Leo: Alright, well, I'll show you out.(Leo and the Inspector head for the door. Piper grabs a broom.)Piper: Where are you? (She chasesthe rats with the broom.) I hate you, I hate you. Go home! Get out of here you plague spreading, club ruining rodent. I will get you!(She tries to blow up the ratbut misses and gets a chair. Leo walks back in.)Leo: Piper, what are you doing?Piper: Diminishing the rodent population obviously.Leo: Come on, honey, we'regonna get through this.(Piper goes over and sits on the stairs.)Piper: Yeah, we will but the club won't. How can this be happening? I mean, I know I've neglectedthe club since I've been pregnant but not this much.Leo: These things happen, it's just bad luck.Piper: No, it is more than bad luck, it is sabotage, it is... it'sdemonic.Leo: What?Piper: Well, yeah. Phoebe's lawsuit, Paige's accident... Well, that's it, it's all part of it, it has to be.Leo: Why?Piper: Because I said so and ifnot, we're losing the club which is just not an option.(Piper and Leo leave the club. The rats turn into two demons.)Rat Demon #1: Damn. She missed me by thismuch.(They blink out.)[Scene: Police Station. Paige, Darryl and a cop are there.]Cop: This way, Ms. Matthews. (The cop stands Paige next to a wall with the linesto measure her height. He walks over to the camera.) No film.Darryl: Try the filing cabinet. She's not going anywhere.(He walks away.)Paige: Why, why am I notgoing anywhere? You've always helped us before.Darryl: With your other problems. This is not others.Paige: I am not so sure.Darryl: Paige.Paige: I didn't dowhat they're saying I did. And if anybody is trying to set me up it would be a de... others.Darryl: Officer Garcia is not others, nor is he in league with any others,he's a good cop and he saved my ass on many occasions.Paige: Oh my god, I think I see what is going on here. Phoebe's lawsuit, Piper's club... You have to getme out of here otherwise it's just going to get worse.Darryl: Listen, I am a Lieutenant now, I can't just bend the rules like I used to. (The cop comes back withfilm. Darryl hands Paige a board with her name on it.) Even if I could, this is legal problems. I-I can't just make those go away.(Paige holds up the board and thecop takes the photo.)[Scene: The Bay Mirror. Elise's office. Phoebe and Elise are there.]Elise: We can't just make it go away. She have a strong case formalice.Phoebe: I don't understand. How does she have a strong case?Elise: She is claiming that a result of your own bitter divorce, you've made it your missionto destroy other marriages.Phoebe: That is ridiculous.Elise: (reading from newspaper) \"If you have any doubts, any doubts at all, I suggest you flee at the speedof a baby cheetah at suppertime.\"Phoebe: I was using hyperbole.Elise: I know that. But she's collected dozens of similar clips and she's threatening to go to the"}
+{"doc_id":"doc_5","qid":"","text":"New York is dangerous littered with thieves we've no morals here we just do as we please but I don't wanna go home where they all stare at me 'cause I'mtattooed and fired up and drunk and obscene. You wear your religion like a war sweater, you ask for the truth but you know you could do so much better and yousat on your fences and you screamed, \"no retreat\" so what will your legacy be?AT CLOTHES OVER BROSJulian : I love your daughter. I'm in love with her. Wouldyou ask her to call me, please?I look closely to which speaks from pride. I love you I swear it I would never lie but I fear for our lives and I fear your closed eyes.'cause you wear your religion like a war sweaterAT CLOTHES OVER BROSBrooke : Well, you're here late.Victoria : Yeah. The competition never sleeps.Brooke :Any messages?Victoria : Uh, no. Nothing that matters.And you screamed, \"no retreat\" so what will your legacy be? And what will your legacy be?AT LUCAS'SHOUSESawyer: Ouain !Lucas : Shh, shh. It's okay. Daddy's here.AT THE HOSPITALLucas : You know. If you keep letting these root-beer floats go to waste, I'mgonna have to start drinking them. I'm kidding. They'll be here when you wake up. You know who else will be here when you wake up is, uh... god, our beautifuldaughter. She's, uh... You should see her. She's amazing, Peyton. But she needs you. And so do I. Come on. You promised. You promised.OUTSIDE THEHOSPITALJulian : You need to go home, Brooke. You've been awake for the better part of the last four days, and it's not healthy.Brooke : I need to be here whenshe wakes up. What is that?Julian : Every fashion magazine I could find.Brooke : But you just saidJulian : Yeah, but I knew when I said you needed to go homethat you'd say you needed to be here when Peyton woke up, because you're stubborn, Brooke Davis.Brooke : You don't know me.Julian : I think I do.Brooke :She needs to wake up.AT RED BEDROOM RECORDSMia : Yeah, I know. Everything's fine. Just, you know, call if you hear anything, okay? Thanks, Haley.Chase :No word?Mia : No ... word. Lucas must be so freaked out.Chase : Peyton's a badass. She'll be okay. What you got there?Mia : My new record.Chase : Let me seethat. My girl's such a rock star. You did good, Mia Catalano.Mia : We did good ... me and Haley and Peyton. Peyton really should be here for this ... Red bedroomrecords. Can I help you? Um, Peyton's not here right now, but ... she'll be back soon.AT THE HOSPITALLucas : You know, I, uh ... I'm in a little... I'm in a littleover my head here. I took her home, and, uh ... I'm doing what I can, but... but she needs her mom. I need her mom. She doesn't even have a name. We weresupposed to do that together. I can't do this without you. And I'm just ... afraid ... that we're gonna lose you, and it's just gonna be the two of us. And shedoesn't even have a name.Peyton : Sawyer. Her name's Sawyer, okay?Lucas : Okay. Sawyer Scott. God, you scared me. Oh, my god.Brooke : Peyton.Peyton :You said you would disown me if I left without permission.Brooke : Yeah. I'm about to be your second-best girl when you meet your new one.Peyton : Is sheokay?Lucas : She's beautiful.Peyton : Can I see her?Brooke : She's right outside. Hang on.Lucas : I should get the doctor.Peyton : No. I just want it to be youand me and our daughter for a minute.Lucas : Okay.Karen : Well,well.Lucas : Mom.Karen : My baby's had a baby. And she's beautiful.Peyton : Hi, Sawyer. Doyou remember me? I missed you. I'm gonna love you forever. She's perfect.AT SCOTT'S HOUSEJamie : Hey, dad, when you get back to Charleston, tell Nino heneeds to stop shooting so much, okay?Nathan : Nino's not there, buddy.Jamie : How come? Did they fire him?Nathan : He's playing for the clippers now. Theycalled him up.Jamie : When are they gonna call you up, dad?Nathan : I don't know, Jamie. Maybe never.Jamie : It's okay. At least you're still a chief.Nathan :Yeah. All right. All set.Jamie : I'll take it.Nathan : Thanks, buddyAT BROOKE'S HOUSEJulian : What's that?Brooke : Sam's new home.Julian : I miss thatgirl.Brooke : Yeah. So I guess you have to be getting back to L.A.Julian : Yeah. I mean ... I mean, we're prepping the new movie.Brooke : Yeah, I haven't evenasked what it's about.Julian : You know, boy meets girl, boy loses girl. Anyway, it was great getting to spend time with you, Brooke, even considering thecircumstances.Brooke : Yeah, you too. Thank you ... for staying with me.Julian : Yeah, well, I wanted to make sure Peyton was gonna be okay.Brooke : Ofcourse. Well ...Lay your ray down you're the one. I could run, I could run for the life of me but where would that get me? Where would that lead? I'm a fool forwaiting so long 'cause you come around, come around come around, come around to me there's something in between you and IJulian : I love you, Brooke Davis.I love you so much.Brooke : Don't say it. Just kiss me. You feel like breathing come around, come around, come around, come around to me. Can't you seeyou're my life?AT LUCAS'S HOUSEKaren : Do you want me to take her so you can get some rest?Peyton : Mm, no. I want to hold her forever. Hey, Karen, thankyou... for the way you raised Lucas and the man that you taught him how to be.Karen : You're welcome. But I was just being a mom. You'll see.Come around,come around, come around, come around to me come around to meAT MOUTH'S OFFICEMouth : Hey, what are you doing down here?Millicent : I don't want to goback to New York.Mouth : And I don't want you to go back to New York.Millicent : But I have to.Mouth : I know.Millicent : I'm just gonna have to talk toBrooke.Mouth : And say what?Millicent : \"I don't want to go back to New York. \"Mouth : Straight and to the point. I like it. Come on.OUTSIDE LUCAS'SHOUSEKaren : I remember sitting on these steps, talking to you about joining the ravens.Lucas : That seems so long ago.Karen : It feels like yesterday, actually.Lily wrote you a letter.Lucas : She's writing already? What, was she born, like, four days ago?Karen : No, that was your daughter, dad.Lucas : Yeah, whatever,grandma Karen.Karen : Look, I know you can't stay, but before you go, I just really ... I really wanted to say thank you.Karen : Lucas...Lucas : No, no, no, no,no, no. You helped me through all of it. And you were selfless and strong. And ... if I'm half the parent that you were, then Sawyer is gonna be just fine.Karen :She's gonna be more than fine.Lucas : Remember how you always told me to see the magic in the world? I still do.AT THE GYMNASIUMMan : Nate? Bobby wantsto see you.Nathan : What happened to all my stuff?Man : Bobby wants to see you.AT SCOTT'S HOUSEHaley : What are you doing home?Nathan : Do youremember that green dress you wore to the Maths-ketball school for Jamie?Haley : The Oppenheimer school. Yeah.Nathan : You look amazing in that dress. I wasthinking we could take a trip to charlotte. You could wear that dress. We could take Jamie.Haley : Nathan, what happened?Nathan : I'm not on the Chiefsanymore.Haley : I'm sorry, baby.Nathan : It's okay. What do you say, Haley James? Want to take the boy to Charlotte? Maybe we could see a basketball game? Imean, I kind of have to be there anyway, considering ... I'm the Bobcats' new point guard.Haley : What?Nathan : I'm the point guard for the Charlotte Bobcats. Igot called up.Haley : You're in the NBA?Nathan : I'm in the NBA. Thank you. Thank you for believing in me, Haley.Haley : Thank you for being worth it!ATWITHEY'S HOUSEDan : Please. I assume that's loaded.Withey : I bought this gun hoping to see your face again. I'll just say you broke in, came at me.Dan : You'dbe doing me a favor.Withey : You look like a haunted man. I heard you have a heart problem. It's not surprising. You've always had a heart problem.Dan : I wishI'd gone back in that game ... the state championship. When I look back at my life and see where it all went wrong, that's where I always end up ... fourthquarter, time running down, sitting on the bench at the state championship, and refusing to play. At night, in my dreams, I do go back in. And in my dreams, Itake it back. All of it. And then I wake up. I'm sorry. I'm sorry for that day and every day since. I'm sorry for what I did to Keith ... and to the people who lovehim.Withey : Did you ever love him?Dan : Not enough.AT BROOKE'S HOUSEBrooke : Hi, Sam. It's me. No, everything's fine. I was just thinking about you, and ...and I was wondering ... How's your life? Are you happy?AT MOUTH OFFICE / SCOTT'S HOUSEJerry : New lead coming out of commercial.Mouth : Is this forreal?Jerry : Yeah.Mouth : Woooo : Sorry.Nathan : Jamie, sports is up next.Jamie : What's the big deal? I got wifi on my phone.Haley : Get over here and watchwith us.Mouth : Last night in the NBA, the Charlotte Bobcats quietly made a move that most sports fans wouldn't have noticed, adding a point guard to theirroster for the rest of the season. But we're leading with that story because this point guard is a local legend who overcame adversity and difficult circumstances inpursuit of a dream. Last night, the Charlotte Bobcats called up a former Tree Hill Raven, a great guy, and a good friend, Nathan Scott. Jamie Scott, hug your dadfor all of us because he just made it to the NBA, and we couldn't be more proud. In other news around the league, the Los Angeles clippers are ...Haley :Jamie.Jamie : I knew you could do it!Nathan : You're gonna kill me before I even play in a game, buddy!AT WITHEY'S HOUSEDan : I was supposed to be deadmonths ago. I used to wonder why I was still alive. And then I realized ... I'm not. I'm dead. And this is my hell. Lucas got married and had a baby girl. AndNathan ... he's got Jamie. And I get to see the happiest moments of their lives, but ... I don't get to feel those moments. I don't get to be a part of theirlives.Withey : You created that, Danny.Dan : Pull the trigger. Take the pain away! Please. Please.Withey : Maybe you're still here for redemption.OUTSIDEWITHEY'S HOUSEWithey : There's still time, son.Nathan : I just came to tell my coach I made it to the NBA. How you doing, coach?Withey : Good to see you. It'sa great surprise. I see you're keeping in shape.AT BEDROOM RECORDSChase : This track is awesome!Mia : Thanks.Chase : And the record officially dropstomorrow?Mia : Tomorrow night. Sinning in New York City.Chase : And then ... you tour.Mia : For a couple months, yeah.Chase : Listen, I ... I know you're gonnago on tour and this record's gonna blow up, and just know that art of me wants to be really selfish with you. But I'm not gonna be that way because ... well ...because the rest of the world deserves to see your greatness, too.Mia : My heart's ... not going anywhere.Chase : Promise?Mia : Promise.AT CLOTHES OVERBROSMillicent : Mia's new record?Brooke : Yeah. It's really good. She's actually doing a signing in New York tomorrow night. Maybe you could go ...Millicent :Yeah!Brooke : About that ... if you weren't gonna be here in tree hill instead.Millicent : Wait. What?Brooke : The store's gonna be back up and running soon, and Ineed you here to run it.Millicent : But what about New York? Don't you need someone there?Brooke : I do, but your boy is here.OUTSIDE LUCAS'S HOUSEDan :Hi, Peyton.Peyton : What do you want?Dan : I just wanted ... could I hold her?Peyton : No. Why?Dan : Because she's the only one in my world who doesn't know"}
+{"doc_id":"doc_6","qid":"","text":"Glenn: Lola, we have some good news and some bad news. The good news is, you don't have cancer.Lola: Ohh!Glenn: Cat just put nair in your shampoo.Cat:Because you ate my lunch from the refrigerator.Glenn: And the bad news is, she also put a chemical in your iced tea which turns your nose into a tennis ball. Butit only lasts a second. So basically, everything's okay. Everything's okay.Owen: Chief! Can't you see I'm busy?Chief: Sometimes I wish I was a mirror.Lola: Hey,Dori, my round sheet is empty. Is that a mistake?Dori: Doesn't look like it.Owen: This place is empty. What gives?Dori: There are no admissions today, and wejust discharged the last child.Cat: Are you saying there are no more patients left in the hospital?Beth: Guys, what do we do with all our time?Sy: Listen, I'm goinginto town to register the new ambulance.Glenn: Sy! Sy! Sy! Before you go, there are no patients left to treat. Any extra tasks you need us doing?Sy: As a matterof fact, thank you, Glenn. There's a lot of things to be done. First off, the organ supply room needs cleaning.Blake: I'll do it! [ Laughs ] Psych!Sy: Wear gloves thistime.Blake: I'll do it my own way.Sy: And then, most importantly, the patients' records, all right? Now, look at this -- completely disorganized. These have beenhanded down from administrator to administrator. You know how important this is to me. Glenn, will you take care of reorganizing this entire room?Glenn: I willnot let you down, sir.Sy: I would never have asked you, son, if I didn't believe in you.Chet: Are they falling in love?Owen: Yes.Sy: All right, Glenn is in charge,everybody.Sy: You know what, Lola? That is a great idea. The animal-testing lab is filthy.Lola: [ Scoffs ] Should have said, \"I'd rather clean the Dylan McDermottlab.\"Sy: Who's gonna come with me? It's a great adventure. Dori! Perfect!Dori: Ohh!Sy: Let's go!Blake: Hey, Rosa. Working hard or hardly working?Rosa: [European accent ] Oh, somewhere in between, Mr. Dr. Downs.Blake: I see what you're saying. You're not working as hard as you can be, but you're certainly notworking.Rosa: [ Chuckles ]Blake: Oof. This uterus expired on Tuesday. You know what? I figure we have a 10-day grace period.Rosa: Expiration dates are reallyjust suggestions.Blake: I like the way you think, lady.Rosa: You know, being around all these organs is making me hungry. Would you like to come to my homefor lunch?Sal: Attention, staff. My dick. That is all.Lola: Hey, chief.Chief: Oh. Owen isn't interested in me. Do you think he noticed I use a walker?Lola: Oh, I'dlove to girl-gab, but I just injected all these stem cells into that handicapped monkey.[ Screeches ]Chief: He doesn't need glasses or his walker?![ Gasps ]Stemcells cure handicaps! Mama want!Lola: No! Chief, no! Oh, God!Chief: [ Gasping ] Wait a minute. I don't feel anything at all. Thanks for nothing, whore!Lola: Wait.Chief. Think fast![ Gasps ]Amazing!Chief: Oh, my God.Lola: Look at that. Oh, my God.Chief: I'm cured! Stem cells? What a great idea!Glenn: [ Laughs ] Okay.What do you say, guys? Let's get busy!Cat: I'm not doing donkey dick.Glenn: Look, Cat --Chet: What part of \"donkey dick\" don't you understand,ass-kisser?!Glenn: All right. So, how do you want to do this? My favorite letters are I, T, V, Q, and S, so, obviously, I'll take -- aaaah! Oh, my God. For a secondthere, I thought that was a real airplane. What's the deal, Cat?Cat: Glenn, this is a free day! I mean, do you really want to spend it organizing records, or do youwant to spend setting them? Am I right, guys?[ Peppy music plays ][ Music stops ]Okay, let's go![ Music resumes ][ Both laughing ]Glenn: Come on, guys!Are wedoctors or are we... Dart doctors?[ Music continues on radio ]No! No, no, no! The ladies' room is right there! Sy, where are you?Owen: Ha-cha-cha! Whew. Ooh.Hey, there. You new at this hospital?Chief: In a way.Owen: What's your name, beautiful?Chief: My name? Uh, I-- it's... it's, uh, uh... [ Sneezes ]Chief: Myname... Ooh, I -- ouch. It's, uh... hey.Chief: Uh...it's chief. Uh, chief...Smith.Owen: Oh. Well, we have another lady here named chief, but she's ugly.Chief: Oh,really?Owen: Yeah. She's about as ugly as a big pile of poo.Chief: Oh.Owen: Mm-hmm. She's so ugly, a poo takes a her.Chief: Hmm.Owen: If a dog wanted toeat his own poo, he would make a mistake and eat her.Chief: Yeah.Owen: For all intents and purposes, she is poo.Chief: Ohhh.Owen: When she goes to the toiletstore, they tell her to \"go around back 'cause that's where we let the poo in.\"Chief: Oh, God.Owen: If you do a Google image search of the word \"poo,\" pictures ofpoo show up, but then there's a picture of her. Mm. Crazy people smear her on the walls.Chief: There's more.[SCENE_BREAK]Rosa: Hi! Hi. We're hungry, mama!We're hungry!Rosa: They're saying they're hungry.Blake: Yeah, yeah. No, I heard them. They spoke English.Rosa: Come and sit. Back in Ukraine, I was hospitaladministrator. I loved it so. Oh, thank you, grandma. I work at Childrens just to be around the administrating.Blake: Sort of like a lower-stakes \"Good WillHunting.\"Rosa: Exactly.Blake: Yeah. [ Laughs ] Mmm. This soup is incredible. Is there a secret ingredient?Rosa: Oh, yes. [ Chuckles ] Love.[ Folk music plays ][Laughter ][ Up-tempo music plays ]Cat: Glenn, come on.Let yourself go.Glenn: Ahh...Cat: Dance.Glenn: Oh, you know what? You're right. The files can wait. Igot to dance! I got to dance![ All cheering ]Lola: Whoa, Glenn!Chet: Yeah!Lola: All right!Cat: What?!Glenn: Hey!Pool! Pool! Aah![ All cheering ]Lola: [ Vomits]Glenn: Free day! [ Laughs ]Blake: Thank you so much, Sasha.Really nice meeting you, Andrash. And you, too, Tiffany. Don't ever change. And you... [ laughs ]This day has been wonderful.Rosa: No!Blake: But we -- we have a connection. I'm Robin Williams, you're Matt Damon. Let's make love, like they did in themovie.Rosa: No! No! I don't like you like that! Please, Dr. Blake, leave!Blake: Let me kiss her on the mouth! Rosa! No! No! No! No! Mwah! Mwah! No![ Bothlaughing ]Owen: I'll tell you what, chief Smith, I'm gonna go get us some mai tais.Don't you go anywhere.Chief: Don't you worry.Both: Rowr![ Both laugh ]Chief:Mmm.Lola: Hey! Think fast![ Gasps ]Chief: Wait a minute.Let me put on my -- my glasses.Owen: Poo chief, where did chief Smith go?! You got to help me findher!Chief: Her is me! Her is me! \u0000 For your sins \u0000Glenn: Hey, Blake, where have you been?Blake: Well, let's just say that I've been to another world and I fell inlove, and it was not mutual, and I was forcibly removed.Cat: Aw, sweet.Glenn: Are those patients' files?Cat: Yeah.Glenn: Why are you throwing them into thefire?!Cat: Don't you get it? I don't know.[ Cellphone vibrates ]Glenn: Sy's on his way back.Lola: If only any of us knew something about administrating, then wecould fix this.Blake: Wait a minute!Guys, I have an idea. Wait right here, okay? Do you have a sec?Rosa: No.Blake: Come on. Everybody, this is Rosa. She's mygirlfriend. She can fix this.Rosa: Not your girlfriend. Blake told me the situation. We would have to re-create all the files by calling every patient and getting theirmedical history. It's impossible.Glenn: Oh, I failed.Blake: Impossible? [ Laughs ] Nothing's impossible if you follow your heart. Not even love.Cat: Hi. I'm callingfrom Childrens hospital. I was wondering, were you ever a patient here?Beth: And when was his last vaccination?Blake: What do you think your weight was in1975?Lola: I'm still at work. We have to re-create these stupid patient files we burned in a hallway campfire.Owen: She's so ugly that monkeys take her out oftheir butts and throw her at people at the zoo.Cat: And that's it. We did it!Lola: Ohh!Cat: We did it!Glenn: That's it?! We replaced all the files?Cat: No, just thisone single file, but you act like it's not that impressive.Sy: Glenn! What the hell happened here?!Cat: Sy, it's fault--Glenn: No, Cat.Cat: Oh.Glenn: I got to ownthis. Yeah, we burned the files. And we'd do it again, 'cause, news flash, Sy -- I don't want to run your hospital, 'cause as a surgeon, I make sick money, and youlive in a condo at the Harborlight Mall.Sy: I admit it. I was wr-- I was wr-- I was wro--Glenn: Sy's having a stroke! Everybody come quick!Chet: I got it! I gotit!Lola: No! No! No!Blake: Thank you, Rosa. You've been great.Rosa: I did literally nothing and nothing got fixed.Blake: Eh, tomayto, tomahto.Sy: No, I just hadtrouble saying I was wrong. It's a tic. Eh, it's a living.Sal: Attention, staff. When I say \"That is,\" you say \"All.\" That is... that is all."}
+{"doc_id":"doc_7","qid":"","text":"Gabe: Ugh, man. My delts are blasted. I wish they had a chart for how much protein powder to scoop for a 180 pound man with no fat.Dwight: Protein powder,huh? You cut it with water? Why don't you just take estrogen? [swallows powder] [coughs] There you go boys. See how papa takes care of you? [kisses bicep]Mwah.[SCENE_BREAK]Gabe: I remember when people thought biceps were all that. They'd flex them all night at the discotheque.Dwight: Oh, I bet you think it'sall about core, huh?Gabe: Yeah.Dwight: Oh, please.Gabe: Core's critical. There are four tenets of pilates that I live my life by. One - lengthen. Two -elongate.Jim: Listen, guys, I think we all want to know the same thing, right? Who's the strongest? Well, there's only one way to solve that - flat curlcontest.[SCENE_BREAK]Jim: All right, here we go everybody. May the manliest man win. Go.Dwight: Feast on this, Lewis.Gabe: I love the burn. The burn iswhere I live.Jim: Come on, Gabe, you can't handle his hamstrings. You're getting hypno-thigh-zed.Gabe: Speed set. One. Two.Jim: Here, this is for your elbows,for your elbows.Dwight: Oh, thank you.Jim: You're welcome.Gabe: Five. Six.Jim: Quick phone call from you guys, keep going,All: Eight, nine, ten.Gabe: We gotit?[SCENE_BREAK]Dwight: Very funny Jim.Gabe: Yeah, Jim. Way to mock us for perfecting our bodies.Robert: Everyone, conference room, now. [Dwight andGabe stand up, falling over]Jim: All right, easy there, grandpa.Dwight: I don't need your help.Jim: Okay. You don't need my help?Dwight: Here, here...Just...[SCENE_BREAK]Andy: Morning.Erin: Hey.Andy: Somebody left in such a hurry this morning that she forgot... these.Erin: Oh.Andy: You know the only thingmore delicious than your feet is the feast that I am going to prepare for everyone.Erin: Andy, if you're gonna hang out for a while, uh...Andy: What's this?Erin:This dumb rule Robert made, he just wants visitors to sign in.Andy: Is this Robert's attempt to embarrass me?Erin: No, of course not. It's just - I think it's like ifwe make an exception for you, then we have to make an exception for the water guy, and then, it's like, where does it end? So just... [puts visitors tag onAndy][SCENE_BREAK]Andy: Why is it when other people spend all their time at the office, they're rewarded for it, and when I do it, I am told it's a little much?...Is it because I am not an employee anymore, because that's what it feels like.[SCENE_BREAK]Jim: All right, well, enjoy the alumni game.Dwight: Good, wehave a deal?Jim: Thanks Janet.Dwight: Thanks so much Earl.Jim: Wow, simultaneous sale.Dwight: And they said it couldn't be done. Boom!Jim: Screw 'em.Andy:Lot going on guys. What's happening?Jim: Binghamton branch closed last night and their clients are up for grabs.Andy: That was a fine branch. Things are reallybad under Robert California, I guess. It's like a festival of poo.Jim: Hey, hey, come on, language.Dwight: Yeah, and we're not interested in your sour grapes,okay? Jim, tell him where he can stick his grapes.Jim: In the fridge.Dwight: No, Jim, the butt, in his butt.Jim: Sorry, man, I can't focus on zingers. There's toomany potential clients.Stanley: You two better watch yourselves.Phyllis: Yeah, the Syracuse branch can't be happy you're taking New York clients.Robert: Shh...shh... [vomits in trash can]Jim: Robert?Oscar: Why did Binghamton close?Robert: Can everyone just, please... I had a one-man saturnalia last night, incelebration of the finalization of my divorce. I got into a case of Australian reds, and - how should I say this - Columbian whites. What - what is this about, uh,Binghamton?Kevin: The branch closed. Forever.[SCENE_BREAK]Robert: Closing the Binghamton branch never occurred to me before today. Or, I guess, lastnight. But, in vino veritas as they say, I'm not gonna start doubting my drunken self now.[SCENE_BREAK]Nellie: I got your voicemail. From - from lastnight.Robert: Wonderful.Nellie: And the answer... is yes, yes, yes, yes, and never. [leaves]Robert: Pam, when's the last time you lived so intensely that yourbrain literally couldn't hold the memories in?Pam: Oh, it was this summer -Robert: Apparently, I left a phone message for Nellie last night, and I need you to findout what I said.Pam: Um, I am a little busy.Robert: Yes, 'course. Why don't you list the things that would keep you from helping me.Pam: Yeah, I can make you alist.Robert: Let's do it now. What's number one?Pam: Why don't I help you now?Robert: There we go.Pam: Okay.[SCENE_BREAK][Andy cooking food byreception, Harry walks in]Harry: Who the hell are Jim Halpert and Dwight Schrute?Erin: Jim, Dwight, what are your last names?Dwight: And you are...Harry:Harry Jannerone, Dunder Mifflin Syracuse.[shocked look from Jim]Harry: What the hell's all this?Andy: Uh, cherries jubilee over homemade gelato.Harry: You livewell down here in P.A. I want to talk to you guys right now. Oh, and Lloyd Gross too. Which one's that guy?[SCENE_BREAK]Jim: The salesmen have a commissioncap, but we figured out a way around it.Dwight: Lloyd Gross is a fictional salesman we invented to - how do I put this - steal from the company. Embezzle. Tocommit fraud.Jim: Okay, it sounds sketchy, but it helps us get more money.Dwight: Yes.Jim: Pam made a drawing of Lloyd. He is a blend of all the salesman.[shows sketch][SCENE_BREAK]Dwight: [pointing at Toby] There he is. That's Lloyd.Toby: Me?Creed: Yeah, you.[SCENE_BREAK]Harry: Where do you get offcrossing state lines?Toby: Now, we're actually a lot closer to Binghamton than you are. Kimosabe.[SCENE_BREAK]Toby: I like to think Lloyd Gross is ano-nonsense guy who doesn't back down from anybody. And he calls people \"Kimosabe\".[SCENE_BREAK]Harry: They're New York. We're New York. Sate line isthe dividing line. That's the way it's always been.Jim: There's actually not a rule that says that.Dwight: That's true.Toby: That's true. There's no rule. You cancheck the employee handbook. Oh, can I check the employee handbook Lloyd? Well, does it say anything about me choking a man with my bare hands?Toby:No.Dwight: Wait, no? Are you kidding me? You told me there was a rule. I could've choked so many people by now.Harry: Stay out of my state. It's in your bestinterest to stay out of my state.Toby: I've seen guys like you. Big guys who like to push the little guys around. Lloyd Gross eats bullies like you forbreakfast.Harry: Just stay out of New York, Lloyd.Toby: Hey, text from the old wife. Gonna take that. [runs outside]Jim: How about this? How about we just askRobert? Can we all agree that maybe the C.E.O should decide this?Harry: Robert's here. Look at us. Bickering like schoolgirls, looking around the room for thingsto hit each other with. I don't think we were doing that.Dwight: Chair, lamp, plant, table leg, Jim's leg.[SCENE_BREAK]Robert: Where's the Advil, Jim? I think I'vehit my limit on the Tylenol - Oh.Andy: [Doing dishes] Sorry, not Jim.Robert: Andrew, what do we have to do to get rid of you? Hire you back and send Erin backto Florida?Andy: Message received loud and clear. Just have to get the caramelized sugar off the pan before it dries.Robert: Oh, for god -Harry: Robert California.What a surprise you're here in Scranton.Robert: Harry...Harry: So why would you close Binghamton down without a transition plan in place?Robert: How do youmean?Andy: I forgot, a... a pan, uh -Harry: No, no, no, no, no, kid, stay there, do your dishes, go ahead.Robert: Harry there is a time for every decision,predetermined many years ago. There's no benefit in questioning why this particular decision seems... so poorly timed.Dwight: Okay, what are you deciding? Weget a say.Harry: Listen, Robert, I don't have time. There's a big client in play. Prestige direct mail solutions -Dwight: Don't listen to him.Harry: Used to beBinghamton's -Dwight: Nope.Harry: I want it, it's mine.Dwight: Prestige is ours. Okay, they're responsible for half of the junk mail on the eastern seaboard. Weget them. We already put a call into them, Robert.Harry: We need you to make a decision.Dwight: Make a decision.Robert: I have decided. Neither of you are tohave any contact with either Prestige or any other Binghamton client until I have figured out how to divide things up. As Solomon once said... [Andy walksout][SCENE_BREAK]Andy: Some bizarre energy in this place today. Robert is going off the rails, making some funky decisions. Like why is nobody gonna call onPrestige? That is a huge client. [walking to car] I mean, they could give their business to the first person to walk in the door. Could be any idiot. Any idiot atall.[SCENE_BREAK]Robert: Shaping a company is, in a sense, similar to training a geisha. You have to mold not merely the physical form, but also the character.The two must harmonize. Are they still there? [camera pans to right, Harry, Dwight, and Jim watching Robert in conference room] They want a decision who getsthe big client. Well, they can wait. I'll still be talking about geishas long past their bedtime. You know, I trained as one.[SCENE_BREAK]Harry: Is it just me or isour boss a freakin' weirdo? [stands up, walks outside] I'm gonna get some air.Dwight: Jim, you know what would be really dastardly? If we snuck out of here andgot to the client first.Jim: [Gets up and looks out Nellie's office window] He's running!Dwight: Damn it!Jim: Damn it.[SCENE_BREAK]Dwight: Wha - what is thissupposed to be?Jim: It's a monkey.Dwight: Jim, great real. This is not a monkey. It's got a hula skirt and a blue nose.Jim: Hold on, hold on. Is this him?Dwight:What?Jim: Is that him?Dwight: It's him! Do something! Get out!Jim: What? What am I gonna do? I don't -Dwight: Go slash his tires! Go dent his hood. [Jimopens passenger door] That's it? Oh, that's great. That's like a five second delay.Jim: Dwight!Dwight: Come on, let's go! Does this thing have turbo? Nitrous? Hitthe nos.Jim: Nos? You mean like in fast and furious?Dwight: Yeah.Jim: Oh, yeah, definitely have nos.Dwight: Hit the nos.Jim: Are you sure?Dwight: Yes.Jim:Brace yourself. 3... 2...Dwight: Got it. Go.Jim: 1. Here we go! [turns on wipers][SCENE_BREAK]Andy: Hello. Andy Bernard to see the C.E.O.Receptionist: Oh, doyou have an appointment?Andy: No, I do not.Receptionist: Okay, I think I can squeeze you in.Andy: Seriously? 'Cause I could just be anyone. I mean, I thought Iwas gonna have to convince you.Receptionist: He's really not that busy.Mr. Ramish: Is there someone here to see me?Receptionist: Yes, this man.Mr. Ramish:Come on in. [Andy walks in][SCENE_BREAK]Pam: So...what do you make of this Robert California guy? I mean, what does a guy like that do on an averageweeknight?Nellie: Oh. Oh, I'll tell you what he does.Angela:: [walks in] Hello! Hello, my clucking hens. Got room for another in the roost? Huh? Don't worry, Iwon't lay an egg.[SCENE_BREAK]Angela:: Robert sent me to take over if Pam fails. If? [laughs][SCENE_BREAK]Angela:: I have been crunching numbers all day.Math is for boys. I need girl talk.Gabe: Did someone say girl talk?[SCENE_BREAK]Gabe: Sometimes I wonder if I have ovaries in my scrotum, because I am greatat girl talk.[SCENE_BREAK]Gabe: Have you guys been watching any good Korean soap operas? I'm pretty deep into Hee-Jungcinderella girl. Although, I definitelyfast-forward through the young-Tae storylines.Nellie: Do you think I'd like that, or is it important to have an Asian fetish?Gabe: Uh, I think you're gonna need to"}
+{"doc_id":"doc_8","qid":"","text":"[In a shop in New York City]Jenny: So you, you deliver the dresses and I take the accessories.Seller (showing ornaments of jewels): You have chosen whichone?Jenny: Oh, no! I'm helping Blair. I am not invited, then we'll see.Seller (hooking him a bracelet on your wrist): See! In case.Jenny: Oh!Seller: We put it onthe note of your friend.Jenny: Oh, uh no, no!Seller: The girls invited to the ball are our best customers. You will be our model of an evening and you will make usthe bracelet after.[SCENE_BREAK][In the room of Blair]Serena: Kati told me about custom corsets, crowns, wigs ... What is this madness?Blair: This is a maskedball. The goal is that nobody recognizes. But I expected a little something extra for Nate tonight! It's a game, a sort of treasure hunt. It will begin with an index,which will take him to a lady of honor, which will lead to a second index ...Serena: Wait, wait! You got the ladies?Blair: If he finds me before midnight, before themasks come off, the treasure is for him!Serena: And what is it? (Blair a mischievous smile) Oh! Well yes, I'm stupid. Sorry.Blair: You know, j'me myself that afterall that happened, or rather all that is past, I had to do a little effort.Serena: I find it very romantic B. Really. And if you do not want me to come tonight I wouldunderstand ...Blair: Oh, but it will not! No! You can not not be there. In fact, I want you to give the last index. Will you be my maid of honor?Serena: What! Youreally want to be me?Blair: I see this event as a new beginning. J'te J'lui trust and have faith.Serena: Well, I'd be more than honored to serve you Majesty!Blair:Either way you go with Dan?[In the kitchen of Humphrey]Dan: A ball?Rufus (Jenny looking package all required): You knew that your sister's name wasCinderella?Dan: And I bet your charming half-sister is Blair Waldorf!Jenny: It's true that she asked me a few services but I'm glad to help.Rufus: And she has tothank you with a prompt and a dress?Jenny: I would have deserved. The ballroom, the costumes ... it's gonna be insane! It's weird that Serena you have notmentioned.Dan: But why? This is not because we went out twice together we are forced to remain glued to each other.Jenny: Well I must deliver it all. Let meknow if you need a tuxedo! Dan (Rufus just looking at him): Well what! This is a masked ball, she must say that I will find it rather ridiculous, proving that sheknows me pretty well.[In the room of Blair]Serena: I know! Wait, a masked ball! I know, I know he will find it completely ridiculous. You imagine a wolf and atuxedo, frankly?Blair: We adore you! To go out with you would be able to do anything. Even wearing a dress my mother if it is. And then not worry, I'm sure hehas nothing planned tonight. Who would ever think to invite this guy?Serena: You're disgusting! I know. In fact, it might be better if there's masks, as if it y'enhigh school who hates it and recognize them well.Blair: Come on, invites Dan Humphrey. That's an order![In the kitchen of Humphrey]Dan: I did not say that Iwould not. Serena invites me if it would be rude not to give it my company.Rufus: It would be very cruel!Dan: But she did not invite me so ...Rufus: If you wantto accompany him, what to do. Be a little daring.Dan: The festival takes place in a few hours. I have more time to really prepare myself for the idea of beingbold.Rufus (Dan's cell phone ringing): This is Serena?Dan: Oh no, it's Vanessa!Rufus: Vanessa! Been a long time. You pick right?Dan: But if, of course I'll win.(On phone) Hello! Vanessa?Vanessa (on phone): Winner! It's me.Dan (on phone): So what's new? It's going to Vermont?Vanessa (on phone): You always havemy book \"The Crying of Lot 49\"?Dan (on phone): Uh ... I know.Vanessa (on phone): Will you check?Dan (on phone): Uh ... right! It's been over a year that hasnot spoken, you make me an old book ads![In Dan's room]Dan (on phone): I know where I belong.Vanessa: Look at the window!Dan: Vanessa!Vanessa:Surprise!Dan: Wow! But I can not believe it!Vanessa: How are you?Dan: I can not believe it's great. -What are you doing here?Vanessa: My parents let me livewith my sister that I finish my studies here.Dan: So that means ...Vanessa: I came to stay.Dan: Wow! It is ...Vanessa: A great new hope?Dan: Oh yes! Wait it is!Yes, of course. It is still unexpected. This is unexpected news. (His phone rings) Oh!Vanessa: Go pick up. I'm starving and I can smell waffles. Rufus!Rufus:Vanessa!Vanessa: Surprise![In the room of Dan / Blair's Bedroom]Dan (on phone): Serena! Are you okay?Serena (on phone): Hi! Are you okay? Uh ...Blair: Gogo ahead.Serena (on phone): Uh ... I actually wanted to know if you had anything planned tonight?Dan (on phone): Uh ... Tonight? Nah, nah, nah, nothing.Why?Serena (on phone): Super because I have a night, finally you will surely find it completely sucks, but ...Dan (on phone): Always try.Vanessa: Even cooler,these waffles are screaming! The kitchen of Rufus failed me. It's true! Hey Rufus! You got whipped cream?Serena (on phone): Who was that?Dan (on phone): Uh... It is my sister. What-you wanted to tell me?Jenny (arriving in Blair's room with an armful of bags): Hi, this is me! You want me to ask it where?Blair: It's good,you can put it all here. (Showing a small table) I left you a different list.Jenny (taking the list): Ah!Dan (on phone): Hello! There was someone?Serena (onphone): Excuse me, uh ... What?Dan (on phone): Uh, you were going to ask you something.Serena (on phone): No, uh ... no.Dan (on phone): Are yousure?Serena (on phone): No, forget it. Thank you. I must leave you.Dan (on phone): Oh, okay.Serena (on phone): Bye.Vanessa: Well, what do we dotonight?Serena: I need a partner![SCENE_BREAK][In entry of Archibald]Howard: Damn, Anne! I thought I said no starch.Anne Howard! It's been 19 years we'regoing in the same dyer. Your shirts are ironed as usual. You know it's not that get upset.Howard: What annoys me is that I want to be perfect for the eveningEleanor. I'm not allowed to make mistakes. Anne Eleanor knows that you are best placed to introduce his company public, it's you she will choose. Be yourself, itwill be fine.Howard: Well, j't'appelle office, huh. I must reread the offer.Nate: Mom!Anne: Oh, Nate!Nate: Is that-Dad is in trouble?Anne: Tales of the work, notworry about that.Nate: Sure.[SCENE_BREAK][On the streets of New York City]Vanessa: Wow! I love New York. Y'avait cinoch one 'and they went to Woodbury asfilms for kids: \"Babysittor\" one year showing.Dan: Well, Vin Diesel has to be funny after all.Vanessa: I can not make up my mind, there's too many things. Irather prefer that you choose.Dan (evasively): Yes, as you will.Vanessa: You, you do not want us to go to the movies? You were perhaps other projects like a wilds*x with all the rich kids of your private school waiting their inheritance wisely?Dan: Yeah, besides the limousine is waiting for me.Vanessa: Cool! We will tag thetires or even die! So, it makes you weird me being there?Dan: No, why? Why it would make me weird?Vanessa: Because. You told me some things when I'mgone.Dan: Things you immediately asked me to withdraw.Vanessa: Because j'quittais New York, but now I'm here.Dan: Yeah, except it's been over a year, yousee. It's been a lot of things in a year.Vanessa: And I hope you'll tell me everything! Tonight? Last meeting? Angelica? Any chick that ...Vanessa & Dan: Unlesssittor Baby!Dan: Okay, I'll book.Vanessa: It's cool to see you Humphrey!Dan: J'te do not say.[SCENE_BREAK][In the office of Howard]Chuck: What is you'relooking for exactly?Nate: Evidence.Chuck: What? An aversion that your father committed to starch? J'compatis to death, inherit the neck collar. You have askedabout the money had disappeared?Nate: Yes, he told me he had made the transfer of accounts. The next day, everything was normal.Chuck: Then why youworry? Financial transactions a bit dodgy, parents who yell at ... this is our daily lot. (A packet of drugs from the book falls into the hands of Nate) Chi Chi breaksthe coconut! I'm in shock! I thought that you did not use as tea.Nate: It's not for me.[SCENE_BREAK][In the living room of the Waldorf]Blair: Oh no, but that hetakes what Dan Humphrey! Serena acted as if nothing had happened but j'vois although she drools. We need to find him someone.Kati: But we will not havetime.Isabel: The best ones are already taken this evening.Blair: Stop you scroll! Serena deserves to get hotter. If he has other plans: he cancels them. If he has agirlfriend: it has dropped. And if it is at the other end of the world, chartered a private jet-it! Not disappoint me.Interior decorator: Ca you please? (Proposing ahookah)Eleanor: It is a wonder! Oh!Blair: Do-it was a bang, mom?Eleanor: Honey?Blair: I did not know you was addict!Eleanor: It's a, a hookah. And it iswonderful. It goes with the Moroccan theme of my evening!Blair: Why you transform our house into an opium den to celebrate your contract withBendel?Eleanor: Why not?[SCENE_BREAK][On the streets of New York City]Blair (on machine): Hi this is Blair! Sorry not to respond to you I'm getting ready forthe masquerade ball! So this evening, if you recognize me, which I doubt. Ciao!Nate (on machine) Hi B. It's me. I, uh ... I really need to talk to you is, this isabout my father and, uh ... We must, I wanted to talk to you then call me as soon as you have a second.[SCENE_BREAK][In the living room of the Waldorf]Jenny(laden with parcels): Uh, I think everything is there.Blair: Thank you're an angel. I do not know what I would have done without you.Jenny: Nah, it's nothing. Ithought it was funny.Blair: Good! Besides that you learn things. (Seeing the bracelet Jenny) And you seem to learn fast: very pretty bracelet. Vintage, right?Diamonds seem true.Jenny: That's because they are. The head of the shop lent me.Blair: Why did he do this? (Jenny embarrassed) Oh my little Jenny! You dostill not believe that you were coming tonight?Jenny: I was hoping for a bit, maybe ... Yeah.Blair: You know that the graders are not going to a masquerade, it isthe rule.Jenny: Yeah I know but as I saw that there were five dresses ...Blair: Oh! This is the bare minimum. Think I do a stain or tear my dress!Jenny: Yeah,sure. I should remember. Have fun tonight!Blair: It's yes. And not be sad, your time will come, I promise! Well let j'te I must prepare myself.[SCENE_BREAK][InSerena's room]Lily: Do you think Eleanor Waldorf will find this place enough folk? I have a doubt.Serena: Go with a goat! Eleanor hates us to do things byhalves.Lily (seeing the ball dress of Serena): I feel that too.Serena: Wait, me about it! In Waldorf, the theme party is perpetuated from mother to daughter.Lily:You're not with Dan?Serena: Uh ... Nah. Dan is already taken tonight.Lily: But by what?Serena: The question is: by whom?Lily: Han, I had not realized. In fact, tobe honest, it relieves me. At your age, do not deprive themselves of papilloner.Serena: You can talk about you! It is your rider sexy tonight?Lily: What? Nah,you're kidding. Who do you want me to go! I'm going to try this dress and see if I can find a goat. Edward (by mail) \"Hi Serena! Kati Farkas gave me your email.\"Serena (by mail): \"Oh! Hello! Who are you? \"(Looking at his profile) You're not Dan but never mind, it will do.[In the living room of Humphrey]Dan (answeringmachine): Hi Jenny! I have a great scoop for you: Vanessa returned to New York. We will s'faire a movie tonight, so I know not if you go to the ball or not but I"}
+{"doc_id":"doc_9","qid":"","text":"Originally written by Adam Chase[Scene: Monica and Rachel's, Phoebe, Chandler, and Ross are there, Rachel is serving brownies.]Rachel: Here you go Pheebs.Who else wants one of my special homemade brownies?Chandler: I will have one. (Ross and him both take one.)(Phoebe takes a bite and spits it out andscreams.)Chandler: Okay, I'm not gonna have one.Ross: Neither will I. (they both put back the brownies.)Phoebe: No, no, it's just my tooth.Chandler: All right I'llhave one. (he and Ross take another brownie,)Ross: So what's a matter, you need a dentist? I've got a good one.Phoebe: No thanks, I have a good one too. Ijust, I, I can't see him.Chandler: See that is the problem with invisible dentists.Ross: Why? Why can't you go to him?Phoebe: Because, every time I go to thedentist, somebody dies.Chandler: That is so weird, because every time I go to the dentist, I look down the hygienist's blouse.Rachel: Phoebe, what?Umm...what?!Phoebe: Yeah, yeah, first there was my aunt Mary, and then there was umm, John, my mailman, and then my, my cowboy friend 'AlbinoBob'.Rachel: And all these people actually died?Phoebe: Yes, while I was in the chair! That's why I take such good care of my teeth now, y'know, it's not aboutoral hygiene, I floss to save lives!Ross: Pheebs, come on, you didn't kill anybody, these people just happened to die when you went to the dentist. It's, it's, it'sjust ah, a coincidence.Phoebe: Well tell that to them. Oh! You can't, their dead.OPENING CREDITS[Scene: Central Perk, Ross, Rachel, and Phoebe arethere.]Ross: Thanks, Gunther. (takes the plate Gunther serves him and Rachel comes up and kisses him) (to Rachel) Hey! (to Gunther) Umm, can I get a napkintoo?Gunther: Oh, like you don't already have everything.Phoebe: (trying to bite into an apple) Ow! Ow! (drops the apple in disgust.)Rachel: Phoebe, your in pain,would you just go to the dentist, just go.Phoebe: All right, fine, fine, but if you're my next victim, don't come back as a poltergeist and like suck me into the TVset.Rachel: I promise.Phoebe: Although, don't feel like you can't visit.Joey: (entering with Monica) Hey, is, is, is Chandler here?Ross: (patting his clothes like heis looking for his wallet) No, no he's not.Monica: You guys, Joey just saw Janice kissing her ex-husband.Ross: What? (to Joey) So what are you going to do? Imean how, how are you going to tell Chandler?Joey: Well, I was thinking about that and I, I think the best way would be, to not.Rachel: Joey, you can't keep thisto yourself, if you know about this, you have to tell him.Joey: It'll kill him. I mean it'll, it'll just kill him.Phoebe: Well, you could wait 'til I go to the dentist, maybeI'll kill him.[Scene: Monica and Rachel's, All are there except for Chandler.]Joey: (looking out the window) Ewww! Ugly Naked Guy is using his new hammock. It'slike a Play-Doo Fat Factory.Phoebe: Well, I'm going to the dentist, so listen, okay, just be on the look out for anything that, that, that you can fall into, or, or thatcan fall on you, or... All right, just look out! Okay, And um, I also just wanna, I just wanna tell you all that um...... (starts to cry and runs out)Ross: Okay, I havea problem I have to go into work for a few hours, some kids messed up the Homo Sapien display.Joey: What did they do?Ross: Well, they painted over the word'Sapien' for one thing, then they rearranged the figures, let's just leave it at that.Monica: So, do you want me to watch Ben for you?Ross: Yes, that's what I wasgoing to ask, thank you.Rachel: Whoa! Wait! Hello! What about me?Ross: You? You! Want to watch Ben? (in the background Monica mouths 'Don't worry, I'll behere the whole time.' to Ross.) Yes! That'd be great, no, I just wanted to ask Monica, because I know how empty her life is. (Monica sarcastically mouths 'Yeah!'and holds up her thumb.)Joey: Hey-hey, Ross?Ross: Yeah.Joey: I've got a science question.Ross: Hmm?Joey: If the Homo Sapiens, were in fact 'Homo-sapien', isthat why there extinct?Ross: Joey, Homo Sapiens are people.Joey: Hey-hey, I'm not judging.[Scene: Monica and Rachel's, Monica and Rachel are babysittingBen.]Rachel: (holding Ben) Look Benny, spoon. (moves it back and forth) Spoon. Come on! All right, y'know what I think he's bored.Monica: Here. Ben, do youwanna play the airplane game, do you wanna show Rachel? Come here. (takes Ben) We're gonna do something fun. Okay. (throws Ben up in the air a little bitand catches him) Weee!! (moves into the living room and does it again) Weee!! (starts to walk back into the kitchen as she does it again, and hits Ben's head onthat wooden beam across the ceiling.)[cut to later]Monica: (to Ben) Who's so brave, you're so brave, yes you are, you're so brave.Rachel: Okay. Okay honey,he's fine, he's fine, let's just put him down. Come here, Ben. (sets him on the couch) See that's a good boy. (to Monica) How could you do that to him!! Rosstrusted me, what is he going to say?!Monica: He's not gonna say anything, because we're not gonna tell him.Rachel: We're not?!Monica: No we're not.Rachel: Allright, I like that.Monica: Okay.Rachel: So we're okay, we're okay, we're okay, (starts to exam Ben) aren't we? No, we're not okay, we're not okay, there's abump, there's a bump.Monica: Oh my God! Well push it in! Push it in!Rachel: I cannot push it in!Monica: Okay, we're gonna need a distraction.Rachel: Okay,okay, okay.Monica: I got it!Rachel: Okay.Monica: The second that Ross walks in that door, I want you take him back to your bedroom and do whatever it is thatyou do that makes him go, (high pitched) rweee!!Rachel: Or. We could put a hat on his head.Monica: A hat! Yes! We need a hat.Rachel: We need a hat..Monica:Where are we gonna find a tiny little hat?Rachel: Oh, oh, oh, I'll get 'Rainy Day Bear'!! (runs to get him)Monica: Because he'll know what to do? (Rachel comesout of her room with a bear that's dressed in a rain suit.) Oh my God, you're a genius!Rachel: Oh God, oh God, it's sowed on though.Monica: Give it. Giveit.Rachel: Okay.(Monica takes the bear, grabs his hat, and rips off his head.)Monica and Rachel: Oh!!Rachel: Oh, it's just like a bloodbath in here today.[Scene:The street, Chandler and Joey are walking past a jewelery store.]Chandler: Hey! Hold on a minute, hold on a second. Do you think these pearls are nice?Joey: I'dreally prefer a mountain bike.Chandler: Janice's birthday is coming up, I want to get her something speacial. Come in here with me.Joey: Whoa, whoa, whoa,wait, whoa. Do you ah, want to get her something speacial, get her flowers, get her candy, get her gum, girls love gum.Chandler: That's a good idea, 'Dear Janicehave a Hubba-Bubba birthday'. I would like to get her something serious.Joey: Oh, you want something serious. Y'know what you should do, you should get herone of those um, barium enemas. Those are dead serious.Chandler: All right. Look, I'm gonna go in here, and you don't buy me anything ever. (starts to go intothe store)Joey: (stopping him) No, no, you can't, you can't, okay, you can't, you can't buy her pearls, you just can't, you can't, you can't.Chandler: Whynot?!Joey: Oh God. Uh, okay, here's the thing, this is the thing, okay, the thing is...Chandler: What is the thing?Joey: Okay. I went down to the 'Mattress King'showroom and, and I saw Janice, kissing her ex-husband.Chandler: (shocked) What?Joey: They were in his office.Chandler: Well she, she wouldn't do that, she'swith, she's with me.Joey: I'm telling you man, I saw it.Chandler: Yeah, well, you're wrong! Okay, you're wrong.Joey: I'm not wrong! I wish I was. I'm sorry. Betthat barium enema doesn't sound so bad now, huh?[Scene: Monica and Rachel's, Monica and Rachel are dressing up Ben in the entire rain suit from Rainy DayBear.]Monica: It just makes more sense as an ensemble.Rachel: Right.Monica: Besides, it takes the focus off the hat.Phoebe: (running through the door) No! Oh!You're alive! You're alive!Rachel: See Pheebs, I promised you no one would die, didn't I?Phoebe: Yeah, well, we'll see about that. Can I use your phone? I justwanna call everyone I know.Monica: Sure, we have no money, go ahead.Phoebe: (on phone) 'Hey! You're not dead! Okay, see ya!'Ben: Monica.Monica: Oh myGod! He just said my name! Did you hear that?Ben: Monica bang!Rachel: Okay, I heard that.Monica: Did he just say 'Monica bang'?Rachel: Uh-huh.Monica: Ohmy God! He's gonna rat me out!Ben: Monica bang!Monica: Oh-ho-ho, sweetie, sweetie, you gotta stop saying that, now. It's no big deal, it's not even worthmentioning, you see we all do it all the time. See watch this, Ben, Ben, Ben. (goes over and starts hitting her head on the post) Ow, Monica bang! (does it again)Everybody bang. (repeats) Ben bang. (repeats) Rachel bang. (repeats) Bang, Rachel bang! Oh, isn't that fun?Rachel: (goes over and hits her head on the post)Look at that! (repeats) Look at that! (repeats) We all do it. (repeats) Okay, I'm stopping now.Monica: You okay?Rachel: Oh yeah! Y'know, if it's not a headboard,it's just not worth it.[Scene: Chandler and Joey's, Chandler is waiting for Janice to arrive, and is angrily fllipping through a magazine.]Janice: (entering) How's myBing-a-ling?Chandler: Ah, I don't know, you tell me. Anything you ah, wanna tell me, because, if you ah, you should, if you, you would, tell me.Janice: Why areyour eyes so white?Chandler: You tell me! Maybe, it's because I was just fooling with my ex! Oh no-no-no-no, no-no-no-no, that was you!!Janice: Oh myGod!!Chandler: All right!Janice: How did you know?Chandler: Joey told me, he saw you two kissing.Janice: In the park?Chandler: No! In his office! How manykisses were there?Janice: Just those two!Chandler: Wh-wh-why, wh-why, why, why was there kissing!? There should be no kissing!!Janice: Oh, I'm sorry honey,I'm so, so, (nasally) haaaaa! I'm so, so sorry, I just (nasally) haaaaaa! But I, oh what happened was, I-I-I can't breathe. Can you get me a bag, orsomething?Chandler: (giving her a bag) Here.(Janice starts to breath into it and sucks in the reciept, and then spits it out.)Janice: The receipt.Chandler: I'll takeit! All right look, I gotta know. Are you finished with me? (Janice shakes her head no) Are you finished with him? (Janice shakes her head no) Do you still lovehim? (Janice shakes her head yes) Do you still love me? (Janice shakes her head yes) All right look, (grabs the bag) I'm gonna need an actual answer here okay,so which is it, him or me? (his phone starts to ring)Janice: I don't know.Phoebe: (rushing in) Okay. If you're alive you answer yourphone![SCENE_BREAK][Scene: Monica and Rachel's, Monica, Rachel, Phoebe, and Joey are there.]Monica: Okay, Ben, I won't tell your daddy that you had icecream for dinner, if you don't tell about our little bonking incident.Rachel: Monica, number one, I don't think Ben understands the concept of bribery, and numbertwo, I... (Joey starts laughing in the background) (to Joey) What?!Joey: You said number two.Rachel: I also said number one.Joey: I know. (giggles harder)Ross:(entering) Hey! Everyone.Rachel: Hi!Ross: How's my little boy?Rachel: He's perfect, he's never been better.Ross: (noticing the outfit he is wearing) What'd youdo, take him whaling?Ben: Monica.Ross: Oh my God, he just said your name, that's great! Good job Ben.Ben: Monica bang!Monica: Oh that's right, that's whatI'd sound like if I exploded.Phoebe: Woo-Hoo! The curse is broken! I called everybody I know, and everyone is alive.Joey: Uh.Phoebe: What?Joey: Ugly Naked"}
+{"doc_id":"doc_10","qid":"","text":"Countryside Merlin and Arthur are galloping. They reach the top of a hill overlooking a small village.Arthur: You know what you need after a hard day'shunt?Merlin: Sleep?Arthur: A nice cold tankard of mead.Merlin: (muttering) Mead. They arrive in the village, dismount and tie their horses up.Arthur: No betterplace to measure the mood of your people than the local tavern.Merlin: This is one of those moments where I tell you that something isn't a good idea and youignore me, isn't it?Arthur: You're learning, Merlin. Slowly, but you're learning. Now remember, in here you're not my servant. I'm just a simple peasant aseveryone else. They are walking in the direction of the tavern.Merlin: The simple's part right.Arthur: What?Merlin: I said the sun is very bright.Arthur: Yeah, yeahit is.[SCENE_BREAK]The tavern The place is packed and noisy. Arthur and Merlin sit at a table. The innkeeper, a plump woman, arrives to take theorders.Innkeeper: Afternoon. What'll it be? Oh, you're a handsome fellow!Arthur: (swelling with conceit) Well, you wouldn't be the first to say itInnkeeper: Oh, nosorry, I was talking about your friend here.Arthur: Him?Merlin: Thank you.Arthur: (looking pretty upset) Two tankards of meat, please.Merlin: I was wrong.Coming here was a great idea. The door opens and a scary man comes in. Chatters stop. He walks through the tavern. Everybody is staring at him.Dagr:Afternoon, Mary. Business looks good.Mary: We have our better days.Dagr: I don't suppose you'll begrudge me my share then. Mary throws a couple of coins onthe bar. He counts the coins.Dagr: And the rest?Mary: That's all we've got. The bandit grabs Mary and threats her with a dagger.Dagr: I'll not ask again.Arthur:Take your hands off her. The bandit tries to hit Arthur who avoids him, and pushes him into a shelf. They stare at each other.Dagr: I'm going to make you pay forthat.Merlin: (laughing) I'd like to see you try. The bandit whistles and a group of scary men come into the tavern.Arthur: You had to open your big mouth, didn'tyou, Merlin? A young man stands up.Young Man: You two have got yourselves in a bit of a pickle, haven't you?Arthur: You should get out of here while you havethe chance. The young man is drinking a tankard.Young man: You're probably right. The young man holds the tankard to the bandit, smiles and punches him onthe nose. It's the beginning of the brawl.Merlin: ARTHUR!Arthur: Merlin! Behind you! Merlin ducks to avoid a flying chair. Two big men are threateningMerlin.Merlin casts a spell: Aetslide bencpe. A bench flies and knocks them out. Merlin goes behind the bar. Mary and Merlin are crushing jugs on bandits. Merlinuses magic to throw a stack of plates on a bandit. The young man is fighting close to the bar.Young man: Pass the jug. He starts drinking. A bandit tries to hithim. He ducks and punches the bandit.Young man: What do they call you then?Merlin: Merlin. They shake hands.Young man: Gwaine. Pleasure to meet you. Heturns and breaks the jug on a bandit's head.Gwaine: Such a waste. The brawl goes on. Arthur is fighting against the chief of the bandits. The man takes hisdagger and is about to stab Arthur. Gwaine throw himself in front of the bandit, saving Arthur. The bandit is knocked out and Gwaine is stabbed in the leg. Hetries to get up, but he falls and knocks himself on a bench. He lies on the ground unconscious. Merlin comes to examine him.Arthur: How is he? Merlin startsbandages Gwaine's leg.Merlin: Not good. He's losing a lot of blood...[SCENE_BREAK]Outside the tavern The bandit is at the stocks, people are throwing rottenvegetables to him. Gwaine, still unconscious, is lying on Arthur's horse.Arthur: If this man ever troubles you again, word is to be sent to Camelot. Soldiers will behere within a day.Mary: How can you make a promise like that?Arthur: Because I'm the King's son. Prince Arthur.Mary: Prince Arthur! Prince Arthur in my tavern!Arthur and Merlin are leaving the village.Mary: Come on! The villagers throw more rotten vegetables at the bandit in stocks --- Opening Credits --- Merlin schamber Arthur and Merlin are carrying Gwaine onto Merlin's bed. Gaius takes a look at the wound.Gaius: Merlin, fetch me some fresh water, towels, needle anda silk thread.Merlin: And honey?Gaius: You're learning. It helps fight the infection.Arthur: But he'll be all right?Gaius: Providing he's strong.Arthur: He's that, allright. The man saved my life, Gaius. He's to be given anything he needs. Arthur leaves the room.[SCENE_BREAK]Merlin's chamber, the next morning Gwaine iswaking up. Merlin comes into the room, carrying a tray with food.Gwaine: What am I doing in this bed?Merlin: You were wounded. Arthur wanted to make surethat you were treated by his physician.Gwaine: Arthur?Merlin: Prince Arthur. You saved his life.Gwaine: If I had known who he was... I probably wouldn't have.He's a noble.Merlin: Yeah, but he's a good man.Gwaine: (snorting) if you say so.Merlin: Well, you're a hero. The King wants to thank you in person. Gwainealmost spits what he is drinking.Gwaine: Please, no. I've met a few kings... Once you've met one, you've met them all.Merlin: He'll probably give you anaward.Gwaine: I'm not interested. Besides, I've got everything I need right here.Merlin: Why did you help us?Gwaine: Your chances looked between slim andnone. I guess I just kind of liked the look of those odds.[SCENE_BREAK]Arthur's chamber Merlin is opening the curtains.Arthur: How's Gwaine?Merlin:Recovering... Merlin looks out of the window. Knights are arriving in the courtyard.Merlin: Who's that? Arthur goes to the window and has a look.Arthur: Ah, SirDerian! He's here for the melee.Merlin: Oh, yeah the tournaments where the knights ride around hitting each other with blunt weapons for no goodreason.Arthur: A little more to it than that...Merlin: Really? All I've ever seen is people getting the seven bells knocked out of them, so the last man standing canbe called the winner.Arthur: (patronizing) the melee is the ultimate test of strength and courage.Merlin: Are you sure we are talking about the same thing?Arthur:Well I wouldn't expect you to understand. You're not a knight.Merlin: Well, if it means I don't get clobbered round the head, I'm glad of it.Arthur: Well, I'm afraidit doesn't. Arthur throws a cup at the back of Merlin's head.Merlin: Ouch!Arthur: I need that lot cleaned by noon. Merlin rubs his neck and leaves theroom.[SCENE_BREAK]A village, in the house of an old sorcerer, CylferthCylferth: The Stulorne blades, just as you requested. The two bandits inspect theswords.Ebor: They're blunt.Dagr: That in only how they appear. Dagr cuts Ebor's shirt with the sword. They both laugh loudly.Cylferth: Why should you wantsuch a weapon?Dagr: That's none of your business old man. You have the crystals?Cylferth: Money first. Dagr gives the old man a purse. He comes back with acasket, containing crystals. Dagr wants to take them.Cylferth: Not yet! He casts a spell on the crystals.Cylferth: (chanting) Pecce treowan andwlitan heora framgesihoe eallra. The crystals start shining. The old man gives Dagr the casket.Cylferth: The wearer of these crystals will be able to take on the form of whoever'sblood they touch.Dagr: Thank you.Cylferth: Thank you. He starts counting the coins from the purse when Chief stabs him in the back.Ebor: Now what?Dagr: Now,Ebor, we can take our revenge on Prince Arthur of Camelot. They both burst out laughing and they leave the house.[SCENE_BREAK]Merlin's room Gwaine isputting on his boots. Church bells chime. He goes to the window, opens it and looks down at Camelot.[SCENE_BREAK]Street of Camelot Gwaine is walking, henotices Gwen. He snatches a flower and catches Gwen to give her the flower.Gwaine: I believe this belongs to you.Gwen: I don't think so. It's not mycolour.Gwaine: Well, let us see. Gwaine puts the flower in Gwen's hair.Gwen: I bet you've got a whole bunch of those to hand out.Gwaine: Yours is the only one.Gwen smiles and tries to leave.Gwaine: I'm Gwaine. Gwaine takes out his hand, they shake hands, but Gwaine does not let Gwen go.Gwaine: You haven't told meyour name. He keeps holding Gwen's hand.Gwaine: You look like a princess to me. So it's probably something like Sophia or Esmeralda! That's it! PrincessEsmeralda! Gwaine bows to Gwen.Gwen: Stop it, people are staring.Gwaine: Not until you tell me your name.Gwen: It's Gwen.Gwaine: There, that wasn't sohard, now was it? Gwen tries to move past him. He tries to take a basket.Gwaine: A princess should not have to lump her washing around.Gwen: Unfortunately,I'm not a princess.Gwaine: Ah, but you see, you are to me. She giggles.Gwaine: This is not working is it?Gwen: No, not really. But I like that you tried and thatyou know when to give up. She takes the flower out of her hair.Gwen: You'd better have this in case someone else takes your fancy.Gwaine: I've eyes only foryou.Gwen: I'm sure. Gwen goes finally goes her way, Gwaine chuckles and goes his way.[SCENE_BREAK]In the woods Dagr and Ebor are spying on two knightswho are camping.Sir Ethan: How much further would you say it is from Camelot?Sir Oswald: Half a day's ride. The journey is almost over.Dagr: It is for you.Crackle of branchesSir Ethan: Oswald! Dagr stabs Oswald. He starts fighting against Ethan. Ethan is stabbed in the back by Ebor. A servant runs out of one of thetents. Ebor sees him.Ebor: Dagr! Dagr throws a dagger to the servant and kills him. The two bandits giggle.Dagr: The crystals. Ebor hands him the casket. Dagrtakes one of the crystal necklaces and wipes the blood of his sword on it. The crystal shines. Then he put on the necklace. Oswald is still lying dead on the ground.Another Oswald is standing by him. He's touching his face.Ebor: You look good, Dagr.Dagr/Oswald: Sir Oswald! Ebor bows to him.Ebor: Sorry, sir.Dagr/Oswald:That's all right. Dagr takes the second necklace.Dagr/Oswald: Your turn. Then we can take our rightful place in the melee. Dagr/Oswald and Ebor/Ethan are ridingto Camelot.[SCENE_BREAK]Castle courtyard Arthur, followed by Merlin, walks down the steps to welcome the two knights.Arthur: Sir Oswald! The knightsdismount.Arthur: I didn't think you'd be brave enough to show up.Dagr/Oswald: And miss the chance of putting you on your backside? They hug.Arthur: You'venever managed it before.Dagr/Oswald: That was then. This is now. Arthur punches him and turns to the other knight who introduces himself.Ebor/Ethan: SirEthanArthur: This is my servant, Merlin. He loves hard work, so anything you need, just give him a call.Dagr/Oswald: Believe me, I will.[SCENE_BREAK]Guests'chamberDagr/Oswald: MERLIN! Merlin opens the door, carrying a huge trunk with difficulty.Merlin: Here it is! D/O smirks.Dagr/Oswald: What took you solong?Merlin: It weighs a ton...Stairs... Seven flights...Ebor/Ethan: That's very kind of you. Merlin is rubbing his arm and about to leave the room.Dagr/Oswald:But you can't leave it there.Merlin: I can't?Dagr/Oswald: It's in the way.Merlin: Ok. Where do you want it?Ebor/Ethan: Over there, by the bed. Merlin takes thetrunk and carries it by the bed.Dagr/Oswald: Oh, no. The other side. Merlin drags the trunk on the other side of the bed.Ebor/Ethan: It's going to get in my waythere.Merlin: Where do you want it?Dagr/Oswald: On the top of the wardrobe.Merlin: On the TOP?Ebor/Ethan: You're absolutely right, Oswald. That's exactly"}
+{"doc_id":"doc_11","qid":"","text":"Roof Thunder is rumbling. Merle is on the roof hallucinating.Merle: That's right. You heard me, bitch. You got a problem? Bring it on if you're man enough, Or takeit up the chain if you're a pussy. You heard me, you pussy-ass noncom bitch. You ain't deaf. Take it up the damn chain of command or you can kiss my lily-whiteass. That's right. That's what I said. You heard me. And then this idiot, he takes a swing, You know, and well... He laughs hysterically.Merle: Oh, you should'veseen the look on his face when I punched out his front teeth. Yeah, five of 'em. Pow! Pow! Just like that. Huh. Oh my god. 16 months in the stockade... Oh, that'swhat them teeth cost me. That was... That was hard time, but by god, it was worth every minute of it Just to see that prick spit his teeth out on the ground. Yessir, worth every minute. Merle continues to try and pull himself off of the pipe, but he is unable to get loose.Merle: Oh no. No no! No no! No no! God! God! No no!God! Jesus! No no, merciful Christ! No no. No no. God, help me! God! God! Jesus, please! Jesus, please. Help me! Come on now! Merle sees Walkers trying to getthrough the door. They are unable to break it because of the chain that T-Dog put on it.Merle: Help me. No no. Oh, no no. Oh my god. Shh shh shh shh shh.Merle starts crying.Merle: No, Jesus. Jesus. No no no no no no. Please. I didn't behave, I know. I know I'm being punished. I know. I... Oh, I deserve it. I deserveit. I've been bad. Help me now. Show me the way. Go on, tell me what to do. Tell me. Tell me. God! Merle rolls under the pipe and uses his belt to try. He getsthe saw that is lying close to him.Merle: That's okay. Never you mind, silly Christ boy. I ain't begged you before. I ain't gonna start begging now. I ain't gonnabeg you now! Don't you worry about me! Begging you ever! I'll never beg you! I ain't gonna beg you! I never begged you before. Oh sh1t. No! He continues to tryand get the saw while the Walkers try to break through the door.OPENING CREDITSTruckMorales: Best not to dwell on it. Merle got left behind. Nobody's gonnabe sad he didn't come back... Except maybe Daryl.Rick: Daryl?Morales: His brother. Behind them, the group hears Glenn in his car.Glenn: Whoo-hoo! Glennspeeds past them and continues to holler about how much fun he's having.Morales: At least somebody's having a good day. Camp Jim hangs some cans aroundthe perimeter so they can hear Walkers.Girl: Give it back.Boy: Stop it.Girl: No!Boy: I found it.Girl: No!Boy: Give it.Woman: Mijo, leave your sister alone.Boy:Why?Woman: Come on. Lori is giving Carl a haircut.Lori: Baby, the more you fidget, the longer it takes. So don't, okay?Carl: I'm trying.Lori: Well, tryharder.Shane: If you think this is bad, wait till you start shaving. That stings. That day comes, you'll be wishing for one of your mama's haircuts.Carl: I'll believethat when I see it. Shane chuckles.Shane: I'll tell you what... you just get through this with some manly dignity and tomorrow I'll teach you something special. Iwill teach you to catch frogs.Carl: I've caught a frog before.Shane: I said frogs... plural. And it is an art, my friend. It is not to be taken lightly. There are waysand means. Few people know about it. I'm willing to share my secrets. Carl looks at Lori unsure of what to say.Lori: Oh, I'm a girl. You talk to him.Shane: it's aone-time offer, bud... not to be repeated.Carl: Why do we need frogs, plural?Shane: You ever eat frog legs?Carl: Eww!Shane: No, yum!Lori: No, he's right.Eww.Shane: When you get down to that last can of beans, you're gonna be loving those frog legs, lady. I can see it now... \"Shane, do you think I could have asecond helping, please? Please? Just one?\"Lori: yeah, I doubt that. Shane chuckles.Shane: Don't listen to her, man. You and me, we'll be heroes. We'll feed thesefolks cajun-style Kermit legs.Lori: I would rather eat miss piggy. Yes, that came out wrong. Shane laughs.Shane: Heroes, son, spoken of in song and legend. Youand me, Shane and Carl. Carl and Shane laugh. The conversation is interrupted with the beeping of Glenn's car alarm.Man: Hey, Dale, can you see what thatis?Shane: Talk to me, Dale!Dale: I can't tell yet.Amy: Is it them? Are they back?Dale: I'll be damned.Amy: What is it?Dale: A stolen car is my guess. Glenn pullsin and says hello.Dale: Holy crap. Turn that damn thing off!Glenn: I don't know how!Shane: Pop the hood, please. Pop the damn hood, please.Amy: My sisterAndrea...Shane: Pop the damn hood!Glenn: What? Okay okay. Yeah yeah yeah. Yeah yeah!Amy: Is she okay? Is she all right? He pops the hood so Shane candisconnect the battery to turn the alarm off.Glenn: She's okay! She's okay!Amy: Is she coming back?Glenn: Yes!Amy: Why isn't she with you? Where is she?She's okay?Glenn: Yes! Yeah, fine. Everybody is. Well, Merle not so much.Shane: Are you crazy, driving this wailing b*st*rd up here? Are you trying to drawevery Walker for miles?Dale: I think we're okay.Shane: You call being stupid okay?Dale: Well, the alarm was echoing all over these hills. Hard to pinpoint thesource. I'm not arguing. I'm just saying. It wouldn't hurt youto think things through a little more carefully next time, would it?Glenn: Sorry. Got a cool car. Thegroup sees the truck arrive. TruckMorales: Come meet everybody. Survival Camp Andrea gets out of the truck.Andrea: Amy.Amy: Andrea! Andrea runs up toAmy and the two sisters hug.Andrea: Oh!Amy: Oh my god! You scared the sh1t out of me. Morales gets out of the truck and his wife and children runs up tohim.Boy: Papi! Daddy!Morales: Hey. Come here, sweetie. Hey. I told you I'd be back, didn't I? Carl is still sad and we can see that he wishes that Rick wouldcome back when the groups return. Shane looks at them.Dale: You are a welcome sight. Dale and Morales hug. Both laugh.Dale: I thought we had lost you folksfor sure.Shane: How'd y'all get out of there anyway?Glenn: New guy... he got us out.Shane: New guy?Morales: Yeah, crazy Vato just got into town. Hey,helicopter boy! Come say hello. Rick gets out of the truck.Morales: The guy's a cop like you. Rick walks up and Shane is the first to see him. Carl and Lori thenturn over and he sees Rick. Rick also sees Carl and Lori.Rick: oh my god. Carl and Lori run up to Rick.Carl: Dad! Dad! Rick takes Carl in his arms, crying.Rick:Carl. Oh! He kisses Carl on the cheek and approaches Lori. He hugs them both. Shane is surprised to see Rick, but isn't as happy as he should be. He feigns asmile as Lori looks at him. Rick smiles at him and Shane smiles back. Survival Camp Later that night, Rick is sitting down with the group around a fire camp.Rick:Disoriented. I guess that comes closest. Disoriented. Fear, confusion... all those things but... Disoriented comes closest.Dale: Words can be meager things.Sometimes they fall short.Rick: I felt like I'd been ripped out of my life and put somewhere else. For a while I thought I was trapped in some coma dream,something I might not wake up from ever.Carl: Mom said you died.Rick: She had every reason to believe that. Don't you ever doubt it.Lori: When things startedto get really bad, they told me at the hospital that they were gonna medevac you and the other patients to Atlanta, and it never happened.Rick: Well, I'm notsurprised after Atlanta fell.Lori: Yeah.Rick: And from the look of that hospital, it got overrun.Shane: Yeah, looks don't deceive. I barely got them out, youknow?Rick: I can't tell you how grateful I am to you, Shane. I can't begin to express it.Dale: There go those words falling short again. Paltry things. Nearby, Edputs another log on his fire.Shane: Hey, Ed, you want to rethink that log?Ed: It's cold, man.Shane: The cold don't change the rules, does it? Keep our fires low,just embers so we can't be seen from a distance, right?Ed: I said it's cold. You should mind your own business for once. Shane gets up and walks over to Ed'sfire.Shane: Hey, Ed... Are you sure you want to have this conversation, man?Ed: Go on. Pull the damn thing out. Go on! Carol, his wife, pulls the log out of thefire. Their daughter, Sophia, watches as Carol pulls the log out.Shane: Christ. Shane stomps the flames out.Shane: Hey, Carol, Sophia, how are y'all thisevening?Carol: Fine. We're just fine.Shane: Okay.Carol: I'm sorry about the fire.Shane: No no no. No apology needed. Y'all have a good night, okay?Carol: Thankyou.Shane: I appreciate the cooperation. Shane rejoins the other group.Dale: Have you given any thought to Daryl Dixon? He won't be happy to hear his brotherwas left behind.T-Dog: I'll tell him. I dropped the key. It's on me.Rick: I cuffed him. That makes it mine.Glenn: Guys, it's not a competition. I don't mean to bringrace into this, but it might sound better coming from a white guy.T-Dog: I did what I did. Hell if I'm gonna hide from him.Amy: We could lie.Andrea: Or tell thetruth. Merle was out of control. Something had to be done or he'd have gotten us killed. Your husband did what was necessary. And if Merle got left behind, it isnobody's fault but Merle's.Dale: And that's what we tell Daryl? I don't see a rational discussion to be had from that, do you? Word to the wise... We're gonna haveour hands full when he gets back from his hunt.T-Dog: I was scared and I ran. I'm not ashamed of it.Andrea: We were all scared. We all ran. What's yourpoint?T-Dog: I stopped long enough to chain that door. Staircase is narrow. Maybe half a dozen geeks can squeeze against it at any one time. It's not enough tobreak through that... Not that chain, not that padlock. My point... Dixon's alive and he's still up there, handcuffed on that roof. That's on us. TentRick: I foundyou, didn't I?Carl: I love you, dad.Rick: I love you, Carl. Rick kisses Carl goodnight and then joins Lori on the other side of the tent. Rick kneels down andpassionately kisses Lori. Rick then lies next to Lori.Rick: I found you both.Lori: Yeah.Rick: I knew I would.Lori: You're getting cocky now, a little bit.Rick: No. No,I knew. Walking into our home, finding an empty house, both of you gone.Lori: I'm so sorry.Rick: I knew you were alive.Lori: How?Rick: The photos were gone,all our family albums. Lori chuckles and grabs one of them.Rick: I told you so.Lori: Now you're getting cocky, huh? A lot. They look at some photos from Carl'slast birthday. Rick hands her the photo from his squad car.Rick: It belongs in here.Lori: Baby, I really thought I would never see you again. I'm so sorry... Foreverything. I feel like... When you were in the hospital, I just... I wanted to take it all back... The anger and the bad times. But the mistakes... Rick kissesher.Rick: Maybe we got a second chance. Not many people get that. Rick and Lori continue to kiss. Rick notices his wedding ring on Lori's necklaceRick: Iwondered where that went.Lori: Do you want it back?Rick: Of course. Lori takes it off and puts it back on Rick's ring finger. Rick and Lori start to get passionateand Lori turns out the lantern. Rick looks over at Carl sleeping.Lori: He won't wake up. The two proceed to make love. Outside Up on the RV, Shane is sittingalone and watches the Grimes' tent. He puts his hat on and seems very upset. Thunder is still rumbling. Tent The next morning, Rick wakes up and sees that Loriand Carl are not in the tent. Outside He walks out and sees that everything is fine.Rick: Morning.Man: Morning.Rick: Hey.Woman: Hi.Carol: Morning.Rick:Morning.Carol: They're still a little damp. The sun'll have 'em dry in no time.Rick: You washed my clothes?Carol: Well, best we could. Scrubbing on a washboard"}
+{"doc_id":"doc_12","qid":"","text":"Ted from 2030: Kids, in my early days of being a professor, I had one simple goal: give a lecture that changes someone's life. Then one afternoon in 2010, Iachieved that goal.Ted's classTed: Unfinished. Of all the words you could use to describe La Sagrada Familia... Brown, pointy, weird... The one that really seemsto stick is \"unfinished.\" Why? Because on June 7, 1926, the architect Antoni Gaudi... Whose beard was also brown, pointy, weird and unfinished......was run overby a bus. And so, his greatest masterpiece would remain forever...Ted from 2030: But first, let's back up a few days.A few days earlier - The BarBarney: Ted,look across the bar. Three chicks: one hot, one kind of hot and one who I'm assuming is really funny. We ride! What's wrong?Ted: I don't know. Got a burgercoming.Marshall: Bro, I told you, if you ever need a wingman, I'm your guy.Barney: Yeah, I'm not going to go through that again.[FLAHBACK]Barney: Hi. BarneyStinson.Marshall: And I'm Marshall, Barney's wingman.Barney: Thank you for your time.[END OF FLAHBACK]Barney: Fine. I'll have a three-way with hot and kindof hot while Giggles works the camera. I ride!Robin: So, get this: Last night, I was watching TV, and it turns out, some random satellite channel picks up a certainlocal Chicago newscast.[FLASHBACK](Robin is watching TV in her appartment)TV Speaker: And now, the 11:00 News with Don Frank.[END OF FLASHBACK]Ted:Oh, man, it's bad enough to have to go through a horrible breakup, but then have that person pop up on your TV? Are you okay?Robin: Well, I'll admit, at first, Ifelt a little weird. But after the initial shock, I realized something: I've moved on. Finished with that. It was a peaceful moment of closure.Ted: That's great. Goodfor you.Robin: Yeah, thank you.Lily: Where's the poop, Robin?Robin: Excuse me?Lily: When I was a kid, I had a dog named Bean. Whenever he made the facethat you're making right now, you just knew he pooped somewhere in the house. Where's the poop, Robin?Robin:I don't know what you're talking about.Lily:Where's the poop, Robin? Robin:There's no poop.Lily: Where's the poop? Robin:Okay. So it wasn't entirely a peaceful moment of closure.[FLASHBACK](Robin iswatching TV, drinking a beer)Robin: Hey, Don, here's some breaking news: there's a zit breaking ou on your forehead. Finished with that.[END OFFLASHBACK]Robin: Look, I'm not proud, but Don left so quickly that I never got the chance to have that final showdown. So yelling at him, even on TV, felt kindof good. And you know what? Now I truly am over him.Ted: That's great.Robin: Thank you.Lily: Good for you. Where's the poop, Robin?Robin: Damn it! Okay, inthe process of truly getting over him, I may have called him and left an... indelicate voice mail.[FLASHBACK](Robin is on the phone with Don's vocal)Robin: I amgonna kill you. I'm gonna fly to Chicago, kill you, put your stupid face on a deep dish pizza and eat it. And then maybe catch a Bears game. But mostly the killingand eating your face thing.[END OF FLASHBACK]Lily: Give me your phone. We're deleting Don's number.Robin: Don't worry. I am never doing that again. It wasa one-time thing.Lily: Prove it. Delete contact.Robin: There. Deleted.(Barney comes back)Marshall: Back already. How was flying solo? And by \"solo,\" I mean solow that you got shot down.Barney: Look, I didn't get shot down. Trust me, I'll get the yes. Barney Stinson always gets the yes. This is all part of the plan. Afterinitial contact, I'm now in the ignoring phase.Lily: Barney, why can't you just take a girl out to dinner like a normal person?Barney: Golden rule: I do not buydinner to get the yes. Dinner's a very intimate activity. It requires a level of connection and eye contact that s*x just doesn't. Call me old-fashioned, but I need tohave s*x with a girl at least three times before I'll even consider having dinner with her.Ted from 2030: The next day, at the university, I had a surprise visitor.Atthe universityTed: What are you doing here? Oh, God! You're dating one of my students. It's Rachel, isn't it? Barney, I know she wears provocative sweaters, butshe's 19! Now I'm gonna have to hear all about it, right? Go on, tell me every detail.Barney: No, you pent-up old perv. I brought you a present. Recognizethis?Ted: It's my building.Ted from 2030: Kids, you may remember that, a few years earlier, I was chosen to design the new Manhattan headquarters for GoliathNational Bank. It was the opportunity every architect dreams about. And when the project was ultimately scrapped... it broke my heart.Barney: Do youremember how awesome it was to be co-workers... Nay, bro-workers?Ted: Wait a minute. Y-You don't mean...Barney: Ted Mosby, it's back on. We're gonna buildyour building.[CREDITS OPENING]The barMarshall: This is awesome... You're designing our new headquarters. Now, there will be voices that tell you a hockeyrink on the roof is unfeasible. You've got to shut those voices out.Ted: Actually, I think I'm gonna say no.Robin: No? Are you kidding me?Lily: But designing abuilding in New York City is your lifelong dream.Ted: I do not want to work for GNB again. Those guys are evil. No offense, Marshall.Marshall: Dude, none taken.Yes, GNB is, the Empire from Star Wars. But the Death Star's gonna get built either way. And don't you think the architect of the Death Star is pretty psyched tohave that thing on his space resume? I mean, yes, his design was flawed in the sense that a single bullet fired into a particular vent would explode the wholething.Ted: For all we know, that was the contractor's fault.Marshall: But that won't happen on your watch... you know why? Because you're Ted Mosby! And youare gonna design the most beautiful, ventless, Rebel-proof building in Manhattan, with clearly marked emergency stops for every trash compactor on thedetention level.Ted: Look, I know this is hard to understand, but right now, I have a quiet, simple, happy little life. And I like it that way. I know what my answerhas to be.Barney's officeTed: I can't take the job, Barney. I'm done with that life. No hard feelings?Barney: Of course not.Ted: All right.Ted from 2030: And Ithought that was the end of the story. But then that night...The BarTed: I'm telling you, no architect would ever design a giant exposed vent right over a DeathStar's core reactor. That's Space Architecture 101. It had to be the contractor. Barney, back me up. Barney. Dude, this is important.Barney: I need anotherdrink.Ted: Marshall, you want anything?Marshall: No, I'm fine.Ted: Okay, I get that he's mad at me for turning down the job, but acting like I'm not evenhere?Marshall: Wait, you turned down the job? When?Ted: This morning.Marshall: That's so weird. Just, like, an hour ago, when we were leavingwork...[FLASHBACK](Barney's office)Marshall: So, you still think Ted's gonna take the job?Barney: Please. I'll get the yes. Barney Stinson always gets theyes.[END OF FLASHBACK]Ted: Am I wrong or is that exactly what Barney says when he's putting the moves on a girl?Marshall: Exactly. I mean, it's almost likehe's putting the moves on you.Ted: Yeah, more like the opposite. He's been ignoring me all night. Barney wants me to take the job so bad he's putting the moveson me?Marshall: I hope that's his end game. Actually, I don't. I like you two together.Ted: I don't buy it. That's crazy, even for Barney.Marshall: Okay, well, thinkabout it. We've seen his moves countless times. What does he do after he's done ignoring a girl?[FLASHBACK]Barney: Chrissy, I love your glasses.Chrissy:Really?Barney: They totally pull focus up from that whole chin situation you got going on. To Chrissy.[END OF FLASHBACK]Marshall: The backhanded complimentto lower her self-esteem... a proven winner.Ted: But Barney hasn't done...Barney: Ted, I admire your loyalty. You've had that hairstyle forever. You don't carethat it's out of fashion or that it's been co-opted by the lesbian community. You stick with it. To Ted.Robin's appartment - Lily comes inRobin: Hey, Lily!Lily: Don't\"Hey, Lily\" me. I smelled poop all the way from the hallway.Robin: Oh, no, not this again.Lily: Where's the poop, Robin?Robin: Okay, I left Don anothermessage.[FLASHBACK]Robin: \"This just in\" is what I'm gonna say when I'm stabbing you.(END OF FLASHBACK]Lily: But that's impossible. You deleted hisnumber.Robin: I tried to. But then this thing popped up on my phone that said, \"Are you sure?\" And I wasn't sure. I can't lie to my phone.Lily:Oh, sweetie, Itotally understand. Delete it!Robin: It's not that easy, okay? You're not just deleting a number, you're deleting a part of your life. You know, all those memories,all those experiences. It's like you're admitting they're gone forever.Lily: I know, sweetie. I know. Delete it!Robin: Okay, if it's that easy, I'm gonna delete one ofyour numbers from your phone, see how you like it.Lily: My \"plezh.\" If you can find a number in there that I don't call regularly, I'll gladly delete it.Robin: SuperKicks Karate.Lily: No, not that one. That's my dojo.Robin: You have a dojo?Lily: I took an introductory karate class.[FLASHBACK]Lily: Ops, wrong room. Wheredo the grown-ups go for the real karate class?Boy: What's the matter, lady? You scared?Lily: Of you? Please. I'm a kindergarten teacher.Boy: I hatedkindergarten. All three times.[END OF FLASHBACK]Lily: But I'm totally gonna sign up for more lessons.Robin: How long ago did you take that class?Lily: I don'tknow. It was around the time when everyone was going, \"Wassuuuuuuup!\"Robin: How do you even remember that? Lily, this is a number that you will never dialagain.Lily: I might.Robin: No, no. But you keep it in your phone because it reminds you of a version of yourself that you could be, even if it's a version of yourselfthat you'll never become. And that's okay.Lily: No, it's not. Okay, you know what? There, gone. Your move, Scherbatsky.[SCENE_BREAK](Ted and Marshallenters the appartment)Ted: I finally know what your kind goes through. I get it now.Robin: For the last time, I don't care how big it was, it is not the same asgiving birth.Marshall: No! Barney's been \"putting the moves\" on Ted.Lily: Oh, that sucks. Although I like you two together.Marshall: No, he's been doing it to tryto get Ted to design the new GNB Tower.Robin: Which moves are we talking about? Did he do the thing where he brags on himself in the form of acomplaint?[FLASHBACKS]Barney: Man, every time I take out my business card and women see the GNB logo, they throw themselves at me. I miss the chase. Itsucks! (...) Man, the courtside Knicks seats that are available to all upper level GNB employees are too close to the action. I keep getting sweat on my suit. Itsucks! (...) Man, GNB's benefits package is so comprehensive it gives me the freedom to see any doctor I want. It sucks![END OF FLASHBACKS]Ted: Hedid.Robin: And the intense eye contact thing?[FLASHBACK]Barney: So, Ted, would you like to split some jalapeno poppers?[END OF FLASHBACK]Ted: Okay.Yep.Robin: And the thing where he establishs intimacy through physical contact?[FLASHBACK]Ted: You know why jalapeno poppers are so good? It's the creamcheese.Barney: That is so true.Ted: Yeah... Cream cheese has a mild flav-flavor so it... it balances out the spiciness of the jal... the spiciness of the... Dude![ENDOF FLASHBACK]Robin: So at any point in this did you say, \"Barney, I know what you're doing, and it's not going to work. I am not taking that job\"?Ted: Well, I"}
+{"doc_id":"doc_13","qid":"","text":"[What happened in the previous episode.][PREVIOUSLY_ON]Aria: It's too hard to sit in this room every day and call you Mr. Fitz. Okay, I can't pretend like I don'tknow you.Hanna: I'm really sorry, mom.Ashley: For what?Hanna: The cop.Spencer: We're meeting Melissa's fiancé.Wren: Does she have to knoweverything?Spencer: Stop, stop. We can't.Wilden: This is no longer a missing person's investigation. It's a murder.Hanna: Is this waiting thing something youreally want, or is it because of your dad?Sean: No, it's me. It's... It's my choice.Maya: So, I'm corrupting you.Ben: What are you so weirded out about?Emily: Ithink there's something wrong with me.Pam: You lost a dear friend. You need to find a way to say good-bye.[In the woods]Hanna: Whose idea was this,again?Spencer: Emily's mom.Emily: The shed was me. My mom just said we should do something for us.Hanna: Well, couldn't we do something withoutmosquitoes?Aria: They're not mosquitoes, they're gnats.Hanna: Whatever! They're small and annoying, and they're flying up my nose.Spencer: Well, they'reattracted to your perfume. And your hair product. And your lip gloss.Hanna: So, what are you saying, I attract flies?Aria: Gnats.Emily: Why do I feel like this isthe wrong way?Spencer: No, this is it. I remember that tree. It's the halfway point. There's 136 steps left to the shed.Emily: Have you been out here since...Alison?Spencer: Me? No. No way.Aria: But you remember that tree.Hanna: You guys, it's not that weird. I mean, we came out here in eighth grade like, everyday... even after.Spencer: I think this is totally the wrong place to do this. Whatever you call it.. shrine.Emily: It's not a shrine. It's just a place to rememberAlison. What's wrong with that?Spencer: Doing it way out here makes it look like we have something to hide.Emily: You're worried what other peoplethink?Spencer: Well, aren't you? Do you really want to give that creepy Detective more reasons to question us?Emily: Hanna, why are you so quiet?Hanna: I'mtrying to keep the bugs in my nose and out of my mouth.Emily: You're allowed to have an opinion on this.Hanna: You want my opinion? I say we hold off and notremember her 'til we know for sure she's not still here.Everybody: What?Aria: What are you talking about?Emily: You think she's still alive?Spencer: Hanna, theyfound her body.Aria: Stop. I'm officially scared. Can we just not...Hanna: You know, you asked for my opinion. I don't believe she's really gone.Spencer: We wentto her funeral!Ashley: Yeah, and when we left we all got a text from her.Emily: It wasn't her. Someone is messing with us.Hanna: How do you know? And whatabout all those nasty messages? I mean, how does this \"A\"person know stuff only Ali knew?Aria: Okay, this conversation is giving me a hive.Hanna: That's a bite.Mosquito.Emily: Spencer, have you gotten any more messages?Spencer: Haven't you?Branches rustlingEmily: What was that? Did you hear that?Aria: Yes, Iheard that. I'm standing right next to you.Hanna: Hello? Is anybody out there?Spencer: It's probably a rabbit.Hanna: Hello?Spencer: It's a rabbit, Hanna. It's notgonna answer you.Emily: Can we just get to the shed?More branches rustlingHanna: Okay, that is definitely not a rabbit. Someone's out there.Emily: Let's turnaround.The girls' cellphones ring[Opening credits][In Hanna's kitchen]Wilden: Morning.Hanna: Where's my mother?Wilden: I guess she ran upstairs forsomethin'. I'm trying to figure out what makes this stuff spreadable. You want a waffle or somethin'?Hanna: No. Thanks.Wilden: There she is. It's canolaoil!Ashley: Darren, why don't you get dressed? I'll take care of breakfast.Wilden: Yeah.Hanna: So what, he lives here now?Ashley: Take out the milk.Hanna: Isthis a permanent thing?Ashley: Would you keep your voice down, please?Hanna: God, it was one pair of sunglasses, and they were last season's.Ashley: Handme the waffles.Hanna: Mom, you don't have to do this.Ashley: Do what?Hanna: Squeeze his grapefruit.Ashley: We will talk after breakfast.Hanna: I don't eatbreakfast, and neither do you.Ashley: Look. Until he gets the store to drop the charges for your shopping spree, we're not kicking anyone to the curb. The lastthing we want is an enemy on the police force.Hanna: I get it, okay? But I didn't count on having to buy him a father's day card, either.Ashley: Hanna! Thesituation is delicate. By the way, if you're buying anyone a card, it should be me.[At a restaurant]Byron: Well, you're pretty far into it.Aria: Yeah, I've got, like,60-some pages left, and I don't want it to end.Byron: You should read her biography next.Ella: The father-worship thing becomes a lot clearer.Aria: Well, I wouldworship both of you a lot more... if you got me another one of these.Ella: Uh, the poppy seed? We'll split it. Make sure your father doesn't drink all my coffee,please.Byron: Do you like your teacher?Aria: What?Byron: Your English teacher. Do you like him?Aria: Oh! Yeah. Uh, he's okay.Byron: What's his nameagain?Aria: Mr. Fitz. Hey, maybe I'll... I'll check out that biography at school. What's it called?Byron: I've got a copy of it in my office. I'll bring it home. It mightinspire you.Aria: To what, write a novel?Byron: You've got it in you.Meredith: Byron?Byron: Hey! Hi. How you doing?Meredith: Sorry. I didn't mean tointerrupt.Byron: No, no, no, that's okay.[Flashback in the street where Aria sees his father kissing Meredith][Back at the table]Byron: Uh... Um, Aria this is, uh,Meredith Sorenson. She also teaches in the department, uh, my department, and this is Aria, my daughter.Meredith: Oh, Aria! Hi. Of course you are. Did you getmy message?Byron: Yes I did, and I'm sorry I haven't had a chance to call you back.Meredith: That's okay, they just need he referral by Monday, and...Byron: I'llget to it as soon as I get back to campus. Is there an e-mail, or...Meredith: Here. So, how does it feel to be home? This town must seem a little dull afterspending a whole year overseas.Aria: Not really.Byron: Okay, well, I'll, uh... I'll send that before lunch.Meredith: Thanks. I'm so glad I ran into you. Nice to meetyou. Welcome home.Meredith leavesAria: Why can't she graduate?Byron: She has. I told you. She's now a teaching assistant. Not mine, but her office is acrossthe hall. I can't pretend like she doesn't exist, Aria. It's a small college.Aria: Mm, not small enough.[In the Hastings' kitchen]Veronica: You can't avoid seeingpeople, sweetie. It is what it is.Melissa: And what's that... Sad? Humiliating? Pathetic? All of the above? Just... take someone else. I don't want to have to explaina wedding that's never gonna happen to every last club member.Spencer: Morning.Veronica: Hey.Melissa: Excuse me.Melissa throws wedding magazines in thetrashSpencer: Where's Dad?Veronica: He left for the office.Spencer: Already? So he ran without me? Why didn't he just knock on my door?Veronica: He wasbusy. He was helping Melissa dispose of some things that... Wren left behind.Melisssa: Unfortunately, you weren't one of them.Spencer: How many times am Igoing to have to say it?Veronica: Oh, girls, please! I can't arbitrate on one cup of coffee.Melissa: Who's calling the paper to pull the announcement? It was hardenough changing my status on Facebook!Veronica: I'll take care of the newspaper.Melissa: What about the engagement dinner? Do I have to make thatcall?Veronica: No, honey, of course not. Just look up the number and I'll leave a message. To Spencer Where are you going?Spencer: I'll eat in mybedroom.Veronica: Oh, no, you won't. I just dry-cleaned your bedspread. Sit at the table.Spencer: I don't think I'm welcome.Melissa: That's never stopped youbefore.Spencer: I did not invite your fiancé to kiss me Melissa. For the last time, he made the move on me!Veronica: Spencer, please.Melissa: Right, you just satthere like a throw pillow with your tongue down his throat!Spencer: Look, I get it! You're upset and I feel for you, but don't dump it all on me. Maybe you shouldbe asking yourself why Wren felt the need to... I'm sorry. Okay? I'm not perfect, but I don't want to be accused of something that I didn't do!Veronica: Oh, stopplease. Both of you! Go get dressed for school. You can take your muffin to go.[In the street]Mona: Ah! Totally love this color. We should've stocked up on a fewmore tubes.Hanna: Well, I only have two hands. Keep it.Mona: Why, is your mom asking to see receipts?Sean: It's hilarious.Hanna: Sean! What's so funny?Sean:Nothin'. Noel's just out of control. Mm, you smell good.Noel: Save something for tomorrow night.Mona: What's tomorrow night?Sean: Noel's parents are leavingtown.Noel: It means the party of the year is officially on. Think big, think wild, think parental units in a different time zone.Sean: I gotta get to practice. Save thatsmell.Noel and Sean leaveMona: So, the pressure's on.Hanna: What do you mean?Mona: Not all of us have a Sean to wear to that party, and I'm not gonnaspend the night guarding the bushes so you can jump each other's bones.Hanna: Okay, we're not gonna be doing it in the bushes.Mona: Whatever. Have youguys even done it yet?Hanna: It's not a race, Mona.Mona: Okay mom, seriously. No one's pushing you to be natty ho, but you guys have been going out formonths. If you're not together in that way, how do you know you're together-together? How long can you wait before you lose him?[Near Hanna and Monawere]Maya: I was going to offer you a ride, but your bike's faster than my car.Emily: I passed you? I didn't even see you.Maya: I saw you. You took that corneron one wheel.Ben: Got ya!Emily: Ben, stop.Ben: Fine. I can wait one more day. Well, you guys heard, right? Noel's doing his cabin party tomorrow night.Maya: Isthis one of Rosewood's pagan rituals?Ben: Kinda. There was definitely some howling last year.Emily: Why don't you come with us? Please, come. It'll be fun.[Inthe corridors of the high school]Ezra: Good morning.Aria: Hi.Ezra enters his classroomAria: Russian history?Spencer: Yeah.Aria: How many AP classes does ittake until your brain explodes?Spencer: I'm already drowning in there.Aria: Why, what's drowning for you, B+?Spencer: First paper's due Monday, and I'vewritten two words. My name.Aria: Well, what's going on? Hey, you're not still freaked out about what happened in the woods yesterday, are you? Look, we do nothave to do this thing for Ali until we figure...Spencer: No, it's not just that. It's... It's everything. Is there any chance your family wants to adopt me?Toby &Jenna walk in front of themEmily has a flashback - Toby's carrying Jenna.Maya: Who is that?Emily: Toby Cavanaugh.Maya: Who's he?Emily: He's, uh, an older kidwho used to go here and got sent away to a reform school or something.Maya: Why?Emily: He had a... He set fire to a garage, and his stepsister... she was init.Maya: Should I be scared?Emily: What? No.Maya: See you later.Emily: Bye.Aria: He's back, too? When did that happen?Hanna: Maybe she needs help sendingradioactive e-mails.Spencer: Yeah, or he may be sending a few of his own.Wilden: Hanna.Aria: Cops on campus too.Wilden: I just spoke with your principal,asked him if we could have a chat.Hanna: No, I have to get to class.Wilden: Don't worry. You've been excused. Let's go.Hanna & Wilden leaveAria: What is goingon? Why just her?Emily: Probably thinks she's the easiest to crack.Spencer: She is.Jenna: Whisper, whisper, whisper. Almost feels like Alison's still"}
+{"doc_id":"doc_14","qid":"","text":"Scene: The apartment.Sheldon: Hello, I'm Dr. Sheldon Cooper. Welcome to Sheldon Cooper Presents Fun with Flags. Before we get started, I'd like to announcethe winner of our design your own flag competition. But I can't. The only entry was from GameyGamer75, and I know that was a jpeg of your buttocks. Now thisweek we have a very special episode where we explore the flags of the popular entertainment franchise, Star Trek. And to help me, I'm pleased to introduceInternet personality, former star of Star Trek: The Next Generation, and the only guy I know lucky enough to be immortalized in one sixteenth scale. Set phasersto fun for my friend, Wil Wheaton.Wil: Hi, Sheldon. Thanks for having me. I'm happy to be here.Amy: Cut.Sheldon: What's wrong?Amy: Sorry, Sheldon, you werebrilliant as always. Wil, that was a little wooden.Wil: Wooden?Amy: Don't worry, it wasn't terrible. Just, this time, try to say it the way people sound. Andaction.Sheldon: My friend, Wil Wheaton.Wil: Hi, Sheldon. Thanks for having me. I'm excited to be here.Sheldon: So, Wil, what do you have for us first?Wil: Well,this is an exciting one. This is the flag of the United Federation of Planets. Now what's interesting about this flag...Amy: Cut.Wil: What was wrong with that?Amy:It's called Fun with Flags. They're not at half-mast, nobody died. Let's try and keep it upbeat.Wil: Um, no offence, but I've been acting since I was a kid. I think Ican handle a Web show without a lot of direction.Sheldon: It's true. In 1982, Wil played the voice of Martin the mouse in The Secret of NIMH. You movedme.Amy: You'll have to forgive me. This is my first time directing, I just want it to be good.Wil: So do I.Amy: Great. So, this time let's try more real boy, lessPinocchio. And action.Wil: And cut. You realize that I'm doing this for free, right?Amy: Yes. And so far, we're still not getting our money's worth. Let's try it again.Everybody's having fun. And action.Sheldon: So, Wil, what do you have for us first?Wil: Well, this is an exciting one. This is the flag of the United Federation ofPlanets.Amy: Cut.Wil: Problem, first-time director?Sheldon: Oh, none that I could see. I saw a man who loved flags almost as much as I do. I got goosebumps.Amy: He was overacting on purpose.Sheldon: Really? He reminded me of a young William Shatner.Wil: Listen, Sheldon, I'm really happy to do this foryou, but not if she's gonna be a huge pain in the ass the whole time.Amy: You gonna let him speak to me like that?Sheldon: Well, you're my girlfriend and I don'twant you to be upset. Then again, Wil Wheaton's my friend and I don't want him to be upset. Hmm, this is a sticky wicket. (To Wil) What do you think?Amy: CanI speak to you for a second?Sheldon: I'll be right back. Feel free to play with yourself.Amy: I don't care for your friend, he's being rude to me. You need to askhim to leave.Sheldon: Amy, I can't just ask Wil Wheaton to leave. He's a minor celebrity. Once you explain who he is, many people recognize him.Amy: Fine.Then maybe I should go.Sheldon: Could you? That would solve everything. You are the best. I'll see you at dinner tonight?Amy: You sure you wouldn't ratherhave dinner with your friend Wil Wheaton?Sheldon: Come to think of it, I would! You, little lady, are on fire. Credits sequence.Scene: Howard'sbedroom.Bernadette: Every time we eat dinner here, your mother refuses to let me help with the dishes.Howard: Don't take it personally. She likes doing themby herself so she can lick the plates with no one looking.Bernadette: You ready to go?Howard: Yeah, let me just grab a couple of fresh turtlenecks.Bernadette: Idon't understand why you keep your stuff here when there's plenty of room at home.Howard: What are you talking about? All I have here is a few sweaters,books, bank stuff, computers, mail, collectibles, medicine and my electric body groomer. Ooh, there's my plaid dickie. Oh, got this at the Goodwill store for 50cents. Can you believe it?Bernadette: 50 cents sounds right. Let's go.Howard: You know, it's kinda late. Why don't we just spend the night here?Bernadette:Because we don't live here.Howard: I know.Bernadette: Do you? You said when you got back from space you were gonna move into my apartment, but half thetime we stay here.Howard: That's not true.Mrs Wolowitz (off): Howard, I'm doing laundry. You want me to put anything in for you?Howard: There's someunderwear in the hamper.Mrs Wolowitz (off): Oh, good, I got that new stain stick to try out.Howard: Thank you, I only put it on the list two weeks ago. Okay, Isee what you're getting at. How about this weekend I'll box up all my things and move them to our place.Bernadette: Thank you.Howard: The lightsabres aregonna look great in the living room.Bernadette: Or in the closet. We can decide later.Mrs Wolowitz (off): Howard, help, my hand's stuck in the garbagedisposal.Howard: Let go of whatever piece of food you're holding.Mrs Wolowitz (off): Are you kidding? It's a perfectly good chicken leg.Scene: Theapartment.Leonard: Hey, look who's out after dark, like a big boy.Sheldon: I was out raising heck with Mr. Wil Wheaton. Four hours more and we would haveclosed down the HomeTown Buffet.Leonard: I thought you had plans with Amy.Sheldon: Yeah, I did, but then Wil called Amy a pain in the A-S-S. She got huffyand left, then Wil and I headed out to dinner. That place really did remind me of my hometown. Because there we also have a HomeTown Buffet.Leonard: Holdon. Wil and Amy had an argument?Sheldon: Yes, quite the kerfuffle.Leonard: Then Amy got mad and left?Sheldon: Walked right out the door.Leonard: Andyou?Sheldon: Enjoyed a delightful dinner at a reasonable price. The manager recognized Wil and let us sit right next to the frozen yoghurt machine. Right next toit. I was closer to it than I am to you right now.Leonard: Buddy, I think Amy might be upset.Sheldon: Why's that?Leonard: Because your friend was rude to her,and then you went to dinner with him.Sheldon: You're just repeating what I said. It's like living with a lactose-intolerant parrot.Leonard: Trust me, callher.Sheldon: Fine. It's a shame you didn't go to dinner with us, because the buffet you're about to enjoy only serves humble pie, a dessert much less tasty thanfrozen yoghurt. I was this close.Amy (on skype): What?Sheldon: You'll appreciate this. Leonard has some ridiculous notion that you're mad at me. Tell him you'renot mad at me. Go ahead, set him straight.Amy: I'm mad at you, Sheldon.Sheldon: Hmm. Eat one of your Luna bars. Very often when women think they'reangry, they're really just hungry.Amy: I'm not hungry. Your friend insulted me, and you didn't do anything.Sheldon: Precisely, I didn't do anything. Now doessomeone feel like checking her emotional math?Leonard: Keep going, buddy, you're doing great.Amy: Sheldon, I'm your girlfriend, and you should have taken myside. That's it. End of story. Good night.Sheldon: Wow, Amy's mad and Leonard was right. What a weird day.Scene: The Cheesecake Factory.Penny: Hey. Sorrythis took so long. But you used to work here, you know how it is.Bernadette: Kitchen slammed again?Penny: No, I'm a terrible waitress, remember?Bernadette:So, is there anything I can do to help you with the move tomorrow?Howard: Now that you mention it, I was thinking tomorrow might not be great.Bernadette:What's your excuse this time?Howard: No excuse. It's just, you know, I'm Jewish, and technically, we're not supposed to drive or carry anything on the Sabbath.So this one's on God.Bernadette: That might be a little more convincing if you didn't have a mouthful of bacon cheeseburger.Howard: My religion's kindaloosey-goosey. Basically, as long as you got your schmekel clipped and don't wear a cross, you're good.Bernadette: Howie, you promised you'd move.Howard:And I will.Penny: Yeah, right.Howard: I will. I'm obviously not going to live in my mother's house for the rest of my life. I'm not a child.Penny: I've seen her burpyou.Howard: She did not burp me. She was patting me on the back, and I happened to burp. Don't you have other tables you should be waiting on?Penny: Yeah,but I told you, I'm not good at my job. Bernadette, listen to me. He is never gonna leave.Bernadette: I'm starting to think you're right.Howard: All right, I've hadenough of this. I'm a grown man, I have a successful career, for the love of God, I've been to space. I will move out when I'm ready, and I don't need anyonebadgering me into it.Penny: Wow, excuse me.Howard: That was just for her benefit. I'll move tomorrow. I love you. Don't leave me.Scene: Amy'sapartment.Sheldon: (Knock, knock, knock) Amy. (Knock, knock, knock) Amy. (Knock, knock, knock) Angry Amy.Amy: What?Sheldon: I've been thinking aboutwhat happened, and I hope this gift will make things better.Amy: Star Trek DVDs? Why would I want this?Sheldon: First of all, you're welcome. And furthermore,not being familiar with Wil Wheaton's body of work, there was no way for you to know you were being rude to a national treasure. Get ready for 130 hours of Itold you so. (She hands him back the DVDs and slams the door) Fine. I'll just tell you what happens. Episode one, Encounter at Farpoint. Fade in. The newEnterprise heads out on its maiden voyage to contact the Bandi people of Deneb IV. Enter Wesley Crusher, played by my buddy... (Amy opens door, grabs DVDs,slams door again) She's hooked.[SCENE_BREAK]Scene: Howard's bedroom.Raj: Wow. An end of an era.Howard: Boy, if these walls could talk.Leonard: They'dsay, why does he touch himself so much?Howard: Yeah. I can't believe I'm not going to live here anymore. This has always been my bedroom. Right here iswhere my mom used to mark my height.Leonard: Oh, yeah. Fifth grade. Sixth grade. Seventh grade. Eighth grade. Ninth grade.Howard: I remember when I wasfive, hiding under this desk with all my Halloween candy. Had some Peanut M&M'S, went into my first anaphylactic shock and had to be rushed to the hospital.Came home, celebrated with a Snickers, went into my second anaphylactic shock.Raj: When did you figure out you were allergic to nuts?Howard: Sometimearound the third Almond Joy.Leonard: Okay. You want to start loading this stuff into the truck?Howard: Yeah, I guess. Hey, would you do me a favour? Go onahead. I just want one last moment alone in my old room.Leonard: We're not standing outside by the U-Haul while you fondle yourself.Howard: Fine, let'sgo.Scene: The Cheesecake Factory Bar.Penny: Hey. What brings you in?Sheldon: Penny, if you wouldn't mind, I'd like to have a conversation about girls.Penny: Ihad a feeling we'd have a talk like this sooner or later. Are you finally getting fuzz in weird places?Sheldon: Penny, please, I'm on the horns of a relationshipdilemma. And for the record, I had a full pubis of hair by the time I was 19.Penny: And for the record, bleugh. So what are you drinking?Sheldon: Well, it's been arough day. I usually go chamomile tea, but I don't think that's going to cut it.Penny: You could have a Long Island Iced Tea.Sheldon: Will that calm mynerves?Penny: It's calmed the pants off me a couple of times.Sheldon: Sold.Penny: Oh. So, the heart you got from the wizard giving you trouble?Sheldon: Thetrouble isn't with me, Penny, it's with your gender. Someday, scientists will discover that second X chromosome contains nothing but nonsense and"}
+{"doc_id":"doc_15","qid":"","text":"Psy's officeSummer: Thanks for seeing me on such short notice.Psy: I'm glad you came. What brings you in?Summer: Well, I've changed a lot since I got tocollege. New friends, new interests, new clothes.Psy: Well, that's perfectly normal.Summer: I know. But... I think throwing myself into all these new things is justa way of avoiding dealing with what happened to my friend...who, um... who died.Psy: Well, grief often comes in five stages.Summer: Yeah, but I haven't reallybeen grieving. Why is this happening? Life is so unfair! I'd do anything to change things. Please, just name it, and I'll do it. Nothing matters anyway. But this is sonot fair! I'm sorry, I have rage issues. I think she would want me to move on. So that's what I'm going to try to do.Psy: I'm proud of you, Summer. You've madeastounding progress, and all in one week.Summer: It's kind of a relief in a way. Now I can go back to being me.Psy: What do you mean by that?Summer: Well,this whole save the planet thing, it was a crutch, right? And nothing against handicapped people, but crutches? Ew.Psy: A lot of people do change when they go tocollege.Summer: Well, not me. I love shopping, tanning and celebrity gossip, always have, always will. But I think I have to. If I ever want things to be good withmy boyfriend again.Psy: Summer, just promise you'll take it slow.Summer: Totally. At the airportRyan: Hey, man.Seth: Hey, dude, I know, three hour timedifference, but, Ryan, she's going to dump me.Ryan: It's okay, I'm awake.Seth: Oh, good. Ryan, she's going to dump me.Ryan: No one believes that, all right?Summer loves you.Seth: The old Summer loved me. But new Summer is upon us, and Providence is the place that spawned her.Ryan: Summer is just dealingwith what we're all dealing with, okay? She'll come around.Seth: What if she doesn't? This is my last shot. Otherwise, the girl with the violent temper and goodhygiene is nothing but a childhood memory.[SCENE_BREAK]Seth: Careful, lady, my girlfriend's going to be here any second.Summer: Shut up, Cohen.Seth: Hey,you just punched me. My baby's back.Généric At the beachSandy: You look good out there.Ryan: Thanks.Sandy: I got to get you on a surfboard.Ryan: Not achance.Sandy: How about some breakfast? I could use some intel on Seth and Summer.Ryan: You know what, I can't, but, uh, I think they're doing all right. Youknow? Doing the long distance thing.Sandy: How about you? How are you doing?Ryan: Good, good. Better, once I get my first day of work under my belt.Sandy:Well, Pavo Guapo is lucky to have you working there.Ryan: Me, too.Sandy: Now I got an excuse to come by for your shrimp tacos.Ryan: Yeah, Kirsten warned meabout that. You're limited to two a week.Sandy: Oh! I knew I should have divorced that dame.Ryan: Well, it's not forever.Sandy: You're still accepted to Berkeleyfor next year. I'm just glad you're getting back to your old self. You know? Back home again. New job.Ryan: I'm just trying to stay busy and earn some extramoney.Sandy: And hook me up with some shrimp tacos.Ryan: Yeah, right. I'll work on that. I'm going to walk back. I'm kind of sweaty.Sandy: Yeah, I wasn'toffering you a ride. Hey, Ryan? Hang in there. Brown's college - Summer's bedroomSeth: Wow, that was a lot better than what I was imagining on theplane.Summer: You were imagining it on the plane?Seth: Not like that. When you called me here, I was sure you were going to break up with me.Summer: Well,I know I'm not the one that usually apologizes in this relationship, but I'm sorry about everything. I turned into a liberal zealot just to distract myself from myown grief. I'm not even into all this stuff.Seth: So the old you is back?Summer: In all of my artificially tanned glory.Seth: Thank God 'Cause I was not sure thatthe new you and old me were really working.Summer: Yeah, the new me kind of smelled weird. Well, what would you have done if I didn't go back to beingme?Seth: I had a plan to coax the old Summer out. The Valley, Season Three? Summer: Awesome! At Cohen'sKirsten: I checked on Ryan. Did he leavealready?Sandy: Yeah. He seemed to be doing okay. I was hoping to hang with him while Seth is away. Poker, maybe shoot a little pool, but his new job is goingto make that tough.Kirsten: Well, I could rack a few balls with you.Sandy: You are so smart and sexy and gorgeous. But sometimes a man just needs to hangwith the guys.Kirsten: Well, that I'm not.Sandy: You know, Jimmy left, Caleb died, then Jimmy left again. Even Neil's gone. Look, I wasn't a pennant winner, butat least I had a bullpen, you know?Kirsten: It's baseball talk. I got it. Why don't you give Jason Spitz a call? You're always saying how funny he is. Why don't youask him to do something?Sandy: Yeah, yeah... I don't know. I mean, it's a little weird for a guy to ask another guy to do something right out of the blue likethat.Kirsten: Since when is Sandy Cohen afraid of acting weird?Sandy: Well, Spitz is pretty funny. He's allegedly a scratch golfer. He likes the Dodgers. I couldlive with that.Kirsten: It sounds perfect for you.Sandy: Yeah, but what am I going to do? I'm going to give him a call or what? Ask him out?Kirsten: Come on.Why don't you use some of that Sandy Cohen charm? I'm sure he won't be able to resist.Sandy: It's been a long time since I been out there, honey. What ifSpitzy doesn't like me?Kirsten: Are you calling him Spitzy now?Sandy: No, not yet. Do you think he'll go for it? At Roberts'Julie: Well, that's very generous of you.Thank you, Neil. Bye.Kaitlin: So how's Seattle? Is that short, sassy lady still bossing Dr. Roberts around the hospital?Julie: Neil is fine. He's going to let us stay inthe house as long as we want.Kaitlin: Well, nice work, Mom.Julie: I wish I could take all the credit, but it was actually Neil's idea. He's really very sweet.Kaitlin:Oh, you miss him. Well, don't worry. We'll find you another old dude to pay for all your stuff and cheat on you.Julie: Is that what I'm teaching you?Kaitlin: Mm,pretty much.Julie: Well, no more. Now that we have our housing situation handled, I am officially giving up men. Good one.Kaitlin: That'll last a week, max.Julie:I'll take that wager, young lady. And I'll make one with you. I will not so much as bat an eyelash at a man, and you will stay out of trouble.Kaitlin: You cannot livewithout a man. not even for a week.Taylor: Morning, roomies Anyone want a protein scramble?Julie: Nice to see you're making yourself at home, Taylor.Taylor:Well, thanks for making me feel at home, Jules. Summer's room is just adorable. And I don't know how I ever lived without a home gym.Kaitlin: Oh, this came foryou today. Who's Henry Michael?Taylor: Uh... Oh, Henri Michel? That's just, um, my French husband. I'm sure it's nothing. Excuse me.Julie: You see? Mandrama-- who needs it?Kaitlin: Hey, Ernesto's looking pretty hot. Nice six-pack.Julie: Where?Kaitlin: Gotcha. At Ryan's workplaceRyan: Taylor, hey.Taylor: Hi,Ryan. Are you working at El Pavo Guapo? You know, that means a handsome turkey?Ryan: That's why I took the job.Taylor: Hey, do you know when Seth's goingto be back? I really need to talk to him.Ryan: Sorry, gone for the weekend.Taylor: You know, that shirt really brings out your eyes.Ryan: It's black. What are youdoing here, Taylor?Taylor: Just in the mood for Mexican.Ryan: Mm-hmm.Taylor: Maybe the Macho Nacho Burrito wrap with extra guac. And... Oh, um, afavor.Ryan: No, no, no, sorry.Taylor: With Seth gone, you're the only one I can turn to.Ryan: Well, I'm honored.Taylor: Okay, so, I'm trying to get divorced, andI just found out that Henri Michel... Oh, that's my French husband. Um, he's coming to Newport and I know he's going to try and talk me out of it, and I couldreally use you there.Ryan: No.Taylor: I'm afraid to be alone with him. I'm afraid of his sensual powers. Ryan, the man is a sexual Jedi. Whatever he asks you todo, you just do it. It doesn't matter how depraved...Ryan: Okay, some people are trying to eat here, including me someday, so...Taylor: Ryan, please. If I goalone, I'll be back in France next week. You don't know how hard it was to leave. Seth and Summer are gone,my mom kicked me out, and... I have no one else.Look, just do me this one favor, and I'll leave you alone.Ryan: Promise? At Brown's college - Summer's bedroomChe: Knock, knock. Hey, Summer, can youfact-check this flier on solar panels? It's for the rally tomorrow.Summer: Che, I'd like to talk.Che: Sure, man. What's up?Summer: I haven't been completelyhonest with you about who I really am. This is my shoe collection. There's leather, suede, and the occasional calfskin boot.Che: Whoa, my friend.Summer: Theseare my magazines. I know which stars pump gas just like us, and who's on pump watch. And this is Marissa. She was my best friend, um, but she died in a caraccident on graduation night.Che: Summer, I'm sorry. That's-That's really heavy.Summer: Yeah, well, it's so heavy that I couldn't deal, so... I put all my energytowards being an activist, but that's not who I am. These shoes and these magazines-- that's me, but I hope we can still be friends.Che: All I can do is be me,whoever that is. It's, uh... it's Dylan. The guy's a genius. Look, Summer, if you've found your place in this world, I am nothing but happy for you.Seth: Hey. I putsome cream in your coffee. I figured you'd be back on dairy.Summer: Hey, uh, Che, this is my boyfriend, Seth. Seth, this is Che.Che: Summer, you have a twinflame. I wish I knew you were coming into town. I would have made you a bracelet.Seth: Oh, hey. Uh, where I come from, we just say hey.Che: Well, to borrowyour native tongue, hey. Listen, forget what I said about the rally. We got plenty of warriors for the fight. You two, just... be.Summer: Thanks, Che.Seth: What'sthat?Summer: It's garbage. At Sandy's officeSandy: Hi, Jason. How you doing?Jason: I just had a meeting with Kaminsky.Sandy: Oh, the slowest talker in theworld. It took forever. Forever.Jason: Good to see you, man.Sandy: Hey, uh... you got any plans this weekend?Jason: Sandy, I've been working the past sixSaturdays.Sandy: No, no, I didn't mean that. I'm just saying that we could, you know, you and I, uh, we could do something.Jason: Do something?Sandy: Poker,pool, you know, a little small ball. If you're free. If not, no worries.Jason: Can I get back to you on that?Sandy: Oh, sure, yeah. Whatever. Brown's college -Summer's bedroomSummer: God, this is so disgusting.Seth: I don't know, I think you're being too hard on April. Derek's knee was... it was really messedup.Summer: No, I just... I don't like this show anymore. All they do is create fake problems for fake people just to distract viewers from the real problems in theworld.Seth: Well, I don't think the network would go for a sexy teen soap set in the Damascus, but we can turn it off if you want. I just thought you likedit.Summer: I'm just distracted. I haven't been keeping up on how much blow Lindsay Lohan's doing. And did you hear about JT and Cameron?Seth: No,what?Summer: I don't know. That is the point. I'm going to go get one of my magazines.Seth: That sounds like the old Summer. I'm going to stay here and, uh,keep watching. You know, I have this thing where if I start something, I have to finish. Is that like a disease or a condition?Summer: Don't really know, Cohen.I'm reading about who got lipo. Yatch clubRyan: You know, you might want to relax.Taylor: Distract me. Tell me about this, um, cage fighting. It's something that"}
+{"doc_id":"doc_16","qid":"","text":"EXT. NEW YORK CITYFuture Ted VO: Now I remember a lot of stories from back in the days before I met your mother, but there's one story I don't remember.Uncle Marshall still refers to it as the pineapple incident.The night started like any other. We were downstairs at the bar.INT. MACLAREN'S(Lily, Marshall, Ted,Robin and Barney sit at booth, Carl comes over with drinks)Carl: On the house.Everyone: Whoa.Carl: It's my own concoction. I call it the Red Dragon.Everyone:Wow. Thanks, Carl.(Carl walks away)Ted: We're not really doing shots, are we?Lily: I hope not.Barney: No, no.Lily: These look kinda like blood.Marshall: OK, Iknow that you've all dismissed this theory before, but is there any chance that Carl is a vampire?Barney: That's ridiculous.Marshall: I'm serious. Think about it.He always wears black, we never see him in the daylight, only after dark.Robin: Oh my God, that does describe a vampire, or you know, a bartender.(Everyonebut Marshall laughs)Robin: Well, I should go get dressed.Ted: Where are you going, buddy? Hot date?Lily: I'll say, she's going out with a billionaire.Robin: Lily, Itold you not to call him that.Ted: Wait, you're really going out with a billionaire?Robin: He's not a billionaire. He's a hundred millionaire. Why do people alwaysround up?Ted: So, uh, where's Thurston Howell taking you?Robin: A charity dinner.Lily: Yeah, $2000 a plate.Robin: $1500, Stop rounding up. And it's for thirdworld hunger.Barney: You gonna put out?(Everyone looks at Barney incredulously)Barney: What? There's only one reason he's taking her to this dinner and it'snot so little Mutu can get his malaria pills.Lily: I think my soul just threw up a little bit.Robin: Well, I'm gonna be late. You guys have fun. Bye.(Robin gets up andleaves)Ted: See ya.Lily: Bye.Marshall: You OK?Ted: Sure, why?Marshall: I don't know. Girl of your dreams dating a billionaire.Ted: OK, first of all, hundredmillionaire. And second, she's not the girl of my dreams. We're just friend. Look, it would not be smart if we got together. I mean, I'm looking to settle down.She's looking for...(Barney starts snoring, Ted stops talking)Barney: What? You done? Great. Check out table number four. See that little hottie on the end. She'sshort but has an ample bosom. I love it. She's like half-boob. Let's go.(Barney stands up)Ted: Yeah, and say what? What's our big opening line?Barney: Daddy'shome.Ted: Daddy's home?Barney: Yeah.Ted: You want us to go over there right now and say to those girls, 'daddy's home.' Really think about that,Barney.Barney: Hm. Yeah, I think it's pretty solid.(Barney walks away from their booth over to table four)Marshall: OK, think about this, is there even a singleitem on the menu that has garlic in it?Lily: Garlic fries.Marshall: OK, well, I'll get back to you.(Barney walks back to their booth)Ted: Oh, daddy's back. See, ifyou'd taken a moment to think about that...Barney: (holding up small yellow piece of paper) Then Daddy wouldn't have gotten this seven-digit Father's Day cardfrom Amy, huh?Ted: That worked. I hate the world.Barney: Ted, your problem is all you do is think, think, think. I'm teaching you how to do, do, do.Marshall:Doo-doo.Barney: Totally.Ted: So, I think a lot. I happen to have a very powerful brain. It can't be helped.Barney: Oh yes it can.(Barney puts a shot in front ofTed)Marshall: InterestingBarney: Ted, I believe you and I met for a reason. It's like the universe was saying, hey, Barney, there's this dude, he's pretty cool butit's your job to make him awesome. Your brain screws you up, Ted. It gets in the way. It happened with Robin, it happened with half-boob. And it's gonna keepon happening until you power down that bucket of neuroses inebriation-style.Ted: So, what? You want me to do a shot.Barney: Oh no. I want you to do fiveshots.Marshall: Oooh, more interesting.Ted: Barney, I think you've officially...Barney: No, don't think. Do.Marshall: Ted, he's right. You overthink. Maybe youshould overdrink.Marshall, Barney: Drink, drink, drink, drink...Ted: Ah, Lily, will you tell these guys how stupid they're being?Lily: Guys, you are being immatureand moronic and drink, drink, drinkMarshall, Lily, Barney: Drink, drink, drink, drink, drink...(Ted takes a shot)Marshall, Lily, Barney: Yes! Drink, drink,drink...Ted: Let me tell you something about this brain, OK?(Ted takes second shot)Marshall, Lily, Barney: Drink! Drink, drink...Ted: Even alcohol cannot stop thisbrain.(Ted takes third shot)Barney: I love it, I love it, I love it.Marshall, Lily: Drink, drink, drink...Ted: This brain, dear mortals, is no ordinary brain.(Ted takesfourth shot)Marshall, Lily, Barney: Drink, drink, drink, drink...Ted: This is a superbrain.(Ted takes fifth shot)Ted: This brain is unstoppable. This brain...(screenblacks out)Future Ted VO: And that's all I remember, except for a few hazy memories.(black screen with white swirls spinning around and fire on the side,pineapple spins around, the words, \"I am Ted, please call\" spin around)Future Ted VO: But really, the next thing I remember is waking up the followingmorning.INT. TED'S BEDROOM(Ted lying in bed rolls over to his right side to see pineapple on his bedside table, gets up slightly looking surprised, rubs side ofhead and gets up and notices girl sleeping next to him on other side)Future Ted VO: So, there were some unanswered questions.(Ted sits up in bed and puts onsome sweatpants)Future Ted VO: How much did I drink? How did I sprain my ankle?(Ted gets up and grabs left ankle in pain)Future Ted VO: And who was thisgirl in my bed?INT. APARTMENT(Lily and Marshall sitting in living room area, Ted walks in from his room) Lily: There's our rock starTed: OK, what the hellhappened last night?Marshall: You really don't remember, Superbrain?Future Ted VO: So, Uncle Marshall and Aunt Lily filled me in.(flashback to previous eveningat bar, Marshall, Lily, Barney and Ted sit at booth, Carl walks over)Carl: And how did you guys like the shots?Ted: I drank all five, bitch.Marshall: (laughing) Ilove drunk Ted.Ted: Marshall thinks you're a vampire.(Marshall laughs and then gives Ted a stern look)Carl: If he pukes, one of you guys cleans it up.(Carl walksaway)Lily: No dibs. (Lily puts index finger on her nose)Marshall: Oh. (Marshall puts index finger on his nose)(Barney moves top put his index finger on hisnose)Barney: No....Dammit.Ted: How quickly you all forget. I haven't puked since high school. I am vomit-free since ninety-three. Vomit free since ninety-three.That's funny. I'm funny.(Ted gets his cell phone out)Lily: Who are you calling?Ted: Robin.Marshall: Oh, bad idea.Barney: No, no, that's a great idea. That's thewhole point of getting drunk. You do things you would never do in a million years if you were sober.Lily: Says every girl you've ever slept with.(Lily puts her handup for a high-five from Barney)Marshall: (pointing to Lily) Say what?!(Barney shakes his head, Lily puts her hand down)Ted: Hello Robin, it's Ted.(Robin sitting inback of limo dressed up, talking on phone with Ted)Robin: Oh hi Ted.(Ted on phone)Ted: Hello Robin, it's Ted.(Robin on phone)Robin: Hi Ted. Sounds like you'rehaving fun.Ted on phone)Ted: Robin, have I ever told you that I'm vomit-free since ninety-three?(Robin on phone)Robin: Listen, Ted, I can't really talk right...'93? Dude, that's impressive.(Ted on phone)Ted: I don't say this enough, but you're a great woman, and a great reporter. You should be on 60 Minutes. Youshould be one of the minutes.(Robin on phone)Robin: That's sweet and odd. But I'm kinda on a date right now.(Ted on phone)Ted: Yeah, and I disagree withBarney. Just 'cause this guy is spending a lot of money doesn't mean you have to put out. Take it slow, Robin, take it slow. Slow.(Robin on phone)Robin: ByeTed.(Ted on phone)Ted: Slow.(Lily takes away Ted's phone)Marshall: Wow, right, that's why we don't do shots.Lily: Friends don't let friends drink and dial.Ted: Ineed that phone back.Lily: You'll get this back at the end of class.Barney: Ding, class dismissed. Here you go, kid, you call whoever you want.(Barney takesphone from Lily and returns it to Ted)Ted: Thank you kind sir. At least someone appreciates the fact that I'm doing and not thinking. And now I don't think I won'tnot go to the bathroom.(Ted walks away)Lily: Was that necessary? He is not making smart decisions. Barney: Exactly. It's like, what's he gonna do next. I don'tknow, but I want to find out.(Cheap Trick's \"Voices\" starts playing on the jukebox)Marshall: Cheap Trick? Oh Ted.(Robin in car, her phone rings, sheanswers)Robin: Hello again, Ted.(Ted on phone singing along with jukebox)Ted: Hey, it's me again.(Robin on phone smiles)Ted: (singing along with jukebox)Plain to see again.(Ted jumps up on table)Ted: (singing along with jukebox) Please can I see you every day?Ted: (yelling to everyone in bar) I love everyone inthis bar.Marshall: And we love you, drunk Ted.Ted: (singing along with jukebox) I'm a fool again.(Robin in car on phone with mouth wide open)Ted: (singingalong with jukebox) I fell in love...(Ted falls off table)(Robin on phone)Robin: Ted?(back to present scene in apartment)Ted: Well, that explains the ankle.Lily:And then we brought you home and put you to bed.Ted: Was there anyone else in there with me?(Lily and Marshall get up and run over to Ted's bedroom door,Ted limps behind them, Lily opens door and she and Marshall peek in room to see girl lying on bed, Lily closes the door)Lily: There's a girl in there.Ted: Iknow.Marshall: And a pineapple.Ted: I know.Lily: Who is she?Ted: I don't know.(Ted sees his jacket burnt)Ted: What the hell happened to my jacket? Marshall:Whoa.Lily: That girl in there is alive, right? Ted: I should call Barney, maybe he knows what happened.(Marshall gets his phone out of his pocket and dials andgives to Ted, sound of phone ringing from bathroom, Lily, Ted and Marshall walk into the bathroom, Lily pulls curtain aside to find Barney lying in the tub)Barney:Hello.Ted: Why are you sleeping in our tub?Barney: The porcelain keeps the suit from wrinkling.Lily: Wait, were you here when I went to the bathroom in themiddle of the night?Barney: Don't worry, I slept through it. (laughs) I totally didn't sleep through it. For a little girl, you've got a big tank.Marshall: How did youget in here anyway? We put Ted to bed around one.Barney: Oh, you put Ted to bed all right.(flashback to Marshall and Lily putting Ted to bed)Ted: You guys takecare of me. You guys are the best. I love you guys so much.Lily: Good night, Ted.Marshall: Love you too, buddy.(Lily turns out light, Marshall and Lily leave Ted'sbedroom and close door, Ted asleep on his bed)(Ted enters MacLaren's)Ted: I'm back baby doll!Barney: Hey, hey hey hey, he rallies. And the night beginsnow.(Barney and Ted high-five)Barney: All right, game face on. Carl, two more. All right, all right, what do we think of this one?Ted: I think....Barney: Ehhh!Trick question, no thinking. You know what time it is? It's do o'clock. Let's ride.Ted: Bring it.(Barney walks over to table and sits down next to girl, Ted walks inanother direction)Barney: Have you met Ted?(Barney gestures behind him and finds that Ted's not there, sees Ted standing by jukebox with his phone) Barney:Excuse me.(Barney walks over to Ted)Barney: You're calling Robin.Ted: I'm calling Robin.Barney: Ted, as your mentor and spiritual guide, I forbid you fromcalling her.Ted: Oh yeah? What you gonna do?Barney: If you complete that call, I will set your coat on fire.Ted: You're bluffing.(Ted completes call to Robin)Ted:"}
+{"doc_id":"doc_17","qid":"","text":"(Continuing from last week. Sydney and Ana kneel in front of the case, staring at its contents. It starts to beep. Acid starts bubbling up through two tubes ateither side of a piece of paper which is centered inside. It has binary digits written on it -- 0s and 1s. Ana and Sydney start memorizing it, saying out loud. Theacid starts covering the piece of paper. The sheet disintegrates. They stand.)SYDNEY: Did you get it?ANA: Did you?(They take off, running in oppositedirections.)SYDNEY: Dixon, I'm ending transmission!(Inside the SD-6 van, an agent sits with Dixon.)AGENT: She turned off her mic, I've lost her signal.(Sydneyruns through the alley of the field.)SYDNEY: 0-0-1-0. Did you get that?(Vaughn is still in L.A.)VAUGHN: Got it.SYDNEY: I'm giving SD-6 the wrongnumber!VAUGHN: What? No, no, no, no, you give them exactly what--SYDNEY: I'm not giving them the right sequence! There is no way, forget it!VAUGHN:Sydney, listen to me! This is critical! Sydney, you give them the number. That's an order.SYDNEY: An order?VAUGHN: Yes.SYDNEY: We have to have a long talkwhen I get back to Los Angeles!(Sydney runs up to the SD-6 van and crawls in.)SYDNEY: Dixon, I've got the code! 0-1-0-0-0-1-1-0-0--(In the K-Directorate van,Ana tells the code to her agents.)ANA: Null, adin, null, adin--(Sydney and the agents in the van, Dixon takes it down.)SYDNEY: 1-0-0-0-1-1-0-0-1-1-1. Just twoones. Then--(In the K-Directorate van.)ANA: Null, adin, null, adin, null, null, adin, null--(SD-6 van.)SYDNEY: 1-1-0-1. That's it. 1-1-0-1.DIXON: You did good.(InLos Angeles, inside a yellow parked van. Sydney, Vaughn and Weiss.)SYDNEY: You do NOT give me orders!VAUGHN: Maybe I do--SYDNEY: I could have easilymisled SD-6--VAUGHN: You're not thinking this through!SYDNEY: ...That's what I'm here for!VAUGHN: Just stop talking for a second! If you'd given SD-6 a boguscode, what would have happened when Ana gave K-Directorate the correct sequence?SYDNEY: Who cares? They would have thought I made a mistake!VAUGHN:Oh, and what, that Ana didn't? She would've given them the correct code, they would have seen the code indicate at Athens, K-Directorate would head there,SD-6 would have nothing. They would suspect you. Sydney, we have to be very careful here. We have to be wildly, crazy careful. If SD-6 suspects you in theleast, it's over.SYDNEY: Ana's been the enemy for three years. In Berlin I realized she wants SD-6 to burn almost as much as I do.VAUGHN: As far as the C.I.A.'sconcerned, the only thing worse than SD-6 getting its hands on critical information is if K-Directorate gets it first. Ana is still your enemy.(Credit Dauphine. Sloaneand Russett walk together.)SLOANE: You're not into mysticism, are you?RUSSETT: Mysticism.SLOANE: Neither am I. But keep an open mind, it'll help. The codewas written in 1489. The guy who wrote it was some sort of Nostradamus. His name was Milo Rambaldi.RUSSETT: This binary was witten by a fifteenth centuryfortuneteller. How come I've never heard of him?SLOANE: His designs were so advanced, they just assumed he was insane. On some of his drawings, he madelists of part numbers. I.D. numbers of actual technology not manufactured until now. This year. It's real, it's a hunt. This man spent the last ten years of his lifeworking on one project. We don't know whether it's a weapon, a fuel source, a transportation system. Based on the little we do know, its technology is beyondanything we have ever seen. How's your wife? I forgot to ask.RUSSETT: Uh, good. Yours?SLOANE: Actually, Emily's a bit under the weather. Thanks for asking.Come on.(They enter the board room where Marshall and Sydney sit.)SLOANE: Did you read the report?SYDNEY: They found nothing.SLOANE: This is AnthonyRussett, he's transferring here from Jennings. He's working on the UCO file. You've already met Marshall. This is Sydney Bristow.RUSSETT: I know yourfather.SLOANE: We read the code you recovered. Accordingly, we sent a team to Athens. So, I just got a phone call from SD-3, he said there was no evidence toanything pertaining to Rambaldi. And we were there first. Turns out, we made a giant mistake. But so did K-Directorate.MARSHALL: In our rush to decipher theRambaldi enigma, we misinterpreted the code. It left us with two series of digits. We assumed longitude and latitude. But he was using a compression scheme. Ishould have seen that. Instead of sending a team to Athens, we should have been headed to Malaga, Spain.SLOANE: Which is where you're going. There's afive-hundred-year-old church sitting on the exact site of Rambaldi's coordinates.SYDNEY: What am I looking for?SLOANE: We don't know. The only clue we have,if it is indeed a clue, are two words that were part of a code: Sol d'oro.RUSSETT: Golden sun.(Malaga, Spain. Sydney shines a flashlight in the church, she looksover the pews for the clue. She looks around, turns to see the painted glass window at the back of the church. In the center is a golden sun. Sydney takes a deskand stands on top if it. She touches the golden sun and unscrews its center. The golden circle is the clue. She looks at it in her hands, and jumps down. Ana, frombehind her, takes her by the throat and snatches the golden sun away from her.)ANA: I was hoping you'd come.(Sydney kicks Ana and Ana's gun goes slidingdown the floor. Sydney punches her, roundhouse kicks. Ana drops the sun. Sydney flips Ana and dives behind a pew while Ana fires her gun at the pews,destroying many of them. Sydney flinches while on the floor, covering her head. She sees the sun lying nearby. Ana slinks closer with her gun in hand. She seesthe sun, bends down and gets it. Sydney comes up from behind and hits her on the head with a wooden post with religious markings on it. The gun flies. Anagrabs a long candle stick holder and slaps Sydney in the head with it. Sydney lands on her back on a table. Sydney grabs Ana's hand and holds it above all thecandles that are lit. Ana snatches her hand away, yelping in pain. Sydney quickly moves and handcuffs Ana's hand to the table post. She struggles like a cagedanimal. Sydney takes the sun, and walks out.)(In Sydney's house, Sydney and Francie sit on the sofa eating Chinese food. Sydney holds the matchbook, lookingat it.)SYDNEY: You haven't said anything to Charlie?FRANCIE: I needed to talk to you first.SYDNEY: It's just a matchbook with someone's number.FRANCIE:Yeah, someone named Rachel who \"truly loved tonight.\"SYDNEY: You have to ask Charlie about it.FRANCIE: Yeah.SYDNEY: I mean, what else are you going todo?FRANCIE: Have you ever spied on anyone? Okay, I know it's totally beneath me, but Charlie has been so distant lately, and every time I ask him what'swrong, he's like, \"Nothing, baby. Everything's cool. It's all fine.\"SYDNEY: You don't believe him.FRANCIE: He has law review in an hour.SYDNEY: You want tofollow hm.FRANCIE: So much, I cannot even tell you.SYDNEY: I think spying on your boyfriend generally sets a bad relationship precedent.FRANCIE: What if he'scheating on me?(Across the street from Francie and Charlie's house, Sydney and Francie sit in Sydney's vehicle. Francie eats some candy.)FRANCIE: You're areally good friend, you know that?SYDNEY: Yes, I do. (smiles) So, this thing happened with Will the other night.FRANCIE: What, did he come on to you?SYDNEY:No, no. I kissed him.FRANCIE: What? You kissed Will Tippin? Are you kidding me?SYDNEY: I know. Stop it. We were in the apartment by ourselves after you andCharlie left and we had all those drinks...FRANCIE: I don't believe it. You must have been really drunk. Hey, there he is. Start the car, start the car.SYDNEY: No,you wait 'til he's a block away.FRANCIE: Look at you getting all into it.SYDNEY: Everyone knows you wait.FRANCIE: I don't know you wait.SYDNEY: Youwait.FRANCIE: What's he doing?(A car pulls up beside Charlie, its horn honking. Charlie walks over to the driver's side. A blonde woman gets out, and hugs him.They kiss briefly. Sydney looks at Francie. Charlie puts his duffel bag in the girl's trunk. Francie looks devastated.)FRANCIE: Okay. I guess he's not going to lawreview.(Will's office. He's on the phone, sitting at his desk. Jenny stands nearby.)WILL: H-E-C-H-T. You're certain? Okay. Thank you. I promise, I won't call again.(hangs up) Danny was supposed to be registered at a medical conference in Singapore.JENNY: You already told me. Litvack wants the baptist church copy.WILL:But I checked all the conferences twice. He's not registered at any of them.JENNY: I know...(His phone rings.)WILL: Will Tippin.(Sydney's at her house, wateringplants.)SYDNEY: Hey, it's me.WILL: Hey. Hi. Uh, how'd your trip go?SYDNEY: Okay. How are you?WILL: Good. Uh, uh, busy. Listen, you don't feel weird aboutwhat happened, right?SYDNEY: A little.WILL: Me too. What is that?SYDNEY: We'll talk about that later. Listen, Francie and I saw Charlie last night with anotherwoman.WILL: What? You're kidding.SYDNEY: Yeah. She spent the night at my place. She's here now, she's sort of a mess.WILL: Oh, God...SYDNEY: And thebank called. Uh, I might have another trip.WILL: You take an insane amount of trips.SYDNEY: Would you mind dropping by later? Just check on her and makesure she's okay.WILL: No, yeah, yeah, yeah, of course.SYDNEY: Thank you. I should go.WILL: Okay. Go. I'll talk to you later. Bye.(He hangs up. Jenny standsthere, watching.)JENNY: That was Sydney. You're different when you talk to Sydney.WILL: Don't analyze me. Go. Can you get me the number of, uh, the guywho works for the airport? What's his name? Luis Scourza? What?JENNY: If you want me to do something for you, you say please.WILL: Please. Scourza, okay?You know, \"please\" is implicit, Jenny!(Credit Dauphine. Sydney is at her desk, filing something. She sees her dad walking through. She gets up.)SYDNEY: Dad.You have a meeting with Sloane?MR. BRISTOW: McCullough.SYDNEY: Psych evaluation?MR. BRISTOW: Routine. It's nothing I'm not used to, nothing I lookforward to, but, uh, such is the nature of the job.SYDNEY: So, Berlin. It worked out. My meeting with K-Directorate. We got the code. That was smart.MR.BRISTOW: Well, I should go. I'll see you later.SYDNEY: Dad... could we have dinner? How about Thursday, do you have plans?MR. BRISTOW: No. Thursday.Dinner. That'll be fine.(Board meeting. Sloane, Russett, Dixon, Sydney, Marshall.)SLOANE: Analysis is working full-time on the piece you brought back fromSpain. This is not glass. They know that. It's a synthetic polymer. They believe it was made at least five hundred years ago.DIXON: Before there were syntheticpolymers.SLOANE: And so the mystery continues. Meanwhile, we have another situation. This is last year's United Commerce Organization. Administerialconference. A number of groups led planned attacks against the proceedings. Zero defense among them. Word is they're planning to attend the conference thisyear in Sao Paulo.RUSSETT: Luc Jacqnoud should be landing in Morocco within the next forty-eight hours.SYDNEY: I thought he was in Le Sante for stabbing apolice officer.RUSSETT: Released twenty-six months early. He's obviously got ties to French justice. Intel reports he'll be in Morocco to meet a client.DIXON: I.D.on the client?SLOANE: None. That's your job. You're Kate Jones, and Justin Bernell. You're traveling with Mindspring Learning Tours. You arrive on Wednesday."}
+{"doc_id":"doc_18","qid":"","text":"(audience laugh)Lucas (reading): \"It has been a long time since New Years on the roof\". \"Remember that\"? \"I know we've been avoiding it but now the flowersare blooming and it is Spring: the season of love\"! \"Hi! My name is Lucas Friar and I am here to talk about us\".Maya: Do we have to talk about this?Lucas: Wehave to make some decisions!Riley: We have chosen to completely forget about this! (yells) He's in my room!Cory (O.C.): You have to make somedecisions!Lucas (reading): \"This is very hard for me. We have to be very careful about what's going on, because I don't want to--\"Riley (interrupts): .. lose eitherone of you as my friends?Lucas (continues reading): \".. lose either one of you as my friend\".Maya: You were with him when he wrote this?!Riley: No. Maya, Ithink we just all know what's at stake here.Maya: Nothing's at stake here. Just tell me right now: nothing will affect our friendship.Riley: (shrugs) It won't.Lucas(pretending to read): \"What... about... what... I... want\"?(audience laugh)Riley: One card for each word...Maya: Why did he do that?Riley: Emphasis.Maya: Whydid he do that?!Riley: Lucas, what do you want?Lucas: I don't want anything bad to happen to us... but I especially don't want to be responsible for somethingbad happening between the two of you!Maya: We know that.Riley: Why do you think we like you?Maya: What's it say on your last card?Lucas: Oh, I'll get toit.(audience laugh)Lucas: See? I have different feelings for each of you and I don't entirely understand them.Riley: We don't understand this either.Lucas: That'swhy the smartest thing to do would be to make the right decision, right now, and just move on.Riley: Great! How do we do that?Maya: You mean, choose one ofus over the other? What happens then?Riley: That would be the end of us.Maya: What's it say on your last card?Lucas (reading): \"I don't want this to be the endof us\"![SCENE_BREAK](Theme music playing)\u0000 I've been waiting \u0000 \u0000 For a day \u0000 \u0000 Like this to come \u0000 \u0000 Struck like lightning \u0000 \u0000 My heart's beating like adrum \u0000 \u0000 On the edge \u0000 \u0000 Of something wonderful \u0000 \u0000 Face to face with changes \u0000 \u0000 What's it all about? \u0000 \u0000 Life is crazy \u0000 \u0000 But I know \u0000 \u0000 I can workit out \u0000 \u0000 'Cause I got you \u0000 \u0000 To live it with me \u0000 \u0000 I feel all right, I'm gonna take on the world \u0000 \u0000 Light up the stars, I've got some pages to turn \u0000 \u0000 I'msinging \"Go-o-o\" \u0000 \u0000 Oh, oh, oh, oh \u0000 \u0000 Take on the world, take on the world \u0000 \u0000 Take on the world \u0000 \u0000 Take on the world, take on the world \u0000 \u0000 Take onthe world \u0000[SCENE_BREAK][ INT. John Quincy Adams Middle School - Classroom - day ][SCENE_BREAK]Legacy!(audience laugh)Why is Farkle a goose?Riley:That's the Einstein Academy Goose. Oh! Of course. The Einstein Academy Goose. Why is it on Farkle's desk?Maya: Einstein captured Farkle. It was their end ofthe year prank.Maya: So, since they took our mascot...Riley: We took theirs, and now we are even.(audience laugh)Farkle is not our mascot.Maya: What wouldyou call him?(audience laugh)Where's Zay? They got Zay too? Zay is back in Texas; he's at Vanessa's Spring Formal.all: Ooo-oo-oh. Alright guys, listen up. It'syour last week of school. This is my last chance to teach you something.Maya: You have more to teach us? I have so much more I wanna teach you. So muchmore... I mean, you guys are gonna be leaving this place; what will you be leaving behind? What is your legacy? I want to talk about not just what you've gottenfrom this place... but what you've given.Maya: He's right! We still haven't thought of our class prank! I was thinking we could let all of the air out of school.Everybody would just be like (makes strangling noises). That would be hilarious.Farkle: I'll tell you what's hilarious: nobody saved me! Why did nobody saveme?!Riley: Farkle, we looked for you for a whole five minutes and then we took the goose.(audience laugh)Maya: He's the new you!Donnie Barnes, regular goose.I'd see that movie.(audience laugh)Farkle: Oh, please. Farkle cannot be replaced by a goose. Farkle is unique and one of a kind. (at goose) Hah!(Goose honksback)(audience laugh)Farkle: You don't know me.[SCENE_BREAK][ INT. Matthews Kitchen - night ][SCENE_BREAK]Riley: You haven't taught me enough!Did Iteach you to pass the mashed potatoes?Riley: Yes. Well then, there's a test on that right now.(audience laugh)You passed!(audience laugh)FunnyDaddy.(audience laugh)What's bothering you Riley?Riley: Everything gets harder. Everything gets harder and you didn't tell me! Were you going to tell me? Youdidn't tell her? Only every day. You tell her. Life gets harder. Tell her Auggie.Auggie: I'm doin' fine!(audience laugh)Riley: We're graduating middle school. We'resupposed to be in the middle of our education. The only thing I'm in the middle of is a big mess with two of the people I care most about in the world.Why?Riley:Because we're not talking about it? Because Maya and I both like Lucas and so we know none of us is going to get hurt, so we're all scared to move. You knowwhat makes me happy?Riley: How could you be happy about any of this? Because you're talking to us about it. No matter what happens to you, we always wantto be a part of what happens to you.Riley: You always will be. Thanks Riley. That's the greatest legacy any parent could have. Well, you guys are both going to befine, and there is nobody stronger than Maya; nothing can break her. I just don't see it.(Maya enters and falls to her knees.)Awwww, it's a poor baby. It's a poor,poor baby. Come here. Come here. Aww... (hugs Maya) Maya. No matter what happens it is nobody's fault.Maya: Yes it is. Whose fault do you think it is?Maya:Matthew's! (points) Well, of course!Maya: You didn't teach us enough we don't know how to handle this, and now we're leaving, and you're staying behind, andyou didn't teach us enough.Riley: Yeah, Dad, you're more than a teacher, you're like a father to me.(audience laugh)Thanks, Riley. He's the best teacher you'reever going to have and if there is one thing I know for sure he's taught you, it's how to express yourselves to each other, in the best possible way. And as long asyou do that, there is nothing to worry about.Lucas (reading): \"Hi! It's me, Lucas Friar\".(audience laugh)Lucas (reading): \"Since no-one knows what to do, I madea choice\".OK, I'm a little worried.Lucas (reading): \"I choose to stop--\" Lucas, put the cards away. Say what you need to say.Lucas: You both mean the world tome, and I would never do anything to hurt either one of you... so I choose to stop. You won't decide, so I did, and I decided we're just friends. That's all we are. Idon't want this to be the end of us.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Classroom - day ][SCENE_BREAK]You came into this place, a bunchof young kids, who didn't know very much, and now look at ya: young men and women ready for what's next. Snap out of it. Get in here!(audience laugh)Whatare you doin'?Lucas: We value our friendship too much to look at each other.(audience laugh)Turn your chair around. Get in your seat.(audience laugh)Now, themost important thing you can do in life is give people a reason to remember you. The people who do that are the ones we study in here. So, your last assignmentfrom me, and for yourselves, is to figure out what you'll give back.Maya: What?Lucas: I looked at Riley.Maya: I know, I saw.Lucas: So, I'm looking at you to evenit up!Maya: Oh, well, a girl always wants to be looked at to be evened up.(audience laugh)Lucas: We're just friends, and I love your outfit.Riley: (screams) Hey!(slams both hands on the window)Lucas: Your hair smells nice!Maya: You smelled her hair?(audience laugh)Lucas!Lucas: I'm dying here!(audience laugh)Whatare you grateful for? Who do you want to remember you?(Riley enters and sits down)Do something about it... right now. Now, get outta here!(The class leave andRiley is still in her seat)Riley: I'm not ready to leave this place.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Corridor - day ][SCENE_BREAK]Ms.Kossal: What's going on?Maya: I'm graduating, Ms. Kossal... and I wanted to say goodbye... and thank you for believing in me.Ms. Kossal: I expect great thingsfrom you, Maya. You've been given a real gift... so grow! And when you feel something you know the rest of us feel, explain it to us... Paint us a picture.Maya: I'lltry.Ms. Kossal: I'm glad I had the chance to be your teacher.(Ms. Kossal hugs Maya)[SCENE_BREAK]Farkle: Just a quick goodbye, Mr. Norton, we both knowemotion has no place in science.Mr. Norton: Quite right, my dear boy. So, from one scientist to another, see you on Mars.(audience laugh)Farkle: Mr. Norton, canwe just stop being scientists for one second?Mr. Norton: Well, let me remove the protective goggles of my soul! Clear outta here!(audience laugh)Farkle: I'mreally gonna miss you, sir.Mr. Norton: The feeling's mutual, my boy.Farkle: Is it possible feelings are stronger than science?Mr. Norton: Hm. Keep discovering,Farkle.[SCENE_BREAK]Janitor Harley: Me?Lucas: Yeah. I wanted to say thank you.Janitor Harley: Why? I left some kind of impression on you? Clear outtahere!(audience laugh)Lucas: Mr. Matthews told me I had to make a real difficult choice once.Janitor Harley: I was at a crossroads; I was standing on the corner ofMaple Street and Alcatraz.Lucas: How did you make the right decision?Janitor Harley: I always try and make sure this bench here is polished up and looking niceand inviting for you to sit on. You know why I do that?Lucas: Why? (sits)Janitor Harley: Because, you kids come and go, but this bench stays right here and allthe problems of the universe get decided on it. I respect a nice place where good decisions get made. Gettin' a little worn down... A little old as time goes by, butaren't we all? Thanks for saying goodbye to me, Lucas. Means a lot to me. Make good decisions.[SCENE_BREAK][ INT. John Quincy Adams Middle School -Classroom - day ][SCENE_BREAK]Riley: I don't wanna go. I'm not ready for high school... and I don't wanna go.Why not?Riley: 'Cause we did great here. Thiswas the time of our lives; we were kings, Matthews.(audience laugh)Riley: What will I be next year?Not kings.Riley: No. The opposite of kings. Freshmen. Worms.Worse than worms freshmen. You'll be fine Riley. You all will.Riley: Also... and I don't say this a lot but... I like you.(audience laugh)You do?!Riley: Yeah. You saidyou had a lot more to teach us. And I will. You're my daughter.Riley: What about the rest of my friends, Dad? You need to teach all of us more. We're a mess. Weshouldn't feel we don't know how to feel and you need to teach us how to not feel. What?Maya: You got one last lesson for the road? Yeah. I do.Maya: Well, I'venever said this before but... you have my attention.(audience laugh)Good! This one's important. I've gotten to watch you guys become friends, and I've gotten towatch you grow. You guys grew up so fast... and I've been trying to teach you to keep your feelings inside...Riley: And you were right. Look at us. I was wrong!Your teacher was wrong. I can't keep you in this place. You've outgrown it. You guys are graduating to whatever comes next. You know why?Maya: No. You'veearned it.Maya: How do we know when we're ready? Same way we know anything. Let's take one last test and see.(all groan)Farkle: Yay![SCENE_BREAK]Riley:Are you even allowed to do this? It's the last day of school.I'm still your teacher. I can do whatever I want. Besides, this test isn't for a grade. This is a test to find"}
+{"doc_id":"doc_19","qid":"","text":"MAWDRYN UNDEADBY: PETER GRIMWADEPart OneFirst Air Date: 1 February 1983Running time: 24:03[SCENE_BREAK]IBBOTSON: A 1929 Humber 16/50 opentourer, Imperial model. Do you realise this car has the same chassis as the three and a half litre Humber Super Snipe?TURLOUGH: Crude, heavy andinefficient.IBBOTSON: This car is a classic, Turlough.TURLOUGH: It's dull and fat and ugly. Just like you, Hippo.IBBOTSON: Turlough!TURLOUGH: We're going fora ride.IBBOTSON: You can't drive the car!TURLOUGH: Watch me.IBBOTSON: We'll be caught.TURLOUGH: Who will know?IBBOTSON: Oh, Turlough, wecan't.TURLOUGH: Oh, come on, Hippo. Just to the end of the drive and back. You're not afraid, are you? Come on.IBBOTSON:Turlough![SCENE_BREAK]IBBOTSON: Hey, you said just to the end of the drive. But you haven't got a license, Turlough.TURLOUGH: So, who needsone?IBBOTSON: Oh, go back to the school, please. Oh Turlough, slow down, please. You're on the wrong side of the road, Turlough!TURLOUGH: This car's aclassic. Isn't that what you said, Hippo?IBBOTSON: Look out![SCENE_BREAK]TURLOUGH: Who are you?GUARDIAN: A friend.TURLOUGH: What is thisplace?GUARDIAN: There's no need to be afraid.TURLOUGH: Then tell me who you are.GUARDIAN: Your guardian. One who has your interests atheart.TURLOUGH: Am I dead?GUARDIAN: Merely sleeping.TURLOUGH: I don't think I'd really care if I were. I hate Earth.GUARDIAN: You would like toleave?TURLOUGH: Is it possible?GUARDIAN: All things are possible.TURLOUGH: Then get me away from here, please.GUARDIAN: But first, we should have todiscuss terms.[SCENE_BREAK]RUNCIMAN: He'll be all right. No bones broken. Just a slight concussion.HEADMASTER: It's a wonder they weren't both killed.What's the damage at your end, Brigadier?BRIGADIER: Eh? In thirty years of soldiering, I've never encountered such destructive power as I have seen displayedhere and now by the British schoolboy. Well, how is he?RUNCIMAN: He's been lucky, He'll be all right.[SCENE_BREAK]GUARDIAN: We haven't much longer. Ineed to know that I have your assent to our arrangement. You will find me the most accommodating of partners.TURLOUGH: But murder. I'm not sure I could gothat far.GUARDIAN: You will be destroying one of the most evil creatures in the universe. He calls himself the Doctor.TURLOUGH: Why can't you destroy him? Youhave the powers.GUARDIAN: I may not be seen to act in this. I must not be involved.TURLOUGH: I need time to think.GUARDIAN: There is no time. Yes orno?TURLOUGH: Don't send me back to Earth, please.GUARDIAN: Yes or no?TURLOUGH: Yes.[SCENE_BREAK]RUNCIMAN: He's coming round.BRIGADIER: Steadyon, old chap. You had a bit of a knock.[SCENE_BREAK]TEGAN: Doctor? I am free of the Mara, aren't I?DOCTOR: Tegan, Tegan, Tegan.TEGAN: I'mscared.DOCTOR: There isn't any need to be.TEGAN: I'm still having terrible dreams.DOCTOR: It's your mind's way of coping with the experience. You've suffereda great deal.TEGAN: That could have been prevented if that Dojjen person had destroyed the Great Crystal.DOCTOR: No, he couldn't. The Mara during theprocess of its becoming. It had to be trapped between modes of its being.TEGAN: The feelings of hate. Doctor, I couldn't go through it again.DOCTOR: Well,you're completely free of it now, Tegan. For you, the Mara is dead forever.NYSSA: For all of us, I hope.DOCTOR: Indeed.TEGAN: Can you take me back toEarth?NYSSA: You want to leave us?TEGAN: I want to rest. I want to be surrounded by familiar things.NYSSA: You'll forget the Mara, Tegan. It won't always beas painful as it is now.DOCTOR: Warp ellipse cut out?NYSSA: Can't be. That would mean we were near an object in a fixed orbit in time as well as space.DOCTOR:And what's the probability of that?NYSSA: Several billion to one against.TEGAN: Are you trying to scare me, or is this your way of telling me we've broken downagain?DOCTOR: I'm afraid it's much more serious than that.[SCENE_BREAK]MATRON: Right, into bed with you, young man.TURLOUGH: Oh, Matron, I'm perfectlyall right.MATRON: Mild concussion and shock. You heard what Doctor Runciman said. We don't want complications, do we?TURLOUGH: I'm not going tobed.MATRON: Just this once you can do as you're told. You're in enough hot water already.TURLOUGH: Matron, where did this come from?MATRON: It was inyour jacket, and that was in a fine old mess, I don't mind telling you.MATRON: Good afternoon, Headmaster.HEADMASTER: Is it, I wonder. Well, Turlough, howare you feeling?TURLOUGH: Much better, thank you, sir.HEADMASTER: Which is more than the Brigadier can say for his car. I don't understand you. You make noeffort at games, you refuse to join the CCF, you do little or no work in class though you have a first-rate mind, and now this.TURLOUGH: I wasn't driving, youknow, sir.HEADMASTER: What?TURLOUGH: The Brigadier's car.HEADMASTER: But Ibbotson saidTURLOUGH: I didn't want Ibbotson to get into trouble, sir. I onlywent along in case he got hurt. I knew he wasn't really able to drive it, and, wellHEADMASTER: I see.MATRON: Ahem. Turlough must get some sleep,Headmaster.HEADMASTER: Of course, Matron. I'll look in again later.TURLOUGH: So you are real. I thought it was just a dream.GUARDIAN (OOV.): Waking orsleeping, I shall be with you until our business is concluded.[SCENE_BREAK]NYSSA: Are we safe?DOCTOR: There's a chance something's on a collision coursewith the TARDIS.TEGAN: Don't you know?DOCTOR: Well, there's a chance of anything. Statistically speaking, if you gave typewriters to a tree full of monkeys,they'd eventually produce the works of William Shakespeare.NYSSA: Doctor!DOCTOR: Now, you and I know that at the end of the millennium they'd still betapping out gibberish.DOCTOR: And you'd be tapping it out right along side them. I only asked you a simple question.NYSSA: Doctor, something's coming straightfor us!NYSSA: We've got to get out of the way.DOCTOR: We can't. We've converged with the warp ellipse.NYSSA: Doctor!DOCTOR: Hold this steady.TEGAN:We're going to crash.DOCTOR: I'll try and materialise on board the ship. Hold tight![SCENE_BREAK]TURLOUGH: Why am I still on Earth?GUARDIAN: Patience,Turlough. Already the elements of chance are ranged against the Doctor. Soon he will be separated from the TARDIS and in your power. Go to the hill, boy, to theobelisk, and wait. There I will instruct you further.[SCENE_BREAK]HEADMASTER (OOV.): You realise, Ibbotson, what you did is a criminal offence. If it weren't forthe good name of the school, I'd hand you both over to the police.HEADMASTER (OOV.): I shall be writing to your parents, needless to say.BRIGADIER:Ahem.BRIGADIER: Ah, Ibbotson. And what have you got to say for yourself?IBBOTSON: Please, sir, I'm very sorry, sir, but it wasn't my fault, honestly. I'm reallysorry, sir.BRIGADIER: Ah, Headmaster. I trust you flogged that young man within an inch of his life?HEADMASTER: Thank you, Brigadier, but I feel that weshould wait until Turlough is restored to health before we take any legal or disciplinary action.BRIGADIER: You realise that car was unique?HEADMASTER: Quite,but I feel sure that you will agree that we must do what is best for the school.BRIGADIER: Yes, well. Oh, if you say so, Headmaster. Mind, you can't really take itout on Ibbotson. It's my view that he was led into this by Turlough. Oh, we've got a rotten one there.HEADMASTER: I'm not so sure. I had a word with Turlough.He said he only went along to protect Ibbotson.BRIGADIER: Pah. Cunning as a fox. You don't believe him, of course.HEADMASTER: I don't know. I'd be reluctantto jeopardise the boy's future.BRIGADIER: Have you spoken to his parents?HEADMASTER: I thought you knew. They're dead. I deal with a solicitor in London,and a very strange man he is, too.[SCENE_BREAK]IBBOTSON: Are you awake, Turlough?TURLOUGH: What do you want?IBBOTSON: Listen, the Head's going towrite to my parents. The police may be called into investigate. We could be expelled.TURLOUGH: It's all right, Hippo. I've spoken to the Head. I told him it was allmy fault.IBBOTSON: I say, did you really, Turlough?TURLOUGH: So you won't get the boot, just beaten, I expect.IBBOTSON: Oh. Well, they'll beat you whenyou're better.TURLOUGH: Oh no, they won't.IBBOTSON: Hey, you can't get up until Doctor Runciman says so.TURLOUGH: Goodbye, Hippo.IBBOTSON: Oh,Turlough, you can't leave me on my own! Oh please, Turlough![SCENE_BREAK]TEGAN: Strange ship.NYSSA: No sign of any passengers.TEGAN: Probably havingcocktails with the Captain.NYSSA: What?TEGAN: Well, I mean it's more like the Queen Mary than a spaceship.TEGAN: I take it back. It's not the Queen Mary, it'sthe Marie Celeste. You'd think on a long journey they'd want something a little more cheerful.NYSSA: Everything on this ship is designed for pleasure.DOCTOR: Ihave a weird feeling the warp ellipse will be travelling for a very long time. Possibly through infinity.NYSSA: Well, it's certainly no prisonship.[SCENE_BREAK]IBBOTSON: Where are we going?TURLOUGH: Don't ask questions. (quietly) What am I supposed to do?IBBOTSON: Oh, Turlough, what'shappening? Who are you talking to?IBBOTSON: Oh, wait for me.[SCENE_BREAK]TEGAN: Could you fly this thing, Doctor?NYSSA: You don't fly a ship like this, it'sin perpetual orbit.DOCTOR: Amazing.NYSSA: Doctor?DOCTOR: There's a length of flight indicator. This ship's been in orbit three thousand years.TEGAN: Nowonder there's no one on board.[SCENE_BREAK]IBBOTSON: Now what?TURLOUGH: We wait.GUARDIAN (OOV.): The base of the urn. Press it. Release thecamouflage screen protecting the capsule.[SCENE_BREAK]NYSSA: Doctor, look at this.DOCTOR: Mmm. Transmat terminal.NYSSA: And in the transmitmode.TEGAN: The crew escaped in a life raft?DOCTOR: Well, someone certainly left the ship, almost six years ago.TEGAN: Where to?DOCTOR:Earth.[SCENE_BREAK]IBBOTSON: What is it?TURLOUGH: A transmat capsule. Don't you know anything?[SCENE_BREAK]DOCTOR: The ship's orbit takes it withinrange of Earth for six years.TEGAN: Someone might come back.DOCTOR: Any time. Come on, let's get back to the TARDIS.[SCENE_BREAK]IBBOTSON: Keepback!IBBOTSON: Turlough![SCENE_BREAK]GUARDIAN (OOV.): The controls of the vessel are of no interest to you, Turlough.TURLOUGH: But it's a ship! I can gethome!GUARDIAN (OOV.): I did not bring you here so that you could return home. Your concern is with the Doctor.GUARDIAN: You will obey me in allthings.TURLOUGH: Let me go.GUARDIAN: Remember the agreement between us.TURLOUGH: Yes.GUARDIAN: You will seek out the Doctor and destroyhim.TURLOUGH: Of course. I will seek out the Doctor and destroy him.[SCENE_BREAK]DOCTOR: Quickly.[SCENE_BREAK]IBBOTSON: Sir! Sir!IBBOTSON: It'sTurlough, sir.BRIGADIER: What?IBBOTSON: We were on the hill, sir, and there was this great big silver ball, and Turlough went inside anddisappeared.[SCENE_BREAK]TEGAN: Now what?DOCTOR: The TARDIS won't dematerialise.[SCENE_BREAK]BRIGADIER: If you took more regular exercise,"}
+{"doc_id":"doc_20","qid":"","text":"\"The Baby in the Bough\"[SCENE_BREAK]TEASER(Open: Freeway stock. Night. Booth's Car exterior. Booth's Car interior. BOOTH is driving.)BRENNAN: What doyou know about the Cayman Islands?BOOTH: Great diving, you know? Lots of sea turtles. Why? Are you going?BRENNAN: No. My accountant wants me to set upa tax shelter there.BOOTH: Tax shelter?! Exactly how loaded are you?BRENNAN: (indignantly) That is an offensive way to phrase the question. (she pauses, andmumbles) Quite loaded. I'm betting on a seven figure advance for my next book.BOOTH: Seven figures. Wow. With-without the decimal point?BRENNAN:(defensively) The publishers make considerably more.BOOTH: What's the first of those seven figures?BRENNAN: A prime number. What do you do with yourmoney?BOOTH: I use it for food and rent.(Cut to Booth's Car exterior on freeway.)(Cut to: firemen and emergency workers grouped around a crash site inPendleton. There are fire trucks, police cars and an ambulance. A sports car has run off the road. The area is muddy and wooded. It is night and the site is lit withfloodlights on stands. The firemen are packing up hoses and calling to each other as they work. SHERIFF DELPY, BOOTH and BRENNAN walk into shot.)FIREMAN:(in background) Hey, this is all done get over to-BOOTH: (to DELPY) Hey. What have we got here?DELPY: You Agent Booth?BOOTH: (shaking his hand) SpecialAgent Booth. How you doing?DELPY: Sheriff Delpy.BOOTH: This here's my partner-BRENNAN: I can introduce myself. Doctor Temperance Brennan.BOOTH:Somebody ran the car off the road?DELPY: Yeah. Well, it makes it impossible to get any traceable tire marks.(BRENNAN approaches the victim, who is a burnedhusk still seated in the driver seat of the open top car.)BRENNAN: The victim was doused with gasoline and then set on fire.DELPY: Farmer three miles away sawthe smoke, called it in.Brennan: Female. Probably in her early twenties. Preauricula sulcus on the iliac. She's given birth.BOOTH: Ran off the side of the road, seton fire... Somebody wanted her dead.DELPY: Well that's why I need your help. I only got six deputies covered four hundred square miles. We're stretched thinnerthan plastic wrap.BRENNAN: Compound fractures to the right tibia and fibula. (BOOTH opens the hood of the car and notices a diaper bag in the back seat.)Crushed manubrium; massive skull trauma. (BABY ANDY cries and BOOTH looks up quickly as BRENNAN continues her examination) I'm not certain yet whethershe died in the accident or the fire-BOOTH: Ssssh! You hear that? (The SHERIFF and BRENNAN listen) Everybody! Keep quiet! Stop workin'! (To Brennan) Did youhear that?BRENNAN: Sounds like a cat. (They all look around.)BOOTH: A baby. (He looks up. The camera looks down on BOOTH and BRENNAN from the treetops.Pan across to reveal BABY ANDY in a car-seat, lodged in the branches.DELPY: Holy crap.BOOTH: Get a ladder down here now!FIREMAN: All right, let's move!(Cutto DELPY and EMERGENCY WORKER holding BABY ANDY as they walk alongside the emergency vehicles to BOOTH and BRENNAN)DELPY: There's not even ascratch on the boy. It's a miracle.BRENNAN: Well, hardly! Car-seats are specifically engineered to protect the child.BOOTH: From what? Flying out the back of acar and landing in a tree? (BABY ANDY squawks) Oh, look at him, Bones. He looks a little fussy there. Why don't you pick him up and give him acuddle?BRENNAN: What? Just because I have breasts doesn't mean that I have magical powers over infants. You're the one with the son.BOOTH: All right, fine.I'll take him. Here you go. (He hands her the diaper bag.) You have fun with the diaper bag. You look good. (he takes BABY ANDY) Come on, little man! Whoa-ho.Hi! Why don't you say hi to your grumpy old Auntie Bones.BRENNAN: No! I am not grumpy! (To the SHERIFF) The-the vinyl seat melted and fused to the body sowe need that brought back to the Jeffersonian. And the driver's door for particulate evidence.DELPY: (Sniffing) The kid smells a little ripe. Might want to take careof that.BOOTH: Ye-eah. (He sighs) Okay, Bones, I'm gonna have to change him. Just hold on to him here (holding BABY ANDY out for Bones to take). Here yougo. Here you go. Okay? Got him?BRENNAN: What? Oh! Woah! Arrrgh.BOOTH: Okay. Here we go. (Taking off his suit jacket) We'll work together on this one. (Helays his suit jacket on the wide back step of a fire truck) Changin' Diapers 101. ( BRENNAN passes him BABY ANDY) Here we go. Here we go, little big man. Okay.watch your-Here. Right here. Look at that. All right. Get me a diaper there, Bones.BRENNAN: Right. There you go.BOOTH: Thanks. Baby powder.BRENNAN: Youknow, Booth, I have better things to do with my time. (She looks through the bag) There's no powder.BOOTH: No powder?BRENNAN: Yeah. Hey. Wait a minute.(She pulls a key from the bag and shows it to BOOTH.)BOOTH: Where'd that come from?BRENNAN: There's a rip in the lining of the bag. Seems like someone wastrying to hide it.BOOTH: Okay. I'll get an evidence bag and I'll ask EMT if they have any baby powder. Just watch him. (He jogs away.)BRENNAN: Wait. Wait.Wait! Booth. There's a baby! I don't feel comforta-. (She trails off, exasperated. BABY ANDY gurgles.) Coochie-coo? (BABY ANDY cries.) Oh! No no! No need tofuss! Obviously something is upsetting you. Children have toys; you must have some. Let me see. (She rummages in the bag, retrieving a purple stuffedelephant.) You know, elephants are not purple. This is wrong. ( BABY ANDY cries. BRENNAN sighs). Hey, look at that: he flipped over!BOOTH: Bones! That'sbecause you gotta *watch* him. Jeez. Woah. Okay, look, little big man. If you're gonna be in my jacket, we gotta get you out of that diaper. Woah. Okay,where's the key?BRENNAN: I put it on your jacket.BOOTH: Next to the baby?BRENNAN: Yeah.BOOTH: Are you crazy? Do you know that babies put everything intheir mouth, Bones? He could have swallowed the key! It's so dangerous. All right. Okay. ( He picks up the BABY ANDY whilst BRENNAN looks for the key) Shhshh shh shh. The *key*, Bones. look for the key.BRENNAN: It's not here. Oh, no. He must've... swallowed it.BOOTH: (In synchrony) Swallowed it. (BABY ANDYcries.) Okay. (BOOTH hands BABY ANDY to BRENNAN) Here you go. Get used to him.BRENNAN: What do you mean?BOOTH: That key was evidence. You knowhow chain of custody works. That kid stays with us until we get the key back.(BRENNAN looks at him. BABY ANDY pees down her leg,)BRENNAN: Ugh.Argh.BOOTH: (Takes the still-peeing BABY ANDY.) Wooh. That's a stream.TITLES.ACT ONE.(Open: Medico-Legal-Lab. CAM, ANGELA and ZACK stand in a linelooking down at something offscreen.)ANGELA: I have never seen anything so gorgeous on this table before.CAM: Or so alive!(Camera looks down from above atZACK, ANGELA and CAM standing along one side of an examination table. BABY ANDY lies on it, laid on a piece of cloth and burbling happily.)ZACK: Why is DoctorBrennan the official custodian?ANGELA: She's registered as a foster parent. Russ asked her to do it after he began his prison term.CAM: Russ wants to make surehis step-daughters are taken care of if anything happens to Amy.ZACK: Prodigious saliva production.HODGINS: (Walking into shot carrying a security swipe-wandmetal detector.) Okay. Now we can determine if the little guy really *did* swallow the key, or if he has been falsely accused. (HODGINS passes the wand overBABY ANDY. The wand squeals as it passes over BABY ANDY's abdomen.)CAM: Well, unless he's already had a hip replacement, it sounds like there's a key inthere.ANGELA: He liked it! Do it again. (HODGINS wiggles the wand over BABY ANDY, who chuckles and squirms.)BRENNAN: What are you doing?HODGINS:(Grinning) We were just- (He sees BRENNAN'S expression and becomes serious.) We verified that the baby did indeed swallow the key.BRENNAN: Then youshould X-Ray him to get a clean view. He's not a plaything. (To Zack.) And you're supposed to be examining the victim.ANGELA: We thought it would be bad formto examine the remains in front of the baby. You know, creepy formative memory?BRENNAN: Then would you mind taking him for a little while so that we canwork?ANGELA: I'd love to. (She gathers up BABY ANDY, smiling. ANGELA looks at HODGINS. who laughs indulgently.) Get used to it. I want, like, a million ofthese.HODGINS: Cool. (Angela carries BABY ANDY away. HODGINS to CAM) What do you think she meant by \"a million\"? Two?(Scene: Booth's Office. BOOTH islooking through some photographs. AGENT CHARLIE BURNS knocks on his door.CHARLIE: Agent Booth?BOOTH: Yeah?CHARLIE: Got a hit on your burned car. Itwas registered to a dead guy.BOOTH: A dead woman driving a dead man's car.CHARLIE: Plates expired five years ago. Dead guy's family said they sold the carfor scrap to a junkyard in Seneca Rocks, West Virginia.BOOTH: Let me guess: junkyard guy sells off the old heaps to people who wanna get off the grid.CHARLIE:He used to. Operation got shut down two years ago. No one's seen him since.BOOTH: Let me know if forensics finds anything to help Bones id. theremains.CHARLIE: (Nods.) Is it true that Doctor Brennan's taking care of the baby? Because that's something I'd pay to see.BOOTH: (Studying his photographs.)Goodbye, Charlie.(Medico-Legal Lab-forensics platform.)ZACK: The victim exhibits enlarged hypertrophic lesions and multiple muscle attachments.BRENNAN: Theresult of strenuous activity, most likely occupational.CAM: The ligamenta flava shows evidence of whiplash. All the para-mortem injuries are consistent withvehicular trauma. She was dead prior to immolation.BRENNAN: Zack, grind some bones so Hodgins can perform an isotope analysis. We might be able to figureout where she lived.ANGELA: (Walking in to the room) Junior made us a little present.BRENNAN: The key. Finally.ANGELA: Not yet. This is just the usual present,but with one major difference. (Angela opens the diaper she is holding to show a pink-soaked seat.)ZACK: I assume pink isn't a normal color for this type ofthing.CAM: Does yours ever look pink?ZACK: No, but I'm not an infant.BRENNAN: Where is the baby?ANGELA: Asleep in your office. I was gonna start the facialreconstruction, so...BRENNAN: He's my charge; I'll sit with him.CAM: (Picking up the diaper.) Let me run some tests. See what I can find.ZACK: Actually, onetime when I was visiting my cousins, we ate a lot of beets, and the next day-CAM: Zack, really. Too much sharing.(Cut to BRENNAN and BOOTH walking aroundthe Medico-Legal Lab Floor)BOOTH: You know, you look very mom-like with that baby monitor.BRENNAN: I have a responsibility under state law as a fosterparent. I've already bought him toys and clothes.BOOTH: Ah, so you've bought him some clothes?BRENNAN: Well, I sent an intern, who apparently loves bears,which in reality would devour a small child.(BRENNAN and BOOTH round the corner to meet HODGINS at the base of the Forensics Platform)HODGINS: I testedthe ground bone for strontium.BRENNAN: Strontium is an element found in most rocks.HODGINS: Human beings absorb it through the consumption of localvegetation and water. (He brings up a map on his computer) Over time, the isotope collects in the bones, meaning-BOOTH: You could use it to figure out where"}
+{"doc_id":"doc_21","qid":"","text":"3.03 - Application AnxietyOPEN AT LORELAI'S HOUSE[Lorelai and Rory are on the sofa watching \"The Brady Bunch Variety Hour\"]RORY: This is sublime.LORELAI:It was the golden age of television.RORY: The music, the costumes, the sets.LORELAI: All cylinders were fired on this one, boy!RORY: And who knew that they allhad such musical talent?LORELAI: And such far out booty shaking abilities, as well.[The mailman walks through the front door and sets the mail on thebench]EDDIE: Mail, ladies.LORELAI: Thanks, Eddie![Eddie walks back out; Rory walks over to get the mail]RORY: Did you see that TV Guide had this on their listof the worst fifty shows of all time?LORELAI: I know! Who are they to judge?RORY: I know, it's on my top fifty best.LORELAI: Yeah, right after \"Holmes and Yoyo\"and \"Hee Haw Honeys.\" Oh, Rory, get back here! They're in clown suits and headed for the pool.RORY: Oh my God.LORELAI: Honey, come here.RORY: It'shere.LORELAI: What's here?RORY: My application to Harvard.LORELAI: Oh my God. [walks over to look at it] It's beautiful.RORY: Impressive letterage,huh?LORELAI: Oh, yeah, it's so. . .RORY: Very.LORELAI: Can I hold it?RORY: Be careful.LORELAI: Oh, it's heavy, heavy with importance.RORY: I feeldizzy.LORELAI: Are you sure that's not just the sight of Robert Reed in the tight clown pants?RORY: Oh, geez. Let the record show that when my application toHarvard arrived, we were watching \"The Brady Bunch Variety Hour.\"LORELAI: You don't lose points for that, do you?RORY: I hope not. Man, this morning I wasreading Dead Souls \u0000 it couldn't have come then?LORELAI: Well, we'll just tell people that's what you were doing, and that I was studying a really big globe.They'll never know.RORY: You can keep a secret?LORELAI: Not so far, but there's always a first.RORY: Dead Souls and a really big globe.LORELAI: Deal. [looks atTV] Oh, kayaks![opening credits]CUT TO LORELAI'S KITCHEN[Lorelai sits at the table with the Harvard application while Rory gets a drink from therefrigerator]LORELAI: Come on, come on, I wanna get started.RORY: Hold your horses there little Miss Horsie Holder.LORELAI: They're going to expect a higherlevel of wit when you're at Harvard. Oh, watch that drink.RORY: I'm nowhere near it.LORELAI: Well, keep it that way. This is an uncontaminated area. I evencleaned the table using something other than the sleeve of my sweater and spit. [shows her a bottle of cleanser]RORY: Lovely image. I'll be careful.LORELAI: Allright, here we go. First question. Uh! Oh my God.RORY: What?LORELAI: \"What were you doing the moment you received this application?\" counts for fiftypercent of your eligibility.RORY: Stop.[Lane walks out of Rory's bedroom]LANE: I need help.LORELAI: With what?RORY: She's writing herdrummer-seeks-rock-band ad.LANE: And it's not reading right to me. Could you guys look it over?RORY: Let's see \u0000 \"Drummer with strong beat seeks band intothe Accelerators, the Adolescents, the Adverts, Agent Orange, the Angelic Upstarts, the Agnostic Front, Ash. . .\" You went alphabetically.LANE: Seemedtidy.LORELAI: And a little OCD.RORY: And a little long.LANE: I can't make cuts.RORY: It's three pages, single spaced \u0000 make cuts.LANE: But this is the cut-downversion. I mean, just from the letter A, I excluded AC/DC, the Animals, and A-Ha, footnoted as a guilty pleasure.RORY: If we can't get through it, no onecan.LANE: Okay.RORY: Okay.LANE: I'll try to make cuts, but no guarantees. [goes back into Rory's bedroom]LORELAI: Okay, personal information. . . state yourfull name. Better not get that one wrong.RORY: I'll try.LORELAI: And nickname, if any.RORY: That would be Rory.LORELAI: Or Droopy Drawers.RORY: That wasnever my nickname.LORELAI: Wrong, I called you that as a baby.RORY: What?LORELAI: That's right. You had these little OshKosh cords and they were way toobig and once at the mall, they fell right down to your knees and I said, \"Whoa, there, Droopy Drawers!\" \u0000 and I'm just afraid if we don't answer everythingaccurately, the Harvard police will come and hit you with an atlas and say something mean in Latin.RORY: How would they know that you called me DroopyDrawers?LORELAI: Well, we could be at a Harvard event and I could slip up and say, \"Pass me a lobster puff, Droopy Drawers,\" and they could hear me, andthat'll be that.RORY: How \u0000bout you don't drink at any of these Harvard events?LORELAI: Okay, parental information. Mother \u0000 breathtaking.RORY: I think theyjust want your name.LORELAI: Father \u0000 ostracized. Personal statement.RORY: Oh, the essay \u0000 the big kahuna.LORELAI: You can evaluate a significantexperience that's had an impact on you. How \u0000bout that time your drawers dropped at the mall?RORY: Enough with the drawers.LORELAI: Or you can writeabout a person who has had a significant influence on you.RORY: You?LORELAI: Or one of your authors, Faulkner or. . .RORY: Or Sylvia Plath.LORELAI: Hm,might send the wrong message.RORY: The sticking her head in the oven thing?LORELAI: Yeah. Although she did make her kids a snack first, shows a certainmaternal instinct.[Lane walks out of Rory's bedroom]LANE: Okay, I just crunched the numbers and at two thousand words and twenty-five cents a word, thisstupid ad's gonna cost five hundred dollars! That's five months worth of Minwaxing end tables at my mom's store. I give up.RORY: No, don't give up. Just cutdown your influences to the most important ones, like with David Bowie.LANE: Gotta have Bowie.RORY: But do you have to list every album he ever recordedplus your personal rating between one to ten?LANE: Maybe not.LORELAI: And what's with Jackson Browne making the list?LANE: Ah, see, cool people know thathe's more than a mellow hippie-dippy folkie, that he actually wrote some of Nico's best songs and was in fact her lover before he bored us with \"Doctor My Eyes.\"That will separate the poseurs from the non-poseurs.RORY: Wax on, wax off.LANE: I hate this. [goes back into bedroom]LORELAI: Okay, what activities interestyou?RORY: All of them except for the sports.LORELAI: I thought you were the lacrosse kid.RORY: Mom, just a modicum of seriousness as we do this would bemuch appreciated.LORELAI: Hm, so, circle all of them except sports. Oh, they want a picture. How about the one of us sticking our heads through the carved outholes of Johnny Bravo and SpongeBob Squarepants?RORY: There's the seriousness I crave.[Lane opens the bedroom door]LANE: I'm going to have to crank theRamones if I have to make deep cuts.[Lane shuts the door, and a second later, music starts blaring from the room]RORY: We'll move outside.LORELAI: Theoutside's contaminated.[Rory grabs the bottle of cleanser and they walk out the back door]CUT TO LUKE'S DINER[Dean and Rory are sitting at a table. Luke refillsRory's coffee mug]RORY: Thank you.LUKE: Do they let kids drink coffee before school?RORY: Why, do you think it might lead to harder stuff? Lattes, cappucinos.. .LUKE: Forget I asked. [walks away]RORY: So, what are you doing Saturday?DEAN: Just my usual chores.RORY: Your usual chores, John-boy?DEAN: Well, whatelse do you call house jobs?RORY: I call them the stuff you avoid until the Environmental Protection Agency steps in.DEAN: Why do you ask?RORY: I thought wecould see a movie or something.DEAN: You're not free.RORY: How do you know?DEAN: \u0000Cause you'll be working on your application all weekend.RORY: No, I'mnot.DEAN: Really?RORY: It's not due for weeks, and I already have my essay topic picked out.DEAN: Which is?RORY: Hillary Clinton.DEAN: Sounds perfect.RORY:I know. She's so smart and tough and nobody thought she could win New York but she did and she's doing amazing, and have you heard her speak?DEAN: Onlywhen you've played me the thousands of hours of C-SPAN footage you taped.RORY: She's a great speaker, strong and persuasive with a wonderful presence, andeven those suits of hers are getting better.DEAN: I'd include that in the essay.RORY: Anyhow, now that I have Hillary, all I need is a date for Saturday.Suggestions?DEAN: You're on.RORY: Great. Oh, there's my bus. Sip. [sips coffee] Kiss. [they kiss] And bye.DEAN: Bye.[Rory exits the diner and runs to catch herbus as Luke walks over to the table]LUKE: Fast runner.DEAN: It's the coffee.LUKE: Not your face?DEAN: Excuse me?LUKE: Sorry, just missed my youth for asecond. I'm back. Coffee?[Luke looks out the window and sees Taylor taking photographs of the store next to the diner]CUT TO CHILTON HALLWAY[Rory iswaiting outside the auditorium while Paris argues with a teacher]PARIS: Everyone always says that! This is my speaking voice. This is its natural volume! Fine,fine! [walks over to Rory and they walk into the auditorium]PARIS: Short-sighted morons.RORY: What now, Paris?PARIS: We went to all this trouble to set up thisstupid seminar. I say we, but let's face it, I did most of the work, and Mr. Hunter won't let me do it the way I want.RORY: The panelists are up there. We sitacross from them and ask questions. What's the problem?PARIS: It's boring and predictable and done to death. I wanted Charlie Rose.RORY: To ask thequestions?PARIS: His style. I wanted us sitting at a round table with black backdrops.RORY: But the audience won't be able to see anything.PARIS: I was workingwith the losers in the AV club to project it on a giant video screen. And all Mr. Hunter said was, \"Paris, this isn't the Beatles at Shea Stadium.\" Nice anachronism,huh? Like they had video screens in sixty-three. His references are as topical as his suits.MR. HUNTER: [on stage] Ladies and gentlemen, can I have yourattention please? We can get this seminar started. I'd like to bring up the organizers of this little event, Paris Gellar and Rory Gilmore.[There are two tables on thestage. A man and a woman are seated at one of them; Rory and Paris walk on stage and sit at the other]PARIS: Thank you, Mr. Hunter. Everybody, this is aseminar called \"The Business of Getting In.\" Its goal is to help guide us through the torturous process of applying to, and getting into, the right college. Mypanelists are Jim Romaine, admissions officer at Princeton University, and Ivy-League college consultant, Rose Samuels. Welcome, panel.RORY: Yes,welcome.PARIS: Now, panel, you're addressing a group of kids just beginning the stressful process of applying to college. Question \u0000 what is the biggest mistakea person can make on his or her application? Mr. Romaine?MR. ROMAINE: Well, forgetting to send it in would be the worst mistake, but perfunctory answerswould be high on my list.PARIS: Explain.MR. ROMAINE: I'm talking about run of the mill responses, a lack of originality, particularly in the essay category. If Iread one more over-adulating piece of prose about Hillary Clinton and her profound influence, my head will explode.MS. SAMUELS: I hear that. Sometimes amistake like that comes from writing what one thinks an admission officer wants to read.MR. ROMAINE: Big mistake.MS. SAMUELS: And sometimes it's just a lackof original thought.MR. ROMAINE: Just as big a mistake.PARIS: Personal anecdote \u0000 when I was twelve and I was writing the first of my trial essays in practicefor the day I'd write my real essay, I chose Hillary Clinton. Then I realized every braindead bint in a skirt would be writing about Hillary, but it was good to clear"}
+{"doc_id":"doc_22","qid":"","text":"Act 1 Scene 1 - KACL[Fade in. Frasier is on the air.]Frasier: Gosh, it's been such fun talking about psycho-pharmacological solutions to maladaptive personalitytraits that I can't believe the three hours is almost gone. Up next is the news followed by...[Roz raps on the window and holds up a note that reads'BIKE-A-THON\".]Frasier: Oh, but Roz is reminding me that next Saturday is the first annual KACL AIDS Bike-A-Thon. It's bound to be an afternoon of family, fun,and lots of surprises, so dust off your velocipedes and I'll see you there.[He disconnects and stands up as Kenny comes in.]Kenny: Great pitch, Doc. So, uh, whatare the surprises?Frasier: Well, first and foremost: I am not going.Roz: But you just told them you'd see them there.Frasier: Yes, Roz, I'm merely getting therubes into the tent. I will gladly give my money, but spending the afternoon riding bicycles with a bunch of hooligans is not my idea of fun.Kenny: It's just kidsand families.Frasier: Yes, well so was the KACL family picnic at the zoo, until those urchins jostled me into the orangutan grove. Let metell you: orangutans arenot the playful gentlemen of the trees the nature shows claim.[Julia walks in.]Julia: Hello.Kenny: Hey, Julia.Frasier: Julia.Kenny: You're goin' to the Bike-A-Thon,right?Roz: Oh, don't embarrass her, Kenny. I mean, it's gotta be tough, finding a comfortable bike seat when you're such a tight-ass.Julia: This from a womanwho \"peddles\" her ass all over town.[Roz starts for her.]Roz: Okay, lady...[Frasier grabs Roz and pulls her back.]Frasier: All right, stalemate. Well done, welldone. Keep moving, come on.[He ushers her back to her booth.]Kenny: So, Bike-A-Thon, you're in, right?Julia: Nah, I can't be bothered, I'll just send acheck.Kenny: Oh, cheese and rice, what's wrong with you people?Julia: Relax, Kenny, I'm just pulling your leg. How can I not go? This is funding AIDS research,for God's sake. I know you think I'm heartless and self centered, but at least give me credit for being human.Kenny: Well, Frasier's not goin'.[Frasier lets out aforced, fake laugh.]Frasier: What? Kenny, come on! I was pulling your leg too! I tell you what, we should have a fund raiser for your sense of humor. All right, I'llsee you there.[He claps Kenny on the back, then crosses through Roz's side of the booth.]Roz: You're pathetic.Frasier: I know.[He exits. Fade out.]Scene 2 -Frasier's Apartment Building[Fade in. Martin is hurrying to catch the elevator.]Martin: Hold it![He hurries and presses the button so the doors open again. Hesteps inside, then notices the other person. It is Cora Winston, the mother of Frasier's upstairs neighbor, last seen in [9.24] \"The Love You Fake.\"Martin: Cora.Hi.Cora: Marty.[The doors close and the elevator starts up. Martin looks nervous, Cora looks firmly ahead.]Martin: Visiting your son?Cora: Yes.Martin: Cora, I'msorry, but I gotta ask you. What happened? I thought we had a pretty nice thing, but then you stopped returning my calls.Cora: Why don't you ask your othergirlfriend?Martin: What other girlfriend?Cora: That bizarre English lady who told me to leave you alone. Because she was in the British Secret Service and had alicense to kill.[The doors open.]Cora: Here's your stop.Martin: Oh, geez, that was Daphne's mother. She had a thing for me, but it was never mutual.[The doorsclose and the elevator continues.]Martin: Did she show you a badge? Always ask to see a badge.Cora: I knew she wasn't a secret agent. But she was prettyconvincing about the two of you.Martin: Oh, Cora, I'm so sorry. It's not true.[The doors open again and they step out into the foyer on Cam's floor.]Cora: I'msorry too. I should have asked about her.Martin: Well, hey, it's cleared up now. Maybe we could pick up where we left off. Or skip ahead, your choice.Cora: Thatwould've been nice, but I've been seeing someone lately.Martin: Oh, sure, of course you have. Stupid of me.Cora: But I'm very glad to see you again. Please giveEddie my love.Martin: Oh, yeah. He'll be sorry he missed you. He liked your ankles.[She goes into Cam's apartment. When the door closes, Martin smacks hiscane against the floor in frustration, then turns and mashes the button for the elevator, furious. Fade out.]Scene 3 - Frasier's Apartment[Fade in. Gertrude andDaphne are on the couch. Niles is leaning against the table behind it. Frasier hurries in.]Frasier: Oh, sorry for the hold up, guys. Ah, listen, I think it's best if wetake separate cars to the flower show. See, later I have to go buy a bicycle.[Daphne gets up and heads to the kitchen.]Niles: For whom?Frasier: Well, for me. I'vebeen dragooned into riding for the KACL AIDS Bike-A-Thon.Niles: Poor devil, spending the day on a bike. I don't envy you.[He starts seriously, but a maliciousgrin breaks through. Daphne sticks her head out of the kitchen.]Daphne: Niles, why don't we enter the Bike-A-Thon?[She ducks back into the kitchen, leavingNiles stunned and nervous. He looks to Frasier, who is grinning.]Frasier: You had to see that coming.[Daphne comes out of the kitchen.]Daphne: We can all go tothe shop together, after the flower show.Niles: Sure, why not.Gertrude: Oh, you two would look so cute on matching bicycles.Niles: I guess it would be a kick, ehFrasier?Gertrude: Not you two, ya nit! You and Daphne.[Martin comes in, slams the door and points at Gertrude.]Martin: You!Gertrude: Hello.Martin: I just had avery interesting discussion with Cora Winston. Seems someone claiming to be my girlfriend scared her off.Gertrude: Oh dear. Is she the woman from thebookstore?Martin: No. The bookstore?!Daphne: Mum, is this true?Gertrude: Well, I'm sure I don't know what Marty's talking about, but it was probably backwhen we were an item.Martin: We were NEVER an item! Now I would like for you to leave.Frasier: Now Dad, calm down. I'm sure you can talk this over with Coraand have a good laugh afterwards.Martin: Ha ha! Very funny. Now that she's practically married to this guy.Gertrude: [rising] Oh, Martin, I'm sorry. I guess didn'trealize...Martin: Apology not accepted. You went too far, we are no longer speaking.Gertrude: Marty...Niles: No, no, Mrs. Moon. Mrs. Moon...shut up.[He ushersher out the door.]Frasier: Uh, Dad, we're leaving now. We're going over to the flower show and after that we're going to a sporting goods store to buy a couple ofbikes.Martin: Nice try, Fras, but I'm too mad to laugh.[Frasier, nonplussed, just closes the door behind him. Fade out.]Scene 4 - The Sporting Goods Store[Fadein. Frasier and Niles are with a salesman, looking over a selection of bikes.]Niles: This one has good lines. You have any without this bar here?Salesman: Youmean girl's bikes. Sure.Niles: Good. 'Cause my wife's a girl and she'll need one of those.Salesman: Nice. Maybe I'll go see how she's doing.[He walks off. Nilescovers his face.]Frasier: Niles, we can't stall much longer. I mean, one seems as good as the next, is there anything else we need?Niles: Hmm, let me see. Oh,yes, I know. We need to know HOW TORIDE THEM!Frasier: Shh! We will learn.Niles: Oh, as easy as that? Look at these machines, Frasier. These are BICYCLES!There is nothing between you and the ground but the ground itself.Frasier: Yes! And if a child of FOUR can ride one, then so can we.Niles: That's what we saidwhen we were six! If Daphne finds out, she'll probably...[He breaks off as a man in biking gear comes over to look at the bikes they're standing at.]Frasier: Metalspokes. I like that.Niles: I should buy the horn separately.Frasier: Uh-huh.[The man walks away.]Niles: That was close.Frasier: Niles, I am not going to look likean idiot at that Bike-A-Thon. Tonight, I am going to a parking lot and come hell or high water, I am going to master cycling. You're welcome to join me.Niles: Iguess I could sneak out. Perhaps it's time to slay the dragon.Frasier: That's the stuff, brother.[The customer comes over by them again.]Niles: Call me crazy, butI like a bouncy tire.Frasier: Two bouncy tires and a...taut chain. That's good ridin'.[They smile bravely until the customer heads off again.]Niles: Where did youlearn all that? That was really good.Frasier: Just a matter of confidence, Niles.[SMASH CUT TO - Frasier's apartment, later that night. Frasier comes in the front,struggling with his new bike and muttering. Niles is behind him.]Niles: All a matter of confidence, he says.[Frasier turns the lights on to reveal that they arecovered with scratches and bruises.]Frasier: Yes, well perhaps two people who don't know how to ride bikes shouldn't try to teach each other.Niles: A goodteacher doesn't yell at his student.Frasier: Nor does a good teacher throw a stick at his student![Niles clutches his knee.]Niles: I thought it would make you tryharder.Frasier: Oh, you're going to make a hell of a dad!Niles: Oh, what are we going to do?Frasier: Let's not panic. We still have two days before theBike-A-Thon. Surely the library has shelves devoted to this topic.Niles: I don't have time for that! Daphne wants to go biking tomorrow afternoon.Frasier: Well,then you're just going to have to tell her that you don't know how to ride.Niles: I can't! It's too late! If I was going to do that, I should have done it at the bikestore. But NOOO! You, YOU said we could teach ourselves! You said no one would be the wiser![As he continues to shout, Frasier makes calminggestures.]Frasier: Niles...Niles: \"Two bouncy tires and a taut chain\" you said!Frasier: Niles...Niles: And now look! My spokes are bent, my pants are stuck, andthere's blood on the headlight, and blood everywhere...[He breaks down as Frasier tries to comfort him.]Frasier: Niles, that wasn't your fault. That jogger shouldhave been wearing a reflective vest. Come on. Come and sit down. I'm going to get you a nice sherry.[He heads for the sherry. Niles tries to move, but his pantsare still stuck in the chain so he carries the bike with him. Fade out.]Act 2 Scene 1 - Cafe Nervosa[Fade in. Niles is sitting at a table, Frasier is getting coffee atthe counter. Roz comes up behind him.]Roz: Hi, Frasier.Frasier: Oh, hi Roz. You're welcome to join me and Niles.Roz: Oh, I can't. I'm on my way to meet Aliceand her sitter. Alice wants to practice riding her bicycle for Saturday.Frasier: Really?Roz: Mm-hm, she loves it. I mean, she had that bike one day before shemade me take her training wheels off.Frasier: Tell me, does she ever find that she feels as though her feet are frozen to the pedals? Stuck in a confused,arrhythmic battle between forward and reverse, until finally, with no locomotive momentum whatsoever, she keels over like a felled tree?Roz: I don't thinkso.Frasier: Well good, good. Because... that's a real thing that happens to some kids.[He sits down with Niles as Roz steps to the counter. Daphne and Gertrudecome in.]Daphne: Hey, Frasier.Frasier: Oh, hello Daphne, Mrs. Moon.[They all say hello to each other as the ladies sit.]Daphne: I'm afraid I have some badnews.Niles: What is it?Daphne: Someone stole our new bikes.Niles: My God, are you sure? [to waiter] Can I get a refill? That's terrible.Frasier: You know, that'scurious. Niles, didn't that salesman say nothing could break those titanium locks?Niles: You're right. I must not have locked them properly. FoolishNiles.Gertrude: You know, I spotted a couple of bikes in the storage room, behind the furnace. Perhaps you could borrow those.Niles: No, I don't think so. Thetheft has soured me on the whole bike experience and what were you doing behind the furnace anyway?Gertrude: Drinking.[Martin walks up to the table.]Martin:"}
+{"doc_id":"doc_23","qid":"","text":"OLIVIA POPE's APARTMENTOlivia: Why are you here? You can't be here.Fitz: I didn't kill Amanda Tanner.Olivia: I know. Her baby it wasn't yours. But it couldhave been.Fitz: Really? You really want me to detail for you how and where and in what positions Amanda Tanner and I had s*x? Would that help make you feelbetter? 'Cause I'll do it.Olivia: No.Fitz: You left me. I was unhappy. She was there. One time. I-- I made a mistake.Olivia: I don't want to talk about it. Youcheated on your mistress with your girlfriend. Let's just leave it at that.Fitz: She wasn't my girlfriend. Don't you ever call yourself a mistress. We both knowbetter.Olivia: Why are you here?Fitz: Cyrus got this in the mail a week ago. It's a s*x tape. I'm on it. I need you to hear it.Olivia: I definitely don't want to hearyou and Amanda Tanner having s*x.Fitz: Olivia. I need you to listen to this.[SCENE_BREAK]GRANT CAMPAIGN HEADQUARTERSFitz: Well, there's no way tosugarcoat it. We got our ass handed to us by Sally Langston in Iowa last night. So, anyone have any great ideas? Anyone?Jeannine: We have to swing fartherright. We haven't said a thing about gay marriage, school prayer-Fitz: Oh, come on. It's not our stances on the issues. We are not getting our message out there.People don't know where I stand. The problem is--Olivia: Your marriage. It looks like you don't screw your wife Which would be fine, except that family valuesmatter to Republicans. It's why they vote for who they vote for. And since Sally's got Jesus firmly on her side, that just leaves family. Marriage. And yours,whatever the truth may be from the outside, it looks cold, distant, dead. Where is your wife, by the way? People want to like who they're voting for. Votersthought Al Gore was a big stiff until he stuck his tongue down Tipper's throat. They put George W. in office because he and Laura seemed like a fun couple tohave a beer with. People have to want to invite you in for dinner; and right now, you and your wife are standing in their doorway, not looking at each other,letting in the cold air. That's why you lost Iowa. It's why you'll lose New Hampshire.Fitz: And you are?Olivia: Olivia. Pope.Fitz: Fire her.Cyrus: Ah, she's great,right? A pistol. Lives for her work, a political nun, best student I ever had.Fitz: Fire her.Cyrus: 'Cause she said what every staffer on your campaign was afraid tosay?Fitz: Just get rid of her.Olivia: I'll charge my hotel room to the campaign. Don't worry. I haven't had a chance to raid the hotel minibar. Liv best of luck,Governor.Cyrus: Let's be clear about something. I run a sausage factory.Fitz: Which makes me ... sausage?Cyrus: Handsome, highly qualified, smart, idealistic,and energetic sausage. The stump, the electrifying speeches, the baby kissing that's all you. The nitty-gritty, morally bankrupt, back-alley-brawling rest of thegame, that's me. It's filthy and thankless, and it's my hallelujah, heroin, and reason to breathe. And you, you don't have half the stomach for it, so you go andyou make nice with Olivia Pope. Get her back, or you can find another sausage maker.Fitz: Ms.Pope? Ms. Pope, wait. I, I apologize for firing you.Olivia: Why?Fitz:Why do I apologize?Olivia: Why did you fire me? I had a job, a paying job, from which I took a leave of absence to do a favor for my friend Cyrus because I amgood. I am brilliant. I would eat, breathe, and live Fitzgerald Grant every minute of every day. You would be lucky to have me. Just because you don't like hearingthe truth about yourself-Fitz: I loved hearing what you had to say. I agree with every word. Very astute. And you're right. I would be lucky to have you. Look...Olivia: This is why you fired me ...Fitz: Can we just...?Olivia: Go back in there and work.Fitz: Okay.Olivia: Okay.[SCENE_BREAK]PRESIDENTIAL CAMPAIGNPANCAKE BREAKFAST / OLIVIA POPE'S APARTMENTFitz: Oh, it's perfect to meet you. Yeah, thank you for having us. How are you, Sally? Hi.Olivia: Put down thebutter.Abby: I don't know what you're talking about.Olivia: I can hear my mixer again, Abby. Butter won't fix it.Abby: So are you a rabid Republican yet? Hello?Liv?Olivia: He's got ... something I can work with.Abby: Go to it then. You don't have to check on me every day. I'm not deranged. I'm just divorced.Olivia: Sostop feeling sorry for yourself. Get out of my kitchen. Call my friend Stephen. He's fun.Abby: Stop trying to get laid. Maybe I'll buy a gun.Olivia: Ohh-kay.Bye!Cyrus: Ooh, he's good, our boy. You'd never know he's dying to rip Langston's throat out.Olivia: If only he were that good at faking it with his wife wewouldn't be losing.Amanda: Schedule of events?Olivia: Thanks.Cyrus: What's your name?Amanda: Amanda.Cyrus: Thanks, Amanda. I don't care which campaignyou're volunteering for, I want to thank you for coming out today.[SCENE_BREAK]US ATTORNEY'S OFFICEDavid: Alissa, cancel your plans. We're working latetonight.[SCENE_BREAK]GIDEON WALLACE'S APARTMENTQuinn: Mm. This is really good.Gideon: I know.Quinn: No, I mean like award-winning good, like youshould quit your job. 'Cause let's face it, you're kind of a crap reporter.Gideon: Mm-hmm.Quinn: Go out on the road in your car and sell this grilled cheese. Wait.You have a car, right? 'Cause I can't date you if you don't have a car.Gideon: I have a car. I also ... I have ... A deadline tomorrow.Quinn: Oh. Yeah, I sh- I'msorry. I should go.Gideon: No. No. I didn't mean that. You shouldn't go. You should stay. I just have to work for a couple of hours, but you should stay here,naked. And beautiful. And here, in my bed. Stay here. Please.[SCENE_BREAK]US ATTORNEY'S OFFICEDavid: Ah, did you get moo shu chicken? No wonder it tookyou so long. How do you even walk in those?Alissa: I got whatever you ordered. And these shoes aren't made for walking. They are made for getting me laid,specifically, they are for the very hot bartender at the Black Cat, where I would be having a drink right now if I didn't happen to work for an obsessive-compulsiveslave driver who makes me fetch him dinner at 10:30 on a Thursday night.David: You know, if you spent less time at the Black Cat and more time studying forthe bar exam, you wouldn't be fetching your boss anything because at law firms, they have assistants for that.Alissa: Lots of lawyers fail the bar.David: Alllawyers pass the bar. That's what makes them lawyers. Alissa, eat something. We have a murder to solve.Alissa: No, we don't. Coroner says it's a suicide, andthe police agree with her, which is why I went home two hours ago, because work was over.David: Amanda Tanner. 27. Single. 13 weeks pregnant. Worked as anaide at the Grant White House till just a couple weeks ago when she abruptly resigned and botched a suicide attempt. Then she becomes a client of Olivia Pope's,and we pull her dead body out of the river. Don't you find that interesting? Well, pretend you do, for me. Now if you did happen to find any of this remotelyfascinating, incongruous, intriguing, worthy of our time, what's the first question you might ask about Amanda Tanner?Alissa: Well, um, who in the White Housewould want her dead?[SCENE_BREAK]PRESIDENTIAL CAMPAIGN STOPMellie: You canceled all our events for the next two days? Yes.Fitz: The primary's in lessthan a week. We can't miss two days of campaigning.Cyrus: New Hampshire's a small state.Mellie: I have a literacy fund-raiser in nashua tomorrow. I can'tpossibly cancel that.Olivia: That's why I canceled it for you.Mellie: Maybe I'm dense, but I have to confess, I don't really know what you want from us.Olivia: Firstoff, I'd like you to actually talk to each other.Mellie: We talk all the time, Ms. Pope. Not to each other, you don't. House parties, town hall meetings, baseballgames you barely look at each other.Mellie: Fine. We will add a couple of events to the schedule where we are together.Olivia: That won't do it. You two need tobe a couple. A believable, loving, dedicated couple. Or you might as we throw it in right now. Why don't we give you two a moment?Fitz: Why are you fightingthis? It's what you wanted. It's what you've always wanted.Mellie: What I wanted? You are the one running for President.Fitz: Oh, please, like you're not runningfor First Lady? You're dying to get into that White House. You're practically redecorating already.Mellie: Okay, there it is. I am the ambitious monster. I'm the IronLady. I have done everything for you! I have sacrificed my career for you. I have had kids for you. There is not a single thing in my life I have not given up sothat you could be President!Fitz: I never asked you for any of that.Mellie: And all I get in turn is this perpetual resentment!Fitz: So what would you prefer? That Iignore you? That we don't talk at all? 'Cause that's pretty much how it's been the past few years, and that's worked okay.Mellie: Now you're just beingjuvenile.Fitz: Look, we BOTH know...Cyrus: This is why they don't talk to each other.Fitz: No ... 'Cause you're afraid it would get out and kill us politically.Mellie:If they found out, we'd be dead in the water!Fitz: Fine! Then if living on Pennsylvania Avenue is that important to you, we better suck it up and start acting likethis isn't a dead marriage![SCENE_BREAK]OUTSIDE PRESIDENTIAL CAMPAIGN STOPJames: Governor, you're 5 points down in New Hampshire. Taking time outfrom the primary for a parent-teacher conference isn't that a little risky?Fitz: If it's a choice between losing touch with your family and losing a primary. That's notreally a choice, is it?[SCENE_BREAK]PRESIDENTIAL PRIMARY PREPARATIONOlivia: You can't wear this tie on morning TV.Fitz: What?Olivia: It's too distracting.Take it off. Give me your tie, please. Give me your tie. Take it off. Off, off, off, off. Thank you. Okay.Fitz: You decide who you're voting for?Olivia: I'mapolitical.Fitz: You don't sleep, you rip ties off innocent bystanders for me, you're killing yourself 24/7 to get me elected, and I don't even have your vote.Olivia:Well, you're gonna need to earn it, like any other candidate.[SCENE_BREAK]INTERVIEW WITH FITZ & MELLIEReporter: If my research is right, you were first inyour class at Harvard Law.Mellie: That's right. Oh, and uh, Fitz did fine, too.Cyrus: Not bad.Olivia: They're still not touching.[SCENE_BREAK]GRANT CAMPAIGNICE CREAM SOCIALFitz: One more. There you go. One more.Mellie: Very good job.Olivia: That's great.Mellie: It's your turn. It's your turn, Fitz.Fitz: Okay, it's myturn. Mm-hmm. Delicious!Olivia: Oh, wipe it off ... Wipe it off.Cyrus: Wipe it off.Olivia: Wipe it. Wipe it off. Wipe it off, Mellie. Come on.Cyrus: Come on.Fitz: Oh.Thank you.Olivia: Perfect.Mellie: Ice cream, anyone?[SCENE_BREAK]LANGSTON CAMPAIGN HEADQUARTERSSally: Ugh! Who in the holy hell is running thatcampaign?Billy: As far as I know, they haven't made any official changes.Sally: Oh, yeah? That is a big, old pile of dung, Billy Chambers, and you know it. That isnot the Fitzgerald Grant I ran against in Iowa. That is a candidate, Billy. A down-home, charming, red-blooded candidate who's stealing my votes. Hell, I'mhalfway to voting for him. Now I want to find out who's responsible so we can see what we're dealing with here.Billy: I'm on it.Sally: Billy, it is not in God's planthat I lose New Hampshire.Billy: Senator, I promise you, we will not lose New Hampshire.[SCENE_BREAK]GRANT CAMPAIGN STOP (NEW HAMPSHIRE)Fitz: I'm alittle superstitious, so we're not gonna have any victory speeches until tomorrow night, after everyone's voted. But for now, I just really want to say thank you."}
+{"doc_id":"doc_24","qid":"","text":"(In 1988, a little boy is reading a book)Ted from 2030: When your Uncle Marshall was ten years old, he read a book called Life Among the Gorillas. It was writtenby an anthropologist named Dr. Aurelia Birnholz-Vazquez, it told the story of the year she spent living among the Western Lowland Gorillas of Cameroon. WhenDr. Birnholz-Vazquez came to the local community college to give a lecture, Marshall, the youngest member of the audience, raised his hand with aquestion.Marshall: What advice do you have for a budding anthropologist?Dr. Birnholz: So you want to be an anthropologist?Marshall: Yep. When I grow up, Iwant to go live with the gorillas, just like you did.Ted from 2030: What she said next changed his life.Dr. Birnholz: Oh, that's wonderful, but I'm afraid you can't.They'll all be dead by then...[in 2006]Marshall:...and if economic sanctions and trade restrictions aren't enforced, the destruction of the rainforests will continueand over a million species will be wiped out.Ted: So you don't want coffee.Marshall: I'm saying that the coffee industry is causing irreversible...Ted: All right. I'mpouring it out.Marshall: Okay, one cup. The kid needs to be alert. First day on the job and everything.Ted: I still can't believe you're going all corporate on us.\"The kid\" has become \"the man.\"Marshall: Okay, it's just an internship to make a little money. After law school, I'm going to work for the NRDC. They're gonnastop global warming.Ted from 2030: Well... I mean... they did their best.Lily: Here's your sack lunch.Marshall: Okay, I love you because, one, you made me asack lunch and two, you laugh every time you say the word \"sack\".Lily: I love you, Marshmallow.Marshall: I love you.Ted: I love you too, Marshmallow.Marshall:Uh-oh. Ted?Ted: Oh, no. No, she didn't.Marshall: Yeah. Yeah, she did.Ted: Another care package?Ted from 2030: Another care package. I'd been in along-distance relationship with Victoria for nearly a month. Long-distance relationships are a bad idea.Marshall: How many is that so far?Ted: Three.Lily: And howmany have you sent her?Ted: In the mail or in my mind? Zero. She's up three-zip. Oh! Cupcakes! Great. I bet they're delicious, too. Yup, they're delicious. Damnit! I don't deserve these delicious cupcakes. God, I hate myself right now.Marshall: God, that is so me at 15.Ted from 2030: Marshall was going to work for a bigcorporation called Altrucel. Altrucel was most well-known for making the yellow fuzzy stuff on the surface of tennis balls. I mean, this was a huge company, sothey did other things... But mostly they wanted the public to focus on the yellow fuzzy stuff. Anyway, Marshall managed to score an internship in their legaldepartment because he knew someone who worked there.Barney's office(Barney's on the phone)Barney: Go for Barney.Voice: Mr. Stinson, this is Willis fromlobby security. Sorry to bother you, but we've had reports of a sasquatch loose in the building.Barney: A sasquatch?Voice: That's right, sir, a Bigfoot. We don'twant to alarm you, but he's been spotted on your floor.Barney: Yes! Look at you. You suited in an unmistakably upward direction.Marshall: Whoa. That is abutt-load of motivational posters.Barney: Yeah, hell, yeah. I got 'em all: Teamwork, Courage, Awesomeness...Marshall: There's one for awesomeness?Barney:Yeah, I had it made. Sit.Marshall: Hey, so, now that I'm working here, are you finally going to tell me exactly what your job is?Barney: Please.Man #1: Mydawg!Man #2: My dawg!Barney: Hey, Blauman, Bilson, this is Marshall. These guys are in legal. You're gonna be working with them.Marshall: Marshall Eriksen.Nice to meet you.Bilson: Nice tie. Steak sauce.Blauman: Oh, steak sauce! For true, though.Marshall: Where, I don't, I don't see...Barney: Marshall? Sidebar. Yourtie is steak sauce. It means A-1. A-1? Get it? Try to keep up.Bilson: Okay, Eriksen, let's get to work. It's 2:00 a.m. It's raining outside. Ding dong! What? Thedoorbell? Oh, hello, Jessica Alba in a trench coat and nothing else. But wait-- knock, knock. Somebody's at the back door?Marshall: I don't have a backdoor.Bilson: Oh, my gosh, Jessica Simpson? What a surprise. Two Jessicas, you gotta pick one. What do you do? Go.Marshall: Right. Well, uh... I'm engaged,so--Bilson: Fiancee's out of town. What do you do? Go.Marshall: We're still engaged, even if she's...Bilson: Okay, fiancee's dead. Hit by a bus. What do you do?Go.The BarTed: Sure you don't want one?Robin: How many of those have you eaten?Ted: Four. Teen. No, just four. And the icing from two more. So, anyway,here's the problem.[FLASHBACK]Ted: Hey, it's Ted. I guess you're asleep. Anyway, I got the care package, and it's just great. Here, listen... Mmm. Mmm![ENDOF FLASHBACK]Ted: So I'm standing there, my mouth full of this delicious relationship-winning cupcake... And... I said something dumb.[FLASHBACK]Ted: Oh,and, um... don't worry, yours is in the mail. I sent it a couple days ago. And it's awesome. Really, really awesome.[END OF FLASHBACK]Ted: Why did I say that?I think frosting makes me lie.Robin: Oh, Teddy boy.Ted: Yeah. So now, whatever I send her, she'll know I sent it after I talked to her. So that's the problem. Youwork on that. I'm gonna eat this cupcake.Robin: All right, here's what you do: Put together a care package of stuff from New York-- some H&H bagels, an EmpireState Building keychain... and then, top off the package with a New York Times... Ready? From three days ago.Ted: That's brilliant. You're brilliant. You know, it'sfunny, not so long ago, I was coming to Marshall and Lily for advice on how to impress you.Robin: That is funny.Ted from 2030: And here's why it wasfunny.[FLASHBACK]Ted from 2030: Little did I realize, a few weeks earlier, here's what Robin was saying to Lily about me.Robin: Okay, fine, I have feelings forhim.[END OF FLASHBACK]Ted: Now it's ironic, the girl I used to like is helping me impress the girl I now like.Robin: The irony is clear, Ted.The appartmentLily:Hey! How was your first day?Marshall: I don't wanna talk about it. The guys I work with are a bunch of jerks.Lily: What?Marshall: They're jerks!Lily: What makesthem jerks?Marshall: Forget it, I don't want to talk about it. Well, like today at lunch..[FLASHBACK]Bilson: What do you got there, Ericksen? Mommy pack yourlunch?Marshall: For your information, my fiancee did.Blauman: Oh... Does she cut the crusts off your sandwich, too?Marshall: No.Blauman: What's that?Marshall:Nothing. Give it.Bilson: \"Dear Marshmallow. Good luck today. I love you. Lilypad.\"Marshall: Give it.Bilson: P.S. If you've unfolded this note, your kiss already gotout. Quick-- catch it.\"Marshall: Give it back. Hey, give it. Gimme... Give it![END OF FLASHBACK]Lily: Oh, screw those guys! We're adorable.Marshall: I know.God. It's like freshman year all over again. Only this time, my sweet dance moves aren't going to be enough to win them over. Not even Old Reliable.Lily:Sweetie... It would be cool to have some extra money, but, but, if you're unhappy, it's not worth it.The BarMarshall: I quit.Barney: What? No. We're having somuch fun. You, me, working together. It's great.Marshall: We're not even working together, Barney. I'm in the legal department and you're... Seriously, what is itthat you do?Barney: Please.Marshall: I'm sorry, dude, this corporate thing, it's just... it's not for me.Barney: Oh, of course it's not for you. It's for Lily.Marshall:What?Barney: Marshall. Lily's a catch. But do you really think you're going to hang onto a girl that great without the package?Marshall: The package?Barney: Thepackage. The house. The car. Sending your kids to a great school. A vacation once in a while.Marshall: Lily doesn't care about that stuff.Barney: Well, no-- nowshe doesn't, but how's she going to feel in a couple years, when she's supporting you on a kindergarten teacher's salary while you're off in court defendingsome... endangered... South American... flying beaver.Marshall: She'll be happy.Barney: Okay. But will you be happy knowing you could have made her a lothappier.At Marshall's workBilson: And all four are totally naked. You gotta choose one. What do you do? Go.Marshall: I guess, uh... Bea Arthur.Bilson: Ahh!Wrong! Betty White. Clean this stuff up, Eriksen.The BarRobin: So, did she get the awesome care package yet?Ted: Yep. Yesterday.Robin: Did she love it?Ted:Ooh, she loved it.Robin: So what's the problem?Ted: So I was talking to her last night. And, I should tell you, we've been talking on the phone every other nightfor, like, an hour and a half. Eventually you just run out of stuff to say.[FLASHBACK]Ted: What did you have for lunch today? Oh. Rye bread. Yeah.[END OFFLASHBACK]Robin: Oh, Teddy boy.Ted: I'm usually so good at being a boyfriend, but this never-seeing-each-other thing, it's a bitch. Maybe it just can't be do. Ithink it's clear what I have to do.Robin: It's pretty clear.Ted: I have to go to Germany and surprise her.Robin: Totally what I was thinking. Get out of my head,man!Barney's officeMarshall: Barney, how do I get these idiots to leave me alone?Barney: Marshall, consider the penguins.Marshall: The penguins?Barney: Onthe wall.Marshall: \"Conformity. It's the one who's different that gets left out in the cold.\" This is a motivational poster?Barney: Look at yourself, Marshall. You'renot happy. And you know why? Because you're different. Now, I suppose you could learn to love yourself for the unique little snowflake that you are, or... youcould change your entire personality, which is just so much easier.[SCENE_BREAK]The appartmentLily: Change your personality? That is so awful, and not at allmotivational.Marshall: Not necessarily. Okay, at first, I was appalled, but then I realized it's just like Dr. Aurelia Birnholz-Vasquez in Life Among the Gorillas. Ihave to gain the acceptance of the herd by behaving exactly like one of them. It's an anthropological study. Isn't that cool?Lily: It sounds kinda like peerpressure.Marshall: No, no, no. It's totally anthropological and it's cool and I'm doing it.Lily: Yeah, I'm pretty sure it's peer pressure. We have an assembly everyyear.Marshall: I'm portraying someone who succumbs to peer pressure.Lily: All right, but if those guys try to pressure you to smoke, what do you say?Marshall:Only when I'm drunk.Lily: Good boy.Ted from 2030: And so, to fit in with the gorillas, Marshall had to learn to act like a gorilla, and that meant gorilla lessons.TheBarBarney: Okay, I'm psyched about this. But if I'm going to mentor you, I need to know you're psyched about this, too.Marshall: Oh, I am. I'm, I'mpsyched.Barney: Yeah, but it's one thing to say it, it's another thing to show it. Show it.Marshall: I'm psyched!Barney: What was that? Marshall, I should feeltremors of psychitude rock my body like a seizure. That was like a declawed pregnant cat on a porch swing idly swatting at a fly on a lazy Sundayafternoon.Marshall: Wow, that was really specific.Barney: Show me you're psyched! Let's do this! Ow! That hurt!Marshall: So badly.Barney: And then you slip itto the guy with a discreet handshake and he'll get it done.Marshall: Right. Get what done?Barney: Whatever.Marshall: Cool. And what guy is this?Barney: There'salways a guy.Marshall: Okay, all right, I, uh, I think I'm ready.Barney: You sure? You want to practice your story one more time?Marshall: All right. So dude,check it. I'm in San Diego with two of my bro-sephs from Kappa, and they're all, \"Yo, Eriksen, let's roll to the strip clubs.\" So I'm, like, \"Snapadoo!\" So we find"}
+{"doc_id":"doc_25","qid":"","text":"Lina:You're going, and that's it.Russ: Oh, my God. I got your stupid vasectomy. Isn't that enough?Lina: No. You've blown off three follow-up appointments.Russ:I don't need a follow-up visit. I know that it worked.Lina: How could you possibly know that?Russ: Because I... eyeballed it.Lina: What?Russ: My stuff. It'spractically clear. Seriously, you could store contact lenses in it.Lina: I am moving on. I'm getting rid of all the baby stuff from the garage. Do you think that's easyfor me?Russ: Even that bassinet? Even the bassinet. You need to move on, too.Russ: I just don't want to be told that I have meaningless semen.Lina: If you wantto get anywhere near any of this... You're gonna have to take care of that.S01E06Russ: I thought you took lessons.Frankie: I'm still scared.(Frankie whimpers)Russ: I want a refund, then. Get this on.Girl: What are you doing? Everybody can see you.Girl 2: What's the big deal? Nobody's here.(Indistinct chatter,laughter)Russ: Can I ask you something?Am I invisible?Shepard: I don't know what that means.Lina: He's been upset because some girls changed in front ofhim.Shepard: Say what?AJ: Boobs or beaver?Russ: That's not the point.Shepard: N-no, I-I'm gonna allow that.Russ: They didn't care what I saw.Shepard: Oh.Well, God bless you.AJ: No, no, no. I see... I see your point, here. I mean, for all she knows, you're-you're a rapist. You're a...Russ: Yeah. AJ:...sick, sexualmaniac who follows her home, studies her patterns. Maybe you borrow a uniform from an old cop buddy who owes you a favor. \"Is there a problem, officer?\" Rag.Ether. Nightmare.Russ: Yeah, I... I think I-I was just trying to say, like, I-I want women to feel uncomfortable changing around me. Is that so much to ask?Lina:I'm uncomfortable changing in front of you. (Phone ringing)Shepard: Tammy. Mind if I...?Jess: Get it? No, please, get it. Yeah.Shepard: Hey, Tammy, what's up?Okay.Lina: Who's Tammy?Jess: Tammy is a musician that Shep has been working with.Lina: So he's getting back into the music business?Jess: I don't know.Maybe. It's just nice to see him, uh, excited. It's a nice change from his super-intense depression. And I just feel like it's so great to see him get off the couch andgo to work and... Put on pants.Lina: Right.AJ: Pants are for losers. You're wearing pants right now, dude.Lina: Yeah.AJ: Not up here.Shepard: Right. No, it's onventura. No, but come around the back. Right. And they can, they can set up whenever they get there. Yeah, we'll all be there. All right. Great. All right, buddy.See you tomorrow. Hey, just got some great musicians for Tammy's session tomorrow. It's gonna sound really, really good.Jess: Do you know that when youwork, it makes me so hot?Shepard: Really? How hot?Jess: Well, let's say probably about doggy-style hot. I-I don't want to put on the knee brace.Jess: Uh-huh.'Cause it pulls. You know, it's not... All right, doggy it is.Didi: Bowman?Russ: Hey.Didi: You have a co-pay of $550.Russ: Sounds right.Didi: You need to payit.Russ: Totally.Didi: Today.Russ: Oh. I don't... I don't have that kind of cash on me.Didi: Oh, we take credit cards.Russ: Well, I have the cards, but... not thecredit. You're going to have to pay the balance of this procedure.Russ: Yeah, I'll pay it. Just not today.Didi: Let's reschedule, then. We'll get something on thebooks after the payment is all squared away.Russ: All right. Have a great day.Child: My name is Albert Einstein and I was born in Germany in 1879. I developedthe theory of relativity.Russ (Whispering): Look, it's not my fault, okay? We tried. It's over.Lina: Seriously? What is wrong with you?Russ: I'm invisible?Lina:Here's what you're going to do. You're gonna go back in that office, and write down that woman's name and scare the sh1t out of her.Russ: How? Tell her thatyour wife already sent the check and if they don't see you right away, that you're gonna stop payment on it and let it go to collections. Tell her that.Russ: You'regetting pretty good at this.Lina: No, being broke makes you crafty.Russ: So then why don't you come with me and then you can do the talking.Lina: I can't. Ihave to take the baby stuff today.Russ: Come on. I... Don't make me go back to that cock-butcher.Father: You guys want to take this outside?Russ: I'm sorry.We're so sorry.Lina (Whispers): Sorry.Russ: Your son looks great.Lina: It's his daughter.Russ: It's your daughter. Look... she looks great. You're going back tothe cock-butcher.Russ: Hey, I never got your name.Didi: Didi.Russ: Oh, great name. So, Didi, there was a mix-up before. Uh, it turns out my wife already sentthe check. Really?Russ: But if I don't see the doctor right now, we're gonna cancel the payment. And then it will go to collections, Didi. And they will call us and Iwill be forced to mention your name. Didi. So you'd better polish your résumé. Because you'll get fired.Didi: Why would I get fired?Russ: Because they'll call. Andthey'll know. I don't know. I... it made sense when my wife said it. I just need to see the doctor right now, okay? Hello? Didi... please? Oh, what am I, invisiblenow?Doctor: Who says you're invisible? I see you standing right there, Mr. Bowman.Russ: Thank you, doctor.(Didi sighs)Lina: Bye-bye, baby sh1t. (Grunts)Hi.Whew. Lot of memories here.Employee: Okay, you just have to estimate how much this stuff cost you.Lina: Um... my youth. Every time I cough, I pee alittle.Employee: I'll write down \"$50.\"Lina: Can I ask you a question? Who gets this stuff?Employee: Regular people. People who need it.Lina: Do you think that Icould meet the person who gets my stuff? I'd love to put a face with a, you know...Employee: Doesn't really work like that. (Gasps)Lina: I think I'm gonna need aminute.Shepard: She'll be here soon. Well, how long do you have the studio?Shepard: I'm... by the hour.Jess (Chuckling): Okay.Shepard: So whenever she getshere, we'll... that's when we'll go. (Phone rings) Oh, hey, could be her. And it is. Hey. What's up?Jess: Sorry. (Chuckles) Trust me, this is worth it. She's reallyhot. She has the talent of a much uglier girl.Shepard: That's... Well, listen, that's your call. You-you do what you guys need. Uh-huh. \"Oh, that's all right. So, youfeel better?\" She says, \"no, 'cause I've been throwing up. I've been throwing up for the last couple of days.\"Jess: Uh-huh. So I said, \"hey, what are you,pregnant?\" Guess what.Jess: No. She's pregnant?Shepard: She's pregnant. She and her boyfriend are gonna take the kid. They're gonna raise the kid in Iowa. Sothey're going to Iowa.Jess: That's gonna ruin her career.Shepard: What do you want me to do?Jess: Oh, my God, you know what you need to do.Shepard: No, Idon't. I don't know what I need to do.Jess: Tell her to get rid of it.Shepard: The baby. Get rid of the... That's what I should tell her?Jess: Yeah, look at how happyyou are. You love working with this girl.Shepard: I didn't love it.Jess: Yes, you did, and you haven't... you...Shepard: It was fun, it was fun.Jess: Oh, my God,you haven't been this happy since you left the label. All right, she's a good singer; I was trying to help her out, but it's over.Jess: No.Shepard: So that's okay. It'sover.Jess: Don't just do that.Shepard: Now it's over.Jess: Tell her about Liz Phair's abortion. I don't know what you're saying now. Tell her that right before LizPhair was, like, about to break out, she got pregnant, but then you talked about it, and you arranged for her to get an abortion, and then nine monthslater...(Blows raspberry) You know, she's a hit instead of a mother. (Chuckles)Shepard: That never happened.Jess: That-that... just, PJ Harvey then, if thatmakes more sense to you.I never met PJ Harvey, none of...Jess: She probably doesn't even know who that is, either. She'll be embarrassed to ask. Okay, what iswrong with you? These... this is crazy.Jess: Nothing is wrong with me.Shepard: There's nothing to say to her. She wants... it's her life. It's her life, so she...Jess:Tell her that having kids is gonna ruin her life. So our little baby boy is ruining your life?Jess: No, he's not ruining my... you're ruining my life.Shepard:Okay.Jess: Don't do this. I know what you're thinking, and that's, you know...Shepard: Really? What am I thinking? You need to do it, do your thing,fine.Shepard: Can I just say, a lot of the sh1t that comes out of your mouth cannot go back in.Jess: You could just get on the phone and just, like, talk to her isall I'm saying.Shepard: You know what?Jess: You could just put in the effort and do that. I'm gonna talk to her, okay. Try-try to not talk now. Do me thatfavor.[SCENE_BREAK]Doctor: Okay, let's see. Mm-hmm. Well, the good news is, the incision healed nicely. Everything looks perfectly boring.Russ: Boring? Boringis good. Boring is what you want. Just one thing left to do.Russ: Shots?Doctor: Semen. (Groans)(Indistinct conversations)Hey, where do I go? I got to givethis...Father: One-sixth of 12.Daughter: Two.Father: Let's do two-fifths of 100.Russ: Really? Right here?Didi: Be sure to lock the door.Father: Are you asking meor are you telling me?Daughter: 21.Father: 21. Okay, one-sixth of 12.Daughter: Two.Father: Three-quarters of 100.Daughter: 75. (Sighs)(Muffledconversations)Daughter: I divide the circumference by pi, right?Father: That's right.Daughter: But then how do I get the area?Father: Okay, for the area, it's pitimes 2r. See, we just multiply the diameter by pi.Russ: That's wrong. Father: What about this here? A third of 15.Daughter: Five.Oh, the hell with this. It isn'tgonna work.Father: One-half of 20?Daughter: Uh, ten.Didi: You all set?Russ: No, I haven't even started. I'm having a little trouble with the, well, thematerials.Didi: What kind of trouble?Russ: It's just the magazines. They're soft-core. I just, I... It's my second favorite core.Didi: Don't they have a DVD?Russ:Yeah, it's lesbians. Lesbian p0rn just makes me feel like a third wheel, you know? It's like, what do they need me for? I'm just gonna get in the way. If you haveanything, you know, like, under the desk or in a box or something, with dudes and chicks, that'd be awesome, but no gang bangs, okay? No threesomes. Nothingin a moving vehicle, okay? Because I get carsick.Didi: Do you want to come back at another time and bring your own materials?Russ: Oh. All right, I got this.Excuse me, do you mind keeping it down, okay? I just, I have a... I have a meeting in there, so...Father: She has a test tomorrow.Russ: This is an importantmeeting.Father: Well, this is an important test.Russ: Maybe a little help, Didi?Father: Third of 15.Daughter: Five.Father: One-half of ten.Daughter: Five.(Hornhonking) (Phone ringing)Lina: What's up?Russ: Hey, I need your help.Lina: They still wouldn't see you?Russ: No, I got in. I just... I need you to take mehome.Lina: What?Russ: What are you wearing?Lina: Russ, no. I'm not having phone s*x with you.I'm in a thrift store.Russ: Lina, seriously, come on. The p0rnhere sucks, okay? And there's some asshole in the lobby doing homework with his daughter.Lina: This is so unfair.Russ: I don't care. I just... I need you to dosomething, okay? I did your script, now you do mine.Lina: No, this is not a good time. I just handed over the bassinet. It's official. No more babies. Now I have tofigure out my life. I'm just, I can't. Well, can we figure it out after I come?(Sighs)Lina: What do you want me to say?Russ: Well, first change your attitude.Lina(Softly): What do you want me to say?Russ: There you go. I got my shorts off. You're naked.I want you to tell me how I'm gonna enter you.Lina: Regular. No,"}
+{"doc_id":"doc_26","qid":"","text":"Teleplay by: Sheryl J. AndersonStory by: Sanford Golden[SCENE_BREAK][Scene: Manor. Prue, Piper and Phoebe walk in the kitchen carrying shoppingbags.]Piper: Any day that brings new shoes is a good day.Phoebe: Are you kidding? This was a great day. Yoga, pedicures, shopping, lunch. When have we hadmore fun?Prue: It's nice to bond through something other than vanquishing for a change.Phoebe: Yeah, but I gotta hand it to those pesky little demons. Theysure have brought us closer together.Prue: Maybe you should write them a thank you note.(Prue turns on the TV.)Reporter: Early this morning when anargument between neighbours at a block party turned into a street parole, residents of several apartment buildings...Prue: Ugh.(She turns off the TV.)Piper:Some people are just crazy.Prue: Doesn't it seem like this kind of stuff has been happening a lot here lately?Phoebe: Random social violence is encouraged by ageneral D clan and ethical thinking. Well, according to my sociology professor. He said that we don't think about the big questions enough.Prue: The big questionis how did you stay awake through his class?Phoebe: Not only did I stay awake but I actually enjoyed it. Which is why I bought this book. (She gets a book out ofa bag.) It's filled with really deep profound questions, which would actually make a good bar game at P3.Piper: Oh, great, solve the problems of the world whiledoing Jell-O shots.Phoebe: Okay, let's see if I can find a really good one. (She puts on her glasses and opens up to a page in the book.) Okay, what if a buildingwas on fire? Do you save five strangers or one sibling?Prue: I thought that you said that these were hard questions. That's easy, sibling.Piper: Of course.Phoebe:Ditto. Okay, my turn, my turn.(Phoebe hands Prue the book. The doorbell rings.)Piper: Okay, don't answer anything until I answer that.Phoebe: Okay, fasterthough, faster.(Piper answers the door.)Piper: Hi.Leo: Hi.(They kiss.)Piper: Since when do you ring instead of orb?Leo: Well, I'm just trying to respecteverybody's space since the three of you have been so, uh...(Prue and Phoebe walk in.)Phoebe: Hey, Leo.Leo: Tight these days.Prue: So, um, are you here for allof us?Leo: No, this isn't business. I was just about to invite Piper to an early dinner before her Paula Cole show.Piper: Oh.Leo: Oh, do you have other plans?Piper:Uh, not exactly. We've just been hanging out all day spending some quality non-magic time.Leo: Oh, alright, no problem. Rain check?Prue: Um, Piper, why don'tyou go with Leo? I mean, we're totally cool with it. Pheebs and I will go to the club early, keep an eye on things.Piper: I have a new assistant manager and she'sall checked out so she can take care of things.Phoebe: Still, we'll go and make sure everything's okay. We'll bring the book, maybe stir up some trouble.Prue:How about stirring up some margaritas?Phoebe: Ooh, that's good.(They link arms and walk back in the kitchen.)Piper: So it's a date.Leo: Alright.[Scene: On thestreet. Leo and Piper are in Piper's car. They pull up at a stop sign.]Piper: I didn't mean that I didn't enjoy being with you, all I meant was that Phoebe and Pruewould've enjoyed the restaurant too.(A guy in a car pulls up behind them and starts honking his horn and yelling.)Leo: I wish you were normal sisters, they'renever this close.Piper: And it's a problem that we are?Leo: No. It just seems that sometimes I'm breaking up a great party when I wanna be alone with you.(Theyguy behind them continues honking the horn.)Piper: Leo, I have room for all of you in my life and in my heart.Leo: I still need to know which room's minebecause... (The guy drives around them and speeds around the corner.) Okay.[Cut to the guy. He crashes into a Ute with crates of fruit in the back and the fruitflies out of it onto the road. Piper and Leo pull up.]Piper: Oh, no. (The man that was driving the Ute gets out and storms over to the other guy driving the car. Hepulls him out of the car and they start fighting. Other people try to break up the fight. One guy picks up a watermelon and throws it at Piper's car. It smashes allover the windshield. Piper and Leo get out.) What on earth? (They walk over near the fighting men. The guy throws another watermelon towards Piper and Leobut Piper freezes it before it can hit them. Everyone else freezes except Leo and one of the four horseman is standing near by. The horseman looks aroundconfused. He then sees Piper and Leo and starts running.) Leo?Leo: I see him. (Piper runs after him.) Wait, Piper, you don't know what he is. (Leo runs afterPiper.)[Cut to the horseman. He runs around the corner of a building and suddenly a horse appears. He jumps on the horse and they disappear. Piper and Leo runaround the corner and wonder where he went.][Cut to a field. The four horsemen on horses suddenly appear, galloping along.]Opening Credits[Scene: P3. PaulaCole is singing. Prue and Phoebe are sitting at the bar watching her. The bartender hands back the book to Prue. Paula Cole finishes her song.]Paula: Thank you,P3, you've been great. Thank you.(Piper and Leo walk up to Prue and Phoebe.)Phoebe: Hey, I can't believe you guys missed Paula Cole, she was awesome.Piper:We saw a pretty awesome show ourselves.Prue: I thought that you guys went to dinner.Piper: We did and then for dessert we did a little demon hunting.Prue:What happened?Piper: Well, there was this road rage thing and it was completely out of control, so I froze the entire street except for this a guy in a suit.Leo: Andhe takes off. Your sister doesn't listen to me so we chase him down into an alley. Nothing, he vanished into thin air.Phoebe: Wait, a demon that causes roadrage?Piper: I don't know if he caused it or was attracted by it.Prue: Well, the kind of creature that gets off in that kind of thing would certainly explain why thecity's been such a mess lately. He's probably some lower level mischief maker.Leo: As soon as we figure out who he is and what he wants will be better foreveryone.Piper: Yeah, except for those of us who have to get rid of him.Phoebe: Okay, we can sit around here being pessimistic or we can go to the house andcheck the Book of Shadows.[Scene: A field. The four horsemen are there.]War: What happened?Strife: First of all I wanna let you all know that I was out on thefield and things are looking good. The public is really responding.War: But...Strife: We might have a problem.War: Did you screw up?Strife: No, why would youassume that?Famine: Please don't fight.Death: It's all they know how to do.Strife: A freezing witch saw me. Caught me working.War: A good witch?Strife: Iwould say so. She chased me, I think she thought she could stop me.War: That is a problem.Strife: Fixable. I think we can still move forward with our plan andstill make our deadline.Famine: But the deadline's 7:00 tomorrow night. The source is gonna...War: Find her and kill her.Famine: How are we gonna findher?War: Set a trap. If she's a good witch she'll want to stop us. All we have to do is give her something she'll want to stop.[Scene: Manor. Attic. Phoebe andPiper are there. Phoebe's flipping through the Book Of Shadows.]Piper: Wait, stop right there.Phoebe: The demon of cruelty.Piper: Hardens the heart, corrodesthe soul...Phoebe: And is a woman.Piper: Oh, oops.(Prue and Leo walk in.)Prue: Hey, so how is it going?Piper: In big fat circles. We've been reading all night andthere's no one in here that matches the guy I saw.Phoebe: We do have a list of six potential matches though.Piper: But there's no picture so we're sort ofshooting in the dark. My best guess is the demon of anarchy.Leo: Hey, you can't just guess. Alright, you have to be sure. It's very dangerous to engage an enemyunless you know who he is and what he wants.Piper: Leo, honey, we have done this a couple of times.Leo: No, I didn't mean...Prue: You know, Leo, it would begreat to know every single thing about our enemies but that's not always the case.Leo: I know, but...Phoebe: And if this guy is causing riots we can't just hangout and wait for inspiration, you know.Leo: Okay, three against one. I-I just, I was working that's all.Phoebe: Okay, so no offense to the Whitelighter but we'regoing with the Demon of Anarchy, right?Prue: Yes, the Demon of Anarchy.Piper: Okay, so this potion doesn't even require a double boiler.Phoebe: And it's yourbasic iambic pentameter chant. It's a very nice simple vanquish.Piper: Okay, so all we have to do now is figure out where this guys gonna show up next.Prue:Alright, well, who do we know that would be keeping track of anarchy?[Time lapse. Prue is on the phone with Morris.]Morris: Yeah, Prue, but the department hasall sorts of violence and the captain is calling in civil disturbances. In my professional opinion the whole city's lost its friggin' mind. We got street riots, looting,arson. We're two crimes away from being placed on tactical alert. You're not calling to tell me that all this trouble's because of you know what, are you?Prue:Yeah, well, possibly. We're actually researching that right now. We were kinda calling for your help.Morris: Look, I really can't leave right now.Prue: No, no, no,I-I understand and we're not quite there yet but it would really help to know where the latest hotspot is.[Scene: In a street. Police cars are there with emergencylights flashing. People are rioting. Prue, Piper and Phoebe get out of the car.]Prue: Don't freeze them yet. Don't let him know that we're here.Piper: Alright,alright.Phoebe: What the hell is wrong with these people?(They start walking through the crowd.)Piper: I can not wait to kick this guys butt all the way back to...(Phoebe and Piper get split up from Prue.) Alright, alright, this way, this way. (Piper spots Strife standing near by.) That's him, that's him.Phoebe: Well, let's gointroduce ourselves.Piper: Prue!(She points to Strife. He sees them and runs off. Prue runs after him and Phoebe and Piper follow behind. Strife runs in an alleyand around the corner where the other three horseman are.)Strife: There are three of them.(Prue runs around the corner.)Prue: There's four of you?(War walkstowards her. She tries to use her power but it doesn't work. He grabs her. Piper and Phoebe come around the corner.)Phoebe: Prue!War: Stop or I'll snap herneck. (to Strife) Start the chant.(Strife starts a chant in a weird language.)Prue: (to Piper and Phoebe) Start the damn chant.(Phoebe and Piper get a piece ofpaper out of their pockets and starts the chant.)Phoebe, Piper: \"Sower of discord, your works now must cease, I vanquish thee now, with these words ofpeace.\"(Piper throws a potion at Prue and War's feet and smoke rises around them. A bright light appears and then Prue and War disappear into a vortex.)Piper:Prue?Death: What the hell?(The horseman disappear.)Phoebe: What just happened?Piper: I think we just vanquished our sister.[SCENE_BREAK][Scene:Continued from before.]Piper: She's gone.Phoebe: We don't know that.Piper: Phoebe, we killed Prue.Phoebe: Piper, stop it okay. I don't wanna hear that.Piper:You think I wanna say it? I'm the one who made the potion, Phoebe, it's my fault.Phoebe: Okay, how about having a little faith. Alright, our magic has never letus down before.Piper: Well, there's a first time for everything isn't there.Phoebe: She's not dead.Piper: How do you know that?Phoebe: Because, Piper, I have nochoice but to believe in us and in our magic. Come here. (She puts her arm around her.) Okay, look, if she were dead, we would see her spirit, right? So maybe"}
+{"doc_id":"doc_27","qid":"","text":"DRAGONFIREPART TWORun time: 24:40[SCENE_BREAK]Lower level[SCENE_BREAK]Mel: Hang on, are you sure this is the right way?Ace: Course I'm sure. Don'tyou trust me?Mel: I don't know. What with the dragon and all that.Ace: The dragon. It's just something to frighten little children with. It's like witches andgoblins. There ain't no such thing.Ace: Wicked!Mel: Get down!Ace: That's not a real dragon. That was a laser beam.Mel: Look out![SCENE_BREAK]Icecliff[SCENE_BREAK]Glitz: It's no use, Doctor. I've located the Ice Garden but there's a distinct absence of dragon or treasure.The Doctor: Glitz, I sympathise withyour disappointment, but I'm about to plummet to my death.Glitz: Oh, I suppose you want me to risk my neck and come and help you.The Doctor: Glitz!Glitz: Allright, all right. Don't get your delicates in a twist.The Doctor: Glitz![SCENE_BREAK]Refrigeration room[SCENE_BREAK]Kane: Belazs, you astound me. Those twogirls should have been searched when they were arrested. You seem to be taking advantage of my former feelings for you. Be warned, the past is an empty slate.I demand absolute loyalty now and forever, and I don't forgive those who betray me. The girls must be stopped before they reach Glitz and the Doctor. They mustbe eradicated.Kane: What could be more appropriate than to despatch some of Glitz's former crew after the girls. He betrayed his crew, now they can have theirrevenge. Everyone should be allowed his moment of revenge.[SCENE_BREAK]Base of the Ice cliff[SCENE_BREAK]The Doctor: I say, thank you.Glitz: It's no use,Doctor. Even if we did find the treasure, it'd take us longer than seventy two hours, and Belazs said if I didn't return Kane's money within seventy two hoursthey'd confiscate my spacecraft.The Doctor: Why don't you explain the problem to him?Glitz: Oh, he'd slice his own mother up to make a point. If he was amortician, the corpses would keep their eyes open.The Doctor: Ah.Glitz: In fact, if Kane knew we were after the...[SCENE_BREAK]Refrigerationroom[SCENE_BREAK]Glitz (O.C.): Dragon's treasure, your life expectancy wouldn't be looking too clever at the moment. He's a cold man, Doctor. Cut him openand you won't find a heart, just a lump of ice.[SCENE_BREAK]Base of the Ice cliff[SCENE_BREAK]The Doctor: These types never have any sense of fair play.Glitz:Exactly. Which is why I've come to the conclusion that play it by the rules is a mug's game. I have decided to hijack the Nosferatu. Which is where you come in,Doctor.The Doctor: Ah, hang on there a minute, Glitz. I'm engaged in a project of scientific curiosity. I mean, that dragon, or whatever it may turn out to be,could be an undiscovered species.Glitz: Look, I'll do you a good deal. You help me get the Nosferatu back, and I'll give you the treasure map so's you and Mel cango looking for this dragon. I can't say fairer than that, can I?The Doctor: You have me there, Glitz. Without the map, I'll never find the creature.Glitz: You're aman of insight and logic, Doctor.The Doctor: All right, then. Where's the Nosferatu berthed?[SCENE_BREAK]Refrigeration room[SCENE_BREAK]Glitz (O.C.): Inthe lower docking bay.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Kane: A work of artistry, my friend. Incandescent artistry. I could almost believe Xanalives again. A unique beauty, yes, but more than that, a criminal genius also. Oh, what a waste. It should have been I who was killed escaping arrest, notyou.[SCENE_BREAK]Top of the Ice cliff[SCENE_BREAK]Ace: You're joking. I'm not going down there.Mel: Look, there's the Doctor's brolly. We must be on theright track.Ace: What did he have to come this way for? I could break my neck.Mel: How are we going to get down there?Ace: Hang on.[SCENE_BREAK]Lowerdocking bay[SCENE_BREAK]Glitz: There's only one guard. Do you think you can occupy him while I slip on board?The Doctor: I'll do my best.Glitz: Go on, then.Away you go.The Doctor: Excuse me. What's your attitude towards the nature of existence? For example, do you hold any strong theological opinions?Guard: Ithink you'll find most educated people regard mythical convictions as fundamentally animistic.The Doctor: I see. That's a very interesting concept.Guard:Personally, I find most experiences border on the existential.The Doctor: Well, how do you reconcile that with the empirical critical belief that experience is at theroot of all phenomena?Guard: I think you'll find that a concept can be philosophically valid even if theologically meaningless.The Doctor: So, what you're saying isthat before Plato existed, someone had to have the idea of Plato.Guard: Oh, you've no idea what a relief it is for me to have such a stimulating philosophicaldiscussion. There are so few intellectuals about these days. Tell me, what do you think of the assertion that the semiotic thickness of a performed text variesaccording to the redundancy of auxiliary performance codes?The Doctor: Yes.[SCENE_BREAK]Nosferatu[SCENE_BREAK]Glitz: Ah, my ship. Soon be light yearsaway from this place.Belazs: I wouldn't touch those controls if I were you.[SCENE_BREAK]Base of the Ice cliff[SCENE_BREAK]Ace: Wicked. And the bilge bag saidthis was too dangerous for girls.[SCENE_BREAK]Nosferatu[SCENE_BREAK]Belazs: This spacecraft is mine.Glitz: Hang on, the seventy two hours aren't up yet.You said if I could get hold of the grotzits I could have the Nosferatu back.Belazs: Then I shall just have to make sure you don't manage to find the money intime. I shall have to make very sure.The Doctor: Hello. Not interrupting anything, am I?Belazs: What are you doing here?The Doctor: That's a very difficultquestion. Why is everyone round here so preoccupied with metaphysics?Glitz: I think she's going to kill us, Doctor.The Doctor: Ah. An existentialist.Belazs: Quiet!Only one of us can leave Iceworld aboard the Nosferatu, and one way or the other it's going to be me.Glitz: What about the boss, Mister Kane? Does he know ofyour little enterprise?Belazs: Kane doesn't own me.The Doctor: Oh, I think he does. I think he bought you like he buys everything in Iceworld.Belazs: What wouldyou know about it?The Doctor: I think he bought you a long time ago. He paid seventeen crowns for each of Glitz's crew. How much did he pay for you? Was itworth it? Were you worth it?Belazs: That's what I sold myself for, Kane's mark. I ought to cut my hand off for doing it.Belazs: Go on, then. Kill me!Glitz: Well,come on, Doctor. We've got the Nosferatu back. Let's get out of here.The Doctor: No, Glitz. You can't go on stealing everything you want, like this Stradivariusand that Dutch master. Pay Kane back his debt, even if it costs a thousand crowns, ten thousand crowns. Pay back the debt. And as for you, your debt to Kane, Idon't think you'll be able to pay it off. Ever.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Kane: The whole of eternity has held its breath for this moment. Butno one must ever see your work. It exists, that is enough. No one can ever look upon your work and live. Gaze on it and die fulfilled.[SCENE_BREAK]Lowerlevels[SCENE_BREAK]Mel: What's the matter?Ace: Shush. Did you hear that?Mel: Hear what?Ace: I thought I heard something.Mel: Well, what kind ofsomething?Ace: I don't know. Can you see anything?Mel: Look out!Ace: Run!The Doctor: I think we go straight on. Either that, or we don't.Glitz: Well, now thatwe've found the Dragonfire, what's next on your list of tourist attractions, Doctor?The Doctor: Well, I'm not absolutely certain this one's over yet.The Doctor: Itmust be generating a spot temperature in excess of fifteen hundred Celsius.Mel: Right, cover your ears.Ace: Ace! Yeah, good job. Throw the other one.Ace: Yeah,go for it, tiger. That was well brill.Mel: We're not in the clear yet.Ace: I don't believe it. Not after two cans of Nitro. Nothing can survive that. Come on, Mel,shift!Mel: Okay!Ace: Come on! Come on, wake up.Mel: Oh, what happened?Ace: It's all right, doughnut. He's gone.Glitz: Get back, Doctor.The Doctor: No, Glitz,don't.Glitz: Why?The Doctor: We've got no right to kill.Glitz: Why didn't it kill us?The Doctor: Perhaps we'd better ask it.[SCENE_BREAK]Refrigerationroom[SCENE_BREAK]Kracauer: Can't sleep, Belazs?Belazs: How old do you think I am, Kracauer?Kracauer: Thirty three, thirty four?Belazs: And how old do youthink I was when I first agreed to join Kane? Sixteen. That was a long time ago. Do you see this?Kracauer: Yes, the mark of the sovereign.Belazs: You'd havethought it would begin to disappear after twenty years.Kracauer: We sold ourselves. We knew what we were doing. We had a choice.Belazs: I wassixteen.Kracauer: Even at sixteen we had a choice.Belazs: He'll kill us. He'll find someone younger and he'll kill us unless we kill him first.Kracauer: How do youpropose to do that?Belazs: With heat. Even here in Iceworld it's too warm for him. I've seen inside the restricted zone. That's where he keeps his refrigerationunit. He has to return there whenever his body temperature rises too high.[SCENE_BREAK]Lower levels[SCENE_BREAK]Ace: Do you want some coffee?Mel: Oh,thanks.Ace: Do you know what I did for a job when they threw me out of school?Mel: No.Ace: I worked as a waitress in a fast food cafe. Day in, day out, sameboring routine. Some boring life. It was all wrong. It didn't feel like me that was doing it at all. I felt like I'd fallen from another planet and landed in this strangegirl's body, but it wasn't me at all. I was meant to be somewhere else. Each night I'd walk home and I'd look up at the stars through the gaps in the clouds, and Itried to imagine where I really came from. I dreamed that one day everything would come right. I'd be carried off back home, back to my real mum and dad.Then it actually happened and I ended up here. Ended up working as a waitress again, only this time I couldn't dream about going nowhere else. There wasn'tnowhere else to go.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Kane: One day, when we return home, I shall erect colossal statues in yourhonour.Computer: Current ambient temperature minus ten Celsius. Target temperature minus a hundred and ninety three Celsius. Cabinet temperaturedropping.[SCENE_BREAK]Lower levels[SCENE_BREAK]Ace: There's something I've never told anyone. Do you promise not to laugh, and not to tell no one?Mel: Ofcourse.Ace: It's my name. It's not really Ace. My real name's Dorothy. That's how I knew they couldn't be my real mum and dad. My real mum and dad wouldnever have given me a naff name like Dorothy. Come on.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Computer: Minus one hundred and fifty. Minus onehundred and sixty. Minus one hundred and seventy.Computer: Cabinet temperature rising. Minus one hundred and sixty.[SCENE_BREAK]Icejunction[SCENE_BREAK]Mel: Down there?Ace: I suppose so.The Doctor: Ah, Mel, you've brought my umbrella.Mel: Oh, Doctor!Ace: Professor! Bilge bag.Glitz:What's that?The Doctor: Now, now, stop this squabbling. There's no place for animosity on a serious scientific undertaking.Mel: Do you mean the dragon?TheDoctor: Well, it's not so much a dragon as more of a semi-organic vertebrate with a highly developed cerebral cortex.Ace: And it's got laser beams in its eyes. Ittried to kill us.Mel: Yes.The Doctor: Really? Well, I wonder what you did to annoy it?Ace: It just came at us, Professor. No warning.The Doctor: Really. Well, let's"}
+{"doc_id":"doc_28","qid":"","text":"[PREVIOUSLY_ON]DELILAH: Sanctum was colonized by a team from Earth made up of families... the Primes.GABRIEL: Not everyone believes in the divinity of thePrimes.RUSSELL: Children of Gabriel. Nonbelievers must be purified!WOMAN: Die, nonbelievers!CLARKE: No!RUSSELL: It will be your great honor to become onewith Simone Prime.CLARKE: I tried to do better. And then I lost my mom.RAVEN: The Flame. We have to take it out. I'm not the Commander anymore.INDRA:Raven, Sheidheda.NIYLAH: Where did he go?GABRIEL: No one has ever come out of the Anomaly.- OCTAVIA: Hope.- HOPE: I'm so sorry, Octavia.- ECHO: Knife!-BELLAMY: No!Octavia! Octavia![INDISTINCT CHATTER ON RADIO]Octavia![SOBBING]Bellamy? Bellamy!- [GASP] - Whoa, whoa, easy.HOPE: Where am I? You'reOK. Uh, Bellamy she's awake. Who are you? I was about to ask you the same. Octavia called you Hope. The name Diyoza chose for her unborn child. Diyoza?Octavia? You're, uh... you're hurt. Let me take a look. Let me see.[THUD][COUGHING]Hope, wait![GRUNTING]Bellamy! Echo!ECHO: We're not alone. Back inside.Watch the girl. She's already gone. Come on. We can still catch her. Something else came through. Welcome to the party. Where's Bellamy? It took him towardsthe Anomaly. No, no, no, no. Time's not behaving. We have to get to him first. Echo, you can't shoot what you can't see. Stop talking. I'm opening up a path.Follow me![GUNFIRE][DOG BARKING]MADI: Hello.You said I could start school today. Why are we here? I thought maybe you'd like to see our new home. Russellbuilt it for Simone so she'd have a place that reminded her of the farm she grew up on, back on Earth, before the bombs. Picasso comes with it. We can keep her?Thank you, Clarke.[DOG BARKING]CLARKE: Let's go inside.MADI: Come on, girl.I don't know what I like less... lying about the Flame or making Madi pretendshe's still Commander. Indra thinks it could split Wonkru. You don't agree? I do, and I know we need them unified to keep the peace here. Just... I worry aboutMadi. Yeah. For now, we keep it quiet. Indra can say that she speaks for heda. But Madi is out of it. She finally gets to be a kid. Come on. There are plenty ofrooms for all of us.[INDISTINCT CHATTER OUTSIDE]INDRA: Heda. If you don't mind, you're needed elsewhere.- CLARKE: Where?- INDRA: We've been here aday, and Wonkru hasn't seen her.GAIA: Mother, don't be so dramatic. Go on, Madi. Eat your lunch. It's OK. Come on, girl. Let's go.[INDISTINCT CHATTEROUTSIDE]MAN: Hey, Madi.She seems OK.- INDRA: She is.- GAIA: She will be.GAIA: There's never been an ex-Commander before. We don't know how having theFlame removed will affect her. Not to mention being taken over by... Sheidheda's gone. Are we sure about that? He's gone. I didn't mean... I... I would just feelbetter if I knew where that code ended up, that's all.CLARKE: Ok. Then on your next supply run to the mothership, you can search the computer again.Meantime, we have to establish a routine. Not just for Madi but for all of us. Sanctum is broken, and it's our job to put it back together. If we focus on that, we'llbe OK. Now let's eat so we can get back to work. One of us needs to represent the Commander. And I'm hungry. Mothers and daughters. I'm sorry. It's OK,Raven. I'm fine.[DOOR OPENS AND CLOSES][INDISTINCT CHATTER]MAN: \u0000 I got darkness on my mind \u0000\u0000 so the question Mark, it keeps me looking... \u0000 Hermotor functions seem normal.CLARKE: Madi, come on. Let's eat. I want to show you your new room. OK. Come on, Picasso.MURPHY: I see you took the mastersuite.NIYLAH: To the victor go the spoils. We all share the clothes, though.EMORI: It's fine, Clarke. Our room is fine. A little tight, but we'll make it work. MaybeDaniel and Kaylee Prime should live in the palace. Daniel and Kaylee Prime saved your ass, Miller. But a thank you would do.EMORI: Speak for yourself. Thatpalace is...INDRA: No one lives in the palace, least of all us. Being seen as conquerors will only make keeping the peace harder. Ahem. Our first meal in our newhome. To absent friends. And departed ones- MILLER: To Abby.- ALL: To Abby.Hey! What the hell is your problem? I'm sorry, but I'm not just gonna sit herewhile he drinks to the woman that he got killed. I didn't know what Russell was gonna do. OK, I... Clarke, you have to believe me. I didn't know. I believe you.Dwelling on the past is not going to get this compound running. And it won't get our compound built.[BREATHING HEAVILY]What the...[GROANINGLOUDLY]INDRA: The people of Sanctum have lost their way of life, but many still believe in the Primes.They blame us. Faith is a powerful thing. A dangerousthing. We can expect conflict between believers and nonbelievers. To make matters worse, the Children of Gabriel are here. Sanctum is their home, too. Theywant Russell Prime and anyone who believes in him dead. At the moment, they, too, are our allies. Add to that hardened criminals from Earth who Wonkru was atwar with a few days ago, and I say we have our hands full being the keepers of the peace. At the point of a gun? Until we're sure all the guns are rounded up,Wonkru will be armed.MURPHY: An army of cannibal peacekeepers, huh? What could go wrong? Remind me again how long we gotta wait until our compoundgets built. Two years if everything goes perfectly.MAN: Hey! Get away from there! So years.[INDISTINCT CHATTER]INDRA: All right. Stop staring.It's time to goto work. Heda. Go learn something, OK? Bodyguards? Yeah. But not so close and make sure they leave her alone. Copy that. Too many people.RAVEN: Goodthing A.L.I.E.'s not around. There you are. Thank God. James, what is it? The reactor again? No. This is more explosive than that.NIKKI: What's the matter? Catgot your tongue?I'd love for you to say that again.TREY: Wait. Don't hurt him. Please.JORDAN: Trey, it's OK. I just meant this palace is sacred to them. I'm surewe can find you someplace else... Don't mind my wife. She's more bark than bite. Hmm.NELSON: This looks like fun. Criminals and fools. What seems to be theproblem?HATCH: There's no problem. Me and my friends here, we're just looking for a place to lay our heads. You can't do it here. This unholy shrine is nowcontrolled by the Children of Gabriel.TREY: Like hell it is.NELSON: Oh. Maybe you didn't hear, but your gods are dead and they are not coming back this time. Tellthat to Russell Prime, null. I will. Right before we burn him at the stake. You think killing our god will get your parents to love you again?[NELSON AND TREYGRUNT]Now my money's on the guys with the guns.[DOORS OPEN, GUNS COCK]INDRA: Children of Gabriel, stand down, now.The other guns. Here comes thepart where the convicts take the blame.CLARKE: Wrong. But when we woke you to clear the ground for our compound, you agreed to stay in tents. The palace isoff limits.MILLER: That goes for the Children of Gabriel, too. OK. OK, yeah, that's... that's fine. We'll... we'll take your scraps for now. But if we're gonna do thework, then we're gonna hold you to the meaning of the words \"our compound.\" Mm. Let's go. Jordan. You weren't at the farmhouse. We saved you a room. I'mOK above the tavern. Clarke, these people want to see Russell.INDRA: Out of the question.NELSON: I told you, you'll see him when he burns. Maybe take a logoff the fire. No one is burning at the stake. Not anymore. Then what's being done with him? We haven't figured that out yet. But he's being well cared for. Wecan't just take your word for that. You're talking about the man who killed her mother. I suggest you say thank you and be on your way. Indra, it's OK. Look, youseem to get on just fine with Jordan. If you won't take my word for it, how about you take his?[DOOR OPENS]JORDAN: I know what that's like.To lose your familyyears ago and yesterday at the same time. Did you kill yours? Didn't think so. You understand a bare whisper of the agony I feel. Is that why you're not eating?Or sleeping, from the looks of it? I don't need sleep or food. I need death! You look surprised. Or is that concern I see? Why are you here? Your people wanted tomake sure you're being treated well. Why do they trust you? Never mind. I don't care. Tell them I'm being treated better than I deserve. Now get out! I think youshould have this. [SIGH] You were adjusted. So, now you believe in the divinity of the Primes? Is that it? No. I know you're just a man who lost his way. Then tellme... what did you see? You got a glimpse. A glimpse? Of the truth greater than us all. Yes. No. I don't know. Let me guess. You saw this. You saw it, too? Ofcourse. I created all of Sanctum in its image. What does it mean? I stopped trying to answer that question years ago. Looks like it's your cross to bear now.Unless you're prepared to do the same to me, we're done here.[DOOR CLOSES]ECHO: Bellamy! Call out if you can hear me![BOTH PANTING]What the hell areyou doing? Making sure we're not being followed. Followed by what? Have you ever seen anything like that? No.[RUSTLING][GUNSHOT]GABRIEL: Hope, no,stop.[WOMEN GRUNTING]I don't want to hurt you. Who are you? Where's Octavia, and why are they taking Bellamy to the Anomaly? Bellamy's gone?GABRIEL:You know him? You remember? No. You called to him from the tent. This... was in my arm. \"Trust Bellamy.\" I don't remember putting it there, but I think I musthave. It's another code. Like the one on Octavia's back. What's it for?- HOPE: I don't know.- ECHO: Stop lying!GABRIEL: Easy. Octavia lost her memory, too.Must be a result of moving through the Anomaly.- HOPE: What's the Anomaly?- ECHO: You tell us.GABRIEL: It's the sound you hear. You said Octavia's nameright before you stabbed her. You remembered then, and you remember now. The Anomaly was on top of us then. Yeah, yeah, yeah, then she lost her memorywhen it receded... taking Octavia with it. Why just her? Why the memory loss? None of this makes any sense, but, my God, it's incredible. We need to get toBellamy. How fast can you run? I don't know. Let's find out.[INDISTINCT CHATTER][MEN CHEERING]MURPHY: Clowns to the left of me, jokers to theright.EMORI: Stop it.Here. Listen to this. Kaylee changed because of love, too. Isaac, a null, made her see what they'd become. Aww. Farmer loving the pig sheleads to the slaughter. Jackson didn't mean it, John. You didn't kill Abby. Russell did. I told her that it was gonna be good for her. I told them that Abby couldmake Nightblood out of bone marrow. You did that to save us all. I helped Josephine convince Abby that she was Clarke. Blessed is Daniel. Blessed is... I... I'm sosorry, my lord. I got this. It's OK. He's clearly had enough. Look, you got it all wrong. I know you think that I'm...RAVEN: Daniel, can I... Can I talk to you? I justneed a minute. Act like you hardly know me. What the hell are you talking about? This place is a powder keg. Oh, this is good. Miss morality wants us to bePrimes.Newsflash: you are Primes. That bad choice has sailed. But if these people actually believe you're Daniel and Kaylee, it may still do us some good. Theanswer's no. Daniel. He blames himself for Abby.RAVEN: This can't be good. How's Russell?- TREY: What'd he say?- JORDAN: It's OK.TREY: Don't tell me it's OK.We have to help him. Everyone, let's go. Let's go.NELSON: Children of Gabriel, let's move.- RAVEN: Here we go again.- MAN: Get out of the way. Move.It's a riot"}
+{"doc_id":"doc_29","qid":"","text":"An Initiative briefing.Maggie: This is your objective.Narrator: Previously on Buffy the vampire slayer.Walsh: .. demon classed as the Polgara speciesEngelman:...bone skewers jut from the creature's forearms during battle. It's imperative not to damage its arms.Buffy: Why exactly can't we damage this polka thing'sarms?Cut to Engelman and Walsh in a lab.Engelman: She's an unnecessary risk.Cut to Walsh speaking to Buffy.Walsh: Two of our hostiles broke freeCut to Buffyfaces the two demonsWalsh: and escaped into the tunnelsCut to Walsh and Riley in the Initiative.Walsh: She's dead Riley.Riley: I don't understand. On themonitors behind them.Buffy: Professor Walsh if you think that's enough to kill me. you really don't know what a slayer is.Cut to Walsh musing in lab.Walsh: Shewants a fight we'll give her one.Cut to Buffy talking.Buffy: It's not safe for any of us.Cut to Walsh musing in lab.Walsh: And then when she least expects it, ahhh.She is impaled by a skewer.Walsh: Adam.Adam: Mommy.cut to Giles apt. This scene is a direct continuation of the previous episode with a time gap of perhapsone to five minutes. Buffy is talking to Giles, Willow, Xander, Anya and Spike.Buffy: So Maggie sends me down into the sewers with one of those blasto guns andthe next thing I know it's raining monsters.Xander: Hallelujah.Buffy: And then this gate slams down behind me and I-I try to use the gun but it goes pfft.Giles:You're saying that Maggie Walsh set you up?Buffy: That's exactly what I'm saying. She sent me on a one way recon.Spike: Got to hand it to you goldilocks - youdo have bleeding tragic taste in men. I've got a cousin married to a regurgitating {{frovilops}} demon {that's} got better instincts than you.Buffy: What does mytaste in men have to do with this?Spike: You think Riley was out knitting booties for your future offspring while Maggie stringing you up? Anya, Xander and Gilesare silent.Buffy: You guys think Riley had something to do with this.Giles: Um, probably not but we, uh, be remiss if we didn't think all the possibilities{through}.Buffy: {Great./Right.} Remiss. No! No, Maggie made sure that he was nowhere around when she sent me on this very special make Buffy deadassignment.Willow: Plus Riley he seems like he wouldn't tell a little white lie let alone a whole bunch of big dirty ones.Xander: That's why they call it the secretforces Will, cause they kinda keep the whole lying thing to themselves.Buffy: All I know is that Maggie has it in for me which means the Initiative has it in forme.Xander: I'm guessing the mad scientist isn't too keen on the fact that the entire scooby gang knows that the Initiative is up to no good.Buffy: Which brings usback to the not safe for any of us concept.Giles: What could have happened to make Professor Walsh want to kill you?Buffy: I don't know, uh. She wasn't keen onthe fact that I was asking a lot of questions that's for sure.Anya: So you were getting too close to something.Giles: Clearly. Although one can only imagine whatshe'd be so desperate to hide.cut to An Initiative exit. A being exits. Adam is sewn together from parts of different demons. He has a metal brace on his left leg,there are metal parts on the left side of his face and the back of his head, his right breast, his right shoulder and forearm of his right arm. The only recognizablyhuman portion is the right upper side of his face and his hair. His left eye is red. He had green and grey-pink demon parts sewn together and there is a huge scaror seam with what could be links of a large chain reinforcing it running down the middle of his chest. He is a mix of demon, Frankenstein monster andTerminator/Borg. It smiles. roll creditsBuffy: Everybody grab a weapon. We've gotta move. Buffy hands Xander an ax and Anya a grappling hook (like a fishermanmight use.)Xander: Storm the Initiative. Yeah let's take on those suckers.Buffy: I was thinking more that we'd hide.Xander: Oh thank God.Giles: I think perhapswe should talk about this.Buffy: We need to relocate someplace we're less likely to be found. We need to come up with a plan.Willow: We could go to myplace.Buffy: The Initiative guys know how close we are. They'll automatically check the places that you hang out. Xander, what about your basement? The guyshaven't seen us together that much and there's enough room.Willow: Ooh Plus mirrored ball.Xander: Cool! Come on down and boogie at Xander's hideaway.Anya(less happy): Yes, come boogie.Giles: Absolutely not! I will not squat in that dank hole.Spike: What, it was good enough for me, but you're above it all?Giles:Precisely. Besides I-I don't see why we can't stay right where we are. Pfft. It's very unlikely that those Initiative boys are going to come round here to look foruh_ Door bangs open. Riley enters.Riley: Buffy! God Buffy are you ok? What happened?Buffy: You know?Riley: I know something went down. umph. Tellme.Buffy: Maggie tried to kill me.Anya: It didn't work, but they're all upset anyway.Riley: Ok listen I need you to go over everything step by step. There has tobe..has to be some kind of mistakeXander: There was no mistake. And how do you know something happened?Riley: I was on a mission but I came back and...I'm not sure.. Look let's just keep her heads and not jump to any _ Riley stops and is staring.Buffy: What?Riley: That's hostile 17.Spike: No, I'm just a friend ofXaannderr's. Pfftt. Spike drops his drawl.Spike: Bugger it. I'm your guy.Buffy: This is Spike. He's um.. It's a really long story b-but he's not bad anymore. Spikejumps up.Spike: Hey! What am I, a bleeding broken record? I'm bad it's just I can't bite anymore. Thanks to you w*nk*rs. Spike indicates Riley with a headmovement.Riley: We've been looking all over the place for him - but you've known where's he's been all along.Buffy: It's not like that.Riley: Then what is it like?..What's he doing here?Spike: Leaving you swabs to your dramatics, thanks. I've got my stories on the telly for that. Spike puts on his black leather coatSpike: Bythe by. If you're trying to kill her. Spike leans back with a big grin and two thumbs up. (His Fonzie imitation?) Buffy and Willow roll their eyes. Spike runs out thedoor into the sunlight covering his head and arms with his coat.Riley: Buffy, what is this? You're hiding an H.S.T.?Xander: Why don't you just back off and let herask the questions, Jack? Your boss just tried to make monster food out of her. Riley looks around. Giles crosses his arms. Riley: I-I didn't see much, I wasn'tthere unnhhh. All I know is that Professor Walsh told me you were dead but then I saw you on the monitors. Ummph. {look} This isn't Professor Walsh. Ummph.There must be something making her act this way. Something ummph I don't know, controlling her.Giles (softly): We think Buffy may have been becoming tooinquisitive. That she was getting close to something that Professor Walsh was trying to hide. Do you have any idea what that might be?Buffy: What about 314?Maybe that's it.Riley: Maybe she was trying to test you. What if it was only a drill?Buffy: Then why did she tell you I was dead? Riley it wasn't a test.Giles (softly):See I've heard rumors that the Initiative isn't all that we've been told. That, um, secretly they're working toward some darker purpose, something that mightharm us all.Riley: No! That's - that's not what happens there.Buffy: Riley!Riley: I would know!Buffy: No one is sure of anything, ok? We're were just trying to sortit out.Riley: I can't be here. I'll sort it out on my own.Buffy: Riley.Riley: No. Just, umph, I'm sorry. Riley leaves.Cut to A forested area. A small boy, perhaps 7 to9, is squatting and playing with a silver armored doll. His bike is beside him. Adam sees the boy and approaches.Adam: What am I? The boy stands.Boy: You're amonster.Adam (resigned?): I thought so. Adam (curious?): What are you?Boy: Me? I'm a boy.Adam: A boy. How do you work?Boy: I don' know. I just do. Boypoints to bone skewer/spur coming of Adam's wrist.Boy: What's that for? Adam raises his wrist to look at the skewer, then looks at the boy. Adam smiles.Cut toRiley wandering the campus at night. He passes a couple on a bench. A solitary student passes him.Cut to Engelman entering darkened lab. He flicks the lightswitch several times but nothing happens.Engelman: Dr Walsh? Engelman closes the door slowly.Engelman: Adam? Engelman slips and falls. He sees red on hishands and realizes it is blood. He looks to see the puddle leads to a body. He trembles and scrambles back.Cut to Mirrored ball in Xander's basement. Zoomingand engine sounds are heard. Reflected light from the ball strikes Giles in the eye waking him. He is sleeping in plastic furniture. Pan past a makeshift curtain toWillow, Anya and Buffy in bed watching television. Wiley Coyote drops a wrecking ball on a chain. The ball misses the Roadrunner and instead of stopping halfwayup, continues in a full circle, taking out Wiley Coyote.Buffy: That would never happen.Willow: Well, no Buff, that's why they call them cartoons, notdocumentaries.Giles: Must we have the noise. My head is splitting. Giles is standing and turns off the tv.Willow: Well, look who's cranky bear in themorning.Giles: Yes I can't imagine why I didn't sleep well in my beach ball.Anya: Every time you moved it made squeaky noises. It was irritating.Giles: Really.I'm surprised you could hear it over your Wagnerian snoring.Buffy: Ok you guys, could we not please? Everything's screwed up enough without you two doingscenes from my parent's marriage.Anya (to Giles): Sorry.Giles (to Anya): {Sorry/Sallright.}Buffy: Thank you.Willow: It'll be ok Buffy, Riley's just confused, that'sall.Buffy: I don't know. It just seems like things could get heavier. His whole world's falling apart.Anya: And after everything you've been through with Angel. Youreally should get yourself a boring boyfriend. Like Xander. You can't have Xander!Buffy: That was the idea. Riley was supposed to be Mr. {{Joe Guy.}} We weregoing to do dumb things like hold hands through the daises going tra-la-la.Willow: Poor Buffy. Your life resists all things average.Anya: So dump him. But youcan't have Xander!Buffy: I'll try and remember that. It's too late anyway - I'm already at the I hurt when he hurts, I smile when he smiles stage.Anya: I hate thatpart.Buffy: I'll just have to make it work. Xander comes down the stairs carrying a breakfast tray with orange juice and some food.Xander: Turn on the tv. Now!Willow does so and lays down again.TV Announcer: Sunnydale is still reeling from news of the crime. A source in the coroner's office tells us that the boy wasstabbed with what looks like some kind of large skewer and his body was then mutilated. Police have not named a suspect and the killer is still at large.Buffy: ThePolgara demon had a skewer in its arm. That's the one that Maggie insisted we bring back alive. Giles: She must have sent it after you.Buffy: And it gotdistracted... God.Willow: Buffy, its not your fault. Anya shakes head.Willow: How could you know?Giles: She's right. You mustn't blame yourself. Xander shakeshead.Buffy: I'm not going to. I'm going to the crime scene to see what I can find out. Buffy stands.Buffy: You guys research the Polgara demon. I want to knowwhere it is. When I find it I'm going to make him pay for taking that kid's life, I'll make him die in ways he can't even imagine.Anya's eyes lower. Buffy: Thatprobably would have sounded more commanding if I wasn't wearing my yummy sushi pajamas.Cut to Frat house. Riley starts walking up the stairs. Forest sees"}
+{"doc_id":"doc_30","qid":"","text":"Jim: Damn, lost another file. Going to have to reboot. Again. [Windows reboot sound] Hey, Dwight, do you want an Altoid?Dwight: What do youthink?[SCENE_BREAK]Jim: In school, we learned about this scientist who trained dogs to salivate at the sound of a bell by feeding them whenever a bell rang. Forthe last couple of weeks I've been conducting a similar experiment.[SCENE_BREAK]Jim: [Windows reboot sound] Dwight, want an Altoid?Dwight:Okay.[SCENE_BREAK]Jim: [Windows reboot sound] Altoid?Dwight: Sure[SCENE_BREAK]Jim: [Windows reboot sound] Mint Dwight?Dwight: Inbwit?Yes.[SCENE_BREAK]Dwight: [Windows reboot sound] [Dwight holds out his hand, sighs]Jim: What are you doing?Dwight: I...Jim: What?Dwight: I don't know. Mymouth tastes so bad all of a sudden. [nasty, dry mouth-smaking noise][SCENE_BREAK]Michael: Always the bridesmaids, right ladies?Photographer: Okay, for thisnext one everyone hop out. Just Phyllis and Dad. Actually, let's bring Mom back in. And the sisters. And you, and you, and you. Great.[SCENE_BREAK]Michael:Phyllis is getting married. And I am in the wedding party. She has asked me to push her father's wheelchair down the aisle. So, basically, I am co-giving away thebride. Since I pay her salary it is like I'm paying for the wedding. Which I'm happy to do. It's a big day for Phyllis. But it's an even bigger day for me. Employer ofthe bride.[SCENE_BREAK]Phyllis: Yes, I put Michael in my wedding. It was the only way I could think to get six weeks off for my honeymoon. No one else hasever gotten six weeks before.[SCENE_BREAK]Pam: Phyllis... ended up using the exact same invitations as Roy and me. So it was kind of like being invited to myown wedding. And I was like 'Wait, thought I called that off'.[SCENE_BREAK]Jim: So what's in the box?Stanley: A toaster, you?Karen: A toaster.Stanley:Unbelievable.[SCENE_BREAK]Dwight: Hello, Angela.Angela: Hi, Dwight.Dwight: You look as beautiful as the Queen of England.Angela: Thank you. Don't linger.Break left. Left![SCENE_BREAK]Dwight: The Shrutes have their own traditions. We usually marry standing in our own graves. Makes the funerals very romantic,but the weddings are a bleak affair.[SCENE_BREAK]Jim: Those flowers are nice.Karen: Yeah. P and R?Jim: Phyllis and Robert.Karen: Ah, ofcourse.[SCENE_BREAK]Pam: Also, Pam and Roy.[SCENE_BREAK]Michael: There she is. I swear Phyllis you are as beautiful as the first day you started work atDunder Mifflin.Phyllis: Thanks, Michael. That's sweet. Same as when you said it outside.Michael: How you doin'? You excited.Phyllis: Yes, very.Michael: Me, too. Ifyou need to vomit, that is ok. I did. Do you want to talk about tonight?Phyllis: No.Michael: You're probably worried about pleasing Bob. A lot of pressure. Phyllis,did you break wind? It's okay, if you did. It's a very natural reaction. It's your wedding. And you're nervous...Phyllis: That wasn't me.Michael: Okay... umm... I'msure that Bob... Wow. That is... that is pungent. I lost my train of thought. Aaah... Are you set on that hairstyle?Phyllis: I thought it was...Michael: Here, letme...Phyllis: Michael... No.Michael: Just cover up that bald patch.Phyllis: I don't need your... thank you. No, Michael please... I just need some timealone.Michael: Okay.[SCENE_BREAK]Michael: You might be surprised to learn that I've only been to one other wedding. It's actually a very cute story. My Momwas marrying Jeff. And they asked me to be ring bearer. I was understandably emotional and somehow my pants became wet.Michael: [in video of Michael as akid] I hate you!Michael: Long story short: Jeff's dog ended up as ring bearer. And the irony is that after the ceremony that dog peed on everything and nobodysaid 'boo'.[SCENE_BREAK]Dwight: Why are all these people here? There are too many people on this Earth. We need a new plague. Who are all these people?Jim:You know what? I bet a lot of them are wedding crashers.Dwight: No way.Jim: Did you ever see that movie?Dwight: Of course I saw it.[SCENE_BREAK]Dwight: Isaw Wedding Crashers accidentally. I bought a ticket for Grizzly Man and went into the wrong theatre. After an hour, I figured I was in the wrong theatre, but Ikept waiting. That's the thing about bear attacks, they come when you least expect it.[SCENE_BREAK]Jim: You know I just wish, I wish, I had the investigativepowers to smoke some of these guys out.Dwight: Once again, Jim, I will take care of this. I will locate the wedding crashers and report them to Phyllis. That way Iwon't have to get her a gift.[SCENE_BREAK]Kevin: [to Toby's date] Hi. I'm Kevin. [to Toby] Where did you find her?Toby: At the gym.Kevin: Riiight. The gym.[snickers][SCENE_BREAK]Kelly: Could you scoot over? You're on my dress.Meredith: I thought you're not supposed to wear white to a wedding.Kelly: I know butthere was an emergency.[SCENE_BREAK]Kelly: I look really good in white.[SCENE_BREAK]Michael: This strappy young lad sitting here is Phyllis' father, Albert,and he is quite the ladies' man, aren't you Albert, hah? Ah, ringbearer. I could have done better. I will do better. I am going to be better. I can't believe I'mactually doing this! Ooh! Are you ready for this, Albert? I am. Let's do it.[SCENE_BREAK]Pam: That's my dress.Michael: [whispers to father] That's ok. [Albertgets out of his wheelchair and starts walking]Dwight: It's a miracle.Crowd: [generalized clapping]Michael: This is bull****![SCENE_BREAK]Michael: Me walkingPhyllis down the aisle was supposed to be the highlight of the wedding. And now... the wedding has no highlight.[SCENE_BREAK]Michael: I can't believe I pushedthat... that guy's lazy ass around all day... until he was ready to stand up and steal the show. That's... well... I got news for you, Albert. If that's your real name.The show's not over.[SCENE_BREAK]Priest: And do you, Phyllis, take Bob Vance, Vance Refrigeration, to be your lawfully wedded husband?Phyllis: I do.Michael:Ladies and Gentlemen, may I present to you for the first time as a couple, Mr. and Mrs. Bob Vance!Priest: And do you, Bob...Michael: Oh, shiii...Priest: ... takePhyllis to be your lawfully wedded wifeBob Vance: I do.Priest: You may now kiss the bride.Michael: Ladies and Gentleman, for the first time as a couple, Mr. andMrs. Bob Vance. [generalized clapping and cheering] Yeah! That's what I'm talking about![SCENE_BREAK]Angela: Congratulations, Phyllis. You look lovely. Yourdress is very white. So white, my eyes are burning.Phyllis: Thanks Angela.[SCENE_BREAK]Michael: Congratulations, Bob. You're a good man. But just know... ifyou ever lay a finger on Phyllis, I will kill you.Bob Vance: If you ever lay I finger on Phyllis, I'll kill you.Michael: Agreed. No fingers will be laid on Phyllis. [toAlbert] Oh, decided to sit down again, huh? Great. Bet you can hear me, too.[SCENE_BREAK]Dwight: Best of luck, Phyllis. Also I'm going to need to see a copy ofthe guest manifest as well as photographs of the caterers.Phyllis: I don't have that, Dwight.Dwight: Dammit, Phyllis![SCENE_BREAK]Kelly: Are you all right? Thismust be so awful for you.Pam: What do you mean?Kelly: Well... this was supposed to be your wedding.Pam: Oh... um... no. That's... um... That's actuallyfineKelly: There's no way it's fine. I'm sorry. If I was you, I would just like freak out and get really drunk and then tell someone I was pregnant.Pam: Okay, that'sa lot of good ideas. Thanks[SCENE_BREAK]Dwight: 'Scuse me, sir. How do you know the happy couple?Uncle Al: Who?Dwight: The bride and groom? What aretheir names?Uncle Al: Oh, I... I don't... I'm not sure.Dwight: Oh I get it, I get it, come on, freeloader. Let's move it. Come on. Come on.Uncle Al: Okay, Okay.Where are we going?Dwight: Got to find yourself another wedding to crash, my friend.Uncle Al: Oh![SCENE_BREAK]Michael: Phyllis! Are you happy witheverything? What can I do to make it more perfecter?Phyllis: It's beautiful. Why don't you find your seat. Enjoy the buffet.Michael: I'm already on it. The chicken?Totally undercooked. I sent it back.Phyllis: It's fish.Michael: I will take care of that.[SCENE_BREAK]Michael: I do. I know a fair amount about fine food... anddrink. This is a white.[SCENE_BREAK]Kevin: No this is not our first wedding. This is the THIRD wedding that Scrantonicity has played. We also played ourbassist's wedding and our guitarist's wedding.[SCENE_BREAK]Kevin: Attention, everyone. Attention, please. I am supposed to ask if anyone has seen Uncle Al.He is old and has brown eyes and dementia. His family is very concerned. It is a very serious situation. [sings] Roxanne. You don't have to put on your redlight.[SCENE_BREAK]Roy: Hey.Pam: Hey.Roy: I know I normally don't notice these kind of things but uh... This wedding's really nice! I mean, the flowers andstuff? Phyllis has got some great taste.Pam: You're kidding me, right?Roy: I know you're probably not going to remember this, right? But um... Those colorroses? I got you those color roses for our prom.Pam: Roy, I picked those flowers. Phyllis just stole all of my ideas for our wedding.Roy: I uh guess I wasn't reallytoo involved in the planning.Pam: Yeah.Roy: Sorry about that.Pam: It's okay.Roy: You think this sucks for you? I was the one who actually wanted to getmarried.[SCENE_BREAK]Randy: Phyllis, you're a wonderful woman. And you're a hell of a bowler!Crowd: [cheering and clapping]Unknown: She is.Randy:Cheers.Crowd: Cheers.Michael: Thank you, Randy. That was great. Thank you. Thank you very much. Hi, I'm Michael Scott and for the next forty minutes, I'mgoing to be your tour guide through the lives of Phyllis Lapin and Bob Vance. One of the great, seemingly impossible, love stories of our time. My name is MichaelScott. Webster's Dictionary defines \"wedding\" as the fusing of two metals with a hot torch. Well, you know something. I think you guys are two metals. Goldmedals. For those of you who don't know me, I'm Michael Scott, Phyllis' boss. To quote from The Princess Bride \"Mawige...[SCENE_BREAK]Michael: The mostimportant part of a speech is the opening line. When time is not a factor, I like to try out three or four different ones.[SCENE_BREAK]Michael: Phyllis and Bob:their celebrity couple name would be Phlob. You look at her... and she's kind of matronly today, but back in High School, I swear, her nickname was 'Easy Rider'.Now as for Bob... Bob Vance...Bob Vance: Oh okay. That's enough.Michael: is a guy that...Bob Vance: Thanks, Michael. Give me...Michael: he works... Okay hold,hold on, hold on. Look. Look. I didn't say anything when Phyllis' dad upstaged me at the ceremony. And I think you owe me this. Kay.Bob Vance: Give me themicrophone.Michael: No. I'm not going to...Bob Vance: Give me... Give me the microphone, Michael.Michael: Ok. All right.Bob Vance: You're out of here!Michael:Oh. Yeah. You're out of here! You're... Yeah. I hate you![SCENE_BREAK]Jim: Hey.Pam: Hey!Jim: When are we going to get to see some of those famous Beeslydance moves?Pam: Oh... I'm pacing myself.Jim: Come on. Get out there. Give the people what they want.Pam: No. I'm such a dorky dancer.Jim: I know. It'svery cute.[SCENE_BREAK]Jim: Hypothetically, if I thought Pam was interested, then... No, it's totally hypothetical.[SCENE_BREAK]Michael: Come... Comeon!Dwight: I can't let you in, Michael.Michael: Dwight, just...Dwight: No, it's Bob and Phyllis' orders.Michael: Look, I just wanted to go in and quietly sit and have"}
+{"doc_id":"doc_31","qid":"","text":"THE YEAR 2030LIVING ROOM(Daughter and Son sitting on couch)Future Ted: So kids, there are many buildings New York City.EXT. NEW YORK CITYBUILDINGSFuture Ted: Thousands of apartments. Millions of stories. And even though it's been decades and someone else lives there now, there's one apartmentin particular that will always be our apartment. I have so many great memories of that place.EXT. APARTMENT(Marshall sitting on couch playing videogame)Future Ted VO: Marshall playing video games.(Lily painting on fire escape, drops paintbrush)Future Ted VO: Lily painting on the fire escape.Mr. Madsen:Hey!Lily: Sorry, Mr. Madsen.(Ted in kitchen making coffee)Future Ted VO: And me making the coffee. I had this coffeepot that was probably 50 years old at thattime, and it made truly terrible coffee. We called it ShockyTed: Plugging in.Marshall: Saving game.(Ted plugs in coffeemaker and lights flicker and Ted getsshocked)(Interior shots of apartment)Future Ted VO: I loved every last detail of that place. Right down to the incredibly tacky swords we hung on the wall. Inever wanted any of it to change. But that's not how life works.(Marshall and Ted sitting in living room, Lily and Robin enter through front door holding four paperbags)Lily: You guys will never believe what just happened to us.Robin: I don't even believe it myself.Lily: We were in Queens and we decided to stop by myapartment.INT. LIVING ROOM, YEAR 2030(Daugher and Son sitting on couch looking bewildered)Daughter: Wait, her apartment? I thought Aunt Lily lived withyou and Uncle Marshall.EXT. STREET(flashback to Lily and Robin walking to Lily's apartment)Lily: I could see how you would think that but I have to have my ownplace. It's an independence thing.Robin: When was the last time you were there?Lily: Three months ago.(Robin laughs)Lily: What? It's like fat pants. You hopeyou never have to use 'em but you're glad to know they're there.(Lily and Robin stop walking, Lily looks confused)Lily: What the hell?Robin: What?Lily: This is myapartment.Robin: Where?Lily: Right here.INT. CHINESE RESTAURANT(Lily and Robin enter through front door)Lily: What the hell?Robin: Lily, this is a Chineserestaurant.Lily: No, no, this was my apartment. My dresser was right...(Lily looks around to point out to Robin where her dresser would be)Lily: That's mydresser! And this is my closet.(Lily opens closet door)And I spilled nail polish there. There's the stain.(Lily and Robin look at something on carpet)(Waitress walksin from kitchen)Waitress: Hi, how many?(Lily looks up at Waitress) Waitress: Lily.Lily: Yes, you know me?Waitress: Yeah, from your homecoming picture. You'remuch prettier in person.Lily: Yeah, I know, the bangs were a mistake. Where's my stuff? Waitress: It's all in the back. We could wrap it up for you. You want it togo?Lily: This is my apartment!Waitress: Not anymore.INT. APARTMENT(back to Lily and Robin telling this story to Ted and Marshall)Ted: No way. You're makingthis up.Marshall: Yeah, the building would have had to give you some sort of notice.(back to Chinese restaurant flashback)Waitress: They sent you a notice aboutthis.Lily: When?Waitress: Three months ago. Here's your mail minus the magazines.(back to everyone in apartment)Marshall: Well, still, legally, they can't justtoss you out onto the street. You have a lease.(back to Chinese restaurant scene)Lily: OK so I didn't have a written lease as such but, but go ask my landlady,Mrs. Conroy.(Lily turns to Robin)Lily: She may be 98 years old but she's still...(Lily turns back to Waitress)Lily: She's dead, isn't she?Waitress: Never even sawthe bus.INT. APARTMENTLily: My apartment is a Chinese restaurant. What am I gonna do?Ted: Come live with us.Lily: Really?Ted: Of course.Marshall: You sureabout this, Ted?Ted: Yeah. I mean, you basically live here anyway. It's not like it'll change anything.INT. BAR(Barney, Robin and Ted sit at booth)Barney: No, it'slike it'll change everything. Oh, Ted, you are so screwed.Ted: What? What are you talking about?Robin: And why is that girl checking you out?(Girl at anothertable is looking at Barney)Barney: Because I look good. Now focus, you and Marshall are roommates. You have an amazing apartment. Marshall and Lily just gotengagedTed: Yeah, so?Barney: So, you're not still gonna be his roommate when he gets married, are you? Someone's going to move out. So who's it gonnabe?Robin: Come on, Barney, I'm sure they've talked about who gets the apartment. You talked about who gets the apartment, right?Ted: Yeah, we've talkedabout it.(flashback to Ted and Marshall playing video games in their apartment)Marshall: So, when Lily and I get married, who's gonna get the apartment?Ted:Oh, that's a tough one. You know who I think could handle a problem like that?Marshall: Who?Ted: Future Ted and Future Marshall.Marshall: Totally. Let's letthose guys handle it.(back to Ted, Barney and Robin in bar)Ted: Dammit Past TedBarney: You blew it, dude. Now that Lily's there, it's a whole new dynamic.They're edging you out.Ted: That's crazy. They're not edging me out. Marshall's my best friend.(Barney exhales loudly)Ted: One of my best friends. He wouldn'tdo that to me.Barney: Just keep your eyes open. That's all I'm saying, Ted. Little things are gonna be changing around that apartment.Robin: Come on, Barney,you're just being paranoid. OK, seriously, what is this girl's deal?(Girl at other table waves at Barney, Barney waves back)Barney: Sort of on a date with her.Ted:What?Barney: I found her online. I'm tired of the whole bar scene, the one-night hookups. I'm looking for a soul-mate, someone who I can love and cuddle, or soit says in my profile. (evil laugh) But this girl, she wants the same stuff and it's bumming me out. All right, Ted, call me from the hospital.Ted: All right.Robin:You're going to the hospital?Ted: No, see, he's gonna go back over there and I'm gonna call him and he's gonna pretend that it's an emergency call from a familymember at the hospital.Robin: Oh, Lord, fake emergency? That is lamest, most pathetic cop-out in the book. I expect more from you, Barney.Barney: Well, staytuned, I'm working on some stuff. But in the meantime, wish me luck.(Barney gets up to sit with Girl)Robin: So, are you gonna talk to Marshall?Ted: He's gonnawant the apartment. I'm gonna want the apartment. It's gonna lead to an argument, so no.Robin: Hm, that's real healthy. So, when a serious issue comes up,your response is just to avoid it.Ted: I should really make this call.(Ted takes out his cell phone and starts dialing)Robin: Ooh, can I do it?(Ted pushes phone overto Robin)(Barney's phone rings, he answers)Barney: Hello? Robin: Hi there, sexy.Barney: Hello, Aunt Kathy, what's up?Robin: Oh, nothing. Just sitting here,thinking about you, hot stuff.Barney: An accident? Well, is Uncle Rudy gonna be OK? Robin: Aunt Kathy's got an itch that only you can scratch, big boy.Barney:Oh God! Why did he think he could build his own helicopter?Robin: Come on, daddy, break me off a piece of that white chocolate.Barney: Well, if he needs atransplant, he can have mine. I'll be right there.(Barney stammers and gets up to leave, walks by Ted and Robin's booth)Barney: See you guys later.(Barneywalks out of bar)INT. APARTMENT(Lily is painting by fireplace, Ted is sitting on couch drinking coffee, Marshall is at table studying)Ted: Ah, this'll be nice, thethree of us living together. I think it's a good setup.(Marshall smiles at Ted and Lily, Lily smiles back)Ted: Man, this coffee's great. It's really great. Too great.(Tedputs down coffee cup and runs to kitchen and sees a different coffeemaker)Ted: What happened to Shocky?(Ted notices Shocky in trash can and gasps)(Tedcarries new coffeemaker into living room)Ted: What's this? Lily: My coffeemaker from my apartment. Makes great coffee, right?Ted: Yeah, definitely. I mean, sodoes Shocky.Marshall: Really? I always thought Shocky's coffee tasted kinda rusty.Ted: Yeah, no, it did. I mean, I kinda liked the rusty taste. I'm used to it. Idon't know.Marshall: Also Lily's coffeemaker doesn't, you know, shock you.Ted: No. You gotta admit, that shock, wakes you up in the morningMarshall: You knowwhat else wakes you up in the morning? Coffee.Ted: That's great. You're right. Roomies! I love it.INT. BAR(Robin, Ted and Barney sitting at table)Ted: They'reedging me out. They're totally edging me out. I didn't' believe it but you're right.Barney: Told you. That Lily, she's a shrewd one.Robin: Yeah, she got you a nicenew coffeemaker. How dare she!Ted: It's not just the coffeemaker.INT. APARTMENT(Lily painting, Marshall studying close by, Ted walks into living room from hisbedroom)Lily: Done. The painting's done.Marshall: That is great.Ted: Nice.Marshall: Where do you wanna hang it?Lily: I don't know. Um, over the piano?Ted:Yeah, that would be a good place for it. Too bad the swords are there. We kinda love those swords.Marshall: Well, those swords have been up there a longtime.Ted: I know, right? I'd really miss them too. So, maybe Marshall's room?Lily: OK.INT. BAR(Robin, Ted, and Barney at table)Ted: He was gonna take theswords down. Can you believe that?Robin: Ted, why don't you just talk to him? He's your best friend.(Barney makes protest sounds)Robin: One of your bestfriends. The point is, maybe it's time for some healthy communication.Barney: Healthy communication? That's the worst idea ever. Look, you held off their firstadvance. That's good. Now it's time to counter-strike.Ted: Yeah, well, what am I supposed to do?Barney: You gotta mark your territory, and I don't mean missingthe toilet. You gotta do something big.Ted: What, like buy a new sofa?Barney: Bigger.(Barney looks over and sees Katie enter bar)Barney: Katie's here. OK, realquick, last night, epiphany! I realized what the world of dating needs. Ready? A lemon law.Robin: A lemon law, like for cars.Barney: Exactly. From the momentthe date begins you have five minutes to decide whether you're going to commit to an entire evening. And if you don't, it's no hard feelings just good night,thanks for playing, see you never. Huh? Huh? The lemon law, it's gonna be a thing, possibly starting right now.(Barney walks over to booth where Katie is sittingand sits down)Barney: Hi Katie. Barney.Katie: Hi, it's good to finally meet you.(Barney looks over at Ted and looks back at Katie)Barney: Hm, yeah. Katie, youare about to be a part of history.(Barney talks to Katie and she gets up to leave)Barney (yelling to Katie as she leaves): Tell your friends. Barney (to Robin andTed at other table): It's gonna be a thing.[SCENE_BREAK]KITCHEN(Marshall making sandwich, Lily grabs some drinks from the refrigerator)Lily: Man, Ted's beenacting weird. He started labeling all his food. He even carved \"Ted\" into that block of cheese.Marshall: Yeah. Well, now it's Ed's.Lily: He's not cool with me movingin.Marshall: No, that's not it. I mean, you basically lived here all along. Ted loves you.Lily: So, what's he PMS'ing about?(Lily and Marshall take food into otherroom to eat at table)Marshall: I don't know. But when he's ready to talk to me about it he'll come and talk to me about it.Lily: Are you kidding? You guys nevertalk about anything.(knock on front door)Lily: He'll just let it fester under the surface until he does something big and passive-aggressive.Marshall: You clearlydon't know Ted.(Marshall opens front door)Delivery guy: Delivery for Ted Mosby.LIVING ROOM(Marshall sitting on couch, large red phone booth is next to couch,"}
+{"doc_id":"doc_32","qid":"","text":"EXT. HOUSE, NIGHTA fierce thunderstorm blows outside a remote manor house.INT. HOUSE, PARLOUR, NIGHTA young WOMAN enters the parlour to see an olderMAN surrounded by tables of electronic equipment.WOMAN: How are we looking?MAN: (nervously) Oh... about ready, I think.WOMAN: Any thoughts on the, er,interference?MAN: (sits) Erm, a stray FM broadcast, possibly? But I've fitted some ferrite suppressors and some RF chokes. Just in case. (stands and puts acamera around his neck) Are you sure you want to go through with this? I mean, the last time was very...WOMAN: But she's so lonely.MAN: Excellent, then.Excellent.The MAN sits down, puts on a headset and taps on a microphone before speaking into it.MAN: Caliburn House, night four, November 25th, 1974.11.04pm.He nods to the WOMAN and she takes a few steps forward to the archway at the base of the stairs. The MAN stands and holds up a parabolicmicrophone and aims it towards the arch.WOMAN: I'm talking to the spirit that inhabits this house. Are you there? Can you hear me? I'm speaking to the lost soulthat abides in this place.The microphone picks up some static and hissing sounds. The MAN looks over to one of the machines that records energy levels. Theneedles are moving over the paper.WOMAN: Come to me. Speak to me. Let me show you the way home.A high-pitched whine comes over the headphones,causing the MAN to shout out and pull them away from his ears. The machinery reacts, registering the sound. A distorted screaming can be heard, The WOMANbacks out of the dark hallway.WOMAN: Let me show you the way home!The MAN picks up the camera and begins clicking away as he faces the archway. At eachclick, a misty white figure appears, an arm stretched out towards them. It comes closer and the WOMAN gasps as the figure appears to pass through her. Shefalls against a chair and the MAN goes to her.MAN: Emma?He holds her and helps her stand. He puts his hands on her shoulders and she grips his lapels.EMMA:She's so...MAN: So what?EMMA: Dead.There is a knocking at the front door and both turn their heads. They walk slowly to the main door.INT. HOUSE, FRONTDOOR, NIGHTThe MAN pulls the door open and there's no one there. The DOCTOR sticks his head out from behind the other door.DOCTOR: Boo! Hello, I'mlooking for a ghost.MAN: And you are...?CLARA: (stands beside DOCTOR) Ghostbusters![SCENE_BREAK]Matt Smith[SCENE_BREAK]Jenna-Louise Coleman\"Hide\"By Neil CrossPRODUCER Marcus WilsonDIRECTOR Jamie Payne[SCENE_BREAK]INT. HOUSE, FRONT DOOR, NIGHTDOCTOR: (holds up psychic paper) I'm theDoctor.MAN: Doctor what?DOCTOR: If you like. And this is Clara. (walks past MAN)INT. HOUSE, PARLOUR, NIGHTThe DOCTOR walks into the parlour, excited. Heruns over to the machines. The others follow.DOCTOR: Ah, but you are very different! You are Major Alec Palmer. Member of the Baker Street Irregulars, theMinistry of Ungentlemanly Warfare. (whispers to ALEC) Specialised in espionage, sabotage and reconnaissance behind enemy lines. You're a talentedwater-colourist, professor of psychology AND... ghost hunter! (shakes ALEC'S hand) Total pleasure. Massive.EMMA: Actually, you're wrong. Professor Palmerspent most of the war as a POW.DOCTOR: Actually, that's a lie told by a very brave man involved in very secret operations. The kind of man who keeps a VictoriaCross in a box in the attic, eh? But you know that! Because you're Emma Grayling... (walks over and air-kisses both cheeks) the Professor's companion...EMMA:Assistant.DOCTOR: It's 1974 - you're the assistant and \"non-objective equipment\". (looks to CLARA who is by equipment) Meaning \"psychic\".CLARA: Gettingthat. Bless you, though.The DOCTOR walks over to the area by the equipment.ALEC: Relax, Emma. He's Military Intelligence. (to DOCTOR) So what's all this inaid of?CLARA sits on the desk.DOCTOR: Health and safety! Yeah, the Ministry got wind of what's going on down here. Sent me to check that everything's inorder.ALEC: They don't have the right.DOCTOR: Don't worry, Guv'nor, I'll be out your hair in five minutes. (looks at equipment and snaps fingers) Oh! Oh, look!Oh, lovely. (sits next to CLARA and plays with a switch) The ACR 99821. Oh, bliss, nice action on the toggle switches. You know, I do love a toggle switch.Actually, I like the word \"toggle\". Nice noun. Excellent verb. (CLARA touches a switch and the DOCTOR slaps her hand) Oi, don't mess with the settings.TheDOCTOR stands and takes the sonic screwdriver from his inside jacket pocket and scans ALEC and EMMA.ALEC: What's that?DOCTOR: Gadget. Health and safety.Classified, I'm afraid. (stops under arch) You know, while the back room boffins work out a few kinks. (turns back around and scans archway)EMMA: What's ittelling you?DOCTOR: It's telling me that you haven't been exposed to any life-threatening transmundane emanations. So... (spins around and claps his hands)where's the ghost? (walks over to them and picks up lit candelabrum) Show me the ghost.There is an eerie whooshing and the DOCTOR smiles.DOCTOR: It'sghost time.EXT. HOUSE, NIGHTOutside the storm still rages.INT. HOUSE, HALL, NIGHTThe DOCTOR walks down the dark hall, the candelabrum the only source oflight. ALEC is on his heels. EMMA and CLARA follow.ALEC: I won't have this stolen out from under me, do you understand?DOCTOR: Erm, no, not really,sorry.ALEC: I will not have my work stolen, then be fobbed off with a pat on the back and a letter from the Queen. Never again! This is my house, Doctor, and itbelongs to me.CLARA: This is actually your house?ALEC: It is.CLARA: Sorry. You went to the bank and said, \"You know that gigantic old haunted house on themoors? The one the dossers are too scared to doss in? The one the birds are too scared to fly over?\" And then you said, \"I'd like to buy it, please, with mymoney.\"ALEC: Yes, I did, actually.CLARA: That's incredibly brave.CLARA hears creaking and looks around nervously.DOCTOR: Listen, Major, we just need to knowwhat's going on here.ALEC: For the Ministry?DOCTOR: You know I can't answer that.ALEC: Very well. Follow me. (leaves)INT. HOUSE, PARLOUR, NIGHTALEC hasset up a board with pictures and notes of the history of the house and the ghost. The DOCTOR is using the camera to take pictures of himself. CLARA sits andtalks with EMMA.CLARA: So what's an empathic psychic?The DOCTOR walks between them to the small bar and starts looking at the bottles.EMMA: SometimesI... sense feelings. The way a telepath can sense thoughts. Sometimes, though. Not always.The DOCTOR takes a drink of milk right from the bottle.DOCTOR: Themost compassionate people you'll ever meet, empathics. And the loneliest. I mean, exposing themselves to all those hidden feelings - all that guilt, pain andsorrow and...CLARA sees EMMA'S discomfort and puts a hand on the DOCTOR'S arm.CLARA: Doctor?DOCTOR: Yes?CLARA: Shh.The DOCTOR looks at EMMA.ALEC is ready to show them the board.ALEC: Would you, er, care to have a look?The DOCTOR, CLARA and EMMA walk over.ALEC: Caliburn House is over 400years old but she's been here much longer... the Caliburn Ghast. She's mentioned in local Saxon poetry and Parish folk tales. The Wraith of the Lady, the Maidenin the Dark... the Witch of the Well.CLARA: Is she real? As in, actually real?ALEC: Oh, she's real. In the 17th century, a local clergyman saw her. He wrote thather presence was accompanied by a, \"dreadful knocking, as if the Devil himself demanded entry.\" During the war, American airmen stationed here left offeringsof tinned Spam. The tins were found in 1965, bricked up in the servants' pantry, along with a number of handwritten notes. Appeals to the Ghast... \"For the loveof God, stop screaming.\"CLARA: She never changes. The angle's different, the framing, but she's always in exactly the same position. Why is that?The DOCTORgets the candelabrum and holds it closer, examining the photos.ALEC: We don't know. She's an objective phenomenon. But objective recording equipment can'tdetect her...DOCTOR: Without the presence of a powerful psychic.ALEC: Absolutely. Very well done.EMMA: She knows I'm here...They turn to look atEMMA.EMMA: I can feel her... calling out to me.CLARA: What's she saying?EMMA: \"Help me.\"Behind them, a shadow passes the doorway quickly. CLARA turnsher head, sensing something, but sees nothing.DOCTOR: \"The Witch of the Well\". So where's the well?ALEC leads the DOCTOR over to a table on which restsplans of the house.ALEC: A copy of the oldest plan that we could find, there is no well on the property. None that we could find, anyway.CLARA is staring at thephotographs when the DOCTOR comes up behind her and taps her on the head. She gasps and turns on him.DOCTOR: (whispers) You coming?CLARA: (whispers)Where?DOCTOR: (whispers) To find the ghost.CLARA: (whispers) Why would I want to do that?DOCTOR: (whispers) Because you want to, come on. (starts forthe door)CLARA: (whispers) Well, I dispute that assertion.The DOCTOR stops and turns around. He sees EMMA watching them. He nods his head to get CLARA tomove.DOCTOR: (whispers) I'm giving you a face. Can you see me? Look at my face.CLARA: (whispers) Fine. (walks over) Dare me.DOCTOR: (whispers) I dareyou. No takesies-backsies.CLARA shakes her head and takes the candelabrum from the DOCTOR and heads through the door. The DOCTOR claps his hands andlaughs before following CLARA.EMMA: The Music Room is the heart of the house.INT. HOUSE, HALL, NIGHTThe DOCTOR and CLARA walk down the darkcorridors.CLARA: (whispers) Say we actually find her. What do we say?DOCTOR: (whispers) We ask how she came to be... whatever she is.CLARA: (whispers)Why?DOCTOR: (whispers) Because I don't know. And ignorance is... what's the opposite of bliss?CLARA: (whispers) Carlisle.DOCTOR: (whispers) Yes! Yes,Carlisle. Ignorance is Carlisle.As the DOCTOR and CLARA leave a particular hall, there is a snarling and scraping sound and a part of something can be seen in theshadows.INT. HOUSE, KITCHEN, NIGHTThe DOCTOR and CLARA examine the room by candlelight. The DOCTOR ducks a cobweb. He checks the teapot sitting onthe table.INT. HOUSE, PARLOUR, NIGHTEMMA stands by the fireplace. ALEC is at the desk, looking at the plans.EMMA: Is he really from the Ministry?ALEC: Er, Idon't know. He's certainly got the right demeanour. Capricious... brilliant.EMMA: (walks over) Deceitful.ALEC: Yes! Ha... he's a liar... but, you know, that's oftenthe way that it is... when someone's... seen a thing or two. Experience makes liars of us all. We lie about who we are... about what we've done...EMMA: And howwe feel?ALEC: Yes... always, always that.EMMA walks her fingers along to desk towards ALEC'S hand.ALEC: (nervously) You know, I have to... have to be gettingon with things The, erm, the equipment and so forth.EMMA: Of course.ALEC walks away.INT. HOUSE, MUSIC ROOM, NIGHTThe DOCTOR and CLARA enter theroom. A harp stands in one corner and there are music stands placed around the room. The DOCTOR scans with the sonic. CLARA stops in the centre and looksaround.DOCTOR: Ah, the Music Room. The heart of the house. Do you feel anything?CLARA: No.DOCTOR: Your pants are so on fire.CLARA walks further into the"}
+{"doc_id":"doc_33","qid":"","text":"[The Kerwin House - Ashley's Room](While getting ready for school, she's talking to her friend Terri on the phone.)Ashley: This is gonna be the best year ever!(Working on her poster for Degrassi student council president.) The first thing we need to do to, Terri, we need to get you a boyfriend. It'll happen. Trust me. Uh,Terri, I am not a shoe in (as she leaves the room, we see her poster which says \"Ashley Kerwin Your Choice For Degrassi Prez\" with her picture in the center) Wewon't even know if I'm president till the final vote is counted (closes her door.) Yeah, I just need to have a shower and get dressed. Oh, no, not again. Ter, I'vegotta go. All right, I'll see you at school. Bye (hangs up with Terri) (Knocks on the bathroom door- goes back and forth a minute between showing Toby in thebathroom and her outside the door) Toby, out.Toby: How do you know it's me? It could be your mom, could be my dad.Ashley: They have their ownbathroom.Toby: Then, go use it. I just got here.Ashley: Toby, come on, be reasonable. I have to get to school to put up my election posters.Toby: Aren't you theonly one running? (Opens the cabinet and sees Ashley's bra hanging in the shower)Ashley: Toby, remember what Dr. Fried said? \"A generous attitude makes fora generous family.\" Now, get out the bathroom, now! Toby, what will it take you to open that door?Toby: Just say \"please\".Ashley: Please.Toby: (while fixing hishair) Now say \"Toby Isaacs is the coolest kid at Degrassi. Way, way cooler than any stupid grade 8 could ever hope to be.\"Ashley: Toby, I have to getsomething?Toby: Get what? Your hairbrush? Your eyeliner? Your (opens the door with her bra on) training bra?Ashley: Mom!Theme song.[Degrassi]Toby: I mean,I hadn't even spit out my toothpaste and she wanted in.JT: Maybe you should explain to Ashley that bathroom time is private time.Toby: She'd probably go andcry to her mommy.JT: Really?Toby: She has no sense of humor and she's a neat-o-holic. Yesterday, I left my gym socks on the couch, she freaked.JT: Your gymsocks can reek something fierce.Toby: Just 'cause me and dad move in to their house, Ashley treats me like...JT: Dirt? Gum stuck on her shoe?Toby: All of theabove. So, ready for Day 1 of the rest of our junior high lives?JT: What do you think?[Inside Degrassi](Terri is helping Ashley put up her posters.)Ashley: Dr.Fried says we need to work together and become more like siblings.Terri: You fight all the time, you can't stand the sight of each other, you're already acting likesiblings.Ashley: I mean I don't mind his dad Jeff, and I'm glad my mom's happy, but Toby, he's everywhere. He's like a little mosquito that keeps buzzing in yourear.Terri: Hey, Ash, maybe when you're president, you can get him expelled.Ashley: Yeah, from my life.(A blond girl named Paige comes up to them. She'swearing a red shirt that says \"Hottie\", blue capris, and sunglasses)Paige: Hey, guys. Haven't seen you all summer. How are you doing? (As she talks, the cameramoves up from her feet to her face)Terri: Paige?Paige: New year, new look, new Paige (a guy stares at her and hits a locker.) You're putting up your campaignposters already?Ashley: The election's on Friday.Paige: Wow, you'd rather on the issues than your appearance. That's so...admirable.Paige walks away.[Anotherpart of Degrassi](Emma and Manny are coming into school.)Emma: Manny, there's nothing to be afraid of.Manny: Nothing but the grade 8's.Emma: They're onlya year older than us.Manny: Yeah, a whole year to think of ways to make us suffer.(Emma drops some papers. As she goes to pick them up, Spinner and Jimmyapproach them. Spinner steps on the papers.)Spinner: Hall pass.Emma: What?Spinner: You're not allowed on school property without a hall pass.Emma: But, wedidn't get one.Spinner: Then you'll both have to leave.Manny: But, we can't. It's the first day of school.Spinner: (To Jimmy) Grade 7's are such geeks.(Spinnerand Jimmy leave. Emma picks up her papers.)[Outside a room](Toby and JT walk up to the room that's homeroom, but the door's locked.)Toby: (To Emma andManny) Hey, guys.Emma: Hey.Manny: Hi. That's our homeroom?Emma: Cool.(The bell rings. Mr. Simpson comes to the door and un-locks it.)Mr. S: Hey, guys.Sorry I'm late. Hey, Em. Okay, here we go. (As the kids enter the room and sit down) All right, just choose your own seats for the time being. Okay, welcome toDegrassi Community School. I'm Mr. Simpson, I'm your homeroom and Media Immersion teacher. And I gotta say you guys really lucked out, I mean it. This is byfar the coolest homeroom in the entire school. First order of business: These are the code of conduct forms (passing them out to everyone), concerning thecomputers, and the internet, all right? I wanna get these out of the way before we get to know one another (takes JT's hat off his head).[Ms. Kwan's homeroom(grade 8 with Ashley, Paige, Spinner, etc)]Ms. Kwan: Some of you I know already and a few of you are new faces altogether. Welcome. Gavin ReginaldMason.Spinner: Um, I prefer Spinner.Ms. Kwan: This year will I have to give you, what was it, another 14 detentions?Spinner: Not if you don't want to.Ms. Kwan:Learning and good grades are all important here at Degrassi, but so is getting involved in the school.Paige: (raises her hand) That's why I'm starting a spiritsquad this year Ms. Kwan. We so need one.Ms. Kwan: Great, Paige. That's so industrious of you. And speaking of industrious, Ashley?Ashley: Yes?Ms. Kwan: Thefirst day of school and you already have a professional campaign under way? Excellent start.Ashley: Thank you[Hallway](Starts with a close-up of Ashley'sposter.)P.A.: Students are reminded that 3:15 today is the deadline for student council nominations.(Emma and her friends are walking.)Emma: See, Manny, thisisn't so bad, isn't it?Manny: As long as we don't run into that jerk again.(They stop in front of Ashley's poster.)Emma: Is that your step-sister?Toby: She's not mystep-sister. We just to be stuck in a forced living arrangement.Manny: Well, I think she's pretty.Toby: Ashley hates I live in her house and she hates that I go toher school. Which she's obviously never heard of democracy.Emma: What are you talking about?Toby: This election. No one's even running against her. She's ashoe-in.Emma: Why don't you run?Toby: Because it would provoke a rupture in our fragile family dynamic. It's family counseling speak for \"my dad would killme\".Manny: So? Get someone else to run.JT: Yeah, right. Who'd wanna run for student council? The whole thing's a joke.Toby: Did u say joke?JT: No way, Toby.I am not going a joke campaign.Toby: Come on, JT. It's the perfect way to stick it to Ashley.JT: But this is my first day at Degrassi.Toby: Exactly. You're in thesame boat as a large percentage of the student body. Which is why they'll love you. Come on, JT, this is your once of a lifetime opportunity.JT: For you to stick itto Ashley.Toby: No, for you to practice your stand-up material on a large perceptive audience.JT: Keep talking.Toby: You want to be famous, right? This is instantfame. Just think: assembly the whole school hanging on your every word.JT: And you'll do all the work?(Toby nods.)JT: Deal. Here we are right here. What if Iwin?Toby: Trust me. You don't stand a chance.[Hallway]Ashley: The poster's a little low on the left. Just bring it.Liberty: Ashley Kerwin. We haven't met. I'mLiberty Van Zandt and I'm running for secretary. We're gonna be a great team. Just think. I'd like to discuss a few ideas so our policies will be in sync. First, Ithink we should tackle a lack of the school newspaper.Ashley: Why don't we wait until after the election?Liberty: Great. Um, your poster's a little high on theleft.(She leaves. Jimmy comes up to Ashley and puts his arm around her (which means they're boyfriend/girlfriend))Jimmy: What was that all about?(They walkaway.)[Classroom](Toby is making copies of something- we see it says JT's name on it, which means it must be posters.)Mr. S: You do know it's 10 cents acopy?(Toby tries to make them stop.)[Hallway](Toby's putting up JT's posters.)Ashley: I'm gonna make so many changes at this school, Terri. And not justsuperficial stuff. I want the students to feel heard.(They stop when they JT's posters.)Terri: Uh, Ash....Ashley: What is that?Toby: Oh, a poster without yourpicture on it.Ashley: JT Yorke. That annoying little friend of yours?Toby: What's wrong Ashley? Afraid of a little competition?Ashley: You are so wasting your time.School president is always in 8th grade.Toby: Well, uh, this year that's going to change.(Ashley and Terri walk past Toby.)Toby: 'Bye, Ashley.[Hallway](Someonecomes to JT with a camera.)Boy: Hey, JT. Why do you wanna run for president?JT: Why do I wanna run for president? Uh, that's a good question.Toby: In oneword people: democracy. The backbone of our fine nation.JT: Hear, hear!Toby: He is, people, our great alternative. In a world dominated by cruel selfish 8thgraders, JT is our last shining hope.JT: I couldn't have said it better myself. Thank you, Degrassi.[Outside]Liberty: A grade 7 running for president? I wouldn't becaught dead voting for him. Besides, I think Ashley and I, Liberty Van Zandt, will make an excellent team.[Another part of school]JT: If elected, I, JT Yorke, willdo what a real politician would do: absolutely nothing. And, like a true politician, I will accept bribes.(Ashley and Terri are watching.)Ashley: People are actuallypaying attention to him?Terri: He's pretty funny. If you like total amateur humor. You're not actually worried are you?Ashley: No.JT: I, JT Yorke: Unknown,unremarkable...[Hallway](Someone with a camera is talking to Emma.)Emma: Personally, I think it's great. Grade 7's have just as much right to run for schoolpresident as anyone. I'm voting for JT.[Outside]Ashley: Greater representation the school boards.Terri: (passing out fliers) And up-to-date recyclingprograms.Ashley: I'll even get us a night dance. All it costs is a vote.[JT's speech to students.]JT: What about the staff washrooms? (It shows Ashley watching)I'll bet you any money that they have softer toilet paper. If you elect me, I'll those staff washrooms, our washrooms. So vote for JT. You'll do the right thing. Iknow you will. (To Toby) It's working.Toby: (sees Ashley watching) I know.JT: Vote for JT. It'll do you good. You'll love me. Nice to meetyou.[SCENE_BREAK][Kerwin House: Kitchen]Ashley: Toby Issacs, you shrimp, who are you doing this to me?Toby: I'm not doing anything. JT's running forpresident and I'm just helping him out.Ashley: JT doesn't care about the school.Toby: How do you know? Guess what: Degrassi doesn't revolve around you.Anyone can run.Ashley: The guy is an idiot! And he doesn't know anything because he just got thereAshley's mom, Kate, walks in.Kate: Ashley, What's theproblem?Ashley: Great. Take his side again. Don't even try to figure out what we're talking about. I mean, I put all my effort into this race...Toby: There was norace. Now there is.Kate: Toby, are you running against Ashley?Ashley: No, his friend, JT, is.Toby: I'm helping my best friend run his campaign. What's wrong withthat?Ashley: What's wrong is he's only doing it to bug me.Kate: Come on, Ashley, I'm sure he's not.Ashley: But Mom....Kate: Toby has every right to help run hisbest friend's campaign.[The Next Day- Kerwin Bathroom](Ashley, in curlers, knocks on the door.)Toby: Today's the big day. Written your defeat speech"}
+{"doc_id":"doc_34","qid":"","text":"MUSIC IN:EXT. HOUSE - DAYJODY: It's a great neighborhood. Very quiet, very private. It has an oversized backyard. That's a big plus. The whole house has beennewly renovated. There are upgrades all over the place. Stainless appliances, air-purification system. Total move-in condition. The furniture is rented, but if youlike it, I can have the company make you a deal.[SCENE_BREAK]INT. LIVING ROOM - DAY(DOOR OPENS)JODY: Amy, you are going to love the kitchen, but firstI'm going to show you guys the living room. It has a wall-mounted flat screen and a gas log fireplace. You won't believe how easy this is. One push of a button.Isn't that cozy?(SFX: FIRE LIGHTS)(SFX: JODY GASPS/ SCREAMS)(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS ANDOUT)[SCENE_BREAK]INT. LIVING ROOM - DAYDUCKY: Make sure you capture the back of his head, too, if you would be so kind.MCGEE: You got it.JIMMY:Sorry!MCGEE: (OVERLAP) Sorry!DUCKY: There's no rush, gentlemen. Our patient isn't going anywhere.MCGEE: Well, Ducky, the old Gibbs is back.DUCKY: Theold Gibbs?GIBBS: McGee! Over here. Hands and knees. On the floor.MCGEE: Okay. Um... you're not going to step on me, are you? Footprints! Footprints. Lookingfor footprints. It's a pretty tight weave.DUCKY: It looks like sisal. It's a naturally stiff fiber, woven from the leaf of the cactus plant. It doesn't mat, trap dust orbuild static. Makes it ideal for carpeting, but personally, I prefer a good shag. From a criminal-investigative standpoint.MCGEE: I don't see any dirtyfootprints.DUCKY: I think it's safe to assume that our friend didn't stroll in here on his own.TONY: You look happy to see me, Boss! (BEAT) Oh, it's the coffee. Ranthe military ID our local LEOs got off the body. Lance Corporal James Finn stationed at Quantico. Went UA when his unit was shipped to Iraq six monthsago.MCGEE: Looks like he's got a pretty good reason for not showing.GIBBS: Find out where he was buried.DUCKY: It won't be far, McGee. Had the trip beenlonger, some bits would have fallen off.MCGEE: Okay, I'll check the backyard.TONY: Scene's not going to sketch itself.(F/X: JIMMY BUMPS INTO TONY)(SFX:JIMMY GROANS)DUCKY: Perhaps it would be better if you fetched the gurney, Mister Palmer. I've seen all I need to see here.JIMMY: Yes, Doctor.(PASSAGE OFTIME)TONY: It's a tidy crime scene.DUCKY: Quite. It appears to be a body drop. A tertiary crime scene. Or quaternary. Or quinary. I could go on.TONY: Oh, youdid. It's an odd decorating choice. Although the corpse does give the place a certain lived-in look.DUCKY: You can see, he brushed the dirt off his face.TONY: Oh,geez!!(F/X: TONY BUMPS INTO GIBBS)TONY: Sorry.DUCKY: Hello. (CHUCKLES) Nicrophorus americanus. Also known as the carrion beetle. Come here, you littlemonkey! Ah ah! Yeah, a reminder that Shakespeare got it wrong. We are not food for worms. It's the flies and beetles that feast upon us.GIBBS: I'm moreinterested in why someone did this, Doctor.DUCKY: Well, then I'll have to research the predatory, manipulative, grandiose nature of this behavior. But my firstimpression is that we're dealing with a complete loon.TONY: That Master's in psych is starting to pay off, Ducky.(SFX: DUCKY CHUCKLES)[SCENE_BREAK]EXT.HOUSE - DAYJODY: Merciful God in Heaven! I have seen a lot of things selling real estate, but can you imagine walking in and seeing that?ZIVA: When was thelast time you were here?JODY: Yesterday morning for a showing.ZIVA: And everything was normal?JODY: There was no rotting corpse in the living room if that'swhat you mean.ZIVA: Who else had access?JODY: A couple of dozen real estate women. The keys are in a lock box on the front door.ZIVA: Who's theowner?JODY: A local contractor... and me. I buy and Bob fixes. We split the profits.ZIVA: Bob?JODY: Robert Whitehead. The contractor.ZIVA: A number where hecan be reached?JODY: Yeah.ZIVA: So who put the body here? You or Bob?JODY: Neither of us! You know, it is an empty house. If you're looking to ditch a body,that's a real plus.RICK: Jody! I came as fast as I could. Are you okay?JODY: It's my husband. I called him. (TO RICK) Just duck under the tape, Rick.ZIVA: Stop!It's a crime scene!RICK: Crime scene. Honey, you all right?ZIVA: She's fine.JODY: I am not fine. I had to cancel my one o'clock showing!MCGEE: (V.O.) I think Ifound where he was buried...[SCENE_BREAK]EXT. BACK YARD - DAYMCGEE: I checked for footprints, but it rained last night. So everything is pretty washedout.GIBBS: You got access?MCGEE: Well, there's side access at street level. Chain link fence around the yard, but anyone with gloves could have scaled it.ZIVA:Wait for me!TONY: Did the real estate agent solve the big mystery?ZIVA: No. But she owns the property with a contractor, and every real estate agent in townhad access.TONY: I think the mystery is how they expect to sell a house for six hundred grand when it only has two and a half bathrooms.MCGEE: Well, you knowwhat they say. Location, location.... location. So, judging from the marks around the edges, I'd say the digger used a garden spade. The soil is not real packed, soit would have been easy digging for a male or female.GIBBS: You see that?MCGEE: Black plastic bags.TONY: Garbage bags.GIBBS: Body bag. Get it back toAbby. Have a soil sample. I want ground-penetrating radar.MCGEE: Uh, Boss, those techs are booked weeks in advance. I'm going to tell them it's an emergency,and I will not budge until they show.GIBBS: Who's staying with McGee?ZIVA: I can, if you want Tony to check out the other real estate women.TONY: Fine withme.GIBBS: Tony! Stay with McGee.ZIVA: You shouldn't have licked your chops like a hungry wolf.MUSICAL BRIDGE TO:INT. SQUAD ROOM - DAYTONY: Muchbetter. Before I smelled like dirt and sweat. Now I smell like dirt, sweat, and sandalwood.ZIVA: Good morning! What are you doing at my desk?!TONY: I couldn'tfind my deodorant, so I used yours.ZIVA: You, you didn't.TONY: Yeah, we're partners. What's the big deal?ZIVA: A hair!TONY: Come on. You attach electrodes tomen's testicles. You're getting squeamish about a hair? I'm not going to feel bad. Those ground-radar techs didn't show 'till dawn. McGee and I watched thesunrise together. It was very \"Brokeback Mountain.\"MCGEE: He had me at \"Howdy.\"ZIVA: How romantic. I'm sorry I missed it.MCGEE: Well, I can show it to youon my new phone. It takes video. Behold the majesty of the sun.ZIVA: On a two inch screen? Are we all getting those?MCGEE: Nope. I bought it.ZIVA:Expensive?MCGEE: Not really.TONY: Ha! Yeah, really. You've been dropping a lot of cash lately, McGee. New phone, new watch, new teeth. What's up?GIBBS:Ducky matched the dental records. The body downstairs is Lance Corporal Finn. Ziva, when did you - McGee! How long does it take to put on a cleanshirt?MCGEE: Ten seconds. With buttons a little longer. (BEAT) Rhetorical question.ZIVA: Contractor's off the hook. He's been out of town for a week. Going tocheck on the real estate agents this morning.TONY: That's all you did?ZIVA: No, while you and McGee were watching the sunrise, I was pulling Lance CorporalFinn's SRB, and I have to say it was.... spotty. He was UNC on the range and failed his swim qual.GIBBS: So they made him a supply clerk.ZIVA: Right. Sixmonths ago he signed out on a three day pass before deploying to Iraq, and he never returned home.GIBBS: Get me his C.O.TONY: He's in Iraq. (BEAT) I'llcontact MTAC.MCGEE: I've put in a request for Finn's bank records, earning statements, and medical records.TONY: Night wasn't a total loss. Ground radar pickedup a shovel about ten feet from the gravesite. Already sent it to Abby.(GIBBS WALKS O.S.)MCGEE: Yep. The old Gibbs is back.[SCENE_BREAK]INT. ABBY'S LAB -DAYGIBBS: Do you see something, Abs?ABBY: Beauty. I mean it's tragic, but if you were to see this tableau in a museum, you'd swear it was a brilliantcommentary on the human condition.GIBBS: What? A corpse staring at the TV set?ABBY: It says it all.GIBBS: Well, it doesn't say who put him there, orwhy?ABBY: That's for us to find out. (GASPS) You shaved your mustache! I liked you with a little hair on your face.GIBBS: I've still got my eyebrows.ABBY: Goodpoint. I found Finn's blood, hair, and fingerprints on the plastic. So he was probably wrapped in it. But I didn't find any other prints on the plastic or theshovel.GIBBS: Any chance of grabbing the gravedigger's sweat off the handle?ABBY: After being underground, it's unlikely. Strange case, huh? I had this friendonce that used to display road kill in his living room. He got an NEA grant --GIBBS: Abby?ABBY: Next I analyzed the soil. It's compost material, rocks, and smallsticks. Nothing's over an inch long. That indicates it was processed through a screen.GIBBS: Pretty clean for dirt.ABBY: Well, it's a commercial product. But thehouse was just re-landscaped, so it's not surprising. I sent the acidity levels to Ducky. I then inventoried Finn's personal items.GIBBS: Got anything with a dateon it?ABBY: Nope, sorry. No credit card or purchase receipts. I guess he was a cash guy. I mean, if you can call a guy with thirty-one dollars and seventy-onecents a cash guy. His clothes were Dockers from Sears. No judgments. The shirts are large, the shoes are off-brand. And his underwear are boxer/briefs, like youwear, Gibbs.GIBBS: You're fishing, Abs.ABBY: So, are they regular boxers? Trunks? Bikinis? Nothing?(GIBBS WALKS O.S.)[SCENE_BREAK]INT. AUTOPSY ROOM -DAYDUCKY: Mister Palmer, have you finished the chromatographic analysis of his volatile fatty acid?JIMMY: Yes, Doctor.DUCKY: Well, let's plug the numbers intothe computer and see how long our friend has been leaking into the topsoil. Agent Gibbs will be here soon, and he will ask...(SFX: DOORS SLIDE OPEN)GIBBS:How'd the Lance Corporal die, Doctor?DUCKY: How he died may take me a while. Try when did he die?GIBBS: That's my next question.DUCKY: That I cananswer. It's a tricky calculation. One has to factor in temperature, soil acidity, and the variety and volume of insects who now call Lance Corporal Finnhome.GIBBS: Give me a round number.JIMMY: Ninety-two days with a three percent margin of error.DUCKY: It would appear you deserted before you died.(SFX:DOORS SLIDE OPEN)ZIVA: Gibbs, Lance Corporal Finn's fiancé is upstairs. She saw a report in the local news last night.GIBBS: How, Doctor?DUCKY: As soon as Iknow, you'll know.(SFX: DOORS SLIDE OPEN)ZIVA: Her name is Siri Albert. She's twenty-five.[SCENE_BREAK]INT. SQUAD ROOM - DAYZIVA: Lives in Manassasand works as a physical therapist.TONY: Finn's fiancé is here. I put her in the conference room.ZIVA: You did? I did!TONY: No, I did.ZIVA: His fiancé?TONY: Yeah,his fiancé.ZIVA: Tall. Light brown hair.TONY: Red head.(DOOR OPENS)(MUSIC UP AND OUT)MUSIC IN:INT. CONFERENCE ROOM - DAYSIRI: Someone has madea huge mistake. James isn't dead. He's been writing me letters from Iraq.ZIVA: It's a common name.SIRI: The news said he was born in Jackson, Pennsylvania.It's a small town.ZIVA: That James Finn has been dead three months.SIRI: He left for Iraq three months ago. I saw him the morning he went away, and I just gota letter from him last week. He says he misses me and he's working a lot.GIBBS: We'll need those.SIRI: Okay. But I want them back.[SCENE_BREAK]INT."}
+{"doc_id":"doc_35","qid":"","text":"Originally written by Chris Brown. Transcribed by Dan Silverstein.[Scene: Central Perk. The whole gang is there, Ross is showing pictures of his new baby boy,Ben, to the group.]ROSS: And here's little Ben nodding off...MNCA: Awww, look at Aunt Monica's little boy!PHOE: Oh, look, he's got Ross's haircut!RACH: Oh, letme see! [grabs picture] Oh, God, is he just the sweetest thing? You must just want to kiss him all over![Ross is practically drooling over Rachel at thispoint.]ROSS: [quietly] That would be nice.[Chandler, annoyed with Ross's fawning, makes a 'pfft' noise.]RACH: Pardon?CHAN: Nothing, just a little extra air inmy mouth. Pffft. Pffffffft. [walks over to where Joey is seated][Joey is looking at his check.]JOEY: Hey, Chan, can you help me out here? I promise I'll pay youback.CHAN: Oh, yeah, right, OK... inlcuding the waffles last week, you now owe me... 17 jillion dollars.JOEY: I will, really. I'll pay you back this time.CHAN:[sigh]... And where's this money coming from? [gives money to Joey]JOEY: Well... I'm helping out down at the NYU Med School with some... research.ROSS:[overhearing] What kind of research?JOEY: Oh, just, y'know.... science.ROSS: Science. Yeah, I think I've heard of that. [everyone's interest is piqued, they alllook over]JOEY: [sigh]... It's a fertility study.[Rachel laughs.]MNCA: Oh, Joey, please tell me you're only donating your time.JOEY: Alright, come on you guys, it'snot that big a deal. Really... I mean, I just go down there every other day and... make my contribution to the project. Hey, hey, but at the end of two weeks, Iget seven hundred dollars.ROSS: Hey.PHOE: Wow, ooh, you're gonna be making money hand over fist!Credits[Scene: Monica's apartment. Monica and Phoebeare preparing for a barbecue for Rachel's birthday.]MNCA: OK, we got the cole slaw, we got the buns...PHOE: We've got the ground-up flesh of formerly cutecows and turkeys, ew... [hands meat to Monica][Chandler and Joey enter with charcoal.]CHAN: [in a deep voice] Men are here.JOEY: We make fire. Cookmeat.CHAN: Then put out fire by peeing, no get invited back.MNCA/PHOE: Ewww!MNCA: Oh Joey, Melanie called, said she's gonna be late.JOEY: Oh, OK.PHOE:So how are things going with you two? Is she becoming your [provocatively] special someone?JOEY: I don't know, she's, uh.... she's pretty great.MNCA: Yeah?What does she think of your little science project?JOEY: What, you think I'm gonna tell a girl I like that I'm also seeing a cup?MNCA: Man's got a point.JOEY: Well,the tough thing is, she really wants to have s*x with me.CHAN: Crazy bitch.JOEY: Yeah, well, I still got a week left to go in the program, and according to therules, if I want to get the money I'm not allowed to conduct any... ersonal experiments, if you know what I mean.MNCA: Joey... we always know what youmean.[Time lapse. Chandler and Joey are making the fire, Monica and Phoebe are inside. Ross enters, carrying luggage.]PHOE: Hey.MNCA: Hey.ROSS: Hey.[Phoebe sees his bags]PHOE: How long did you think this barbecue was gonna last?ROSS: I'm going to China.PHOE: Jeez, you say one thing, and...MNCA: You'regoing to China?ROSS: Yeah, i-it's for the museum. Someone found a bone, we want the bone, but they don't want us to have the bone, so I'm going over there totry to persuade them to give us the bo--it's--it's a whole big bone thing. Anyway, I'm gonna be gone for like, uh... like a week, so, uh, if you wanna reach me,y-you can't. So here's my itinerary [hands a sheet of paper to Monica]. Um... here's a picture of me... [hands it to Monica]PHOE: Oh, let me see! [takes thepicture]ROSS: [to Monica]: Could you take it to Carol's every now and then, and show it to Ben, just so he doesn't forget me?MNCA: Yeah.[Phoebe puts thepicture of Ross up to her face.]PHOE: Hi, Ben. I'm your father. I am... the head. Aaaaaahhhh.... [puts picture down, sees Ross staring at her] Alright, thisbarbecue is gonna be very fun.ROSS: Hey, is Rachel here? Um, I wanted to wish her a happy birthday before I left.MNCA: Oh no, she's out having drinks withCarl.ROSS: Oh. [pause] Hey, who's Carl?MNCA: You know, that guy she met at the coffeehouse.ROSS: No.PHOE: Oh, well, see, there's this guy she met atthe--ROSS: At the coffeehouse, right.PHOE: So you do know who he is! [laughs, Ross stares at her] Sorry.ROSS: OK, I'm gonna go say goodbye to theguys.PHOE: Oh, hey, y'know what? Tell them that bone story.[Ross goes outisde on the balcony.]ROSS: Hi.JOEY: Hey!CHAN: Hey!ROSS: [sigh]....I have to go toChina.JOEY: The country?ROSS: No no, this big pile of dishes in my mom's breakfront. Do you guys know who Carl is?CHAN: Uh, let's see... Alvin... Simon...Theodore.... no.ROSS: Well, Rachel's having drinks with him tonight.JOEY: Oh no! How can she do that when she's never shown any interest in you?!?CHAN:Forget about her.JOEY: He's right, man. Please. Move on. Go to China. Eat Chinese food.CHAN: Course there, they just call it food.ROSS: Yeah... I guess. Idon't--I don't know. Alright, just... just give her this for me, OK? [gives Chandler a gift for Rachel]JOEY: Listen, buddy, we're just looking out for you.ROSS: Iknow.JOEY: We want you to be happy. And I may only have a couple beers in me, but... I love you, man. [Joey gives Ross a hug]CHAN: I'm still on my first. Ijust think you're nice.[Time lapse. Melanie (MELN), Joey's girlfriend, is there with Joey, Chandler, Monica, Phoebe, and Rachel. Ross is gone.]MELN: Anyway,that's when me and my friends started this whole fruit basket business. We call ourselves 'The Three Basketeers.'JOEY: Like the three musketeers, only withfruit.CHAN: [sarcastic] Ooooh. [looks dumbfounded at Joey's stupidity]MNCA: [gets up] OK, how does everybody like their burgers?RACH: Oh, no, no, no.Presents first. Food later. [walks into living room][Everyone follows Rachel to the living room. Monica pulls Joey aside.]MNCA: Hey, hold on there, tiger. How's itgoing? How you holding up?JOEY: Well, not so good. She definitely thinks tonight is the night we're gonna... complete the transaction, if you know whatI--[Monica rolls her eyes.]JOEY: Then you do. Heh, heh.MNCA: So, uh, have you ever thought about being there for her?JOEY: What do you mean?MNCA:Y'know, just be there for her.[Long pause... Joey looks confused.]JOEY: Not following you.MNCA: Think about it.[They both walk over to where Rachel is openingher gifts. Rachel sees her first gift is a fruit basket.]RACH: OK, I'm guessing this is from...[Melanie smiles.]RACH: Well, thank you, Melanie.CHAN: [pointing out agift] OK, this one right here is from me.RACH: [picks it up] OK... ah, it's light... [shakes it]...it rattles... it's... [opens it] Travel Scrabble! Oooohhh, thank you![she gives it back to him][Chandler looks dejected. Rachel picks up another gift.]RACH: This one's from Joey... feels like a book. Thinks it's a book... feels like abook. And...[opens it]...it's a book!PHOE: Oh, it's Dr. Seuss!JOEY: [to Rachel]: That book got me through some tough times.MELN: There is a little child insidethis man!CHAN: Yes, the doctors say if they remove it, he'll die.[Rachel picks up the next gift.]RACH: Who's this from?CHAN: Oh, that's Ross's.RACH: Oh...[opens it]... [sees it is a pin] Oh my God. He remembered.PHOE: Remembered what?RACH: It was like months ago. We were walking by this antique store, and Isaw this pin in the window, and I told him it was just like one my grandmother had when I was a little girl. Oh! I can't believe he remembered!CHAN: Well, sure,but can you play it on a plane? [pats his Travel Scrabble game]PHOE: Oh, it's so pretty. This must have cost him a fortune.MNCA: I can't believe he didthis.CHAN: Come on, Ross? Remember back in college, when he fell in love with Carol and bought her that ridiculously expensive crystal duck?[Everyone looks athim. He realizes he just spilled the beans about Ross's crush on Rachel.]RACH: What did you just say?CHAN: [panicked] ahem... um... Crystal duck.RACH: No,no, no.... the, um, the... 'love' part?CHAN: [stuttering incoherently] F-hah.... flennin....RACH: Oh.... my God.CHAN: [rubbing his temples] Oh, no no no nono....JOEY: [pats Chandler on the leg] That's good, just keep rubbing your head. That'll turn back time.[SCENE_BREAK][Scene: Same as before, a few momentslater.]RACH: I mean, this is unbelievable.PHOE: I know. This is really, really huge.CHAN: No it's not. It's small. It's tiny. It's petite. It's wee.PHOE: Nuh-uh. Idon't think any of our lives are ever gonna be the same ever again.CHAN: OK, is there a mute button on this woman?MNCA: I think this is so great! I mean, youand Ross! D-did you have any idea?RACH: No! None! I mean, my first night in the city, he mentioned something about asking me out, but nothing everhappened, so I just... [to Joey]: W-well, what else did he say? I mean, does he, like, want to go out with me?JOEY: Well, given that he's desperately in love withyou, he probably wouldn't mind getting a cup of coffee or something.RACH: Ross? All this time? Well, I've got to talk to him. [gets up to leave]CHAN: [quickly]H-He's in China!JOEY: The country.MNCA: No, no, wait. [checks Ross's itinerary] His flight doesn't leave for another forty-five more minutes.CHAN: What aboutthe time difference?MNCA: From here to the airport?CHAN: Yes! [Rachel walks towards door] You're never gonna make it!MNCA: Rachel, what're you gonna sayto him?RACH: I-I-I don't know.CHAN: Well then maybe you shouldn't go.JOEY: He's right, cause if you're just gonna, like, break his heart, that's the kind of thingthat can wait.MNCA: Yeah, but if it's good news, you should tell him now.RACH: I don't know. Maybe I'll know when I see him.PHOE: Here, look, alright, does thishelp?[Phoebe gets up, holds the picture of Ross up to her face.]RACH: Noooo... look, all I know is that I cannot wait a week until I see him. I mean, this is justtoo big. Y'know, I just, I've just gotta talk to him. I... I gotta... OK, I'll see you later. [opens door]CHAN: Rachel, I love you! Deal with me first! [sheleaves][Scene: Airport. Ross has headphones on, and is listening to a 'How To Speak Chinese' tape. Occasionally, he makes an outburst in Chinese in accordancewith the tape. He is getting on the jetway. The flight attendant (FLGT) is there.]ROSS: [something in Chinese]FLGT: Alright!ROSS: Ni-chou chi-ma! [walks ontojetway][Rachel runs into the airport, trying to catch Ross, moving people out of the way.]RACH: Ross! Excuse me, pardon me, excuse me....[Rachel gets up tothe jetway.]FLGT: Hi!RACH: Hi.FLGT: May I see your boarding pass?RACH: Oh, no, no, I don't have one. I just need to talk to my friend.FLGT: Oh, oooh. I'msorry. You are not allowed on the jetway unless you have a boarding pass.RACH: No, I know, but I--he just went on. He's right there, he's got the blue jacket on,I... can I j-just...FLGT: No no no! Federal regulations!RACH: OK, alright, OK, um... then could you please, uh... just give him a message for me? Please? This isvery important.FLGT: Alright. What's the message?RACH: Uh... I don't know.[Scene: On the jetway. The flight attendant enters, walks past Ross, and approachesan older man with his wife who is also wearing a blue jacket.]FLGT: Sir? Sir? Excuse me, sir? Uh... I have a message for you.MAN: [confused] What?FLGT: It'sfrom Rachel. She said that she loved the present, and she will see you when you get back.MAN: [to wife]: Toby... Oh, for God's sake, I don't know what she's"}
+{"doc_id":"doc_36","qid":"","text":"RED BEDROM RECORDJamie is sitting at the piano singing \"I don't want to be\" with David Degraw himself besides himDAVID : Let me take this part.(DavidDegraw sings alone)DAVID : You're a cute kid.JAMIE : Thank you.DAVID : You're welcome.OUTSIDE LUCAS' HOUSEWe see news papers throw at his door. Fewdays has passedINSIDE CLUB TRICWe see Lucas drinking in different clothes.IN THE STREETWe see water balloons throw everywhereIN THE HOSPITALDan is atReverend Carter bedsideBROOKE AND PEYTON'S HOUSEBrooke is looking at a board that says Angie has 8 more days with her. Then she goes play withherBROOKE : Hey, you. Whatcha got there? What's that?THE APARTMENTWe see Deb sneaking out of Skills' bedroomMOUTH'S OFFICEMouth's boss isdisregarding himNATHAN AND HALEY'S HOUSEHaley is waking up and finds Chester besides her instead of NathanTREE HILL GYMNathan is practicingaloneNATHAN AND HALEY'S HOUSEJamie is standing in front of the poolOUTSIDE CLOTHES OVER BROSMillicent arrives at work, avoiding water balloons, andlooks at the roof before entering the store. She seems annoyed.LUCAS' BEDROOMJamie is in front of Lucas who's still asleep, with a pillow over his headJAMIE : Ithink you drink too much.LUCAS : I think you're right.NATHAN : Damn. Think somebody got thrown through a plate-Glass window. Dude, it seriously smells likeass in here.JAMIE : And rotten cheese.LUCAS : Go away.JAMIE : Ew, and bad breath.LUCAS : I said, \"go away.\"(Lucas throws away the pillow and we find outthat he has a mohawk)JAMIE : Ho...NATHAN : Holy crap.LUCAS : What?NATHAN : Have you seen your head?LUCAS : Not lately.NATHAN : You have amohawk.LUCAS : I do?(Jamie jumps on the bed and plays with Lucas' mohawk)JAMIE : Awesome. Can I get one, daddy?NATHAN : Sure, if you want to look goofylike your uncle Lucas.JAMIE : Kind of like he has a tail... just on his head.NATHAN : Jamie, why don't you go get Luke a bottle of water, huh?JAMIE : Okay.(Jamieleaves the room)NATHAN : I thought we were gonna see you at that school-Board hearing.LUCAS : Yeah.NATHAN : They suspended you, Luke. 10 games.LUCAS: There's only 11 left.NATHAN : Not for you.(Jamie comes back with the bottle)JAMIE : Here you go!NATHAN : All right, Jamie. Let's get going.JAMIE : Okay. Bye,uncle Lucas. Cool hair.(Jamie goes outside)NATHAN (to Jamie) : Wait for me right there, okay?(Nathan closes the door)NATHAN : Look, Luke... I know fromexperience whatever answers you're looking for... You're not gonna find them like this... Trust me. I know it sucks that Lindsey's dating, And it sucks that yougrabbed that player, but don't make it worse. The darkness doesn't have any answers, Luke.BROOKE AND PEYTON'S HOUSEBrooke is in bikini, ready to go to thebeach with AngieBROOKE : Okay, you silly rabbit. We're going to the beach. Yes, we are. Just me and my funny bunny. Did you hear that? Did you hear what Icalled you? Did you hear what mama...(Brooke stops, surprised by what she's just said. Then the phone rings)BROOKE (on the phone) : Hello? Yes, this is she.But... there must be some mistake. She has eight days left... But she's recovering from surgery, so... No, I understand... Okay. Bye-Bye.(Brooke hangsup)BROOKE (to Angie) : They want you to go home today. But that can't happen.LUCAS' BEDROOMLucas is looking at his mohawk in the mirror when Haley walksinHALEY : Oh, well, well. What...what is all thisLUCAS : Not sure.HALEY : I would laugh if this whole thing wasn't such a mess.LUCAS : What whole mess?HALEY :You, your head... All of it. You and I are going for a drive. But, first, we're gonna fix the ferret above your face.LUCAS : Why?HALEY : We're taking a drivebecause I'm your best friend and you need me. And we are fixing your... Very punk-Rock haircut because I have a 5-Year-Old son who unfortunately wants tolook just like his uncle Lucas.(Lucas sits on the chair and Haley starts shaving his head)NATHAN AND HALEY'S HOUSENathan and Jamie are watching a basketballgame on TV. Jamie has a mohawk tooJAMIE : So, how's the comeback going?NATHAN : It's not a comeback.JAMIE : Quentin says it is.NATHAN : Quentin's wrong.And, by the way, nobody's sporting the faux hawk anymore, dude.JAMIE : I'm bringing it back.(Jamie makes a shoot in his small hoop with rolled-up socks)JAMIE: So, what team do you think you're gonna play for in the NBA?NATHAN : Jamie, come here... I know you're really excited about this, but... I'm probably nevergonna play in the NBA.JAMIE : Sure, you will.NATHAN : Geez, kiddo. You're playing with rolled-Up socks? What happened to your ball?JAMIE : I lost it... I got togo feed Chester(Jamie leaves)INSIDE LUCAS' CARHaley is with Lucas, who's driving.HALEY : I got to ask you something. Did you tell Peyton that you hatedher?LUCAS : Maybe. I was a little wasted.HALEY : Luke, you can be such a jackass sometimes. She is in love with you. You probably broke her heart.LUCAS : Oh,I didn't break her heart. You're being dramatic.HALEY : I'm being dramatic. Stop here.LUCAS : The light's green.HALEY : Just stop.LUCAS : All right. We're sittingat a green light. Now what?(People starts honking)HALEY : Just wait for it.LUCAS : Haley, the light's green! Wait for what?!(At this time, a red water balloonsmashed the windshield)HALEY : Kind of like Peyton's heart, don't you think? I'll be right back. You shouldn't stay here.(Haley leaves the car)LUCAS : Okay.THEROOF OF CLOTHES OVER BROSPeyton is looking at the street, Haley arrives.HALEY : Hey.PEYTON : You said it made you feel better.HALEY : It's gonna be okay.Haley is alone, taking their predictions from the wall. When she's done, Lucas arrives.HALEY : All right. All clear, you goof.LUCAS : No Peyton?HALEY : No. Youneed to apologize to her.LUCAS : Hey, remember all the water-Balloon battles we used to have up here?HALEY : Don't change the subject. Actually, now that youmention it, it was junior year, the boy-Toy auction. We had that water-Balloon fight up here, and you saw my tattoo of Nathan's jersey number for the firsttime.LUCAS : You mean your slutty little tramp stamp.HALEY : I am so barely your friend right now.LUCAS : Sorry.HALEY : The point is, I was so scared thatnight. I was falling in love for the first time, and I was so unsure. But I did it. And while it hasn't been easy, it has been everything.(After a blank)HALEY : We'renot kids anymore, Luke. You know... It really hurts me to watch what you're doing.LUCAS : Lindsey said no, Hales, I said yes.HALEY : Don't give me that, Luke.I'm being honest with you right now, and you need to be honest with yourself. What do you want? If Lindsey's the girl that you're in love with, great. If it'sPeyton, great. If it's Brooke, just please... Stop hiding your heart... I mean it.(Haley leaves him alone)MOUTH'S OFFICEMillicent comes to see MouthMILLICENT :Hi. How's your day?MOUTH : Well, I cleaned the bathroom, washed the news van, returned some shoes for the weather lady because apparently the straps cutinto her \"cankles,\" and they hired a new sports guy... Steve.MILLICENT : How about I buy you some lunch? Come on.THE HOSPITALDan arrives with flowers inReverend Carter's room, who's unconsciousDAN : Reverend Howard Carter. I did a little research. Man of faith, lived a good life. Tough run, though. Diabetes,stroke. You know, it's not exactly benevolent of you to lie there and take a heart that could be put to better use. In fact, it's really quite selfish. Don't youagree?(Dan grabs his head and makes him nod)DAN : \"Yeah, I agree. Yes, I do.\"(A nurse enters the room)NURSE : Morning.DAN : Good morning. The reverendwas looking a little uncomfortable.NURSE : Would you like to give him this pillow?DAN : Actually... I just might.NATHAN AND HALEY'S HOUSENathan is watchingby the terrace door. Deb comes home discreetly behind himNATHAN : Hey, look. It's my mom doing the walk of shame. Maybe we should hire a nanny for you.Out with a guy you met on a p0rn site.DEB : Not p0rn... Erotica.(Deb goes to her room and Nathan goes outside, where he finds Jamie's ball, inside thepool)Nathan comes to see Jamie in his room, who's with ChesterNATHAN : Hey, buddy. Thought you might want to go for a swim.JAMIE : No, thanks.NATHAN :It's been a while. I don't think I've seen you in the pool since your accident.JAMIE : It's okay. I have to feed Chester.NATHAN : Jamie, are you afraid?JAMIE : No.I just don't want to.NATHAN : Are you sure? It might be fun.JAMIE : No, thank you.(Nathan puts Jamie's ball on his bed before leaving)DR COPELAND'S OFFICEDrCopeland examines AngieCOPELAND : Well, I think I found the problem.BROOKE : You did?COPELAND : Yes. Uh, you have an incredibly cute baby here, and youdon't want to send her home.BROOKE : But are you sure she's well enough?COPELAND : Brooke, Angie's tough days are over, okay? And she was very braveabout them. It's time for you to be brave.BROOKE : But I was supposed to have eight more days with her. We were supposed to go to the beach.COPELAND :Well, that's how the program works. They take the first flight available. Anyway, look, um... When the silence sets in... And it will... Be proud of this. Okay?You've done a great thing here, Brooke. But it's time for Angie to go home... Today.BROOKE : Yeah.TREE HILL GYMNathan is practicing with Quentin. Jamie iswatchingQUENTIN : So you got something for me, man?NATHAN : Just shut up and check the ball, \"Q.\"QUENTIN : Oh... Crossover's a little rusty, son. Huh? Fakethis guy. Ha ha ha. Where that a.C.C. Game at, Nate? Hmm? First-Team all-American? NBA lottery? Huh? Ugh, up out of here, man.(Nathan tries to make a shotbut Quentin stops it)NATHAN : Damn it!QUENTIN : The fadeaway, Nate? Really? Are you serious? The fadeaway is weak, man! Weak! Come on, man. Let's goagain.NATHAN : No, man. I'm not feeling today. I'm done.QUENTIN : Hey, J. Scott... Why don't you run out in the hallway and get us some waters?JAMIE :Okay.(Jamie starts going)QUENTIN : Hey. You see any hot psycho nannies out there, You run back in here, okay?JAMIE : Not funny.(Jamie leaves)QUENTIN :What's going on, Nate?NATHAN : I'm just out of shape.QUENTIN : No, man. That ain't it. That is not it. Now, every day we do this, and every day you playsoft.NATHAN : Well, maybe that's because I can't do this anymore.QUENTIN : Really? Maybe you just scared to, right? Huh? Easier to have your dream takenaway than give it a shot and fail, right?NATHAN : I'm not scared.QUENTIN : Right? You not scared? Well, you playing scared.NATHAN : I'm not scared.QUENTIN :You playing scared!NATHAN (yelling) : I am not scared, man!(Jamie comes back and hears his father yelling. Nathan sees him)NATHAN'S CARJamie and Nathanget in the car after practice. Nathan is still angryJAMIE : I'm... I'm afraid to go in the pool, daddy.NATHAN : Yeah, but, uh... You went in the pool all the timebefore your accident, Jamie, and you loved it. You know you can still do it.JAMIE : I know. I'm just...scared.(After a blank)JAMIE : It's okay if you don't playanymore.NATHAN : Thanks, son.PEYTON'S OFFICEHaley enters the office.HALEY : I'm dying here.(Peyton doesn't answer)HALEY : You okay?PEYTON : Huh?Yeah. Uh, I-I just got a weird e-Mail from Mia saying she met this guy out on tour that said he knew Ellie. So it just caught me off guard... How come you're"}
+{"doc_id":"doc_37","qid":"","text":"-[Real World]-(Henry is in a convenience store by the comic books. He's flipping through one when a girl, who is roughly Henry's age, approaches him.)Ava:Whatcha reading?Henry: The Hulk versus Wolverine.Ava: I'm Ava. I think I've seen you around school. You're in Miss Blanchard's class, right?(Henry nods.Another boy close to their age walks up to Ava.)Nicholas: Almost ready, Ava?Ava: This is my brother, Nicholas.Nicholas: Hi. Come on - let's go.Ava: You want tocome hang out?Henry: Sure!(The three go to leave the store, but are stopped by the owner.)Mr. Clark: Where the hell do you think you're going? Open up yourbag.Henry: What?Mr. Clark: Don't think I didn't see you rob me. Open your bag.Henry: I didn't take anything.(Mr. Clark takes Henry's bag and looks through it.He pulls out a fistful of candy.)Mr. Clark: And a liar, too.Henry: That's why you were talking to me. So your brother could put that stuff in there.Mr. Clark:Henry... I'm shocked. And you two - just who do you think you are?-[Fairy Tale World]-(In the forest, a man is hacking at a tree with an axe until he manages totopple it. Gretel and Hansel appear from behind another tree.)Father: Ah! A fine specimen. The wood it provides will keep our family's hearth warm thiswinter.Gretel: Can't I have an axe?Father: Huh?Gretel: You did say you wanted me here so I could help.Father: That I did. So, here's your task - take the cart, gofill it with kindling. The drier the better.Gretel: Okay.Father: And have your brother accompany you.Gretel: Okay.(Gretel picks up the end of the cart and goes toleave.)Father: Wait!(The Father removes the compass from around his neck and places it over Gretel's head.)Father: Take this.Gretel: Your compass?Father: Soyou don't get lost. A family always needs to be able to find one another.Gretel: Yeah.Father: Okay. Go. Be safe.(Hansel and Gretel take the cart and go deeperinto the woods.)[SCENE_BREAK](Hansel and Gretel are still collecting kindling for their father. Hansel has a slingshot and is shooting rocks into the forest.)Gretel:It's getting late. We should go.(She takes his slingshot.)Hansel: Hey! Give it back. Come on, Gretel! Give it back.Gretel: No, Hansel. We need to get back toFather.Hansel: Fine.Gretel: Follow me.(Gretel leads them to the area where their father was cutting down trees. However, there is no one there.)Gretel: This iswhere we left him.Hansel: So why isn't he here?Gretel: Father!Hansel: Father!(They hear a noise in the distance and start running in that direction.)Gretel:Father! Father! Father!(They end up coming to a road that cuts through the woods. When they turn to head down it, they encounter several of the Evil Queen'sguards on horseback, as well as the Evil Queen's carriage. Two of the guards drag Hansel and Gretel to the carriage. The Evil Queen steps out.)Evil Queen: Whatare you doing in my forest?-[Real World]-(Mr. Clark, Regina, Henry, Ava and Nicholas are at the convenience store.)Mr. Clark: Well, I'm sorry, Madam Mayor, butyour son was shoplifting.Regina: Were you?(Henry shakes his head.)Mr. Clark: Look for yourself.Regina: My son doesn't eat candy. And he knows better than tosteal. It was obviously those two. We're going.(Regina and Henry head for the door. Emma walks in just before they get a chance to leave.)Emma: Henry. Whathappened?Regina: Miss Swan, must I remind you that genetics mean nothing. You're not his mother and it's all taken care of.Emma: I'm here because I'm theSheriff.Regina: Oh, that's right. Go on - do your job. Take care of those miscreants.(Regina and Henry leave the store.)Emma: Did you call their parents?Mr.Clark: Uh, the number they gave me was disconnected.Emma: Did you guys give Mr. Clark a fake number?(Ava and Nicholas shake their heads.)Emma: Thenwhy's it disconnected?Ava: Cause our parents couldn't pay the bill.Emma: And you guys are just trying to help out, huh?Ava: Please - please don't arrest us. Itwill just make things worse for our parents.-[Fairy Tale World]-(Hansel, Gretel, and the Evil Queen are still on the road in the forest.)Gretel: Please forgive us. Wedidn't mean to bother you, we just... We just lost our father.Evil Queen: Two helpless children. Lost and alone. A family torn asunder. Such a sad and movingstory. Guards - seize them!(Gretel takes out Hansel's slingshot.)Gretel: Hansel, run!(Hansel runs into the forest. Gretel flings a rock at the approaching guard,which disorientates him enough for her to get away. Gretel follows Hansel into the forest. The guard starts to chase after them, but the Evil Queen stops him.Hansel and Gretel are running up a hill, when the Evil Queen dissipates and appears in front of them.)Evil Queen: Running from me is foolish.(Hansel and Gretelattempt to get away, but the Evil Queen summons a group of vines to catch them. The vines wrap around them, leaving them immobilized on the ground.)EvilQueen: Foolish, but also brave. And that bravery may just have saved you and your family's lives.(The Evil Queen vanquishes the vines.)Gretel: You... You'reletting us go?Evil Queen: Oh, I'm doing so much more than that. I'm going to find your father.Hansel: You are?Gretel: Why?Evil Queen: Because you two aregoing to do something for me.Gretel: And then, you'll take us home?-[Real World]-(Emma pulls up to Nicholas and Ava's house.)Emma: This it?(Ava nods. Emmatakes off her seatbelt and goes to get out of the car, but Ava stops her.)Ava: Please, no. If our parents see you, they'll be so embarrassed.Emma: Did Henry tellyou about my superpower?Ava: We just met him.Emma: I have the ability to tell when anyone is lying. Tell me the truth - money problems aside, is everythingokay at home?Ava: Yeah, we're great. Can we go?Emma: Alright.(Ava and Nicholas get out of the car with a bag of stuff and go up the stairs of the house. Theystop at the front door, turn around, and wave at Emma. Emma drives off.)Ava: She's gone. We're good.(They don't go inside the house, and instead go backdown the stairs. They go around back, where they jump a fence. They end up behind an abandoned house, which they enter through the basement. Inside, Avaunpacks the things they picked up from store and Nicholas sits on the bed. Suddenly, they hear a noise coming from upstairs. When they go to investigate, theyend up finding Emma.)Emma: Why'd you guys lie to me? Where are your parents?Ava: We don't have any.[SCENE_BREAK](At Mary Margaret's apartment, Avaand Nicholas are eating at the table, while Emma and Mary Margaret talk off to the side. Emma is holding a file about the kids.)Emma: Do you know them? Dothey go to your school?MMB: I've seen them, but... I had no idea. None of us did.(Emma opens the file she's holding.)Emma: Ava and Nicholas Zimmer. They saidtheir mother was a woman named Dory Zimmer. She died a few years ago. No one seems to know her or remember her.MMB: And the father?Emma: There isn'tone. At least not one that they know.MMB: What does, uh... What does Social Services say?(Emma gives Mary Margaret a look.)MMB: You didn't reportthem.Emma: I report them, I can't help them. They go into the system.MMB: The system that's supposed to help.Emma: Yeah, the system I knew and was in forsixteen years. Do you know what happens? They get thrown into homes where they are a meal ticket - nothing more. These families get paid for these kids andas soon as they're too much work, they get tossed out and it all starts over again.MMB: But they're not all like that.Emma: All the ones I was in.MMB: What?We're just going to adopt them?Emma: I want to look for their father. They don't know him. He may not know they exist.MMB: And you think if he knows, he'llwant them?Emma: I don't know. But what I do know, is it's hard enough finding foster families to take one kid that isn't theirs, let alone two. It's their best shot,or-(Ava, who was eavesdropping, interrupts. She is in tears.)Ava: We're going to be separated?Emma: No. That's not going to happen.Ava: Please - please don'tlet it.[SCENE_BREAK](Emma enters the office of Mr. Krzyszkowski.)Emma: Excuse me. Mr...Krzyszkowski?Mr. Krzyszkowski: Yeah, it's Krzyszkowski. Everyonecalls me K.Emma: Mr. K. I am Sheriff Swan. I'm hoping to look at the birth certificates of Ava and Nicholas Zimmer.Mr. Krzyszkowski: Alright, just, uh, fill out thisform - in triplicate.(He pulls out three identical forms.)Emma: Okay.(Emma starts to fill out the forms, while Mr. Krzyszkowski looks through a filing cabinet.)Mr.Krzyszkowski: I'm so sorry. Those documents have been recently removed.Emma: By who?[SCENE_BREAK](Emma confronts Regina in Regina's office.)Regina:Don't worry, Miss Swan. You can relax. I've contacted Social Services. Turns out these kids are on their own. They need help.Emma: Which is exactly what I'mtrying to do. I'm trying to find their father.Regina: Well, he doesn't exist.(Regina hands Emma a file.)Emma: He has to.(Emma opens the file. The Father sectionof the birth certificate only has 'Unknown' written in it.)Regina: Well, of course, biologically, he exists. But there's no record of him. Which means we have nochoice - these children need a home, so they will be put into the foster system.Emma: Storybrooke has a foster system?Regina: No, but I've contacted the state.Maine's group homes, unfortunately, are filled. But they put us in touch with two homes in Boston - a boy's home and a girl's.Emma: They're separatingthem?Regina: I don't like it, either. But we've got no choice. You need to have them in Boston tonight.Emma: Me?Regina: Well, you wanted to be Sheriff. This iswhat sheriffs do. Yes, you're taking them.Emma: No. I promised them they wouldn't be separated.Regina Well then, perhaps you should stop making promisesyou can't keep. These children need a home. I'm just trying to find the best one. -[Fairy Tale World]-(The Evil Queen, Hansel, and Gretel are walking through thewoods. Gretel is fiddling with her compass.)Evil Queen: What is that?Gretel: My father's compass. He gave it to me so I could find him, but now it's broken. Whenare you going to tell us where we're going?Evil Queen: This is close enough.Gretel: Close enough to what?Evil Queen: The home of the Blind Witch.Hansel: Thatdoesn't sound good.Evil Queen: She has something of mine. And I need you to get it back.Gretel: What is it?Evil Queen: Something I need to defeat a verywicked and powerful enemy. It's kept in a black leather satchel inside her house.Gretel: Well, why don't you get it yourself? How come you need us?Evil Queen:Because the house is protected by magic. I can't enter. But, luckily, the spell doesn't work on children. You'll have to wait here until nightfall. And then, once thewitch is asleep, you can sneak in.Gretel: And if we do this, you promise you'll find our father?Evil Queen: Oh, indeed, I will. But there's one more thing - thewitch's house is...unique. And because of this, you have to take special precaution once you're inside.Gretel: Like what?Evil Queen: No matter what you do, nomatter how you're tempted - don't eat anything.(The Evil Queen pulls back a branch, revealing the Blind Witch's gingerbread house.)-[Real World]-(Emma is inher office at the station. She has a pile of files and papers on her desk, which she's sorting through. Henry, who has his book with him, enters the room.)Henry:Any luck?Emma: No.(He puts the book on the desk and flips through it.)Henry: I know who they are. They're brother and sister, lost, no parents - Hansel and"}
+{"doc_id":"doc_38","qid":"","text":"[Gilbert's house](Elena is sleeping. Jonas is in the bathroom, looking at her. She hears noise so she wakes up suddenly. She gets up and goes outside herbedroom. She looks everywhere. She hears a noise behind her so she turns herself and sees Alaric, naked. He has a bowl in his hands)Alaric: ElenaElena: I heardsomething(Jenna arrives. They're uncomfortable)Jenna: That was us. I'm sorry(Jonas is in Elena's bedroom. He takes Elena's hair from her hairbrush and some ofother stuff, including a picture of her)Alaric: Well, I'm naked so I'm gonna go(He leaves and goes in Jenna's bedroom)Jenna: I'm really really sorryElena: It'sokay, Jenna. Don't worry about itJenna: I know he's been staying over a lot. Are you sure it's okay?Elena: Seems like things are goodJenna: They are extremelygoodElena: Then I'm extremely okay with that(She goes in her bedroom and lay on her bed. Jonas is waiting in the bathroom. Once she's closed her eyes, hegoes outside the bathroom and leaves the house)[The tomb](Stefan and Damon are going under the church ruins to talk to Katherine)Damon: Let's to it(Theyopen the tomb's door)[Gilbert's house](Elena opens the door. Stefan and Damon are here)Stefan: Hey, can we talk?Elena: Why?Damon: We went to seeKatherineElena: Come on in(They enter the house)[The tomb](The door of the tomb is opened)Katherine: Please, come on in. There's many room for all ofusDamon: I rather poke my eyes outKatherine: Hmm, there are such pretty eyesStefan: We're here for the moonstoneDamon: Feel like tossing it over?Katherine:Tell you what, you get a little witch to hocus pocus me out of here and you get whatever you wantStefan: I thought you liked it in here. Nice and safe where Klauscan't get to youKatherine: I've time to reconsiderDamon: Meaning you're hungryKatherine: I'm starving, Damon and dirty but above all, I'm bored. At leastrunning from Klaus was not boring so here the deal: you get me out of here, you get the moonstone and I'll disappear from Mystic Falls forever. Let me knowwhat you decide(She shows them the moonstone and leaves)[Gilbert's house](Elena, Damon and Stefan are in the kitchen)Elena: You don't believe her, doyou?Damon: No, of course not. We just want the moonstoneStefan: According to Rose's friend Slater, there's the way to destroy the spell that Klaus wants tobreakDamon: No spell, no doppelganger sacrifice so ergo you liveElena: How do you destroy it?Stefan: By releasing it from the moonstoneElena: How do youguys even know this is gonna work?Damon: 'cause we have a crafty witch on our sideElena: You discussed with BonnieStefan: She agreed to do anything shecould to help usElena: It's Katherine who has the moonstone. She's not gonna give it to youStefan: We're gonna get it from herDamon: Well, what he means tosay is we will pray for her cold dead head if we have toStefan: Bonnie just needs to find a way to release the seal long enough for us to get in, get the moonstoneand get out in time for her to return itElena: Whoa, seems like you guys have already all planned outDamon: Yep, we're awesomeElena: Except for one thing. Idon't want you to do itStefan: What are you talking about? Elena, we don't have a choiceElena: What about Klaus?Stefan: We'll find him right after we get themoonstoneElena: Is that before or after that he kills everyone that I care about, including the two of you(She looks at Damon. He seems stunned)Stefan: Elena, ifwe can dispel the moonstone, we can save your lifeElena: I know, everybody keeps saying that(She leaves. They look at each other)[Mystic Falls' highschool](Bonnie is talking with Luka)Luka: So your grams waited you were in high school to tell you that you're a witch?Bonnie: She brought it up before but I justthought she was drunk. In my defense, she wasLuka: So then you're like newBonnie: Newish. I still have some growing painsLuka: Like?Bonnie: Physically it'sbecoming a lot harder. I have a bad reaction to it sometimesLuka: Your noise bleeds?Bonnie: Yeah and I pass out sometimesLuka: It's because you're trying todo too much on your own. You need helpBonnie: From what?Luka: From nature, the elements. Just things you could dry your power from. Do you have channelto another witch before?Bonnie: What is that?Luka: Say we put our energy together and we can double our strength. I'll show you. Let me see that bracelet(Shegives him her bracelet and he gives her his army necklace)Luka: I want you to stand very still and concentrateBonnie: I don't get itLuka: I knowBonnie: What arewe doing?Luka: We're channeling. They're personal idioms we activate as talisman. Now concentrate(She closes her eyes, reopens it and looks at him)Bonnie:What is that?(He smiles and closes his eyes. The wind is strong. The leafs fly. Everyone runs because there is a lot of wind. Bonnie and Luka are still and havetheir eyes closed. They open their eyes again. They smile)(She laughs. Jeremy arrives)Jeremy: What's with that weather, uh?Luka: It's global warming man. Idon't know. I got to go. See you later BonnieBonnie: Bye Luka(She smiles)Luka: Bye(He smiles and leaves)Jeremy: The guy is weird, uh?Bonnie: No he's not(Shestill has Luka's necklace in his hands. Her phone rings. She looks at it)Jeremy: What is it?Bonnie: It's Damon[Salvatore's house](Elena enter the house. Rose ishere. She only wears a nightgown)Rose: It's not nice to leave a girl naked so early in the morning(She sees Elena)Rose: Sorry, I thought you were...Elena: I...sorry. I...Rose: There is no one else hereElena: Actually I came to talk to youRose: Then I should probably get dressed(She smiles)(They both are in the livingroom. Rose is dressed)Rose: It's a bad ideaElena: No, it's not. From what Stefan told me your friend Slater obviously has more information about Klaus. You andDamon just gave up before you got itRose: Because somebody blew up a coffee shop with us in itElena: There's more to learn. We just have to find a way to learnitRose: Why are you coming to me with this?Elena: Because you owe me. One word from me and Damon Stefan could have killed you for kidnapping meRose: Ormaybe it's because you know that they wouldn't want you doing thisElena: We're having a disagreement, okay? They're willing to risk everyone that i love andI'm notRose: They're just trying to protect youElena: And you've proven you couldn't care less whether I'm protected or not so we're back to you taking me toSlaterRose: What exactly do you hope to achieve by this?Elena: How would you like to be able to walk during the daylight?Rose: I've been the slave to shadowsfor 500 years, what do you think?Elena: I think I know a witch who's willing to do whatever it takes to help if you're willing to make a deal[Mystic Falls' highschool](Tyler is playing basketball. Matt rejoins him)Matt: Hey man, how are you doing?Tyler: Good and you?Matt: I pissed myself for picking a fight with you andI'm feeling guilty for what happened to Sarah. I mean, I've been dodging you for days because I didn't know what to say to youTyler: Don't worryMatt: I'm reallysorry. Please know that(He leaves and meets Caroline)Caroline: MattMatt: HeyCaroline: How are you?Matt: I've been better. I got to get to classCaroline:Okay(He leaves. She rejoins Tyler)Tyler: You two still on the outs?Caroline: Looks like it. You realize there is almost a full moon?Tyler: Vampires don't haveenough problems? You want to take on mine?Caroline: Have you thought about it? The whole wolf thing? Do you know what you're gonna do?Tyler: I have aplanCaroline: Well...Tyler: Kind of privateCaroline: I headed the prom comity, not to mention I single handedly organized this town cleanup campaign and you'rereally gonna turned out my help?[Salvatore's House](Bonnie is talking with Stefan, Damon and Jeremy)Bonnie: I might be able to lower the tomb spell longenough for you to get in there and grab the moonstone from KatherineJeremy: How? It took both you and your grams last time and look what happened toherBonnie: I'm aware of what happened. I've learn a few new thingsJeremy: Bonnie...(She looks at Stefan)Bonnie: How will you get it?Stefan: She hasn't beenfeeding. She's weaker, we're not(Damon shows her a glass of blood)Bonnie: You wouldn't be underestimating her, do you?Stefan: It's a plan. Is it perfect? Whatplan is?Jeremy: Let me do it. I've got my ring, I could get in, get out and no spell necessaryDamon: Jeez thank you 16 years old child. Why didn't we think aboutthat? Why are you even here?Bonnie: Maybe I can help better the plan. Do you have anything that belongs to Katherine?(Damon looks at Stefan)[Somewhere. Anapartment](Rose knocks on the door but nobody respond)Rose: Slater? Slater, it's Rose. Open up!(She looks at Elena)Rose: He's not home, sorryElena: uh uh.We didn't come all the way out of here for nothing(Rose opens the door with her strength)Rose: Off to you(They enter)Rose: Slater?(She finds Slater'sbody)Rose: I don't think he's gonna be much help(Elena rejoins her and sees the body too. Then she looks everywhere and finds a lot of papers and computer.She looks at the papers)Elena: Looks like whoever blew up the coffee shop found him and killed him for his informationRose: Yeah, probably for helping peoplelike us. The guy was a vampire omeneck. Knowing too much information just beat him in the ass(Rose opens the curtains)Elena: What are you...?Rose: temptedglass, UV rays can't penetrate(She looks through the window)Rose: I used to just come here and watch the day(Elena is looking at a picture of Slater and agirl)Elena: I'm sorry about SlaterRose: Any luck?(Elena looks at one of the computers)Elena: its password protected, I can't get inRose: Then this is pointless,let's just go(They hear noise)Rose: Stay here(She leaves to see what the noise is. She goes in a room and finds a girl)Rose: Alice?Alice: Rose(She embracesRose. She's crying. Elena looks at them)[Salvatore's House]Stefan: This belonged to Katherine. I found it with her things after I thought she was dead but it washers(He gives Katherine's portrait to Katherine. She takes it and puts it in a bowl. She puts a few drops of water on it. It burns. She closes her eyes and cast aspell in Latin)Damon: What was this?Bonnie: I can turn the metal into ash, blew the ashes on her and it will incapacitate her for a minute or two. Long enough foryou to get the stone and get out(Her nose bleeds but nobody sees her so she cleans it)[The woods](Tyler and Caroline are walking)Tyler: Matt takes it prettyhardCaroline: I know. It's better this wayTyler: I get itCaroline: You do?Tyler: Yeah. You can't be honest with him. It's not really fair to be with someone notreally let them know who you are. I get it(He keeps walking toward the old Lockwood property)Tyler: Right over here. There's a cellar that goes to our oldpropertyCaroline: I knowTyler: You do?Caroline: I know that this is the old Lockwood propertyTyler: Watch your step(They go in the ruins)Tyler: I'm guessingthat's where Mason was headed the night he turned. It's this wayCaroline: Did Mason tell you about this place?Tyler: Mason bolted before I trigger the curse but Ifound these(He shows her nails marks on the wall)Caroline: Look oldTyler: And these bolt and chains. I need new chains but the bolt can still hold(He shows herhow resistant the bolt is)Tyler: I think that's what this place was use for. Full moons(She looks everywhere and finds something)Caroline: What's this?(She takes"}
+{"doc_id":"doc_39","qid":"","text":"[Gilbert's house](Elena and Stefan are in Elena's bed. Stefan is sleeping. Elena is looking at him)Stefan: You're staringElena: I'm gazingStefan: It's creepyElena:It's romantic(He puts a pillow on his head. Elena removes it. They kiss)Elena: Oh, this is bad of usStefan: Yes it isElena: If Katherine finds out...(He kissesher)[Katherine's bedroom](Mason and Katherine are kissing)Katherine: Shut, Miss Flowers will think I'm a floozy if I have a man in hereMason: Why are youstaying here?Katherine: Because I like this little bed and breakfast, don't you?Mason: I love it(They kiss passingly)[Gilbert's House](Elena and Stefan are stillkissing and hugging)Elena: Okay, I need be in the showerStefan: Love it, let' go!Elena: No, just me. I'm late. I'm decorating at the Lockwood charity thingStefan:What do you know! So am iElena: Do you thing that's really a good idea to be at their house today? Mason Lockwood tried to kill you[Katherine'sbedroom](Katherine and Mason are still in Katherine's bed)Katherine: Where is the moonstone?Mason: Somewhere safeKatherine: Don't you trust me?Mason: Idon't trust anyone[Gilbert's house]Stefan: I don't trust Mason. I want to be there today to keep an eye on himElena: Okay but then we can't touch or talk and nolingering staresStefan: No, none of thatElena: What do you think will happen if Katherine founds out that we are fake fighting?[Katherine's bedroom]Katherine:Scary will kill youMason: No, you won't(She kisses him on the neck and bites him)Mason: Ouch! Kat, easy!Katherine: Did I hurt you? Sorry[Gilbert's house](Elenapricks herself with a needle)Elena: OuchStefan: Did it hurt?Elena: It's okay. A little bit every day to make you stronger, right?(He drinks the blood on herfinger)[Katherine's bedroom]Mason: What happen once I give you the moonstone?Katherine: We'll live happily ever after. I promiseMason: I'll bring it tonight, Ipromise[Gilbert's house]Stefan: I promise, we're gonna get through thisElena: I love you, Stefan[Katherine's bedroom]Katherine: You know I love youMason: Ilove you too(They kiss)[Salvatore's house](Someone is knocking on the door. Damon opens it. It's Jeremy)Jeremy: I need to talk to youDamon: And why I needto talk to you?Jeremy: Tyler Lockwood has to kill someone to activate his curse. He's not a werewolf yetDamon: Whoa, fascinating. Not enoughJeremy: ButMason Lockwood is and he's looking for a moonstone, a special roc related to the werewolves legend. That's why is hereDamon: A moonstone?Jeremy: And Iknow where it isDamon: And you're bringing me this why?Jeremy: Do I need a reason? Look, I just want to help, okay?Damon: What your sister say about thislittle discovery?(Jeremy doesn't answer)Damon: Oh, you haven't told her, have you?Jeremy: Well, Elena doesn't want me getting involved in all thisDamon: Andyou're a Gilbert, you just can't help yourself. Whoa, your search for life's purpose is as obvious as it is tragicJeremy: You're gonna let me in or not?(He goes intothe house. Damon closes the door)[Lockwood Mansion](Everyone is preparing for the masquerade ball. Jenna is talking with Carol)Carol: Jenna, thanks forhelping rundle the volunteersJenna: Off course, for a good cause. Plus, I have always been a sucker for the masquerade ballCarol: So was Richard. This wasalways his favorite party of the year(Matt and Tyler are carrying a table)Carol: Boys! Be careful with that! It's from the eighteen hundreds(She rejoins them.Jenna sees Stefan and rejoins him)Jenna: Stefan, hey!Stefan: HeyJenna: I'm cooking dinner tonight. Rick will be there, you should comeStefan: You know, Elenaand I, were kind of taking a pauseJenna: Really? That's not what it sounded like this morning. Bad sleeper. You know what? I heard nothing(She smiles andleaves)(Bonnie is carrying a box. Elena is there too)Elena: You're hereBonnie: I'm here(Bonnie is looking around her)Elena: Caroline's not coming. I toldyouBonnie: Just making sureElena: You know, eventually, you're gonna have to talk to herBonnie: Could you make it a little less obvious you're on her sideElena:There are no sides, BonnieBonnie: Come on! Since Caroline became a vampire, you barely seen each other. Losing Caroline was bad enough; I didn't think I'dlose you tooElena: Come with meBonnie: Where?Elena: Not here. Some place quiet. We have to talk(She takes Bonnie's hand and they leave)[Salvatore'shouse](Liz is in her cell. Caroline arrives)Caroline: You didn't eat much. Good news: Doctor Damon said the vervein is almost out of your system. So With anyluck, you'll be freshly compelled and back in your own bed by tonight(Liz doesn't answer)Caroline: Are you really just gonna pretend like I don't exist?Liz: Yes. Soplease goCaroline: As usual, you don't care. Got it. Just like before I was a vampire. It's not like I died or anythingLiz: Are you... Are you really dead?Caroline:Yes, I am nowLiz: How is it possible?(Alaric arrive with a box)Damon: Rick!(Alaric sees Jeremy)Alaric: What are you doing here?Jeremy: Helping Damon. I'm theone who found out about the moonstoneAlaric: does Elena know you're here?Jeremy: Don't exactlyDamon: What you got?Alaric: This is Isobel research's fromDuke. Her assistant send it to meDamon: Vanessa, the hottieAlaric: Vanessa yes. Do you remember the old Aztecs curse she told us about?Damon: Son of themoon, bla bla bla blaJeremy: an Aztec curse? CoolAlaric: Yeah, supposedly vampires and werewolves used to run freely until a shaman put a curse on them,limitating their power. Since then, werewolves can only turn on a full moon and vampires are weakened by the sunDamon: Most of them anywayAlaric: Accordingto the legend, the werewolf part of the curse is sealed with a moonstoneJeremy: What do you mean sealed?Damon: It's a witch thing, whatever seals the curse isusually the key onto unsealing the curseAlaric: Maybe Mason Lockwood believes he can use the moonstone to break the curseDamon: If we start believing insome supernatural witchy mojo legend from a picture book, we're idiots. Where is the stone now?Jeremy: TylerDamon: Can you get it?Jeremy: YeahDamon: Yousee, know your life has a purposeJeremy: So you do believe it?Damon: This is the same book that says the werewolf bite kills a vampire. Ignoring it make me aneven bigger idiot. Let's go[Lockwood Mansion](Elena and Bonnie are walking on the Lockwood property)Bonnie: I can't believe thisElena: it's a lot, I know.Katherine's gonna do everything that she can to drive me and Stefan apart and Caroline just got trapped in the middleBonnie: It's not that you and Stefan arepretending to fight, is that I didn't even know you guys were fighting at allElena: I'm sorry, I don't want to keep things from you but you've made it pretty clearwhere you stand with the whole vampire thingBonnie: So that makes me the unman outElena: No, Bonnie, of course notBonnie: I know where I stand, Elena andI know where you stand but where do we stand?Elena: You're my best friend, Bonnie. I didn't mean to let this craziness with Caroline get in the way of that butshe needs you tooBonnie: not yet, I just... she's a vampire, I can't. I think we should get back(Mason is carrying a box. He sees Stefan)Mason: Hey StefanStefan:Hey Mason(Mason is chocked)Mason: I wasn't expecting you here or anywhereStefan: Yeah, I had this little accident but I'm fine knowMason: What did you do toSheriff Forbes?Stefan: she's fine too but for now on you'll have to do your own dirty workMason: Not a problem(He leaves and bumps into Bonnie. She feelssomething)Mason: Excuse me(Stefan understands that something's going on so he rejoins Bonnie)Stefan: What's the matter? Are you okay?Bonnie: When Itouched him, I saw somethingStefan: What do you mean? Like a vision?Bonnie: I saw ElenaStefan: You saw Elena?Bonnie: He was kissing herStefan: No Bonnie.Elena wouldn't kiss... you didn't see Elena, you saw Katherine(Elena sees Stefan and Bonnie talking together. Damon rejoins her)Elena: Damon. What are youdoing here?Damon: Looking for my baby bro. Speaking of... you should tell yours to stop following me aroundElena: What's going on?Damon: Ask him(Jeremyarrives)Elena: Jeremy, what is he making you do?Jeremy: He's not making me do anything, Damon and i...Elena: No way, no, no, no, no. There is no \"Damonand you\". There's Damon and whoever Damon is using, and those people, they end up dead. Whatever is going on Jeremy, I want you to stay out of itJeremy: Idon't really care what you want, Elena. It's because of you that I'm in this mess in the first place so I'm sorry, you don't really get to tell me what I'm gonnado(He leaves)(Stefan is talking with Damon)Damon: Katherine's with Mason Lockwood?Stefan: You missed it. He got in the town after she did, it makes perfectsenseDamon: I know but Mason Lockwood?! Werewolf thing aside, the guy is a surfer. She's got to be using him, it has to beStefan: Using him for what?Damon:Mason Lockwood's looking for a moonstone that allegedly can break the full moon werewolf curse. Maybe Katherine wants it as wellStefan: Why?Damon: Well...no idea. This is the beauty of Katherine; she's always up to somethingStefan: So how are we gonna find this moonstone?Damon: Jeremy is gonna get it fromTylerStefan: Why would you involve Jeremy?Damon: He's playing Indiana Jones, he involved himself(Matt and Tyler are helping decorating)Matt: She's thisamazing girl one minute and then this raging jealous freak the nextTyler: Look, you know what I think about Caroline Forbes. She's an insecure narcotic bitchylittle twigMatt: Hey!Tyler: But the girl's got heart, she means well. You just get the mean with the best sometimesMatt: Yeah. I'm gonna go get an extra. I'll beright back(He leaves. Jeremy rejoins Tyler)Jeremy: Hey manTyler: Hey!Jeremy: Hey, so I did a little research on that stone you showed meTyler: What?Why?Jeremy: I don't know. Curiosity, boredomTyler: What did it say?Jeremy: Well, it turns out that it's part of this Aztec legend but I want to make sure it's thesame kind of stone. You think I could check it out again?Tyler: No. I gave it to my uncleJeremy: Why did you do that?Tyler: Because I'm done with legends andcurses. I don't want anything to do with it, okay?Jeremy: Yeah, yeah sure. It's probably...(Stefan and Damon had listened to the entire conversation. They look ateach other)(Elena is texting Stefan. She asks him if everything's okay. Stefan receives it and tells her that he's with Damon and Bonnie and that he'll fill her later.Stefan and Damon rejoin Bonnie)Bonnie: Okay. This is as far as I goDamon: OkayBonnie: What do you want?Damon: A favorBonnie: That's not gonnahappenDamon: So predictable(He looks at Stefan)Damon: that's why I brought himStefan: I know how you feel about helping us out but since you're the one thatlinked Mason with Katherine, we finally have an opportunity to get an upper hand on both of them so just hear us outDamon: Pretty pleaseBonnie: I'mlistening(Stefan's phone is ringing. It's Elena)Stefan: I have to throw Elena in on what's going on(He looks at Damon)Stefan: Can you play nice please?(Heanswers)Stefan: Hey, what are you doing? You shouldn't be calling meElena: I know but I have no idea what's happening. Damon's got Jeremy into somethingand you've got Bonnie with you and I'm sorting stupid masquerade masks for Misses LockwoodStefan: Alright, it's okay. Hold on(He leaves. Damon is talking to"}
+{"doc_id":"doc_40","qid":"","text":"[Scene: Magic School. Library. Paige, a man, and his daughter are there.]Paige: So the wizard didn't realise the weight of the book. And after he put them on theshelves, they blew up everywhere and he had to re-conjure the entire library magically. But because he was a wizard, it only took him a couple of minutes. (Theman and the daughter giggle.) Yeah, it's a cute story. (under her breath) The first couple thousand times you tell it.Man: Excuse me?Paige: Nothing. That's prettymuch the bulk of the tour. Would you like to know anything about the facilities, students, teachers?(Suddenly, Drake comes flying out of a room and he crashesagainst a wall.)Drake: Boy. That was swinging! Hi.Paige: Hi. This is Professor Drake. This is April, one of the students who's applying.Drake: Oh, salutations. Howdo you do? Hello.Paige: Drake is our visiting lecturer on advanced magical compositions.Drake: In this case, magical musical compositions. That's the use ofmeter and tempo in spell casting and conjuring. (They hear a grunt and a loud noise coming from the room.) Oh, the troll is here. Why don't we see if he'll dancefor us. Come on. (They stand at the doorway.) Hey, you put them down! All of 'em.April: Wow, will I get to take his class?Drake: Sure, why not?Paige: Yeah,actually, Professor Drake's gonna be going on sabbatical in about a week.Drake: That's right. I forgot about that little wrinkle. But with eager minds, and thepower of magic, it's midsummer madness all the time. Now, if you'll excuse me, I gotta cut in.Opening Credits[Scene: Street. A security officer is standing in frontof an abandoned building, pointing a gun. People are panicking and trying to get away from him.]Security Officer: They'll burn! They'll burn! Don't youunderstand? They'll burn. We have to help them. (The police pull up.) I don't want to hurt anybody. We have to help them! They're burning. (The police get out ofthe car and point their guns at him.) I don't wanna hurt nobody, but I need somebody to listen. We need help. (A police officer tackles him to the ground.) Youdon't understand. You don't understand. The fire...Police Officer: Relax, pal, you're under arrest. (He handcuffs him.) Get up.Security Officer: We gotta helpMarie!Police Officer: Just calm down, buddy. Come on, everything's gonna be okay.Security Officer: No, it won't. You don't understand. The fire. You have to letme go so I can get help! They're gonna burn! They're gonna burn!(Screams are heard from a muddy hole in front of the building.)[Scene: Manor. Piper'sBedroom. Piper and Leo are there packing a suitcase. Wyatt is sitting on the bed.]Piper: Uh, rain gear for the kids?Leo: Yes.Piper: Camera and film?Leo: Ofcourse.(Piper picks up an Italian dictionary and flips through it.)Piper: Extra room for my... Pattini?Leo: (thinks) Pattini.Piper: Shoes. It's not a vacation in Italia ifyou don't have new shoes. (Leo laughs.) What's the matter?Leo: I don't know. I guess I still don't think that this is such a good idea.Piper: Why not? In HongKong, we'll buy you some suits or bootleg DVDs or something.Leo: It's not the shopping. It's this whole world vacation thing. I just think we should stay here andwait for the Elders' decision on me.Piper: Absolutely not. That's precisely why we should be going. Look, we're all together, we deserve a vacation. And we're notgonna sit around and wait for the other pattini to drop, so that's that. We're going.Leo: But what about the travel and the cost?Piper: Oh, for god sakes, Leo.We're orbing.Leo: Okay, well, what about Phoebe and Paige?Piper: What about them?Leo: Well, they made us this big send-off dinner last night.Piper: Oh,please. They ordered pizza.Leo: Right. And we're not helping with the clean up.Piper: Wow, if that's the best you got, you really do need a vacation.Leo:But...Piper: Arresto! Look, Phoebe and Paige just remade the world. I think they can handle the kitchen. Now, unless you have any more objections... (They pickup Wyatt and Chris and their bags.) Leaning Tower of Pisa, here we come.(Leo orbs them all out of the room.)[Cut to the Kitchen. Phoebe is on the phone. Paigeis at the sink cleaning the dishes.]Phoebe: I know, but Elise, why can't we just do the interview here? You know, kind of like an Ask Phoebe at home thing. Oh,yeah, the place looks great! (Paige makes a face.) Yeah, call them, I'll hold on.Paige: That sounds exciting.Phoebe: I guess.Paige: What do you mean? You haveCosmo profiling you. That'd be great at any time. Sheesh.Phoebe: I know, but I still want to make the most out of my day.Paige: Phoebe, you asked to meet mehere at... 8:22. That's not making the most of your day. That's some sort of weird OCD thing. What's going on?Phoebe: I don't know. Maybe meeting Drake andrealising what little time he has left has made me want to make the most of the time I have left? You know, time's a'wastin'.Paige: Yeah, well, at least you're notwasting all your time at Magic School.(The doorbell rings. Still on the phone, Phoebe heads for the front door.)Phoebe: (to phone) Yeah, Elise, I'm still here. Oh,they can move it, that's perfect. (Paige follows Phoebe to the front door.) Just as long as the shoot's over by 3:00, 'cause I'm speaking at City College. All right,I'll be there in like twenty-five minutes.(Phoebe hangs up.)Paige: Sheesh, woman. You're a machine.Phoebe: Every moment counts. Can you do me a favour andhelp me get this place cleaned up by 2:00? Great, thanks. (Phoebe opens the door.) Hey, Darryl, how you doing? Gotta go.(Phoebe grabs her coat.)Darryl: Hey,hold on a second. I need your help. Hi, Paige.Phoebe: I was afraid you were gonna say that.Paige: What's the matter?Darryl: I'm not sure, but I think I've beenaround you guys long enough to know when something is not right.Paige: What do you mean? Something magically wrong?Darryl: I don't know what else it canbe.Phoebe: Listen, I'm on the clock here, so you gotta speed this up a little.Darryl: Okay, look, my friend Mike, my mentor, actually. He's the one that broughtme into the force. I think that... he might be, you know, possessed, maybe. He's not crazy. I don't care what anybody says. I mean, Mike would not hurt afly.Paige: Whoa, wait. Back up to the possessed thing, please.Darryl: Well, since Mike retired, he's been working at this jewelry store as security on Market. Andlately he's been having these... episodes.Phoebe: What kind of episodes?Darryl: Well, they've been happening more and more frequently lately until yesterdaywhen he just snapped. He started waving his gun around, talking about he's gonna die in some terrible fire at Cabaret Fantome.Paige: I haven't heard of thatplace.Darryl: Look... I haven't asked you guys for help like this before.Phoebe: Okay. Well, if I move my staff meeting to 11:00 and my 1:00 to 1:30, I should beable to help you right now. So I will check the archives for the club, Paige, you go with Darryl and check out this Mike guy, and we'll meet back here at like, Idon't know, 1:10.(Phoebe leaves. Paige shrugs her shoulders.)[Scene: Bay General Hospital. A Room. Mike is strapped to a bed. He is yelling and trying to getfree.]Mike: No! I need... I need somebody to listen to me! I don't have much time. You understand? I don't have much time!(Paige and Darryl stand at thedoorway.)Darryl: You see what I mean?Paige: It doesn't seem demonic.Darryl: Not demonic? I'm telling you, he doesn't even know who I am. He acts like hedoesn't even know who he is.Mike: Help! Let me get out of here!Paige: He mostly seems afraid and panicky. All right, here goes. (They walk over to Mike.) Hi, I...I'm...Mike: Marie.Paige: No, I'm Paige. Who's Marie?Mike: My fiance. She's trapped too.Paige: Trapped where?Mike: At the club with everybody else.Paige:Cabaret Fantome?Mike: Yes! Yes, you know it? Yeah, yeah, yeah. You believe me?Darryl: Just relax, Mike.Mike: No! My name is George. I keep telling you that!We're gonna die. Don't you understand that?Darryl: If that's not possession, what is it?[Scene: Magic School. Phoebe and Paige are there. Phoebe shows Paige anold newspaper.]Phoebe: Cabaret Fantome, deadly fire. Maybe Darryl's friend isn't so crazy after all. The Count's club was the biggest, most corrupt in the city.Right until it burned down, killing everyone inside.Paige: Okay, why would the Count set the fire in the club, only to die in it himself?Phoebe: I don't know, maybehe couldn't get out fast enough?Paige: Maybe we should talk to George.Phoebe: George? Who's George?Paige: If I'm right, he's somebody who died in the fire. Ithink he's a spirit that's possessed Mike and he's crying out for help.Phoebe: Yeah, but why would he need help? The fire happened over a hundred yearsago.(Drake walks in.)Drake: Help from the pain of being a lost soul, perhaps. Paige asked me to do a little research in between classes.(He drops a book on thetable.)Phoebe: \"Possessions, Confessions, and Ghostly Obsessions: A demon's guide to everything magical.\"Drake: Yeah, I used to sell these things lair to lair.Talk about a tough item to move.(The book opens.)Phoebe: \"Lost souls are spirits of the dead, unable to move on because of spiritual confusion.\"Drake: That'swhen souls die a violent death together. The fires of Gomorrah, the Flood, Pompeii. (The book starts to shake.) I would step back. The book likes to show off alittle, don't you?(A rope flies out of the book.)Phoebe: What the hell?Drake: Don't be afraid, it's simply illustrating a point. When souls die at once, the good onescan't move on because the bad ones are holding them back. And vice versa. They're lost, they're stuck in their respective afterlives, unaware of their tragic fate.It's really sad, actually.(The book slams shut.)Phoebe: Okay, but if they're unaware, how are we supposed to help George?Drake: We can't. Unless we enter hisworld and find out which one of those bad souls is holding him back.Phoebe: Excuse me?Drake: Well, this spell would get us there, but I'm not gonna tell youwhat it is unless you take me.Phoebe: Wait, us?Drake: How many chances do we have to go to the 1890s?Paige: It's not going to the 1890s that's the problem.It's getting back from the 1890s.Drake: Don't you worry there, little lady. The spell will only keep us with the souls till the moment they become lost. In this case,it's when the fire begins.Paige: Okay, how do we free George?Drake: I don't know, we wing it.Paige: Uh, okay. I don't know. I'm gonna go check out some otherthings.(Paige walks away.)Drake: All right. You don't have to go, but you do.Phoebe: I can't. I have an interview today.Drake: Interview shminterview. How doesan interview weigh in against the fate of an innocent? And if we are to help, your premonition skills could prove essential. And it is the next logical step in ourwhirlwind romance.Phoebe: What whirlwind romance?Drake: The one we'd be having if we had time. Come on, I don't have long to live, I'm dying here. A soulneeds your help. So, what do you say?(Phoebe sighs.)[Scene: Street. Phoebe, Paige and Drake pull up outside a large abandoned building.]Paige: Are you surethis is the place?Phoebe: It says here it's where the cabaret used to be.Paige: A vacant lot after 106 years?Drake: It's probably haunted. Or better yet cursed.Cool, let's go.Paige: Is there a special reason we can't do this from home?Drake: The closer we are to where the souls were lost, the better the chances of findingthe exact one we are looking for. Excuse me. Safety first.(He gets out of his seat and climbs over to the back seat where Phoebe is. Phoebe giggles.)Phoebe:"}
+{"doc_id":"doc_41","qid":"","text":"CRU - StreetRusty : I'm telling you, Baldwin's rules for ring closure, they don't even apply. Dr. Albert's wrong.Dale : Then somebody better change Baldwin'srules between now and the final.Rusty : Dr. Albert is not infallible, Dale.Dale : If you define \"infallible\" as I do in this situation as in \"holds my future in herhands,\" then yes, she is. What you looking at? Dr. Albert? Did she hear you say she wasn't infallible? Please, Lord, grant me invisibility...Rusty : No. It's the girlfrom my American lit class. Just don't stare so much.Dale : That girl right there? I hate to say this, but I liked it better when you weren't on the prowl.Rusty :That's the Moby Dick girl.Dale : I'm not real sure I'm comfortable with that statement either.Rusty : Last week, in my American lit class, Mr. Ellman pointed to meand he's like, \"Mr. Cartwright,\" and I said, \"No, please call me Ishmael.\"Both : Emma cracked up.Dale : It's such a good story. Every time.Rusty : She got thejoke. I think she gets me. You know how rare that is?Dale : No, not really. But what I do know is that obsessing, particularly in the carnal realm, distracts themind from important matters, like solid-state chemistry.Rusty : My work in solid-state chemistry is not suffering because of Emma.Dale : Well, mine is. If you likethis girl, for heaven's sake, and mine, just ask her out.Rusty : She laughed at my joke, she didn't give me her phone number. Look how she closes her book first,and then takes her last sip of coffee. Dale ? No !Dale : She'll meet you for coffee tonight at the espresso farm, don't thank me. Let's start with exo-digs, you takefavored, I'll take unfavored. You wanna sit down or you wanna just keep standing here? Come on. ZBZ HOUSE - Living roomFrannie : What's going on?Casey :Caroline, Laurie, and Amy have been invited to Lambda Sig pink rose formal.Frannie : It's fantastic.Ashleigh : We're finally moving out of the social dog house.Under the amazing leadership of Casey Cartwright.Frannie : So when do we call the Omega Chis? To build on the momentum? The Lambda Sigs are the secondhottest house on campus. Now that they've officially taken us off Greek death row with these invitations, this is the perfect time to push for a full pardon bysetting up a mixer with the first hottest house... the Omega Chis. If you thought that was a good idea.Casey : Actually, I think it's a... terrible idea.ZBZ Girl : Butthe Omega Chis are a rightful social counterpart.Casey : Rightful social counterpart B.J.K.Ashleigh : \"Before Jen K.\"Casey : And the shunning Omega Chi gave usafter the article was published? Not to mention B.P.H.Ashleigh : Before... Paris Hilton?Casey : Before public humiliation? The back-to-school carnival. Am I theonly one who remembers the kissing booth debacle? The way the Omega Chis publicly humiliated us? Why should we reward them for treating us like that? No,ladies. ZBZs will find their way to the top on their own merits. And in the meantime... We can celebrate, and strengthen from within. How about a game night?We can order pizza, bake cookies...Frannie : Great, that sounds great. It sounds great. Credits CRU - Dale & Rusty's roomRusty : 7:00, 8:00.? 7:00 sounds great.No. That's fine. Yeah, all right. I'll see you then. All right, bye. She wants to bring her roommate along on our date.Dale : That can't be a good sign.Rusty : If shedidn't want to be alone with me, why didn't she just break the date?Dale : Pity can be a pretty powerful emotion. Or... She likes you so much already, she wantsto show you off.Rusty : All right, maybe I should bring somebody to... To keep her roommate busy. So I can have a little one-on-one time with Emma.Dale :That's à good idea. Maybe get one of your frat bros to go along.Rusty : No, I don't wanna have to explain how this whole stupid date thing happened to any of theguys at the fraternity. Especially if it's go up in flames. How about you go with me? You're the one who got me into this.Dale : Rusty, I know you haven't beenable to see me in action. You know, pure girls being somewhat in short supply here at CRU. I'm known in certain circles as quite the ladies' man. I wouldn't wannashow you out there.Rusty : What circles are those?Dale : Purity pledge circles. I was voted \"most likely to have the opportunity to become impure, but have thesupreme self-control not to\" three years running in high school. I just don't want to risk our friendship over some girl.Rusty : I'm willing to take the risk.Dale : Allright, then. If that's the way you want it, roomie. But be forewarned. I have no control over this charisma. ZBZ HOUSE - HallwayRebecca : That sounds terrible.Poor thing! So I'll call you later. That was Cappie. He's sick.Casey : Yeah, I'm suddenly feeling a little nauseous myself.Rebecca : Not having a boyfriend isnothing to get yourself upset about. You don't need a man to have a fulfilling life. You could be the next mother Teresa or Rosie O'Donnell. Caroline and Mandyhave already left for the movies yet?Casey : Wait, you're not going to see Cappie?Rebecca : He's sick.Casey : Really? OK. I saw Mandy...Rebecca : What?Casey :It's just... When Cappie and I were together, I always took care of him when he was sick. But... He's probably not even thinking about that right now. Maybe youcan just send him a nice warm e-card. I'm sure it'd mean a lot to him. CRU - GardenAshleigh : Okay, I'm here. So what's with all the secrecy?Frannie : Weneeded to talk somewhere away from the house. I'm worried about Casey.Ashleigh : Frannie, I know you've supposedly gone through this whole personalityoverhaul thing, but I'm kind of weirded out when you start talking about your concern for Casey.Frannie : This is not about me. Didn't you notice how everyonewas looking at her when she nixed mixing with the Omega Chis? And I know you heard someone call her \"Lizzi.\"Ashleigh : So? Casey, Lizzi. It's an understandablemistake.Frannie : Casey is seriously being blinded to what's good for the house and herself by this Evan-shaped mental block. Which I know I helped to put there.That's why I'm doing everything I can to get everyone back to their rightful places.Ashleigh : If you feel so strongly about this, why don't you talk to Casey aboutit?Frannie : Because she might be kind of weirded out. Don't let her blow this opportunity, Ash. ZBZ HOUSE - Ashleigh & Casey's roomCasey : Not wanting tohave a mixer with the Omega Chis couldn't possibly have anything to do with my feelings for Evan. I don't have feelings for Evan. It doesn't matter to me if he'sarrogant, or rude, or dismissive... I don't even notice.Ashleigh : Yeah, I can see that. Did you know that Amanda gets PE credits for massaging the varsity boysduring swim meets? We should just go...Casey : The Omega Chis publicly humiliated the ZBZs at the back-to-school carnival. Right?Ashleigh : From where I wasstanding, Case, it looked more like... Evan humiliated you. But I could be so wrong.Casey : No, Ash. You're right. It was about Evan and me. But he is an OmegaChi and I am a ZBZ.Ashleigh : Yes, you are. And you're the best president ever.Casey : And there are 50 other girls in this sorority, who didn't get dissed and whowant to resume relations with the Omega Chis.Ashleigh : 50 hot, desirable Omega Chis, including Calvin, who might be waiting for an opportunity to disagree withEvan Chambers.Casey : That part would be gratifying.Ashleigh : I'm social chair. I can extend the invitation.Casey : Thanks Ash, but this isn't just about theparty. It's about normalizing relations. I need to do it. I can do it.Ashleigh : Wanna go fondle some swimmers first?Casey : You are such a good friend. CRU -CaféEmma : So how did you meet?Rusty : Did you guys meet here? You can go first.Emma : No, you first.Dale : Luck of the draw. Housing office saw fit to put ustwo brainiacs on the engineering dorm.Rusty : Dale, we don't need...Dale : Honors floor. I got a 2210 on my sats. Rusty here got about the same.Tina : I got2250.Dale : 780 in math. Tina 790.Rusty : Dale's very proud of his accomplishments.Emma : It's okay. Tina's not easily intimidated.Rusty : I see that.Emma : Sohow are you liking american lit?Rusty : Honestly, I am finding Moby Dick a little long and kinda stiff. I can't believe I just said that.Emma : I say things I don'tmean to say all the time. Why do you think I don't talk in class?Rusty : Well, I just figured you were so far ahead of the discussion, you were just waiting for therest of the class to catch up.Emma : I wish. Mostly I'm just trying to stay awake. Which I guess brings us back to Moby Dick being...Rusty : A little long andstiff.Tina : Is that what I think it is?Rusty : What, what is?Dale : His pledge pin? Or his scarlet letter, if you will? He's in a frat.Rusty : We prefer \"fraternity.\" I'mpledging Kappa Tau Gamma.Tina : The Greek system should be banned from college campuses.Dale : You got a 2250 on your sats, and you're down on theGreeks?Emma : Well, the Greeks aren't so bad.Tina : Emma, they're this totally ritualistic, secretive society.Rusty : I think you may be taking it a little bit tooseriously.Tina : You don't think it's serious when an organization takes monies from general students services fees, but doesn't allow all students to participate inits activities?Rusty : Well, the same could be said for most clubs on campus and sports teams.Emma : I could use some more coffee.Rusty : I can get that foryou.Dale : You know, I've started an organization you may be interested in, U-Sag.Tina : U- sag? What does that stand for?Dale : University students againstGreeks. CRU - StreetRusty : That was a complete disaster.Dale : Are you kidding? That was great. That Tina's a real spitfire.Rusty : Dale, this was supposed to bemy date with the new girl, and it turned into the Greek inquisition. They didn't even want us to walk them back to their dorms.Emma : Hey Rusty !Dale : If Tinawants to call me, tell her it's okay. I'm serious.Emma : I just wanted to apologize for abandoning you tonight. I'm not much good with confrontation.Rusty : Yourroommate likes it enough for both of you.Emma : I know. I probably shouldn't have brought her. I didn't really know you, and anyway, I'm really sorry. See youin class?Rusty : Maybe we can try it again? Just you and me? Friday night?Emma : Sure. Why not?Dale : Did you tell her to call me? OMEGA CHI HOUSE -HallwayEvan : Casey ?Casey : Hey!Evan : Hey!Casey : I was looking for Dino.Evan : Dino?Casey : The Omega Chi president?Evan : Yeah, I know. I know who heis. He's not here right now. What did you want to talk to him about?Casey : Just some Greek business. If that's okay with you.Evan : Why wouldn't it be with me?Just that the OCs and the ZBZs aren't exactly doing business anymore. But if you want me to tell Dino you stopped by, I'll tell him.Casey : You know what? Nevermind. I don't have to talk to him after all. KT HOUSE - Cappie's roomRebecca : Cap ?Cappie : That's my girl ?Rebecca : Hey ? Thought maybe you could use amassage or maybe a sponge... I thought you had a cold.Cappie : I do. I also have pink eye.Rebecca : Bummer. Well, there's some tea. I've gotta go.Cappie :Wait. What's under the white coat, doc?Rebecca : It's... nothing that should be seen through... Crust.Cappie : Is it really that bad? Okay, hold on. Here we go.Better?Rebecca : A little. What?Cappie : I didn't think that you'd come.Rebecca : Why not? Casey took care of you when you were sick, right?Cappie : Well, yeah,but, I mean, you're not... Tea! What is this, Earl Grey?Rebecca : It's chamomile. Is there anything else I can do for you?Cappie : I don't wanna impose. Let's see."}
+{"doc_id":"doc_42","qid":"","text":"[Salvatore's House](Elena is lying in the cell and starting to desiccate. Damon and Stefan are upstairs)Damon: That's the calmest desiccating vampire I've everseen. I remember when you starved me down there for 3 days. I would've wept at your feet for an orange peelStefan: Look, she's not gonna beg for blood.Begging means desperation. Emotion. She's still in no-humanity zoneDamon: How hungry does she have to be before we can torture some feelings back intoher?Stefan: A lot hungrier than she is now, apparentlyDamon: So, what are we supposed to do in the meantime?(Katherine enters)Katherine: Maybe I canprovide a little excitementStefan: KatherineKatherine: The one and only. Sort of. So, when's the welcome home party?Damon: Wow. Look who went and gotbold. Last time I checked, Klaus was plotting your eternal demiseKatherine: Well, it doesn't matter anymore, because Klaus is goneStefan: Wait. What do youmean he's gone?Katherine: Let's just say that werewolf girl Hayley turned out to be just the thing we needed to get Klaus out of our lives for good[NewOrleans](Haley is at a bar. She looks at the bartender)Bartender: Third time in here this weekHaley: I'm obsessed with The Gumbo, Jane-AnneJane-Anne: Theold ladies in the ninth ward say my sister Sophie bleeds a piece of her soul into every dishHaley: I asked around the quarter about my familyJane-Anne:And?Haley: Nothing. Zero. Can't find a single person who remembers themJane-Anne: Because, Hayley, people like you were run out of here years agoHaley:What do you mean, people like me?Jane-Anne: In the Bayou, they call the werewolves Roux-Ga-Roux. You head out there; you'll find what you're looking for. Becareful. It's the last place you'd ever want to go(Jane-Anne and Sophie are in a cemetery)Sophie: Don't do it. Please. What if I'm wrong about her?Jane-Anne:That's the beauty of you. You're never wrong. She's the only way we're gonna get to KlausSophie: Can we get someone else to do the spell?Jane-Anne: Who?Half the witches don't believe you. The other half are too scaredSophie: Because they know we're gonna get caught, Jane-AnneJane-Anne: We don't have anyother option. Now go. You know what you need to do(Haley arrives at the bayou and has a problem with her car)Haley: What the... uhh! Are you kidding me?(Shegets out of the car and takes her phone)Haley: Hey, I'm looking for a tow service(A tour guide is leading a bunch of tourists)Tour Guide: Welcome to the darkside of New Orleans, a supernatural playground where the living are easily lost and the dead stick around and play(Klaus smiles)Mystic Falls[Rebekah'sHouse]Rebekah: New Orleans? What the hell is Klaus doing there?Elijah: Evidently, there are witches conspiring against him. So, knowing our brother, this was amission to silence and slaughterRebekah: Well, the French quarter witches are not a lot to be trifled with. You don't suppose they've found a way to kill him onceand for all, do you?Elijah: Rebekah, in the name of our family, you might try to dial down your gleeRebekah: What family? We are 3 distrustful acquaintances whohappen to share a bloodline. I for one hope they've found a way to make that traitorous b*st*rd rot[New Orleans](Klaus sees a woman and goes to her)Klaus:Good afternoon. Time for one more?Woman: I have nothing to say to youKlaus: Oh, now, that's not very amiable, is it? You don't even know meWoman: I knowwhat you are. Half-vampire, half-beast. You're the hybridKlaus: I'm the original hybrid, actually, but that's a long story for another timeMystic Falls[Rebekah'sHouse]Rebekah: Where are you going?Elijah: To find out who's making a move against our brother, and then... I'll either stop them, or I'll help them. Dependingon my mood(He leaves)[New Orleans]Klaus: I'm looking for someone. A witch. Perhaps you might be able to help me find her. Jane-Anne DeverauxWoman:Sorry. I don't knowKlaus: Well, now, that's a fib, isn't it? Now, you see... I know that you're a true witch amongst this sea of poseurs. So, enough with thefabrications. I've quite a temperWoman: Witches don't talk Outta School in the quarter. The vampire won't allow it. Those are the rules. I don't break Marcel'srulesKlaus: Marcel's rules? Where do you suppose I might find Marcel?(Marcel is singing in a bar. When he stops, he goes to the bar and sees Klaus)Marcel:KlausKlaus: MarcelMarcel: Must be 100 years since that nasty business with your papaKlaus: Has it been that long?Marcel: Way I recall it, he ran you out of town.Left a trail of dead vampires in his wakeKlaus: And yet how fortunate you managed to survive. My father, I'm afraid, I recently incinerated to dustMarcel: Well, ifI'd known you were coming back in town, if I had a heads-up...Klaus: What, Marcel? What would you have done?Marcel: I'd have thrown you a damn parade.Niklaus Mikaelson. My mentor, my savior, my sire. Let's get you a drink. It is good to see youKlaus: It's good to be home. Although please tell me the currentstate of bourbon street is not your doingMarcel: Ha ha ha ha! Something's gotta draw in the out-of-towners; otherwise, we'd all go hungryKlaus: I see yourfriends are daywalkersMarcel: Yeah, yeah, I shared the secret of your daylight ring with a few buddies. Just the inner circle, though. The familyKlaus: Tell me.How did you find a witch willing to make daylight rings?Marcel: I got the witches here wrapped around my fingerKlaus: Is that so? I'm looking for a witch by thename of Jane-Anne Deveraux. Has some business with meMarcel: Looking for Jane-Anne? Then you probably ought to come with me. Ha ha! Showtime!(Marceland Klaus are outside. A crowd gathers)Marcel: How's the family?Klaus: Those who live hate me more than everMarcel: Forget them. If your blood relations letyou down, you make your own, huh? You taught me that. And what's mine is yours, as always. Even my nightwalkers, the riff-raffKlaus: They're hardly subtle,are they?Marcel: It's the quarter. Ain't no such thing as subtle, baby(Marcel's mignons bring Jane-Anne)Marcel: Jane-Anne Deveraux. Give it up for Jane-Anne.Come on. Jane-Anne Deveraux, you have been accused of the practice of witchcraft beyond the bounds of the rules set forth and enforced by me. How do youplead? Oh. Was that convincing? I studied law back in the fifties. It's all I know. Seriously, J, tick tock. You know the drill. How do you plead?Jane-Anne: I didn'tdo anythingMarcel: That's a lie. You know it, I know it, and you hate that I know it. It drives you witches crazy that I'm aware of your every move. That you can'tdo magic in this town without getting caught. So, why don't we just cut to the chase, huh? You tell me what magic you're brewing. Tell me. I'll grant you leniency.Hey, I am, after all, a merciful manJane-Anne: Rot in hell, monsterMarcel: I'll tell you what. I'll give you one more chance. Or not(He kills her. Klaus rejoinshim)Klaus: What was that?Marcel: Hey. Come walk with me. Witches aren't allowed to do magic here. She broke the rulesKlaus: I told you I wanted to talk toherMarcel: Hey, I'm sorry. I got caught up in the show. Those witches, they think that they still have power in this town. I have to show them that they don't. Inever waste an opportunity for a show of force. Another lesson that I learned from you. And besides, anything that you could've gotten out of her, I can find outfor you, and I will. I promiseKlaus: Well, whatever it was, doesn't matter anymore, does it?Marcel: Good. Then let's eat, because all that spilled blood makes mehungry(He leaves. Klaus talks to one of Marcel's minions)Klaus: Hey. Thierry, isn't it? Any more Deveraux witches where she came from?(Sophie is cooking. Sheturns herself. Klaus is here)Sophie: You're KlausKlaus: I am. And you're upset. Sophie, isn't it? I assume this is because of what I just witnessed with your sisteron the corner of Royal and St. AnnSophie: Did you enjoy the show?Klaus: It was a little melodramatic for my tastes. What did your sister want with me? Why didMarcel kill her?Sophie: I see you brought friendsKlaus: They're not with meSophie: They're with Marcel. That's all that matters. I know you built this town, butthis is his town now. He killed my sister because she broke the rules. So, I talk to you in front of them, I'm next(He rejoins the 2 men at the bar)Klaus: Are youtwo gentlemen following me?Man: Marcel said we're your guidesKlaus: Oh, he did, did he? Well, then, let me be exceedingly clear about something. If either ofyou following me again, you'll do so without the benefit of a spine(The waitress rejoins them)Camille: Sorry for the wait. If you're here for the gumbo, I'm aboutto break your heart. We just ran outKlaus: Your oldest scotch for my two friends here, love. Marcel wants to know what I'm up to, he can ask me himself(Sophieis outside, alone. She hears a door close and the men who were inside are here)Sophie: The doors work, you knowMan: You doing magic?Sophie: I'm praying tomy dead sister. Go ahead. Pay your respectsMan:. Don't make this a thing, Sophie. The hybrid was looking for Jane-Anne. Marcel wants to know whySophie: Oh,that sounds like witch business. I'd say ask her yourself, but I guess you can't seeing as how Marcel killed her(They're about to kill her but Elijah intervenes andkills them)Elijah: I'm Elijah. You've heard of me?Sophie: YesElijah: So, why don't you tell me what business your family has with my brother?(Klaus arrives at aparty, looking for Marcel. He catches one of his men)Klaus: Where's Marcel?Man: Who the hell's asking?Klaus: I assume you're jokingMan: I only answer toMarcelKlaus: Well, then, in that case, perhaps you'll answer to this. You're aware the bite of a werewolf can kill a vampire? Well, as you can see, I'mhalf-werewolf, so I'm gonna ask you one more time! Where is Marcel?(Marcel arrives)Marcel: H-hey. I'm right here. I'm right here. Easy, now. Diego's justlooking out for me. Nobody harms myguys. Those are the rulesKlaus: I don't care about your rules, Marcel. I don't need chaperones. Why are you having mefollowed?Marcel: Come here. I get it, huh? Show of force. You made your point. Let it go, friend. For meKlaus: Fine. Why don't you show me what you've donewith the place while you explain exactly what it is you've been up to in my town?Marcel: Follow me(Marcel and Klaus are on a balcony)Marcel: Look at thatskyline. That there, that's progress. More hotels, more tourists, more fresh blood. And the humans? I taught them to look the other wayKlaus: And what of thewitches? In my time, they were a force to be reckoned with, and now they live in fear. How do you know when they're using magic?Marcel: Maybe I got a secretweapon, an ace up my sleeve, something that gives me complete control over all the magic in this townKlaus: Hmm. Is that a fact?Marcel: Might be. Or maybeI'm just bluffing(He eats something)Klaus: You take vervain?Marcel: 'Burns like a bitch. But I figure I should limit the number of things I'm vulnerable to. Don't bemad about that chaperone thing. I told my guys to look out for you, that's all. That's what we do here... Look out for each other(They see Camille walkingalone)Marcel: Mmmmm. New bloodKlaus: The bartender, walking alone at night. She's either brave or dumbMarcel: Let's see. Brave, I let her live, Let's see.Brave, I let her live, dumb, she's dessert(He jumps above the balcony and lands behind Camille)Marcel: You know, it's not safe here aloneCamille: You know, I"}
+{"doc_id":"doc_43","qid":"","text":"Ted from 2030: Kids, when your best friend loses someone...Marshall: My dad's dead? Ted from 2030:...you drop everything and rush to his side only to findyourself standing there with no idea what to do or say.At Marvin's funeralTed: This is the toughest time in Marshall's life and I feel absolutely useless. What canwe do to help?Lily: Don't look at me. This morning Marshall said, \"I have to pee.\" And I, \"Don't worry, baby, I'll do it for you.\" Halfway through the pee, I'm, like,\"This doesn't even make sense!\"Robin: Well, uh, I've been to a couple funerals, so I know my role: I'm Vice Girl. Whatever Marshall needs to get through thisday, I got it right here.Ted: Cigarettes, alcohol... Are these firecrackers? My God, Robin, you somehow crammed Tijuana into a purse.Robin, hushing: Be cool,nerds!Lily: Marshall's mom hasn't eaten, slept or sat down since we got here. Wait! That can be my role! I'll take care of Judy!Robin: Yeah, but doesn't Marshall'smom hate you--the fact that you two aren't very close?Ted, whispering: Sweet save.Lily: Okay, yes, Judy and I aren't besties, but today, whatever she needs,I'm there. I'm on Judy duty.Ted: \"Judy duty.\"Barney: She said \"doody.\"Robin: Really, guys? At a funeral?Ted: Uh, okay, while not all of us possess your loftysense of decorum, Drug-DealerFrom-An-'80s-After-School-Special, we have to laugh today. It's healthy.Barney: Wait a minute! Today, we are gonna makeMarshall laugh.Robin: How?Barney: Ted, what's the one thing that always cracks him up?Ted: Internet footage of a guy getting hit in the nuts.Barney: Internetfootage of a guy getting hit in the nuts, exactly! So we are gonna get our bro a four-star nad rattler. You search knees, feet, banisters, fire hydrants and divingboards, and I'll cover bats, rackets, hockey sticks, golf clubs and riding crops.Ted: What about animals?Barney: Uh... Claws, paws, talons, hooves, beaks andclenched monkey fists. We can do this!Marshall: Hey, guys, sorry, uh... I left my charger back in New York, so my phone's out of juice. Does anyonehave...?Robin: Outlet or USB?Marshall: Uh, outlet. Thank you. Oh...Lily: Wow, you really do have everything in there, don't you?Ted: You're like Mary Poppins, ifher magic purse was also filled with drugs.Robin: \"If\"? Ted, the kids in that movie jumped into a painting and spent 15 minutes chasing a cartoon fox. \"Spoonfulof sugar...\"? Grow up.Reverend: I'm so sorry for your loss, Judy.Judy: Thank you, Reverend.Reverend: Unfortunately, I can't. My daughter in Chicago just wentinto labor. But I'm leaving you in the capable hands of my second-in-command: my son.Marshall: Your son?Reverend: Oh, you remember Trey. I'll go grabhim.Marshall: Guys... Trey Platt terrorized me growing up. He was, he was the toughest bully in school.Trey: 'Sup Marshall.Marshall: Hello, Trey. Long time.Mm-hmm. I was not aware that you had become a reverend.Trey: Yeah, well, your lunch money finally ran out. Kidding!Barney: Marshall Eriksen, you could use alaugh.Ted: Yeah! This video is entitled, \"Little League Coach Gets Hit in the Nuts by a Foul Ball and Then Vomits in a Garbage Can.\" I don't wanna give anythingaway. Let's just watch.(bat connects with ball, man groans, vomits)Barney & Ted: Oh!Barney: See? 'Cause, 'cause he got hit...Ted:...right in the nuts,Barney &Ted: The fat kid just runs away.Marshall: Trey Platt. I can't believe my father's funeral service is being led by Trey \"The Noogie Machine\" Platt.Ted: That guy gaveyou noogies? What, did he carry a stepladder?Marshall: He made me carry it.Trey: So, my dad has these questions he asks to help create a theme for the service,or whatever. Question one: \"What were your last words with the deceased?\" Lame. Question two:Judy: Wait... My last words with Marvin were lovely. I've beenthinking about them a lot.Marshall's brother #1: Me, too. We went for a hike in the snow and had this amazing talk.Marshall's brother #2: My last day with Pop,he taught my son how to skate.Trey: Well, this is clearly yielding nothing. Thanks, Dad. Guess I'll have to fill the time with some jokes... again.Judy: \"Last words\"seems like a good theme. Marshall, do you remember the last thing your father said to you?[FLASHBACK]Judy: Bye, sweetie.Marshall: Bye, Mom.Marvin: Son,there's something I want to say before I leave.Marshall: Yeah, Dad?Marvin: Could I snag that extra pork chop for the flight?Marshall: I was gonna make asandwich with that, Dad. Dad, don't they have food on the plane?Marvin: Yeah, but plane food is ass.[END OF FLASHBACK]Marshall: \"Plane food is ass.\" Thoseare the last words my father will ever say to me. Right after I denied the man a pork chop. Oh, God. Wait! I'm wrong! I'm wrong! That wasn't it! They couldn'tfind a cab so my dad called up from the street.[FLASHBACK]Marvin: Marshall! Looks like rain out here! I couldn't find an umbrella in your closet! You know whoprobably has an umbrella?Marshall: And then, well, see, my dad grew up in a small town, in another generation, so sometimes - totally well-meaningly - he'd saystuff like...Marvin: The Koreans across the hall! Hey, the Koreans are a trustworthy and generous people!Marshall: Dad...Marvin: I betcha one of the Koreans hasan umbrella! Heck, they're Koreans![END OF FLASHACK]Marshall: My dad's last words to me were a string of odd racial stereotypes.Robin: All that stuff wasreally nice!Lily: Yeah! It's positive racism!Marshall: This is worse than the pork chop.Barney: This next clip is entitled, \"Guy Playing Bagpipes Gets Hit in the Nutsby Low-Flying Seagull\"Ted: Let's see what happens.Barney: Here he comes... Oh! Oh! 'Cause he gets hit right in the nuts.Ted: And then the fat kid loses his swimtrunks.Barney: Fall off. Shorts just fall right off.Marshall: No, wait-- I'm wrong. That wasn't it. They couldn't find a cab, so I went downthere.[FALSHBACK]Marshall: Hey, you were right. The Kangs did, in fact, have an umbrella.Marvin: Of course they did.Judy: Bye, sweetie.Marshall: Bye,Mom.Marvin: Hey, son, I just want to leave you with a little advice. Rent Crocodile Dundee III. I caught it on the cable last night. It totally holds up![END OFFLASHBACK]Marshall: Crocodile Dundee III is the second-best of the Croc trilogy, so maybe I can live with that. (cell phone beeps) Oh, sorry, my phone'scharged.Man: I, uh, I hear you're a woman who can get things.Robin: I've been known to locate certain objects from time to time.Man: I need vodka and dirtyplaying cards.Robin: I got ya.Marshall: Oh, my God.Lily: What is it?Marshall: I have a voice mail from my dad.Lily: You have a voice mail from your dad?Robin:How?Marshall: My phone's been out of juice, so he must've called me the day the he, uh...Lily: Baby, are you okay?Marshall: I hold in my hand the last words myfather will ever say to me. I'm gonna hit play.Robin: What's wrong?Marshall: What if it's worse than Crocodile Dundee III? I can't do this. I can't... My mom isabout to collapse. I'm gonna...Lily: Wait-- no, no, baby... Baby, I got it. Let me.Robin: You should listen to it. Just don't put too much pressure on it.Ted: She'sright. I mean, this idea that someone's last words have to be profound and meaningful? I mean, who can live up to that?Barney: Exactly. All those \"famous lastword\" people supposedly said? They're all made up. Like that patriotic dude, Nathan Hale, from third-grade history?[FLASHBACK]Nathan Hale: My I only regret isI have but one life to lose for my country.[END OF FLASHBACK]Barney: You know what his real last words were?[FLASHBACK]Nathan Hale: I'm peeing mypants![END OF FLASHBACK]Barney: True story.Robin: The point is, last words are overrated.Ted: Look, think of it this way: you get to hear your dad's voice onelast time.Marshall: I should go listen to this... alone, okay? I'll be back.(Marshall steps away)Woman: Hey, so, um, I heard you might have...Robin: You heardright. (whispering: ) I'm getting a reputation. So, what you need, mama? Come here.(Robin walk away with the woman)Lily: Guys, listen to what justhappened.[SCENE_BREAK][FLASHBACK]Lily: Judy, do you need a break? I'm happy to cook for a while.Judy: You think your snobby New York cooking is betterthan mine-- admit it! Well, go ahead, Lily, why don't you just whip up a batch of your fancy tofu sushi bagels! And choke on them![END OF FLASHBACK]Ted:Whoa. Are you okay?Lily: Listen![FLASHBACK](Judy yawns)Judy: I'm gonna go take a nap.[END OF FLASHBACK]Lily: Judy's finally sleeping and it's all because ofme! Guys, I have a role: I'm Judy's bitch! Yeah!Ted: Well, but this day is tough on you, too. You sure you can absorb all that?Lily: Yeah! Robin gave me a littleorange pill from her purse. I don't know what's in it, but things are flowin' pretty smooth right now.Robin: Hey, stay hydrated.(Marshall comes back)Barney:So?Marshall: I couldn't listen to it. Guys, this is hard.Lily: We know, baby. But you'll always wonder, if you don't. Your dad loved you. It almost doesn't matterwhat he said.Barney: It doesn't. That's true.Marshall: Guys, guys, what if-- God forbid-- all of your dads died right now? What would their last words to you havebeen? Seriously.Ted: I know mine. When I was in Cleveland last month, I went to visit my dad at his... post-divorce bachelor pad.[FLASHBACK]Ted's dad: Beenfun bro-ing out with you tonight, T-Dawg.Ted: Yeah... so glad we can we can talk about our s*x lives now. That's totally an improvement.Ted's dad: I hooked upwith a younger woman the other week-- Donna Bromstead.Ted: My prom date?!Ted's dad: How far did you get, T-Dawg?Ted: I have to go.[END OFFLASHBACK]Marshall: How would you like those to be your father's last words?Ted: Well, they might be. Donna Bromstead's husband is a cop.Marshall:Lawyered. Lily?[FLASHBACK](phone ringing)Lily: Hello.Lily's dad: Lily, it's Dad. Listen, I'm sort of in jail for not paying taxes for the last 25 years. ut bright side, Ithought of a great new board game. \"Tax Evasion\", ages six to ten. Which is, ironically, what I might be looking at. Anyway, Pumpkin, I need $15,000.Lily: Fooledya. Leave a message after the beep. We'll get back to ya. Beep.[END OF FLASHBACK]Marshall: Lawyered. Robin?[FLASHBACK]Robin's dad: And so, despite theendless disappointment you've caused me, I pray that this will finally be the year you achieve something of actual significance. I'd love to stop lying to my friendsabout you being in a coma. Anyway, the point is, happy birthday, RJ.[END OF FLASHBACK]Ted: That's awful.Robin: No, here's the awful part.[FLASHBACK]Robin:You remembered my birthday![END OF FLASHBACK]Marshall: Lawyered. Now can we all just admit that last words are, in fact, a big deal?Everyone: Yes.Barney:Man, I always thought I had it rough not really knowing my dad, but... now I realize at least I'll never have to suffer like this. Our next video is called \"GermanShepherd Activates Tennis Ball Cannon While Fat Kid Sips Energy Drink.\"Marshall: Barney, please, Barney! It's... No more videos, okay? I just need aminute.Judy: Okay... okay, who is responsible for this? Who got Cousin Daphne drunk? She is 15 years old.Robin: Whoa, they grow big out here.Barney: Andhere's your phone number back.Robin: Judy, I...Lily: I did it.Judy: What possible excuse could you have for this?Lily: I'm from New York. We think getting minorsdrunk is funny.Judy: There's nothing funny about getting minors drunk! You should be ashamed, Lily! Ashamed! Mmm! Oh, cripes, that's tasty. Mmm! Mmm!Lily:"}
+{"doc_id":"doc_44","qid":"","text":"In the Mayor's office. Faith is sitting at the desk with her eyes closed. A present is laying on the desk in front of her. The Mayor stands by her side.Mayor: Alright,you can open them up now. Faith sees the present and smiles up at him.Faith: Fab. What's the occasion?Mayor: Faith! As if I need a reason to show you myaffection. Or appreciation for running a small errand at the airport.Faith: Airport? What's next? Gonna want me to help a buddy of yours move a sofa?Mayor: Thisisn't a free ride, young lady. You know, I'm beginning to think that somebody's getting a little spoiled. Maybe I should take this back.Faith: (clutches the present)Sorry... Sir.Mayor: That's my girl. (chuckles) Another cookie? (Faith takes one) Now. A package is arriving tomorrow night from Central America. Something, andI can't stress this enough, something crucially important to my Ascension. Without it ... Well! What would Toll House cookies be without the chocolate chips? Apretty darn big disappointment, I can tell you. (giggles) Open your present. (she does) There. That look on your face is my reward. The present is a knife with anintricate design.Faith: This is a thing of beauty, boss.Mayor: Well, it cost a pretty penny. So, you just take good care of it. And you be careful not to putsomebody's eye out with that thing, until I tell you to.Faith: Any particular eyes in mind?[SCENE_BREAK]Night, in a graveyard. Angel and Buffy are fighting a pairof vampires. Buffy trips her opponent into Angel's legs.Buffy: Sorry, honey!Angel: That's okay. They finish off both vampires.Buffy: Well, there's something youdon't see every day. Unless, of course, you're me.Angel: That was bracing. Want to do another sweep?Buffy: It's what I live for. Sad to say.Angel: You tootired?Buffy: No. It's just... Do you get the feeling that we're kind of in a rut?Angel: A rut?Buffy: You never take me any place new.Angel: What about that firedemon nest in the cave by the beach? I felt that was a nice change of pace.Buffy: So this is our future? This is how we're going to spend our nights when I'm fiftyand you're ... the same age you are now. They hear a growl offstage.Angel: Let's just get you to fifty.Buffy: Liking that plan. Opening credits.[SCENE_BREAK]Inthe Summers house. Buffy sits at the table, flipping through a book. Joyce enters from the hall.Joyce: Buffy? When were you going to tell me?Buffy: Alright,busted. I didn't think you'd miss them. (takes off earrings)Joyce: You were accepted to Northwestern University. Honey, I'm so proud of you! That'swonderful!Buffy: (less enthusiastic) Right! It's wonderful.Joyce: I mean, it's not cheap, but, uh, I know we can make it work if your father pitches in. Not thatNorthwestern is your only option. It's a great school, though. I am so proud of you.Buffy: You said that before.Joyce: And will again soon.Buffy: Mom, you knowthat I can't ... I-I just can't decide on a school right now. I mean I want to sleep on it, you know, mull it over. Raise them up my inner flagpole, see which one Isalute.Joyce: I know, sweetheart. I'm just so pleased that you have so many choices. Ooh, you know what? Your aunt Arleen and her family are in Illinois. I'vegot to call and tell them. Oh, Buffy?Buffy: I know, you're proud of me.Joyce: Ah, don't forget to put my earrings back in my dresser before you go out. Arleen? Hi!It's Joyce. How you doing? Listen, you are never going to believe where Buffy got accepted to school![SCENE_BREAK]Daylight on campus. One guy sits at a picnictable. A second guy drops a paper bag on the table and sits opposite the first guy.Guy #2: Here you go.Guy #1: Thanks.Snyder: (swoops in) Okay, what's in thebag?Guy #1: My lunch.Snyder: Is that the new drug lingo? (takes the bag, looks inside)Guy #1: No, it's my lunch.Snyder: (drops the bag on the table) Sit upstraight. (marches off) Camera zooms past Snyder to another table: Willow and Oz sit opposite Buffy.Willow: Sounds like your mom's in a state of denial.Buffy:More like a continent. She just has to realize that I can't go away.Willow: Well, maybe not now, but soon, maybe. Or maybe I too hail from Denial Land.Buffy:Faith's turn to the dark side of the Force pretty much put the proverbial kibosh on any away plans for me. UC Sunnydale - at least I got in. You! I mean I can'tbelieve you got into Oxford!Willow: It's pretty exciting.Oz: That's some deep academia there.Buffy: That's where they make Gileses.Willow: I know! I could learnand, and have scones. Although I-I don't know how I feel about going to school in a foreign country. Xander is sitting at a nearby tree reading Jack Kerouac's _Onthe Road_.Xander: Everything in life is foreign territory. Kerouac. He's my teacher. The open road is my school.Buffy: Making the open dumpster yourcafeteria?Xander: Go ahead, mock me.Oz: I think she just did.Xander: We Bohemian anti-establishment types have always been persecuted.Oz: Well, sure.You're all so weird.Willow: I think it's neat, you doing the backpack, trail mix, happy wanderer thing.Xander: I'm aware it scores kinda high on the hokey-meter,but I think it will be good for me. You know, help me to find myself. Cordelia walks between the table and Xander's tree.Cordelia: And help us to lose you.Everyone's a winner.Xander: (getting up) Well, look who just popped open a fresh can of venom. Hey, did you hear about Willow getting into Oxnard?Willow:Oxford.Xander: Oxford. And M.I.T. and Yale and every other college on the face of the planet. As in your face I rub it.Cordelia: Oxford? Whoopee! Four years intea-bag central. Sounds thrilling. And M.I.T. is a Clearasil ad with housing. And Yale is a dumping ground for those who didn't get into Harvard.Willow: I got intoHarvard.Xander: Any clue on what college you might be attending so we can start calculating minimum safe distance?Cordelia: None of your business. Certainlynowhere near you losers!Buffy: Okay, you guys, don't forget to breathe between insults.Cordelia: I'm sorry Buffy. This conversation is reserved for people whoactually have a future. (leaves)Oz: An angry young woman.Willow: Oh Buffy, she was just being Cordelia, only more so. Don't pay any attention to her.Xander:She's definitely got a chip going.Willow: Maybe if you didn't goad her so much?Xander: I can't help it. It's my nature.Willow: Maybe you need a betternature.[SCENE_BREAK]Buffy and Wesley walk into the library.Wesley: I don't understand.Buffy: Well, I don't think I can talk any slower, Wes. I want toleave.Wesley: What? Now?Buffy: No, not now. After I graduate, you know, college?Wesley: But, you're a Slayer.Buffy: Yeah, I'm also a person. You can't justdefine me by my Slayer-ness. That's ... something-ism. Giles is listening from the door of his office.Giles: Buffy, I know we've talked about you goingaway...Buffy: I got into Northwestern.Giles: That's wonderful news. Good for you.Wesley: Alright, everyone. Monsters, demons, world in peril?Buffy: I bet youthey have all that stuff in Illinois.Wesley: You cannot leave Sunnydale. By the power invested in me by the Council, I forbid it. (said while crossing his wrists overhis heart - watcher authority hand signal?) Buffy rolls her eyes and turns her back on Wesley.Giles: Ah yes, that should settle it.Wesley: (counting on fingers)Faith gone bad, and the Mayor's Ascension coming up, ...Buffy: I know it's complicated. I'm aware that my graduation may be, among other things, posthumous,but... What if I stop the Ascension? What if I capture Faith?Giles: I very much hope you will.Buffy: If I do that, then all you guys have to do is keep the run of themill unholy forces at bay through mid-terms and I'll be back in time for Homecoming, and every school break after that. Can we at least think about it?Wesley:Perhaps if circumstances were different.Buffy: I'll make them different.Wesley: What?Buffy: I'm tired of waiting for Mayor McSleaze to make his move while wesit on our hands counting down to Ascension Day. I mean, let's take the fight to him.Wesley: No. No! Much too reckless. We're at a distinct disadvantage. Wedon't know anything about the Mayor's Ascension...Giles: She's right. Time's running out. We need to take the offensive. (to Buffy) What's your plan?Buffy: Igotta have a plan? Really? I can't just be proactive with pep?Giles: No. You want to take the fight to them? I suggest the first step would be to find out exactlywhat they're up to.Buffy: Oh. I actually knew that. I thought you meant a more specific plan, you know, like with maps and stuff. Great. We'll find out whatthey're up to.[SCENE_BREAK]Night, at the airport. A small plane taxies to a stop and a man leaves the plane carrying a box. A vampire waits by a limo with abriefcase.Box man: Is he in the car?Vampire: No, I'll take you to him. (opens the limo door) Camera zooms in to show the box handcuffed to the man's righthand. The man kicks the limo door shut.Box man: The Mayor was supposed to be here in person with the money. Well, the price just went up. I don't likesurprises. Impact sound. The head of an arrow appears through the front of his shirt - Faith has shot him through the back.Faith: Surprise. Faith climbs downfrom her hiding place and approaches the body.Vampire: You killed him.Faith: What are you, the narrator? Keys to the cuffs? The vampire searches the man'sclothing.Vampire: Nothing. Faith pulls out her flashy new knife.Vampire: That won't cut through steel.Faith: No, but it will cut through bone.Fade tocommercial.[SCENE_BREAK]Night. The limo pulls up in front of City Hall. Faith carries the box inside. Buffy is watching from the bushes.Cut to inside the Mayor'soffice. Faith kicks in the door and carries the box inside.Mayor: Hey ho! There it is! Hahahaha! Ah, what happened to the courier? I was supposed to payhim.Faith: Hunh. Made him an offer he couldn't survive. (takes the money)Mayor: (chuckles) You are one heck of a girl, you know that? I mean geez, theinitiative, the - the skill.Faith: Go on, go on. (sits down)Mayor: I will. You know, I'll tell you, if Buffy ... (Faith props her feet on the desk. The Mayor frowns.) Heyhey hey hey. (Faith drops her feet.) If Buffy Summers walked in here and said she wanted to switch to our side, I'd say (snaps his fingers) no thanks, sister, I'vegot all the Slayer one man could ever need. (chuckles) Faith sighs.Mayor: What?Faith: Nothing.Mayor: Oh, it's cause I used the B-word, huh? Don't tell me you'restill sore about that whole Angel-Buffy thing.Faith: No, I'm over it. She can have him.Mayor: Better believe she can. She deserves that poor excuse for a creatureof the night. You, on the other hand, can do better. Faith is fidgeting and begins toying with the clasp of the box. The Mayor slams his hands down on top of thebox.Mayor: Don't do that.[SCENE_BREAK]Night. The limo pulls to a stop in a parking lot. The vampire driver hears a noise and looks back through the rearwindow. Buffy smashes the driver's side window with her fist and pulls his upper body out of the window.Buffy: (peppy) So, what's in the box?Cut to the library.Buffy sits at the table looking at a book. Xander and Wesley look on.Buffy: The Box of Gavrock. It houses some great demonic energy or something which HisHonor needs to chow down on come A-Day. Giles and Willow enter. Giles carries some large drawings.Wesley: What's that?Giles: Maps. And stuff.Willow: Plansfor City Hall. They were in the Water and Power mainframe.Buffy: The box is being kept under guard in a conference room on the top floor. (points to a map"}
+{"doc_id":"doc_45","qid":"","text":"[Restaurant \u0000 Jen, Joey and Audrey sit at a table for a meal. A waitress is taking their order.]Waitress: Great. I'll be right back with your drinks, ladies.Audrey:This place got an amazing write-up in timeout: Boston. I'm really glad I decided to tag along.Joey: You mean invite yourself.Audrey: Will you stop? (Jen's cellphone rings) Nobody believes that you don't adore me.Jen: (answering her phone) Hello?Joey & Audrey: (singing) Char-lie!Jen: (into phone) Ha! Hi.Audrey: (toJoey) So do we like this Charlie?Joey: We don't really know this Charlie. She seems to keep this Charlie pretty much to herself.Audrey: I'm a little concerned. Thisis all sounding very \u0000Nine 1/2 Weeks\u0000 to me. (Jen hangs up) Booty call?Jen: Pretty much. Yeah.Audrey: Oh! I knew it.Joey: Are you gonna go?Jen: I don'tknow. I could use the snuggles.Audrey: See, that's what I miss most about not having a boyfriend-- the snuggling. It's better than s*x. If only guys knew howeasy it was to make us happy.Joey: Yeah, but you know what? Even if they did know, they'd still screw it up. Snuggling to them is merely just a means to anend.Jen: I mean, I've been seeing Charlie for a week, and the only thing that I really know about him is that his boxers are from The Gap.Audrey: Well, there areworse things, you know?Jen: Such as?Audrey: Well, for instance, he could be a tighty-whitey guy.Jen and Joey: Oh!Jen: Oh, good point!Joey: Ok. On that note...I'm gonna go to the bathroom, and when I get back, I'd like it very much if this week's episode of \u0000s*x and the City\u0000 had come to an end.Jen: Ok,Charlotte.(Joey heads to the bathroom when she stops short. Her face turns serious as they show what she's looking at \u0000 A guy who looks like Pacey scenethrough a window in the door to the kitchen. As a waitress comes out of the kitchen, the door swings open and Pacey is in full view. Opening credits.)[Restaurant\u0000 Joey moves to a bench near the restroom, followed by Jen.]Joey: I wonder how long he's been in town.Jen: 3 and 1/2 weeks.Joey: You think it's been thatlong?Jen: Yeah, I'm positive.Joey: You knew?Jen: Only that he was in Boston, not that he was working at this restaurant. I swear.Joey: Why didn't you tellme?Jen: Because he made me promise not to.Joey: I should go.Jen: No, Joey... don't you want to see him or talk to him?Joey: Of course I want to see him, buthe obviously doesn't want to see me.Jen: No-- you don't know that.Joey: 3 1/2 weeks. Jen, if he wanted to see me, he would have, and if he wanted to see me,he wouldn't have asked you not to tell me. (she gets up and walks out)[Grams' House \u0000 Dawson is in the living room when Grams returns with blankets and apillow.]Dawson: Grams, thank you again for letting me stay here.Grams: I quite enjoy having an expatriate sleeping on my sofa. Makes it feel like Paris in thetwenties around here. Alas, no crepes, but I did bake you some Rice Krispie squares for your bus trip tomorrow.Dawson: Oh, how can I be so sure aboutsomething and so nervous about doing it at the same time?Grams: Staying in Boston. It's a big decision.Dawson: Well, I can handle it. It's just telling my parentsI'm worried about.Grams: Well, they might surprise you.Dawson: Maybe I should just give it more time.Grams: Because of your busy schedule?Dawson: BecauseI-- I don't even know what I'm gonna tell them.Grams: The truth will set you free.Dawson: The truth will tick them off. Maybe a letter.Grams: If Moses could facePharaoh, you can face your parents.[Frat House \u0000 People are partying and drinking while Jack and \u0000Blossom\u0000 sit on the couch playing PS2. They are yelling andlaughing over the game they are playing, until Jack finally scores and they cheer.]Blossom: Oh, yes! Whoo! Yes! You are the man, Jack. You the man.Jack: Allright. Man can't breathe.Blossom: (introducing Jack to someone) Jack, this is Polar Bear.Jack: Hey!Polar Bear: Welcome to Sigma house, Jack. Good to haveyou.Jack: (shaking hands) Thanks, man.Polar Bear: How are your classes going?Jack: Not bad. Not bad.Polar Bear: Thompson's Astro class is a bitch, huh?Jack:(surprised) Yeah. It is, actually. That's the one class I'm really struggling with. How'd you know that?Polar Bear: (handing him a business card) Call me. We'll talkabout the topic of your pop quiz next week.Pete: (walking up) Blossom, this the guy?Blossom: Jack McPhee, Pete Willard.Pete: How you doing, Jack? Welcome tothe house.Jack: Thanks.Pete: So you get any time on the links lately?Jack: Oh, man, I wish. It's kind of hard to scare up a golf game with the collegecrowd.Blossom: Pete's on a full-ride golfing scholarship at Boston Bay.Jack: I don't think we're playing the same game.Pete: Ah, you can shoot under par atCapeside Country Club, you can hang. So you interested in helping me humiliate a couple of ATO's Sunday morning?Jack: Yeah, I'd love to.Pete: All right, man.Good to meet you.Jack: Cool. Thanks.Pete: Later, buddy.Blossom: (handing him a plate with a baked potato and a glass of beer) Here you go, man.Jack: You gotto be kidding me. How do you know so much about me?Blossom: A bid to Sigma Ep is for life. Before we extend that privilege, we pretty much make sure weknow everything about each guy rushing the house.Jack: Actually, Blossom, look, I think I should probably\u0000Blossom: Excuse me. I think a pledge just acceptedhis bid. I got a new brother. (he walks off to join a bunch of frat guys carrying another guy around and singing the Sigma Ep song.)[Restaurant \u0000 Kitchen. Paceyis peeling potatoes when Karen walks in with a salad.]Karen: This loudmouthed blond girl just returned her Caesar salad because of the anchovies. [ImitatingAudrey] She, like, hates anchovies.Pacey: So?Karen: You wouldn't understand.Pacey: You want to know something I really don't understand? Danny hires me onas the new cook, right? But then he won't let me cook. I don't know about you, but this, to me, looks a lot like potato peeling.Karen: You're not wearing the hat.Why aren't you wearing the hat? There are health regulations, you know.Pacey: I would sooner slap on a pair of chaps, ok?Karen: Fine, Pacey. Don't wear thehat.Pacey: All right. Is it just me, or are you not liking me so much tonight? What? Now you're not even talking to me?Karen: I'm working.Pacey: No, you'rewaiting.Karen: I'm thinking.Pacey: Well, you're usually talking.Karen: Did it ever occur to you that I might actually have other things to do besides stand aroundthe kitchen and yak it up with the new prep cook?Pacey: You see a prep cook? Because that actually refers to somebody who would cook, which I'm not doing. AllI'm doing is peeling potatoes, so I know you couldn't be talking to me.[Charlie's Dorm \u0000 Jen shows up for her booty call.]Jen: Just so you know, um, this is notgonna become a regular thing.Charlie: What's not?Jen: You calling, me just showing up here in the middle of the night like this.Charlie: Yeah, but you didn't justshow up. You know, I could have gotten a pizza in less time than it took you. Actually, two pizzas, deep-dish, Chicago-style. (he starts to kiss her)Jen: Chicago?Is that where you're from?Charlie: (trying to kiss her) Not exactly.Jen: Well, um... where exactly?Charlie: Do we really need to talk about this right now?Jen:Yes... because we've been, you know, whatever for a week now, and I feel like I don't know the most basic things about you.Charlie: (kissing her) Come on. Sureyou do.Jen: Where'd you grow up?Charlie: (more kissing) All over.Jen: Where d you go to high school, then?Charlie: Lots of places.Jen: (breaking free fromCharlie) Ok, see... that's what I mean. These-- these are not real answers.Charlie: Come on. So? The real answers are boring and long.Jen: And what? You onlyprovide them on a need-to-know basis?Charlie: Yes. Highland park, Illinois. Not exactly the birthplace of cool. All right?Jen: There. Wasn't so hard, was it?Charlie:It was torture.[Capeside \u0000 The Leery Residence. Dawson stands in the backyard looking at the Creek. Suddenly Mitch comes outside.]Mitch: Dawson?Dawson:Hey, dad.[Leery Residence \u0000 Living room. Dawson is looking at the couch.]Dawson: New couch.Mitch: Your mom's been on a redecorating kick ever since youleft.Dawson: I like it.Mitch: I miss my old one.Gale: (coming downstairs) Dawson! Oh, I can't believe it! What a surprise! Oh! Is this really you?Dawson: It's reallyme.Gale: Oh, look at you! Oh, my God. You are thin as a rail.Mitch: I want to hear about L.A. You get that deal with Dreamworks yet?Gale: Did you get thecookies that I sent you?Dawson: No, actually, I didn't. I haven't gotten the cookies because I haven't gotten my mail in L.A. For over a week.Mitch: Class is reallythat intense, huh? Well, good. You'll learn something.Dawson: I haven't gotten my mail because I haven't been in L.A.Gale: Uh, I don't get it.Dawson: I've beenin Boston.Gale: Uh... still not getting it.Dawson: Um... guys, USC Is not for me. I want to drop out. I know this comes as a surprise to both of you, but I spent thewhole summer in L.A., And I went to every single one of my classes, and the main thing that I learned about LA is that LA is just not where I want to be rightnow.Gale: And Boston is?Dawson: All my friends are in Boston.Gale: Oh, honey. You'll make new friends in California. It just takes some time.Dawson: Mom, it'smore than that. It's more than that. I'm... I'm at a profound crossroads in my life, and I know that if I don't choose this path, I'm going to have significantregrets.Gale: Hmm Where would you live?Dawson: Uh, with Jack and Jen at Grams'.Gale: What would you do?Dawson: Find a new school.Gale: Oh,Dawson.Dawson: Mom, I know I sound like a complete flake, but I promise you, I've given this a lot of thought.Mitch: I've given this some thought myself, andI've decided... you're not dropping out.Dawson: It doesn't work like that, dad.Mitch: If you're going to stand here and talk to me about crossroads and paths soyou can drop out of school and go crash on a sofa, then don't presume to talk to me like you're an adult. (he walks out of the room)Gale: (Lily starts to crythrough the monitor) Oh! Lily, I know how you feel. (she goes upstairs leaving Dawson alone.)Dawson: Welcome home.[Joey's Dorm \u0000 Joey is cleaning outsomething as Audrey tries to get her to open up.]Audrey: Ok. So who's the guy?Joey: What guy?Audrey: The guy who you saw at the restaurant last night thatobviously has some huge impact on your life.Joey: Audrey, the only guy that has an impact on my life right now is James Joyce, and I can't focus on him until Iget this room in order.Audrey: You know... back in L.A., I was something of a therapist to a lot of my friends. People would call me all the time to talk about theirproblems. Some even paid the surcharge to call from the valley, and lucky you, you've got me here whenever you want me.Joey: Lucky me.Audrey: So why don'tyou stop cleaning up the mess and tell me about him?Joey: Don't you have a lacrosse team to date or something?Audrey: I have this theory about you. You wantto hear it?Joey: No.Audrey: You love academia because of the rules, and you hate relationships because of the lack of them. So do you want to see him ornot?Joey: Yes. No. Yes, but only if he wants to see me, and he obviously doesn't.Audrey: Ha! God, you're dense. Of course he wants to see you.Joey: Whatmakes you say that?Audrey: Because... you're beautiful and you don't know it. Because you're smart and you don't believe it. You're the kind of girl that guys"}
+{"doc_id":"doc_46","qid":"","text":"\"The Skull in the Sculpture\"[SCENE_BREAK](Open: Junk yard. Two drunken guys are climbing a fence with barbed wire)CHUNKY: My dad thinks I'm selfish, so Iwant to steal him some spare parts for his birthday.DUANE: You're a good son, man.CHUNKY: Hey, dude, I'm not moving.DUANE: Dude, your jacket is caught onthe barbed wire. Bounce around a little bit, and you'll come loose.CHUNKY: (falls to the ground. laughs) That worked great.(The two begin staggering aroundstacks of compressed vehicles)DUANE: So, what kind of car does he have?CHUNKY: Old one. Toyota FJ-40. He loves that thing. More than me, that's forsure.DUANE: Check it out!CHUNKY: Oh, wow! (The two run towards a stack of cars) Can you imagine if I gave him that golden side mirror? I could glue it on histruck. (begins pulling out side mirror) Got to be gentle. It's coming. (Mirror comes off and blood begins to run out of the car)DUANE: The car is bleeding.CHUNKY:There's something back there.(Pulls out sheet of glass to reveal a skull. Both scream.)(Cut to a restaurant bar. Sweets is sitting at the bar. Angela walksup)ANGELA: Okay, look, just to be clear, I asked you out for a drink to talk, not because I'm desperate for male company.SWEETS: You think of me as malecompany?WAITER: (off camera) Can I get you anything?ANGELA: Vodka up, please. And my grandson here will have another of whatever that is.SWEETS: Oh,sidecar, but no, I'm fine. Okay, one more, one more. I'm cabbing it. (turns to Angela who is now leaning on the bar facing the rest of the room) You just gotdivorced and broke up with your fiancé. It's totally understandable that you don't feel like s*x.ANGELA: I feel like s*x.SWEETS: Oh.ANGELA: s*x is what I feellike. Now, I could jump Hodgins, but doesn't seem fair somehow. Do you agree?SWEETS: Well, what matters is that it doesn't seem fair to you.ANGELA: Oh, Ihate it when shrinks do that.(both turn back to the bar)ANGELA: Look, I've been alone now for quite a while, which is not like me.SWEETS: Yeah, well, when weopen ourselves emotionally and get hurt, we're reluctant to allow ourselves to be that vulnerable again.ANGELA: It's been, like, six weeks.SWEETS: That'sa-a...ANGELA: Long time.SWEETS: (looks down uncomfortably) Yes, of course it is.ANGELA: The longest I've gone without since I lost my virginity. At age16.SWEETS: Hmm.ANGELA: Which is the normal age.SWEETS: Sometimes older is just fine, too.ANGELA: I'm not promiscuous, Sweets. I don't sleep with justanybody. I do require an emotional connection. Spiritual, actually.SWEETS: Mm-hmm.ANGELA: It's spiritual to me. And fun, of course. Who doesn't like s*x,right?SWEETS: Hey! Didn't we order these drinks a long time ago?ANGELA: You're right.SWEETS: (looks at Angela in surprise) About what?ANGELA: I have beenprotecting myself. Without the risk of pain, there can be no possibility of pleasure or joy or love.SWEETS: Yes, yes, and-and regaining that willingness to take arisk-- that can take time.ANGELA: No.SWEETS: No?ANGELA: I am done protecting myself. I'm ready to move on. You're good.SWEETS: Hey.(both turn back tothe bar as the waiter brings their drinks)ANGELA: You really are.WAITER: Here you go SWEETS: Thank you.ANGELA: (raising her glass for a toast) To love, huh?And joy. (they clink glasses. Angela raises her voice and looks around) And s*x!(Sweets laughs awkwardly)(Cut to the Medico-Legal-Lab - in front of ForensicsPlatform. Brennan and Hodgins are looking at the crushed car with the skull as Cam, Daisey, and Angela stand behind them. Hodgins is using aflashlight.)HODGINS: Looks like someone with a crooked nose was trying to get rid of our friend here.BRENNAN: There's no way to know that the killer had acrooked nose.DAISY: You mean, the mob? It was a mob hit.CAM: He clearly wasn't wearing a seat belt.HODGINS: We're going to need the Jaws of Life to pry thisguy out of here.(Cam and Hodgins begin walking around the car)BRENNAN: No. That could compromise the remains.DAISY: It seems that any viable examinationpre-extraction is impossible, unless somebody has X-ray vision. (laughs awkwardly)CAM: (to Brennan) I meant to warn you that Ms. Wick came up in therotation.DAISY: This time you'll be glad I'm here, Dr. Brennan, I promise.(Brennan and Angela exchange a look of annoyance)DAISY: The height of the nasal rootpoints to a Caucasian. The large brow ridges suggest a male.BRENNAN: We need cause of death.(Angela begins to walk around the car)DAISY: Of the Caucasianmale? What can be seen of the temporal, zygomatic and frontal bones indicates that they're in multiple fragments, possibly from the crushing of the car.CAM: Wehave access to blood and fluids. I'll run a tox screen.BRENNAN: (begins to walk around car. All four are now on seperate sides) Booth is checking the records atthe junkyard to see who brought in the car and when it was processed.HODGINS: I'll use an endoscope to retrieve any particulates without disturbing theremains.(Brennan's cell rings. She answers and walks away)BRENNAN: Brennan.ANGELA: (to Hodgins) Hey, have you been seeing anybody?HODGINS: Listen, Idon't want to be rude, but I just don't think that's any of your business.ANGELA: I haven't.HODGINS: Me, either.ANGELA: But I'm going to start.HODGINS: Right,yeah. Me, too. I mean, like, right away.ANGELA: Sweets agrees that it's time.HODGINS: Sweets?ANGELA: We shouldn't fear putting our hearts outthere.HODGINS: Sweets.DAISY: That's so beautiful.CAM: And so inappropriate over a decomposing body.(Brennan walks by)BRENNAN: Booth found out whodelivered the car to the junkyard for crushing.(Cut to sidewalk at night. Booth and Brennan come walking around the corner)BOOTH: Invoice was made out to B &B Enterprises. This was the sixth car that was crushed and sent back to this address.BRENNAN: Oh, so you think there might be five more bodies?BOOTH: Well,you know what? If this is mob-related, and we bring down the big boys...BRENNAN: Yeah.BOOTH:...we will sell the movie rights for a fortune.BRENNAN: But whatif it's not the mob?BOOTH: Come on. Do the math, Bones.BRENNAN: Well, the math wouldn't indicate motive or identify a suspect. And you haven't evenprovided enough variables...BOOTH: It's a figure of speech, Bones, all right?(They stop in front of a building)BOOTH: Here we are. Woah, woah, woah, woah(pulls Brennan back who was walking towards stairs) What goes first?BRENNAN: Gun goes first.BOOTH: That's right.(They start walking up the stairs)BRENNAN:But if you get shot?BOOTH: Don't say things like that. You're gonna jinx me, all right?BRENNAN: Well, if you're relying on superstition for safety, perhaps I shouldcarry the gun.BOOTH: (stopping in front of a set of glass doors) No, you are definitely not carrying a gun.(pulls out lock pick) Give me some space, all right?(leans down and begins to pick the lock)BRENNAN: Is that legal?BOOTH: Look, if anybody asks, the door was open.BRENNAN: (whispering) No, it isn't. (Boothlooks at her and she realizes what he means) Ah... Right. (Booth pulls out gun and they enter)(cut to the interior of the building. More crushed cars are in theroom as they enter. Movement is heard in the background. A woman comes from a room around the corner)BOOTH: Okay, what the hell are you supposed tobe?BRENNAN: (pointing at the ground) Booth?BOOTH: What?(camera cuts to show a large blood stain)BRENNAN: Look at this.BOOTH: What is it?HELEN:Blood.(cut to opening credits)(Cut to: In a gallery. Camera pans over more crushed vehicles and an image of Geoffrey. FBI forensics team is working throughoutthe room. Brennan is looking at a video while Booth looks at a sculpture nearby)BRENNAN: The artist did a series of six sculptures over the past twoyears.BOOTH: (holding a pamplet) Sculptures? Whoa. These things are going for hundreds of thousands of dollars.BRENNAN: (as they begin to walk through theroom) All cultures put a great value on art.BOOTH: Yeah, art. A nice bowl of fruit, uh, dogs playing poker. If I sold all the crap that was in my garage, I couldretire. I'd make a fortune.(They stop by a sculpture. Helen is standing in front of them)HELEN: Geoffrey's work is a brilliant examination of consumerism and thedestruction of the soul.BRENNAN: I see twisted metal.HELEN: Well, you need to look beneath the surface.BOOTH: Oh, we did, and we found a dead body, whichis exactly why you're not going anywhere.(FBI tech Marcus Geier walks up)MARCUS: Agent Booth?BOOTH: Yeah.MARCUS: The luminol is showing evidence ofblood all over the floor.HELEN: Of course it is.BOOTH: Excuse me?HELEN: Kiko was here.BOOTH: Kiko?HELEN: Kiko, the performance artist. Pig's blood is anintegral and crucial part of her work.BRENNAN: Is that even legal?BOOTH: Well, we'll decide what's pig and what isn't. Pull some samples.MARCUS: Okay. (walksaway)HELEN: I've already called my lawyer.BOOTH: That's great. Tell him to meet you down at the FBI offices.HELEN:(laughing) Oh, I didn't call him for me. Yousee how much these works are worth. You are liable for any damages.BOOTH: (laughing) Damage?BRENNAN: They're crushed cars.BOOTH: They'rewrecks.HELEN: Fortunately, your ignorance and lack of appreciation of Geoffrey's work don't affect its value.BOOTH: (to the room at large) Okay, all right, guys.Careful handling the junk. Apparently, it is art. All right?ROXIE: (walking into the room and stopping to address Booth and Brennan) Uh, perhaps I could help? I'mRoxie Lyon, Geoffrey Thorne's assistant.BRENNAN: Does the artist make a habit of encasing corpses within his sculptures?ROXIE: Excuse me?BOOTH: Well, wefound one of these crushed cars and traced it back here to this address.MARCUS: (walking back over to the group) We've done the best we can without rippingone of these things apart.BOOTH: No accordion-dead bodies?MARCUS: The cadaver dogs can identify human blood. They didn't find any.ROXIE: (walking toHelen)Oh, my God. Helen?HELEN: Yes?ROXIE: Do you think Geoffrey might have actually done it?HELEN: No. That was all just depressed artist talk, Roxie. Youshould know that. You were a depressed artist yourself.BOOTH: (walking over with Brennan) Hello? Do you want to explain this to me?ROXIE: Uh, recentlyGeoffrey's been talking about finding a way to make himself part of the art.BRENNAN: Do you mean literally?HELEN: The ultimate artistic act.ROXIE: Geoffreywas depressed, and he said he felt like he'd reached his limit as an artist.BOOTH: We'd like to show you a picture of the remains, only if you're up forit.BRENNAN: I suggest you don't look at the person, but rather this distinct ring.HELEN: That's Geoffrey.ROXIE: I know that ring. I designed it myself. It'sGeoffrey.HELEN: (looking up and speaking as if to herself) Bravo, Geoffrey.BRENNAN: You are an extremely unlikable woman.BOOTH: Mr. Thorne have anyenemies?HELEN: Why? It's obvious he did this himself.BRENNAN: To you, perhaps, but we actually require evidence.ROXIE: Anton DeLuca.(Booth looks at hermeaningfully)ROXIE: He's an artist and a rival of Geoffrey's. They had a pretty big argument here the other night.BOOTH: About what?HELEN: What all artistsargue about-- money.(Cut to the Medico-Legal forensics lab. Cam is working at a desk, Hodgins walks in carrying a large piece of machinery)HODGINS: You know"}
+{"doc_id":"doc_47","qid":"","text":"Scene 1: FoS - Sookie, Gabe, Godric, Eric, Jason, Sarah, Steve, Brent, KyleSookie, Gabe, Godric and Hugo are in the basement. Sookie is rebuttoning her dresswhile Godric is taking care of Gabe.Gabe: Godric, it's me!Godric kills the man.Godric [To Sookie]: You should not have come.They both hear screams.Sookie:Bill!Godric: No.[Closing his eyes] I'm here my child. Down here.Eric appears.Eric: Godric.He kneels down.Godric: You were a fool for sending humans afterme.Eric: I had no other choice. These savages they... they seek to destroy you.Godric: I'm aware of what they've planned. [Pointing Hugo] This one betrayedyou.Sookie: He's with the fellowship. They set a trap for us.Eric: How long has it been since you've fed?Godric: I require very little blood anymore.The alarmsstart.Godric: Save the human. [To Sookie] Go with him.Eric: I'm not leaving your side until you are...Godric: I can take care of myself.Sookie: Come on! We haveto go.Godric: Spill no blood on the way out. Go!Eric and Sookie leave the room.CreditsJason is lying on the ground and notices the red stain on his chest.Jason:I'm alive.He stares at Sarah.Jason: Holy sh1t. God saved me. I'm safe.Sarah Newlin: Oh for Heaven's sake grow a brain cell! [Showing the gun] Paintballs!Jason:What... You crazy bitch!Sarah Newlin: I let you into my house, into my bed and into my heart. All I stood for, all I believed in, I violated to be with you!Jason:Okay.Sarah Newlin: I gave you everything for a lie. You're worse than Judas.Jason: Why, what did he do to you?Sarah Newlin: Ugh. f*ck you! [shoots him again,in the groin]Jason: OOHH OHHH SWEET JESUS. OK, I'm sorry OK? Just, tell me what you want me to say, don't shoot me again...Sarah Newlin: You came to preyon me; to ruin the sacred vow I made to my husband then like a coward you ran!Jason: No, I didn't... Okay, I ran. But it wasn't from you. It was from yourhusband and his crazy weapon collection. Why'd you have to go and tell him?Sarah Newlin: Tell him? I didn't tell him anything. He's the one who told me!Jason:[standing] Wait, wait, wait, wait. Told you what?Sarah Newlin: There are wolves in our hen house. We must defend our flock.Jason: [confused] What's that got todo with-Sarah Newlin: We have your sister!Jason: Sookie's in the church?Sarah Newlin: She came in yesterday, spouting the same lies you told!Jason: Now youlisten to me. She's got nothing to do with this.Sarah Newlin: You Stackhouses... you're nothing but a bunch of heartless, two-faced vampire fuckers!Jason:[grabbing the paint gun and pushing her down] Don't you ever talk about my sister like that! If I find out any of you so much has touched her, I'm gonna comeback here...and it won't be with no f*ckin' PAINT GUN!Jason takes the car and leaves.Back to the FoS Church, people are running away.Steve one Loudspeaker:Brothers and sisters, we are on lockdown. Women with children, please take them to our classroom buildings. Men, and able-bodied women, security personnelwill provide you with stakes and silver just outside the chapel. Our Soldiers of the Sun are on their way to protect our church, but safely evacuate the buildingnow. Brothers and sisters, the hour is upon us!Eric and Sookie are watching them getting out of the church.Eric: I could have you out in seconds.Sookie: Thereare kids out there.Eric: All those humans wouldn't think twice about hurting us.Sookie: Why didn't you bring Bill with you?Eric: His attachment to you is irrational.It clouds his judgment. He would kill every child in this church to save you.Sookie: Why aren't you?Eric: I'm following Godric's orders and getting you out, that'sall.Sookie: He's your maker isn't he?Eric: Don't use words you don't understand.Sookie: You have a lot of love for him.Eric: Don't use word I don'tunderstand...Eric looks furtively at the entrance door.Kyle: Let's lock it up! Keep quiet! Alright lock it up, nobody comes through here...Eric walks out toward themembers of the fellowship.Sookie: Eric, no!He turns back and leans down to Sookie.Eric: Trust me.He walks toward out the entrance door.Kyle: Is it locked? Didyou check on... did you...Eric: [Taking a cheerful happy-go-lucky voice] Oh Hey y'all! How's it going? Steve sent me over there to man the exit here. Think I cantake it from here.Kyle: By yourself?Eric: Ha... Yeah!Kyle: You're big and all but there's a vampire on the loose.Eric: Oooh...Brent: Where's your stake?Eric: Oh[laughing] Dang! I forgot!Kyle gives Eric a suspicious look.Eric: Maybe I could borrow yours if... if that's okay.Another guy looks at him suspiciously.Brent: I can'tdo that... Get your own.Eric:[Back to his usual voice] I'd very much like to borrow your stake.Brent: Yeah, yeah that'd be okay I guess.Brent hands Eric the stakewhile Kyle is about to stake Eric.Sookie: STAKE!Eric turns and punches Kyle and Brent down. As Rich goes to stake him, Eric grabs him by the throat and pointsthe stake to Rich's neck, Sookie rushes over.Sookie: Eric! You don't have to kill him.He lets go of Rich.Eric:[Opening the door] Come on!People are rushingover.Rich: Those arrows are wood. You'll never make it through.Sookie: Eric, through the sanctuary.They enter the sanctuary.Eric: Where's the exit?Sookie: Backthat way.Steve: There are several exits, actually. For you, the easiest one takes you straight to hell.Members of the FotS enter the room.Sookie: Let us leave. [Tothe members] Save yourselves. No one has to die.Steven: The war has begun you evil whore of Satan. You vampires cast the first stone by killing my family. Thelines have been drawn. You're either with us, or against us. We are prepared for Armageddon.Sookie: The vampire you're holding prisoner got away. He's asheriff. He's bound to send for help.Steve: I'm not concerned with Godric. Any vampire would do for our grand celebration, and we got one right here.He points toEric. Sookie looks at Eric, and he looks her back.Eric: I'll be fine.He walks toward the altar.Steve: Brothers and sisters, there will be a holy bonfire at dawn[laughing].Scene 2: Hotel Carmilla - Bill, Barry, Lorena, Hoyt, JessicaIn Bill's room:Lorena: [Pushing Barry against the door] Look dear, room service sent a giftfor us.Barry: No. No I don't do any...Lorena takes Barry by his throat.Lorena: Aaah... Heart's pounding. It's so much tastier. How considered of you.Bill suddenlyturns his head.Bill: Sookie!Lorena: [Looking annoyed] That bothersome human. Just like an alarm o'clock you can't switch off. Bla bla bla bla... and ten minuteslater bla. [Softly touching Barry's throat] I give you first bite.Bill: I am NOT hungry.Lorena: Oh! Come now. As I recall, you appetite was always... insatiable. Thishuman attitude for your girlfriend is charming and all but we both know better. [Turning to Barry] Don't we?Barry: Please... I don't wanna die.Bill: [Angry] Lethim go!Lorena: [Laughing] I will... soon.Barry: No!Lorena gets her fangs out and bites Barry, who's screaming.Bill's looking away. She ends the biting part,looking oddly at Barry's throat.Lorena: This one's different. I've never tasted... [Holding Barry's chin] What are you? [Sound of something being torn]Lorena turnsto see Bill throwing a TV in her face. She lands on the floor. Bill smashes her head with the TV and throws it away. He takes Barry with him and they leave theroom.In Hoyt and Jessica's room.Hoyt and Jess are still making love.Hoyt: ...okay? Are you okay? I'm not hurting you?Jessica: No... Not anymore... Goodnessshut up. Keep going.Bill suddenly enters the room.Jessica screams while Bill is embarrassed and looks away.Hoyt: I... I don't know what you heard but... thosewere screams of pleasure. [To Jessica] Right?Jessica: [Hiding her face with her hands] Oh my god...Bill: If you truly care for her, you will take her to your car thisvery moment and drive her back to Bon Temps before the sun comes up.Hoyt: Now?Bill: Now!Bill leaves.Scene 3: Merlotte's - Lafayette, Tara, EggsLafayette:[Putting down a tarot card] Lovers... Oh sh1t hooker...Tara: What? Isn't the Lovers good?Lafayette: Not for you. In this position it calls for a sacrifice in mattersof the heart. You're going to have to make a choice.Tara: But it might turn out well, right?Lafayette: You wanna see your future?A door is being opened, Lafayetteis about to turn the card.Eggs: Tara, help me.The card is the Justice. Lafayette looks at Tara and then at Eggs.Eggs: I need to, talk, to you.Tara: Huh... y-yeah,sure.Lafayette picks up his cards.Lafayette: I'm gonna go and clean a grill or some... [Leaving the table].Tara: [While Eggs is sitting where Lafayette was amoment ago] Say something, you're freaking me out.Eggs: What time is it?Tara: What...Eggs: What TIME is it?Tara: It's... ten past twelve. We just closed,why?Eggs: Look...It happened again, I've lost the last couple of hours.Tara: Are you sure?Eggs: Yeah.Tara: You don't remember anything?Eggs: I mean, after Ileft you, I got in my car and, baby, next thing I know I'm over... past Parish Road and I'm over by the lake. And I wake up on the ground. It's freezing cold. And Idon't even know how I got there. Tara, what the hell is wrong with me?Tara: It's okay. It's okay. I'm here. Lafayette, you okay to close up?Lafayette: Yeah...yeah y'all go on ahead.Tara: Come on, let's get you home.Tara and Eggs leave the Merlotte's.Scene 4: FotS - Jason, a guyJason is coming back to the camp.Guy:Hey hey, who are you?Jason: It's okay. I'm with the fellowship. You gotta let me in.Guy: Sorry bro, we're in lockdown. There's a vamper inside.Jason: Yeah.That's why they sent for me. I'm a cadet with the light of day institute. Came strapped. [Pointing his ring] Honesty.Guy: Dude, Honesty. Come on!Jason: Let'smove.They enter the church.Guy: Now, we got the vamper surrounded. He's got some having fangbanger chick with him. I'm gonna take you to Steve.Jason: No.I go it.Guy: No he needs you to... hey... Is that a paintball gun?Jason: Uh oh... [Punching the guy with the paintball gun]. Yeah. It is.Scene 5: Merlotte's- Sam,officer, lady on the phoneBack to Bon Temps.Sam is sleeping in his car until the ringing of the phone. The phone call comes from the Merlotte's.Sam: Who is this?[The other person hangs up].Sam opens the door of the Merlotte's.Sam: Hello?He notices the light in the storeroom. He takes a look and finds Daphne lyingagainst the wall, a bloody hole at the place where her heart should be.Sam: Oh! Jesus Christ!He gets out and looks for garbage's bags; he puts it on the bottomof Daphne's body and gets out. He calls for the police.Lady on the phone: Renard Parish sheriff's department. What's your emergency?Right after hearing a voicehe sees the blue lights of the police's cars.Officer: Sherrif's department. Anyone in there?Lady on the phone: Is anyone there? This is the sherrif's department.May I help you? [Sam looks around, panicked]. Hello?Scene 6: Sookie's House - MaryannMaryann is singing while cooking. She starts cutting a heart and addsthe pieces in the frying pan.Scene 7: FotS - Eric, Steve, Bill, Sookie, Jason, Stan, GodricEric is groaning in pain, strapped to the altar with silver.Steve: You see?Justice as our Lord our Savior was betrayed for 30 pieces of silver, a few ounces of silver can betray a child of Satan to the world!Sookie: That doesn't make anysense. How can you people listen to him?Eric: I... I offer myself in exchange for Godric's freedom. And the girl's as well.Steve: That's noble. But she's just asculpable as you are. She's a traitor to her race. The human race. She hardly deserves our mercy. [To Eric] Maybe we should tie her to you so you can meet the"}
+{"doc_id":"doc_48","qid":"","text":"Is this on?(Beeps)Well, it's been a month since my last Val vlog.(Beeps)Was this going the whole time?(Beeps)Well, it's been a month since my last Val vlog, andI have some really big news. But first, I just want to give a shout-out to my subscriber who said, \"I love it when you do impressions.\" (Laughs) Well... (MimicsEdith bunker) I have very big news that I'm very excited to tell you about. (Giggles) That's my Edith Bunker. Played by the wonderful... (Beeps) Jean Stapleton!Okay. (Beeps) I should get to my news. Uh... I've been cast in an HBO show.Mark: Why are you telling people you're... Ugh, God. Mark, I thought you left. Whyare you sneaking up? Well, I'm not sneaking up. I came to get something. And why are you telling people that you're doing that show? We talked about that.Well, okay, to be fair... Okay, you said, \"no effing way\" and left the room. I was trying to have a safe discussion and you left the listening circle. Oh, is that what Idid? Yeah. Okay. I'm listening. Tell me again why you'd ever want to do that show. It's HBO, Mark. I'll be an actress on an HBO show. Do another HBO show.Okay, I'll just put my name on the sign-up sheet for that. Okay, now it sounds like you're not listening. Okay. All right. Listen, I hear that, okay? I hear that. Soyou go. Okay. I'm expressing concern that... You're doing something that's a not-so-flattering version of yourself, written by a drug-addicted... Okay. Asshole,who's just gonna... Yeah. Okay. Right. I'll go. First of all, I'm not playing me. HBO was very clear about that.Okay, and B: Paulie's different now, okay? He's beenthrough rehab. Val... Twice. Two rehabs. People don't change. Ooh. Okay. You just got me. What was that? It's oatmeal. It's really in there. Steel-cut? That'sokay. And he cast me, okay? Paulie cast me in it. So he has changed, Mark. All right? Mark, please, it's HBO, okay? They do all those award-wining shows, right?Like \"Mad Men.\" Is that HBO? Well, they're always smoking on it. I just thought... Oh, no, you're right. You're right. That's A&E. Yeah. So... Well, they have\"Game of Thrones.\" You like that one, right? You always fall asleep to that one. Yeah, that's good. Right. Well, here we are at HBO. (Chuckles) New member ofthe family. (Gasps) Okay, look at this. Oh, \"s*x and the City.\" Started it all. Guess I'm one of the girls now, huh? Oh, all right. Here we go. \"The Sopranos.\"Started it all... In a different way, you know. Don't know that one, actually. No. I don't know it. Oh, and then... \"New Girls,\" huh? Now, this one, she's realspecial. That, um, Lela Durham. I think it's Lena Dunham. Well, I don't... There, that... no, I'm right. Lena, yeah. Really excited to see this one. Can't wait forthat.Man: Valerie? Huh? Oh. Hi. We're ready for you. Okay. Take my purse.Mickey: Mm-hmm. Thanks. Okay, here we are. Okay. Yeah, probably a six... I gottago. Hi. Hello, hello, hello. Pretty office. So pretty. Smells pretty too. (All laugh) Oh, thanks. Oh, yeah, they're with me. Oh. Right. Yeah. Valerie, it's great to seeyou. Uh-huh, you too. Okay, great. Thanks, so... Valerie, this is Rada. Hi. Current programing. Hi. Okay. Yeah. Such a pretty name.Rada: Thank you.Woman: Youknow Connor and James? Sure do. Yeah.Val: Wow, gang's all here, huh? Right, 'cause you said you wanted to see us all. Uh, is there a problem? No. Oh, no.Everything's fine. Great. Yeah. No, I just... I had a couple questions. No, first, just about the film crew... you need to move over a little bit.Val: So... Yeah, weshould talk about that. What's this for? Well, this is... oh, this is just, you know, BTS footage.You know, it's BTS: Behind the scenes. And I just thought, youknow, if you want it, you could have BTS for SR.Sr: \"Seeing Red.\" (Clattering) Oh, watch the blinds, Ivan. (Under her breath) Do better.(Laughing)Maybe wecould use it for web content, social media...Val: Oh. Yeah, 'cause these kids have been following me around everywhere.Val: And the great thing is, they'recheap. You know? So it won't cost you much. And I just think it's real important to support young people getting a leg up in the business. Yeah, we'd have to usea union crew. Yeah, then they're gone. (Laughs)Val: They're going back to school. Oh. You know, so everybody wins. Okay!Val: Great. Okay. Um, can I ask yousomething about the schedule?Connor: Hold that thought. Holding.(Laughing)When you had your show, \"The Comeback,\" which I loved, you had a really greatproducer. Who was that? Oh, from \"The Comeback\"? Jane.Connor: Jane who? Um, Jane... Uh, Jane Jane.Woman: Jane Benson. That sounds right. Yeah. No, I'veworked with her. Oh, okay. Well, then let's get her. Or I'll get her, 'cause I know her. Jane Benson, yeah. Yeah. Great. Okay. Okay. Good.James: Wait, youwanted to say something about the schedule also? Yes, I did. Thank you.(Clattering)Val: Just... sorry. (Laughs)Ivan. (Chuckling) Need a union crew.(Alllaughing)Val: But they're great. They've been learning.Um... I did want to talk to you about... yeah, it's all just happening so fast. You know, want to get myducks in a row. You know, so I was wondering when do we start? What, like, six weeks? No, we're starting next week. Oh, we moved it up. We wanted to getthese on air for spring. Okay. That's fast. I just wanted time to... You know... Prepare. Prepare what? Prepare... Well, prepare. (Emphatically) Prepare. Oh, no.You don't need anything. Well... okay. Oh, no, no, no. You don't need to do anything. You are perfect. Thank you. You're perfect too.(All chuckling)We need tosee what we saw in the audition. You're one of the few actresses who still looks real. Uh-huh.James: That's why we hired you. Oh. Okay. Right. Doctor, I only gota week to heal, so what can we do? Oh. Valerie. Yeah. Yeah. Wasn't talking to anybody. Um, forgot. We would like to invite you to see the Golden Globes nextweek. Oh, okay. You're part of the HBO family now. Aw. We'll see you then. We throw an amazing after-party. Yeah. Yeah. I am so excited about this. I loved\"The Comeback\" and \"I'm It.\" Oh, thank you! Yeah, I saw it at the museum of broadcasting.Val: Uh-huh. Okay. That means it's a classic. That's nice. That's inBeverly Hills. Right. Yeah. Across from the... Nate 'n Al's. Yeah. Mickey, please tell me you're still in touch with Jane.Val: Okay, there's nothing. All green, and Iknow we're not at a golf course. This trip to \"Jane-ville\" is a long way to go. That email looked like a definite no to me, Red. Well, no such thing as a definite no,okay? What's the name of that road again? Oh... It's, uh... 4325 Yasidro Sage road. And I know this is her current address because I didn't get my Christmasnewsletter back. Okay, we're nowhere. Oh, so many people are dead. Didn't that sign back there say that? All right, I need to pay attention. Didn't realize I'mgonna have to leave bread crumbs.(Chuckles)Oh.Mickey: I think you made a wrong turn, hon.(Dog barking)Mickey: Oh, there it is.Val: I don't want to hit thedogs.Aw, look at this.(Barking continues)(Goat bleating)Val: Wow.Look at where we are. Jeez, the sun. Where's my sombrero? Oh, you wanna get it? Yeah. I'mgonna need it. My face will look like little orphan Annie.Val: Uh-huh. Oh, look! Horses!Val: Yeah, I saw them. Yeah.Mickey: What's wrong with that one's leg? It'sbandaged. Oh, yeah. Supposed to shoot them, right? \"They shoot horses, don't they?\" That movie...Ivan: No. You should Netflix it. Yeah. Okay.(Horsewhinnies)Oh! (Val laughs) Jane, Jane. Sound familiar? (Val laughs) Oh my God.Jane: Valerie! I thought, \"who is this?\" And then I saw the cameras and I knew itwas you. You never give up. Well, you do. You're really off the grid here, huh? Well, I'm not really off the grid. If I was, I wouldn't have gotten your email aboutthe Paulie G. thing. Oh, yeah. Okay.(Chuckles)Val: All right, okay. Yeah.Come in. Thank you. Yeah. Come on. Yeah.(Dog growls)(Loud clattering)Oh, look out.Watch it. Bust up the joint. Don't worry about that. Here, let me fix that for you, Jane. Oops. Yeah, it's... okay. Okay. Go ahead.Jane: Hey, Mickey.Mickey: Hey,sweetie.(Jane sighs)Val: Oh, wow.Val: This is nice.Mickey: Oh my goodness.You own this? Yeah.Val: Aww. Wow, good for you. \u0000 Looks like we made it. \u0000(Laughs) Neil Diamond. So good. I think it's Barry Manilow. Huh? I get it... I get it, Jane. I get it. Get why you live all the way out here, away from everything.You know, good for you. Yeah. So, Valerie... Um, thank you for thinking of me, but I'm not interested. So...Jane: Would you guys like some tea? Sure. Yeah,while we talk? Yeah, let's talk about it. All right. I make a mean tea. Whoa, careful there.Jane: All right. Oh. Okay. Yeah. Watch it. You gotta be careful, Ivan.Sorry.(Chuckling)Val: See why I need you?Val: So, um, Jane, I know you said you weren't interested in doing a reality show again.Um, thank you. But you knowwhat, this is HBO, and they asked for you, okay? They know who you are. Yeah, I met with someone there when I was trying to get distribution for mydocumentary. Well, okay. Now maybe they'll revisit distri-buting it. Okay? Get people to see it. Who knows what can happen? Yeah. Actually, yeah, some peopledid see it and then that happened.Val: Is that an Oscar? Is it real? Can I pick it up? (Jane chuckles) Yeah. (Val gasps) Yeah? Oh my. Ooh. Oh.Okay. Wow. \"Bestdocumentary short: The Hidden Women of Treblinka.\" What is that? Uh, it's about lesbians in the holocaust. Oh. Important. Yeah. 'Cause it got you this. Wow, so,\"Jane Benson and Joanne Meyer\"? Yeah, Joan. That's my ex. Oh! Oh. I didn't know you were... what, that I was Jewish or a lesbian? Well, both, you know. Doublewhammy. Well, nice to meet you, Jane Benson: Jewish lesbian with an Oscar. Good for you. Good for you.(Sighs)Wow. Doesn't mean anything. \"Doesn't meananything\"? (Laughs) It's an Oscar! Ooh, and I made banana bread. Oh. I don't eat that, but... I'll have some. Tyler, make sure that you get me with the Oscar.You know what, Mickey? Here. Will you take a picture of me with the Oscar? Just wanna make sure. I want it on my phone. Yeah. Take another one for safety.And another one. Another one. Just one more. (Mickey laughs) Jane, taking pictures with your Oscar. I know, I'm right in the room. Oh. (Laughs) Couldn't seeyou, I was blinded by the gold. (Laughs) Oh, wow. Look at that. Makes a good doorstop...Val: Doorstop. (Laughs) 'cause it doesn't matter. \"It doesn'tmatter\"?Jane: I still had trouble raising money for my next one. Oh. I have an unfinished movie about the Taiwanese boat women in my barn. Nobody evenwants to know about it. Well, maybe HBO wants to know about it. Right? Oh, no can do. I'm a lightweight. Mickey? Oh, hello! Mm, that's right. Well... Oooh. Yeah,oh, no. Uh-uh. Sorry. Nope, not 21. You just work the camera, okay? I'm 25. Well, okay, I don't want the other kids to feel bad. All right. Yeah. Go ahead. Is thisbutter? It's goat butter. Is that a thing? Yeah. The horses like the goats. You need to... okay. Come up. Aww.Jane: That way. There you go. Yeah. They're rescuehorses. They're, like, traumatized when they come in, and the goats are, like, entry-level. So the horses get comfortable with the goats, and then they getcomfortable with people, and so that's goat butter. Do you have anything in a pump or a spray? Mickey... trying to talk business with Jane. (Giggles) So, Jane,seriously, how 'bout it?(Sighs)Nothing? You're not gonna say anything? You were so uptight around Paulie. Uptight? I-I was... I wasn't uptight. Oh, were you just"}
+{"doc_id":"doc_49","qid":"","text":"ACT ONE Scene One - KACLFADE IN Frasier is listening to a caller.Marie: [v.o.] Um, you see, Dr. Crane, there's this man I'd like to go out with, but he's fortyyears old and he's never been married. Do you think that means something?Frasier: Well, it could mean he has a fear of commitment... or it could mean he's justbeen lucky!He laughs at his own wit, then realizes no one is laughing with him.Frasier: Marie, that was a joke.Marie: [sighs audibly] Did I mention I'm callingfrom a pay phone?Frasier: Alright, alright, Marie, um... I would say give him a shot, but uh... I'd keep that caution bulb lit. Thank you for your call, Marie.[punches a button] Who's next, Roz?Instead of handing him over to his next caller, Roz interjects with her own on-air opinion.Roz: If you ask me, it's divorcedpeople you have to watch out for. Someone's never been married - it might just mean they're a careful shopper. Whereas your divorcé will bite into any old pieceof fruit without even giving it a squeeze first.Frasier: The preceding was an unbiased opinion from my never-been- married producer, Roz, who, incidentally, hassqueezed more fruit than Tropicana. [irritably] May we take another call, please?Roz: We could, but it's time for a station break.Frasier: [surprised] Oh. Oh wellthen, we'll be right back after this.He punches a button and removes his headphones, then enters Roz's booth. She is already up and on the way out.Frasier: Roz,didn't we just take a break?Roz: The lot was full this morning - I had to park at a meter. I'll be right back.Frasier: Oh. Fine, just hurry.Roz pauses and turns backto Frasier. Neither of them notice Bulldog come into the hallway, then bend over to tie his shoe.Roz: [pausing] Do I have headphone hair? [off his look] Well, Imay have to flirt my way out of a parking ticket!Frasier: Oh, just go!Roz: OK, OK!As Frasier re-enters her booth, Roz turns and runs - and flips, literally head overheels, over Bulldog, and crashes to the floor. Frasier rushes back out to see Roz lying on the floor and Bulldog getting up.Roz: [clutching her ankle] Ow, ow, ow,ow!Frasier: My God! [hurrying over] Are you alright?Bulldog: I got the wind knocked out of me, but I guess I'm OK.Gil comes over.Roz: Ow, ow, myankle!Frasier: Here, Roz. [bending down and touching her leg] Does this hurt?Roz responds with a deafening screech of pain.Frasier: Alright, there's no nervedamage at least.Gil: Still, one ought to have an X-ray.Frasier: Yeah, come on.They start to help her down the hallway, with an arm around each of theirshoulders.Roz: Frasier, Frasier, the show!Frasier: No, that's alright, Roz, I'll get someone to fill in for me.Roz: No, I mean right now! You've got dead air.Frasier:Oh, God!He lets go of her, almost dropping her to the floor again, and rushes back into the booth.Bulldog and Gil help a moaning Roz into a chair by the side. Theformer sits next to her and the latter kneels by her leg.Bulldog: [to Gil] Take the shoe off.Roz: [in pain] Oh, oh...Gil: [on removing her shoe] Oh, dear.Roz:[worried] What is it?Gil: [distastefully] I see it's been a while since our last pedicure.Roz shoots a disgusted look at Bulldog.[SCENE_BREAK]BED ANDBOREDScene Two - Roz's apartment The living room shares the same space as the bedroom, and Roz is seated on the queen-sized bed, her injured ankle proppedup on a cushion. She is trying to paint her toenails. The doorbell rings.Roz: [calling] Who is it?Frasier: [from behind the door] It's Frasier.Roz: It's open.Frasierpulls open the door and enters. He is carrying a white box.Frasier: Hi, Roz. How were things at the emergency room?Roz: Frustrating. You know how it is - you'resitting there in complete agony and every crybaby with a gunshot wound waltzes right in ahead of you. How was it after I left?Frasier: It was OK. Weird Brucefrom Engineering took over for you. [looking around] That's quite a boot collection. Wouldn't it be easier just to put notches in your bed post?Roz: Those aremine. You hate the way I've decorated, don't you?Frasier: No, no. Matter of fact, I admire your courage.Roz: [noticing the box] Is that for me?Frasier: Oh, yes.[hands it to her] Freud said that there are only two things we need to make us happy: work, and love.Roz: Aw, thanks, Frasier! [opens the box] So you broughtme work.Frasier: Well, I thought answering some of the fan mail that had been piling up would give you something to do. And remember, this time death threatsdon't get photos.Roz's patented death stare is interrupted by a knock on the door.Roz: Who is it?Bulldog: [from behind the door] It's Bulldog!Roz: Shh! Pretendwe're not here.Frasier: Roz, you just said, \"Who is it?\"He goes to the door and opens it. We see Bulldog, clutching some white paper bags in his hands.Bulldog:Hey, Doc!Frasier: Hey, Dog.Bulldog: Hey, Roz! [noticing his surroundings] Wow! The whole place is a bedroom! [barks]Roz: What are you doing here?Bulldog:Well, I kinda feel responsible for you being on the disabled list. So I brought you some deli.Frasier: Nothing says I'm sorry like fatty meats.Bulldog: [walking intothe kitchen] You got your pastrami, coleslaw... OK, where's the french fries? I ordered french fries!We hear him slamming his hand on a hard surface.Bulldog:THIS STINKS! THIS IS TOTAL B.S.! [comes out of the kitchen] That apron boy is gonna...! [notices another white bag on the E-Z table next to Roz's bed] Oh, herethey are.He grabs them and goes back into the kitchen.Frasier: To think he does it all without steroids.Bulldog: [coming back out] You want me to stick these inthe oven?Roz: Actually, I'm not really very hungry.Bulldog: Oh. Then I guess you're not thirsty either? [pulls out a bottle of Wild Turkey]Roz: Glasses are on thetop shelf.He heads back into the kitchen, bottle in hand.Frasier: None for me, Bulldog. I'm off to the opera.Roz: [desperate] You can't leave!Bulldog: [calling]Hey, no ice cubes!Roz: [calling back] Just chip whatever you can off the edge of the freezer. [whispering to Frasier] If you leave me, he'll hit on me!Frasier: Roz,with a sprained ankle?Roz: You know what it's like in the jungle - they always go after the sick and the lame.Frasier: Roz, I'd like to stay, but I'm meeting peopleat the opera. I've got the tickets!Bulldog: [entering with two glasses] Here we go. I'll get you more ice in a minute when the feeling in my forehead comesback.Frasier: Well, curtain's going up. [opens the door and turns back] Listen, Roz, if you need anything, feel free to call me absolutely anytime. Well, except forthe next three hours, of course. I'm at the opera. Oh, no, no, no... four hours, it's Wagner. Um... oh, then I've got a late supper, then right to bed, I've got anearly squash game... tell you what, let's just say call me absolutely anytime after four tomorrow afternoon.He opens the door and exits, leaving Roz quiteeffectively in the doghouse.Bulldog: Hey. [clinks her glass with his] This is nice. You and me, having a drink together.Roz: [draining her glass] Yeah. It's beenfun. Bye! [slams her glass onto the E-Z table]Bulldog: How come you only painted two toenails?Roz: [sighing] 'Cause it hurts too much when I reach.Bulldog: Youwant me to finish them for you?He sits himself down on the bed, picking up the bottle of nail polish.Roz: No, please, it's OK.Bulldog: Hey, it's a nice colour. Goeswith the bruise.Roz: Bulldog, I mean it. Stop it.Bulldog: Hey, you got nice feet!Roz: Really? You don't think they're too big?Bulldog: You kidding? I could get thiswhole thing in my mouth, easy.[starts painting her nails]Roz: [semi-suspicious] You know, it's really nice of you to do all this for me. Kind of surreal... butnice.Bulldog: Oh, I figure if I'm nice to you... maybe you'll be nice to me.Roz: [pushing herself off the bed] I knew it, I knew it! You come over here acting allsympathetic, but you're still the same old horny, low-class slimeball you've always been!Bulldog: Hey, before you say something that ends up offending me...look, all I wanted to ask you is if, you'd be interested in producing my show.Roz: [shocked] What?Bulldog: Yeah, I'm not real crazy about the guy I got now. Andlet's face it - you're the best producer there is.Roz: You really think I'm the best?Bulldog: Hey, that goes without saying.Roz: [obviously won over] Well, Frasiergoes without saying it every day. [sits back down]Bulldog: Well, you don't have to answer right now, just take your time and think about it. But I gotta warn ya,when I set my mind on something, I get it. I once wanted to interview George Foreman. He said no... but I got him. [starts painting again] I had to paint histoenails FOUR times, but I got him![SCENE_BREAK]Scene Three - Frasier's apartment Roz is seated on the couch, her injured leg in Daphne's lap. Daphne isgiving her a massage.Daphne: You've been wrapping your bandage too tight. You've got to keep the blood flowing to the injured ligaments.Roz: Daphne, thatfeels great. Whatever Frasier's paying you, it's not enough.Daphne: Actually, I'll need a raise to get me to \"not enough.\"The door opens, and Martin enters,followed by Niles.Martin: Hey, Roz!Roz: Hey, Martin, what's going on?Martin: Oh, Niles bought me some new shoes!Daphne: [mock approvingly] Oh yes, look!They have tassels!Niles moves to hang up his coat, oblivious to Daphne's sarcasm.Niles: Aren't they exquisite? Those shoes were individually handmade by anartisan toiling in a hilltop village above Florence. [goes to the bar to pour himself a drink] The man is a hero there. It's an event when he completes a pair ofshoes. They ring the cathedral bell and the whole town celebrates.Roz: There's a town that needs a bowling alley.Frasier now enters through the frontdoor.Frasier: Evening, all!Niles: Hello!Roz: Hey, Frasier!Frasier: Oh Roz, Roz! Did you hear the show today? I was at the top of my form! I did a brilliant job ofcutting a narcissist down to size!Niles brings him a drink.Frasier: Oh, thank you, Niles. So... He stops, noticing Martin's footwear.Frasier: Ooh, Dad! New shoes?Do I hear cathedral bells?Martin: Ring-a-ding-ding!He gets up and moves to the kitchen.Frasier: Oh, Roz, I also wanted to apologize for leaving you last night. Ihope you didn't spend the whole evening fending off Bulldog's advances.Roz: Oh, no! Bulldog's not so bad! We actually had a good time!Frasier: [laden withsexual innuendo] Ohhh?Roz: What \"ohhh?\"Frasier: Well, I couldn't help noticing he came in to work this morning wearing the same clothes he had onyesterday.Niles: [laden with double sexual innuendo] Ohhhh??Martin: [walking back to his chair] What's going on?Niles: Roz slept with Bulldog last night.Roz: Idid not! How could you think that?Frasier: Well, I mean - dropping by, bringing a little gift? It was obvious he was after something!Daphne: Well, that's not fair!Dr. Crane is always dropping by and bringing me little gifts and he's not after anything!Niles looks decidedly uncomfortable.Roz: [indignantly] I did not sleep withBulldog - he didn't even hit on me. He did want something, though - he wanted me to leave you and come be his new producer.Frasier: [skeptically] Oh, well! Iwonder why he said that!He trades a knowing look with Niles.Roz: Because he really wants me.Frasier: Yes well, I think that goes without saying.Roz: For hisshow.Frasier: Oh Roz, Bulldog knows the blunt approach won't work with you, so he's being more subtle. But his ultimate goal remains to... well, to...Roz:[snappishly] To what?Niles: To play Aeneas to your Dido. [pause] Sorry you had to hear that, Daphne.Daphne: Oh, that's alright. As usual, I haven't the foggiest"}
+{"doc_id":"doc_50","qid":"","text":"Karen: So do you want to see it or not?Jim: I don't know. Feel like... Friday night crowds...Karen: Oh my God, you're like, agoraphobic.Jim: Agoraphobic?Karen:Yeah.Jim: Really?Karen: Yeah! You would rather sit on your couch and watch a Phillies game, than go out to a movie with your awesome girlfriend.Jim: Absolutelycorrect.Kevin: Later, Jim.Jim: Kev, have a good weekend.Karen: Bye. Ok, so this is what's gonna happen. You're gonna suck it up.Jim: Here we go...Karen: ...andwe're gonna go to dinner.Jim: Ok...Karen: And then we're gonna go to the movies.Jim: Sounds good.Roy: Hey Halpert!Jim: Hey... [Roy lunges towards Jim]Pam:ROY!Karen: [shrieks]Pam: Roy don't! [Dwight pepper-sprays Roy]Roy: [screams in pain] Ahh God!Dwight: Pam, please call security![SCENE_BREAK]Dwight:Everyday, for eight years, I have brought pepper spray into this office to protect myself and my fellow employees. And everyday, for eight years, people havelaughed at me. Well, who's laughing now? [Dwight blinks and winces in pain from the pepper spray][SCENE_BREAK]Michael: No need for consternation,everything is under control.Jan: Michael, last Friday one of your employees attacked another employee in your office!Michael: It was a crime of passion, Jan, nota disgruntled employee. Everyone here is extremely gruntled.Jan: [sigh] Is Toby there?Michael: No...Toby: I'm... here, Jan.Jan: Ok, what... what is the situationToby?Toby: Well, we fired Roy, obviously. And Jim won't press charges against Roy or the company.Jan: Thank God.Toby: Yeah, um, but now apparently Darrylhas some issue with his...Michael: No, he has been wanting a raise for a couple of months and he's just using this Roy thing as leverage.Jan: All right, well areyou gonna take care of this?Michael: Yeppers.Jan: What did I tell you about \"yeppers?\"Michael: I don't... remember.Jan: I told you not to say it. Do youremember that?Michael: Yeesh...[SCENE_BREAK]Pam: I really don't want to talk about it. I don't mean to be rude, but I just... I don't want to comment on whathappened. It sucked.[SCENE_BREAK]Jim: I guess... all things considered, I was lucky Dwight was there. And Roy was lucky that Dwight only used pepper spray.And not the nunchucks or the throwing stars.[SCENE_BREAK]Jim: Hey man, I never got a chance to thank you... for stopping Roy. Thank you.Dwight: Thank younot necessary and thus, not accepted. I saw someone breaking the law and I interceded.Jim: Okay. Um... Got you something.Dwight: Don't want it.Jim: Youdon't know what it is.Dwight: Don't want it. Won't open it. Don't need it. Won't take it. Citizens do not accept prizes for being citizens.[SCENE_BREAK]Jim: It wasa little glass display case for his for his bobblehead. That would have made us even, I think. He saves my life, I get him a box for his desk toy. EvenSteven.[SCENE_BREAK]Dwight: No, don't call me a hero. Do you know who the real heroes are? The guys who wake up every morning, and go into their normaljobs, and get a distress call from the commissioner, and take off their glasses and change into capes and fly around fighting crime. Those are the realheroes.[SCENE_BREAK]Oscar: Angela, Roy's check. He's coming in later to pick it up.Kevin: Man, I cannot believe I missed the fight.Oscar: It was crazy.Angela:You saw it? Describe it please.Oscar: Well, I heard some shouting. And I look over and Roy's by reception and you could just tell he's gonna punch somebody. Jimsays something. Roy stomps over there. All of the sudden, BAM. Roy goes down, and Dwight's standing there like an action hero.Angela: Oh...Oscar: It wasinsane!Angela: [flustered] Well... good for Dwight.[SCENE_BREAK]Michael: Ok I want you to be Darryl and ask me for a raise, because I want to try out some ofthese negotiation tactics on you.Jim: Where'd you get that?Michael: Wikipedia.[SCENE_BREAK]Michael: Wikipedia... is the best thing ever. Anyone in the worldcan write anything they want about any subject, so you know you are getting the best possible information.[SCENE_BREAK]Michael: Ok, Darryl, ask me for araise.Jim: Hey, Mike. Since Roy left I've been doing a lot more work, and I need a raise.Michael: Hmm, well that's interesting Darryl. I think... [mumbling softly]that maybe you should... [mumbling jibberish]Jim: I can't hear you.Michael: What I'm saying is that, [continues to mumble jibberish]Jim: Still nothin'.Michael:Ok, see what I did?Jim: No.Michael: By leaning back, and by whispering, I established a dominant physical position.Jim: Nice.Michael: Ok, let's try another one.Um...Jim: Okay.Michael: Walking out of the room unexpectedly.Jim: And what happens in this one?Michael: It's a surprise.Jim: Okay.Michael: Go ahead, ask mefor a raise.Jim: Can I have a raise?Michael: [gets up and begins to walk out of the room]Jim: [softly] s*x, Steve Martin, Terri Hatcher.Michael: What?Jim:What?Michael: No, what did you say?Jim: I didn't say anything. I was waiting to see what happened.Michael: Oh it... sounded interesting... what you weregonna...[SCENE_BREAK]Dwight: I saw the perpetrator advance toward the victim at a high rate of speed. His head was thrown back, his shoulder and arm cockedindicating an attack position. Perp grabbed the victim. I removed my weapon from its secure hiding place.Toby: Which is where?Dwight: Irrelevant. Discharged itat a distance of a little over a meter into the perpetrator's eyes, nose, and face area. Rendering him utterly and completely disabled. Then I contacted theauthorities. The end.Toby: Thanks Dwight.[SCENE_BREAK]Kelly: That is the bravest thing I have ever heard.Ryan: I can't imagine what I would have done.Kelly:I can. You would have left me to fend for myself. Like that time we were on the Ferris Wheel and that kid dropped a milk shake on me and you just laughed.Ryan:Well that was funny, that's why.Kelly: Oh it was?Ryan: Mm-hmm.Kelly: Okay, well the next time that you get scared, that you think a murderer's in yourapartment in the middle of the night...Ryan: Okay.Kelly: ...and you call me, to calm you down...Ryan: You know what? I didn't---Toby: Can you stop...Kelly:...you can just call somebody else 'cause I'm not gonna do it anymore, Ryan. I'm not.Toby: There's a bunch of people back here, maybe...Ryan: Well, don't talkto me about calling people in the middle of the night...Toby: Guys...Kelly: I call you in the middle of the night to tell you that I love you![SCENE_BREAK]Toby: Idon't think Michael intended to punish me, by putting Ryan back here with Kelly. But, if he did intend that? Wow. Genius.[SCENE_BREAK]Michael: [knock ondoor] Yeah.Darryl: You ready for me?Michael: Yes, yeah, absolutely. Have a seat.Darryl: Cool.Michael: You know what? Actually, let's go into the conferenceroom.Darryl: Okay.Michael: No, you know what? Let's stay here. No let's go... Yeah let's go to the conference room.[SCENE_BREAK]Michael: Tactic number six.Change the location of the meeting at the last second. Totally throws 'em off.[SCENE_BREAK]Michael: Number 14, declining to speak first. Makes them feeluncomfortable, puts you in control.[SCENE_BREAK]Michael: [long pause] I am declining to speak first.Darryl: Okay, I'll start. It's pretty simple really. I uh, I thinkI deserve a raise. I'm scheduled to get one in six months, but I'd like that to be moved up to now.Michael: Hmm. Ohh, Darryl. You are a good worker, and a goodman. I just, you know, times are tight. And I just don't think corporate is going to go for this right now.Darryl: Are you wearin' lady clothes?Michael:What?Darryl: Are you wearin' lady clothes? Those look like lady... pants.Michael: No, this is a power suit.Darryl: That there's a woman's suit.Michael: [Darryllaughs] I do not buy woman's clothes. I would not make that mistake again.Darryl: I'ma call Roy, man.Michael: Ohh... kay.Darryl: This is gonna make him feelbetter.Michael: All right.Darryl: This is too good.Michael: Alright, you know what? Pam, could you please tell Darryl that this is not a woman's suit?Pam: Oh myGod, that's a woman's suit!Kevin: You're wearing a woman's suit?Michael: No, I do, I, I wear men's suits, OK? I got this out of a bin.[SCENE_BREAK]Michael:There were these huge bins of clothes, and everybody was rifling through them like crazy, and I grabbed one. And it fit! So I don't think that this is totally just awoman's suit. At the very least it's bisexual.[SCENE_BREAK]Kevin: Who makes it?Michael: Uh, [reading the inside of his jacket] MISSterious. And it is mysteriousbecause the buttons are on the wrong side... that's the mystery.Phyllis: Look, it's got shoulderpads, and did you see that lining?Michael: Okay.Phyllis: Did yousee...Michael: Would you stop it, please?Jim: So, none of that tipped you off?Michael: It's European, OK? It's a European cut.Pam: Michael, the pants don't haveany pockets.Michael: No, they don't. See? [Michael lifts his jacket tail, sticks out his back side and shows Pam]Pam: [Laughing, covering her mouth]Michael:Italians don't wear pockets.[SCENE_BREAK]Pam: It's been a really rough couple of days... This helps a little.[SCENE_BREAK]Karen: Hey, maybe you want tocome over and raid my closet?Michael: No, I don't want to do that because I'm twice your size anyway.Darryl: Yeah, he look like Hillary Clinton.Michael: Um, let'sjust do this in 15 minutes.Darryl: Okay, can you just stand right there? [snaps camera phone picture] I gotta send some e-mails.[SCENE_BREAK]Michael:Negotiations are all about controlling things. About being in the driver's seat. And make one tiny mistake, you're dead. I made one tiny mistake. I wore woman'sclothes.[SCENE_BREAK]Kevin: Karen, how do you feel that Roy tried to kick your boyfriend's ass over another woman?Karen: I feel great, Kevin. Thankyou.Stanley: You must have been scared out of your mind.Karen: Well, you know it happened so fast I didn't really have time to be scared.Angela: Whathappened, exactly? I wasn't here, so I haven't really heard the whole story.Karen: Um, well, Jim and I were talking and Roy walked in looking superangry.Angela: Mm-hmm.Karen: And he's a big dude, you know? And all of a sudden, Jim pushed me out of the way, and Roy cocked his fist, and then bam,Dwight sprays him and knocks him on his butt.Angela: [flustered] Goodness.[SCENE_BREAK]Karen: When I heard Jim and Pam had kissed, my reaction was tohave lots of long talks with Jim about our feelings. Roy just attacked him. I'm not sure which one Jim hated more.[SCENE_BREAK]Michael: Let's get down tobusiness. Why don't you tell me why you think you deserve a raise.Darryl: Well, it's simple Mike. I mean we merged these two branches right? So now we'reshipping twice as many orders as we used to. With Roy gone we got a smaller crew. And I'm pickin' up all of his slack, so I think I should be compensated fairly,by gettin' a raise.Michael: [mumbles jibberish]Darryl: What? I can't hear you.Michael: [mumbling softly] That was a very good point.Darryl: I can't--- what, Mike?Are you---Michael: [mumbling softly] You make a very compelling argument.[SCENE_BREAK]Pam: Sorry I almost got you killed.Jim: Yeah, that was nuts.Pam:He could have broken your nose or something. Crazy. It's just so stupid. I mean, getting back with Roy and everything. I mean, what was I thinking, right?Jim:No, I mean, you guys really seem to have a strong connection.Pam: Not anymore. It's, um... It's completely over now.Jim: We'll see. I'm sure you guys will..."}
+{"doc_id":"doc_51","qid":"","text":"RESURRECTION OF THE DALEKSBY: ERIC SAWARDPart OneRunning time: 46:24[SCENE_BREAK]STIEN: Which way?GALLOWAY: Does it matter?MAN: Where arewe?MAN: Run!STIEN: Where've they gone?GALLOWAY: Where'd you think. Come on.[SCENE_BREAK]LYTTON: That was a shambles.TROOPER: The escape wasprevented?LYTTON: They got out of the warehouse. It should never have happened. And who ordered the use of machine pistols?TROOPER: Standing orders.Nothing anachronistic is to be taken to Earth.LYTTON: So instead we slaughter valuable specimens. Next time, stun lasers are to be used.TROOPER: It was anunfortunate mistake.LYTTON: Make it your last, otherwise the next execution squad will be coming for you.[SCENE_BREAK]TEGAN: Are you all right?DOCTOR: Ican't free the TARDIS from the Time Corridor!TEGAN: Is there anything you can do?DOCTOR: No, too much turbulence. Hold on. Things must stabilisesoon.[SCENE_BREAK]STIEN: What if they're still in there, waiting?GALLOWAY: We must warn our own people.[SCENE_BREAK]STIEN: Use the TimeCorridor?GALLOWAY: You said you were a soldier. Have you no sense of loyalty?STIEN: I'm a Quartermaster Sergeant. I'm not combat trained. I can't afford yoursort of principles. Look at me, I'm not exactly in condition. I can't even run properly.GALLOWAY: You're pathetic.STIEN: That too.[SCENE_BREAK]TURLOUGH:Doctor, we're weaving in time.DOCTOR: Yes, yes, I know.TEGAN: Can't we materialise?TURLOUGH: No, not until we're free of the Time Corridor. We riskbreak-up.TEGAN: Is that true?DOCTOR: Not if I have anything to do with it.TEGAN: Oh, no.[SCENE_BREAK]GALLOWAY: They've gone.STIEN: They could haveclosed the Time Corridor down. Let's get out of here. I'm scared.GALLOWAY: The entrance to the corridor is round here somewhere.STIEN: There's nothing therenow. What was that?GALLOWAY: A rodent.STIEN: Wearing combat boots?GALLOWAY: Back to the stairs, quick.[SCENE_BREAK]STIEN: Can you seeanything?GALLOWAY (OOV.): Get out of here!STIEN: Galloway?STIEN: Galloway!STIEN: Oh, Galloway.[SCENE_BREAK]TEGAN: What are we waitingfor?DOCTOR: The right moment. The time stress on the TARDIS varies greatly. I'm waiting for the right moment to break out of the Time Corridor.TEGAN: Can Iget to my room? I feel sick.DOCTOR: Too late, Tegan. Hold on.DOCTOR: Hold on![SCENE_BREAK]TROOPER: Check list completed. All systemsfunctioning.LYTTON: Raise the force shield. All troopers to battle stations. Battle speed![SCENE_BREAK]TEGAN: Doctor, I can't stand much more.DOCTOR: Holdon.DOCTOR: We're free.TURLOUGH: Is it over?DOCTOR: For the moment. Are you all right?TEGAN: Yes, I think so.[SCENE_BREAK]MERCER: I don't believe this.How long has the station been in this state?STYLES: Since regular inspections ceased.MERCER: This place is falling to pieces.STYLES: Huh. And you're seeing it ona good day. If you wanted to see everything spick and span, you shouldn't have asked for a transfer to a prison. Come on![SCENE_BREAK]MERCER: How'd youcope with that mess?STYLES: By ignoring it. My only concern is the medical welfare of the crew and the prisoner.MERCER: Isn't that rather a narrow view of yourresponsibilities?STYLES: Oh, do shut up, will you? It's the only way to stay sane. You've only been here three days. You know nothing.MERCER: I've been herelong enough to learn that the morale on this station is appalling.STYLES: If the Captain doesn't care, why should I?MERCER: Why, indeed?STYLES: Look, my tourof duty finishes here in eight weeks. I'm dependent on a good report from the Captain for my next promotion.MERCER: I see.STYLES: Oh no, I don't think you do.If I don't get a good report, I could be here for another two years.MERCER: If Control were aware of the morale on this station, the Captain wouldn't be incommand.STYLES: It's been tried before, usually by inexperienced new boys like you. And the way you're carrying on, you are going to end up exactly like theothers.MERCER: Meaning?STYLES: Dead. You are the third security officer we've had here in two years. [/i][SCENE_BREAK]TURLOUGH: Doctor, we're travellingparallel to the Time Corridor.TEGAN: Where are we going?TURLOUGH: Twentieth century Earth, it seems.[SCENE_BREAK]OSBORN: How long is your tour ofduty?MERCER: Two years.OSBORN: Oh? The Captain normally allows new arrivals to settle in before subjecting them to the tedium of Officer of the Watch. Whatdid you do?MERCER: I complained.OSBORN: Someone should have warned you.MERCER: I had every right. Have you seen the state of the defencesystem?OSBORN: You fear an attack?MERCER: That's not the point.OSBORN: Oh, I wouldn't worry about it. The only ship we ever see around here is our ownsupply vessel.CREWMAN: I think you may have spoken too soon. Sensors have picked up a ship in warp drive just enter the exclusion zone.MERCER: Inform theCaptain.OSBORN: I wouldn't bother him. Not yet. It could be anything. Let the fighters check it out first.MERCER: What?OSBORN: They'll be grateful for thepractice.[SCENE_BREAK]TEGAN: Have you calculated where we are?DOCTOR: Well, the instruments are still affected by turbulence, but I think it's 1984, London.Found it!TURLOUGH: Doctor, where are you going?DOCTOR: The Time Corridor. I want to find out what all this is about.[SCENE_BREAK]OSBORN: Fighter leaderhas made visual contact. It's a battle cruiser!MERCER: Go to Red Alert. Inform the Captain.CREWMAN: Sensors report we're being scanned, sir.MERCER: RedAlert at once![SCENE_BREAK]DOCTOR: Such neglect. A hundred years ago this place would have been bustling with activity.TEGAN: It might be again when wefind out who's operating the Time Corridor.DOCTOR: Come on. Trouble with you, Tegan, you have no imagination.TEGAN: That's because I can't get worked upabout a load of crumbling brickwork.[SCENE_BREAK]MERCER: Operate the deflector shield.CREWMAN: Power building.MERCER: Seal airlocks.OSBORN: The battlecruiser has attacked the fighters.MERCER: Can we give them any supporting fire?OSBORN: No, not at the moment.CREWMAN: All but airlock three issealed.MERCER: Alert maintenance.CREWMAN: We've been hit!MERCER: What's happening?OSBORN: Engineering report.MERCER: What's happening?OSBORN:Engineering report damage to the generating plant.CREWMAN: Cruiser's closing in, sir.OSBORN: I've lost contact with the fighters.MERCER: Open fire. I said,open fire!CREWMAN: I can't! We don't have enough power for the laser cannon. We are defenceless.CREWMAN: Look, we should surrender!MERCER:No!OSBORN: But we can't fight. We don't even have a deflector shield.STYLES: Mercer! How much longer is this slaughter to continue?MERCER: Where's theCaptain?STYLES: Dead, along with half the crew.OSBORN: Battle cruiser preparing to dock.MERCER: Which airlock?OSBORN: Three. Maintenance team's stillworking on it.MERCER: I want every available man down there. Block the corridor with anything they can find.STYLES: More killing?MERCER: Your bile would bebetter directed against the enemy, Doctor.STYLES: How long before they dock?MERCER: Three minutes. We'd better go down to the airlock.STYLES:Right.MERCER: Should we be boarded, destroy the prisoner.OSBORN: Good luck.[SCENE_BREAK]STIEN: Don't come in here. Soldiers.DOCTOR: What?DOCTOR:He'll be all right.TEGAN: Look at the way he's dressed.DOCTOR: He must have come down the Time Corridor.STIEN: You've got to help me.DOCTOR: Whathappened?[SCENE_BREAK]MERCER: Check how much longer the maintenance crew will be.STYLES: Right.MERCER: The cruiser's docked.STYLES: The cruiser'sdocked.MERCER: Get the shield down!STYLES: Come on, pull!STYLES: Pull![SCENE_BREAK]STIEN: I must rest. I'm hungry. I haven't eaten sinceyesterday.DOCTOR: Who's controlling the Time Corridor?STIEN: I don't know. Have you got anything to eat?TEGAN: Where are you from?STIEN: Earth, but notall the prisoners are from the same period. Are you sure you haven't got anything to eat?DOCTOR: Relax. I'm going into the warehouse.STIEN: No! I told you,there are soldiers.DOCTOR: Perhaps they can tell us what's going on, hmm?[SCENE_BREAK]STIEN: The Time Corridor's on the next level. Becareful.[SCENE_BREAK]MERCER: Wait until I give the order.CREWMAN 2: Okay.MERCER: Fire!STYLES: Now. Now!DALEK: Under attack. Withdraw.Regroup.DALEK 2: Under attack.DALEK: Withdraw.DALEK 2: Withdraw.DALEKS: Withdraw. Withdraw. Withdraw.[SCENE_BREAK]DALEKS (OOV.):Regroup.LYTTON: Fools! I told you this would happen. They mined the corridor.BLACK: We do not want excuses. The attack must continue.LYTTON: Only thistime, as I planned.DALEK: You will show more respect for the Supreme Dalek.LYTTON: Your battle tactics won't work. Their position is too strong.BLACK: Youmay proceed. We shall try your plan. But should you fail, you will be exterminated.[SCENE_BREAK]TURLOUGH: Dark, isn't it.DOCTOR: Look around.STIEN: Ican't see Galloway's body.TEGAN: Look, Doctor. Bullets.DOCTOR: Recently fired.TEGAN: Hardly alien.DOCTOR: Why advertise who you are, hmm?TEGAN:Where's Turlough?DOCTOR: Turlough?TEGAN: Where's he gone?DOCTOR: Turlough![SCENE_BREAK]ARCHER: Did you hear that?CALDER: No, sir.ARCHER: Ithought I heard voices.[SCENE_BREAK]STYLES: How long before they try again?MERCER: Soon.STYLES: Can't we board, take the fight to them?MERCER: I thinknot.MERCER: Fire!MERCER: Masks down! Masks down![SCENE_BREAK]MERCER: Move it! We're finished. It's every man for himself.CREWMAN: Oh, no, everyman for himself?MERCER: Destroy the prisoner.OSBORN: It's not working! Come with me.[SCENE_BREAK]DOCTOR: Turlough!ARCHER: May I help you,gentlemen? This is private property.DOCTOR: Er, yes, I'm sorry about this. A friend of mine wandered in here by mistake, and we're looking for him.ARCHER: Idon't see him.LAIRD: What's going on?ARCHER: Precisely what I'm trying to find out.[SCENE_BREAK]OSBORN: Come on, come on![SCENE_BREAK]TROOPER:The bridge has been secured, sir.LYTTON: Good. We must join them.DALEK: The Doctor has been detained in the warehouse.BLACK: Despatch a Dalek. He mustbe brought to our ship at once.DALEK: I obey.[SCENE_BREAK]OSBORN: Oh, does nothing work properly?OSBORN: Try here. What's that smell?MERCER: Well, itcan't be the prisoner.[SCENE_BREAK]ARCHER: Time Corridors. Alien beings. Really.STIEN: You may not believe us but all we need is a minute or two more. Theentrance to the Time Corridor is on this level, somewhere.DOCTOR: Interesting. You don't disbelieve us, do you?ARCHER: Of course I disbelieve you. I've neverheard such nonsense.DOCTOR: What have you discovered?ARCHER: Nothing. Take them away.LAIRD: Tell them, Colonel. They've guessed most of italready.ARCHER: Are you from the Press?DOCTOR: What have you found?ARCHER: Quiet.DOCTOR: Tell me! Alien objects?ARCHER: You'd better inform HQ aboutwhat's happened.CALDER: Okay, sir.[SCENE_BREAK]OSBORN: Right, explosive charges primed. What is that smell?OSBORN: Keep back!MERCER: Help"}
+{"doc_id":"doc_52","qid":"","text":"113 - Le Morte d'Arthur \"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young boy. His name: Merlin.\" ForestArthur's hunting party sneaks through the woods.ARTHUR: Merlin, spear. Merlin drops it on him.ARTHUR: Do you have any natural gifts, Merlin?MERLIN: No.Well, let me think. I'm not naturally rude or insensitive.ARTHUR: Just naturally irritating. They move forward and hear growling noises. Arthur catches Merlin'sexpression.ARTHUR: It's probably more scared of you than you are of it. Arthur signals to his knights where to go. Questing Beast jumps out at them. Arthurdrops his spear and they all run. Merlin falls. Arthur and Sir Bedivere help him up. Bedivere subsequently falls and gets killed by the beast.MERLIN: Have we lostit?ARTHUR: Who's missing?MERLIN: Where's Sir Bedivere?SIR BEDIVERE: *scream* Castle - Council Chamber Of DoomGAIUS: The creature you describe has allthe characteristics of the Questing Beast.ARTHUR: Surely that's a myth.GAIUS: According to the old books, the appearance of the Questing Beast is supposed toforeshadow a time of great upheaval.UTHER: Gaius, it's an old wives' tale.ARTHUR: Look, whatever it is, it's spreading panic. The people fear it will enter thecity.UTHER: Then we must kill it. Arthur, gather the guard together. You ride at dawn.GAIUS: I beg you, Sire, do not dismiss this. The beast is an omen. I've seenit come before, the night your wife Ygraine passed away.UTHER: I've told you not to speak of that night again. I have conquered the Old Religion. It's warningsmean nothing to me now. Arthur will destroy the beast and we will no longer suffer at its hand. Gaius's ChambersGAIUS: This is no ordinary beast,Merlin.MERLIN: Don't worry.GAIUS: No, listen to me, you don't understand. Uther may not respect the Old Religion, but it is very real. To face a beast such asthis, you must understand where it came from.MERLIN: What do you mean?GAIUS: At the very heart of the Old Religion lies the magic of life and death itself. TheQuesting Beast carries that power. One bite, you die, and there is no cure. Morgana's Chambers Morgana dreams of the dragon flaming, Merlin yelling \"NO!\",Arthur and Merlin running in the woods, Arthur lying sick in bed, and the Questing Beast. Morgana bolts up in bed screaming.GWEN: Morgana? Morgana?! Wakeup. Gwen struggles with flailing Morgana.GWEN: Wake up, it's me! It's Gwen! Stop it! It was just another dream.MORGANA: It was terrifying.GWEN: Oh, it'sgoing to be alright. Gwen hugs Morgana. Castle - Main Square Arthur speaks to his knights.ARTHUR: You've seen the foe we face. It's a creature of nightmare,but you are the best knights in the realm. We can, and we will, kill it before it harms another citizen of our kingdom. Arthur draws his sword.ARTHUR: For the loveof Camelot! The knights draw swords.KNIGHTS: For the love of Camelot! Morgana rushes out of the palace in her nightgown, hysterical.MORGANA:Arthur!ARTHUR: Morgana, what are you doing?MORGANA: You cannot face this! Morgana tries to grab him, Arthur struggles with her.ARTHUR: Morgana, go backto bed. There is nothing to be afraid of.MORGANA: Please, Arthur. I have seen terrible things! You cannot go!MERLIN: She probably had a bad dream, Sire. I'lltake her to see Gaius.MORGANA: No! I will not let you go!ARTHUR: Please, Merlin, get her inside.MORGANA: No! Arthur hands her off to Merlin and motions forthe guards to come down. Merlin guides Morgana up the steps.MERLIN: I will make sure he's safe, My Lady. I promise.MORGANA: No! Merlin hands her off to theguards.MORGANA: No! Guards lead her inside. Forest Arthur and knights sneak through the woods. Arthur finds gigantic paw print.ARTHUR: Let's follow the trail.They hear growling and heavy footfalls.ARTHUR: Keep close. They find and enter beast's lair. Merlin and Arthur split from the rest. they hear hissing.MERLIN:What is it?ARTHUR: Shh! Questing Beast sneaks up on them. Arthur pushes Merlin out of the way and takes on the beast. The beast claws him in the chest,throwing him to the ground. It moves in on Arthur. Merlin tries to distract it by waving his torch.MERLIN: Hey! Hey! Merlin uses magic to pick up Arthur's droppedsword.MERLIN: Fléoge! Bregdan anwiele gefeluc! Merlin enchants the sword and magically throws it into the Questing Beast, killing it. Merlin goes to Arthur andshakes him.MERLIN: It didn't bite you. It didn't. Merlin sees blood on his hand.MERLIN: Arthur?! Somebody help me! Gaius's Chambers Merlin clears a table withone sweep. Guards place Arthur's stretcher on it.GAIUS: What's happened? Gaius looks at Arthur's wound.GAIUS: He's been bitten.MERLIN: I tried to savehim.GAIUS: You must tell the King.MERLIN: There must be something you can do.GAIUS: I wish there was.MERLIN: I'll find a cure.GAIUS: Merlin!MERLIN: Trustme! Merlin bolts into his room.GAIUS: Can you hear me, Sire?MERLIN: Here. Merlin brings out magic book.GAIUS: The King'll be here any moment!MERLIN: Hecan't die. It is my destiny to protect him. We haven't done all the things we're meant to do.GAIUS: That is a lament of all men.MERLIN: Gaius, he's myfriend.GAIUS: Then save him. Merlin uses magic to flip through the book.MERLIN: Gestathole. Nothing happens. Merlin flips through the book again.MERLIN:Thurhhaele. Nothing happens.MERLIN: Maybe the spells need time to take effect.GAIUS: The bite of the Questing Beast is a death sentence that no magic canoverturn.UTHER: Where is the Prince?! Where is my son?! Uther enters.UTHER: Arthur! Merlin magically closes his magic book.UTHER: Do something,Gaius!GAIUS: I am trying, your majesty.MERLIN: Gaius will find a cure. He will not let him die.GAIUS: I will do everything in my power. Uther desperately picksup Arthur himself.UTHER: I'll bear him to his chamber. Castle - Main Square Uther walks through the Square with Arthur in his arms, Merlin and Gaius following.Uther collapses in his grief. Four knights come to bear Arthur inside as the King weeps on his knees. Morgana opens a window and watches the scene below.Dragon's Cave Merlin rushes to the Dragon's Cave.MERLIN: I have failed Arthur, failed in my destiny.KILGHARRAH: And yet, you would not be here if that weretrue.MERLIN: He was bitten by the Questing Beast. He's going to die.KILGHARRAH: Does he still breathe?MERLIN: Only just.KILGHARRAH: Then there is still timeto heal him.MERLIN: I've tried. I cannot save him.KILGHARRAH: You do not know how to save him.MERLIN: But you can tell me how?KILGHARRAH: Perhaps. Itwill not be easy.MERLIN: I will do anything.KILGHARRAH: Anything?MERLIN: Please, just tell me what I have to do!KILGHARRAH: Very well. The Questing Beastis a creature conjured by the powers of the Old Religion. You must use the same ancient magic to save him.MERLIN: But the Old Religion died out centuriesago.KILGHARRAH: The Old Religion is the magic of the earth itself. It is the essence which binds all things together. It will last long beyond the time ofmen.MERLIN: But how can that help me save Arthur?KILGHARRAH: You must find those who still serve it. Those who hold dominion over life and death.MERLIN:Where?KILGHARRAH: Go to the place that men call the Isle of the Blessed, where the power of the ancients can still be felt. There you will discover Arthur'ssalvation.MERLIN: Thank you. Thank you.KILGHARRAH: And Merlin, the young Pendragon must live, no matter what the cost. Gaius's ChambersGAIUS: Merlin,you're back. I need your help. You must get this to Arthur to ease his passing.MERLIN: No. We have to save him. Merlin starts packing food.GAIUS: You'vealready tried.MERLIN: The beast comes from the Old Religion. The cure must come from there as well.GAIUS: There are not many left with such an art.MERLIN:You said yourself, the Old Religion is still alive, and there is an island beyond the White Mountains...GAIUS: No!MERLIN: The Isle of the Blessed...You knowit?GAIUS: It was said to be the centre of the Old Religion, the focus of its power.MERLIN: Why did you keep this from me?GAIUS: Because it was too dangerous,Merlin.MERLIN: It's our only chance! I have to find it!GAIUS: And once you are there, what will you ask?MERLIN: For Arthur to be saved.GAIUS: The QuestingBeast chose Arthur. That means the Old Religion has decided his fate.MERLIN: Then I will convince them to change their minds!GAIUS: It is not that simple! TheHigh Priests have the power to mirror life and death, but there will be a price to pay. They will demand a life in return. Merlin, please, I beg of you.MERLIN: I'msorry, Gaius. Whatever the price is, I will pay it gladly. Arthur lies dying in his bed. Castle - Gate Merlin prepares his horse to leave. Gaius approaches him.GAIUS:Here. Gaius hands Merlin rolled parchment.GAIUS: You'll need a map. And I'm going to give you this. My mother gave it to me. Merlin unwraps tinypackage.GAIUS: It's a rabbit's foot.MERLIN: To keep you safe.GAIUS: It was said to protect you from evil spirits. It's rubbish. I don't believe in superstition. Idon't know why I gave it to you. Gaius reaches to take it back.MERLIN: No. I want it. Thank you. (sigh) You've got to keep Arthur alive until I get back. Merlinmounts and rides off through the woods. Arthur's Chambers Arthur stirs in his fevered sleep. Uther watches him.UTHER: Shh. Sleep, Arthur. Countryside Merlintravels through the countryside with the map.KILGHARRAH (voiceover): You must travel to the place that men call the Isle of the Blessed. Beyond the WhiteMountains. Through the Valley of the Fallen Kings. To the north of the great seas of place name: Marador, you will find a lake. Arthur's Chambers Gaius is asleepin the chair next to Arthur's sick bed. Gwen enters and knocks on the door to wake Gaius.GWEN: Gaius? You should get some rest.GAIUS: He must not be leftalone.GWEN: I will nurse him. Gaius leaves. Gwen takes the towel from Arthur's forehead, dips it in a bowl of water, and sits on the bed to tend to him.GWEN:You're not going to die, Arthur. I'm telling you. Because I know that one day you will be King. A greater king than you father could ever be. It's what keeps megoing. You are going to live to be the man I've seen inside you, Arthur. I can see a Camelot that is fair and just. I can see a king that the people will love and beproud to call their sovereign. For the love of Camelot, you have to live. Arthur's Chambers A crowd gathers outside Arthur's window holding candles. Utherwatches from the Griffin Landing window. Gaius comes up behind him.GAIUS: Is there anything I can get your majesty?UTHER: The people have begun to saygoodbye.GAIUS: He's not yet gone, Sire.UTHER: But he will not recover.GAIUS: Not without a miracle.UTHER: I don't believe in miracles. Lake / Isle Of TheBlessed Merlin approaches the lake, steps in a little boat.MERLIN: Astyre. The propels boat across the lake. Merlin steps out into the fortress on the island andlooks around.MERLIN: Hello?NIMUEH: Hello, Merlin.MERLIN: You.NIMUEH: Do you know who I am?MERLIN: Nimueh. You can't be who the dragonmeant.NIMUEH: And why is that?MERLIN: You tried to kill me.NIMUEH: Before I understood your importance.MERLIN: And Arthur.NIMUEH: Arthur was neverdestined to die at my hand, and now it seems I will be his salvation.MERLIN: So you know what I've come to ask?NIMUEH: Yes.MERLIN: Will you do it?NIMUEH: I"}
+{"doc_id":"doc_53","qid":"","text":"2.10 - The Bracebridge DinnerOPEN IN STARS HOLLOW[Lorelai and Rory are building a snowman in the center of town.]LORELAI: How do you like thatmouth?RORY: Um, it's not very mouthlike.LORELAI: Oh, I think it works.RORY: It's tilted to the side.LORELAI: Yeah, no, it was intentional. It gives her a uniqueexpression.RORY: Like she had a stroke?LORELAI: Fine, I'll just use the Mrs. Potato Head lips.RORY: No, forget it, leave stroke-mouth. It's not like we're gonnawin this anyway.LORELAI: Whoa, bad attitude.RORY: Mom, face it. That is the single most incredible snowman I have ever seen. [looks at a man working on anelaborate snow sculpture]LORELAI: I'm sorry, that snowman is way over the top, way too showy. It's screaming 'I'm incredible, I'm special, look at me.'RORY:Kind of the point of a snowman-building contest.LORELAI: Hmm, I hate this man with every fiber of my being.RORY: He looks nice.LORELAI: He's a ringer.RORY:How do you figure?LORELAI: Someone recruited him, promised him a handsome sum, financed his theatrical snowman accoutrements, so he could snatch victoryaway from a deserving local in order to bag the contest prize for himself.RORY: Seems a little elaborate considering that the prize is a set of new USquarters.LORELAI: Oh, we're ignoring him now. So, what are we gonna do on your school break?RORY: A lot of nothing.LORELAI: Sounds good.RORY: Plus somehomework.LORELAI: And a lot of movies.RORY: Oh, we have to rent Godfather 3 on DVD.LORELAI: You're kidding.RORY: In the audio commentary, Coppolaactually defends casting Sofia.LORELAI: Now that is fatherly love. What's all this homework you have to do?RORY: Just stuff for the paper.LORELAI: What?Why?RORY: Because Paris wants the first issue back to be a double issue, so we have to prep over break and she says the news never sleeps.LORELAI: Whatabout Paris, does she ever sleep?RORY: I think she periodically makes a whirring noise and then just shuts down.LORELAI: Well, you can't work the wholetime.RORY: I won't, I promise. Oh my God.LORELAI: What?RORY: He's power buffing.LORELAI: Aw, now that is just wrong.RORY: We're competing against theMichelangelo of snow.LORELAI: And we're Ernest Builds a Snowman.RORY: We shouldn't look at him anymore.LORELAI: Heads down, stay focused.RORY: We cando this.LORELAI: Absolutely.[their snowman's head falls off]RORY: Let's get some coffee?LORELAI: Right behind you.OPENING CREDITSCUT TO INDEPENDENCEINN[Michel is at the front desk on the phone. In the background, Rune is jumping up and down trying to dust a picture frame.]MICHEL: [oh phone] Yes, you canrent a car in Manhattan and return it in Hartford. That's that's no problem, sir. Yes. Yes, you can return it to Bradley International. That's that's very convenient.Or you you can um, you - hold please. [puts phone down, walks over to Rune and grabs his arm]RUNE: Ah!MICHEL: Stop that.RUNE: Stop what?MICHEL: Stopjumping like a Mexican bean.RUNE: Well, Lorelai asked me to dust the picture frames. How do you suggest that I clean the top, smartie? [Michel takes the pictureoff the wall] Well, I didn't know that you could do that.MICHEL: Yes, I am miraculously talented, aren't I?RUNE: I thought an alarm would go off like in TheThomas Crown Affair.MICHEL: That would be if this was a museum, and you were a man allowed in museums.LORELAI: Hey, no bickering in the lobby,guys.RUNE: Where are we allowed to bicker?CUT TO INDEPENDENCE INN KITCHENSOOKIE: You've got all the mushrooms? You double checked?JACKSON: I'vetriple checked. I've quadruple checked.SOOKIE: The shitake, the nameko, the chanterelle?JACKSON: Once again, I've got it all.SOOKIE: The matsutake? Themakeniya?JACKSON: Uh wait.SOOKIE: What?JACKSON: I don't have makeniya.SOOKIE: You don't have makeniya?JACKSON: I don't have makeniya.SOOKIE: Imade it up. [giggles] You passed the test.JACKSON: Don't test me.[Lorelai walks in the kitchen]LORELAI: Hey, the auditions are starting. You wanna comewatch?SOOKIE: Ooh, yes!JACKSON: Auditions for what?SOOKIE: Musicians.LORELAI: For the Bracebridge Dinner.JACKSON: Geez, you guys are going crazy withthis dinner.SOOKIE: Jackson, I told you, this dinner is not just about food. We are recreating an authentic 19th century meal.LORELAI: The servers are all gonnabe in period clothing, they're gonna speak period English. Here, look at the costumes.JACKSON: Nice.SOOKIE: We're talking seven courses here. Soup, fish,Peacock Pie, the Baron of Beef, the salad, then the Plum Pudding and the Wassail.LORELAI: And there's gonna be a big raised platform where the Squire ofBracebridge is going to preside over the festivities.SOOKIE: Yeah, he tastes the foods and makes pronouncements. He's like the host of the evening, and hiscostume is the coolest.LORELAI: Ah.JACKSON: It all sounds great.SOOKIE: Oh, it is, it is. By the way, you're playing Squire Bracebridge. Ready?LORELAI: Let'sgo.SOOKIE: Yeah. [they leave]JACKSON: Huh? What was that?CUT TO LOBBYSOOKIE: What are we looking at today?LORELAI: Okay, this is the last on our list.We've already got our trumpets, our madrigal singersJACKSON: Uh, sorry to interrupt but I'm not playing Squire Bracebridge.LORELAI: We've got all our serverslined up. This is just for recorder players and harpists. Hi. Uh, lay some on us guys.[two recorder players play]SOOKIE: Hey, you cats really know how to blowthose things.LORELAI: You've got the gig. I will call you later with the details. Thanks.[the recorder players leave]JACKSON: So are we clear on this? I'm notplaying Squire Bracebridge. Sorry you were under the impression that I'd do this.SOOKIE: When do the guests arrive?LORELAI: Thursday at four - on their ownjet.SOOKIE: After buying out the whole inn.LORELAI: Must be nice to have money.SOOKIE: Uh! Hey, you know what struck me today?JACKSON: Was it the factthat I'm not the Squire - did that strike you?SOOKIE: We are crazy for doing this.LORELAI: We're beyond crazy. We are 'Anne Heche speaking her secretlanguage to God and looking for the spaceship in Fresno' crazy.SOOKIE: Oh Quiness, nokka don atta.LORELAI: Il ek notra doska donne.JACKSON: And springingthis on me at the last minute too, I mean, that's just manipulative.[a chef comes out of the kitchen]CHEF: Sookie, fire! [leaves]SOOKIE: I gotta get back in thekitchen. You'll handle the harp?LORELAI: You got it.JACKSON: All right, okay, I'll do it. I'll play Squire Bracebridge if that's what you want. Geez.SOOKIE: ThanksSweetie. [walks to kitchen]JACKSON: As long as it's not just because I fit the costume. It's because I fit the costume, isn't it? [leaves]LORELAI: [to harpist] Goahead.[Lorelai's cell phone rings while the harpist is playing]LORELAI: [answers phone] Hi, it's Lorelai.CHRISTOPHER: Hey Lor, it's me.LORELAI: Oh, hi Chris,how are you?CHRISTOPHER: Good, good. You, uh, got a minute?LORELAI: Uh oh.CHRISTOPHER: It's not an uh oh, I just wanted to run an idea by you.LORELAI:Run it.CHRISTOPHER: Now it's totally your call and I don't want to step on any plans you've already made, but I know Rory has a break in school coming up, andI was wondering if you'd be cool with her coming to visit for a couple of days.LORELAI: Uhh, a couple of days? You mean she'd stay the night?CHRISTOPHER:Yeah, it's totally your call. Where are you, heaven?LORELAI: Do you even have room for someone to stay?CHRISTOPHER: Not just room - a room. A designatedguest room. Sherry fixed it up really nice.LORELAI: Aww, good for her.CHRISTOPHER: So what do you think?LORELAI: I don't know. It's awfully lastminute.CHRISTOPHER: It's totally last minute. You can say no and there'll be no hard feelings.LORELAI: Well, it's really up to Rory to say yes orno.CHRISTOPHER: So you're cool with it?LORELAI: Yeah, sure, if Rory is, yeah.CHRISTOPHER: Great, that's great. Uh, thank you. I'll let you run it past her andyou can get back to me whenever. No pressure.LORELAI: No pressure.CHRISTOPHER: Talk to you later.LORELAI: Yeah, talk to you later.CUT TO ELDER GILMORERESIDENCE[Emily, Richard, Lorelai and Rory are eating dinner silently. Rory get Lorelai's attention and gestures for her to say something.]LORELAI: So what areyour travel plans Dad?RICHARD: Hmm?LORELAI: You and mom, you always go out of town this time of year.RORY: Last year it was the Bahamas.RICHARD: Yes,that's right, it was.LORELAI: I remember you had fun too. You said the Bahama mians were real nice. The Bahamites? The Bahamamamamians?RORY: TheBahamians.LORELAI: Yes. They were nice.EMILY: They were nice.LORELAI: So, what are your plans?EMILY: We're not going anywhere this year.RORY: Why not?Oh, well yeah, it can be really nice just to stay at home sometimes because you can do fun things that you normally wouldn't have time for.LORELAI: Yeah, likeplay Running Charades, and get out that Slip 'n Slide.RICHARD: We'll see.EMILY: Yes, we'll see.RICHARD: Would you all excuse me? I have to make some calls.Say goodbye before you leave, will you?LORELAI: Yeah, sure Dad.[Richard leaves]LORELAI: When is this awfulness with work gonna resolve itself?EMILY: I don'tknow. The man is so sensitive. He reads so much into every little perceived slight.LORELAI: Yeah. I remember one time when I was a kid, Dad had put on someweight, and he bought a new suit to try to cover it up. And he wore it for us and he said, 'How do I look?' and I said, 'You look fat.' [pause] But I guess thatwasn't really a perceived slight so, I'll think of another example.CUT TO INDEPENDENCE INN LOBBY[Sookie is lecturing to a group of people; Kirk is transcribingeverything she says on his laptop.]SOOKIE: Keep in mind during the Bracebridge Dinner, we are not just servers, we are performers, so any time you're with aguest, you must be in character and you must speak Old English. It's a world we're creating here, so whatever we can do Kirk, you're driving me crazy!KIRK: Whome? [reads transcript] 'Whatever we can do to Kirk you're driving me crazy.' Yeah, me. Ah, sorry.SOOKIE: Okay, now guys, look at the materials I gave you, andtell me if a guest asks you how the food's coming, what would be the appropriate Old English response? Rune!RUNE: Greetings!SOOKIE: You just read the firstthing on the list, didn't you?RUNE: Maybe.SOOKIE: Guys, the correct response: Ah, oven's day with baked meat choke!RUNE: Question?SOOKIE: Yeah?RUNE:What color dress will I be wearing when I say this?JACKSON: Rune, don't be an idiot.RUNE: Well, this is stupid.JACKSON: Shut up and pay attention to Sookie.She worked very hard to bring this about.KIRK: Yes, but unfortunately we don't all share intimacies with her, so she doesn't cut us any slack.JACKSON: Shedoesn't treat me differently.KIRK: She's called you Peaches three times. It's all in the transcript.RUNE: Sookie, instead of talking in Old English, can I just talk likean old man?SOOKIE: What?RUNE: Hey you kids, get off my lawn!SOOKIE: No, no you cannot just talk like an old man.[Lorelai walks into the lobby]SOOKIE: Hi,honey, what's the matter?LORELAI: They're snowed in.SOOKIE: Who's snowed in?LORELAI: The Bracebridge group. They're stuck in Chicago. The dinner'soff.SOOKIE: No.LORELAI: Yes.SOOKIE: I'm gonna cry.LORELAI: I offered to fund the instant invention of a molecular transport device but they just didn't go for"}
+{"doc_id":"doc_54","qid":"","text":"[ INT. TARDIS ][SCENE_BREAK]( Clara and the Doctor come bursting through the TARDIS door, laughing and joking with each other. A bright light is behindthem. )Clara: I told you it'd work!The Doctor: It very nearly ate you for dinner.Clara: Oh, admit it. I totally saved your life.The Doctor: It wasn't going to eatme.Clara: ( laughs ) I totally saved you from having to marry that giant sentient plant thing. That bit where I jumped over the side? That was amazing! Hah! Iknew you were impressed!The Doctor: The second most beautiful garden in all of time and space, and we can never come back here because you, Miss Oswald,decided...( The TARDIS phone rings )Clara: Hello?Rigsy (O.C.): Clara? Finally. It's Rigsy.Clara: Oh. Rigsy. Hey. What's wrong?Rigsy: So I have this, er... It kind oflooks like a tattoo.Clara (O.C.): Seriously? I gave you this number for emergencies.Rigsy: It's an emergency, trust me. Just...Rigsy (O.C.): Come and take a lookat it. Please.The Doctor: Who said you could give out my number?Clara: Look, look, no matter how bad it is, we cannot take you back down your timeline just tofix a tattoo.Rigsy: That's just it. I didn't get a tattoo. And it's... It's counting down.Clara: Sorry, what?( Rigsy holds up a mirror and we see the number 538 onthe back of his neck. )Rigsy: The tattoo - it's a number and it's counting down to zero.Clara: Hang tight. We'll be right there.Rigsy: Hurry. Please.( We see thenumber closer and it changes to 537 )VWORP! VWORP![SCENE_BREAK][ INT. Rigsy's apartment - Day ][SCENE_BREAK]( From outside the building, we see aflashing light in one of the windows and we hear the sound of the TARDIS materializing. Inside, we see a baby in a pink cot. )The Doctor: Did you make thishuman?Rigsy: Lucy? Yeah, she's mine.Clara: Hello. Oh, Rigsy, she's gorgeous.The Doctor: She's better than that. She's brilliant. ( The Doctor stands up andraises his voice. ) What are you doing running round getting tattoos when there's...Clara: Shh!Rigsy: Look, I didn't \"get\" anything. I woke up this morning and itwas just there. Jen noticed it.The Doctor: OK, show me this tattoo you didn't get, then. It's a tattoo. It's very boring.Rigsy: No, wait. Just keep watching.( TheDoctor picks up a book and leafs through it. )Clara: What were you doing last night?Rigsy: That's just it - yesterday was a total blank. Jen said I left the housebefore dawn, I missed work, and I didn't get back till after midnight. No-one saw me all day.( We see the number change to 532. )The Doctor: Oh, that's notboring. That is very not boring.( The Doctor puts on his glasses and they chirp and hum. )Clara: What? What is it?The Doctor: OK, Local Knowledge, you'recoming with us. Bring the new human. ( The Doctor enters the TARDIS, then steps back out again. ) No! Don't bring the new human. I'll just getdistracted.[SCENE_BREAK][ INT. TARDIS ][SCENE_BREAK]( We hear some tones and a beam of light moves down Rigsy's body. )The Doctor: If you want yourextremities to stay attached, stand absolutely still. If not, we can provide a small bag, you can take them home at the end.Clara: ( looking at a monitor ) Rigsy,your phone. It's like they've wiped it, but only the last day. No location data, no texts, nothing. You're sure the screen wasn't cracked before yesterday?Rigsy:Mm-hm.The Doctor: Oh, right, OK, here we go. ( looking at the scan results on a monitor ) Ah... Good. Weird. Good and weird.Rigsy: Can I...?The Doctor: Oh,yes, yes. Of course. ( snaps his fingers ) First off... in the last 24 hours, you've had significant contact with alien life-forms, right here in the centre ofLondon.Rigsy: OK, so why don't I remember anything?The Doctor: You've been retconned.Rigsy: Huh?Clara: What-conned?The Doctor: Amnesia drug. Yourpre-frontal cortex is marinating in it. Oh, there's something else! Something... Er... not good. Weird.( The Doctor moves over towards Clara, while picking upsome white cards from the console. He begins looking through them in front of Clara. )Rigsy: What's he doing?Clara: He's making an effort to be nice.The Doctor:( hushed ) There is no nice way to say you're about to die.Rigsy: What?!The Doctor: Rigsy...Rigsy: No, no, no, no, don't start using my actual name now! Call mePudding Brain, call me Local Knowledge, whatever. Just don't call me Rigsy. You're going to save me. You're a doctor. That's what you do.The Doctor: OK. OK...Yes, OK, let's do this thing. First up, stop the countdown. 526 minutes, right! OK. Yes, you know what, Local Knowledge, I don't know who did this to you or why.But I do almost certainly know... how to find them.( The Doctor pushes some buttons and pulls a lever. )[SCENE_BREAK][ Library - Day ][SCENE_BREAK]( TheTARDIS materializes on the pavement beside a stone building. The Doctor, followed by Clara and then Rigsy exit the TARDIS and walk away from us. Cut to:looking down a long, wide corridor with high vaulted ceiling. The three walk towards us. )The Doctor: There have always been rumours. Stories passed fromtraveller to traveller, mutterings about hidden streets, secret pockets of alien life right here on Earth. Like a smuggler's cove, only not a cove, because it's righthere. Right in the middle of the capital.Rigsy: The hidden places are in the Great British Library?The Doctor: No. The maps are. ( The Doctor indicates a room with\"Map Room\" on the door and they enter. ) I never put stock in it. London streets that suddenly disappeared from human view? No. ( The Doctor unrolls a bundleof maps on a desk. ) You lot are always overlooking things, but whole streets? That would be excessive, even for you. If the stories are true, though, there shouldbe a street on one of these old maps that no longer exists in the real world.Clara: Like a trap street, only not.The Doctor: What did you say?Clara: A trap street.You know, when someone's making a map, a, um... cartographer, uses a fake street, throws it into the mix, names it after one of his kids or whatever. Then if thefake street, the trap street, ever shows up on someone else's map, they know their work's been stolen. Clever, right?The Doctor: My God. A whole London streetjust up and disappeared and you lot assume it's a copyright infringement.Rigsy: So we're looking for a trap street?The Doctor: We're looking for a trap street andwe're not going to find it here.[SCENE_BREAK][ INT. TARDIS ][SCENE_BREAK]The Doctor: The glasses are tracking your eye movements. Just keep lookingstraight down and...Clara: I know! Focus on the buildings directly below me.The Doctor: Whatever they're using, it only hides the street itself. It prevents youfrom noticing there's even something missing. They're somehow making our eyes skate right over it. Let's call it a misdirection circuit.( Rumbling )Rigsy: Clara!(She whoops and laughs )( She whoops )Clara: Hello, London!( She laughs )Clara: I'm good. I'm good.Rigsy: She enjoyed that...way too much.The Doctor: Tellme about it. It's an ongoing problem. Here. Keep it steady. Just move it slowly over the grid. When we're done, we'll have a map of the areas of the grid thatClara couldn't focus on.[SCENE_BREAK][ EXT. Pedestrian Precinct - London - Day ][SCENE_BREAK]Clara: So, these are the bits my eyes skated over.The Doctor:OK, we split up. Clara, that way. Local Knowledge... Forget the way you usually look at the world. This street's going to be hiding in plain sight.[SCENE_BREAK][EXT. London Street - Day ][SCENE_BREAK]Clara: 22, 23...The Doctor (O.C.): If you see something unusual or notable, dismiss it. Just keep walking. But ifthere's a bit of London so unremarkable that you don't even think about it... stop. You could very well be standing right outside a trap street. Count everythingthat you see.Clara: Four, five, six...The Doctor (O.C.): Because when you hit the area around a trap street, it's very likely you'll lose count.The Doctor: 79... 80...81... 82.Young boy: Huh?The Doctor: Remember - 82.Boy's Mum: Come along!Young boy: 82!The Doctor (O.C.): You'll lose count because the misdirectioncircuit is creating confusion in your mind. Details won't add up. Reality will have glitches in it. Like when you try to read the same simple sentence three timesover...Clara: One, two, three...The Doctor (O.C.): ..and the meaning just won't sink in.Clara: Got ya.[SCENE_BREAK][ EXT. London Street Corner - Day][SCENE_BREAK]The Doctor: Clara! Clara!Rigsy: Clara!Clara: It's off this street, I am certain.The Doctor: We're very close.[SCENE_BREAK][ INT. TARDIS][SCENE_BREAK]The Doctor (O.C.): We need to distract our other senses. Clara, go back to the TARDIS. Pick up all my most annoying stuff.( Phone beeps)[SCENE_BREAK][ EXT. London Street - Day ][SCENE_BREAK]The Doctor: What happened to the stuff I asked you to bring?Clara: Someone called you.Yesterday, 6am. Blocked number.[SCENE_BREAK][ Flashback ]Man: She's dead.[ End Flashback ][SCENE_BREAK]The Doctor: What is it? What are youremembering?Clara: Rigsy, what is it?Rigsy: You can't see it? There!Clara: I see it. You?The Doctor: 50 minutes left. Hoodie up, Local Knowledge. They knowwhat you look like in there.[SCENE_BREAK][ EXT. London Alley / Courtyard ][SCENE_BREAK]Rigsy: How come I saw it when you guys couldn't?The Doctor: Youwere upset, weren't you? Something slipped through the retcon memory, something that took over your whole mind, something juicy. So the misdirection circuitlost its power over you.Clara: Surely people wander in here all the time, then, distracted, on their phones or whatever?The Doctor: Perhaps they do...( Alarmrings )( He growls )Man: Three at once. That's new.Rump: Hang about. ( sniffs ) This one don't smell human.Kabel: Name, species and case for asylum. Quick asyou like.The Doctor: Asylum?Kabel: The reason you're here. The reason you need sanctuary. Why didn't they use the protocol?Rigsy: I saw through the circuitagain. I saw them. They're definitely not human.Rump: You do know this is a refugee camp?The Doctor: Yeah, of course.Ashildr: Of course he does! Now thatyou've told him.Rump: Mayor Me.Clara: Ashildr!Ashildr: Ashildr?The Doctor: That's your name. I keep telling you that.Ashildr: Do you? Infinite lifespan, finitememory - it makes for an awkward social life. You must be Clara Oswald. You're as beautiful as your photos.Clara: We met.Ashildr: Yes, I know. It's in mydiaries. Oh, don't look like that! I enjoyed our conversations. I've read them many times.Clara: OK, that's...slightly odd. But nice. Um, hang on, so this is whereyou've been. That's why he lost track of you. Oh, come on, please. It's really cute, he thinks I don't know. He's got this whole secret room in the TARDIS wherehe collects mentions of you.Ashildr: It's not cute. It's surveillance.The Doctor: It's professional interest.Ashildr: Precautionary measure.The Doctor: Still savingthe world from me, then?Ashildr: It's still here, isn't it?Clara: He lost track of you in the early 1800s. I wondered if you were...Ashildr: Oh, no. I let him know Iwas OK.The Doctor: I saw you.Ashildr: No. I got your attention.The Doctor: Yes, you did, and you have. Now we need your help. Someone in this place is incontrol of a Quantum Shade.Rump: ( snarls ) I knew I recognised that smell.Ashildr: Oh.Clara: Ashildr? What's going on?The Doctor: You.Ashildr: How do youknow this man?Clara: Hang on. You did this to Rigsy?The Doctor: What have you done?Ashildr: This man committed a crime. I sentenced him.Clara: Sentenced"}
+{"doc_id":"doc_55","qid":"","text":"Me. It's chubby chic. The wedding's not really happening, is it? - The wedding's off? - No. Ten minutes ago, you said you were engaged.- EMMA: Well, it's nothappening - MOTHER: I mean, I don't - because she's gay! - Just stop interrupt (GULPING)MOTHER: We're going. David wanted to pop in and water the plants.He's got such a toxic energy. Dad's dead.(SOBBING)You sure it's true (SUCKS TEETH) but convenient? - Convenient that his dad died? - Well Without her, youwould have nothing. You barely have me and You probably won't be here much longer.(DAVID SOBS)(SEXUAL MOANING)- Mom? - Did anything happen lastnight?EMMA: Oh God. I'm sorry, I don't feel safe when she does that. Sally, let's go.(PANTING)- That was incredible. - Mm.(WHISPERING): Did you like it when Itoe-fucked you? - Mm, yeah. - Yeah. - So tired. - Yeah. - I felt like I was, like - Pretty tired. pushing my toe into a little wet shoe. Tiny stickyshoe.(HUMMING)Little butterfly on your cheek. - Yeah. - Mm. Boop, boop, boop, boop, boop, boop-boo. Big fat butterfly. - Yeah, okay.- (BOTH LAUGH)- Meet thescratchy beetle.- (GRUNTS)Hello. Hmm, that's so nice. - I kind of like being still. - Mm.- (BUZZING)- Okay. Mr. Buzzy Bee! Maybe how about no more animals inmy face for now?- (BLOWING)- Okay. Sorry. Was I too much? No, no. I can't get enough of you. You know, I miss you when you're asleep. I miss you at work. - Iknow. - Can we Skype again tomorrow? Um, it's really difficult for me because you know, I've got so much work on, and - It's no wonder you're tired. - Yeah. Youknow, if you want to go back to your place and get a change of clothes, that might be a good idea. God, no. I'm fine, honestly. I, um, found a really cute pair ofyour knickers, actually. 'Cause I was, um turning mine inside out. I have to tell you, it kind of just reaches a point where, you know Mm. Well, normally, after twodays, it's Well, yeah. Yeah. Mine yet really, really gloppy. Like, you know, like, crusty and have big pooh stripes. Oh, God.(KINGS OF CONVENIENCE'S \"TOXICGIRL\" PLAYING)In the sky the birds are pulling rain (ELEANOR HUFFS) In your life a curse has got a name Makes you lie awake all through the night Hi, Nigel.She's intoxicated by herself Nigel. Every day she's seen with someone else EMMA: What are you looking at baby? Mustard pillows?(SPEAKINGINDISTINCTLY)(EMMA GIGGLING)KATE: Sally?- KATE: Hi!- DAN: Hi, Sal.SALLY: Hi.How are you? - Hi. I'm Dan. Hi, nice to meet you. - Hi. I'm Emma. Haven'tseen you for ages. You never answer your phone. - I do. How are you? - I've been ringing you. - Where have you been? - Just here, in the shops.DAN: Doug, I'min furniture hell, mate. How long did you stay at Wonky-Tonks? - Is that Dan Barrow-Felfe? - Yes, yes. Oh, my God. That's amazing. - How do you know him? -He's my husband? Oh, God. Well done. So what's this about an engagement? Huh? This ? - Is David absolutely thrilled? - It's good to see you. We've got to We'vegot to go. Sorry. Um, I was wondering, can I be a real w*nk*r (LAUGHS) and give you my show reel? - Yeah, yeah, yeah, yeah. Great. Brilliant. - Thank you. -Are you an actress? - Yeah. Emma De Florentier. - Nice name. - Yeah. I'm such a big, big fan.- DAN: I'll check it out.- SALLY: We have to go. - Sorry? - I've gotan appointment. - What appointment? - The thing that I was talking to you about. Okay. We should hang out! It's so great to meet you guys. - So good. We'vegot to go. - You've got amazing eyes.DAN: I love you.SALLY: We've really got to go. - Stop it.- KATE: Easy tiger.(WHEELCHAIR MOTOR WHIRRING)- (THUDS)-(LAUGHS COYLY)Great minds. I'm actually just trying to do a tiny bit of work, - and have a quiet little coffee, so - Oh. Lovely to, lovely to see you, Eleanor. Mmm.Yay. Thank you. Mmm. Mmm.(GLUGGING)Mmm, mmm.(GLUGGING)(RHYTHMIC GLUGGING)You okay? - Yeah. Help yourself, by the way. - I'm okay. - I'm fine. -No, I insist.(GIGGLES)- (CLICKS, WHIRS)- I'm okay, yeah.(CAMERA SHUTTER CLICKING)- Cake? - No, thanks. Okay, more for me.(GIGGLES)You've pimped upyour pimped up your ride. Did I? - Amazing. - Just a bit of fun. May I get the bill, please?(ALARM CLOCK RINGING)SALLY: Hi.- Hey.- (PHONECLATTERS)(CHUCKLES NERVOUSLY)- Hey. - Hi. I just made lunch. - Thank you. - Little potatoes. - My little baby potato. - I've got to go to work. Oh, honey,please don't go to work. Why do you have to go to work? - I'm gonna miss you. - I've got to. Oh, my God. Okay? Emma, I've got to go to work now. We can't dothat. What are you doing? God, I just My phone Come on, I can't be late for work again, Emma. I just really need to taste your pussy. - I need to taste yourpussy. - Oh, my God.(PANTING)Please, Em. I can't be late for work.- (EMMA PANTING)- Oh, God. Oh, it tastes like the sea.- (MOANS)- Em.(EMMA PANTINGRAPIDLY)Oh, yeah. Yeah! - f*ck! - Oh, yeah! - Oh, sh1t! - Yeah! - f*ck. - Oh, me, too. f*ck, sh1t, sh1t, sh1t! - f*ck. - Yeah, yeah, you're coming! Oh, my God!Jesus! It's f*cking 10:30!- (EMMA PANTING)- f*ck! Emma, I've got to go. - f*ck. I'm really sorry. - What the f*ck are you doing? I'm really f*cking late forwork.EMMA: Jesus Christ, what is wrong with you? sh1t, sh1t, sh1t. - I'm so sorry, I've just - What is wrong with you? Sorry.I've got to SALLY: Ow! f*ck. - What?- Did you just kick me? What are you talking about? - I've got to go. - Why are you being so weird? You're really scaring me. We should get therapy.(ELECTRONICMUSIC PLAYING)Bounce I'm so sorry. God.MICK: Ah, you've not missed much. Just a load of desperate dads perving at the waitresses. Nige' included. Mind you,he's hit the jackpot, there, lucky sod.- ELEANOR: Do you think?- MICK: Yeah. She looks very manly to me. You should come to one of my keep fit sessions.Maybe I will. Yeah. - Are you a widower? - Oh, no. No. - Just got one of them faces. - Right. Yeah. You got a nice, big body, though. Thank you very much. -Should just tone up a bit. - Yeah, sure. Yeah, well, maybe I'll come to one of your classes. - Yeah, you should. - Yeah. I mean, I've got good upper body strength,but, um, my legs are quite weak. - Hmm. - Um, withered. Not withered, but quite - Do you lift much, Nigel? - Lift? - Yeah, actually lift. - Uh, just things aroundthe house. So sorry, Deborah. All the clocks at home are wrong. Oh, yeah, right. I suppose the dog ate your homework, as well. Honestly, you're clearly nottaking this promotion seriously at all, Sally. Oh, no. No, thanks. Can I get one? Thanks very much. Evening. Glad you could make it. Ha, ha, ha. That's not funny.Deborah just gave me a bollocking. - Oh. - Who's your new friend? That's Roquette. Yeah, she's a fitness instructor. - Roquette. - Yeah. Like the leaf, you know,strong, peppery. The French twist. She does a bounce-back class for people coming out of relationships. - Getting them back on the horse. - Mm-hmm. - This isthe class. - Oh, hi. - Hi. - Hello, there.- NIGEL: That's for you.- BOTH: Thank you. - Cheers. - Oh, cheers to you. Yeah, you should come around. You know, forsome mac and cheese one night.NIGEL: That sounds nice. Yeah. You can still eat nice food, but just Bounce it off? - I bounce it off every morning. - Yeah, me too.Mum, I need a sh1t. Little charmer, isn't he? - She's fun. - Yes. Yeah, she is. Full of beans. Legend. Did I just I'd be a little bit careful. - Why? - Yeah, she looksvery aggressive. No, I mean, she's got a child.ELEANOR: But you like kids, though, don't you, Nigel? I love kids. Me too. Luckily, I, um, froze my eggs, so Whatabout you, Mick? Do you ever fancy kids?(SCOFFS)If I did, it's not something I'd admit to.(GASPS)BELINDA: Are you okay for drinks?I would love, um, a cortado.There's just water. Um, so, why don't we start by you telling me a little bit about, um, what's going on for you at the moment. - Um - Sorry, I can see that you'vegot a hot drink. Oh, yes, no, that's an herbal tea that I made in my own time, so It's fine. I think, um I don't think we really, um, need therapy. Yeah, I mean,you know, everything's pretty good, really. I think it's just teething problems. And just mopping up a few sort of - Stains? - Uh, yeah. Issues. Emotional stains.Right. Okay. I feel like when I first met - Emma, you know, she was really attractive. - Yeah. Really fun. Really, um smart. And then, as the weeks went on, Ithink I saw another side of her - Sides of her that I really don't like, at all. - Mm. She actually she kicked me in the shin - when I was going to be late for work. -Mm-hmm. Sort of play, a playful ? - Yeah. - I didn't like it. I mean, I don't remember it, but I'm sure it would've been a It was either, you know, when you getthat reflex in the knee - Yes.- EMMA: with a small hammer? Or it was a playful tussle. - Yeah. - Like horseplay. So it's about perception. I imagine if it's new,there's a lot of Sally's body that you're wanting to really get your hands on, and explore. Absolutely. There's no bit that I don't want to - Dig into. - Dig into. -Okay. - But Sally just has some real kind of blocks about (CLEARS THROAT) certain sexual things I'd like to do. What sort of things? I just really like exploring thebody - using different parts of the body. - Mm-hmm. Just give me an example What sort of ? Well, I was trying, to, um I don't know if you've heard of nosef*cking - Mm-hmm.- EMMA: in the anus. - Right. - I tried that.- BELINDA: And what happened? - I'm sorry, I'm not very comfortable talking about this. She justdidn't really like it, um, or Mm-hmm. And what was it, Sally, that you found difficult? There's some tissues there if you want some. I think it's partly she didn'tknow what was happening. - Okay. - I perhaps should have told her before. - But that's not very spontaneous, so - Mm-hmm. - Was it that, or ? - Yeah, I found itfrightening. Frightening? Okay, uh I only knew she was really frightened when she broke wind. - Okay.- SALLY: I really didn't like it. You didn't like it? I'd love it ifshe did that to me. Would you consider that, Sally? No. - No? - I sort of almost tried - to make her do that.- BELINDA: Popping around? Well, I was just, I tried tosort of sit on you, didn't I, one morning. Reversed myself onto her face, but Well, it's very sensitive of you to just start to try that out and gently um, encourageSally. I pretended I was looking for something - Right. - on the bed, and just sort of - you know - Wiggled back. And that wasn't something that you wanted toNo. I should have had a bath first, maybe, but Wonderful. Wonderful. - You okay?- BELINDA: Yeah, have a tissue. - I'm fine.- BELINDA: Are you sure? - Yeah. -Ba-ba-ba-da, ba-ba-ba-ba-dah Could you fill up my sippy cup? Yeah. Yeah. Sorry if I'm a bit hyper. Amazing weekend. - Really? - Yeah. Me and Nigel. Yeah, wewent to this art exhibition. Amazing! He loves his cake. That's me feeding him.- SALLY: Yeah?- ELEANOR: Yeah.(GIGGLES)- You okay? - Yeah. I saw on David'sInstagram that the engagement's on hold. Which I suppose means off? Honestly, ha Men! Ba-ba-ba-da, ba-bi-da-ba Ba-ba-ba-ba ba-ba - (CRASHING) -Ba-ba-ba-ba, ba-ba-ba-di-da-ba It's okay. It's fine. Ba ba, ba-da ba ba SALLY: No, I mean, I do want you to meet her. You know, she's my best friend.EMMA: IsDan definitely going to be there?SALLY: Yeah, I'm sure.EMMA: Okay, cool. Do I look okay?SALLY: Umm. Yeah.KATE: Hi. Oh, thank you.- SALLY: Oh, hi.- KATE:Darling. - Aw, it's so nice to meet you properly. - And you. And you. There you are. Thank you for this. That looks lovely. Mm, it's quite expensive wine, so I hope"}
+{"doc_id":"doc_56","qid":"","text":"Originally written by Alexa Junge. Transcribed by Joshua Hodge.[Scene: Moondance Diner. Ross, Phoebe, Joey, and Chandler are sitting at the counter, Monica isworking. Monica is wearing her costume, including big fake breasts.]MONICA: So, I'll get candles and my mom's lace tablecloth, and since it's Rachel's birthday, Imean, we want it to be special, I thought I'd poach a salmon.ALL: Ohhh.MONICA: What?ROSS: Question. Why do we always have to have parties where youpoach things?MONICA: You wanna be in charge of the food committee?ROSS: Question two. Why do we always have to have parties with committees?JOEY:Really. Why can't we just get some pizzas and get some beers and have fun?ROSS: Yeah.PHOEBE: Yeah, I agree. Ya know, I think fancy parties are only fun ifyou're fancy on the inside and I'm just not sure we are.MONICA: Alright. If you guys don't want it to be special, fine. You can throw any kind of party youwant.[Joey is staring at Monica's breasts]MONICA: Joey they're not real. I start miles beneath the surface of these things, ok, they're fake. See [squeezes herbreast] honk honk.CHANDLER: Wow, it's, it's like porno for clowns.OPENING TITLES[Scene: Central Perk. Chandler, Ross, Joey, Phoebe, and Monica are planningRache's birthday party.]ROSS: I talked to Rachel's sisters, neither of them can come.MONICA: Ok, um so, I still have to invite Dillon and Emma and ShannonCooper.JOEY: Woah, woah, woah, uh, no Shannon Cooper.PHOEBE: Why not her?JOEY: Cause she uh, she steals stuff.CHANDLER: Or maybe she doesn't stealstuff and Joey just slept with her and never called her back.MONICA: Joey that is horriable.JOEY: Hey I liked her, alright. Maybe, maybe too much. I don't know Iguess I just got scared.PHOEBE: I'm sorry, I didn't know.JOEY: I didn't think anyone'd buy that, ok.[Rachel enters]ROSS: Hi honey, how did it go?RACHEL: Agh,it was the graduation from hell.CHANDLER: Ya know, my cousin went to hell on a football scholarship.RACHEL: Ya know, I mean this is supposed to be a joyousoccasion. My sister's graduating from college, nobody thought she would. It's a true testament to what a girl from long island would do for a Celica.MONICA: Sowhat happened?RACHEL: My parents happened. All they had to do was sit in the same stadium, smile proudly, and not talk about the divorce. But nooo, they gotinto a huge fight in the middle of the commencement address. Bishop Tutu actually had to stop and shush them. But you know what, you know what the goodnews is? I get to serve coffee for the next 8 hours.PHOEBE: Ok, so I guess we don't invite her parents.MONICA: Well, how bout just her mom?CHANDLER: Whyher mom?MONICA: Cause I already invited her.PHOEBE: Ooh, ooh, did you ask Stacy Roth?JOEY: Oh no, can't invite her. She also steals.[Scene: Monica andRachel's apartment. Chandler, Joey, Monica, and Phoebe are setting up for the party.]PHOEBE: Ok, here are the birthday candles. Where's the birthdaycake?MONICA: Ok, we're not having birthday cake, we're having birthday flan.CHANDLER: Excuse me?MONICA: It's a traditional Mexican custard dessert.JOEY:Oh that's nice. Happy birthday Rachel, here's some goo.[knock at the door]MONICA: [answers the door] Dr. Greene. Oh my God it's Rachel's dad. What're youdoing here?MR. GREENE: What? The father can't drop by to see the daughter on her birthday?MONICA: No no, the father can, but um, since I am the roommate Ican tell you that she's not here and I'll pass along the message, ok. So bye-bye.MR. GREENE: Ohhh, you're having a parteee.MONICA: No, no, not a party. Just asurprise gathering of some people Rachel knows. Um, this is Phoebe and Chandler and Joey.MR. GREENE: I'll never remember all of that. So uh, what's the deal?Rachel comes home, people pop out and yell stuff, is that it?CHANDLER: This isn't your first surprise party, is it sir?[knock at the door, Monica answers to seeMrs. Greene]MRS. GREENE: Hi Monica.[Monica slams the door back shut]MONICA: Chinese menu guy. Forgot the menus.CHANDLER: So, basically just a Chineseguy.JOEY: Uh, hey, Dr. Greene, why don't you come with me, we'll put your jacket on Rachel's bed.MR. GREENE: Alright, that sounds like a two person job. [theywalk into Rachel's bedroom]MRS. GREENE: Well, my goodness, what was that?MONICA: Sandra, I am so sorry, I thought you were Rachel and we just weren'tready for you yet.MRS. GREENE: You thought I was Rachel?CHANDLER: Yes because uh, you look so young.PHOEBE: And because you're both, you know, whitewomen.MRS. GREENE: Oh, I missed you kids. Well, should I put my coat in the bedroom?CHANDLER: NO! No, I'll take that for ya.MRS. GREENE: Oh well thankyou. Such a gentleman. Thank you. [Chandler takes the hot pink coat and grimaces at it] Ahh, it all looks so nice, so festive, all the balloons... [Chandler,remembering that Joey and Mr. Greene are in the bedroom, throws her coat in a cupboard] The funniest thing happened to me on the way here. I was...[Joeypeeks out]PHOEBE: [cutting Mrs. Greene off] Ha-ha, that's great, ha-ha. I can't wait to hear the rest of it, ya know, but I really have to go to the bathroom so...Hey, come with me. Yeah, yeah, it'll be like we're gal pals, ya know, like at a restraunt. Oh, it'll be fun, c'mon. [they go in the bathroom]MONICA: Oh my God, ohmy God, oh my God.CHANDLER: Ok, think, what would Jack and Chrissy do?JOEY: [peeks back out] Ok, now that your coat is safely in the bedr-, [sees that thecoast is clear] oh, ok we can come back out in the living room.MONICA: So uh, Joey and Chanlder, I, I think it's time that you take Dr. Greene over to yourplace.CHANDLER: Uhh, yes, absdolutely, um. Why again?MONICA: Because that's where the party is you goon. See this is just the staging area.JOEY: Right thisis staging.CHANDLER: Yeah, this more than anything else, is the staging area.JOEY: [as they're walking out, Dr. Greene questioningly gestures at the HappyBirthday sign over the door] This is clearly in the wrong apartment. [they all walk across the hall][Scene: Later on in the hallway between the apartments.Chandler is showing people to the parties.]CHANDLER: Alright you guys are off to party number one [ushers 3 guys into Monica's apartment] and you, you are offto party number two [ushers four women into his apartment. Two guys try to follow and Chandler blocks them and shoos them off to Monica's apartment] Alrightfellas, let's keep it movin', let' keep it movin.MONICA: Chandler could you at least send some women to my party? [buzzer goes off] Alright that'sRoss.CHANDLER: Ok, they're coming, shhh. [Runs into Monica's apartment and grabs one last girl to take to his apartment]RACHEL: Ohh, thank you for thewonderful dinner.ROSS: Thanks for being born.RACHEL: Ohh, thank you for my beautiul earrings, they're perfect. I love you.ROSS: Oh, now you can exchangethem if you want, ok.RACHEL: Now I love you even more.[they kiss and Ross backs her into her apartment and turns on the lights]ALL: Surprise.RACHEL: Oh mygosh, wow. Monica. Oh my god. Mom. This is so great.MRS. GREENE: Happy birthday sweetie.RACHEL: Wow you, you. I had no idea.ROSS: Really?RACHEL: No, Iknew.ROSS: All right.MONICA: Ok, everybody, there's food and drinks on the table. Go across the hall.ROSS: What?RACHEL: What?MONICA: Right now, Joey andChandler's, go now.RACHEL: Why.MONICA: Just go.[they walk across the hall]ALL: Surprise.MR. GREENE: Happy birthday sweetpea.RACHEL: Daddy.[Ad break.Time lapse. Still at party at Chandler and Joey's. Rachel is talking to Chandler and Ross.]RACHEL: Both of them are here, both of them, both of them arehere?CHANDLER: Well, we could count again.RACHEL: I can't believe this is happening.ROSS: You know what, this is ridiculous, ok. This is your birthday, this isyour party. I say we just put 'em all together and if they can't deal with it, who cares.RACHEL: I do.ROSS: That's who.CHANDLER: Look, are you gonna beok?RACHEL: Well, I have to be, I don't really have a choice, I mean, you know, I could look at the bright side, I get two birthday parties and two birthdaycakes.CHANDLER: Well, actually just one birthday flan.RACHEL: What?CHANDLER: It's a traditional Mexican custard dessert...Look talk to Monica, she's on thefood committee.[Time lapse. Chandler runs out of the bathroom.]CHANDLER: Joey, Joey. Hey, some girl just walked up to me and said, 'I want you Dennis,' andstuck her tounge down my throat. I love this party.JOEY: Quick volleyball question.CHANDLER: Volleyball.JOEY: Yeah, we set up a court in your room. Uh, youdidn't really like that grey lamp, did you?CHANDLER: Joey, a woman just stuck her tounge down my throat, I'm not even listening to you.GIRL'S VOICE:Dennis.CHANDLER: Ok, that's me. [runs back]RACHEL: Listen honey, can you keep dad occupied, I'm gonna go talk to mom for a while.ROSS: Ok, do you haveany ideas for any openers?RACHEL: Uhh, let's just stay clear of 'I'm the guy that's doing you daughter' and you should be ok.[Back in Monica's party]MONICA: Okpeople, I want you to take a piece of paper, here you go, and write down your most embarassing memory. Oh, and I do ask that when you're not using themarkers, you put the caps back on them because they will dry out.[Back in Chandler and Joey's party]ROSS: Hi Dr. Greene. So, uh, how's everything in the uh,vascular surgery....game?MR. GREENE: It's not a game Ross, a woman died on my table today.ROSS: I'm sorry. See that's the good thing about my job. All thedinosaurs on my table are already dead.[Back in Monica's party]MONICA: Listen you guys, I don't mean to be a pain about this but, um, I've noticed that some ofyou are just placing them on. You wanna push the caps until you hear them click. [she demonstrates, Gunther starts to walk to the door] Gunther, where're yougoing?GUNTHER: I um, was sorta thinking about maybe...MONICA: No. No you can't go. No this is fun. Come on we're just getting started. Here, here's yourmarker.PHOEBE: Listen if you wanna go, just go.GUNTER: No, she'll yell at me again.PHOEBE: Alright, I can get you out.GUNTHER: What?PHOEBE: Shh. In aminute, I'm gonna create a diversion. When I do, walk quickly to the door and don't look back.[Back at Chandler and Joey's party]MR. GREENE: I think I need adrink.ROSS: Oh, here, I, I'll get it for ya. Whad'ya want?MR. GREENE: Scotch.ROSS: Scotch. Alright, I'll be back in 10 seconds with your scotch on the rocks in aglass.MR. GREENE: Neat.ROSS: Cool.MR. GREENE: No no no, no no no, neat, as in no rocks.ROSS: I know.[Back at Monica's party]MR. GREENE: Oh hello Ross,where have you been?ROSS: Hi. Uh, I have been in the bathroom. Stay clear of the salmon mousse.MRS. GREENE: Oh, scotch neat. Ya know, that's Rachel'sfather's drink.ROSS: Oh, mine too. Isn't that neat, scotch neat. Would you excuse me? [walks out in the hallway, Mr. Greene is walking out of Chandler andJoey's apartment] Hey, hey, where you uh, sneakin off to mister?MR. GREENE: I'm getting my cigarettes out of my jacket.ROSS: No. no.MR. GREENE: Whad'yamean no?ROSS: No, um, see 'cause that, that is, that is the staging area. If you go in there, it'll ruin the whole illusion of the party. Yeah, I think you take yourscotch back in there and I will get your cigarettes for you sir.MR. GREENE: Get my glasses too.ROSS: All righty roo. [closes the door] What a great moment to"}
+{"doc_id":"doc_57","qid":"","text":"Narrator: Our nation is built upon a history of battles fought over honor, family, and power. These bloody and iconic chapters define what it truly means to be anAmerican. These are Blood Feuds. At the height of the Klondike Gold Rush, Skagway, Alaska is America's last frontier.[Gunshots]Skagway is the entrée to thegold fields. Control Skagway, and you control the wealth of the Yukon.Narrator: Two men are locked in a power battle for the town. Put that rope down. One is\"Soapy\" Smith, a notorious criminal driven by greed. Soapy was the king of the frontier continent.Narrator: The other is Frank Reid, a vigilante bent on revenge.Reid killed a man because of his bad temper. Soapy Smith has too much control over this town. There was a tension. And this tension slowly built.Narrator: It'san epic feud that starts with money but will end in blood.Smith: Bring them in, dead or alive... That statement guaranteed bloodshed in Skagway. I'm SoapySmith. I've run the cleverest con games in the west. But now, I'm here in Skagway, Alaska to clean up on the Yukon Gold Rush. This is a town I mean to own.And Frank Reid ain't gonna stand in my way. Name's Frank Reid. The frontier is a place where a man can build something new. But Soapy Smith and his scamsare making things hard for me. I mean to put a stop to it. You can't stop me. My God. Don't shoot.Narrator: Frank Reid's and Soapy Smith's fates collide in 1897,during the great Klondike Gold Rush. The front pages of newspapers screaming, \"Gold. Gold. Gold.\"Narrator: As news spreads, men from all over the west packtheir bags and board ships bound for Alaska. They came from San Francisco. They came from Portland. They came from Seattle. The Yukon offered aget-rich-quick type of thing.Narrator: But most of the men have no idea what they're in for. What you saw from the boat was a forbidding landscape, toweringmountains. It was cold.Narrator: There are two main harbors that lead to the Yukon trail where the gold is. Dyea is the most direct route, but it's through thenotoriously treacherous Chilkoot Trail. The other longer but less rigorous path is via a desolate outpost called Skagway.Spangenberger: Skagway comes from anold Indian name meaning cruel, deadly winds coming down.Narrator: In the harsh early days, Skagway becomes the first place where many newcomers to theYukon would pitch their tent. Some of these men are here to try out their luck in the gold fields. Others see a chance to make money off the miners. And manyare here to put their pasts behind them. There was a popular song during the Gold Rush which was called \"What was your name in the States?\" You could leaveyour entire past behind. You could start over again.Narrator: One man looking for a new start is a tough frontiersman from the western states named Frank Reid.He's a land surveyor and former soldier who is trying to escape from a dark past. Reid had killed a man in Oregon.Spangenberger: He killed him because of hisbad temper. It was a neighbor that there was just some animosity brewing between them. The neighbor passed by him without acknowledging him. And thatoffended Reid's sense of honor.Hutton: The altercation was a real reflection of his demand for respect. He had a real edge to him.Narrator: Haunted by the killing,Reid yearns to put his demons behind him and contain his hair-trigger temper. He had a checkered past, but he wanted stability. He wanted somethingbetter.Narrator: Reid sees the Klondike as his chance for redemption. I don't think Reid was looking so much for the gold as for the opportunities that the GoldRush was gonna create. He sees a new chance to remake himself 'cause that's what the west is all about.Narrator: When Reid arrives in Skagway in the summerof 1897, he's one of the early settlers. It's totally a sea of mud. Heaven help you if you fell 'cause you're likely just to drown in the muck.Narrator: The cold andthe mud are only part of the problem. With no rules or oversight in this harsh environment, Skagway is a lawless place. But Frank Reid sees promise. He teamsup with some other settlers who share his vision to create a real town from the chaos and mud.Man: Where do we get started? Well, I was a surveyor down in thelower 48. I thought maybe I could help lay out your roads. He's looking for an opportunity. And, of course, he has the skill set, which no one else has, to lay outthe town. He's rewarded with a secure place amongst the leaders of Skagway.Narrator: Soon, there are primitive streets, a stable, and an inn to house some ofthe miners. Frank Reid's mission is now to tame this town and create law and order from the frontier chaos. He wants to be a founding father of somethinggreat.Narrator: Thus far, he's been able to keep his violent temper in check. But he's about to meet a foe who will ignite his fury and spark an epic battle for thetown that soon turns deadly. One of the newer arrivals in Skagway is Jefferson Randolph Smith. He's a man on the run from his bad reputation. Jeff was the kingof the frontier con men. That's what he's most well known for. Step right up. Who feels like trying their luck today? Three-card monte.Narrator: He's a slipperycharacter, true to his nickname... Soapy Smith. You got the lucky streak in your eye. How about you step up there? Just a dollar to play, huh? This one right here.All right. I got the ace of spades. And they're dancing. They're flying.Narrator: Having just arrived in Skagway, this infamous con man keeps a low profile at firstin order to scope out the town. With a history of organizing major cons and robberies all over the west, he's currently on the lam from Denver, Colorado, wherehe was the kingpin of a powerful crime syndicate and had been wanted for murder. There were several times where he was arrested for possibly killing people.But most of the time, it was swept under the rug. And he had enough power to get out of the charge and get out of a prison sentence.Hutton: He bought and paidfor protection from the police. He had been very, very successful. Oh. Better luck next time, all right? Who's next? Step right up!Narrator: But when Soapy'scorrupt ways finally get him run out of Denver, he's forced to find somewhere new. When he hears of the Gold Rush in Alaska, he arrives in Skagway with asingular mission... Take this town for all it's worth. As he always does in a new place, Soapy finds some accomplices and sets up shop by opening a saloon. Thelegend has it that Soapy arrived and right away began working the machinery behind the scenes, as he had done in all of his others towns, setting up the gangand setting up his various establishments.Narrator: The saloon has gambling tables, whiskey flowing around the clock, and ladies of the night. In this den of sin,Soapy and his gang run their scams and robberies. Soapy is about con operations, and he's about pickpockets and stealing people's money when they're in bedwith a prostitute. This is the way he makes his money. And, of course, he's running crooked card games.Narrator: With all this debauchery and theft and theunsavory characters who come with it, crime and violence begin to emerge in this small frontier town.[Gun cocks, gunshot]Hutton: For Frank Reid and others whohad come into Skagway hoping to establish something good, Soapy Smith was an incredible threat.Narrator: As legend has it, after hearing rumors of Smith'sillegal ventures, Reid stops by Soapy's saloon to confront him.And he seethes with anger over the depravity he discovers inside. Whoa! When Reid sees a drunkcausing trouble at the bar, he snaps... Get the hell out of here. ... and throws the scoundrel out. Reid's focus quickly turns to Soapy, the criminal who threatens todestroy Skagway. Reid thought that Jefferson Randolph Smith was a scourge on the community, that he was bad for business, that they didn't need to have hiskind around.Narrator: Soapy knows Frank Reid is one of the town pioneers who stands for law and order, so he expected this visit would come eventually. But hedoesn't like anyone putting a hand on his customers. I appreciate you trying to protect my place. But I don't mind a guy getting drunk. That's sort of the idea ofthe business. I want to see this place get built up, not torn down by a bunch of drunks. They weren't immediately hostile to each other, but they certainly weren'tfriendly, either. And so there's a tension.Narrator: Soapy tries to determine how much of a threat this lawman might be.Soapy: So, what brings you up here? Youain't out hunting for gold in the fields. You aiming to stick around, settle down? It's the wrong place for that. I intend to stick around.Narrator: The men partways, but both can see it's only a matter of time before the two collide.Hites: Frank Reid was trying to find an opportunity, trying to get Skagway built. Soapy justwanted to continue the old ways.Narrator: Soapy knows that Frank Reid could pose some serious problems for him. Reid is dedicated to shutting down Soapy'sillegal operations to prevent Skagway from falling into corruption and lawlessness like so many other old west towns had in the wake of the civil war. Reid hadtraveled all over the west to boom towns before. He knew the kind of people that lived there. And, of course, the arrival of Soapy Smith was just a nightmare.Here is exactly the sort of con artist that had been run out of all sorts of towns. He's the last thing that they wanted in Skagway.Narrator: Determined to rid thetown of gambling and thievery, Reid meets with the other founding fathers to sound the alarm and get organized. The group said, \"Okay. We're gonna take on thejob of trying to keep some semblance of civilization here.\"Narrator: In this distant frontier town with no police force or militia, the men band together with onegoal in mind... to establish law and order in Skagway. I'm here to propose Skagway is kept a safe city. Hear, hear. Somebody's got to keep order. The pioneers ofSkagway have to make their own government and their own rule. I propose that we form a committee to deal with some of the welfare issues of thiscity.Narrator: The group calls itself \"The Committee of 101,\" named after the many members who joined the cause. For the Committee of 101, for Frank Reid, it'sall about power, and it's all about money. We have a real opportunity here to become very, very wealthy. But to have money, you've got to have decency andsafety and law and order. Let's make Skagway into the jeweled city of the northwest.Narrator: But the new Committee of 101 knows there's one thing standingdirectly in their way... Soapy and his gang of thieves. They couldn't do much about it at that point. It was too early on.Narrator: As a first order of business, aU.S. marshal is appointed. But deep down, Reid knows he may have to personally step in to keep Soapy in line. There's no question that Frank Reid is one of thefew men in town with a real reputation. He certainly is one of the few men in town who everyone knew had killed someone.Narrator: Meanwhile, Soapy Smith isbusy quietly building his criminal empire. He has already won over the more corruptible merchants in town to support his cons, promising he'll never fleece alocal, just the miners passing through. Some merchants were behind him. As long as they weren't a part of the actual cons, they could look the other way andjust profit from it. Soon, hundreds of men are on his payroll. And Soapy, ever the smooth talker, starts winning over the rest of the town, as well.Hutton: He's"}
+{"doc_id":"doc_58","qid":"","text":"1.20 - P.S. I Lo...OPEN AT LUKE'S DINER(Lorelai and Rory are sitting at a table. Lorelai is in the middle of telling a story.)LORELAI: So then he starts ripping mytwenty dollar bill into like a million pieces. And I'm thinking to myself, there is a store full of people, why am I the one on line with the crazy magician? (Roryyawns) Okay, I'll cut to the end. So he couldn't put it back together again and he had to pay me back in quarters.RORY: Very good story.LORELAI: You looktired.RORY: I just haven't been sleeping very well lately.LORELAI: How come?RORY: Just have a lot on my mind.L: Anything I can do?R: Flag down the coffee.L:Arm going up now. Honey, you gotta wake up. Wanna play?R: One, two, three?L: I'll go first.(They both stare out the window.)R: And one.(Older man walksby.)L: Pass.R: Why?L: Because I'm not Anna Nicole Smith. Next.R: Two.(Teenage boy on a skateboard goes by.)L: Hmm, pass.R: Why?L: Because I'm not MaryKay LeTourneau.R: Okay.(Luke comes to the table while they are staring out the window.)LUKE: What are you looking for?L: My new husband.R: She's alreadypassed up two perfectly good prospects.L: But I'm feeling pretty good about number three.LUKE: Do I want to know what you're doing?R: Hey, Luke came to thetable, does that make him number three?LUKE: No.L: You don't even know what we're doing.LUKE: The safest answer in anything involving the two of you isno.L: We're playing one, two, three, he's yours.LUKE: I didn't ask.R: You can take the first guy that walks by, or if you decide to pass, assuming there'ssomebody better out there, you can take the next guy that walks by, or if you don't take him, you're automatically stuck with the third guy.L: Got it?LUKE: I'mnot playing.L: Well of course not. Its still my turn.R: Okay, guy number 3 is crossing the street right now.(All three of them stare out the window.)LUKE: Why amI looking?L: Because it's like a train wreck.(They see Kirk walking towards the diner.)L: Aww, no!R: Daddy!L: Not Kirk!R: Maybe he'll buy me a pony.L: I wannago back to the old guy.(Kirk walks in the diner. Luke walks over to him.)LUKE: Congratulations man.KIRK: Uh, thank you.(Lorelai and Rory start giggling.)KIRK:What?L: NothingKIRK: Okay, did somebody put the kick me sign on my back again?(Lorelai and Rory are laughing.)KIRK: It wasn't funny last week and it's notfunny now! I have asthma.(Kirk leaves the diner.)R: Mom, quick he's leaving!L: Oh no, Kirk come back, I love you! Drat. All right, your turn.R: I don't know Mom.You already got Kirk, how's a girl to top that?L: You're right, he's yours.R: And one.(They stare out the window. Dean walks by. Rory gets a sad look on herface.)L: Okay, so, we should order.R: Yeah, ordering's good.(Opening Credits)INDEPENDENCE INN(Lorelai is sitting at a table in the lobby organizing folders.Michel, who is behind the counter, answers the phone.)MICHEL: Independence Inn, Michel speaking.MAX: Yes, is Ms. Gilmore there?MICHEL: I'm sorry, she'sbusy, how may I assist you?MAX: Actually, I need to speak to Ms. Gilmore.MICHEL: Is this business or personal?MAX: Personal.(Michel walks over toward Lorelaiand tosses the phone on the table. Lorelai picks it up.)MAX: Is anybody there? Hello?L: Yes, Hello, hi.MAX: Lorelai?L: Max!MAX: Is this a bad time?L: No suchthing. Where are you?MAX: I am in the teacher's lounge.L: Hmm, what are you wearing?MAX: Nothing.L: You must be very popular.MAX: And chilly.L: I thoughtwe had a chat date tonight.MAX: We did, but I was thinking about something and I wanted to run it by you.L: Okay.MAX: So. .L: Ooh, hey, make a gorillasound.MAX: Why?L: I want to play Wild Kingdom.MAX: I am not making a gorilla sound.L: I'll tell you what color underwear I'm wearing. (pause) Had youconsidering the gorilla sound, didn't I?MAX: Yup.L: I'm good.MAX: Okay, I need you to be serious now.L: Says the man with no pants.MAX: We've been havingthese very successful phone calls for a couple of weeks now.L: Yes we have.MAX: And I think that all the talking has done us a lot of good.L: Yes it has.MAX: So Iwas thinking that maybe this weekend instead of a phone call, we should have a date. Let's have dinner.L: Hmm, at the same restaurant?MAX: At the sametable.L: Interesting idea.MAX: I think its time.L: You know what? So do I.MAX: Saturday night, 8 o'clock?L: Okay, wear some pants.MAX: I make no promises.L:Bye.CUT TO SIDEWALK(Rory is sitting on the curb reading a book. Lane walks over to her and drops a small bag of chips into her lap. Rory stands up and Lanehands her a small bag from the market.)LANE: Salt and vinegar.R: Thank you.LANE: Here's your gum, your soda, your New Yorker, and your dental floss.R: Aw,they didn't have the minty kind?LANE: They were out.RORY: Well, this is good too.(They start walking)LANE: He wasn't in there.R: What?LANE: Dean. He wasn'tin there.R: Oh.LANE: In case you were wondering.R: I wasn't.LANE: Okay, well I just thought you might be. So I mentioned it.R: Well, I'm not.LANE: Okay.R:Okay.LANE: I just thought you'd might like to know for future reference that Dean is not in the store on Wednesdays so you can mark it down on that little listyou're hiding from me that says where Dean is so that you can avoid him at any time.R: I was not avoiding the market.LANE: Oh, my mistake.R: I wasn't.LANE:Okay. So what are you doing tonight?R: Well homework, and then homework, and if I get all that done in time, some homework. You?LANE: I have to meet myscience partner.R: Fun.LANE: Yes, science is fun.R: Call you later?LANE: Okay.R: Hey Lane?LANE: Yeah?R: You're sure he wasn't in there?LANE: I asked.(Rorypulls a small notepad out of her pocket and writes on it.)CUT TO SIDEWALK(Lorelai walks past a store as Luke walks out of the store.)L: Hey.LUKE: Oh hey.L:Doing a little shopping?LUKE: Yeah, I just had a couple things to pick up.L: At the cat club?LUKE: Yeah.L: You had a couple things to pick up at the catclub?LUKE: Yeah I did, okay?L: Okay, I just never took you for a cat lover, a 97 year old woman, or. . . Hey what'd you buy?LUKE: Nothing.L: You've got a littlebag there.LUKE: I know that.L: It's got a cat paw stamped on it and a little cat nip bow.(Luke hands her the bag.)L: Wise man. (Lorelai pulls a pot holder out ofthe bag.) Wow, pot holders.LUKE: Yes.L: Little kitty pot holders. (she pushes a button that makes them meow.) They meow.LUKE: It's a present.L: For someoneyou hate?LUKE: It's Rachel's birthday okay. And don't say anything, she doesn't want anybody to know. She hates birthdays.L: Not as much as she's gonna hatethese pot holders.LUKE: I don't know how to buy gifts, okay, I don't like to buy gifts. I don't like getting gifts. I mean, this whole give giving and getting processis completely insane.L: The rant begins!LUKE: I mean suddenly, on a certain date, the level of my affection for a person isn't measured by the way that I treatthem or what we share.L: No!LUKE: I mean just because I didn't buy her furry slippers or a giant shoe tree, all of a sudden, I suck.L: Luke, stop. You know youcannot give her these pot holders.LUKE: Yeah I know.L: Why don't you go to the mall and walk around a little?LUKE: No, no malls.L: Luke.LUKE: I hate malls.L:Ladies and gentlemen, rant number two.LUKE: They underpay employees and overprice merchandise, they contribute to urban sprawl, they encouragematerialism, and the parking's a horror. You drive in, you pay a buck, and even if you're only there for five. .L: Okay, Emma Goldman, I'll tell you what. I'll go foryou.LUKE: You're gonna shop for me?L: I've got the day off tomorrow. I was gonna go anyway.LUKE: You're serious?L: I'll go get a bunch of stuff, all returnable.I'll bring it to you. You can pick what you want and the rest I'll return. I'll do all the work; all you'll have to do is point.LUKE: Point.L: One finger, preferably yourindex.LUKE: I don't know.L: Luke, this is the first special occasion you and Rachel have shared since she's been back. Don't you want to give her somethingnice?LUKE: Well I am taking her out to dinner.L: Luke.LUKE: Yeah, I gotta get her something nice.L: So then let me help.LUKE: All right, thank you.L: Oh, you'rewelcome.(Luke hands her his credit card.)LUKE: Nothing too out there, okay? She's not into all that trendy stuff. She likes simple, clean nature, okay. Elephants,candles, okay. Oh hey, if you can find a candle shaped like an elephant, that would . .L: Okay, you know what, I've got it all under control.LUKE: Okay, thanks.L:Okay. (Lorelai hands him back the bag with the pot holders in it.) Get rid of these.CUT TO KIM'S ANTIQUES(Dean knocks on the door and walks in.)DEAN: Hello?Lane? Are you here?(Mrs. Kim suddenly appears from behind a room divider, startling Dean.)DEAN: Geez.MRS. KIM: Who are you? Why you call Lane?DEAN: IUh.MRS. KIM: How you know Lane?DEAN: Well. . .MRS. KIM: You date her?DEAN: No.MRS. KIM: You try to?DEAN: No.MRS. KIM: Then why you here?DEAN: I . ..MRS. KIM: Empty your pocketsDEAN: Okay, I'm gonna go now.(Lane comes running down the steps.)LANE: Dean! Wait, wait.MRS. KIM: Who's Dean?DEAN: I'mDean.MRS. KIM: How you know Dean?LANE: We go to school together.MRS. KIM: You do?DEAN: Yeah, we're science partners.MRS. KIM: You don't talk!DEAN:Sorry.MRS. KIM: You're science partners?LANE: Yes Mama, I invited him over to work.MRS. KIM: Work?LANE: On our science project.MRS. KIM:Reproduction?LANE: Spores, molds and fungus.MRS. KIM: Science project?LANE: Yes.MRS. KIM: For school?LANE: Yes Mama.MRS. KIM: You're not dating?LANE:No Mama.MRS. KIM: Okay, follow me. (leads them into the kitchen) You sit here. You sit here. I'm going over there, when I come back over here, these chairswill be in same place. No moving, you understand?LANE: Yes mama.DEAN: Not you, him!DEAN: Uh, yes, I understand.MRS. KIM: I see all. (Mrs. Kim leaves thekitchen.)DEAN: So that's your mom?LANE: That's my mom.DEAN: Has she seen Patton?LANE: She just gets uptight about boys.DEAN: I sensed something likethat.LANE: Its nothing personal.DEAN: I know, I'm sure once she gets to know me she'll. . .LANE: Oh no, she'll hate you forever. It's just nothing personal.DEAN:Uh, we should probably get started.LANE: Chapter twelve?DEAN: Sounds good. (They both open their books and start reading.) Is this weird for you?LANE: Alittle.DEAN: Me too. I didn't know if maybe Rory told you to hate me or something.LANE: That's not Rory.DEAN: Yeah I know. How is she?LANE: Good.DEAN:Good?LANE: Good-ish.DEAN: Oh.LANE: Less good than ish.DEAN: Yeah? How much less?LANE: You know we're breaking our agreement.DEAN: Whatagreement?LANE: Out agreement not to talk about Rory.DEAN: We didn't have an agreement not to talk about Rory.LANE: Well it was an unspokenagreement.DEAN: Well it was really unspoken 'cause nobody spoke it.LANE: Well I just think that if we have to study together it would be better if we didn'tdiscuss Rory.DEAN: Fine.LANE: Fine. (pause) You know, she can't go into the market.DEAN: Why not?LANE: Because you're there.DEAN: Not onWednesdaysLANE: Already noted.DEAN: [Sigh]LANE: Can I ask you a really personal question?DEAN: You can ask, I might not answer.LANE: Do you think youand Rory will ever get back together?DEAN: Hey, how about we go back to the no talking about Rory agreement?LANE: Look, I'm just saying that I . . .(They look"}
+{"doc_id":"doc_59","qid":"","text":"Kevin: I'm running to the bar to watch the games with the guys. Oh, no, no, no.Kevin: Why? Why? Where did that shirt come from? I don't know. Found it in theback. I figured I haven't worn it in a while... It needs to go way back, further. Why would I change? Yeah. Why would you change? Why would you wearthat?Kevin: I don't know. Mommy, Daddy, look what I found in the toilet. Where did you get that, sweetheart? I made it. You made that? You made it? Yes, youdid.Kevin and Jenny: Don't squeeze it. That was sh1t. She has sh1t in her hand. Mm-hm. Why is she picking up sh1t? I've read about this before. It's like fun withfeces. Fun with feces? I've taken dumps before. It's fun, you take a picture of it. Send it to friends. Disgusting. You don't whip it around your head like a churro.Just let her grow out of it. You're the mother, deal with this. Don't tell anybody. I'm not gonna tell anyone. Nobody knows about this poop situation.Obviously.Ellie: I'm putting it in the kitchen. Okay, honey... No, no, no, baby, don't. To two of my good friends. Mr. Frank Gore and Mr. Andre Johnson. Leadingthe Double Ent-Andres to victory. This is my worst nightmare. Losing to you. I was expecting a little bit of a challenge this week. But your team is so terrible. Oh,stop. This is like Freaky Friday. Like, Kevin has gone into Andre's body. The roles have reversed. Guess what. I'm your mother, but I'm cool now. What do youmean? You reversed roles and he's crushing you. I'm Jamie Lee Curtis, you're Lindsay Lohan. I'm cool, you're not. This is what I lost to?Pete: Wow. You know, Ido talk a lot of smack, guys, but it's only because I can: [BEEPING] What does that mean?Andre: Back it up. I can back up my smack talk, my friend.[PETE &ANDRE BEEPING]Okay, really? Stereo? When the guy's right, he's right. Knows what he's doing. Hi, I got off the phone with the out-of-towners. Vince would likeme to give you the number for a shelter... because Andre beat your ass so bad. That's nice. All this can be fixed. All you have to do is win. I will win, okay, butthere's something strange going on here. Can I just say, next week, I would like to extend an invitation to you... to watch the games at my house and have ameal provided by my lovely wife. I have not been invited over since the arrival of The First Human Child. Have you been? I don't know if I have securityclearance. I don't. Do you? No, I haven't been through the scanners. We got a dog. Ellie can play with the dog. You've got a dog?Ruxin: Come over. Enjoy myhome, watch the games. It will be lovely. That'd be exciting.Ruxin: Yeah, Sofia's excited. She's gonna be cooking some famous dish. That should be good. Oh,Sofia's gonna be there. Yeah, my wife's gonna be at my house.Taco: Oh, cool. I haven't seen her in a while. She's fun, she's cool.Andre: You want us to bringanything? Yeah. You know what you can bring is a condom... so that you can just go to town on Kevin like you did last week.[ANDRE BEEPING]Backing it up. It'sall right, buddy. How's your lineup looking?Pete: It's not good. It is listed as questionable. Questionable, what does that mean? No one knows what that means.It's like if I start him, and he doesn't play... I have nothing in the bank, got no backups.I'm screwed.Yeah, you have no outs. They know if they're playing. Theyknow. They should tell us. We should have a direct phone line to these guys. Not to mention, I'm playing Andre this week.And rumor is, he actually beat someonelast week.I mean, can you imagine losing to that guy? Are you happy now? Are you finished? You've really... You've done enough to my psyche. It could happento anyone, all right? Gotta go. All right, bye. Hey, you. What are you doing here? What are you doing here? I had a couple meetings. I'm in between. Great to seeyou. Let's go grab a drink.Andre: I, um... You know what, I can't because I have to do a house-call thing. You're a plastic surgeon. Yeah. Do you have, like, anemergency spider vein, or a tit popped or something like that? What happened? Good one. I'd love to hang out, but I gotta do this. Kidding aside, I gotta saysomething. Uh, we break your balls about the league... but you're really doing well and I'm happy for you. Well, guess what. I've always been this good. I'vealways been a champion. And you know what I've been doing is I've been sowing and now I'm reaping. Planting the seed and then I've grown into a beautifulflower... and now everyone wants to smell me. So smell it?[SNIFFS]You smell that? What? It's bullshit, man. Oh, really? You're out there. I see you. You're outthere. You got your games you're playing. You got people on the side you're paying to help you out. There's maybe even a dungeon. You got a guy down there.All right, I'm onto you. You know what I smell? Ah, yes, it's, uh, the smell of jealousy... with a tinge of admiration... and just a whiff of sadness.Good luckbecause I'm gonna: [ANDRE BEEPING] Oh, here we go. Back it up. Back it up. What's up, Dre? Oh, what's up, ballers?Jd: Dre. What's up, man? High-five.Jd:There he is.Robert: Oh, yeah, buddy. All right. Dr. Dre, you are killing it. You are dominating this league. Tell me something I don't know. Andre Potter and theFantasy Zone is coming for you. All right, so watch out. This week I'm up against you. I know you're gonna beat me. I dominate the waiver wire. Andre, I thoughtmaybe this week...Andre: Whoa. What'd you call me? l... Andre.Andre: No, no, no. Here I'm Dre, okay? I'm sorry. Heh. I'm so sorry.Andre: All right? Hey, it'scool.Man: You accept my apology? Accepted. We were thinking of going to Hammer's house in Wrigleyville, just hanging. Watching all the games... No, guys. NoSundays. We'll do the weekend afterwards. No Sundays. How many times do I have to tell you? Wanna talk on Sundays, don't call me. Text me. We'll takeit.Andre: There you go. Yeah, we're good. Let's all agree that we are The League of Extraordinary Fantasy Gentlemen. No, no, instead of The League ofExtraordinary Fantasy Gentlemen... I think that we should change it to The Fantasy League of Extraordinary Gentlemen. Oh, triple snap. Right? Boom, boom,boom! Boom, boom, boom!Pete: All right, LT. How's the ankle, bud? Questionable. Questionable. What does that tell me? All right. You wanna play it that way?All right, that's fine. Hi, this is Pete. I'd like to speak with Terry Bradshaw, please. Yeah, it's a personal matter so just returning his call. Hey, is Bradshaw around?Yeah, Pete needs him. Hi, I have Peter calling for Mr. Bradshaw. Pete. P-E-T-E, for Terry. Yeah, it's Uncle Pete. Let me talk to Terry.Man: Hey, Pete, it's Terry. Hi,Terry. Hey, Uncle Pete, is everything all right?Is there a problem?Uh, no, no problem. But, you know, I was just...I was thinking about football...I was actuallyworried about IT this weekend. This is not my Uncle Pete. No, it's me, it's Uncle Pete. Come on. You used to sit on my lap, pony rides, Pete. No, my Uncle Petehad his larynx taken out. He talks through a hole in his neck now. It's a miracle. Cut the crap, buddy, all right? You think I've never been pumped for somefantasy-football information? I once had a policeman... pull me over just to see whether or not he should start Kurt Warner... or Donovan McNabb. Just hook meup once, please. Is LT gonna play? You got some balls, kid. Two small ones but I'm trying to use them.I do admire that.I'll answer your question. Yes, definitely.Yes?Absolutely.Starting, good shape. I am sending you a fruit basket, sir. Thank you. You know this number? Yes, sir. Lose it. Thank you, sir, thank you.Bradshaw on the phone, LT on the field. Unstoppable.Ruxin: Oh...Sofia: Hi. Almost game time. Let's do it.Ruxin: Hold your horses. Hold your horses, okay? Wegotta talk some ground rules. If you don't mind sanitizing your hands before you see baby Jeffrey. Don't ask these people, tell them. Cover yourself in this. Put iton the rug rat. Taco, take a bath in it. Can I drink it?Pete: It's like holy water. Let us all anoint our hands before we touch the baby Jesus... for he has come tosave the world. You joke, but it's true.Taco: Oh, hey.Pete: Oh, yeah. It's a baby. Look at the baby. Goodness. He's beautiful.Sofia: He is.Jenny: He's wonderful.Yeah. Beautiful? He's got the Ruxin face.[GROANING]We used to be two. Now we're a Holy Trinity.Taco: It's beautiful. How'd your mom like the christening? I toldher the church was like a really progressive synagogue. Who did you go with for godparents? It was supposed to be Pete and Meegan until: [IMITATESEXPLOSION]Sofia: Yeah. Just because I'm single that doesn't disqualify me from being a godparent. Seriously, I have been a great godfather to Ellie. Have I not?Whoa, I thought I was Ellie's godfather.[JENNY CLEARS THROAT]Ruxin: Yeah.Yes, you know, you are. I was thinking of something different, and you're a greatgodfather. Yeah, because when you guys die of cancer, car accident, whatever... I'm gonna move into your house. Bring my puzzles, my slingshot, my SegaGenesis. Gonna hang out with Ellie all day. It's gonna be awesome. Taco, I'm gonna be around a long time, okay? Yeah, but she probably won't. I'm standingright here. I'm just saying that... Unless the son of Ruxin starts spouting off the scores, I think... All right, you're excused. Thank you.Sofia: Yes. Get all singlemen out of here. Anyone with communicable diseases. So, Jenny... Suck it, Ruxin. Hi, buddy. Hi, buddy. Yeah. Ellie, you wanna meet Jeffrey?Kevin: Come here,sweetie. Step up and say hello. Hello. Ellie is such an angel.Jenny: Thank you.Sofia: She is so well behaved.Jenny: She is so smart. They pick up things at thatage.Kevin: Oh, yeah. She picks everything up. Picks it up and she moves... She's brilliant. I have some snacks for you guys, but please don't fill up. I have a verybig, delicious lunch coming up. Sounds good. Nice TV. Need help in the kitchen? I do. Well, let's do it, girlfriend. All right, Taco, bring it on.Taco: What do we gothere?Kevin: Easy does it, sweetheart. Be easy. Oh, look at this.Ruxin: Hey.Kevin: Oh, hi. Guys, everybody, this is Cale.Pete: What? I love Cale. Can I pet him?Ellie, go outside. You named your dog Cale? Yeah. I told you in confidence that we were trying to have another baby. If it was a boy, we wanted to name it Cale.It's a great name. We can share the name. No, we're not sharing Cale. No, I'm not... The dog looks like a Cale. I mean, look at him, he's a Cale. I hate you. Youscrewed me here. Because now, instead of Cale, we're gonna have to name him after one of her uncles. What's that name? Moral. Moral MacArthur. He soundslike a Civil War general. Can you change your dog's name? This dog's real, your baby's hypothetical. And I think a mistake.Kevin: Dick. Sorry, I can't talk to youright now, bye.Kevin: Oh, God.[ALL BOOING]Hey, your week two champion has arrived.Kevin: Oh, stop, all right? It's week three. Get over it, sit down.Andre:Center seat for the winner. Sit down. There's a crack. You wanna sit there? Watch it.Jenny: Just go.Pete: Pick a nice seat there.Kevin: Get here on time. That'sCale's seat, but I'll let you sit in it. By the way, awesome name. Great dog.Ruxin: Thanks. Ruxin, why are we watching a baby in picture-in-picture here? What'shappening? I got Jeffrey on the baby cam there, so we can watch him... while the game is going on. Wait, that's baby Jeffrey? Yeah. I heard if you look directly athim, he'll blind you. The Ark of the Covenant, he melts your face. That smells delicious. You're a good helper, Taquito. Oh, merci.Sofia: Here, let me taste, let me"}
+{"doc_id":"doc_60","qid":"","text":"[Scene: Manor. It's night time. Phoebe walks in. All the lights are turned off.]Phoebe: Hello? Anybody home? Sister witches, guess what?(Phoebe walks in theliving room and turns on the light. Piper is there making out with a guy on the couch. She jumps up.)Piper: Oh, oh. Are you nuts?Phoebe: What are youdoing?Guy: Hi.Phoebe: Hi.(Piper freezes the guy and walks over to Phoebe.)Piper: Ooh.Phoebe: Hi.Piper: Sister witches? I can't believe you said that. What's thematter with you?Phoebe: How was I supposed to know that you were gonna be here with anybody? Last I heard that you were meeting a banker friend about theloan. (She looks at the guy and then back at Piper.) Is this the credit check?Piper: It's not what you think. We were just... we-we... were just kissing, that'sall.Phoebe: Piper, you don't have to justify it. You're single. You're responsible. You're way overdue in the s*x department. I say go for it.Piper: I'm not wayoverdue. Alright, maybe a little, but that's besides the point. I would never just sleep with a guy to get something. You know thatPhoebe: Piper, give yourself abreak. You're going through a lot right now. No job, straining to buy the club, you haven't heard from Leo in weeks.(Prue walks in through the front door. She'son her phone.)Prue: Alright, well, the preview is at five and the auction Sunday at eleven.Piper: Oh no, Prue. Go back outside. Go on. Hurry!(Prue looks at themfor a second, then goes back outside. Piper stands back next to the guy and he unfreezes.)Guy: So, you must be Prue.(He stands up.)Phoebe: Uh, no.Actually...(Prue comes back inside, still on the phone.)Prue: (on phone) Alright, great, yeah, I'll see you then.(Prue hangs up.)Phoebe: She's Prue. I'mPhoebe.Piper: Rob, can we take a rain check on the rest of the evening? It's getting kind of crowded in here.Rob: Okay, sure.(Rob grabs his coat and heads forthe door.)Piper: Yeah. Okay, um, so I'll meet you tomorrow at the club at noon. Great. Thanks for dinner.Rob: Okay, alright. (They kiss.) Bye.Piper: Bye.(Robleaves. Piper closes the door and turns to her sisters, who are grinning.)Prue: So, did you get the loan?Piper: Hopefully. I'll find out tomorrow.Prue: Well, myfingers are crossed.(Prue and Piper start to leave the room.)Phoebe: Wait, you guys. Where are you going?Prue: Well, I have an auction coming up. I have clientsto call.Phoebe: Wait, you guys. Don't you even know what tomorrow is? It's our one year anniversary of becoming witches. Hello?Piper: Tomorrow is?Really?Prue: So...Phoebe: So? So? It's a day to celebrate. And not just because it's our anniversary but because it falls on one of the most powerful wiccan daysof the year. The autumnal equinox. Now, according to this witch that I met today at bookstore...Piper: Hold it. A witch?Prue: You didn't tell her about us, didyou?Phoebe: Well, yeah, sure I did. Why not? I mean, I didn't tell her that we're magical witches, obviously. Look, I'm sorry but I think after everything we'vebeen through it's important to learn as much as we can about who we are. Forewarned is forearmed.Prue: And I think that we should leave well enough alone. Imean, we've been demon-free for over a month now, I'd like to keep it that away.Piper: Amen to that.(Prue and Piper walk out of the room.)[Scene: Manor. Attic.The next morning. The Book Of Shadows opens up by itself and the pages start to flip. Phoebe races in.]Phoebe: Prue! Piper!(Prue and Piper come in.)Prue:What's going on?Phoebe: Uh, I don't know!Piper: Why does the book do that? How does the book do that?(They go over to the Book and look at the page it opensup to.)Phoebe: \"Rite of passage. Fight it with the Power of one or else...\"(A vortex opens in the wall and a gust of wind blows through the attic. A demon is sittingin the vortex. Prue hesitates to use her power and the demon steals the Book. The vortex closes.)Piper: What the hell was that?Phoebe: The Book Of Shadows?Where's the Book of Shadows?Piper: So much for being demon-free.Opening Credits[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Prue and Piper arepicking up pieces of paper that blew across the room. Phoebe is knocking on the wall where the vortex opened.]Piper: Did you find anything?Phoebe: Nothing. Butwhatever it was literally came out of nowhere and disappeared into nowhere.Piper: Well, it took the Book of Shadows somewhere. And he's powerful too. No otherdemons been able to steal the book.Prue: But if he's so powerful, why didn't he kill us?Phoebe: He probably didn't want to go up against you.Prue: Me? What doyou mean?Phoebe: That's what the Book of Shadows says. Fight it with The Power of One. That's gotta mean your power. It's the strongest.Prue: Sayswho?Phoebe: Says every demon or warlock we've ever gone up against.Piper: She's right, Prue. The power of one's gotta mean you, otherwise it would've saidthe Power of Three. The only question is how are we gonna find this demon. We don't know anything about him.Phoebe: Well, we better think of something fastbecause without the Book of Shadows, we're not the Charmed Ones anymore.(The doorbell rings.)[Cut to downstairs. Phoebe is coming down the stairs.]Phoebe:Coming. (She walks into the foyer and opens the door. A 16-year old girls stands there.) Uh, hi...Jenny: Can I use your phone, please?Phoebe: Uh, well, actually,we're...Jenny: Please? It's an emergency. Please?Phoebe: Okay. Come on in. It's right around that corner.(The girl walks in and picks up the phone. Prue andPiper walk in the foyer.)Piper: (to Phoebe) Are you out of your mind?Phoebe: What was I supposed to do? Say no? Look at that poor girl.(They look at her.)Dan:(outside) Jenny? Jenny, come on. Talk to me.(A cute guy in his late 20's let's himself inside.)Prue, Piper and Phoebe: Whoa!Jenny: (on phone) InternationalOperator please. Saudi Arabia.Prue: Saudi Arabia?Dan: I'm sorry. We're moving in next door. Or at least we're trying to. Our phone's not hooked up yet.Phoebe:So, you're our new neighbours?Dan: Name's Dan. Uh, Dan Gordon.Jenny: (on phone) I don't care if the circuits are busy. I have to talk to my mum.Dan: Andthat's my niece Jenny. Who's obviously not talking to me. Jenny, sweetie, come on.(Jenny hangs up and storms outside.)Dan: I'm sorry. It's nice meetingyou.Phoebe: You too. (Dan leaves.) I saw him first!Piper: Demons now, drooling later.Prue: Look, I have to meet my client before the preview.(Prue starts toleave.)Phoebe: Oh, wait a minute. The scariest demon we've ever run across opens up some portal in our attic, and steals the Book of Shadows and you want togo into the office?(Prue nods and walks away.)Phoebe: Wh- (She turns to Piper) What's the matter with her?Piper: It's the first demon she's faced since Andydied. Maybe it's bringing up some bad memories.[Scene: On another plane. The demon that stole the Book of Shadows turns to the back of the Book and reads aspell backwards.][Scene: Park. Witches have gathered for the Equinox celebration. Piper and Phoebe are also there.]Piper: What are we doing here?Phoebe:Celebrating the Equinox. Can't you just feel it? The energy in this place? It's a convergence.Piper: It's a crock. I thought we were supposed to meet your witchfriend.Phoebe: We are. This is where she told us to meet her. Now, please just relax.Piper: Relax? My life was a mess before our little wake up call this morning,remember?(Stevie arrives.)Phoebe: Oh, Stevie!(They go over to her.)Stevie: Hey, Phoebe. I'm so glad you could make it.Phoebe: Um, actually, we are not herefor this. We needed to talk to you about something. This is my sister, Piper.Piper: Hi.Stevie: Hey, Piper, it's very nice to meet you. Are you witch too?Piper: Uh,sorta... maybe... I don't know. Uh, is everybody here one, also?Stevie: Oh, no. No, no, no... It's just a group of believers, women who know of this special placeand who've come to celebrate. By the way, happy anniversary.Phoebe: That's what we wanted to talk to you about. Why did you say that today was gonna be apowerful day for us?Stevie: Because your anniversary falls on the Equinox. Which is a powerful day in and of itself for you, this convergence of powers is evenstronger. The potential greater. All you have to do is connect. You wanna try it?Phoebe: Try it? How?Stevie: Let us begin.(Stevie joins the other women.)Piper: Idon't wanna connect.Phoebe: We have to connect.Piper: I don't wanna try it.Phoebe: Okay, but we have to because...Piper: Why?Phoebe: What have we got tolose, okay?(Piper and Phoebe turns around and notice all the women have taken off their clothes.)Piper: Well, apparently we've got our clothes to lose.Phoebe: Isee that.(Phoebe pulls Piper behind a rock wall and Phoebe starts taking off her clothes.)Piper: No. Whoa, Whoa. Wait. What are you doing?Phoebe: When inRome.Piper: No-no-no! We're not in Rome, Phoebe. We're in California. And it's illegal here.Phoebe: It's totally natural, okay? Go for it. Come on.Piper: God. Thisis ridiculous. Can I keep my shoes on?Phoebe: Yeah, but that's it.Piper: We've got absolutely zero, zero information.Phoebe: Everybody's naked, not justyou.Piper: And now we're naked.Phoebe: Shh, okay? Shh.Grams' voice: The Power of Three.Phoebe: Did you just hear that?Piper: Hear what?Grams' voice: ThePower of Three.Phoebe: That. Grams?Piper: Grams? (Piper looks around and tries to cover herself up.) What? Where? I don't hearanything.[SCENE_BREAK][Scene: Bucklands. Mrs. Milton is looking at some items up for auction. Prue walks in the room.]Prue: Mrs. Milton. Hi. I'm sorry to keepyou waiting.Mrs. Milton: Oh, no problem. I was just looking around.Prue: Well, I think that we'll have a great turnout for the preview. We've been getting anexcellent response to your husband's collection.Mrs. Milton: I'm not surprised.Prue: Now, the opening bid prices may look a little low, but don't worry. It shouldattract a lot of buyers, which should result in a bidding war. It's the best way to sell inventory like this at top dollar. Is that all right with you?Mrs. Milton: I guessI'm having a little more trouble letting go of John's things than I thought.Prue: That's only natural. It's not easy.Mrs. Milton: I suppose that you deal with deathquite a bit in your line of work, don't you? I mean, like this, auctioning off some poor widows inheritance.Prue: This? Unfortunately, yes.Mrs. Milton: I just keepgoing over and over in my mind the last time I saw him before the accident. And I keep thinking if only I'd done something or said something to stop him fromgetting in the car, maybe he'd still be alive.[Scene: Outside a large building that's up for sale. Piper pulls up in her car. She gets out and walks inside.][Cut toinside. Rob is there looking around. Piper comes down the stairs.]Piper: Oh, god, Rob. I'm so sorry I'm late. Uh, I got stuck at this thing and then my sisterneeded a ride, and I'm so totally screwed on the loan now, aren't I?Rob: Don't be ridiculous. I'm just looking around, checking things out.Piper: It needs a lot ofwork, uh, I know that. But that's not a problem and just because the last two owners went bankrupt, doesn't mean it can't work. I've done three separatemarketing studies and found a 68% interest in the target clientele.Rob: Piper...Piper: Plus, running a restaurant is very similar to running a club.Rob: You'vealready shown me all this. I've got it. I've got everything, except for an understanding of why you wanna put yourself in a position to fail like this.Piper:"}
+{"doc_id":"doc_61","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars... Bonnie exits through the back of the Pi Sig house, much to Dick's disgust, in 308 \"Lord of the Pi's.\"DICK:What the hell, Bonnie?BONNIE: Another cute frat boy. What the hell?In the Food Court, Veronica assures Landry in 307 \"Of Vice and Men.\"VERONICA: I wasnever gonna tell anyone about your...situation with the dean's wife. In his bedroom, Logan explains to Veronica what happened in Mexico.LOGAN: The wholemotel was going up in flames. We had to get out of there.VERONICA: You didn't stick around to try to help? You didn't see if everyone was okay?Logan drops hishead in shame. In the Food Court, Veronica elects to ignore Logan's call which Logan watches her do it in 308 \"Lord of the Pi's.\" He's devastated. Elsewhere oncampus, Keith and the dean speak to the \"rescued\" Selma Hearst Rose.SELMA: I'm on my way to vote. Fate of the Greeks in my hands and all.DEAN O'DELL: Howare they faring?SELMA: Screw 'em. They're out of here.Veronica and Mac are awoken by Parker's scream in 301 \"Welcome Wagon.\" Parker looks at her shavedhead in the mirror in horror.PARKER: Someone raped me! Veronica reassures Keith in 308 \"Lord of the Pi's.\"VERONICA: The Hearst rapist has everyone on edge.End previously.EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT.Music: \"Right Here, Right Now\" by Fatboy Slim.LYRICS: Right here, right now Righthere, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here Right here, right nowRight here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right hereThe Pi Sigs arehaving a party. Outside the house, a stage is set up outside the back of the house. People are dancing on the stage and on the lawns, most holding white plasticcups. The place is packed as is evident as the camera swings around. It comes to a rest on the two people standing on the roof of the porch of the house. Holdinga white cup and a red cup respectively, Piz and Mac are staring out at the guests. Mac is looking increasingly concerned.MAC: You seen Veronica? Piz, withoutceasing his scan of the crowd, shakes his head.PIZ: Not in a while.INT - HEARST COLLEGE, BENES HALL - NIGHT.The music gets louder as the scene shifts toVeronica, running for dear life in the corridors of Benes Hall. She hits a wall, casts a terrified look back and then races on. She reaches stairs and runs up them,sobbing. She comes to another corridor and hurries to the door of Wallace and Piz's room. She bangs on it desperately.VERONICA: Wallace, Piz, help! There's noresponse and she sinks down to the floor. Her nose is bloody and she has a nasty gash over her left eye. She pants and looks over at the way she came. As sheturns her head back, she becomes aware of a pair of legs coming to a stop next to her. Her eyes travel slowly up the body in fear. End music: \"Right Here, RightNow\" by Fatboy Slim. Opening credits.LILITH HOUSE GIRLS: [singing offscreen] Na-na-na-na Hey, hey...White writing across a black screen states that it is twodays earlier.EXT - HEARST COLLEGE - DAY.The Lilith House girls, led by Nish, Fern and Claire, are celebrating in a one-float parade. They have created the floatwith a dune buggy and a trailer, with a large pink pig in a diaper at the back of the trailer. The pig wears a neck comprised of the Greek letters pi, sigma andsigma. A large poster for Lilith House is attached to the dune buggy, and one saying \"Good Bye!\" to the trailer. Some tipping polystyrene columns and glitteringgold lengths of tinsel complete the decorations. The girls, standing in the trailer in front of the pig, are exuberant, clapping and singing \"Na Na Hey Hey (Kiss HimGoodbye).\"LILITH HOUSE GIRLS: [singing] Hey, goodbye Na-na-na-na, na-na-na-na Hey, hey, hey, goodbyeTheir song continues in the background. Reactionsdiffer from the students they pass, some giving thumbs up and some giving thumbs down and booing. Veronica watches the float pass.VERONICA VOICEOVER: Ifthe Lilith House's mission was to protect women on campus, I'm not sure this display is doing the trick. Sure, the Board of Trustees voted to dismantle the Greeksystem, but there's still a rapist at large. That hasn't changed.LILITH HOUSE GIRLS: Hey, hey, hey, goodbyeDICK: Sponduly!Veronica turns and looks over hershoulder at hearing Dick's shout. Dick and Logan emerge from one of the college buildings, laughing and joking around. There is some conversation too faint tohear. Veronica observes their playfulness.VERONICA VOICEOVER: Ah. So the boy can still smile. Seems like a week since I've seen his teeth. She rises from herperch and walks towards them. Logan sees her and the smile fades.VERONICA: Hey, handsome.DICK: Shh. Not in front of the old man. He's the jealoustype.Logan is much more quiet and serious.LOGAN: Hey.VERONICA: Hello, Dick.Veronica looks over at the float, still circling the area.VERONICA: I can't believethey got such a perfect likeness. Did you actually model for them? Logan and Dick look over at the float.DICK: Yeah, you know, that reminds me. They left outone important detail. Excusez-moi.LILITH HOUSE GIRLS: [singing] Na-na-na-na Hey, hey, hey, goodbyeDick steps up onto the low wall next to where they arestanding. He drops his pants and moons the float. Veronica turns away in disgust with a gasp.DICK: [shouting] Take a picture, ladies. It'll last longer. Dickwiggles and slaps his bare bum to the cat calls of the girls. Dick pulls up his pants and jumps down.VERONICA: Great job, Dick. I'm sure you won thatdebate.LOGAN: Well, he's a master debater.DICK: You two kiss, hold hands, head to the soda shop for some malts. I'm out of here.Dick waits to be persuaded tostay.DICK: Okay. Don't try and stop me. Dick backs away, still hoping for an invitation that is not forthcoming. Finally, Veronica and Logan are alone. Veronicaleans in towards the again serious Logan.VERONICA: You weren't outside my criminology class. She intimately takes hold of his shirt, pulling him in ready for akiss.VERONICA: I waited. Logan shuffles uncomfortably.LOGAN: Yeah.VERONICA: Something wrong?She smiles. Logan, on the other hand, is gearing himself up.He takes a moment staring down at the ground before getting it out. He finally looks her in the eye.LOGAN: I can't do this anymore, Veronica. Veronica stares athim in disbelief. Logan looks back at the ground frequently as he continues.LOGAN: You know, I've been thinking, and, uh...this isn't working. You know, I don'tthink I quite measure up to the person that you want me to be and...and I just can't take feeling like a disappointment anymore.VERONICA: Logan, Idon't-LOGAN: Hey, let me get this out, okay? The other thing...you told me you weren't built to let people help you.VERONICA: That's not exactly what Isaid.LOGAN: It's close. And you know what? I'm not built to stand on the sidelines.Veronica nods her head, her eyes glistening with tears.LOGAN: I don't know, Ithink we have a choice. And I think we can take a tough but survivable amount of pain now... Logan pauses, staring at her.LOGAN: Or stay together and dealwith unbearable pain later. Veronica lets out a deep breath.LOGAN: So, I vote for the pain now. Having expelled her breath, Veronica nods imperceptibly. Loganhimself is close to tears as he looks down on her.LOGAN: But I'm always here...if you need anything. He steps forward, puts his hands on either side of her neckand kisses her on the forehead.LOGAN: [resigned] But you never need anything. Veronica can't speak. Logan looks down at her in pain and then takes a stepback. He turns and hurries away. Veronica takes a breath to hold herself together.INT - HEARST COLLEGE, DEAN'S OFFICE - DAY.Weevil is fixing the dean'stelevision. The picture on screen of a woman addressing an audience is jerky and interrupted by static. Dean O'Dell is lounging on the small leather sofa in hisoffice, watching him.WEEVIL: Yeah, but heavyweights weren't always a freak show, man. Ali, Frazier, those were fighters, you know? Just seemsnowadays...DEAN O'DELL: All the talent's in the lower weight classes. You're so right. The average fight fan? He doesn't care.Weevil swivels the TV back intoplace, the picture now as it should be.WEEVIL: You should be good. You gonna test it? The dean uses the remote and flicks on a couple of channels, including onefeaturing Vincent Price.DEAN O'DELL: Hot damn, I'm back in business. What would I do if you ever left me?WEEVIL: Call human resources and have them send areplacement?O'Dell shrugs.WEEVIL: It's just a guess. Listen, you don't have high-def yet. I'll swing by when the receiver gets in. Page me if it goes outagain.DEAN O'DELL: Thanks, Eli.As Weevil leaves the office, he passes Mindy on her way in. She sees him lounging on the couch.MINDY: Oh, hard at work, Isee.DEAN O'DELL: This job is easy. To what do I owe the pleasure?MINDY: I brought you the minivan.She holds out some car keys, embellished with a furry ball.He takes them reluctantly.MINDY: You're gonna have to haul around Gram's drums tonight. Just got called up to Sacramento to meet with Helm's people.DEANO'DELL: Can't they send Wally?MINDY: Wally's going, too. I need the Volvo keys.She holds out her hand. O'Dell digs in his pocket.DEAN O'DELL: Gonna be bored.I may be forced to speak to our children. He hands over the Volvo keys.MINDY: Oh, remind them of how things used to be. She sits down on the couch next tohim.MINDY: They love that. She leans in to give him a quick kiss. The dean is more interested in something more substantive and pulls her back in for a longerone. She avoids it by presenting her cheek.MINDY: I'll be home tomorrow by noon. She pulls away, much to his disappointment and puzzlement.MINDY: Okay?You can order pizza, can't you?DEAN O'DELL: I'm sure someone will show me.Mindy chuckles. They are interrupted by a knock on the open door. Cora, the dean's(new? - what happened to Angela?) assistant, pokes her head around the door jamb.CORA: Dean O'Dell, I'm sorry for interrupting.DEAN O'DELL: What is it?Mindytakes the opportunity to extract herself from the dean's arms and exits.CORA: I have a man waiting for you who doesn't have an appointment. He won't give mehis name or put out his cigar.DEAN O'DELL: Is that so?The dean gets up from the coach and goes to the door of his office.INT - HEARST COLLEGE, DEAN'S OUTEROFFICE - CONTINUING.A man is sitting on the couch seen in 306 \"Hi, Infidelity.\" He's reading a paper and puffing on a big fat cigar. He looks up at the dean, wholooks a little stunned on seeing him.MEL: Cyrus, we need to talk.INT - HEARST COLLEGE, DEAN'S OFFICE - DAY.Cut to a few moment later as an ashtray is setdown in front of the man, Mel, who is settled on one of the chairs in front of O'Dell's desk.DEAN O'DELL: So, Mel, what can I help you with?Mel has a deep, gruffvoice.MEL: You know what I liked best about my days here at Hearst, Cyrus? The dean shakes his head and takes a guess.DEAN O'DELL: A quality education? Melchuckles long and loud at that.MEL: No. It was hanging out on the front porch of my frat, watching the girls go by, drinking beer. I had such a good time here atHearst, in fact, that I've been very generous over the years. Wouldn't you say I've been generous? Mel makes it sound like a threat and O'Dell nods haplessly with"}
+{"doc_id":"doc_62","qid":"","text":"[PREVIOUSLY_ON]Wynn: This is not what we discussed on the telephone.Raylan: I figure you're good enough that no one can link the hitters from last night toyou.Wynn: Thank you.Raylan: Except, of course, for Gary. He seems like a bit of a loose end. I'd leave the country, but that's entirely up to you.Wynn: Are wefinished?Raylan: As long as you understand that the next time we have this conversation, there won't be a conversation.Ava: Devil, you want sugar? [ Gasps ]Devil!Dickie: Hello, Ava.Ava: Oh!Dickie: It's the top of the 1st, Raylan. Hey, batter, batter, batter, batter, batter...Boyd: Cut him down. Now, God damn it.Dickie:Wait, Raylan! Come on. Listen to me. You ain't getting to Loretta without me, and you know it.Raylan: Boyd?Boyd: He shot Ava.Raylan: I'm gonna need him for alittle bit.Boyd: What, are you asking me... Or are you telling me?Raylan: Makes you feel better, you can tell people I asked.Winona: I want you to leave thisalone. I want you to leave it to the authorities. This is not your problem, Raylan.Raylan: I promise you I will be fine.Winona: Okay. Take me to work. And go toHarlan. But I can't promise you I'm gonna be here when you get back.Raylan: I need you and your boys to put your guns down.Doyle: And why would we dothat?Raylan: Maybe you don't want to see your brother's brains fly Guys! Cease fire![ Siren chirps ]Winona: Was I speeding?Winona Hawkins?Winona: Yeah.Ma'am, this is a courtesy stop. Chief deputy Art mullen's been trying to reach you.[ Indistinct talking over P.A. ]Winona: Hi.Art: Hey.Winona: How is he?Art: He'ssleeping right now.But he's gonna be all right. The bullet went right through his side, just under the ribs. Didn't hit any vitals. He's a lucky son of a gun.Winona:Look, Art, I, um... Um...Art: End of the hall, Winona. First door on the left.[ Monitor beeping ][ Gunshots ][ Shell casings dropping ]Raylan: [ Sighs ][ Exhalesdeeply ][ Whirring ][ Whirring stops ][ Sighs ][ Grunts ][ Inhales sharply ]I even tried a cross-pull. I don't think I've done that since Glynco.Art: How'd that workfor you?Raylan: Won't be doing it again.Art: [ Laughs ] Did you try lefty?Raylan: So I could shoot the side of a barn?Art: All right, we'll try one more week ofmedical restriction, and then I'll issue you some hand grenades. You're a lucky man, Raylan.Raylan: I got shot, Art.Art: Only thing that saved you was all thatbody fat you got going on there.Raylan: Starting to feel uncomfortable.Art: Why? We're alone. Crowder's here.Raylan: Didn't wear your suit.Boyd: Boy, you saythat as if I've only got the one and not a whole closet full.Raylan: [ Chuckles ] I'm sorry. You didn't wear your black suit.Boyd: Well, I can see by the hitch in yourstep you're still not 100%.Raylan: Yeah. How's Ava?Boyd: She's moving not so different from you. She's healing. So was I right not to wear my suit?Raylan: Well,we don't have a strict dress code.Boyd: Well, it just occurred to me that Raylan Givens invites me up to Lexington. Chances are I might find myself in front of ajudge before the day is out.Raylan: Why? Did you do something you shouldn't have?Boyd: Well, that's a pretty low bar, Raylan.Raylan: [ Laughs ] Nah, trooperTom Bergen, up there in your world, he says within a day of Mags killing herself, all her marijuana-drying sheds got cleaned out.Boyd: I wasn't aware thatmarijuana interdiction fell under the marshals' purview.Raylan: He also said that the floorboards in the sheds had been torn up, ceilings pulled down, wallsopened up, like someone was looking for something, which does fall under the marshals' purview... Recovering ill-gotten gains. Mags' bank accounts have beenseized along with her property, but there's still a sizeable amount of money missing.Boyd: How sizeable, Raylan?Raylan: Well over $10.Boyd: Well, now, if Ifound that kind of money, I'd be in Mexico by now.Raylan: Boyd, I've been to Mexico. I don't think you'd like it.Boyd: How so?Raylan: There's a lot ofMexicans.Boyd: Raylan, if a book could only be judged by its cover, you'd be a best seller.Raylan: Hmm.Boyd: Are we done?Raylan: Looks like. Sorry for wastingyour time.Boyd: Never a waste of time to spend a moment with my good friend Raylan Givens. Tell you what. I'll ask around. See if I can't get a line on thatmoney for you.Raylan: I appreciate it.Boyd: In exchange for an apology.Raylan: I'm sorry. What?Boyd: I want you to apologize.Raylan: For the crack about theMexicans?Boyd: By the time I got out of Wade Messer's house, Dickie Bennett was tuning you up like it was his birthday and you were his piñata, only I don'tthink there would have been candy pouring out.Raylan: You're saying you saved my life.Boyd: Are you saying I didn't?Raylan: I would suggest what you'relooking for is a \"thank you,\" not an apology.Boyd: Well, now, follow my logic, Raylan. I had my own plans for Dickie on account of his shooting Ava, but you saidyou needed him, so I let you have him under the condition that you would return him to me once his services had been rendered.Raylan: [ Scoffs ][ Sighs ]I'msorry. Did you see a creek out in the lobby? Some pretty green trees and cut-off mountains? Do you think we're in the \"har\"? I am a deputy U.S. Marshall,Boyd.Boyd: You're a Givens, Raylan.Raylan: And you think I'm gonna hand a man over to you to be murdered like he is, what, some pig I borrowed fromyou?Boyd: You gave me your word.Raylan: I got half a mind to kick...Boyd: [ Grunts ]Art: R-a-y-l-a-n.[ Grunting in distance ]Recovering from a GSW. Thatstands for \"gun...\"Boyd: No resistance here, officer! There's no resistance here!Raylan: Hey, Boyd. Should have wore the suit.Boyd: [ Laughs ] No resistance,officer! I'll see you, Raylan!\u0000 On this lonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it by my lonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I'm fightingfor my soul \u0000 \u0000 God get at your boy \u0000 \u0000 you try to bogard \u0000 \u0000 fall back, I go hard \u0000 \u0000 on this lonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it by mylonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Mm, mm, mm. This is great country. Ooh![ Laughs ]First time, and Ialready love it here. The way the pastures roll off into the distance. The horses... I have never seen such beautiful horses. Thank you. Thank you. May I sit?Please. Two coffees. Now, you want a little kick? Mr. Arnett likes a little kick. Oh, yeah, he'll have a little kick. No. He won't. Just black. Thank you. Mm-hmm.Thank you, Yvette. You can go now.[ Sighs ]You're banging her, aren't you? I beg your pardon? And now you've lost her respect. That's hardly your concern.Well, in a way it is. See, she's your public face, and she is not selling the same story as you are.[ Clears throat ]Uh... Who's he? Oh, Mr. Nix is one of my brokers.Could he sit where I could see him?[ Laughs ]That's good. Now, why don't you state your business, enjoy your coffee, and then get the hell out? Detroit isconcerned. Look, when you go back to Detroit, you just tell them that the properties that I'm holding are poised to rebound, and when they do, they're gonna beworth twice what I paid for them. Wow. So, what do you think they're worth right now, today? No, I don't really have a current assessment. That's okay. 'Cause Ido. You picked a shitty time to get into commercial real estate, and now you're under water. Detroit did not make an investment, Emmitt. It made a loan, whichyou assured them that you would repay as per the agreement. 250 will bring you current. I could have that in two weeks. Emmitt, you read the business pages.Things are getting...Tough all over. So, if you can't have the money here by tomorrow, I suggest you tell me right now.[ Sighs ]I'll have it tomorrow. That's great.I'll see you tomorrow. Said you were looking for work. Everybody's been wondering what happened to all that Bennett weed.Devil: And you get first crack at it,courtesy of Mr. Boyd Crowder. Just his way of showing his appreciation for a new business partner. Well, let's get to it, then.Arlo: There's more in the tractor shedout back. Lee! Go take a look! A-Ron. Get over here and help me.Arlo: Devil.Devil: Yeah?Arlo: Ava's here.[ Bird squawking ]Devil: Ava.Ava: Devil.Arlo throwing aparty?[ Both chuckle ]Devil: No, we, uh, got a buyer for the pot.Rodney Dunham.Ava: \"Hot rod\" Dunham? Out of Memphis?Devil: Now, we're taking care of this,Ava... me, Arlo, and Johnny.Ava: Yeah?Devil: Yeah.Ava: I don't see Johnny.Devil: Well, he'll turn up.Ava: Yeah? You figure Boyd's locked up, you'll just go intobusiness for yourself.Devil: Ah, it ain't like that. Boyd allowed us how he might sell it. We're just acting on his behalf.Ava: Mm.Arlo: Dunham wants a word.Ava:Tell him to come on out.Arlo: Come on out, Dunham.Devil: I got this, Ava. Ooh! Aah, that smell can really take the wind right out of you.Arlo: Tell me aboutit.Ava: Mr. Dunham, Ava Crowder. I'm proud to know you, ma'am.Ava: Likewise. I've seen all I need to see.Devil: Oh, yeah? What's your offer? All I got to offeris advice... next time you want to pull a big score like this, don't bag the plants wet.Devil: What, is there a problem? How long's this been sitting here?Arlo: Aboutthree weeks. You got mold, you got mildew, you got rats and mice eating on it out in the shed.Devil: Are you saying it's all gone to sh1t? That's not what I'msaying. [ Sighs ] I'm saying you can probably salvage...Two or three grand if you get to cleaning right now.Devil: No, this is 120 kilos of premium weed! Threeweeks ago...Maybe.Ava: We were thinking that we might...Devil: I'm talking to the gentleman.Arlo: Let us handle it, Ava.Devil: Now, you as much as told me onthe phone that you was gonna take the whole lot. I told you I'd look at it.Devil: No, no, unh-unh, no, no, no, no. Here's how it works. You want to keep buyingquality bud, you gonna have to take all this off our hands.Ava: Devil!Devil: Stay out of this! Pull your head out of your ass, son. This is serious weight, and theseare dangerous times. Now, you want this to get ugly? It can.Ava: Of course that's not what we want, Mr. Dunham. We appreciate you coming by. You're lucky Iwas already in Knoxville. If I'd come eight hours from Memphis for this , I'd be obliged to kick somebody's ass!Devil: Mm-hmm.Ava: Understandable, sir. Thankyou. Ma'am.[ Vehicle doors open, close ]Ava: [ Sighs ]That go about the way you expected?Arlo: I could use a drink.Devil: Amen to that.Ava: [ Sighs ]Winona:You know you got 21/2 bottles of whiskey on ice and no beer?Raylan: That can happen. Wait. You can't drink any of that sh1t anyway.Winona: Well, I can haveone.Raylan: Who says?Winona: My mom. She used to have a couple drinks a night when she was carrying me. She'd put her ashtray, balance it on her great bigbelly.Raylan: That explains a lot.Winona: [ Chuckles ] How you doing?Raylan: I've been better.Winona: Well, you still look good.Raylan: What do you mean,\"still\"?Winona: You are not getting any younger, kiddo.Raylan: I'm so glad you're here.Winona: You ready to get back in action?Raylan: Oh, Art said anotherweek of light duty, and that was before the fight.Winona: That's not what I'm talking about.Raylan: [ Moaning, grunting ]Winona: You okay? Did thathurt?Raylan: I'll manage.[ Both moaning and grunting ]Raylan: [ Breathes deeply ]Winona: So, what's going on?Raylan: What are you asking?Winona: I just... itfeels like there's something on your mind.Raylan: Do you know about the newborn baby in the delivery room?Calls his daddy over and says, \"how do you think"}
+{"doc_id":"doc_63","qid":"","text":"Act One.Scene One - Frasier's Apartment. It's the early evening. Frasier is playing a tune on the piano, Martin is looking through some old police work, andDaphne is busying herself in the kitchen. Frasier turns round to find Eddie staring at him.Frasier: Dad, he's doing it again! Must this dog stare at me all thetime?Martin: I don't know. Eddie - must ya? [Eddie carries on staring] Apparently he must.Frasier: [to Eddie:] What is so fascinating about me? What is it? Doyou imagine I am a large piece of kibble? Am I some sort of canine enigma? Think about it, get back to me.Daphne enters carrying a tray of food.Daphne: Herewe are, gents, dinner's up. [to Martin:] Can I give you a hand clearing up your papers?Martin: No, you better let me. I need to keep these in a particularorder.Daphne: What is all this, anyway?Martin: Oh, it's an old case of mine from the police force - the \"Weeping Lotus\" murder.Frasier: Dad, I can't believe you'restill trotting this old thing up. He's been trying to solve this case for twenty years.Martin: Yeah, and I'm not stopping until I do solve it. You adopt certain instinctswhen you're a cop. And my instinct tells me that this case can be cracked. There just must be one small thing I keep overlooking. [tidies papers]Frasier: There is- who the murderer was. [laughs]The doorbell sounds and Frasier goes to answer it as Daphne and Martin chat.Daphne: It's nice you feel so dedicated.Martin: It'sa hobby. Some guys build a boat in their garage, I try to figure out why a maniac would kill a hooker and try to stuff her entire body into a bowling bag. It'srelaxing!At this point Frasier opens the front door to Niles who is carrying a bottle of wine. He enters and hands the wine to Frasier.Frasier: Hello, Niles.Niles:Sorry I'm late, Frasier. Just as we were leaving, Maris had a run-in with a rude directory assistance operator and it shattered her calm.Frasier: Have you everconsidered that maybe Maris is a bit high strung? Maybe she should see someone.Niles: She's seen everyone, why do you think she was calling directoryassistance?Daphne: Evening, Dr. Crane.Niles: Hello, Daphne. It's so good to see you again. [she puts the meal down] What an enchanting scent you'rewearing.Daphne: [smells herself] Must be the ranch dressing. Won't Mrs. Crane be coming?Niles: No, I'm afraid. And please, no more of this \"Doctor\" and \"Mrs.Crane\" formality. To you, it's Niles and... [stumped] er...Frasier: Maris.Niles: Yes, Maris.Martin: Glad you could join us, Niles.Niles: Oh, I wouldn't have missedit.Martin: Well, I guess the food's all ready: why don't we just go ahead and start?Everyone sits down except Daphne who begins to take her food into thekitchen.Daphne: Well, enjoy.Martin: Where are you going?Daphne: I thought I'd have mine in the kitchen.Martin: Don't be ridiculous.Niles: Yes, we can't haveyou eating by yourself in the kitchen. I'll join you.Martin: No. We're all eating right here, like a family, end of discussion.Daphne: Well, isn't this nice? Feels justlike home.Niles: I'm famished.Frasier: Me, too.Niles and Frasier begin to eat...Martin: You boys still say a prayer before you eat?They relent and pretend they do.All four close their eyes and hold their hands together. As Martin begins his prayer, Niles stares at Daphne as Eddie stares at Frasier. Daphne does not notice withher eyes shut. However, Frasier notices Eddie's skin-creeping look.Martin: We thank you, Lord, for the food we're about to eat. You have blessed our table withyour palm. And thank you, Lord, for bringing this family together and we also thank you for the other gifts you have given to us. And may we always be able toshare with those less fortunate...Frasier: [to Eddie:] OH, WILL YOU STOP STARING!Niles: [off guard:] I wasn't staring!Martin: [takes what he can get]Amen.They all settle down. Daphne looks at Niles a little suspiciously as he begins the meal conversation.Niles: So Frasier, did you happen to read Derek Mann'scolumn today? You were mentioned.Frasier: No, I missed it.Niles: Just as well, it wasn't flattering.Frasier: I still would have liked to have seen it anyway.Niles:Oh, why didn't you say so? [takes it out of his pocket]Daphne: If I may ask, who's Derek Mann?Martin: He writes that \"Mann About Town\" column for the Times.The things that guys comes out with, sometimes he's really funny - what did he say about you?Frasier: [reading:] \"I hate Frasier Crane.\"Martin: [laughs, then:]Oh, sorry.Frasier: That's it. \"I hate Frasier Crane.\" That's it?Martin: Oh, don't let it bother you.Frasier: Well, actually it doesn't, dad. I knew when I chose a careerin the public eye that I'd be open to certain criticisms, it's the price I pay for my celebrity. Thank you, Niles, for bringing me the paper, and thank you forhighlighting it in yellow! Now, who would like some wine?Daphne: Oh, I'll have some.Frasier goes to pour some as Niles compliments Daphne.Niles: Daphne, thissalad is exquisite.Frasier: [sitting down:] Now why would he say that?Martin: Must be the carrots, he always did like them.Frasier: Not the salad, Derek Mann. Imean, why would he write a thing like that? I've never done anything to him, the attack is totally unwarranted. I'm a healer, for God's sake.Martin: Oh, for cryingout loud!Frasier: Dad, I have every right to feel upset about this - I will not enjoy my dinner until this is where it belongs - in the trash.Frasier goes to bin it asNiles tries to stop him.Niles: Oh, oh, there was an article in there I wanted to save.Martin: On what?Niles: Nothing.Martin: Come on, I'm interested.Niles: Oh,let's drop it.Martin: Why can't you tell me?Niles: All right, it was all about Margaret Thatcher's secret for growing prize-winning zinnias. Are you happy?Martin:[beat] Not really.[SCENE_BREAK]OH, YEAH...Scene Two - Radio Station. The following afternoon Frasier is taking a call on air in his booth as Roz listens.Frasier:All right, Lorraine. Now, calm down and try and listen to what I'm going to say to you. Will you do that?Lorraine: [v.o:] Okay.Frasier: All right, good girl. Nowyour problem...Lorraine: [beep] Oh my gosh, another call waiting - someone else is trying to get through. Do you mind if I take it?Frasier: No, no. Go rightahead. [she does] Well, certainly a very interesting situation she's got herself into. Don't you think so, Roz?Roz is busy eating and reading magazines. She has toquickly chew her food, put down her books just for the simple:Roz: Yes.Lorraine: Okay, I'm back.Frasier: All right, Lorraine. Now listen very carefully to what I'mgoing to tell you. Your problem seems...Lorraine: [beep] Oh, I'm sorry, I'll be right back.Frasier: For someone who's got so many problems she certainly ispopular. [laughs]Lorraine: Okay, go ahead Dr. Crane. I'm here. [beep] Oh, I don't believe it - another call.Frasier: Hold it there, Lorraine. The reason why youwant to take that other call is the same reason that you want to change your career and break up with your boyfriend. You're obsessed with what you think you'remissing. The better offer, the call on the other line. Well, you've got to take one call at a time from now on. Fully explore and experience each one in its turn andyou'll be a stronger person for it. Do you follow me, Lorraine?Lorraine: Okay, I'm back!Frasier: Thank you for your call. [hangs up] Well, we've only got twominutes left, so I would like to end today's program on a personal note. As some of you may know, yesterday I was mentioned in Derek Mann's \"Mann AboutTown\" column. He said, and I quote, \"I Hate Frasier Crane\"... \"I Hate Frasier Crane\". [sarcastic:] What trenchant criticism. Move aside Voltaire, step back in theshadows H.L. Mencken, there's a new kid in town. One can only wonder how many hours Derek Mann sat in the glow of his computer screen before his tremblingfingers sprang to life and pecked out this cheft'ouerve: \"I Hate Frasier Crane.\" A lesser critic would have wasted our time by presenting a well thought-out, pointby point, constructive critique of this show. No, not our Mr. Mann. So dear listeners, when Mr. Mann's column arrives on your front doorstep - read it, enjoy it, butabove all, treasure it. For one day this man will be joining the Pantheon of the immortals. And if we're lucky... it'll be one day soon. I'm Dr. Frasier Crane. [signsoff]Frasier presses the off air button, and twirls his microphone around before blowing on it as if it were his weapon, then \"holsters\" it in hisbelt.[SCENE_BREAK]YEAH!Scene Three - Café Nervosa. The following afternoon Frasier is drinking a coffee in the café with Roz when Niles enters and sits withhim.Niles: Frasier, how funny running into you here.Frasier: I'm always here.Niles: Yes well, you weren't here twenty minutes ago: have you seen today's\"Times\"?Frasier: [knowing what's coming:] No.Niles: Lucky for you I saved you this copy. Take a look at Derek Mann's column.Frasier: You know, this is thesecond time in as many days that you have given me a paper. Have you ever considered getting yourself a route?Niles: [to Roz:] Hello, I don't believe we'vemet.Roz: Yes we have, Niles, three or four times. Roz Doyle.Niles: Oh, of course. It was at the... it was during the... well, I'm far too successful to feel awkward.Where did we meet?Roz: The radio station.Niles: Ah, I'll take your word for it. Nice to see you again. [then, to Frasier:] Mr. Mann heard your programyesterday.Frasier: So I see. [reading:] \"Yesterday afternoon, Dr. Frasier Crane got on my case for not giving him a point by point criticism of his radio show. Well,he asked for it, so here goes.\"Roz: [noticing:] Oh my god, his entire column is about your show.Niles: Not very flattering either. Towards the end he even attacksyour \"dimwitted sidekick call screener.\"Roz: [appalled:] That's me!Niles: Oh, now I remember you!Frasier: [reading:] \"It's hard to say what I hate most aboutCrane's show - his pompous, sanctimonious style, his constant self- congratulatory references to his own life, or his voice: a mock- sympathetic tone so sicklysweet one wonders if the man graduated from medical school or from some mind-controlling cult.\"Niles: It's continued on twelve.Frasier: I've readenough!Waiter: [asking:] Can I get you something?Frasier: [to Niles:] How can the man think something like that?Waiter: It's my job, I'm a waiter.Frasier: Wedon't want anything, thank you.Roz: Frasier, I know this stinks, but in a couple of days it'll blow over.Frasier: Oh, perhaps you're right. As angry as it makes me,to retaliate would be to stoop to his level. So the best response is no response at all.[SCENE_BREAK]Scene Four - Radio Station. Soon after these comments he isalready shouting into his microphone about the recent newspaper report.Frasier: [angry:] \"Pompous and sanctimonious,\" am I?! Well, this Mann character can'teven write grammatical sentences! Every five words there's one of his precious \"dot, dot, dots.\" Must be because he likes writing all those dots with the crayon hewrites this drivel in!Roz, who looks like she has been listening to him rant for quite a while, tries to steer him back to the show.Roz: Dr. Crane, on line two wehave Stewart who's having a problem with delayed gratification.Frasier: Well, he's just going to have to wait! I don't know who this Derek Mann thinks he is, butif he thinks he can hide behind his newspaper like some sniveling schoolchild cowering behind a tree, then I say let's expose this Derek Mann forwhat he is: not aman at all, but half a man! [to Roz:] Now what line did you say Stewart was on?Roz: He hung up.Frasier: Well, I'm leaving all sorts of bodies in my wake today."}
+{"doc_id":"doc_64","qid":"","text":"[PREVIOUSLY_ON]Lou: I think starbright is a really good fit for her. (Quietly) Because it'll give her a chance to catch up. Catch up? Ms. Wadsworth doesn't thinkthat Katie is ready. She's beautiful.Bob: She's nearing the end of her pregnancy. I like you, Ty, you impress me. Ah, well, you know I already have a job. Well,with this grant I can match what Scott pays. You really gonna do this? You left me no choice. I saw the video, Amy. I saw you kissing Ahmed. I'm not working forAhmed anymore. So come on, let's take it for a spin before I have to ship it back.(Truck roars)Ty: Whooo!Amy: I'll see you tonight?Ty: Absolutely. (Small laugh)You know, maybe you could just tell Bob Granger that you thought you start work tomorrow not today.Amy: Right?Ty: No... I gotta go.Amy: Okay. We'll see youtonight.Ty: Okay. See ya.Amy: Bye.(Truck door shuts)(Engine starts and hums)(Ty honks)(Hooves thunder)Sandra: Okay. Go easy! That's it, Georgie! Okay. Notbad. Do you wanna work on your \"backward thunder\"?Georgie: Yeah sure. (Georgie clicks her tongue) (Grunts with effort) I messed up at the end. Can I goagain?Sandra: Sorry, Georgie, you've run out of time. There's another girl signed up.But I only had a half hour. Can I just have ten more minutes? Please? I'mnever gonna get the practice time I need to audition for the extreme team.Sandra: I can't keep my students waiting. And you've still got plenty of time to getready for that audition. Don't stress.(Gate clanks and squeaks open)Olivia: Are you finally finished?Georgie: What are you doing here?Olivia: What do you think?I'm taking lessons just like you. Only, Sandra gives me private ones. She says I'm a natural.(Truck rumbles up)Tim: Hi.Casey: Hey Tim!Tim: I heard you werepulling out of town.Casey: Yeah. I got a string of rodeos from longview right through to Southern Montana. So... I'll be gone for a few weeks.Tim: Well, we nevergot that lunch we talked about.Casey: Well, you never asked so...(Surprised laugh)Tim: This is me asking.(Laughs)Well, that sounds good.Tim: Okay.Casey:Name the date.Tim: Okay.Casey: No pressure. (Laughs) Bye!Lou: Surely the doctor can see her before then? I mean, four months? That's crazy... No. I-Iappreciate that you have a waiting list but... but what if there is a cancellation? Yes. No, please, please do let me know. Thank you. Four month wait. Can youbelieve that?Peter: You know, just because some know it all principal at an overpriced preschool thinks she's not ready does not mean there is anything wrongwith our daughter, sweetheart.Lou: Dr. Lauder is the best special education psychologist in the field, honey. I mean, there's no harm in checking, right?Peter:Okay. Yeah, absolutely. I won't mention it again.Lou: How was your class?Jack: Wrong question.Georgie: It sucked!Lou: Hey language...Georgie: Okay. Well, itdid. And I barely had any time on Chaplin. And too many people signed up so there weren't enough horses. Oh, and guess who's taking private lessons withSandra?Georgie: Guess!Lou: I-I don't know.Georgie: Olivia!Lou: Olivia. Great.Georgie: Yep. She couldn't stand that I was doing something she wasn't. So shejust had to signed up. And that was the only reason she signed up. Agh. I'm so mad! Hi Katie.Katie: Hi.(Phone rings)Lou: Grandpa, it might be the clinic...Jack:Hello. Hang on, is Amy...?Lou: No. She rode over to Ty's. She'll be back soon.Jack: No, I'm sorry she's riding her horse back from Ty's place. But I'm sure shewon't be that long.Right. Have a good one. Who was it? You will never guess.(Hooves thud)(Horse snorts)(Hooves thunder)Ahmed: Hello. I was hoping I wouldrun into you. You look beautiful.S08E04\u0000 And at the break of day you sank into your dream \u0000 \u0000 You dreamer \u0000 oh-oh-oh... \u0000 You dreamer \u0000 youdreamerAmy: What are you doing here? Why aren't you in Europe with the rest of your team?Ahmed: It's a pleasure to see you too.Amy: (Scoff) I'm sorry it'sjust...Ahmed: I was compelled to come back. What else could I do? You were ignoring all my emails and texts. Well...Ahmed: And then the truck. I don'tunderstand why you would return the truck. It was a bonus for all your hard work. It was too big of a gesture. I wasn't comfortable with it.Ahmed: It would havebeen valuable when we are back working at Hillhurst. You wouldn't always be depending on other peoples' vehicles. I'm not coming back to work at Hillhurst. Itold you that. No. You said you weren't coming back to the tour. That's not what I said. Now you're saying you don't want to be my head trainer here at Hillhurst?Not possible. Of course you are staying on. No. I'm not. I thought you understood. Why would you walk away from something you excelled at, that you enjoyed.Ahmed, you know why... All right. I admit the circumstances were slightly awkward... before you left France... You're just tired from the tour. When you havetime to relax, rethink, you will see things more clearly.Amy: Ahmed...Ahmed: Can I at least accompany you home? (Frustrated sigh) Sure.(Door creaksopen)(Birds chirping, howling)Bob: I am freaking out here, man. Four new animals have been dropped off since yesterday! Four!A bear cub that turned up insomeone's garbage. Two coyote cubs, and a porcupine that we gotta check for rabies.Ty: Absolutely. Yeah.Bob: Oh, and hey, see that feed shipment that justarrived? Take care of that. Also the llama fence over there looks like the side is sagging. If it is, fix it.Ty: Yeah, I can handle that.Bob: Oh and on top of everythingelse, the pregnant wolf is about to pop. So take a look at her for me? Will do.Bob: Thanks, bud.Lou: Yes, but are you sure that's necessary? Because I'd really liketo see Dr. Lauder not... I understand. Yes, thank you.Tim: Hi.Lou: Oh hi. Dad. Okay, so apparently she should see a special education evaluator if we can't get anappointment with Dr. Lauder. What do you think?Tim: What?Lou: A special education evaluator. It's for Katie.Tim: Oh. Listen, you two, don't stress this. There isnothing wrong with my grand daughter. Thank you, Tim. I couldn't agree more.Tim: That's gotta be a first, general.Tim: Lou.Tim: Ahmed is back.Lou: What?!Now that is a relationship worth nurturing.Lou: Yes, so you've said. Dad. Dad, come back here! Dad... Just wait a second.Tim: Ahmed! Good to see you!Congratulations on a successful tour.Ahmed: Our success was greatly due to your daughter's expertise. Well, I think it calls for a celebration. Why don't join usfor dinner tonight? What's do you say? Is it okay, Lou?Ahmed: I would love to, but I will have to take... what do you call it? A rain check. Another evening wouldbe wonderful. Huh.Ahmed: I will talk to you soon, Amy. Ha.Amy: Georgie is that a trick ridding saddle on Phoenix? There's no way. Phoenix is a great horse buthe's not a trick riding horse. Phoenix can do anything. Including trick riding. So, Ahmed is back. That's just great, isn't it?Amy: Georgie! You are not trick ridingon Phoenix!Georgie: Relax. I'm just getting him used to the saddle!Tim: Lou. Lou. I don't understand why you're ticked off with me for inviting Ahmed todinner?Lou: Because, it's just...Tim: It's-it's what? It's not very hospitable.Lou: What? I'm not prepared to invite a prince to dinner at the last minute, okay?Tim:I don't-I don't think he'd care, okay? The guy- he's down to earth.Jack: Yeah. For a guy who owns a private jet.Tim: Let's not forget how kind he wad to Amywhen she was injured. He was very, very generous. We should all remember that. So I don't see what the problem is.Georgie: Good boy, Phoenix. You like thissaddle, don't you? (Phoenix snorts) Whoa! Oof!Amy: Georgie! Come on now, you said you weren't gonna do a trick! You could have really hurt yourself orPhoenix!Georgie: Okay! Okay!Amy: No. It's not okay! You need to learn to think before you make these crazy decisions!Georgie: You should talk.(Georgie clicksher tongue, Phoenix snorts)Amy: You know I'm right.Georgie: You have to talk to Sandra!Maybe she can give me some extra time on Chaplin after school orsomething.Peter: You got a lot going on after school already.Georgie: Well, I need to practice time or else I'm not gonna make the extreme team. Please can Ihave private lessons, like Olivia?Peter: No. You can't because we can't afford it, Georgie, okay? And you have to understand that things aren't always gonna gothe way you want them to, all right?Georgie: Obviously. (Bowl clanks on the floor) Peter: Oops!Katie: Can you pick up my plate, please!Ty: Sorry, I'm late,everyone.Lou: Honey, it's a bowl. Can you say, pick up my bowl? I just come straight from work, I didn't have time to change there.Amy: How did it go?Ty: Itwas great! The place is amazing! It's a little disorganized. Nothing we can't whip into shape. I got to baby-sit a bear cub today. Oh, that's what I'm smelling.(Laughs)Georgie: How is the wolf?Ty: She's about ready to have her babies. Yeah-oh, I forgot to look at the llama fence today!Georgie: What?Ty: Shoot! I haveto do that tomorrow.Georgie: They have lamas?Ty: Yeah. They do.Georgie: I love lamas. They spit!(Laughing)Tim: So Amy, honey, what's your plan?Amy: Whatdo you mean my plan?Tim: Well, Ahmed is back. So what-what's your plan?Are you gonna head up to Hillhurst?Ty: Ahmed is back in town? I thought he was inEurope with his team.Lou: Does anyone want seconds on the salad?Amy: I'm okay.Tim: I tell you, the guy - he is so friendly, huh? Wasn't he this afternoon?Ty:Oh, you saw him today?Amy: Uh, yeah, I ran into him on the way back from your place. You know what? I made pie. Who's up for coffee and pie?(Screen doorcreaks shut)Ty: So Ahmed... What was that about?Amy: (Heavy exhale) Take a guess.Ty: He came all the way back here to try and talk you out of yourdecision?Amy: Yeah. But I set him straight.Ty: That's my girl. Stick to your guns.Ty: I'll call you tomorrow. I gotta work late so I might miss dinner.Amy:Okay.(SUV rumbles)(Knock on door) Jack: Come in.Jack: Ahmed. Welcome back!Ahmed: Hello. Thank you.Jack: Look who's here.Hello. I'm on my way to anauction in Black Diamond. I would love you to come with me. Look over the horses I'm interested in. Give me advice.Jack: Amy's got a great eye that's forsure.Amy: Ah, it's just you know, I can't. I have chores pilling up.Jack: Oh, I'll do your work for you. You should go. Catch up on the tour news. It's just-it's alittle short-notice... You know, I'm not ready. Take your time. Okay. Uh, yeah. I'll just need a few minutes. Ahmed, would you mind if Ty came?Ahmed: Not atall.Amy: He's just really good at auctions.Jack: Yeah.Ahmed: I'll wait for you outside.Amy: Okay. Nice to see you, Mr. Bartlett.Jack: You too. Have fun.Ahmed:Thank you.(Door shuts, dialing beeps)Ahmed: There's one animal in particular that is interesting to me. A belgian warmblood. Incredible lineage. I look forward toyour opinion.Amy: Yeah, of course.Amy: So... did I tell you about the new business that Ty has started? He and a partner are buying rodeo prospect horses. andtraining them. They're actually really good at it. I've been helping train some of the horses.(Phone chimes)Excuse me. (Phone beeps on) Hello, Ty.Ty: I can'tmeet you. Bob just called. He's got called out on an emergency pick up. So I need to go into work right now. I'm sorry. But you can deal with him though,right?Amy: Yeah. Of course. Absolutely. I love you.Ty: Okay. Love you.Ahmed: Everything all right?Amy: Yeah, um, Ty just can't come. He got called into"}
+{"doc_id":"doc_65","qid":"","text":"[Gilbert's House](Elena is in her bed but she can't sleep)(She's in the kitchen. Connor appears behind her)Connor: Can't sleep?(She turns herself but he's nothere. She looks around. He reappears)Connor: You know... It makes sense. Guilty conscienceElena: You're not here. I'm... I've got to be dreamingConnor: Thenhow do you know that I'm not here?Elena: Because you're...Connor: Come on. Say itElena: Because you're deadConnor: Yes. I am. Was that the first time thatyou've taken a human life?Elena: You're a ghost. It's got to be... You're a ghost. That's... that's what's happening right now. Jeremy. Jeremy!(He wakesup)Elena: You're a ghost. You're haunting me. You're a ghost. You're haunting meConnor: Can a ghost do this?(He strangles her from behind. She punches himwith her elbow and then pushes him on the table. He gets up and comes back toward her. She takes a knife and stabs him in the neck. She removes the knife. Itwas Jeremy)Elena: Oh my god! Oh! Jer! Jer!(He collapses)Elena: Jer! Jer! No, no, no! No! No. No, Jer! Jeremy!(Jeremy is on the couch, still dead. Elena andDamon are with him)Elena: I can't believe this happened. What... what am I going to say to him?Damon: Thanks for not ditching the family ring after it drove Riccrazy? You should have called StefanElena: I don't want to talk to him. He's been lying to me, and hiding things from me. He compelled Jeremy to forget Godknows whatDamon: In all fairness, I mean, I think you killing him kind of trumps that. I mean, you should have called StefanElena: I don't trust him right now,Damon(Stefan enters)Stefan: HeyDamon: P.S... I called StefanStefan: What happened? Why didn't you call me?Elena: I just... I need to go upstairs and shower.Clean all the blood off my hands(She goes upstairs and Jeremy wakes up)Stefan: Welcome back. How you feeling?Jeremy: What happened?Damon: Long story.Buy the e-book(Stefan goes in Elena's bedroom. She's there)Stefan: Elena? Hey. Listen, I know you're still upset about yesterday, and I get it. Believe me. Butjust... let me help youElena: I don't want your help right now, StefanStefan: But you'll accept Damon's?Elena: Don't make this about Damon! You've beenworking with Klaus doing God knows what, and don't insult me by trying to deny itStefan: Listen, it's not what you think, ok?Elena: I don't know what to think butI do know that I don't want to talk to you and I don't really want to be around you right nowStefan: Look, please, just...Elena: No. This is my brother's blood onmy hands, Stefan. I stabbed him in the neck last night, so forgive me if I'm not in the mood to listen you try to talk your way out of this(She goes in thebathroom and slams the door)[Lockwood's Mansion](A hybrid pours alcohol to Haley. Tyler enters and she looks at him, smirking)Tyler: You're still going? I drankenough last night. And then I slept, which is what you guys should have doneHybrid: We're just paying our respects to DeanTyler: That's great, Chris, but wouldyou pay them at a bar instead?Haley: Don't be mad. We're celebrating our fallen hybrid friend(She makes him drink but he doesn't want to. She wipes his mouthwith her finger and then sucks her finger, looking at him. Klaus enters)Klaus: Well, don't let me interruptTyler: I didn't know you were hereKlaus: Clearly.Thought I'd just pop 'round to celebrate Dean's successful retrieval of the vampire hunter. Yet when I arrived, I learned that not only was Dean unsuccessful, butthat Elena killed the hunterHaley: Well, maybe if you had let Dean use force on Connor instead of sending him in on a suicide mission...Klaus: Maybe you shouldmind your business, wolf girlTyler: What do you care if Connor's dead, anyway?Klaus: I have my reasons. They have ceased to matter. Cheers(He drinks.Someone knocks on the door. Tyler opens. It's Caroline. She gives him a box)Caroline: Brought your stuff. Old laptop, your Jersey, the charm braceletTyler:Car... This isn't a good timeCaroline: Just take it(Klaus rejoins them)Klaus: Caroline. By the break-up drama unfolding before me, I assume you've met Haley. Allright, come on, let's go. Let's leave them alone. Your talents are needed elsewhereTyler: For what?Klaus: I think you've got more important things to deal with,mate(He leaves, his hybrids following him. Caroline looks at Haley and closes the door. Then she smiles do does Haley)Caroline: Do you think he bought it?Haley:Hell, I bought itCaroline: Thanks for the head's up that he was here, HaleyTyler: You girls are good liars(Then he kisses Caroline and Haley looks atthem)[Gilbert's House](Elena is in the shower. Suddenly, the water becomes blood. She looks at the water but it's normal. She looks ah the shower and there'sblood. She takes a towel and gets out)(Damon is in the kitchen, cleaning. Stefan enters)Damon: Where'd Jeremy go?Stefan: School. Bonnie has him volunteeringfor some occult exhibitDamon: Or maybe he didn't want to linger in a house where his sister just jammed a knife in his neck(Stefan's phone rings. He looks atit)Stefan: It's KlausDamon: Ooh, time to face the music, pay the piper, dance with the devilStefan: You know, I'm glad you find this amusing. If he finds out Itold you about the cure, he'll kill both of usDamon: Quit avoiding him. You're being shady. Shady people get outed(Stefan answers)Stefan: I don't want to talkabout itKlaus: Well, I can't imagine why, what with you ruining all my plans for a hybrid-filled futureStefan: Well, it wouldn't happened if you hadn't sworn me tosecrecyKlaus: Life's full of ifs, Stefan. Let's extenuate the positives, shall we? The hunter was one of five. We'll find another. It may take centuries, but we've gotnothing but time, right?Stefan: You're using your calm voice today. Who's getting killed?Klaus: Not you, if that's what you're worried about. But I am concernedabout your beloved. Have the hallucinations started yet?(Stefan looks at Damon)Stefan: What do you know about that?Klaus: I'll tell you. Where you are?Stefan:I'm at her houseKlaus: How convenient. So am i(He arrives at the house and knocks on the door)(Stefan opens the door and goes out)Klaus: You know, thiswould all be a lot more civilized if I was just invited insideStefan: Bad enough I'm out here talking to you. What do you know?Klaus: I killed the Original fivehunters, remember? When one kills a hunter, there's a bit of a consequenceStefan: What kind of consequence?Klaus: Hunters were spelled by witches to killvampires. If you prevent one from fulfilling his destiny, then he'll take you down with himStefan: What do you mean? Connor's deadKlaus: I mean, Connor'sdeath won't prevent him from making Elena his final vampire kill. She'll need to come with me now. I'll lock her up; keep her away from any sharp, woodenobjectsStefan: She's not going anywhere with youKlaus: But if we leave her alone, she'll take her own life before the day is outStefan: She's stronger thanthatKlaus: Is she? Believe me, it's for her own good(Elena is in her bedroom, dressing up. She looks at herself in the mirror and then opens a drawer. Connor isbehind her. She surprised and turns herself. He touches the blood on his neck)Connor: Would you like some? You seem to enjoy it when you drink from meElena:I wasn't myself. I was angryConnor: Were you yourself when you snapped my neck with your bare hands?Elena: You staked me!Connor: 'Cause you're a monsterand you deserve to die. Admit it!Elena: No(She enters the kitchen. Damon's there but when he gets up, it's Connor)Elena: Damon...Connor: Decomposition startsin the first 24 hours. I'm rotting in an unmarked grave because of youElena: No!(She runs and Damon looks at her)Damon: What's wrong? Elena!(She gets out.Klaus turns himself. He takes her and disappears. Damon comes out and looks at Stefan)[Mystic Falls' High School](Jeremy looks at the tattoo on his hand. Mattrejoins him)Jeremy: Hey, do you see anything on my hand? What if I told you I saw the beginning of a mark like Connor's?Matt: Are you serious?Jeremy: Itshowed up after he died. He told me that I was a potential; that that's why I could see his markMatt: So what does that make you, like the next chosen one orsomething?(April rejoins them)April: Hey, guys(She's holding a big roc)Matt: Hey April(Shane's there too)Shane: Way to let her do the heavy lifting. I found herwandering the hallways with this. Just teasing. I'm the guy who wrangles all the freaky stuff, Atticus Shane. Please, call me Shane, I beg you. Thank you guys forhelping, I really appreciate it. Y'all get free admission to my free exhibit(He smiles and leaves. April look at them)April: Why does he look so familiar?Jeremy: NoideaApril: Hey, um, have you guys seen Rebekah? She said she was going to help me look into what caused the explosion at my dad's farm, and then shejust...Matt: Disappeared, yeah, I know[Gilbert's House]Bonnie: You lost her?!Damon: Well, \"lost\" is a very strong word. We just technically don't know where sheisStefan: I'm more worried about what Klaus said about this hunter's curseBonnie: How does Klaus even know about this?Damon: How does Klaus knowanything? The guy's like a billion year's oldStefan: He said it was a witch's curseBonnie: You know if I could do anything to help, I would, but I...Damon: Butnothing. Wave your magic wand, hocus pocus, be gone, hunter, ghosts, whateverBonnie: The spirits won't let me do the magic I need to break the curse. But Ican ask Shane for help. He knows everything about everythingStefan: Great. You two do your thingDamon: Where you going?Stefan: To get her back(Heleaves)[Klaus' Mansion](Chris opens the door to a room and Klaus enters with Elena, holding her)Elena: Let go of me!Klaus: Certainly(He lets go of her)Klaus: Iapologize for the lack of windows. It's to preserve the art. And, of course, to prevent you from taking off your daylight ring and burning yourself to death in thesunElena: I'm not going to kill myself. I would never do thatKlaus: Oh, but you'll want to. I did. Problem is, I'm immortalElena: You went through this?Klaus: Yes,I did. For 52 years, four months and nine days. I was tormented... In my dreams. My every waking moment. Relentless, never-ending torture. It was the onlyperiod of my life when I actually felt timeElena: So you knew that this would happen if Connor died. That's why you got involved. Did Stefan know, too?Klaus: Allhe knew was that the hunter had to be kept alive. You should have listened to him when he said he had it covered, loveElena: What else does Stefan know?Klaus:Well, that's one of life's little mysteries, isn't it?Elena: How did you make it stop?Klaus: I didn't. Eventually it just stopped. The hallucinations tend to appear instrange forms. Don't say I didn't warn you[A road](Stefan is on the phone with Caroline)Stefan: He's got Elena. I need Tyler to get the other hybrids away so Ican get her out. I know I'm probably asking the impossible, but...Caroline: Actually... You're not[Lockwood's Mansion](Stefan is in the living room with Tyler andCaroline)Tyler: Haley is the one that helped me break the sire bond. She showed me what to do. How to help. When she showed up here, I thought it was justcoincidence. But it turns out she's been helping one of them. Her friend Chris. And she came to help us get the rest of them out from under KlausStefan: So... Areyou telling me that Chris isn't sired anymore?Caroline: That's exactly what he's telling you[Klaus's Mansion](Chris enters Elena's room with some stuff)Chris:"}
+{"doc_id":"doc_66","qid":"","text":"[Rebecca riding bus and then running into a school. Meets up with Melanie]Melanie: Why are you late?Rebecca: You're not going to like the answer.Melanie: Ialready know the answer.Rebecca: I missed the bus.Melanie: I don't doubt it, no bus stops near Brad's. You spent the night, the alarm didn't work. Or maybe itdid.Rebecca: I didn't sleep with him.Melanie: Girl, there's...[Interrupted]Rebecca: I missed the bus!Melanie: There's something either very wrong with you, orthere's something very wrong with him.Rebecca: There's nothing wrong with him.Melanie: Please tell me you know that for a fact.Rebecca: Melanie, I gottago.Melanie: You're lying aren't you?Rebecca: I wouldn't lie to you. [Turns to class of 5 year olds] Good morning guys!Class: Good morning Miss Rebecca!Rebecca:Everybody's in their seats?Class: Yes!Rebecca: Ok, Sidney, why don't you tell us what you did this weekend. Come on, Sidney, we know you're not shy.Sidney:How come we always have to tell you what we did, and you never tell us what you did?Class: [giggles]Rebecca: Ok, I had a really great weekend, but you can'ttell Miss Melanie, ok?Sidney: What did you do?Rebecca: I made a new friend. It's so much fun to make new friends, isn't it?Class: Yeah, Yes, etc.Girl 2: Did youtell you mom and dad about your new friend?Rebecca: Absolutely! You should never keep anything from your parents. And I told them [gibberish]Class:[giggles]Rebecca: Wh..Class [more giggles]Rebecca: [gibberish]Class: [Laughs and giggles][Rebecca goes to the board and starts writing]Class: C, A, T,HSidney: \"The.\"Boy: We know that word, \"the.\"[Rebecca collapses, on the board the words \"call the nurse\" are written](Evil commercials...bane of myexistence!)[House and Wilson are walking through the hallway. All you can see is their hands and legs, showing that House is using a cane and limping. Wilson isthe only one of the two wearing a lab coat.]Wilson: 29 year old female, first seizure one month ago, lost the ability to speak. Babbled like a baby. Presentdeterioration of mental status.House: See that? They all assume I'm a patient because of this cane.Wilson: So put on a white coat like the rest of us.House: Idon't want them to think I'm a doctor.Wilson: You see where the administration might have a problem with that attitude.House: People don't want a sickdoctor.Wilson: Fair enough. I don't like healthy patients. The 29 year old female...House: The one who can't talk, I liked that part.Wilson: She's my cousin.House:And your cousin doesn't like the diagnosis. I wouldn't either. Brain tumor, she's gonna die, boring.Wilson: No wonder you're such a renowned diagnostician. Youdon't need to actually know anything to figure out what's wrong.House: You're the oncologist; I'm just a lowly infectious disease guy.Wilson: Hah, yes, just asimple country doctor. Brain tumors at her age are highly unlikely.House: She's 29. Whatever she's got is highly unlikely.Wilson: Protein markers for the threemost prevalent brain cancers came up negative.House: That's an HMO lab; you might as well have sent it to a high school kid with a chemistry set.Wilson: Nofamily history.House: I thought your uncle died of cancer.Wilson: Other side. No environmental factors.House: That you know of.Wilson: And she's notresponding to radiation treatment.House: None of which is even close to dispositive. All it does is raise one question. Your cousin goes to an HMO?Wilson: Comeon! Why leave all the fun for the coroner? What's the point of putting together a team if you're not going to use them? You've got three overqualified doctorsworking for you. Getting bored.[Cut to Rebecca, into the nose, and up the blood stream. Cut to House looking through an MRI of Rebecca's head.]Foreman: It's alesion.House: And the big green thing in the middle of the bigger blue thing on a map is an island. I was hoping for something a bit more creative.Foreman:Shouldn't we be speaking to the patient before we start diagnosing?House: Is she a doctor?Foreman: No, but...House: Everybody lies.Cameron: Dr. Housedoesn't like dealing with patients.Foreman: Isn't treating patients why we became doctors?House: No, treating illnesses is why we became doctors, treatingpatients is what makes most doctors miserable.Foreman: So you're trying to eliminate the humanity from the practice of medicine.House: If we don't talk to themthey can't lie to us, and we can't lie to them. Humanity is overrated. I don't think it's a tumor.Foreman: First year of medical school if you hear hoof beats youthink \"horses\" not \"zebras\".House: Are you in first year of medical school? No. First of all, there's nothing on the CAT scan. Second of all, if this is a horse thenthe kindly family doctor in Trenton makes the obvious diagnosis and it never gets near this office. Differential diagnosis, people: if it's not a tumor what are thesuspects? Why couldn't she talk?Chase: Aneurysm, stroke, or some other ischemic syndrome.House: Get her a contrast MRI.Cameron: Creutzfeld-Jakobdisease.Chase: Mad cow?House: Mad zebra.Foreman: Wernickie's encephalopathy?House: No, blood thiamine level was normal.Foreman: Lab in Trenton couldhave screwed up the blood test. I assume it's a corollary if people lie, that people screw up.House: Re-draw the blood tests. And get her scheduled for thatcontrast MRI ASAP. Let's find out what kind of zebra we're dealing with here.[Cut to House standing at the elevator, he sees Cuddy and presses the down buttontwice]Cuddy: I was expecting you in my office 20 minutes ago.House: Really? Well, that's odd, because I had no intention of being in your office 20 minutesago.Cuddy: You think we have nothing to talk about?House: No, just that I can't think of anything that I'd be interested in.Cuddy: I sign your paychecks.House: Ihave tenure. Are you going to grab my cane now, stop me from leaving?Cuddy: That would be juvenile.[Both enter the elevator]Cuddy: I can still fire you ifyou're not doing your job.House: I'm here from 9 to 5.Cuddy: Your billings are practically nonexistent.House: Rough year.Cuddy: You ignore requests forconsults.House: I call back. Sometimes I misdial.Cuddy: You're 6 years behind on your obligation to this clinic.House: See, I was right, this doesn't interestme.Cuddy: 6 years, times 3 weeks; you owe me better than 4 months.House: It's 5:00. I'm going home.Cuddy: To what?House: Nice.Cuddy: Look, Dr. House,the only reason that I don't fire you is because your reputation still worth something to this hospital.House: Excellent, we have a point of agreement. You aren'tgoing to fire me.Cuddy: Your reputation won't last up if you don't do your job. The clinic is part of your job. I want you to do your job.House: Well, like thephilosopher Jagger once said, \"You can't always get what you want.\"[Scene of hospital from above, cut to hallway, Rebecca in wheelchair with Cameron, Chase,and Foreman around.]Rebecca: You're not my doctor. Are you Dr. House?Chase: Thankfully no. I'm Dr. Chase.Cameron: Dr. House is the head of diagnosticmedicine. He's very busy, but he has taken a keen interest in your case.[Cut to MRI room, Rebecca is on the table]Foreman: We inject gadolinium into a vein. Itdistributes itself throughout your brain and acts as a contrast material for the magnetic resonance imagery.Cameron: Basically, whatever's in your head, lights uplike a Christmas tree.Foreman: It might make you feel a little light-headed.Nurse: Dr. Cameron. I'm sorry I have to stop you, there's a problem.[Cut to House,busting into Cuddy's office]House: You pulled my authorization.Cuddy: Yes, why are you yelling?House: No MRIs, no imaging studies, no labs.Cuddy: You alsocan't make long distance phone calls.House: If you're gonna fire me at least have the guts to face me.Cuddy: Or photocopies; you're still yelling.House: I'mANGRY! You're risking a patient's life.Cuddy: I assume those are two separate points.House: You showed me disrespect, you embarrassed me and as long as I'mstill work here you have...[interrupted]Cuddy: Is your yelling designed to scare me because I'm not sure what I'm supposed to be scared of. More yelling? That'snot scary. That you're gonna hurt me? That's scary, but I'm pretty sure I can outrun ya.Cuddy: Oh, I looked into that philosopher you quoted, Jagger, and you'reright, \"You can't always get what you want,\" but as it turns out \"if you try sometimes you get what you need.\"House: So, because you want me to treat patients,you aren't letting me treat patients.Cuddy: I need you to do your job.[House comes out of Cuddy's office; Wilson and the ducklings are there]House: Do the MRI,she folded. [Ducklings leave, House turns to Wilson] I've gotta do four hours a week in this clinic until I make up the time I've missed. 2054. I'll be caught up in2054. [He walks into the clinic] You better love this cousin a whole lot.[Cut back to MRI room Rebecca is back on the table. She is pushed into themachine.]Cameron: All right Rebecca, [over intercom] we know you may feel a little claustrophobic in there, but we need you to remain still.Chase: [overintercom] Ok, we're gonna begin.[Machine starts up and makes weird sounds]Rebecca: I don't feel so good.Chase: It's all right. Just try to relax.[Rebecca startschoking. Cool shot of inside her throat. You can see that it closes up]Cameron: Rebecca? [over intercom] Rebecca? [back in booth] Rebecca! Get her out ofthere.Chase: Ah she probably fell asleep; she's exhausted.Cameron: She was claustrophobic 30 seconds ago, she's not sleeping. We gotta get her out ofthere!Chase: It'll just be another minute.Cameron: She's having an allergic reaction to gadolinium. She'll be dead in two minutes.Foreman: Hold herneck.Cameron: Oh, she's ashen.Foreman: She's not breathing. Epi point five.Cameron: Come on, I can't ventilate.Foreman: Too much edema, where's thesurgical airway kit?Chase: Yep, coming.[Cool cutting into Rebecca's neck sounds, and real colored blood for a change. They get her bagged.]Chase: Goodcall.(And we're back to commercials...blah...)[Cut into hospital room, next day. Rebecca has a ventilator hooked up to her, and the ducklings are present]Chase:We'll get that tube out of your throat later today.Cameron: Just get some rest for now.[They leave to hallway, House is there.]House: Told you, can't trustpeople.Cameron: She probably knew she was allergic to gadolinium, figured it was an easy way to get someone to cut a hole in her throat.House: Can't get apicture, gonna have to get a thousand words.Foreman: You actually want me to talk to the patient? Get a history?House: We need to know if there's some geneticor environmental causes triggering an inflammatory response.Foreman: I thought everybody lied?House: Truth begins in lies. Think about it.Foreman: Thatdoesn't mean anything,does it?[House walks away][House enters the clinic...dun dun dun!]House: 12:52 PM Dr. House checks in, please write that down. Do youhave cable TV here somewhere? General Hospital starts in 8 minutes.Cuddy: No TV, but we've got patients.House: Can't you give out the aspirin yourself? I'll dopaperwork.Cuddy: I made sure your first case was an interesting one.House: Cough just won't go away, runny nose looks a funny color.Cuddy: Patient admittedcomplaining of back spasms.House: I think I read about something like that in the New England Journal of Medicine.Cuddy: Patient is orange.House: The"}
+{"doc_id":"doc_67","qid":"","text":"Int. Sydney's apartment. She looks at herself in the mirror with a weird/curious look, then walks over to the sink and sits down. Then, pushing the tap up to letthe water run, she puts a kettle under the tap and fills it up. She walks over to the stove and let the water boil, while picking up a box and reading its contents ofa sachet. A man runs across the translucent doors and he pushes them open. It's Vaughn, grocery bag in his hands.VAUGHN: Back! Sydney looks up, a smilegrowing on her face.SYDNEY: Hey. What took you so long?VAUGHN: Traffic light out on Venice. She still has a weird look on her face as he comes over and kissesher.SYDNEY: Would you look at something for me?VAUGHN: Yeah.SYDNEY: See an eyelash? (Widens her left eye with her hand) Something itches likehell.VAUGHN: (he looks) No.SYDNEY: Sure?VAUGHN: Yeah, maybe those contacts you wore on the Ireland mission irritated your eye. She doesn't look tooconvinced.SYDNEY: Yeah. Vaughn starts taking the groceries out of the bag and Sydney peers into the bag.SYDNEY: What's this?VAUGHN: What do you thinkabout Orecchietti?SYDNEY: I don't think I've ever heard of it. Vaughn takes a cutting knife out. The sound made is loud and crisp, and Sydney has a weird look onher face again.SYDNEY: Wait a minute, don't tell me you cook.VAUGHN: (A smile on his face) There are a lot of things about me you don't know.SYDNEY: Youclean, too? (She's still looking through the grocery bag)VAUGHN: I've been known to. Why, you thinking about hiring me?SYDNEY: Why would I hire you when Iget you for free?VAUGHN: (small laugh) Are you taking a bath?SYDNEY: (She walks behind him) Maybe. (There's a somewhat cheeky look on her face) Maybewe're gonna take a bath. Close up shot of Vaughn cutting the broccoli. He accidentally cuts his finger.VAUGHN: Ah, damn it. Sydney rushes over immediately, alook of concern etched on her face.SYDNEY: You okay?VAUGHN: Yeah, I'm fine. (Sydney takes his hand to inspect the wound)SYDNEY: Let me see. (She appliespressure to it)VAUGHN: It's nothing.SYDNEY: Not nothing. (They look at each other and Vaughn looks pleased at her concern.) Scene changes. The backgroundmusic now sounds like it's coming from the radio. We get another closeup of their hands, and this time Sydney is putting a bandaid over the wound. Vaughn looksat her and smiles a little, and she puts his finger to her mouth and kisses it.SYDNEY: Here you go. All better.VAUGHN: You're gonna make a great mom.SYDNEY:Yeah, maybe. The statement seemed to have hit a raw nerve. She stands up, presumably to place the bandaid box to its place and in front of the mirroragain.SYDNEY: Just that, my mom wasn't exactly the best role model.VAUGHN: Well the good news is that, you're nothing like your mother. Suddenly a warpedvoice in a voice over.VOICEOVER: You're not there yet, Sydney. She looks up in mild shock, then meets the eyes of Vaughn.SYDNEY: Did you hear that?VAUGHN:What. (It was almost as if it was a statement and not an answer...)SYDNEY: Radio.VOICEOVER: You need to go further back. Follow VaughnVAUGHN: It's just theradio, Syd. If you don't like it we can turn it off. She seems to like that idea a lot.SYDNEY: That's right. Vaughn switches off the radio, then smiles.VAUGHN: Howabout a nice bottle of wine with this bath?SYDNEY: That would be great. Vaughn walks away, and Sydney looks in the mirror again. This time, she is shocked bywhat she sees. Something odd is reflected; a blue hue. Sydney sees herself being held on a chair with electrodes stuck to her forehead and she squints. Thescene changes into the actual scene of her being tortured for information. The camera view is now a mesh of colours which focuses slightly, and as it pans itoccurs that we're looking through Sydney's eyes: She sees a doctor.SYDNEY: Who are you?DOCTOR: Shh. Syd, sit still. We're almost there, Sydney. He takes asyringe.DOCTOR: We almost have what we need. We just need to go a little further. Sydney squints and looks utterly confused. She sees him sucking liquid intothe syringe and asks.SYDNEY: What are you doing to me?DOCTOR: Nothing for you to worry about. I'm just trying to help you relax.SYDNEY: Why? What do youwant? (The doctor shushes her)DOCTOR: I just need to find a vein... A distorted voice fills the room.DISTORTED VOICE: Stop. Are you certain this won't harm thebaby?DOCTOR: Quite certain.SYDNEY: (almost as if getting out of a stupor) Wait, the baby... don't...DOCTOR: (towards the one-side mirror) But if you want youranswer you're going to need to let me do my job.SYDNEY: Who is that behind there? Who's behind there?DISTORTED VOICE: Okay, you may proceed.SYDNEY: Ifyou hurt my baby... (he sticks the syringe in) I swear to you... (tears stream down her cheeks) I will kill you. We see the view from Sydney's eyes again, and thedoctor gets blurred. End of scene.SAN FR[A]NCISCO2 DAYS EARLIERExt. Rain is pouring down and camera pans to a woman serving noodles.WOMAN: You like?We see Peyton at the receiving end.PEYTON: Yes, I like very much!WOMAN: It's nice to see girl like you eating noodle. My granddaughter, she tell me, 'too manycarbs!' Peyton smiles politely and barely eats two mouthfuls of noodles before the door rings open. A man in a suit walks through the door and she jumps on herfeet.PEYTON: Thank you! I'm late for a date!WOMAN: Okay! Bye bye! She rushes off and catches up with the man in the suit through the rain.PEYTON: Excuseme, Mister! Thank god, I'm supposed to meet some friends in the [Mission?] district. My cab driver from Oackland just dropped me off here and zoomed off. I -I've been trying to find a cab, and no one here seems to...MAN: There's a stand two blocks over the right.PEYTON: Thank you! He turns to walk away and shecalls him again.PEYTON: Oh, do you know what time it is? He comes back and looks at his watch.MAN: Yeah, it's - (she stabs him and blood spews out from hismouth)PEYTON: Nice watch. (She pulls the knife out and places him against the wall, rummaging through his pockets and takes his watch off, looking furtivelyaround (Because, like, there isn't anybody on that street, you know.) and walks away) She walks quickly through the same door and walks up the stairs, fiddlingwith the watch which is now on her wrist. Stopping at a door, she pushes three knobs up and gets green light, then placing the wristwatch on asensor.ACCESSING...AGENT ZACHARY TURNERACCESS GRANTEDThe door opens and she enters the room, stopping at the nearest desk. There is another agentat his own desk.AGENT: Again Turner? You'll miss your plane. Peyton types.AGENT MICHAEL VAUGHNAGENT: You missed that pickup in Cartagena, I'm gonnahear it from the Director.She presses enter while looking at the other agent, worried. Lots of technical effects before the screen stops at SERVER 4 SLOT 29. Theagent turns around just as she walks towards server 4 presumably.AGENT: What did you forget this time? He gets up and looks, while the camera pans to Peytonlooking for the server - still - and finally reaching it. The agent looks at the computer (still beeping away) and Peyton takes a handdrill to loosen the screws of slot29. He walks the way of server 4; and Peyton continues to loosen the remaining screws. The agent finally reaches the spot - Peyton isn't there anymore. He startsto walk away, then looks at slot 29: it's open, so he walks towards it... Peyton jumps from behind and strangles him with a cord, asphyxiating him. She kicks himin the calf and he goes down on his knees, and she tightens the cord. He struggles... then dies. Peyton retrieves the data, puts it in her handbag and leaves,taking a last look at the dead agent.Cut to outside. The first agent she killed is still propped up against the wall... Then slumps to the wet ground. Nice noodlewoman comes around.WOMAN: Mister! You okay?! Peyton walks through that same door again, one ear against her cellphone.PEYTON: This is agent 4962 Bravo.Requesting for technician. Cuts to DeSantis in his office.DESANTIS: This is he.PEYTON: Dr. DeSantis, this is Kelly Peyton.DESANTIS (VO): Were you able toretrieve Agent Vaughn's files?Peyton: Yes. I'm exiting Chao Ke Street now. Camera pans to nice noodle woman who exclaims in anguish as she pokes at the deadagent.(the background sounds of the woman screaming)PEYTON: I'll run the analysis in the attaché (?)DESANTIS: Excellent. I'll let our benefactors know.(Referring to the background sound) What is that noise?PEYTON: You know how it is. Rough neighbourhood.She clips the phone off. Off the camera, we see herwalking away and the dead agent is still lying on the ground; the background sounds still filled with screams and shouts...Cut to the Alias Theme(Or now is thetime in Alias when we (used to, until the episode!) dance!)Camera pans over a nice shot of the skyscrapers of LA.(camera cuts to the interior of a hospital. Thedoctor leads the way and Jack is in front of Sydney)(Voiceover) DOCTOR LYNN: After your initial triage and check-in, we'll bring you up here into the labouringand delivery room.SYDNEY: So this is where I'll be getting my epidural.DOCTOR LYNN: Yes, it is. (she laughs lightly) If you want one.SYDNEY: I do. I'm - I'm nota big fan of pain.JACK: Are there any adjustments Sydney should be making to her life style? I'm sure her boss at the bank would be (he pauses slightly) happyto lighten her workload.DOCTOR LYNN: No, she's fine. I tell mothers staying active for as long as they can is a good thing.They stop in the middle of theward.DOCTOR LYNN: You must be excited. Won't be much longer now.SYDNEY: Oh no, the due date's still three weeks away.DOCTOR LYNN: Sure it is, but younever know. Your baby might be in a hurry. You're far enough along (camera cuts to Sydney's slightly shocked expression) if your water broke today we couldexpect a healthy delivery. (Sydney nods)SYDNEY: Wow, I, uh I didn't know that. (Doctor's pager beeps)DOCTOR LYNN: My service. I need to run. (she smiles atSydney) I'll see you next week for your check-up. Sydney seems overwhelmed, but nods anyway.SYDNEY: Okay. They start walking out of the ward. Cut to Jack'sslightly humoured expression:JACK: So, any day.SYDNEY: Well she said it could be any day. (she shrugs it off, but her expression on her face remains slightlysurprised) They stop at the nursery, and the camera pans on a baby. His father is looking at him lovingly, and the camera pans back on Sydney's forlornexpression. Jack looks at Sydney awkwardly, then reaches into his pocket.JACK: I have something for you.SYDNEY: What? He hands her a little wrapped gift andshe looks surprised.SYDNEY: A gift?JACK: Technically, no (she starts pulling at the ribbon), it's already yours. I'm just... returning it. She opens it, all the whilesharing a smile on his face. It's a little rattler.JACK: Your mother and I bought it when you were born. You wouldn't let it out of your sight 'til you're almost three.Reminds me of the time when I could keep you safe. (Sydney is full of gratitude, then of sadness)SYDNEY: It's beautiful, Dad, thank you. Scene cuts to APO.Marshall is doing some soldering work. Grace walks in.GRACE: You wanted to see me?MARSHALL: Oh, yeah, hey! Agent Grace! (he puts the soldering pen downand then takes his protective glasses on) Listen, I was doing some housekeeping: logging aliases, uh, safe house authorisation, family contacts. You know. The"}
+{"doc_id":"doc_68","qid":"","text":"At Degrassi, Emma is walking into school as Jay is lifting up AlexAlex: Ow, stop.Amy: I love how mature your boyfriend is.Alex: Put me down. Great the firstdoctor's note I have that isn't a forgery and Mr. 'I can pick up a girl' has to make it look all suspicious.(Emma and Jay look at each other, so he kisses Alex.)Nate:Hey Emma, did JT say where we're supposed to leave our costumes?(Emma kisses Nate, as Jay, Snake and Manny all watch shocked.)Nate: I've had moreconversations with the janitor than I've had with you.Emma: I was acting. Just kissing all my nerves out pre-dress rehearsal. But don't worry Nate. I'll wait for mycue next time!In the library, Jay grabs EmmaJay: Are you hot for Dracula? Or are you trying to mess with me?Emma: Are you gonna be in the ravine againtonight? Are we gonna party? I think I need another bracelet.Jay: I don't like being messed with, okay?Emma: I know.Mr. Simpson: I need a minute with mydaughter.Jay: Oh that's adorable, sir.Mr. Simpson: Cut the commentary Jason. Go.(Jay leaves.)Emma: And stand by for concerned father figure lecture.Mr.Simpson: You come in at 3 in the morning hysterical, crying, wanting to talk about the shooting and now you're kissing random guys?Emma: It wasn'trandom.Mr. Simpson: Please Em. Let me, let me be here for you. Let me talk to you.Emma: The bell's gonna go.At the hospital, Marco is taking a picture ofJimmy and a nursePaula: Thanks Marco. Taping this one right to my computer monitor. Take care Jimmy.Jimmy: Poor nurse Paula. She's gonna miss me, buthome has a full fridge and a wide screen.Marco: Craig and I can come, hang out, without visiting hours! We can play Kid Elrick as loud as we want!Craig: Yeah,your dad can tuck you in instead of nurse Paula!Jimmy: She's the only thing I'm gonna miss about this place.(Jimmy's dad knocks on the door.)Jimmy: Block thedoorway pops! No time for speed bumps. You ready?Mr. Brooks: You look good Jim.Jimmy: I don't like you look good Jim.Mr. Brooks: The rails they're putting inat the condo, they're not done. Not yet.Jimmy: So?Mr. Brooks: So I'm all over the contractors.Jimmy: So?Mr. Brooks: One more week tops! Maybe sooner if I canstring it.Craig: Mr. Brooks, Jimmy gets around well.Mr. Brooks: I know Jimmy's made great progress but I can't be with him 24/7 right now and I don't wantsomething happening. Something that's gonna trash all the progress that he's made.Marco: He really wants to go. What about Mrs. Brooks or a nurse?! I meanwe could even help out!Jimmy: Forget it guys. Whatever.In the auditorium, Danny is on stageDanny: Sixteenth, May. Castle Dracula, his avital prison and die init's prisoner. Worse. I fear I may be going mad! (He keeps talking and it cuts to Emma & Manny)Manny: If Nate was fifty and fat you could have caused cardiacarrest.Emma: Anything for the theatre!Liberty: Shh!Manny: I need complete teen girl details! Why, good, tongue, like it or not. Bring the answers overtonight.Emma: I have to go to the ravine tonight. I'm meeting some people.JT: Is it too much to ask for silence in the peanut gallery!Danny: There in themoonlight were three young women. Three...JT: Am I ever gonna get three of them?Amy: Alex was at the doctor's. She should be back.(Alex and Jay comerushing in.)Jay: Lexy it was nothing. Come on!JT: Lexy is late for her scene!Alex: You want a scene JT?! Hey best friend Amy let's give JT a scene! *She smacksAmy nice and hard* Tell me about the ravine Amy! About how you went down on my boyfriend, Amy and the bracelets you got for it!Amy: I didn't sleep withhim!(Manny sees Emma covering up her bracelets.)Alex: By who's definition?!Jay: Let's step outside Alex.Alex: Don't touch me. Don't talk to me. I'll deck yoursmug face too!At the hospitalPaula: Shake it off mopey Brooks.Jimmy: I'm not mopey!Paula: You know a chair's only a prison if you let it be.Jimmy: Stop theinspirational quotes. I'm not buying it.Paula: What you shouldn't buy is your dad's attitude. You and I both know Jimmy Brooks can do whatever he sets his mindto. At least I know it. Outside the schoolManny: It doesn't take Sherlock Holmes to figure it out. Why would you hook up with Jay? Are you in love withhim?Emma: No! Of course not.Manny: So, what do you get out of it?!Emma: That's a really stupid question.Manny: No, what you're doing is stupid. You're lettinga disgusting bottom feeder use you to serial cheat on his girlfriend!Emma: Should you really be preaching to anyone about that?! We're not having reals*x.Manny: It's pretty close.Emma: But I'm not getting pregnant.Manny: Why are you trying to hurt me?Emma: Cause you won't leave me alone!Manny: You'rebetter than this! You're better than what you're doing!Emma: What do you know about who I am or what I'm worth or anything?! At the hospitalMarco: Specialdelivery from the sorry your dadda sucks pizzeria!Jimmy: Uh I'll hold out till tomorrow.Craig: What's tomorrow?Jimmy: Student council prez man gets you bothout of school and then you come over here and bust me out.Craig: Sounds like trouble.Marco: (stuttering) I'm not good with trouble.Jimmy: I need to seesomething beyond you two and these ugly ass walls.Marco: Tomorrow.Craig: You're Houdini on wheels!Jimmy: (Pulls out a newspaper) Okay and Houdini wantsto see Kid Elrick live tomorrow night! Yeah! At the ravineEmma: Hey have you seen Jay?Some guy: Hang with me instead. You could use another friendright?Emma: Friends with benefits.Some guy: Hey we could all use a good benefit too.Emma: Maybe next time.(Emma leaves and finds Jay's car.)Emma: Jay.Can I climb in? I went to the ravine, but you weren't thereJay: My day kind of sucked in case you didn't notice.Emma: So let's make you feel better.Jay: Alex issick with some thing. She thinks I gave it to her and she won't talk to me so I don't feel like it tonight.Emma: Oh you gonna cry now?!Jay: You are one coldgirl.Emma: There's a ton of guys who would love a chance to be with me.Jay: Right now, I'm not one of them.At the hospital, Marco and Jimmy are wearing blackhoodsJimmy: It's uh sweet of you to bring this incredible disguise. Hate to tell you but uh it does absolutely nothing to hide this enormous shiny mass of scrapmetal that I'm sitting in.Marco: I though it'd be cool to look like ninjas. Hush! He's coming! Here he comes!(Craig walks in wearing a trench coat and a hat.)Craig:I'm here for Dr. Shinklehatin.Receptionist: I'm sorry?Craig: I mean Dr. Shpitzlehaven.Receptionist: Sir I'm afraid we don't have anyone here by that name.(Thephone rings.)Receptionist: HS Rye Recovery Centre. Good afternoon.Craig: Dr. Shpilkimishin?!?Marco: (On a cell phone) This is uh, This is uh, Dr. Smitgiztinsky.It's an emergency of the highest degree.(Craig starts breathing loudly and grabs his chest.)Receptionist: Are you okay sir?Craig: Go get Dr.Shunckenhoser!Marco: The man in front of you is uh extremely dangerous. I ask you to leave the area. Abandon it now!Receptionist: (As she's getting up to runaway) Could you uh wait here sir...Craig: Go get Dr. Shuckenhoser!(The guys quickly rush for the door.)Marco: Go! Go! Let's go![SCENE_BREAK]In theauditoriumEmma: Jay! Jay. Um...about last night.Jay: You alright?Emma: Yeah. It's just a sore throat. That's all. I don't care about Alex or anything you know.Really I don't.JT: Raw egg, honey and lemon. DrinkEmma: JT! My voice is just tired. That's all.JT: Just drink okay? You told me you'd be able to do the show, soyou're gonna do the show, period.Emma: Ugh. This stuff is so rude. In a classroomTeacher: Come on, take your seat the both of you!JT: Public health nurse? Ohgoody. Another evil omen to put me at calm.Nurse: Show of hands. Oral s*x is safer than regular intercourse?(A few people put up their hands.)Nurse: Okay. Wethink there's been a mini outbreak. Here. At Degrassi. Of this.Manny: Gonorrhea!?!(Everyone looks at her.)Manny: Sorry. Did I just say that out loud...?Nurse:It's not a very nice word is it? Gonorrhea. And how do you know if you have gonorrhea? Well...some symptoms are genital dischard, bleeding, burning, orally youmight get a fever or sore throatJT: Hey Em. You got something to tell us?Emma: Shut up.Nurse: And sometimes those with the disease show no symptoms at all.Lucky, you might think. Think again. Untreated gonorrhea can cause arthritis, heart disease, infertility. Okay. Recognize this? (Picture of a condom) Good. Ifyou've had any s*x without using one of these you are at risk. This applies to oral s*x as well. Especially if you've had it with a bunch of people or if your partnerhas.At the concertJimmy: That was so incredibly stupid.Craig: You're here aren't you?! Breathing fresh bar air.(Two girls walk by and smile at Jimmy.)Marco: Mr.mobility just got checked out.Jimmy: It was more like a 'what's with the gimp, drive-by'.(Jimmy backs his chair into a guy who spills his food.)Jimmy: Oh. Man,I'm so sorry.The guy: Leave it.Jimmy: You sure? I'm really sorry. Okay guys lets go back. Now.Craig: Not unless the Kid is performing live in your hospital. Comeon!Backstage at the schoolLiberty: I can't believe I have to be Alex. Tell me you're as nervous as I am!Manny: Is the Pope a Catholic? Does Jay havegonorrhea?Emma: Manny.Manny: Amy and Alex happen to be sick? What are you gonna do out there?Emma: I'm Emma. I play the part of Mina.Manny: If youhave any conscience at all you will not kiss Dracula.(Emma gives her a dirty look and grabs her stuff.)Manny: Emma!Back at the concertJimmy: The Kid's gonnabe on any second. I can't see a thing.Marco: There aren't really any wheelchair seats. There aren't any seats.Craig: Maybe there's some down in front.Marco:Maybe there's a manager.Jimmy: You guys can't leave me here.Craig: Just two seconds, ok buddy?!(The show starts.)Jimmy: Excuse me! Excuse me! Excuseme! I can't really see.The guy: No problem man.(Jimmy wheels his chair to the front and he starts rocking out in his chair.)In the auditoriumNate: Then my brainsays come to you. You shall cross land or sea to do my bidding and to that end...this!Emma: But no. I cannot. Dracula...(He leans in and doesn't kiss her.)Emma:What are you doing?!Nate: Keep going.Emma: What have I done? What have I done to deserve such a fate?! I have walked in meekness and righteousness allmy days! God pity me!(He grabs her, the lights go out and people start clapping.)BackstageEmma: You threw the scene. That was completelyunprofessional!Nate: I'd rather be that than diseased.Emma: What did you say?Nate: There isn't enough antibiotic in the world that would make me kiss you. Andthat little smooch in the hall the other day, who knows what I caught from that! Thanks so much!Jay: Screw him.Emma: Why did you do this to me?Jay: I didn'tdo anything!Emma: You gave me a social disease!Jay: You said you didn't care. Even this morning you said that!Emma: Just leave me alone okay!Jay: Look Inever told Alex about you Emma. I liked how you had virtue or whatever.Emma: I don't. Not any of that.Jay: Come on. Who are you trying to fool? Everybodyknows. Everybody knows about the real you! Just-(Emma leaves and watches the play sadly from the side.)At the hospital, the guys are going back to Jimmy'sroomCraig: Man we were so close, the Kid was basically sweating on us!Marco: I am never gonna shower.Craig: What?!(The guys are laughing, and when they"}
+{"doc_id":"doc_69","qid":"","text":"Opening scene - Hospital - the first thing we see is a black screen with the sound of a siren, and what sounds like a dispatch message. I cannot make out theactual words sorry. we see the hospital doors open and paramedics rushing a stretcher inside, there is a bright light so its difficult to see everything - all thetalking in this scene is very echoey, and distant. it's very reflective of the situation. there are also a few voiceovers from 224, which I think were donegreat!)Paramedic: I got a gun shot wound exited the right clavicle, punctured an artery(we see a close up of Trey, and the other paramedic is holding a breathingthing over his mouth. a doctor comes down the corridor, putting a gown on)Dr: he still aliveParamedic: not for longV.O Ryan: how could you man...I would'a doneanything for you(we see Trey kind of moving his head a little, then we see the ceiling of the hospital as if we are seeing what Trey is seeing. we then see Ryan &Marissa coming in through the hospital doors, they both look worried and scared)V.O Trey: look man, it was messed up, I was stoned(an officer comes into theshot and walks over to Ryan and Marissa as they are coming in)Officer: we've still got some more questions for you(Ryan walks passed the officer and overtowards Trey)Ryan: I've jus gotta see if he's gonna be ok(we see Trey, still with the breathing thing over his mouth, being pushed away. there is another voiceover here but its at the same time as the next line so I cant tell what it is, its possibly a scream/cry from Marissa)Marissa: (worried, to a nurse) he's not gonnadie, right(behind Marissa we see Seth and Summer enter, they both look worried as well, and they are looking in the direction of Marissa/Ryan/Trey. behind themwe can see the ambulance Trey came out of)V.O Ryan: it wasn't my idea Trey, I didn't wanna steal that car(we see another shot of Trey, which is a close up of hisbloody face, and a little of his chest. here we see a bit of the hospital roof and light, but also blended into it is the scene where Trey pulled the gun on Ryan at hisapartment in 224. its been done similar to how we saw the Ryan/Marissa 'who are you' scene during the Ryan/Lindsay car conversation of 208 . its a blink andyou'll miss it deal :))V.O Trey: hey man I went away for it an uh you got the good lifeV.O Ryan: so you had to destroy it, you had to hurt her, huh(the last thingwe see is Trey pointing the gun at Ryan, then we see the hospital light again and Trey being rushed down the corridor. Ryan comes around the corner, behindTrey, the doctor and the paramedics)Ryan: hey, he's my brother, is he gonna be okDr: he'd be better if someone hadn't shot him(the Dr and paramedics movethe stretcher closer to the bed, nurses are also there)Dr: he's lost alot of blood so (turns around and sees Ryan) Jesus what the hell happened'a youRyan: (looksat Dr) nothing I'm fineDr: (yells) could someone look at this kid(Ryan turns away from the Dr and everything goes blurry)Officer: just as soon as we're donetalking to him(we see a close up of Ryan, and he has a noticeable bruise, and bloody nose, he also looks out of it. he looks away from the officer and back atTrey. we see Trey being moved over to the bed, then someone squeezing the breathing thing over his mouth. we then see Marissa and Summer standing togethernear the hospital doors, an officer is with them)Marissa: (yells) Ryan(Ryan turns to face Marissa, she puts her hand out to Ryan helplessly)Officer: (holding thegun) did you discharge this weapon manMarissa: (looks at officer, frustrated) yes I already t-Ryan: (yells urgently) don't answer him, don't say anything(theofficer near Ryan looks over towards Marissa, shocked. Marissa looks at Ryan and shrugs. the background goes out of focus, Seth comes into the shot clearly onthe right hand side)Seth: you ok (Ryan looks at him)Dr: we're losing him(Ryan turns towards where they are working on Trey. we see a very quick flashback ofTrey and Ryan, then we see them still working on Trey, squeezing the breathing thing. Ryan looks away from Trey and back towards Seth, dazed. we see howRyan is seeing, which is Seth as wavy, then squashed/ stretched)Seth: you alright(Ryan looks at Seth, blinking and breathing heavily. his vision is now borderingon blurry. we can see Marissa out of focus in the background still. Sandy comes through the hospital doors)Sandy: Ryan (Ryan looks at him, still blinking anddazed) Seth...you ok(Ryan is now seeing Sandy as short/fat, and wavy. we see Ryan looking at Sandy & Seth, growing more and more disoriented till he falls andpasses out on the floor. we see what he is seeing as he falls, then we hear the thud and see Ryan on his stomach next to Treys bed. - we then abruptly cut to thepool house where Ryan has jolted himself awake. he blinks and slightly lifts his head, we can see a bit of sun on his cheek. he looks freaked out. he then lifts hishead more and opens his eyes wider. he rubs his hand down his face, and sniffs. we then see Ryan sitting up on his elbow in bed, we can also see a silhouette athis door, and then we hear a knock. Seth opens the door and walks in, in true Seth style, lol)Seth: hey man, I jus wanted you ta know that uh (stops and looks atRyan worried) you okRyan: (looks at Seth, then looks away and sighs) I just had the worst nightmare (raises eyebrows)Seth: yeah, I got some...bad newsRyan:it wasn't a dream (closes eyes) yeah, yeah I know (opens eyes)Seth: well that lawyer guys on his way over so...Ryan: (softly) thankyou(Seth turns and leaves.we see a close up of Ryan who looks worried)Cooper-Nichol veranda - we see an aerial shot of the pool, and Marissa and Summer sun-baking beside it. think 201.it then changes to a front on shot of them, but it's as if it's on top of the pool water, half way through Summers line it changes to a close up of them. Marissa hasher head back, with sunglasses onSummer: you know Coop, if you had of asked what we'd be doing the weekend before senior year (thinks) I probably would'vesaid a road trip to Rosarito or rush week at SU with college boysMarissa: an waiting to get charged with manslaughterSummer: (shakes head) wouldnt'a madethe list (looks at Marissa) mm-mm...(reassuringly) your gonna get through this Coop (looks at Marissa with one eye open, one closed from the sun) your innocentyou were saving Ryan's lifeMarissa: (lifts head) try explaining that to RyanSummer: he understands why you did it he's not mad (shakes head)Marissa: its jus likethis... weird horrible thing (lays head back) hanging over us...like the elephant in the room...or an intensive care unitSummer: (frowns) before Trey I neveractually knew anyone in a coma (shakes head) well I mean on the valley there's someone in a coma (Marissa frowns) like every week but I think they only do thatso that when the person wakes up another actor can play the part (nods, confidently)Marissa: (raises eyebrows) unfortunately if Trey wakes up he's still gonna beTrey...if he wakes up (looks down)Summer: you've got'to admit Coop (Marissa looks at her) whatever happens, Ryan facing off with Trey to avenge your honour,god that is SO-FREAKING-HOT (Marissa doesn't say anything) ...in a mythic, biblical, Samurai Western kind of wayMarissa: I really wish that helped me sleep atnight Summer (puts head back)Summer: (frowns, concerned) you're still not sleepingMarissa: I shot someone Sum (Summer looks at her, then away) an even ifhe lives, which...is a big if, I'm still gonna have'to live with that for the rest of my lifeSummer: (nods) oh (puts head back & closes eyes) senior yearMarissa:(scoffs) should be all time (half smiles)(we see the backs of the pool chairs and a shot of the house)CUT TO: Cohen kitchen - Sandy pours a whole pot of coffeeinto a tall mugDDA: thaaanks a bunch, SandySandy: if a pot'n a half isn't enough to get you through the morning (holds out mug) I can make some moreDDA:that'd be great (drinks)(Sandy looks at the DA and then picks up the pot to refill it)Sandy: sorry for the mess, its ben a little hectic (looks over) Seth'll be rightdownDDA: (frowns) and Mr. AtwoodSandy: he's gettin' dressed, well the kids've ben through alot this summer with all this hangin over them, and now school isstartingDDA: which is why the DA wants to get moving, we waited as long as we could for the other Mr. Atwood to wake up but I'm getting alotta calls fromparents...DA's under alotta pressure ta prosecute (drinks)Sandy: except there's nothin ta prosecute, Marissa's protected under the defense of others (looks atDDA) of course your boss may not find that very sexyDDA: quite true...(looks at Sandy) DA's not lookin to go after MarissaSandy: (looks at DDA, annoyed)Ryan's innocent...you got his statement at the scene an hersDDA: look at the record Ryan's got, his history of violence...an Caleb Nichols daughters the oneblowin away ex cons with a forty fiveSandy: (looks at DDA) she saved Ryan's lifeDDA: what was he doin over at Treys in the first place, his brother tried to rapehis girlfriend (Sandy pours more coffee) we've got causeSandy: yeah, an ya got witnessesDDA: well the only people who saw the gun go off were Mr. AtwoodMiss Cooper an the other Mr. Atwood, who (raises eyebrows) may or may not wake upSandy: (turns to face DDA) if you go after Ryan even if he's brought in oncharges...social services could take him away from usDDA: which explains Miss Coopers motivation to cover for him (nods confidently) Mr. Atwood's got alot moreto lose(Sandy glares at the DDA then turns back to the coffee)DDA: where is your wife anywaySandy: (sighs) she's outta townCUT TO: Suriak Treatment Centregarden - we see a close up of Kirsten, as the scene goes on we see that she is in a group therapy session and Dr Woodruff is there leading itKirsten: my name isKirsten an I'm an alcoholicGroup: hi Kirsten(we can now see they are all seated on chairs around the fountain)Dr W: Kirsten your progress here at Suriak hasben...truly wonderful to watch (nods) your a model patient for...everyone here(everyone looks towards Kirsten, however one patient near Kirsten looks moreinterested than the rest. a woman who is one person away from Kirsten, we find out later her name is Charlotte)Kirsten: (shy) well I don't know about that...Imean Shelley is definitely better at poker (Shelley looks worried) she's cleaned me out(everyone laughs)Kirsten: (smiles, looks down) but...being here has givenme the clarity to understand...why I turned to alcohol in the first placeDr W: an...do you feel comfortable sharing with the group uh why that wasKirsten: uhsure...I mean we're all in this together...I uh (thinks) I guess it begins and ends with my dad (nods, frowns) he was (shakes head, closes eyes) an amazing man(shrugs) but controlling...and...I realised that I was living his life not mine (Dr W listens) after my mother died I did everything (Charlotte is listening intently) Icould to please him (sighs) but I realised that no matter how hard I worked or how hard I tried-Charlotte: it was never enough (Kirsten looks at her) ...I'msorryKirsten: (suprised) uh, no (looks at Charlotte) no its true it was never enough, became my mantra (smiles) ...I was never a good enough wife or a mom(raises eyebrows) because I wasn't a good enough daughterDr W: (points at Kirsten) the power that comes with that kind of difficult realisation, will be invaluableafter you leave usKirsten: are you trying'to get rid'a me (smiles)(everyone laughs)Dr W: well, it sounds to me like uh Suriak's work is done (Kirsten smiles, then"}
+{"doc_id":"doc_70","qid":"","text":"Since you're in beach buggies, you will now drive to the beach at the northernmost point of Namibia, where it meets Angola. It's 1.000 miles away.Richard: Wehave got to find this road. This is not gonna be too clever in the dark. Listen. I shall find the Southern Cross.Richard: Oh, this is a bad idea! We are now trustingour lives to an orangutang who thinks he's Patrick Moore.James: 24 hours of cold, misery, to achieve exactly nothing. I mean, it is exactly nothing.Richard: Oh,it's coming in!(JEREMY YELLS)This is the best desert I've ever been to. Holy sh1t!Richard: Oh!(YELLS)Jeremy: What it actually is is a big, orange killingengine.Jesus!(LAUGHS)Richard: (LAUGHS) Oh, my God!Please make it! Please! Just need to find a road now. This is not funny any more. I don't want anothernight in the desert. Oh, my God. I could go east, I could go west.Richard: Whichever way you go, it goes somewhere. Yes! It is the road to freedom.(THUD)Whatthe hell was that? What I'm driving here, or attempting to drive, is Apollo 13.Jeremy: It was morning by the time I nursed my wounded car into Windhoek, andmy well-rested colleagues were full of admiration for how I'd pulled off such a feat. Is that the first thing you thought of? What? Tear a hole in it. What's thatgonna do? I needed to get to the bleed valve on the radiator, which is there. Is it? And, to make life doubly difficult... I trod on my spectacles.(RICHARDLAUGHS)That is tragic, trying to fix it with one lens. I was trying to fix it. And the only eye I can close is this eye. You can't close your left eye? I can't close myleft eye. Why didn't you put them on upside down? You'd have the lens over the other eye. That is logic there. Oh, yeah.(LAUGHS)Come on, let's go. We've got alot to do.Jeremy: No! The one thing we have established now is that, with the exception of Windhoek, which is the capital, Namibia is a tough and arduous place.Yeah. Have you bought maps? No. Have you got tenting equipment of any sort? Have you got somewhere to sleep other than the desert floor? No. So why don'twe, today, get prepared for the next leg of the - big leg of the journey? That is a good idea. We'll do that. That's not a bad idea. We'll grant ourselves a day of...shopping. Mm. First of all, would you permit me to chisel some of the cheddar that has grown in my underpants away? Well, not here.Jeremy: Having de-cheesedmy body parts, we headed out to get the necessary supplies.Richard: The thing is, if we go mesh, it'll keep the sun off but it won't keep the light out. That willwake us up early. That's 1.5 kilograms. But- Hammond, the first thing you need to know before we start shopping in here is James and I are in charge.Richard:Well...James: Sorry, he's right. No, you're not. You don't know anything about camping.James, Jeremy: Exactly. How does that make you in charge? Because weknow it's all terrible. If we leave it to you, we'll all end up sleeping in small green triangles. The camping you know about is in the Lake District, where youdeliberately make yourself miserable. I'm sorry, he's right. It is possible, I think, with a bit of ingenuity and money, to make tenting bearable.Jeremy: RichardBaden-Hammond disagreed, so we went our separate ways. Correct, incorrect. Exactly. Do you agree? But I'd go even more correct. Oh, yes! Perfect. Roll it outon the desert floor... you're home. Oh, James! Le Creuset! See, Hammond would hate this, because this weighs more than a tent. Which it does, actually. A lotmore. And it weighs more because it is a quality item. Exactly. Pocket trowel. Pocket soap. Here we go. Pasta spoon. Yeah, good idea. I find that bottle opener abit... lightweight. Yeah, more expensive is what we're looking for. You see, look at this, James. This is the sort of thing Hammond would think is a chair. Ooh!That's all you need. That's your whole... stove. That's it. Is it gas? It is, isn't it? I presume so. For two, you could get a small chicken in there, or... a pheasant.We're getting there now. So that folds down to that. Yeah.Jeremy: The next morning, we headed out once more, with the camping gear James and I had boughtbringing up the rear. And besides stocking up with essentials, Hammond and I had used our day off in Windhoek to modify our cars. To solve my overheatingproblems, I've fitted a ram-air scoop, which shovels refreshing, cooling air into the radiator as I go along. And, as you may have noticed, I've fitted a spoiler. Myonly complaint, really, about my beach buggy was its lack of performance in third and fourth gears. Couldn't up power from the engine and I don't want to stressit, so I could lighten it. I've stripped away the superstructure here and the passenger seat, anything spare. That means this car is 30-40 kilos lighter than it wasbefore. Jeremy, why has your car sprouted a green moustache?Jeremy: Well, it's a spoiler for added downforce at the front end, which you need in a rear-enginevehicle. This thing will be unbelievable through the corners now, it really will. Like a 911. And I tell you what, even with your new lightweight buggy, you're nomatch for what I've got here this morning. Yeah, I'm sorry, mate. This is quicker. It is not. It is. Right, Richard Hammond, I challenge you to a race. OK, you'reon. Idiot.Jeremy: We shall find a race track and we shall do racing. Well, you carry on. I'm not doing any racing. That's utterly pointless.Jeremy: On the outskirtsof the city, we found a rather excellent circuit where we could do timed laps, and James could try out his new vacuum cleaner.(VACUUM WHIRS)James: Oh,yes.Are you ready? No. Why not? Temperatures and pressures. This is a racing machine. Look at it. It's a plastic beach buggy parked near a V8. With aero.Really? In...(REVVING)...three, two, one, go!(REVVING STOPS)Yeah, I'm gonna do it in gear. Give it a shot. I'm gonna try that. In- No! Throttle's jammed. Yes.(STAMMERS) Jammed. In- No! You can keep saying \"in\" till the cows come home. The throttle...(VACUUMING, JAMES HUMS TUNES)(REVVING)Three, two, one,begin!(BOTH YELL)Why... Why have you stopped? Ah. Well, erm...(ENGINE STOPS)The throttle may have gone a bit open.(IGNITION FAILS)Yeah. My throttle istotally broken. Anyway, Hammond... Yeah? Any car which can wheelie off the line... is going to be able to beat yours, and would have done. So... Sorry. You'resaying because your car started, well, 50 yards away over there, wheelied, was uncontrollable, slammed back down and broke itself, it's the best on thetrack?Jeremy: Yes. Well, much learned. Really useful. Glad we did it.Richard: With Jeremy's endlessly troublesome car fixed again, we scooped up James' Dysonand continued northwards towards the finish line at the border with Angola. The going was smooth and easy and eerily quiet, which begged a question. Now,apparently, Namibia is the most dangerous place in the world to drive. There are more accidents per head then anywhere else, and car accidents are the first andmost common cause of death in young adults. How? How can that be so? I mean... the place is empty. In Britain, there are 250-260 people for every squarekilometre. Here... it's two. Two! This makes the Australian outback look like Monaco. Monkey! Monkey! Huge anus! Did you see that thing's anus?James: I,however, was not thinking about population statistics or monkeys' bottoms. I was just happy to be on a smooth surface in a car that wasn't filled with dust. I shallrelax... with the lovely view. Sadly, though, a few miles later...(RATTLING)Ow! Ow! Oh, my nuts! Ow!(GROANS)Stop it! Ow! Ow! Agh! James May? Yes, I canhear you, but it's very uncomfortable and my car has... has cut out.James: Ow!Jeremy: Mercifully for James, we eventually arrived at a game reserve, which wedecided would be an ideal place to set up camp for the night.(UNZIPPING)Richard: Right.(CHUCKLES)That's what we need.Jeremy: As Hammond built his canvashovel... James and I were looking forward to a more civilised evening in the tents we'd bought, and which had been erected by the butler we'd alsobought.James: Thank you, Giovanni. Tuck your shirt in, man! It's not a bloody caravan site. Erm... I'm just thinking, dinner. Mm. Do you mind if I get changed?No, exactly. I'm gonna have a shower. Mm. Or I may have a bath, actually. Why not? Giovanni, could you run the baths?Jeremy: Apparently, this place has gotoysters. Really? Here? Yeah. I know, it's extraordinary. Who knew? Are you coming for some dinner?Richard: What do you mean, \"Coming for dinner\"? I'mcooking here. There's a restaurant just down there. A restaurant? Yeah, just down there. I don't want to go. I'm cooking this. I'm doing it properly, camping.Well, come and- I'll join you after dinner.Jeremy: Whatever.James: He's such a peasant, isn't he?Jeremy: It's just unbelievable.(METALLIC CLANGING)Jeremy:That evening in the restaurant, Hammond never did join us.But James and I were not short of company. Oh, look, there's rhinos! There's actual rhinos! Andthey've been dehorned. They've had to take its horn out to stop poachers shooting it. But you know what the poachers are doing? They shoot the dehorned ones,because if they track for a couple of days, a rhino, and then it's got no horn, they shoot it, and then they'll never track it again, so it saves time. Do you knowhow much you get for a rhino horn now? On the... On the market? Yeah, in Vietnam. I'm guessing it's a lot.[SCENE_BREAK]So that's more expensive than gold.Good God. Even the nub that's left that he's got is still worth, I don't know, thousands of dollars. I was gonna say, no matter how carefully you dehorn it, there'sstill horn going down into its nose.Jeremy: That's such a tragedy, that, you know.James: Yeah. I want to do something about this while we're here. I'm sure wecould come up with something. I'm sure we could.[SCENE_BREAK]Richard: The next morning, I woke to find I'd been recruited into the Clarkson and May RhinoProtection Squad.They were even convinced that our beach buggies would be ideal for tracking the poachers. I can't deny, they do have a point about the wholerhino thing. It is ridiculous. Two rhinos killed every day in Africa by poachers, and then sold to a market that believes it's a cure for cancer, impotence, evenhangovers. But are we necessarily the right men to tackle it head-on in the field? Ow! (YELLS) Wouldn't we be better just popping a \u0000coin in a jar and lettingsomebody who knows what they're doing solve it? Well, I've got a tranquilizer gun from the place where we were last night, but... I can't see anyone toshoot.Jeremy: Figuring that the poachers probably didn't use the main road, we went off to look in the bush.James: What about over there?Richard: No poachers.Tyre marks. It may be some poacher. Oh, no, wait. BF Goodriches. This is James May.Richard: Just so you know, this is stupid.Jeremy: What's stupid?Richard:How would you recognise a poacher when you saw one? And when you find one, what are you gonna do? Shoot him. All we're doing on our journey is drivingthree beach buggies to the Angolan border. Yeah. Which doesn't further the cause of humanity.James: Exactly.Richard: And this does, does it? We've got a day,Hammond. Give us 24 hours. 24 hours. Then, I promise, we'll get back on the road.Jeremy: Once our sceptical colleague had agreed, I decided to change tack,abandon the cars and search from the air, using some beach-front parasailing equipment. Jeremy? Yes? If we don't make it, please know that I hate you. There's"}
+{"doc_id":"doc_71","qid":"","text":"THE TIME MEDDLERDENNIS SPOONER5:40pm - 6:05pm[SCENE_BREAK]1: INT. MONASTERY. MAIN HALL(STEVEN pulls the doors fully open.)STEVEN: We canget inside.(They crouch down and walk inside the sarcophagus.)[SCENE_BREAK]2: INT. MONK'S TARDIS. CONSOLE ROOM(They push open the doors and standup straight as they find themselves in a familiar looking gleaming control room.)VICKI: (Totally amazed.) It's a TARDIS. The Monk's got a TARDIS!(STEVEN andVICKI walk towards the console which is similar to the DOCTOR'S but on a raised dais. They examine the controls.)[SCENE_BREAK]3: INT. MONASTERY.PASSAGEWAY(Sword still in his hand, the DOCTOR continues to interrogate the MONK.)DOCTOR: I repeat my question: Which fires and what are they for?MONK:All right then. They're a signal for King Hardrada and the Viking fleet.DOCTOR: I see.MONK: They'll think it's a landing place. They'll come in unsuspecting! Andthen...DOCTOR: Well? Out with it!MONK: I'm going to destroy them!(The DOCTOR looks aghast.)[SCENE_BREAK]4: INT. MONK'S TARDIS. CONSOLEROOM(VICKI runs her hands across the controls. Some feet away, STEVEN has found something of interest...)STEVEN: Hey, Vicki. Come and take a look at this.He's...he's got a sort of fantastic private collection.(A small side room off the console room contains hundreds of pieces of art. Oil paintings hang off the walls,gilded statues clutter the floor area in between expensive antique furniture.)VICKI: He's got something from every period and every place.(STEVEN spotssomething out of place in all these riches. He goes over to a box full of foot long futuristic rockets and kneeling down, picks one up.)STEVEN: Hey, come and takea look at this.(He picks one up. VICKI has found a small notebook and she carries it in her hands as she walks over and crouches next to STEVEN.)STEVEN: It'slike some kind of neutron bomb, I think.VICKI: Pretty unpleasant looking things, whatever they are.(She reads the notebook.)STEVEN: Hey, do you know...thesecould be fired by that weapon we saw on the clifftop. Huh, I wonder what he wants to do? Sink a ship?VICKI: He could sink a whole navy with that lot, I shouldthink.STEVEN: Yes but the point is why would he want to?VICKI: Why has he done a lot of things? Listen to this...STEVEN: Why? What have you got there?VICKI:A logbook. A sort of diary. Listen: \"Met Leonardo Da Vinci...\"STEVEN: Who?VICKI: Da Vinci - listen! \"Met Leonardo Da Vinci and discussed with him the principlesof powered flight.\"STEVEN: What? Da Vinci lived in the...middle ages... I know he tried to build a...flying machine, a sort of aeroplane...VICKI: I know andaccording to this it was the Monk who put him up to it. And listen to this: \"Put two hundred pounds in a London bank in 1968. Nipped forward two hundred yearsand collected a fortune in compound interest\"![SCENE_BREAK]5: INT. MONASTERY. PASSAGEWAYDOCTOR: So that's it! You're a time meddler! No wonder youwanted to get rid of me. And what are you trying to...get up to this time? Mmm?MONK: (Smiling.) I'm sure you'll approve Doctor.DOCTOR: Are you quite mad?You know as well as I do the golden rule about space and time travelling - never, never interfere with the course of history.MONK: And who says so? Doctor, it'smore fun my way! I can make things happen ahead of their time!DOCTOR: Is that so?MONK: Yes indeed. For instance, do you really believe the ancient Britonscould have built Stonehenge - without the aid of my anti-gravitational lift?DOCTOR: And what mischief are you up to now? Mmm?MONK: Mischief? No, no. Amaster plan! A master plan to end all master plans!DOCTOR: Oh, is that so?MONK: The whole course of history changed in one single swoop.DOCTOR: By wipingout the Viking fleet?MONK: Exactly, Doctor, exactly! Of course, obviously, I don't have to remind you that the main reason William the Conqueror won the Battleof Hastings, was because King Harold had to march to Stamford Bridge and defeat the Vikings first.DOCTOR: So you plan to save him the journey? Hmm?MONK:That's right. Precisely! A fresh army, no desertions. Why King Harold will kick William back to Normandy before knows what happened. It's quite a plan,eh?DOCTOR: (Gleefully.) Doh, yes! It's quite a plan! It's quite a plan, yes!(The DOCTOR paces round a column as the MONK smiles at his new \"ally\".)DOCTOR: Icount myself a very fortunate person indeed, to be here, in the time - (Suddenly angry.) to prevent this disgusting exhibition!(The smile disappears off theMONK'S face.)MONK: You haven't prevented it yet, Doctor.DOCTOR: Haven't I? Where is this machine?MONK: I don't allow anybody in there?DOCTOR: (Holdingthe sword at the MONK'S face.) Where is it? Hmm?(The MONK pushes the sword to one side.)MONK: This way, Doctor.DOCTOR: Hmm!(The MONK leads theDOCTOR away.)[SCENE_BREAK]6: INT. MONASTERY. PASSAGEWAY OUTSIDE CELL(Holding the back of his head, SVEN staggers out of the DOCTOR'S formercell.)SVEN: Ulf? Ulf, where are you? Ulf?(He storms off to find his companion. ELDRED appears from around a column and wide-eyed, watches him go.)ELDRED:Vikings![SCENE_BREAK]7: INT. MONASTERY. PASSAGEWAY(SVEN finds ULF still bound and gagged. He undoes the gag.)ULF: Where've you been?SVEN:(Untying ULF'S hands.) The Monk tricked me into a cell...then knocked me out.ULF: Can't you even guard one old man?SVEN: You haven't done better yourself.Come on. We should get back to the forest.ULF: No, we'll stay here.SVEN: Here?ULF: Safer than being outside. Unless you prefer to meet the Saxonsagain.SVEN: They wouldn't take us so easily this time. Nor would we be hampered by the mead.ULF: Maybe not. But I'll choose the monks...and whatevertreasure may be stored inside these walls.SVEN: (His eyes lighting up.) Treasure...![SCENE_BREAK]8: INT. MONASTERY. MAIN HALL(Still at swordpoint, theMONK leads the DOCTOR into the main hall and towards the sarcophagus. The MONK looks uneasily at the sword.)MONK: Oh...(The DOCTOR laughs.)MONK:Well, here we are. that's my time ship.DOCTOR: Oh, that's it eh? This horrible block of stone.MONK: This horrible block of stone, as you call it, is a perfect Saxonsarcophagus.DOCTOR: A Saxon what?MONK: Sarcophagus.DOCTOR: Yes...quite so.MONK: And more in keeping with the period, I would say, than a modernpolice box? (Laughs.) What's the matter, Doctor? Can't you repair your camouflage unit?DOCTOR: Now, now, now, don't try and bamboozle me. It so happensthat your \"machine\" fits into this monastery, but it's sheer luck.MONK: Luck? Luck? Oh no, there's no luck about it. I couldn't have picked a better place for myheadquarters than this. A deserted monastery right on the coast, gullible peasants who believe everything I say to them. Ha ha! No Doctor! No, I planned tomaterialise my ship right on this very spot, disguised as a sarcophagus and here it is!DOCTOR: I see, and all this is part of your master plan? Hmm?MONK:Precisely!(The DOCTOR laughs.)MONK: There's nothing hit or miss about my machine.DOCTOR: Oh, isn't there now? Well, let's have a look at this great wonder,hmm?(They walk round the sarcophagus.)DOCTOR: Yes, well, tell me, er, how does one exactly get into this, er, sarcophagus, hmm? (The MONK laughs.)Hammer and chisel?(The MONK'S laughs stops.)MONK: This way Doctor.(He ducks down to enter the door, then rises up again...)MONK: Oh, er, mind yourhead.(He ducks back down.)[SCENE_BREAK]9: INT. MONASTERY. ENTRANCE HALLWAY(ELDRED quietly makes his way to the front door and pulls back the bolt.He opens the door and leaves.)[SCENE_BREAK]10: EXT. MONASTERY(Looking round and seeing that no one is near, ELDRED clutches his wounded shoulder andruns off.)[SCENE_BREAK]11: INT. MONK'S TARDIS. CONSOLE ROOM(VICKI and STEVEN have found the scroll with the MONK'S ticklist on it.)STEVEN: ...DestroyViking fleet, Norman landing, Battle of Hastings - Meet King Harold? Well, it seems to tell the whole story.VICKI: Why Steven? Why is he planning to do it? What'shis reason?DOCTOR: Ah, that's a very good point, my child, indeed, a very good point. I must ask him that myself!(The DOCTOR and the MONK have entered theTARDIS. VICKI runs over to the DOCTOR and joyfully hugs him.)VICKI: Doctor! You're safe!DOCTOR: Safe?STEVEN: Oh, are we glad to see you, Doctor.DOCTOR:Safe? Oh, my dear! Of course I'm safe. Good gracious me! I see you found the machine. (He passes STEVEN the sword.) Keep your eye on that, young man. Ithought I'd told you to wait outside the TARDIS.VICKI: Oh, er, we...STEVEN: Yes...well, we, er...DOCTOR: (Looking at the console.) You know, all this is verysurprising. That's a Mark 4!MONK: Yes, yes, indeed.VICKI: Is that later than yours, Doctor?DOCTOR: Hmm?VICKI: (Suddenly remembering.) Oh!...I forgot allabout it.DOCTOR: (Examining the console.) Oh...forgot? Forgot what, child? Hmm?VICKI: Doctor...Doctor...DOCTOR: Hmm?VICKI: We haven't...got a timemachine...any more.DOCTOR: Haven't we now? Oh, I say! Well...well, I...I wonder what that's supposed to mean, hmm?VICKI: Well, you know...you know weleft it on the beach.DOCTOR: Yes, I remember very well, yes. It so happens that I was there at the time! My dear, I may appear a little half witted at times, butI...VICKI: (Trying to speak.) Doctor!DOCTOR: (Exasperated.) Oh!VICKI: The tide came in.DOCTOR: Oh is that all, my child?STEVEN: Well, isn't thatenough?DOCTOR: The water cannot affect the TARDIS. It won't wash away. It'll still be there when the tide goes down. Now stop fretting, my dear. (Turning tothe MONK.) Well, I must confess, er, I do congratulate you. It's a splendid machine. Although I do note there's been quite a few changes?MONK: Oh, yes indeed,Doctor. In fact this one is fitted with the automatic drift control.DOCTOR: Oh, I see, yes, of course. And, er, thereby you can suspend yourself in space withabsolute safety.MONK: Precisely, Doctor. By the way, I tried to get into your police box but the door was locked. (Laughs.) What type's yours, Doctor?DOCTOR:(Curtly.) Mind your own business.(The MONK chuckles.)STEVEN: Look, I take it you both come from the same place, Doctor?DOCTOR: Yes, I regret that we dobut I would say that I am fifty years earlier. (Turning back to the MONK.) Now when are you going to answer my questions, hmm?MONK: Whichquestions?DOCTOR: The reason for this deliberate destruction.MONK: I...I want to improve things.DOCTOR: Improve things! Hmm! Improve things, yes, that'sgood! Hmm hmm. Very good. (Snaps.) Improve what, for instance?MONK: (Almost to himself.) Well, for instance, Harold, King Harold - I know he'd be a goodking. There wouldn't be all those wars in Europe, those...those claims over France went on for years and years. With peace the people'd be able to betterthemselves. With a few hints and tips from me...they'd be able to have jet airliners by 1320! Shakespeare'd be able to put \"Hamlet\" on television...DOCTOR: He'ddo what?MONK: The play \"Hamlet\" on television...DOCTOR: Oh, yes, quite so, yes, of course, I do know the medium!MONK: Yeah...STEVEN: We're you going tokill the Vikings?MONK: Yes...yes, I...I was. You see, if I didn't then King ...DOCTOR: What are we going to do with this fellow, hmm? What can we do with this"}
+{"doc_id":"doc_72","qid":"","text":"Opening scene - Harbor school - Ryan and Seth are just arriving. Ryan is on his bike and Seth is riding his skateboardSeth: so Alex an I kissed, an you spent thewhole night at the bus stop talking to LindsayRyan: I know somehow the double date worked out(Seth is now walking, and Ryan is pushing his bike)Seth: yeah,i'm proud'a you, so what's next for you two love birds huh, maybe chatting at the train station, whispering sweet nothings at the (laughs) airport, Ryan i'm workinoff the bus stop motif? Bro (puts his hand up for a 'hi five')Ryan: yeah I got it (Seth laughs) (unsure) I don't know what's next, i'm jus gonna take things slow, nopressureSeth: yeah? what about asking her to the big dance (points)(a big banner gets raised in front of them which blocks our view of them. the banner is blueand white with 'The SnO.C.' written in dark blue letters. on the far right corner is 'WINTER DANCE' in smaller writing)Ryan: oooh no, the winter danceSeth: yeahdo it man listen i'm gonna take Alex so take Lindsay an then we can have the double date that we were suppose to haveRyan: (unsure) uh it jus seems a littlesoon, I mean what if she's had the weekend to think about it an just decides we should be lab partners, all we did was talkSeth: (closes his eyes) Ryan Atwood,are you scared of a girlRyan: no I just (shrugs) I might like her an...I don't know every time there's a big party to go to-Seth: something goes terribly arrayRyan:yyeeaahhSeth: yeah but usually to you (points) maybe this is my year to shoulder that burdenRyan: (looks at Seth) you're not really the fist fighting type...Seth:well your not really the type to be scared of a girl (shakes his head) just ask her to the dance, it's the only way you'll know how she feels(Ryan looks at thebanner, then at Seth)Ryan: maybe ill jus go alone (unsure)(Seth looks at Ryan. Ryan looks at Seth then back towards the banner)CUT TO: Summer and Marissain the halls, at Summer's locker.Summer: (off screen) Coop you cannot go aloneMarissa: why not (shrugs) it's just a school danceSummer: it is not just a schooldance, it is the SnO.C. the one night where winter comes to Newport beach (shuts her locker) and your first dance of the year as social chair(they are nowwalking away from the lockers. Zach moves next to Marissa)Zach: what happened to DJMarissa: oh I didn't ask him (Zach looks at her) my moms chairing thehost committee, she'd (laughs) freakZach: your mom doesn't like himSummer: she doesn't know about it him (raises her eyebrows)Marissa: (looks at Summerbut talks to Zach) it's not his type of thing anyway(Ryan and Seth walk over to them)Ryan: hey(Seth waves. Summer unenthusiastically waves back whileMarissa is talking)Marissa: hey guys you still haven't bought your SnO.C tickets yet so can I put you down for four?Ryan: yeah I don't know about thatSeth: ahyou should take the misses(Zach looks at Seth, clearly not happy)Summer: hey Cohen you should invite that girl from Saturday night, yeah, oh god- I forgot shetotally pulled (Marissa is trying not to laugh) a Houdini on your ass (Zach closes his eyes, clearly not liking this side of Summer)Seth: oooh right, you must betalking about Lindsay not Alex the one I (clicks his fingers then makes a gun with his fingers) made out with (blows his finger like it's the tip of a gun)Summer: ohi'm sorry Alex my mistake, an here i'm feeling sorry for the wrong girlZach: I should probably get to class (walks off)Summer: you know you just really shouldmake sure she wears comfortable shoes so she doesn't twist her ankle when she's running awaySeth: yeah? like-like him (points to Zach walking out thedoor)Summer: uh (goes after Zach) (yells) Zach (runs between Ryan and Seth) waitSeth: (smiles) that worked out rather nicelyTheme Song - California byPhantom Planet Cohen kitchen - Sandy is on the phone trying to get hold of CalebSandy: Caleb its me, I still haven't heard back from you about settin up anothermeeting with Renee Wheeler an her attourney (Kirsten comes in) (sighs) so do me a favor an call me back will ya (hangs up) (to Kirsten) how bout someeggsKirsten: (holding plans) you okSandy: yeah, how bout an omletteKirsten: I know i'm not spose'to ask about the caseSandy: honey even if I could talk aboutit, i'd have nothin to tell yaKirsten: my dads still not talkingSandy: w-what could he possibly have done that he'd rather go ta jail then admit to...unless...life withJulie Cooper is tougher then we thoughtKirsten: what're you gonna doSandy: the only thing I can do, ask for a continuance...buy some time an...find out whathe's hidingCUT TO: Harbor school - Ryan walks into a class room, and Lindsay is at a desk about to sit down. Ryan smiles then walks over to herRyan: (softlynear her ear) hey, how you doinLindsay: (turns around) hi (smiles) uh good, i'm-i'm good um...I thought about what you said on the weekend an...you were sosweet...and so honestRyan: i'm glad cause um...there's this danceLindsay: uh yeah um (Ryan has a huge smile on his face) actually I don't think so (Ryan's smiledisappears) I mean I...would love...to go out with you but (Ryan looks at her, confused) we're lab partners, can you imagine...how awkward its gonna be if webreak upRyan: (looks at Lindsay stunned) we haven't even gone out yetLindsay: it's already awkward, let's face it relationships almost always end badly an thisway...we can be friends for the rest of our livesRyan: ...so you just wanna be friendsLindsay: I think we should be(Ryan nods and walks away, disappointed. thelights go out in the class room. Ryan looks over at Lindsay then takes his bag off and goes to sit down)CUT TO: Bell goes and we see kids coming out of classrooms. we hear a cell phone ring then see Marissa coming out of a classroom into the hallwayMarissa: (answers her phone) hello(we see DJ standing out inHarbor parking lot, the SnO.C. banner is in the background)DJ: hey is now a bad timeMarissa: (smiles) where are youDJ: i'm in the parking lot, do you think youcan get away for lunch (smiles)CUT TO: Marissa's bedroom at the mansion. - we see Marissa from about her waist up, fall back on her bedMarissa: I...really likeour lunch breaks(we see DJ move into the shot, on top of her. he leans down and kisses her)DJ: (softly) so, what's the SnO.C.(they both laugh/smile)Marissa: it'sjust this dance (Marissa moves out from under DJ and leans on her elbow. he's sort of the same, their noses are almost touching) we never get snow here so wekind of have'ta make it (kisses DJ) ourselvesDJ: oooh, it sounds like fun (kisses Marissa's neck)Marissa: actually its very Harbor, you'd probably hateit(laughs)DJ: (stops kissing her neck) guess it's a good thing that no ones asked me thenMarissa: I would of...its just i'm kind of running it so I figuredDJ: youdon't wanna be distracted by havin to...I don't know finally introduce me to your friendsMarissa: i'm sorry...but (shrugs) I figured id be so busy i'd be a bad date,if you-DJ: its cool (smiles) i'd rather be alone with you anywayMarissa: (smiles) well we could go out afterward, or we could just stay in(Marissa kisses DJ andthey go back to laying down, DJ moves on top of her. we hear a door shut and see Julie coming through the front door of the mansion, she walks in and picks upthe mail. she begins to flick through it then hears Marissa and DJ, I can make out Marissa saying 'that tickles, i'm serious'. - we then go back to Marissa's roomand see them still making out heavily, Marissa moves so that DJ is now underneath, she's sort of leaning over him and undoing his shirt. once Marissa has it undone DJ sits up and Marissa lies back. Julie opens the door)Julie: Marissa...(Marissa gasps then sits up so she's next to DJ)Julie: (shocked) oh my god(Marissa sitsup more and pulls her singlet down to cover her stomach/back)Julie: (frowns) the yard guyMarissa: m-momJulie: what're you doing home from schoolMarissa:i'm on my lunch break (moves off the bed) and now if you'll excuse me (picks up her things) I have'to get backDJ: I better get to workJulie: (to DJ) no you don't,your fired (points) (to Marissa) and you young lady, are groundedMarissa: (scoffs) like that's gonna keep me from seeing him, come on DJJulie: (to DJ as hewalks passed) you stay away from my daughter you hear me(DJ looks at Julie then walks out. Julie glares at DJ)CUT TO: Newport group - Kirsten is talking to hersecretary? Sandy comes inKirsten: oh thanks Michelle, did my dad call (takes messages)Michelle: no an i've tried him on his cell and at homeSandy: heyKirsten:hey (walks over to Sandy) how'd it go with the judgeSandy: well not only was my motion for a continuance denied, trials now ben fast tracked (Kirsten looks athim) we've got less then two weeks(now they are inside Kirsten's office. Sandy picks up her phone)Sandy: i'm callin Caleb again (dials)Kirsten: how could I of notsee this comingSandy: oh honey come on, how could'ya havephone msg: your call has ben forwarded (Sandy hangs up)Kirsten: I've ben working with him sideby side all this time, how could I of not known that he was bribing this woman from the city councilSandy: if that is what he was doing...?Kirsten: what'did shesay at her depositionSandy: nothing (shrugs) her lawyer wouldn't let her answer any'a my questionsKirsten: ya can't talk to her without a lawyerSandy: well...IcouldKirsten: that would be unethicalSandy: yeah, strictly speaking (Kirsten looks at him) but desperate times... (Kirsten shakes her head) i'm just sayin if Ihappen to run into the womanKirsten: (worried) I don't want you getting yourself in trouble over thisSandy: oh honey (kisses Kirsten on the cheek) it's a littlelate for that(Sandy leaves and Kirsten turns around and sighs, she looks worried)CUT TO: Harbor student lounge - Ryan is standing at the bench of the food/drinkbit and Zach walks over to himZach: hey, Ryan, you know where I can buy my SnO.C. ticketsRyan: can't say I doZach: you're not goingRyan: uhhh noZach: noone to go with?Ryan: I had someone to go with, she jus...didn't...wanna go with me (frowns) uh what's up are you goin with SummerZach: definitely, its a givenright...except of course for CohenRyan: ah I don't think he's askin SummerZach: I don't think...he has to, I mean even if he doesn't ask her somehow the nightsgonna end up about themRyan: ah I get that, believe me (raises his eyebrows) but uh I think it's really over, I mean Seth has a new girl nowZach: really (raiseshis eyebrows) so he's over SummerRyan: oh yeah, definitely (Zach nods) (not so confident) I think so...h-he wants to be...(Zach looks down)CUT TO: The Baitshop - a guy wheels some beer cartons in for Alex and in the background Seth comes inSeth: (sighs) hello Alex, how are we todayAlex: here finally, can you carrythese to the storeroomSeth: the storeroom, sure, maybe you'd like ta show me where it is(Alex looks at Seth, and Seth winks at her sexily)Alex: alright, Cohenwe need to workSeth: ok, if by work you mean (coughs) make out uh-hmAlex: no, by work I mean workSeth: alright, no romance in the work place, that's fine Ican respect that, but in that case Harbor schools annual SnO.C. balls comin up...wha'dya say, little dancing a little faux snowAlex: obviously you got the wrongidea Saturday night (shakes her head) because you an me it's... (laughs) not happening (walks away)Seth: ...ok, ok except you did kinda kiss meAlex: ah-huh(smiles) it was fun!Seth: (confused) it was fun...that's it, it didn't mean anything to youAlex: dude, it was just a kissSeth: ok then why didn't you just shake"}
+{"doc_id":"doc_73","qid":"","text":"Rebekah (voiceover): My brothers and I are the first vampires in history, the Originals. Three hundred years ago, we called New Orleans home. Now, we'vereturned, drawn by a witch who seeks to use my brother Klaus' unborn child as leverage in a brewing war. But his quest for power has turned brother againstbrother, leaving our family more divided than ever. Now that Elijah has returned, can our family unite to face this new threat?MIKAELSON MANSION[Klaus andElijah sit opposite each other in the living room, both reading. Klaus is reading \"A Poison Tree\" by William Blake, and Elijah is reading one of his mother'sgrimoires. A dead girl lays on the coffee table as they listen to classical music. After a moment, Rebekah enters]Rebekah: So, this is what you do the first timewe're back together as a family? Vampire book club?Klaus: [continues reading] Reading edifies the mind, sister. Isn't that right, Elijah?Elijah: Yes, that's quiteright, Niklaus.Rebekah: And what's this business? [gestures to the dead girl on the table]Elijah: This is a...[gestures as though he's searching for a word]...peaceoffering.Klaus: I presumed, after so much time desiccating in a coffin, that my big brother might be a bit peckish.Elijah: And I explained to my little brother, thatforgiveness cannot be bought. I'd simply prefer to see a change in behavior that indicates contrition, and personal growth.[Klaus rolls his eyes guiltily, and Elijahgestures to the girl]Elijah: Not this nonsense.Klaus: Well, I couldn't very well let her go to waste, could I? [grins]Rebekah: Well, I suppose I'll go fetch the rubbishbin, because she's staining a two hundred-year-old carpet.[Elijah looks up from his book to see the girl bleeding out onto the table, where the blood drips ontothe floor]Elijah: Ah, yes.Klaus (voiceover): [recites \"A Poison Tree\" by William Blake]I was angry with my friend:[Klaus looks at Elijah]I told my wrath, my wrathdid end. I was angry with my foe:[Marcel walks into the Palace Royale Hotel, looking for Klaus]I told it not, my wrath did grow And I watered it in fears,[Camibrings flowers to her brother's grave, to find that someone spray painted \"MURDERER\" over the headstone]Night and morning with my tears; And I sunned it withsmiles,[Father Kieran pulls wooden boards off the windows of the church, and waves to a group of men standing outside the door]And with soft deceitful wiles.And it grew both day and night,[Klaus looks at Elijah, and then to Hayley, who walks through the room, her hand on her pregnant belly]'Til it bore an applebright. And my foe beheld it shine. And he knew that it was mine, And into my garden stole[Klaus watches Elijah set down the grimoire and follow Hayley into thekitchen]When the night had veiled the pole; In the morning glad I see My foe outstretched beneath the tree.[In the kitchen, Elijah finds Hayley making herselfbreakfast, and rooting through the fridge. Elijah leans in the doorway]Elijah: [smiles] Good morning.Hayley: [smiles] Hey.[Rebekah enters through the backdoor, dragging a trashcan behind her]Hayley: Listen, I know I'm the only one in this house that actually drinks milk, but would it kill any of you to make sure it'son the grocery list?Rebekah: Speaking of, add bleach. [stomps through the kitchen and into the living room to clean up the mess]Elijah: [digs around in acupboard as Hayley pulls ice cream out of the freezer] You know, I do hope my siblings were hospitable to you, in my absence.Hayley: In your absence, as youlike to call it, which is a way-too-polite way of saying that your brother put a dagger in your heart...[looks up to see Elijah bringing a bowl, a spoon, and a bag ofcereal to the counter] I have been attacked by French Quarter vampires, I've had to live in a house with a secret dungeon full of coffins, and I was nearlymurdered by witches who are convinced my baby is Lucifer.[Elijah smiles sympathetically as he pulls orange juice and milk out of the fridge, pours Hayley a bowlof cereal, and then fills it with milk]Hayley: [notices the milk] Oh...milk. [beat] They've been fine. Your siblings are weirdly protective, I know I have you to thankfor that.Elijah: I'm just happy to see that you're in one piece. [smiles] So, back to the murderous witches. [hands her the bowl of cereal] I have someconcerns.Hayley: They're evil. And, my life is still magically linked to Sophie Deveraux, which is not comforting.Elijah: Yes, I think it's time we took care of thatlittle problem.Rebekah: I am all for it. As soon as they're unlinked, we get to leave this crap town. [drags the dead girl's body across the kitchen floor] Who do wehave to kill?Elijah: [thinking] Probably no one.[Hayley looks at him questioningly]Elijah: Alright, potentially everyone. [turns to leave]TITLE AND OPENINGCREDITSROUSSEAU'S[Sophie chops up vegetables and talks to Sabine, who is sitting on one of the tables]Sophie: [gestures to table and makes a face] I cook onthat, you know!Sabine: Don't get cranky with me! I'm the only witch who still likes you.Sophie: [stirs gumbo] Yeah, it's not like I'm trying to save the witchheritage or anything. [turns to Sabine]Sabine: They'll come around. They're just old-school, and scared.Sophie: Scared of what? Your prophecy about the hybridbaby? Agnes and her freak-show minions had a real field day with that one.Sabine: I can't help what I see, Soph. [shakes head]Sophie: [smiles] Well, if you'repsychic, I'm Martha Stewart! [walks toward table to grab some celery] Scootch![Sophie returns to her table, and Sabine hops down to join her. She sees ashadow in her peripheral vision and gets suspicious. Suddenly, two people in black masks come out]Sabine: What the...?[One of the masked people backhandsSabine across the face, and she as she falls, she hits her head on the table and falls unconsious. Sophie tries to fight the other two masked people off, but theyblow some powder in her face that makes her pass out as well]MIKAELSON MANSION[Rebekah scrubs at the bloodstains in the carpet as Klaus continues to read\"A Poison Tree.\"]Rebekah: Poetry about poisoned apples from dead trees. Looks like someone's worried about impending daddyhood.Klaus: [shakes head]Nonsense. Elijah's back. In his presence, all problems turn to pixie-dust and float away![Rebekah side-eyes him and grins, and Klaus grins back. Elijah joins themin the living room]Elijah: Strange, I don't recall any pixie-dust from the darkness of the coffin I was recently forced to endure.[Elijah opens Esther's grimoire andflips through it]Rebekah: What are you doing with Mother's spellbook?Elijah: Well, in exchange for my freedom, I promised the witch Davina that I would share afew pages from Mother's grimoire. To help her learn to control her magic. I thought we'd begin with a little unlinking spell.[Rebekah and Klaus look at each otherin confusion]Rebekah: [stunned] Wait, you want to use her to unlink Hayley from Sophie Deveraux?Elijah: Sophie brought us here under false pretenses! Shedoesn't just want us to take down Marcel and his minions, she wants to take Davina back. So, she yolked her own cause to ours, with magic threats andhalf-truths! Well, no more. As of now, our deal with Sophie Deveraux is null and void.[Klaus and Rebekah grin]Elijah: Niklaus, I need you to come with me. I needfive minutes alone with Davina, you need to make certain that I am not interrupted. [points to Rebekah and thinks for a moment] You stay here and watchHayley.Rebekah: How did I get elected super-nanny?Klaus: More importantly, who put him in charge? [follows Elijah out of the room]NIGHTWALKER BAR[Marcelsits alone, drinking a bottle of scotch, as various vampires around him feed on humans at the tables around him. Josh sees Marcel, and approaches him]Josh:Hey. Is everything okay?[Marcel gives him a look]Josh: Uh, can I get you something?Marcel: Look, I know you want a daylight ring, kid. Little heads up? I gotguys eighty years ahead of you.Josh: [nods nervously] Noted. Sorry.Marcel: [watches him walk away] Wait! You know Klaus Mikaelson. I asked you to give him alift home a couple of times? To the Palace Royale Hotel, right?Josh: [stammers] Uhhh, yeah...the Palace Royale.Marcel: See, I stopped by his hotel, to say sorryabout an argument we had. Turns out he lied about living there. Lied! Do you ever hear the phrase, \"Uneasy is the head that wears the crown?\"Josh: Uhhh...Lordof the Rings?Marcel: No, Shakespeare. When I was a kid, Klaus taught me how to read with those plays. All about a king who gained the world, but lost his soul.But now, I get it! You see, when it's all said and done, and you look around at the empire you built, the only thing that matters is who you can trust!Josh: There'sgotta be somebody, somewhere that you can trust? \"To stick to you, through thick and thin, to the bitter end.\" Sam and Frodo, The Fellowship of the Ring.[shrugs]Marcel: [nods slowly] Yeah, there is someone. We used to be best friends. [pats Josh on the arm as he leaves]DAVINA'S ATTIC ROOMDavina is sketchingwith charcoal on her easel when Elijah arrives and leans against the doorway and knocks on the door. Davina smiles]Elijah: [holds up pages of grimoire in a cloth]I made you a promise.Davina: [smiles] Come in!ST. ANN'S CATHOLIC CHURCH[Cami sits in the confession room with Father Kieran]Cami: Forgive me, Father, forI have sinned. It's been...oh, a year, since I've had a good conversation with you.Kieran: Camille.Cami: You've been avoiding me, Uncle K.Kieran: My favoriteniece? Never!Cami: Don't lie. This is a church! [beat] Besides, I came about professional advice. [beat] About Sean.DAVINA'S ATTIC ROOM[Davina spreads apage of Esther's grimoire on her table]Davina: It's a spell of unknotting?Elijah: This is a sanguinum knot. The witches use it as representational magic. If you canunknot this using that spell, you will have taken a step towards learning control. This is one of my mother's later spells. It requires much more power than yourealize. Now, if you can perform this, then I shall return with another page. [walks toward the door, then turns back to her] A spell of your choosing, next time.[smiles, then leaves]ST. ANN'S CATHOLIC CHURCH[Cami and Father Kieran are still in the confessional]Cami: I guess since I'm a masochist, I went by Sean'sgrave today and--Kieran: Damn it, I was hoping to get that cleaned up before you saw it. I hope it didn't upset you too much.Cami: It didn't bother me at all.That's the problem. That's why I'm here. I slept like a baby every night this week. Even though my brother hacked nine priests to death, not two feet from thisconfessional. [beat] A guy I've been seeing, Marcel, has been blowing me off. Whatever, I've been on two dates with the guy, and I'm more upset about THATthan seeing \"MURDERER\" scrawled across my brother's grave.Kieran: [hesitates] It's called healing, Cami.Cami: For months, after the massacre, I couldn't thinkof anything else. And then suddenly...nothing. I need to feel that pain! Without it, I feel...broken! Empty! Like, there's someone to blame...and...I'm letting themget away with it.Kieran: Listen, if you have found a way to turn it off, don't question it! The only person that is responsible for Sean's behavior is...Sean.Cami: Doyou really believe that?Kieran: Yes. I do.[Cami stares at her uncle through the screen for a moment, before she gets up and walks out of the church. Kieran sighs.Up in the balcony, Klaus watches Cami leave, and frowns]LAFAYETTE CEMETERY MAUSOLEUM[Sophie is awake now, and struggling against the grips of the"}
+{"doc_id":"doc_74","qid":"","text":"Scene: A corridor at the University.Leonard: On the other hand, some physicists are concerned that if the super collider actually works, it will create a black holeand swallow up the Earth ending life as we know it.Raj: Psh, what a bunch of crybabies. No guts, no glory man. Leonard (looking at an orange notice on thenoticeboard): Hey, check it out, the school of pharmacology is looking for volunteers.Raj: We are testing a new medication for social anxiety, panic attacks,agoraphobia and obsessive compulsive disorder. Why would they be looking for test subjects here?Leonard: I don't know, Raj. Maybe the comic book storedoesn't have a bulletin board. (Sees crowds in the corridor) What's going on?Howard: Shhh! Hot girl in Sheldon's office.Leonard: Sheldon's office? Is shelost?Howard: Don't think so. I followed her here from the parking lot.Leonard: Maybe she's his lawyer.Howard: Well she's free to examine my briefs.Leonard:Howard...Howard: I know, I'm disgusting, I should be punished. By her, oh look, I did it again.Girl: Well, that should do it.Sheldon: Thank you for coming by. (Herises from his desk. Everyone rushes to look nonchalant.) Hello.Leonard: Oh, hey buddy.Sheldon: Buddy.Howard: Sorry I'm late, I'm working on a project thatmay take me up on the next space shuttle.Sheldon: How can you be late, I wasn't expecting you at all.Howard: Nobody ever expects me, sometimes you justlook and... BAM! (shakes girl's hand) Howard Wolowitz.Leonard: Sheldon, are you going to introduce us?Sheldon: Oh, alright, this is Missy, Missy this is Leonardand Rajesh and you've already met Howard.Missy: It's nice to meet you.Leonard: You too, swell, also.Howard: Yeah.Leonard: So, how do you two know eachother.Missy: Oh, he once spent nine months with my legs wrapped around his head.Leonard: Excuse me?Sheldon: She's my twin sister, she thinks she's funnybut frankly I've never been able to see it.Missy: It's because you have no measurable sense of humour, Shelly.Sheldon: How exactly would one measure a senseof humour? A humourmometer?Howard: Well, I think you're delightfully droll. Or as the French say, Tres Drole.Missy: Okay, so let me see if I got this. Leonard,Howard and... I'm sorry what was your name again. (Raj looks uncomfortable, turns and walks away, disappears round corner. He then reappears, takes theorange paper from the noticeboard and leaves again.)Sheldon: Rajesh. Credits sequenceScene: The same.Leonard: So Missy, what brings you all the way fromTexas?Howard: Was it perhaps destiny, I think it was destiny.Missy: My friend's getting married in Disneyland tomorrow night.Howard: Destiny, thy name isAnaheim.Missy: And I had to drop off some papers for Shelly to sign for my dad's estate.Sheldon: The papers could have been mailed, Mom just sent you here tospy on me, didn't she.Missy: I guess that's why they call you a genius.Sheldon: They call me a genius because I'm a genius. Tell Mom that I currently weigh 165pounds, and that I'm having regular bowel movements. Enjoy the wedding, goodbye.Leonard and Howard together: Woah, woah.Leonard: If the wedding's notuntil tomorrow, why don't you stay with us tonight?Missy: Oh, I don't think so. Shelly doesn't like company. Even as a little boy he'd send his imaginary friendshome at the end of the day.Sheldon: They were not friends, they were imaginary colleagues.Leonard: Look, you're here, we have plenty of room.Sheldon: No wedon't.Howard: Come on, Shelly, she's family.Sheldon: So what? I don't issue invitations to your mother.Missy: Well it would be nice not to have to drive out toAnaheim in rush hour.Sheldon: And don't ever call me Shelly.Leonard: So it's settled. You'll stay with us.Howard: I'll walk you to your car. You're in structure 3level C, right?Sheldon: What just happened?Scene: The apartment.Missy: So anyway, we're eight years old, and Sheldon converts my easy-bake oven to somekind of high-powered furnace.Leonard: Hee-hee, just classic.Sheldon: I needed a place to fire ceramic semi-conductor substrates for home-made integratedcircuits.Missy: He was trying to build some kind of armed robot to keep me out of his room.Sheldon: Made necessary by her insistence on going into myroom.Missy: Anyway, I go to make those little corn muffins they give you, there's a big flash, next thing you know my eyebrows are gone.Howard: Ha-ha, notyour eyebrows?Missy: Yep. I had to go through the entire second grade with crooked eyebrows my Mom drew on.Sheldon: Is that what that was? I just assumedthat the second grade curriculum had rendered you quizzical. Penny (knocking and entering, holding up a pair of superman undershorts.): Hey, Leonard, you leftyour underwear in the dryer downstairs.Leonard: Those are not mine.Penny: Really, they have your little name label in them.Leonard: Yeah, no, I do, I usethose... uh... just to polish up my... spear-fishing equipment. I spear fish. When I'm not crossbow hunting, I spear fish. Uh, Penny, this is Sheldon's twin sister,Missy. Missy, this is our neighbour Penny.Missy: Hi.Penny: Wow, you don't look that much alike.Howard: Can I get a hallelujah.Sheldon: Fraternal twins comefrom two separate eggs, they are no more alike than any other siblings.Howard: Hallelujah.Raj (running in): Hey, guess what. I've been accepted as a testsubject for a new miracle drug to overcome pathological shyness.Penny: Hey, good for you, Raj.Raj: Yes, I'm very hopeful. Hello Missy. (He waves his hand. Itkeeps waving.) They mentioned there may be side effects.Scene: The same, later.Raj: So, Missy. Have you ever met a man from the exotic subcontinent ofIndia?Missy: Well, there's Dr Patel at our church.Raj: Ah yes, Dr Patel, good man.Howard: Do you like motorcycles, 'cos I ride a hog.Raj: A hog? You have a twocylinder scooter with a basket on the front.Howard: You still have to wear a helmet.Raj: Have you ever heard of the Kama Sutra?Missy: The s*x book?Raj: TheIndian s*x book. In other words if you wonder wonder who wrote the book of love, it was us.Penny (to Leonard): Hey, Sheldon's sister's pretty cute, Iw....Leonard: I wasn't staring!Penny: I didn't say you were, I just said she was cute.Leonard: Oh. Huh, um, maybe, if you like women who are tall... andperfect.Penny: Sheldon, why are you ignoring your sister?Sheldon: I'm not ignoring my sister. I'm ignoring all of you.Leonard: I brought snacks.Missy: Oh my!Gherkins and....Leonard: Onion dip, it's onion dip.Missy: Oh.Leonard: We don't entertain much.Raj: Missy, do you enjoy pajamas?Missy: I guess.Raj: We Indiansinvented them. You're welcome.Howard: Yeah, well my people invented circumcision. You're welcome!Penny: Missy, I'm going to go get my nails done. Do youwant to come?Missy: God yes. Thanks.Penny: You're welcome.Missy: Bye guys.Howard: Bye Missy.Leonard: Bye Missy, see you.Penny: GoodbyeLeonard!Leonard: Uh, yeah, no, uh, bye Penny.Howard: Okay, you two have to back off.Raj: Why should I back off, you back off dude.Leonard: Excuse me, thisis my apartment and she's my roommate's sister.Howard: So what, you've already got Penny.Leonard: How do I have Penny? In what universe do I havePenny?Howard: So I can have Penny?Leonard: Hell, no!Sheldon: Excuse me, can I interject something. I'm ordering pizza online, is everyone okay withpepperoni?Leonard: Sheldon, can I talk to you in private?Sheldon: I guess. Don't worry, I was going to order you cheeseless.Leonard: Thank you.Sheldon: That'sokay. Lactose intolerance is nothing to be embarrassed about.Howard: I'm a fancy Indian man, we invented pajamas!Raj: Hey, look at me, I don't have aforeskin.Scene: Sheldon's bedroom.Leonard: Sheldon, are you aware that your sister is an incredibly attractive woman?Sheldon: Hmmm? She certainly has thesymmetry and low body fat that western culture deems desirable. It's noteworth that at other points in history, heavier women were the standard for beautybecause their girth suggested affluence.Leonard: That's fascinating, but I...Sheldon: I didn't say it was fascinating, I said it was noteworthy.Leonard: Alright,noted. But my point is that Koothrappali and Wolowitz... they're hitting on your sister.Sheldon: Oh. Okay. You know, I don't want to criticise your rhetorical stylebut, we'd be a lot further along in this conversation if you'd begun with that thought.Leonard: That's great, but I....Sheldon: What I'm saying is that we took quitean unnecessary detour from what I now understand to be your thesis.Leonard: Whatever. You have to do something about it.Sheldon: Why?Leonard: Becauseshe's your sister.Sheldon: I don't understand. Yes, we shared a uterus for nine months, but since then we've pretty much gone our own separate ways.Leonard:Okay, uh.... oh, consider this. With your father gone, it is your responsibility to make sure that Missy chooses a suitable mate.Sheldon: I hadn't considered that.We do share DNA.Leonard: Uh-huh.Sheldon: So there is the possibility, however remote, that resting in her loins is the potential for another individual asremarkable as myself.Leonard: Exactly. And, you owe it to yourself and to posterity to protect the genetic integrity of your sister's future offspring.Sheldon:You're right. If someone wants to get at Missy's fallopian tubes, they'll have to go through me.[SCENE_BREAK]Scene: The living room. Raj and Howard are on thefloor, fighting.Raj: I am Shiva the destroyer, I will have the woman!Howard: I'm warning you, I was judo champion at math camp.Sheldon: Alright, that's enoughjuvenile squabbling, stop it, stop it I say. I'm going to settle this right now. Neither of you are good enough for my sister.Howard: Who are you to decidethat?Leonard: He's the man of his family, you have to respect his wishes.Sheldon: You're out too, by the way.Leonard: Say what?Sheldon: It's nothing personal,I'd just prefer if my future niece or nephew didn't become flatulent every time they eat an Eskimo pie. Howard (to Raj, who is smiling): What are you so happyabout?Raj: I'm not happy, it's the medication, I can't stop smiling. (Waves hand at mouth. It keeps waving.)Sheldon: Now that Leonard's made me aware of howhigh the genetic stakes are, we have to face the fact that none of you are suitable mates for my sister.Howard: Wait a minute. Leonard made you aware ofthat?Leonard: We all make mistakes, let's move on.Raj: Excuse me, but I think you're missing a big opportunity here.Sheldon: How so?Raj: Everybody knowsgenetic diversity produces the strongest offspring. Why not put a little mocha in the family latte.Sheldon: In principle you have a point, but as a practical matter,need I remind you that it takes experimental pharmaceuticals to simply enable you to speak to the opposite s*x.Raj (waving finger at him): I think you'refocussing entirely too much on the drugs. (Finger keeps waving. Leonard has to reach out and stop it.)Howard: Is it 'cause I'm Jewish, 'cause I'd kill my Rabbiwith a porkchop to be with your sister.Sheldon: This has nothing to do with religion. This has to do with the fact that you're a tiny, tiny man who still lives with hismother.Leonard: Sheldon, you are really being unreasonable.Sheldon: Am I? Here. Eat this cheese without farting and you can sleep with my sister.Missy (whohas just entered): Oh really?Sheldon: Oops.Missy: Shelly, can I speak to you for a minute? Alone?Sheldon: Why does everyone suddenly want to talk to me"}
+{"doc_id":"doc_75","qid":"","text":"ACT ONEON THE PLUS SIDE SHE DID LOSE TWO POUNDSScene 1 - Int. Frasier's Studio at KACL Frasier is seated in his booth. Roz stands beside him, sorting through papers.Frasier: Oh Roz, I managed to get some reservations at San Gennaro tonight. [standing] I thought we'd go celebrate your birthday.Roz: [looking up] Oh, that is so sweet, but I have a date. With that waiter we met at lunch yesterday.Frasier: [disbelieving] You're going out with that guy?Roz: I didn't have enough for a tip.Frasier: Keep in mind the service wasn't that good. [pause] Well, the reservation won't go to waste. I can always take Niles.Roz: Niles? Again? You know, your entire social life consists of going out with your brother. [pause] Don't you think you're getting into kind of a rut? You're still young! You need to go out and get drunk...Frasier walks around her toward the door of the booth.Roz: [cont'd] Wake up in some stranger's bed and not even remember how you got there.Frasier: [opening door] In other words, exchange my life for yours.Roz: Well, do what you want. But you know what? You could shake up your life every once in a while, do something spur of the moment. Once, I finished work on a Friday and hopped a plane to Acapulco, and I didn't pack anything but my toothbrush.Frasier: Oh, yes, yes, I do remember you calling in sick one Monday morning with a mariachi band in the background.Roz: Well, I was sick.Frasier: Mmm-hmmm. [closes door][SCENE_BREAK]Scene 2 - Int. Frasier's living room at the Elliot Bay TowersDaphne: [opening front door] Oh, Doctor Crane!Niles: Daphne.Niles walks into the apartment to place his coat on the sofa. Daphne closes the door after him. When he turns back toward her, she has turned her back to him. She is wearing a yellow sundress which is unzipped to her lower back.Daphne: Thank God you're here. My zip's stuck.Niles: Oh.Niles walks to her and reaches for the zipper, watching her lower back intently.Niles: Good thing I got here when I did.Daphne: Don't be afraid to grab hold and give it all you've got.Niles: [looking up at the back of her head] Okay.Daphne: Sometimes pulling it down a bit helps.Niles: [looking up again] Okay. [pause] Oh, dear. I've zipped my tie into your dress. It won't come loose.Niles leans down to examine his predicament.Daphne: Oh, let me see! Daphne turns to look, jerking Niles by the tie in the process.Daphne: Oh, I'm sorry! It is stuck, isn't it? Well, maybe some liquid soap from the powder room will loosen it up.Daphne walks to the bathroom, dragging Niles by the tie. He is leaned over, his face very close to her rear - most likely a delightful scenario for him. Just as Daphne has her hand on the knob to the bathroom, Frasier walks in the front door, taking in the scene before him. He stares skeptically for several moments as he closes the door behind him.Frasier: Niles, there's something on your tie.Daphne: [grinning] Doctor Crane was helping me with my dress, and now he's caught.Frasier: Yes, he is. [walks to Daphne, pushing Niles to the side slightly] Allow me. [frees the zipper] Ah, there. All right, there we go.Frasier walks over to hang up her coat, and Daphne walks toward the breakfast table.Daphne: What a relief. I was just about to step right out of this dress and embarrass poor Doctor Crane to death.Niles: Well, we all have to die of something. [gazing longingly]Frasier: Oh Niles, I managed to score some reservations tonight at San Gennaro. You up for a little Italian?Niles: Actually, I'm going out with Maris, so I guess you could say I'm up for a little Episcopalian. [laugh]Frasier: [laughs, walking toward wet bar] Like some sherry?Niles: Yes, thank you.Frasier: So, those counseling session must be going very well.[pouring sherry]Niles: They are! So, tonight, we thought it would be a kick to recreate our very first date.Daphne: [sitting at table] Oh, that's sweet.Martin walks in the front door with Eddie on his leash.Niles: Hey, dad. In fact, that day my car was in the shop, so I'm here to borrow Dad's car just like I did back then. [Frasier hands him his sherry] Just saying that makes me feel so young. \"Gee, Dad, can I borrow the car?\"Martin: You did that twice on the phone, and I didn't find it cute then. [reaching in pocket, pulling out keys] Here you go.Martin tosses his keys to Niles underhanded. However, they sail right by him and are caught by Frasier, who is standing behind him.Frasier: [handing Niles the keys] I just can't picture Maris in Dad's '82 Impala.Niles: Neither could she, at first. I'll never forget the look of wonder on her face at touching vinyl for the first time. She said it made her feel cheap and dirty, and she liked it.[proud] I was her first bad boy. [sits on couch]Frasier: Uh-huh. Yes, I remember the way you used to carry your inhaler around rolled up in the sleeve of your t-shirt. [gesturing to Daphne at the table and Martin coming out of the kitchen] Oh, how about you two? You guys want to join me for dinner tonight?Martin: Oh sorry, Sherry's cooking me dinner tonight.Daphne: And I have a date with Greg.Frasier: Greg? I don't believe I've met him yet.Martin: I have. He's gorgeous. [stares all around] Well, he is.Daphne: He's certainly the best-looking man I've ever been out with. Of course, he doesn't have a thought in that pretty little head of his. [distantly] Hmmm, this could be the one.Martin: [going to sit in chair] But you know, Frasier, maybe I can have Sherry cook for me some other time.Frasier: No, no. You don't have to put yourself out on my account, Dad. [notices answering machine blinking] Oh Dad, did you happen to check this message?Martin: No, I don't touch that thing.Message: [V.O.] Hi, it's Laura. We're getting an extra day of rehearsal, so I'm coming in tonight instead of tomorrow. American, Flight 11, 10:30. Can't wait. Bye!Frasier: Great news, Laura's in town!Niles: Who's Laura?Frasier: A stranger who called my machine by mistake.END OF ACT ONEACT TWOScene 1 - Int. the restaurant - San Gennaro Frasier stands at the maitre 'd's booth in the restaurant, his arm propped against it casually.Frasier: Reservation for Doctor Frasier Crane.Maitre \u0000: From the radio, yes?Frasier: Yes. Ooh, actually my date canceled, so it'll just be me.Maitre \u0000: I see, sir. [lowers voice] Table for one.Frasier: There is no need to lower your voice. I'm not ashamed to dine alone. eally, as a man of some celebrity, I can serve as a symbol to others who might otherwise be afraid to do so. I mean, really it's okay, it's actually even preferable to sit and dine alone rather than listen to someone who's too much in love with his own voice prattle on endlessly.Maitre \u0000: Well, you convinced me, sir. I'll see if your table's ready.The Maitre 'D leaves the room, and Frasier is left alone, looking decidedly less comfortable.Maitre \u0000: [loudly] Doctor Crane? Your table for one is ready.He holds a menu out for Frasier, who takes it and slinks to his table, which is positioned right in the center of the room.Frasier: Uh, listen, is it possible to move to... to have a table elsewhere? I feel just a bit conspicuous right here.Waiter: I'm very sorry, sir, but they're all reserved. But don't worry, most of our patrons only have eyes for each other.Frasier: Very well.Frasier sits. The waiter begins to fix the place setting, clinking glasses together very loudly. Other diners begin to look at the table.Waiter: I'm so sorry, sir.Frasier: Perfectly all right. Just because I'm alone doesn't mean I'm lonely. Perhaps I could have a glass of your house cabernet.A young boy approaches as Frasier fixes his napkin in his lap.Johnny: Hi.Frasier: Hello. What's your name?Johnny: Johnny. How come nobody's sitting with you?Frasier: Well, that's a bit complicated, Johnny.Johnny: My mom and dad said it's okay if you come sit with us.Frasier: Oh, well, that's a very... very sweet offer, and I know it's hard for a young boy to understand, but really, there's nothing wrong with someone eating by himself.Johnny: You know, one time I was really bad at school and the teacher made me eat lunch all by myself.Frasier: Oh, well that gave you an opportunity to think about your actions, didn't it?Johnny: Nope. I just cried.Frasier: [rolls eyes] Run along, Johnny.Johnny leaves. The waiter approaches.Waiter: Your glass of cabernet, sir.Frasier: Oh, thank you.Waiter: Oh, and I see your candle has gone out. [shouts] Enrico![claps loudly]Frasier: Please, stop! Tonight, I'd prefer to just... dine in the shadows, thank you.An attractive woman approaches.Woman: Excuse me. Are you here by yourself?Frasier: As a matter of fact I am, yes.Woman: I was hoping you'd say that! Would you mind if I -[gestures at the other chair at the table]Frasier: Oh, good Lord, yes. I've actually been sitting here hoping somebody would- [realization passing over him] make good use of that chair.As the woman takes the chair away...Amanda: AAAHHHH! [jumps up] Of course I'll marry you!The scream has startled Frasier, who spills his cabernet all over his shirt.Ethan: Oh, sorry for the commotion, folks. [notices spilled wine, walks over] Oh, gosh, is that our fault? Listen, let me pay for the dry cleaning!Frasier: Oh, not to worry, not to worry.Maitre \u0000: Congratulations, you two! Here's to young love!Husband: [standing with his wife] Well, as long as we're all sharing good news, my wife just told me that we're having twins.Ethan: Now that I've already interrupted all of your meals, I'd just like to share my joy with everyone here. [gazes at his fiance] To Amanda, my future bride, I will love you every day of my life, and I hope that, when we die, it's at the exact same moment so that neither of us will have to spend even one second alone again.Everyone applauds, including Frasier, but VERY grudgingly. He looks around, frowns, thinks a bit, and finally stands and walks over to Johnny's table.Frasier: Hi, um, Johnny said I could eat with you.[SCENE_BREAK]LOVE AMONG THE RUINSScene 2 - Int. Frasier's living room at the Elliot Bay Towers. Frasier walks in the front door of his apartment. Martin and Daphne are sitting at the breakfast table.Martin: Hey, Fras, how was your dinner?Frasier: [walking slowly behind the couch] Not since Quasimodo strolled the streets of medieval Paris have so many people uttered the phrase, \"That poor man.\"Daphne: I'm sure it wasn't as bad as all that.Frasier: Oh? [opens his overcoat to reveal his red shirt and tie]Daphne: Oh, dear.Frasier: [walks to hang up his overcoat] The height of the evening came when the entire staff of waiters delivered the birthday cake that I'd ordered for Roz and neglected to cancel. [pause] They sang to me. [walks over to lean against Martin's chair]Martin: It's not your birthday.Frasier: Staying right with the story as usual, Dad. Anyway, after dinner I took a long stroll, and it suddenly struck me: I'm single. I'd gotten accustomed to thinking of myself as recently divorced, but that was five years ago. I'm forty- three, and I'm alone.Martin: Hey! [stands and walks to kitchen] I have something that'll cheer you up. I brought you some of Sherry's mock apple pie. [comes out] It's called \"mock\" cause they uses crackers instead of apples.Frasier: Good! [doorbell; Frasier walks to answer door] Nothing spoils an apple pie like apples. [opening door] Oh, Niles.Niles: Frasier! Oh, what happened?Frasier: Well-Niles: No, let me guess. [leans in] Robust color, fruity bouquet. I'd say that's an amusing little merlot.Frasier: Cabernet. [closes door]Niles: [walking past him] Oh. Well, it's still amusing.Daphne: So, did you and Mrs. Crane enjoy recreating your first date?Niles: [standing behind chair at the breakfast table; very excited] Oh yes, my Maris remembered details that I'd "}
+{"doc_id":"doc_76","qid":"","text":"[Scene: Church. Brendan and a priest are there.]Brendan: I wake up at night, my heart pounding, a voice whispering in my head your a fraud, you can't foolGod.Priest: These are not new fears, Brendan. I've watched you grow, wept for you, rejoiced in you, you are not a fraud. I know your heart.Brendan: You don'tknow my family, father. Generations of evil. Evil that's in my blood.Priest: The blood of the sacrament washes it clean.Greg: Hello, Brendan.Paul: Long time nosee.Brendan: How'd you find me?Greg: Yeah, good to see you too. Didn't mean to interrupt your conversation. We'll wait outside for you so we can have a familyreunion.[Scene: Outside the church. Prue, Phoebe and Piper are getting stuff out of the van.]Prue: Hey, you know what? The next time the Quake does a foodpantry why don't you call some guys.Piper: Yeah, I'll just go through my handy guy rolodex.Phoebe: Which I believe now stops a 'J' for Josh or is it 'B' forboyfriend.Piper: I don't wanna talk about it.Phoebe: Why not Piper? You know you like him and he calls you all the time. Why don't you just go out withhim?Piper: I told you because I'm too busy with work and my instincts are telling me to lay low.Prue: Always trust your instincts.Phoebe: Who's side are youon?(They see some nuns.)Piper: Now they have the right idea.Phoebe: Who, the nuns?Piper: Yep, nice safe environment.Phoebe: Yeah, if you like monks.Piper:Stress free, no need to worry about guys, no wardrobe.Phoebe: No wardrobe? Okay, now you're scaring me.Piper: Um, whose pen is this?Prue: Oh, it's uh,Brendan's I think, you know the cute guy that signed for the food, remember?Phoebe: I remember him, yes.Piper: Good, then you can take it to him. I think he'sin the church office.Phoebe: Okay, just don't go taking any vows while I'm gone, alright? (Piper hands Phoebe the pen and Phoebe has a premonition.) Oh, oh,cute guy, I just saw him being attacked by a warlock. I think it was here somewhere.Prue: Alright, let's split up.[Cut to inside the church. Brendan and hisbrothers are there.]Greg: Give it up little brother. You're praying to the wrong deity. Aren't you Brendan. I mean after all, we can't deny who we are.Brendan:You don't scare me Greg.Greg: Sure I do. (He turns into a warlock.) We've come a long way to find you. We're not leaving until you join us.Paul: Please Brendan,we don't want to hurt you.(Greg hits Brendan and he falls to the floor.)Greg: Did you really think the church could save you?(Greg picks up Brendan up off thefloor. He goes to hit him again but Prue enters the church.)Prue: Hey! (She uses her powers and Greg flies across the room.) Piper! Phoebe!Greg: We'll comeback for you. (They run off.)Phoebe: Prue?Prue: You guys over here! (to Brendan) Are you alright?Brendan: Yeah, thanks. (He runs off.)Prue: Wait, where...?Piper: Hey!Phoebe: What happened?Prue: I don't know, but uh, I'm gonna go find out.Opening Credits[Scene: In a room. Brendan's brothers are there. Onebrother is staring at a lizard.]Paul: Amazing reflex's. Check it out.Greg: Should've kept a closer watch on Brendan all these years. Shouldn't of left himalone.Paul: Seriously, you gotta see this, watch.Greg: I'm sick and tired of you and this freakin' lizard.Paul: Yeah? Too bad. (Greg goes to hit him.) No! I'm sorry,okay. Just stay away from my pet, that's all I ask. Maybe we should let Brendan go. I mean we don't really need him. It's not like we don't already have ourpowers.Greg: Without his powers we can't complete our triangle, the whole prophecy of the royal coven. He must accept his heritage. He must be initiated as awarlock.Paul: Initiated how? We can't force him to kill an innocent.Greg: Well, maybe not, but we can store his inner nature. The part he thinks is suppressed.Make him wanna kill.Paul: By tomorrow? Not a chance. Once he's been ordained, he's safe. He can never become a warlock.Greg: In which case, we will have tokill him.[Scene: Halliwell house. The phone rings.]Phoebe: Hello? Oh, hello Josh, how are you?Piper: I won't call him back.Phoebe: Yeah, she's right here, hold ona second. Oops.Piper: You're doomed. (She takes the phone.) Hello. No, it's alright I'm always up this early. What's that? My horoscope said that? Oh well, that'sa shame 'cause I have to work Friday night. Yep, Saturday too.Phoebe: (to Prue) Okay, I have to go change the cat litter.Prue: Phoebe.Phoebe: What? What isthe problem? She likes him, he likes her.Prue: The problem is it's none of our business.Piper: I, I've got to go now, but thanks for calling though. Yeah, well, Igotta go to work. I'll be there all day and all night. Yep, gotta go, bye.Phoebe: Okay, you know what? It's your life, if you wanna be a nun, God speed.Piper:Thank you. Now back to our warlock crisis. Why do we think they're after, what's his name again?Prue: Brendan, and I don't know, I couldn't find him. But I'veseen him at the church before and I'm hoping that the parish priest can help.Piper: Yeah, well, you better hope Brendan doesn't tell anybody about your powersor else we got bigger problems than just warlocks.Prue: Yeah, but I don't think he will. There's something in his eyes, I don't know, it seemed like he wasn'tsurprised by it. Alright, um, I've gotta go. I'll call you guys if I find out anything.Piper: Do you want us to go with you?Prue: You have to work remember. (Sheleaves. The phone rings and Phoebe gets up to answer it.)Piper: Don't you dare answer that. Sit down.[Scene: Church.]Prue: Excuse me.Priest: Yes.Prue: FatherAustin?Priest: Yes.Prue: Hi. I'm Prue Halliwell. My sister helped co-ordinate the food for last night.Priest: Piper. Of course. I'm very grateful to her, it was awonderful evening. Except for what happened in here.Prue: Actually, that's why I'm here. Do you know someone named Brendan, i think he was one of thevolunteers?Priest: I know Brendan very well. You don't think he had anything to do with this?Prue: No. No, no, no, no. Um, but I did see two other men trying tohurt him. I mean he's fine, he got away alright but I don't think they're gonna stop trying.Priest: He always said they'd come.Prue: Excuse me?Priest: It's justsomething I know Brendan's been wrestling his whole life.Prue: Do you know where I might be able to help him?Priest: You? How?Prue: I can't really tell you thatfather, I'm sorry. It's kind of personal, I just have to ask you to trust me.[Scene: Quake.]Phoebe: So the lunch rush is almost over and you're closed till dinnerright?Piper: Yeah, why?Phoebe: Just curious. Have you heard from Prue yet?Piper: No, not yet. (Phoebe stares at her.) What? Why are you staring atme?Phoebe: Because I'm worried about you that's why.Piper: Oh, Phoebe don't start.Phoebe: No, Piper something's up. You're turning down dates with a guythat you like, extolling the virtues of convent living, you've been working double shifts three times a week, this is not the Piper I know and I'm worried.Piper:Don't be. Everything is fine.(Josh walks up behind them.)Josh: I would like a glass of Clara Jenson please. Ninety three if you got it.Piper: Josh.Josh: Good start.You recognized me.Piper: What are you doing here? (quietly to Phoebe) Phoebe!Phoebe: (quietly) What?Piper: This is such a surprise.Josh: Well, I tell ya, I'mgonna cut right to the chase here. You wanna get all hot and sweaty with me? I'm kidding, kidding. I'm on my way to the gym and thought since I can't buy youdinner, we could um, work out together.Piper: I'll be right back.Phoebe: Uh, so will I.Piper: I'm gonna kill you.Phoebe: Why? A little exercise, a nice steam, a tripto the juice bar, what could it hurt?Piper: My job. I'm at work. I can't just up and leave.Phoebe: Okay, well, I could baby-sit for you while you're gone.Piper: Therestaurant? I don't think so.Phoebe: What, it's not like anything's gonna happen. You said it yourself, you're closed until dinner. Come on, it is just a work out.The worst case scenario, you're in better shape by the time you check into the nunnery.Piper: Okay, fine. But only if it will get you to shut up.Phoebe: Itwill.Piper: Good.Phoebe: Fine. (She gives Josh the thumbs up sign.)Josh: Thank you.Phoebe: You're welcome.[SCENE_BREAK][Scene: Stables. Brendan is therewith a little girl.]Brendan: Are you sure you've never ridden a horse before?Little girl: I've never even seen a horse before. Except on television.Brendan: Well,you're a natural at it. Keep your grades up and maybe you could come ridingagain.Little girl: Promise? (He nods.) Ah, a spider! Kill it.Brendan: Oh, no. He's justtrying to find his way home that's all. Besides, all life's precious to God you know. (Prue walks up behind them.) Here, don't be afraid. Trust me. (He puts thespider in her hands.) There you go. (He sees Prue.) Ah, why don't you take him in the stables and set him free. (She leaves.)Prue: You're braver thanme.Brendan: How'd you find me?Prue: Father Austin told me you would be here. We need to talk.Brendan: Look, uh ...Prue: Prue.Brendan: Prue. If you'reworried about me telling anyone about your secret, you don't have to. It's safe with me.Prue: Yeah, well, that's good to know but why? I mean most people wouldbe pretty freaked out if they saw what you saw.Brendan: I'm not like most people.Prue: Yes, I know. Most people aren't attacked by warlocks.Brendan: I don'twanna talk about that. (He gets on his horse.)Prue: Okay. Ah, hi, just can I borrow this for a minute. (She gets on a horse.)Man: Sure, go ahead.(They gallop off.Prue gallops past Brendan.)Brendan: Hey, wait up. (They slow down.) If you keep your grades up maybe you can come riding again too.Prue: Oh, youpromise?Brendan: Who are you anyway?Prue: Oh, well, that's not fair, I asked you first.Brendan: I'm not quite sure I know the answer to that I'm afraid.Prue:Well, as far as I can see you're too good to be true, I mean church volunteer, great with kids, loves horses, spiders.Brendan: Not all spiders. Hate blackwidows.Prue: That's a good thing.Brendan: What?Prue: Brendan, you're in danger, serious danger.Brendan: I know.Prue: What, how do you know? I can helpyou.Brendan: No you can't. You're lucky they didn't hurt you, they could of killed you last night.Prue: Who could of? Who are they?Brendan: It doesn't matter.After tomorrow I'll be safe from them forever.Prue: What happens tomorrow?Brendan: I become a priest.[Scene: Rock climbing place. Piper is half way up thewall.]Piper: (Angrily to herself) A little sweat, a nice steam, trip to the juice bar. I will kill you Phoebe. (Josh comes down the wall and stops where Piper is.)Josh:How ya doin'?Piper: (Does a fake laugh) Great. Never better.Josh: You're lookin' great. Come on, I can't believe you've never done this before.Piper: Yeah, well,believe it.Josh: You want me to keep you company on the way up?Piper: Oh no, I'll meet you, I'll meet you down there.Josh: Alright, I'll see you in a few.(Hegoes down the wall. Piper starts to climb the wall again but slips and falls but Josh catches her before she hits the ground.)Piper: Wow, talk about falling for aguy. (He puts her down and she freezes him. She gets out her phone and calls Phoebe.) I can't believe I said that.Phoebe: Hello, Quake.(You see the sinkoverflowing and water is everywhere.)Piper: Phoebe.Pheobe: Hey, Piper, how's is going?Piper: Bad, real bad.Phoebe: Uh, really? Why?Piper: You wanna knowwhy? I'll tell you why. Because we shared the look.(You see Phoebe trying to stop the water from squirting out of the tap.)Phoebe: The look?Piper: You know, the"}
+{"doc_id":"doc_77","qid":"","text":"MAWDRYN UNDEADBY: PETER GRIMWADEPart FourFirst Air Date: 9 February 1983Running time: 24:33[SCENE_BREAK]TEGAN: What do you mean?DOCTOR: Ican only regenerate twelve times. I have already done so four times.TEGAN: So?DOCTOR: Don't you see? Eight of them, eight of me.TEGAN: They want yourremaining regenerations?DOCTOR: It's the only way to end their mutation.NYSSA: Is that possible?DOCTOR: With this equipment, yes.BRIG '83: Let's get back tothe TARDIS before they become hostile.TEGAN: Come on, Doctor, we've got to get out of here.MAWDRYN: We're scientists, not warriors. We have no weapons.The Doctor can only help us of his own free will.TEGAN: What you want is murder eight times over.MAWDRYN: No. What we desire is our owndeath.[SCENE_BREAK]GUARDIAN (on scanner): Turlough, my plans are in hazard. This friend of the Doctor'sTURLOUGH: The Brigadier?GUARDIAN (on scanner):He is present on the ship in two aspects.TURLOUGH: That isn't possible.GUARDIAN (on scanner): It is forbidden, but not impossible. He has travelled throughtime in the TARDIS.TURLOUGH: But if the two aspects convergedGUARDIAN (on scanner): The instability could destroy everything. You must find the Brigadierwho travelled with the Doctor's companions.TURLOUGH: Leave here?GUARDIAN (on scanner): You will obey me. The two Brigadiers must be keptapart.TURLOUGH: What about those creatures?GUARDIAN (on scanner): They are harmless. They only threaten the Doctor.[SCENE_BREAK]MAWDRYN: We didnot know that our experiments would bring endless mutation.DOCTOR: You have the regenerator, the facilities of the laboratory. Continue your experiments, findhow to reverse the process.MAWDRYN: We have known for many years that the process is irreversible.MUTANT: We have experimented for centuries.MUTANT 2:We have tried to discover a remedy.MUTANT: There is no remission.MAWDRYN: Only you, as a Time Lord, can help us.[SCENE_BREAK]TURLOUGH: Hello,Brigadier.BRIG '77: Who the devil are you?[SCENE_BREAK]DOCTOR: I cannot do what you ask.MAWDRYN: You cannot refuse.DOCTOR: I must.MAWDRYN: So beit, Doctor. Leave now, with your friends. But accept the consequences of your actions.NYSSA: What does he mean?DOCTOR: I don't know.BRIG '83: Back to theTARDIS?[SCENE_BREAK]BRIG '77: So you're Turlough? Yes, Tegan told me about you.TURLOUGH: I've come to take you to the Doctor.BRIG '77: The Doctor?You know where he is?TURLOUGH: Of course. Come on.BRIG '77: Not so fast. Keep in the shadows. We have some disagreeable fellow passengers.TURLOUGH:They're harmless.BRIG '77: That remains to be seen.[SCENE_BREAK]MUTANT: The Doctor was our only hope.MUTANT 2: He must not be allowed toescape.MAWDRYN: My friends, do not despair. The Doctor will soon return. And of his own free will.[SCENE_BREAK]DOCTOR: You see, Brigadier, thanks to yourimperfect memory there is now a Lethbridge Stewart some six years your junior at loose in this ship.BRIG '83: Good heavens. You mean that I did go with Nyssaand Tegan in the TARDIS in 1977?TEGAN: And were we glad of the company.[SCENE_BREAK]BRIG '77: This Doctor, what does he look like?TURLOUGH: Olderthan me, younger than you.BRIG '77: No, I mean, is he normal?TURLOUGH: Of course.BRIG '77: So, that deformed creature in the TARDIS was animposter.TURLOUGH: Exactly.[SCENE_BREAK]TURLOUGH: Doctor, the Brigadier's here.BRIG '77: Doctor?BRIG '77: Turlough, what are you upto?[SCENE_BREAK]BRIG '77 (OOV.): Turlough![SCENE_BREAK]TEGAN: No sign of Turlough.BRIG '83: I never trusted that boy.NYSSA: He must be heresomewhere.DOCTOR: Well, I hope so, because I've got to get the TARDIS away from here.NYSSA: And separate the two Brigadiers.BRIG '83: Ah, now, hang on aminute. I've been thinking about that.DOCTOR: There isn't time to think, Brigadier.BRIG '83: Doctor, we are talking about six years of my life.DOCTOR: Well,you're perfectly all right in 1983. Obviously your 1977 self came to no physical harm.BRIG '83: Well, maybe not, but I don't want to have spent a year or two inlimbo on this ship.NYSSA: Look.DOCTOR: Stay here, all of you.[SCENE_BREAK]DOCTOR: Turlough, listen very carefully. We have a problem with theBrigadier.TURLOUGH: What is it?DOCTOR: The two time zones. The Brigadier did go with Tegan and Nyssa. There are now two Lethbridge Stewarts on thisship.TURLOUGH: I understand.DOCTOR: Now, I will take the Brigadier in the TARDIS back to 1983 Earth.TURLOUGH: And me?DOCTOR: You must find the otherBrigadier and take him to the transmat capsule. You'll be quite safe, the mutants won't harm you.TURLOUGH: But the transmat beam doesn't work.DOCTOR: Itwill. The capsule is locked into the TARDIS' homing device. It will transmat to the centre of the TARDIS. I wired the device myself.TURLOUGH: Ofcourse.DOCTOR: Now, when you arrive, whatever you do, stay in the capsule. Don't let the Brigadier out until I give you the word. Now,quickly.[SCENE_BREAK]NYSSA: Will the mutants really travel for the rest of time?DOCTOR: I'm afraid so.NYSSA: That's terrible.DOCTOR: Sometimes you have tolive with the consequences of your actions. Now, let's get away from here.[SCENE_BREAK]MUTANT: The Time Lord has left us.MUTANT 2: Can we be certain hewill return?MAWDRYN: He will return.[SCENE_BREAK]DOCTOR: It takes a remarkably cunning set of the coordinates to clear a warp ellipse.TEGAN:Doctor?DOCTOR: This is a temperamental old thing, but I'm getting remarkably good at sortingNYSSA: Doctor, something's happening.DOCTOR: Not at all. We'reon course for the Brigadier's school. You see, there was a problem withBRIG '83: Doctor!NYSSA: Doctor, do something.BRIG '83: What on Earth ishappening?DOCTOR: I don't know.BRIG '83: It's like Mawdryn in the laboratory.DOCTOR: Mawdryn? That's it! They've been contaminated.TEGAN: Doctor, dosomething.DOCTOR: No, don't touch them. The transfiguration can be controlled.NYSSA: Stop!DOCTOR: Stop. That's it. Travelling through time is acceleratingthe degeneration.BRIG '83: You've stopped the TARDIS?DOCTOR: Well, more than that. We're going back to where we started. I just hope it induces aproportional remission.BRIG '83: It's working.DOCTOR: Are you two all right?NYSSA: I think so.TEGAN: Doctor, what went wrong?BRIG '83: Look at them outthere. I'll bet they knew this was going to happen.[SCENE_BREAK]MUTANT: The Time Lord has returned, as you predicted.MAWDRYN: The Doctor is not with usyet. He will not give up so easily.[SCENE_BREAK]DOCTOR: You were infected when you carried Mawdryn into the TARDIS. The journey to his ship would havemade it worse.TEGAN: Infected? You mean their mutation is a disease?DOCTOR: Well, it shouldn't be. I can only assume their constant experimenting to correcttheir error brought about a viral side effect.BRIG '83: Well, why haven't we got it?DOCTOR: I don't know.NYSSA: So we can't time travel.TEGAN: We don't needto. All we need to do is get the TARDIS back to Earth.DOCTOR: That won't work. I've got to programme a temporal deviation to escape the warp ellipse.BRIG '83:Are we stuck on this ship?DOCTOR: I wonder. If I reverse the polarity of the neutron flow[SCENE_BREAK]BRIG '77: So, you've stopped pretending to be theDoctor.MAWDRYN: The Doctor is in the TARDIS.BRIG '77: What?MUTANT 2: This man also is in the TARDIS.MUTANT: He is a deviant.MUTANT 2: There has beentemporal duplication.MAWDRYN: The TARDIS will soon return. The imbalance could be cataclysmic. For your own safety you must return to the Earth atonce.BRIG '77: Without the TARDIS?MAWDRYN: Quickly.[SCENE_BREAK]BRIG '83: So far so good.DOCTOR: Oh, no.BRIG '83: But nothing's happening.DOCTOR:Oh yes, it is.[SCENE_BREAK]MAWDRYN: You will return to Earth immediately in the transmat capsule.BRIG '77: How the deuce do you expect me toMAWDRYN:Get in.BRIG '77: Look, if you think I'm trusting myself to this baubleMAWDRYN: The capsule is programmed for Earth. Quickly.[SCENE_BREAK]NYSSA JR: It's nogood, Doctor.DOCTOR: We're travelling in the opposite direction out of the ellipse. It's having a reverse effect.TEGAN JR: Stop! Stop!DOCTOR: Someone's tryingto operate the transmat capsule. Must be Turlough taking your other half to the centre of the TARDIS.BRIG '83: Can the capsule do that?DOCTOR: Only when theTARDIS is clear of the ship. Until that happens, the transmat can't take place. The capsule will return to its terminal.DOCTOR: It's no good. I can't get clear of theship without hurting Nyssa and Tegan.NYSSA: What are we going to do?[SCENE_BREAK]GUARDIAN (OOV.): You have failed me!TURLOUGH: No.GUARDIAN(OOV.): The Brigadier is still free.TURLOUGH: That's not my fault.GUARDIAN (OOV.): Why did you not transport him in the capsule, as the Doctorinstructed.TURLOUGH: The Doctor? But I'm supposed to be working against him.GUARDIAN (OOV.): Imbecile! Why should you not profit by the Time Lord'scunning?TURLOUGH: I'm sorry.GUARDIAN (OOV.): So near the annihilation of the Doctor and you risk all with your negligence and stupidity.TURLOUGH: I canstill keep the two Lethbridge Stewarts apart.GUARDIAN (OOV.): If you fail me again, I shall destroy you.[SCENE_BREAK]TEGAN: We can't stay in the TARDIS forever.BRIG '83: Well, Doctor?[SCENE_BREAK]NYSSA: You knew that would happen.MAWDRYN: Yes, Nyssa.NYSSA: You infected us. You passed on the mutativepattern.MAWDRYN: Yes, but not deliberately.TEGAN: What happens to us now?MAWDRYN: You will remain in the ship.TEGAN: For the rest of ourlives?MAWDRYN: You're fortunate. Your journey will be short. Ours is without end.BRIG '83: We are not leaving them on this ship.MAWDRYN: Take them with youin the TARDIS and they will die.BRIG '83: Are you telling me that with all the facilities on this ship, you can't come up with some sort of antidote?MAWDRYN: Wehave no restorative for Tegan and Nyssa.BRIG '83: Doctor, have you got any ideas? ... You said in the laboratory that the Doctor could help you through thatmachinery.MAWDRYN: That is true, but only of his own free will.BRIG '83: Well then, surely he can do the same for Nyssa and Tegan.MAWDRYN: That is aquestion you must ask the Doctor.BRIG '83: Well, Doctor?TEGAN: Doctor?NYSSA: Doctor?DOCTOR: Take me to your laboratory.[SCENE_BREAK]MAWDRYN: TheDoctor chose to involve himself. Soon he will be a Time Lord no longer. That is his reward for compassion.[SCENE_BREAK]BRIG '77: Doctor! Where ishe?[SCENE_BREAK]DOCTOR: You will activate the energy transfer, Brigadier. It will take several moments for the charge in the machine to build up. You can readoff the countdown to the moment of exchange. Are you all right?BRIG '83: Yes.MUTANT: Do not be afraid. When the moment comes, we will all share in the lifeforce of the Doctor.MUTANT 2: Our mutation will end.MUTANT: You will no longer be contaminated.NYSSA: And the Doctor won't be a Time Lord anymore.[SCENE_BREAK]TURLOUGH: Brigadier? Brigadier![SCENE_BREAK]MAWDRYN: My brothers in exile, we approach the ending.DOCTOR: Activate, Brigadier,"}
+{"doc_id":"doc_78","qid":"","text":"A recap of 212 \"Army of Ghosts\".OPENING CREDITSINT. TORCHWOOD, SPHERE CHAMBERThe Daleks advance upon Rose, Mickey and Doctor Singh, with cries of\"exterminate! \".ROSE (shouts): Daleks!They fall silent, taken aback.ROSE (CONT'D): You're called \"Daleks\".The Daleks do not respond, seeming to simplyobserve her. Rose walks towards them.ROSE (CONT'D): I know your name. (Takes lab coat off). Think about it: how can I know that? A Human... who knowsabout the Daleks. And the Time War. If you wanna know how, then keep us alive. That's all I'm asking. Me and my friends.MICKEY: Yeah, Daleks. Time War. Metoo.The Dalek's eye-piece swivels around to look at Mickey.RAJESH: Yeah. And me.DALEK SEK (to Rose): You will be necessary. (to Dalek Jast): Report: what isthe status of the Genesis Ark?DALEK JAST: Status: hibernation.DALEK SEK: Commence awakening.DALEK THAY: The Genesis Ark must be protected above allelse.The Dalek turns to the Genesis Ark, which also emerged from the sphere. It clamps its suction arm to the side of the Ark.MICKEY (to Rose, still pointing hisgun at the Daleks): The Daleks, you said they were all dead.ROSE: Never mind that, what the hell's a Genesis Ark?INT. TORCHWOOD, RIFT CHAMBERJACKIE:What's down there? She was in that room with the sphere. What's happened to Rose?The Doctor is leaning against a wall.THE DOCTOR (abruptly): I don'tknow.Jackie starts to cry. The Doctor goes to her.THE DOCTOR (CONT'D): I'll find her. I brought you here, I'll get you both out. You and your daughter. Jackie,look at me. Look at me.Jackie looks up at him, eyes red from tears.THE DOCTOR (CONT'D) (sincerely): I promise you. I give you my word.A Cybermanapproaches Yvonne, who is sat at her desk.CYBERMAN: You will talk to your central world authority and order global surrender.YVONNE (without even a trace offear): Oh, do some research. We haven't got a central world authority.CYBERMAN: You have now. I will speak on all global wavelengths.The Doctor puts on his3D specs.CYBERMAN (CONT'D): This broadcast is for human kind.INT. HOUSEA frightened family huddled in their living room watch this broadcast on thetelevision.CYBERMAN (CONT'D): Cybermen now occupy every land mass on this planet. But you need not fear. Cybermen will remove fear.As the camera pansround, we see that a Cyberman is standing over the family, guarding them. The marching of Cybermen can be heard outside the house.CYBERMAN (CONT'D):Cybermen will remove s*x and class and colour and creed. You will become identical. You will become like us.EXT. SUBURBAN STREETCybermen emerge fromevery house along a street in unison.EXT. BRIDGEChaos on a bridge, people running, screaming, the military shooting at the Cybermen with no effectwhatsoever. The Cybermen aim their own weapons, blowing up a truck, killing the soldiers. Finally one soldier manages to hit a Cyberman and it goes up inflames.INT. TORCHWOOD, RIFT CHAMBERThe Doctor, Jackie, Yvonne and one of the Cybermen observe the proceedings far below from the top of TorchwoodTower.CYBERMAN: I ordered surrender.THE DOCTOR: They're not taking instructions. Don't you understand? You're on every street, you're in their homes. You'vegot their children. (Angrily). Of course they're gonna fight.INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: Which of you is least important?ROSE: What's thatsupposed to mean?DALEK SEK: Which of you is least important?ROSE: No, we don't work like that. None of us.DALEK SEK: Designate the leastimportant!RAJESH: This is my responsibility.ROSE (holding him back): No, don't!Rajesh ignores her and stands before the Dalek dejectedly.RAJESH: I er, Irepresent the Torchwood Institute. Anything you need, you... come through me. Leave these two alone.DALEK SEK: You will kneel.RAJESH: What for?DALEK SEK:Kneel.Rajesh kneels. The surrounding Daleks direct their eye stalks onto him.DALEK SEK (CONT'D): The Daleks need information about current Earthhistory.RAJESH: Yeah well I can give you a certain amount of intelligence but nothing that will compromise Home Land security...DALEK SEK: Speech is notnecessary. We will extract brainwaves.The three Daleks advance upon Rajesh and position their suction arms around his head. Rajesh is showing the first signs offear.RAJESH: Don't... I... I'll tell you everything you need. No. No!He shouts out in agony before the Daleks crush his skull. Mickey makes towards him but Roseholds him back, knowing it's already too late.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN 1: Scans detect unknown technology active within spherechamber.CYBERMAN 2: Cybermen will investigate.A Cyberman pushes two terrified members of staff roughly before him.CYBERMAN: Units 10 65 and 10 66 willinvestigate sphere chamber.CYBERMEN: We obey.INT. TORCHWOOD, RIFT CHAMBERThe Daleks let Rajesh's blackened corpse fall to the ground.DALEK SEK: Hismind spoke of a second species invading Earth infected by the superstition of ghosts.ROSE: You didn't need to kill him!DALEK CAAN: Neither did we need himalive.DALEK SEK: Dalek Thay, investigate outside.DALEK THAY: I obey.INT. TORCHWOOD, CORRIDORTwo Cybermen march down a corridor to investigate thesphere chamber.INT. TORCHWOOD, SPHERE CHAMBERDalek Thay leaves the sphere chamber.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: Units open visuallink.INT. TORCHWOOD, CORRIDORThe two Cybermen clamp a fist to the logos on their chests.INT. TORCHWOOD, RIFT CHAMBERA visual of the area occupied bythe two Cybermen appears on Yvonne's laptop.CYBERMAN: Visual contact established.INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: Establish visual contact.Lower communications barrier.A projection appears in the area previously occupied by the sphere, showing Dalek Thay's point of view. He meets with the twoCybermen.INT. TORCHWOOD, RIFT CHAMBERThe Doctor starts as he sees the Dalek for the first time on Yvonne's laptop.DALEK THAY: Identify yourselves.INT.TORCHWOOD, CORRIDORCYBERMEN: You will identify first.INT. TORCHWOOD, RIFT CHAMBERDALEK THAY: State your identity.The Doctor is staring at the imageon the laptop, like this is worse than he could have ever imagined.INT. TORCHWOOD, CORRIDORCYBERMEN: You will identify first.DALEK THAY: Identify!INT.TORCHWOOD, SPHERE CHAMBERMICKEY: It's like Stephen Hawkins meets the Speaking Clock.INT. TORCHWOOD, CORRIDORCYBERMEN: ...illogical, you willmodify.DALEK THAY: Daleks do not take orders.CYBERMEN: You have identified as Daleks.DALEK SEK: Outline resembles the inferior species known as\"Cybermen\".INT. TORCHWOOD, RIFT CHAMBERJACKIE (to the Doctor, scared of the answer): Rose said about the Daleks. She was terrified of them. What havethey done to her, Doctor? Is she dead?The Doctor turns to her with frightening suddenness.THE DOCTOR (through gritted teeth): Phone.JACKIE (whispers): Whatdid you...?THE DOCTOR: Phone!Jackie surreptitiously hands the Doctor her phone so the Cybermen do not notice. The Doctor dials Rose's number and holds thephone to his ear, obviously frantic with worry.INT. TORCHWOOD, SPHERE CHAMBERRose answers her phone, but cannot talk for fear of drawing attention toherself. The Daleks and the Cybermen are bantering all the while.INT. TORCHWOOD, RIFT CHAMBERTHE DOCTOR: She's answered, she's alive.Jackie claps herhands over her mouth.THE DOCTOR (CONT'D): Why haven't they killed her?JACKIE: Well, don't complain!THE DOCTOR: They must need her for something.INT.TORCHWOOD, SPHERE CHAMBERDALEK JAST: We must protect the Genesis Ark.INT. TORCHWOOD, RIFT CHAMBERTHE DOCTOR (hearing this through thephone): The Genesis Ark?He puts on his 3D glasses and looks at the laptop again.CYBERMAN: Our species our similar, though your design is inelegant.INT.TORCHWOOD, CORRIDORDALEK THAY: Daleks have no concept of elegance.CYBERMEN: This is obvious. But consider, our technologies are compatible.Cybermen plus Daleks, together, we could upgrade the Universe.DALEK THAY: You propose an alliance?CYBERMEN: This is correct.DALEK THAY: Requestdenied.The Cybermen immediately thrust their fists out, ready to shoot.CYBERMEN: Hostile elements will be deleted.They shoot at the Dalek, but the rays simplybounce off its armour.DALEK THAY: Exterminate!The Dalek aims at both Cybermen, one after the other, and they collapse onto the floor.INT. TORCHWOOD, RIFTCHAMBERCYBERMAN: Open visual link.INT. TORCHWOOD, SPHERE CHAMBERThe Cyberman addresses the Daleks in the sphere chamber through the projectionscreen.CYBERMAN: Daleks, be warned: you have declared war upon the Cybermen.INT. TORCHWOOD, RIFT CHAMBERJackie's eyes widen in horror.INT.TORCHWOOD, SPHERE CHAMBERDALEK SEK: This is not war. This is pest control.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: We have five million Cybermen.How many are you?INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: Four.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: You would destroy the Cybermen withfour Daleks?!DALEK SEK: We would destroy the Cybermen with one Dalek. You are superior in only one respect.CYBERMAN: What is that?INT. TORCHWOOD,SPHERE CHAMBERDALEK SEK: You are better at dying. Raise communications barrier!The screen goes static.DALEK JAST: Wait!INT. TORCHWOOD, SPHERECHAMBERTHE DOCTOR (clicking the phone off): Lost her.INT. TORCHWOOD, SPHERE CHAMBERDALEK JAST: Rewind image by nine rells.The Doctor is in frame inthe background.DALEK JAST (CONT'D): Identify grid seven gamma frame.They zoom in on the Doctor.DALEK JAST (CONT'D): This male registers as enemy.Rosebeams.DALEK SEK (turning on her): The female's heartbeat has increased.MICKEY: Yeah, tell me about it.DALEK SEK: Identify him.ROSE: All right then... if youreally wanna know... that's the Doctor.The Daleks roll backwards sharply.ROSE (CONT'D): Five million Cybermen, easy. One Doctor? Now you're scared.INT.TORCHWOOD, RIFT CHAMBERCYBERMAN: Quarantine the Sphere Chamber. Start emergency upgrading. Begin with these personnel.Yvonne struggles and shoutsas they drag her away.YVONNE: No, you can't do this! We surrendered! We surrendered!They begin to drag Jackie and the Doctor away too, but then:CYBERMAN: This one's increased adrenaline suggests he has vital Dalek information.Jackie screams back at the Doctor as she is dragged away and he shoutsback over her, trying to reassure her.JACKIE: You promised me! You gave me your word!THE DOCTOR (as she is dragged out of sight): I'll think ofsomething!INT. TORCHWOOD, SPHERE CHAMBERDalek Thay enters the sphere chamber.DALEK THAY: Cyber threat irrelevant. Concentrate on the GenesisArk.The black Dalek, Sek, presses its suction arm to the side of the Genesis Ark.MICKEY (to Rose): Why are we being kept alive?ROSE (after a pause): Theymight need me.MICKEY: What? What is it?Rose is just staring at the Daleks, fear in her eyes.INT. TORCHWOOD, CORRIDOR / NEW OFFICESThe Cybermen havetaken Yvonne and Jackie down to the curtained area. They are marching the personnel behind the curtains to be upgraded. The place is full of screaming and the"}
+{"doc_id":"doc_79","qid":"","text":"THE SEEDS OF DOOMBY ROBERT BANKS STEWARTPART ONE6:00pm - 6:25pm[SCENE_BREAK]1, EXT: ANTARCTICA(The wind blows and the snow falls in theAntarctic region. Icebergs bob up and down within the rough ocean. In blizzard-like conditions, a man with heavy-weather clothing is kneeling in the snow by awall, digging with a small pickaxe. Another man joins him, wearing similar clothes. He kneels and communicates with his companion, necessarily shoutingbecause of the howling wind. The two men are Charles Winlett, and Derek Moberley, workers on an Antarctic research station.)MOBERLEY: Come on Charles,we've got enough samples, surely!WINLETT: This isn't ice - this is something else. Have a look.(He reaches down and extracts a small round object, frozen withice and snow, but unrecognizable to both men.)MOBERLEY: What is it?WINLETT: Don't know! Let's get it back to camp.(They both stand up ready toleave.)[SCENE_BREAK]2, INT: RESEARCH STATION - LABORATORY(After an exterior shot of the research station, the round object is being examined on a tableby the third member of the research team, John Stevenson. He scrapes away the excess ice to reveal a solid, rough, dark green pod or egg. Moberley and Winlettenter.)MOBERLEY: Animal, vegetable, or mineral?STEVENSON: Vegetable.WINLETT: Yes, that's what we thought.(Stevenson holds up the pod on a tray in frontof them.)STEVENSON: The cutaneous creasing is unmistakable. When it's properly thawed out I can...confirm it with a cytology test.(Winlett is prodding the podwith a scalpel.)WINLETT: The skin looks as hard as iron.STEVENSON: Yes, it is a bit of a cannonball. How deep in the permafrost was it?WINLETT: About the er...9th layer.MOBERLEY: And that means it's been there for ooh...20 thousand years? What do you make of it, John?STEVENSON: Nothing at all yet.MOBERLEY(joking): Oh, and I thought you were meant to be a botanist.STEVENSON: I've not seen anything remotely like it.WINLETT: It looks tropical to me, like agourd.MOBERLEY: Oh rubbish Charles. If it's from the late Pleistocene period, it can't be tropical. It's a few million years since this part of Antarctica wasrainforest.WINLETT: Oh that's the accepted theory. Discoveries like this have destroyed accepted theories before now. Isn't that right, John?(Stevenson is far lesscasual about the situation than the others. Without even listening to Winlett, he hesitantly touches the pod a few times with his finger. Winlett tries to get hisattention but he seems distracted and confused.)WINLETT: ...John?STEVENSON: ...hmm? Sorry.MOBERLEY: Is something wrong?STEVENSON: ...Don't you feelit?MOBERLEY: Feel what?STEVENSON: I don't know - there's something... odd...something...you don't feel it?MOBERLEY (laughing): It must be that rice puddingyou had for lunch!(Winlett laughs, but Stevenson doesn't. He steps closer to Moberley.)STEVENSON: I'm not joking. ... It's alive. That's it. It's alive.MOBERLEY:Are you serious?!STEVENSON: Yes.WINLETT: How can you tell?STEVENSON: I don't know - but I'm certain that this is a living organism.(Moberley breaks theintense atmosphere.)MOBERLEY: ...Yes well I think we should have some coffee.WINLETT: Coffee and a game of three-handed crib. Come on!(He takesStevenson around the shoulders and leads him off. Stevenson doesn't relax, and he turns back to look at the pod.)STEVENSON: I'll transmit pictures to London,they might have some idea.WINLETT: John, come on![SCENE_BREAK]3, INT: WORLD ECOLOGY BUREAU - OFFICE(A man in a suit is getting a file from a cabinet.He is Richard Dunbar of the World Ecology Bureau.)DUNBAR: Sir Colin insists that I show you these photographs which have just been received from myexpedition.(As the camera follows him, it shows that it is the Doctor whom Dunbar is talking to. He is sitting on Dunbar's desk and he seems more interested inhis yo-yo than what Dunbar is saying.)DUNBAR: Personally, I don't think you can help us.DOCTOR: Don't you? Well...(Dunbar reluctantly hands him the file.Dunbar looks around uncomfortably.)DOCTOR: Do sit down, Mr. Dunbar.(Unable to sit in his own chair as the Doctor would be almost on top of him, he walks allthe way around the far side of the desk and sits in the chair usually provided for the visitors.)DUNBAR: These pictures have baffled all the experts. The onlyreasonable explanation seems to be that the pod is from some extinct species of plant.(The Doctor spins around to face Dunbar, he sits in Dunbar's chair andthere is a bang as he rests his boots on Dunbar's desk. He doesn't look up from the file.)DOCTOR: Have you considered an alternative explanation.DUNBAR:Name one.DOCTOR: Well...that it might have originated in outer space.DUNBAR (amused): My dear Doctor, if you've seen anything like that before, you musthave a very powerful telescope.DOCTOR (unimpressed): Mr. Dunbar, how long is it since there was vegetation in Antarctica?DUNBAR: I thought you were theexpert in these matters. Well as a matter of fact, that's one of the things our expedition is trying to discover. It was found fairly deep in the permafrost;say...20-30 thousand years under the ice...DOCTOR: Ssh. It might still be ticking.DUNBAR: What?(The Doctor suddenly seems interested and he stands upabruptly, walking around the desk.)DOCTOR: A time-bomb, Mr. Dunbar, a time-bomb. Are you in contact with the expedition?DUNBAR: My superior, Sir ColinThackeray has a daily video link. Ten minutes of satellite time.DOCTOR: Good. Tell them to keep a constant guard upon the pod, and not to touch it until Iarrive.DUNBAR: You're leaving immediately?DOCTOR: Why not? I've got my toothbrush.(He turns around and for some reason has a toothbrush in his hand. Hestarts to leave but ducks back in for a few more words.)DOCTOR: Remember, no touch pod - could be dangerous.(He shuts the door. Dunbar stares incredulouslyafter him for a while, then turns to his desk and picks up a phone.)DUNBAR: Sir Colin? Dunbar here. That chap you called in from UNIT - is he quitesane?![SCENE_BREAK]4, INT: RESEARCH STATION - LABORATORY(Stevenson measures the pod with a pair of pincers. He looks worried about the measurementand mutters to himself. He gets up and goes to the door.)STEVENSON: Charles?WINLETT (oov): Yes?STEVENSON: Here a minute.(Winlett enters and they walkover to the table to look at the pod.)WINLETT: What's up?STEVENSON: It's growing.WINLETT: Eh?STEVENSON: It's grown five centimetres since thismorning.WINLETT: Are you sure?STEVENSON: Check it yourself if you don't believe me.WINLETT: But it doesn't seem possible.STEVENSON: I knew there wasstill life there - I said so didn't I?WINLETT: But it's just a pod, I mean...no root system. How can it grow without feeding?STEVENSON: Sunlight, Charles -ultra-violet radiation.WINLETT: But plants need nitrogen.STEVENSON: I believe this is fundamentally different. ... We may be cultivating something that is goingto...shatter all our ideas about plant growth.WINLETT: Yes, well er...don't get carried away John.(He gets up and starts to leave.)WINLETT: Remember whatLondon said.STEVENSON: What do you mean?WINLETT: That we leave this thing alone.(Stevenson looks annoyed and walks over to Winlett.)STEVENSON: Untilthis Doctor character arrives, why should we? It's our pod.WINLETT: John, we're working for the World Ecology Bureau.STEVENSON: Oh he's probably some oldcrank that Thackeray's dug up out of retirement! He'd have no more idea about the pod than we have.WINLETT: We'll soon find out, he's due intomorrow.STEVENSON: And who needs him. It's our discovery. The less said about it the better.[SCENE_BREAK]5, INT: CHASE ESTATE - NURSERY(There is ashot of a large mansion. Inside, a butler, Hargreaves, is showing a man into a nursery. The man is Dunbar. He carries a suitcase. They approach the main part ofthe nursery, where a small man in a suit can be seen with his back to them. Hargreaves announces Dunbar.)HARGREAVES: Mr. Dunbar, of the World EcologyBureau, sir.(Hargreaves leaves. Dunbar waits for the man to turn around. Harrison Chase, owner of the mansion, is a small eccentric man wearing a black suitand black gloves. Finally deciding to notice Dunbar, he walks towards him.)CHASE: I don't think I've had the pleasure. And what is your bureau doing aboutbonsai?DUNBAR: Bonsai, Mr. Chase?CHASE: Mutilation and torture, Mr. Dunbar. The hideous, grotesque Japanese practice of miniaturizing shrubs and trees.What is your bureau doing about that?DUNBAR: Well...I...CHASE: No answer. You are concerned about the fate of the blue whale, and the natterjack toad - andthe loveliest, most defenceless part of creation; the great kingdom of plant life receives no protection at all.DUNBAR: We try to conserve all the endangeredspecies.CHASE: I'm delighted to hear that, Mr. Dunbar. Of course you know of my concern...my mission: to protect the plant life of Mother Earth?DUNBAR: I do,Mr. Chase - which is why I've come to show you something. A totally new kind of plant.(Dunbar opens his suitcase and retrieves some photographs.)CHASE(angry): Hybrids! A crime against nature!DUNBAR: No, not a hybrid. It's a mysterious unidentified pod recently discovered by one of our expeditions.(He handsthe suddenly interested Chase the photographs.)CHASE (excited): Where was this found?DUNBAR: There's a theory that it's floated through space from someother biosphere. The really important thing is, it may be still viable and able to germinate.CHASE: Mr. Dunbar. I asked you where this pod was found.DUNBAR: Inthe Antarctic. Now in our violent and uncertain world, Mr. Chase, anything could happen. Such a valuable specimen could easily disappear...for a price?CHASE:Where in the Antarctic? I should want to know the precise location.(Dunbar gets an envelope from his pocket and hands it to Chase. Chase walks over and picksup a column-shaped object, an intercom of some sort.)CHASE: Hargreaves?HARGREAVES (oov): Yes, sir?CHASE: You and Mr. Scorby please.HARGREAVES (oov):Certainly sir.(He puts down the intercom. He opens the envelope as Dunbar approaches behind him.)DUNBAR: X marks the spot.CHASE: Forethought andinitiative, Mr. Dunbar, two excellent attributes. We shall meet again very soon to discuss your...remuneration.DUNBAR: You're very kind.(There is a knock on thedoor.)CHASE: Come.(Hargreaves enters with a tall, tough-looking man.)HARGREAVES: Yes, sir?CHASE: Hargreaves, show Mr. Dunbar out.HARGREAVES: Thisway, Mr. Dunbar.(They leave.)SCORBY: You wanted to see me, Mr. Chase?CHASE: Yes, Scorby. I'm sending you on a little errand, and I want you to take Mr.Keeler with you.[SCENE_BREAK]6, INT: RESEARCH STATION - LABORATORY(The pod sits in its place on the table. Winlett wakes up from a doze. He sips hiscoffee and puts the cup back down, resting his arm near the pod. He looks at it for a while, then slowly drops back to sleep. Suddenly the pod starts to crackleand it opens outwards. A long weed-like vine grows out from the pod and attaches itself to Winlett's arm! Winlett wakes up and is terrified. He struggles awayfrom the table, seemingly in great pain, staggering and falling onto the ground.)WINLETT: Aaah...Derek...![SCENE_BREAK]7, INT: RESEARCH STATION - LIVING"}
+{"doc_id":"doc_80","qid":"","text":"THE ARMAGEDDON FACTORBY: BOB BAKER AND DAVE MARTINPart SixRunning time:25:09[SCENE_BREAK]DRAX: Over here, Doctor!DRAX: Doctor, over here!Look at that.DOCTOR: You shrank the wrong man, Drax.DRAX: No, I was aiming at you.DOCTOR: Why didn't you shrink the mute? The TARDIS door'sopen.DRAX: Right, I've got it. Now listen. One of us creates a diversion and you fly over there and shut the door.DRAX: Nasty. Yeah, and we can't use thedimensional stabiliser in here 'cos there's not enough room for when we get back to normal size. We'd just fill up the crack.DOCTOR: Like putty.DRAX: Do youmind? Yeah, you've got problems.DOCTOR: Yes. The door's open so the Shadow can go in there and take the Key to Time. Romana can't help and the time loopmust be at breaking point by now.DOCTOR: When the countdown reaches zero, up goes Atrios, Zeos and all.DRAX: Life presents a dismal picture, you mightsay.DOCTOR: Yes, you might say that. And of course there's the Marshal.DRAX: The Marshal? He's on our side.DOCTOR: No.DRAX: No. Oh well. Where's he fitin?DOCTOR: He's in the time loop as well, making a rocket attack on Zeos. Unless, of course, Shapp and Merak get in contact with him.DRAX: Where arethey?DOCTOR: Back on Atrios, I hope.[SCENE_BREAK]SHAPP: Atrios control to Marshal. Marshal? Come in, Marshal. Oh, it's useless. He either can't or won'tanswer. And this time loop device isn't going to hold things back for ever, is it.MERAK: No, not unless the Doctor can find the sixth piece, and the sixth piece issomehow connected with Astra.SHAPP: But she denies all knowledge of it?MERAK: All conscious knowledge, yes. But if she's the only one who knows then secret,and if the knowledge is implanted, then it must have affected her, made her different in some slight way that might just show up in analysis.SHAPP: Yes, butshe's not here.MERAK: But her records are, on your computer.[SCENE_BREAK]MARSHAL: Fire![SCENE_BREAK]DRAX: Well, we've got one thing in ourfavour.DOCTOR: Oh?DRAX: Mobility.DOCTOR: Mobility.DRAX: Well, if we're only this high, we're practically invisible, aren't we?DRAX: Except we daren'tmove.DOCTOR: Yes. If the Shadow gets the five pieces from the TARDIS, which he undoubtedly will, it's up to us to get the sixth piece.DRAX: Yeah, but you don'tknow what it looks like, do ya? I reckon you're banjaxed, my old son. End of the road. Finito.DOCTOR: The Shadow said I'd already seen it. It must beAstra.DRAX: Astra?DOCTOR: She must have it. Let's see where this crack leads, shall we?DRAX: It's better than getting the boot.[SCENE_BREAK]SHADOW: TheDoctor has eluded me, but he has made his last mistake. See, the door is open! The Key to Time is mine! Enough! Bwahahahaha!ROMANA: He thinks we're justgoing to stand by and let him walk away with everything we've worked for. Come on, let's get out of here.ASTRA: In this place.ROMANA: What?ASTRA: Mydestiny is here, in this place. Not on Atrios, not on Zeos. Here.ROMANA: Astra, listen. You're not under the Shadow's influence any more. Now, let's get out ofhere before he comes back.ASTRA: No, I must stay. I am the sixth princess of the sixth dynasty of the sixth Royal House of Atrios.ROMANA: Yes, yes, but wemust get out of here before the Shadow comes back!ASTRA: This is the time of my becoming, my transcendence.ROMANA: What are you talking about?ASTRA:Metamorphosis.[SCENE_BREAK]DRAX: Yeah, here we are. Right, now, there's the T junction. Right down to the dungeon, left onto the Shadow's lair.DOCTOR:What? You mean there's a way in he doesn't know about?DRAX: Well, it will be when it's finished, but a couple of midgets like us won't be much good on a pickand shovel, will we?DOCTOR: No. No, no. no. But if we get K9 up there, we won't need a pick and shovel, will we. We can still give the Shadow a surprise.DRAX:Well, let's normalise then, shall we?DOCTOR: No, no, Drax, no. Small is lovely.DRAX: Big is better, though, innit?[SCENE_BREAK]SHADOW: Now, the moment Ihave waited for! Open the door.SHADOW: Light! Too much light! You, fetch me the Key. Hurry.SHADOW: When the Key is mine, I shall dispel the light, anddarkness and night shall reign.SHADOW: Ah.[SCENE_BREAK]ASTRA: Destiny. My destiny is near.ROMANA: Astra, remember you're the sixth princess of the sixthRoyal House of the sixth dynasty.ROMANA: And we're looking for the sixth segment of the Key to Time. Oh, you're in greater danger even than weimagined.[SCENE_BREAK]SHAPP: Have you found it?MERAK: I think so, yes.SHAPP: What is it?MERAK: A molecular anomaly buried in the genetic structure of theRoyal House of Atrios and passed from one generation to the next, until finally, Astra.SHAPP: What's it mean?MERAK: I imagine it means that her every living cellis part of this Key of Time, and that to save us, Astra must be destroyed. You see?SHAPP: Hey, where are you going?[SCENE_BREAK]DOCTOR: Everything allright, K9?K9: Affirmative.DOCTOR: Control box in position?K9: Control box in position.DOCTOR: Batteries charged?K9: Affirmative.DOCTOR: Test the blaster,K9.DRAX: Ow!DOCTOR: Blaster working, K9?K9: Affirmative.DOCTOR: You all right, Drax?DRAX: Just about. That bit gets hot.DOCTOR: I'd sit somewhere else, ifI were you. Ready, K9?K9: Affirmative.DOCTOR: Now remember, it's absolutely vital to convince the Shadow that you're still under his control. This whole plandepends on how well you can act. Got it?K9: Affirmative, master.DOCTOR: Keep it simple, K9.K9: The Doctor and Drax have been eliminated.DOCTOR: Okay, K9.Now forward. You're on.K9: Master.DOCTOR: Did you ever get to Troy, Drax? Little place in Asia Minor.[SCENE_BREAK]MERAK: The third planet. Showme.[SCENE_BREAK]SHADOW: The fulfillment of that for which I have waited since eternity began.[SCENE_BREAK]K9: Preparing forblasting.[SCENE_BREAK]SHADOW: You see, Princess, you cannot escape your destiny.ASTRA: My destiny.SHADOW: It is for this that you were born. The sixthchild of the sixth generation of the sixth dynasty of Atrios. Born to be the sixth and final segment of the Key to Time. Come, Princess, prepare yourself.ASTRA: Iam ready.SHADOW: Ah!MERAK: Astra!SHADOW: What is this?K9: Apologies, master.SHADOW: You mechanical idiot.K9: But there is an intruder here.SHADOW:I ordered her to eliminate him.K9: It shall be done.SHADOW: Wait. Where is the Doctor?K9: Ahem. The Doctor and Drax have been eliminated.SHADOW: Good.Then these two shall stay and witness my moment of glory, my apotheosis.K9: (quietly) Master.SHADOW: Mine at last!K9: Now, master.ROMANA: No, you'llbreak the time loop!MERAK: Millions will die!SHADOW: A small beginning. Bwahahahahaha!DOCTOR: The stabiliser, Drax, now!SHADOW: You interfering fool. Noone can resist the power of darkness!DOCTOR: Quick, back to the TARDIS! Quick![SCENE_BREAK]DRAX: You go on, Doctor. I'll hold them off.DOCTOR: How willyou get back?DRAX: The transmat shaft. See you on the TARDIS.[SCENE_BREAK]SHADOW: Stop him! He must be stopped! Stop him![SCENE_BREAK]DOCTOR:Good.ROMANA: Come on, Merak.DOCTOR: Come on, Romana. Merak, get inside!MERAK: No!DOCTOR: Quick, get inside, man!MERAK: No, Doctor, I'm stayinghere.DOCTOR: What!MERAK: I'm staying here to look for Astra.ROMANA: But what about the Shadow?MERAK: Astra! Astra!DOCTOR: No, Romana, comeon.[SCENE_BREAK]DOCTOR: Set the coordinates for Zeos.ROMANA: We're murderers. First Astra and now Merak.DOCTOR: Romana, it wasn't our idea to use theRoyal House of Atrios as carriers, was it?ROMANA: No, but what happened to Astra was our fault. We're just pawns here to do the Guardian's dirty work.DOCTOR:I don't like it any more than you do, but it's done. Have you set those coordinates yet?ROMANA: Is that all you can say? She was a living being, and now what isshe? A component. And Merak thinks she's still alive. No power should have that right, not even the Guardians. We must do something!DOCTOR: Well, you couldstart by setting the coordinates for Zeos.ROMANA: Why?DOCTOR: Romana, you get carried away. If you don't set those coordinates, millions of people will dieand this time it really will be our fault. Have you forgotten the time loop?ROMANA: No, I hadn't forgotten the time loop. Can't you put the new segmentin?DOCTOR: In less than a second?[SCENE_BREAK]DOCTOR: Quick, cutters. Cutters!DRAX: Here, what a mess in here.DOCTOR: Listen, Drax. Drax, don't juststand there. What colour?DRAX: Green, I think.DOCTOR: What?DRAX: Well, it's a long time since I done it. Er.ROMANA: Quickly, Drax.DRAX: Just a minute.Don't fluster me.ROMANA: Hurry!DRAX: I've got a diagram somewhere.DOCTOR: Drax!ROMANA: Drax!DOCTOR: Drax!DRAX: Right.ROMANA: Drax!DOCTOR:Drax!DRAX: Pyramid, green! I told you.DRAX: Well, you didn't have to make such a mess of it all.DOCTOR: Drax. You took your time. Where's K9?DRAX: Wefound young Merak lying there dead to the world. Carrying him slowed us right down.DOCTOR: Really. How is he?DRAX: Well, he'll live.ROMANA:Doctor.DOCTOR: Yes.ROMANA: Aren't we forgetting something?DOCTOR: I don't think so.ROMANA: The Marshal!DOCTOR: What? The Marshal.ROMANA: Comeon!DOCTOR: Quick![SCENE_BREAK]MARSHAL: Fire!MARSHAL: Taste the moment of victory. Any second now, beautiful mushrooms will blossom andburst.MARSHAL: No! No, it's the wrong target![SCENE_BREAK]SHADOW: Sire. Sire. I have failed. The Doctor has accomplished his purpose. He has the Key toTime. I have failed.GUARDIAN: I expected no less of you, you whimpering wraith.GUARDIAN: But your death is already encompassed in my designs, for now theDoctor shall release the Key to me, and chaos shall break upon the universe![SCENE_BREAK]DOCTOR: What a shot, Marshal! Ha, ha, well shot!ROMANA: Doctor,he hit the planet of evil and he was aiming at Zeos!DOCTOR: Well, I can't help what he was aiming at.ROMANA: What did you do?DOCTOR: A mere nothing. Amere deflective forcefield set up for a millisecond set up between the Marshal and Zeos, bounced the missiles smack onto the planet of evil.ROMANA: Is thatall?DOCTOR: Yes.DRAX: Well, he might have told us, mightn't he, dog? We was expecting to get blasted into infinity.K9: Affirmative.DOCTOR: Well, I'm sorryabout that. I don't know what I'm apologising for. I just saved your lives! Can I drop you somewhere, Drax?DRAX: No thanks. I've got a contract job on downthere.DOCTOR: Contract job? No armaments, I hope.DRAX: No. Reconstruction, war damage, scrap and that. Me and the Marshal's going fifty-fifty.ROMANA: Youand the Marshal?DRAX: Yeah, well, he's out of a job now, isn't he. I mean, no war, no job, so I took him on.DOCTOR: When did you arrange this?DRAX: In abouthalf an hour's time, I should think.DOCTOR: I see. Fifty-fifty?DRAX: Well, sixty-forty, know what I mean?DOCTOR: Ah.DRAX: And if you ever want to get rid ofthat thing (the complete Key) just let me know, won't you.DOCTOR: I'll let you know. Bye, bye, Drax.DRAX: Right then. Bye all.ROMANA: Goodbye.DRAX:Remember me to Gallifrey.DOCTOR: Bye, bye, Drax.ROMANA: Goodbye.ROMANA: Right, I'll set the coordinates for Gallifrey, shall I?DOCTOR: Why"}
+{"doc_id":"doc_81","qid":"","text":"Bull: I'm Dr. Jason Bull. I'm not a lawyer. I'm an expert in what's called trial science. I study the jury's behavioral patterns. I know what they're thinking beforethey do. Everything my team learns gets plugged into a matrix, which allows us to assemble a shadow jury that is scary in its predictive efficiency. The verdictyou get depends on me. And that's no bull. Don't tell me plane crashes are bad luck. You think that Malaysia flight just disappeared? Statistically, flying is still thesafest way to travel. It's a business, isn't it? They need to be held accountable. You have to trust the pilot, but... it's a leap of faith. You get on a plane without asecond thought. But you have no idea who's flying it.(thunder rumbling)(plane rattling)Flight attendant: Ladies and gentlemen, we'll be starting our descent intoAlbany in just a few moments.(crying)Flight attendants will be coming through the cabin to pick up any last-minute trash items. As a reminder, we're enteringsome rough air, so please remain in your seats with seatbelts fastened.(plane continues rattling)Ma'am.(sniffles)You really need to take your seat. I'm so sorry.This needs to be up, sweetie.(rumbling grows louder, passengers gasping)(passengers screaming)Benny: It's a simple question, Mr. Stowman.Vince: In the worldhistory of stupid questions, that is the stupidest question.Marissa: Our client just torpedoed jurors two and eight.12 thinks he's a rebel. Lifelong fan, but I...Vince:w*nk*r.Marissa: There goes 12.Vince: No further questions. This is after three days of witness prep. We've seen worse. Maybe once. This is getting verytiresome, Dr. Bull. Hey, hey. I totally get it. You had a monster hit, and some one-hit wonder comes out of the woodwork and says you stole the hook to hissong? It's your song. That's right. And it hurts, Dr. Bull. It hurts. I know it hurts. And that's why we're gonna prove that it took you ten years to write this song.And that it comes... (hits chest) from your soul.(quietly): I know it's about the collapse of your first marriage. And I'm sorry. But you see these people? They'rethe jury. They're normal, everyday folks who come home one day, open their mail, and they have a jury summons. They're like my fans? That's exactly what theyare. They're the same people who throw panties on stage and cheer for you. And you got to see them like that. You got to talk to them like that.Marissa: Bull?Rock on. Go get 'em.Marissa: Bull. All right. Sir Vincent needs a fresh jury. Thank you guys very much. Bull.News anchor: In the storm, Essence Airlines Flight1372 went down approximately three miles from Albany Airport. As you can see from the wreckage behind me, all 62 passengers are presumed dead. Thepresident of Essence Airlines is on the line. Call back.(newscast continues)Hamilton-Sena and the usual airline litigation firms are calling to sign us up. Crash isless than an hour old, and the vultures are already circling, huh?Bull: Missing the runway does seem to inspire lawsuits. Sorry, I'm still the new guy, but... youhandled aviation suits before? Every crash in the last ten years. And, uh, Bull's a pilot. Maybe it's because I'm a pilot. Just spoke with a former colleague from theFBI. Was it...? Wasn't terrorism. Tried to land in a storm with wind shear.News anchor: A shocking new development, a miracle perhaps. The nose cone of theplane was severed from the fuselage upon impact. Sources tell us that one of the pilots was pulled from the cockpit alive. Never heard of a pilot surviving a crash.On a crash like this. Before we sign any client... Victim or airline... We're gonna talk to this pilot.(sighs)Man: Essence Airlines and supporting industries have allbeen named in a separate wrongful death filing.The pilot is also being sued.(reporters clamoring)There are security concerns, because of death threats. What'sthe pilot's status? Thank you. That's all for today. If you needed any convincing lawyers are overpaid, the firm owns 18 floors of prime New York real estate. Bestbehavior, Dr. Bull. It's a pleasure to meet you, Capt... Captain Mathison. I'm glad you fully recovered. Dr. Bull, thank you. I can't say the last four months havebeen easy, but I'm here. Oscar Weber. I'm her attorney.(chuckles): Oh! Gosh, yeah. I've heard so much about you, Oscar. Thanks for taking an interest in thiscase, Dr. Bull. Not sure there's a need here for what you do. Getting the truth? Winning? We may not even take this case to trial. Captain Mathison here has beencharged with gross negligence. If she were to lose in court, she may be facing criminal charges.Taylor: Dr. Bull, how did you know I was Captain Mathison and nothim? Well, you don't bounce when you walk. So clearly you're former military, and you're wearing aviator sunglasses, so I figured... pilot. Plus, one look at Oscar,and... there's no way he's a pilot. All right, let's go hear this flight recording.Taylor (over computer): Passing outer marker, ILS Approach 1-6, good to land.Man:Radar contact, cleared to land runway 1-6. Ceiling 2-0-0. Visibility one-quarter mile, wind one-niner-zero, variable 25 gust... Tower Albany to Flight213...Electronic voice: Wind shear. Wind shear.Copilot: Wind shear, loss 20 knots.Taylor: Cross-control 0500.(urgent chatter)Can't... What are you doing?Taylor:Throttle's up! On the go... got to take it around! Full power, full power... That's not protocol.Taylor: Clean it up, full power!Electronic voice: Terrain... Pull up.Terrain... pull up.Taylor: Five more seconds! Brace! Brace!(sustained beep)Man: Tower Albany, I've lost them off-screen.You need a minute? I'm okay. Soundslike you did the best you could in a hell of a storm. I considered flying on to Boston early on, but the storm was worse there, so... We started our descent, and...(sighs) we hit a massive wind shear.Weber: The challenge is gonna be the NTSB report. It says... Captain Mathison failed to follow emergency protocol and lostcontrol of the plane.Marissa: The NTSB says 80% of crashes are caused by pilot error.Bull: It's not exactly a fair fight when the pilots usually aren't around todefend themselves.Weber: The flight recorder backs up the report. A jury is going to be inclined to believe it. Unless someone bothers to give them a crediblealternative explanation. Her own copilot questioned her decision. And you can read the mind of a dead man? Good for you, Oscar. Do you think you lost control? Idon't remember. I wish I could tell you why I did what I did that day, but it just...Weber: To my point, the plaintiffs are gonna find that very convenient. She hadsix broken ribs. And a severe concussion. Memory loss does happen with head trauma. You were in the military? I flew 139 sorties over Iraq. Got over 12,000flight hours. So what's the last thing you do remember? The wind shear alarm. Then I woke up in the hospital. They told me everyone on the flight... And therewere no survivors. And you feel responsible. My plane went down and I lost 62 souls. Of course I feel responsible. I am responsible.Weber: Taylor, no one wantsto see you endure a long, difficult trial. Let me work with the airlines. We can hash out a settlement for these families. Lord knows what a jury is going to comeback with. We'll know. Excuse me? We'll know what a jury's gonna come back with. We'll know because that's what we do. That's what trial science is. Andsomething to remember, Mr. Weber. Just because Taylor feels responsible doesn't mean she's to blame. Captain Mathison, I'd like to take your case. Huh. Okay,s-so what do we do next? My team and I go to work. I didn't sleep for a week after that plane went down. I was lead mechanic on the gate that day. Couldn't helpbut wonder if I'd missed something. How you sleeping now? Eight hours a night. Look, I did all my preflight checks. The NTSB was all up in here and they stillcleared my crew. The plane wasn't ten years old. There was barely a grease spot on the repair log. So it was okay to fly. Waxed and ready to go. Well, that reportsaid that the pilots did their own inspection before takeoff. Why is that? They're required to do a walk-around. But it wasn't both of them that day, it was just thecopilot. Is that standard procedure? It's always the copilot. She did her walk-around like she was supposed to. What do you... what do you mean \"she\"? There arelady copilots. Well, the lady wasn't the copilot on that flight. She was the captain. I mean... Damn.Judge: Ladies and gentlemen of the jury, have you reached averdict? Guilty of gross negligence. Verdict. Guilty. Guilty.Marissa: We've questioned all of our mock jurors, and they've all found Captain Mathison guilty. Let mework on her image. Maybe we're sending the wrong message. I have some ideas that could balance her military edge. Worth a shot. We varied our emphasis onher military record, her stellar pilot rating, nothing's changed the outcome.Judge: Mr. Foreman, have you reached a verdict?Foreman: We have, Your Honor. Inthe case of Berman et al. v. Mathison, we find the defendant not guilty. Not guilty? That's amazing. How'd he do that? It is amazing. All we had to do was adjustone basic assumption about the case. Which one? Meet our client, Captain Taylor Mathison. Uh, ladies and gentlemen, all this case needed was a man'stouch.(clicks tongue)Sorry. I'm just the messenger. Not the misogynist.Benny: So, juries are finding her guilty because she's a woman.Marissa: But the datashows that when it comes to female pilots, there is a clear gender bias. Yeah, but it's not 1977. There are women in power everywhere. Well, it's subconscious.Things people aren't even aware of, like getting the door for a woman.Bull: Benny's always been chivalrous.Cable: I don't get it. Is it really difficult to open adoor? It's back to where women wore farthingales.(chuckles): Farthingales. What's a farthingale? It's basically like wearing an upside-down umbrella. All right,my point is we have to dial gender bias into Taylor's defense. Which is? Which is... ...an unavoidable wall of wind tragically brought down Flight 1372, and noteven the skills of a great pilot could save them. Okay. All right, I'm gonna play devil's advocate. How do we prove she didn't lose control of the plane if she can'teven remember what happened? Start with the flight recorder. Yeah, about that. You're aware that it only covers the last 30 minutes before the crash?Chunk: Myphone holds 1,000 hours of music, but a black box taps out halfway through a Wayne Newton album? I tap out halfway through a Wayne Newton album. Blackbox is only a piece of the puzzle. Okay, Danny, I want a play-by-play in the 24 hours of Taylor's life before the crash. And, Cable, focus on the flight itself. Fill inthe blanks. Danke schoen. That's a Wayne Newton reference for your benefit, Chunk.(sighs)Bull: Cute kids.I take it you and your copilot were close. Yeah. Kenand I were best friends. Mary and the kids are like family to me. They miss their father. It's hard for them to understand why I came home and he didn't. AndMary's mad at me. Been sitting here over an hour, and she's barely said a word. I don't know, sometimes I think she... blames me for Ken's death. Or maybe I'mjust a reminder of what happened. You know, those families, they act like I don't care about the victims, but... I think about those people every day. The voidthey left. The futures they don't get to have.I just keep asking myself: did I panic? You know, did I, did I, did I take a maneuver that was too risky? Taylor,something tells me you didn't. Women drivers. We've all heard the expression. Maybe even said it in the heat of the moment, even though female drivers have a"}
+{"doc_id":"doc_82","qid":"","text":"Outside the jailSean: Hey sight for sore eyes.(Sean walks out and hugs Emma.)Sean: Ah yeah.(They kiss.)Sean: I'm free all thanks to you.Emma: All I did washelp you get a lawyer.Sean: You got me a hearing. You got my sentence reduced.Emma: And two years of probation.Sean: Whatever. I'm out. Now we can betogether. The perfect girl and the guy who doesn't deserve her. Man I missed you.(Emma kisses him.)Emma: I missed you too. A lot.Sean: Yeah? I also missedbacon double cheeseburgers with the works.Emma: I see jail hasn't turned you vegetarian.Sean: Sorry. Been dreaming about it for months.Emma: I guess Icould put my carnivorous objections aside just this once, but first it's present time.(She hands him the picture that Spike took of them on their first date.)Sean: Isthat really us?Emma: Six uber long years ago.Sean: Sometimes I wish I could stop time. Go back.Emma: To bad hair, braces and general pubescentawkwardness? No thanks.Sean: Back to a time when you were proud of me.(Emma runs her hand through his hair and touches his face.)At Emma's houseMr.Simpson: So how was the sofa? Not too lumpy?Sean: No it was great. Thanks. I really appreciate you guys letting me crash here until I get back on myfeet.Spike: What are your plans now that you're out?Emma: Already with the grilling?Spike: I know you two are more than just friends Em. A mother gets toask.Sean: That's cool. Jay is hooking me up with his boss. Apparently they need a new mechanic.Mr. Simpson: What about school? Have you given any thoughtabout coming back to Degrassi?Sean: I got expelled.Mr. Simpson: Well maybe I could talk to her.Sean: No. I mean no thank you. I really don't want to set foot inthat place again.Emma: Tell them about Cameron's Custom Cars.Sean: Someday I want to open up my own shop.Mr. Simpson: That sounds like a fine plan if youcan find a bank manager who's willing to lend money to a high school dropout.Spike: Couple that with your record.Emma: Mom it's his first day out of jail. Canyou go easy, please?Spike: Sorry. We're really glad you're here Sean.Mr. Simpson: And we're sure you're gonna figure it all out. Your life I mean. You've got lotsof time for that. In the hallway(Danny and Derek are running in the halls and they run right into Mr. Perino, spilling his drink and breaking his mug.)Mr. Perino:Hey! How many times have I told you guys no running in the halls?!Danny and Derek: Sorry Mr. Perino.Mr. Perino: Sorry? Look at me! Look at my shoes. They'reruined.Derek: (under his breath) So buy some new ones.Mr. Perino: Are you sure you want to use that tone with your teacher? Believe me you don't want me tomake your lives difficult.Mr. Simpson: Guys go get the mop from the janitor. Clean this mess up, capiche? Go.Mr. Perino: Smart asses, you know? They drive mecrazy.Mr. Simpson: Just uh try to remember they're just kids. Right Dom?(He walks away without saying anything.)Mr. Simpson: Dom!At the garageTony: Engineruns out.Sean: It's loose timing chain.Tony: Shimmy in the steering. You know how to fix it?Sean: Yeah. You machine the front rotors.Tony: Jay was right. Youknow cars.Sean: Cars are my life. You know, if you know how they work, they never let you down.Tony: Spoken like a true mechanic. Tell you what, we got aLexus with a faulty AC. Go to work.Sean: You, you mean I got it? I got the job?Tony: Yeah not for long if you don't get to work.Sean: Yes sir. Woo! I got itman.Jay: What'd I tell you? In Mr. Perino's classDanny: After years of fighting, the second world war came to an end with the bombing of Hiroshima. Once theThird Rake finally surrendered, the iron curtain divided Europe-Mr. Perino: I think it's time this presentation surrendered and by the way it's Reich, not Rake.You're done.Danny: But you cut me off.Mr. Perino: The assignment was to summarize an event in your own words. Not bore everyone by copying the damn thingfrom your textbook.Danny: It's not my fault history's so boring.Mr. Perino: Well it might be to you, but I'll assure you history's a fascinating discipline.(Danny sitsdown behind Derek.)Derek: He was a teacher.Mr. Perino: Who said that? Mr. Higg you got something to say? Don't be a clown. Be a man and say it.Derek: Okay Iwill. Can't you give Danny a break? I mean he's trying his best.Mr. Perino: Tell you what instead of giving Daniel a zero for plagiarism, detention both of you andtomorrow I'll let you help him redo his presentation.At the garage(Emma tries to sneak up on Sean.)Sean: Hey gorgeous.Emma: How did you do that?Sean:You're a lousy sneaker and every car has at least three mirrors.(He kisses her.)Sean: Mwah!Emma: Based on the fact that your freshly pressed white shirt is nowforgotten on the tool bench, you got the job?Sean: Your little pep talk helped. Thanks and a big shout out to Jay! He totally went to the mat for his bud, huh? Mybest friend and my girlfriend. The only two people I can count on.Jay: Girlfriend? Well I guess not even jail time can keep you two lovebirds apart, huh?Sean: Weshould all hang out, huh? Catch up on old times?Jay: Yeah Sean's not caught up on old times.Emma: Old times are overrated.Sean: Alright well uh, well I'm alldone here. I'm gonna take my girl out for dinner.Jay: Go have fun. I'll lock up.Outside the schoolDanny: Detention rocks. I'd take it over history class anyday.Derek: Plus we got Perino off our backs for now. Hey later.Danny: Later.(Danny leaves and Derek sees Mr. Perino standing by the bus stop.)Derek: Hey Mr.Perino.Mr. Perino: Derek.Derek: Something wrong with your car?Mr. Perino: Why? Did you do something to it?Derek: No. I just thought...bus stop.Mr. Perino:What, no funny jokes? You're not much of a comedian outside of class, are you?Derek: I'm sorry.Mr. Perino: Don't pull that innocent act with me.Derek: Uh Ithink I'm gonna walk home.(Derek starts to leave when Mr. Perino steps in front of him.)Mr. Perino: Let me make myself clear. Show me some respect or we'vegot a serious problem, understood?(Derek walks away.)At Emma's houseEmma: Where is my lucky bra? The one that gives me Manny boobs.Manny: What's thebig deal? You're just going on a date with Sean.Emma: It's not a date. It's the date. The \"he's finally back in my life and everything has to be perfect\"date.Manny: And you're just trying to live up to the pedestal that he's putting you on.Emma: There's nothing wrong with having a boyfriend who thinks you'reamazing.Manny: Unlike those shoes, nobody's perfect.Emma: Least of all me. I went by the garage today and Jay was there.Manny: Three's definitely notcompany.Emma: Jay is Sean's best friend. How do I even begin to tell him what I did with Jay in the ravine?Manny: You were single. It was a crazy time. Whatwere you supposed to do, sit home and knit?Emma: I'm not sure that Sean's gonna see it that way.Manny: If he really loves you then he should. After hours atthe DotSpinner: Okay I will be back in an hour to lock up. Don't break anything.Sean: We won't. Thanks man.(Spinner leaves Sean and Emma alone.)Sean: It'snot much, but jail does a number on a guy's savings.Emma: The place, the candles, the tofurkey...everything is perfect.Sean: It is perfect. You're perfect.Emma:I've still made mistakes.Sean: You're talking to the master of mistakes.Emma: So you won't hold them against me?Sean: Of course not. Why? Is there somethingyou need to tell me about?Emma: No. It's just...stupid.Sean: Nothing you say is stupid Em. You're the smartest person I know.At the garageSean: Hey last nightI thought Emma was dropping hints. Did something happen?Jay: No. It was probably nothing.Sean: If there was something, you'd tell me, right?Jay: Forget it.You're not hearing it from me.Sean: Jay come on. After everything I've been through, I can handle it.Jay: Fine, but I warned you. Alright while you were gone,Emma and I kind of fooled around.Sean: You had s*x.Jay: No. No, no, no. I mean not really. It depends how you look at it. I had more than she did.Sean: I can'tbelieve this. You and Emma?Jay: Dude don't overreact. Look you'd just broken up with Ellie. You and Emma hadn't been a thing for like years. It just kind ofhappened. Once. You said you could take it.Sean: Just shut up, okay? Shut up.Jay: Man I'm sorry.Sean: I said shut up.(Sean walks awayangry.)[SCENE_BREAK]At DegrassiEmma: Sean? What are you doing here? Shouldn't you be at work?Sean: Never mind. Did...did you and Jay have a thing lastyear?Emma: Who told you that?Sean: Wrong answer.(Sean tries to walk away, but Emma stops him.)Emma: Sean! It was two years ago. Right after I had a gunpointed at my face. To say I was super duper messed up would be an understatement.Sean: How could you do that? And with Jay?! The thought of you twotogether makes me want to-Emma: What happened to \"I won't hold it against you\"?(Sean leaves and Peter walks by Emma.)Peter: Lover's quarrel?At thegarage(Sean walks by Jay without saying anything.)Jay: Take it we're not cool?Sean: Don't talk to me.Tony: Jay get on the Lexus. Mr. Lane is my bestcustomer.Jay: Uh you wanna hand me that ratchet?Sean: Get it yourself.Jay: Look it was over a year ago man. Just let it go.Sean: I'm not gonna let it go,alright? You took something that was good and you ruined it. Just like you always do.Jay: Right, right make me the bad guy. Alright whatever helps you sleep atnight.Sean: You didn't care about Emma. You used her! You took advantage of her.Jay: I didn't take advantage of anybody. The truth is she chased me dude. Shedamn near begged me to let her do it.(Sean pushes Jay, he pushes him back and Sean tries to punch him, but misses and hits the wall.)In science classScienceteacher: So each group is now holding a different part of the human body. I want you to explain in essay form the function of your part.Manny: Well this shouldbe easy.(Emma stabs her pencil into the heart.)Manny: Em! You're killing Johnny Carcass-man! His heart's not gonna work with a pencil in it.Emma: I'm sorry. Iwas imagining it belongs to Sean, who found out about me and Jay from Jay.Manny: Ouch. Hope you had a soft landing when you fell off that pedestal.(Emmastarts stabbing the pencil over and over again into the heart.)Manny: Easy cuckoo bananas! This is one of the few classes that I'm not failing.Emma: What is itwith guys and their ridiculous double standards? They can do whatever they want, but a girl makes one mistake and her rep is tarnished for life!Manny: Look Iknow your little visit with Jay in the ravine may not have been on the Emma Nelson highlight rail, but no guy has the right to judge you. Especially Sean.In Mr.Perino's class(Danny and Derek walk into the room.)Mr. Perino: Derek can I uh talk to you a minute?(They go into the hall.)Mr. Perino: Look I just want to makesure there's no misunderstanding about last night.Derek: Well what you said Mr. Perino...was kind of threatening.Mr. Perino: Derek you're a smart kid. I hateseeing you waste your potential. I was just trying to motivate you.Derek: More like you freaked me out.Mr. Perino: Look what do you say we just forget it evenhappened?Derek: Yeah. Yeah I guess.Mr. Perino: Good. Look go in there and knock that presentation out of the park, okay?At the garageMr. Lane: Youremembered to change the oil?Sean: There's an oil change charge on the bill, isn't there?Mr. Lane: I've noticed a bit of pulling lately. Um how is the tire"}
+{"doc_id":"doc_83","qid":"","text":"Recap 311 \"Utopia\".The quiet of an alleyway is disturbed as the time vortex opens and the Doctor, Martha and Jack appear groaning.MARTHA: Oh, myhead!DOCTOR: Time travel without a capsule. That's a killer.Jack cracks his neck before they leave the alley. They walk along a main street taking in theirsurroundings.JACK: Still, at least we made it. Earth, 21st century by the looks of it. Ha, ha, talk about lucky.DOCTOR: That wasn't luck, that was me.Back onMalcassairo, the Doctor uses his sonic screwdriver on Jack's vortex manipulator as he and Martha try and keep the Futurekind out.DOCTOR: Hold still! Don'tmove! Hold it still!JACK: I'm telling you, it's broken! It hasn't worked for years!DOCTOR: That's because you didn't have me. Martha, grab hold! (Takes Martha'shand and places it on top of the manipulator). Now!They disappear. The Doctor, Martha and Jack are sitting in an area in the middle of a pedestrian-onlyroad.JACK: The moral is, if you're gonna get stuck at the end of the universe, get stuck with an ex-Time Agent and his vortex manipulator.MARTHA: But thisMaster bloke, he's got the TARDIS. He could be anywhere in time and space.DOCTOR: No, he's here. Trust me.Looks around and sees Saxon campaign postersplastered everywhere.MARTHA: Who is he, anyway? And that voice at the end, that wasn't the professor.JACK: If the Master's a Time Lord, he must haveregenerated.MARTHA: What does that mean?JACK: Means he's changed his face, voice, body, everything. New man.The Doctor notices a homeless man tapping arepeating rhythm on an enamel mug.MARTHA: Then how are we gonna find him?The tapping echoes.DOCTOR: I'll know him, the moment I see him. Time Lordsalways do.MARTHA: But hold on. (Notices posters). If he could be anyone... We missed the election. But it can't be...The Doctor stands slowly, as does Jack. Theywalk towards a giant screen showing the news. Martha follows.NEWSCASTER: Mr Saxon has returned from the Palace and is greeting the crowd inside SaxonHeadquarters.The screen shows Saxon walking downstairs with an entourage, Lucy, his wife, at his side.MARTHA: I said I knew that voice. When he spoke insidethe TARDIS. I've heard that voice hundreds of times. I've seen him. We all have. That was the voice of Harold Saxon.DOCTOR: That's him. He's PrimeMinister.PHOTOGRAPHER (on screen): Mr Saxon, this way, sir. Come on, kiss for the lady, sir.DOCTOR: The Master is Prime Minister of Great Britain. (Saxonkisses the woman at his side). The Master and his wife.SAXON (steps forward to speak to the press): This country has been sick. This country needs healing. Thiscountry needs medicine. In fact, I'd go so far as to say that, what this country really needs, right now... is a doctor.Smiles into the camera.OPENINGCREDITSSaxon is walking down a hall in Number Ten, Lucy beside him, clerks handing him files as he passes.CLERK 1: Finance report, sir.CLERK 2: Militaryprotocol, sir.CLERK 3: EC directive, sir.CLERK 4: Annual budget, sir.CLERK 5 : ... recommendations.Saxon stops outside the door to the Cabinet Room.LUCY: I'mso proud of you, Harry.As they kiss, we see Tish Jones walk up.SAXON: Bless.TISH: Uh, sir... If you don't mind me asking... I'm sorry, but it's all a bit new. Whatexactly do you want me to do?SAXON: Oh yes, what was it, uh...?TISH: Tish. Letitia Jones.SAXON: Tish. Well then, Tish... You just stand there and lookgorgeous. (Enters the Cabinet Room). A glorious day. Downing Street rebuilt, the Cabinet in session. Let the work of government begin. (Throws files into the airand the contents scatter). Oh, go on. Crack a smile. It's funny, isn't it? Albert, funny? No? Little bit?ALBERT DUMFIRES: Very funny, sir, hm. But... but if we couldget down to business, there is the matter of policy, of which we have very little...SAXON: No, no, no, no. Before we start all that, I just want to say... thank you.Thank you one and all, you ugly, fat-faced bunch of wet, snivelling traitors.DUMFRIES: Yes, quite. Very funny. But I thi...SAXON: No, no. That wasn't funny.(Stands). Hm, you see, I'm not making myself very clear. Funny is like this. (Exaggerates smile). Not funny is like this. (Exaggerates frown). And right now, I'mnot like this... (smiles), I'm like this... (frowns), because you are traitors. Oh yes, you are! As soon as you saw the vote swinging my way, you abandoned yourparties and you jumped on the Saxon bandwagon. So... (sits) this is your reward.Takes a gas mask from under the table and slips it on.DUMFRIES: Excuse me,Prime Minister, do you mind my asking... what is that?SAXON (muffled): It's a gas mask.DUMFRIES: I beg your pardon?SAXON (lifts mask): It's a gas mask.Putsmask back on.DUMFRIES: Yes, but, uh, why are you wearing it?SAXON (muffled): Well, because of the gas.DUMFRIES: I'm sorry?SAXON (lifts mask): Because ofthe gas.Replaces mask.DUMFRIES: What gas?SAXON (leans back): This gas.The speakerphones in the centre of the table pop up and emit a white gas. TheMinisters start coughing and choking. They have no means of escape.DUMFRIES (points): You're insane!Saxon merely raises both thumbs. Dumfries collapsesdead onto the table. Saxon, with the mask still on, begins tapping out a rhythm on the table with his fingers.Martha takes the Doctor and Jack to herflat.MARTHA: Home.DOCTOR: What have you got? Computer, laptop, anything? (Jack tries to make a call on his mobile). Jack, who are you phoning? You can'ttell anyone, we're here!JACK: Just some friends of mine, but there's no reply...MARTHA: (hands Doctor the laptop) : Here you go. Any good?JACK (takes thelaptop): I can show you the Saxon websites. He's been around for ages.Sits at desk.MARTHA: That's so weird though. It's the day after the election. That's onlyfour days after I met you.DOCTOR: We went flying all around the universe while he was here the whole time.MARTHA: You gonna tell us who he is?DOCTOR: He'sa Time Lord.MARTHA: What about the rest of it? I mean, who'd call himself the Master?DOCTOR: That's all you need to know. (To Jack) : Come on, show meHarold Saxon.Martha checks her answering machine. There's one from Tish.TISH: Martha, where are you? I've got this new job. You won't believe it. It's weird,they just phoned me up out of the blue. I'm working for...MARTHA (shuts off machine): Oh, like it matters.Tish is following a reporter, Vivien Rook, through theoffice, trying unsuccessfully to turn her away.TISH: I'm sorry, but you're not allowed in...VIVIEN: Harold Saxon: A Modern Churchill. It's the definitive think pieceon the man himself. (Hands a copy of the article in question to Tish). Oh, come on, sweetheart, you must've read it!TISH: Um, not really, sorry. I'm new.VIVIEN:Mr Saxon does like a pretty face. But I'm here to see Mrs Saxon.TISH: You can't just go barging in!Vivien enters the sitting room where Lucy is alone, massagingher feet.VIVIEN: Mrs Saxon, Vivien Rook, Sunday Mirror. (Holds up press card). You've heard of me.LUCY: Oh, can't I just have an hour to myself? It's been a hellof a day.VIVIEN: Oh, strike while the iron's hot, that's what I say, Lucy. I can call you Lucy, can't I? Now, everyone's talking about Harold Saxon, but I thought\"What about the wife?\" All I need is twenty minutes.LUCY: Oh, I think maybe we should wait.Looks nervously to connecting door.VIVIEN: The headline's waitingto print: The Power Behind the Throne.LUCY (intrigued): Really?VIVIEN: Britain's First Lady.LUCY: Gosh.VIVIEN: Front page.LUCY: Oh, well, I suppose... Oh, goon then. Twenty minutes.VIVIEN: Excellent! Thank you! Oh, oh, what was it? Oh, Tish. Now you can leave us alone. Hands Tish her coat.TISH: No, but I'msupposed to sit in.Looks to Lucy.VIVIEN: No, no. It's... it's only a profile piece. You know, hair and clothes and nonsense. There's a good girl. Out you go. That'sit. (Pushes Tish out the door and closes it). Mrs Saxon, I have reason to believe... that you're in very great danger. All of us, in fact. Not just the country, but thewhole world. (Lucy scoffs). I beg of you, hear me out.LUCY: What are you talking about?VIVIEN: Your husband is not who he says he is. I'm sorry, but it's a lie.Everything's a lie.A campaign commercial for Saxon plays with noteworthy supporters.SHARON OSBOURNE: I'm voting Saxon. He can tick my box anyday.McFLY: Vote Saxon! Go Harry!ANN WIDDECOMBE: I think Mr Saxon is exactly what this country needs. He's a very fine man. And he's handsome too.Jackstops the commercial on the website.JACK: Former Minister of Defence. First came to prominence when he shot down the Racnoss on Christmas Eve. (Turns toDoctor) : Nice work, by the way.DOCTOR: (sitting on couch arm) : Oh, thanks.MARTHA: He goes back years. He's famous. Everyone knows his story. Look.Cambridge University, Rugby blue, won the Athletics thing, wrote a novel, went into business, marriage, everything. He's got a whole life.VIVIEN: All of it. Theschool days, his degree, even his mother and father. It's all invented. (Holds up photo). Look, Harold Saxon never went to Cambridge. There was no HaroldSaxon. The thing is, it's obvious. The forgery is screaming out and yet no one can see it. It's as if he's mesmerized the entire world.LUCY: I think perhaps youshould leave now.VIVIEN: 18 months ago he became real. This is his first, honest-to-God appearance, just after the downfall of Harriet Jones. And at the exactsame time, they launched the Archangel Network.LUCY: Mrs Rook, now stop it.VIVIEN: Even now they say that the... the Cabinet has gone into seclusion. Imean, what does that mean, \"seclusion\"?LUCY: How should I know?VIVIEN: But I've got plenty of research on you. Yes, good family, Roedean, not especiallybright but essentially harmless. (Sits beside Lucy). And that's why I'm asking you, Lucy. I'm begging you. If you have seen anything, heard anything, even theslightest thing that would give you cause to doubt him...LUCY: I think...VIVIEN: Yes?LUCY: There was a time when we first met, I wondered... But he was sogood to my father. And he said...VIVIEN: What? Just tell me, sweetheart.LUCY: The thing is... I made my choice.VIVIEN: I'm sorry?LUCY: For better or for worse.Isn't that right, Harry?Saxon has joined them, leaning on the connecting door.SAXON: My faithful companion.VIVIEN: Mr Saxon. Prime Minister, I-I-I was justhaving a little joke with poor little Lucy. I, I didn't mean...SAXON (walks to centre of room): Oh, but you're absolutely right. Harold Saxon doesn't exist.VIVIEN:Then tell me... who are you?SAXON: I'm the Master and these (holds out his hands) are my friends.Four small metal spheres appear and float about him.VIVIEN:I'm sorry?SAXON: Can't you hear it, Mrs Rook?VIVIEN: What do you mean?SAXON: The drumbeat. The drums coming closer and closer.The spheres headtowards Vivien spikes now sticking out from their lower halves.SPHERE 1 (female voice): The lady doesn't like us.The spheres advance on Vivien, the spikesspinning.SPHERE 2 (male voice): Silly lady.SPHERE 3 (male voice): Dead lady.Vivien screams. Lucy and Saxon exit the room and shut the door, deadening thescreams. Saxon takes a breath and opens the door. The screams continue. Saxon winces and closes the door. He opens and closes the door again quickly, puttinga fist to his mouth.LUCY (sighs): But she knew. Harry, she knew everything. You promised. You said Archangel was 100%.SAXON: Um, 99, 98?LUCY: But if she's"}
+{"doc_id":"doc_84","qid":"","text":"(Camera focuses on the water. Faces can be seen in the background, Derek looking into the tub, Cristina poking out from around her locker, Bailey in theambulance bay, George at the crash scene, Alex with Jane Doe, Izzie with Rick, Ellis in her hospital bed, and Lisa walking away from the dock)MVO: Like I saiddisappearances happen. Pains go phantom, blood stops running, and people fade away.(Meredith is swimming and fighting. She emerges from the water and istrying to surface.)MVO: There's more I have to say. So much more. But I've disappeared.(Meredith sinks into the water and the water calms as bubblesappear)(Cristina is at a nurse's station.)Nurse Kate: Did you check on Kramer in 2309 because his x-rays are done and I don't know what to do?Tyler: Higgins in2312 needs diet orders before...Cristina: Done and done. I need you to monitor Collins in 2323. Page me if his systolic drops below 90. I gave him a low dose ofdig to lower his heart rate. And have either of you seen Dr. Grey?Kate: Uh, I checked on her earlier but she's a little sedate today.Cristina: Not Dr. Ellis Grey. Dr.Meredith Grey.Kate: No.Tyler: Not since this morning.Cristina: Fine. Um, if there's anything emergent page me in the pit.(Carly's OR)Carly: George, did you findhim? Is Chris ok? Is he awake? Is he...?Bailey: Answer Mrs. Height, O'Malley.George: Chris is fine. He's glad you're ok and he'll be waiting for you after surgery.He's being very braveCarly: That's my Chris. That's my boy. Thank you, Dr. O'Malley. Thank you so much.(George goes to leave and Bailey walks withhim)Bailey: Dr. O'Malley. Hold up a second. What happens when the happy mother in there wakes up and her son isn't there to greet her? What then? How yougonna explain that? O'Malley?George: If she wakes up after surgery because of my lie, I'm ok with that Dr. Bailey.Bailey: Find that child.George: Yes,ma'am.(Jane Doe's room)Richard: Her echo's showed cardiac tamponade.Burke: So out first priority is stabilize the traumatic pericardial infusion.Addison:Keeping mom alive means keeping baby alive. I'll monitor the surgery while he operates.Burke: I'll notify the OR.(Burke leaves as Alex enters)Alex: Chief, we'vegot a mob scene in the clinic of people looking for missing family members and nothing but a two hour old list of patients.Richard: No one has any moreinformation than you do. The police are asking us questions. Search and rescue can't track it. Well have to do it ourselves.Alex: Is there some kind of systemthat...?Richard: You're the system, Karev. Figure it out.(Richard leaves)Alex: How's she doing?Addison: Well, we won't know until we get her up to the OR. She'sstill a Jane Doe?Alex: Yeah.Addison: To be in that condition and have no one that even knows.Alex: What?Addison: She's all-alone. It makes you think. I mean, ifI went missing would anyone even know I was gone.(The accident scene)Friend: Do something.Izzie: He's still seizing, there's nothing more I can do.Vince:You're supposed to put something in his mouth so he can't bite his tongue. Aren't ya?Izzie: Nobody's putting anything in his mouth. We just have to just him rideit out.Vince: What are you gonna do? You can't just let him die.Izzie: They're gonna come soon, in a little while, and they'll get him out.Vince: You said we don'tget much time.Greg: What if they don't get him out from there before he...Izzie: I don't know. I don't know, ok? I don't know.Vince: Please, you can't quit on usnow. You just...you just gotta try something else.Izzie: I'm out of practice. I've been watching. For weeks, I've just been watching. And I...I'm sorry. I'msorry.Vince: You stopped the bleeding, that was good. Come on please. I...I know this guy. I believe in him. I believe he can make it. You gotta believe in it too.You gotta believe you can do this, please. Don't stop now.Izzie: Who's got a cell phone?(All three of them hand their cell phones to Izzie)(Derek is walkingthrough the trauma scene)Derek: You guys good? You ok? Yeah, what do you got?Paramedic: Severely severed leg but he's got his artery tied offso...something.Derek: Yeah, who tied off the artery? (He looks at the coat on the business man and sees Meredith's name badge) Dr. Grey? This is herjacket.Paramedic: We found him like this. She must have moved on.Derek: Yeah, ok.(Derek looks up and sees Lisa standing there all-alone.)Doctor: Doc?Derek:Yeah. What is it? Just stabilize the fracture and get him to the hospital as soon as possible. (He makes his way over to Lisa) Hi. You ok? Did a doctor bring youhere? Huh, Meredith? Meredith ok?(Lisa shakes her head no and the scene changes to Meredith under water. She is no longer swimming or struggling in any way.She is merely sinking.)(George is in the clinic with the picture of Chris. He is walking around looking at the boys in the room. He stops at one little boy)George:Hi, my name's George. Is your name Chris?Boy: No.George: (To the man nearby) Is he...? Thank you. (To the boy) Thank you, very much.(George leaves theclinic as Alex enters. The people see Alex entering and flock to him.)Man: Do you have a new list?Alex: Uh, not yet.Man: Nothing? How can there be no newinformation?Angry Lady: Isn't there someone you can call? Someone who knows something.Alex: Uh, nobody knows anything right now. (The crowd beginsyelling at Alex) Quiet! All right, that list is all I have for you and it sucks but that's it.(The crowd is yelling again)Angry Lady: I can't believe you don't have somekind of a system. I mean...Alex: Give me a minute to think, I'll come up with a damn system.(The crowd disperses with the attitude that Alex should be moreunderstanding)Sydney: I just want you to know that I understand you're under a lot of pressure. If you...if you just need to sit for a minute, or if you need ahand, or a hug.(Alex sees a Polaroid camera on the counter. He takes it and walks off. Sydney looks like she feels very useless)(Richard is in the gallery aboveJane Doe's surgery when his cell phone rings)Richard: Chief Webber.Izzie: Oh, chief, I gotta guy here and we can't extricate him...Richard: Hold on, who isthis?Izzie: ...and I've tried everything...Richard: Hold on. Who is this?Izzie: It's Izzie Stevens. I'm at the dock. I've got a patient with a depressed skull fractureand probably an inter-cranial bleed.Richard: Is he showing signs of increased pressure?Izzie: Yes, his left pupil is blown, he's gone limp, he's seizing and now hisright pupil is dilating.Richard: He could be herniating. What's your ETA to the hospital.(Richard is now in the hallway)Izzie: That's what I'm saying, we can't gethim out. He's stuck under a car and we can't get him out.Richard: Ok, first you've got to stay calm.Izzie: I can't stay calm. Calm was over minutes ago, calm isgone, calm is an impossibility. I've got his best friends here and I can't let him die. So, please just tell me what I need to do.Richard: You need to do some burrholes.Izzie: Burr holes? I can't do burr holes out here.Richard: Do you want to save his life, Stevens?Izzie: Yes.Richard: All right, I need a minute to checksomething out in the book and then I'll talk you through it.Izzie: You're looking it up in a book?Richard: I'm not a neurosurgeon, Stevens. And I want to makesure we get this right. (Loudly to the people around him) Somebody find me a copy of Boardman's Neurosurgery.(Mark walks up)Mark: Everything ok?Richard:You know anything about making burr holes?Mark: Done it a couple times.Richard: Good, don't go anywhere. Stevens, listen to me.Izzie: (To Vince and hisfriends) I'm gonna need a drill.Vince: There's one in my truck.Friend: What do you need a drill for?Izzie: I've gotta drill holes in your friend's head.(Vince and hisfriends all look at Izzie like she is insane. Izzie looks rather nauseous.)(George is in the ER looking for Chris. He is looking over, under and behind everything. Helooks behind the curtain that is near Cristina.)Cristina: Hello, I'm suturing here.George: Sorry.Cristina: You just get back?George: Yeah. Um, I'm looking...haveyou, uh, seen any lost children down here?Cristina: Is Meredith back too? Cause I need her it's really important. This kids missing, his mom's in surgery.Cristina:What kind of surgery?George: This kids lost. You didn't see it today, Cristina. You weren't out there.Cristina: I know.George: Have you seen any lost kids downhere, or not?Cristina: Not.George: Ok.Cristina: Do you know where Meredith is?George: I'm leaving.Cristina: Yeah, I know.(Alex is in the clinic tacking polaroidsof the injured to the bulletin board)Alex: All right, if you can identify the patient, please write their name on their picture.Sydney: I've got markers.Alex: Thesepatients are in surgery and these patients are in the ICU.Man 2: This is Patina. Is she ok?Alex: Uh, yeah. She's in the OR, stable. Ok, all these people have beentransferred from other hospitals.Sydney: And I have the details.Alex: (To Sydney) If it's ok, I've gotta a case I need to check on.(Alex starts to leave and isstopped by Angry Lady)Angry Lady: My husband's not on that board.Man: Kelly Winters, she's not either.Angry Lady: What does that mean?Alex: It's...it's...theycould be in shock or walked away from the site or...Angry Lady: Just say it. A lot of people died. They're dead.Alex: We don't know that.Man: So, how can weknow?Man 3: My wife? She wasn't in these photos either but she's pregnant. Is it possible you just didn't see her?Alex: She's pregnant?(Lisa and Derek are at thescene. She looks very frightened and is trying to look around for some familiar landmark or person. Derek is holding her hand.)Derek: What? It's ok. Just think.Where is she? Which way did she go? It's ok. Take your time. Take all the time you need, you're doing great. What is it?(Lisa spots a red cross sign and walkstoward it)Derek: Good.(They stop on the dock. Lisa stares out into the water.)Derek: Ok, use your words. Where exactly is Meredith.(She points into the waterand Derek looks terrified)(Meredith is still sinking and then the scene changes to Jane Doe's surgery)Burke: The leak in the heart is coming from the rightatrium.Addison: Are you gonna put her on bypass cause that could compromise the baby.Burke: No, I can fix her heart while it's still beating. Push 40 milligramsof abizonole.(Alex enters)Alex: Found her husband. I found him. She's not a Jane Doe. Her name's Casey. Casey Clarke. (Addison gives him a look)What?Addison: How do you know?Alex: What?Addison: How do you know it's Casey Clarke?Alex: Well she's pregnant and...Addison: There were hundreds ofpeople on that ferry, Alex. Hundreds. And chances are that more than one were pregnant. Now, do not give that man hope unless you are certain. Do not givehim hope until you've checked every last body in the morgue.Alex: Dr. Burke can I, uh...(He holds up the camera)Burke: Yes, make it fast.(Alex leaves)Addison: Igotta tell ya, this group of interns...Burke: Emotional.Addison: Head strong.Burke: Hot headed, stubborn, they think they know everything. And you can only givethem so much rope before they hang themselves with it. It's like they lose all rationality. They won't listen to reason.Addison: Geez Preston, don't hold back.(Themonitor starts beeping)Addison: It's getting hypotensive. All right, I'm seeing some late decels in the fetal heart monitor. Baby is not getting enough blood.Burke:Almost...just got one...more stitch. Got it, turn on the Echo.Addison: Baby's heart rate stabilized.Burke: Hmm, think we've seen the worst of it.(Alex enters the"}
+{"doc_id":"doc_85","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars... Veronica pops her head around the door of Keith's new office in the sheriff's department in 315 \"Papa'sCabin.\" Cut to the Mars residence and Veronica making dinner as Keith arrives home.VERONICA: So it's true what they say. There's a new sheriff in town?KEITH:Until the special election, anyway.Cut to Mac and Bronson on his doorstep in 310 \"Show Me the Monkey.\"MAC: Do you like movies?BRONSON: Let's go.Cut tomoments later as Mac surprises Bronson with a kiss. Cut to Veronica and Piz in the Food Court at Hearst College.PIZ: I know what I like. Why waste mytime?VERONICA: Like, why bother with something not good just because it's something?Logan catches Veronica outside Tim's office in 315 \"Papa'sCabin.\"LOGAN: You know, I was thinking of asking Parker out, and I wanted to make sure it was cool with you. She puts on a brave face.VERONICA: Of course.Thank you for asking.LOGAN: Sure. I know we're friends.Veronica nods.VERONICA: Yeah. Veronica points to Tim's office.VERONICA: See ya. And good luck. Endpreviously.INT - HEARST COLLEGE, FOOD COURT - DAY.Veronica is standing in a queue. She's pensive, playing with a strand of hair. There are three couples infront of her in the queue between her and the person at the front of it -- Logan.SERVER: What can I get you?LOGAN: Uh, coffee with cream.Logan looks back atVeronica. He turns back to the woman at the counter.LOGAN: Actually, could I get a couple of them?SERVER: Sure.She hands him the coffees.LOGAN: Thankyou. Logan walks back to the end of the queue.LOGAN: Here. He slips one of the cups into her hand, almost surreptitiously.LOGAN: I hate to think of youunder-decaffeinated. She smiles as she takes it.VERONICA: Danke. They walk away from the counter together.VERONICA: It's 8am. Shouldn't you be in a wetsuit somewhere? He shrugs and grins.LOGAN: Early Poly Sci.VERONICA: And you're actually going?LOGAN: Yeah. I even bought this amazing pen that accentstext in neon colours.Veronica gasps exaggeratedly.VERONICA: A highlighter!LOGAN: Lots of advancements since the last time I buckled down. How 'boutyou?VERONICA: Uh, \"Violence in Early Adolescence.\"LOGAN: Ah. Need me to autograph your textbook?VERONICA: Thanks, but...Veronica trails off and points toher coffee.VERONICA: So, what do I owe you for the cup of joe?LOGAN: Nah, just pay-it-forward.Logan hesitates briefly before hurrying on nonchalantly.LOGAN:Hey, by the way, I'm throwing a birthday party for Parker this weekend. I was studying up; I watched My Super Sweet 16. Which reminds me, you don't knowwhere I can get a dozen eunuchs, do you?VERONICA: Not offhand. I could make some calls.Veronica fakes a laugh to keep up the mutually casual banter in whichthey are indulging.LOGAN: Hmm. Well, if you're not busy, I know she'd really like you to be there. We both would. Think about it. Logan walks away, leavingVeronica staring after him.INT - MARS INVESTIGATIONS - DAY.The fish are swimming happily in the tank in Keith's office. Veronica finishes feeding them andwalks back to Keith's desk. She checks some papers on which she is working. Footsteps sound in the outer office and an Arab woman, Sabirah Krimani, appearsat the open door.SABIRAH: Is Mr. Mars in?VERONICA: No, sorry. We've shut down for a while.The woman is disappointed.VERONICA: You own Babylon Gardens,don't you? She nods.VERONICA: My dad and I get takeout there all the time. I went to high school with your daughter. Sabirah Krimani steps forward,disinterested in small talk.SABIRAH: Our restaurant was vandalised. Rocks through our window. They spray-painted \"Terrorist\" on our door. Is there someonewho can help us? Veronica's eyes glint with determination and she smiles.VERONICA: I believe there is.INT - THE BREAK - NIGHT.The Break is a busy bar withloud music playing. The most prominent sign in the bar besides the one declaring the bars name is a notice declaring Thursday nights as \"College Night.\" A youngman is slumped at the bar counter. A hand pushes a pad of paper and a pen at him.MURPHY: Jimmy! The boy doesn't move. The bar owner, Mr. Murphy, slaps hisarm to rouse him.MURPHY: Hey, your tab. Hey, come on. Jimmy lifts his head up.MURPHY: Sign it and hit the road. Jimmy grabs the pen and pad and signs it. Hegrabs the nearly empty glass of beer in front of him and drains it as he slides off the barstool. He pushes himself away from the bar as Murphy collects thepad.EXT - THE BREAK - NIGHT.Jimmy staggers outside and crosses the road without looking. A car honks his horn, but Jimmy's slow and only action is to hold uphis hands in front of his face. The screen whitens in the glare of headlights to the sound of the sickening thud as the car hits him.EXT - BABYLON GARDENS -NIGHT.From inside the restaurant, Sabirah turns the sign on the door from \"Come in, we're open\" to \"Sorry, we're closed.\"VERONICA VOICEOVER: Tomorrow I'llset the cameras. Tonight it's the old-fashioned stake-out. Veronica is in her car, parked opposite the restaurant on the other side of the street, watching the frontof the building.VERONICA VOICEOVER: I took this case so I wouldn't have time to dwell on Parker's birthday party and now, here I am, sitting in a car withnothing but a whole lot of dwelling time on my hands. Veronica jumps slightly at the soft knock on the passenger side window made by the girl who has appearedat the side of the car. She looks over at the intruder and rolls down the window. The girl leans into the car.AMIRA: Veronica Mars? VERONICA: Amira. Long time,no see. AMIRA: Yeah. Like since my senior year, when you made my Pirate Points worth less. VERONICA: Wow. Good memory. The two girls share politesmiles.VERONICA: I heard you were at Hearst, but I haven't seen ya.AMIRA: Yeah, different circles, I guess. What are you doing out here?VERONICA: Your momhired me to watch the place in case there are any more...incidents.Amira laughs in disbelief.AMIRA: My mom hired you? Veronica nods.VERONICA: Yep.AMIRA:Have a blast.Amira backs away from the car and Veronica closes the window with the touch of a button.INT - THE BREAK - NIGHT.The bar is now empty but forMurphy, who is cashing up, and Keith who approaches the bar counter.KEITH: I just got off the phone with County. The kid's never going to walk again. Any ideawhat a nineteen-year-old was doing drinking in here?MURPHY: His ID said he was twenty-one.KEITH: Yeah, I saw it. It also said he was six three, two twenty,and blond.Murphy shrugs helplessly in a \"What you gonna do\" way. Keith is unimpressed.EXT - BABYLON GARDENS - NIGHT.The door of the restaurant burstsopen and a man comes out, followed by Sabirah. This is Rashad, Sabirah's husband and Amira's father. He waves at Veronica in her car across the street,beckoning her. As Veronica opens the door to get out, he shouts to her.RASHAD: You can go home now. We will pay for the time that you put in. Veronica stridestowards them..RASHAD: But I can handle it myself. It was a mistake for my wife to hire you.SABIRAH: It was not a mistake.Veronica stands before them, a littleuncomfortable as they argue.SABIRAH: You fall asleep out here in your car. You work too hard to be able to stay up all night.RASHAD: This is the Mars girl. Herfather is the acting sheriff. Have you thought about Nasir? Besides, this is no job for a girl, a classmate of Amira's.Amira is also outside, watching the debatequietly.SABIRAH: What choice did I have? I knew you would react this way. Surprise. In the street, there's a loud shout and the sound of a fast-approachingengine. Veronica looks up and to her left to see a yellow pick-up truck bearing down on them. A couple of the occupants are standing in the back, aiming at themwith sights that have lights on them. Operatic-like music swells. Shots are fired. A laser sight and a splurge of red appears on Rashad's chest as he staggers atthe impact. Sabirah screams. Amira turns to run but is hit in the back. Veronica dives out of the way of the speeding vehicle, landing hard on the pavement.Veronica looks down at her coat. She's been hit by yellow paint. She glares at the departing truck. Opening credits.INT - BABYLON GARDENS - NIGHT.Now insidethe restaurant, Veronica groans at the pain in her shoulder where she was hit by the paintball. Amira passes behind her, staring at her now-removed sweater inregret.AMIRA: Ack. Cashmere! Rashad is angry and pacing.RASHAD: Why is this happening?VERONICA: Not a great time to be Arab in America.RASHAD: Twentyyears we've been in this country! Huh?He picks up a small flag from a set on the counter and waves it..RASHAD: Twenty years, we've been Americans. I makeYankee Doodle Damn Dandee. He gestures wildly at a poster on the wall, under another American flag. It's an Uncle Sam poster with Rashad's face PhotoShoppedin under the message \"I want you for Babylon Garden's [sic].\"RASHAD: And now this?VERONICA: The license plate was removed, but I caught a glimpse of abumper sticker. It should be enough to go on.AMIRA: [sceptically] Really? Unless it was a \"Hello, my name is...\" sticker, how's that gonna do anygood?VERONICA: The person who owns that pick-up has a child who's an honour student at Neptune Middle. Do you want me to track him down or not?Rashadlooks over at his wife and daughter helplessly before looking back at Veronica.INT - MARS RESIDENCE - NIGHT.Veronica enters the apartment. Keith is sitting atthe kitchen counter reading a newspaper.KEITH: [with disgust] Look at these ads. Veronica shuts the door behind her and joins him at the counter.KEITH: \"Twofor Tuesday,\" \"It's Raining Gin\"... Keith is looking at a page of advertisements for bars. Genski's promises a \"Suds 'n Study Sat\" with Mexican bottles and draftpints at $2 together with a \"Bucket 'O Beer Bonanza\"! The Sand Bar uses George Washington's portrait to advertise its \"Dollar Shots Night.\"KEITH: \"Dollar ShotsNight\"...VERONICA: Let me change first. Man, you party hard.Veronica saunters off towards her room, ignorant or ignoring Keith's serious mood.KEITH: It's acollege paper. Only a quarter of the students at Hearst are twenty-one. Veronica turns back to him and sags against the counter.VERONICA: [tiredly] I'm not surewhere this rant is going.KEITH: A nineteen-year-old kid was drinking at a bar called The Break tonight with a gumball-level ID. He stumbled out and a car hit him.It looks like he'll never walk again.Keith returns his attention to the ads.KEITH: \"Bucket 'O Beer Bonanza\"... You have any idea if they're known for underagedrinking? Veronica laughs.VERONICA: Famous for is more like it. It's nicknamed The Cake for how easy it is to get in but most of the campus area bars are prettylax. Veronica clearly doesn't see this as any big deal but notes Keith glaring at her.VERONICA: From what I've heard, 'cause the only buckets I order come inoriginal and extra crispy. She heads for her bedroom. Keith stares after her.INT - SHERIFF'S DEPARTMENT - DAY.Deputy Sacks hands out sheets of paper to theother eleven deputies gathered in the main office. Keith is facing them, leaning back against the main counter.KEITH: I have it on good authority that The Breakand other campus-area bars on the list you're receiving are knowingly serving underage students. I want surprise checks in every one of these bars tonight."}
+{"doc_id":"doc_86","qid":"","text":"IMAGE OF THE FENDAHLBY: CHRIS BOUCHERPart ThreeRunning time: 24:22[SCENE_BREAK]LEELA: Doctor? What's the matter? Where is he?Doctor![SCENE_BREAK]LEELA: Doctor?DOCTOR: No, no.BOTH: Are you all right?LEELA: You are very heavy.DOCTOR: How did you find me?LEELA: Well, I justfelt something was wrong so I followed the feeling.DOCTOR: Yes.LEELA: I did!DOCTOR: Yes, of course you did.LEELA: Hey.DOCTOR: What?LEELA: Have I savedyour life?DOCTOR: Yes. I was careless. Come on, get up. Come on.DOCTOR: You're becoming a metracion generator, aren't you.LEELA: Is it alive?DOCTOR: Yes.It's using appropriate genetic material to recreate itself.LEELA: What is it?DOCTOR: Shush. I think it's the Fendahl. It grows and exists by death.LEELA: Mostcreatures do. That is what you told me.DOCTOR: The Fendahl absorbs the full spectrum of energy, what some people call a life force or soul. It eats lifeitself.LEELA: That must be what the old woman saw.DOCTOR: What?LEELA: Huge and dark, she said. Hungry for her soul.DOCTOR: And she's still alive?LEELA:Yes.DOCTOR: Take me to her.LEELA: What about that?DOCTOR: It's indestructible.LEELA: Well, what about the sonic time scan?DOCTOR: No, no, first thing'sfirst. Fendelman can operate that before the implosion for about a hundred hours, give or take a few minutes.LEELA: But he might already have used his hundredhours.DOCTOR: That's a risk I'll have to take. Come on, let's go.[SCENE_BREAK]COLBY: What's that for?FENDELMAN: That is a running log. Some of the scannercomponents have a limited life.COLBY: Ninety eight hours fifty six minutes forty three point seven seconds. You've been busy with this equipment.FENDELMAN: Ithas been a joy.COLBY: A labour of love, even. If man really is descended from aliens like this, why haven't we found evidence of it before?FENDELMAN: Becausewe were not looking.COLBY: Oh, come on.FENDELMAN: No, we were not looking for this kind of evidence, and without the scanner we would not have found this.Adam, in all research there must be a single discovery. What is it the Chinese say? That a journey of a thousand miles begins with but a single step.COLBY: Thisisn't a step, it's a jump. And to rather an illogical conclusion.FENDELMAN: You shall see. I have already reprogrammed the computer. This time it will give a visualinterpretation of what the scanner picks up. On this screen, Colby, you shall see the true genesis of homo sapiens.[SCENE_BREAK]STAEL: Thea.THEA:Max.STAEL: I'm glad you are awake, Thea. I want you to understand why I brought you here. You are the medium through which the ancient power of this placeis focused.THEA: What are you doing?STAEL: The scanner awoke the power. You know about the scanner, of course. I've been watching you for some time, yousee. Through you, I shall conjure and control the supreme power of the ancients.THEA: Oh, Max, don't be so ridiculous.STAEL: You will sleep now, while weprepare.THEA: Max! Max, you're a fool.STAEL: I shall be a god.[SCENE_BREAK]TYLER: Is this him? Is this your man? Oi, do you know what's going on? My Granin hell of a state.DOCTOR: Come on, Mrs Tyler, wake up.LEELA: Come on, old woman, wake up. Wake up now.TYLER: Oi, what do you think you're doing? Leaveher alone.DOCTOR: Do you know what's wrong with her?TYLER: Well, no, butDOCTOR: I do. Make some tea.TYLER: Tea?DOCTOR: Tea. She does drinktea?TYLER: Well, yeah.DOCTOR: Off you go and make some. Use the best china. Four cups laid out on a tray. Off you go. Oh, and some fruitcake.TYLER:Anything else?DOCTOR: No.DOCTOR: I love fruitcake. Come on, Mrs Tyler. This is no way to behave when you've got visitors. We've come for tea.LEELA: Andfruitcake.DOCTOR: And fruitcake.[SCENE_BREAK]FENDELMAN: There, Colby, do you see it?STAEL: Turn it off!FENDELMAN: Where have you been, Stael. Ineeded you here.STAEL: Turn off the scanner!COLBY: Doctor Fendelman, I think you have an industrial relations problem.FENDELMAN: What are youtalking?FENDELMAN: Have you lost your mind?STAEL: The scanner.FENDELMAN: No.COLBY: Relax, Max. I'll do it.FENDELMAN: Why, Stael?STAEL: I am not yetready. My followers are not yet here.COLBY: Followers? Well, that's impressive.STAEL: Shut up, Colby, or I will kill you now. Outside, both of you.FENDELMAN: Isthis some sort of joke, Max?COLBY: Oh no, Max isn't famous for his sense of humour, are you, Maxie?STAEL: I shall not warn you again, Colby.COLBY: You'regoing to kill us anyway, aren't you?STAEL: That depends on whether I enjoy having you worship me.[SCENE_BREAK]DOCTOR (OOV.): Then you mix the peanutswith the treacle[SCENE_BREAK]DOCTOR: Throw in the apple cores very hard, put the lot in a shallow tin and bake in a high oven for two weeks. (quietly) It's toolate. She's slipping away. Come on.MARTHA: Here, just a minute.DOCTOR: What is it?MARTHA: That ain't the way to make a fruitcake.DOCTOR: Mrs Tyler!(laughs)MARTHA: Here, well, if you'm going to stay, you may as well sit yourselves down. I'll have the tea ready in a jiffy.TYLER: It's here, Gran.MARTHA: Butthat ain't the best china, John. And there's fresh cake in the other tin. Why, I'm sorry. When did I ask you to tea? I ain't never seen you afore in my life.DOCTOR:You were slipping away, Mrs Tyler.MARTHA: Slipping away?DOCTOR: Yes, psychic shock. I needed something normal to bring you back to reality. How long haveyou lived here, Mrs Tyler?MARTHA: Why should I tell 'ee ought?DOCTOR: Tell her I'm trying to help.TYLER: He's only trying to help, Gran.MARTHA: You mindyour place, John.TYLER: Oh, now, no, we won't have none of those games. Now, Ted Moss and his cronies is up to something. It's something bad, and you'reinvolved. Now, you tell him what he want to know.MARTHA: I ain't involved in anything. I were consulted. A lot of people consult me. You know I've got thesecond sight.DOCTOR: Yes. So you've lived in this cottage all your life, haven't you, Mrs Tyler.MARTHA: Why should I tell 'ee ought?DOCTOR: Well, telepathy andprecognition are normal in anyone whose childhood was spent near a time fissure, like the one in the wood.TYLER: He's as bad as she is. Here, what's a timefissure?DOCTOR: It's a weakness in the fabric of space and time. Every haunted place has one, doesn't it? That's why they're haunted. It's a time distortion. Thisone must be very large. Large enough to have affected the place names round here. Like Fetchborough. Fetch. An apparition, hmm?MARTHA: How do 'ee know somuch?DOCTOR: I read a lot. What did you see in the wood, Mrs Tyler?MARTHA: I didn't see ought with my eyes.DOCTOR: Then with your mind. Did it have ahuman shape?MARTHA: No.DOCTOR: Mrs Tyler, I must know. Did it have a human shape?MARTHA: No, it didn't.DOCTOR: Mrs. Jack, do something for me.TYLER:If I can.DOCTOR: It could be dangerous.TYLER: How?DOCTOR: I want you to keep an eye on the Priory. I must know who comes and goes. We'll be backtomorrow sundown.TYLER: Right.MARTHA: Here, girl.LEELA: Yes?MARTHA: Take this. 'Tis a charm will protect 'ee.MARTHA: I cast it for Ted Moss, but 'tis too latefor him.LEELA: Thank you.MARTHA: John.TYLER: Yes, Gran?MARTHA: I seed that figure he spoke of in a dream. 'Twere a woman.[SCENE_BREAK]FENDELMAN:How long have you been planning this, whatever it is you're planning?STAEL: Ever since Mrs Tyler's visions began to come true.FENDELMAN: Visions? Oh, comenow, Max. You have a first class brain. Use it!COLBY: First class brain? He's an occult freak. One of those feeble inadequates who thinks he communes with thedevil. Oh, is that it, Max? Gonna summon up the devil, huh?STAEL: Unlike you, I am not a crude lout, Colby. The grimoires do not impress me. Mrs Tyler'sparanormal gifts and the race memory she draws on, these were the signposts on the road to power.COLBY: Spare us the after dinner speech.STAEL: I lookforward to your terror, Colby.FENDELMAN: I trusted him.COLBY: I didn't, and I'm going to end up just as dead as you, if that's any consolation.FENDELMAN: Butwhy is he doing this?COLBY: Fendelman, it doesn't matter why. What matters is he's doing it, to us, unless we can get free before his so-called followers arrive.Hey, what about the security guards?FENDELMAN: In my absence, they are to take their instructions from him.[SCENE_BREAK]DOCTOR: The fifth planet's ahundred and seven million miles out and twelve million years back, so we've no time to lose.LEELA: Do you think this thing, the Fendahl, comes from the fifthplanet?DOCTOR: Well, it came from it a long time ago, before your species evolved on Earth.LEELA: How did it travel?DOCTOR: What?LEELA: Well, you saidthere's only one. It could not build a spacecraft. How did it get to Earth?DOCTOR: Well, it. Well, it probably used that enormous stockpile of energy to projectitself across space.LEELA: Oh, you mean the way lightning travels.DOCTOR: No. Yes, well, something like that. Humans speak of astral projection, travellingpsychically to different planets. That could be a race memory.LEELA: Race memory?DOCTOR: Yes. You see, sometimes people dream they've been to otherplaces. It's, er, déjà vu. No? Leela is sleeping on the console room floor. She wakes and has her knife ready when the Doctor enters.)DOCTOR: No, no, no. Put itaway, put it away. It's a good thing your tribe never developed guns. They'd have woken with a start one morning and wiped themselves out.LEELA: There wassomething chasing me. I, I couldn't move. Just a dream, I suppose.LEELA: Hey, what's wrong?DOCTOR: I've been checking the old data banks. There's no recordat all of a fifth planet.LEELA: Does that matter?DOCTOR: Well of course it matters! We Time Lords are a very meticulous people. You have to be when you live aslong as we do. All information is recorded.LEELA: Perhaps there wasn't any.DOCTOR: What?LEELA: Information.DOCTOR: What?DOCTOR: Of course. That's whythere's no record of the planet.LEELA: Why?DOCTOR: That impression's produced by a time loop.LEELA: Time loop?DOCTOR: Yes, a time loop. All memory of aplanet's been erased by a circle of time, making data and its records invisible. Only a Time Lord could do that.LEELA: That's very clever.DOCTOR: That's criminal!We've been on a wild goose chase. We'd better get back. Let's hope we're not too far round that time loop.LEELA: Is there anything I can do?DOCTOR: Yes. No,no. I'll just set the coordinates and we're on our way.[SCENE_BREAK]MARTHA: The Tower, struck by lightning.TYLER: Still no sign of him. Sundown, hesaid.MARTHA: I didn't reckon he'd be reliable. Never trust a man as wears a hat.TYLER: Well, Granddad always wore one.MARTHA: And a wicked old devil hewere, too.TYLER: I wear one.MARTHA: Ah, but I give it to 'ee. That's different. Here, put this in your pocket.TYLER: More charms! Look, I'm not one of yourpunters, Gran.MARTHA: But 'tis Lammas Eve.TYLER: Look, you know that I don't believe in all that.MARTHA: Most round here do. And when most believe, that domake it true.TYLER: Most people used to believe that the Earth was flat, but it was still round.MARTHA: Ah ha, but they behaved as if 'twere flat. Here, just forme.TYLER: All right, then, if it makes you happy.MARTHA: Oh, I want they two cartridges.TYLER: What, you going rabbiting, Gran?MARTHA: I'm going to fill 'em"}
+{"doc_id":"doc_87","qid":"","text":"The Space Pirates5:15pm - 5:40pm[SCENE_BREAK]1: SPACE(A huge beacon - a large decagonal structure made of eight pre-fabricated sections, a dockingstation and a power shield section - hangs in the blackness and silence of space. The words on the side of the structure designate it as \"ALPHA 1\". A smallerblack, pointed ship moves up next to and docks with the beacon.)[SCENE_BREAK]2: INT. SPACE BEACON ALPHA ONE. AIRLOCK(The pressure gauge in the airlockreaches normal and the doorway from the new ship buzzes opens to admit three men dressed in helmets and space armour. They carry various pieces ofequipment. One of them is an older moustached man - DERVISH. He is dressed in a uniform and helmet of the same ilk. He watches as one of the other two menmoves to the doorway which leads into the beacon itself and starts to open it.)[SCENE_BREAK]3: SPACE(Soon, outside the beacon, two men in helmetedspacesuits traverse along the hull. As they do so, they attach a small magnetic devices to the outside of the beacon along with a propulsionunit.)[SCENE_BREAK]4: INT. SPACE BEACON ALPHA ONE. PASSAGEWAY(CAVEN, the leader of the raiders, walks into the beacon from the airlock. He wears aribbed and armoured uniform with a helmet which covers most of his head but leaves his nose, mouth and cold eyes exposed.)CAVEN: Dervish... (Shouts.)Dervish!(DERVISH walks up to him from within the beacon.)DERVISH: We're nearly finished.CAVEN: About time.DERVISH: Our men are just coming. We'lldetonate by radio beam.CAVEN: Right, hurry it up.(The other two men return and they all re-enter their ship. The door to the airlock buzzes closed behindthem.)[SCENE_BREAK]5: SPACE(The ship moves away from the beacon. A radio signal transmits from the ship and, seconds later, a huge explosion takes placethat breaks the beacon up into its component sections.)[SCENE_BREAK]6: SPACE(A V-Ship, a large military cruiser with the registration number V41-LO, movesthrough space. It is flat with an small Eagle design on the front of the ship.)[SCENE_BREAK]7: INT. V-SHIP FLIGHT DECK(Inside the ship, the flight deck is on twolevels. The upper level, whose front panel is decorated also with an Eagle insignia, is the command area whilst the flight technicians sit on the lower level. A largemonitor screen dominates one of the walls of the lower level. All the occupants of the ship wear space-age military uniforms consisting of silvery suits withmetallic interlocked diamond collar insignia. MAJOR IAN WARNE, the young American second in command, walks into the room and past TECHNICIAN PENN,another young man with dark hair and a moustache, on the lower level.)MAJOR IAN WARNE: Everything all right, Penn?TECHNICIAN PENN: Fine, sir.MAJOR IANWARNE: Fine.(WARNE makes his way up to the upper level by way of some steps at the back and approaches an older grey-haired man who sits in a commandchair overlooking the flight deck. The dais in front of the chair is covered by a large astral grid-map. At the back of the command level is a small monitorscreen.)MAJOR IAN WARNE: You sent for me, sir?(GENERAL HERMACK looks up and speaks in a rich clipped tone.)GENERAL HERMACK: Ah yes. Ian, sitdown.(WARNE sits in the chair next to him.)MAJOR IAN WARNE: Thank you.GENERAL HERMACK: Any information on that beacon signal yet?MAJOR IAN WARNE:No sir. There's been no response to the secondary emergency circuits either.GENERAL HERMACK: No, there wouldn't be.MAJOR IAN WARNE: Sir?GENERALHERMACK: What do you think has happened to that beacon?MAJOR IAN WARNE: Well, it's difficult to say, sir. It could be a failure in the solar energystore.GENERAL HERMACK: No, the emergency power would operate and we'd get a May-Day signal.MAJOR IAN WARNE: Well?(WARNE considers, then...)MAJORIAN WARNE: Oh, you don't think this is a mechanical failure, sir?GENERAL HERMACK: No, no, I don't. These beacons are practically fool proof.MAJOR IANWARNE: You got any ideas?GENERAL HERMACK: Yes, I have. And I must be right - Argonite! These beacons are almost entirely constructed of Argonite.MAJORIAN WARNE: Of course, sir! What are you going to do about it?(HERMACK turns to the controls in front of his chair and switches on the ship wide communications.He picks up a microphone and speaks into it as all the personnel on the flight deck stop and listen to the echoing message...)GENERAL HERMACK: (Intomicrophone.) Attention all personnel. This is General Hermack. Your V-Ship is now fifty days and many billions of miles out from Earth. You're entering the fourthsector of our galaxy. In this sector for some time now, Earth Government has been aware that a highly organised gang of criminals have been roaming the spaceways, and preying upon defenceless cargo ships. The main target of these criminals is Argonite, the most valuable mineral known to man, and so far only foundon the planets of the Fourth Sector. A government space beacon marking the approaches to the planet New Sarum has ceased transmitting its navigation signal.These beacons, as you know, are constructed of Argonite. It is my belief that the criminals are attacking the government navigation beacons and plundering theArgonite. There can be no other explanation for its failure. This being the case, I have decided to...abandon our present mission and to investigate the missingbeacon in the New Sarum sector. I want all section commanders on the bridge at twenty hundred hours, sector four, solar time. Resume normal duties untilthen.(He switches off and turns back to WARNE who gestures to the grid map.)MAJOR IAN WARNE: There are eighteen space beacons cra...scattered across thissector, sir.GENERAL HERMACK: Seventeen, Ian, until the one at New Sarum's replaced.MAJOR IAN WARNE: Seventeen. And they're millions of milesapart.GENERAL HERMACK: Mmm hmm.MAJOR IAN WARNE: So how can we be sure which one the pirates are likely to attack next?GENERAL HERMACK: (Smiles.)Ha ha! We can't.MAJOR IAN WARNE: Well exactly. The odds are seventeen to one against us being in the right place at the right time.GENERAL HERMACK: Ah!With our speed, I think we can cut those odds a bit.(He also points to the map.)GENERAL HERMACK: Now, there are four beacons in the Pliny Solar System here.That is where we'll start our patrol.[SCENE_BREAK]8: SPACE(Beacon \"ALPHA 7\" is as seemingly as peaceful in the blackness of space as its recently destroyedcounterpart. Again, the sleek, pointed ship docks with the structure.)[SCENE_BREAK]9: INT. SPACE BEACON ALPHA SEVEN. AIRLOCK(Again the airlock gaugerises and the door to the newly arrived ship buzzes open. CAVEN and DERVISH both enter the airlock followed by the two space-suited pirates who again carrytheir equipment and start to ready it. CAVEN watches the two men impatiently.)CAVEN: (Urgently.) Come on! Speed it up.DERVISH: Caven, I don't likethis.CAVEN: Nobody's asking you to like it. Just get those scissor charges laid into position.DERVISH: If we attack any more beacons we'll have the whole of theInterstella Space Corps in this sector.CAVEN: Look. As of this moment, the Space Corps has its hands full of trouble. Brush fire wars in three different sectors .There's never been a better time for getting rich.(DERVISH opens the door to the beacon.)DERVISH: Right lads. Now we'll lay four charges along the main axle,then we'll attach booster charges around the hull. Okay.(The two pirates move into the beacon. DERVISH is about to follow but CAVEN stops him.)CAVEN: You'rea good engineer, Dervish. Just do your job and leave the Space Corps to me, eh?DERVISH: Okay, but I worked ten years for Earth Government.CAVEN: Youshould've stayed with them. They'd have given you a pension.(CAVEN laughs.)DERVISH: Attacking Government property is one crime they make sure neverpays.CAVEN: Sixteen hundred tons of pure Argonite pays all right, Dervish. To me this is like a floating bank.(CAVEN laughs again and the two men step into thebeacon.)[SCENE_BREAK]10: SPACE(The two space-suited pirates float along the outside of Beacon Alpha Seven, again placing charges and a propulsionunit.)[SCENE_BREAK]11: INT. V-SHIP FLIGHT DECK(WARNE is on the lower command deck and stops before the station of TECHNICIAN PENN.)MAJOR IANWARNE: What range are the forward scanners set for, Penn?TECHNICIAN PENN: Fifteen hundred, sir.MAJOR IAN WARNE: Well, reset them at, er, two thousand.Right?TECHNICIAN PENN: Very good, sir.MAJOR IAN WARNE: And keep a sharp eye on that screen. There are lots of rogue asteroids in the PlinySystem.TECHNICIAN PENN: Sir.(WARNE steps up to the upper deck where HERMACK is giving instructions to another part of the V-Ship through the tannoysystem.)GENERAL HERMACK: (Into microphone.) Oh and one thing more. Make sure the Minnow ships are fully fuelled, and put the detonation heads on theirmissiles. Report back as soon as that is done.(HERMACK finishes giving his instructions.)MAJOR IAN WARNE: We're approaching the Pliny system now, sir. We'vemade scanner contact with the four beacons. They're functioning normally.GENERAL HERMACK: Ah good.(He looks over the astral chart and indicates one pointon it.)GENERAL HERMACK: Now this - the planet Ta here - is the main one in the system. We'll orbit here for a few weeks and see what happens.MAJOR IANWARNE: So that's Ta, huh?GENERAL HERMACK: Ah, you've heard of it?MAJOR IAN WARNE: Yeah, that's the headquarters of the Issigri Mining Corporation. Themost productive planet in the entire galaxy.GENERAL HERMACK: Hm hmm. Madeleine Issigri has built quite a place there. Which is one reason for basingourselves in the Pliny system.MAJOR IAN WARNE: Why's that a reason, sir?GENERAL HERMACK: Well, if we're out here long, Ian, the men will need somewherefor rest and recreation. Deep space sickness is the one thing we can't chance.(PENN calls up from his lower deck station.)TECHNICIAN PENN: MajorWarne?MAJOR IAN WARNE: What is it Penn?TECHNICIAN PENN: I've got a contact sir. At...(He checks the radar scanner.)TECHNICIAN PENN: Beacon AlphaSeven.MAJOR IAN WARNE: Well hold on it. Any identification?TECHNICIAN PENN: No sir. Too far away.(HERMACK studies PENN'S screen from the upperlevel.)GENERAL HERMACK: Ah, it's a space ship right enough. Check central flight information, Ian, and see if anyone should be out there.MAJOR IAN WARNE:Right sir.(WARNE walks off to check and HERMACK shouts our an order to his crew.)GENERAL HERMACK: Change course for Beacon Alpha Seven.(He then speaksthrough the ship's tannoy system.)GENERAL HERMACK: (Into microphone.) Bridge to Power Room, I want ten seconds main boost.(The rising sound of theengines echoes through the room. WARNE returns with his report.)MAJOR IAN WARNE: According to flight information, sir, there should be no ships in the areawithin the next seventeen days.GENERAL HERMACK: Ah, well whoever they are they've not yet reported to central flight information.MAJOR IAN WARNE: Do youthink it's the Pirates?GENERAL HERMACK: It could be. Though some of these commercial flights don't always like to report their whereabouts, er, for reasons of"}
+{"doc_id":"doc_88","qid":"","text":"EXT. CITY STREET, NIGHTStreetlights flicker and a few people mill about the park across from Sanderson & Grainger department store.INT. STORE, LADIESDEPARTMENT, NIGHTA young clerk, KELLY, and her supervisor, SHONA, are serving the last customer of the night.SHONA: Thank you. (gives customer hisbag)KELLY: I better cash up then? S'pose John-Joe can just wait for me? (doesn't move)SHONA: No, I'll do it, you head off.The lights in the store flicker.KELLY:When's the council going to fix this? Last night my telly went off in the middle of Top Model.SHONA: John-Joe's waiting. I'll do the changing rooms, too.KELLY:Oh, thanks, Shona.KELLY leaves and SHONA looks at the lights nervously.INT. OWENS HOUSE, FRONT HALL, NIGHTThe hall light flickers as CRAIG and SOPHIEcome down the stairs. SOPHIE has a coat on.SOPHIE: There's a list on the fridge.CRAIG: I saw it.SOPHIE: And I've labelled the food And sort of numberedit.CRAIG: Sophie, you don't need to number food.SOPHIE: It's just a suggestion. Also, my mum might phone.CRAIG: Might?SOPHIE: And your Mum. And myDad. And you know, just some people.CRAIG: I can cope on my own! Now, please, go and have a rest. You need it. I love you.SOPHIE: I love you, too. (hugshim) And thank you for this. And I do know you can cope on your own. And I may have drawn some arrows in the fridge.CRAIG: You do really have to go.CRAIGpicks up her bag and walks her outside.INT. STORE, LADIES CHANGING ROOMS, NIGHTSHONA walks into the changing rooms and sees clothes strewn about thefloor as the lights continue to flicker.SHONA: Kelly!SHONA bends over to start picking up the clothes. The curtain over the last room waves.SHONA: Hello? Sorry,we need to close up? Two minutes, OK? (continues to pick up clothes)INT. OWENS HOUSE, KITCHEN, NIGHTCRAIG is sitting at the table talking on thephone.CRAIG: Mum, it's not just you. I'm phoning everybody. I'm texting the world. Craig Owens can do it on his own. No-one is coming to help me! (knock onthe front door) Mum, I'm going to have to call you back. (shuts off the phone and rubs his eyes as the knocking continues) I'm coping, I'm coping on my own...I'm coping on my own! (walks to the front door)EXT. OWENS HOUSE, FRONT DOOR, NIGHTCRAIG: (opens door) I'm coping on my own!DOCTOR: Hello, Craig!I'm back!CRAIG: She didn't? How could she phone you?DOCTOR: How could who phone me? Nobody phoned me, I'm just here. (peers inside) You'veredecorated! I don't like it.CRAIG: It's a different house, we moved.DOCTOR: Yes, that's it.CRAIG: Doctor, what are you doing here?DOCTOR: Social call. Thoughtit was about time I tried one out. How are you?CRAIG: I'm fine.DOCTOR: This is the bit where I say. \"I'm fine, too\" isn't it? I'm fine, too. Good. Love to Sophie,bye!The DOCTOR turns and walks away but stops when the light at the front door begins to flicker.DOCTOR: Something's wrong! (goes inside)CRAIG shuts thedoor.INT. OWENS HOUSE, HALL, NIGHTThe DOCTOR is scanning with the sonic. He then goes upstairs.DOCTOR: On your own, you said. But you're not... you'renot on your own!CRAIG: (follows) Just, shhh!DOCTOR: Increased sulphur emissions. And look at the state of this place. What are you not telling me?CRAIG:Doctor, please!DOCTOR: Shhh!CRAIG: No, you shhh!DOCTOR: Shhh!CRAIG: Shhh!DOCTOR: No, you shhh! (goes to bedroom door)CRAIG: Doctor!INT. STORE,LADIES CHANGING ROOMS, NIGHTSHONA is still cleaning up when she sees the shadow of a pair of legs appear in the last changing room.SHONA: (walks closer)Hello, who's in there?INT. OWENS HOUSE, HALL, NIGHTThe DOCTOR opens the bedroom door and rushes in.INT. OWENS HOUSE, ALFIE'S ROOM, NIGHTWe seethe room is a nursery with stuffed toys and cloth hangings on the walls. The DOCTOR doesn't see any of this.DOCTOR: Whatever you are, get off thisplanet!ALFIE starts to cry and CRAIG goes over to the crib.CRAIG: Oh, you've woken him!INT. STORE, LADIES CHANGING ROOMS, NIGHTSHONA stops justoutside the curtain.SHONA: Hello? You all right?SHONA opens the curtain and screams. Inside is a CYBERMAN, albeit one that is dirty andscratched.[SCENE_BREAK]Matt Smith Karen Gillan Arthur Darvill\"Closing Time\" By Gareth RobertsProducer Marcus WilsonDirector SteveHughes[SCENE_BREAK]INT. OWENS HOUSE, KITCHEN, NIGHTThe DOCTOR closes the freezer door and turns to CRAIGDOCTOR: So when you say on yourown...CRAIG: (holding ALFIE) Yes, I meant on my own with the baby, yes. Cos no-one thinks I can cope on my own. Which is so unfair. Because...I can't cope onmy own with him! I can't. He just cries. All the time. I mean, do they have off-switches?DOCTOR: (sits at table and flips through a pregnancy book) Humanbeings. No. I've checked.CRAIG: (puts ALFIE in high chair) No, babies.DOCTOR: Same difference. Sometimes this works though. (puts forefinger in front of hislips) Ssh.ALFIE quiets.CRAIG: Can you teach me to do that?DOCTOR: (now looking at baby books) Probably not.CRAIG: Oh, please come on, I need something,I'm rubbish at this.DOCTOR: At what?CRAIG: Being a dad. You read all the books, they tell you you'll know what to do if you follow your instinct. I have noinstinct! That's what this weekend's about, trying to prove to people I can do this one thing well.DOCTOR: (laughs at the book and closes it) So what did you callhim? Will I blush?CRAIG: No, we didn't call him \"the Doctor\"!DOCTOR: No, I didn't think you would.CRAIG: He's called Alfie. What are you doing here anyway?AsCRAIG prepares tea, the DOCTOR leans over and listens to ALFIE.DOCTOR: Yes, he likes that, Alfie. Though personally he prefers to be called Stormageddon,Dark Lord of All.CRAIG: Sorry, what?DOCTOR: That's what he calls himself.CRAIG: How do you know that?DOCTOR: I speak baby. (stands)CRAIG: Of course youdo! I don't even know when his nappy needs changing. (sits) I'm the one supposed to be his dad.DOCTOR: Oh, yeah. He's wondering where his mum is?(massages CRAIG'S shoulders) Where is Sophie?CRAIG: Gone away with Melina for the weekend. Needs a rest.DOCTOR: (to ALFIE) No, he's your dad, you can'tjust call him 'Not-Mum'.CRAIG: Not-Mum?DOCTOR: That's you. Also, Not Mum, that's me. And everybody else is...(leans in front of ALFIE) \"peasants.\" That's abit unfortunate. (tickles ALFIE's head)CRAIG: What are you here for?DOCTOR: I just popped in to say hello. (almost puts a piece of chalk in his mouth)CRAIG: Ichecked down stairs when I moved in. And next door, both sides, they're humans. Is it the fridge? Are there aliens in my fridge?DOCTOR: I just want to see you,Craig! Cross my hearts. (each hand crosses a heart) I've been knocking about on my own. A farewell tour. One last thing, popping in to see you, then I'm off tothe Alignment of Exedor.CRAIG: The Alignment of Exedor?DOCTOR: 17 galaxies in perfect unison. Meant to be spectacular, I can't miss it. Literally can't. It'slocked in a time stasis field, I get one crack at flying my TARDIS straight into it, if I get my dates right. (looks at newspaper) Which I have.CRAIG: Soundsnice.DOCTOR: (picks up the paper again) So this is me popping in and popping out again. Just being social, just having a laugh. (slowly) Never mind that.CRAIG:Never mind what?DOCTOR: Nothing.CRAIG: (stands) No, you noticed something. You've got your noticing face on. I have nightmares about that face.TheDOCTOR puts a hand over his face and spins around as CRAIG talks.DOCTOR: Nope, given up all that, done with noticing things. (lights flicker) Didn't even noticethat, for example. Got to go. Good seeing you, Craig. (shakes CRAIG'S hand) Goodbye, Stormageddon. (air kisses ALFIE on each cheek)ALFIE starts fussing asthe DOCTOR walks away.CRAIG: No, no, wait, wait, could you do the shushing thing? Shhh.DOCTOR: No, it only works once, and only on life forms withunderdeveloped brains.CRAIG: Hang on, you said farewell tour? What do you mean, farewell?DOCTOR: Ssh...CRAIG can't speak.EXT. OWENS HOUSE, STREET,NIGHTThe DOCTOR walks down the street talking to himself.DOCTOR: Just go. Stop noticing. Just go! Stop noticing! Just go. Stop noticing. Just go. Stop it! (seesthe streetlight flicker) Am I noticing? No, no I am not. And what I am not doing is scanning for electrical fluctuations. (scans with sonic) Oh, shut up, you! I'm justdropping in on a friend, the last thing I need right no is a patina of teleport energy, I'm going. Going! Not staying. Going. I am through saving them. (rests headon TARDIS door) I'm going away now.INT. STORE, TOY DEPARTMENT, DAYThe DOCTOR is demonstrating a remote control helicopter for a group ofchildren.DOCTOR: It goes up-tiddly up, it goes down-tiddly down-down! For only £49.99, which I think is a bit steep but then again it's your parents' cash andthey'll only waste it on boring stuff like lamps and vegetables, yawn!CRAIG enters pushing ALFIE in a stroller. He's on his mobile with SOPHIE.CRAIG: Yeah,Soph... Just enjoy your holiday! Yeah, coping.DOCTOR: Nobody panic, but I appear to be losing control.CRAIG: Yeah, love you.The helicopter comes down behindCRAIG. The DOCTOR sits on the display table.DOCTOR: Oops. (kneels on the floor and gathers the children around him) Guys, guys, ladies and gentlemen, whileI deal with this awkward moment you go and find your parents/guardians! Try in lamps! (gives one girl a high five before they leave) Craig!CRAIG: What the hellare you doing here?DOCTOR: I'm the Doctor, I work in a shop now. Here to help. They gave me a badge (points) with my name on in case I forget who I am,very thoughtful, as that does happen.CRAIG: You were leaving... the alignment of Exeter, what about that? One chance to see it, you said.DOCTOR: Well, I wason my way, saw a shop, got a job, you got to live in the moment, Craig. (turns away) Mind Yappy.CRAIG: What?DOCTOR: Yappy. The robot dog. Not so much funas I remember. (strokes YAPPY) You look awful!CRAIG: I haven't slept, have I? I still can't stop him crying. I even tried singing to him last night.DOCTOR: Yeah,he did mention that...he thought you were crying, too. He didn't get a wink. Yappy, say goodbye to Craig and Stormageddon. (pretends to be the dog) \"Goodbye,Craig, goodbye, Stormageddon.\"As the DOCTOR sets Yappy down, something whizzes across the floor at the other end of the department.DOCTOR: What wasthat? (heads down the aisle)CRAIG: You're here for a reason, aren't you? You noticed something, and you're investigating it.The DOCTOR gets down on his handsand knees.CRAIG: Because it's you, it's going to be dangerous and alien.DOCTOR: (stands) It might not be.CRAIG: Doctor, I live here, I need to know!DOCTOR:No, you don't.CRAIG: My baby lives here, my son.DOCTOR: Sheila Clark, went missing Tuesday. Atif Ghosh, last seen Friday. Tom Luker, last seenSunday.CRAIG: (picks up newspaper) Why's that not on the front page?DOCTOR: Page one has an exclusive on Nina, a local girl who got kicked off Britain's GotTalent. These people are on pages seven, 19, 22. (pushes the stroller) No-one's noticed yet, they're far too excited about Nina's emotional journey, which infairness, is quite inspiring.CRAIG: And what else?INT. STORE, CHILDREN'S, DAYDOCTOR: These funny old power fluctuations... which just happen to coincide"}
+{"doc_id":"doc_89","qid":"","text":"[Salvatore's House](Elena and Stefan are training)Stefan: And?Elena: That did nothing for me. How was it for you?Stefan: Again. Good. Now, focus on letting itgoElena: Or we could skip the sublimating part and you can tell me where she is so that I can rip her head offStefan: I don't know where Katherine is and even ifI did, I wouldn't tell youElena: Stefan, you're the one who told me to channel all of my emotions into one single feeling.Stefan: I realize that. I just figured itwould be love, or hope, or compassion. Not unwavering hatred for a ruthless vampire that's 500 years older than you. Give me 50 pull-upsElena: You wanted tokill Klaus when you got your emotions backStefan: I know and I couldn'tElena: You don't think I can kill Katherine?Stefan: I don't think you really want toElena:Maybe you're right. Maybe I just want to feel the warmth of her chest cavity as I rip out her heart and watch her face as she realizes I took it from her. Nah, I justwant to kill her. It's that simple. I'm gonna go shower[Mystic Grill](Rebekah is at the bar with Matt)Rebekah: So, let me get this straight. You send out a notice ofyour impending graduation, and people feel obliged to give you money?Matt: Pretty muchRebekah: Sounds brilliant. Why aren't you participating?Matt: I don'thave a whole lot of familyRebekah: Well, that makes two of us. Besides, I don't think it was my mother's dream to see me in a cap and gown. How about yourmom?Matt: Let's just say I'm not holding my breath for a graduation check(Caroline and Elena are sitting on a table outside)Caroline: Stamp, please. ThankyouElena: You don't have to pretend to be nice to me, Caroline. I know this is just a ploy to keep me distractedCaroline: You're done? I'm only on my secondbatchElena: We have family friends in Denver. Other than that, no one cares that I'm graduating. And to be honest, neither do ICaroline: You know, that's howyou feel now, but once you get through this hating Katherine phase...Elena: Wait. Do you know where Katherine is?Caroline: No. Why would I know where sheis?Elena: Yeah, but Caroline, if you did, you would tell me, right?Caroline: Elena, you're obsessingElena: Caroline, listen to me. If you know where Katherine is,you have to tell meCaroline: I don't. Elena... Chill.[The Woods](Bonnie and Katherine are in the woods)Katherine: Hello! Could you be any creepier? Why are wehere?Bonnie: You want me to make you truly immortal so that nothing can kill you. To do that, I need to talk to Qetsiyah, which means I need to lower the veil tothe other sideKatherine: That still doesn't explain why you made me trudge through mud in $500 bootsBonnie: A few miles that way, 12 hybrids were killed at theLockwood cellar. And a few Miles that way, 12 humans died at the Young farm. And this is the site where 12 witches were killedKatherine: 13 if you don't get tothe pointBonnie: It's the expression triangle. I need to charge all 3 points and channel the mystical energy from Silas's tombstone. Once that happens, I can dropthe veil inside the 3 points and just long enough to get what I needKatherine: And what exactly do you need?Bonnie: Silas has done nothing but torment myfriends. Now he wants to unleash hell on earth. He's evil. In 2,000 years, only one person has been able to put him downKatherine: Let me guess.QetsiyahBonnie: If I can contact her, I can ask her how to do it. Now hand me the rockKatherine: You're gonna flood Mystic Falls with dead, supernaturalcreatures so that you can ask a 2,000-year-old witch not one but two favors? Ha! I think I'll take my business elsewhere(She can't leave)Katherine: What thehell?Bonnie: I linked us. Which means you're stuck with me for the day. Silas can be anyone. If he gets in your head and figures out I don't need a full moon todo the spell, it's over. Now, about that tombstone[Mystic Falls' Hospital](Stefan rejoins Damon)Damon: You just missed the donutsStefan: Yeah, I was with Elenaburning off a few thousand hate-filled calories. What happened to you helping me?Damon: Help? Yes. Prolonging the inevitable, waste of my timeStefan: Hmm.You're avoiding. How unexpectedDamon: I'm not avoiding. Elena's only goal is to end Katherine's life, and that's not gonna just magically disappear with Pilatesand a juice cleanse(Liz rejoins them)Liz: Hey, guys. Thanks for comingDamon: Hey. Why were we invited?Liz: Well, the hospital has kept the blood banks emptyever since they were raided last month. We thought at the very least, it would help keep the vampire population awayStefan: And it didn't?Liz: See foryourself(They go to a room)Liz: There were 4 other victims in this wing. Each one almost completely drained of blood. You think it's Silas?Damon: Or a doctorwith some very questionable bedside mannerLiz: But 5 victims? It's a lot of blood and it's not like he can take it with himStefan: Unless he's fueling up forsomething bigLiz: Big? Any details would be helpful, considering I'm dealing with 5 grieving families out there and a psychic killer on the looseDamon: Silas wantsBonnie to do a spell to drop the veil from the other sideLiz: I have no idea what that meansDamon: It's an invisible wall that separates our plane from the planeof all dead supernatural creatures. Now, Silas wants that to go away so he can take the cure, die, and not have to spend an eternity in a supernaturalpurgatoryLiz: And when do you suppose Silas plans on doing this?Damon: Next full moon. Tomorrow night[Old Lockwood Cellar](Bonnie and Katherinearrive)Katherine: Ugh. That old Lockwood cellar reeks of wet dog. I'll be staying up hereBonnie: You obviously don't know how this works(They enter)Katherine:You realize I'm not just some wandering child in a supermarket, right? I'm a vampire that can kill youBonnie: Whatever happens to me happens to you. Do youreally think I want you here?Katherine: And what is here? Oh. Right. 12 dead hybrids. This should be good[Mystic Grill](Caroline, Rebekah and Matt are at thebar)Caroline: Is it supposed to rain tonight?Rebekah: Do I look like a meteorologist?(They look at Elena)Caroline: Someone needs to do something, before sheexplodesRebekah: I got this(She rejoins Elena)Rebekah: Drink. You're putting everyone on edge. So. What's the deal? I'm new to this whole emotional switchsituationElena: It's not complicated. See that dart board? All I can picture is Katherine's faceRebekah: So, your emotions are on, they're just dialed to rageElena:Look, Rebekah, I get that we had our Thelma and Louise thing back when I had my humanity off, but let me make one thing clear... We're not friends(Carolinerejoins them)Caroline: What about us? Are we still friends? All those things you said when your humanity was off, is that how you really feel?Elena: Caroline, Ireally don't feel like going down memory laneCaroline: Well, what about when you said, and I quote, \"you're a repulsive, blood-sucking, control freak monster\"?Did you really mean those things?Elena: If you're waiting for an apology, you're not gonna get one. I can't let myself feel bad, because if I feel bad, then I feeleverything, and... We've all seen how well I handle that(The power's out. They go outside)Rebekah: The power's completely outCaroline: I'll call my mom! Maybeshe knows what's going on[The Young Farm]Bonnie: 12 humans burned to death here. They died in vain for SilasKatherine: What did you do?Bonnie: I linked thefinal hot spot. It's time to drop the veil[Mystic Falls' Hospital](Damon, Liz and Stefan are looking at a map)Liz: The power outages originated at 3 different placesin town... the Young farm, the Lockwood estate, and a blown transformer off old Miller RoadStefan: These are the locations of the Silas massacres. It's theexpression triangnle. Bonnie must be doing the spellDamon: So much for needing a full moonLiz: I know something else. One of the power company guys has adaughter who goes to school with Bonnie. He saw her leaving the Young farm an hour ago with ElenaStefan: But Caroline's with ElenaDamon: Looks like BonnieBennett has a new doppelganger friendLiz: So, how do we find them?Stefan: Well, they must be somewhere in the triangle. My guess is right in themiddleDamon: And where exactly might that be?[Mystic Falls' High School](Damon and Stefan arrive. Elena rejoins them)Stefan: Where's Caroline?Elena: Insidelooking for Bonnie. I think we should split up. Damon and I can look outside while you and Caroline look insideStefan: All right. Let me know if you findanything(He leaves)Damon: Someone's an eager beaverElena: Where's Katherine?Damon: Now I get it. One brother shoots you down, you ask the other one.GreatElena: You know, don't you?Damon: Do you not notice all the end of the world crap going on right now?Elena: Tell me that you don't want her dead. Aftereverything that she did to you. Stringing you along for hundreds of yearsDamon: Elena, we don't need to list all the reasons that I hate Katherine. What we needto do is find Bonnie. Come onElena: I don't care about Bonnie. I care about killing KatherineDamon: They're together. Ok? So maybe you should do a little lessthreatening and a little more looking. Come on(Stefan rejoins Caroline in the cafeteria)Stefan: Hey. There you are. Any luck?Caroline: I searched the wholeschool. She should be here(They hear a noise)Caroline: What was that?(They go in the cold room)Stefan: Hmm. Ice is meltingCaroline: It just doesn't make anysense. This is the center of the triangle. If she's gonna do the spell, she has to do it here. This is where they should beStefan: Actually, I think we're in the rightplace. Just the wrong elevation(Bonnie and Katherine are in the caves below the school)Bonnie: Ok. This is the center of the triangle. I'm ready. Now give me thetombstoneKatherine: The fact that this spell hinges on some crappy hunk of blood-rock does little to inspire my confidenceBonnie: It's filled with the calcifiedblood of Qetsiyah, one of the strongest witches in the world(Damon is on the phone with Stefan)Damon: If I remember correctly, I think there's an entrance inthe basementStefan: Where's the basement?Elena: Off the boiler roomDamon: You hear that? I'll meet you there(He hangs up and looks at Elena)Damon: You'regonna have to stay hereElena: Are you kidding me?Damon: We really need to stop Bonnie from doing this spell, and if you get all murderous and screw itup...Elena: Is that really the reason?Damon: As self-righteous as Stefan is, he has a point. Behind your rage, there is a tidal wave of feelings. All of your guilt, allyour grief. Every emotion you've ever put off. And killing Katherine's gonna let it all in, and if you can't handle it, then we're back to square oneElena: And if Ican? What if killing Katherine takes away all that grief and guilt? What if killing Katherine finally lets me feel all the good things that I've lost? Damon, help me. Assoon as I get over this hurdle, I'll be me. I'll be able to think clearly. I'll be myself and everything will go back to normalDamon: She's strong. And crafty. Andyou'll dieElena: Then at least I'll die trying(Bonnie is doing the spell)Katherine: What is happening?Bonnie: I'm channeling the expression triangle. It's done. Theveil is down(Damon Is lying on the ground. Alaric appears)Alaric: Need a hand?Damon: So, this is either really good or really badAlaric: It's good to see you, too,DamonDamon: I'd say the feeling was mutual, except a lot of people aren't exactly who they say they are around hereAlaric: You think I'm Silas? Are you kidding"}
+{"doc_id":"doc_90","qid":"","text":"\"Wipe Out\" 29th Episode of RoswellProduction Code: 2ADA07[SCENE_BREAK](Episode begins with a tour bus heading towards Roswell)(At the Evans household,Diane Evans is trying out her cooking skills)Diane: It's a frijoles frittata. Martha Stewart serves it to her guests in the Hamptons. So. Um...Phillip! It's gonna getcold! Get in here!Max: Who needs a nice big glass of juice?Isabel: I'll get it.Max: I warned you about getting her a subscription to that magazine. How long areyou gonna keep avoiding me?Isabel: I'm not avoiding you. We destroyed a race of people. I'm just trying to get past it. Juice?Max: You sure there's nothin'else?Isabel: I'm sure. Thanks.(The tour bus keeps heading closer to Roswell)(Kyle and Sheriff Valenti are fishing. Kyle appears to have caught a fish)Kyle: Dad.Dad. There.Sheriff: Whoa, whoa, whoa, whoa.Kyle: Ohhh...Sheriff: Ok. Take it easy. Take...whoa, whoa.Kyle: It's, like, gonna break this thing.Sheriff: Just bringit in closer.Kyle: Ok, I'm tryin'. I'm tryin'. But I need your help. It's like...Sheriff: All right, a little closer.Kyle: There we go. There we go. There we go.(SheriffValenti gets the fish off of the hook)Sheriff: Whoo-hoo! Oh, man! Heh heh heh hoo!Kyle: Ok, look out.Sheriff: Whoa! The bagley bang-o-lure does it every time.Here you go. Get a good grip.Kyle: Whoa!Sheriff: We'll be eatin' like kings tonight.Kyle: That's gorgeous. That's beautiful!Sheriff: Ho! Ha ha!(Kyle releases thefish back into the stream)Kyle: Go, buddy.(Sheriff Valenti is dumbfounded by what Kyle just did. He was looking forward to eating that fish)Kyle: It's the circle,dad. The circle of life.(Switch to Liz and Maria in Maria's Jetta)Liz: Would you step on it, please? My dad is gonna implode if we don't get this thing back by thelunch rush.Maria: It's your first day back in uniform. We have one break in an 8 hour shift, and the man sends us 30 miles out of town on an errand.Liz: Well, helet us stay on the clock.Maria: I'm sorry, Liz. I love your father dearly. I do. But this is totally Kathie Lee.(We see a billboard sign for the UFO center. It's beendefaced, with a glowing green rod stuck through it. A green pulse from the rod is shot at Roswell)(Back in Evans household, Mrs. Evans asks Max about Liz whileeveryone tries out her cooking)Diane: Max, how's that cute Liz Parker, honey? She hasn't called here in awhile.Max: Could I please have some morefritatta?Diane: Oh, sure, honey! I'm so glad you like it!(Diane Evans goes to get another serving of fritatta for Max, when the plate that she was carrying drops tothe floor. She's disappeared)Isabel: Mom?(Liz and Maria, who were outside of Roswell when the green pulse went off, arrive in town to find cars stopped in themiddle of the road)Maria: Why are all these cars stopped?Liz: What's going on? Maria, w-what's going on--Maria!(Maria swerves into a baby stroller)Maria: Oh,God! I didn't see it! It was just...it was just there, and I was going too fast.(Liz and Maria check the stroller, but there isn't any baby in it. Liz looks around andnotices a lawn mower going around in circles without a driver)Liz: What? What?! Oh, my gosh, look!Maria: What?!Liz: Where is everybody?(The bus arrives inRoswell. Tourists start stepping out, including Nicholas. It's apparent now that the bus is full of skins)Skin Tour Guide: Welcome to Roswell, New Mexico,folks...UFO capital of the world and last stop on our tour. Everyone, remember their sunscreen while you're out and about.Skin Tourist: Thank you.Nicholas: Let'sfind some aliens.(Opening credits)(We see Sheriff Valenti and Kyle driving back to Roswell. They stop at a billboard of the UFO Center that has beendefaced)Sheriff (on radio): Deputy Hanson, we've got some property defacement up by the Chaparral Turnout. I need you to rustle up a ladder and, uh, take careof it.Sheriff: You could've told me you didn't want to go fishing.Kyle: No, I did. I wanted to fish. I just...it's just now I enjoy it from a different perspective.Sheriff:Different seems to be the story of your life these days. The guys don't come over to watch games anymore. You hang wind chimes in my backyard, burn compoststicks in the kitchen.Sheriff (on radio): Hanson!Kyle: It's called ylang-ylang, and it opens the mind.Sheriff: You know what? If you laid off the mumbo jumbo, youmight get a date every once in awhile.Sheriff (on radio): Hanson!Kyle: Any other areas where'd you like to point out my incompetency, dad, or is the list completeat fishing and dating?Sheriff (on radio): Hanson, if I get back to the station and find you sipping a damn frappuccino...Sheriff: My one day off!(Sheriff gets in hiscar and starts driving into Roswell)(Meanwhile, at the Evans household, Isabel has searched upstairs and can't find either of her parents)Isabel: I can't find dad.Max? Max! Max!(Max opens the door and enters)Isabel: Where were you?Max: The neighbor's house is empty, too.Isabel: What's happening?Max: I don'tknow.(Isabel grabs the phone and calls someone)Isabel: Oh, come on. Come on.(No one answers. Isabel slams the phone)Isabel: No! Mom and dad are missing!They're gone. Oh, God. Are we the only ones left?(At Michael's apartment, Courtney has successfully changed into the new husk in the bath tub)Michael: You putthe husk on?Courtney: The fit is ok.Michael: Feels like real skin.Courtney: For now. The husk wasn't fully mature, and I don't know how long it's gonna hold up.You saved my life...by stealing this.Michael: Well, you saved ours in Copper Summit.(The telephone rings)Michael: Here's a towel, and here's a robe.Michael (onphone): Yeah?Max: It's me. Meet us at the Crashdown right away.(Scene shifts to the streets of Roswell. Maria and Liz are investigating)Maria: Look. Look, look.It's still warm.Maria/Liz: Ahh!Maria: Ok, let's just go back to the car, ok?Liz: Ok!Maria: Ok.(Liz and Maria head back to the car. Liz finds a piece of skin on theground)Liz: Wait! This is not good.(At the Crashdown, Max, Michael, Isabel, and Courtney are searching around)Max: No one's back there, either.Isabel:Everyone's gone.Michael: Every human. Whoever's doing this is trying to single us out.(Liz and Maria arrive at the Crashdown)Courtney: Well, there goes thattheory.Maria: Michael!Liz: Max, what...what happened? We...we just got back from Dexter.Max: Our parents disappeared. It seems like the whole town is gone.All the humans, at least.Liz: Well, why not us?Isabel: I'm sorry.Liz: What is going on here? Everyone's gone? They're gone, like dead?Max: We don't knowthat.(Maria calls Alex)Maria: Pick up the phone, Alex.Max: All we can do right now is focus on the fact that we have each other.(Maria finds a CD on thecounter)Maria: Alex's band just burned a new CD, and he couldn't wait to show me.Isabel: First thing we need to do is figure out who did this.Liz: We know whodid this. The skins.Maria: Yeah. We found one of those snake skin things off of Elm street.Courtney: Nicholas.Isabel: This is our fault.Tess: No. It's her's. You ledthe skins straight to Roswell, Courtney!Michael: She's with us, Tess.Tess: What did your people do to the town?Courtney: They're not my people.Max: Stoppointing fingers. We're the ones who destroyed their harvest. They're here to settle the score with all of us.(Isabel has been looking out the window. He seespeople approaching)Isabel: Into the bathroom. They're coming. Now.(Nicholas and Ida enter)Isabel: There's two of them...Nicholas and Ida. Hide us.Nicholas:Check in the back.(Nicholas walks to where the bathroom door was)Maria: Oh, please don't let me die like elvis.(Nicholas walks over to the wall and taps on themirror that Tess has created in his mind to replace the bathroom door)Nicholas: Mom?!Ida: Don't pick. There's nobody back there or upstairs, sir.Nicholas: Lookin the mirror. You're shedding.Ida: Ohh...it's the heat. Why couldn't those brats be from Seattle?Nicholas: Let's get you back to the moisture chamber. Thishaphazard searching is going nowhere.Ida: What's plan \"B\"?Nicholas: We'll search the town...street by street, building by building, inch by inch. I'm not stoppingtil we find them.(Nicholas and Ida leave. Everyone comes out of the bathroom. Tess weakly stumbles to the counter)Tess: I've never come up against power likethat before. It feels like...someone took a sledgehammer to my head.(Liz leaves through the door to the kitchen. Max notices her and follows)Max: I'll be rightback.(Max finds Liz in her room)Liz: My mom always listened to Elvis Costello on laundry day. I am so scared.Max: What happened to your family...to all thehumans...it's our fault.Liz: We haven't lost them yet. We have to stay strong.Max: Yeah.(Max sees Liz's bed and the images from the other night return)Max: Ishould get back down.Isabel: Max!(Max and Liz rush downstairs. Courtney is on the floor. Her skin is very wrinkled)Isabel: She just collapsed.Michael: Max, yougotta help her.Max: Let's get her upstairs.(Everyone helps Courtney to the bathroom)Maria: Um...ok, maybe we should take her clothes off?Liz: Got her?(Isabelshuts the door on the guys)Liz: Ok.Isabel: What now?Liz: Um...you know, from what...from what she said, the husk is starving. It's looking at her thighs likethey're 2 canned hams.Courtney: I heard that, you bitch.(Liz and Tess help Courtney into the tub)Liz: Uhh!Isabel: Well...what if we tempt it with food from...fromoutside the membrane...sort of like an all-you-can-eat buffet or something?Liz: Yeah. Yeah. I mean, it's worth a try. We need, like, some vitamins and mineralsand...and nutrients.Maria: Ok. We've got ginko, bee pollen, echinacea, C, D, E, calcium, St. John's wort, and Pamprin. What? I was dating MichaelGuerin.(Outside, Michael and Max are scouting with Liz's telescope)Max: Main street looks clear. I just wish I knew where they were hiding.Michael: You thinkshe'll be ok?Max: I don't know. You and Courtney have gotten close.Michael: Yeah.Max: How's Maria feel about that?Michael: Why do you care? You've neverbeen interested in my social circles before.Max: You were never sleeping with the enemy before.Michael: And I'm not now.Max: Then why was she at yourapartment this morning?Michael: 'Cause she wanted to show me how the husk fit. That's it.Max: Good.Michael: Let me take a look.(Back in Liz's bathroom,Courtney seems to have recovered from the nutrient bath)Tess: Pretty quick recovery, don't you think? This \"I've fallen and can't get up\" routine seems a littletoo convenient. I think it's time for a Q&A. What exactly did the skins do?Courtney: I don't know.(Tess pulls the drain plug and the nutrient bath starts to godown the drain)Courtney: No.Isabel: What happened to our families?Courtney: Time exists in multiple subset dimensions on our planet. Nicholas must have atechnology to impose one or more of these here.Isabel: Speak English.Courtney: It's like being on Pacific and Eastern and Central and Mountain time all at once.Human bodies can't function. They simply disappear.Liz: To where? Where are our parents, our friends...Alex? Where is everyone? Are they dead? Wha...Maria:Water's getting low.Courtney: Somewhere! Another dimension, another plane of existence! I don't know where! They seem to have just...shifted.Maria: Well, canwe get 'em back?Courtney: I don't know. Please.(Tess replaces the drain plug)Isabel: Why haven't Liz and Maria disappeared?Courtney: I don't...I don'tknow.Maria: We were out of town this morning. Thank God.Courtney: It probably bought you some time.Maria: Ok. So, what did she mean by \"buy us some"}
+{"doc_id":"doc_91","qid":"","text":"[ The apartment ]Sheldon: What color would you like to be?Leonard: Well, I'd like to be green, but you know you always take it.Sheldon: That's not true. Anycolor's fine with me. Yeah, I could be a-a combination of blue and yellow.Leonard: Blue and yellow make green.Sheldon: Well, then it's settled.Penny: Hi. Readyto go?Sheldon: Oh, good news, we ordered lunch, so we can all stay here and play Lord of the Rings Risk.Amy: Sheldon, we said that we would play games withyou tonight.Sheldon: Oh, no, we'll still be playing it tonight, this game can easily take eight hours.Penny: Sweetie, you really thought I'd want to do this?Leonard:No.Penny: Well, did you tell him that?Leonard: Yes.Penny: Did you say it out loud with words?Leonard: No.Penny: I don't want to spend the whole day playing aboard game.Sheldon: Yeah, well, you may change your mind when you hear that this is the new expanded edition which contains a more complete map of MiddleEarth, now including the Haradwaith Territories.Amy: I will literally race you to the car.Leonard: No, no, no, come on, don't leave. Just try it.Penny: No. We'realways doing what you guys want. Just once, it'd be nice if you did something we wanted.Sheldon: You want to be green?Leonard: You know, they really havetried to like a lot of the same stuff we're into.Penny: Yeah, we do game nights and video game nights and we watch movies with director's commentary.Amy: Oh,my favorite, George Lucas can talk all the way through Star Wars, I say one word and I'm banished to the kitchen.Penny: Yeah, today Amy and I are decidingwhat we're all gonna do.Leonard: You got it, you girls are in charge.Penny: Thank you.Amy: Sheldon?Sheldon: Fine. Now that we're not playing, you can begreen.Leonard: Thank you.Sheldon: And since you're green this time, I can be it next time.Penny: All right, let's see. What's something fun the guys would nevertake us to do? Oh, I know, we could go horseback riding.Amy: I actually can't. My hips don't open wider than 22 degrees. I rode a very thin pony once. On thefirst bump, just popped right off.Penny: All right, well, what do you want to do?Amy: There's a craft and folk art museum on Wilshire.Penny: Well, that'sWilshire's problem. Come on, you know, there, there's got to be something fun we could do that the guys will hate.Leonard: Hang on, why do we have to hateit?Penny: Three words, Doctor Who convention.Leonard: I did not force you to go to that.Penny: You walked out of the house in a fez and bow tie. I went so youdidn't get beat up.Leonard: I wasn't gonna get beat up.Penny: You were, but somehow I held myself back.Sheldon: You know what you could make us do?Ice-skating. The cold air will trigger Leonard's asthma and it plays right into my well-known fear of getting flattened by a Zamboni.Leonard: Now you're helpingthem find ways to make us miserable?Sheldon: Well, I'm sorry, Leonard, I'm a problem-solver, it's what I do.Amy: I actually can't go ice-skating. I haveunnaturally brittle ankles.Penny: Is there any part of your body that's normal? (chuckles)[SCENE_BREAK]\u0000 Our whole universe was in a hot, dense state\u0000[SCENE_BREAK]\u0000 Then nearly 14 billion years ago expansion started... Wait! \u0000[SCENE_BREAK]\u0000 The Earth began to cool \u0000[SCENE_BREAK]\u0000 The autotrophsbegan to drool, Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We built the Wall \u0000[SCENE_BREAK]We built the pyramids[SCENE_BREAK]\u0000 Math, Science,History, unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]Bang![SCENE_BREAK][ Howard and Bernadette'sapartment ]Raj: Oh, my God, oh, my God, oh, my God.Howard: Will you please relax?Raj: I can't take it, dude.Bernadette: You okay?Raj: No, I'm not okay. I feellike I'm gonna jump out of my skin.Bernadette: I told you not to wax down there. It's itchy when it grows back.Raj: I'm worried about the New Horizons spaceprobe.Bernadette: What's he talking about?Howard: Nine years ago he was part of a team that launched a spacecraft to collect data about Pluto, and it's finallyclose enough, so this morning it turned itself on.Raj: We hope. The signal has to travel over three billion miles. So it's gonna be hours before we know if it evensurvived.Howard: Now we get to see him flip out because he's worried it was demolished by space ice.Raj: Space ice is no joke. I can't even watch Frozenanymore.[SCENE_BREAK][ The apartment ]Amy: Ooh, the philharmonic is playing Beethoven downtown.Sheldon: Before you say yes, it's not the movie aboutthe big dog.Penny: How come we can't think of something we both want to do?Amy: Because you always pick what we do and I just go along with it.Leonard: Ah,interesting, we're being accused of making you do things you don't like, and here you are, doing the same thing to poor Amy.Sheldon: You should point out thehypocrisy of that.Leonard: That's what I was doing.Sheldon: Oh, that wasn't clear. Try it again, but this time drive it home with how do you like them apples,Missy?Penny: All right, keep thinking.Sheldon: You're making it too complicated. Why not stick to the basics? Go shopping for clothes while Leonard and I sit inthose uncomfortable chairs and hold your purses, hmm? I know I'd hate that. Leonard?Leonard: Well, yeah.Sheldon: Well, then, it's settled?Amy: What do yousay? Sounds kind of perfect.Penny: It does, somehow he managed to take all the fun out of it.Sheldon: Well, once again, it's what I do.[SCENE_BREAK][ Howardand Bernadette's apartment ]Raj: Oh, another two hours to go. The wait is killing me.Howard: I know. I get it. When I was in the Soyuz capsule returning fromthe space station, plummeting toward Earth at 17,000 miles per hour...Raj: Before you finish, is this a story about patience and waiting or just another reminderthat you went to space?Howard: A story can do two things.Raj: Ugh, I feel like I'm gonna have a heart attack.Howard: You work in pharmaceuticals, don't youhave anything you can give him?Bernadette: All I have is our new urine flow drug. Won't help with his anxiety, but it's so strong, when he pees he'll fly aroundthe room like he's got a jet pack.Raj: I can't stop thinking about it.Bernadette: You know, worrying won't have any effect on what happens.Raj: I know.Howard:Maybe you need to do something more productive.Raj: Okay. If I make this shot in the trash can, the probe will have arrived in perfect working order.Howard:So, in addition to being crazy, you're resting the fate of the mission on your athletic prowess.Raj: Yes.Howard: The man who crashed his stationary bike.Raj: Ididn't crash it, okay? My playlist was too up-tempo, I got light-headed and I fell off. Okay. It all comes down to this.Howard: You happy? Now you can relax.Raj:What kind of scientist are you? Everyone knows you got to make two out of three.[SCENE_BREAK][ Clothes shop ]Leonard: This isn't so bad.Sheldon: That's easyfor you to say. Your chair's not facing the lingerie section. Boy, that's a lot of panties.Amy: You guys comfy? This might take a while.Sheldon: I don't understandwhy women insist on making a big production out of buying clothes.Penny: No, you're right, we should do what you do. Have our mom send us pants from theWalmart in Houston.Sheldon: They have a man there who understands my personal style.Penny: Bye.Leonard: Uh, I've got some bad news. There's no cellservice in here.Sheldon: Oh. Well, that's all right. There were plenty of ways to pass the time before smart phones were invented.Leonard: That's true.Sheldon:I'll look them up. Son of a biscuit.Leonard: Sheldon, it's fine.Sheldon: No, it's not fine. What kind of store in the 21st century doesn't at least have Wi-Fi? I'mgoing to call their corporate office. Son of a biscuit.[SCENE_BREAK][ Clothes shop - later ]Sheldon: Let's see, my armies are going to attack the Shire fromBuckland. And I roll a five and a three.Leonard: Okay. And to defend, I roll two sixes. I win.Sheldon: Boy, double-sixes again. You know, if I hadn't seen it withmy own eyes, I wouldn't believe it. I wonder how long we're gonna be stuck here.Leonard: I don't know, but the girls do a lot for us. It's the least we cando.Sheldon: Oh, that's true. I suppose it's only fair we make compromises.Leonard: Look at you, being all mature.Sheldon: I don't know why you're so surprised.If there's one thing I know about after living with you for so many years, it's how to compromise.Leonard: I, I'm sorry? You make compromises for me?Sheldon:All the time.Leonard: On Earth? In our lives? That, that, that we're living?Sheldon: Oh, yes. I, just yesterday, you had a, a big piece of lettuce stuck in your teethat lunch. Did I say anything? No. I compromised and kept my mouth shut. Like you should've, because everyone was laughing at you.Leonard: That is not acompromise. A compromise is me driving you everywhere because you refuse to learn how.Sheldon: Oh, I learned how. Amy taught me.Leonard: What? Then.then why don't you do it?Sheldon: Uh, well, it's scary. And sometimes I get the pedals mixed up. But, more importantly, driving me to work is one of the thingsthat gives your life purpose. I can't take that away from you, so what do I do? Oh, come on, I'm practically feeding you the answer. Icompromise.[SCENE_BREAK][ Raj's car ]Raj: Hey, uh, thanks for keeping me company.Howard: I'm happy to. I think getting out of the apartment will do yougood. So, where we headed?Raj: If it's okay with you, I'd like to go to temple.Howard: Buddy, trust me, you don't want to convert to Judaism. I mean, I know Imake it look cool, but it's not all briskets and dreidels.Raj: I meant a Hindu temple.Howard: Oh. Okay. It's not like Indiana Jones and the Temple of Doom, right?Some bald guy with horns isn't gonna rip my heart out.Raj: Dude, that movie's an imperialist fantasy that makes the followers of a beautiful and peaceful religionlook like a bunch of bloodthirsty barbarians.Howard: You love that movie.Raj: Yeah, it's pretty great.Howard: I'm surprised to see you suddenly get religious.Raj:Why?Howard: Well, because I've known you for ten years and you've never gone to temple, you never talked about believing in God, and last Diwali I watchedyou eat two pounds of sacred cow at a Brazilian steak house.Raj: Religion is a very personal thing. I do go to temple, I just, I don't talk about it.Howard: Yeah,but you're a scientist.Raj: So?Howard: So, as a scientist, you believe the way to understand the universe is through facts and evidence, and now you're countingon some blue chick with a hundred arms to help you?Raj: That is so offensive. Does everything you know about Hinduism come from Indiana Jones?Howard: No.There's also Apu from The Simpsons.Raj: Well, lots of scientists believe in God. Okay? Newton, uh, Faraday, uh, Pascal, all were believers. Even Einstein wasfamous for attacking quantum theory on the grounds that God does not play dice with the universe.Howard: Well, of course he believed in God. he slept withMarilyn Monroe.Raj: Actually there's no proof of that.Howard: You believe in your religion, I'll believe in mine.[SCENE_BREAK][ Store changing rooms ]Amy:How's it going in there?Penny: Uh, not really a great outfit for work, unless something opens up in the hookers and whores division. Hey, can I ask yousomething?Amy: Sure.Penny: Do I really force you to do things you don't want to?Amy: Yeah, but it's okay.Penny: How is it okay?Amy: I promised myself, if I"}
+{"doc_id":"doc_92","qid":"","text":"In the gymnasium, people are setting up for a blood driveMarco: So for tomorrow Ellie I need you to hand out stickers, okay? Craig I need you to pack the bloodbags. And Alex, Alex!Alex: This I will not be wearing.Marco: It's for TV, Caitlin Ryan's community show? Look when people see Degrassi, I want them to thinkcute and cuddly.Alex: I'm going to clobber you.Marco: That's not cuddly. And as a president speaking to his vice...Alex: Alright. Calm down. Everything has to beperfect.Ellie: She's right. What you've done for the school this year, ever consider running a second term?Alex: (dancing around in the mascot head) Four moreyears! Four more years!Marco: I can't. I was thinking of picking up a few extra credits this summer. This way, I can graduate after first semester's done, maybeeven move in with Dylan before university. My boyfriend? Alright you guys know I'm gay, right?Ellie: Um I'm stuck on graduating early.Craig: I'm on move in withDylan.Marco: Guys it's not that big a deal! Okay it's huge. Outside Degrassi, there's a sign that says 'blood drive today'Dylan: So you'll call before you come overfor the party? Marco? Today's gonna go fine.Marco: There's been a bee in this car for the entire ride. Fear is my friend.Dylan: You know a year ago you wouldhave jumped out of a moving vehicle.Marco: Yeah well, a year ago I wasn't with you.(They kiss.)Marco: Go. Back to your dorm. I'll see you tonight at the party.Inthe gymnasium, Spike is giving bloodSpike: It's like breastfeeding, only out of your arm.Emma: I think it's faster if you're quiet.Caitlin: (on camera) So youinherited a school where a student died and another paralyzed.Ms. Hatzilakos: Not the best situation to assume Principal, I agree.Caitlin: And yet you've managedto turn it all around.Ms. Hatzilakos: Oh no. Not me! Marco is the hero here. Organizing the dances, the assemblies, that's where the work has been.Caitlin: Youdonated yet Marco?Marco: Well I'm planning...(Alex jumps on him in the Panther suit.)Marco: Alex! Stop tackling me!Caitlin: Uh cut!Ms. Hatzilakos: So when isthis gonna air?Caitlin: Eight tonight and I wanna add shots of Marco donating, when you're recovered.At the dot, Spinner is working and Jay is tapping a spoonagainst a glassSpinner: If I'm still serving you ten years from now kill me, all right?Jay: Well study hard and stay in school. Oh right! You got us expelled.Spinner:Here you go ladies. Uh Clare will be with you in a moment to take your order.Old lady: We asked for lemon with our water.Spinner: Uh, you can't bring a dog inhere.Old lady: I didn't hear complaints. Ladies? We'll have the lunch menu instead.Spinner: I'm going off shift, so Clare will...Old lady: And lemon for the waterand a bowl for Baby Bear here. So she can have some too, yes! Back in the gymnasium, Marco is about to donateMarco: So if I pass out and start drooling, swearyou'll stop filming?Nurse Davis: Mr. Del Rossi? Could you please ask them to stop filming for just a minute?Caitlin: Uh we're not shooting the whole giving ofblood. We're just gonna shoot a few frames of the President.Nurse Davis: I'm sorry Ms. Ryan.Marco: Is there some kind of problem?Nurse Davis: Uh there's aquestion here that you answered yes beside.Marco: It asks, if I'm male and if I've had...with another male.Nurse Davis: Yes, if you've had s*x.Marco: So?NurseDavis: Well it's policy you have to understand, um but I can't let you be a donor. In the principal's office, Spinner is holding a flower potMs. Hatzilakos: Youshouldn't be here Gavin.Spinner: I, I didn't make an appointment. I was afraid you wouldn't see me. I just want you to know this being expelled, I'm not taking itlike it's a vacation. I've been keeping up in my textbooks.Ms. Hatzilakos: You were supposed to return those.Spinner: But I need them to write exams.Ms.Hatzilakos: You don't get to do that.Spinner: So that's it? I just lose my whole year?Ms. Hatzilakos: I'm willing to offer summer school.Spinner: But that onlygives me two credits. That's not even enough to graduate. I mean that's a whole year of my life I have to do over. That's not fair!Ms. Hatzilakos: What's not fair isthat Rick Murray is dead as an indirect result of your bullying.Spinner: I need to finish my year Ms. H!Ms. Hatzilakos: No.(Spinner throws the flower in thegarbage and leaves.)In the gymnasiumMarco: (On his cell) Dylan? Hey it's me. Look just please call me, whenever. I'm here.(He walks over to Ellie, Craig &Alex.)Craig: Why is your blood any more risky than ours?Ellie: Don't they test everything anyway?Marco: There's nothing wrong with me. I've only been withDylan, he's only been with me. Even then we were totally safe!Alex: So stop whining. Start complaining. There's your soapbox. Use it!Marco: Caitlin! Hey!Caitlin:Hey.Marco: How's this for a story? Prejudice and homophobia at local high school.Caitlin: I'd say we're on you.Marco: Nurse Davis? Hey.Nurse Davis:Yeah?Marco: Hi.Nurse Davis: Hi.Marco: I, I want, look I want to ask why blood management refuses gay people from giving blood.Nurse Davis: Um, um well it'spolicy. I'm not a spokesperson so I can't really comment further.Marco: Fine. (To the camera) My name's Marco del Rossi, Student Council President. Today astudent was denied as a blood donor because of his sexuality.Nurse Davis: That's not the reason.Marco: Then what is?Nurse Davis: Well there is, within the gaycommunity, there is an increased risk of HIV infection.Marco: Saying that is lumping up all gay people as diseased. I listened in health class and anybody with apulse can get HIV.Nurse Davis: Yes but...Ms. Hatzilakos: Marco? Please? (She stops the filming) Thank you. Thank you. Look this blood drive, you should be soproud of yourself for everything you've done. Look at all these people.Marco: My whole point is that I'm supposed to be one of them!Outside Degrassi, Jay istrying to steal a bike and kicks itSpinner: Hey!Jay: You want a kick, too?Spinner: That's my bike, goof-bag.Jay: Yeah well it's your fault I'm so bored!Spinner:So? I'm stuck with you! Haven't I been punished enough?Jay: Not yet.Spinner: Know what... bike stealing? It's kid's stuff. But real stealing from Degrassi... AtDylan's dorm, Marco walks into his room and sees Dylan making out with another guy and boltsDylan: Marco! Marco wait!Marco: No.Dylan: About Eric, I meant totell you. He's a friend from Psych class.Marco: There's other ways, better ways of breaking up Dylan!Dylan: Who's breaking up? Honey I'm in university now andthere are people here, really interesting people that, that I really like.Marco: Oh yeah like Eric.Dylan: I love you and I don't want to stop seeing you. What I'd liketo do is open things up a bit. You know see other people.(Marco shoves Dylan and leaves.)Outside DegrassiMarco: (on his cell) He wants to open things up.Ellie:(on her cell) He's a colossal jerk.Marco: (Sees his friends and closes his phone) It's so humiliating. First I get rejected as a blood donor, now by Dylan. Maybe theblood people were right.(Alex smacks Marco on his head.)Marco: What is wrong with you?Alex: My ex, formerly known as Jay Hogart, screwed around with everygirl at this school. It's not a gay thing. Promiscuity, it's a guy thing.Craig: Hey. Didn't I hear that you clocked Amy for being equally trampy?Ellie: Oh and how'sAsh, Craig? Or are you back with Manny? It's hard to tell, especially when you secretly dated them at the same time.Craig: Let's just call it a people thing.Ellie:Let's call it a choice. Monogamy wow, what a difficult concept.Marco: I just want my boyfriend back.Craig: He's got a party tonight right? Well then back is whatwe'll get him.[SCENE_BREAK]At night, inside Degrassi(Spinner and Jay were hiding in cupboards until the janitor left.)At Dylan's dormCraig: Girls and boys? Ididn't think Dylan's dorm would be quite so co-ed.Marco: You see him yet?Craig: Who?Marco: Dylan!Dylan: Hey! I'm really happy you came.Marco: Yeah? That'sgood...Craig: I'm gonna go uh see what they're stocking for pop. Gentlemen...Dylan: Come on. In Degrassi(Jay and Spinner are throwing toilet paper around inthe gym, then stacking a bunch of chairs in the hall and just goofing around.)At the partyMarco: Craig um look. Everything's unfolding pretty good so if you don'twant to you don't have to stay!Craig: Are you kidding?! It's eight o'clock.Dylan: What's eight o'clock?Marco: Oh Caitlin Ryan! Degrassi! Me at the blood drive. CanI? Thanks. (He turns on the TV)Caitlin: (On that TV) You inherited a school where a student died, another paralyzed.Ms. Hatzilakos: (On the TV) Not the bestsituation to assume Principal, I agree.Caitlin: (On the TV) And yet you've managed to turn it around.Ms. Hatzilakos: (On the TV) Oh no. Not me! Marco is the herohere. Organizing the assemblies, the dances, that's where the work has been.Marco: Ah tell me my head doesn't look that big.Craig: Your hair, that's what'sbig.Dylan: It looks great. You look great.Caitlin: (On the TV) And so Degrassi has risen from the ashes of a tumultuous school year thanks to this week's localhero Marco Del Rossi.Marco: Wait. No wait. Wait for it. I think this is it.Caitlin: (On the TV) I'm Caitlin Ryan.Marco: That's it? No there's more. There's them notletting me give blood and then I-Eric: Dylan? We're toasting to summer with kamikazes!Dylan: Wait a second.Marco: It's nothing. Go. Kamikaze.Whatever.Dylan: I'll be right back.Marco: Dylan got me out of the closet last year. Yet here I was, my turn to make him proud. What I should be doing is makinghim jealous.Craig: Uh... Back at Degrassi, Spinner finds the yearbooksSpinner: What do we have here? Degrassi: A year of memories.Jay: I said something worthsomething. I always like counting how many times I'm in this thing. The way I see it the less, the better. Oh crap. One. The last thing I want to see is me smilinggoofy and hanging off my bestest friend. No. Two. I'm a freak! A failure. Nothing compared to you though, I mean you're, you're all through this thing.(Spinnersees a bunch of pics with him and his friends and throws the book down.)Jay: You alright there, Spinster?Spinner: Follow me. Grab some more.At thepartyMarco: Hi. Hi, I'm Marco.Mike: Mike.Marco: Mike! So uh Mike! I was thinking of coming here next year. I was actually thinking about residence. But so farthe only room I've seen is Dylan's.Mike: You want like a tour?Marco: Yeah, no a tour would be great and maybe I could see your room? You know tocompare.Mike: Okay, um it's two floors down, 403. Just give me a sec to clean up okay?Marco: Okay. I'll see you in a bit...Mike.Mike: Marco... At Degrassi,SpinnerJay: Yo where'd you disappear?Spinner: Science lab. I got fluid of the lighter kind.(He starts pouring the fluid on the yearbooks and pulls out alighter.)Jay: Seriously it's bonfire night? Look I know math wasn't your strongest subject, but yearbooks plus fire equals the whole school up in flames. Oh yeahand us in jail. Put the toy away, flip-head.Spinner: You're stopping me?(Jay smacks the lighter out of his hands.)Jay: Shocking but true.Spinner: You're a freak inthe same way that I am.Jay: Yeah well at least I'm not torching the school.(Jay smacks the lighter away from Spinner and the guys start fighting.)Jay: You wantyour former friends to suffer?! Huh? Do you?Spinner: I want 'em back.Jay: Listen as your friend substitute, I'm telling you. This isn't the way. It's not.Spinner: Ijust want 'em back.Jay: Come on man we got to clean this up.In the stairwell at Dylan's dormCraig: You know you are a great guy. The most honest,"}
+{"doc_id":"doc_93","qid":"","text":"Act One.Scene One - Radio Station. Frasier is signing off for the show. Roz is in her booth.Frasier: Till tomorrow then, this is Dr. Frasier Crane wishing you...Rozknocks on the booth. Frasier looks around a sees a grumpy old man looking in through the screen.Frasier: Oh, yes. Be sure to tune in later for the final broadcastof KACL's loveable curmudgeon, Chester Ludgate. You know, most of us here at the station were surprised to hear that he was retiring. I for one thought he'dnever leave. [presses button]Roz: [enters] So, should we order a pizza?Frasier: Sorry?Roz: Those PSA's you promised you'd help me with are duetomorrow.Frasier: Oh gosh, Roz, I really am sorry. You know, it seems Mrs. Delafield's daughter is coming here to join us as an intern. I promised Kenny I'd showher around and take her to dinner.Roz: So, while I'm working late, eating my vending-machine dinner, you'll be out having a gourmet meal with some cute richgirl.Frasier: Oh, you can make anything sound unfair.Roz exits to her booth as Kenny and the cute rich girl, Poppy, enter the booth. Poppy is like a character outof \"Clueless\": Long blond hair, dressed totally in a red \"girly\" outfit with red high heels and red hand bag. She speaks with an annoying, ditzy accent.Kenny: Hey,Doc.Frasier: Kenny, and who have we here?Kenny: Dr. Frasier Crane, I'd like you to meet Miss Poppy Delafield. Well, gotta run. [swiftly exits]Frasier: Poppy,what a pleasure to meet the daughter of our beloved station owner. So, what brings you to KACL?Frasier cannot get a word in throughout the following.Poppy:Well, I was in Paris last month - or was it Madrid? - No, Paris, and I said to myself, \"that's enough gallivanting for you, young lady, it's time to get a job.\" So Iflew home and asked my mother, Minnie, if I could nose around and see if some job, you know, spoke to me at one of her radio stations, or TV stations ornewspapers. But not her brewery, thank you very much! So, here I am. Sleeves rolled up, ready to learn. Is this where you do your show? Of course it is, there'syour mike right in front of me. Earth to Poppy!She laughs; Gil walks past the booth in the corridor.Poppy: There's Gil, I met him earlier. Hi, Gil!She waves, Gilruns away. Frasier also waves and then wonders what he is doing and looks back at Poppy, who carries on.Poppy: Nice man. I think it's marvelous what you do.To really help people. Unlike the psychiatrists I've been to, both of whom had some sort of, I don't know, narcolepsy. I sympathize, but if you can't stay awake,don't be a psychiatrist!Behind her back, Frasier removes his cell phone, dials a number, and then hides it in his pocket.Poppy: To do what you do, to face thatmicrophone day after day and know that for the next three hours you're going to have to talk and talk and talk? I could not do it! I would freeze! Literallyfreeze!She laughs giddily. Then the phone on the console rings, stopping her.Frasier: Excuse me. [grabs the phone] Hello? Yes, Dad. All right, calm down, calmdown. Was there much blood?Poppy: Oh my gosh!Frasier: All right, Dad, I'll be there as soon as I can, hang on a second. [puts phone to chest, to Poppy] I'mterrible sorry, there's been a small emergency at home. I'm gonna have to pass on today, may I take a rain check?Poppy: Oh, and we were having such a nicechat.Roz enters.Frasier: This is Roz, my producer. You know Roz, I'll gladly do those promos if you would be so kind as to take Poppy to dinner and answer herquestions.Roz: Sure, if you don't get bored listening to me drone on about radio.Frasier: Oh, I don't think there's much chance of that!Poppy whizzes Roz out ofthe booth, chatting to her on the way.[SCENE_BREAK]Scene Two - Frasier's Apartment. Frasier and Daphne are sitting at the dining table. Martin enters andhurries Eddie into the apartment, checking the hallway for people.Frasier: What the hell is happening?Martin: Well, remember last week when Eddie killed his firstrat? And how proud I was? I told you that story, right?Frasier: Yes, Dad, you told us. If you had a guitar you would have written a ballad.Martin: Well, we werejust down in the basement and I saw another rat. I said, \"go get him, boy!\" So just as he picked him up, had him in his teeth, shaking the life out of him, and Ihear this little bell, ting-a-ling. And I thought, \"that's funny - rats don't wear bells!\"Daphne: Oh, little Robbie Greenberg's missing hamster!Frasier: Yes, I readthat flyer. He was offering a ten dollar reward.Martin: Well, the most we can claim at this point is about six-fifty.Frasier: You know Dad, this is actually your fault.You know if you hadn't encouraged him after he killed his first rat he wouldn't have moved on to murdering hamsters!Martin: Well, what are you talking about?We don't know it was Eddie who killed him. He might have had a heart attack, or some kind of seizure when he bounced off the boiler!The doorbell sounds.Frasier crosses the room and opens the door to Niles. He is carrying a magazine and two tickets. A smile is beaming across his face.Frasier: Niles!Niles: Prepareto whoop like a sweepstakes winner. Cancel our dinner! I've scored us two seats, front row for the event of the season.Frasier: You mean...?Niles: Yes.Frasier:But...?Niles: I know! [proudly holds up the tickets]Frasier: Niles!Martin: [aside to Daphne] I love it when they do it this way, I can pretend it's a Seahawksgame.He sits in his chair as Frasier eagerly takes the tickets and scans them.Frasier: My God, it's for the Cecilia Bartoli concert! My God, they've been sold out formonths. How on earth did you score these tickets?Niles: I simply phoned the box office and said this is Niles Crane, the new arts critic for \"The Monocle.\"Frasiertakes in a gasp of half delight for his brother and half jealousy as Niles slaps the magazine on the table.Daphne: \"The Monocle.\" Isn't that that magazine theyhand out to rich people in all the snootiest apartment buildings?Niles: And the snootiest hotels.Frasier: How could this happen, Niles?Niles: I was at a partythrown by the publisher, Olga Suerbread. The pretentious fop who had the job before me was there too, spouting sheer drivel about Leonard Bernstein. Beingpolite I kept my tongue sheathed. Until he referred to Bernstein's conducting as \"overrated.\"Frasier: [indignant] I assume you pounced?Niles: [dignified] Like aninja! By the time I had finished with him, Olga could see I was a far better critic than that arrogant poseur.Daphne: She fired him right there?Niles: Well, he wasleaving anyway for his junior year abroad.Frasier: Well, it's a post. Congratulations are in order. You know, who would have thought my little brother aprofessional music critic?Niles: Oh, oh, and not just music. I can review anything I want. Theater, dance, art exhibits.Frasier: You don't say?Niles: Yes, from nowon, wherever we go, I'll be armed with my trusty pad and penlight.Frasier: Wherever we go? What fun.Niles: [takes some opera glasses from his pocket] I'll haveto take a damp cloth to these opera glasses, although I don't know what will we use them for, sitting in the front row? Unless it's to scan the faces of the jealouspeople behind us.Niles exits to the powder room.Martin: So, are you sure you're okay with Niles getting this critic job?Frasier: Why wouldn't I be, Dad?Martin:Oh, come on, I know what it's like with you two when one of you gets something the other one doesn't have. It's like when you were kids. Niles got a telescope,so you had to have a telescope. You got that funny little guitar, Niles...Frasier: Dad, it was called a lute!Martin: Oh yeah, whatever.Frasier: Dad, believe me, I donot envy Niles his critic's job. As kids we would aggravate the situation by flaunting our toys in each other's faces. We're much more mature than that now, allright?Niles enters from the powder room.Frasier: Niles, you know, it's about time we got going. We don't want to be late for the curtain.Niles: [flaunting] Don't besilly, I'm press now. They'll hold it.Niles walks out with great esteem, his chin pointed up. Frasier grovels behind him, ignoring Martin's smuglook.[SCENE_BREAK]HOW A POPPY BECOMES HEROINScene Three - Café Nervosa. Front stage, Frasier and Roz are having a coffee and a chat together.Meanwhile upstage, Poppy is telling a weary crowd around her (including Gil and Kenny) about her life.Poppy: So, that's how it ends: B minus average, ten extrapounds and still no boyfriend.Front stage, Frasier and Roz watch on.Roz: I see Poppy's having a little party.Frasier: That's not a party, that's a hostagesituation.Roz: Thank God today is her last day. You know, this morning she cornered me by the coffee machine and told me her whole life story. I just wanted tograb her by the throat and say, \"What am I, your biographer? Shut up!\"Frasier laughs. Gil finally gets out of the \"party\" and arrives at Frasier's table.Gil: DearGod! I thought I'd never break free. I feel like a mongoose at the mercy of a chatty cobra.Gil exits as Niles enters with a newspaper.Niles: Hello, all. I see you allready have the \"Times.\" I'm quoted there today.Frasier: In the \"Times?\"Niles: Yes, here, [shows Roz the bit] it's in an ad for \"St. Joan\": \"'Incandescent,' NilesCrane, 'The Monocle.'\"Roz: [stands] Wow! Excuse me while I go and tell all my friends I know you!Roz goes off to the counter as Niles takes her seat.Niles:[yawns] Forgive me. Olga and I were up till all hours at a party for the \"Royal Shakespeare Company.\" I'm rubbing pretty impressive shoulders these days. And tothink it's all because I have a small column.Frasier: [keeping his eyes on his newspaper] That would certainly be the Freudian interpretation!Niles: If I were toreview that attitude I would say it was a chilling portrait of malice and envy.Frasier: Oh Niles, I'm not the least bit envious that you get to spout off in thatglorified cat-box liner.Niles: You just can't stand it that my opinion means more than yours. That the arts community looks to me for my insight, my approval, mythumbs-up.Frasier: I think we both know what your thumb's up these days!Niles's temper flares, and he gets up.Niles: That's a good one, Frasier. Perhaps youshould use it in your column. Oh, that's right - you don't HAVE one!He exits and Roz joins Frasier with their coffees.Frasier: That smug jackass!Roz: Frasier, youhave a radio show. If you wanted to say what you thought of a play, what's stopping you?Frasier: It's not the same thing as being a real critic, Roz. You don't getfree tickets... you don't get quoted... forget hobnobbing.Roz: My God, this competition between you and your brother is sick. Your obsessive one-upmanship.You're both going to end up bitter old cranks like Chester Ludgate.Frasier: You know, you do raise a good point, Roz.Roz: Thank you.Frasier: Chester's time slot isfree, I could do my own arts show.Kenny passes, trying to hide from Poppy.Frasier: Kenny? Listen, Roz just had a wonderful idea.Kenny: Yeah, doc?Frasier: Whatdo you say about yours truly hosting a bouncy little show about the arts in Seattle?Kenny: Culture? Wow! That's a great idea, let me chew on that and I'll getback to you.Kenny exits.Frasier: Great! You see, Roz, he loved your ideaRoz: That was not my idea.Frasier: It was too your idea.Roz: It was not...Kenny entersagain.Kenny: Look, Doc, honestly, I feel kinda bad about what I just did. I let you think there was a chance that I might you let you do this culture show and...there's not.Frasier: No chance at all?Kenny: No. I mean, come on Doc. You, culture, opera. Who's listening? Not me! [laughs]Kenny exits.Frasier: Damn! I think"}
+{"doc_id":"doc_94","qid":"","text":"(Fade to black. Cut to rolling coastline of beach houses. Cut to Sydney running through a park. This is not a leisurely run. She looks more as if she's pushingherself, perhaps running from the demons in her life. She slows and stops, removing headphones from her ears and bending over to take a drink from a waterfountain.)Sloane (voiceover): Hello, Sydney.(Sydney looks up, shocked. Cut to see Sloane standing ten feet away from her.)Sydney: What do you want?(Sheswitches off her walkman radio. Sloane walks toward her, clutching a small bottle of water in his hand.)Sloane: The Covenant is about to make a move.Sydney: Ifyou have some intel, protocol is you pass it through Lauren Reed. She's your handler.Sloane: Well, Ms. Reed is very able, but I'm afraid she can't possiblycomprehend the intricacies of serving two masters simultaneously. You were brilliant at it. The way you would walk into my office, look me in the eyes and lie tome. (He nods.) For me to succeed in my new work as a double agent for the Covenant, I'll need your help.Sydney: Your needs don't concern me.Sloane: You'llfind the details on toureurope.eu. It's encoded in a photo of the Vatican. The password is \u0000Credit Dauphine\u0000 for old time's sake.(Sydney looks away slightly,arms crossed impatiently.)Sydney: Clever.(Sloane takes a swig from his water bottle, then dries his mouth with the back of his hand.)Sloane: Hmm I miss LA. Imiss Emily. I miss the friendship with your father. (sighs) I miss your confidence and trust. Perhaps, I can get it back someday?Sydney: You will never have myconfidence and trust or my father's friendship and respect ever.(Sloane just studies Sydney and then smirks slightly as if she's just said something funny.)(Cut toVaughn dressed in full hockey gear, minus helmet, at the rink, skating hard across the ice surface.)Weiss (voiceover): You don't want any of \u0000Weiss on Ice\u0000Come on, buddy!(Vaughn takes a shot that goes right by Weiss, dressed in full goalie gear.)Weiss: All right, I wasn't ready! Wait \u0000til I say the words, \u0000I'mready.\u0000(Vaughn lines up about 15 feet away from Weiss and shoots four pucks (wristshots) in quick succession at him. Weiss protests between each one.)Weiss:Whoa! Hey! Hey! Hey! Hey! Hey! Hey! Hey! . Dude, what's the matter with you?(Vaughn, skating backwards, resetting for more shots. His voice isbrooding.)Vaughn: Nothing.(Vaughn takes another shot, which Weiss catches in his catching glove. He tosses it back out on the ice toward Vaughn.)Weiss: Mybrother used to do this.Vaughn (skating about restlessly): Do what?Weiss: Shut down like you're doin'. Get all quiet and \u0000tough guy'.Vaughn (taking anothershot): That's not what I'm doing.(Vaughn goes back to skating restlessly.)Weiss: Yeah, he'd deny it, too. Then he'd brood and get mopey, like you're doin'.Finally, it got too much for him he'd have to come around and tell me what the problem was(Vaughn stops skating and lets out a large impatient sigh.)Vaughn:It's been three weeks since I learned that Sydney murdered Lazarey I've been lying to my wife for three weeks.Weiss: Vaughn, I know guys who've lied to theirwives for a lot longer than that(Vaughn gives Weiss a dirty look.)Vaughn: You understand that the reason your brother didn't like talking to you is because yousay stupid things, right?(Vaughn fires an annoyed slapshot off the boards to the right (from Vaughn's angle) of the goal. It makes a loud noise and skittersaway.)Weiss: Listen you were ordered not to say anything, right? This isn't your choice!Vaughn: Yeah, and she was ordered to figure out who murdered Lazarey Imean, that's my point. I'm actively engaged in preventing her from doing her job. (He shakes his head and sighs with frustration again.) She's gonna find out, Imean, you know she is(Weiss nods with a little sigh.)Weiss: and that you're protecting SydneyVaughn: Yeah See where I'm going with this?Weiss: Well This iswhy people from the CIA should not get married to people from the NSC, man. Don't poop where you sleep(This response is not what Vaughn is looking for; itonly irritates him more.)Vaughn: Thanks a lot(Vaughn fires a wicked slapshot right at Weiss' right pad. It connects hard and Weiss collapses to his knees in thenet as Vaughn skates off.)Weiss: Oh! .Okay .You know what? That hurts(Cut to evening scene of a narrow European street. STRASSBURG. Cut to a darknondescript van driving down the street. Cut to a Covenant member, not one we've seen before, holding out a manila envelope.)Member: This is where Lang willbe(Cut to Sark, taking the envelope.)Sark: I'll take care of it.Member: It must be done a certain way. There's an a extraction required.Sark: I assume you'vestepped out the detailsMember: Yeah, your partner's been briefed.Sark: My partner!? I don't think so.Member: This is not a requestSark: Look, if you don't trustme by now perhaps you should be in business with someone else and you can tell that to San'ko.(The Member just laughs as an unamused Sark looks on. Cut toan overhead aerial view of downtown LA by day. Cut to the JTF Conference room.)Dixon: We've logged on to Tour Europe and downloaded Sloane's intel. TheCovenant is after a device that will give them access to Russia's strategic arsenal. It was designed by this man (shows a picture on screen), Robert Lang,hardware engineer for a German security firm.Jack: Lang was approached by someone posing as a Russian defense official. They contracted him to design a testfor security flaws in their nuclear command and controls system.Marshall: This guy Lang created this really cool device. Basically, take it to any missile silo in allof Russia and it interfaces with the launch control console, bypasses all security protocols: initiation codes, the commander's launch key irrelevant.Sydney: It's askeleton key for Russia's nuclear weapons?Marshall: Yeah and to be honest, I'm just a little bit jealousLauren: Did they ever deliver it to the Covenant?Jack: No.He discovered that the man who hired him wasn't actually Russian defense, at which point, Lang went on the run to prevent the Covenant from getting what he'dinvented.Dixon: This is a picture of what he used to look like. (Nods to picture still up on monitor.)Jack: According to Sloane's intel, Lang has surgically altered hisappearance to hide from the Covenant.Dixon: We know that tomorrow night Lang is scheduled to meet this man (picture flashes up on screen) Heinrich Strauss atthe Club Delphi in Milan. He's picking up new identity papers.Jack: Remember, Sloane's intel came from the Covenant, so obviously they're looking to grab Langand this skeleton key.Dixon: Sydney and Vaughn you need to get to Lang before the Covenant does. You leave tonight. Marshall will go over op tech. Lauren,Sydney I need a moment. (They wait while the others file from the room. Dixon approaches them.) Given the current situation, I need to make a change. (Dixonlooks at Sydney.) I want you to take over as Sloane's handler.Sydney (speechless for a moment and then): No, I'm sorry that is not a good idea.Lauren: Whileit's not my favorite part of the job, can I ask why I'm being replaced?Dixon: It's not an indictment. It's that Sydney is more familiar with the players(Sydney givesa confused look at Lauren and then to Dixon.)Sydney: What players? There's Sloane and Sark that's it.Dixon: No. There's another. (pause while realization startsto dawn on Sydney's face) Sydney Allison Doren is alive.(Pain and shock appears on Sydney's face. She looks away. Then she looks up and asks indisbelief)Sydney: She's alive?(Cut to the back of a van door opening and Sark being shoved out of it by the Covenant member he'd been talking to. Sark turnsaround to look at the man.)Member: You can thank me later(He closes the door. As the van starts to drive away, Sark turns around. Cut to a closeup shot of ahigh heeled shoe as it steps out from an open car door. We watch the door shut and the shoes walk toward Sark. The camera pans up: Black high heels, blackstockings, black miniskirt, black jacket. The woman is walking toward Sark (The camera is behind her.) Cut to Sark's reaction. His eyes widen in complete shock.Cut to who he's looking at. It's Allison Doren stopping in front of him. She leans in to kiss him, and then)Allison: You look like you've seen a ghost.(Cut to black.Alias theme. End of Act One.)[SCENE_BREAK](Cut to an external view of what is apparently a European hotel at night. Cut and pan across a bedside table to Sarkand Allison in bed, apparently naked. Sark is spooned behind Allison.)Sark: I truly thought you were dead the last two years. You'll have to start at the beginningor the end, after the last time I saw youAllison: Will Tippin discovered what had happened that his girlfriend had been killed and I'd been doubled to take herplace.(Flashback to the beginning of the fight scene between Allison and Will, when she tries to strangle him.)Allison (voiceover): He had to be eliminated.(Cutback to Allison and Sark in bed.)Sark: What happened with Bristow? When the Covenant found you, you were both unconscious.Allison: I can only remember thatin bits and pieces. (Flashback to the scenes from \u0000The Telling\u0000 of the fight as she speaks). She came home I realized that she knew she aimed the gun at me(cut back to the present) The next thing I remember, it was three weeks later and I woke up in a Covenant run hospital outside of Marseilles. Took me six monthsto fully recover. I've been working for them ever since.Sark: Were you behind them extracting me from the CIA?Allison: I wish I could claim credit for that. I onlylearned you were working for us recently.Sark: My tenure began shortly after my father's murder. They freed me in exchange for my inheritance.Allison: Whokilled your father?Sark: I don't know but I intend to find out.(Allison turns in bed, her back more to Sark now. He fingers her shoulder.)Sark: Bristow should haveto pay for these scars (Sark leans down and kisses her shoulder, presumably on her scars)Allison: She will.(Allison turns and Sark kisses her.)(Cut to an aerialview of the Observatory.)Lauren (voiceover): I'm no longer Sloane's handler. Dixon gave that job to Sydney Bristow. (We see on Lauren's face that this stillbothers her.)(Cut to Lauren sitting next to Lindsay on a bench. They aren't looking at each other, almost as if they are meeting secretly.)Lindsay: Good. Thatfrees you up to focus on the Lazarey murder. We have a source working inside the Russian government who's agreed to help us out.Lauren: They have theassassin's identity?Lindsay: Not yet. But apparently they hold information that could lead us to it.Lauren: Then why aren't they using it? Lazarey was a Russiandiplomat. You'd think they'd want that answer more than any of usLindsay: The Covenant doesn't want anyone to know they're behind the assassination.Lauren:And your source believes their reach extends so far within the Russian government that they can make that happen.Lindsay: You leave tonight. Any leak, and oursource could be compromised and killed. That means no one at the CIA can know about this, including your husband.(Lauren reacts to this news. The dread formsin her eyes and she sighs heavily and looks away. She's not looking forward to having to lie to Vaughn.)(Cut to two open suitcases on a bed. Slowly pan upwardto see Vaughn packing. He's dressed in only a dark pair of pants. His boxer shorts peek out the top of the waistband, and what looks like it could be a gauze"}
+{"doc_id":"doc_95","qid":"","text":"[INT. GRISSOM'S PLACE - KITCHEN -- DAY](BLUR IN on a glassware pot on the stove.)Madeline Klein: (V.O.) Nobody knew he was coming, Conrad. Nobody knewhis name.(Grissom is making soup.)Madeline Klein: (V.O.) Well, if you'd stop talking for a minute, you'd understand.[SCENE_BREAK][INT. COURTHOUSE - JURYROOM - DAY](The large jury room is empty.)Madeline Klein: (V.O.) The investigation's been compromised. Lives are at risk.(CUT TO: A legal pad and file areplaced on the conference table. Another set of paper and file is placed on the table.)(CUT TO: The jurors are sworn in. There's a board with crime scene photos upin the background.)Madeline Klein: (V.O.) How many people do the right thing anymore? Have a conscience? Don Cook didn't even know what hesaw.[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEW ROOM](Don Cook sits at the interview table.)Madeline Klein: (V.O.) El Matocho doesn't kill for thethrill or because he was abused as a child.[EXT. NIGHT](Emilio Alvarado walks away and under a lamppost. It's light enough to identify him. The large tattooedletters on the back of his head are easily identified: L-A-T.)Madeline Klein: (V.O.) He kills because it's his answer to everything.(He walksaway.)[SCENE_BREAK][EXT. NIGHT](A car is on fire, burning from the inside.)Madeline Klein: (V.O.) I had him eyewitnessed. It was enough for an indictment.No indictment, no trial. He goes free and La Tijera gets stronger. So don't patronize me by saying this might be an accident.[SCENE_BREAK][EXT. NIGHT](Firecrew and other personnel are at the site, the car fire is out and smolders. It's covered with foam.)Madeline Klein: (V.O.) I'm not asking you for advice here, I'mtelling you: I want Grissom.(A black car pulls off the side of the road. The door opens and Madeline Klein steps out of the car. She's on the phone continuing herconversation with Conrad Ecklie.)Madeline Klein: (to phone) Maybe the reception sucks out here.(She closes the car door and heads for the site.)Madeline Klein:(to phone) I said I want Grissom. Say I asked for him personally.(She hangs up.)(She walks over to the forensic techs standing near the site drinking coffee andwaiting.)Madeline Klein: I don't want anyone touching anything. Thanks for all your help, guys.Tech: (o.s.) Yes, ma'am.(She turns and walks over toBrass.)Madeline Klein: Case is reassigned to Grissom.Brass: He's home sick, Maddy.Madeline Klein: Yeah, I heard all about it from Ecklie. Blah, blah, blah. Thepoint that he and you seem to be missing is that I have 18 grand jurists sifting through evidence, trying to help me indict one of the deadliest gangs this city hasever ...Robbins: (shouts, interrupts) Who's in charge of the scene?!(Robbins, a coroner's assistant and David Phillips are with the body. David is examining thebody.)(Brass points to Maddy.)Madeline Klein: I am. (mutters) For God's sake.(Maddy and Brass head for the body.)Madeline Klein: Madeleine Klein, DeputyDA.Robbins: Albert Robbins, Clark County Coroner.Brass: Talk to me, David.David Phillips: Confirms it's Don Cook.(David hands the wallet to Brass.)MadelineKlein: This is on us.Brass: What do you got, Doc?Robbins: Other than the obvious burns over the better part of his body, there's this.(David and the assistant rollthe body to show the wound on the back.)Brass: He was shot.[SCENE_BREAK][INT. GRISSOM'S PLACE - NIGHT](Grissom is in the kitchen cooking soup. An ariaplays over the sound system. Grissom coughs and it's obvious he's sick.)(Hank sits on the kitchen floor nearby.)(Grissom stirs the soup cooking on the stove. Hetastes it with a wooden spoon. The phone rings.)(Grissom picks up his cell phone and looks at it.)4:00 AMCALL FROMECKLIE(Grissom turns the phone off.)(Hankmakes a sympathetic bark. Grissom turns and looks at Hank. Hank looks back at him.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT.ROADWAY -- DAY](Two police cars are parked at angles on the road and a strip of crime scene tape is tied between them to block the roadway. Catherine is doinga walk-through on the road as she talks to Grissom on the phone.)Catherine: (to phone) Let me run it down for you. Isolated stretch of Route 2, burned car onthe shoulder, burned male victim out of the car 20 feet away.(She walks past Greg, who is busy with a clipboard. A scarf is wrapped around his neck. Shecontinues toward Madeline Klein, who is standing near her car.)Catherine: (to phone) Single gunshot wound to the lower back. Passing motorist called it in. Firedepartment arrived within 12 minutes. Fire burned so hot, they had to use foam to put it out, which, of course, is never good for us.Madeline Klein: Where ishe?(Maddy takes the phone from Catherine and walks as she talks. Catherine walks along with her.)Madeline Klein: (to phone) I've been waiting over an hour foryou. What, are you walking here? (pauses) How many times have I gotten out of bed in the middle of the night for you, Gil? (pause) Yeah. Yeah, well, I'd like tophone it in, too. I left an AA meeting for this. That trumps walking pneumonia.(Maddy hands the phone back to Catherine.)Madeline Klein: Here you go,eyes-and-ears.(Maddy turns and leaves.)Catherine: We'll keep in touch.INTERCUT WITH:[INT. GRISSOM'S PLACE - DAY](Grissom pours a packet of powder intohis drink.)Catherine: (from phone) So the Deputy DA got out of bed for you? Whose bed?Grissom: (to phone) Talk to me about the road.Catherine: (from phone)All right.(Catherine is on the road. Warrick is there snapping photos.)Catherine: (to phone) The debris path starts approximately 100 yards from where thevehicle came to rest.(Warrick puts an evidence marker down on the road.)Grissom: (from phone) Show me what you see.(Catherine takes photos of the roadaround her and e-mails the photos to Grissom. She heads for the burned car.)[INT. GRISSOM'S PLACE -- DAY](Grissom sits on the couch as he works on thelaptop. Hank lies on the couch behind him.)(He opens the first e-mail photo and looks at it.) Gil.Grissom @ lvpd.csi.com Catherine Willows(a)lvpd.csi.com Case#080403 - 1916 GG Crime Scene PhotosDate: 04/03/08Time: 8:13 AM )(Warrick notes Greg is wrapped with his scarf around his neck.)Warrick: What are youdoing, a catalog shoot? Where's your matching hat with your pom-pom?Greg: Leave me alone. I have a cold. (looks at clipboard) So, based on the debris pattern,the victim was driving the car when the blaze started. Swerving all over the road. Probably because he was on fire.(Warrick and Greg look down the road.)START:VISUALIZATION(The victim's car zooms through the road. It is on fire as it swerves this way and that, tires screeching. It heads straight through Warrick.)(Gregturns and watches the car swerve off the side of the road and stop where the current burned car is.)END: VISUALIZATION(Greg looks at Warrick.)Greg: What doyou think?Warrick: Sounds about right.(Catherine approaches the burned car and takes a photo of the back end.)(She moves in closer and notes a discarded shoeon the grass near the closed driver-side door. She hears a loud sneeze.)Catherine: Gesundheit.(Nick sniffles. He's in front of the car)Nick: Thanks. Boy, I hopeI'm not getting sick. I'm not finding any pour patterns on the exterior. The hood and the front quarter panels are down to the primer and the front tires are burntdown to the rim. Think the fire probably started in the engine compartment.Catherine: New car engines don't catch fire, not by accident.Nick: Now we'll have toget it back to the lab for a closer look.Catherine: And guys on fire don't stop to close doors.(Catherine snaps a photo of the closed door.)Nick: No, no, I talked tothe battalion chief about that. He said the driver's side was open when his boys showed up, and that the pressure from the hose probably closed it.Catherine:Probably? (mutters) Hosers.(Catherine looks at the back of the car.)Catherine: Nick, come here.(Nick joins her. She points to the back of the car.)Catherine: Um.Clear that off, would you?(Nick wipes the foam off the bumper to reveal a tag: L-A-T.)Nick: \"L-A-T.\" That's La Tijera's tag.[SCENE_BREAK][INT. GRISSOM'SPLACE - DAY](Grissom is in his bathrobe as he goes to answer the front door. Maddy walks in carrying a file box.)Madeline Klein: Boy, you look like hell. I needsugar. You got a soda?(Grissom closes the door.)Grissom: Nice to see you, too, Maddy.(Maddy puts the file box down on the table. Grissom heads down the stepsand toward the kitchen.)Madeline Klein: Six months' worth of investigation; two months working with the grand jury; five low-level indictments against the LATs.Why you? (mutters) 'Cause you're the only one who won't screw it up.Grissom: My team won't screw it up.Madeline Klein: Oh, right. Your team. Warrick Browngot mixed up with a crooked judge. Sanders ran down a civilian while on duty. Ms. Willows lied about being at a crime scene, among other things.(Maddy holds adisk and opens the file box.)Madeline Klein: And who can forget Stokes, your straight arrow? Suspected of killing his hooker girlfriend. (Grissom returns.) Howdoes the song go? \"You call me up, I get 'em out of it\"? If it weren't for me, you'd have no team.Grissom: Are you done?(He opens the soda can and offers it toher.)Madeline Klein: Sorry. You have a ... ?(She holds up the disk. Grissom takes it from her and gives her the soda.)(Grissom goes to play the disk. Maddy sitsdown.)Madeline Klein: This was recorded two weeks ago. This guy had no idea that what he saw was the key to bringing down La Tijera and their leader, ElMatocho.(Grissom picks up the remote and plays the disk as he settles on the couch. It's a video recording of Brass' interview with Don Cook date-stamped March19, 2008, at 1:18 PM.)Don Cook: (from dvd) Okay, I know this is my third violation, but I was not speeding. I-I blew past that light because I had a fight with mywife.Brass: (from dvd) Listen, you're not here for a traffic violation, okay? Now, after you ran the red light, the street camera didn't pick you up at the nextintersection. Where'd you go?Don Cook: (from dvd) Okay, look, I, I cannot have my license suspended. I have a vending machine business.Brass: (from dvd)You're not here for a traffic violation. Let's get that straight. Now, did you see anyone in particular? Do you remember that night?Don Cook: (from dvd) Yeah,yeah, no. Um, yeah, there was, there was a guy who walked past my car.Brass: (from dvd) Okay.Don Cook: (from dvd) I thought I was gonna get robbed on topof everything else.Brass: (from dvd) Can you identify him, hmm?Don Cook: (from dvd) Sure, yeah. He walked under a streetlight. I saw him. I saw him realclear. He, um ... He was Hispanic ... uh ... I don't know, bald, scary looking.(Maddy pauses the video and goes through the file folder.)Madeline Klein: \"LAT\"carved into the cheek of the victim is the signature of El Matocho, La Tijera's number one.(She hands Grissom a photo. On it is \"LAT\" carved on a man'scheek.)Madeline Klein: He killed gang leader, Little Gordo, but he was a ghost--no face, no name.INSERT: FLASHBACK[INT. CAR (PARKED) -- NIGHT](Don Cookis in his car and parks. He looks out and sees Alvarado walking away.)Madeline Klein: (V.O.) Until Don Cook ID'd Emilio Alvarado coming out of Little Gordo'shouse around the time of the murder.RESUME SCENE.(Grissom looks at the photos.)Madeline Klein: Turns out Alvarado was caught up in a gang sweep day after"}
+{"doc_id":"doc_96","qid":"","text":"Ted (2030): Each architect has a building that changed his career. For me it was to my 31st birthday. It was not a museum or a concert hall or a skyscraper. Itwas something else.Man: We opened a restaurant called the Rib Town, we want it shaped... The band of friends is to McClaren's. Ted:... hat cowboy. Listen, Ineed this job. I have no other option.Robin: You can always do prof.Ted: I have not worked as hard to finish in a crappy job. Get me wrong, Lily.Lily: I was pissed3 times this morning. I can not say.Ted: I pass this building, so I see you in three days. He leaves the bar to go home and get to drawing.Ted (2030): The nextthree days, I worked as ever. And it led me... nowhere. Barney enters the apartment where Ted is still trying to design a building.Barney: What are youdoing?Ted: A hat-shaped building.Barney: It's time to talk?Ted: No.Barney: What do you think of Robin?Ted: I have to really work, so...Barney: Awesome. Saythat is a tailor and you have found a nice suit. A nice suit Canada. Superb chest. You try it, but it does not suit you perfectly. So you return it. Then I try it. I'mnot too keen... a suit that you have caught the eye, but at the same time, I love this costume.Ted: Buy the costume. It is important to you. Tell him how youfeel.Barney: But Ted, remember your answer, because... The costume is Robin. I know! Okay?Ted: I'm with you.Barney: Now. For I have explained.Ted: What...Ted Barney greenhouse in his arms.GENERICMarshall: Come on, man, you're on it for three days without stopping. This is your birthday. Come have a beer onthe roof.Ted: Impossible, the presentation is tomorrow. These hats are not alone.Marshall: That's a big restaurant for tourists. Just put wide doors and chairsstrengthened. Birthday beer on the roof. Let's go!Ted: Why do you want as I go on the roof? You made me a surprise party?Marshall: What? We brought you asurprise party, last year.Thou shalt have no surprises on two holidays. The fact that the world has come to the first was surprising. Not? Two surprises onChristmas! It is very strong! It is very strong! Great!(Marshall goes on the roof) Super... It still will not mount.Robin: Come on. This is boring! I knew it was a badidea.Marshall: Yes, Robin, I know. This festival is... is... a disaster.It was my idea. I take responsibility. There is one thing to do.Lily: Marshall, no.Marshall: Lily, Ihave to! (He stands on the edge of the roof) It's useless to procrastinate.Ted (2030): I should explain. A few years earlier...Flashback Ted, Marshall and Barneyare on the roof with an inflatable pool.Barney: Forget it. It really is not class. At best, it sucks.Marshall: You know who knows how to live? These people.Ted(2030): The terrace of the building next door. A paradise waiting for us behind a pit of 2 or 3 meters. And the best...Marshall: It looks to be a... sacred...spa.Barney: Owl. How do we go? We will do what? Jump? Marshall mounted on the edge of the roof.Marshall: I can jump it.Ted: Recently, you need two tries toget up from the couch.You can not skip it.Marshall: Really?Ted: Really.Marshall: Look.Ted (2030): But he did not jump. An hour later... Marshall is always on theedge of the roof while Ted and Barney are in the pool.Barney: Actually, it's not bad.Ted: Right?Ted (2030): And the following years, he continued to try. But eachtime, without exception... He did not jump. End flashbackMarshall: Do not worry. If I can jump tonight, it will save the evening.Lily: Honey, come down here,please.Marshall: When Evel Knievel rode his rocket star on the shore of Snake River Canyon, you think his wife said \"Honey, come down here '?Lily: For the lasttime, I'm not Linda Knievel! I will never be Linda Knievel!Marshall: No need to remind me. Ted is still on the drawing of his building.Lily: Marshall, do not do that.Do not jump, please.Marshall: Sorry, but I have to.Lily: You can not.Marshall: Why?Lily: You want a reason? You're going to have one. I am pregnant.Marshall:My God! My God, really? I saw you look fat...Lily: I was lying, b*st*rd! Go ahead, jump! I hope u gonna die!Marshall: This is the permission I needed.Barney:Look, Robin... I must tell you something.Robin: Wait. Before that, I must tell you something.Barney: What is it?Robin: I think I love you. Ted is a goat in herkitchen. Marshall is still on the edge of the roof when the phone rings from Lily.Lily: This is Ted. Everyone! Ted, are you?Ted: She's here, Lily. She looks atme.Lily: What?Ted: The goat.Ted (2030): I have already told you some of the history of the goat. Fash-backTed (2030): When Aunt Lily a farmer invited to speakto his class how he brought the goat, and told the class what he would do later. How Aunt Lily, in a fit of kindness, bought a goat to commute his sentence. EndflashbackBarney: It's been an incredible thing. I was talking to Robin, I would tell him my feelings, but just before, you will believe what ever she said.FlashbackRobin: I think I love you. End flashbackLily: You said what?Barney: In your opinion? What we can say to that? FlashbackBarney: Robin, you're greatlistening. You're really great, but we're friends. This is not a good idea.Robin: You must be right. Have fun.Barney: You too, sweetie. End flashbackLily:What?Barney: Once she told me that, more than feelings. I'm more in love.Lily: You were in love with her, throughout the year and when she feels the same, youlove him more.Barney: It's not great? Ted draws again and again while the goat eats a cloth.Ted: It's a wuss. Not food. (He takes the mop in the bathroom andcloses the door behind him) How...? On the roof, Marshall is still trying to jump from the roof terrace managed to go next door.Marshall: It is. It... is... go! Itis.Barney: Tracey, tell Lily what you just said.Tracey: What I just arrived in New York?Barney: No, how you've arrived there.Tracey: I just get off the bus fromIowa.Barney: Come off the bus from Iowa! How lucky that apprentice... dancer off the bus from Iowa... meeting... the producer of the Rockettes?Tracey: Ibelieve in a classic story of showbiz.Lily: Honey, you're there. You're really there.Barney: You can make us one of those rum and beer, that your father loves somuch?Tracey: Of course!Lily: Damn.Barney: What?Lily: Everyone always says, \"Do not tell Lily. Lily can not keep a secret. \"And, usually, they are right. But thistime I kept the secret. And here you come with that crap and you force me to become the Lily will spill the beans!Barney: What song? There was a piece?Lily:There was a song. FlashbackBarney: The costume is Robin. I know! Okay?Ted: I'm with you.Barney: Now. As I explained...Ted: What... Barney takes Ted into hisarms while Robin is in her room and heard everything.Robin: sh1t. Marshall, Lily and Robin are at the bar.Lily: He said that? My God! What an incrediblesurprise!Robin: You know since when? Lily is 8 months.Robin: And you've said anything since? Bravo.Marshall: Bravo, Lily. I mean, what a bomb. Who saw thiscoming?Robin: You know since when?Marshall: 7 months and 29 days.Robin: I will do what?Lily: I know. Are you gonna do?Robin: I'll marry Barney in a largechurch. We'll move to New Hampshire and open cottages.Marshall: Really?Robin: No! This is Barney. I mean... This is Barney. But it's Barney. I have to sayno.Lily: Boy, you're going to break her... The thing that this black mud pump through his veins.Robin: You're right. For the first time he likes a girl, she pusheshim away? And not just any girl. It's going to destroy it.Marshall: OK, first... Second, there is a trick you can try. It's risky, but it can pay off. Lack of anythingbetter, I'll call it... The Mosby.Robin: The Mosby?Lily: No, she can not mosbyser.Marshall: It could squarely mosbyser.Robin: What is the Mosby?Marshall: Do youremember your first time with Ted? You wanted to get on the train Ted, visit his yard.Robin: I was ready to jump the turnstile.Marshall: What changedeverything? Ted and Robin dance.Ted: I think I love you.Robin: What?Robin: The Mosby! It's great! And... excuse me.Marshall: You're really pretty, butabnormally high and you will not believe in ghosts. End flashbackBarney: So... when she said love me, she meant... otherwise.Lily: That's it. It worked well. Youare back to normal.Barney: Yes. It's true. And it's great. It's great. (Tracey returns) So Robin does not like me.Lily: No.Barney: Why?[SCENE_BREAK]At theapartment...Ted: Mr. Goat? (He tries to open the bathroom but the door is closed) M. The goat? Enough. (He manages to enter) Crazy Goat. I do not understandyour fascination with this mop. It should be normal with a brain the size of a... The goat runs toward him. On the roof...Lily: Marshall, you can pick upTed?Marshall: I was about to jump. You've not heard saying \"OK\" loop?Lily: I'm sorry. Go ahead and jump.Marshall: It's good. Sorry, everyone. Lily does notwant me jumping. (He descends from the rim) Thank God. Marshall found Ted lying on the ground and the goat on top of him.Ted: The hospital! At thehospital...Lily: What has happened?Ted: It happened... you left a wild animal in our apartment. I've been attacked.Lily: This is the sweetest and adorable goat inthe world.Ted: \"The sweetest and adorable goat in the world\"?Ted (2030): I lacked sleep, it was certainly not like that, but that's how I remember it. FlashbackTed struggles with the goat. End flashbackDoctor: You're the one who wanted to be a goat?Ted: It's the goat jumped on me! Can I go?Doctor: Yes. Butremember, \"Bee\" means \"bee\".Ted: Great, I'm late for my presentation. Thank you, Mr. Goat.Lily: Mr. Goat? It's a girl. Her name is Missy.Marshall: You got beatby a girl. Ted leaves the room followed by Marshall and Lily.Barney: So... You're in love with me?Robin: What? Yes. Much.Barney: You can stop. Lily told meeverything.Robin: Damn, Lily!Barney: I can not believe it.Robin: It's just... You mean to me, Barney. And... This kind of stuff, the emotional side. This is not yourtype. I thought you avoid that.Barney: Maybe I will not avoid it. I am perhaps. I have not wanted for a long time. But with you, it does not look so...difficult. Iknow not. I thought... you felt the same.Robin: Maybe. I know not. I am not good to face the feelings.There is clearly something... between us. Maybe my headsaid, \"stifles it in the bud\" because my heart said... something else. Listen... I feel for you. Maybe even that I love you.Barney: It's going pretty fast, do not youthink?Robin: What?Barney: We're good friends. Why risk everything? Friends?Robin: Friends.Barney: My God. You just do it again. You've mosbysé!Robin: Butno.Barney: But if, little flirtatious.Robin: You're right. I've just mosbyser.Barney: Why are you scared to try?Robin: Because I'm afraid of how I could loveyou.Barney: Bad idea.Robin: You're right. There must be a mistake.Barney: No.Robin: I love you.Barney: Friends.Robin: Friends, then.Barney: I love you.Robin:Let's get married.Barney: No, you're smothering me.Robin: OK, forget it. They kiss.Barney: You know what? We'll see later.Robin: Yeah, let's go. They finallycome out of the hospital room.Ted (2030): It was a long and crazy night, but in the morning, against all odds, I made my presentation.Ted: There he is,gentlemen. Rib Town. Is it not? Is it not?Man: Ted, listen. You are great and you did a... great job, and you'll make other restaurants very happy one day, but...we...decided to go... in another direction.Ted: What?Man 2: Treat yourself with... Rib Town!Ted: Sven... At the apartment...Marshall: I'll tell you, I will eat more"}
+{"doc_id":"doc_97","qid":"","text":"3.09 - A Deep-Fried Korean ThanksgivingOPEN AT LORELAI'S HOUSE[Lorelai and Rory are on the couch watching television]RORY: I like these women.LORELAI: Ilove these women.RORY: Poor Edie.LORELAI: Which Edie?RORY: Little Edie. She's just trying to sing and her mom won't stop talking.LORELAI: Big Edie was sobeautiful in her day.RORY: They were both pretty.LORELAI: I can't believe they were related to Jackie.RORY: Well, the Kennedy's kind of hid them in thebackground for many years.LORELAI: Well, when you're a Kennedy, how do you even choose who in the family to hide?RORY: It's a tough choice.LORELAI:Something beautiful about them though. They're cool, they're free.RORY: Yeah, and they're memorable. Most people are very forgettable. And they'rehappy.LORELAI: They had their cats.RORY: And their raccoons.LORELAI: And their pretty house.RORY: And each other.LORELAI: Add a few years and they'reus.RORY: Yeah. . .yeah.LORELAI: Yeah.[opening credits]CUT TO THE INDEPENDENCE INN KITCHEN[Sookie rushes around giving instructions]SOOKIE: Rhiana,run it through the sieve again, I want it smooth as glass. Don't cut corners, people!LORELAI: Is she melting down?MICHEL: Like butter on a skillet.LORELAI:Sookie. . .SOOKIE: Just a sec, hon. How's your love life, Pete? A little frustrated, I bet. Wondering how I know that? \u0000Cause you're taking it out on my eggwhites. Gently, fold them gently. Cheryl \u0000 you're slicing not dicing, I can hear it in the chop. Adjust, my friend.LORELAI: Sookie, whoa, whoa, whoa, whoa. Hey,let's talk.SOOKIE: I'm extremely lacking in time here.LORELAI: What's going on?SOOKIE: Uh, chaos? Uh, a travesty of cooking? It's a salmonella laboratory inhere!LORELAI: Sookie, the kitchen will be in good hands.SOOKIE: But not in my hands.LORELAI: It'll be in Bob hands. Bob has great hands.SOOKIE: No, youknow what Bob has? Bob has two seconds to get the hollandaise off the flame before I break his neck!LORELAI: Sookie, listen, you hired Bob. You trained him inyour image. He's great, and he's subbed for you before.SOOKIE: But this is Thanksgiving, he has never done Thanksgiving.LORELAI: He's ready, he'll sub for youseamlessly. Even Big Joe Newsanchor's have substitutes.SOOKIE: And that's the thing. They still say, \u0000And now the CBS Evening News with Dan Rather.' Yousee? Dan is still associated with it even though he's off snorkeling or something, just like I'm gonna be associated with the dinner because Bob is substituting forSookie. Excuse me one minute.[Sookie starts rummaging through the trash can]MICHEL: Oh, this can only be good.LORELAI: Sookie, that's the garbage. Stoprooting through the garbage.SOOKIE: I will when people stop throwing away useful stuff!LORELAI: Drop, drop the, drop the tops, drop them, drop them. Comehere, come here, come here. Now, Sookie, listen to me because you're torturing yourself here.[Emily walks in and stands behind Lorelai]SOOKIE: Emily,hi.LORELAI: Oh, that's nice. That's very high school. Stick with me here.SOOKIE: Good to see you.LORELAI: Yeah, ah, that's funny. You know who's behind you?It's Joseph Stalin, my good friend. What are you doing back from the dead, Joe?EMILY: Lorelai.LORELAI: Oh, Mom! Ah, geez, you scared me.EMILY: You heardSookie greet me.LORELAI: Oh, I thought it was a joke.EMILY: Like comparing me to Joseph Stalin?LORELAI: I wasn't comparing you to Joseph Stalin.EMILY: I'min a hurry. Can we speak for a minute?LORELAI: Yeah, I guess, for a minute. So, were you in the area or something?EMILY: Not really.LORELAI: Then what areyou doing here?EMILY: I wanted to talk to you.LORELAI: Phone's out of order?EMILY: Let's not play games here.LORELAI: Games?EMILY: I've called severaltimes the past few weeks and you've skillfully avoided every call.LORELAI: No, that's not true. I've left messages on your machine.EMILY: Yes, messages. Andthen if I happened to pick up, you'd hang up. Or if the maid picked up, you'd ask for me, then claim you were driving through a tunnel so you might get cut off,and then you'd make garbling noises and hang up.LORELAI: Fine, Mom, we're talking now. What's up?EMILY: Are you feeling well?LORELAI: You came all the wayout here to ask me that?EMILY: Well, you've been sick these past few Friday's for dinner, so I was concerned. That's why you didn't come, right, because youwere sick? So are you better? You look fine.LORELAI: Oh, it's the makeup. I'm still. . .uh, these allergies really just hit me like a ton of bricks.EMILY: I've neverheard you mention allergies before.LORELAI: I'm a silent sufferer.EMILY: Well, I certainly hope you're feeling better now because I want you to come to dinnertomorrow night.LORELAI: Tomorrow? Tomorrow's Thanksgiving.EMILY: Yes, it is Thanksgiving. And before you sift through the dozen or so excuses you alwayshave on hand, let me have my say. You've missed two dinners and avoided my calls because you're mad at us about what happened at Yale. But I want you andRory at Thanksgiving this year.LORELAI: Mom \u0000EMILY: If you have plans \u0000LORELAI: We do have plans.EMILY: Alter them. Now, there'll be other people there,so the focus won't be on you, and you may even be able to get by without saying more than \u0000hello', \u0000goodbye', and \u0000pass the gravy'.LORELAI: We alreadyhave plans.EMILY: Your father and I are going out of town the next day and we'll be gone all of December, including Christmas, so it's the last chance for thefamily to be together for the rest of the year.LORELAI: Look \u0000EMILY: And I want you to remember that I am not the one who set the meeting for Rory behindyour back. I want you there, Lorelai. And if you're still sick, I don't want a doctor's note. I want your doctor himself to come to my house and convince me that it'strue, got it?LORELAI: Got it.EMILY: See you tomorrow.CUT TO CHILTONTEACHER: The multi-layered membrane systems of the cytoplasm are the smoothendoplasmic reticulum, the rough endoplasmic reticulum, and the golgi body. Now, the smooth endoplasmic reticulum is concerned with the manufacture of lipidmolecules. [bell rings] We'll continue on this next week. Keep up on your reading please.MADELINE: That was really distracting.PARIS: Oh. Well, by all means,Madeline, you should point out to the faculty that their annoying custom of teaching is distracting you from more important things like nail filing and daydreamingabout marrying Ryan Phillippe.LOUISE: Uh, he's already married.PARIS: Then whatever strawhead actor isn't.MADELINE: This was bad. For the last five minutes,every single thing she said sounded dirty.LOUISE: Yeah, same here.PARIS: Good God.MADELINE: I mean, reticulum? Come on.LOUISE: Plus, the golgi body. Imean, is it me or is that majorly pornographic?PARIS: My life with the Banger sisters.RORY: So, changing the subject. . .PARIS: Hallelujah.RORY: What'severybody doing for Thanksgiving?PARIS: I can't even talk about Thanksgiving.RORY: Louise?LOUISE: I\u0000m having dinner with my dad.MADELINE: Isn't he still injail?LOUISE: Yes, but his company donated some treadmills for the inmates so he swung a special trailer for dinner that they're gonna set up for us in the parkinglot. We have it for about two hours and then one of the Manson girls gets us.MADELINE: You're lucky it's in that order.PARIS: My Thanksgiving is turning into aWes Craven movie.RORY: How so?PARIS: I called shelters to volunteer to serve food. It's Thanksgiving \u0000 you'd think they have needs. Nope. Every stupid soupkitchen in town turned me down because they have enough volunteers.MADELINE: Bummer.PARIS: I'm on a couple waiting lists, but it doesn't look good.RORY:I've never heard of too many volunteers.PARIS: Who are all these jackasses who volunteered anyway? They can't all be students like me. They're not all putting iton a college application. I get something out of it and these other people don't get a thing. Talk about selfish.LOUISE: Sore subject.RORY: What are you up to,Madeline?MADELINE: I've got more college applications to fill out. Backups, safety schools.LOUISE: I've got some of that, too. I'm so behind.PARIS: I told youguys to have those things done by now.LOUISE: Sorry, Mom.PARIS: It's not about being sorry. It's about being prepared. I got Harvard and my backups in weeksago.MADELINE: Okay, all you're doing is making me more nervous. I'll see you guys Monday.LOUISE: Same here.RORY: Yup, see you guys Monday.PARIS:Harvard is going to be expecting Thanksgiving shelter work. They'll know I called too late and it will totally impugn my organizational skills. By the way, you knowI ultimately do all these things for the good of mankind, right?RORY: Oh yeah.PARIS: Sometimes I don't think I come off that way.RORY: No.[Paris' cell phonerings]PARIS: [answers phone] Hello? . . . Yes, thanks for returning my call. . . nothing? But wait, wait, wait \u0000 just stick me at any old pot. I'm small, you won'teven know I'm there, I'll even bring my own ladle. . . .Oh, now, come on, work with me here. I've got a slotted spoon. . . Well, what about coffee or condiments?You got condiments covered? . . . I'm sorry, can I speak to your supervisor? . . . My attitude? What about your attitude? I'm trying to help people. It'sThanksgiving. . .CUT TO STARS HOLLOW[Lorelai and Rory are walking down the sidewalk]RORY: So she coldcocked you, huh?LORELAI: She bit me, incapacitatedme with her poison, and devoured me whole.RORY: But how are we going to go to four Thanksgiving dinners?LORELAI: It's not four, is it?RORY: Lane's house,Sookie's, and we always stop by Luke's. . .that's three, and Grandma and Grandpa is four.LORELAI: Ah, we're mad, Edie.RORY: We're us, Edie.LORELAI: Well,we've gotta go to my parents' or we'll be brought up on war crimes. Lane's is always super early, so that's easy to catch. Sookie's is mid afternoon.RORY: Luke'sthe toughie.LORELAI: Guess that's the one we'll have to skip.RORY: Bummer.LORELAI: I know, but he won't care. Holidays are nothing to him anyway.[Kirk walksout of The Chat Club with several bags]LORELAI: Hey Kirk. Discover a new freaky fetish?KIRK: What?LORELAI: Nothing. You buy a cat?KIRK: Yup. I'm veryexcited.LORELAI: You seem it. So what's all this?RORY: I'm assuming there's nothing left in the store.KIRK: Actually, there are a number of things left.RORY: No,I meant you seem to be buying a lot of stuff.KIRK: Oh, sorry. My excitement must be clouding my ability to judge comedic hyperbole.LORELAI: So where'd youget the cat?KIRK: A lady had a bunch of them at the grocery store and Kirk seemed to take an instant liking to me.LORELAI: Kirk?KIRK: Yes?LORELAI: No, Imean, the cat's name is Kirk?KIRK: Yup.LORELAI: Weird coincidence or. . .KIRK: I named him Kirk.LORELAI: Isn't that confusing?KIRK: Not when you think aboutit.[Lorelai thinks about it]LORELAI: No, it's still confusing.KIRK: I like the name, and whenever I call Kirk's name, I obviously won't be calling myself.LORELAI:True.KIRK: Although when my mom calls for Kirk, that may be confusing. Maybe I can get her to say CatKirk when she's calling Kirk, and HumanKirk when she'scalling me.RORY: That would keep it straight.KIRK: I'm glad I ran into you. See ya.LORELAI: See ya, HumanKirk.RORY: Bye HumanKirk.[Kirk walks away]RORY:He's always been a cat person, he's just never had a cat.LORELAI: Hm.CUT TO LUKE'S DINER[Lorelai and Rory walk in]LORELAI: Hey. Anywhere?LUKE:"}
+{"doc_id":"doc_98","qid":"","text":"TREE HILL HIGH SCHOOLBrooke, Lucas, Peyton, Skills, Mouth are following Nathan and Haley, who is in labor, to the ambulance. Lucas receives a text messageand leaves.TREE HILL POLICE STATIONDan walks inDAN : My name is Dan Scott. I killed my brother.TREE HILL HOSPITALKaren is in the operating room,unconsciousDOCTOR : Her heart rate's dropping.OB : Come on, Karen. Just breathe. Haley is in the labor room, with NathanOB : Come on, Haley, justbreathe.NATHAN : You're doing good, baby. You're doing so good. I'm right here. Karen's operating room, Lucas is behind the window, watching.LUCAS : Comeon, mom. I'm right here.(we hear the monitor, her heart stops)DOCTOR : She's coded.LUCAS : Mom!KAREN'S DREAMShe is alone in a beautiful park when KeitharrivesKEITH : Karen?(She jumps in his arms and they kiss, then a little girl arrives)LITTLE GIRL : Yuck!KAREN : Who's that?KEITH : Don't you know?KAREN :She's our daughter.LITTLE GIRL : Mommy! Daddy! Come play with me!(Both join the girl)LITTLE GIRL : What flower is this, mommy?KAREN : This is a lily.(thegirl goes play in the park)KAREN : Oh, she's beautiful.KEITH : Just like her mother.LITTLE GIRL : Mommy, come with me.KEITH : You should go watch over her.I'll wait for you. It's okay. I'll be right here.(They kiss and Karen goes to see her daughter)LITTLE GIRL : Come with me, mommy!KEITH : Look for me in thelilies.KAREN : There's my girl. These are for you. It's a beautiful lily.TREE HILL HOSPITALBack in Karen's operating room, they shock her and we hear her heartbeating againDOCTOR : Stats and vitals rising. We got her back.TREE HILL HIGH SCHOOLBrooke is still where the ambulance was, she finds Haley's valedictorianspeech and reads itBROOKE (voiceover) : Now is the time for us to shine, the time when our dreams are within reach and possibilities vast. Now is the time for allof us... to become the people we've always dreamed of being. This is your world. You're here.\"TREE HILL HOSPITALHaley is giving birth to their childOB : It's aboy.BROOKE (voiceover) : You matter.NATHAN : Just relax.HALEY : You're a dad!NATHAN : You did so good. You did so good. We have a son. We have ason.HALEY : I want to see him. (Haley takes the baby in her armsHALEY : Hi. Hi, baby.BROOKE (voiceover) : The world is waiting.HALEY : Welcome to the world,James Lucas Scott. Look, that's your daddy.NATHAN : He's so beautiful.HALEY : That's your daddy.SCOTT'S HOUSE, 2 WEEKS LATERNathan is holding his son,watching basketball and listening rap music. Haley walks inHALEY : Unbelievable. He's only mellow when we play rap music? What happened to the classicalmusic I played for nine months?NATHAN : I got a confession to make. Every time you fell asleep, I went to old-school hip-hop. That's my boy, isn't it? That's myboy. You like some old-school hip-hop, huh? Yeah.GRAVEYARDKaren is sitting in front of Keith's grave, holding their daughter.KAREN : Hi, Keith. It's us. Hername is Lily. Lily Roe Scott. Hi. I'm gonna be seeing you in her every day.SIDE OF A ROADPeyton is outside her car with the hood opened, Lucas arrives in hiscarLUCAS : You've got to be kidding me. Again?PEYTON : I guess.LUCAS : Doesn't look like anything's wrong. You sure it won't start? Peyton?(Lucas closes thehood, Peyton is sitting inside the car)PEYTON : Oh, the car's fine. I was just feeling sentimental about the first time we spoke.LUCAS : Feeling sentimental, oravoiding packing for your trip to Los Angeles with Brooke tomorrow?PEYTON : I don't want to go. I mean, I do want to go. I'm just... I'm gonna miss you.LUCAS :Come on, look. At least you know what you're gonna do.PEYTON : You still haven't decided yet?LUCAS : I just didn't see this other thing coming, youknow?PEYTON : Can I help you?LUCAS : I don't think so. I just keep telling myself that... there will be some significant moment when I will know what to do. Howabout you? Can I help you?PEYTON : Yeah. Remember when your mom was in the hospital, and you asked me just to lie with you and heal you?LUCAS :Yeah.PEYTON : I think I could use some of that healing before tomorrow.LUCAS : I can do that.SCOTT'S HOUSENATHAN : So, you know, there's a big partytonight, kind of a last hurrah for all the seniors.HALEY : I know, but what are we gonna do with the baby?(Deb walks in)DEB : Cue the crazy grandmother. AndF.Y.I., if either of you ever calls me \"grandmother\" in public, I'll use my gun. Which is at the range, safe from the most beautiful baby boy in the world. Next toyou, Nathan, of course. Oh, who am I kidding? You are the cutest. You, you, you. Go. I'll watch him.HALEY : Oh, I don't know.NATHAN : We're underage, mom,and there's gonna be drinking, alcohol, probably some drugs.DEB : You're going to the party, and you're going to have fun. We insist. Now go. Bring me homesome drugs. Isn't grandma funny? Isn't she?PARTY HOUSE IN THE WOODLots of people are arriving at the partyBROOKE : Wow. So, what's the deal with thisparty, anyway?MOUTH : At midnight, the Tree Hill high computers change over, and the juniors become seniors.BROOKE : So, what happens to us?CHASE :We're gone.BROOKE : I don't want to be gone.CHASE : Well, you got until midnight.MOUTH : Hey, let me ask you guys something. Does it look like I'm wearing ablouse?BROOKE : I like it.CHASE : Uh, it's a little...MOUTH : Great. I'm the blouse man. It looks like I'm competing in men's ice dancing, doesn't it?CHASE : No, itlooks like you're winning men's ice dancing.BROOKE : Stop it. It's fine.CHASE : I'm just playing. As long as you don't have wine coolers in that bag, you'regood.MOUTH : You know what? You guys go ahead. I'm gonna, uh, grab my jacket.(Mouth leaves)CHASE : Hey, listen. I'm gonna stay out of your way tonight'cause you got a lot of people to say goodbye to before you leave tomorrow.BROOKE : Thanks.Lucas and Peyton arrive at the partyPEYTON : Maybe I don't evenhave to go. I mean, what do interns do anyway? They, like, answer phones. I already know how to answer phones. Look... Hello?LUCAS : You're going, andyou're gonna have fun. Haley and Nathan arrive at the partyHALEY : Okay, we'll have fun. I just saying, maybe I should give Deb one quick call just to checkin.NATHAN : Hales, come on, I miss the boy, too, but we're not gonna be those crazy, obsessive parents. You need to enjoy one last night with all yourfriends.HALEY : Okay, I won't call.NATHAN : All right. Tonight's gonna rock. Brooke and Chase are walking all the way to the entranceBROOKE : Tonight's gonnasuck. I can't believe they're gonna erase us.CHASE : No, I see possibilities in a night like this. It's your last chance to tell someone you love them, maybeapologize to an old friend, try something new. Tonight has greatness written all over it. I can feel it.BROOKE : Okay.GUY : Name.BROOKE : Brooke Davis.GUY :I'm sorry. I've got strict orders not to admit Brooke Davis.BROOKE : Excuse me? Whose stupid party is this, anyway?RACHEL : Mine, bitch. And your fat ass isn'tinvited.BROOKE : Oh, my god. Rachel finds MouthRACHEL : Well, if it isn't the only guy to ever leave me in a hotel room before the s*x.MOUTH : Well, well. Comehere. Where you been? What are you doing here?RACHEL : Well, where I've been's a long story. What I'm doing here's pretty easy. I missed you.MOUTH : Imissed you, too.(Brooke arrives)BROOKE : Hang out with her too long, you're gonna end up in Honey Grove. I need to borrow you. Come with me, boy andfriend.MOUTH : Where to?BROOKE : Someone's playing spin the bottle.MOUTH : Spin the bottle? What are we... 13?BROOKE : Shut up. God. Look, if you ask me,it's really stupid that we all ever stopped playing spin the bottle, so quit being so grumpy.MOUTH : Hey, you'd be grumpy, too, if a girl you had history with justshowed up out of the blue.(They both walk inside the house and find Shelly, already playing spin the bottle)SHELLY (surprised) : Mouth.BROOKE (to Mouth) : Youwere saying?(Mouth leaves)BROOKE : Hi.Haley is alone, on the phoneHALEY : Hey, Deb, hi. It's... It's me. I... I'm sorry to bother you. I just wanted to... checkin, yeah. Everything's great? Great. Okay, good, good. All right. Thanks. Oh, also, can you just not tell Nathan that I called this time... or last time? Thanks. Also,uh, before you go, he really likes his little... giraffe.(Rachel arrives behind her and flicks her in the back of her head)HALEY : Ow!RACHEL : That's for soaking meat the last party. The bitch slap, I deserved.(Rachel starts leaving, Haley throws her glass at her back)HALEY : That's for flicking me in the back of thehead.(Haley leaves)RACHEL : I'm gonna miss this.Nathan is on the roof, Lucas joins himLUCAS : Is that Nathan Scott, big-time college basketball player?NATHAN: Small-time college basketball player.LUCAS : Well, whatever, but... congratulations, man... on everything. How's fatherhood?NATHAN : It's awesome. How'sbrotherhood?LUCAS : Awesome.(they exchange pictures)NATHAN : She's beautiful, Luke.LUCAS : Handsome kid. Looks like his uncle.(They stay in silence for awhile)NATHAN : We got to go see him.LUCAS : Yeah, I know. But what do you say to your father the murderer?NATHAN : Whatever we say, we just get it overwith. I'm tired of carrying it around and avoiding him.LUCAS : Let's do it tonight. Let's stop running from him.NATHAN : Okay. Okay, we'll go later tonight, then.May need a few drinks first.(Nathan starts leaving)NATHAN : Lucas... I'm sorry I didn't believe you.LUCAS : I'm sorry I was right.Brooke is looking at her cellphone, Chase sent her a videoCHASE (message) : Brooke Davis, look to your right, and you'll see the hottest guy at the party.(Brooke looks at Chase, but Haleyarrives)HALEY : Hey.BROOKE : Hi, tutor mom. How you feeling... you having fun or you worried about the kid?HALEY : Um, I am... worried... about you, too. I'mgonna miss you this summer.BROOKE : Okay, don't. Don't do that. Don't make me cry 'cause I'm barely holding it together as it is.HALEY : Nathan and I wantyou to be James' godmother.BROOKE : Okay, that's gonna do it. Haley. I would be honored to be his godmother, and I promise you that, unlike my ungodlymother, I will so kick ass at this.HALEY : I know you will... as long as you don't say \"kick ass\" around him too much.BROOKE : Right, sorry.Shelly is alone, Peytoncomes see herPEYTON : Like your leather. You're Shelly, right?SHELLY : Yeah. Uh, we had current events together, right?PEYTON : Yeah. Hey, I just want to tellyou, I think Clean Teens is really cool.SHELLY : Thanks. I... kind of ended it.PEYTON : Well, it's still really brave of you. I totally would have joined if I didn't loves*x so much. That's a joke.SHELLY : Yeah.(Rachel joins them)RACHEL : Man, Clean Teen wardrobe sure has changed. I want back in.(Brooke and Haley arrivetoo)BROOKE : Look at this. It's like a Clean Teen reunion. All we need now is Chase, but... honestly, he's not that clean. He appreciates the art of a dirty textmessage.(Bevin arrives and grabs the girls to dance)RACHEL : I don't suppose the Clean Teen dances much.SHELLY : Oh, please. I was doing the whole slut thinglong before you, bitch.Skills is inside the houseSKILLS (singing) : \"If you wanna be my lover You got to get with my friends\"(Lucas arrives)SKILLS : What? It'scatchy.LUCAS : You believe in miracles, Skills? 'Cause there's no way in hell a couple of vagabonds like us walked off the River Court and won the State"}
+{"doc_id":"doc_99","qid":"","text":"Act 1Scene 1 - Frasier's Apartment. Frasier is seeing a guest off the premises. Both are dressed in tuxedos, as are Niles, Martin and Bulldog who are also in theroom. Roz and Daphne are decked out in elegant eveningwear.Frasier: [opening the front door as the guest walks out] Glad you came back with us. I hope youhad a good time. Well, I can't tell you how much fun this has been. Listen, now that you know the way don't be a stranger. OK. Good night! [closes the door afterthe man] Who the hell was that?Niles: He's not from the station?Roz: I never saw him before.Daphne: He was table-hopping like crazy during the awards.Martin:That's 'cause he was our waiter.Frasier: Well, that's the last time I say, \"everybody back to my place!\"Bulldog: [holding up his SeaBea] Who cares about thatguy? This is a great night.Roz: For you, maybe. The rest of us lost.Bulldog: Hey, it's not important whether you win or lose. It's an honour just being nomin...[breaks into laughter] I couldn't get through that crap on stage, I can't get through it now!Roz: Frasier, do you mind if I use your phone?Frasier: No, not at all.Who are you calling? It's practically midnight.Roz: Oh, I promised my grandmother I'd leave her a message telling her how we did. [dials the number then startsspeaking into the phone] Hey Gammy, it's Roz. Guess what? We won again! We're all here celebrating.Roz holds up the phone to indicate they make some kind ofnoise of celebration. All they can muster is a half-hearted \"YEAH!\" sounding completely unconvincing.Roz: Listen, I gotta go. It's getting crazy here but I'll talk toyou tomorrow. Bye-bye.Niles: You lied to \"Gammy?\"Roz: Well, she's old and it makes her happy. She smiled for a week when I won the Miss SeattlePageant!Frasier: You know, Roz raises a very interesting philosophical question...Martin: [preparing for the worst] Oh, here we go. Buckle up!Frasier: Is it alwaysmorally wrong to lie? We are taught that it is. Though obviously there are certain occasions when a lie would be acceptable.Bulldog: Yeah, like the lies you tell achick in bed. \"You're the best I've ever been with\"; \"Your thighs don't look that fat\"; \"Don't worry, I've had a vasectomy.\" [Bulldog notes the disgusted facesaround the room] Hey, screw you guys! I'm an artist; we live by different rules.Niles: An argument can certainly be made that a lie is good when it sparessomeone unnecessary pain. I'm reminded of Maris's brief flirtation with active wear when I assured her, \"You look fine, darling. Spandex is supposed toblouse!\"Frasier: You know, Lilith actually told me the other day that Frederick has taken to lying. Yes, he told all of his friends that Lilith is an alien.[laughs]Martin: Seems as good an explanation as any!Frasier: He also told them that she wears her hair in a bun to hide the third eye in the back of her head.[laughs again]Roz: How did Lilith find out?Frasier: Well, apparently she was driving him and Toby to a Junior Mensa meeting, she looked in the rearview mirrorand saw that they were making faces at the other cars. So, never have the words \"I can see you!\" caused so much screaming and wetting of pants!Laughter allaround.Daphne: I did my fair share of fibbing too. I once told my school chums I was born with a tiny embryonic twin attached to my hip. [Daphne laughshilariously whilst the others look slightly perturbed] Of course they were horrified and it didn't help my social life at all. [sighs] But for a while there it was nicehaving a sister.Niles nods his head in sympathy before subtly removing the glass of champagne from Daphne's hand and passing it to Frasier who nods his headin agreement.Niles: Oh. Remember in prep school when we were so desperate to avoid The President's Physical Fitness Test...Frasier: ...that we lit a matchunderneath the fire alarm and all the sprinklers went off.Niles: And we blamed that delinquent kid, John Rajeski.Frasier: Yes.Martin: [appalled] You didwhat?Frasier: What's wrong?Martin: You two swore up and down to me that you never set off that alarm.Frasier: [laughing] Well, of course we weren't going totell you.Martin storms off into the kitchen.Niles: For Heaven's sake, Dad, you can't be mad. We were kids.Martin: [turning back] You know, the headmaster said itwas you two. I went down there and raised hell with him. I said, \"My kids don't lie.\" Because of you that Rajeski kid got expelled!Frasier: [shocked] Expelled? Ifwe'd have known that was going to happen we would have told the truth.Niles: [unrepentant] Not me. He was a brute and a meanie.Frasier: You're right. He usedto make the most merciless fun of me, about how I always wore my gym shorts in the shower. He used to call me \"Shorts In The Shower Boy.\" You don't have tobe witty to be cruel.Martin: Well, I don't give a damn what that kid did. Getting him expelled was worse. [angrily] I'm going to bed. Good night,everybody.Everyone says good night as Martin goes through to the bedroom.Frasier: Well, I guess that brings an end to our little debate. Apparently there are nogood lies.Bulldog: Hey, hey, it's getting kinda heavy in here. We gotta liven this place up, huh? Hey, I know - party games, huh? All right Doc, I'm going to need ablindfold, whipped cream and a glass coffee table. [everyone looks mystified] What? Nobody went to camp?Roz: [getting up] Forget it, Bulldog. These guys are nofun. [grabs his butt as she walks past] You know what? I know a great after-hours place where we can go get a few drinks.Bulldog: [rushing after Roz to the frontdoor] Now you're talking. Hey, if things go well I know an after after-hours place. And I got the keys.Roz: Mmm. You get the elevator; I'll get my coat.Bulldog:You're on.Bulldog rushes out and Roz closes the door behind him, firmly locking it.Roz: No good lies, my ass!Daphne laughs and Frasier and Niles toast each otherwith their champagne.[SCENE_BREAK]Scene 2 - Café Nervosa. Niles walks in and sees Frasier sitting down. Niles hangs up his coat before sitting down. It isapparent that both brothers are wearing exactly the same suit right down to the shirt and tie.Niles: Good morning, Frasier.Frasier: Oh, good morning, Niles...[suddenly notices Niles's suit] Oh dear God - it's finally happened. This is the thanks I get for introducing you to my personal shopper. I gave her specificinstructions to write down every article of clothing that I had purchased so we could avoid this sort of calamity!Niles: I didn't use Renaldo. This suit just caughtmy eye while I was shopping for shoes.Niles and Frasier suddenly stop and stare tentatively at each other's shoes. They both reel back in horror as they realisethey've got the same as well.Niles: [annoyed] Well, why didn't you also take my strong chin and swimmer's build?Frasier: Oh please.Niles: Obviously we have tosit apart.Frasier: Sit down! There's something I need to talk to you about. I doubt most people are as tuned to these things as you and I are. I'm sure they won'teven notice.At this point the waitress approaches with two coffees.Waitress: [to Frasier] Here you are, double espresso. [to Niles] I took a chance and broughtyou the same thing. [leaves]Frasier: After our conversation last night I couldn't stop thinking about our getting John Rajeski expelled. I didn't sleep a wink.Niles:You can't be serious?Frasier: You mean it didn't bother you? Where is your conscience?Niles: Perhaps it fell into the quad - along with my hall monitor beret whenJohn hung me from the flagpole! He was going to be expelled sooner or later. You cannot guilt me into feeling bad.Frasier: Yes, well, no one hated him more thanI did but I still think we owe him an apology. Can I borrow your phone, Niles?Niles: Certainly. [hands over phone then suddenly realises] You're not going to callhim?Frasier: I am.Niles: Are you insane?Frasier: [speaking into the phone] A number for a John Rajeski, please? [speaking to Niles] Niles, my conscience won'trest until the two of us have said we're sorry. [speaking into phone] Oh yes, connect me please.Niles: Leave me out of this. I'm not sorry. But don't tell him that.And if he asks, I'm living in Italy. No, no, France. No, Italy!Frasier: [speaking into the phone] Yes, hello. Is John Rajeski there, please? It's an old friend... Oh, I'mterribly sorry to hear that. Thank you. [hangs up] Niles, it's worse than we thought - he's in prison.Niles: [smug] Well... who's wearing shorts in the showernow?Frasier: Well, joke all you like. I still can't help thinking this is all our fault.Niles: How?Frasier: Well, he was always on the cusp. Maybe he couldn't get intoanother prep school. Maybe he had to go to public. Got in with the wrong crowd. Couldn't hold on to a job. He could turn to a life of crime.Niles: Frasier.Sometimes bad things happen to bad people. We did not set him on the path to prison.Frasier: Yes, well until I'm sure of that fact my conscience will not rest. Ihave got to speak with him. [to waiter] Can I have the check, please?Niles: [incredulous] You're not going down to the jail?Frasier: Yes, I am. I invite you to joinme.Niles: [sarcastic] Yes, that's a good idea, Frasier. The Crane boys going to a prison in matching outfits![SCENE_BREAK]DEAD MAN TALKINGScene 3 - Theprison. Frasier is nervously walking round a room bare except for a table and two chairs in the middle of the floor. John Rajeski is brought in by a guard.[N.B.John Rajeski is actually the name of one of the show's producer's assistants. He appears as a Cafe Nervosa waiter in [3.24], \"You Can Go Home Again.\"]John:Frasier Crane?Frasier: John.John: [smiling and shaking his hand] Hey. How's it going?Frasier: Well, fine. And you?John: Eh... [shrugs and waves at hissurroundings] What brings you down here?Frasier: Well, I don't know if you get the alumni magazine, but I became a psychiatrist, and I'm currently conducting astudy on men behind bars and how they got there... [notices John's fists] That's an awfully nasty bruise on your knuckles.John: [laughs] I caught some guy usingmy comb. I really hate it when people touch my stuff.Niles: Oh, yes. I remember my brother Niles once sat in your chair in the cafeteria. As I recall you put himon a tray and ran him through the dishwasher.John: Yeah, class clown - that was me. [both laugh at this] How is Niles, anyway?Frasier: Ah, er... ah, he's abroadnow.John: Really? Whoa, that must have hurt.Frasier: No, no, I mean, er... yes, I suppose it did! Well anyway, it would be an enormous help in my study if youcould perhaps pinpoint the moment or event in your life that led you to here.John: Ah, that's easy. I'm doing time for passing a bad check.Frasier: Ah. [beginswriting in his notebook]John: You see, I wanted to get my wife something nice. We're going through a rough time recently. I was scared she was going to leaveme, you know?Frasier: [relieved] Well, that was quick and painless. We've identified the point where you fell off the beam. [gets up to leave]John: Actuallythough, I was already on probation. I did some time about ten years back for driving a car that didn't belong to me.Frasier: And that was your firstinfraction?John: Yeah.Frasier: [getting up again] Well then, case closed, mystery solved. A young man yields to the lure of a bright and shiny car. Is thereanything more tragic?John: I did have a juvenile record.Frasier: [sitting down again] Apparently there is.John: I got in a high school fight.Frasier: You did sayhigh school, not prep school?John: Oh, yeah, yeah, yeah. This is way after you knew me. I went bad then. Always getting into fights. Of course I wouldn't have"}
+{"doc_id":"doc_100","qid":"","text":"[Up-tempo music plays.]You're alive As long as the streets are living I single you out I don't want to want to go home The sun will rise OSCAR: Jesus, Lester.What's the damn hurry, mate?TREVOR: [Laughs.] Not again, Trev. It just encourages him. want to go home He ain't saying it'll be easy You want to go there, doyou, bro? Come on, boy. There.[Laughs.]Whoo! This broken bell will keep on ringing Boy, it's true Oh. Hello, Madison. Jean. Still come to see your mum,then?[Chuckles.]She expects it.MRS.MARLOWE: Oh, so many these days forgotten the moment they've gone.MADISON: Well, not Mum.She'd never stand for thatsort of nonsense. - No. She wouldn't. - Mm. I think she'll be happy knowing I'm still right here where I belong.MRS.MARLOWE: Datura!Really. Hey. Hey. Come on,bro. Dig it in. - [Horn honks.] - Hey!CYCLIST: Hey! - Animal! - Let's go! Game on. Come on, lads. You're on, Lester.[Grunting.]Come on, Trevor. Not evensweating. Come on. Come on, Trevor, you loser! Whoo![Laughs.]TREVOR: Lester!Lester! Lester! Stay back![Cellphone rings.]- Mike. - Theoretically, do you thinkit's possible to train a bull to kill on command? Oh, you're still banging on about that? Well, you have to admit it's intriguing. That Collins guy was an idiot. Ithought that was the official verdict. Not in those exact words. But yeah. Essentially, yes.- SIMS: So? - [Sighs.] Maybe I'm being too optimistic about the humanrace, but I find it hard to believe that someone can be that stupid. Yeah, well, there are some spectacularly stupid people - out there. - I know. But, in theory, doyou think it's possible to train a bull to kill on command? Look, Mike, I have to go. It might be your day off, but it's not mine, and, actually, I've got a death todeal with. Should I be there? No, no. It's a middle-aged cyclist pushed it too hard. Heart attack. So why are CIB involved?SIMS: The uniform branch arestretched, so I stepped in. The good news is, Breen lost rock-paper-scissors, so I sent him to inform next of kin. Oh, so you've got time to talk about the bullthing. Uh [Imitates static hissing.] We're breaking up, Mike. I'll talk to you later. - [Cellphone rings.] - Oh, good Lord. Another one? - Yes, another one.- GREENE:Who? Lester Nyman. Heart attack yesterday. - Oh, dear.- MADISON: Will you come in, or do I send this out? Uh, no, no. I'll come in. Good. Everything will beready this afternoon.[Police radio chatter.]In theory, you can train any animal. I mean, they trained orcas, right? And that didn't turn out so well for both man orbeast. But if you can train a big fish, you can train a bull, right? Orcas are mammals, not fish. But a bull is a mammal.- SIMS: Yes. - Here we go. Thank you. Gotyou a trim. Look, Mike, I'd love to dwell on your bull-as-assassin theory, but I have a dead cyclist to process here. Oh, on that note, when I told Mrs. Nymanabout the death of her husband, she was a little weird.[Knocking.]- Yes? - Mrs. Tammie Nyman? - Yes. - Detective Constable Breen. Um, I-I have some bad news.Can I come in? Uh Wait. Did you say \"Nyman\"?BREEN: Yeah. Wife of Lester Nyman, the dead guy on the bike. The bull thing happened on the Nyman farm. Ithought bull guy was Collins. Yeah, but the witness was a Trevor Nyman, the farmer. Trevor Nyman, Lester Nyman's brother, was the first man at the scene whenLester dropped dead. So, what are we thinking here? - A very good question, indeed. - [Cellphone rings.] Gina, what can I do for you? Mike. It always makes melaugh when you answer your phone, \"Gina, how can I do you?\" That's not actually what I say, Gina. It's more \"what can I do for you?\" Same thing. No. What'sup? Or perhaps down. This is a Mr. Lester Nyman. Ah. The cyclist. - Okay. - Yes. The face-first thing is unusual. Yes. Heart attack, wasn't it? Yes. I sourced hisrecords, and given his medical history, a heart attack is most likely. But if he had a heart condition, what was he doing riding to the top of Whakamoho Mountain?Mm, because cycling is awesome? - It is? - Man. Machine. Fresh air. Gets the blood flowing. Feel the tingle of life in your extremities. You don't like cycling, Mike?- Never been a fan, no.- KADINSKY: Pity. I think Lycra brings out the best in men. Okay.[Clears throat.]Uh if it was a heart attack, what am I doing here? This.You see this rash? - [Remote clicks.] - This reaction, it troubles me. I hear you on that. Not what I would expect. - Chafing? - No. No signs of friction. And chafingwould be lower between legs. This is a reaction to something. - Poison? - Call it instinct, but something is not right about this. I'll notify the coroner. I was hopingyou would say that.BREEN: You know, instead of \"poison\" and \"bull,\" you could have just written \"stupid\" and \"death wish,\" right? Or just not written anything atall, - because there's no evidence - Yet. Yet to suggest that either of these are anything other than what they are. - There's a rash.- SIMS: Maybe they changedtheir laundry detergent, and he had a reaction to that. Meanwhile Manu Collins. Is there something to suggest there's anything out of the ordinary? Apart fromeverything? So, where's the bull now?TREVOR: We put it in another paddock. Thought it was probably best. Are you saying Manu Collins just ran straight at thebull? Like I said, we were out here, talking, and You've heard of the festival of San FermÃn, right? - [Bull bellows.] - The running of the bulls? The Spanishcelebration of fleeing with soiled trousers? Yeah.MANU: Well, that's what I'm gonna do with my money. Yeah, see, I want to be one of those guys who gatherwhere the bulls are released, and then, when they emerge out onto the street, - run towards the bulls. - [Sighs.] But then, at the last minute, turn around andthen run with them. Yeah. Yeah, that's what I'm gonna do.TREVOR: What are you doing? I'm so totally gonna be that guy. Whoo-hoo-hoo-hoo-hoo![Laughs.]Theystress the bull out, running at it like that. The bull just did what bulls do when they get stressed.[Manu laughing, bull bellows.]Maybe he would have made it. But- Ooh! Ooh! sh1t! - [Bull snorts.] But by the time I distracted it Oi! Phft! Phft! it was way too late.[Thud, Manu coughs.]Was Mr. Collins prone to doing things likethat? You mean being an idiot? Yeah, I guess. I don't know. I only knew him a couple of days.[Gunshot.]That'll be Mrs. McTavish. She works here. She reckonsonce they've done something like this, you [Sighs.] you don't want 'em 'round. I see a candidate for a Darwin Award maybe, but not for murder.[Sighs.]TrevorNyman has been a witness to or first on the scene of two deaths over, what, the last two months? Bad run of luck for Trev.BREEN: Yeah, and then some. It's notbeen a good year for the Nyman clan. Six months ago, Trevor's father, Karl Nyman, killed himself. Put a shotgun in his mouth out at the farm. Guess who foundthe body. And then, two weeks ago, a Jethro Nyman drowned while Jet-Skiing off the coast of Riverstone. Way off. Any mention of Trevor in relation to that?Nope. Missing for a week before the body washed up.SIMS: Anything to suggest foul play? Not as yet. You know, it could just be a run of really lousy luck for theNymans. No one has that much bad luck. Come on. Oh.[Sighs.]SHEPHERD: This really is a great spot, isn't it?TREVOR: Yeah, it is.Look, is there some kind ofproblem here?SHEPHERD: Not at all. It's just a routine follow-up about your brother Lester's death. Oh, there was nothing I could do. He was dead by the time Igot there.SHEPHERD: I'm sorry for your loss. - Thank you. - Or losses, actually. There's been a bit of a bad run for your family lately. Yeah, I suppose. Your fatherdied a while back? He committed suicide, yeah. Bit of a shock, I imagine. No, not really. He was dying anyway. He just chose where and when. So it wasn't asurprise? Well, it wasn't pleasant walking into that barn, but no, it wasn't a surprise. And, um, now your brother.TREVOR: Lester knew he had a dodgy ticker. Hetook it as a challenge. In what way? He thought he could laugh in the face of death. Death won. Jethro Nyman Is he a relation?TREVOR: He was. A cousin. AndManu Collins also a cousin, you said.TREVOR: Sort of. Sort of? At my father's will reading, we learned that he had a whole other family. - Over in Riverstone. -Oh. So less of a cousin and more of a half brother? - Yeah.- SHEPHERD: You learned this - upon reading of the will?- TREVOR: Yep. Look, what the hell has thisgot to do with my brother Lester - having a heart attack? - Oh! Just tell him. - He'll find out anyway.- TREVOR: [Sighs.] This is Mrs. McTavish. She kind of runsthe house. No \"kind of\" about it. It's a will. It's a public document. Police want to find out, all they have to do is look. My father's will and the reading wassomewhat of a revelation. Why all the chairs?MADISON: For all the people asked to attend the will reading. What, as witnesses? - No.- MRS.McTAVISH:Oh.Bloody typical. I have to bring in me own bloody chair. Take a seat, Trevor.[Mid-tempo music plays.]Madison. Been so long since we've spoken Don't evenknow what you would say Still I made some promises, and I keep 'em anyway 'Cause somewhere there's a place Where the light keeps shining throughMADISON: Come in. I'll be talking with myself tonight Still no word from you There should be one more person. Magnus Nyman. Spoken to Dad lately? Haven'tspoken to the old b*st*rd in I don't know two years. He didn't come to Dad's funeral either. His own brother, and he didn't show. Okay, well, let's proceed withouthim. For those who don't know me, I'm Madison Mathers, a lawyer with the firm of Emerson, Bogart & Nash. Karl Nyman has appointed me to be the executor ofhis last will and testament. As part of this will, he stipulated that I assemble you all here for the reading of said will. Thank you all for coming. \"I, Karl HaraldNyman, being of sound mind and body, do hereby declare\" You don't need to bore them with the details, boy. Just get to the bit about Tonto.[Chuckles.]Thetontine.MRS.McTAVISH: Yeah, that thing.My father, in his will, left this farm, the bank accounts, everything, to 10 people in the form of what is called a tontine.Uh, sorry. A what? I think we all better have a nice cup of tea. - Hmm?- TREVOR: [Sighs.] So, a tontine is named after a bloke by the name of Lorenzo de Tonti inthe 1600s as a kind of insurance/investment thingy. But the guts of it A group of people share something of value. When one of them dies The surviving membersdivvy up the share between them. Something like that, yeah. So, where, once, 10 people owned the Nyman farm, now there are - Seven.- SHEPHERD: Mm. Orsix, depending on the whereabouts of Magnus Nyman. Okay, so, let's say there are seven. What was once a 10% share is now a BREEN: 14.[SCENE_BREAK]I'mquite good at doing maths in my head. Okay, Mr. Maths Genius, what does the remaining person get?[SCENE_BREAK]- SHEPHERD: You are good.But does thatinclude spouses?BREEN: No. A share in a tontine is a right of survivorship to only those within the original group. How apt.BREEN: But who are all these people?So Okay, so, we've got the sons, Lester and Trevor. Okay. And then there's the brother, Magnus, and the nephews, Jethro and Oscar. Got that. Uh, but thenthere's this other family? We learned he had kids to this other woman over in Riverstone when he was dying. Wasted on pills, he decided to tell us. First time Iever laid eyes on them was at the funeral. That added to the fun. The mother of this second family Is she still around? Dead. Years ago. Like most of the women"}
+{"doc_id":"doc_101","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. CONSTRUCTION SITE -- NIGHT](A lone figure carries a body through the construction site. His feet stagger in thedirt under the weight.)VARIOUS DISSOLVES OF: The man continues to carry the body through the construction site.(The man adjusts his hold on the barefootedbody wrapped in a blanket. He starts walking across a board leading to the still drying concrete. He tosses the body onto the concrete. The body lands with asplat, unrolls and the body comes to a halt.)(The man nearly loses his balance as he looks at the body out on the concrete. He rolls his eyes.)FLASH TO:[EXT.CONSTRUCTION SITE -- DAY](The man is stuck waist-deep in the concrete. Brass leads Catherine and Grissom to the man in the concrete next to thebody.)Brass: Construction crew found him when they came into work this morning. The woman's dead. The guy's still alive, but he's not talking. Wouldn't evengive me his name, even after I gave him my name.(Catherine starts laughing as she heads over to look at the body.)Grissom: Did you, uh, pull his wallet?Brass:No, everything is just the way I found it. I mean, I figure some knucklehead, you know, came in off the street, found him, figured he had a free pass, and pickedhis pocket.(The man in the concrete shakes his head. Catherine can't seem to stop laughing.)Brass: Anyway, I'm, uh ... I'm talking to people. I'll, uh, I'll let youknow what we find out.Grissom: Catherine ... Do you need a minute?Catherine: Yes, I'm ... Yes, I'm ... (clears throat) I mean ... No, Gil. I'm good.(Catherinewalks back to the man in the concrete.)Catherine: So, how's your day going?Max: Lady ... the best day I ever had is worse than the worst day you've everimagined.Catherine: Oh, I doubt that.Grissom: Who's your lady friend?Max: Never saw that woman before in my life.Catherine: Uh, look, you're not goinganywhere. It'll be a lot better for you if you just cooperate and tell us what happened.Max: You want to know what happened?Catherine: Mm-hmm.Max: Figure itout yourself.Grissom: That's the fun part.(Catherine chuckles.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -DAY](Sirens wail in the distance.)[EXT. APARTMENT COMPLEX -- DAY](The residents wait outside. Nick and Warrick walk into the complex. They pass the guardposted at the gate. They meet up with Sofia.)Sofia: Hey.Warrick: Hey.Stokes: Que pasa?Sofia: One of the residents reported smelling a gas leak at 6:00a.m.(She leads them up the stairs.)Sofia: He, uh, called the gas company. They arrived; they evacuated the building.Nick: I'm surprised anyone picked out a gasleak through the rest of the stench around here.(They reach the second floor.)Warrick: Yeah, smells like used diapers.[INT. IVANOVNA RESIDENCE - DAY -CONTINUOUS](She leads them into the apartment.)Sofia: The gas boys traced the leak to this apartment, and that was when they found ...(She leads them intothe kitchen where someone has their head stuck in the open oven.)Sofia: -- this.Nick: Whoa.(Nick walks around the body and looks inside the oven.)Sofia: AlyonaIvanovna. Manager said she's lived here alone for 27 years.Nick: Head in the oven ... It's kind of a classic, huh?(Warrick sees a broken dish on the washrack.)Warrick: Maybe not. I mean, this apartment is neat as a pin. A lady this tidy wouldn't leave a broken dish in a rack like that, you know?(He snaps a photo ofthe dish.)Sofia: It doesn't necessarily indicate foul play.(Nick snaps digital pictures of the body while Warrick continues to take photos of the apartment.)Sofia: Ichecked the doors and the window. There's no sign of forced entry.(Warrick notes the broken phone, twisted on the wall.)Warrick: What do you make of this? Abusted phone ...(Quick ZOOM to a CU of the gray hair on the phone.)Warrick: -- with gray hairs in it.(Nick looks at the old woman's hair.)Nick: She's definitelygot gray hair.[SCENE_BREAK][EXT. CONSTRUCTION ISTE -- DAY](The paramedic squirts water into Max's mouth and puts some goggles over Max'seyes.)Catherine: (o.s.) Okay, David. Let's roll her over together.(Catherine and David are with the body. They flip the body over. Max watches from the side. Theparamedic is applying sunscreen to the top of Max's bald head.)David Phillips: Single stab wound, just below the sternum. It feels domestic. Crime of passion?CATHERINE: Maybe?David Phillips: Good point.[SCENE_BREAK](The workers use a jackhammer on the concrete around Max. Catherine covers her eyes as thedust fills the air around them.)Catherine: Hey! Hey! Hey!(She motions for the worker to stop. The jackhammer stops.)Catherine: You ready to give me aname?(Max doesn't say anything.)Catherine: You know, you are in a very deep hole, in every sense of the word, my friend. Think about that while we chisel youout. It's going to take a few hours ... assuming we're careful. See ya.(Max waves to her as Catherine gets up and leaves.)[SCENE_BREAK][INT. IVANOVARESIDENCE - KITCHEN -- DAY](Warrick spreads the white sheet on the floor as Nick and David Phillips help get Alyona Ivanovna out of the oven. They place heron the sheet.)Nick: It's just a guess, but I'd say she's in rigor.(Warrick snaps photos of the body.)David Phillips: Blunt-force trauma on the forehead, and on thebase of the skull.Warrick: I doubt very highly that those were self-induced.(Warrick shines his flashlight on the inside of the oven.)Warrick: Look at that: it'sdented.(Quick flash to: Someone shoves the old woman into the oven. End of flash.)Warrick: Looks like she may have been slammed into her own oven.Nick:Yep.David Phillips: She's been dead at least twelve hours.(Camera zooms in toward something behind her ear.)Nick: I've got a substance on her ... right ear. Shedoesn't really look like the hair gel type.(Warrick snaps photos.)Nick: Hang on a second, fellas. Look at that.(Nick reaches in and takes out the woman's bottomteeth.)Nick: Her dentures ... they were in upside down.(Very strange.)[SCENE_BREAK][INT. CSI - HALLWAY - DAY](Grissom finds Greg in the hallway.)Grissom:Hey. You're coming with me. We got another 419 out by Nellis.Greg: Wow, busy night. Any details?Grissom: They tell me it tastes just likechicken.[SCENE_BREAK][EXT. MANNLEIGH CHICKEN -- DAY](Grissom and Greg walk past the officers as they head for the warehouse. Outside, there aremoveable cages filled with chickens.)[INT. MANNLEIGH CHICKEN -WAREHOUSE - DAY](The plant is quiet. Grissom and Greg walk inside and meet up with Brass,who waits by the body. The body is in the basin in some water.)Brass: The dead guy in the bath is Raymundo Suarez. He works the night shift. He cleans theequipment from 8:00 p.m. to 4:00 a.m. The day-shift guys came in, found him like this. The foreman here called it in.Grissom: This basin is designed to transferan electrical current.Plant Foreman: Of course it does. It's a stun bath. We use it to stun the chickens before they go into the next room.Brass: Where they gettheir throats cut.Plant Foreman: Which is why we electrocute them first. It's humane.Greg: Was the current on when you found the body?Plant Foreman: No, sir,it was off; it stays off all night. Hey, uh, how long is this gonna take?Brass: As long as it takes.Plant Foreman: I got a lot of birds piling up outside. They're gonnadie out there in that heat.Brass: Well, it's not like they're gonna do any better in here. Come on, I want to talk to your crew.(Brass leads the plant foreman out ofthe area. Grissom looks up at the equipment.)Greg: Maybe he was high. Passes out and falls in?Grissom: How does he end up face down in the middle of thebath?Greg: Kind of tough to drown in three inches of water.Grissom: Not impossible, though.(Quick flash of: Raymundo Suarez is face down in the water. Heseizes and shakes from the electrocution.)Grissom: (V.O.) If he hit the water when the current was on, his muscles could've contracted, making it impossible forhim to get out.(Someone comes and turns the switch off.)Greg: (V.O.) But the machine's off at night, and it was off when they found the body.(End offlash.)Greg: Which means someone turned it off after he was dead.Grissom: Yeah. (beat) Who?[SCENE_BREAK][EXT. MANNLEIGH CHICKEN - DAY](Outside, theworkers are being interviewed by officers. The chickens continue to sit in their cages.)(Brass interviews Ernie Dell.)Brass: All right, what's your name, and whatdo you do here?Ernie Dell: Name's Ernie Dell. Maintenance man. I work 3:00 to 11:00.Brass: Mm-hmm. You see the victim last night?Ernie Dell: Uh, yeah, andRaymundo was just fine when I left.Brass: You and Raymundo get along?Ernie Dell: Kept my nose out of his business; he kept his out of mine. Didn't have aproblem with him.Brass: But you know somebody who did?Ernie Dell: Well, between you and me, the guy you ought to be talking to is Ike Mannleigh.Brass: Oh.You mean the guy who owns the company?Ernie Dell: Well, Raymundo's pretty far down on the pecking order.Brass: You think the big boss had a problem withhim?Ernie Dell: No. Not unless you think a guy banging your wife is a problem.(Quick flash of: Raymundo and Mrs. Mannleigh kiss and undress among theclucking chickens. Ernie Dell sees them from behind the chicken cages. End of flash.)Ernie Dell: Can't blame him, though. Bubbles Mannleigh is a cheapwhore.Brass: Did you and Bubbles take a tumble?Ernie Dell: Me? Nah. Reminds me too much of my mother. Besides, uh ... Bubbles likes the dark meat.[INT.MANNLEIGH CHICKEN -WAREHOUSE - DAY](Greg snaps photos of the body and surrounding areas while Grissom looks around.)(Grissom kneels in front of theelectrical switch and moves it a little.)(Greg finds something. He snaps a photo and picks up a used condom.)Greg: Unappetizing place to get your rocksoff.Grissom: Not if you have a poultry fetish.(Grissom looks around and finds something. He heads over to a box tucked away in the corner. Greg glances up athim.)Greg: You got something?Grissom: Yeah, I think so.(Grissom opens the box and finds a miniature plant replica complete with dead body inside.)Grissom:One more chance.WHITE FLASH TO:[INT. MINIATURE PLANT](Camera swoops around the plant basin and dead body face-down inside.)[SCENE_BREAK][INT. CSI- LAYOUT ROOM - DAY](TOP VIEW DOWN: One by one, the camera moves across the miniatures lined up on the table. First the most recent miniature of theMannleigh Chicken Plant, then the Penny Garden room.)INSERT: SCENE FROM 7X07: POST MORTEM(Someone smashes Penny Garden into the window. She fallson the glass and dies.)(Cut to: Grissom moves the pillow on the chair aside and finds the image of a doll on the pillow.)BACK TO SCENE.(The camera continues tomove to the first diorama found of Izzy Delancy's kitchen.)INSERT: SCENE OF 7X02: BUILT TO KILL (2)(Someone comes up behind Izzy Delancy and hits him onthe back of his head.)(Cut to: Grissom picks up the framed photo of Izzy carrying his baby. Behind the frame is a partial image of a doll.)BACK TO SCENE.[CU:PHOTOS](Pan over a XCU photo of the doll, then on the image of the doll on the pillow.)(Grissom turns around from the board full of photos of various views ofthe dioramas. He puts his glasses on and picks up the scope. He puts one end in the latest diorama and the other end up against his eye.)SCOPE VIEW: Grissom"}
+{"doc_id":"doc_102","qid":"","text":"Narrator: America's top ghost hunters relive their most extreme assignments.(Woman screams)This house is beyond haunted.Narrator: Hardened veterans of theparanormal, these are the cases that truly tested them. There was a evil presence in that house.Woman: Oh (bleep) what the hell?Man: Dude, I got goosebumps. It's in here.Narrator: In Colorado, a ghost causes havoc at a restaurant before turning its fury at the owner. We felt genuinely physicallythreatened.(Screams)Narrator: In Massachusetts, an investigator is forced to confront his own worst fear.It was a horrific nightmare.(Womanscreaming)Narrator: And in the great lakes, an imaginary friend turns out to be something much more sinister...Luke? ...And puts a boy in grave danger. Nothingis sacred. That's scary.Narrator: Some 30 miles northeast of Denver, Colorado, lies the small town of fort Lupton. One of the town's most popular restaurants iswholly Stromboli, the passion project of owner Melissa Rickman. Wholly Stromboli's been a dream of mine since I was about 20. Just for years, it's all I couldthink about. I daydreamed about it. So when I got laid off from corporate America, my husband said, \"well, why don't you do it?\"Narrator: The restaurant opensin 2010, and not long afterwards, mysterious and confusing things start to occur. I would walk in for the morning, set down my coffee, turn off the alarm. Comeback, and my coffee was gone. And I thought, \"oh, I left it in the car.\" Then, go out, and it's not in the car, so come back, and... There's the coffee. Wow. Okay.There's no logical explanation for that. There's -- there's none.Narrator: The activity soon intensifies. Thank you so much.(Child giggles)Oh, my god! Anapparition of a little girl starts appearing in the restaurant. I hadn't had any experience prior to this with ghosts, but it's not my imagination. No, no, no, no,no.(Child giggling)Narrator: And soon, there would be no doubts.Rickman: I walked into the kitchen to talk to the sauté chef, and every pan comes just flying offthe shelf.(Woman screams)And with such force. It was just foom! -- right on the floor. Oh, my god! Like, \"holy cow.\" The chef, she was terrified.(Womenscreaming)It's scary.Narrator: Fearing for the safety of her staff and customers, Melissa contacts a group of paranormal investigators.Estep: Melissa called meout of her mind with worry. She wanted to get to the bottom of some of the activity that was going on there. She wanted to be able to tell her staff that they hadno reason to be afraid.Narrator: Richard Estep has spent over 20 years researching claims of ghostly activity.Estep: I've learned that 90% of claims of theparanormal have no grounding, so it's very easy to say that you don't believe in ghosts and you may never encounter one. But at some point in your life,statistically, there's a chance that you will, and at that point, it's going to make you change your entire world view.Narrator: Melissa's experiences convinceRichard to look into her case.Estep: I was satisfied that there was enough evidence there to merit us going on site at wholly Stromboli. Something clearly is goingon.Narrator: First, Richard looks into the history of the property that houses the restaurant.Estep: The building was built in the early 1900s and owned by a localbusinessman named Edgar St. John.(Girl coughing)And he had a daughter named Julia who tragically is said to have died at the age of 7 of pneumonia.(Coughingcontinues)Narrator: Could this be the little girl that haunts the dining room and is responsible for all the activity in the restaurant?Richard assembles his team andheads to fort Lupton to find out.Estep: Most of the activity, it's in the basement, which is where the voices have been heard. And that's where I want to direct myinvestigation. The sounds, the echoes, and the acoustics are very, very creepy and spooky. Even I am starting to feel that there is an oppressive atmospheredown in this basement. Melissa is the focus of a lot of the activity here, so we wanted Melissa with us.Narrator: Also present is Richard's co-investigator, RobbinDaidone. I've been a paranormal investigator almost 18 years, so I've had a lot of experience. Pretty seasoned. I don't think there's much I haven't seen. Therewas definitely a sense when we started the investigation that there was something present, perhaps. There was a feeling of being watched.(Girllaughing)Narrator: They don't have to wait long before their feelings are vindicated.(Girl laughing)Estep: The voice of a young girl is heard.This is a voice that'slaughing out of the darkness.(Girl laughing)Oh, my god. And then we started to see equipment after equipment fail. We have EMF meters, thermometers, Geigercounter failing. We had several sets of cameras fail. Batteries were reading dead. And this is classic in the paranormal field. One set of batteries fails? oh, that's ashame. Twice? huh. That's kind of odd. Three times? There is something in here that is taking this juice and is using it for its own purposes. I was a little on edge.Melissa looked a little nervous. There was definitely a feeling in the air like this may be a time for something to occur.Narrator: Gaining an energy, the activityintensifies to become physical. Something just touched me. I saw that! I saw her hood get tugged. It was like physically somebody tugged her hoodie, but, youknow, there was nobody there. Something just pulled my jacket! Something just pulled me. That sent a different kind of chill through the investigative team. Sonow you start looking out of the corner of your eye, you start looking at every shadow with a renewed level of suspicion.(Tapping)We hear the sound of footstepson the floor above, which would be the restaurant floor, coming down through our ceiling in the basement.(Tapping)(Tapping continues)They're childlike footstepsrunning across the floor.Narrator: Richard leads the team upstairs, hoping to catch a glimpse of the little-girl ghost, Julia. But when they arrive, they're shockedby what they see.Estep: This is a solid shadow figure. I've heard about them all my career. I'm seeing it. It's incredible. Genuinely taken aback. Suddenly, I seethis shadow figure. I'm stunned.Rickman: Disbelief. Disbelief and \"oh, my gosh. I can't believe we just saw that.\"Narrator: The encounter forces Richard into atroubling realization. The ghost of Julia is not the only entity haunting the restaurant. Who knows what it is, and who knows what its intentions are?Narrator:Believing the shadow has moved to the basement, the team heads back downstairs.Rickman: Immediately, people were a little bit apprehensive. There'sdefinitely a creep factor.Estep: We start asking questions, very respectfully, \"we invite any spirit that might be present to make its presence known, to talk withus.\" If there's someone here, please present yourself. Who are you?! Are you attached to Melissa?!Narrator: The entity doesn't want to talk. It has other, moresinister plans. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Oh, my god.(Groans)Narrator: In a haunted restaurant inColorado...Something just pulled my jacket! ...Paranormal investigator Richard Estep and his team have encountered an entity in the basement. Oh, god. Nowowner Melissa Rickman is overwhelmed by a sinister force. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Um, and I can't reallyexplain why, but suddenly, I began to cry, sobbing, just sobbing uncontrollably, just the most sad feeling I've ever had.(Crying)Daidone: I was mostly concernedfor her emotional well-being.I could see that she was emotionally frayed. She was just one big bundle of nerves.(Sobbing)And then that emotion transformed intoanger. And suddenly, Melissa is getting very, very aggressive.(Growling)Melissa becomes someone else. (Breathing heavily) Melissa! During that time, I felt trulyangry. I was -- I was pissed, and I couldn't -- I couldn't tell you why. And every time she said something, I retorted, although I didn't feel like it was me.Estep:So, as a paramedic for 14 years in emergency medical services, I've seen a number of psychotic episodes. This wasn't that. This was something that presentedvery, very differently and had a very different vibe to it. You shut up, you (bleep) (bleep)(Growls)I was feeling threatened. It wasn't like I was choosing to saythings. It just felt like they were just coming out of my mouth. And I felt horrible. I said some things to her that I would never say. I was terrified. I was reallyscared.Narrator: Richard is beginning to fear that Melissa is becoming possessed. We know that it's not Melissa herself that's doing this. We know that there issomething that is goading her on, that is provoking her to this type of behavior. It felt like all of the emotion in my body just welled up and exploded. And then Iheard Robbin say, \"her fists are clenched.\" She's saying, \"I want to hurt you, and I want to hurt you bad.\" And, of course, I'm becoming concerned. I'm watchingher for any sudden movement. She's only a foot or two away from me. I am gonna kill you! And Melissa was getting ready to attack.(Melissa screaming)It'scompletely unpredictable. It's completely out of character, and that adds an element of danger to our investigation, and we had to very quickly break thatup.(Screaming)This is the first case my team has worked on where we felt genuinely physically threatened by somebody present on the scene. Very concerning,absolutely. Absolutely. So, we actually decide that we're going to wrap up the investigation earlier than we ordinarily would and help coax her back tonormal.Narrator: As soon as she leaves the basement, Melissa is released from the entity's grasp. I don't remember saying half the things I said. I don't. Iwould've told you that that wasn't me. When words are just flying out of your mouth and you don't know why, it's pretty unnerving. My assessment of whollyStromboli is that they have multiple entities there. We have one that appears to be a little girl. We have this older male shadow figure. It's difficult to tell what thepurpose is of whatever is haunting the restaurant. Is it simply seeking attention, or is there something darker and more sinister?Narrator: To protect her fromfurther attacks, they perform a blessing on Melissa. Out! out, demon! Begone! Whatever possessed her seems to have been removed. But the spirit of the littlegirl remains. Our line cooks still hear a little girl either giggling and playing or crying in the basement.(Girl giggling)I don't mind sharing the space with thetenants of the past. The building wouldn't be there if it weren't for them, so if they want to hang out, I'm all right with that.Narrator: But Richard worries that thenegative entity may yet return. Right now I'm content to just monitor and watch and wait for Melissa to call me if things should take a turn for the worse again.I'm not entirely sure yet, but I do know that the last chapter in the story of the wholly Stromboli haunting has not yet been written.Narrator: Coming up, when achild's imaginary friend turns out to be something much more sinister...(Boy screaming)...An investigator has to call in backup to save the boy. It was definitelydemon-induced.(Speaking in tongues)Narrator: But first, when a young family is tormented by paranormal activity, one investigator is forced to confront hisworst fears.Something was gonna grab me.(Woman screaming)Narrator: The historic town of Medway, Massachusetts, is home to Greg and Lyla Pierson.Their"}
+{"doc_id":"doc_103","qid":"","text":"UNDERWORLDBY: BOB BAKER AND DAVE MARTINPart FourRunning time: 22:53[SCENE_BREAK]JACKSON: Cover him!TALA: Captain.JACKSON: Go on, Tala.Forward, Tala.JACKSON: Withdraw!JACKSON: Come on, pull! There we are.[SCENE_BREAK]DOCTOR: Quickly now. Stay calm. Everybody stay quite calm. Calm.K9, back to the ship. Check all the systems. We're leaving in a hurry.K9: Affirmative.DOCTOR: There must be another way back to the Oracle. Jackson? Jackson,can you and the crew hold them off?JACKSON: We'll certainly mount an attack, Doctor.DOCTOR: Good. Leela?LEELA: Hmm?DOCTOR: You come with me.LEELA:I'm staying to fight.DOCTOR: You'll come with me. Idas, you too. Have you got a sword?IDMON: Take care, son. Take care.DOCTOR: Jackson. Right,Jackson.JACKSON: Ready. Now![SCENE_BREAK]JACKSON: Forward.RASK: Security. They're driving us back.DOCTOR: This way.LEELA: No.DOCTOR:What?LEELA: Something's there.DOCTOR: What?DOCTOR: Where does that lead?IDAS: I don't know.[SCENE_BREAK]RASK (OOV.): They are too strong for us! Ineed reinforcements.TARN: Hold them. You must hold them.LAKH: I order you to stand and fight. We must protect the Oracle.RASK (OOV.): But Master, wecannot hold for very muchLAKH: No excuses! Stand and fight.HERRICK: There's no stopping us now. A hundred thousand years of searching, General. There's nostopping us now. I smell victory.ANKH: Wait. Let us consider which is more important, the Oracle or these cylinders.LAKH: The Oracle.ANKH: Then should we notgive them what they want and let them depart?LAKH: But what they want does not exist.ANKH: The Oracle will know. Why should we destroy each other?LAKH:Very well.ANKH: These cylinders you speak of, tell us what they look like. If they are indeed here, you shall have them and take them to yourcomrades.HERRICK: You would set me free?ANKH: Yes.HERRICK: Well, there are two of them. Solid gold, stamped with the mark of Minyos, the length of a man'shand.ANKH: Good.LAKH: Tell Rask to arrange a truce.[SCENE_BREAK]LEELA: Doctor, we're here. Look.[SCENE_BREAK]ANKH: The intruders are defeating us.They will destroy us, destroy you, unless they are given these cylinders.ORACLE: Then shall not they be destroyed by that which they so desperatelydesire?ANKH: Can it be done?ORACLE: Cannot all things be done?[SCENE_BREAK]LEELA: They have given up without a fight.DOCTOR: Yes, it certainly seems likeit.LEELA: Why?DOCTOR: I don't know.DOCTOR: Let's take a look.[SCENE_BREAK]JACKSON: No return of fire. What's going on?ORFE: There are two ofthem.JACKSON: No, wait. Could be a trick. Be ready.RASK: I have been ordered to speak with you.JACKSON: Surrender?RASK: Truce.JACKSON: On whatterms?RASK: The terms are that you take what you came for and depart, leaving us to our way. If not, your comrade will be executed.JACKSON: What comrade?Herrick is dead.RASK: You think so, Captain?HERRICK: I got them. The Quest is over. The Quest is over.HERRICK: The Quest is over.JACKSON: Atlast.[SCENE_BREAK]DOCTOR: Stay here.ORACLE: What is it that you want?DOCTOR: The cylinders. The race bank of the Minyans.ORACLE: Have they not beengiven?DOCTOR: Well, that's what I'm asking.ORACLE: Who are you to dare question my word?DOCTOR: Well, who do I have to be to dare question your word?I'll give you a clue, shall I? If it wasn't for my people, you wouldn't have seen the light of day.ORACLE: People? What people?DOCTOR: The ones the Minyans callthe gods.ORACLE: Gods? There are no gods but me. Have I not created myself? Do I not rule? Am I not all-powerful?DOCTOR: Well, yes, here you are, yes, butnowhere else. You're just another machine with megalomania. Another insane object, another self-aggrandising artefact. You're nothing. Nothing but a mass ofsuperheated junk with delusions of grandeur.ORACLE: Nothing? Am I not the keeper of the race bank?DOCTOR: What did you say?ORACLE: I am thekeeper.DOCTOR: Ah ha! Then you've still got them.ORACLE: I am the keeper.DOCTOR: Keeper? You're nothing but a box, and I've got the key. (to Idas) Give methat.ORACLE: Destroy! Destroy!ORACLE: No! Destroy!LEELA: Doctor, they're coming. Come on!ORACLE: Destroy!LEELA: Doctor, leave it! Come on!ORACLE:Destroy!LEELA: Doctor, hurry! Come on now!ORACLE: Destroy him!LEELA: Hurry, Doctor!DOCTOR: Almost there.LEELA: Hurry, they're coming.ORACLE: Destroyhim!LEELA: Doctor!ORACLE: Destroy! Destroy! Destroy! Destroy! Destroy him!DOCTOR: No hard feelings.LEELA: Come on!ORACLE: Destroy him!ANKH: Afterthem. They must not meet the others.[SCENE_BREAK]LEELA: Which way? Which way?DOCTOR: They know this place better than we do.IDAS: The tunnels!Through there. They'll never find us through there.[SCENE_BREAK]TARN: They've reached tunnel seven, Master.ANKH: Good. Close it down and collapseit.[SCENE_BREAK]IDAS: Quickly, through here. This was formed by the last skyfall. We should be safe in here.LEELA: Safe?LEELA: What are you doing?DOCTOR:I'm just wondering what they've given Jackson.[SCENE_BREAK]JACKSON: The Quest is over. Set course for Minyos Two. K9, how do we stand for launch?K9: Fuelabsorption incomplete.TALA: We've enough to get away, but it'll be a slow journey.HERRICK: I say we go.ORFE: We've got what we came for.JACKSON: Right,prepare to launch.K9: Negative.JACKSON: What?K9: Personnel incomplete. Doctor and the mistress not on board.JACKSON: Find them. Tell them we're going.Now!K9: Affirmative.[SCENE_BREAK]IDAS: We're trapped. Don't you understand, Doctor? We're trapped.LEELA: Yes, we're going to be here for ever.DOCTOR:No. They'll come and dig us out.LEELA: Who?DOCTOR: Well, whoever it was buried us.LEELA: Why should they bother?DOCTOR: Because we've got something itwants. The Oracle, remember?[SCENE_BREAK]ANKH: The cylinders must be replaced. Order a party of slaves to tunnel seven.TARN: And the bodies of theintruders, Master?ANKH: Into the crusher.[SCENE_BREAK]TALA: Five, four, three, two, one.ORFE: Secondary check complete.JACKSON: Third and final check.Commence countdown. Come on, Doctor, come on.ORFE: Forty to launch.[SCENE_BREAK]DOCTOR: What kept you, K9?K9: Gratitude is unnecessary. Speed isvital.[SCENE_BREAK]ORFE: Ten, nineJACKSON: Run up on drive.ORFE: Eight.TALA: Drive running.ORFE: Seven, six.JACKSON: Pressurise.ORFE: Five, four, three,twoJACKSON: Prepare to blast out.ORFE: One.DOCTOR (OOV.): Stop![SCENE_BREAK]DOCTOR: Here are your race banks.JACKSON: (coming down the stairs)Then what are those?DOCTOR: That's what I intend to find out.DOCTOR: K9, what do you make of these?K9: Analysis indicates fission grenades.DOCTOR:What?K9: Do not proceed. Impossible to defuse. Explosive contents in excess of two thousand megatons.DOCTOR: Two thousand megatons?JACKSON: Howmuch time have we got?DOCTOR: I don't know.JACKSON: What are we going to do?DOCTOR: I think I'd better get rid of them, don't you?K9: Affirmative.LEELA:Doctor, wait![SCENE_BREAK]LEELA: Which way did he go?IDAS: I don't know.LEELA: He may have need of us. We'll try this way.[SCENE_BREAK]ORACLE: Why?Why have they not been found?ANKH: The slaves are digging.ORACLE: Shall they not be found? Are they not my purpose?LAKH: They shall be found. It shall bedone.[SCENE_BREAK]IDAS: It's no good. We've lost him.LEELA: Come on.[SCENE_BREAK]DOCTOR: Excuse me, I'm a stranger here myself. Could you direct meto the Oracle?RASK: Guards! I'll take those, Doctor.DOCTOR: What, those? I wouldn't if I were you. They won't do you anyRASK: Give them here. You, take careof him. And make sure you finish him off this time. Then bring this lot back to the Citadel.DOCTOR: You're making a terrible mistake. Those are the wrongones.RASK: You can do better than that, Doctor.DOCTOR: Ah, well, er.DOCTOR: Look, getting rid of me isn't going to solve anything. Those cylinders werebombs. Why don't we just wait a few minutes and then we can all go together, hmm?LEELA: Doctor! Doctor, are you all right?DOCTOR: Yes, yes, I think so. Comeon, let's get out of here. We've got no time. Tell them they've got no time.IDAS: Listen to me! The prophecy's being fulfilled. Our god has come to save us. Wecan escape to the stars. Hurry!LEELA: We must hurry!IDAS: Yes, come on, come on.LEELA: Come on![SCENE_BREAK]TARN: You have found them. Well done,Rask. Quickly.ANKH: They have been found.ORACLE: Replace them, quickly.ORACLE: They must never leave my keeping again.[SCENE_BREAK]DOCTOR: Quiet!Quiet, everyone. Come on, here.DOCTOR: Now listen to me. I want you to stay calm, and when I say, go quickly but quietly. Ready? Take this little one. Off yougo now. Come on. Come on.[SCENE_BREAK]DOCTOR: Come on, come on. Plenty of room for everyone. Everything's going to be all right. All right, allright.JACKSON: What's going on? Get off, all of you. Off the ship! Get out!DOCTOR: What are you doing? Never mind that!JACKSON: What are you doing? Wecan't take all these people!DOCTOR: No! Come on.JACKSON: We can't. We're too low on fuel.DOCTOR: This planet's going to explode.JACKSON: Then get themoff. Get off!DOCTOR: Why?JACKSON: I must safeguard the race bank.DOCTOR: Why?JACKSON: Why? The future of our people.DOCTOR: Listen, Jackson. This isyour people. This is your race. Descendents of the people who came on the P7E.JACKSON: But we can't take the extra weight.DOCTOR: Look this planet is goingto explode, Jackson. Your only hope is to go, and go now. Go, Jackson, go!DOCTOR: Right. Sit down, everybody. Sit down. Now, stay verycalm.[SCENE_BREAK]HERRICK: Outer section sealed.JACKSON: Run up on drive.TALA: Drive running.JACKSON: Pressurise.ORFE: Check.JACKSON: Prepare toblast out.[SCENE_BREAK]DOCTOR: Get down. Right down, right down.[SCENE_BREAK]TARN: They've cleared the surface. Not long now and they'll all be blownto bits.[SCENE_BREAK]ORACLE: These are not the cylinders! Get rid of them or we shall all be destroyed.ANKH: Where?ORACLE: Get rid of them! Get rid ofthem!ANKH: But where? There's no time.ORACLE: Get rid of them! Get rid of them!ANKH: We can't.ORACLE: Then defuse them!ANKH:How?[SCENE_BREAK]JACKSON: More power!TALA: I'm trying.ORFE: We're falling back.JACKSON: More power!TALA: There is no more.ORFE: The planet'sgravity's pulling us back, sir.DOCTOR: Everything all right, Jackson?TALA: We don't have enough power to reach escape velocity.JACKSON: You know why, don'tyou, Doctor? It's the extra weight, isn't it, Doctor.DOCTOR: Oh, come on, Jackson, be brave. Sit down.[SCENE_BREAK]ANKH: It is not possible.ORACLE: Why?Why?LAKH: You made it so.ORACLE: Then I have failed in my duty, and deserve destruction.[SCENE_BREAK]DOCTOR: There she goes. If you wanted power,Jackson, get ready to ride out the blast.ORFE: We made it!JACKSON: Speed?TALA: Four sevenths light.JACKSON: Course?ORFE: One two zero, sir.JACKSON:How long to Minyos Two?HERRICK: Three hundred and seventy years, sir. That's nothing, is it?JACKSON: Doctor!DOCTOR: Yes?JACKSON: Aren't you coming with"}
+{"doc_id":"doc_104","qid":"","text":"Degrassi Community School(Toby and JT are heading in.)Toby: 28 hours, 14 minutes, 7 seconds. 28 hours, 14 minutes...JT: Would you stop with the countdownplease?Toby: Sure, you've got Parents' Day in the bag.JT: What? Ok, you Einstein. Me, brain-dead.Toby: I mean, your parents aren't homesuidal maniacs.JT: Ithought Kate and Jeff were getting along great.Toby: I'm not talking about Kate.JT: Whoa. Your mom's coming tomorrow? Oh, man. I should sell tickets.Remember that time at camp when they both came to pick you up?Toby: Don't remind me.JT: Can't you just ask your mom not to come?Toby: Sure, if I want tostart a nuclear custody war.JT: Maybe they won't start screaming this time.Toby: Yeah. Maybe Mr. Armstrong will your parents about the \"D\" on your last mathtest.JT: How much time do we have left?Toby: 28 hours, 13 minutes, and 17 seconds. 28 hours, 13 minutes, and 16 seconds. 28 hours, 13 minutes, and 15seconds.HallToby: The way it works now is perfect. Every other weekend with my mom, the rest of the time with my dad. And as long as they don't have to talkto each other, everything's fine.JT: Sorry, man. I didn't know it was that serious.Toby: Yeah, well, it is that serious.JT: Hey, we could contaminate the waterfoundations with E coli, that way they'd have to shut down the school, right?Toby: There probably is E coli in the foundations.Mr. S: (as he's taking a drink)Actually, we test our water on a daily basis, boys. It's fine.(Bell rings.)Mr. Simpson's homeroomMr. S: Ok guys, quiet down. (JT and Toby come in behind him) Wedon't have Ashley today, but we do have this week's News About Kids broadcast.Emma: Uh, NAK again.Mr. S: Em? Something you wanna share?Emma: No, Mr.Simpson. (She sits down)(Mr. Simpson turns on the tv. The NAK people appear on screen.)Ryan: Hi, I'm Ryan, and this is Nicole. And welcome to NAK: NewsAbout Kids. Today we'll be talking about that infests major cities everywhereNicole: And we're not talking cockroaches, we're talking squeegee kids.Ryan:Stalking street corners, waiting to pounce on un suspecting cars. (Shows footage as he talks). Hijacking your hard-earned cash to waste on drugs and tattoos.(Shows Emma watching.)Nicole: Are squeegee kids legit or lazy? Are they using their \"cool\" trend for today's media saturated youth?Mr. S: Remember guys,you're here for media studies after lunch.(The students leave for class.)Manny: Em, it was just a TV show.Liberty: Squeegee kids are very annoying.Emma: No,squeegee kids are poor. They live on the street and wash windows. It's their living.Liberty: My father says that if another one of those ragamuffins tries to dirtyup his window, he'll call the mayor. He knows the mayor.(Liberty walks away.)Emma: Last week NAK told us to join the army. What's tomorrow? A hole in theO-Zone is good because it makes a better tan? Imagine being a squeegee kid. Out in the cold, no school, no parents.Toby: No parents?Emma: Toby this isn't ajoke. (Starts to walk backwards, so she bumps into Sean.)Manny: He stared right at you.Emma: Yeah, because I bumped right into him.Girls' Washroom(Ashleyis at the mirror looking at her face. Paige and Terri come in.)Paige: Oh, here we go again.Ashley: Here we go what again?Paige: Every time NAK claims yourairspace, you go all manic-depressive.Ashley: That is so not true. I just- look at this zit!Terri: That's a pore and Paige has a point.Ashley: Terri...Terri: I don't getwhy you gets so bothered. Everybody loves your morning announcements. Even Heather Sinclair said you were better than those lame-o NAK hosts.Paige: Oh,yeah, big accomplishment. They're total freaks.Terri: Heather even has an agent. You could totally get an agent.Paige: Heather Sinclair has an agent? With thatoverbite?Terri: See? Ashley's got the look and tv experience. It's perfect.Paige: Where would Ashley find an agent?Ashley: Guys, Toby is mom's a casting agent.Terri, you rock!(Ashley and Terri leave the bathroom. Paige stays behind to wash her hands. She is not happy.)OutsideToby: JT, come on. We've got to come upwith an anti-parents plan.JT: What does it look like I'm doing?Toby: Uh, playing the seeds for a massive heart attack?JT: To plot evil, I need energy (Ashley +Terri come up to them)Ashley: Hey. Just the person I was looking for. Your mom's a casting agent, right?Toby: Yeah, so?Terri: So, is she coming to Parents'Day?Toby: Thank you, for reminding me.Ashley: Is that a yes?Toby: Yeah, why?Ashley: No reason.(They walk away.)JT: What was that about?Toby: I have noidea.(They go to a table where Manny and Emma are.)Manny: It's not like people really think about it.Emma: That's the thing. They don't us to think. They wantus to become brain-dead NAK robots.Toby: What's with her?Manny: NAK rage, kind of like road rage.Emma: And the announcements? They have commercials.They're trying to buy our bran loyalty in homeroom.JT: Emma, who are you talking to?Emma: I could talk, or I could take action.(Emma leaves.)JT: Imaginebeing her for a day.Hall(Spinner is walking and talking with Paige.)Spinner: Ok, so then the guy goes, \"What are you going to do for a face when the monkeywants its butt back?\" (He laughs, but she doesn't.) What? You don't get it? The guy has a face like a monkey's butt?Paige: Spinner, do you think Ashley's prettierthan me?Spinner: What?Paige: Because she's thinking about getting an agent (they sit down).Spinner: Oh, Ashley's getting an agent? I could totally see her onTV.Paige: What? And you couldn't see me?Spinner: I didn't say that.Paige: So you think that I could get an agent too, right?Spinner: Uh, yeah. Sure, why not?Ok, back to my joke. So then the guy goes...wait, is that the right word? Yeah, no, yeah, yeah. So, then the guy goes... (While he's talking, Paige isn'tlistening)Mr. Raditch's OfficeEmma: Mr. Raditch, could I talk to you about this morning's NAK broadcast?Mr. R: I'm all ears.Emma: NAK is totally bias. Thismorning they tell us squeegee kids suck, and then they tell us which running shoes to buy? It's wrong.Mr. R: How you seen the new computers in the MediaImmersion lab? 18 computers thanks to NAK. In exchange, we show their morning broadcasts.Emma: Whatever they want to report?(Mr. R nods.)Emma: Butthat's bribery.Mr. R: No, it's 18 new computers we wouldn't have otherwise. Parents voted for it. And remember, not everyone at Degrassi has a computer athome. But, if you feel strongly about it, write an opinion piece. Make sure you get it in by 4:00. Make the Parents' Day addition.Emma: 4:00 today?Mr. R: Thinkyou can do it?(The bell rings. Emma nods as she leaves.)Hall(Ashley and Terri are leaving class.)Ashley: So, I signed us up for the welcoming committee, Teri.Which means, I'll be the first person Toby's mother sees.Terri: Great.Paige: Unless she sees me first.Ashley: What?Paige: Well, I am helping outtomorrow.Ashley: Since when?Paige: Ashley, you asked me like, 3 weeks ago to volunteer, remember? Anyway, see you two later.Media Immersion.Manny: Ican't believe the principal is asking you to do this. You're like, attacking the school.Emma: I know. It's very cool.(They go to sit down, but Sean's stuff is in aseat.)Manny: I'll stand.(Emma nods and sits down.)Emma: Ok, so let's try to imagine. You're a squeegee kid.Manny: Ok. I'm a squeegee kid.Emma: So how doesit feel being compared to a cockroach?Manny: I'd say, \"Hey, preppy kids. Get off my case. We're people, too.\"Sean: Oh, please.Emma: Could... We need thechair.(Sean gets up and leaves.)Emma: Talk about negative energy.Another part of Media ImmersionToby: Emma's right. I could whine or I could do somethingabout Parents' Day.JT: Ok, so, what are you going to do?Toby: Convince my parents there's no need to show up. Ok, I downloaded the logo from the Degrassiwebsite. Then, I scanned Mr. Simpson's signature from the last newsletter he sent home. It's a masterpiece.JT: Masterpiece or insanity. OK, your parents don'thave to come because of your exemplary performance in all of your scholastic pursuits. What?Toby: Translation: I'm acing school. It's all in the details, my friend.This'll work. It has to. Hall(Emma is running to the newspaper office to hand in her story.)Emma: (knocks on the door) Liberty, my NAK editorial. I justfinished.Liberty: (checking her watch) You're 17 minutes late.Emma: I'm sorry.Liberty: The Grapevine deadline is 4 P.M. I'm trying to run a professionaloperation.Emma: Even professional newspapers give extensions. It's 17 minutes.Liberty: I suppose I could make an exception for you. But, please try not to getused to it. Remember, as editor, I'm only as strong as my weakest link.(Emma gives her the disk and leaves.)Kerwin House(Toby is in the kitchen with hisdad.)Toby: I was shocked more than anyone. Who knew I was doing so well? You know, this transfer to Degrassi has really...Jeff: \"Uplifted Toby's gradeclassification to a premium standard.\" Interesting choice of words from Mr. Simpson.Toby: Well, you know, he's a computer guy. Writing isn't really his thing.Jeff:Neither is spelling. Two E's in premium. What's going on?Toby: Nothing's going on.Jeff: You don't want me to go to Parents' Day?Toby: I didn't say that.Jeff: Youdidn't need to. Are you doing that badly in school or what? Talk to me Toby.Toby: Mom called, ok? She wants to go tomorrow.Jeff: And she didn't even tell me.That is so typical of your mother.Toby: See? You guys can't even be in the same room without freaking out.Jeff: Toby. We're on much better terms now. It's notlike it used to be. So, what you don't want to go?Toby: I want you to go and I want her to go. I just don't want the two of you to go there... together.Jeff: Hey,come on buddy. Everything's going to be fine. No fights. Promise. (Holds up his hand)Degrassi's Parents' Day(As parents head inside, the camera closes up on asign that says \"Welcome Parents to D.S.C Parents Day\".)[SCENE_BREAK]Girls Washroom.(Ashley and Terri are in there. Ashley is trying to put oneyeliner.)Ashley: Look at me. I'm shaking. You do it. (Gives it to Terri, but Terri pokes her in the eye) Ow! Be careful. It's my eye. It's what I see with.Terri:Sorry. I'm not good at this.Paige: Ladies. (She comes out a stall wearing a yellow sparkly top that's very short)Ashley: What are you wearing?Paige: It's ParentsDay. I have the right to look fabulous, don't I?Ashley: For who, the parents? Or Toby's mom?Paige: See you out there.(Paige leaves, then Ashley and Terrifollow.)Hall(Toby and Jeff are waiting for Toby's mom.)Toby: Guess she forgot.Jeff: You know your mother. We'll give her two more minutes. Hey, tobs, it'll befine.Ashley: Mrs. Demcowski? Room 102.Man: Thank you.(Toby's mom comes up to them.)Terri: Hi, can I help you?Ashley: Uh, Terri, this is Toby's mom, thecasting agent. Welcome to Degrassi, Ms. Issacs.Annemarie: Hi.Paige: Can I just say that that is a great outfit? So avante garde.Annemarie: Thank you. WholtRentthrough. On Sale.Toby: Hi, mom.Annemarie: Hey, tiger. I'm sorry I'm late.Jeff: Annemarie. Flat tire?Annemarie: I could Toby that I might beheld up at work.Parents Day isn't over already, is it?Jeff: No, no. We'd better get moving though.Paige: Paige Michalchuk. It's very nice to meet you. I've heard so much aboutyou.Ashley: Smooth, Michalchuk. I bet you're on the next flight to Hollywood.Paige: Hon, I'd re-think the eyeliner. You're looking a little washed out.Media"}
+{"doc_id":"doc_105","qid":"","text":"You call it madness but I call it loveDerek: Shhh, shhh.Lucas: I guess I have my answerDerek: I can't believe he actually left. I would never give up on you thateasily, you hear me ? Our love is forever.Nathan: So, when you took your boot off, was it all ... ?Haley: Ohhh, it was like Teen Wolf. Seriously I got to use threerazor blades.Nathan: Nice. I'm proud of you Hales. My girl went strong to be rehap by prom.Haley: Yeah. Well at least everything will be perfect tonight.Nathan:Ohhh we gotta stop saying that !Whitey: When did the chaperon's been prettier than the prom queen ?Dan: Thanks, but I'm with someone !Karen: Oh, hi Whitey.You look handsome.Whitey: Thank you.Karen: I'd better get to see if Principal Turner needs anything.Whitey: What the hell are you doing ?Dan: I'm making therest of you guys look bad.Whitey: Years ago I watched you screw up Karen's life. I'm not gonna allow history to repeat itself.Dan: And yet you've been trying tomake that tux work since the seventies.Whitey: I'll be watching you Danny.Nathan: I think, I think the [...] snapped. Maybe it's the, the thingamajig.Haley: Can iplease call Lucas now ?Nathan: Yeah.Haley: Ugh, I have no signal.Nathan: Oh great ! Well, there's a convenient store about a mile up ahead, I'll just walk thereand call for a ride I guess, you can stay.Haley: No, thank you, a pregnant girl in a prom dress with a broken down car is how urban legends get started I'mcoming with you.Nathan: What about your leg ?Haley: It'll be a good test come on !The Clerk: This is the final boarding call for flight 121, service to NewOrleans.Derek: Oh good, good, you're awake. I'm sorry about the sedative but there were just so many last minute details. I missed you Peyton, so much. OhGod, I missed that smell ! You're probably wondering how I got out of jail. Miss Sawyer ? Detective Wilcox here. We just call and let you know we have yourstalker in custody. Yeah ? You know I've had a lot of time to think about what went wrong with us last time. A girl like you needs romance. I get that now. Sothat's why you and I are gonna have our own private prom, just the two of us.GENERICBrooke: Hey.Lucas: Hey, I'm so sorry to hear about your dress. I had noidea.Brooke: It's ok I got most of it off now and when you blacklight me it just says 'who'.Lucas: Oh.Brooke: So, where is she anyway ?Lucas: I went over to herhouse to pick her up and she won't even open the door. I guess she's not coming.Brooke: Hey, I need to leave for a little while.Mouth: Sure, where are we going?Right, take it easy on the turns. My grandpa Mel [...] the suspension.Brooke: Ok. Hey I'll be back in time for my coronation .Mouth: Are they still voting for PromQueen?Brooke: Yeah but, it's really just a formality.Derek: You know, the hardest part about the night we broke up, it wasn't your betrayal, it wasn't even fallingout of a second story window, no. The hardest part was losing my photos and now I have to start it all over. Smile Peyton.Peyton:ARGHHHHHHHHHHHHHHHHHHH!Nathan: Thanks for picking us up mom.Deb: Just think I couldn't have done this a month ago, maybe, I just would have spent alot more time on the sidewalk! Oh, pretend I'm not here.Nathan: Sorry. This isn't exactly how I wanted to start our romantic prom night.Haley: It's ok, you knowafter everything we've been through in the past year, your mom taking us to prom feels pretty good.Nathan: Kinda like we're kids again?Haley: Yeah. You knowmaybe tonight we don't have to be married and pregnant, we can just be teenagers.Nathan: Well in that case, what's you curfew?Derek: Lucas!Peyton: You'vereached Peyton's voicemail. Congratulations.Lucas: Hey Peyton, this isn't right. You're the one I wanna be with tonight, prom and all ... so call me ok?Please.Principal Turner: Miss Gatina! You know that you're not allowed on school grounds?Rachel: What are you gonna do expel me?Principal Turner: Don't makeme call the police.Rachel: Fine. All right, I've got a limo, and a fully stuffed mini bar, who's with me? This school sucks.Mouth: Rachel, wait. I'm coming withyou.Rachel: What about Brooke?Mouth: If she were here she'd do the same thing, it's what friends do.Rachel: See you Turner! Oh, expect a call from my lawyerabout the sexual harassment.Principal Turner: She's kiddingDan: Relax Turner. You need a drink and in fact I confiscated this flask from one of your students.Gimme a minute Karen.Derek: It's time for our first dance. This song is special. I made it from your podcasts. I hope you see now how much thought I put intotonight. It's why I couldn't have you going to prom with Lucas. And afterwards, giving yourself to him. I couldn't allow that Peyton, you belong to me. We'regonna have the perfect prom, and afterwards we're gonna go up to your bedroom, and have the perfect prom night. Well another tex from Lucas, let's see what itsays. Ohhh, I'm so sorry, please talk to me, prom sucks without you. Let's reply: sorry, running late, wait for me. Hugs and kisses. Is that emoticon too much youthink? Ohhh, what the hell, semi-colon and close parentheses.Lucas: Hey, Glenda you look great!Glenda: Thank you! So I guess I'm not the only one alone atprom. Maybe Lucas Scott really is a Goth at heart.Lucas: ugh, Peyton is on the way, finally! But you know, I could use company until she gets here.Glenda: Good,cause I could use someone help me pretend I'm above of those prom stuff.Lucas: Ok.Nathan: Hey, good news. Nobody's using the DW not I car tonight so it's allours.Haley: Sweet!Nathan: You're ready to dance?Haley: Definitely. Definitely not! I think I failed the test.Nathan: Ok. Sit down. It's alright.Haley: no, it's not ok.Aren't you the guy that always said at some point you just gotta deal with the pain?Nathan: Yeah, well, I'm an idiot. I'm gonna get you some punch ok?Here.Haley: Thank you. Ouhh honey, that ain't punch!Student: Noooot bad huh? Yeah... They [...] my flask when I came in, then I went to plan B, so it's all[...]Nathan: You spiked the punch?Student: Dude, it's prom!Nathan: My wife is pregnant, you idiot!Student: Dude, it's prom!Haley: Dude, It'sprom.[SCENE_BREAK]Glenda: Hey, you see that guy over there? He's got the key to a room at the Holiday in, and a box of wine cooling in the mini fridge.Lucas:You do this a lot?Glenda: Helps killing time when you live on the sidelines. Ok it's your turn.Lucas: She's wondering if she should forgive the guy for being an assfor the last seventeen years.Glenda: Your mom, right?Lucas: Yeah. And daddy.Brooke: Come one Peyton, your car is in the driveway I know you're home! OkPeyton, your curling iron is still on so if you're tryna make it look like you're not here at least make it convincing! Great. Hide in your creepy basement becauseyou know I hate it! Too bad, I'm coming down anyway. Oh my God.Derek: Well, well, Brooke Davis. One kiss wasn't enough so you came by for a second?Brooke:Get of me!Peyton: Brooke!Mouth: What happened I thought you were leaving tonight?Rachel: My flight got delayed by a few hours. Just enough time to crash thebal.Mouth: Well we hang out and then I take you back at the airport.Rachel: You sure? I mean it's your prom night.Mouth: Yeah but it's your last night! Besidesprom just makes me think about Shelly.Rachel: Alright Mouth, talk to me.Mouth: I can't stop thinking about her. Her eyes, her smile, those little freckles on thesmall of her back...Rachel: Hang on? The small of her back? The clean teen gave it up! Nice work!Mouth: Yeah, so nice she never wants to see me again.Rachel:You're welcome to the rest of your life. s*x changes everything.Mouth: You know what, let's not talk about Shelly. This is you and I what do you wannado?Rachel: I wanted to deflower you, but I guess I'm too late for that. I wanna do what you wanna do!Mouth: I wanna get Shelly back!Rachel: Except that! Shellyis nuts, and this is coming from a girl who has seen a lot of nuts!Mouth: I know but, she made me feel dangerous you know? Like I was more than myself.Rachel:Mouth, quit talking about Shelly!Mouth: Yeah, I'm boring you.Rachel: No. you're making me jealous.Glenda: So, when do I get the next chapter of your book? Oris that your strategy? Get me hooked and leave me hanging?Lucas: No, that's not it. The truth is I'm stuck! On the day my uncle Keith died.Glenda: Sure it's hardto revisit that day. But telling the truth about it could help a lot of people, maybe even you.Lucas: You see that's just it, I have trouble with the details, there's alot of things about that day I can't remember, I kinda like blocked it up.Glenda: I tell you what, why don't you walk me through the things you can remember?Maybe it'll help to talk it through.Lucas: Alright.Derek: It's a good thing I brought extra rope.Brooke: Untie me you freak!Derek: It's figures you'd be good withyour mouth. Noone is gonna hear you.Brooke & Peyton: HELP!Derek: You know Peyton, you really shouldn't... the music so loud!Brooke & Peyton: HELP US!Haley: This is the weirdest prom ever, no Peyton, no Brooke, no Lucas, no Mouth...Nathan: No rachel.Haley: Good prom!Principal Tuner: Nathan, I need you todrive a student home.Nathan: What do you mean?Principal Turner: You're the DW not I car don't you?Nathan: Yeah. I guess I do, who is it?Peyton: Why did youcome?Brooke: We've been talking about senior prom since we are 8. I knew something was wrong.Peyton: So, you told someone you were coming?Brooke: No...at least I came!Peyton: You should have told somebody!Brooke: That is your problem you are so angry.Peyton: You're an idiot!Brooke: Don't call me an idiotbitch!Peyton: I hope he kills you first.Derek: That's a good idea. I know how much you hate her, Peyton. I was outside today, watching. I heard that you toldBrooke that she was dead to you. Now I'm gonna make it official.Peyton: Derek, wait.Derek; Don't you see, Peyton? I was serching for some way to show youhow much I love you. I'm gonna hurt her as much as she hurt you.Peyton: Derek, hey, hey, look at me. If you really, really love me, let me do it. This is mychance to revenge, you, well, you should know that. Look you were right about me, okay? Hey, listen, you were right. We are so much alike. I have all the samefeelings that you do, and I have all the same desires.Derek: I don't believe you.Peyton: It's true. Hey, I just couldn't admit it before. I'm gonna prove it to younow, okay, just untie me.Derek: You're lying.Peyton: Come on Derek. You got the knife, and I'm half your size! Hey, baby.Derek: You better not be lying.Peyton:I'm not, baby. I promise. (she slaps Brooke) God that felt good!Derek: Do it again.Brooke: Why don't you make it hurt next time bitch?Peyton: Alright, gimmethe knife. I'm gonna finish this bitch off. Gimme the knife!Derek: I don't think I can trust you.Peyton: Let's talk about trust okay. See, you lied to me, you saidyou were my brother, didn't you? You went about it everything all wrong Derek. God, you're ... you're such a beautiful boy! All you had to do was ask! Would yougimme the knife, and then when I'm finished with her, we'll go upstairs, ok?Derek: You wanna cut vertically. It's conter intuitive. I know.Peyton: All this time yousaid I was a backstarving bitch, you have no idea how right you were!Brooke: God you didn't have to hit me so hard.Peyton: I'm sorry, I'm so sorry!Brooke:Peyton, Peyton, he's moving, just get out of here!Peyton: No, I'm not leaving you.Derek: That was so disappointing! You know what? I changed my ming. I think"}
+{"doc_id":"doc_106","qid":"","text":"Кога? After breakfast. The lights down so much you can do it yourself. I put `em up there. You have got to learn to mutter quieter, 'cause I heard that. That wasthe point! What the heck? Dear lord. Sherman? Call the police! What is that? Well, sure as sh1t it ain't Santa Claus. Phone's ringin´ Raylan. Thank you, Donny.Donny? It's from Lebowski Netflix it, you can be one of the cool kids. Givens. Deputy Givens, this is Sharon Evans. I do bail bonds in Knoxville. Okay. We met at alaw enforcement expo in Miami a few years ago. Want another one? Not of that. Oh, I'm sorry, I remember you. We, uh, had a drink. Several. From my mini-bar.I believe I also remember you polishing off a $20 tin of macadamia nuts. Yes, the most overrated of the nuts. Is that why you're calling? You want me to pay myfair share? No, I like it better you owing me. But this isn't a personal call, Raylan. I saw you're with the eastern district of Kentucky now. I need a hand up there.You interested?Raylan: I haven't hung up. Jody Adair, 41, charged with double homicide, out on a quarter-million bail, skipped town two days ago. He's got anex-wife in Lexington. You put eyes on him, I get Lexington P.D. To haul him in, and I'll make it worth your while.Raylan: Chuckles. Meaning? How about threegrand?Raylan: Send me the address and a photograph. All right.[ Cellphones beep ]Raylan: You think you can manage the phones?I'm gonna go out for abit.Rachel: Where you going?Raylan: Oh, I got a thing.Rachel: Don't get caught, dude. Anything I should know?Raylan: No. No. Just a major prison break, thecountryside's been overrun with fugitives. I got it.[ Knock at the door ]You show up before dawn with a bag of hamburgers? They get the toys that way. Come on*** let me in. Heck no. Why not, you've let me in every other time I've come by. No.Raylan: Hey, Sharon. It's Raylan. Yeah, he's here. Listen... Hold up. Youdropped something. Pick it up if you want. Asshole.Raylan: Huh? No, not you. Won't let me in? Oh yeah I think you gonna let me in.Raylan: [ Taps window ] Youcan have the burgers if you want. sh1t! Let's go, out. Mine's bigger than yours. Big enough to throw a bullet through this door, and you as well. Before I put onethrough your ear? You think this is the first time I've had a gun pointed at me? No. Could be your last though. I'm guessin' you know who I am. I can guess whoyou are, at least which team you play for. All this indicates you're not gonna shoot me. No. *** There you go. Sharon. How much I just bring him in?\u0000 On thislonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it by my lonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul \u0000 \u0000 God get at your boy\u0000 \u0000 you try to bogart \u0000 \u0000 fall back, I go hard \u0000 \u0000 on this lonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it by my lonesome \u0000 \u0000 pissed off, who wantssome? \u0000 \u0000 I see them long, hard times to come \u0000Boyd: So, you really have been saved. By the Lord Almighty and the word of his forgiveness.Boyd: So, whathappened? You sit down and start reading the good book? Or was there a human component involved in this soul saving? I got to be honest now, Boyd. A lot oftimes, the way you say things, I can't make hide nor hair.Boyd: Well, were you saved on your own or in a church, hiram? Church. Last Chance Holiness.Boyd:Well, that's new to me. I don't believe I've ever heard of that collection plate. It's new to Harlan. Well, right now it's just a tent in the woods. But preacher Billy...he's the real deal, Boyd... old-school. Been healing lots of the afflicted... Addicts. That's why your Oxy sales have dropped off a cliff, 'cause people getting offdrugs, getting hooked on Jesus.Boyd: Well, Hiram, receiving the Lord into your heart is a wonderful thing. But I do have to ask... when did your salvation occur?Last week.Boyd: Well, then, there you go. What we have is a problem of arithmetics, 'cause you received a shipment of Oxy from us three weeks ago. Now, thatgives you two solid weeks of selling before you saw the light. Now, by my count, Hiram, you got at least $10,000 of my money. I don't. I stopped selling beforethen.Boyd: Well, then give me my Oxy back. Can't. I flushed that poison down the shitter.Boyd: Poison? Why, you don't know your scripture. \"He makes winethat gladdens the\" \"hearts of man\"... psalms 104. And what are our goods but modern-day wine, albeit in a pill form? That's just you twisting the word of God foryour own dark purposes. Where you going?Boyd: I'm getting away from the window.[ Screams ]Boyd: Now, hiram, saved or not, you don't have my money bythe time tomorrow night rolls around, the next firecracker's gonna go off in here.[ Crickets chirping ]Hey! Shut that off before anyone sees the light. What are youdoing? Might as well pull some wire while we're at it. Got to love these old places. $20 copper right here. What is that? Well, let's pull and find out.[ Siren wailing]sh1t! What do we do? We run, you dumb sh1t. Hey! I got dogs here! They're gonna rip your face off! Trained them to do it! God damn it![ Sighs ][ Floorboardscreaking ]Can't be local, or you'd have identified yourself as such.[SCENE_BREAK]Maybe you're federal. No bounty hunters allowed in the state ofKentucky.Raylan: If you're gonna keep talking, I'm gonna put you in the trunk. Can I ask you something?Raylan: What's that? It mean anything to you that Iain't never had no priors?Raylan: Nope. That ain't none of my business. I just came to see my kids. She wouldn't let me see them. Can you fathom that?Raylan:You got kids? Yeah.Raylan: Do you get visitation? Huh?Raylan: Visitation. Sure, just Sundays, and supervised, on account of I ain't have a place suitable forchildren. One of the reasons I moved on down to Knoxville. I ain't gonna see them. Why stick around?[ Cellphone rings ]Raylan: Hold on.Only reason I'm in thisjackpot was trying to get money for my kids.Raylan: Okay, I need you to be quiet now.[ Cellphone beeps ]Hello? Hey, uh, Raylan. Yeah, look, it's Bob. ConstableBob sweeney down in Harlan, yeah. Look, uh, I'm at your daddy's house.Raylan: Well, is it on fire? Only reason I can imagine you calling before dawn. Oh, sh1t. Ithink my arm's falling asleep.Raylan: Stop talking. Uh, I'm headed up that way. Come on, I'm not gonna stop talking.Raylan: I can stop by there. Hey, look, yougonna have to turn me in unharmed, or you gonna catch some sh1t.Raylan: You don't need to do that. Okay, then.[ Tires screech ]Ow! sh1t! Ow!Raylan: See youthere. You know what your problem is? You got no self-awareness. You think trying to do right by your children excuses everything, even killing men. They wereheroin dealers. If they'd just give up their money, none of this would have happened.Raylan: Any problem, that's someone else's fault. You ever hear of thesaying, \"you run into an asshole in the\" morning, you ran into an asshole. You run into assholes all day, you're the asshole\"?[ Car beeps ]What?Raylan: This couldbe a little uncomfortable. Just be cool and go with it. I get out of these, I'll tear you to pieces small enough to flush.[ Rooster crows ][ Knock on door ]Morning,sunshine. Look what I got for my girl. What is it? Well, open it and find out. You do that? With the paper? Watched a video on YouTube. Here. Wait, is it Oxy? No.Better. Not meth. I can't do any more of that. It's not meth. It's mellow. Oh, my God. Is this real? What? No, honey, there ain't no such thing as a million dollarbill. Are you sure? It's from a church. Got some religious screed on the other side. Some kids were handing them out by the stop 'n go. I thought it was funny,using it as I did.[ Laughs ]Now, I got another surprise for you, but you're gonna have to keep your eyes shut for that one. I can't wait.[ Both laugh ][ Snorts]Keep them closed. They're closed. All right, now... open![ Growls ][ Screaming ][ Groans ]Look at that... they busted the hinges. Still broke the lock. Would havebeen cheaper to break a window. You should put a sign up... \"You thinking of breaking in,\" please break a window. \"Thank you. The management.\"Raylan: Youjust happened to be driving by, huh? No, I put a motion detector in. Sends me a text every time it goes off.Raylan: How much is that costing me? It's in your bill.I'm not hiding it.Raylan: Well, I ain't gonna cover that up with the smell of baking cookies.[ Chuckles ]I'll tell you what, though... Those wire-strippers are lucky.If I'd caught them, would have opened a Costco-sized can of whup-ass on them.Raylan: Mm-hmm. I guess I can fix the door. Can you hire someone to handlethis? I can. You know, Raylan...Raylan: Hmm? I've been thinking. I'm gonna tell you something I haven't told a whole lot of people.Raylan: About that time youwere in high school, living in Florida? How... how'd you know that?Raylan: Kid on the football team came at you at shop class. You took him out with a hammer.Ollie kemp. I tell you this before?Raylan: Once during senior year when we were down at the lake. Was I drunk?Raylan: I think we all were. Then again twomonths ago when I hired to watch this house.[ Clears throat ]What's that?Raylan: I have not a clue. Ollie kemp... that was the guy. Size of a portable toilet. Hecome at me, and I just went berserker red on him. Put him in a coma. He's still in it, as far as I know.Raylan: That's why your family moved to Evarts, if I'm notmistaken. Oh, what is that?Raylan: It's a driver's license. Waldo truth. Yeah, I know it's a joke.Raylan: What's that? Being a constable. You got to run for it. Youonly get $2,400 a year if you win, so nobody runs for it. Got to have your own car. Got to have your own everything. [ Scoffs ] I had to pay for these lightsmyself.Raylan: $2,400 enough to live on? Well, I get $50 apiece for serving papers. State police got to charge $80, so everyone comes to me. You know, let themkeep thinking I'm a joke. That's what I say. [ Chuckles ] They underestimate me at their peril.Raylan: Just ask Ollie kemp. [ Scoffs ] If he could respond.Raylan:Hmm. Let me tell you something, Raylan. If sh1t gets serious, you give me a call, and I'll grab my go bag and be ready to jump.Raylan: Will do, Bob. You stayfrosty.[ Car alarm chirps ]Raylan: All right.Here's the deal. I got to do one more thing. Stay quiet, I'll let you back up front.Ava: It was a costume. I know thatnow. See, Arnold's a furry. Usually he dresses up in, like, a bunny suit? But this one scared me. Plus I was on drugs, and it was a good costume. He gonna presscharges?Ava: He's the judge/executive. What's he gonna do? Tell everyone he was shot in a whorehouse wearing a bear costume?[ Laughs ]Ava: What the hellwere you you doing with a gun?Everybody's got a gun.Ava: Why do you have a gun at work? I been hit.Ava: One of these men beats you, you come to me, andI'll take care of it, you hear me? It's not just clients who hit.Ava: Oh, you still griping about that? Case you forget, I also saved your life. Yeah, I killed a man foryou. I punched you once. You think that's something, you ain't never been beaten. Look, I know that, Ava. I ain't... I-I ain't forget. It's just sometimes I get realscared... Jittery and... When I'm low, I just... [ Sighs ] I just feel so low, Ava.Ava: That's why I told you to get off the meth. Yeah.Ava: No coke, either. You can'tdo the jittery stuff, Ellen may. The comedown off that's worse than anything. Yeah.Ava: What was it Arnold gave you? He wouldn't say. Just that it wasn't... Itwasn't Oxy.Ava: [ Sighs ] Well, you know there's gonna be consequences. What kind?Ava: I don't know. I'll talk to Boyd, and we'll figure it out. What is this? It's"}
+{"doc_id":"doc_107","qid":"","text":"Scene 1: Hall Glee Club - Will and the entire castWill: 5,6,7,8, not one, we walked around, we change leg leg is changed, not one, you, you, you and bam bambam! (He claps). A bit of nerves looks like a group of sleepwalkers. Give me energy, it was the communal in two weeks.Mercedes: Sir! the commune is in thepocket.Will: Can be good, but if taking it easy to commune we'll get killed in the regional. We need to give the best of ourselves.Kurt (laughs, looks wickedlyM.Schuester): This is a funny video. Falls in weddings. (The bell rings).Scene 2: Staff room lunchtime - Will, Emma and SueWill (to Emma): This time I think theyoverestimate, they seem to have lost their flame.Emma: Well I'm sorry, you just ... You have a little mustard on your little Kirk Douglas dimple in the chin.Will:Where? (Trying to lick your chin) Here?Emma: Yes, wait, let me it. Wait! Here!Will: Thank youEmma: Uh ... So when will it all started?Will: Oh, there was oneweekFlashback: the Glee Club Rehearsal Rachel is in controlRachel: 1, 2, 3, 4, 5, 6, 7, No. No. No. No. No. Will (coming from the back of the room): Good news Ijust saw the distribution of groups for communal and I think it was a good place. There are only two other teams. If they beat you access to regional.(The groupis very enthusiastic. Mercedes and Kurt look at a big smile and Puck makes a check to Tina ...)Rachel: And who are the other teams?Will: Drumroll Finn! TheDayton School for the Deaf and an establishment called Jane Addams Academy.Mercedes: Jane Addams? ! This is a rehabilitation center for girls coming out ofdetention!Tina: C C This is great!Arty: People who disagree sing and criminals who do not care too much it will be piece ofcake! Top there (he holds out his handtowards Britanny who prefers checker Santana) End of flashback and return to the staff roomWill: They think it is a foregone conclusion when there are no furthereffort. I'll have to find a way to motivate them a little.Emma: O, then K um ... Let's see. Oh! an array of stickers, that's how my parents made me do chores whenI was a child. Yes! While I was doing a chore and I had a star and then ...Sue: Oh Lord I pray you, pity, stop talking. I try desperately to ignore the silliness ofyour conversation dripping unbearable but now that I have bile in my mouth I will not hold my tongue any longer. (Takes a listing on the table before her). Youknow what that is? This is a list of my daughters. I choose someone at random every week and I plug out.Will: Yes it works in the Glee Club in a differentway.Sue: Will Really? ! How does it work for you? You must remember one thing, we take care of children here. They need to be terrified. It is like milk withouthim their bones will not grow properly. If you want results with a kid find the animal competition that is in him and remove him his chains!Very good! Helen(Speaking to Emma) This blouse is insane (and Emma looks sighs) Emma (by digging into his salad) It amazes me that she can teach in this school.Will: Youknow what? I think she has not entirely wrong.Scene 3: Hall Glee ClubWill: The competition! All these people (he hung pictures on the wall) and all theseelements have been champions in their field but they have always competed with others to become even better.Kurt: I can not understand how a flash cancompete with a wooden pool.(Compared to the pictures off the wall)Will: Remember what I say. You have become too sure of yourself and you were great but thepresets you'll have to overcome if you seriously want to achieve the communal. (Finn and locker Quinn looks unkindly) OK, do you separate the boys left, girls onthe right. Go you move (the band broke up) Okay. Kurt! (He was heading the group of girls, Will motioned him to go with the boys) I'll explain: two teams, guysagainst girls. In one week you will have to stack all show me a mash up of your choice.Puck: What is a mash up?Will: A mash up is when you take two songs, youmixes together to make a great explosion of musical expression. Tuesday the boys present, girls the next day. I want you to go out all the stops right? Costumes,choreography and those who will win this competition we will choose the number to communal.Rachel: Wait! Who will be the judge? Your s*x wrong yourjudgment.Will: Ah! We will have a special guest as a judge!Tina: Who is it?Will: Oh we'll have to give their all to find.Mercedes: We're going to crash to theground!Rachel: It's clear I'll make a storyboard of the choreography tonight.Will: So? ! I hope you are ready to compete! The girls recovered to block.Arty: Let'sgive them a slap worthy of God's hand!Will (heading Finn): Hey Finn's it going? You look elsewhere.Finn: Just a little tired. Puck (tapping on the shoulder of Finn):You come buddy? We're late for training.Scene 4: Office of Sue - Sue she wrote her diarySue (in thought): \"Dear Diary I'm still without power today. It started atdawn when I tried to make a smoothie with beef bones and I broke my blender. Then drive to my daughters: a disaster! \" Flashback on the training of CheeriosThey are pyramid atop QuinnSue (always in his thoughts): \"It could not miss, it was like spot the first crack in the hull of a boat ready to run (it fixes the knee ofQuinn who just shake) A tremor, the tremor was cost us the national tournament and the championship if we lose I'll lose my show and not my show I will neverbuy my hovercraft. \"Sue: It's going to Quinn?Quinn: I'm just tired because of the Glee Club. End of flashback and return to the office of SueSue: \"The Glee Club!Every time I try to destroy the handful of eating larvae arrears they come back even stronger as the wicked sexually ambiguous horror films. Here I am: ready topass the milestone of 30 years. I have sacrificed everything in my life, all that to me bamboozled by the machinations of a cabal of bisexual teens deformed andimbedded.Did I miss an episode journal? Is it just me? Of course not, it does not come from me. It is the fault of Will Schuester! What is wrong with it, diary? Hislittle arrogant smile and then made his permanent home? You know, newspaper, I noticed something yesterday. Flashback to the conversation of Will and Emmaat lunchSue: Of course, it becomes clear at once, if I can not destroy the club, I'll have to destroy mankind!Scene 5: House Will and Terri-Sue and TerriSue: Letme be honest. Your husband hides his chipolata in a basket which unfortunately is not yours.Terri: What? With whom?Sue: The guidance counselor. A real bitchand a man-eater. She wears flashy pin like the one with which my Grandma is buried. Some tea! Terri (coming out of his thoughts): Oh, uh ... Sorry.(She gets upto serve as Sue)Sue: It's always the same song: the woman begins to gain weight.Terri: Oh! I'm pregnant!Sue: Oh! This is not an excuse! I always thought thatthe desire to procreate was an expression of great personal weakness! I've never wanted a child. I have no time and I have no uterus!Terri: Are you're sure?Sue:A woman always knows these things! Let me tell you my way. If it is not yet proven a link, it certainly takes the turn. It takes a machete to get through thethickness of envy that is created around them.Terri: Oh, Lord! What will I do?Sue: I think you should pack up and move! Unless you did not want to leave yourhusband a midget redhead mentally deranged lemur with beads?Terri: Are you absolutely sure about that? I mean, you have evidence?Sue: Break into the schooland just sniff all its s*x pheromones yourself.And then it falls rather well, the school nurse, Ms. Lancaster is in a coma.Oh, she made an incredible roll-ball stageon the stairs yesterday!Flashback to the fall Sue is tripped to the nurse and she falls. Back to ShowTerri: But I'm not a nurse, I work at the \"Festival of Quilt\"!Sue:I am not an American citizen, I was born in the Panama Canal Zone, but I managed to have a passport, I applied twice. That's the advice I give to you: if you donot want to lose your husband, be creative.Scene 6: Office Figgins - Terri and FigginsFiggins: Mrs. Schuester, I appreciate your interest in the nursingposition.But your experience is limited to folding towels ...Terri: As an assistant to my swim \"Duvet Day\" in first aid. I've used a defibrillator.Figgins: Ah!Scene 7:Teachers' room-Emma Will and TerriEmma: (to Will): So what did you talk about?Will: Oh! Good news, I found a great way to motivate them. They will fightagainst each other in a tournament.Emma: Oh!Will: And guess who will be our judge superstar? You! Emma (putting his hand to his heart): Me? Terri arrives withher blouse and nursing remains at the door of the roomTerri: Well! This for a surprise! (Heading towards Will)Will: Hey! What are you doing here?Terri: (toEmma): Hello, I do not think we have been presented. I'm Terri Schuester, thewoman (she touches the belly) Will pregnant.Emma (with some surprise): Yes...Terri: Someone left the lipstick on your mug. (She licks her finger and cleans the edge of the cup)Emma: No! No ohTerri: It's settled. It will serve coffee, EmmaWill look with a frightened lookWill: Is that all right Terri? You never come see me here!Terri: Oh, I do not come to see you not! You were so stressed about ourfinances lately that I had to participate by having a second job. I am the new nurse.Will: But ... You're not nursing, you have not been trained to ...Terri(interrupting him): I beg Will, this is a public school here. (She turns to Emma). It's not great news? And that means that now I am all the time around.Scene 8:Changing the football stadium, Ken And the whole football teamKen: Know your paths (at the same time he emphasizes these words on the board). This is thekey to winning this game, gentlemen. The forwards you make your path to the enemy lines and you block for developing the game O, K? That everyone knows hisrole, it's not complicated!Finn (in thought): I completely derailed. I'm tired all the time! I can not keep my eyes open (he falls asleep and wakes up in the hall ofthe Glee Club). I know I'm lucky: captain of the football team, hunk of the Glee Club. I know I should be super happy with Quinn, she is very popular, she wearsmy baby and everything ... But I can not get out of Rachel's head. It makes me a little freaked out like Glen Close in \"Fatal Attraction\", but she can sing and has abarrel body if you do not like breasts! (Flashback after his football training in the showers) My body me is anything! I had a hair in the ear, the other day and Ihave to spend oil spray pain on my shins several times a day because of growing pains. It smells really bad, but I mask the smell with lots of flavor. It's hardbeing a guy my age (flashback of the night: he plays to the console) between the Glee Club, football, my popularity, I'm like overwhelmed. Everyone expectssomething from me and I do not have enough energy for everything! I do not know how people are important as the chairs or presenters or JT Boss of theMafia.My mother says I scatter, so I stopped doing my homework, but it did not help. All I know is that last night I popped in two. At level 2! I was completelyH.S. Finn really wakes up in the hall of the Glee ClubKurt: It drooling (his voice is attenuated as it is Finn who hears it and he is not awake)Puck (echoing): Oh!You wake up?Finn (half fried on): It looks great!Puck: I said we could not let them beat us!Finn: Sorry, sometimes, but when I concentrate, it helps me to closemy eyes!Arty: Let's make a mash up of \"It's my life\" and \"Confessions\" by Usher.Puck: Should we add a little stomp with lids of garbage cans, right?Arty: Puck,"}
+{"doc_id":"doc_108","qid":"","text":"The Massacre (of St. Bartholomew's Eve) by John Lucarotti first broadcast - 26th February, 1966[SCENE_BREAK]1: INT. PRESLIN'S SHOP(ANNE has spent thenight alone in PRESLIN'S shop. STEVEN pounds on the door startling her until she hears his voice.)STEVEN: Anne! Anne, are you there? Anne!(ANNE answers thedoor and lets an exhausted STEVEN in.)ANNE: Oh, monsieur! I'd given you up for lost when you didn't come back last night and I thought the guards must havecaught you.STEVEN: (Breathless.) Yes, they nearly did. I managed to shake them off. I'm sorry, the curfew rang before I could get back last night. The guardswere still looking for me this morning. That's why I've been so long.(He takes his sword off.)ANNE: Did you see Monsieur Muss and give him yourmessage?STEVEN: Oh, yes. The warning was too late.(He puts his sword down.)ANNE: What will you do now? Go back to your friend? The Doctor.STEVEN:(Despondent.) I can't Anne. He's dead.ANNE: (Shocked.) Monsieur!STEVEN: I saw his body lying in the street by the Abbot's house. Before I could do anythingRoger Colbert saw me and sent the guards after me again. Heaven knows what I'll do now.(He thinks for a second.)ANNE: Return to England?STEVEN: I can't.I've got to find the key to the TARDIS.ANNE: What Monsieur?STEVEN: The Doctor has a special key. Without it I can't leave.ANNE: Well do you know where itis?STEVEN: No. If the Doctor had it with him then I'm lost. I...I didn't had time to look for it. My only hope is that it's still with his own clothes.ANNE: Could it beat the Abbot's house?STEVEN: Oh, no. No. He'd have had to change before he went there. The only other place I think he's been to is...is the shop.ANNE: Oh, butwe've already searched here, monsieur, looking for clothes for you.STEVEN: Anne, we must do it again! Please help me. Open every cupboard, every box. I mustfind that key.ANNE: Right, monsieur.(They start to search.)[SCENE_BREAK]2: INT. THE LOUVRE(SIMON is reporting to MARSHAL TAVANNES.)MARSHALTAVANNES: It may hinder the inquiry into the attempted assassination of de Coligny.SIMON: Surely the King is insisting that de Coligny is avenged?MARSHALTAVANNES: He is. But by blaming the death of the Abbot on the Huguenots we may be able to cover our tracks.SIMON: Will the King pay any attention to theAbbot's death?MARSHAL TAVANNES: I don't know. Fortunately the Admiral himself is helping us. He doesn't want the inquiry yet so that may give us a littletime.SIMON: Therefore the Englishman must be caught.MARSHAL TAVANNES: And killed. He must not be allowed to get back to the Abbot's house.SIMON: Themen are searching Paris for him.MARSHAL TAVANNES: He must be found tonight. Tomorrow is St. Bartholomew's Day and it will be all too easy for him to evadeus in the revelry.(A messenger knocks at the door and enters, giving a written message to TAVANNES. He reads it.)MARSHAL TAVANNES: The Queen Mother. Shecommands me to go to her. No doubt she has thought of some further scheme to protect her good name.(He goes to the door.)MARSHAL TAVANNES: Wait for mehere, Simon. I may have more instructions for you when I get back.(He leaves. SIMON picks up the message and reads it.)[SCENE_BREAK]3: INT. PRESLIN'SSHOP(STEVEN and ANNE have almost ransacked the shop in their search for the DOCTOR'S clothes. Items of clothing litter the floor. ANNE comes from anotherpart of the shop after her search.)STEVEN: Well?ANNE: Nothing, monsieur. There's no sign of your friend's clothes anywhere.STEVEN: They must be here.ANNE:All I've found was this.(ANNE shows STEVEN the DOCTOR'S stick.)STEVEN: But... but this is his stick!ANNE: Your friend's?STEVEN: Yes. Well his clothes must behere somewhere! Where did you find it?ANNE: In the back, monsieur. But there are no clothes there.STEVEN: Are you sure?ANNE: Yes. I've searchedeverywhere!STEVEN: Then why the stick? He...he couldn't have pretended to be the Abbot dressed as he was. So he must have changed somewhere. Butwhere?ANNE: Perhaps he went away somewhere with the apothecary who used to live here?STEVEN: With Preslin? No he couldn't.ANNE: Why not?STEVEN:Because Preslin is either dead or in prison.DOCTOR: He is not.(They turn round. The DOCTOR has entered the shop!.)STEVEN: (Shocked.)Doctor![SCENE_BREAK]4: INT. DE COLIGNY'S RESIDENCE(GASTON has come to visit a still weak DE COLIGNY.)GASTON: The Catholics will not rest until you aredead!ADMIRAL DE COLIGNY: (Weakly.) You are too impetuous, Vicomte.TELIGNY: The King is determined to prevent a further attempt. Why else do you thinkhe's put so heavy a guard on this house?GASTON: A Catholic guard under a Catholic commander! The Admiral could hardly be in the care of a greaterenemy.TELIGNY: He is under the protection of the King.GASTON: And the Queen Mother.NICHOLAS: Gaston, you are tiring the Admiral. Doing yourself aninjustice. You had better return to the Louvre.GASTON: No!(He goes over to DE COLIGNY.)GASTON: If I were to leave Paris it would be better for you and forus.NICHOLAS: The surgeons said the Admiral must not be moved.GASTON: Then may God protect you.(GASTON leaves the house.)ADMIRAL DE COLIGNY:(Weakly.) I hope Henri of Navarre realises how dangerous it is to have such a hothead in his service.TELIGNY: He must be wrong. The commander wouldn't dareto disobey the King after what has happened.NICHOLAS: Let us hope so. Is there anything you need, Admiral?ADMIRAL DE COLIGNY: (Quietly.) Stay withme.NICHOLAS: Of course.TELIGNY: We must be grateful that the wounds are not poisoned. So that there is no fear of you dying.ADMIRAL DE COLIGNY: I do feardeath. I only hope that we have nothing to fear from my staying alive.[SCENE_BREAK]5: INT. PRESLIN'S SHOP(STEVEN has told the DOCTOR of the recentevents.)DOCTOR: Oh, my dear boy, had you stayed at the tavern all this mix-up could have been avoided.STEVEN: (Angry.) I did stay in the tavern, you didn'tturn up!DOCTOR: Yes, well, I was unavoidably delayed. Never mind that now. Come along, we must go. Come along.ANNE: You can't now, monsieur. Thecurfew's rung.DOCTOR: What? Oh that wretched curfew is the start of so much trouble.ANNE: It'd be easy to leave Paris in the morning, monsieur. Tomorrow isSt. Bartholomew's Day and everyone will be celebrating.STEVEN: Huh! With all the trouble that's going on I can't see what they've got to celebrate.DOCTOR: Itold you not to get involved.STEVEN: Look, I tried not to but the Abbot did look like you. If I hadn't found out about Admiral de Coligny being the 'Sea Beggar'then...DOCTOR: (Interrupts.) What's that?STEVEN: I tried to tell you before. Admiral de Coligny is one of the Huguenot leaders. The Catholics tried to shoothim.DOCTOR: (To ANNE.) Did you say tomorrow was St. Bartholomew's Day, child?ANNE: Yes, monsieur.DOCTOR: What year is this, my boy?STEVEN: I don'tknow. What difference does it make?DOCTOR: What date is it, child?ANNE: Date monsieur? August the twenty-third. As I said, tomorrow's...DOCTOR: Yes, yes,yes, I know that. The year, the year... hmm?ANNE: (Smiles.) 1572, monsieur. But surely you know that?(The DOCTOR, worried at this information, thinks,then...)DOCTOR: Go home, Anne. You must leave here at once.ANNE: No, I've got nowhere to go!DOCTOR: Where were you working?ANNE: At the Abbot'shouse.DOCTOR: You go back there.ANNE: (Shouts.) I can't! They'll kill me!DOCTOR: You must leave this shop, child.STEVEN: Doctor, what'shappening?DOCTOR: Oh please don't interfere. (To ANNE.) Now, my dear, there must be somewhere you can stay in Paris?ANNE: No, there's only my aunt'splace, and they'll kill me there.DOCTOR: Oh, nonsense. Tonight, you will be quite safe. Now you go carefully through the streets, hmm?ANNE: Well, what aboutthe curfew?DOCTOR: Well you've been out in the curfew before haven't you?ANNE: Yes, but the guards...DOCTOR: Then you know how to avoid the patrols. Yougo back to your aunt; you'll be quite safe. And you take my advice and stay indoors tomorrow. Now do you understand? It's too dangerous for you to stay here.Now off you go, child. Come along, off, off, off!STEVEN: But, Doctor, I don't think it's...DOCTOR: Ah, shh, shh, shh!ANNE: Goodbye then, Steven. Safejourney.STEVEN: Doctor, I don't think she should go.DOCTOR: Now out you go, my child. Off you go.(ANNE leaves.)STEVEN: Bye. (To the DOCTOR.) Look, areyou sure she'll be all right? The guards are waiting for her.DOCTOR: My dear Steven, the Catholics will have other things on their minds tonight. She will be quitesafe. Now then, you and I must leave Paris at once. Come!STEVEN: Look, Doctor, what is going on?DOCTOR: There is no time for me to explain. Come along,boy. Come along![SCENE_BREAK]6. THE LOUVRE(The Queen Mother enters the study of TAVANNES where he is writing a paper. He does not look up.)MARSHALTAVANNES: Simon?CATHERINE DE MEDICI: The Queen Mother.(TAVANNES gets quickly to his feet.)MARSHAL TAVANNES: Madame, I apologise, Ithought...CATHERINE DE MEDICI: Never mind. I have it here - the order signed by the King. Our plans for tomorrow can go ahead.(She passes him a documentwhich he quickly reads.)MARSHAL TAVANNES: Thank God!CATHERINE DE MEDICI: God had very little to do with it.(TAVANNES in turn passes her the paper hehas been writing.)CATHERINE DE MEDICI: What's this?MARSHAL TAVANNES: The list, madam. When those Huguenots are killed we need have no further fear ofa Protestant France.CATHERINE DE MEDICI: We have no need of lists, Marshall. The good people of Paris know their enemies. They will take care ofthem.MARSHAL TAVANNES: (Shocked.) The good people...? Madam, if you rouse the mob the innocent will perish with the guilty.CATHERINE DE MEDICI:Innocent? Heresy can have no innocence. France will breath a pure air after tomorrow.MARSHAL TAVANNES: And,... Navarre, madam? Your son-in-law? Is he tobe slaughtered with the others?CATHERINE DE MEDICI: Tomorrow Henri of Navarre will pay for his pretensions to the Crown.MARSHAL TAVANNES: Madam, wemust not kill Navarre.CATHERINE DE MEDICI: Must not?MARSHAL TAVANNES: Protestant Europe will merely shed a pious tear over the death of a few thousandHuguenots. The death of a prince will launch a Holy War.CATHERINE DE MEDICI: (After a thoughtful pause.) If one Huguenot life escapes me tomorrow, we mayboth regret this act of mercy.MARSHAL TAVANNES: Not mercy, madam. Policy.CATHERINE DE MEDICI: (Considers.) Very well, Marshall. Then you must get himout of Paris. After tomorrow, even I will not save him.MARSHAL TAVANNES: I will see to it, madam.CATHERINE DE MEDICI: And, Marshall - close the gates of thecity now.(The Queen Mother leaves the room. SIMON enters.)SIMON: Well, my lord?MARSHAL TAVANNES: The order has been given. You may begin.SIMON: Mymen are ready. Where is the list?MARSHAL TAVANNES: There is no list.SIMON: But I thought...MARSHAL TAVANNES: We are to unleash the wolves of Paris. Noneare to be spared.SIMON: (Pleased.) Even better, my lord.MARSHAL TAVANNES: Is it? I wonder...Simon, when you have passed on the order I have a special"}
+{"doc_id":"doc_109","qid":"","text":"[Scene: Joey and Rachel's, Joey is eating breakfast as Rachel enters, having just woken up.]Joey: Morning!Rachel: Hi! Oh, how was your date last night?Joey:Pretty good.Rachel: Oh good. (She walks to the closed bathroom door, opens it, and finds a naked woman wrapped in a towel.) Ahhh! My God, sorry! (She closesthe door and confronts Joey.)Joey: Okay, really good. Anyway I gotta go; I'm late for work.Rachel: What-what?! You're gonna leave this person with me?!Joey:Yeah-Hey, don't worry, she's a terrific girl. And hey listen, could you do me a favor? When she comes out could you just mention that I'm not looking for a seriousrelationship; that'd be great.Rachel: Why?! What?! Are you kidding?!Joey: Just casually slip it in, y'know lay the groundwork. Tell her uh, I'm a loner-No! Anoutlaw! Tell her she doesn't want to get mixed up with the likes of me.Rachel: Y'know what? That's a lot to remember, can't I just tell her you're a pig?Joey: Hey,I'm gonna call her later! Honest! Oh come on, Chandler used to do it! He'd even make the girl pancakes! Plus, he'd make extras and leave 'em for me.Rachel:Well forget it, I'm not telling that girl anything. That is not my responsibility.Joey: Fine! (Pause) Now, where'd we land on those pancakes? (She chases him outthe door as his date emerges from the bathroom.)Joey's Date: Hi!Rachel: Hi.Joey's Date: Sorry about that, but I couldn't get that lock to work on thedoor.Rachel: Yeah, Joey kinda disabled it when I moved in.Joey's Date: You must be Rachel, I'm Erin.Rachel: Hi.Erin: Hi. I don't mean this to sound like highschool, but did he say anything about me?Rachel: (pause) Would you like some pancakes?Opening Credits[Scene: N.Y.U's University Library, Ross is enteringwith Chandler.]Chandler: ...Come on! Why are we here?!Ross: Okay, okay take a guess.(An old woman pushes a cart full of books past.)Chandler: The hotchicks?Ross: Okay, okay, I was typing names into the library computer earlier, y'know-y'know for fun, and I typed mine in and guess what came up? My doctoraldissertation! It's here! Yeah, it's right-it's right down here! In the biggest library in the university! (They start heading that way, towards a secluded sectionbehind the racks.)Chandler: Wow that's actually pretty cool.Ross: (stopping quickly) Oh umm, there's also a book here by a woman named Wendy Bagina. (Theyboth laugh, but stop when the hear moaning coming from the next aisle.) What is that?Chandler: Sounds like two people are really enjoying the Dewey decimalsystem.(They go around the last row of bookshelves and find a couple doing what college coeds do in secluded corners of university libraries. For those of youwho don't know what I'm talking about, let's just say that clothing is undone. Ross gasps and the couple gets up and runs away.)Female Student: (as they aremoving past Ross) I'm so sorry!Male Student: Sorry!Chandler: You didn't bring me here to do that, did you?[Scene: Monica's Restaurant Kitchen, Monica iscooking as a waitress enters carrying a plate of food that has been sent back.]Monica: She sent the chicken back again?!The Waitress: She says it's too dry nowand she wants to come back here and explain to you exactly how she wants it.Monica: Well fine! I want to meet this chicken expert! Send the Colonel in!(Thewaitress lets her in as Monica is about to throw a lobster into a pot of boiling water (Although, she hasn't taken off the rubber bands that hold the claws, so shecan't be that good a chef). Anyway, guess who the Colonel is by the following phrase.)The Colonel: OH...MY...GAWD!!!! (Yep, it's Janice.)Monica: (to the lobster)Lucky b*st*rd! (Throws the lobster in and turns around to face the planet's most annoying woman, next to Dr. Laura and Kathy Lee Gifford of course. She's themost annoying female TV character however.) Janice.Janice: How are you Ms. Hot Shot chef with the big fancy restaurant with the best chicken ever! (Does thelaugh.)Monica: I'm fine.Janice: (notices Monica's engagement ring) Ohh! What is that on your finger?! I'm blind!Monica: Oh... Uh...Janice: So, who's the luckyguy?[Cut to Monica and Chandler's just after Monica has finished telling Chandler what happened.]Chandler: OH...MY...GAWD! I am so sorry sweetie, are youokay? You didn't tell her we were getting married, did you?Monica: Well, she saw the ring.Chandler: Did she freak out?Monica: Well, she was shocked when I toldher, but then again so were most people.Chandler: Right.Monica: Well, she actually has a boyfriend y'know herself, named Clark. Uh, she also kinda invitedherself to our wedding. Clark too.Chandler: (laughs) You said no, right?Monica: Huh?Chandler: You said no, right?!Monica: Well, she cornered me! She asked ifthe wedding was in town! I mean, what was I supposed to do?!Chandler: Lie!!! How hard is that?! The check's in the mail! Oh your baby is so cute! I can't wait toread your book, Ross!!Monica: Come on! So she comes to the wedding! I mean it won't be so bad.Chandler: What do you think, she's just gonna sit there quietly?You don't think she's gonna want to make a toast? You don't think she's gonna want to grab the microphone and sing Part-time Lover?!Monica: Oh my God, she'snot gonna like the chicken that night either, is she?!Chandler: Y'know what? It's gonna be okay. Y'know what? She's probably not gonna even want tocome.Monica: Really?Chandler: No! That was a lie! See how easy that was?Monica: So-so you would've just lied?Chandler: Yes!!Monica: Would it really have beenthat easy?Chandler: Yes!!!Monica: Good, so do it Saturday night because we're going to dinner with her and Clark.[Scene: Joey and Rachel's, Joey is coming backfrom work to find Phoebe, Rachel, and someone else with her back turned, are there.]Joey: Hey! What's up?Phoebe and Rachel: Hey!Joey: Hey-hey, who's yourfriend? (Erin turns around to face Joey, startling him) Hey!!Erin: Hey Joey!Joey: Erin! Still here!Rachel: Yeah, we ended up spending the day together and hadsuch a great time!Joey: Why wouldn't ya? Erin is great! Then-then there's you guys.Erin: Ohh, listen. I've got to get going. Today was great, thanks!Rachel: Iknow!Phoebe: Okay!Erin: Bye Joey. (Kisses him.) Last night was fun.Joey: Yeah. I'll uh, I'll call ya.Rachel: Oh and I'll call ya too!Erin: Or I'll call you!Phoebe: Andcall me!Joey: (to Erin) Okay, good to see you again.Erin: Bye.Joey: Bye-bye.Rachel: Bye!(Joey closes the door behind her.)Joey: So, system kinda broke downhuh?!Rachel: Oh Joey, I'm sorry I just couldn't tell her all those things you wanted me to tell her. And y'know we got to talking and I...Phoebe: We want you tomarry her!Joey: What?!!Phoebe: She is so amazing! You have no idea.Joey: No idea? Who do you think brought her here?Rachel: Cupid.Phoebe: Joey, she's socool. She speaks four languages.Joey: Man, do you know what guys want!Rachel: Look Joey, come on, she's so perfect for you! I mean, she's sweet, she-shelikes baseball, and she-she had two beers at lunch.Joey: My beers?! Look you guys, she's a very nice girl. Okay? We had a good time, but I just-I don't see itgoing anywhere.Phoebe: Yeah, but you always say that.Rachel: Yeah, maybe if you gave this girl a chance it would go somewhere.Joey: Look, I'm sorry youguys, I-I just don't think so.Phoebe: Whatever.Rachel: Fine. (They start to walk away.)Joey: Hey, don't start judging me! (To Rachel) Huh? You're the one who'sin love with her assistant! (To Phoebe) Huh? And you, you're the one having the affair with the guy who keeps the pigeons on the roof!Rachel: Phoebe!Phoebe:Secret affair![Scene: Central Perk, Rachel and Joey are there as Ross enters.]Ross: People are doing it in front of my book!Rachel: I'm sorry?Ross: My doctoraldissertation is in the library at school, I went to see it, and there were students makin' babies right in the middle of the Paleontology section!Rachel: Oh my God!Did you get to see anything good?Ross: Let me ask you something, at your school was there a like uh a place on campus where students went to uh, foolaround.Rachel: Yeah, there was. It was-there the corner of the library where-where all these dusty books that nobody ever read-Yes, there was.Ross: Great!Because people kept showing up, I think it's like uh-a thing!Joey: Now hold on a second, fifth floor against that back wall?Ross: Oh for cryin' out loud! (He stormsout.)Joey: All right, so we should go catch our movie.Rachel: Well now what's the rush?Joey: I like to see the previews. (Rachel looks at him.) The candy.Phoebe:(entering with Erin) Oh. Hey!Rachel: Well look who's here!Erin: Hey!Joey: Hey!Erin: Joey.Joey: Erin.Erin: Hey Rachel.Rachel: Hi! Well, we were just about to takeoff and see a movie. Oh no!Erin: What's wrong?Rachel: Oh Phoebe, we forgot that party we have to go to.Phoebe: Oh no.Joey: (skeptical) What party?Phoebeand Rachel: A birthday party.Joey: Who's birthday party?Phoebe and Rachel: Alison's birthday party.Joey: (still skeptical) Oh, and how old is Alison?Phoebe andRachel: 32. (Joey's not buying it.)Rachel: (does a retching sound) Wait a minute! Why don't you guys do something?!Joey: (still skeptical) Yeah, look how thatworked out.[SCENE_BREAK][Scene: The Library, Ross enters and heads to the desk to talk to the male librarian on duty.]Ross: Excuse me. Hi, I'm a professorhere. Do you know the Paleontology section, fifth floor, stack 437?The Librarian: Well, yes! Just give me five minutes, I just have to find someone to cover myshift.Ross: No! No!! No! Can I speak to someone in charge please?! (The librarian brings his boss over.)The Head Librarian: How can I help you?Ross: Hi, I waswondering if it is possible to increase security in the Paleontology section? See I-I wrote a book up there and instead of reading it people are-are-are well, rollingaround in front of it.The Head Librarian: We are aware of the problem you are referring to. (He turns to look at the previous librarian.) But as far as increasingsecurity, I'm afraid the library is very understaffed. I, I can't help you.Ross: Well, fine. Fine! If-if I'm the only person with any appreciation of the sanctity of thewritten word, I'll go up there and defend it myself! (Starts to do so, but stops and to the previous librarian) And don't you follow me![Scene: Joey and Rachel's,Rachel and Phoebe are doing dishes as Joey enters.]Joey: Hey.Phoebe: Hey!Rachel: How did it go with Erin?Joey: Oh, unbelievable! We had the besttime!Phoebe: Yay!! Oh so, you're not, you're not mad at us anymore?Joey: No! No! No! You guys were totally right! This is so much better than the first time wewent out. Y'know? That was so awkward, we were really nervous.Phoebe: Didn't you sleep together?Joey: Yeah, that really calms me down. And! We have somuch in common! She loves sandwiches, sports, although she is a Met fan, not much of an issue now but if we were ever to have kids, well that's a...Rachel:(gasps) Oh my God! Listen to you talkin' about having kids. Oh my Joey. (She goes over and hugs him.) Oh, please don't get married before I do.Joey:Okay.[Scene: A Restaurant, Monica and Chandler are on their date with Janice and Clark, however Clark is a no show and Janice is crying the Mississippi Riverabout it.]Janice: Oh. Oh I just cannot believe Clark stood me up!Monica: He might still show up.Janice: Oh, what are you, stupid? It's been three hours.Monica: Isthat all?Janice: I should just go on to happier things, okay? Umm, why don't you tell about your lovely wedding?Chandler: Well actually uh, there was something"}
+{"doc_id":"doc_110","qid":"","text":"Story by Mark J. Kunerth Teleplay by Richard Goodman[Scene: Monica and Rachel's erm, Chandler and Joey's, Chandler is watching TV, and we hear Mr. Treegerin the bathroom.]Mr. Treeger: Ohhh, man!!Joey: (coming in from his bedroom) What is that?Chandler: Treeger's snaking the shower drain.Mr. Treeger: What inthe name of hell?Joey: Maybe he found you flip-flop.(Joey sits down and changes the channel, and we see two people making out.)Chandler: Hey!Joey: Whoa! Isthis p0rn? What did I do? I must've hit something on the remote.Chandler: Do we pay for this?Joey: No, we didn't even pay our cable bill-maybe this is how theypunish us.Chandler: Maybe we shouldn't pay our phone bill-free phone s*x.Joey: Maybe we shouldn't pay our gas bill? (Stops and thinks about what he justsaid.)Mr. Treeger: (coming in from the bathroom) Whoa, hey, that lady's all kinds of naked.Chandler: Yeah, Joey just pressed something on the remote and itjust, came on!Mr. Treeger: Yeah, it happened to me once. I was just flipping through the channels and bam! It was like finding money.Chandler: Like findingmoney with naked people on it!Mr. Treeger: Then I made the mistake of turning off the TV, I never got it back again. And I'm sad. (Exits.)Joey: (to Chandler)Why would he turn off the TV? (Chandler shrugs.)OPENING CREDITS[Scene: Monica and Rachel's erm, Chandler and Joey's, later that morning. The p0rn is stillon, there are three women getting ready to shave the chest of some guy. Joey and Chandler are wondering why that guy is letting them shave his chest, andMonica and Rachel are eating breakfast at the foosball table.]Rachel: All right, y'know what, come on, do we really have to watch this while we eat? (She makes amove for the remote.)Joey and Chandler: (stopping her) Oh no-no-no-no!Chandler: We don't know what could make this go away.Joey: Yeah, so no one touchesthe remote. And no one touches the TV!Chandler: And no one touches the air around the TV!Joey: Imagine a protective p0rn bubble if you will, okay?Monica: Wellat least, I'm going to mute it.Joey and Chandler: Oh no-no-no! (Monica mutes the TV and they tentatively look behind them)Chandler: We still have p0rn.Joey:Hey.Phoebe: (entering, carrying her massage table) Hi!Monica: Hi!Rachel: Honey, what are you doing? That's too heavy.Phoebe: Yeah.Rachel: Give it here. (Shetakes the table.) Oh, God. (And gives it to Monica right away.)Monica: Okay.Phoebe: Ohh, I'm getting too pregnant for this, lugging around a stupid massagetable. Y'know, I have to find a job where I carrying a smaller table. (She goes over and stands in front of the TV.)Chandler: Or a job where you don't have tocarry a table.Phoebe: You mean like a doctor?Joey: Pheebs! You're blocking the p0rn! Look out!Phoebe: Ohh! (She moves.) Oh my. Oh, that reminds me, I haveto see my OB-GYN today.[Scene: Chandler and Joey's erm, Monica and Rachel's, Ross is entering.]Ross: Hi.Monica: Hi.Ross: So uh, Emily just went to theairport.Monica: Oh. Why didn't you take her?Ross: Eh, her-her uncle already had planned on doing it. And y'know, we-we said our good-byes this morning,so...Monica: You must feel horrible. Hey! The guys have free p0rn!Ross: (Thinks about it.) Nah.Monica: Hey, cheer up! You're gonna see her again, right?Ross:Well I, that's the thing, I don't know! I mean, whenever I brought it up with her she said, (In a British accent.) \"This is so fantastic! Why do we have to talk aboutthe future? Let's just enjoy...\"Monica: (interrupting him) No-no-no, don't-don't do the accent. You've got to see her again.Ross: And why do you care somuch?Monica: Because! You could get to live out my fantasy!Ross: You had fantasies about Emily?Monica: No! Y'know, the fantasy! Meet someone from a strangeland, fall in madly love, and spend the rest of your lives together.Ross: Is that why in junior high you were the only one that hung out with that Ukrainiankid?Monica: Yeah that, plus his mom used to put sour cream on everything!Ross: Ahh.Monica: Do you love her?Ross: We said it was only going to be two weeks,y'know?Monica: You love her!Ross: What-what is love really?Monica: Ohhh, I knew you loved her! Then you need to go to the airport and tell her. You're probablyjust gonna catch her just as she's about to go to the gate. You're gonna call out her name and say, \"I love you!\" And she's gonna say, \"I love you, too!\" And youguys are going to have the most amazing kiss, everyone at the gate will applaud.Ross: I am a good kisser.Monica: Then you two can, can sneak into the cockpit,and things will start to heat up, and then a stewardess comes in... (Ross looks at her.) I've been watching too much p0rn.[Scene: Beth Israel Medical Center,Phoebe is at her OB-GYN doing an ultrasound, Rachel is with her. We here the baby's heartbeat.]Rachel: Is that the heartbeat?The Doctor: That's it.Phoebe: Ohmy God!Rachel: Oh wow! This is so cool.(The heartbeat changes, and we hear a different one.)The Doctor: Have we talked about the possibility of multiplebirths?Phoebe: Why don't take care of this one, and should I get pregnant again, I'll hold onto your card, okay?The Doctor: No, I'm getting three separateheartbeats.Phoebe: Three? You guys were worried I wouldn't even have one!The Doctor: Doctors are wrong all the time.Phoebe: Well, yeah.Rachel: Well, so,are-are you sure that there are three?!The Doctor: Definitely. (Points out each head on the ultrasound.)Phoebe: Oh my God! Oh my God! Oh my God!! So I-Imean so in a few months I'm going to have three full grown babies just walkin' around inside me?! Oh! Oh! And it's gonna be one of those log rides where theyjust come shooting out!The Doctor: Actually, giving birth to three babies isn't that different from giving birth to one.Phoebe: What do you know?![Scene: CentralPerk, Phoebe is there, waiting to tell Frank and Alice the news.]Alice: (entering) Oh-oh, Phoebe!Phoebe: Ooh! Hi!Alice: Hi! (She runs over and hugs Phoebe'sstomach.) So, how did it go at the doctors?Phoebe: Oh well, okay, hey, y'know how when you're umm, you're walking down the street and you see three peoplein a row, and you say, \"Oh, that's nice?\"Frank: Yes.Phoebe: Okay, yeah well, good news, you're going to have three babies.Alice: Three babies?Frank: I finallygot my band!Alice: We're gonna have a big family, I've always wanted a big family!Phoebe: Oh God, I'm so glad you guys are happy, I was so afraid you weregoing to be all freaked.Frank: Why would we be freaked?Phoebe: No, no maybe 'cause it's harder to raise them, and the added expense, and...Frank: (They'reless than happy now) Oh.Alice: Right.Phoebe: No, back to happy. Back to happy!Alice: No-no-no, no, it's going to be fine. Because umm, because I teach HomeEc, and uh, I can have 30 kids making baby clothes all year long. Y'know it'll-it'll be like my very own little sweatshop.Frank: Yeah, I've been thinking ever sinceyou said we were having triplets, the best thing for me to do is to drop out of college and get a job.Alice: No, Frank.Phoebe: No you can't quit college! No! You'rein college? Really?Frank: Yeah, refrigerator college.Alice: Yeah.Frank: Yeah, y'know when we found out we were going to have a baby, y'know I figured y'knowlike I should y'know have like a career-and I love refrigerators!Phoebe: You can't give up on your dream.Frank: No, it's okay. We're-we're gonna have three kids!And that's-that's a different kind of dream. Three kids and no money.[Scene: The airport, Emily is getting ready to board her flight to London.]Ticket Agent: (Onthe P.A.) This is the boarding call for Flight 009.Ross: Emily! (Runs up.)Emily: Oh my God! What are you doing here? (They hug)Ross: I just, I had to see you onemore time before you took-off.Emily: You are so sweet. (They kiss.)Ross: That's, that's, that's a big candy bar. (She's holding one of those huge Toblerone bars.)I had the most amazing time with you.Emily: Me too.Ticket Agent: This is the final boarding call for Flight 009.Emily: Well, that' me. (They kiss again.) Here, havethis. (She gives him the candy bar.) I'm only allowed one piece of carryon anyway. (She starts towards the jetway.)Ross: (stops her) Wait uh, listen. I-I, I haveto tell you something. Umm, I've been thinking, I'm just gonna come out and say it. Okay? I-I-I ah, I-I think I love you.Emily: Oh. (She's shocked and hugs him.)Thank you. (She boards the plane.)Ross: That's no problem.[SCENE_BREAK][Scene: Monica and Rachel's erm, Chandler and Joey's, Rachel is singing some kindof song.]Rachel: What's that song? It has been in my head all day long.Chandler: It's the theme from Good Will Humping.Rachel: Y'know who doesn't even likedirty movies? My new boyfriend Joshua.Joey: Yeah right.Rachel: No, he told me. He prefers to leave certain things to the imagination.Chandler: Oh-oh, yeah, anddid he also say that ah, some of the dialogue was corny and that he actually found it was funny and not sexy?Rachel: Yes!Joey: Yeah, he likes p0rn.(Rachel startsto leave.)Monica: Where ya going?Rachel: I'm going to find out if he really thinks supermodels are too skinny. (As she exits, Phoebe enters.) Hey,Pheebs!Phoebe: Hey.Joey: Hey!Monica: How did it go with Frank and Alice?Phoebe: Well, Frank has to quit college because his super fertile sister is having threebabies! I need to make a lot of money really fast, and I had an idea that I want to talk to you (Points to Chandler) about, 'cause you work for a big company.Okay, insider trading, what information is there that you can give me.Chandler: They don't really talk to us about that kind of stuff. I can get you some free whiteout though.(Ross enters.)Monica: Ohh! Did you do what I said? Did-did-did you tell her?Ross: I did.Monica: And well, what did she say?Ross: Thank you.Monica:Oh, you're totally welcome! What'd she say?Ross: She said, \"Thank you.\" I said, \"I love you.\" And she said, \"Thank you.\"Chandler: Whoa-whoa, wait a minute,did you say, you love her?Joey: Yeah, what were you trying to get her to do?!Ross: What do I do now?Joey: You play hard to get.Ross: She already lives inLondon.Joey: Then you go to Tokyo.Chandler: All right look, forget it, forget it. You told her you love her, it's over.Monica: It is not over! You're over!Chandler:What?Monica: You know!Chandler: Okay. (Pause) Good one.Monica: It is not over because she is going to call you and tell you she loves you. And the reason whyshe couldn't, is because her feelings were so strong, it scared her. Now you go home and wait for her call, she could be calling you from the plane! Come on nowgo! Go! (Tries to push Ross out the door.)Ross: Okay! Okay! But if she doesn't call, it is definitely over! No, wait. Wait. Unless, eventually, I call her, y'know justto she what's going on, and, and she says she'll call me back, but then she doesn't. Then it's over.(Joey holds his fist up, and Chandler gives him two thumbsup.)Joey: Way to be strong, man!(Ross leaves, and after the door closes, Joey gives him the loser sign.)[Scene: Chandler and Joey's erm, Monica and Rachel's,Chandler and Joey enter having just woken up.]Rachel: Hey!Chandler: Hi! Listen, can we watch cartoons on your television? We need a p0rn break. We spent thelast two hours watching In & Out & In, Again.Rachel: Well, so, why don't you just turn it off?Chandler: Because then we would be the guys who turned off freep0rn.Phoebe: (entering carrying a case) Ooh, good, you're hear! Okay.Monica: Hey!Phoebe: Hi!Rachel: Well, what-what 'cha got there?Phoebe: Oh this, well I'm"}
+{"doc_id":"doc_111","qid":"","text":"44th Episode of RoswellProduction Code: 3ADA01[SCENE_BREAK]Max: Are you ready?Liz: Yeah, I think so.Max: Liz, you don't have to do this.Liz: No, max. Weare in this together. That's what we said. Together till the end.Liz: Down! Down! Now! Whoa! Down! Get down!Max: Do what she says. She's crazy.Liz: Face onthe floor! Now! [East coast accent] yeah. I, uh...I wanna report an armed robbery in progress. At Sam's quick stop on highway 65. Yeah. Hurry.Clerk: I have afamily.Liz: Hurry. We've only got a few minutes.[Siren approaches]Liz: just keep your face down! Keep your face down! The cops are coming. We gotta get outtahere. Come on, let's go! Come on, let's go! Hurry up![Max, now in the room below the store sees the spaceship. He holds up a large diamond, and the ship beginsto glow]Liz: Come on. How'd they find us so fast?Max: I don't know. All right, hold on!Liz: Max, they can't find out about the diamond.Officer: Hands! Let me seehands!Liz: You got any powers for this?[PREVIOUSLY_ON]Max: Liz, there's something I need to tell you about Tess and me. Our relationship is, uh-- somethinghappened. Liz, Tess is pregnant. I'm going back.Liz: Just tell me one thing. Do you love her?Max: Not like I love you.Max: This was all some kind of plan to getpregnant and go home, wasn't it?Max: This isn't over, tess.Isabel: What happens now, max?Max: I have to save my son.[Telephone rings]Max: So I waswondering if you wanted to, you know, see me.Liz: You mean, like, on a date?Max: Just somewhere we can talk. I just want to try to start over, liz. You lookamazing.Liz: They're my favorite. Thank you. So where are we going?Max: It's a surprise.Liz: It's kind of dark.Max: Liz, i just want to put everything thathappened behind us.Liz: Yeah, you know that I would, too, if i had impregnated an alien killer who murdered one of our best friends and then left the planet withmy unborn child.Max: So you're still holding on to that?Liz: It's hard not to, max. See, you slept with tess, and then you got her pregnant. I don't know how tojust move past that. You hurt me, you know?Max: Liz, meeting someone, someone like me,Liz: it attracted me. I admit that. It was something I had to find outabout, and now I'm over it.Max: It's not that simple. Liz, i'm here. I'm not going anywhere. Isabel, michael, and I, we've lost our only way home. There's no wayback. You're the only or me to-- you're my only reason. I want to be with you.Liz: Tess is pregnant with your child. What about your son?Max: There's nothing ican do about that. He's gonna be born in a... In another world, a world that i have nothing to do with. I've accepted it. Liz, you've paid a lot to know me. You'vebeen hurt and you've been put in danger. Now I want to make that up to you. I want to make your dreams come true. Will you let me do that?Max: In theneighborhood?[Sighs]Mr. Evans: son. If you want to get out of here while you're still a young man, don't say anything to anyone unless i'm present. I'm not yourfather right now, I'm your lawyer.Mrs. Evans: Oh, my god. Max.Max: It's all right, mom. It's all right.Mrs. Evans: Look at you. What is going on? Who are you?Why are you under arrest for armed robbery?Mr. Evans: Now tell us what the hell are you doing in utah?!Mrs. Parker: Jeff, stay calm. Calm?!Mr. Parker: How am igonna stay calm? [Ms]Honey, i know it isn't you. I know this is not something that you would do, but--but if you did do it, maybe it's because somebody put youup to it.Liz: They put meup to it. Right, mom.Mr. Parker: Ok. That's enough! Now tell us what the hell happened.Liz: I'm not gonna speak to anyone until they letme talk to max. Liz:Liz: So I've broken, like, 12 of my mom's rules already.Max: Rules? She has rules? Well, yeah. Yeah, since I told her that you broke my heart,without any of the alien details, of course. She thinks that we should just take things slow. Just dinner, then straight home, no plans for future dates. No makingout.Max: So i suppose skinny dipping would be against the rules, too.Liz: Uh-huh. What are you doing, max? No. No, this is not happening. Ok, you've made yourpoint. It's not that funny. You can stop now. What--no, max. Max. I can't believe you're gonna do this!Max: Whoo! Come on in. It's beautiful. No, it's not. It isobviously freezing. Come on, liz. This is something we'll tell our grandchildren about. Come on in, liz. Come on.Liz: Fine! Ok? Fine. Grandchildren. What are theygonna be, 3 feet tall and green? But, hey. I am not taking my underwear off. And if my mother, like, ever, ever t about this, you are, like, so dead. Ok? Do wehave a deal? Max. Oh, max! Is that a deal, max? Huh? Max! Max, oh, my god!Isabel: Max! Michael Just tell us what happened. Feel free to leave out the luriddetails.Liz: Look, I told you already. He was just, like, laying there in the water and he woke up in the car. But he hasn't said a single word. You guys, isn't thered of cure for this? You guys are the aliens. Do something here. Michael Maxwell! Hey, Maxwell! Maxwell! Hey, what the hell's going on?Max: Something happened.I had this vision. It was my son. He's been born. He was reaching out to me. He's in trouble. Michael now if I'm to have any chance of graduating this year, I needto get into your bio 101 class.Teacher: Why didn't you come to my bio 101 class when you were in it? Michael I'm turning over a new leaf.Teacher: Excuse mewhile I take a moment to chuckle within. Michael Ok, lookit, plans changed. I thought I was moving out of Roswell, but as it turns out, I'm stuck here forgood.Teacher: And how far away did you plan to move that you didn't think that your high school records would've been sent to your new high school? MichaelActually, pretty far. Mr. Seligman, I know you hate my guts. Personally, I hate yours, too.Teacher: This is how you ask a favor? Michael But if you help megraduate this year, then you won't have to see me next year.Teacher: Well, you do have a point there. Ok, Mr.. Guerin, I will let you in to my biology 101 class ifyou make a sacred vow to me right now that you won't miss a single session.Isabel: Michael, there you are.Teacher: Miss Evans, I thought you graduated.Isabel:I did, mr. Seligman, but I just can't seem to cut the cord. Too many fond memories. I need to talk to you. Michael I got class.Isabel: It's important. Michael I willbe one minute.Teacher: I'm sure you will. Miss Evans, love the hair.Isabel: Well, thank you. Michael So, what's going on?Isabel: Max and Liz got arrested in Utahfor armed robbery. We have to go.Michael: So much for ever getting out of this school. What were they doing in Utah?[In Utah]Isabel: Mom!Mrs. Evans: Isabel.Your father and i have been going crazy. Oh, hi. Philip!Isabel: So what's going on?Mrs. Evans: Well, we're still trying to figure out what happened with yourbrother and Liz.Isabel: Hi, dad.Mr. Evans: Hey. This is Jesse Ramirez from my office.Isabel: We met at the company--Jesse: picnic, that's right. Nice to see youagain.Isabel: Nice to see you again.Mr Parker: So what have you found out, Philip?Mr. Evans: A detention hearing has been set up for tomorrow with the judge.Max and liz are first-time offenders, no physical evidence has been produced, so we're hoping they get a slap on the wrist and get sent back home.Mrs. Evans:Well, what about jail?Mr. Evans: They can only go to jail if the case is transferred to the criminal court system and they get tried as adults. But so far that seemsunlikely.Jesse: Ok, they haven't found a gun, and there are no witnesses other than the nutcase behind the counter who claims to have seen an otherworldlyyellow light.Isabel: So as long as there's no evidence, max and Liz will be ok, right?Mr. Evans: Yeah. Yeah, we certainly hope so.Michael: Can we see them?[Dooropens]Isabel: max! You idiot. What are you trying to do to our poor, clueless human parents?Michael: So what's the deal? You running low on cigarettes?Max:There's an underground government storage facility under the convenience store.Michael: Well, that's a surprise.Max: Our ship's there.Michael You mean ourspaceship?Max: It's been reassembled. I saw it with my own eyes.Michael: I can feel biology 101 slipping from my grasp.Isabel: So, reassembled that means itworks?Max: Possibly.Isabel: I thought we made an agreement to let go of the other world and live here.Max: That was before my son tried to contact me.Isabel:Max, a little reality check. This ship you're talking about...Sucks. It's a lemon. It crashed to begin with. That's why we're stuck here. Michael She's got apoint.Max: Look, I need you to find something for me. I had to toss it before we were arrested.Isabel: No. No, we are not helping s absurd plan to find aspaceship, ok? This is ridiculous.Max: This isn't about getting to a spaceship. Liz and I stole it. It's a diamond.Isabel: You stole a diamond?Max: It's not actually adiamond. It's the key to our ship. It's alien, and if we don't find it before the police do, we'll be linked to another crime. We'll never get out of here. Michael Sowhat does it look like?[Scene switches to the past, Max and Liz looking at Tess' things]Liz: Hey, i've been for you.Max: Yeah. Yeah, I was just, uh--Liz: lookingthrough tess' stuff. What's that?Max: It was buried among tess' things. It's a letter Nasedo wrote to her before he died. It says, \"I am your one and only protectoron this planet. \"I'll protect you until the end. \"If I ever die, this is our only way to communicate with our home.\"Liz: And?Max: I have to contact my sonLiz: So iguess this part of your life isn't over after all.[Michael is in a field looking for the diamond- a man with a gun confronts him]Michael Mandatory attendance, Iunderstand. Yeah. An attitude improvement? I'm already on that. And a respect for authority, yeah, absolutely. Mr. Seligman, I gotta call you back.Man: Who wasthat? Michael It's my science teacher. I'm trying to graduate high school.Man: Why don't you just get a G.E.D.? Michael No one hires anyone with a g.E.D.Man: Igot a G.E.D. I'm doing fine. Michael Yeah, you're on a nice career path there.Man: I got a message for your friend max. Stop looking. The person i work for will dowhatever is necessary to stop him. Whatever is necessary. Michael Whatever, dude.[Gunshot]Man: don't be such a smart ass. Maybe that's your problem inschool, too. Don't make me come back to Utah.[Maria arrives in Utah]Maria: Why can't these aliens ever get in trouble somewhere decent? Like Graceland orTahoe or New Orleans. No, Utah. Mormons and mountains.Liz: Oh, my god, Maria. I can't believe you're here.Maria: Who am i, liz? Of course I'm here.Liz: Ok,thanks. Now give me some sugar.Maria: Hi. Mmm. Hi. Ok, first of all, I have some fresh green lime pie from the Crashdown.Liz: Oh, Maria, you-- you are agoddess. You know, if you were a boy, I would--Maria: ok, no, don't go there, girlfriend. All right, now i talked to everyone involved, and I got the totalunadulterated scoop. The judge and D.A. of this town are, like, totally sweating it because they have to go before council next month for reappointment and theyhaven't caught a criminal in, like, a decade, so they're basically out for your scalps. Ok, that's all i have. Now it's your turn. Spill. Last i heard, you and max weretrying to take it slow.Max: What? Mmm. What's going on, liz?Liz: Do you love me?Liz: Yes. How much do youMax: who are you?Liz: Look at this.Max: How'd youfind this?Liz: I spent 16 hours at the main branch of the library in Albuquerque. The diamond's owned by Delores Browning, one of the 10 wealthiest women in"}
+{"doc_id":"doc_112","qid":"","text":"Buffy is napping in Angel's bed. Angel is watching her sleep. He smiles at her as she wakes.Buffy: (smiles) What? Do I have funny bed hair or something?Angel:Or something?Buffy: I guess we got a little carried away with the whole post-slayage nap thing. (feels her hair) Ohhh, not good. (sits up)Angel: Where yougoing?Buffy: To go kill a cat on my head.Angel: No mirrors.Buffy: You know, this place really isn't girl-friendly. No mirrors, no natural light.Angel: I think you lookperfect.Buffy: Oh yeah, I really like... Okay! (lays down) Maybe we should think about getting a few mirrors. And maybe a drawer, you know, for some of mystuff. Because that's what couples do, they have drawers.Angel: Mmmm, that's right.Buffy: You know, I-I figure, that way sometimes I could spend the night.Like, after the prom, it would be nice to be able to just come back here and spend some time together.Angel: The prom?Buffy: End of high school rite of passagethingy. Think cotillion with spiked punch and electric slide.Angel: Right.Buffy: Oh, don't worry, it's at night. And lots of girls have older girlfriends. You'llblend.Angel: I think maybe you should go, hunh?Buffy: Noo.. must be a few more hours before sunrise. Buffy gets up and walks to the window. When she pullsback the blackout curtain, it lets in a blast of sunlight directly onto the bed. With an exclamation, Angel rolls out of bed away from the light, apparentlyunharmed. Buffy pulls the curtains closed suddenly.Buffy: Ooh, sorry. I guess it's later than we thought. Angel has a worried look. Openingcredits.[SCENE_BREAK]Daylight outside Sunnydale High. Xander is walking slowly when Anyanka intercepts him and walks beside him.Anya: Xander!Xander:Well, hey, it's demon Anya, punisher of evil males. Still haven't got your powers back? (serious) You haven't right?Anya: No. I will, though. It's just a matter oftime.Xander: So now, how did that work? Women would wish horrible things upon their ex-boyfriends. You'd show up and make it happen.Anya: That's right. Thepower of the Wish made me a righteous sword to smite the unfaithful.Xander: Well, hey! Good luck with that. Hope it works out for you.Anya: You know, you canlaugh, but I have witnessed a millenium of treachery and oppression from the males of the species and I have nothing but contempt for the whole libidinous lot ofthem.Xander: Then why you talking to me?Anya: (averts her eyes) I don't have a date for the prom.Xander: Well gosh. I wonder why not. It couldn't possiblyhave anything to do with your sales pitch?Anya: Men are evil. Will you go with me?Xander: One of us is very confused, and I honestly don't know which.Anya:You know, this happens to be all your fault.Xander: My fault?Anya: You were unfaithful to Cordelia so I took on the guise of a twelfth-grader to tempt her with theWish. When I lost my powers I got stuck in this persona, and now I have all these feelings. I don't understand it. I don't like it. All I know is I really want to go tothis dance and I want someone to go with me.Xander: Be still my heart. Oh wait, it is. How come I got the short straw?Anya: You're not quite as obnoxious asmost of the alpha males around here. Plus I know you don't have a date. <!-- implying Xander is an alpha male? -->Xander: I haven't settled on anyoneyet.Anya: Fine. Look, I know you find me attractive. I've seen you looking at my breasts.Xander: Nothing personal, but when a guy does that, it just means hiseyes are open.Anya: Whatever. Look, do you wanna go with me or not? Silence.Cut to a picnic table outside the school, still daylight. Oz, Willow, Buffy, andXander.Oz: Anya, huh? Interesting choice.Xander: Choice is kind of a broad term for my situation. See, it's either Anya or the sock puppet of love for this boy.(holds his right hand in puppet shape, speaks in silly voice) I love you, Xander. I'll never leave you.Willow: Well, if Anya tries to get you killed, put me down for abig 'I told you so.'Xander: (puppet) Who's this Anya? Is she prettier than me?Willow: She just better not try to cross me. That's all I'm saying.Buffy: Well, at leastwe all have someone to go with now. Some of us are going with demons, but I think that's a valid lifestyle choice. More importantly, I have the kick dress.Willow:Ooh, the pink one?Buffy: Angel's gonna lose it. But not his soul. He's gonna lose it. His it.[SCENE_BREAK]In Angel's mansion. He picks up one of Buffy'snotebooks and sees a doodle, \"Angel & Buffy 4 Ever!\" There is a knock at the door. He opens it, careful to avoid the sunlight, and lets Joyce inside.Angel: Mrs.Summers.Joyce: I'm sorry to, uh... Well, I would have called, but, you know.Angel: Please, you're always welcome.Joyce: My goodness, your place isamazing.Angel: Yeah, I like a lot of space. I don't get out much during the day.Joyce: No, you wouldn't. (Her gaze pauses on a set of manacles that are fastenedto a wall.)Angel: Can I get you something? I don't have any coffee.Joyce: Oh, no thank you, I, uh... You don't drink? Beverages, I mean?Angel: No, I do. It's justthe caffeine. It makes me jittery.Joyce: Oh. I understand Buffy spent the night.Angel: I'm sorry about that. We came back after patrol.Joyce: I, I'm not interestedin the details. That's not why I'm here.Angel: Okay.Joyce: I'm here because I'm worried about you two. In general.Angel: What happened before, when Ichanged, it won't happen again.Joyce: That's not all I'm concerned about. I don't have to tell you that you and Buffy are from different worlds.Angel: No, youdon't.Joyce: She's had to deal with a lot. Grew up fast. Sometimes even I forget that she's still just a girl.Angel: I'm old enough to be her ancestor.Joyce: She'sjust starting out in life.Angel: I know. I think about it more now that she's staying in Sunnydale.Joyce: Good. Because when it comes to you, Angel, she's just likeany other young woman in love. You're all she can see of tomorrow. But I think we both know that there are some hard choices ahead. If she can't make them,you're gonna have to. I know you care about her. I just hope you care enough.[SCENE_BREAK]In the library. Willow, Oz, Buffy, and Xander.Buffy: So it was blueand sorta short.Willow: Not too shore, medium. And it had this weird, sorta fringey stuff on its arms.Giles: (walking in) What's that, a demon?Buffy: A prom dressthat Will was thinking of getting. Can't you ever get your mind out of the hellmouth?Giles: I'd be delighted to. However, the day of the Mayor's Ascension is fastapproaching and we don't know what to expect.Xander: Well, what about the pages that Will stole from the Mayor's book? Look, she put her life on the line there,pal. Don't tell me they're useless.Giles: On the contrary, no, we, uh, we know the Ascension refers to a human transforming into a demon, the living embodimentof an immortal. And Graduation Day, our Mayor Wilkins is scheduled to do just that. Wesley enters, followed closely by Cordelia.Wesley: (enters) Trouble is, wedon't know which demon he is going to become.Giles: There are thousands of species.Wesley: So, it's safe to say we shouldn't waste any time of such triflingmatters as a school dance.Cordelia: Well, that's too bad, because I bet you would look way 007 in a tux.Wesley: Except, of course, on the actual night, I will beaiding Mr. Giles in his chaperoning duties.Giles: What? Excuse me? Fine, fine, fine.Buffy: (to Willow) We'll get you a dress. You know, we should check AprilFools.Cordelia: Don't go there! I shop there.Xander: I myself am dipping into my road trip fund to procure a shiny new tux, so look for me to dazzle.Giles: And Imyself will be wearing pink taffeta as chenille would not go with my complexion. Can we *please* talk about the Ascension?Buffy: Giles, we get it. Miles to gobefore we sleep. But especially if we're all gonna vaporize or something on Graduation Day, we deserve a little prommy fun. One night of glory, not to much toask.[SCENE_BREAK]Daylight. Exterior shot of a dingy suburban house. Inside. A hand loads a videotape into a VCR. Pan to a snarling creature, roughlyhumanoid, in a wire cage. The creatures struggles are warping the cage sides. One corner has already come loose.[SCENE_BREAK]Daylight. Exterior shot of acathedral. Inside. Angel and Buffy in wedding clothes stand at an altar before a priest.Priest: Into this holy estate, these two persons present now come to bejoined. If any man can show just cause why they should not be lawfully joined together, let him speak now, or else, hereinafter, hold his peace. The priest's voicefades under the swelling music. The camera pans around the couple until it looks from the priest's viewpoint. Behind them, the chapel is empty. The doors at theback are open, and the sunlight is bright against the interior darkness. They exchange rings. They kiss. They walk to the exterior doors, hand in hand. The musicturns darker. Buffy looks very happy, but Angel looks apprehensive. As they leave the church, they separate and stand a few feet apart at the top of the steps.Angel squints up at the sky, but does not burst into flame.Buffy: Angel? A flame appears on Buffy's exposed skin and rapidly engulfs her. Angel looks on in shock.Buffy burning body crumbles to ashes. Angel wakes up from the nightmare.Fade to commercial.[SCENE_BREAK]In a sewer tunnel. Buffy and Angel enter througha manhole in the roof of the tunnel and start walking.Buffy: I always say patrol's not complete without a trip to the stinky sewers.Angel: I'm sure I saw him comedown here.Buffy: Couldn't we just let this be the vamp that got away? We could say he was this big. (Holds hands apart, like a fish story.)Angel: What can I say?I need closure.Buffy: You need clothes. You don't have a tux, do you?Angel: Since when did patrolling go black tie?Buffy: For the prom, silly.Angel: We havemore important things to think about right now than a dance, Buffy.Buffy: Sorry, Giles. I'll just be quiet.Angel: Come on, don't be that way. A vampire drops fromthe roof, growling.Buffy: Not now. Buffy casually stakes the vampire and turns to Angel.Buffy: I'm not being that way. Every time I say the word 'prom', you getgrouchy.Angel: I'm sorry. I'm just worried that you're getting too...invested in this whole thing.Buffy: What whole thing? Isn't this the stuff that I'm supposed toget invested in? Going to a formal, graduating, growing up.Angel: I know.Buffy: Then what? What's with the dire?Angel: It's uh, it's nothing.Buffy: No, you have'something' face.Angel: I think we need to talk, but not now and not here.Buffy: No. No, if you have something to say, then say it. (silence) Angel, drop thecryptic. You're scaring me.Angel: I've been thinking... about our future. And the more I do, the more I feel like us, you and me being together, is unfair toyou.Buffy: Is this about what the Mayor said? Because he was just trying to shake us up.Angel: He was right.Buffy: No. No, he wasn't. He's the bad guy.Angel:You deserve more. You deserve something outside of demons and darkness. You should be with someone who can take you into the light. Someone who canmake love to you.Buffy: I don't care about that.Angel: You will. And children.Buffy: Children? Can you say jumping the gun? I kill my goldfish.Angel: Today. Butyou have no idea how fast it goes, Buffy. Before you know it, you'll want it all, a normal life.Buffy: I'll never have a normal life.Angel: Right, you'll always be aSlayer. But that's all the more reason why you should have a real relationship instead of this, this freak show. (Buffy is stunned.) I didn't mean that.Buffy: I'm"}
+{"doc_id":"doc_113","qid":"","text":"THE SUN MAKERSBY: ROBERT HOLMESPart FourRunning time: 24:57[SCENE_BREAK]COLLECTOR: That noise, Hade. Can't something be done about it? Weshan't hear her.HADE: It's vibration in the exchanger, your Magnificence.COLLECTOR: I know what it is. I don't want my pleasure ruined by it.MARN: Her crieswill be clearly audible, your Honour.COLLECTOR: What's that? The subtleties will be lost. The deeper notes of despair, the final dying cadences. The whole point ofa good steaming is the range it affords.HADE: Marn. Er, no. I'll see if the discriminator can be adjusted, your Immensity.[SCENE_BREAK]MANDRELL: Doctor, canyou hear me?[SCENE_BREAK]MANDRELL (OOV.): I can't give you any longer.[SCENE_BREAK]MANDRELL: The exchanger's going to blow anysecond.[SCENE_BREAK]MANDRELL (OOV.): Get out, Doctor. Get out of there!COLLECTOR: What was it?HADE: I thought I heard someone say Doc-Tor, yourSagacity. It wasn't the girl. There hasn't been a peep out of her.COLLECTOR: Precisely, Hade. Something has gone wrong. Order the guards to investigate.HADE:Immediately, your Omniscience. Come along, Marn![SCENE_BREAK]SYNGE: Flow valves open.MANDRELL: Main pumps in.SYNGE: Sixty atmospheres, stillrising.MANDRELL: Plug auxiliaries in. Quick!SYNGE: Auxiliaries in. She's cooling, look.MANDRELL: We've made it. Unless the air plates have buckled,Synge.SYNGE: Let's hope they haven't.CORDO: Do you think the Doctor got out in time?BISHAM: If he didn't, he wouldn't have known much about it.MANDRELL:We gave him his two minutes. More than his two minutes.CORDO: Listen. In the vent! He's made it!CORDO: Leela!DOCTOR: Who was making all thatnoise?MANDRELL: I was, Doctor.DOCTOR: I told you not to use that radio link.BISHAM: We had to tell you that your time was up, Doctor.DOCTOR: You told theCollector, too! That fish-blooded sadist had Leela's casket wired for sound.LEELA: What's happening? What's he doing here?CORDO: We've sired a revolution,Leela. Down with the Company, eh, fellas!DOCTOR: Ah, ah, Cordo. We've got a great deal to do yet.BISHAM: It's going well, though, Doctor.DOCTOR: Isit?BISHAM: The PCM is clearing from the air faster than I expected. It's down ten points already.MANDRELL: All my men are out putting some fight into the workunits. If just one District joins the resistance the word'll spread through the whole City.DOCTOR: Shush. Where's the public video system controlledfrom?MANDRELL: The Collector's Palace.BISHAM: Yes, he runs everything from the Computer room. Why, Doctor?DOCTOR: If the public video system announcedthere'd been a successful rebellion, think of the effect.LEELA: Everyone would believe it.DOCTOR: Right.BISHAM: Yes, but the Palace is guarded by his InnerRetinue.DOCTOR: He's guarded by his Inner Retinue, and most of them are down there with him. Come on, Leela, let's go.LEELA: MegroGuards! MegroGuardscoming this way!DOCTOR: Everybody keep calm, keep calm. Keep quiet. You two back there. You three over there. Leela, behind the door.SYNGE: What do youwant here?CORDO: All right, drop your guns.DOCTOR: All right, tie them up.DOCTOR: Pretty soon the whole place will be under siege here. K9? (to Bisham) Iwant you to hold out as long as possible.BISHAM: Yes, Doctor.CORDO: We'll do it, Doctor.DOCTOR: Of course you will.CORDO: Now we have more weapons, wecan hold the corridor.DOCTOR: Good man. K9?LEELA: K9?DOCTOR: K9?ALL: K9?DOCTOR: K9, where are you?K9: Master.DOCTOR: Ah, there you are. Now,listen. I want you to give my friends all the help they need. You understand?K9: I am at full offensive capability, master.DOCTOR: You're a good dog. Come on,Leela. Gentlemen, good luck.BISHAM: Thank you, Doctor.MANDRELL: Right, Doctor.[SCENE_BREAK]COLLECTOR: An unprofitable operation, Hade.HADE: YourSupernal Eminence, I simply can't understand it. No one has ever endured a steaming without vocalising in the most gratifying fashion.COLLECTOR: A completewaste of time. And we've lost point oh four seven percent in production. Unpaid overtime to be introduced immediately for all work grades. See to it!HADE:Without fail, Monstrosity, without fail.COLLECTOR: What is it?COMMANDER: Your Excellence, sir. Some minor disturbances. It may not be wise to travel in thesubways until the trouble has been suppressed.COLLECTOR: What trouble?COMMANDER: It appears that some of the work units are refusing to leave theirdormers, Excellency.HADE: Refusing to leave? I've never heard of such a thing.COLLECTOR: This situation must be normalised. Any sustained unrest among theworkforce will adversely affect Company profitability.HADE: Sing adoration to our Company!COMMANDER: I have dispatched a division of the retinue, Excellency.The account will be swiftly settled.COLLECTOR: With interest, Commander. They must be made to pay.HADE: I will introduce a swingeing output linked penaltytax in my next monthly budget, your Corpulence.COLLECTOR: The Doctor must be behind it. I sense the vicious doctrine of egalitarianism, Hade.HADE: Everyoneknows your senses are infallible, your Promontory.COLLECTOR: Have the guards reported from Main Control yet?HADE: No, your Omnipresence. My underlingMarn is investigating.COLLECTOR: Not good enough, Hade. Not good enough. I am noting your work rate.HADE: I will instigate action myself, yourAggrandizement. Instantly. Immediately.[SCENE_BREAK]CORDO: You'll never believe this, Bisham, but I'm really beginning to enjoy myself.BISHAM: The air'sbetter without PCM, isn't it.SYNGE: Yes, we'll never pay breathing tax to the Company again.MANDRELL: Oh, we'll pay no more taxes, brother. The Gatherer's gothis last talmar off of us.CORDO: I feel so good, like a new man!MANDRELL: Keep an eye on the corridor, Cordo, or you'll be a dead new man.CORDO: All right,Mandrell. I know. K9's got it covered.SYNGE: I wonder what's happening in the subways and dormers?BISHAM: Theoretically, the dispersion rate of the PCMshould be slower down there, but there should be something happening by now.MANDRELL: If the work units turn, the guard'll really have their handsfull.[SCENE_BREAK]GUARD: Come on, move yourselves. Report for work at once. Work! Work!GUARD: Collector's orders.GOUDRY (OOV.): Strike, brother. Joinus, or get out.GUARD: Who said that? Who was it?GOUDRY: Me. Nobody works today.VEET: Nobody works today.GUARD: That's mutiny against the Company.You've just earned yourself an early death day, Citizen.[SCENE_BREAK]DOCTOR: No, no, no.LEELA: Why not?DOCTOR: No, don't kill him. He hasn't done you anyharm.LEELA: Then I shall kill him before he does.DOCTOR: No. Get up. Come on, get up.LEELA: Doctor, the last one I spared got away and warned his comrades.That is why I was captured.DOCTOR: Then we'll make sure this one doesn't get away. Here, look at me. Look at me! Now listen. It's your sleep time. Sleep time.You're feeling very sleepy. Very sleepy. It's your sleep time. You will go to sleep and stay asleep until I tell you to wake up. Until I tell you to wake up.DOCTOR:Come on. Come on.DOCTOR: Wake up.LEELA: How did you do that?DOCTOR: What, that? Poof, it's just a knack. You've either got it or you haven't.LEELA:Doctor!DOCTOR: What is it?LEELA: This is where the grey one, the Collector, sat.DOCTOR: What, like a spider in the middle of a web?LEELA: Yes, yes.DOCTOR: Iunderstand all this. He has a computer feeding and analysing the daily returns from each Megropolis. Suppose. Suppose he wants to broadcast some pleasing bitof news, hmm? Like the imposition of a double vision tax on people with more than one eye. Well, then, he feeds it into there.LEELA: He fed it into here.DOCTOR:He did?[SCENE_BREAK]HADE: I fear the situation is worsening, your Grossness.COLLECTOR: Laxity, Hade, laxity and weakness. You have shown them too muchkindness. A grave error of judgment. Grinding oppression of the masses is the only policy that pays dividends.HADE: Your Oratundity, my MegroGuards areoutnumbered by the rabble. If I could have two divisions of the Inner Retinue?COLLECTOR: The sole task of the Inner Retinue is to protect my person. You'vemishandled the situation, Hade. As for your ambition to become Tax Master General. After this, forget it!MARN: Your Honour.HADE: What is it, Marn?MARN: I'vejust heard that some of the work units have gone to the roof of Block Forty to look at our sun.HADE: Outrageous! Sacrilege! The work units are absolutelyforbidden to see the light of the sun. It's far too good for them. I'll soon deal with this.COLLECTOR: A combat situation is escalating. Those idiots have let it getout of hand. It is imperative that I return to the Palace to implement my contingency plans.COMMANDER: But Excellency, there's fighting in theCOLLECTOR:Quiet! The Inner Retinue will march around me in close order. Their bodies will shield me. Now hurry.[SCENE_BREAK]LEELA: Doctor, come here.DOCTOR: Thatshould do it.LEELA: Doctor! What is this?DOCTOR: What, that? It's a safe. Company vault.LEELA: Doctor, is thereDOCTOR: Shush.LEELA: Is there somethingbehind the door?DOCTOR: What was that?LEELA: I heard nothing.DOCTOR: Neither did I.LEELA: Then why are we whispering?DOCTOR: I always whisper whenI'm opening safes. What is it?LEELA: What are you doing?DOCTOR: I don't know. It always looks so easy.LEELA: Why was it locked?DOCTOR: I don'tknow.[SCENE_BREAK]DOCTOR: Why won't you listen to me? Why don't you girls listen to me?[SCENE_BREAK]BISHAM: The PCM in the atmosphere has fallen tothree parts in a thousand.COMPUTER: Attention all Citizens. Attention all Citizens. Stand by for an important public bulletin. Megropolis One is now under themanagement of the Citizen's Revolution. The Director, the Tax Gatherer and all other Company officials are to be arrested on sight.MANDRELL: It'shappened.[SCENE_BREAK]COMPUTER: All guards are ordered to lay down their arms and join their fellow Citizens in peaceful cooperation.CORDO: There! Stop orwe fire. Get her!MARN: Citizens, I'd like to join the Revolution.[SCENE_BREAK]COMPUTER: The rule of the Company is ended. All work places will remain closeduntil further notice. Long live the Revolution.CORDO: Whee!CORDO: It's over!BISHAM: Cordo!CORDO: We've won!BISHAM: We haven't.CORDO: What?BISHAM:That bulletin was fixed. It was the Doctor trying to push things on a bit.MANDRELL: That'll bring the whole city onto our side. I don't know why you'rehesitating.CORDO: Yes! We've got the guns, we should get out and help them.MANDRELL: What do you think, Bisham?BISHAM: Cordo's right. The fight hasmoved on from here.MANDRELL: Synge. You can run things down here.SYNGE: I suppose so, but leave K9 guarding the corridor, just in case, eh?BISHAM: Yes, ofcourse.[SCENE_BREAK]HADE: You there! What are you scum doing up here? This is an abominable crime. An outrage! Leave at once, do you hear me?VEET: It'sthe Gatherer. It's the Gatherer!HADE: I order you to leave. You'll pay dearly. Keep back! Don't you dare! I'm an official of the Company!VEET: And we'll do thesame for the Collector when we find him, won't we, Citizens.ALL: Yes![SCENE_BREAK]COLLECTOR: Kindly make less noise.DOCTOR: Oh, I was just checking the"}
+{"doc_id":"doc_114","qid":"","text":"(Flashback: Sydney sits on a stool, tears in her eyes, staring numbly at nothing while a trainer wraps her hands with gauze. He slaps at her hands to feel ifthey're wrapped.)TRAINER: Good.(SD-6. Sydney sits at her desk. Jack approaches.)JACK: I heard about Noah... I'm sorry.(She just sits there, staring atnothing.)(In the weight room, Sydney hits the punching bag.)TRAINER: Come on, come on. Hit the bag!(In the blood donor van parked on campus, Sydney andVaughn chit chat.)SYDNEY: I killed a man... someone I cared about.VAUGHN: Noah Hicks was an assassin. If you hadn't killed him, he would have killedyou.SYDNEY: Maybe. But I was the one who forced the fight.VAUGHN: Hicks was a bad guy.(Sydney works out, hitting the bag even harder.)TRAINER: Work thatjab! Work it! That's it, work that thing! That's it! Nice combination! Work that jab!(Sydney kicks the bag and the trainer stumbles back from the force.)(Blooddonor van.)SYDNEY: But the truth is, it affects me. Never knowing who to trust, learning to expect betrayal, plotting in secrecy and hatred andanger.(Punching.)TRAINER: That's it!SYDNEY: (voice over) It's becoming a part of me. I am becoming what I despise.(Blood donor van.)SYDNEY: I tell myself Igot into this to bring Danny's killers to justice. The truth is, I'm more interested in revenge.(Sydney is starting to lose it; punching the bag without muchcontrol.)SYDNEY: (voice over) I thought I could stay in control. It's just gotten so twisted.(Blood donor.)SYDNEY: Like with Khasinau. The one tangible goal is tofind him so that I can find my mother. But if I do that, if I can find his trail and track him down, it'll strengthen SD-6.(In the training room, Sydney is nowbreathing hard and sweaty. Hair is stuck to her face with sweat. She takes off her glove to see that blood has seeped through the bandage. Bright red blood soaksthrough the white bandage.)SYDNEY: (voice over) I got into this to bring them down and now I feel like I'm on their side.(In the blood donor van, Vaughn looksat Sydney for a moment, not knowing how to explain. He suddenly gets up and moves to the counter. He gets out the map he revealed to her in episode two andspreads it out in front of her once again.)VAUGHN: This is the world of SD-6 when we started. Remember?(Sydney can only nod with tears in her eyes. Vaughnflips over a transparent cover that reveals who's been taken out since he first showed it to her. Little red circles with a slice through it are over themap.)VAUGHN: And here is what it looks like today. And this doesn't even take into account things like Badenweiler or stealing page forty-seven from Sloane'svault. Or the way you kept Khasinau from getting his hands on that ampule. Sydney, these are incredible accomplishments.SYDNEY: Khasinau is out theresomewhere.VAUGHN: Yes.SYDNEY: My mom is out there.VAUGHN: (sighs) We will find them.SYDNEY: I have to go to class.(She smiles helplessly and gets up toleave. When she walks by him, he stops her by taking her hand.)VAUGHN: Wait.(He gets up and takes out a first aid kit from one of the cupboards. He takes outan ice pack, breaks it up to react it, and places it on her bruised and bloody knuckles.)VAUGHN: Take care of yourself.SYDNEY: Thanks...(Francie and Sydney'shouse. Will is on his hands and knees in the kitchen while Francie stands back at the counter.)WILL: Where was it?FRANCIE: Behind the fridge.WILL: You say yousaw it?FRANCIE: No, I didn't see it. I heard it. Scratching.WILL: Okay, I'm going to go to the hardware store. I'll go get some traps.FRANCIE: No, no, no. Weneed a professional. We need a hit man. If there's one, there are a thousand. Rats breed hourly.(Will's cell rings.)WILL: Hello?DEEP THROAT: You disappoint me,Mr. Tippin.WILL: (to Francie) It's Litvack. Uhh...(He walks outside through the patio doors for some privacy.)DEEP THROAT: You have enough to publish. Youhave nothing to fear.WILL: I was kidnapped! The lives of the people I care about were threatened!DEEP THROAT: It's a bluff to scare you off the story.WILL: Well,you know what? It worked. I'm off it.(Will hangs up and looks in at Francie, who is flipping through a phone book innocently. The cell rings again.)WILL: Just goaway! Don't call me again!DEEP THROAT: Mr. Tippin--WILL: Don't call anyone else again unless you want more people to die!DEEP THROAT: It was JackBristow.WILL: What? What? Wait, what's Jack Bristow? Hello? Hello?(Sydney comes home after her classes.)FRANCIE: We have rats.SYDNEY: What?WILL:Hi.(Tape screwed up.)SYDNEY: Hi. Mice are better than rats.FRANCIE: There's no way that they're mice. They're rats, and they're huge. The exterminator iscoming between noon and three. Think you can be here?SYDNEY: No, I've got work.FRANCIE: Well, I have to cater a lunch for thirty.(They both look atWill.)WILL: I don't live here.SYDNEY: Then why are you always here?FRANCIE: Yeah, I mean, it's not like you pay any rent.WILL: What is this, attack on Will? MyGod.SYDNEY: Please, just do this for us.(She smiles at him.)WILL: Okay, fine, I'll do it.FRANCIE: See, the thing about rats is they're clever. You have to out thinkthem. You can't really just leave out cheese. You have to leave the good stuff. The heavy-duty stuff. The stuff that they want. It's the only way they're going tocome out. Otherwise, you're just wasting your time.(Self-storage. Sydney and Vaughn have a pow-wow.)SYDNEY: I can't believe I didn't think of this before. Wecan make Khasinau come to us.VAUGHN: What are you thinking?SYDNEY: The vial of liquid. The Rambaldi solution.VAUGHN: The one the CIA now has?SYDNEY:That's why Khasinau had a team to break into SD-6. He wants that solution.(Director Devlin's office at the CIA. Vaughn enters.)VAUGHN: Sir, with respect toAlexander Khasinau, I'd like to suggest a course of action.DEVLIN: Quickly. I've got a meeting with the senior review team from NIC.VAUGHN: Remember theampule? The vial of liquid we got from SD-6 that allowed us to read page forty-seven of the Rambaldi manuscript?DEVLIN: Uh-huh.(Back toself-storage.)SYDNEY: What I'm suggesting is a black market sale. Third party.VAUGHN: Hold on. Khasinau still thinks that vial is in the SD-6 vault.SYDNEY: Yes.So we say there's another one.VAUGHN: What? You think we can make Khasinau believe that?SYDNEY: Yes.VAUGHN: You're going to have to make it soundpretty legit.SYDNEY: I think I know how to do that.(Flashback: Sydney, Dixon, Sloane, and two unidentified agents sit in the conference room. Sloane gives thetwo unknown agents folders for a mission.)SYDNEY: (voice over) Last year, Sloane sent a team of agents into the Carafu Art Museum in Algiers after an Opecminister donated a collection that Sloane believed might contain Rambaldi artifacts.(Self storage.)VAUGHN: Wait. Why don't I know about this?SYDNEY: Becausethe mission failed. The agents were caught.(Flashback: The two agents are being dragged, handcuffed, to another van for transport. A car drives by and amasked man -- who, IMO looks kind of like Jack -- leans out the passenger side with a machine gun and blasts away.)SYDNEY: (voice over) Before they couldeven be questioned, SD-6 had them killed.(Self-storage.)SYDNEY: Say there was a break-in at that museum this week. It would be widely publicized. Khasinauwould start to hear rumors of what was taken.VAUGHN: Including rumors of an existing second ampule.(Devlin's office.)DEVLIN: Are you suggesting that Iapprove the theft of priceless works of art?VAUGHN: You see, sir, we would just be borrowing them.(Self-storage, continuing.)SYDNEY: We'd return everythingwe steal through back channels, but not until after we've made contact with Khasinau. The whole point is to get noticed.(Devlin's office.)DEVLIN: \"We\"? You'reproposing to go with her?VAUGHN: I-I know I'm not a field agent, but SD-6 isn't in on this and Agent Bristow will need backup. She trusts me. Now, the plan is togo in as insurance agents offering to lower their premium. Naturally, we would have to inspect their security system thoroughly before we commit anycoverage.(SD-6 archives. Sydney sits a laptop, typing.)SYDNEY: (voice over) I downloaded the mission specs from the SD-6 archives. Alarm types at themuseum, action point, blueprints...(Self-storage.)SYDNEY: ...Everything.(Devlin's office.)VAUGHN: Sir, this is our best shot at Khasinau.DEVLIN: Doit.(Self-storage.)SYDNEY: You'll deal with the op tech.VAUGHN: I'll take care of it.SYDNEY: I have to stop by the hospital. Emily. She's not doing well.VAUGHN:Yeah, she's sick from the chemo.(Sydney looks at him.)VAUGHN: We heard that from the bug in Sloane's study. I'm sorry.SYDNEY: Yeah. Thanks.(Francie andSydney's. Will's alone and on the phone.)WILL: Can I get the number for Druzinsky's Pest Control? Sure, yeah. D-R-U--Yeah. Hold--let me just get a pen.(Heopens a drawer, looking for a pen.)WILL: Hold on. Yeah, hold on just a sec.(He pulls out a black marker.)WILL: Okay, got it. Yeah. 323--(Knock.)WILL: Naturallythe guy shows up. Right, sorry.(He hangs up and answers the door.)WILL: Hi.PEST CONTROL: How you doing?WILL: Good. Good.PEST CONTROL: Where's theproblem?WILL: Uh, well, we got rats over here. Behind the refrigerator.PEST CONTROL: Let me see your rats.(In the kitchen, he bends down and takes out aflashlight.)PEST CONTROL: Not wood... droppings...(Will looks at the open drawer and sees a picture of Jack in there. It's an old picture.)PEST CONTROL: Yeah,these are rat droppings.WILL: Well, uh, kill 'em. Please.PEST CONTROL: You got kids?(Will opens another drawer to find the aluminum foil and plastic wrap. Heopens the wrap and rips off a sheet.)WILL: No...PEST CONTROL: Household pets? Dogs, cats? Hello?(Will's busy. He puts the sheet of plastic wrap over Jack'spicture and then takes the black marker he had. He draws a mask with the marker over Jack's face.)WILL: What? No. I don't have any pets.PEST CONTROL: ThenI'd skip traps and go right to bait.(Will stares at the finished product -- and has a flashback of his kidnapper.)MAN: This will be your only warning.(Will looks atJack's covered face, and the eyes. They're the same as his kidnapper.)WILL: Holy...(Emily's hospital room.)EMILY: Sydney...SYDNEY: I don't know if you feel wellenough to eat these but... total contraband.(She shows a box of chocolates and sits down.)EMILY: Thank you.SYDNEY: I'm so sorry you have to go throughthis.EMILY: Oh, Sydney, tell me something happy.SYDNEY: Happy.EMILY: Yeah.SYDNEY: Well... I've got the week off from work. Which is nothing, consideringyour husband owes me, like fifty comp days. But I've been working really hard lately, so...(Emily covers Sydney's hands with her own.)EMILY: Can I give yousome advice?SYDNEY: Please.EMILY: When you look back... family, your friends... that's what matters. Work, your job. It wouldn't seem that important.(Sydneynods a little, curious.)EMILY: Even your job... even working for SD-6.(Sydney's shocked.)(In a control room at the hospital -- clearly this is the SD-6 hospitalDixon was admitted to -- an agent sits behind a counter with monitors everywhere. He watches the monitor on Emily's room.)EMILY: Sydney, I know you can'ttalk about it and I wouldn't have mentioned it except I know how easy it is to lose perspective on things...(Back in the hospital room.)EMILY: And I don't want to"}
+{"doc_id":"doc_115","qid":"","text":"Renaissance(2x08 : Carrier)Written by CRAIG SWEENEY Directed by NICK GOMEZ**Previously on the 4400** Diana reads Maia's journal and reports toNTAC.Nina: As far as this department knew, Maia wasn't having visions anymore.Diana: She was keeping them secret from me. Writing everything down in adiary. Diana receives some mail.Diana: It's a subpoeanaMaia: What do they want?Diana: Your diary Collier warns Shawn away from liv.Collier: Don't reveal yourhealing ability, because if you heal one of them, you'll have to heal them all. Shawn heals Livs boyfriend.Collier: One day, all of this will be yours. The paperwork'sbeen drawn up. The lawyers know what to do. The sniper prepares to shoot Collier.Collier: Everything's in place. Collier is shot.Shawn: He had a vision to save thefuture and now he won't be here to see us achieve it. But we will achieve it. Shawn stands by Collier's casket. Tom enters the room at the museum.Alana: Noneof this is real to me either. This is where they altered us. Gave me the ability to create the world we've been living in. Alana and Tom renew their marriagevows.Alana: Thomas **Present Time** Tom and Alana return home and speak with Kyle as they eat dinner.Kyle: So let me see if I've got this straight. You twomet, fell in love and spent eight years together in some kind of alternate reality. And now you're here with eight years of love and marriage under your belts inwhat to us was no time at all.Tom: Yeah, that, that, that about sums it up, yeah. Kyle laughs.Kyle: I'll play along. If you two start calling each other honey bunny,I'm SO outta here.Alana: I told you he'd try, Thomas.Kyle: How'd you know that?Alana: Well you might be meeting me for the first time, but I know all aboutyou. Your smart, your favourite writer is Alan Moore and your favourite meal is meatloaf.Kyle: Well I can't be exactly the same. You said there was no 4400, sothat means no coma. No time lost.Tom: No major problems, that's right. You were happy. Successful.Kyle: Meaning what?Tom: Nothing. We used to talk aboutmedical school, remember? Over there, you went to Stanford.Kyle: How'd I do?Tom: You graduated with honours. You became a neurologist.Kyle: Must havemade you proud.Tom: I'm always proud of you.Kyle: Right. But Doctor Kyle Baldwin in that world you were vacationing in, came from your mind, right?Alana: Uh,actually it was my mind.Kyle: Right, but you created it using his memories.Tom: Kyle! I'm just as proud of what you've accomplished here! Prouder. Diana is inthe office when Marco enters.Marco: Hey.Diana: You wanna know why all lawyers are jerks? Cos they spend a lifetime reading this crap. He sits on herdesk.Marco: What kind of crap specifically? I'm a pretty good interpreter.Diana: I have 24 hours to turn Maia's diary over to NTAC and not one legal option to getout of it.Marco: What are you going to do?Diana: Well, what NTAC wants, NTAC gets. But I have a nine year old daughter at home who's counting on me toprotect her.Marco: Is there any way I can help?Diana: Yeah, you can slap me upside the head for mentioning the diary in the first place. It didn't save Collier's lifeand now it's making mine hell.Marco: How about I just make some fresh coffee instead.Diana: Thanks.Marco: Yeah. He leaves the office. Back at the Baldwinhouse and Kyle is sat on the sofa reading the newspaper which has a story on Collier's murder. Alana enters the room.Alana: Do you think they'll find the manwho did it?Kyle: By they, you mean, Thomas? Yeah, probably. Dad always gets his man. You heading out?Alana: Yes, I have to keep reminding myself I don't livehere anymore. Kyle looks at her and then turns his head away.Alana: Look Kyle. Your father and I love each other.Kyle: That's great. There's not enough love inthe world. But I just met you. Give me a few day's before I start calling you Mom, ok?Alana: Uh, you've got one of those already. I'd settle for being a goodfriend. And I'll keep bribing you with meatloaf until you give in. She leaves the room. The scene shifts to a diner. All the customers and staff lie dead. Outside,people lie on the pavement and in cars. A woman, Jean Delynn Baker, an abductee who disappeared on Oct 27th 1999, stands among the dead and is visiblyupset. She walks through the many bodies littering the street. A limo arrives at the 4400 centre. A few men rush to greet the man who steps out of the car.Man:Hello Mr Ross. Did you have a good flight?Matthew: Yeah, thanks.Man: Now would you like me to show you around, or do you wanna get some rest.Matthew:Neither. Take me to Mr Farrell.Man: Yes sir. Right this way. Shawn and Lucy are in his office.Lucy: They've been waiting three day's.Shawn: Tell publicity I'm notsure yet.Lucy: They're saying we're past our deadline. We have to release this press statement. He reads the statement.Shawn: This is supposed to be comingfrom me? I don't even understand half of what it say's. It doesn't sound like me, Lucy.Lucy: So change it. You're the boss. Oh, and legal needs signatures now orno-one get's paid. Including legal.Shawn: I can only do one thing at a time.Lucy: So let's start with the statement. Matthew enters the office.Lucy: Why don't youdictate something to me?Matthew: No press statement! If the press wants to know what Mr Farrell is thinking, they can watch 60 minutes along with the rest ofAmerica. I've already booked an exclusive interview with our new face at the 4400. That's all for now. He hands Lucy back the file.Matthew: Thanks. Lucy looks atShawn and leaves.Matthew: I'm sorry to just jump in like that. I thought you could use a hand. Matthew Ross.Shawn: Yes. Yeah. What are you doing inSeattle?Matthew: I go where I'm needed.Shawn: You've come to the right place.Matthew: It's no coincidence, Shawn. Jordan made it clear that in the event ofhis death, I was to step up front and center to help you out.Shawn: Well, another in a long line of plans that Jordan neglected to share with me. But I'm gladyou're here. Jordan talked about you a lot.Matthew: You're gonna have to hire yourself a new lobbyist. I'm moving to the home office for the time being.Shawn:Pick any office you want. You start right away. Uh, these letters. Everyone knows I can heal, now.Matthew: Jordan had every intention of revealing your healingability to the public, but he was planning on doing it in stages. We don't have that luxury anymore. We'll deal with it.Shawn: I can't go outside anymore. There'ssick people, press, they follow me everywhere!Matthew: And they will for the rest of your life. The ground just shifted under your feet. You either find yourbalance or you fall on your ass. This center's the new Lourdes. Nobody's gonna be calling us a cult, anymore. We're turning away people faster than we can signthem up. In ten years, this movements gonna be one of the most dominant faiths on the planetShawn: Stop. I'm glad things are going so well, I am, but a weekago I was just some guy trying to beat the last level of Doom. I wasn't the Pope then and I'm not the Pope now.Matthew: Yes you are and you need to startgetting used to it. Back at NTAC.Nina: The FBI is spearheading the hunt for the man who killed Jordan Collier. Oh, but we are still in the game and NTAC ismaking this collar. I'm not having someone else clear up are mess for us.Agent: Then we'd better get moving. We all know there's an expiration day on thesemanhunts. Trail starts getting cold after 48 hours.Tom: I wanna have a look at employee sign in sheets for every office building and parking garage within a tenblock radius of the center.Agent: We've already cross examined everyone on those books.Diana: Well then we have to look OFF the books. This guy shot a publicfigure in broad daylight. There has to be an eyewitness.Nina: And so far Tom, the only one who has seen this killer, is you. April and Maia are at a newstand. Aprilis scratching lottery cards.April: Loser. Pathetic loser! Sweetie, whatever you do, never, ever gamble. It's wrong and it's stupid.Maia: Then why do you doit?April: Because unlike your Mommy, your Aunt April doesn't have a steady income. She's an artist and artists always need cash. Which is where the stupid partcomes in, because I always lose. So, this whole see the future thing? It doesn't just apply to Earth shattering events, huh?Maia: Not always.April: So, if I were toask you which card I....Maia: That one! Maia points to a card.April: I'll take this one right here. Thanks. She scratches the card and is a winner.April: Baby girl.You are my new lucky charm. Tom and Diana go into Nina's office.Nina: I'm pulling you off the Collier case.Tom: What are you talking about? We still have halfthat neighbourhood to canvas.Nina: Well, it's gonna have to wait. She runs a tape.Nina: 10.37am Pacific Standard. The Federal Emergency Management Agencysent in a task force to the town of Granite Pass Oregon, population 273, where there's been an outbreak of a lethal, highly contagious and as yet unidentifiedvirus.Diana: Airborne?Nina: Yeah, likely.Tom: Man made?Nina: Unknown. All we do know is, if you went to sleep in Granite Pass last night, chances are, you'refilling out a body bag this morning. There's only one resident that FEMA hasn't accounted for yet. Jean Delynn Baker, aged 30. Returnee 0188. Disappeared in'99.Tom: Divorced, no kids. Psych profile say's she's a loner.Diana: Looks like things have been pretty grim for her since she got back. Hasn't been able to holddown a job. Unemployed four times in the last year.Nina: And now she's the only resident of Granite Pass Oregon, who can't be accounted for. So we've got twopossibilities.Diana: Either she's immune to this virus, in which case we could study her. Look for a cure.Tom: Or else, she's the carrier.Nina: Either way, your jobis the same. Use whatever resources you need and find her. Jean get's a lift in a truck.Truck Driver: So, you gonna tell me where you're headed? Jean is cryingand doesn't answer.Truck Driver: I never could stand the sight of a woman in tears. I guess that's why I never got married. You in some kind of trouble? Run offfrom your family? Law on your tail?Jean: Seattle. I'm going to Seattle.Truck Driver: It's a big city. You want me to just drop you on the edge of town?Jean: I'mgoing to the 4400 center. I gotta get there. Jean's hands are covered in blisters.Truck Driver: What the hell for? You joining up?Jean: Just get me as close as youcan, please!Truck Driver: If you're looking for salvation, you're not gonna find it there. What you wanna do is give yourself over to your true Lord and saviour.Purification day is coming. The signs are everywhere. Pestilence, plague's.Jean: Tell me about it. I woke up in a town full of dead people this morning. My mother,my father, everyone.Truck Driver: Yeah? How come you survived?Jean: I think maybe I caused it.Truck Driver: You? Now I know you're messing with me. Ok, goahead. Laugh at the Jesus freak! But I'm telling you. The whole world will be wiped clean soon enough.Jean: Look, I don't think you're a freak at all, Mr. Matter offact, I believe everything you're saying. Diana and Tom arrive in Granite Pass. They both are wearing hazmat suits. Diana takes a look at one of the bodies lyingin the street.Diana: The eyes and fingernails show only slight discolouration.Rigormortis has barely set in. What do the autopsy's show?Agent: Nothing we have aname for. Their internal organs are pretty much liquified. This thing works fast.Diana: So you just took your helmet off. You got a death wish?Agent: This virus"}
+{"doc_id":"doc_116","qid":"","text":"Teleplay by: Peter TibbalsStory by: Judd Rubin[SCENE_BREAK][Scene: Chandler and Monica's]Chandler: Hey!Monica: Good morning, Tiger! I'm making you anice big breakfast so you can keep up your strength for tonight. You're gonna get me good and pregnant.Chandler: I've got nowhere to go this morning. I'munemployed! I don't know what I'm gonna do with my life.Monica: Well, I just lost my erection.Chandler: I mean, what am I supposed to do with myself?Monica:You're supposed to find your passion in life. You can be whatever you wanna be now. It's exciting.Chandler: But it's all so overwhelming. I don't know where tostart.Monica: Hey, wait a second. I can help you with this. You just need to be organized. We can make a list of your qualifications, and categorize jobs byindustry. There could be folders and files!Chandler: Hey! This is where your hyper-organized-pain-in-the-ass stuff pays off!Monica: I know!!! My erection is back!Opening Titles[Scene: Central Perk]Joey: (To Gunther who comes over with coffee and a muffin) Thank you!Phoebe: Joey, can I have a sip of your coffee and abite of your muffin?Joey: Okay.Phoebe Thank you. (Pours his coffee in a thermos and puts his muffin in her purse.) Thank you!Joey:: Pheebs, have you ever beenbitten by a hungry Italian?Phoebe: I'm sorry, it's just, I'm a little short on cash.Joey: If you want I could loan you some money?Phoebe: Oh no, no, no. I learnednever to borrow money from friends. No, that's why Richard Dreyfuss and I don't speak anymore.Joey: Oh, hey, how about this? Wanna be an extra on myshow?Phoebe: You could do that?Joey: Yeah, yeah. The pay is pretty good and you could do it for as long as you need.Phoebe: Oh my god, I'm gonna be onTV!Joey: Okay, now. I gotta tell you, being on TV isn't as glamorous and exciting as you think.Phoebe: Oh, really?Joey: No it is awesome!(Rachel and Ross enterwith Emma)Ross: Hi guys.All: (Adlib hellos)Phoebe: Wow! Hey, why are you all dressed up?Ross: Rachel and I are bringing Emma to Ralph Lauren today tointroduce her to everyone. Doesn't she look cute?Joey: She sure does. Why does she have a pink bow taped to her head?Rachel: Well, because if one moreperson says \"what a cute little boy\" I'm gonna whip them with a car antenna!Ross: I think she's gonna be the hit of the office, huh? She's gonna be hotter thanpeasant blouses and A-line skirts. Can I get a blue bow?[Scene: Chandler and Monica's]Monica: (Flipping through bunch of folders as Chandler enters frombathroom) Okay, I have looked through a bunch of career guides, photocopied and highlighted key passages and put them into alphabetical folders so you canmake an informed decision.Chandler: How long was I in there?Monica: Okay. Let us start with the A's. Advertising.Chandler: Wait. Advertising! That's a greatidea!Monica: Don't you want to look through the rest?Chandler: I don't think I have to hear the rest. Advertising makes perfect sense. Sorry you had to waste allthis time, though.Monica: You call eight hours alone with my label maker wasted time? Ooh, now I get to use my shredder!Chandler: I mean, I can write slogans.I mean, how hard can it be, right? \"Cheese. It's milk that you chew.\" \"Crackers. Because your cheese needs a buddy.\" \"A grape. Because who can get a watermelon in your mouth?\"Monica: I got one. \"Socks. Because your family's feet deserve the best.\"Chandler: Honey? Leave it to the pros.Monica: I actually knowsomeone in advertising. I grew up with this guy who is a vice president at a big agency. Maybe I can get him to meet you? Give me the phone.Chandler: \"Thephone. Bringing you closer to people...who have phones.\"Monica: \"Marriage. It's not for everybody.\"[Scene: Ralph Lauren]Rachel: That went well. Almosteverybody knew that she was a girl.Ross: Yeah, after you punched that one guy who got it wrong, word spread.Rachel: I'm just gonna go in my office and pick upsome stuff . (To the guy behind her desk) Who the hell are you!?Guy: Who the hell are you?Rachel: I'm the hell person whose office this is!Ross: Good one,Rach.Guy: I'm Gavin Mitchell, the person who's taken over your job.Rachel: Excuse me?Gavin: Oh, your baby's so cute. Why did you put a pink bow on aboy?[Scene: DOOL set]Phoebe: Joey, look at me! I'm a nurse!Joey: Yes you are. I think it may be time for my sponge bath. Sorry, I'm just so used to hitting onthe extras. So, are you excited about your scene?Phoebe: Yeah! But I'm a little shaky and nervous.Joey: Oh, relax. Don't be. You'll be fine, you'll be fine. They'llprobably just make you stand in the back.Director: Okay, okay, okay! (To Phoebe) You. Here, come here, here. You're gonna take this tray, you're gonna stay onthis yellow mark. You're gonna move on \"action!\" You're gonna walk over to the operating table. You're gonna stop on that blue mark, you're gonna put the traydown. Don't walk too fast! But don't doddle.Phoebe: Okay, now. What?Director: And...Action!!(Phoebe starts walking toward the operating table. Her hands areshaking like crazy, causing the tray to rattle.)Director: Cut! Cut!Phoebe: I'm sorry, I'm sorry, I'm sorry. I'm just a little nervous.Director: Well, don't be.Phoebe:Okay, that helps.Director: And...Action!(Phoebe starts walking towards the table again. She's even more shaky than before and almost drops the tray.)Director:Cut!Joey: Hey, you know what? Don't worry, Pheebs! It usually takes me three takes too! (Off the director's look) Alright, eight.Director: And...Action!(Ok, herewe go again. Phoebe starts walking toward the operating table, but stops every time the tray starts to rattle. She eventually drops it on the floor, but finishes thescene anyway by putting the now non-existent tray on the table.)[Scene: Central Perk]Interviewer: So, do you have any other question aboutadvertising?Chandler: No, no. But let me show you what I can do. \"Bagels and donuts. Round food for every mood.\"Interviewer: Monica warned me you might dothat. I actually think we might have something for you at the agency.Chandler: Really? That's great!Interviewer: It's an unpaid internship.Chandler: It's funny.When you said \"unpaid\" it sounded like you said \"unpaid.\"Interviewer: Come on now. Monica has a good job. And it's not like you have a family tosupport.Chandler: Actually, we're trying, and I don't think Monica's gonna wanna postpone it. We're supposed to have s*x tonight. Actually, she's probably athome naked right now. I tend to keep talking until somebody stops me. I can just picture her on the bed right now.Interviewer: Stop!Interviewer: Okay.[Scene:Ralph Lauren]Rachel: Wait a minute! What do you mean, you're taking over my job?Gavin: Well, while you were on your baby vacation I was doing yourjob.Rachel: A vacation? My idea of a vacation does not involve something sucking on my nipples until they are raw.Gavin: Clearly you've never been to SandlesParadise Island.Rachel: Alright! Don't get too comfortable there, because I'm back in two weeks! And I want everything back to the way it was. I can't say that Icare too much for the way you've rearranged my office.Gavin: I can't say I care too much for that smell you've brought in with you.Rachel: Excuse me?Ross:Rach we have a code brown situation.Rachel: Can you please, please take care of it for me?Ross: Alright, but you have to do one sometime.Rachel: Let me justget this straight! So I go have a baby and they send some guy in to do my job?Gavin: Well, there was talk of shutting down Ralph Lauren all together.Rachel:That's right. You're very cheeky for a temp.Gavin: I'm not a temp. I was transferred here from another department.Rachel: Oh yeah, what department was that?The Jerk department?Gavin: Oh, they didn't tell me about your quick wit.Rachel: Did they mention that I'm rubber and you're glue?Mr. Zelner: (Enters) Gavin,Ralph loved your ideas.Rachel: Oh, hi Mr. Zelner.Mr. Zelner: Rachel, I see you've met Gavin. I must say, when you left us we weren't sure what we were gonnado. But then, Gavin to the rescue. Super Gavin!Rachel: That's great. So now, Super Gavin, when I come back where are you planning on flying off to?Gavin: Well,that's up to Mr. Zelner. I'm sure he will make the right decision.Rachel: (To herself) Oh, wow. Super ass-kissing power.Mr. Zelner: Incidentally, when are youcoming back?Rachel: Today.Gavin: You said two weeks.Rachel: No, I said today! See, for a superhero, not so much with the listening.[Scene: DOOL set]Joey:Hey.Phoebe: Hey. So, what did he say?Joey: Well, he can be a little rough around the edges, so I'm gonna replace a word he used a lot, with the word \"puppy.\"Okay, so he said: \"If your puppy friend doesn't get her puppy act together, I'm gonna fire her mother-puppy ass.\"Phoebe: I'm sorry, I can't do this. I'm not anactor.Joey: That's right, you're not. You're a nurse. You're Nurse With Tray.Phoebe: Joey.Joey: No, no. Nurse With Tray doesn't know Joey, she doesn't have timefor friends. She gets in that operating room and she carries that tray to the doctor, because if she doesn't, people die!Phoebe: Who dies?Joey: (Points to man onoperating table) Man With Eye Patch! You get in there and you do your job.Phoebe: Yes, doctor.Joey: Okay.Director: Okay, let's try this one more time.Phoebe:Hang in there, Man With Eye Patch, your tray is coming!Director: And...Action!Phoebe: (Does the scene) Yes, I did it!!! I nailed it!!! Yay! What's next?Director:The rest of the scene.Phoebe: Okay, from the top, people![Scene: Ralph Lauren]Rachel: Listen. Sudden change of plans. My maternity leave just ended. Theytold me that if I didn't come back today, they were gonna fire me.Ross: What? No, that's illegal. I'm gonna have the labor department down her so fast theywon't even...Rachel: Alright, alright. Calm down Norma Rae. They didn't actually say that. I'm just afraid if I don't come back right now this guy's gonna try tosqueeze me out.Ross: What about Emma? We don't have a nanny.Rachel: I know. You know, we're just gonna have to figure out a plan tonight. Can you pleasejust take care of her for today?Ross: Absolutely. Just give me your breast and we'll be on our way.Rachel: Come on, I don't know what else to do.Ross: Fine, fine.(To Emma) We'll have fun, won't we? Yes, we will, yes we will. (Gives her a kiss, and the pink bow tapes itself to his head.)Rachel: Ross?Ross: Huh?Rachel:You're pretty.[Scene: Chandler and Monica's]Chandler: Whatever I decide to do, I'm gonna be starting a career from scratch. It's gonna be a while before I makea living at it. Maybe now is not the right time to be starting a family.Ross: So you have to tell Monica you don't want to have a baby right now?Chandler:Yeah.Ross: (Hugs Chandler) Good-bye.Monica: (Enters) Okay, it's baby time. Pants off Bing. (Sees Ross) Didn't see you there Geller.Chandler: Yeah, Ross is hereso...Ross: Yeah, and I was really hoping that I could hang out. What do you feel like doing?Monica: We're gonna have s*x.Ross: I don't feel like having s*x.Maybe we can watch a movie or something.Monica: Let me put it this way. We're having s*x whether you're here or not.Ross: Pants off Bing![Scene: RalphLauren]Rachel: Alright. Now that I'm back, why don't you just fill me in on what you've been up to?Gavin: Well, I've changed your screensaver from that pictureof *Nsync.Rachel: Hey, they were popular when I left!Gavin: Also, I've just been working on this big presentation for tomorrow.Rachel: Well, I should be involved"}
+{"doc_id":"doc_117","qid":"","text":"[Scene: Rodriguez's place. He's looking at pictures of Prue, Piper and Phoebe. Tempus appears in a ball of flame.]Rodriguez: Tempus...Tempus: I never expectedto see me. Of course not. You are not worthy before now. What is the name you are using?Rodriguez: Rodriguez.Tempus: Ah, yes. I have been sent to you,Rodriguez. As a gift.Rodriguez: Sent? By who?Tempus: I think you know who and why.Rodriguez: I can defeat the Charmed Ones on my own. I don't need anyhelp.Tempus: Really. What makes you think you have actually found the Charmed Ones?Rodriguez: Are you kidding? After so many of my colleagues havemysteriously vanished in San Francisco this year. It can only be one reason why. I posed as a cop as I believed that one was covering for them. I was right, hewas. That's how I found them. Of course, you already know all that don't you. That's what makes me so worthy now, right?Tempus: Watch your tongue,Rodriguez, lest I split it for you. It's one thing to have found the Charmed Ones, it's quite another to defeat them as those who have gone before you havealready discovered. Tomorrow is Wednesday. I want you to get all three witches together in one place by midnight and give it your best shot. But if you fail...Rodriguez: I will not fail.Tempus: Well, if you do, I'll be there to help you learn by you failures. Trust me. Now, how do you expect to get themtogether?Rodriguez: Trudeau.[Scene: A paperboy rides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside themanor.]Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautiful Wednesday.Phoebe: (on the phone) Piper, what are youdoing at Quake? It's 8:00 in the morning.(Prue enters the kitchen.)Prue: Morning.Phoebe: Morning. (to Piper) Yes, alright, I'll be there in an hour.(You can see Kiton the bench and he knocks over a pepper shaker.)Prue: You'll be where in an hour?Phoebe: Ah, Quake. Piper's doing that thing for the food network and sheneeds me to bring her another dress because she spilt marinara sauce over the one she's wearing.Prue: Just stay out of my closet.Phoebe: Oh, don't worry, Idon't think she'd want to ruin another one of yours.Prue: (Reading the paper) I don't believe this.Phoebe: I'm kidding. Don't have an aneurysm.Prue: No, I'mtalking about the paper. Did you see the front page? (Phoebe shakes her head. They hear a crash outside.) Where did you park my car last night?Phoebe: In thedriveway ... I think.(They run to the window.)Prue: Mrs. Henderson's car.Phoebe: Oh, thank God. I mean, that your car's in the driveway and I'm not in the doghouse. Is she okay?Prue: Yeah, just a little fender bender, no big deal. Phoebe, Andy's in trouble.Phoebe: What? Why? (Prue shows her the paper. Written on thefront page is \"Inspector Suspected In I.A. Murder.\") They think that he killed that Internal Affairs cop? No way.Prue: Maybe it's a setup, trying to force him toreveal our secret.Phoebe: Let me see that. (She takes the paper off Prue and has a premonition.)Prue: What is it?Phoebe: I saw Andy, Prue. He wasdead.Opening Credits[Scene: Halliwell Manor. Continued from before.]Prue: Wait, you said that you didn't see a demon or a warlock in your premonition,right?Phoebe: No, but the way he was hurled across the room, there had to of been one.Prue: This room here.Phoebe: Right here, yeah.Prue: Okay, and you'repositive that it was Andy.Phoebe: Prue.Prue: I just want to be sure, alright, this isn't just anybody that we're talking about, you know.Phoebe: I know, and I careabout him too.Prue: I know you do. I'm sorry. Um, right, why don't you fill in Piper and I'm gonna go warn Andy.Phoebe: How? He said it was too risky for you tobe seen with him.Prue: Yeah, well, I don't care. Let Internal Affairs find out that we're witches. Andy's life is a lot more important.Phoebe: Okay, just please becareful. You don't know what kind of demon we're up against.[Scene: Police station. Andy is in a room with Darryl.]Darryl: If you ask me, I wouldn't be surprisedif Rodriguez was the one who whacked his own partner.Andy: I.A. already cleared him.Darryl: I.A. cleared an I.A. Go figure.Andy: Yeah.(Rodriguez enters theroom.)Rodriguez: What are you doing here, Morris?Darryl: Backing my partner, Rodriguez, something you wouldn't know anything about.Rodriguez: This isbetween him and me.Andy: It's okay, Darryl. (Darryl leaves the room.) Just for the record, I'm not saying anything without my lawyer present.Rodriguez: Youdon't need a lawyer, that's if you're willing to help me.Andy: You want me to help you? (He laughs.) What, you can't frame yourself, Rodriguez?Rodriguez: Look,Andy ...Andy: Oh, it's Andy now.Rodriguez: I don't think you had anything to do with my partner's murder. That's right. But what I do think is completely off therecord. And I think you'll understand why. (Rodriguez shows Andy a photo.) That's my partner. Or at least what's left of him. No human could of done that to him.I think he was killed by something supernatural. And I think you can help me figure out who or what it is.Andy: Really. What makes you think that?Rodriguez:Come on, I know all about those unsolved cases of yours, and I know who's behind them too. Who you've been covering for. It's very noble. You must care abouther very much to give up your career for her. Prue Halliwell ... is a witch.Andy: A witch, huh? You wait here, I'll go warn the Wizard of Oz. (He standsup.)Rodriguez: I don't have time to screw around, Trudeau. I want you to arrange a meeting between her and me. It has to be tonight. She can help me find whokilled my partner, I'll drop all charges against you. I won't tell anyone about her. You think about it, but not too long. (He leaves and Darryl enters.)Darryl: Youalright?Andy: I'm not sure. I gotta go see Prue.Darryl: That's funny. She called and said she had to see you too.[Scene: In the street outside a clock shop.Tempus is waiting there. Rodriguez walks up to him.]Tempus: Well?Rodriguez: I'm sure I made Trudeau suspicious of me. She'll have no choice but to meet withme.Tempus: But you have to get all three of them together.Rodriguez: Trudeau cares about her. He won't let her risk meeting me alone. He'll insist she have thepower of three there with her for protection.Tempus: And you think you have the power to defeat them all.Rodriguez: You don't think I do, do you? You think I'llfail.Tempus: Time will tell.[SCENE_BREAK][Scene: Quake. Phoebe has another dress for Piper.]Piper: Phoebe, over here. (She gives Piper the dress.) Thank God.The segment producer's gonna be here any minute and I am a complete and total wreck.Phoebe: Piper ...Piper: I thought I was gonna have to pull a Celine Dionand wear my dress backwards.Phoebe: Piper, you have gotta listen to me. I had a premonition of Andy dying.Piper: When?Phoebe: This morning. Don't you checkyour voice mail? I called and said it was important.Piper: Oh, know. Where's Prue?Phoebe: She's warning him. But in the mean time we have to figure out whothe demon is.(A woman enters Quake. Piper stands behind Phoebe to cover the marinara stain.)Woman: Piper? Piper Halliwell? I would recognize you anywhere,you have not changed a bit. You don't recognize me do you? It's Joanne. Joanne Hurts, Baker High, class of '92.Piper: Oh, sure, of course. Joanne, what are youdoing here?Joanne: I'm the segment producer.Piper: You're the segment producer? (to Phoebe) She's the segment producer.Phoebe: I heard.Piper: Wow, what asmall world. I thought you moved to New York.Joanne: I did. And that's where I met my fabulous husband who had this crazy idea of starting this little cableshow and putting me in charge of everything. And here we are, the food networks most popular show. Talk about dreams coming true. Anyway, enough aboutme, what have you been doing?(Piper freezes Joanne.)Phoebe: Why'd you do that?Piper: What am I suppose to say? That I'm a cash strapped, single restaurantmanager, who still lives in the same house I grew up in with my sisters?Phoebe: And the cat, don't forget our cat.Piper: Phoebe, this isn't funny.Phoebe: Look, Idon't know why you're getting so upset. She is a freak. I'm sorry, but no one is that successful at the age 26. Besides, you are successful, you're talented, you'recreative, and the food network is here to see you. Not me, not her, you. Feel better now?Piper: Very little.Phoebe: Good. Unfreeze that bitch in heels, you've gota segment to shoot and we've got a demon to find.[Scene: Park. Andy and Prue are there.]Andy: Has Phoebe ever been wrong about her premonitionsbefore?Prue: No. But the good news is every other time we've been able to affect the outcome. Stop the demon or warlock before ...Andy: Before I get killed. CanI get that in writing?Prue: Andy, you just have to be extra careful until we figure out who this demon is, okay? (Silence.) Andy.Andy: I was just thinking ... what ifthe demon was Rodriguez.Prue: Why would you say that?Andy: He pulled me in the station house this morning. I thought he was gonna arrest me. What he reallywanted was a meeting with you.Prue: Meet with me? Why?Andy: Because he thinks his partner was killed by a supernatural being and somehow, I don't knowhow he knows you're a witch.Prue: How would he know that unless ...Andy: Unless he was the demon.Prue: Alright, uh, tell Rodriguez to meet me at the manorat 6:00.Andy: It's too dangerous, Prue.Prue: I don't have a choice. If I don't meet with him, he'll try to frame you and try to expose me.Andy: But if he is ademon and it turns out to be a trap.Prue: And I'll have Piper and Phoebe there to back me up, the power of three.Andy: Plus one.Prue: No. You can't be there,Andy. That's where you were in Phoebe's premonition when ... just promise me you'll stay away.Andy: I can't do that, Prue.Prue: I mean it. Don't make me usemy magic on you. (They smile.) I don't want anything to happen to you, Andy. You know how much I care for you.Andy: Okay, I promise.[Scene: Outside themanor. Andy's sitting in his car. Rodriguez arrives in front of the manor. Andy ducks. Kit growls at Rodriguez. Inside the manor.]Prue: Alright, let's go over theplan again.Phoebe: Yeah, let's, because I wanna know why I'm the one answering the door.Prue: 'Cause you're the one who knows martial arts, alright, that wayif Rodriguez shows up and tries something right off the bat, you can knock him down.Piper: And then I can come in from the living room and freeze him.Prue: Andthen I can come down the stairs and send him flying.Phoebe: I still feel like cannon fodder.(The doorbell rings.)Prue: What time is it?Piper: Just before six. (Herings the doorbell a couple more times.) That's a little too anxious, that's not a good sign.Phoebe: Which means if he doesn't want to kill Prue, he wants to dateher.(Prue and Piper stare at here.)Prue: Come on, let's get this day over with.Phoebe: Okay. (She walks towards the door.) Alright already. (She opensit.)Rodriguez: Inspector Rodriguez. I'm here to see Prue Halliwell.Phoebe: Yeah, no kidding. Prue! Piper! Company!(Rodriguez's eyes glow red and his powerthrow's Phoebe against the wall and she rolls down the stairs. Piper enters the room.)Piper: Phoebe!(Lightning stuff comes out of Rodriguez's hand towards Piperbut she freezes it just in time.)Prue: (Running down the stairs.) Phoebe! (Prue uses her power and the lightening stuff hits Rodriguez adn he explodes and"}
+{"doc_id":"doc_118","qid":"","text":"[PREVIOUSLY_ON]FlashbackHaley : Nathan don't!Nathan : I love youHaley : Nathan! Nathan! Nathan! Help me!Nathan : Haley! Haley! Haley! You okay? Oh, myGod. Okay. Breathe, Haley. Just breathe.AT THE DOCTORHaley : I was just trying to feel something. Like... alive, I guess.Doctor : And did that make you feelalive?Haley : No. But it made me want to.AT BROOKE'S HOUSEBrooke : Julian, I thought we agreed we weren't gonna hang posters out here.Julian : I didn't hanga...AT CLAY'S BEACH HOUSEQuinn : What are you up to?Clay : I love your back. You know where we should go? Julian's movie premiere. Maybe we could talkNathan and Haley into going. Might be good for her to get away. And then we... could...Quinn : Ski.Clay : Girls that can spell are sexy. Then we could stay up allnight and...Quinn : F... U... Are terrible.Clay : I'm just insanely in love with you. As promised.Voice over : I wish I could tell you there was a magic cure, Haley.But depression is a singular struggle. Some people just wake up one day and feel a little better than the day before.AT SCOTT'S HOUSEJamie : Hi, mama. Howyou feeling?Haley : Come here. What was that you were saying the other day about wanting to see snow?Jamie : Well, aunt Brooke says it's snowy in Utah, andthat's where Julian's movie is playing. And everyone's going.Haley : Everyone, huh?Jamie : Yeah.Haley : Maybe you should try this on. Yeah, I don't... I don'twant your ears to get cold in the snow.Jamie : You mean we can go? Oh! I got to tell dad.Haley : Jamie.Jamie : Yeah?Haley : I love you.Jamie : I love you, too.Dad, we're going to Utah!IN UTAH'S HOUSEJamie : Do you think there's rooms for all of us?Skills : Oh, yeah. I think there's room.Jamie : There's trees in thehouse and moose antlers.Julian : There's 12 of us. Only six bedrooms and a couple of couches.Skills : Dibs.Brooke : You had them lock the master, right?Julian :Don't worry. We're good.Skills : Hey, uh, you need some help drinking that? Lauren told me what you said about us being boys and all. I know we never reallytalked about it, but... It meant a lot to me.Mouth : Thanks, but... I just want to get back to the way we used to be, you know?Skills : Yeah, I feel that. Anyway,this trip 'bout to be insane. Plus, I get to rock my new coat I just got in L.A. Check this out.Mouth : Dude. No.OUTSIDE IN THE UTAH SNOWJamie : Hey,everyone! Dad! Come on! Doesn't anyone want to play? Ugh. I think I got some in my mouth.Nahtan : As long as it's not yellow, I think you'll be fine.Jamie : Hey,dad, can we build a snow fort?Chase : I can build you a snow fort, buddy.Jamie : Okay, cool. Wait... how do we know you, again?Chase : I'm Chase. Thebartender at Tric?Jamie : Whatever. You're no Grubbs.Guys : Retreat! Retreat!Brooke : Oh, you guys are so dead!IN THE HOT TUBBrooke : Are you excited abouttomorrow night?Julian : Yeah. My dad says three things have to happen at this festival. The audience has to love the movie, we have to sell it, and I have todecide what's next.Brooke : Well, not to sound naive, but maybe you should just enjoy it.Jamie : Yeah. I'd just enjoy it. It's a good life.IN FRONT OF THENIGHTCLUBAlex : Alex Dupré.?Man : Right. Maybe two rehabs ago. Back of the line. Hey, hold up. I like that coat, man.Skills : Oh, that's what I'm talking about,baby. Okay... him, him, and the ladies, they with me. Thanks. Not him.Man : Back of the line. Let's go.Skills : Nah, I'm just kidding. He with us, too.Man : Allright. Come on, man. Hurry up.Skills : People love the coat, baby! Oh. Dang.ON THE FLOORClay : Stop worrying about her.Quinn : What?Clay : You're worryingabout Haley. All right, look... she's with Nate. She's fine. Besides, I got you a few things. White wine.Quinn : Thank you.Clay : And a kiss, because my baby looksamazing tonight. And, last but not least, a spare key to the house, because you lose things.Quinn : I do not lose things.Clay : Look, just put it outsidesomewhere.Quinn : You know what? I'm gonna keep my white wine. And you can have your kiss back. But I don't need the key, because I don't lose things.Skills: Who want to dance?Quinn : I do.Chase : Where's your, uh, \"boyfriend\" tonight?Alex : I'm looking at him.Chase : You're the devil, aren't you?Alex : Why?Chase: Because you know I just broke up with Mia.Alex : So?Chase : So I'm taking off, devil Dupré. And I'm locking my door.Skills : She was sexy until she starteddancing.Quinn : Lose the beat?AT RED BEDROOM RECORDSMia : How you doing?Grubbs : I gave this flower to Miranda. It's just another thing she left behind.Mia: Doesn't mean she doesn't miss you.Grubbs : There's just so much that I wish I would have said the last time I saw her.Mia : What did you say?Grubbs :Nothing.Mia : Then say it in here. You know, write one more great song. Let's finish this record.Grubbs : Then what?Mia : Well... if I was you... I'd start my tourin London. And I'd water that orchid. Grubbs. I know it feels bad now... but it's gonna get better. One more song.IN CLAY & QUINN'S ROOMClay : It was a goodnight tonight. Whoa And now it's a better night.Quinn : I think you were right about me losing stuff. I seem to have, uh, lost my clothes.Clay : Where yougoing?Quinn : Now I've lost my way to the bed. Guess I'll just have to sleep somewhere else.Clay : No. She's good. She's good.IN ALEX & JOSH'S ROOMJosh : Imade a place for you on the floor.Alex : Right. Shut up and scoot over.Josh : I thought maybe you'd end up in Chase's room.Alex : I tried. He locked thedoor.Josh : I know. I tried, too.Alex : Do you ever think about coming out?Josh : My dad's a football coach, Alex. And my mom... my mom's a football coach'swife. She loves this version of me... the leading man. So...Alex : Well... For what it's worth, if I was a mom, I don't think there could be any words that wouldever make me stop loving my child. Unless, of course, those words were \"mom and dad, I secretly made a s*x tape.\"Josh : It's amazing how much I hate you.INNATHAN & HALEY'S ROOMNathan : Jamie had a blast today. The guys built him a snow fort. I know that you came here just for him. I do. And I love you for that,Haley.Haley : Please don't think that I take that for granted. I'm so grateful for... who you've been through all of this. And how you've been.Nathan : There's noother way for me to be. You've saved me so many times. I worry that I've been selfish with you. That I've taken advantage of your strength and yourselflessness... And that I've... I've broken you somehow.Haley : No, no. You haven't. You didn't. I just have a weight in my heart now that I didn't have before. Itwas lighter today, though.OUTSIDEQuinn : It's beautiful, isn't it?Haley : Yeah. It makes me think of mom.Quinn : She would have liked it.Haley : Yeah.Quinn :Well, you know mom believed in reincarnation, right?Haley : So I think we'll see her again. What do you think she'll be?Quinn : Different. I think she'll be an owl.A beautiful, majestic, sarcastic owl.Haley : I just wish she could be here again.IN THE SKILIFTAlex : I can't believe you actually locked your door last night.Chase: I can't believe you actually tried to get in.Alex : Would that be so bad?Chase : Says the girl who just wants someone normal and reliable. You said that atTric.Alex : You were listening.Chase : Of course I was listening. I'm a bartender... manager.Alex : And almost pilot. I was listening, too. I'd crush out on you, andthen you'd be gone.IN THE SNOW FORTJamie : Hi, mama. Come on in. You like it?Haley : Oh, I do like it. This is great, buddy! Oh, my goodness. What do youlike about it?Jamie : I like that it's quiet. It feels kind of safe in here.Haley : That's smart, kiddo. So, listen... I was thinking about going into town and buying adress for tonight. What do you think? You want to, uh, get a suit for Julian's premiere?Jamie : Can I pick it out myself?Haley : Yes.Jamie : Okay.Haley : Okay. It'sa really cool fort, Jame.Jamie : Yeah.IN UTAH HOUSEQuinn : Clay? \"No cellphone coverage. Went to lunch at the diner on main. Come by, unless you've lost yourappetite.\" Hot tub. Oh... beers... Key.AT THE RESTAURANTClay : Why? Uh... What happened?Quinn : Key.Clay : She loses things.MAKING SHOPPINGJamie :Mama, I found my suit.Haley : Well, that is quite a suit of clothes.Jamie : I really like it. Can I get it?Haley : Yes. Absolutely. And you know what?Jamie :What?Haley : Your grandma would have loved you in this suit. Just no bullfighting, okay?Jamie : No problem. Bullfighting is caca del toro.Haley : Okay.Jamie :Hey, mama. You're pretty when you smile. I missed it.Haley : Thanks buddy.IN THE HOUSE ROOMBrooke : Are you ready?Julian : My whole life, my hair's beenout to get me, like it resents my forehead for taking up too much room.Brooke : Stop. You look nice.Julian : Maybe I should wear a hat. Like a beret. Or afez.Brooke : Hey. The movie is great. And you are great. And you look so handsome that we need to get out of this bedroom, or you're gonna miss yourpremiere.Julian : What would I do without you, Brooke Davis?Brooke : Well, for starters, you'd wear a fez. Not okay. Come on. Your dad and your destiny arewaiting.AT THE PREMIEREPaul : Thank you. Welcome. Uh, when my son Julian called me and asked me if I wanted to make a movie with him, I thought it mightbe a nice chance to reconnect. But that was that was wishful thinking on my part, because I was gone so often while he was, uh, growing up that we never reallyconnected in the first place. And that's a shame. Whenever I finish a movie, I... I have this expression... \"Let's kick it out of the nest... and see if it flies.\" Well,son, we kicked you out of the nest. And it has been a pleasure watching you soar. I hope you all agree.Julian : I'll see you in a bit.OUTSIDEAlex : Julian. It'sstarting.Julian : Yeah, I know. I think I'm just gonna wait till it's over.Alex : Those were some nice things your father said about you.Julian : Yeah.Alex : You sureyou don't want to come back inside?Julian : Yeah, but you should go watch it with an audience. I want you to see how good you are as an actor and a writer.Alex: I was in good hands. And everything's gonna be okay. You know why? Because it already is.Nathan: Opened with a s*x scene. Nice work, Polanski. Good luckexplaining that one to the kid.Jamie : You're not watching it either, huh?Julian : Nope.Jamie : Were you grossed out, too? Come on. We should go get a drink.ATTHE BARJamie : I don't get it. You made a movie with no animation, no stunts, no cars that transform into stuff, no aliens, and no rabbits.Julian : Yes, I did.Jamie: What the heck else is there?Julian : Romance?Jamie : I don't think anyone wants to see that.Julian : Yeah. I'm not sure anyone wants to buy it, either.Jamie :Here. It helped my mom. It's good luck. You're gonna need it.Julian : What do you know? You're 6, and you're drinking at a bar.Jamie : 7.Julian : Nice. Nice work,el borracho.AT THE PREMIEREAlex : I'll tell you something I am sure of. We're all afraid. Some of us find ways to hide that fear, and some of us don't. But we'veall got \"it,\" you know? And it's always there.Josh : And what's your \"it,\" Elise? What are you afraid of?Alex : I'm not afraid of anything. I have you.Josh : You weregood in that scene. I'm tired of being afraid.OUTSIDEJamie : It's still packed in there, so at least nobody left. That's good, right?Julian : What's happeningon-screen?Jamie : Hold on. I'll check. They're kissing. They've been doing a lot of that. Seriously, you could have used a robot or something. I think it's almost"}
+{"doc_id":"doc_119","qid":"","text":"[OPENING CREDITS][SCENE_BREAK][EXT. DOWNTON VILLAGE - DAY][SCENE_BREAK][Daisy walks her bike through the village towards the church.]Spring,1920[SCENE_BREAK][INT. DOWNTON CHURCH - DAY][SCENE_BREAK][Mary and Matthew stand next to each other at the altar in plain clothes. Mary has a whitetrain sticking out under her coat.]Matthew Crawley: Is there any news of Sybil?Lady Mary: She's still not coming. She insists they can't afford it.[Matthew raiseshis eyebrows with an understanding frown and nods.]Archbishop: Mr Travis, can we move forward?Reverend Travis: If I could just ask you to come down theaisle again.[Matthew and Mary nod pleasantly to Rev. Travis and smile at each other as they turn toward the door.]Reverend Travis: Can we get the troopsorganized?Robert, Earl of Grantham: That means me.[Robert rises from the pew.]Cora, Countess of Grantham: It seems rather hard on poor old Travis when he'sdoing all the work but the archbishop gets the glory.Mary: Papa was the one who wanted a prince of the church. I'd have settled for Travis.Robert: Mm.Mary: Isthere really no way we can get Sybil over? It seems ridiculous.Robert: On the contrary, it's a relief. Branson is still an object of fascination for the county. We'llask him here when we can prepare the servants and manage it gently.[Robert and Mary walk to the back of the church.]Isobel Crawley: He's making a problemwhere none exists. No one could care less were Branson at the wedding or not.Matthew: You must think country life more exciting than it is if you imagine peopledon't care when an earl's daughter runs off with the chauffeur.Isobel: Well, the fact remains she has run off with the chauffeur and they'll have to get used toit.[The archbishop calls down the aisle.]Archbishop: Mr Travis, are we ready?Reverend Travis: Er, any moment, Your Grace, any moment.[Travis walks back upthe aisle.]Reverend Travis: Can we, please?[Mary and Robert stand ready and take each other's arm before starting down the aisle.][SCENE_BREAK][EXT.DOWNTON GROUNDS - DAY][SCENE_BREAK][Daisy rides toward the house on her bicycle.][SCENE_BREAK][INT. SERVANTS' HALL - DAY][SCENE_BREAK][Theservants sit down to eat.]Mr Carson: That treacle tart just hit the spot, thank you, Mrs Patmore.Mrs Patmore: So, Mrs Hughes and Anna are getting the placeready to let?Mr Carson: That is the plan.[Mrs Patmore nods and leaves with a tray.]Thomas Barrow: I'm surprised Anna held onto that house. I thought theyconfiscated the profits of murder.Mr Carson: Mr Bates had the wisdom to transfer it to her before the trial.Thomas: I don't think I'd have allowed it, Mr Carson.MrCarson: Then we must all be grateful you were not the presiding judge.Thomas: I still think it's funny given that he's a convicted murderer.Mr Carson: May Iremind you, Mr Barrow, that in this house Mr Bates is a wronged man seeking justice. If you have any problems with that definition, I suggest you eat in theyard.[Carson leaves. O'Brien gives Thomas a unpleasant look as he smirks at her.][SCENE_BREAK][INT. THE DOWER HOUSE - DAY]Isobel: I suppose you agreewith Robert.Violet, Dowager Countess of Grantham: Then, not for the first time, you suppose wrongly. The family must never be a topic of conversation.Cora: I'mafraid Sybil's already made the Crawleys a permanent topic.Violet: All the more reason. If we can show the county he can behave normally, they will soon loseinterest in him. And I shall make sure he behaves normally, because I shall hold his hand on the radiator until he does.[Cora smiles at the half-seriousremark.]Isobel: Well, I don't know this young man aside from \"Good morning\" and \"Good night,\" but he strikes me as a very interesting addition to thefamily.Violet: Oh, here we go.[Violet shakes her head.]Isobel: And why should he be \"normal,\" as you call it? I say he should come here and fight hiscorner.[Violet looks sharply to Cora for sympathy, but Cora keeps a neutral expression.]Isobel: I like a man of strong beliefs. I think I'll send them themoney.Cora: Please don't. Robert's expressly forbidden it. He'd be furious.[Violet looks between her two guests with a surprisedexpression.][SCENE_BREAK][INT. FRONT HALL - EVENING][SCENE_BREAK][Robert speaks on the telephone dressed in his tails.]Robert: But it can't be as badas...[Robert listens.]Robert: Look, I'll come and see you. Tomorrow. No, I insist. Right, goodbye.[Robert hangs up the phone just as Mary enters dressed fordinner.]Mary: Papa? What's the matter?Robert (unconvincingly): Nothing's the matter. What should be the matter?[Robert exits and Mary watches him leave,wondering what's bothering him.][SCENE_BREAK][INT. SERVANTS' HALL - EVENING][SCENE_BREAK][Anna and Mrs Hughes enter and Carson and the otherservants who were sitting at the table stand.]Mr Carson: How was London?Anna Bates: We got it all done. But I couldn't have managed without my helper.MrsPatmore: Have you eaten?Mrs Hughes: We had a bite on the train.Mrs Patmore: Oh, sit down anyway, have a cup o' tea.[The other servants sit down and Daisyand a maid leave.]Mrs Hughes: I'll start on the final lists for the wedding tomorrow morning.[Thomas holds Mrs Hughes chair for her and then sits down, too.]MrCarson: I've got the last of the wine deliveries coming on Tuesday.Mrs Hughes: How will you manage without a footman?Mr Carson: I agree, but I haven't time tofind one now.Miss Sarah O-Brien: I've had a letter from my sister asking after a job for her son, and--Mr Carson: Miss O'Brien, we are about to host a societywedding. I have no time for training young hobbledehoys.[A bell rings.]Mr Carson: Her Ladyship is ringing.[O'Brien pauses for a moment, then gets up to see toher duties. Mrs Hughes and Mr Carson share a look.][SCENE_BREAK][INT. LADY GRANTHAM'S BEDROOM - EVENING][SCENE_BREAK][O'Brien fixes Cora's hair asCora sits in a dressing gown.]Cora: Well, I don't see why not. I'll ask His Lordship when--[The door opens and Robert enters in his dressing gown.]Cora: Thereyou are. So, I'll ask you now.Robert: Ask me what?Cora: Carson's in need of a footman and O'Brien has a candidate.O'Brien: Alfred. Alfred Nugent, milord. He's agood worker.Cora: I think it sounds perfect.[Robert stares into space.]Cora: Robert?[Robert snaps out of his reverie.]Robert: Whatever you say.[Cora andO'Brien smile at each other.]Robert: My dear, I have to go up to London tomorrow. I'll be catching the early train.Cora: That's very sudden. Do you want me toopen the house?Robert: No, I'll come straight back.Cora: What are you going for?Robert: It's nothing to bother you with.[Cora accepts his answer happily andRobert goes back into his thoughts.][SCENE_BREAK][EXT/INT. PRISON - DAY][SCENE_BREAK][Anna pauses to brace herself outside of Bates's prison beforeentering.]Anna: It's all there, every entry.John Bates: Where did you find the book?Anna: Behind the bureau. We moved it out to clean and there it was. Veramust have dropped it or something.Bates: So, what do you want me to do?Anna: Make notes on all the names: close friend, relation, workmate, tradesman, andso on. Then I'll copy those and I'll send them with the book to Mr Murray.Bates: Haven't you anything better to do?Anna (smiles): I have not. Because I'd ratherwork to get you free then dine with the king at Buckingham Palace. So, what news have you got?Bates: And what news could I have in here? Oh, I've acquired anew cellmate. To be honest, I'm not sure about him.Anna: Well, just remember what my mother used to say: never make an enemy by accident. Now, do youthink you can get the notes done before my next visit?Bates: I don't see what can come of it.Anna: Probably nothing. And my next idea will probably lead tonothing, and the next, and the next. But one day, something will occur to us and we'll follow it up, and the case against you will crumble.Bates: Do you neverdoubt? For just one minute?[Anna smiles softly.]Bates: I wouldn't blame you.Anna: No. I don't doubt that the sun will rise in the east either.[SCENE_BREAK][INT.SERVANTS' HALL - DAY][SCENE_BREAK][Mr Carson inspects Alfred with furrowed eyebrows, frowning up at him.]Mr Carson: You're too tall to be a footman. Nofootman should be over six-foot-one.[Thomas, Mrs Hughes, Daisy, and O'Brien stare at the other end of the room.]O'Brien (proudly): That can't be, can it? Sincehe's already been taken on.Mr Carson: But what have you done?Alfred Nugent: I was a hotel waiter after I was discharged from the army. [?] got back.O'Brien: Ithink to get a job as a waiter shows real initiative.Mrs Hughes: I suppose he can speak for himself?O'Brien: Why? Is he on trial? This isn't an interview, is it? Notwhen he's already got the job.Mr Carson: No, it is not an interview, Miss O'Brien, but he is on trial, and if he cannot match our standards, he will be foundguilty.Alfred: I mean to try, Mr Carson.Mr Carson: As long as you do. Right, go upstairs and get settled in. Your aunt will hopefully find you a livery thatfits.[O'Brien nods and Alfred follows her out.][SCENE_BREAK][EXT. DOWNTON GROUNDS - DAY][SCENE_BREAK][Mary and Matthew go on a walktogether.]Mary: Just at the start, so we've a place to sleep after the honeymoon. You can't object to that.Matthew: No, it's nice of them. Though I doubt I'll getused to taking you to bed with your father watching.Mary: (chuckle) He's so relieved we're getting married, he wouldn't mind if you carried me upnaked.Matthew: (chuckle) Careful, I might try it.[They chuckle.]Matthew: I don't want to move to London or anything. I'm not kicking against the traces.Mary:Just testing their strength.Matthew: I want us to get to know each other..to learn about who we both are without everybody being there.Mary: Well, it's quite abig house.Matthew: It's a lovely house. It's your home, and I want it to be my home, too. Just not quite yet.[Mary looks at him and thennods.][SCENE_BREAK][EXT. TRAIN STATION - DAY][SCENE_BREAK][Robert exits the station and walks up to a cab. A paper boy is selling papers that read\"Bolshevik Menace.\"]Paperboy: Paper! Russia [?]!Robert: Chancery Lane.Cab Driver: Yes, sir.[Robert gets in the cab and it takes off.][SCENE_BREAK][INT. MRMURRAY'S OFFICE - DAY]Mr Murray: I have spoken to Frobisher and Currant and since I am a trustee, should the estate ever need one, we felt I ought to be theone to tell you.Robert: You make it sound very serious.Mr Murray: I am expressing myself badly if you think it is not serious.Robert: Why did we invest somuch.Mr Murray: Lord Grantham, it was you who insisted we should. If you remember, we advised against it.Robert: But war would mean a huge expansion ofrailways everywhere. Every forecast was certain. Rail shares were bound to make a fortune.Mr Murray: Many did, but your principle holding, which was verylarge, indeed, was in the Canadian Grand Trunk line.[Robert stands up, getting upset.]Robert: It was the main railway in British North America, for god's sake! Itwasn't just me. Everyone said we couldn't lose! We knew hard times were coming for estates like Downton, and this investment would make it safe for the rest oftime.Mr Murray: Charles Hayes was the presiding genius, and since he died, the management has not...the fact is, the company is about to be declared"}
+{"doc_id":"doc_120","qid":"","text":"MEREDITH: To make it... really make it as a surgeon, it takes major commitment. We have to be willing to pick up that scalpel that may or may not do moredamage than good. It's all about being committed. Cause if we're not, we have no business picking up that scalpel in the first place.[SCENE_BREAK]CHRISTINA:We'll book OR 2 tomorrow at 10. Usual scrub team. And get rid of his valve replacement at 2, that's no good.INTERN: Yang. Brought you a mochalatte.CHRISTINA: You're not scrubbing in.INTERN: But Burke always lets me scrub it.OTHER INTERN: Hey, Yang can I get in on...CHRISTINA: No, no residents.Too crowded. Go away. (To a nurse) Make sure you put the instrument tray on his left hand side. He needs the elbow room. And OR 2, no gallery. Burke wasspecific.NURSE: Dr. Burke has become very specific since coming back to work, hasn't he?CHRISTINA: Do you want me to tell him you said that?GEORGE (who islooking on from above with Meredith and Alex): Burke's back and suddenly Christina's running his board. Who does she think she is, Bailey?MEREDITH: She'shelping him.ALEX: She's taking advantage. She gets out of rounds, she scrubs in on every surgery Burke does, she's ordered around 3'rd yearresidents...MEREDITH: You're overreacting...(Christina grabs the pen from the nurse's hand and starts writing on the board.)GEORGE: She's writing on theboard!ALEX: Maybe I should sleep with Burke...[SCENE_BREAK]MEREDITH: You've been busyCHRISTINA: YeahMEREDITH: Derek hast called yet. I told him Ibroke up with Finn a week ago, he still hasn't called. Hey, do you wanna go get a drink, catch up?CHRISTINA: No, I can't. I have to study up for Burke's surgeriestomorrow.MEREDITH: She's busy.[SCENE_BREAK]GEORGE: Callie. Hey, talk to me. And how about talking to me instead of ignoring me?CALLIE:George!GEORGE: Well that's talking That's a good start.[SCENE_BREAK](Derek walks out of the shower, and screams upon seeing a woman on his bed.)NANCY:Well hey there stranger.DEREK: Nancy you don't call first?(Meredith enters.)MEREDITH: Hey, I...DEREK: Meredith... Meredith, let me explain!(But of course shetakes off.)NANCY: I take it that was the slutty intern you cheated on Addison with?DEREK: She's not slutty. What are you doing here?NANCY: You bailed onThanksgiving, then Christmas, you're living in a trailor, and you're getting a divorce,and then there's the slutty intern.DEREK: I really don't like you.NANCY: Youlove me.[SCENE_BREAK]IZZIE: I'm feeling really good.GEORGE: Good.MEREDITH: Good.IZZIE: First day back, it feels good. Big. Kind of nervous. I feel good. DoI look alright?MEREDITH and GEORGE: Great.IZZIE: I want to get on the right foot, get my ID renewed, new time card, sign some papers with legal then I'mback...really back.MEREDITH and GEORGE: Yeah.(Izzie leaves the elevator.)IZZIE: This is me. Human resources.. See you guys on the floor.BOTH:Yeah.GEORGE: I'll be Christina for you if you'll be Izzie for me.MEREDITH: Deal.(George stops the elevator.)MEREDITH: Derek had a woman in his trailer lastnight. She was ugly, very ugly. Except she was tall and beautiful...and he was naked.GEORGE: Oh uh, McDreamy was doing the McNasty with a McHottie? ThatMcBastard. How was that?MEREDITH: That was good! Channelling Izzie... go.GEORGE: OK... Callie... she won't forgive me, she won't talk to me. She dumpedme...which I dont...care about...at allMEREDITH: Good because you deserve better, 'cause you are George. I mean seriously. Seriously. Was that Izzieoptimistic?GEORGE: That was very Izzie...MEREDITH: What has happened to us?GEORGE: We are now the people the people we want to be withavoid.MEREDITH: We have careers to think about. We don't need attention from men with perfect hair.GEORGE: We should make a pact. No moredating.MEREDITH: No more Derek. No more Callie.GEORGE: Just 100% focused on our work.MEREDITH: They are dead to us.GEORGE: They are freaking corpsesto us.(They butt knuckles.)[SCENE_BREAK]MRS. BYRD: Preston Burke, what a pleasure. I have read so much about you.BURKE: Well thank you.CHRISTINA:Pruitt Byrd. Medivac brought him in this morning. He presents with a primary cardiac tumor.MRS. BYRD: We've been told Pruitt needs a cardioautotransplantation.BURKE: A cardio autotransplantation?CHRISTINA: A humpty dumpty surgery.BURKE: Yes I know what it is. Mrs. Byrd, this is a verycomplicated surgery. You'll need thorough testing.CHRISTINA: Already done.BURKE: You understand what the surgery intails? We have to..CHRISTINA: We haveto remove his heart, cut it open, scrape out all the tumor, then put his heart back together again.BURKE: Which is risky.CHRISTINA: But possible.MRS. BYRD:Which is why we're here I want the very best for my husband.BURKE: The best.CHRISTINA: She means you.BURKE: I know that.CHRISTINA: Oh I scheduled Mr.Byrd for surgery this afternoon. Just trying to be as efficient as possible.[SCENE_BREAK]CHIEF: Legal cleared Stephens. Explain her perameters and make sheunderstands.BAILEY: Stephens is being assigned to me again?CHIEF: She's your intern.BAILEY: Well wouldn't it be better for her to start fresh with anotherresident?CHIEF: You don't want her.BAILEY: I want her to succeed.CHIEF: There's still a good deal of fallout after the Duquet M&M. There's talk. I don't need totell you that there are doctors in this hospital who have concerns about your judgement.BAILEY: Concerns about my judgment.CHIEF: Stephens was yourmistake.BAILEY: Do you, sir, do you have concerns about my judgement?CHIEF: Do you? You're not going to put those concerns to rest by avoiding takingresponsibility for Stephens. She's your intern... again.[SCENE_BREAK]GEORGE: Transfer from Mercy West. Noelle LeBatt. 32 weeks along, pregnant with twins.One appears to be developing more slowly than the other.GREG: Hi.ADDISON: Hi there.GREG: Greg Stanton. This is my lovely fiancé. The future Mrs. Stanton.Noelle.NOELLE: Greg, I promise you you're the only person who cares if we're married or not.GREG: They said we had to come here because her condition couldbe serious. Is it serious?ADDISON: I gotta say, you don't seem emergent enough for Mercy to send you over here in a ambulance. You're not in labor, you're notbleeding, your vitals are fine.NOELLE: They said I had to come here because of my thing.GEORGE: Two uteruses!? Ms. Lebatt was born with two uteruses. Uh,UteriADDISON: Uteruses.GEORGE: Uteruses. That's very rare.IZZIE: I'm here. Hi. Hello. That paperwork took forever, but I'm here now. And can I just say howgreatful I am to be back?BAILEY: You understand there are rules to your probation. Rules to follow?IZZIE: Oh yeah, legal took me through all that stuff. Themandatory counseling, the extra lab hours. The extra work with the transplant patients.BAILEY: That's the stuff you're doing with the chief. I'm talking aboutwhat you're doing for me.IZZIE: Okay. What am I doing for you?BAILEY: OK, lets start with what you don't get to do. You will not interact with any patients, youwill not be alone with any patients. You will be seen and not heard. No procedures. The OR is off limits. No pre-op. No post-op. Anything having to do with an op.You have no authority. You have no opinions. You have no choice in this matter. Am I understood?IZZIE: Is there anything I can do? I want to be useful.BAILEY: Icant use you. You've got to earn back the right for any of us to trust you again. Until then, you will be shadowing a differend Dr. every day.IZZIE: Okay, who am Iwith today? Dr. Montgomery? You?MEREDITH: Dr. Bailey, you paged?BAILEY: Dr. Grey.IZZIE: Meredith...BAILEY: You are to make sure that Stephens observesonly.MEREDITH: You want me to?IZZIE: Wait Meredith? Meredith is the boss of me.[SCENE_BREAK]MEREDITH: I'm sorry about this.IZZIE: Hey you want me toget you some coffee? Rub your feet maybe?MEREDITH: I did not ask for this assignment.IZZIE: It's fine...I'm fine with it. Oh, I'm so sorry (She's bumped intopeople who are talking to Derek.)DEREK: Dr. Stephens. Welcome back. Meredith? Meredith...IZZIE: Sorry it's not like I can leave. I gotta stay by my bossesside.NANCY: Okay, the trailer sucks, but in the light of day the land is nice. Seattle's pretty in the daylight. Plus you have your thing for ferries.MEREDITH andDEREK: Ferry boats.NANCY: Right, whatever.DEREK: Meredith, this is my sister Nancy.MEREDITH: Sister? You're one of Derek's sisters?NANCY: Well I knew youdidn't think I was the wife, seeing as how you already ran her off.DEREK: Nancy is visiting from Connecticut. She's on her way home... now. Straight backhome.MEREDITH: Well it was nice to meet you.NANCY: Okay...(Meredith and Izzie walk off as Derek grabs Nancy's arm scornfully.)IZZIE: McDreamy's sister isMcBitchy...[SCENE_BREAK]CHRISTINA: You put me in charge of your schedule.BURKE: To make sure that I didn't get a surgery like this one.CHRISTINA: Only ahandful of people do humpties Burke. And you're the best one on the west coast.BURKE: Then he can go to Houston.CHRISTINA: You want to tell the Chief that?Pruitt needs the surgery, he'll die without it.BURKE: You didn't tell me. You told the patient we were doing the surgery. but you didn't tell me.CHRISTINA: I havebeen doing that all week.BURKE: Are you up on a humpty? Do you realize what this entails?CHRISTINA: I have done my research. Stop worrying. We are awell-oiled machine.[SCENE_BREAK]BAILEY: Uh Dr. Burke.BURKE: Yeah.BAILEY: I understand there are some doctors in this hospital that have doubts about myjudgement since DennyBURKE: Everyone loves a scandal.BAILEY: So you think it's just gossip? It's not actual concern about me being a doctor?BURKE: Sure,sure.[SCENE_BREAK](Meredith pulls gauze off a young girl's burnt hand.)MEREDITH: Ow. Iz, set me up for debriedment, and dressing.GRETCHEN: It's stupid. Iknow better. When I'm setting up for the bar... I'm a mess. I can't focus on anything for weeks, but tourts and real property and constitutional law.MEREDITH: Uhthe Biosynthetic ones.IZZIE: We never use those.MEREDITH: We do now. Sloan changed the burn protocol last week.GRETCHEN: I was about to start a practicetest. I wanted something to drink. So I put on some tea. So I put on a pot of water and forgot. Half an hour into my section on contracts and the smoke alarmwas blaring...and well you know the rest.MEREDITH: So you're going to be a lawyer?GRETCHEN: All I have to do is pass the bar exam. I failed last time...but thistime I'm ready. I'm going to pass.IZZIE: Good for you.[SCENE_BREAK]DEREK: That was just mean.NANCY: Kathleen called and asked me to find out why theslutty interns panties were hanging on the bulletin board.DEREK: Four sisters... four sisters and not one brother. And you wonder why I don't call more.NANCY:You can answer about the panties at any time.DEREK: Nance, it's good to see you. Really great to have you here. But I have a job you know? I havepatients.NANCY: I have a mother with twins at 35 weeks...where is her OB?DEREK: Well her OB should be on a plane back to Connecticut where shebelongs.NANCY: Okay, so we've covered the trailer, we still have to cover the slutty intern and the divorce.DEREK: You know what? You sound more and more"}
+{"doc_id":"doc_121","qid":"","text":"[PREVIOUSLY_ON]Clay : Where to?Quinn : Your place.Nathan : Clay, Quinn is Haley's sister. She has a lot going on right now. Stay away from her.Brooke : Youwere a huge hit last night. They think you're amazing.Millicent : You don't think I look like \"a frumpy whore on bingo night?\"Brooke : No! If I did, would I ask youto model full time?Brooke : Honey, I'm home. Let's do this.Alex : I told you it was realistic.Julian : Hey, honey. Alex and I worked everything out.Alex : Isn't thatgreat?Dan : \"Nathan Scott: a basketball star's love child.\"Rachel : Like father, like son, huh?Haley : She's just so certain. You don't remember meeting her at allor...?Nathan : You're actually starting to believe her, aren't you?Dan : I heard about your problem. I was wondering if I could...Nathan : You could what, help?You save your help for people who don't know you and stay away from me and my family.Renee cell phone : You've reached Renee. Leave a message.Dan : Itrust you had a nice flight. I have a proposition for you.AT THE RECORDING STUDIODirector : Okay, folks. That's a wrap!Nathan : Hey, whoa, whoa, whoa, whoa.Um, we, uh... we haven't even shot anything yet.Director : You might want to call your agent, son.Nathan : You're serious? Hey! Whoa.Kylie : What a pity. I justfound my motivation.Nathan : Okay.AT BROOKE'S HOUSEBrooke : Hey.Julian : Mm.Brooke : This hot body of yours has just inspired me to do something that I'venever done before.Julian : Oh, yeah?Brooke : Yeah. And it's gonna take a lot of hard work, and it's gonna take a long, long time. And I'm gonna need you to startby taking your pants off.Julian : Oh, that sounds amazing. But Alex is coming over to work.Brooke : Ugh! You two were up half the night.Julian : It's all business,Brooke. I don't know. She seems to have really come around. IBrooke : don't buy it. Once a ho bag, always a ho bag.Julian : Now, as I recall, you...Brooke : Youmight want to consider what you are about to say very carefully. Now come kiss me till ho bag shows up.ON THE BEACHQuinn : Hey.Clay : Hey.Quinn : You're upearly.Clay : My shot at peace and quiet... the west coast wakes up in three hours, and my phone starts ringing.Quinn : Nice.Clay : Did you come down for aswim?Quinn : Yeah, I tried but, uh, couldn't. I've been afraid of the ocean since I was a little girl.Clay : Mm. Sharks.Quinn : Immensity. You know, I thought if Ijust threw myself in and... Well... it didn't quite work out.Clay : You should start smaller, like a toe. Work up to an ankle, maybe even a shin. Who knows?Quinn :Yeah, I'm more of a \"yank the band-aid\" kind of girl.Clay : Wait.Quinn : Go. It's fine.Clay : Hey, man. Oh, just relax, all right? I... Okay, I'll get into it. Yeah, fine.I'll meet you at your place. Oh...Quinn : Time to find a phone booth and change into that super-agent costume.Clay : Yeah, if only it were that easy. Um, I hateto run, but...Quinn : Go. Save the day.Clay : Okay. See ya.AT ALEX HOTEL ROOMMillicent : Oh, no. Oh... no. Oh, no. Oh, no. Oh, no. Oh, no. Oh, no. I nevercalled Marvin!Alex : Keep it down, Giselle. I'm trying to write. Besides, I thought you were mad at him.Millicent : I was \"ignore him for a couple of hours\" mad,not \"disappear for the second night in a row\" mad.Alex : Well, you can thank me later, but you were way drunk, so I texted him from your phone and let himknow you were safe.Millicent : \"Melvin... got my drink on with Alex. If you're done being a tool, you should come rock out with your co...\" Oh, my God.Alex :Nope, just little old me. But I do work in mysterious ways.AT THE CHANGING ROOMRenee : So you want me to go on your show and tell the world my story?Dan: That's right.Renee : And you're gonna be on my side? Why would you do that? Nathan's your son. It could ruin him.Dan : But you're the one telling the truth.ATSCOTT' S HOUSEHaley : You're not telling the truth.Nathan : About what?Haley : Renee. You said you didn't know her and you didn't remember her.Nathan : Idon't. Haley, we've been through this. Why can't you just believe me?Haley : Her number is all over your old cell phone bill. Nathan! Excuse me... why aren't youexplaining yourself?Nathan : Because I shouldn't have to. But if you insist... I'm a professional basketball player. Girls get a hold of my e-mail, my telephonenumber. They try to contact me. And when they do, I reply to them and tell them to stop because I'm happily married to a woman who loves and trusts me. So Iguess I did lie, Haley... but only when I told them that my wife trusts me.AT THE APPARTMENTMillicent : Marvin.Mouth : Don't you mean \"Melvin\"?Millicent :Please don't be mad even though you have every right to be. Alex called me after she left Julian's, and I was kind of already drinking because I thought you didn'tthink I was pretty enough to be a model.Mouth : When did I say you weren't pretty enough? Of course you're pretty enough.Millicent : Then maybe we could skipthe whole fight and you could just be really excited for me, because... it's official... you're looking at the newest face of Clothes Over Bros! Oh, well, not this face.But once it's cleaned up with a little makeup...Mouth : Congratulations, Millie. I just wish I was the one you wanted to celebrate with. Anyway, you'll understand ifI can't stay and rock out with my...Millicent : Marvin! That was Alex.Mouth : Of course it was. Well, at least she texted me. I got to go.AT SCOTT'S HOUSEClay :This situation's like a war, Nate. We're gonna lose a few battles.Nathan : Just stop with the metaphors and tell me what the hell happened this morning.Haley :Simile. What? Similes use \"like\" or \"as\"... \"like a war.\"Clay : Guys. We lost the rainstorm body spray campaign, And it looks like the shoe deal's goingaway.Nathan : What?Clay : Temporarily.Nathan : This is unbelievable.Clay : I know it feels like the sky is falling, but when something like this goes down,marketing executives distance themselves to protect their brands. All right, almost always, they come back as soon as the air clears.Nathan : \"Almostalways\"?Clay : Look, we knew there was a risk when we decided not to deal with Renee, but it has become a bit of an issue with the Bobcats.Nathan : They don'twant me back?Clay : No, you are far too talented for that, but they're using it to their advantage, and negotiations have slowed. Again, like I said, we expectedthis. More importantly, Nate, the whole agency's on this, all right? Everybody respects your decision to fight this, and we've got your back. You just got to havesome faith in us... and in each other.Haley : Clay. He's gonna have a career when this is over, right?Clay : Haley, I'm not gonna let anything happen to him.Haley: Because you didn't see how dark he got the first time.Clay : Look, this is a staring contest. Our best chance at having her blink first is if the press gets tired ofthis and nobody makes this story any bigger than it already is.AT THE TV BROADCASTDan : I'm gonna make this story huge. But you don't trust me. I'd have tohate my son to tell your story, right? You're smart. I like that. That means my grandchild will be smart. Well, I was in Nathan's situation once. I refused torecognize a child that I'd fathered, and it was the second-worst mistake I ever made, but I made it in part because nobody forced me to look at the consequencesof my actions. By coming out in support of you and allowing you to tell your story, I'll be forcing Nathan to take responsibility... if not emotionally, then at leastfinancially.Renee : He'll never forgive you.Dan : Hmm. I've made my peace with that.AT CLOTHES OVER BROSMillicent : There she is. I know... I'm late again,and we still haven't finished...Calliope : The inventory. I also found that shipment that went missing in New Mexico, balanced the register from yesterday, andtook the liberty of ordering some Bellissimo fabrics from Milan. You're gonna love them.Brooke : I can't wait. Isn't she amazing?Millicent : Um, I guess, but that'smy job.Brooke : Not anymore, miss thing. The fashion blogs are still buzzing about you. You are officially a model. Your only job now is to worry about beingpretty. You... you might want to worry just a smidge more.Millicent : I know. I was out late. And, Brooke, I am excellent at multitasking, and I'd be happy to keepmy administrative responsibilities.Brooke : Nonsense. I am not gonna have the new face of my company doing dirty work. Now off you go. Do whatever modelsdo in their spare time. Just be back this afternoon for a swimsuit fitting.Millicent : Swimsuits?Brooke : Mm.Millicent : Wow. Okay. I mean... great!Brooke : Oh...Welcome to Clothes Over Bros.AT MOUTH'S WORKMouth : Hey, man, how you doing?Man : I'm doing better than Nathan Scott. I mean, that dude can't catch abreak.Mouth : What do you mean?Man : You haven't checked the board. Oh, God, Mouth... He's losing his endorsements. Sports is breaking the story tonight at6:00.Mouth : If Charlie asks for me, tell him I'm... I'll be back later.ON THE BEACHQuinn : Clay! Hey.Clay : Hey.Quinn : What, did you run into some kryptonite?You need a friend?Clay : You have no idea.Quinn : Come on.AT BROOKE'S HOUSEAlex : Seriously, you've been reading forever. Look, some of it's supposed to befunny. You're not laughing. You're not even smiling.Julian : Maybe I'm laughing on the inside.Alex : Are you? You're not. You're like, \"wow, does she suck,\" on theinside. You're like, \"she...\"Julian : This is good.Alex : Like \"I hate it, But there's a story in there somewhere\" good?Julian : No. These scenes are genuinely good...sweet, subtle, funny. Where did this come from?Alex : Well, I woke up, and I was watching Millicent sleep. And she was, like, totally busted. So I asked myselfwhat it would be like if I was that tragic, with, like, no self-confidence. And then I just added a boy.Julian : Who are you?Alex : Stick around. Maybe you'll findout.Julian : Unfortunately, I can't stick around, because you are three hours late, and I have to meet Brooke for lunch.Alex : Oh! Come on. Tell her we're on aroll.Julian : Um, no. She's already a little jealous of our working relationship, but maybe we can meet back up tonight.Alex : It's a date.Julian : No.Alex :Date-ish?Julian : Work.Alex : Work... date.AT SCOTT'S HOUSEHaley : We can still pay her.Nathan : For what? The story's already out there.Haley : For aretraction. The money she wants is a drop in the bucket compared to the rest of your career.Nathan : It's too late for that.Haley : Nathan, you're being stubborn,and I know I was against it at first, but if she were to get out there and say that this whole thing has been a lie...Nathan : We're not paying her, Haley! We're notgiving this woman a dime of our money.ON THE BEACHQuinn : You're really worried about this.Clay : There's just so much riding on it. Quinn, I'm not in Tree Hillfor a vacation. A while back, I went off the rails a bit... emotionally, and... luckily I had earned enough capital with the agency that they didn't fire me. They justscaled back my client roster and suggested I spend the summer here... pull myself together.Quinn : And then Nathan's scandal happened. So the calm, coolexterior...Clay : ... is kind of a lie.Quinn : Just when I was beginning to wonder if we had anything in common.Clay : Quinn, I shouldn't be here. Nathan doesn'twant us hanging out, and I, uh, I have to respect that.Quinn : No, look, Clay...Clay : I'm sorry. Uh, thank you for this. I mean that. You're really great.Quinn :Stick around.AT CLOTHES OVER BROSBrooke : Chase... What brings you in?Chase : Hey. Uh, just doing a little shopping for Mia.Brooke : Ohh. You guys have"}
+{"doc_id":"doc_122","qid":"","text":"[Scene: Joey and Rachel's apartment. The scene starts where we took off in the last episode with Ross seeing Joey and Rachel kissing. Rosss tares at them.]Joey:Okay, Ross, I realise that you didn't expect to walk in and see that, but.. Let me explain, okay?Rachel: We weren't doing anything!Joey: Rach, he just sawus.Rachel: Shhh.Joey: But what you saw, that is the extent of it, okay? One kiss.Rachel: No, come on, that is a lie. We also kissed in Barbados.Joey (to Rachel):Dude, chill! (to Ross) Okay, we also kissed in Barbados, but we didn't plan it, okay? And the only reason that that happened was because I saw you kissingCharlie.Rachel: Yeah, you started it! I've got to chill.Joey: Look, we probably should have talked to you about this before it ever happened, but..Rachel: We feelso terrible about this, Ross.Joey: Yeah, but it did happen, so...(Ross looks shocked and says nothing.)Joey: Ross?Rachel: Ross? (to Joey) Can we just close thedoor?OPENING CREDITS[Scene: Joey and Rachel's apartment. Continued from earlier.]Rachel: Ross, say something. Anything.Ross: So you two are..?Joey andRachel: Yeah.Ross: And have you .. ed?Joey: No, no, no!Rachel: No, no, no!Ross: But if I hadn't walked in here, would you..?Joey: Probably.(Rachel looks athim.)Joey: No, no!Rachel: Ross, this is not how we wanted you to find out about this. You have every right to go nuts.Ross: I'm not going nuts. Do you see me gonuts?Rachel: No, but you know what I mean.Ross: Hey, hey, hey... If you two are happy, then I'm happy for you. (Squeaky.) I'm fine!Joey: Really?Ross:Absolutely. (Very Squeaky.) I'm fine! Totally fine. I don't know why it's coming out all loud and squeaky, 'cause really, (deep voice) I'm fine. I'm not saying Iwasn't a little surprised to see you guys kissing. I mean, at first I was like.. (Screams.) But now that I've had time to absorb it; Lovin' this.Joey: Ross..Ross: It'sall working out! Me & Charlie, and you two. You know what we should do?Rachel: Calm ourselves?Ross: No. We should all have dinner. Yes, we'll do it tomorrownight. I'll cook!!Joey: Look, don't you think that will be a little weird?Ross: Weird? What? What's weird? The only thing weird would be if someone didn't likeMexican food, because I'm making fajitas!! (Storms off.)Joey: I do like fajitas.[Scene: Central Perk. Monica and Chandler are there. They have lots of brochuresabout adoption in front of them.]Monica: God, this adoption stuff is so overwhelming. There's inter-country adoption, dependency adoption.. There are so manyways to go, and this is like the biggest decision of our lives.Chandler: There's a hair in my coffee.(Phoebe enters.)Phoebe: Hey guys!Monica: Hey.Phoebe: Hey,have you seen Frank Jr., 'cause he's meeting me here with the triplets.Chandler: You know, it's funny. Every time you say \"triplets,\" I immediately think of threehot blonde 19-year olds.(Monica glares at him.)Monica: That's sweet. Drink your hair.Phoebe: Hey, what's all this stuff?Monica: Oh, they're brochures fromdifferent adoption agencies.Phoebe: Ooh, babies! Oh, this one is so cute, get this one!Monica: That's not really how it works.Phoebe: Oh, how does itwork?Monica: I don't know!Phoebe: Well, if you're having a hard time, you should talk to my friends, Bill and Colleen. They adopted a kid. I'm sure they'd helpyou.Monica: Thanks, that would be great. Hey, honey, wouldn't that be great?(Chandler looks like he did the time he swallowed the toy in 605 TOW Joey'sPorsche. It's the hair in his coffee.)(Frank Jr. and the triplets enter.)Frank Jr.: Alright, alright, alright. Remember what we talked about. When we're in a publicplace, there are certain rules.(The triplets scream and run amok in the coffeehouse.)Frank Jr.: That's not what we talked about!!Phoebe: Hey!Frank Jr.:Hey.Phoebe: Good to see you.Frank Jr.: Good to see you, too.Monica: Hi Frank.Frank Jr.: Hi, how you doin'?Monica: Oh, my goodness, they've all gotten sobig!(Little Chandler is pulling Chandler's sweater, while Leslie is throwing bagels at him.)Monica: Which one is which again?Frank Jr.: Oh, that's Frank Jr. Jr.pulling the tampons out of the lady's purse. And that's Chandler climbing on Chandler, and that's Leslie throwing bagels at him.Monica (reads a form in her lap):\"Willing to adopt triplets?\" No![Scene: The hallway in Ross's building. Joey and Rachel are on their way to Ross's dinner.]Joey: Ah, can I just say I know we'redoing this for Ross, and that's cool, but if it was up to me, this is not what we'd be doing on our first date.Rachel: Well, what would we be doing?Joey: I'd takeyou out for a romantic night. Some champagne, fancy dinner, feel you up on the carriage ride home...Rachel: Feel me up?Joey: In a carriage!(Charlie walks up tothem.)Joey: Hey, Charlie!Rachel: Hey.Charlie: Hi, hi. So.. Dreading this?Rachel: Oh, you bet.(Joey sees that she's carrying a small red bag.)Joey: So, did youbring a little something for Ross?Charlie: Actually.. It's stuff you left at my apartment.Joey: Oh. Oh, thanks.Charlie: And you know, you can just give me my stuffwhenever you want.Joey: Yeah, I didn't throw any of that out..(They enter Ross's apartment. Ross is already quite hyper.)Ross: I thought I heard voices! HiCharlie! (Kisses her.) Hi Joey. (Hugs him.) And.. Oh! You're gonna have to introduce me to your new girlfriend. (Laughs.) I'm just kidding, I know Rachel, I know.(He squeezes her hand.) Come, please come in. Come in.Rachel: Okay, well, we brought you some wine.Ross: Oh! That is so thoughtful. (To Joey.) She's akeeper. And what did you bring me? (Grabs the bag that Charlie brought for Joey.)Joey: Uh, actually, that's..Ross: Underwear, a toothbrush, and Van Halen CD. Ican use all these things!!Charlie: Gosh, Ross, you know, you seem a little...Ross: What? Fine? Because I am! Aren't you? Aren't you? Aren't you? You see? Whoelse is fine?Joey: Okay, listen, hey, Ross. Why don't you try to relax, okay? Maybe have a drink.Ross: You know what? That is a very good idea. I'm gonna gomake a pitcher of Margaritas.(Does a Mexican dancing-thing before going to the kitchen.)[Scene: Central Perk. Frank Jr., Phoebe and the triplets are there. Thetriplets are now sleeping on top of each other on the couch.]Phoebe: Oh, god. So adorable. Look at them sleeping there like angels.Frank Jr.: Yeah, I reallycherish these moments, 'cause before you know it, they're gonna be awake again.Phoebe: Well, they may be a handful, but they're so cute.Frank Jr.:Yeah.Phoebe: Oh, god, the last time I babysat them, they did the funniest thing..Frank Jr.: I haven't slept in four years!Phoebe: That's a, that's a long time.FrankJr.: You just don't know how hard it is, Phoebe. There's just so many of them. You know, two I can handle. Two's great. You just hold one in each hand, but whatdo I do when the third one runs at me with his bike helmet on. I've got no more hands to protect my area! There's three of them, Phoebe, three!Phoebe: Yeah, Iknow, Frank. I counted them when they were coming out of my area.Frank Jr.: Sometimes I think that.. Oh, no, no, no, I can't say it, it's too horrible. No.Phoebe:What?Frank Jr.: No, I can't.Phoebe: Oh my god, Frank, are you thinking of leaving? Because I didn't have those triplets so you could just run out on them!FrankJr.: Oh, no! I would never do that. No. I just was thinking that, you know, maybe you could take one.Phoebe: What?! You can't separate them! That's terrible.Which one?[Scene: Bill and Colleen's apartment. Chandler and Monica enter.]Monica: Thank you so much for seeing us. Phoebe has told us such great thingsabout you guys.Colleen: Oh, please, we're happy to help.Bill: We went through the same thing when we were adopting.Chandler: So, a lot of malfunctioningwee-wees and hoo-hoos in this room, huh?(Bill and Colleen look shocked.)Chandler: I mean, you have a lovely home.Monica: Well, we appreciate anything youcan tell us.Colleen: Well, actually, I think this might help.(She gives Monica a big binder that's perfectly in order.)Colleen: It's pretty much all the information youneed.Monica: Oh my god!Colleen: Everything is broken down into categories, and then cross-referenced, and then colour-coded to correspond with the forms inthe back.Monica: Thank you. (To Chandler.) I think I just had a tiny orgasm.Bill: I know the process is frustrating, but it's so worth it. Adopting Owen was thebest thing that ever happened to us.Chandler: That's great. (To Monica.) Can I see the book?(Monica looks at him.)Chandler: You want me to wash my handsfirst, don't you?Monica: It's.. It's just so pretty and white.Colleen: The bathroom is down the hall, to your left.(Chandler leaves.)Colleen: I would have told him todo it too.Monica: Can I adopt you?(Cut to the hall. Owen is wearing his scout-uniform and is looking through a box when Chandler walks up to him.)Chandler:Hey, you must be Owen.Owen: Yeah.Chandler: I'm Chandler. Hey, I was in the scouts too.Owen: You were?Chandler: Yeah, in fact my father was aden-mother.Owen: Huh?Chandler: You know how to use a compass?Owen: I have a badge in it.Chandler: You do? That's fantastic!Owen: You wanna seeit?Chandler: I'd love to, but I gotta get back to talking to your parents. They're telling us all about how they adopted you.Owen: What?!?Chandler: What?Owen:I'm adopted?(Chandler tries to come up with a good answer.)Chandler: I got nothing.[Scene: Ross's apartment. Ross is totally wasted, but he's still drinking allthe margaritas.]Ross: The first batch of margaritas was not so great, but the second batch is gooooood.Rachel: Well, maybe the next batch, we could all getsome.Ross: Oh, guys, this is fun, isn't it? You know? Just the four of us. Just hangin'.Joey: Dude, are you okay? And when are the fajitas gonna be ready?Ross:I'm fine! Hey, I'm great! I'm just.. I'm just proud of us. There's no weirdness, no tension.Rachel: No awareness.Ross: We make a great foursome. We should domore stuff together. Ooh! Let's take a trip. Okay, where do you think we - we can go?(The oven timer pings in the kitchen.)Ross: My fajitas!!(He runs off to thekitchen.)Rachel: Look, Charlie, I just want you to know. Ross is just having a little trouble adjusting to the thought of Joey and me. You know, he normallydoesn't drink like this.Charlie: Oh, you know what? This is nothing. My father is a raging alcoholic.(Joey and Rachel don't know how to respond to that.)Charlie:Oh, I'm sorry, have I made this evening uncomfortable?(Ross enters carrying a frying pan with fajitas - without any oven mitts.)Ross: Fajitas! Be careful, very hotplate, very hot plate!!Rachel: Ross, you don't even have oven mitts on!(Ross laughs.)Ross: That is gonna hurt tomorrow![Scene: Central Perk. Frank Jr., Phoebeand the triplets are there. Continued from earlier.]Phoebe: Okay, well, this is crazy. Can't seriously be talking about me taking one of your kids, can we?Frank Jr.:No, of course we're not.Phoebe: Insane.Frank Jr.: I know.Phoebe: Alice would never go for it, right?Frank Jr.: Oh, I don't know, she's pretty tired, too, I thinkwe've got her onboard.Phoebe: Well, just you know, for argument's sake, you know, hypothetically. Which one would you be willing to give up?Frank Jr.:Huh.Phoebe: Frank Jr.Jr.?Frank Jr.: Oh, you'd be getting a really good one. I mean, you know, he's really funny. Like, the other day he made up thisjoke.Phoebe: Uh-huh.Frank Jr.: What's green and says \"hey, I'm a frog\"? A talking frog! (Laughs.) Oh, no, you can't have him, he's too funny.Phoebe: Well,"}
+{"doc_id":"doc_123","qid":"","text":"Toby: I really didn't think I was going to have a good time, but I did. Totally did.Meredith: I love camping. [in a singing voice] Anything can happen.Toby: Oh, itwasn't camping, it was more of a wilderness retreat. [Michael walks in]Michael: Morning.Toby: Michael.[SCENE_BREAK]Pam: Ryan invited some of the branchmanagers and Toby into the woods for a \"get to know you\" weekend. Michael wasn't invited. Apparently they already knew everything they needed to know abouthim.[SCENE_BREAK]Pam: Did you sleep in cabins?Toby: Under the stars. It was really beautiful, you should come.Phyllis: Bob and I took rock climbing lessonsonce. [Michael laughs][SCENE_BREAK]Phyllis: Michael wasn't invited on Ryan's camping trip. Toby went, but Michael didn't go. He wasn'tinvited.[SCENE_BREAK]Pam: Who went?Toby: Me, Dan from Buffalo, Mark Chisholm, Jeff from Albany and Ryan, obviously. Made so many s'mores, that I finallyhad to say, \"No more s'mores, no more s'mores.\" [everyone in room but Michael laughs, Michael exits break room][SCENE_BREAK]Toby: Ryan invited me to goon his wilderness adventure retreat. It was this amazing, beautiful experience [Michael knocks on the window behind Toby from outside]Michael: [from outside]Hey, nobody cares. Nobody cares. I need that room at some point, so just, wrap it up.Toby: Michael wasn't invited.[SCENE_BREAK]Michael: Hypothetically, if Iwere to ask you to go camping, and you know what hypothetical means? [Jim makes a face] Not real.Jim: Got it.Michael: So if I were to hypothetically ask you togo camping with me, would you go?Jim: Absolutely, yes.[SCENE_BREAK]Jim: When Michael plays the hypothetical game, I always sayyes.[SCENE_BREAK]Michael: Really?Jim: Yeah?Michael: Oh, you wanna go today?[SCENE_BREAK]Jim: And I am always busy.[SCENE_BREAK]Jim: Oh, can't gotoday, 'cause I'm donating blood.Michael: How often can you actually donate blood?Jim: Is there a limit?Michael: Your body only has a certain amount.Jim: Well,is that it? Or?Michael: Yeah, just this whole Toby, camping thing, uh, seems a little lame.Jim: How so?Michael: A bunch of guys, in a tent? Making s'mores?[makes a noise and gestures with his hands]Jim: What's that?Michael: Hello, I'm Broken Mountain. You know, here's the thing. That's not how you go camping. Ithink you go camping by yourself---Jim: Right.Michael: In the wilderness. It's not with a group of guys frolicking around in tents. It's one guy, or two guys, if yourplans change.Jim: Not gonna change.Michael: I wanna do it myself. You know, I want to go and, and find out something about myself, I wanna get outta here. Allthe cliques, and the office politics. Fluorescent lights. Asbestos.Jim: I thought we had that looked at.Michael: I'm sick of it Jim. I'm sick of thisplace.[SCENE_BREAK]Michael: When Jan and I had satellite, we used to watch a reality show called \"Survivorman.\" And, it was interesting because it was about aguy who would go out in the middle of no where and just try not to die, try not to get eaten by an animal, or be overexposed.[SCENE_BREAK]Michael: OK, I willonly need two things. Roll of duct tape and a knife.Dwight: [winks] I'm on it. [leaves room]Michael: OK. Thirty minutes or less, please come back. Save thereceipts. [Dwight comes back with set of knives] Hey, what...Dwight: Let's see if any of these will work. [clears the front of Michael's desk]Michael: Hey, hey hey!Dwight. [Dwight rolls out an assortment knives]. Dwight.[SCENE_BREAK]Dwight: I keep various weaponries strategically placed around the office. I saved Jim'slife with a can of pepper spray I had velcroed under my desk. People say, \"Oh, it's dangerous to keep weapons in the home or the work place.\" Well I say, \"It'sbetter to be hurt by someone you know accidentally, than by a stranger on purpose.\"[SCENE_BREAK]Michael: Dwight and I are going out. He will return later, butI will not. I will also be taking a personal day tomorrow, and perhaps the next day.Pam: Do you want me to ask where you're going?Michael: No.Pam:Great.Michael: Dwight will be driving me deep into the Pennsylvania wilderness.Pam: Oh.Michael: Where he will then leave me to either die or to survive. Thechoice is yours.Jim: Hmm, no, the choice is actually yours. Are you sure you want to do this?Michael: Yes, and I am leaving you in charge of the office for the restof the day and for the next several days. Do not try to follow me.Jim: OK, great.Michael: This is a very personal, private experience in the wild, that I wish toshare it with me, myself and I.Jim: Yup.Michael: When I return, I hope to be a completely changed human being.Jim: That'd be great.[SCENE_BREAK]Dwight: DoI believe that Michael possesses the skills to survive in a hostile environment? Let's put it this way[/b]: no, I do not.[SCENE_BREAK]Michael: This is what a truesurvivor man does. You simulate a disaster, like a plane wreck. You could only wear the clothes that you have on, and you could only use the stuff you have inyour pockets. Now, in this case, this disaster is a serial killer. Creepy guy who's abducted me and is taking me out into the wilderness to leave me fordead.Dwight: No, I would never leave you for dead. You would never escape.Michael: Well, yes I would. And I would survive.Dwight: I would make sure that youwere dead.Michael: Well...Dwight: First, I would remove your teeth and cut off your fingertips so you could not be identified.Michael: You...Dwight: And theywould call me the Overkill Killer.Michael: You... you are as creepy as a real serial killer. For real. [blindfolds eyes with tie] OK.Dwight: What are youdoing?Michael: I am putting this on so I have no familiarity with my surroundings. Now this way, I can't retrace my steps. I don't know what streets we'vebeen--- [Dwight whacks Michael with his shoe] Ow! What are you doing?Dwight: It would be better if you were unconscious.Michael: No! Gosh! Dwight. [Dwighttries to hit Michael with his shoe again] Stop it, stop it! Stop it.Dwight: Do you want to do this right or not?Michael: Just, please allow me to have one catharticexperience in my life?[SCENE_BREAK]Angela: Jim, we need to order a cake for Creed's birthday.Jim: Oh, wasn't it just someone's birthday?Angela: Yes. Kelly'swas last week, remember?Jim: I do remember, yeah.Angela: It's birthday month. Creed's is today. Oscar's is week after next. Meredith's is at the end of themonth. [Jim exhales deeply] Michael usually goes with red and white streamers...Jim: You know what, I have an idea. Why don't we just do one big sharedparty?Angela: What?[SCENE_BREAK]Jim: There are thirteen people working in this office, so thirteen times a year Michael gets a cake and balloons, and somesort of joke gift and makes a toast. There are two types of toasts. One is a joke about how old you are.[SCENE_BREAK]Michael: [flashback to Stanley's birthday]Look at those wrinkles. Blacks do crack! Not crack the drug.[SCENE_BREAK]Jim: And the other is something inappropriate. Or horrible. Or both. What else? Heonly sings the high harmony to \"Happy Birthday.\" And he's a very big believer in surprise parties. Maybe even, arguably, possibly to afault.[SCENE_BREAK]Michael: [flashback to Kelly's birthday, hiding in the elevator] Happy Birthday!Kelly: Ahhh!! [drops the papers she washolding][SCENE_BREAK]Michael: [flashback to Oscar's birthday, hiding in the break room] Happy Birthday!Oscar: Ahhh! [runs into door and Michaellaughs][SCENE_BREAK]Michael: [flashback to Phyllis' birthday, sneaking up on Phyllis' car] Happy Birthday!Phyllis: Oh! [Michael laughs][SCENE_BREAK]Jim:So... I think, yeah, I think getting these out of the way might be productive.[SCENE_BREAK]Jim: We can just have one big fun party. Everybody's happy, nobodywastes their time.Angela: I don't like it. [Angela leaves]Pam: Wow! You're shaking things up a bit, huh?Jim: It's a pretty good idea, don't you think?Pam: Do youthink it's a good idea?Jim: No... I think it's a great idea.Pam: [smiles] Hmm.[SCENE_BREAK]Dwight: We're here. [gets out of the car]Michael: Dwight will takemy blindfold off when we are deep in the forest. Just the two of us from this point out.Dwight: [leading Michael from car] Here we go. Just the two of us [gesturesfor camera crew to follow][SCENE_BREAK]Dwight: Here we go, into the wild. Mighty forest. Can you smell the trees and the nature?[SCENE_BREAK]Dwight: Keepgoing, you're fine. Just some bushes and some thickets [leads Michael into some tall grass] Keep going. You wanted wilderness, you got it.[SCENE_BREAK]Jim:You know, try sending them another invoice.Oscar: Ok.Jim: Alright. [starts walking away, but returns] Oh, did you see my memo by the way?Oscar: [picks upand reads memo] \"Let's be honest, as fun as birthdays are we could all use a break from the constant cake, so let's celebrate birthday month in style today.\" Thisis really cool.Jim: Right? I was just thinking...Oscar: No, totally, totally. This way we get it all out of the way at once and it could actually be fun.Jim: Right!Exactly. [pats Oscar on the back and walks away] Knew I could count on you. [Oscar rolls his eyes][SCENE_BREAK]Dwight: Good a spot as any. [They stop andDwight starts spinning Michael around in circles]Michael: What are you doing? Stop. Dwight, Dwight. Just --Dwight: I'm just --Michael: Stop.Dwight: Spin. I'mtrying to confuse your sense of direction. [stops spinning and takes Michael's blindfold off] Behold.Michael: Alright, good. Thank you, Dwight.Dwight: Here's yourknife. Here's your duct tape.Michael: Alright, very good. Ahh, OK. [Dwight gives Michael a hug]Dwight: Good luck, Michael.Michael: Thanks for the ride. OK.Leave me be, Dwight. [Dwight runs off][SCENE_BREAK]Meredith: Hey, Jim, can I have my own cake?Jim: What's that?Meredith: I really prefer devils foodcake.Jim: Oh, sure.Meredith: Yes!Jim: OK. [Meredith leaves]Pam: Wow! That was easy.Jim: Yeah, people like me I guess.Creed: [knocking from outside windowin break room] Jim.[SCENE_BREAK]Creed: I hate devils food.Jim: Well I think Meredith was just --Creed: Screw Meredith, I don't think it's fair to let someoneelse pick the cake on my birthday.Jim: Everybody's birthday.Creed: Today is actually my birthday and I want to pick the cake.Jim: What do you want?Creed: Iwant pie. I want peach pie.Jim: You want a birthday pie?Creed: I want a nice cobbler.Jim: Well, I'm gonna to talk to Angela and we're gonna see what we can doabout a pie.Creed: I don't care who you talk to. Just make it happen.Jim: It will be Angela.Creed: You tell her it's for Creed. She'll know what thatmeans.[SCENE_BREAK]Michael: [to own camcorder] Day One. I'm in the interior of the vast Pennsylvania wilderness. I've brought with me only the bareessentials. A knife, roll of duct tape, in case I need to craft some shelter or make some sort of water vessel. It's hot today. The sun is in the two-thirds easterlyquadrant, which would make it about [looks at watch] 2 o'clock in the afternoon. It's really beating down on me now. I think that I want to get a little morecomfortable because the sun is depleting my resources. [cuts pants with knife] OK. OH, there we go. Watch that I don't hit my corroded arteryhere...[SCENE_BREAK]Dwight: I lied to Michael. I said that I would leave him alone, but I will not. I will remain close by to provide unseen moral support, but I"}
+{"doc_id":"doc_124","qid":"","text":"[Scene: Central Perk. Rachel is getting a cup of coffee as Joey and Phoebe enter and sit down.]Phoebe: Oh! Hey, Rach!Rachel: Hi! Hey, Happy Valentine'sDay!Phoebe: Oh, you, too.Joey: Hey, so, uh, how's it going living over at Ross'?Rachel: It's good. Except he makes us watch the Discovery Channel all day long.Did you know that something really boring happened to someone really ugly in the Middle Ages? (to the waitress handing her a cup of coffee) Oh, thank you. I'llsee you guys later.Phoebe: Okay.Joey: Bye.(Rachel exits with coffee)Joey: There's one lucky to-go cup of coffee.Phoebe: (sighs) Honey, I wish you would getover her. I hate seeing you like this. Is there anything I can do for you? Do you want to look down my top?Joey: Thanks. But maybe later.Phoebe: Oh, Gunther,can I get a scone?Gunther: (to Joey) You want anything?Joey: You know what I want? I want a lot of things! I want to be with the woman I love on Valentine'sDay! And I want her to love me back! And I want just one moment of relief from the gut-wrenching pain of knowing that that's never going to happen!Gunther:We have red bagels.Joey: Oh, okay.Opening Credits[Scene: Monica and Chandler's. Phoebe and Ross are sitting in the living room talking.]Phoebe: So, how doesMona feel about you and Rachel living together?Ross: Oh, I'm actually on my way to tell her right now. Yeah, she's been away all week visiting her parents, butshe'll be cool. I mean, she's been so supportive. She-she even got the baby a tiny T-shirt that says, 'Fossils are my friends.'Phoebe: Ugh. Come on, Mona, don'tkiss ass.Ross: Uh, I'm going to take off.Phoebe: All right. Oh! Shoot! Oh shoot! Uh, Rachel wanted to see this tape!Ross: What is it?Phoebe: It's a video of myfriend giving birth. Could you just bring it back to your apartment?Ross: All right. (reading the label) 'Candy and Cookie?'Phoebe: Yeah. Candy's the mother,Cookie's the daughter. The father's also Cookie. Why am I friends with these people?Monica: (entering with something behind her back) Phoebe, c'mere. I wantto show you something in the bathroom.Phoebe: Oh, Monica, grow up!Ross: Hey, what's behind your back?Monica: Nothing. Just something I want to getPhoebe's opinion on for Valentine's Day.Ross: You don't want my opinion?Monica: Not really.Ross: Come on, I'm your older brother, ask me!Monica: All right, bigbrother. (holds up two erm...revealing articles of clothing) Which of these do you think would make your little sister look hotter, so your best friend would want todo her?Ross: (quietly) The red one.[Scene: Joey and...wait...just Joey's. Joey is sitting at the counter eating a pizza.]Phoebe: (knocking and entering) Hey. Look,I know you've been really depressed lately, so I brought someone over to cheer you up. Right outside this door is a real, live, furry playmate.Joey: No, I'm notsleeping with your friend Jane again.(Phoebe goes into the hall and brings a dog inside!)Phoebe: He-hee!Joey: Hey! A dog! Hi! Who, you got to admit, looks a lotlike Jane.Phoebe: This is the happiest dog in the world. I borrowed him from my friend Wendy. Now, you can only keep him until he cheers you up. And he willcheer you up!Joey: Thanks so much, Pheebs! (to the dog) We are going to have so much fun, yes we are! (the dog sticks his head between Joey's legs) Oh! Notthat kind of fun.[Scene: Monica and Chandler's. Chandler enters with a bouquet of roses.]Chandler: Happy Valentine's!Monica: (from her bedroom) Okay! I'll beright out. I'm slipping into something a little less comfortable, and a little more slutty.Chandler: (picking up a video from the table) 'Candy and Cookie'. 'Candyand Cookie?' Monica got me p0rn?! Girl-on-girl p0rn?! She really must love me!! (Chandler runs over to the TV, puts the tape in, and sits down to enjoy some\"p0rn\")(A woman on TV breaths hard)Man on TV: Yeah, just relax.Chandler: I love you, St. Valentine.(The woman groans, moans, grunts, and screams.Chandler's eyes get huge!)Chandler: Woah, woah, that's not pretty!Man on TV: Now, push!Woman on TV: Ow! Ow! Ooh! That hurts!Chandler: Worst p0rn ever!Worst p0rn ever! (Chandler starts to press buttons on the remote control, frantically.)Woman on TV: Ohhh! Make it stop!Chandler: I am trying![Scene: Joey's.Joey is playing fetch with the dog.]Joey: Get the ball, ready? Get the ball, get the ball! (Joey pretends to throw it, but really doesn't, and the dog goes runningoff.) Well, you're cute, but you're not too smart!(The dog returns with a ball that looks exactly like the same one Joey has.)Joey: (looking at the ball the dogbrought back) Did I just throw this?Rachel: (entering) Hi.Joey: Hi.Rachel: I accidentally packed these with my stuff. (looks at the dog and gasps) Who isthis?Joey: Oh, that's, uh, that's Phoebe's friend's dog. I don't know what his real name is, but I call him Mozzarella.Rachel: (talking with a higher voice, andpuckered lips...kind of like you do to a baby or...well...a puppy...it's hard to explain. Just use your imagination!) Oh, well, you are so cute! I wish I could play withyou more, but I've got to go to work! I hope I stop talking like this before my marketing meeting, yes I do. Yes I do. (still talking like that) Bye-bye, Joey. Oh, Iseriously can't stop it. (exits)Joey: (to the dog) C'mere. Hey. C'mere. That's Rachel. She's the one who used to live here. Might as well be honest with you-welove her. But we can't have her. I really miss her. Well, hey, you understand, right? You're a guy. (thinks about it and picks up the dog and looks) Well, you usedto be.[Scene: Monica and Chandler's. Chandler is sitting on the couch staring at the tape on the coffee table with his eyes huge and his mouth wide open.]Monica:(entering from her bedroom) So what do you think? (referring to her outfit)(Chandler glances up at Monica with his mouth still wide open and his eyes stillhuge)Monica: (to herself) I've still got it!Chandler: (pointing at the video) Why did you get me this?Monica: What is it?Chandler: It's yelling...bleeding...dilating.Oh, the dilating...Monica: Is this the video of the baby being born? Sweetie, this is Phoebe's. Why were you even watching it?Chandler: I thought...maybe...yougot me p0rn for Valentine's Day.Monica: Chandler, if you thought I was going to get you p0rn for Valentine's Day... (pulls a video out of a basket) you were right!Apparently, it's about a young girl who moves to the big city, you know, in search of stardom, but ends up having s*x with a lot of guys! Yeah, it got four starts!(looks closer) Oh, wait a minute. Those aren't stars. Anyway, you want to take a look?Chandler: Well, I'm not really in a sexy mood right now.Monica: Honey,what's going on?Chandler: Well, remember the first time we saw Jaws?Monica: Mm-hmm.Chandler: How long it took to go back in the water?Monica: Chandler,we can't let this tape wreck Valentine's Day!Chandler: You don't know. You didn't see it.Monica: Child-birth, it's a natural thing! It's beautiful.Chandler: Oh,beautiful? Really? Beautiful? You think this is beautiful? (picks up the remote and presses a button, and he immediately makes a face that just looks like he'sgoing to throw up!)Monica: Oh! Oh, my God! No wonder my mother hates me!Chandler: See, honey, there's-(puts his hand on her leg)Monica: Don't touchme![Scene: Central Perk. Ross is sitting on the couch reading a magazine as Mona enters.]Mona: Hi!Ross: Hey! (they hug) So, how was Atlantic City?Mona:Good.Ross: Yeah?Mona: I brought you back a present.Ross: Wha-? Oh, come on. You didn't have to-saltwater taffy?! (Mona laughs) Thanks! This is interesting.You know, most people think this is made with sea water, but it's actually made with, uh, salted fresh water. That's not interesting.Mona: I think it'sinteresting.Ross: I do too! I missed you!Mona: I missed you, too! So, how was your week?Ross: Oh, it was good! It was good. Actually, the baby startedkicking!Mona: How exciting!Ross: Yeah! I know! It was. Oh... the only sad thing is I wasn't around when it happened for the first time.Mona: Oh no.Ross: Yeah,I'm missing out on all this other stuff, too. So, Joey suggested Rachel move in with me.Mona: (laughing) Yeah right!Ross: What?Mona: Joey cracks me up! It'slike, 'Yeah, why don't you have your ex-wife move in with you? That wouldn't be awkward at all!' (she laughs again)Ross: (not amused) Huh...uh-huh.Mona: Huh,could you imagine. I go away for a few days, and come back, and my boyfriend is living with some woman he got pregnant! (Mona laughs...yes...again!)(Rossfake laughs, obviously not finding this funny, and he's starting to panic, so he shoves the whole saltwater taffy he's eating in his mouth)Mona: So, what'd you tellhim?Ross: (with his mouth full) Just a second! (he fake laughs, but turns his head and starts to break down)[SCENE_BREAK][Scene: Central Perk. Ross andPhoebe are sitting on the couch.]Phoebe: How could you not tell Mona that Rachel is living with you?Ross: I don't know, she seemed to think it was such a crazyidea! Um, plus, she, uh, she got me taffy!Phoebe: Taffy, really? I've never had any.Ross: Ever?!Phoebe: Well, I think my mother was too busy planning hersuicide to provide saltwater treats. (Ross hands her one) Thank you! So what, you're just never going to tell her?Ross: Oh, no, no, no, I will! I just want to butterher up, first! You know, I'm going to take her to an amazing Valentine's dinner. Do all this romantic stuff, and then, just when she thinks I'm the best boyfriend inthe world, then I'm going to tell her that my pregnant ex-girlfriend is living with me.Phoebe: If I haven't said it before: she's a lucky, lucky lady! So, where areyou going to-what the mother of crap is up with this stuff? (Referring to the taffy, which she's been chewing this whole time.) Oh, God. Is it gum, is it food?What's the deal? (she swallows it, finally) Oh, it's nice! May I try a pink one?[Scene: Joey's. Joey is laying on his recliner, depressed, and the dog is laying on thefootrest.]Joey: So, between her and me being friends, and her history with Ross, it just isn't going to happen. It would be like you falling in love with acat.Phoebe: (entering) Hey!Joey: Hey.Phoebe: Hey, buddy. How's my favorite dog, huh? How's my favorite dog? (the dog doesn't move) You're subdued. (toJoey) Did you give him a beer?Joey: No.Phoebe: Will you excuse us, we need to talk for a moment.Joey: Yeah, sure. Go ahead. (pause) Oh, me, right!(Joeyfollows Phoebe into the kitchen)Phoebe: He's miserable! What happened to him?Joey: Nothing. We just talked about stuff.Phoebe: What stuff?Joey: Rachelstuff.Phoebe: Oh...Joey, you bummed him out! This was the happiest dog in the world, and he spends half a day with you, and look at him!Joey: He'sbreathing!Phoebe: Okay, I'm going to take him back to Wendy's.Joey: No, no, no, no! He's fine! Look, look, look! (picks up the ball) Here's your ball! Get yourball! Get your ball! (he throws the ball and it bounces right next to the dog) Get your ball! My God, what have I done to you, huh? I broke the dog! Pheebs, Ibroke the dog![Scene: Ross and...Rachel's...I guess I have to call it that now. Rachel is reading on the couch as Ross enters.]Ross: Well, I'm, uh, going to pick upMona. What have you got going tonight?Rachel: Oh, I've got big Valentine's plans! I've got my Chinese food on the way, and the rest of your saltwater taffy!Ross:Y'know, it's interesting! Most people think that's made with seawater, when in fact-Rachel: Ross, we actually watched the documentary together.(There is a knock"}
+{"doc_id":"doc_125","qid":"","text":"[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY](The temperature sign on the hotel shows that it's 109 degrees.)[XCU: BEE](A bee is in flight. It flies up to awoman on the sidewalk.)FLASHES OF VARIOUS PEOPLE ON THE SIDEWALK.Rev. Alistair Rhodes: (V.O.) You may believe that you have to die before thejudgment comes.(A one-legged man drops the bottle of liquor he's drinking from. The glass shatters on the sidewalk.)(Another man is sitting on the sidewalk, hisback up against the wall. He's stoned.)Rev. Alistair Rhodes: (V.O.) But I say the fire is not around the corner.(A man with the left side of his face beaten makeshis way past the church.)(The church bells chime.)[INT. CHURCH - DAY]Rev. Alistair Rhodes: (V.O.) The fire is not a-waitin'.(The congregation sits in the pews,listening to the reverend.)Rev. Alistair Rhodes: (V.O.) The fire is not a-wantin'. The fire has already come.[EXT. BUILDING - DAY](A woman stands on her fireescape as she fans herself in the heat.)(Down below, the man with the left side of his face beaten makes his way past her building. He's holding a plasticbag.)Rev. Alistair Rhodes: (V.O.) As we mortals drink, gamble and fornicate our way through this world, --[INT. CHURCH - DAY]Rev. Alistair Rhodes: -- death toHell's bells thundering toll. The clock of damnations already struck midnight.[CU: BEE](The bee bumps into the window, falls to the ground and dies.)Rev. AlistairRhodes: We gonna die. Stick a fork in the ass of the human race and turn us over on Satan's spit because we all are not going to Hell,FLASH TO:[EXT. SIDEWALK- DAY](The man with the left side of his face beaten staggers along the sidewalk and stops.)Rev. Alistair Rhodes: Surely as we stand in Las Vegas, Nevada.(Hefalls to his kneels near the rubbish along the wall. He falls backwards onto some garbage bags and passes out.)Rev. Alistair Rhodes: I say we are in Hell.Now.FLASH TO:[EXT. STREET - NIGHT](Someone steps on the dead bee. Officer cars are lined at the end of the alley, their lights flashing. Catherine and Warrickcarry their kits.)Catherine: Why are we parking in an alley two blocks from the crime scene?Warrick: You know sanitation's flushing out a sewer line. We don'twant to block their trucks.(Warrick sees the body on the garbage bags, a newspaper covering the man's face.)Warrick: Whoa, what we got here? Hey, guy!Hey!(Warrick moves the newspaper and sees the man's eyes clouded white.)Warrick: We've got a male DB.Catherine: Call it in. You got it, Mitch?Officer Mitchell:I'll tape the scene.(Catherine and Warrick leave Officer Mitchell with the dead body and they continue their way to their crime scene.)[EXT. RANCHO CENTERMOTEL -- NIGHT](They enter the motel parking lot. Officers are on the grounds. Catherine and Warrick make their way to the room. They pass by a man andwoman on the steps. In one of the rooms, a man and a woman are on the bed. They continue toward the scene.)(The officer removes the tape across the doorand they walk inside.)[INT. RANCHO CENTER MOTEL ROOM - CONTINUING](Grissom is in the room waiting for them. There's a dead body on the floor at the footof the bed. On the bed is a second dead body of the woman, her arms and legs tied spread-eagled to the bedposts.)Grissom: The man was shot executionstyle--22 to the back of the head.(Warrick kneels and looks at the blood-soaked carpet under the man's head.)(They look at the woman on the bed.)Grissom:Woman was shot as well, bound and gagged. The guests next door complained about the noise, manager finally called the point. Unis found this.(Catherine looksaround.)Catherine: I don't see any luggage. Wedding rings still on the fingers. Probably rules out robbery, but not infidelity. One gets to watch the other onedie?(Quick flashback to: The man and the woman are both alive. The man is at the base of the bed, kneeling on the floor while the woman is tied to the bed.Someone shoots the man in the back of the head while the woman watches. End flashback.)(There's a bullet casing on the floor near evidence marker 1. Warrickpicks up the casing and looks at it.)Warrick: Maybe someone was trying to teach them a lesson.Grissom: Did you guys happen to see the Fitzgerald'sthermometer on your way over?Warrick: Oh yeah, 109. Hot as hell.Catherine: Anything under 110 is manageable. Above that, crime rate goes way up.(A policesiren wails nearby.)Grissom: Sounds like it's getting hotter.SMASH TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. RANCHO CENTER MOTEL(STOCK) -- NIGHT](A police car turns into the alley behind the motel. Officers are looking in the pool. Warrick is at the trash bin. He jumps inside to sift throughthe garbage bags. He lifts up a bag and finds a bloodied shirt.)(He checks the shirt and notes the sleeves are clean and that there are no buttons at the cuffs. Hechecks the label and sees its ANTIQUE SHIRTINGS SEWN FOR 17 1/2-36.)[SCENE_BREAK][INT. RANCHO CENTER MOTEL ROOM - NIGHT](Grissom cuts the ropeoff the woman's wrist. He helps David Phillips turn the body)David Phillips: Well, there's no wallet or ID on this one either.(Grissom notices thebedspread.)Grissom: This looks like a wet spot.(Grissom looks at it under the ALS.8Grissom: Semen.David Phillips: There's no indication she was re-dressed. Itdoesn't look like sexual assault.(David takes his clipboard and goes to the second body. Catherine walks up to the bed.)Catherine: So ... middle-class couple...(She notes the BURGER GIANT cup and packaging in the trash bin.)Catherine: ... takes a walk on the wild side, checks into this dump for ... some fine diningand romance. Somebody breaks in, kills the man, and tortures the woman. For what?David Phillips: Maybe it's a drug thing.Catherine: Well, wouldn't be the firsttime some nice folks from Henderson came east of Fremont to score.Grissom: Did you find any drug residue or paraphernalia?Catherine: Not yet. Maybe Tox'llfind it in them.(Grissom looks down and sees a white Bible under the bed partially hidden by the covers. He picks it up and looks at it. He checks the bedside tabledrawer and finds the standard Bible in it.)(He shows Catherine both Bibles.)Grissom: We have one too many Bibles.Catherine: I don't think theyhelped.[SCENE_BREAK][EXT. RANCHO CENTER MOTEL - PARKING LOT - NIGHT](Brass interviews the motel night manager.)Brass: So you didn't hear or seeanything suspicious?Night Manager: This job -- you kidding me? That's all I see and all I hear.Brass: Is that the register? Give it to me, give it to me.(The nightmanager gives the clipboard to Brass.)Night Manager: Oh. Room 106. Paid for the week, cash in advance, signed 'em in myself.Brass: We got a problem.NightManager: What's the problem?Brass: Your handwriting sucks. What the hell does this say?Night Manager: Oh ... uh ... oh, that. That's the name here and that's,that's a, well, that's an \"A.\" Uh ... and the license plate ... uh ... that's an \"N\" and -- oh-- that's a \"V.\" That's \"Nevada.\"(He shows the form to Brass.)Brass: (duh)You think?[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAWN][INT. ALLEYWAY -- DAY](CSI Ronnie Lake takes photos of the dead man found in the alleyamong the garbage bags while Sara looks at the bugs on it. Officer Mitchell stands nearby watching them.)Sara: Green bloat stage. He's been here at least 18hours.Ronnie Lake: Do you ever wonder why ants don't crawl up the nose, eat the brains? I would. Protein.Sara: Ants are scavengers; they tend to stay on thesurface.Ronnie Lake: You think dead skin tastes better than brains?Sara: Well, they will go for brains late in decomp, after all the skin is gone.Ronnie Lake: Doants have taste buds?Sara: Ronnie ... I'm going to have to limit you to twenty questions per case.Ronnie Lake: Really?Sara: (amused) Nineteen.Brass: (o.s.)Hey, Sara.(Sara gets up as Brass walks toward them.)Sara: Hey ... Jim.Brass: So ... enjoying the sunshine?Sara: Not really. (She turns to the body.) DB is aderelict. I'm kind of surprised to see you investigating this.Brass: Oh, I'm not working this. I'm working the double homicide over at the Rancho Center Motel.We're just doing a neighborhood sweep for suspects. (He sees Ronnie.) You're new. I'm Jim Brass.Ronnie Lake: Yeah. Ronnie Lake.(They shake hands.)Brass:Right. Ronnie Lake. Like Veronica. You know, the actress? \"Sullivan's Travels\"?Ronnie Lake: I think that's my dad's favorite movie.(Sara smiles.)Brass:Right.Dispatcher (over radio): Two-zero-three-Charlie, Control. We have a few hookers who used the motel. They're willing to talk.Brass: Yeah, 203-Charlie, I'mon my way. Got to run. Okay.Ronnie Lake: Bye.(Brass waves and leaves.)[SCENE_BREAK][INT. CSI - HALLWAY -- DAY](Mandy reports her findings to Catherineas they move through the hallway.)Mandy: So I got a hit off of the print on the motel room's \"Do Not Disturb\" sign.(Catherine looks at the results.)Catherine:Drug dealer with priors for assault-- nice.Mandy: Yes, well, don't get too excited because I got another hit off of the telephone-- pedophile-- and I got one off ofthe dresser-a rapist-- and another one off of the bed frame-- a prostitute, a pimp, and another prostitute.Catherine: Is that it?Mandy: For felonies, yes. You wantmisdemeanors, too?[SCENE_BREAK][INT. CSI - LAYOUT ROOM -- DAY](Wendy goes over her findings on the shirt with Warrick. The shirt and photos of the shirtare spread out on the table.)Wendy: So the blood on the shirt belongs to your victims. The high velocity spatter on the front is a mixture of both and the blooddrops on the left sleeve appear to solely belong to the woman.Warrick: Probably cast-off from the beating.Wendy: Now, the pattern on the sleeve has a straightline on the outside, and then a matching band of spatter on the inside. So the killer rolled up his sleeves?Warrick: He had a lot of work to do.Wendy: Speaking ofwhich -- the wet spot. (She looks at the results.) The s*x stain was a male-female combo, both unknown, but the female shared alleles at all loci with both of thevictims. It's their daughter.Warrick: The parents weren't that old. The girl would be a teenager at most. So the killer caps Mom and Dad, rapes the girl, and takesher with him.(Catherine walks into the room with print information.)Catherine: If you've got a missing kid, I've got a pedophile.(Warrick looks at theinformation.)Warrick: Alistair Rhodes. Busted in August '94 for child molestation.Wendy: That's pre-CODIS, so there's no DNA on file to match.Warrick: AlistairRhodes. I remember this guy. He was a lounge singer, called himself \"Three Miles of Bad.\" It was all over the news.Catherine: Well, according to the sheet, heserved five years and made parole. A registered s*x offender. We know where he lives.[SCENE_BREAK][EXT. CHURCH - FRONT STEPS -- DAY](Rev. AlistairRhodes talks with two kids sitting on the front steps. He offers them a bag of burgers. The kids take the food.)Rev. Alistair Rhodes: You think those are yourfingers itching to pick up the spike? Your hands injecting your veins? \"Satan finds mischief still in idle hands.\"Brass: (o.s.) Alistair Rhodes.(Brass and an officerwalk up to him.)Alistair Rhodes: Most people around here just call me \"Reverend.\"Brass: (to the kids) Hey, why don't you guys go super-size those?(He offers thekids a bill. They take it and leave.)Brass: So, Reverend, I hear that confession is good for the soul. You have anything to tell me?Alistair Rhodes: The man you're"}
+{"doc_id":"doc_126","qid":"","text":"1: EXT. STREET IN LOP(TEGANA takes the phial of poison from his ally and stares at it.)TEGANA: I will use it well...on all but the first of Marco Polo's watergourds, for tomorrow, the caravan sets out to cross the Gobi Desert. Now, you will follow us...and on the third night, I will walk back to you...then we're gonnaride back here to Lop, wait for two days...and then...return to the caravan...to collect the...thing of magic...that will bring the mighty Kublai Khan to hisknees![SCENE_BREAK]2: MARCO POLO'S JOURNAL(The map illustrates the next stage of the journey of MARCO POLO'S caravan.)[SCENE_BREAK](Again, POLOwrites and narrates his journal. His words are illustrated by the image of the TARDIS once more on the back of a horse-drawn wagon with attendant Mongolbearers.)MARCO POLO: (OOV.) I have taken charge of the travellers' unusual caravan, and set out into the Gobi Desert. The journey across this vast ocean ofsand is slow and hazardous. To make matters worse, the old Doctor continually shows his disapproval of my action by being both difficult and bad-tempered. Forthree days now, during which time we have covered no more than thirty miles, I have had to endure his insults.[SCENE_BREAK]3: EXT. GOBI DESERT(NIGHT)(The tent has been erected on the sands of the desert.)[SCENE_BREAK]4: INT. MAIN TENT (NIGHT)(Inside the main tent, IAN and BARBARA are withMARCO POLO and TEGANA. SUSAN sits quietly nearby. The three people from the TARDIS are no longer in their own clothes but, not allowed access to theTARDIS, wear Chinese clothes. SUSAN wears a two-piece robe which reaches down to the floor, the upper part of which has flower decorations, while IAN wears ajacket which is decorated in Chinese letters. BARBARA'S top is plainer in style. The DOCTOR is absent from the meal which they have just finished. PING-CHO,again carrying out her serving duties, pours some water for IAN.)IAN: Thank you, Ping-Cho.(He drinks.)IAN: How much water does a caravan like this usecrossing the Gobi Desert, Marco?MARCO POLO: We will use one barrel every five days, Ian. I have allowed for eight gourds to carry us across to the otherside.TEGANA: The bones of many men who thought they had enough lie bleached in the desert sand.(He holds up his bowl to nervous PING-CHO and gives a curtorder...)TEGANA: More.MARCO POLO: I think we should exercise some restraint, Tegana.(With some relief, PING-CHO moves off. POLO turns to an upsetSUSAN.)MARCO POLO: I'm sorry the Doctor wouldn't eat with us this evening.SUSAN: Yes, so am I, Messr Marco.(Near to tears, she picks up the DOCTOR'Splate.)SUSAN: I'll take him his food.(SUSAN takes the plate behind a partition into the DOCTOR'S section of the tent. MARCO POLO brings out a chessboard fromone of his travel bags.)MARCO POLO: A game of chess, Ian?IAN: Oh, well I'm not very good, but I'll give you a game.MARCO POLO: I gladly accept yourchallenge.(MARCO POLO sets up the chessboard. BARBARA is intrigued by the intricately carved wooden pieces.)BARBARA: What magnificent pieces!MARCOPOLO: Yes, I purchased them in Hormuz, on my first journey to Cathay. Now they go with me everywhere. Do you, er, play...?(At that moment, SUSAN, stillupset, returns with the untouched plate...)SUSAN: I'm sorry, Messr. Marco...(She suddenly starts to rush from the tent. BARBARA watches her go but before shecan do anything, TEGANA, seemingly oblivious to what has happened, speaks to BARBARA with unusual courtesy...)TEGANA: Do you play chess, lady?BARBARA:Not very well, Tegana.(BARBARA, concerned with SUSAN'S sudden departure, decides to follow the girl.)BARBARA: Excuse me.(She walks from the tent. IAN andMARCO POLO prepare for their game of chess. TEGANA watches them with interest.)TEGANA: I find it a fascinating game of...strategy of war. Two equallybalanced armies deployed upon a field of battle, and each commander determined to be the one who cries \"Shahmat\".IAN: (Puzzled.) Shahmat?Checkmate?TEGANA: (Quietly.) It means the king is dead.[SCENE_BREAK]5: EXT. MAIN TENT (NIGHT)(BARBARA finds SUSAN standing outside the main tent.She is still clearly upset. There is a strong wind starting to blow.)BARBARA: We'll get the TARDIS back, Susan.SUSAN: Yes, but at Kublai Khan's Court, when it'stoo late.(She stares sadly up into the stars in the night sky.)SUSAN: We should be up there - another time, another galaxy.BARBARA: Oh, we'll think ofsomething.SUSAN: How? Ian playing chess with Marco? Grandfather being rude and sulking by himself?BARBARA: Oh, I didn't know he's sulking, is he?SUSAN:Well, he won't eat. He won't even talk to me.BARBARA: Well, you know him better than I do. But I'd have said he was just feeling defenceless. He has awonderful machine, capable of all sorts of miracles, and it's taken away from him by a man he calls a primitive. Look, TARDIS is the only home we have at themoment, and when we're in it, we feel safe and secure. But when we're out of it...(She looks out across the desert and sighs.)SUSAN: Will he talk to me? Confidein me?BARBARA: Oh, he's like a rubber ball. He'll come bouncing out of there soon full of ideas.(SUSAN stares back at the sky.)SUSAN: One day, we'll know allthe mysteries of the skies...and we'll stop our wandering...BARBARA: Then you and I will say good-bye.SUSAN: (Surprised.) Hum? Oh, not yet. Not for a longtime!BARBARA: Well, I think we should say goodnight anyway.SUSAN: Are you coming?BARBARA: No, not for the moment.SUSAN: Goodnight.(SUSAN runs backtowards the main tent.)[SCENE_BREAK]6: INT. MAIN TENT (NIGHT)(SUSAN appears in the tent. The chess match is in progress and IAN, POLO and TEGANA stareintently at the board...)SUSAN: Ping-Cho?MARCO POLO: Shh! She's gone to bed.SUSAN: Oh, well...I'll go too then. Goodnight.IAN: Goodnight, Susan.MARCOPOLO: Sleep well.(As SUSAN leaves to go to her room, MARCO POLO turns back to the chessboard.)MARCO POLO: Now, what was I about to do? Ah yes...(Hemoves a piece.)IAN: Ouch![SCENE_BREAK]7: INT. TENT. PING-CHO AND SUSAN'S ROOM (NIGHT)(SUSAN enters the room she shares with PING-CHO and seesthat the young girl is not yet in bed but staring out of a side-flap in the tent.)SUSAN: Not asleep yet?PING-CHO: No, I was thinking.SUSAN: Whatabout?PING-CHO: How peaceful it is in the desert.(SUSAN joins her and looks out.)[SCENE_BREAK]8: EXT. MAIN TENT (NIGHT)SUSAN: Oh, it's a lovelynight!PING-CHO: The moon will rise later. That is the time to see the desert. It is like a great silver sea.SUSAN: (Almost to herself.) The metal seas ofVenus...PING-CHO: Where?SUSAN: Oh, a long way from here. I've never seen a moonlit night. How long before the moon rises?PING-CHO: Two or three hours.I'll call you then.[SCENE_BREAK]9: INT. MAIN TENT (NIGHT)(In the main tent, the sight of the Gobi Desert at night has also captivated BARBARA. She returns tothe three men and their chess game.)BARBARA: Night in the desert is very beautiful.MARCO POLO: Don't be deceived by it, Miss Wright. The desert is alwaysdangerous.(IAN is concentrating on the chess game.)IAN: Like my Queen!(He moves a piece, still watched intently by TEGANA.)IAN: Check!TEGANA: Oh, Marco,can you save your King?MARCO POLO: I think so, Tegana.(MARCO POLO studies the board carefully before making a move.)MARCO POLO:Check.[SCENE_BREAK]10: EXT. MAIN TENT (NIGHT)(Later on that night, when the rest of the camp is silent, SUSAN and PING-CHO emerge through the flapfrom their room in the tent. The moon has risen, and the two girls view the illuminated desert in amazement.)SUSAN: (In wonder.) Oh crazy! Hey,Ping-cho...!PING-CHO: Shh! The guard will hear you. (Puzzled.) Crazy?SUSAN: Hmm? It means I dig it. You know - like it.PING-CHO: This language of yours isvery strange.(At that moment, TEGANA emerges from the main tent. He has a brief conversation with one of the Mongol bearers, and then moves off into thedesert.)PING-CHO: Tegana!SUSAN: Let's follow him.PING-CHO: He will be angry!SUSAN: You're not afraid?PING-CHO: No, I am not. Come.(They follow TEGANAinto the desert.)[SCENE_BREAK]11: INT. MAIN TENT (NIGHT)(IAN and MARCO POLO are sleeping in the main area of the tent on makeshift beds. Outside, thesounds of the horses becoming restless can be heard. The whinnying of the horses eventually wakes MARCO POLO. He gets up and moves to the doorway. IANalso wakes.)IAN: What is it, Marco?MARCO POLO: The horses are very restless.(IAN gets up and the two of them move outside as the horses whinnyagain.)[SCENE_BREAK]12: EXT. MAIN TENT (NIGHT)(They peer across the desert.)MARCO POLO: There's a sandstorm coming, Ian.IAN: How do youknow?MARCO POLO: Notice how still it is - as if everything were waiting.(There is another whinny.)MARCO POLO: They sense it too.IAN: Will it be a badone?MARCO POLO: Bad enough. I must attend to the horses.(He moves off.)[SCENE_BREAK]13: EXT. DESERT (NIGHT)(SUSAN and PING-CHO continue followingTEGANA through the desert. They are finding it difficult to keep up with the pace TEGANA is setting over the high dunes and deep furrows of sand, and arebeginning to lose the warlord.)SUSAN: He walks so quickly. Can you still see him?PING-CHO: Yes. There he is, over there.(PING-CHO points out into the desert.Suddenly, SUSAN sits on the ground in exhaustion.)SUSAN: Oh, let's give up.PING-CHO: Who is afraid now?SUSAN: No, I'm not afraid. It's...it's just that it's sohot. I can hardly breathe.PING-CHO: Yet it was most pleasant when we left the caravan.(SUSAN gets up.)SUSAN: Oh, come on, let's go back.PING-CHO: Allright.(They start to clamber back over the dunes.)PING-CHO: Susan, listen!(SUSAN does so, and manages to hear the faint sounds of swirling wind. SUSANsuddenly sees something.)SUSAN: What's that?PING-CHO: Where?(SUSAN points towards a hazy mist on the horizon as the wind starts to get louder.)SUSAN:That cloud on the horizon.(PING-CHO sees the ominous clouds of billowing sand.)PING-CHO: Susan, it's a sandstorm!SUSAN: What! It's coming this way!Ping-Cho, we must get back before it reaches us!PING-CHO: No, the caravan is too far away!(SUSAN tries to drag her away.)SUSAN: (Shouts.) No, come on! Wemust get back. We can't stay here!PING-CHO: (Shouts.) No, we'll get caught in it - and we'll never find our way!SUSAN: (Shouts.) Ping-Cho, come on!PING-CHO:(Shouts.) No, we must shelter here.SUSAN: (Shouts.) No!(The wind begins to fiercely swirl around them.)PING-CHO: (Shouts.)[SCENE_BREAK](The two girlshold on to each other as they are caught in the sandstorm.)SUSAN: (Shouts.) Ping-Cho![SCENE_BREAK]PING-CHO: (Shouts.)[SCENE_BREAK](Their cries and thesound of the blasting wind mingles with the noise of the \"singing\" sands which manifests itself as a series of shrieks and babbles.)[SCENE_BREAK]14: INT. MAINTENT (NIGHT)(Back at the main tent, BARBARA is woken by the sounds of the approaching sandstorm, and appears from her section of the tent. IAN and MARCOare back inside. They have to shout to make themselves heard over the shrieks of the storm.)BARBARA: (Shouts.) Ian, what is it? What's happened?IAN:"}
+{"doc_id":"doc_127","qid":"","text":"ACT IScene 1 - KACL Frasier is finishing a segment.Frasier: And we'll be right back after this short news break. Gil enters.Gil: Frasier...I'm here to give you anadvance tip.Frasier: Really?Roz enters from the booth.Roz: Hey, Gil.Gil: Roz! I'm about to review a divine new Italian trattoria I've discovered called \"Bella,Bella.\"Frasier: Ah-ha.Gil: I'm alerting you now because once I review it, reservations will be impossible to come by.Frasier: Well, thank you, Gil, it's alwaysgratifying to be a few minutes ahead of a trend.Gil: They make an osso bucco that's so divine I call it the \"Veal Shank Redemption.\"They give Gil a courtesylaugh. Kenny enters.Kenny: Hey, guys.Frasier: Hello, Kenny.Kenny: Show's going great, Frasier, uh, only one thing missing, of course...Frasier: I know, I know, anew theme song. I'm sorry, I just haven't gotten around to it yet.Kenny: Well, Mrs. Delafield's been hounding me on this. She really thinks each show having atheme song will help hook the listeners. Gil's got his.Gil: My first choice was \"Food, Glorious Food\" from the show Oliver!Frasier: Ooh, that's a perfect match.Haute cuisine and a chorus of starving orphans.Gil: But then, a composer friend of mine came up with this little ditty for me [He sings:] Whether choosing a wineOr the best place to dine-- It's all a matter of taste (Yes, sir!) It's all a matter of taste!Kenny: Great, huh?Frasier politely nods. The tune is as lame as thelyrics.Gil: And the nicest thing is, he didn't take a penny for it!Frasier: Well, at least he has a conscience.He chuckles. Gil leaves, somewhat miffed.Frasier: Youknow, Kenny, I'm sorry for procrastinating this thing. I-I tell you, I'll get one as soon as I possibly can.Kenny: Well, you better come up with something here. I'msorry to be a hard-ass. It's the part of my job I hate the most, but I need this thing on my desk by Monday...ish.Kenny smiles and leaves.Frasier: You know, Roz -hearing Gil's little ditty puts me in mind that maybe we should just do - ah, an original song.Roz: Well, my new boyfriend Leon is in a band. He could write one foryou.Frasier: Well, actually, I was thinking of composing it myself. I am not without musical ability, you know.Roz: Could you at least hire Leon to accompanyyou?Frasier: I take it he's desperate for work?Roz: Hasn't had a gig in months. Music is all he knows. He's not good at anything else - except in bed. It's what hedoes best.Frasier: Yeah. How long did it take you to find that out?Roz: [about the show] Ten seconds, Frasier.Frasier: Oh, longer than usual.She returns to herbooth and he replaces his headphones.[SCENE_BREAK]Scene 2 - Frasier's apartment He opens the door to Niles.Niles: Frasier.Frasier: Oh, Niles. Oh, dear. Wehad dinner plans tonight, didn't we?Niles: Yes. Don't tell me you're canceling.Frasier: Well, I have to. I have a little project this evening.Niles: Oh. Would thishave anything to do with this new theme song you promised your listeners?Frasier: As a matter of fact, it does. I've got to have something by Monday, and Ithought I'd take advantage of a nice quiet evening at home.The loud sound of a vacuum is heard.Frasier: Oh. Daphne - Daphne! Would you please turn off thatvacuum cleaner?Daphne enters with a fancy steam cleaner.Daphne: It's not a vacuum cleaner. It's the \"Dirt Scourge 2000.\" A total cleansing system.Martin:[from his chair] Is it new?Daphne: Yeah. I got it this afternoon. You see, this water traps all of the dirt particles instead of recycling them back into the air. I gotall that [indicating] from Dr. Crane's pillow.Niles examines the dirt.Martin: Ew.Niles: I've been begging you to switch to a more abrasive loofah.Daphne: Well, itwould be the same for anyone. Dead skin, dust mites... that's what we're all sleeping on, only we don't know it.Martin: We do now. Geez.Martin rises and exitstoward the kitchen.Daphne: This is the chance I've been waiting for.She turns on the machine and begins to apply it to Martin's chair. The machine begins toaudibly struggle, and the water in the tank immediately turns black and brackish. Niles and Frasier watch with concern. She has barely started when it suddenlyshorts out, sparks flying in an electrical explosion. When the smoke clears, Daphne walks back to the main part of the cleaner.Frasier: Well. Apparently the \"DirtScourge 2000\" is no match for the \"Dirt Pile 1957.\"Daphne: Well, this is going back. On the commercial they clean all the mud off a hippopotamus.[Sheexits.]Frasier: Well, at least now I can get down to work. You know, Niles, I'm sorry again about dinner, but can I buy you a sherry?Niles: Oh... thank you. Aboutthis theme song of yours... why don't you just use a standard?Frasier: Actually, I want to compose one myself. I've always had an affinity for music, and I'veoften wondered what I might achieve if I just rolled up my sleeves and gave it a try.Martin: [re-entering] Didn't you write some kind of musical back in prepschool?Frasier: Yes, I did, Dad. Niles was in it. You know, the whole school came out humming my opening anthem.Niles: They went in humming it. It wasBeethoven's Ninth Symphony note for note.Frasier: [over Niles] It was not.Niles: It absolutely was.Frasier: It was not at all.Niles: [singing to the tune of the \"Odeto Joy\" theme from the finale of Beethoven's Ninth:] We are valiant men of honor Wenching, brawling sons of...Frasier: All right, all right, well, I suppose I mayhave borrowed a Note or two as a launching pad.Niles: [moving to the third, contrasting phrase of the Beethoven theme] Prancing, leaping, laughing...Frasier: Allright, point taken.Niles: Over hill and...Frasier: Stop it!Niles: I'm just teasing. Actually, it was a wonderful show. I was very proud to be acting in it.Frasier: Youknow, Niles, you were wonderful in it as well.Niles: Well, thank you, I thought so.Frasier: Mm-hmm.Niles: I often thought if I'd kept at it, I could have been aprofessional actor.Frasier: Ah, you see, we all have a road not taken, some unfinished business worth exploring.Martin: Yeah, I always wanted to be a toe dancer,but a bullet ended my dream.Frasier and Niles shake off the sarcasm.Niles: Well, Frasier, if you need any help with this, I'm right here.Frasier: Thank you, Niles.You know, I'd rather handle the composing chores myself, but I could use a sounding board.Niles: Fair enough, let's put our heads together.Frasier: Allright.Niles: Figuratively speaking, of course. I saw what came out of your pillow.They head back toward the piano.[SCENE_BREAK]A BRIDGE TOO FARScene 3 -Later that night Niles plunks out some notes on the piano. Frasier is standing.Niles: You know, I think this new bridge is the best thing you've written.Frasier:Really?Niles: Oh, absolutely.He sings to a jaunty tune, beginning with the notes he had plunked and accompanying himself:Niles: Claustrophobia NymphomaniaHe will probe ya He'll explain t'ya It's brilliant.Frasier: You know, it does have a Cole Porter-y, Stephen Sondheim-y flavor, doesn't it?Niles: Oh, absolutely.Sondheim-y would have killed to have written this.Frasier: You know what? I'm a little nervous. It just may be a bit too conventional. Perhaps instead of a regularbridge, I could substitute it with a dramatic monologue spoken against a musical background.Niles: [after a beat] I like it.Frasier: Of course, I would have to hirean actor.Niles: Yes, I suppose you could squander a lot of money on some so- Called professional... someone who doesn't know a thing about psychiatry.[reaching] Who doesn't understand the whole Gestalt.Frasier: Or maybe you could do it.Niles: I think so.Frasier laughs and taps him on the shoulder.Frasier: Iwill write you a speech that will challenge your entire histrionic range! This is so exciting! Let's play the chorus again.Martin enters from his bedroom.Martin: Hey,hey, Fras! I just got an idea for your little jingle. It came to me while I was brushing my teeth. [He sings:] What's new? I'm listenin' Feelin' blue? I'm listenin'...Cause, you know, that's what you say on your show. Feelin' sad, feelin' mad, feelin' glad, feelin' bad I'm listenin'!Daphne: [who has been seated at the diningtable] Bravo! That's wonderful.Martin: Thanks, you know, it's catchy. That's what counts in a jingle.[N.B. Of interest: John Mahoney appeared on the Cheersepisode \"Do Not Forsake Me, O My Postman\" as Sy Flembeck, a hapless jingle composer.]Frasier: [politely] Uh-huh, well, that's very, very nice, Dad, it's just that,well, you know, I did promise my listeners that I'd compose this myself. It's no fair cheating.Martin: Oh, well, it's not cheating, technically...Frasier: [cutting himoff] Very good, Dad, very good, but thank you, and off you go.Martin: Okay, all right.He exits.Niles: Hey, um, Frasier, are you sure you want to modulate here?That may just complicate things.Frasier: Perhaps. You know, I'm just trying to make it interesting. To my ear, there's still something lacking, some tiny ingredientthat's missing. I'm not sure what.Scene 4 - DISSOLVE to a rehearsal hall, where a full orchestra is tuning their instruments. Frasier stands on the conductor'spodium.Frasier: [tapping his baton] All right, everyone. Let's try this again. We still have a few minutes before the choir gets here.He raises his baton andprepares to cue the opening.[SCENE_BREAK]END OF ACT IACT IIScene 5 - The rehearsal hall The choir has arrived.Frasier: Well, finally, the choir has deigned tojoin us.Director: Sorry, our bus broke down. We had to walk two miles to get here.Frasier: Ah, then I suppose we can dispense with the breathing exercises I wasgoing to recommend. Please, if you would. [indicating the choir's risers behind the orchestra] Off you go.Niles, who has been sitting in front of the orchestra,rises.Niles: Uh, Frasier... did you mean to cut paragraph five of my monologue?Frasier: Gosh, I might have, Niles. I've just been so busy. What was thegist?Niles: A lighthearted lampoon of mental health care abuse.Frasier: Ah, yes, I did. I was afraid that some fussbudget might take offense at my jape aboutlobotomies.Niles: Well, I suppose it's best to play it safe, although I did Like the way you indicated manic depression with a slide whistle.Frasier laughs. Nileslooks back at the orchestra.Niles: Do we really have to use so many musicians?Frasier: For the sound I want, yes.Niles: Whatever happened to the concept of\"less is more\"?Frasier: Ah, but if less is more, just think of how much more \"more\" will be.Niles stares at him quizically.Frasier: You may be seated. Niles takeshis seat.Frasier: Ladies and gentlemen, if I may have your attention, please, I'd like to take a few minutes to explain my artistic vision.Timpanist: Take as long asyou want, we're all on the clock.Frasier: Point well taken, moving right along...Roz enters quickly with her boyfriend Leon.Roz: Frasier...I'm sorry we're late. Wegot stuck in traffic. Some stupid bus broke down. This is Leon.Leon looks like a starving folk-type musician, with long hair and a scruffy beard.Frasier: Ah, hello,Leon.Leon: Hey, Dr. Crane.Frasier: [shaking his hand] Lovely to meet you. Listen, why don't you help yourself to the refreshment table there. I need to have afew words with Roz.Leon moves away.Frasier: Roz, we've got a problem! In scoring this, I had to eliminate the guitar part.Roz: Well, put it back.Frasier: Well, Ican't. I'm afraid another instrument might make Things sound cluttered... unless, of course, Leon can play the bagpipe.Roz: The bagpipe?Frasier: Yes! Our showdeals with a whole range of human emotion from euphoria to despair, and nothing says despair so quickly as the skirl of a bagpipe.Roz: Nothing says \"Turn off"}
+{"doc_id":"doc_128","qid":"","text":"Act 1 Scene 1 - An Airliner[Fade in. Lilith is sitting in first class reading a magazine. The man next to her (Albert) glances nervously at the window, then reachesacross her to close the shade.]Albert: Sorry. I'm a nervous flyer.Lilith: Yes, I see. Oh, you're white as a sheet.Albert: No, actually, I'm always this pale. Myex-wife used to say she could tell when I was embarrassed because I'd turn off-white.Lilith: I can empathize. Sometimes after a late night, I covered myunder-eye circles with Liquid Paper. So are you traveling to Seattle for business or pleasure?Albert: Both, hopefully. I'm relocating for work. How about you?Lilith:I need to ask an old friend for a favor.Albert: It's a long trip just to ask for a favor.Lilith: It's a big favor.Albert: Well I hope your friend complies.Lilith: It'll takesome work, but I'll get what I want.[A flight attendant comes up.]Attendant: Oh, dear, you two look awfully pale. Can I bring you something?Lilith: Not unlessyou have any extra melanin lying around.[She leaves as Albert laughs.]Albert: You should be a comedian.Lilith: I've thought about it.[She goes back to herreading. Fade out.]Scene 2 - Frasier's Apartment[Fade in. Martin is walking from the kitchen to his chair. When he hears keys in the door, he sets his beer downand hurries towards the bedroom. The door opens and Frasier comes in.]Frasier: Dad? Dad, Dad! What? Are you hiding?Martin: I heard the key in the door, Ithought Lilith might be with you. What's she coming for anyway?Frasier: Well, I don't really know. She said she was flying across the country to ask me aboutsomething that was important. She's being very mysterious about it.[He hangs up his coat as the doorbell rings.]Martin: Is that her?Frasier: Well, no. No, Dad,I'm not seeing her until tomorrow.Martin: Well, let me know when she's coming, will you, so I can come up with an excuse to clear out. Because I'm not good atwinging it.[Frasier opens the door. It is Lilith.]Frasier: Oh, Lilith. Hi. Look who's here, Dad.Lilith: Hello, Martin.[Martin smiles nervously, then glances at hiswatch.]Martin: Oh, time to go... practice my signature.[He heads for the bedrooms.]Frasier: Please, come on in, Lilith. So, I didn't think I was going to be seeingyou 'til tomorrow.Lilith: Yes, I know that was the plan, but I just had to stop by on my way to the hotel. What I'm here to talk to you about is not something onejust drops on another person. [gesturing for him to sit] Please.[He sits down.]Lilith: [sitting beside him] Frasier, recently a subconscious yearning has tunneled itsway to the surface and I now know what it is I need in order to make my life complete.Frasier: Well, that's wonderful news. How can I help?Lilith: You can giveme your sperm.Frasier: I beg your pardon?Lilith: I want to have another baby.Frasier: Well, you certainly don't need me for that. Surely... someone in Bostonmust have sperm.Lilith: I came to you first so that Frederick could have a full sibling.Frasier: So, just like that we're going to have another baby together.Lilith:No, not just like that. I mapped out our dominant and recessive traits on a genome square, applied Mendel's laws, allowed for anomalies and concluded that youare the best biological choice.Frasier: I see. Well, as enticed as I am by your honeyed words, I'm gonna need some kissin'.Lilith: Frasier, don't misunderstand, I'mnot proposing any change in our relationship.Frasier: Would we... sleep together?Lilith: I thought we'd freeze your sperm.Frasier: Is that a \"yes\" or a \"no\"?Lilith:Natural fertilization is impractical. I'd have to fly to Seattle every time I ovulate.Frasier: [getting up] Right, okay. So, then your plan is for me to visit some localdoctor, freeze my essence and then bring it home with you.Lilith: Correct. I'll take mine to go.[Frasier sits on the arm of Martin's chair.]Frasier: I don't know. I'mgoing to have to think about it.Lilith: [rising] Yes, of course, absolutely. Think about it, and you can give me your answer tomorrow.[She heads for the door,Frasier follows.]Frasier: Okay.Lilith: You can come back from around the corner now, Martin.Martin: [from around the corner] Good night, Lilith.Lilith: Goodnight.[She leaves.]Frasier: You were eavesdropping?[Martin comes into the living room.]Martin: It was an accident and I only heard the part about her wanting tohave another baby with you.Frasier: She completely threw me.[Martin settles into his chair.]Martin: Well, I don't know why you're so surprised. She's seen whatthe Crane genes can do and she's coming back to the well.Frasier: How does one respond to something like that?Martin: Well, I bet if you say \"No\" she'll go toNiles.Frasier: Really, it's just so self-centered. I mean, she's got this all figured out for herself without the slightest consideration for my life.Martin: And Niles'llsay \"No\" for sure. Which means only one thing. [He gets a worried look.] She'll come to the source. Me. The fountainhead.Frasier: What?Martin: Can youimagine? Lilith's and my kid would be brother to you and Niles AND Freddie.Frasier: What are you talking about?Martin: And if you and Lilith got back together,you'd be his step-father and his brother and Niles would be your son and his own uncle. It's almost worth doing just so that I can tell the story.[Frasier just wavesthis off as he heads to his room. Fade out.]Scene 3 - Cafe Nervosa[Fade in. Frasier is sitting at a table. Niles walks in.]Frasier: Oh, hi, Niles. Did Daphne and hermom get off okay?Niles: [sitting down] Yes. They picked up Roz and Alice an hour ago. Although, how they're going to get all the way to Canada without killingeach other, I don't know.Frasier: Why did they have to go so far?Niles: Well, that was my idea. I read that Canadian Fun Country is one of the best amusementparks in southeastern British Columbia.Frasier: Well, I'm just saying Daphne's mom should be careful, you know. If you're here on a temporary visa, you knowsometimes people have a hard time getting back into the country.Niles: [deadpan] That hadn't occurred to me, Frasier.[N.B. Niles no doubt recalls the family tripin [1.21.], \"Travels With Martin,\" in which the Cranes strayed over the border before Daphne's green card had come through, and they had to smuggle her backposing as an American.]Frasier: Well, seeing as how you're single, I'd invite you to join me for dinner, but I'm meeting with Lilith tonight on a matter of somedelicacy.Niles: Dad told me. Now listen, don't feel obligated because she's buying you dinner.Frasier: Truth be told, Niles, I hadn't ruled it out entirely. It would benice to have another child. And Lilith is a wonderful mother. It's just that, well, is it right to create a human being with a woman to whom you couldn't stand beingmarried?Niles: Well, I'm behind you whatever decision you make, the right one or the crazy one.Frasier: Thank you.[Niles calls out to the passing Barista.]Niles:Excuse me, may I have an espresso?[The waiter nods and heads off. Frasier notices an envelope Niles brought in.]Frasier: What have you got here?Niles: Oh,some snapshots from last summer at the beach. Daphne finally got them developed.[He shows them to Frasier who starts chuckling.]Frasier: Oh, there's Dadeating that hot dog he dropped in the sand. And you, in your linen beach ensemble.Niles: Very nice, yes. Well that's strange. Daphne said I'd particularly like thelast picture on the roll but what is it?Frasier: It's hard to tell, it's too dark and blurry.Niles: Looks like the eye of Jupiter.Frasier: Or a slice of pepperoniNiles: Is ita flying saucer?Frasier: Yes, Niles, it's a flying saucer. Mystery solved, well done.[The Barista brings Niles's coffee over and sees the photo.]Barista: Hey, where'dyou get the nipple shot?Frasier: Good lord![Frasier and Niles look again in shock, then Niles clutches the photo to his chest.]Niles: You are to erase that from yourmind.Frasier: Is it Daphne?Barista: Nice.Niles: You're not erasing! Erase![The Barista heads off as Niles points a warning finger at Frasier. Fade out.]Scene 4 -Daphne's Car[Fade in. Daphne is driving, with Roz next to her and Alice and Gertrude in the back.]Roz: I need to stop again.Daphne: We just stopped. I told younot to get that Big Gulp.Roz: But it was only ten cents more.Alice: Punch buggy blue![She hits Gertrude on the arm.]Gertrude: Ow! Dammit!Daphne:Language!Gertrude: Why does she keep doing that?Roz: It's a game.Gertrude: It hurts.Daphne: All right, mum.Roz: There's a gas station right there, I reallyneed to stop.Daphne: I can't get over, you'll have to wait.Roz: But according to this, my bladder is holding \"Thirsty-Two\" ounces of soda.Daphne: It's only fortymiles.Alice: Punch buggy red.[She hits Gertrude on the arm.]Gertrude: Oh! Son of a...!Daphne: Language!Roz: Alice, honey. Stop hitting Mrs. Moon. She can'ttake the punch buggy game.Gertrude: Oh, really? Punch buggy white![She knuckles Roz on the shoulder.]Roz: Ow! It was a Jeep!Gertrude: I play the Jeeps. AndFord. Punch buggy Ford.[She whacks Roz on the head.]Roz: Ow![Roz turns around to get her back.]Daphne: All right, that's enough. You stop it or no one's goingto Canadian Fun Country. And this time I mean it![They go for a minute in silence, then Gertrude screams and points, startling screams from everyoneelse.]Gertrude: I'm sorry. I thought you were on the wrong side of the road. I will never get used to the crazy way you drive over here.Daphne: Mum, you haveto stop doing that.Roz: Daphne, you seem stressed. Do you want me to drive for a while?Daphne: Maybe once we get out of Seattle.[SCENE_BREAK]Scene 5 - ARestaurant[Fade in. Frasier and Lilith are sitting at a table looking over menus.]Lilith: Frasier, I don't want to rush you, but the suspense is too much to bear.Have you decided?Frasier: I'm thinking about the linguini.Lilith: I see. It's \"No,\" then, isn't it?Frasier: I'm sorry, Lilith. This was a very difficult decision for me andI am touched and flattered that you came to me, but I'm not sure I'd be doing it for the right reason. You understand, don't you?Lilith: Yes, I do. And I appreciateyour taking the time to think about it. It's that kind of consideration I was hoping to pass on to our second born. Oh, well. So, the pasta is good here?Frasier: Oh,the best.[She glances at the menu some more, then begins to quietly sing to the tune of the \"Ode to Joy\" chorus of Beethoven's 9th.]Lilith: My dad is thegweatest dad because he cooks me Cweam of Wheat...Frasier: [glaring at her] Lilith, what are you singing?Lilith: Was I singing?Frasier: You were singing \"MyDad Is the Gweatest Dad.\"Lilith: Oh, you mean that song Frederick wrote for you when he was four.Frasier: That video is one of my prized possessions. Of courseI haven't looked at it in some time.Lilith: I remember the night we surprised you with it. He crawled up in your lap and said \"Why is Daddy cwying?\"Frasier: I seewhat you're doing, you know.Lilith: What?Frasier: You are attempting to manipulate me by invoking powerful emotional memories.Lilith: I assure you, nothingcould be further from the truth.[A waiter comes up.]Waiter: Are you ready to order?Lilith: Yes. I'll have the basgetti and beatmalls.Waiter: Mmm. Very goodMiss.Lilith: That's what our son used to say when he was three.Waiter: Excellent.Frasier: And I'll have the veal.Waiter: Bravo, sir.[He takes the menus and headsaway.]Frasier: Lilith, I'm afraid you're idealizing parenthood. Do you remember colic, teething, changing mountains of diapers?Lilith: Do you remember that timein the bath when he tried to eat the bubbles? We told him to stop, but we kept laughing so he thought it was funny and kept doing it.Frasier: You know, I'd"}
+{"doc_id":"doc_129","qid":"","text":"1.16 - Star-Crossed Lovers and Other Strangers teleplay by John Stephens and Linda Loiselle Guzik story by Joan Binder WeissOPEN IN STARS HOLLOW(MissPatty narrates a story in the background as the camera pans around town as locals prepare for a festival.)MISS PATTY: This, boys and girls, is the story of truelove. A beautiful girl from one county; a handsome boy from another. They meet and they fall in love. Separated by distance and by parents who did not approveof the union, the young couple dreamed of a day that they could be together. They wrote each other beautiful letters. Letters of longing and passion. Letters fullof promises and plans for the future. Soon the separation proved too much for either one of them to bear. So, one night, cold and black with no light to guidethem, they both snuck out of their homes and ran away as fast as they could. It was so dark out that they were both soon lost and it seemed as if they wouldnever find each other. Finally, the girl dropped to her knees, tears streaming down her lovely face. 'Oh, my love. Where are you? How will I find you?' Suddenly, aband of stars appeared in the sky. These stars shone so brightly they lit up the entire countryside. The girl jumped to her feet and followed the path of the starsuntil finally she found herself standing right where the town gazebo is today. And there waiting for her was her one true love, who had also been led here by theblanket of friendly stars. [Camera stops on Miss Patty's dance studio, where she is telling the story to a group of children.] And that, my friends, is the story ofhow Stars Hollow came to be, and why we celebrate that fateful night every year at about this time. Now, we still have a little time left in our story hour. Whowants to hear about the time I danced in a cage for Tito Puente?KIDS: [raising hands] Me!MISS PATTY: It was the summer of 66 ..(Opening Credits)CUT TO BUSSTOP(Dean is waiting on the bench as Rory steps off the bus.)RORY: So?DEAN: It's depressing.RORY: It's beautiful.DEAN: She throws herself under atrain.RORY: But I bet she looked great doing it.DEAN: I don't know. I think maybe Tolstoy's just a little over my head.RORY: No, that's not true. Tolstoy wrote forthe masses, the common man. It's completely untrue that you have to be some kind of genius to read his stuff.DEAN: Yeah butRORY: Now I know it's big. ..DEAN: Very big.RORY: And long. . .DEAN: Very, very longRORY: And many of the Russian names tend be spelled very similar, making it confusingDEAN: Everysingle person's name ends with 'ski'. Now how is that possible?RORY: But it's one of my favorite books. And I know that if you just give it a try you...DEAN: Allright. I'll try again.RORY: Really?DEAN: Yeah.RORY: You won't be sorry.DEAN: Coffee?RORY: Please.DEAN: Man, I thought Christmas was a big deal aroundhere.RORY: Well, this is a town that likes the celebrating. Last year we had a month long carnival when we finally got off the septic tank system.DEAN: A monthlong? You're kidding.RORY: No. There were rides and a petting zoo and balloon animals and a freak show.DEAN: Uh huh. Okay, you almost had me going therefor a second.RORY: Well we did have a ribbon cutting ceremony.DEAN: So what are you doing Friday night?RORY: Well, I've got the usual Friday nightgrandparents' dinner. But I thought maybe if we get back early enough you and I should go watch the bonfire together. I mean, it's kind of corny, but it's reallypretty. And they sell star-shaped hot dogs.DEAN: How about if you get out of dinner at your grandparents' this week?RORY: I don't think so.DEAN: Well, what ifit's for a really special occasion?RORY: Well, that special occasion better include my being relocated to a plastic bubble if my grandmother's gonna let me out ofdinner.DEAN: There must be some other excuse that you could use.RORY: Like what?DEAN: Like it's your three-month anniversary with your boyfriend.RORY: Itis?DEAN: Yeah. Three months from your birthday. I mean, that's when I gave you the bracelet and that's when I figured this whole thing kinda started.RORY:Wow. Three months.DEAN: Actually, technically your birthday was on a Saturday, so really it should be Saturday, but I work Saturday and I planned out thiswhole big thing so I thought maybe we could do it on Friday.RORY: What whole big thing?DEAN: Just this once. Miss dinner. Please. Don't make me throw myselfunder a train.RORY: I'll see what I can do.DEAN: Thank you.RORY: You're welcome. It's our three-month anniversary.DEAN: Yeah it is.RORY: I feel kind of stupidthat I didn't even know about this.DEAN: That's quite all right.RORY: I mean, I feel really bad that I missed our two-month anniversary.DEAN: Quite all righttoo.RORY: How was it?DEAN: Pretty good.RORY: I'm glad.CUT TO LORELAI'S HOUSE(Lorelai is sitting at the kitchen table reading a box of Hamburger Helper.Rory walks in.)RORY: No, put that away.LORELAI: I wanna cook.RORY: You can make soup.LORELAI: No. I wanna really cook like on the Food Channel. I wannasauté thing and chop things and do the BAM, and I wanna arrange things on a plate so they look like a pretty little hat. I wanna be the Iron Chef!RORY:Fine.LORELAI: Really?RORY: Yeah, I'll help.L: Okay. I need a pan.R: And a fire extinguisher.L: Funny, funny girl. Now, if I had only bought some hamburger.R:You didn't buy hamburger?L: Yes I bought hamburger. I just like saying things like that so you look at me like I'm crazy.R: So, tell me, why the sudden need tobe domestic?L: Ah, I don't know. I'm in like a funky mood.R: Why?L: Too many stars, too much love, it makes me cranky.R: I take it you haven't heard from Mr.Medina?L: Hmm, no. I haven't.R: Maybe that's why you're cranky.L: Okay, new subject please.R: You know, you have a phone also.L: How's it coming with thatpan?R: Cleopatra, queen of denial.L: The pan, Chucky. Please.R: Okay fine. New topic.L: Thank you.R: I have this huge favor to ask you.L: Oh, something I canhold over your head. Let's hear it.R: Friday night is Dean's and my three-month anniversary.L: Three months? Wow.R: And Dean apparently has some big fancyevening planned for us.L: Very classy of him.R: Yes it is. But for me to actually partake of the foresaid fancy evening, I have to get out of Friday night dinner.L:Ah.R: Yeah.L: Good luck with that.R: Mom!L: Do you know how much Emily Gilmore will not care about your three-month anniversary?R: I was thinking youcould talk to her.L: If there was a runoff between what Emily Gilmore would care about less, a two-for-one toilet paper sale at Costco or your three monthanniversary, your anniversary would win, hands down.R: So you're not even gonna try to help me?L: Oh no, I'm gonna try to help you, because I care. EmilyGilmore, however. .R: Phone please.L: Okay. [Lorelai walks over to the phone. She laughs.]R: What?L: Nothing. It's just, 'Oh, hey Mom, uh, Rory and Dean arehaving their three month anniversary on Friday.' 'Really Lorelai? Why that's wonderful. I'm thrilled.'R: Stop.L: 'Three months. Well, woohoo. Hold on, I'm going tocartwheel.'R: Forget it.L: Oh, no wait. She's telling my dad now. Why, I think they're cabbage patching.R: That's it. Find your own pan.EMILY: Hello?L:Mom?EMILY: Lorelai?L: Uh, yes, hi.EMILY: Hello.L: Hi. How are you doing?EMILY: I'm doing fine.L: That's good.EMILY: I'm pleased.L: How's Dad?EMILY: What doyou want Lorelai?L: Um, I was just calling to say hello.EMILY: And now you have.L: Okay, good.EMILY: Was there anything else that you wanted to add to thathello?L: Well, as a matter of fact, there is.EMILY: Ah ha.L: Um, you know Rory.EMILY: Yes, I believe I do.L: She wanted to say hello too.EMILY: Lorelai, I'm latefor a meeting. I'd love to know why.L: Mom, just hear me out, okay, and don't say anything. Um, see Friday night is Rory and Dean's three-month anniversary,and while that might not seem like a very big deal to you, it is to them. And I'm gonna ask you to do something you are so not gonna wanna do. But I am beggingyou to look at it from her point of view and maybe, just maybe let her, just this once, not come to dinner on Friday.EMILY: All right.L: What?EMILY: Since this is aspecial occasion, I suppose it would be fine if Rory missed dinner on Friday.L: It would?EMILY: YesR: Mom?L: Are you sure?EMILY: I believe I am.L: Noarguments?EMILY: No.L: Well, she wont be there.EMILY: I understand.L: At all.EMILY: I heard.L: All night long.EMILY: I assumed as much.L: Okay.EMILY:Okay.L: All right.EMILY: Anything else?L: Uh, you know, she's gonna need some help getting ready for the big night Mom, so I should probably.EMILY: We'll seeyou at seven.L: Okay. Right. Bye.R: So?L: The world is officially coming to an end.CUT TO CHILTON(Tristin and Summer are kissing in front of somelockers.)MADELINE: And they're off.PARIS: The bell just rang three seconds ago. How did they get lip locked so fast?MADELINE: I want a boyfriend to make outwith.LOUISE: Ty Tolson likes you.MADELINE: I want to different boyfriend to make out with.PARIS: I can't get to my locker.LOUISE: I'm sure they'll move if youask nice. You know, dangle a hotel key in front of their faces.PARIS: This is a school. You don't do this in a school.LOUISE: Not unless you've got a boyfriend likeTristin. Then you do it anywhere you can.MADELINE: Street corner.LOUISE: Shopping mall.MADELINE: Phone booth.LOUISE: Starbucks.PARIS: Thank you for the\"where to make out\" list, I just need to get my books.LOUISE: Hell hath no fury.PARIS: [walks over to her locker] Excuse me. You're in my way. Hey, spawn infront of somebody else's locker please.RORY: I'm assuming your locker's in there somewhere also.PARIS: Yup. Right behind Belle Watling.RORY: Have you triedto get their attention?PARIS: Sure have.RORY: No luck?PARIS: Nope.RORY: God, look at that. It's like he's eating her face.PARIS: Okay, that's it. I'm getting thefire hose.RORY: Let me try first. Hey, could you two just move this whole thing down to the left a little?TRISTIN: What?RORY: You're standing in front of thelockers.PARIS: Our lockers.TRISTIN: Oh sorry. Just got a little carried away.RORY: Right.TRISTIN: Hey Paris.PARIS: Hey.SUMMER: You should get bangs.PARIS:Thanks for the tip.SUMMER: You have a long forehead. Bangs would hide that.MADELINE: Hey, party at my house Saturday.LOUISE: Dress to impressplease.MADELINE: Come? (hands flyer to Rory)RORY: Oh, I don't know.MADELINE: You can bring your boyfriend.RORY: I'll see.SUMMER: So, meet me afterbiology?TRISTIN: And if I don't?SUMMER: You will.TRISTIN: Oh, yes I will. Ah. To be young and in love.PARIS: What a shame Elizabeth Barrett Browning wasn'there to witness this. She'd put her head through a wall.CUT TO INDEPENDENCE INN(Lorelai walks through the lobby into the kitchen where Jackson and Sookieare kissing.)LORELAI: Oh, now people, this is a kitchen. At least wear some hairnets.SOOKIE: Lorelai, hello. Uh, we were, uh. . .JACKSON: Just discussing jammaking.SOOKIE: Jackson's gonna start making jam and preserves.JACKSON: Maybe tomato sauce.SOOKIE: Yeah, there's a whole world out there beyondgrowing vegetables.LORELAI: No coffee?SOOKIE: Sorry.LORELAI: That's okay. Resume smooching.SOOKIE: Thank you.CUT TO INN LOBBY(Michel talking onphone)MICHEL: No cherie. I can't wait either. Very soon. You are? Ohhh. Don't tease me. I promise all this waiting will be worthwhile. I'll see you then. Goodbye"}
+{"doc_id":"doc_130","qid":"","text":"SCENE: The loft, Jess is trotting by Schmidt's room carrying lot's of science stuff.SCHMIDT: Jess!JESS: (Stops in Schmidt's doorway) Yeah?SCHMIDT: (Pacingback and forth) Can I ask you something?JESS: You wan't my help? Sure.SCHMIDT: You consider me a sexy man, correct?JESS: I don't know how to answer thatquestion.SCHMIDT: Okay look, I'm meeting a girl for drinks tonight, and I'm probably going to bring her back here, for s*x.JESS: I have to get to school cause it'sastronomy day and I'm dressing up like Galileo, so I have to put on my beard.SCHMIDT: I get that, but as a lady, where in the room do I look sexiest? You knowlike, like where am I best on display? Here? (Sits in armchair, legs crossed holding head) Here? (Sits on arm of armchair) Or (runs over to bed) here? (lies on bedon his side)ENTER NICKNICK: Hey, what is going on out here?JESS: Um, Schmidt wants to know where in his room he looks the sexiest.NICK: Well it's a bigroom. What are your choices?SCHMIDT: Ok, I'm glad you asked. Alright, (waves hand across bed) here? (runs over and sits in armchair) Here? (sits on arm ofarmchair again) Or here? You know, maybe just reading a book or something.NICK: It's a lot of options. Could you do them again really fast?SCHMIDT: Youwanna see them again?NICK: Please.SCHMIDT: Ok. Here? Here? Here?JESS: (Smirking) Wait, what was the first one again?NICK: (Also smirking)Yeah.SCHMIDT: (Angrily) OK. I get it. All laugh at Schmidt, great. Here? Here?...[SCENE_BREAK]OPENING CREDITS[SCENE_BREAK]SCENE: The loft, Jess isspreading cream cheese on a bagel in the kitchen area.JESS: I'm so excited to meet him...NICK: (Walking towards her) No, Jess he's sleeping. He flew in late lastnight, we took him straight to the bar, took a bunch of shots, got drunk, screamed I love America. (Sits down) Now he's happily passed out. (Slurps coffee) Let'slet him sleep.JESS: Guess I'm not the new kid anymore, I'm just one of the guys.NICK: You're still the new kid, Winston lived here before Coach did.JESS:(Carries on preparing breakfast) So Coach said, (shot of Schmidt walking by, taking earphones out) that they used to play basketball together at college, but thenWinston went pro...SCHMIDT: In Latvia, okay? He went pro in Latvia, there's a big difference. (Nick turns around to look at him) Well the team logo, is a fig. Justa.. just a one single fig.JESS: Oh, you're jealous. (Turns around) That's so cute. (Turns back)SCHMIDT: (Smirks) Of Winston? No no no. Look, I'm not jealous ofWinston. Ok, it's been two year, he's gonna have to recognize, I'm a lot flyer now. Wanna see me flex my base? (Starts to take off shirt)NICK: Naw naw naw naw.Put your shirt on.SCHMIDT: (Takes off shirt) Let me flex my base. Let me flex my base, man.NICK: Put your shirt on.SCHMIDT: Baboom.NICK: It's themorning.JESS: (Whispers whilst carrying the breakfast tray) He's gonna love it.NICK: Jess, what are you doing? (To Schmidt) What is she doing?(Jess kicks opensthe door, walks in and places the tray on the floor, loud enough to wake Winston. Winston wakes with a start.)WINSTON: What the.. what the.. (points at Jess)who?JESS: I'm Jess.(Back in the kitchen)JESS: (From the kitchen you can hear her singing) I'mJeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeessssss!WINSTON: (Shouting) What's happening?! Why are you doing that?![SCENE_BREAK]SCENE: Nick andJess are in the bathroom brushing their teeth, whilst Schmidt is in the shower.JESS: I can't believe you didn't tell me he was hungover!NICK: I totally told you hewas hungover. I said he was drunk at the bar and now he's passed out.(ENTER WINSTON)JESS: Hi, Winston. Hey, I apologize for what happened before... notcool, bad call. I've been talking to the guys about boundaries, so I totally get it.WINSTON: Perfectly fine, no problem.JESS: Do you have a tank top I couldborrow? You look like you're about my size. It's just that I'm really low on clothes right now cause I broke up with my boyfriend. And I caught him cheating and...I just like grabbed whatever I could and...SCHMIDT: (Steps out of the shower) Jess, you know what? I'll let you check my lost and found. It's where I keep all thethings the girls leave behind in my room after we've founicate. I've got sizes 0 through 10. (Jess and Schmidt leave)WINSTON: What have you done to meNick?NICK: I am so happy you're back.[SCENE_BREAK]SCENE: Schmidt and Jess are sitting on the bed, with a box in front of them.JESS: (Rummaging throughthe box, she pulls out stiletto) You have made love to a lot of forgetful women.SCHMIDT: (Taking shoe off her) Ah man, look at these, wow. (Sees Jess taking outhair extensions from the box) Oh, look at that, Rochechana 06. Yeah, nothing orthodox about what we did that night.JESS: Winston seems nice...SCHMIDT: Didhe say anything to you about the room?JESS: What room?SCHMIDT: The big room, I kinda took it from him when he left, I used to be in the small room. (Pullsout shirt from box that says 'I AM CLAIRE'.) This happened in the small room. (Looks at it) Twice. Never going back there again, Jess.[SCENE_BREAK]SCENE:Winston and Nick are tossing a basketball back and forth between then in the main living area of the loft.NICK: He's never gonna give you that roomback.Winston: Psshhhh, come on man, it's Schmidt. You know they have a saying in Latvia. 'That guy is so stupid we could easily take things away fromhim'.NICK: (Laughs) That's a saying?WINSTON: (Laughs) Yeah, it is.NICK: That's a weird saying. (Bounces ball and throws to Winston who shoots andscores)ENTER JESSJESS: (Wearing borrowed clothes) What d'ya think?NICK: Jess, I've been telling you this for weeks but you gotta call Spencer and you gottaget your stuff back. Unless, you know, unless you're scared.JESS: No, I'm not scared, it's just complicated. That stuff was... that stuff was ours and I miss him.(Starts to get upset.)SCHMIDT: Jess, look, it's a ball. (Throws ball to Jess)JESS: Oh, a little b-ball huh, (laughs). (Whilst bouncing ball) You know, I'm actuallypretty good. I used to play with my mom. (Half-singing and still bouncing ball) Defense! Defense! Watch out for the defense! Sneaky sneaky wah wah.NICK: (ToWinston) You get used t`o it.JESS: Hey, Schmidt! (Bounces ball really hard in Schmidt's general direction and smashes the TV)NICK: Ah, come on!JESS: (Putshands over her face) Uh!SCHMIDT: Wow! (Sarcastically)JESS: (Removes hands from face) Oh! (Breathes heavily) My bad!NICK: (Holding the bridge of his nose)Uuuuuuuuurgh.[SCENE_BREAK]JESS: I'm sorry, you guys.NICK: That was my TV, Jess.SCHMIDT: Kinda all he had.JESS: I'll get you a new one I just can't itafford it right now.NICK: If ya don't mind me asking, what's the plan?WINSTON: You don't know me like that but I need a TV.NICK: Do you have a TV atSpencer's?JESS: Yeah, I do, it's just really big and thin and brea...NICK: Go get it!JESS: No, I can't, I haven't spoken to Spencer since he cheated on me withthat hoe! Actually, that's not fair, she might be a really nice hoe. I just don't wanna get in a big fight with Spencer, I want to be friends with him eventually.NICK:Why do you wanna be friends with your ex? I don't wanna be friends with Caroline, and all she did was rip me open and tear out my heart out with her perfect,perfect hands.JESS: He has this power over me, like he's a wizard and I'm his mage and I think it's his hair, he has like this really beautiful hair, and whenever Isee it I get the 'woowoos'.NICK: Oh my god, I hate my life!SCHMIDT: Ok guys just.. Jess look, I know, closure, ouch, am I right?JESS: I don't know at all whatyou're saying right now.SCHMIDT: Ok Jess, think about it...NICK: Ok Schmidt, it's not that complicated, Jess just get the TV back!WINSTON: I need a TV.NICK:It's important! It's a television! It's what brings all of.. Just get us the TV!JESS: Okay, it's not a big deal. I'll do it. I'll call Spencer, and I'll talk to him, and, I, willtalk, to, him. So, yay.SCHMIDT: Yay.[SCENE_BREAK][JESS SITTING ON A BENCH, WATCHING SPENCER RIDING TOWARDS HER ON HIS BIKE]JESS: HiSpencer.SPENCER: (Takes his helmet off and shakes his hair out in slo-mo, movie style) Hi, Jess-jess.[SCENE_BREAK][THE GUYS IN A CAFE, AT A TABLE,EATING BREAKFAST]WINSTON: Wow, I miss this place. How's your yoghurt thing, Schmidt?SCHMIDT: Oh, the parfait? It's parfait.NICK: Come on,don't...SCHMIDT: (To the hot waitress) Oh, hello. You look beautiful today. You look smart.HOT WAITRESS: Stop talking to me, Schmidt.WINSTON: So, you'remaking all the calls now, Schmidt?SCHMIDT: Sure...WINSTON: This must mean, you're the top dog?SCHMIDT: Yeah?WINSTON: (Exchanging glances with Nick)That's cool...SCHMIDT: You know, i'm glad you guys think that, cause... you know I think that too.WINSTON: One hundred percent, I mean, when I moved out,obviously there was a power vacuum.NICK: Yeah, I needed a leader, I didn't know which end was up.SCHMIDT: Yeah, Nick's the bottom if you know what Imean.NICK: Absolutely, say Winston, do all top dogs need the biggest room or, I dunno, is that knida cheesy, a little over kill?WINSTON: No no no no no. ThoughI definitely see what you're saying though, definitely. Uh, every top dog is differt, every top dog is different. Hey, Schmidt, what uh, what kind of top dog areyou?SCHMIDT: ...the kind with the big room.[SCENE_BREAK][BACK TO JESS AND SPENCER ON THE BENCH TALKING]SPENCER: I'm so glad we're talking, lasttime I saw you, you were so mad.JESS: How is, um...?SPENCER: Rochelle.JESS: Rochelle...fancy name.SPENCER: She's great.JESS: Rochelle like amermaid.SPENCER: Yeah.JESS: (Puts on weird voice and picks up parts of her hair) Hello. I'm Rochelle and I eat fish.SPENCER: Yeah, we have a lot in common,see we both love bikes...JESS: I love bikes...SPENCER: Not enough.JESS: Um, Spencer. I need my stuff back. My TV, all my winter clothes.SPENCER: Yeah, ofcourse. I would have brought it today but I rode my bike here. You know, without the basket.JESS: Ok. Well, when will it be a good time for me to comeover...?SPENCER: (Interrupting Jess and changing the subject) It's so good to see you Jess.JESS: Spencer, I really need my stuff..,SPENCER: Shuuuuuuuusshhh.I need something too.[SCENE_BREAK][JESS IS DRIVING ROCHELLE TO THE AIRPORT FOR SPENCER WHILST IN THE BACKGROUND 'BUST A MOVE' ISON]ROCHELLE: Thanks for taking me to the airport, Jess.JESS: (Monotone) Of course, all you have is your bike, Rochelle.SPENCER: Hit it!SPENCER ANDROCHELLE: (Singing) YOU WANT IT, YOU GOT IT, YOU WANT IT, BABY YOU GOT IT. JUST BUST A MOVE, UH. YOU WANT IT.[SCENE_BREAK][JESS IN A PAWNSHOP TRYING TO BARGAIN WITH THE OWNER FOR A TV]JESS: $550 for the TV? Seems a little steep. I'm gonna write down a figure and this is as high as I go.(Draws something on a piece of paper)PAWN SHOP OWNER: You drew a smiley face.JESS: I'm a teacher. Do it for the kids.PAWN SHOP OWNER: For the kids,$550.JESS: I can't go home without a TV, I thought pawn shops were about helping people and frankly, right now, I feel taken advantage of. I just got out of along relationship and I don't know what I'm doing emotionally or lets be honest, sexually. (Picks up her bag to go) I'll just, I'll just get out of here. (Tries to steal"}
+{"doc_id":"doc_131","qid":"","text":"-[Storybrooke]-(Mr. Gold knocks on the door to Mary Margaret's apartment. Emma answers.)Mr. Gold: Ready to go, Miss Swan?Emma: Almost.(Mr. Gold entersthe apartment, and Henry enters the room with a suitcase and his coat.)Henry: Do you think we'll be cold where we're going, or warm?Emma: I think layers arealways a good idea.Mr. Gold: I thought the terms of our agreement were quite clear. You owe me a favour - you alone.Emma: I'm not leaving Henry here withCora lurking about, so either we both go, or we both stay.Mr. Gold: Then, we'll have to purchase another plane ticket, won't we?(Mary Margaret enters and helpsHenry put on his jacket.)Emma: Wait. We're flying?Mr. Gold: Don't worry, I'm covering expenses. Even the new ones.(David overhears the conversation as hecomes down the stairs.)David: You're a real gentleman, aren't you? Alright, Gold, you're going out there with my family. Just know, if anything happens tothem...Mr. Gold: Then you'll what? Cross the town line? And David Nolan will hunt me down in his animal rescue van?David: I'll be devastated. This isn't a threat.It's a request. Take care of them.Mr. Gold: I promise no harm will come to your family. After all, we have a deal.[SCENE_BREAK](Mr. Gold, equipped with theshawl around his neck, is driving. Emma is in the passenger seat, and Henry is in the back seat. They are heading down a deserted road in Mr. Gold's car.)Henry:So... Where are we going?Mr. Gold: Logan International Airport.Emma: I think he meant after that.Mr. Gold: Let's just take things one step at a time, shallwe?Emma: You really think that shawl's going to work?Mr. Gold: Well, if it doesn't, and I revert to my cursed self, we're all going to have some problems. It'llwork.(They pass the 'leaving Storybrooke' sign and a wave of magic passes over Mr. Gold. There is a brief pause.)Emma: So?Mr. Gold: My name isRumpelstiltskin. And we're going find my son.[SCENE_BREAK](At Mary Margaret's apartment, Mary Margaret is in the kitchen when David enters wearing two gunholsters.)MMB: You like the holster, huh?David: I miss carrying a sword.MMB: Well, it looks good on you.David: Come on. Leroy has the dwarves on Cora watch.They've got eyes everywhere, but they could use our help.MMB: Really? How hard can it be to find a powerful sorceress in a small town?(They go to leave. Whenthey open the door, they find Regina, who was just preparing to knock.)David: Apparently, not very hard.MMB: Regina. You're back.Regina: I know you think I'mresponsible for poor Dr. Hopper's death.David: He's... Alive.Regina: What?MMB: You were framed.Regina: Who would do that?MMB: Your mother. She'shere.Regina: But... But that's... That's... Not possible.MMB: When we found a way back, so did she. We were wrong... And we're so sorry.Regina: I know. But, ifCora's here, then we're all in danger. Please, you have to let me see my son. I can protect him.MMB: He's not here.Regina: What?David: Mr. Gold asked Emma tohelp him find his son. They left town about an hour ago with Henry.Regina: And no one told me?MMB: We didn't know where you were. And, to be honest,Regina, I don't think Emma has to run anything by you.Regina: No, I suppose she doesn't.(Regina exits.)MMB: That went well.David: With her, it doesn't getmuch better. Come on. Let's go find Cora.MMB: Where?David: No idea. But I know who to ask.(David hands a quiver of arrows and a bow to Mary Margaret, andthe two of them leave.)[SCENE_BREAK](David, Mary Margaret, Leroy, and Hook are at the docks. Hook walks with an obvious limp.)Hook: You didn't even ask meabout my recovery.MMB: How are you feeling, Hook?Hook: Come closer and feel for yourself.(David hits Hook.)David: You want to lose the other hand? Where'sthe ship? Come on. Archie told us. It's shielded somehow, isn't it, mate?Hook: Aye... That it is. Follow me. I don't know what you expect to find. Cora won't bethere.David: Well, maybe she left something behind that will tell us where she went. Let's go.Leroy: No funny business. I'm watching you, pirate.Hook: Yes,Dwarf. That should deter me from any maleficence.MMB: Oh, don't worry, Leroy. He'll help us.Hook: What makes you so sure?MMB: Because you're a pirate. Youknow which way the wind blows, and, right now, it is gusting towards us.Hook: Oh. I see where your daughter got her gumption. Follow me.(They arrive at thepier where the ship is anchored. Hook walks up the invisible stairs and disappears behind the shield. The rest of them follow suit.)Leroy: You sailed this ship fromour land. Can you sail it back?Hook: My ship? She's a marvel. Made from enchanted wood. We weathered many a storm together, seen many strange, glitteringshores. But, to travel between lands, she must go through a portal.David: Yeah. What do you know about Cora's plans?Hook: Cora's not the most communicativeof lasses. I will tell you this - whatever malice she has in mind, her weapon of choice is in here.(Hook gestures to a tarp covered box. Leroy and David pull backthe tarp, revealing a cage. Inside, is the shrunken giant from the beanstalk. He is unconscious/sleeping.)MMB: Who's that?-[Fairy Tale Land - Past]-(At the giant'scastle, the giants have gathered for dinner. One of them rings a bell to summon Anton. Anton enters.)Arlo: Ah. You're late, Tiny.Abraham: Missed you out in thefields, Tiny.Anton: It's Anton.Abraham: But you're just so damn tiny, Tiny.Arlo: Alright, enough squabbling. Now, today, we celebrate. After a century of hardlabour, the time of the bean harvest has finally arrived.(The giants, save Anton, pound their fists into the table and cheer.)Anton: ...Yay.Arlo: But is a blossommore than its root? Is a harvest more important than a hard day's work? No. Each has value. Just as each of us has value. Hear, hear.Group: Hear, hear.(Thegiants stand up to toast, but are interrupted by a loud bang. They look over at Anton. A human-sized harp has slipped from his sleeve onto the table.)Arlo: You'vebeen spending time in the treasure room again, haven't you?Anton: No. Maybe. So say that I was. So what?Arlo: Your fascination with the humans and theirartifacts is misguided. No good can come of it.Anton: How can you say that, when you've never even been to their world? And you won't even let any of us godown there.Arlo: Have you forgotten what the humans did? Why we no longer trade beans with them? They weren't content merely traveling between the realms.They had to conquer and pillage.Anton: Because a few humans did some bad stuff, doesn't make them all evil.Arlo: They don't abide by the same laws that wedo, Anton. We giants foster life. They destroy it. That is why they must never know that we still exist, or that we still grow the beans.Anton: But why do we keepgrowing them... If nobody ever uses them?(There is an awkward silence at the table.)Arlo: It's what we do.Anton: We don't do anything with them!Arlo: It is thelabour that makes us who we are. Not the fruit that it yields.Abraham: What is this? A human toy?(Abraham picks up the harp and inspects it.)Anton: Put itdown.(He crushes the harp in his hand and drops it to the floor.)Abraham: Not much fun, is it?Arlo: Abraham, that is enough.(Anton gets up from the table andruns out of the room. Arlo calls after him.)Arlo: Tiny!(Anton exits the castle until he comes to the beanstalk. He looks down and ponders. He then decides to climbdown to earth.)-[Storybrooke]-(David and company are still on Hook's ship. They are gathered around Anton's cage.)Leroy: So, Cora used magic to make himtravel-sized.Hook: Whatever she intends to do with him, it's important.David: Oh, I think you know exactly what she intends. You're holding out.Hook: Well,either have your lovely wife torture it out of me, which I promise will be fun for both-(David grabs Hook by the throat and shoves him against the wall.)David:Why don't you and I have some fun?Hook: I don't know what she's planning. Why don't you wake the bloody giant and ask him yourself?(Hook extends the key tothe cage. Mary Margaret takes it and unlocks the door. She crouches down and touches Anton on the shoulder. He startles awake.)MMB: Hey... It's alright. You'resafe now.(Anton crawls out of the cage.)MMB: What's your name?Anton: Anton. Where's that witch?MMB: She's gone.Anton: What did she do? She made mesmall.David: Come on. Let's get you out of here.Anton: You.David: Me?Anton: You!(Anton punches David in the face, causing him to fly backwards.)MMB:David!Leroy: Hey! Hey, over here, you big-(Leroy attempts to distract Anton, but is thrown down the stairs of the ship. Anton lunges at David, who has drawn hisgun. He easily hits it out of his hand. Suddenly, Mary Margaret shoots an arrow past Anton's head.)MMB: Step away from my husband.Anton: You may have meoutnumbered, but this isn't over. You think I forgot what you did? I didn't. You'll pay for your evil. I promise! You'll pay!(Anton flees theship.)[SCENE_BREAK](Belle is watching television in a common room at the hospital. Ruby enters with a basket of items.)Ruby: Hey. You don't remember me, doyou?Belle: Sorry, no, I... I don't.Ruby: I'm Ruby. You used to come into my Granny's diner a lot. Before. I thought you could use some comforts from home. Youwere always telling me about Jules Verne, so I brought you my favorite - The Mysterious Island.Belle: Thank you. Were... Were we really friends?Ruby: Yeah, wewere.Belle: Then tell me the truth. Before I was brought here, I was hurt. I was bleeding, and then this man came. And he... He healed me. Then, I saw him holda ball of fire in his hands. How... How is that possible?!Ruby: The nurse said that the tranquilizers can give you wicked nightmares.Belle: No, I know what I saw.And I don't need any more tranquilizers or-Ruby: Belle...Belle: Don't call me that. Why does everyone keep calling me that?(A nurse enters to restrainBelle.)Belle: I don't... I'm telling you, I don't...Nurse: Take it easy. Take it easy.(The nurse sits her down in a chair and injects a sedative into her Belle'sarm.)Ruby: Has she been like this the whole time?Nurse: More or less. We've had to keep her heavily sedated. Okay, let's get you back to bed.Belle: No...Nurse:Here we go. There.(The nurse escorts Belle out of the room. Meanwhile, Greg has entered and has seen the outburst.)Greg: Everything okay in here?Ruby:Everything's fine, Mr. Mendell. She's alright. How are you?Greg: Much improved.Ruby: Well, then, rest up. The sooner you're better, the sooner you can be out ofour quiet little town.[SCENE_BREAK](David, Mary Margaret, and Leroy are sitting in a booth at Granny's Diner.)MMB: David... Did that giant just say he'll makeyou pay? For what?David: I have no idea. I've never seen that guy before.Leroy: Well, he sure knows you.David: No. It's not about me. He just thinks it is.-[FairyTale Land - Past]-(At his castle, James and barely-clothed Jack are having a make out session.)James: You are a true wonder.Jack: I know.(James picks her upand carries her to the bed. He drops her onto it, and the two of them resume where they left off. However, King George enters and interrupts.)King George: Ididn't know you had company, James.James: Father. This is my father, the King. Father, this is-King George: I don't care. The kingdom is teetering onbankruptcy. The name of your latest dalliance is of little concern to me.Jack: Pleasure to meet you, too, Your Majesty.King George: Good day.James: Care for a"}
+{"doc_id":"doc_132","qid":"","text":"Produced by: Robert Carlock & Wendy Knoller Final check by Kim[Scene: Joey's place. Rachel and Joey are talking]Joey: All right, all right, all right, let's play onemore time, ok? And remember, if I win you do not move to Paris.Rachel: Ok! Can't believe I'm risking this again, but you're on! All right Joe, you remember therules! Heads I win, tails you lose.Joey: Just flip!Rachel (she flips the coin): Ha, tails!Joey: Damnit!(Chandler and Monica enter the room)Chandler: Hey!Joey:Hey!Chandler: So we thought we'd throw you little going away party around seven.Rachel: Oh, that sounds good!Monica: Hey, Rach, you're leaving tomorrow,shouldn't you be packing?Rachel: It's all done!Monica: Oh, yeah, right! And after I took a shower this morning I just threw my towel on the floor! Oh God, it hurtsto even joke about it.Rachel: I know... Honey, seriously, I did it all. The luggage that I'm taking is in the bedroom, this is Emma's Paris stuff, these are the boxesthat I'm having shipped, and that's the sandwich that I made for the plane...Monica: Ok, so you've done some good work! (pause) What about yourcarry-ons?Rachel: Oh, well. Everything that I need (she takes her bag) is in here and my travel documents are on the counter organized in the order that I will beneeding them.Monica: Oh my God! I have nothing left to teach you! (they hug)Chandler: Where's your passport?Rachel: It should be right next to my planeticket.Chandler: Well, it's not.Rachel: What? Maybe I put it in here (she opens her bag). Oh, oh, it's not in there! Oh, no! I must have packed it in one of theseboxes!Monica: Here, let me help you. (they both start opening boxes)Rachel: Shoot. Oh, I can't believe I did this!Chandler (to Joey): At what point did it stopbeing funny that I took her passport?OPENING SEQUENCE[Scene: Monica's apartment. Monica and Erica are talking about the baby, and Monica is rubbing Erica'stummy.]Monica: Oh, wow, can you believe you're like three weeks away?Erica: I know.Monica: You don't mind me touching your belly, do you?Erica: No, I don'tmind you touching my belly, but right now your hand is kind of blocking the part where the baby is gonna come out.(She takes her hand off Erica. Ross enters theroom)Ross: Hey!Erica: Hi.Ross: Hey Erica, welcome back to town! (pause) Wow, look how big you've gotten.Erica: That's because I'm pregnant!Ross: Right, no, Iunderstand.Erica: Oh, ok. I'm just always afraid that people think I'm just fat with big breasts.Ross: No, no, I knew (he stares at her breasts).Monica (to Ross):Okay, well, stop staring at them.Ross: She brought them up! (pause) I didn't realize you were coming back so soon!Erica: Hey, well, in a couple of weeks I won'tbe able to travel.Monica: Yeah, and I wanted her to get to know the doctors and get settled into the hotel.Ross: Hotel? Why isn't she staying with youguys?Monica: Because we're moving in a couple of days and it just didn't make sense.Erica: Plus hotels are fun! My room has this little fridge full of freesnacks!Ross: Erica, those things aren't free. In fact they have one of the highest mark-ups of any consumer product...Monica: Ross! She's giving us her baby.She can eat you if she wants.Erica (standing up): I'll be right back.Ross: Oh man, I can't believe you guys are leaving this place.Monica: Oh, I know. I know. Hey,you know, you can take it if you want! The lease is still in Nana's name.Ross: No, no. This will always be your place. It would be too sad. Plus, how much a monthdoes it cost to feed Joey?Monica: Yeah, it takes two incomes.Ross: Hey, is Chandler here? We talked about catching a movie.Monica: Oh, no. He doesn't havetime for that. But if you want, you can go help him and Joey pack up the guest room.Ross: Mhm, (he balance things) packing - sexy cheerleader comedy.Monica:Mhm, helpful brother - creepy loner at teen movie.(Ross takes the tape roll she's handing him and walks to the guest room while mocking Monica's voice)[Scene:Guest room. Joey has his head wrapped in bubbled wrap and Chandler is punching him. Ross enters the room.]Ross: What are you guys doing?Joey: Try it, I can'tfeel a thing! (Ross starts punching him too)Monica (enters the room): Are, are you kidding? This is packing?Chandler: We're taking a break!Monica:From?Chandler: Jumping on the bed?Monica: All right, Rachel's party is in a couple of hours and there's a lot to do. Now, Ross, you got Geller blood, you're incharge of these yahoos!Ross: You got it! (Monica leaves, Ross closes the door). All right, she's right, we gotta get serious. (He grabs a bag of styrofoam peanuts)Let's put styrofoam peanuts down his pants and kick him!Chandler: No, no, no, guys. She's right. We should get to work. I'll take stuff out of the closet, Joey youpack 'em and Ross you re-pack whatever Joey packs.(Joey takes the bubble wrap off his head)Joey: You guys hear a ringing?Chandler: (holding a pair of furryhandcuffs) What the hell is this?Joey: Hey! Handcuffs! And fur line, nice! I didn't know you guys had it in ya!Ross: Chandler, you don't have a sister so you can'tunderstand how much this bums me out.Chandler: I didn't know Monica had these!Joey: Mhm, maybe she used them with another boyfriend. MaybeRichard!Chandler: Why would she use them with Richard and not me? I can be kinky! I once did a naked dance for her... with scarves!Ross: Bumming hard, guys,bumming hard.[Scene: Monica's apartment. Phoebe and Ross enter the room.]Phoebe: Hey!Monica: Hey! Where's Mike?Phoebe: Oh, he has a gig. I kinda likebeing married to a rock star, you know. My husband has a gig.Ross: Yeah? Yeah, where is it?Phoebe: Oh, he's playing organ for a children's roller-skatingparty.Ross: Rock on!Phoebe (watching the food on the table): Wow, this is quite a spread! (pause) What is all this stuff?Monica: Well, I thought this would be agreat opportunity to use up all the food that I don't want to move to the new house with me! So, enjoy: smoke oyster casserole with a breakfast cereal crust,kidney beans in their own juices, and for dessert, a questionable orange.Joey: (entering the room) Hey.Chandler: Hey.Ross: Hey, where's Rach?Joey: Oh, she'sputting Emma down, she'll be over in a second.Ross: Great.Joey: Now it just hit her that she's leaving and she's kind of emotional so no one say anything to sether off, ok?Monica: Yeah.(Rachel enters the room)Everybody: Hey Rach, hey you.Ross: Here she is!Rachel (crying): Hi you guys!Joey: What did I justsay?Rachel: No, no, no. It's ok. I'm gonna be fine.Monica: Come here, I'll make you a drink.Ross: Oh, man! I can't believe she's actually leaving. How am I gonnasay goodbye to Rachel?Chandler: I know, she's been such a big part of my life. And it feels like when Melrose Place got cancelled. (Ross and Joey looks puzzled) Imean... oh, forget it. I miss Melrose Place!Joey (to Ross): You know, I had a chance to stop her too!Ross: Yeah?Joey: Who loses fifty seven coin tosses in a row?Head she wins, tails I lose. (he stops and starts realizing something) Wait a minute...Chandler: Yes, Joe?Joey: I forgot to pick up my dry cleaning!Phoebe (toRachel): You doing ok?Rachel: Well, I've been better.Phoebe: Uh-hmm.Rachel: You guys are gonna come and visit me, right?Phoebe: Yes! You know, in sixmonths the Statute of Limitations runs out and I can travel internationally again!Rachel: I'm gonna miss you so much.Phoebe: I know.Rachel: You know what?Uhm, I have some goodbye stuff that I wanted to say to each of you and I was gonna save it until the end of the night, but come here (they go into the guestroom).Ross: Hey, what do you think they're doing in there?Joey: Huh, if I had to guess I'd say Rachel is putting on the bubble wrap and Phoebe is doing thepunching.[Scene: Guest room. Rachel and Phoebe are sitting on the bed.]Rachel: Oh, Pheebs, I don't even know where to start.Phoebe: Ok well, before you do, Iknow we weren't supposed to get you going away presents, (she takes something out from her pocket) but I do have something for you.Rachel: Oh, oh. (she'sholding the present, a transparent bag with a white stick in it). What is this?Phoebe: It's a cotton swab with a bit of my saliva on it, so that if they perfect thecloning process while you are over there, you can use the DNA to create your own Pheebs!Rachel: I'm gonna throw this away, but thank you so much for thegesture![Scene: Monica's apartment. The living room.]Monica: Chandler? I was just in our bedroom and I found these (she holds the furry handcuffs) on mypillow.Chandler: Oh, yes. I decided to leave these out for you in case Richard stops by and you wanna engage on a little light bondage and moustacheplay!Monica: What are you talking about? These aren't mine.Chandler: Oh yeah, right! Good luck getting another scarf dance from me!Monica: That would be aterrible punishment. But, I'm serious, I've never seen these before.Chandler: Really? Then what are they doing in our guestroom?Monica: Rachel used to live inthat room.Chandler: Rachel... with handcuffs! Interesting! (he looks excited)Monica: Joey's bare ass!Chandler: (he doesn't look excited anymore). Wellplayed.(Phoebe and Rachel enter the living room.)Rachel: I love you Phoebe.Phoebe: I love you too. (they hug) Please don't... Don't turn into... you know...French bitch! (they hug again)Rachel: All right. Well, if I gonna do this, I'd better keep going.Phoebe: Ok.Rachel: Ok. Monica?Monica: Yeah?Rachel: Can youcome here with me for a minute?Monica: Sure.Phoebe: (to Monica) Are you wearing waterproof mascara?Monica: No.Phoebe: Oh, you're so screwed. (Monicagoes into the guest room)Ross: (to Phoebe) Hey. What was that all about?Phoebe: She's gonna say goodbye to each of us individually.Ross: Are you kidding? Ohmy God...Phoebe: Yeah, I know, it's gonna be even worse for you... God... Ross, get ready to do some serious crying.Ross: Oh, man, I'm not going to be able tohandle this. (pause) Now I know how my students feel at the end of each year. And why they act out by giving me such bad evaluations.[Scene: The guestbedroom. Rachel and Monica are talking to each other.]Rachel: Mon... Okay... I've gotta... just say what it is I'm gonna say... None of the amazing things thathave happened to me in the last ten years, would have happened if it wasn't for you. No-one has been more like a sister to me...Monica: I know what you mean.You're like a sister to me too.Rachel: (starts crying and speaking at the same time, making it almost impossible to understand what she's saying) I wouldn't knowwhat I'm gonna do without you...Monica: (having the same problem) You're the best friend I ever had.Rachel: (says something that cannot beunderstood)Monica: What?Rachel: I... I... I... (again saying something that cannot be understood)Monica: That is so sweet. (they hug)[Scene: Back to the livingroom. Monica and Rachel enter and hug each other. The guys see this.]Ross: (to Joey) Oh no, she took down Monica... And I'm the crier in the family. Oh God! Icould be next. Maybe she won't talk with me if it looks like we're deep in converstation. Oh, so that thing you said about the thing. It really made me think aboutthat other thing.Chandler: Uh, Rach?Ross: Well it's okay. Chandler is talking to her.Joey: I really made you think about that thing uh?Chandler: (to Rachel) Uh,Rach... I think I have something that belongs to you. (shows her the cuffs)Rachel: (laughs) Oh, I'm sure gonna miss pretending to laugh at your weird jokes that"}
+{"doc_id":"doc_133","qid":"","text":"Act 1Scene 1 - Café Nervosa Fade in. Frasier is just getting to a table. Niles comes in.Niles: Just the man I wanted to see. Coffee, please.Frasier: Niles,Niles...Niles: You would not believe the morning I...Frasier: Niles, would you be terrible offended if I asked you just not to not talk about it and sit quietly?Niles:Can I at least tell you...?Frasier: Shhh, shhh, please, I do not have time for your folderol today. I am meeting Charlotte for lunch and I'm planning my strategy onhow to win her over.Niles: I thought you said she has a boyfriend, this environmentalist fellow.Frasier: Yes, Frank.The waiter brings Niles' coffee.Niles: Thankyou. So, what's your plan to get around him?Frasier: I'm merely going to present myself as the anti-Frank.Niles: Ah. So you're going to be not rugged and nothandsome? Interesting.Frasier: No.Niles: You're also going to be not passionate and not committed.Frasier: Very funny.Niles: Maybe she'd like you if you werenot interesting and not informed.Frasier: Niles!Niles: Well you said my day was folderol!Frasier: Sometimes it is!CUT TO: Roz and a man talking at the windowtable.Roz: I don't believe you.Steve: It's true. My roommate and I used to listen to your show Every day just for you. We fell in love with your voice.Roz: Really?[in a dusky tone] It's just a voice.Steve: Well, all the guys on my floor listen to you.Roz: To our show?Steve: Yeah.Roz: Boy, things sure have changed since Iwas in college.Steve: Well, it wasn't exactly college, more like prison.Roz: So was mine. So where'd you go?Steve: Prison.Roz: Oh. So... you fell in love with myvoice?CUT TO: Niles and Frasier as Charlotte walks in.Charlotte: Hi. The boys rise.Frasier: Charlotte, hi. You remember my brother Niles.Niles: Yes, Charlotte,how are you?Charlotte: Oh, hello. Well, frustrated. Been selling this guy all over town, but no one's buying.Niles: [sitting] Well, perhaps if you threw in atoaster.Charlotte: I just have to call Frank before we head out.Frasier: Oh, right. So everything's settled between the two of you?Charlotte: Oh, yeah. He cameover last night, I don't even remember what we were fighting about.She walks back to the payphone as Frasier grumpily turns to Niles.Frasier: You know whatTHAT means, don't you? [sitting] They had a long night of acrobatic make-up s*x.Niles: I just thought of another way you could be the anti-Frank.Frasier glaresfor a moment, then gets a gleam in his eye.Frasier: Niles.Niles: Mmm?Frasier: Keep an eye out for her, will you?Niles: What are you doing?Frasier:Research.Frasier opens Charlotte's purse and begins looking through it.Niles: Frasier, Frasier? Foul play!Frasier: Yes, all is fair in love and war. That's interesting.An anthology of Irish plays. Perfect!Niles: What do you know about Irish plays?Frasier: Nothing. But not for long. There's one area where no manhas ever bestedme, Niles: homework!Charlotte comes back and Frasier gets to his feet.Frasier: Charlotte, listen, I was just beeped by a patient who's desperate to see me, so doyou mind if we just switch lunch for dinner?Charlotte: Actually, that's better for me. I have four new clientscoming in. Just think: the woman of your dreams maybe sitting in my office this afternoon.Frasier: Indeed she may.Frasier smiles, then turns and hurries out.[SCENE_BREAK]Scene 2 - A Restaurant Fade in. Frasierhurries up to the Maitre D', Georges.Georges: Ah, Monsieur, so nice to see you again. Your special table is ready for you.Frasier: And the wine?Georges: As yourequested, monsieur.Frasier: Right. And the roses?Georges: I'm so sorry, monsieur, I felt that the scent would distract from the wine's distinctivebouquet.Frasier: You forgot them, didn't you?Georges: Yes, forgive me.He hangs his head.Frasier: For God's sake, Georges. All right, send a busboy out to picksome wild flowers, please.Georges: Very good sir.He heads off as Charlotte comes in the front.Charlotte: Gee. You kinda sprinted ahead of me, there.Frasier: Sosorry. I just wanted to make sure that we could get a table. Here, come and sit.Charlotte: This place is kinda fancy for a working dinner.Frasier: Yes, well, afterthe rigors of your camping trip with Frank, I thought you deserved a little elegance.Charlotte: Thank you. [She gets her notebook.] So, good news: I met thisgreat woman today. How do you feel about dating someone a little taller than you?Frasier pours the wine.Frasier: How much taller?Charlotte: I don't knowexactly, but I did have to turn off the ceiling fan.Frasier: Well, let's just put her in the maybe pile, shall we?Frank comes in and over to the table.Frank: Hi,sweetie.Charlotte: Hi.Frank: Sorry to interrupt. I know you're working.Charlotte: Frank, you know Frasier.Frank: Yes.Frasier: Yes, yes, good to see you,Frank.Frank: I just need the key to your apartment. I left my blue field notebook there and I want to double-check some whale songs I copied down.Charlotte:Oh, sure.Frank: We were in a boat all day, recording whale songs. I think we may have had a really big interpretive breakthrough.Frasier: Oh, you should tell usabout it sometime.Frank: That's a great wine. Can I steal a glass?Charlotte: Yeah, here. [to Frasier] You don't mind, do you?Frank sits.Frasier: No, no, not at all.Although as the Irish say: \"A man takes a drink, the drink takes a drink, the drink takes the man.\"Frank: That's very good. \"As the old cock crows, the young cocklearns.\"Frasier: Yes, well, wasn't it O'Casey who once wrote: \"The Irish treat a serious thing as a joke, and a joke as a serious thing.\"?Charlotte: You'd really haveto ask Frank about that. He's the one who loves Irish literature. He lent me an anthology, but I haven't made much of a dent in it. I'm sorry, honey, I'mtrying.Frank: I know you are, baby.He kisses her cheek as Georges brings a vase of wild flowers to the table.Georges: Your flowers as requested, monsieur.[noticing Frank] I'm sorry, I thought you were to be deux.Frasier: Yes, well now we are trois. Thank you, Georges, could you bring us another glass,please.Georges: [knowingly] Yes, I understand, monsieur. It is most sophisticated of you.He walks off.Charlotte: Frasier, you ordered these flowers?Frasier: Well,the table just looked so bare.Frank: These are great choices, man. These are Washington wild flowers, remember from our hike? Foxglove, fine toothedpenstemon, harsh paintbrush. Ah, remember this one?Charlotte: Oh, it's on the tip of my tongue...Frank: Monkey-flower.Charlotte: Monkey-flower!Frasier: Yes,often confused with the chimp-pansy.They all laugh.Charlotte: Frank made the same joke this morning.Frasier: Oh.Frank: Great minds.Frasier: Yes, yes.Georgebrings the menus, Frasier speaks to him in French.Frasier: Just two menus, Georges. This fellow is only staying for a drink.Frank: [in French] No, no. I'll take amenu. We're having fun. And to tell you the truth, I'm starving.Frasier: Oh, terrific.As Frasier glares at his menu in frustration, the word \"Merde\" appears in thesubtitles.[N.B. Georges is meant to be French, but if you listen carefully you hear a hint of a Cockney accent.][SCENE_BREAK]Scene 3 - Frasier's Apartment Fadein. Niles and Daphne are on the couch. Martin opens the front door for Roz.Martin: Hi, how ya doin'?Roz: Hi. Hey, look at you, Mr. Handsome.Martin: Thanks. I'mgonna go hear Ronee sing at the Rendezvous. And then afterwards I am going to give her her engagement ring.He shows it off with a flourish and Daphne takesthe box.Daphne: Oh, Martin, it's beautiful.Roz: She's gonna love this.Martin: Thanks. I forgot I had it. I bought it years ago for Sherry, but then we brokeup.Daphne: You can't give Ronee a used ring!Martin: Sherry never touched it.Roz: Well, it doesn't matter. Ronee deserves something you picked out just forher.Martin: Well, she'll think I picked this out just for her.Daphne: But you didn't.Martin: But she'll think I did.Daphne: But you didn't. You'll have to sell that andbuy Ronee a new one.Martin: Oh, what's the difference? Niles, come on, back me up here.Niles: You can't be serious!Martin: Oh, geez.He heads for hisroom.Martin: Fine, back in the vault.Daphne: Some vault. It's an old cigar box with a bunch of silver dollars and Eddie's baby teeth.[N.B. See [5.11], \"Ain'tNobody's Business If 'I Do.'\"]Frasier comes in from his room and grabs his jacket.Frasier: Oh, hey, Roz. What are you doing here?Roz: Oh, hi. I was just shoppingaround the corner, thought I'd stop by.Frasier: Oh, gosh, well unfortunately I have a date.Roz: That's okay, I have one myself. With Steve.Frasier: Oh, yes, yourconvict friend. Do you think that's wise?Roz: The man made one mistake. Besides, I don't know any guy who's not a little fascinated by fire.Frasier: Yes, and afelon now knows where you live.Roz: I'm not a total idiot.Her cell phone rings and she answers it.Roz: Hello? Oh, yeah, hi, Steve. I'm grabbin' my coat, I'll beright down.She walks past an outraged Frasier to the door.Frasier: You...?! She leaves.Niles: So, you have a date tonight.Frasier: Yes, yes, actually Charlotte andI have been out three times this week. We've been wine tasting, beach-combing, and we actually shared a blanket in a horse-drawn carriage.Daphne: I take itFrank's off in the mountains again?Frasier: Oh, no, he was there, too.Martin comes back out.Martin: Let's go. The others get up.Niles: You mean, it's been thethree of you all week?Frasier: Well, it's not exactly how I wanted, but the more time I spend with them, the less time they spend alone together.They followMartin out the door.Daphne: It doesn't bother Frank, you tagging along on their dates?Frasier: Frank? No. In fact, he's quite taken with me. It doesn't even occurto him that I might be a rival. Galling, yes, but it does give me more time to work my magic on Charlotte.CUT TO: the hallway as they wait for theelevator.Frasier: In another week, you can kiss Frank goodbye.The elevator opens to reveal Frank and Charlotte in a passionate embrace.Niles: Maybe we'll waituntil there's not a line. Frank and Charlotte come off the elevator.Frank: Hi, guys.Niles: Hello.CUT TO: the living room as he passes Frasier in the doorway.Frank:Gangsta!Frasier: What it is.Charlotte comes in as Frank plops down on the couch.Frasier: So, uh, what's going on? I thought we were meetingdowntown.Charlotte: I know, I'm sorry, but can we stay in tonight? I've got to get up early and catch a flight to Chicago for some divorce stuff, and Frank'sbeat.She sits next to him.Frank: Yeah, I was at the beach all day cataloging the stomach contents of a dead elephant seal. It was like all you can eat down at theLobster Pot. I'm sorry, the collapse of our coastal fisheries is no joke. I'm just punchy.Charlotte: We brought some movies. We couldn't agree on which one towatch, so you break the tie.She holds out the DVDs and Frasier sits on the coffee table to look at them.Frasier: Hmm... \"The Perfect Storm\" or \"When Harry MetSally.\" I guess I'm going to have to go for \"When Harry Met Sally.\"Frank: YES! He'll have what I'm havin'!Frasier just shrugs with his \"I can't win\"expression.[SCENE_BREAK]MENAGE A HUH?Scene 4 - Frasier's Apartment Fade in. Charlotte is waiting in the hallway. When the elevator opens, Martin andRonee get off. They notice that Charlotte's hair is unkempt.Charlotte: Oh, hi. We keep passing each other.Martin: Yeah. We got some dessert here, if you wannastay.Charlotte: Oh, no thanks. I've got to catch an early flight, but tell Frasier I'll call him?Martin: Sure. Bye.Charlotte: Bye-bye.The elevator closes.Ronee: Do I"}
+{"doc_id":"doc_134","qid":"","text":"[PREVIOUSLY_ON]Jamie : For you, Miss Lauren.Lauren : Thank you, Jamie.Jamie : They're from my uncle skills. He thinks you're cute.Lauren : Antwon \"Skills\"Taylor crashing a 5-year-olds' dance?Skills: I was hoping to see you.Bobby : I'm moving Nino to shooting guard, and I'm keeping you at the point.Nino : With meat the point, you're gonna get more chances to score.Nathan : All right? I'll get you the ball. Cause if you can do that, the scouts will come.Brooke : I have aletter for you from your birth mother. You've been going to that coffee shop for months. You must want something from her, even if it's just closure.Lucas :Peyton has a condition called placenta previa.Brooke : Lucas, come on, what if everything doesn't go perfectly?Lucas : She could die, and... and the baby, too.ATLUCAS'S HOUSEPeyton : The honorary title, Matthew Ryan, the cure, Audioslave, Haley James Scott. They're all in here. It's music to set your life to. And musicalways helps, no matter what you're going through. So, if you flunk a big test or you have a really bad break-up. Or you just miss someone so bad, it hurts...Thenlisten to my playlist -\"100 songs to save your life\" and it should help. Oh, and there is this new artist that is really special, and her second album is just about tocome out. So you should check her out. Her name's Mia Catalano.**This road is anything but simple twisted like a riddle** **I've seen high, and I've seen low****so loud the voices over my doubts** **are telling me to give up** **to pack up and leave town** **but even so, I had to believe** **oh, impossible meansnothing to me** **so, can you lift me up?**Peyton : A best friend ... okay, this one is so important. Choose wisely, okay? I got really lucky with mine. My bestfriend is funny, intelligent, creative, beautiful and successful and very kind. And she's also impulsive, frustrating, um...complicated, childish. But I would not haveher any other way. And the best part about Brooke Davis is that she always puts friends first. So...if you are ever in any kind of trouble, now you know who tocall. I can't think of anyone I would rather have watching over you.IN THE STREETVictoria : It's been a month, Brooke. You've got to stop spying on them likethis.Brooke : Thank you, concernicus. How would you know what I've been up to?Victoria : 'Cause I've been watching the both of you. Iced coffee with skim milkit'll change your life.Brooke : She's eating pecan pie. She doesn't even like pecan pie.AT LUCAS'S HOUSEPeyton : Being a kid without a mom really sucks. And Iknow this because I've been there... twice. And if you're watching this, then it means that you're in that place, too. And I'm so sorry for that. But if you ever needa mom-and-dad fix, you have Nathan and Haley for that.AT SCOTT'S HOUSENathan : Gotcha! I gotcha now!Jamie : No! No!Haley : Okay, easy. If he pees hispants, you're on laundry duty.Jamie : You look pretty, mama.Haley : Oh, thanks, buddy. I got to go. I'm late. I got to pick up Mia from the studio and go over toPeyton's for her baby shower. Do you think you can drop him off on your way out of town? Lucas is gonna watch him.Nathan : Sure, no problem.Haley : Thankyou. I'm gonna miss you so much. Call me after the game, okay?Nathan : Yeah.Haley : Okay Bye. I'll see you later. Peyton's waiting.Nathan : Bye.Haley :Bye!Jamie : Bye. Love you.Haley : I love you, too.Jamie : Again?Nathan : Again?!**'Cause I have overcome more than words will ever say** **and I've beengiven hope that there's a light on up the hall** **and that a day will come when the fight is won and I think that day has just begun** **oh, oh, just begun****lift me up** **ooh, yeah, yeah, yeah yeah, yeah, oh** **oh, oh, lift me up** **lift me up, lift me upAT LUCAS'S HOUSEPeyton : I really hope that we get toshare all these things together. But just in case, it's all right he. Now, there is just one thing... that I need from you. Please... take very special care of your father... because if I'm not around... he's gonna need you to take care of him, just like my dad needed me. So, love him ... and take care of him ... and be kind to him.Just please ... Do that for me.Lucas : Peyton, what is this?Peyton : I just thought I should.Lucas : No. No, you... You said everything was gonna be okay. You saidthat.Peyton : Okay, but, Luke, if it isn't, I want our child to be able to remember me. It's just in case.Lucas : Our child's not gonna have to remember you. Ourchild's gonna know you. We're not doing this, Peyton.Peyton : Lucas.Lucas : A death video? A sad box of stuff? I'm not having any of this, Peyton. I mean, what'snext?Peyton : I want to get married ... now.Lucas : Absolutely not. You're supposed to be taking it easy. Okay, look, after you have this baby and you're allbetter, then ... then we'll get married.Peyton : I want to get married.Lucas : Why? Why is it so important to do it now?Peyton : Because...Lucas : We're not doinganything just in case, okay? I'll be in the garage. You should be in bed.Peyton : Thank you! I love you, too, by the way.AT WALMARTBrooke : Remind me againwhat we're doing here?Victoria : Know thy enemy, Brooke. Suit yourself, but this is our competition and they're cutting into our market share with these hideousthings.Brooke : Yeah, the appropriate word being \"hideous\".Victoria : Don't be so dismissive. Maybe you should pay a visit to the manufacturer, get someinspiration.Brooke : I have Sam, and Sam has school, so I'm not going anywhere. Besides, I need to be here while she's meeting with... you know who.Victoria :You mean the biological mother with the pathetically low credit score?Brooke : What are you talking about?Victoria : So, I had business affairs run her creditreport. Don't hate me because I'm resourceful.Brooke : You did what?Victoria : Brooke, we have to be able to make a case against the woman.Brooke : We arenot building a case against anyone. Do you think that I can't see what you're doing? There is no running from this. Sam has every right to know her ... realmom.Victoria : Suit yourself. Red is really your color. What do you think?Brooke : Do you think we're shopping right now?Victoria : Absolutely not. This is strictlyR&D for our new line.Brooke : You are so trying to shop with me!IN THE GARAGELucas : Hey !Nathan : Hey !Jamie : Uncle Lucas, can I help you fix aunt Peyton'scar?Lucas : Hey, sure, buddy.Nathan : Careful. Sure this is no problem, him hanging out with you?Lucas : Yeah, I could use the company anyway.Nathan :Everything okay?Lucas : It's Peyton. I-I-I found her putting together a time capsule, or a ... a \"just in case\" capsule. That's what i thought.Nathan : I know,yeah.Lucas : It's just, you know, weird that I'm approaching what's supposed to be the most exciting moment of my entire life with nothing but... complete andutter fear.Nathan : You want to hear a secret? Day Jamie was born, I was...petrified.Lucas : No, you know, it's different, though, you know? I mean, what ifsomething happens to Peyton? I don't know how we got this far.Nathan : Well, you got this far 'cause it's what she wanted. You know? It's like when Karen letyou play basketball with your HCM. She knew how bad you wanted it, so she just held her breath and let you play. We all did, you know? Maybe ... maybe this isthe time you have to hold your breath for Peyton.Lucas : She wants to get married.Nathan : So do you. You proposed, remember?Lucas : She wants to getmarried right away. It all just worries me.Nathan : Well, as worried as you are, think about how scared she is. Look, if you had one more day to spend withPeyton, would you rather spend it arguing or just being married?AT BROOKE'S HOUSEBrooke : You ready?Sam : For what?Brooke : Peyton's baby shower. Youdidn't forget, did you?Sam : Sure she wants me there?Brooke : Of course I'm sure. The invitation was addressed to both of us, you knucklehead.Sam :Yeah.Brooke : Are you okay, Sam?Sam : Yep, I'm good.Brooke : Okay. So, everything's going okay with, you know...Sam : My mom?Brooke : Yeah.Sam :Yeah.Brooke : What do you got there?Sam : It's her house. you know, she gave me up when she was my age. How weird is that?Brooke : Yeah.Sam : She saidshe didn't want to, but her parents made her do it.Brooke : well, I can relate to having crummy parents who make bad decisions.Sam : Yeah. You know, it'sfunny. I've always... wanted to live in a house with a white picket fence.Brooke : Well, we can have a picket fence if you want. You can have any kind of fence youwant. I'll just wait for you to get dressed.Sam : You know, if it's okay, can I just meet you there?Brooke : Yeah. I'll see you at Peyton's.AT THE GYMNASIUMMouth: So, the stage is set for the Charleston chiefs, who can move into sole possession of first place with a win tonight. And with the season coming to a close andpossible NBA call-ups hanging in the balance, coach Bobby irons will be looking for explosive performances from his two leading scorers, Nino Jones and pointguard Nathan Scott.Nino : I can't believe anybody out there would want your autograph.Nathan : Are they are than would want it from you.Nino : Look, just'cause you're the starting point guard don't mean you can show up late. I had you going for a second. And don't worry. I covered for you, man.Bobby : Well, well,you guys go on an eight-game winning streak, and suddenly it's a love fest in here.Nathan : I wouldn't go that far.Bobby : I'll tell you what, Scott ... I'll waiveyour fine for being late if you and your new best friend here can do two things.Nathan : And what's that?Bobby : Win the game tonight... and impress the NBAscout who's here to watch you guys play.Nathan : Scout?Bobby : Word is the clippers are looking for some backcourt help.Nino : All right, then. Yeah.Bobby :Good luck, guys.Nathan : Thanks.Nino : Hey, uh, Scott, I think you might want to sit this one out.AT CLOTHES OVER BROSSam : I'm so not wearing this.Victoria: Sam, it's a baby shower. You can't show up like you just walked out of a Brazilian favela.Sam : Okay, well, this makes me look like Kermit the frog.Victoria :Okay. So, how goes it with... the waitress?Sam : Her name is Rebecca, thank you. And for your information, things are kind of going okay.Victoria : Yes, well...I'm sure your conversations are just riveting. I mean, you have so much to talk about, what with 16 years of pure neglect to hash over.Sam : Don't bemean.Victoria : Sorry. It's just that she left you. So, you know... it's not like that.Sam : I mean... I thought that way at first. I thought she'd be this evil person,you know, this bad person that gave me up, but she's not. You know, she's got her problems, but she's okay. I mean, in a way, she's ... she's kind oflike...Victoria : like what?Sam : Like me.Victoria : Did she say she wanted you back?Sam : Doesn't matter. I'm happy here.Victoria : And that's what we want foryou, Samantha ... to be happy here.Sam : Yeah, I know. It's just, I don't want to hurt Brooke's feelings, but part of me wants to know her, you know? My realmum?Victoria : Do you want to live with her?Sam : No.Victoria : Of course you don't. That's my girl. Now let's see if we can't find a beautiful dress for you,worthy of the Davis name.AT SKILLS'S APPARTMENTSkills : Oh, man. Hey, man, don't you guys got somewhere else to be?Junk : Dude, I am killing this gameright now.Skills : Yeah, well, I got a date with Lauren. So y'all gonna have to be getting y'all asses up out of here.Junk : Hey, isn't this like the third date?Skills :"}
+{"doc_id":"doc_135","qid":"","text":"72 HOURS EARLIERAt the shopping centerSummer: I'm not buying you lingerie for your birthday. That's just weird.Taylor: Okay, that's fine. I told you, you don'thave to buy me anything. You and Ryan are throwing me a birthday party and that's enough.Summer: Look, I know you've never had a birthday party before, letalone been to one, but usually people get presents for their birthday, so will you please tell me what you want?Taylor: Okay, honestly, I want Ryan to ask me togo to Berkeley with him next year.Summer: Okay, I was thinking more along the lines of a cute top.Taylor: I know, I know, it's just, I'm a planner, and I'vealready seeing that day six months in the future when we all go our separate ways. And I just know that if Ryan goes to Berkeley and I go to... Harvard orPrinceton or Oxford, then it's over.Summer: Don't you have to apply to Berkeley first in order to... You already applied to Berkeley? Does Ryan know this?Taylor:No.I applied before we even started dating. I just got back from France and I figured, well, I had to go somewhere, so I reapplied to Princeton, Oxford,Yale,Harvard and the Sorbonne, and I figured why not throw Berkeley in?Summer: Um, hi. Can we get two coffees, please?Man: Uh, yeah.Summer: Okay. So youwant to get Ryan to tell you that he wants you to go to Berkeley, without knowing that you already got in to Berkeley?Taylor: Exactly.Summer: And how're yougoing to do that?Taylor: Easy.I just need to get him to tell me that he loves me.Summer: Mm-hmm, Ryan talking about his feelings. Now that would be anearth-shattering event.Man: Careful, they're hot.Summer: Thank you.Taylor: Thanks.Summer: Did you see this about earthquake weather? You know, it's exactlythis kind of voodoo science that lets politicians deny global warming.Taylor: Oh, my God, I know. And how many times have they predicted the big one, and itnever happens. It almost makes you wish that it would. Generic Cohen's gardenRyan: Good morning. What's the occasion?Taylor: Just you're being so sweetthrowing me a birthday party, and I wanted to thank you, so... Oh, my gosh, did I ever tell you about...Ryan: How you've never had a birthday party and you'vealways spent every birthday alone in your room watching Sixteen Candles and talking to a gypsy on the psychic hot line?Taylor: Yeah, I know, I'm a brokenrecord. Just, you know, it really means a lot to me that you're doing this for me.Ryan: Well, Taylor, I'll tell you, planning your birthday party is not easy. I expectsomething in return.Taylor: Oh.Ryan: I expect to have my way with you.Taylor: Ryan!Ryan: Well, all that time and energy. Clowns, balloons, a magician...Taylor:Oh, oh, well, if there's a magician. It's kind of strange to think about all of this ending isn't it?Ryan: Hmm?Taylor: You, going off to Berkeley, me, whichever waythe wind blows.Ryan: Well, it's still six months away.Taylor: Right, yeah. If only I had a crystal ball, huh? Maybe I should call Esmerelda from the psychic hotline.Ryan: This a really good croissant.Taylor: Don't you have the feeling that we're on the cusp of something and we just need to leap into the void?Ryan: Didyou get these at Joe's?Taylor: Ryan, don't you have that feeling?Ryan: What?Taylor: That life is telling us to take a wild, impulsive jump into the unknown?Ryan:Not really.Taylor: So, you're good? You don't have a need to just let something explode out of you, consequences be damned?Ryan: What are we talkingabout?Taylor: Well, I was... I guess it's just my birthday and I'm getting sentimental.Ryan: All right, well, don't worry. It's going to be great. Okay? All right, I'vegot to go. Thanks for this. Hey, tonight, you want to do something? See a movie?Taylor: Yeah, sure, okay.Ryan: All right, great. At Roberts'Kaitlin: Oh, myGod.Julie: Oh, hi, honey. Sorry, I didn't hear you coming down.Kaitlin: Mom, do you mind? Because I still have to eat in here.Julie: What can I get you?Kaitlin:You want some scrambled eggs or I could whip up some pancakes.Frank: You cook, too? That's amazing.Julie: It's just a talent I have.Frank: Yeah, one ofmany.Kaitlin: I'm seriously never going to stop barfing.Julie: Kaitlin, don't be gross.Kaitlin: Me? Gross? What's gross is Frank's dirty... germy convict bag is sittingon the counter. I mean, what, did the warden give that to you as a going-away present?Julie: Kaitlin...Frank: It's okay. It's okay. It shouldn't be on the counter.Though I actually got it at REI.Kaitlin: Well, why bother with a bag? You can just move in. You spend enough time here anyway.Julie: Young lady,apologize.Kaitlin: I'm sorry, Frank. Feel free to have as many conjugal visits as you'd like.Frank: You know, I... I should get going. I've got a job interview.Julie:I'll walk you out.Frank: Okay.Julie: And we'll talk later. At the gymHolly: Mrs. Cohen? Holly. I went to Harbor with Seth.Kirsten: Oh, hi.Holly: Hi, are you here forprenatal yoga?Kirsten: Oh, yes, I am. And you?Holly: Yes. I just found out. How far along are you?Kirsten: Oh, not-not very. I just found out, too.Holly: Well, thisclass is great. I told Missy, the instructor, I have worked way too hard for this body to just let it turn into some dumpy baby factory. I mean, who says I can'thave a baby and a six pack?Kirsten: I should probably stretch before class.Holly: Well, hold on just a second. Hey, hos, come here. This is Mrs. Cohen. She justfound out she's pregnant.Girl: Oh, my gosh!Other girl: Congratulations. And you're not even showing.Holly: So... should we let her in?Girl: Oh, yeah.Other girl:Totally. She's ripped.Holly: We formed a club. Promised ourselves we wouldn't turn out like Molly the Mammoth over there.Girl: In nine months I'm wearing mybikini. I don't care what anyone says.Other girl: And I told Jerry if I get too big, I'm inducing at eight months. It's much easier to lose the weight.Holly: So do youwant in? We call ourselves the Six-Pack Pack. Isn't that like so cute? Don't you just want to barf?Kirsten: All the time. At Ryan's workplaceRyan: Summer, what'sup?Summer: Hey. I am just picking up Seth. Taking him to an art exhibition, sponsored by GEORGE, the Global Environmental Organization regardingGreenhouse Emissions.Ryan: Seth's going to an art show.Summer: Well, yeah, I mean, he's going to art school, and I like the environment,so I thought it wasthe perfect date.Ryan: Sure.Summer: So are you ready for Taylor's party?Ryan: Oh, yeah, party's all set. Even got her a present.Summer: Really. Mind tellingme what it is?Ryan: Well, you know, she likes translating those French love poems? I collected a few. Had them bound for her.Summer: Atwood, that is soromantic. You know, nothing is as romantic as the first time you tell someone you love them,though, huh?Ryan: I, uh... haven't told Taylor I love her.Summer:You haven't?Ryan: Has she said something?Summer: No. No, I-I just assumed. You guys have been together for a while and you seem pretty happy. Ithought,\"Why wouldn't you have said I love you?\" I have an idea. Why don't you?Ryan: What?Summer: For her birthday. You should, because... the book ofpoems is awesome, but add that special little \"I love you. As as girl,I don't know, me personally, I got chills.Ryan: Does Taylor expect me to tell her that I loveher on her birthday?Summer: What? No. I don't know. I've got to go. At the shopping centerKaitlin: I can't stay, okay?Frank: Well, thanks for meeting me.Kaitlin:I wanted to talk to you alone. You're not going to do anything pervy are you?Frank: Kaitlin... I care about your mom. And considering my past, I understand whyyou're suspicious.Kaitlin: Look, I really don't care that you went to prison, all right? I mean, the Bullet went to prison and he was awesome. You're justboring.Frank: I'm sorry, but it's just the way it is. Well, I have to say I don't think that's fair. You hardly know me.Kaitlin: Then say something funny.Frank:What?Kaitlin: Make me laugh.Frank: Fine. I don't know what interests a 15-year-old girl, but your mother doesn't think I'm boring.Kaitlin: Well, that's becauseyou're sleeping with her.Frank: Can you not say that kind of thing?Kaitlin: Well, what do you want me to say? I mean, is it true in prison on your first day, you gotto make someone your bitch? Or what about the whole dropping the soap thing? I mean, really,why don't you guys just install soap dispensers?Frank: Hey, Imake your mom happy. I'm just asking for a chance here, Kaitlin.Kaitlin: Of course. If it makes my mom happy. At Roberts'Julie: Oh, my God. Oh... my God.Art's expositionSummer: It's so beautiful. Just forget how the ocean ties us all together. You know, he's so right. If we aren't good custodians for our planet, whatright do we have to be here? Don't you think that was amazing?Seth: Mm-hmm. I give it a three.Summer: A three? He put a radio transmitter in a piece of trash,threw it into the ocean, followed it around for six years just to show how pollution travels. And you're giving it a three?Seth: I'm gonna give it a three-and-a-half,then.Summer: What about the part where he followed it through the oil fires in the Persian Gulf, and he got third-degree burns on his arms?Seth: I know, but thecamera work was terrible, and what kind of film stock was he using? The oranges and reds totally bled together.Summer: He was just making a point to show thehealth of our planet.Seth: Yeah, but he's also making a movie,and as a movie, it sucks.Summer: Well, what about that one? Where the turtle adopted the hippowho was lost in the tsunami?Seth: Mm-hmm. That's pretty much the nature film equivalent of a chick flick.Summer: Okay. What about that? Where the familygiraffes habitat was destroyed.Seth: Yeah, shot like a perfume ad.Summer: God, what is your problem,Seth? I just want you to get excited aboutsomething.Seth: I am, about things that are good. But I could do one of these doughnuts with both hands tied behind my back.Summer: Really?Prove it.Seth:What?Summer: Make a movie.Seth: Are you serious?Summer: Yeah. I want see you do it better. I want to go watch the penguins again, and don't you dare sayanything. At Sandy's officeSandy: Hey, I didn't know you were coming by. I was just at Spitzy's office. You should have called. Is everything all right?Kirsten: Thepeople in Newport are awful.Sandy: Honey, you're a little late to the party. I've been saying that for 20 years.Kirsten: Has it gotten worse? I mean, I know Julieand some of the othersare bad, but...Sandy: What happened?Kirsten: I was at this prenatal yoga class and these young women they're monsters. They wantedme to join the six-pack pack.Sandy: The what?Kirsten: And then they talk about inducing labor at eight months so that they don't have to gain weight. Can weraise another child around this?Sandy: Oh, honey, Newport's always had that element, and still we managed to have life. And not everybody's like that. You knowwhat? Spitz has been wanting us to meet his wife. How about we do dinner tomorrow? Restore your faith in humanity.Kirsten: All right.Sandy: But moreimportantly, do you think they'll let me join the six-pack pack? I've been doing my sit-ups. Come on, hit me with your best shot. Go ahead, come on, wind up. I'mnot a beast! At Cohen'sTaylor: Oh, God, he really loves her. And she is never going to know how he feels, because he can't tell her. Isn't that tragic?Ryan:Yep.Taylor: I mean, how could you do that? How could you just let the love of your life slip away because you were too afraid to tell them how you really"}
+{"doc_id":"doc_136","qid":"","text":"(Open: Booth's apartment. There is a rapid knocking at the door. Booth is asleep in bed)BOOTH: Yeah. Aww (he groans as he awakes and stumbles out ofbed).(knocking continues)BRENNAN: Booth?BOOTH: Yeah. Unhh. (He cracks his toes, then gets out of bed, pulling on his robe, still making groaning noises. Hecracks his back as he heads into the bathroom. Still sighing and pulling on his robe, he looks at himself, bleary-eyed, in the mirror. He continues walking, crackinghis neck, and his back again, then his fingers). Oof.(more knocking)BRENNAN: Booth? Are you there?(Booth is still walking towards his front door)BOOTH: No,I'm in South Beach, working on my tan (he opens the door, still grunting and groaning. Brennan is standing there, enthusiastic and eager to getgoing).BRENNAN: You need Sweets to sign your post-Afghanistan fitness for duty report. Did you forget?BOOTH: Me? (He turns to go back into theapartment)BRENNAN: Well, generally, you wear more clothing, and you've been avoiding this for weeks (she shuts the front door).BOOTH: Well, I couldn't sleep.Hannah got up at the crack of dawn (he continues walking, cracking more joints as he goes). Ooh.BRENNAN: Do you always have this pronounced a release ofgas in the morning?BOOTH: (turns to face Brennan) Is it that bad?BRENNAN: Synovial gas, that's what the cracking is.BOOTH: Synovial gas, what's thatmean?BRENNAN: well, there comes a point when your body can't hide all the abuse it's taken.BOOTH: What do you, what do you mean a certain point?BRENNAN:Booth, you've been shot, and beaten, and jumped out of airplanes. The skeletal damage alone...BOOTH (groans and turns): Oh God, I'm falling apart.BRENNAN:You're fine. It's your skeleton that's falling apart.(Cut to: FBI building, Booth and Brennan are rounding a corner).BRENNAN: The compression fracture to your T3alone should have incapacitated you years ago, then there's the fracture to your sternum from when that obese girl shot you, fractures from your metatarsalsfrom when you were tortured, rib pitting from when you foolishly tried to act as a human shield...BOOTH: Rib pitting?BRENNAN: And that's before we even get toyour compromised ligaments, both intertransverse and anterior longitudinal.BOOTH: How do you have room in your brain to remember all this?BRENNAN: I careabout you, Booth, and the more abuse a body takes, the sooner it degenerates.BOOTH: That's it? That's all you've got for me? (they enter theelevator)BRENNAN: Well, it can be a good thing. In tribes, men like you are elders. They don't have to hunt anymore.BOOTH: Well, I want to gohunting.BRENNAN: (reaching forward to press the button) Well, perhaps you'll feel better after you get your form signed.(Cut to: Sweets' office, sounds ofgiggling are heard. Booth and Brennan have stunned looks on their faces as they behold two pairs of feet hanging off the edge of the couch)DAISY: Oh I will!(giggling)BRENNAN: Oh!SWEETS: Agent Booth!DAISY: (pops up over the back of the couch, arms clutched to her chest for modesty's sake) Dr.Brennan!BRENNAN: You should be at work, Ms. Wick! It is a very important day.BOOTH: (hands form to Sweets) Can you sign this?SWEETS: Are youserious?BOOTH: Sign. (He hands Sweets a pen and the form) Just sign and get back to your fun. (Sweets signs the paper)(Cut to: Jeffersonian Medico-Legal Lab.Brennan is walking, and Daisy is tagging behind her, trying to catch up)DAISY: Dr. Brennan, about this morning.BRENNAN: What about it?DAISY: I don't wantyou to think that Lance and I are dating again, because we're not. That was purely accidental intercourse.BRENNAN: You had intercourse accidentally? What wereyou trying to do, Ms. Wick?DAISY: I was returning a book.BRENNAN: And your pants fell off?(Workers are bringing in large artifacts on rolling tables, Cam andAngela are supervising)CAM: All of the pieces of ship without remains attached, straight to the early American workroom. Door on your right.WORKER: Where doyou want this?CAM: Take it up on the platform.WORKER: Got it.(Brennan and Daisy approach and come to a stop beside Cam)CAM: Okay. (turns to Brennan)How much of this is there?BRENNAN: I have no idea.CAM: So, when you said old remains, the ship part of it just slipped your mind?BRENNAN: No, of coursenot.ANGELA: This is incredible. I can't believe this is an actual slave ship. Where did they find it?BRENNAN: Off the coast of Maryland. This could shed enormouslight on the slave trade.CAM: Or give me nightmares. One or the other.(Hodgins enters with more parts of the ship)HODGINS: Mytilus edulis, blue mussels. Wow.Hey, they said this was for you (he hands Angela a sheaf of papers).BRENNAN: The Jeffersonian Board of Directors wants us to try and identify the remains.CAM:How? These people have been dead for nearly 150 years.ANGELA: Yeah, well this might help. It's a copy of the outgoing manifest, and it lists all the slaves theywere transporting to New Orleans. There's age, and race, and degree of color. This is really detailed, in a totally horrible, disgusting, sucky kind of way.HODGINS:Slaves were considered property. They were as carefully catalogued as livestock or silverware.(Brennan grimaces and shakes her head slightly, Cam looks uneasyand tilts her head down, avoiding eye contact. Angela looks disturbed, glances at Cam and Brennan, then makes eye contact with Hodgins, who turns his gaze tothe remains).(Cut to: Platform, Brennan is leaning over a set of remains, Angela is standing next to her, taking notes)BRENNAN: Male child, under ten years old.One hundred and thirty centimeters. The marine mussels compromised the bone, but the skull shows a mix of Negroid and Caucasoid characteristics, suggestingthat he would be listed as mulatto.ANGELA: Got it, Pollodore Nelson.DAISY: Symphyseal rim well defined, partial ectocranial suture closure, female, forties, fivefeet tall.ANGELA: Ok, there's only one woman that small.(Cam is looking down at something)CAM: Over here, now. Uh, not kidding, even a little bit. Dr. Hodgins.(Daisy, Brennan and Anglea make their way over to Cam's table)HODGINS (rushes over to where Cam is): Yeah. Yeah.CAM: That. What the hell is it? HODGINS(bending down for a closer look): Wow, it's some kind of organism anchored to the bone. Interesting.CAM: Alien sea-life hitchhikes in on a slave ship and that'sall you can say? Interesting?BRENNAN: Well, I think in this context, interesting is a way of acknowledging life forms beyond Dr. Hodgins' expertise.HODGINS:Temporary condition, I assure you. All right, listen up! Pull any other bones with pink slime and bring them over here. It's possible that alien is an appropriateadjective. We may be looking at NTI here. (Another squint brings over more remains and hands them to Daisy, who places them on the table)CAM: What's hetalking about?BRENNAN: I have no idea.HODGINS: NTI? As in, non-terrestrial intelligence?ANGELA: Oh no.HODGINS: If alien life forms were going to existsomewhere on Earth, the ocean floor would be it.CAM: Please tell me you're kidding.BRENNAN: Judging by weight and texture, all the affected bones appear tobelong to the same skeleton. (Brennan picks up the skull and observes it as the others look on). Something is very wrong.(Cut to: FBI building meetingroom)BOOTH: C'mon Bones, I really gotta look at these images?BRENNAN: Yes. (She pulls up images of the x-rays) Penetrating trauma to the cribriform plateand palatine bones.BOOTH: Ok, you mean that jaggedy looking hole there?BRENNAN: Yes. The puncture would have extended upwards, into the anterior base ofthe brain, resulting in immediate death. This man was hooked through the mouth like a fish. (She demonstrates on Booth, by hooking her finger up against theroof of his mouth. He does not appreciate this and grabs her hand, removing it and making a face of displeasure).BOOTH: Ok, got it, thank you. Very much. I justdon't know how I can help you with a murdered slave though.BRENNAN: They may have found him in a slave ship, but given the condition of his cartilage, thisman died less than a month ago. And, this is murder.(Opening credits)(Cut to: Platform at the Medico-Legal Lab. Daisy is working on a skeleton, Brennan joinsher)BRENNAN: Abrasions to the pisiform. It's likely this person was wearing manacles. Why are you working on remains from the slave ship when you know ourrecent murder victim has priority?DAISY: Because Dr. Hodgins is still trying to remove the unidentified deep sea life forms. Maybe we should discuss the murdervictim's x-rays instead? (They go over to a computer, where Daisy pulls up the images)BRENNAN: Incomplete epiphyseal fusion - he was at most twenty yearsold.DAISY: Chipping on the zygomatic arch. Hairline fractures to the mental foramen. All heavily remodeled. Metaphyseal fractures to the left tibia and right ulna.Never properly set.BRENNAN: I've seen these before. They happen when someone has their extremities wrenched over and over again at a very youngage.DAISY: Suggestive of child abuse?BRENNAN (nods slightly): We have to identify him. What is taking Dr. Hodgins so long?(Cut to Hodgins' lab area. He ispeering through a magnifying lens, Angela is standing next to him.)HODGINS: We are looking at what could be a clue to the origin of life itself.ANGELA: Theorigin of life looks like a pink Chia pet?HODGINS: According to one theory, billions of years ago, organic molecules hitchhiked to Earth on comets that plummetedinto our oceans, forming the seeds of life as we know it.ANGELA: Ok, now you've lost me.HODGINS: Look at this. Organism operates like hair follicles. Anchors itsroot system to the bone.ANGELA: You know, it's actually kind of attractive up close.HODGINS: Yeah, for a mucus-excreting underwater insect.ANGELA: (laughs)Well, let me scan the skull and then I can build a facial reconstruction from it.HODGINS (placing the skull on the dais for Angela to scan): Do you realize theseguys could be harder to identify than a decomposed murder victim?ANGELA: How can you compare a murder victim to ocean snot that looks like somethingBarbie wore to the prom?HODGINS: You compared it to a Chia pet.ANGELA: Yeah well, it's not the same thing.HODGINS: You're right. Because if these guys arenew, and I get to identify them, then I get to name an entire species. Angelonicus montenegris.ANGELA: Really?HODGINS: Really. (Hodgins rises, Angelachuckles, and they embrace).(Cut to: Booth's office. Sweets and Booth are having a conversation. Sweets is pacing Booth's office, Booth is sitting at hisdesk).SWEETS: So the dead guy got caught in a fishing net and the fishing net got caught in the slave ship?BOOTH: Yeah, the net gets lost, floats around foryears - they call it a ghost net.SWEETS: Wow. Ghost net caught a ghost. That's...BOOTH: Something like that.SWEETS: That's ironic.BOOTH: 'Kay, why are youstill here?SWEETS: I'm weak. I'm weak, Agent Booth. I broke up with Daisy, but I can't keep my hands off her.BOOTH: What's new? Alright, you're a guy. Lifegoes on.SWEETS: Yeah, that's the problem. We broke up. But it just goes on. It's, it's like she's a magnet. Should I just let it happen?(Booth reaches forsomething and plonks it down in front of Sweets - it is a magic 8-ball)BOOTH: Here. Pick it up.SWEETS: (picks up the magic 8-ball, shakes - the ball comes up"}
+{"doc_id":"doc_137","qid":"","text":"(THUNDER CRASHING)Oliver (voiceover): The day I went missing... was the day I died. Five years in hell forged me into a weapon, which I use to honor a vow Imade to my father, who sacrificed his life for mine. In his final moments, he told me the truth... that our family's wealth had been built on the suffering of others.That he failed our city, and that it was up to me to save it and right his wrongs. But to do that without endangering the people closest to me, I have to besomeone else. I have to be something else.EXT. ROOFTOP - NIGHTArrow is standing on the roof as men start running at him.Marcus Redman: Who's that?Man 2:Where'd he come from? Arrow fights three men and wins, while three others watch.Man 3: What's going on here?(SHOUTING)Arrow shoots an arrow at one of thethree men.Marcus Redman: Get the chopper back now. Arrow shoots an arrow at one of the original four men.Marcus Redman: Who's this guy? Arrow shootsanother man, and then punches him with the bow.Marcus Redman: Whoa, whoa, whoa! Please, wait, wait! Arrow backs Marcus Redman against the edge of thebuilding and throws him to the lower roof, on top of the ventilator fan.(Marcus Redman SCREAMING)Arrow jumps onto the ventilator fan next to Marcus Redmanand kicks open the grate covering the fan. Sparks explode from the fan.(Marcus Redman GROANING)Arrow grabs Marcus Redman and forces his head toward thefan.Marcus Redman: No? No, please! No, please, please!Arrow: Marcus Redman, you failed this city.Marcus Redman: Please! No, please, no! Don't hurt me,please!Arrow: Cell phone, inside pocket, call your partner. Tell him to give those pensioners back their money.Marcus Redman: Oh, please don't!Arrow: Do itnow.Marcus Redman: Okay. Arrow jumps off of the ventilator fan and walks into the camera.INT. QUEEN MANSION - DAYOliver walks into the sitting room whereMoira Queen is sitting on the couch with Walter standing behind the couch and Thea Queen standing next to the couch.Newscaster (voiceover): Over the past 15years, Mr. Redman has withdrawn more than 30 million dollars from the plant's account. Mr. Redman claims refunding the Halcyon pension plan has always beenhis intent. But sources say Redman was coerced by the vigilante. Sketch of the Arrow appears on the television with the caption reading MYSTERIOUS HOODEDVIGILANTE. Oliver extends his arm in disbelief toward the television.Oliver: This guy gets more air-time than the Kardashians, right?Thea: Five years on an islandand you still know who they are.Oliver: I've been catching up. It's nice to see how much our culture has improved while I was away.Moira: No, the city used to bedifferent. People used to feel safe.Thea: Oh, what's the matter, Mom? Afraid we're gonna be next?Walter: Do you have any questions about today, Oliver? It's asimple proof-of-life declaration. Moira stands up and Walter straightens his suit jacket.Walter: Just read out a brief, prepared statement to the judge, and thenyour death-in-absentia judgment will be voided.Oliver: It's fine, Walter, I've been in a courtroom before. Tommy enters.Tommy: Four times by my estimate. Youknow, there was the DUI, the assault on that paparazzi douchebag, stealing that taxi, which was just awesome, by the way, and who could forget peeing on thecop?Moira: I wish everyone would.Oliver: I'd hang, but we're headed to court.Tommy: I know, that's why I'm here. My best friend is getting legally resurrected, Iwouldn't miss this for the world.Oliver (whispering): Right. Okay. (normal volume to Thea) What about you?Thea: Oh, I think the first four times of you in courtwas enough for me.Oliver: Fair enough. Thea walks out of the room. Diggle enters.Diggle: Mrs. Queen? Car's ready. Diggle, Moira, Walter exit.Tommy:Walter.EXT. COURTHOUSE - DAY(PRESS CLAMORING)Man: Mr. Queen, can we get a comment, sir?Woman: ...return to civilization after five years on a desertedisland.Man 2: Can you tell us what happened on that island, Mr. Queen?FLASHBACKOliver and Sara on are thrown from the bed as the boat starts to sink. Sarascreams.END FLASHBACKMan: Tell us about the accident, Mr. Queen.(CAMERAS CLICKING)Woman: 5 years on an island.FLASHBACKOliver watches Sara slideaway. Oliver reaches for Sara's hand.Oliver: Sara!(Sara SCREAMING)END FLASHBACKINT. COURTROOM - DAYOliver: There was a storm. The boat went down. Iwas the only survivor.FLASHBACKThe boat is sinking and rain pours from the sky. Oliver, his Father, and another man are on a life raft.Oliver: She's outthere!Father: She's not there!Oliver: Sara!END FLASHBACKOliver: My father didn't make it.FLASHBACKFather holds a gun to his head.Oliver: No!(GUNSHOT)ENDFLASHBACKOliver: I almost died, I... I thought that I had, because I spent so many days on that life raft before I saw the island.FLASHBACKOliver (voiceover):When I reached it, I knew...Oliver crawls onto the island, coughing.Oliver (voiceover): I knew that I was gonna have to live for both of us.END FLASHBACKOliver:And in those five years, it was that one thought that kept me going.Lawyer: Your Honor, we move to vitiate the death-in-absentia filed after Oliver'sdisappearance at sea aboard the Queen's Gamut five years ago. Unfortunately we will not be requesting that the declaration of death filed for the petitioner'sfather, Robert Queen, be rescinded. The Queen family is only entitled to one miracle, I'm afraid.INT. COURTHOUSE - DAYMoira: Now, onto the offices. Everyoneis waiting to meet you there.Oliver: Uh, Mom, that was, uh...a little bit heavier than I was expecting it to be. Can we do that tomorrow? Please?Moira: Ofcourse.Oliver: Thank you.Walter and Moira walk away.Tommy: Last week, you couldn't wait to get to the company.Oliver: Tommy, I'd just spent five years awayfrom civilization. I wasn't exactly thinking straight. Oliver and Tommy run into Laurel.Oliver: I... Hi.Tommy: Hi.Laurel: What are you doing here?Oliver: Oh, theywere bringing me back from the dead. Legally speaking. What are you doing here?Laurel: My job.Oliver: Right.Lawyer: More like the D.A.'s. Oliver extends hishand to Emily, standing to the right of Laurel.Oliver: Hi, Oliver Queen. Emily shakes his hand.Emily: Emily Nocenti.Laurel: Oliver just got back from five years onan uncharted island. Before that, he was cheating on me with my sister. He was with her when she died. And last week, he told me to stay away from him. It wasreally good advice. Excuse me. Laurel walks past Oliver and Tommy.Emily: It was nice to meet you.Lawyer: Yeah. Let's go. They walk past Oliver and Tommy tofollow Laurel.Tommy: Come on, buddy, shake it off. Let's go.EXT. COURTHOUSE - DAYReporter: Mr. Somers, one question, sir.Somers: I don't know what I'vedone to earn this witch-hunt from Miss Lance and her bosses at the CNRI. But I can tell you this. I am an honest businessman, and I will fight this slander to mylast dime and breath. That's all I have to say, thank you.(REPORTERS TALKING INDISTINCTLY)Reporter 2: There's Mr. Queen!(REPORTERS TALKINGINDISTINCTLY)Reporter: Tell us what happened inside, Mr. Queen...Diggle walks with Oliver and Tommy to the car.Diggle: Step back everybody,please.Reporter: Can you give us a couple comments about the island, Mr. Queen? Before you go, sir, please. Couple of comments about the island, sir.Reporter2: What happened in there?Diggle: All right. Everybody step back. Diggle shoves the reporters away.Diggle (angrily): Hey man, I'll make you swallow that Nikon!Back!(CAR DRIVING AWAY)Diggle and Tommy watch the car leave.Tommy: This happens to you a lot, doesn't it? Diggle is obviously frustrated.INT. COURTROOM- DAYLaurel: How much is a life worth? A life of a man, a good man, a stevedore on the docks of the city in which we live.FLASHBACKSomers is standing whiletwo men drag Victor Nocenti toward him.Laurel (voiceover): A father.END FLASHBACKLaurel: A man with a daughter. The plaintiff will prove by a preponderanceof evidence that Victor Nocenti learned that his boss, that man sitting right there, Martin Somers, was taking bribes from the Chinese Triads to smuggle drugs intoour city.FLASHBACKLaurel (voiceover): And when Victor Nocenti threatened to tell the police,Man slits Victor's throat. (CHOKING) Martin Somers had himkilled.END FLASHBACKLaurel: Mr. Somers is very well-connected, and has friends in the District Attorney's office. Which is why, if Emily Nocenti is to get justicefor her father's death, if Martin Somers is to get justice for his crimes, then someone is going to have to do it for them.INT. WAREHOUSE - DAYOliver is shirtless,showing all of the scars he had gotten on the island, and starts climbing a thick rope. The camera pans to several green arrowheads on a table.Oliver (voiceover):Martin Somers. Laurel's targeted the worst of Starling City, so it's no surprise his name is on my father's list. Camera pans to father's list. Camera pans to Oliverpracticing sword skills on metal bars.Oliver (voiceover): The city's police and the D.A. can't stop him, or won't. Laurel thinks she's the only one willing to bringhim to justice. She's wrong.INT. SHIPPING DOCK WAREHOUSE - NIGHTSomers: You, listen up. The longer this goes on, the more likely the media is gonnacrucify me. You shut this trial down, do you understand me?(ELECTRICITY CRACKLING)Man: Yes, sir.(LIGHTS FLASH ON AND OFF)(BLOWS LANDING)(MENGROANING)(MUTTERS)Somers looks around as the light come back on. The two men in the warehouse are lying on the ground, face-down.Somers: What...What... Somers is pulled away by a quick rope around the neck.(CHOKING)EXT. SHIPPING WAREHOUSE ROOF - NIGHT(GRUNTS)Camera opens with Somers'upside-down view of the Arrow. Camera flips right side-up.Arrow: Martin Somers...Somers: Who the hell are you?Arrow: ...you've failed this city. Arrow lodges anarrow in his bow and aims at Somers.Somers: No! No, no, no, no, no! Arrow shoots next to Somers.Arrow: You're gonna testify in that trial. You're gonna confessto having Victor Nocenti killed. Camera shows upside-down view of the Arrow.Arrow: There won't be a second warning. Arrow shoots an arrow that grazesSomers' right cheek.(SCREAMING IN PAIN)(MUTTERING)Camera pans out and Arrow is gone.INT. QUEEN MANSION - NIGHTMoira: I hired you to protect my son.Now, I'm not a professional bodyguard, but it seems to me that the first requirement would be managing to stay next to the man you're hired to protect.Diggle:With all due respect, ma'am, I never had a client who didn't want my protection.Moira: I hired you. That makes me the client. Now where do you think my son isgoing on these chaperone-less excursions?Diggle: Ma'am, I truly do not know.Oliver walks into the room.Oliver: And he truly doesn't.Moira: Then perhaps you'dlike to share with me, you know, where it is you run off to.(Oliver CHUCKLES)Oliver: I've been alone for five years.Moira: I know that, Oliver.Oliver: Mom...Alone.Moira: I see.Oliver: I promise to introduce her if it ever gets to the exchanging first names stage...Moira: No, I'd rather you promised to take Mr. Digglewith you on your next rendezvous. It's not safe, you've already been abducted once. There is a maniac out there, hunting the wealthy.Oliver: That maniac savedmy life.Moira: This isn't a game. I lost you once. And I am not going through that again.Oliver: Okay. Dig's my guy.Moira: Thank you.Moira walks out of the"}
+{"doc_id":"doc_138","qid":"","text":"Michael: Oh hey, Kevin, nice of you to join us, where were you?Kevin: My tire blew out on the way here, Michael.Michael: Huh?Kevin: I almost died. I... I wentinto this skid---Michael: Pop quiz.Kevin: ...What?Michael: Why is today a special day?Kevin: I almost died.Michael: Today's a special day, because I am beinghonored as a... visiting... professor, special lecturer, emeritus... how did you, how did you...Ryan: You will be a guest speaker... in my Emerging Enterprisesclass.Michael: In business school, Kevin. Business school.Kevin: Wow.[SCENE_BREAK]Ryan: If you bring your boss to class, it automatically bumps you up a fullletter grade. So... I'd be stupid not to do it, right?[SCENE_BREAK]Michael: A boss is like a teacher. And I am like the cool teacher. Like Mr. Handell. Mr. Handellwould hang out with us, and he would tell us awesome jokes. And he actually hooked up with one of the students. Um... and then like twelve other kids cameforward. It was in all the papers. ... Really ruined eighth grade for us.[SCENE_BREAK]Michael: Here we go. College Roadshow. Gotta bring our... A game. Whatwas the most inspiring thing I've ever said to you?Dwight: \"Don't be an idiot.\" Changed my life.[SCENE_BREAK]Dwight: Whenever I'm about to do something, Ithink, \"Would an idiot do that?\" And if they would, I do not do that thing.[SCENE_BREAK]Michael: Will they throw their hats, you think?Ryan: What?Michael: A lotof times, at a... school, or naval academy, after a rousing speech, the crowd would throw its hats high into the air.Ryan: Y-You understand nobody'sgraduating.Michael: Yeah, I know, I know. I'm just saying if they did throw their hats I've got a great line for that: \"May your hats fly as high as your dreams.\" ...That was a pretty good line.Ryan: ...It doesn't apply.Michael: I understand! Wow. Relax, spazzy boy. Sometimes you're such a little spaz! [pokes Ryan] Whoa,hey!Ryan: Quit it!Michael: We have fun.[SCENE_BREAK]Roy: I can't for your art show tonight.Pam: Okay, just so you know, it's just the students from my classin a little studio.Roy: I-I wouldn't miss it for the world.Pam: Thanks.[SCENE_BREAK]Pam: I'm really happy to be back with Roy. I think it shows maturity.Maturity and dignity. ... Is that braggy? I don't mean it to be braggy.[SCENE_BREAK]Roy: Love ya.Pam: You too.[SCENE_BREAK]Jim: Pam's with Roy. I'm withKaren. And, uh, Brangelina is with Frangelina. Movin' on.[SCENE_BREAK]Kelly: I can't believe you're back together with Roy!Pam: Oh, yeah! We have such asolid foundation, you know.Kelly: Oh my God. You're so in love now.Pam: Yeah. Oh, you should come to my art show, by the way.Kelly: Oh, art show!Pam: Imean, it's not a big deal, but I think a lot of people from the office will be there.Kelly: ...Oh... yeah. Definitely... I'll be there. For sure.[SCENE_BREAK]Michael:Campus. Brings back so many memories. ... That I would have made. Hey. Frisbee. Check that out. Aww! What do you say we get our Fris on before class? [runsover, throws frisbee] Whoo!College Student: ....Dude.[SCENE_BREAK]Dwight: ...Oh my God. Animal stool. [jumps on desk]Pam: Dwight, what are youdoing?Dwight: Solving a mystery, if that's quite alright with you. [opens ceiling tile] Come to Papa. Okay, ladies and gentlemen, what we have here is a bird thathas been trapped in a vent. Fortunately I have found it befo--BAT! BAAAT! BAT!Karen: Oh my God!Dwight: BAAAAT! BAT! NO! EVERYONE REMAIN CALM! There itgoes!Stanley: Goooood bye.Angela: [on ground] ... Please don't let that stupid thing near me...[SCENE_BREAK]Michael: Okay, this is it. Ryan is doing my introright now.Ryan: ...Dunder-Mifflin can't compete with the modern chains, and management is unwilling, or unable, to adapt. Their customers are dyingoff...Michael: I can't hear what he's saying, but he looks like he's really into it.[SCENE_BREAK]Dwight: We have... a bat... in the office.[SCENE_BREAK]Toby: Thesimple solution would be to open a window... if we had... windows that could open.[SCENE_BREAK]Angela: Poop is raining from the ceilings.Poop![SCENE_BREAK]Jim: Okay. Thanks. [hangs up phone] Animal control will be here at six.Dwight: At Six?! No, that is unacceptable. Okay, Jim, you are thenumber two in this office. You need to step up and show some leadership.Jim: I'm sorry what did you say? So wierd...Dwight: What? What's so wierd?Jim: Thebat, I mean, I know I felt it bite me, but look. There's no mark. I feel so... tingly... so strangely powerful... [shrugs] Oh well.[SCENE_BREAK]Ryan: And now,without further ado, I present the regional manager of Dunder Mifflin, Scranton, Michael Scott.Michael: Hello everyone, I am Michael Scott. And I would like tostart today by inspiring you. May I borrow someone's textbook, please? Thank you. What have we here? Ooh. Economics. Very, very interesting. [rips pages outof book] You cannot learn from books. Replace these pages with life lessons, and then, you will have... a book... that is worth its weight in gold. [gives book back]I know these are expensive, um, but the lesson is priceless. Good. Alright. I think you're inspired. Shall we proceed? There are four kinds of business: Tourism.Food service. Railroads, and sales. And hospitals slash manufacturing. And air travel.[SCENE_BREAK]Dwight: [sighs] This is your job, Halpert.Jim: Ow!Karen: Oh,what happened?Jim: That bread on your desk? I just picked it up. It's white hot.Karen: But Jim, this garlic bread is cold.Jim: What? ... No. It burned me. I...bizarre.Dwight: No... no. One crisis at a time.[SCENE_BREAK]Dwight: If a vampire bat was in the U.S., it would make sense for it to come to a \"sylvania.\" LikePENN-sylvania. Now that doesn't mean that Jim is going to become a vampire. Only that he carries the vampiric germ.[SCENE_BREAK]Michael: So, you wannastart a business. How do you start? What do you need? Well, first of all, you need a building. And secondly, you need supply. You need something to sell. Now thiscould be anything. It could be... a... thingamajig. Or a... a whosi-whatsi. Or... [pulls out a candy bar] a Whatchamacallit [throws bar]. Now, you need to sell thosein order to have a PayDay [takes out a PayDay, throws it]. And, if you sell enough of them, you will make a 100 Grand [throws 100 Grand bar]. [pulls out aSnickers] Satisfied?[SCENE_BREAK]Toby: Oh, this looks great. I'd, I'd love to be there, but my daughter's play is tonight. ... Damnit! You know, one of the otherparents will probably videotape it.Pam: Oh! No, you should go.Toby: Well, it's important to support local art, you know. And what they do is notart.[SCENE_BREAK]Michael: Okay, I'm seeing some confused... faces out there. Let me slow down a little bit. Break this down. Okay. The more stickers you sell,the more profit, fancy word for money, you have to buy PlayStations and Beanie Babies.Ryan: Michael.Michael: ...And products!Ryan: What we normally do hereis more of a question and answer thing.Michael: Well... okay, I was just kind of getting it going. Um, alright. Well, okay, we can do questions. Okay. Very good.First hand up.Business Student #1: Sir, as a company that primary distributes paper, how have you adapted your business model to function in an increasinglypaperless world?Michael: We can't overestimate the value of computers. Yes, they are great for playing games and forwarding funny emails. But real business isdone on paper, okay? Write that down. [everyone types on their laptops][SCENE_BREAK]Karen: Hey Jim, here's the aspirin you wanted.Jim: Oh, thank God. Ihave such a headache from that glare.Karen: What glare?Jim: The glare off Angela's crucifix? It's blinding.[SCENE_BREAK]Dwight: I don't have a lot ofexperience with vampires, but I have hunted werewolves. I shot one once. But by the time I got to it, it had turned back into my neighbor'sdog.[SCENE_BREAK]Dwight: Extraordinary events call for extraordinary actions. We form an allegiance--Creed: Sure.Dwight: --to use sudden violence.Creed:Okay.Dwight: Do you have the tools to turn a wooden mop handle into a stake?Creed: What size?[SCENE_BREAK]Business Student #2: What do you say to acustomer who wants to leave you for the convenience and savings of a nationwide chain?Michael: ...I say you will miss our service, and I absolutely guaranteeyou'll come back.Business Student #2: Has anyone ever come back?Michael: ...We don't want them back, 'cause they're... stupid.Business Student #3: How farhas your Herfindahl index declined since the merger?Michael: Nice try, how's your Pollack-says-what index?Business Student #3: ...What?Michael: Thanks,Kowalsky. Um, can we get on track here?Business Student #1: By your own employee's calculation you'll be obsolete in the next five to ten years.Michael:...Wait, Ryan said that?[SCENE_BREAK]Kelly: What are you doing? You'd better not hurt that little bat.Creed: Animals can't feel pain.Kelly: Don't hurt that bat,Creed! It's a living thing with feelings and a family!Dwight: Flush him towards the door. On my go... NOW!Kelly: AHH! KILL IT! KILL IT! KILL IIIT!Kevin: [locks batin break room] I... am a hero![SCENE_BREAK]Michael: Yeah sure, you know business, sitting up here in your ivory tower. And your ebony tower. You know what?Tell you one thing, Dunder-Mifflin is here to stay.Business Student #2: But how can you compete against a company with the resources of a nationwidechain?Michael: David will always beat Goliath.Business Student #1: But there's five Goliaths, there's... Staples, Officemax...Michael: Yeah, yeah. You know whatelse is facing five Goliaths? America. Al-Qaeda, global warming, s*x predators... mercury poisoning. So do we just give up? Is that what we're learning inbusiness school?Business Student #1: But in the big picture...Michael: Dunder-Mifflin is the big picture! Can't you understand that? No, you can't. You're tooyoung. Ryan... has never made a sale. And he started a fire trying to make a cheesy pita. And everybody thinks he's a tease. Well you know what? He doesn'tknow anything, and neither do you. [walks out] SO SUCK ON THAT![SCENE_BREAK]Ryan: ...It wasn't personal.Michael: Business is always personal. It's the mostpersonal thing in the world. When we get back to the office, pack your things.Ryan: Pack my--?Michael: You heard me, pack yourthings.[SCENE_BREAK]Meredith: I really want to come out!Creed: Good night, Mary Beth![SCENE_BREAK]Jim: So... you're cool to just wait here for animalcontrol?Dwight: Animal control? I've been controlling animals since I was six.Jim: Cool. Okay. I'm gonna go home and lie down, draw the shades... there's just somuch sun in here... bye Dwight.Dwight: Goodbye Jim. And good luck.[SCENE_BREAK]Dwight: Jim is on a path now. An eternal journey, and I wish him well. But Ihave a destiny in this realm. Specifically, in the kitchen.[SCENE_BREAK]Pam: ...And it's all from the same series.Woman: Oh.Pam: Called 'Impressions.'Woman:Oh.Pam: Not that I call myself an impressionist, per se.Woman: Maybe one day.Pam: I hope so.Woman: Mmm.Pam: I still need... you know, my breakthrough,or whatever. [Woman leaves, Roy enters] Hey, babe, how are you?Roy: Good. Alright I brought my brother, huh?Pam: Hey, Kenny.Kenny: Hey Pam.Roy: How'bout this, huh? I show up with my brother, and, no one from work is here? That's... pretty cool, huh?[SCENE_BREAK]Dwight: Magic time. Gyeeeaahhh! [puts bag"}
+{"doc_id":"doc_139","qid":"","text":"ACT ONE Scene One - KACL Frasier's on air at KACL and he's running out of time. But Roz still hands him over to his next caller.Frasier: Well, we've got aboutthirty seconds. I think we've got time for one quick call. [presses button] Hello, Marlene, I'm listening.Marlene: [v.o.] Oh my God, I'm really on?Frasier: Yes, yourproblem, please...Marlene: [dog barking] Lucky, Lucky, get down. George, get the dog! [Roz points urgently at the clock] Oh my God, this is so exciting! [babycrying] Honey, honey, get the baby. George, get your son! OK, OK, here it is, Dr. Crane: if my husband and I don't find some time to have s*x soon, I think I'mgonna burst. I may even have to go to a department store and pick up a stranger. [man calling \"Hello!\"] Oh, kids! Look who's here without calling first, Nana andPop Pop! [sighs] I'll call you back. [hangs up]Frasier: Well, to all you Marlenes out there, may I suggest that s*x with a stranger is not the answer. Why don't youjust pack the kids off with Nana and Pop Pop, lock Lucky downstairs in the basement, grab your husband, take him to the sturdiest kitchen table you have, and letthe postman ring twice! Now, to the rest of my listeners, I'll be off on vacation for the next week, so please tune in to my replacement, the noted podiatrist, DrGarreth Wooten, who'll be discussing the virtues of his new book, \"Bunions and Blisters and Corns,\" Oh My!He pushes the off-air button; Roz enters thebooth.Roz: I hate it when that weird foot freak subs for you. Couldn't you just have Frederick come and visit you here?Frasier: Sorry Roz, the taxi's waitingoutside to take me to the airport.Roz: Oh well, have a great time.Frasier: Oh, thanks. [hugs Roz]Roz: And don't forget to bring me a present!Frasier: I'll get you anice T-shirt from Colonial Williamsburg.Roz: You're taking Frederick to Williamsburg? Eeew!Frasier: No, it's a wonderful vacation spot! We're going to dip candles,tan leather, churn butter...Roz: Hey, Frederick Crane, you just finished the first grade, what are you going to do now? [with wide-eyed innocence] I'm going toButterworld!Frasier makes a face and leaves.[SCENE_BREAK]Scene Two - Frasier's Apartment. Martin is reading the paper in his Armchair and gets an idea whenDaphne comes in with the laundry.Martin: Hey Daphne, bring that laundry over here, will you?Daphne: What for?Martin: Well, I was just reading about anintelligence test you can give your dog. You throw a towel over its head and see how long it takes him to shake it off. [calling] Eddie!Eddie scampers in. AsDaphne watches with amusement, Martin takes a small dish towel and throws it over his head.Daphne: Oh, and the faster he takes the towel off, the smarter heis?Martin: [sarcastic] No, the faster he folds it. All right, they ranked all the dogs and the smartest was a border collie; he did it in seven seconds. [starts timing]All right, come on boy, take it off. [Eddie doesn't move] Six... seven. OK, the next fastest one was a poodle, I know he's as smart as a poodle. [counts off on hiswatch] OK, so he's no poodle... he's not a beagle either... or a German shepherd... or a Labrador. Oh, for God's sake, Eddie!Daphne: Yes, well, if you ask me,he's refusing to do that trick because he knows if he does it right, you'll have him doing it every time we have company.Martin: Hey, I'll bet you're right! [takesthe towel off and shakes a finger at Eddie] Nice going, Eddie!The doorbell rings. Daphne opens it to Niles.Daphne: Oh, hello, Dr. Crane.Niles: I appreciate thefalse cheer, Daphne. But I'm sure you've seen this? [holds up newspaper] Today's society page?Martin: [covering his ears] Don't tell me, don't tell me, don't tellme! I'm saving it for after dinner!Niles: Apparently Maris is going on a three-week cruise. Her friends threw her a bon voyage party. Look at the photo. It's Marison the arm of Pierson Broadwater.Daphne: Oh, Dr. Crane, look! She's just standing there, barely touching him, with only the tiniest bit of a smile on herface!Niles: I know, you can practically hear the zing zing zing of her heartstrings!Daphne: [sympathetically] Oh, Dr Crane... [goes to the kitchen]Martin: Sorry,Niles.Niles: Oh, it gets worse. This morning I spoke to Marta, my ex-maid and current mole. She reports that Broadwater is just the latest in a parade of escorts.The gigolos are swarming around Maris like ants on a Snickers bar!Martin: Well, wait a minute, that's good news. If she's seeing a whole bunch of people, thatmeans she's not serious about any one of them.Niles: You think?Martin: Yeah, sure! They're probably just her escorts. You know how she loves going toparties.Niles: Yes, and she never liked going anywhere alone. Except to bed.Martin: More good news. And Niles, it wouldn't hurt you to go out a little bit everyonce in a while too.Niles: If you're suggesting that I start dating, you can save your breath. Women don't exactly find me irresistible.Martin: Oh, come on, Niles,you've had lots of girlfriends.Niles: Oh, let's count. There's Maris... oh no, Dora, my childhood pen pal from Costa Rica... I seem to recall a little girl in the fourthgrade who lured me to a stairwell to show me her underpants.Martin: You know, Niles, I think your problem is you still picture yourself as the same geeky kid youwere in high school. But you've come a long way since then. And you're not doing yourself any favours sitting home every night. Now just think about it.Nilessinks back in the couch and whines pathetically. Daphne enters from the kitchen with a bottle of wine in hand.Daphne: Wine, Dr. Crane?Niles: Well, wouldn'tyou?[SCENE_BREAK]HE WAS A BAND LEADER MARRIED TO CHAROScene Three - Apartment Daphne and Martin are going up in the lift. Eddie is on leash.Martin's a little frustrated after some park trauma.Daphne: Oh, give it up, the man had every right to be proud of his dog.Martin: Well, I just don't like show-offs,OK? [sarcastic] \"Ginger, catch the frisbee. Ginger, roll over. Ginger, do my taxes!\"Daphne: Just because Eddie's not good at tricks...Martin: The hell he isn't! Hejust likes the kind that gives him a chance to use his brain! Eddie's a thinker!The lift doors open onto their floor. Martin and Daphne step off.Martin: Just watchthis. Open the door for him. [Daphne does] Now, I've been teaching him the names of all his chew toys. [gives the command] Eddie, get your banana.Eddie staysin the elevator, staring.Martin: Now he's thinking, \"which one's the banana?\" [still not moving] Now he's thinking, \"what the heck did I do with my banana?\"Theelevator doors slide shut.Daphne: Now he's thinking, \"which one's the emergency button?\" Martin frantically punches the lift button; the doors open.Martin: Comeon!Eddie scampers off, and follows Martin and Daphne into the apartment. Niles is standing in the living room with a glass of wine.Daphne: Oh, Dr Crane!Niles:Hello. I let myself in, I hope that's all right.Martin: Fine. What's up?Niles: Oh, I just stopped by to ask you a question. Are you free Saturday night?Martin:Sure!Niles: [gleefully] Well, I'm not! I have a date!Martin: Oh!Daphne: Oh! Bravo, Dr. Crane!Martin: Good for you! Who is she?Niles: Marjorie Nash, the \"Fruit OnThe Bottom\" yogurt heiress. I bumped into her at the Frye museum. Before I knew it, your advice was thundering in my ears. I found myself asking her out. We'llbe attending our club's annual winter dance, the \"Snow Ball!\"Martin: Good for you!Daphne: What's she like?Niles: Well, she's terribly haughty and rumourspersist about her husband's death. But still, a date's a date!Daphne: Snow Ball? Sounds very glamourous.Martin: I didn't know you could dance!Niles: Oh, Ican't.Martin and Daphne look at him, alarmed.Niles: Oh, dear. You don't think she'll want me to? I've taken Maris to dozens of these things, she's never onceasked to dance... of course, Maris dislikes public displays of rhythm. Oh, this is terrible! My first date's a miserable failure before it even begins. [reaches for hisphone] I'll just have to cancel.Daphne: All you need are a few dancing lessons. Why, I'd be happy to give you some.Niles: You would?Daphne: Yeah! Growing up,I used to practise all the time with my brother Billy - the ballroom dancer?Niles: I couldn't prevail upon you like that, it would be too much trouble. [beat] We'llhave to move this!He slides the coffee table against the couch.Niles: OK, now push the chair back [shoves ineffectively at it] Or not.Daphne drags it easily out ofthe way. As they take their positions, Martin settles at the dinner table to watch them.Daphne: Alright, we'll start with the box step.Niles: Box step...Daphne: It'svery simple. Take my hand like so, and your other hand goes around my waist. [Niles does] Now, start with your left foot.Niles: OK, which one?Daphne: Oh,hush! Step towards me, then bring your right foot forward-and-over, and slide the left over to meet it. Then the right foot goes back, the left back-and-over, andthe right slides next to it. And that's it! All right, once again. A one-two- [he steps on her foot] Oh!Niles: Sorry.Daphne: -three, a two-two-three, athree-two-three, a four-two three...Niles: [struggling and staring at his feet] This is boring yet difficult.Martin: Aw, there's no trick to dancing. It's just a matter ofcoordination. Hell, if you can ride a bike, or skip rope, or kick a ball, you can certainly...He pauses, looks at Niles, gets up and leaves. Niles rolls his eyes.Daphne:Alright, once again. A one-two-[he steps on her foot again] Oh!-three...The scene FADES OUT...Scene Four - Apartment ...and fades back in later on in theevening. \"Isn't It Romantic,\" is playing on the stereo and Niles and Daphne are dancing a slow waltz, with his head resting on her shoulder. Niles seems to havegotten the hang of it.Daphne: You're really doing very well, Dr. Crane. Earlier you seemed a bit tense. You've really relaxed now though, haven't you?Cut toNiles's face: he's in a dream world of his own. Martin comes in.Martin: Hey, you two are looking pretty sharp. The music ends, and Niles finishes by giving Daphnea graceful twirl.Daphne: Well, I think we're ready to move on to the samba. [to Eddie] Eddie, fetch me a samba tape. Xavier Cougat. [Eddie just stares] Now he'sthinking, \"the later Hollywood stuff, or the early New York recordings?\" [Niles and Daphne laugh]Martin: Now guess what I'm thinking.Daphne: I'll get it myself.[runs off to her room]Martin: [moving off] Well, I'm going to hit the hay.Niles: [in a rhythm, he acts out his verbs] Good-night -- bend-and- turn -see-you-in-the-morning - spin-and-dip -- [cell phone rings] there's-my-phone -- flip-and-push - Niles-Crane. [loses rhythm into the phone:] Oh, Marjorie. Howare you? Oh, what a shame. Well, er, no no it's alright, there'll be other dances. No, no, I understand completely. Take care. [flips his phone shut] Guess I won'tbe needing those dancing lessons.Martin: [sympathetically] I guess not. I'm sorry, son.Martin leaves for his room, Daphne comes running back in with atape.Daphne: I couldn't find any Cougie, but this'll do! She pops the tape into the stereo. A fast Latin beat plays.Daphne: Alright now, in the samba you have tohold me a little closer. You ready?She grabs his hand and starts moving back and forth against him, as if it were almost sexual.Niles: Daphne, there's one thing Iwanted to mention...Daphne: Yeah? [dancing more against him]Niles: [entranced] I'm a dancer, a dancer dances!He sways with her with gusto.END OF ACTONEACT TWOWHERE ELSE WOULD CORONERSGET TOGETHER?Scene Five - Cafe Nervosa Niles is at a table, Martin & Daphne come towards him. Daphne and"}
+{"doc_id":"doc_140","qid":"","text":"\"TAMARA'S RETURN\"CastDawson: James Van Der BeekGrams: Mary Beth PeilJoey: Kaite HolmesTamara: Leann HunleyPacey: Joshua JacksonMitch: John WeselyShippJen: Michelle WilliamsGail: Mary-Margaret HumesAndie: Meredith MonroeJack: Kerr Smith*Dawson and Joey are making out outside on a blanket*Joey:Dawson...Dawson: What? *Joey sits up*Dawson: What?Joey: What are we doing?Dawson: What does it look like we're doing?Joey: It's just not working. I mean,I'm freezing and there's bugs. Can't we go somewhere else?Dawson: W...Well...we can't go to my house and we can't go to your house so our options are kind oflimited.Joey: I know but I feel too Swiss Family Robinson. I mean, I'm a 20th century girl. We should make out in some music, mood lighting and climatecontrol.Dawson: Where's your sense of romance? We've got gorgeous moonlight shimmering in the water. We've got stars overhead...crickets chirping...we haveplenty of trees and if you get cold you've got me to keep you warm.Joey: Dawson...Dawson: What?Joey: You are so cheesy.Dawson: You don't like it?Joey: Areyou kidding? I find it unbearably sexy. *They start making out again*[Opening Credits]*Cut to Mitch and Dawson walking down a sidewalk in Capeside*Dawson:I was beginning to think this whole restaurant idea of yours was just a [missed phrase].Mitch: Not if I can find the proper location. And this woman swears thatI'm not going to find a better deal than her warehouse.Dawson: Where are you meeting her?Mitch: Right here. She said she'd meet me at 8. *Dawson looks upand sees Tamara Jacobs heading towards them*Tamara: Dawson.Dawson: *surprised* Miss Jacobs.Tamara: Well, I'm not your teacher anymore, Dawson, youcan call me Tamara.Mitch: Tamara Jacobs, I'm Mitch Leery. We spoke on the phone.Tamara: Yes, Mitch. Hello.Dawson: Are you moving back into town?Tamara:No, I'm just in Capeside for a few days to sell this property.Dawson: Well, I...I should get going to school.Mitch: Yeah.Dawson: Bye Mis--*catches himself*Tamara. *Tamara laughs* *Cut to Capeside High. Dawson catches up to Pacey*Dawson: Pacey, hey! I need to talk to you.Pacey: Let me guess. You and Joey arehaving another love spat and you want my opinion. Well, here it is. Joey is being sarcastic and oversensitive and you, my friend, are being self-absorbed andself-catering.Dawson: This has nothing to do with Joey and me this has to do with you.Pacey: What? Do I owe you money again?Dawson: No, my dad and I werewalking downtown today and we ran into somebody.Pacey: Who? *Andie walks up to her locker*Pacey: Hey look who the cat dragged in.Andie: Nice to see youtoo Pacey. Don't worry. I'm just here to get a few books out of my locker then I'll be on my merry way.Pacey: Tell me Dawson, who was it?Dawson: You know weshould really talk about this in private.Pacey: God, you know what? I've got to go. If I'm late to Mr. Matick's class again he's going to have an aneurysm. I'll catchup with you after school.Dawson: No, I've got to meet Joey for this art thing.Pacey: Ah, the sacrifices we make for young love, huh? Listen, man, just talk to melater! *Cut to Joey and Jack*Joey: Hey, Jack.Jack: Hey Jo.Joey: Bad news. Suder(?) called and cancelled on Bessie so we can't open this afternoon but the goodnews is you have the day off.Jack: Okay, but we could open anyway.Joey: Well, I'd love to but Bessie's at home with the baby and I've got to go to an art lectureafter school so there's really no one to cover all the tables.Jack: Well, there's me. I could do it.Joey: You? Inspecter Kleso(sp?)?Jack: What? You don't think Icould handle it?Joey: Jack, every since we hired you it's been nothing but a slapstick comedy. I mean, you drop dishes, you misplace orders, you fall all overyourself.Jack: Then why don't you just terminate me if I'm such an incompetent moron?Joey: We don't want to terminate you, Jack. *thinks about it* Alright, youcan open. Bessie will be relieved and it will be like a test run. Just, uh, don't set the kitchen on fire or anything...okay?Jack: Yeah, well, thanks for that unqualifiedvote of confidence. *Cut to lunch. Jen is sitting when Abby comes up and holds money in front of her face.*Jen: Oh, Abby. Would you get that out of my face?*Abby laughs then sits down*Abby: Oh come on. It's allowance time and I feel a major buying binge coming on. So tomorrow get your pocketbook and a sensiblepair of shoes and let's go blow some major dough.Jen: You know, I really don't feel like shopping.Abby: Don't feel like shopping?!Jen: No.Abby: You don't feel likeshopping and you call yourself a woman!Jen: I'm just not feeling all that festive, alright? My plan is to spend the weekend in bed...counting my ceiling tiles.Abby:Please, don't tell me this has something to do with your ludicrous Dawson Leery fixation. *Jen looks at her.*Abby: Jen, damn it! You're such an ass!Jen:Shhh!Abby: I mean what is so great about Dawson Leery? He's just a guy with a motormouth and a limp billy(?) club. Turn over a rock and find yourself anotherguy. The whole world's crawling with them.Jen: Look, it's not that easy, okay? I mean, I got rejected. It hurts. And to make matters worse...that wholeDawson-Joey-Pacey troyca(sp?) I just hate being on the outskirts of it, you know? I mean I used to fit in.Abby: Count your blessings. Those people areboring.Jen: Yeah. Yeah, well, I guess I just need a few days to nurse my narsocistic wounds.Abby: Jen, you've had a few days. You're practically in hibernation.Winter is over, Jen. Come out of your cave. And I need you with me.Jen: What could you possibly need me for? All I'm going to do is rain on your parade.Abby:Well, shopping for me is like deep sea diving. It's dangerous and exciting, and if I do it alone I may never come up for air. Please don't let me go by myself. Icould drown in a sea of dresses and hair gel. *They laugh* *Cut to a classroom. Andie drops some movies*Pacey: *picking them up* McPhee. I didn't know youwere a closet movie freak. I just thought you were a freak in general. *reads titles* Ghost, The Way We Were, pardon me as a gag, oh my god, Dumbo.Andie:Okay, so I have a grade school mentality when it comes to movies. Get off my back.Pacey: No, no, I love Dumbo.Andie: You love Dumbo?Pacey: Are you kidding?It's my pantion(?) of all time favorites. I cried when I saw it as a kid.Andie: You cried during Dumbo?Pacey: Are you joking me? I bawled my head off. I mean,the way those elephants made fun of him for those fat, floppy ears and then he loses his mother. Oh my lord, that's one of the saddest movies ever.Andie: This isreally strange.Pacey: What is?Andie: Well, just when I've written you off for good you drop this whole Dumbo bomb on me.Pacey: Hey, look, uh, I'm outta hereand I got no plans so uh what do you say we walk around downtown or something?Andie: Yeah, right, what's the joke?Pacey: No joke. I got no plans. And,believe it or not, I'd rather spend the afternoon exchanging barks with a bright like yourself than flying solo so pinch yourself, it's your lucky day. So youin?Andie: Yeah, I mean, might as well.Pacey: Unless you have your heart set on watching Dumbo.Andie: Nah, I've seen it like 500 times. You're not going tothrow me in front of a bus or anything?Pacey: Interesting idea. Hadn't thought of that. *Cut to art lecture.*Laura: I'd like to close with this piece, \"Winter Mist\".It's Jarvis' most famous work. No one can deny after looking at this exquisitely tuned surface that this picture that the positions of color and shape.. *Dawson hasa skeptical look on his face. Joey looks like she's concentrating and interested.*Laura: (cont.) the intensity of his lines...that Jarvis was in complete control of hisnew technique. Sadly, three weeks after Jarvis completed \"Winter Mist\" he died from alcohol poisoning. Despite his untimely death, Jarvis left a lasting impressionon the art world and his title of one of the abstract expressionists of the 20th century...will live on.*Audience claps.* *Cut to Dawson and Joey walkingoutside*Joey: The art lecture was great wasn't it?Dawson: It was certainly...prolonged.Joey: You hated it.Dawson: No, not at all. I just don't think abstractimpressionism is really my thing.Joey: Your thing?Dawson: Yeah, I don't know it just seemed so unresolved.Joey: Unresolved?Dawson: Yeah, I mean it's just ablob of paint that offers up more questions than answers.Joey: A blob of paint, Dawson?Dawson: Well, like \"Winter Mist\" for example. What was the ultimateemotion expressed in that painting?Joey: Dawson, newsflash. Just because a painting does not have a beginning, middle, and an end like some summer release,popcorn movie doesn't mean it's not charged with emotion, okay?Dawson: I guess I like my art with a verdict. Specific, coherent, and to the point. Likeromanticism. I can totally get into romanticism....if you know what I mean.Joey: Yes, I know what you mean. *Laura walks up.*Laura: Hey guys.Dawson: HeyLaura! Great lecture.Laura: Did you really like it?Joey: It was awesome.Laura: Tomorrow I'm teaching an art class so if you two are interested in auditing(?)you're definitely welcome.Dawson: I've got to work.Laura: Joey?Joey: I'm afraid my artistic skills peaked in the 3rd grade.Laura: Ah, it's a beginner's class. Youdon't have to be Picasso, just willing. *Joey considers it* *Cut to Pacey and Andie walking downtown*Andie: This truck literally came out of nowhere and I didn'tsee it so now my Saab's back in the shop.Pacey: Another accident? You are officially the world's worst driver. *Pacey sees Tamara*Andie: Pacey? Pacey what'swrong?Tamara: Hello Pacey. Aren't you going to introduce me to your friend? *Pacey just stands there.*Tamara: Tamara Jacobs.Andie: Nice to meet you. I'mAndie.Tamara: Pacey was a former student of mine.Pacey: Yeah, I was her teacher and she was...no, I was her student and she was my teacher.Tamara: Well,I'm late for an appointment. It was really nice to see you, Pacey.Pacey: Yeah, likewise.Tamara: And nice to meet you, too, Andie. Take care. *She walksoff.*Andie: Pacey what's the matter? You look like you've seen a ghost.Pacey: No I haven't seen her for awhile and she was my teacher and uh...Andie: Yourteacher. Did she flunk you or something?Pacey: Uh, no, no. Uh, you know what, Andie? I think I'm going to have to take a raincheck on this. Um, I'm really sorry,but I've got to go, okay?Andie: What? Are you serious? *Cut to Pacey watching Tamara enter a warehouse.* *Cut to art class.*Laura: I'm on to you, Joey.Joey:What do you mean?Laura: How many other talents have you been hiding from me?Joey: Please, it's an apple and a banana. It's hardly the second coming.Laura:You can be as self-depreciating as you want. It doesn't change the fact that you're a natural. You, my friend, have a gift. Do you draw much?Joey: Uh, when Iwas little, I did. I wanted to be like my mom was.Laura: Was? Why did she stop?Joey: She, uh, she didn't. She...she died.Laura: Oh, I'm so sorry, Joey. Thatmust have been incredibly difficult. When?Joey: A few years ago. She had breast cancer.Laura: She was an artist?Joey: Sort of. I mean, she taught herself. Shewasn't a professional...like you. She just kind of did it for fun. I remember she used to draw pictures from my favorite stories and hang them in my room.Laura:So, art must be in your genes.Joey: I don't know. I guess.Laura: Well, if you enjoy this, Joey, I think that you should really pursue it. I could recommend some"}
+{"doc_id":"doc_141","qid":"","text":"(Theme music playing)(Campers clamoring)(Panting)(Sighing)Emma: Excuse me, sir. Can you have these delivered to my room?Gladys: Geez! You don't shaveyour legs for one month, and suddenly you're a \"sir.\"Emma: I haven't even looked at your legs yet. Ravi Ross, a pleasure.Ravi: You must be Ms. Gladys, theproprietor. Thank you for letting Mrs. Kipling come to camp. (Mrs. Kipling groaning) I assure you, the odds of her eating any campers are very remote.Zuri: Iwould still hide the bite-size kids.(Mrs. Kipling groaning)Gladys: Aren't there supposed to be four of you?Zuri: Our brother, Luke, got stuck in summer school.Probably because he can't spell either of those words.Gladys: Check cleared, don't care. Sign in with my niece. (Campers cheering) Hazel, these are the Rosses. Imet your parents right here when we were 16. Your dad was a stone-cold fox.(Growling)Zuri: Could've gone my whole life without hearing that.Hazel: My aunt'salways talking about your mom. (Chuckles) She hates her.Gladys: With every bone in my body, including my artificial hip. I loved your father, but your mom stolehim from me. Plus the title of \"Best Counselor,\" and any chance I ever had at having a happy life!Emma: No offense, but you guys are the worst welcomingcommittee ever. Note to self, start digging escape tunnel tonight.Gladys: By the way, phones aren't allowed at camp. Hand it over.Emma: (Scoffing) No! Back off,mister![SCENE_BREAK][ INT. Woodchuck Cabin ]Emma: Oh!Tiffany: (Shushing) I'm studying for the national spelling bee! If I don't win, my mom won't let mecome home. My brother lost last year, and I haven't seen him in 10 months.Lou: Welcome! I'm Lou, camp counselor and head Woodchuck incharge!(Chitters)(Emma grunting)(Bones cracking)Emma: I'm Emma. I'd hug you back, but you just separated my shoulder.(Bones cracking)Lou: Oops! My bad.We'll make you a sling in arts and crafts. So, you're my new counselor in training? Let the training begin. (Yelling) Sit! JK! (Laughing)Emma: (Sighs)Lou: No,seriously. Sit, or you're goin' in the crate! JK again! I'm all about the JKs! LOL! (Nervous giggle)Emma: OMG!Lou: So, how many years of camp experience do youhave?Emma: None.Lou: But you like kids, right?Emma: Not really. They're sticky.Lou: So why do you want to be a camp counselor?Emma: Oh, I don't. But mymom thought it would be good for me. I guess she was some sort of super counselor, so now she expects me to live up to that.Lou: Good luck! Christina Ross is alegend around here. They say she could assemble a s'more in two seconds flat, and her dreamcatchers actually caught dreams!Gladys: She caught mine!Emma:And mine! I should be in Milan for Fashion Week, but instead I'm stuck here picking bugs out of my teeth!Lou: (Snaps fingers) Nature's popcorn. Speaking offashion, I hate to brag, but I'm a cover girl.Emma: Really?Lou: Yep! Four-H Digest. The big fall flea and tick issue.Zuri: If we run fast enough, we might be able tocatch the limo.[SCENE_BREAK][ INT. Grizzly's Cabin ]Ravi: Greetings, bunk mate!Xander: Hey! Uh... Whoa! (Mrs. Kipling groaning) Uh, I think that alligatorthingy ate your pet.Ravi: That alligator thingy is my pet.Xander: Oh, that explains the cage. I just thought we were getting a really creepy kid.(Mrs. Kiplinggroaning)Ravi: Ravi Gupta Balasubramanium Ross, your new CIT eagerly reporting for duty, sir!Xander: I'm Xander.Ravi: Oh. So what are the cabinrules?Xander: I'm not really big on rules. Except always wear shower shoes. I once got fungus so bad, I lost a toenail. But it's cool, 'cause now I use it as a guitarpick.Ravi: You know those cost, like, five cents, right?Jorge: Hey, dudes! I'm Jorge. Mind if I take this bunk?Ravi: Actually, that is my...Jorge: Dude, trust me.You want me to sleep downwind! Especially on burrito night. I once had a 23-minute fart!Ravi: That seems medically impossible.Xander: Although handy if we gohot-air ballooning.Jorge: That's why the aliens abducted me. I'm special.Ravi: Well, parts of you clearly are. So let me guess. The aliens probed you?Jorge: Ofcourse not! They just invited me for brunch. You're weird.[SCENE_BREAK][ EXT. ](Xander playing guitar)(All applauding)Hazel: Xander, that was awesome! Can Ihave your pick?Xander: Sure.(Retches)Lou: Then during free time tomorrow, we can dive for mud dabs, and connect your mosquito bites to see what shape theymake! Look, mine make Abe Lincoln!Emma: (Gasping) Whoa! That supes cute guy is here and you led with mud dabs?(Halting scratch)Lou: Where did that windcome from?Xander: Whoa! I think I'm in love.Hazel: Finally! Let's get married after the tetherball tournament!Xander: Hi, I'm Xander.Emma: I'm Emma. I'mnauseous.Lou: Ooh! Looks like Cupid just shot an arrow.Hazel: I hope it goes in her eye and out her ear.Lou: Little Woodchuck wisdom, don't go to the archeryrange with her.(Blowing whistle)Gladys: Campers, welcome to Camp Kikiwaka! Except for you, Timmy. Your parents' check bounced. You can sleep by the frontgate. Hopefully, they'll pick you up in the morning. (Tribal drums playing) Ki-ki-wa-ka!All: Ki-ki-wa-ka! Ki-ki-wa-ka! Ki-ki-wa-ka!Ravi: Okay, this is a cult.Taxi!Gladys: We pay homage to Kikiwaka, the giant, ravenous demon beast who roams these woods!Zuri: Say what now?Gladys: Ki-ki-wa-ka! Hear me and leavethese campers in peace!Emma: Did she just say \"in pieces\"?Gladys: With the blessing of Kikiwaka, our summer revels commence! Remember to pick up yourtrash.Zuri: Tiffany, aren't you scared of the Kikiwaka? Nope. Nothing's scarier than my mom if I don't get an A.Hazel: Listen, cheekbones, Xander is mine.No, I'mnot. So you should go back to New York before one of those long legs ends up in a bear trap. See you at the friendship circle.(Sighs)Lou: She's not really goodwith new people. Or old people. Or any people.Gladys over PA: Attention, campers! Time for the obstacle course. The winning cabin gets to have a pizza party,while I just continue the obstacle course that is my life.(Arrow released)(Gasps)Emma: Is archery part of the obstacle course?Lou: Nope.(Whistling)Jorge: Ravi,what are you doing?Ravi: Obviously, as your counselor-in-training, I am demonstrating what not to do.Jorge: Dude, you're embarrassing Grizzly Cabin! And menin general!Xander: I think Ravi's doing great, considering he could barely pick up his egg for the egg race.Ravi: It was a jumbo! What do they feed thosechickens?Zuri: Whoo-hoo! That was fun.TIffany: Fun? Forget fun! Focus! Thanks to your pathetic performance on this bouncy house, our cabin is behind!Zuri:Tiffany, it's just a game. Who cares?Tiffany: I care! Because if we don't win \"best cabin,\" then I can't win \"best camper,\" and if I don't win \"best camper,\" I won'tget into Harvard, which means I won't get into Harvard Medical School, which means I'll never become a top doctor, which will kill my mother! Do you want to killmy mother?Zuri: No, but I do want to talk to her about her parenting skills.Hazel: So Woodchuck Cabin is losing, Your campers are turning on each other...(Gasps) Great leadership, Emma!Lou: She is a good leader! Just ask our campers.Tiffany: Which one's Emma again?(Laughs mockingly)Hazel: You should just gohome now. As a CIT, you're DOA.Lou: She is not! She has legendary counselor Christina Ross' blood running through her veins!Emma: And I'd like to keep itthere, so let's not get the girl with access to arrows angry. Ah! Look, I'm doing it!Lou: That's my bunk buddy, people!Hazel: Hey, Emma, catch!(Screams)(Alllaughing)Let's see how Xander likes Little Miss Perfect now.Xander: Emma! (Panting) Emma, are you okay?Emma: Well, I'm better than those worms I just fellon. Oh!Lou: A pretty girl covered in mud, and you thought he wasn't going to like that? What's next? You hand her a tray of hot wings and have her turn onfootball?[SCENE_BREAK][ INT. Woodchuck Cabin ](Sharp violin playing)Emma: I can't believe there's still mud in my ears.Zuri: Lucky you. At least you don'thave to listen to Tiffany's violin. Give it a rest!Tiffany: Stop screaming at Violet! She's very high-strung!Emma: Today was a disaster. Instead of being a supercounselor like Mom, I'm the lamest CIT ever.Lou: You are not! You're much better than my last CIT, Tammy. She took the kids to pet the hibernatingbears.Emma: Bears don't hibernate in the summer.Lou: Exactly! It was a lot of paperwork.Emma: Okay... But I was humiliated in front of the whole camp. Plus,Hazel's never going to let Xander near me.Lou: At least not while you're still breathing. Sorry, that sounded much more supportive in my head.(Gasps)Emma:Yay! Xander sent me a text on paper!Lou: Think that's called a note.Emma: He wants me to sneak out tonight and meet him at The Spot!Lou: Whoo-wee! TheSpot is the place in the woods where the kids go to... You know.Zuri: Get electrocuted?Tiffany: You can't sneak out! That could give our cabin demerits!Lou:So?Tiffany: So, that goes on my permanent record!Zuri: (Groans) It's camp! The only permanent records they keep are how many kids get diarrhea from thelousy food! (Stomach rumbling loudly) Uh-oh! I think it's about to be one more.[SCENE_BREAK][ EXT. The Spot ]Emma: Would you please go back to thecabin?Zuri: Not happening! I don't know what's more toxic, Tiffany's attitude, or what I left in that toilet!(Exclaims)Emma: Are you okay?Zuri: What made thisgiant footprint?Emma: Uh, a giant foot, duh.(Snarling)(Shrieks)I'm really hoping that's your stomach.Zuri: Nope.(Snarling)Emma: Do you think it's theKikiwaka?Zuri: I don't know. Why don't you stay here and ask it?(Both groaning)(Grunts)Jorge: Yes! I win!Ravi: No, you do not. You moved the table.Jorge: Hey,all's fair in love and pool.Ravi: That is not a saying.Jorge: It is on planet Zorb. Dude, why are you such a buzzkill?Ravi: I am not a killer of the buzz! As yourcounselor-in-training, it is my duty to teach you to follow the rules!Xander: Bro, you just defined \"buzzkill.\"Hazel: Hey, Xander. I made you hot wings. Want abite?Xander: I don't think she's talking about the wings.Lou: Come on! Come on!Tiffany: Lou, I don't have time to play foosball! I need to finish my collegeapplications!Lou: That's seven years from now!Tiffany: I'm applying really early admission.Lou: Xander? You're supposed to be with Emma. Why are youhere?Hazel: Because he'd rather be with me.Xander: I never said that! Did anybody hear me say that?Lou: Emma went to The Spot because you sent her thatnote telling her to meet you there.Xander: I didn't send her any note.Lou: Uh-oh. This Woodchuck... (Chitters) (Sniffs) .. Smells a rat.Ravi: Oh, that is Jorge. Herefuses to shower.Lou: Gee, who would want to send Emma out into the woods? I'm looking at you, Hazel. Right where your soul should be!Violet: Emma's notalone. She's with Zuri. That's right, Violet. That mean little girl is gone.Hazel: Why don't you all leave, so Xander and I can play a little nine ball? Rack'em!Xander: No! There will be no racking! We have to go find Emma and Zuri!Hazel: (Sighs) Oh, okay. Let's use the buddy system. I pickXander![SCENE_BREAK][ EXT. The Spot ]All: Emma! Zuri!Jorge: Uh-oh. I see something really scary!Tiffany: Is it my mom?Jorge: No. It's a giantfootprint.(Rustling in bushes)Xander: Shh!(Growling)(All screaming)(Both screaming)Lou: (Exhales) Wow, you are lighter than a chicken, and their bones are"}
+{"doc_id":"doc_142","qid":"","text":"\"Be Careful What You Wish For\"CASTDawson: James Van Der BeekJoey: Katie HolmesPacey: Joshua JacksonJen: Michelle WilliamsAndie: Meredith MonroeALSOSTARRINGGail: Mary-Margaret HumesMitch: John Wesely ShippBessie: Nina RepetaAbby: Monica Kenna*Dawson's room - Pacey walks in*Pacey: Dawson, what'sup? I came over as soon as I got your message.Dawson: I'm freaking out. *grabs clock*Pacey: Why? What's the problem? *Dawson tosses the clock toPacey*Dawson: It's almost midnight.Pacey: Yeah...it's your birthday. In a couple of minutes you're going to be 16. Congratulations, man, this is a major turningpoint.Dawson: And I am eternally lost as a species on this planet.Pacey: Oh, this is going to be bad...Dawson: I'm about to be 16 in a matter of minutes and I'mstill....me. The same whiny, adolescent, big-talking, small-doing loser that I was a year ago.Pacey: C'mon, Dawson, that's not true.Dawson: It's completely true!I mean, think about it. Every single person that I know is growing up and moving forward in some way. I mean, Joey is busy finding herself. You've got this wholestable, do-gooder, boyfriend thing. Jen is....not necessarily moving forward but at least she's moving. Even my parents are getting new lives! But me, I'm in theexact same place I was one year ago.Pacey: Yeah, but you're turning 16, Dawson. Rejoice. This is a good thing. You're getting older.Dawson: But there doesn'tseem to be anything ahead of me. More of the same. I'm stagnet. No wonder Joey dumped me. I mean, the only thing I accomplished last year was realizing myfeelings for her and I couldn't even hold on to her. She dumped me. For a gay guy. *laughs* Can we talk about this whole gay-man-straight-woman thing?There's got to be something going on there that we're not seeing.Pacey: You're right, Dawson. It's all part of the evil gay plan to keep the species fromrepopulating.Dawson: I would keep an eye on Andie if I were you.Pacey: C'mon, Dawson. You need to stop looking to movies for all the answers to life'squestions. Okay? What you need to do is figure out what it is in life that you want and make it happen! Okay? Be definitive!Dawson: You're right. I need--I needdefinitive answers. Joey's the answer. I had her, I lost her, and now I'm going to get her back. How's that for definitive? *Dawson walks out his bedroom doorand shuts it leaving Pacey in the room. Pacey sighs.* *Cut to Mitch cooking pancakes in the Leery house and Gail walks into the kitchen and is surprised to seehim.*Gail: Mitch?Mitch: Hey! You remember my tradition of cooking Dawson breakfast on his birthday, right?Gail: Well, of course, but I just thought that--*Dawson walks in*Dawson: Dad?Mitch: You didn't think that I would forget, did you? The usual for our favorite customer.Dawson: Thank you. It's nice to have abit of tradition this morning.Mitch: Um, speaking of which, I have to talk to your mom in private for a second. About birthday stuff, strictly confidential. *Theywalk out onto the porch.*Mitch: Look, uh, I know we haven't discussed it...in the events of the past year, but we usually give joint birthday presents and I had anidea...Gail: You know, you're a little late for this, Mitch, I already bought Dawson a present. I'm giving Dawson his first car tonight. An Explorer.Mitch: Well, that'sa big decision, Gail. Don't you think it's one we could of made together? *Cut to Dawson eating his breakfast looking out towards the door which was left openslightly and he can see his parents arguing. Gail says something about how she's paying everything, the bills, etc. Cut back out on the porch.*Mitch: Look, I knowthat I should contribute more financially, but I put the restaurant plans on the back burner and I have looked into substituting at the high school. *Cut back toDawson listening to them arguing. Cut to the Icehouse. Joey's sitting on the counter and Pacey is sitting on a stool next to her.*Joey: Let's go over this one moretime.Pacey: Okay. I invite Dawson out to dinner with Andie and me tonight. I'll keep him occupied until about 9 o' clock, and which point, we'll make up somelame ass excuse about how we have to call it an early night. Then, we'll drive back to his house where...Joey: I'll have set up the most fabulous surprise partyever. I hope.Pacey: I'm sure it'll be fantastic. Testimonial to true friendship. The party to end all parties. From now on, the Leery house is going to be known asthe Delta house of Capeside.Joey: Thanks. I don't know why I'm so nervous. I've never organized a party before. *Jack walks in. Joey doesn't say anything tohim. He notices and turns back around and leaves.*Pacey: Listen, Joey, not to pry or anything, how are you doing? I mean, now that you've had time toprocess.Joey: God. Everyone keeps asking me that in these solemn tones. Like I've just come down with some terminal disease. I mean, Jack's the one who'sgoing through something. I mean, yeah, I admit, at first it was obviously a shock but I mean, I'm fine. Really. It's just... *Joey makes facial languages thatconvey that it's nothing. Cut to Jack, outside of the Icehouse by all the tables. Abby and two friends walk up.*Abby: Jaaccckkk, are you serving lunch yet?Jack:Um, yeah, in about 10 minutes. Hey, here's some menus you can look at in the meantime.Abby: Great, we're completely starving.Kelly: Aren't you that guy?Jack:What?Kelly: The first guy to ever come out of Capeside? He was the one who wrote the poem.Jaycee: Oh my God! You're the gay guy!Abby: In the flesh.Jack:*uncomfortably* Yeah..Abby: Jaycee, Kelly, this is Jack McPhee. Capeside's no longer ambiguous resident.Kelly: You know, I think it's so great that you came outand you're only 16. You know, I totally watched Ellen through that whole tulmultuous year and, well, she didn't come out until she was, like, 40.Jack: Um, can Iget you guys something to drink while you're looking over those menus?Jaycee: You know what I just realized? You're the first actual gay person that I've evermet.Abby: It is such a total waste because I mean, you're a total babe.Jack: You know, I'd take that as a compliment if it wasn't coming from Satan. *Jack walksoff and Abby follows him*Abby: Jack, you have got me all wrong. I am not even one of his helpers.Jack: Well, then, I guess I should compliment you on thatclever disguise you've been wearing for the last couple of months.Abby: We got started off on the wrong foot. True, I may have been flawed in the past but, Imean, sometimes people can surprise you. You should know a little bit about that yourself. *Cut to Andie in therapy.*Therapist: It sounds like you've had a lot onyour shoulders for a 16-year-old girl.Andie: Yeah, well, after Tim died and Mom, you know, it seemed like there needed to be someone to be the glue to hold thefamily together and I guess I was the most-likely candidate.Therapist: Well, I'm not surprised that you started to feel a bit overwhelmed.Andie: Yeah, um, I feltlike I was juggling all these balls in the air, you know? And if I dropped one, they'd all come crashing down, and, um, then I'd start thinking about everything allat once and I'd get these panic attacks when my heart was racing and I couldn't breathe...Therapist: Andie, Andie. Tell me something. Forget about savingeveryone and even forget about your family for a minute. What is it that you want? What do you wish for? For yourself?Andie: I wish I could get rid of all myworries. You know? And be one of those people who just sails right through life. You know? And they do what they want to do, whatever makes them happy andthey don't care what other people think about them.Therapist: Well, then, why couldn't you? I'm going to give you a prescription, Andie, but not for a drug. Iprescribe for you one night of imperfection. *Cut to the Icehouse. Bessie hands Joey something.*Bessie: Here. You can get out of here early. I'm sure you wantto get changed before going to Dawson's.Joey: Believe me, Bess. It's not going to take me very long to get dressed. It's not like I have to get all gussied up foranybody seeing as though I've turned Jack off from women completely.Bessie: Joey, you know that's not true.Joey: I know. It's not true. I mean, intellectually, Iknow that it has nothing to do with me. It's--Bessie? What am I supposed to do now?Bessie: You paint. You concentrate on your art and yourself. I mean, youbroke up with Dawson because you wanted to find yourself...and then you went straight into a relationship with Jack. Now's your chance to do what you set out todo. I mean, look. Any girl would be acting the way you do right now under the circumstances. I mean, I think you're handling it with an amazing level of maturity.*They hug. Dawson enters.*Dawson: Joey, hey. I need to talk to you.Joey: Sure... *Joey gets her coat and heads out of the Icehouse with him..*Joey: What'sup? *Cut to Ty putting ribbon on Dawson's present.*Jen: Well, looks like you can add arts and crafts to your list of talents. *Ty laughs. Jen walks behind him bythe sink and turns around and looks at him.*Ty: I can feel that.Jen: What?Ty: You. Watching me. I mean, you think you're crafty, but I know. I can feel your eyeson me.Jen: You can not.Ty: Sometimes. Can't you?Jen: Nah, I don't know. I've never really tried.Ty: Close your eyes. *Jen closes her eyes and Ty looks ather.*Ty: There. Can you feel me looking?Jen: No. Not yet. *Ty leans in closer.*Ty: Now?Jen: No... *They kiss. They break apart and laugh.*Jen: I waspeeking.Ty: Uh huh... *They start kissing again, Ty breaks away.*Ty: Uh, morning? Kitchen...Grams. *Jen looks at him confused, kind of suspicious. Cut toDawson and Joey walking along a pier.*Joey: Oh, it's freezing out. I just wish it would snow already.Dawson: I know.Joey: Hey, remember what we used to dowhen we were kids?Dawson: What? Make a wish on the first snowfall?Joey: Uh huh. And it always came true. *They stop at a roasted peanut vendor*Dawson:Two.Joey: Well, except for the time we wished for a horse, a million dollars, and a trampoline all in the same year....I was greedy, what can I say? *They laugh.They pay for their peanuts.*Joey: Thanks.Vendor: Enjoy it. *They walk off.*Dawson: Snow is just so...hopeful, you know?Joey: Yeah. Hope is good. So...whatare you hoping for?Dawson: I'm hoping that we can get back to the way we were.Joey: Me too. And I've been trying to get our friendship back on track--Dawson:I'm not talking about just our friendship, Joey. Look, I can't deny the truth which is plainly and simply, I want more. I want you back.Joey: (shaking her head)Dawson...Dawson: I was so confused last night but then I realized that the only thing that makes sense in my life is you and I know that it's still there betweenus. I felt it during the whole Jack saga and I know that you feel it, too, because we're soulmates. Joey, you and I were meant to be. Period. The end. Cue happyending music.Joey: No...look, Dawson. Do you remember why we broke up in the first place? It wasn't about you at all and it certainly wasn't about Jack, it wasabout me. How I had things I needed to figure out.Dawson: Things that you were willing to figure out with Jack but not with me.Joey: No, Dawson! We can't talkabout this, you know why.Dawson: Joey! If you and me aren't meant to be together than I don't know anything. I wouldn't count on snow today. *He walks off.Cut to Joey, later that night, at the Leery house, stirring punch. Bessie walks in the kitchen.*Joey: I can't believe I'm throwing a surprise party for someone who"}
+{"doc_id":"doc_143","qid":"","text":"At the store(Marco is playing online poker while his dad installs an alarm system.)Spinner: (To a customer) Hey and receipt's in the bag. Sale's on all week.Spread the word.Mr. Del Rossi: 1637. You have 20 seconds to punch it in. You got that Marco?Marco: Huh? Yeah. Yeah I got that pop. Thanks.Spinner: Gettingrobbed once was enough, you know? And the new signage looks great Mr. D.R.Mr. Del Rossi: Yeah.Spinner: Cash only, right?Mr. Del Rossi: Hey you can't trustbanks. The service fees, low interest. Talk about getting robbed. Hey uh me and Uncle Louie are gonna play the ponies. You boys want to come when you closeup?Spinner: Yeah!Marco: No, not tonight.Mr. Del Rossi: You know sometimes you worry me Marco. This is life. You've got to live it.(He leaves and Spinner walksover to Marco.)Spinner: Dude, come on. You've been Johnny Long-Face all week.Marco: Oh so it's been a week since Dylan left. 'Cause you know with constantphone tag and no e-mails, it's like poof! My boyfriend just disappeared off the face of the earth.Spinner: Last I heard, Sweden was still on earth.Marco: For thelast time Spinner, Switzerland!Spinner: Whatever. Look Dylan's got practice every day, road trips with the team, workouts with the team-Marco: Long hotshowers with the team.Spinner: Dude you have an actively gay imagination.Marco: Spin do you have any idea how hard it is to go from always having somebodythere to being totally alone?Spinner: Look when Dylan was here, nobody ever saw you. You two just played house 24/7. Don't hermit out with your laptop nowthat he's gone.(Marco wins his online game.)Marco: Hah! Whatever buddy. I just won 200 bucks! Are you finished with your lecture?At Marco, Paige andEllie'sMarco: (On the phone) Hey Dylan. It's in the middle of the night your time. Calling you, so call me back. Love you. Bye.(Paige walks in.)Paige: Hey Marco,Spin. How's Fortress Squatch Designs?Marco: The alarm's armed and ready. What's with the hush-hush?Paige: Well when Ellie gave me the green light to dateher ex, I'd say she was just a touch colour-blind.Ellie: I heard that!Paige: If Jessie calls, I'll be hiding in my room.Spinner: Oh fun times at the Del Rossi,Michalchuck, Nash, Tenako, Uchi abode.Marco: Spin this is driving me nuts.Spinner: Dude come on. You're coopered up inside. It's cold, wet, winter yuck outthere. You need a change of scenery.Marco: You know what, bud? You're right. You're right! What's the opposite of cold, wet, winter yuck?Spinner: Hot, dry,summer yum?Marco: Exactly. So I'm thinking va-cay! Me, you, Daytona Beach.Spinner: Daytona?Marco: Yeah!Spinner: I would have expected Sweden!Switzerland, to visit your swister-mister.Marco: So what? It's a long distance relationship Spin, emphasis on distance. He's having fun. I just, I want to havemine.Spinner: Spring break, eh?Marco: Yeah!Spinner: Hotties on top of hotties. That my friend is yum.(Spinner's excitement fades.)Marco: What?Spinner: Dudeevery cent I had went into the store.Marco: No, no don't worry. I have a plan.(They're shown playing online poker.)Spinner: Wait this is your plan? Playing onlinepoker?Marco: You got a better one? Oh yes. Yes she folded! I win again. Yes!Ellie: I'm reading Chekhov over here.Marco: Sorry Ellie! Hey man, guys let's hit aclub. Come on, it's on me.Spinner: Wait, what about our trip money?Marco: I'll win more. It's what I do!At a clubMarco: Oh thanks guys for hanging out tonight. Ineeded this.Jimmy: Ah no prob, man. Me and Spin can study for our test next week.Jay: Yo gangsta's. What's the haps?Spinner: Just celebrating Marco's bigonline poker score.Jay: You must be quite the shark, Del Rossi.Marco: Well I used to play with my boyfriend.Jay: Yes you're gay. Super. If you want to makesome real coin, me and the guys at work have a little something going on.Marco: Define a little something.Jay: Texas Holdem. $20 gets you in the door, $100gets you in the game. At Friendship ClubDarcy: Our charity turkey dinner gave over 100 people a hot, tasty meal.Kim: And we're organizing another event for theend of semester dance. So suggestions, anyone?Nackman: Um used glasses drive?Peter: Great idea, Nackman. Darcy, my mom's asking for you. It's actuallykind of important.Darcy: I better not keep the boss lady waiting.(Kim rolls her eyes as Darcy leaves.)Peter: I lied.Darcy: Oh really?Peter: Screw my mom's 'nogirlfriend' policy. I've been thinking about you all week.Darcy: Someone might see us.(He gives her a necklace with a key on it.)Peter: It's the key to my heart.Don't say where you got it. It can be our secret.Darcy: It's adorable, Peter. Thanks.(She kisses him on the cheek.)At Marco, Paige and Ellie'sEllie: Lots morecloset space in my room.Paige: Ellie I know you had your eye on Dylan's room, but he gave it to me.Ellie: Well we should have a had a vote.Paige: Not a big fanof democracy hon. Marco, tell her you don't mind if I take Dylan's room.Ellie: Don't let 'Princess Always Gets Her Way' bully you...or manipulate you! She has away with men.Paige: You and Jesse broke up.Ellie: Yeah just! Marco, tell her...Marco: Shut up! I'm not going to referee your catfight about the room, or Jesse, oranything! Just work it out yourselves.(They leave and Marco closes his laptop.)Marco: Get me out of here.In media immersionMr. Simpson: Okay Monday minds.Last week we started talking about online community moderation. Any thoughts? Is it good, bad?Peter: It's censorship.Kim: It's about keeping the internet safefor everybody.Peter: Yeah well who gets to decide what's safe and what's not, Kim? You?Darcy: I'm not surprised you'd say that. You only care aboutyourself.(Peter looks shocked, but Darcy gives him a wink.)Peter: Yeah well you only care about what people think about you.Darcy: At least I have aconscience.Peter: At least I can think for myself. Submit to peer pressure much?Mr. Simpson: Guys.Darcy: Submit to ugliness much?Peter: Can you tell throughall that eye fat?Darcy: Eye fat? That is so pathetic.Mr. Simpson: No seriously enough. Thank you.OutsideMarco: Here. Blow our poker dreams on this.Spinner:And if we lose?Marco: We won't. I know what I'm doing.Spinner: Dude it's not money in the bank. Jay's friends are poker ninjas.Marco: Yeah exactly. That's whatmakes it fun. High risk, high reward.Spinner: Coming from you? That's bonkersMarco: Spin, you and Jimmy opened up a store, right? Ellie hooked up with herboss. Even flame-out Paige is starting over and Dylan...Dylan is off on his European hockey adventure. What have I done?Spinner: Kept your marks up.Marco: Ohwow! Whoop-de-do. I'm mashed potatoes, man. I'm boring and I'm bored and I just, I need a rush. Come on. At DegrassiDarcy: How'd you get in here?Peter:Tell you a secret? It's never locked.(They start kissing.)Peter: Oh next time we're fake fighting, can you tone down the 'you're ugly' stuff?Darcy: You said I haveeye fat.Peter: It was all I could think of. Your eyes are beautiful.Darcy: And you're not ugly, stupid.Janitor: Peter Stone! I wonder if your mom would like to hearabout this.At the garageSpinner: Fold.Jay: Ah me too. Can't lose what you don't put in, right?Marco: Yeah can't win much, either. Raise 100.Jake: Going Vegas onme, boss? Alright let's double it.Marco: Impressive. I'm in.(They keep playing.)Marco: I'm all in. You with me?Jay: Well if you can't spot the sucker, you are thesucker.Jake: The question is what's his tell.Marco: When you figure it out, you let me know.Jake: It's all yours, boss.Spinner: Yes! Money for nothing.Jake: Heythis is how it works. We get a chance to win it back. Tomorrow.Marco: Alright, if you want to keep giving me your money, I'm gonna gladly keep takingit.Spinner: Daytona![SCENE_BREAK]At a clubPaige: Oh uh hello. Marco left a message. Some urgent need to rage?Ellie: Oh there's been raging.Marco: Hey, hey!Fun patrol's here. No cat-fighting tonight, ladies. Promise?Paige: Yeah fine. What is up?Marco: I am, babe. Tonight I am so wired.Spinner: He pretty wellbankrupted these hardcore poker dudes.Marco: I had them eating out of my hands.Paige: Look at you, Mr. High Roller.Marco: Next stop: The Matador. Comeon!Ellie: Woah, the after hours club? I can't. I have an essay.Marco: Ellie! Ellie you can't find love in an essay. You got to live!Spinner: And I've got a test. Comeon. Put it away.Marco: Spin we're rich. We're celebrating. I'm happy. What's the problem here?Spinner: You dude. You're being an ass.Marco: Spin this is the firsttime I've had fun in ages and it's all thanks to my triple P, perfect poker partner. Come on man, let's just roll with this. Let's see how much money we can make.Please! At the poker gameSpinner: Fold again. Surprise.Jay: Raise it 50. Shark boy?Marco: Funny thing about poker. You know nobody remembers how you builtyour fortune, just how you lost it.Jake: We're making memories tonight, right boss? Call.Jay: I think I'm gonna go in another 50. Marco?Marco: I'm all in.Spinner:Dude that's everything.Jake: Yeah not this time bluff-maestro. I'll see you. Let's have 'em.Jay: You are toast shark boy! Yes!Marco: Okay it's fine. It's fine. Ium...I just, I need a loan to buy back in and I'll win it back.Jake: Yeah, how much?Marco: Um...Tony: What the hell is going on?Jay: Hey Tony you want in?Tony:Don't get smart. You guys want to keep your jobs, this ends now. Everybody out.(Marco and Spinner are walking outside.)Marco: Look everybody goes bust,okay? My luck will turn. Just trust me.Spinner: Trust you? Marco you just lost $1100. Kiss it goodbye. I did.Marco: What? What about our trip, man? Thehotties?Spinner: Dude it's over. Go home, watch TV with your dad. Maybe he can talk some sense into you. You just got to stop.At the Del Rossi houseMarco: Heypop.Mr. Del Rossi: Hey son. Can't stay away from your mom's cooking, eh?Marco: How'd you and Uncle Louie do at the track?Mr. Del Rossi: We had fun.Marco:Did you guys win any money?Mr. Del Rossi: We had fun, Marco. Why?Marco: No, I'm just making conversation.Mr. Del Rossi: Yeah? Well you know what goesgood with that? Some of your mom's homemade cannelloni. She put some in the freezer before she went to bingo. No sit.(Marco sees his dad's wallet and takesout all the cash.)At DegrassiDarcy's IM: How sneaky can you be?(Peter starts typing back when Kim walks over to Darcy.)Kim: E-mailing your boyfriend?Darcy:Very funny Kim.Kim: I'm just kidding. All set to work on our drama project after school?Darcy: Oh. Um I have a grandma's birthday thing. Can wereschedule?Kim: Fine. That's the last time I cancel majorettes for you.In the parkPeter: Anyone see you?Darcy: No. Not that this is the perfect hiding place. Howsneaky did you have to be?(They hug.)Peter: Darce I'm sorry it has to be like this...sneaking around, lying.Darcy: What we're doing isn't really bad. It's kind offun. You're fun.Peter: So are you. So much fun.(Kim walks by with her dog and sees them kissing.)Kim: Darcy?!Darcy: Kim?Kim: Wish your grandma 'happybirthday' for me.(She walks away angry.)Darcy: Sugar...At the store, during the poker gameJake: If I win this hand, I'll buy everyone a t-shirt.Jay: I must sayMr. Del Rossi, you have some nice digs here, no girlfriends, no grease monkey bosses. This could be a regular gig, huh?Marco: Yeah right. If anybody finds outwe're using the store, I'm dead. Call.Jay: Oh!Marco: Raise a hundred.Jake: There's no way you got the straight flush, bluff-maestro.Jay: Well beautiful thing is,"}
+{"doc_id":"doc_144","qid":"","text":"Andy: Good morning, Pam.Pam: Oh, welcome back, Andy.Andy: Drew. I'm Drew now.Pam: Oh. Drew. Sorry.Andy: Apology not... accepted. Because it wasn'teven necessary in the first place. [laughs][SCENE_BREAK]Andy: Several weeks ago, Andy Bernard had an incident. [cut to shot of Andy punching a hole in thewall] But after five weeks in Anger Management, I'm back. And I've got a new attitude. And a new name. And... a bunch of new techniques for dealing with thegrumpies.[SCENE_BREAK]Andy: Mornin' Jim.Jim: Hey, Andy. How are you, man?Andy: Good. Drew.Jim: What's that?Andy: Dr--- You can call me Drew.Jim: No,I'm not gonna call you that.Andy: Cool. I can't control what you do. I can only control what I do.Jim: Andy.Andy: Drew. [walks to Dwight] Dwight. How's it goin'man?[SCENE_BREAK]Dwight: Yes, I have decided to shun Andy Bernard for the next three years. Which I'm looking forward to. It's an Amish technique. It's likeslapping someone with silence. I was shunned from the age of four until my sixth birthday... for not saving the excess oil from a can oftuna.[SCENE_BREAK]Dwight: Jim, could you please inform Andy Bernard that he is being shunned.Jim: Andy, Dwight says welcome back, and he could use ahug.Dwight: Ok, tell him that's not true.Jim: Dwight says that he actually doesn't know one single fact about bear attacks.Andy: You guys...Dwight: Ok, no. Jim,tell him that bears can climb faster than they can run. Jim! Tell him!Jim: [half-heartedly] Andy! Nah, that's too far.Dwight: Damn you.[SCENE_BREAK]Michael:Today is Safety Training Day. Toby is leading ours upstairs. Yeauck. But, I am giving everyone a little bit of a treat. We are going to listen in on Darryl'spresentation to the warehouse. And if I know Darryl, it gonna be zoppity.[SCENE_BREAK]Darryl: Now, this is the forklift. You need--- [Michael rattles it] You needa license to operate this machine. That means the upstairs office workers can't drive it. ... Quiz! Mike.Michael: Hmm.Darryl: Should you drive the forklift?Michael:I can, and I have.Darryl: No! No no no no no! I said should you. You should not drive it. You should not drive the forklift, you understand?Lonny: You're notallowed to drive the forklift.Darryl: It's not safe, you don't have a license.Michael: Guys, I'm not the only one who's driven the forklift. [points] Pudge has driventhe forklift.Madge: Madge.Michael: I thought your name was Pudge?Madge: No, it's always been Madge.Michael: Okay. Um, her.Darryl: Her. Yes, \"her\" isqualified to work a dangerous machine. You are not. Okay?Michael: Ah, fine.Darryl: Do you understand that?Michael: Yeeesh.[SCENE_BREAK]Darryl: We dosafety training every year, or after an accident. ... We've never made it a full year. This particular time, I was reaching for a supply box on the top shelf, whenone office worker, who shall remain nameless, kicked the ladder out from under me and yelled...[SCENE_BREAK]Michael: [barely keeping his composure] \"HeyDarryl, how's it hangin'?!\" [laughs][SCENE_BREAK]Darryl: And I fell and busted my ankle. I'm legitimately scared for my workers.[SCENE_BREAK]Darryl: Thebaler can flatten a car engine. It can cut off your arm and crush your entire body without skipping a beat.Dwight: Yeah!Andy: It's on!Darryl: How many people ayear do you think get their arms cut off in a baler?Michael: Bail'er? I hardly know her.Lonny: Dammit, Michael. Pay attention, man.Darryl: Anybody wanna take aguess? Anybody?Kevin: Five bucks says it's over 50.Jim: You really wanna bet?Darryl: Anybody?Kevin: Ever since March Madness ended, I am so bored.Guy:How many?Jim: Ok, you're on.Darryl: Ten people, Michael. Ten people. Would you like to be one of them?Kevin: [mouths] Damn...Darryl: [in background] Youhave to be alert, and calm. And always careful...Jim: No, don't worry about it. We'll just got double or nothin'.Kevin: On what?Jim: I don't know, we'll figuresomethin' out.Kevin: Nice.Oscar: What are you guys talkin' about?Darryl: These are very dangerous machines down here, and the upstairs workers, Michael,should not go anywhere near them.Michael: Yes, yes. But it wouldn't be the worst thing in the world... if somebody...Darry: It would be the worst thing in theworld! It would! Very much so.Lonny: What the hell is wrong with this man?Michael: It's a big red trash compactor!Lonny: What are you---Darryl: It's not a trashcompactor! It's a baler!Lonny: Don't disrespect the baler!Michael: Okay, okay! I got it. I got it. ... Only on the rarest of occasions...Darryl: No do not touchit!Michael: ...would I go near---Darryl: There is no occasion for you to go near this stuff, okay?[SCENE_BREAK]Michael: Toby now has the floor... and he is goingto try not to screw this up, like everything else in his life. Let me rephrase that. I believe that you can do safety training and make it sound just as good as Darryl.Here we go!Toby: Ok, um, one thing that you're gonna want to look out for is carpal tunnel syndrome. It's recommended that you take a ten minute break fromtyping every hour. For your circulation, you're gonna want to get up out of your chairs and uh, and move around about ten minutes every hour.Michael: Yes,good. Fine. Like stretching and...Toby: Um, yeah. You're computer screen can be a big strain on your eyes, so uh, it's also recommended that you step away forabout... about ten minutes every hour.Michael: Wow, that is... that time really adds up. That's like... a half an hour, every hour?Darryl: Take them at the sametime.Michael: Ok, you know what? You're making it sound kind of lame. So, skip ahead to the really dangerous stuff. Like sometimes computers can explode, canthey not?Toby: No, no. Um, you always want to keep a sweater or cardigan of some sort, in case it gets drafty.Ryan: What about a long sleeve T?Toby: Well,that'll work.Kevin: Long johns? A shaw?Toby: You know, anything that warms you.Michael: Ok, you know what? I think that everybody is going to vomit due toboredom. [to warehouse guys] Sorry, he is very lame. [takes book from Toby] Um, let's see. \"Seasonal affective disorder! A depression that includes weight gain,fatigue, irritability, brought on by the low light of winter.\"Darryl: Thank God we only had a baler to deal with.Lonny: Yeah, that dim light is a bitch, ain'tit?Michael: Ok guys, you know what? I didn't--- I didn't interrupt when you were having your presentation.Darryl: Actually, you did.Michael: Yes. Okay, let's doanother one. This is a good one. \"A particular concern for office workers is a sedimentary life style, which can contribute---\"Toby: Sedentary.Michael: Yes. \"Whichcan contribute to heart disease.\" Heart disease kills more people that balers.Lonny: That's called having a fat butt, Michael.Michael: Mmmm, no, no, it's...sedentary...Lonny: Yeah, yeah. That's, that's fat butt disease. That's what you suffer from?Michael: No.Lonny: Fat butt disease, Michael?Kelly: Excuse me, seamonster, you weigh like a thousand pounds.Lonny: Yeah? I bet you'd like to swim with this sea monster, wouldn't you?Kelly: Ryan?Lonny: Dude, tell your girl toshut up.Kelly: What?!Ryan: Kelly, you insulted the gentleman. Please apologize.Kelly: Are you kidding me?Darryl: Alright, we outta here.Michael: Darryl, I did notwalk out in the middle of yours. So, I---Lonny: Yeah, but ours was real, Michael.Darryl: That's what I've been trying to tell you, Mike. It's serious down there. Wedo dangerous stuff, man. This is shenanigans, foolishness, Nerf-ball. You live a sweet, little, Nerf-y life. Sittin' on your biscuit. Never havin' to risk it.Michael:Okay. ... What, Nerf isn't cool anymore?[SCENE_BREAK]Michael: Darryl thinks he is such a man because he works in a warehouse. I worked in a warehouse.Men's Warehouse. I was a greeter. I'd like to see Darryl greet people. Probably make 'em feel like wimps. Not me, I... \"Hello, I'm Michael. Welcome to Men'sWarehouse. We have a special on khaki pants today.\" ... This is one example.[SCENE_BREAK]Kevin: [Pam is holding a jar of jellybeans] Ten.Oscar: Really, ten?That's your guess? You're a professional accountant.Jim: There's like ten green ones.Oscar: Forty-two.Jim: I'm gonna say fifty.Karen: Fifty-one.Jim: Oh, don't bethat person.Kevin: That is lame.Karen: It's a strategy!Pam: It's called being smart.Karen: Thank you.Kevin: Oh, geeze.[SCENE_BREAK]Pam: I don't know howthe whole betting thing started, but it's fun.[SCENE_BREAK]Pam: Ten...Jim: Kev's out.Kevin: Damn it.Pam: 47, 48, 49! Jim wins!Everyone: Oooh! [Jimclaps]Kevin: That is not fair. He has spent hours up here at reception with you. Hours and hours.Jim: Okay, okay.Kevin: No, constantly. Like, for years.Jim:Okay.[SCENE_BREAK]Michael: Pam, depression is as scary as a baler, right?Pam: I don't understand the question.Michael: Working in an office can lead todepression. Which can lead to suicide. I mean this is really serious stuff.Pam: Yeah...Michael: I--- I--- Nobody commits suicide because they work with a baler,and yet those guys are makin' fun of me, calling me a Nerf, that...Pam: It's really hard to demonstrate depression. Their safety training had visuals.Michael:Yeah... you are... ah, so right. They had visual aids. And all we had were the facts. You don't go to the science museum and get handed a pamphlet on electricity.You go to the science museum and you put your hand on a metal ball, your hair sticks up straight... and you know science.Pam: So, you're okay?Michael:Indubitably.[SCENE_BREAK]Michael: They use props. They use visual aids, and they just made us look like dopes.Dwight: Idiots! God, what are we gonnado!?Michael: I don't know, I don't know. Because you know what our killer is? Depression---Dwight: Wolves.Michael: Nn--- Depression.[SCENE_BREAK]Dwight:Visual aids.Michael: Yes.Dwight: A quilt. Depression quilt?Micheal: No time to sew a quilt. ... I got it. Give me the number for the Giant Big Box ToyStore.[SCENE_BREAK]Michael: You may be asking yourself, \"What am I doing on a trampoline?\" Well, I thought I'd bounce here for a while, relieve some stress,and then move on with my day. Not! Here's the plan. Dwight, is going to gather all of the office workers and all of the warehouse guys, we're going to haveanother safety seminar. Only this time, where's Michael? Oh my God! He is on the roof! Now I have got their attention. I... tell them, about the cold hard facts ofdepression. And then I say, \"Hey! You ever seen a suicide?\" And I jump. And they freak out. And they get to see... the dangers of depression with their own eyes.Nice side note[/b]: They might think \"Hey, I should have been nicer to Michael.\" But that's... not why I'm doing this... Then, I land on the trampoline, take acouple extra bounces for fun. I climb off, walk around the corner... Ta-freakin'-da! [Dwight nods][SCENE_BREAK]Kelly: So then the next movie moves to the topof the queue. So number five becomes number four, number six becomes number five, [Ryan checks his watch]number three becomes number two, etc, etc. Andlet's just say that I just sent back Love Actually, which was awesome. [Karen lays money down on the desk next to Ryan] And they sent me Uptown Girls, whichis also awesome. But guess what, now I want to see love actually again, [Phyllis throws her money down] but it's at the bottom of the que! Oh no, what do I do!?[Creed throws his money down] What I do, is this. I go online, I go click, click, click. And I change the order of the que, so that I can see Love Actually [Pam"}
+{"doc_id":"doc_145","qid":"","text":"\"Soccer Mom in the Mini Van\"[SCENE_BREAK]TEASER(A minivan approaches a field where kids are playing soccer. A woman gets out of the car, throws her coffeecup away in a nearby trashcan and looks at the children playing. She then touches her locket, smiles and heads back towards the car. In the car, she tucks a noteinside her bag. She backs out of the space and as she puts her car into drive, it explodes)[Cut to: Crime scene a few hours later - crawling with FBI agents. Boothand Brennan get out of the car and approach the mini van]BOOTH: Look, Bones, all I'm saying is that Caroline went though a lot of trouble to get you privatevisitation with your father, now you don't want it.BRENNAN: The federal detention facility already has visiting areas.BOOTH: Yeah, behind 2 inch glass. Now you'llbe able to give your old man a hug.(he demonstrates on Brennan)BRENNAN: I didn't ask for special treatment, Booth.BOOTH: That's because you don't have tobecause you are special. And you are gonna tell me - whoa - what happened to whatever the hell is melted to that steering wheel and everything else.BRENNAN(looking at the remains): Female. Mid 40's to late 50's. Pelvis indicates she's given birth.BOOTH: Hey, Bones. Look at that. (points to a finger with a ring on it)Married, right?BRENNAN: Wedding ring. Possibility. (to another FBI Agent) Don't just focus on the ground (she points to a leg in a nearby tree then to Booth) Whydo you care about my relationship with my father, Booth? You were only too happy to arrest him and put him in prison.BOOTH: Alright, look Bones. Ya knowwhat, it's not about being happy, okay. It's about doing my job.BRENNAN: Do we know if it was a bomb that caused the explosion?BOOTH: Well, let's see. Theroof is peeled back and the doors-BRENNAN: I was asking him. (she points to another FBI Agent)FBI AGENT: We found explosive residue all over the van andmetal fragments in the bushes.BOOTH: What is that? A Pipe bomb?FBI: I can't really be sure until the explosives unit gets the van back to the lab.BRENNAN: No,they can't have the van. There are remains seared all over the inside of the vehicle and they can't be compromised.FBI AGENT: I have to call-BRENNAN: This vanwill be brought to the Jeffersonian - your bomb techs can look at it there.FBI AGENT: I'll....make the call?BOOTH: That's - that's alright. You go, go make thatcall. Bones, come on . You're a little harsh there, maybe you want to talk it out.BRENNAN: (pulls a necklace from the car) Look, Booth.BOOTH: It's a locket. Ugh,probably her daughter.BRENNAN: Who would want to blow up a soccer mom?ACT I(Cut to: Jeffersonian: Forensics area)ANGELA: Hey, you have a skull for afacial reconstruction?ZACK: Help yourself.ANGELA: Oh, great. Is this all I have to work with? I always hated puzzles.BRENNAN: Hodgins, before we take thathand from the wheel, you might want to check the fingernails for particulates.HODGINS: You know I do.ANGELA: Oh. My. God.ZACK: Shouldn't you wait for thebomb tech before you gather the explosive residue?HODGINS: Hey, just getting enough to verify his results. Remember, he's a government bureaucrat.ANGELA:Hey, you're a government bureaucrat, babe.HODGINS: In name only. I am a passionate, dedicated scientist who will not be cowed by authoritarianpressure.CAM: Stay out of the van until the bomb tech comes, Hodgins.HODGINS: But... CAM: Out.HODGINS: Fine. I have to check the fingernails anyway.CAM(to Angela): How close are we to ID'ing the victim?ANGELA: Well. This is the skull. I'm good, but I'm not that good.BRENNAN: Perhaps you could use these.There's a portion of tongue, hair and brain matter?ANGELA: Okay. If anybody needs me, I'm gonna go throw up, then do some paper work.(As Angela turns toleave, Booth enters with a female agent)BOOTH: Okay, this is Special Agent Frost from the bomb unit.AGENT FROST: Booth pulled me out of an important lunch.It took me months to set up that meeting. It better be good, Booth.BOOTH: She'll be working with you, Hodgins.HODGINS (starting at Frost): Yes, please. What?No, no. Um, hmm? Ja..Hodgins. Doc - Doctor. Okay.AGENT FROST: I beg your pardon?HODGINS: It's Ho-ANGELA: He's Dr. Jack Hodgins. Angela. Montenegro. Ido facial reconstructions - and him.AGENT FROST: Please to meet you. (she walks over to where the stuff is ) I'm gonna need you to recover all the metallicparticulates then I'm gonna need a chemical tray with-FROST & HODGINS: Aqueous buffer solution.HODGINS: Yeah. I know.HODGINS: You wanna performcapillary electrophoresis?FROST: We can do that?HODGINS: Oh yeah. (Angela coughs in the background) And it will save time so Angela and I can have dinner.Alone.ANGELA: Hm (she turns and leaves)BOOTH: License plate was destroyed when we traced the VIN number on the van. It was registered to Jeremy Nash inCulpepper, Virginia.BRENNAN: He looks familiar.BOOTH: Man, our victim was traveling with a lot of stuff - clothes and personal items.BRENNAN: Photo album.Most of the pictures were burned, but the man in this photo could be Nash.CAM: She packed herself up, keepsakes and all, and took off in the van? Looks likeMrs. Nash was leaving Mr. Nash.BOOTH: Ah, god. I hate domestic cases. Alright, so let's got talk to the husband.BRENNAN: I can't. I'm seeing my father.BOOTH:Now?BRENNAN: You and Caroline went to a lot of trouble setting this up. I would hate to appear ungrateful.BOOTH: But - (he starts to follow after her, but stopsthen - to Cam) I'll go talk to, um, the husband by myself.(Cut to: Prison - Day. Max is escorted into a private visiting room to meet with Brennan)PRISIONGUARD: Alright, Max. There ya go.MAX: Ooh, gee. Real chairs. It's nice to have an important daughter (he goes to kiss her but she moves away)BRENNAN: Thisis Booth, not me.MAX: Well, you thank him for me. I always liked Booth. Nicest guy that ever arrested me.BRENNAN: Touching.MAX: Well, you must like this. Mein here. I finally have to follow the rules.BRENNAN: So that makes me less than you because I think people should follow the rules?MAX: You're upset.BRENNAN:Yeah, of course I'm upset. My father's a criminal.MAX: No, outlaw. There's a difference.BRENNAN: Subtle distinctions like that are lost on me and, I imagine, yourvictims.MAX: I know you want some sort of, uh, nice, neat story that puts my life into perspective for you but it doesn't work that way.BRENNAN: You could try.Don't I deserve that?MAX: I guess I always had a problem with authority. I just always saw myself fighting the system. Kinda like Robin Hood.BRENNAN: Do yourealize how ridiculous you sound? You're here for murdering the Deputy Director of the FBI.MAX: He was a crook. He was a killer and he was going to killyou.BRENNAN: And you walked out on Russ and me when I was fifteen!MAX: But that was to protect you, people were after us.BRENNAN: Because you were acriminal.MAX: Outlaw. See, I knew you weren't gonna understand.BRENNAN: Ya know what? You're right. This is my fault for expecting we could get past-MAX:We can get past this. We can. The court, they're gonna decide how to punish me but now, here - we'll make this whatever we want.BRENNAN: (She reaches inher bag and pulls out a deck of cards) Here are the cards you asked for. I gotta go.MAX: Wait. These are for us.BRENNAN: What?MAX: Come on. You rememberthat game we used to play when you were five years old?BRENNAN: Blitz.MAX: Blitz. Blitz. Come on. Let's play a couple of hands.BRENNAN: You always beat me.I remember that too. A good father would occasionally allow his child to win.MAX: I don't believe in encouraging all that, ah, that self esteem crap. You wannawin? Earn it. That's why you're so good at what you do now cause you know that nobody is gonna hand you anything.BRENNAN: (sarcastically) So you were agreat father.MAX: Well, maybe just not as bad as you think. How 'bout this, one hand? Come on.BRENNAN: (gets up and heads towards the door) Let me know ifyou need anything else.MAX: Oh, oh, oh. Socks. Socks. You know the, uh, with the arch supports? I gotta stand on that chow line forever.(Max watches her asshe leaves the room without saying anything)(Cut to: Nash Residence. Booth is questioning Jeremy Nash)JEREMY NASH: A bomb?BOOTH: Yeah, I'm sorry. Wereyou and your wife having any problems?JEREMY NASH: What? What kind of problems?BOOTH: Well, she was traveling with a lot of personal stuff: I mean, photoalbums and more clothes than she -JEREMY NASH: That \"stuff\" was for Celia's new dorm room. She was bringing her clothes, thing to help her decorate - You'reFBI for God's sakes. You have no idea who did this? What is this your first case?BOOTH: Just relax, okay? I'm just here to help, Mr. Nash, that's all.JEREMY NASH:How do I tell Celia? How do I - tell my daughter-(Cut to: Medico Legal Lab - Room. Focus on a clear box with flesh eating beetles inside.)ZACK: Dermestesmaculates. They clean the bones by eating the charred flesh.HODGINS: But they leave behind pieces of shrapnel you might need.AGENT FROST: Fascinating andvery weird.ZACK: (with pride) They're mine.AGENT FROST: Not a surprise.(BRENNAN enters.)HODGINS: (to Brennan) Hey! Hi. How as your visit withyour-BRENNAN: Not germane to the investigation, Hodgins. (While Brennan is talking, Hodgins is looking at Agent Frost) Zack. Her left shoulder was badlyshattered but still shows evidence of old trauma. I need the clean bones as soon as they're ready. I also would like you to look at the manubrium. These shadowslook like pitting. Have you determined what kind of bomb was used?AGENT FROST: I'm still sifting through the debris and waiting for whatever goodies thesebugs leave behind.BRENNAN: And Dr. Hodgins is just keeping you company?HODGINS: What? No. I'm - working. Hard. (Brennan and Zack just look at him) I'mgonna go right now and work. Hard. Some-someplace else. So - (he turns to go - Brennan and Zack still staring at him and Agent Frost looking at thebeetles)(Cut to: Medico Legal Lab - Basement/Storage. Angela is at a computer trying to figure out some symbols for the Widows' Son case.)HODGINS: Hey.What are you doing down here?ANGELA: Oh, analyzing the iconography for the Widow's Son case until somebody needs me for the bomb victim.HODGINS: Look,Angie, Um- Agent Frost is a colleague and I am a professional. Okay, so all that stammering and stuff - I mean that's not - that isn't - you know that's involuntary- it's a bodily thing. Yeah. That didn't come out right. Look, I'm not gonna deny that she is attractive -ANGELA: Oh, totally hot.HOGDINS: What?ANGELA: Thebombshell from the Bomb Squad. She's totally hot.HODGINS: Yeah, I know. I mean -ANGELA: Look, Jack. I really don't care what's going on in your pants as longas it stays in your pants.HODGINS: You know who's totally hot? You. You are totally -ANGELA: Okay, save it. What have you got?HODGINS: (he hands her somesinged pieces of paper found in the van) These were in Any Nash's bag.ANGELA: There's writing on them.HODGINS: Yeah. Yeah, Cam needs you to restorethem.ANGELA: Well, I'll give it a try.AGENT FROST: (O.S.) Dr. Hodgins! I need your samples for the spectrometer.HODGINS: I - I - I - I have to uh - so I love youand - (he kisses her on the cheek)ANGELA: Go.HODGINS: Okay.(Cut to: Medico Legal Lab - Hallway. Booth & Brennan are walking)BOOTH: Nash is gonna pick up"}
+{"doc_id":"doc_146","qid":"","text":"Police and SWAT cars pull up in front of a mansion, and the SWAT team runs inside. They approach a locked room - we see the key is still in the door on theinside. They break in to find Jared sitting crying on the bed next to a dead girl. Both are in their underwear.ONE YEAR LATERA prison complex. Jane shows his IDand is allowed into the yard where Jared is sitting in his orange prisoner's clothes.Jared: Thank you for coming.Jane: You said you had information about RedJohn.Jared: Yes, I do. Killed your wife and daughter, huh? Heard a lot about you. They say you can tell when people are lying.Jane: Do you have informationabout Red John?Jared: I have dynamite information about Red John. Enough to catch him.Jane: How do you come by this information?Jared: Red John is a friendof a friend of mine.Jane: Is that friend of yours in prison too?Jared [laughs]: I have friends from all walks of life.Jane: Tell me.Jared: I am currently doing 25years to life for a crime I didn't commit. My last appeal just failed. You get me out of here and I will give you Red John.Jane: You raped and murdered your familyhousekeeper's daughter. If you do know a lot about me, you know that I'm not a real magician.Jared: I didn't do it.Jane: I read the case file. The physicalevidence, the testimonies of all the witnesses including your own family says you did.Jared: I didn't kill her.Jane: What happened?Jared: I don't know. We werepartying, I did some blows of meth, we had s*x, I fell asleep. And it's morning, Andine's dead, cops are busting in.Jane: The door was locked from the inside.There were bars on the windows.Jared: Yes.Jane: How is it physically possible that anyone else could have committed the murder?Jared: I don't know. But Ididn't, ergo someone else did. Someone you can find. You see me. Am I lying?Jane: You seem to be telling the truth, but you're a very clever, unprinciplednarcissist in a desperate corner. Even if you are innocent, doesn't mean you have information on Red John. Yeah, it's a tough call. [Pauses to think.] I'm gonnahave to say no. [Starts to walk away.]Jared: Your wife. Red John painted her toenails, yes? Painted them with her own blood. Police didn't make that public, didthey? She's the only instance he did that, huh? Touch of elegance, for you alone.Jane: How do you know that?Jared: I told you. Red John is a friend of a friend ofmine.Jane: What is this friend's name?Jared: His name is get me out of here and I will tell you. That and much more. I'll sing like a bird.Jane: Okay.Jane, Lisbonand Minelli are in Minelli's office.Minelli: No! I said no and I mean no. It's not that I don't want to help you. I want to help you. It's just it's not physically possible.Jared Renfrew was tried and convicted. It's a closed case. I have no authority to re-open it without cause.Jane: There is cause.Minelli: For you there's cause. Notfor the State of California. We can't touch it.Jane: Ah, but we could touch it if...Minelli: Closed case! Nothing to be done. The Justice Dept doesn't go aboutundoing its own work.Jane: I understand. No problem. If we can't touch it, we can't touch it.Minelli: I'm sorry.Jane: No. The law's the law. My desire for revengedoesn't outweigh the rules. I have to accept that.Minelli: Glad you understand.Jane: Thanks for your time. (Jane leaves the room.)Minelli: He's lying through histeeth, isn't he?Lisbon: Yes.Lisbon comes out of Minelli's office into the bullpen where Jane is.Lisbon: Jane. I know better than to try and stop you from doing whatyou think you have to do.Jane: No, I'm fine about it. I can see Minelli's point. I can't be chasing every nutbag with a good story, can I?Lisbon: Yeah, sure you'refine with it. Just do me the favour of listening to me for a minute, so I can say 'I told you so' later.Jane: Sure.Lisbon: Jared Renfrew was found hugging the corpseof Andine Kopecki in a room locked from the inside, holding a bloody butcher knife in his hand. His semen was inside of her. He'd been stalking her for weeks.He's got a history of violence going back 15 years.Jane: What's your point?Lisbon: He's guilty. You're being conned.Jane: Possible, but I don't think so. But I'vegot to find out one way or the other.Lisbon: Even if he's telling the truth about the murder, he could still be lying about Red John.Jane: Also possible, but I've gotto take the chance. What else can I do?Lisbon: Minelli wants me to keep a watch on you.Jane: What are you going to do?Lisbon: Well, I'm not going to follow youaround. Let's compromise. When you get into trouble, call me first so I can try and minimise the damage.Jane: Deal.Lisbon: And don't use your CBI card. TheBureau finds out you used it without authorisation, you're done.Jane: I hear you.Outside the Renfrew's imposing gates. Jane presses the intercom.Maid [throughintercom]: Hello.Jane: Hi, my name's Patrick Jane. I'd like to speak to Gardner Renfrew about his brother Jared.Maid [through intercom]: One moment, please.[Pause] Mr Renfrew says no thank you.Jane: Tell Mr Renfrew I can prove his brother is innocent and I know who really committed the murder. Jane holds out hisarms like he's doing a magic trick and the gates begin to open.Jane is in inside with Gardner Renfrew and his wife, Breck. The maid has given Jane somewater.Jane: Thank you very much. [He points to a photo.] Is that your father?Gardner: Yes. What's this all about, Mr Jane? Who are you and what do you meanby this?They all sit down.Jane: Do you think your brother is innocent?Gardner: You said you could prove he's innocent. You said you know who really did it.Jane:No. That was just to get inside the house. I have no idea who might have done it. Might have been Jared. Hope not. He seems to be telling the truth. What do youthink?Gardner: I think you had better leave. Right now, Mr Jane. I don't have the time or the patience for tom-foolery. [He and his wife stand up.]Jane: So youthink he's guilty. I'm wasting my time.Gardner: We're done talking.Jane: Suppose I could prove he was innocent. Wouldn't you want that? Wouldn't you wantthat blot on your name expunged?Breck: Of course he would.Gardner: Nothing would make me happier, but my brother is guilty. He violated the poor girl , heviolated this house, he violated this family.Jane: That's all I needed to know. Thank you for your time. Your mother lives here in the guest house, doesn'tshe?Gardner: You leave my mother alone.Jane: Well, that's not your call to make, is it? [He gets up and walks further into the house.]Gardner: Breck, call thepolice.Jane: Be sure and tell them I'm unarmed.Jane ducks down a corridor with an annoyed Gardner behind him. He comes running out into the garden whereMrs Renfrew is.Gardner [calling]: Go inside, Mother! Go inside!Jane approaches Mrs Renfrew.Jane: My name's Patrick Jane. I want to speak to you about yourson, Jared.Gardner: I'll deal with him, Mother. The police are on their way. Just go inside.Mrs Renfrew: Don't order me about. And don't be so hysterical. [ToPatrick] What's your interest in Jared.Jane: I'm a friend of his. Trying to prove his innocence.Mrs Renfrew: Come and sit down.Jane: Thank you.Gardner: Mother,you're being childish.Mrs Renfrew: Go away, Gardner.Gardner: Mother!Mrs Renfrew: Go away! [Gardner leaves. Mrs Renfrew and Jane sit at a table in thegarden.] Tell me why you wish to prove my son's innocence.Jane: Oh, I can promise you, I'm not up to anything sinister, Ma'am. My motives are pure. Tell meabout Jared.Mrs Renfrew: He was a troubled child. Charming and bright, but a bully and a liar and something of a sadist.Jane: Qualities you rather liked in him, Iexpect.Mrs Renfrew [laughs]: Yes, I did. I found him rather amusing, at first. One doesn't want a wimp for a son. But there must be a sense of proportion andmoderation. As he got older, he got worse. Fell in with bad people. It was one scandal after another, in and out of prison. A common criminal.Jane: But he turnedhimself around, didn't he?Mrs Renfrew: He gave up the drink and the drugs and the gallivanting. Made peace with his brother and came home to help run thefamily businesses.Jane: The prodigal son.Mrs Renfrew: Yes. George, his father, was overjoyed. I was sceptical. Pleased, of course, but sceptical. As my motheralways said, you are what you are.Jane: I guess she's right.Mrs Renfrew: Yes. Poor George dropped dead a week after the murder. Broke his heart, people said.George didn't really have a heart, in that sense. He died of embarrassment. A Renfrew in the pokey for murder. Quelle horreur.Jane: Can you show me where ithappened?Jane and Mrs Renfrew inside the house, walking to the room where the murder took place.Jane: Who else was in the house?Mrs Renfrew: I had a smalldinner party. Probably 10 people all told. After they left, it was just family. Gardner and Breck, George and I, and Jared, of course. [She gets the key from the topof the doorframe and unlocks the door.]Jane: Not Mariska, the housekeeper?Mrs Renfrew: No. She lived out. [She opens the door.] Andine was only here to helpthe cook with the dinner party. [Jane looks around the room.] She was a lovely girl, full of life and promise. Her mother, Mariska, had been with us 20 years. Partof the family.Jane: Jared told me that he and Andine were having an affair. That he loved her and he'd never hurt her.Mrs Renfrew: She told her mother that hewas stalking her, that she was scared of him. She didn't go to the police out of respect for the family.Jane: Hmm. I'd like to speak to the mother.Mrs Renfrew:She left our employ, I'm afraid. It was too difficult for both of us.Jane: Where is she now?Mrs Renfrew: I have an address somewhere.Jane: Can you get it for menow?Mrs Renfrew: As you wish.Jane: Thank you.Mrs Renfrew leaves. Jane peers into a hall closet and sees some fishing line. He closely examines the door of theroom and the key. Gardner arrives with a couple of policemen and his wife.Policeman: Sir, would you come with us?Jane: Why?Policeman: You're trespassinghere.Jane: No, I'm not.Policeman: Okay, sir, this man here says he's the homeowner and says you're trespassing, so let's go.Jane: Officer, it's the other wayaround. I'm the homeowner, that man is the intruder.Gardner: That's a lie! He...he's lying.Jane: Listen to the madness in his voice. Will you please take himsomewhere he can get some help.Mrs Renfrew comes back in looking at a piece of paper in her hand.Mrs Renfrew: Here you are. I don't know that she'll still bethere, but...Jane: Thank you so much. [She sees the officers.]Mrs Renfrew: For heaven's sake, Gardner! Policemen! How ridiculous! Send them away.Policeman:Ma'am, this man here is...Mrs Renfrew: Yes, yes, it's quite all right, officer. You can go.The policemen start to leave.Gardner: Thanks.Jane: Well, goodbye, MrsRenfrew. I expect we'll speak again soon.Mrs Renfrew: Good day to you. [Jane raises his eyebrows at Gardner as he leaves.]Jane, Lisbon and Minelli once more inMinelli's office.Minelli: Gardner Renfrew is a player in this town. You can't go to his house and screw around with him.Jane: Why not? It's a free country. I didn'tuse my ID. I didn't even mention the CBI.Minelli: You gave your real name.Jane: It's my name!Minelli: Well, you should have lied as you so often do, becausenow I have to give you an official reprimand and order you in the strongest possible terms to leave the Renfrew family alone and drop the matter.Jane: Sorry,can't do that.Minelli: You have to. This is straight from the AG's office.Jane: Jared Renfrew didn't kill Andine Kopecki.Lisbon: Do you have evidence of that?Jane:"}
+{"doc_id":"doc_147","qid":"","text":"\"The Finger in the Nest\"[SCENE_BREAK]TEASER(Open: Special Agent Seeley Booth and his son, Parker, are walking through a park, talking. Booth has a footballin his hands.)BOOTH: You know what the most beautiful thing in the world is?PARKER: Mom says a sunset.BOOTH: Okay, well, one of the most beautifulman-made things.PARKER: Mom says the Mona Lisa.BOOTH: Okay, look, all due respect to your mom, buddy, but a perfectly thrown spiral is way better than anyof that stuff, okay, so let me show you how you do this. You put your hand up here like that, spread your fingers wide.PARKER: My hand's too small.BOOTH: It'llgrow, alright? Okay, hand there to steady the ball. Lift it up to your ear.(Parker lifts the football up near his chin.)BOOTH: No, your ear, not your chin, silly.Alright.PARKER: What's it saying?BOOTH: It's saying, \"Throw your old man a deep pass for a touchdown!\" Hey!(Booth runs out to catch the football then runsback to tackle Parker.)BOOTH: What? What you got? Whoo!(They both go down and Parker looks up into the tree they're playing beneath.)PARKER: Hey, there'sa bird's nest.BOOTH: Where?PARKER: There.BOOTH: Cool, huh? Hey, you want me to lift you up so you can see inside?PARKER: How about I knock it down witha perfect spiral?BOOTH: No, no, no... don't do that, you don't want to do that. That's somebody's home, okay, buddy? Something could be alive in there,okay?(Parker nods understanding.)BOOTH: So you want me to boost you up so you can see?PARKER: Sure.BOOTH: Alright, you ready?PARKER: Yeah.BOOTH:One, two, three and up.(Booth lifts Parker so he can see into the nest.)BOOTH: What do you see up there?PARKER: Higher, a little higher.BOOTH: Higher?Okay.(Parker looks into the nest.)PARKER: I see something.BOOTH: Well, if it's an egg, don't touch it because if the mommy bird comes back... PARKER: It's notan egg.BOOTH: What is it?(Parker lifts something out of the nest and looks at it.)PARKER: It's somebody's finger.(Cut to: Dr. Temperance Brennan driving in hercar talking on her cell phone to Dr. Camille Saroyan who is in the Medico- Legal Lab platform, with Brennan on speakerphone, she's there with a new gradstudent, Mr. Scott Starret.)BRENNAN: He pulled the finger out of a bird's nest.CAM: Did he completely freak out?BRENNAN: Booth said Parker wanted to put it inhis pocket and take it home.(Cut to: Medico-Legal Lab platform.)STARRET: When it comes to boys, that \"snips and snails and puppy dog's tails\" thing is prettyaccurate.CAM: You have a son?STARRET: I have four.BRENNAN: (heard over the speakerphone) Mr. Starret is my oldest grad student.(Cut to: Brennandriving.)BRENNAN: Can you get a fingerprint?CAM: (heard over the speakerphone) Uh, not enough flesh.(Cut to: Medico-Legal Lab platform.)STARRET: There arescrapes on the bone and a jagged appearance here where it was severed.BRENNAN: (heard over the speakerphone) Well, it was probably chewed off by a wildanimal.(Dr. Jack Hodgins enters the platform.)HODGINS: The sticky stuff on the finger turns out to be sap from a flowering Japanese Cherry.(Hodgins looks atMr. Starret strangely, and then shakes a finger at him.)HODGINS: I know you from somewhere.(Mr. Starret looks Hodgins over and nods agreement.)STARRET:Right. I sold you a vintage '50s hot rod back in the mid-90s. You were clean shaven back then.HODGINS: Because I was a kid.BRENNAN: (heard over thespeakerphone) But you drove a hot rod, Hodgins?HODGINS: No, I did not. The lemon he sold me broke down after a week.CAM: Body parts in park, mysteryneeds solving.HODGINS: (turns toward a computer and begins typing) The nest was made by a corvus brachyrhynchos. The American crow.(Cut to: Image of ablack crow on a computer screen.)HODGINS: A crow will seldom stray more than twelve miles from its nest.STARRET: There's a spectacular copse of Japaneseflowering Cherry at the Jefferson Memorial.HODGINS: How do you know?STARRET: Career number two: Parks supervisor.CAM: The Jefferson Memorial is eightmiles from where Parker found the finger.BRENNAN: Good work, guys. (Hangs up her phone)HODGINS: I'd say \"King of the Lab\" but... that just depressesme.(Hodgins exits and Starret looks confusedly at Cam. She shakes her head.)CAM: Don't ask.(Cut to: Booth's office at the FBI building. Parker is sitting inBooth's chair at his desk and Booth and Dr. Lance Sweets are standing outside the office watching him.)SWEETS: A human finger?BOOTH: Yeah, a human finger,alright? Look, is my son going to be suffering from some kind of post-traumatic stress, you know like suppressed feelings, memories, all that hooey?SWEETS:Well, a child's brain can't process death as an end. You know, that's why we tell children that their deceased loved ones are looking down on us fromheaven.BOOTH: Which they are.SWEETS: Yeah, it's an excellent coping technique. You know, grandma isn't worm food, she's simply moved on to a betterplace.BOOTH: Which she did.SWEETS: Yeah. Parker looks good to me.(Cut to: Parker playing with a baseball and glove.)BOOTH: So, you talk to him?SWEETS:\"Hi, Parker, I'm Dr. Sweets. I'm a psychologist and I'm here to talk to you about the human finger that you found.\"BOOTH: That's great. Could you dothat?SWEETS: No. That could introduce issues that don't currently exist. Just call me if he displays any symptoms of distress.BOOTH: Okay, any symptoms ofdistress. Like um, killing cats?SWEETS: Yeah, sure.(Cut to: Booth and Brennan, Booth is sitting in the SUV while Brennan leans against it. Lights are flashingaround them, obviously at a crime scene near the Jefferson Memorial.)BRENNAN: When I was five years old, I went next door to visit our neighbor, Mrs. Walkey,and she was dead; sitting at the kitchen table. And I'm alright.BOOTH: You spend your life with skeletons. It's just a matter of time. He's just a kid. He's gonnarealize that he had a dead finger in his hand. He's gonna freak out.BRENNAN: Are you afraid you're going to get into trouble with Rebecca?BOOTH: There's achance that he might not say anything to her.BRENNAN: So, yes.FBI AGENT: Agent Booth?BOOTH: Yeah?FBI AGENT: We found something.(Booth gets out of thecar and shuts the door.)(Cut to: Booth and Brennan with flashlights walk into a copse of trees.)BOOTH: Okay, what have you got?(Cut to: An opossum chewingon a corpse.)BOOTH: Whoa!BRENNAN: Aww, it's an opossum.BOOTH: Eating a body. Should I shoot it?BRENNAN: No. No, no, no. Opossums are scared ofhumans. Here! (Walks toward the opossum, tucking her flashlight under her arm, and starts clapping her hands.) Shoo, shoo, shoo. Shoo, shoo. Go, go, go, go.Go, go, go. Shoo, shoo. C'mon, shoo, shoo, shoo, shoo, shoo, shoo, shoo. (Opossum walking slowly off.)BOOTH: Yeah, they're terrified.(Brennan returns to thecorpse and looks down at it.)BRENNAN: A number of body parts are missing. We'll have to grid the vicinity.BOOTH: Okay, we'll re-calibrate the search, and we'llcall this ground zero.BRENNAN: Fanny pack, PDA clip.BOOTH: Well, if you can identify this person, I can subpoena the PDA's contents.BRENNAN: Partialskull.BOOTH: (Shines his flashlight around the area and lands on the opossum.) Oh, look at that. The possum's dead. (Eyes brighten with an idea.) I got it! Thevictim was poisoned, the possum ate the victim, got poisoned and died. That's it.BRENNAN: (walks over to the opossum while explaining to Booth) A stressed-outopossum can go into a false sleep, lasting up to four hours. (Picks up the opossum by the tail, and it starts moving shortly after.)BOOTH: Oh. So the possum wasfaking it?BRENNAN: Uh-huh. (Puts the opossum down and it walks off.)BOOTH: Wow. Yep, there it goes.BRENNAN: Uh, you should go get him.BOOTH: What do Ilook like, Ranger Rick?BRENNAN: He could have evidence in his digestive tract.BOOTH: C'mon, Bones.BRENNAN: Booth, evidence.BOOTH: Fine, I'll go get yourpossum.BRENNAN: Opossum.BOOTH: Possum.BRENNAN: Opossum.ACT ONE(Open on: Medico-Legal Lab platform. Mr. Starret and Cam are examining theremains found near the Jefferson Memorial.)STARRET: The sternal rib end indicates the victim was between 35 and 40 years old. The length of the long bonessuggests he was between five-foot-eight and five-ten.CAM: He?STARRET: Bone density and skull indicators suggest male.CAM: Time of death... approximatelyfour days ago. Lividity indicates that he died somewhere else and was then dumped. Deep puncture wounds to the trachea pierced the jugular. He bled todeath.STARRET: I'll make an impression of the wounds, and see if we can't specify a murder weapon.CAM: First we look for particulates.(Cut to: Hodgins lookingin a microscope, Sweets is standing nearby.)HODGINS: Bull pen1s.SWEETS: Beg your pardon?HODGINS: The fanny pack had dandruff-sized flakes of bull pen1sin it. (Sits back from the microscope and looks at Sweets) Why are you spying on me?SWEETS: Could it be because I'm the dupe of an organ of the shadowyforces that secretly run this country?HODGINS: You got the dupe part right. (Looks back into the microscope) Freeze dried bovine phallus.SWEETS: You knowwhere to find me if you wish to discuss anything.HODGINS: Yeah, the problem isn't finding you-it's avoiding you. Hm.SWEETS: Okay.(Sweets exits.)(Cut to:Angela's office. Angela is at the computer while Starret and Cam look over her shoulders.)ANGELA: The skull was badly mangled, so I was only able to construct apartial. But I cross-checked physiological markers against the missing persons database and it yielded three possibilities. Okay. Robert Sanchez, 24... STARRET:Too young.ANGELA: Michael Minden, former basketball coach, thirty-nine.STARRET: Too tall.ANGELA: That leaves Dr. Seth Elliot, veterinarian, thirty-seven.CAM:Any objections to Dr. Elliot?STARRET: He falls into the parameters. Plus, dog trainers use freeze dried bull penises as rewards. He was a veterinarian.ANGELA:H-how do you know about the bull pen1s stuff?CAM: He's middle-aged and he's held every possible job.STARRET: Four boys, seven dogs, fourteen guinea pigs,one reticulated python... you get the point.ANGELA: I got it.(Cut to: Conference room at the FBI building. Booth and Brennan are questioning the ex-wife of thevictim, Alice Elliot.)ALICE: Oh, God. I've always hated that fanny pack. That's blood on it, isn't it? What happened?BRENNAN: Mrs. Elliot, when did you last speakwith your husband?ALICE: Ex-husband. On Thursday, we made arrangements for Seth to pick up Brando. We have joint custody.BOOTH: And Brando is... (Asmall dog pokes it's head out of a bag on Alice's lap) your cat.BRENNAN: That's a dog, Booth.BOOTH: I... Thank you. So, uh... Seth Elliot never picked upFido.BRENNAN: Brando.BOOTH: The dog?ALICE: Seth's dead, isn't he?BOOTH: I'm afraid so.(Alice starts to cry and hugs the dog.)BRENNAN: May I hold your dogwhile you cry? (Alice hands over the dog and Brennan grins.) Oh, he's so compact. (The dog is making small yipping and growling noises.)ALICE: Brando adoredSeth. So did I.BOOTH: Wow, not so many ex-wives speak so fondly of their former husbands.ALICE: I never wanted to divorce Seth.BRENNAN: Then why didyou?ALICE: You know, Seth had a serious gambling problem. He would either lose our car payment, or he would come home with diamond earrings. And when he"}
+{"doc_id":"doc_148","qid":"","text":"[Scene: Central Perk, Chandler and Joey are there. Joey is looking at a National Geographic and giggling.]Chandler: Are you looking at naked tribe'swomen?Joey: No, look. (Shows him the magazine.)Chandler: That's a pig.Joey: I know, I know, but look at the knobs on her.(Ross enters and his hair is amess.)Chandler: Hey! (Joey quickly hides the magazine under the couch.)Ross: Emily's cousin kicked me out!Chandler: What?!Joey: Why?Ross: Well, whenyou're subletting an apartment from your wife's cousin and then you get a divorce, sometimes the cousin suddenly wants his apartment back.Chandler: How canhe do that? Didn't you sign a lease?Ross: Who needs a lease when it's family!Joey: Hey, you can stay with us! We'll take care of ya!Chandler: Oh, yeah!Absolutely! Anything you need man! But you have to promise me the second you are feeling better so that we can make fun of your hair!Joey: Yeah.Ross: Yougot it.Joey: Okay.Ross: Thanks you guys, I really appreciate this. All right, I'm gonna get packing again. Man, I've been moving around so much I'm beginning tofeel like a nomad.(Joey starts giggling.)Ross: What?Chandler: He thought you said gonad.(Joey busts out laughing.)Opening Credits[Scene: Monica's restaurant,she is getting inspected by the health department, Phoebe is watching.]Health Inspector: Wow, Monica, if every restaurant is as clean as yours, I'd have a toughtime making a living.Monica: Oh, Larry.Phoebe: Umm, do health inspectors work on commission?Larry: No, bribes.(Phoebe laughs.)Phoebe: It's okay to laughright?Larry: Yeah, I was just kidding.Phoebe: Okay. (She laughs harder.)Larry: I'll check the kitchen floors.Monica: Okay, knock yourself out, Larry.(He goes intothe kitchen.)Phoebe: Yum-my!Monica: Larry?Phoebe: Oh yeah! I'd let him check out my kitchen floors.Larry: (entering) A 98. I deducted 2 points because youare not wearing your chef's hat, and that is a Section 5 violation.Monica: Uh, look, Larry honey, umm, I wrote the book on Section 5 and I know that you don'thave to wear your hat unless you're in the kitchen.Larry: And where is your hat?Monica: It's in the kitchen, I'll go get it.(She heads for the kitchen door and justafter she goes through the door...)Larry: Ahh that's the 2 points.Phoebe: Hey, you should really read that book you wrote. (To Larry) Wow! You saw the hat inthe kitchen and knew that she'd have to go in there hatless to get it. You can have your own health inspector detective show!Larry: Oh, I don't know aboutthat.Phoebe: Yeah, but then I can be you sidekick Vunda.Larry: Maybe uh, Vunda could give me her number and I can ask her to dinner sometime.Phoebe: Okay,she would love that! Y'know, 'cause you know all the clean places to eat.Larry: I-I'll call ya.Phoebe: Okay.(Larry goes to leave but heads the wrong way andmakes a quick sidestep to go out the right door.)Phoebe: He's so funny! (She imitates what he just did.)[Scene: Central Perk, Gunther is serving Monica andRachel.]Monica: Thanks.Rachel: Thank you. (To Monica) Mon?Monica: Hmm?Rachel: How's Ross doing? Y'know since all the Emily stuff.Monica: He's not greatumm, but he's dealing with it. Oh wait a minute, you're not gonna try...Rachel: Oh, honey, please, no, I can't get started with all that Ross stuff again. I mean,he's gonna screwed up for a looong time. And besides y'know, I don't, I don't go for guys right after they get divorced.Monica: Right, you only go for them 5minutes before they get married.(Danny enters.)Danny: (To Gunther) Two pounds of Moca Java please.Monica: (To Monica) Danny. Are you guys ever gonna goout again?Rachel: I don't know! He hasn't called me since that one time when we went out. I see him in the hallway, we flirt, I'm all ha-ha-ha-ha, andnothing.Danny: (To them) Hey!Rachel: Hi Danny! (Notices his box of liquor he's carrying.) Wow! Thirsty huh?Danny: Uh, actually, actually, I'm having a party atmy place on Saturday, it's sort of a house warming kind of thing.Monica: Ohh, fun!Rachel: Ohh, great!Danny: Yeah, I'm really looking forward to it.Rachel:Yeah.Danny: Okay, see ya. (Heads out.)Monica: Well, I guess we won't be warming his house.Rachel: (laughs) Okay. All right, I see what he's doing! He's notasking me out, because he wants me to ask him out.Monica: And you're not gonna do that.Rachel: That's right! 'Cause that would give him the control! So nowhe's all ooh, coming up with this whole I've got a party thing y'know, trying to get me to hint around for an invitation. Blew up in his face, didn't it?Monica: So-sothere is no party.Rachel: No, there's a party. There's a party. But the power, that is still up for grabs. You follow me?Monica: I think so. Se, he-he's not invitingyou to his party because he likes you.Rachel: Exactly.[Scene: Chandler and Joey's, they're entering to find boxes strewn about the apartment.]Joey: Ross?Ross:(entering from the bathroom) Hey roomies!Chandler: Love what you've done with the place.Ross: Oh, yeah I know, I know, it's a lot of boxes, but again I reallyappreciate you guys letting me stay here.Joey: Not a problem. And listen, hey! Since you're gonna be here for a while, why don't-I was thinking we uh, put yourname on the answering machine.Chandler: Oh yeah!Ross: Oh, I uh, hope you don't mind, I kinda uh, jazzed it up a little. Check this out. (He plays the greeting,and We Will Rock You starts to play and Ross's voice comes over it.) We will, we will, call you back!Joey: Hey, all right!Ross: Pretty cool, huh?(They both laugh asRoss heads back to the bathroom.)Joey: (To Chandler) You're fake laughing too, right?Chandler: Oh, the tears are real.[Scene: A restaurant, Phoebe and Larryare having dinner.]Larry: You look beautiful this evening.Phoebe: (smiles) Show me the badge again.(He looks around and flashes her his badge and shelaughs.)Phoebe: Shiny.Larry: Oh, will you mind if I wash up? Because I came straight from work and who knows where these babies (Holds up his hands) havebeen.Phoebe: (laughing) You are just nonstop!(He goes to the bathroom and Phoebe puts some pepper and salt on her food. With the salt she takes a bit andthrows it over her left shoulder as she faces us.)Larry: (coming back) We're outta here!Phoebe: Why?!Larry: Just walking past the kitchen I saw 10 violations! I'mshutting this place down!Phoebe: (awed) You have the power to do that?Larry: This does. (Shows her his badge.)Phoebe: (excited) Shut it down.[Scene:Chandler and Joey's, Chandler is entering. As he closes the door, Joey pokes his head up from a box enclosure built using the 2 chairs.]Joey: Hey.Chandler: Whatare you doing?Joey: Nothing.Chandler: You built a fort didn't ya?Joey: (smiles) Kinda.Chandler: (notices something) Oh my God, the air purifier! Ross's airpurifier! All I heard through 4 years of college was (makes a humming noise.)Joey: Dude, you should've gone out once and a while.Chandler: I hate thisthing!Joey: Come on, Chandler, Ross is our friend. He needs us right now, so why don't you be a grown up and come and watch some TV in the fort![Scene:Monica and Rachel's, Rachel is opening the door.]Rachel: Oh, hi Danny.Danny: Hey guys, I just uh, wanted to invite you to the party tomorrow night.Monica: Oh,thanks! We'll try to stop by.Rachel: Uh, actually, I think I'm gonna be busy.Monica: You are?Rachel: Yeah! Remember I got that uh, gala.Danny: Yeah, what's thegala for?Rachel: It's a uh, regatta gala.Danny: Really! You-you sail?Rachel: No-no, but I support it.Danny: Okay, (To Monica) hope I see you tomorrownight.Monica: Okay.Danny: Take care. (Leaves.)Rachel: Okay. (Closes the door.) Walked right into that one didn't he?Monica: What one? You wanted him toinvite you to the party and he did it!Rachel: Yeah, but he waited until the last minute! So if I said yes, he would know I had nothing better to do than wait aroundfor an invitation to his stupid party. I said, \"No!\" Which puts me right back in the driver seat.Monica: Great. So the ball is in his court?Rachel: Ball? There is noball.[Scene: Chandler and Joey's and Ross's, Ross is working on his computer and Joey is making a lot of noise.]Ross: (glaring at him) Joey, please! (Motions tohis computer.)Joey: Sorry.(Joey starts playing with a toy alligator and has it attack him.)Joey: Ahhhhhhhhhh...(Notices Ross looking at him and stops. Ross giveshim his 'quiet down' maneuver. Okay, this may take a while to explain, so center this on you screen and place your hands about a foot apart with your fingerstogether and pointing straight up. Now take you fingers and point them at the other hand and making a 90-degree angle with each of your hands and the firstknuckle counting up from the wrist. Now take your right hand, no your other right (that was for the dyslexics), and lower it a couple of inches, so that the fingersare pointing at your wrist. Now take your arms and keeping the elbows bent and your hands in front of you spread out your arms, kinda like making a bird's wing.Now hunch your shoulders over and move you hands up and down as if you are trying to tell some one to turn it down. That's Ross 'quiet down' maneuver. Well,there is an accompanying face, but I don't want to try and describe it as well.)Chandler: (entering) Hello children!Joey: Hey! Wanna play some foosball?Please?Chandler: Okay. (Starts to head for where the foosball table usually is.)Joey: No-no, no! We have to move the table into my room, yeah! 'Cause of all theboxes. Come on!(They go into his bedroom.)Joey: All right, I have one question. What is the deal with this? (Imitates Ross's 'quiet down' maneuver, but doesmove his hands up and down he just flaps his hands as if he's waving good-bye.)Chandler: Bye-bye little puppet Joey hand?Joey: No, the quiet downthing!Chandler: You mean this. (Does the maneuver perfectly.)Joey: Um-hmm! Look, I-I-I don't know how much more of this I can take! Did you know he tapedover my Baywatch tape with some show about bugs! My God! What if that had been p0rn?Chandler: (gasps) All right look, y'know, this maybe tough but comeon, this is Ross! I survived college with him!Joey: All right, I guess I can hold out a little longer. Let's have a game.Chandler: Okay.(They start playing.)Chandler:No-no-no-no!Joey: YES!!Ross: (entering) Uh fellas, (Does the maneuver and gives them a double thumbs up, which Chandler returns as he closes thedoor.)Chandler: Okay, so he's out of here.Joey: Um-hmm.[SCENE_BREAK][Scene: Monica and Rachel's, Monica, Rachel, and Phoebe are there.]Joey: (entering)Hey!Monica: Hey!Joey: You guys got anything to eat? I just went down to Johnos for some chicken and it was closed!Phoebe: Oh, I took Larry there to eat but itwas all violated. So we shut it down!Joey: Pheebs, if this guy keeps closing down all of our favorite places, where are we gonna eat?!Monica: I don't know, cleanplaces?Joey: Umm, yum!(There's a knock on the door and Monica answers it.)Monica: (looking through the peephole) It's Danny.Rachel: Don't let him in! I'msupposed to be at a regatta gala.Monica: (to Danny) We'll be right there! (To Rachel) Can't you just say it starts later?Rachel: What? What kind of a regatta galastarts at night?!Monica: The fake kind!(She opens the door and Rachel hides behind it.)Danny: Hey, hi, I need a ladle. You got a ladle?Monica: We have a ladle.(Gives him one.)Danny: Thanks, see you at the party.Monica: Okay, great!(He leaves and she closes the door.)Phoebe: Hey, guys, you know what Larry would"}
+{"doc_id":"doc_149","qid":"","text":"[Scene: Manor. Foyer. Prue and Leo are there looking at a teen picture of Piper when she had glasses and braces, stuck on a board along with other people'sphotos for the 10-year reunion.]Prue: Alright, I know that it seems like she's being a little neurotic, but high school was hard for her. Really, really hard. Youknow, she was kind of like Jan Brady, the middle sister, not quite sure where she fits in.Leo: Jan who?Prue: Hmm.Piper: (from upstairs) Okay, ready or not, hereI come.Prue: Okay, no matter what, just be supportive. (Piper comes down wearing a very weird black and gold feathered dress.) Wow! Um, you look great.Leo:Really, really, really great.Piper: Leo, two really's would have been plenty. I look ridiculous.(Prue and Leo look at each other.)Prue/Leo: No!Leo: Uhh...Prue:Feathers and...Leo: Really...Prue: Yeah.Piper: Great, I'm going to my 10-year reunion and win most likely to scare people away at the door.(Piper walks over tothe mirror and starts removing her make-up. Prue motions for Leo to follow. He walks over to her.)Leo: Come on, Piper, isn't this supposed to be a fun thing, youknow, going back and seeing all your old friends?Piper: You weren't by any chance popular in high school were you?Leo: Well, I was I mean, is there a rightanswer to this question?(Leo looks back at Prue and she shakes her head.)Piper: Leo, I didn't like high school, not even a little bit. I was nobody in highschool.Prue: Piper, you were not a nobody.Piper: Prue, you were class president. You have no idea what it's like on the other side.Prue: Yeah, you're right. I'msorry.Piper: I just, I had this stupid idea that I'd go back in 10 years and show them, and all I'm gonna show them is that I'm a big haired freak.Prue: Alright, youdo not look like a freak. You just, you don't look like yourself.Piper: Well, if I could go as myself, I wouldn't be having this problem.Leo: Wait, so you mean this islike a costume party?(They walk into the living room.)Piper: What I mean is I'm this super powerful witch who's engaged to a Whitelighter saving the world fromevil on a daily freaking basis, and all these people are going to see is the same pitiful loser who still lives at home with her sisters and her unemployedboyfriend.Prue: Did you put a lot of hairspray on that hair?Piper: No.Prue: Well, then all is not lost. By the time I'm done with you, you are going to be the hottestchick at the reunion.Piper: Really?Prue: Mmm hmm. Who do you think helped Phoebe go blonde?Leo: Hey, uh, speaking of Phoebe, maybe you guys should inviteher to join you, she's been kind of distant lately.Piper: Leo, when you find out your boyfriend is a demon and then you have to vanquish him, a little alone time isin order.(Piper leaves the room.)Prue: Besides, I think she's kind of avoiding me. You know, I mean, I never really liked Cole, and then I tried to warn her. I thinkit's a whole wounded pride thing.Leo: What do we do?Prue: We double team. You help Phoebe with her demons and I will help Piper with hers.[Scene: Analchemist's lab. He smashes some glass test tubes with his hand. He holds up his bleeding hand. A woman (Terra) is standing in front of him.]Kierkan: (shouting)I made you from my own blood, found you a flawless body and housed you in it. You were supposed to be my...Terra: Masterpiece? I'm not a painting, Kierkan.That blood gave me your powers. You lust for life, yet you hold me captive in this hole and you expect me to be grateful?Kierkan: Belthazor was more powerfulthan either of us. Where is he now? Vanquished by the Charmed Ones.Terra: Is that fear I'm sensing? Is Kierkan, the dark and powerful alchemist afraid of threelittle witches?Kierkan: Perhaps I should suck you into your little mixing bottle and start again. There's always room for improvement.Terra: I have a betteridea.(She picks up a dagger and stabs herself with it.)Kierkan: No! (Blue gas rises from her body and floats out the door.) I will find you, Terra. You belong tome![Cut to outside a building. A man in a suit is there talking on his cell phone.]Man: I don't care, it has to be huge. And done. And done before the stock IPO's.And, uh, and please tell the music guy that I don't wanna hear anymore of that '90s techno crap. Okay, this is a computer game for the new millennium and Iwant it to freakin' sound like that. (Blue gas rises out of the drain and enters the man. She possesses him.)Man/Terra: Bye now. (He hangs up.) Well, I've neverbeen a man before. (He feels his crotch.) Walking should be interesting.(The man looks into the reflection of the building and sees his non-possessed self.)Man'sreflection: What the hell is going on?Man/Terra: I want you to take me to the Charmed Ones.Man's reflection: What?Man/Terra: The witches, you fool. They go byHalliwell.(The man's reflection sees someone walk by and calls out.)Man's reflection: Hey, hey, help me!Man/Terra: Nice try, but nobody can hear you. You're justa trapped soul now. Only I can see you.Opening Credits[Scene: Manor. Piper's room. Prue and Piper are there. There are clothes all over her bed. Piper is dressedin a suit and is looking in the mirror.]Piper: I don't know, maybe we should've gone back to the Betsy Johnson. You know, the cool club chick look as apposed tothe classy club owner look.Prue: Yeah or we could just wrap you in a sheet and send you as a Hare Krishna all right? What do you think about that? Since wealready tried everything else.Piper: I'm sorry. I just don't think I can do it. I can't go there and face all those horrific people.Prue: I mean, come on, why do youeven care what these people think?Piper: Only a former cheerleader could ask that question.Prue: Alright, look, I realise high school was very hard for you, butyou are just not that shy awkward girl anymore.Piper: But...Prue: No! Now, you are going and you are going to have a great time, young lady.Piper: You are notthe boss of me.Prue: Oh, I am too. Besides, nothing could be worse than my date last night.Piper: What do you mean? I thought he was nice.Prue: Oh, I haveone word for you: halitosis. And he only scored a two.Piper: Oh, Prue, please don't tell me you're making lists again.Prue: Of course I am. Lists are good. Whywaste your time if it's not gonna work out?Piper: Well, maybe I can look around the reunion for you. I'm sure there's lots of eligible ex-football players for thehead cheerleader.Prue: Younger men are not on my list.(Phoebe walks in.)Phoebe: Hey, have you guys seen my glasses?Prue: No.Piper: Sorry.Phoebe: Oh,damn.(Phoebe walks back out. Prue and Piper follow her.)Piper: Uh, Pheebs, are you sure you don't want to come tonight? You could work the bar and mix someyucky drinks for some ex-cheerleaders. (Prue elbows Piper.) Ugh!Phoebe: As much fun as that sounds, I have a ton of school work that I need to catch up on, soI'm gonna be at the library all night.Prue: Phoebe, look, we just want you to know that if you need to talk at all, we're here.Phoebe: I know that. I'm okay.Piper:Really? \u0000Cause you haven't spent like five minutes in the same room with us for over a week.Phoebe: I'm sorry. It's just there's some things, some answers,that I need, and I sort of need to find them for myself, you know?Prue: Soul searching?Phoebe: Definitely... searching, yeah. But I'm okay, don't worry about me.(to Piper) You look beautiful.Piper: Thanks.Phoebe: Have fun tonight.(She walks away.)[Time lapse. Prue, Piper and Leo are carrying stuff for the reunion out toPiper's car. Someone in a car pulls up in front of the house.]Justin: Piper Halliwell? You still living at home?Piper: Justin Harper, is that you?(Justin gets out of thecar and Piper walks over to him.)Justin: Hey.(They hug.)Leo: (to Prue) Uh, so who's this? Ex-boyfriend?Prue: Oh, don't worry about him, Leo. He's just a friendfrom school. Besides, he had a really big crush on me. He used to follow me around like a puppy dog.Piper: (to Justin) Are you going to the reunion?Justin: Oh,yeah, nostalgia struck. Thought I'd drive around the old neighbourhood. Ten years. It's unbelievable.Piper: Yeah. We were just actually heading to P3 for theplanning committee. We have a lot more food than we have room for. Would you mind...Justin: Absolutely.(Piper walks back over to Leo. Prue carries a try offood over to Justin.)Prue: Great! Here you go. Look at you, Justin, all grown up.Justin: Yeah, you, too. Phoebe isn't it?Prue: Hmm. Prue.Justin: Prue, right.Sorry.(Prue goes back inside.)Leo: (to Piper) Well, it looks like you've got all the help you need, which is good because \"they're\" calling.Piper: No, you can't cutout on me. I need you tonight.Leo: I'll be back in time for the reunion, I promise.Piper: Double extra promise.Leo: I wouldn't miss it. I'm gonna have the prettiestdate ever.[Cut to Man/Terra sitting in a car near by watching them. The non-possessed self appears in the rear vision mirror.]Man's reflection: Please. Look,you've found them. Why don't you just get out of me?Man/Terra: I have to get one of them alone. The transfer's a little, huh, messy. I can't do it justanywhere.Man's reflection: Look, I'm begging you. I can't stand this anymore. I can't breathe. I feel like I'm suffocating.Man/Terra: That's because your soul isdying. It'll be easier if you don't fight it.(Piper and Justin drive off and Man/Terra follows.)[SCENE_BREAK][Scene: Mausoleum. The same mausoleum wherePhoebe faked Cole's death. Phoebe's there looking at the hole in the ground where she burnt Cole's shirt.]Phoebe: Cole, if you can hear me. I can't stand lyinganymore. I have to tell my sisters that you're alive, that I let you go, and that you would never do anything to hurt us and, that you love me. I just don't knowhow to do it. I need...(She leans against a coffin and has a premonition of the past. In the premonition there is Cole's mother, father and baby Cole. The motherpushes the father and she zaps him with her power. The premonition ends and Phoebe looks at the coffin. She wipes off the dust and sees \"Benjamin ColeridgeTurner 1859-1888\" carved on it.)[Scene: P3. Prue and Piper come down the stairs carrying plates of food.]Prue: Now just remember, even if you can't tell themthat you're super witch, you can still act like it.(Piper spots a blonde woman standing across the room.)Piper: Oh, my god, Missy Campbell, homecomingqueen.Prue: Oh, please, it's ancient history. You can do this.(Piper walks over to her. Prue goes up to the bar where Justin is sitting.)Piper: Uh huh. Missy, is thatyou? (Missy looks confused.) Piper. Piper Halliwell. Uh, we had chem. together and Miss flower for English.Missy: Right, Piper. You used to sit in the back of classdrawing pictures on your jeans.Piper: Yes! Yeah, that, yep, that was me.Missy: Wow, your skin has really cleared up. Accutane?Piper: No, n-no, I guess, youknow, ten years. Is there anything I can do to help or...Missy: Do you know what would be great? Can you get this trash out of here?(She points to a pile of trashon the floor.)Piper: Absolutely. I, yeah. I can, I can totally do that. I know where the dumpster is and everything.[Cut to the bar where Prue and Justin aresitting.]Prue: Alright, that's it, she needs me.Justin: She's gotta find her legs on her own sometime.Prue: Sorry?Justin: Remember when she ran for freshmanclass secretary? She got so nervous that you had to go up on stage and finish her speech for her.Prue: See, I knew that you remembered me. Why did you callme Phoebe?Justin: Listen, you plagued my high school existence. I pretend not to remember your name. I mean, a guy's got to turn the tables every, you know,"}
+{"doc_id":"doc_150","qid":"","text":"Scene of Adam the demon Frankenstein cyborg exiting tunnels.Engleman: \"The project, it escaped.\"Narrator/Giles: Previously on Buffy the Vampire Slayer. Sceneof Buffy talking.Buffy: \"The Initiative created this thing and they can't stop it. But we will.\" Scene of Faith opening eyes in hospital bed.Buffy: \"It's Faith, she'sawake.\" Buffy and Faith on the campus.Joyce: You all right.Faith: Five by five.Mayor: Open the box. Scene of Faith opening box.Mayor: Surprise. Scene of Buffyand Faith's hands are clasped and glowing.Joyce: You sure you're ok.Buffy: Five by five. Scene of Buffy looking at unconscious Faith.Note: For simplicity, Buffy'sbody is called Buffy, even when occupied by Faith. Faith's body is called Faith, even when occupied by Buffy.PROLOGUEThe front of Joyce Summers home. Anambulance is on the lawn A police car with lights flashing is parked on the street. A plainclothes police officer with his badge visible on his breast.Plainclothesofficer: \"It's good you called. We've been looking for this girl since she broke out of the hospital.\"Joyce: What's gonna happen to her?Plainclothes officer: Well,get her checked out. She's in stable condition, she goes to jail, pending trial.Joyce: I just hope she gets some kind of help.[Rattling.]Plainclothes officer: The firstthing is to keep her from hurting anybody else.Faith is wheeled on a gurney to ambulance. She looks up at Buffy and Joyce but her vision is blurry.Faith:No.Personnel lifting her into ambulance: __ One two __Plainclothes officer: Well, you guys will be safe now. We may have a couple of questions in the morning.The emergency personnel close the rear doors on the ambulance.Joyce: Oh, uh, of course.Plainclothes officer: Thank you. Both. I'm glad we finally got thekid.Buffy: She's not a kid! I just mean that she's very strong.Plainclothes officer: Yeah. This Faith chick-- definitely dangerous. Ambulance leaves. The officerwalks away. Joyce goes toward the front door.Buffy: She truly is. Roll creditsACT 1Joyce's living room, Buffy is holding her hands and cracks her knuckles. Joycecloses the door.Joyce: Faith. Buffy spins around.Joyce: Why do you think she's like that?Buffy [shrugs]: You know. She's a nut job. Heh.Joyce: I just don'tunderstand what could drive a person to that kind of behavior.Buffy: Well, how do you know she got drove? I mean, maybe she likes being that way.Joyce: I'llnever believe that. I think she's horribly unhappy.Buffy: Well, could be things are looking up. I mean, a little stint in the pokey, show her the error of her ways.I'm sure there's some big old Bertha just waiting to shower her ripe little self with affection.Joyce: Buffy!Buffy: I'm sorry, mom. [Sighs] It's just ufff when I thinkabout how she might have hurt you, I just, uff I can't stand it. Joyce hugs Buffy. Buffy is uncomfortable and shrugs lose.Joyce: Sorry.Buffy: No, I'm just, uff, sorefrom the fight.Joyce: I've missed you.Buffy: Cause I haven't visited, right? I knew it.Joyce: I know how it is. You have so much in your life now.Buffy: I'm a busylittle beaver. College and all.Joyce: Of course. But um, maybe we could spend some time together soon? Some... night when I'm not being held hostage by araving psychotic.Buffy: Count on it. [Pause] I'm gonna take a bath.Cut to Buffy in a bubble bath. She sighs. She looks at her arms and fingers. She stretches herleg and caresses it. She blows some bubbles cupped in her hands.Cut to Buffy looking in mirror. She turns her head to the side, then wrinkles her nose to look atit. She pulls her eyebrows back to look at her eyes. She sticks out her tongue to look at it. She pulls her upper lip back to look at her teeth.Buffy: Why, yes, Iwould be Buffy. May I help you?Buffy [sounding]: Buffy.[She sticks out her tongue again. She adjusts her hair.][She shakes her finger.]Buffy: You can't do that.it's wrong.[She shakes her head slightly.]Buffy: You can't do that because it's naughty.Buffy: [louder] Because it's wrong.[She tilts head.]Buffy: [softly] Becauseit's wrong.[She points very aggressively.]Buffy: You can't do that. It's wrong. I'll kick your ass.I'm gonna kill you.[mental laughing]Cut to hospital room.[Ahospital worker falls back into furniture.]Faith: Let me go! Let me go![Faith is struggling in a hospital bed. There are three other hospital personnel, a uniformedofficer and a plainclothes officer holding her down.]Doctor: Get me a sedative now!Officer: Hold her!Faith: I have to go home! She's with my mother.[Doctor putsneedle to Faith's arm.]Faith: No!Doctor: Just lie still.Faith: You don't understand.Officer: Keep holding her.Faith: She's taken my...my body.[Faith losesconsciousness.]Cut to Tara's room.[Willow lying down on a bed. Tara is sitting crosslegged near her feet.]Willow: I wonder where she is.Tara: Who? Faith?Willow:Yeah. I wish she would make a move. she's making my stomach all acidy.Tara: But you think Buffy can handle her.[Willow sits up.]Willow: I think so. but thatdoesn't mean Faith won't hurt someone else.Tara: Well, you should be safe. nobody knows you're here.I mean, uf, they don't even know I exist, right? I know allabout them, but...[Willow puts her hand on Tara's knee for a second.]Willow [softly]: Hey.Tara : I-I mean, t-that's totally cool. It-it's good. It-it's better.Willow:Tara, it's not like I don't want my friends to know you.It's just... well, Buffy's like my best friend, and she's really special. And there's this whole bunch of us, andwe sort of have this group thing that revolves around the slaying, and-and I, I really want you to meet them. But I kind of like having something that's just, youknow, mine. And I, I usually don't se so many words to say stuff that little, but do you get that at all?Tara: I do.Willow: [sighs] I should check in with Giles, get asituation update.[She gets up and walks behind Tara.]Tara: I am, you know.Willow: What?[Tara turns and looks up at Willow.]Tara: Yours.[Willow smiles.]Cut toJoyce's bedroom.Buffy is adjusting a black camisole/baby tee in the mirror.Buffy: Not too bad.[Buffy opens a drawer and finds a wallet.]Buffy: Score.[Buffy issitting on the bed, holding a credit card. and is on the phone.]Buffy: 6-4-4-7. [Pause] Uh, expiration, 5-0-1. [Pause. Buffy puts the card back in ther purse.] Unhhuh. [Pause] Yeah. [Pause. Buffy takes cash out of the purse.] 10 a.m.'s your earliest flight? I'll take it.[Joyce enters.]Joyce: What are you doing?Buffy: Oh, justgetting my mail.[Buffy holds up the letters.]Joyce: Oh. Um, that was, um, Giles on the other line.He wanted you to meet your friends there. Said he hadnews.Buffy: Yeah. I got some time to kill. [Buffy gets up.] I'll go see the gang. All my friends. [Buffy picks up a lipstick.] You don't mind if I steal this,right?Joyce: Is that the Harlot?Buffy: Yeah.Joyce: That's the same one Faith picked.Buffy: Burn it.[Buffy tosses it to Joyce who catches it.]Cut to Faith in the backof a police car with a uniformed officer driving and a plainclothes office riding shotgun.[Faith moans almost inaudibly.]Policeman: She's coming to.UniformedPoliceman: Yeah.Policeman: Man, I want this kid's constitution.Faith: Faith.Policeman: Let's move it. I want to get her in before she's 100%.[The uniformedpoliceman nods.][A red armored car/truck cuts off the police car which crashes into it. Two men in black clothing jump out of the back. One uses a gun to coverthe two police officers, who seem to be stunned. Another uses an ax to smash the back window. The one with the gun breaks remnants on the sides with the gun.The ax one drags Faith out the window.]Weatherby: By order of the Watcher's Council, you are being taken into custody until such time--[They both drag her tothe back of the armored truck.]Collins: Skip the speech.[They pull her in the truck.]Collins: Let's go.[The doors close.]ACT 2[Buffy enters Giles' home.]Giles:Buffy. good.Buffy: The scooby gang's all here.Willow, Xander, and... [looks at Anya] everybody. What's up?Giles: It's about Faith, not surprisingly.Buffy: Didn'tJoyce tell you? I already kicked that ass.Xander: I feel a high five coming on.Willow: Where is she?Buffy: On her way to the big house. Cops took her off myhands about an hour ago. Poetic justice.Anya: How's that?Buffy: Well, she did all those crimes, and now she's being arrested.[Silence.] I guess that's just regularjustice. [Willow smiles.]It's cool, anyway.Giles: Unless I'm mistaken, Faith is no longer in police custody.Buffy [stands]: What are you talking about?Giles:Watcher's Council. They uh sent a retrieval team to capture Faith.Buffy: Well, yeah, I mean, 'cause it worked so well when Wesley tried it.Giles: This is a specialoperations unit. They, uh, handle the council's trickier jobs - smuggling, interrogation, wetworks.Willow: What's wetworks?Xander: Scuba-type stuff.Anya: Ithought it was murder.Xander: Well, yeah, but there could be underwater murder, with snorkels.Buffy: So they're taking her to England?Giles: It'll be a long, longtime before she returns.Buffy: Heh heh heh. ahhh Hah hah. Hah hah. ohhh I'm sorry. It's just...I'm happy. Faith is evil.Willow: Yeah. I hope they throw the bookat her.Giles: I'm not sure there is a, a book for this.Willow: They could throw other things.Buffy: I forgot how much you don't like Faith.Willow: After what she'sdone to you? Oh, I wish those council guys would let me have an hour alone in the room with her, if I was larger and had grenades.Buffy: I bet I know what Faithwould say to that. Buffy springs forward with a knife and sticks it in Willow's stomach in the same place Faith was stabbed. She pulls the knife out and stabsWillow again. Buffy lifts her head from her revery. She did not spring forward.Anya: So what you're saying is that everything's fine?Giles: Oh, um, yes.Anya:Well, I'm glad you called us all here because that information could never be conveyed by telephone.Willow [to Buffy]: What's up?Giles: Well, I just thought itwas, uh, best to convene, in case there were any loose endsBuffy [to Willow]: I'd never let her hurt you.Giles: or things that we might have forgotten.Willow [toBuffy]: I know.Giles: But if you're, uh, keen to go, then, please, by all means, go.Xander: We kind of have a romantic evening planned.Anya: We were gonnalight a bunch of candles and have s*x near them.Buffy: Well, we certainly don't want to cut into that seven minutes.Anya: Hey.Xander: I believe that's my hey.Hey!Buffy: Lighten up. We're out of danger. Everything's good.Giles: We still have Adam to take care of.Buffy: Yeah. Adam. What's up with him?Giles: I wish weknew.Buffy: Well, don't worry about it. I'll patrol tonight, as long as it takes. You guys have your fun, I'll be out there doing my job.Cut to Buffy dancing in theBronze to rock band.Buffy: Whoop.Spike: Oh, you.Buffy: And you.Spike: What, are you keeping tabs on me? You're gonna give me a hard time now?Buffy: Um,do I usually give you a hard time?Spike: Very funny. Well, you don't have to worry about me drinking. Unless you're here to protect innocent beers. [He holds upa bottle.][Spike walks away a little and Buffy follows.]Buffy: You're a vampire.Spike: Was. And as soon as I get this chip out of my head, I'll be a vampire again.But until then, I'm just as helpless as a kitten up a tree.So why don't you sod off?Buffy: Ok.Spike [angry]: Oh, fine! Throw it in my face! Spike's not a threatanymore. I'll turn my back. He can't hurt me.Buffy: Spike? [Gets it.] Spike. William the Bloody with a chip in his head. I kind of love this town.Spike: You knowwhy I really hate you, Summers?Buffy: 'Cause I'm a stuck-up tight-ass with no sense of fun?Spike: Well, yeah, that covers a lot of it.Buffy: Cause I could do"}
+{"doc_id":"doc_151","qid":"","text":"THE TRIAL OF A TIME LORDPART THREE (THE MYSTERIOUS PLANET)Run time: 24:18[SCENE_BREAK]Tunnel entrance[SCENE_BREAK]Balazar: It's beautiful!TheDoctor: Hmm? Oh. Oh, I knew she wouldn't still be here. That girl can't obey an order.Peri: Doctor!Balazar: Who are they?The Doctor: Peri! Hurry!The Doctor:Back inside, quick.The Doctor: In you go.The Doctor: Come on![SCENE_BREAK]Tunnel[SCENE_BREAK]Glitz: I always knew exercise was bad for you.The Doctor:I shouldn't lie there if I was you. Not unless you want to be killed with a spear in your back.Glitz: What? Did you do the job, my boy?Dibber: Ofcourse.[SCENE_BREAK]Underground station[SCENE_BREAK]The Doctor: We've got to get out of here!Peri: But how?The Doctor: This way.The Doctor: Oh, no.Back.Peri: Well, now what?The Doctor: I don't know. I really think this could be the end![SCENE_BREAK]Underground station[SCENE_BREAK]Balazar: I knowhim. It's Broken Tooth.Glitz: Then why doesn't he fire at you?Balazar: Broken Tooth, it's Balazar!The Doctor: Fire at the robot!Balazar: The Immortal One.Dibber:Squeeze the trigger, don't pull it.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Drathro: What is happening? Reactivate!Humker: We are trying.Tandrell: Itdoesn't respond.Drathro: You must make it work. I must have the Doctor here. My black light system is failing.[SCENE_BREAK]Undergroundstation[SCENE_BREAK]Balazar: I can't believe it. You're alive! They said you'd been culled.Broken Tooth: I owe my life to Merdeen.Balazar: I too.The Doctor:Well, I hate to break up this happy reunion, but I have to find the aerial to Drathro's black light converter.Dibber: No need to hurry. It's gone.The Doctor: Gone?Where?Dibber: I blew it up.The Doctor: What?Glitz: It'll put the L3 out of action.The Doctor: More likely start a chain reaction. Drathro's black light system'shighly unstable. Blowing it up is about the worst thing you could have done. I have to shut the black light system down now.Broken Tooth: You will all return toour village. Our queen has unfinished business with this person.The Doctor: No!Broken Tooth: You will come with us, and you will come quietly.Glitz: And you hadto tell him how to use the gun.Dibber: Oh.[SCENE_BREAK]Trial room[SCENE_BREAK]Inquisitor: Valeyard, are these unpleasant scenes necessary to your case? Ifind primitive physical violence distressing.The Doctor: So do I, ma'am. Especially when I'm on the receiving end.Valeyard: I too find it repugnant to witness, mylady, but the Doctor has a well-known predilection for violence.The Doctor: That is a foul slur!Inquisitor: Do not interrupt, Doctor.The Doctor: I'm sorry, ma'am,but I'm not given to violence as the Valeyard here suggests. Occasionally I might have to resort to a modicum of force...Inquisitor: Please be silent.The Doctor:As a means of self defence.Inquisitor: Doctor, you will have ample opportunity to put your case at a later point.The Doctor: But...Inquisitor: Valeyard, I wouldappreciate it if these brutal and repetitious scenes are reduced to a minimum.Valeyard: My lady, it is certainly not my wish to cause you any unnecessary affront,but the accused offences are such that a certain amount of graphic detail is unavoidable.Inquisitor: Very well.Continue.[SCENE_BREAK]Subway[SCENE_BREAK]Grell: You seem lost.Merdeen: Not I, although you seem to have mislaid your train, Grell.Grell: Stealth is betterachieved on foot. Especially when we hunt dark secrets.Merdeen: I thought we hunted the Doctor.Grell: Him too.Drathro (O.C.):Merdeen.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Merdeen (on screen): Immortal?Drathro: I have urgent work for Balazar, but I can not findhim.[SCENE_BREAK]Subway[SCENE_BREAK]Merdeen: I will search for him at once.Grell: Where are you going?Merdeen: Continue your search for theDoctor.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Tandrell: I did it! I did it, I reactivated the robot.Humker: I think you'll find that I did it.Tandrell: I begyour pardon, I did it.Humker: I did it.Tandrell: I did!Humker: I did!Drathro: Silence! You drain my energy reserve with your constant infantilebickering.[SCENE_BREAK]Katryca's hut[SCENE_BREAK]Katryca: So, my hospitality was not to your liking?Glitz: Just needed to step out for a breath of freshair.Katryca: And who is this?The Doctor: Ah, how do you do? I am known as the Doctor. Now, there has been a terrible mistake. I shouldn't be here atall.Katryca: Another star traveller?The Doctor: Well, in a manner of speaking.Katryca: And are you interested in the Great Totem of Haldren.The Doctor: I begyour pardon?Glitz: She means the light converter.The Doctor: Ah, yes, indeed. Now how can you possibly have known that?Katryca: Have you searched him forguns?Broken Tooth: He has none.Katryca: That makes you very unusual for a star traveller who is interested in the Great Totem.The Doctor: Well, I've come torepair it.Katryca: Then you are very prompt, considering your friends have only recently damaged it.The Doctor: Oh, these are not my friends. Well, withone...The Doctor: And your Great Totem is not what it seems.Katryca: Then please explain.The Doctor: It's function is to convert ultraviolet rays to blacklight.Katryca: Interesting, though I do not understand what you are saying.The Doctor: Well, Drathro, er, the Immortal, depends on black light to function. He isa robot.Katryca: Fascinating, since your friend just told me that it was a navigational beacon.The Doctor: He lies.Katryca: A common complaint among startravellers.Glitz: I am not a liar!Katryca: How shall I know who speaks the truth? All I am certain of is the gods are angered at your coming to our world. I shallread their wishes in the flames.The Doctor: Er, I don't wish to appear discourteous, but I'd better get back to Drathro.Katryca: Remain where you are!The Doctor:You have no quarrel with us. They destroyed your beacon.Katryca: You are a star traveller. Star travelling is forbidden by the gods. The underground dweller shallremain with our tribe. The others, remove from my sight.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Humker: All that unpleasant green.Tandrell: It isvegetation.Humker: Why was it not burned, Drathro?Drathro: Only part of the planet was enveloped by fire.Humker: What is its function?Drathro: It supportsprimitive life.Tandrell: Primitive life is unnecessary.Humker: So vegetation in unnecessary.Tandrell: Syllogism is also unnecessary, Humker.Humker: It was not atrue syllogism, Tandrell. It contained only the major and minor premise.Tandrell: Still unnecessary, like so much that yousay.[SCENE_BREAK]Hut[SCENE_BREAK]Dibber: Thought we'd seen the last of this place.The Doctor: Look, you've got to help us get out of here.Balazar: I darenot, Doctor.Broken Tooth: The queen will burn us in your place.The Doctor: If I don't get out of here, we'll all burn.Glitz: You're the Time Lord. Haven't you got aring you can rub? A magic lamp? Something for these sort of emergencies?The Doctor: Hardly. More your style I'd have thought. Anyway, what does bring youhere?Glitz: Purely a private enterprise, Doctor, to collect a few moldering files of no value except to scholars such as myself.The Doctor: Oh, you're a scholarlyphilanthropist, are you?Glitz: Exactly the description, Doctor.The Doctor: That goes around blowing up black light converters.Glitz: A small expediency if I am toendow a library on my home planet of Salostophus.The Doctor: In the constellation of Andromeda?Glitz: You know of it?The Doctor: Hmm.Peri: What we don'tknow is the name of this planet.Glitz: You mean he hasn't told you? A man of your learning, Doctor? Tut tut. This, is Earth of course.Peri: I said so, didn't I?TheDoctor: But it is in the wrong position.Glitz: Only by a couple of light years.Dibber: That's why the lost expedition missed.The Doctor: What lostexpedition?Dibber: Andromeda bunged off these robots in a relief ship...Glitz: Don't prattle, Dibber. All that was a long time ago.Balazar: The word Earth ismentioned many times, by the great writer H M Stationery Office.Dibber: Thought we'd seen the last of him as well.Glitz: Shut up and stand in front of me whereI can keep an eye on you.The Doctor: Keep calm and stay still. It's looking for me, but I think it's confused.Glitz: Well, can't you shake its hand or something?TheDoctor: How do you do? I am known as the Doctor.Glitz: Now's our chance, Dibber.Peri: We've got to help the Doctor!Glitz: He'll be all right. He's in good hands.Come on!Peri: No![SCENE_BREAK]Katryca's hut[SCENE_BREAK]Katryca: Escaped? I told you to guard them!Balazar: Well, the Immortal came and tookthem.Broken Tooth: We both saw him, Katryca. He walked through the wall.Katryca: Get the guns![SCENE_BREAK]Drathro's castle[SCENE_BREAK]Drathro:Habitations.Tandrell: Only man makes habitations.Drathro: All life perished in the fire. If men now live on the surface, they must have come from mybiosphere.Tandrell: How can that be possible?Humker: It is forbidden.Tandrell: All work units obey you orders.Drathro: Some must have escaped. Helped toescape. That is what has happened.Humker: Is it important?Drathro: They're out of control, outside the plan.Tandrell: They're outlaws.Drathro: Now myexistence is threatened. They have destroyed the source of my energy. Take measures, create a defensive system, identify and destroy thetraitors.[SCENE_BREAK]Trial room[SCENE_BREAK]The Doctor: All this is irrelevant and hypothetical.Valeyard: Background testimony.The Doctor: What possiblevalue does the Farmyard here think there is in listening to some half-incapacitated robot, and a couple of diminutive nit-wits who might as well berobots?Inquisitor: You're allowing your disrespect to show again, Doctor.The Doctor: I'm sorry, ma'am, but the question still stands.Inquisitor: As prosecutor, theValeyard has the right to include any evidence he considers to be relevant, provided he can justify its inclusion.The Doctor: But any record relating to persons notin my presence must be sheer conjecture.Valeyard: The accused is clearly ignorant of the latest methods of surveillance, my lady.Inquisitor: This evidence istaken from the Matrix, a knowledge bank fed constantly by the experiences of all Time Lords, wherever they may be.The Doctor: Yes, yes, yes, yes, yes, ma'am.I know that. My whole point is that I'm not.Inquisitor: Not what?The Doctor: Not part of the scenes being shown by the Scrapyard here. I'm sorry, Valeyard.Force of habit, I apologise.Valeyard: Doctor, the experience of third parties can also be monitored and accessed if needed, as long as they are in the collectionrange of a TARDIS.The Doctor: Oh. But my TARDIS is an old model. Are you telling me it's been bugged without my knowledge?Inquisitor: Bugged?Valeyard: It isa reference apparently to the new surveillance system, my lady. The expression derives from an Earth term.Inquisitor: I see. I think we are wasting time on anunimportant issue. Continue the evidence, Valeyard.[SCENE_BREAK]Ravalox[SCENE_BREAK]Katryca: Stop, Immortal!Peri: They'll kill the Doctor!Glitz: We've allgot to go sometime, Peri.Peri: You're all heart!Glitz: The supreme sacrifice. What a person. If I have time, I'll compose the eulogy for his"}
+{"doc_id":"doc_152","qid":"","text":"[PREVIOUSLY_ON]Mike: [grunting]Wynn: Aah![gunshot]Mike: Aah!Wynn: Mikey! [crack]Katherine: [gasps]Raylan: Your ladyfriend is dead. Went pretty badly, asI understand it, in the confines of a motor coach belonging to Wynn Duffy.Boyd: Baby?[grunts]What disappoints you, Raylan Givens? The fact that you weren'tthe one who got to shoot me? Where is she goin'?Boyd: Well, you wheel me outta here, I'll take you straight to her. [chuckles] That's funny.Boyd: Sooner orlater, one way or the other, I'm gonna get out of here, and when I do, I'm gonna go get that money.Zachariah: Now, this Grubes guy we're going to see ... yousure he knows his way around?Ava: He knows the trails blindfolded. Boyd knows Grubes.Zachariah: Ah.Ava: If he's alive ...Zachariah: If he's alive, the marshalsgot him, and if he ain't, the more, the better. Grubes?[yelling] Ava: Nooo!Carl: How we gonna get you out past the nurses' stand without anybody noticing?Boyd:[sighs] It shouldn't be too hard with all the chaos.Carl: What chaos?[gunshot]Art: You got 48 hours, Raylan.Raylan: 48 hours, bullshit.Who you got coming afterme? Everybody?Art: Everybody's out looking for Boyd.I'll be the one coming after you.[car door chiming][chiming stops]Boyd: Evening, sir. Where you headedtonight?Hagan: Headed home.Boyd: You got any kin waiting on you?Hagan: No, sir, I don't.Boyd: That won't be necessary.Hagan: Well... What can I do for you,officer?[gun cocks]Boyd: You can give me a ride.[music][chiming][chiming stops]Art: This the shitbag?Tim: It is.Art: Hello, shitbag.Tim: Him there's the goodnews.Art: I don't want to hear the bad news.Tim: No, sir, you do not.Art: Jesus Christ, Raylan.Raylan: [sighs]Cope: Don't suppose you remember myname.Raylan: I remember you had aim to throw me down a mine shaft.You're a long way from home, are you not?Cope: I am. Slurry pond fouled the spring. Nowater on the other side of the mountain. No water ... nothing to hunt. Well, I reckon it was hard to move on.Cope: Was. They'll take the mountaintop year's end,I heard. I'd have had to move on regardless. Wouldn't mind if you sat a spell.Raylan: I got urgent matters. My advice ... keep moving on. There's a fugitive atlarge hereabouts. Give my best to Cousin Mary if you see her.Cope: Unh-unh. She passed.Raylan: Condolences. Stand up. Tell 'em to come out, guns pointed atthe ground.Cope: [whistles]Raylan: [sighs] If that ain't all of 'em, you're the first one who gets shot.Cope: That's all of 'em.Raylan: Lay your guns down. Everysecond I spend on your bullshit, the man I'm hunting gets further away. Now, tell 'em to do it before I lose my temper. Now, walk down that hill, and keepwalking ... about an hour. He'll catch up with you soon if he don't do something stupid.Ava: No sign.[panting][clinking]I bet they ran off after Grubes died. And Ibet they starved to death.Zachariah: We got no guide, and you're worried about the horses?Ava: That's one bad omen on top of another.Zachariah: I ain'tsuperstitious.Ava: Well, it doesn't take a damn ouija board to see that our plan is as dead as the man that used to live in that house.You'd notice if you weren'tplaying in the dirt!Zachariah: I'm digging a grave.Ava: For us? Huh?Uncle Zachariah, we gotta get out of here. Oh, is that the way it is? Leave the dead to burytheir own? That's something you learned from Boyd, huh?Ava: You don't know me. You ... You want to be all high and mighty? Let's see how that saves yourass.Zachariah: I know you don't want to hear me preach, but I'm gonna tell you right now, there's six months' worth of food in that cabin, plenty of water, and alot of firewood for the cold. Wait a minute. If that's your idea of a plan... Oh no, little girl. I like your idea... we just roam around these goddamn mountains notknowing what the hell we're doing, lost, hauling 300, 400, 500 pounds of money? Oh, you're real smart, girl.Ava: I can't keep this up.Zachariah: Yes, you can,and you will. 'Cause that's who we are, born in these godforsaken hollers in this goddamn broken-down world. We're survivors.Ava: Okay, you want to stay? Wecan stay. But we're gonna fight.Zachariah: Won't have to fight. After two weeks, they'll think we're somewhere over in Virginia. They'll just move that search onover there.Ava: I'm talking about Boyd. He knows this place. He will come.Zachariah: Boyd is dead. And if he ain't dead, he's in jail. We'll be safe here for a while.Grab that shovel and help me get this man in the ground.Cope: I don't see any badge.Are you still a federal? This guy you're chasing... he personalbusiness?Raylan: You met him. You put me in a box with him. He's now a federal fugitive.Cope: So you should've let me kill him at the time, then, huh?Raylan:Thought has crossed my mind.Cope: So I'm right. Gotta be you, the one that does him. Had a coyote like that. Ate near 10 of my chickens... one every night.Dogs couldn't catch her, avoided the traps like she'd set 'em herself. You know, what I decided to do was ...Raylan: I don't care what you did. I need you to shutyour mouth and get up that hill.Cope: You know, after we tangled, Cousin Mary told us all about you. Turns out, I remember your daddy. He's a son of abitch.Raylan: You'll get no argument there.Cope: You know what he did?Raylan: Historically or on a specific day?Cope: He used us. Used our blood ties to yourMama to have us move his drugs up and down our mountain ... the way you're moving me right now. The way I see it, that makes you a son of a bitch,too.Raylan: Guilty as char...Cope: [grunts]Raylan: I let you go, you gonna get your people, come back after me?Cope: Got any good reason why Ishouldn't?Raylan: With what purpose in mind?Cope: You saw 'em. They got nothing. They'll kill you for your boots.Raylan: Give me that. In a couple days, you'regonna come to Arlo Givens' place, he's in the book. I'm signing it over to you.Cope: Y-You're giving me your house?Raylan: He did you people dirt. This ispayback.Been using that place as a bullshit excuse.I don't need the money from selling it. I need to find Boyd and get to Florida.Cope: [grunts] What'sthis?Raylan: A note... bequeathing the property to you... ...case I don't make it down.[music][title music]\u0000 On this lonely road, trying to make it home \u0000 \u0000doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul, god, get at your boy \u0000 \u0000 you try to bogard, fall back, I go hard \u0000 \u0000 on thislonely road, trying to make it home \u0000 \u0000 doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Markham: I alwaysscoffed at people talking to... loved ones who'd moved on. Seemed impractical to me. Can't hear you. They're gone. And I'm a practical man. Except when itcomes to you, it seems. Revenge, Katherine. What did you in? Damn it, I told you I would get Duffy! Why didn't you trust me? For once, why couldn't you just dowhat you were told to do? I'll always love you, Katherine, but you need to know. I may be talking to a ghost, but I am still a practical man. I'd love to gut WynnDuffy from nose to tail, but I have got to go and get my goddamn money. Wynn Duffy. Hey, you've got a damn good lawyer, Wynn, And I ought to know, becauseI'm a damn good lawyer.Wynn: I'll pass along the adulation. Are these the personal items from my motor coach?Vasquez: Yeah, I had to call in a lot of favors toget you transferred to federal custody. And now ... well, it seems now I got to let you go. Billie Jean King.Wynn: A pioneer.Vasquez: We took the liberty to freezeyour bank accounts...Wynn: It's prescription. I have... sensitive gums.Vasquez: ...pending the results of the investigation. You're fully cleared, [i]should be ableto get most of your assets off ice. Oh, look at this. You are an eagle scout.Wynn: It belonged to a dear friend.Vasquez: Mm. 'Course, KSP's gonna want to keepyour winnebago a bit longer, but if you want that, you can stick around for another week or two.Wynn: That they can have.Vasquez: Bad memories?Wynn:Raylan Givens, Boyd Crowder, and Avery Markham are soon to converge, Mr. Vasquez. Like the aligning of the planets if those planets carried guns and hated myguts. I don't ever plan on returning to Kentucky. May I?Vasquez: I just have one last question.You know, for me. Off the record.Wynn: Sounds sexy.Vasquez: Youknow, I have a-a stack of files this tall. Sits on my desk. It's got all kinds of witness interrogation and, um, surveillance records and info from snitches about whokilled Simon Poole 14 years ago. And it all adds up to... jack sh1t. So I just want to know, between you and me, who really did it? Who killed my boss?Wynn:Between you and me, Mr. Vasquez, I really and truly don't know.Woman: Air unit East to Evarts.Possible fugitive sighting. Please confirm. Over.Man: Copy. Whichfugitive? Over.Woman: Uh, Boyd Crowder ... possibly in police uniform. Considered armed. Stolen police vehicle recovered. Possible hostage situation.Zachariah:God damn.[Ava chuckles nervously]Oh, god... Of course. Of course![laughing]Zachariah: What the hell you laughing about?Ava: It's a joke. Don't you get it?We're dead!Zachariah: No, we got to do something.Ava: We're gonna run. Hell yeah! Let's run!You know your way around this goddamn mountain, little girl?'Cause I sure as hell don't.Ava: Forget about the mountain. We got to go back down! We got to ... we got to ... I don't know ... find one of them abandonedhouses and ... and hide out.Zachariah: Federals kicking in every goddamn door, dogs running around, sniffing around, they'd find us in no time.Ava: You got abetter idea? Else we're dead.Zachariah: Yeah, I got an idea. We're gonna sit right here, we're gonna wait. And when he shows up, we're gonna kill him. Theend.Ava: That's not gonna be our end. 'Cause staying here is suicide.Boyd: I'm gonna need you for a little while longer. I'd rather take your time than take yourtruck.Hagan: You can have her.Boyd: Yeah, well, I don't want her. I'm just looking to get from point \"A\" to point \"B.\" Look, Mr. Crowder, I done helped you out. Igave you my son's clothes.Boyd: You know my name. You know what I done. God damn right I know your name. And which time you talking about? Well, I dohave a rather long résumé.Hagan: Yes, sir. They put out your greatest hits, it'd be a double album.Boyd: sh1t. Double live, man, from Japan.Hagan: Hell yeah.All killer, no filler.Boyd: [laughs]Hagan: Konnichiwa, bitches. sh1t.You nearest thing we got to Billy the Kid around here.Boyd: Well, I don't know about allthat.Hagan: sh1t, son, you're smart. Articulate, strong. The way you look, the way you talk, ain't nobody expect nothing from you. Then you unleash, and theycannot deny. [clicks tongue] It ain't too much to call you a hero. Well, if you insist.Hagan: Go on. Be proud to give the outlaw Boyd Crowder my truck.[keysjingle]Boyd: Thing is, they're looking for me. They ain't looking for you.So I'm gonna need you to drive.Derrick: Man, this sucks.Loretta: I ain't paying you towhine.Derrick: Yeah? And I didn't come for the money. Well [chuckles]... not just the money.Loretta: Look, I got people maybe out to kill me, Derrick. You camejust to get back together, you're a damn fool.Derrick: Loretta... [clank] ...why you got to be talking ...[man groans]Got him.Loretta: Hold up. I can't see.Derrick:Here, let me look. [door opens]Boon: Hey, Loretta. I been looking everywhere for you.You know, one way in and out of this place ...I snap one of your traps, and"}
+{"doc_id":"doc_153","qid":"","text":"FLASH IN.[VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT]CUE SONG: \"Mad World\", Gary Jules[SCENE_BREAK][INT. CLUB -- NIGHT](Men andwomen drink. One man smiles as he's flanked by two women - one woman busy kissing his neck.)(Across the room, a blonde-haired woman stares worriedly ather cell phone.)[EXT. STRIP - NIGHT](Outside, a limo passes by. In the back seat of a car, a young Vietnamese man sits and watches the limo pass by. His face isbruised and there are tears staining his cheeks.)(The cab he's sitting in drives away.)[INT. TAXI POV](The young man looks out the windows as the taxicab drivesaround the strip. The bright lights from passing motels and other establishments reflect back through the rolled-up window.)(The taxi driver's sweating.)(Theyoung man in the back seat glances over at the taxi driver.)[START: SPLIT SCREEN](Top half: [INT. CASINO] The man from the bar leaves with twowomen.)(Bottom half: [TAXI CAB] The taxi stops and parks. The driver engages the brakes and sees the young man leave.)Taxi Driver: Hey! Where's mymoney?(The young man turns around and yells back to the taxi driver.)Young Man: You wait here!(Top half: Cameras flash as photographers snap photos of theman walking through the casino; several women follow him.)(A young woman in red snaps a picture of the man walking by. He notices her and turns back to lookat her as he passes.)Man: You want to come with us?(A man standing in the back glares at the man walking by.)(Bottom half: The taxi driver waits. The farechanges from 7.20 to 7.40. The taxi driver continues to wait.)(Top half: The blonde-girl in red turns to her friend standing next to her.)Tally Jordan (woman inred): Oh, my God. Come on.(The two head out, following the man.)(Bottom half: The taxi driver takes out his log and writes in it: 270 7888OAKEY ST.)(Top half:The party has moved outside to the pool.)(Bottom half: The taxi driver continues to wait. The fare changes from 8.00 to(Top half: The blonde-haired woman inred and her friend are now sitting on either side of the famous dark-haired man. He pays her special attention.(Bottom half: The taxi driver continues to wait. Thefare changes form 8.20 toFLASH CUT TO WHITE: END OF SPLIT SCREENCue Sound: GUNSHOTFADE IN FROM WHITE[EXT. 7888 OAKEY STREET - NIGHT](Policecars with their flashing lights are at the site. Officers mill about the area.)(Camera moves into the car and we notice the fare is now at 24.00. The taxi driver isslumped forward against the driver's wheel, his eyes closed. We note the blood coating the shirt covering his right shoulder.)(Sara turns on her flashlight andlooks at the driver's wound.)Sara: Gunshot wound to the neck. No visible GSR.(She looks up and notices the visor. She flips it down and sees the money.)Sara:Money on the visor. It wasn't a robbery.(Grissom is looking in the back of the cab.)Grissom: Dirt clods on the floor mat look undisturbed. Could be from the lastfare. I don't see any shell casings, though.Sara: Partition's closed. Bullet-proof glass. He was not shot from inside.(Grissom walks around the cab as Sara snapsphotos of the dead body.)(He sees the bullet holes in the passenger door.)Grissom: Well, I got two bullet holes in the passenger door.Sara: That's a weird side ofthe car for a drive-by.Grissom: Maybe he wasn't shot here. Maybe he just ended up here.(Grissom looks around the area. He sees the detective talking withsomeone in uniform. Grissom calls out to him.)Grissom: Excuse me?(The man from the Transit Board looks up.)Grissom: Are you with the Transit Board?MTBRep: Yeah.Grissom: Do you have the dispatch log?(He hands the log to Grissom. From what we can see, the log shows:270 2549 LAS VEGAS ---270 465LEXINGTON 10:01270 3900 LAS VEGAS 10:45 1040270 2112 WESTERN BL. 11:01 420270 4500 W. TROPICANA 11:30 780270 20 FREMONT 12:10 980270 7888OAKEY ST. 12:55. {BLANK} )(Grissom hands the log back.)Grissom: Thanks.(Grissom turns and leaves.)MTB Rep: Why's he leaving?(Sara takes a photo, thenputs her camera down to answer the man's question.)Sara: Well, that's kind of what he does.(Sara leans forward into the cab and notices the camera.)Sara: Isthis camera always on?MTB Rep: Only on HBO. It takes stills for ten seconds when the door opens, and then for the first ten seconds of the fare.Sara: We'regonna need the pictures.(Grissom is walking away from the site and dialing his cell phone.)Catherine: (from phone) This is Catherine.Grissom: (to phone) It's Gil.How you doing?Catherine: (from phone) I'm busy. Checking up on me?Grissom: (to phone) Why would I need to do that?Catherine: (from phone) You tellme.Grissom: (to phone) Look, I know you tend to get a little territorial about your crime scenes, and I don't want there to be any tension between us, so I'mgiving you fair warning.(Grissom stops when he sees the tire treadmarks on the asphalt.)Catherine: (from phone) Fair warning for what?(cc) You're at 7888Oakey Street. Am I right?[SCENE_BREAK][EXT. PARKING LOT - NIGHT](Catherine is kneeling down next to a dead body in the parking lot.)Grissom: (fromphone) Hi.(She looks up and sees Grissom. He smiles and waves his cell phone at her.)(Jaw dropped open, Catherine closes her cell phone.)[SCENE_BREAK][INT.-- NIGHT](Julian Harper's dead body rests against the cushions as Robbins takes his liver temperature. Warrick snaps photos of the body.)Robbins: Julian Harper.If it weren't for the cyanosis, I'd say he was doing a photo shoot for GQ.Warrick: Yeah, I'm sure he wasn't ready for this photo shoot.Robbins: Body temp's95.(Warrick snaps more photos. Robbins glances at his watch.)Robbins: That would make TOD approximately 3:00 A.M.(Warrick snaps photos of the bedsidetable with a couple of champagne bottles, a hotel room VIP card key, a rolled-up bill and some white powder on the black tabletop.)Warrick: Well, there's plentyof drugs around here. You think he OD'd?(Robbins checks the victim's mouth and eyes.)Robbins: Yeah, no edema. Some petechia. Could be suffocation orstrangulation. But no ligature marks or bruising. However ...(Camera zooms in for an extreme close-up of black fibers on the victim's neck.)Robbins: ... somefibers under the chin.(Robbins puts the sample in a bindle. Warrick continues snapping photos.)(Robbins takes a digital camera out.)Warrick: What are youdoing?Robbins: It's for my scrapbook. I've got a perfect spot for him -- a place of honor between Tupac and Entwhistle.[SCENE_BREAK][EXT. MOTEL PARKINGLOT -- NIGHT](Close-up of the victim, his head in a pool of blood. Grissom and Catherine kneel down next to the body. Catherine snaps photos of thevictim.)Grissom: The taxi's last drop-off was this address. This guy's got dirt on his shoes and pants. There was dirt in the cab. He's got to be the lastfare.Catherine: So, somebody killed them both. And if it's about money, doesn't look like this guy has much.Grissom: Well, I guess it's relative.START: SPLITSCREEN(Top screen: Robbins raises the digital camera to snap a photo of Julian Harper.)(Bottom screen: Catherine raises her camera to snap a photo of thevictim.)Grissom: It depends on who you are.WHITE CAMERA FLASH TO: END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. MOTEL PARKING LOT --NIGHT](Catherine checks out the victim's identification.)Willows: Samay ... Samay Thao. 15527 East Charleston Road. That's a long way from here.(Grissomnotes the wounds on the victim's chest.)Grissom: I count six shots in his chest. There were two in the cab, one in the cabbie. If the math is correct, that'snine.Catherine: Suggests semi-automatic, but I don't see any shell casings here.Grissom: Yeah, there were none in the taxi, either.Catherine: Killer could havepicked them up.Grissom: To shoot a guy six times in the torso, you either have to be very close, or a hell of a shot.David Phillips: It's okay if I roll him?Grissom:Yeah.(David rolls the body onto its side and pushes up the shirt as Catherine snaps more photos of the victim's wounds.)David Phillips: Well, nothrough-and-throughs. We should be able to recover some bullets from the body.Grissom: Hang on. (points) What do you make of that?(He points to themarkings on the victim's bloodstained shirt.)David Phillips: Looks like he rubbed up against something.(Catherine looks around.)Catherine: Could be transfer fromthat railing. There's some paint flaked off of that railing.(Grissom turns and looks at the railing on the second floor.)(Quick flash of: Samay Thao is on the secondfloor. Someone uses a semi-automatic weapon and shoots Samay Thao. The impact form the bullets pushes him up and over the railing.)(End of flash. Resume topresent.)(Grissom and Catherine make their way down the second floor hallway. Grissom checks the concrete floor along the way and finds a lot of bloodspatter.)Grissom: We got blood drops.(Catherine looks over at the metal gate. Grissom looks down over the railing at the body below.)(Catherine sees metalcut.)Catherine: Gil. This looks fresh.Grissom: Hey, Brass?SHORT CUT TO:(An officer kicks the door in and rushes into the apartment. A second officer and Brassfollow. A man sitting on the floor starts shouting in Laotian.)Brass: Las Vegas Police! Put the gun down!Keo Vipraxay: (shouting in Laotian)Brass: (firmly) Put thegun down! (softer) Put it down.(The man puts the gun down. Immediately, officers push him to the floor and handcuff his hands behind his back.)Keo Vipraxay:(shouting in Laotian) (then, in English) I shoot ... burglar![SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. PALMS HOTEL - HOTEL ROOM -NIGHT](Nick and Warrick stand at the base of the bed looking down at the body as they both put on a pair of gloves.)Nick: Julian Harper.(Warrick nods.)Nick:Wasn't he supposed to be like, uh ... (very quietly) the next Brad Pitt or something?Warrick: Yeah. Now he's the next River Phoenix.(Warrick turns as he looksaround and walks into the next room where Sofia Curtis is interviewing Gerald, also known as \"Blinky\". He stops and stands next to her.)Sofia Curtis: All right,Gerald.Blinky (Gerald Allison): Uh, they call me Blinky.Sofia Curtis: And what was your relation to Julian Harper?Blinky (Gerald Allison): Best friends sincekindergarten. Now I work for him.Sofia Curtis: What did you do for him?Blinky (Gerald Allison): Pretty much everything. You know, bought his stuff, hooked himup. Drove him to meetings.Warrick: Did you find the body?Blinky (Gerald Allison): I ordered room service. I wanted to see if he was hungry. Boom, there hewas.Warrick: Did you touch or move the body in any way?Blinky (Gerald Allison): Uh, no way. No. I watch those murder shows, you know? I know to just keepmy hands to myself, and, uh, call the cops.Sofia Curtis: What is with the robe?(Warrick looks at the officer standing nearby.)Warrick: Did you pat himdown?Officer: He's packing a small, friendly weapon.Warrick: Would you mind standing up for us, sir?Blinky (Gerald Allison): Nah, bro, I-I-I ... kind of got theangle of the dangle going. The boing, boing, boing.Sofia Curtis: Stand up.(Uncomfortable and awkward, Blinky stands up.)Blinky (Gerald Allison): I, uh, took aPrevalis on the plane over. I been pitching a tent for, like, eight hours. Yeah, I-I think I need to consult a physician.Sofia Curtis: It's called a priapism. Just in case"}
+{"doc_id":"doc_154","qid":"","text":"[PREVIOUSLY_ON]Mary: We have confirmed reports that the Black Death has returned once more to plague our lands.Francis: I understand all the reasons. I do.I just can't. I won't let you take my son from me. I will rise until I am rich and powerful. But I will never be yours again.Greer: Is that your daughter withLeith?Mary: Eduard Narcisse. How may we help you?Eduard: There's someone I thought untouchable. I'd like him to die of plague. Food for survival... inexchange for one life.Mary: Every life matters! We will find grain elsewhere. You murdered an entire household!Eduard: Why make an enemy out of those youneed most?Mary: Justice. Take him away.Eduard: My father will free me!Mary: No, he won't. Because he'll never find you.Eduard: (coughing) No! Mary! No!(screaming) No!(bird caws)[SCENE_BREAK]\u0000 They won't know \u0000[SCENE_BREAK]\u0000 Who we are \u0000[SCENE_BREAK]\u0000 So we both can \u0000[SCENE_BREAK]\u0000Pretend... \u0000(groans)\u0000 It's written on the mountains... \u0000Sebastian: There's 12 corpses. All adults. No... no shovels, no hooks. Keep your gloves on and wrapthem with care.Guard: You should get some rest, my lord. It's not your job to handle the dead. It's ours.Sebastian: No, we have to give them proper burial. Sotheir souls can find rest.\u0000 And the pieces broke \u0000 \u0000 And people wanted more \u0000 \u0000 And the \u0000 \u0000 Rugged wheel \u0000 \u0000 Is turning \u0000 \u0000 Another round \u0000Mary: Iknew he was alive. I could feel it in my heart.Catherine: Thank God you were right. Please don't tell Francis that I mistook my illness for the plague. It'sembarrassing.(crowd clamoring)\u0000 Dorian... \u0000Francis: Mary.Mary: Where is Lola? Is she all right? (baby cooing)Lola: Mary.Mary: Lola. The... the child, is it...?Lola: I have a son. (baby crying) (women cooing) (shushes)Francis: Bash, oh, thank God you're all right. We have to talk soon. I need an advisor I can trust. Iwant you on my council.Sebastian: You're already talking politics.Francis: Because I am already king.Sebastian: I'm no politician, Francis. I don't belong on aprivy council. It's a liar's job. \u0000 Dorian, carrion \u0000Francis: Mary? I'd like you to meet the man that saved our lives. My cousin. Louis of Conde.Kenna: Oh, he'seasy on the eyes, isn't he? \u0000 Will you ever let... \u0000Mary: Thank you for bringing them home safely. Thank you so very much.Louis: It was an honor. As isthis.Francis: You and your men must rest here before you leave. (women laughing) Your kisses are more easily attained than your words. I left impulsively.Mary:You did.Francis: And now I have returned with Lola's child. I held him and... I don't know what role he'll have at court, but I want to be a part of my son's life. Ofthis child's life, but we will have others. Mary, my father's indiscretions were blatant, but out of respect for his wife, he gave Bash no title or standing. It hurt him.And it hurt me to see it.Mary: The eyes of the world are watching to see if we will... If I can bear an heir. Not just for France. For Scotland. And for England aswell. I know this has nothing to do with the role you decide to have in your son's life...Francis: Well, perhaps it should.Mary: Those who are close to us... evenhere at court will know the truth. Your mother has guessed it already. Spend time with your son absolutely, but...Francis: But don't claim him. Officially, youmean.Mary: Yes.Catherine: Thank you. I'm surprised to see you. My deepest sympathies for the loss of your son Eduard. Can I get you anything? Somelemonade?Narcisse: I thought this castle would be the safest place for him. Why wasn't it?Catherine: Bring us some whiskey.Nostradamus: Lord Narcisse is here.Asking a lot of questions about his son's death. I explained that he showed symptoms of plague, high fever, rash.Mary: You are good to cover for me. LordNarcisse will never know. His son did die of plague. His body will tell the tale. Eduard murdered an entire household to kill one foe. Since he cared so little forpeople, it's fitting that he died among the lowborn. I have asked much of you... not the least that you betray your very dangerous friend Catherine. She wasmortified that she overreacted to her symptoms. She hates being vulnerable. But it is hard not to enjoy it. We tried to save lives. I owe you. And I will protectyou.Catherine: So many people died here. Nobles, servants alike. I was in my chambers when your son took ill. But Nostradamus, he...Narcisse: Yes. I've alreadyspoken with your court physician. A... a father can't help but wonder about his son's final days. I survived by fleeing to the country. I feel that I should've sent forhim.Catherine: There was nothing you could do.Narcisse: : I need to go see him now. You do understand, don't you? (groans) When was this roomsealed?Guards: Two weeks ago, my lord.Narcisse: Most nobles died in their chambers. Were many nobles sent here by mistake?Guards: Couldn't say, sir. It wasa living hell. Do you see him?Narcisse: Not yet. That is my son. Wrap him. Carefully. (moaning nearby) Who's there? This one is still alive.Guards: How couldanyone still be alive? He must be immune.Man: Water.Narcisse: That is my son. Were you with him? Did you see him die? We will get you some water andsomething to eat. And then you are going tell me all about what happened to my son. (laughter, clamoring)Catherine: Ah, this is nothing compared to what we'lldo for your coronation. But your safe return is cause for celebration.Francis: It's nice to see some joy in this castle after so much grief. I hear you had a hand inour new chambers as well.Catherine: One bedroom for husband and wife. Good luck to both of you with that. I thought Narcisse was leaving with his son's body.Why is he back with so many nobles?Narcisse: King Francis.Francis: Narcisse. My lords. I'm pleased to see you're all alive and well. In the wake of the plague, Iwill be calling on all of you to enforce my laws. Together you control vast regions of France. Some of you will be valued additions to my royal council.Narcisse: Ofcourse, King Francis. But we're here to ask something of you as well. Justice.Francis: What's this about exactly?Narcisse: My son Eduard... was murdered. Here inyour castle while you were away. By Nostradamus, the court physician. I don't know what grudge you held against my son.Nostradamus: I had no argument withhim.Narcisse: Then why did you make false diagnosis?Why did you condemn him to death?Francis: These are serious allegations.Narcisse: My son was healthywhen he was thrown in with servants riddled with plague. I know this because a witness, a survivor, has told me this tale. My son was deliberately infected.Mary:I assure you, if a mistake was made, Nostradamus intended no harm.Narcisse: Assure us all... your loyal nobility, that we are still safe under your rule. We whocollect your coin, we who grow your food, we who provide your soldiers, we who uphold your laws. Hold the murderer of my son accountable to these same laws.And show us that no life, especially one of our own, may be taken with impunity. (gasping, murmuring)Francis: Take Nostradamus away for questioning.Mary:Eduard murdered an entire household... men, women and children. I did what I had to.Francis: And Narcisse knows it was you who killed his son?Mary: I was theone who forced Eduard into the plague room against his will. If there was a survivor, he would have witnessed everything.Catherine: There was another survivorof your crimes, Mary. Me. You drugged me, didn't you? You were so adamant to stand up to the nobles, and I got sick just when you needed me out of theway.Mary: I had to stop you.Catherine: Oh, you wouldn't delve into my poisons without help. It was Nostradamus. Your actions spared no one, saved nothing andcost us all dearly. Narcisse wants the guards who brought his son to the catacombs executed as well.Mary: We don't have to accede to his demands. You andHenry might have bowed to the nobles, but we won't.Catherine: We kept the nobles happy. If they feel betrayed, they can rise up against you. I've seen revoltsfirsthand, a full-scale rebellion could mean the end of your reign.Francis: I know that you want to do things differently, but I'm not sure that this is the time. Theplague shortages have given too much power to Narcisse. The nobles follow him now, and they are watching our every move.Mary: Then let them watch you, andthat you be above reproach. This was my mistake and I'll fix it.(indistinct conversation, hammer clinking) (horse whinnies)Man: Whoa.Leith: Oh... LordCastleroy.Castleroy: Wasn't this enough for you? A kitchen boy, given some of the best lands in the region. You had to have my daughter, too?Leith: LordCastleroy, I am so sorry. Yvette was kind and...Castleroy: She was everything you told Greer you wanted. Rich and innocent and my daughter. How Greer wouldhave suffered to see your rise, and what a close view she'd have had.Leith: I can assure you that I didn't realize who she was until after we...Castleroy: If mydaughter had never met you, she would be alive!Leith: I would never have hurt her.Castleroy: I don't know that, and neither do you. Given the proximity youwould have had to the woman I know you love.Leith: Look, please, just... look, wait...Greer: Leith, no! (Grunts)Castleroy: Stay away from my family. Or I willdestroy you.Narcisse: Queen Mary. Where is your husband?Mary: I would prefer it if we settled this matter privately. I think you know who's truly responsible forEduard's death.Narcisse: You are. But, as you are a queen, you're nearly untouchable. Nearly. But those that lied for you, I can reach easily enough. That is how Iwill punish you.Mary: Your son was a monster. He asked me to murder his enemy, and when I refused, he poisoned an entire household.Narcisse: Why didn't youarrest him?Mary: I let my anger get the best of me. And my outrage.Narcisse: Hand what of mine? He was my son! He was loyal and obedient and he had hiswhole life ahead of him. He was to marry an archduchess, gain one of the most prized farming regions in France...Mary: He was to marry into land? He told me hewas already married. That Voland had slept with his wife. Why did he really want Voland dead? You also said he was obedient. Was he following your orders? I amqueen. You will answer my questions. Why did you want Voland dead? I command you!Narcisse: No, you command nothing! I don't fear you, I don't fear yourhusband! Because without me, without the other nobles, your power disappears. We are the outside world, and we surround you. There is a consensus amongstthe other nobles, given my son's station, that an example must be made. So when the dawn comes, Nostradamus and your guards will be drawn andquartered.Mary: That is a horrific and agonizing death.Narcisse: This is what they want. This is what will satisfy them. And you will learn never to cross meagain.Francis: My mother's been negotiating to spare Nostradamus, but it's no use. Narcisse wants retribution, and he has the nobles on his side.Mary: Murderinginnocent men to teach me a lesson. He's more wicked than his son.Francis: Why didn't you wait? You could have had him arrested.Mary: If I had, Narcisse wouldhave pressured us to release him. We'd be in the same position we're in now with him trying to force your hand.Francis: If his son were alive, Narcisse wouldn'tbe consumed with revenge. It was reckless, Mary.Mary: I saw an entire family be murdered. My rage took hold. It might not have been the best decision, but it"}
+{"doc_id":"doc_155","qid":"","text":"Michael: Ughh... Blech.Dwight: OK, where does it hurt?Michael: Just... all over. I don't want to do anything... I'm dying...Dwight: No, that's not how it works. Youhave to point to a specific part of the body.Michael: Right there. [Michael points to computer screen.]Dwight: [reading from screen] \"Abdomen. Menses.\"Michael:Maybe.Dwight: \"The uterus contracts after your egg passes through it.\"Michael: Not it. I don't have eggs.[SCENE_BREAK]Pam: About 40 times a year, Michaelgets really sick, but has no symptoms. Dwight is always gravely concerned.[SCENE_BREAK]Dwight: Oh, is it possible you ate food that contained animalwaste?Michael: That's possible.Pam: Michael?Michael: Uh-huh?Pam: David Wallace is on line one.Michael: The CFO? Ohh...Michael: OK, everybody out. Out. Out.Out. OK.[SCENE_BREAK]Michael: To what do I owe this great honor, David Wallace?David: [on phone] Michael, I am calling---Michael: And Gromit. [David sighs]Jan? Is Jan there?David: Jan is out of town right now.Michael: Oh, you sigh like Jan. I broke Jan's heart, David, and it was awful. It was... It was never myintention to ruin a life. But you know what? Sometimes...David: Michael?Michael: ...you just gots to get your freak on.David: Michael?Michael: Yeah.David:Michael?Michael: Hmmm.David: I am calling to see if you can come down and interview for a job we have opening in corporate.Michael: Really?David: Week fromtoday. Bring your first quarter stats and your recommendation for who would take over the Scranton Branch.Michael: Wow. I wish I had prepared something tosay.David: That's not necessary.Michael: May God guide you in your quest.David: Yes.[SCENE_BREAK]Michael: OK, everybody have their towels and swim suits?We have about an hour and half. I suggest that you all go potty now and then we will be congregating on the partay bus.[SCENE_BREAK]Meredith: Oh I'mexcited. Today is Beach Day! And Michael is taking the whole office to the beach. So I'm wearing my bathing suit underneath my shirt [lifts up shirt, definitely notwearing anything underneath] Oh, yeah... I packed it in my purse.[SCENE_BREAK]Michael: Oscar, you brought your Speedo, I assume?Oscar: I don't wear aSpeedo, Michael.Michael: Well, you can't swim in leather pants. [laughs] I'm just yankin' your chain. Not literally.[SCENE_BREAK]Toby: Anybody need sun block?Got SPF 30.Michael: Oh, you know what? Uh, you're not going.Toby: It's Beach Day...Michael: Yeah, I know. I'm sorry, Toby. We... um... Somebody has to stayhere.[SCENE_BREAK]Michael: I want today to be a beautiful memory... that the staff and I share after I have passed on to New York. And if Toby is a part of it...then it'll suck.[SCENE_BREAK]Toby: Hey, want my sun screen?Pam: Oh, great. I forgot mine and I'm wearing a two piece.Toby: Uh-huh.Pam: ThanksToby.Michael: Hey Pam, I have a very important job for youPam: I thought we were just having fun at the beach.Michael: We are. We are. But, I would like youto take notes. And I want you to find out about people's character. Not their hotness, per se, but their humor, and their charisma, and the indefinable quality thatmakes you all glad to follow me.[SCENE_BREAK]Michael: What happens to a company if somebody takes their boss away? I will answer your question with aquestion. It's like what happens to a chicken when you take its head away. It dies. Unless you find a new head. I need to see which one of these people have theskills to be a chicken head.[SCENE_BREAK]Pam: You want me to write down people's indefinable qualities?Michael: I want you to write down everything thatpeople are doing all day. And then type it up, in a way that is helpful. Alright?[SCENE_BREAK]Pam: I have the most boring job in the office, so... why wouldn't Ihave the most boring job on beach day?[SCENE_BREAK]Michael: This way to the partay bus.[SCENE_BREAK]Kevin: I just want to lie on the beach and eat hotdogs. That's all I've ever wanted.[SCENE_BREAK]Kevin: [singing] [Angela mouthing the words next to him] And the night got deathly quiet, and his face lost allexpression. Said, \"If you're gonna play the game, boy, ya gotta learn to play it right.\" [rest of office joins in at varying times] You got to know when to hold 'em,know when to fold 'em, Know when to walk away and know when to run. You never count your money when you're sittin' at the table. There'll be time enough forcountin' when the dealin's done.[SCENE_BREAK]Michael: Everybody, may I have you attention please? Today, we are not just spending a day at thebeach.Stanley: Oh, sweet mother of God.Michael: If you don't like it, Stanley, you can go to the back of the bus.Stanley: Excuse me?Michael: Or the front of thebus. Or drive the bus. Just, we are all participating in mandatory fun activities. Funtivities! And there is a special secret prize for the winner!Dwight: Yes!Funtivities! I knew it wasn't just a trip to the beach.Michael: Okay, you know what? Your enthusiasm's turning people off.Dwight: I hope there will bemanagement parables.Michael: Well, [whispering] Hey Pam, did you get that down?Pam: Like what?Michael: Like everything I said and everything they did and...Just don't...Pam: Well... no, I don't... exactly... what?Michael: Well write it down before you forget it. That's... You've just been drawing pictures. [sighs] Rrrr. Ican't stay mad at you.[SCENE_BREAK]Michael: Here we are ladies and gentlemen. Everybody ready? Last one down is a rotten egg. [Gets off bus] Watch out forsnakes![SCENE_BREAK]Angela: Everyone put on sunscreen.Michael: Alright, find a cozy spot. Everybody settle in. [everybody sits down on beach] OK, everybodyup! Circle 'round. [motions for circle to form] Let us play some games. We are situated on the northeast corner of scenic Lake Scranton. America's eighth largestindigenous body of water. It is here that a group of Americans will undergo the ultimate challenge. One day, 14 strangers who work together, but only onesurvivor.Oscar: What?Michael: Just words. Inspiring words. [under breath] Not a contender. [out loud] For the competitions, you will be divided into four tribes.Each tribe will have a leader that I will pick randomly off the top of my head without thinking. Jim, Dwight, Andy and Stanley.Dwight: Yes!Michael: Choose yourtribes. Except for Pam. Not Pam.[SCENE_BREAK]Michael: Jim Halpert. Pros: smart, cool, good-looking. Remind you of anybody you know? Cons: not a hardworker. I can spend all day on a project, and he will finish the same project in a half an hour. So that should tell you something.[SCENE_BREAK]Dwight: I chooseMichael!Michael: I'm not playing.Dwight: OK, temp.[SCENE_BREAK]Michael: Dwight is an obvious candidate for my job. He has the best sales record in the office.He loves the work. He is, however, an idiot.[SCENE_BREAK]Michael: We are going to choose team names. Dwight?Dwight: We will be called Gryffindor.Jim:Really? Not Slytherin?Dwight: Slytherin are the bad guys, Jim.Jim: I know. Okay, we will be Voldemort.Dwight: He-who-must-not-be-named? I wouldn't dothat.Jim: [starts chanting] Vol-de-mort, Vol-de-mort ...[Kevin and Karen follow] Vol-de-mort! Vol-de-mort! Vol-de-mort!Dwight: OK, seriously. You reallyshouldn't be saying that.Michael: Hey, hey, hey. Ok, Ok... Stanley, your team name?Stanley: I don't care what you call my team.Michael: Then I will name yourteam the Red team.Stanley: No [crosses arms], the blue team.[SCENE_BREAK]Michael: I am also considering Stanley because of all the good that black peoplehave done. For America.[SCENE_BREAK]Andy: We will be team U.S.A.Michael: Very good. Pam, please take a note that Andy is patriotic.[SCENE_BREAK]Michael:Andy Bernard. Pros: He's classy. He gets me. He went to Cornell. I trust him. Cons: I don't really trust him.[SCENE_BREAK]Michael: It is time for the great spoonand egg race. This one is with a little twist.Stanley: There's already a twist, you're carrying an egg on a spoon.Michael: Shh... The person carrying the egg will beblindfolded. Please put on your blindfolds. That person carrying the egg will go down, circle a torch, come back, deposit their egg in the pail. First team back is thewinner. Alright. Ready? Set. Go! [contestants start walking]Oscar: Come on Phyllis, you can do it. [Phyllis' egg falls off spoon] Ahh...Stanley: Thank you so much.[Stanley sits down and pulls out his crossword puzzle]Andy: Phyllis is out. Yes! [to Kelly] Follow my voice. Follow my voice. Yeah, keep it moving. Keep it moving.Right this way. Looking good. [Cheers]Kelly: I don't want to hit the big rock!Andy: Don't worry. You're not...Kelly: I know I'm near the big rock. I just knowit.Andy: No where near the big rock.Kelly: [takes off blindfold] I just don't want to get hit by it...Andy: What're you doing? No! See, now we'redisqualified.[SCENE_BREAK]Andy: I am okay if I lose every single contest today. Honestly. Because I see these contests as an opportunity for me to demonstratewhat a good sport I am. Mallard! [throws a stone][SCENE_BREAK]Jim: [to Karen] Woah, stop, stop, stop. There's a hole. Step over the hole.Karen: Hole?Jim:Yup. [Karen takes a big step] Perfect, oooh, just made it. OK, turn left.[SCENE_BREAK]Dwight: [to Ryan] Come on! Come on! Andale! Arriba! Arriba!Ryan: Canyou just stop this right now, or I'm not gonna do this anymore.Dwight: What are you saying?Ryan: You have to stop yelling at me or I'm not gonna do the eggrace.Dwight: OK, I apologize for yelling at you.Ryan: That's what being a good captain is about. It's about listening to the members of your team.Dwight: I amtrying to bring team spirit.[SCENE_BREAK]Jim: [to Karen] Woah, stop, another hole. Take a big step. [Karen steps into lake] Yes!Karen: [lifts up blindfold] Oh myGod! You ass! [chases Jim and throws egg at him] [both laugh][SCENE_BREAK]Pam: There's nothing better than a beautiful day at the beach, filled with sun,surf, and uh... diligent note-taking. [holds up notes]Michael: [off screen] Pam...you're missing things. [shakes off hand and starts writing innotebook][SCENE_BREAK]Dwight: [at Ryan holding egg in spoon] Let's go! Let's go! Come on! Mush! Mush! Come on you b*st*rd! [Ryan takes off blindfold andthrows it to ground along with egg and spoon] What the? Damn it temp!Andy: [begins to clap] Great job everyone, that was fantastic. [Michaelsighs][SCENE_BREAK]Michael: Okay Pam, I have another little project for you.Pam: Does it have to do with these shopping bags filled with hot dogs?Michael:Smart as a whip! Yes! [holds up hot dog packages] These are pre-cooked, so it's not absolutely necessary, but I would appreciate it if you could heat up 800 hotdogs for a little contest I'm going to be having. I would greatly appreciate it.Pam: When's the contest?Michael: Like umm...[looks at watch] ten minutes?Pam:How am I supposed to... get...Michael: Thanks a bunch.[SCENE_BREAK]Michael: A good manager has got to be hungry. Hungry forsuccess.[SCENE_BREAK]Michael: OK, who's hungry [Kevin starts to put hot dog in mouth] No, no, no. Do not touch the food. Please. Not yet. That is our nextevent. A hot dog eating contest. [sighs at the table] For those of you who are curious, the world record is 54 and one half hot dogs. Wow! And you know what? Ipersonally have cooked up enough so each and every one of you could break that record. So shoot for the stars, OK? Alright, the team that eats the most hot"}
+{"doc_id":"doc_156","qid":"","text":"[Scene: The School Hallway. Dawson and Jack are walking down the hallway, when a student runs out in to the hall calling for people to follow him into the poolroom.]Student: Everybody! The swimming pool! You've got to see what they did to the swimming pool.Student2: My!Joey: You don't see this every day.Mitch:What the hell is this?Principal: That's my boat... And my dog.Jack: Who could have possibly?Dawson: [Laughing] I should have thought of this.Joey: Dawson,while we do recognize your talent as a witty practical joker, I think that this is even out of your league.Principal: Chester. Come here.[Some students pull theboat to the edge and the dog hops off and walks up to Jack and sits down. Jack looks nervously down at the dog.]Principal: Do you know that dog, Mr.Mcphee?Jack: No. No.[SCENE_BREAK][Scene: The School Hallway. An announcement comes over the PA and as the students are called they walk out into thehallway.]Principal: [Over the P.A.] Will the following students please report to Principal Peskin's office immediately. Jack Mcphee, Zack Estrin, Dawson Leery,Dave Bussan, Pacey Witter.[Scene: The Principal's Office. There is a montage of Jack, Dawson and Pacey being questioned by the Principal and Mitch.]Principal:Process of elimination has made you one of the lucky 3 that I still consider to be a suspect in this crime. Now ,there's an easy way to do this, Mr. Witter, and thereis a hard way.Pacey: Well, seeing as I have absolutely no idea what crime you're referring to, I'll probably take the easy way.Dawson: What, are you guysaccusing me of something?Mitch: You know that you're the last person I would suspect of being responsible for a stunt like this, but you can also understand whywe would have no choice but to bring you in.Jack: [Laughs] yeah. The dog fingered me.Mitch: We're on your side, Pacey, but we got to get to the bottom of thismystery. And circumstances require that we at least consider you as a possible suspect.Dawson: What circumstances would those be?Mitch: Well, given thatyou're my son, it, uh, follows that you would have access to my master keys to the school, thereby placing you on a rather short list.Principal: Mr. Witter,everyone in Capeside is aware of the rather sad fate of the late vessel true love, which, I believe, gave you access to the marine storage facility in the yacht clubwhere my boat resided at the time of its boat napping, if you will. [Cut to Jack] Chester was taken sometime between 10:00 in the morning, when Mrs. Peskin lethim out after breakfast, and noon, when she realized he was gone. So all you have to do is tell us where you were and who you were with yesterdaymorning.[Scene: Gram's Front Porch. Jack is outside the porch door banging on it and calling to Jen.]Jack: Jen! Jen, come on. Jen! Open the door.Jen: Oh. Oh.I'm still asleep. And this is a dream in which you're heterosexual.Jack: Yeah. These are for grams. Can you open the door, please? I got something way better foryou.Jen: Really?Jack: Yes.Jen: What could possibly be better than a dapper, young lad bearing a floral arrangement?Jack: I talked to the guidance office. Youknow that community service, manual-labor thing you're supposed to be doing?Jen: Oh, yeah.Jack: I asked them if it was possible if you could fulfill yourcommitment by assisting me with my soccer team.Jen: And what'd they say?Jack: They said, \"providing that kind of guidance for a kid \"is exactly the kind ofrehabilitating activity that your kind needs in order to mend her evil ways.\"Jen: Jack, I think I'm more qualified to pick up trash on the highway than moldimpressionable young minds.Jack: Aw, come on. Look, I need you here. Every since Andie left, I've been barely getting by. I mean, the soccer parents have beencompletely unhelpful. And if that weren't enough, my star goalie broke his leg yesterday trying to jump off the roof of his house into his swimming pool.Jen: Ok.All right. You've sufficiently plucked my heartstrings. I'll do it.Jack: You're a goddess. Give these to grams when she gets back from church.Jen: Ok.Jack: Hey, I'llbe back at 12:45 sharp to pick you up.Jen: Where are you going? I--I can make eggs. Um-- I got to, uh, I got to meet Drue at the hardware store.Jack: Why areyou meeting Drue at the hardware store? Long story. It's a karma thing. Hey, I gotta run.[Scene: The Principal's Office. Mitch and the Principal are questioningPacey to tell his tale.]Principal: You say you didn't pull this stunt. Fine. Convince me. Tell me everything, every single thing you did yesterday.Pacey: Yesterday.Now, let's see. Where was I?[Scene: Outside the Capeside Police Station. Joey and Pacey are standing together by her truck talking while waiting for Doug tocome out.]Pacey: Where was I? Oh, yes. Right here.Joey: Hey, pace.Pacey: Mm-hmm?Joey: You are a pushover. You gave in.Pacey: No, I am not a pushover. Ijust felt the need to explore my options.Joey: Pacey, for 5 years, your brother has been nagging you about spending a day with him observing police policies, andyou've always told him to just stick it. Then you take some meaningless career aptitude test, and suddenly you're watching the lost episodes of cop rock andtaking him up on his dubious offer.Pacey: Well, don't you think I'd look sexy in a uniform? Hmm?Joey: Beside the point.Pacey: Oh, I don't think so at all. [Dougcomes out waiting for him] Well, kiss me good-bye before I hit the rough-and-tumble asphalt jungle.Joey: I'll pray for you, sweetheart.Pacey: [Sighs] hi,Doug.Doug: Hey.Joey: Take care of this punk for me, will ya? See if maybe you can't straighten him out a little bit?Pacey: Straight isn't a really big part of Doug'svocabulary, you know.Doug: Yeah, that's funny. Hurry up. We gotta get going.[Scene: The Principal's Office. The Principal and Mitch are questioning Dawsonabout his whereabouts.]Dawson: Why are you staring at me like that?Mitch: When I got up yesterday morning, you weren't at the house.Dawson: Which provesthat I kidnapped Chester? Aren't you guys working this whole, like, NYPD Blue angle a little hard? All right, um, in the morning, mom gave me a ride.[Scene:Outside Mr. Brook's House. Gale drive Dawson up to his house and Dawson gets out of the car.]Gale: Now, listen, get home as quickly as possible. I need you tofind the keys to your dad's car, which I know you lost.Dawson: No, I had them. I had them here last night. After I went to the movies and before I went out, Itook them with me. I think.Gale: Whatever. Just find 'em before he knows they're gone.Dawson: Bye.Gale: Have fun.[Mr. Brooks opens the door and looks out atDawson.]Dawson: You summoned me.Mr. Brooks: I have a study where I keep my archives, all my papers. Needs to be cleaned out, sorted through.Dawson: Ok,but you're gonna have to pay me.Mr. Brooks: Excuse me?Dawson: I fulfilled my debt to you. I painted your house. I painted your fence. Your boat is fixed. We'reeven. It's over. So, I'll do this, but I'm gonna need some compensation.Mr. Brooks: No.[Dawson turns and begins walking away.]Mr. Brooks: All right. I'll pay youwhat you're worth. Very little.[Scene: The Principal's Office. The Principal and Mitch are questioning Jack about his Whereabouts and he begins his tale.]Jack: Iwas doing a project for chem. with Drue valentine. You know him. We had to go to the hardware store to pick up some supplies.[Scene: The Hardware store. Jackand Drue are walking down the aisle getting some of the pieces that they will need for their Chem. project.]Drue: I can't tell you how touched I am by the wayyou've reached out to me lately, jack. So moving. To be honest, I felt sure you held me at least somewhat responsible for that whole mess with your sister.Jack:Huh, whatever. Hey, you wanna go grab that paint?Drue: What paint?Jack: The paint. You know, for the project that we're doing. Come back to me, Drue. Look,all you gotta do is go get the paint and, um, and take this up to the register for me.Drue: Why can't you do it?Jack: Uh, one of the soccer goals on the field'sfalling apart. I gotta get some net, and if I don't fix it, nobody else will.Drue: Must be weird.Jack: What?Drue: Being selfless.[Scene: The Principal's Office. ThePrincipal and Mitch are still trying to find out what they can from Pacey.]Principal: Where did you go with deputy Witter?Pacey: You mean my brother? Where doyou think?[Scene: The local Donut Stop. Pacey and Doug are seated eating, yep, that's right, donuts.]Pacey: I'm shakin' my head in disbelief.Doug: Don't judge abook by its prologue, wise-ass. There's plenty more coming up fast, more than any episode of cops could teach you, believe you me.Pacey: Really?Doug:Mm-hmm.Pacey: Well, lemme brace myself for that.[Scene: The Principal's Office. Dawson is finishing up explaining what he was doing earlier in theday]Dawson: And that's it. I spent the rest of the morning alone in the study.[Door hinges squeak][Inside Mr. Brook's house, he is looking through some of thestuff and comes across his yearbook, and as he pages through it he comes to Mr. Brook's picture in it and reads]Dawson: \"Arthur Isaac Brooks. \"Newspaper.Track and field. Aspiration to become a great Hollywood filmmaker.\" Oh, my god.[Scene: The Principal's Office. Dawson is still being questioned by Mitch and thePrincipal]Mitch: Dawson, I think it's time we discussed your infamous ninth-grade senior pact for a minute.Dawson: Dad, that was 4 years ago.Principal: Wait,what pact?Dawson: When I was in ninth grade, um, the seniors pulled a particularly lame prank. I think they graffitied the lockers and trashed the parking lot orsomething. It was embarrassing. And, uh, Pacey and I made a pact that when our time came, we would do it right-- the prank to end all pranks. We talked aboutit for years.Principal: So it was you!Dawson: No, it wasn't me. In case you haven't noticed, Pacey and I aren't exactly butch and Sundance these days. I didn'tremember the pact until you sa\u0000Principal: well? What is it?Dawson: I can tell you I didn't do it. I can't speak for Pacey.[SCENE_BREAK][Scene: The Principal'sOffice. Jack is back in the hot seat. Mitch and the Principal are back to questioning him again.]Mitch: so, you picked up Jen at 12:45.Jack: Mm-hmm. I think so.Did I say that?Mitch: What time did you get to the park?Jack: Um, I don't know. It was, like, 1:35-ish.[Scene: The Capeside Soccer Field. Jack is trying to set upthe net as Jen is watching him to see what he is doing, but getting in the way at the same time.]Jack: Would you get your foot off the net?! Put your littledoohickey\u0000Jen: I got it. I got it. I got it. All right, piece of cake.Jack: All right, I gotta take care of something. [He walks off] Molly! Double time. Over here.[Jentries to set up the net and gets herself tangled up and falls.]Jack: [Chuckles] jeez.Jen: I'm just fine.Molly: What'd I do?Jack: Nothing, nothing. Relax.Deflate.Molly: What do you want?Jack: Well, I've got some good news. After a careful review of all the players on the team, I have decided to offer you theposition of goalie left vacant by Kip's injury.Molly: Offering? Like, take it or leave it?Jack: Yeah. Well, it's, uh, I mean, you know...Molly: In that case, thank you,but no, thank you.Jack: W-w-whoa. No, thank you? Wha\u0000Molly: I'd really rather not.Jack: Yeah, but goalie is--is\u0000Molly: I'm left halfback. I like left halfback. I'dlike to stick with left halfback, ok? Please?Jack: Ok.[Molly goes off and Jen comes up to stand with Jack.]Jen: I like that kid.Jack: Funny.Jen: You know, she"}
+{"doc_id":"doc_157","qid":"","text":"OPEN AT ELDER GILMORE RESIDENCE[Lorelai, Rory, Emily, and Richard are eating dinner]EMILY: It's simply disgraceful.RICHARD: For years, we've had peace inthe neighborhood.EMILY: I knew the Richmonds were going to be trouble when they missed the block party last month.LORELAI: I don't understand. They gaveout full-size candy bars for Halloween. So what?EMILY: Not full-size candy bars, Lorelai - king-size candy bars.RICHARD: We've been giving out full-size candybars for years now.EMILY: And then those people move in and throw the entire balance of the neighborhood off. They made everybody look ridiculous.RICHARD:It's very embarrassing.EMILY: I think we have to do something about this - maybe go to the homeowners association.LORELAI: Two Halloweens ago, someonepainted the Duprees' Chihuahua orange and nobody went to the homeowners association then.EMILY: Well, everybody hated Taco.LORELAI: I think you'remaking a little too much of this.EMILY: I saw Mae Richmond at Bay Wellington's two weeks before Halloween. She had ample time to bring it up then, and nothing- not a word. I think it might be time to go after their ball machine.RORY: Their ball machine?RICHARD: They have a ball machine on their tennis court that isextraordinarily loud and unpredictable.EMILY: Flying, thumping balls all over the place.LORELAI: Flying, thumping what all over the place?EMILY: Balls.[Lorelaigiggles]EMILY: You are four.LORELAI: And balls are funny.RICHARD: Don't worry, Emily. If the homeowners association doesn't do anything, we'll take this to theneighbors, get a petition going.LORELAI: Or if that doesn't work, you could throw some hoods on and burn a full-size Mars bar on their front lawn.EMILY:King-size, Lorelai - king-size.RORY: So, how's work, Grandpa?LORELAI: Look how smoothly she changes the subject.RICHARD: Work is lovely, Rory. How'sschool?RORY: Crazy.LORELAI: She's taking too many courses.RORY: I am not.EMILY: How many are you taking?LORELAI: Five.EMILY: Is five a lot?RORY: It's nota lotLORELAI: It is a lot.RICHARD: I took five courses when I was a freshman. Rory takes after me.RORY: I like to be busy.RICHARD: Idle hands are the devil'splaythings.LORELAI: That's actually the title of one of her classes.RORY: Please don't worry about me.LORELAI: She says to the mother and thegrandmother.EMILY: Are you done?RORY: Oh, yes, thank you.EMILY: Good, because we have mini lemon bundt cakes for dessert.LORELAI: Oh.EMILY:What?LORELAI: Well, they're serving full-size bundt cakes over at the Richmonds' house.EMILY: She's done.LORELAI: Oh, no, I have a carrot.EMILY: She'sdone.LORELAI: Bet the Richmonds would have let me eat my carrot.[opening credits]CUT TO ELDER GILMORE RESIDENCE[Emily walks into Richard's study,where a photographer is setting up to take a picture of Richard and Jason]EMILY: All right, this should do it.RICHARD: May we please get this over with?EMILY:Patience is a virtue, Richard.RICHARD: And time is fleeting, Emily.EMILY: You're starting a new partnership. You need new photographs, especially with that newlook.JASON: I thought I'd give a beard a try.EMILY: Well, I like it. All right, Helmut, we're all set here.HELMUT: Okay. Important men doing important things.[takes a picture] Good. Oh, one more time. We're going to sign, and. . .[takes another picture] We're done.EMILY: Thank you, Helmut. That waswonderful.RICHARD: And now we sign the real papers.JASON: I'm feeling historic. You?RICHARD: Oh, yes. It's Gettysburg all over again. Thank you.JASON:Important men doing important things.RICHARD: Now that makes it official. Jason.JASON: Let's give 'em hell.RICHARD: You bet.EMILY: Oh, I should have hadHelmut get the handshake.RICHARD: The signing was fine, Emily. Sorry about the photo session.JASON: Oh, no, that's okay. I think it's a cute idea.EMILY: Yes,and when the financial papers call for an official photo, it'll be downright darling.RICHARD: I learned long ago, Jason, when it comes to things like this, Emily isalways right.JASON: I am sure she is.EMILY: Thank you both. Jason, how's your time? Would you like to join us for dinner?JASON: Oh, I'd love to, Emily, but Ishould get these papers up to my lawyer's office. Next week?EMILY: Consider it an open invitation.JASON: Thank you. Richard, I'll see you tomorrowmorning.RICHARD: Yes, you will.[Jason leaves]EMILY: \"I think it's cute.\"RICHARD: He's young, Emily.EMILY: Yes, well, a good smack on that scruffy face of hiswould age him up a bit. All right, let's discuss the launch party. Do you have any sort of particular feel in mind?RICHARD: Well, I'll leave that to your discretion.Just make sure it's dignified.EMILY: We probably shouldn't go too fancy. Maybe we'll do one of those vodka bars - caviar, a Russian theme. I love that it's okay tobe Russian again.RICHARD: It sounds lovely.EMILY: How's the 23rd?RICHARD: Perfect.EMILY: And I want you to get a new suit.RICHARD: I don't need a newsuit.EMILY: And find out what Jason's going to wear. I don't want the two of you showing up looking like the Bobbsey twins.RICHARD: Oh, yes, that would beembarrassing.EMILY: I'll need a guest list.RICHARD: Uh huh.EMILY: A Russian theme. I like that.CUT TO YALE CLASSROOM[Rory is in one of herclasses]PROFESSOR: The conquering peoples impose their own values on the subjugated peoples through education, and quite often through the appointment ofa priesthood from among their own ranks. This means we should not assume that the system of values has in some way evolved in a region. It is almost alwaysimposed with the explicit purpose of keeping power in the hands of the powerful. Something to think about until next week, when we will burst more of yourillusions. . .which brings me to a bit of bad news. There was an error in the syllabus you received. The dates were wrong, which means that all of your reading hasbeen pushed up one week. I apologize for this cruel little life experience, but what can I do? I just found out my in-laws are moving back to town. None of us areimmune. I'll see you all Tuesday.CUT TO THE DRAGONFLY INN[The construction crew is working on the inn. Lorelai and Tom walk over to the barn.]LORELAI: So,we were thinking maybe two horses to start with. See, it's so charming with the overhang here.TOM: You want me to turn this into stables?LORELAI: Yes.TOM:Without a magic wand or some sort of fairy dust?LORELAI: Preferably, yes.TOM: Let me take a look inside.LORELAI: We'd like to keep the existing structure,please.KIRK: Lorelai, I'm all set up as soon as you're ready.LORELAI: Be right there, Kirk.KIRK: Okie dokie.TOM: How attached are you gonna get to thesehorses?LORELAI: What?TOM: You gonna name 'em, feed 'em apples, braid their tails?LORELAI: Why, Tom?TOM: Well, the roof's about to cave in so I can staywithin our budget, but then I'd just call 'em all Trigger.LORELAI: Just tell me how much more it's gonna cost.TOM: Okay.[Sookie arrives]SOOKIE: Hey, you'rehere.LORELAI: I'm always here.SOOKIE: Listen, I want to talk to you about something very exciting.LORELAI: Ooh, very exciting. I love very exciting.SOOKIE:This morning I got a call from your mother.LORELAI: This is the very exciting?SOOKIE: Yes! She's doing a launch party for your father's new business and shewants us to do the catering.LORELAI: Us?SOOKIE: Us!LORELAI: Did you say us?SOOKIE: Yes.LORELAI: To her. Did you say \"us\" to her?SOOKIE: Yes.LORELAI:So she knows about us?SOOKIE: Yes, she knows about us, I think. What does she know about us?LORELAI: That we have a catering business?SOOKIE:Yes.LORELAI: Oh, man!SOOKIE: What? Did I do something bad?LORELAI: No, nothing, nothing. It's my fault. I forgot to tell her.SOOKIE: How could you forget totell her?LORELAI: Well, I've only seen her forty or fifty times since we started the business. Now what did she say exactly?SOOKIE: Well, she asked me to cater,and I said we'd love to, and then she said, \"we?\" so I said you and I had started a company, so it'd be the both of us together, and she said fine.LORELAI: Wasthere a pause before \"fine\" or was it just \"fine\"?SOOKIE: I don't remember. I just remember the \"fine.\"LORELAI: She's mad.SOOKIE: I swear she didn't soundmad.LORELAI: Okay.SOOKIE: Good.LORELAI: Now let's talk about how much I can't do this.SOOKIE: Look, I knew it would be a thing working for your mother,but it's perfect timing. This is probably the last job we'll be able to take before I have the baby.LORELAI: Something else will come along.SOOKIE: Not that payslike your mother does.LORELAI: You know why she pays so much? So she can torture you and you won't throw knives at her.SOOKIE: Look, you already knowthe house. Decorating, planning - it's gonna be a snap for you. I bet you can spend ninety percent of the evening in the kitchen, then we get to take home thepretty, pretty money.LORELAI: Sookie.SOOKIE: Pretty, pretty money. Aren't you a big fat wad of pretty money?LORELAI: Fine.SOOKIE: Really?LORELAI:Shouldn't ask again.SOOKIE: Accepting and moving on.KIRK: Excuse me, Lorelai.LORELAI: Oh, my God, Kirk, I forgot you were here.KIRK: If I had a nickel forevery time I heard that.LORELAI: I'm very, very sorry. You have my full attention.SOOKIE: I'm gonna go. Um, we'll talk tomorrow about the details.LORELAI:Okay. All right, Kirk, show me what you got.KIRK: If you'll just follow me, I would like to present you with my new line of one-of-a-kind mailboxes.LORELAI:Wow. They look very nice, Kirk.KIRK: And whimsical. They say to the world, \"I'll take my mail with a smile.\"LORELAI: Yes, they do say that.KIRK: And since youare one of our preferred customers, with the purchase of one of our mailboxes, I'll throw in a carved-duck doorstop and a garlic peeler.LORELAI: Wow, that'squite an offer, Kirk, but I think it's a little early for me to pick a mailbox. We haven't even settled on a color for the inn yet.KIRK: Well, whimsy goes witheverything.LORELAI: Kirk, I promise, just as soon as. . .is that Condoleezza Rice?KIRK: Yes, it is. I'm a fan, and her big mouth is perfect for shoving mailin.LORELAI: Ha. Uh, I'll have to think about it.KIRK: Fair enough. So, I hear you're running a catering business now.LORELAI: Oh, yeah, just temporarily.KIRK:You guys any good?LORELAI: Not bad.KIRK: And how much would one have to pay for your culinary services?LORELAI: It depends, the type of food, number ofpeople, kind of venue.KIRK: Simple food, two guests, my mother's living room.LORELAI: Really?KIRK: I have a visitor coming in from out of town and I thought itwould be nice to serve her a catered meal.LORELAI: Her?KIRK: Actually, she was my brother's ex-girlfriend - Lulu.LORELAI: Good name.KIRK: I had sort of acrush on her for a while, and she's coming home to visit her mother, and she called me.LORELAI: Kirk, you have a date.KIRK: No, just an appointment to takeLulu to dinner.LORELAI: That's a date.KIRK: I don't have high hopes for it, if that's what you're thinking.LORELAI: Kirk, it's very sweet, but are you sure you wantto have dinner in your living room?KIRK: Well, the breakfast nook doesn't seem festive enough.LORELAI: Right, but while you're having dinner in your livingroom, where will your mother be?KIRK: Probably in the living room.LORELAI: Is that what you really want? To have dinner with your mother watching?KIRK: I"}
+{"doc_id":"doc_158","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. WAREHOUSE](A young woman is held captive with her wrists tied high above her head. Off screen, she hears faintslicing, and gurgling. She screams.)(Blood squirts on her face and in her mouth. She coughs. Yuck.)(Behind her, a man hacks off a dummy's head.)Zack Putrid(director): (o.s.) Cut!(She continues to cough.)Zack Putrid: (o.s.) Cut! Damn it!(The bell rings and overhead lights turn on. The director, Zack Putrid, gets out ofhis chair.)Zack Putrid: Can somebody please get her a glass of water?! (He walks up to the actress.) What happened? Babe? What are you doing? Are you chokingon the blood?(She nods.)SFX Guy: I did what you told me to.Zack Putrid: Yeah, but this time, get it on her face, not in her mouth.SFX Guy: The mouth is part ofthe face.Zack Putrid: Yeah, I know, I know. But hit her from the side, from the side. And get plenty on the rack.(The SFX guy turns and leaves. We hold on thetwo actors dressed as doctors - one giant man and Dickie Jones.)Giant Doctor: We're dying here.Dickie Jones: I'm going to go ring it.Giant Doctor: All right. Hey,grab me a bear claw.(Dickie Jones heads off the set. He walks past Zack Putrid talking with the cameraman who is wearing a red baseball cap.)Zack Putrid(director): How long have I known you, huh? This is you and me. Get the shot -- not too tight. Wide enough to fit in the fun bags.(The director turns back to theactress, who is still tied up with her arms over her head as the fake blood is being wiped off her. Her make-up is being retouched.)Zack Putrid (director):Baby-cakes ...(The actor playing the killer interrupts them.)Killer Actor: (to the director) Where was I? Want me to laugh?Zack Putrid (director): Don't laugh. Youwere scary. Get away.(The killer leaves.)Zack Putrid (director): Honey, this time, don't inhale the blood, okay? All right, let's get her cleaned up. Let's shoot thisbitch.(He heads back to his chair. The actress gasps loudly.)Actress: (o.s.) Oh ...Zack Putrid (director): Not you, baby. The shot. The shot's a bitch. I loveone-ers. And you know what else I love? I love sushi. Me, too. Do you want to go for sushi?(In the background, Stanley Vespucci leads Brass through the set.Nick follows them.)Stanley Vespucci: Our lead actress, Weatherly Adams, had her dressing room violated last night.Brass: So she's the one you suspect ismissing?Stanley Vespucci: She missed her call this morning. The woman is nothing if not professional. She's predictably precisely 35 minutes late every day. Youcould set your watch to it. She's already ... three hours late and still no sign of her.(He looks at his watch.)(A light blows out as they pass.)Stanley Vespucci:Nothing to worry about, gentlemen. It's just a bad bulb. If you will, please, follow me.(He leads them out.)[INT. WEATHERLY ADAMS' DRESSING ROOM -CONTINUOUS](He opens the dressing room door.)Stanley Vespucci: Here we are.(They walk in.)Stanley Vespucci: Check out the flowers in the vase.(Nick looksat the note on the flowers.)Nick: \"Congratulations on your last film.\" Any idea who sent her these, Mr. Vespucci?(A framed photo of a pretty blonde-haired womanis on the dressing table next to the flowers.)Stanley Vespucci: (shrugs) Stalkers, creeps, cranks, nut balls, degenerates -- we get them all here. Weatherlyattracts them like flies.(He shows them a stack of letters.)Stanley Vespucci: These are ... uh ... some of the guys we've had trouble with in the past.Brass: I'lltake that.(Nick continues to look through the dressing room.)Brass: When was the last time you saw her?(Vespucci takes his phone out and dials.)StanleyVespucci: At wrap yesterday. We shot all night, finished about 4:00 in the morning.Brass: Did anyone see her leave the building?Stanley Vespucci: Her car's stillparked out back.(Nick holds a purse.)Nick: This hers?Stanley Vespucci: Yeah.Weatherly Adams: (recording) Hi, it's Weatherly. Leave a message or I'll scream.(giggles)(Nick turns the bag over, the contents spilling out onto the sofa.)Nick: Wallet, keys, and cell phone still in there.Stanley Vespucci: Still no answer on herhome phone.Brass: I'll send a patrol car to her house. You said there was a break in. Why don't you show me?[SCENE_BREAK][INT. REPULSION PICTURES --BASEMENT](Down in the basement, various items are stored - dress dummies, rolled-up carpets and a VORTEX OF EVIL movie poster hangs on the wall justbelow the ceiling light.)Stanley Vespucci: Ah, Weatherly ... how has she died for us, let me count the ways.(Stanley Vespucci leads Brass and Nick down throughthe basement.)(They walk past posters of the movies Weatherly made - NIGHT SHIVERS, INTO THE MOUTH OF HELL, and CAN I LICK THE SPOON?.)StanleyVespucci: Bludgeoned, boiled, filleted, defenestrated, decapitated, disemboweled, oh, yeah, and strangled with her own intestines. Autopsied while stillalive.(They walk into the large storage area.)Stanley Vespucci: Made to eat her own liver, fed slowly through a tree chipper, roasted and served on a bed ofBelgian endive. When Weatherly Adams dies, it's money in the bank.(He shows them the open window.)Stanley Vespucci: Here you are, gentlemen.Nick: Lookslike somebody broke the glass, reached in, unlocked it and opened it.(Nick looks around the area.)Stanley Vespucci: Yeah, that's the way I found it when I gothere this evening.(Nick finds some blonde-haired stuffed dummies on the furniture. Among the dummies, he finds the real Weatherly with an axe stuck in herback. Flies buzz around the dead body.)Nick: Uh, Jim ... I got her.(Nick kneels to look at the body. Jim and Stanley Vespucci join him. Vespucci gasps.)Nick: And Ibelieve she's died for the last time.FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][INT. REPULSION PICTURES -- BASEMENT](A movie poster, IHAVE TO AXE MY MOTHER, hangs on the cement post. The main photo is of Weatherly in red with an axe stuck in her head.)Nick: Whoever stuck her under thisposter was trying to send a twisted message.(Weatherly's dead body is also in red with an axe stuck in her back.)Catherine: Either that, or the killer's got awicked sense of humor.(Catherine puts her gloves on. Nick snaps a photo as David Phillips turns the body to look under it.)David Phillips: Lividity is fixed alongthe anterior aspect, and ... she is still in full rigor.(Nick checks his watch.)Nick: She was last seen alive about 15 hours ago.David Phillips: No panties. I'll do anSAE kit.(David pauses and looks up where he sees the movie poster.)David Phillips: (inflecting) \"The horror.\"(He chuckles and looks at Catherine and Nick. Hedoes it again.)David Phillips: (exaggerating) The horror ...(Catherine smiles.)David Phillips: Huh? Huh? Bra-Brando? (normal voice) Brando from ApocalypseNow?Catherine: Oh, yeah, yeah. I know, Dave. Everybody knows that.David Phillips: (deflated) Oh. I'll get the gurney.(David leaves. Catherine noticesWeatherly's broken shoe.)Catherine: Looks like the Lady lost a heel.Nick: There's a whole lot of something here, but it doesn't really look like blood to me.(Nickindicates the blood under the body. Catherine dusts the axe handle.)Catherine: No, it's ... uh ... it's the wrong color. It's too red.Nick: Smells sweet. Karo syrupand food coloring -- it's prop blood.Catherine: And I am not seeing any prints. It's been wiped clean.Nick: The question is, where does the fake blood end and thereal blood begin?[SCENE_BREAK][INT. REPULSION PICTURES - MOVIE SET](The actress in pink wails and cries. The actor playing the killer cries.)(Brass talkswith the cast and crew.)Brass: Now, I know this may come as a shock to most of you, and I'm sorry for your loss. I understand that Weatherly Adams was along-time member of this company ...(The midget, Dickie Jones, looks around, then turns and hugs the pretty actress in pink.)Zack Putrid (director): Well, do youhave a suspect?Brass: Uh, sir, we just found the body about an hour ago.(Dickie Jones hugs the actress, then squeezes her butt.)Brass: We're just beginning ourinvestigation.(The actress pushes Dickie Jones away.)Zack Putrid: Yeah, I get it, I get it. I mean, it could be anyone.(He turns and looks around - just as theother cast and crew members look around at each other.)Brass: Now, I'm going to have to look at your IDs and I'm going to take statements and fingerprintsfrom all of you. And I thank you in advance for your cooperation.Stanley Vespucci: Anything we can do to help.(Brass turns and heads up the platformstairs.)Zack Putrid: So what am I supposed to do today?Stanley Vespucci: Edit.(Stanley Vespucci catches up with Brass.)Stanley Vespucci: Excuse me, Mr. Brass.Do you think that it would be all right if we were to ... continue to shoot ...Brass: No.Vincent Lafoon: I want that little twerp Zarco found and locked up.Brass: Uh,who are you?Vincent Lafoon: Vincent Lafoon. This is my brother Mason. We own this place.Brass: Who's Zarco?Vincent Lafoon: Oliver Zarco. He used to workhere. He had a thing for Weatherly, and then he got hurt, blamed it on us, went a little nuts.Mason Lafoon: He was the one who got ...Vincent Lafoon: (interrupts)He was the one who sent the flowers and the note.Brass: So he's done this before.Mason Lafoon: Yeah, like, three times.Vincent Lafoon: (irritated) Would youshut it? (to Brass) Three times. He's your guy.Brass: Do you have video surveillance by any chance?Vincent Lafoon: Yeah, only on the exterior, but the videosystem's been on the fritz lately.Stanley Vespucci: I had it repaired three days ago-- I'll get the tapes.Vincent Lafoon: Oh, good. (Vespucci leaves.) (to Brass)Look, just find Zarco, okay?(Vincent leaves. Mason lingers.)Killer Actor: Everyone come together.Mason Lafoon: Um, I can't, I still can't believe she's gone. Imean ... she was a ... she was a real beautiful lady.(Everyone gathers on the set.)Killer Actor: Let's form a circle and touch hands with someone you careabout.(Mason turns to join the others.)Killer Actor: Yea, though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me. Thy rodand thy staff, they comfort me ...[SCENE_BREAK][INT. REPULSION PICTURES -- BASEMENT](Nick swabs the \"blood\" and tests it. It doesn't work.)INTERCUTWITH:[INT. REPULSION PICTURES - DRESSING ROOM](Catherine is in Weatherly's dressing room. She dusts the green vase.)(She stops when she doesn't findany prints.)[INT. REPULSION PICTURES -- BASEMENT](Nick goes over to the window. He sees the security camera outside and measures the distance. He notes iton the sketchpad.)[INT. REPULSION PICTURES - DRESSING ROOM](Catherine snaps photos of Weatherly's dresser and open drawer.)(She opens the top drawerand snaps a photo of it. She takes out a notebook and looks inside. She finds dates, times and numbers.)(Nick walks in.)Nick: How's it going in here?Catherine:The vase is clean. I've got a spiral notebook filled with dates, times and weights. Looks like she was a bit concerned about her size.Nick:Actors.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY](Robbins and David are working on removing the axe from Weatherly's back.)David Phillips: (appalled)You really don't recognize her?(David holds the body down while Robbins pulls on the axe.)Robbins: (grunts) No.David Phillips: You've ever seen Chop Chop, FizzFizz?Robbins: No.David Phillips: Can I Lick The Spoon?Robbins: Please, David.David Phillips: They're classics.Robbins: Those are not classics.(The axe pops"}
+{"doc_id":"doc_159","qid":"","text":"[PREVIOUSLY_ON]Ihab: This act will be remembered as the first great act of defiance.(crowd chanting)Jamal: Ihab Rashid is behind all this.Samira: I'm donewishing for change.I am making it happen.Jamal: The wedding night is very special. It's important to be pure.Molly: It's not safe for you to be there.Barry: It'snot safe for anyone there.(thumping)Jamal: Run them down!Leila: Go!Jamal: Tomorrow, there will be only pigeons in the square.Barry: What is it you want me todo?Fauzi: I want you to get your hands dirty, to go against your family.Barry: I asked Fauzi Nidal to set up a meeting with Ihab Rashid.Jamal: The man whowould have all our heads?Barry: You can go down in history as one more brutal dictator, or you can be remembered as the leader who had the courage to listento his people.Who do you want to be?Ihab: Jamal has asked me to gather you, the leaders of the various factions who fill the Plaza, to meet with his Americanbrother. This is the second time the Palace has come to me. The agitation in the Plaza, the galvanizing of the people, ooh, has them running scared. It's poker.Right now we have the winning hand. Why negotiate? Hmm? Nobody negotiated with Mubarak. No, no, no, no, no, no. When this Amriki walks in, I'm going to tellhim exactly what it will take for us to clear the Plaza: his brother's resignation. Jamal Al Fayeed... he can, uh, take his blood money, go to... go to Paris.(laughter) Or go to London. Spend the rest of his days writing his memoirs.Farah: But what if he's actually willing to offer us something?Ihab: No. His fatherbetrayed my father. I'm not about to let him do the same thing to me. The only offer we will take is for Jamal Al Fayeed to leave Abbudin.Fauzi: You sure aboutthis?Barry: I'm sure of one thing. A narcissist with a messiah complex is not about to negotiate with me. Look, I'm betting Ihab told everyone in earshot that anAl Fayeed asked to sit down with him. He said yes so quickly, 'cause he wants to tell me where to go in front of an audience, but now he's gonna have to explainwhy he's sitting at the table alone. For my plan to work, I have to take him down a notch. Make the call.Samira: Father, where are you? Everyone's here, andthey're... Okay. Okay. It's my father.Ihab: You are late. What do you mean you are not coming?! That is bullshit!(chuckles)(engine stops)(Barry sighs)Barry:Thank you, my friend.Fauzi: You know, I'm worried for you, Bassam.Barry: (chuckles) Been a while since anyone called me that.Fauzi: You know this game you'replaying, it's a dangerous game.Barry: I don't see another option.I have to clear the Plaza before Tariq does.John: The garage meet. Classic. This is insane. Whyset a meet with Ihab so you can stand him up?Barry: Ihab's having his moment. He was never gonna bargain. So I had to take the wind out of his sails. Ihab's aboy. I want to see his father, the man who almost made peace with my father. I was here, Tucker, okay? I saw it. The people adored him. I need an hour withSheik Rashid.John: So, you want to use Sheik Rashid to do an end run around Ihab? I mean, what... what happened to the nice family doctor fromPasadena?Barry: Don't screw me around, John. The U.S. brokered Sheik Rashid's asylum 20 years ago. I need to talk to him, and you know where he is.John:Does your brother even know you're here?Barry: I didn't say anything, because he'd never give me this much rope.John: Well, if you want to hang yourself withit, be my guest. Don't expect me to build the gallows.Barry: Tucker, I'm just trying to keep America's ass from landing on the wrong side of history.John: Uh-huh.Which doesn't involve turning you into another Daniel Pearl. My job is to protect American citizens, not serve them up. You end up dead in the desert in a trailthat leads back to the U.S. Embassy...Barry: What do you want? In return, what do you want? An inside seat? A heads up on what's happening as it happens?(John sighs)John: Are you offering to spy on your brother?Barry: I have 24 hours. You have less.Tariq: I need to speak to the president.Secretary: Uh... Buthe-he isn't... Shall I leave him a, um, message?Leila: Who drowned your puppy?Tariq: Have you seen your husband?Leila: I'm not his keeper.Tariq: At least tellme why he ordered me to stand down. I was about to send two brigades to the Plaza, and all of a sudden, he changes his mind with no explanation. He won't takemy calls. He's cancelled his meetings for the day.Leila: The president isn't required to consult with his wife on every decision he makes.Tariq: But as his wife, youshould know. If Jamal isn't prepared to defend the regime, there are others who will.Leila: I hope, for your sake, you're not threatening my husband.Tariq: Onthe contrary, I'm trying to protect him.(crowd clamoring over video)(rapid gunfire over video)Ihab: Now these Al Fayeeds, they want to give us platitudes.Leila:He's a parrot.His mouth moves, but other people's words come out. La Boétie, Guevara and his father, the Sheik.Ihab: As men and women of...Leila: But you,you are in the position to make your own history.Jamal: Start with a compliment, end with an ask. What do you want?Leila: Yesterday in the Plaza, they nearlykilled you.Jamal: You exaggerate.Leila: No, I was there, Jamal. Three weeks, and the people are already questioning your leadership. Now is the time to be firm,to show them that you are in control. Why are you holding back Tariq?Jamal: Why? For you.Leila: For me?Jamal: If I move against the Plaza, ten times as manywill rise up against me, against my family. This is certain, Leila. So what do I do? I wait until tomorrow. Maybe these clouds will bring a storm. Or maybesomething will happen to clear them.Leila: Is this you talking? Or is it Bassam? Maybe Ihab is not the only parrot in this country.Jamal: Don't make the mistake ofgetting between me and my brother.Molly: Reema, what are you doing?Reema: I was just straightening up.Molly: Hold on. Let me see what's in yourpocket.Reema: I'll be in the servants' quarters until the police arrive.Molly: Just wait. First tell me why you need Vicodin.Reema: Not me. My brother Salam.Molly:What's wrong with him? Reema...Reema: He broke his arm. He was fixing the roof and he fell.Molly: Well, if his arm is broken, he needs a doctor to set it. Youhave to take him to the hospital.Reema: No hospital.Molly: Why not?Reema: Please, ma'am.Molly: Okay, tell you what... You take me to see your brother, andthis stays between us.Reema: You will tell no one?Molly: No.Ahmed: Where's the fire?Nusrat: You smell like tequila. I have to help your grandma with seatingarrangements, okay?Ahmed: Baby, it's been a month and we still haven't... I didn't get married to take care of my own needs!(door slams)Jamal: Mother, this isreally beautiful.Amira: Not nearly as beautiful as your daughter-in-law.Jamal: Yes, Ahmed is a lucky man.Is this my grandson I feel in there? Bassam is waitingfor me.Amira: Your father would be so happy to see his two sons working together like this.Jamal: He would have been.Amira: Are you all right, Nusrat? Theambassador is deaf in his left ear, so I'm going to put you on his right side.Jamal: So... when am I sitting down with this asshole?Barry: I'm still working out thedetails.Jamal: What details? He shows up when and where we say!Barry: Yeah, it's not... it's not quite as simple as that.Jamal: It is simple. Who's the president,me or him?(groans)What aren't you telling me?Barry: Nothing. He's just, uh... the guy's playing hard to get.Jamal: Hard to get? Maybe he will play nicer withelectrodes on his balls.Barry: Can you please just give me a little more time?Jamal: How much time do you think I have? I've already got Leila crawling up myass. While you are out buying flowers for this shitball, I'm starting to look like some pussy who can't pull the trigger.Barry: Jamal, I'm working on it.Jamal:Working on it? Well, stop working on it and get it done.(crowd clamoring)Ihab: Abbudin!Crowd: Abbudin!Ihab: He humiliated me.Mohammed: Relax, relax.Ihab:No, no, no, no, no! I'm not going to relax.He can't do this. It makes me look like a fool. That was the point, wasn't it?Mohammed: Take the mic, paint him as theliar he is!Ihab: Oh, and look like a child who dropped his ice cream, huh? No, no, no, no, no, no, no. What is the game he's playing?Samira: Same game as youare. You were only there to tell him off to his face.Ihab: You... you knew all along Bassam was going to blow me off.Samira: What?! No! No!Ihab: You set thelocation, set the time.Samira: Ihab, stop! You're letting your anger get the best of you at a time when the people need your leadership. People are trusting youwith their lives. People I know! My friends!Ihab: You don't think I know that, little girl? Hmm? I am not here by accident.Crowd (chanting): Free Abbudin! FreeAbbudin! Free Abbudin! Free Abbudin!Ihab: Abbudin!Barry: Jamal's given me 24 hours to see if I can clear the Plaza peacefully.Molly: What are you gonnado?Barry: Tucker is reaching out to Ihab's father, the Sheik, to try and arrange a meeting. Before my father launched the attack on Ma'an, he and the Sheik satdown for peace talks. Rashid was prepared to negotiate a peaceful solution.Molly: Yeah, and then he bombed the Palace.Barry: An army barracks. And it was hisfollowers, not him. Look, 20 years ago, Rashid was prepared to negotiate with my father. Despite what happened, me sitting down with him now is the only hopewe have to stop this blowing up in our faces.Molly: Who's going with you?Barry: I don't know all the details yet, okay? Tucker's gonna call me back. Until then,I'm going to go for a run, okay?Molly: So it's a suicide mission.Barry: That's blowing it out of proportion. And Molly, really, I don't have another choice here.Molly:Of course you have another choice. You also have two kids and a wife. I mean... you're gonna get yourself killed, Barry.Barry: Honey, we're not at home listeningto this on NPR, we're in it. And I can do something my father couldn't... I can end this peacefully.Molly: That's Jamal's job, not yours. Why are you putting yourlife on this line for this?Barry: 'Cause my name's not Smith or Jones!(Molly scoffs)Molly: If I didn't know you better, I'd say you were starting to get off onthis.Ahmed: Hakim, I know Nusrat is here.Hakim: Now is not a good time. She's upset.Ahmed: Which is why she should be with her husband and not run to herparents like a child!We had a thing this morning, now she's not returning my calls.Hakim: I swear I'll talk sense into her. You have my word. Do have any ideawhat position you are putting our family in? Everything we have, it's all from Al Fayeeds!Nusrat: I want a divorce.Hakim: Don't be stupid. Why did you agree tomarry Ahmed if you don't love him?Sofia: Tell him.Hakim: Tell me what? Tell me what?Nusrat: It's not Ahmed. It's Jamal.(phone vibrating)Barry: Yeah.John:Barry, it's Tucker.The person you wanted me to reach out to agreed to meet.Barry: Okay. I'll go back and tell Molly...John: You can call Molly from the road. I'mabout to jump in the car. Meet me outside the gate.Barry: I'm on my way. All right, guys, that's it for the day.[SCENE_BREAK]John: Thank you for arranging thismeeting with your father. Namir Rashid... Bassam Al Fayeed.Namir: Okay, come with me. Oh, no, no... you stay here.John: No, no, no, no, that wasn't thearrangement.Namir: I told my father we should kill him right here, but this is his wish. Turn around, Al Fayeed.Barry: It's okay.Namir: Do it.Ihab (recorded):"}
+{"doc_id":"doc_160","qid":"","text":"•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen,with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site ifyou want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories;you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrotethe episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use yourimagination.[SCENE_BREAK]GILES VOICEOVER: Previously...Buffy and Spike against the wall kissing in \"Smashed.\"SPIKE VOICEOVER: Last night changedthings.BUFFY: The only thing that's different is that I'm disgusted with myself. Dawn and Willow walking down the street.DAWN: Is this the way to the movies?Dawn and Willow coming through the walls into Rack's place.DAWN: What is this place?WILLOW: I'll just be a minute. Willow suspended inside a ball ofmagic.BUFFY: Willow's into something. Her and Dawn have been missing for hours.DAWN: Do you know how long I've been out here?WILLOW: (with black eyes)Let's get outta here. Dawn in the car. The car crashing. Spike and Buffy leading an injured Dawn.WILLOW: Dawnie, I'm sorry! Dawn slapping Willow. Willowcrying.BUFFY: You could have killed her!WILLOW: I need help! Willow and Buffy in Willow's bedroom.WILLOW: No more spells. I'm finished. Warren stealing thediamond from the museum.WARREN: Got it.JONATHAN: It's beautiful.WARREN: Congratulations, Phase One of the plan is nowcomplete.[SCENE_BREAK]Teaser[SCENE_BREAK]Open on a table covered with magical stuff: tarot cards, candles, little bowls and boxes of herbs, etc. A pair ofhands comes into the shot and sweeps everything into a cardboard box. Pull back to reveal Buffy. She begins removing pillar candles from the table and puttingthem in the box too. Reveal Dawn standing by the bookshelf looking at books. Her left arm is in a sling. She puts a book in a box, looks over at Buffy.DAWN:Candles?! We can't have candles?BUFFY: Dawn, it's magic clearance. Everything must go. Buffy looks over at Willow, who is sitting cross-legged on the bed.Willow nods.DAWN: B-but they're just candles!BUFFY: (sighs, stands up) Well, yeah, you know, to you and me they're just candles, but to ... witches they're ...like bongs. Willow nods sadly. Dawn sighs.BUFFY: So, no candles, no charms ... (walking toward the door to the bathroom) no-WILLOW: Bird.BUFFY: (stopswalking) No bird?WILLOW: That peacock on the table. (looks at the side table near Buffy) It has two crystals in it. Buffy picks up the small statue of a bird. Sheopens it and finds two crystals inside.WILLOW: Tara, she... (Buffy looking at her) she left them. (Dawn looking at them)BUFFY: I'll make sure she gets them.Willow nods.Cut to downstairs. Buffy walks into the living room carrying a cardboard box. She begins walking around, picking up things and putting them in thebox. Dawn follows.BUFFY: (over her shoulder) Dawn, do me a favor, can you grab the fertility god statue on the desk over there?DAWN: Kokopelli?! No! I lovehim! And he was Mom's. Buffy puts hands on hips and just looks at Dawn.DAWN: (upset) Why do we have to get rid of so many things I like?BUFFY: Dawn, Iexplained this to you. Willow has a problem. The next few weeks are gonna be ... crazy hard on her as it is. Buffy turns away as she continues talking. Dawn rollsher eyes and turns to pick up the statue.BUFFY: (on the sofa, moving cushions around) Any reminder of, of what it is that she's trying to stay away from, youknow, could cause her to ... give in to temptation. Buffy digs among the sofa cushions and finds something. It's a cigarette lighter. She flips it open and stares atit. Flash to Buffy and Spike in the abandoned building, kissing and slamming each other up against the walls. Flash back to the present. Buffy still stares at thelighter.BUFFY: And that would be bad. She turns and tosses the lighter into the cardboard box.Cut to a closeup of the stolen diamond seen through a magnifyingglass. A hand takes it out of its black-velvet-lined case and holds it up. Cut out to reveal Warren, wearing safety goggles and sitting at a workbench. A device ofsome sort, vaguely machine-gun-shaped, is on the bench in front of him. He puts the diamond into a space on top of the device, in the middle of a star shapeformed by six metal spikes. He places a glass cover over the diamond.WARREN: (triumphant) Okay, that's it. It's finally done. Jonathan and Andrew come upbehind him to look.WARREN: I mean, it still needs a trial run, but it's-JONATHAN: Kind of clunky-looking.WARREN: What?!ANDREW: I pictured something cooler.More ILM, less Ed Wood.WARREN: (gets up angrily) You wanna see cool? I'll show you cool. Warren picks up the device. Jonathan and Andrew look alarmed, backaway. Warren points the device at them for a moment, then turns away, fiddling with the controls. The device makes a whirring noise as the star-shaped bit ontop spins around. A bolt of reddish light shoots out and hits one of the leather chairs on the platform. The chair disappears. The Geeks stare in awe. Andrewpushes past the others and goes over to where the chair was. Jonathan follows slowly.JONATHAN: Mama! Warren watches with a smirk. Andrew and Jonathanstand on either side of where the chair was. Andrew makes gestures like he's feeling around in the air.JONATHAN: Did it ... is it...ANDREW: Yeah. Jonathan grinsexcitedly, turns and very carefully sits down on the invisible chair. He spins around a few times, giggles crazily. Andrew stares in awe.JONATHAN: (laughing, toWarren) I'd call that a successful test.WARREN: Well, that's just half the test. Warren begins flipping switches again. The diamond begins to whirl.JONATHAN:Hey! Hey! Andrew leaps for cover and Jonathan pulls his arms and legs up to shield himself as Warren zaps him again. The chair reappears. Jonathan looksnervously at his arms, making sure he's still visible, then gets up angrily.JONATHAN: You pen1s!WARREN: Oh, cheer up, Frodo. Because thanks to my brains, andour mystical gem, we got ourselves an invisibility ray. (shoulders the weapon) And I'd say that makes us pretty much unstoppable. Wolf howl. Opening credits.Guest starring Danny Strong, Adam Busch, Tom Lenk, Daniel Hagen, and Susan Ruttan. Written and directed by David Fury.[SCENE_BREAK]ActI[SCENE_BREAK]Open on Buffy in the kitchen, yelling toward upstairs.BUFFY: Dawn, come on, you gotta eat breakfast! Xander's gonna be here any second. Noresponse. Buffy sighs, turns back into the kitchen.BUFFY: She's gonna be late for school again. Willow is at the stove cooking, wearing pajamas. Buffy looks overat her. Close shot of Willow's hands putting bits of ham into a cooking omelet.BUFFY: How are you doing?WILLOW: I'm okay. Not 'ready to head back to classes,face the world' okay, but ... the shakiness is only semi now. I thought I'd spend the day fishing the net, for more poop on the, uh, stolen diamond. Dawn enters,her arm still in a sling.BUFFY: I called you before.DAWN: (sullen) Didn't hear you. Dawn pours herself a glass of orange juice.WILLOW: Hey Dawnie, uh, I'mmaking you a nice omelet.DAWN: Not hungry. (drinks juice)BUFFY: Dawn, you need to eat something.DAWN: Thanks for your concern. Dawn slams her glassdown and leaves.WILLOW: Okay, I deserve the wrath of Dawn, but ... why is she taking it out on you?BUFFY: Because I let it happen.WILLOW: Buffy, I was theone who-BUFFY: Who was drowning. My best friend. And I was too wrapped up in my own dumb life to even notice. Suddenly the door from the back porch burstsopen. Willow and Buffy look over in surprise as a blanket-covered shape enters, slams the door shut and throws off the blanket, revealing Spike. He straightensup, smoothes down his hair, looks at them.SPIKE: Morning.BUFFY: What are you doing? And, here? (Willow returns to cooking)SPIKE: Just, uh, took a stroll.Found myself in your neck of the woods.BUFFY: Couldn't find a less flammable time of day to take a stroll?SPIKE: Yeah, well, the fact is my lighter's gone missing.Thought it might have, uh, dropped outta my pocket the last time I was here.BUFFY: Haven't seen it. Buffy turns to the sink. Willow takes the omelet pan andputs it on the counter next to the sink.WILLOW: I'm, uh, gonna head back to my room, get dressed.BUFFY: Oh, I... Buffy starts to follow Willow out, but stops.She leans one hand against the island, watches Willow go. Then she turns to Spike with a resigned expression.BUFFY: Lame.SPIKE: What?BUFFY: You. Making upexcuses. (goes back to the sink)SPIKE: Oh, don't flatter yourself, luv. (walking toward her) Bloody fond of that lighter. Buffy turns away from the sink, glares athim.BUFFY: Stop trying to see me. And stop calling me that.SPIKE: (walks over to her) So, um ... what should I call you then? Pet? Buffy just looks at him as heleans right up in her face.SPIKE: (grinning) Sweetheart? My, uh ... (fondling a piece of her hair) little goldilocks? He toys with her hair for a moment with onehand, then the other.SPIKE: You know I love this hair. The way it bounces around when you- Buffy suddenly lifts her hand out of the sink, holding a spatula ontrajectory toward Spike's face, but he grabs her wrist and stops it.SPIKE: Ah-ah-ah! This flapjack's not ready to be flipped. His other hand is on her shoulder andnow drops down out of shot.BUFFY: What the hell is that supposed to- Buffy breaks off with a small sigh of pleasure, closing her eyes.BUFFY: (whispers) Stopthat. Spike looks downward, but we still can't see what his hand is doing.XANDER: Good Godfrey Cambridge, Spike! Spike and Buffy look over to see Xanderstanding in the doorway. Buffy quickly shoves Spike's hands off her, drops the spatula into the sink.XANDER: Still trying to mack on Buffy? Wake up already.Never gonna happen! (Spike and Buffy glaring at him) Only a complete loser would ever hook up with you. (Buffy looking insulted) Well, unless she's a simpletonlike Harmony, or a, or a nut sack like Drusilla-BUFFY: Hey! You really need to get Dawn off to school. Let's go, go fetch her, okay? Buffy walks over to Xander,takes his arm and guides him toward the hallway.BUFFY: (not turning back) You can let yourself out, right Spike? Spike watches them go with a smirk.Cut toBuffy and Xander emerging into the foyer.BUFFY: (calling) Dawn! You better get going, Xander's here!DAWN: Here. Dawn appears from upstairs.BUFFY: Okay,you have everything you need?DAWN: (interrupting) Yep.BUFFY: And after school, you-DAWN: Yeah yeah. Let's go, Xander. (walking toward the door)BUFFY:(intercepting her) You will come straight home.DAWN: (sarcastic) Sure. Maybe we can find some time for you to (Buffy opens door) get me into another caraccident. As the door opens we find a middle-aged woman standing on the front step holding some papers. Buffy gives Dawn a sour look, then notices thewoman.MS. KROGER: (removing her glasses, smiling at Dawn) Oh, good morning. You must be Dawn. (Dawn nods)BUFFY: Can I help you?MS. KROGER: I'm"}
+{"doc_id":"doc_161","qid":"","text":"FLASH IN.[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY](Sirens wail in the distance.)[EXT. LAS VEGAS STREET - DAY](A black Caprice zooms down thestreet. Two officer cars are pursuing it, their sirens blaring.)(The black car crosses an intersection, nearly hitting a white car crossing it at the same time. Thewhite car's horn blares.)(The black car turns the corner. The officer cars continue their pursuit, sirens blaring. The intermittent sounds of automatic guns firing areheard during the chase.)(In one of the cars, Brass is driving; Sofia sits in the passenger seat.)Sofia Curtis: These guys are hard core. Who are they?(The carchase continues.)(In the second car are two officers. The older officer, Sergeant Adams, is driving; the younger officer in the passenger seat is Officer Bell.)OfficerAdams: Tell Control these guys have automatic weapons! Probably A-Ks!(Officer Bell doesn't respond. He's just amazed by the car chase.)Officer Adams: (shouts)You with me!(Officer Bell shakes himself out of it and makes the call. Gun shots are fired from the black car in front of them. The windshield from one of the carssmashes from the impact of the bullets.)Officer Bell: (to radio) Three-David-34, be advised subjects are firing automatic weapons, possibly AK-47s.(In the thirdcar are Officer Davis and Sergeant Carroll.)Officer Davis: (to radio) All right, we're coming up on a T-intersection. Get ready.Sgt. Carroll: Three-boy-seven,pursuit approaching a t-intersection on Jefferson and Third.(Gunfire continues from the black car in front.)(Car 2's windshield is hit; glass shatters in thecar.)Officer Bell: We're going to get killed!Officer Adams: Not if you do what you're supposed to do.(Gunfire continues.)(The black car hits the side and flipsover.)(Car 2 stops. Both officers get out.)Officer Bell: (to radio) Three-David-34, suspect Caprice has T/C'd. Intersection Jefferson and Third.Officer Adams: Whenyou get out, keep your head down.(The two officers open their doors and use it as shield as they prepare for more gunfire.)(The occupants of the black Capricecrawl out of the overturned car. They're both carrying handguns and open fire immediately.)(Behind them, a second officer car arrives. Officers Davis and Carrollimmediately open their doors and use it as shields and return fire.)(The gunmen from the car crawl out and fire to get to cover behind the overturnedCaprice.)(It's complete chaos as gunfire is fired from both sides. Bullets are everywhere - sides of cars, windows, tires - richoceting off metal bins.)(Brass andSofia's car arrives. Sofia gets out of the car and starts firing.)(Gunfire continues between the cops and the gunmen.)(Brass gets out of his car and starts firingfrom behind the car door.)(A bullet hits one of the officer car's tires and flattens.)(A gunman in the blank tank top, Salvator \"Stuckey\" Rosario, stops to changecartridge.)(Gunfire continues.)(Salvator Rosario puts his gun aside. He intends to run for it.)Salvator Rosario: Guys! Go! Go!(Rosario uses the automatic weaponand fires at the officers.)(He tosses the rifle aside when he runs out of bullets.)Officer Adams: They're out of rifle ammo!(Rosario takes out a handgun. An officersees him and shouts out a warning.)Officer: (o.s.) No! Get down! They've got more!(Rosario fires.)(Brass returns fire.)(We hear the pinging of bullets offmetal.)(Officer Bell stands up to fire and is hit with a bullet square in his chest. He falls backward and hits the ground. We see he's bleeding from hisneck)(Salvator Rosario stands up to run. Leandro Chavez follows. A shot is fired and he is shot in the thigh. He falls to the ground.)(Salvator Rosario takes offrunning up a resident's front drive.)Officer: They're running. I'm going left. You go right. Going to take these guys. You guys, move on up.(Brass moves forwardto provide cover as Officer Adams checks on Officer Bell. The other officers scramble to chase after the running gunmen.)Officer: (to radio) Three-boy-seven infoot pursuit of two male Latinos. One east, one west on Third Street. Requesting backup.(Officers chase after the gunman. Salvator Rosario jumps over awall.)(Officer Adams calls for assistance.)Officer Adams: Three- David-34, officer down. Requesting immediate backup and paramedics. (to Sofia) I'll take care ofit. I'll stay with him.(Brass and Sofia both leave to help pursue the gunmen.)(Additional backup arrives.)(Sofia runs up to Leandro Chavez, who was shot. Shestands over him, her gun on him. She kicks his gun out of his reach.)(A neighbor steps out into his yard and looks over at Brass.)Neighbor: Que paso?Brass:Nada. Haciente. Adentro, adentro.(A second officer approaches Sofia.)Sofia: Cuff him.(The officer takes out his handcuffs to cuff the man in the white tank. Sofiaturns and starts running to help catch the other gunman.)Leandro Chavez: Dame una ambulancia, puey.Officer: I don't speak Spanish.(Sofia runs to help OfficerDavis as they head to the west of the alley behind Third.)(Brass rushes alongside the building to the east of the alley behind Third, his gun in hand. He reachesthe back of the building.)(He hears a noise and whirls around. He sees a woman open the door and step outside. He motions for her to get back inside.)Brass: (tothe woman) Back inside, back inside.(In the distance, gunshots are fired. Brass makes his way toward the sound.)VARIOUS FLASHES OF:(Officer Davis and thegunman exchanging gunfire as the gunman tries to escape down the alley.)(Officer Davis runs out of bullets, his gun clicking.)(Salvator Rosario turns around andsteps closer to the officer to fire. Sofia turns the corner and sees the gunman. She fires several shots, hitting the gunman in the shoulder.)(Salvator Rosario goesdown.)(They both approach the gunman.)Sofia Curtis: You okay?Officer Davis: Yeah. You?Sofia Curtis: Yeah.(Officer Davis reaches the gunman first. He picks upthe gun.)Sofia Curtis: What are you doing? Put it down.(He puts the gun back down on the ground.)Officer Davis: Yeah, sorry. I was just trying to secure hisgun.Sofia Curtis: He's not going to use it anymore.(Meanwhile, the third gunman, Ricardo Estevez, is near the top of a fence when Officer Carroll turns the cornerand stops him.)Officer Carroll: Stop! Police! Stop! Police!(Ricardo Estevez jumps back down to the ground, his hands raised high above his head.)Officer Carroll:Don't move! Don't move!(Officer Carroll hears a sound behind him and turns to look. Brass rounds the corner, his gun raised.)(Ricardo Estevez suddenly findshimself with a gun in his hands.)(Someone fires and hits Ricardo Estevez several times in the chest.)(Officer Carroll steps forward. Brass kicks the gun off to theside.)(Brass takes out his radio.)Sofia: (from radio) Brass, suspect's in custody.Brass: (to radio) Copy. Control, this is Brass. Situation here is code 4. We havethree suspects in custody. One is on the run.[SCENE_BREAK][EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY](The ambulance pulls away.Grissom and Catherine approach the scene.)Catherine: You know it's going to be a long shift when you get the call to respond to a command post.Grissom: Yeah.(to phone) Warrick ... we need everyone from grave. But park on Wall Street. Jefferson's taped off all the way back to Lincoln.Vartann: The suspect was last seenrunning south.Officer: These buildings have been searched and cleared.Vartann: Okay, move south one block. Check each apartment. This guy's armed anddangerous.Cavaliere: You got a lot of witnesses claiming to have seen what happened.Vartann: Okay, good. Let's get some vans down here, bring them all to thestation.(They walk over to Sofia and Brass leaning up against the SWAT van.)Catherine: What happened out here?Brass: I was one of the shooters. So was Sofia,so you know the deal. That's really all I'm allowed to say.(Brass notices Detective Nestor Ortega standing nearby.)Brass: I see, uh, Detective Ortega, thathard-head from IA, is handling the case. Just our luck.(Vartann joins them.)Vartann: Caprice full of shooters opened up on two of our guys. One's down.Grissom:Is Bell going to make it?Vartann: (shakes his head) He's DOA. Three suspects are dead. Fourth outstanding.Nestor Ortega: (interrupts) Excuse me ... guys, hangtight. I'm going to get some rides. Take you down to the station, okay? I want to get your statements.Brass: Yeah ... yeah.Nestor Ortega: Good, good. Excuseme.(Ortega leaves.)Catherine: (quietly to Grissom) I'll stay with them. I'll collect their firearms and ammo.Grissom: All right. (to Brass) Good luck.Brass: Thankyou.(Grissom walks past Brass and Sofia. He walks past an officer standing nearby.)Officer: (under his breath) Hell of a day, man.Grissom: It's justbeginning.FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. STREET -- DAY](Detective Chris Cavaliere rushes down the street with the gun inhis hand in pursuit of the final gunman. He turns the corner and sees the body on the street. The other officers rush forward.)Officer: GSW victim matches thesuspect.Chris Cavaliere: You shoot him?Officer: No, sir. Found him this way.(Detective Cavaliere notices the bike strap still around the kid's ankle.)ChrisCavaliere: Bike strap ... this isn't our suspect. This is a kid on his way to school. Where's his bike?Officer: There was no bike.Chris Cavaliere: Put out a broadcast.Suspect may be on a bicycle. (to radio) We need medical transport. Code three ...[SCENE_BREAK][EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD- DAY](Grissom hands out instructions.)Grissom: Okay, everybody around here has got a video camera or a cell phone camera. They'll all be takingpictures.Warrick: I think we all know how to operate in front of a camera.Nick: Don't be caught picking your nose.Grissom: Catherine's back at the stationcollecting the officers' guns. This is the main crime scene. So Nick, you and Sara take this. There's two additional crime scenes down the alleys behind Third.Warrick, you take the west alley, I'll take the east.Greg: And what do I get to do? Go back to the lab and wait for a phone call?Grissom: This is a running gunbattle that started twenty blocks back. You get that.Greg: That's got to be, like, a mile? Who's with me?Sara: A bunch of pissed-off locals with shot-up cars.(Sarapicks up her kit.)Greg: Awesome.Warrick: You'll be all right.(They all pick up their kits and head in the direction of their assignments.)[SCENE_BREAK][EXT.ALLEY BEHIND THIRD (EAST) - DAY](Grissom arrives at the alley and puts his kit down. David Phillips is already there with the body. The coroner and an officerstand nearby.)(Grissom puts evidence marker #12 down next to the bullet casing and snaps a photo.)David Phillips: Grissom?(Grissom picks up his kit and movesto the next casing.)David Phillips: Heard anything about Bell?Grissom: He died, David.(Grissom puts his kit down and puts evidence marker #13 next to thegun.)Grissom: (to the officer) Is this gun in its original position?Officer: The arresting officers kicked it clear of the suspect.(Quick flashback to: Ricardo Estevezand standing in front of the fence is holding a gun in his hand. He's shot several times and drops the gun. Brass kicks the gun aside.)(End of flashback. Resume topresent.)Officer: Nobody's touched it since I've been here.(Grissom snaps a couple of photos.)David Phillips: Well, there's no bullet holes in the back. That'salways good.Grissom: How many times was he hit?David Phillips: I don't know. Officer, can you remove these handcuffs?Officer: Sure.(The officer steps forward"}
+{"doc_id":"doc_162","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - DAY][EXT. DESERT ROAD - DAY]CU: LIZARD ON A ROCK(A lizard is on a rock in the middle of the road.)(Officer cars rush downthe road and are headed toward the lizard. Sirens blare. The lead car suddenly turns right and smashes through the wooden fence. The other cars follow.)[EXT.CONNORS RESIDENCE - DAY](The officer cars rush down the long driveway and stop in front of a house complete with pigs in a sty out front. Car doors open andofficers with their guns out take position behind the doors. The SWAT team moves out toward the house. Brass gets out of the car and yells through thebullhorn.)Brass: Hank Connors, Las Vegas Police. Come out with your hands above your head. Come out slowly.(Gunfire erupts from the house. Officers duck asbullets shatter car glass.)(The officers return fire.)(A couple of SWAT move in closer and take cover behind an old tractor.)(The gunfire from the housecontinues.)(The two SWAT officers move in closer to the house. One of them is hit.)Brass: Officer down!(They continue to exchange gunfire.)Hank Connors:(shouts) Go back where you came from! You're not taking me!(He continues to fire on the officers outside.)(He stops and looks outside.)SLOW MOTION: ThreeSWAT officers move in toward the house.(Hank Connors takes a moment, then he runs into the house.)(The officers reach the front porch.)[INT. CONNORSRESIDENCE - HALLWAY - CONTINUOUS](Hank Connors makes his way through the hallway to the door in the back.)[EXT. CONNORS RESIDENCE - FRONT PORCH-C ONTINUOUS](One of the officers kicks the front door in.)[INT. CONNORS RESIDENCE - BACK DOOR - CONTINUOUS](Hank Connors stops in front of the backdoor and turns around to look inside, his back to the door.)[INT. CONNORS RESIDENCE - LIVING ROOM - CONTINUOUS](SWAT officers enter the house and headfor the hallway.)REVERSE VIEW(The SWAT officers appear in the hallway entrance and make their way toward the back door.)(Hank Connor appears to stand infront of the back door.)(SWAT officers continue to make their way toward him.)(Hank Connor grabs a gun, puts it under his chin and --BANG!(Blood spatters onthe back door window.)[SCENE_BREAK][INT. CONNORS RESIDENCE - LIVING ROOM / HALLWAY - CONTINUOUS](The guns found in the house are on the table.Nick walks in and heads for the hallway where Hank Connor's body is slumped up against the back door.)(Along the hallway walls, Nick notes the guns andammunition stacked on the side. He stops in front of the body and notes the handgun in the victim's grip. He also notes the large water bottles in the roombeyond the back door.)(Brass enters the hallway.)Brass: MREs, automatic weapons, ammo, water -- this guy Connors was ready for the end of days.Nick: Which,in his case, was today. Bomb squad find any booby traps?Brass: No, he liked it mano a mano.Nick: Any sign of Chyna De Vere?Brass: Notyet.[SCENE_BREAK][EXT. CONNORS RESIDENCE - FRONT YARD -- DAY](Grissom and Warrick walk along the side of the house where the pigs in the penare.)Warrick: You know, there's some food, you just shouldn't see where it comes from.Grissom: Did you know that pigs are very intelligent animals, right behindchimps, dolphins and elephants?Warrick: Ahead of dogs?Grissom: And certain politicians.(Warrick chuckles.)(They look around.)Warrick: I don't see Connors'truck anywhere.Grissom: Let's look in the barn.(They head for the barn.)[SCENE_BREAK][INT. CONNORS RESIDENCE - BARN -- DAY](The cat runs down thesteps and out the door as it opens. Grissom and Warrick walk in.)Warrick: There's the truck.(Warrick steps up to the area where the blue truck is parked. He andGrissom look at the truck. They find bloodstains in the bed.)Warrick: If this is Chyna De Vere's blood, we're getting warmer.(Warrick snaps photos of the blood.Grissom turns and looks around the barn. They note the items on the desk and the stuffed animals on the side.)Warrick: Looks like he had a hobby -- stuffedanimals.(Warrick stops near the table and looks at the items on it while Grissom continues toward the other side of the barn. He looks at the various stuffedanimal heads up on the wall.)Grissom: Hey, Warrick.Warrick: Yeah?Grissom: I feel like Marco Polo.(Warrick heads over toward Grissom.)Warrick: Why'sthat?Grissom: I just discovered Chyna.(Chyna's head is mounted up on the wall.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][INT. CONNORSRESIDENCE - BARN -- DAY](David Phillips is standing up on a chair and looking at Chyna's head up on the wall.)David Phillips: This is a career first.(Warrick isworking on the table in the back.)Warrick: A little tip for you: The new Mrs. Phillips doesn't need to hear about this.David Phillips: Are you kidding me? She'll wantto hear every detail. Why do you think I married her?[SCENE_BREAK][EXT. CONNORS RESIDENCE - FRONT YARD -- DAY](Sara walks around the house and findsNick in the sty with the pigs and the mud. He's trying to round them up.)Nick: Come on, pretty girl, come on.(The pigs squeal. Sara watches him.)Nick: Comeon.Sara: Hi.Nick: Hey.Sara: What are you doing?Nick: Well, I read about this farmer in Canada who killed a bunch of women and fed them to his pigs.Sara:Oh.Nick: Yeah, their health department had to put out a bulletin that said, \"Warning: your pork may be contaminated with human.\"(Nick pushes a pig toward thecontainer opening.)Sara: I'm so glad I'm a vegetarian.(The pig snorts as Nick grabs him and pushes him through the opening.)Nick: Get through there!(The piggoes through the opening.)Nick: Well, no one has seen or heard from the victim's husband, so ... I kind of figured he may have been dessert.(Nick herds anotherpig to the opening.)Sara: I think the fat one likes you.(Nick smiles and sighs at Sara.)Nick: They always do.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -DAY][INT. CSI - GARAGE -- DAY](Greg and Catherine walk into the lab.)Greg: We went to Connors' ranch because a week ago, Chyna De Vere went missing. Shejust separated from her husband, got her own place.(They stop in front of a large piece of carpeting on the floor.)Greg: This is a large section of her living roomcarpet -- wet to the touch, pheno confirmed a blood pool.Catherine: Well, it's certainly enough blood to suggest foul play.(Greg looks through the file.)Greg:There were also traces of perchloroethylene, phosphates, alcohol, ethers and sodium hypocholorite.Catherine: Used a steam cleaner. Would've denatured anyDNA.(She stands up and walks around the carpeting.)Greg: Yeah, we checked all the local places that rent them. Connors' name didn't come up.Catherine: Howabout the husband's?Greg: Nope. And he's still missing.Catherine: So what's this?(She points to a circle on the carpet marked GS 102.)Greg: That is a single,distinct blood drop -- not from the victim, not from the husband. They didn't clean the whole carpet. Unknown female. We also found soil trace, identified asscheelite, a tungsten ore. Apparently, Connors' ranch is near old tungsten mines by McCade.Catherine: (shakes her head) How is Connors, this pig farmer,connected to the victim?Greg: Oh, he's in kind of a club with the victim's husband.Catherine: Kind of a club?[SCENE_BREAK][INT. CONNORS RESIDENCE - BACKROOM -- DAY](Grissom flips through a book of drawings of aliens, UFOs and other unidentified creatures. He closes the book to look at the title, \"To Walk AmongUs.\")(He puts the book down. The next book on the bookshelf is, \"Serpents of the Universe: A Comprehensive Account of the Reptilian Conspiracy.\")(He turns andlooks at the various items on the table - UFO magazines, a photo, tin foil, tape. He picks up the photo of two men and a woman. He puts the photo down andopens a magazine to a yellow flyer. It reads:APRIL 15, 2006FRIENDSHIP AUDITORIUM McCADE, NEVADASPECIAL PRESENTATIONBASED ON THE WORK OF DR.SIDNEY BUCKMANWE ARE NOT ALONE. COME HEAR THE TRUTH. )(He picks up the flyer and looks at it.)[INT. CONNORS RESIDENCE - LIVING ROOM / BACKROOM -- DAY](Sara walks into the house as the coroners are wheeling out the body. She walks through the hallway and into the back room where Grissomis.)Sara: Want me to take the living room? Looks like Armageddon came on a Thursday.Grissom: Do you believe that intelligent life exists on other planets?Sara:I'm not sure there's intelligent life on this planet.(He gives her a look.)Sara: I'll get started.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. POLICEDEPARTMENT - INTERVIEW ROOM -- DAY](Brass walks in and talks with Shannon Turner.)Brass: Ms. Turner.Shannon Turner: I already went through this a weekago.Brass: You know, you're right. But let's go through it again. Chyna De Vere is dead. And her remains were found on your boyfriend's ranch.Shannon Turner:Yeah, not my boyfriend -- my friend. And furthermore, I never knew Chyna De Vere.Brass: She wasn't a member of your club?Shannon Turner: No. If she was, Iwould have known her, and I didn't.Brass: Her husband was. And he's MIA. You know, the club's getting smaller and smaller by the minute. This morning, HankConnors died.(Shannon Turner appears shocked and upset by the news.)Brass: When we went up there to arrest your friend, he shot himself. And I'm getting thefeeling that you're going to be missing a meeting, too. Look, Shannon, you alibied a killer. You're already an accessory to one murder. If Hank Connors killedChyna's husband, too ...Shannon Turner: Oh. Oh, is that what you think happened?Brass: Tell me where he is. Hmm? You know, this can work in your favor withthe DA.Shannon Turner: Oh, you know what? I'm not really worried about that.[SCENE_BREAK][INT. CONNORS RESIDENCE - BACK ROOM -- DAY](Grissom islooking at the notices and clippings pinned to the bulletin board. He looks around and notices the pull-down projector screen up on the ceiling. He pulls down theprojector screen and looks around for the projector.)(At the end of the room, the projector is set up in the closet. Grissom turns the closet light on and switcheson the projector.)(The image of Dr. Sidney Buckman appears on the screen.)Sidney Buckman: Adam and Eve were not only the first humans on the Earth, theywere bait ... for intelligent life forms elsewhere in the cosmos, refugees from planets that could no longer sustain them. But why Earth? Deoxyribonucleic acid.DNA. The blueprint of human life is the key to their survival. Without it, they will perish.[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEW ROOM -DAY](The door opens and Greg walks in with his kit.)Greg: Hi, Ms. Turner. My name's Greg Sanders; I'm with the Crime Lab. I have a warrant to take a sample ofyour DNA.(He puts his kit on the table and gives the warrant to her.)Shannon Turner: You're not touching me.Greg: Well, ma'am, this is standardprocedure.(Greg opens his kit and takes out a swab.)Shannon Turner: I know who you are.Greg: I'm just going to swab the inside of ...(He approaches her withthe swab. She stands up and violently pushes him away from her.)Shannon Turner: Hey! Not!(The woman officer grabs her and holds her as shestruggles.)Officer: Calm down.Shannon Turner: Get off of me!Officer: Calm down, ma'am. Calm down.Shannon Turner: All of you get away from me! Get him"}
+{"doc_id":"doc_163","qid":"","text":"LORELAI'S HOUSE - LIVING ROOM[Lorelai is packing a bag, Chris and Paul Anka are sitting on the couch, Chris looks bored]LORELAI: Okay. Toothbrush,hairbrush, hypoallergenic pillow, chenille blanket... ooh, comfort shoes. Got them.CHRISTOPHER: Those are your comfort shoes?LORELAI: Not mine -- PaulAnka's.CHRISTOPHER: We're staying in tonight. You can probably get away with flats.LORELAI: He loves, loves, loves chewing on these. They remind him of asquirrel carcass.CHRISTOPHER: Yummy.LORELAI: Don't judge. You eat jerky like it's going out of style.CHRISTOPHER: So, all this stuff is for Paul Anka?LORELAI:No, not all. The toothbrush is mine.CHRISTOPHER: Lorelai.LORELAI: What? It's his first night staying at your house. I want him to have all the stuff that makeshim comfortable. Ooh -- tennis balls!CHRISTOPHER: I actually have tennis balls.LORELAI: Penn or Wilson?CHRISTOPHER: You're joking.LORELAI: Paul Anka'smust be Penn. They must be new, they must be green -- not orange and green, just green. And FYI, you might want to watch that sarcastic tone of yours becausedogs are very attuned to tone. It's kind of like Chinese, in that respect, dog language. It's very tone based. And you are stressing him out right now with yourtone.CHRISTOPHER: The dog is stressed?LORELAI: Look at him. And when he gets like this, you need to talk to him in sweet and dulcet tones. [High-pitchedvoice] Hi, Paul Anka. Ooh, hi, boy! Hi! [Normal voice] Get it?CHRISTOPHER: Got it.LORELAI: Good. Sunglasses. [goes to get them]CHRISTOPHER: [To Paul Anka]This is not normal. I want you to know that. [To Lorelai] The dog wears Ferragamos?LORELAI: Oh, please. Don't give him any ideas. These are mine. All right,let's go. You take this, this, and this. Come on. What are you waiting for?[They go out and close the door, Paul Anka whimpers a little, then Lorelai comesback]LORELAI: Oops. Here, Paul Anka. [Claps]OPENING CREDITSHALLWAY TO LOGAN'S APARTMENT[Rory's phone rings]RORY: [answers cell phone]Hey.LOGAN: Hey, you watching it?RORY: What?LOGAN: The meteor shower.RORY: What meteor shower?LOGAN: It's on the news the BBC said there's somehuge meteor shower tonight. I thought we could watch it together.RORY: Uh, Logan, I have been in the library for the past nine hours. I don't know anythingabout any meteor showers. But I could use a regular shower, though.LOGAN: Go up on the roof and check it out.RORY: Now?LOGAN: Yes, now! It's supposed tostart in like two minutes.RORY: But...LOGAN: Ace! This is once-in-a-lifetime celestial event. Get going.RORY: Okay, okay. I'm getting. I'm going.LOGAN: Are yourunning?RORY: I'm running! I'm running! Who knew you were such an astronomy buff?LOGAN: Hurry!RORY: What has gotten into you?[Rory makes it to theroof]LOGAN: Nice night.RORY: Oh, my god! You're here! What are you doing here?LOGAN: [Chuckles] Happy to see me?RORY: Beyond happy! [They hug]Ecstatic! I can't believe you're here! And look at me -- I'm covered in highlighter ink and I smell like Fritos and ginger ale.LOGAN: It's an aphrodisiac.RORY:You're here and you did all this?LOGAN: You like?RORY: I love, but you didn't have to do this. I mean, you're here. It's enough. It's more than enough.LOGAN:Could you shut up now so I can kiss you?[They Kiss]RORY: So there is no meteor shower?LOGAN: No meteor shower.RORY: So you used the entire cosmos totrick me?LOGAN: I like to think big.RORY: So, what is going on? What, Why are you here?LOGAN: I'm kissing my girlfriend on the roof. Mmm.RORY: Butwhy?LOGAN: The Fritos and Ginger Ale thing. I told you, huge turn-on.RORY: [Sighs] Explain yourself.LOGAN: I'm just here for a quick business trip.RORY: Howquick?LOGAN: Too quick.RORY: How quick is \"too quick\"?LOGAN: I have 10:00 flight back to London tomorrow night.RORY: Oh, that is too quick.LOGAN: Thatwebsite my team has been trying to buy -- the owners finally agreed to sit down, talk to us tomorrow over breakfast.RORY: Logan! That's great, right? I mean,three weeks ago, they weren't even taking your calls.LOGAN: It is great. However, not as exciting as kissing my girlfriend on the roof.RORY: Um, so, what's thatamazing smell?LOGAN: Food from Ibiza.RORY: The island?LOGAN: The Tapas plAce downtown.RORY: Ooh, did you get the duck?LOGAN: I did.RORY: And theshort ribs?LOGAN: Yes. And...RORY: [Gasps] Ooh! A 2003 red something. Oh I bet it's very oaky and corky and full of fruity legs.LOGAN: Know a lot about wine,do you?RORY: Not so much, but the label's pretty.LOGAN: There's also gazpacho, that cheese-pie thing you love, plus flan.RORY: Ooh, flan! You got meflan?LOGAN: Doesn't take much to make you happy, does it?RORY: Not when you're on this continent.LOG: Okay, why don't you open this wine? I want to tastethose fruity legs, and I'll make you a plate with extra flan.RORY: Okay. [starts to open the bottle but then runs to Logan] Ooh, I'm so glad you're here!LOGAN:[Sighs]CHRIS' APARTMENT - LIVING ROOM[Lorelai is on the couch, playing with the Tivo remote, Chris walks in]CHRISTOPHER: Ha-ha! You're killing myTivo.LORELAI: I'm not killing it. I'm composing on it, I'm composing a symphony. Finally, an instrument I can play.CHRISTOPHER: Give me that.LORELAI: No, no,no!CHRISTOPHER: Give me!LORELAI: Not until you explain your choices.CHRISTOPHER: What?LORELAI: \"The View\"? \"Girlfriends\"? \"S*Bado Gigante\"? Whocontrols this thing, you or Pedro Almodóvar?CHRISTOPHER: It's the nanny.LORELAI: Sure, it's a likely story.CHRISTOPHER: Give me, give me, give me.LORELAI:Did Gigi Get to sleep okay?CHRISTOPHER: She did. I tried to skip to the end of \"Cinderella,\" but she wouldn't let me. It's my own fault. My wicked stepsister voicekills.LORELAI: She's amazing, you know?CHRISTOPHER: That reminds me.LORELAI: Oh, no! You're not gonna show me some of her art, are you? I never knowwhat to say in those situations. I mean, even when it was Rory's art, you know? Three blue finger smudges and some construction paper. It's not precocious. It'sjust messy.CHRISTOPHER: Here. This came a couple of days ago. It's from Sherry.LORELAI: From Sherry?CHRISTOPHER: Yeah, it's the first I've heard from hersince the divorce was final. Go ahead and read it.LORELAI: Wow, how \"Dangerous Liaisons\" of her. She doesn't call. She doesn't e-mail. Then she sends you aletter with a wax seal that weighs roughly the same as a porterhouse.CHRISTOPHER: Well, she had a lot to say.LORELAI: Gosh. It's a lot of sorry.CHRISTOPHER:Yeah, 15 pages worth. Believe me, I was not expecting this. Humility is not a side of Sherry I've ever seen before. I don't know if it's the yoga or the yogainstructor or...LORELAI: Yoga instructor?CHRISTOPHER: Yeah, she's dating her yoga instructor, Jean-Claude or Jean-Pierre -- one of those names that alwayssounds fake. Anyway, it sounds like she's really changed. She feels awful about what happened, run away like that and she wants to find a way to be part ofGigi's life again.LORELAI: Honey, that's great.CHRISTOPHER: Right?LORELAI: Yeah... So, you got this two days ago and you're showing it to menow.CHRISTOPHER: Well I was gonna show it to you, a couple of days ago but I figured you were coming over so...LORELAI: No, I'm notcriticizing.CHRISTOPHER: You're not?LORELAI: No, I'm complimenting -- badly, obviously. But I'm complimenting. You shared it with me.CHRISTOPHER: Well Ikind of thought that was how the whole adult-relationship thing worked. You know, openness, honesty.LORELAI: Interesting. And you're sure you don't want tostash it away somewhere and then I find it -- accidentally, of course -- months from now, and I get all weird and insecure about why you didn't show it to mesooner?CHRISTOPHER: I'm good with the sharing.LORELAI: All right. It's another way to go.[They sit back to watch TV]CHRISTOPHER: [Evil voice] That glassslipper will fit my foot. [Normal voice] That was my wicked stepsister voice.LORELAI: Yeah, I figured.[Lorelai looks happy]ROOF TOP[Rory and Logan are layingon the floor]RORY: I'm so happy.LOGAN: Me too. [Kisses Rory on the head] You know you can't do this in London? The city lights are so bright, you almost neversee the stars.RORY: Yeah, but it's London.LOGAN: Ah.RORY: Wait, are you tired of London?LOGAN: I'm tired of not being around you.RORY: Yeah, but you can'tbe tired of London. Samuel Johnson said, \"when you're tired of London, you're tired of life.\"LOGAN: Obviously, the man was never in a long-distancerelationship.RORY: That's true. Boswell did keep quite close.LOGAN: [Smooches] What are you doing?RORY: Nothing.LOGAN: You're trying to sneak a peek at mywatch.RORY: Well, I just can't believe it. I can't believe you're here. And I-I can't believe that you're leaving in only 26 hours and 45 minutes.LOGAN: Come onthink positive -- that's an entire lifetime to a fruit fly.RORY: Actual you're thinking of a mayfly. Fruit flies can live for up to a month. So what do you think, can youstay for a month? I mean what if your meeting tomorrow goes really, really well?LOGAN: I hope it does.RORY: It will. It's a great idea.LOGAN: It's basicallyMyspAce.RORY: But by invitation only. And it'll be like an online version of the Algonquin group, like throwing a party in your head where everyone you've everwanted to talk to is there -- Ira Glass, Sofia Coppola, Flaubert, Danger Mouse.LOGAN: The deal's not done yet. Far from it. These guys aren't just gonna handover their website because we buy them breakfast.RORY: They might. Tell them that they can order pancakes and eggs. Don't make them choose. Sausage,bacon, fruit, potatoes -- let them get the whole combo. 'Cause Then they will have to sell it to you. It'd be rude not to.LOGAN: You are a business genius,Ace.RORY: Well, I'm taking econ with my grandpa.LOGAN: Whatever happens, we'll be ready. We've been working our asses off on this one -- Nick, Bobby,Phillip.RORY: Oh, yes -- Phillip, Nick, Bobby. The team. Starting lineup.LOGAN: It is a classic win-win. They give us a foothold in new media. We give them a hugeinflux of capital, which they need. Believe me when it comes to debt versus equity, they're screwed. They have no liquidity, huge expenses, zero revenue. Imean, the target advertising potential alone -- what? What are you staring at?RORY: You, \"Mr. Debt versus equity.\"LOGAN: Are you mocking me?RORY: Yeah,but I like it. Tell me more about this um, targeted advertising potential.LOGAN: What do you want to know? There's pay-per-click, pay-per-lead, banner ads, pixeltagging.RORY: Oh, stop. I'm getting weak at the knees.[They kiss]LOGAN'S APARTMENT[Next morning, Rory is still in bed]RORY: [reaching for Logan]Logan?LOGAN: Shh. Go back to sleep. It's only 6:00.RORY: In the morning?LOGAN: Yes, in the morning. Go back to sleep. I'm sorry I woke you.RORY: Hey,where you going? Come back here.LOGAN: I can't I promised Nick, Bobby, and Phillip I'd meet up with them for breakfast before the pitch.RORY: I thought thepitch was at breakfast.LOGAN: It is, but we can't walk in there unprepared. We got to go over our notes, talk strategy. It's a pre-breakfast breakfast.RORY: Workdork.LOGAN: Did you just call me a work dork?RORY: Admit it, just admit that you're a work dork.LOGAN: I'll admit that I'm a work dork, if you admit that you"}
+{"doc_id":"doc_164","qid":"","text":"[Salvatore's house](Caroline is sitting on the couch. Damon gives her a glass of blood)Damon: HereCaroline: I'm still shaking(She drinks. Stefan arrives)Stefan:What happened?Damon: go ahead, tell him. You're gonna love thisCaroline: I saw Katherine todayStefan: Where?Caroline: At the grill. I just stopped by to gawkand... 'cause I stuck Matt[Mystic Grill](Caroline tells them the story. She's looking at Matt)Matt: Do you need a table?Caroline: No, I'm not staying. I just neededto use the little girls' roomDamon: Skip the teen drama and getCaroline: Then I had to pretend to use the bathroom even though I didn't really have to gobecause I'm defies(Caroline is in the bathroom. She's washing her hands when Katherine arrives. She poses as Elena)Caroline: Elena?Katherine: Hey, I saw youwith Matt, are you okay?Caroline: Yeah, you know... whatever(She rushes over Katherine. Katherine smiles)Katherine: You're good. What gave me away? Was itthe hair? Or was it my clothe?Caroline: I know Elena is... I know Elena's at homeKatherine: I need you to deliver a messageStefan: What was themessage?Katherine: Tell Damon and Stefan that I want the moonstone or I will rip this town apart until it rains bloodDamon: Tell him the rest of itKatherine:Tonight, at the masquerade ball[Salvatore's house]Stefan: She wants to do it in public. Killing Mason threw off her guardDamon: She's running scared. What shedid to Jenna was desperate. She's out of tricksStefan: We can't underestimate her. We have to play this smarter than herCaroline: Can we just give her themoonstone so she'll leave?Damon: No, Katherine's not getting dick. I'm gonna go to the masquerade ball and I'm gonna kill her, tonightStefan: You're not gonnakill herDamon: Don't give me that goody goody crapStefan: You're not gonna kill herDamon: Really?Stefan: Because I am[Gilbert's house](Jenna is coming fromthe hospital. Jeremy, Matt and Elena are helping her)Matt: Easy. Grab the door JerJenna: Hey, stop fussing, I'm fineElena: The doctors said that you have to takeit easyJeremy: Yeah, you don't want to rip your stiches, hemorrhage and die, alright?Jenna: yeah, the only thing I'm gonna die from is embarrassmentMatt:NoJenna: I walked into a knife. How does somebody do that?Elena: It is a freak accidentJeremy: Yeah, it happensMatt: Yeah, I mean I've done it like 20 times atthe grill(Jenna laughs)Matt: Okay, I'm being nice(They put her on the couch)Matt: What should I do with this?Elena: I got it(He gives her a bag with food. Mattstays with Jenna. Elena goes in the kitchen. Jeremy follows her)Jeremy: So what are we gonna do?Elena: Make lunchJeremy: No, about KatherineElena: We'renot gonna do anything, JeremyJeremy: She tried to kill Jenna. We can't let her get away with thatElena: yes we can. If it keeps us safe then we canJeremy: Andwhat if she tries something else?Elena: She won't. Katherine hurt Jenna because I didn't do what she said. I'm not doing it now, me and Stefan are over. Shewins, the endJeremy: You are being naïve and you know it(He leaves)Elena: Where are you going?Jeremy: Out. I'll be back[Katherine's bedroom](Katherineenters the bedroom. She's carrying a shopping bag. Mrs. Flowers is helping her)Mrs. Flowers: Where should I put these?Katherine: Right there. Thank you, Mrs.Flowers. You've been such a wonderful helpMrs. Flowers: Oh, it's my pleasure dear. Let me know if there anything else I can doKatherine: I will(She takes a dressfrom one of the bags. A woman is in the bedroom. Katherine rushes over her and pushes her against the wall)Lucy: Oh, Kat, chillKatherine: Do not snick up on avampireLucy: Don't attack a witch. It's good to see you girl(Katherine embraces her)Katherine: I'm glad you made upLucy: You called, I cameKatherine: Like youhad a choiceLucy: Don't get all boss lady on me. You know I love you(She takes a mask from one of the bag)Lucy: Now, where does one where this?Katherine:To a masquerade ball. Tonight. You want to be my date?[Salvatore's house](Caroline opens the door to Bonnie)Caroline: Hey, come on inBonnie: I got Stefan'smessageStefan: Hey, you brought the grimoire, thank you(She sees Damon and Alaric talking and she sees that there is a lot a weapon on the table)Bonnie:What's going on?(Jeremy arrives)Jeremy: We're gonna kill KatherineStefan: I can explainBonnie: PleaseStefan: We're gonna kill Katherine(Alaric shows theweapon to everybody)Alaric: This works with compressed air. The trigger mechanism is up here. I have two of these in a different size. For you I recommend this.It feats nicely under the jacket sleeve. You use the trigger when you're ready(He fakes killing vampire. Damon and Stefan look at each other)Alaric: He wantedme to show him how to kill a vampire[Katherine's bedroom](Katherine is smoothing down her hair)Lucy: What's with the hair?Katherine: I'm impersonating mydullest dishwater doppelganger Elena. She has the worst tasteLucy: Except in man. Isn't a risk pretending to be her in front of the entire town?Katherine: I'vegotten quite good at it actually and everyone's gonna be in masks. It's for some fid, something charity. It's for a good cause LucyLucy: Hum, okay. Well, have youactually seen the moonstone before? I always thought it was some made up legendKatherine: I have seen it and I need you to help me get it backLucy: Oh yeah?What are you gonna do with it?(Katherine looks uncomfortable)Lucy: you want me to break the curseKatherine: Let's just get it first. All i need from you is for abackup. I can't imagine that Damon and Stefan are just gonna hand it over without putting up a fight[Salvatore's house](Bonnie is talking with Stefan)Bonnie: Iknow you love Elena and you want to be with her but it's risky. Too many people could get hurtStefan: Look, I want Elena back, yes but it's more than that. WhatKatherine did to Jenna crossed the line. She has to be stopped before it happens againBonnie: I don't know, StefanStefan: Look, Katherine knows me, right? Sheknows that I'm not gonna try something in a crowd full of innocent people so that gives me an edge. I could get to her by surpriseBonnie: I could do a spell totrap her, like the tomb spellStefan: Right. We can isolate her, away from the others. Please BonnieBonnie: Okay[Gilbert's house](Elena and Matt are talking. Mattis leaving)Elena: You're welcome to hang out. Alaric's coming over. It's gonna be pizza and bad TVMatt: I'd love to but I'm going to the masquerade party at theLockwood's, aren't you?Elena: Uh, no... not with what's going on with me and StefanMatt: I've got to go, there's something I got to doElena: What?Matt: Justsomething, I can't talk about it but I've got to goElena: Okay. Well, have funMatt: Yeah. Me and a suitElena: You look good in a suitMatt: You and Stefan areworking it outElena: I don't think so, Matt. There's so much about me and Stefan that'll never workMatt: You know I'm here for you always(She embraceshim)[Salvatore's house](Everyone is in the living room)Alaric: Are you sure you guys don't want me there tonight?Stefan: No, I need you to stay with Elena. Idon't want her to know about thisAlaric: Okay. Well, I'll make sure she doesn't leave my sideStefan: Alright, if anyone wants to back out, I'll understandDamon:Yeah. Cold feats speak now. I don't want this going wrong with someone chicken's out. Caroline?Caroline: I won't. Look, she killed me. Fair's fair. As long there'sno werewolf running aroundDamon: Oh, I took care of MasonJeremy: As long as Tyler doesn't kill anyone, he won't turnStefan: Bonnie? Are you with this?(Longpause)Bonnie: But no one gets hurtDamon: Except Katherine. Tonight Katherine gets a stake through her heart[Lockwood Mansion](It's the masquerade ball.Everyone is wearing masks. Tyler is in his father's office. Carol rejoins her)Carol: It's already packed out there. You know, we need to keep that door shot. Yourfather would be very unhappy if I let gests in here(Tyler gets up. He's wearing a suit)Carol: Oh, look at you! So handsomeTyler: Thanks. You look pretty good toomomCarol: Oh a compliment. I think I'll fall overTyler: Listen, I'm sorry I've been a dick lately... a jerk lately. It's just... Have you heard from Mason?Carol: Noand I don't think we're going to. He's coming, he's going, it's just his way. He's the exact opposite of your fatherTyler: We should have cancel this partyCarol:This all masquerade theme was his idea. I don't know what it has to do with helping the homeless but once he made up his mind, he could really be a dick, a jerk.But I loved him and I know you did too. It's natural to feel abandoned. I just don't want you to feel aloneTyler: Come on, put your mask on. Let's just go outthere and pretend to have some funCarol: I think I need a cocktail first(Katherine and Lucy arrive. They're going to different ways. Katherine takes a strawberryfrom a plate and falls into Matt)Matt: Elena?Katherine: Matt? You look dashingMatt: I thought you said you weren't comingKatherine: I couldn't miss it. You reallyare hot in a suit. I would love to just... Okay, here's the deal(She compels him)Katherine: Do you know what you have to do?Matt: I'm gonna get Tyler Lockwoodreally drunk. I'm going to start a fight with him and I'm gonna beat him until he snapsKatherine: and then?Matt: I won't stop until he kills meKatherine: God,you're hot. Now go awayMatt: Thank you(He leaves)(Damon and Stefan are outside. They look around)Damon: Do you see her?Stefan: Nope. You're sure youcan do this?Damon: Who are you talking to?Stefan: Oh, I had the chance to kill her and I hesitatedDamon: Well that is the forkenate road between you and memy friend. I don't hesitateStefan: You spent 145 years loving her, it could happenDamon: I won't hesitateStefan: Okay(Matt and Tyler are in his father's officewith Aimee and Sarah. The girls are dancing. The boys are drinking)Tyler: We're really not supposed to be hereMatt: Yeah, I know but we really need to turn thisparty up. Another shot?Aimee: Hey, I want a shotSarah: Me too and then we have to danceAimee: YesTyler: You know, usually it's me corrupting you. I likethis(They drink)Aimee: Okay, let's go party. Come on(Aimee puts her mask on. They leave the office)(Jeremy is carrying a bag. He and Bonnie are going upstairs.They enters into an empty room)Jeremy: I thought this room could workBonnie: It's perfect(Jeremy takes a weapon from the bag. Bonnie seats down and takesthe grimoire)Jeremy: Is that the spell book I read about in my family's old journal?Bonnie: it's my ancestor, Emily's. The spell I'm doing here is similar to the onethat sealed the vampires into the tomb(She opens it. Jeremy puts the bag in the closet)Jeremy: Can you do all the stuff that's in there?Bonnie: I mean it takespractice. I've worked on some small spells. Spells that only do good. I don't want to know too much. I don't particularly enjoy any of this, in case you haven'tnoticedJeremy: Yeah but you're 100% witch, that is so coolBonnie: it's anything but cool. Did your family's journal tell you what happened to Emily? Or whatabout my gram's? It never ends well for people like meJeremy: If you feel that way, why help?Bonnie: Because I don't want anyone else getting hurt and I don'tknow how to stay out of it[Gilbert's house](Jenna is on the couch. Elena is with her)Jenna: I feel like an invalidElena: That's because you are invalid. Where'sJeremy? Isn't he hungry?Jenna: He already left for the Lockwood partyElena: He went to that?Jenna: Yeah, I'm glad. He needs to have more fun. Lose some of"}
+{"doc_id":"doc_165","qid":"","text":"\"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young man. His name... Merlin.\"[SCENE_BREAK]Plains ofDenaria (day) A cloaked figure struggles to pull a horse cart along a dusty road. Four nights approach on horseback.Sir Leon: Halt! The cloaked woman stops.SirLeon: Stay where you are. The woman sets down the cart handles a as the knights dismount, Sir Elyan among them.Sir Leon: Where are you headed?...Morgana:The Seas of Meredor.Sir Leon: What's in the cart?... Morgana says nothing. Sir Leon motions for the spare knights to search it and Morgana turns around.SirLeon: Lady Morgana. Morgana uses magic to throw each of the knights to the ground. She looks around, pulls off her hood and pulls back a blanket in thecart.Morgana: You're all right?Morgause: Yes, thank you, Sister. But we must hurry. Night is nearly upon us... Morgause turns her face towards Morgana,revealing a hideous deformity to the right side of her face.Morgause: ... And we still have far to go. --- New Opening Credits --- Castle Square Merlin runs throughknights and servants and into the Castle. Servants are decorating the castle with vines and Merlin ducks under one of them as he bolts up the GriffinStairway.Merlin: Sorry.[SCENE_BREAK]Castle Kitchens Merlin bumps into more servants and nicks some food off a passing plate. The head cook accosts him witha ladle.Head Cook: What are you doing in my kitchen?Merlin: Uh, the prince's shirt. The cook motions to the line above the stove where the pots arehanging.Head Cook: Keep your dirty fingers off my food, d'you understand? Merlin grabs the shirt and a hook on a string drops down in front of his face. He looksup, confused. Sir Gwaine and Sir Percival are peering down at him with eager and mischievous grins. Gwaine puts a finger to his lips and Merlin laughs. Merlinattaches the hook to one of the roasting chickens and pulls on the string. The knights pull it up to them as Merlin exits hastily.Head Cook:Oi![SCENE_BREAK]Castle corridors Merlin weaves through bustling servants. A servant with wine pitchers bumps into him and spills it all over Arthur's newlywashed shirt. Merlin picks up the stained shirt and stares at it.Sir Lancelot: You could try a bit of salt.Merlin: Arthur is going to kill me.Sir Lancelot: Let's see... SirLancelot looks at the shirt.Sir Lancelot: ...You've faced far worse, Merlin.Merlin: He needs it for tonight.Sir Lancelot: I'm sure a man of your talents can think ofsomething. Lancelot lifts his eyebrows knowingly. Lancelot keeps walking and Merlin checks to see no one's looking.Merlin: *spell*Fordwin wamm! Lancelot stopsand turns around. Merlin shows him the clean shirt and Lancelot opens his arms as if to say \"See, that was easy.\" The both continue on theirway.[SCENE_BREAK]Arthur's chambers Arthur's leaning against his desk and writing, as Merlin enters with his clean white shirt.Merlin: You're dressed.Arthur:Yes, Merlin. I'm not an idiot. Arthur turns around to walk behind his desk. He didn't manage to pull his shirt all the way through his belt in the back and his skin isshowing. Merlin sniggers.Merlin: Are you sure about that?Arthur: I beg your pardon?Merlin: It's just that...Arthur: Merlin!Merlin: But you...Arthur: I am trying towrite a speech.Merlin: D' you want help?Arthur: No.Merlin: You won't want this, then? Merlin holds up a scroll and Arthur looks up from his desk.Merlin: ... I spentall night working on it. Arthur takes the scroll and looks over it with exaggerated scepticism.Merlin: ... What do you think? Arthur hands it back to Merlin.Arthur:It needs a polish.Merlin: I'll add it to the list. Arthur tosses the speech he was working on.Arthur: Merlin, there aren't many servants who get the chance to writea prince's speech. Obviously it would be too much for you to say, \"Thank you.\" Merlin stares at Arthur for a moment and walks out with his laundry withoutdeigning reply. Arthur smiles.[SCENE_BREAK]Seas of Meredor Morgana helps Morgause limp out of the cart in the foggy wood.Morgause: The Isle of the Blessed.Morgana helps Morgause to the dock. A ferryman waits for them by a longboat. He holds out his hand. Morgause places a coin in it.Morgause: You know where wewish to go. The sisters huddle in the boat, the ferryman at the helm, as it glides across the sea.[SCENE_BREAK]Uther's chambers Uther's hand shakes badly ashe lowers his goblet to the table in front of his chair. Gwen enters and watches him with a pitying expression before she approaches him.Gwen: You've not eaten,Sire. Sire? Uther doesn't seem to hear her, lost in his own misery. Gwen takes the tray of untouched food and meets Gaius on her way out. She looks at thepotion in Gaius's hand.Gwen: It doesn't seem to make any difference.Gaius: I'm not sure it ever will but at least it gives him peace.Gwen: It's been a year sinceMorgana betrayed him.Gaius: (nods) His heart is broken and his spirit is gone. Are you joining us for the feast tonight?Gwen: I don't think so. I need to stay withthe King.Gaius: You're very good to him, Gwen.Gwen: I don't do it for him; I do it for Arthur.[SCENE_BREAK]Seas of Meredor Morgause and Morgana continueacross the sea with the ferryman.[SCENE_BREAK]Council Chamber Sir Leon and Sir Elyan ride into the square and report to Arthur and the Council.Sir Leon: Thereports are true, Sire. We caught up with Morgana on the Plains of Denaria.Arthur: Was she alone?Sir Elyan: (shakes head) There was someone else.Arthur:Morgause?Sir Elyan: I couldn't be sure.Agravaine: Where was Morgana heading?Sir Leon: The Seas of Meredor.Gaius: Isle of the Blessed. Agravaine steps intothe light.Agravaine: I will send out patrols at first light.Arthur: Thank you, Agravaine.Sir Leon: Sire, you should know her powers have grown. Sir Bertrand andSir Wontague are both dead.Arthur: Keep me informed of any developments. The councilmen exit. Agravaine remains.Arthur: For months, nothing. Whynow?Agravaine: We knew she couldn't stay hidden forever. Today, tomorrow, does it matter? We mustn't live in fear, Arthur. Camelot is strong. If Morgana wereto act, we'd be ready for her.Arthur: You're right, of course. I don't know how I'd've got through these last few months without you. Thank you, Uncle.Agravaine:I made a promise to your mother. I'll always be there for you. Arthur nods with a smile and exits[SCENE_BREAK]Isle of the Blessed (night)[SCREECHING]Wyvernshriek as they fly around the fortress as Morgana's boat continues to the isle.[SCENE_BREAK]Banquet Hall Arthur and Agravaine sit on either side of the king'schair at the feast. Arthur stands and the laughter dies down.Arthur: Samhain... It is the time of the year when we feel closest to the spirits of our ancestors. It isa time to remember those we have lost, and to celebrate their passing.[SCENE_BREAK]Isle of the Blessed - AltarMorgause: Samhain is almost upon us. We musthurry.Morgana: I can't do this.Morgause: Sister... Remember what I've told you. It is the only way. What you are about to do will affect everyone, even you. Butmost importantly, it will bring our enemies to their knees. You must be strong, remember that. Morgause presents Morgana with a dagger.Morgause: ... Do notbe scared. Morgana takes the dagger.Morgause: I am not long for this world. There is nothing left for me here now. Morgause weakly climbs onto the altar stoneand takes Morgana's hand.Morgause: Please, sister, let my parting be my final gift to you. Morgause lies down on the altar.[SCENE_BREAK]Banquet Hall Arthurraises his glass in a toast.Arthur: To the king. Everyone stands to toast.[GONG CHIMES][SCENE_BREAK]Isle of the Blessed - AltarMorgana: *spell*Eala leofusweoster, paem gastum befaeste ic pe. Alys pa peoster pe inne onwunap. Morgana poises the dagger to strike, her eyes glow and she plunges it into Morgause'schest. Morgause gasps.[METAL STRIKES STONE]Morgause: Uh![SCENE_BREAK]Banquet Hall Merlin senses the magic and everything goes into slow-mo. Imagebecomes fuzzy and voices are distorted.Gaius: To the King!Agravaine: To the King! The knights toast their glasses as Merlin freaks out.[SCENE_BREAK]Isle of theBlessed - Altar Morgana is blown off her feet.[SCENE_BREAK]Banquet Hall Merlin sees a dead-looking woman in a black, hooded cloak with a staff standing in themiddle of the banquet hall.The Cailleach (whisper): Emrys. Emrys. Emrys.[JUG CLATTERS]Merlin drops his empty serving pitcher and the whole hall goes quietand stares at him. He swoons. Lancelot rushes to his side. Arthur rolls his eyes. Merlin shivers on the floor.[SCENE_BREAK]Isle of the Blessed - Altar The Cailleachstrokes Morgana's cheek and Morgana wakes. She sits up and sees the cloaked woman standing in front of the rift.Morgana: Who are you?The Cailleach: I am theCailleach, the gatekeeper to the Spirit World. You have torn the veil between the worlds.[SCREAMING]The Cailleach: The Dorocha. They are the voices of thedead, my child, and, like the dead, they are numberless.Morgana looks around in fear.The Cailleach: You are right to be afraid, Morgana. Your enemies will ruethis day and all the destruction it brings, but you must be aware... Tearing the veil between the worlds has created a new world... and you will not walk through italone. The one they call Emrys will walk in your shadow. He is your destiny... and he is your doom... Emrys.[SCENE_BREAK]Merlin's room Lancelot lays Merlin onthe bed.Sir Lancelot: What happened?Gaius: I don't know. I've never felt anyone so cold before.Sir Lancelot: Will he be all right?Gaius: I'll need Hawthorne toimprove the blood flow... and blankets... lots of blankets.[SCENE_BREAK]Gaius's chambers Gaius is grinding something as Merlin steps out of his chamberwearing a blanket. They sit together.Merlin: When she spoke, her voice...it was as though it came from the depths of the Earth, and her eyes...they were so sad.So much pain in them. (He's shivering) Who is she?Gaius: The Cailleach... the gatekeeper to the Spirit World.Merlin: Why is she there?Gaius: It was on the strokeof midnight of Samhain's eve. The moment when the veil between the worlds is at its thinnest. It cannot be a coincidence.Merlin: Why was I the only one to seeher?Gaius: You have great power, Merlin. For someone so gifted, such visions are not uncommon.Merlin: But you don't understand. It wasn't a vision. She knewwho I was. She called me Emrys. Gaius ponders.Merlin: What is it? What does it mean?Gaius: I'm not sure. But if someone has torn the veil between the worlds,then God help us all.[SCENE_BREAK]Arthur's chambers (morning) Merlin brings in a breakfast tray and sets it noisily on the table while Arthur's still inbed.Arthur: Merlin! Merlin opens the curtains, making a lot of noise.Arthur: Merlin!Merlin: What?[KNOCK AT THE DOOR]Arthur puts a pillow over his face.Someone knocks at the door.Arthur: (muffled) Merlin!Merlin: That's not me. Arthur takes off the pillow and Sir Leon enters.Sir Leon: Excuse me, Sire. You'reneeded in the Council Chambers as a matter of urgency.[SCENE_BREAK]Council Chamber[GIRL CRIES]The Council is gathered around her.Arthur: What'shappened to her?Agravaine: Her village was attacked.Arthur: By who?Agravaine: It's not entirely clear, Sire.[SOBBING CONTINUES]Arthur: What's yourname?Drea: Drea.Arthur steps closer and the girl tenses. Arthur puts a comforting hand on her shoulder and speaks tenderly.Arthur: Drea. She uncertainly"}
+{"doc_id":"doc_166","qid":"","text":"Still not far from Pentos, Your Grace. You'd be more comfortable there. I have no interest in hospitality or comfort. I'll stay with Drogo until he fulfills his end ofthe bargain and I have my crown. I have something for you.First lesson: Stick them with the pointy end. 17 years ago you rode off with Robert Baratheon.Andnow you're leaving again.I have no choice.There's great honor serving in the Night's Watch. The Starks have manned the Wall for thousands of years.And you area Stark.Daenerys Targaryen has wed some Dothraki horselord. What of it? Tell me we're not speaking of this. I'll kill every Targaryen I get my hands on. Rapers.Not impressed by your new brothers?Lovely thing about the watch ...You discard your old family and get a whole new one. Welcome. I don't think Bran fell fromthat tower. I think he was thrown. No! Someone tried to kill him twice. I would stake my life the Lannisters are involved. Lord Stark must be told of this.I will gomyself.What is the meaning of this?Joff told us what happened.You and that boy beat him with clubs while you set your wolf on him.That's not whathappened!Ahh! We found no trace of the direwolf, Your Grace. We have another wolf. As you will. He doesn't mean Lady, does he? Lady didn't bite anyone! She'sgood!King's Landing Page : Welcome, Lord Stark. Grand Maester Pycelle has called a meeting of the Small Council. The honor of your presence isrequested.Eddard Stark : Get the girls settled in. I'll be back in time for supper. And, Jory, you go with them.Jory Cassel : Yes, my Lord.King's Landing Page : Ifyou'd like to change into something more appropriate...Jaime Lannister : Thank the gods you're here, Stark. About time we had some stern northernleadership.Eddard Stark : Glad to see you're protecting the throne.Jaime Lannister : Sturdy old thing. How many kings' asses have polished it, I wonder ? What'sthe line ? The King sh1ts and the Hand wipes.Eddard Stark : Very handsome armor. Not a scratch on it.Jaime Lannister : I know. People have been swinging atme for years, but they always seem to miss.Eddard Stark : You've chosen your opponents wisely then.Jaime Lannister : I have a knack for it. It must be strangefor you coming into this room. I was standing right here when it happened. He was very brave, your brother. Your father too. They didn't deserve to die like that.Nobody deserves to die like that.Eddard Stark : But you just stood there and watched.Jaime Lannister : 500 men just stood there and watched. All the greatknights of the Seven Kingdoms. You think anyone said a word, lifted a finger ? No, Lord Stark. 500 men and this room was silent as a crypt. Except for thescreams, of course, and the Mad King laughing. And later... When I watched the Mad King die, I remembered him laughing as your father burned... It felt likejustice.Eddard Stark : Is that what you tell yourself at night ? You're a servant of justice ? That you were avenging my father when you shoved your sword inAerys Targaryen's back ?Jaime Lannister : Tell me... If I'd stabbed the Mad King in the belly instead of the back, would you admire me more ?Eddard Stark : Youserved him well when serving was safe.Varys : Lord Stark.Eddard Stark : Lord Varys.Varys : I was grievously sorry to hear of your troubles on the Kingsroad. Weare all praying for Prince Joffrey's full recovery.Eddard Stark : A shame you didn't say a prayer for the butcher's son. Renly ! You're looking well.Renly Baratheon :And you look tired from the road. I told them this meeting could wait another day, but...Petyr Baelish : But we have a Kingdom to look after. I've hoped to meetyou for some time, Lord Stark. No doubt Lady Catelyn has mentioned me.Eddard Stark : She has, Lord Baelish. I understand you knew my brother Brandon aswell.Petyr Baelish : All too well. I still carry a token of his esteem from navel to collarbone.Eddard Stark : Perhaps you chose the wrong man to duel with.PetyrBaelish : It wasn't the man that I chose, my Lord. It was Catelyn Tully. A woman worth fighting for, I'm sure you'll agree.Grand Maester Pycelle : I humbly begyour pardon, my Lord Stark.Eddard Stark : Grand Maester.Grand Maester Pycelle : How many years has it been ? You were a young man.Eddard Stark : And youserved another King.Grand Maester Pycelle : How forgetful of me. This belongs to you, now. Should we begin ?Eddard Stark : Without the King ?Renly Baratheon: Winter may be coming, but I'm afraid the same cannot be said for my brother.Varys : His Grace has many cares. He entrusts some small matters to us that wemight lighten the load.Petyr Baelish : We are the lords of small matters here.Renly Baratheon : My brother instructs us to stage a tournament in honor of LordStark's appointment as Hand of the King.Petyr Baelish : Mmm, how much ?Eddard Stark : 40 000 gold dragons to the champion, 20 000 to the runner-up, 20 000to the winning archer.Grand Maester Pycelle : Can the treasury bear such expense ?Petyr Baelish : I'll have to borrow it. The Lannisters will accommodate, Iexpect. We already owe Lord Tywin 3 million gold. What's another 80 000 ?Eddard Stark : Are you telling me the Crown is three million in debt ?Petyr Baelish :I'm telling you the Crown is six million in debt.Eddard Stark : How could you let this happen ?Petyr Baelish : The Master of Coin finds the money. The King andthe Hand spend it.Eddard Stark : I will not believe Jon Arryn allowed Robert to bankrupt the realm.Grand Maester Pycelle : Lord Arryn gave wise and prudentadvice, but I fear His Grace doesn't always listen.Renly Baratheon : \"Counting coppers,\" he calls it.Eddard Stark : I'll speak to him tomorrow. This tournament isan extravagance we cannot afford.Petyr Baelish : As you will. But still, we'd best make our plans.Eddard Stark : There will be no plans until I speak to Robert.Forgive me, my Lords. I had a long ride.Varys : You are the King's Hand, Lord Stark, we serve at your pleasure.Cersei Baratheon : Please, it's nearlyhealed.Joffrey Baratheon : It's ugly.Cersei Baratheon : A King should have scars, you fought off a direwolf. You're a warrior like your father.Joffrey Baratheon :I'm not like him. I didn't fight off anything. It bit me and all I did was scream. And the two Stark girls saw it, both of them.Cersei Baratheon : That's not true. Youkilled the beast. You only spared the girl because of the love your father bears her father. When Aerys Targaryen sat on the Iron Throne, your father was a rebeland a traitor. Someday you'll sit on the throne and the truth will be what you make it.Joffrey Baratheon : Do I have to marry her ?Cersei Baratheon : Yes. She'svery beautiful and young. If you don't like her, you only need to see her on formal occasions and when the time comes, to make little princes and princesses. Andif you'd rather f*ck painted whores, you'll f*ck painted whores. And if you'd rather lie with noble virgins, so be it. You are my darling boy and the world will beexactly as you want it to be. Do something nice for the Stark girl.Joffrey Baratheon : I don't want to.Cersei Baratheon : No, but you will. The occasional kindnesswill spare you all sorts of trouble down the road.Joffrey Baratheon : We allow the northerners too much power. They consider themselves our equals.CerseiBaratheon : How would you handle them ?Joffrey Baratheon : I'd double their taxes and command them to supply 10 000 men to the royal army.CerseiBaratheon : A royal army ?Joffrey Baratheon : Why should every lord command his own men ? It's primitive, no better than the hill tribes. We should have astanding army of men loyal to the Crown, trained by experienced soldiers... Instead of a mob of peasants who've never held pikes in their lives.Cersei Baratheon :And if the northerners rebel ?Joffrey Baratheon : I'd crush them. Seize Winterfell and install someone loyal to the realm as Warden of the North. Uncle Kevan,maybe.Cersei Baratheon : And these 10 000 northern troops, would they fight for you or their lord ?Joffrey Baratheon : For me. I'm their King.Cersei Baratheon :But you've just invaded their homeland, asked them to kill their brothers.Joffrey Baratheon : I'm not asking.Cersei Baratheon : The North cannot be held... not byan outsider. It's too big and too wild. When the winter comes, the Seven gods together couldn't save you and your royal army. A good King knows when to savehis strength... And when to destroy his enemies.Joffrey Baratheon : So you agree... The Starks are enemies ?Cersei Baratheon : Everyone who isn't us is anenemy.Septa Mordane : Enough of that, young lady. Eat your food.Arya Stark : I'm practicing.Sansa Stark : Practicing for what ?Arya Stark : The Prince.SeptaMordane : Arya, stop !Arya Stark : He's a liar and a coward and he killed my friend.Sansa Stark : The Hound killed your friend.Arya Stark : The Hound doeswhatever the Prince tells him to do.Sansa Stark : You're an idiot.Arya Stark : You're a liar. And if you told the truth, Mycah would be alive.Septa Mordane :Enough !Eddard Stark : What's happening here ?Septa Mordane : Arya would rather act like a beast than a lady.Eddard Stark : Go to your room. We'll speaklater. That's for you, love. The same dollmaker makes all of Princess Myrcella's toys. Don't you like it ?Sansa Stark : I haven't played with dolls since I was eight.May I be excused ?Septa Mordane : You've barely eaten a thing.Eddard Stark : It's all right. Go on. War was easier than daughters.Arya Stark : Go away !EddardStark : Arya, open the door. May I come in ? Whose sword is that ?Arya Stark : Mine.Eddard Stark : Give it to me. I know this maker's mark. This is Mikken'swork. Where did you get this ? This is no toy. Little ladies shouldn't play with swords.Arya Stark : I wasn't playing. And I don't want to be a lady.Eddard Stark :Come here. Now what do you want with this ?Arya Stark : It's called Needle.Eddard Stark : A blade with a name. And who were you hoping to skewer with Needle? Your sister ? Do you know the first thing about sword fighting ?Arya Stark : Stick 'em with the pointy end.Eddard Stark : That's the essence of it.Arya Stark : Iwas trying to learn. I asked Mycah to practice with me. I asked him. It was my fault.Eddard Stark : No, sweet girl. You didn't kill the butcher's boy.Arya Stark : Ihate them ! I hate all of them. The Hound, the Queen and the King and Joffrey and Sansa.Eddard Stark : Sansa was dragged before the King and Queen... Andasked to call the Prince a liar.Arya Stark : So was I ! He is a liar.Eddard Stark : Darling, listen to me. Sansa will be married to Joffrey someday. She cannot betrayhim. She must take his side even when he's wrong.Arya Stark : But how you can let her marry someone like that ?Eddard Stark : Look at me. You're a Stark ofWinterfell. You know our words.Arya Stark : Winter is coming.Eddard Stark : You were born in the long summer. You've never known anything else. But nowwinter is truly coming. And in the winter, we must protect ourselves, look after one another. Sansa is your sister.Arya Stark : I don't hate her. Not really.EddardStark : I don't want to frighten you, but I won't lie to you either. We've come to a dangerous place. We cannot fight a war amongst ourselves. All right ? Go on.It's yours.Arya Stark : I can keep it ?Eddard Stark : Try not to stab your sister with it. If you're going to own a sword, you'd better know how to use it.Old Nan :Don't listen to it. Crows are all liars. I know a story about a crow.Bran Stark : I hate your stories.Old Nan : I know a story about a boy who hated stories. I could"}
+{"doc_id":"doc_167","qid":"","text":"\"The Man in the Mud\"[SCENE_BREAK](Teaser)(An all-terrain vehicle pulls to a stop in the woods. CHANDLER [Alicia Ziegler] and her boyfriend, TIM [AndrewLawrence] alight from the vehicle.)TIM: The GPS says it's right up here.CHANDLER: You don't even know how to use that thing!TIM: The hell I don't! (The GPSdevice in his hand beeps.) We're here.CHANDLER: We just drove an hour through the woods to find more woods that look just like the woods we drovethrough.(They come upon a bubbling puddle of thick ooze.)TIM: Eureka!CHANDLER: Ew! That's mud.TIM: No, this is like, um...(close up of the bubbling mud)yeah, it's pretty much mud.CHANDLER: And it smells like rotten egg.TIM: Mmm, sulfur. Very therapeutic. (TIM starts to strip.)CHANDLER: And you expect me tobelieve you've never been here before.TIM: A friend of mine told me about this place and swore me to secrecy. But this is my first time. In mud.CHANDLER:(laughs nervously as the Soft Misdirectional Piano of Romance starts to play in the background.)TIM: (from off-screen) Come on in; it's nice.CHANDLER: All right.(CHANDLER strips down and slips into the hot spring. The two begin kissing.) Mmmm--what, are you poking me?TIM: This mud is reputed to have amazingromantic properties.(They both giggle and resume making out)CHANDLER: Mmm...I think I got it.TIM: No, I think I'd notice if you got it.CHANDLER: (gasps asshe pulls a muddy, skeletal arm from the hot spring, to the accompaniment of an Abrupt Musical Sting. The camera focuses on the hand for a long moment beforeCHANDLER and TIM freak out and jump out of the hot spring.)(The camera focuses in on the hot spring, and pulls back to reveal BOOTH's hand reaching towardthe mud.)BOOTH: Whoa, sheesh! (BOOTH jumps backwards from the mud. A camera pan reveals that he is with BRENNAN and a PARK RANGER [ChristopherMay].)PARK RANGER: This hot spring averages a temperature of 105 degrees, but it can spike to near boiling, which is why we discourage bathers. (addressing achagrined TIM and CHANDLER, who are sharing a muddy blanket and not much else, with a scolding tone of voice) Especially those who illegally drivefour-by-four vehicles into a national park.BOOTH: So someone was boiled to death?PARK RANGER: Or had a heart attack or passed out, et cetera etcetera.BRENNAN: The remaining flesh will have to be macerated.PARK RANGER: What's that?BOOTH: Ugh...don't ask.BRENNAN: The flesh either has to be boiledoff, or eaten by Dermestid beetles.BOOTH: Bones, why can't you just say \"cleaned\"?BRENNAN: (indicating several long bones.) The sulfur encrusted thebones--do you see the staining?BOOTH: So it's been there a long time?BRENNAN: Not necessarily.BOOTH: So why'd you have to even bring it up then?BRENNAN:(lifting the skull, which is severely pitted) Signs of blunt force trauma.PARK RANGER: What's that mean?BOOTH: That means he didn't pass out and boil to deathon his own.BRENNAN: I'm going to need all of the mud.PARK RANGER: Excuse me?BRENNAN: Get a tanker truck out here and suck it up so we can filter it backat the Jeffersonian. (Long shot of the PARK RANGER exchanging a flabbergasted glance with BOOTH, who shrugs.)BRENNAN: (squatting, lifts up the arm)Humerus is thirty-six point five centimeters. Medium build, late twenties early thirties--he's broken this bone before.PARK RANGER: Is she serious about themud?BRENNAN: Serious as a gas attack.BOOTH: Heart attack, Bones. Serious as a heart attack.(Medico-Legal Lab. CAM is just swiping her card to enter thePlatform in a tracking shot that brings us over to the remains.)CAM: The description's too general to get anything from a missing person's report.ZACK: Atriangular depression in the calvarium, interior longitudinal 1 fracture, grazed cortical bone and C1; there's a patterned impression in the bone. (As he's speaking,ZACK indicates each particular instance of trauma on a magnification camera screen.)CAM: How many times was he hit, and by what?ZACK: More than once, by a(questioningly) square pipe? Does that exist?CAM: In my experience, people hit people with anything that they can pick up and swing. (pauses) He was attackedfrom behind?ZACK: Mmmm....CAM: (annoyed) What?ZACK: There's a vertical impaction fracture to his glabella and frontonasal suture.CAM: Sameweapon?ZACK: It doesn't seem so. . . . I have seen this before.CAM: Great. Where?ZACK: From sharpened stone weapons, in Neanderthal skeletons.CAM: I'mthinking not so relevant in this case.ZACK: The blow to the front of the head would cause a severe laceration.CAM: There were no bloodstains around the mudbath.ZACK: Indicating that the body was dumped there postmortem.CAM: Zack, regarding the Neanderthals-ZACK: (correcting) Neanderthals.CAM: ...What wasthe context of those killings? (the Heavy Musical Tones of Plot Import arise in the background, and will continue onward to carry us into the credits.)ZACK:Accepted scenarios indicate a single individual attacked by two or more assailants.CAM: Then we're looking for two or more murderers.(End Teaser.)(Credits.)(ActOne)(Fade up on the outside of SWEETS's office building.)BRENNAN: (v.o.) We're not sure about time of death yet.BOOTH: (v.o.)It was definitely a murder.(Nowin SWEETS's office; the Plinky Piano of Zany Hijinks arises in the background. SWEETS, for the record, could not look more bored, and is constantly shiftingpositions so as not to fall asleep.)BRENNAN: Definitely. Probably by two assailants.BOOTH: What a shock for that couple, huh? (gesturing) You know, they slidenaked, into the hot mud bath...and a skeleton hand pokes her in the BRENNAN: (finishing) Anus.BOOTH: (shocked) Bones!BRENNAN: What? It's a clinical termfor that part of the body, Booth. (SWEETS is now either sporting a hilarious, wide-eyed shock face, or trying so hard to keep his eyes open that they've buggedout of his face.)SWEETS: Dr. Brennan, Agent Booth...would it be fair to say that you use work to avoid confronting personal issues?BOOTH: Oh, what, because Idon't want to talk about...BRENNAN: The anus.BOOTH: You really like that word, don't you?SWEETS: Do you two ever discuss anything that's not attached towork?BOOTH: Well, it's better than talking about, y'know...SWEETS: The anus?BOOTH: What is it with you two?BRENNAN: Well, Sweets could be right; I mean,we talk a lot about work.BOOTH: I talk about my kid.SWEETS: Because he was almost kidnapped during a case.BRENNAN: (raising a single finger) Ah, my father.We talk a lot about him.SWEETS: Because Agent Booth arrested him for murder.BOOTH: Mm...okay, what are you trying to get at here?SWEETS: Your inability toshare your personal lives. I thought that was obvious.BOOTH: Okay, that was snotty. (snottily) I don't respond well to snotty.BRENNAN: (laying a hand onBOOTH's arm) After a case, sometimes, we have a drink, or coffee, Booth has pie. I don't...like pie.BOOTH: Aw...you really should just give it a chance.BRENNAN:I find it too sweet.BOOTH: Okay, there. We talked about pie. Nothin' to do with work.BRENNAN: It...is better when we discuss murder.SWEETS: I'd like to seeyou guys in a social situation. A situation where work is a taboo subject.BOOTH: What, are you gonna send us to a restaurant and watch us through a one-waymirror?BRENNAN: I'm still not having pie.SWEETS: No, an evening out with my girlfriend and me.BOOTH: (laughs, then, to BRENNAN) They need someone to buythem beer.BRENNAN: You want us to go on a double date?BOOTH: Why don't you go on the internet like all the rest of the kids?SWEETS: Okay, if it goes well, I'llwithdraw my concern. I'll release you back into your environment.BOOTH: What are we, brook trout?BRENNAN: (pouts briefly, then) Fine.BOOTH: (Sighs heavilyand plays with the stress-sumo-wrestler.)SWEETS: Agent Booth? (BOOTH looks away.) Unless, you think that's too much to prove.BOOTH: (pulls a face, then)Fine. I'll show 'em I have nothing to prove. Bring it on, Sweets.(He flings the stress sumo wrestler at SWEETS, who catches it one-handed and gives it asqueeze.)(Medico-Legal Lab; Jeffersonian. HODGINS is running the mud from the hot-spring through some sort of strainer; ZACK is examining somethingsmall.)HODGINS: Ugh...(Pulls a greenish aluminum can from the strainer) So far I have three old beer cans, an Indian Arrowhead, (he lifts a coin out of thestrainer and casually tosses it on the table; in the background you can hear CAM swiping her card to enter the platform) seventy-three cents in change, and apartially-melted Sharpie.CAM: The victim was braised like osso bucco. The flesh was falling off the bone. I put time of death between ten days and twoweeks.ZACK: (crosses to a bank of x-rays) I found stress fractures and degenerative changes in the fascid joints.CAM: Fits with the hypertrophy of the cervicalmuscles. I found microscopic tearing but he had to sustain this (she extends her neck forward) position to cause that kind of wear and tear.HODGINS: Death byyoga?ANGELA: (enters) Is that skull ready for me yet?ZACK: It should be ready, you can take it out of the boiler any time.ANGELA: Or, you could do that for me,because I will never, ever do that.ZACK: (indicating the injuries on a bank of x-rays.) There are fractures of the pelvis, compression fractures of thoracic andlumbar vertebrae, multiple metacarpal and metatarsal fractures...ANGELA: What was he, crash test dummy?ZACK: The injuries to the vertebrae, tibia, femur areconsistent with landing on the feet after falling from ten to twenty feet.HODGINS: What, like jumping out of a tree?ZACK: The damage to the scapula and theacromion resulted from a low fall but forward movement from between sixteen to twenty miles per hour.ANGELA: Falling off a bicycle.ZACK: These injuries aremore recent. Fractured and scored patella, and torn retinaculum.HODGINS: Okay, even I didn't get that one.CAM: Why would anyone want to kill him? It seemslike he was doing a good enough job on his own.(CUT to the exterior of the FBI building.)BRENNAN: (v.o.) Yes. Okay, Dr. Sweets, yeah, I'll ask him.(Now in theelevator, we see BRENNAN covers her phone) How's Wednesday night, are you free?BOOTH: oh, what, to have our big double date with ourpsychiatrist?BRENNAN: Just one more evening, and maybe we won't have to see him anymore.BOOTH: Fine. Wednesday's FINE, I can't wait, does he want me toget you a corsage?BRENNAN: (into the phone) Wednesday's fine. We'll meet you there. Yeah, I'm looking forward to meeting her.BOOTH: (scowls as he pushesopen the doors of his office)BRENNAN: Okay. Bye. (hangs up with a beep.) This might be fun. His girlfriend works with tropical fish.BOOTH: (skeptically) Tropical.Fish.BRENNAN: Yeah.BOOTH: This is just weird. Where are we meeting?BRENNAN: At their ceramics class.BOOTH: What? No, you're kidding.BRENNAN: Whywould I be kidding? He said it would be a good idea to have a common activity.BOOTH: Ceramics? I thought the whole point of therapy was to give us peace ofmind, not drive us crazy. (BOOTH's computer starts beeping; we inset to a video chat invitation on BOOTH's monitor, which reads \"JEFFERSONIAN/ANGELA\")Hey, it's Angela. (BOOTH clicks his mouse, and answers her video chat invitation.) Hey, Angela.ANGELA: Hey! I did a rendering of our victim's face. We're"}
+{"doc_id":"doc_168","qid":"","text":"[PREVIOUSLY_ON]Mr Yikumura: Kira, you forgot all the research you did for that boy you like.Derek: We're not leaving without it.Peter: Somebody really doesn'twant our hands in there.Chris: We're gonna need a lot more help.Stiles: Lydia's got sort of a talent.Lydia: I'm psychic.Deaton: You opened a door. It will drawthem here, like a beacon.Agent Mccall: Bring him around back. And keep it quiet. No one needs to know except for the people who absolutely need toknow.Melissa: Oh, here we go.Sheriff: Hey. He is not coming in.Agent Mccall: This is the only hospital that will take him.Sheriff: What about County?Agent Mccall:You'd be surprised how fast things fill up when a guy like this needs surgery.Melissa: They turfed him to us?Sheriff: Yeah. If County doesn't want to operate onhimAgent Mccall: Then someone has to.Melissa: Somebody needs to do his pre-op interview.Agent Mccall: Who usually does that?Melissa: Me.Stiles: Get your assdown here now. We have a job to do.Scott: Dude, I'm already in bed. And aren't we getting a little old for this?Stiles: We do this for Coach.Scott: I thought wedid this to Coach.Stiles: Whatever, okay? You know he needs this. He lives for this stuff. He loves it.Scott: But it's the middle of the night.Stiles: Which means it'safter midnight and officially Mischief Night/Day, and, by perfectly awesome coincidence, it's also happens to be Coach's birthday. So if you are not down here infive seconds, I will destroy you. Okay? And I mean five, four, three, two -Scott: One.Stiles: I hate you.Agent Mccall: Try to keep in mind exactly what this guy'scapable of. He's a former electrical engineer who decided to walk onto a school bus with a shrapnel bomb. He left four students dead and a fifth with nolegs.Melissa: Just out of curiosity, have any of his psychiatrists made any progress?Agent Mccall: I'm told this is the same thing almost every day. When he getsout, he's going to do it again. And next time, he's going to get it right.Melissa: Mr. Barrow, do you understand that scar tissue has formed around a piece ofshrapnel that remains in your body from a previous injury and that it is now blocking vital functions?Barrow: Yes.Melissa: Do you understand that we must putyou under general anesthesia tomorrow morning in order to remove the obstruction?Barrow: Do the kids still pull pranks the day before Halloween?Melissa: Youmean Mischief Night?Barrow: Where I'm from, we called it Hell Night. Hmm. And, yes, I understand.Melissa: Do you have any allergies to anymedications?Barrow: No.Melisssa: Are you taking any medications other than the ones listed here? Temazepam. Divalproex.Barrow: I just take what they giveme.Melissa: I'm going to need to listen to his heart.In And out. In. In.Barrow: Why don't you just ask the question you really want to ask?Melissa: Why did youdo it?Barrow: I saw their eyes. Their eyes were glowing. I saw them. I saw their eyes! Their eyes were glowing! Their eyes were glowing! Their eyes wereglowing!Scott: You're back in school?Ethan: No, just to talk.Stiles: Oh. That's kind of a change of pace for you guys. Usually, you're just hurting, maiming, andkilling.Aiden: You need a pack. We need an Alpha.Stiles: Yeah. Absolutely not. That's hilarious though.Aiden: You came to us for help. We helped.Stiles: You beathis face into a bloody pulp. That's not helping. In my opinion, that's actually counter-productive.Scott: Why would I say yes?Aiden: We'd add strength. We'dmake you more powerful. There's no reason to say no.Isaac: I can think of one. Like the two of you holding Derek's claws while Kali impaled Boyd. In fact, I don'tknow why we're not impaling them right now.Aiden: You want to try?Scott: Sorry, but they don't trust you. And neither do I.Ethan: What now. No. No way.Aiden:We never finished.Ethan: And we don't have to.Aiden: What if I want to?Ethan: You You seriously want to go back to high school? Is this about Lydia?Aiden: Thisis about getting Scott to change his mind. We're not just Betas anymore. We're Omegas. The bitches, remember? When everyone we've screwed over finds outwe don't have a pack anymore, what do you think's going to happen? We're dead on our own.Ethan: That's still better than being back in high school. I'm notdoing it. No way. What? I'm not taking math.Aiden: I'll take it for you.Stiles: All right, that's my face! Hey, dude, good decision, buddy. Good Alphadecision.Scott: I hope so.Stiles: No, you know so. than I can take What are you looking at?Scott: Me?Stiles: You. You looking at her?Scott: Her? Who her?Stiles:Her her. Kira. You like her?Scott: No. I mean Yeah, yeah, she's okay. She's new.Stiles: So, ask her out.Scott: Now?Stiles: Yes, now.Scott: Right now?Stiles: Rightnow. Scott, I don't think you get it yet. You're an Alpha. You're the apex predator. Everyone wants you. You're like the hot girl that every guy wants.Scott: Thehot girl?Stiles: You are the hottest girl.Isaac: What?Scott: I'm the hot girl.Isaac: Yes, you are.Coach: Peek-a-boo! That's all you got? That's it? Son of a bitch!Mischief Night, Devil's Night. I don't care what you call it. You little punks are evil. You think it's funny every Halloween my house gets egged? A man's house issupposed to be his castle. Mine's a frickin' omelet. Oh, this? We're gonna do this again? I don't think so. \"Happy Birthday.\" \"Love, Greenberg.\"Danny: What areyou doing?Lydia: There's a fly.Doctor: Anybody else here think I should make a minor slip and let this b*st*rd bleed out on the table? That's just a little surgicalhumor, Melissa. Relax. Clamp, please. Suction. Let's see what we have here. Oh! Okay, that's That's That's not shrapnel. Uh, 10 blade. What's the problem?You're missing your 10 blade?Melissa: Doctor Doctor, I think you should see this. I really think you should see this. Ah! Move! Move!Melissa: He's gone. Barrow'sgone. He's going to be okay. Stay with me.Peter: Ow! Don't you have any anesthetic?Derek: Yep.Peter: Well, are you at least going to tell me what I risked lifeand digit for?Derek: I'm going to show you. After the fire, that's all that was left of her.Peter: Talia. I can't decide if that's touching or morbid. I guess the realquestion is, what are you planning on doing with them?Derek: I have to ask her something. And from what I've heard, this is the only way it's possible.Peter: Yougotta be kidding me.Derek: Why do you think I sewed your finger back on?Melissa: Sheriff? Sheriff.Sheriff: Hey.Melissa: These dead flies everywhere? They cameout of Barrow. Out of his tumor.Sheriff: Is that even possible?Melissa: Maggots can come from the body. It's called myiasis. But from the stomach? It's not likely.And there's something else. Last night, he told me why he killed those teenagers.Sheriff: Yeah, I know. I read the report. Glowing eyes.Melissa: We know a fewkids that fit that description.Agent Mccall: Listen up, everyone. The stolen ambulance has been spotted. Corner of Truman and Spaulding.Sheriff: That's threeblocks from the school. Let's go. Go!Lydia: Oh, no. I don't think so. There's no way you come back here after two weeks of nothing, with your cute little smile, thedark eyes, the brooding forehead, the muscles, and suddenly we're ripping each other's clothes off in Coach's office. No way. It's not gonna happen.Aiden:Guidance office?Lydia: Okay.Stiles: Wait a minute, wait a minute! The William Barrow? The Shrapnel Bomber? Spotted nearby?Sheriff: A little closer than nearby,actually.Agent Mccall: How do we get down to the basement? I need to know where every entrance is. I don't want anybody coming in or out of the school.Stiles:Dad, what's really going on here?Isaac: Barrow went after kids with glowing eyes? He said those exact words?Stiles: Yeah. And no one knows how he woke upfrom anesthesia. Just that when they opened him up, they found a tumor full of live flies, which in any other circumstance would be all kinds of awesome.Lydia:Did you say flies?Allison: Lydia?Lydia: All day I have been hearing this sound. It's like This buzzing.Allison: Like the sound of flies?Lydia: Exactly like the sound offlies.Mr Yukimura: All I'm saying is, I don't understand why you're sitting here with me instead of in the cafeteria with the other kids.Kira: Maybe I want to keepyou company.Mr Yukimura: You should be embarrassed to be seen with me. Not keeping me company. Kira? You must have some friends by now.Kira: I don'tknow what's wrong with me. I had a lot of friends back home. But here it's like every time I open my mouth, I just start rambling like an idiot.Mr Yukimura: Tryagain. Fail again. Fail better.Kira: Are you quoting Samuel Beckett to me?Mr Yukimura: I thought that was Yoda. Someone will show an interest. You're abeautiful girl. How could they not?Kira: The only one who's shown any interest in me is a rabid coyote.Mr Yukimora: Maybe you could date the coyote?Kira: Idon't want a date. And I definitely don't need a boyfriend. I just want to make a few friends.Stiles: Sorry...Hey, dude, where the hell have you been?Lydia: Thepolice are leaving. Why are they leaving?Scott: The police?Stiles: They must have cleared the building and grounds, which means he's not here.Scott: Who? Whatare you guysLydia: He has to be here. That sound The buzzing I've been hearing? It's getting louder.Stiles: How loud? Dad! Dad!Sheriff: Yeah?Stiles: You can'tleave yet.Sheriff: We got an eyewitness that puts Barrow by the train station.Agent Mccall: Let's go, Stilinski.Stiles: Whoa, whoa. Dad, please just Lydia said thathe's still here.Sheriff: Did she see him?Stiles: Not exactly. No. Well, not at all actually. But she has a feeling. A supernatural feeling.Sheriff: Lydia wasn't on thechessboard.Stiles: She is now.Sheriff: Kanima?Stiles: Um, Banshee.Sheriff: Oh, God.Stiles: I know. I know how it sounds. But basically it means that she cansense when someone's close to death.Sheriff: Can she sense that I'm about to kill you?Stiles: I don't know.Sheriff: All right, look, I'm not saying I don't believe,but right now, I'm going with eyewitness over Banshee. We're leaving a few deputies here. The school's on lockdown till 3:00. Nobody comes in, nobody goes out.Buddy, that's the best I've got right now. That's the best I can give you, Stiles.Stiles: You're leaving me here, that is not That is the worst.Scott: You gotit?Melissa: Promise me you'll be careful. I looked right in this guy's eyes, and it was terrifying.Scott: Yeah. Okay, Mom, I promise. Okay? Melissa:Okay.Scott:Lydia thinks that he's still here even though the cops searched the whole school. But they didn't have one thing Our sense of smell.Allison: The Bestiary is literallyIf I'm going to find anything about flies coming out of people's bodies, it could take me all night.Lydia: And remember, the word in archaic Latin for fly ismusca.Allison: Got it.Lydia: Where do we start?Stiles: Upstairs. We gotta go.[SCENE_BREAK]Isaac: So this is how it's gonna be now? We trust them?Scott: Justbecause I'm letting them help, doesn't mean I trust them.Isaac: Yeah, well, I don't trust them either. Or like them. In fact, I hate them and just want them todie.Scott: Well, if Barrow's actually here and he's got a plan, you might get what you want.Aiden: You got something?Ethan: Oh, really?Lydia: Scott and Isaac arein the basement, right?Stiles: Yeah, with Ethan and Aiden. The plan is they meet in the middle, in the boiler room.Lydia: All of the wolves All of the ones withglowing eyes are in the basement at the boiler room?Stiles: Oh, my God! An engineer could use a boiler room to blow up the whole school.Lydia: We have to get"}
+{"doc_id":"doc_169","qid":"","text":"[PREVIOUSLY_ON]Angel to Darla: \"You're never gonna be alone again.\" Door burst open, Dru walks in.Lindsey: \"How did you think this would end?\" Dru bitesDarla.Lilah: \"For God's sake, help us!\"Holland: \"People are gonna die.\"Angel, closing the door: \"I just can't seem to care.\" Darla bites Holland.Wesley: \"Right nowthe three of us are all that are standing between you and real darkness.\"Angel: \"You're all fired.\" Angel throws down his cigarette and flames engulf Darla andDru. Darla and Dru sit underneath the water spray from the fire hydrant.Darla: \"Who was that?\" Los Angeles, Hyperion Hotel, night. Angel steps up to the glassdoors leading to a balcony and looks out over the lights of the city. Cordy takes down a box of papers from a shelf. Wesley is kneeling on the floor of their newoffice looking through another stack of papers. The place is a mess. There are papers strewn everywhere.Wesley: \"When they went out of business they just leftthese here?\"Cordy: \"Yup. Also the desk. We'll share.\"Wesley: \"And when we go out of business we can just leave our stuff for the next guy.\"Cordy: \"Hey, hey,negative energy boy, with all of our money pooled together we can stay here a long time.\"Wesley: \"Hmm. 20 minutes.\"Cordy: \"At least.\"Wesley: \"AngelInvestigations without the angel. - You think we can do it?\"Cordy: \"Well, we better. I mean, what else can we do? And I still have the visions. That'll keep us busysometimes.\"Wesley: \"We're gonna need a lot more than that. A steady, outside clientele.\"Cordy: \"It'll happen. This is our future, you know? And, personally, Ithink it is pretty bright. Ow! (Hits her head on a planter hanging from the ceiling) Dead plant! - *Not* symbolizing our future. Really!\"Gunn comes in: \"Okay,everyone parked within ten blocks has a flyer on their windshield. We just slightly irritated almost a hundred people. (Wrinkles his nose) Does it smell funky inhere to you?\"Cordy: \"It'll air out. And good job with the flyers. Now we can just sit back and let the calls roll in.\"Gunn trying the phone: \"They better roll inthrough a bull horn. We've got no dial tone.\"Cordy: \"What?\"Wesley: \"Perhaps it's the wires.\" Wesley crawls under the desk while Cordy checks the phone.Cordy:\"They said it would be on by now!\"Gunn: \"One desk? We're sharing?\"Wesley from under the desk: \"Aha! Things are looking up. I think I found the right wire. Ah!\"All the lights go out.Gunn: \"I'm so glad I met you guys. It's entertaining. Really.\" Angel lies down in his bed - and wakes up to the sounds of someone singing thestar-spangled-banner. He frowns, then gets up. Comes down the stairs into the lobby of the Hyperion, stops on the landing, crossing his arms. The Host sees himand interrupts his song.Host: \"Hey, big fella. You're gotta be singing all the time in here, am I right? Come on, with these acoustics? (sings) 'and the rockets redglare!' - Do you hear that resonance?\"Angel: \"What I hear, and maybe, hopefully, I'm still dreaming, is the star-spangled-banner being belted out by a loud greendemon.\"Host: \"We're all brothers under the skin, mi amigo. Although the garden hue and the horns have kept me out of some key public performances. Just onceI'd love to ring in a Lakers game with our national anthem. Is that so much to ask?\"Angel: \"Yes! Is there a reason you're here?\"Host: \"There is. What's today?Thursday? Tomorrow night - the world's going to end. I thought you might want to know.\" IntroAngel: \"So the world's gonna end.\"Host: \"Brings you right down,doesn't it? - Don't feel the need to offer your guest a frothy cappuccino or a hot cinnamon roll.\" Angel sitting down in a chair with his arms crossed: \"Idon't.\"Host: \"Man, you just get darker and darker. And the weird thing is, your aura? Beige.\"Angel: \"I don't have coffee.\" Host runs a finger across the top of adesk: \"Or a duster, buster. I don't know why you fired those three plucky kids. They were good company. Not to mention, Cordelia? Uh! Hot-o-rama! In the 'ohmy sizzling loins' sense of the word, if you know what I mean. And the British boy? He's gonna be playing a *huge* - well. \"Angel: \"Are you gonna get to theworld ending or are you just gonna chat until it does?\"Host: \"All right, all right! Although my buoyant good will falling on your deaf ears is something we'll need tolook at in the future. The world ending? Huh, it's kind of a funny story. I'm at the club last night. Fairly typical Wednesday crowd. A Torto demon and his parasitewere *murdering* the Everly Brothers...\" We see the scene the host is describing. There is a horned demon singing a duet of 'Bye, bye Love' with the headsticking out of his belly for a crowd of assorted demons. At one table sits a young human male, with curly brown hair and glasses. The Host is accepting a drinkfrom the bartender.Host: \"...which is nothing compared to what Elian had done to my sea-breeze!\" We see the host take a sip and grimace.Host to bartender: \"Isthis a difficult concept? Were we absent the day they taught sea-breeze in bartender school? Vodka, cranberry, *fresh* grapefruit juice. Which requires a real livegrapefruit. One you must cut and squeeze, not pour from a can.\"Host: \"...Oh. The man is *such* a moron. You have no idea how I'm suffering since Ramoneleft.\"Angel: \"Oh, I have an idea. Can you just get to the point already?\"Host: \"Yes, I can, if you'd let me get a word in edgewise, Mr. Get-to-the-point-y-pants. -So this guy I've never seen before - gets up to sing. Usually I love it. You know, they sing, I read their futures, their auras, I see into their souls...\"Angel: \"So thisguy...\"Host: \"The thing that was remarkable about him was there was absolutely nothing remarkable about him...\" The human gets up and goes up to the mike:\"This is a song that I like, because...\"Host: \"...Just your average Joe about to mangle a tune and bore me with some bland vision of his bland future...\" Genesings 'All By Myself' up on the stage, not outstanding, but not bad either.Host: \"...But when he started singing - man, he knocked me out!\"Angel: \"He wasgood?\"Host laughs: \"No, Angel-face, he knocked me *out*.\" We see the host dropping to the floor in front of the bar.Host: \"...When I came to he wasgone.\"Angel: \"He didn't wait to hear what you saw on him?\"Host: \"Nope-ah.\"Angel: \"So what knocked you out?\"Host: \"I looked into this guy and I saw - he hasno future after ten o'clock tomorrow night - and neither does anybody else.\" Angel gets up from his chair, arms still crossed: \"Let's say I do believe you.\"Host:\"Oh, honey, let's say a lot more than that. We've got to find this guy. This is the big blackout we're talking about. This guy is gonna do something between nowand tomorrow night. I don't know what, but it's gonna cancel *everybody's* summer plans. We got to find him and stop him.\"Angel: \"Why'd you come tome?\"Host: \"Isn't it obvious? You're a champion. A unique force for good in a troubled world. - Also, all the other champions I know are currently out of town or -dead. Why? You don't want to work with me? - Is this because I sent you on a couple of missions that turned out to be a little...\"Angel: \"Pointless anddeadly?\"Host: \"As for example. But I sent you on those missions in good faith. And we interrupt this broadcast to inform you: world ending? Kind of anemergency situation here. You might want to get on board.\"Angel: \"So why did this guy leave the club before you had a chance to tell him what you saw?\"Host:\"People get scared. They come in for a reading, then they don't wanna know. Especially when the psychic faints and, uh! - a teeny bit of vomit... Lets-lets *not*dwell.\"Angel: \"Maybe he's just a guy who likes to sing Karaoke. Maybe he doesn't know anything about you.\"Host: \"That'd make more sense. - So what we shoulddo is to start with the other local Karaoke bars, see if we can get a lead on him. That is if you're not to busy getting lawyers killed and setting girls on fire. Outsideof a college or university campus, day. Gene is standing in front of a dry erase board contemplating some equations written on it. Two students watch himthrough a glass window from above.Mike: \"Someone forgot to wind time-boy.\"Val: \"He's thinking. Something *you* ought to try.\"Mike: \"Very funny. He's reallynot that much smarter than the rest of us.\"Val: \"I guess that's why *his* work on the time paradox earned Professor Orfalla a Nobel nomination and your work oncarpet mold was promptly forgotten by everyone?\"Mike: \"You know what you are?\"Val: \"Yes. I do, Mike. And if you say it I'll put your face in liquid nitrogen.\" Valgets up and knocks on the glass door leading down into Gene's lab. Gene turns around and goes up the steps to open the door for her.Val: \"Hey. What's the goodword?\"Gene: \"Entanglement.\" Val following him down the stairs: \"How's that again?\"Gene: \"In Newton's world space and time are separate entities, in Einstein'stheir entwined.\"Val: \"Einstein's entwined. Can you say that ten times really fast?\"Gene staring at his equations: \"So how is it that altering one particle of anentangled pair causes the other particle to be affected - without any communication between the two.\"Val: \"Because space and time are one.\"Gene: \"So how doyou separate an entwined pair? You don't. You can't. In fact you probably shouldn't even try.\"Val: \"I never do.\"Gene: \"What you should do is carve out - one(writes another equation on board) instant - at a time.\"Val: \"Look, I like the theory of freezing time as much as the next Star Trek nerd...\"Gene: \"It's not freezingtime, although that is what it would look like to an outside observer. I'm talking about removing one infinitesimal space-time aggregate of from all that surroundsit.\"Val: \"A tiny event horizon.\"Gene: \"Sort of. And then growing that event into something measurable and controllable. Your dog and his favorite bone preservedforever - in his own impenetrable little bubble.\"Val: \"And who's gonna clean up that bubble?\"Gene: \"If I could just get the math right, I should be able to prove it(walks over to some other equipment) by generating a focal point with the accelerator's beams here and passing liquid mercury - through that point.\"Val:\"Suspending the mercury. Snatching it out of our time-space continuum - and freezing the moment.\"Gene: \"Forever.\" A red head enters the lab.Val: \"Denise.Thank god you're here. Your boyfriend was just coming on to me with the old Einstein-Podolsky-Rosen correlation.\"Denise smiles: \"That's what got me - out ofphysics and into theater.\"Gene: \"Hi, sweetie.\"Denise: \"Hi.\"Gene: \"How are you?\"Denise: \"Good. You?\"Gene: \"Good. So, what's new? (Denise shrugs) - I guesswe're on for tomorrow night.\"Denise: \"Uh-huh, we are.\"Gene: \"Big night.\"Denise: \"Yeah. One year anniversary and all.\" All three stand around for amoment.Denise: \"Well, we-we should, ah...\"Gene: \"Oh, you guys are gonna take off?\"Denise: \"Yeah.\"Gene: \"Okay. Well, I guess I - I'll see you tomorrow nightthen.\" Leans in to give her a quick kiss.Denise: \"Don't work all night.\"Val: \"You know he will.\" The Host and Angel enter a dingy bar. One of the customers isslumped asleep at a table, wrapped around a bottle. A boy is singing 'Greensleeves.'Angel: \"Nice.\"Host: \"Hmm, it's not that bad. Nothing a couple bottles of lysolcan't cure.\" They walk over to the bar.Host watching the singer: \"Interesting choice. Too bad about the cuisine art tomorrow. You know, if we stop the world fromending tomorrow the scar won't even be that noticeable. (Angel looks at him) Sorry. Occupational hazard.\"Angel: \"Is he here?\"Host: \"Nope.\" Angel drops down on"}
+{"doc_id":"doc_170","qid":"","text":"This is the address for Luke Cafferty. Where does he really live? East Dillon. You're gonna have to pack up your stuff. Starting tomorrow, you're going to be goingto school at East Dillon High. What? Kind of looking for a place. I do have this trailer.Cheryl: I am going to give my daughter a call.Hey. Don't want you to scareher.(stammering)I'm your new intern. Yeah, I got a bunch of crap in here. I need you to start moving it. Why did you forfeit the game? You just quit on us? Ihave got shame and I apologize to you. Who wants to finish this fight?Dallas: Let's do this, fellas! Let's finish it. Let's finish it.( Park where the Lions are gatheredaround an old red car, Stan sits inside. )Eric: Hey, listen! Ten of you are gonna push the car. Once we get out there and everything, the rest of you hold thehelmets and collect the money. Understood? Be careful, don't get your feet run over while we're out there. Any questions?Tank: Matter of fact, I do have aquestion.Eric: What is it Tinker?Tinker: Why are we pushing this damn car?Eric: One, you need to watch your language. Two, next time I see you I want whateverthat is on your upper lip shaved off. And I tell you why we're pushing the car, cuz it's a fun football fundraiser. And we're all gonna have fun so we're all gonnaput smiles on our faces right about now. Team comes out, town comes out, money gets exchanged. It's a good thing. Understood?Tinker: Got it coach!Eric: Let'sbe kind and courteous out there. Let's go.( The team starts pushing the car out of the parking lot. )Stan: (into his megaphone) Hello neighborhood! We're theLions! (he roars) Let's hear it guys! (roars)[EXT. Dillon Church]( Tami and Julie exit the church, headed to the car. Tami is holding Gracie. )Tami: Even at church,everyone is really not being nice to me about this whole Luke Cafferty thing?Julie: Yeah, well, that's our congregation. All sweet and holy inside the church. Thenas soon as they get out the door, bitchy and judgmental.Tami: Well, welcome to the world, honey.Julie: It's not gonna be my world.Tami: What's not gonna beyour world?Julie: Going to church with a bunch of hypocrites.( Tami starts to load Gracie into her car seat. )Tami: Honey, hypocrites are everywhere. It hasnothing to do with church. That's no way to think about it. There's always going to be some bad apples but church is about you and God and things other thanjust people..Julie: So if it's just about me and God, why can't I just worship at home?Tami: I mean, I think church is also about community and family and youknow, there's just a lot to it.[EXT. Streets of East Dillon]( The team is pushing the car down the street while Stan yells out. )Stan: We need your quarters, yourdollar bills, your good wishes in monetary fashion! Let' hear it boys!Tinker: (to Vince as they push the car) I feel the love. You feel the love?Vince: Shut up, stopsweating on me and push this piece of junk, okay?Stan: We got forty bucks, people! Thank you, good people of the street!Eric: (to people donating money) Goodto see 'ya! Thank you very much! Thank you very much!Stan: We are the East Dillon Lions! Speed up! Speed up! Feed us! Roar!!!( Tim walks up to Coach. )Tim:I'm out.Eric: What do you mean you're out?Tim: I'm out of money.Eric: What do you mean you're out of money?Tim: I'm out of money.( Eric pulls some cashfrom his pocket. )Eric: (handing it to Tim) Listen to me. This is all I got left. That's about a hundred bucks. Don't give it all to one person.Tim: AlrightEric: Spreadit out.Tim: I'm trying, some are taking it.Eric: Well, give it to people who won't take it.Stan: Look at these boys pushing this car for ten miles![EXT. RichardSherman's studio]( Matt grabs a rusted tricycle and takes it into the studio where loud music is playing while Richard welds. )Matt: Hey! Here's thetricycle.Richard: What?Matt: Tricycle!( Richard stops working to look at it. )Richard: That's great. Listen, I need you to drive me to Clearwater on Tuesday. I needto pick up some metal so I can finish this piece of crap.Matt: Why do you call everything you work on 'crap'?Richard: Because it is all crap. I call the Mona Lisacrap. In fact, the Mona Lisa is crap. There are better things I call crap.Matt: Alright, well, Clearwater is like 200 miles away.Richard: Just about.Matt: Right. And Igotta shift I gotta do so I... I mean, I can't take the whole day and chauffer you up there.Richard: Yeah, yeah, you're here to learn about art from an artist! Youcan't take a day off because you gotta a shift to deliver pizza?( Matt has no comeback for this so Richard just gets back to work. )[EXT. East Dillon High School](Eric is walking with the Principal Levi. )Levi: We already have uniforms. Why do we need new ones?Eric: Cuz I burned the uniforms.Levi: Taylor---Eric: I burnedthem. That's what you do. They're damn thirty years old. It's not like I just burned them for no reason. You end the old cycle, you start the new, Levi. You know,you get rid of the past.Levi: Uh-huh.Taylor: Fact of the matter is, the team and I we went out and we made up a good amount of money it's just that...Levi:That's good.Eric: We're just... we're just a little shy of what we need and all I'm asking is you and the school, is if you help us with the down payment. Hell, wecan pay for the rest of them.Levi: I don't think you understand the financial situation here. We ain't close to talking about more money for football.Eric: ListenLevi, it's expensive to start up a new football program...Levi: Starting up a new football program is a little premature. Let's see if we can finish up some gamesbefore we start writing some checks.Eric: What the hell is that supposed to mean?Levi: You can't finish games, I can't keep this program going. I can't have nostudents getting hurt. I don't want no jokes down at the school board meetings. I'm tired. Either you turn it around or we're gonna shut it down.Eric: What do youmean shut it down? You're gonna shut down a football program?Levi: Taylor! You weren't even supposed to take this job! You weren't supposed to be here. Soyou're the only who didn't get the joke. Okay?( CREDITS )[EXT. Tim Riggins' trailer]( Becky is knocking. )[INT. Tim Riggins trailer]( Tim is crawling out of bed.)Tim: Yes? Yeah![EXT. Tim Riggins' trailer]Becky: Morning! I made you toast.Tim: Are you serious?Becky: Yeah. It's worth it, eat it.Tim: What time is it?Becky:Morning. Hey, and since you're up, can you give me a ride to school?Tim: No.Becky: Come on. Put some pants on.( She starts to close the door. )Becky: Watchyour head. Watch your head.( She closes the door. )Becky: Hurry up! I'll be waiting in the truck.Tim: What's wrong with you?[INT. Taylor Kitchen]( Tami isfeeding Gracie Belle. )Tami: Here you go, sweetheart. There. Here's your sippy.Julie: Good morning!Tami: Hey, Honey.Jule: Good morning, Grace.Tami: Youknow yesterday in church, all that stuff you were saying... Do you feel like we're making you go to church?Julie: It's not like you're making me go to church it'sjust... you know, something we all do as a family. It's like a tradition but if you stop going than I don't think I'd probably keep going.[INT. Restaurant with theWest Dillon coach and boosters.]Joe: Coach Taylor at half-time: We're done! We're beat up! We can't play anymore!( Laughter all around when Buddy enters therestaurant. )Joe: I couldn't believe it!Buddy: Hey, guys.( It's quieter now. )Booster: Hey, Buddy.Buddy: Well, you're waiting on me. You're backing up.Booster:We missed you at the game Friday night, Buddy.( Buddy starts to sit down and Joe is just sitting there smiling like a Prince on his throne. )Buddy: Yeah, I had tolisten to it on the radio. I was really sick, it's terrible.Joe: Anything you feel like sharing with us, Buddy? Anything about a certain mailbox or an old friend of yoursnamed Eric Taylor?Buddy: Oh, no. I don't think so. I don't know what you're implying. (all eyes focus on Buddy) I think this Luke deal has made everyone go alittle crazy. (he twists his State Ring) You know, Joe, I was a Panther before everybody here. So, I'll just pretend you didn't say that. Go ahead with the agenda,Joe.( Joe has *that smile* on his face. )Joe: Alright then. Gentlemen, there is a 13-yr old quarterback in a Pop Warner League down in Little Tree that needs acloser look at. Who's gonna go down there for me?[INT. East Dillon Locker Room]( Team just hanging out. Vince is eyeing Luke as he chats with Landry. )Player:Lions in the house. Let me hear you say, \"Oh yeah!\"Vince: (to his friend, referring to Luke) What the hell that dude so happy about?Player: I don't know what hehappy about. I guess he think he gonna come down here and kick our asses or something.Vince: Something.Tinker: He's all, I'm a Panther.Player: We theLions.Eric: Let's go, guys. Let's go! Let's go.Stan: Come on boys! Execute!( Vince lingers until Luke walks by. )Vince: You're a long way from home boy.Luke: Iguess so.[EXT. East Dillon Football Field]( Practice. Tim is there helping out. )Eric: Come on, get after him. Pick him up. Pick -- come on, Vince. What are youdoing, man? You're dancing out here. Dancing. Don't start my day off like this. Why is it I'm always talking to you? I spend half my day, my practice, talking toyou. Get in the front. Do it again. Get in the front. Let me see it. Luke come here. I want you down at the defensive backs.Luke: I don't play D, coach.Eric: If I tellyou to get down to the defensive backs you do. Get on the defensive backs. Tim, you wanna take him down? If you'd like to hurry that up, that'd be just fine.Tim:Riggins.Luke: I knew that. It's a pleasure, man.Eric: (focusing back on practice) Do it again. Let me see it again. Get after him! Move him! Come on, let me seesome of the speed!Tim: How you doing?Luke: I mean, I'm alright 'cept I don't play DB.Tim: It's alright.Luke: What are you doing here? Coaching now?Tim: I'mhelping out when I can.Luke: Nice.Tim: Yeah.Luke: I saw you win State.( Luke raises his hand to either high-five Tim or maybe as a gesture to see Tim's ring.Either way, Tim ignores it. )Tim: Yeah, here. You go DB it up.Luke: Alright.[EXT. Panther Pizza]( Matt is exiting with his deliveries while Julie reads something tohim. )Julie: His last installment at the Austin Museum of Modern Art is nothing short of mind bending. A violent fusion of metal and artistry that invokes somehowboth anger and beauty through a complex interplay of architecture and light. Brilliant, visceral, and ultimately, ethereal, this work is not to be missed.Matt: Areyou sure you got the right Richard Sherman?( Julie opens up the hatchback to Matt's station wagon so he can load the pizza. )Julie: Yup, it's him.Matt: \"Brilliantand ethereal\"?Julie: That's what it says.Matt: The dude is like an angry, abusive idiot. I don't understand how he can get described as ethereal.Julie: I don'tknow. Maybe it's his evil twin.Matt: Yeah, maybe. Clearwater and back. This is going to be 400-miles of Hell.[INT. East Dillon Locker Room]( Coach is working onfixing the lights when a man enters. )Man: Hey, coach.Eric: Hey, Doug, how you doing?Doug: I'm good.( Eric finishes with the light. )Doug: Nicely done.Eric: Howis everything?Doug: Good. Good. The uniforms are look great, they're coming along, look beautiful. You're going to be real happy.Eric: Look, I know... I know I'mlate on payment and all this but...Doug: Nah, look I know things are rough here right now. It's just we're gonna deliver on Friday.Eric: I understand we've had afew little hiccups with our fundraising and uh...Doug: Sure, sure. Well, look Coach. You've been a friend of Under Armor for a long while and that's why we're"}
+{"doc_id":"doc_171","qid":"","text":"Michael: Yeah! Everything! Oh it's all good, it's all good. Phyllis!Phyllis: Dancing babies!Michael: Dancing babies! I love it! I love it![SCENE_BREAK]Michael: Weare making a commercial for Dunder Mifflin today. Our first ad ever. Corporate purchased some air time in local markets to spread the word about Dunder MifflinInfinity and they are even sending up a professional ad company to help us make it later so... it's uh, not too shabby.[SCENE_BREAK]Andy: Best ad ever. [singsin the tune of the \"Kit Kat theme song\"] Gimme a break, gimme a break, break me off a piece of that... I am totally blanking. What is the thing?Jim: Nobody tellhim!Andy: What? No, why?Jim: You got it, you're so close!Andy: [singing] Break me off a piece of that... huh huh huh... br- applesauce.Jim: Break me off a pieceof that applesauce, I don't think...Andy: Break me off a piece of that Chrysler car.Jim: Nope.Andy: Football cream. Grr!Michael: Okay, it's football cream. It'sfootball cream. Alright! So, anybody else?Pam: I'm taking a computer animation class so I could try to do a logo.Michael: Look at that. Even the receptionist isgetting in on the creativity. Very good, very good.[SCENE_BREAK]Michael: Hello hello!Ad guy 1: Hey, how ya doin'?Michael: Michael Scott.Ad guy 2: Hey,Michael.Michael: Regional manager.Ad guy 2: Hey Michael, nice to meet youMichael: Excited to talk ideas.Ad guy 1: Let's do it, man.Michael: You know, I wantthis to be cutting edge. I want it to be fast, quick cuts, you know, youthful, sort of a MTV on crack kind of thing.Ad guy 1: That soundsgreat.[SCENE_BREAK]Michael: All right, good, well this is what we have to work with.Michael: I would like you to meet Andrew Bernard. The 'Nard Dog. Who letthe 'Nard Dog out?Andy: Hoo hoo hoo-hoo!Michael: He gives the best back rubs in the office.Andy: It's true, I give a mean backrub. I also do good aromatherapy[makes farting noise]. Not! You just got 'Nard dogged!Michael: Now this gentleman right here is the key to our urban vibe.Stanley: Urban? I grew up in a smalltown. What about me seems urban to you?Michael: Stanley is hilarious. Phyllis is like our Mrs. Butterworth. Kind of a less urban Aunt Jemima.Michael: These areour accountants. And as you can see they are very different sizes. What you might want to do is kind of a Papa Bear, Mama Bear, Baby Bear thing. That might bekind of fun.Kevin: [looking at Oscar] Mama Bear!Michael: Who else?[SCENE_BREAK]Jim: I think it's great that the company's making a commercial because notvery many people have heard of us. I mean, when I tell people that I work at Dunder Mifflin, they think that we sell mufflers, or muffins, or mittens, or... Andfrankly all of those sound better than paper, so I let it slide.[SCENE_BREAK]Jim: You playing that game again?Dwight: Second Life is not a game. It is amulti-user virtual environment. It doesn't have points or scores, it doesn't have winners or losers.Jim: Oh it has losers.[SCENE_BREAK]Dwight: I signed up forSecond Life about a year ago. Back then my life was so great that I literally wanted a second one. In my Second Life I was also a paper salesman and I was alsonamed Dwight. Absolutely everything was the same. Except I could fly. [shot of Dwight's avatar flying around][SCENE_BREAK]Michael: [reading off piece ofpaper] Little girl in a field holding a flower, we zoom back to find that she's in the desert and the field is an oasis. Zoom back further the desert is a sandbox inthe world's largest resort hotel. Zoom back further the hotel is actually the playground for the world's largest prison. But we zoom back further---Ad guy 1: OkayI can tell that your time is valuable---Michael: Actually I don't get paid by the hour anymore, but thank you, I get paid by the year, so...Ad guy 1: That all soundsreally, really ambitious.Michael: Yeah, I know.Ad guy 1: Why don't we show you what we did with the Nashua branch?Michael: Mmm. Okay. [commercial plays onlaptop, peppy music in background]Michael: That's what Nassau came up with? That sucks! [chuckles] Whoa.Ad guy 1: That's what we came up with.Michael:Well we can do better than that.Ad guy 2: Well the main part of the ad has to stay the same, actually.Ad guy 1: Yeah, it's the last five seconds where we havesome leeway.Michael: The waving?Ad guy 1: Well, no, no. You don't have to be waving. That was just what they did. You guys can be clapping. Sitting. Standingoutside, inside, whatever. This is where you really get to be creative.[SCENE_BREAK]Andy: I need some advice. I've been spending a lot of time making out withAngela lately. But we've been necking, but only necking. Right? Not actually kissing, our mouths, just the neck on neck. It's just like rubbing slash nuzzling ournecks together. It's hot, I'm not going to lie to you , but it's a little weird, but you seem like a guy with answers, so how do I fast track this to get to firstbase?Dwight: We cannot talk about this... because, someone might hear us.Andy: We'll use code names.Dwight: Angela can stay the same, but we'll changeAndy to Dwight.Andy: That's not different enough.Dwight: Dwike?[SCENE_BREAK]Receptionist: You have a call from Eddie Murphy.Ryan: Hello?Michael: [onspeakerphone, Eddie Murphy voice] Shrek! Shrek, I'm a donkey! I'm a donkey, Shrek! [laughing] I'm just kidding. It's me. Hello Ry.Ryan: What?Michael: Okay,calm down. I have a small problem.Ryan: I told you not to call about small problems.Michael: Yeah, well when I call about big problems you don't like that either,so make up you mind, kiddo. Here is the deal, the ad guys that you sent are locking me in a creative box, and sort of ignoring my ideas.Ryan: That's good.They're creative, you're not.Michael: I'm creative, Ryan.Ryan: It's not part of your job, it's like, maybe you can cook but it doesn't mean you should start arestaurant.Michael: Well actually I can't cook, and I am starting a restaurant. Mike's Cereal Shack. I'm thinking we'll have as many varieties as you can buy in thestore.Ryan: Okay, I'm not really interested in that right now. I'm delegating creativity to creative professionals. It's a different skills set. Look, I wasn't good atsales, right?Michael: Yeah!Ryan: But I'm good at managing people who do sales .Michael: Are you? I don't think you're doing such a good job here, suppressingideas and creativity.[SCENE_BREAK]Michael: All right, let me ask you this, tell me if you think this is creative. When I was five, I imagined that there was such athing as a unicorn. And this is before I had even heard of one, or seen one. I just drew a picture of a horse that could fly over rainbows, and had a huge spike inits head. And I was five, five years old. Couldn't even talk yet.[SCENE_BREAK]Michael: Hey guys, um, you know what, we cannot shoot this ad today.Ad guy 2:Okay, when should we come back?Michael: How about never hundred hours, sir.Ad guy 2: We were sent here to help out.Ad guy 1: Okay I'm not going to arguewith this guy. Let's go. Good luck dude.Michael: Hey thanks. Thank you.[SCENE_BREAK]David Wallace: [on phone] Michael, David Wallace. What is this aboutdismissing the ad people?Michael: Yeah, I'm glad you called. Ryan is being a little bitch again.Ryan: I'm on Michael.Michael: What's up my brotha? Listen, David,I would like to do this ad in house. I want to use only the creativity that we have right here in the office. And I will send it to you tomorrow morning, take a lookat it, and if you do not think that it's ready to air, send the ad agency back down here, and we'll do it on my dime.David Wallace: This is weird.Michael: I'm willingto stake my entire reputation on it.David Wallace: Okay, I'll see it tomorrow.Michael: Okay. [hangs up phone] And thus, Michael Scott sealed his own destiny. Ina good way.[SCENE_BREAK]Michael: Has anyone ever come up to you and said, \"You're not creative\"?Dwight: Yes.Michael: Well they're wrong. You are creative.You are damn creative. Each and every one of you. You are so much more creative than all of the other dry, boring morons that you work with.Jim: Who are youtalking to, specifically?[SCENE_BREAK]Kevin: I kind of know what it's like to be in commercials. My nickname in high school used to be Kool-Aid Man. [makessquinty face][SCENE_BREAK]Oscar: When I was younger I always wanted to be an actor in commercials. Then I realized I had a brain.[SCENE_BREAK]Meredith:I'm excited about doing the ad, but I'm not really used to doing videos with so many people around.[SCENE_BREAK]Michael: We have three scenes to film, bigscenes. We have a song to write. So let's get cracking. Kelly, I want you to do makeup. Oscar, I would like you to do costume design, obviously. Phyllis, I'd likeyou look around town and see if we have any celebrities in our local area.[SCENE_BREAK]Phyllis: [gasps] Sue Grafton is at the Steamtown Mall. She's doing abook signing right now.Michael: Okay, okay, Phyllis this is what I want you to do. I want you to go down to the mall. I want you to get in line. I want you to gether to be in this commercial. This would be a huge coupe people. All right? Do not take no for an answer.Phyllis: Okay.Andy: Does anyone actually know whatSue Grafton looks like? I mean, is she hot or-?Creed: She's crazy hot.Andy: Well then maybe we should just use Angela and say she's Sue Grafton. Would anyonenotice?Angela: That's not happening.[SCENE_BREAK]Angela: I find the mystery genre disgusting. I hate being titillated.[SCENE_BREAK]Phyllis: Byeeveryone.Michael: Line it up Phyllis.Creed: Get her Phyll.[SCENE_BREAK]Darryl: [singing] Out of paper, out of stock, there's friendly faces around the block,break loose from the chains that are causing your pain.Andy, Creed, Kevin, Kelly, Darryl: Call Michael or Stanley, Jim, Dwight or Creed. Call Andy and Kelly foryour business paper needs.Darryl: Dunder Mifflin.Andy, Creed, Kevin, Kelly: The people person's paper people.Darryl: Dunder Mifflin.Andy, Creed, Kevin, Kelly:The people person's paper people.Michael: Time out, time out, time out, time out, time out. I thought... I was under the impression that this was going to be arap.Darryl: What's rap?Michael: Okay, Darryl, wow, you need to learn a lot about your own culture. I'll make you a mix.Darryl: Great.[SCENE_BREAK]Andy: Newsflash. I got some juicy updates on Operation Fallen Angel. Remind me to tell you later.[SCENE_BREAK]Jim: Hey.Pam: No talk, I'm animating.Jim: Why don't wetake a quick ten second break from that so I can show you what's going on here. [pulls up Dwight's game] Okay, this is Dwight's Second Life. He's on it all thetime. So much so that his little guy here has created his own world. It's called Second Second Life, for those people who want to be removed even further fromreality.Pam: Are you serious?Jim: Yeah.Pam: Oh my God, he's really in pain.Jim: [sighs]Pam: Who's that?Jim: Oh, it's just my avatar guy. Whatever.Pam: Helooks a lot like you. How much time did you spend on that?Jim: Not much, it's just for tracking Dwight so---Pam: Right... you're a sports writer in Philadelphia?Nice build too.Jim: Yep.Pam: You have a guitar slung on your back. I did not know you played guitar.Jim: I... why don't we go back to this animation.Pam: No nono, I want to see more of Philly Jim. I want Philly Jim.Jim: Ah, show me how this works.Pam: Oh boy.[SCENE_BREAK]Darryl: [singing in different tune] Out ofpaper, out of stock, there's friendly faces around the block, break loose from the chains that are causing your pain. Call Michael, Stanley, Jim, Dwight or Creed."}
+{"doc_id":"doc_172","qid":"","text":"EXT. WOODS - VIEWFINDERWILLIAM MOORE: (V.O.) I am here in Shenandoah State Park. Oh, that's beautiful. Wow!(CAMERA PANS POND AND HILLSIDETHROUGH VIEWFINDER)(ACTION CONTINUES AS MOORE TUMBLES DOWN THE HILL)(MUSIC OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITSAND OUT)[SCENE_BREAK]INT. SQUAD ROOM - DAYKATE: (V.O.) He did that? Yeah? (INTO PHONE) You're kidding. Well, I wouldn't put it in my romantic column,Deb. Definitely kinky. Maybe affectionately odd. But I mean, I don't find anything romantic about having s*x with...I'll call you back later.(HANGS UPPHONE)TONY: s*x with a what?KATE: None of your business.TONY: Another woman?KATE: Go back to your desk.TONY: Another man?KATE: I told you.TONY:Some kind of root vegetable?KATE: You're disgusting.TONY: Wasn't me having a conversation about kinky s*x, Kate.KATE: It was a private conversation, Tony,something you seem to have a difficult time with.TONY: If I'd been having that conversation, you'd accuse me of being a Neanderthal.KATE: Well, that doesn'trequire a conversation, Tony.TONY: You know what I think, Kate? I think there's a secret side to you. A Spike Steele video kind of side. Keep it hidden under yourmattress.KATE: Leave now.TONY: Ah, you're a Spike Steel fan, aren't you, Probie?MCGEE: What, the p0rn star?TONY: No, the physicist.MCGEE: Oh, no notreally. He looks kind of sleazy.KATE: Actually he looks a little bit like Tony.TONY: Oh, you have no idea how much he looks like me. Kate, how do you know whathe looks like?KATE: I saw him on the news when he was arrested a few years ago.TONY: Really. Spike Steel's real name is Jay McMann. And according to theNational Crime Database he's never been arrested. Ever.(SFX: KEYBOARDING B.G.)GIBBS: What're you waiting for, DiNozzo?TONY: Uh...GIBBS: Gas thetruck.TONY: I knew that.GIBBS: McGee, get Ducky.MCGEE: What am I telling him, Boss?GIBBS: We have a dead Marine in Shenandoah River State Park. Comeon! Let's go![SCENE_BREAK]EXT. STATE PARK - DAYKETT: (V.O.) Sergeant William Moore. Call came in from his wife.GIBBS: The friend?KETT: Sergeant RogerCaine. All camping together. This morning they were going to hike this trail. Sergeant Moore went ahead early to film the sunrise. When they couldn't find him,they called us. Early in the morning, it's really slippery up here. Sergeant lost his traction and slipped.GIBBS: Are you a trained investigator, Ranger Kett?KETT:Been working this park five years, Agent Gibbs. It's as treacherous as it comes up here. Seen a lot of hikers go over.GIBBS: This hiker was a Marine.KETT: Yeah,well, this Marine slipped and fell to his death.GIBBS: You said he was filming.KETT: That's what his wife said. No sign of the camera.GIBBS: Me and my team cantake it from here.[SCENE_BREAK]INT. TRAIL - DAYKATE: I wonder what happened to McGee?TONY: Probably passed out on the side of the trial sucking histhumb.KATE: He joined a gym, you know.TONY: Is that right?MCGEE: (SHOUTS) Wait up!TONY: He should get his money back. Where the hell have youbeen?MCGEE: Ducky needed some help with his gear. How much further is this?KATE: It's another quarter of a mile.TONY: Uphill. Stamina, Probie. It's veryimportant in our profession. As it is in Spike Steel's profession.KATE: You relate to him, don't you, Tony?TONY: Oh, we have a lot in common.KATE:Stamina?TONY: For one.[SCENE_BREAK]EXT. CREEK - DAYDUCKY: What are your preliminary findings, Mister Palmer?JIMMY: Ah, lacerations, bruises, contusionsconsistent with a fall of this kind.DUCKY: And?JIMMY: And uh... I would imagine that the victim has sustained fractures of several limbs.DUCKY: Cause ofdeath?JIMMY: Impossible to say until we get him back, but from the looks of his head wounds, I would say that he probably struck a rock.DUCKY: Cause ofdeath?JIMMY: Shock.DUCKY: That would be my supposition as well.JIMMY: But what I don't get is the flesh trauma. What kind of wounds are these,Doctor?DUCKY: They're Coyote. They would eat the exposed tissue first.JIMMY: What's second?DUCKY: If what I suspect is true, the abdominal cavity has beenchewed open. The liver and kidney are a rich source of nutrients for these creatures.JIMMY: That's gross, Doctor.DUCKY: Well actually, Mister Palmer, we're quitelucky here. In some cases they chew off the head and carry it away so they won't have to fight other coyotes for it. My coroner friend in Los Angeles says coyotestake it \"to go.\" They're very strange in Los Angeles.GIBBS: Anything unusual, Duck?DUCKY: Not really, Jethro. I'll know more when I get our Marine back on thetable.MCGEE: Boss! I found the camcorder![SCENE_BREAK]EXT. CAMPGROUND - DAYJUDY: He was obsessed with the stupid camera. I gave it to him on hisbirthday. Maybe if he hadn't, he wouldn't have slipped.GIBBS: Anybody else at this campsite while you were here.CAINE: No, Sir. Just the drunk. He was nothingto worry about. He was in a trailer over there. Scruffy guy. He was drinking too much. He got loud. We asked him to keep it down.GIBBS: He didn't keep itdown?CAINE: No, Sir. So we went over there and tried to reason with him. That's when he took a swing.KATE: You took a swing back?CAINE: No, Ma'am. Bill puthim in a head-lock 'til he calmed down and then he just took off.GIBBS: I don't suppose you got a license number?CAINE: No, point, Sir. The guy washarmless.JUDY: Bill spends eight months in Iraq and dies filming a sunrise in Virginia.[SCENE_BREAK]INT. LAB - DAY(SFX: DOORS SLIDE OPEN)ABBY: That's notthe way it works, Gibbs. This thing has been in water for hours. You don't just spray a little Four-Oh-Nine on the tape and off you go.GIBBS: Tape?ABBY: Yes. It'sdigital video tape.GIBBS: I thought everything was a chip these days.ABBY: No, they kind of married the old school with the new. You know like new hip-hopperswill go back to old-school rappers like Sugar Hill Gang.GIBBS: How long?ABBY: I have to separate the cartridge. I have to submerge the wheels in a cleaningsolution with the heads up against it. I have to remove the silt contaminants so they don't shred the tape...GIBBS: How long Abby?ABBY: Um... three, maybefour hours.GIBBS: Let me know when you got it.ABBY: Hey Gibbs, do you have a camcorder?GIBBS: Yeah. Digital, okay?ABBY: Good, Gibbs! Way to go! Did youmake the jump to CDs yet? Because if you didn't, it's cool because all the hot D.J.s, they use vinyl these days anyway.GIBBS: Just get it to me.ABBY: Hey Gibbs!Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Peace out, man.[SCENE_BREAK]INT. AUTOPSY ROOM - DAYDUCKY: Indiscriminate predators; coyotes, fish, cats,garbage. They'll eat anything they can chew, unlike my mother who can no longer chew anything. I assure you, Mister Palmer, it is a beastly sight.JIMMY: Yes, itis, Doctor.DUCKY: I was speaking of my mother.JIMMY: Right.DUCKY: Have you ever seen a rib-eye steak that's been reduced to baby food by aCuisinart?JIMMY: Not recently.DUCKY: It's remarkably similar to her burritos and her pizzas. Not to mention the Sunday dinner treat sushi through a straw. Giveme a pair of tweezers, Mister Palmer. There's something peculiar here.JIMMY: What is it, Doctor?DUCKY: I haven't a clue. That's why you will take it directly up toAbby. I was thinking, Mister Palmer...JIMMY: Yes, Doctor?DUCKY: Perhaps it about time you came over to the house one evening.JIMMY: Came over?DUCKY: Joinus for dinner.JIMMY: Ah... that'd... that would be great.(SFX: DOORS SLIDE OPEN)[SCENE_BREAK]INT. LAB - DAYABBY: Northern White Ash. Ash trees are notindigenous to this area. And even if they were, you know any that have kiln dried wood and a lacquer coating?GIBBS: Lacquer?ABBY: Yep. Clear coat.GIBBS:Baseball bat.ABBY: Wooden bats are made out of either maple or ash. Ash is more popular, but it tends to splinter more easilyGIBBS: Especially when they comein contact with somebody's skull.ABBY: Somebody did a Barry Bonds on Sergeant Moore's head, Gibbs.(MUSIC OUT)[SCENE_BREAK]INT. SQUAD ROOM -DAYKATE: (V.O.) Sergeant William Moore, transferred from Camp Lejeune to Quantico two months ago. (ON CAMERA) He was serving as an E-I for all newlycommissioned Marine Officers.MCGEE: E.I.?TONY: Enlisted instructor, Probie.MCGEE: Uh... what did he teach, Kate?KATE: Well, according to his records,MOUT.TONY: MOUT stands for military operations..MCGEE: Yes, I know what it stands for, Tony.TONY: Well, excuse me for trying to help junior agents!MCGEE:Trust me, when I need help you will be the first person I ask...where Gibbs or Kate is.(TONY LAUGHS)KATE: Are you two done?TONY: For the moment.KATE:These are the last two people to have seen our Sergeant alive. His best friend, and his wife.MCGEE: Hey!TONY: Now I'm done. Continue.KATE: Do you think thatone or both of them could have murdered the Sergeant?TONY: Well it is kind of weird a single guy hanging out with a married couple.MCGEE: I agree.KATE: Whyis that?TONY: Well, because he's a single guy hanging out with married people.KATE: I do that all the time.TONY: Yeah, but you bring a date, right?KATE: Not...always.MCGEE: Are you related to them?KATE: No. (LONG BEAT) What?TONY: Well, who usually invites you ...?MCGEE: The man or the woman?KATE: I don'tknow, I guess usually the guy. Okay, a lot of my friends are from the Secret Service, and most of them happen to be men.TONY: What about your ... girlfriendwho called yesterday morning?KATE: Well, Deb is married to one of my buddies, Rick.(TONY AND MCGEE GIGGLE)KATE: Okay, so what you're trying to say isthat all of my married male friends secretly want to sleep with me?TONY: Pretty much. Yeah.KATE: That's very mature, Tony. And for your information, men andwomen can just be friends. Isn't that right, McGee?(TONY AND MCGEE GIGGLE)MCGEE: Technically.KATE: What do you mean technically?TONY: He means she'dhave to be pretty ugly first.(TONY AND MCGEE GIGGLE)MCGEE: I didn't say that.KATE: I swear I do not get paid enough for this.GIBBS: For what, Kate?KATE:Nothing. We are just discussing potential suspects.TONY: Focusing on the Sergeant's wife and best friend, Boss.GIBBS: Yeah. Well, come on. We've got onemore.(TONY AND MCGEE GIGGLE)KATE: You guys are four years old, honestly.[SCENE_BREAK]INT. LAB - DAYTONY: Uh... nice hat.KATE: Attractive.MCGEE: In aweird way.GIBBS: Why?ABBY: Well, I had to set up a clean room in the ballistics lab to work on the damaged videotape. And just throwing the hats away seemedsort of wasteful. So I decided to recycle. What do you think?GIBBS: I think it suits you. Now what's on the tape?ABBY: Oh, I haven't finished cleaning it up yet,but I have a P-O-I.TONY: Person of interest.GIBBS: Let's see it.ABBY: The following program has been edited for time and content. It may not be appropriate foryounger viewers.GIBBS: Abby!ABBY: Right.JUDY: (ON TAPE) This isn't a good idea, Bill.MOORE: (ON TAPE) I've asked this guy three times to turn his musicdown.CAINE: (ON TAPE) Yea, now we make him.MOORE: (ON TAPE) And if he has a gun or something in there?CAINE: (ON TAPE) I film it and we get the redneckarrested.MOORE: (ON TAPE) Way to encourage him, Roger.CAINE: (ON TAPE) Oh, come on, honey. It's not that big of a deal. We'll be right back.ABBY: Okay,"}
+{"doc_id":"doc_173","qid":"","text":"Ted and Stella joined the others at McClaren's.Ted: Hi.Lily: Hi. How are you? Stella (taking the glass of Barney): I'll just finish this.Ted: It was just dinner with hersister Stella and her boyfriend.They married before us.Stella: You know, you dream of the perfect wedding since you been little girl.Lily: Yeah.Marshall:Bluntly.Stella: My sister steals my dream wedding. So every little detail on Shelter Island, the sun managed to sleep... Flashback Stella and Ted are therestaurant's sister Stella and her boyfriend. Sister Stella:... near the beach in the old family home. This is my dream wedding.Stella (Ted taking the glass): I'llfinish it.Ted: It seems that the lamb is great here.Nora: I'm vegan. I wish I could silence that voice in me that says eating animals is murder, but I guess I'm notas strong as you.Ted: Did you need protein. I take the lamb. End flashbackTed: New objective: Our marriage is to kick the ass of hers.Our marriage is to take thehead of his, press it down the toilet and flush 20 times.Lily: Ted, in high school, his marriage was you, right?Stella: You know, she always wants to overtake. Ilike it, but there is a part of me that would like it all falls apart. Stella is the restaurant with his sister and Ted.Nora: I hate it! I hate him. God, this steak is good.4 days before and he fled with a consultant from Whole Foods? I do my make-up more for him. I do not shower more for him. I shave armpits more for him.Ted:Hard to know where is the problem.Nora: Now, so close to the wedding... Got some bacon or something in the sauce. I love it. I would not be refunded. I will losethousands of dollars.Ted (2030): Children in a relationship, you develop as a telepathy with your partner.Stella: You think about what? It might help.Ted: No,Stella, it should help. Pay for dinner. Do not worry.Taking Charge.Stella: It's true. Recovering your marriage, we reimburse you all that you paid for. Ted and Iare getting married Sunday.GENERICTed: We get married on Sunday? It is sure to be ready for this?Stella: I've wasted years waiting for the father of Lucydecides to be \"ready\" for it, but it has ever been. That's why we had never married. Come on, must be spontaneous, I dreamed that Tony is spontaneous likethat.Ted: I'm leaving. And I'm also... spontaneous. (He throws a glass of water on his face) I would not have done that.Ted (2030): Children, morality oftenhappens at the end of the story, but this one is too important, I will say now: Never, never, invite ex to your wedding. If I was given this advice, it would havechanged everything.Ted, Barney, Marshall and Lily are at the bar. Ted phone.Ted: We need you to come, this is my marriage.Robin: I can not. I am in Tokyo. Thisis my first week. I can not leave like this. In addition, I am finally serious information.Ted (2030): Robin was serious information. Flashback A man brings a fan onthe set of information.Ted (2030): It was the first English news channel in Japan. Of course, the info was a little different there.Robin: The board of the Fed votednot to change the... rates. End flashbackTed: This is my marriage. You gotta be there.Robin: OK, I'll be there. I gotta go. Good evening. And I'm RobinScherbatsky. The talks have been arrested in the Middle East. Despite a promising start in the final negotiations, the talks foundered on security.Ted: Itis.Barney: Okay, burial of bachelorhood. Tonight, I have three exotic dancers most flexible physically and mentally that you've ever seen...Ted: No time.Barney:I'll tell you. Marshall and Ted leaves the bar.Ted: Do we really have to rent the cars for tomorrow.Barney: What?Lily: No \"You not married, Ted?\" No \"You'remaking a big mistake, Ted?\" Have you stopped the fight against marriage?Barney: No, I recognize a lost cause, when I see it. That's why I'm not recycle. Inaddition, Ted getting married, it is my interest. You know... Flashback Barney is in his office.Barney: I worked on an issue of utmost importance. I admit I wasbaffled. Until I decided to take the bull by the horns.(Barney written on a board: how to lie down again with Robin) Then, finally, I décryptais code. \"GIVE THEMARRIAGE OF TED. \" End flashbackLily: So you come back to Robin.Barney: Let's hope. This weekend is my best chance to start with it.Lily: You'll never there.Too many opportunities. The first bridesmaid drunk, you'll have your head under the dress as a photographer of yesteryear.Barney: Lily, kidding. I want to lookcutesy and romantic, but this weekend, Robin will be the only girl that I will draw. Stella and Ted are on a boat.Ted (2030): And the day before the wedding,Stella and I made the trip to Shelter Island. With others not far away. Marshall, Lily and Barney are also on board. Marshall, Lily and Barney are in a bar.Lily: It'snot really the place I imagined for the wedding of Ted.Barney: \"The Collective Namaste Yoga and Meditation.\"Marshall: I know about you, but I will not namasterhere too long.Lily: Honey, will see the dirty hippie to the reservation there, we, we'll take to drink.Barney: You have anything like Scotch?Bartender: In thecenter, we have a strict anti-alcohol.Marshall: Super, meals included, right?Woman: Yes, and they are all 100% vegan.Barney: I need alcohol. I'm not gonna dothat stuff with Robin.Look at that. Berry cocktail, conditioner meninges. I dream, these drinks could make a girl smarter. What hell Ted brought us?Marshall:There's no meat.Lily: There's no alcohol.Marshall: Even worse, I'm 90% sure that this kind in which you spoke was the lead singer of Spin Doctors. Ted joinedthem.Ted: Guys, Stella and I have a little problem. Flashback Stella is sitting on the bed and watch the programs, while Ted packs his things.Stella: The programsare great. It is not our names on it, but otherwise it looks nice.Ted: Actually, I spoke to Robin. It is a little late, but it will be there on time.Stella: You're invitedRobin?Ted: Yes, of course.Stella: You gave me no warning. I'm not sure what to think.Ted: Can I help you? Are you happy. You like him.Stella: Yes, but it's yourex girlfriend. It's weird.Ted: But no.Stella: It's weird. Not what you imagine is to see her boyfriend's ex marriage. Stella imagine the scene.Robin: Your newhusband dismounted me out three times a day.Stella: When the former are present, I dunno, it brings back...things unresolved. Close with your ex, do you knowthat the flame will not turn back?Ted: Come on, we're friends. In addition, we already had our Thanksgiving last relapse, it is not old.Stella: Have you bet moneyagainst you in this quarrel?Ted: She already has his ticket.Stella: It's important to me. I would have never invited the father of Lucy.Ted: It would not bother me.Tony is great. Invite him too.Stella: No, Tony is the last person I want to see here, OK? And Robin is the penultimate. FlashbackTed: Robin will soon get on theplane. In addition, it unleashed a lot of work for that. Robin has the information, while a monkey sits next to her and slap on the desktop.Robin: Driven byconcerns about the environment and oil prices, sales of hybrid vehicles rose 11% over last year. Back to the place of marriage of Ted and Stella.Ted: What shouldI do?Marshall: I know. I understand something is \"no ex\". Why would we want that history failed to come see one successful?It's like inviting the Seattle MarinersWorld Series. It's embarrassing for everyone.Barney: What? No. Robin must come.Ted: That's true, this is my best friend. Girl friend. My best friend girl.Lily: I donot care, why do such.Barney: Dude, Robin has to be there.Marshall: It should not come.Barney: What are you parl...Ted: Aldrin Justice, the last word.Lily: OK,this would be weird without Robin. But not contradict the bride.Ted: I will not tell him to come.Marshall: It's the right decision.Ted: It's gonna be the worst phonecall of all time.Barney: Co-witness, I'll handle this. Robin picks up the telephone.Robin: Hello?Barney: Robin, where are you?Robin: I'm off to the airport.Barney:OK, in a few hours. Have a good flight. Bad news. I can not have it. Robin is gone.Ted: OK, Robin arrives. You know, I'm fine. The former should be able to go toweddings. I'll tell Stella to do with.Lily: You should be more delicate with Stella about Robin.Ted: What do you mean by \"delicate\"?Lily: The brides are verystressed before a wedding. Well, of course, I was under control.Marshall: Do not you remember? Flashback In 2006, Lily arrives at the apartment in tears.Lily:The florist told me that roses are medium pink pale pink that means. Medium pink pale! All're done. Our wedding hall uses a boiler instead of a forced air heating.This is the thing that concerned me. Why are we still married? End flashbackMarshall: After a while, is that the waffle.Lily: Poor Stella must be the crazy onemonth in three days.Ted: What do I do?Lily: You wait for the next crisis, the rules you, you're a hero.After, you dealt with on about Robin, but this time she willsay yes.Ted: And if there is no other crises?Lily: This is a bride. There will be another crisis. Four minutes later...Ted: There is a new crisis.Lily: Great! What is it?Flashback Stella and Ted are in their rooms.Stella: My daughter, my daughter does not come to our wedding.Ted: What?Stella: Tony was the lead here tomorrow,but cash hurt my marriage, and he will not take him. It's been 5 years. Why not turn the page? End flashbackTed: So, first thing tomorrow I'm going to talk tohim, convince him to let me take Lucy, then boom, crisis solved. Stella is happy. Robin comes to marriage.Nora: You are Barney?Barney: Yes.Nora: I heard youwere a real b*st*rd, so listen. Tomorrow night, I want to do things so nasty and depraved that I forget that it was supposed to be my wedding.Barney: I'm herewith someone.Nora: Bring her.Lily: You'll never get there.[SCENE_BREAK]Ted is by car.Ted (2030): So the morning of my wedding, I made the way home Tony,to take Lucy. Ted hits Chez Tony.Ted: We did a little karate? Tony makes a decision.Tony: Sorry, sorry dude. You have my alarm activated defense. You mustremember these things. Stay alert, rest life.Ted: OK.Tony: What brings you here? I thought you'd be in a bridal suite with my wife.Ted: Not yet. Soon.Tony:That's right, tonight is the big night. Oh, man, you gonna make love to the mother of my daughter.Ted: Actually, I've already had s*x many times. Why I alwayscorrects people?Tony: You and Stella. You're lucky. I could just... I am very happy for you.Ted: Look, here's the thing...Tony: You can not take it.Ted: Tony, stop.It is also a great day for Lucy. You'll have to put your problems aside and think about what is best for her.Whether you like it or not, it really should be thewedding of his mother. I take Lucy with me. He shakes Ted in his arms.Tony: You're right, man. You're right. I'm sorry. I'm sorry. It's just... You see all... mademe realize what I had.Ted: Let's cuddle.Tony: I'm sorry. Lucy is everything to me. I will lose it with this family, I am not one.Ted: But you're part of.Tony: I havenot been invited to the wedding.Ted: You are now. Ted is in a car with Tony and Lucy.Tony: \"Road Trip\" OK? (They are on a boat) \"Road Trip 2, back in the car.\"Stella's sister comes to see Barney.Nora: This is the big day. You hydrate?Barney: Dear wife, thank you for the interest you have for Barney Stinson...Nora: Yourback will look like a Jackson Pollock.Barney: I regret to inform you that at this time...Nora: I have been vegan for 2 years. I need meat.Barney: There arecurrently no positions available.Nora: I am a teacher of Yoga. All positions are possible. Your room in 20 minutes. No preliminary.Barney: I will not do, huh?Lily:"}
+{"doc_id":"doc_174","qid":"","text":"Provided by TVTDB.com(Seattle Scenes)MVO: There's this thing about being a surgeon...(Callie wakes up on the couch)MVO: maybe it's pride or maybe it's justabout being tough...but a true surgeon never admits they need help unless absolutely necessary.(Cristina and Meredith are in her bed)Cristina: What are yourother symptoms?Meredith: Okay, there's the father thing...the mother thing, the sister thing...mmm, the dying and coming back to life thing.Cristina: You havetoo many things.Meredith: I can't sleep. I can't sleep without the dreaming.Cristina: And the panic attacks.Meredith: One. One panic attack.Cristina: Okay,still.Meredith: What's wrong with me?Cristina: As far as I can tell, severe abandonment issues.Meredith: That's crap. Psych is crap. Issues?Cristina: I mean,it's...it's in the book. The book said it, not me. Have you considered maybe you and Derek should...stop having breakup s*x? Ok.Meredith: The more available hegets...the more I pull away.Cristina: What do you mean?Meredith: Nothing. It's a Derek thing.MVO: Surgeons don't need to ask for help(Derek's trailer)MVO:'cause they're tougher than that. Surgeons are cowboys rough around the edges, hard-core.(Richard walks out and hands a cup of coffee to Derek)MVO: Least,that's what they want you to think.Derek: Ah, good morning.Richard: Oh, perfect timing. Trout for breakfast.Derek: Mm-hmmRichard: Again.Derek: Yeah, don'tstart. I let you live on my land, so don't...don't start.Richard: I'm older than you. I've just seen life from both sides now.Derek: You gonna start singing?Richard:I'm just saying that a man who is up fishing at 3:00 every morning is a man in pain over a woman.Derek: Oh, good. A country-western song.Richard: I'mpointing out it's a thing we have in common, Derek. You know, what we need is something to take our mind off of everything. What we need...is a gentlemen'sevening.Derek: A what?Richard: A good, old-fashioned gentlemen's evening...tonight.(Izzie is in an on-call room with George)Izzie: This is absurd. You shouldn'tbe sleeping in the on call room.George: It's not always an on call room. Sometimes it's a gurney in the tunnels and the...Izzie: It's absurd...when I have aperfectly good bed. And I know that we said we would wait and berespectful, and we have been very respectful. But now I want s*x.George: Right now?Izzie: No.Tonight. Tonight we will have...hot, perfect s*x. You in?George: Yeah, I'm obviously in.Izzie: I gotta go. I got patients to check on, Erica Hahn to impress. I'mgonna go kick some cardio ass. Oh, god. I gotta shave my legs.George: It's okay if you don't, you know, have a chance to shave your legs.Izzie: No, it's not. It isnot okay, George. I have to shave my legs. I will be shaving my legs. Hot, perfect s*x requires shaved legs.George: Okay.(Richard, and Derek walk up to thenurse's station where Erica is standing)Richard: Erica Hahn...first day.Erica: Oh, first day indeed, and a mountain of paperwork to prove it.Richard: DerekShepherd, you know Erica Hahn.Derek: You're the new Burke.(Mark walks up)Richard: And this is Dr. Mark Sloan, head of plastics. Erica Hahn.Mark: Ah, the newBurke.Derek: Welcome. Excuse us.(Mark and Derek step aside)Erica: Interesting guys, and by \"interesting\" I mean ridiculously attractive. Do you hire on looksalone, or is actual skill a factor?Richard: Good to have you here, Erica.Erica: Good to be here, Richard.(Derek and Mark)Mark: What exactly is a gentlemen'sevening?Derek: I don't know. It's an evening with gentlemen.Mark: And strippers?Derek: No, I don't...I don't think the chief meant strippers.Mark: Sure soundslike strippers. Dr. Bailey? What's the first thing that comes to mind when I say the words \"gentlemen's evening\"?Bailey: Tassels. Shiny, sequined tassels and $1bills.Mark: See? Strippers.Derek: There will be no strippers. I'm almost positive.Mark: So you don't know what this thing is either?Derek: No, but you're in?Mark:Why not? I like to be surprised.(Cristina and Meredith are at a nurse's station)Cristina: Okay. Oh, heads-up. Mr.Incredible,12:00.(Derek walks by)Derek:Hi.Meredith: Hi.Cristina: What the hell was that about?Meredith: That was about a date we have later in the on call room. It's nothing.Cristina: Well, you sureseem to be losing sleep over a whole lot of \"nothing.(Meredith and Cristina enter the ambulance bay)Cristina: This is it...Hahn is in the hospital, freakin' Izzie ison her service again. I'm gonna ride this trauma train straight back into cardio.Callie: Okay, what do we got?Meredith: Uh, two ambulances, multipletraumas.Alex: Any chance you need a resident's help, Dr. Torres?Callie: As long as you want to smash bones into dust while people cry.Alex: Sweet. What do yougot?Cristina: Chest pain, tamponade, ruptured aorta?Ambulance Driver: Uh, more like a clown car. Jackie Escott, 25 years old, dislocated shoulder, lac to herthigh, vital signs are stable. And Helena Boyd, 26 years old...also stable with obvious nasal fracture, facial lacs and a chunk of missing scalp.Helena: She rippedout my hair.Jackie: She ripped out my shoulder!Helena: You ripped out your own shoulder when you were trying to push me off of the platform!Fiancé 1: Who letgo of the dress? Did anybody let go of the dress?Fiancé 2: Hang in there, honey. Don't let her psych you out, all right?Callie: Okay, what the hell's all this?Judge:It's a store contest. I'm the judge. Last one to let go of the dress...Helena: Wins the wedding of my dreams.Jackie: Of my dreams.Callie: All right, enough. Youtwo are injured, okay? You need to get your priorities straight and let go of the...let go...let go of the dress so we can treat you. All right, let go now. Now.Helena:Yeah, that's not gonna happen.Callie: All right. Fine. Let's move.Cristina: Oh, please let this be something good, something cardio good. Please.Ambulance Driver2: 33-year-old male discovered unconscious but stable having survived a 12,000-foot free fall.Cristina: A what?Ambulance Driver: His parachute didn'topen.Cristina: Wait, he fell 12,000 feet without a parachute? Thank you.(In the ER)Bailey: What's his name?Rick: Rick. I'm Rick Jacobs.Bailey: He'stalking?Cristina: You'd think after 12,000 feet, he'd have at least a punctured lung.(A woman runs up)Sally: Where is he? Where are you? Oh, my god. There youare. How is he? How is he? Is he okay? Is he dying?Rick: No, I'm not dying, Sally.Bailey: Okay, ma'am, you need to calm down.Meredith: Is this your wife?Rick:My skydiving instructor.Bailey: Well, ma'am...Sally: I watched the whole thing. I...I couldn't do anything. I was just...I was just in the clouds floating,watchingwhile he...while he...while he...you...you fell to your death. His chute didn't open.Bailey: Ma'am, okay, we need to do our jobs, and you're making that difficult byhovering over the patient. Please have a seat and breathe.(Richard enters)Richard: I heard we have a skydiver who fell 12,000 feet.Rick: That'd be me.Richard:Uh, hello.Rick: Hi.Richard: He's talking?Bailey: Clearly he's in shock, can't feel the extent of his injuries.Derek: Let's get him down for a C.T.Meredith: Cristina,where are you going?Cristina: Multiple injuries means multiple surgeries. I'm going to get me some cardio.(ER)Callie: Okay, do you see that you're bleeding allover the dress?Jackie: It's not about the dress.Alex: I can't, uh, I can't...there's too much blood down here. Which one of your legs is bleeding?Helena: I don'tknow. I can't really feel anything anymore.Mark: I hear you have a broken nose down here. What's with the dress?Jackie: It's not about the dress.Callie: Can'tthey...can't they just split the prize?Judge: I offered. I offered that 14 hours ago.Jackie: It is a $100,000 wedding package, and I am not splitting it withanyone.George: Oh, you're bleeding on your dress.Everyone: It's not about the dress!Callie: Uh, uh, I'm gonna have to stabilize that shoulder somehow.Alex: I'llgo grab a sling.(Mark and Callie step aside)Mark: Well, this is cozy.Callie: This is hell. I assigned O'Malley to you to keep him away from me, and now our patientsare connected to each other.Mark: You're not looking at this like the opportunity it is.Callie: Meaning?Mark: Meaning he's an intern. It's, like, half my job,torturing interns.Callie: Thanks. That's...that's almost sweet. But torturing George is not gonna make any of this any better. Torture him how, exactly?(Izzie iswith Mr. Arnold)Mr. Arnold: My hands always get so sweaty in hospitals. It's the weirdest thing.Izzie: It's pretty common, actually. If it makes you feel any better,Dr. Hahn has done this procedure hundreds of times.Mr. Arnold: And she's really gonna thread a catheter up my leg, all the way to my heart?Izzie: Trust me, youare in excellent hands.Mr. Arnold: But, um, I...I'll be out, right?Izzie: Oh, yeah, you'll be asleep. You won't remember a thing.Mr. Arnold: Ivory-billedwoodpecker.Izzie: I'm sorry?Mr. Arnold: Ivory-billed woodpecker...that's what's getting me through this. I'm a, uh, lifelong birdwatcher. And when I get throughthis, I am finally going to scout the ivory-billed woodpecker.It is so rare. You know, we...we thought it was extinct. But it's not. It lives in Arkansas...in this onelittle patch of swamp. Do you have any idea how incredible it is to see a bird like that in person?Izzie: I'm sorry.(Cristina enters)Izzie: Uh, I'll be just one second.Why are you hovering?Cristina: Guess what just came into the pit. No, no, don't guess. I'll tell you. Skydiver. Skydiver whose chute didn't open, who fell 12,000feet and landed in some shrubbery.Izzie: Poor guy. He probably broke every bone in his body.Cristina: No, the point is not poor guy. The point is amazingsurgery. And it could be yours for the low, low price of a humdrum, everyday cardio cath.Izzie: Yeah, forget it. I'm not giving up Hahn's service.Cristina: Hey,hey, Izzie, you know what? Cardio is my thing.Izzie: No. I like this patient, I like Hahn, and I like cardio.Cristina: No, you are...you are flirting with cardio. I ammarried to cardio. You will marry general surgery or, you know, okay, perhaps neuro. But you, you are nowhere near hard-core enough to commit to cardio.Izzie:So you are telling me to stop flirting with your husband. I get it. That's cute. But if you're gonna ask me for a favor, insulting my personal life is probably not agreat tactic.Cristina: No, no, no, wait. I am not talking about your s*x life. I could not care less about your s*x life.It's a skydiver, Izzie. Skydiver.Izzie: Oh, yeah.Sounds really cool. Enjoy it.(CT scan room for Rick)Richard: If his intestines look like I think they will, that's gonna take first priority.Derek: He could havedelayed paralysis.Bailey: This is not a contest, gentlemen. But since a perfed bowel could kill the guy whether or not his spine's in working order, my money's onthe chief going first.(Cristina enters)Cristina: Hey, what'd I miss? Any cardiothoracic concerns? I'd be happy to page Dr. Hahn.Richard: Scan's coming up.Bailey:Here it is. Wait for it. Wait.Cristina: Wait.Meredith: Oh, that can't be right, can it?Bailey: I'm not seeing any free fluid, any intraperitoneal gases.Derek: Doesanybody see anything?Richard: There! Right there. A hematoma...Cristina: In the right lower quadrant.Meredith: It's the appendix.Bailey: We're saying this guyfell 12,000 feet, and basically all he needs is an appendectomy?(Alex enters the closet where Lexie is sitting on the floor)Alex: You're charting... in a closet.Lexie:I get a lot of work done in here. It's quiet and nice.Alex: And a closet.Lexie: Look...when I'm out there roaming the floors, okay, I am the other Grey that Dr."}
+{"doc_id":"doc_175","qid":"","text":"Pan over a mountain to a remote compound. A helicopter flies toward it. Inside are four armed guards and a prisoner in blue drab uniform with a black headcovering over his/her head. Cut to helicopter flying over barbed wire fence and landing in a courtyard. Guards climb out and bring prisoner, hands and feetchained, with them. They walk into the facility, apparently some kind of jail. One soldier shows his badge and they are buzzed inside. The prisoner is broughtthrough several locking doors. At the end of a hallway of jail cells, the prisoner's hood is released. It's Sydney. She looks at the prisoners in their cells as she iswalked to the very end of the hallway and shoved into the end cell. They remove her cuffs and lock her in. Close up on Sydney's face. She looks stricken andlost.Cut to flyover of LA by day. Cut to Lindsey followed by several NSC officers entering the JTF Center.Lindsey: (to man on his left) If you find anything, you letme know Lauren! Pan across room to Lauren on telephone.Lauren: I'll call you back. She hangs up telephone and falls into step with Lindsey.Lindsey: Dixonspoken with the DCI?Lauren: Yes.Lindsey: Good. I want to make sure we have access to all computer accounts, emails, and correspondence seen in this office inthe last two years.Lauren: Yes, sir. I've already put a request in through Langley.Lindsey: Who'd you talk to over there?Lauren: Brandon. I'm on it. Lauren andLinsdey enter Dixon's office. Dixon stands behind his desk. Vaughn and Weiss stand in front of it. All turn toward Lindsey and Lauren as they enter.Lindsey: Iunderstand the Director of Intelligence has already conveyed his desire to transfer authority over this task force from your agency to mine. I expect you tocooperate fully.Cut to Vaughn giving Lauren a really upset \u0000How could you do this!?' look.Dixon (voiceover): No. Not exactly.Cut to Lauren giving Vaughn astubborn look and then addressing her eyes toward Dixon.Dixon: I explained to my superiors that the decision was mine to withhold information from the NSCregarding Sydney Bristow's involvement in the Lazarey murder.Cut to Vaughn and Weiss as they turn to assess Lindsey and Lauren's reaction to this news.Dixon:And that the members of my staff in question were acting working under direct orders from me.Lindsey: I see.Dixon: My staff will remain on active duty andcooperate in any investigationLindsey: They're not your staff, Mr. Dixon. Not anymore.Cut to Dixon's defiant stone face.Lindsey (voiceover): I'm pulling yourclearance until further notice.Dixon: Mr. Lindsey, I would expect nothing less from you.Lindsey: One of my men will escort you to a facility for questioning.Cut toDixon. He removes his badge and places it in a small manila envelope on his desk and walks toward Lindsey, anticipating his next statement:Lindsey: In themeantime, you'll need to surrender all credentials and access cards Dixon hands Lindsey the envelope and walks out of the room, taking the steam out ofLindsey's sails in his speech. Vaughn gives Lauren another dirty look. She still looks defiantly back, her arms crossed. Lindsey moves to stand behind Dixon's deskto address Vaughn and Weiss.Lindsey: Well, of course, you'll be questioned as well. Let's not make this any harder than it has to be.Vaughn: It's too late for that.Vaughn turns to leave saying to Lauren as he walks out:Vaughn: I need to talk to you right nowCut to Lauren and Vaughn walking down a hallway. Vaughn is infront and Lauren is walking behind him, trying to catch up.Lauren: Before you start, know that I did what I thought was right, given the information that I Vaughnturns back toward her and gets right in Lauren's face, obviously agitated.Vaughn: Sydney is in Lindsey's custody because of you!Lauren: The Lazarey murder wasmy assignment! Sydney murdered a Russian diplomat!Vaughn: Okay, stop! Don't act like this is your first day on the job!Lauren: Sydney is in NSC custody not!Vaughn (cutting her off): No, she is in Lindsey's custody.Lauren: You think Lindsey's unaccountable!?Vaughn: Lauren, his operation is funded by black money.What the White House expects from him is resultsLauren: What you're suggesting is that I willfully participate in an orchestrated cover up!Vaughn: No, but Iwould have hoped you'd be a person about this!Lauren: While you clearly underestimate not only my ability to do my job but also, apparently, my humanity, youshould know that not only do I believe I did the right thing, but the more you talk, the more suspicious I get! (beat) You're the one who got her out of thecountry, aren't you?Cut to Vaughn. He doesn't answer, but she reads it on his face. Lauren (not as angry, more worried for Vaughn): Do you know what wouldhappen to you if it becomes known that you helped a fugitive evade the Federal Government?Vaughn (very snarky): I'm not concerned about myself right nowLauren sighs and looks down before looking back up with a bit of new defiance.Lauren: If what you're suggesting is right, that to learn what happened to Sydneyover the past two years Robert Lindsey intends to have surgery performed on her which will render her brain dead why would he have me write the White Housebrief? Vaughn looks shocked and worried by this new development.Vaughn: What!? Lauren (more confident she's right now): He's asked me to go with him as anobserver of Sydney's interrogation. This information disturbs Vaughn. Instead of being relieved, it's clear he's more worried.Lauren (voiceover): Clearly, he's gotnothing to hide Vaughn looks up to meet her eyes. It's clear he's disbelieving of her outlook on the matter.Lauren: Michael for whatever reason, you'reoverreacting to this.Cut to Vaughn. He's got that stubborn, annoyed face back in full force.Lauren: I don't know how long I'll be gone So I guess I'll see youLauren turns and walks away. Stay on Vaughn's face, worried, annoyed, determined. Cut to slo-mo of Jack walking across a hallway entrance leading to the mainrotunda. He's staring intently at someone. He stops walking. Cut to Lindsey leaning over another agent at a desk. Pan to closeup of Lindsey's face as he realizessomeone's eyes are upon him. He looks up and makes eye contact with Jack. They stare each other down for a long moment. Jack's stare is cold, and downrightscary it says something akin to \u0000You mess with my daughter and I will kill you \u0000 Lindsey tries his best to stare back, but just hint of apprehension is in hisexpression. Jack coldly dismisses him, turns his head and walks away.Cut to Jack walking down the hallway. Vaughn hurries behind him to catch up tohim.Vaughn: Jack, I wanna be a part of it. Vaughn falls into step with Jack. Jack (with a hint of his classic sarcasm): If I knew what you were talking about, I'drefuse anyway.Vaughn: Come on I've thought of a half dozen scenarios to help Sydney Lindsey has to be shut down! He Jack suddenly stops and turns towardVaughn.Vaughn: Did your scenarios take into account that helping Sydney at this point will require breaking at least a dozen federal laws?Vaughn (in an intensehalf-whisper): Just the fact that you're telling me this means you have something planned! Damn it, let me help!Cut to Jack. He looks like he's undecided as towhether to accept Vaughn's offer. Cut back to Vaughn, looking more determined than ever.Vaughn (still intense): If anything happens to Sydney (he shakes hishead) Jack stares at Vaughn for a second, blinks, and then says:Jack: Meet me in the parking garage in three minutes. Vaughn nods slightly as Jack walksaway.Cut to pan up of Sydney's cell. She's walking around, feeling for any crack, indent, anything she might be able to use to eventually escape. Another prisonerwho can see her from his cell 90 degrees addresses her.Prisoner: Whatcha doin'? Sydney looks up at him, surprised.Prisoner: Were you lookin' for somethin'?Sydney stares at him for a moment. She's wary of him.Sydney: Maybe The prisoner crawls to the end of his bed to speak at her through the bars of hiscell.Prisoner (whispering): Hey if you find any I'll have some. If it's candy God, I'd love candy. Sydney looks at him almost pityingly for a moment and then givesa hint of a smile.Prisoner: I'm Campbell.Sydney: Sydney. She smiles again. Campbell seems like he's a bit slow, or else is so broken from torture that he'sbecome almost childlike.Campbell: Syd ney (as if trying out the sound of it) Campbell crawls along the bars to stand close to her.Campbell: Hey Hey Don't leave,okay? Please? Been a long time without someone to talk to Sydney just looks at him.Cut to an overpass over a drainage canal. Pan to Jack and Vaughn on theside of a road.Vaughn: So this contact we're meeting Former NSC? Jack gives Vaughn a sideways glance, his arms crossed.Jack: No. He turns to look at Vaughnand then back at the road.Vaughn: How are they gonna help us locate Sydney? Jack looks back at Vaughn.Jack: We're waiting for Sloane. Vaughn's surprised anda bit annoyed by this news. He crosses his arms across his chest.Vaughn: You called Sloane on this!? Jack doesn't answer, he just turns to look down the road. Sodoes Vaughn. Cut to a black sedan driving toward them. Cut back to Jack and Vaughn.Jack: You and I will be the prime suspects behind any intent to free Sydneyfrom NSC custody. Sloane has agreed to make it seem as if it were the work of the Covenant. Do I trust him on this? Not necessarily. They both turn towardSloane's car as he gets out and walks toward them, hands in his pockets.Sloane: Gentlemen. According to my sources, Sydney is being held at Camp Williams.Off Jack's reaction, we cut to Vaughn.Vaughn: Camp Williams is a Naval training facility, why would Lindsey take her there?Jack: Because it's home to anunacknowledged NSC detention center used for the interrogation of suspected terrorists whose captivity the government won't admit to.Sloane: So to help her,we'll need a tactical team. At least eight men, transportation, weapons, specialized backup I would suggest Brill.Jack: I thought he was in Freetown?Sloane: Ohno, not since the government fell. If he's available, Domier would know.Jack: We'll need to get a hold of blueprints to Camp Williams Vaughn (cutting in, bothmen turn to look at him): The FEMA Central Office downtown. They should have a set of blueprints on file.Jack (impressed): Good. We'll prep infiltration into theFEMA building. Meet back here in three hours.Cut to Sloane. He suddenly looks amused by something.Sloane: I told you, Jack We'd work together again. Thisstatement seems to really burn Jack. He gives Sloane a look of death, and walks away, Vaughn following him. Pan over to Sloane, still amused.Cut to a hallway inCamp Williams. Pan to Sydney, being rolled along on a stretcher, bound hand and foot. Cut to another helicopter flying towards Camp Williams. Cut to Lindseyand Lauren inside the copter. Lindsey looks out the window, Lauren surveys Lindsey as if trying to figure out which version of this man is the real truth, hers orVaughn's.Lindsey: Just so we're clear It's in all our best interests to make sure that no one on the Hill questions our ethics, Lauren. That's why I'm counting onyou to write a thorough report chronicling our investigation to date, and our fair treatment of Sydney Bristow. Understood? Lauren stares at him.Cut to Sydneybeing wheeled into what appears to be a cross between an emergency room and a torture chamber. Cut to the \u0000doctor' who looks decidedly creepy. The guards"}
+{"doc_id":"doc_176","qid":"","text":"Stanley: This is ridiculous.Phyllis: Do you have any idea what time we'll get out of here?Michael: Nobody likes to work late, least of all me. [to Jim] Do you haveplans tonight?Jim: Nope I don't, remember when you told us not to make plans 'cause we're working.Michael: Yes I remember. Mmm, this is B.S. This is B.S. Whyare we here? I am going to call corporate. Enough is enough, I'm - God, I'm so mad! [on phone] This is Michael Scott, Scranton, well we don't want to work. Nowe don't! It's not fair to these people. These people are my friends and I care about them! We're not going to do it! [hangs up] Everybody I just got off the hornwith corporate and basically I told them where they could stick their little overtime assignment. Go enjoy your Friday.Dwight: Thank you Michael.Michael: Allright, happy Friday. [to Jim] Well I think we dodged a bullet there.Jim: I think you did.Michael: I think we should celebrate. How about you, Pam, mi casa, a littledinner, dancing, drinks?Jim: Oh, I-Michael: You said you didn't have plans. That's what you said.[SCENE_BREAK]Jim: Michael has asked Pam and me to dinner atleast 9 times. And every time we've been able to get out of it. But I've got to give him credit, he got me. Because I'm starting to suspect that there was noassignment from corporate.[SCENE_BREAK]Dwight: Michael, what time should I be arriving?Michael: Dwight, it's couples only. And besides, I only have six wineglasses, so it will be me and Jan, and Pam and Jim, and Angela and Andy.Andy: Hey-o![SCENE_BREAK]Dwight: Does it bother me that I wasn't invited toMichael's dinner party? [breaks down crying][SCENE_BREAK]Jan: Hi.Michael: Hello.Jim: Hi.Jan: How are you?Michael: Come on in. Good to see you.Jan: Chillyhuh? So glad we finally got to do this with you guys. You wanna take their coats babe?Michael: Yes I would. So, what have you been doing?Jim: Let's see, since Isaw you an hour ago?Michael: Yeah.Jim: I have been getting ready and then driving over here.Michael: Well we have been doing pretty much the samething.Jim: Really?Michael: Except driving.Pam: We got you this. [gives a bottle of wine]Jan: Oh well Pam, thank you, this will be great to cook with.Michael: Wellhave a seat, or come on in, or, I don't know, make yourself to home. This is our casa.Pam: It's really nice.Jan: So what do you guys think, should we do the tourfirst or the appetizers first?Jim: Tour, let's do the tour first.Michael: Okay.Jan: Do you have a preference babe? Upstairs first?Michael: Totally your call babe.Jan:Alright, well, let's go then, I say upstairs.Jim: Oh, you guys doing a little construction?Michael: Oh, just redoing the sliding glass door.Jan: Yeah, so sorry aboutthis God-awful carpet, we're still a work in progress here.Michael: Well, thats...[SCENE_BREAK]Jan: This is my office.Michael: Yep, never been used.Jan: Notsuper exciting.Michael: No.Jan: And this is my workspace.Michael: This is it, check that out, can you smell that? [the room is filled with candles that say \"Serenityby Jan\"]Pam: Uh-huh.Michael: As you can smell there's a lot of different odors going on in here.Pam: So you have an office and a workspace?Jan: I do, I cannotcreate in the same space I conduct business, I'm sure that you're the same with your doodles. [puts a candle to Jim's nose] Smell.Jim: It's fire.Jan: Uh-huh,Bonfire.Michael: Bond.Jan: Men love this one.Michael: James Bond Fire. I am Bond fire, James Bond Fire. Michael Scarn. [clicks tongue]Jan: When I getfrustrated, or irritated or... angry, I come up here and I just smell all my candles and it just -poof- goes away.Jim: Just like that.Jan: Just like that.Jan: So this isthe master bedroom, and these walls used to like white, like an asylum. So I wanted it to be softer, So I had it painted in eggshell white.Michael: Guess what,white and eggshell white are exactly the same color.Jan: [puts away video camera facing the bed] Babe I thought you said you were going to tidy thingsup.Michael: Well, I-Jan: Shame on you.Pam: What a cute bench.Michael: Thanks, that's my bed. Jan has some space issues, so I curl up on that puppy.Jim:Really? 'cause... seems pretty narrow... and short.Michael: It's actually a lot bigger than it seems. Look at this. [Lies down]Jan: See, he fitsperfectly.[SCENE_BREAK]Michael: I finally broke down and bought myself a plasma TV. Check it out. [reveals a tiny TV] I actually hung this on the wall myself. Iwant to show you something . A lot of people in the room, need more space? [moves TV back a couple inches] Voila, right in the wall.Jim: Wow.Michael:Sometimes I will just stand here and watch television for hours. I love it, I love this TV. Oh and I also built this table.Jim: What is that chestnut?Michael: No, Ithink that is either pine, or nordic cherry.Jan: It's pine.Jim: Michael, I'm just terrible at all this stuff, so that's really cool.Jan: Really?Pam: Yeah, he tried to set upmy TIVO for me but then I didn't have audio for a week.Michael: If you ever need any help, I am just a phone call away.Jan: I bet you are.Jim: Well, I saw - ohyour Dundies. I'm surprised they're not out on the coffee table for everybody to see.Jan: It was between the neon beer sign and the Dundies so I said \"Honeykeep the trophies.\"Michael: Oh honey, I have the best trophy right here, aside from my Dundies.Jan: [doorbell] Oh, excuse us just a second.Michael: I'll getit.Jan: [Andy and Angela enter] So glad you're finally able to be here.Angela: [Michael tries to hug Angela] No, no.Michael: Okay.Andy: Tuna! What's up Tuna, wehaving tuna for dinner? [to Pam] I bet you're sick of tuna right? You probably have tuna every night. Tuna! [to Jan] These are for you. [hands flowers]Jan: Oh,how thoughtful.Michael: Very nice.Andy: Except for one flower, which is for... my flower.Jan: Aw.Angela: What am I supposed to do with this?Jan: How 'bout wedo the short tour and then I'll start dinner?Pam: Oh I can help starting dinner if you need it.Jan: Oh no no no, it's just the osso buco needs to braise for aboutthree hours, everything else is done.Pam: Three hours from now or three hours from earlier like 4:00?Jan: You know Pam, in Spain they often don't start eatinguntil midnight.Michael: When in Rome.Jan: Do you have a preference, upstairs first?Michael: Whatever you say babe.Jan: Follow me.Michael: Allright.[SCENE_BREAK]Michael: How 'bout a toast. Shall I? Here's to good friends.All: Cheers.Michael: Kinda sorta an oaky afterbirth.Jim: What was that?Jan: Somusic, should we turn some music?Michael: Yeah that sounds good.Jan: Do you guys remember my old assistant Hunter? He is an excellent songwriter.Hunter'sCD: You took me by the hand, Made me a man, That one night, You made everything all right, So raw, so right, All night, all right, Oh yeah, Oh yeah, So raw, soright, All night, all right, Oh yeah.Michael: You know what, Hunter was a terrible assistant, that is why Ryan fired him.Jan: Well I think he's probably just about asreliable as Pam being that it usually takes you an afternoon to get back to me.Angela: Sometimes I think she holds on to faxes.[SCENE_BREAK]Pam: [To camera]I don't care what they say, I just want to eat. Which I realize is a lot to ask for... at a dinner party.[SCENE_BREAK]Andy: [playing charades] No it's a... hump.There's a hump.Jan: Joe Camel!Andy: Okay yes, first name of that animal and the second name is the state where Helena is the capital.Pam: Montana.Jan:Oh!Pam: Joe Montana!Andy: Yes! Yes.Pam: Why didn't you just say 49ers quarterback?Michael: All right, [rhythim clapping] my my my my turn, my my my myturn, my my my my turn.Jan: Babe can you just like really, woah, could you just simmer down?Michae: What, no, I'm just making people laugh.Jan: No.Michael:Yes, I was watching Jim's face.Jan: I was watching Jim.Michael: And he was laughing.Jan: No smiling.Michael: Look at him, he's laughing.[SCENE_BREAK]Jim:Michael and Jan seem to be playing their own separate game and it's called 'Let's see how uncomfortable we can make our guests' and they're both winning. SoI'm going to make a run for it. [holds cellphone][SCENE_BREAK]Jim: You'll never guess, I just got a message from my landlord apparently, my apartmentflooded, something with a sprinkler. Pam, we should probably get going and see the damage.Pam: Oh okay.Michael: Well you don't need two of you to dothat.Jim: That's true. Um... dinner sounded delicious. Pam I'll see you at home, thank you so much.Pam: Oh Jim, I don't think you're going to abandon this partyhere all by itself.Jim: I don't know because I everything I own is there.Pam: You can buy new stuff but you can't buy a new party.Michael: That's true, that's agreat point. Come on down here. Sit down on that couch and be amongst friends and we are not going to think about all your stuff being destroyed, allright.Andy: Michael, you're up.Michael: All right here we go, this is going to be fun, ready. All right first name is Tom-Jan: No no no, no names, no names, norhyming, no soundalikes.Michael: All right, Okay, okay, you're getting inside my head. First name is blank and he goes on a cruise, he goes on a CaribbeanCRUISE.Angela: I don't know.Jim: Katie Holmes.Michael: No, Baah! But he's married to her!Jim: Oh, Dawson's Creek.Michael: No! It has to be a real person Jim,come on. Okay, no no, I'm gonna pass, I'm gonna pass. Okay, rhymes with Parnold Schporzenegger.Jan: No rhyming!Jim: Not really a rhyme.Angela: Anotherclue, another clue.Michael: Okay, he is the governor of California, he is the Terminator.Angela: Those aren't helpful.Jim: Tom Cruise!Michael: No!Andy:Time!Michael: God, does anybody read the paper?![SCENE_BREAK]Pam: [Michael offers his coat to Pam, who is shivering] Oh, thank you.Michael: You'rewelcome.Jan: [eyes Pam] I'm so, so sorry for the temperature in here. The um, sliding glass door shattered. It's actually a really cute story. Do you wanna tell itbabe or should I tell it?Michael: I don't like that story babe.Jan: Come on, it's a cute story, Michael ran through the sliding glass doors because he thought heheard the ice cream truck!Michael: Stop, stop it! I mean, I like ice cream. Okay? Sue me. Oh, no, don't. I shouldn't say that jokingly because she will sue me. Sheloves to sue, loves lawsuits. You know honey, that door was extremely clean and it looked invisible.Jan: You are so right, you're so right because before I livedhere, the glass was always covered in smudges, and then I moved in and I cleaned it so I guess that makes me the Devil.Michael: Ha ha, you are! She is! She isthe devil! I'm in hell! Aaahhh I'm burning, help me!Angela: You shouldn't joke about that.Pam: Is there more wine in the kitchen?Jan: I will get it, I will get it,what kind of hostess would I be if I didn't get. It's okay, I don't mind. In fact you know what, girl's trip, Angela come on. Girl's trip.[SCENE_BREAK]Jan: [checkingthe oven] Uh, not even close.Angela: So you keep a very tidy house.Jan: You should see our bathroom after Michael takes a bath, whew. But I don't have to tellyou Pam.Pam: No, yeah. What?Jan: Oh well don't tell me that he's really changed since you guys dated.Pam: Oh, are you joking?Jan: Well, Michael told me alittle bit about it, but I see the way you look at him.Pam: I have never, ever dated, or wanted to do anything resembling dating Michael, ever. Not ever, not now,not then, not now, not ever, ever.Angela: I've noticed how you look at him at the office.Jan: Mmhmm.[SCENE_BREAK]Michael: [in the garage] So I spend most"}
+{"doc_id":"doc_177","qid":"","text":": The university cafeteria.Raj: Okay in Avatar when they have s*x in Pandora they hook up their ponytails, so we know their ponytails are like their junk.Howard:Yeah, so?Raj: So, when they ride horses and fly on the birds, they also use their ponytails.Howard: What's your point?Raj: My point is, if I were a horse or a bird,I'd be very nervous around James Cameron.Sheldon: It amazes me how you constantly obsess over fictional details when there are more important things in thereal world to worry about. For example, why wasn't William Shatner in the new Star Trek movie?Leonard: Hey, Sheldon, I was up in the administration office, andI happened to overhear the name of the winner of this year's Chancellor's Award for Science.Sheldon: And you want to rub my nose in the fact that mycontributions are being overlooked again? I am the William Shatner of theoretical physics. All right, I'll play. What self-important, preening fraud are theyhonouring this year?Leonard: Oh, I'm so glad you asked it like that. You.Sheldon: I won?Leonard: You won.Sheldon: I won! This is astonishing. Not that I won theaward, no one deserves it more. Actually, I guess I misspoke. It's not astonishing, more like inevitable. I'm not sure what to do first. Maybe I should call mymother. Wait! I know, I'm going to conduct an interview with myself and post it online.Raj: Well, good for him.Howard: Yeah, the one thing the William Shatner oftheoretical physics needed was an ego boost. Credits sequenceScene: The apartment. The guys are watching Avatar in 3D. All are wearing 3D glasses exceptRaj.Howard: Didn't it look like that spear was going to go right through your skull?Raj: No.Leonard: Hey, you didn't want a Slurpee at 7-Eleven, you don't getglasses.Sheldon (phone rings): Oh, that will be another congratulatory call for me. Uh, mute, please.Howard: Uh, hang on, flaming arrow.Sheldon: Hello? Oh,Chancellor Morton, how are you, sir? Yes, I was expecting your call (aside) three years ago. I see. Wait. What happens if I choose not to give a speech? Uh-huh.And if I don't want to forfeit the award? Well, you've got that tied up in a neat little bow. All right. Thank you. (Hangs up) Problem.Leonard: What?Sheldon: Theyexpect me to give a speech at the banquet. I can't give a speech.Howard: Well, no, you're mistaken. You give speeches all the time. What you can't do is shutup.Raj: Yeah, before the movie, you did 20 minutes on why guacamole turns brown. It turned brown while you were talking.Sheldon: I am perfectly comfortablespeaking to small groups. I cannot speak to large crowds.Leonard: What, to you, is a large crowd?Sheldon: Any group big enough to trample me to death.General rule of thumb is 36 adults or 70 children.Penny: Sheldon, congratulations. Brought you cheesecake from work. You know, 'cause of your award, notbecause a busboy sneezed on it.Sheldon: I'm not accepting the award.Penny: Why not?Howard: Turns out the great Sheldon Cooper has stage fright.Penny:That's no reason to back out. You know, I once got a pretty big honour in high school, and I was terrified about appearing in front of a big crowd, but I wentthrough with it, and you know what? The world looked pretty darn good sitting on a haystack in the back of a Ford F-150 as a member of the Corn Queen'scourt.Sheldon: Thank you. Yeah, I'll bear that in mind if I'm ever nominated for the Hillbilly Peace Prize.Leonard: Sheldon, you're being ridiculous.Sheldon: Am I?Let me tell you a story.Howard: Where's 70 children when you need 'em?Sheldon: I was 14 and graduating summa cum laude from college. Summa cum laude isLatin for with highest honours.Penny: I just love how you always skip over the part where no one asks.Sheldon: I was valedictorian and expected to give anaddress. Even now, I can remember that moment when I walked up to the podium and looked out at the crowd. There must have been thousands of people. Myheart started pounding in my chest. I began to hyperventilate. My vision became blurry, and before I knew it... oh, dear. (He faints.)Penny: Oh, my God.Leonard:Sheldon? Sheldon, are you okay?Sheldon: Don't trample me.Scene: The stairwell. Sheldon is on the phone.Sheldon: Come on, Mother, you know why I can'taccept the award. With all due respect, I don't think praying will help. No, I have not heard the song, Jesus, Take the Wheel. No, no, no, no, no, no, no, you don'tneed to start singing it. Yes, I'll buy it on the iTunes, Mother. Good-bye, Mother. (Enters apartment. The others are sitting as if waiting for him.) Hello.Leonard:Sit down, we want to talk to you.Sheldon: Am I in trouble? Did my mother call you?Penny: Just sit.Leonard: We think we can help you with your stagefright.Sheldon: Oh, I doubt that. I haven't figured out a way, and I'm much smarter than all of you.Penny: Yes, but you're not smarter than all of us puttogether.Sheldon: Oh, I'm sorry, that is what I meant.Penny: Okay, your problem is, you're trying to do this all by yourself.Leonard: We can help you. We can beyour team. Like, uh, Professor Xavier and his X-Men.Sheldon: I do like the X-Men.Penny: Did I see X-Men?Leonard: Yeah, we watched it last week. You said youliked it.Penny: Oh. I say a lot of things, sweetie. So, how about it, Sheldon?Sheldon: I don't know. If you're my X-Men, what are your powers?Penny: Okay. Well,I am going to take you shopping, get you a nice suit. Might give you more confidence.Sheldon: That's not exactly a mutation that would get you into Xavier'sSchool for Gifted Youngsters, but go on. Leonard?Leonard: I thought I could try to analyze you and get to the root of your anxiety.Sheldon: What qualifies you toattempt to understand my mind?Leonard: My mother is a highly regarded psychiatrist, and I've been in therapy ever since she accused me of breast-feedingco-dependently.Howard: Raj says he can teach you, what did you call it? I don't know, some Indian meditation crap.Sheldon: I see. Well, I assume, since the restof you have set the bar so low, you're saving the most impressive contribution for last. Go ahead, Howard. Dazzle me.Howard: My power is the ability to pretendlike I give a damn about your piddly-ass problems. And that's 24-7, buddy.Sheldon: And I appreciate the pretence.Penny: So, what do you say, Sheldon? Are weyour X-Men?Sheldon: No. The X-Men were named for the X in Charles Xavier. Since I am Sheldon Cooper, you will be my C-Men.Howard: Oh, that's not a goodname.Scene: The apartment. Raj is lighting candles. Indian music is playing.Raj: Okay, Sheldon. I'm going to be leading you through a series of meditationexercises. These methods come from the ancient gurus of India and have helped me overcome my own fears.Sheldon: And yet, you can't speak to women.Raj:True, but thanks to meditation, I am able to stay in the same room with them without urinating. Now, close your eyes.Sheldon: Okay, but don't punch me.Raj:What?Sheldon: When I was little, my sister would say to me, close your eyes, you'll get a surprise, and then she'd punch me.Raj: I'm not going to punchyou.Sheldon: That's what my sister used to say.Raj: Do you want to do this or not?Sheldon: I'm sorry. Proceed.Raj: All right. Imagine yourself in the one placeyou feel most at home. Where is that?Sheldon: Sim City. More specifically, the Sim City I designed, Sheldonopolis.Raj: Okay, you're in Sheldonopolis.Sheldon:Where exactly? Sheldon Square? Sheldon Towers? Sheldon Stadium, home of the Fighting Sheldons?Raj: Whatever you like.Sheldon: I thought this was supposedto be a guided meditation.Raj: Fine. You're in Sheldon Square.Sheldon: Really? This time of year? It's a bit nippy.Raj: Then, put on a sweater.Sheldon: Suppose Icould run downtown and pick up something at Shel-Mart.Raj: Yeah, whatever. Just go buy a sweater.Sheldon: You know, the nice thing about Shel-Mart is I ownit, so I get a 15% discount.Raj: You own the damn thing. Just take a freaking sweater!Sheldon: Look, I didn't turn a profit last quarter by taking product off theshelves willy-nilly.Raj: All right. You've paid for a sweater, and you're in Sheldon Square.Sheldon: Hang on. It's a cardigan. I have to button it. Oh, no.Raj: Whatnow?Sheldon: A Godzilla-like monster is approaching the city. I have to get my people to safety. People of Sheldonopolis, this is your mayor. Follow me. If thechildren can't run, leave them behind. Oh, the simulated horror! (Sound of door slamming) Raj? Just as I suspected. Meditation is nothing buthokum.[SCENE_BREAK]Scene: A clothing store.Sheldon: I question your premise. How is a new suit going to prevent me from passing out in front of a ballroomfull of people?Penny: It'll give you confidence. You know, sometimes when I'm feeling all stressed out about something, I go out and buy a cute top or a fun skirtand I have a whole new outlook on life.Sheldon: Don't you eventually realize you're just the same stressed out person in a cute top or a fun skirt?Penny: Yeah,that's when I buy shoes. Now, let's see what we've got. Ooh! This is nice.Sheldon: It's only one colour.Penny: Yeah, so?Sheldon: That's a lot of money for onlyone colour.Penny: Fine. Why don't you pick out what you like.Sheldon: Hmm. (Cut to Sheldon exiting changing room in a loud check suit). This is prettysharp.Penny: No, you're wrong. Sheldon (now in a sparkly green suit with rhinestones): This is great. I had a suit like this when I was six. (Cut to Sheldon exitingin a white dinner suit with tails) Okay, I think we have a winner.Penny: Where the hell d'you find that?Sheldon: In the prom department.Penny: It'sridiculous.Sheldon: Says the former member of the Corn Queen's Court.Penny: Please just try this one on.Sheldon: Okay. But anything I put on now is only goingto suffer in comparison. (Goes into changing room. Comes out in black suit looking terrific.) This is absurd. I look like a clown.Scene: The apartment.Leonard: So,Sheldon, how you doing?Sheldon: That's how you start a psychotherapy session? How am I doing? I was promised a riverboat journey into the jungles of mysubconscious. Instead, I get the same question I hear from the lady who slices my bologna at Ralph's.Leonard: I'm sorry, I'll start again.Sheldon: Would it behelpful to you if I told you about my dreams?Leonard: Um, I don't know, maybe.Sheldon: I recently had a dream that I was a giant. But everything around mewas to scale, so it all looked normal.Leonard: How did you know you were a giant if everything was to scale?Sheldon: I was wearing size a million pants.Leonard:Why don't we just talk?Sheldon: Ah, the talking cure. Classical Freudian, good choice. If it will help speed things along, uh, my answers to the standard Rorschachink blot test are A, a bat, B, a bat, C, a bat, and D, my father killing my mother with a hypodermic needle.Leonard: Why don't I just start? Sometimes peoplehave trouble accepting accolades if, on a subconscious level, they don't feel they deserve them. Do you think maybe that's what's happening here?Sheldon:Really, Leonard? You're just going to try to recycle Adler's doctrine of the inferiority complex? I could probably get that from the woman at Ralph's. And she'd letme taste some pieces of cheese for free.Leonard: But it could be part of your problem. Let me give you an example. When I was eight, I won a ribbon at thescience fair for my project, \"Do Lima Beans Grow Better to Classical Music.\" But my mother pointed out that it was just a rehash of my brother's earlier \"Do Lima"}
+{"doc_id":"doc_178","qid":"","text":"OPENING CREDITSFLYOVER CARDIFF. Shot pauses and zooms in on an area of the city.CUT TO EXT. STREET - NIGHTHeavy rain pours down, it is dark.Floodlights come on and a body can clearly be seen lying in the street, SOCO (Scene of crime officer) and police officers are milling around thescene.[SCENE_BREAK]Two police officer's standing in the rain, a male and a woman. The male is holding a cup of coffee.GWEN : Oh, hot. Gwen takes thecoffee.PC : Gwen, there's not enough. You didn't order. Gwen walks away towards another police officer.PC (off camera) : What do I do now ?GWEN (calls back) :Well I've only just arrived so tough. Who is it ?PC ANDY : I dunno, some bloke. You going to stop over on Friday ?GWEN : I dunno, what is it ? Drinks ?PC ANDY :A bit of pizza I think.GWEN : Might do, yeah. Police Officers move SOCO, \"SOCO leaving scene\" can be heard from the police radio.PC ANDY : Ay ay, what'shappening here then.POLICE OFFICERS : On you go. Come on now.PC ANDY : Move back if you could, thank you. He starts moving people back, moves awayfrom Gwen who is left to watch on her own.GWEN : Hey what's going on ? Gwen speaks in general to anyone then walks up to SOCO.GWEN : Excuse me sir, whatis it, what's happening ?SOCO : Buggered if I'd know, it's orders from above.GWEN : But the body is still there though, isn't it though. You can't just leaveit.SOCO : Move back they said. Clear the site. Special access they said.GWEN : For who ?SOCO : Torchwood. A black SUV pulls into the site. Four people get out,Jack, Suzie, Owen and Toshiko. They walk past the police and stand by the body, rain still pounding down.GWEN : Who's Torchwood ?SOCO : Special op's orsomething. He glances at Gwen's coffee.SOCO : That hot ?GWEN : Huh ? Oh yeah, have it. But they're not allowed in there, they could contaminate the evidenceand all sorts. I mean how can they...SOCO : Don't ask me. There's no procedure anymore. It's a f*cking disgrace. The SOCO walks away with Gwen's coffee.Gwen stares after him and then looks at the Torchwood team. Jack turns in her direction but does not appear to be looking at her. Gwen tries to see what theyare doing. She looks up and sees a multi story car park.INT. FLIGHTS OF CONCRETE STAIRSGwen runs up the stairs and into the car park a few floors up. Shegoes to the edge of the car park floor and leans over the balcony, and starts to watch and listen to them. Gwen overlooking body and Torchwood team.EXT.ALLEY NEXT TO THE BODYTorchwood around the murder victim.JACK : There you go, I can taste it, oestrogen. Definitely oestrogen. (He looks up slightly,dripping with rain). You take the pill flush it away, it enters the water cycle. Feminises the fish. Suzie pulls a gauntlet from a crate and puts it on.JACK : Goes allthe way up into the sky and then falls all the way back down onto me. Contraceptives in the rain. Love this planet. Still least I won't get pregnant. Never doingthat again. Jack looks at Suzie.JACK : How's it going ?SUZIE : Nothing yet, its got to connect. I just gotta feel it.OWEN : Then hurry up and feel it. Freezing myarse off here.SUZIE : I can't just flip a switch ! It's more like access, it, it grants me access.OWEN : Whatever that means.SUZIE : It's like, oh, oh, oh, oh. Theglove starts to glow, working.JACK : Positions...OWEN : If I get punched again, I'm punching him right back.JACK : Just concentrate. Suzie... Jack nods at herand then Suzie places her hand under the corpse's head. The rain stops around them and the lights get brighter. The corpse breathes out. Gwen looks down, sheis shocked.BODY : There was, I was, I was, I was... oh my god what's goin' on ?TOSHIKO : Listen to me, we've only got 2 minutes so it's important that youlisten, ok...BODY : Who are you ?TOSHIKO : Trust me. You're dead.BODY : How am I dead ?OWEN : You were stabbed.BODY : I'm not dead, I can seeyou.TOSHIKO : We've brought you back, but we haven't got long. I'm sorry but you've got to concentrate. Who did this to you ? What did you see ?BODY : Butwhy am I dead ?TOSHIKO : Who attacked you ?BODY : I don't want to be dead !SUZIE : 60 seconds.TOSHIKO : You've got to think, just focus on me. What wasthe last thing you saw ? Jack sighs, clearly frustrated.BODY : I didn't see anything. I dunno.TOSHIKO : Who killed you ? Did you see them ?BODY : I dunno.There was something behind me.OWEN : Police said one stab wound in the back.TOSHIKO : So you didn't see anything.BODY : No. There is a long pause, eachTorchwood member looks at the body.BODY : What happens now ?SUZIE : 30 seconds.TOSHIKO : But he didn't see anything.SUZIE : Don't waste it.TOSHIKO :What else do I say ?JACK (crouching down) : What's your name ?BODY : John. John Tucker.JACK : Ok John. Not long now.BODY : Who are you ?JACK : CaptainJack Harkness. Tell me what was it like when ya died ? What did ya see ? (Pause) John, tell me what you saw.SUZIE : 10 seconds.BODY : Nothing... I sawnothing... Oh my god there's nothing. John stops breathing, his head falls back into Suzie's hands, dead once more and the rain resumes falling heavily. Gwenstares at them from above.SUZIE : sh1t !OWEN : I said it was stupid telling him he was dead.TOSHIKO : Well you try it.OWEN : Trust me. Like that's gonnawork.JACK : Told the last corpse he was injured and he wasted the whole two minutes screaming for an ambulance. Maybe there's no right way of doing it. Jacklooks up, straight at Gwen and calls out.JACK : What do you think ?[SCENE_BREAK]Gwen standing at the car park wall looking over. Gwen leans back shockedwhen Jack sees her. She runs across the car back and back onto the street. She bends down breathing shallow, shocked and confused.[SCENE_BREAK]ARIELVIEW OF CARDIFFINT. GWEN'S FLAT - LATER THAT NIGHTGwen enters pauses in the entrance and then goes upstairs and walks towards the sofa. Rhys, herboyfriend, is sitting watching TV.GWEN : Still up ?RHYS : In 'ere. They said on the news murder in the city centre. Were you there ?GWEN : No. I dunno, nothingto do with me... How come you're still up though ? Gwen sits next to Rhys and kisses him on the forehead. Clearly they are an established couple.RHYS : Oh,Banana Boat came round. He was saying he's got plans. He's off again next summer.GWEN : How come you're not pissed then ?RHYS : Ooo, well we 'ad a cup o'tea. He's read this thing about diabetes. Me and him 'avin tea, that's middle age that is. There's some Chinese in the fridge.GWEN : No I'm not hungry. Youcoming to bed ?RHYS : Just finish here. This man's found his sister.GWEN : I'll see you in a minute. Gwen walks away.[SCENE_BREAK]GWEN'S BEDROOM -NIGHTGwen lying awake in bed unable to sleep.ARIEL CARDIFF - DAYINT. POLICE OFFICE - CARDIFF - DAYGwen enters and sees a colleague walking down thestairs carrying files.GWEN : Yvonne, can you do me a favour ? Can you a search for me ?YVONNE : Join the queue.GWEN : It's a Captain Jack Harkness, can youcheck him out ? Gwen passes Yvonne and starts to walk up the stairs.YVONNE : I'm busy. See's there's proper channels, Gwen. What sort of Captain ?GWEN :Dunno, just a Captain.YVONNE : If I get time.GWEN (calls down stairs) : Thanks.INT. POLICE MURDER INVESTIGATION ROOM - CARDIFFPolice officers arelooking at crime scene photos pined to a wall and discussing the facts of the case. Gwen enters carrying a tray of tea and coffee.OFFICER : Sarah Palaster, 72.Murdered in her front room. Rani Ghosh, 45. Murdered in Robin Tree Alley and now John Tucker, 19, murdered in Sangavalith Lane. There's absolutely nothinglinking these three victims. Apart from the way they died. As far as we can tell, all with the same weapon. A blade, approximately 8 inches long, 3 inchesdeep.YOUNG COP : The two women were stabbed from the front but John Tucker was stabbed from behind. What does that tell us about the killer ?OFFICER :That he's a coward.EXT. A STREET - DAYGwen and Andy exit police car and walk towards a pub.GWEN : But those people last night. The people in the car. Whowere they ? What's Torchwood ?PC ANDY : I dunno, special ops.GWEN : Yeah but what does that mean ?PC ANDY : Bet you ten quid they're DNA specialists. It'sall DNA these days. Like that CSI bollocks. CSI Cardiff, I'd like to see that. They'd be measuring the velocity of a kebab. Gwen and Andy enter the pub. A barbrawl is in progress. Gwen and Andy enter and try to separate the combatants.ANDY : Thank you very much. Thank you... Gwen is pushed aside and knockedover, she bangs her head on a pillar and appears to be in pain.INT. HOSPITAL - CARDIFF - DOCTORS ROOM - LATER THAT DAYA doctor is treating Gwen's headinjury. Gwen walks out of the doctors room holding her head, she sees a man running up the stairs, she believes him to be Jack. She follows him up the stairs,running. Upon reaching the top of the stairs Gwen finds a plastic-sealed doorway and Jack has disappeared. She hears a door bang open below her and looks overthe stairs to see a porter.GWEN : 'Scuse me. Sorry. It's all sealed off up there. Who did that ? Gwen indicates the sealed door.PORTER : I thought it was youlot.GWEN : But what's it for ? What's happened.PORTER : I dunno. 9 o'clock this morning it was all sealed off, they never said. Chemicals or something. Theporter walks off, Gwen enters through a gap in the plastic of the sealed off door.GWEN : Hello ! Gwen walks forward and sees a figure at the end of thecorridor.GWEN : Sorry I'm just looking for someone... Gwen cautiously approaches, talking to the figure.GWEN (to self) : Yeah, right, clever... A weevil remainsmotionless except to tilt it's head at her.GWEN : Anyway I dunno if you saw a man come through here. A tall man, in one of those big sort of military coats. Ok. Ifyou could answer, this is official business. Gwen notices the man appears to be wearing a mask.GWEN : You alright ? That's good. That's a good mask sort ofthing... Look I'm sorry if I'm interrupting something, but we can stop this now, ok ? It's all very well playing silly buggers but I'm busy, alright. Now I'm lookingfor a man in a big grey coat. I said we can stop being silly. The weevil opens its mouth and hisses. The porter enters the corridor and walks towardsGwen.PORTER : Ah, there you are. I did ask but I saw Doctor Mahieb cos I thought it was him said about the police, but he said no and then I said about thechemicals and he said don't be so stupid, \"what chemicals ?\" So I dunno, could be anything. The porter walks towards Gwen and notices the Weevil.PORTER :Who've you got with you there then ? So much for sealing it off. Oh, ha, there's a face, nice one, oh tell ya mate you should try plastic surgery. Not on the NHSmind. The Porter glances from the weevil to Gwen.PORTER : You alright ?GWEN : Yeah.PORTER : Bloody hell that is brilliant. That's like, erm, Hellraiser ! That'sfirst class that is ! The porter stands close to the weevil and indicates the teeth.PORTER : Look at that ! It's just like real teeth. The weevil grabs the caretaker'shead and bites into his neck, blood spurts from his pierced jugular. Enter Jack, Owen and Suzie. Jack grabs Gwen and runs down the corridor with her.JACK : Go,go, go, go, go, go, go, go, go ! INTERCUT WITH : Shots of Owen and Suzie subduing the weevil and putting a black plastic bag over it's head. Jack stops at the"}
+{"doc_id":"doc_179","qid":"","text":"THE REIGN OF TERRORby DENNIS SPOONER first broadcast - 5th September, 1964[SCENE_BREAK]1. CHURCH CRYPT(IAN looks around and moves inside. Afigure appears from the shadows behind him; IAN turns.)IAN: Leon?LEON: Yes. You must be Ian.IAN: That's right.LEON: Are you alone?IAN: Yes. Jules said youmight be able to help.(IAN hear sounds behind him, and turns to find two SOLDIERS behind him. They are both aiming muskets at his chest.)IAN: Soldiers!(Heturns back to face LEON. The Frenchman has drawn a pair of ornate pistols, and also points them at IAN.)LEON: Yes, I know. You walked right into my trap, didn'tyou, Ian?[SCENE_BREAK]2. PARIS SQUARE(The episode credits are shown over a representation of a square in Paris. Sounds of cheering crowds are heard as theguillotine falls and claims yet another victim.)[SCENE_BREAK]3. CHURCH CRYPTLEON: You can put all ideas of escape out of your head. And as for your rescue -well no-one will come here, you can take my word for that.IAN: If I don't go back, Jules is going to get suspicious.LEON: By the time that happens, my friend, weshall have left. And afterwards we'll take care of him.(LEON clicks his fingers, and the SOLDIERS grab him and drag him against a pillar with iron rings set into it.They secure his wrists with heavy chains, which they attach to the rings. IAN struggles as they do so.)IAN: You never know who your friends are!LEON: Myassociation with Jules was bound to come to an end. He already suspected that... a traitor, if you want to use those words, was working in the organisation. Butit's no matter. We're ready now to close in on him too.IAN: So what do you want with me?LEON: Information.(IAN scoffs.)LEON: You will cooperate, Ian. Thinkabout it. We have plenty of time.(He stares at IAN for a moment, then turns and exits, leaving the two SOLDIERS to guard the prisoner. One talks toIAN.)SOLDIER: He's giving you time to consider.IAN: I don't need time, I have no information.SOLDIER: We'll decide that when you talk. And you'll talk, you'lltalk!(He flashes IAN an evil smile.)[SCENE_BREAK]4. LEMAITRE'S OFFICE(BARBARA and the DOCTOR have just been reunited.)BARBARA: Oh, Doctor, I thoughtwe were never going to see you again!DOCTOR: You should know by now, young lady, that you can't get rid of the old Doctor as easily as that.(They bothchuckle.)[SCENE_BREAK]5. CORRIDOR(Just outside the office, LEMAITRE is listening through the door to every word of the conversation.)BARBARA: (OOV.) Tellme, how did you get out of that burning farmhouse?DOCTOR: (OOV.) Oh, never mind about that now.[SCENE_BREAK]6. LEMAITRE'S OFFICEDOCTOR: Whathappened? Where's Susan? How is she?BARBARA: She's here. We were arrested together.DOCTOR: She's here?BARBARA: Yes.DOCTOR: Is she well?BARBARA:Yes, she's fine. She had a slight fever, but she's recovered now.DOCTOR: Good. Well now, we must find Chesterton and try and get back to the ship.BARBARA:Oh, I know where he is!DOCTOR: Mm?BARBARA: I know where he is.DOCTOR: Oh yes?BARBARA: We were all in hiding at a house owned by a JulesRenan...[SCENE_BREAK]7. CORRIDOR(LEMAITRE still listens intently. He notices the JAILER waddling down the corridor towards him, and turns to face him. Hespeaks to the JAILER in a hushed voice.)LEMAITRE: Not now, Jailer!JAILER: But Citizen...LEMAITRE: Later!JAILER: But...LEMAITRE: I said, not now!JAILER: I'vejust had a message from the First Deputy, Citizen!(LEMAITRE moves away from the door.)LEMAITRE: Well, what is it?JAILER: Robespierre says 'e wants to seeyou immediately. It's a matter of the utmost importance. Robespierre said immediately, Citizen.LEMAITRE: Yes, yes.(He turns to leave, exasperated.)LEMAITRE:Has the young girl been locked away?JAILER: She has. I saw to it myself, just as you ordered, Citizen.LEMAITRE: Good. She shall remain in her cell, do youunderstand? Under no circumstances is the door to be opened.JAILER: Just as you say, Citizen.LEMAITRE: And if that order is disobeyed... I'll have youguillotined.(He exits, leaving a very worried looking JAILER behind him.)[SCENE_BREAK]8. LEMAITRE'S OFFICE(The DOCTOR has just had a brainwave.)DOCTOR: Yes, that's it! That's it!(BARBARA is not listening.)BARBARA: Oh, I should never have taken Susan to see that physician.DOCTOR: Oh, don'tblame yourself, Barbara. As it happens, everything has turned out very well. Might have taken us ages to find each other.BARBARA: Do you think we stand achance of getting out of here?DOCTOR: Well, my voice seems to carry some weight, hm?BARBARA: Yes, well I'm not surprised in that get-up.(The DOCTORpreens himself.)DOCTOR: Yes, it's rather impressive, isn't it? Now, listen. I'm going through that door. Give me a few minutes, then I want you to go through thedoor and straight out of the prison.BARBARA: Are you serious?DOCTOR: Absolutely serious, but I've no time to explain. Just do as you're asked.BARBARA: Whatabout Susan?DOCTOR: Well, I'll look after her and follow you later.BARBARA: But Doctor, you...DOCTOR: Now now now, there's no buts, don't argue. You knowmy plans always work perfectly. Hm?(BARBARA decides against making the obvious comment.)DOCTOR: In a few minutes, then.(He leaves, closing the doorfirmly behind him.)[SCENE_BREAK]9. JAILER'S ALCOVE(The DOCTOR enters to see the JAILER sitting at his desk.)DOCTOR: Ah, tell me. Is Lemaitre here?JAILER:He's, uh, left to see Citizen Robespierre.DOCTOR: Oh dear dear dear, how irritating, and I did want him so urgently.JAILER: Well, I'm sure he'll be back shortly,Citizen.DOCTOR: No no no, this matter can't wait, it's urgent! I've just been interrogating that young woman, and I'm convinced she's a member of thatdangerous Traitor's Party.JAILER: Oh, I see, I see.DOCTOR: And do you know, she could tell us the names of every traitor in this country!(The JAILER believesevery word.)JAILER: Perhaps we should make her talk?DOCTOR: No, no chance of that. No, she'd rather die first than betray her friends. No, I think, if there'sonly some way of using her... if only we could get, through her, to her friends...(He waits expectantly for the JAILER to have a brain wave.)JAILER:Perhaps...DOCTOR: Mm?JAILER: Perhaps...DOCTOR: Perhaps what?JAILER: Well, if she were to escape, she could be followed. She'd meet these traitors, thenwe'd arrest them. Lemaitre once did this.DOCTOR: My dear, what an excellent idea! What an excellent idea! Yes, of course, now why didn't I think of that? Yes,that's what we'll do, and Lemaitre will be delighted! Now look here, Mr Jailer, I want you to open those prison doors, keep out of sight.JAILER: Oh, buter...DOCTOR: Tch, tch, tch, no buts, no! And sooner or later, that young woman will come through those doors and we can grab her! Go along, quickly!(He sendsthe JAILER off to the prison doors, then disappears down to the cells, a satisfied grin on his face.)[SCENE_BREAK]10. RENAN'S SITTING ROOM(JULES enters andlooks around frantically.)JULES: Ian, Barbara, Susan? Ian? Ian?(He calls upstairs and looks around.)[SCENE_BREAK]11. CHURCH CRYPT(IAN rattles his wristchains. The SOLDIER standing by him laughs.)SOLDIER: Getting impatient, are we? That's a good sign. Citizen Colbert really knows how to make pigs like youtalk. He leaves 'em alone, makes them think. Now me, I have other ways.(He raises the butt of his musket, ready to hit IAN in the face, but is interrupted by acall from the entrance to the crypt.)LEON: Stop that!... I'm sorry - I'm afraid my men are very bad-tempered. Ian, I don't want anything to happen to you really,but I think you have the information that will help the cause I believe in.IAN: You're wasting your time with me. I'm very small fry.LEON: Surely you don't expectme to believe that? Well, we learned of the existence of James Stirling two months ago. We've been searching for him ever since.IAN: We?LEON: Yes. I've beenloyal to the Revolution from the beginning. If you'd known what France was like six years ago, before the Bastille, you'd understand.IAN: I do understand, but Ican't help you.LEON: Or you won't! France will never be anything until we're rid of these high-born leeches who've been sucking the life-blood of France for solong.IAN: You must believe me, I can help you in no way...LEON: Ian! You can save yourself a lot of trouble and suffering by talking. This is your only chance! Doyou realise that when I've finished with you I'll transfer you to the prison, and then the guillotine? Now if you were to talk, I have the power to set you free!IAN:Jules must have told you all I know.LEON: Ah yes, what did Jules say? That Webster gave you a message to give to Stirling.IAN: Yes, that's right. Only I can'trecognise Stirling - that's why I'm here.LEON: Oh, that I accept. But you must have known of their organisation. You were in it with Webster! He would neverhave trusted you otherwise. Now. Who sent you from England? How did you get here, and who helped you?IAN: (Sighs.) What's the use?LEON: I really don'tunderstand what you hope to gain! If I don't get the information from you, I shall find it elsewhere! Now be sensible. Save yourself from the guillotine.IAN: Youwouldn't believe my story anyway.LEON: Suppose you let me be the judge of that. How did you get to France?IAN: You really want to know, eh?LEON: Thetruth?IAN: Oh yes, it's the truth all right.LEON: You swear it?IAN: Yes, I swear it! I flew here with three friends in a small box. When I left England it was1963.(LEON steps back, furious, and signals to the nearer SOLDIER, who strides forward, musket and bayonet pointed towards IAN. IAN braces himself for theblow, then hears a yell from the entrance.)JULES: All right, Leon! Release him!(JULES is standing in the entrance, a pistol pointed at LEON's back. The secondSOLDIER swings his musket around, but JULES is faster and shoots him dead. LEON reaches for his pistols, but JULES hurls his now spent weapon at LEON's face.LEON falls back with a cry, dropping his guns. The SOLDIER by IAN has cocked his musket and swings it round to aim at the now unarmed JULES. IAN gathers hisstrength, hauls himself up by his wrist chains, and kicks the SOLDIER on the side of the head - he falls. LEON recovers and grabs his pistols; IAN shouts awarning.)IAN: Jules!(JULES grabs the falling SOLDIER whom IAN has just kicked, and hold him up as a shield, just as LEON fired. The two bullets ring outsimultaneously, and both hit the SOLDIER. As JULES drops the lifeless body, LEON steps back towards the discarded musket. JULES watches as he steps nearer,then casually reaches into his coat and draws a second pistol.)JULES: You traitor! It's you who's the enemy of the people!(LEON makes a desperate lunge for themusket, but JULES fires first. LEON collapses, dead. JULES turns to free IAN.)IAN: I thought I was going mad when I saw you here! Why did you come?JULES:Bad news for you.IAN: Oh?JULES: Barbara and Susan were arrested at the physician.(JULES fiddles with the iron rings, and IAN pulls his wrists clear.)IAN: Yes, Ifeared that as soon as Leon turned up here. We must get to them.JULES: I think it's best to go back to my hide-out.IAN: What? The soldiers will be therealready!JULES: Well, if I know Leon, he will have wanted the satisfaction of arresting me himself. And anyway, we'll just have to risk it. Come"}
+{"doc_id":"doc_180","qid":"","text":"BASEBALL FIELDA man remakes the field.JAMIE (Voice-over): The outlook wasn't brilliant for the Mudville nine that day. The score stood four to two, with but oneinning more to play. Ian is on the field, thinking.JAMIE (Voice-over): So upon that stricken multitude grim melancholy sat, for there seemed but little chance ofCasey getting to the bat. Kids, Nathan, Clay and Julian prepare for the game.NATHAN: Whoo! Okay. Everybody settle down, listen up. Coach Baker hassomething he wants to say.JULIAN: Uh, so I know this is our first game, but it's the last game for me. You see, Brooke and I are moving to New York,so...UMPIRE: Play ball!(Kids leave)JULIAN: I know this is gonna hurt some...Some of you.FLASKBACK, BRULIAN'S HOUSEJulian looks at video when he andBrooke are going to get their baby.JULIAN (at video): Where are we, Brooke Davis?BROOKE (at video): We're at the hospital.JULIAN (at video): What are wedoing here?BROOKE (at video): We're getting our baby.(Knock on door, it's Nathan)JULIAN: Dude, what's up?NATHAN: I screwed up.JULIAN: Why? Whathappened? It was so obvious, and I didn't see it.NATHAN: Is this yours?JULIAN: Yeah.NATHAN: Ginger ale?JULIAN: I like ginger ale. It settles the stomach.What's going on, Nate?NATHAN: When the Wagoneer hit Lauren's S.U.V., where was it coming from, north or south?JULIAN: It was coming from the south,heading north.NATHAN: We got the wrong Kellerman. It wasn't August. It was Ian.FLASHBACK, CLINN'S HOUSENathan explains the story to Clay.CLAY: But heconfessed. You said Professor Kellerman came to the Rivercourt and said that he did it.NATHAN: He lied. The bottle I found in the Wagoneer was Phidian's. Andthen tonight at the bar, Ian ordered shots of bourbon to toast Lydia.CLAY: Phidian's.NATHAN: Said it's all he drinks.CLAY: All right. So, maybe it's a family thing.It doesn't really prove anything.NATHAN: There's more. At the Rivercourt, when Kellerman confessed, he said he was coming from a dinner that night inRaleigh.CLAY: So?NATHAN: So, he was coming from the south. Raleigh's north.CLAY: All right, well, look, don't beat yourself up over it just yet. I mean, youcould still be wrong.NATHAN: Maybe. But if I'm right, August Kellerman just ended a 30-year career because of me.CLAY: Yeah. And his son let him. And he's ourclient.BASEBALL FIELDIan practices. Then, he leaves and August walks on the field. Nathan joins him.NATHAN: Professor Kellerman? We need to talk.ONE TREEHILL - OPEN CREDITSBRULIAN'S HOUSEBrooke makes her stuff to go in New York. She sees the panel of Karen's Cafe.CHASE'S BEDROOMChase and Alex are inbed. They slept together.ALEX: So much for baby steps.CHASE: You played guitar. Wasn't fair. Oh-ho-ho! I'm gonna go ahead and need you to play guitar againright now. Quickly.ALEX: Man.BASEBALL FIELDKids play. Quinn supports Jamie's team. Julian talks with Clay.UMPIRE: Strike one!QUINN: Yeah! Let's go,Sharks!CLAY: There we go! Nice one! Go, Sharks!QUINN: Let's go, Sharks!JULIAN: Uh... What happened to Quinn?CLAY: Uh, she's just busy. She'll be here.Attaboy! Two more just like that! Way to go, Sharks!QUINN: Yeah, way to go, Sharks!FLASHBACK, CLINN'S HOUSEQuinn announces a good new to Clay.QUINN:Baby! Guess where I'm going?CLAY: Please don't say South Africa.QUINN: I got an offer to shoot a job in Puerto Rico. We're saying at the El Conquistador. It'snext week. Do you want to go?CLAY: I would, but I have training camp.QUINN: Oh. That's too bad. I guess I'll have to do the whole supermodel bikini shootwithout you.CLAY: Puerto Rico sounds awesome. I mean, pfft. Supermodels in bikinis? Have you seen my baby?QUINN: Nice try.CLAY: Yeah. But I do have camp.Uh, maybe you can invite the girls? Haley can't go, but Brooke and Alex.QUINN: Maybe I will. By the way, I leave the day after Jamie's game, so you might wantto come straight home because it's my last night, and my man is looking very sexy.CLAY: Careful, I'm sweaty.QUINN: Yes, you will be.BASEBALL FIELDClay findshis mind. Jamie's team defends.CLAY: All right, here we go, Sharks! Three up, three down! Let's go, let's go! Moving right along!JULIAN: Attaboy, Jamie!CLAY:Yes! Very nice! Now hustle in! Real quick! Real quick! Nathan announces who plays for their game.NATHAN: All right, first up we have Chuck, which seems like abad idea. Then it's Madison, Jamie, and Daniel. All right, let's get some hits.CLAY: All right! Let's go, Sharks!NATHAN: Chuck! Come on, buddy. You're up.CHUCK:Whatever.AERODROMEChase waits someone.FLASHBACK, CLUB TRICChuck is with Chase. He wants him to ask something.CHUCK: Ahh. Oh, I meant to tell youwe have a game on Friday. Think you could come?CHASE: What time is the game?CHUCK: 4:00. It's okay if you can't. I just thought it might be cool if youcould.CHASE: Hmm. I've got some stuff going on, but I'll be there. 4:00. Wouldn't miss it.AERODROMEChase waits yet.NALEY'S HOUSEBrooke visits Haley with asurprise.BROOKE: Hello! I have come to offer you a trade. Last remnants of Karen's café for Lydia straight up.HALEY: Oh, I don't know. That's tempting.BROOKE:I'll throw in my car. And my sunglasses. Car has new tires, but that's it.HALEY: Hmm. What do you say? Say \"no deal.\"BROOKE: Say yes!HALEY: \"No deal! I likeit here!\" Sorry.BROOKE: Fine. You can have the sign anyway. I know Karen's meant a lot to you, too.HALEY: Oh, thank you so much. I always wantedthat.BROOKE: Yeah. Hi!HALEY: I'm getting so sad today.BROOKE: Why?HALEY: I was thinking about the Rivercourt, and now this sign. I just feel like it's the endof something really good, you know? Makes me sad.BROOKE: Well, on the upside, Lydia and I talked, and she told me that she wants to spend every weekend inNew York, shopping and seeing plays...And hanging out with her Aunt Brooke.HALEY: Ohh.BROOKE: Huh? Yes.HALEY: I am gonna miss you, Brooke Davis, likeyou can't imagine.BROOKE: Of course I can. I'm gonna miss you the same. I love you.HALEY: You too.BROOKE: What if I throw in Julian's truck?HALEY: Notgonna happen.BROOKE: Ahh, it's a good deal. Tell your mommy she didn't even have you a week ago.HALEY: Oh, no!BROOKE: She didn't even have you a weekago! Ohh! I know!FLASHBACK, BASEBALL FIELDNathan talks with August.NATHAN: It wasn't you. It was Ian.AUGUST: It doesn't matter. I resigned.NATHAN: Tocover for your son. Why?AUGUST: Because he's my son.NATHAN: But your career. 30 years, Professor Kellerman.AUGUST: Well, Mr. Kellerman now. And youasked why I did it, not whether or not he was worth it. I haven't had a drink since my wife died. We're fathers, Nathan. This is what we do for our sons. It justis.BASEBALL FIELDIt's to Madison to hit the ball.UMPIRE: Strike three!NATHAN: All right, buddy, here we go! It's to Jamie to hit the ball.JAMIE(Voice-over): Itknocked upon the mountain and recoiled upon the flat, for Casey, mighty Casey, was advancing to the bat. There was ease in Casey's manner as he stepped intohis place. There was pride in Casey's bearing and a smile on Casey's face.UMPIRE: Strike one!NATHAN: That's all right, Jamie. You can do it! Make sure it's yourpitch, buddy.QUINN: Let's go, bud! This one's yours!UMPIRE: Strike two!QUINN: That's all right! Good cut, buddy!NATHAN: It's okay, Jamie. Keep your eye onthe ball, buddy.UMPIRE: Strike three! Jamie joins others.CHUCK: Wow, Jamie. You bat like my mom.JAMIE: Really? How about we ask her? Oh, wait she's nothere, is she?FLASHBACK, CLUB TRICAlex joins Chase and Chuck.CHASE: There she is Alex Dupré. I want you to meet someone.ALEX: Oh. You must be Chuck.I've heard a lot about you.CHUCK: And you're Alex. I saw pictures of you on the Internet. Naughty, naughty.CHASE: Hey!CHUCK: So are you guys, like, doingstuff?ALEX: What kind of stuff? You mean like going to the movies, talking on the phone, and holding hands? 'Cause we totally do that kind of stuff.CHUCK:Gross. Or maybe awesome. I don't know. I got to go to the bathroom.CHASE: I told you about that root beer. Don't make me tell Alex about the campingtrip.CHUCK: Shut up! Stinking drag-leg Laura!(Chuck leaves)ALEX: What?CHASE: Sorry.ALEX: No, it's okay. He's cute. Kind of. So, what's up?CHASE: I need afavor. You ever taken a drug test?ALEX: Why, are you taking one?CHASE: Have you?ALEX: Dude, if they drug-tested me, I would never work again. I'm kidding. Iknow everything there is to know about drug tests. Ask me anything.CHASE: All right. How long does it take for a couple hits off a joint to clear yoursystem?ALEX: When did you get high?CHASE: Um, I didn't, really. Not on purpose. You remember the Kid Cudi show?FLASHBACK, CLUB TRICChase enters in theKid Cudi's room.CHASE: More beers for you guys. Have a good show.MAN: No one leaves without hitting this.CHASE: Is he serious?MAN: Yeah.FLASHBACK, CLUBTRICAlex is laughing.ALEX: That's amazing.CHASE: How long?ALEX: I don't know. I mean, it's different for everyone. Can you risk it?CHASE: No. I need afavor.ALEX: Huh?FLASHBACK, CLINN'S HOUSEQuinn is in bikini.CLAY: Quinn? Hey, Quinn! Holy cow.QUINN: Don't say cow.CLAY: I want to go to Puerto Rico. Imean it. Forget about training camp. Puerto Rico is absolutely the only place I can possibly be this weekend.QUINN: You're sweet, and I love you. Maybe on ourdate after Jamie's game, I can wear this in the hot tub. Or...Not wear it. Hurry home. Hurry home.BASEBALL FIELDClay finds his mind.CLAY: No extra innings!Three up, three down. Three up, three down. Four up, three down. Stay in front of those, Madison!FLASHBACK, NALEY'S HOUSENathan talks to Haley aboutAugust.NATHAN: I saw him as Dan. I thought Ian Kellerman was like me and his father was like Dan. I guess I'm still not past it.HALEY: Your father.NATHAN:Yeah. I'll never be able to understand or accept what he did, so I guess I just...avoid it. Because if I don't avoid it, what's left is so dark. It's like... It's like Lydiagrowing up and someday standing a few feet from Jamie and taking his life. And that's impossible and horrible...HALEY: Mm.NATHAN: And that's exactly what myfather did. And then I feel guilty... For keeping Jamie from seeing his grandfather and for making it to the NBA and knowing that I never could have done itwithout my father. And for letting him live alone and die alone because that's what I have to do.HALEY: Maybe you should just go to that diner and tell Daneverything that you're thinking and feeling all of it.NATHAN: You think he deserves that?HALEY: No. But I think you deserve it.FLASHBACK, CLINN'S HOUSEQuinnpractices sport. Clay sees her.CLAY: Hey, didn't you already work out today?QUINN: Yep. I'm doing two-a-days.CLAY: Oh. You're worried about being around allthose models.QUINN: Mm, actually, that's not it. I'm worried about security at the airport.CLAY: What?QUINN: You know those TSA machines show you naked? Igot to look good for that.AERODROMEChase still wait.FLASHBACK, CLUB TRICChase's cellphone rings.CHASE(at phone): Hello?WOMAN(at phone): Hi, Mr. Adams.I'm calling from the clinic. We need you to come back in and retest as soon as you can.CHASE(at phone): Why? Is there, uh, a problem?WOMAN(at phone): Yes.Actually, it looks like the lab had a mix-up with your urine sample.CHASE(at phone): Okay. Are you sure?WOMAN(at phone): Well, unless you're pregnant, we're"}
+{"doc_id":"doc_181","qid":"","text":"Jessica: You promised this was only gonna be for a few weeks.Sean: Look, just because we're in a trailer does not mean we're trailer park trash.Jessica: Exactly.We're worse. We don't even have enough money to be in a trailer park.Sean: Don't have a meltdown, okay? It's probably just the generator.Jessica: You meanthe thing that runs the electricity and water. I'm sorry. I'm just tired of feeling slightly terrified all the time. It's not like I wanna be.Sean: Hey, look, it's going toget better.Jessica: Sean?Jessica: Noooo!Allison: If Jackson doesn't know what he's doing, then he probably doesn't know that someone's controlling him.Scott: Orhe doesn't remember.Stiles: What if it's the same kind of thing that happened with Lydia when she took off from the hospital?Allison: A fugue state?Scott: He'dhave to forget everything. The murder -Allison: Getting rid of the blood.Stiles: Yeah, he had help with one thing tough - the video. And someone else helped himforget that.Scott: Whoever's controlling him.Allison: Are you sure Jackson has no clue about any of this?Stiles: He thinks he's still becoming a werewolf and thatbeing with Lydia somehow delayed the whole thing.Allison: So do we try and convince him he's not?Scott: If it helps us find out who's controlling him, thenyeah.Allison: Do you think he'll talk to us after what we did?Stiles: Yeah, it's us. He'll talk to us. Right?Sheriff: You will not go within 50 feet of JacksonWhittemore. You will not speak to him. You will not approach him. You will not assault or harass him physically or psychologically.Stiles: What aboutschool?Sheriff: You can attend classes while attempting to maintain a 50 - foot distance.Stiles: Bu - okay, what if we both have to use the bathroom at the sametime and there's only two stalls available and they're only right next to each other? I'll just hold it.Sheriff: Do I need to remind you how lucky we are that they'renot pressing charges?Stiles: Oh, come on, it was just a joke.Sheriff: It was a joke?Stiles: Yes, I didn't think it would be taken this seriously. Dad, humor's verysubjective, okay? I mean, we're talking, like, multiple levels of interpretation here.Sheriff: Uh - huh.Stiles: Uh - huh.Sheriff: Okay, well, how exactly am Isupposed to interpret the stolen prison transport van, huh?Stiles: We filled the tank!Melissa: Move! It's not just this. Although, a restraining order is a new lowthat I didn't think that you would reach quite this soon. It's everything on top of it. The completely bizarre behavior, the late nights coming home, having to begMr. Harris for you to make up that chemistry test that you missed.Scott: I missed a chemistry test?Melissa: Really, Scott? Really? I have to ground you. I amgrounding you. You are grounded.Scott: What about work?Melissa: Fine - Other than work. And no TV.Scott: My TV's broken.Melissa: Then no computer.Scott: Ineed the computer for school.Melissa: Then no, uh - no Stiles.Stiles: What - no Stiles?Melissa: No Stiles! And no more car privileges. Give me your keys. Give 'emto me! Oh, for the love of God.Scott: Mom, you want me to -Melissa: No.Scott: Mom, come on, let me just - mom. Mom!Melissa: What is going on with you? Isthis about Allison?Scott: Do you really wanna know?Melissa: Yeah. Is this about your father? It is, isn't it? Okay, you know what, um - We'll talk about this athome. I'm gonna go get the car.Scott: I'm the worst son ever.Stiles: Well, I'm not exactly winning any prizes either.Mr. Whittemore: Dammit! You give him arestraining order, and he's mocking you! He was mo - and what do I do about going to the bathroom? What the hell -Isaac: So why do we need their help?Derek:Because it's harder to kill than I thought and I still don't know who it is.Isaac: And they do?Derek: They might. Which is why I need one of you to get on theirgood side.Erica: Mm. Scott or Stiles?Derek: Either.Isaac: You know, the full moon's coming, Derek.Derek: I'm aware of that.Erica: Oh my, these lookcomfortable.Isaac: You said you were gonna teach us to change whenever we wanted.Derek: There hasn't been time.Isaac: But if you have to lock us up duringthe full moon, that means - that means you're alone against the Argents.Derek: They haven't found us.Isaac: Yet! So how about we forget the kanima?Derek:We. Can't! There was something about the way Gerard looked at it. He wasn't afraid - at all. I don't know what he knows or what he's planning. But I'm sureabout one thing. We have to find it first.Allison: It's everything Lydia can translate. And trust me, she was very confused.Scott: Yeah, what'd you tell her?Allison:That we were part of an online gaming community that battles mythical creatures.Stiles: I am part of an online gaming community that battles mythicalcreatures.Allison: O - oh. Great.Scott: Okay, does it say how to find out who's controlling him?Allison: Not really. But Stiles was right about the murderers.Stiles:Yes!Allison: It calls the kanima a weapon of vengeance. There's a story in there about this South American priest who uses the kanima to execute murderers inhis village -Stiles: All right, see? So maybe it's not all that bad.Allison: Until the bond grew strong enough that it killed whoever he wanted it to.Stiles: All bad, allvery, very bad.Allison: Here's the thing, though. The kanima's actually supposed to be a werewolf. But it can't be -Scott: \"Until it resolves that in its past whichmanifested it.\"Stiles: Okay, if that means that Jackson could use a few thousand hours of therapy, I could've told you that myself.Allison: What if - It hassomething to do with his parents? His real parents.Scott: Yeah, does anybody actually know what happened to them?Stiles: Lydia might.Scott: What if shedoesn't know anything?Allison: Well, he doesn't have a restraining order against me, so - I'll talk to him myself.Scott: Okay, what do I do?Allison: You have amake - up exam, remember? Promise me.Scott: If he does anything, you run the other way.Allison: I can take care of myself.Scott: Allison, if you get hurt whileI'm busy with some stupid test, someone's going to need to take care of me. If he does anything -Allison: Like?Scott: Anything - Weird or bizarre -anything.Stiles: Anything evil! Ah - Ow!Teacher: Jackson? Did you still want to discuss your paper?Harris: You have one hour, Mr. McCall. Begin.Melissa: Really,Scott? I can't. Oh - Am I gonna do this? Am I gonna do this? No, I am gonna go to work. I am gonna go to work. I am just gonna straighten up. Just a little bit.Just a tad. He won't even know I was here.Matt: Oh, you just scared the hell out of me.Allison: Sorry, I wa - I was just, um, I was - nothing.Matt: Ah, that's a -nice heels.Allison: Oh! Yeah, uh, my feet were hurting, so I -Matt: Same reason I never wear mine.Allison: What?Matt: Uh, forget it. Hey, did you hear about theunderground show? Apparently, they've got some big name spinning.Allison: Oh, you mean like a rave?Matt: Oh, is it still a rave if you don't roll? I just call it aparty. But hey, I got a friend who can hook us up with tickets if you're down. Want me to get you one?Allison: Yeah. Yeah, great.Matt: Yeah? All right, cool. Um,it's Friday, so - Looking forward to it.Allison: Yeah.Lydia: I'm not supposed to tell anyone.Stiles: Come on, anyone who ever says \"I'm not supposed to tellanyone\" is always dying to tell someone, so tell me!Lydia: Why do you wanna know?Stiles: I can't tell you that.Lydia: Then I'm not telling you.Stiles: But you aretelling me that you could tell me something if you wanted to tell me?Lydia: Was that a question?Stiles: It felt like a question.Lydia: Well - Tell me if this feels likean answer. No.Allison: Jackson?Jackson: In here. Is something wrong?Allison: Y - you could've warned me.Jackson: You're the one that walked into the boys'locker room.Allison: I thought I heard you - I th - forget it.Jackson: Did you wanna talk about something?Allison: We can talk later.Jackson: No. Let's talknow.[SCENE_BREAK]Stiles: Lydia! Lydia, come on! Ly - wait! Ow! Ah, ah, hey, Erica.Erica: Why are you asking Lydia about Jackson's real parents?Stiles: Why areyou bringing out the claws on camera? That's right. You wanna play Catwoman? I'll be your Batman.Erica: If you're wondering about Jackson's real parents,they're about half a mile from here. In Beacon Hills cemetery.Allison: I - I have to get to cl -Jackson: Oh, no, no, you don't. No, you have perfect grades. You canskip one class. Are you okay? Your heart's beating like crazy.Scott: Allison.Stiles: Do you know how they died?Erica: Maybe. If you tell me why you're sointerested.Stiles: Um -Erica: It's him, isn't it?Stiles: What? Who? Him who?Erica: The test didn't work, but it's still him. It's Jackson.Harris: What do you thinkyou're doing?Scott: The hour's up.Harris: You're not leaving till every single one of these bubbles is filled in.Jackson: I thought you wanted to talk.Allison: I - I - Ichanged my mind.Jackson: You sure? Because you look a little stressed. Is it Scott? Is it that whole thing? I still can't believe you actually think your little Romeoand Juliet story is gonna last. You know he's eventually just gonna run to Derek and join up with him and his little wolf pack. If you don't realize that, then yougotta be the stupidest bitch in this town. Well, other than Scott since he's a pretty stupid bitch himself.Allison: Stop. Just stop!Jackson: What are you gonna do,Allison, hmm - when your stupid bitch of boyfriend turns on you? They kill your aunt. They almost kill Lydia. Who do you really think's gonna be next, hmm? Notyou. No, no, it can't be you, because you're in love. Is that what you tell yourself, hmm? \"Scott's different and everything's gonna work out because we're inlove.\" Well, if that's what you believe, then you're already dead. I just - I just hope your dad has been teaching you moves to protect yourself.Allison: Actually, hehas.Jackson: Allison? What are you doing here?Allison: I - I'm fine. I'm fine. Scott, I'm fine. Scott!Jackson: I have a restraining order!Scott: Trust me, Irestrained myself.Stiles: You can't tell Derek, okay? There's a lot more to this that you don't know about. And just because you got the Alpha bite makeoverdoesn't give you a license to go around destroying people.Erica: Why not? That's all anybody ever used to do to me. I used to have the worst crush in the worldon you. Yeah, you, Stiles. And you never once even noticed me. Exactly how you're not noticing me right now.Stiles: Scott, Scott, Scott! Guys!Harris: What thehell's going on? Hey! Enough! Enough. What do you idiots think you're doing? Jackson! Calm down! Mr. McCall, you wanna explain yourself? Stilinski!Matt: Youdropped this.Harris: You and you - actually - all of you - Detention. Three o'clock.Melissa: Hi, there.Victoria: Oh, I'll make an announcement, have Scott broughtto the office.Melissa: Um, actually - I came here to talk to you.Victoria: Me?Peter: Busy after school?Lydia: Always.Peter: Well, unbusy yourself. I wanna talk toyou. Actually, I want to show you something.Lydia: I thought we'd gotten past the slightly rapey language.Peter: And - Bring the flower.Jackson: Oh, uh - wecan't be in detention together. I have a restraining order against these tools.Harris: All of these tools?Stiles: No, just us tools.Harris: Fine. You two, overthere.Scott: I'm gonna kill him.Stiles: No, you're not. You're going to find out who's controlling him and then you're gonna help save him.Scott: No. You wereright, let's kill him.Stiles: Oh - No.Matt: Kanima.Victoria: I was under the impression they were no longer dating.Melissa: Me too, but it looks like they are. And"}
+{"doc_id":"doc_182","qid":"","text":"[PREVIOUSLY_ON]PEYTON : You saved me.BROOKE : You saved me, too.NATHAN : I borrowed some money from these guys, so they asked me to shave a fewpoints in the last game.JIMMY : Everyone get away from the door.MOUTH : Oh, Jimmy, what did you do?JIMMY : Go.DAN : What are you doing here,Lucas?LUCAS : I don't think Jimmy killed Keith.DAN : Keith's dead, okay? He's not coming back. Open your eyes.KEITH : Open your eyes, Luke. Open youreyes.LUCAS : Hey, Skills. You know this girl?SKILLS : Yeah, that's Abby. She was in the tutor center. Jimmy let her go.OUTSIDE ABBY BROWN'S HOUSEIt followsthe end of the last episode, Lucas knocks at the doorLUCAS (voiceover) : Sometimes, I wonder if anything is absolute anymore. Is there still right and wrong...good and bad... truth and lies? Or is everything negotiable... left to interpretation, gray?LADY : Who is it?LUCAS : My name's Lucas Scott. I was wondering if Imay talk to Abby.LADY : There's no Abby here. You have the wrong address.LUCAS : Well, no, no, no! I was just...(She shuts the door)LUCAS : Thanks fornothing.(Lucas leaves but looks upstairs and see someone behind the curtains)LUCAS (voiceover) : Sometimes, we're forced to bend the truth... transform it...because we're faced with things that are not of our own making. And sometimes... things simply catch up to us.OUTSIDE TREE HILL HIGHWhitey arrives in hiscar, reporters are waiting for himREPORTER : Coach Durham, can you address the allegations of point-shaving and illegal activity within the Ravens?WHITEY :Look, I'm gonna say this one time and one time only. This is the best group of boys I've had in 35 years of coaching. These are not cheaters. They're champions...every one of them.RIVERCOURTNathan and Haley are sitting on the tableNATHAN : There's only three things I'm afraid of losing in this world, Haley... you, ourson, and the game.HALEY : How bad will it get if they find out about you and Daunte?NATHAN : They'll take my scholarship for sure. And I probably won't playanywhere... ever.THE APARTMENTPeyton is taking a shower and she suddenly has vision of Derek.OUTSIDE TREE HILL HIGHBrooke is arriving at school, Chaseshoves herCHASE : Sorry.BROOKE : It's fine.CHASE : Hey, Brooke. I heard about that stalker thing. I tried calling you, but I never heard back.BROOKE : Yeah,it's... Where's your Clean-Teen T-shirt?CHASE : Things change, you know?BROOKE : Yeah, I know.(She leaves)INSIDE TREE HILL HIGHPeyton is in front of herlocker, Brooke joins herBROOKE : Hey. Do I have any blood on me?PEYTON : No, why?BROOKE : 'Cause I just saw Chase, and it feels like I got my heart rippedout.PEYTON : I think you'll be okay. Do I look insane?BROOKE : No, why?PEYTON : I saw him again. This time in the shower.BROOKE : Peyton, you got to stopdoing this to yourself, okay? Fake psycho Derek... whatever the hell his name is... he's locked up. You know that.PEYTON : Yeah, that's what they said last time...or what he said. I don't know. Maybe if I just see it with my own eyes that he's actually behind bars...BROOKE : Maybe. Come on.(They start walking and Peytonhas a vision of Derek again)PEYTON : Hey... You know what, I'm gonna have to catch up with you, okay?BROOKE : Okay.INSIDE PRISONPeyton comes to seeDerek in his cellDEREK : Hi, baby. I knew you'd come. Well, they said that you wouldn't, but... I knew that you would.PEYTON : I want to know why. Why me?Why did you pick me?DEREK : You love me.PEYTON : No. I don't. I hate you. Don't you get that? You're just a deranged, pathetic psycho, and I never, ever wantto see you again, okay?DEREK : Then why'd you come? Have I been in your head? You asked me to come into your life, Peyton. You got undressed in front ofyour webcam because you knew it would make me want you. You posted those pictures online.PEYTON : You are wrong.DEREK : Am I? Is that why you'redressed like that today? Are you a tease, Peyton? Dressing sexy... wearing that perfume, making me... ache for you, and then saying no?PEYTON : Stop.DEREK :Are you a tease, Peyton? Because that would really be disappointing.PEYTON : I did not do this. You did this.(She leaves)DEREK : No, you did this! You did this tome, Peyton! It's all your fault! You did this to me! You did this! Tease!DAN'S HOUSEDan is looking at his gun and hides it when Nathan walks inNATHAN : Thoughtyou'd look a lot worse, considering the walls are closing in.DAN : What do you mean?NATHAN : The point-shaving, dad.DAN : Right. What are youhearing?NATHAN : Nothing. You think it's Bear?DAN : No, no. If it was Bear, he'd have pointed them right to us. Sounds like the whispers of someone who lost alot of money but isn't close enough to know the details.NATHAN : They're asking questions about Lucas now, and it's not right. He only missed those free throwsbecause of me.DAN : Okay. But that's the only time I ever want to hear you say that out loud. Look, first, you won the state championship and every postseasongame that Lucas played in, so they're grasping at straws.NATHAN : You don't think it's serious?DAN : No, it's serious... because if they find proof, your future's injeopardy. But I don't think they're gonna find any proof.NATHAN : So, what do I do?DAN : You stay cool. Deny everything. And pray no one uncovers thetruth.ABBY BROWN'S HOUSELucas is watching from his car. When the mother leaves, he goes inside the house and find AbbyLUCAS : I'm sorry. I'm sorry. I... Ididn't mean to scare you. I didn't mean to scare you. My name's Lucas Scott. We... We go to school together at Tree Hill. Do you know me?(Abby shakes herhead)LUCAS : My uncle was Keith Scott, and I know that you were in the tutor center that day, and I know that Jimmy let you go. So... Listen... I have to knowwhat you saw, Abby. Okay? You got to tell me. Did Jimmy Edwards... kill Keith?(Abby shakes her head)(Then her mother enters the room)ABBY'S MOM : What isthis? What the hell is this?LUCAS : Look, Mrs. Brown, I can exp...ABBY'S MOM : Get out. Get the hell out of my house, or I'll call the police!LUCAS : And tell themwhat, huh? That your daughter knows the truth about my uncle's death?ABBY'S MOM : Your uncle was Keith Scott? I'm very sorry for you, but my daughter hasbeen traumatized since then. She hasn't been to school. Her life has become very difficult, and that is why I lied to you last night.LUCAS : Listen, Abby told methat Jimmy Edwards didn't kill my uncle Keith.ABBY'S MOM : Did she? Honey, is your name Abby?(Abby shakes her head)ABBY'S MOM : Am I your mother?(Abbyshakes her head)ABBY'S MOM : Are you sure?(Abby shakes her head again)ABBY'S MOM : Now, I'm very sorry for your loss. That day changed all of us... andnone of us for the better. But I'd like you to leave. And Lucas, don't come back. Abby has been through enough.INSIDE LUCAS'S BEDROOMHaley is waiting, LucasentersLUCAS : Hey.HALEY : Hey.LUCAS : Jeez, you look worse than I do.HALEY : Yeah. Um, listen, uh, the thing is that, uh... Nathan said this whole gamblingthing's just gonna go away, and I don't real know, uh, how much I believe that, and I just wanted to know what you thought ... if you think that he's right or... ordo you think he's right?LUCAS : No. It's not going away.HALEY : 'Cause he said that they're just focusing on you, and then they're not gonna find anything, andnothing's gonna happen.LUCAS : Yeah, but, see, that's the problem. You know, yeah, I mean, I missed a couple free throws, but I'm a sub. I played half aseason, 15 minutes a night. No gambler's gonna build a point-shaving scheme around a reserve.HALEY : Okay, so, what is gonna happen, then?LUCAS : Well, Ithink that after they're done looking at me, that they're gonna start taking a look at Nathan. I hate to say it, Hales, but when they do... it's gonna end up reallybad.HALEY : Okay. Okay, um... How bad is... is really bad?LUCAS : Well, Nathan's not gonna go to jail. But he's not gonna go to Duke, either.THEAPARTMENTPeyton is sleeping but she is awake by Derek's voiceDEREK (voiceover): It's all your fault!(She turns her head and sees a vision of Derek right besideher)DEREK : Tease.(Brooke enters the room)BROOKE : Peyton? Hey, what's wrong?PEYTON : I went to see him.BROOKE : Who? Oh, no. Derek?PEYTON : Ian. Hisname is Ian.BROOKE : I know.PEYTON : You do?(Brooke take a field from a drawer)BROOKE : Been hiding these from you. There's been a lot of articles about theattack.PEYTON : I thought you were clipping coupons.BROOKE : I know, honey, but I hate coupons.(They ear the front door opening)PEYTON : Did you leave thefront door unlocked?BROOKE : No.(They look scared and Haley enters the room)HALEY : I'm sorry. I'm sorry. I have a key. I... I didn't know if you were sleeping.Sorry.BROOKE : It's okay. You locked the door, right?HALEY : Yes, I did.PEYTON : I used to love my room, and he took it from me. Psycho Derek. It's like I... Ireally thought if we just fought back, like, if we attacked our attacker, that he would go away, but he hasn't.HALEY : It's really gonna take some time, Peyton.You guys went through something really traumatic.PEYTON : Yeah, but what if you have finals and you can't sleep and you don't have time?BROOKE : Well, then,hopefully, you have a friend who's gonna tell you that life kicks you around sometimes. It... It scares you, and it beats you up. But... there's a day when yourealize that you're not just a survivor. You're a warrior. You're tougher than anything it throws your way. And you are, Peyton. You are. And so are you,Hales.HALEY : Thank you. And so are you, Brooke.BROOKE : Thanks.BROOKE (to Peyton) : Come here.OUTSIDE WHITEY'S HOUSELucas knocks at thedoorWHITEY : I was hoping for a booty call.LUCAS : Sorry, coach.WHITEY : What's so important it can't wait till a decent hour?LUCAS : It's the investigation. Itwas me. I missed those free throws in the semifinals on purpose, and I just wanted you to hear it from me before I hold a press conference tomorrow. I'm sorry,coach.WHITEY : You know, I only took a chance on you because Keith asked me to.LUCAS : I know.WHITEY : He would be ashamed of you right now... just like Iam.(Whitey shuts the door)[SCENE_BREAK]RIVERCOURTNathan is playing alone when Whitey arrivesWHITEY : Keeping in shape?NATHAN : Yes, sir.WHITEY :Duke's gonna be pretty rough, especially if you're not in shape.NATHAN : Yes, sir.WHITEY : So, there's, uh... some reporters asking questions about, uh...gambling... point-shaving... that kind of thing. You know anything about that?NATHAN : No, sir.WHITEY : Well, your brother's name's not going to be worth adamn when this whole thing comes down.NATHAN : What do you mean? Lucas didn't do anything wrong.WHITEY : Not what he says.NATHAN : What?INSIDELUCAS' HOUSELucas is watching a picture of Keith when Nathan enters the houseNATHAN : What the hell is wrong with you?LUCAS : You're welcome.NATHAN :Screw that, Luke. We said we weren't gonna say anything. We agreed.LUCAS : So what?NATHAN : So what did you do?LUCAS : I went and saved your stupid assso you could play college basketball and have everything you've ever dreamed about.NATHAN : You know what? That's a bunch of crap. We could have beat thisthing, man.LUCAS : Sounds like you're feeling a little guilty to me.NATHAN : Yeah, of course I'm feeling guilty, but you shouldn't have said anything to Whitey,"}
+{"doc_id":"doc_183","qid":"","text":"(Continuing. Sydney walks out of the meeting, goes down a hallway. Jack comes out and runs after her.)JACK: Sydney! Wait!(She turns around. They stand inthe hallway.)JACK: You can't lose control over this.SYDNEY: You know what, Dad? This is not the best time to start lecturing me.JACK: I know how thisfeels.SYDNEY: Not exactly. You've had a lot longer to make sense of this than I have.JACK: There was a time when this was news to me, too. Your mother wassent to the United States to steal secrets from a ranking officer of the C.I.A. How she and I happened to meet, how she supposedly fell in love, I thought it was alltrue. But it was just a set-up.SYDNEY: Even her wanting to have a family? Was that just part of the plan, too?(Jack doesn't say anything. Sydney leaves.)(In herhouse, Sydney looks through her hat box full of pictures and memories. She sees the newspaper article about her mother and the FBI agent dying in the caraccident. Takes out a framed picture. She finally finds the picture of Sydney as a little girl and her mother.)SYDNEY: (voice over) There's something that happenswhen you discover the truth about someone. I know a little about this.(She wads up the picture in a little ball.)SYDNEY: (voice over) The truth changeseverything.(She throws it in the fire.)(In the self-storage facility, Sydney talks to Vaughn.)SYDNEY: There's this woman, her personality like a collage I've puttlogether from the photographs, the few memories I have, scraps of stories I've heard, the clothes of hers I've got... her books. And none of it's real. She wasn'tthat woman at all. She was... she was a horrible person... who killed your father.(She stands in front of him, crying.)SYDNEY: Vaughn, I just wanted to say... thatI'm so sorry.(He hugs her and cradles her head against his shoulder while she cries.)(Credit Dauphine parking garage. A van with 'McTiernan Air Conditioning'written on the side drives up. The driver stops at the security gate and wires it up to a machine he has that unlocks the gate. The gate doors open and the vangoes inside. They stop once they're inside and cut the wires of a surveillance camera.)(Inside the control room, two agents sit and watch the various cameraangles.)AGENT1: We've lost coverage on the off-site garage.AGENT2: Any signs of forced entry?AGENT1: Negative from gate control. I'll check it out.AGENT2:Hey, while you're at it, grab me a black coffee, will you? Two sugars.(Agent1 leaves.)(In the parking garage, McTiernan gang starts welding off the air vent.Inside the van, the rest of the goons start packing their guns and loading them. Agent1 walks in the garage and sees the van. He talks on his transmitter to hisbuddy from control.)AGENT1: You know about any AC repairs?AGENT2: Negative.(The goons have already started to make their way inside the building using theair conditioning vents. Agent1 pulls his gun out. Near the van, one of the goons comes behind him and hits him over the head. Agent1 falls to the ground.)(Backin the self-storage facility.)SYDNEY: I don't want this job anymore.VAUGHN: Sydney, that's why you're doing what you do. You're helping to bring an end toSD-6.SYDNEY: Not anymore.VAUGHN: Sydney--SYDNEY: I need someone in my life to be real.VAUGHN: This right here. What we do is real.SYDNEY: Look wherewe are. I mean, this isn't real. This isn't what we should be doing. I want out.VAUGHN: Out?(Sydney nods.)VAUGHN: You want to enter the protectionprogram.SYDNEY: No. I'm not going into hiding.VAUGHN: If you don't, Sloane will kill you.SYDNEY: I don't think he will.(She stands up, hesitant.)SYDNEY: Youlike hockey, right? The Kings?VAUGHN: Yeah, how'd you--SYDNEY: The pen you keep in your briefcase. It's a Kings pen.VAUGHN: Yeah, I got that--SYDNEY:They're playing the Islanders next week. We should go.(Vaughn brightens with hope. Then his face falls as he realizes what she's doing.)VAUGHN: Sydney, youcan't do this.(Will's desk at the newspaper. He has his headphones on. Jenny stops at his desk.)JENNY: Okay, here's the appeal filed by McNeils' lawyer last yearand I found out that SD-6 is an ingredient in artificial sweetener, but that's probably not the SD-6 you're talking about.WILL: Is my voice annoying?JENNY: Yourvoice?WILL: Yeah. I was just going over this interview with Eloise Kurtz and I started thinking about McNeil. How he had this look in his eyes when I wasinterviewing him. His lawyer the same thing. Just... trying to get away from me.JENNY: Will, you're a journalist for God's sake. You get paid to be annoying.WILL:So you're saying I'm annoying?JENNY: Not to Danny or Eloise Kurtz.WILL: Oh, so I don't annoy dead people?JENNY: Will, you're their champion.WILL: What am Idoing if I'm hurting the people I'm writing about? Look, if I could bring back Danny Hecht and Eloise Kurtz, I would, but I just... I can't. And if championing themis going to cause David McNeil's daughter to be in danger, I can't live with that. I don't think I can do this anymore. This SD-6 story. I'm out.(The goons burstthrough the vent and make it to a hallway off of another hallway where red security beams are illuminated. The female goon - FGOON - has a heart beat detectorin her hands. It beeps, and an agent comes into view.)FGOON: We're right on time.(He checks the corridor. The security red beams go off. They bust in. One ofthem breaks the agent's neck. They run through the hallway while the beams aren't there. The lead goon - Cole - motions for one of the last goons to hurry up asthe red beams start appearing from the back, coming up. Not enough time left, the last goon slides down the rest of the hallway and makes it. Cole strips off hisjumpsuit while FGOON pours him a cup of coffee from a thermos. Underneath the jumpsuit, Cole is wearing a suit. He takes a swig of coffee and spreads his armsout.)COLE: How do I look?(In the parking garage, Sydney drives up in her SUV. She takes out a card and slides it into the security panel that the goons hadunlocked with their machine earlier. She passes through and the gate doors buzz and then open. She drives through.)(In SD-6, Cole walks through. Nobodyrecognizes because, since he's wearing a suit, he blends right in. Cole walks by Sloane's office. Inside the office, Sloane is on the phone, rubbing histemples.)SLOANE: Yes, will you get me my wife's doctor on the phone please?(He looks at monitor on his desk. It's a security camera monitor. He sees Cole walkby. The monitor scans for facial recognition. Sloane's face freezes because he knows who he is.)VOICE: Dr. Medlesohn is on line one.(Sloane stares as thesecurity monitor scans through the files, trying to identify Cole.)VOICE: Sir?(Sloane isn't paying attention. He stares at the monitor.)VOICE: Sir?(In the garage,Sydney parks her SUV and gets out. She sees the McTiernan van. The driver leers at her.)DRIVER: Hey there, beautiful! Why don't you turn that frown upsidedown?(She doesn't run over there and kick his ass. She keeps walking. Pissed, the driver takes out his gun and puts the silencer and laser on. He points the gunat Sydney while she walks away, into SD-6. The red beam of light is aimed right on her head. She walks, having no idea. Suddenly, tires screech and he puts thegun away. Sydney turns. Jack pulls up and gets out of his car, running after her.)JACK: Sydney! Sydney!(He catches up to her. She keeps walking to theelevator.)JACK: This is suicide!SYDNEY: I don't think it is.JACK: What exactly is your exit strategy? Politely asking Sloane to let you out of SD-6?SYDNEY: Basedon Sloane's behavior toward me -- protecting me at Donatti Park, asking Rusik to get me to talk--JACK: Sloane answers to people. People who don't know you orcare about you. If he lets you go, those people will kill him and you.(She goes inside the elevator. He follows.)(Sloane still has the phone up to his ear as he waitsfor the security panel to indentify Cole. A picture flashes up on the screen: McKenas Cole.)SLOANE: Cole.(He presses a button on his desk with his finger. Themonitor flashes \"FAILSAFE ACTIVATED\".)(In the elevator.)JACK: Those people Sloane works for - the alliance - if they believe you've abandoned them, they willkill anyone they think you have talked to. Your roommate Francie. That reporter friend. Anyone.(Control room. Agent2 is still by the monitors, waiting for hiscoffee. Cole enters behind him, holding a gun.)AGENT2: Let me guess. You forgot the two sugars.(He turns around. Cole shoots him twice. In his office, Sloanescrambles for the phone and calls the control room. Cole answers the phone.)SLOANE: We have a physical breach! Start lockdown procedures now!COLE: Surething, Arvin. Whatever you say.(Cole hangs up.)(Elevator.)SYDNEY: I felt this way before I found out about my mother. This life has to stop.(Instead, the elevatorstops and the lights go out.)(Inside SD-6, Dixon looks up as gas starts hissing down from the ceiling vents. Agents start to pass out around him. In his office,Marshall sees the gas coming down and covers his mouth with his sweater vest. Making two or three steps, he falls to the ground beside his inflatable chair. Outin the main part of SD-6, more agents fall to the ground. Dixon falls. In Sloane's office, a vent of gas is pouring down right on top of Sloane. He's slumped overhis desk, his head down.)(In the elevator, the lights come back on. Jack tries the phone.)JACK: Dead. But a blackout wouldn't shut down security.(At thenewspaper, specifically in the bathroom, Will flushes a urinal, takes off his glasses, and washes his hands at the sink. His cell phone rings.)WILL:Tippin.DISTORTED VOICE: Go to your desk.WILL: I'm off the story.DISTORTED VOICE: Leave the bathroom and then go to your desk.(Will looks around all, \"Howthe hell did they know I was in the bathroom?\" He comes out near his desk and looks around for anyone suspicious lurking about. A yellow manila envelope sitson his desk chair. The telephone rings at his desk, but Jenny rushes in and answers it.)JENNY: Will Tippin's office. Um, yeah, he's right here.(She passes thephone to him.)JENNY: Some guy. Totally nasal. Clips on the housing story, Litvack wants two thousand words by noon tomorrow.(She walks out.)WILL:Hello?DISTORTED VOICE: There is something inside the envelope that will make McNeil talk.WILL: I don't want to make him talk.DISTORTED VOICE: You saidyou didn't scare easily.WILL: Well, if you're so brave, why don't you lose the voice box and tell me your name?(Silence.)WILL: Don't call me again.(He hangs up,and throws out the envelope in his nearby garbage can.)(Cole and his goons, wearing gas masks, walk in SD-6 with various guns. The gas stops. Cole takes offhis mask and looks around.)COLE: Five minutes ahead. Get 'em wrapped up, baby!(FGOON starts tying up everyone's hands while they're unconscious. Cole looksto another guy with a gun.)COLE: Chopper, secure the elevator. You got the scanning room door code?CHOPPER: Got it!(Cole approaches FGOON who is at acomputer typing.)COLE: You jammin'?FGOON: I'm jammin'.(He kisses her head.)(Vaughn's office. He's twirling a silver dollar in between his fingers over and overagain. Weiss enters.)WEISS: Want to get a pizza? That new place?VAUGHN: Ah, no thanks.(Weiss comes in and looks at Vaughn, silently telling him to just tellhim what's up.)VAUGHN: Sydney wants to quit SD-6... which she knows she just can't do.(Weiss nods.)VAUGHN: It's a weird thing. You know, when you're"}
+{"doc_id":"doc_184","qid":"","text":"-[Real World]-(Mary Margaret, who has escaped from her cell, has fled to the woods. Meanwhile, Henry sits on a bench reading his book at the station. Emma andMr. Gold see him.)Emma: Henry. What are you doing here?Henry: I came to congratulate you.Emma: For what?Henry: Your genius plan.Mr. Gold: And whatplan's that, Henry?(Henry doesn't respond.)Mr. Gold: Right.(Mr. Gold leaves Emma and Henry alone in the hall.)Henry: Sorry. I thought Mr. Gold was in on it,now that he's Miss Blanchard's lawyer.Emma: In on what?Henry: The escape plan.Emma: The what?(Mr. Gold calls out from the other room.)Mr. Gold: Sheriff,could you join me, please?(They join Mr. Gold and see Mary Margaret's empty cell.)Mr. Gold: She's gone.Emma: Henry, what did you do?Henry: Nothing. She wasgone when I got here.Mr. Gold: Her arraignment's tomorrow. If she's not there...Emma: She's a fugitive. Doesn't matter if she's convicted for Kathryn or not -she's screwed. I have to go find her before someone notices she's missing.Mr. Gold: Oh, you mean Regina?Emma: The arraignment's at eight A.M. I'm sure she'llbe here bright and early to celebrate her victory.Mr. Gold: Well, you have until eight A.M., then.Henry: Uh, what about me? How can I help?Emma: Gohome.Henry: Emma, if she leaves Storybrooke...Emma: Not now, Henry. Come on.Mr. Gold: Miss Swan, I know time is of the essence, but if Miss Blancharddoesn't return... Her future's in jeopardy. And if you're caught helping her, so is yours.Emma: I don't care. I'd rather lose my job than myfriend.[SCENE_BREAK](Emma gets in her car and drives down a deserted road near the woods. In the fog in the distance, a figure can be seen. Emma doesn'tnotice in time, and narrowly avoids hitting a man. He jumps out of the way and falls down an incline. She gets out of her car to assist him.)Emma: I'm so sorry!Are you okay? I didn't see you there.Jefferson: Uh, I think so.Emma: Are you sure?Jefferson: I'm fine. I'm not used to sharing the road with cars so late. You'rethe Sheriff, aren't you?Emma: Yeah.Jefferson: What brings you out here in the middle of the night?Emma: Oh, nothing to worry about. I'm just looking for a lostdog.Jefferson: Well, I hope you find it.Emma: Thank you.(Jefferson tries to walk, but has an obvious limp.)Emma: Oh, you are hurt.Jefferson: No, I just twistedmy ankle, I think. I live just a mile down the road. I'll make it okay.Emma: No, let me drive you. I insist.Jefferson: Thank you. I'm Jefferson.Emma: Emma.(Thetwo of them get into Emma's car.)-[Fairy Tale World]-(Jefferson runs through the woods, seemingly trying to escape from something. He stops to rest by a tree,but is caught by his daughter, Grace.)Grace: Papa, I found you.Jefferson: You certainly did. You must be part bloodhound, my dear Grace.Grace: Now it's my turnto hide, and you seek.Jefferson: I'm afraid playtime's over. Though, you can still use that nose of yours to hunt mushrooms. Enough to sell at market tomorrow.Do you think you can do that? Ready or not, here we come.(They head back to their house, where the Evil Queen's carriage is parked outside.)Jefferson:Wait.Grace: Whose carriage is that?Jefferson: The Queen's.Grace: In our house? Do you know her?Jefferson: Of course not. Now, listen carefully. Hey. I want youto stay hidden in the woods. Like our game. I'm going to find out what she's doing here.(Jefferson enters the house, while Grace runs off into the forest. Inside,the Evil Queen is waiting.)Evil Queen: I'd like to say you're looking well, Jefferson, but I'd be lying. Poverty doesn't suit you.Jefferson: What are you doing here,Regina?Evil Queen: I have a job for you.Jefferson: I don't do that anymore.Evil Queen: Yes, I heard you hung up your hat. Why? Is it because of your sweetdaughter Grace?Jefferson: Because of my work, she lost her mother. I don't want her to lose her father, too.Evil Queen: So, now you're foraging for fungus. Whatkind of future does your daughter have here with you? Do this one last favour for me, and you can give her the life she deserves.Jefferson: That's why I'mstaying. You don't abandon family. That's... What she deserves. Now, please leave.Evil Queen: All I need is your special skills to get me somewhere. Somewhereyou've been before. Do it, and I can change your life.(She hands him a piece of paper.)Jefferson: What business could you possibly have there?Evil Queen:Something of mine was taken and found its way over there. I want it back.Jefferson: Then, find someone else to get it.Evil Queen: I see. Hard living hasstrengthened your resolve. Well, I'm sorry I couldn't convince you, but I understand. There's nothing more important than family.-[Real World]-(Emma andJefferson pull up to a large house on a hill. The two of them get out.)Emma: Wow. This is your house? It looks more like a hotel. You must have a hugefamily.Jefferson: Nope. It's just me.(Emma sees Jefferson struggling to get up the stairs, and goes to help him inside.)Emma: Here. Wait.(Inside, Emma iswaiting in the living room when Jefferson enters with a tea tray.)Jefferson: Here we go. I thought you might want to warm up for your search. It's cold outthere.Emma: That is kind of you, but I think I should get back to it.Jefferson: I know. That's why I brought this. I'm a bit of an amateur cartographer - mappingthe area is a hobby. Maybe, this will help you track down your dog.(He lays out the map on a table.)Emma: Wow.Jefferson: What's his name?Emma:Spot.Jefferson: Cute.(Emma looks over the map while she sips her tea. She begins to act drowsy.)Emma: Well, Route Six runs the boundary of the forest, so...So, if I just follow that, I should... Be able to...Jefferson: Is something wrong?Emma: I'm just, uh... Feeling a little...(Jefferson catches Emma and drags her overto the couch.)Jefferson: Oh. Let me help you.Emma: Dizzy.Jefferson: Let's just lie you down here. There you go. Let me get you some air.Emma: Yourlimp...Jefferson: Oh. That. I guess you caught me.Emma: Who are you?-[Fairy Tale World]-(Jefferson and Grace are at an outdoor market. They come to an oldwoman, who is selling toys.)Grace: The toy cart!Woman: Come.(Grace picks up a stuffed rabbit.)Grace: Wouldn't this make the perfect guest for our tea parties,Papa? Can I have him? Please?Jefferson: Excuse me. How much for the rabbit?Woman: That costs one silver.Jefferson: Would you take it for eight coppers? It'sall I have.Woman: Oh, you are good father. Your last coppers for your little girl's happiness, ah?Jefferson: Thank you.Woman: Oh, I did not say I accept. Alas, Icannot take less than one silver. The economy. You understand.Grace: It's okay, Papa. Come on - people are waiting.Jefferson: I will not take no for ananswer.Grace: Papa, please. I don't need it.Jefferson: Come on, sweetie.(The old woman walks away from the crowd to a mirror.)Mirror: Well, that was awfullycruel. You could at least let the girl have her toy.Evil Queen: Where's the fun in that?(The old woman's face briefly morphs into the Evil Queen's.)-[RealWorld]-(Emma wakes up bound and gagged on the couch. She looks around and sees that Jefferson is gone. She sits up and notices her fallen teacup on thefloor. Emma throws a pillow over the cup to muffle sound, and then breaks it with her feet. She manoeuvers herself onto the floor, grabs a shard of the brokencup, and cuts through her binds. She tries to open one of the windows, but discovers that they're all locked. By the windows, there is a telescope pointed at theSheriff's station. Emma hears a noise coming from the room across the hall. She peeks in and sees Jefferson sharpening a pair of scissors.)-[Fairy Tale World]-(Attheir home, Jefferson finishes making a stuffed rabbit. He places it on a chair next to Grace, who is having a tea party.)Jefferson: I know it's not the same as whatyou wanted.Grace: I love it, Papa. Thank you.(Grace pretends to pour tea.)Grace: Mm. This is really good. Don't you think so, Mr. Tortoise? Papa, do you likeyour tea?Jefferson: Grace... I want you to go to the neighbours' for the rest of the day. There's work I have to do.Grace: Can't I come with you? I like being withyou in the forest.Jefferson: I'm not going to the forest, sweetie.Grace: This has to do with the Queen's visit, doesn't it? Whatever she wants you to do, don't doit.Jefferson: Grace, I have to. I want you to have what you need.Grace: All I need is you, Papa. Please, stay.Jefferson: Come here. I know. I'm sorry, baby. Ihave to go.Grace: Just promise me you'll come back. You have to promise.Jefferson: Of course.Grace: For our tea party. Promise?Jefferson: I promise. I won'tmiss it for the world. Go.(Grace leaves. Jefferson opens a locked chest, and pulls out a hat box.)-[Real World]-(Emma slows edges out into the hallway. Sheslowly creeps down the hall, but steps on a creaky floorboard. Panicking, she quickly enters the closest room. Inside, Mary Margaret is gagged and tied to a chair.Emma starts to untie her.)Emma: What is going on?MMB: Emma, thank God.Emma: What are you doing here?MMB: I was in the woods, trying to get away.Then, this man appeared out of nowhere and grabbed me. Why are you here?Emma: I've been trying to find you. You escaped, remember? How did you getout?MMB: There was a key... In my cell, under my pillow. Someone put it there.Emma: Who?MMB: I don't know. I'd like to know just as much as you.(Once MaryMargaret is free, they both head for the door. Emma checks the hall and sees that it's clear. The two of them start down the hallway, but are stopped byJefferson. He's armed with a gun.)Jefferson: I see you found Spot.Emma: I've already called for backup. They'll be here any second.Jefferson: You haven't calledanybody. For the same reason you didn't tell me about her. You don't want anybody to know you're here, which means, nobody does. So, now tie her backup.(Emma ties Mary Margaret to the chair, again.MMB: Emma...Emma: It's going to be okay.(She gags her.)Emma: Your telescope - you've been watching me.Why?Jefferson: I need you to do something.-[Fairy Tale World]-(Jefferson meets with the Evil Queen at her castle. He enters with the hat box and is escorted byseveral guards.)Evil Queen: Jefferson. So good to see you looking more like yourself. I assume you're here because you've reconsidered my offer?Jefferson: Iwant your guarantee. That, if I do what you ask, my daughter will want for nothing.Evil Queen: You have my word. Now, let's open that box of yours and seewhat it can do.(He pulls a top hat out of the box.)Evil Queen: I do so like a man who dresses for the occasion.(Jefferson places the hat on the floor and spins it. Itbegins to spin on its own.)Jefferson: Step back.(The hat forms a purple vortex.)Jefferson: After you!Evil Queen: Together!(They link arms.)Jefferson: Holdon!(They both jump into the vortex and are transported elsewhere.)-[Real World]-(Jefferson brings Emma to a room with several top hats lining thewalls.)Emma: I don't know what you think you're doing, but if you hurt my friend, I swear I'll make you regret it.Jefferson: Hurt her? I'm saving her life.Emma:How do you figure that?Jefferson: Don't play stupid. We both know what happens when people try to leave Storybrooke.Emma: What are you talkingabout?Jefferson: The curse.Emma: What curse?Jefferson: The one keeping us all trapped. All except you.Emma: Have you been reading Henry's book?Jefferson:"}
+{"doc_id":"doc_185","qid":"","text":"SCENE: Neverland. Present. Felix escorts the prisoner (Neal) through the jungle.[SCENE_BREAK]Felix: Feels like just yesterday I welcomed you to Neverland thefirst time, Baelfire. Gotta say, hoped I'd never see you again.Neal: Then maybe Pan shouldn't have taken my son.Felix: Maybe you should've left well enoughalone.Neal: I'm gonna get him back.Felix: You really believe that? You were a lost boy. You know Peter Pan's not be to trifled with. You know how long he's beensearching for the heart of the truest believer. Do you really believe he'll just... give him up?Neal: Maybe, if I ask nicely.(Chuckles)Felix: You may have grown up,Baelfire, but it would appear you have grown up stupid.Neal: I have grown up. I don't know if I'm stupid or not, but I do know I know how to tie an overhandknot.Felix: Uhh!(Panting)Neal: I'm not a boy anymore, Felix. I sure as hell ain't lost.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse.Rumplestiltskin's hovel.[SCENE_BREAK]Rumplestiltskin: Bae. A present. Something to sharpen your coal with.Bae: Where did you get it?Rumplestiltskin: Oh,from a man who no longer needed it.Bae: You mean taken from a man who couldn't pay you.Rumplestiltskin: Bae...Bae: Papa, I told you, I don't want any moregifts from the people you terrorize.(Thud)Rumplestiltskin: Then what do you want? Tell me, son. What would make you happy?Bae: Leaving this place. I'm tiredof staying in this hovel all the time.Rumplestiltskin: Well, that's easy to fix. How about a castle, huh? I could build you a palace so magnificent its shadow wouldblanket the countryside.Bae: That's not what I mean. I wanna go out, have friends, see the world beyond these four walls. Papa, why can't you just trust me todo that?Rumplestiltskin: I do trust you, Bae. It's... It's others that I can't. You see, I have many enemies beyond that door. And once you leave, any one of themcould hurt you.Bae: You sure that's the only reason? Maybe what you're really worried about is if I leave, I might never come back.Rumplestiltskin: No, no. I...I... I'm worried about your safety. This is the best place for you. I don't know what I'd do if I ever lost you.[SCENE_BREAK]SCENE: Neverland. Present.Rumplestiltskin puts on war paint.[SCENE_BREAK](Scraping)(Fire crackling)Belle: You always felt more comfortable behind a mask.Mr. Gold: You were the onlyone who could ever see past it, past the mask of the monster.Belle: Then why put it back on now?Mr. Gold: I need the monster, Belle. It's the only way I can savehim. And that's what I've decided. I'm gonna save Henry.Belle: The prophecy states that Henry will be your undoing. To save him, you ensure your own death.Mr.Gold: You don't think I can do it?Belle: I think your intentions are good. But a lifetime of craven self-interest is a nasty habit that you've never been able tobreak.Mr. Gold: Things are different now.Belle: How? What... what's different?Mr. Gold: Because I have nothing to live for.Belle: What about me?Mr. Gold: You'renot real. Just a vision.Belle: But I'm... I'm back in Storybrooke, waiting for you.Mr. Gold: You shouldn't be. When I said good-bye to you, Belle, we both know itwas for good.Belle: Well, maybe I think you'll come back.Mr. Gold: Even if I did, eventually you'd leave me because you can see me for what I really am. Youthink you see a good man, but in time, you'd see the monster. My son is dead. The only way I can redeem myself is by saving his son and giving mylife.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Emma: This is where they're keeping Henry. Pan's compound. According to, uh...Tinkerbelle:Tinker Bell.Emma: Yes, I know. Still weird to say.Tinkerbelle: \"Tink\" is fine.Emma: Not sure that's any better. Anyway, she says that there are sentries positionedacross the front, which is why we are gonna come in through the back entrance here. She's gonna talk her way in. Once she makes sure the coast is clear, thenwe are going to sneak on in.Tinkerbelle: You'll still have to deal with any lost boys once you're inside.Regina: I think we can handle a few children with pointysticks.Tinkerbelle: It's not the sticks you need to worry about. It's the poison they're dipped in.Mary Margret: Dreamshade. Hook warned us.Tinkerbelle: Good.Because one nick, and you'll spend the last of...David: Poison sticks equal death. We got it. Now when can we put this rescue mission into action?Tinkerbelle: I'mready to go, just as you tell me the exit plan. You do have an escape plan, don't you?Emma: It's... it's more of a last-minute trip.Tinkerbelle: If you don't have away off this island, then none of this matters.Regina: We'll figure it out.Tinkerbelle: You'll figure it out? No one comes and goes from this place unless he allows it.This is a waste of time.David: Hey, when it comes to family, we always find a way.Tinkerbelle: You don't get it. Here. Let me show you something. You know whatthis is?Emma: Yeah, a watch.Tinkerbelle: I got it from the people who brought your son here for Pan.Emma: Greg and Tamara? Where are they? Why'd they giveyou that?Tinkerbelle: I got it off the girl's body. Spent half the night cleaning the blood off it. And the other guy... Well, there wasn't enough left of him to findanything useful. This is what Pan does to people he employs. What do you think he's gonna do to you? I'm not sticking my neck on Pan's chopping block without away off this island. When you figure that out, you know where I live.Mary Margret: Where the hell is she going?David: I'll get her, bring her back.Emma: Don't.She's right. If there's one thing I've learned, you never break in somewhere unless you know the way out.Regina: And where'd you get that, in bail bondspersonschool?Emma: Neal taught me that.David: What about you, Hook? You got off this island before.Hook: Yes, aboard my ship, which would require some form ofmagic to create a portal, which... I got from Pan in a deal I don't think he's ready to repeat.Regina: So no one's ever left the island without Pan'spermission.Hook: One man. Her partner in crime Neal.Emma: How?Hook: Maybe we can find out.[SCENE_BREAK]SCENE: Neverland.Present.[SCENE_BREAK](Lost boys speaking indistinctly in distance)(Foliage rustles)Lost Boy: Stop by order of Pan!(Whoosh)(Grunts and groans)Mr. Gold: Idon't take orders.(Rustling)(Grunts)(Whispers)Mr. Gold: Bae?[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Mr. Gold: You're not real. You'redead.Neal: What? Of course I'm real. What the hell's going on?!Mr. Gold: You're a vision, just like Belle.Neal: No. No, hey. Listen to me. It's me. I was shot.Okay? But I survived. See? I'm alive.Mr. Gold: My son is dead! You're just here to remind me of my failure!Neal: That's not why I'm here.Mr. Gold: Myweakness.Neal: Put the spear down.Mr. Gold: You're here to question my resolve. But you won't succeed. I will sacrifice my life for Henry. And nothing will standin my way!Neal: (Whispers) Please, papa.(Gasps)(Whispering)Mr. Gold: Bae? Is that really you?(Whispers)Neal: Yeah.(Spear thuds)Mr. Gold: I thought I'd lostyou forever.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse. Rumplestiltskin's hovel.[SCENE_BREAK]Rumplestiltskin: I was thinking... Onlya king should live in a castle. So why don't you try this on for size? Bae?[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse. The village ofHamelin.[SCENE_BREAK]Man: All right, now listen. We'll start organizing search parties right away.Rumplestiltskin: You think you can hide him from me?(Womangasps)Rumplestiltskin: Where is he? Where's my son?!(Murmuring)Man: He's not here, Dark One. I swear!Rumplestiltskin: Don't lie to me! Magic has led me tothis rathole of a town! His trail ends here, in Hamelin. I know you're hiding him from me.Man: No. No, we're not. Many of our children went missing last night,lured from their beds by some unholy music.Rumplestiltskin: What kind of music?Man: From the Piper. Only the children could hear it. Some of them tried tellingtheir parents, but no one believed them. They were sent back to bed. And this morning, they were gone.Rumplestiltskin: And who was playing it?Man: No onesaw his face. O... only a figure hidden by a pied cloak of multicolor patches, leading the children from their homes and into the forest. Don't you see? It... It hasto be the same man that has taken your son.Rumplestiltskin: Then whoever this Pied Piper is, he's about to play his late note.[SCENE_BREAK]SCENE: Neverland.Present.[SCENE_BREAK]Mr. Gold: How is it possible?Neal: It's kind of a long story. Let's just say that the debt Robin Hood owes you has been paid.Mr. Gold: Youwere back in our land?Neal: Yeah, but I made it here. The only thing that matters now is that I help Emma save Henry. Where is she?Mr. Gold: I left her and therest of them aboard Hook's ship. As noble as their intentions may be, they don't have the stomach to do what needs to be done.Neal: Like what you did to theseboys? They're not, uh...Mr. Gold: No, they're just sleeping. For now.Neal: Let's leave it that way, okay?Mr. Gold: You don't have the stomach either.Neal: I'll dowhat needs to be done. But killing lost boys? We don't have to do that.Mr. Gold: We shall see.Neal: So I take it you have a plan? The whole \"sacrifice your life\"thing was just you being dramatic.Mr. Gold: Well, it's the only way. Pan's too powerful. You can only beat him if you're willing to die, which I am.Neal: What if Itold you there was another way?[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Mr. Gold: So what exactly is your plan?Neal: You know how if youhold a shell up to your ear you can hear the ocean? Certain shells, the ocean can hear you.(Plays conch)Mr. Gold: Why would we need the ocean to hear us?(Notecontinues)Mr. Gold: What have you done?Neal: Give me the spear.(Squid growling)(Grunts)(Squish)(Roars)(Both grunting)Mr. Gold: A squid?Neal: That's right. Ibelieve you know how to extract ink from one of these bad boys.Mr. Gold: Squid ink. So this is your plan?Neal: It can immobilize the most magical of creatures.At least for a little while...(Water lapping)Neal: Even Pan.Mr. Gold: I have some experience with it.Neal: Can you get it out?Mr. Gold: Indeed. But how do youplan on getting close enough to use it?(Sighs)Neal: I don't need to get close. All I need is one clean shot to get Henry back.Mr. Gold: Well, leave that tome.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Regina: What is this supposed to be?Emma: So... what, Neal swung out of Neverland on avine?Hook: Well, if someone would be kind enough to lend me a hand... What do you say, savior?David: I'll do it.(Lowered voice)Hook: You don't look so hot,mate.(Lowered voice)David: It's a hundred degrees in this damn jungle. And I'm plenty hot.(Stone scraping)Hook: Ladies first.David: How much longer do youthink you can keep up this charade? Don't you think your family deserves to know you're gonna die?David: What do you care?Hook: Why don't you?David: Whatis the good in telling them when there is nothing I can do to stop the poison, when there is no hope?Hook: Well, if there's one thing I've gleaned from you herotypes, it's that there's always hope.David: Is there something you're not telling me, mate?Hook: Alas, hope and reality are most often worlds apart. I told you thetruth. You'll never make it off this island alive.David: Well... Then this is between us. The only thing they need to worry about saving is Henry.Emma: Hook! What"}
+{"doc_id":"doc_186","qid":"","text":"Act One.Scene One - Apartment Martin is sat in his Armchair reading the paper, Daphne is sat at the table writing a letter. Daphne notices something.Daphne: Ohdear, your chair's got another big rip in the bottom.Martin: [looks] Where? [spots it] Oh! Hand me my re-upholstery kit, would you? [She slings him a large roll ofduct tape] Thanks.He kneels down to patch the rip. Frasier comes out of the hall dressed in his best suit.Daphne: Oh, Dr. Crane, don't you look smart.Frasier:Well, I don't feel smart. I let Roz set me up another one of her blind dates.Daphne: Who's the lucky woman?Frasier: Oh, a friend from her aerobics class. Oh,perhaps it won't be so bad. She's thirty-two, has a terrific body, and apparently thinks I'm God's gift to broadcasting.Martin: Well, at least you have one thing incommon.Frasier grimly watches his father repairing his chair.Frasier: Dad, when are you going to stop blighting the environment with this atrocity? [doorbell] MyGod, can't you see that it wants to die? Let it go!Martin: [sits back down] You know, I keep having this dream where you say the same words. Only I'm in thehospital and you're slipping the nurse a twenty.Frasier: Dad, that will never happen.Martin: Thank you.Frasier: I have medical power of attorney, it won't cost mea thing.He answers the door to Niles and Girl, his Maris-like dog.Niles: Hello, Frasier. We were in the neighborhood for a pedicure and a seaweed wrap and wethought we'd stop by. Of course, the pedicure was for...Martin: Stop right there! There's no way to finish that sentence that'll make me proud.Niles: I have somewonderful news. I just signed a lease for an apartment in one of the most exclusive buildings in Seattle.Frasier: You don't mean?Niles: I do. As of next week, I'llbe a resident of... [holds out his lease] the Montana.Frasier: Niles, why would you want to live in such a stodgy building? When I applied there they treated me asif I was riff-raff.Niles: Well, if you're going to answer your own questions, what do you need me for? The best part is, I'll never have to give my address again.From now on, I'll simply be, \"Dr. Niles Crane, The Montana.\"Daphne: That's a lovely building. I've only been there once, applying for a job.Niles: I can't imagineanyone turning down a chance to hire you.Daphne: I hope you're right, I haven't heard yet. Well, goodnight!She leaves to her bedroom. The three Crane menlook unsettled.Martin: Hey, Frasier, you don't...Frasier: Oh, just relax, dad. It's just her way of angling for more vacation time.Martin: What if she isn't?Frasier:Well, they'd still have to call me for a reference. Either way, she's not going anywhere.Niles looks suddenly at Girl, who is not moving.Niles: Gosh, that's uncanny,dad.Martin: What is?Niles: The way she's taken with you. She's absolutely mesmerized.Martin: She is not.Niles: Oh, she is. She's just playing hard to get.[pushes Girl toward Martin] Go to Grampa. Isn't she warm and cuddly? [Martin reluctantly takes her on his lap] Oh, I see I'm going to have a tough time tearingyou two apart!Frasier: You know, I'm going to go out on a limb here. The Montana doesn't accept pets, does it?Niles: On the contrary, they welcome them. Justnot cats or dogs.Martin: Well, then you're in luck, because I don't know what the hell this thing is!Frasier: There is no way that dog is moving in here withus!Niles: Oh please, at least if she's here I'll be able to come and visit her. I cannot turn her over to strangers. [whispering confidentially] She worshipsme.Frasier: Oh pul-eeze, you must realise that dog has no genuine affection for you. [Niles looks confused] You only pretend that she does because she's acanine substitute for Maris!Niles: That is the most absurd psychobabble I have ever heard.Frasier: She is highly strung, cold to the touch and ignores you. MyGod, stand her upright, take ten pounds off her, put her in a Chanel suit, whatcha got?Niles: I'm sorry, that's ridiculous.Frasier: Oh, is it really? Do you rememberthat little pilbox hat that Maris wore to the the Duchamps' wedding?Niles: Absolutely.Frasier takes a small dip bowl and puts it at a cocked angle on Girl's head.As Martin nods in agreement, Niles staggers backward against the couch.[SCENE_BREAK]JUST CALL ME STINKYScene Two - KACL. The next day, Frasier entershis booth. Roz is waiting with a clipboard.Roz: Hi, Frasier. So how did it go with Rita last night?Frasier: She didn't quite take to me.Roz: Oh, you're just beinghard on yourself like you always are.Frasier: You tell me. Over appetizers, she suddenly remembered that she had a very early morning meeting, so shesuggested we skip the jazz club after dinner.Roz: People have meetings.Frasier: Mmm-hmm. When the waiter suggested a soufflé for desert that would take anextra thirty minutes she said, \"Oh Dear God, no!\"Roz: She was probably on a diet.Frasier: After I dropped her off at home, I noticed she had left her suede jackedin my car. I called to offer to swing it by and she said, and I quote, \"Just keep it.\"Roz: What did you do to her?Frasier: Nothing! God Roz, I have had it. In thepast six months I have done everything a man can possibly do to meet a woman. Singles bars, blind dates, lecture series at the museum. I've even spent hours inthe grocery store trying to look helpless in the produce department! That's it. I'm taking myself off the market. Frasier Crane has thumped his last melon.Roz:You know, Frasier...Frasier: Roz, Roz, please. I know what you're going to say. I should climb back on that horse, I'm too great a catch to give up now.Roz: No, Ithink you should give up.Frasier: [startled:] What? I don't really want to give up. I don't really want to give up, I was just saying that to get your sympathy.Roz:It happens sometimes. When you get into a really bad streak, you start to get desperate. Women can smell it.Frasier: Smell it?Roz: Mmm-hmm. As soon as theman begins to get overeager - you know, like complimenting you too much, or laughing too hard at all your jokes - you just want to turn and run!Frasier: I don'tdo that!Roz: Oh honey, wake up and smell... well yourself! You just have to air it out a little bit. And in my experience, the minute you stop looking, the perfectperson falls right in your lap.Frasier: Well Roz, as much as I appreciate you comparing me to a dead squirrel in a heating duct, I think you're wrong.Christine, anemployee, enters with some files.Christine: Hey, Roz.Roz: Hey.Christine: I got those pictures you were looking for. Hey, Dr. Crane.Frasier: Hey, you look reallylovely today, Christine. It is Christine, isn't it?Christine: That's what it says on my driver's license.Frasier: [laughs hard] Very charming. [Roz and Christine leave]Oh God, I reek, don't I?[SCENE_BREAK]Scene Three - The Montana Niles is completing the tour of his new, stylish apartment with Daphne and Martin. The decorand furniture are as expensive and classy as Frasier's, but the style is a little older. They end up on the small balcony overlooking the main room.Niles: ...inlay ofPhilippine mahogany. And we conclude our little tour back here in the living room.Daphne: It's very posh. [doorbell]Martin: Niles, why a bed in the livingroom?Niles: That's not a bed, dad. It's an antique fainting couch.Daphne: My goodness, they had furniture for everything back then, didn't they!Niles answers thedoor to Frasier.Niles: Ah, I'm glad you made it.Frasier: You know, Niles, this precious little building of yours isn't as exclusive as you think. Your doorman wavedme right through.Niles: Oh, that's because he knows you.Frasier: Oh, fan of my show?Niles: No, he lives in your building.Martin: So Niles, what did you do aboutthe dog?Niles: Oh, I found a wonderful family to adopt her.Daphne: Well, I'm sure it won't take you long to adjust to being alone again.Niles: Well, actually Iwon't have to. Follow me, there's someone I'd like you to meet. It was love at first sight! She's very exotic, only eats every other day, and she's so white she'salmost blue! [exits to the kitchen]Martin: Wow, I'm getting nervous. That's what he said just before he introduced us to Maris!The gang enter Niles's kitchen,where a cockatoo is perched on his shoulder.Niles: Everybody, meet Baby.Baby: I love you.Frasier: You bought a bird?Niles: Well, I started to think how quiet itwould be around here, and she is lovely and she is so affectionate.Baby: I love you.Niles: Ah! She says that all the time. I love you too, baby.Baby: I love you,grandma.Niles: She's still in transition from her last owner.The door buzzer sounds, causing Baby to squawk and dig her claws into Niles's shoulder.Niles: Ow, ow!Let go of my shoulder! You don't like that noise, do you, baby? Go to your food. [she does] Oh, good girl. Excuse me.He leaves the kitchen to answer thedoor.Daphne: Oh you know, I've always been fascinated by these birds that can actually learn how to talk.Martin: [walks to Baby] Aw, they can't talk. They just adrill a few words into them at the pet shop and they never learn anything else after that.Frasier: It is attractive, though.Martin: Yeah well, that's the way theyare: Cute but stupid.Baby: Cute but stupid!Martin straightens up, surprised. Baby mimics him. Martin nods his head, Baby does the same. He starts bobbing upand down...Frasier: You know Daphne, I think we should leave these two alone. I sense a real battle of wits shaping up.Martin carries on. Frasier enters the livingroom as Niles shuts the door with mail in hand.Niles: Well, I'm off to an auspicious start in the building. One of my neighbours got my mail by mistake. Look atthose bills, what must she think of me?Frasier: But Niles, everyone gets bills.Niles: Not at the Montana. They all have people. Their bills go to their people. I wantthem to think I have people too. I used to have people... only they were Maris's people.Frasier: Niles, if you keep this up you won't even have the people whodon't care you don't have people.Niles: Well, it just shows how essential it is to make a good impression when moving into a new building, which is why I'mthrowing a dinner party Friday night for a few select residents. I'll show them such a good time there'll be no question that I belong here.Frasier: Am Iinvited?Niles: Yes you are, but I'm afraid you can't bring a date. You know how I hate a crowded table.Frasier: It's alright. I've taken myself off the dating circuit.I'm afraid I was getting a bit desperate.Niles: Well, I was a bit concerned when you called to ask if Gloria was our first or second cousin.Martin sticks his head outof the kitchen.Martin: Niles, you gotta see this, your bird's eating peanut butter! It's even funnier than when Eddie does it!Niles: Dad!As Niles gets up, the doorbuzzes again.Niles: Frasier, would you get that? And pretend you're my people.Niles rushes into the kitchen to stop Martin whilst Frasier answers the door to awoman; Stephanie Garret.Stephanie: Oh, I'm sorry, I was looking for Dr. Crane. I found some more of his mail.Frasier: Well, I'm a Dr. Crane. I'm Niles'sbrother.Stephanie: Oh my gosh, you're Frasier Crane from the radio, aren't you? Oh, I love your show.Frasier: Thank you.Stephanie: Oh, StephanieGarret.Frasier: [shakes hands] Stephanie.Stephanie: You know, em, you are not going to believe this but when I was a freshman at Harvard, I saw you performthe pirate king in a production of \"Pirates Of Penzance.\"Frasier: Oh my God.Stephanie: No, no, you were great. You were so good, I brought my husband back tosee you the next night. Well, he wasn't my husband then. Well, actually he's not my husband now.Frasier: Glad to hear that. No, glad to hear you came for a"}
+{"doc_id":"doc_187","qid":"","text":"\"The Pain in the Heart\"[SCENE_BREAK](Open: Flash back to final scene of previous episode \"The Wannabe in the Weeds\". Booth has just been shot by PamNunan and Brennan is leaning over him telling him he's going to be fine - as if she's reliving the moment.)BRENNAN: Booth, you're gonna be fine. Really. Comeon. Come on, Booth. It's gonna be fine. Come on, Booth. Come on, Booth. No! Oh, come on...(Fade into: Medico Legal Lab - Forensic Platform. Brennan and Zackare going over remains from Limbo)BRENNAN: The carbon isotopic composition of the collagen, shows a value of minus 16%.ZACK: Supporting the theory thatthe deceased was born in Provence, France.(Hodgins, Angela, Cam and Sweets join them on the platform, all dressed in dark colors)BRENNAN: In the 16thcentury...HODGINS: It's time, Dr. Brennan.BRENNAN: (ignoring Hodgins) The metacarpal phalangeal joints are smooth, showing dexterity. Perhaps amusician..CAM: That's enough. We're going. Now.BRENNAN: I have remains to identify. He could have a family.ANGELA: He's 500 years old. They've probablyadjusted by now.BRENNAN: I'm not going. I've already made that clear.SWEETS: It's Agent Booth's funeral, Dr. Brennan. Losing a loved one is -BRENNAN: Apartner, Sweets. I lost a partner.SWEETS: Someone close to you. The funeral allows you to grieve so you can come to terms with his death.BRENNAN: TheArunta Aboriginal tribe in Australia grieve by burning down their village and - and moving to a new one. That seems no crazier to me than gathering around a holein the ground.SWEETS: Being hostile won't -ANGELA: Brennan...a word.SWEETS: Excuse me? Professional psychologist.(Angela pulls Brennan aside and holds upa finger to Sweets - indicating to give her a minute)ANGELA: Look. I know how you see things, and I respect that, but I need to ask you a favor.(She holds upBooth's funeral card)ANGELA: I have to go to the funeral. I'm not going to be able to get through this alone. I've been crying for, like, days. I really need yourshoulder here. I need my best friend.(Cut to: Arlington National Cemetery. Everyone is gathered around a casket and Caroline is giving the eulogy. It's Booth'sfuneral.)CAROLINE: I knew Seeley Booth. He was a good man who earned my respect and affection. And I don't like many people. Booth had a selflesscommitment to his work, first in the military and then the FBI. Two weeks ago, he made the ultimate sacrifice - giving his life to save his partner. And in the braveact, he showed us what greatness we are all capable of.BRENNAN: (loudly, to Angela) That woman was aiming at me and I would have happily taken thatbullet.ANGELA: I know.CAROLINE: May God's mercy and love shine on Seeley Booth as he takes his place beside the Lord.BRENNAN: (loudly, to Angela) If therewere a merciful God, why wouldn't he have saved Booth.(Drums start playing as the officers prepare to fire their weapons)OFFICER: Standby.(Camera pans toone of the officers and it's revealed that it's Booth.)OFFICER: At ease.(A man starts to walk towards the coffin, as the rest of the officers continue to followcommands)OFFICER: Aim.(Booth pushes through Zack and Sweets and punches the man, knocking him to the ground)ANGELA: What the hell is going on?(Thecasket is pushed to the ground and it opens up, revealing a dummy body inside.)ZACK: They appear to be fighting.(The man and Booth fight on the ground andBrennan watches. The man punches Booth and Brennan runs over to the casket to grab the dummy's arm and uses it to knock out the man. She immediatelystarts to move towards Booth - looking extremely angry)BOOTH: Bones! Nice shot. (He notices her anger) What?(Brennan punches Booth in the jaw and thenstops off. Booth groans)(Cut to: Medico Legal Lab - Booth and Brennan are walking out of Brennan's office.)BOOTH: After I got shot, the Bureau faked my deathso I could finally get that guy.BRENNAN: I don't care.BOOTH: Look, I drove him underground. He said the only way that we would ever see him again would be atmy funeral, so...BRENNAN: I don't care.HODGINS: Who is he?BOOTH: What part of \"National Security\" don't you understand, Hodgins?HODGINS: \"NationalSecurity\": catch-all phrase for \"we can do anything we want\"BRENNAN: I knew I shouldn't have gone to that funeral. It was a complete waste of time, just like Isaid.BOOTH: Wait a second, you thought that my funeral was a waste of time?CAM: I thought it was a lovely service, Booth.BOOTH: Thank you. You know, Iexpected to see more people though.HODGINS: I always imagined a lot of ex-girlfriends crying.BOOTH: Yeah, me too.ANGELA: You guys are pathetic.BRENNAN:Just know I won't be attending your next funeral.BOOTH: Bones, I'm telling you. You were supposed to know that I wasn't really dead. I swear! That's why Ithought you weren't crying!CAM: Informed by who, exactly?BOOTH: I gave a list of people to the bureau to inform that I was not really dead. You know what?They didn't tell you, it's not my fault.SWEETS: Dr. Brennan's actually upset because she had to face strong emotions that she'd rather deny. Striking Agent Booth,indicated the depth of your feelings for him. It was a very passionate act.BOOTH: (to Sweets) Thank you! (to Brennan) Did you hear that? Passion!BRENNAN:Yes, passion, because anger is a passion! Anger at being manipulated!ZACK: Dr. Brennan?BRENNAN: Pretend to be dead-BOOTH: Aw forget it. I'm outta-ZACK:Someone left a package for you.(He hands her a package wrapped in plain brown paper - with \"Dr. Temperance Brennan\" written on it in marker. She opens it tofind a box. Inside that box contains a mandible and 2 silver screws)BOOTH: Oh!BRENNAN: It's a mandible.BOOTH: Look at that, huh. Two silverscrews.HODGINS: Silver screws as in...ANGELA: Silver skeleton?HODGINS: As in..CAM: Gormogon?BRENNAN: That's speculation.(She examines the mandiblecloser.)ZACK: Tooth marks.BOOTH: Someone's been snacking on that.CAM: Snacking? As in cannibalism?BRENNAN: Evidence of cannibalism does not necessarilymean-BOOTH: Bones, it's Gormogon. Has to be.CAM: Oh, god. Who has he eaten this time.(Opening Credits)(Cut to: Medico Legal Lab - Platform. The team isgathered around a television watching Sweets on TV)SWEETS: (On TV) This is the fifth known victim in the Gormogon murders, all of which have been subjectedto ritualized cannibalism.FEMALE REPORTER: He has apprentices?SWEETS: Yes. One at all time to help perform the murders, dispose of the bodies, eradicateevidence. His mission, it seems, is to construct a complete skeleton out of the bones of his victims.CAM: I've seen enough. (She turns off the TV)BRENNAN:(turning to the platform) Booth?BOOTH: Bones, I'm thinking here.BRENNAN: Thinking about what exactly?CAM: Well, it's a pickle. The platform's a crime scenebut we need to access it to investigate the crime.ANGELA: A \"cake and eat it too\" situation.ZACK: Is it a cake or a pickle?HODGINS: It's Schrodinger's Cat.ZACK:That I understand. Cakes and pickles mean nothing to me.BRENNAN: Are you paralyzed by the paradox, Booth?CAM: I'll make this easy. What do you needfirst?BOOTH: Identity.CAM: Let's go people.(The rush up the stairs, past Booth, and start getting to work on the platform)BOOTH: Whoa. Hey, easy! Alright, youcan't...alright. There ya go.(The team huddles around he mandible.)CAM: Okay, the tooth sockets may contain enough tissue to check DNA.BRENNAN: Zack,there are markings on this bone that need to be checked out.ZACK: It appears to have been boiled.HODGINS: I'll see if I can pull any mineral traces that can helpus determine the water he used.(The disperse and go about their tasks)BOOTH: Okay. I, uh, give you all permission to do whatever it is that you squints do. I'll,uh, just... (he brakes the crime scene tape on the stairs and starts backing down) Call me. (to the FBI agents at the bottom of the stairs) Let's go.(Cut to: Booth'sBathroom. Booth is lounging in the tub, sipping beer from his beer helmet when Brennan barges in.)BRENNAN: I need to talk to you!BOOTH: What the hell,Bones! I'm in my house, in my bathroom, in my bathtub! (Brennan walks over to the record player and turns it off) How the hell did ya get in hereanyway?BRENNAN: Well, that fake rock by your front door wouldn't fool anybody. Why are you wearing a hat that dispenses beer?BOOTH: Hot tub, plus cold beerequals warm beer. Hat? Equals solution. So why are you -BRENNAN: And that cigar? Very unhealthy.BOOTH: Okay, what the hell do ya want now, Bones? Okay?Cause I'm not really feeling too relaxed.BRENNAN: You should have told me that you weren't dead.BOOTH: I already explained this to you. The bureau has to veteveryone when there is a security issue. I was just following protocol.BRENNAN: Protocol!?BOOTH: Yes!BRENNAN: We've been partners for three years, Booth,and you've broken protocol before - sometimes putting my life in danger. Which makes sense because you clearly don't have any real concern for me.BOOTH:(standing up) I took a bullet for you!BRENNAN: Once! That only goes so far (realizing that Booth is standing there, naked) Would you like a towel?(He sinks backinto the tub)BOOTH: Fine. What is it that I should have done, Bones? Wha- what did you want me to do?BRENNAN: Well, you could have called me. Did you reallythink I needed to be vetted by your boss? I mean, don't you trust me?BOOTH: Of course I do.BRENNAN: Then why wasn't I told. It must have been somethingthat you said.BOOTH: No. I don't know why you weren't told.BRENNAN: But you - you said that I should be. I mean, aren't you curious why I wasn't?BOOTH:Yes! Do you want me to find out why you weren't told?BRENNAN: If it's important to you.BOOTH: Fine. I will. The next time I die, I promise that I will tellyou.BRENNAN: I'll look forward to that.BOOTH: Me too.(He opens up a \"Green Lantern\" comic book and starts reading)BRENNAN: What are you reading?BOOTH:A novel. (She looks at him) It's a graphic novel.BRENNAN: Just so you know, I find your lack of Puritan modesty very refreshing.(Booth lowers the comic book tocover himself and Brennan leaves the room, turning the music back on as she walks out the door.)(Cut to: Medico Legal Lab - platform)ZACK: The marks on themandible definitely indicate that the bones have been gnawed on.HODGINS: But, but not with teeth.ZACK: The markings were made by someone wearingdentures.CAM: Well, a toothless cannibal just can't cut it in todays competitive serial killer climate. How do you know he wore dentures.HODGINS: Zack foundtraces of polymethylmethacrylate monomer tetrasalisic floramicha on the mandible. (9:41)CAM: I'm gonna go out on a limb here and assume that's whatdentures are made of.(Cam picks up her phone and dials)ZACK: But not normal commercial dentures you get from the dentist.HODGINS: Main ingrediant ispolymethyl methacrylic.ZACK: These dentures were homemade.CAM: (into phone) I got our victims DNA results back.(During the conversation, camera cutsbetween Booth - in the bathtub and Cam - in the lab)BOOTH: Is it the Lobbyist?CAM: Yup. Gormogon's last victim.BOOTH: I was wondering when some part ofhim would show up.CAM: (hears the water going down the drain) What's that sucking sound?BOOTH: You know what? This is MY house. Okay? You come into my"}
+{"doc_id":"doc_188","qid":"","text":"[Scene: Chandler and Joey's, Chandler and Joey are playing with the duck and the chick.]Joey: Hey, wouldn't be cool if our duck and chick had a little baby? Wecould call it Chuck.Chandler: Or... Dick.Ross: (entering) Hey.Chandler and Joey: Hey.Ross: Listen, I-I need a favor. Umm, I was in the shower, and as I wascleansing myself, I ah, I-I, well I felt something.Chandler: Was it like a sneeze only better?Ross: No, no, I mean, I mean a thing on my body.Joey: (with adisgusted look) What was it?Ross: Well, I don't know, it's-it's kinda in a place that's not... It's not visually accessible to me, and I was hoping maybe you guyscould-could help me out. (starts to take off his pants)Chandler and Joey: Whoa!!!Chandler: No!!Ross: Come on you guys, it's no big deal! (He turns around andshows him his thing.)Chandler: Whoa-heeeiiiiii-iiiii-ah!! (sees it) Huh.Ross: Well what is it? Is it a mole? (He moves closer to them, and they jump back.)Joey: No,it's too wrinkly to be a mole.Ross: Well, eww. What? Is it a pimple?Chandler: No, it's... fancier than a pimple. Look Ross, why don't you just go see a...Rachel:(entering, interrupting them) Hey guys! What's... (sees what they're doing and stops, the guys are stunned)Chandler: Okay, well, it's definite, two more weeks ofwinter.Ross: Ahhh.Joey: Yeah, right.(Rachel backs out with a confused look on her face.)Opening Credits[Scene: Central Perk, Chandler, Joey, and Rachel arethere, as Phoebe enters with her date.]Phoebe: (to her date) Okay, and then this is the coffee house. This is where I play my music. (points to the stage)Vince:Good deal.Phoebe: Yeah, and these are my friends. People. This is Vince, Vince the people.Rachel: Hi!Chandler: Hey!Vince: Hey!Phoebe: Vince is afireman.Rachel: Wow! Have you ever rescued anyone from a burning building before?Vince: 98 hot saves, highest in the force.Chandler: Well, y'know if Joey andI played with matches we could get you up to an even hundred.Vince: (dead serious) Fire safety is not a joke, son.Chandler: You're right, I know.Vince: (toPhoebe) Look, I gotta go. I'm on call tonight. (kisses her) See you Saturday. (leaves)Phoebe: Okay. (watches him leave)Rachel: Wow, he's cute, Pheebs! But Ithought you just started dating that Kindergarten teacher.Phoebe: Oh, Jason? Yeah, uh-huh, we're seeing each other tonight.Rachel: What-Pheebs?! Two dates inone day? That's so unlike you.Phoebe: I know, I know! I'm like playing the field. Y'know? Like, juggling two guys, I'm sowing my wild oats. Y'know? Y'know, thiskind've like y'know oat-sowin', field-playin' juggler.Joey: So Pheebs, do they know about each other?Phoebe: Does a dog's lips move when he reads? (Joey makesan `I don't know' face, and looks to Chandler and Rachel, who're also stumped) Okay, no they don't.Ross: (entering) Hey guys!Joey: Hey.Rachel: Hi!(He goesover and sits down at the counter, all depressed.)Joey: (going over to him) Well?!Chandler: (joining them) Okay, how'd it go at the doctor's?Ross: Well, he saidthere's definitely nothing to worry about, it's totally benign.Joey: Well what is it?!Ross: He couldn't even tell me! He said it was just some sort of skin...abnormality. And the worst thing is he-he-he said, he said, without being able to identify it, he was reluctant to remove it.Chandler: Y'know what? You should goto my guy, because when I went in there with my third nipple. He just lopped it right off. Y'know? So I guess I'm lucky. I mean not as lucky as people who wereborn with two nipples.Ross: At least they knew what yours was. Y'know, yours had a name.Joey: Oh! Maybe they'll name yours after you! Y'know, they'll call it,The Ross. And then people would be like, \"Awww, he's got a Ross.\"Ross: (sarcastic) Yeah, that'd be cool![cut to Phoebe and Rachel as Monica returns from thebathroom]Monica: Pete's breaking up with me.All: What?!Monica: I just checked my messages, and he said that when he gets back from Atlanta, we need totalk.Rachel: And?Monica: Well that's it. People never say `We need to talk' unless it's something bad.Joey: Whoa, that doesn't necessarily mean that he'sbreaking up with you.Monica: Really?!Joey: Yeah, maybe he just cheated on you.[Scene: A Street, Phoebe is walking with her second date, Jason.]Jason: ...and Iknow I'll never miss doing it, but I gotta tell you, it's pretty cool knowing that you're making a difference in a kid's life.Phoebe: That is so great! Oh, I... (sees thata parked car near them has caught on fire) Oh my God!Jason: Whoa!Phoebe: (the fire has worsened) Oh my God!!!Jason: Ahh-ahh, we'd better call the firedepartment!Phoebe: (stopping him) No! No!Jason: No, no?Phoebe: Well, we don't n-n-n-n-need a fireman, we'd, we'd like a good mechanic. (hears the sound ofapproaching sirens) Oh my God, here they come! Well, we gotta get out of here!Jason: W-w-w-wait! Why?!Phoebe: Well look, if I wanted to see a fireman, Iwould date one. Okay? (she drags him away)[Scene: A Doctor's Office, Ross is having his thing looked at by Dr. Rhodes.]Ross: Th-th-that's all it is, a third nipple.Y'know? Just your run-of-the-mill third nipple. Y'know? You can take it off. Just slice that baby right off!Dr. Rhodes: Take your shirt off, and let's see what we'redealing with here. (Ross starts to take off his pants) What are you doing?Ross: Just showing you my run-of-the-mill-slice-it-right-off third nipple.Dr. Rhodes: Wellthat's not a third nipple.Ross: No?Dr. Rhodes: First of all, it's on your ass.Ross: Well then, what is it?!Dr. Rhodes: Wait a minute, hold it. (He goes to the door andopens it.) Johnson! Will you come in here a moment?Dr. Johnson: I'm with Hamilton!Dr. Rhodes: He's good with rear things, bring him in too.[Scene: CentralPerk, Chandler, Monica, and Joey are there.]Monica: (starting to get up) I gotta go water Pete's plants. (stops) Y'know what, if he's gonna break up with me,maybe I won't water his plants.Chandler: Well, if he's gonna break up with you, maybe Joey and I should water his plants. If y'know what I mean.Joey: Or ha-ha,we could go over there and pee on them.Phoebe: (entering with Rachel) ...and I-I can't take it! Y'know? I'm just, always afraid one of them is gonna catch mewith the other one. It's making me crazy.Rachel: Well honey, then why don't you break up with one of them?Phoebe: (disgusted) Uh.Joey: Whoa-whoa-whoa.What ah, what happened to playing the field?Phoebe: Well, it just, it doesn't feel like playing anymore, it feels like work. It's like I'm working in the field.Rachel:So Pheebs, pick one of them.Monica: Yeah. Which one do you like more?Phoebe: Well, Vince is great, y'know `cause, he's like a guy, guy. Y'know? He's so burly,he's sooo very burly. (giggles)Joey: Okay, good, so there you go. Go with Vince.Phoebe: Yeah, but Jason's really sensitive.Chandler: Well sensitive is important,pick him.Phoebe: Yeah.Joey: Oh sure, go with the sissy.Phoebe: Jason is not a sissy!Joey: Oh no-no-no-no, I meant Chandler.[Scene: Dr. Rhodes's Office, arather large group of doctors has now gathered to take a look at Ross's thing. Ross is none too pleased with the developments, he has a disgusted look on hisface.]Ross: Y'know I have dinner plans!!Dr. Rhodes: Thank you soo much for coming on such a short notice. Ladies and gentlemen, I've-I've-I've been practicingmedicine for twenty-three years, and I'm stumped.(He removes the blanket covering the thing.)All: Whoa. (they all lean in to get a closer look, Ross isn'tpleased)[Scene: Pete's apartment, Monica is there to water the plants, and is showing the gang around.]Monica: Okay, this is the den. All right, check this out.Lights! (the lights turn on automatically, but are very bright) Whoa! All right. Less lights! Bad lights! Lights go away! (they dim) Oh, see you just need to find theright command.Ross: Yes, and the dimmer switch.Joey: Whoa! For a rich guy he's got, that's a pretty small TV.Monica: No-no-no, that's a video-phone. But heyguys you're not supposed to be here, so please, do not touch anything.Chandler: (sitting down on the couch) I-kea! This is comfortable.Rachel: (entering withPhoebe) This place is amazing.Phoebe: God, that is the nicest kitchen.Monica: I know.Phoebe: No! But it's the nicest kitchen, the refrigerator told me to have agreat day.Joey: Look at this! A millionaire's checkbook.Monica: Joey, put that down! (the phone rings) Oh my God! It's Pete. Okay, get out!! How the hell do youanswer a video-phone! (steps in front of it, and automatically answers it)Pete: Monica? (the gang ducks and hides)Monica: I guess that's how.Pete: Hey Monica,how's it going.Monica: Oh it's umm, good! It's umm, it's good, just here watering the plants.Pete: Well don't forget that fiches over there by Rachel.Rachel:(standing up) Ahh... Chandler's on the couch!!Pete: I see him, you guys are just the worst hiders ever.All: (standing up) Hey Pete.Joey: Hi, how ya doing?Monica:Ahh, Pete, the other day when you said you needed to talk, umm, just so I know, is it good news or bad news.Pete: Oh, it's good news. No, it's definitely goodnews. Hold on a second, I have another call. (clicks his remote) (to his other call) Hey, how's it going?Monica: Oh no-no-no, it's still me.Pete: Ah, no it's not. I'vegot picture-in-picture here. (to other caller) Yeah. (listens) Yeah, okay. I'm gonna have to call you back later. (pause) Monica? You. I'm gonna have to call youback.Monica: Oh, oh, okay umm, so I'll see you soon.Pete: Okay, I love you.Monica: I love you.All: I love you, love you.Monica: Okay. Well, it's good news. It'sgood news.Chandler: So, what do you thing the good news is?Joey: (looking at the checkbook) Wow! Look at this! He wrote a check for 50,000 dollars to HugoLigrens Ring Design. (Monica is stunned) Oh, sorry, what do you think the good news is?[pause]Monica: Oh my.Rachel: Monica's gonna marry amillionaire!!!Ross: Hey, you gotta get Mom on the phone. Call Mom! Call Mom!(Pete's computer automatically calls Mom, Pete's Mom.)Pete's Mom: Hello.Monica:And that's Pete's Mom.(The gang quickly hides again.)[SCENE_BREAK][Scene: Monica and Rachel's, the gang is returning from Pete's.]Rachel: Mon you definitelyhave to make it a theme wedding, and the theme could be, \"Look how much money we've got!\" Y'know, I mean you could put, you could put money in-in theinvitations! You-you could have like little money place settings. And ah, you could start with a money salad! I mean it'll be dry, but people will like it.Monica:Would you stop? We've only been going out a couple of weeks, I mean we don't even know if he's gonna propose.Chandler: Yes, but this is Pete. Okay? He's notlike other people, on your first date he took you to Rome. For most guys that's like a third or fourth date kinda thing.Monica: Well if-if that's what it is, thenit's-it's crazy.Ross: Monica's right. We're talking about getting married here. Okay? She-she can't just rush into this.Rachel: Oh please, what do you know! Youmarried a lesbian!(Joey laughs, Ross glares at him, and Joey stops.)Phoebe: All right. I gotta go. I have break up with Vince.Chandler: Oh, so you're going withthe teacher, huh?Phoebe: Yeah, I like Vince a lot, y'know? But, it's just Jason's so sensitive, y'know? And in the long run, I think sensitive it's just better thanhaving just like a really, really, really nice (pause) butt. (Her eyes glaze over thinking about the butt.) (pause) Jason! Definitely Jason! Okay, wish me luck!All:Good luck!(pause)Rachel: OH MY GOD!!! (She holds her hands up in triumph and the gang all look at her.) Sorry, I was just imagining what it'd be like to catch"}
+{"doc_id":"doc_189","qid":"","text":"(Cut to a strange congomeration of strangely colored winged birds and a strange angel statue, holding a bowl. Bells ring. Then a bright white light flashes andthen dims to show a surgical light. We pan down to Sydney, waking on a stretcher in what could be something like an emergency room. She's dressed only in awhite hospital gown and underwear. She sits up groggy, then stands up gingerly. She walks over to the door and tries to open it. It's locked. She bangs on thedoor with her hand.)Sydney (hoarsely): Hello!(She turns away from the window and starts to walk, looking around, then stops as a wave of pain hits her. Shelooks down. There's blood seeping through the hospital gown in the spot where her scar is now. She leans against a counter and lifts the hospital gown to revealan angry seeping wound. She sticks her fingers inside the wound, pulling out the end of a thin plastic tube (think, the kind of thin plastic tube often used foraerators in aquariums) She holds up the end of the tube, shocked, her hand covered in blood. She starts pulling and more tubing comes out. It's freaking her out.She starts pulling faster and faster, but the tubing doesn't end. Blood is splashing everywhere, covering her, splashing the walls. She holds up a fistful of tubingand screams. We cut to a scene farther out. There is a pile of tubing at Sydney's feet in a puddle of blood. Blood is spattered all down her side, on her hands, herface, the wall behind her.)(Cut to Sydney, sitting up suddenly in bed, gasping and sweaty. She's had a nightmare. She's really freaked out, can barely breathe.She pulls up her tank top to reveal her healed scar. She fingers it, gasping and crying. She lies back on the bed, pulling the covers up to her neck, crying andgasping in anguish.)(Cut to Sydney walking through a set of double doors. US STAFFORD NAVAL HOSPITAL. She approaches the doctor who runs the \u0000losttime\u0000 peer group. He notices her standing next to him as he hands a nurse a medical chart he's just signed.)Doctor: Oh, Sydney. (to nurse) Thank you.Nurse:Thank you, doctor.Doctor: Nice to see you.Sydney: I know that I haven't been to group in a while.Doctor: That's okay We have another session heretonightSydney: I actually came here to talk to you about something else.Doctor: Is it your dreams?(Sydney nods.)Sydney: I've heard about a procedure used torecover lost memories: neurostimulation therapy.Doctor: Oh, Sydney before we discuss this, let's give group a chanceSydney: Some of those people have beenthat group for ten years, and none of them seem to be any closer to finding out what happened to them.Doctor: Well the point is to accept what's happened, thatyou may never remember, and in so doing, free yourself to move on.Sydney: With all due respect, the one thing that you don't know is what it feels like. Youhave clearance, so I can tell you that unlike anyone else in that group, there's a terrorist organization trying to find out the one thing that I can't remember. Mypoint being, I don't have the luxury of waiting for acceptance.Doctor (walking): Come with me.(Sydney follows. Cut to look into the window of a padded cell. Aman with a shaved head wanders around inside in a straitjacket.)Doctor: This is Kenneth Blake. He joined Central Intelligence in 1981. He was missing for fiveyears finally turned up in a South Korean hospital with severe injuries and no memory whatsoever. Blake volunteered for the same procedure you're asking for.The procedure was carried out. Blake soon learned that he'd been in custody of the North Koreans all that time, exposed to torture so intense, so prolonged, thathis conscious mind blacked it out. The invasive nature of the surgery left him with permanent brain damage. You should know, Sydney, that the National SecurityCouncil considers Blake a successful test case for neurostimulation therapy. (starting to get choked up) I'd consider death an option before this procedure.(OffSydney's look, we cut to NOGALES, MEXICO. Children play soccer in the dirt street. Suddenly shooting breaks up the scene. Cut to a pair of feet running in thestreet. Pan up to a man's back as he runs by. Cut to reverse angle; we see two police officers chasing the man, shooting at him. Police cruisers block off the otherdirection and the man raises his hands. It's Javier Perez. He kneels while they handcuff him. Cut to Javier, sitting in a jail cell.)Police Chief (offscreen): You'vebeen a busy man, Javier Perez.(Cut to Chief leaning against the wall of the cell, accompanied by another armed officer. He is looking in a file folder.)Chief:Epidemology lab in Cannes; Disease Control Ministry in Spain; Genetic engineering facility in Cuba(Cut to Javier as he sighs and leans his head wearily against thewall, closing his eyes. Cut back to Chief.)Chief: Do I turn you over to Cuba, to Spain, to France? To me there is no difference. For you, there is at least onesignificant difference: France and Spain do not believe in the death penalty.(Cut to Javier, worried and nervous. Cut back to Chief.)Chief: So here's where we helpeach other. You provide me with a bigger fish, say who commissioned you, for instance and I allow you to choose to whom I place my call.(Cut to Javier.)Javier:What if I told you that I had information that would be very interesting to the Americans? Regarding a Central Intelligence agent and a murder.(Cut to Chief, wholaughs and looks at the other officer also laughing.)Chief: A CIA agent committing murder Hardly newsworthy.(Chief starts to walk away.)Javier: It is when itsdone on behalf of an international terrorist group and the target is a Russian diplomat.(Chief stops walking and looks back at Javier.)(Cut to aerial scene of LA byday. Cut to Dixon walking through the JTF.)Dixon (loudly): People, listen up! We've got non-cleared personnel en route! Deactivate the wireless network and putall secure servers on lockdown. I don't want to see anything on these screens more revealing than a weather map!(Cut to armed agents escorting a handcuffedman with a black drape over his head. Cut to an officer inside the JTF.)Officer: Level three security procedures in effect. All computer monitors and LCDs on safemode. Routing PDX to administration.(Cut to hooded man and guards entering elevator. Cut to computer monitors as they all go to safe mode. Cut to the feet ofthe man and his guards entering the JTF. They're walking and enter the main rotunda area. Dixon stands waiting for them. Other agents gather also. Dixon nods,and the officers remove the man's hood, who's no longer hand cuffed. It's Arvin Sloane. Dixon walks toward him. They spend several moments staring each otherdown.)Sloane: I always knew you were destined for great things.(Dixon's only reaction is a tiny grimace and he swallows.)Dixon: Follow me.(They turn and enterthe conference room, where everyone but Lauren and Vaughn are seated.)Sloane: Marshall (said kindly, smiling, as if happy to see him)Marshall: Mr. Sloane hi.It's been a while and a lot has happened. I mean, at first you were evil, now you're good so you claim not that I don't..trust you, it's just How are you?Sloane:Very happy to see you, Marshall. (He shakes Marshall's hand and sits down.)Dixon: Given the sensitive nature that Arvin Sloane is about to present to us, Ithought it best if he did so here.Sloane: So, is everyone here?Dixon: Agents Vaughn and Reed are prepping a separate assignment under the direction of theNSC.(Cut to Jack and Sydney as they give each other curious looks.)Sloane: Ten hours ago, I had a meeting with Mr. Sark(cut to flashback)Sloane: I assumewe're here because the Covenant requires something of me?(Sark pulls a mini disc case out of his coat and holds it out to Sloane.)Sark: Your newassignment(end flashback)Sloane: Seems the Covenant is no longer satisfied with using my organization merely as a front for their illegal activities. They've nowtasked me an operation.(cut to Sydney's reaction then back to Sloane)Sloane: I presume you know what a maser isMarshall: You mean a microwave laser? Well,yeah(Both Sloane and Dixon turn to look at him.)Marshall (looking at Sloane): You, uh want me to explain ?Dixon: Marshall: Sloane has no authority in thisroom.Marshall: Sorry. I didn't mean to offend you, sir. I know you're definitely the main do you want me to ?Dixon: Yes.Marshall: It's a microwave that getsfocused into a pinpoint beam, very similar to how light gets focused into a laser.Sloane: Tomorrow night, I'm scheduled to attend a charity function held by theChinese Government at one of their Ministries The Covenant has acquired intelligence that China has designed a working maser unit, the prototype of which isheld there. China intends to mount a maser array on one of their defense satellites. It is an assassination program.Weiss: Wait are you saying this weapon iscapable of killing from space!?Jack: Pulse microwaves are capable of causing tissue damage, heart failure even brain hemorrhage. This weapon could make itappear as if the victim died of natural causes. You could imagine the potential threat if the Covenant were to acquire this technology.Sloane: I've been tasked tosteal the maser's operating system, which is in the Chinese Defense Minister's office.Dixon: I want Strategic Services to review your plan, and I'll assign an agentto go along.Sloane: I'd presumed that would be the case. Therefore, I propose that Sydney accompany me to the function posing as my assistant, and thentogether we acquire the operating system, corrupt the maser, and pass along the faulty data to the Covenant That is, assuming the CIA still intends to use me asa double agent.Sydney: Why me?Sloane: Because this mission cannot be done alone. I will not risk my life unless I am going in with the best.Jack: Do you reallyimagine, given your history with Sydney, we would ever order ?Sydney (cutting Jack off): I'll go. (to Sloane) You know I don't trust you, and that I believe youhave an endgame beyond this operation. But I also know that if we're caught, we'll be standing side by side in front of a Chinese firing squad, which means thistime our interests are in line and if you betray me? I will just kill you myself.(Cut to Sloane's satisfied smirk. Cut to Black. End of Act One)[SCENE_BREAK](Cut toVaughn, arranging a file on his desk. Jack approaches him.)Jack: I understand you've been loaned out to the NSCVaughn: Yeah. I leave for Mexico in an hour.Lauren requested me; she's briefing me en route.(Vaughn and Jack start walking)Jack: A contact of mine in Nogales informed me that Javier Perez wasapprehended by Mexican authorities.(Vaughn stops walking and turns to face Jack.)Jack: I'm sure you remember him as part of the freelance team that Sydneyinfiltrated several weeks ago.Vaughn: Yeah, sort of He almost killed me.Jack: He's offered to trade information to the NSC in exchange for leniency. Our problemis this: He knows about Sydney that she murdered Andrian Lazarey under the alias Julia Thorne. You can imagine the consequences if he were to share thisinformation with your wife. I think, Agent Vaughn, that you should tell her that you know the identity of the man you've been sent to interview and that conflict ofinterest requires both of you to remove yourself from this case.Vaughn: Are you asking me to interfere with my wife's investigation?Jack: Yes.Vaughn: No. I'vekept the truth about Sydney from Lauren because Dixon ordered me to; a situation you orchestrated.Jack: You understand the consequences to Sydney if this"}
+{"doc_id":"doc_190","qid":"","text":"Ted (2030): Why do they fight? What is it hidden in us that drives us to settle disagreements with our fists? (In Lily's class, two boys fight) Whatever it is, this isfrom the beginning.Lily: Stop fighting!Boy 1: Why?Lily: It's stupid and childish.Boy 2: It has been six years. It is stupid and childish.Ted (2030): Children, Ifought just once in my life. And that's how it happened. You know I have recently been abandoned at the altar. And the worst when it comes to us, apart frombeing abandoned at the altar, is what happens after. A steady stream, persistent and unbearable pity. At McClaren's, Wendy brings drinks to Marshall, Lily,Barney, Ted and Robin.Wendy: Cranberry Vodka, gin and tonic. Scotch and soda.Ted: Thank you. Can I see the menu?Wendy: Ted, I'll get you a menu... but Ipromise I will return.Ted: We'll have to go elsewhere. In this bar, I will always be the guy left at the altar. It sucks!Barney: Good times.Ted: We lostBarney.Robin: What?Lily: There's a girl there in a sweater wrap. He does not listen to a word they say. Hein, Barney?Barney: Leave me alone!Ted: Heunderstood, there is little time, he could hold a conversation with just the titles of sitcoms \"black\" of the 70s and 80s.Barney: What's going on?Lily: Barney, youwanna go and get my stuff does not Marshall?Barney: Diff'rent Strokes.Man: What is this?Ted (2030): I spoke to Doug, children? Not? Well... Flashback InMcClaren's...Ted (2030): Doug Martin was in McClaren's bartender. He was always in the corner.Barney: You... Been to Ted?Ted: It is not play \"You know Ted.\"Barney (a pencil in his nose): I'm dead? (Doug misses and laughs) I'm dead? (It is disguised as a woman) Tonight... I am a lesbian.Ted (2030): There are threethings to know about Doug. The first is that Doug is a bit violent. Doug:... collapsed, so he's down. And it hits him! He made this face, trembling. What we did isthat we left it there. I ressers?Ted (2030): The second is that he was weird about her hair...Doug: What?Ted: What?Doug: You look at my hair?Ted: No, sir. Notat all.Doug: That's a dummy. It's funny? Want to laugh? It's funny?Why you do not tear out?Ted: What?Doug: Go ahead, tear it out of my head. Go ahead. Wantto pull? Go. Go, go and pluck it out. You want to tear my head?Pluck my hairpiece my head. I love you, guys!Ted (2030): But the third is that he was very faithfulwith its regulars. Ted, Lily Marshall, Barney and Robin arrive at the bar.Doug: There they are! You want your table?All: We will be well by then.Doug: Yes?Yes?Ted (2030): Maybe a little too faithful.Doug: No, that's right, all right. (He goes to the usual table where Ted and his friends are) Lovebirds! Put it elsewhere,this table is reserved. Here we go! Now! Go! We move, my Father. Here we go. OK, guys, here! End flashbackTed (2030): So that's Doug.Doug: What is this?Ted:Some guys are sitting at our table. But you know, it's good.Doug: Let's go, I take care of that.Lily: Damn, there goes.Doug: Ladies, if you will join your table.Gentlemen, I need your help out.Ted: Our help?Doug: We're going down the aisle and fight with these guys.Barney: What's going on?GENERICTed: Sorry, youjust said...Doug: These guys are off-handedness. So we go outside and they fit in, OK? It's gonna be fun!Doug part.Ted: He wants to be fought? As with ourhands and stuff?Marshall: And your feet maybe? I do not know the rules.Ted: A fight. We gotta go?Barney: No, I would fight for three things, the closing of astubborn bra, accusations of sexual harassment... 9 of 9! And wanted to vomit when I see someone wearing brown shoes with a black suit.Marshall: The fightingis for dummies. We are civilized people, civilized people not fight. Except with a lightsaber, but that's in for 3 or 5 years...Robin: That's not true.Marshall: I'm onthe forums every day. In 3-5 Thanksgiving, I découperai turkey with my saber green.Robin: No, I say there are plenty of legitimate reasons to fight, it is perhapsnot beautiful, but sometimes you gotta do what you gotta do.Ted: Yes, I forgot. She is sexy fights.Robin: No, it's true! I love it! I have a culture of hockey. If aguy is a fighter, it is rather sexy. And scars, seriously! If a guy has one, it has a Robin. And if he lost a tooth, I lose my panties.Barney: I lost my wisdom tooth.Without surgery. Local anesthesia. Frankly, it's nothing.Ted: We should go.Lily: I can not believe that we have this discussion. Ted, you're 30, you're too old toact like that.Ted (2030): I was 30. And of those 30 years, I was struck once. Flashback Ted is in a bar.Ted: There is an explanation very simp... A man gives hima punch. End flashbackTed (2030): There was this thing in colo. Flashback Ted is in the forest with children.Ted: Today we are going to braid friendship bracelets.A pat on the boy's private parts and they run off.Ted (2030): In college, I studied Kung-Fu. And some other stuff. For the goat, it would be a few months after.End flashbackTed (2030): The idea is that I had never beaten.Ted: I'm going.Lily: No!Marshall: Listen to me, trust me, I fought hard. There is no pride to belearned.Ted: With which you fought?Marshall: My brothers.Barney: Yeah, it was surely the ruckus in the playroom of Eriksen. Flashback Marshall horseplay withhis two brothers.A brother: I love the squabbles between brothers!Marshall: That's the monster of guilis!Brother 2: Patrol Commies!Marshall: Wait! Go! Go! Cocoabreak. End flashbackTed: Break cocoa. OK, it's time to fight.Lily: Ted, do not do that, you're a good guy. This is your greatest quality.Ted: Oh yeah? I seem toremember that this guy was well dumped by his girlfriend for a Taekwondo teacher. It might sound crazy, but... I need that. I think it's an experience I do. I gothere. Ted part.Barney: Me too! (Followed by Barney) Guys... watch what face. The next time you see it, it will be distorted as the sexiest possible. Because that'swhat I am: a real man. I like to fight and do battle in the dirt. You find me a wooden hanger for that? Ted and Barney arrive in the driveway but Doug already hasto KO the other guy.Barney: It's been what?Doug: I know, huh! Who do now eyeing more my hairpiece?Look what they did!Ted: \"We\"?Doug: Yes, \"on\". Come on,we made a great team. Well done guys! We did it!Ted: No, you did. There was nothing we.Doug: OK, yes, it is clear, I have beaten three types alone. You andyou, free drinks for life. Doug enters the bar.Ted: He thinks he fought with him.Barney: We fought with him. So we will go and tell everyone the legendary storyof how we beat types. And everyone will find it great and everyone goes back to bed with me.Ted: Come on man, no one will believe we fought, we lookat.Barney: Oh, it's good... Barney gives a blow to itself.Ted: What are you doing?Barney: What I should have done there is a lease.Ted: What?Barney: I dunno, Ityped the eye! I even know what I say! I have a great right, either. You ready?Ted: To go home?Barney: No, for that. Barney gives a blow to Ted.Ted: You hit mein the nose!Barney: Are you crying?Ted: Yes, I cry! You hit me in the nose!Barney: It's going to swell to death. You're going to look like Owen Wilson. Come on,we go.Ted: Ok, but we do not add too. I do not want it to catch proportions. Barney enters the bar, followed by Ted. Doug says the fight to include Ted andBarney.Doug: Can Ted arrives, takes off her shoe hit him in the mouth... A, they are! The guys who supported me! Everyone applauds. Always at the bar, but attheir usual table...Marshall: So you fought. Seriously.Ted: No, Barney hit us head to pretend. Without in December ', Marshall!Robin: Just look at that eye. Youlook like a bad boy. I did not know you had it in me. You. That you had it in you.Barney: You... want to touch? It affects the eye of Barney.Robin: My God, it'shot!Doug: The pot of victory! Blackjack! Blackjack! Blackjack!Blackjack! $ 7 50.Marshall: Why should I pay?Doug: Because thou hast not supported. Theysupported me.Marshall: You know what, Doug? I will gladly pay. And why?As adults do. They pay their glasses, and they fight it. You know what I did when youwere kids? That's what I did.Barney: Your nails?Marshall: I was...Ted: The quiz of love in the last Gala?Marshall: No. I was...Barney: your best to not cry whenBig came to Carrie at the end of the film s*x and the City?Marshall: You spoiles? No. I'll tell you what I did...Robin: Tips to captain the football team because hegave you his ring and you were so cute in your evening gown?Lily: I'm sorry. Lily and Marshall are in their beds.Marshall: I hate them! They behave like guys themost virile of the universe, as Crocodile Dundee and David Hasselhoff.Lily: It's the guys the most virile of the universe?Marshall: I know why they are given allthe attention. In fact, it's me, the real hero.Lily: Yeah, it's you.Marshall: I'm serious, woman. Put it in your pants.Lily: You're the man every boy should be andevery girl should marry. You know what? I have two boys under way that will not stop fighting. If you come to school tomorrow to tell them your story of choiceof the path of nonviolence, it could put them right. And avoid me getting up early to prepare lessons.Marshall: Okay. OK. I recadrerai.[SCENE_BREAK]Lily'sclass...Boy 1: wimp!Marshall: What? No! The panda and the koala Mahatma Luther King tell you that story to show...Boy 2: Show that you're a wimp?Boy 1: Whyhast not beaten? You were afraid?Marshall: What? I was not afraid! I did a lot of fights, OK?Boy 2: You're great! You have to weigh almost 500 pounds.Marshall:First, I wear a sweater off, which has horizontal stripes. And I also... I ate salty... So I... You know what? Shut up!Boy 2: wimp! Wimp! The two boys fight whileothers cry. Barney and Ted are in the bar and talk with two women.Woman 1: So you've just beaten?Barney: Just?Ted: Amanda, was it that simple? You know,the fight in melee, it is more than using force against his opponent, huh B?Barney: Exactly!Ted: It is an art. The noble art, as it were.Woman 2: But I do notunderstand, what they did to deserve this?Barney: It may seem insignificant, but they got to our table.Ted: At our table.Barney: And...Ted: No one. Barney:... noone sits at our table. 2 men are sitting at the table.Amanda: You will beat them up? Robin arrives at that time.Barney: Let's beat them up. Ted, come on. Youtwo. Our table.Go. Now!Ted: What are you doing?Barney: Relax, it was Doug. Doug supports us.Ted: He's not here tonight.Barney: I offer you what? A drink?Money? These two girls over there?Man 1: It's you, Ted Mosby.Ted: Yes.Male 2: And you're Barney Stinson?Barney: They know who you are. All right, guys. Itlets you go without kick your ass. This time. Okay? Both men are given two envelopes.Ted: That's... What is it?Man 2: You are summoned.Man 1: You arecharged with assault. Enjoy it. The two men leave the bar.Barney: That was close. Barney, Ted and Marshall are at the apartment and watch the invitations.Ted:Assault! They continue to attack us!Barney: What is the penalty for assault? I'll have a fine?Picking up garbage on the highway? Because I already didthat.Marshall: I know.Ted (2030): In fact, he knew they risked a small community service, surely no criminal charges. But he was furious against us.Marshall:You could have a good time in prison.Barney: The Prison?Ted: I can not go to jail! I could read a bunch of books, writing short stories. Drag me all the time.Seriously, if I get lost really hefty...Barney: You can not go to jail! They are dying in the hallways!And meals are really heavy.Marshall: You should have thought"}
+{"doc_id":"doc_191","qid":"","text":"Opening scene - Seth's bedroom - Summer and Seth are in there together. Summer is wearing a winter parka, and pulls another one out of a boxSummer: (calls)Cohen come out I wanna seeSeth: alright(Seth comes out wearing red longjohns, he doesn't look happy about it either,lol)Seth: (frowns) I feel like PaulKettleSummer: (looks Seth up and down) not bad (smiles, holds out parka) try this onSeth: (raises eyebrows) oh wow you got us matching parkasSummer:mm-hmm (turns back to the box) an matching hats an matching scarves, we're gonna be the warmest most coordinated couple at BrownSeth: yeah, you thinkyour jumpin the gun a little bit we wont get our acceptance letters till tomorrowSummer: oh please with your dorked out grades an my NASA level SAT's we areso getting inSeth: its Brown (holds out hands) everyone's got good grades an SAT's its very possible that neither of us could get in or that one of uscouldSummer: uh-huh, an which one of us would that be CohenSeth: it's just as likely you'll get in an I wontSummer: (turns around) an you really believethatSeth: yeah, an then where would you be (Summer looks at him) be stuck in Providence with one half of a his an hers parka setSummer: (screws up face)yeah like id go if you didn'tSeth: what (looks at Summer)Summer: Cohen, duh, I applied ta Brown so that we could be together I'm not going without youSeth:...Summer Browns one of the top universities in the world people dream about going thereSummer: no, you dream about going there (moves closer) I dreamabout being with the one I love(Seth looks down, Summer lifts the hood of Seth's parka onto his head and brushes the fluffy edging. Seth sniffs)Summer: awweven all padded up you still look so scrawny (frowns)Seth: I'm gonna go get some water I'm sweating so much I'm getting dehydrated(Seth heads towards thedoor and Summer kind of waves it off and goes back to her box)CUT TO: The pool house - Ryan and Sadie are on Ryan's bed making out pretty intensely. Ryan ison top of Sadie and he pulls her leg to his, we're seeing this from behind and then we see a close up of their facesSadie: I thought you were making medinnerRyan: an I didSadie: yeahRyan: mm-hmm (kisses)Sadie: (shakes head) you didn't let me eat it (smiles)Ryan: well no ones stopping youSadie: (kisses)reallyRyan: mm (kisses)Sadie: ok (sits up) well in that caseRyan: no ooo (gently pushes Sadie back down) no (kisses)Sadie: whatRyan: mm(Ryan stops kissingSadie and lies next to her)Ryan: so with the ninety day escrow (thinks) that means you'll be in town foooooorSadie: ninety more days Einstein (smiles)Ryan:right (Sadie laughs) that makes senseSadie: (rubs Ryan's chest) until you get accepted to whatever college you applied toRyan: yeah (sits up)(Sadie sits upslowly)Sadie: ok, should I not have mentioned it (looks at Ryan)Ryan: no no its fine (looks at Sadie) your rightSadie: your letter should be arriving like tomorrowrightRyan: yeahSadie: I'm sorry but I've found ignoring the future never makes it go awayRyan: (nods) well whatever happens we'll make it work (kisses Sadie)(frowns) umm we should eat before the burgers get cold ill-ill grab some water(Ryan leaves and Sadie watches him - the next thing we see is Ryan coming intothe kitchen from outside. he sighs and we see the back of Seth standing at the fridge with the door open)Ryan: hiSeth: hey, you want a waterRyan: sure(Sethtakes 2 bottled waters out of the fridge and hands one to Ryan)Seth: I was jus (points) coolin myself off (Ryan nods, drinks) all this time I thought gettin intacollege...would make everything so much easier (drinks)Ryan: yeah (looks at Seth) not gonna happenSeth: (looks at Ryan, swallows, frowns) there's a cold frontcomin through(Seth looks away and pulls the fluffy edging down over his eyes. Ryan looks away as well)Theme song - California by Phantom Planet Roberts'backyard - Summer is sitting at the table for breakfast and Marissa comes over and sits down, she has a bowl of dry cerealMarissa: pass the milk(Summer holdsup a small jug of something white)Marissa: that's cream, I said milk (looks at Summer)(Summer puts the jug of cream down and hands Marissa a taller jug withmilk in it)Summer: eating breakfast are we (Marissa pours milk over her cereal) does this mean we're actually going to school today or d'you (frowns) just needthe extra strength for all the small children you an Volchok plan to mug (raises eyebrows)Marissa: (fake laughs) hahaha (looks down)(Julie comes out)Julie: bigday girls, college letters arriving, are you excited (smiles)Marissa: yeah, deliriousJulie: (sits) don't be nervous Marissa your getting inta Berkeley (looks atMarissa) I feel it in my bonesMarissa: (stands) I gotta get ta schoolJulie: oh Marissa, your friend who dropped you off last night (Marissa looks at her) hismotorcycle kind of woke up Neil you might want to apologiseMarissa: why, incase Dr. Roberts changes his mind (raises eyebrows) about marrying into our trailerpark family (thinks) that's not really my problem (leaves)Julie: Marissa, well she's really outdone herself again (Summer looks down) listen Summer how worrieddo I need to be about herSummer: ...I don't know (looks at Julie) she's not exactly confiding in me right now(Summer and Julie look at each other. Neil comesout)Neil: morning everybodySummer: hi dadNeil: hey sweetheart, feelin lucky (kisses Summers head)Summer: um yes (closes eyes) my aura is greenNeil: ohthat has'ta be good, where's MarissaJulie: she-Summer: (looks at Julie) went ta school early (looks at Neil) cause she's nervous with all the college letters anstuffNeil: oh Berkeley would be lucky ta have her (Julie smiles) an just think it's just a short motorcycle ride away(Julie raises her eyebrows at Neil. Summerlooks at Julie while eating, Julie raises her eyebrows again)CUT TO: Henry Griffin's tennis court - we see Henry hitting tennis balls from an automatic ball serverthing. he hits three over the net and then Sandy walks overSandy: wow that's a hell of a forehand, imagine that connecting with somebody's headHenry: heySandy I didn't know you were comin by (holds out hand)Sandy: (points) yeah the gate was unlocked, you should be more conscious'a securityHenry: well I'massuming these are somewhat subtle references to what happened to Matt, hope he's okSandy: listen lets just skip to the part where you tell me you had (shakeshead) nothin to do with itHenry: is he implying that I didSandy: Matt hasn't said anything, this is me talking, I want this hospital built more than anything...but ifyou haven't resigned within forty eight hours (Henry looks at him) I'm gonna do everything in my power to take you down (Henry looks away then down) an Iwas lying (looks at Henry) your forehand sucks(Sandy leaves and Henry watches him before turning away)CUT TO: Harbor school - in the student lounge abanner is being put up as Taylor looks on. the banner is maroon and black with a picture of a sweatshirt in the middle, the word SWEATSHIRT is in solid yellowwith white edging, and then in the right corner is BONFIRE in black with yellow edging. at the top on the right is SCHOOL in a yellowy orangeTaylor: I-I- I don'tknow about that, that just doesn't look right to me(Seth, Summer & Ryan walk up the stairs near where Taylor is)Taylor: (notices) oh you guys, I'm so glad tosee you (Seth waves)Summer: oh, hey what's upTaylor: have you spoken to Marissa latelySummer: well if you count pass the milk an don't be so skanky(Ryanand Seth look from Summer to Taylor)Taylor: well I need to talk to her about the college sweatshirt bonfire, oh, you guys are coming rightSeth: (Ryan looks athim) is that the thing where all the seniors wear the sweatshirts (Taylor nods) of the colleges there going to, cause that always struck me as incrediblylameTaylor: oh an I need your help passing out these fliers (hands fliers to Summer)Ryan: I gotta get to class (leaves)Seth: I gotta too (follows Ryan)(Summerlooks at Seth and Ryan, poor thing)Summer: w- (sighs)Taylor: I know you guys are just making an excuse (holds Summers wrist so she cant follow) to get awayfrom me, its ok it's cute (waves it off) anyway about MarissaSummer: yeah, I wouldn't count on herTaylor: (scoffs) well that's great she's suppose'ta get the foodfor the party, this is so typical (Summer raises her eyebrows) you know people join social committee they think its all fun an games (takes out cell phone) thenwho ends up doing the work when someone (dials) decides to go all Last Exit To Brooklyn, hm (looks at Summer) Taylor that's whoSummer: no, I think she's justgoing through something right nowTaylor: Seung Ho its Taylor, hi listen how much(while Taylor is talking on the phone Summer looks over and notices Marissacome in. Marissa looks at Summer then looks away. Summer does the same)Taylor: Kimchi can you get me by tomorrow night (leaves and takes Summer withher) you are saving my ass Seung Ho you are really saving my ass(Marissa's cell rings and she looks at who is calling then answers)Marissa: hey, I'm glad youcalled(we now see Volchok at what I assume is where he lives, its like a loft)Volchok: that's the first time anyone's ever said that (smiles) what's upMarissa:nothing, well college letters are arriving today an my moms been pressuring me about it...an Summer an I are fighting (sighs) so I guess maybeeverythingVolchok: well um (sits on the couch) some'a the guys are gonna party on the beach tonight, maybe you should come y'know, take the edge offMarissa:(smiles) can you pick me upVolchok: yeah ill be there in a half hour (hangs up)(Marissa hangs up, she raises her eyebrows and looks almost happy!)CUT TO:Johnny's house - we hear a knock and then Ryan walks in. Sadie is folding bath towels on the floorSadie: hey youRyan: hey, thought id stop bySadie: well I'mflattered (smiles) taking time outta your busy day to come see me when you have a very important (Ryan sits) letter waiting for you at homeRyan: (leansforward) can I say I couldn't help myself (kisses Sadie)Sadie: ah-huh (kisses) you know I could probably tell you if you got inRyan: yeah (raises eyebrows,nods)Sadie: I could, I never mentioned I could read palmsRyan: no, must've slipped your mind (smiles)Sadie: must have(Sadie takes Ryan's hand and sits downnext to him on the couch, we see a close up of her running her fingers gently over Ryan's palm)Sadie: well (looks at Ryan) your gonna be richRyan: well that'snice to knowSadie: (looks) oh whoops sorry, I read it upside down so flip thatRyan: well, easy come (smiles)Sadie: this is important, it's warning against (looks atRyan) dark haired beauties who walk into your lifeRyan: (raises his eyebrows, looks down) really, what'does it saySadie: says if your not very very careful (looksat Ryan) they'll steal your heart(Ryan smiles a huge smile at Sadie and then they kiss. Ryan puts the folded towels on the floor and moves closer to Sadie)Ryan:an in all that there's-there's nothin about collegeSadie: yeah yeah, you got in (nods)(Ryan has a wide eyed expression and then he closes his eyes as theycontinue kissing)CUT TO: Roberts' house - Volchok and Marissa ride up on his motorcycle. Marissa gets off and Volchok takes his helmet off, Marissa hands herhelmet to VolchokMarissa: alright I just need to grab a jacketVolchok: um, any chance you could get some beer money, I'm a little shortMarissa: sure, ill be right"}
+{"doc_id":"doc_192","qid":"","text":"[PREVIOUSLY_ON]IAN: What the hell? I knew you guys couldn't be complete dorks.CLAY: Complete dorks and officially your agents.NATHAN: You got a bathroomin this place?IAN: There's one in the back of the house passed the kitchen.BROOKE: Julian!CHLOE: I want two people who are gonna love this baby, and that'sthe reason why I want you guys to be the parents.BROOKE: Well, since we don't know the s*x, I like yellow. Julian likes green.JULIAN: She just changed hermind, Brooke. She held her in her arms, and she just couldn't go through with it.HALEY: Quinn? It's time.NATHAN: It's a girl.QUINN: Yay!HALEY: This is LydiaBob Scott.NALEY'S HOUSEHaley puts Lydia in her crib.BRULIAN'S HOUSEBrooke arranges the businesses of the baby.KELLERMAN'S HOUSENathan, Julian andClay looks at car which is the garage.NATHAN: Was that the car from the bridge that night?FLASHBACK, GABEL BRIDGEJULIAN: No, stop! Stop! Stop!BROOKE:Julian!JULIAN: No, Brooke!CLAY'S CARJulian is with Clay.JULIAN: What the hell is wrong with people? How do you just drive away from an accident likethat?CLAY: Nate said he found an empty bottle of Phidian's in the front seat.JULIAN: Bourbon? No wonder his son's a douche bag. This guy is an educator, ateacher who talks about ethics in business every day, and he just gets drunk, nearly kills Jamie and my wife, and just drives away. Ugh! Brooke nearly drownedthat night, and he just leaves her there and gets away with it.CLAY: Not for long. Hey, by the way, I'm sorry about the baby and the adoption. How's Brookedoing?JULIAN: She's devastated. You know, she's trying, but she's a mess.CLAY: Well, for what it's worth, she didn't die on that bridge. You know, she's alive.You two have each other. And take it from me that's a hell of a lot to have. Kellerman's class is about to start.KELLERMAN'S CLASSThe class is starting. Augustsees Jamie in a seat.AUGUST: Good morning. Take your seats. Stop talking, and let's begin. Well, it seems my class gets younger every day. You must have doneexceedingly well on your advanced placement exams. What's your name, son?JAMIE: Jamie Scott.AUGUST: Jamie Scott. Of course. And your father is...JAMIE:Nathan Scott. He's sitting right there.AUGUST: Mr. Scott. Is it because you couldn't afford a sitter, or did you bring your son to match wits with me, like yourso-called business partner, who, frankly, looked to be about the same age?NATHAN: Nothing like that. He just wanted to see you again. AUGUST; But I don'tbelieve we've met.NATHAN: You have, briefly. We ran into each other the night of the big storm. Well, actually, you ran into Jamie. You were in yourWagoneer.AUGUST: You're sure it was the night of the storm?NATHAN: Absolutely. You were in your Wagoneer, and you were with your friend, Mr. Phidian. Andyou were in a hurry, so we really didn't get a chance to talk.AUGUST: Well, we should do that perhaps after class in my office.NATHAN: We know where to findyou. Come on, Jamie. We're holding up class.(Nathan and Jamie leave)AUGUST: You know... You won't get another today. Go enjoy it. Classdismissed.STUDENTS: Whoo!ONE TREE HILL - OPEN CREDITSRED BEDRROM RECORDSQuinn sees a microphone and starts to sing \"Eye of the tiger\".QUINN: \"It'sthe eye of the tiger, it's the thrill of the fight risin' up to the challenge of our rivals and the last-known survivor stalks his prey in the night and he's watching us allin the ey-y-e\"(She sees Alex)QUINN: Of the tiger. Hey.CLUB TRICMillie asks to Mouth to find a new topic for the new show.MOUTH: Drugs -- more specifically,drug stores.MILLICENT: I do a story on drug stores? What's the angle?MOUTH: The angle is how drug stores are the new coffeehouses. Remember when therewas a new coffee shop on every block? Well, now it's drug stores. They're everywhere. It's like caffeine used to be the drug of choice, but now people are skippingthe coffee and going right for the actual drugs.MILLICENT: They could wash it down with the coffee. What else you got?MOUTH: How 'bout the airlines? We keepbailing them out with more money, and they keep sucking. You could do an expose on the worst airline on the planet. They have those planes that don't everleave the airport.MILLICENT: I should probably keep it more general than that.MOUTH: Okay, so talk about how the airlines charge for everything now snacks,bags, that ratty scrap of disease they call a blanket.MILLICENT: Not bad.MOUTH: And they lie. They're such liars. They know when your flight's gonna be threehours late, but instead of telling you, they say your flight's on time. Then they change the status every 20 minutes to give you 9 times' worth of false hope, as ifthat somehow makes it not as bad. Oh, how 'bout when they tell you to turn off your phone for safety reasons? If the safety of the plane could be affected bycellphones, do you really think they'd let you bring them on board?MILLICENT: I never thought of that.MOUTH: In this day and age, considering all theirrestrictions, we're really gonna trust first-time-flyer Carl back in 14C to turn off his cellphone so we can all land safely? I mean, considering he boarded with thewrong group, reeks of cologne, and laughs out loud at his own jokes, that's the guy we're gonna trust to do the right thing?MILLICENT: You're kind of angry,Marvin McFadden.MOUTH: About flying? Yeah, a little. Some idiot tries to light a bomb with his stinking sweaty feet, and now I got to take my shoes off to walkthrough the foot rot of a million travelers every time I fly. They should have sentenced that guy to stand near the security check at every major airport, and weshould get unlimited kicks.MILLICENT: My baby is cranky.NALEY'S HOUSEHaley tries to deaden Lydia. Jamie comes in.HALEY: Who's a fussy baby? Who's a fussybaby? No, there's no reason to fuss. No, there's no reason to fuss, baby. Oh. Shh, shh, shh, shh, shh.JAMIE: Mom, Chester's a little upset with you.HALEY: Oh,boy, a baby, and a bunny. Well, the cute factor's high. Why is Chester upset?JAMIE: Well, I kind of told him that Lydia's middle name was Bob after of grandma'scat, and he was a little hurt by it.HALEY: Oh. Gee, I'm sorry. Well, he does have a good point. Lydia Chester Scott -- I don't know. It doesn't quite have the rightring to it, does it? Does it?JAMIE: I guess. But if I ever have a kid...Their middle name's gonna be Chester.HALEY: I suppose that's fair. So, what do you got goingon today, kiddo?JAMIE: Not much. Dad's gonna take me to the Rivercourt every day this week as a reward.HALEY: A reward for what?JAMIE: For going to hisclass and messing with his teacher.HALEY: August Kellerman?JAMIE: Yeah, I think that's him. He has the bulldog, right?HALEY: Yeah, Dogust.JAMIE: I wonder ifhis son's middle name is Dogust. She's pretty awesome, mom.HALEY: Yeah. I think so, too.RED BEDROOM RECORDSAlex imitates Quinn.ALEX: \"It's the eye ofthe tiger, it's the cream of the fight rising up to the challenge of our rivals\"QUINN: Very funny. By the way, it's \"thrill,\" not \"cream.\"ALEX: Oh, I thought it was\"cream.\"QUINN: Why would it be \"cream of the fight\"?ALEX: Good point. \"Thrill\" is better.QUINN: What are you doing here, anyway?ALEX: I was just gonna askyou the same thing.QUINN: Well, Haley asked me to help out for a couple of weeks since Lydia was born, which happens to be very good news for you.ALEX:Why? Because I get free studio time?QUINN: No. How many songs do you have?ALEX: Uh, I don't know. A bunch.QUINN: Good. How would you like to open forOlin & The Moon?ALEX: Oh, my God! Are you kidding me?! Yes, absolutely!QUINN: Perfect. It'll be this weekend.ALEX: This weekend?QUINN: Yeah.ALEX: I'mopening?QUINN: Mm-hmm.ALEX: For Olin & The... who?QUINN: The moon, yes. I hope.ALEX: Wait. No, no, no, no, no. Why you hope so?QUINN: Well, I mean, Ihave you. I just have to get Olin & The Moon.ALEX: Damn it.QUINN: No. No \"damn it.\" Besides... I know something you don't.KELLERMAN'S OFFICENathan has aconversation with August.AUGUST: Whatever you think you know, you've made a mistake.NATHAN: I saw the car in your garage.AUGUST: First of all, my homeand my vehicle are my own business. Beyond that, I had an accident. So what? So what?NATHAN: So you nearly killed my son and a good friend.AUGUST: You'rewrong. I swerved to miss some deer, and I hit a light pole.NATHAN: You hit a car, Kellerman, on the Gabel Bridge, and then you drove away and left two peopledrowning in the river when the levee broke.AUGUST: I didn't...NATHAN: You didn't what? You didn't do it, or you don't remember doing it, considering the emptybottle of bourbon I found underneath your front seat?AUGUST: You're making a mistake.NATHAN: Okay. Okay. So, you had an accident the night of the bigstorm, you smashed the front of your late-model maroon Grand Wagoneer, and then you drove away without anybody seeing. Meanwhile, a different late-modelmaroon Grand Wagoneer crashed into my son's car on the same night at around the same time, and then also drove away. And the eyewitness ismistaken.AUGUST: I have nothing else to say to you.NATHAN: Well, I have something to say to you. My son was trapped inside that car. He was scared, and hewas alone, and you left him there. His godmother nearly died that night in front of his eyes. And you could have helped them, but instead, you slipped into theshadows like a coward. Well, I'm about to shine a light into those shadows because I know what you did, and you know what you did. And this is going to bemade right by you or by me. You think about that.BRULIAN'S HOUSEBrooke is sad for she couldn't have the baby.JULIAN: Brooke, it's okay.BROOKE: Iknow.JULIAN: I don't want you to worry about this stuff. I'm gonna paint the wall, and we're gonna send these things back, and we're gonna be justfine.BROOKE: I know. I'm all right. I can do it.JULIAN: Hey. It's gonna be okay.NALEY'S HOUSEQuinn sings a song for Lydia.QUINN: \"Mahna mahna, doo doo-doodoo-doo mahna mahna, doo doo-doo-doo mahna mahna, doo-doo doo-doo-doo doo-doo-doo doo-doo-doo Dee Dee-Dee-Dee Dee-Dee-Dee mahna-mah, mahnamah ma mahna mahna mahna mah mahna mah. »(Haley comes in)QUINN: Hey!HALEY: Okay. Let's take the baby from insane Aunt Quinn.QUINN: Oh, she likesher Aunt Quinn.HALEY: Oh. Come here. Come here, baby.QUINN: Besides, insane Aunt Quinn just booked Olin & The Moon to play Tric this weekend.HALEY: Oh.Get out of here.QUINN: Yeah.HALEY: No, let's get out of here. She needs to sleep.QUINN: Yeah. Yeah.BRULIAN'S HOUSEBrooke and Julian are ready to paint theroom. Phone rings.JULIAN: You want it?BROOKE: Depends. Who is it?JULIAN: It's... Clothes Over Bros.BROOKE: Hello?CLUB TRICAlex joins Chase in theTric.ALEX: Hello.CHASE: Hey, is that world-famous actress Alex Dupré or world-famous singer Alex Dupré?ALEX: Not world-famous yet, but someday. So, checkit out.CHASE: Well, well. How much more handsome do I look?ALEX: Same, which is very. Just thought you might want to see the baby steps.CHASE: Verybadass. How we doing on the booze and boys front?ALEX: Well, I don't know how you're doing with booze and boys, considering you gave my job to mouth afterhe tied a cherry stem with his tongue. But I'm doing quite well, actually.CHASE: You are. You're doing great. I'm proud of you for it.ALEX: Baby steps.NALEY'S"}
+{"doc_id":"doc_193","qid":"","text":"Becca: Vernon and I just want to thank you all for coming. Ever since I was a small girl, I've dreamt of this day.Vernon: Me, too.(laughter)Becca: Sure, in myfantasy, it took place at Fraggle Rock. (laughter) I was marrying Johnny Depp.Vernon: Me, too.(laughter)(Becca clears her throat)Becca: But in all seriousness, itis so amazing to be surrounded by so many people who care about us. We really feel... so much love from you guys. And as the Beatles said, \"All you need islove.\"And a Vera Wang dress.(Becca chuckles)(laughter)Vernon and I are looking forward to seeing you at our 50th wedding anniversary.(Becca laughs)(crying):Promised myself I wasn't gonna do this.Uh, Jimmy, are you having a-a good time?Jimmy: Absolutely. Just so glad you invited me.Becca: Really?Jimmy: Ofcourse. Sometimes, well, you just want to witness the beginning of a disaster, so later, when the house is engulfed in flames, you can say, \"Yup, I was therewhen they installed the faulty wiring.\"Becca: Unbelievable.Jimmy: Just admit it. You only invited me here so you could passive-aggressively rub my nose in yourhappiness. At least I would have had the decency to rub your nose in it directly.Becca: Oh, yes, your commitment to honesty is so refreshing. It must be so hardbeing the only one who sees people for what they actually are.Jimmy: It is. It's incredibly hard.Becca: Well, it's also gonna be what keeps you alone, because youare ugly and unpleasant and honestly, Jimmy, you're not the original you think you are.Jimmy: I'm not original? Wow! That is hilarious, coming from such a... No,you're right. This day isn't about me, is it?Becca: What were you gonna say?Jimmy: Forget it.Becca: No, I'm serious. I really want to know what does (in Britishaccent): the brilliant Jimmy Shive-Overly think about me?(Jimmy grunts)Vernon: You talk to her again, and me and my boys will mess you up.Jimmy: Who talkslike that?Vernon: I'm serious, Jimmy.Jimmy: Fine, not a problem.Enjoy your sham of a marriage!Vernon: I will!Gretchen: You got another one of those?Jimmy:Pretty expensive.Gretchen: Good job in there.Jimmy: Getting married doesn't remove you from the burden of having to act like a human being.Gretchen: Totally.Those two are doomed.Jimmy: Right? Has any couple ever had a more dishonest start to a marriage? I mean, the balls to have a traditional Catholicceremony.Gretchen: When she's already had two abortions.Jimmy: And can only orgasm through a**l.(people gasp and mutter)Jimmy: Mr. and Mrs.Cottumaccio.Man: Let's go inside.Jimmy: Old Cottumaccios.(man mutters)You're pretty.Gretchen: Thanks?Jimmy: How do you know her?Gretchen: I'm friendswith the sister.Jimmy: Friends with Fat Lindsay?Gretchen: Yeah, me and Fat Lindsay are hella close.Jimmy: So, uh, what you heard about me?Gretchen: Nothing,just that you're the worst.Jimmy: Says the girl who just stole a blender from a wedding.Gretchen: No. Really? Oh, man! I thought it was a food processor.Jimmy:Who's the worst now?Gretchen: Yeah, well...Gretchen: I don't know what I'm doing here. I'm not even attracted to you.Jimmy: What does that have to do withanything?Gretchen: Yeah. \u0000 Don't look ahead There's stormy weather... \u0000Jimmy: What? It's L.A. Who doesn't drive?Gretchen: DUI. I occasionally see this moviedirector guy.Jimmy: Gross.Gretchen: One time, he booty-texted me from some awards show. I was already at the bar, so I drove over to his house, and then hetexted me he was going to be late, so I idly drove around his neighborhood...(chuckles): until I kind of sideswiped an off-duty cop.Jimmy: Do you know, I'm gladthis is a one-night thing, so we can reveal all this awful sh1t about ourselves.Gretchen (chuckles): Totally. High five. I'll get that. Okay, I like that.Jimmy: All girlsdo.Gretchen: Don't call me \"all girls.\" Damn it. That's good, too. \u0000 Don't look ahead There's stormy weather... \u0000Jimmy: You know, right before Becca broke upwith me, I started reading her e-mail.Gretchen: Oh, I've done that.Jimmy: So even though I had warning, when she broke up with me, it kind of... just kind ofknocked me out. Even though she's clearly a ridiculous human being, you know?Gretchen: Yeah. Break-ups hurt. I've heard. I don't really dorelationships.Jimmy: Me, neither. Anymore.Gretchen: So, what, are you one of those creepy foot guys?Jimmy: No. I have nervous hands, and they have to staybusy.(moaning)Gretchen: Yeah, that's good.Oh, don't stop, you son of a bitch. Oh, yeah...(Jimmy spits)You just spit on it?Jimmy: Yeah.Gretchen: You just spit onmy v*g1n*.Jimmy: So?Gretchen: Don't!Jimmy: Why?Gretchen: Why don't spit on my v*g1n*?Jimmy: It's saliva. It's gonna get there anyway.Gretchen: Hmm.And that's how I got crabs from my guidance counselor.(Gretchen chuckles)Jimmy (softly): Hey.Gretchen: Hey.Jimmy: Right.Uh, I should get some sleep,so...Gretchen: Right. Good night.Jimmy: Wait. What?Gretchen: Oh, relax. I'm just lazy. I'll sneak out in the morning.Jimmy: No, there are nosleepovers.Gretchen: Oh, too bad.Jimmy: I have sleep apnea. I have to wear a CPAP machine.Gretchen: Don't care. I'm a log.(CPAP machine beeps,whirrs)(Gretchen laughs)You look like Top Gun.Jimmy: Shut up.Gretchen: I'm so glad I'm not gonna remember any of this in the morning.(machine whirrsrhythmically)\"Never leave your wingman.\"(both laugh)Jimmy: So stupid.(Jimmy sighs)Edgar: Good morning.So, I've been thinking about ghosts.Jimmy: Oh, thethings that don't exist because there is no soul?Edgar: Mm...Jimmy: What a great use of your time.Edgar: You know my great-grandfather Baldemar on myfather's side, right?Jimmy: What? No. How could I possibly know your great...?Edgar: Oh, he was this crazy adventurer guy who owned a ranch in Zihuatanejo,and he sold arms and was a matador. Jimmy: What was his name? Voldemort? Never mind.Edgar: The coolest guy. Because I was thinking, he sounds like he hadit all worked out, and maybe if I could learn his secrets, then I could fix my problems.Jimmy: How would meeting your dead relative help you move out of myhouse?Edgar: No, I'm talking about my real problems. Like, the nightmares and the crying, and how I want to do heroin all the time. So, anyway, what do youthink?Jimmy: What do I think about what?Edgar: If I should hold a seance to contact great-grandfather Baldemar.Jimmy: No.Edgar: I think I'm gonna do it.Thanks.Gretchen: Why did you let me sleep so late? I'm famished. Nice place.Edgar: Hi. I'm Edgar.Gretchen: Mmm. Gretchen. This is dynamite.Edgar: Oh,thanks.Gretchen: So, how do you guys know each other?Edgar: Uh, we met in college.Jimmy: No, we didn't.Edgar: Well, he was in college, and I sold weed tocollege kids. Then he started giving me books to read, 'cause he saw untapped potential in me.Jimmy: I gave you books that I stole from Borders because I didn'thave money for weed.Edgar: Semantics. Have you read his book yet?Gretchen: No.Edgar: Sales were flatter than expected, plus he blew all his money on thishouse. That's why he has to do more magazine work, but you should read it. It's real good.Gretchen: Okay.Jimmy: At least buy your own copy.Gretchen(laughs): Right. So, which one of you is giving me a ride to work?Edgar: I can't drive because I have PTSD and mild to medium battlefield-inducedpsychosis.Gretchen: Bummer. Jimmy, you're up.Jimmy: My car's at the reception. We took a cab.Gretchen: We did? Damn.Lindsay: I can't believe it.Gretchen:Drive faster. I'm late.Lindsay: You slept with Jimmy.Gretchen: Apparently.Lindsay: Who used to date my sister.Gretchen: Yeah, I know.Lindsay: And on the nightof her wedding?Gretchen: Why are you crawling up my ass about this, Lindsay?Lindsay: You know what a jerk he is. I told you all the time how he swallowed herup. She disappeared her life into his and was never the Same.Gretchen: Oh, that's 'cause Becca doesn't have a personality to begin with.Lindsay: Well, that'strue. Ugh! Oh, Jimmy's the worst. Did he say anything about me?Gretchen: Nope.Lindsay: You're not gonna see him again, are you?Gretchen: No way. We didhave fun, though.(Lindsay groans)Oh, God, I hope he doesn't think it was, like, an actual thing.Lindsay: No kidding. Um, get... Can you be careful where you'reputting your makeup, and can you take your feet off the dashboard? This is a lease.Gretchen: Okay.(phone buzzing)Stop the car.Lindsay: What?Gretchen: Stopthe car! I'd rather walk than drive in this sterile, suburban, piece of sh1t car with my best friend being shitty and judgmental to me 'cause I had s*x with a guy ata wedding. How many guys did you blow at our five-year reunion?Lindsay: Four.Gretchen: Four? You told me three.Lindsay: I might have left out TorBorgfeldt.Gretchen: Ew! I'm seriously nauseated right now.Lindsay: Oh, God. We used to have so much fun.Gretchen: Yeah, we did. Why'd you have to getmarried?Lindsay: I know. I'm sorry. Do you like my new haircut?Gretchen: No, you look like Ellen Barkin. If you get your real estate license, I will stab you in thetits.Jimmy: Brilliant. Absolutely brilliant.[SCENE_BREAK]Killian: Hi.Jimmy: What?Killian: I just moved in... over there.Jimmy: Of course you did.Killian: Why doyou say that?Jimmy: Because the death of any interesting neighborhood is the influx of white procreators.Killian: Oh, that's cool. My nutritionist is gay,too.Jimmy: I'm not gay. I'm English.(Jimmy sighs)Killian: What's that?Jimmy: A royalty check for my book for... $17.43.Do you know, if there was any doubt thatthe book industry was dead, it is here in my hand. R.I.P., literature. 2000 BC to this moment.Killian: You want to hang out sometime?Jimmy: What? What are youeven talking about? I'm an adult. Do you know what that means? It means that I am beset upon at all times by a tsunami of complex thoughts and struggles,unceasingly aware of my own mortality and able to contemplate the futility of everything and yet still rage against the dying of the light. So do you see howmonumentally stupid you, a child, asking me \"do I want to hang out sometime\" is?Killian: My dad designs video games. We get all the new ones early.Jimmy:Come over around 8:00.\u0000 As rumor has it still \u0000 \u0000 I followed the rules \u0000 \u0000 Of Frank Abagnale \u0000 \u0000 So catch me if you can \u0000 \u0000 There ain't people...\u0000Gretchen: What the crap?!Sam: You know I get nervous at these sh1ts.Gretchen: You are paying a guy to take your photograph, and you trash his studio?Sam:You weren't here! Unprofessional as sh1t! A publicist who can't show up at publicity events? Don't even know what I'm paying you for, Gretchen!Gretchen: Thelabel pays me.Sam: You know it all gets charged against my end, bitch! Label is villains. From now on, I'm just gonna drop free mix tapes and Vines of my guineapigs!Gretchen: You need to apologize to Nestor so he doesn't sue you.Sam: Let him. I'll lawyer the hell up!Gretchen: Nestor is a great photographer. We needhim.Sam: Anyone's a good photographer now. Shitstain take amazing Instagrams.Shitstain: No filter.Honey Nutz: Yeah! @Shitstain!Sam: Anyway, bitch, this isyour fault. You need to apologize to him for being such a no-showing-up bitch!\u0000 Get down, get down \u0000 \u0000 Get down, get down \u0000 \u0000 Get down, get down \u0000 \u0000Get down, get... \u0000Sam: We're sorry we broke your sh1t.Gretchen: Okay, good. Nestor, we'll talk about restitution? Hey. You okay?Sam: Yeah. Hell were you"}
+{"doc_id":"doc_194","qid":"","text":"[Scene: Manor. Dining room. Phoebe, Paige, Jason and Richard are there. They have just finished dinner.]Paige: Okay, this has been really fun, guys, but Phoebeactually brought us here tonight to say something, didn't you, Pheebs?Phoebe: No, no, I-I-I just think that we don't get to see enough of each other, that'sall.(She laughs nervously.)Jason: Might be a little longer too, seeing as we're off to Paris in the morning.Paige: Yeah, about that French merger...Phoebe: Oh,Hong Kong, Rome, gay Pa-Ree, it's enough to send a girl's head spinning, you know.Paige: But wasn't there something you really wanted to say about...Richard:Ah, you must have great business karma.Jason: Oh, karma? I don't believe in that stuff.Richard: Not at all?Jason: Well, I mean, you know, if somebody cuts meoff on the road, I'd like to think that they're gonna get what's coming to them, if that's what you mean.Richard: That's karma, the great cosmic justice system.You reap what you sow.Paige: Great, fabulous, anyway, Phoebe.(Paige kicks Phoebe under the table.)Phoebe: Ah! Uh, okay, alright. Uh, Jason, there issomething that I want to share with you right now, and, uh, that would be... a toast. A toast to your new merger.Paige: Pheebs, could you help me with thecobbler.(Phoebe and Paige leave the room.)Jason: Am I missing something?[Cut to the kitchen. Phoebe and Paige walk in.]Paige: Okay, that was a three coursemeal, not including the fruit and cheese plate, I gave you a million openings. What do you want? A drum roll?Phoebe: Actually, that's not a bad idea.Paige: Youare going with him to France tomorrow. You've been putting this off for too long, you have to tell him you're a witch.Phoebe: I'm just thinking maybe we shouldwait until we get there to tell him, you know. And then if there's an emergency you can orb us back, okay?Paige: You've probably been caught almost like amillion times. You can't keep taking that risk.Phoebe: I know. You know, maybe I should wait until tomorrow until after the big banquet so I don't upset his bigday.Paige: I think that you have a big problem with avoiding conflict and one day, missy, it is gonna come back and bite you in the ass.(Richard walksin.)Richard: Hey, he's getting a little antsy in there.Paige: And you, what is it with this whole karma thing? You're supposed to be making it easier for her.(Leoorbs in.)Leo: Piper's under attack, she needs your help fast.Phoebe: Saved by the orb. Great. Keep Jason occupied.(Phoebe and Paige orb out.)[Cut to diningroom. Leo walks in holding a pot of coffee and a dish of dessert. Richard walks in behind him.]Jason: Leo? What are you doing here?Leo: Uh, just bringingdessert. You want some?Richard: The girls are just tidying up.[Cut to a tunnel. Piper is there. She blows up a demon and another one appears.]Piper: Crap.(Thedemon throws a fireball at Piper and she dives out of the way. Phoebe and Paige orb in.)Phoebe: Piper.Piper: About time.(They help her up and Piper blows up thedemon.)Phoebe: It wasn't easy to find you in these catacombs.Paige: You were supposed to wait until after dinner so I could help.Piper: Well, I thought I couldhandle it. Except I must have missed something in the book.Phoebe: I guess so.Piper: Look, every time I hit one, two more show up.(Piper looks around thecorner and sees two more demons. She tries to blow them up but they duck and she misses. They throw two fireballs.)Phoebe: Okay, back up. (Phoebe walksaround the corner.) Hey, boys!(They throw a fireball each at Phoebe and she channels them straight back at them, vanquishing them. Four more shimmer in.Piper and Paige pull Phoebe back behind the wall.)Piper: Okay, new plan. Blast and then bail.Phoebe: Okay.[Cut to the manor. Kitchen. Jason walks in with Leoand Richard following.]Jason: Hey, Phoebe, what's taking you so long? Wh-Where'd they go?Richard: Uh, must be an emergency or something.Jason: It's alwayssome emergency or some phone call or some marathon pee-break. What's going on?(Piper, Phoebe and Paige orb in, in front of Jason. He faints.)Piper:Oh.Opening Credits[Scene: Manor. Foyer. Phoebe watches Jason drive away in his car. She closes the door and walks into the living room where Leo is healingPiper's wound on her forehead.]Leo: I'd better go check on Wyatt.(Leo leaves the room.)Phoebe: I've never seen him like that. He looked at me like he had noidea who I was.Paige: He doesn't know you. Not the witch you, anyway.Piper: He's just gonna need some time.Phoebe: Why didn't I just tell him? And no I toldyou so's.Paige: We all make little mistakes, honey.Phoebe: This was a very big mistake. I can't imagine how he's feeling right now, what he's goingthrough.Paige: The good news is it's out in the open now and, uh, you know, you guys have no more secrets.(Richard walks in.)Richard: Food's away, table'scleared, anything else I can do?Paige: No, thank you.Richard: Hey, I feel awful. I'm sorry about what happened.Phoebe: It's not your fault.Richard: Well, actually,it is.Piper: Why? Did you shove Jason into the kitchen?Richard: No, but my karma did. I'm serious, I'm convinced I'm carrying around the burden of my family'skarma. We did so much bad with magic, now magic's doing bad to me, and those I care about.Paige: Now that is completely ridiculous.Richard: The feud haslasted for decades in my family, and so many people were hurt in the crossfire. Somebody's gotta inherit that bad karma, right?Piper: Not really how karmaworks.Phoebe: You live a double life with your boyfriend, and you pay the price. If anyone's karma made this happen it's mine.Paige: That's true. You had thechance to clean this up tonight and you didn't.Phoebe: See, there's that 'I told you so', huh?Paige: Only to make a point.Phoebe: No, you're right. I've beenavoiding conflict my whole life.Richard: And it just happened the night I was here? It's all I'm saying.Piper: Hey, you guys, this mea culpa game is real fun and allbut we're not gonna solve anything. Um, there's multiplying swarm demons on the other hand.Paige: That's right, we riled them up, didn't we?Piper: Yeah, and ifthey attack right now we won't know how to deal with them. So why don't you two hit the book and I'll catch up after I check on Wyatt.Phoebe: Uh, would youguys mind if I sat this one out? I kind of feel like I need to go see Jason.Piper: Well, maybe after we...Paige: No, we can handle it.[Cut to Wyatt's room. Leo laysWyatt down in his crib. He covers him with a red blanket. Piper walks in.]Piper: Leo, no, no, no.Leo: What? What? What? What is it?(Piper pulls off the redblanket.)Piper: This, this.Leo: What, my grandmother's quilt.Piper: Her red quilt. The colour of anger and violence and all things bad.Leo: Bad? I used thatquilt.Piper: Well, you can have it back. Wyatt is now using the powder blue baby blanket. Did you turn off the serenity Mozart CD? Look, we need to bathe Wyattin goodness and nurture peace and serenity. Happy things.(She plays the Mozart CD on the CD player.)Leo: Piper, don't you think you're overreacting a littlebit?Piper: Leo, there's no such thing as overreacting when it comes to the future of our child.Leo: Okay, but aren't the swarm demons the last on the list ofthreats?Piper: Yes, but...Leo: Okay, and when they're gone, are you gonna stop worrying a little bit, right?Piper: No, because I've sent Chris to suss out if there'sany new threats.Leo: Okay, not to press a point but didn't you just have an epiphany about not focusing all your energy on Wyatt?Piper: Yes, well, that wasbefore Chris informed us that our child is going to grow up to be the future of all evil. Besides, it's not all I do. I have the club, I have friends.Leo: Wow.Piper:Look, it's just that Wyatt still comes first. Which is why you're going to take him up the Elders so he's safe while we figure out how to deal with the swarmdemons. And while you're there, can you ask them if there's anything they can do to ensure goodness in Wyatt, you know, pull a few strings.Leo: Piper, we don'tneed any strings pulled. We can protect our son ourselves.Piper: Well, in the future apparently we don't. Okay, so look, there are blue booties in the bag in case itgets cold, so don't be afraid to use them, okay?(Piper leaves the room. Leo picks up Wyatt.)Leo: Don't ask me, she's your mother.[SCENE_BREAK][Scene: Manor.Attic. Paige and Richard are there.]Richard: Look, you and I both know in order to make this work you can't repress yourself.Paige: I'm not. Look, practisingmagic.Richard: Yeah, but you don't want me to.Paige: Every relationship is gonna have its challenges, right? Look at Phoebe and Jason.Richard: I'm telling you,that was me.Paige: No, that was them not being truthful with each other, and as long as we are, we're gonna be fine.Richard: Fine would be if I could start overwith a clean slate.Paige: You just be the wonderful person that you are and it's gonna make up for all the bad things your family ever did.Richard: Not in this lifetime. I wanna start over.Paige: It's not possible. If it were, everybody would do it.Richard: Okay, everybody's not a powerful witch.Paige: Look, karma is the DNAof the universe. It's what balances everything out. You start screwing with that, you could mess up the entire cosmic order of things.Richard: Maybe you can helpme cast a spell.Paige: What part of no shortcuts are you not you getting? There's an aura cleanse, a chakra cleanse, but no karma cleanse. If it were possible tobe cleansed, it would be in there. But there's no spell, it can't be done.(Piper walks in.)Piper: Got anything?Paige: Yeah, let's see. (Piper and Paige look at theopen book.) They are distant relatives of kazis and vampires, which means they come from a hive. Did you even read this?Piper: I skimmed it. So they weredrones that we were killing. Well, no wonder they just kept coming back. It says you have to kill the king to kill the hive which requires a power of three spell. I'llcall Phoebe.(She heads for the door.)Paige: Hey, just slow down there, okay? Take it easy.Piper: Okay, you orb out and get Phoebe and I'll start on thepotion.Paige: Why don't we just track the leader down. You and I. That way Phoebe and Jason can have a little bit of time alone, yeah?Piper: Well, what if theswarm attacks before... (Paige gives her a look.) Okay, fine. We'll locate the ruler first.Paige: Brilliant idea. (to Richard) Hey, can I orb you anywhere?Richard:No, it's okay. I drove my car here.Paige: Okay. I'll see you soon.(Piper and Paige orb out. Richard walks over to the Book of Shadows and starts flipping throughit.)[Scene: The Bay Mirror. Jason's office. Jason is there. Phoebe walks in.]Jason: You stay away.Phoebe: We need to talk.Jason: No, no, I don't wanna talk.You're, this is your... this-this is-is-is so beyond, this is so far beyond my reality, you know. I-I-I I'm just still trying to figure out how-how you could... fifteenmonths I didn't know.Phoebe: I wanted to tell you. I really did, but I couldn't. And you know now, so can we talk about this please?Jason: Oh, okay, fine, let'stalk. Alright, what was this, huh? The Godiva girls. Was that magic?Phoebe: Yeah.Jason: Okay, what about that-that funny looking little cousin of yours, cousinShamus. What the hell was he? One of the seven dwarves?Phoebe: Uh, no actually, he was a leprechaun. And not really my cousin. Look, Jason, I know how youfeel.Jason: How do I feel, Phoebe? Huh? Tell me because I don't know. But you, you always seem to know. So tell me, how's it gonna feel when I crash? 'Cause"}
+{"doc_id":"doc_195","qid":"","text":"[Scene: Monica, Chandler, and Phoebe's, everyone is there and they are finishing watching the first episode of Mac and C.H.E.E.S.E. Joey is of course Mac.]Mac:(on TV) Well, if we learned one thing today C.H.E.E.S.E. is that cheerleaders and high explosives don't mix. (Cut to Joey laughing while Rachel, Chandler, andMonica aren't amused.)C.H.E.E.S.E: You can say that again Mac.Mac: Well, I couldn't have done it without you buddy. You're a genius.C.H.E.E.S.E: Oh yeah? Wellthen how come I can't get my VCR to stop blinking 12:00?(They both break into a huge laugh and do that stop-motion thing they had at the end of ChiPs.)Joey:(laughing and turning off the TV) So, what did you guys think?(They all make happy faces as they are unable to express their feelings verbally. Finally, the phonerings and the race to answer it is won by Monica.)Monica: (on phone) Hello? (Listens) Hold on please. Joey, it's your mom. (Hands him the phone.)Chandler: It'syour mommy. It's your mommy.Ross: Ohhhh...Rachel: That's nice.Joey: (on phone) Mom, so what did you think? (He walks away allowing the gang a chance tofigure out what they're gonna say.)Rachel: Well that was umm...Okay.Ross: It wasn't the best.Chandler: That was one of the worse things ever. And not just onTV.Monica: Wh-what are we gonna tell him?Ross: Well, the lighting was okay.Rachel: Ohh no you don't! You got lighting last time, lighting is mine!Monica: And Ihave costumes.Ross: Oh great! That means I'm stuck with, \"So, we were watching you in there (Points to the TV) and you were sittin' right here! Whoa!\"(Phoebegets up.)Rachel: What are you gonna do Pheebs?Phoebe: I don't know. I don't know. I can't lie to him again. Oh no I-no! I'm just gonna press my breasts upagainst him.Chandler: And say nothing?Phoebe: Uh-huh, yeah that's right.Joey: (hangs up the phone) Wow! Well, my folks really liked it! So what-what did youguys think? (Phoebe smiles, walks up to him, and presses her breasts against him.) It wasn't that good.Opening Credits[Scene: Central Perk, Phoebe and Monicaare reading on the couch.]Monica: Phoebe, do you think that your favorite animal says much about you?Phoebe: What? You mean behind my back?Rachel:(entering, excitedly) Oh! Hi you guys, oh my God! You'll never gonna believe what happened to me today! I am sitting in my office and...Joey: (entering frombathrooms excitedly) You guys! You guys! You're not gonna believe what my agent just told me!Rachel: Joey! Kinda in the middle of a story here!Joey: Ooh,sorry. Sorry. You finish, go.Rachel: Okay, so anyway I'm sittin' in my office and guess who walks in.Joey: I'm gonna be on two TV shows!Monica and Phoebe: Oh,that's great!!Rachel: Joey!Joey: Oh, you weren't finished?Rachel: Yeah! Guess who walks into my office is the end of my story. (To Monica and Phoebe) It wasRalph Lauren! (Monica and Phoebe gasp) Ralph Lauren walked into my office!Joey: Uh Rach, if you're gonna start another story, at least let me finishmine.Rachel: It's the same story.Joey: (groans in disgust) Wow, it's really long.Rachel: (ignoring him) Anyway, Ralph just came in to tell me that he's so happywith my work that he wants me to be the new merchandising manager for polo retail.Monica: Still get a discount on wedding dresses?Rachel: Yeah!Monica: I'm sohappy for you!Joey: Well, these really are the days of our lives.Monica: What?!Joey: Well, since you ask. They want me back on Days of Our Lives!Phoebe:(gasps) Oh God!Rachel: I got-I get a big pay raise!Phoebe: Oh hey!Joey: I'll be playing Drake Ramoray's twin brother, Stryker!Monica: Oooh!Rachel: I get to hiremy own assistant!Monica and Phoebe: Ahhh!!Joey: (jumps up) Well-I got a head rush from standing up too fast right there.[Scene: Rachel's New Office, she'sinterviewing a potential new assistant, Hilda.]Rachel: (reading the resume) And you were at this job for four years?Hilda: That's right.Rachel: Okay, well this is allvery impressive Hilda, um I just have one last question for you. Uh, how did I do? Was this okay?Hilda: What?Rachel: I've never interviewed anyone before. I'veactually never had anyone work for me before. Although when I was a kid, we did have a maid, but this is-this isn't the same thing.Hilda: No dear. It'snot.Rachel: No. Yeah, and I know that. All right, well thank you so much for coming in, it was nice to meet you.Hilda: Thank you! Good meeting you.Rachel: Allright. (Hilda exits) I'm a total pro!(There's a knock on the door and a handsome man enters.)Man: Hello?Rachel: (seeing him) Wow! H-umm! Hi! Yes, uh I'msorry the models are actually down the hall.Man: Actually, I'm here about the assistant job.Rachel: Really?! (Taking his resume) Okay well then, all right, welljust have a seat there. Umm, so what's-what is-what's your name?Man: Tag Jones.Rachel: Uh-huh, go on.Tag: That's it. That's my whole name.Rachel: That'syour whole name, okay of course it is! Okay, well let's-let's just have a look-see here. (Looking at his resume)Tag: I know I haven't worked in an office before,and I really don't have a lot of experience, but uh...Rachel: Oh come on, what are you talking about? You've got three years painting houses. Two whole summersat T.G.I. Friday's, come on!Tag: It's lame, I know. But I'm a goal-oriented person, very eager to learn...Rachel: Okay, hold on just a second. (She grabs a cameraout of the desk and takes his picture.) I'm sorry, it's for human resources, everybody has to do it. Could you just stand up please?[Scene: Central Perk, Chandleris sitting on the couch when some unknown guy comes in and sits in their easy chair.]Chandler: No-no-no-no. (Waves him away as Monica and Phoebe enterwhispering to each other.) Hey! (Monica shushes him.)Phoebe: (To Monica) Anyway, I should go. Okay, bye.Monica: (To Chandler) Hey sweetie.Chandler: Hisweetie. So, what was with all the whispering?Monica: I can't tell you. It's a secret.Chandler: Secret? Married people aren't supposed to have secrets between oneanother. We have too much love and respect for one another.Monica: Awww. (Kisses him.) But still no.Chandler: No I'm serious, we should tell each othereverything. I do not have any secrets from you.Monica: Really? Okay, so why don't you tell me what happened to Ross Junior year at Disneyland?Chandler: Ohno-no, I can't do that.Monica: If you tell me, I'll tell you what Phoebe said.Chandler: Okay.Monica: Okay.Chandler: So, Ross and I are going to Disneyland and westop at this restaurant for tacos. And when I say restaurant, I mean a guy, a hibachi, and the trunk of his car. So Ross has about 10 tacos. And anyway, we're onSpace Mountain and Ross starts to feel a little iffy.Monica: Oh my God. He threw up?Chandler: No, he visited a little town south of throw up. (Monica laughshysterically.) So what was Phoebe's secret?Monica: Oh, Nancy Thompson from Phoebe's old massage place is getting fired.Chandler: That's it?! I gave up myDisneyland story for that?Monica: That's right! You lose sucker!! (Pause) Please still marry me.[Scene: Monica, Chandler, and Phoebe's, Chandler, Rachel, andPhoebe are there.]Rachel: Chandler, you have an assistant right?Chandler: (angrily) Did she call? You-you told her I was sick right? Always tell her I amsick!Rachel: No, I-I just don't know how you decide who to hire. I mean I've got it narrowed down to two people. One of them has great references and a lot ofexperience and then there's this guy...Chandler: What about him?Rachel: I love him. He's so pretty I wanna cry! I don't know what to do. Tell me what todo.Phoebe: Come on you know what to do! You hire the first one! You don't hire an assistant because they're cute, you hire them because they'requalified.Rachel: Uh-huh. No, I hear what you're saying and-and-and that makes a lot of sense but can I just say one more thing? (Takes out his picture.) Lookhow pretty!Phoebe: Let's see. (Looking at the picture) Oh my God! Oh... But no! No! You can't-you can't hire him, because that-it's not professional. Umm, this isfor me (The picture) yes? Thanks. (Puts it in her pocket.)Rachel: Okay you're right. I'll hire Hilda tomorrow. Dumb old perfect for the job Hilda!Chandler: Let mesee this guy. (Phoebe hands him the picture.) W-H-Wow! Don't show this to Monica! And don't tell her about the W-H-Wow![Scene: The Days of Our Livesproducer's office, Joey is entering to find Terry there.]Terry: Hey-hey-hey Joey!Joey: Hey Terry!Terry: Good to see you again!Joey: It's been a while, huh? Wow,it's funny these halls look smaller than they used to.Terry: It's a different building.Joey: So! Stryker Ramoray huh? When do you want me to start?Terry: Whydon't we start right now!Joey: Okay.Terry: Here are the audition scenes. (Holds out the script.)Joey: (looking between the pages and him) Audition? I thoughtyou were gonna offer me the part.Terry: Why would you think that?Joey: Well, I was Dr. Drake Ramoray, Stryker's twin brother. I mean, who looks more methan me right?Terry: Everybody has to audition.Joey: Y'know Terry, I-I don't really need to do this. I got my own cable TV series, (Pause) with a robot.Terry: I'msorry Joey that's...that's the way it is.Joey: Well. I guess you think you're pretty special huh? Sittin' up here in your fancy small hall building. Makin' stars jumpthrough hoops for ya, huh? Well y'know what? (Throws the script away) This is one star who's hoop... This is a star that the hoop-this hoop-I was Dr. DrakeRamoray![Scene: Rachel's office, she's there as Tag knocks on the door and enters carrying a plant.]Rachel: Hi! Tag. What are you doing here?Tag: I just wantedto come by and thank you for not laughing in my face yesterday. And I noticed there aren't any plants in your office so I wanted to bring you your first... (Noticesher plant) There is a plant in your office.Rachel: Kinda.Tag: Right. So I guess I shouldn't put \"good at noticing stuff\" on my resume. (Sets the plant down on herdesk.)Rachel: Oh-ohh, thank you.Tag: Anyway, I'm guessing you hired somebody.Rachel: Well...Tag: Gotcha. Thanks again for meeting with me. (Starts toleave.)Rachel: But I hired you!Tag: What?Rachel: Yeah! You-you got the job! You're my new assistant!Tag: I am?!Rachel: Yeah!Tag: I can't believe it!Rachel: Meeither. Umm, all right, first thing I need you to do is go downstairs and find a women named Hilda and tell her to go home.[Scene: Monica, Chandler, andPhoebe's, Monica is setting the table for dinner as Chandler enters.]Chandler: Hey.Monica: Hey! Good, you're home!Chandler: Oh it's always nicer to hear than,\"Aw crap! You again!\"Monica: Hey baby. (Kisses him.)Chandler: Hey.Monica: I made you a surprise.Chandler: Oh yeah?Monica: Yeah, tacos! Ever since you toldme that story I've had such a craving for them.Chandler: Did you not understand the story?Ross: (entering) Hey!Chandler: Hey! What's up?Monica: Ross!Ross:Oh, nothin' much. Just trying to figure out what I'm gonna do for dinner.Chandler: Huh.Ross: (notices the table) Hey-Ooh! What's-what's that, dinner stuff? Youmaking dinner?Chandler: No! (The oven dings.) Shhh!Ross: What you got over there? Tacos?Monica: No! No. They're umm... They're just uh...ground beefsmileys. (Holding up one of the shells.)Ross: Uhh, those are tacos.Monica: Excuse me Mr. Mexico.Ross: Eh, either way I'll pass. (Quietly to Chandler) I still can'teat those. (Monica is getting something out of the fridge and starts laughing.) What's so funny?!Monica: (trying not to laugh) I'm not laughing.(Ross and Chandler"}
+{"doc_id":"doc_196","qid":"","text":"[Scene: Manor. Kitchen. Piper is there talking on the phone while holding a crying Chris. Wyatt is sitting in a highchair.]Piper: Yeah, I get that, Rex, but I needyou at the club. You're supposed to be there. Valentine's Day is gonna be a very busy night. Can't you ask her to marry you another night?(Phoebe walksin.)Phoebe: Get off that phone.Piper: You know what, I'll handle it. Good luck. (Piper hangs up.) I hope she says no.Phoebe: Take a look at this. This is the newface of evil. (She shows Piper a newspaper.) His name is John Normand. He owns the phone company, and he's been stealing from us for months. Doesn't thatjust make you angry?Piper: Not really.Phoebe: Wait, he's been stealing from us, and he's probably gonna get away with it due to some loophole orsomething.(Piper puts Chris down on the change table.)Piper: Phoebe, I'm a little more worried about the actual demons in the world, you know, the ones wealmost got rid of.Phoebe: Yeah, there's nothing we can do about them. We tried to save the world, it didn't work. The demons are gonna attack when they'regonna attack.Piper: And when they do, we're just gonna be right back to the same old... (Piper takes off Chris' diaper.) Wow!Phoebe: Whoa! You're not kidding.Wow!Piper: Okeydokey. (Piper puts a new diaper on Chris.) Speaking of which, could you do me a favour and watch the boys tonight? I need Leo to help me setup at P3, and apparently my manager is busy proposing.Phoebe: Yeah, sure, of course. It's not like anyone's proposing to me, or like anyone's sending meflowers or reciting me poetry. So much for the little girl I saw in my vision.Piper: Well, Phoebe, just because the Avatars are gone doesn't mean that you won'tstill find love.Phoebe: Easy for you to say. You have Leo.Piper: Yeah, but do I really? It's only a matter of time before the Elders punish him for becoming anAvatar, which they practically drove him to anyway with Gideon and everything.Phoebe: They made Kyle a Whitelighter, and that's good, right?Piper: Yeah, but ittook him away from Paige. And believe me, they got their cosmic jollies off that one.Phoebe: Where is Paige?Piper: At Magic School, where else? Why?Phoebe:Just worried about her, that's all.[Scene: Magic School. Paige and Miss Donovan are there.]Paige: It really is another great application.Miss Donovan: A muse?No, no, no, no. You can't hire her as the next literature professor. She'll inspire them to write novels instead of reading them.Paige: Oh, that's a good point. Ihadn't thought of that.Miss Donovan: Well, I did. And that's why you should hire me.Paige: What? You want to be a teacher?Miss Donovan: Well, isn't it time Imoved up? Besides, I had a great rapport with the last literature professor.Paige: You hated that little gnome, arguing with him five minutes before he waskilled.Miss Donovan: Well, that was our way. Besides, if the truth were told, he'd want me to have the job. I'm very well-read.Paige: It takes more than that,though. It takes being able to really connect with the students.Miss Donovan: I can do that. In fact, I've got some tricks you don't even know about.(MissDonovan suddenly disappears and she sits up on the couch near by.)Paige: Did you astral project?Miss Donovan: Mrs. Winterbourne taught me before she wenton sabbatical. Don't worry, I'll get used to it. Trust me. I am the best candidate for this job.(The hear a motorbike.)Paige: What the hell...(A guy on a motorbikesuddenly appears and he skids across the floor and slams into a table.)Drake: That's gonna leave a mark. Sorry about the table.Paige: Are you okay?(He turns offthe motorbike.)Miss Donovan: Who are you?Drake: I'm the new teacher.Opening Credits[Scene: Magic School. Continued from before.]Miss Donovan: You ride inhere and nearly kill us, and now you want to teach here?Drake: If I wanted to teach parallel parking, you might have a point, but I'm here for literature.MissDonovan: And what do you know about literature?Drake: Plenty. (He clicks his fingers and a sheet of paper appears in his hand.) My resume.(He hands it toPaige.)Paige: Drake. Huh. Well, maybe you should have sent this in so you didn't waste your time.Drake: Oh, I never waste my time. For life is but a walkingshadow, the poor player who struts and frets his hour upon the stage and then is heard no more. It is a tale...Miss Donovan: Tale told...Drake: Take it, sister.MissDonovan: By an idiot, full of sound and fury, signifying...Drake: Nothing.Paige: You two are not gonna make this easy for me.Drake: Come on, what are youtalking about? No contest. It's right there on the resume. I studied at Juilliard, performed on Broadway, and I was penning a memoir that I intend to finish on mydeathbed.Miss Donovan: Oh, I look forward to reading that.Drake: Well, thank you very much.Paige: Why aren't any of these credits more than a yearlong?Drake: Simple really. Before that I was a demon.Miss Donovan: What? A demon?Drake: Was a demon. Now human.Paige: Okay, and how exactly did thathappen?Drake: Personally, I hate exposition, but if... All right. Fifty weeks ago I made a deal, the Sorcerer made me human.Paige: Just like that?Drake: Therewere a few minor stipulations. First of all, I get to keep my powers, and if I use them in any offensive manner, he gets them, and I burn for all eternity.MissDonovan: What are you waiting for? Vanquish him!Drake: Vanq... Lady. Vanquish. I just want a chance to make up for my demon days. If you don't believe me,research me, look into my history. I've got almost nothing to hide.Miss Donovan: We'll see about that.Paige: Miss Donovan, where are you going?Miss Donovan:To prove that he's dangerous.(Miss Donovan leaves the room.)Drake: If that is safety, then I am dangerous. Boy, is she gonna be sorry when I get the job.Paige:Not so fast, Mr. Pompadour Motorcycle Guy. I don't know what to make of you.Drake: Why don't we consult the Book of Shadows? Want a ride?[Scene: P3. Piperand Leo are there. Piper slaps a cardboard heart onto the wall.]Piper: Okay, next.Leo: That one's ripped.Piper: So? The crowd will be too. Actually, this is takingfar too long. Where's my staple gun?Leo: Staple gun? Since when do you staple decorations? Don't you want everything to be perfect?Piper: What's the point? It'sall gonna be torn down tomorrow anyway.Leo: The point is not to worry about what's gonna happen tomorrow. The point is to stop and enjoy Valentine'sDay.Piper: Well, some people can't forget. Some people would rather see the rips and the flaws so that they're not totally devastated when they're all torn downsuddenly tomorrow.Leo: We're not talking about decorations anymore, are we?Piper: Look, Leo, I'm sorry, but I can't just stand here and pretend like everythingis not falling apart again. We both know the Elders are not gonna be easy on you.Leo: When you change the world, you gotta expect consequences.Piper: Sayswho? The Elders brought this on themselves. It's just as much their fault as it is ours, maybe even more so.Leo: Well, I'm the one that chose to become anAvatar. I betrayed them.Piper: Because they drove you to it, with Gideon, what he did to Chris and what he tried to do to Wyatt.Leo: I don't think they'll see itthat way.Piper: You need to make them see it that way, or else this may be the last Valentine's Day we spend together.[Scene: Underworld. Cave. A Sorcerer anda bounty hunter are there.]Sorcerer: Your leads are worthless, bounty hunter!Bounty Hunter: I'm not the one who lost Drake in the first place. That was you,Sorcerer.Sorcerer: Well, I never dreamt I'd need to keep tabs on him. By now, I thought he would have used his powers for sure.Bounty Hunter: And yet hehasn't.Sorcerer: He's stronger than I thought, which is why you must find him so I can force him to give in to temptation.Bounty Hunter: But we are running outof time.Sorcerer: In more ways than one, Mr. Rathbone. Zankou is moving in to take over the Underworld. If I expect to stop him and to seize the throne formyself, I must have Drake's powers! I'll double the bounty, but find him.(Three demons walk in. Two of the demons are holding onto Miss Donovan and she isstruggling to get away.)Demon: Sir, excuse me, sir. We have a new lead.Bounty Hunter: A woman? You call that a lead?Demon: We caught her in the Underworldasking about Drake. She may know where he is.Sorcerer: Ah, is that so?Miss Donovan: I don't know anything. Let me go!(The Sorcerer holds up aknife.)Sorcerer: Think harder, my dear.[Scene: Manor. Conservatory. Phoebe, Wyatt and Chris are there. Phoebe is on the phone.]Phoebe: No, you can not putme on hold again. When are you gonna send me a refund for my phone bill? What do you mean, never? Look, this is... You know what? Forget it. I have callwaiting anyway, which you're probably overcharging me for, right? (She presses a button.) Hello?Darryl: Hey, Phoebe, it's Darryl.Phoebe: Darryl, shouldn't yoube out arresting that thief John Normand? Did you read the paper today? It says that...Darryl: We got bigger things to worry about. Sheridan's back.Phoebe:What? Oh, no. Any more good news?Darryl: Your friend Brody came to visit me last night and told me that he brought her out of the coma. Didn't you say hedied?Phoebe: Yeah, well, I never said it stuck. He became a Whitelighter.Darryl: The point is he did some mumbo jumbo on her where she doesn't rememberanything that happened.Phoebe: Well, does she remember us?Darryl: I don't know yet. He told me to tell her that they went on some undercover mission andthat he died and she wound up in a coma. Just how long do you expect her to buy that?Phoebe: I don't know. But as long as we don't trigger her memory, weshould be fine.Darryl: What do you mean, trigger?Phoebe: Her memory could come back is she's reminded of us. You have to keep her away from us.Paige'sVoice: Phoebe, I need you upstairs.Phoebe: Okay. Coming! Darryl, I'm sorry, I gotta go. You'll have to deal with this like the rest of us.(Phoebe hangs up.)[Cut tothe Police Station.]Darryl: Phoebe...(Darryl turns around and Sheridan is standing there.)Sheridan: Phoebe. Do I know her?Darryl: I don't know. Do you?[Cut tothe Manor. Attic. Paige is there with Drake. She is flipping through the Book of Shadows.]Drake: See? Right there. You have nothing to fear.Paige: What are youtalking about? It says that you have the power to fire a thermal blast that can knock out ten demons at a time.Drake: Yeah, but I told you. If I use them, then theSorcerer gets them, and that would be bad. It also says that I can be vanquished by the Power of Three. Hello. See? Right there. (He touches the Book.)What?Paige: You touched it.Drake: What?Paige: You touched the Book.Drake: Oh my god, so I did. I guess that means I'm good.(He touches the Bookagain.)Paige: Stop it. Maybe it does, and maybe it doesn't. The Book has been tricked before. So have we. Just recently, as a matter of fact.Drake: All right, then,that explains it. So what did this mistake cost you? A colleague? A friend? A lover?Paige: Actually, all of the above.Drake: No wonder you're so indecisive.Paige:I'm not indecisive. You think I'm indecisive?Drake: Paige, making mistakes is what makes us human.(Phoebe walks in.)Phoebe: Hey, sorry. I put the boys downfor a nap. Who are you?Drake: Hi.Phoebe: Hi.Paige: Drake, Phoebe. Phoebe, Drake. Yeah. He's an ex-demon.Phoebe: What? Excuse me?Drake: I thought you"}
+{"doc_id":"doc_197","qid":"","text":"Opening creditsJACK HARKNESS (v.o.) : Torchwood. Outside the government, beyond the police. Fighting for the future on behalf of the human race. The 21stCentury is when everything changes... and Torchwood is ready.EXT. MALL - DAYOwen stands in the middle of the walkway. The world around him moves...backward. In rewind. Everyone is walking quickly backwards.OWEN (v.o.) : My name is Dr. Owen Harper and this is my life. MONTAGE OF CUTS : Owen isrunning.OWEN (v.o.) : A life that is full of action...[SCENE_BREAK]Owen pulls out his gun with a silencer attached and shoots the lock off the door. Ianto turnsaround.OWEN (v.o.) : ... and violence...[SCENE_BREAK]Owen is in the autopsy area back in the hub. He's holding a syringe and looks at the needle as Jack sitsbehind him and waits.OWEN (v.o.) : ... and work,...[SCENE_BREAK]Owen looking at the slab of meat.OWEN (v.o.) : ... wonder.[SCENE_BREAK]Owen sprays onsome alien pheromone at the bar. The blonde woman grabs him and kisses him.OWEN (v.o.) : Secrets, s*x...[SCENE_BREAK]Owen dances with Diane.OWEN(v.o.) : ... and love and heartbreak...[SCENE_BREAK]Owen is shot. He hits the ground.OWEN (v.o.) : ... and death.[SCENE_BREAK]Owen is on the table. Marthapulls back the sheet covering him as she prepares to do his autopsy.OWEN (v.o.) : My death. Owen sits up suddenly, panting.OWEN (v.o.) : The death Isurvived.EXT. MALL - DAYOwen stands in the middle of the walkway. The world around him moves on past him. Everyone is walking past him as lifecontinues.OWEN (v.o.) : The death I am now living through.INT. OWEN'S PLACEREVERSE VIEW : OWEN'S REFRIGERATOROwen opens the refrigerator door andreaches for a bottle of something to drink.OWEN (v.o.) : Except... this isn't living. Then, he remembers that he can't drink anything. He puts it back.OWEN (v.o.): Every day it's the same. THE NEXT DAY : Owen opens the refrigerator door and looks at the bottles of things he can't consume.[SCENE_BREAK]In thebathroom, Owen lathers up some shaving foam in his hands.OWEN (v.o.) : I get up, get ready for work the same as everyone else. Then, he remembers that heno longer has facial hair to shave. He looks at his reflection in the mirror and swallows.INT. THE HUB - CONTAINMENT CELLSOwen stands in front of the weevilcage.OWEN (v.o.) : The thing is, I'm not the same. The weevil cowers in the darkness, lifts its head and howls.WEEVIL : Aaaahh !INT. THE HUB - OUTSIDE THECOG DOOROwen stands outside the cog door.OWEN (v.o.) : I get to work and everyone's doing the same old thing. The lights flash and the door rolls open. Heturns to go inside. Jack, Toshiko and Gwen are up at the workstations.OWEN (v.o.) : Babbling away about aliens and weddings. He enters the hub.INT. UNDERWATER - DAYOwen is under water.OWEN (v.o.) : I'm not real. Three days ago, I died. He looks at his hand.OWEN (v.o.) : And they think I'm fine,... but they'rewrong. Owen screams.[SCENE_BREAK]EXT. BUILDINGS - NIGHT (PRESENT)PULL UP to the tallest building where we find Owen and a blonde-haired womansitting side-by-side on the edge, their legs dangling off the side.OWEN : So, are you ready to jump ? Opening creditsEXT. ROOFTOP - NIGHT (PRESENT)Owen andMaggie sit side-by-side on the edge, their legs dangling off the side.MAGGIE : Would you just piss off. Get off my roof.OWEN : Your roof ?MAGGIE : I'm going tojump, so just leave me alone.OWEN (sighs) : Look, darlin', you know, I'm not here to stop you. Seriously. (He unzips his jacket). You think you've got problems ?(Scoffs). What, did your man dump you ?MAGGIE : Sorry, love, are you talking to me ? It's just, you know, I'm a bit busy right now. I'm not really interested inlisten... (She stops when she sees his bullet wound in his chest). What is that ?OWEN : I got shot.MAGGIE : Yeah, right. He looks at her, half smiles and nods.She sticks her finger in his bullet wound. Now, she's freaking.MAGGIE : Oh, my God. She climbs down from her perch on the wall and steps back just to put somedistance between them.MAGGIE : What the hell are you ? Owen climbs down off the wall. Maggie is still backing away from him.OWEN : I'm dead.MAGGIE :That's not... Look, you can't be dead, you're... you're standing here. You're talking. You're moving. You're... you're not dead. Wha... ? You're... You're dead?OWEN : Yeah, I was brought back... like Jesus really, but without the beard, you know. (Realizes). sh1t, I'm never gonna have a beard. Not that I wanted oneyou understand, but you know, one day I...MAGGIE : Yeah. Okay. Okay. You're dead and that's... that's clearly a bit sh1t and I'm sorry and everything but, if youare dead, then why are you here ? You can't be wanting to jump. You can't die twice.OWEN : Sorry, are you an expert ?MAGGIE : Sorry, are you an idiot ?OWEN :Yeah. I'm a dead idiot.MAGGIE : So, come on then, what's it like ? She sticks a cigarette in her mouth and lights it.OWEN : What ?MAGGIE : Well, being dead.What delights have I got to look forward to ?OWEN : Darkness. Nothing.MAGGIE : Cheery, thanks. Look, why are you here ? Owen looks at her.JACK (PRE-LAP,v.o.) : Dr. Owen Harper, Torchwood Officer 565, I'm relieving you of your position.INT. THE HUB - JACK'S OFFICE - NIGHT (EARLIER)Jack is at his desk as hedelivers the bad news to Owen. Ianto is near the doorway.OWEN : Bollocks. I'm sorry, Jack, this is bollocks !JACK : Hand in your weapon and your securitypass.OWEN : But why ? I'm fine.JACK : Three days ago, you died. We need to examine you. We need to find out what you are. We need to be certain you'reokay.OWEN : Yeah, well it almost sounds as if you care, well done.JACK : Until I'm confident you're fit for duty, Martha Jones will replace you as Torchwood's newmedical officer.OWEN : She's doing all right out of this, isn't she ?JACK (stands up) : She's worked out a series of tests and examinations.OWEN : And what if Irefuse ?JACK : You'll be confined to the cells, the tests will be done, and if the results show that you're a danger to the team, appropriate steps will be taken.Ianto steps in closer. Jack also steps in closer to Owen.JACK : I'm asking you, Owen. Please, let us help you. Let us make sure you're safe. Owen doesn't look athim.IANTO : I'm gonna need your gun. Owen turns and looks at him. He takes his gun out and reluctantly gives it to Ianto.IANTO : And your security pass. (Owenlooks at Ianto). Please... Just behind them and through the glass in the wall, Martha is in the workstations. He glances at her, then takes his security pass out andgives it to Ianto.OWEN : And how long are Dr. Jones' tests going to take ?JACK : As long as they need to.OWEN : And what the hell am I supposed to do in themeantime ?JACK : We always need someone to make coffee.OWEN : Oh, no.[SCENE_BREAK]CLOSE-UP : COFFEE MACHINEIanto is at his area at the base of thespiral stairs as he fills up the coffee cup. Owen sits in the chair nearby.IANTO : Voila. Fresh and strong. (He smells it appreciatively). Mmmm. Owen gets up. Iantosteps aside and hands the cup to Owen.OWEN : And, uh... we couldn't just have a jar of instant, no ?IANTO : I thought you liked your coffee.OWEN : Have youseen what happens when I drink these days ?IANTO : Yeah. Thank you, Owen. Ianto takes the cup away from him.IANTO : Do you want a go ?OWEN : Ooh,please. Owen turns to try his hand at the machine. Owen grabs the handle. The cups rattle as he tries to get it to work, but it doesn't.OWEN : Come on. What'swrong with this ?IANTO : You, um... Owen grabs both handles and shakes it. The cups and dishes rattle loudly. Some sound as if they break. He turns and seesJack and Martha on the stairs watching him. He rests his chin on the machine in humiliation.IANTO (quietly) : You okay ? OWEN (sighs and turns around) : Whatdo you think ? I bet you're loving this, aren't you ? It's like you've finally won.IANTO : I didn't realize we were in competition.OWEN : Oh, come on ! Even Toshhad more of a life than you used to. And now you're always out on missions, you're shagging Jack and I'm stuck here making the coffee.IANTO : It's not like that.Me and Jack. Ianto goes to the machine and fixes a cup of coffee.OWEN : Yeah, yeah... You and Jack. Gwen's getting married. Martha's got her bloke. God, evenTosh had Tommy. This is really sh1t ! Ianto goes about his business.IANTO : We've all gone through sh1t. I've seen you dissect alien corpses. I've seen you saveso many lives. Are you really going to let this beat you ? He leaves Owen with that.[SCENE_BREAK]INT. THE HUB - AUTOPSY AREAOwen is on the treadmill. Hisimage is up on the monitor as Martha tests him. The machine beeps. Owen stops it. He smiles.OWEN : So, you're choosing me over the boyfriend ? Owen stepsoff the treadmill and picks up the barbells. He starts lifting them. Martha goes to the treadmill to check the readings.MARTHA : Yeah, that's it. You really don'tneed to worry, you know, I don't want your job.OWEN : Yes, I know. You just find me irresistible.MARTHA (rolls her eyes) : Oh, yeah, that's it. Every morning Iwake up and think of ways to get you alone like this. (She goes back to the computer). There is no sign of any muscle decay. You're in great shape, asever.OWEN : Hmm, no use coming onto me, Jones. I'm a changed man.MARTHA : And... um, no stiffening anywhere ?OWEN : Well...MARTHA : Just answer thequestion.OWEN : No, no signs of rigor mortis. Owen puts the barbells down.OWEN : So, if I keep up the exercise, I won't atrophy ? She appears with thehand-held monitor and scans him.MARTHA : Yep. And bonus, definitely looks like you're not going to age either. There's no further sign of cell mutation. You're ahundred percent human. (She turns the monitor off). A hundred percent Owen. Owen nods. The intercom beeps.GWEN (from speaker) : Hi, Martha. Meeting inthe boardroom. Can you come down ?OWEN : You'd better go... Doctor.MARTHA : What about you ?OWEN : Cappuccino with chocolate sprinkles.MARTHA(smiles, confused) : What ?OWEN : That's what you drink, isn't it ? Suddenly, it's very awkward. Martha turns and leaves. Owen's smilefades.[SCENE_BREAK]INT. THE HUB - CONFERENCE ROOMEveryone except Owen is there.JACK : Henry John Parker. He used to be a looker. Now he's 80-oddand even I have my limits. The door opens. Owen walks in with a tray of coffee.JACK : Your basic millionaire collector of alien hoo-hah.OWEN (quietly) : Didn't wefile him in the \"mostly harmless\" category ? He puts a cup down in front of Ianto.MARTHA : So, what's the problem ? Owen continues setting coffee cups down onthe table.TOSHIKO : I detected this at 5:17 this morning. Parker's house. There's an energy spike coming from it. I've never seen anything like it before.GWEN :Okay. So, the big question is, what's our Mr. Parker gone and found this time ? Gwen and Ianto quietly switch coffee cups as Owen heads to the back of theroom.MARTHA : Why ? Do you think he's a threat ?GWEN : Well, he hasn't been up until now. (Owen wipes his tray as he listens). He's a bit Howard Hughes. Weknow he's there, we know he's not a threat. But as the story goes, he hasn't left the house since his wife died. Nobody's seen him since 1986.OWEN : We've beenmonitoring Parker for ages. There's nothing to be scared of is there ? Owen quickly sits down at the table with the others. There's a brief awkwardness with him"}
+{"doc_id":"doc_198","qid":"","text":"MUSIC IN:(SFX: CAR BRAKES TO A STOP)TONY: Lieutenant Lara Hill. Stop number forty six on the boredom express.ZIVA: Cheer up. This could be fun.TONY: If Iwanted to knock on doors all day, I would have joined UPS.ZIVA: Trust me. Brown is not your most flattering color.TONY: You're actually enjoying this, aren'tyou?ZIVA: We're looking for a mole in the Pentagon, Tony. Espionage just so happens to be one of my specialties.(KNOCK ON DOOR)TONY: We're interviewingcode geeks. They're not even sure there is a mole.ZIVA: Don't you find it a bit coincidental that every time the Navy breaks a Venezuelan code, it changes almostinstantly?(SFX: TONY YAWNS)ZIVA: All right. I'm trying the back door.[SCENE_BREAK]EXT. BACK YARD - DAY(SFX: GATE OPENS)TONY: Relax, Ziva David.We're dealing with a Naval Officer. Not Doctor Evil.ZIVA: Well, she didn't show up for work or her interview with us. No one has been able to reach her byphone.TONY: She probably overslept.ZIVA: I believe in being prepared.TONY: So do Boy Scouts. Why didn't you bring Webelos McGee with you?ZIVA: I tried. Hewas busy.TONY: I've got an idea. How about if I shove you right through here? Huh?(F/X: CAT SCAMPERS FROM THE HOUSE)(SFX: ZIVA LAUGHS)ZIVA: Don'ttell me you're afraid of a little pussy - cat, Tony?TONY: (BEAT) It looks like blood.(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/ SCENES/CREDITS AND OUT)MUSIC IN:INT. LIVING ROOM - DAYTONY: I knew something was wrong the minute I got out of the car, Probie. Instinct. Pure and simple.Either you got it or you don't.MCGEE: Yeah, well I heard you squealed like a little squirrel when the cat jumped out at you.TONY: I was saving this for Ziva, butsince you volunteered... find the little beast. Got blood on his paws. It's evidence.MCGEE: I'm allergic to cats.TONY: Oh, I'm sorry. I had no idea. Try holding yourbreath.DUCKY: Our Lieutenant suffered a single gunshot wound, Jethro, to the right temple...GIBBS: Through and through.DUCKY: Yeah.GIBBS: Impacted here.Round's still in the book, Duck.DUCKY: Sadly, one less reader in the world.JIMMY: Who committed suicide. Or maybe she was just cleaning her gun too close toher head.GIBBS: DiNozzo.TONY: NCIS investigates all suicides as homicides until proven otherwise, Palmer.JIMMY: Got it.GIBBS: T.O.D., Duck?DUCKY: Nine,nine thirty this morning. What time was her interview scheduled for today?GIBBS: Ten hundred.ZIVA: Gibbs.[SCENE_BREAK]INT. BEDROOM - DAYZIVA: I foundit taped underneath the bureau.GIBBS: Hundreds and fifties. Non-sequential. Maybe fifty, sixty grand.TONY: Looks like we found our mole, Boss. Knew she wascornered. No way out. NCIS closing in.ZIVA: She could have run, Tony. Suicide is only for when you know you're going to be captured.TONY: For you, maybe.This doesn't exactly look like the bedroom of a hardcore super secret agent chick.ZIVA: I have stuffed animals. Okay, I was twelve. But still, I mean...GIBBS: Shecould have been coerced.ZIVA: To be a mole?TONY: He means to kill herself.GIBBS: I mean both, DiNozzo. How many suicides you know make their beds beforethey off themselves?TONY: Want me to inform Lieutenant Hill's Command about her death, Boss?GIBBS: Nope.TONY: He wants to tell him himself. That way hecan gauge the response.GIBBS: DiNozzo.TONY: On your six, Boss.[SCENE_BREAK]INT. LIVING ROOM - DAYGIBBS: Get the couch, bookcase, and carpets toAbby.TONY: Oh. On it.GIBBS: McGee!MCGEE: Yeah, Boss?[SCENE_BREAK]INT. HALLWAY - DAY(SFX: MCGEE SNEEZES)(MUSIC OVER ACTION/MCGEE CHASESTHE CAT)MCGEE: He's really quick, Boss.TONY: (INTO PHONE) All right, I'll hold. McGee, you go that way. I'll go this way. We'll corner the guy. You've got to bevery careful with animals. They're... tricky.(SFX: CAT B.G.)GIBBS: Hey!(MUSIC OVER ACTION/CAT WALKS INTO THE CARRIER)TONY: Or you can just dothat.GIBBS: With me. We're going to the Pentagon.MCGEE: Cryptology unit?GIBBS: I need you to translate.TONY: He needs you to speak the geek for him,McGeekle.GIBBS: DiNozzo, find a home for that thing!(SFX: CAT B.G.)[SCENE_BREAK]INT. CRYPTO UNIT - DAY(SFX: VOICES B.G.)DORN: Agent Gibbs. Iunderstand you've got an investigation to run, but I'd appreciate a courtesy call before you show up here to interview any more of my people.GIBBS: We're nothere to interview your people today, Captain Dorn.DORN: What happened?GIBBS: Lieutenant Hill.DORN: Well, what? She didn't show up for her interview atNCIS today?GIBBS: Nope.DORN: Well, if she's running late, I can tell you there's a good reason. She's one of my--MCGEE: We know the reason.GIBBS: She'sdead.DORN: How?MCGEE: Appears to be suicide.DORN: Let's continue this conversation in my office.[SCENE_BREAK]INT. OFFICE - DAYDORN: These...cryptographers. They're not like us. Their lives are by patterns and numbers. To tell you the truth, I don't understand half of it. But they're pretty tightly woundand Lieutenant Hill was no different.GIBBS: You're saying she was suicidal?DORN: I'm saying that she was withdrawn. She was socially awkward, hadobsessive-compulsive traits.MCGEE: Well none of that was in her medical record.DORN: No, and it wouldn't be! These people are recruited based on theirabilities, and sometimes it's a thin line between genius and...GIBBS: Insanity.DORN: Look, a lot of these people tend to be naturally paranoid, and this mole hunthasn't helped. My entire section's on edge.GIBBS: They should be.DORN: If there's a leak, I am telling you right now it is not coming from my people.MCGEE: Wefound sixty thousand dollars hidden in Lieutenant Hill's home.GIBBS: She ended up dead instead of attending the interview she had today. What does that tellyou?DORN: (INTO PHONE) Lieutenant Hall?HALL: (FILTERED) Sir?DORN: (INTO PHONE) We are now in lockdown. I want all the work secured and the sectionrestricted to quarters until further notice.HALL: Yes, Sir. (V.O./OVER INTERCOM) Attention! Initiate emergency Plan Alpha. Shut down your systems and secureclassified material. When complete, report to your quarters until further notice.DORN: Okay. What now?[SCENE_BREAK]INT. LIVING ROOM - DAYTONY: Hey,buddy. Look what I got! Who found your favorite little carrot toy? Come here. Come here. Here. Yeah. Good kitty. (SFX: CAT MEOWS B.G.)(SFX: CATSCREECHES/ HISSES)TONY: Yah!(SFX: LAUGHTER)TONY: You think that's funny, Probies? Huh? Did I hear a little chuckle back here in the peanut gallery? Is thatit? You want to know how the blood got there? Hm? You think that's funny? I'll tell you how it got there. Garfield over there. We found that animal feasting on thiswoman's face. Doctor Mallard thinks that this kitty cat is rabid. Me? I'm of the opinion that it's a man eater. He likes the taste of human flesh. It starts with thecheeks. Then it moves to the lips. Soft lips. Then it works on the tongue a little bit until it's just a little nub. A lot of blood in the tongue. Guys, there was bloodspewing from this poor woman's maw. Get a kick out of this now? You think this is funny, Chuckle Head. That's what it was feasting on when we found it. It tookfour tranquilizers and three--ZIVA: That's very dramatic, Tony. Can we get back to work now?TONY: You heard the lady, probies. And careful with that because itis evidence. (LAUGHS) I never get tired of it. What'd you find out?ZIVA: The neighbors were at work. The woman next door - she was actually there, but shedidn't hear anything.TONY: I wish I had a neighbor like that. The old bat that lives next to me complains every time I bring a date home. Want to knowwhy?ZIVA: Shouting of, \"No means no!?\"TONY: Huh. That's a good one, but not even close.ZIVA: I was actually kidding.TONY: Oh.ZIVA: I have the sameproblem at my place, Tony.TONY: Really? You have a surround system too?ZIVA: No. I'm what you Americans like to call a screamer, yes?(SFX: ZIVACHUCKLES)(PHONE RINGS)TONY: Answer it.ZIVA: Well, what do you want me to say?TONY: I don't know. Scream something.HILL: (RECORDED VOICE) This isLara. Leave a message.BOB: (V.O./FILTERED) Hi, Miss Hill. This is Bob calling with a special offer.TONY: (INTO PHONE) Hello, this is Special Agent AnthonyDiNozzo. You called a crime scene. We're wiretapping this phone, so please be advised that we will be contacting you at your home.BOB: (V.O./FILTERED) Myhome?TONY: (INTO PHONE) Anytime day or night. Probably during the weekend, early in the morning.BOB: (V.O./FILTERED) All right.TONY: That was fun.Telemarketers. You can't escape them even when you're dead.ZIVA: Ooh, speaking about escape?TONY: Nobody move![SCENE_BREAK]INT. AUTOPSY ROOM -DAYDUCKY: To assume is to make an enemy of exactitude, Mister Palmer.JIMMY: Because it makes an ass out of you and me?DUCKY: Is this the best time for anattempt at humor?JIMMY: Um, no.DUCKY: We must strive for excellence, Mister Palmer. Go the extra mile.JIMMY: I understand.DUCKY: Do you now? Oh, that'sgood. What exactly was your assumption?JIMMY: Well, the Instant Gunshot Residue Test came back positive.DUCKY: Yeah.JIMMY: She had a pistol in her hand.She has a hole in her head. It would seem reasonable to conclude suicide, Sir.DUCKY: There's nothing reasonable about a lovely young girl like this taking her lifein such a grotesque fashion. It's true firearms are the most common instrument of suicide. However, women tend to avoid the proximity of the face when pullingthe trigger. Vanity, Mister Palmer. Simple vanity.JIMMY: We're not finished with the external exam, are we, Sir?DUCKY: Well, you're not. You're so sure that thecause of death was suicide. Why don't you work out how you would prove it?JIMMY: You want me to...DUCKY: Finish the external exam. Clean, measure - youknow, the usual. You think you can do that?JIMMY: Absolutely, Doctor!DUCKY: Then work through the procedure, item by item. Make whatever notes youcan.JIMMY: Right. Oh, thank you, Doctor.DUCKY: Have her ready for autopsy two o'clock tomorrow.JIMMY: Yeah.[SCENE_BREAK]INT. SQUAD ROOM - DAYTONY:That's why I never had pets.ZIVA: You've never had any pets?TONY: Well, I had sea monkeys once.ZIVA: What's a sea monkey?TONY: Basically brine shrimpswimming around in green water. I know. I thought the same thing.ZIVA: What happened to them?TONY: My mother got their sea castles confused with her mintjulep.ZIVA: Your mother drank your monkeys?TONY: It was the seventies.GIBBS: It explains a lot, DiNozzo.GIBBS: Hey boss? I went through Lieutenant Hill'sbackground.ZIVA: Her phone records, credit card bills, personal habits. There's no discernible patterns.TONY: Yet. She's a cryptographer, Ziva. We could bedealing with a real pro here, Boss.GIBBS: Well, DiNozzo, if she was a pro, she wouldn't have killed herself.MCGEE: (V.O.) You should have heard the guy,Abby.[SCENE_BREAK]INT. GARAGE - DAYMCGEE: I mean, just because you (ON CAMERA) have an aptitude for math and science, it does not make them somekind of suicidal freak.ABBY: A little higher, McGee.MCGEE: Is that what people think about us?GIBBS: Ask me later, McGee. Oh, this better be work related.ABBY:Oh, it is. And you're just in time for the show and tell portion. McGee, if you will. So Lieutenant Hill sits down on the couch, puts the gun to her head, and bang! I"}
+{"doc_id":"doc_199","qid":"","text":"Scene: The CafeteriaSheldon: It's not what it looks like. It's not what it looks like.Leonard: What are you grinding about?Sheldon: Penny's brain teaser thismorning. She and Koothrappali emerge from your bedroom. She is dishevelled, and Raj is dressed only in a sheet. The sole clue, it's not what it lookslike.Leonard: Just let it go, Sheldon.Sheldon: If I could, I would, but I can't, so I shan't. Now, knowing Penny, the obvious answer is, they engaged in coitus. But,since that's what it looked like, we can rule that out. Let's put on our thinking cap, shall we? (Mimes doing so) Raj is from India, a tropical country. Third Worldhygiene. Parasitic infections are common, such as pinworms. Mm-hmm. The procedure for diagnosing pinworms is to wait until the subject is asleep, and theworms crawl out of the rectum for air. (Leonard spits out food) Yes, just like that. Penny could have been inspecting Raj's a**l region for parasites. Oh, boy.That's a true blue friend.Leonard: They slept together, Sherlock.Sheldon: No, you weren't listening. She said, it's not what it looks like.Leonard: She lied.Sheldon:Oh. Well don't I look silly sitting here wearing this? Credits sequence.Scene: The CafeteriaHoward: Hey.Raj: Hey.Leonard: Hey.Sheldon: Hey. Leonard, is itawkward for you knowing that one of your dear friends had sexual intercourse with a woman you used to love in the very place you lay your head?Leonard: No,I'm fine with it.Sheldon: That sounds like sarcasm, but I'm going to disregard it, because I have an agenda. Paintball. Specifically, the interdepartmentaltournament this weekend. Now, in order to function better as a fighting unit, I thought we should establish a chain of command. Now, it goes without saying thatI would outrank the three of you, but the question remains, by how much? Now, I don't see me as some four-star general, back at HQ riding a desk and playinggolf with the Secretary of Defence. But I also can't be Sergeant Cooper, because that might lead you to think of me as just a regular Joe. This might take somethought. As you were.Leonard: What the hell is wrong with you?Howard: Yeah, how could you do that?Raj: What is it to you?Howard: I got his back.Raj: Yeah,right. You're just jealous because it turns out I'm Penny's number two choice after Leonard.Howard: Hey, if I wasn't engaged to Bernadette, that totally couldhave been me.Leonard: Please. Sheldon would have been before you, and he might not even have genitals.Raj: Why do you care so much? You're dating mysister, and Penny and I are in love.Leonard and Howard together: What?Sheldon: Gentlemen, if I may interject, I've decided my rank will be captain. If it's goodenough for Kirk, Crunch and Kangaroo, it's good enough for me.Howard: You're not in love with Penny.Raj: Yes, I am. The god Kamadeva has shot us with hisflowery arrows of love.Howard: Who?Raj: He's the Hindu version of Cupid, but way better, because he rides a giant parrot.Leonard: Raj, come on. You fall in lovewith any girl who smiles at you. A month ago, you were writing poems about his fiancee.Howard: I'm sorry. What?Raj: Rubbish. He's talking rubbish.Leonard: Oh,Bernadette, please play my clarinet.Raj: That could have been about anyone. Besides, you have nothing to worry about, because now I'm the dusky half ofKoothrapenny.Sheldon: For the record, I do have genitals. They're functional and aesthetically pleasing.Scene: Penny's apartment. Penny has a bottle of wine.She can't find a glass. Finds a measuring jug and uses that instead. There is a knock on the door.Penny: Coming. Yup, that's good. Wine glasses should havehandles.Amy: Keeping accurate track of your alcohol intake. Smart idea considering how trampy you get when you've had a few.Penny: You heard what Idid?Amy: Well, I heard who you did.Penny: Oh, my God, I screwed up everything. I hurt Leonard, I hurt Raj, I mean, what is wrong with me? I feel like twototally different people, Dr. Jekyll and Mrs. Whore.Amy: Don't be so hard on yourself. Do you know the story of Catherine the Great?Penny: No.Amy: She ruledRussia in the late seventeen hundreds, and one night, when she was feeling particularly randy, she used an intricate system of pulleys to have intimate relationswith a horse.Penny: I'm... I'm sorry. What does this have to do with me?Amy: She engaged in interspecies hanky-panky, and people still call her great. I'm sureyour reputation can survive you shagging a little Indian boy.Scene: Raj's apartment. There is a knock on the door. He opens it.Bernadette: You jerk face! Whatdid you tell Howard? Did you say there was something going on between us? Because he thinks there is. He's completely freaking out!Raj: Please, comein.Bernadette: What the hell is wrong with you?Raj: Well, you were always so nice to me, I thought maybe you liked me.Bernadette: I'm nice to everyone.Raj:I'm sorry.Bernadette: Damn right, you're sorry. And you tell Howard there's never been anything between us.Raj: I will. Hey, Bernadette?Bernadette: What?!Raj:Do you think I have a shot with Penny?Bernadette: Of course you do. You're a cutie pie. Any girl would be lucky to have you.Scene: Penny's apartment.Penny:You know, I've done this before. In kindergarten, I was supposed to marry Jason Sorensen at recess, but by the time my class got out there, he was alreadyengaged to Chelsea Himmelfarb. So what did I do? Hung upside down from the monkey bars, let all the boys see my underpants.Amy: You can't blame yourself.When your prefrontal cortex fails to make you happy, promiscuity rewards you with the needed flood of dopamine. We neurobiologists refer to this as the skankreflex.Penny: You know what? Let's get out of here.Amy: Where are we going?Penny: Somewhere where no one's seen me naked. We may have to drive awhile.(Opens door. Sees Leonard and Sheldon. Slams it shut again.)Sheldon: Subtlety isn't her strong suit, is it?Penny: Can I stay at your place for a few nights?Amy:Really? A best friend sleepover? Yay.Penny: Yeah, sure. Yay!Amy: We'll make popcorn, stay up all night and I'll teach you my secret language, Op.Penny: Soundsgreat.Amy: Nope. Sounds Gop Rop E A Top.Penny: Yeah, I'm gonna go pack a bag.Amy: No, you're not. You're gonna Pop A Cop Kop A Bop A Gop.Scene: Theapartment.Leonard: Do we really have to wear this camouflage crap to play paintball?Sheldon: Who said that? Leonard, I can hear your voice, but I can't seeyou.Leonard: I'm not in the mood, Sheldon.Sheldon: Oh, there you are. Leonard, I know you're upset about recent events, and I have someone here to help.(Showing laptop screen)Leonard: I don't want to talk to Amy.Sheldon: No, it's not Amy.Dr Hofstadter: Hello, dear.Leonard: You called my mother?Sheldon: Oh,Leonard, is it really necessary to caption the obvious?Dr Hofstadter: He's been like that since he was a toddler. Look, Mommy, a butterfly. Maddening.Leonard:What's going on? What do you want?Dr Hofstadter: Sheldon informed me that you're experiencing an emotional upheaval, and I'm here to help.Leonard: That'sso nice.Dr Hofstadter: And we're back to the obvious. Now, what's up?Leonard: Well, uh, okay, um, I don't want to get back together with Penny. We tried it, itwas crazy, it didn't work, but I can't deal with the fact that she slept with my friend Raj. And then I find out that Raj's sister Priya, who I've been going out withfor eight months, is moving back to India. So I'm just completely confused and alone.Dr Hofstadter: I understand.Leonard: Got any advice?Dr Hofstadter: Yes.Buck up.Leonard: Excuse me. You're a world-renowned expert in parenting and child development, and all you've got is buck up?Dr Hofstadter: Sorry. Buck up,sissy pants.Leonard: Thanks, Mother. I feel much better.Dr Hofstadter: If you need any more help from me, my books are available on Amazon. Loggingoff.Scene: Amy's apartment. Amy is brushing Penny's hair.Amy: Ninety-nine, one hundred. It's like a waterfall of liquid gold. My turn.Penny: You know, I don'teven know what the point of me staying in L.A. is. I haven't gotten a single acting job since I moved out here. The closest I came was last month, I got a callbackfor a hemorrhoid commercial.Amy: Oh, I could so see you being the face of haemorrhoids.Penny: I know, right? Maybe I should just move back to Nebraska.Amy:No, I can't let you do that.Penny: Why not? (There is a knock on the door)Amy: For the first time ever, I have a thriving social life. And no pressure, but it kind oflives and dies with you.Raj: Hi, Amy. Can I talk to Penny?Amy: A guest in my trundle bed and a boy at my door? I wish I could tell 13-year-old me it does getbetter.Penny: How did you know I was here?Raj: It's all over her Facebook page.Amy: I'll take your stuff to the bedroom and clear out a drawer.Penny:Thanks.Amy: No problem. Try and keep it in your pants, okay?Penny: So, hi. What's up?Raj: I was wondering if you're free Friday. They're having a Totally '80sNight at the Greek. Hall & Oates, Katrina and the Waves and three-fifths of Kajagoogoo.Penny: Oh. Gee, that's really sweet, but the thing is...Raj: Aw, there's athing.Penny: Look, honey, I was really drunk and made a huge mistake last night. We should've never slept together. It's what ruins friendships.Raj: You can'truin a friendship with s*x. That's like trying to ruin ice cream with chocolate sprinkles.Penny: Come here. Just listen to me. I want to go back to the way we werebefore. You know, friends. No sprinkles.Raj: Oh. All right.Penny: Thank you.Raj: Well, uh, as your friend, you might like to know that, um, we didn't have s*x inthe conventional sense.Penny: Oh, God. Did you pull some weird Indian crap on me?Raj: No, no. After we got undressed and jumped in bed, you, you asked if Ihad protection.Penny: Oh, you did, didn't you?Raj: Of course. I'm always packing. Anyway, um, I had trouble putting it on and you tried to help and, that was allshe wrote.Penny: So, we didn't actually...Raj: I did. It was beautiful.Penny: Oh!Raj: Penny, please, please promise me you won't tell anybody about this.Penny:Of course I won't. No, I won't.Raj: Oh, good. Um, can I tell people that our love burned too bright and too quickly? Kind of a Candle in the Wind deal?Penny:Sure.Raj: Cool. Can I say it fell apart because you were all, I want to have your babies, and I was like, I'm too rock and roll to be tied down?Penny: No.Raj: Can Isay I ruined you for white men?Penny: Also no.Raj: Okay, just the candle thing.Penny: Yeah.Raj: Cool. All right friend.Penny: Hmm.Raj: I'll see youaround.Penny: Okay. Raj, wait. Thank you for being my friend. (She hugs him.)Raj: Penny?Penny: Mm-hmm?Raj: It's getting beautifulagain.[SCENE_BREAK]Scene: A shed on the paintball range.Sheldon: All right, this is a Google Earth view of the field of battle.Howard: I don't seeanything.Sheldon: Give it a second to load. Whenever you're ready, AT&T! Okay, here we go. This is us here. To the south is Professor Loomis and the GeologyDepartment. According to their Twitter feed, they're out of sunblock, which means they'll have to hug the tree line or risk melanoma. That's our edge. All we haveto do is move quickly over this ridge, the rock-worshipping pasty-faced bastards won't know what hit them. All right, let's move out.Leonard: Hang on, Sheldon.How could you not tell me your sister was moving back to India?Howard: Maybe he was too busy writing clumsy pen1s metaphors about my fiancee.Raj: Screw"}
+{"doc_id":"doc_200","qid":"","text":"Principal v*g1n* here don't let the name fool you. I'm very much in charge reminding you that tonight is our annual flu season dance. I don't know how manytimes I have to say this, but if you have the flu, stay home. Hey. The flu season dance is about awareness, not celebration.Morty: [sighs] you don't bring deadbabies to passover.Morty: Okay. Here we go. H-hey, Jessica. Uh... what's up, Morty? [Sneezes] What are you doing?Morty: Um... wait, wait. Were you about totalk... to her?Morty: Well... I mean, I was thinking about it. Dude, stay in your league. Look at how hot she is. You don't see me going to a bigger school in awealthier district and hitting on their prettiest girl. Gee, thanks, brad. I throw balls far. You want good words? Date a languager.Jerry: Try not to worry about it,Morty. You're a good kid, and there's not a premium on that right now, but you'll be getting girls sometime after brad's out of shape.Morty: [sighing] you'remissing the point, dad. I don't want girls. I want Jessica.Jerry: Ah, well, I remember feeling that way about a young lady named \"your mom,\" and that's not anurban diss. Your mom was my Jessica. I remember the first time I saw her.I thought Rick: \"i should get her pregnant, and then she'll have to marry me.\"Jerry: Ibeg your pardon, Rick inappropriate.Rick: Sorry, please proceed with your story about banging my daughter in high school. I'm not sure you want to takeromantic advice from this guy, Morty. His marriage is hanging from a thread.Jerry: My marriage is fine, thank you.Rick: Jerry, it's your house whatever you say itis is how it is but I think a blind man could see that Beth is looking for the door. I barely have a reason to care, and even inoticed.Morty: Come on, Rick! Don'ttalk about my parents like that.Rick: Listen, Morty, I hate to break it to you, but what people call \"love\" is just a chemical reaction that compels animals to breed.It hits hard, Morty, then it slowly fades, leaving you stranded in a failing marriage. I did it. Your parents are gonna do it. Break the cycle, Morty. Rise above.Focus on science.[Slurps]Morty: All right, well, I'm gonna go get dressed for the dance.Jerry: Yeah, I'm just going to... check on your mom.Rick: Morty, hand methat screwdriver, huh?I'm almost finished making my ionic defibulizer, Morty. It's gonna be great.Morty: Hey, listen, Rick. Y-y-you know how you said that, youknow, love is a chemical and all that stuff from earlier? Well, I was thinking, you know, w-w could you make some sort of chemical thing happen inside ofJessica's mind, you know, so where she falls in love with me and all that sort of thing? You know, like, maybe make some sort of love potion or something?Rick:Morty, that's such a poor use of my time. It's beneath me. Hand me the screwdriver.Morty: You know what? No, Rick! I'm not gonna hand you the screwdriver.I-I'm not gonna hand you anything ever again, Rick! I'm always helping you with this and that and the other thing. W-w-w-w-w-what about me, Rick?W-w-w-w-why can't you just help me out once once for once?Rick: [groans] you're growing up fast, Morty. You're growing into a real big thorn straight up intomy ass. [Clears throat] Listen, this is called oxytocin. I extracted it from a vole. Do you know what a vole is, Morty? You know what a vole is? It's a it's a rodentthat mates for life, Morty. This is the chemical released in a mammal's brain, you know, that makes it fall in love. All right, Morty, I just got to [burps] combine itwith some of your dna.Morty: Oh, well, okay.[Zipper opens]Rick: A hair, Morty.I need one of your hairs. This isn't \"game of thrones.\"Morty: Ow!Rick: All right,Morty. Whoever you smear this stuff on will fall in love with you, and only you, forever. Are you happy now, Morty?Morty: Heck, yeah! Thank you, grandpa Rick.Hey, there's no... dangers or anything, or side effects, right?Rick: W-w-w-what am i, a hack? Go nuts, Morty. It's foolproof. Eh, unless she has the flu.Jerry: Beth,do y-you still love me?Beth: Ugh, what kind of question is that?Jerry: The \"yes or no\" kind?[Laughs nervously]Beth: Jerry, do you want homeless people to havehomes?Jerry: Yes.Beth: Are you gonna build them?Jerry: No.Beth: Then what good was the \"yes\"?Jerry: Wait, i-is loving me the house or the homelesspeople?Beth: Loving you is work, Jerry hard work, like building a homeless shelter nobody wants to say no to doing it, but some people put the work in.So, whatdo you say? Do you see me working here? Does this conversation seem tedious to me?Jerry: Sort of.Beth: Then I obviously sort of love you, don't I? [Cellphonechimes] So stop asking, and maybe I'll love you more. Crap, they need me at the horse hospital.Jerry: Puh! This late?Beth: The racetrack had a starlight derby.There was a seven-horse collision, and davin's there alone.Jerry: [thinking] Davin. Davin. Davin! Davin. Davin! Davin! Davin! Davin![Rapping]\u0000 flu, yo \u0000 \u0000 yougot to be aware \u0000 \u0000 aware of all the flu \u0000 \u0000 up in the air \u0000 \u0000 I'm-a get me a shot \u0000 \u0000 and make the flu go away \u0000 \u0000 flu-hating rapper \u0000 \u0000 just rappingaway \u0000 \u0000 yo, yo, flu-hating rapper \u0000 \u0000 it's a flu-hating rapper \u0000Morty: Hey, there, Jessica. Whoa! Oh, whoopsie! Oh, my god. Morty. You look really nicetonight.Morty: Wow, thanks. I love you, Morty! I love you so much it burns!Morty: Oh, man! I-i love you too, Jessica! [Spits] is this punk bothering you, Jessica?Leave him alone, jerk! I'm in love with him! He is more man than you will ever be![Sneezes][rapping]\u0000 this is about flu awareness \u0000 \u0000 got to be aware of the fluin the air-ness \u0000 \u0000 yo, I'm a flu-hating rapper \u0000 \u0000 oh, man, Morty. \u0000[Sighs]I'm really sorry.Morty: Oh, well, n-no problem, brad. There's something specialabout you, Morty so special. Mmm, yeah.Morty: Whoa, take it easy! Get your hands off of him! Back off! I'm trying to be with my man! That's enough, bradley!We don't want you injuring your ball-throwing arm. Oh, come on, principal v*g1n*. I just... never leave me, Morty. Never!Morty: Uh, sure. I mean, o-of coursenot. W-what do you think that was all about? Who cares? Just hold me. Let me go! I love you, Morty! [Sneezes] let go of me![Sneezes]Morty!Jerry: She's gonnabe alone with that guy all night.Summer: Yeah, dad, digging around the insides of horses. It's not a very romantic setting.Rick: Well, Summer, there's always thepossibility that she made the whole work thing up. Maybe davin's digging around in herinsides.Summer: Grandpa, so gross! You're talking about my mom.Rick:Well, she's my daughter, Summer. I outrank you. Or family means nothing, in which case don't play that card.Jerry: She's not responding to my texts!Summer:Careful, dad. Jealousy turns women off.Jerry: Well, isn't that convenient?Rick: Not for the men they cheat on, no.Jerry: Okay, I'm... going to go out... for someice cream. And maybe stop by the hospital... to support my wife... with my confidence.[Door closes]Summer: God, grandpa, you're such a dick.Rick: I'm sorry,Summer.Your opinion means very little to me. How come you're not at this stupid dance everyone loves so much?Summer: Screw that. I don't want to get sick.It's flu season.Rick: It is?Summer: Yeah.Rick: Uh-oh.[Hip-hop music plays]Morty: Please just let this work out.[Moans] Do it, Morty. Do it. Rip my clothes off andmate with me for life![Growls]Morty: Um... can we maybe go somewhere more private?Jessica, get a hold of yourself![Grunts]You don't deserve to carry Morty'sgenes.[Rapping]\u0000 I love Morty \u0000 \u0000 and I hope Morty loves me \u0000 \u0000 I'd like to wrap my arms around him \u0000 \u0000 and feel him inside me \u0000Morty: Oh,crap.[Indistinct shouting]Morty!Rick: Morty, come on! We got to get you out of here. You're not gonna believe this because it usually never happens, but I made amistake. [Both panting] come on, Morty. We got to get out of here. Come on. Morty!Morty: [wails] are you okay?Morty: I'm fine! Oh, good. If anything everhappened to you, I would kill myself. I love you bad, mo-mo![All panting][indistinct shouting]Morty, the principal and I have discussed it, a-a-and we're bothinsecure enough to agree to a three-way!Rick: I didn't realize when I gave you that serum that Jessica had the flu you know, t-t-t-t-t-t-t-that might have beenvaluable information for me, Morty.Morty: What the hell is going on, Rick?Rick: What does it look like? T-t-t-the serum is piggybacking on the virus. It's goneairborne, Morty.Morty: Oh, crap. What are we gonna do, Rick?Rick: It's gonna be fine, Morty, relax. I whipped up and antidote. It's based on praying-mantis dna.You know, praying mantises are the exact opposite of voles, Morty. I mean, they they mate once, and then they, you know, decapitate the partner. I mean, it's awhole ritual. It's really gruesome and totally opposite. There's no love at all. I-i-i basically mixed this with a more contagious flu virus. It should neutralize thewhole thing, Morty. It'll all be over very shortly.[SCENE_BREAK][Indistinct shouting]Uh, by the way, Morty, I know you didn't ask or anything, but I'm notinterested in having s*x with you. These serums, they don't work on anybody related to you genetically. Morty![All groaning]Rick: Okay, well, sometimes, scienceis more art than science, Morty.A lot of people don't get that.Jerry: [gasps][tires screech]Come on. Are you kidding me? Hello! Morty! You're not Morty! Bring usMorty![Gun cocks]Jerry: Nobody's killing me until after I catch my wife with another man.I had s*x with billy. But you were already pregnant! Yeah, so what's theworst that could happen? We interrupt \"pregnant baby\" with breaking news.Summer: [groans] Come on. This just in Morty smith's whereabouts are stillunknown.Summer: What the hell? The only thing that is known is... how cute he is. I love him so much, I want to make love to him and then eat his head. I lovehim more than you do, harold! You wish, you stupid bitch! Morty's mine! Morty's mine! Meant to be together![Speaking arabic]Morty![Speaking arabic][bangingon door]Where is Morty?Summer: [screams][conversing in native language]Morty: Oh, my god, Rick.The whole world is infected!Rick: Yeah, it's pretty wild howfast that spread. I've really outdone myself.Morty: Outdone yourself?! W-w a-are are you kidding me, Rick? This is not okay! Not only do they all want to haves*x with me, but, you know, now they want to eat me afterwards!Rick: Yeah, I don't know what I was thinking. Mantises are they opposite of voles? I mean,obviously, dna's a little more complicated than that. You know what, though, Morty? This right here's gonna do the tRick, baby. It's koala mixed with rattlesnake,chimpanzee, cactus, shark, golden retriever, and just a smidge of dinosaur. Should add up to normal humanity.Morty: I don't that doesn't make any sense, Rick.How does that add up to normal humanity?Morty: What, Morty, you want me to show you my math? I'm sorry a-are you the scientist or are you the kid thatwanted to get laid? [Exhales deeply] Well, I'm glad we saved all those horses, but I'm almost sorry we're finished.Beth: Yes, it's satisfying work. Unh-unh-unh,it's, uh it's more than the work. I love being in that sterilized room, sealed off from the world. It's the only time I can really think... and feel.[Slow musicplays]Beth: Hmm, uh, what are you doing?I'm playing african dream pop. What do youdo after a long night?[Click]Beth: Oh, ha, um, hey, I b I'd better getgoing.Um, Jerry's been texting some pretty high-maintenance stuff. Beth...Beth: What is it, davin? Just once, I'd like to know [sneezes] ...w-w-what it was like to"}
+{"doc_id":"doc_201","qid":"","text":"[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT][EXT. HOME - STREET - NIGHT](A stream of liquid hits the ground. The empty can follows and hits theasphalt with a clang. TWO MEN, one carrying a crow bar, walk purposefully toward the house.)[EXT. FOSTER RESIDENCE - BACKYARD - NIGHT -CONTINUOUS](The two men jump over the backyard fence. They use the crowbar and pry the backdoor open.)[INT. FOSTER RESIDENCE - NIGHT -CONTINUOUS](They walk into the house.)Intruder 1: Hey, this place is a dump.Intruder 2: I'm telling you, this bitch is loaded and no one's seen her forweeks.(They walk through the passageway and into the living room. The place has been trashed.)Intruder 2: (alarmed) What the hell.Intruder 1: This place istrashed. Hey, man, you trying to make me look stupid?Intruder 2: No, man. I swear. Somebody must have beat us to it.(Looking around the room, they see aclosed closet door with a chair wedged under the knob.)Intruder 2: What the hell is this?(Outside, there's a short, abrupt siren sound of a cop carapproaching.)Intruder 1: I'm out, man.(They both turn and head out of the house as fast as they can.)[SCENE_BREAK][EXT. FOSTER RESIDENCE - BACKYARD -NIGHT - CONTINUOUS](The two INTRUDERS run out to the backyard, through the same way they came in. They jump over the fence. On the other side, they aregreeted by two OFFICERS with their guns drawn and pointed at the two men, headlights shining straight at them. They look up and see various police cars waitingfor them, blocking their escape route.)Officer: (overhead) Gentlemen, put your hands on your heads, please.(They two INTRUDERS put their hands on the backof their heads.)[SCENE_BREAK][INT. FOSTER RESIDENCE -- NIGHT](GRISSOM examines the doorknob and the chair.)(Camera pulls back to show both GRISSOMand WARRICK dusting the chair for prints. There's no telling how long they've been there, but no matter, they're thorough and are still working on thechair.)(Behind them, an OFFICER stands guard watching them work.)Warrick: Smudges. Nothing but smudges. Doesn't anybody use formica anymore?Officer:First thing we did when we saw this was call you guys. Didn't touch a thing.(WARRICK and GRISSOM continue to work on dusting the chair for prints.)Officer: Soyou going to open it?Grissom: Eventually.(They're through with the chair. GRISSOM looks at the door knob. Both he and WARRICK get to their feet. They eachtake a hold of the chair and pulls it away from the doorknob.)(WARRICK puts the chair aside.)(GRISSOM steps forward and starts dusting the doorknob. He findsone print. He takes out a tape lift and carefully gets the print.)(The OFFICER sighs and mutters to himself.)Officer: This is going to take all day.Grissom: Sun Tzuonce said, \"If you wait by the river long enough, the bodies of your enemies will float by.\"(He hands the tape lift with the print to WARRICK. They're ready to openthe door.)(GRISSOM reaches out and opens the closet door.)(Inside, they find the mummified figure of a dehydrated woman on the floor.)Grissom: But thosewere brutal times.HARD CUT TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. FOSTER RESIDENCE - YARD -- NIGHT](The DAVID PHILLIPS pushesup a gurney through the yard and up the walk to the front door. He picks up his paperwork and opens the door.)[INT. FOSTER RESIDENCE -CONTINUOUS](Inside, WARRICK is just beyond the door blocking it from being opened.)Warrick: Hey, hold up.(He pushes the door shut.)(The mail hole opens upand DAVID peers through the opening.)David Phillips: Warrick?Warrick: Hey, David. Give me a minute and let me clear a path here, okay?David Phillips: All right,I'm not going anywhere.(WARRICK picks up the mail in front of the door on the floor.)Warrick: All right.(He looks down at the postage mark on the mail: LASVEGAS / SEP 06 '03 / NV.)Warrick: There's at least four weeks of mail here, Grissom.(GRISSOM is still kneeling down just inside the closet looking at thebody.)Grissom: Four weeks of 100 degree days, zero percent humidity. Eventually, the body tissues sublimate ...(Quick CGI flashback to: MADELINE FOSTER is inthe closet, just barely alive, just barely dead.)Grissom: (V.O.) ... cell fluids vaporize ...(MADELINE FOSTER dies. CGI takes over and the body slowly decomposesand mummifies, the flesh hardening on her body.)Grissom: (V.O.) ... and all that's left ... proteins, fats and minerals.)(End of CGI flashback. Resume topresent.)(WARRICK continues to leaf through the mail.)Warrick: Turns a grape into a raisin.Grissom: Well, the desert was making mummies long before theEgyptians.(GRISSOM looks at the body and notices her hands. He looks up at the door and sees something.)Grissom: Take a look at this.(GRISSOM shines thelight on the door. WARRICK moves in closer for a look. On the lower edge of the door, there are fingernail claw marks with flesh and blood smudged into themarkings.)Grissom: And look at her fingers.(They both look down at her damaged fingertips.)(Camera zooms in for a close up of the pieces of wood embedded inher broken and ravaged nail bed.)Warrick: She tried to claw her way out.Grissom: Yeah. Which means she was alive when she was entombed.(GRISSOM looks upand around the closet.)[SCENE_BREAK][EXT. FOSTER RESIDENCE -- NIGHT](Outside, BRASS questions the INTRUDER who broke into the house.)Intruder 2: Shewas supposed to be, like, this old widow, right? Like, always going out to dinner and coming home with shopping bags. Bitch had insurance money and word wasthat she kept it in a box hidden under her bed.Brass: A retired grade-school teacher living on a pension ...Intruder 2: Listen, man, we didn't kill her.Brass:(simply) No, I know that. What I want to know is, other than the back door, did you or your partner touch anything in the house?Intruder 2: No. There wasnothing left to touch, man.(BRASS nods.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - SUNRISE][INT. FOSTER RESIDENCE - KITCHEN --MORNING](WARRICK walks around and looks through the small kitchen. He sees a small dainty tea set out on doilies on a serving tray. Next to it on the counter,he finds a piece of chocolate cake with a huge bite in it.)Warrick: Hey, Griss.(GRISSOM walks into the kitchen.)Warrick: Don't you think this is kind of odd? Awoman who spends the time making tea like this leaves a chunk of chocolate cake on the counter.Grissom: With a big bite out of it?(WARRICK picks up the plasticcontainer. The label on it reads: LAVISH CAFÉ.)Warrick: Yeah. Some crack head brutalizes an old lady, leaves her in a closet, and grabs a snack on the wayout.Grissom: Hopefully. Take it back to the lab.(GRISSOM turns and walks back into the living room. He opens the closet door, walks inside and closes the doorbehind him.)[INT. CLOSET - CONTINUOUS](Inside the small closet, GRISSOM looks around. He looks down. He looks up. He sees the light above, reaches up andtaps the bulb.)(He turns off his flashlight.)(Quick flashback to: [INT. CLOSET] The door opens and the WOMAN is pushed inside.)Madeline Foster: Oh!Male Voice:Shut up! Get in!Madeline Foster: Oh!(Cut to: CLOSE UP: A chair is wedged under the door knob.)(Cut to: MADELINE FOSTER reaches up and turns the closet lighton.)(End of flashback. Resume to present.)(GRISSOM stands in the exact spot the woman was in when she turned the light on. He looks around the closet, thenfocuses on the markings on the door.)(Quick flashback to: MADELINE FOSTER struggles with the doorknob, trying to get it open. The chair won't budge. She hitsher hands on the door trying to push it open; she grabs and jiggles the doorknob.)(End of flashback. Resume to GRISSOM. Continue sounds of MADELINEFOSTER struggling inside the closet.)(GRISSOM stretches out his hand and places it on the door imagining MADELINE FOSTER clawing the door with herfingernails.)(Quick flashback to: MADELINE FOSTER desperately claws at the door. She grabs at the doorknob.)(End of flashback. Resume to GRISSOM. Continuesounds of MADELINE FOSTER struggling inside the closet.)(Quick flash of MADELINE FOSTER inside the closet struggling to get out. She slowly slides to the floor.She curls up into a fetal position on the closet floor. The light burns out. In the darkness and by the light coming through the crack under the door, MADELINEFOSTER looks up at the closet ceiling. End of flashback. Resume to GRISSOM.)(Camera holds on GRISSOM.)[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY --DAY](MADELINE FOSTER'S body is out on the autopsy table as ROBBINS goes over his findings with GRISSOM.)Robbins: Fluoroscope showed no bullet or stabwounds, and apart from multiple fractures of her fingers and hands, no other apparent injuries.Grissom: So whoever boarded her up in the closet maybe didn'tintend to kill her.Robbins: (shrugs) Yeah. They must have thought somebody'd find her -- a friend or relative.Grissom: She lived alone. Only relative was anephew. Brass is looking for him.Robbins: Live alone, die alone. In this case, from massive dehydration. Rule of threes: Three minutes without air, three dayswithout water, and three weeks without food.Grissom: Three days must have felt like three years.Robbins: Warrick said you found a possible print at the scene.Need to rule hers out?Grissom: Yeah. Also need a dental impression.Robbins: Well, that'll be easy.(ROBBINS reaches out and removes the dentures from hermouth. He drops it into the metal bin on the side table. GRISSOM watches as ROBBINS cuts off the tip of her finger.)[SCENE_BREAK][EXT. LAS VEGASCOMMUNITY (STOCK) - DAY][EXT. TIMMEL RESIDENCE - BACKYARD -- DAY](The OFFICER leads CATHERINE out to the backyard.)Catherine: So, what do wehave here?Officer: Well, boy was out playing, found the weapon, fired one shot, dropped the weapon. No one's touched it since.Catherine: Hmm.(She looks downat the gun on the ground.)Catherine: Okay, thanks.(The OFFICER leaves.)(CATHERINE puts her bag down and kneels to pick up the gun. She looks at it andchecks the cartridge. She sees something red inside the trigger guard and takes it out.)(Camera zooms in for a close up for the red piece.)[SCENE_BREAK][EXT.TIMMEL RESIDENCE - BACKYARD - DAY -- CONTINUOUS](MRS. TIMMEL holds NATHAN on her lap as CATHERINE walks over to them.)Catherine: Hey, Nathan.How's your foot?Nathan Timmel: I got a rocket ship band-aid.Catherine: Hmm. Yeah, I see that. Mrs. Timmel, does the gun belong to someone in the house?Mrs.Timmel: No, absolutely not. My husband and I don't believe in guns. We moved here from the city because it was supposed to be safer.Catherine: Nathan, wheredid you find the gun?Nathan Timmel: Seymour found it.Catherine: Seymour?Mrs. Timmel: (whispers) His imaginary friend.Catherine: (to MRS. TIMMEL) Oh. (toNATHAN) So, you were playing with Seymour, and he found the gun where?Nathan Timmel: (points) Over there.Catherine: Well, where exactly?Nathan Timmel:In the backyard.Catherine: Was it buried? Did you dig it up?Nathan Timmel: Nope.(Quick flashback to: NATHAN walks out into the backyard and picks up the gunfrom the base of the tree. He points it downward ... and fires. End of flashback. Resume to present.)Catherine: Will you ever play with guns again?Nathan"}
+{"doc_id":"doc_202","qid":"","text":"[Scene: The building where Max and Cindy work. Cupid is there leaning against a pole.]Max: Cindy.Cindy: Max.Max: Hi.Cindy: Hi.Max: Working late, huh?Cindy:Yeah, so what else is new, right?(They walk down the stairs. Cupid's ring glows.)Cupid: It's a match.Max: Did you guys survive Y2K alright?Cindy: Sure. If youask me it's all just a bunch of hype.Max: Exactly.Cindy: I guess I'll see you around?Max: Okay. Take care.Cindy: :Yeah, you too.(Cupid's ring glows and Cindyand Max walk in slow motion.)Cupid: Cindy, I know those last few loves of yours didn't work out. You've been hurt and you're scared. But you've gotta take a riskif you wanna find the real thing. And Max is real. Open up to him. And Max, Cindy's love and compassion awaits you, but she's afraid that you're still in love withyour ex-wife. You've got to reassure her. Life's short you two. So, have a better one together, okay?(Cupid's ring glows and they stop moving in slowmotion.)Max: Listen, you wanna grab a cup of coffee or something?Cindy: Yeah, sure, I'd like that.Max: Great.[Scene: Cupid is walking along in an alley. Drazi,the demon of hate, grabs Cupid and holds him up against a dumpster.]Drazi: Hello, friend. I've been looking everywhere for you.Cupid: Drazi.Drazi: I knew I'dfind ya.Cupid: Yeah, listen Drazi.(Drazi throws Cupid into some wooden boxes.)Drazi: Couldn't leave it alone could ya? You just had to get in the way.Cupid: Youcrossed the line.Drazi: Crossed the line? I am the line. You're the one that went too far and now you're gonna pay.Cupid: No, wait.(Drazi reaches into Cupid'schest and squeezes his heart.)Cupid: Ahh, you're killing me.Drazi: I could do a lot more than that. A lot more. How does it feel, huh? I can tell ya, I know. Thanksto you, I know what it feels like to have your heart ripped out. You don't want to feel that pain do you? (He throws Cupid on the ground and stands on his arm.)No, I gotta better idea and you're gonna just hate it. (Drazi takes Cupid's ring.) Your little magic ring you use to slip in there between the heart beats, plant yourlittle thoughts of love and I'm gonna borrow it. I'm gonna use it to tear apart some of your more recent unions.Cupid: No, Drazi, no.Drazi: I'm gonna turn loveinto hate and that hate is going to slowly and painfully kill you. And in the end, you're gonna wish I had ripped your heart out.(He walks away.)Cupid:Drazi![Scene: Outside the movie theatre. Prue, Jack, Piper, Dan and Phoebe walk onto the sidewalk. Prue and Jack are holding hands and Dan has his arm aroundPiper.]Phoebe: Fifth wheel cutting in.Piper: Oh, would you stop that.Phoebe: Well, it is a double date.Prue: It would have been a triple date if Kevin hadn'tcancelled.Phoebe: I know. It seems to be an epidemic lately. Guys canceling on me.Piper: You know what happens when they cancel.Prue: Ooh, back to squareone.Piper: Do not pass go.Phoebe: And all accrued nookie credits are thrown out.Jack: There's a penalty?Prue, Piper, Phoebe: Oh yeah!Jack: You know thisglimpse into feminine mystery frightens me to no end so allow me to change the subject. What did you think of the movie?Piper: I liked it.Prue: Loved it exceptfor the bellbottoms.Dan: It was okay, I guess.Piper: Who are you kidding? I heard you sniffle.Dan: Fighting a cold.Piper: Liar.Prue: Jack?Jack: As far as classicsgo, it was no Dirty Dozen.Phoebe: I slept through it.Jack: You slept through Dirty Dozen?Phoebe: No, Love Story. The last thing I remember is the hockeygame.Piper: That was the very beginning.Phoebe: Okay, let me guess. Boy meets girl, grim reaper swipes girl, and boy's left with his hockey skates?Jack: That'sthe review.Dan: Anybody want a coffee?Jack: I hope so because I am buying.(Prue, Jack, Piper and Dan walk into a coffee shop laughing and giggling. Phoebewalks in and stops, feeling left out. Prue notices her standing there.)Prue: Hey, you're gonna come get coffee, right?Phoebe: I'm just gonna get a cab, call it anight. I'm pooped.Prue: I'm sorry that Kevin backed out on you.Phoebe: His loss.Prue: It is so his loss because you are beautiful, my sister.(Prue hugsher.)Phoebe: You're so beautiful. Alright, go see your man. Have some coffee.Prue: Okay. I love you.Phoebe: I love you too.(Prue walks over to the others. Cupidcomes up to Phoebe.)Cupid: I need your help.(He grabs her.)Phoebe: Let go of me.Cupid: Hate will destroy me and everything else if you don't help me.Phoebe:I am warning you, buddy.Cupid: Phoebe, you gotta believe me. I know why you can't find love.Dan: Hey, you, let go of her.(Cupid runs away. Prue and Piper runup to Phoebe.)Piper: Are you okay?Phoebe: Uh, yeah.Prue: What was that about?Phoebe: I'm not sure.Opening Credits[Scene: Manor. Phoebe walks out of herbedroom and walks over to Piper's room. She knocks on the door.]Phoebe: Piper, you still asleep? (She opens the door and walks in. She notices Piper's bedhasn't been slept in. She walks out and over to Prue's room.) Hey, Prue, guess who got lucky last night? (She opens the door and notices Prue's bed hasn't beenslept in either. She walks downstairs and the phone rings.) I'll get it. (She picks up the phone.) Hello?Prue: Morning.Phoebe: Hey, Prue. Did that coffee keepsomeone up all night?Prue: Believe it or not, all we did was talk.Phoebe: Yeah, right.Prue: No, I swear. We just talked about everything, it was reallygreat.Phoebe: Really? How's he react to the witch part?Prue: Cute. Alright, where's Piper?Phoebe: Oh, she's still at Dan's. Hey, if only I'd bagged Mr. Creepy, wecould have scored a Halliwell hat trick last night.Prue: Don't be mad.Phoebe: No, I'm not mad. I'm thrilled for you both. I mean, it's been a long time. Youdeserve to be happy.(Cupid walks up behind Phoebe.)Cupid: You're gonna need a new lock on that back door.(Phoebe drops the phone, turns around and kicksCupid in the mouth. He falls onto the stairs.)[Cut to Prue.]Prue: Phoebe? (Prue hangs up and runs out of Jack's place.)[Cut back to the manor.]Cupid: I'm gettingrather used to you kicking love in the teeth.Phoebe: Okay, who are you and what do you want?Cupid: More importantly I know who you are Phoebe. And that'swhy I'm here. I need your help. Charmed Ones kind of help.Phoebe: I will ask again. Who are you?Cupid: You wouldn't believe me if I told you.Phoebe: Tryme.Cupid: Well, for lack of a better name, Cupid.[SCENE_BREAK][Scene: Dan's house. Piper's laying on Dan's bed. Dan comes in carrying a tray with breakfaston it.]Piper: Oh, my.Dan: All eggs over, bacon crisps, a box of jewellery and dried toast.Piper: A box of what?Dan: Would you like the morning paper withthat?Piper: What did you do?Dan: It's not a big deal. It's not a ring or anything. But just because it's jewellery, I don't want you to feel like you gotta keep it. Ifyou wanna take it back, you can.Piper: I get it, I get it.(Piper picks up the box.)Dan: You gonna open it?(Piper opens it and there's a diamond necklace in it)Piper:Oh.Dan: \u0000Cos if you want to you can take it back. (Piper kisses Dan passionately. Phoebe looks around the corner and tries to get Piper's attention. Piper opensher eyes and sees Phoebe. She stops kissing Dan.) Hey, is something- (Piper freezes Dan.)Piper: Phoebe, what are you doing in here? How did you get inhere?Phoebe: We have got a very big problem. (Phoebe pulls Cupid into the room.) Piper, Cupid. Cupid, Piper.Cupid: Hi, sorry to interrupt. Glad to see things areworking out for you and Dan.Piper: What?Phoebe: You have to come home really fast.Cupid: Yeah, a demon of hate stole my ring and he's gonna use it to find allthe loves that I've put together so he can destroy them, which will in turn destroy me.Piper: Wait a minute.Phoebe: He's telling the truth. The demon's name isDrazi. He's in the Book of Shadows.Cupid: Yeah, Phoebe's already started working on the potion that will vanquish it.Phoebe: And Prue's on her way home.Piper:From where?Phoebe: From Jack's. Okay, hurry. Kiss very fast.(Cupid and Phoebe leave. Piper sits back on the bed in front of Dan.)Piper: Okey dokey.(Danunfreezes.)Dan: -the matter?Piper: Yes. Um, there is but not with you. There is absolutely nothing the matter with you. But I do have to go. (She gets off thebed.)Dan: Hold it. What happened? I don't understand.Piper: It has nothing to do with you.Dan: Then what does it have to do with?Piper: It's, uh, complicated.(She picks up her clothes.) Thank you for this and you'll see it on me tonight at the club. (She kisses him and leaves.)[Scene: A cafe. Max and Cindy are sitting ata table drinking coffee. Drazi is standing nearby watching them. The ring on his finger glows.]Drazi: Hello, young lovers.[Scene: Manor. Living room. Prue, Piper,Phoebe and Cupid are there.]Prue: So we're actually supposed to believe that you're Cupid?Cupid: You believe in warlocks and demons but you can't believe inme?Piper: Where's the chubby baby?Phoebe: Guys.Prue: And the bow and arrow?Cupid: Where's the warty chins, hooked noses and pointy hats?Prue: Alright,show us something supernatural.Cupid: Drazi took my ring. It's my powers, how I get in.Prue:; Get in?Cupid: People's hearts, to waken love. See, but Drazi's allabout hate and he's gonna use the ring to get in the same way.Piper: You're still gonna have to back up the Cupid claim.Cupid: Okay, fine. (He points to Piper.)Dan, (points to Prue) Jack, (points to Phoebe) Clay (points to Prue) Andy. My sincerest condolences. Eric in London, Alec in college, (points to Piper) Not Jeremythe Warlock, Joe in college, Barry in high school, Tim in eighth grade, (points to Phoebe) Ken, Kyle, Steve, Mike, Ken again, Brian, Joel, Martin, Peter, Paul,Tony.Phoebe: Okay, you know I didn't love all those guys, right?Cupid: Yeah, well, they wanted to love you but you're closed hearted. That's what sent themaway.Phoebe: My closed heart? I do not have a closed heart.Cupid: Look, if people get the feeling that there's nothing there, then eventually it's hasta la vista,Phoebe. That explains the recent rush of cancelled dates.Prue: Okay, so wait, our past relationships, you made those happen?Cupid: Well, actually, myassignment here's only two years old. I helped you two meet Jack and Dan but most of your prior loves were work from fellow agents.Piper: Agents?Cupid: Oh,yeah. I'm just one of many. We work in secret all over the world making connectionsPiper: Did you connect me and Leo?Cupid: Uh, no. That was the work of youtwo. Those connections were forbidden to make for obvious reasons.Phoebe: Um, can we go back to the hasta la vista remark please?.Cupid: We don't have timeright now to debate the topic of your closed heart, Phoebe. We gotta finish the potion so we can vanquish Drazi before it's too late.Prue: Okay, so how are wesupposed to find him?Cupid: The same way he can find me. We can sense each other. We're connected in a cosmic way. There's a fine line between love andhate.Piper: Oh, brother.Cupid: Hey, don't take Drazi lightly. You guys are in danger as well you know.Phoebe: We're in danger every day. We're used to it.Cupid:Look, if Drazi succeeds, eventually he'll kill the ability to love. And believe me, it's a fate worse than death.[Scene: At the markets. Max is buying some flowersfor Cindy. He walks over to her.]Max: Sorry, they didn't have any roses.Cindy: You're too good to be true. I still can't believe this is all happening.Max: Believeit.(They kiss. Drazi appears.)Drazi: Touching. Really touching. Cindy, could you be a bigger fool? He's still sleeping with his ex-wife. He looks at you as a"}
+{"doc_id":"doc_203","qid":"","text":"[PREVIOUSLY_ON]NCIS THEMEBlack-and-white snapshot of Jenny.In her office, Jenny is asleep. She dreams of her father and attends his suicide. She awokeroughly when her father shot. She closes a drawer which contain a gun.In La Grenouille's limoJeanne: My father knows everything about you.La Grenouille: Onlywhat my daughter tells me.Jeanne: And I tell hil everything.Tony laught nervously followed by Jeanne most naturally.Tony: That's great. So here we all are, onaour way to... Where exacty are we headed?La Grenouille: I dont' know. Breakfast? A chance for us to get know each other.Jeanne nodds.La Grenouille: I'm sureyou have lot of questions. I know I do.Jeanne: My apartment first, papa. You wouldn't believe the night we've had.Tony squirms on the seat and tries to quietlytake his phone while Jeanne continues to speak. He can not.Jeanne: I was very frightening.Tony: Yes, your daughter is very impressive with a scalpel, MrBenoit.La Grenouille: Please, Rene.Jeanne (to Tony): You never told me you could shoot.Tony: Well I can't, clearly. I missedJeanne: On purpose.René Benoit:There was a shooting in the hospital?Tony: It's a long story Rene.René Benoit: We have all week-end.Tony: Well, it's really more of Jeanne's long story thanmine.Jeanne: There was this crazy young guy who tried to smuggle heroin into the country and he got hit by a car...Tony tries to quietly take his phone under thesuspicious gaze of René.Jeanne: .... one of the bags in his stomach burst but we didn't know until it was too late. And then ...She is interrupted by the ringing ofhis topper.Jeanne: I forgot to sign the death certificate to release the body. Sorry Papa.René Benoit (to his driver): Henry, back to the hospital.Henry: Yessir.Tony: Well, I guess breakfast is gonna have to wait.René Benoit: And all those intriguing questions.The elevator doors opened, Ziva is inside. She starts tostep out but McGee is before the gates.Ziva and McGee (in the same times): What're you doing here?Ziva: I asked first.McGee: Well, technically, Ziva, I thinkthat if we were to put that to a test, you'd find that it was too close to call. But since my parents raised a gentleman, and yours raised a killer, I was deffragingmy computers.Ziva: Liar.She goes to the office talking.Ziva: Have you heard from Tony?McGee: You came into the office on a Saturday morning because you'reworried about Tony?Ziva (Seeing the remains of food on McGee's desk): You have been here all night?McGee: Is that a question or a statement?Ziva:Question.McGee: It sounded more like a statement.Ziva: Demands a answer.McGee: Yes, I've been here all night.Ziva: Fragging the computers?McGee:\"Deffraging\". You need to work your inflections when you're asking a question. For example, why are you worried about Tony?Ziva: He was supposed to meet usat the bar last night. He did not arrive, did not call. He's not answering his home phone or his cell phone. Do you have the number to his second cellphone?McGee: The one he uses for his private calls?Ziva: Yes.McGee: No.Ziva sees Gibbs' desk with food on it.Ziva: Gibbs was here all night too. Are we a teamMcGee?Gibbs' voice: Morning Ziva.He arrives.Gibbs: Nothing better to do on a Saturday morning?Ziva: Teams do not have secrets Gibbs. And if you do not tellme what you were both doing here last night, McGee know he will...Ziva smiles.Ziva: ... eventually.Hospital's parkingThe limo parks. Jeanne goes out followed ofTony.Jeanne: Won't be long.Tony: I can come with you if you wantJeanne: No need. He won't bite.It starts, Rene out of the limousine from the other side andTony beeps Jenny on her cell phone.René Benoit: Coffee?Tony: Coffee would be great.René Benoit: Good. While we wait, you can tell me how you stole mydaughter's heart.They move away from the limo.Abby's labThe director enters, Abby is asleep on the floor. Jenny sees that the research she had given to Abbyhas a result. The analysis reveals that the fingerprints taken on glass is one of Jasper Shepard, her father. Jenny erases all the results and Abby wakes with astart.Abby: I'll get it. I'll get it. Director.Jenny: I'm sorry for keeping you here all night Abby.Abby: You know what, that's okay. It's not the first time I've woke upon the floor. And not just his floor. Not that I make it a habit of passing out on floor. And not that this isn't a really comfortable floor. If I had to... I'm awakenow.Jenny's phone rings. It is the cell coverage of Tony, but she did not have time to respond.Jenny: Thank Abby, you can go now.Abby (looking at hercomputer): Did we have a match.Jenny: No.She leaves the lab.Abby: Poor guys. Humming away all night and for nothing.She taps on his keyboard and context\"delete search\" appears.Abby: What search result?Jasper Shepard's photo appears.Abby: This is not good.Ziva: Why would the CIA come after thedirector?Gibbs: You tell me.Ziva: Protecting their asset.McGee: La Grenouille.Ziva: Does the director know?Jenny's voice: Know what?She comes.McGee: That it'sSaturday, and we are all here on our day off, because we love our jobs.Ziva: Except for Tony who is missing.Jenny: McGee, I want you to triangulate a cellnumber: 202-555-0177.Gibbs: DiNozzo in trouble?Ziva: I knew it.McGee is tapping on his keyboard, Gibbs looks over his shoulder.Jenny: The woman Tony hasbeen seeing, Jeanne Benoit, is la Grenouille's daughter.McGee: He's been on assignment?Gibbs has came himself in front of Jenny.Gibbs: You did plan to tell us atsome point?Jenny: If it led us to her father, yesGibbs: Yeah, did it?Jenny: I don't know.Gibbs: You wanna tell us what you do know director?Jenny: Tony justcontacted me unsing his alias's cell. It was a prearranged signal using only in emergency if he thought his cover had been blown.McGee: Triangulating.He displaysthe result on the plasma.Ziva: Anthony DiNardo, cute.Jenny: I want this fed to MTAC and I want satellite coverage.McGee: On its way.Before hospitalTony andRene Benoit take cafes.René Benoit: So, what did Jeanne tell you about me?Tony: Oh, everything. World's greatest dad.René Benoit: Children want to believe thebest of their parents. I'm sure you believe your father is a good man?Tony: He was.René Benoit: Still, love has a way of blinding us to the imperfections.Theywalk.Tony: It's still liveRené Benoit: True. And we both love Jeanne .Tony: Yes we do.René Benoit: Are you going to break my daughter's heart?Tony: No, sir, notif I can help it.René Benoit: Sometimes we lie to the people we love in order to protect them, true?Tony: You've lied to Jeanne?René Benoit: Well, haveyou?Jeanne leaves hospital.Tony: Here she comes.Tony grabs him by the waist.Jeanne: Done. Now let's get out of here before they remember somethingelseTony: I have to move my car, because...Jeanne: They'll tow you for sure. They are murder around here.René Benoit: We wouldn't want that. Stay close.Wouldn't want to lose you.Tony: No chance of that.Everyone goes to his car.NCIS, MTACThe street plan of the city is displayed, a diamond marks the position ofTony.McGee: He's on 22nd Street Northwest outside Monroe University Hospital.Jenny: He's on the move.McGee: He must be in car.Jenny: How long until getsatellite coverage?McGee: At least 15 mins.Looking annoyed Gibbs sat in a chair, coffee in hand.McGee: Or we could patch into D.C's traffic-cam system. See ifwe can locate him on the traffic-cam management.Gibbs: Do it.Jenny (to Ziva on the phone): Anything?Ziva: Still not answering. Shall I try his undercover cellphone?Jenny: Put it on speaker. (Tony messaging, music of 20th Century Fox): Hi, you've reached Professor Tony DiNardo. Leave a message and I will get backto you. I promise.Jenny: His cover is teaching film online at American University.Ziva (to McGee): Tony, a teacher?McGee: No wonder he's been compromised.Whose bright idea was that?Jenny: Mine.McGee's computer beeps .McGee: We're in.Jenny: Bring it up.Images of the movement appear on the big plasma.McGee:Got it. Overlaying the cell-phone signal.Ziva: Tony's car.McGee: Tony DiNardo's car.Gibbs: How deep is his cover?Jenny: Deep enough to withstand the sort ofscrutiny la Grenouille can bring to bear.Gibbs: You better hope so.McGee: West on M Street.Jenny: No one else is in the car with him.She tries to call him.McGee:He's turning north onto 29th Street.Ziva: trafic speed. No sign of dureless.Jenny: His cell phone is still of.Ziva: No one seems to be tailling him.Gibbs: Maybe he'sthe one doing the tailling.McGee: Still on 29th.Tony's car exploses. The whole team was surprised.Jenny: Oh my God!Black and white snapshot: GibbsThe staffand the director arrived at the place where Tony's car has explosed. Firefighters deviate to let the team work. We see a charred body bent over the wheel of thecar.Gibbs: McGee.McGee looks at the car and can not be detached.Gibbs: McGee!McGee out of its torpor and takes pictures of the particular weapon and thephone while Jenny looks at Tony's body and found an object.Jenny (to McGee): Hey, that some of timer device?McGee leans over and takes the objectphotographed.McGee: Ten bucks in most electrical stores. Probably activated when the ignition turned on.Ziva took the car photo.McGee: ... Count down howeverlong you need it to. When it reached zero...Jenny gets up and walks to Ducky who examined the body, Gibbs by his side.Ducky: Shock wave would have killedhim before the fire. Death would have been instantaneous. Small mercies, my dear boy.Jenny: Identification?Ducky: The general build, height, weight are aboutright. Most of the epidermis and dermis on the hands and fingers have been burned off, so no fingerprints. We need to get his dental records for positiveidentification. And there is any chance that it's not Tony?Jenny: None that I can think of.She walks away.Ducky (to Gibbs): She blames herself.Gibbsnodded.Ducky: Should she?Gibbs: Let me know when you finish, Duck.He goes in turn. Ziva on his side the badge photograph of Tony. McGee is with her.McGee:You believe in miracles, Ziva?Ziva: Not part of my training.McGee: That might be not Tony.They both look the car silently.Abby's lab.It removes the evidencefound at the scene of the accident. Gibbs is also there.Abby: Tony is not dead Gibbs. Not until Ducky says it's him. Until then, he's just... he's not here. And Idon't care what the evidence says. Even if everything here belongs to Tony, it's still not him until Ducky says that it's him. And don't try to tell me anythingdifferent, because I'm not gonna believe you.She freezes.Abby: Tell me it's not him Gibbs. Tell me it's not him.She takes Gibbs in his arms.Gibbs: I wish I couldAbby.She departs from him and goes to his computer.Abby: I need to be alone right now with the gang. I've got work to do.Gibbs sees the bottle of scotch andglass that gave Jenny the analysis. He takes gloves.Gibbs: Abby, how did these get here?Abby: Director Shepard swore me to secrecy when she brought those inand asked me to run them for the prints, so I can't tell you.He took off the gloves and approached her.Gibbs: Any other secrets you can't tell me?Abby: No. It'sjust that one. Because when director Shepard said that there wasn't an AFIS match, and then tries to hide the results from me, she actually didn't swear me tosecrecy, so that is not a secret.Gibbs: Who was the match?Abby: Her father.Gibbs: Her father has been dead for 12 years, Abby.Abby: No, not according to"}
+{"doc_id":"doc_204","qid":"","text":"Scene: The apartment. Leonard is laying out wine and napkins in front of his laptop.Sheldon: What are you doing?Leonard: Oh, uh, Priya's calling in a fewminutes on Skype, and we are gonna have a dinner date.Sheldon: It's eight o'clock in the morning in Mumbai. How can she have dinner?Leonard: Fine, whatever.Priya will be having breakfast.Sheldon: All right, so technically it's not a dinner date. I suppose you could call it a, uh, dinfast date. But if you did, you'd openyourself to peer-based mocking, such as, Hey, Leonard, how was your dinfast with Priya last night?Leonard: That doesn't sound like mocking.Sheldon: You didn'tlet me finish. Dinfast (rolls eyes). Are those soy-based candles?Leonard: I don't know. Why?Sheldon: Paraffin candles may contain carcinogens. Unless lungcancer is the ambiance you were going for at your dinfast. Dinfast (rolls eyes).Leonard: Listen, I don't want to be rude, but Priya's gonna be calling any minute,so...Sheldon: Oh, yes, Priya. Leonard, you know I make a point of never interfering in your personal affairs.Leonard: Yes, I've always admired that aboutyou.Sheldon: As well you should. But I'm going to make an exception here.Leonard: Oh, good.Sheldon: Priya has moved back to India to pursue her law career.Instead of desperately trying to keep this intercontinental relationship alive, you could use that time to take up a hobby.Leonard: A hobby?Sheldon: Yes. I readrecently about a fellow in Kansas with an enormous ball of twine. I bet you could give him a run for his money.Leonard: You know, some people might say thatit's great that we're trying to make things work long distance. They'd say things like, love is stronger than the miles between you.Sheldon: When I rise to power,those people will be sterilized.Leonard: You video-chat with Amy all the time. How is this different?Sheldon: Don't you like Amy?Leonard: Of course I likeAmy.Sheldon: Well, there's the difference. (Skype tone rings)Leonard: Excuse me, that's Priya.Priya (on screen): Hi, Leonard.Leonard: Hey, honey.Priya: I missyou.Leonard: Oh, I miss you, too.Sheldon: I miss the old days when your romantic partners could be returned to the video store.Scene: Penny'sapartment.Sheldon: Thanks for letting me stay here while Leonard Skypes with his girlfriend.Penny: Oh, it's no problem. It's actually kind of nice. You reading,me reading. We're like an old married couple.Sheldon: If we were an old married couple, the wife would serve iced tea and snickerdoodles.Penny: I don't haveiced tea and snickerdoodles.Sheldon: A good wife would go to the store.Penny: I want a divorce.Sheldon: Good. On the way to see the lawyer, pick up some teaand cookies. I must say, I am enjoying your new chair.Penny: It's great, isn't it?Sheldon: It is. Aligns the lumbar, cradles the coccyx, balances the buttocks. Thisis a chair worthy of the name.Penny: What name?Sheldon: Chair.Penny: Oh, all right, well, I'm glad you like it. I mean, I still can't get over the fact someone justthrew it away.Sheldon: What?Penny: Yeah, it was just sitting on the street. I paid a homeless guy ten bucks to help me get it up here.Sheldon (jumps up): Oh,dear. Oh, dear. Oh, dear. (Starts stripping off clothing)Penny: What is wrong?Sheldon: I've been sitting in garbage!Penny: Sheldon, take it easy.Sheldon: Youtake it easy! I need to use your shower.Penny: I went into this marriage with so much hope.Sheldon: There's a wet Band-Aid on the shower floor. (Runs out ofapartment). Credits sequence.Scene: Howard's workshop.Raj: This is fun. I've never used a hydraulic thermoforming press before.Howard: Pretty sweet, huh?This little baby set the university back 175 grand.Leonard: That's three minutes. Should we see what we got?Howard: Hang on.Raj: Oh, yeah. This is onegood-looking panini.Howard: Hand me the tuna melt.Leonard: Yep.Howard: Thank you. How's it going with the long-distance love affair?Leonard: Not easy, butwe're making it work.Howard: When you say making it work, does that include doing the cyber nasty?Leonard: What?Howard: You know, the virtual pickle tickle.The digital bow-chicka-bow-bow.Raj: Come on, dude. This is my sister you're talking about.Howard: Hey, Leonard jiggling his junk at her through a webcam hasgot to be easier for you to deal with than him actually touching her with it.Leonard: There's no junk jiggling. We just talk.Howard: Are you insane? Withhigh-speed Internet, you have at your fingertips the greatest advancement in the field of s*x since the invention of the washcloth.Leonard: I can't dothat.Howard: Well, if you don't, you're gonna lose Priya to some fancy guy in a turban who grew up with Kama Sutra coloring books.Raj: How can you be soracist?Howard: Oh, come on, tell me I'm wrong.Sheldon (entering): Oh, Leonard, good. There you are. I need you to check my head for chair lice.Leonard: I did itlast night, I'm not doing it again.Howard: Just his head, right?Leonard: I don't want to talk about it. You didn't catch bugs from Penny's chair.Sheldon: Yes, I did.And now they're cavorting at the base of my hair follicles like dancing hippies at the Redwood National Forest.Leonard: Sheldon, you do this all the time. Youfixate on some crazy idea and then blow it way out of proportion.Sheldon: Name one time I've ever done that.Leonard: How about when you put GPS trackers inyour garbage because you were convinced North Korean spies were stealing your doodles? The chicken nuggets you were sure were human nuggets. Thestrangely-shaped cloud that was following you around town. The time you put on my shirt by mistake and were convinced you'd started growing again.Sheldon: Isaid, name one. You really need to work on your listening skills.Scene: Penny's apartment door.Sheldon: (Knock, knock, knock) Penny. (Knock, knock, knock)Penny. (Knock, knock, knock) Penny.Penny: Yello.Sheldon: You need to remove that chair from the building. It's a health hazard.Penny: Okay, relax. I took offthe slipcovers, had them dry-cleaned and then fumigated the cushions.Sheldon: Really?Penny: Yeah. It's cleaner than my couch. Found half a Hot Pocket inthere.Sheldon: It certainly looks okay. Has a strong toxic chemical smell. That's reassuring.Penny: Why don't you give it a try, Sheldon?Sheldon: All right. It is acomfortable chair.Penny: Why don't you just admit you overreacted?Sheldon: No, thank you. (Sees insect. More appear and swarm all over him. He jumps out ofa daydream on his own couch. Jumps up and runs out to Penny's apartment.Leonard: It's like living with a Chihuahua.Sheldon (at Penny's door): (Knock, knock,knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's up, buttercup?Sheldon: You have to get rid of the chair.Penny: Nope.(Closes door)Sheldon: (Knock, knock, knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's the word, hummingbird?Sheldon:For your safety, please wait in my apartment as I call the authorities so they may remove the chair of death.Penny: No. (Closes door)Sheldon: (Knock, knock,knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's the gist, physicist?Sheldon: Under my authority as a self-appointedmember of the Centres for Disease Control street team, these premises are condemned. (Penny tries to close door) As a man with a keen sense of style, I musttell you, that chair does not work with the room. (Penny closes door). (Knock, knock, knock) Penny. (Knock, knock, knock) Penny. (Penny opens door and wavesseat cushion at him. He screams and runs off. She closes door. He sneaks back) (Knock, knock, knock) Penny.Scene: Leonard's bedroom.Leonard: So, here weare. Back in bed together.Priya (on laptop screen): Yep, here we are.Leonard: Okay, so I, I, I guess I'll just jump right in.Priya: All right.Leonard: Uh, you're anaughty girl. And, and, uh, I, I want to punish you with my love?Priya: What?Leonard: Not good?Priya: That's terrible. Try again.Leonard: Okay. Uh, uh, you'renot naughty. Uh, you're, you're, you're dirty. You're, you're a, a dirty girl?Priya: Oh, yes. Yes, I am.Leonard: Yeah, yeah. Uh, okay. You're a, you're a, you're a, adirty, disgusting, revolting girl. Ugh!Priya: God, Leonard, stop talking.Leonard: Why don't you just give me five minutes? I'll Google how to do this. I'll call youright back.Priya: Shh-shh-shh. Just be quiet and do what I tell you.Leonard: Okay, like usual. Good.Priya: Take off your shirt.Leonard: All rightie. Shirt comingoff. Ta-da! Man nipples.Priya: I said be quiet.Leonard: Yes, ma'am.Priya: Now take off your shorts.Leonard: Taking shorts off. There we go. Naked, naked,naked!Priya: Wonderful. Now I'll take off my clothes.Leonard: Cool. (computer screen bugs out) Uh-oh!Priya: Here I am, baby. You miss these?Leonard: Oh,damn it!Priya: Oh, Leonard! Already?Leonard: No, no! No-no-no! The screen froze. It's probably just buffering, just give it a second.Priya: Fine.Leonard: So, howare your mom and dad?Priya: Yeah, I really don't want to talk about my parents now.Leonard: Yeah. Sure, sure.Sheldon (calling from outside): If your video'sfrozen, try resetting the TCP/IP stack.Leonard: Oh! I didn't even think of that. Thanks.Sheldon (still off): You're welcome. Please let me know when you and yourgirlfriend are done hogging the bandwidth for your self-abuse. I'm trying to stream a movie on Netflix in here.[SCENE_BREAK]Scene: Amy's apartment. Amy isplaying a harp.Amy: Five, six, seven, eight. Tall and tan and young and lovely, the girl from Ipanema goes walking, and when she passes, each one she passesgoes...Sheldon: (Knock, knock, knock) Amy. (Knock, knock, knock) Amy. (Knock, knock, knock) Amy.Amy: Oh... You are aware that your ritualistic knockingbehaviour is symptomatic of obsessive compulsive disorder?Sheldon: Is not. Is not, is not.Amy: Denial. Denial, denial. Come in.Sheldon: Thank you.Amy: Wouldyou like to hear me play a bossa nova standard on the harp?Sheldon: No.Amy: How about the theme song to the classic television show Diff'rent Strokes? Nowthe world don't move to the beat...Sheldon: No.Amy: Well, that's every song I know. What's up?Sheldon: You're good friends with Penny, right?Amy: Bestfriends, besties, BFFs, peas in a pod, sisters who would share travelling pants. Go on.Sheldon: I was hoping she might listen to you about the dangers of owningunhygienic furniture.Amy: For general educational purposes, or has she acquired a bar stool dipped in cholera?Sheldon: Cholera is water-borne. You're mockingme.Amy: Yes, I am.Sheldon: Penny has dragged a chair in off the street whose unknown provenance jeopardizes the health and welfare of every resident in ourbuilding.Amy: Sheldon, just because you have a focus on cleanliness bordering on the psychotic doesn't mean I have to participate.Sheldon: All right, name yourprice.Amy: Kiss me where I've never been kissed before.Sheldon: You mean like Salt Lake City?Amy: Never mind. I'll talk to Penny.Sheldon: Thank you.Amy: Willyou listen to me play my harp now?Sheldon: No. I dislike the sound of the harp. Its overuse in classic television sitcoms always makes me think I'm going toexperience an episode from my past. (Amy plays glissando) I'm sorry, Mommy. Don't be mad at me. Don't do that!Scene: Howard's workshop.Leonard: I don'tknow about this, Howard.Howard: What? You're having trouble with the long-distance lovemaking. This is your answer. There are two interfaces that simulate a"}
+{"doc_id":"doc_205","qid":"","text":"Ryan: [catching Jim looking at him at Pam's desk] What?Jim: Oh, nothing.[SCENE_BREAK]Jim: Pam's on vacation and she gets back tomorrow, so it'll be nice tosee her. It'll be nice, and, uh, she set a date for the wedding with Roy. Uh... June. Summer. So, that'll be nice. And that's that.[SCENE_BREAK]Ryan: [againcatching Jim looking at him] What?Jim: Oh, nothing.[SCENE_BREAK]Ryan: Jim's been looking at me kind of a lot all week. I would be creeped out by it, but it'snothing compared to the way Michael looks at me.[SCENE_BREAK]Michael: Spamster!Pam: Um, Pam plus Spam plus...?Michael: Hamster.Pam: Right.Michael:Welcome back! How was your vacation?Pam: It was great.Michael: Yeah?Pam: Mm-hm.Michael: Did you get lucky? Oh! Boink![SCENE_BREAK]Pam: Roy and Ijust got back from the Poconos. I get ten vacation days a year, and I try to hold off taking them for as long as possible, and this year I got to the third week inJanuary.[SCENE_BREAK]Michael: I am Pam. Spicoli guy. Oh, God. Names, numbers. Okay. [walking into office] Whoa! God! Yuck, yuck. Yuck. Yuck!Pam:What?Michael: Wow! What happened in there?Pam: I don't know.Michael: There is stink in there, my God! What is... what is that?Pam: [looking at pile onMichel's carpet] Oh... I don't know.Michael: Is it a bird?Pam: No, I don't think it's a bird.Michael: Oh, God! How could that happen? How could... right in themiddle of the carpet.Kevin: What's goin' on?Michael: Um, somebody vomited right in the middle of the carpet in my office.Kevin: [taking a look] I don't thinkthat's vomit.Michael: Check it out.Kevin: Me?Michael: Check it out. Don't be a wuss, just get... no, I'm not holding your coffee.Kevin: Oh, that'sridiculous.Michael: What is it?Kevin: Michael. [tapping on door]Michael: What is it? No, just tell me what it is.Kevin: [pounding on door] Michael, I ... I ... I gottaget outta here. I can't hold my breath that long.Pam: Open the door up![SCENE_BREAK]Kevin: It smelled terrible.[SCENE_BREAK]Pam and others: [after going into check out the smell] Phew. Oh! No, mm-mm. [leaving quickly]Michael: I cannot believe a pipe burst and left that in there.Toby: That's no burst pipe.Michael:How do you know that? What is it, then?Creed: Hi guys. Somebody makin' soup?[SCENE_BREAK]Michael: [as cleaning lady with mask leaves] Here she comes.All cleaned? Great. [walks into office]Dwight: [coughing] It's still stinky.Michael: That is worse.Dwight: She probably scrubbed it into the fibers of the carpet.Total permeation.[SCENE_BREAK]Michael: [while in his reeking office] I am a big Fear Factor fan. I'm a big fan of anything Joe Rogan does, actually, so this issort of like my audition tape. Um... [clearing throat] I can't stand it [gets up to leave], I can't stay in here another second. No![SCENE_BREAK]Jim: Hey!Welcome back!Pam: Thanks!Jim: So, how was the resort? Did you ski a lot?Pam: A little.Jim: Good! What's goin' on here?[SCENE_BREAK]Jim: What? I did not dothat. That sounds disgusting.[SCENE_BREAK]Ryan: [barely stifling laughter] It wasn't me. Um... it wasn't me. [regaining composure] It was notme.[SCENE_BREAK]Jim: [smelling the stink] Oh. Wow.Pam: [giggles at Roy]Michael: [sitting at Jim's desk] Hey Jim. I thought that we would be desk buddieswhile they changed my carpet.Jim: That might be a little difficult with the one computer.Michael: Oh... It's ...Jim: But there's definitely a desk open in theback.Michael: [reluctantly] Yeah ...Jim: ...which I guess I'll be taking.Michael: No, no, no! Seriously, I don't mind sharing.Jim: No, no, no, seriously, I'll be in theback.[SCENE_BREAK]Jim: Hey, Kelly.Kelly: Are you moving back here?Jim: Um, just for the day while Michael's at my desk.Kelly: Because Toby used to sit there,but he had to move over there because of an allergy.Jim: Allergy to... the desk?Kelly: [shaking head] Weird.[SCENE_BREAK]Michael: [putting his feet on desk]Yeah, yeah, yeah. Old bullpen.Dwight: [putting his feet on desk] Ha ha ha... the old bullpen.Michael: Don't ape me.Dwight: Okay.Michael: This is great.Dwight:Yeah!Michael: The pressures of my office are insane.Dwight: [agreeing] Mm.Michael: I just... you couldn't understand, but man, you guys have it so easy outhere, you know? I used to sit right here.Dwight: No way!Michael: Yeah.Dwight: And who had your office?[SCENE_BREAK]Michael: Ed Truck. [exclaiming isdisgust] Ed Truck was the manager before me. Horrible. He hated fun. It was like, \"Oh, Ed Truck is walking toward us. Stop having fun. Start pretending to dowork.\" What a jerk. He's... You know what? I swore to myself that if I ever got to walk around the room as manager, people would laugh when they saw mecoming and would applaud as I walked away.[SCENE_BREAK]Kelly: [to Jim] I'm serious. My closet doors will not shut. I mean, it only takes so long to measure tomake sure that clothes will hang up because aren't all hangers like that big? So I don't understand why the closet engineer didn't think of that. So now I'm doingthis new thing where I just leave piles of clothes on the floor and then I walk around the piles to get an outfit...[SCENE_BREAK]Michael: You know who used to sitat that desk?Dwight: That guy Miles who quit to form his own company?Michael: Mm-mm. Todd Packer.Dwight: No!Michael: Yeah.Dwight: I thought he was outon the road.Michael: He was, but, uh... that desk was empty. He'd come in and sit there sometimes.Dwight: Ah.[SCENE_BREAK]Michael: When I was in training,many years ago... not so long ago... I worked side-by-side with a fellow named Todd Packer, and together we rocked the office [picture behind Michael falls].Packer and I once spent the whole day with our pants off, and when people noticed, we convinced them that they were crazy.[SCENE_BREAK]Michael: I willgladly pay you Tuesday for a hamburger today.Stanley: [on phone] Excuse me one second, please. [to Michael] What is it that you need right now that you can'twait until I'm off the phone with a customer?Michael: Oh, a customer, well, sound the alarm. [laughs] Okay.[SCENE_BREAK]Michael: Another time, Packer heldthis guy's head in the toilet for like a minute. Guy had no sense of humor about it. Probably why he wasn't hired.[SCENE_BREAK]Creed: [after Michael puncheshim in the arm] What did you hit me for?Michael: Charley horse!Creed: What?Michael: Charley horse!Creed: You shouldn't have hit me, Michael.Michael: Oh,okay. Gah.[SCENE_BREAK]Michael: Once, as a joke, Packer banged every chick in the office. [giggles] It was hysterical.[SCENE_BREAK]Kelly: [to Jim] Beyonce,pink the color, Pink the person, hot dogs, basically anything that is awesome. Snow cones...Ryan: Hey Jim, Michael wanted me to ask you how to raise your deskchair.Jim: It's the lever on the side.Ryan: That's what I told him. Thanks. [leaves]Kelly: Oh my God, he is so cute! Would you talk to him for me and see if helikes me?Jim: No, I don't think I can...Kelly: Oh, please Jim? Please, please, Jim. Please, please, please? He's so cute. I like him so much. And I would do it, butI'm too shy. Please, Jim, please, please, please, please, Jim. Please, please, please...[SCENE_BREAK]Michael: [whispering] Dwight.Dwight: [whispering]Michael.Michael: Let's send up Accounting.Dwight: What?Michael: Old fashioned raid. Sales on Accounting. Yeah. Follow my lead.[SCENE_BREAK]Michael: Heyguys.Oscar: Hey, Michael.Michael: Ahem. What's up?Oscar: Hey, Dwight.Michael and Dwight: [as they throw accountants' files and supplies around] Ahhhh!Whoo hoo! Come on, come on, come on, come on! Sales rules!Dwight: Yeah! [laughing]Michael: Yeah! Oh ho ho [laughing]Dwight: Should we help 'em pick uptheir stuff?Michael: No, no, no, no. We don't do that. We don't do that.Dwight: Okay.Michael: Watch out, Pam. You're next!Pam: You're gonna throw my thingson the ground?Michael: Maybe![SCENE_BREAK]Oscar: What happened in Michael's office was wrong. I understand it [chuckles], it makes sense [regainscomposure] But it... it was still wrong.[SCENE_BREAK]Michael: Why would somebody ruin a perfectly good carpet? I don't know. It could be done out of hate. Itcould be done out of love. It could be completely neutral. Maybe somebody hates the cleaning lady. And, well, she doesn't do a very good job, obviously, becausemy office still reeks like you would not believe. I hate her.[SCENE_BREAK]Michael: You know what? I am beginning to think that what happened to my carpet wasan act of terrorism against the office. The only thing that makes any sense.[SCENE_BREAK]Dwight: [on phone] Hello, am I the 107th caller? [hangs up, dialsagain] Hello, Rock 107. Am I the 107th caller? [hangs up and dials again] Hell , Rock 107. Am I the 107th caller? [hangs up and begins to dial again] I'm totallygonna win us that box set.Michael: Stop.Dwight: Jethro Tull...Michael: Stop it. [Dwight hangs up] Stop. It. [Dwight beings to dial] Don't. Don't.Dwight: I need tomake a sales call. Please?Michael: All right.Dwight: [on phone, whispering] Am I the 107th caller?[SCENE_BREAK]Pam: [to Roy in Jim's earshot] ...back sosoon.Roy: We can go back in, like, a couple of weeks maybe.Pam: Yeah, right.Roy: Okay, maybe another month, like, maybe for, like President's Day orsomething.Pam: Yeah, that's right. We could do a three-day weekend. I wonder if I could, like, call in sick on the Friday. Then I get a four-dayweekend.[SCENE_BREAK]Kelly: [to unseen co-worker] But it's so weird to fall asleep. And I just hate it. 'Cause I try to go to bed at, like,9:30.[SCENE_BREAK]Pam: [to Roy as Jim escapes into bathroom] Are you kidding?Roy: No.[SCENE_BREAK]Michael: Hi, guys.Angela: We haven't finishedgetting things in order from your last visit.Michael: I'm just walking around.Angela: Were you?Michael: Well, yeah.Oscar: It's just that we're really swamped overhere, Michael.Michael: Oh, and I'm not? Why would you say that? Because I'm having fun? You guys just are workin' for the weekend, aren't you? I'm workin' forthe week. Sales team, listen to me. This is what we're gonna do. I'm gonna up the ante a little bit literally. Right here, I'm gonna put a crisp one hundred dollarbill. The person with the most sales at the end of the day gets to keep the cash. Sound good?Dwight: Yeah!Michael: [counting cash] Seventy, eighty, one, twothree. Eighty-three dollars. Still a lotta money and I'm going to ... [moves money after seeing workmen walk by] ... I'm gonna leave it right over here whereeverybody can see it. I will be taking Jim's clients today because he is not here and out of sight, out of the contest. Let's see who winds up with the cash, shallwe?Phyllis: You're gonna compete against us?Michael: Oh, it is on, Phyllis, it is so on!Dwight: It is so on!Michael: God, this is gonna be fun.Dwight: Michael isgonna wipe the floor with us![SCENE_BREAK]Michael: [on phone] So you have 40 boxes going out, and I will deliver those personally in a Sebring. Very good,nice doing business with you. Thank you. [hangs up] Yes! [chuckles] Oh, yeah! Read it and weep. Oh! Oh, look at that! [puts post-it on Phyllis' forehead] Look atme, Phyllis! Oh, what is that? That's my sale! [humming then dancing victoriously]Darryl: [walking by with new carpet] What... What's that? Whatchadoing?Michael: [stops dance] Nothing.Roy: [laughing] I think he's dancing.Michael: No. Just ...Darryl: That was definitely not dancing.Michael: You know what,"}
+{"doc_id":"doc_206","qid":"","text":"\"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young boy. His name...Merlin.\"CAVE - DAYNimueh (spell):Berbay odothay arisan yeldo (\"Command thee arise ancient\").Nimueh places a magic egg into water. It travels through underground waterways to a manmadecavern. She watches Camelot from her water basin.Nimueh (spell): Bebiede þe arisan ealdu (\"I command you, ancient one, to come forth\").LOWER TOWN -DAYGaius and Merlin look over a corpse in the street.Merlin: Aren't you scared?Gaius: Of what?Merlin: That you might catch whatever it is.Gaius: I'm the courtphysician, Merlin. This is part of my job. Most of the time there's nothing really to be scared of. Gaius turns over corps to reveal white skinned, white eyedface.Merlin: You were saying?Gaius: People mustn't see this. They'll panic.GWEN'S HOUSE - DAYGwen and her father get ready at home.Gwen: Dad, here's yoursandwich.Tom: Ooh. Mmm, what's in it?Gwen: It's smoked pigeon. But I'd say there's more smoke than pigeon.Tom (laughs): You're such a good girl tome.Gwen: And I've done you some watercress soup tonight.Tom: Don't tell me, with more water in it than cress? Gwen laughs and they hug.Gwen: I'll see youlater.Tom: 'Kay. Bye.KING'S PALACE, DRAWBRIDGE - DAYMerlin and Gaius wheel the body over the castle drawbridge. Gwen approaches carrying the flowers shehad at home.Gwen: What are you doing?Merlin: Er...just moving something.Gwen: Looks heavy.Merlin: Er, it's nothing really. Er...someone got youflowers?Gwen: Oh! No (giggle) Would you like one? A purple one. Purple suits you. Not that I'm saying red doesn't suit you.Merlin: Thanks. Well, er... Merlinsticks the flower in his scarf.Gwen: Aww.Merlin: Er...see you.Gwen: Bye.KING'S PALACE, MORGANA'S CHAMBERS - DAYGwen enters with flowers.Morgana: Youlook happy.Gwen: I picked these for you.Morgana: Oh, that's so sweet.Gwen: Something to cheer you up. I know you're not sleeping well.Morgana: You cheer meup.Gwen: Would you like me to put them in water for you?KING'S PALACE, PHYSICIAN'S CHAMBERS - DAYMerlin and Gaius looking at body with magnifyingglass.Gaius: I've never seen anything like this before.Merlin: Do you think it could be some kind of plague?Gaius: No. I fear that something like this could nevercome from nature. But who has this kind of power?Merlin: You think it's caused by magic?Arthur: Merlin! Merlin opens door before Arthur can come in and see thebody.Merlin: Erm...I'm on my way. Sorry I'm late.Arthur: Don't worry. I'm getting used to it. Arthur furrows his eyebrows when he sees the flower in Merlin'sscarf. Merlin looks down at it.Merlin: Oh, er...Gwen, she gave it to me.Arthur: Tell Gaius my father wants to see him now.Merlin: Okay. Merlin closes thedoor.Merlin: Gaius...Gaius: I heard.Merlin: Wait, why couldn't he just tell you himself?Gaius: 'Cause that's the way it is. You're a servant.Merlin: Wha...if he knewwho I was, what I've done...Gaius: You'd be a dead servant. Right, get this covered up.Merlin: Hey, I'm not your servant.Gaius: No, you're my dogsbody. Comeon, hurry up.KING'S PALACE, COUNCIL CHAMBER - DAYGaius examines a magically dead servant on the floor.Uther: What's happened to him?Gaius: I don'tknow, Sire. It's the second case I've seen today.Uther: Why didn't you report it to me?Gaius: I was attempting to find the cause.Uther: What did youconclude?Gaius: I don't think it's time to hurry to conclusions. A scientific process is a long one.Uther: What are you concealing from me?Gaius: Sire, I have seennothing like it. The victims are dying in 24 hours, and it's spreading fast.Uther: What is the cause?Gaius: I think you should say that the cause, the most likelycause, is sorcery. Uther pulls Arthur aside.Uther: We must find who did this.Arthur: I will, father.Uther (scared whisper): Conduct door to door searches. Increaseyour presence in the town. Double the guards on all the gates. And lend the physician your servant.Arthur: Merlin? But...Uther: I'm going to need Gaius to find acure. He needs all the help we can give him. If Gaius is right, believe me, this city will be wiped out. This is the kind of magic that undermines our authority,challenges all we've done. If we cannot control this plague, people will turn to magic for a cure. We have to find this sorcerer, and quickly.Arthur: Yes,father.TOWN - DAYArthur and guards search the city. Merlin and Gaius walk through town. Merlin sees a sick personMerlin: Gaius? Gaius. He's still alive.Gaius:I'm afraid there's nothing we can do for him.Merlin: But we haven't tried.Gaius: If we don't know what a disease is, then how can we cure him?Merlin: Withmagic.Gaius: Have a look. They're suspicious of everyone.Merlin: This is not the time to be using magic. Science will lead us to the source of the disease.KING'SPALACE, PHYSICIAN'S CHAMBERSGaius heats a vial of liquid.Merlin: What are you doing?Gaius: I'm examining the contents of that man's stomach.Merlin: Willthat tell you who did it?Gaius: No, but it might tell us how it's spread. One thing I do know, this is magic of the darkest kind.Merlin: Why would someone usemagic like that?Gaius: Magic corrupts. People use it for their own ends.Merlin: But not all magic is bad. I know it isn't.Gaius: It's neither good nor bad. It's howyou use it. Arthur and guards burst inArthur (to guards): Over there (to Gaius) Sorry Gaius, we're searching every room in town.Gaius: What for?Arthur: Asorcerer.Gaius: But why would he be here?Arthur: I'm just doing my job.Gaius: We've nothing to hide. Go on, then. Search.Arthur: All these books andpapers?Gaius: My life's work, dedicated to the understanding of science. You are quite welcome to read through them if you wish.Arthur: What's this room uphere?Merlin: Er...it's mine.Gaius: And what do you expect to find in there?Arthur: I'm looking for material or evidence suggesting the use of enchantments.Gaius:What've you done with the magic book I gave you? Merlin looks worried. Arthur enters his room.Arthur: Merlin, come here. Look what I found. Merlin runs into hismessy room expecting Arthur to be talking about the magic bookArthur: I found a place where you can put things. It's called a cupboard. Merlin spots book on thefloor and magically covers it with his bed sheet. Arthur looks under the bed, but misses the book and exits Merlin's room.Arthur: How long do you think it may bebefore you find a cure?Gaius: It depends on how many interruptions I get.Arthur: Of course, I'm sorry (to guards) We're finished here. They exit. Gaius closes thedoor.Gaius: We have to hide that book.Merlin: No. We must use it.Gaius: Don't be stupid.Merlin: If I have this legacy then what is it for? You keep telling me it'snot for playing tricks.Gaius: You want to practice magic when the King is hunting for sorcerers? Are you mad? Merlin, your life is destined for more importantthings.Merlin: But if I don't practice, then how will I get to be this great warlock?!Gaius: There will come a time when your skills will be recognised.Merlin: When?!How long do I have to wait?Gaius: Patience is a virtue, Merlin.Merlin: Sitting by and doing nothing, that's a virtue?Gaius: Your time will come.Merlin: I could curethat man we saw.Gaius: I know it's tempting to use the way you find easiest, Merlin...Merlin: It is when it would save a life.Gaius: It's no good just saving oneperson. We have to discover how this illness is spreading.Merlin: Arthur is out there right now looking for the sorcerer!Gaius: A sorcerer who's powerful enough todo this will never be found searching the town.Merlin (sigh): So what can we do?Gaius: Hope that science can find the answer before it kills us all.CAVE -DAYNimueh watches the beast she has sent in her stone basin. A woman draws water from the spout in the Lower Town. covered bodies are lined up in thecourtyard.KING'S PALACE, COUNCIL CHAMBER - DAYArthur enters. Uther is here.Arthur: We searched everywhere, the entire city.Uther: Nothing?Arthur: I don'tknow where else to look.Uther: I want you to impose a curfew. No one is to be allowed onto the streets after the great bell.Arthur: Father?Uther: And cordon offthe lower townArthur: Why?Uther: Because that's where most of the victims are. Let's isolate it, stop this disease from spreading.Arthur: What about the peoplewho live there?Uther: Don't you think I haven't considered it? What else can I do? I have to protect the rest of the city. Arthur bows and exits.KING'S PALACE,PHYSICIAN'S CHAMBERSGaius and Merlin examine another corpse.Gaius: What's different about this victim?Merlin: Er...she's a woman.Gaius: Sometimes I dowonder whether you're a magical talents were given to the right person. Anything else?Merlin: Erm...she's a courtier.Gaius: Ah.Merlin: How does that helpus?Gaius: Courtiers seldom go down to the lower town. So what does that mean?Merlin: Erm....that, that she hasn't spoken to any townspeople.Gaius (lookspained): Yes, it suggests that the disease is not spread by contact.Merlin: Oh, and they probably ate different food.Gaius: Good. Anything else?Merlin: Erm...Idoubt they breathe the same air.Gaius: So what's the only thing they do share?Merlin: Water. Water? You think the disease is spread through water?Gaius:Merlin, you're a prodigy. Gaius hands Merlin a bucket. Merlin walks to Lower Town well.GWEN'S HOUSE - DAYGwen ties her cloak.Gwen: It's time to get up,Dad...Dad? She turns him over.Tom: Gwen. Tom is magically sick. Gwen panics and runs to the castle crying, passing Merlin at the well.Merlin: Gwen? Gwen!Merlin grabs the bucket of water and runs after her.KING'S PALACE, PHYSICIAN'S CHAMBERS - DAYGwen enters.Gaius: Gwen!Gwen: Gaius.Gaius: You have thesickness?Gwen (shakes her head): My father! Please, Gaius, he's all I have.Gaius: Gwen, I have no cure.Gwen: I am begging you!Gaius: I wish there wassomething, anything, but so far the remedy is beyond what I can achieve (takes her hand) I'm sorry, Gwen. She runs out of the room.Merlin: There must besomething we can do.Gaius: My best. Let's hope that this can provide some answers.Merlin: But that'll be too late for Gwen's father.Gaius: I fear you may beright. Gaius puts some of the water in a jar, and places a flower in it. Merlin goes to his room.KING'S PALACE, PHYSICIAN'S CHAMBERS - NIGHTMerlin checks onsnoring Gaius, pulls out his magic book, and sneaks past the guards.Guard 1: What about over...in there?Guard 2: Certainly, Sir. Guards poke spears intohaystacks. A guard approaches Merlin's hiding spot.Merlin (spell): Onstyrian, onbregdan. The door across the street creaks open. A guard nears and the door hitshim in the face. Merlin goes to Gwen's house. Gwen and Tom are sleeping. Merlin puts a poultice under Tom's pillow and performs a spell \"þu fornimst adl framguman\" He exits and watches them outside the door. Tom wakes and touches Gwen's head, which is resting on his bedside.Gwen: Father?Tom: Gwen.Gwen(realizes Tom is well): What's happened? I can't believe it! She hugs her father.CAVEMore covered bodies are laid out in the Square. Nimueh continues watchingin her stone basinKING'S PALACE, COUNCIL CHAMBER - DAYArthur reaches for the glass vial containing the tainted water with a flower in it.Gaius: Don't touch it!I had this in the water for no more than a few hours.Uther: Where's the water from?Gaius: The pump from where the people take their daily supply.Arthur: We"}
+{"doc_id":"doc_207","qid":"","text":"[sound of coughing]Ricky: We're going to make some good f*cking money here boys.Julian: Let's just f*cking get this over with, Rick.Ricky: My f*ck, this is agood time boys.Tell me that's not the best f*cking dope you ever smoked Bubbs.Bubbles: Should I be getting baked for this, boys?Ricky: Yes, Bubbles, get high,this is fun.Bubbles: Walkie check Ricky.Ricky: Good check.Bubbles: That water bong's so smooth, you don't realize how high you're getting until it's toolate.Ricky: Bubbles, you're breaking up. Switch to channel two, okay. Just turn on the radio and relax, everything's fine.Bubbles: Channel Two? VHF, what's thatnow?[sound of music from radio]Bubbles: [singing]Bubbles: [singing through PA system]Ricky: I know I'm baked but, doesn't that sound like it's coming throughthe PA?Julian: f*ck, it sounds like it man.[sound of Bubbles singing through PA system]Ricky: Bubbles, everything you say is coming over the PA rightnow.Bubbles: Ricky, I am f*cked up out here.I don't mean to interrupt your meat-stealing operation there boys but I need to keep talking to you til you get back.I'm freaking out a little bit.Ricky: Bubbles, every f*cking word you're saying is coming over the PA.Julian: He must have his finger on the button man, he can'thear us.Bubbles: [singing]Bubbles: [singing over PA system]Ricky: f*ck! Meat dicks, meat dicks.Julian: These are just birthday presents. You have no right tolook in them. We're going to leave now. Rick, let's leave, calmly, come on.Bubbles: Oh, I'm f*cking high![music]Bubbles: Where do I know that big cocksuckerfrom?Ricky: Don't even f*ck the mind who that is?Phil: What are you doing?Ricky: Get the f*ck out of the way with your stupid fish and your hockeystick!Bubbles: Ricky, I'm not selling meat in the liquor store parking lot again. I don't want anybody I know to see me.It's embarrassing.Ricky: Bubbles, justsmoke some of this home made blender hash, alright, and relax.Julian: Corey and Trevor should be doing this greasy sh1t, not us.Ricky: f*cking Corey andTrevor. Corey and Trevor just vanished. No idea where the f*ck they went. Just ran away on me. Disappeared about six months ago and left a stupid note sayingthey're ever, never coming back. Thanks guys. Now I'm in a liquor store parking lot selling f*cking meat instead of Corey and Trevor. What the f*ck are youlooking at?Phil: What are you doing here man? This is my parking lot! I sell mackerel and blueberries.Bubbles: [coughing] Great, Phil Collins is here.Phil: Hey,hey. Bubbles, Julian. How are you guys doing? Selling stolen meat eh? Wanna buy some trout?Julian: Phil, would you get the f*ck out of here. Here, here, takethis thing.Phil: Yeah, well alright, Julian. Ah, geez.Bubbles: Here Julian.Julian: f*ck!Bubbles: [singing] I am high! High, high.Woman: Julian? Don't you rememberme Julian?Julian: Ah?Woman: Oh my, Bubbles. Is that you? It's me. Your grade three teacher, Mrs. Anderson.Bubbles: [coughing] Hi, hi Mrs. Anderson.Ricky: Ohmy god, I'm so god-damned high.Bubbles: Ricky, no Ricky.Mrs. Anderson: I better be going guys. You know, it's never too late to change the path you're goingdown in life, boys.Julian: Thanks, Mrs. Anderson.Bubbles: Let's get the f*ck out of here, Julian.Ricky: Forty-two bucks already today boys. I can't believe it.Where the f*ck are you going, Julian?Julian: I'm not stealing meat anymore man, it's f*cked.Ricky: Man, what the f*ck are you talking about? You're giving upseventeen, eighteen bucks a day.Julian: I gotta get a job or something man.Ricky: A job? Julian, we don't work. You know us.Bubbles: Ricky, think about whatyou just said. Maybe we should work. Getting a good job is a good idea Julian.Julian: Listen, if I don't start making some cash soon, I'm going to lose my f*ckingtrailer man. Seventeen bucks a day, not cutting it.Ricky: Why is he so f*cking worried about his trailer getting repositioned? We're doing good here man. Moremoney for us buddy. See buddy, now this is what I'm talking about. Business.Jim Lahey: Hey Rick. Open for business?Ricky: How's it going Sir? What can I getfor you?Jim Lahey: What do you got that's fresh?Ricky: Jim, we both know you came over here for more than just a box of meat.Jim Lahey: Well Ricky, I washoping to get a few grams for Randy. But he, look, he doesn't want to pay twelve bucks a gram anymore. He's smoking a lot of dope Rick. He's a good customer.How about ten? Six grams, sixty bucks?Ricky: Oh my f*ck, Cheryl! What are you doing? I told you to stay off the counter. Look, you can have this but that's italright. Now take that and get the f*ck out.Ricky: My father grazed me to that, that other things like animals that live or like I that live and I'm supposed to bethe same to them and try to treat them good but I've got f*cking insects now coming to my trailer and frogs and f*cking these things that look like cats but theygot these long beaky nose things. They're all attracted to my dope. I can't sell my f*cking things coming in like crows. I nicknamed this one crow Cheryl and she'spretty cool but I have to give her a peanut butter sandwich so she'll stop stealing my f*cking weed and it's just, it's making me lose my f*cking mind. I'm sick ofall this sh1t. I gotta sell this f*cking dope soon or I'm going to snap.Ricky: I'm getting pretty sick of you and Randy showing up here offering me ten or eight oranything else. You know what, if you cops started doing your job and you busted some growers I wouldn't have problem. Nobody gives a f*ck about good dope.I'm sick of this sh1t Jim. Look let me spelt it out for you. See what that says? Twelve bucks a gram, firms.Jim Lahey: Are you selling any of this dope,Ricky?Ricky: I sold a little bit.Jim Lahey: Well, I refuse to pay twelve bucks a gram when you can get it for six down at the mall.Ricky: Well, you know what Jim?Go down to the f*cking mall and get the shitty mall dope. You only get f*cking one joint out of a gram, it's sh1t.Jim Lahey: Okay, okay, okay, okay. Look, I'll takeone gram.Bubbles: Hey Ray. What, are you redoing your plumbing?Ray: f*ck no. Son of a f*cking whore.[crashing sound]Ray: f*cking, I don't use this asplumbing Bubbles, you know that. f*cking selling it as scrap metal.You know, get my liquor money buddy.Bubbles: Ray! Ripping the plumbing out of your wallsfor liquor money is f*cked!Ray: No, Bubbs.Bubbles: Ray, do you ever wonder if you've chosen the right path in life?[pipes clanging]Ray: What do you mean, like,if your rig is on the right road?Bubbles: Yeah, that type of thing.Ray: f*ck yeah, buddy. You kidding me.I think about that sh1t all the time. Every f*cking day Ithink about that. You know, I'll be, I'll be perfectly honest with you buddy. I'm sick of working with Randy, running this park.Bubbles: Ray, all you really do is getdrunk and drive around waving at people.Ray: Yeah, I know but I'd give it all up in a second buddy. If there was just some f*cking way back on the road. Likethat's ever going to happen.Bubbles: Hey, do you think you can work with Ricky tonight? I just don't think I can.Ray: Why, are you guys having a problem orsomething?Bubbles: Ray, I love those guys like brothers, you know that. But, I just can't do this greasy small-time crime sh1t anymore.Ray: I know what you'resaying Bubbles. It's a young man's game. That's why I got out of it. So here, if I were you, I'd do it one more time and then get the f*ck out of it. You know, getme five pounds of bacon and a half pound of regular beef too while you're at it, would you?Bubbles: You know what Ray? I think maybe I should be doing my ownjobs that I plan. I think it would be less stressful.Ray: You need a hobby like mine Bubbs.Bubbles: Hobby? What's your hobby, Ray?Ray: Drinking. Hey buddy,want a beer.Bubbles: I'd love a beer.Ray: Here, go ahead.Bubbles: Do you think I could get in on this scrap metal bullshit with you? I have connections in the cartworld.Ray: f*ck yes. I could use a hand buddy.Bubbles: Alright, let's do it.Ray: Let's do it.Bubbles: Want to keep it on the downsie though.Ray: Alright, noproblem.Jacob: I can't believe we're working together. This is awesome.Julian: Yeah, thanks for the job Jacob.Jacob: Oh my god, Julian. Is this your car?Julian:Yup.Jacob: Monte Carlo. What a cool car. Is it an '86?Julian: '87.Jacob: f*ck, it's in great shape man.Julian: Thanks man.Jacob: Can you light her up?Julian: I'llsee what I can do.[tires squealing]Jacob: Yeah, light it up!BAM!See you later Julian.[knocking sound]Sam: Julian?Julian: Oh my f*ck.Sam: You're deliveringpizzas now?Julian: No man, my cousin's car broke down and ISam: Your cousin, yeah.Julian: Twenty-two bucks.Sam: Your cousin?Julian: Twenty-two bucksSam.Sam: Yeah, okay. I got it right here.Uh, I got most of it.Julian: What do you mean?Sam: I got, twenty-one fifty.Julian: Sam, this is coming out of my ownpocket, come on!Sam: I'm not made of money man. Come on, twenty-one fifty. Take it or leave it.Julian: [sighs]Police Officer George: Alright, next item. Harvey,Bern, all this luggage disappearing at the airport. What leads have you got? Nothing? You're off the case. Ted and I will take this one over. Hodgson, Chambers,want you to start laying down some muscle on this meat stealing ring. I mean, come on guys, they're stealing meat. How hard can this possibly be? It's gettingembarrassing. Alright, that's it. Don't f*ck around out there.Jim Lahey: Hey George, what about me?Police Officer George: Actually, you know what, hold upeveryone! You know, Jim, there is something you can do for us.Jim Lahey: What's that George?Police Officer George: Take a run up to Horton's for theboys.[laughter]Jim Lahey: Every f*cking day.Police Officer Ted: Guess you thought being back in the force would be more exciting. Double double decaf, Bostoncream.Jim Lahey: Double double. Triple single.That's only seventy five cents, Terry. For f*ck's sakes.[SCENE_BREAK]Ricky: Hey.Lucy: Hello. How are you?Ricky:Hey Trin.Sarah: Nice cooler Ricky. Is that yours?Ricky: Yeah.Sarah: Yeah? How can you tell?Ricky: What are you book learning Trin?Trinity: Ah, mammals andstuff.Ricky: Cool.Trinity: Birds.Ricky: How's the little bottle of joy doing?Lucy: Fine.Ricky: Well, I got you some meat. Lots of meat. You got a bunch of pork chopsand ground beef. And bacon and this stuff, couple of those things.Lucy: You know what dude, as great as it is that you got all this stuff and I know that you'retrying, you know what we really need? Some money.Ricky: Lucy, don't tell me you're going to start busting my cock too. You know what I'm going through rightnow. And Julian quit working for me today.Lucy: Uh-huh.Ricky: I'm trying to sell this friggin dope. What do you do when guys are selling dope down at the mallfor six bucks a gram, even though it's sh1t, but people are buying it. I'm f*cking trying here Lucy.Lucy: Would you like a piece of licorice Sarah?Sarah:Sure.Lucy: There you go. Enjoy. Chew on that.Sarah: Uh-huh.Ricky: I'm not trying to freak out. I'm sorry.Lucy: Uh-huh.Ricky: You got another baby on the wayand that got me learning that I gotta become better. For the person that's going to be born. You know that I always become a better person when the person thatgets born is born. I'll do whatever it takes Lucy. That's what I'm talking about here. You think I want to be stealing f*cking meat, I'm doing it for you guys.Lucy:What happened to the guy I made love with in the bathroom of Kentucky Fried Chicken? What happened? Where is that guy, huh?Ricky: Lucy, please. We all"}
+{"doc_id":"doc_208","qid":"","text":"[ EXT. Massacre Site - Day ]( A sizable river runs by and birds sing in the trees. It is a beautiful day, despite the carnage at the surveyors' camp. Scalped bodieslay on the ground, the sound of FLIES heavy in the air. Some of the bodies have been loaded into the back of a buckboard wagon by two men. The CHICAGOTRIBUNE REPORTER is documenting the scene with his camera. His flash-pan WHOOSHES loudly. The horse hitched to the buckboard is startled by the sound andWHINNIES. )( The reporter looks up from his camera towards the ridge to see a party of three men riding on horseback. One figure, on a white horse, rides aheadof the two other men. The two men with the reporter chamber rounds in their weapons. )Reporter: It's Durant.( DURANT dismounts, as do the two men.)Reporter: ( to himself ) What the hell's he doing here?( Durant walks up to the Reporter. )Durant: Are you the Chicago Tribune reporter?Reporter: YesDurant:Did you photograph this body?Reporter: Y-yes, sir, Mr. Durant, but just-just the one body.( Durant looks at the man, disgusted. )Durant: What's wrong with you,man?Reporter: I'm sorry. I thought...Durant: Just the one won't do.( The Reporter is confused. )Durant: ( to the men by the buckboard ) Get those bodies off thewagons. Come on, snap to, boys.( The men drag one man, the sentry who was shot first, from the wagon. They drag the sentry back to the field as Durantcontinues to talk to the reporter. )Durant: I want this scene photographed exactly how you found it. I want an unblinking look at the horror perpetrated here.(The Reporter is still confused. )Durant: More arrows. We need more arrows.( Durant gathers arrows and sticks them into random corpses lying in the meadow. Heattempts to stick one into a man lying in front of the Reporter but it won't go in. Durant pushes it slowly in with a SQUISH, much to the Reporter's disgust. Durantlooks up at him. )Durant: He can't feel anything. He's dead, for God's sake.( Durant turns as a man, identified as DURANT'S MAN, walks from the tree line.)Durant: The maps. You find them?Durant's man: ( shrugs ) No, sir. Nothing anywhere.Durant: Keep looking.Durant's other man (O.C.): Mr. Durant, overhere![SCENE_BREAK][ CUT TO: Woods ]( Durant and his men walk towards two bodies, one being Sun Bear, the brave killed by Lily Bell. Durant kneels and rollsover the other. It is Robert Bell. )Durant: Robert. ( stands ) Pack up everything. Bring it all back to Hell on Wheels.( Durant is about to leave when somethingcatches his eye in the grass. He bends to pick up the object. It is a silver pocket watch. He opens the hunting case and turns it to see the inside of the cover.There is a black and white photo of Lily Bell stuck to the watch cover. He looks at the photo a long while. )[SCENE_BREAK][ EXT. The Cut - Day ]( Men, bothNegro and white, are working in the cut. BOHANNON walks along the top of the cut, monitoring work. He looks at ELAM before continuing on. Two men approachon horseback at a gallop. One, Dix, has long brown hair. The other, BOLAN, has short, sandy hair and a beard and wears a Union jacket. Bohannon notices themand puts his hand on the grip of his gun. Elam climbs out of the cut and stands next to Bohannon as Dix and Bolan approach. )Elam: ( quietly ) They foundJohnson's body. Everybody back in camp talk 'bout it.( Bohannon turns to Elam. )Bohannon: Get the hell back in that cut.( Elam doesn't move. Bolan arrives firstand pulls his horse to a stop. )Bolan: You Cullen Bohannon?( Bohannon and Elam stare at Bolan. )Bolan: You hear about Daniel Johnson's murder?Bohannon:Who wants to know?Bolan: ( raises eyebrows and smirks ) Why you so spooked, son?Bohannon: I guess I still ain't cottoned to the sight of Union blue riding upon me.( Bolan chuckles and smiles. He turns to Dix, who gives a small smile. )Bolan: You ought to be happy to see us.Bohannon: Yeah? And why's that?Bolan:Boss wants to talk to you about taking Johnson's job.( Bohannon sighs and looks at Elam )[SCENE_BREAK][ EXT. Hell on Wheels - Same Day ]( Town is bustlingwith activity after the move to a new location. People are setting up their tents. MICKEY is pulling up a pole that forms part of the framework for the MagicLantern Show tent. )( SEAN exits the Starlight Saloon with two bottles of liquor. He crosses the street to Mickey and hands him a bottle. )Sean: Here you go,Mickey. ( puts his arm around Mickey's shoulder ) Yeah.( Near the rail line, Bohannon rides his horse, following Dix and Bolan. Bohannon is smoking a cigar. )(CLOSE ON man hanging from a makeshift gallows )( The trio arrive at their destination and dismount. Bohannon follows Bolan up the steps of a caboose.Bohannon removes his hat and puts out his cigar with his boot before entering. )[SCENE_BREAK][ CUT TO: INT. Caboose ]( A large, imposing man dressed in ablack waistcoat sits praying over a piece of hardtack at his desk. This is THOR GUNDERSEN. The hanged man can be seen through the window behind him.)Swede: We thank thee Lord for this bounty you have placed before me.( He finishes and looks up at Bohannon. He indicates a chair across from his desk.)Swede: Sit down.( Bolan pulls up a chair across from the Swede's desk. The Swede dips the hardtack in a bowl of liquid. )Swede: Sit down.( Bohannon doesn'tsit but eyes the Swede. The Swede calmly takes a bite of hardtack. Bohannon looks out the window at the hanged man. )Swede: ( nods towards window ) Horsethief. Tor Gundersen, head of security for Mr. Thomas Durant.( The Swede extends his hand. Bohannon shakes. )Swede: They call me the Swede. ( beat ) I'mNorwegian but no matter. ( shrugs ) We are all Americans now, even you Rebels, yes?( He smiles but Bohannon does not return it or respond. )Swede:Hmm...Daniel Johnson told me that the two of you was cut from the same cloth.Bohannon: ( scoffs ) Yeah? I don't think so.Swede: ( bits into hardtack ) Why isthat? Did you not like him?Bohannon: ( shrugs and shakes head ) He was my boss. That's about all there was to it.Swede: And drinking companion,yes?Bohannon: ( nods ) We tore it up some.Swede: I understand the two of you was \"tearing it up some\" on the night he was murdered. In fact, you was seenleaving the saloon with him. Hmm?( The two men stare each other down for a moment. Bohannon smirks. )Bohannon: Yeah. ( looks toward Bolan and Dix ) I'mnot here to talk about Johnson's job, am I?Swede: ( laughing ) Is that what they told you?( Bolan and Dix stand near the door, chuckling. Bolan has placedhimself in front of the door. The Swede continues to chew on the hardtack. )Bohannon: You a lawman, Mr. Swede?Swede: Hmm?Bohannon: 'Cause I don't see nobadge.Swede: ( brushes off his clothes ) Oh, no. There's no official law out here yet.Bohannon: Then what authority you got to be interrogating me?Swede: (looks up ) Mr. Durant has appointed me to bring some order to the chaos out here.Bohannon: When's the last time you took a look outside, Mr. Swede? ( beat )Looks to me like chaos is winnin'.Swede: Well, when harlots and dipsomaniacs are killed, I lose not a minute's sleep. But Daniel Johnson was a valuable asset toMr. Durant.Bohannon: Daniel Johnson was hated by just about every man who worked for him.Swede: ( with interest ) Any with a reason to kill him? ( beat )Perhaps one of the Negroes. ( nods ) I heard he had some trouble with them. Hmm?Bohannon: I wouldn't know nothing about that.Swede: ( skeptical )Hmm...Ja, ja.( He sweeps the crumbs from the hardtack with his pinky and he mutters in Norwegian. He looks up at Bohannon. )Swede: Well, that leaves onlyyou then.Bohannon: ( beat ) You know what? I'm done here. This ain't no court.( The Swede grips a double-barrel, pistol-grip coach gun that is holstered to theunderside of his desk. Bohannon moves towards the door. As he passes, Dix pulls Bohannon back by his coat pocket. Bohannon unsheathes a knife and nicks Dix.He holds the knife to Bolan's throat. The unmistakable CLICKS of the hammers going back on the shotgun stops Bohannon in his tracks. )( The Swede holds upthe gun, the word \"BEAUTY\" carved on the side of one barrel. )Swede: This here's Beauty.( Bolan swings Bohannon's knife away from his throat. He pulls out hispistol and cocks back the hammer. He straightens his jacket, indignant. )Swede: She's an old piece, but she still shoots true.[SCENE_BREAK][ CUT TO: INT. PigCar ]( The Swede shoves Bohannon into the car. Bohannon hits the far side of the cart and falls. The Swede holds him by the neck. He puts on manacles that aretethered around one of the floor boards. )( Bolan stands near the door, his pistol trained on Bohannon. )Swede: We gonna give you a chance to confess to thiscrime.( He nods and Bohannon looks up at him in fear. The Swede slowly turns away and leaves. Bolan holsters his pistol and slides the door shut. The CLANK ofthe chains can be heard as he locks Bohannon in. )( Bohannon waits a moment before pulling at the chain looped around the floor board. The board CREAKS but itdoesn't budge. He pulls again but falls on his backside. He looks out at the hanging man and sighs, his eyes wild. )[SCENE_BREAK][ EXT. Nebraska Territory -Day ]( LILY BELL walks slowly near a river, the map case tucked under her arm. She is disheveled and covered in blood. She hears the SNORT of a horse andlooks around. )( Through the trees, she sees several men on horseback. )( She drops to the ground, wincing in pain. )( The men ride out of the trees. There arethree Cheyenne men. )( Lily crouches behind a fallen tree, peering through the branches. )( The men dismount and hitch their horses to a large tree. Two of thembegin to gather fuel for a fire while the third, PAWNEE KILLER, looks towards the log Lily is hiding behind. She crouches, terrified. )[SCENE_BREAK][ INT. Pig Car- Same Day ]( Bohannon sits with his back against the wall. He digs with his heel at the straw strewn on the floor. He sees a large nail sticking up from the floorboards. Bohannon moves to kneel near the nail and starts to scratch at the wood around it. He grips the nail and starts to pull at it. )[SCENE_BREAK][ INTERCUTBETWEEN ][ FLASHBACK - INT. Bohannon Farmhouse - Some time before 1864 ]( FROM Bohannon's POV )( The camera pans down a hallway and moves towardsthe front porch of the house. A woman with auburn hair is sitting in a chair cross stitching. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Bohannon continues topull at nail. )( FLASHBACK INT/EXT. Bohannon Farmhouse, Porch - Sometime before 1864 )( PUSH IN on woman's cross stitch. It is a picture of a yellowfarmhouse with a magnolia tree blossoming in front of it. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Bohannon continues to work at nail )( FLASHBACK I/EBohannon Farmhouse, Porch - Sometime before 1864 )( The woman looks up as someone puts his hands on her shoulders. She smiles as she looks up atBohannon. This is Mary Bohannon, his wife. He smiles down at her. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Sweat beads on the end of Bohannon's nose ashe strains at the nail. )[SCENE_BREAK][ EXT. Nebraska Territory - Same Day ]( Lily dozes, leaning against the fallen tree. )( Pawnee Killer and his men arecamped out only a few feet away from Lily's hiding spot. One man brushes his hair with a silver brush while the other puts more wood on the fire. )( JOSEPH"}
+{"doc_id":"doc_209","qid":"","text":"[In the opening scene, we see Drew Boyd, freaking out during the photo shoot for the Brown Athletics underwear ad.]Drew: (talking into his cell) I don't give ash1t. I need to talk to him now! (Pacing around) Stuart. I can't do this.Brian: What the f*ck is going on here?Photographer: Your subject is being mostuncooperative.Ted: He said he made a big mistake. He's talking to his agent.Brian: Well, did you remind him that he has a contract?Ted: Yeah, I did remindhim.Drew: No, I'm not gonna grin and bear it! You're gonna get me out of this!Brian: Anything I can do to help?Drew: Yeah. You can get me my pants.Brian:Before I do that, why don't we discuss your concerns?Drew: There's nothing to discuss. I'm not doing it!Brian: It's a little bit late for that, isn't it?Drew: I'm DrewBoyd. I call the shots.Brian: Except when I have the ball.Drew: I'm feeling kind of exposed, you know? I'm not used to standing around in my shorts.Brian: Whatabout in the locker room? You stand around in a lot less.Drew: In the locker room everyone's showing their ass.[Brian smiles. Cut to Drew posing in hisunderwear, the photographer snapping away. Panning around the room, we see that everybody's in their underwear. Most everybody's in black, but Brian'swearing those long gray jockey shorts. And Ted has boxers.]Ted: Christ, he's hot. What a pity he's straight.Brian: Well, even if he weren't, do you think he'd f*ckyou wearing those? (He casts a derisive glance at Ted's boxers).Ted: I wasn't expecting to be standing around in my shorts.Brian: I don't know if he's gonna sellany underwear, but he sure as hell is gonna sell a lot of Kleenex.[Cut to post-coital Emmett and Drew in a motel room.]Drew: Once I got used to everybodystaring at me in my shorts, it got to be a real turn-on.Emmett: But only I know what's under them. Guess we'd better get up!Drew: What's your hurry?Emmett:Well, soon as we're through you always bound out of bed and race to the showers, so I just assumed -Drew: I wanna just lie here.Emmett: You sure?Drew: Yousee me moving?Emmett: (settles back down, with his head on Drew's rock hard abs) Mmm...what's the world coming to? First a kiss, then stickin' around... nextthing you know, you'll be asking me to the big game. Yeah, I said too much, didn't I?Drew: You know the rules.Emmett: I know. What goes on in this room isbetween you, me and the four walls and must never leave here under penalty of death.Drew: You got it, sport.[He smacks Emmett's butt and gets up to take ashower.][Michael frantically tries to reach Hunter on his cell phone, while Ben grades papers.]Michael: Straight to voice mail. What's the point of getting him a cellphone if he's not gonna pick up?[Just then, the prodigal foster son returns.]Michael: That's me going off in your pocket! How about answering it for achange?Hunter: What's up your ass?Michael: It's past 11:00.Ben: You missed your curfew again. Where you been?Hunter: Studying with a friend.Michael: Everynight this week?Hunter: We're working on a project.Ben: Who is this friend?Hunter: Someone from school.Ben: And the project?Hunter: It's for science.Michael:Penicillin's already been discovered. What have you found?Hunter: What's with all the f*cking questions?Michael: We would like an honest answer.Hunter: I toldyou the truth. If you don't wanna believe me, that's your problem.[He slams into his room.]Michael: I hate to say it -Ben: You don't have to. I know what you'rethinking.Michael: If he's out hustling again, I'll f*cking rip his balls off, as my dear mother would say.Ben: Let's hope we've instilled more self-respect in him thanthat.Michael: After the way he's been acting?Ben: Whatever it is, we'll find out eventually.Michael: Then what?Ben: We'll just have to deal with it.[Lindsay is ajittery mess. Her hands are shaking so badly that she can't even get the key in the lock to open up the gallery. Sam strolls up, smoking a cigar.]Sam: Need anyhelp?Lindsay: No. Thanks. I can do it. I do it every morning. (She drops the keys). sh1t![Sam picks up the keys, bending down painfully.]Sam: My back's beenkilling me ever since I did that goddamn mural. Hope Michaelangelo had a good chiropractor. Why haven't you returned my calls?Lindsay: I've been busy. Theshow's been a huge success. Isn't it great? Almost everything sold.Sam: Another month of alimony payments! My wives will be eternally grateful. I want to seeyou.Lindsay: I can't.Sam: Why not?Lindsay: Why not? Try, 'I'm married.' I have a child and another one on the way. Oh, and did I happen to mention lest weforget that I'm a lesbian?Sam: Did I mention that you sure don't f*ck like one?[Lindsay closes her eyes briefly, draws a deep breath.]Lindsay: Jesus Christ, Sam.Why do you have to be so crude?Sam: You didn't mind the other night, rolling around on the floor, rutting like a -Lindsay: What happened the other night was amistake. A huge mistake.Sam: Was it?Lindsay: Yes, it was. Look, Sam. You inspire me. You challenge me. You make me laugh. I admire you so much. I guess Igot confused, you know? And I crossed a line I shouldn't have.Sam: When I was a kid, I didn't respect the lines. In my coloring books, I always crossed the lines.I didn't play the rules at all. I don't think that's always such a bad thing.Lindsay: For an artist, no. But for a person, sometimes it makes sense to read the manualand follow instructions, dull as that may sound to you.Sam: What about the part of you that secretly yearns for something else, the part of you that both of usknow is there?Lindsay: My house has many rooms; I occupy but a few. The rest go unvisited.Sam: Who said that?Lindsay: I did.[She enters thegallery.][Apparently, Vic left some furniture to a local AIDS hospice in his will. Vic's furniture is delivered by the rather unlikely team of Michael, Justin, Ted andMelanie.]Guy: Nice chest.Michael: I think he's talking to the furniture.Guy: [looking at Justin] That too.Michael: Uncle Vic brought this to the hospice aswell.Director: He was always a good friend and a great supporter.[Mel and Ted enters the hospice.]Direcotr: [to Mel] Oh, I can't tell you how much we'reappreciate this. We need all the help we can get.Mel: Hopefully this new event coordinator will come through.Director: He'd better.Ted: They say he raised over$1 million for a hospice in Cincinnati.Director: A million? My God. If we raise half that, we'll be in heaven.[At the diner, Deb calls out to a guy sitting at thecounter reading the sports section.]Debbie: Hey, Freddy! How about those Ironmen? Are they somethin' else?\"Freddy\": (in a gruff voice) Yeah, they're somethingelse, alright.Debbie: You oughta take something for that cold.[She peeks behind the paper. It's not Freddy; it's Emmett!]Debbie: Emmett! What are you doin'with the sports page?! Let me get you the style section, honey!Emmett: No, no, Deb! These days, the sports page will do me just fine.[A cop sits down at thecounter.]Cop: Hey, Deb.Debbie: Hey, Bob. I haven't you seen an age. Where have you been?Cop: Well, I had some trouble, but I'm on my feed again. So you seeCarl?Debbie: No, not lately.Cop: You're there tonight?Debbie: Where?Cop: Policeman's ball. He took you last year.Debbie: Yeah.Cop: I remember. You're lookingreal nice.Debbie: Thanks. I guess he must be taking someone else.Emmett: Excuse me, officer? Anyone can go to the Policemen's Ball, am I correct?Cop: Anyonewho buys a ticket. I'll take the Pink Plate Special. Only make mine blue.[He wanders off.]Debbie: Don't tell me you're thinkin' of goin'.Emmett: If I can find adate.Debbie: Good luck.Emmett: Hey - what about you?Debbie: Me? What are you, out of your f*cking mind?Emmett: Why not?Debbie: You just heard, Carl'sgonna be there! Probably with that lady he's been seeing.Emmett: So? That's no reason not to go! In fact, all the more reason to be there! Show him what he'smissing!Debbie: Not much.Emmett: Now, now! Let's keep our self-esteem - and our tits - up.Debbie: Even if I wanted to go, \"with my tits up,\" I've got nothing todrape 'em in.Emmett: Just leave that to your fairy god- no, I'm not even gonna say it. Too trite. However [waves straw like magic wand], you will look fabulous. Iguarantee it.[Wracked by guilt, Lindsay confides in the one person least likely to judge her. Who needs a minister or therapist when you've got Brian?]Lindsay:What have I done? Now he wants to see me again and of course I told him no, it's out of the question. I can never, never do that again.Brian: Is hehung?Lindsay: Brian!Brian: I'm just curious. You're the last person I ever thought I'd discuss dick with.Lindsay: This isn't about dick!Brian: Since when?Lindsay: Ilove Melanie.Brian: Sure you do.[He puts a reassuring hand on her shoulder.]Lindsay: How could I have -Brian: f*cked a guy?Lindsay: It's not possible!Brian: It'spossible. Explaining it is the tricky part.Lindsay: But I've always been -Brian: A carpet muncher.Lindsay: Except for that one time in college when you and I-[Brian looks away, pained; he'd rather not be reminded.]Lindsay: But that was just -Brian: Midsummer madness.[They both laugh.]Brian: Still, there is a part ofyou that, once every decade or so, doesn't object to a stiff prick. Believe me, I understand.Lindsay: I'm not so sure Melanie would.Brian: Then don't tellher.Lindsay: You're a big help.Brian: Hey. It's okay to like cock! And it's okay to like pussy, just not at the same time. So - which one do you like?[He shows herthe pics of Drew.][Hunter pays a visit to Mikey at the comic store.]Michael: Well, look who it is! Come to shoot the breeze? A little heart-to-heart? Spend somequality time with your dashing new dad?Hunter: I need $20.Michael: What do you want it for?Hunter: My upwardly mobile lifestyle. Being a teenager isexpensive.Michael: You should have thought of that before you became one.Hunter: So can I have it?Michael: Why should I reward you for missing your curfewand being disrespectful to us?Hunter: How the f*ck am I being disrespectful?Michael: By not telling us the truth.Hunter: I told you![Michael shows him themoney.]Michael: I'm not above paying for information. But first you've gotta come clean.Hunter: I took a shower this morning.Michael: Are you hustling?Hunter:If I was hustling, would I be asking you for 20 bucks?Michael: Good point. (He starts to give Hunter the money, then takes it back). But then again, maybe you'rejust trying to throw me off the track.Hunter: For Christ sakes. I'm kind of dating someone, okay?Michael: Really.Hunter: Yeah, really. Is that so hard toimagine?Michael: No, not at all! It's great - but why didn't you say so?Hunter: You know how kids are at my age. We're trying to develop a sense of self, whichoften manifests itself in a reluctance to communicate with parents and other authority figures.Michael: Here's $30. Go to the movies.Hunter: Sweet![He grabs themoney and leaves. The minute he's gone, Michael phones Ben.]Michael: Ben? I hope you're sitting down. Guess what? Our boy has a boyfriend.[Deb and Emmettat the Policemen's Ball. Deb is, um, resplendent in a red gown.]Debbie: Are you sure I don't look like a fire hydrant? I wouldn't want any dogs to make amistake!Emmett: You do not look like a fire hydrant. You're positively glowing.Debbie: Never mind glowing. Long as I'm not radioactive. (She catches site ofHorvath, with a dowdy brunette dangling from his arm). sh1t! There's Carl! What do I do?Emmett: What do you mean, what do you do? Just stand there and"}
+{"doc_id":"doc_210","qid":"","text":"Scene: The apartmentPenny: Hey, can I ask you a question?Leonard: Sure.Penny: You've had this dart board since I've known you, but I've never seen youplay.Leonard: Oh, uh, we played, once. I broke a window.Penny: What window?Leonard: That one over there.Sheldon: Leonard, where are the Skee-Balltickets?Leonard: Skee-Ball tickets?Sheldon: Yeah, from when we went to the arcade three years ago? I finally decided what prize I want. Hurry up.Leonard: Uh, ifI still have them, they're probably in the junk box.Penny: Ooh, what are you gonna get?Sheldon: None of your business. But when you see me wearing a flowerin my lapel later, you are most welcome to sniff it.Leonard: Yup, oh, here you go.Sheldon: Oh, thank you. Here, get yourself an eraser for your troubles.Leonard:Oh. I forgot about this. My aunt made it for me when I started college.Penny: Aw, did she hate you?Leonard: Why? Because I got an ugly, itchy sweater, and mybrother got a car? No, I was her favorite.Sheldon: I seem to be a few tickets short. Are there more in the box?Leonard: Hmm, I think I got them all. Nope, they'renot in there.Sheldon: Well, you barely looked. Let me see.Leonard: No, no, no, I, I looked, and there's, there's, there's no more tickets.Sheldon: Leonard, let melook in the box.Leonard: Okay, okay. I'm gonna show you what's in the box. But just promise not to flip out.Sheldon: Why would I flip out? Is it a spider? It's aspider.Penny: No, if it was a spider, Lenny would've flipped out.Leonard: Okay, Sheldon, I know I was supposed to return this DVD a long time ago, and I knowwe rented it on your card. But it's been, like, seven years and clearly nothing bad has happened. So in-in-in-instead of being a giant pain in the ass like youalways are, what if this one time you just tried staying calm?Sheldon: That seems like a reasonable request. Although so did, hey, Leonard, would you mindreturning that DVD?Leonard: I'm sorry. I'll, I'll take care of it.Sheldon: Okay.Leonard: I mean it, I'm going to.Sheldon: I believe you.Leonard: And you're going tostay calm?Sheldon: I said I would.Leonard: How about that? Sheldon's being reasonable.Penny: Yeah, it's freaking me out. I'm gonna go. Creditssequence.Scene: The apartment.Leonard: So, when you say you're not going to freak out about the DVD, here's what that means. Don't fixate on it. Don't wakeme up in the middle of the night. Or nag me through the door while I'm on the toilet.Sheldon: Okay, first, talking to you while you're on the toilet isn't exactly apicnic for me either, okay? Remember, when you can hear me, I can hear you. And second, you completely disregard how uncomfortable unresolved issues arefor me. It's, it's like, a, an itch in my brain I can't scratch.Leonard: When I broke my arm I used to stick a coat hanger down there. You ever try that? Maybe go inthrough the ear?Sheldon: You wouldn't make jokes if you could feel the way I feel.Leonard: Well, I don't know how to do that.Sheldon: How about this? I promiseI won't pester you about the DVD. You can defecate in peace. That's a win for both of us. But, until this matter is resolved, I would like you to wear this sweater.With nothing underneath it.Leonard: That's stupid. Why?Sheldon: You say it's itchy and uncomfortable. I say situations like this make me feel the sameway.Leonard: I'm telling you, try the hanger.Sheldon: Put it on. Let's share the experience.Leonard: You got it. If this sweater shuts you up, I'm gonna make afortune selling them to everyone we know. Now all I need to do is head down to the video store and return the DVD.Sheldon: Oh, did I forget to tell you? Thatstore went out of business years ago.Leonard: Really?Sheldon: How those nipples feeling, chief?Scene: The cheesecake factory bar.Bernadette: Penny, can weplease get our drinks?Penny: Yeah, hang on, just give me sec.Amy: At work today, I did an in vivo stereotaxic surgery.Bernadette: Cool. At my lab, I performedten laser capture micro-dissections.Penny: I scraped gum off the bottom of that table. Only 'cause my manager saw me put it there.Amy: Oh, my gosh. That'sthe girl that broke Rajesh's heart.Bernadette: That's Lucy?Penny: I don't know why but I always pictured her as Indian.Bernadette: I think that reason's calledracism.Penny: I'm gonna go talk to her.Bernadette: Why? What are you gonna say?Penny: I'm not gonna say anything. I just want to check her out. Because shehurt my friend. My Indian friend. Who's racist now?Bernadette: You because you just called him your Indian friend.Penny: Yeah, well, you're short.Amy: We'renever getting our drinks.Bernadette: No, but we knew that.Penny: Hey, can I start you off with something to drink?Lucy: Oh, water would be great.Penny: Okay.Um, you're Lucy, right? I'm a friend of Raj Koothrappali's. Actually Amy recognized you.Lucy: Wow. How's he doing?Penny: Oh, you know, he's good.Lucy:Great.Penny: Yeah, this is none of my business. But why did you break up with him in an e-mail?Lucy: Oh, I don't know. I guess I thought it would beeasier.Penny: Yeah, I get that. I'll go get you your water. When you say easier, you mean easier for you, right? 'Cause it certainly didn't make it easier forhim.Lucy: Any chance I can get a different waitress?Penny: I'm sorry, this is rude of me. I will go get that water. See, see, see, see. Just now you expressed yourfeelings to my face. How come you could do that with me, but not Raj?Lucy: I don't know your e-mail.Penny: You know what the worst part is? You're sittinghere, perfectly happy and he's at home, a blubbering mess.Lucy: Oh, I thought you said he was okay.Penny: Well, I also said I was getting you water, but look atme still standing here. You know, I may be a bad waitress, but you are a bad person. Now, you want to hear the specials?Scene: The apartment.Howard: So, youcan never take it off?Leonard: No.Raj: Not even to sleep?Leonard: No.Howard: So, you're just an idiot?Leonard: It's called proving a point.Howard: Is the pointthat you're an idiot?Sheldon: Gentlemen, please. Leonard is trying to walk a mile in my metaphorical shoes. He can't walk in my actual shoes. He has the feet of atoddler.Raj: So, how are you gonna return the DVD if the store went out of business?Leonard: Monday morning I'll go downtown, look up the owner's informationand send him the DVD. Pay the late fee, and prove to Sheldon that you can have a problem and solve it without acting like a complete lunatic. Ah!Howard: Andthe man impersonating a bear would like everyone to know that only you can prevent forest fires.Raj: I don't get it.Howard: You didn't have Smokey the Bear inIndia?Raj: No. Oh, is he anything like, uh, Mun-Mun the Mongoose? He taught us not to play with cobras.Howard: You had to be taught not to play withcobras?Raj: You had to be taught not to burn down the forest?Scene: Penny's apartment.Penny: Hey, if you guys were hungry, why didn't you order something atthe restaurant?Bernadette: We did, you never brought it.Penny: Oh, that's right. Nachos and a turkey club.Amy: Not even close.Penny: Well, I was too busystanding up for my friend to worry about your, I want to say salmon.Amy: You want to say sorry.Bernadette: So, how are you gonna tell Raj abut what youdid?Penny: What do you mean how? What's the big deal?Amy: You told Lucy he was a pathetic mess.Bernadette: Then you made her cry and leave.Penny: Okay,you guys are overreacting. Raj is gonna appreciate how I had his back.Scene: The same, later.Raj: What is wrong with you, Penny? You ruined any chance I hadof getting back with Lucy. Now she knows I'm a desperate mess instead of just being pretty sure. (Phone text sound) It's Lucy. She wants to meet for coffee. Ilove you, Penny.Scene: Sheldon's office.Howard: Hey, what're you working on?Sheldon: I'm thinking about how one could use the fact that a rapidly rotatingmirror turns virtual photons into real ones as a method of observing dark energy.Howard: That's a pretty cool idea.Sheldon: Yeah. It's great you're here. I'd loveto get an engineer's opinion.Howard: Sure.Sheldon: This chair is squeaky. Now, do I fix it or get a new one?Leonard: Well, Sheldon, it took me all morning, but Ifound the owner of the video store. And I am happy to report that he died peacefully in his sleep, drunk at the bottom of a pool. Anyway, there is no one to returnthe DVD to, so this issue is resolved. Ah! And I'd just like to point out that even though the sweater was uncomfortable, I didn't use it as an excuse to antagonizeeveryone around me.Howard: You know, you could reimburse the video store owner's next of kin.Leonard: Or it's resolved.Sheldon: Hey, that next of kin thingsounds pretty good.Howard: I believe this is yours.[SCENE_BREAK]Scene: Howard and Bernadette's apartment.Raj: Can I ask you guys a question? So, I'mseeing Lucy tomorrow night, and I've never hung out with someone who broke up with me. How do you do it?Howard: You can't let her know you're hurting. Youknow, the key is confidence.Raj: Why is the key always confidence? How come it's never love handles and flop sweat?Bernadette: If this girl hurt you so much,are you sure you want to see her again?Howard: Well, if I may, he has so little self-respect and is so desperate for the smallest crumb of affection, she couldliterally sleep with his own father in his own bed and post the video to YouTube, and he'd still buy her flowers and ask her to be his bride.Raj: He's right. But inmy defence, if we could survive that, we could survive anything.Bernadette: Well, if you're sure you want to do this, it's only coffee, just relax and see whathappens.Raj: Well, can I say she looks nice?Bernadette: Sure.Raj: Can I tell her I miss her?Bernadette: Maybe, if she asks.Raj: Oh, can I show her an oil paintingI made of us surrounded by our children and grandchildren?Bernadette: I'd save that for the second date.Raj: Good, good. 'Cause no matter how hard I try, Icannot get the twins to look alike.Scene: Penny's apartment.Penny: What are you doing?Leonard: Oh, I'm just trying to find the stupid next of kin to this stupidvideo store owner so I can return the DVD and see the look on Sheldon's stupid face when he sees that I didn't let this get to me.Penny: Sheldon's not here. Whydon't you take the sweater off?Leonard: There's a principle at stake.Penny: Which is?Leonard: Oh, I don't know. Who cares? Look at me.Penny: Oh, my God! Isthat sweater made of bees? Come on, take it off. I won't tell.Leonard: No, no, honey, if I take it off, Sheldon wins.Penny: Sweetie, every night you don't kill himin his sleep, he wins.Leonard: No, it's, it's almost done. I just, I have to find the next of kin, and send 'em the DVD and then just wait for someone with mycomplexion to die so I can get a skin graft.Penny: Smile.Leonard: What is that? What is that for?Penny: So you can send it to Princeton and get your moneyback.Scene: The apartment.Amy: I must say, Sheldon, you're handling this DVD business with an impressive amount of maturity.Sheldon: I don't know why thatsurprises you. I'm a grown man. As should be evident by this sport coat and very real flower in my lapel.Amy: Is there some kind of new coping mechanismyou're employing?Sheldon: The more interesting question you should be asking is, what does this flower smell like?Amy: I'm gonna go with sad. So what's thestory with you and this DVD?Sheldon: There's nothing to tell. Maybe I purchased a book entitled Don't Sweat the Small Stuff and I followed its wise suggestions,"}
+{"doc_id":"doc_211","qid":"","text":"-[Fairy Tale Land - Past]-(Hook, wearing a cloak to disguise himself, walks up the stairs leading to a tower in the Evil Queen's castle. Along the way, heencounters a guard on the stairs.)Guard: Halt.Hook: Food for the prisoner.Guard: It's not mealtime. Who are you? Identify yourself, slave!(Hook easily defeatsthe guard in a fight.)Hook: Slave? I prefer Captain.(He takes the keys from the dead guard and continues his way upwards. At the top, he enters a room, whereBelle is being held captive.)Hook: Hi... You must be Belle.Belle: The Queen sent you, didn't she? She wants you to kill me.Hook: I'm not here to kill you, love. I'mhere to rescue you.(Hook begins to unlock her shackles.)Belle: Rescue me? Who are you?Hook: A friend. We haven't much time. Your father's life is in danger.He's being attacked by the very same monster who stole you away from your family in the first place.Belle: What, Rumpelstiltskin?Hook: The Dark One - he mustbe stopped. You spent more time with him than anyone. There are rumours of a magical weapon that has the power to kill him.Belle: No, no, no, no. Let... Let metalk to him. He's not a monster.Hook: Belle, your father's life hangs in the balance. I need to know what that weapon is, and where to find it.Belle: I don't knowwhat you're talking about, and I have no idea how to... How to kill Rumpelstiltskin.Hook: You don't?Belle: No. And... And nor would I.Hook: Hm. Then, I'm afraidI'm not here to rescue you.(He backhands Belle, rendering her unconscious.)Hook: So pretty... Yet, so useless.(Hook raises his arm, preparing to kill her with hishook, but is stopped by the Evil Queen. She enters the room and magically removes his hook.)Evil Queen: No. Not useless. She's a valuable chess piece.Hook: DoI look like I'm playing a game of chess? My hook, if you please.Evil Queen: No.Hook: The asking was me being a gentleman.Evil Queen: Is that any way toaddress a queen? Even a pirate should have better manners than that. Yes... I know who you are... Captain. I know why you came here from Neverland. And Iknow all about the crocodile you wish to skin.Hook: Then you also know, that I'll stop at nothing.Evil Queen: So dedicated and resourceful. No one has been ableto fight their way past my defenses before. She can't help you kill Rumpelstiltskin, Hook. But I can, if you do something for me. Care to join me for adrink?[SCENE_BREAK](The Evil Queen pours out two drinks and hands one to Hook.)Evil Queen: Things are about to change in this world. Radically. I have plansto enact a curse that will take everyone to a far-off land.Hook: How will that help me?Evil Queen: This new realm? It's a land without magic. Where the Dark Onewill be stripped of his powers. There, you won't need any magical weapon to kill him. You can do it with a mere flick of your wrist.Hook: Tell me what I have todo.Evil Queen: There's one person I don't want following me to this new land. You're to see to it that doesn't happen.Hook: An assassination. Who is it you wantme to dispose of?Evil Queen: My mother.-[Storybrooke]-(In Mr. Gold's shop, Regina checks on David, who is still under the sleeping curse.)Mr. Gold: Anychange?Regina: No. He's not improving. He needs true love's kiss. He won't wake up until Mary Margaret comes back.Mr. Gold: Until? Well, that's ratheroptimistic, isn't it?Regina: What are you talking about?Mr. Gold: They're up against your mother. The only chance Snow and Emma have of defeating her, is withthe squid ink.Regina: Which is why you sent the message through David.Mr. Gold: Which would be beneficial, if we knew that message were delivered. But alas,given the Prince's condition, we don't know. As such, it's important we take precautions. We have to consider the possibility that, when that portal opens, it won'tbe his family that come through. It'll be Cora.Regina: And neither one of us wants that.Mr. Gold: We have to find where they're coming through, and destroy thatportal.Regina: But whoever came through would die.Mr. Gold: Exactly. But, I'm confident between the two of us, we can summon up enough magic to completethe task.Regina: Well, what if we're wrong? What if that portal opens up, and it's not my mother? What if Mary Margaret and Emma do defeat Cora, and gothrough it?Mr. Gold: Well, I believe in this world, they call that a win-win.Regina: How exactly is that?Mr. Gold: If we stop Cora, you are protected from yourmother's wrath. If, on the other hand, we stop Snow and Emma, well... You become the only mother in your son's life, now don't you? Look, magic isunpredictable in this world. If something unfortunate were to happen while you were attempting to help... Henry could hardly blame you for that, couldhe?Regina: No. I can't lie to him. I am trying to be a better mother.Mr. Gold: You won't be able to be a better anything if Cora comes through. And if she does,she will be a threat to everyone - including your son. So, if you truly want to be a good mother to Henry - to protect him - if you want to be better, proveit.-[Fairy Tale Land - Present]-(Mary Margaret and company arrive at Rumpelstilskin's cell.)MMB: Rumpelstiltskin's cell. I haven't been here since before Regina'scurse. This is where he told us you were going to be the saviour.Emma: He knew?MMB: It was prophesized. Come on.(Inside, they find the cell completelyempty.)Aurora: The squid ink - it's not here.MMB: Gold said we would find it.(They begin to check the crevices of the walls.)Mulan: Well, was there anyone else inhere with him? Could they have taken the ink?MMB: No, he was kept alone. Visitors were forbidden. He was too dangerous to allow any human contact.Emma:How'd he keep from going crazy?(Aurora finds a piece of paper tucked into the wall.)Aurora: He didn't.MMB: What is it?Emma: Is that a message?Aurora: Yes.And I think it's for you.(Aurora hands Emma the paper.)Emma: Why would you think... That.(On the paper, 'Emma' is written over and over again, and nothingelse.)-[Storybrooke]-(Henry is reading the 'Snow White' story to David from his book. Regina enters.)Regina: I think this time, it'll happen the other wayaround.Henry: You think so?Regina: I do. Which is why I need you to stay here and watch David for a little while.Henry: Where are you going?Regina: Mr. Goldand I need to prepare for Emma and Mary Margaret's return. Coming through the portal won't be easy. We need to make sure everything's in place.Henry:Really? You're really going to help them?Regina: I promised you I was going to do better - to be better. So, yes, I'm going to do everything in my power to see toit they come home safely.Henry: Wow. You really have changed.Regina: Be back as soon as I can.[SCENE_BREAK](Regina and Mr. Gold enter the mines.Everyone else has already left.)Mr. Gold: I'm really glad you, uh, came to your senses.Regina: Let's just get this over with.Mr. Gold: It's right through here.(Theyarrive to where the dwarves had found the diamonds.)Mr. Gold: Ah, yes. Should suit our purposes, no?Regina: How much do we need?Mr. Gold: All of it.Regina:How are we going to do that?Mr. Gold: With a little help from a fairy.(He takes out a wand.)Mr. Gold: Dead one. Believe me, no one mourns her.(He waves thewand and magically absorbs the power from the diamonds. The diamonds disappear, and the wand glows with magic.)-[Fairy Tale Land - Past]-(The Evil Queenwaves her hand over Hook's hook, causing it to glow. She hands it back to him.)Evil Queen: It's now... Enchanted. It will enable you to rip out her heart. I believeyou've seen it done before.Hook: Yes.Evil Queen: The enchantment will only allow you to rip out one heart, so make sure you do it right.Hook: What could shehave possibly done to warrant such brutality?Evil Queen: That's my business. Yours is to kill her, and bring her body back to me.Hook: Easy enough. When will Iset forth on this murderous journey?Evil Queen: Immediately. But you won't be going alone.(She walks over to the sitting area, where there is a blanket coveringsomething large on the chair. She pulls it back, revealing a corpse.)Evil Queen: You remember Claude?Hook: Can't say that I do.Evil Queen: You killed him in thecell block.Hook: Ah, yes. I didn't recognize him without my hook in his neck. Forgive me, but isn't he a bit of dead weight?Evil Queen: I banished my mother to afar-off land some time ago. You're going to need a portal to get to her.(She pulls out the hat box containing Jefferson's hat.)Evil Queen: The rules are simple -one goes in, one comes back. Or, in this case, two in, two back. You'll arrive with Claude, and you'll return with my mother.Hook: Now tell me... Which far-offland do I have the pleasure of visiting today?Evil Queen: Wonderland.Hook: Happily named, I'm sure. How will I find her?Evil Queen: Oh, don't worry. She'll findyou.(The Evil Queen spins the hat on the floor, creating a purple vortex.)-[Wonderland]-(In Wonderland, Hook has been captured and is escorted by severalguards to the Queen of Hearts and various other citizens of Wonderland. Her face is obscured by a mask.)Knave of Hearts: Kneel, before the Queen ofHearts.Hook: Appreciate the warm welcome.(The Queen of Hearts uses the tube to speak through. The Knave of Hearts relays her message.)Knave of Hearts:The Queen wants to know why you've come to Wonderland.Hook: I'm in search of someone. In her native land, she goes by Cora.(The crowd begins to whisper asthe use of the name 'Cora'. The Queen of Hearts removes her mask, and reveals herself to be Cora.)Cora: In this land, she goes by Your Majesty. Leaveus.(Everyone exits, leaving Cora and Hook alone.)Cora: Your name, pirate?Hook: Hook.Cora: What a clever nickname.(Hook pulls a pearl necklace out of hispocket and approaches Cora.)Hook: I come bearing gifts, if you allow me.Cora: This hat - your portal... If I understand correctly, the same number who travelsthrough, must also return. You arrived with him, but who shall you return with?Hook: You.(Hook throws the necklace over his shoulder, and plunges his handinside her chest. However, nothing happens.)Hook: What?Cora: I'm the 'Queen' of Hearts. Do you really think I'd be so careless, as to keep my heart whereeveryone else does? This...(Cora sticks her hand into Hook's chest, causing him to grimace in pain.)Cora: Is how it's done. Tell me - who did this? Who sent youhere to kill me? Who?Hook: Your daughter.Cora: Regina? She... Wants me dead? You're now going to tell me everything, and do exactly what I want. Becausewhen you hold a heart, you control it. You have the power.-[Fairy Tale Land - Present]-(The group is still scouring the cell in search of the ink. Emma is stilllooking at the paper.)Emma: What does this even mean?MMB: He was obsessed with you, Emma. You were the key to breaking the curse.Aurora: We've lookedeverywhere. There's no ink in this cell.MMB: Well, it has to be. He told David.Emma: You were in a Netherworld. Maybe something got lost in translation.Mulan:No. She heard right.MMB: You found it?(Mulan holds up an empty bottle.)Mulan: In a manner of speaking. There was ink in the cell.Emma: Son of abitch...(Suddenly, Aurora grabs a rock and throws it against a lever just outside of the cell. The door to the cell falls down, trapping the four of theminside.)Emma: Aurora, what are you doing?!(Cora and Hook arrive.)Cora: Helping me.(Cora magically summons the compass to her.)Emma: No!Cora: No. Don't"}
+{"doc_id":"doc_212","qid":"","text":"(SGH)(Derek is in the OR performing surgery on a patient. The gallery is empty aside from Meredith who is standing by herself)MVO: As doctors we're trained toskeptical because our patients lie to us all the time. The rule is: every patient is a liar until proven honest.(Cristina enters the gallery and gives Meredith a wrysmile and Meredith smiles back. Cristina walks up to the window to peer and looks down into the surgery)Meredith: Why aren't you prepping for rounds andstealing all the good cases?Cristina: Well why aren't you prepping for rounds and stealing all the good cases?Meredith (shrugs): No reason.Cristina: Noreason?MVO: Lying is bad. Or so we're told. Constantly, from birth. Honesty is the best policy.(Cristina sits down next to Meredith)MVO: The truth shall set youfree. I chop down the cherry tree. Whatever.Meredith: I'm waiting for McDreamy.Cristina: I'm avoiding Burke.Meredith: Why are you avoiding Burke?Cristina: Hethinks I moved in with him. Why are you waiting...Meredith (interrupts): McDreamy is doing me a favor. Burke thinks you moved in with him?Cristina: Waityou're calling him McDreamy again?(Cristina shakes her head at Meredith)MVO: The fact is, lying is a necessity.(Trauma room where Meredith is sitting on a tableas Derek draws out her blood)Meredith: Thank you for doing this. With the needles and the blood. They won't accept her without a full family history.Derek: I'mhappy to get your mom into the clinical trial. Even with the needles and blood.(He stands up and they 'gaze' into each others eyes)Derek: All done. How's thatfeel?MVO: We lie to ourselves because the truth, the truth freaking hurts.Meredith: Feels good.(Cristina is standing in a hallway waiting for Meredith. Meredithwalks up to her and they start walking down the hall together)Meredith: Burke thinks you moved in with him? What does that mean?Cristina: Ok it's notimportant. You're calling Derek, McDreamy again.Meredith: It's nothing.Cristina: All right, what are you doing?Meredith: What are you doing?Cristina: Stoprepeating what I say.Meredith: Stop asking me questions.(They stop and look out over the railing of the mezzanine and hear some banging. George is banging ona window of the hospital with Izzie standing next to him, arms crossed holding a leash with Doc on it.)George (yells): Cujo has to go!(Intern locker room wherethe interns are getting for rounds. Meredith is sitting down on a bench, already in her scrubs with Doc laying next to her)Izzie: He peed on my bed. My bed,Meredith!Meredith (defensive): He's our dog!George: No, he's not my dog. You two bought him, without even asking me.Meredith: We rescued him from certaindeath. (She pouts) Come on you guys.George: I'm putting my foot down. Either the dog moves out or I do. Foot. Down. Now. Me or the dog, which is it?(Meredithlooks down at Doc contemplating and then back up at George)George (shocked): You hesitated! She hesitated!Izzie: You hesitated?!?Meredith: I didn't hesitate. Iwas thinking.George: You have to think about it, fine! I'm moving out right now.(He heads to the door to exit the room but as he opens the door, Bailey isrevealed standing there. He swivels back towards his locker)George: Later. I'm moving out later because right now I have rounds.(Bailey walks into theroom)Bailey: Tell me that is not a dog.All: It's not a dog.(Bailey's pager goes off)(Bailey is standing outside the emergency double doors with Cristina, George,Meredith, Alex, and Izzie. An ambulances double doors open up and paramedics start wheeling out a patient, including Tony the paramedic)Tony: Rick Freeark.29. Severed 3 fingers on his left hand. Controlled the bleeding in field. Vitals stable. Gave him 5 of morphine on the way in.(They all start wheeling the patientdown the hallway)Bailey: The fingers?Tony: Had some trouble retrieving them so we took off. Rich behind us found them. They're iced and ready to go. 10minutes out.Bailey: Continue with IV fluids and start a course of antibiotics.(Bailey stops Cristina)Bailey: Yang, wait outside for the fingers.(Cristina heads backout)(Rick's trauma room)Rick: You can sew them back on right? Cause they sewed that guy's pen1s back on after his wife chopped it off, right?Bailey: Penisesand fingers. Like apples and oranges.George: How did it happen?Rick: I was loading my gear onto my truck for a gig and my hand got caught in the lift gate.Alex:You're a musician?Rick: I play the friggin guitar. (to Bailey) You can sew them back on right? It's not that big of a deal right? Oh dude I better not be out of theband.(Trauma room, where now there are only scrub nurses and Derek checking on Rick's fingers. Cristina enters the room with Rick's detached fingers in atowel)Derek: Well the cuts look clean. That's good. Clean and severed makes reattachment easier. I'm not going to lie to you, if the surgery is successful; we'relooking at a long recovery. Lots of physical therapy. (Rick looks pained at this) You smoke?Rick: Why?Derek: Cigarette smoke constricts the blood vessels. I'veseen really good grafts fail over a few cigarettes.Rick: So what are you saying? I, I smoke a cigarette after my operation and boom my fingers fall off?Cristina: Nofirst they turn black and necrotic and then they fall off.(Derek smiles apologetically at Rick)Rick: Well I don't smoke, so ...Cristina (holding up one detachedfinger): Really? Cause judging by the nicotine stains, your fingers do.(Rick looks alarmed at the idea of having to give up smoking)(George is rifling through somecharts at the nurses station when he hears a voice call out from a patient room)Sophie: Anybody out there? Hello!(George shoots a glance to Nurse Debbie who isalso at the desk)Debbie: Don't look at me! She had hip replacement surgery a month ago and was discharged last week.George: Then why is she stillhere?Debbie: Because I am not a bouncer and this is not a nightclub! I am doing what I can (Richard walks up and Debbie walks directly to him) with extremelylimited staff and resources and if you have a problem with that take it up with 'Chief!'(She storms off. You can hear Sophie sing now)Sophie: Don't know why,there's no sun up in the sky ...(Richard shoots George a look)Richard: Mrs. Larson's got to go.George: If she refuses to leave what can I do?Richard: She's 78 andnon-ambulatory. You have the upper hand here. Use it.(Bailey, Izzie and Alex walk up to them)Richard: Karev, can I talk to you for a second?(He and Alex walkoff to the side and he hands him an envelope)Richard: The results of your medical board exam.Alex: Thanks.(Richard walks off as Izzie looks on curiously. Georgedumps a bunch of charts into Izzie's arms and heads off. Bailey looks on disapprovingly. Alex walks back up to Bailey and Izzie)Izzie: Aren't you going to openit?Alex: Yeah, I'll open it.(George is entering Sophie Larson's room. An elderly yet very vibrant and energetic woman)Sophie (sings): I'm weary, all thetime.(George claps loudly)Sophie: Oh, thank you. Thank you.George: Ok, Mrs. Larson I'm Dr. O'Malley.Sophie: Oh an Irishman! I love the Irish. They have asparkle. You can see it in the eye and the swagger. Come on Dr. O'Malley, show me the swagger.(George looks slightly uncomfortable but swaggershalf-heartedly up to Sophie's bedside)Sophie: The eyes are right, but uh you'll have to work on the swagger.George: Mrs. Larson...Sophie: Call me Sophie. Now,be a doll and bring me a remote. (She holds up and shakes it in front of him) This one's busted.George: Sophie, I can't bring you a new remote because you areno longer a patient at this hospital. Now according to your chart you have a room waiting for you at the Sugar Maple Nursing Home.Sophie: I'm staying until mydaughter's house is ready. She's converting her den into my bedroom. She's doing it a shade of pink. Now bring me a remote Irish. I'm going to sing until you getback. (She starts singing loudly) Can't go on. Everything thing I have is gone! (George holds out is hand and she slaps a remote into it) Stormy weather-George:Coming right up.(He leaves)(Trauma room where a young Asian woman named Yumi sits on a bed continuously hiccupping. Yumi's Coach, Mr. Kamaji is also inthe room)Alex: Ah Yumi Miyazaki. 22. She presented this morning with persistent hiccups.Izzie: She was given 50 chlopromazine which stopped them for a whilebut then the hiccups returned so she needs a surgical consult to rule out esophageal perforation.Bailey: When did your hiccups start?Mr. Kamaji: A few days ago.She doesn't speak English.Bailey: Are you her boyfriend?Mr. Kamaji: Her coach.Alex: Oh she's an athlete.Mr. Kamaji: Ah, Yumi is a competitive eater.Izzie:Eating is a sport?Alex (nods): Miyazaki ... yeah, yeah. She's like a Rock star in Japan.Izzie: Again, eating is a sport?Alex (to Mr. Kamaji): Tell her I saw her on TV.Tell her that I'm an athlete too. I'm a wrestler.Mr. Kamaji (in Japanese to Yumi): The young doctor wants you to know he's a wrestler. I think he's flirting withyou.(Yumi gives Alex an appraising look)Yumi (in Japanese to Kamaji): Tell him I eat little boys like him for breakfast.Mr. Kamaji (to Alex): She wonders how awrestler got smart enough to be a doctor. Most wrestlers she knows are dumb.(Alex and Izzie smile. Izzie more of a oh my god smile)Alex: Just tell her that shehasn't been hanging around the right gyms.Bailey: How bout instead you tell her that persistent hiccup could be an indication of something much more serious.(To Alex and Izzie) Schedule an esophogram.Mr. Kamaji: Oh she's competing this afternoon at the 'Taste of Seattle'. Can't you just give her a stronger dose ofthat drug? It seemed to work.Bailey: Did the hiccups come back?Mr. Kamaji: Yes, but...Bailey: Then it didn't work.(She moves and starts to walk off, but stopssuddenly clutching her stomach in pain)Izzie: Dr. Bailey.Bailey: Be quiet.Izzie: Dr. Bailey, are you ok?(Bailey tries to shrug it off, but she still seems to be inpain)Bailey: All right somebody page Addison Shepherd.(Izzie moves off quickly while Alex stays with Bailey)(Bailey is lying down being given an ultrasound byAddison in an exam room)Addison: There he is. Heartbeat's strong. Since there's no dilation or effacement, looks like nothing more than Braxton Hicks.(Baileysits up)Bailey: Except I know the mild concerned tone. I've used it myself from time to time.Addison: Sometimes false labor is the body's way of telling you toslow down.Bailey: I'm a surgeon.Addison: I understand the realities of your job but you need to understand the realities of your pregnancy and take it easy. Isthere anything I can do to help?Bailey: Uh, yeah for starters you can help me get up off this table.(Izzie knocks on the door and enters)Izzie: Dr. Bailey. The GIlab has a couple of questions about Miss. Miyazaki's esophagram.Bailey: Well let's go.(Bailey walks out of the room)Addison: Dr. Stevens.(Izzie stops followingBailey)Addison: Keep an eye on her today. Watch out for any painful contractions. More than 5 in an hour. Anything that could indicate pre-term labor. (Izzieshakes her head) The favor is not for me Stevens, you know that.(Izzie nods and walks off)(Patient room where a middle aged woman named Naomi Cline lies onthe bed looking very happy. Meredith and Burke are at the end of Naomi's bed. Tom Cline, Naomi's husband is also in the room)Meredith: Naomi Cline. 43. Hadher tricuspid valve replaced 3 years ago with a porcine valve, sir.Burke: Ah Naomi, surprised to see you back again so soon. Pig valve usually holds up 10 to 15"}
+{"doc_id":"doc_213","qid":"","text":"Prologue: In every generation there is a Chosen One. She alone will stand against the vampires, the demons and the forces of darkness. She is the Slayer.Sunnydale High School at night. A man in a suit with a briefcase is walking past a school building at a brisk, determined pace. He stops for a moment and looksaround. Behind him to his left a door opens, and a school custodian comes out with a trashcan.Custodian: Can I help you?Philip: Rupert Giles! I need to seehim!Custodian: Mr. Giles, uh, he's our librarian. Next building over, first door on your left. Philip rushes off without a word of thanks.Custodian: (sarcastically)You're welcome. (dumps the trash) Philip continues at his brisk pace and finds the outside library door. He continues toward it, but stops in his tracks when hehears a twig being crushed behind him and turns to look. He hears a moan, but sees nothing and checks the other way again. Behind him he hears breathing andturns back again, and sees a woman in the shadows.Philip: Oh, God! Slowly she walks into the light. She is dead and rotting. Her eyes flash yellow briefly.Philip:Diedre?Diedre: Philip. Philip quickly backs up and doesn't see the curb behind him. He trips over it and falls, dropping his briefcase. He scrambles to his feet andruns to the library door. He pounds on it and yanks at the doorknob, but it's locked.Philip: Help! Help! Somebody, please! Diedre slowly advances on him.Philip:(to himself) God, no! (loud) Help! Cut inside. Buffy is doing step aerobics to a techno beat. Giles is sitting at the table with his hands to his ears, not relishing themusic. He raises his head.Giles: (loudly over the music) Must we have this noise during your calisthenics?Buffy: It's not noise! It's music!Giles: I know music.Music has notes. This is noise.Buffy: I'm aerobicising! I must have a beat!Giles: (under the music) Wonderful. You work on your muscle tone while my braindribbles out of my ears. Cut outside. Philip is still pounding on the door.Philip: Help! Help! Please! Diedre continues to advance on him.Philip: Help me, somebody,please! Diedre has closed the gap. Philip turns to face her with horror in his eyes. She puts her hands up to the door on either side of him to prevent his escape.He trembles with fear as she moves her hands onto his neck and begins to choke him. Cut inside. Buffy has finished her aerobics. She strolls to the table andturns off her boom box.Giles: Ahhh! Very good. And the rest is silence. Cut outside. Philip falls from Diedre's grip, dead. A moment later Diedre collapses next tohim. After she hits the pavement she disintegrates into a puddle of slime. The puddle spreads out and into Philip. Opening credits roll. Buffy's theme plays.~~~~~~~~~~ Part 1 ~~~~~~~~~~ A nightmare. Giles is flashing back to his youth. He has visions of rituals and tattooing.Young Giles: Time to go to sleep!(screams) A vision of a demon. Cut to Giles' bedroom. He wakes with a start. He looks around as he sits up in bed, concerned but relieved to find it was only anightmare.Cut to school. The camera pans down from above a tree to Buffy and Willow sitting on a bench.Buffy: I'm on a beach, but not one of those Americanbeaches, one of those island beaches where the water's way too blue, and I'm laying on my towel, and it's just before sunset, and Gavin Rossdale's massagingmy feet!Willow: Oh, that's good! Uh, I'm in Florence, Italy, I've rented a scooter that's parked outside, and I'm in a little restaurant eating ziti, and there are nomore tables left, so they have to seat this guy with me, and it's John Cusack!Buffy: Ooo! Very impressive. You have such an eye for detail.Willow: 'Cause with theziti!Xander: (shows up) What are you two up to?Buffy: Just having a quick game of 'Anywhere But Here'.Xander: Ooohhh. Amy Yip at the waterslide park.Willow:You never come up with anything new.Xander: I'm just not fickle like you two, okay? I'm constant in my affections. Amy Yip at the waterslide park!Willow: (toBuffy) Do you think Giles ever played 'Anywhere But Here' when he was in school? They see him coming toward them.Xander: Giles lived for school. He's actuallystill bitter that there are only twelve grades.Buffy: He probably sat in math class thinking, 'There should be more math. This could be mathier.'Willow: C'mon, youdon't think he ever got restless as a kid?Buffy: Are you kidding? His diapers were tweed. Xander chuckles. Buffy sees Giles about to walk by and calls out tohim.Buffy: Giles!Giles: (turns and sees them) Oh! There you are. (comes over)Buffy: Hey, morning. Say, is that tweed? (stares at his jacket)Giles: (preoccupied)What? Oh, uh, yes. Um, now, uh, look, tonight is very important, um... (heads inside)Buffy: (follows) Now, that's a surprise.Cut to the halls. They follow Giles tothe library.Buffy: So, what's on tap tonight that's so important? Uprising, prophesied ritual, preordained deathfest?Xander: Ah, the old standards!Giles: Um, amedical transport is delivering the monthly supply of blood to the hospital.Buffy: Mm. Vampire Meals-On-Wheels. (stops at her locker)Giles: Hopefully not. Uh,we'll meet outside the hospital at 8:30 sharp. I'll bring the weaponry.Buffy: I'll bring the party mix!Giles: Just don't be late.Buffy: Have I ever let you down?Giles:Do you want me to answer that, or shall I just glare?Jenny: (finds them) Morning, England.Giles: Oh, hello, Ms., uh, uh, tuh, Jenny.Willow: (to Xander, smiling)Feel the passion!Xander: (smiles back) Mm-hm!Jenny: Willow...Willow: (coughs) Coughing, not speaking. (coughs more)Jenny: (to Willow) We still on fortomorrow? Willow smiles and nods.Xander: What's tomorrow?Jenny: I'm reviewing some computer basics for the couple of students who've fallen behind.Willow's helping out for extra credit.Xander: (chuckles) Those poor schlubs have to attend school on Saturday! (smiles)Jenny: 9am okay with you, Xander?Xander's smile fades. Willow bobs her head in amusement.Buffy: Got a bit of schlub on your shoe there.Xander: Heh, heh.Jenny: Well, Cordelia's gonna meetus.Xander: (dripping with sarcasm) Ooo, gang, did ya hear that? A bonus day of class plus Cordelia! Mix in a little rectal surgery, and it's my best day ever!Jenny:(to Giles) Walk me to class?Giles: (a smile on his face) Pleasure. Jenny and Giles head for her class. The others watch them go.Buffy: Look at them.Xander: Atwosome of cuteness.Willow: Can't you just imagine them getting together? Their expressions all change to ones of being grossed out. Cut to Giles and Jennywalking.Jenny: Oh! Thank you so much for loaning me the Forrester book. It's wonderful!Giles: Well, I'm glad you enjoyed it!Jenny: Yeah, it was so romantic, soevocative.Giles: That edition was my father's. I, I, I must've read it... twenty times.Jenny: Yeah, y'know how you have to, to dog-ear your favorite pages so youcan go back to them?Giles: Uh, uh, uh, what?Jenny: Well, I mean, I-I practically had to fold back every single page. So finally I just, I just started underlining allthe pages I really wanted to discuss.Giles: U-u-underlined...?Jenny: But then, of course, I spilled coffee all over it, I can't even read it...Giles: (can't believe it)It's a first edition!Jenny: I'm lying, Rupert. (smiles) The book's fine. (holds it up) I just love to see you squirm. (hands him the book)Giles: (smiles in relief) Yes,well, I, uh... trust I gave good... squirm.Jenny: Did anyone ever tell you you're kind of a fuddy-duddy?Giles: Nobody ever seems to tell me anything else.Jenny:Did anyone ever tell you you're kind of a sexy fuddy-duddy?Giles: Well, no. Actually that, that part usually gets left out. (smiles) I c-can't imagine why.Jenny:This weekend.Giles: Would you like to go out?Jenny: Mm, no, I think I'd like to stay in. They draw together for a kiss as the bell rings. They touch lips, but breakit off as students begin pouring into the halls.Giles: Uh, this, (clears his throat) Saturday, then.Jenny: Saturday night. (clears her throat) I'll see if I can make yousquirm. They look at each other for a moment before Giles heads off to his library.Cut to the library. Giles walks in to discover a detective and two police officersthere.Det. Winslow: Rupert Giles?Giles: Yes?Det. Winslow: Detective Winslow. You're gonna have to come with me.Giles: Why?Det. Winslow: There was ahomicide on campus last night. The victim had no identification, but he was carrying this slip of paper with your name and address on it. (holds up the slip in abaggie)Giles: (sets down his briefcase) My name? Cordelia walks into the library.Cordelia: Well, evil just compounds evil, doesn't it? First I'm sentenced to acomputer tutorial on Saturday, now I have to read some computer book... There are books on computers? Isn't the point of computers to replace books?Giles:(cuts her off) Cordelia, I'm a little busy right now. (points out the detective)Cordelia: Oh! Great! (steps up to Det. Winslow) Can you help me with a ticket? It'stotally bogus. It was a one-way street. I was going one way.Giles: (raised voice) Cordelia!Cordelia: What?! Why does everyone always yell my name? I'm notdeaf! And I can take a hint. (unsure) What's the hint?Giles: To come back later.Cordelia: Yeah, when you've visited decaf land. (leaves)Giles: (to Det. Winslow)Where do you want me to go?Cut to the city morgue. The coroner opens one of the body storage doors and pulls out the drawer.Attendant: Have you had yourbreakfast?Giles: No.Attendant: That was probably a good idea. He pulls back the sheet to reveal Philip's body. It's bruised all over, with two especially darkbruises on the throat. Giles looks down at him in recognition.Det. Winslow: Do you know him?Giles: (whispers) Yes. Yes. I-I mean, I did. His name's Philip Henry.He was a friend of mine in London. I... I haven't spoken to him in twenty years.Det. Winslow: Can you think of any reason why he might've wanted to contactyou?Giles: No. He sees the tattoo on Philip's right arm near the inside elbow.Det. Winslow: Do you know what that is? The tattoo.Giles: (lies) No. No, I don't.Cutto the hospital ER entrance that night. Buffy is waiting on Giles.Buffy: (exhales) 'Don't be late.' Sheesh. She walks over to a pay phone to try calling, but stopswhen she sees the blood van pull up. The driver gets out with his clipboard as two ER doctors come out to meet him.Driver: Hey, fellas.Doctor: Hey.Buffy: All'swell that ends with cute ER doctors, I always say. She watches them go to the back of the van and get out the insulated container. They start back with thedriver, and he gets back into the van. Buffy realizes something's wrong.Buffy: Since when do doctors take deliveries? The van backs out of the ambulance slot.The doctors wave to the driver.Doctor: See ya. The van drives off, and behind it a car engine starts and a pair of headlights come on. The old convertible pulls upinto the light as the doctors set the container down. One of them opens the lid, takes out a bag of blood and begins to suck on it. The driver of the car getsout.Driver: Hey! No sampling the product! The doctor vampire hisses, but puts the bag back down and drops the lid closed. Buffy runs to attack. She kicks thefirst doctor vampire down, then the second, and does a roundhouse kick to the driver's face. The first one gets up, and she tries kicking him again, but he grabsher leg and throws her onto the hood of the car. She scissor kicks him in the neck, and he staggers away and falls. A fourth vampire runs up as Buffy gets up andtakes out a stake. She turns to attack him.Buffy: Angel!Angel: Buffy! Look out! He jumps up onto the car's hood and leaps off to tackle the driver vampire coming"}
+{"doc_id":"doc_214","qid":"","text":"THE TALONS OF WENG-CHIANGBY: ROBERT HOLMESPart OneRunning time: 24:44[SCENE_BREAK]JAGO: Mister Chang. Wonderful, wonderful. Words fail me, sir.Words quite fail me.CHANG: You are most generous.JAGO: Have I ever, in my thirty years in the halls, seen such a dazzling display of lustrous legerdemain? Somany feats of superlative, supernatural skill? The answer must be never, sir. Never.SIN: Honourable master is kind to bestow praise on humble Chang'smiserable, unworthy head.JAGO: Dashed clever, the way you work the little fellow. Wires in the sleeves, I dare say. But I'll not pry, Mister Chang. The secrets ofthe artistes are sacrosanct.BULLER (OOV.): Hey, you!JAGO: What the deuce?BULLER: Where's my Emma? What have you done with her?JAGO: You've got noright to burst in here.BULLER: Out of my way! It's him I want.CHANG: Your Emma?BULLER: She come in here last night and nobody ain't seen her since.JAGO:I'll have the fellow ejected.BULLER: Now I'm asking you, mister, what's happened to her?JAGO: Call the stage hands, Freddy.CHANG: It's all right, Mister Jago.Please, come with me.JAGO: Courteous coves, these Chinese. I'd have propelled him onto the pavement with a punt up the posterior.[SCENE_BREAK]CHANG:Your wife?BULLER: Emma Buller. And don't deny she was here, cos I saw her with my own eyes.CHANG: Many ladies come to theatre. Why should youthinkBULLER: Not round the side door, they don't. Now, look. I was passing in my cab and I saw her plain, and I know it was you she was calling on. She's beenacting queer ever since you put the 'fluence on her last week, so don't try coming the innocent, Mister. I want to know where she is or I'm calling the law.Clear?CHANG: Your wife came on stage?BULLER: Last week. Levitated her, you did. She's not been the same since. It's done something to her reason, I shouldn'twonder. And she was here last night.CHANG: Not to see me.BULLER: Don't come the cod. She's disappeared. Nobody's seen her, not since she come here lastnight, so what about it, eh?CHANG: In my country we have saying. Man who goes too quickly may step in bear trap.BULLER: Right, I'm getting thePeelers.[SCENE_BREAK]LEELA: These clothes are ridiculous. Why must I wear them?DOCTOR (OOV.): Because you can't go walking around Victorian London inskins. You'll frighten the horses.DOCTOR: Anyway, we don't want to be conspicuous, do we?LEELA: A swamp creature. That was it's attack cry.DOCTOR: Oh no, itwas a ship on the river. Excellent. It means we can't be far away.LEELA: From where?DOCTOR: From where we're going.LEELA: Doctor, you make me wearstrange clothes, you tell me nothing. You are trying to annoy me.DOCTOR: I'm trying to teach you, Leela. Surely you'd like to see how your ancestors enjoyedthemselves? Splendid. That's why I'm taking you to the theatre. Li H'sen Chang. Hmm, pity. I'd rather hoped we'd catch Little Tich. Never mind. If we hurry we'lljust catch the second house.[SCENE_BREAK]JAGO: You'd better get your tail pinned on. Linens up in five minutes. Casey, have you got the oopizootics comingon?CASEY: Mister Jago, I've seen it. I've seen it again!JAGO: Be quiet. I told you before.CASEY: Horrible, horrible it was, Mister Jago. A great skull coming at meout of the dark.JAGO: Damme, you don't want to bankrupt me, Casey. Keep your voice down. Threadbare in Carey Street I'll be if people get the notion there'sanything wrong with this theatre.CASEY: Chains clanking, nine foot tall.JAGO: You've been drinking.CASEY: Not a drop, sir.JAGO: Well, it's time youstarted.JAGO: Now pull yourself together, man.CASEY: I ain't never going down that cellar again. There I was, fixing the trap, when this apparition rose out of theground in front of me. Hideous, it was. Hideous.JAGO: That's enough.JAGO: It's your imagination.CASEY: Never.JAGO: A cat or something must be trapped downthere making noises. Tell you what I'll do, Casey. I'll come down with you this evening, as soon as the house is clear, and we'll have a good look round. Nowhow's that?CASEY: It was no cat, Mister Jago. I seen it!JAGO: Please, Casey, remember, mum's the word.[SCENE_BREAK]LEELA: This is a big village.DOCTOR:Yes.LEELA: What's the name of the tribe here?DOCTOR: Cockneys.LEELA: The sound of death!DOCTOR: You stay here.DOCTOR: Excuse me, can I helpyou?QUICK (OOV.): Hold you there.QUICK: Now then, what's all this?LEELA: Touch me and I'll break your arm.QUICK: Now don't be foolish, miss.DOCTOR: Goodevening.LEELA: Keep back, Doctor. Blue guards!DOCTOR: Good evening, Constable.QUICK: Good evening, sir. You know this young female, sir?DOCTOR: Oh yes,yes. We were attacked by this little man and four other little men.QUICK: When I got here, sir, he was being strangled with his own pigtail, sir.DOCTOR: Really?Girlish enthusiasm, officer?QUICK: You might call it that, sir. I call it making an affray. I must ask you to come down the station with me.[SCENE_BREAK]CHANG:Please to see, ladies and gentlemen, subject now in state of deep hypnosis.AUDIENCE: Oh!SIN: She asleep.CHANG: She not asleep, Mister Sin.SIN: She beenslugging type of toddy.CHANG: I will prove young lady not asleep.SIN: She's lying on metal bar.CHANG: Not lying on metal bar.SIN: I've seen it donebefore.CHANG: I will prove young lady not lying on metal bar.SIN: She's held up by wires.CHANG: Enough.SIN: You can't fool me.CHANG: Silence!SIN: Don'ttouch me! Help! Police! Murder!CHANG: You see? No wires, Mister Sin. I will now demonstrate art of levitation raising most beautiful lady high above owntopknot.[SCENE_BREAK]KYLE: Name, sir?DOCTOR: Doctor. Leela.KYLE: Place of residence, sir?LEELA: We've only just arrived here.DOCTOR: We're on our way tothe theatre, do you see.KYLE: Your home address will do for the moment, sir. You do have a permanent address, sir?DOCTOR: No, Sergeant. We'retravellers.KYLE: I see. Persons of no fixed abode.DOCTOR: No, no, no, no. We do have an abode. It's called a TARDIS.KYLE: A TARDIS.DOCTOR: But it's notfixed.KYLE: I can give you and the young lady a fixed abode, sir. Quite easily.DOCTOR: Flat footed imbecile.KYLE: What was that, sir?DOCTOR: It was nothingcomplementary. Get on with it, Sergeant.KYLE: Now look, sir. We've got our hands full here, all these girls going missing in the manor, so if you'd just oblige usby answering any questions we'll get on a lot better. And a lot quicker.DOCTOR: Sergeant, all this is irrelevant. I've come here to lay evidence.KYLE: We'll cometo that in good time.DOCTOR: We'll come to that now, Sergeant. We've just prevented a kidnapping, a robbery or even a murder. My friend here caught one ofthe attackers. Let's come to it now, shall we?KYLE: We've only your word as to what he did, Doctor.DOCTOR: Tell him. Tell him.LEELA: The man they werecarrying was dead. He had been stabbed through the heart!KYLE: Really, Miss. And how can you be sure of that?LEELA: I am a warrior of the Sevateem. I knowthe different sounds of death. Now put our prisoner to the torture!KYLE: Well, if that don't take the biscuit. Torture, eh? This isn't the Dark Ages, youknow.LEELA: Make him talk.KYLE: He's a Chinese, if you hadn't noticed. We get a lot of those in here, Limehouse being so close. Him jaw-jaw plenty by and by,eh, Johnny? I've sent for an interpreter.DOCTOR: That won't be necessary. I speak Mandarin, Cantonese, all the dialects.KYLE: Oh yes?DOCTOR: Yes. Ne howma? Ni chi mao cora (and so on)KYLE: Yeah, very remarkable, I'm sure, Doctor, but since you're a party to the case, it isn't proper.KYLE: Now what? That comefrom the river.[SCENE_BREAK]WOMAN: Look, there it is, guv. See? Look.QUICK: Hurry with that boat hook.WOMAN: It's a floater, all right. You've got it,guv.WOMAN: On my oath, you wouldn't want that served with onions. Never seen anything like it in all my puff. Oh, make an 'orse sick, thatwould.[SCENE_BREAK]KYLE: Good of you to come so prompt, sir.CHANG: Not at all, Sergeant. I'm always happy to be of service to the police. What can I do foryou this time?KYLE: A complaint against this man, sir. The lady and gentleman here swear they saw him, in concert with others not in custody, carrying whatappeared to be a body, sir.CHANG: Indeed.KYLE: A European body as I understand them, sir.CHANG: What happened to the others?LEELA: They got away. Icaught this one.CHANG: You caught him? Remarkable.DOCTOR: Don't I know you?CHANG: I think not.DOCTOR: Yes, I've seen you somewhere before.CHANG: Iunderstand we all look the same.DOCTOR: Are you Chinese? Yes, that's it. We must have. No, I haven't been in China for four hundred years.CHANG: Are youtaking this matter seriously, Sergeant?KYLE: We are, sir. Will you question the man, sir?CHANG: Very well.CHANG: Can I have paper and pencil, please,Sergeant?KYLE: Certainly, sir.DOCTOR: Got it! Li H'sen Chang.CHANG: What?DOCTOR: The Master of Magic and Mesmerism. Show us a trick.DOCTOR: Verygood. Very good.KYLE: I think he's dead, sir.DOCTOR: How did you do it?CHANG: I did nothing. What are you suggesting.DOCTOR: Scorpion venom.KYLE:Scorpion venom?DOCTOR: Highly concentrated scorpion venom. It killed him almost instantly.DOCTOR: The Tong of the Black Scorpion.KYLE: Don't know thatone, sir.DOCTOR: One of the most dangerous politico-criminal organisations in the world. Wouldn't you agree, Li H'sen Chang?CHANG: You seem remarkablywell-informed, Doctor. Alas, I know nothing of these matters. Most regrettable incident. Goodnight, Sergeant.KYLE: Thank you, sir.CHANG: I'm sure we shallmeet again.LEELA: Yes.CHANG: Perhaps under more pleasant circumstances.KYLE: Well, I don't know what to do about this lot.DOCTOR: Then I'll tell you what todo, Sergeant. Organise a post-mortem. I want an analysis of the organs.KYLE: You want what, sir?DOCTOR: Well naturally I'm going to help. If the Tong of theBlack Scorpion's here in London, you're going to need all the help you can get. Now cut along and do as I say. Now!KYLE: Yes, sir.[SCENE_BREAK]CHANG: Faster,man, faster.[SCENE_BREAK]JAGO: Twinkle, twinkle, out in front.CASEY: Eh?JAGO: Gallery lights still burning.CASEY: I'll just go and see to them now, MisterJago.JAGO: Everyone gone?CASEY: Aye, just locked up, sir.JAGO: I hope those girls go straight home to their digs.CASEY: Oh, that they will, sir, with all this inthe papers. Nine are missing now, you know.JAGO: Nine. There was some fellow in here earlier blaming Chang of all people for some girl's disappearance.CASEY:Just vanished off the streets, they have. Mostly in this area, too. What do you think's happened to them, Mister Jago?JAGO: Nothing good, Casey, nothing good.That's a stone certainty.CASEY: Oh, it says in the paper how it could be jolly Jack at work again.JAGO: Jolly Jack?CASEY: The Ripper, Mister Jago.JAGO: Thehorrendous hyperbole of Grub Street, Casey.CASEY: Eh?JAGO: Newspaper gossip. They're probably just stony and scarpered. Cut along now. I'll wait for youhere.[SCENE_BREAK]JAGO: I was right. It was blood. Blood all over the hand and wrist. How did that get there?CASEY: Ready, Mister Jago.JAGO: Oh, Casey.Don't ever do that to me again. If the celestial Chang caught me trying to pinch his tricks. I had an idea that his dummy was a midget dressed up, but it's just an"}
+{"doc_id":"doc_215","qid":"","text":"[Scene: The Hospital, Ross and Rachel, who's in a wheelchair, are arriving in the waiting room for the maternity ward.]Ross: All right! (Checking his watch) Yes!!From home to the hospital in under seven minutes! We did it!!Rachel: (deadpan) Yes, the hard part is truly over.Ross: No, but come on, we're off to a great startaren't we? I knew I'd get you here fast, but this has got to be some kind of a record!(Phoebe and Monica walk in from getting some coffee.)Phoebe: Oh you madeit!Rachel: Hi! (Ross is stunned.)Monica: How are you doing?Ross: Wait a minute! How-how the hell did you beat us here?Monica: We took a cab. Did you guyswalk?Ross: N... No! We took a cab too, but I did test runs!(Chandler and Joey enter from the vending machines carrying sodas.)Chandler: Hi!Joey: Hey! Youmade it!Ross: Okay is there...some kind of magic tunnel to this hospital?!Rachel: Ross, you stay here and talk, I'm gonna go have a baby.Ross: Okay. Okay. (Tothe nurse behind the desk.) Umm hi, this is Rachel Green. I'm Ross Geller. We-we called from the car.Nurse: Right! We have a semi-private labor room waitingfor you. So in just a minute...Rachel: (interrupting her) Whoa-whoa-whoa-whoa! I'm sorry, semi-private? We (Laughs), we asked for a private room.Nurse: Yes, Isee that here. Unfortunately we can't guarantee a private room and currently they're all unavailable.Chandler: Man, if only you'd gotten here sooner. (Ross turnsand glares at him.)Nurse: I'm sorry. Semi-private rooms are all we have.Rachel: Okay. Just give us a second. Ross! (They walk away from the desk.)Ross:Yeah?Rachel: Give her some money.Ross: I really think they're out of rooms.Rachel: They're not!! Ross, they're just saving them for the important people!!Okay?! What-what if I was the president?!Ross: Well then we'd be in a lot of trouble, you don't know where any countries are. (Rachel glares at him.) Okay. (Hegoes over to the desk followed by Rachel.) Uh, say would you umm... Would you mind checking again to see if any umm, private rooms may have (Handing hersome money) opened up?Nurse: This is a hospital.Rachel: (standing up) Okay. Y'know what? I'd have to say I really don't care for your tone. And this is not theonly hospital in this city and we have no problem to-Whoa! (She starts a contraction) Oh gosh! Whoa!Ross: What-what?Rachel: Ow! Ow! Contraction. (Sits backdown.) Ow-ow! Ow-ow! (Starts breathing heavily.)Nurse: Would you like to see a semi-private room?Rachel: Yeah, it couldn't hurt to look.OpeningCredits[Scene: The Semi-Private Labor Room, Rachel is in bed, Ross is fooling around, and Dr. Long is checking on Rachel.]Dr. Long: Well you're only twocentimeters dilated and we need to get to ten. It'll be a while.Rachel: Oh, okay.Dr. Long: I'll be back in an hour to check you again.Ross: Thank you.Rachel:Thank you. (Dr. Long exits.) Well, I guess we have some time to kill.Ross: Yeah, guess so. Whew! Check these out! (He's looking at the stirrups on the other bedin the room and Rachel groans. Ross then hops into the bed and puts his legs into the stirrups.) Never done this before.Rachel: Yeah well it looks great!(A nurseshows another couple into the room.)Man: Thank you very much.Woman: Thanks.(They stop when they see Ross who has to struggle to get out of the bed.)Ross:Hi! Hi, I'm uh Ross. I'm here to ruin this magical day for you.Man: Oh no-no, not at all.Woman: Don't worry about it.Man: Marc Coreger, this is my wifeJulie.Ross: Hi Julie.Julie: Hi.Ross: This is Rachel. (Points at her.)Rachel: Hi!Marc: Oh hi Rachel.Rachel: How are you?Julie: Hi. Is this your first?Rachel: Yeah itis.Julie: Well, little Jamie here is our third. So, if you have questions or you need anything at all, just holler.Rachel: That's so sweet.Ross: Yeah.Rachel: Oh.Ross:Umm say, I-I opened this earlier (The privacy screen) but let me give you guys some privacy.Marc: No nonsense! We're all in this together.Julie: Yeah, we aregoing to share every moment of this with you. And I think we're gonna have some fun.Marc: Yeah.Ross: Oh, okay.Marc: Hey! Smile! (Points his camera at Rossand Rachel.)Rachel: Oh no, I really don't want any-(He takes the picture)-Oh! Thank you. Oh. Oh Ross...Ross: What?Rachel: Here comes anothercontraction.Ross: Oh. Okay, just breathe.Julie: Oh honey, I think I'm having one too!(During the mutual contraction Julie takes a moment to point out they'rehaving a contraction at the same time.)Marc: Look at this! (Takes another picture) There we go![Scene: The Waiting Room, the rest of the gang is loungingaround.]Phoebe: (looking at the clock) Oh wow, three hours and still no baby. Ugh, the miracle of birth sure is a snooze fest.Monica: Hey, you wanna seesomething?Phoebe: Sure! What?Monica: Umm, this is going to be fun. Watch me freak out Chandler. Honey?Chandler: Yeah?Monica: Listen uh, I-I've been doingsome thinking, and I don't know whether it's because we're here or Rachel's giving birth but umm, I think we should try to have a baby.Chandler: Okay.Monica:(freaking out) What-what-what's that now?!Chandler: Okay. I've been thinking about it too, and I, I think we're ready.Monica: What?! Are you kidding me?!You-you-you think we're ready to have a baby now?!Phoebe: Oh, this is fun.Joey: You're ready to have a baby? My boy's all grown up!Chandler: But you said youwere ready too.Monica: Yeah but I was just screwing with you to try to get your voice all high and weird like mine is now!Chandler: Yes, but haven't you wanted akid like forever?Monica: Okay, just back off mister! Whoa. (Pause) 'Cause I am ready to have a baby. I just want Joey to be the father.Joey: (voice all high andweird) What?! Are you crazy?!Monica: That's it! Right there! Is all I wanted![Scene: The Semi-Private Labor Room, time lapse, Ross is massaging out a cramp onRachel's hip as Marc opens up the privacy screen.]Marc: I am so sorry. The doctor insisted on closing the curtain for the exam.Rachel: Oh, that's very-Reallyvery-very okay.Marc: Julie's cervix is dilated a seven centimeters, that's about four fingers. The doctor let me feel it myself.Julie: Have you felt Rachel's cervixRoss?Rachel: (simultaneously as Ross) No, I don't think we'll be doing that.Ross: (simultaneously as Rachel) We're not gonna do that.Julie: Well, if you like youcan feel Rachel's and then feel mine to compare.Mrs. Geller: (entering) Am I interrupting?Ross: Uh yes! Thank you.Rachel: Oh. Oh wait no.Ross: Later.Rachel:No-no-don't! Don't leave me here with these people.Ross: Oh uh, I'm sorry. (Runs out.)Rachel: No Ross! Ross! Ross! My child has no father![Scene: The Hallway,Ross comes out and hugs Mrs. Geller.]Ross: Hi! I'm so glad you're here, but it's gonna be a while. I-I wished you'd called first.Mrs. Geller: Oh that's all right, I'mcoming back later with your father.Ross: Oh good.Mrs. Geller: I actually needed to talk to you before the birth.Ross: Okay, what's up?Mrs. Geller: I broughtsomething that I want to give you, assuming of course that you want it. (She holds up an engagement ring.)Ross: Ma, you're asking me to marry you?Mrs.Geller: This is your grandmother's engagement ring, I want you to give it to Rachel.Ross: Mom no, come on! Thank you.Mrs. Geller: Just hear me out!Ross: N-no!Okay? We've been through this! We're not gonna get married just because she's pregnant, okay?Mrs. Geller: Honestly! Ross, this isn't just some girl you pickedup in a bar and humped. A child should have a family.Ross: Mom, y'know what? I-I can't deal with this right now. I'm sorry...Mrs. Geller: Just...think about it. Ifyou don't, I'll talk more about humping.Ross: Gimmie! (Takes the ring and puts it in his coat pocket as Rachel enters the hallway.)Rachel: Hi!Mrs. Geller: Oh hidear!Rachel: Oh, thank you so much for coming. Ross, get in here!(Mrs. Geller leaves as Ross re-enters the room.)[Scene: The Waiting Room, Ross is explainingto the gang what happened with his mother.]Ross: ...she came and dragged me out of the labor room to ask me why I'm not with Rachel.Phoebe: Yeah. (Pause)Why aren't you with Rachel?Ross: Are you kidding? Look, we're not gonna be together just because we're having a baby. Okay?Phoebe: But y'know what? It justseems that you two belong together.Ross: Okay, stop it! I can't deal with this right now. I have to go have a baby.Phoebe: Right. And with who again? (Rossexits.)Joey: God. He's crazy! Why doesn't he want to be with Rachel?Phoebe: I know!Joey: I mean seriously, she's like the perfect woman. I mean I know sheturned me down, but if she hadn't and wanted to be with me, I would take her in my arms and... (Realizes everyone is staring.) I haven't bummed you guys outlike this in a while have I?[Scene: The Semi-Private Labor Room, Ross is returning to find another couple has taken the place of Marc and Julie.]Ross: (To Rachel)Hey. Who's that?Rachel: New people.Ross: What happened to the Disgustingtons?Rachel: They're having their baby! It's not fair Ross we got here first! Rightafter you left they wheeled her off into delivery. Oh but not before she gave me a juicy shot of little Jamie just crowning away.Ross: Wow! Sorry. So uh, how arethe new people?Rachel: Well they have uh, some unusual pet names for each other. Including umm, evil bitch and uh, sick b*st*rd. Oh God oh!Contraction!Ross: Yeah? Okay.Rachel: Ooh! Ow!!Evil Bitch: Are you looking at her?!Sick b*st*rd: No!Evil Bitch: Don't you look at her you sick b*st*rd!Sickb*st*rd: Honey I swear! I wasn't looking at her!Evil Bitch: She's in labor! You like that you sick son of a bitch!Ross: Umm. Umm, I'm-I'm just gonna-(Closes theprivacy screen.)Evil Bitch: See? See? It was because you were looking fat pervert!Ross: No-no, I'm...I'm sure no one was looking. Just want some privacy. (Hecloses the screen and stares wide-eyed at Rachel.)Evil Bitch: You miss your girlfriend?Ross: Just ignore them.(Sick b*st*rd sits down in a chair that enables himto look around the screen and stare at Rachel.)Rachel: Ross.Ross: What? What?Rachel: He's looking at me.Ross: (to him) Hey! You wanna live to see yourbaby?!Evil Bitch: Don't you talk to my husband like that you stupid b*st*rd!(Ross shrugs his shoulders to Rachel and Sick b*st*rd closes the screen all theway.)[Scene: Outside the Nursery, Chandler is looking at the babies as Monica walks up.]Monica: Oh good God! If you want a baby so bad just go steal it!(Thenurse attending to the babies hears this, turns and stares at Chandler. Chandler moves Monica to the side and away from the nurse.)Monica: What is going onwith you? Since when are you so crazy about babies?Chandler: I'm not crazy about babies. I'm crazy about us.Monica: What?Chandler: Look, we've always talkedabout having babies someday. I'm not saying it has to be right now, but I'm starting to think that we can handle it. We're good. We're really good.Monica: We arepretty good.Chandler: But nothing has to happen until your ready.Monica: Well maybe I'm ready now. I mean, it's a little scary, but maybe it's right.Chandler:What?! It's not right! We're not ready to have a kid now!!Monica: What?!!Chandler: I'm kidding. This is going to be fun.Monica: So we're gonna try? I mean, arewe trying?Chandler: We're trying to get pregnant. (They start kissing, but Chandler stops it.) Y'know I'm not really comfortable doing this in front of the babies.So, when do you want to start trying?Monica: Okay, hold on a sec.Chandler: Period math?Monica: Yeah.Chandler: Yeah.Monica: Well, we could start trying."}
+{"doc_id":"doc_216","qid":"","text":"EXT. CRUCasey : So, if the light we're seeing is millions of years old, then the stars might already be dead.Max : But it's not just the stars that are in the past. It'severything. Even you looking at me now.Casey : So, you're not you?Max : No, I'm me. But you're seeing me one billionth of a second ago.Casey : So...everything is history and relationships are just memories.Max : Except for the light.Casey : Which is in its own present, our past and someone else's future.Max :The Hawking of Hearts.Casey : You know what that means?ZBZ HOUSE - Casey & Ashleigh's room Casey just wakes up. She was dreaming...Casey : What? Whyare you staring at me?Ashleigh : You were making out with your pillow.Casey : No, I wasn't!Ashleigh : Must have been an awesome dream. You weredrooling.Casey : I don't drool! Much. KT HOUSE - Living roomRusty : All right. Lightning round. Loves rainy sunday mornings, is a Pisces, and can't live withoutcuts two, three and eight from \"The Best of Sting\". Ferret.Pickle : He is such a romantic.Rusty : Afraid of apricots?Ben Bennett : Wingnut!Pickle : That'sHeath.Rusty : Heath is correct. Wingnut?Ben Bennett : This active recognition test is gonna be tough. I mean, likes, dislikes, embarrassing secrets...Pickle : Iknow more about the actives now than I ever wanted to know.Rusty : Except for this guy. Joshua Whopper.Pickle : Isn't that the guy who's always carrying aknife?Rusty : Whoever it is, we better figure it out or we're scrubbing toilets until initiation.Beaver : Empty your wallets.Ben Bennett : Why?Heath : Lunchbuffet.Rusty : You're shaking us down for a strip club?Beaver : It's not just any strip club. It's Gentlemen's Choice. We need to make a Cappie trip.Rusty : Lasttime Cappie went to the strip club was when he was... Oh, no.Heath : No one mentions Rebecca.Rusty : Hey, Cap, so you broke up with Reb...Ben Bennett : Youweren't supposed to...Cappie : What's going on?Beaver : Nothing. Why?Cappie : Beaver. I'm fine.Pickle : So, I can get my money back then?Beaver : No.Cappie :Any last minute questions on the active recognition test? ART's in two days.Rusty : I have one. I took the liberty of downloading National's list of currentactives.Ben Bennett : Suck up.Rusty : There's an active on the list no one has ever seen. Or ever met. Who's Joshua Whopper?Cappie : Extra points for beingindustrious, Spitter, but don't worry about him. He's not on the test.Rusty : OK, yeah, but according to the rules of the Arts, each pledge must know everyactive.Cappie : But not Joshua. Trust me. Leave the Whopper alone. Credits ZBZ HOUSE - Dining roomAshleigh : Rebecca's been eating her feelings since 7:00this morning. It's her second box of cereal.Casey : I wonder if she'll give away her clothes. I wouldn't mind that Marc Jacobs cocktail dress. It was already prettytight on her.Ashleigh : She and Cappie broke up.Casey : What? Really?Ashleigh : Looking for a job is way harder than I thought. What about babysitting?Casey :And what about your irrational fear of little people?Ashleigh : Good point.Casey : You know, I'm actually thinking of hiring an astronomy tutor.Ashleigh : I couldhelp. I love looking at the stars Casey :. That's what I thought the class was going to be about when I signed up for it. But all we're learning about is black holes,dark matter, alternative universes.Ashleigh : Why don't you drop it?Casey : I still need one science course for general ed. So, who do you think I can get to helpme?Ashleigh : Ivy took it last semester.Casey : Ivy? I think we're in a fight or something.Ashleigh : What about Rusty? He's science-y.Casey : And that workedout so well the last time.Ashleigh : Oh, wait. What about Max?Casey : Max? Rusty's friend Max.Ashleigh : He must know all about astronomy. He worked forNASA or something I think.Casey : He's probably pretty busy.Ashleigh : Yeah, you're right.Casey : Still, it couldn't hurt to ask. Thanks. KT HOUSE - HallwayBenBennett : Joshua Whopper looks exactly like Abraham Lincoln.Rusty : You see the problem?Pickle : The 16th president of the United States was a KappaTau?Rusty : Guys, get the fact that Abe is about 200 years old and was not a Kappa Tau. This is a trap. We have no idea who Joshua Whopper is. Which means,when Cappie said, \"Trust me,\" he probably meant, \"Don't trust me. Which means Josh Whopper is going to be on the active recognition test. And after every oneof us fails we're going to be breaking out the gas masks, Hazmat suits, and we're gonna go on porcelain patrol until initiation. We gotta find the Whopper.BenBennett : How do we do that?Pickle : We look for a guy with a beard and a funny hat. CRU - Max's roomMax : Oh. It's you.Casey : Yes. And you're you? You'reprobably wondering what I'm doing here.Max : Would... Actually, I was thinking about... That's not really relevant now. So...Casey : I really need a tutor for Introto Astronomy. And I know it's not your major specifically, but Rusty mentioned you had some connection to NASA. Which got me thinking... I really need helpwith the class. Max... NASA... So I'm here.Max : Maybe this isn't such a good idea. It didn't go too well with blackjack and Casino Night.Casey : Well, I'm big onsecond chances. Actually, I'm big on third and fourth chances, too.Max : Could you do tonight? 8:00 here?Casey : Sounds... intimate.Max : Well, it's just... whereI live. CRU - AdministrationPickle : Excuse me, Miss Brown? Sorry. I'm the new guy. And I don't want to be a nark or anything, but I just saw a woman fromadmissions throw away her recycle bin 'cause she said she hated the Earth.Woman : Was it Constance? Big redhead? Show me, please. Thank you. I can't standher. I mean, who does that? I've talked to her before about this... While Pickle and the woman leave, Rusty and ben Bennett come...Rusty : Passwordprotected.Ben Bennett : How long is this gonna take you to hack in?Rusty : Well, with the 256 bit encryption and double coded keys, between two hours andnever. I need her password. Uh... Jordan. Sarah... Arlo...Ben Bennett : Hey, you know what I always do? I always tape my password to my top drawer.Rusty : Noone does that anymore.Both : Password.Rusty : All right, we're in. Joshua Whopper. Physics 405, English Lit 320, Chemistry 401. Straight A's?Ben Bennett : Waita second. There's a Kappa Tau that's smarter than you?Rusty : Yeah, it appears so. And he has a class tomorrow at Lasker Parks Hall. Let's go.MICHAEL'SHOMECalvin : \"40 Year Old Virgin\" is a masterpiece. Although \"Knocked Up\" runs a close second.Michael : But don't you think Judd Apatow's movies can be... alittle misogynistic, kind of homophobic?Calvin : Was it the chest waxing thing?Michael : No, it was the \"you know how I know you're gay\" thing. It objectifies gaylife.Calvin : So now you're gonna teach me about being gay? If I recall, last night I taught you a few things.Michael : A point taken. But how many other gaypeople do you hang out with? I mean, besides me?Calvin : Is that a trick question? Fine. None.Michael : Then you have to admit that your world view is slightlylimited. Which is... why I was thinking we could go to Gentlemen's Choice.Calvin : You want to go to a strip club?Michael : No, the other Gentlemen's Choice. Thehottest... Well... only gay bar in Cyprus. We'll meet up with some of my friends, we'll hang out.Calvin : Trash Judd Apatow...Michael : You've never been to a gaybar, have you?Calvin : I just don't really like tight shirts and guys in Daisy Dukes.Michael : Don't mock what you don't know. Besides, that's not Gentlemen'sChoice. Come on. It wouldn't hurt you to actually hang out with other gay people every now and then. Who knows. Maybe you'll even meet a friend or two. It'stime to broaden your horizons.Calvin : Spread my big gay wings?CRU - DormtromsMax : So you break through the line and no one touches you, you keep onrolling. That's inertia. That's Newton's first law of motion. Then you power right through an undersize fullback. That's Newton's second law, force.Guy : Hell,yeah.Max : OK. Then the third law. You hit the quarterback, knock him out cold. For every action there is an equal and opposite reaction.Guy : Hell, yeah.Casey :Max, I was hoping to understand gamma ray bursts.Max : OK, yeah. That's a rocket of electromagnetic energy created by a collapsing star. Kind of a good andbad thing if one heads our way.Casey : Bad first.Max : Well, the world would plunge into darkness, polar ice caps would melt and deep sea creatures would rulethe earth.Casey : And the good?Max : Well, no more student loans.Casey : Got it. But that would never happen, right?Max : Casey. No matter how invested youare in your view of the universe, you have to be prepared for things to change.Casey : Are we talking about gamma rays or something else?Max : I don't know...Maybe neither.EXT. CRURusty : That's not something you see every day.Ben Bennett : What?Rusty : Cappie on campus.CRU - ClassRusty : Dr. Shapiro?Teacher :If you have any questions about today's lecture, my office hours are this afternoon from 3:00-5:00.Rusty : No, I'm fine with today's lecture. Actually, I'm noteven in your class. I just had a question about one of your students. I'm looking for Joshua Whopper.Teacher : It's a lecture class. I don't know everyoneindividually.Rusty : Are you sure?Teacher : Well, anyone with an A in my class doesn't come to office hours. Sorry, gentlemen.Ben Bennett : Well, we're dead.Cappie's gonna ask us who Joshua Whopper is, and we got zip.Rusty : Wait. It's crazy. What if Josh... No. Cappie on campus...Ben Bennett : Why are you talkingto yourself? I'm standing right here.Rusty : OK, Joshua's smart. He's secretive. He has dozens of majors. He hangs out at Lasker Parks Hall. What if JoshuaWhopper is Cappie?EXT. CRUAshleigh : Wow. That sounds great. I'm gonna be a naturalist intern.Casey : You'll have to wear hiking boots.Ashleigh : So, how wasyour tutoring session?Casey : I'm less confused about astronomy and more confused about Max. OK, here it goes. I kind of like him.Ashleigh : Oh, he's cute.Weird, but cute. So, how was it? Was it all gushy and romantic? Or did he get all science-y and weird?Casey : Neither. Both. I don't know. Honestly, I'm not surewhat happened.Ashleigh : Wait. He's not just an Evan/Cappie in a dork suit, is he?Casey : No, that's the strange thing. He's totally unlike Evan or even Cappie.Max is so far outside my normal dating pool, I can't read him at all. It's like all the usual fraternity/sonority dating rituals have been tossed out the window. We'refrom different planets.Ashleigh : You need a translator. Someone who can speak both Greek and geek.KT HOUSE - Cappie's roomCappie : French maid, hers.Amazon princess, hers.Rusty : What happened with you and Rebecca?Cappie : We figured we were headed in different directions, so better to cut it off nowbefore anyone got hurt. Devil temptress, hers. Super chick. That's mine. Where are the bracelets?Rusty : And you're OK?Cappie : You mean do I need to go andget hammered at Gentlemen's Choice, pay a bunch of naked girls to pretend they love me? No. That sounds like fun.Rusty : You're not joshing me?Cappie : Nope.I'm not joshing you. Oh, let's see. Margaret Thatcher. Mine.Rusty : Margaret Thatcher was one whopper of a prime minister? Maybe she was listening to JoshGroban, watching Judge Wapner.Cappie : I'll bite.Rusty : I know who Joshua Whopper is.Cappie : No. You don't.Rusty : Oh, yeah, I do. Dozens of majors,"}
+{"doc_id":"doc_217","qid":"","text":"Produced by: Robert Carlock & Wendy Knoller[Scene: Central Perk. Everyone's sitting on the couch and Phoebe enters.]Phoebe: HiAll: Hey! Hi!Rachel: How wasthe honeymoon?Phoebe; Oh, incredible! Oh! Champagne, candle-lit dinners, moonlight walks on the beach, it was sooo ro-man-tic!Rachel: Oh!Chandler: So,where's Mike?Phoebe: Oh, he's at the doctor, he didn't poop the whole time we were there!Joey: Well anyway, I'm glad you're back, I really need yourhelp.Phoebe: Oh, why? What's up?Joey: I have an audition for this play and for some of it I have to speak French. Which, according to my résumé, I'm fluentin.Ross: Joey, you shouldn't lie on your résumé.Monica: Yeah, you really shouldn't. (to Ross, sarcastically) By the way, how was that year-long dig in Cairo?Ross:(whispering) It was ok...Rachel: I did not know you spoke French.Phoebe: Oui, bien sur je parle Français! Qu'est-ce que tu penses alors?Rachel: Oh... you're sosexy!Joey: Well, so, will you help me? I really wanna be in this play.Phoebe: Sure! Tout le plaisir est pour moi, mon ami.Rachel: Seriously stop it, or I'm gonnajump on ya.OPENING CREDITS[Scene: Monica and Chandler's apartment.]Chandler: Hey.Monica: Hey.Chandler: Why are you wearing my apron?Monica: I'mmaking cookies for Erica. And oh, by the way, we have to leave for the airport soon, her plane comes in about an hour.Chandler: Oh, hey, when she gets here, isit ok if I introduce you two as \"my wife\" and \"the woman who's carrying my child\"? (she's not amused) No? Divorce?Ross: (he enters) Hey.Monica: Hey.Ross: Youguys know where Rachel is?Monica: No, we haven't seen her since this morning.Ross: So unbelievable. She was supposed to meet me half an hour ago withEmma. (he tries to take a cookie but Monica slaps his hand)Monica: Hey!Ross: Hey!Monica: These are for Erica!Ross: What? She's gonna eat all thosecookies?Monica: Well, I want he baby to come out all cute and fat!Ross: So, why is Erica coming to visit?Monica: Well, because we want to get to know her betterand she's never been to New York so she wants to see all the tourists' spots... you know, Statue of Liberty, Empire State Building...Chandler: Oh, those places!There's always so many people, their being corralled like cattle, and... you know, there's always some idiot who goes \"Mooooo\"!Monica: Well, if it annoys you somuch, then why do you do it?Ross: (looking at Rachel entering with Emma) Oh, hi! Hi! Thanks for showing you up thirty minutes late!Rachel: Ross...Ross: No, no,no, I'm sure you have a great excuse, wh-was it a hair appointment, a mani-pedi or was there a sale at Barney's?Rachel: My father had an heart attack... (crying)...while I was at Barney's.Ross: Oh my God.Monica: Honey.Chandler: I'm so sorry...Ross: Is-is he ok?Rachel: Yeah, they said he's gonna be fine, but he's stillheavily sedated.Ross: Ok, ok. I'm gonna come out to Long Island with you, I mean, you can't be alone right now.Rachel: No, come on, I'm totally ok. (hugginghim) I don't need you to come! I can totally handle this on my own.Ross: Still-still, let me come... for me.Rachel: Ok. If you really need to.Ross: I bet someonecould use one of Monica's freshly baked cookies.Rachel: Oh, I really could.Ross: Oh!Rachel: Ohh... (Ross mouths HA-HA at Monica and takes two cookies and shelooks at him angrily)[Scene: Central Perk. Phoebe's trying to teach Joey French, so she's sitting in front of him with the script in her hands.]Phoebe: All right, itseems pretty simple. Your first line is \"My name is Claude\", so, just repeat after me. \"Je m'appelle Claude\".Joey: Je de coup Clow.Phoebe: Well, just... let's try itagain.Joey: Ok.Phoebe: Je m'appelle Claude.Joey: Je depli mblue.Phoebe: Uh. It's not... quite what I'm saying.Joey: Really? It sounds exactly the same tome.Phoebe: It does, really?Joey: Yeah.Phoebe: All right, let just try it again. Really listen.Joey: Got it.Phoebe: (slowly) Je m'appelle Claude.Joey: Je te flouppeFli.Phoebe: Oh, mon Dieu!Joey: Oh, de fuff!Monica: (entering with Erica and Chandler) Hey you guys.Phoebe: Hi!Joey: Hey.Monica: I want you to meet someonereally special. Phoebe, this is Erica. And this is the baby!Phoebe: Oh!Monica: Joey. Erica, baby!Joey: Hi.Monica: Everyone. Erica, baby!Chandler: Monica. Calm,self.Erica: Thank you. It's really nice to meet you guys, I can't believe I'm here!Joey: Welcome to New York City! Or should I say \"ghe deu flooff New YorkCity\"?Chandler: Why would you say that?Phoebe: Ok. What are you gonna be doing today?Erica: I wanna see everything! Times Square, Coney Island,Rockefeller Center...Joey: Oh, you know what you should do? You should walk all the way at the top of Statue of Liberty.Erica: Oh yeah, let's do that!Chandler:Great! (to Monica) This baby'd better to be really good.[Scene: Hospital.]Rachel: (stopping a nurse who's coming out of a room) Oh, uhm, excuse me, I'm here tosee my father. My name is Rachel Green.Ross: And I'm Doctor Ross Geller.Rachel: Ross, please, this is a hospital, ok? That actually means somethinghere.Rachel: Can somebody please go in?Nurse: Absolutely.Ross: Rach, I think I'm gonna wait out here, because my throat is feeling a little scratchy, I don'twant to infect him.Rachel: Ross, please, don't be so scared of him!Ross: I'm not scared of him, I'm really sick!Nurse: He's under sedation, so he's pretty muchout.Ross: I'm feeling better.Rachel: Oh! (They enter. Rachel sees his father, lying on a bed, with tubes, drip and everything) Oh! Oh my God! Ohhh, ohhh, wow,that ear and nose hair trimmer I got him was just money down the drain, huh?Nurse: Miss Green, your father's doctor is on the phone if you'd like to speak tohim.Rachel: Oh, great, Are you gonna be ok?Ross: He's unconscious, I think we'll be just fine!Rachel (leaving): Ok.(Ross goes into the room where Dr. Green islaying unconscious. He turns on the TV, puts his feet on the bed and starts watching a dinosaur movie where the dinosaur is caught by two cowboys. Dr. Gellerawakes.)Ross: Did the TV wake you?Dr. Green: No, when you put your feet up in my bed, you tugged on my catheter.Ross: Ouchy.Dr. Green: What are youdoing here, Geller?Ross: Well, I came with Rachel, who should be back any second! (pause) So what's new?Dr. Green: Ooh, I have a little heart attack.Ross:Right, is it painful?Dr. Green: What, the heart attack or sitting here talking to you?Ross (he buzzes for the nurse) Let's see if we can get that Rachel back here.Dr.Green: So what's new with you, uh, knocked up any more of my daughters lately?Ross: Nope, just the one. RACH![Scene: Joey's apartment. Phoebe is trying toteach Joey French.]Phoebe: Je m'appelle Claude.Joey: Je do call blue!Phoebe: Noooo! Ok, maybe if we just break it down. Ok, let's try at one syllable at a time.Ok? So repeat after me. \"je\".Joey: je.Phoebe: m'apJoey: mahPhoebe: pelleJoey: pel.Phoebe: Great, ok faster! \"je\"Joey: je.Phoebe: m'apJoey: mahPhoebe:pelleJoey: pel.Phoebe: Je m'appelle!Joey: Me pooh pooh!Phoebe: Ok, it's too hard, I can't teach you!Joey: What are you doing?Phoebe: I, I have to go before Iput your head through a wall. (she leaves)Joey: (he goes out calling her) Don't move! Don't go! I need you! My audition is tomorrow! Shah blue blah! Me lahpeeh! Ombrah! (he gives up). Pooh.[Scene: Green's mansion. Rachel's Room. Rachel's is combing her hair; Ross's coming into the room]Ross: Hey!Rachel:Hi!Ross: I was gonna make us some dinner but all I found in your dad's fridge was bacon and heavy cream. (pause) I think we solved the mystery of the heartattack.Rachel: Uh. (pause) Did you call your parents?Ross: Oh, yeah. Emma's doing great.Rachel: Oh good.Ross: Wow.Rachel: What?Ross: Just can't believe I'min Rachel Green's room.Rachel: What do you mean? You've been in my room before!Ross: Yeah, sure, right! Like I've ever been in Rachel Green's room.Rachel:Ok I gotta tell ya, it's really weird when you use my whole name.Ross: Sorry. (Rachel sits on her bed). You ok?Rachel: Yeah.Ross: You had a rough day,uh?Rachel: Yeah, just so weird seeing him like that, you know? I mean he is a doctor, you don't expect doctors to get sick!Ross: But we do! (pause) It's gonna beok, Rach!Rachel: (she's sad) Ow. I don't want him to wake up alone! I should go to the hospital!Ross: What? No, no! Hey, hey, hey look...Rachel: What?Ross:They gave him a lot of medication, ok? He wouldn't even know if you were there. Look, we'll go see him first thing in the morning, ok?Rachel: Really, I shouldn'tfeel guilty?Ross: No, God! Hey, Rach, you've been an amazing daughter, ok? Right now you just need to get some rest.Rachel: Ok, maybe you're right.Ross: (hekisses her on her forehead) Good night.Rachel: Wait, wait, wait, wait. Would you stay here with me for a little while?Ross: Sure!Rachel: Ok. (She sits on the bedand Ross sits near her) Thank you for coming with me today.Ross: Oh, of course...Rachel: Rachel Green is very happy you're in her room!Ross: Me too. Comehere. (They hug)Rachel: I just don't want to be alone tonight.Ross: Ok, well, uh, I can maybe grab a sleeping bag, or...(There's one of those moments. They'restaring at each other, no word uttered, and then she leans toward him in order to kiss him, but he ducks and avoids her more than once.) Oh, oh. (he then hugsher and when she tries to kiss him again, he stands up and she falls down on the bed). No, Rach! I'm sorry, I just don't think this, this, this is a good idea.Rachel:Wait, we won't know that until we do it, will we?Ross: No, look, uh. You are upset about your father and you're feeling vulnerable and I just don't feel it would beright, I'd feel like I'd be, you know, taking advantage of you.Rachel: Taking advantage? I'm giving you the advantage, enjoy!Ross: Look, I'm sure it would begreat, but I-I think one of us has to be thinking clearly, so, I'm gonna go!Rachel: Wow. Ok.Ross: I'll see you in the morning (he leaves).Rachel: Mhm-mh!Ross:(outside her room, talking by himself) Haven't had s*x in four months, I should get a medal for that![Scene: Monica's apartment. Monica and Erica have justarrived.]Erica: Thanks so much for taking me to all those places. I had a great time.Monica: Oh, I'm glad. Listen, I want to apologize about Chandler, though. Ijust did not see this coming.Chandler: (enters the room wearing an \"I love New York\" t-shirt, a \"Statue of Liberty\" hat and carrying bags) New York isawesome!Monica: What is with you?Chandler: Yeah, I've been to these places before, but I've never really seen them, you know.Monica: Yeah, you miss alot,when you're moo-ing.Erica: Thanks so much for showing me around.Monica: Oh! It was our pleasure. We are so much enjoying getting to know you.Erica: Well, ifthere is anything else you wanna know... (Monica and Chandler look at each other)Chandler: Oh, uhm, okay, uhm, do you mind if we ask you some questionsabout the father?Erica: Oh, sure. Yeah, well, he was my high school boyfriend. Captain of the football team, really cute and he got a scholarship and went off tocollege. (Monica and Chandler are smiling from ear to ear)Chandler: That's great.Erica: Yeah... it's almost definitely him. (Monica and Chandler look confusednow)Monica: How's that now?Erica: Well, there is a chance it's another guy. I mean, I have only ever been with two guys, but they sorta overlapped.Chandler:So, what does the other guy do? Does he go to college too?Erica: No, he's in prison. (More shocked looks from Monica and Chandler)Monica: Was he falsely"}
+{"doc_id":"doc_218","qid":"","text":"3.01 - Those Lazy-Hazy-Crazy DaysOPEN IN LORELAI'S BEDROOM[Lorelai is asleep in bed when her alarm goes off. She shuts it off, and a second later, severalothers start going off around her bedroom.]LORELAI: You are hilarious![She gets up and walks down to the kitchen, where Luke is at the stove makingbreakfast]LORELAI: Okay, see, last night, when I said to you, \u0000Tomorrow, no matter what, make sure I get up at seven,' what I actually meant was,\u0000Tomorrow, no matter what, make sure I have the option of getting up at seven in case when seven comes, I actually wanna get up,' which \u0000 as it happened \u0000I didn't. Therefore, you're currently responsible for the great alarm clock slaughter of 2002.[She pulls a container of coffee out of the freezer]LUKE: Nosurvivors?LORELAI: The one shaped like a bunny escaped with a mild decapitation. [smells the coffee] This is decaf.LUKE: What are you talking about?LORELAI:You switched my coffee again.[Lorelai searches the kitchen for the regular coffee]LUKE: I'm a busy man. I don't have time to sneak around switching your coffee.I have a diner to run, I have shipments to order, I have things to flip and fry. Will you stop that?[Lorelai finds the bag of regular coffee under the sink]LORELAI:Ha, haha, hahaha! Under the sink, very clever, but not clever enough bucko.LUKE: Okay, fine, you know what? I give up.LORELAI: Woo hoo!LUKE: Go one daywithout coffee.LORELAI: That's not giving up.LUKE: I'll put a toy in your cereal.LORELAI: Dirty!LUKE: [hands her a plate of food] Fine, here, you win.LORELAI:Thank you.LUKE: You're welcome. Now you're up, you're fed, I'm leaving.LORELAI: Oh, hey, we need q-tips.LUKE: I'll alert the media.LORELAI: See, that's betterwith the accent.LUKE: The reference is enough, you'll learn that one day. I'll be home early, anything besides the q-tips?LORELAI: Um, cotton balls, world peace,Connie Chung's original face back.[Luke kisses her]LUKE: Goodbye crazy lady. [to Lorelai's stomach] Goodbye Sid and Nancy.LORELAI: Leopold and Loeb.LUKE:What?LORELAI: I changed my mind, don't tell Rory.LUKE: Decaf.LORELAI: Never.LUKE: They'll both have two heads.LORELAI: More to love.[They kiss again andLuke walks out the back door]CUT TO LORELAI'S BEDROOM[In the middle of the night, Lorelai wakes up suddenly from her dream. She falls out of the bedreaching for the phone]LORELAI: Whoa! Ugh![She calls Rory at her dorm in Washington]RORY: Hello?LORELAI: You have to come home.RORY: Mom?LORELAI:You're gone and the house is quiet and Bill Maher's canceled. The name of the show was Politically Incorrect for God's sake. Didn't anybody read the title? He wassupposed to say those things, dammit!RORY: You had another dream.LORELAI: Yes.RORY: The doctor is in.LORELAI: Okay, I'm lying in bed and I'm sleeping andI'm wearing this fabulous nightgown, and like thirty alarm clocks go off, and so I get out of bed and I walk downstairs, and there, standing is the kitchen, isLuke!RORY: Was he naked?LORELAI: No! He was making breakfast.RORY: Naked?LORELAI: Okay, you've been in Washington way too long.RORY: Sorry. Goahead, he was making breakfast. . .LORELAI: Eggs and pancakes and bacon, and he put decaf coffee in my regular coffee bag, which of course I knewimmediately.RORY: Hi, the nose.LORELAI: Exactly. So eventually I find the real stuff under the sink. He hands me my breakfast, and then . . .RORY:What?LORELAI: He kissed me and talked to my stomach!RORY: Why would he do that?LORELAI: Because apparently I'm pregnant!RORY: What?LORELAI: Withtwins! [pause] Say something.RORY: You are going to be so fat.LORELAI: Just analyze my dream, please.RORY: Okay. Well, your dream was telling you that youare secretly in love with Luke and you wanna marry him and have his twins.LORELAI: Uh, no, try again.RORY: What do you mean, try again? You asked me toanalyze your dream, I analyzed your dream.LORELAI: Yes, well, I reject that analysis, so I'd like another one, please.RORY: You can't just reject an analysis andtry again. You're not shopping for bathing suits here.LORELAI: Give me another analysis or I'll put your Taylor hula-hooping dream into a whole othercontext.RORY: I told you, Taylor was supposed to be Dean. I could tell by his freakishly thick head of hair.LORELAI: I'm waiting.RORY: Okay, maybe you're stillupset about what happened with Dad and you're jealous of Sherry because she's having his baby and not you. Mom?LORELAI: I miss you.RORY: I miss you,too.PARIS: [sleeptalking in background] Woodward. . .Bernstein. . .Harry Thomason.LORELAI: Is that Paris?RORY: Yeah, she talks in her sleep. . . long in-deptharguments. I'm so glad I only have one more day here.LORELAI: Me, too. What do you have on your agenda for tomorrow? Or, today, actually.RORY: We have abreakfast mixer with members of Congress and the Senate.LORELAI: Cool. See if you can steal me something off of Tom Daschle's fruit plate.RORY: I'll see whatI can do.LORELAI: See you Friday, doc.RORY: See you Friday.[Rory walks to her desk and sits down, where she tries to work on a letter to Jess]PARIS:[sleeptalking] I did not have sexual relations with that woman.[opening credits]CUT TO SOOKIE AND JACKSON'S HOUSE[Lorelai and Sookie are sitting at thekitchen table]LORELAI: No way.SOOKIE: I swear.LORELAI: Huh, Kosher bacon.SOOKIE: Beef not pork.LORELAI: I am so Jewish.JACKSON: [from other room]Hey Sookie, where's my \u0000SOOKIE: Jackson, hold on! Lorelai's here!LORELAI: [covers eyes] Oh, Jackson, I'm in the kitchen! I'm eating bacon, so don't . . aye -eh - da - ahhh!JACKSON: [walks into kitchen] Will you stop it? I'm dressed.LORELAI: Uh, well, how do I know you weren't showering and the hot water went outand you rushed down here with nothing but a teeny tiny towel in front of ya.JACKSON: Once, that happened once.LORELAI: Well, once was enough.SOOKIE: Oh,hey, honey, I got those paint chips that we were talking about. Do you wanna look at them now?JACKSON: Nope.SOOKIE: But it'll only take a minute and Iactually went though and picked out a couple of colors for you.LORELAI: What are you painting?JACKSON: Nothing.SOOKIE: The house.LORELAI: The wholehouse?JACKSON: No.SOOKIE: Just the inside.LORELAI: Ah, that's a pretty big undertaking.JACKSON: It's not such a big undertaking since we're not undertakingit.SOOKIE: I know, but it'll be fun.LORELAI: Rory and I'll help if you want.JACKSON: Okay, if you're gonna come over here everyday, you have to actually hearboth of us.LORELAI: Oh. Well, tell me why you're not painting just the inside of the house?SOOKIE: Because it was my house and now it's our house and I want itto feel like our house.JACKSON: I'm totally happy with the way this house feels.SOOKIE: How can you be? There's flowers everywhere.JACKSON: I like flowers \u0000I'm a produce guy.SOOKIE: The curtains are ruffly.JACKSON: I like ruffles.SOOKIE: How can you like ruffles?JACKSON: Because I'm very, very gay.SOOKIE:Jackson!JACKSON: Judy, Vincent has to go to work now. Goodbye Lorelai. Tell her I'm fine, I like things just the way they are.LORELAI: I'll try.[Jacksonleaves]LORELAI: All right, I've only got a minute and then I have to leave. Is there any more bacon?SOOKIE: Have mine. What do you think about mahogany forthe living room and then midnight blue for the hallway and the bedroom?LORELAI: Sookie, Jackson just said he's fine with how everything is. I don't think it'sbugging him.SOOKIE: Well, he may not think so now but it'll bug him eventually and then he'll resent this place and me by extension and I would like to avoidthat. And I can \u0000 I just need to butch the place up a little. Now, help me pick a color.LORELAI: Okay, I can't now, but I'll do it later.SOOKIE: Okay.LORELAI:Thanks for breakfast, it was amazing, I love you, I love the bacon. Oh, hey, bacon's manly. Why don't you just nail a bunch of packages of Kosher bacon on thewalls, huh? Smells like meat blessed by a rabbi \u0000 now that's a manly house.SOOKIE: Buh-bye.LORELAI: Okay, but if you're still thinking paint, you're stillthinking like a chick.CUT TO OUTSIDE[The town square is being set up for a festival. Lorelai walks toward Taylor, who is in an electric wheelchair giving orders topeople.]TAYLOR: Watch those streamers! And not too much red near that tree \u0000 light touch, light touch, light touch.LORELAI: Hey Taylor, how's the leg?TAYLOR:It's just fine.LORELAI: Still haven't found out who put that banana peel on your doorstep, huh?TAYLOR: No, but I have a list of suspects.LORELAI: Hey, um,what's all this for?TAYLOR: This, young lady, is for the first annual Stars Hollow End of Summer Madness Festival.LORELAI: You finally found a way to fillSeptember, didn't ya?TAYLOR: This is gonna be a very exciting day. I'm really gonna go all out for this. I even think you'll be impressed.LORELAI: Really, evenme?TAYLOR: Yes-sir-ee, mini-me, I did not put the word madness in the title for nothing. This place is gonna be crazy, wild \u0000 food, games, we've even got aband coming all the way from New York!LORELAI: New York \u0000 that's just nuts!TAYLOR: And wait \u0000til you see the banner I ordered. It's gonna make every otherbanner we've ever had look downright embarrassing.LORELAI: Taylor, you're on fire.TAYLOR: Oh, I love this banner!LORELAI: I can't wait to see it.TAYLOR: Well,come on Friday. [to girl walking by] Uh, excuse me, uh, young lady. . .young lady? You know I'm talking to you. The blonde woman with the ribbons, please slowdown. I'm in a wheelchair, young lady, I can't run after you.[As Taylor follows the girl off camera, Lorelai stares into Luke's Diner then sadly walks away]CUT TOWASHINGTON[At the Junior Leadership breakfast, Paris is talking with Senator Barbara Boxer]PARIS: I mean, come on, Senator Boxer, as one of our foremostDemocratic leaders, I ask you \u0000 do you really think it looks good to have the American Secretary of the Treasury traveling around with Bono? I mean, I knowapparently he's a saint, he's going to save the world, yada, yada, yada, but my God! He never even takes the sunglasses off. We have an image to maintain,don't we? I mean, aren't we at least trying to pretend we're the superpower in this world? I mean, why not just send Carson Daly over to the Middle East nexttime Cheney goes, huh? Or hey, hook up Freddie Prinze Jr. with Colin Powell next time he meets with NATO. I mean, hell! Let's hear what Freddie has to say,right?[A man walks by and the Senator grabs his arm]SENATOR BOXER: Oh, great, Doug. Uh, Paris, do you know Republican Congressman Doug Ose fromCalifornia? You don't? Great. You two will have so much to talk about. Bye. [walks away]CONGRESSMAN OSE: Uh, BarbaraPARIS: Ose, right?CONGRESSMANOSE: Yes that's right.PARIS: Let's take a walk.[cut to Rory at one of the food tables. As she gets herself some coffee, a boy walks up to her]JAMIE: Last dayhere.RORY: Yup.JAMIE: So, in your opinion, how was our nation's capital?RORY: Well, I got to see Archie Bunker's chair at the Smithsonian Museum, so it was abig thumbs up for me.JAMIE: Yes, there are times when this country's priorities are exactly right. So, where's Paris?RORY: Hm, not quite sure. Last time I sawher, she was beating the will to live out of our nation's representatives.JAMIE: She is a hammer, isn't she?RORY: Actually, she's the entire toolbox.[Paris walks up"}
+{"doc_id":"doc_219","qid":"","text":"DSR Rambaldi artifact storage facility Guard is walking around and he gets tackled by a man. Man kills guard. Not quite sure how.Man 1: (to radio) I'm in. We seean assault team on the roof. They blow the locks off the gates and steal all the Rambaldi artifacts. Including the nightingale coil, and a ball, which turns out to bethe sphere of life. Sydney's apartment. Sydney comes inside.Sydney: Hey, there's a cab waiting outside.Nadia: She wouldn't let me drive her to the airport.(she's standing next to Sophia/Elena)Sydney: Is everything okay?Nadia: The Lisbon police called. It's safe for Sophia to go home.Sydney: Oh, that's great. (givesSophia a big hug) I'm so glad you came.Sophia: Thank you.Sophia/Elena: Look at the two of you. Such beautiful and smart women. Before I make a fool ofmyself. . .(gives Nadia a hug)Nadia: Promise you'll come back.Sophia: Nadia, for you, anything. APO Vaughn is watching Jack in his office. Jack is on the phone.Vaughn starts walking toward Jack's office. Marshall stops him.Marshall: Oh, hey, Vaughn. Could you sign this? It's for Weiss. His grandfather died. (wouldn'tVaughn already know something like that?)Vaughn: Yeah, actually, can I do it in a little bit? I need to ask Jack something first.Marshall: Oh, sure. No problem.(follows Vaughn as he continues to Jack's office)Vaughn: Where are you going?Marshall: Well, I thought I'd go with you to get Mr. Bristow to sign this while we'rein there.Vaughn: You know what? Actually, I need to see him alone. It's kind of personal.Marshall: Oh. Uh, since when can you tell Mr. Bristow something youcan't tell me?Vaughn: This is something I need to ask Jack. If you were Sydney's father, I could ask you, but you're not.Marshall: No, I'm not. I still don'tunderstand what me not being Sydney's father has to do with you-Vaughn: (pulls out the ring and shows it to Marshall) Understand now?Marshall: Oh, my God.Hey, man. Congratulations. That's fantastic. I'm sure Mr. Bristow's gonna be thrilled.Vaughn: Really? I'm just hoping he doesn't shoot him on the spot. (he goesto Jack's office)Jack: (on the phone speaking in foreign language) No. You're not listening, General. (Vaughn walks in) We're not going to pay you. Because Idon't believe it exists. Fine (he hangs up and speaks to Vaughn in English) As if weapon-grade anthrax grows on trees. What is it?Vaughn: Oh, if this is a badtime, I can-Jack: No, please. After dealing with that Cechnyan lunatic for the past couple of hours, whatever business you have will be a welcome relief.Vaughn:Well, we've, um. . .I know you're a man who- I know you're a man who respects tradition. As I do. And-Jack: Please get to the point, Agent Vaughn.Vaughn: I'mgonna ask Sydney to marry me, and I'd like your blessing.Jack: Perhaps you believe my recent illness has rendered me less coherent than before, or that mycognitive faculties have been somehow dulled or diminished. Allow me to clarify the facts for you, Agent Vaughn. While I've come to believe you're not as uselessas I first imagined, I still don't feel you have- (alarms go off) CIA agents come in carrying boxes.Agent: Everyone please remain where you are. This is awarranted search.Jack: May I see that?Agent: (hands Jack a piece of paper) We've been authorized to confiscate all relevant materials.Jack: It's been signed byDirector Chase. Sydney's apartment. Director Chase and CIA agents knock on the door and Sydney answers.Chase: Where's your sister?Sydney: What?Chase: Iexpect your full cooperation. (Chase and agents enter with boxes)Sydney: If Nadia's in some kind of trouble-Chase: Where is she?Sydney: In the shower. Agententers the bathroom. We hear water running. Nadia, wrapped up in a towel, knocks him out and takes his gun. She slowly walks out.Chase: Stand down, AgentSantos. (Nadia gives her the gun)Nadia: What's this about?Chase: (to Nadia) Men are dead. Things are gone, and you've got some explaining to do. The agentscontinue to search the apartment. They find numerous guns and knives hidden throughout the apartment. Nadia sits in a robe being interrogated byChase.Chase: (shows Nadia's laptop to Nadia) Is this yours?Nadia: Yes.Chase: Does anyone else use it or have access to it?Nadia: No.Chase: Not evenSydney.Nadia: I said no. Sydney has her own laptop. She also has- We see an agent interrogating Sydney.Agent: -an assault rifle, a 12-gauge shotgun, fourhandguns, two tazers, and a . . .secret drawer of knives. Let's start with the knives.Sydney: Let's start with you not wasting my time. Director Chase says menare dead. What men? What does she think Nadia did?Chase: (to Nadia) We know you overrode the DSR security system tonight.Nadia: What?Chase: Alarms onan access door were deactivated. We traced the override command to your laptop. And you just told me that you're the only one who uses it.Nadia: Yes, but Ididn't do it.Chase: We also have evidence that tonight's incident isn't the only one that leads back t o you and this laptop. An agent uses a scanner on abookshelf. He opens a jewelry box and sees the necklace Sophia/Elena gave to Nadia. He brings the necklace to Chase. Jack and Sloane enter theapartment.Jack: (to an agent standing at the door) We have clearance.Sydney: Micro transmitter?Chase: In the medallion. When did she give you this?Nadia:Few weeks ago. Why should Sophia do something like that?Jack: It would help explain why several missions were compromised.Sloane: I personally investigatedSophia Vargas when she first arrived. Prints, background- everything came back clean.Chase: Well, somebody tapped into Agent Santos's laptop. And because ofit, five agents are dead. And several Rambaldi artifacts are gone.Nadia: I don't believe it. I won't.Sydney: Why would she do this?Jack: I think our clue lies inwhat was stolen.Sloane: You're reaching for straws, Jack.Jack: Am I? Who else would be capable of pulling this off?Chase: What are you talking about?Jack:Elena.Sydney: You think Sophia Vargas is connected to Elena Derevko?Jack: No. I think Sophia Vargas is Elena Derevko. Arvin and I have been searching for herfor months. I believe she found us first. Has been using us to achieve her own end.Sydney: You mean the journal of Vaughn's father, Sloane Clone-Jack:McCullough, everything. It's been Elena all along.Sydney: Oh, my God.Nadia: You're saying it's all a lie? That she spent all these years, all this time, so she couldsteal some Rambaldi artifacts?Jack: She is a Derevko. Her sisters possessed that same single-minded purpose.Sloane: If Jack is right, if Elena has gatheredRambaldi artifacts, her final step would be to assemble them. We can't let that happen. APO Sloane's office. Nadia walks in.Nadia: She never made it to theairport. The cab dropped her off a few blocks from our house.Sloane: Have Marshall check traffic cams in the area.Nadia: I already did. I also notified the FFA tocheck flight manifests, and I updated train and bus stations with her current I. D.Sloane: Good. We'll find her.Nadia: I brought her into my house. This is myfault.Sloane: No, Nadia, it's mine. It was my obsession with Rambaldi that pulled you into this. It's my mess. It's my responsibility to clean it up. I can onlyimagine how hard this must be for you- the betrayal.Nadia: I'm just glad we found her. That I know the truth.Sloane: Yeah. So, if Elena has all the Rambaldipieces, there is only one place she can go.Nadia: To see Lazlo Drake.Sloane: Yes.Nadia: I'm on it.Sloane: Nadia? We'll find her. I promise you. I will end this.China, one year earlier. Nadia and Sloane are in a car, being driven.Nadia: I don't understand. Why are we in China when I already told you Rambaldi's sphere oflife is buried in Siena?Sloane: Because I need answers to a few final questions. Lazlo Drake is the only man in the world who can provide that. The car stops,there are people passing with animals, in the road.Driver: (in foreign language) Sorry, sir, it will be a few minutes.Sloane: (to driver in foreign language) Okay.(to Nadia in English) Before he went into hiding, Drake was a professor of European history. He built his reputation on the single most important discovery of hislife- a manuscript. In effect, a template describing how Rambaldi's creations were to be assembled in order to bring forth his final prophecy. Just know that we'regonna make the world a better place, and we need Drake to do it. Later, nighttime outside, somewhere. We meet Drake.Sloane: Professor Drake, my nameis-Drake: Arvin Sloane. Yes.Sloane: You know who I am?Drake: How could I possibly not know of you, Mr. Sloane? Your appetite for all things Rambaldi is almostlegendary.Sloane: This is my daughter, Nadia.Drake: My God. (he looks at her) I am honored to meet you.Nadia: Thanks.Drake: Lovely. Please. (they sit downaround the campfire on various logs) You have no idea what it is like to be in your presence. It is like meeting the virgin Mary.Nadia: What do you mean?Sloane:Drake, you know why we're here.Drake: You have collected the Sphere of Life.Sloane: No, not yet. But we know where it is.Drake: If it is not in your possession,we have nothing to discuss.Sloane: You have the only known translation of Rambaldi's Vademecum- instructions for how the pieces fit together. I need toknow.Drake: That is information I will share with whoever has all the artifacts in his possession. Your visit is premature, Mr. Sloane. I suggest you come back,when you have retrieved all the items, including the Sphere. (to Nadia, he takes her hand) You will come back too, won't you? I would like that.Sloane: (breakstheir hands apart) Nadia, I wonder if you would let me speak to the professor alone. (Nadia gets up and walks away)Drake: I never thought I would see, let alonetouch with my own hands, a living embodiment.Sloane: My daughter is not an artifact.Drake: So protective of her.Sloane: She is my daughter.Drake: Youbrought her on this journey for one reason- only she can retrieve the Sphere of Life. Only she knows its secret location. You know that.Sloane: I didn't come thisfar to quit. Siena Sloane and Nadia are wandering around on some hills.Nadia: This is it. (they enter a cave, and walk down some stairs)Sloane: Rambaldi wrotethat a man would come and discover the true meaning of his work. And in doing so would change the world. I always wanted to be that man. They come to aroom. Sloane lights a torch, which causes the other torches to light up. We see a Rambaldi eye made up of small shards of glass. In the center of the eye is astand holding the Sphere of Life.Sloane: It's made of glass. Think of it. You and I are the first ones to set foot in here in almost 500 years. Do you have any ideahow many lesser people have dreamed of this moment? And only you can complete this.Nadia: What?Sloane: Nadia, this is the part of the journey that I can'ttake. You have to bring the box.Nadia: I don't understand.Sloane: Rambaldi had a role for you to play. I need you to do this Nadia. I need you to bring me thatSphere. Nadia, we can change the world. Go. (pause) Go. Nadia steps out carefully onto the glass. You can hear the shards scraping against each other.Sloane:Have faith, sweetheart. (She reaches the stand) Yes. (she opens the box) No, Nadia. Bring the box to me. Nadia touches the box and sees visions of whathappens in the finale. Includes Sydney and Nadia fighting, the red ball, and the sound of a horse neighing.Nadia: (to Sloane) You lied. It was not about peace."}
+{"doc_id":"doc_220","qid":"","text":"Act 1 Scene 1 - KACL Fade in. Frasier is on the air.Frasier: Welcome back, Seattle. Thank you for joining us for this, our two thousandth show. Hard to believe,isn't it Roz?Roz: No, that feels just about right.Frasier: Ah, yes, well what a festive day this is. No stop has been un-pulled. I would like to take this opportunity toacknowledge the anniversary luncheon spread supplied by our friends at Senor José Fong, home of the sweet and sour taco.Roz takes a bite of one.Frasier: Anddon't forget, a little later, we'll have Microsoft chairman Bill Gates, live in studio to congratulate me on my two thousandth show. Apparently, I hear through thegrapevine, he is a big fan. Roz, what do we have next?Roz: It's time for another blooper.Frasier: Oh, well, I believe we're up to number four, as voted by you, thelisteners. Here's what happened when a certain producer... [Roz grins sheepishly] didn't realize her microphone was on, during the show...Roz plugs in acart.Roz: [on tape] Now what the [beep] is this!? You call this a [beep] paycheck?! How the [beep] am I supposed to live on this [beep]!? I'm gonna have a littleword with that [beep]- damn station manager, walking around here like he owns the mother-[beep]-ing place!Kenny has entered during this last sentence. AsFrasier and Roz are cracking up listening to the tape, he leans over the guest mike.Kenny: Can't believe that wasn't voted number one.Frasier: Ladies andgentlemen, it's our station manager, KACL's own Kenny Daly.Kenny: Listen, Doc, I got a special someone out there who'd like to say \"Hello\".Frasier: By allmeans, let's bring him in, Kenny. Ladies and gentlemen, our special guest has finally arrived. Please welcome...Bulldog Briscoe comes in and loudly barks, thenhits his air horn.Frasier: ...Bulldog!Bulldog: Great to see you, Doc. Hey, Roz.Roz makes a gesture of greeting that looks suspiciously like \"Up yours.\"Frasier: Well,ladies and gentlemen, it's our old friend and former colleague, Bob \"Bulldog\" Briscoe. Thanks for coming down and helping me celebrate my two thousandthshow.Bulldog: Yeah, yeah congrats. I didn't' think you'd last two weeks. Listen up, sports fans, Bulldog here! I know what you're allthinking: Bulldog's been gonetoo long. How can you get me back on the air? Okay, listen up. You send your cards and letters of support to Kenny Daly, KACL, PO Box....Kenny steps in andwaves to Frasier and Roz. Bill Gates is with him.Frasier: Bulldog, our special guest has arrived.Bulldog: PO Box 451, Seattle...Frasier: Bulldog! Would you andyour noisemaker wait in Roz's booth?Bulldog: This is an air horn, Doc.Frasier: Yes, I was referring to that flapping hole above your chin, now get out!Bulldogleaves and Bill Gates comes in.Frasier: Ladies and gentlemen, let's please welcome Microsoft chairman Bill Gates. Good to see you, sir.Bill sits down in the chair infront of the other mike.Bill: Sorry I was late.Frasier: That's quite all right.Bill: I was just talking to an old friend.Frasier: Yes.Noel passes by the window andflashes Bill the Vulcan \"Live Long and Prosper\" sign. Bill gives him a thumbs up as Frasier and Roz share a surprised look.Frasier: Well, I've got so many questionsto ask you, why don't we just dive right in? I've been wondering, when did you first become a fan of my show?Roz: Excuse me, Warren from Kirkland is on linetwo.Frasier: Yes, Roz, I won't be taking any calls until after Mr. Gates has left.Roz: Actually, it's for Mr. Gates.Frasier: Well, go ahead, caller, you're on with Mr.Bill Gates.Warren: [v.o.] Yeah, hi, Mr. Gates. I bought your new Windows XP program and I'm about to install it as an upgrade. Do I have to make a bootdisk?Bill: That's a very good question, you don't need to make a boot disk. You just put the CD in and it'll upgrade.Frasier: I hope that answers your question,Warren...Bill: It's a feature of XP, very quick, very smooth. Hey, this is fun.Frasier: Thank you for calling, Warren. Now, where were we?Roz: Can Mr. Gates takea few more calls? The board is lighting up! Wow, who knew we had a line seven?Frasier: Roz, I believe Mr. Gates is probably anxious to get on with theinterview?Bill: No, no, I'm happy to.Frasier: Very well. Go ahead, caller.Estelle: [v.o.] Wow, Bill Gates, this is so cool!Bill: Thank you.Estelle: Hey, I have aquestion about multi-lingual user interface add-ons. What are those?Frasier takes off his headphones and goes to Roz's side of the booth.Bill: Well, themulti-lingual add-ons let you run Windows in different languages. You can use it in German or...Frasier: Can you believe that egomaniacal gasbag? He's takingover my show!Roz: Don't you think you're exaggerating just a bit?Bill: Who do we have next, Roz?Roz: We have Bob, from Freemont. He has a question about hislaptop.Bill: Go ahead, Bob, I'm listening.The others happily watch as Frasier stands there, fuming. FADE OUT. Scene 2 - Frasier's ApartmentFade in. Frasiercomes into his bedroom, lays his jacket on the bed and opens his briefcase. He takes out a tape.Frasier: Two thousand shows.He walks to the armoire and opensit, revealing a collection of all his shows. He put the tape in the next open slot and reverently passes a hand across the collection. Niles calls from the livingroom.Niles: Hurry up, Frasier, we're gonna miss the reservations!Frasier: Yeah, I'll be right there.He goes to his dressing room and puts on a different jacket.Coming back, he closes the armoire and heads for the living room, only to stop short, a disturbed look on his face. He goes back and opens up the armoire, thenjerks in shock and gasps.CUT TO: the living room. Niles, Daphne and Martin are waiting for Frasier.Daphne: Two thousand shows. That's quite a milestone.Niles:It certainly is. Can anyone tell me what happened today? I forgot to listen.Martin: I just listened for five minutes in case he asks me what my favorite partwas.Daphne: I just say the call from Tacoma. There's bound to be a call from Tacoma.Frasier comes out.Frasier: Excuse me, could I see all of you in my room forjust a jiff? They follow him off.Martin: But I'm hungry!CUT TO: Frasier's room as the all come in.Frasier: Okay, are we all here? Good.Martin: What'swrong?Frasier: Something is amiss.He dramatically opens the armoire.Niles: I'll say. I always thought that was a sweater cubby.Frasier: Well it's not. It's acollection of all my shows. I was just examining my collection when I realized that someone had placed one of my tapes upside down.Martin gasps.Martin: Whatkind of sick, twisted... well, turn it right side up and let's go eat! You probably did it yourself!Frasier: All right, conceivably, but... I guarantee you I would neverremove my tape from the case and replace it with \"The Best of Hall and Oates.\" All right, I won't be mad, just tell me: who did this?The others just standthere.Frasier: Nobody did this?Martin: Tell you what, I did it. Now can we go eat?Frasier: Not so fast, Dad. Okay, let's examine the evidence.The others all let outgroans. Martin sits down on the bed, Niles takes the desk chair, Daphne wanders back.Frasier: A Hall and Oates tape. That rules you out, Dad. And it definitelyrules out Niles.Daphne: [in tears] Dr. Crane...Frasier: Or does it? Perhaps the tape is just a red herring, meant to throw me off the scent. A psychological game.There's only one of you that would combat me on that level.Daphne: I did it.Frasier: Ah-ha!Niles: You can't say \"Ah ha\", you thought it was me.Frasier: Why'dyou do it, Daphne?Daphne: I didn't mean to. I was trying to listen to a tape in that boom box you gave me for Christmas. Only I wasn't getting any sound and Ididn't know if it were the tape or the boom box and I didn't have any other tapes so I grabbed one of your tapes just to test the boom box out and it turns out itwas the boom box after all. Only then I couldn't get it out of the boom box so I used a screwdriver to pry it out and I broke the tape, I'm so sorry.She sits downon the bed in tears, Niles gets up to comfort her.Niles: There, there, Daphne...Frasier: Stand down, Niles.He sits on the bed next to Daphne.Frasier: Daphne, doyou realize what you've done? This isn't like any other tape you can go down to your local music shop and purchase, it's unique. And irreplaceable.Niles: Can'tyou just get the station to make you a copy?Frasier: Unless I get the station to make me another copy. Which of course I can. The only transgression here is thatDaphne didn't come to me with the truth.Daphne: I'm so sorry, Dr. Crane, I will never to you lie again.Frasier: Well, if that's what you've learned, it was all worthit. So, what are we all sitting here for. I believe we all have a two thousandth show to celebrate.Frasier closes the armoire and they all get up and head out thedoor.Niles: Hear, hear.Frasier: So, did you all listen?Niles: Oh, did we.Martin: Great.Daphne: I especially liked that call from Tacoma.Frasier: Oh, whichone?[SCENE_BREAK]Scene 3 - KACL Fade in. Frasier and Roz enter a room filled with boxes.Frasier: You know, in nine years this is the first time I've been downto the archives.Roz: Oh, my God, I remember this place.Frasier: Really?Roz: I came down here once after a Christmas party.Frasier: Whatever for?Roz: Well, Ihad a little too much champagne, and you know how you get a little lonely around the holidays?Bulldog comes from the back and smacks Roz on herbackside.Bulldog: Brings back memories, huh, Roz?Frasier: Bulldog!Bulldog: That was some Christmas, huh? When Santa left a bit of Bulldog in yourstockings?Roz: You're disgusting!Bulldog: What, I went too far? Why don't you come back here, I'll slip you an apology.Roz slaps him.Bulldog: Bulldog's still gotit!Frasier: Bulldog, what the hell are you doing here?Bulldog: Oh, this is my new job. I, uh, catalogue the archive. You know, I clean up a bit. But I figure I'll beback on the air in no time, as long as I attack this job with my trademark \"Can Do\" attitude.Frasier: Great, then. We're looking for a copy of my show, episode893.Bulldog: No can do.Frasier: What?Bulldog: What? I've only been here an hour, I don't even know where the john is. Where's my Powerbar? I had a Powerbarhere.SOMEONE STOLE MY POWERBAR! THIS STINKS! THIS IS TOTAL B.S.! THIS IS... oh, here it is.He grabs it and goes out the back door.Roz: Frasier, here's abox marked \"Best of Crane\".Frasier: Oh, thanks Roz, let's have a look. Ah, good.He opens the box and finds it almost empty.Frasier: There's just a few tapes inhere. All right, keep looking. Kenny comes in.Kenny: Oh, hey, Doc.Frasier: Kenny, just the man I was looking for. Listen, where are all the tapes of my showskept?Kenny lifts the lid of the box.Kenny: You got 'em. Right there.Roz: Well, where are the rest of them?Frasier: Yes!Kenny: There are no rest. We record overthem. I mean, look around, Doc, we've got a space problem down here.Bulldog comes in the back door.Bulldog: Hey, Kenny, where do you want me to put thesesnow tires?Kenny: Oh, put 'em right to my kids' bikes.He happily heads out the door. FADE OUT.IT'S A FANCY WAYTO SAY \"FAVOR\"Scene 4 - KACL Fade in.Frasier is on the air.Frasier: Good afternoon, Seattle. Before we go to the phones, I have a boon to ask of you. If any of you happens to have in your possession atape of my broadcast from June 14, 1996, I am in need of a copy. You see, I understand that from time to time, people who call into my show record it, perhapsin order to review my advice or even to play it for some friends. Now, I realize this is a bit of a long shot, but it is the only missing tape of my collection and"}
+{"doc_id":"doc_221","qid":"","text":"[EXT. LAS VEGAS (STOCK) - DAY][EXT. APARTMENT COMPLEX - DAY][SCENE_BREAK][INT. APARTMENT COMPLEX - HALLWAY - DAY](The resident managerenters the darkened hallway of the apartment complex with two prospective renters, STEVE and NANCY.)Stu Evans: You'll like this apartment. My wife says it'sthe best of the lot. Now, the tenants moved out kind of quick so I don't normally show apartments before I've had a chance to look, so ... use yourimagination.(He unlocks the door to apartment #103 and pushes it open for STEVE and NANCY to look at. They both step inside ... aghast at what they see.There's blood on the walls and on the floor.)Nancy: (to STEVE) Oh, my god. Call 911.[SCENE_BREAK][INT. APARTMENT #103 - DAY](Camera close up ofBRASS.)Brass: I worked in a slaughterhouse one summer. Looked a lot like this.(GRISSOM is also standing in the middle of the room. He's not looking at thewalls, he's busy testing the blood.)Brass: (V.O.) The lease is in the name of Clifford Renteria. He lived here with his girlfriend till they snuck out in the middle ofthe night. Gee, I wonder why.Grissom: For all we know, this is animal blood.Brass: Yeah, sure. Deer, sheep, llama.Grissom: A deer hunter comes home from themountains drunk decides to play butcher clean his kill. Chops his game up into oven-sized pieces for the winter. I mean, what does he care? He'srenting.(GRISSOM drops a small sample of the mixture into the hand-held test and waits for the results. BRASS uses his flashlight and shines it on the test.Results of the test indicate that the victim was definitely \"human\".)Brass: Victim's human.Grissom: And a human has only eight pints of blood. So, whoever thevictim is ... is now dead.HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.[SCENE_BREAK][INT. APARTMENT -- DAY](GRISSOM is looking through a smallinstrument used to measure the blood spatter.)(QUICK CGI through the end of the instrument, up to GRISSOM'S eye, fade back down to the end of themagnifying lens to measure the blood spatter where 1 DIV = 1 MM. 20X. Flash to white. Resume on GRISSOM looking at the blood on the wall.)Sara: (o.s.) Anyuniformity in the spray?Grissom: Well, by and large, the average diameter is about one millimeter.Sara: Blood drops this size are characteristic of high-velocityimpact like gunshot trauma but there's no bullet strikes on the walls ... ruling out murder by gun.Grissom: Just acquaint yourself, Sara. Don't interpret just yet,okay?(SARA continues to look around the room. WARRICK is busy spraying luminol on the entire floor. When he's finished, he puts the spray canisterdown.)Warrick: All right. Show time.(GRISSOM closes the shades disturbing a single fly which buzzes off. SARA, WARRICK and GRISSOM wait while the luminolbegins to glow.)Sara: This looks like a multiple. More than one vic. Acquainting myself.Warrick: Check out these \"voids.\" That's the real evidence.(From the topview of the room, the entire floor glows except for certain \"voids\".)Grissom: Couch? We've only got 30 seconds till this luminol disappears.(SARA starts takingpictures of the \"voids\" and anything else pertinent. GRISSOM kneels to get a better look at the \"voids\" where he's standing.)Grissom: Television, maybe? Amagazine?Sara: Triangle ... coat rack?Warrick: Guys ...(Right where WARRICK is standing is an irregular shaped \"void\".)Grissom: What do you think thatis?Warrick: Looks like it could be an electric saw.Grissom: High-velocity, small spray.(Close up on the \"void\" of the electric saw as it disappears ...)[SCENE_BREAK][EXT. MOJAVE DESERT NEAR LAKE MEAD -- DAY](On the other side of the power lines, the hills are on fire. A helicopter flying by drops water onthe flames. The camera travels low along the ground and moves upward as the helicopter with red bucket passes by.)(In the background we hear radio static andvarious radio dispatch transmissions.)Radio Dispatcher: 76 ROMEO, approaching ETS 4-NINER-SIX.Pine Ridge Command: 76 ROMEO, you're right on it.76ROMEO: Pine ridge command, go to white fire three. Dozer tender 1441. Air attack 140. O.V. Tens on order. Report to willow springs.[SCENE_BREAK](NICK andCATHERINE carrying their CSI kits, pass by a group of fire fighters to get to the crime scene.)Nick: Zero humidity, record highs. 'Tis the season.(They both meetup with DET. O'RILEY.)Catherine: Hi.Det. O'Riley: Hey. I don't even know where to start with this one. Take a look at that. A scuba diver ... up a tree.(True toform, there's a dead person in scuba gear stuck up in a tree. The CSIs, DET. O'RILEY and DAVID PHILLIPS all look up at the figure in astonishment.)Nick:Wow.Catherine: How the hell he'd got up there?(CATHERINE is holding yellow evidence markers in her hand and is looking on the ground for anythingunusual.)Nick: He couldn't have climbed up there with all that crap on.Det. O'Riley: He got up there somehow.Nick: Well, you know ... Lake Mead is just over thehill and the copters are dropping water.(CATHERINE looks up at the helicopter and bucket whirring by. She turns to NICK.)Catherine: You're serious?(NICKsmiles.)Catherine: That's a total urban legend. We're scientists, Nickie. No way that happened.Nick: (looking up) Okay.(Cut to CGI POV of a scuba diver in LakeMead and a large red bucket being dropped into the lake. End of CGI POV. Resume on CATHERINE.)Catherine: And I suppose you believe in Santa?Nick: Aftertoday ... oh, yeah.[SCENE_BREAK][INT. APARTMENT COMPLEX - HALLWAY JUST OUTSIDE APT #103 - DAY]Brass: When I said Cliff Renteria and his girlfriendskipped out in the middle of the night, I didn't have the whole story.Stu Evans: I haven't seen Alison in over a month.Brass: Any idea where she might be?StuEvans: Renteria said she left town.Brass: So you noticed that she was gone?Stu Evans: I manage the complex. I notice everything.Grissom: Did you notice if Mr.Renteria left a forwarding address?Stu Evans: No. He just wrote the letter saying he was moving on. Listen, if you find him, you tell him he is not getting hisdeposit back, okay? The blood'll never come out.Grissom: Hopefully not. That's all the evidence we have.[SCENE_BREAK][EXT. MOJAVE DESERT NEAR LAKEMEAD -- DAY](CATHERINE searches the grounds for evidence. A helicopter whirs (o.s.) overhead. CATHERINE finds something and puts evidence marker #1 nextto the scuba diver's pressure gauge. The needle is frozen stuck. She takes pictures of the pressure gauge.)(Cut to NICK as he crouches low to the ground.CATHERINE approaches.)Nick: What do you make of that void? Green vegetation.Catherine: There's a consistent burn over this whole area.Nick: Except for thatone spot.Catherine: Well, the chief said that the original fire was a class \"C.\" Downed power line. Winds keep shifting hot spots breaking out all over.(NICK looksaround and notices a burned cigarette butt and matchbook.)Nick: Well, well ... downed power line, huh?(He motions to CATHERINE. She looks at it.)Catherine:Good eye.(CATHERINE puts down evidence marker #3 next to the matchbook and snaps a photograph of it. NICK picks the matchbook up.)Nick: Matchbooktime-delay device.Catherine: Don't touch it. It'll disintegrate.Nick: That's the only reason I carry this stuff.(NICK pulls out an aerosol can.)Catherine: Hair spray.Extra hold?(CGI POV Close up of Hair spray adhering to the burnt matchbook sticks, coating them.)Nick: The difference between walking and running. Guy lightsa cigarette, sticks it in a matchbook takes a stroll.(CGI POV of a newly lit cigarette being wedged under the matchbook sticks. Flash to white. Close up of thematchbook and cigarette on the ground. Flash to white. Close up of fire consuming both the matchbook and the cigarette. Flash to white. Resume on NICK andCATHERINE.)Catherine: It buys an arsonist a five-minute head start.Nick: Mm-hmm.[SCENE_BREAK][EXT. MONACO RECEIVING -- DAY](BRASS exits his car(Nevada license #IEP-353). He and GRISSOM approach CLIFFORD RENTERIA.)Brass: Monaco Receiving. Clifford Renteria, platform manager.Grissom: Gee,Brass, all in one shift. I'm impressed.Brass: Are you Clifford Renteria?Clifford Renteria: Cliff. Who are you?Brass: Las Vegas police. With the crime lab. Do youhave any knowledge of the whereabouts of Alison Scott?Clifford Renteria: She's in Canada visiting her parents. Why?Grissom: We just came from your oldapartment. We found some disturbing evidence there. Would you care to explain that?Clifford Renteria: Hey, he had it coming. I'll tell you that right now.Apartment stank, there were flies everywhere, no water. So I trashed the place.Brass: Who had it coming?Clifford Renteria: The apartment manager. The lazyb*st*rd. Serves him right.Grissom: Mr. Renteria, your apartment walls are covered in human blood. Are you aware of that?Clifford Renteria: Yeah.Grissom: Doyou have an explanation?Clifford Renteria: It's my blood.Grissom: Your blood?Brass: You got a stigmata?Clifford Renteria: No. I get nosebleeds.Brass:Nosebleeds?Clifford Renteria: From Hepatitis C. I got blood to spare. My nose is like old faithful. Finally came in handy.Grissom: You expirated blood from yournose all over your apartment walls to get back at your manager?Clifford Renteria: Yeah. I hope I made his clean-up job hell.(A noise from behind him distractsCLIFF RENTERIA. He turns around and sees a worker.)Clifford Renteria: (to worker) That's not supposed to go anywhere.Brass: This guy blows ten quarts ofblood from his nose onto his wall? You want to ask for a demonstration?Grissom: He's lying. Expirating from your nose would leave oval-shaped blood patterns.The ones we found in his apartment were V-shaped.Brass: Mr. Renteria. We're going to need a sample of your blood -- from your arm, not your nose -- and avisit to your new apartment.(CLIFFORD RENTERIA motions to the large truck #84438 behind them.)Clifford Renteria: That's home to me now. Been staying thereabout a week.Grissom: Well, may we see your furniture?Clifford Renteria: Sure.[SCENE_BREAK][INT. TRAILER](From inside the truck, the back opens and we seeall CLIFFORD RENTERIA'S worldly possessions crammed in the back of the trailer-truck.)(Camera cut to looking into the truck from the outside. We immediatelysee an electric saw in front of a large monitor-sized box with the label DM(TM) 604 S2.)Grissom: Electric saw.Clifford Renteria: Used to do somelandscaping.Grissom: Interesting lamp.Grissom: Mr. Renteria, with your permission, I'd like to move some of your property to my lab for a closerinspection.Clifford Renteria: Hey, save me $250 a week truck rental. Keep it as long as you want. I'll sleep in the break room.Brass: That's after you come downand give us that blood sample.(The truck door closes to black.)[SCENE_BREAK][INT. CSI - LAB](Four people carrying various things walk by the glass lab wall.WARRICK walks into the lab carrying a large white box with the words \"PROPERTY OF FIREARMS\" written in black on the side. WARRICK is wearing a whitejumper suit. SARA is also wearing the same type of white jumper suit.)Warrick: You check nosebleed's tools yet?Sara: No observable blood. Not even withpheno.Warrick: That's because he probably ditched them after using them on the victim. Now we've just got to figure out which one.(WARRICK puts the box"}
+{"doc_id":"doc_222","qid":"","text":"MYSTIC FALLS HIGH SCHOOL[The Mystic Falls High School football field is all decked out for the commencement ceremony. It is deserted except for Kol, whostands at the podium, and the dead hybrids and witches from the Expression triangle sacrifices who approach him. He taps the microphone before speaking.]Kol:Welcome back. It was our deaths that allowed this day to come to pass - massacres performed in the name of resurrecting the immortal, Silas. Twelve hybrids,twelve witches, the slaughter of innocents by the so-called hero protectors of Mystic Falls. They risked unleashing hell on earth for their own selfish gains. Andtoday that's exactly what they're going to get.TITLE CARD AND OPENING CREDITSSALVATORE BOARDING HOUSE[Lexi is dancing and rocking out to Bon Jovi inthe parlor while Stefan drinks some bourbon straight from the bottle. Damon enters.]Stefan: Damon! Help me celebrate my 17th high school graduation. [Damonturns off the music.] Hey, you remember my friend, Lexi, of course?Damon: Lexi, back from the dead. Goody.[Lexi vamp-runs at Damon and pins him against thewall with a hand over his neck.]Lexi: What's up, buzzkill?Damon: [strained] Stefan, you're just gonna sit there and let her enact her ghostly revenge?Stefan: Youreap what you sow, buddy.Lexi: Let's be very clear: whatever time I have left here, I sure as hell don't plan on wasting on you. You got me?Damon: Yeah. Gotya.[Lexi releases Damon and he gasps.]Damon: So if you and Ric and little Gilbert are all flesh-like and real-seeming, that means something went horribly wrongwhen Bonnie tried to put that veil up. And here you two are, having dance party USA.Stefan: You're right. How selfish of me to be indulging in these preciousmoments with my formerly dead best friend. I should be sacrificing my own happiness for the good of others, right? I should be upstairs grooming myhero-hair.Damon: Are you drunk?Stefan: I don't know, Mom, am I?[Taking the bottle from Stefan, Lexi chuckles. Damon snatches the bottle from Lexi.]Lexi:Okay.Damon: Well, I guess that's one way to celebrate our supernatural apocalypse. [He takes a swig from the bottle.] Now, care to hazard any guesses on whatthe hell went wrong?MYSTIC FALLS HIGH SCHOOL[Bonnie is in the boiler room at the school, on the phone with Caroline who is manning the yearbook table in ahallway of the school. The shots alternate between them.]Bonnie: I hit kind of a snag.Caroline: A snag? A snag is a bad yearbook picture. You hit a tsunami.Where are you?Bonnie: I'm trying to fix it, but I'm running into some trouble. I need to wait until the full moon tonight to have enough power to put the veil backup.Caroline: Are you telling me that we might graduate right smack in the middle of a ghost-filled Expression Triangle?[Bonnie glances down at her body lying onthe floor. Her grams is with her, looking at it, too.]Bonnie: Maybe we should just cancel.Caroline: No, we are not going to cancel. Graduation is the mostimportant event of our lives, the last ceremony of our youth. It is our rite of freaking passage! Hell will freeze over before I let anyone cancel graduation.Bonnie:Can you not make jokes about hell freezing over? We're not that far off from that already.Caroline: Just promise me that today is a friend day.Bonnie: Okay, Ipromise. I love you.Caroline: I love you, too.[They hang up.]Sheila: Go. I'll make sure no one finds your body. But Bonnie--Bonnie: I know. Okay? I know I needto tell them, I just can't. They've been through too much already.Sheila: I know, child. I was just going to say that... Make sure you say your goodbyes.[Bonniesmiles sadly.]THE CEMETERY[Alaric, Jeremy and Elena are eating lunch together.]Alaric: [through a full mouth] Mm. Oh, my god.[Elena laughs.]Jeremy:Mm.Elena: No grease on the Other Side, huh?Alaric: You have no idea how much I've missed this. [holds up a bottle of bourbon] And this.[Elena takes thebottle.]Alaric: No, hey. Hey![Elena takes a swig.]Jeremy: She just got her humanity back. Let her live a little.[Jeremy reaches for the bottle but Elena holds itaway from him.]Elena: Hey, you wish.Jeremy: I'm dead - what are they gonna do, throw me in juvie?Alaric: Well, at least you'd have a place to live.[Smiling,Elena starts throwing food at them.]Elena: You both suck!Alaric: Hey! Now there it is - that smile. I wasn't sure we were gonna see that again.[Elena is stillsmiling, but more sadly, her eyes glistening.]Elena: I did some pretty terrible things.[She takes a deep breath.]Jeremy: Hey, no. No tears. If Caroline was right,we only have until tonight. We need a no-crying rule.Elena: But the crying's good. It means that I'm finally feeling something, and right now I... [she takes theirhands in each of hers] I feel happy.[They smile back at her. Elena's phone starts ringing. She takes it out and looks at it.]Elena: It's the Grill - it must be Matt.[answers it] Hey, you went AWOL this morning - what happened?[It's a familiar, unexpected voice.]Connor: Hello, Elena. It's your dead friend, Connor. Youremember me?[Elena is shocked.]A PARKING LOT[Matt and Rebekah are a wary audience to Alexander as he unloads weapons from Connor's trailer.]Alexander:A hidden compartment filled with advanced weaponry. Man has evolved from his days of throwing stones.Rebekah: There is nothing we can do for you Alexander.Please, let us go.Alexander: I'm not holding you here. Although, I have a feeling that exploding contraption will have a hard time parting with your handsomefriend intact.[Matt is standing on a weight-sensitive explosive device.]Matt: Just go, Rebekah. I'll be fine.Rebekah: I'm not leaving you.[Alexander examines abottle of venom, smiling in awe.]Alexander: The soldier, Connor, found a way to siphon venom from a werewolf.Rebekah: What do you want from us?Alexander:To fulfill my destiny. The brotherhood of hunters was created for one reason, and one reason alone.SALVATORE BOARDING HOUSE[Damon opens the door to findan unexpected visitor.]Damon: Vaughn?[Vaughn lifts a guns and shoots Damon in the shoulder. The force of it causes Damon to step back and he groans inpain.]Vaughn: Got a little message for you, laddie. Straight from the mouth of the witch Qetsiyah.MYSTIC GRILL[Connor is still on the phone with Elena. Theshots alternate between the Grill and the cemetery.Connor: We want Silas, and we want the cure.Elena: I don't know where they are, so I guess I can't helpyou.Connor: Huh. Well, you know who's gonna need some help? Grandma and Grandpa Jones, in town for the big high school graduation, along with Auntie Sueand Uncle Mark...[Alaric motions to Elena that he's going to do something. Elena nods.]Connor: Matter of fact, everybody here at the Mystic Grill for graduationbrunch. You either give me what I want, or they die.SALVATORE BOARDING HOUSE[Damon groans as he pulls the bullet out of his shoulder. Vaughn checks hisgun.]Vaughn: Yeah, borrowed it from my jarhead friend, Connor. Shoots wood like lead.Damon: Come on, man. I didn't kill you.Vaughn: No, but you left me inthat well on that island, where I starved to death. There I was, all alone on the Other Side, till Qetsiyah found me and reminded me of my supernatural destiny -to cure Silas, and then kill Silas. End of story--[Suddenly Vaughn gags and falls to the floor. Stefan stands behind him, Vaughn's bloody heart in his fist. Damongapes at him; Stefan merely raises his eyebrows.]MYSTIC GRILL[Elena is still talking to Connor over the phone. The shots alternate between them.]Elena: Please,don't hurt anyone. I'll find Silas and I'll get the cure.Connor: Good. Get it done.[He hangs up. Alaric shows up behind him.]Alaric: So, you get off on terrorizinginnocent people?Connor: And who might you be?Alaric: The guy responsible for the 18-year-old you just threatened.Connor: Well, that 18-year-old snapped myneck with her bare hands.Alaric: And I'm also the guy who showed her how to do that.[Connor chuckles.]Connor: That's ironic. You must not know a damn thingabout fighting if you're trying to intimidate a dead guy packing C4.[Connor opens his jacket slightly to reveal he's strapped with explosives.]Alaric: This is my bar,pal. Nobody's gonna blow it up.[Connor grins and lifts a detonator in his hand. It clicks and Alaric grabs him with vampire speed and takes him out of the Grill. Heexplodes offscreen, though they only get far enough that the explosion causes damage to the edge of the restaurant. The Grill patrons scream in fright.]APARKING LOT[Matt is still trapped standing on the explosive device while Rebekah stands beside him. Alexander sits in the doorway of the trailer.]Alexander: Goahead, sweet Rebekah. Use your vampire powers to whisk him away. I'm sure you can survive the blast of six of these... automobiles. Can he?Matt: Just ignorehim. All right? Let's think about something else. Like graduation. What are your plans - college? Travel? Just because I'm never getting out of this town doesn'tmean you shouldn't see the world.[Rebekah, who has been watching the device nervously as Matt's weight shifts on top of it, looks back up at him.]Rebekah: It'sjust been settled. I'm gonna show you life as you've only dreamt it. We'll start in Italy. There's a lovely little church-- [she glances back at Alexander] -- outsideSan Vittore in Brienno.Alexander: [nodding] Romantic spot. Popular for weddings.[Rebekah turns back to Matt.]Rebekah: And then I'll show you the NorthernLights in the springtime, the Simatai Gorge from atop the Great Wall of China, every inch of the Louvre.Matt: [smiling] China, Paris, the Northern Lights... It's adate.Rebekah: We'll see it all when we're done here because we can. We're alive. [She looks scornfully back at Alexander.] We're not gonna be stuck as ghosts inmisery on the Other Side.[Alexander angrily gets up.]Alexander: All right, you're done now.[He throws the dagger he's holding at Matt. Rebekah moves to catch itand does, but starts to knock Matt off balance. He teeters atop the device as Rebekah regains her footing, bracing against Matt. She throws the dagger away tothe ground.]Rebekah: I've got you.[Matt laughs nervously at the close call.]MYSTIC FALLS HIGH SCHOOL[Bonnie walks down a deserted hallway, wearing hergraduation gown and holding her cap. Katherine joins her smoothly from a side corridor.]Katherine: I don't think red's really your color, Bon-Bon.Bonnie: Andhere I was hoping the ghost of anyone would've killed you already.Katherine: Funny you should mention death, because I'm here to collect that immortalityyou've promised me.Bonnie: Funny you still think you're going to get it. I told you, Qetsiyah's the only witch who knows the immortality spell. If she was ano-show, you're out of luck.[Katherine moves to block Bonnie's way and they stop walking.]Katherine: See, here's the thing, Bonnie: I can't disagree with you,because I have been feeling out of luck lately. But you know who has been getting all of my luck? My beloved doppelgänger, Elena. My shadow-self is living abetter life than I am, so if I don't get that immortality, I may just have to get rid of her altogether.Bonnie: Did you just threaten my best friend?[Katherine makesa face.]Bonnie: I could crush your skull without even flinching.Katherine: Go ahead. Make your move.[As she speaks, a group of students enters the hallway.Bonnie turns to look at them, and Katherine disappears.]SALVATORE BOARDING HOUSE[Damon is rubbing his shoulder uncomfortably as he checks himself in the"}
+{"doc_id":"doc_223","qid":"","text":"[Scene: Magic School. In the great hall, Chris stands on the ladder and pulls out a book from the bookshelf. Paige and Gideon are below, writing a spell.]Chris:You know, your time travel section is due for a serious overhaul. I mean, I can find more information Googling.Gideon: Googling?Chris: Never mind. (Chris stepsdown.) Any luck with that spell yet?Paige: You mean since the last two minutes you asked me?Chris: Look, I'm just getting nervous here, okay? My birthday is intwo days, and if I'm not outta here before I'm bornPaige: What? Something bad you don't know about could happen?Chris: I just don't want to take any chances.Besides, I came here and did what I had to do, and that was to save Wyatt. Now it's time for me to go home.(Piper and Leo walk in. Leo's pushing Piper'ssuitcase.)Paige: Sooner than you might think.Chris: Oh, no. No, no, no. Not yet. You're early.Piper: Oh, relax. I'm just getting a jump on things. I'm not in labor.I'm sending some stuff back to the house.Chris: Just don't scare me, okay?Leo: What's the matter? Isn't the spell ready?Gideon: I think it's ready. It shouldwork.Leo: Should work? What do you mean?Gideon: Well, there are no guarantees with time travel, Leo. You should know that better than anyone. Sorry. There'salways a chance that something might go wrong.Leo: All right. We're not taking any chances.Chris: We might have to. I'm running out of time here.Leo: No. I'mnot sending you through a one-way portal unless I know where you're gonna land.Gideon: You can never be certain, unless, of course, you went too. And eventhenLeo: All right. Let's just forget the spell and start to work on that potion again.Gideon: But the spell has a better chance of working. It's the Power ofThree.Leo: Yes, but if something goes wrong, he'll have extra potion with him and he can come right back.Piper: I agree. It sounds safer, so why don't you guysget to work on that? Paige, can you orb these home for me? Just squeeze them into the nursery or something.Paige: Nursery?Piper: You did clean out thenursery, right?Paige: Yeah. No. I was working on the spell. I'm sorry.Piper: Well, you better hurry, or else Baby Chris will be sleeping in your room.Paige: Yeah,don't worry. I'm all over it.(She goes over to the bags and orbs out.)Piper: Don't forget diapers. Lots of diapers.Chris: Okay. Gotta get outta here.[Scene:Gideon's office. Gideon comes in and closes the door. He goes over to a curtain and pulls it back, revealing a mirror.]Gideon: They're preparing to send the boyhome. (Gideon sits down in a chair. His reflection, Evil Gideon, stays standing.) It's time.Evil Gideon: For our plan to work, we have to get the sistersGideon: AndLeo and Chris out of the way. Don't worry. We will.Opening Credits[Scene: Outside Halliwell Manor. Phoebe gets out of her car and heads toward the Manor. Awoman walks over to her.]Woman: Hello, Phoebe. Excuse me, Phoebe. Hello.(Phoebe stops and turns around.)Phoebe: Hey, Mrs. Noble. What's up?Mrs. Noble:What's up is you parked in my driveway again.Phoebe: Yeah. Unfortunately, there's nowhere else to park.Mrs. Noble: So I should suffer?Phoebe: Well, you know,Piper's brining home the baby in a couple of days, and I did a little shoppingMrs. Noble: This is getting to be a real problem.Phoebe: You know what? Just do me afavor. Let me run inside and put these bags down, and then I'll come outside and move the car. (A police car pulls up.) You called the patrol guy?Mrs. Noble: Thisis the third time this week you've blocked me.Phoebe: Yeah, well if your dumpster didn't take up half the block, then I wouldn't have to park in yourdriveway.(Mrs. Noble's jaw drops. The patrol officer comes over.)Mrs. Noble: This is against neighborhood association rules.Phoebe: (To Patrol Officer) Excuseme, can you write her a citation for that ugly eyesore dumpster there, please?Patrol Officer: Homeowner's got a permit.Phoebe: I don't have time for this.(Sheleaves. Patrol Officer places a ticket on Phoebe's car.)[Scene: Piper's bedroom. Paige is trying to put the bassinet together. Phoebe enters.]Phoebe: Oh, look athow cute. I remember when baby Wyatt used to fit in there.(Phoebe puts down her bags.)Paige: This is not cute. This is the bassinet from hell. Do you know howto put this together?Phoebe: No, that would be a Leo thing. I still can't believe we're bringing home a baby.(Paige sits on the bed.)Paige: Yeah, well, this baby'snot gonna have anywhere to sleep.Phoebe: I know. What made us wait so long to do this baby room?Paige: We were busy trying to keep Wyatt from turningevil.Phoebe: Here, let me help you.(She takes off her jacket.)Paige: Yeah, which I'm glad we did, but it just means that he's gonna need a bedroom.(Phoebepicks up the bassinet.)Phoebe: Yeah, well, even if he was evil, we'd need another bedroom.Paige: Yeah, but now with everybody coming home plus one, we're aroom short.Phoebe: Well, I guess I can sleep on the couch. I just really think we need to focus on the baby right now.Paige: And on getting Chris home. Oh,remember him? You know? The nephew? The one you've been avoiding?Phoebe: I am not.Paige: Okay, so why weren't you helping Gideon and I with thespell?Phoebe: Because I was helping Leo trying to find the burdock root. It was very hard to find. It's back-ordered everywhere. (She puts the bassinet down.)You're right. You know what? We're just gonna get Chris a new bassinet.(She sits on the bed.)Paige: I'm gonna miss him, too, you know.Phoebe: It sucks. Imean, I know he's going back to a better future and all. It's just we're just getting to know him you know?Paige: I know.(The doorbell rings.)Phoebe: I forgot tomove my car.(She leaves the room.)[Cut to downstairs. Phoebe answers the door.]Phoebe: Sheila.(Sheila is standing in front of her, crying.)Sheila: It's getting tobe a habit, isn't it? Me showing up a wreck.[Time lapse. Phoebe and Sheila are sitting on the couch in the living room. Phoebe hands Sheila a box of tissues. Shetakes one.]Sheila: We never fight, that's the thing. At least we never used to, but lately, Darryl's just been so on edge, you know?Phoebe: Any idea why?Sheila:Actually, I was hoping you might know.Phoebe: Me?Sheila: I went to his work the other day just to say hi and I saw an arrest warrant on his desk, forChris.Phoebe: Chris? Are-are you sure?Sheila: I'm positive. I even asked him about it, if he was gonna make it go away, and that's when he just lost it. He toldme to stay out of it and stay away from you girls from now on. Did something happen that I don't know about?Phoebe: A couple of weeks ago, Darryl got reallyscared when he was trying to cover up for us, and we felt horrible, you know, but obviously, it really affected him.Sheila: Enough not to cover for Chris?Phoebe:He got really scared. Maybe you just need to give him some time.Sheila: Yeah, but that doesn't help you right now, and it doesn't help Chris. Look, I-I loveDarryl, and I-I know this is eating him up inside, but you girls are like family to us. You don't turn your back on family.(Phoebe smiles.)[Scene: Magic School.Chris draws a large triquetra symbol with chalk on the wall.]Chris: I wonder how different the future's gonna be, how much different my life is gonna be. (Chrissteps back. Leo walks up to him.)Leo: I just want you to get home safely. Now remember, if anything seems different, we have another vial of this to get backright away. (Leo gives him a potion.)Chris: You worry too much, you know that? I'll be fine.Leo: I'm your father. It's my job to worry. Now listen, when you getback there, you gotta take it easy on Wyatt, okay? You can't hold a grudge.Chris: Hey, as long as he's not Ruler of All Evil, I'm cool.Leo: I'm serious. He's gonnabe different. Good. He's not gonna remember he wasn't. So if you really want to change the future, you gotta start with a clean slate.Chris: Okay. Okay, I get it.How about you? Are you starting with a clean slate?Leo: How do you mean?Chris: Like you and mom. Look, all I'm saying is I'd like to know where you two areheaded before I go back, that's all.Leo: It's complicated. I'm an Elder. I made a commitment.Chris: So? It's not like you haven't broken the rules before. I'mliving proof of that.Leo: Yeah. We'll see. Listen, we have enough of this stuff if you want to try a dry run before everybody gets here. What do you think?Chris:Yeah. Let's do it.(Leo throws the potion at the triquetra. Before it hits the wall, the potion breaks. Leo and Chris fold their arms.)Leo: That should have worked.I'll get you home, buddy, I promise.(Leo turns away. After a moment, Chris does too. Drops of blood appear on the floor, heading out the door.)[Scene: Gideon'soffice. The door opens. Gideon appears as he pulls down his hood. He has a cut in his left palm. He TKs the door close. He TKs the curtain open. Evil Gideon islicking the blood of his cut on his right hand.]Evil Gideon: Their potion almost certainly would have worked.Gideon: We stopped them just in time, though itEvilGideon: Wasn't supposed to hurt. (They pull a large glass shard from their palms.) Shall we?(They put their palms up toward each other and heal eachother.)Gideons: Thank you.Gideon: At least now they'll be forced to use our spell.Evil Gideon: The sooner the better. Wyatt's magic grows stronger by theday.Gideon: That much power in one beingEvil Gideon: Is bound to turn himGideon: Evil.Evil Gideon: Good. We have to get those that protect him out of theway.Gideon: Starting with Leo and Chris. (There's a knock on the door. The door opens and Leo pokes his head in.)Leo: (Echo) Gideon? (He sees him.) Hey, itlooks like we're gonna need that spell after all. Is there an echo in here?Gideon: It's poor acoustics. Have Piper gather her sisters, and I'll get the spell.Leo: Okay.You know, I don't understand what happened. That potion should have worked.Gideon: Like I said, time travel is tricky. You will still be escorting your son?Leo:Well, I think so. I think it's safest, don't you?Gideon: Absolutely. Gather everyone together. I'll be right along.(Leo leaves. Gideon goes back to the mirror andmeets Evil Gideon.)Gideons: Here they come.[Scene: Outside Police Station. A police car pulls up into the drive. Phoebe and Paige run to Darryl.]Phoebe:Darryl.Paige: Hey Darryl.Phoebe: Darryl. Stop. (They stop in front of Darryl.) We just need to talk to you.Darryl: We have nothing to talk about.Paige: Look, Chrisis going home today to his future home.Phoebe: Yeah, and we were hoping you know, that you could find it in the goodness of your heart, even though we knowthat you're mad at us, you know, just, throw away his file.Paige: The one with the little arrest warrant in it.Darryl: Apparently, I haven't made myself clear. I amdone covering for you. Done. Now if you'll excuse me.(Darryl tries to walk past them, but Phoebe stops him.)Phoebe: Darryl, think about it. Okay? The cops aregonna come for Chris, and what are they gonna find? They're gonna find a little itsy-bitsy baby.Paige: And then they're gonna find us, which risksexposure.Darryl: Well, maybe you should have thought of that before you broke Chris out of jail. Inspector Sheridan thinks that Chris' breakout was an inside job,which, if I'm not careful, could point back to me. I've got a family to think about, too, you know. (He sees Inspector Sheridan.) Great. (She stops next to him.)Inspector Sheridan.Sheridan: Have you seen Chris lately?Phoebe: Chris who?Sheridan: (To Darryl) When you have a minute.(Sheridan and Darryl walk into the"}
+{"doc_id":"doc_224","qid":"","text":"(In a very odd dungeon-like room,the boys watch on a monitor as some scruffy cutie jerksoff in separate area of the very odd dungeon-like room.)Ted: InternetAccess, $38.00. Adult p0rn site membership,$29.95.Michael: Watching men jerk off in the comfort of your ownhome? Priceless.Brian: m*st*rb*t* thepossibilities.Michael: All you're showing is a twink beating his meat.Ted: And you're point being?Michael: Well there must be 8 dizillean gay p0rn site.Em: Ipersonally had think about 7 dizillian p0rn site.Michael: What makes you're any different?Ted: Oh Ye of little faith. OK, imagine you're at you'redesk and work foreven Worthshafter and you're working onyou're calculations. It's do it 5, but you're alreadydone. Let's be honest, you give a sh1t aboutcalculations.Em: Who'scalculations?Ted: So, you're log on for a little afternoon delight.But suddently Mr.Workshafter bargins in and shot,\"Where is that file?\" [he push \"F10\"]Andvoila.Brian: A non-cubicle dweller, that's really slick.Michael: Ultimate in safe s*x.Ted: JerkAtWork.net! For guys who don't only work...atwork.Em: I say he needsomething.. bigger.Brian: He looks like he's doin' alright to me.Ted: Bigger, huh? OK, Robby it's time for you're break.[Robbie huffs. Robbie puffs. And Robbieblows his wad allover himself. The Boys are impressed.]Michael: Holy cumshot!Ted: Don't forget, you're back in ten minutes!Michael: He can come again in tenminutes?Ted: With withness by the jizzball. Proving that thehandjob is quicker than the eye.Brian: Yeah, well leave it to you to figure out how tofake anorgasm.[Cut to the Comic Book Store thatMichael brough, where Emmett and Vic are helping Mikeclean up and organize.]Vic: The Squid?Michael: Uh, Issue andYear?Vic: Issue 21, 19...Michael: ...67. Right wall, row three.Em: You know, I think they should be classified by thesuperhero's fashion sense. Superheroes withtaste,superheroes that clash --Vic: Let's hope they never let you near the Library ofCongress.Michael: How did Buzzy run this place? Nothin' catalogueandinventory not existing. There is no in caps andwindow display. This place is a f*cking mess.[Debbie comes in with drinks for all.]Debbie: Yeah and I would havekilled him when there's notbe a pleade either.Michael: What was I'm thinking to buy this place?Debbie: Who the hell I know? Shity old story with allmustycomics.Michael: Thanks for the pepp talk, Mom.Debbie: But it's your dream, sweetheart, and that's allthat matters.[A six foot something, blue button-down shirt,bluejeans, beaten brown leather jacket, glasses guy comes in.Sandy hair, chin cleft. Emmett gets so distracted by thatguy that he runs into Michael's chair andstubs his toe.]Michael: Em, what are you looking?Em: At him. This glasses. I just love the boyish type.Vic: There's so much to learn between the covers.Em: So,what do you think?Vic: Mike?[He eats some food.]Michael: Huh?Vic: Gay or nay?Em: Mmmh, the jacket and the shoes, the classic stuff. Isay straight.Michael:Sandman, Batman, Superman. If he picks up anX-Men, I say he's gay.Vic: I've go with Michael. Comic sense over fashionsense.[The man goes to Debbie.]Man:Excuse me, I'm looking for Wonder Woman.Deb: You found her! Just kidding. You're looking for myson. He's the owner. Michael! You're got a customer!Michael:Hi, can I help you?Man: Yeah, yeah, I'm hope so. I'm looking for some comicbooks.Michael: Good thing you didn't go next door, or you wouldhave gottenLebanese takeout. Anything particularly?Man: Yes, actually. I'm looking for works based on theirnarrative, their graphics, cultural references,subtextual points ofview, that one might regard as --Michael: Gay?[Behind them, Emmett accidentally rings the counterbell.]Man: Right. Right.Michael: Um, well let me see you'rechoices here. Can Imake some suggestions?Man: Please.Michael: You may try Alpha Flight No. 106, whereNorthstar takes in a boy with AIDS or a highlyrecommandX-Force No. 56, where Rictor and Shadowstar are describedas being 'more than friends.' There is one destiny you'relooking at.Man: Good.Vic: That'samazing how much Michael knows.Debbie: What can I say? My kid is a genius![Art School. Dean Ryerson looksat some examples of Justin's latest works. Postersofexploding heads, exploding cars, dismembered stuff, inharsh black, white, and red.]Dean: These drawings are, uh, very disturbing.Justin: That supposed tobe.Dean: A quite different with the work you submitted whenwe accepted you.Justin: Well, I don't see things the same way.Dean: Professor Stanly tells me,you're using a computer.Justin: It's the only way I can work.Dean: We're expect our students are master thetraditional disciplines.Justin: Sometimes thetraditional disciplines can be ahandicap, too. And as much as I'm not loose my hand, Ithough I can never be an artist again. But instead, thishas taught me newways to be an artist -- ways that Inever would have thought of, otherwise.[Debbies kitchen. Debbie asksJustin. Everyone is in there. Around the table.]Debbie:So, what they say?Justin: All my application was approved. He said I canstay.[Everyone claps, cheers, and/or gets in line tohug/kiss.]Brian: What's with all thekissing? Are you trying toturn him straight?[He kisses Justin with deep passion.]Debbie: Oh, sh1t, they're going to do it right here.Vic: I'll get my camera.Mel:Better you go in a room.Michael: Save it for Ted's website.Ted: Yeah, if you didn't mind a few bucks.Brian: Don't put any ideas in his head.Vic: Or mine.Mel:Maybe we could do it. Help pay for the wedding.Whaddaya think, Teddy?Ted: Sure thing, Mel. Just draw yourself in a 9 inchcock...Lindsay: Can we just talk otherthan s*x? For just a fewminutes?[They look at each other. Anyone? No?]Em: If the twink jerks off for more than eight hours,does he get overtime?[Justin gets upto clear the dishes.]Debbie: Don't you buzz here, honey! You aren't in thediner. Sit down.Justin: Okay. Never mind. Brian would you grab one?Brian: That?[Hereaches to his croatch.]Justin: At the plate, please.Brian: Yes, dear.Debbie: Holy crap, they're like f*cking newlyweds!Mel: I'll never thought I would live to seethis.Lindsay: I think it's wonderful.Ted: Yeah. Ten bucks says they don't last a month.Vic: I give it three weeks.Michael: Call me romantic. Five.Em: I'll raise atten and say... two.Mel: God, you're all pussies! Seventy-two hours![Lindsay sees shocked to Mel.]Ted: Deb?Debbie: I don't put a price on people'shappiness.Considering all they've been through, I'd think thattheir friends would vote for the house, instead ofagainst it.Ted: That's a good point. So, Linds,you're in or out?Lindsay: We have to go.Deb: Wait a minute. We have dessert.Lindsay: We must be home at nine. Mel!Mel: Sorry.Debbie: I made a pie![In frontof the house. Mel andLinds are all alone.]Mel: Linds? You're ok?Lindsay: I'm fine.Mel: Cramps?Lindsay: No!Mel: You're crankier than Gus when he needs anap.Lindsay: I just need to get out of this all.Mel: I know Teddy's tchotchkes can you drive you crazy,too.Lindsay: This isn't about tchotchkes. This is abouttheconstant stream of sexual innuendo all evening. Andfrankly I didn't find a remorial at Ted's website atleast been amusing.Mel: But I wasn't serious! When didyou become such aprude?Lindsay: I'm not a prude! OK, maybe I am. A little.Mel: A little.Lindsay: I don't understand people spreading their legsfor the wholeworld to see! The idea of anyone I knowbeing a part of it really bothers me. C'mon.[Mel rubs her hand thoughtfully over her chin.][The Comic Book Store. Theguyfrom yesterday's back.]Michael: Back so soon? And don't tell me you want throughall those comics I gave you already.Man: Yeah, well, I'm pretty fast. Imean, I read quickly.I don't waste a time. Life's too short. Who knows whatcould happen tomorrow -- or even five minutes from now?Michael: Uh, that's true. Isanything else I can help youwith?Man: Uh, yeah, I hope so. I should explain. My name isBen... Ben Bruckner.Michael: Michael. Novotny.Ben: I teach Gay Studiesat Carnegie Mellon.Michael: I knew it!Ben: You knew what?Michael: With all that talk about cultural references, Iknew you had to be...uh, a professor.Ben: Oh,okay, anywhere we're exploring Homoerotic in thecultural from greek to... roman up to and including comiccultural, modern comic book cultur, so I'll do alittleresearch.Michael: Research, right. Got it. Let me see if I foundsomething else for you.Ben: Actually I already found what I want.Michael: Yeah?Ben:You.Michael: Me?Ben: Yeah, I'd like to come and speak to me class.Michael: [laughs] About what?Ben: Well, when it comes to comics you're obviously theexpert,so...Michael: I wouldn't say that. It's some known about sinceI were a kid.Ben: No, no, it's differently more than knowing. When youtalk about them, you have apassion. So, whaddaya say?Will you come?[All of a sudden, Mike's face fades into a comic bookpanel, and a little balloon pops up over his head, whichsays, \"Oh,Ben, take me away with you!\" Mikebounces back to reality.]Michael: Um, I'd love to come.[Grocery store. Brian stands atthe opposite end of a vegetable displayfrom another guy.Brian picks up a zucchini. The other guy picks up alarger one. Brian's like, okay, and picks up an evenlarger zucchini. The other guy picks oneup that's evenlarger than that. Brian picks up the biggest one of all.]Justin: Check it out. There got a second box of pennewith a coupon.Brian: You clipcoupons?!Justin: Yeah. Until I save money.Brian: I didn't know you were so tight.Justin: [see the other man] Sure you did.Brian: Why you didn't take these twoboxes of penne backand get one box of rigatoni. f*ck the fifty cents. Andbuy some Crisco, even if it's not on sale!Man#1: [to another] See that guy? That's BrianKinney. Heused to be the hottest stud on Liberty Avenue. Now? He'sin a relationship.[JerkAtWork.net. Ted's going overthe books while Robbie looks over hisshoulder.]Robbie: Did you include my expenses?Ted: What is you're expenses?Robbie: Body care lotion. Is was 8,50.Ted: You have a receive? [Robbie looking inhis pocket.]Yeah, it's okay. I'll take you're word for it. OK,percentage of total subribers and you're time online atto you're base. Come to a grand total of...18.72$.Robbie: Are you telling me I spend 8 hours wacking offfor 18 dollars?Ted: A lot of people do it for free, you know.Robbie: Yeah, but you said I gonnamake like 500 $ a day.Ted: That was based on the third-quarter projectedearnings.Robbie: OK, what about this quarter?Ted: You know, when you commit to afledgling enterprise,it's not about the money; it's about investing in thefuture and nurturing growth.Robbie: You know you can tell that to my dick, Ted.Becauseit's worn to a nub!Ted: Well, I know a good physical therapist.Robbie: Is that covered by the company health plan?Ted: Company health plan?Robbie: Whatabout the 401k you was offered, too.Ted: OK, we need to discuss that.Robbie: You know, I know when somebody is jerking mearound. I quit.Ted: But you'rewalking out a golden opportunity here.We're around the grand floor of it, creating of indever.[he slams the door behind him.][Justin and Daphne walk back totheloft, sharing a joint. In public.]Daphne: My roommates, never pick up the clothes or makethe bed or ups wash the dish!Justin: We have a cleaning lady thatcomes by twice aweek.Daphne: I have to wait for hot water when I get to thebathroom. And when I got in there there's not hot waterleft.Justin: We're shower"}
+{"doc_id":"doc_225","qid":"","text":"[PREVIOUSLY_ON]Freya: If this prophecy is fulfilled, you will all fall... One by friend, one by foe, and one by family. I suspect Niklaus is with your sister.Wherever you go, Aurora follows. I knew you would find me. Hello, my sweet love. I'm here for the same reason Lucien and Tristan are, to protect my sire. I needto know... Where in the hell is Rebekah?Rebekah: I will use the advantages this body has while I search for a way to bring back Kol, and then who knows?Marcel:My guys stayed on Tristan's trail, followed him to a secret storehouse, and you'll never guess who just bought that storehouse. One Lucien Castle. They've beenworking together the whole time. In the wrong hands, this stuff could destroy the city. Property of Nola PD. Evidence in a murder case. From the forensics fromtonight's crime scene, only prints on the victim are yours. Cami O'Connell, you're under arrest.Aurora: In the moments before you asked me to flee with you, Isaw your brother. He's lied to us all. And yet I love him. You must only see him as the wretched monster that he truly is. What you did to Aurora, to me. You setmy course! You want a fight, so be it.[SCENE_BREAK]Aurora: What are you doing over there? Come closer.Klaus: I think it's best you remain out of arm'sreach.(Sighs)Aurora: So I take it you've heard about the busy day everyone's had. Let me take away that scowl. I'll tell you everything Iknow.[SCENE_BREAK](Church bells ringing)Rebekah: I told you this was better than exchanging stuffy, old letters.Freya: Well, a drink with my sister beats sireline drama any day.Rebekah: Lucien's always been a pain in the ass, though he pails compared to that stuck-up twit Tristan.Freya: Oh, and don't forget aboutThe Strix. There's more of them in the quarter every day. I may yet join you here in the flesh.Rebekah: Well, I would love the company, but I might not be heremuch longer. I have a meeting with a Santeria witch who may know the key to bringing back Kol.Freya: We may unite the family after all.Rebekah: Now tell me,how are you managing with them?Freya: Oh, Niklaus and Elijah are on intermittent speaking terms, which I've decided to consider progress.Rebekah: Just wait,luv. The weather will change. Now I am off to a witch rendez-vous.Freya: Stay safe.Rebekah: Here's to family, every bloody one of us.Rebekah: A warning, sir. Ifyou're looking for trouble, you might want to think twice.Aya: That's the problem with a witch's body. You can't put up much of a fight when the real monsterscome out.[SCENE_BREAK](Footsteps)Elijah: Aagh!(Thump)Freya: May I ask what happened?Klaus: We had a little chat about the past.Elijah: I politely informedNiklaus that I'm not his enemy, and though they entered the city under the guise of peace, Tristan and Lucien in truth are allied against us, a fact that required alittle bit of gentle persuasion.Klaus: And so I reminded our brother who angered them in the first place.Freya: And after all of this civil discourse, whatunderstanding did you come to?Elijah: That we expose and destroy our first sired.Klaus: Couldn't agree with you more. You see, gentlemen know when it's timeto call a truce and turn our fury in a more pertinent direction.[SCENE_BREAK]Will: Come on. For someone always giving me an earful, that was a very quiteride.Cami: What do you want me to say, detective? Well done! The streets of New Orleans are safe.Will: What I'd love to hear is a confession. It would make myjob easier.Cami: I am not a serial killer, and while you're wasting time with me, the real murderer is still out there.Will: Well, if I'm missing something, show me.Prove to me you're the victim, and I will protect you.Lucien: Ah, ah, ah, ah. A cold-blooded killer? Camille, what a shocking turn of the cards!Cami: (Gasps)Ahh.Will: You should rest. We've got a big day ahead of us.Lucien: There we are.[SCENE_BREAK]Hey, Davina. It's me. I, um... I'm running a little late. I shouldbe there soon. On second thought, I'll be a little longer.(Clattering)You're not very good at tailing, are you? My talents lie elsewhere. Ah! Unh!Aah!(Groans)(Chokes)(Growls)Agh![SCENE_BREAK]Elijah: Ah, yes. Drinking with Rebekah. Always an adventure.(Grunts)Freya: You seem more annoyed thanusual.Elijah: It's Aurora. Her influence frightens me, and yet our hideously deluded brother seems to believe that she might be the key to ending this wretchedprophecy.Freya: If she's aligned with her brother, what chance does Nik have?Elijah: None. Still, Niklaus believes that she can be swayed, although hisperspective of family loyalty is schizophrenic at best.Freya: Well, I don't get why Lucien and Tristan are working together. Aren't their sire lines directenemies?Elijah: Well, a mutual lack of goodwill toward our family might not be entirely unjustified. Hatred's a hell of a thing, Freya.Freya: Why? All you did wassire them. They don't seem to be complaining. Elijah... What exactly did you do?Elijah: I compelled Lucien to believe that he was Niklaus, Aurora to believe thatshe was Rebekah, and Tristan myself... After I'd sired him of course. This had been a period of mayhem for us. It was the 11th century, father was hunting usmercilessly, so I compelled them, and then I told them to run.Freya: You made them bait.Elijah: Not the kindest thing I ever did, if I'm perfectly Frank with you,Freya. So while we found respite in the sleepy, yet charming vineyards of Tuscany, father hunted the decoy Mikaelson children to the far reaches of Europe forthe better part of a century. Then we were inconveniently daggered. The compulsion was broken, here we are. How's the head?Freya: Spinning. I don't think it'sthe hangover.Elijah: Freya, something you must understand about this family. Under threat, we take action, for better or worse, whatever it takes to protect ourown.Freya: So you're telling me their days are numbered.Elijah: If indeed they're working against us, yes, without question. Perhaps a little hair of the dog mightbe more effective, wouldn't you say? What is it?Freya: Something's wrong. We need to call Rebekah now.[SCENE_BREAK](Jazz playing)Aurora: What a lovelynecklace. That emerald would really flatter my eyes, don't you think?Woman: I think my necklace would flatter your eyes.Aurora: Thank you. You shouldn'thave.Klaus: Will you be taking candy from a toddler next?Aurora: If I should happen to be in the mood for something sweet.Klaus: Come with me. And don'tworry. I promise I won't bite.Aurora: So am I to receive a stern talking to for my poor behavior?Klaus: On the contrary. I've cleared my calendar for the day. Iwant to show you my city.Aurora: Is this your attempt to discern whose side I'm on.Klaus: I'd love to know whose side you're on, but it would be rude of me toask such blunt discourse from so beautiful a woman without first buying her lunch. Wouldn't you agree?Aurora: Well, it does seem like most men have lost theirmanners these days. That shall be lovely.Klaus: Heh.[SCENE_BREAK](Moans)Lucien: I took the liberty of removing your handcuffs... Unless you're the type thatlikes to be restrained. Please take it. Consider it an apology for the rough start to our day. I see no reason we cannot begin anew.Cami: I only drink with friends,and, unless this isn't abundantly clear, I don't like you.Lucien: Fair enough. Later on, I Hope you'll remember this all could have gone so much easier. DetectiveKinney, come on in and start cutting up the mirepoix.Cami: You compelled him?Kinney: What the hell is going on?Lucien: Why don't you focus on the cutting? Wedon't want you to lose any fingers while we talk. Did you know that Will's mother's side is full of chefs? He's going to make us his grandmother's Grillades andGrits I took the liberty of texting your nosey friend Vincent on your behalf. After leaving police care without incident, he believes you have a date with \"the realhousewives\" at home in your PJs.Cami: What the hell kind of point are you trying to make?Lucien: Detective, do me a favor. Throw your blade at her prettyface.Cami: Ohh!Lucien: Now that I have your attention, my point is simple. I'm looking for a particular dark object, a small bronze medallion with runic markings.Since you're on vervain, I'm going to ask nicely that you help me find it. Should you refuse, the parlor tricks will get increasingly less fun. Carry on. There's agirl.[SCENE_BREAK]Elijah: She's still not answering.Freya: Touve mon se kavo. Touve mon se kavo. There's nothing to connect to. She's gone.Elijah: What doyou mean she's gone?Freya: I can't find her, which means her witch body, her connection to magic, it's as if it just vanished.[SCENE_BREAK]Rebekah: (Gasps)Bloody hell.Rebekah: Not only did you slit my throat, you stole my bloody phone.(Footsteps)Aya: Hello, Rebekah.Rebekah: Aya, of course. Elijah's little protege.Let me guess. You were tasked with finding my Original body, you couldn't do your job, so you did this to my other one to lure me out. Clever but ill-advised. Yousee, I needed that body, and now you owe me a hell of a lot more than an apology.Aya: I don't owe you anything. I'm here to claim the unattended Mikaelson. Ionly had chains enough for one of you.Rebekah: Heh. Is that all you brought?Aya: I met your special friend... Marcel Gerard. It's been amusing getting to knowhim. Maybe I'll send him one of your heads as a souvenir.Rebekah: Enough with the idle chit-chat. Are you gonna throw the first punch or what?Aya: Respect myelders. You first.[SCENE_BREAK]Lucien: Mmm. I find the Cajun cuisine almost as delicious as their people. Well done, William.Kinney: Not like I had achoice.Lucien: Hmm.Kinney: The moment I do, I'm gonna use this knife, I'm gonna stab you in the heart.Cami: You couldn't if you tried. You've been compelledto do everything he says. It's like hypnosis. Vampires use it against humans to do their bidding.Kinney: We're using the \"V\" word now? Great. Might as wellembrace the insanity. What else you gonna force us to do?Lucien: Well, Camille here consumes vervain, so I can't force her to do anything, but in exchange forpreventing future bloodshed, I'd ask that you find me that pretty, little medallion.Cami: Like I've told you, I have cataloged everything. What you're looking for isnot here.Lucien: It's there. Just hidden, built into something else. Find it!Cami: And then what? Some shiny ornament helps you get your revenge on Klaus? Don'ttell me this is all because he stole your girl.Lucien: He did a lot more than steal my girl, Camille. He stole 100 years of my life. Now that gives me a thought. Lossis a great motivator. Slice open your arcuate artery.Cami: No!Kinney: Ugh!Lucien: Ooh. That's a nasty wound. He'll bleed out if that's not treated. Tick-tock,Camille.[SCENE_BREAK]Aurora: Mmm. That was delicious.Klaus: I aim to please.Aurora: No. Darling, you aim to suck me dry of information, but you fed me well,so I suppose I owe you a favor. What would you like to know?Klaus: Well, it's quite simple really. I find being in your company again wonderfully intoxicating. Somy question is do you feel the same?Aurora: Nik, I am not your enemy, nor Rebekah's. After all, she's my sire, but I do hate Elijah, given what he's done to meand to you.Klaus: So you choose to ally with the brother who locked you in a prison and the stable boy who, until now, was always so far beneath you?Aurora:You know, the 3 of us spent one hundred years working together and running together, believing we were the Mikaelsons, and you knew your father. It was no"}
+{"doc_id":"doc_226","qid":"","text":"\"A Boy in a Bush\"[SCENE_BREAK][Fade in: Auditorium. From a podium on stage, Dr. Brennan is giving a lecture to a large group of anthropology students.Behind her shines a slide showing a variety of what look to be skull fragments.]BRENNAN: As far back as 1938, the director of the F.B.I., J. Edgar Hoover, wroteto the then curator of the Jeffersonian Institution, Professor Daniel Payne, to aid in the evaluation of specimens who were thought to be irrefutably human. Thiswas the result.[She changes the slide, and a drawing of an ape appears. The students laugh.]BRENNAN: Despite this early disagreement, the F.B.I. and theJeffersonian have forged a mutually beneficial, if somewhat tense, relationship which survives to this day. Thank you.[The students applaud and Goodman stepsto the podium.]GOODMAN: Thank you, Dr. Brennan. Are there any questions?[A girl in the audience raises her hand.]OS: GOODMAN: Yes?[She stands.]FEMALESTUDENT: How much money have you made from your book?BRENNAN: I don't really know. I have an accountant and an agent-GOODMAN (cutting her off):That's not really the kind of question we're looking for from an anthropology student.[A boy in the hand is called on.]OS: GOODMAN: Yes?[He stands.]MALESTUDENT: Did you get your agent before or after you wrote the book?[Brennan moves toward the podium to answer, but Goodman speaks first.]GOODMAN:People, Dr. Brennan is an accomplished forensic anthropologist who writes books on the side.[In the audience, Booth stands from among the students.]BOOTH: Ihave a question regarding role of the F.B.I. in your book: Who do you base the brilliant and insightful Special Agent Andy Lister on?GOODMAN: Oh, for God'ssake.BOOTH: Because, you know, I'm pretty sure it was me.BRENNAN: What are you doing here, Booth?[Cut to: Outside the building, Brennan and Booth arewalking side-by-side toward the parking lot.]BOOTH: Local police got an anonymous call saying that there were human remains in a field behind a mall in thesuburbs.BRENNAN: I did an anthropological profile of the suburb as a grad student. The whole notion of a created community, a modern utopia with its ownmores and rules... It's fascinating.BOOTH: Fascinating to who?BRENNAN: To \"whom\".BOOTH: Whom. (He sees the shiny, silver sports car they've walked up toand laughs) You've got to be kidding.BRENNAN: What? My publishers gave it to me.BOOTH: Gave it to you?BRENNAN: Book sales are pretty good. It's supposedto be a nice car.BOOTH: Gave it to you?BRENNAN: Yeah.BOOTH: Well, why'd you park crooked?BRENNAN: Well, the guy said to always park it like that.BOOTH:He's wrong. It makes you look like an idiot.BRENNAN: How about I drive for once?BOOTH: No, I cannot show up at a crime scene in that.BRENNAN: Why?BOOTH:Because it would detract from the gravity of my F.B.I. presence. Especially if you parked crooked.BRENNAN: Why is the F.B.I. involved in the search for humanremains behind a suburban mall?[Booth pulls a paper out of his jacket and hands it to her.]BOOTH: Because this boy is missing.[The paper is a missing personflier with a picture of a young boy on it.]BRENNAN: Oh... A child.BOOTH: Yeah.[Cut to: The field behind Clayton Hills Mall. The parking lot is filled with vehicles,among them squad cars and a coroner's van. Booth, Brennan, and Zack are speaking with a police officer.]POLICE OFFICER: Anonymous call came in a couplehours ago. No sign of him yet.BOOTH: How do you know it wasn't a prank?[The officer starts a recording of the call.]GIRL (on cassette player): You have to comeright away! There's, like, a dead kid here, all rotted away! It's in the field behind Clayton Hills Mall. You better come!BOOTH: Well, that rings true.BRENNAN: Whyanonymous?POLICE OFFICER: Kids come here to party, misbehave.BRENNAN: Adolescents and preadolescents tend to seek out their own space to establish theirown society, to counter parental influence.POLICE OFFICER: You mind if I make an observation?BRENNAN: No, of course not.POLICE OFFICER: In your book, thecops come off as very one-dimensional. Why is that?BRENNAN: You mean two-dimensional.ZACK: One-dimensionality exists only in theory as a mathematicalvalue.POLICE OFFICER: Okay. Really looking forward to your next book.[He exits.]BRENNAN: Did you bring the thermal imager?ZACK: I don't think we needit.[Brennan gives him a look.]ZACK: It makes me look like the Great Gazoo.BRENNAN: I don't know what that means, but we definitely need it, Zack.[He sighsand walks off.][Cut to: A bit later, in the field. Zack is wearing the thermal imager, which looks like a large orange and yellow helmet over his head. We see Boothand Brennan through his point of view, in yellows, greens, and reds based off of thermal heat.]BOOTH: How's it going there, Darth? See anything on Saturn? (offof Brennan's look) Oh, please tell me you've seen at least one Star Wars movie.BRENNAN: When I was seven, and leave Zack alone.[Back to normal view.]ZACK:Can we please hurry up? It's stuffy in here.[They begin to walk.]ZACK: I should be able to see any heat residue released from decomposing bodies.[They happenupon a small area where there obviously used to be a fire. Some crates and various garbage surround it.]OS: BOOTH: Party central.BRENNAN: Because suburbsare so homogeneous, adolescents tend to rebel in predictable and uniform ways. Fire, illicit substances, wayward behavior.BOOTH: Do you think that waywardbehavior would include abducting a six-year-old child?BRENNAN: It's pretty extreme. Adolescents are more likely to drink alcohol and listen to culturallyinappropriate music at high volume.ZACK: I'm picking something up.[From his POV, we see mostly green as he walks through grass, but then a patch of yellow,signifying some heat, appears.][Back to normal view, Zack takes the imager off of his head.]ZACK: Oh my God.BOOTH: What? Why'd you stop?ZACK: You canturn on your flashlight. Aim it over there.[He pulls back some high grass and we see the mostly decomposed body of a young child.][SCENE_BREAK][TITLECREDITS][Fade in: The Jeffersonian Medico-Legal Lab. The child's body is laid out on a table on the raised center platform.]BRENNAN: Before proceeding withmaceration, any general observations? Zack?ZACK: Epiphyseal fusion puts the age at approximately six to ten years, though the stature suggestyounger.BRENNAN: Good. I concur. Cause of death?ZACK: Blunt trauma to the chest.[Brennan walks over to Angela, concerned.]BRENNAN: Are you allright?ANGELA: He's so small. That's all. Go on with your work. I'm okay.[Brennan returns to the table.]HODGINS: The remains were significantly degraded byinsect and animal activity, mostly dog and rodent. Despite the condition of the body, he's been dead between only thirty-six to forty-eight hours.BRENNAN(gesturing towards the victim's clothes): These were found a few yards from the body. Notice that they are in perfect condition. What does that tell you?ZACK:The victim wasn't wearing them when he was killed.BRENNAN: Which suggests he was sexually assaulted.[Angela approaches the table and hands a sheet ofpaper to Brennan.]ANGELA: I'm done.[Brennan takes the sketch and walks to a computer screen, where the missing flier is displayed, to compare.]BRENNAN: Ithink we have a match. The clothing matches. It's Charles Gregory Sanders.[Cut to: The Sanders house.]OS: BOOTH: On behalf of the F.B.I., we're extremelysorry for the loss of your son.[Cut to: Inside. Booth is talking with Charles' mother, Margaret Sanders, and one of the Sanders' neighbors, Ellie Nelson.]BOOTH:And I have a few questions, I mean, only if you're up to it.[Margaret nods.]BOOTH: You have two other sons?MARGARET: Foster sons. Though I try not to makethe distinction.ELLIE: Shawn and David Cook. They are brothers. I live right next door.BOOTH: Charlie was your own?MARGARET (voice breaking): Yes. Charliewas mine.BOOTH: What about Mr. Sanders?MARGARET: We divorced shortly before Charlie was even born. He works overseas.ELLIE: He doesn't even send childsupport.BOOTH: You mind if I ask how you afford this nice neighborhood?MARGARET: Child Services wouldn't allow a single mother to foster if she worked. I liveoff the proceeds of a generous trust fund my parents set up long ago.BOOTH: And the day that Charlie disappeared - all three boys went to the park?ELLIE: It'stwo blocks away. It's a very safe neighborhood. They walk farther to school.MARGARET: We all keep an eye out for each other around here. People are goodneighbors, take an interest.[A door opens in the background.]OS: SKYLER: Mom?MARGARET: In here, Skyler.[Skyler Nelson enters with Shawn and DavidCook.]ELLIE: This is my son, Skyler.SKYLER: Dad told me to bring the boys back. We gotta go on a job.DAVID: There's nothing to do here.SHAWN: Our videogame's broke.MARGARET: Shawn, David, this is Agent Booth. He's gonna find out what happened to Charlie.DAVID: How're you gonna figure it out?BOOTH: Oh,I'm in the F.B.I. We always figure it out. Boys, I mean, if it's alright with your mother, maybe I could help you out with your video game.[Margaret nods, and theboys head off with Booth following behind them.][Cut to: Brennan's office. All the squints are gathered there.]GOODMAN: These are invitations to a banquet.[Hehands an envelope to Brennan.]BRENNAN: You called a special meeting to invite us to a party?GOODMAN: Don't this of it as an invitation, consider it a summons.It's for donors.[He moves to Hodgins, who stands.]HODGINS: Meet and greet, press the flesh, butt kiss...GOODMAN: I don't like it any more than you do, butthese people fund our research, and all they want in return is to rub elbows with a scientist every once in awhile.[He walks toward Angela.]HODGINS: I can'tmake it.BRENNAN: Yeah, me neither.ANGELA: I have a date that night.GOODMAN (handing her an invitation): You don't even know when it is.[Zack raises hishand.]GOODMAN (passing him an envelope as well): Yes, Mr. Addy?ZACK: What kind of food will there be?GOODMAN: When I said you should think of thisinvitation as a summons, I understated. It's a subpoena. A grand-jury subpoena. Ignore it at your own peril.BRENNAN: You're not gonna fire us if we don'tgo.GOODMAN: No, not fire you, but I can move your parking spot to Lot M. Enjoy the shuttle ride.ZACK: The shuttle smells like feet.BRENNAN: I know when I'mbeat. I'm in.ANGELA: What the hell, it's a party.ZACK: Do I have to wear a tie?GOODMAN: Formal wear. I've arranged for a limo to pick us up here.HODGINS:Not me. I'm not afraid of parking or feet.ZACK: Wait, you drive me to work. You can't just think of yourself.GOODMAN: Repercussions and consequences, Dr.Hodgins. I'm your boss, and you will go to this banquet.[Hodgins snaps a rubberband that's around his wrist as Goodman exits, and Angela takes notice.][Cut to:The Sanders house. Booth is helping the kids with their video game.]DAVID (as Booth puts a controller back together): Do you know what you're doing?BOOTH:Yeah. I can fix anything.DAVID: Cool.BOOTH: You guys, uh, you guys have girlfriends?DAVID: I do.SHAWN: Her name's Leila.BOOTH: Leila. Leila.DAVID: Ithought you were gonna ask us questions about Charlie.BOOTH: Yeah, so which one of you puny mortals wants to challenge me first?SHAWN: Oh, me![They start"}
+{"doc_id":"doc_227","qid":"","text":"Scene 1: Fangtasia - Longshadow, Eric, Pam, Bill, Sookie, GingerLongshadow tries to strangle Sookie. Ginger is shouting.Pam: Ginger, enough.Eric: Thankyou.Before Longshadow could bite Sookie, Bill kills him. Ginger screams and vomit.Eric: Humans. Honestly, Bill, I don't know what you see in them.CreditScene2: In the toilets of Fangtasia - SookieSookie cleans up.Scene 3: Fangtasia - Pam, Ginger, Eric, BillGinger is cleaning the floor.Ginger: How did I end up with youpeople? Jesus. Mother Mary in heaven. I'm so sorry, Mama. I'm so sorry.Eric: When Ginger is finished, glamour her for me.Pam: Are you sure? She's beenglamoured one too many times already. Who knows how much of her is left.Eric: It's either that or turn her. You want her?Pam: Please, I'm not that desperate.Glamour it is.Eric: Excellent. (To Bill) Come. I'll buy you a Blood.Scene 4: Fangtasia, in Eric's office - Eric, BillEric gives a bottle of True Blood to Bill.Bill: Thankyou.Eric: How do you stomach that stuff? Don't you find it metallic and vile?Bill: I don't think about it. It's sustenance, that's all. (Eric laughs) What?Eric: If you'retheir poster boy, the mainstreaming movement is in very deep trouble. Tru Blood. It keeps you alive, but it will bore you to death.Bill: Let's cut to the chase, shallwe?Eric: You killed a vampire, Bill. For a human. What are we gonna do about this?Bill: What do you have un mind?Eric: I'll take the girl.Bill: No. You can haveanyone. Why do you want her?Eric: Why do you want her? You're not in live with her, are you?Bill: Sookie must be protected.Eric: That sounds like an edict. Butit couldn't be, because I would know about that. Admit it. You love her.Bill: If I hadn't done what I did, would you have let his disloyalty stand?Eric: Whatever Idid to Longshadow, I would not have done in front of witnesses. Especially not vampire witnesses. Not smart, Bill. Not smart at all.Scene 5: In Jason's truck -Jason, Amy, EddieJason: All I'm saying is, Lafayette didn't have to kidnap him. And I'm pretty sure he left with some V.Amy: Hey. If you wanna make the samearrangement with Eddie Lafayette's done, have at it. This is just the only thing I could think of to get you blowing your first vampire.Jason: You done this before,haven't you?Amy: Done what?Jason: This. Kidnapping vampires. Jesus. I should have known something wasn't right the second you walked into my life carryingthat big bag of crazy. Any woman with a purse that big's bound to have something in it I don't wanna know about.Amy: Jason. Baby, you're sweet, but you'vegotta mellow out.She turns the radio on.Jason: The f*ck is this hippie music?Amy: Shh.Scene 6: In the toilet of Fangtasia - Sookie, Pam, GingerSookie continuesto clean up. Pam arrives and gives her clothes.Pam: Put these on.Sookie: Oh, thank you, but I'm fine, really. I'm just gonna dry out my hair and be on myway.Pam: You're not going anywhere. Eric and your boyfriend aren't nearly done talking just yet.Sookie: Os Bill in some kind of trouble?Pam: That's for the boysto figure out. Right now, what you need to do is change out of your clothes. There's vampire in your cleavage.Sookie: Okay.Pam: Allow me.Pam removes thepeace of vampire of Sookie's cleavage.Sookie: Thank you.Pam: I'm beginning to understand the fuss everyone's making over you.Ginger enters.Ginger: Oh, heythere, Pam. Oh, who's your new friend?Pam: Ginger, Sookie. Sookie, Ginger.Ginger: Nice to meet you, Sookie.Sookie: Right. Nice to meet you too.Ginger: Oh,you don't have to be so scared. They're really very nice here.Scene 7: At Jason's basement - Jason, Amy, EddieJason: You got him?Amy: Yeah. Tape the windowsshut. Here. Clear this out. We gotta clear all this sh1t out.Jason: Lift his legs.Amy: Ready?Jason: How's this gonna go?Amy: Tie his arm there. (She finds anoxygen masque) What?Jason: I guess I got a little paranoid after 9/11.Amy: No, because after New York and D.C., terrorists were gonna come to BonTemps.Jason: And I said I was paranoid.Amy: Get his feet.Eddie: What are you gonna do to me?Jason: Yeah, I was kind of wondering that myself.Amy: We'regonna drink from him.Jason: And then what?Eddie: Yeah?Jason (to Eddie): Dude, I got this. (To Amy) What's the plan?Amy: Jason, can you please try to live inthe now with me.Jason angry: I do live on the now. In fact, I've gone entire months without thinking about sh1t. But the truth is, right now, the now kind ofsucks. And if we both can't admit that, then we are 100 percent f******.Amy takes some blood from Eddie.Amy (showing the blood she took): Who wants thefirst taste?Jason: I ain't doing it. Not like this.Eddie (whispering): Thank you.Jason: I said, stop talking to me.Amy: Come with me, baby. Don't let your fear getin your way.Jason: Look, it ain't fear, all right? It's just... (low so that Eddie can't listen) He's looking me right in the eye. It ain't right. Look at him.Amy: Fine. I'llsee you when I get back.Jason stops her before she can swallow some blood.Jason: Wait, wait, wait. Ain't you supposed to cut it with aspirin?Amy: No, there's norisk of clotting when the V's this fresh.She swallows the blood that is in the plug.Amy: My God.Jason: You look... really happy.Amy: Come on, baby. Come withme.She gives him the plug.Eddie (to Jason): Don't. Don't do it.Jason: I said, don't talk to me.He takes the plug and drinks the rest of the blood.Scene 8: At MissJeanette - Miss Jeanette, TaraTara: What exactly did you do to my mama?Miss Jeanette: You were here. You saw it.Tara: Yeah, but I wanna know exactly howand why it worked. Cause I'm already taking a monster leap of faith even considering this demon crap.Miss Jeanette: Fine, then. It's like this. Your mind, yourbody... it's just a physical manifestation of your soul. And your soul is sick.Tara: My soul don't wanna get ripped off.Miss Jeanette: How's your mama doing?Tara:She's doing great. But she believes in sh1t like this. I don't.Miss Jeanette: If you don't believe, then why did you come all the way here tonight?Tara: How muchit'll cost me?Miss Jeanette: Seven-ninety-nine, ninety-five.Tara (shocked): What?Miss Jeanette: Seven-ninety-nine, ninety-five. Cup of rum's on the house.Tara:Well, my mama paid less than half that.Miss Jeanette: What I do takes varying amounts of energy and involves varying amounts of risk. Now, what you got insideyou is much more powerful than what your mama had. Much more dangerous too.Tara: I'm worse than her? I once found that woman on the ground, eating herown vomit because she didn't wanna waste the alcohol she lost bringing it all up.Miss Jeanette: Think about it. But not for too long. You can't afford to keeppushing people away. Your loneliness is spreading to your eyes. It's becoming a part of who you are.Tara: You're one hell of a saleswoman, aren't you?MissJeanette: Next time you're alone, stand in the mirror and count backwards from 10. If you can get all the way down to zero, then I'm wrong. But if you can'tstand your own company for 10 seconds, how you gonna expect to do it for the rest of your life?Scene 9: In front of Sookie's house - Bill, SookieSookie and Billare walking from his car to Sookie's house.Sookie: So you're not in any trouble?Bill: A simple slap on the wrist, that's all.Sookie: You swear? Pam made it soundlike...Bill (interrupting her): Pam was turned almost a hundred years ago and yet somehow still behaves as though every day were Halloween. She's all dramaand theatrics. I assure you, everything's gonna be fine.They enter Sookie's house.Sookie: I'm gonna take a shower. I still feel like there's blood all over me.Sheturns on the light and sees blood on the wall.Bill: Don't look up.Tina is on the ventilator, dead.Sookie (shouting): Aaaaaaaaaaaaah!Scene 10: At Jason's - Jason,Amy, EddieJason and Amy are naked, kissing, under V.Amy: Wait, wait, wait. First, we have to thank the vampire for the gifts that he's bestowed upon us. (ToEddie) We are grateful...Eddie: F*** you.Amy: ... for your gift to us. (To Jason) Ignore him.Jason and Amy imagine their selves in a beautiful forest. They areswimming in the air, naked.Amy: Can you see it?Jason: Where are we?Amy: Nowhere. Everywhere. Together.Eddie look at them, and is crying blood.Scene 10:At Sookie's - Bill, SookieThey are on Sookie's bed.Bill: Aren't you tired?Sookie: Every time I close my eyes, I see her face.Bill: Your cat?Sookie: Gran. But nowthat you mention it, Tina's in there too.Bill: You do know that I'm not gonna let anything happen to you? That I am here for you to protect you.Sookie: And whatif I don't wanna need to be protected? What if wanting to be protected makes me feel like the helpless little girls I used to be all over again?Bill: Sookie. All of thethings that you need to be protected from, all of the trouble you're in, you're in because of me. So you needing to be protected has nothing to de with you or whoyou are. All of it is my fault. So why don't you just go to sleep and let me be the one to worry about it?Sookie: Bill, all the trouble I'm in, it's mine. I chose it. Ichose it when I chose you.Bill: Yes, but...Sookie: Don't you think I wanna blame somebody else? But what I did to my Gran and now to poor Tina, it's my fault.And it's sweet of you to try to take it on for me, but if I let you, I'd be so mad at you, I'd never be able to look at you again. And right now your face is just aboutthe only thing getting me by. So why don't you just leave it on me, okay?Bill: Very well.He kisses her.Sookie: Night, Bill.Bill: Night, Sookie.She closes her eyesand sees her Gran on the kitchen's ground, dead in her blood. She opens her eyes suddenly.Scene 11: At Jason's garden - Amy, Jason, EddieAmy is in thegarden, and someone is watching her.Someone: You're a f*cking dead woman.Amy (screaming, fainting to be scared): Oh, my God!Jason jumps and laughs.Amy(smiling): Honestly, you are like a little boy.Jason: Did I scare you?He takes off the oxygen mask and put it on his head,Jason (smiling): YeahAmy: Come here, liedown. I wanna show you something.He lies down near her on a cover, near her,Jason: What are we looking at?Amy: The trees. But we're not just looking, we'relistening too.Jason: Listening to the trees?Amy: Can you hear that?Jason: It's like the leaves are talking!Amy: They're laughing.Jason: Yeah, because they'reticklish.Amy: That's right.Jason: Amy?Amy: Yeah, baby.Jason: We still high?Amy: No, baby.Jason: Because I don't normally talk like this. Plus, I'm feeling kind oflightheaded too.Amy: You're talking like this because your mind is starting to open up. And you're lightheaded because you haven't eaten anything. So here. (Shesits and gives him to eat) Have an almond, they're raw.He eats the almond.Jason: Oh, my God. These crazy good.Amy: We gotta change the way you eat. Rawfoods. Nothing processed. Because the cleaner the body, the cleaner the soul, the cleaner the experience.Jason: Cleaner than last night?Amy: Much cleaner.Theykiss.Eddie (shouting from the house): Amy!Amy: He'll stop. He'll stop.Eddie (shouting): Jason!Jason stops kissing Amy.Jason: Ain't you worried somebody'sgonna hear him?Amy: You live in the middle of nowhere of the middle of nowhere.Jason: Yeah, I guess but...Amy (interrupting him): He isn't a person,Jason.Jason: Did I say he was? All I'm saying is... My truck, for example. It ain't a person either. But I still fill it with gas and give it oil from time to time.Amy:You're saying we should feed him now?Jason: Ain't he gonna die if we don't?Amy: Who cares?Jason: I just... I still think we should have a plan, that's all.Amy: I"}
+{"doc_id":"doc_228","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars Veronica runs to the edge of the cliff in the wake of the bus crash in 201 \"Normal Is the Watchword.\" Dickand Beaver are standing back from the edge, gazing down. Gia is standing at the edge, stunned.GIA: It just went straight off the cliff. They're all dead. Veronicafinds the audio file attached to the message \"Kill incorporation or else\" on one of the little used computers in the Goodman house in 221 \"Happy GoLucky.\"PETER: Woody's a pervert. He's sick. What he did to us is wrong. Veronica plays the audio for Keith.VERONICA: Two of the boys who died in the bus crashwere on Woody's Little League team. Keith challenges Woody in Woody's office.KEITH: Most adults keep their hands off of other people's children. Lamb sits backat his desk, refusing to take action against Woody.KEITH: You'll be the guy who let a child-molester and a murderer get away. In the courtroom, Lamb givesKeith the bad news.LAMB: Woody's gone. He took his private plane. At the high school, Weevil talks to Veronica.WEEVIL: My grandmother asked me for onething, my whole life. She wants to see me walk across that stage at graduation. A cloth-filled hand pops out from behind a vehicle, catching Thumper andcovering his mouth and nose in 217 \"Plan B.\"THUMPER: [offscreen] It's Weevil, I'm telling you! Weevil stands over the unconscious Thumper at the back of thevehicle and takes his drug money.THUMPER: [offscreen] He set me up! Thumper, handcuffed to a urinal at Shark Field Stadium, pleads.THUMPER: I gotsomething on you. A cloth is stuffed in Thumper's mouth by Liam Fitzpatrick. Cut to Logan depressing the plunger to detonate the explosives to bring the stadiumdown. At the sound of the first explosion, Thumper realises his fate. Cut to a confessional.WEEVIL: Bless me, Father, for I have sinned. Veronica dresses in thedoctor's office in 220 \"Look Who's Stalking.\"VERONICA: I've got what?DOCTOR: Chlamydia.At the front door of his house, Terrence hands Wallace a note in 221\"Happy Go Lucky.\"TERRENCE: Jackie left for France this morning. At the alterna-prom, Logan, having poured in the booze, pours out his heart to Veronica in 220\"Look Who's Stalking.\"LOGAN: I thought our story was epic. He moves in slowly to kiss her. Veronica panics.VERONICA: I have to go. Veronica stands at Logan'sdoor the next morning.VERONICA: I don't want to lose you from my life. Kendall makes an entrance in her bikini in 201 \"Normal Is the Watchword.\" At NeptuneHigh, Beaver tells Veronica about his stepmother as they walk across the empty lunch area in 203 \"Cheatty Cheatty Bang Bang.\"BEAVER: My stepmom. She's agold digger. Aaron has a deal for Kendall in 215 \"The Quick and the Wed.\"AARON: You're cash-strapped. I can help. But...quid pro quo, Mrs. C. Kendall takes ahair from Duncan's shower.AARON: [offscreen] Quid pro quo. Aaron stares triumphantly at Veronica in 221 \"Happy Go Lucky.\"JURY FOREMAN: [offscreen] Wefind the defendant not guilty. Veronica is near to tears. End previouslies.EXT - COUNTY BUILDING - DAY.There is a huge crowd outside the building that housesthe courtroom. Most of the crowd are delighted, cheering and clapping.VOICE IN THE CROWD: Aaron! There are other various shouts and the crowd, fronted bythe cameras and microphones of the press, surges forward as Aaron comes out with his lawyers (except for Lavoie).VERONICA VOICEOVER: So this is how it is.The innocent suffer. The guilty go free. And truth and fiction are pretty much interchangeable. Aaron acknowledges the crowd happily.REPORTER: Mr. Echolls,how do you feel about your acquittal?AARON: I-I feel relieved to have my name cleared of this, this...horrible crime.The crowd cheers and claps anew.VERONICAVOICEOVER: There is neither a Santa Claus nor an Easter Bunny, and there are no angels watching over us. Veronica and Keith are in the crowd, neither cheeringnor clapping. Veronica is staring at Aaron, her arms crossed in front of her, miserable. Keith tightens his hold on her.KEITH: Hey. He gently touches her chin toturn her head away and starts to lead her out of the crowd.VERONICA VOICEOVER: Things just happen for no reason. Aaron continues to enjoy the adulation ofthe crowd, holding up the victory V sign with both hands.INT - MARS INVESTIGATIONS (MI) - DAY.This image is what appears on the front page of the NeptuneRegister newspaper, under the heading \"Echolls Acquitted. Movie star found not guilty in teen's murder.\" Veronica slaps the paper down on her desk.VERONICAVOICEOVER: And nothing makes any sense. Veronica, sitting at her desk, stares down at the paper. Keith is standing next to her.KEITH: We will not do this. Keithreaches over her to take the paper.KEITH: You can't let this stick in your head. He has to tug to get it out of her hands.KEITH: However wrong it turned out, it'sdone. We're people with lives, and we will not obsess. We move on. Aaron Echolls will get his justice in his own way. VERONICA: You really believe that?KEITH:Yes. Now, come on. We're running a business here.He taps her arm with the folded up newspaper.KEITH: Look alive. Keith returns to his own office. He sits down,but it too wound up himself to do anything other than pick up the paper and start to read it. Outside in the main office, the buzz of an in-coming fax is heard.Veronica gets up to collect the fax. She reads it. In his office, Keith is agitated as he reads the paper. Veronica appears at the door and sees what he isdoing.VERONICA: What happened to moving on? Caught in the act, Keith closes up the paper and tosses it aside.VERONICA: Posted today: Meg's dad offeringtwenty grand for the capture of Woody Goodman. She hands him the fax.KEITH: Well, I'm sure someone will get him. Keith glances at it before handing it back toher.VERONICA: Didn't you say something about \"we have a business to run\"? Keith nods his head, taking on an innocent demeanour.VERONICA: Shouldn't yoube out hunting him down like the dog he is?KEITH: I also said something about us being people with lives. See, I have this kid who's gonna graduate from highschool. I don't wanna miss it.VERONICA: This is Woody Goodman. He blew up a bus and molested children. KEITH: Guess I'm just sentimental.INT - JAVA THEHUT - NIGHT.Wallace is at one of the small tables. There is an untouched piece of cake on the table, pushed away from him. In his hand is Jackie's note.Veronica, in her work gear, slides into the seat opposite him. She has a file in her hand which she sets down on the table.VERONICA: When the managementgives you free cake, you're supposed to eat it. I thought you were prepared for Jackie going.WALLACE: Never figured it'd go down like this.VERONICA: She leftyou a note?WALLACE: \"But I was afraid if I saw you, I wouldn't be able to get on a plane. I'll always....\" Well, then it's just a bunch of private stuff.Wallace,dispirited, puts his elbow on the table and rests his face on his bunched-up fist. He looks at Veronica.WALLACE: What can you do about that?VERONICA: Youcould use a method time-tested by women throughout the ages.Veronica points to the cake.VERONICA: Gorge on cake. Wallace glances down at it, not tempted.Veronica spots something behind Wallace.VERONICA: I'll be right back. She picks up the file and walks towards the entrance. A boy is standing there.VERONICA:Johnny Ludden? Thanks for dropping by.JOHNNY: Sure. Free gelato just to show up? Why not.From the file in her hand, Veronica pulls out a picture. It is a blowup of the picture from Woody's wall of the eleven boy Little League team. On it, Veronica has written the names of the boys she has identified: Jamie Leahy,Tyson Richarsdon (sic), Johnny Ludden, Jordan Taylor, Michael Curry, Peter Ferrer, Franklin Carvahlos, Justin Mize, Robin Luddington and Marcos Oliveres. Thereis one boy on the far left that she has not identified. She shows Johnny the picture, her finger pointing to the boy she has identified as Johnny.VERONICA: Is thisyou in Woody's old team? JOHNNY: Yeah. So, do I have to eat here, or could I get the gelato in a carton?VERONICA: Just a few more questions first.INT - MARSRESIDENCE - NIGHT.Veronica enters the apartment, staring at the photograph. Keith is in the armchair, reading.KEITH: Hey, honey.VERONICA: Hey, Dad.Neitherhave glanced up, both intent on their activities. The phone rings. Veronica answers.VERONICA: Hello? VINNIE: [on the phone] Hey, Veronica Mars! Is your dadhome? Veronica grins and holds out the phone.VERONICA: You've got a call... Keith looks up curiously.VERONICA: ...from Vinnie Vanlowe. Keith makes anexaggerated \"huh\" face.INT - SHERIFF'S DEPARTMENT - NIGHT.VINNIE: So, of course you know about the bounty on this Goodman guy.KEITH: I'm aware of it,yes.VINNIE: Twenty Gs? That's big-boy money. Gonna be a lot of top guys out there for it. I had a thought. We team up. Mars and Vanlowe. Pool our resources.Split the cash.KEITH: Sheriff got you on video breaking into Woody's house.Vinnie beckons Keith closer and steps forward, revealing that Vinnie is in a jailcell.VINNIE: [quietly] But Johnny Law don't know what I got.KEITH: What do you got?VINNIE: All his records: tax, medical, corporate, the whole enchilada. Wenail him, we split sixty-forty. I'm the sixty, by the way.KEITH: Fifty-fifty, if the stuff you got pans out and no action until after my daughter's graduation.VINNIE:I'm in jail! I deserve sixty.Keith holds up his hand and rubs his thumb and forefinger together.VINNIE: I risk my life to bring a fugitive to justice and you're givingme world's tiniest violin.KEITH: Guess I'm just heartless.VERONICA: [offscreen] He's got, like...INT - MI - DAY.Keith and Veronica are working at her desk, goingthrough piles and piles of papers.VERONICA: ...ten credit cards in different corporate names. We're gonna have to put a trace on all of them. Veronica picks upanother file and opens it.VERONICA: And he has a pilot's license.KEITH: Seasonal allergies, bad arches...Keith flips up the paper he's reading to the sheetunderneath.KEITH: ...and he had the clap. Hm. Veronica freezes.KEITH: Treated twice for Chlamydia. Didn't see that in his campaign materials. Veronica isuncomfortable. Keith carries on, oblivious.KEITH: Bingo. Heart arrhythmia.VERONICA: So that's our strategy? Just wait for him to drop dead?KEITH: He has totake a pill every day. There any way you can find out Gia Goodman's cell phone access code?VERONICA: Gia's cell?KEITH: Woody's lawyer is also an old collegebuddy of his. If he'd call anyone, it'd be him. If we had Gia's code and could forward her calls... VERONICA: I guarantee you she hasn't changed it from thefactory default.KEITH: Then I have a plan.DREAM: INT - MARS RESIDENCE - DAY.An alarm placed on a white bedside table goes off at 6:30am. Also on the tableare some pictures, some candles, a spray bottle, a diary, and a porcelain dog (or pig). The room is bathed in pale pink light. Without opening her eyes, Veronicapulls a small pillow over her head, sighing. She removes it on the sound of a knock at the door.LIANNE: Up and at 'em, honey. Lianne marches in, carrying foldedclothes. The room is not Veronica's bedroom at the apartment, but in a different house. Lianne sets the clothes on top of a chest of drawers. She is grinning ear toear.LIANNE: Can you believe the big day is finally here? Lianne exits the room. Veronica, still half asleep, is confused as she gets up. Cut to a little later. Veronica,"}
+{"doc_id":"doc_229","qid":"","text":"(pans clanging)Man: Wakey, wakey! Rise and shine.Man 1: Who wants to fight, huh? Come on, get up. Pathetic. You're all pathetic! Who wants to fight? Howabout you? Come on! Hey, you!Man: Hey, leave us alone!Get up here, come on! Pathetic! Pathetic, pathetic! Hey, hey, hey. Hey, hey, hey, where's the fire,old-timer? Hey, hey, hey, hey. Come on, man, stick around. Have ourselves a good old-fashioned bum fight. I'm talking to you! Come on! Fight me! Huh? I said,Fi...(man sobbing)(screaming)(grunting)(breathlessly): Okay, okay.(groaning)(Taser crackling, man grunting)\u0000 NCIS: LA 6x08 \u0000 Original Air Date on November17, 2014[SCENE_BREAK]Sam: Yeah. Oh, that's good, baby.That's really good. Now, you remember the difference between obtuse and acute angles?Girl: Uh, notreally. Okay, think about it, we went over this last night. Now, when something's small it's cute. So, an angle that's smaller than 90 degrees...Girl: It'sacute.Sam: There you go. You're gonna ace this math quiz.Girl: Yay! All right, Daddy's got to go, I lo...Girl: Love you, Daddy. Huh? I love you.Sam: I love you,too.Girl: Bye, Daddy. All right, beautiful. Bye-bye.Girl: Bye. Wow, that's, uh... father-of-the-year material right there.Callen: You know, if you're not careful, she'sgonna end up a mathlete just like her old man. Junior Math Olympian. How many times do I have to tell you that? Till it stops being funny. Which is never.Sam:Okay, laugh all you want, but that's not what makes me father of the year, this is. You've put a GPS tracker on your daughter. We gave her a cell phone. Huh.Isn't she kind of young? The world's kind of dangerous. A cell phone lets me know where she is at all times, and she can contact me in case of emergency. Youknow, it's about peace of mind, simple as that. All right, you know, as long as you're not smothering her.(cell phone buzzes)I don't smother. Hey, baby, youokay? Something wrong? Hey, Daddy, can we have spaghetti for dinner tonight? You want spaghetti for dinner tonight. I want spaghetti for dinner tonight.Girl:Yeah, with meatballs.Sam: With meatballs. I'm coming over, I'm bringing Monty.Girl: Can you do it?Sam: Okay, Daddy can do that.Sam: Daddy will get yousome spaghetti and meatballs.Girl: Are you sure? Daddy can do anything, Daddy's a superhero. Thank you, Daddy, I love you!Sam: Okay, all right. I love you,too. Okay, bye-bye. Bye! Well, peace of mind-- spaghetti crisis averted. You know, she's just starting, uh... She just got it, she's new to it. In a couple of days,you know, she'll...(cell phone buzzes)Hmm. Sure she's not smothering you, Super Daddy? Baby, I have... Daddy, listen-- Knock, knock. Okay, who's there?Doughnut. Doughnut who? Doughnut ask, it's a secret. Great, look... You like it? You have to go to class, and Daddy has to go back to work.Girl: I love you.Sam:I love you, too. All right, sweetheart. All right, bye-bye.Girl: Bye, Daddy. Bye. Doughnut who? What's the punch line?(whistling)Granger danger. All hands ondeck.Deeks: Come on, what's the punch line? Sam-dog, what's the punch line? Don't do this, don't leave me hanging here. What's the punch line? Doughnut ask,it's a secret. Oh.(laughs)Oh, that is... that's actually pretty funny. That's a cute joke!Eric: Early this morning, LAPD was alerted to the body of a homeless JohnDoe in a North Hollywood alley. No I.D., no police record, and no fingerprints on file. Well, that rules out a Marine or Navy vet. Not exactly, Agent Hanna. Theman's fingerprints are on file, (cell phone buzzes) just not in any law enforcement database. When LAPD scanned John Doe's fingerprints, it triggered a classifiedDoD alert.Granger: His name's Harrison Goodsell. Marine, member of the CIA Special Activities Division. Over the past two decades, he's worked dozens ofclassified ops. Afghanistan, Russia. Even Iran and North Korea. The people who worked with Goodsell called him The Grey Man. Wait, what's... what's \"The GreyMan\"? It's a term used in special ops. A Grey Man is someone who has the skills to blend into any environment and remain unnoticed. Unknowable. Best way toavoid confrontation in hostile territory. But not 100 percent effective. M.E. reports that Goodsell was tortured before his killers finished him off. Cut his throat.You're worried someone got to the secrets in Goodsell's head. Years later, that kind of Intel could put American lives at risk. We should talk to some of his friendsin Special Activities. I'll handle the CIA, Agent Callen. Your team should focus on the murder investigation. Sam and I'll check out the crime scene. Kensi, Deeks--get his photo around to all the shelters, see if anybody knew him. Report all findings to me.Kensi: Sir? Do we know why Goodsell ended up living on the street?Well, CIA reports he had a breakdown last year. Diagnosed PTSD, multiple traumatic brain injuries. You know how the story goes. Yeah, yeah. Let's get moving.All right, thanks, Eric. Keep looking. Down here. Thanks. Goodsell has no family. Parents are deceased, no kids, never married. Typical Grey Man. They don'tpunch out at the end of the day. It's not conducive to starting a family. You did. (chuckles) I'm not a Grey Man. You, on the other hand... Have a girlfriend, have ahome. I'm doing just fine, thank you. You're welcome. Five years ago-- different story. I put a lot of work into you, G. Oh, so what, am I like Charlene, your, uh,car you used to restore in your spare time? I'm saying it's about having a support system, a safety net. Grey Man works without them. When he falls, he hits theground hard. Ends up here. May I? Sure. Lot of stuff here. Not sure if any of it's gonna be helpful.Sam: Yeah. No cameras on either end of the alley. Or theadjoining streets. Perfect place for a body dump. They got a fingerprint and a downtown area code for Civic Sushi. I'll send a copy of the print to Eric, see if itmatches our Grey Man.Kensi: Civic Sushi has four-and-a-half stars on Yelp, all you can eat till noon. You realize that you just had breakfast in the car, right? Thatwasn't breakfast, that was, uh... Second breakfast? Elevenses? What, bath meal? Hey, when you've gone days without eating like I have, you learn to appreciatefood. I'm just saying it's kind of hard to appreciate something when you devour it. Literally, I blinked, and the burrito was gone. Welcome to Civic Sushi. Please,have a seat anywhere. We're actually not eating. We're just here to ask some questions to the manager. I'm the manager. Hideo. Great. In that case, do yourecognize this man? Yes, he is a customer. A regular. He ate here? That's very charitable of you. No charity, he paid like everyone. Tipped well, too. I'm sorry, thehomeless man tipped you? Homeless? No, he wore a nice suit, tie. Talked on his phone, he was a businessman. Why don't you look at the picture one more time.Ah, come, I'll show you. He's in this photo I took of DJ Salmon Run. KZPZ-- best hip-hop in town. That's him. That's Goodsell. The hell was this guy up to?Eric:Using the downtown sushi place as a starting point, we scanned traffic cams within a five block radius. And in the 72 hours leading up to his death, we spottedGoodsell four times. All within the vicinity of Grand Park.Eric: Here he is yesterday, crossing the street toward Civic Sushi for a late lunch. And here he is, one dayearlier, appearing in two different areas of Grand Park. Hmm. Back to being homeless. And finally, only six hours before that... One block away from the park.Again, in a business suit. Okay, not to be insensitive, but Granger did say that Goodsell suffered multiple traumatic brain injuries. I know guys with TBI who can'ttie their shoelaces. Goodsell looks quick, purposeful. He's working an op. Question is-- for whom? This area he's covering is full of government agencies. You gotthe DEA, the USCIS. There's even a federal courthouse. He could be working for a foreign agency. The sushi manager doesn't know anything about him? No, andthe shelters we talked to don't recognize him, either. But maybe their clients will. I mean, homeless people don't like to talk to law enforcement, but they do talkto each other. As do the suits grabbing coffee at the park. So, maybe that's our plan. You go doll up with your casual business wear, and I'll get Artie out of thefreezer. We'll make a day of it. Oh. I'm sorry, who's Artie? He named his smelly undercover jacket.Deeks: I did. It's a funny story, actually. 'Cause when Actually,we were... it's not, it's really gross. So, let's go, get out of here. I wore that thing, it gave me a rash. That's part of its authenticity, man. Where's your dedicationto the art form? You thinking what I'm thinking? I'm trying not to think about your rash.Callen: If Goodsell didn't have a breakdown, then either Granger got badinformation... Or he lied to us. Where's Granger? He went out. Didn't say where. Mr. Hanna, your daughter called me twice this morning. I told her not to useyour number unless it was an emergency. Oh, but it was. She said, um, Forget the spaghetti. She'd rather have lasagna for dinner. Ouch. I mean, twice the prep,not to mention the cook time, of course. All right, good. Well, the quicker we solve this case, the better. Oh, yes. The elusive Grey Man. Unfortunately, Owen has,um, revoked my access on this case. Why would he do that? I think you'll have to ask him. I overheard him say something about going out to have froyo with hisgood friend, Claude Rains. \"Claude Rains\"? Isn't that the actor from Casablanca? Yes. And Notorious and The Invisible Man and Mr. Smith Goes to Washington.Quite a career Mr. Rains had. Hetty? Pretty sure he's dead. True. But that doesn't necessarily mean you can't have froyo with him.[SCENE_BREAK]Oh... Just keepmoving, Barnes. Just pretend we're still old friends. We were never friends, Granger. You're right. My mistake. So, this is about our Grey Man, isn't it? (grunts) Iwant to hear the truth, Barnes, straight from your lying mouth. The truth? Since when is the CIA in the truth-telling business? Fine. Then we'll just pick up wherewe left off in Afghanistan. No weapons. No tricks. Just you and me.(grunts)Callen: Ouch!Believe it or not, you landed on Robert Ripley.(grunting)Get up. All right,hand him over. Yeah, how about we make a trade? That's not how this works. Today it is. Him for some answers. I guess we're both in the truth-telling businessnow, huh, Granger? Shut up. Put your hands behind your back. Hey. Hi, sir... with the bubble wrap? Sir, I see you're very busy. I'm just wondering if you'd seenmy buddy? That's him on the left. We served together in Afghanistan. And he said he was gonna be living down here. No? Okay. You... Kensilina? I'm striking outhere. No one remembers Goodsell. Or they're too, uh... disturbed or too high to remember anything.Kensi: Hey, he left his wallet on the table and I tried theaddress, but he doesn't live there anymore-- do you know him? Nah. No. No? Okay, thank you. I can't... Sorry. Have any luck down there, Kens? That would be anegative. And I'm on my third cup of coffee. I'm not sure how much my bladder can it take anymore. I could kill for a cup of coffee right now. You want to switchme? And put on that jacket? No, thank you. I wouldn't let Artie touch me. Well, I'll have you know that you're not really Artie's type anyway. I used to be. What?What do you mean? You know, I lived on the street down here after my dad died? Um, no. No, I didn't, uh... No, I didn't know that. You're lying to me. I knowHetty told you. Hetty? No, come on. Hetty didn't tell me anything. Actually, she specifically said that she didn't tell me anything. You can fool everyone else,"}
+{"doc_id":"doc_230","qid":"","text":"Scene: The comic book store.Leonard: It's from Game of Thrones. What do you think?Sheldon: I don't know. If we're going to start a fantasy sword collection,and I've long thought we should, is this really the sword to start with?Leonard: What did you have in mind?Sheldon: Well, off the top of my head, I'd have to gowith Excalibur. It gives you the right to rule England.Leonard: It would be a replica of a movie prop.Sheldon: Fair enough. It'd give you the right to rule a replicaof England.Leonard: Well, they don't have an Excalibur here, so what do you want to do?Sheldon: Mm. Tough decision. There's no weaponry from Lord of theRings, forged in a Chinese sweatshop?Leonard: Just Bilbo Baggins' sword over there.Sheldon: Two grown men with a hobbit's dagger; wouldn't we look silly?Okay, let's go for it.Stuart: Oh, I see you guys have found my little treasure.Leonard: Yeah. It's okay, I guess.Sheldon: Okay? It's magnificent.Leonard:Buh-buh-buh-buh! What do you want for it?Stuart: Oh, it's hard to put a price on something that's a copy of something that was on pay cable. But for my friends,let's say 250?Leonard: Oh, that's pretty steep.Stuart: Well, it's a limited edition. They only made 8,000 of these bad boys.Sheldon: Only 8,000? We're wastingprecious time. Buy it.Leonard: Hang on. Can you do any better?Stuart: Are you kidding? I'm already giving you the friends and family discount.Sheldon: Oh, didyou hear that? We're getting the friends and family discount. We are honoured and we will take it.Leonard: Slow down. Two hundred.Sheldon: What are youdoing? Two fifty is already the discounted price.Leonard: Will you shut up?Stuart: Tell you what, I'll go two thirty-five.Leonard: Nope. Maybe another time.Stuart:Okay, two twenty five, my final offer.Sheldon: Take it, take it.Leonard: Two hundred.Stuart: Man, you're killing me!Sheldon: Killing you? I can't breathe.Stuart:Two ten, and I'm losing money.Sheldon: Oh, now, we can't let him lose money, Leonard. I'm so sorry.Leonard: Two ten and you throw in the Iron Manhelmet.Stuart: Are you crazy? That helmet's signed by Robert Downey Jr.Leonard: So?Stuart: Okay, if you're going to question the importance of an actor'ssignature on a plastic helmet from a movie based on a comic book, then all of our lives have no meaning!Leonard: Okay, fine. Just the sword, two ten.Stuart:Thank you. I can eat meat this week.Leonard: See that? I just saved us forty bucks.Sheldon: I've long said, what you lack in academic knowledge you make upfor in street smarts.Stuart: You want me to wrap it?Leonard: No, it's okay. I'm gonna stab my friend in the chest.Wil Wheaton (entering): Hey, Stuart.Stuart: Ah,hey, Wil.Sheldon: Hello, Wil Wheaton.Wil: Hi, Sheldon. Nice sword.Sheldon: It's part of my sword collection. Do you have a sword collection?Wil: No.Sheldon: I'mnot surprised.Stuart: Here's the Batman 612 with the Jim Lee alternate cover that you wanted.Wil: Awesome. What do I owe you?Stuart: Forty bucks.Wil: Gooddeal.Sheldon: Sucker. Didn't even ask for the friends and family discount.Wil: Hey, I'm having a party at my house on Friday, and I was hoping you would stopby.Stuart: Will there be girls there?Wil: Yeah, of course.Stuart: 'Cause there wasn't last time.Wil: There will be girls. You guys are invited if you want to comeby.Leonard: Thank you.Wil: All right, great. Later.Sheldon: I see what you're doing. You accept an invitation to a party at the home of my sworn enemy, he tellseveryone we're going to be there, and when we don't show, he looks the fool. Fiendishly clever.Leonard: I was actually thinking about going.Sheldon: And thendeclaring the party a fiasco and storming out, leaving him humiliated in front of his guests. Love it.Leonard: No, I was gonna grab Raj and Howard and have agood time.Stuart: Oh, great, more guys. It's gonna be another Wil Wheaton sausage-fest. Credits sequence.Scene: The apartment.Leonard: Sheldon, can yougrab me a water?Sheldon: Possibly.Leonard: Can you or can't you?Sheldon: It's not that simple, Leonard.Leonard: It never is, is it?Sheldon: At this moment, ourrelationship exists in two mutually contradictory states. Until you either do not go or go to Wil Wheaton's party, you are simultaneously my friend and not myfriend. I'm characterizing this phenomenon as Schrodinger's Friendship.Leonard: Got it. Can I have my water?Sheldon: Of course. Now get it yourself, youtraitor.Penny: Wait, what is going on?Sheldon: In case you have forgotten, Schrodinger's cat is a thought experiment...Penny: No, no, no, no, I didn't forget. Um,there's this cat in a box and until you open it, it's either dead or alive or both. Although, back in Nebraska, our cat got stuck in my brother's camp trunk, and wedid not need to open it to know there was all kinds of dead cat in there.Amy: Homespun stories, knowledge of physics and a bosom that defies it. You're thewhole package, aren't you?Howard (arriving): Sorry I'm late. Uh, I got great news. NASA picked my team's design for the deep field space telescope that's goingon the International Space Station this spring.All: Wow.Bernadette: Howie, that's wonderful! Congratulations!Howard: It gets better. Someone has to go up withthe telescope as a payload specialist, and guess who that someone is.Sheldon: Mohammed Lee.Howard: Who's Mohammed Lee?Sheldon: Mohammed is the mostcommon first name in the world, Lee, the most common surname. As I didn't know the answer, I thought that gave me a mathematical edge.Howard: It's me,Sheldon. It's me. I'm going up in space! Technically, I'm an astronaut.All: Wow, that's amazing!Bernadette: Hang on a second. NASA doesn't have a shuttle anymore. How are you going to get up there?Howard: Oh, well, it's really cool. You fly to Moscow, they take you out to Kazakhstan, and then you get into a RussianSoyuz rocket which shoots you into a low earth orbit. Or just sits there on the launch pad because the Kazakhi mafia sold the rocket fuel on the blackmarket.Bernadette: Are those Russian rockets safe?Howard: Well, I mean, safe as it can be when it was built by the good folks who brought youChernobyl.Leonard: I'd like to propose a toast. The dream to go up into space is one we all share, and Howard's making that a reality. We're all very proud ofyou.All: Cheers.Sheldon: That was a lovely toast. Kudos.Leonard: Thank you.Sheldon: Simultaneously, a festival of cloying clichés. You sicken me.Scene:Bernadette's car.Howard: You're really quiet. Is everything okay?Bernadette: Fine. Just a little tired.Howard: I hope not too tired, because I'm feeling particularlymasculine right now. All systems go, if you catch my drift.Bernadette: I always catch your drift.Howard: All right, well, something's obviously bugging you. Whatis it?Bernadette: I just can't believe you signed up for the space program without even talking to me.Howard: Oh, I get it. You're worried about me. That is sosweet. You know, there's a saying we have at NASA. What makes the right stuff so right is that it always comes home.Bernadette: Just stop talking,Howard.Howard: This isn't the reaction I expected when I told you I was gonna be an astronaut.Bernadette: What did you think was going to happen?Howard:Honestly? s*x.Bernadette: Howard.Howard: Do you realize what a big deal this is? What an honour it is to be chosen to go into space?Bernadette: Yeah, I get it. Ijust wish you included me in the decision. We're supposed to be partners. We're supposed to be a team.Howard: I'm sorry. You're right. Okay, let's try this again.Bernadette, an opportunity has come up that impacts both of us, and I'd like to discuss it.Bernadette: Okay.Howard: I've been offered a chance to go up to theInternational Space Station for three weeks. What are your thoughts on that?Bernadette: Well, first of all, thank you for including me in the decision-makingprocess.Howard: Hey, we're a team. So, what do you think?Bernadette: No.Howard: No?Bernadette: No.Howard: Well why not?Bernadette: Howard, my fatherwas a police officer. We never knew from one night to the next if he was going to come home alive. It was horrible. And I don't want to live that way withyou.Howard: Hey, my father abandoned me and my mother when I was 11. We never saw him again.Bernadette: Oh, boo-hoo, you're not going to space!Scene:The apartment.Leonard: Pretty cool about Howard, huh?Sheldon: Don't talk to me as if nothing's happened between us. And yes, it sure is, buddy.Leonard: ForGod's sake, will you stop with the Schrodinger stuff.Sheldon: Would you prefer a simpler application of Heisenberg's uncertainty principle, in which I could eitherknow where you are or whether I like you, but not both?Leonard: You never stop talking, do you?Amy: I don't understand. What differences does it make ifLeonard goes to Wil Wheaton's party?Penny: Wil Wheaton is Sheldon's mortal enemy.Amy: Mortal enemy?Penny: Mm-hmm.Amy: Sheldon, I know you're a bit ofa left-handed monkey wrench, but, you really have a mortal enemy?Sheldon: In fact, I have 61 of them. Would you like to see the list?Penny: Oh, say no, say no,say no, say no.Sheldon: You just got off the list. Would you like back on it? This'll just take a moment. It's on a five and a quarter inch floppy.Amy: A floppydisk?Sheldon: Well, I started the list when I was nine.Amy: How did Wil Wheaton get on the list?All: Oh! Oh, God!Sheldon: As a child, I loved Wesley Crusher, WilWheaton's character on Star Trek. So, I drove for hours by bus to a Star Trek convention at which Wil Wheaton was scheduled to appear, so that I could get myWesley Crusher action figure signed. But he never showed, because apparently, it was cooler for him to be the lower-left corner on Hollywood Squares. Oh,damn! The floppy failed. Well, whoever was in charge of quality control at the Verbatim Corporation in 1989, congratulations, you just made thelist.[SCENE_BREAK]Scene: Howard's bedroom.Bernadette: Howard?Howard: Change your mind about s*x? I'm still mad, but I'll do it.Bernadette: No, I've justbeen thinking. It doesn't matter if I'm afraid for your safety. I don't want to be the person who stands between you and your dreams.Howard: Really?Bernadette:Really. If going into space means that much to you, I will never say another word about it.Howard: Thank you.Bernadette: I love you.Howard: I love you, too. So,s*x now?Bernadette: Okay. I just forgot to brush my teeth. I'll be right back. (Exits)Mrs Wolowitz (off): Over my dead body my son goes into outerspace!Bernadette: I'm ready.Scene: The cafeteria.Leonard: Wait, let me see if I got this right. You actually asked Bernadette to leave your house in the middle ofthe night?Howard: What choice did I have? She went behind my back and turned my own mother against me.Raj: Wow. You're not only our first astronaut. You'realso the first one of us to kick a girl out of bed. You're like a rock star.Howard: Little bit.Leonard: I hate to say it, but she did kind of betray you.Sheldon:Interesting. You see betrayal in others, but not yourself.Leonard: Going to Wheaton's party is not betraying you.Sheldon: Oh, of course you would have to believethat. Evil always thinks it's doing right. Excuse me, Stormtrooper. These are the droids you're looking for.Leonard: I'm going to a party. I'm not turning R2-D2and C-3PO over to the empire!Sheldon: Not yet.Raj: So, what's gonna happen next? Are you and Bernadette going to break up?Howard: I don't know. If we're"}
+{"doc_id":"doc_231","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars Lamb joins Keith and Veronica at a diner (from 102 \"Credit Where Credit's Due\").LAMB: If it isn't mypredecessor and mentor. Are you doing anything special to mark the one year anniversary of Lilly Kane's murder?KEITH: Tell me again how you solved the crime.An anonymous tip. Did anybody show up to collect the reward? Do'ya find that strange?Cut to Mac locked out of her car and Veronica opening it for her (from 108\"Like a Virgin\").MAC: Damn it! Wow. That's really criminal of you.VERONICA: I'm Veronica, by the way.MAC: Mac.Cut to Veronica at her mother's safety depositbox, looking at the pictures of her lined up in a gun sight and her observing Wiedman from her car as he enters Kane Software (audio from 109 \"Drinking theKool-Aid\", visuals from 105 \"You Think You Know Somebody\" and 109 \"Drinking the Kool-Aid\").VERONICA VOICEOVER: I know who's responsible for scaring Momaway from Neptune. Clarence Wiedman. The man who took surveillance photos of me. So if Jake Kane is my biological father, that information is going to beworth millions End previously. Open at the Mars apartment as Veronica comes out of her bedroom, into the kitchen area where Keith is standing.VERONICA: Goodmorning.Keith is intent on something he is reading and doesn't respond. Veronica looks over at himVERONICA: Or not.KEITH: You don't go to the oceanside barsthat the college kids hang out at, do you?VERONICA: I prefer the biker bar by the train station. I get more attention there.Keith isn't amused.VERONICA: I'mkidding. Why would you ask me that? Keith holds up a newspaper, the headline of which reads: E-String Strangler Strikes Again.KEITH: Twenty year old co-edwashed up dead on the beach. Veronica comes closer to take the paper and read the story.VERONICA: Scary. Wait. Wasn't this your case? I thought they caughtthis guy in Oakland two years ago.KEITH: Well, apparently they didn't. Everyone wanted to believe the Oakland strangler committed the Neptune crimes too. Itnever quite fit. Oh, but it was so important for the mayor and the Chamber of Commerce to put that scare behind us.Veronica casts a concerned glance at herfather. Cut to Neptune High. Veronica and Wallace are threading their way through the students in the outdoor lunch area, hot dogs in hand.WALLACE: People arereally freaking out about this E-String Strangler. My mom is scared to drive home alone. I told her this time she can be happy she's not the guy's type.VERONICA:My dad barely let me out of the house this morning.Another student, Jackson Douglas, butts in just as they reach an empty table.JACKSON: I hear you dodetective stuff for people.VERONICA: I do favours for friends.JACKSON: I can pay.VERONICA: Sit down, friend. What can I do for you?JACKSON: I was hopingthat you could find some dirt on my parents.VERONICA: [In southern accent] Why Jackson Douglas, I do declare! [Normal voice] You want me to dig up dirt onyour own parents.JACKSON: I need leverage. They're crazy strict. They grounded me for two months for smoking up in my room.WALLACE: Apparently you'venever spent time in a black woman's house. Be glad you're still walking.JACKSON: Yeah, well, they act like they were always perfect. And every little thing I dowrong is catalogued so they can rub my nose in it later.VERONICA: Sure you can handle the truth? The '70s and '80s were not pretty decades for people. We'veall seen the pictures.JACKSON: I can handle it.VERONICA: Now as for the small matter of compensation.They are interrupted by the sound of a string quartetplaying the Beatles \"Happy Birthday\". They turn to watch as Madison Sinclair arrives at a table of her 09er friends and gasps.MADISON: I love my parents. Shehands flyers out at the table.MADISON: All right. Come to my party. No need to bring gifts. Madison gasps again as a waiter arrives with a large birthday cakeand sets it down on the table.MADISON: Happy birthday to me. Madison, horribly coy and entitled, blows out her candles as Veronica and Jacksonwatch.VERONICA: The rite of fall. Madison Sinclair's birthday.JACKSON: Best party of the year and I can't go because I'm grounded.WALLACE: Her parents mustlooove her.VERONICA: They really loved her, they would've gotten the real Beatles.Cut to a piece of paper upon which is written: Jackson's Parents' JocelynAardwick Douglas Alan Douglas Veronica is working at her laptop in Mars Investigations until interrupted.LAMB: [Offscreen] Veronica Mars. She looks up to seethe sheriff standing before her in the company of a man in a suit. This man is the mayor of Neptune.LAMB: Is your daddy here, or is he busy peeking in people'swindows?VERONICA: You stop dressing up like Little Bo Peep, he'll stop peeking.MAYOR: Your father?Veronica, vaguely petulant, rises from her desk and sticksher head into Keith's office.VERONICA: [Deliberately] Deputy Lamb is here. He's got the mayor with him.KEITH: Show him in.VERONICA: Yeah, sure. I'll just haveRod Serling wait out here on the couch.Veronica throws open the door to Keith's officeVERONICA: The detective will see you now.The mayor casts Veronica adisapproving look before entering Keith's office. Keith rises from his desk and shakes hands with the mayor. Veronica watches from the door.MAYOR: It's been along time, Keith.KEITH: I know.MAYOR: Good to see ya. I wish it were under better circumstances.KEITH: Sit down.The men sit.VERONICA: Can I get anybodyanything? Water? Coffee? [Directly herself to Lamb] A banana?LAMB: We're good.VERONICA: Okay. Just leaving.Veronica makes a big play of shutting the door,then stands by it, trying to eavesdrop.KEITH: So how can I help you gentlemen.MAYOR: You know the situationVeronica walks back to her desk but glancescontinually at the closed door. Finally, it opens and Keith comes out first, followed by the mayor and an unhappy Sheriff Lamb.MAYOR: Thank you Keith.Appreciate it.KEITH: See you tomorrow, Lamb.LAMB: Um-hmm. Can't wait.The men leave.VERONICA: What was that about? What's tomorrow?KEITH: The day Igo back to work at the sheriff's department.Veronica's jaw drops. Opening credits. Resume at Mars Investigations as Veronica follows Keith into hisoffice.VERONICA: You're going back to work at the sheriff's department?KEITH: It's temporary. I'm just there to work on the E-String Strangler case.VERONICA:And you're teaming up with Lamb?KEITH: It's a bitter pill, I know but they're paying me my normal hourly.VERONICA: And Lamb agreed to this? His head didn'texplode.KEITH: The mayor didn't give him a choice. I'm the closest thing they have to an E-String Strangler authority and it's a big priority for the mayor. A killerpreying on partying college girls tends to kill the Spring Break business.VERONICA: So this is all about tourist revenue. God bless America.KEITH: Well, whatevertheir motive, I'm glad to be involved.VERONICA: Hey, if you're working at the Sheriff's office, you'll have access to the Lilly Kane files. We can finally get ourhands on that Crime Stoppers Hotline recording, find out who the anonymous source was, the one who fingered Abel Koontz.KEITH: Veronica, that won't be onmy agenda.Veronica is disappointed. Cut to Veronica in her 'office' at Neptune High. She is consulting the file she is holding.VERONICA: Here are the highlights.Your dad was busted trying to buy an eight ball from an undercover cop at an Eagles concert in '74, your mom had five speeding tickets and a collision on herrecord before she graduated high school. She hands the file to Jackson who is standing before her. He is impressed.JACKSON: I don't care what they say aboutyou, Veronica Mars. You rock.VERONICA: Yes, I do. I also take cash.Veronica holds out her hand. Cut to the outdoor lunch area. Another student, Jasmine,approaches Veronica.CRYSTAL: I hear you can dig up dirt on parents. Veronica smiles. Cut to the sheriff's department. Keith is standing in front of the incidentboard with pictures of the victims. He is presenting the case to a group of deputies, including Sacks and one who will later be identified as Leo D'Amato, sittingand standing around a table that fills the room. Lamb is standing on the other side of the board.KEITH: The first two victims, Katherine Wills, Andrea Sims werefound in 2001 and 2002 respectively. They had certain shared characteristics. Both were undergrads on break, both were attractive social girls, both had-LAMB:Hard partiers.KEITH: Both had high levels of alcohol in their blood and both were abducted on Friday nights.LAMB: Technically, early Saturday morning frommidnight to closing time.KEITH: The bodies were found in the bay. A single nickel-plated guitar string tied around their necks. The latest victim, Amy Polk, waskilled with the exact same MO.LEO: So he kills them with the guitar strings?KEITH: Naw, that's just-LAMB: It's his signature. His mark.Keith, who has done hisbest to ignore Lamb's constant interruptions and attempts at a pissing contest, takes a deep breath.KEITH: The girls are asphyxiated. The strangler thing camefrom the press, it's a misnomer. There's evidence that these women have been held for 48 hours in a contained space, basically suffocated.LAMB: The murdersare reminiscent of the Hillside Strangler case.KEITH: Except the Hillside Strangler actually did strangle the girls.LAMB: Party girls, like ours. Picked up outside ofbars. Killer leaves his mark.KEITH: Okay, except for the asphyxiation, the imprisonment, the body disposal, these cases have a lot in common.LEO: What do weknow about the killer?KEITH: He hates women, he craves attention, he's a luuser.Lamb sighs heavily.KEITH: The weekend killings suggest the guy has atraditional job.LAMB: Amy Polk was found with wrist bands from local bars on her wrist and smudged ink on her palm that looked like it could be a phone number.Lab boys in LA are trying to decipher it.SACKS: Imagine the poor sucker waiting for that phone call.Cut to Veronica, back in the Neptune High girls' room, givinganother report.VERONICA: Your mom sued her parent for emancipation when she was sixteen and then moved to Hollywood. According to the Internet MovieDatabase, she went on to play such roles as \"Trucker's girlfriend\", \"Screaming maid\" and \"Bi-curious room mate\". Veronica hands the file to Jasmine, who grins.Cut to Veronica making another report to a different student.VERONICA: Your mother was married in 1985 for 36 days.JASMINE: Shut up.She grabs the file fromVeronica as Mac exits one of the cubicles and glances over to see what is going on. She observes through the mirror as she washes her hands.VERONICA: To apro-skier she met on Spring Break. They drove to Vegas, did it drive-through style and she had it annulled.JASMINE: And she calls me boy crazy. You just mademy year.Veronica smiles. Cut to Mars Investigations. Mac enters the outer office.MAC: Hey.VERONICA: Hi, Mac.MAC: Hope I'm not interruptinganything.VERONICA: Come on in.Mac sits down opposite Veronica.VERONICA: It's a spiffy new Beetle you're driving these days.MAC: Yeah. Well, the purity testwas probably my finest hour but that's nothing compared to what this could be. It's time to think global and act local.Mac opens her laptop to show Veronica asite she has designed. The home page reads: Get the Dirt.MAC: Okay, you're exposing parental secrets for fifty bucks a pop. We create this website, double the"}
+{"doc_id":"doc_232","qid":"","text":"[Scene: Capeside High, classroom. Dawson and Joey are in English class and the teacher is discussing Shakespeare.]Teacher: The Two Gentlemen of Verona. Notone of the bard's best, but an interesting apprentice piece nonetheless. In the high-spirited Silvia, we see the first version of a character we're later going to cometo know as Juliet. In the 2 male characters Proteus and Valentine\u0000[Drue plays with Joey's hair]Joey: Next time, I draw blood.Drue: It's your own fault. I'm newhere, and you're not being very nice to me.Joey: I'm not trying to be.Drue: But then again you don't strike me as very popular, so you can turn around now.You're of no use to me.Teacher: I hate to interrupt, Miss Potter, but maybe you could tell us what the two gentlemen of Verona is all about.Joey: Uh, well, it'sa\u0000Teacher: could you raise the volume a notch? I don't speak mumble.Joey: It's about a girl who comes between 2 guys.Teacher: Right you are. 2 guys, a girl,and no pizza place. [no one laughs]Uh, how did the play make you feel, Miss Potter?Joey: I didn't think it was very realistic. I mean, Valentine is thiscardboard-cutout hero, and Proteus is unfairly painted as a villain. I just think these scenarios are actually a lot more complicated.Dawson: [Chuckles]Teacher:Mr. Leery, do I sense an opposing viewpoint in your little chortle?Dawson: No, no. It was nothing.Teacher: Please, please. Elaborate.Dawson: Well, um, I don'tthink it's a story about a girl coming between 2 guys. I think it's about the friendship between the 2 guys.Joey: Which fails when the girl comes betweenthem.Dawson: It fails because one friend betrays the other. I mean, Proteus is a lousy friend.Joey: Valentine isn't such a great guy. I mean, he's so fixated on hishonor that he totally loses sight of everything else around him.Dawson: He was willing to make the ultimate sacrifice. He gave up the girl he loved. You thinkthat's a bad thing?Joey: I think nothing about this topic is black and white, Dawson.[Drue raises his hands]Teacher: Drue.Drue: Gene and roger here have afantastic energy, but they're sort of all over the place. Now I for one would love to see them engage in a prepared debate about the merits of the play.Joey:Would you mind your own business?Teacher: I think that is a splendid idea. I've never generated so much heat out of what is arguably Shakespeare's worstcomedy. And you know what would make it even better? If you teamed up with them, Drue, threw your own viewpoint into the mix. I look forward to a livelydebate from the 3 of you... Tomorrow.[Opening Credits][Scene: Inside Gram's kitchen. Jen comes out of her bedroom and walks into the kitchen sher Grams isthere holding an umbrella.]Grams: Jen, look at that. It's almost time for me to be picking you up at school.Jen: I'm not even an hour late yet. That doesn't breakmy record.Grams: Skipping school is no way for a young lady to handle her problems.Jen: I had a lot of any femme music to weed through this morning, and Ihappen to resent the interruption.Grams: Those songs you listen to only exacerbate your sadness.Jen: Well, then you're missing the point 'cause I'm not sad. No,I've moved on from sad. I am currently in the thick of pissed off.Grams: Good! Then you'll recognize my attitude if you pull this routine one more time.Jen: Whathappened to the kinder, gentler grams? I miss her.Grams: Oh, Jennifer, I'm not so old that I don't remember how important seeing your fall term is.Jen: Oldenough to call it fall term.Grams: Much of what your next 4 years will be decided now, Jennifer, and I will not let a momentary heartache squander anyopportunities you may have. I'm hereby putting a 48 hour cap on your melancholy.Jen: You can't cap my melancholy.Grams: Watch me. Now here. Stay dry.Jen:Have you looked outside today? 'Cause it happens to be beautiful.Grams: Today is a red-letter day in the farmer's almanac. Rain is definitely predicted.[Scene:Capeside High Hallway. Dawson and Joey are walking out of class and stop by her locker.]Dawson: So, leery manor or the B&B? Where you want to gettogether?Joey: Dawson, are you ok with this?Dawson: Well, rather than debate the awkwardness of the situation, I'd much prefer we just got it over with.Joey:Ok. Well, um, I have to work. So you're going to have to come down to the yacht club.Dawson: Ok. Are you going to be able to, uh, focus down there?Joey: Ha.Yeah. The place is a tomb on Thursday nights. Well, except for one old geezer who always shows up for the prime rib special.Dawson: All right. Sounds cool. I'llsee you later.[Pacey walks towards them with Jen and upon seeinf him, dawson leaves]Pacey: Someone couldn't have high-tailed it out of here fast enough.Joey:And you are in such a race to start conversation with him?Jen: Mmm. She's right, Pacey. One day one of you is going to have to put an end to this great era ofsilence.Pacey: But not me and not today. Today I am celebrating.Joey: Celebrating?Jen: Pacey done good.Pacey: Oh, Pacey done very good. Pacey got his first\"A.\"Joey: Hmm? Good omen, yeah?Pacey: And I couldn't have done it without you.Joey: I was but a mere study aide.Pacey: Sure you were. So now, you're goingto come sailing with me this afternoon, because this afternoon is the absolute last beautiful day of the season, and you have been conscripted to be my deckhand.Joey: I'd love to, pace, but I have a project to do.Pacey: Put it off for one day?Joey: It's due tomorrow. And...Pacey: Am I missing something here?Joey:It's with Dawson. It wasn't planned. It was assigned.Pacey: Well, isn't that cute?Jen: I'll go with you if you want. I mean, maybe the open horizon will serve to liftmy spirits a bit. Huh?Pacey: Really?Jen: Yeah.Joey: There you go. Willing victim.Jen: Oh, 2 things. First of all, I absolutely refuse to make out with you, andsecond of all, there's a distinct possibility that I'll puke.Joey: What do you know? Those are my 2 things.[Scene: Andie's Bedroom. Andie is there fixing her hairwhen Jack walks by her door.]Andie: Hey, wait! Jack, Jack! Come here.Jack: Ok.Andie: So. Up like this? Or down?Jack: Don't ask me hair questions.Andie: Jack!Eh, you know what? Down. It's more relaxed. You know, I've got that interview today at the yacht club, so...Jack: I didn't know you were looking for a job.Andie:Duh, Jack! College interviews.Jack: Oh, yeah. Right. Yeah. It's that time.Andie: For those of us who started the application process, yes.Jack: This one forHarvard?Andie: No. Uh, you know, that guy Drue? Well, his mom, Miss Valentine, she's one of the alums of the backup schools I'm looking at. So, uh, you knowit's always crucial to make a good first impression.[Andie almost falls over.]Jack: Whoa! Andie! You ok?Andie: Yeah, yeah. I just got a little dizzy. That's all.Jack:Here. Why--here. Sit down.Andie: Yeah.Jack: It's that new drug you started, isn't it?Andie: Yeah, Nardil. Yeah, it's actually working pretty well. Better thananything else I've tried.Jack: I know this is preventative, but are you sure you're ok with it?Andie: It is a little scary, but it's just like dr. Newman said-- \"in timesof high stress, it can't hurt to have an extra line of defense.\"Jack: You can always try my tactic. Just forget altogether that you're a senior.Andie: [Laughs] yeah,right. Only, I wasn't born with those genes. Ok. How do I look?Jack: Like you should be interviewing her.[Scene: Dawson's living room. Mitch and Gale comedownstairs and sit on the couch, wrapped in blankets and carrying tissues. Dawson walks in to the room behind them.]Dawson: Oh, so you're sick now,too?Mitch: Uh, I got the sniffly part.Gale: Oh, I still got that nauseous part.Dawson: Well, you know, maybe if you two kept your tongues out of each other'sthroats for 2 seconds, you'd stop passing this thing back and forth.Gale: Take a good look, honey. This is marriage.Dawson: All right. I've got to go to the yachtclub. I got some homework to do.Mitch: Mmm. A sociology report on the wealthy?Dawson: No. I've got a project to do with Joey. Wasn't our idea. We gotassigned.Mitch: Are you ok with that?Dawson: Why does everybody treat me like my head is going to spontaneously explode every time her name ismentioned?Gale: Because it did.Dawson: 3 months ago. Which in teenager time is like a decade. Joey's got her life and I've got mine.Gale: And Pacey?Dawson: Isee you've joined dad in your great Pacey watch 2000. Sorry I don't have any updates. Oh, except for the fact that he seems to hate me even more since I letJoey know about his grade situation. Thanks for the tip, pop.Mitch: You did the right thing.Dawson: Well, I'm all out of right things as far as Pacey's concerned.You guys want me to get you anything before I go?Mitch: No. On your way out, would you shut the windows back there? The wind's starting up.Dawson: Will do.All right.[Scene: On the deck of the True Love. Pacey and Jen are sailing around. Enjoying the beautiful weather.]Jen: It'll be hard as hell to turn this boat aroundand come back to reality.Pacey: That's an understatement.Jen: Oh, you can just forget about the world out here.Pacey: Yeah. You could almost forget that yourgirlfriend's spending the entire afternoon with her ex-soulmate.Jen: Pacey, you know, I am probably the last person on earth that you should be out herewith.Pacey: Oh, that's not true. Ever seen Dougie in a Speedo?Jen: I mean, I love you and Joey, but if you're having doubts whether a teenage couple can sustaina relationship, I'm probably not the best person to talk to.Pacey: Lean over!Jen: Oh, what's that?Pacey: That is a gift from the gods.Jen: Did you check theweather?Pacey: Yeah, of course. I checked it this morning, and it said that the storm system is headed up the coast, but it's going to pass us rightoverhead.[Scene: The Capeside Yacht Club. Dawson, Joey and Drue are sitting around a table talking about the debate they have to give.][Cell phone rings]Drue:Hello. Hey, gorgeous.Dawson: Unbelievable.Joey: Unacceptable. Hello. Gorgeous is it? Hi. Yes. This is Drue's doctor, and he's going to have to get back to youwhen the syphilis clears up, ok? Bye-bye.Drue: That was rude.Joey: Oh, ruder than taking cell phone calls when we're supposed to be working on a project thatyou got us into? I don't think so.Drue: Excuse a brother for picking up on the intense, dare I say, sexual vibe between the two of you. Must be the Star Warsthing.Dawson: Star Wars Thing?Drue: Star wars thing it's classic. You are obviously Luke to this Pacey guy's Hans Solo. See, you're the stuff of pre-teendaydreams. Cute. Smart. Non-threatening. Which is great and all, but not for princess Joey here who's clearly smack dab in the middle of her bad-boyphase.Dawson: And where do you fit into this whole scenario, Drue?Joey: Jabba the Hutt, I think.[Mr. Brooks comes into the room.]Mr. Brooks: Hmm. Hmm.Ahem.Joey: Hello, Mr. Brooks.Mr. Brooks: My usual table please.Joey: Mmm. Sorry, it's taken.Mr. Brooks: If the opening act is over, I'd like to sit down now.Joey:So will you be having the prime rib special this evening?Mr. Brooks: Yes, and I'll have it quick. I want to get my boat home before the storm.Joey: Storm?Mr.Brooks: A weather phenomenon where the skies darken and rain falls.Joey: Um, I'll be back with your water.[Joey goes to get his water and finds Drue at the barwatching TV.]TV actors: Sorry...Quick. No, no, no. It's my fault. I didn't\u0000Joey: Mr. Brooks said that there's a storm coming.Drue: Mr. Brooks lives alone on the"}
+{"doc_id":"doc_233","qid":"","text":"Scott: Damn it.Scott: Oh, crap.Scott: No. No, stop.Derek: You're dead.Scott: What - what the hell was that?Derek: Said I was gonna teach you. I didn't saywhen.Scott: You scared the crap out of me.Derek: Not yet.Scott: Okay, but I was fast, right?Derek: Not fast enough.Scott: But - but the car alarm thing, that wassmart, right?Derek: Till your phone rang.Scott: Yeah, but that was - I mean - Would you just stop? Please? What happened the other night, Stiles' dad gettinghurt, that was my fault. I should have been there to do something. I need you to teach me how to control this.Derek: Look, I am what I am because of birth. Youwere bitten. Teaching someone who was bitten takes time. I don't even know if I can teach you.Scott: What do I have to do?Derek: You have to get rid ofdistractions. You see this? This is why I caught you. You want me to teach you? Get rid of her.Scott: What, just because of her family? Wait - wait - whoa -whoa!Derek: You getting angry? That's your first lesson. You want to learn how to control this, how to shift, you do it through anger, by tapping into a primalanimal rage, and you can't do that with her around.Scott: I can get angry.Derek: Not angry enough. This is the only way that I can teach you. Now, can you stayaway from her? At least until after the full moon?Scott: If that's what it takes.Derek: Do you want to live? Do you want to protect your friends? Yes or no?Scott:Yes. If you can teach me, I can stay away from her.Allison: Take it off.Scott: You're okay with that?Allison: Are you okay with it?Scott: You're asking me if I'mokay with taking off your clothes?Allison: Stupid question.Scott: Like, world record stupid.Allison: You first.Allison: Just a second.Kate: Allison.Allison: Uh,coming. Coming. Okay, uh.Kate: Hey.Allison: Hey.Kate: What's up?Allison: Uh, nothing. Just doing homework, sending some emails.Kate: Emailing theboyfriend?Allison: No. I'm emailing peta about how my wing nut father gunned down an innocent mountain lion in the school parking lot.Kate: And that wouldn'thave anything to do with the fact that you're grounded and you can't see Scott?Allison: I'm not gonna be one of those whining teenagers who looks at her fatherand says, \"I hate you. I wish you were dead.\"Kate: But -Allison: But - I hate him and I wish he was dead.Kate: See, now you're starting to sound like a normal,angry teenager. What are you working on? Can I help?Allison: Uh, a history project, and I just want to be left alone, actually.Kate: Come on. What kind of historyproject?Allison: I have to come up with a report that has some relevance to my own family history.Kate: Specific to your family?Allison: Why? Do you have anyideas?Kate: Type this in: \"La Bete du Gevaudan.\"Allison: The beast of Gevaudan. What is this?Kate: It's an old French legend that, believe it or not, hassomething to do with your family.Allison: \"In 1766 in a province of Lozere, la Bete killed over a hundred people.\"Kate: Mysterious animal attacks, just like acertain town called beacon hills.Allison: So what was it? The animal?Kate: Nobody knows for sure, but I can tell you one thing. It definitely wasn't a mountainlion. What's it look like to you?Allison: It looks like - A wolf.Scott: Derek? I - I know I said I would stay away, but you broke my phone. I had to at least tell herwhy I wasn't answering. Derek?Scott: You seriously need to stop doing that.Derek: So what happened? Did he talk to you?Scott: Yeah. We had a niceconversation about the weather. No, he didn't talk.Derek: Well, did you get anything off of him? An impression.Scott: What do you mean?Derek: Remember yourother senses are heightened. Communication doesn't have to be spoken. What kind of feeling did you get from him?Scott: Anger.Derek: Focused on you?Scott:No, not - not me. But it was definitely anger. I could feel it. Especially when he drew the spiral.Derek: Wait, the what? What'd you just say?Scott: He drew thisspiral on the window of my car, in the condensation, you know? What? You have this look like you know what it means.Derek: No, it's - it's nothing.Scott: Wait -wait - wait - wait a second. You can't do that. You can't ask me to trust you and then just keep things to yourself.Derek: Doesn't mean anything.Scott: You buriedyour sister under a spiral. What does it mean?Derek: You don't wanna know.Scott: Stay away from Allison. Stay away from Allison. Stay away from Allison. Stayaway from Allison. Must stay away from Allison. Just stay away from Allison. Stay away from Jackson. Just stay away from Jackson.Lydia: Hey, Scott.Scott: Oh,come on!Scott: Still not talking to me? Okay, can you at least tell me if your dad's okay? It's just a bruise, right? Some soft tissue damage? Nothin' that big - Youknow I feel really bad about it, right? Okay. What if I told you that I'm trying to figure this whole thing out, and - That I went to Derek for help?Stiles: If I wastalking to you, I'd say that you're an idiot for trusting him. But obviously I'm not talking to you.Stiles: What did he say?Stiles: Wh - he wants you to tap into youranimal side and get angry?Scott: Yeah.Stiles: All right, well, correct me if I'm wrong, but every time you do that, you try to kill someone, and that someone'susually me.Scott: I know. That's what he means when he says he doesn't know if he can teach me. I have to be able to control it.Stiles: Well, how's he gonnateach you to do that?Scott: I don't know. I don't think he does either.Stiles: Okay. When are you seeing him again?Scott: He told me not to talk about it. Just actnormal and get through the day.Stiles: When?Scott: He's picking me up at the animal clinic after work.Stiles: After work. All right, well, that gives me to the endof the school day then.Scott: To do what?Stiles: To teach you myself.Lydia: The what of who?Allison: The beast of Gevaudan. Listen. \"A quadruped wolf - likemonster, prowling the Auvergne and south Dordogne areas of France during the year 1764 to 1767. La Bete killed over a hundred people, becoming so infamousthat the King Louie the 15th sent one of his best hunters to try and kill it.\"Lydia: Boring.Allison: \"Even the church eventually declared the monster a messenger ofSatan.\"Lydia: Still boring.Allison: \"Cryptozoologists believe it may have been a subspecies of hoofed predator, possibly a mesonychid.\"Lydia: \"Slipping into acoma\" bored.Allison: \"While others believe it was a powerful sorcerer who could shape - shift into a man - eating monster.\"Lydia: Any of this have anything to dowith your family?Allison: This. \"It is believed that la Bete was finally trapped and killed by a renown hunter who claimed his wife and four children were the first tofall prey to the creature.\" His name was Argent.Lydia: Your ancestors killed a big wolf. So what?Allison: Not just a big wolf. Take a look at this picture. What doesit look like to you? Lydia? Lydia.Lydia: It looks - like a big - wolf. See you in History.Stiles: I think the book's making it more obvious. Besides, she's reading,anyway.Scott: So did you come up with a plan yet?Stiles: I think so.Scott: Does that mean you don't hate me now?Stiles: No. But your crap has infiltrated mylife, so now I have to do something about it. Plus I'm definitely a better Yoda than Derek.Scott: Okay, yeah, you teach me.Stiles: Yeah, I'll be your Yoda.Scott:Yeah, you be my Yoda.Stiles: Your Yoda I will be. I said it backwards.Scott: Yeah, I - I know.Stiles: All right, you know what? I definitely still hate you. Uh - huh.Oh, yeah.Allison: Scott. Scott, wait. Hey, Scott. Sc -Scott: This is not gonna be easy.Stiles: Okay. Now - put this on.Scott: Isn't this one of the heart ratemonitors for the track team?Stiles: Yeah, I borrowed it.Scott: Stole it.Stiles: Temporarily misappropriated. Coach uses it to monitor his heart rate with his phonewhile he jogs, and you're gonna wear it for the rest of the day.Scott: Isn't that coach's phone?Stiles: That, I stole.Scott: Why?Stiles: All right, well, your heartrate goes up when you go wolf, right? When you're playing lacrosse, when you're with Allison, whenever you get angry. Maybe learning to control it is tied tolearning to control your heart rate.Scott: Like the Incredible Hulk.Stiles: Kind of like the Incredible Hulk, yeah.Scott: No, I'm like the Incredible Hulk.Stiles: Wouldyou shut up and put the strap on?Scott: This isn't exactly how I wanted to spend my free period.Stiles: All right. You ready?Scott: No.Stiles: Remember, don't getangry.Scott: I'm starting to think this was a really bad idea. Oh, man. Okay, that one - kind of hurt.Stiles: Quiet. Remember, you're supposed to be thinkingabout your heart rate, all right? About staying calm.Scott: Stay calm. Staying calm. Staying totally calm. There's no balls flying at my face -Scott: Aah! Son of abitch!Stiles: You know what? I think my aim is actually improving.Scott: Wonder why.Stiles: Don't get angry.Scott: I'm not getting angry.Scott: Stop. Just - canwe just hold -Stiles: Scott? Scott, you started to change.Scott: From anger. But it was more than that. Was like, the angrier I got, the stronger I felt.Stiles: So itis anger, then. Derek's right.Scott: I can't be around Allison.Stiles: Just because she makes you happy?Scott: No, because she makes me weak.Stiles: Alright,you stay away from her for a few days, you can do that.Scott: But is it a few days, or is it forever?Stiles: You know, this whole \"women make you weak\" thing is alittle too spartan warrior for me. It's probably just part of the learning process.Scott: Yeah, but you've seen Derek. I mean, the guy's totally alone. What if I can,like, never be around her again?Stiles: Well, if you're not dead, that could be a good thing.Scott: Rather be dead.Stiles: All right, you're not gonna end up likeDerek, all right? We'll figure it out.Scott: 'Kay.Stiles: Come on. Let's get out of here.Scott: Something smells terrible in here, anyway.Stiles: Really? In a boys'locker room? That doesn't make any sense at all.Scott: No, it's like something's rotting or dying.[SCENE_BREAK]Jackson: What are you reading?Allison: Oh, hey.Just stuff for a history project. You have a free period, or -Jackson: No, I - I just don't like sitting through Chem.Allison: Understandable. Did - did you wantsomething?Jackson: Actually, um, yeah. I wanted to talk. I realize that I've been a jerk to you. And especially to Scott. And I wanted to say that I'm sorry. I'mserious.Allison: Okay. I - I believe you're being serious, but I'm not so sure I believe you're being sincere.Jackson: Do you know what it's like to be the bestplayer on the team? To be the star? To have every single person at the game chanting your name? And then - some kid - Some kid just comes along, and theneveryone starts looking at him instead of you. Do you know what that feels like?Allison: No, I don't.Jackson: Well, it feels like something's been - It feels likesomething's been stolen from you. And then you start to feel like you'd do - anything. Anything in the world to get it back.Allison: Haven't you ever learnedthere's no \"I\" in \"team\"?Jackson: Yeah, but there is a \"me.\" Ha. That was a joke. Gosh. You must really, really hate me.Allison: Not at all.Jackson: You sure?Because - I'm not a bad guy. I mean, yeah, I make stupid mistakes. A lot, but - I'm not bad. I really like you. And - and Scott. I really - I really like you both, andI want you guys to like me. I want to get to know you guys better. So - what are you reading?Coach: Let's go. Sit, sit, sit, sit. We got a lot to cover today. Let'sgo. Quicker.Scott: Hey, Stiles, sit behind me, dude.Allison: I haven't seen you all day.Scott: Uh, yeah. I've been, uh, super busy.Allison: When are you gonna get"}
+{"doc_id":"doc_234","qid":"","text":"Isaac: Um - so far it's an \"A\" in French and a \"B\" minus in Econ.Mr. Lahey: Oh. What about chemistry?Isaac: I'm not sure. Uh, midterms are in a few days so itcould go up.Mr. Lahey: Well, what's it at now?Isaac: The grade?Mr. Lahey: Uh, yeah.Isaac: Uh, I'm not sure.Mr. Lahey: But you just said it could go up.Isaac: Ijust - uh, I meant generally.Mr. Lahey: You wouldn't be lying to me, would you, Isaac?Isaac: No.Mr. Lahey: Then tell me your grade.Isaac: I just told you, I don'tknow.Mr. Lahey: You wanna take this little conversation downstairs? No? Then tell me the grade, son.Isaac: Dad, this semester's only half over.Mr. Lahey:Isaac?Isaac: There's plenty of time -Mr. Lahey: Isaac.Isaac: It's - it's a \"D\".Mr. Lahey: All right. It's a \"D\". I'm not angry. You know I'm gonna have to find a wayto punish you though. You know, I have my responsibility as a parent. So we'll start with something simple, like, uh - Tell you what, you do the dishes and youclean up the kitchen, okay?Isaac: Yeah.Mr. Lahey: Good. Because I - I'd really like to see this place spotless. Know what I'm saying? You know? I mean thisentire kitchen. Yeah! Yeah, absolutely - Spotless. Well, that was your fault.Isaac: You could have blinded me.Mr. Lahey: Shut up! It's a scratch! It's hardly even -Isaac. Isaac!Jackson: Freaks.Mr. Lahey: Isaac! Isaac! Isaac. Isaac? Isaac? Okay, that's enough. Let's go! That's it, grab your bike and let's go! Isaac? Holy - !Aah! No! No! No! Aah! No! Aah! No! No! No! No!Allison: Hey.Scott: What are you doing?Allison: Just trying to find you.Scott: Did anyone see you leave?Allison:No. No one, I was careful. What's wrong? Is it the full moon tomorrow night?Scott: No. No, it's not that. Um, I just wanted to ask you some things. About your -um, your family. Actually, your grandfather.Allison: Okay, but I don't really know him. I mean, he's kind of just a guy who sends a check in the mail every yearfor my birthday.Scott: Does he know about me? About us?Allison: No, my dad hasn't said a thing. What is it? Did something else happen?Scott: We just need tobe a lot more careful now.Allison: They're not gonna split us apart.Scott: Not us. Sure no one followed you?Allison: Totally, absolutely, 100 million percent sure.My parents are out, anyways.Scott: Out?Allison: Yeah, it's date night.Principal: Can I help you?Chris: Well, I hope so, Principal Thomas. As a concerned parent,uh, I was wondering - how long has it been since your last performance review?Principal: What?Chris: We were wondering.Victoria: Are you aware there's beenan alarming drop in academic achievement and test scores over the past few semesters?Principal: Excuse me?Victoria: It's led the parents of Beacon Hills to theunfortunate conclusion that you may no longer be suited to the position of school principal.Principal: You can't fire me.Victoria: True. But we can tortureyou.Isaac: Derek? Derek!Derek: What's wrong?Isaac: My dad. I think he's dead.Derek: What did you do?Isaac: That's the thing. It wasn't me.Scott: I'm serious.It's not like the last full moon. I don't feel the same.Stiles: Oh, does that include the urge to maim and kill people like me?Scott: I swear I don't have the urge tomaim and kill you.Stiles: You know, you say that now but then the full moon goes up and out come the fangs and the claws and there's a lot of howling andscreaming and running everywhere, okay? And it's very stressful on me and so yes, I'm still locking you up.Scott: Okay, fine. But I do think I'm in more controlnow. Especially since things are good with Allison.Stiles: Okay, I'm aware of how good things are with Allison.Scott: They're really good.Stiles: I - thank you, Iknow.Scott: I mean, like, really good.Stiles: All right, I get it! Just please shut the hell up before I have the urge to maim and kill myself.Scott: All right, did youget something better than handcuffs this time?Stiles: Yeah, much better.Coach: Part of me wants to ask. The other part says knowing will be more disturbingthan anything I could ever imagine. So - I'm gonna walk away.Stiles: That's good. That's a wise choice, coach.Stiles: You okay? Scott.Scott: There's another. Inhere, right now.Stiles: Another what?Scott: Another werewolf.Allison: You really don't remember anything?Lydia: They called it a fugue state, which is basically away of saying \"We have no idea why you can't remember running through the woods naked for two days.\" But personally, I don't care. I lost nine pounds.Allison:Are you ready for this?Lydia: Please. It's not like my aunt's a serial killer.Allison: Maybe it's the nine pounds.Scott: It was kind of like a scent, but I couldn't tellwho it was.Stiles: What if you can get him one - on - one? Would that help?Scott: Yeah.Stiles: Okay. I think I got an idea.Matt: You need a digitalcamera?Jackson: Yeah. And something that can record in low light. All night long.Matt: What are you recording?Jackson: Something in low light. All night long. Doyou have the camera or not?Matt: You have a hundred bucks?Jackson: I drive a Porsche. What do you think?Matt: I think your parents have a hundredbucks.Jackson: Just get me the camera.Stiles: I told coach you're switching with Danny for the day.Scott: But I hate playing goal.Stiles: Remember when I said Ihad an idea? This is the idea.Scott: Oh.Stiles: There we go.Scott: What's the idea?Stiles: I seriously don't understand how you survive without mesometimes.Coach: Let's go! Line it up! Faster! Make daddy proud.Scott: Here we go.Scott: Let me help you up.Coach: McCall!Scott: Yeah.Coach: Usually thegoalie stays somewhere within the vicinity of the actual goal.Scott: Yes, coach.Coach: Let's try it again.Matt: What the hell, man?Scott: My bad, dude.Coach:McCall! The position's goal keeper. Not goal abandoner.Scott: Sorry, coach.Coach: Let's go!Coach: Stilinski, what the hell is wrong with your friend?Stiles: Uh,he's failing two classes. He's a little socially awkward and if you look close enough, his jaw line's kind of uneven.Coach: That's interesting. Let's fire it up.Danny:It's Armani.Scott: Huh?Danny: My aftershave. Armani.Scott: Oh. It's nice.Coach: McCall! You come out of that goal one more time and you'll be doing suicideruns till you die. It'll be the first ever suicide run that actually ends in a suicide. Got it?Scott: Yes, coach.Coach: Yeah.Jackson: Uh, coach, my shoulder's hurting.I'm gonna - I'm gonna sit this one out.Isaac: Don't tell them. Please don't tell them.Scott: His father's dead. They think he was murdered.Sheriff: Come on.Stiles:Are they saying he's a suspect?Scott: I'm not sure, why?Stiles: Because they can lock him in a holding cell for 24 hours.Scott: Like, overnight?Stiles: During thefull moon.Scott: How good are these holding cells at holding people?Stiles: People, good. Werewolves, probably not that good.Scott: Stiles, remember when Isaid I don't have the urge to maim and kill?Stiles: Yeah.Scott: He does.Scott: Why would Derek choose Isaac?Stiles: Peter told me that if the bite doesn't turnyou it could kill you. And maybe teenagers have a better chance of surviving.Scott: Doesn't being a teenager mean your dad can't hold him?Stiles: Well, notunless they have solid evidence. Or a witness. Wait. Danny. Where's Jackson?Danny: In the principal's office talking to your dad.Stiles: What? Why?Danny:Maybe because he lives across the street from Isaac.Scott: Witness.Stiles: We gotta get to the principal's office.Scott: How?Harris: Everyone please turn to page73. Who in the hell did that?Sheriff: Listen to me, you're telling me that you knew Isaac's father was hitting him?Jackson: Hitting him? He was kicking the crapout of him.Sheriff: Did you ever say anything to anyone? A teacher, parents, anyone?Jackson: Nope. It's not my problem.Sheriff: No, no, of course not. Youknow, it's funny that the kids getting beaten up are always the ones who least deserve it.Jackson: Yeah. Wait, what?Sheriff: I think we're done here. Hi,Scott.Scott: H - yeah.Gerard: Boys. Come on in.[SCENE_BREAK]Gerard: Scott McCall. Academically not the most accomplished, but I see you have become quitethe star athlete. Mr. Stilinski. Oh, perfect grades but little to no extracurriculars. Maybe you should try lacrosse.Stiles: Oh, actually I'm already -Gerard: Hold on.McCall. You're the Scott that was dating my granddaughter.Scott: We were dating but not anymore. Not dating, not seeing any of each other or doing anythingwith each other - At all.Gerard: Relax, Scott, you look like you're about to crack a cyanide pill with your teeth.Scott: Just a hard breakup.Gerard: Oh, that's toobad. You seem like a pretty nice kid to me. Now listen, guys. Yes, I am the principal, but I really don't want you to think of me as the enemy.Stiles: Heh, is thatso?Gerard: However, this being my first day, I do need to support my teachers. So unfortunately someone is going to have to take the fall and stay behind fordetention.Lydia: It's just - we haven't really talked since that night and well - Jackson, can you, like, look at me for half la second? They said if you hadn't foundme and carried me back, I could have died. So I just - I wanted to say thank you.Jackson: Lydia, we're not getting back together.Lydia: What?Jackson: And justbecause I kept you from bleeding out on a field once, don't expect me to come running every time you start screaming.Lydia: I never said -Jackson: I'm notresponsible for you. Okay? But I will give you one piece of advice. If I were you, I'd stay home tonight.Lydia: What does that mean? What's tonight?Jackson: It'sa full moon.Derek: Get in.Scott: Are you serious? You did that. That's your fault.Derek: I know that. Now get in the car and help me.Scott: No, I've got a betteridea. I'm gonna call a lawyer. Because a lawyer might actually have a chance at getting him out before the moon goes up.Derek: Not when they do a real searchof the house.Scott: What do you mean?Derek: Whatever Jackson said to the cops, what's in the house is worse. A lot worse.Gerard: I'm not interested in whetherthey locked up a 16 - year - old kid. I'm interested in what's going to happen to that 16 - year - old when the moon hits its peak tonight. Do we have proof?Chris:Is the next step killing him?Gerard: The next step is eliminating the threat. Do we have proof?Chris: I haven't been in history class for a while, but I'm pretty surestraight - up genocide hasn't worked out too often.Gerard: Do we have proof or not?Chris: Not irrefutable. But not insignificant. The driver's side door of Lahey'scar was pried off.Gerard: Pried off?Chris: Ripped off.Matt: I'm starting to feel a little weird about this.Jackson: No, no, no, no. What you're feeling is a hundreddollars richer. Give me the camera and go buy yourself another fancy lens or light meter or whatever gives your photography geeks a hard - on.Matt: This doesn'thave anything to do with Allison, does it? I saw you two at the dance the other night and I kind of figured that you two were, you know, together.Jackson: Aw,you have a little thing for Allison, Matt? A little - a little crush?Matt: No.Jackson: You think I'm gonna waste my time by doing something as unbelievably ordinaryas making a s*x tape?Matt: Then what are you doing?Jackson: Documenting history. My history. And I want to be able to see it happening. All of it. You'll get itback tomorrow.Scott: If Isaac didn't kill his father, who did?Derek: I don't know yet.Scott: Then how do you know he's telling the truth?Derek: Because I trustmy senses. And it's a combination of them. Not just your sense of smell.Scott: You saw the lacrosse thing today.Derek: Yeah.Scott: Did it look that bad?Derek:"}
+{"doc_id":"doc_235","qid":"","text":"[ Enchanted Forest - Past Year ][SCENE_BREAK](A carriage, escorted by knight, crosses a forest. It is stopped by Hook.)Knight: Whoa! And just who might yoube?Hook: I'm the man who's going to relieve you of that chest full of gold you are transporting.Knight: You and what army?Hook: Well, I'm glad youasked.(Lights are lit.)Hook: Your choice. Save your lives or the gold.Knight: Retreat!(The knight leaves.)Hook: Smee?! Those arrows took a lot longer to lightthan discussed.Smee: It wasn't easy lighting all of them by ourselves, captain. Maybe if we had an actual army...Hook: And share in the spoils? I think not.Smee:I got to say, it's good to be at your side again, sir, and... Not as a rat.Hook: Well... that's a lovely side effect of the curse breaking for you, I'd imagine.Smee: Idid like the mobility, but being a human is good, too.Hook: What did I tell you, mates? You don't need a ship to be a pirate.[SCENE_BREAK](At the tavern.)Hook:One more, one more!(Oh!)Hook: To the most clever, dastardly band of pirates to ever set sa... Stride on the open roads!Smee: To captain Hook!Everybody:Hey!Smee: Wait, wait, wait, wait, wait, wait, wait, wait! The boys and I chipped in...Hook: Mm-hmm.Smee: And got you something.Hook: Oh. Mr. Smee. How didyou know?Smee: Enjoy. To captain Hook!Everybody: To Hook!Smee: Come on. One more.(Outside the tavern. Hook gives the prostitute some money.)Theprostitute: I don't... Understand. Your men took care of me.Hook: And tomorrow, you shall tell them that you had a grand time. Good night.(Hook is walking inthe street and he is hit by Ariel.)Hook: Aah.Ariel: Move, and I'll slit your throat.Hook: Not a good plan for you. I'm guessing you don't know who I am.Ariel: Iknow exactly who you are, Captain Hook.Hook: Well, then, I'm at a disadvantage.Ariel: My name's Ariel. And you're gonna pay for what you'vedone.[SCENE_BREAK][ Storybrooke ][SCENE_BREAK](At Charming Family's loft.)David: I've seen enemy battle plans that were easier to decode than this.Emma:Let me see. All right, it says \"take screws 'E' with washers 'D' \"through bar 'C' using wrench 'F, '\" which is... Not provided.Mary Margaret: Why don't you just callMarco? He's really good at this sort of thing.Emma & David: No!David: No. We're fine.Mary Margaret: Should we even be doing this? Ever since the showdownbetween Regina and the Wicked Witch, we haven't seen Zelena or Gold at all. Shouldn't we be focusing on her next move?Emma: We are. We just can't stopliving.David: And this crib is a statement. We're not gonna lose another baby.(Regina comes in.)Regina: And, thanks to me, you won't. I'm finished.David: So?Did it work? Were you able to put up a new protection spell?Regina: One that can't be undone by blood magic, which means Zelena won't be able to put herhands on that baby.Mary Margaret: Any idea why she would want to?Regina: The number of spells involving baby parts would surprise you. That greenie is clearlyone twisted witch. But as long as we're in here, we're safe.Emma: That's useless. I think we need to stop playing defence and start taking the fight to her.Regina:Did you not see how I barely outwitted her yesterday? She has magic... Powerful magic.Emma: I have magic, too. You've seen me use it. I just can't alwayscontrol it. But if we teamed up, if you... Taught me...Regina: Now, why does this feel so familiar?Emma: I'm ready this time.Regina: Okay. But if we do this, wedo this my way. This isn't drinking stale coffee at a stakeout or... Whatever you did as a bail bondsperson. This is a way of life. You have to fully commit toit.Emma: Not a problem.Regina: Meet me at my vault in two hours.(Regina leaves.)Emma: And no complaining. I'm doing this. It's the only way. And yes, I willbe careful.Mary Margaret: We know.David: Don't worry. We'll watch Henry when he gets back from the store.Emma: Actually... I'm not sure that's the bestidea.Mary Margaret: What? What is it?Emma: Well, you guys are tired. You need to rest.Mary Margaret: I'm pregnant. I'm not sick with the flu.Emma: Yeah, Iknow. It's just, um... Well, it's... \"Cradle cap.\" Last time you guys had him, you overwhelmed him with baby tips. He's 12. He's doesn't want to talk aboutpregnancies. It's not fun.Mary Margaret: Oh, we're fun.Emma: Well, I'm just saying maybe Henry disagrees.Mary Margaret: No!Emma: He'll get there. You got toremember, he doesn't know who you are.David: Well, if we're not fun, who is?[SCENE_BREAK](Hook is waiting for Smee at the harbour.)Smee: Captain Hook.Captain.Hook: It's about time, Mr. Smee. You know how much I abhor waiting. What is it that's so urgent?Smee: It's just, um, me and the men were talkingabout how we haven't seen much of you since we all ended up back here.Hook: Is there a point to that rather odd observation?Smee: What's keeping us fromcrewing up again hitting the high seas, getting back to pirating?Hook: You mean other than being attacked and turned into flying monkeys? Have you forgotten?There's no safe passage out of this town. You've already been a rodent, Mr. Smee. Does life as a simian interest you, as well?Smee: Of course there's safepassage. We could outrun them.Hook: Not with that torso of yours.Smee: If we had a fast enough ship. The Jolly Roger, for instance. You still haven't told mewhether you found her during the time none of us can remember.Hook: What happened during that time isn't important.Smee: Because you remember. Is ourship okay? What... What happened to it?Hook: My ship. All you need to know, Mr. Smee, is that the Jolly Roger isn't here. So there will be no outrunning ofanything.Smee: I mean, what if we found another ship? Any one of these...Hook: Mr. Smee, I've tried letting you down easy. Now let me be more direct. I haveno intention of leaving this town.Smee: Captain, I agree with you This place has its bright spots. I have never tried anything quite like frozen yogurt before. Butthe Wicked Witch is here. And with that sort of danger, what possible reason do you have to stay?Hook: My reasons are my own. Question them again at yourperil.(Emma and Henry arrive.)Smee: Sir.Emma: Wait here, okay? Didn't he used to be a rat?Hook: Aye. In many ways, he still is. To what do I owe the pleasure,Swan?Emma: Um... I was wondering if you could take care of Henry again.Hook: If you want to get close to me, you just need to ask. There's no need to use thelad as an excuse.Emma: Why am I not surprised you're making this about you? I need your help, 'cause Regina needs to train me in magic. We think together,we might be able to defeat the Wicked Witch.Hook: That's the first reasonable plan I've heard since this all began. Magic is a part of you, Swan. Don't forget... Iwas there when Cora tried to steal your heart. I saw the power inside of you. It's about time you embraced it. It's what makes you the Saviour.Emma: I'm notembracing anything. I need to learn magic to defeat Zelena and make sure everyone here is safe. After that, I'm done.Hook: Done with what, exactly?Emma: Hedoesn't belong here... Not anymore. He belongs in the real world, in New York, and the life that he remembers. It was good. And it didn't involve vilevillains.Hook: What about the life you remember? You can't just pretend like this never happened. Trust me. I spent the last year trying to do just that... Returnto the person I used to be... And it didn't work.Emma: Why? What happened over the last year that you're not telling me?Hook: It matters not. Just take it fromme just this once. No matter how much you wish you could go back to your old life... You can't.[SCENE_BREAK](Mary Margaret and David are walking on thebeach.)David: We can't just sit back and do nothing.Mary Margaret: You're right. We can be as fun as... As any pirate captain.David: Exactly. Henry obviously dida lot of growing up in the past year. We just have to... Adjust accordingly.Mary Margaret: What's going on?(A group surrounds Ariel.)Somebody: Does anyoneknow what happened?Somebody: She just washed up onshore.Mary Margaret: Who did? Who's here? Ariel?[SCENE_BREAK](On the beach.)Mary Margaret:Where have you been? We thought you'd been turned into a monkey.Ariel: A monkey? No. I'm a girl that turns into a fish.David: Yeah, we... We know. Whathappened to you?Ariel: I've been under the sea... Searching. I've travelled to every known realm looking for Prince Eric.David: So he's missing? For howlong?Ariel: After Pan failed, I woke up here, like everybody else. I... I couldn't find him. I didn't understand what happened until I overheard everybody sayingthat we had all gone to the Enchanted Forest and been there for a year without knowing it.David: So you still don't know what happened to him?Ariel: That's whyI came back here. I thought maybe I'd overlooked something, that he'd be here, but... Obviously, you haven't seen him.Mary Margaret: We're sorry. We've beentrying to piece together what happened. All we know is that we're up against Regina's sister, the Wicked Witch.Ariel: Do you think that she might be responsiblefor Prince Eric's disappearance?Mary Margaret: Without our memories, it's impossible to know everything.David: Maybe for us, but what about Hook?Ariel: Thepirate?Mary Margaret: Yes. He wasn't part of the witch's curse. He has his memories. Maybe he can... I don't know... Shed some light on what happened to PrinceEric.Ariel: Well, do you think he'd help me?Mary Margaret: He helped us save Henry. I don't know why not.[SCENE_BREAK][ Enchanted Forest - Past Year][SCENE_BREAK](In the street.)Hook: Fear of adding insult to injury, would you mind catching me up on your particular grievance?Ariel: You kidnapped PrinceEric, and you're gonna return him to me. Now on your feet!Hook: Kidnapping a prince does sound like something I would do, but... I'm afraid you've got thewrong pirate. Or should I say the wrong pirate has you?Ariel: Go ahead... Kill me. But I still know you're lying. One of Eric's men escaped, so I know the ship thattook him was yours... the Jolly Roger.Hook: The Jolly Roger? Are you certain? Answer me!Ariel: You really didn't take him.Hook: What else do you know aboutwho's captaining my ship? Did that man tell you anything else?!Ariel: Only that he was able to escape with a weapon that he stole from the armoury... The daggerthat's against my throat.(Hook watches the dagger, he laughs and leaves.)[SCENE_BREAK](Mr Smee is sleeping in the tavern. Hook enters.)Hook: Rise andshine, you bilge rats! No offense, Mr. Smee.Smee: None taken. I keep dreaming of cheese. What is it?Hook: I know who has the Jolly Roger, and we're gonnatake her back.Smee: Whose funeral shall we be attending, sir?Hook: Black Beard.Smee: Black Beard? But... He's the most cutthroat pirate ever to hoist a sail.Uh... After you, of course.Hook: Which will make it all the more satisfying when I take my ship back and make him walk her lovely plank.Smee: Let's not behasty. We've been having fun robbing carriages. Getting rich from it, too. M... M... Maybe we should forget about the Jolly Roger. You said it yourself. We don'tneed a ship to be...Hook: She's not just a ship.Smee: I'm fairly certain she is.Hook: She's more than that. I haven't been myself since we've returned. I shouldhave realized the reason why. It's because I don't have her.Smee: \"Her\"? You talk about the vessel as though she's a woman.Hook: Women come and go, Mr."}
+{"doc_id":"doc_236","qid":"","text":"\"To Serve and Protect\" 33rd Episode of RoswellProduction Code: 2ADA11[SCENE_BREAK](Episode opens on Max and Isabel at home flipping through televisionchannels)Isabel: There's nothing on.Max: We must have 50 channels.Isabel: Crap. . .Crap. . .Max: Uh Huh.Isabel: Boring.Max: Uh Huh.Isabel: I'm going to takea stroll; see what people are dreaming.Max: Haven't you been over doing that lately?Isabel: Take it easy. It's harmless.Max: It's just not a very nice thing todo.(Isabel leaves, Max yells after her.)Max: Stay away from Liz, please.(He continues flipping through channels)Max: Crap. . .Crap. . .Crap. . .(Isabel is on herbed looking through her yearbook and stops at Liz's picture. We enter Liz's dream at the Crashdown. A young man enters.)Brad: Hello, Liz.Liz: Hello, Brad.(Bradlifts her up, and sets her on the counter. Liz lies down.)Liz: Would you like fries with that.(Brad and Liz start kissing. Max shows up behind the counter)Liz: I'mwith Brad now.Max: Brad doesn't even exist. Besides, you want someone who can do this.(Max gestures toward the ceiling and rose petals start to fall. Liz andMax kiss.)Liz: Oh my!Isabel: Even her romantic dreams are boring.(Back to Isabel's room. She looks through the yearbook again and stops on Kyle.)Isabel:Kyle's got to be more interesting than that.(We enter Kyle's dream. He's on a mountaintop in a Lotus position with BUDDHA.)Buddha: Remember young blossom,my most important words.Kyle: Yes, master.Buddha: To thine own self be true.Isabel: It's Shakespeare.Buddha: With every inhale find the center of yourself.With every exhale release the ties that bind your energy. Inhale. . .Exhale. . .Inhale. . .(BUDDHA is interrupted by a cell phone beeping.)Buddha: Excuse me.BUDDHA here. Yeah. When? Prepare the ship. Standby to beam us aboard.Kyle: Master?Buddha: Our enemies have arrived, Kyle. We must leave Earth and facethe dark legion.Kyle: No, no, no, no. I'm here for inner peace, not that science fiction crap.Buddha: Max Evans changed you when he saved your life. You knowthat. You're an alien now Kyle. Dude, like, accept you destiny.Kyle: No, I'm not!(Kyle looks down at his hand and it has become green and slimy.)Kyle:Ahhhhh!(Switch back to Isabel's room, where she enters another dream in a forest with flashes of light.)Isabel: Where am I? Kyle, who's dream is this?(We see aman dragging a screaming girl in a black plastic bag. Isabel wakes up in a panic.)(Opening credits)(Open on Sheriff Valenti's office, the next morning.)Voice(O.C.): Excuse me. I'm looking for a broken-down, old, war-horse somehow managed to make Sheriff of Roswell, New Mexico.Valenti: Hansen, send thatsanctimonious paper-pusher in here before I have him arrested for vagrancy.(Man enters)Dan: Damn son, you are getting old.Valenti: Real police work will dothat to you, Dan. You should try it some time.Dan: Now, that hurts. Long time, Jimbo.Valenti: Too long. So, I take it this isn't a social call.Dan: The state policeboard wants to review the Hubble shooting. VALENTI: Hubble? Well, it's an open and shut case. Crazy old man with a gun in the desert. It was over a year ago.Why investigate that?Dan: Wheels of justice grind slowly.Valenti: Do I need a lawyer?Dan: Whoa, easy, no need to get all riled up now.Valenti: That was a cleanshoot, Dan.Dan: If you say so.(Change to Crashdown. Tess is having breakfast with Kyle. She pours Tabasco sauce on her waffles with whip cream andstrawberries, and in her orange juice.)Kyle: That's a very alien thing, isn't it? The very sweet, very spicy? TESS: Uh huh.Kyle: Can I try a bite?Tess: You won'tlike it.Kyle: Oh, I hope not.(Kyle takes a taste)Kyle: Oh my God.Tess: I told you.Kyle: No,no,no. It's not completely horrible. It's almost tasty.Tess: Oh well,here. Have some more.Kyle: No, no, I can't. This is so wrong. I'm not ready for this.Tess: Not ready for what?Kyle: For the change. Not ready to be, like, ahalf-human, half-alien freakazoid.Tess: Uh, we prefer the term 'hybrids'.Kyle: I'm serious. Look, I never bargained for this. One minute I'm a normal guy with mywhole life ahead of me the next thing I know, Max Evans transmogrifies me into something not-of-this-Earth.Tess: Whoa, whoa, trans-what?Kyle: Look, I neverasked for this.Tess: Well, I suppose he could have let you die. Is that what you want? KYLE: If I had died, I would have transcended the mortal plane and beenreincarnated into the next stage of my life.Tess: Reincarnated as what, exactly?Kyle: Like, just another person or animal, maybe.Tess: An animal? Like, you couldhave ended up a gopher or something! KYLE: Look, we're getting off the point. I really need some help.Tess: What do you want from me? I don't know what'sgoing to happen to you. You know, maybe nothing will happen. Or maybe you could develop superpowers and start flying all over Roswell in a big cape. I don'tknow!(Kyle reaches for Tess' waffles.)Kyle: Could I have another-Tess: No!(Isabel and Max are talking to Sheriff Valenti in his office.)Valenti: Alright, let me getthis straight. You can go into people's dreams?Isabel: Yes. But usually I choose whose dreams I go into. This one just came to me.Valenti: Well, how do you knowthis was real, not just somebody's nightmare you stumbled into?Isabel: I don't know, but it felt real. She needs help.Max: Sheriff, when Tess was being torturedIsabel got flashes from her, and that's how she knew Tess was in danger. That's how we saved her life. We should check into this.Valenti: It's a little hard to lookfor a missing girl without a name or a face.(Dan knocks and enters)Dan: Hey, Senor Chows for lunch?Valenti: Yeah, that'd be fine.(Dan looks with interest at Maxand Isabel.)Dan: Hi.Max: Hi.Valenti: I'll see you at 1:00, Dan.(Dan exits)Max: Who was that?Valenti: From the State Police Board. He's reviewing the Hubblecase. Max: Hubble?Valenti: It's no big deal. Dan's an old friend. I'll tell you what. I'll look into it, Okay?Isabel: Thank you.(Dan and Valenti are having lunch atSenor Chows.)Valenti: When I ordered him to put his weapon down, he uh. . . he refused, brought the gun up. I felt my life was in imminent danger, so Ifired.Dan: Hmm, just like it says in your report. (Dan signals a waiter) Uh, could we have more of these sweet and sour tortillas? They're good, different, butgood. So, uh, who were those kids in your office this morning?Valenti: Nobody. Stolen bike.Dan: Hmm, What were their names again?Valenti: Max and IsabelEvans. DAN: Max Evans. . .hmm, I got a statement here says that Hubble was last seen in a car with Max Evans, before the shooting.Valenti: Whosestatement?Dan: Was Max Evans there that night?Valenti: No.Dan: Okay Jim, that's all I need to hear.(Move to the Crashdown. Liz is serving food to somecustomers)Liz: Okay, Umm, we have a Saturn Rings and a Galaxy Sub, hold the Max. (Liz looks at Maria as she realizes her mistake) Okay, so I'll be right backwith the Cokes.(Maria pulls Liz aside.)Maria: Okay, what just happened?Liz: I need help. I'm sick, Okay. I am an obsessed person.Maria: Okay, is this a generalfreakout or should I be concerned?Liz: No, I have Max on my brain 24 hours a day. Okay, I dream about him, I think about him, and now I'm saying his friggin'name without even realizing it. What am I going to do?Maria: You're in love that's all.Liz: I know, but it's not getting me anywhere.Maria: Okay relax, relax, Liz.It's not that bad. I promise.Liz: Not that bad? Really? Why don't you look at this?(Liz pulls out two pictures of Max from her apron pockets.)Liz: See! Obsession,obsession, obsession, obsession!Maria: Okay, okay, you're a Max-aholic. I'm here for you. What can I do?Liz: Get me a life.(a new guy enters theCrashdown.)Maria: Oh, you gotta be kidding me. When did you get out?Sean: This morning.Maria: You didn't break out did you?Sean: I got a release, goodbehavior.Maria: That's a first. You don't think that you're going to stay with us do you?Sean: Oh, uh, Aunt Amy already gave it the thumbs up.Maria: She is sucha soft touch, isn't she?Sean: Hi, Liz.Liz: Hey, Sean.Sean: All grown up. Like it. I'll see you at home.Maria: It's not your home.(Evans House. Grant Sorenson isflipping through TV channels as Max walks in with a look of distrust.)Max: Grant.Grant: Hey, Max.Max: You're uh. . .Grant: Waiting for Isabel.Max: Oh, right. I'llgo check on her.(Max enters Isabel's room. Isabel is hurriedly going through her closest of clothes picking out something to wear.)Max: You know, Grant'sdownstairs.Isabel: I know.Max: Do you really like that guy?Isabel: Don't start with me, Max.Max: What's wrong?Isabel: I just. . .I've been thinking about that girlall day. You know? It was different. It was like she was dreamwalking me.Max: You mean, like, she's an alien?Isabel: No, no, I don't think so.Max: Well, maybeyou should cancel your date.Isabel: You know how many times I have cancelled in the last month? I have no more excuses.Max: Well, tell him the truth. You'vebeen battling evil aliens for control of the planet and it's hard to fit him in.Isabel: Funny. No, no, I want a normal date with a normal guy tonight. I'm going, sojust. . .just tell him I'll be ready in five minutes. Okay? Five minutes.Max: Five minutes.Isabel: Yeah, five minutes. Okay? Thank you.(Valenti living room. Kyle issitting in front of the TV, which is off. He tries out his alien powers by raising his hand toward the screen. Tess walks up behind him and sees what he is doing, soshe picks up the remote control and turns the TV on.)Kyle: Oh God, jeez.(Tess laughs quietly to herself and Kyle tries again.)Kyle: Channel 15.(Tess changes thechannel with the remote.)Kyle: Channel 23(Tess changes the channel)Kyle: Unscrambled p0rn.(Tess changes again, and Kyle jumps up in triumph.)Kyle: I havebecome -(he turns and sees Tess behind him.)Kyle: an idiot.Tess: Oh, but a cute one. Hey(Tess tosses the remote to Kyle)(Switch to the movies with Isabel andGrant. Isabel rolls her head from side to side.)Grant: You sore?Isabel: Yeah.(Grant massages her neck.)Isabel: Thank you.(Isabel lays her head on Grant'sshoulder and closes her eyes. Suddenly she gets another flash of a young blond girl being kidnapped as she goes to her car. We see drugs and a syringe. Next wesee her being dragged in a black bag, by a man. Isabel sits up with a yell.)Grant: You okay?Isabel: Yeah, I'm fine. I'm fine. I'm sorry.(Isabel and Max are inValenti's livingroom later that night.)Isabel: I need to find her. She's in trouble. She's going to die.Valenti: I thought you weren't sure.Isabel: It's real Sheriff. Iknow it's happening.Max: You have to find her.Valenti: Find who? What missing girl? No one's been reported. I don't know what she looks like. I don't have anyleads. . .Isabel: I saw her car. It's silver.Valenti: Did you see the plates?Isabel: No, but it's a Honda, or a Toyota, or something. I'm not good with cars.Valenti:Okay, I guess I could start looking through the abandoned vehicle reports. See if it's turned up. Okay?Isabel: Thank you. I'm sorry for barging in like this.Valenti:Hey, hey. It's Okay, alright?Isabel: Thank you.(As Isabel leaves Max talks to the sheriff.)Max: I know how all this must look.Valenti: I believe her. I do. I justdon't know how realistic it is to think that I'm going to be able to find this girl with this evidence.Max: I know. Thanks.(As Max leaves the sheriff makes a phonecall.)Valenti: Hansen, I'm coming in.(Valenti enters the Crashdown on his way in to the station and sits at the counter by a woman.)Valenti: Large coffee and a"}
+{"doc_id":"doc_237","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: EXT. KING PRIAM'S PALACE. BALCONYCASSANDRA: Then woe to the House of Priam. Woe to the Trojans!PARIS: I'm afraidyou're a bit late to say 'whoa' to the horse! I've just given instructions to have it brought into the city.[SCENE_BREAK]2: EXT. PLAIN OF TROY(The horse movesslowly forward to the city. At its feet, the excited, but doomed crowd can be heard.)[SCENE_BREAK]3: INT. CHAMBER OF KING PRIAM'S PALACE(All except VICKIhave come back from the balcony and back into the chamber. She is nowhere to be seen but her absence is not immediately noticed.)CASSANDRA: Of all theidiocy! To have it brought into the city!PARIS: (Despairing.) Why? Th...that horse is in the image of one of our gods!CASSANDRA: It's a trick. My dreams havealways been right and they foretell disaster.(PARIS laughs in a sneering fashion.)PARIS: Now were they right about that little temple? That has brought usnothing but good luck.CASSANDRA: Good luck you call it. The whole family besotted by that sorceress!PRIAM: Oh, I do wish you'd stop calling Cressida that. AndI would call it luck to have the entire Greek army removed from our shores. Peace, at last! Though the arrival of the horse is a little puzzling.PARIS: Well,Cressida probably arranged it and the very sight of it just...just frightened the Greeks away.(TROILUS looks round at this reminder.)TROILUS: (Puzzled.) Where isCressida?(The others also glance round the room.)PARIS: Oh, she's probably down in the square watching them bring in the horse.TROILUS: Oh, then I'd bettergo and look for her. I don't like her to go wandering round the city on her own.PRIAM: No, bring her back up here again she'll get a betterful view.(As TROILUSleaves and PRIAM and PARIS go back up to the balcony, CASSANDRA moves to the back of the room where KATARINA, a handmaiden, is standing and whispersto her.)CASSANDRA: Katarina! Go and look for the sorceress. I don't trust my lovesick brother.KATARINA: But great priestess, the auguries saidthat...CASSANDRA: (Hisses.) Do you dare to question me?!(KATARINA hangs her head in fear.)KATARINA: No.CASSANDRA: Very well then, go and watch for thatgirl.(KATARINA leaves the throne room worriedly as CASSANDRA goes back onto the balcony.)[SCENE_BREAK]4: INT. KING PRIAM'S PALACE. DUNGEONS(VICKIis descending into the gloom. STEVEN sees her approaching through the bars.)STEVEN: What's going on up there?(VICKI unbolts the door.)VICKI: They're justbringing the horse into the city. Follow me.(STEVEN leaves the cell and follows her as instructed.)[SCENE_BREAK]5: INT. WOODEN HORSE(The Horse is stillbanging from side to side with a very uncomfortable DOCTOR within...)DOCTOR: Oh, I'm still very worried about those fetlocks!ODYSSEUS: Be happy that's allyou have to worry about. Ah! Of all the undignified ways of entering a city this takes the flying phoenix.DOCTOR: If only you would have allowed me another dayto fit shock absorbers.[SCENE_BREAK](The DOCTOR is almost knocked from his feet by the movement of the horse as it suddenly stops.)ODYSSEUS: Zeus bepraised! We've arrived.DOCTOR: (Relieved.) Oh! Well now, what is it you propose to do, hmm?ODYSSEUS: We wait Doctor, without movement.(The DOCTORmakes a noise as he does move.)ODYSSEUS: (Whispers loudly.) In absolute silence![SCENE_BREAK]6: EXT. TROY. MAIN SQUARE(The towering Horse stands inthe main square. A chattering crowd can be heard below it.)[SCENE_BREAK]7: EXT. KING PRIAM'S PALACE. BALCONY(PARIS is rather pleased with himself as he,the King and CASSANDRA look down on it from the balcony.)PARIS: There, father, the horse is safely installed. And you may notice my sister that nothing, er,\"disastrous\" has occurred.CASSANDRA: Wait and see. There's time yet and mark my words that horse will be the doom of Troy.PRIAM: It's a little morerough-hewn than I had expected. Well, since it's here, we'd better take a closer look.[SCENE_BREAK]8: EXT. MAIN SQUARE OF TROY(STEVEN and VICKI aremoving behind pillars to avoid the inhabitants of the city who themselves are heading in the direction of the Horse. The two companions reach the edge of thesquare and look up at the towering structure. STEVEN is impressed.)STEVEN: That's some horse.VICKI: If you can call it that.STEVEN: The Doctor said...(He cutsoff as a group of Trojan citizens begin laughing close by. STEVEN realises he is still dressed as a Greek and pulls VICKI away back from the crowd and into bettercover.)VICKI: It'd be pretty silly if they caught you again.STEVEN: Hmm, and you!VICKI: What do you mean?STEVEN: Well, if they find us together they'll knowyou let me out.(VICKI indicates the Horse.)VICKI: They think I invoked that thing. I'm all right.STEVEN: Yes, only so long as they think it's a gift from the gods.They'll know very differently once the Doctor and company come out of it.VICKI: Do you think he's in it?STEVEN: Well, it's likely, isn't it? I mean he'll be worriedabout getting back to the TARDIS.VICKI: He must be able to see he's got nothing to worry about. That thing is so rickety it must be full of people.STEVEN: Ohright, you'd do better in the time they had? Now, I wonder why he didn't delay like we asked?VICKI: He must have a plan of escape - to rescue us. Cyclops musthave told him where we were.STEVEN: If Cyclops got through.VICKI: Look!(VICKI suddenly notices KATARINA moving through the crowd as if searching forsomething or someone.)VICKI: That is one of Cassandra's girls.STEVEN: (Whispers.) What?VICKI: That girl, I've seen her with Cassandra. She's a handmaiden atthe Temple or something.STEVEN: Then she must be looking for you. Look, you go back. I'll find somewhere to hide around here.VICKI: Look they trust me,I'd...STEVEN: (Interrupting.) Better go! In any case, Troilus will die of jealousy if he knows you're with me.VICKI: And what is that supposed to mean?STEVEN:(Laughs.) Oh come off it, Vicki. The way you two were carrying on back there in the...VICKI: (Interrupts angrily.) Troilus has been very kind to me and I'm veryfond of him and if all you can do is make remarks like that...STEVEN: (Laughs.) I'm sorry, I'm sorry!(He sees that VICKI is upset and adopts a more gentlemanner.)STEVEN: No really, I am sorry. Okay, but look, if you really are that fond of him, you'd better tell him to get out of the city.VICKI: Why?(She looks againtowards the horse and the realisation of what is to come dawns on her.)VICKI: You mean when they come out of that thing they...Steven!STEVEN: It's possibleisn't it? Tell him to get out of Troy, just to be on the safe side.(The TARDIS sits small near the looming and ominous Horse.)[SCENE_BREAK]9: INT. CHAMBER OFKING PRIAM'S PALACE(TROILUS comes running into the chamber where PARIS, PRIAM and CASSANDRA are gathered. The noise of the crowd reaches them fromoutside.)TROILUS: Diomede! He's gone.PARIS: Gone?TROILUS: His cell's empty. The guards were locked in by a trick so they say.CASSANDRA: That Cressida!Troy's doom is nigh!TROILUS: But how could it be? She's one girl!CASSANDRA: (Spits.) A girl you call her, you love sick fool! But I know she's a witch and mustbe burnt, along with that horse out there.(CASSANDRA suddenly sees VICKI entering the room.)CASSANDRA: See! There she stands.(TROILUS and PARIS bothstart shouting at once.)TROILUS: ... !PARIS: Now did you ever see someone so unlike a witch?PRIAM: (Interrupts.) Now, now quiet all of you. (To VICKI, gently.)Come here my child, where have you been? We've been worried about you.VICKI: I've just been out.PRIAM: Yes, but where?TROILUS: Look you didn't freeDiomede did you?VICKI: Diomede?PRIAM: Yes - your friend, the Greek prisoner, he has escaped. Did you set him free?PARIS: Oh, that's nonsense. I mean howcould she have?CASSANDRA: By sorcery.VICKI: I am not a sorceress - really I'm not.PRIAM: Yes, I...I'll believe you my child, but you must forgive us if we arenaturally suspicious. This has been a long and difficult war and peace will take a little bit of getting used to.CASSANDRA: My handmaiden Katarina will stay withher.PRIAM: Very well. Come my children, our people have gone to the square of ot...oratory. We must go and join them there and I must speak. And we mustalso make plans for the celebration. (To VICKI.) Thank you, my dear, see you later.VICKI: Thank you, thank you for being so kind to me.PRIAM: My dear child,this city owes its salvation to you.(PRIAM and the others depart leaving VICKI alone with KATARINA. VICKI is anguished.)VICKI: Oh no, let it nothappen.KATARINA: Did you want something?VICKI: No, thank you.[SCENE_BREAK]10: INT. WOODEN HORSE(Inside the Horse, the DOCTOR is agitated whileODYSSEUS stares into space.)DOCTOR: How you can sit there so peacefully defeats me, hmm! Have you no feelings, mm? No emotions hmm?ODYSSEUS: I wasthinking, Doctor.DOCTOR: Hmm!ODYSSEUS: That with any luck, either Agamemnon or Achilles will not come through.DOCTOR: You mean they'll desert us,hmm?ODYSSEUS: No...DOCTOR: Hmph!ODYSSEUS: ...die. Just a hope. One less finger in the pie, a greater share of the booty for me.DOCTOR: That is a mostimmoral way of looking at life, hmm!ODYSSEUS: Nonsense! It's the reason that I've been here for ten long years fighting all the time.DOCTOR: Yes, well, I mustget out of here at once.ODYSSEUS: You can't.DOCTOR: (Sarcastically.) Ahh! I've only got to pull that lever...(The DOCTOR taps a wooden lever.)DOCTOR: ...andI can get back down into the square.ODYSSEUS: (Laughs.) Yes, yes. But as I happen to be sitting on the rope, you'll fall forty feet and break your neck.DOCTOR:(Shouts.) I will not be party to your schemes! (Quieter.) You forced me to invent this contraption.ODYSSEUS: I'm very glad I did, Doctor.DOCTOR:Hmm?ODYSSEUS: Up to now, it's been very satisfactory.DOCTOR: You had no right to bring me here at all. I'm utterly useless to you.(ODYSSEUS laughs heartily,and sarcastically the DOCTOR joins in.)DOCTOR: You must let me out of here! You're selfish, greedy, corrupt, cheap, horrible. Your one thought is for yourselfand what you can get out of it.(ODYSSEUS places a sword at the DOCTOR'S throat. The DOCTOR starts.)ODYSSEUS: Be quiet, old man.DOCTOR: I will not bequiet! You may stay here if you wish to have your insignificant win. Your victory or whatever you call it, but you must let me out of here.ODYSSEUS: One moreword out of you and I shall kill you! You would be my first victim in Troy.(The DOCTOR steps away from the hatch and ODYSSEUS lowers his sword.)ODYSSEUS:That's better. About now our ships should be returning...as you planned.(The DOCTOR snorts in a derisory manner.)[SCENE_BREAK]11: INT. CHAMBER IN KINGPRIAM'S PALACE(KATARINA is asleep in a chair. VICKI comes down the steps from the balcony as TROILUS enters the chamber.)TROILUS: Cressida.VICKI: Oh!Oh, I'm so glad you've come.TROILUS: I had to see you.VICKI: Troilus, dear Troilus, will you do something for me?TROILUS: Anything.VICKI: Leave thecity.TROILUS: Why?VICKI: It's Diomede.TROILUS: Diomede?VICKI: I'm sure he's out on the plain. You've got to go and look for him and find him. If you bringhim back you'll prove yourself the warrior you really are, he'll be your prisoner then as well as Paris'.TROILUS: But he may have been rescued by the Greeks by"}
+{"doc_id":"doc_238","qid":"","text":"LUCAS: Mom![LUCAS' HOUSE. KAREN is working at the table. LUCAS walks into the room, whering a robe and a towel around his neck, shampoo still in hishair]LUCAS: Mom, did you forget to pay the water bill?KAREN: No, of course I paid the water bill. [She sees LUCAS and walks over to the sink and tries the waterthere. It doesn't work] See? This is what we need the emergency Visa for. Something must've broken. I'll take care of it. Come on, lets get you rinsed.[LUCASleans over the sink and KAREN pours a water jug over his head. She laughs]LUCAS: How is this funny, Mom?KAREN: How is this not funny?[THE SCOTT'S HOUSE.DAN and NATHAN walk into the kitchen to find a WOMAN preparing a salad]WOMAN: Hey. Check it out. It's called 'dinner.'DAN: Who is that lady? Is that mywife?[NATHAN looks pleasantly surprised]DAN: I didn't think you were getting back until Monday.WOMAN: I wasn't. Until I sweet talked Ziodex into doubling their'Gift to AIDS'research. It took me all of one meeting.DAN: Wow, I'm impressed. You sure you don't want to quit saving the world and come sell cars withme?DEB: Mmm, thanks, but I like the Frequent Flyer miles.[DEB walks over to NATHAN and gives him a hug]DEB: Hey. How's my boy?NATHAN: I havewarm-ups, Mom.DEB: Oh, come on, sit. Dinner's almost ready and I haven't seen you from weeks.NATHAN: I can't. I got to go. Don't wait up.DAN: Nathan.Remember what I told you. He can't shoot if he doesn't have the ball.[THE GYM. The RAVENS are all gathered around WHITEY and the cheerleaders arechanting]WHITEY: Damnit, this is a team, not a Chinese fire grill. Scott, you're plain selfish. Getout there and pretend you know each other.TIM: Ravens on three.One! Two! Three!TEAM: Ravens!WHITEY: Lets go, lets go, lets go![THE GYM. PEYTON and BROOKE are supposed to be cheering off to the side]BROOKE: Hey, canI catch a ride with you to Nathan's party later.PEYTON: I didn't think you were going. I figured you'd be hiding out in Lucas' backseat again.BROOKE:Jealous.PEYTON: No.BROOKE: What? I could see it. You're both so broody. You could brood together.[THE GYM. The game's going on. As they play, theannouncer's announcing]ANNOUNCER: Now the Ravens in bound with the ball. Looks like they're trying toisolate Nathan Scott on the baseline. The Masenbergdefense tightens on him. Scott battles through, still working hard to get open down there. Now Tim Smith, with the ball, working over on the wing. He's dribbling,looking for Nathan underneath, but he's not there. And now- Oh! Oh! A cross court pass putting Lucas Scott over the basket.[KAREN'S in the audience. She'sgrinning. DAN, on the other hand, is not]ANNOUNCER: So much for the putty grip on that one as the Ravens fall back on the bench.NATHAN: [Screaming at TIM]What was that?ANNOUNCER: And I tell you what, Lucas Scott is really starting to gel with this team.[THE GYM. The game's over, and most of the people havealready filtered out. NATHAN and TIM are walking across the gym, and NATHAN'S angry]TIM: He had a better angle. I'm sorry. Nathan, come on, Man. I'm justtrying to win.[THE GYM. KAREN'S standing with LUCAS]KAREN: So are you excited?LUCAS: What? That we won?KAREN: No, because there's running water in thelocker room. We're gonna be roughing it until tomorrow.[LUCAS laughs]LUCAS: It's okay...[THE GYM. NATHAN walks up to DAN]NATHAN: What's up, Dad?[DANlooks at him then walks away. DEB walks up to NATHAN]DEB: Nice game, sweetie.[NATHAN looks toward the direction in which DAN walked away]NATHAN: Trytelling that to Dad.[As NATHAN walks over to LUCAS, he hears a woman say to her son \"I'm proud of you. I'll see you later\"]NATHAN: Two decent games in a row,man. Getting better or just lucky? [Pause] Team's got a party tonight. My parents' beach house.LUCAS: Why are you tell me that?NATHAN: Because I said theteam, didn't I? [Pause] Look, it's kind of the off season. Might as well deal with it.[THEME SONG PLAYS][A STREET AT NIGHT. LUCAS is driving the Body Shoptruck and HALEY'S sitting in the passenger street]HALEY: The guys kidnapped you, trashed your court, threatened you with bodilyharm. Party, yeah. Sure, whynot?LUCAS: Okay, listen, I know it's all a setup, alright? But I'm not gonna let him screw with me. Whatever he dishes out he's going to get back double.HALEY:Do you think maybe- I mean, just maybe- he's had a change of heart?LUCAS: Hmm. That requires a heart.[THE STREET IN FRONT OF NATHAN'S PARENTS'BEACH HOUSE. PEYTON pulls to a stop. BROOKE'S in the passenger seat]BROOKE: Every time I ride with you, I swear I'm never going to do it again.[PEYTONgets out of the car, and BROOKE follows]BROOKE: Keys?PEYTON: Tempt fate.[TIM walks up to PEYTON]TIM: Peyton. You've got to talk to him. Lucas had thebetter shot. You saw it, right?BROOKE: Tim? Are you being pathetic?[TIM rolls his eyes and turns around just as LUCAS' truck pulls to a stop]TIM: What's hedoing here?[NATHAN walks over]NATHAN: I invited him. I mean, since you guys are such great friends now.PEYTON: What are you trying to pull?NATHAN:Nothing.[LUCAS and HALEY get out of the truck and walk over]NATHAN: I wasn't sure you'd come.LUCAS: That makes two of us.NATHAN: [To HALEY] Hi. I'mNathan Scott.[He holds out his hand and HALEY shakes it]HALEY: Um, yeah, I know, I'm Haley.[NATHAN walks inside with LUCAS and HALEY, passing PEYTON onthe way. She looks suspicious][INSIDE THE BEACH HOUSE. NATHAN, PEYTON, BROOKE, and TIM walk into a room]BROOKE: Tonight's gonna be great.[TIMsmiles and the four walk past the camera, right as LUCAS enters. He's looking around. HALEY whistles]HALEY: Well. I bet their plumbing works.[LUCASlaughs]HALEY: I'm just saying...LUCAS: Alright, thanks.HALEY: Yeah.[BROOKE walks up to TIM, PEYTON, and NATHAN, and another guy and girl who arestanding elsewhere in the room. BROOKE'S holding a newspaper]BROOKE: Have you guy's seen this?GIRL: Uh-uh.BROOKE: The High School Fearleader. It's acomic strip. [Pause] Wait, this is insulting, right?GUY: My dog can draw better than this.BROOKE: Really, what guy keeps his hat on during s*x?[NATHAN looks atPEYTON]BROOKE: Who is this socky person anyway?NATHAN: [Still looking at PEYTON] Yeah, I wonder.PEYTON: It's just a stupid comic strip. Who cares,right?BROOKE: It's more like sucky. Whoever it is doesn't know the first thing about it. It's like so...LUCAS: Shallow?[PEYTON looks at LUCAS]PEYTON: Where'sthe keg?[NATHAN'S ROOM. As DAN passes the door, he noticed DEB is in there. He steps in]DAN: You okay?DEB: He used to ask before he put stuff up. Now... Idon't even know what he's interested in. [Pause] Besides basketball.DAN: Basketball. Yeah, seems like it changes from day to day.DEB: Mmm. [Pause] He talksto you, Dan. How's he been doing?DAN: Well, he's holding up considering Whitey's moved him out of his position, but it's probably temporary.DEB: I asked youhow he is, not how he's playing. It must be confusing for him withLucas on the team now. [Pause] Were we going to talk about that?DAN: I think that's probablytemporary too.DEB: You think or you wish? [Pause] Um I, I saw Karen at the game tonight, but then... I've never really spoken to her.DAN: I know this is hard onyou, Deb.DEB: No, not really. I think it's harder for you and Nathan.[BEACH HOUSE PARTY. LUCAS and HALEY are walking]HALEY: So, I know you're like, havingthe time of your life, but can we please makelike a tree and get out of here?LUCAS: We just got here.HALEY: Whatever. You let me know when you've provedyour point. I'm going to go to one of the eighteen bathrooms in this place.LUCAS: Gonna be back in five?HALEY: Yeah.LUCAS: Alright[HALEY leaves]RANDOMGUY: Hey, good game, man.LUCAS: Hey, thanks.[LUCAS walks into the dining room, where BROOKE, NATHAN, PEYTON and a few others are playing agame]BROOKE: Lucas. Come play.LUCAS: What's the game?BROOKE: I never...GUY: And yet apparently you have.BROOKE: Shut up, Vegas.NATHAN: Alright. Sothe game is, we all take turns saying things that we've neverdone, and anybody at the table who has...bam![NATHAN holds out a cup]LUCAS: Drinks.[NATHANnods]LUCAS: Yeah.[LUCAS takes the cup from NATHAN and takes a sip]NATHAN: Alright, Theresa, you're up.THERESA: Okay. Lets see. I've never... had s*x withanything made out of plastic.[BROOKE takes a sip and everyone laughs]BROOKE: Okay, my turn. I've never... no I did that, um...[BROOKE laughs]NATHAN:Alright. My turn. Oh, lets see. Um... I've never... I've never had a dad whowished I was a stain on the bed sheets.[PEOPLE laugh, somewhat uncomfortably.PEYTON looks at LUCAS. LUCAS glares at NATHAN, then walks over to NATHAN. He places his cup in front of him]LUCAS: Then you're welcome to mine.[NATHANlaughs. BROOKE and PEYTON look after LUCAS, worried][A BATHROOM door. PEYTON goes to open it]VOICE: Hang on a minute.[PEYTON lets go and a toiletflushes. HALEY comes out]HALEY: Sorry.[She starts to walk by PEYTON[PEYTON: How's the tutoring going?[HALEY stops]PEYTON: You're tutoring Nathan, right?[Pause] It's okay. He tells me everything.HALEY: Yeah. You know, he um... said he needed some help.PEYTON: Maybe you could teach him to stop being such ajackass.HALEY: I will... put that on my lesson plan.PEYTON: Just be careful, okay.HALEY: Yeah... sure.[HALEY starts to walk away]PEYTON: Does Lucas knowyou're helping Nathan?[HALEY doesn't answer]PEYTON: You know... you say a lot when you keep your mouth shut.HALEY: I'm... okay.PEYTON: I keep mine shuttoo.[A ROOM full of trophies. HALEY picks up a picture, and LUCAS knocks down another]HALEY: What happened?LUCAS: Oh, same old crap. You know, he thinksthat if he keeps hammering me, I'llquit the team.HALEY: Oh. What did he do this time?LUCAS: He made some feeble comment. Not gonna let it get to me.HALEY:Yeah, obviously that's working out for you.[LUCAS laughs]HALEY: Luke... have you guys ever actually talked?LUCAS: Yeah, sure. We trade emails too.HALEY: I'mjust saying you're so hypersensitive around each other. And... I get it. Ijust think that maybe everything he says, you take the wrong way, and vice versa.LUCAS:Okay, there is no misunderstanding what he said. And why are you defending him?HALEY: I'm, I'm just, I'm trying to bring some perspective. I mean...It's areally screwing situation and I'm sure having you around isn't any easier for him than it is for you and I think maybe if you guys could just talk...LUCAS: Okay,tell me that I'm not hearing this.HALEY: Then what are you doing here, Lucas? Obviously, you're looking for something, right?LUCAS: I'm not going to let himwin.HALEY: Fine. Don't let him win. I'm gonna go.[HALEY starts to leave]LUCAS: Haley!HALEY: Nope.[As HALEY walks out of the room, she runs intoNATHAN]NATHAN: Are you leaving?HALEY: Nathan...we had a deal. You promised you were gonna be nice.NATHAN: I- I am nice. I invited him to this stinkingparty, didn't I?HALEY: Well, what for? So you could pick on him in public? What did you say anyway?NATHAN: Oh, man. Is that what- I made a lame joke. Imean, look, the guys...sometimes we get kind of raw with each other. I was just trying to include him. He took it the wrong way.HALEY: Well, maybe you need to"}
+{"doc_id":"doc_239","qid":"","text":"At the murder sceneJane: Oh, it's lovely.Lisbon: It's a crime scene.Jane: It's a lovely crime scene.Rigsby: Hey. Couple joggers found our John Doe on theirmorning run. Body's still pretty fresh, so it must've happened last night. No signs of an entry or exit wound means cause was probably a blunt force trauma to thehead .Lisbon: And they brought in the grown-ups because they couldn't decide whose sandbox it was?Rigsby: Right. Body's right on the city line. The only thingthey can agree on is that it was a carJacking gone wrong. Wallet, watch, wedding band- everything gone.Jane looks at the body and finds a cuff linkJane: Oh, noteverything. Kkiller would have been very frustrated to not be able to take this.Lisbon: Looks like a wheel.Jane: Motorcycle wheel.Lisbon: I don't buy it as acarJacking. maybe the murderer was covering it up as one, but if you're after someone's car and valuables, you grab and bolt. You don't waste time taking off acuff link.Rigsby: A gunshot or a stab wound Is more likely than a beating.Lisbon: Beating like this takes time. The murder was personal.Jane: No surprise there.The haircut, the suit, the cologne- This man had enemies.Rigsby: His cologne tells you he had enemies?Jane: Sure. okay, confrontional. Finishing touch on awardrobe that says, \"pay attention. show respect.\" This was an extrovert tough guy, a professional, a backroom politician or a lawyer, a fixer, the type that'sgood with people, making people do things they maybe don't want to do.Lisbon: Uh, what he is, is useless until we know who he is.Jane: Well, I can do that,too.He finds a headsetRigsby: Oh, no, Jane. I, uh, I checked. the phone's not on him.Jane: The signal light's still on. Phone's in range.Lisbon: His assailantprobably threw it in the trees. What are you doing?Jane: I'm making a call.Lisbon: But you don't have the phone.Jane: I have my voice.Lisbon: You still need thephone. Want to use the voice activation? You need its names and numbers.Jane: There is one name programmed into every phone, particularly into onebelonging to a middle-aged man that was wearing a wedding band. Home.The cell phone ringsWoman: Hello?Jane: Hello. This is Patrick Jane from the CaliforniaBureau of Investigation. I was wondering if you knew a man 6-feet tall, mid 40s, salt and pepper hair, gray custom-made suit, weighing about 192, give ortake?Woman: That's my husband Gordon Hodge.Jane: Gordon Hodge, hmm.Woman: You said you're from CBI? Is something wrong?Jane: Uh, just a sec. (Hegives headset to Lisbon) It's for you.The team is Hodge's homeNina Hodge: I knew something like this would happen, sooner or later.Lisbon: Well, was yourhusband having some sort of trouble lately?Nina: Gordon was a criminal attorney with a very special practice. He had only one client- the Sinner Saints.Jane:Bikers, are they?Rigsby: Yeah, they're one of the top biker gangs in the state. They run some legit businesses, but mostly they're into drugs and prostitution,low-rent protection rackets, that kind of thing.Nina: For years, I begged him to get out, but Gordon said that a lawyer never abandons his client. it's unethical. It'swhat he always called them- never \"the gang, \" always \"the client.\"Lisbon: When was the last time you saw him?Nina: Yesterday morning, before work. Gordonused to meet these people at all hours- That's how they are. So we didn't get worried when he didn't come home last night.Lisbon: Had he been acting differentlylately?Nina: He'd been more on edge the last week or so. I think something happened at work, but I'm not sure what.Lisbon: Did you ask him about it?Nina: No,never. Work was off-limits.Lucas Hodge: He said it was boring.Jane: What was the real reason? Do you think he was ashamed, or he sensed your shame?Lucas:He wanted to protect us.Lisbon: Would his colleagues at the office have known what was going on?Nina: No. He was a one-man shop. Didn't even have asecretary. Gordon didn't trust anyone with his business.Lisbon: Any idea who might have wanted to kill him?Nina: Well, you might want to ask his client. He knewall their secrets. He probably learned something that he shouldn't have.Rigsby: Either of you ever meet any of those scumbags?Lucas: No.Jane: You two must bevery torn- living in such a beautiful home, driving nice cars, going to good schools, 'll paid for by dangerous criminals, Or, uh, \"scumbags, \" as my colleaguesays.Nina: Do I wish that Gordon would've defended civil rights leaders? Yes, of course ! But he believed that everyone had a constitutional right to have a gooddefense. He had his principles.Lisbon: Thank you for your time.They go out of the houseLisbon: Did you go to some interview school I've never heard of? Nexttime, get the facts, save the editorial.Rigsby: Yes, ma'am.He looks at JaneLisbon: I know. Jane did it, too. He's not a CBI agent. From you, I expect professionalstandards.Rigsby: Yes, boss.Cho arrivesCho: That was the captain of the local c. h.i. p.s. Hodge's car was just fished out of a lake about a mile from the murderscene- no good for prints. He said that two weeks back, they busted Hodge at a highway rest stop, walking to his car with 2 ounces of coke and 2 ounces of methin his pockets. Nailed him with felony possession...Rigsby: Nice.Cho: Only the d. a. dropped the charges. There was some unlawful search technicality.Lisbon:Either Hodge is a great lawyer...Cho: Or the d. a. turned him in exchange for dropping the charges-planned to use him as an informant.Rigsby: Well, if the saintsfound out-Cho: Yeah, they'd kill him. they did know about the charges. Their boss, Von Mcbride, posted Hodge's bail.Lisbon: Well, talk to your friends at the D.A.Find out what the story is there. Jane and I will go talk to the Sinner Saints.Cho: Okay, be careful.Rigsby: You want me to come for backup?Lisbon: Uh, no. talkto forensics about the car. Jane, let's go. now, please? Come on.Jane and Lisbon are in front of the Sinner Saints BarJane: (Speaking about motorcycles)Beautiful, huh?Lisbon: No, not really. I fail to see the charm.Jane: It's the glamour of mobility. That's why the girls went for Cain and not Abel.Lisbon: Is thatright?Jane: Yeah. nomads- sexier than farmers. They have romance.The Lisbon's cellphone rings. She picks upLisbon: Lisbon.Cho: I spoke to my friend in theD.A.'s office. They didn't make a deal with Hodge. They let him go 'cause the case was less than ironclad, and they've already lost too many to hodge and thesaints. Last 10 years, they've beaten the rap in over 50 cases- Murder, rape, drug-trafficking. they're bulletproof.Jane: Nobody's bulletproof.Cho: Well, my friendsays to stay away from them. That they're bad news.Lisbon: Good, sound lawyerly advice. I'll take that under advisement. (She hangs up) You ready?They enterthe bar. Bikers look at themLisbon: (To Jane) There's romance for you. (To bikers) We're with the CBI. We're looking for Von Mcbride.Xander: Not here, which iswhere you need to be.Lisbon: Well, can you tell us where he is?Xander: No. I cannot.Lisbon: Listen, we're here for information, Not trouble, boys.Xander: Well,we've got nothing to say.Lisbon: I can take you in if you want me to. I prefer to talk here.Xander: Like I said, there's nothing to talk about. We're not doinganything illegal.Jane goes to the back room where a man playsJane: Mr Mcbride?Lisbon: (To Xander) It was nice talking to you.Jane: Your focus on this pressingmatter suggests you're the man in charge here.McBride: Yeah, well, keep on walking, blondie.Lisbon: We just have a few questions for you. It won't takelong.McBride: Yeah, well, I'm sorry. I don't, uh, talk to police officers on the advice of my lawyer.Lisbon: Your lawyer's dead.McBride: Yeah, I heard that. But hisadvice is still good.Xander: Means your business here is done.Jane: Oh. You don't want to know who the informant is, then?Xander: What informant?Jane: Oh,I'm sorry. Forget I spoke.Xander: You messing with me?Jane: Yeah, I'm messing with you. There's no informant.Xander: Come here.Lisbon: You touch him, andI'll arrest you.Xander: I would love to see you try and do that.Jane: What's your name?Xander: Xander.Jane: Xander, your threats are empty. She's a stateagent. You're not gonna lay a finger on her, and you know that, so why play tough? W-where's that come from, this need to intimidate?Xander: I'm a sadist, andI bore easily.Jane: Oh. me, I see a difficult childhood- Bad parenting, a lot of torment. But I also see how that suffering gave you great powers of empathy and astrong creative side, and those are the qualities you should try and nurture in yourself. Not this brutish character you try to hide behind.McBride: Oh, that'sXander, all right. Full of empathy. You guys want a drink?Jane: Sure.Later, Lisbon and McBride are sitting at a table. Jane plays billardsMcBride: So what's thiscrap about an informant?Lisbon: How long have you know about hodge's taste for coke and meth?McBride: Couple years. Guy liked to party, but he could still dohis job.A woman arrives and sits at their tableJane: Couldn't have been too thrilled when he got busted.McBride: Case got dropped.Jane: Must've wonderedwhy.McBride: Illegal search.Jane: Yeah. Either that or Hodge, uh, flipped on you.Diamond: That son of a-McBride: Hold on a second, Diamond. He didn't flip.There is no informant.Lisbon: Where were you last night?McBride: Right here. And I got 30 other brothers who will vouch for me and each other. Look, man, noneof my guys did this. We loved Gordon, man. he was like a member of the club.Diamond: You know, he couldn't ride worth a damn.McBride: No, he couldn't, huh?He tried, though.Lisbon: Who killed him?McBride: My guess? Probably some other motorcycle club looking to put us out of business- Chaos Brigade, BolosPlata.Shouting from front of the barWoman: Get your hands off of me! get off me! Help! get your hands off of me! Get off of me! Get off of me!Lisbon: Let her go,and back away! Back away now!Woman: Get your hands off me! You're murderers! All of you!Lisbon: Ma'am, take it easy. I'm CBI. Ma'am!But the woman runawayIn the bar, are McBride and JaneJane: Who was that?Sshe a friend of yours?McBride: Never seen her before. Mentally deranged, seems like. Poorthing.Jane: You know, you're a very good liar. Most people subconsciously signal dishonesty, but you? there's nothing. No inner conflict. Usually, that's the markof what shrinks like to call a sociopath.McBride: Well, if by \"sociopath, \" you mean that if you cross me, I would enjoy watching you suffer pain before I kill you...Then, yeah, I'm a sociopath. See ya.Jane: Bye.In the CBIRigsby: So we talked to the gang unit. There's no other biker gang would cross the saints and run therisk of starting a war that they couldn't win.Jane: This is incredible. you should see this.He is sitting on the sofa reading a paperLisbon: Hold on. Anything on thewoman in the parking lot?Jane: Sinner Saints have their own web site.Lisbon: (irritated) Really?Jane: Yeah.Cho: We cross-checked registrations of the truckmodel and color with driver's license photos fitting her description. No hits. truck must be registered to her husband or other family member.Lisbon: Mcbride'sclamming up about her means he's hiding something.Jane: He's merged two other gangs into the saints in the last five years. It's the fastest growing gang in thenation.Lisbon: Go to Hodge's office. See if you can find anything on the gang's operation that pops. And have the deerfield P. D. Issue a bolo on the woman's"}
+{"doc_id":"doc_240","qid":"","text":"THE INVISIBLE ENEMYBY BOB BAKER AND DAVE MARTINPart OneRunning time: 23:09[SCENE_BREAK]An asteroid field with a shuttle very cautiously andwobblingly entering.A wider shot of the asteroid field with the shuttle moving more confidently.Flying asteroids!Inside the shuttle we see Safran and Silvey incomfy chairs. Then we see Meeker at the bridge.MEEKER: Going to manual.SILVEY: What for?MEEKER: Why not? If we're going to be slammed around, I'd soonerdo it myself.SILVEY: It's still telling you what to do.MEEKER: Yes, but at least I'm doing it.SILVEY: Come on, Meeker.SAFRAN: You're off course.MEEKER: Yes,sorry, skipper.SAFRAN: Put it back on automatic, please.Meeker tries various controls and it's obvious there's a problem.MEEKER: Eh? I can't!SAFRAN: Titanshuttle captain. New course for Titan, please.He climbs up toward Meeker.SAFRAN: All right, Meeker, that is enough.MEEKER: What?SAFRAN: Off watch.Please.Safran takes the pilot's seat.MEEKER: Look, I qualified for exploration eight years ago, and what am I? Glorified garage attendant on some planetary fillingstation.SILVEY: Your turn'll come. You'll be glad enough of refuel bases then.MEEKER: All I'm saying is that I want a realSAFRAN: Not now, Meeker.COMPUTER:Unidentified organism. Changing course to avoid.The shuttle is caught in some kind of weird webby thing with lightning.SAFRAN: What was all that about? There'snothing there. Titan shuttle captain. Report please.Silvey turns to the others.NUCLEUS (OOV.): Contact has been made.SAFRAN: Contact?[SCENE_BREAK]In theTARDIS Leela carries the hatstand and sets it down. The Doctor enters.LEELA: We've never been in here before.DOCTOR: You've never been in herebefore.LEELA: What is it?DOCTOR: Number two control room has been closed for redecoration. I don't like the colour.LEELA: White isn't a colour.DOCTOR: That'sthe trouble with computers. Always think in black and white. No aquamarines, no blues, no imagination.LEELA: Have we stopped?DOCTOR: No, we haven'tstopped.The scanner opens.LEELA: Have we materialised?DOCTOR: Yes.LEELA: Where?DOCTOR: Solar system, between Jupiter and Saturn. About five thousandAD. Five thousand AD? We're still in the time of your ancestors.LEELA: Ancestors?DOCTOR: Yes. That was the year of the great breakout.LEELA: The greatwhat?DOCTOR: Mmm. When your forefathers went leapfrogging across the solar system on their way to the stars. Asteroid belt's probably teeming with themnow. New frontiersmen, pioneers waiting to spread across the galaxy like a tidal wave. Or a disease.LEELA: Why disease? I thought you liked humanity?DOCTOR:Oh, I do, I do. Some of my best friends are humans. When they get together in great numbers, other lifeforms sometimes suffer.[SCENE_BREAK]The shuttleapproaches Titan. We see the landing area as the shuttle comes in.Cut to a close-up of gloved hands operating the controls of the shuttle. We see the shuttlecoming down from its nosecone.Then we see the shuttle land on the pad and the pad begins to sink into the ground.The hands switch off the controls.The padrotates, with the shuttle on board.The pad begins to move carrying the shuttle with it.The space-suited crew walk through the bridge (we can see through theshuttle cockpit window beyond).COMPUTER: Docking. Docking. Contact. All locked.[SCENE_BREAK]As the crew head through the door, they each take a blaster.They holster the blasters and go through the inner door.MAN (OOV.): Hey, are we glad to see you. Welcome to Titan. You're welcome to it. We're in the mess.Come on down.The crew head toward the doors.The first door is the wrong one, and the leader gestures to another when they hear laughter from behind it.Thedoor slides open.[SCENE_BREAK]MAN: Come on in. Join the party. Our last supper on Titan. Well, come on. Get your gear off and relax. You're going to be hereforThe crew pull their blasters and aim at the three in the mess.MAN: Hey, what kind of a joke is ...The crew fire at the men who fall to the floor dead. Safran liftshis visor.His face is covered in green scales.SAFRAN: There is one other. The station supervisor. We must find him, destroy him.SAFRAN: Then we can make thisthe ideal place in which to breed and multiply.[SCENE_BREAK]LOWE: Shuttle relief crew. Shuttle relief crew. Come in, please. Shuttle relief crew, this isSupervisor Lowe. Please report. Relief crew, this is the supervisor. Where are you?He activates a remote camera monitor to see what is happening in the mess.Hepans his camera around.LOWE: My God, what's happened? Hello? Hello?LOWE: What is it? What's gone wrong?SAFRAN: Wrong? There is nothing wrong. This ismost suitable for our purpose. What, what purpose? Safran. Safran, is that you? What has happened?SAFRAN: Who is this Safran?Lowe looks horrified.LOWE:Mayday! Mayday! Mayday! This is Titan Base. Mayday! Mayday! Mayday!Meeker and Silvey approach through the halls and reach the supervisor's door as Loweducks into the IMURJINSEE EGSIT.They burn through the lock and enter the room.MEEKER: The supervisor has escaped.SAFRAN: Leave him. Let himsuffocate.Safran punches the distress signal to silence it.[SCENE_BREAK]Back in the TARDIS Leela is practicing her handwriting on chalkboard.DOCTOR: As soonas I've reset these coordinates, we'll go somewhere really interesting.LOWE (OOV.): Mayday! Mayday! Mayday! This is Titan Base. Mayday! Mayday!Mayday!LEELA: What was that?DOCTOR: Distress call. From Titan. That message took half an hour to get here.LEELA: Is Titan really interesting?DOCTOR: Whatdoes that matter? What's important is that someone needs help!We briefly see the webby thing in space again. Then the Doctor is setting controls.DOCTOR:Quadrant six two. W H I one two one two nine nine zero E X four one. What's the matter?LEELA: I'm troubled.DOCTOR: About what?LEELA: I can feelsomething.DOCTOR: Hey.SAFRAN (OOV.): Titan. This is Titan Base. All vessels, repeat, all vessels disregard mayday. I say again, disregard mayday. All undercontrol.DOCTOR: There we are.SAFRAN (OOV.): Our apologies. Our apologies.LEELA: That's it!DOCTOR: That's what?LEELA: That's something evil.SAFRAN(OOV.): Titan Base out.DOCTOR: What?LEELA: It was not a human speaking.DOCTOR: It wasn't?The TARDIS gets caught in the webby stuff.There is an explosionon the console as the Doctor leans over, and he briefly glows purple.LEELA: What was that?DOCTOR: Static. Nothing important.LEELA: There was a sort of glowall around you.DOCTOR: There was? Oh. Well, a kind of Saint Elmo's fire. It happens at sea.LEELA: Saint Elmo's?DOCTOR: Yes, it causes a sort of halo effectround the masts of ships.LEELA: Halo?DOCTOR: Why do you keep repeating everything I say? You're not a parrot, are you?LEELA: Parrot?DOCTOR: Yes. Aparrot's a bird that repeats things. Move over.LEELA: (deep) Move over.DOCTOR: That's it.Another explosion.LEELA: I thought you said there was nothingwrong.DOCTOR: Well, there isn't anything wrong. Well, there isn't anything important wrong, but I've got to check it, haven't I?LEELA: I can still feel it.DOCTOR:Come on, old thing. Come on.Something zaps the Doctor's eyes.He takes a step back and his vision blurs.NUCLEUS (OOV.): Contact has been made.He falls tothe floor.[SCENE_BREAK]Back on the base.SAFRAN: Incubation will start here.NUCLEUS (OOV.): Contact has been made. The nucleus has found a host. Preparefor his coming.[SCENE_BREAK]The TARDIS materializes.Inside, Leela gets zapped in the eyes too, but it doesn't affect her.LEELA: Doctor, wake up. We'velanded. We've materialised.[SCENE_BREAK]The crew approach the TARDIS down the corridor.SAFRAN: There is one other with the host. She has been rejected.We must destroy her and dispose of her body with the rest. Take up your positions.[SCENE_BREAK]The Doctor wakes up.DOCTOR: Hello, Lally.LEELA: Are you allright?DOCTOR: Rightly perfect, thank you yet, Lally.LEELA: What did you say?DOCTOR: I said, I'm perfectly all right, thank you, Lally.LEELA: My name isLeela.DOCTOR: Hmm? I know your name. Leela.LEELA: What happened?DOCTOR: Must have had a bot of a shik.LEELA: What?DOCTOR: A bot of a shik.LEELA:Doctor, what is it? What's the matter?DOCTOR: There's a voice or something in my head.LEELA: The evil thing.DOCTOR: Nonsense. Just a nasty turn. Come on,we're on Titan. Let's take a look.He opens the doors and walks into one of them.DOCTOR: That was odd.LEELA: Doctor, don't go out.DOCTOR: What?LEELA: It'sout there. Evil!Lowe has returned to his quarters and grabs a blaster.DOCTOR: We must go. We've had a mayday.LEELA: No. I can feel it is wrong.DOCTOR:What, intuition?LEELA: I don't care what you call it, Doctor. I knew. I knew before that. Before you were affected.DOCTOR: What are you talking about,affected?LEELA: Well, before you were knocked out.DOCTOR: Leela, listen to me. I'm perfectly all right. Move over.[SCENE_BREAK]Out in the corridor Lowecomes up behind the crew outside the TARDIS.LOWE: Drop your weapons. I'm arresting you. All of you!They turn to fire, but Lowe fires first and Silvey drops tothe floor. Lowe dashes back down the corridor and goes in to a cryogenics room.SAFRAN: Close the door. Turn off the oxygen supply.The Doctor opens the outerdoors, peeks out and slams them again.A moment passes and slowly he opens the door again, looking down. Cautiously he exits, Leela behind.DOCTOR: Nobodyaround. Not a soul.He blows a bird call.DOCTOR: Anyone home?LEELA: Doctor, look.They kneel down by Silvey's body.DOCTOR: Disregard mayday. He saiddisregard mayday. Why?LEELA: It is still warm.DOCTOR: Don't be gruesome.LEELA: I am a hunter.DOCTOR: You're a savage.LEELA: Perhaps. I'm not ashamedof what I am and I tell you, Doctor, I can smell danger.DOCTOR: What did you say?LEELA: I said, I can smell danger.DOCTOR: Evil again?LEELA: Everywhere. Inthis place.DOCTOR: We'd better find it before it finds us.LEELA: Right.DOCTOR: Stay here.LEELA: I'm no coward.They both go off in different directions, but theDoctor backs up again.DOCTOR: Now listen, whatever happens...He turns to see Leela has gone, then he sets off again.[SCENE_BREAK]SAFRAN: Settemperature and humidity rate for optimum breeding conditions.MEEKER: Set temperature and humidity rate for optimum breeding conditions.The Doctor comesupon them.DOCTOR: Excuse me, you don't know me. Let me introduce myself.SAFRAN: There is no need. We are preparing the hives now.DOCTOR: People callme the D. Hives?SAFRAN: For the nucleus which you carry within you.DOCTOR: Are you all right? I answered your mayday.They turn to look at him.SAFRAN: Youanswered the call?DOCTOR: That's right, that's right. Has someone been hurt?SAFRAN: It is of no consequence. The physical envelope is of noimportance.MEEKER: Of no importance.DOCTOR: What do you mean, of no importance? I just found a dead body out there.Meeker shoots him in the eyes withhis lightning glance.MEEKER: Now that you have arrived.DOCTOR: I have arrived.SAFRAN: All that matters is that the reject should be destroyed.DOCTOR: Rejectshould be destroyed.SAFRAN: And breeding begin.DOCTOR: And breeding from my nucleus begin.Out in the corridor Leela approaches the Cryogenic"}
+{"doc_id":"doc_241","qid":"","text":"1.11 - Paris is Burning(Lorelai and Rory are walking down the street)RORY: L?LORELAI: L-laryngitis. M?RORY: Mumps. N?LORELAI: Narcolepsy! O?RORY: Are wegoing to have to go through this every time we decide who cleans out the refrigerator?LORELAI: Do you want to go back to thumb wrestling?RORY: Osteoporosis.P?LORELAI: (gasps) Puppies! (runs across the street)RORY: That's not a disease. Oh boy. (runs after her)LORELAI: (to all the puppies) Hi! Oh hi! Hi! Oohh! Rorylook at the baby! (in front of one)RORY: Mom.LORELAI: Aw, Buttercup was found cold and wet hovering under a hydrangea bush along highway 26. It's a sadhighway.RORY: As compare to all the other happy highways she could've been abandoned by.LORELAI: Her lineage includes cocker spaniel, golden retriever,bouvier des flandres -RORY: GesundheithLORELAI: Thank you - and rottweiler.RORY: Buttercup is a special dog. She's extremely skiddish and tends to reactbadly towards blonde haired females, brunette males, children of either s*x, other animals, red clothing, cabbage or anyone in a uniform.(Luke walks up tothem)LORELAI: (to Luke) Hey, we just found the doggy version of you.MAN: Can I help you?LUKE: Do not let these two anywhere near a dog. They can barelyfeed themselves.LORELAI: Shut up you! We'd be excellent pet owners, thank you.RORY: You cannot be serious.LORELAI: We could get him a pretty bowl...RORY:It's a her.LORELAI: ...and a new name...RORY: Mom.LORELAI: ..cause this 'Buttercup' thing really has got to go.RORY: Do I need to remind you of Skippy?LUKE:Skippy?LORELAI: I can't believe you would bring up Skippy.RORY: Skippy was our hamster.LORELAI: He doesn't care.LUKE: What happened to Skippy?LORELAI:Nothing happened to Skippy.RORY: Every time mom would put her hand in his cage, he'd bit her.LORELAI: And laugh.LUKE: Hamster's can't laugh.LORELAI: Ohthis one laughed - trust me.RORY: So finally she got fed up.LUKE: Of being laughed at by a hamster?LORELAI: Well yeah.RORY: So she stopped cleaning it'scage. Instead everyday she would stuff some Kleenex in there.LUKE: You didn't?LORELAI: It was the quilted kind (with a small smile)RORY: So this keeps goingon and the cage is just a cage full of Kleenex that moves a little, and the smell? Really good.LUKE: I can imagine.LORELAI: Oh no you can'tRORY: So then shetakes the cage to the place where we bought him, waits for the sales guy to go behind the desk and dumps it on the counter then bolts.LUKE: You abandonedyour hamster.LORELAI: Look, I know it was bad, but this was a vicious hamster. This was like a Damien hamster with little beady eyes and a big forked tailand...a cape with a...hood...and bye bye Buttercup. Bye Luke.RORY: You did the right thing. (both walking away from the puppies with arms around eachother)LORELAI: Oh (in a whiny tone). I want a pet.RORY: You have me.LORELAI: You won't bring me my slippers in the morning.RORY: I might if you hadslippers.LORELAI: Will you wear a collar?RORY: No.LORELAI: It'll be pink!RORY: You're sick.LORELAI: Hey watch how you talk to me. Remember what happenedto Skippy.(Cut to Max Medina's apartment. He's cleaning while Lorelai sits on the counter eating out of a pot.)LORELAI: Mmm...God this is good!MAX: OK. Correctme if I'm wrong.LORELAI: Salt please.MAX: Twenty minutes ago we were sitting at the dinner table were we not?LORELAI: Yes we were.MAX: There were candlesand flowers and plates and knifes and cloth napkins.LORELAI: I love the little sombrero napkin holders, very ole.MAX: And the whole time we were at said dinnertable, you ate two maybe three bites of this amazing dinner I made for you.LORELAI: Pass the bread.MAX: And yet, as soon as that dinner's over and I startcleaning up, suddenly that's when you're starving.LORELAI: What can I say - watching someone work makes me hungry. If I hadn't stopped watching \"This OldHouse\" I'd be 500 lbs right now.MAX: Hmm.LORELAI: What are you doing?MAX: Passing these to you?LORELAI: In the dish please. Ha ha ha. (as Max puts foodinto pot.)LORELAI: So where did you learn to make osso bucco anyway?MAX: Um, from this very old Italian woman...who used to live upstairs...um, s-she hadlost her husband a couple of years before and she kinda looked at me as like a son.LORELAI: Sweet!MAX: She was.LORELAI: So an old girlfriend huh?MAX:Yep.LORELAI: Mm hm.MAX: So would you like some coffee?LORELAI: Yes please. (Walks by Max and their faces come very close together)(Lorelai walks over tohis desk)LORELAI: Hey did you read Rory's paper yet?MAX: Not yet.LORELAI: It's really good.MAX: I'm sure it is.LORELAI: Oh and look! It's right on top.MAX:Isn't that a coincidence?LORELAI: (laughs) Wow, there are some really big words in here. I just hope you have a dictionary with you when you read it.MAX: Oh Iwill.LORELAI: You know I could just save you the time and uh, put an 'A' on it for you.MAX: Well that really wouldn't be fair to the other students who's mothersaren't here tonight would it?LORELAI: Yes you're right. (pause) Although, life isn't fair and the sooner those kids learn that the better.MAX: Well I'll take thatadvise into account.LORELAI: (giggles). (turns around to look at his books) Wow these are beautiful!. Hm, I never read Proust, I always wanted to. Every nowand then, I'm seized with an overwhelming urge to say something like \"As Marcel Proust would say..\" but of course I have no idea what Marcel Proust would sayso I don't even go there. I could do, uh, \"As Micheal Crichton would say..\" but it's not exactly the same you know.MAX: Well, take it.LORELAI: Oh no! It-it looksso valuableMAX: It's a book. It's meant to be read.LORELAI: You sure?MAX: Take it, read it.LORELAI: Ok, I will.(She takes the book and sits down and starts toread)MAX: (laughing) Not now!LORELAI: What?MAX: I'd rather you didn't read it now.LORELAI: But um, what about (Max kisses her) my required reading(stands up, moving towards the bedroom, between kissing..) But I won't make the cheerleading squad! (kissing) Mr. Medina, is this my extra credit work becauseMissy just had to take a test!?! (laughing through kisses. Door closes.)(Cut to Lorelai sneaking in with shoes in hand)(Rory's waiting up on the couch)RORY:Where do you think you're going?LORELAI: Hi.RORY: It's one o'clock in the morning.LORELAI: I know but my watch stopped during a terrible car wreck and I hadto save kittens and small children and four baby chicks.RORY: Did you have a nice time?LORELAI: Not bad. (smiling)RORY: That's a very big smile for a not badnight. (Lorelai sits on the couch)LORELAI: Yeah well...Hey he loaned me a book.RORY: What book?LORELAI: 'Swann's Way'RORY: Aren't we ambitious.LORELAI:Yes we are.RORY: You know what it means when a man loans you a book don't you?LORELAI: That he's already read it?RORY: Yep.LORELAI: (laughs a little) Howwas your night?RORY: Homework.LORELAI: How many times did Dean call.RORY: Not that many.LORELAI: How many?RORY: Three (Lorelai looks ather)...Five.LORELAI: (laughs) Not an all time high but very respectable. I'm going to bed. You staying here?RORY: Yeah. I'm comfortable. I've got the pillows in aperfect mushed position.LORELAI: Ok. Night mom. (kissing Rory)RORY: Yeah you just go think about what you've done.LORELAI: (with big smile) I will.RORY:Hey.LORELAI: What?RORY: You look happy.LORELAI: I am kid.RORY: Just checking.(Cut to Chilton - Mr. Medina's class)MAX: \"There's a certain slant of light,winter afternoons that oppresses like the heft of cathedral tunes.\" That, my friends is the first verse of a poem by Emily Dickenson. Now read some of thosetonight, and as you do, consider the fact that Emily Dickenson writes convincingly about passion and about the world in spite of the fact that she lived as a virtualrecluse. It'll help you appreciate her mind. (bell rings)MADELINE: I could listen to him talk about passion all day. Do you think he's dating anyone?LOUISE: Ofcourse he is.MADELINE: A teacher?LOUISE: Please.MADELINE: Why not?LOUISE: Have you seen teachers?MADELINE: He's a teacher.LOUISE: Male teachers aredifferent. They can still be mysterious.MADELINE: I bet his girlfriend's pretty.LOUISE: I bet she's dumb.MADELINE: Why?LOUISE: Dumb girls crave smart men.It's that whole Marilyn Monroe - Arthur Miller syndrome.MADELINE: I still think she's luckyPARIS: Whoever he's dating is a loser, who doesn't care that he's ateacher in this ridiculous school making a ridiculous teacher's salary. (to Rory) What are you looking at? (walks away)LOUISE: Guess someone read the papertoday.MADELINE: I know. Paris' parent's divorce is getting very ugly!LOUISE: Her dad should've just paid her mom everything she wanted and this whole thingwould've been over.MADELINE: That's what my dad did. (to Rory) Hi!LOUISE: Hi.RORY: Hey.MADELINE: Is it true Paris' mom had the entire back of her bodysurgically reconstructed?LOUISE: Well it doesn't match the front now does it?(Cut to Grandma's house)(Dinner time)GRANDMA: How's the squab?RORY: It'sgood.GRANDMA: Lorelai?LORELAI: It's the best tiny, weird bird I have ever eaten.GRANDMA: I'm glad.LORELAI: Why are you smiling like that?GRANDMA: Whatare you talking about?LORELAI: You're smiling.GRANDMA: I'm happy.LORELAI: That's not your \"I'm happy\" smile.GRANDMA: Well what smile is itLoerlai?LORELAI: That's your \"I've got something on Lorelai\" smile.GRANDMA: Rory your mother must be very tired.RORY: She works a lot.LORELAI: I grew upwith that smile - I know that smile.GRANDMA: Tell me about school.RORY: Well, my French final went pretty well.LORELAI: You can change the subject. I knowthe smile.GRANDMA: Whatever you say dear.LORELAI: I've used it a few times myself.RORY: Mom.GRANDMA: So tell me about parent's day?LORELAI:What?GRANDMA: Parent's day? Next Wednesday? When all the parents are supposed to go to the classes with their children all day long?LORELAI: The Chiltonnewsletter came out today!RORY: Yup.LORELAI: Right.GRANDMA: You didn't read yours?LORELAI: Not yet.GRANDMA: Ah.LORELAI: But you knew that-GRANDMA: Well -LORELAI: Hence the smile.GRANDMA: Lorelai, you're really being silly. There's no evil plan a foot here. I simply brought up a subject I thoughtwe could all talk about.LORELAI: Oh right.GRANDMA: I'll try another subject - the colour blue is very pleasant isn't it?LORELAI: Mom not everybody can waitoutside the mailbox for the Chilton newsletter to arrive and then instantly memorize the contents in three seconds.RORY: I'd like to weigh in on the blue coloursubject please.GRANDMA: You have your priorities far be it from me to question them.LORELAI: Just because I don't read the newsletter doesn't mean I don'tcare about my daughter.GRANDMA: So are you going?LORELAI: To what?GRANDMA: To parent's day!LORELAI: Why don't we talk about it next Friday when I'veactually read the newsletter. I guarantee it'll be more fun.GRANDMA: We could except for the fact that parents day is next Wednesday.LORELAI:Wednesday?RORY: Yup.GRANDMA: If we talked about it on Friday then you would've missed it.LORELAI: Wednesday huh?RORY: It's ok mom, you don't have tobe there.GRANDMA: I guess we can talk about how you missed it.LORELAI: I'm won't miss it.RORY: Mom it's not a big deal, you're busy.GRANDMA: You know"}
+{"doc_id":"doc_242","qid":"","text":"OPEN AT LORELAI'S HOUSE[Rory pulls up in her car, grabs some bags from the trunk, then walks into the house. An alarm starts blaring.]LORELAI: Oh, crap![tries to turn off the alarm]RORY: What's going on? Is it the smoke detector? Are we on fire?LORELAI: It's not the smoke detector, it's the alarm!RORY: Whatalarm?LORELAI: Our alarm.RORY: We don't have an alarm.LORELAI: Well, then, we have really angry rats. Did you cut your hair?RORY: Well, I just trimmedit.LORELAI: You didn't tell me you were cutting your hair.RORY: It was a spur-of-the-moment thing.LORELAI: A spur-of-the-moment, \"let's not tell my motherI'm pulling a G.I. Jane\"?RORY: Are we seriously gonna have this conversation now during the air raid?LORELAI: You're right. Come on. [leads her to the otherside of the room]RORY: What are we doing?LORELAI: I figured out that there is a motion detector, and if you stand over here, it can't see you and calmsdown.RORY: Great, so what now?LORELAI: We wait. So why didn't you tell me you were getting your hair cut?RORY: It's just a trim.LORELAI: To the BrailleInstitute, it's just a trim.RORY: Do you like it?LORELAI: Will you put it back if I don't?RORY: Mom!LORELAI: Yes, I like it.RORY: Thank you.[the alarmstops]RORY: Oh, thank God.LORELAI: Feels good when it's over, huh?RORY: This is crazy. When did we get an alarm?LORELAI: Well, apparently, Kirk. . .RORY:Oh, no.LORELAI: . . .has recently joined the Stars Hollow Security Company.RORY: Oh, no.LORELAI: And apparently, now that I'm the pretty spinster living allalone, he's concerned for my safety.RORY: Did he tell you all this?LORELAI: Do you think I labeled myself the pretty spinster?RORY: What did you say?LORELAI: Ihaven't talked to him face-to-face. I come home to this and there was a note and his card and his gun.RORY: Oh, jeez!LORELAI: Yeah, and then when I called thealarm-response center to complain about the alarm, no one answered. I had to leave a message with Meg - she sweeps up.RORY: I can't even believe there's asecurity company in Stars Hollow. Nothing ever happens here.LORELAI: Oh, that is not true. Plenty happens here.RORY: Like what?LORELAI: Like, people nowbreak into your houses and install alarm systems.RORY: I heard about that.LORELAI: And we have a new mail carrier.RORY: We do?LORELAI: Yeah, so now if youwanna get your mail, you just have to go see Miss Patty.RORY: Why?LORELAI: 'Cause that's where he brings it. He brings Babette's mail to Andrew's, Norma'smail to the deli, and Taylor still hasn't found his mail, which I have to admit is kind of fun.RORY: I rescind my previous statement. This place is hopping.LORELAI:So, did you eat yet?RORY: Nope. I thought I'd let you feed me.LORELAI: Sure. I can feed you, but I can't know if you're getting your hair cut.RORY: I will neverdo anything again without telling you - happy?LORELAI: I don't know. I'm finding this whole guilt thing rather satisfying. [Rory starts to walk away] No, no, whereare you going? [The alarm starts blaring again] Agh! Why did you do that?RORY: I was gonna get my laundry!LORELAI: You made it mad!RORY: I didn't meanto!LORELAI: Back in the corner, back in the corner!RORY: Oh.LORELAI: No place like home, huh?RORY: Yeah.[opening credits]CUT TO LORELAI'S HOUSE[Lorelaiis making a trail of Post-It notes on the floor through the house; Rory comes out of her bedroom]RORY: Mom?LORELAI: Follow the Post-It's.RORY: Does our lifeseem at all ridiculous to you?LORELAI: I spent all morning carefully tracking that motion detector.RORY: What an excellent use of your time.LORELAI: We're goodas long as we stay on the path.RORY: So I should follow the yellow stick road?LORELAI: We'll be here all week, try the veal. Stop.RORY: What?LORELAI:Read.RORY: \"Crouch down and hop.\" Oh, come on.LORELAI: The motion-detector beam at the top of the staircase dips very low over there.RORY: You seriouslywant me to crouch down and hop?LORELAI: Like a little hunchbacked bunny.RORY: You know, I had decided that if I ever went to therapy, I was gonna leave youout of it, but now. . .LORELAI: Okay, you can stand up.RORY: Did you at least call the stupid security company again?LORELAI: Yes, Meg sends her love. Don'tworry - I'll stop by on my way to the inn. And what are your plans today, Persis Khambata?RORY: Well, today, I'm going to do nothing but hang out in town,read, veg, drink coffee, and have the perfect Stars Hollow day.LORELAI: Look out. I get to go over to the inn and hear a contractor laugh at me every time I say,\"But that won't cost too much more, right?\"RORY: Enjoy.LORELAI: Late lunch at Luke's?RORY: You're on. So, uh, which way do I go?LORELAI: Oh, just follow thePost-It's.RORY: But they're going in two different directions.LORELAI: They are?RORY: Look.LORELAI: Oh. I must have kicked some out of the way byaccident.RORY: Well, which one do I take?LORELAI: Which looks more intentional?RORY: No Post-It path looks intentional.LORELAI: I'm drawing a completeblank.RORY: You seriously don't remember?LORELAI: Sorry.RORY: Well, how are we supposed to get out of our house?[Lorelai, imitating Jeannie from I Dream ofJeannie, crosses her arms, nods her head, and blinks]LORELAI: Unng!RORY: I hate Kirk.CUT TO THE GAZEBO[Rory is sitting on the bench reading and listening tomusic. A man walks up and sets down a box]RORY: Whoa. What's going on?MAN: I'm just setting things up for tomorrow.RORY: Oh, tomorrow. What's -MAN 2:Heads up![another man throws a package of tablecloths to the man in the gazebo]RORY: Whoa.MAN: I think you may need to move.RORY: Yeah, I kinda gotthat. Excuse me. What's tomorrow?[Across the lawn, Lindsay and her mom are talking with a wedding planner]LINDSAY: . . .tons of tulle so that everything lookslike frosting.MRS. LISTER: She's our only daughter - frost the town.LINDSAY: Now, where should we put the poster? I want to make sure everybody sees it.MRS.LISTER: Oh, what about next to the cake?LINDSAY: Yes, next to the cake.[Rory walks away in the other direction]CUT TO KIM'S ANTIQUES[Rory walks in]RORY:Lane.LANE: Rory.RORY: Have you heard of a phone? Because as my friend, it is your responsibility to use it to call me and tell me that my ex-boyfriend's weddingis on Sunday so I'm not accidentally in it.LANE: What?RORY: I'm sitting out in the gazebo, reading, and this guy almost brains me with a stack oftablecloths.LANE: Oh, that's right, they're having their reception in the town square.RORY: Yes, and Lindsay was out there holding a giant picture of her withDean, and. . .LANE: Oh my God, did she see you?RORY: I don't think so. I do a pretty good idiot run when I need to.LANE: I'm sorry, I meant to tell you. I justdidn't know you were coming home this weekend. It totally slipped my mind. Things have been so crazy. I just figured I'd tell you when we talked, and then wedidn't, and. . .oh, I'm sorry, can you hold on for a sec?[She opens an armoire. Zach and Brian are inside]ZACH: Not cool, Lane.LANE: I'm sorry, guys.BRIAN:Fourth time today.LANE: Well, I thought Rory was my mom.ZACH: The resemblance is uncanny.BRIAN: We should get your mom a bell like a cat.RORY: What'sgoing on?LANE: We're having a band meeting. We need to figure out what to do about a guitarist.BRIAN: I think I got a splinter.ZACH: You know that a splintercan get into your bloodstream, go straight to your heart, and kill you.BRIAN: Why would you tell me that?ZACH: Whatever, dude. This is lame. I'm gonnabail.LANE: Zach, come on.BRIAN: We need to find a guitarist.LANE: That's right. We have come too far to let the band fall apart just because Dave -ZACH: Hey,do not say the \"d\" word, Lane.LANE: But -ZACH: Don't.LANE: Dave -ZACH: Dave is dead to me. Comprendo? Dead. Cover the mirror, rip a shirt, that guy doesn'texist.BRIAN: He just went to college, Zach.ZACH: No, he did not just go to college. He walked out on his art, man. He walked out on his sound. Do you think asound is so easy to find? Did you ever see that Glenn Miller movie? For two hours, Jimmy Stewart's walking around, \"I gotta find a sound. I gotta find a sound.\"Well, we had a sound and Dave took that sound to freaking California. You don't come back from California, man. It changes you.LANE: What did you expect himto do - not go to college?ZACH: No true rock 'n' roller goes to college!RORY: Mick Jagger went to the London School of Economics.ZACH: What?RORY: Yeah, and,uh, Dexter Holland of The Offspring got his PhD in molecular biology at USC. Greg Ginn of Black Flag graduated from UCLA. The guy from Bad Religion got hismasters in geology from UCLA, and he's working on his PhD in evolutionary biology at Cornell.ZACH: Lane, she's your friend.RORY: I'm sorry. Um, I'm going. I'llcall you later.LANE: Hey, are you mad?RORY: No, I'm not, I promise. I'm just - I'm just a little surprised. I mean, Dean's wedding. . .LANE: I know.RORY: But it'sokay. It just means that I have to be a little more careful about where I go this weekend, that's all.LANE: Okay, well, I'll see you tomorrow. We're using thegarage - guitar auditions.RORY: Okay, I'll see you tomorrow.ZACH: Shut up, shut up, shut up. Weezer did not go to Harvard.BRIAN: Not the whole band, just thelead -ZACH: Get away from me! I mean it.RORY: Bye.LANE: Bye.[Rory leaves. She sees Dean out front on the sidewalk]RORY: Hi.DEAN: Hi. Uh, were you. ..RORY: Oh, I was at, uh, Lane's.DEAN: Right, Lane's. Um.RORY: Um.DEAN: So, you're home this weekend.RORY: Yeah, I, uh, I ran out of clean clothes andquarters, so. . .how are things?DEAN: Good. You?RORY: Good.DEAN: You like Yale?RORY: I love Yale.DEAN: I figured.RORY: And Connecticut State?DEAN: It's. ..it's good.RORY: Oh, good. I'm glad it's good. I mean, not that I would have had any recourse if it wasn't, but, uh, this makes my lack of recourse a lot easier todeal with. So, I see you've taken over the town.DEAN: Oh, yeah. Uh, well, Lindsay thought. . .she likes the gazebo, and. . .RORY: And it's her wedding.DEAN: Itis her wedding.RORY: And your wedding. I mean, it's your wedding, too.DEAN: Yes, it is. It's my wedding, too.RORY: Well, it's nice. It's, um, it's pretty. It lookslike heaven or a Victoria's Secret commercial, which, to some people is basically the same thing.DEAN: I didn't know you'd be home this weekend.RORY: It wasjust a spur-of-the-moment thing.DEAN: Because if I had known, I would have, you know, invited you.RORY: Oh. Oh, well, it's. . .DEAN: I mean, I didn't want youto think I was just not inviting you.RORY: No, I didn't think that.DEAN: I just figured you'd be at school.RORY: 'Cause you're logical.DEAN: I just didn'tknow.RORY: No, I know you didn't know.DEAN: I didn't want you to think -RORY: No, I didn't think. I don't think. I go to Yale now. They think for you.DEAN: But,hey, since you are here, come.RORY: Come?DEAN: To my wedding. Come to my wedding.RORY: Oh, Dean. . .DEAN: You and Lorelai, I want you to.RORY: Well. ..DEAN: Chicken or beef?RORY: What?DEAN: Wait, beef. Of course, beef. I mean, the two of you are definitely beef. I mean, not like you resemble beef oranything.RORY: You know, you don't even have to -DEAN: Okay, so, noon at the church. I'll be the one in the tux. And don't worry, we didn't write our own vowsand no one's singing opera. I know you think that's lame.RORY: Oh, no, well, it's a wedding. It's supposed to be. . .operatic.DEAN: Okay, so, I better get over"}
+{"doc_id":"doc_243","qid":"","text":"[Genevieve and Celeste (in Sabine's body) stroll through the cemetery]GENEVIEVE: Oh, I remember this cemetery. Hmm. Hasn't changed a bit.SABINE /CELESTE: I've been coming here over a century, wearing one face or another.FLASHBACK--LAFAYETTE CEMETERY, 1919[Genevieve approaches a womankneeling in front of a tomb, praying to her ancestors]GENEVIEVE: Clara Summerlin, will you come on? We're gonna miss everything.[The two walk over to wherea crowd of witches are standing around a bonfire, playing congo drums and watching as a witch dances around the flames. Papa Tunde walks out with an albinopython around his shoulders, which he hands to his sons after clapping in order quiet the crowd]GENEVIEVE: Told you. Every witch in the Quarter is here to seethe great Papa Tunde.PAPA TUNDE: Witches of the French Quarter, thank you for your welcome. It is good to be among people of the faith. I, too, practiceancestral magic, honoring those who walked the path before us. From them, we draw strength. And you will need strength, for a great darkness is coming. Thecity your forefathers left you is now overrun by pirates, beasts, and vampires.[Papa Tunde takes the python from his sons and throws it into the fire, and many ofthe witches gasp in surprise and fear]PAPA TUNDE: I practice other magic, as well. Sacrificial magic, channeling power from the lives of my offerings. I use thisstrength to vanquish my enemies, and I will punish your enemies for their greed. In return, you will accept my family into your coven, and me as yourleader.FLASHBACK--A MEETING ROOM, 1919[Two men enter the room and join Elijah and a police officer at a table]ELIJAH: Gentlemen, make yourselves athome. Mayor O'Connell appears to be running late, but there's much to discuss, so I shall begin.KLAUS: [walks down the stairs to join them] One moment,please, brother. You know how much I enjoy these illicit, little gatherings.ELIJAH: [to the men] Do not be troubled. Despite my brother's reputation, I can assureyou, we've invited you here to broker in peace. You have my word.KLAUS: And, lucky for you, my brother always keeps his word. You two are from the Guerreracrime family, a brutish pack of thieves and killers. And that's nothing compared to what you become on a full moon, is it?ELIJAH: Yes, yes, yes. Of course, a bitefrom your kind is not lethal to an Original. Conflict between us would not end well for you at all. Let's state our proposal here. My brother and I control the portsof the city, but with Prohibition soon to be the law of the land, there'll be a certain uptick in the kind of federal presence we prefer to avoid. Therefore, I'd like tosuggest a system whereby, under our supervision, of course, the Guerrera family can traffic alcohol into the city of New Orleans for a profit. We would still be incharge, but our rule would remain a secret.[Papa Tunde walks into the room with his sons following behind him]PAPA TUNDE: This all sounds very good, but tellme, how will it benefit the witches?ELIJAH: I am sorry. This is a private meeting.PAPA TUNDE: Yes, for kings of the city, but I, too, am a king, and I haverules.KLAUS: I'm impressed. You're either quite ambitious or quite mad. What's your name, mate?PAPA TUNDE: I am Alphonse Bellatunde Delgado, Papa Tundeto my followers, and I come to ask that the witches be granted fair tribute for allowing your existence in our city.ELIJAH: Are you suggesting that you speak forthe french quarter witches?PAPA TUNDE: I do now, and I expect our future negotiations to go very smoothly. As a guarantee, I brought a gift. I await our nextgathering.[A small leather case is placed on the table. Papa Tunde and his sons leave. Everyone else gathers around as Klaus lifts the lid on the trunk to reveal ahead inside with a symbol carved into his forehead]KLAUS: Well, I suppose we'll need a new mayor.PRESENT DAY--THE ABBATOIR COURTYARD[Marcel comesdown the stairs into the courtyard with a bottle of bourbon in his hand. Diego sees him enter and approaches him as Marcel walks over to sit down at atable]DIEGO: Hey, Marcel, maybe you know what's going on. Klaus ordered us to meet here, and now he's a no-show.MARCEL: What do you want from me? It's anew regime. Get used to it.[Klaus enters the room with Thierry and makes an announcment]KLAUS: Dearest brethren, your attention, please. No doubt, you're allsurprised to see Thierry Vanchure, who's supposed to be rotting in the Garden for the crime of killing one of our own, and I personally decided to issue him with apardon. I hope you'll all welcome home Thierry.[Thierry smiles and gives Diego a hug]DIEGO: Welcome home, man.MARCEL: [to Klaus] You're in a good mood.You should visit Mystic Falls more often.KLAUS: Well, as much as I might like to, I have pressing responsibilities here. [turns to address the crowd of vampires]Now, as you all know, the witch Davina is no longer with us. Without Davina, we can no longer monitor the activity of our witch neighbors. However, since theirHarvest failed, their magic will soon be gone forever. Until then, I say we keep them on their toes. Diego, I wonder if you might lead a rousting in thecauldron.[Diego smiles and starts to plan with the other vampires. Marcel grabs his bottle and goes to storm away, but Klaus stops him in the doorway]KLAUS:Marcel, I'd hoped you would join Diego.MARCEL: Nah. I'm gonna take a personal day. [He pushes past Klaus and leaves]IN THE FRENCH QUARTER[Rebekah andElijah walk through the streets of the Quarter as they talk about recent events]ELIJAH: Now, you may doubt him, but today, I saw Niklaus demonstrate mercytowards an enemy. Tell me that's not progress.REBEKAH: Please, Elijah. Who do you think convinced Klaus to let Thierry out?ELIJAH: Why would you do such athing?REBEKAH: Because, despite Klaus' reprieve, Thierry despises him. I like that about Thierry. I also like that he used to date a witch, so he knows aboutFrench Quarter covens. Maybe he can lead me to whoever stole off with the Harvest magic.ELIJAH: Rebekah, we are all devastated by the outcome of thisritual.REBEKAH: That's just it. There was no outcome. We both know that power like that doesn't just vanish. I say someone stole it. I'd like to know who, andthen I'd like to make an ally out of them.ELIJAH: To what end, exactly?REBEKAH: I'm tired of being threatened and controlled by our tyrant brother. If you wantto stop a bully, you need the power to stand up to them.ELIJAH: I expect such behavior from Niklaus. It's so very disappointing when it comes from you,Rebekah. Do you not see that, in his way, he's making an effort here? He's invited us back into our family home. He yearns for our family to bereunited.REBEKAH: Yes. He's in a brilliant mood now, but for how long? It's his trick, Elijah. He lulls you into a false sense of camaraderie and kinship, and thenhe turns on you like a snake. I fall for it every time and wind up with a dagger in my chest for my trouble. No more.ELIJAH: I believe that he is approaching somesemblance of peace here. Leadership may, in fact, be a good thing for him. Now, sister, please, I ask you, if you cannot support him, then at least do nothing toprovoke him.THE ABBATOIR COMPOUND[Klaus enters one of the rooms of the compound and finds Marcel, still drinking alone as he sits on a couch]KLAUS: Ugh,is this what's it's come to? I bear the full weight of our kingdom while you pout like a child.MARCEL: You wanted to be king. Besides, you look like you got itcovered.KLAUS: If the men see you shirk your duties, they're likely to do the same.MARCEL: I told you, I am not in the mood for vampire hijinks.KLAUS: No.You'd rather sit wallowing in sorrow for your lost little friend.MARCEL: [stands up and points a finger at Klaus] Don't push me right now.KLAUS: I am sorry Davinais gone, ok? I'm sorry, but this mournful attitude is unworthy of you, and it's boring to me.[Diego enters the room to join them, looking worried]DIEGO: Hey,guys, we got a problem.THE CAULDRON[Thunder rumbles overhead as Diego leads Marcel and Klaus to the Cauldron to show them what he found]DIEGO: Wecame to mess with the witches, just like you said. And these two, they went missing. Found them like this, not even staked. Just dead.MARCEL: That's two moreof my guys gone. Nice job, Captain.[Marcel takes one look at his dead men, puts his hood up, turns around, and starts to walk away]KLAUS: Where are yougoing? Someone has to account for this!MARCEL: You want revenge, get it yourself. That mark is tied to some bad mojo. Any of y'all got any brains, you'll headback to the compound and stay the hell out of this.[Marcel walks off. Klaus turns to Diego]KLAUS: We're gonna find whoever did this, and I will show them whatsuffering is.A WAREHOUSE AT THE DOCKS[Thierry and Rebekah walk into a warehouse to investigate]THIERRY: Used to run things down here for Marcel. Thoughtyou'd like to see what I found before Klaus did.REBEKAH: [smirks] Not a day out of the Garden, and you're already proving yourself useful.THIERRY: We made adeal, and if it screws things for your brother, I'm all for it. Though, to be honest, this stuff makes my skin crawl. I've never seen anything like this.[They stop infront of another salt circle on the ground with two dead vampires inside. Both are desiccated and have the same symbol carved into their foreheads]REBEKAH: Ihave, a long time ago. Somebody is copycatting a very dangerous witch. They draw their power from sacrifice.THIERRY: I just don't understand why someonewould leave it here for us to find.REBEKAH: Unless they wanted it to be found.[Papa Tunde appears from the shadows behind them. Rebekah notices him in shockand horror]PAPA TUNDE: Mademoiselle Mikaelson.REBEKAH: That's not possible.PAPA TUNDE: Sure, it is, chére. It's magic.[Rebekah speed vamps toward him totry to kill him, but Papa Tunde simply reaches out and grabs her by the throat]PAPA TUNDE: Symbole du masque et de l'ombre, embrace-toi. Embrace-toi.Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre,embrace-toi.[Rebekah starts to desiccate, and thick gray veins pop up all over her face and neck. Terrified, Thierry speed vamps and disappears out of thewarehouse]COMPOUND COURTYARD[Klaus, Elijah, Diego, and many of the other vampires are congregating in the courtyard, discussing their currentsituation]KLAUS: Ah! Someone will die for this.ELIJAH: Remarkably, I don't disagree. However, I would like to know where they learned such dark magic.KLAUS:I had hoped never to see that symbol again. I recall it is the signature of a fool who once stood against us.ELIJAH: Clearly, some upstart witch is salvaging oldtricks.KLAUS: I'll do for him as I did the other. [turns to Diego] Diego, when night falls, I want you to gather every vampire in the Quarter. Get me the head ofwhoever did this and put it on a stick.DIEGO: Yeah. That's gonna be a problem. Everyone is freaked out, man. We haven't had witches killing vampires in a longtime. Marcel made sure of that.KLAUS: Marcel has run off like a scared child. You lot are left with me. Now, who of you will fight to defend our home? [looksaround to see that no one comes forward] Not a single one of you will stand with me, so afraid are you of this new threat? You should know better. I'll handle this"}
+{"doc_id":"doc_244","qid":"","text":"[PREVIOUSLY_ON]Nikki is with a girl. She's pissed off after Jenny who threw her away.The girl: Baby, don't be sad. It's so boring.Nikki: Get off of me! Who thehell does she think she is?! She called me, she wanted me! And then she goes all Paris and Britney on me just like: \"Oh, I never liked you and it was ashowmance!\" Can you believe that? She f*cks me all night long and then she has the nerve to say that's a showmance! I mean, I don't even know what the f*ckthat is!An other girl: I'm googling. Oh, it's, uh...Oh, it's, uh...\"Phony romance that happens during a movie or a TV show\" \"usually between two stars, but it can\"\"also be between a star and\"...Nikki: You know what? I got it, alright? Do you know how many times has she said that she loved me? She's officially a liar and Iofficially hate her! You know what? f*ck her, alright?! I got over 16 million on my opening week end and she can't even get in at the premiere of my next movie.She payed someone.The first girl: God! Makes wonder who broke her heart. I can't believe she told you it wasn't you. That was so harsh! You must feelhorrible.Nikki: You know what? You are out of my 5!The girl: Nikki, you're my best friend!Nikki: No, get out! Right now! Get out! Everyone, get out! Everyone!You know? You and you, and you, get out! Get out! Now! Move! Jenny Schecter is a liar and a user. And trust me, you are not gonna get away with this. You aredead meat, Schecter. Dead. Credits. At the Hit Club.Helena: And this is where we're gonna put the new DJ booth. So, if you need anything, just let us know. We'llget you all the right equipment.The drag-queen: Oh, I'll send you a list. I love these colors.Kit: We love them too.Helena: We got morroconess out of\"Casablanca\" theme.Kit: It's our favorite film.The drag-queen: Oh, say no more. I love...Kit: So, what do we have to do to get the fabulous Sunset Boulevard tocome and spin at Hit?The drag-queen: Just keeping the fabulous Kit Porter. You know you're my ultimate R&B goddess?Kit: Oh, I don't know about the ultimate.Ooh, somebody's been working out! Not that we're the type... you know, we're, uh...We've both swore off men.Helena: Ages of it.The drag-queen: Good for you.You two got a good thing going here. You don't need some man in here messin' it up.Kit: Okay, let me show you all of the textures and plans. At the PlanetAlice:Oh, I'm vanilla and fruit.Tasha: Breakfeast burrito. Thanks.Jenny: Excuse me. I didn't order that.Waitress: Oh, they're from her.Kit: Jenny, Shane wants you toknow that she made them especially for you.Jenny: Excuse me, Alice? Do you mind just mentionning to Shane that I don't want her waffles?Alice: She doesn'twant your waffles.Tina: How much do you love the New Valley service?Bette: Oh, my God, Helena's taking this place to a whole new level. Jenny comes with thewaffles.Tina: Oh, and waffles! Look! I know that I love waffles. I'm getting waffles. She throws it away.Bette: Or not.Kit: Haven't you heard that there are peoplestarving in this world?Jenny: I'm sure they don't want waffles, Kit.Bette and Tina: Rock, paper, scissors, shoot!Bette: sh1t! Okay, that's one to one.Bette andTina: Rock, paper, scissors, shoot!Bette: f*ck! I always loose.Tina: 'Cause you're always rock. Always.Bette: Is that what it is? Have fun with the martyrs.Tina:Have fun with the cheaters.Tina: Wow, everyone's so industrial. What are you doing?Tasha: Learning.Jenny: I'm writing my new treatment.Tina: What are youwriting, Alice?Alice: A treatment.Jenny: A treatment for a film?Alice: I just... I had this kinda killer idea so I thought I'll just write a great screenplay and then sellit for millions and buy a house in Malibu?Tasha: I don't like Malibu.Alice: You've never been to Malibu.Tasha: I have been there.Tina: I didn't know you wanted tobe a screenwriter.Alice: Well, I mean, you know, I never really did. Really, but I thought how hard can it be? Right? Jenny? I mean, it's like, you get paid bigtime.Jenny: Well, if you, if you actually, Alice, if you would to amortize the payment of the 17 drafts that I did on \"Lez Girls\", you'll see that you actually don't getpaid very much. So... Bette send a sms to Tina.Bette: Alice is writing a treatment for a script. Hope we're not in it.Shane: Amen to that.Tina: Actually, writing agood screenplay is what's really hard. And Jenny's become a very good screenwriter.Jenny: Thank you, Tina.Tina: You should ask her to read yourtreatment.Alice: Sure. Sure, sure, sure.Jenny: I would love to give you notes.Tasha: What? I need the carbs for training.Alice: But do you need them that fast?You have them all over your suit.Tina: Wow, you look amazing.Tasha: Thank you.Alice: I dressed her. Do a little spinzy, come on.Tasha: No.Alice: It's her firstday at the police academy, so...Tina: Excited?Tasha: Yeah, I am, actually. All my friends had the training, it's really, it's really rough.Alice: I tried to dress her inmy morning, but she just thought she looked like a girl.Tasha: It was inappropriate.Alice: You looked so good in that. You know it. You just hate to look good orsomething.Tasha: What the f*ck is that supposed to mean?Alice: There is like a lack of effort.Bette: (receive a sms) Tell me about fashion. Fashion for... I don'tknow.Tina: When you guys are gonna go to therapy?Tasha: There is a thing called privacy, Alice.Bette: Privacy.Alice: Well, I see you at Dan Foxworthy's at 6.There's parking on the...Helena: Wow, look at you! You look a million dollars!Alice: f*ck, you know? Bad vibes. You and Shane should work your sh1t out, 'causethis place is becoming like the black hole of Calcutta.Helena: It's good to see we're still asunder; nothing like a little dyke drama to tear the place out.Alice: That'swhat I'm saying. Bad vibes, man.Jenny: Helena, why don't you come and sit with us?Helena: No, I'm not picking sides, alright? I love you both. Going for arun.Kit: Go Swizerland!Tina: We have some good news.Bette: Yeah, we have good news.Tina: Yeah, good news. Do you wanna tell them?Bette: Why don't youtell them?Tina: Bette and I are registered with three different agencies and they said the chance of us getting a baby within the next six months is reallygood.Alice, Shane: What?!Jenny: Congratulations.Bette: And we're starting construction on the second storey 'cause we need an other bedroom.Alice: But Ithought you guys were talking about selling?Tina: We're staying.Bette: We couldn't sell. Not now. I mean, with the poperty values, plumbing and everything.So...Jenny: When were you gonna tell me about construction?Tina: We're telling you now. We have to. We need a room for the baby.Jenny: How am I supposedto write with all that noise?Tina: I'm sorry, Jenny. We will do our best not to disturb you. But you might wanna get some earplugs.Jenny: I have to get a newroomate. This is gonna be impossible with your racket.Shane: Jenny, please! You don't need a new roomate! You have not spoken to me in a week. Would youjust talk to me? I know we can work this out.Jenny: Oh, right. So, you want me to forgive you because you made me waffles?Shane: Well, why wouldn'tyou?Jenny: Because you create this trail of destruction you don't take any responsibility for it. Why should you be the only one that doesn't pay?Shane: I ampaying.Jenny: You are so full of sh1t.Alice: The black hole. At Jenny's home.Max: How you're doing?Tom: Hi, Shane.Max: So you're putting in those flower boxesJenny wanted, huh? How many more things you're gonna do for her?Shane: I don't know yet.Jenny: There's something wrong with my computer and I wonderedif you could fix it.Max: You know what? I can't 'cause I'm going to my final consult today.Shane: Good luck.Max: Thanks. In the studio of the production ofLezGirls. We are going to see a picture with a girl and a boy.A men: Alright. Are you ready for this?The productor: Do it. I love it. Love it.A woman: Love it!Themen: We thought you would.The woman: \"The Girls\", it's so f*cking hot. This thing is gonna make \"s*x in the city\" like a Disney movie.Tina: What's \"The Girls\"?The movie is called \"Lez Girls\". \"Lez\".The productor: I haven't had a chance to talk to Tina about the market research. I'll full you in in a minute. In the meantime,why don't you just give me a briefing on the release.The woman: After the initial two weeks, we'll go wide. We have 2000 screens nation wide and select cities inhere.The men: France is gonna eat this up.Tina: No.The productor: No what?Tina: No way. I am not gonna let you get away with this. I'm not gonna let youmarket this as some bullshit boy meets girl love story! That's not what this is!The woman: It's more than that. It's boy meets girl, boy almost looses girl togirl...The men: But in the end the audience wants love to prevail. That's the winner hear. The new ending tested through the roof.Tina: What? The new...Whatyou mean the new ending tested? When did you have a test screening?The productor: Get on board, Tina. Train's not going to Lezzie town. At Phyllis, Bette andJodi's work.A woman: This is amazing. Art General uses the correlation about how she uses human emotions like pieces of scrapped metal, words like foundmaterials.A men: It works on so many levels. I mean, here is the Curator who told people their work wasn't worthy. The gallerist who wouldn't show an artist andnow the Dean who rejects applications.Jodi: (Tom speaks) Exactly. A woman who has stood in judgment of our art her entire career is now being thrust into thespot light as the art...The woman: It's brilliant.Phyllis: This kind of praise is fantastic for our program. I can guarantee that we're gonna see...Bette: She arrives.We could use the same material throughout and...I can't talk right now. Alright. bye.Bette: Forgive me. I had the contractors on the phone. Do you know we'redoing that second storey on the house for the baby...Jodi: Phyllis, would you mind just finishing what you were saying?Phyllis: What I was saying was that basedon C.U. associations with Jodi, I wouldn't be surprised if we see a significant increase in applicants this coming semester. Max is seeing the doctor.Max: So one ofmy goals is to be able to take my shirt off at the beach within a year. That's my goal. Feel my pecs. I've been doing like 200 pushings today. Feel like I'm alreadybigger. That's awesome.The doctor: Very good. That's very impressive.Max: Yeah, I think I'm doing good with the contour. I just, I hope I grew more chest tocover the scars.The doctor: Well, I think Dr. Stanhouse is gonna try to do the key whole procedure on you?Max: Yeah, I'm hoping so.The doctor: And is yourschedule for surgery on wednesday?Max: Yeah, he called me this morning and he said that as soon as he gets the lab reports we're gonna be able to...Thedoctor: I'm afraid there's a problem.Max: What's the problem?The doctor: You're pregnant.Max: No, I can't, I can't be pregnant. No, I've been takingtestosterone.The doctor: Have you had intercourse? Have you and Tom had unprotected s*x?Max: Yeah, but we've been both tested for H.I.V. We've beenmonogamous.The doctor: If you and Tom have had vaginal s*x. I know you might not call it that, but unfortunately, that doesn't stop it from working the sameway. Taking testosterone doesn't shut down the reproductive system.Max: What about my surgery?The doctor: We're gonna have to postpone your surgery.We're gonna have to find out how far along you are and you're gonna have to decide what you wanna do about it.Bette: We'll have your budget done by the end"}
+{"doc_id":"doc_245","qid":"","text":"Detective Taylor: A specialist escort agency for the very rich.Danny: Alex didn't use escorts.Alex: I have to buy a battery for my laptop.Danny: I stolesomething... from the attic. It's a locked cylinder. It needs a code.Scottie: Which you don't know?Danny: No. I've gone over every conversation, everyword.Scottie: Danny, you've got to figure it out, you're the only one who can.Scottie: Did you know that I suffer from depression?! Did you know that in the past Idrank?!Claire: I didn't know Alex well personally. There are not many students who start their degree at 15.Danny: He was murdered.Claire: So I take it you wantto speak to his professor?Danny: Marcus Shore.Journalist: Why did they murder him?Danny: I don't know.Scottie: Whatever Alex discovered, whatever it was,whatever it is, no-one wants in the open. We're not up against one intelligence agency, we're up against them all.Danny: I need information.Scottie: What does itmean? It means we are quite alone.Rich: Get in the car. It's for you. Not here!( Mobile phone rings )Distorted voice: You're looking for answers. But are youready for them? Get in the hotel. Room 116.[SCENE_BREAK]Distorted voice: The bathroom. Get in. Clothes on.Distorted voice: Now you're clean, we can talk alittle freer. Get changed. Outside.[SCENE_BREAK]Danny: Where are we going?Distorted voice: Do you want to know who Alex was or not?Distorted voice: Thedoors are locked, Danny. No way out. No way back. I want to take you on a journey... into Alex's past.[SCENE_BREAK]Distorted voice: Remember this place? Areyou sure you know what really happened in there? Walk.( Distant laughter )Distorted voice: A reservation. For two.( Phone beeps )Waitress: There you go.Menu.Doppelganger: Here I am. Alex's past.[SCENE_BREAK]Doppelganger: Well... this is weird. Never done anything like this before.Danny: Like this? What isthis?Doppelganger: Being paid to tell someone how I... their boyfriend. They said you wouldn't believe me.Danny: Who are they?Doppelganger: Who are they?They are the people pulling my strings. I have no control over what I'm about to do. Like this... No control. Alex... ate breakfast here... almost everymorning.Danny: You can even tell me what he liked to order?Doppelganger: What? Oh, to be convincing, you mean?Danny: You watched him?Doppelganger:Serving.Danny: A waiter?Doppelganger: Me? No. Please. I was pretending. The service... it's very expensive because the people, we... don't know that we are...escorts.Danny: How is that possible?Doppelganger: We pretend. We pretend to meet them by chance, we pretend to be won over by their charms... we pretendto... for pleasure... which takes some serious pretending.Danny: Who pays you?Doppelganger: Our clients aren't the people we... We report back. So and so...likes it like this. So and so... likes a little of this. ( He sniffs )Danny: Blackmail?Doppelganger: But that's not my business.Danny: You just do thef*cking.Doppelganger: I just do the f*cking.[SCENE_BREAK]( Alex gasps )Doppelganger (O.C.): They told me to meet him... in the way you methim.Doppelganger: I'm sorry...Doppelganger (O.C.): An accident. They told me to be like you. They told me to act like you.[SCENE_BREAK]Doppelganger: In theend, Alex wasn't so tricky. He just needed to believe... he was being good... all the way up until he was being... a little bit bad. How do you seduce a goodman?Doppelganger (O.C.): My approach was simple. I told him a sad story.Doppelganger: I tell him it's the will and last testament of my mother. And mymother, she never loved me, bitch. In her will, the bitch leaves just three things to me. Just three paintings. That's all. And Alex, listening like a puppy dog. And Itell him, heartbroken... they are the three paintings I painted for her. I'm an artist, I say... No, not yet an artist, aspiring to be.Danny: Pretending tobe.Doppelganger: That's a true story. I am an artist.Danny: What?Doppelganger: What do you think? I grew up wanting to be an escort? Enough, Danny. Enoughwith not believing. What do you need? I'll give it to you? Hmm? You need those little details? A birthmark on the inside of his thigh? Something whispered?Something moaned? He had a thirst, I can tell you that. Like a man crawling out of the desert. Yeah? Throat dry. Lips dry. Gulping up all those missedyears.Danny: Where?Doppelganger: My place.Danny: Your place?Doppelganger: My fake place.Danny: Why did he come round?Doppelganger: To see mypaintings, of course.[SCENE_BREAK]Danny: What did you do?Doppelganger (O.C.): You hate yourself for asking.Doppelganger: So...Doppelganger (O.C.): Butyou had to know.Doppelganger: I'll be right back, OK? Give me a second.Doppelganger (O.C.): You had to ask... what did we do?Doppelganger: We played agame. How long can we talk without mentioning the only thing we were both thinking about? The first game lasted an hour. The second game... lasted a littlelonger...( Alex pants )[SCENE_BREAK]Doppelganger: I rang him afterwards, but he didn't answer. The client wanted more. But Alex wasn't interested.Danny:Why wouldn't you tell me that he kept coming back?Doppelganger: Because I can see you're good at sniffing a lie. So, I told you the truth.Danny: Why did theyhire you?Doppelganger: I don't know, I don't care. It's just a job.Danny: He's dead. Your job. He was murdered. You think you're not involved? Because youseem like a loose end to me.Doppelganger: I was told to pay for our dinner.Danny: Hey? How else are you going to let them know what a great job youdid?Doppelganger: I can see strings on you too.[SCENE_BREAK]Danny: What are you thinking?Alex: Say it again.Danny: What are you thinking?Alex:Nothing.[SCENE_BREAK]Scottie: You were Alex's first experience of love. If he enjoyed a second, would you seem less important? Could the thrill of the newreplace the comfort of the old? Watergate wasn't just about bugging the opposition. They used prostitutes to collect information on rival candidates to shamethem, manipulate them, destroy them. s*x has always been a means of control. In the end, your relationship became a threat to their relationship with him. Hechanged you, you changed him, priorities altered, loyalties altered. I noticed it in our friendship. The two of you were besotted. The rest of the world ceased toexist, but Alex was one of their most important minds. Did you imagine they'd just allow him to drift away?Danny: I didn't think about it.Scottie: It's all THEYwould've thought about. What binds this brilliant young man to us? The Queen? Our history? His parents?Danny: I accept that I didn't know anything abouthis...work. His job. The truth is, I didn't really know him as a person either. I didn't know him.Scottie: Of all the attacks they've used, including your health, theone that has proved most effective is smut. For you, of all people.Danny: He made a mistake, that's not it. But why didn't he tell me? Some of it? Any ofit?Scottie: Because you wanted him to be perfect. He saw that more clearly than you.[SCENE_BREAK]Danny: It was his funeral last week. Do you know how Ifound out? I heard about it on the news. He was buried at a private ceremony for... close friends and family.Scottie: I can't count how many men I've comfortedwhen their partners were dying and the family wouldn't allow them into the hospital, or the church where they're buried. I'm tired of it... tired of hearing about it.He wasn't close to his parents, he was close to you. Hold your own funeral, say your own goodbye.Danny: That's what I should be doing. Sayinggoodbye.[SCENE_BREAK]Danny: What am I doing all this other stuff for? Because Alex discovered some government secret? So what? Cos they lied about a war?They spy on us? Who..? What's it got to do with me?[SCENE_BREAK]Danny: And you know, I don't know any code. I don't.Danny (O.C.): So, I don'tknow...Danny: Maybe, whatever those secrets are, maybe they weren't meant for me.Scottie: Then, that's that.[SCENE_BREAK]( Distant seagulls )Danny: Doyou believe in soul mates?Alex: No. Not only do I not believe in them... it's not even a nice idea.Danny: Not a nice idea?Alex: That there's only just one otherperson out there for you. What are the odds this person would be in the same country? Or the same city? That their paths would even cross? It would meanalmost everyone in the world is with the wrong person. If it's a way of saying, \"we're good together\", why not just say... \"we're good together\"? But if you mean itliterally...Danny: You think there are better people out there for you?Alex: There might be. For both of us. But since we don't know them, it's just atheoretical.Danny: Yes. It's... a sentimental idea. The maths doesn't add up. But... we're by the fire, we're under a night sky. Couldn't you just have said\"yes\"?Alex: Is that what your soul mate would've done?[SCENE_BREAK]Danny: Can it be opened?Silversmith: If you know the code.[SCENE_BREAK]Alex: This isus.Danny: Oh, I've done a lot of things with a lot of different people and... that's part of the reason I'm sure... that we're something special. But, for you, it... Idon't want you to stay with me just because I'm the first. So, you should see other people. You should.Alex: I don't want to.Danny: I only meant...Alex: I don'tneed to.Alex: .. that there's only just one other person out there for you.[SCENE_BREAK]( Dog barks )( Doorbell rings )Danny: Scottie? Scottie?! Scottie?( Faintmurmuring )Danny: Scottie?! Scottie?Scottie: I was just remembering.Danny: Huh?Scottie: A place. I was remembering... a place.Danny: Right, we need to getyou to the hospital.Scottie: Will you just listen to me, for once, Danny?!Danny: You were remembering... a place.Scottie: A place where no-one cares.Pathetic.[SCENE_BREAK]Danny: Thank you.Scottie: My parents used to chide me. \"You were such a happy child.\"Danny: How long?Scottie: Like this? Threeweeks. Worse and worse each day. Now as bad as it's ever been. It can't be coincidence, can it? 30 years I've been OK and, now, like this?Danny: Why mightsomeone who's managed depression for 30 years suddenly suffer a relapse? For no reason?[SCENE_BREAK]Danny: This is what we're going to do. We'll get newpills. Real pills from a different doctor. You can keep them on you at all... Unless they switch them before they give them to you. I'll get them illegally. I knowsomeone. He can get anything.Scottie: On your shell. Until they find a crack. A frailty. A vulnerability. No matter how small. And then they pick away.Scottie:How do you kill an alcoholic? With alcohol. How do you kill a drug addict? With drugs. How do you kill a depressive?Danny: Where'd you get them?Dealer: Peopletell the doctor whatever story, collect a prescription, sell it to me. They're good. It's all good. Always good from me. Do you want something else?Danny: No.Nothing else.[SCENE_BREAK]Scottie: Thank you. Have you examined the contents?Danny: We're going to need help.Scottie: With help comes risk. The morepeople you involve... Look what they've done to us. That was before they knew we had this.Danny: I can do this alone.Scottie: There are rumours. About howthe... Kremlin guarantees the loyalty of its most important citizens. Under the pretext of celebrating an election to the State Duma, the individual is treated to the"}
+{"doc_id":"doc_246","qid":"","text":"Lucifer is drinking and watching over his mother. Amenadiel comes.Amenadiel: Lucifer, we need to talk about something.Lucifer: What... Can it wait? I'm busykeeping an eye on our mercurial mother.Amenadiel: No, it's important. I think you might be in danger.Lucifer: Is it the Yakuza? The Nephilim? One MillionMums?Amenadiel: It's Maze. She's angry with you, brother.Lucifer: Well, is it Tuesday already? Anger is Maze's default setting, sort of baked into her demonDNA.Amenadiel: No, this is different, Luci. I think you really need to talk to her.Lucifer: She'll get over it; she always does. Right now, we have bigger issues todeal with, like whether or not Mum is wasting our time.Amenadiel: If she believes her client has found another piece of the Flaming Sword, so do I.Lucifer: Oh,such a loyal son. But Mum hasn't adapted to this world as well as you might think. This chap could be conning her... I think I'm gonna go make sure...Amenadiel:She seems to be doing just fine. Charlotte puts a briefcase on the table.Lucifer: That's not the money, is it?Amenadiel: Of course not. She wouldn't bring it to themeeting.Lucifer: Oh, no. Of course not. I mean, that would be absurd, wouldn't it?Amenadiel: She's just showing it to him. I mean, it's not like she's gonna handit to him before she... Gets the piece. That's great. The guy takes the money and leaves.Lucifer: And now she's letting him leave. Marvellous. Lucifer andAmenadiel join Charlotte.Charlotte: Well, that went well.Lucifer: Oh, you think so, do you?Charlotte: I do. He has what we need in his safe in the backroom.Lucifer: Oh.Charlotte: He's going to get it right now.Lucifer: Mum, you just handed him a briefcase full of cash with no proof whatsoever he has what weneed.Charlotte: And?Lucifer: You've been conned.Charlotte: He's a client of mine, darling. I don't think he'd be that foolhardy.Lucifer: Oh.Charlotte: Well, I'msure he'll be right back... Maybe we should go check just to be sure.Lucifer: I think that's a good idea, don't you?Charlotte: Oh. Lucifer, Charlotte and Amenadielenter in the office manager of the restaurant. The man is dead.Charlotte: Huh. See? He didn't con me.Lucifer: Look, instead he's dead, and someone robbed himof what's ours... Much better. Well, the good news is, after this spectacular bungling, I happen to work with a homicide detective.Charlotte: If you find the killer,then you'll find our piece of the Flaming Sword.Amenadiel: Hey, but, Mom...Lucifer: The challenge is... Making sure we catch the case before some otherdetective.Amenadiel: But what about...Charlotte: I may be able to help.Lucifer: Really? I'm all ears. Lucifer and Charlotte leave. Maze enters in Linda'spractice.Maze: Is everything all right here?Linda: Yeah, everything's fine, Maze. You can, uh, you-you can put away the knives.Nigel: We'll be in touch, Dr.Martin... Excuse me.Linda: Uh, Maze. Maze. Oh, my Lord.Maze: Who the hell was that?Linda: That was the chairman of the ethics review board.Maze: Are youokay?Linda: No. No, I am not. No, Maze. No, no, no, don't, don't. That won't do any good.Maze: What happened?Linda: A couple of weeks ago, I maybe, sort of...Helped Lucifer break out of a mental institution... Using my own name. It's my fault, really.Maze: No, it is not your fault. It is Lucifer's fault. It's always Lucifer'sfault. First, I find out he's ditching me to go to Heaven, and now he's hurting you... Look, I'm gonna fix this, Linda. And then him and I are gonna have a littletalk. At the station, Lucifer is waiting. Chloe is working.Lucifer: Hey, I should get my own desk.Chloe: Not happening.Lucifer: Right next to yours would probablybe best.Chloe: Definitely not happening. Why are you hovering over me?Lucifer: I'm not hovering. I'm just spending time with my partner.Chloe: Oh, well, sinceyou're here, why don't you help me with this paperwork. I could really get used to this, partner.Lucifer: Right. Yes, on second thought, maybe a desk in the farcorner might...Chloe: Mm-mm.Lucifer: Oh! Ms. Richards.Charlotte: Detective Decker. Just the woman I was hoping to see.Chloe: Well, I feel the opposite. Ifyou'll excuse me.Charlotte: Hear me out. A client of mine called. He sounded very worried. I think he might be in terrible danger.Lucifer: Oh, that's awful.Detective, we should do something.Charlotte: He's at a bar downtown. Would you come with me and make sure that he's okay?Chloe: Nope.Charlotte:Nope?Chloe: I'm a homicide cop. I do not go around checking on worried criminals like a nanny, Charlotte. So if we're done here...Charlotte: I heard... Things...On a... On-on the phone call.Chloe: Like?Charlotte: Fingers... Pointing.Chloe: You heard... Fingers pointing?Charlotte: Very angrily. Yes... Also, a gunshot.Sounded like he was... Dying, or, um... Melting? It's hard to tell.Chloe: Charlotte...Lucifer: It sounds worth our time, actually.Chloe: Agreed. Why didn't you justlead with that? Chloe, Lucifer and Charlotte enter in the crime scene.Chloe: The lock's damaged.Lucifer: Is it?Chloe: Looks like you're right. He's been dead aboutan hour.Lucifer: Oh? Impressive guess, Detective. Uh, I'm assuming from the... Discoloration... Well, that wasn't a complete Dumpster fire, but now that we'refinished, you can see yourself out.Charlotte: I'll do nothing of the sort.Lucifer: Fine. I'll show you out, if you insist.Charlotte: I'm not going anywhere.Lucifer: Butthe detective and I have got everything handled now.Charlotte: This is far too important to leave to just the two of you. I will stick around.Lucifer:Mum.Charlotte: Besides, we'll get to work together. Won't that be fun? Ella is here to exam the body.Ella: We're running tests for gunshot residue and cocaine.Should have those in, like, five minutes.Chloe: Okay. Good... Oh, Charlotte. You're still here, huh?Charlotte: Well, he was my client. I thought I might be of helpto the case.Lucifer: But if not, we could always get her to shoo along and we can carry on with our business.Chloe: No. I'm sure she could be very helpful. So tellme, why does Zeke Moore, a manager at an import/export company, have you representing him?Charlotte: Because I'm the best.Chloe: At getting criminalsoff.Charlotte: Well, that's not true. I haven't slept with any of my clients.Chloe: What? You represent the worst of the worst. So why was Zeke a client?Charlotte:Because he works for Bianca Ruiz.Lucifer: What? The tequila magnate?Chloe: Bianca's tequila empire is a front. She uses the distribution routes to sell guns,drugs, and, oh, yeah, people. So we've been after her for a long time.Charlotte: Who do you think did this? A rival of some sort?Chloe: Well, that's actually agood question. Ella, what do we have?Ella: Well, no smoking gun, but poor Zeke here got shot twice. First in the thigh... Bullet winged him... And then anotherwent through his hand hitting him in the chest. Probably trying to defend himself. Too bad you can't catch bullets.Lucifer: Well, he can't maybe.Chloe: I don'tthink this was a professional hit. Maybe a robbery gone wrong.Charlotte: And idea of what was taken?Ella: Well, trace elements point to cash, cocaine,gunpowder residue, indicating weapons... All your basic bad guy stuff. No sign of forced entry, though.Chloe: Which means the killer either knew the combination,or he just waited for the vic to open it to strike.Ella: Mm-hmm. Hey, I got something here. Cell phone. No dust on it, so it hasn't been there long.Chloe: Well,Zeke had his phone on him, so this one could be the killer's. Maybe he dropped it during the fight or just didn't have time to retrieve it.Ella: Passcode protected,of course. But the home screen is... Two eyes?Charlotte: Human female breasts.Lucifer: No. That is a woman's perfectly freckled rump.Chloe: So our lead on thekiller is a pair of butt-boob-eyes. It's a great start. At the station, Daniel studies Bianca Ruiz's file. Charlotte comes.Charlotte: Hello, Daniel.Daniel: What are youdoing here?Charlotte: Ms. Ruiz there... Is my client.Daniel: Well, she's a real piece of work.Charlotte: Trying to make me jealous?Daniel: What do you want fromme? You seduce me, you betray me, now you're back. You have to want something, I just can't figure out what.Charlotte: I do want something, you're right. AndI'll tell you. Just somewhere private.Daniel: I'm not having s*x with you here.Charlotte: But I need something to pass the time until we get a lead.Daniel: I don'tunderstand you. All right, whatever this is between us.Charlotte: Well, it's simple, Daniel Espinoza... I like you. Music comes from the lab.Ella: You guys, it's arecord label. The symbol on the phone we found is the label's logo.Lucifer: And they choose to publish this music of their own free will?Ella: It's a vanity label. Itexists only to make this one guy's music.Chloe: Okay, well, who owns it? And can you please turn it off?Ella: Chet Ruiz.Charlotte: Bianca's youngest son. Half ourbilling goes to keeping him out of jail.Chloe: So Bianca's own son robbed and killed one of her most loyal soldiers?Daniel: The files barely mention Chet. I didn'tknow he was actually part of the family business.Charlotte: He's not. Bianca tries to keep him as far away from it all as possible.Chloe: Maybe he started to resentthat, decided to make a play?Lucifer: And then dropped his phone, proving just how right his mother was about him.Chloe: Well, if Chet is the killer, this could beour chance to take down Bianca, as well. Cut off the head of her entire operation. This could be huge.Ella: Yeah. Bummer is the phone proves that Chet was in theroom but doesn't definitively tie him to the murder.Chloe: Dan, why don't you work on hacking the passcode. I'll have a chat with Chet. And, Charlotte, thank youso much for your help. But now that one of your clients is our main suspect, it's best you go.Charlotte: I don't think I have to go quite yet.Chloe: Maybe not, but Ithink you should.Charlotte: Bianca's having a party today. It's the launch of her new tequila. I'm sure Chet will be there, and... I'm invited.Chloe: Why do youwant to help us now?Charlotte: Because we all want the same thing: to find out who robbed and killed Zeke.Daniel: You know, Chloe, it would be a good chancefor us to go undercover. Gather some intel before they even know we're onto them.Chloe: All right.Lucifer: Fine. Good. It's settled. The Detective and I will go, sothank you so much for your help.Charlotte: I don't think so. The invitation is under my name. I will go. Perhaps Detective Espinoza should join me.Lucifer: No.Yes, that's not happening. Uh, very well. I'll go with you...Chloe: No, I'll go with Charlotte.Lucifer: But, Detective...Chloe: No more argument.Charlotte: Very well.But I suggest you go shopping. This isn't the kind of place you can attend in pajamas.Lucifer: This is ridiculous.Chloe: Pajamas?Ella: What if Ella goes to theparty? That sounds like a great idea. Oh, my God. Thank you so much for thinking of me. But you know what? I'm so busy. Lucifer enters in Linda's practice. Mazeis waiting for him.Lucifer: I have been sidelined by my own mother and the Detective. It's absurd. I won't stand for it. I am gonna find a way into thatparty.Maze: Do you always whine like this? I don't know how she puts up with it.Lucifer: Where's Dr. Linda?Maze: Suspended. Because of you. Because you havebeen a terrible, selfish friend... To her. Now you're gonna fix it.Lucifer: Well, gladly, once I figure a way back onto the case.Maze: No, Lucifer. Now!Lucifer: But Isuppose they can handle things without me for the time being. What's the plan? Daniel is on the phone at the station.Daniel: It'll take two hours to scan the"}
+{"doc_id":"doc_247","qid":"","text":"Scene: The apartment.Amy: This is nice, that we all get to eat together.Leonard: Absolutely.Amy: Hmm. Can we maybe put the phones down and have anactualhuman conversation?Sheldon: We can, but thanks to Steve Jobs, we don't have to.Penny: Guys, guys, you're never gonna believe this.Leonard: Whathappened?Penny: I just got a part on a TV show.Amy: Congratulations.Leonard: What? That's great. Guys.Howard: Oh, yeahSheldon: Yay, Penny.Amy: What'sthe show?Penny: Um, NC... II... or, you know, NCSTD... I don't know, it's, it's, you know, it's the one with the letters and I'm gonna be on it!Leonard: That'samazing.Penny: Yeah.Howard: What's your part?Penny: Um, I play a customer in a diner and I flirt with Mark Harmon.Raj: Ooh, Mark Harmon, he's adreamboat.Leonard: So it, it's just flirting?Penny: Well, yeah. Why?Leonard: Uh, no reason. I just think it's sexier when things are left to the imagination.Amy:He's wrong. Credits sequence.Scene: The Cheesecake Factory.Raj: So I read a study that says a man with a dog is three times more likely to get a woman'sphone number.Leonard: Is it true even when the man lets his dog lick peanut butter off his tongue?Raj: I don't see why not.Howard: If you're really desperate tomeet women and like having food eaten out of your mouth, I could set you up with my mom.Sheldon: Why is that funny? That's just unhygienic.Leonard: It's ajoke.Sheldon: I don't think so. I believe that a joke is a brief oral narrative with a climactic humorous twist. For example, uh, Wolowitz's mother is so fat that shedecided to go on a diet, or exercise, or both. See? The twist is that people don't usually change. Well, they don't.Penny: Hey, guys, don't forget, my episode's onTV tomorrow night.Howard: We'll be there.Raj: Can we bring anything?Penny: Oh, that's so sweet of you, but I was gonna steal food from here. You know, mytreat.Sheldon: Wait, if Howard's mother is coming, then you should also steal marbles. Because she's obese, and hippos are obese, and in the popular boardgame Hungry Hungry Hippos, they eat marbles. Maybe I need to dumb these down for you.Scene: The stairwell.Sheldon: Leonard, do you think I'mfunny?Leonard: No. Do you?Sheldon: I think I'm hysterical.Leonard: I take it back. That was funny.Sheldon: The philosopher Henri Bergson says it's funny whena human being behaves like an object.Leonard: I bet that bit killed at The Chuckle Hut.Sheldon: Oh, he didn't perform stand-up comedy, he was aphilosopher.Leonard: You know, I think we're zeroing in on your problem.Sheldon: Perhaps I'll spend some time developing a unified theory of comedy, which willallow me to elicit laughter from anyone at any time. Unless they're German, 'cause that's a tough crowd.Leonard: Are you set on people laughing with you?'Cause if you're cool with at you...Sheldon: I don't get it.Scene: Bernadette's car.Bernadette: Raj, when you said you were gonna bring a date to watch Penny'sthing tonight, I didn't think you meant Stuart.Howard: Really? I never for a second thought it'd be anything else.Raj: I almost met someone last night, but I blewit. I was walking Cinnamon and this girl introduced herself, but she was so cute I panicked and said, wouldn't it be easier if instead of talking we could just sniffeach other's butts?Bernadette: Well, Stuart's cute in his own way.Stuart: When I was a baby, my mother called me her little possum.Raj: Are possumscute?Stuart: Not at all.Howard: If you're so intimidated by talking to attractive girls, maybe you should practice by talking to regular people.Raj: You mean likefatties and uggos?Bernadette: Or maybe just stop talking.Howard: I'm serious. Go to the mall, talk to anybody, practice, that way when you eventually do talk toa cute girl, it won't be so scary.Bernadette: Or just keep dating the possum.Scene: The apartment.Voice on television: Parsa doesn't have those kind ofresources.Second voice: No, and that's why he had Erin Pace rewire it...Leonard: I'm so proud of you.Penny: We haven't even gotten to my scene yet.Leonard: Iknow, but you're going to be a TV star and you haven't left me yet. That takes guts.Sheldon: I don't know about you, but I'm very uncomfortable with allthis.Amy: Why?Sheldon: I've never seen this show before and now I'm starting with episode 246? It's unnatural.Amy: Just think of the first 245 as theprequel.Sheldon: All right.Penny: Okay, shh, guys, guys, this is it.Man on TV: I guess it's you and me, kid.Mark Harmon on TV: What are you doing?Woman onTV: I'm trying to make peace.Mark Harmon on TV: We're good.Woman on TV: Good.Mark Harmon on TV: Really? Because...Penny: Are you kidding me?Leonard:What's wrong?Penny: Well, the diner scene. Where's my diner scene?Sheldon: Well, don't ask me. Until I see the prequel, I'm lost.Penny: No, there wassupposed to be a big scene with me and Mark Harmon, but it's gone.Bernadette: What happened?Penny: They must've cut it.Leonard: Oh, Penny, I'm, I'msorry.Howard: That stinks.Raj: I'm sure you were great.Penny: This doesn't make any sense. I mean, I, I thought I did a, a really good job, I... Excuseme.Sheldon: I've been studying how to make people laugh. They say that comedy is tragedy plus time. Let's tickle some ribs.Scene: Penny's apartment.Penny(on phone): No, Dad, I don't think they cut me out of the show because I was too pretty. No, I don't need you to come out and kick Mark Harmon's ass. Daddy, Igotta go. I love you. Bye.Leonard: How you doing?Penny: Ugh, this is such a disaster. My parents had all my relatives over. They got one of those six-footsandwiches, and got my brother a day pass out of rehab and now he's missing and the sandwich is missing, and they're probably in Mexico by now. Sohumiliating.Leonard: You still got the part. That's a huge accomplishment.Penny: Yeah, but this was supposed to be my break, okay? People were gonna see mein this show and it was gonna lead to bigger things. More auditions, more parts. Now none of that's gonna happen.Leonard: Honey, you only had, like, three lines.That wasn't gonna happen anyway.Penny: Unbelievable.Leonard: Oh, come on, no, that's not what I meant.Penny: Then what did you mean?Leonard: I don't,look, you know, words don't always have to mean things.Penny: I think you meant that you don't believe in me.Leonard: Nope. Uh, uh, I might not know what Imeant, but I know that I didn't mean that. Not this guy. Oh, no way.Penny: I want you, right now, to give me your 100% honest opinion.Leonard: Right.Penny:Do you think I have what it takes to really make it as an actress?Leonard: Yes.Penny: So you think I'll be on TV and in movies and win awards.Leonard:Honestly?Penny: Yes, honestly.Leonard: I don't.Penny: How could you say that?Leonard: I don't know, I got all confused when you said honestly.Penny:Oh.Leonard: Look, do I think that you are talented and that you are beautiful? Of course I do. But isn't Los Angeles full of actresses who are just as talented, justas beautiful? All right, look, we'll come back to that.Penny: No, please. Don't stop, go on. Tell me how I'm gonna be a waitress for the rest of my life.Leonard:That is not what I said. Look, I think you're really good. I truly do. But this is an incredibly hard thing that you're shooting for. I mean, the odds of anyonebecoming a successful actor are like a million to one.Penny: Wow, thank you.Leonard: Should've let Sheldon come.Scene: The apartment.Sheldon: This isinteresting. Apparently, a key component in some forms of humour is the element of surprise.Amy: Well, that makes sense. The prefrontal cortex is responsiblefor planning and anticipation, and patients with brain lesions on their...Sheldon: BRAIN LESIONS!Amy: Sheldon, you scared me. That wasn't funny.Sheldon: Ormaybe you have a stick up your prefrontal cortex.Amy: Okay, the notion that you can read a few books and come up with a definitive theory of comedy is absurd.I mean, humour is a complex neurological... (Sheldon drops his trousers) Okay, that's pretty good.Sheldon: Excellent.Scene: The mall.Stuart: How abouther?Raj: No. No pretty girls. The point is to talk to regular people and work our way up to pretty girls.Stuart: Fine. How about that old lady with the walker?Raj:That depends. On any level, do you think she's hot?Stuart: We'll find somebody else.Scene: The apartment.Sheldon: Kumquat?Amy: I guess.Sheldon:Ointment?Amy: Sure.Sheldon: Now, would you say ointment is more, equal to, or less funny than kumquat?Amy: I don't think I want to go out with youanymore.Sheldon: Will you please stop joking around? I'm trying to figure this out.Amy: Sheldon, how many words are you gonna go through?Sheldon: All ofthem.[SCENE_BREAK]Scene: Penny's apartment.Penny: You didn't get your part cut.Voice on TV: All right, baby, here's the deal.Penny: And you didn't get yourpart cut. Yep, bunch of old guys rocking out in a band, all with erectile dysfunction, you didn't get your part cut!Leonard: Hey. Can we talk?Penny: We can, butthe part of Penny might get cut.Leonard: That was really crappy of me. What you're trying to do is hard, but people do make it, and I really do believe you couldbe one of them.Penny: Thank you.Leonard: And to show you how much I believe in you, I kind of got you an audition.Penny: Are you serious? For what?Leonard:The new Star Wars movie.Penny: What? How did you manage that?Leonard: There's this thing online, you put yourself on tape and just send it in, anyone can doit.Penny: Come on Leonard, this is just a PR stunt.Leonard: So? Even if it is, you have a huge advantage because you're an actual actress. Most of the peopledoing this are just weirdoes and nerds. Wolowitz sent his in two days ago.Penny: Really, let it go.Leonard: Look, maybe it is a long shot, but sometimes longshots happen. Luke Skywalker was only given one chance to destroy the Death Star. He had to get a torpedo into an exhaust port that was only two meters wide,but with the help of The Force, he... wow, I can feel you hating me right now.Scene: The mall.Stuart: How about that lady in the sweat suit, speed-walking?Raj:Yeah, she seems friendly and easy to... never mind, she's gone. You know, maybe talking to people is too hard.Stuart: We could go over to that departmentstore, practice on the mannequins.Raj: I don't know. They're dressed very stylishly. They're probably stuck-up. This is ridiculous. The next person that walks by,no matter who it is, they're the one. We're gonna die here.Scene: The Cheesecake Factory.Amy: Hello.Bernadette: Hey.Howard: Where's Sheldon?Amy: He'shome trying to use science to determine the basis of humour.Bernadette: That's interesting.Amy: It's exhausting. Do you have any idea how hard it is to laugh ata knock-knock joke that starts with knock-knock-knock, Amy, knock-knock-knock, Amy, knock-knock-knock, Amy?Bernadette: If you want him to stop,sometimes the easiest thing to do is just fake a laugh.Howard: Fake a laugh? Do you ever do that with me?Bernadette: No, of course not.Howard: Well, I'd beable to tell anyway.Bernadette: I don't think you would.Howard: Please, I've made plenty of girls laugh, sometimes just by asking them out. (Bernadette laughsuncontrollably) Yeah? Well, I fake my orgasms.Scene: The apartment.Leonard (on phone): Yes, how much for a hundred long-stemmed red roses? Really? How"}
+{"doc_id":"doc_248","qid":"","text":"Angel: \"Previously on Angel\"Wesley: \"Angel's son is part of the prophecy. Everyone and everything will be coming for him.\" Fred is holding Connor.Wes:\"Adorable.\"Gunn: \"So sweet.\"Wes: \"I meant the baby.\"Gunn: \"I meant the hot mama.\"Wesley: \"She is a rather extraordinary young woman.\" Gunn and Fredkiss. Wes' face reflected in the polished metal as he sees them.Lorne: \"We got a little term back in Pylea - kyrumption...\"Angel: \"I know it.\"Pylean Priest:\"Everyone is very anxious for her majesty to com-shuck with the Groosalug.\"Gunn: \"Sounds dirty if you ask me.\" Cordy runs across the dungeon to hugGroo.Cordy: \"That's not terrible, that's wonderful!\"Groo: \"Your visions shall pass to me.\"Cordy: \"I can't give up my visions!\" Cordy lounges in Angel's doorway,dressed up for the ballet.Lorne: \"Cordelia?\"Angel: \"What about her?\"Lorne: \"You got to let her know what's brewing inside, because you don't wanna miss thatshot!\" Possessed by the mystical energy in the ballerina's dressing room, Angel and Cordy go at it.Angel: \"You've become a truly extraordinary woman. I thinkthat we...\"Cordy: \"Groo?\"Angel: \"Yes! We grew - closer together and I think...\" Cordy runs past him.Cordy: \"Groo!\"Groo: \"Princess!\" They hug.Cordy: \"Oh god, Ican't believe it!\"Lorne to Angel: \"He just showed up\" Fred (voice-over as Angel goes to check on Connor): \"I thought for sure she was meant to be with Angel. Iguess you never can predict those things.\" Angel is leaning on Connor's crib, looking down at his son. Lorne comes up beside him.Angel: \"It's strange.\"Lorne:\"Hmm.\"Angel: \"I remember him being taller.\"Lorne: \"A trick of the light. They don't actually get smaller until they're very, very old.\"Angel: \"I didn't mean thebaby.\"Lorne: \"I know you didn't.\"Angel: \"I meant the Groosalug.\"Lorne: \"I know you did.\"Angel: \"Did he seem, ah, - I don't know - short?\"Lorne: \"Oh, absolutely.Clearly the guy shrank - all over, probably. (Lorne helps Angel out of his tux jacket) Why, he's nothing but a muscley midget. I'm sure once Cordelia gets himhome, she'll just pop him into a smallish drawer, and that will be that.\"Angel, adjusting his cuffs: \"She took him home. Well - well, that's good. At least we won'thave to put him up here. The place was starting to turn into a hotel.\"Lorne: \"So - so you don't have a problem with that then?\"Angel: \"Of course not. Why wouldI?\" Lorne sniffs Angel's tux jacket.Lorne: \"Oh, I don't know. Maybe because I don't remember you wearing this perfume when you left this evening?\" Angel takesthe jacket from him.Angel: \"Okay. There may have been some magic.\"Lorne: \"There. You see?\"Angel: \"Actual *magic,* Lorne. Whatever happened, it was aspell. It's worn off now. There's nothing between Cordelia and me.\"Lorne: \"Sure there is. And it got arms like steel cables and a deeply ironic sense of timing.\"Angel goes to hang his jacket into a closet.Angel: \"You know, it's good that the Groosalug showed up when he did. You were right. Cordelia deserves a champion,and now she's got one.\"Lorne: \"Well, what about you?\"Angel: \"I'm fine. I've been a solo-act most of my two hundred fourty plus years. And when I wasn't? Neverturned out well. I like being alone.\" The camera frames Angel and Lorne from inside the closet as Angel hangs up the jacket.Lorne: \"Fine, Ms. Garbo. Have it yourway. Be alone.\" The closet door closes, and the screen goes dark - only to show us Angel again as he opens the door again a moment later. Angel reaches in,takes out the jacket on its hanger and sniffs at it for just a moment before hanging it back up and closing the door as he turns away. The camera looks out ofanother closet, this time at Cordy changing out of her evening dress.Cordy: \"So, ahem, you got deposed, huh?\" Groo, pacing in her living room: \"Yes.\"Cordy:\"Huh. That sucks.\"Groo: \"The people turned against me.\"Cordy: \"Yeah, well, they'll do that.\"Groo: \"Endless committees were formed. Committees splintered intofactions, the factions into coalitions, the coalitions turned into subcommittees, until finally the more radical element, spurred by a charismatic leader, did thedance of revolution.\" Cordy comes out of her bedroom, wearing a red sweater and jeans.Cordy: \"And here you are.\"Groo: \"Yes.\"Cordy: \"So - you don't miss it?You know, the power, castle, concubines, and the royal chippies.\"Groo: \"There was never anyone else.\"Cordy: \"Oh.\"Groo: \"I welcomed the overthrow. The tediumof government was too much to bear after a life on the battlefield.\" Cordy, running a finger down the side of Groo's face: \"Your heart wasn't really in it.\"Groo:\"No. That left when you did.\" Groo slowly leans forward and they kiss. The camera circles around them and as we come back to see the Groosalug's face he hassuddenly turned into an ugly, spiny, black monster. Cordy pulls back, staring at him. Groo's voice coming from the monster: \"Princess?\" Cordy takes a stepback.Groo, looking like himself again: \"Is something wrong?\" Intro Angel comes down the stairs into the lobby, carrying Connor. Wesley is moving about behindthe reception counter.Angel: \"Hey.\"Wes: \"Morning.\"Angel: \"You, ah, you're the only one here?\"Wes: \"So far. - How's young Connor today?\"Angel: \"He's good.Cordelia, she's - usually in by now, isn't she?\"Wes: \"It's early. I imagine she and Groosalug where up late. They have a lot of catching up to do.\"Angel: \"Right. Ah.'They.'\" Angel goes to put Connor down in a bassinet in Wes' office. Wes follows him.Wes: \"Actually, I was hoping you and I could talk before the others gothere.\"Angel: \"Sure. What is it?\"Wes: \"Well - it's the fact of him. I know his sudden arrival was something we all needed a moment to digest. - Still, there arequestions.\"Angel: \"You're suspicious.\"Wes: \"'Cautious' might be a better word.\"Angel: \"You think he's evil.\"Wes: \"Evil?\"Angel: \"Okay, maybe not evil, but - he'sdefinitely hiding something. Does he seem shorter to you?\" Wes glances down into the bassinet.Wes: \"We are both talking about Connor, aren't we?\"Angel:\"What about Connor.\"Wes: \"He shouldn't exist.\"Angel: \"His birth was foretold. How many people can say that?\"Wes: \"He has a role to play, that's true, but westill don't know what that role is. - Angel, we can't be afraid to ask the questions, because your enemies, *his* enemies, certainly won't be.\"Angel: \"You're right.We should be prepared.\"Wes: \"I'm glad you agree. However, with the loss of the Nyazian Prophecies, we'll probably have to look elsewhere for ouranswers.\"Angel: \"Well, we both know where those prophecies went. Maybe it's time to make another assault on Wolfram and Hart.\"Wes: \"That might not benecessary. Not yet, anyway. There should be other sources. Ancient works accumulate scholarship, commentary over the years.\"Angel: \"Huh. You thinksomebody else has already done the work for us.\"Wes: \"That's my hope. I've been looking into it. I just... I felt you should know.\"Angel: \"I wanna be involved,completely.\"Cordy: \"Involved with who?\" Angel spins around to see Cordy put some stuff down on the reception counter, and walks out of Wes' office.Angel:\"You're here. And...(Sees Groo standing in front of the weapons cabinet, trying out one of the swords) ... so is he.\"Groo: \"Angel. Your weapons are mostimpressive.\"Angel: \"Thanks. Thank you. (Grabs a hold of Cordy's arm, never taking his eyes off Groo) Can you, uh, ask him not to handle my weapons?\"Cordy:\"Oh, relax. If there's one thing Groo knows, it's how to handle a weapon. - Poor guy. Looks like that's about all he's gonna be handling.\"Angel: \"You mean, ah,you two didn't...\"Cordy: \"I got him home last night and we started... you know. - But then - I couldn't go through with it.\"Angel: \"You couldn't?\"Cordy: \"No. Notafter seeing that disgusting, spiny thing!\" Angel throws a look at Groo before following Cordy into Wes' office.Angel: \"Spiny?\"Cordy: \"Right up in my face! That'swhat the visions are like now. No pain, less artsy, sometimes floaty, though not lately, and very often stinky.\"Wes: \"You had a vision?\"Cordy: \"Yeah. Big as life(Shows them a sketch she drew of the monster) last night, while Groo and I were getting reacquainted. Kind of a mood killer, I got to say.\"Wes: \"You should havecalled one of us.\"Cordy: \"Oh, please! Like I'm gonna bother you guys in the middle of the night because I want s*x and can't have it.\"Wes: \"Actually, I meant thevision.\"Cordy: \"Oh. That. Well, it's not rising up until sometime later today.\"Wes: \"Oh. Why can't you have s*x?\"Cordy: \"I could lose my 'visionity.'\"Wes: \"If youwanna play it that way.\"Cordy: \"*Vision*-ity! The visions. When that one hit my last night, it hit me. In Pylea the visions were supposed to pass to Groo if weever did the royal com-shuck. How do I know that won't happen here?\"Angel: \"Good point. You really don't.\"Wes: \"But your recent transformation could havechanged all that. It might be possible to...\" Angel kicks the side of Wes' desk as he moves his foot.Angel: \"Still, you know, better safe than sorry. (To Cordy)You're doing the right thing.\"Cordy: \"I know. I know. I can't risk it. It's just - I'm so... (Looks out of the office to where Groo is still swinging that sword) And he'ssuch a... Rrrr.. (Turns to smile at Wes and Angel) Don't you think?\" Angel and Wes both look down.Angel: \"Yeah, sure.\"Wes: \"Certainly.\"Cordy: \"I mean, there'sgotta be other things we can do to relieve the tension!\"Angel: \"Jogging could be the thing.\"Wes: \"Perhaps some form of paranormal prophylactic...\"Angel:\"Because, you know, jogging...\"Cordy, still watching Groo: \"I guess we could probably 'com' without actually 'shucking.'\"Angel: \"Well, I don't know. That could bea slippery slope that once you're on, that you could - slide.\"Cordy: \"At least I won't be upsetting the average around here. Nobody in *this* office is ever gonnaget any.\" Gunn is sitting across from Fred in a diner, watching her eat.Gunn: \"It's funny.\"Fred: \"The way I chew?\"Gunn: \"No. Until that kiss last night, I wouldhave thought you and Wesley had a thing for each other.\"Fred: \"Wesley?\"Gunn: \"Yeah.\"Fred: \"No, we're just good friends.\"Gunn: \"You want another order ofthose?\"Fred: \"Yes, please.\" Fred puts a hand on Gunn's wrist as he looks around for a waitress.Fred: \"Oh. No. No, I'm not hungry.\"Gunn: \"You sure? I lovewatching you eat.\"Fred: \"Wow. (They both look down, fidgeting and smiling) - We should probably go. People might start to talk.\"Gunn laughs: \"Why wouldthey?\"Fred: \"Well, you know, us.\"Gunn: \"'Us' has been doing breakfast for weeks now. Everyone knows that.\"Fred: \"I know, but now that we've kissed, things aredifferent. - I mean, they are, right?\"Gunn, smiling at her: \"Oh yeah.\"Fred: \"So - so you don't think they can tell?\"Gunn looks around: \"From here?\"Fred laughs:\"I'm sorry. I'm being ridiculous, I know. It's just - I don't have a lot of experience in this area. I spent the last five years in a cave.\"Gunn: \"Yeah, I know whatthat's like.\"Fred: \"How could you?\"Gunn: \"Because now everything's so bright my eyes hurt.\" As they get lost in each other's eyes, the waitress drops the tab onthe table.Waitress: \"Here you go.\"Fred: \"Thank you.\"Gunn: \"Thanks.\" They both reach for it without losing eye contact, and their hands touch.Fred looks down:\"How are we gonna work this?\"Gunn: \"Like we always do. We split it.\"Fred: \"But you hardly ordered anything. I'd be getting so much more value.\"Gunn, smiling:\"I think I'm making out okay.\" They lean across the table to kiss when their beepers go off. They both fumble for them and look at the number.Both:"}
+{"doc_id":"doc_249","qid":"","text":"Open on three cheerleaders running in a busy High School car park as Veronica drives in, parks up and heads towards a crowd in front of the school.VERONICAVOICEOVER: This is my school. If you go here, your parents are either millionaires or your parents work for millionaires. Neptune, California. A town without amiddle class. If you're in the second group, you get a job. Fast food, movie theatres, mini-marts. Or you could be me. My after-school job means tailingphilandering spouses or investigating false injury claims. The crowd is gathered around, staring at something ahead.MALE VOICE IN THE CROWD: Who'd that guyrat out? The focus of the crowd's attention is a young black man, taped to a flagpole. He is naked, although his dignity is preserved by the tape and 'Snich' ispainted in large letters across his chest. We will subsequently learn his name is Wallace.BOY IN THE CROWD: The bikers.GIRL IN CROWD: Why doesn't somebodycut him down?ANOTHER BOY IN THE CROWD: [Sarcastically] Yeah! I'll do it. I wanna be the guy up there tomorrow!No one is helping him and one particularlyobnoxious individual approaches him with a camera, taking a photograph of himself with the humiliated captive.JERK: All right, say cheese. Smile. Veronica isunimpressed with the passivity of the crowd or the jerk and approaches them.VERONICA: [To the jerk] Move.JERK: Who died and made you the quee-Hisposturing is cut off by Veronica's production of a small knife and he leaves as Veronica starts to slice through the tape around the boy's lower body.JERK:[Exiting] You ARE a freak.VERONICA: [To the lad, as she cuts him down] You're new here, huh. Welcome to Neptune High.School bell rings.VERONICA: [In mockenthusiasm to the quickly dispersing crowd] Go Pirates! Overhead shot of event cuts to the front of a class room in session. As the teacher (who in the future wewill learn is Mrs Murphy) walks forward, the students are exposed, including Veronica, whose head is on the desk and who looks to be asleep.MRS MURPHY: Thisis advanced placement. We expect more. It's called 'An Essay on Man' but what Pope's really talking about is faith. Right? Anybody? Did anybody complete thereading? Veronica? Veronica Mars! Veronica's head comes up. She wipes her eye, waking up.VERONICA: Um-humMRS MURPHY: Congratulations, you're myvolunteer. Pope. An Essay on Man. Epistle I.VERONICA: \"Hope springs eternal in the human breast; Man never Is, but always To be blest: The soul, uneasy andconfin'd from home, Rests and expatiates in a life to come.\"MRS MURPHY: And what do you suppose Pope meant by that?VERONICA: Life's a bitch until you die.[The class titters.]MRS MURPHY: OK, thank you Ms Mars for that succinct and somewhat inappropriate response.Veronica returns her head to the desk as theteacher carries on.MRS MURPHY: I think what Pope's saying is that the thing that keeps us powering through life's defeats is our faith in a better life yet tocome.Cut to Veronica coming from around the corner to an empty school hall with successive sets of lockers on the side between classroom doors.VERONICAVOICEOVER: Random locker searches. It's the latest tactic the administration has adopted in their losing war on drugs except the searches aren't really random.In front of Veronica are a tall, besuited man and a deputy who holds the leash of a German Shepherd. We will subsequently learn that the deputy's name isSacks.VERONICA VOICEOVER: I know when they're gonna to happen before Vice Principal Clemmons does.DEPUTY SACKS: Veronica Mars, this should begood.CLEMMONS: Veronica, would you please open your locker.As Veronica is turning the combination of her locker, the dog barks.VERONICA: [To the dog]Buster. The dog gives a little whine and obeys her. The surprised deputy looks down at the dog. Veronica opens her locker. It is completely empty save for apicture on the back of the door. It is a picture of Vice Principal Clemmons framed in a heart.VERONICA: [With feigned embarrassment] Wow. This is a littleembarrassing.Cut to an unappetizing dinner tray of meatloaf, gravy and mixed peas and corn. Veronica stabs at it unenthusiastically as the camera pulls back toreveal her in an outside eating area in the school, sitting alone at one of the tables. People fast motion around her until it rests on a table across from her. Thereare a number of students there, taking delivery of pizzas.VERONICA VOICEOVER: I used to sit there. At that table. It's not like my family met the minimum networth requirement. My dad didn't own his own airline like John Enbom's [paying for the pizzas with a gold card] or serve as ambassador to Belgium like ShelleyPomeroy's but my dad used to be the sheriff and that had a certain cachet. Another boy approaches the pizza table.VERONICA VOICEOVER: Let's be honest,though. The only reason I was allowed past the velvet ropes was Duncan Kane. Son of software billionaire, Jake Kane, he used to be my boyfriend. Flashback to along haired Veronica and Duncan walking down the school hallway. Duncan's arm is around Veronica's shoulders and they kiss as they walk.VERONICAVOICEOVER: Then one day, with no warning, he ended things. Veronica, still with long hair, closes her locker and turns, smiling, to see Duncan walking past,another boy whispering in his ear. Duncan cuts her dead. Cut back to the present as Veronica continues to stare at Duncan. The whispering boy from theflashback is there and notices.VERONICA VOICEOVER: And let's not forget Logan Echolls. His dad makes twenty million a picture. You probably own his actionfigure. Logan sits on Duncan's knee and starts rubbing his chest in a faux-lecherous manner. Duncan pushes him off. Logan laughs, sits down and pointsmockingly at Veronica.VERONICA VOICEOVER: Every school has an obligatory psychotic jackass. He's ours. Veronica is so intent on out-staring Logan that shedoesn't notice that Wallace has joined her table.WALLACE: You okay.VERONICA: What?WALLACE: You look, I don't know, hypnotised.VERONICA: Did I say youcould sit here?Looking fed up, Wallace puts his orange back in his lunch bag and stands, preparing to go.VERONICA: [Relenting] Wait a minute. Of course you cansit here. Sit wherever you want. He sits back down.WALLACE: That-that was cool, what you did, getting me off of that pole.VERONICA: WellFrom behind Veronicacomes a head-shaven, tattooed biker. We will subsequently learn that this is Weevil.WEEVIL: [To Wallace] My bitch. Weren't you supposed to wait for me at theflagpole. I'm not sure I could have made that any clearer. Weevil plonks himself down next to Wallace, deliberately getting in his face. Wallace takes a deepbreath and lets out an uncomfortable laugh.WALLACE: OK, I get it, a'right. Very funny.WEEVIL: Yeah.WALLACE: I guess we're even now. Right?WEEVIL:[Aggressively] You get what boy? You get that you're a dead man walking, is that what you get?VERONICA: Leave him alone.Weevil turns his attention toVeronica and moves to stand over her.WEEVIL: Sister, the only time I care what a woman has to say is-is when she's riding my big old hog but even then it's notso much words just a bunch of oohs and aahs, you know?VERONICA: So it's big, huh?WEEVIL: [Indulgently] Legendary.VERONICA: Well let's see it. I mean if it'sas big as you say, I'll by your girlfriend. We could go to prom together.Her refusal to be intimidated surprises and amuses him and he laughs as he looks aroundat his fellow bikers. One of them we will subsequently learn is called Felix.VERONICA: What? What seems to be the problem. I'm on a schedule here, vato.FELIX:[Not so amused] Dude, Weevil. Don't let blondie talk to you like that!VERONICA: Sounds like your buddy here wants to see it too.FELIX: Ah, hell, I'll show youmine.Felix gets closer to Veronica and makes to drop his pants. He is interrupted by the arrival of the Vice Principal.CLEMMONS: Felix Toombs. What on God'sgreen earth is going on here? All right gentlemen, move it along. Veronica, why does trouble follow you around? Veronica smiles blandly as the bikers and theVice Principal move on, leaving Veronica and Wallace alone again at their table.VERONICA: So what did you do?WALLACE: [Not comprehending]What?VERONICA: Why are you a dead man walking?Cut to a scene in a small convenience store where Wallace sits at checkout, reading a comic. Two bikerscomes in and head to the chilled units at the back.WALLACE: [Offscreen] Oh yeah, I work at Sac-n-Pac. Last night I was working by myself. Couple of those guyscame in. The Latin biker, who we will subsequently learn is named Hector, takes out a large beer bottle and hands it to the other who puts it in his coat as Hectordoes the same with another bottle.HECTOR: Oh man, happy birthday bro.ASIAN BIKER: Oh thanks man.The bikers continue to pocket the beer.WALLACE:[Offscreen] They just walked right to the back of the store and started stuffing all these forties into their pockets. So I hit the silent alarm. Wallace can see thebikers head towards him on the surveillance screen at checkout. Hector picks up a small packet of gum and both head for the checkout. They lean in.HECTOR:[Reading the badge] Wallace. Hector carefully smoothes a dollar bill and slaps it on the counter.WALLACE: [Offscreen] I guess the dude thought a one dollar billwould cover it.HECTOR: Keep the change.They laugh and leave.WALLACE: [Offscreen] That's when the police came. Cut back to Veronica at the table.VERONICA:We don't have the police here. We have a sheriff's department. Cut back to the Sac-n-Pac flashback as the gum-chewing Sheriff walks in.SHERIFF: [Dismissively]You, come on. Wallace follows the Sheriff outside and is taken aback by the presence of a whole gang of bikers, including Weevil and Felix, watching from theirbikes.UNSEEN BIKER: What's up snitch?SHERIFF: Come here. They say they paid.The two bikers who took the beer are handcuffed and in the custody of thedeputy. Hector is grinning. Wallace is intimidated that this is going down in full view of the gang.SHERIFF: Well, did they?WALLACE: Yeah.HECTOR: Like I said.[Laughs]SHERIFF: [To the bikers] Shut up. [To Wallace] But you pressed the alarm anyway.WALLACE: It was an accident.The Sheriff stalks off in disgust,re-enters the store and retrieves the surveillance video. Wallace watches him as he comes back outside.SHERIFF: [To the deputy] Sacks, get 'em outta here. Get'em outta here. We got enough. Sacks grabs the shoplifting bikers and heads for the car. The Sheriff gets up close just behind Wallace's right shoulder and sniffsderisively.SHERIFF: You need to go see the wizard. Ask him for some guts.VERONICA: [Offscreen] \"Go see the wizard\", he said that.The scene returns to thelunch table.WALLACE: Yeah.VERONICA: Congratulations, sport. In your short time here, you've already managed to piss off the motorcycle gang and the localsheriff.Cut to a small L-shaped, two-storey apartment complex around a small pool. Music is playing from one of the apartments. Veronica enters through a smallgate into the pool area. Her reverie is interrupted by a sound of from one of the open windows. It's Peter Yorn's \"Just Another\".SONG: You and I, we're two of akind I hate to say it but you'll never relate What makes you tick? It makes me smile. You said that I should get away from it all And bury my head in the sand if I"}
+{"doc_id":"doc_250","qid":"","text":"Act 1 Scene 1 - Cafe NervosaFade in. Niles is sitting at a table, Frasier is ordering at the counter.Frasier: Cranberry muffin, please. And, uh... a vanilla latte.Niles:Oh, dear, comfort food. What happened?Frasier sits.Frasier: Niles? Do you think I'm elitist?Niles: Of course I do. You needn't worry about that.Frasier: No, not inthe good way. At work today, I discovered an injurious graffito about me. Scrawled on the men's room wall.Niles: No.Frasier pulls a piece of toilet paper from hispocket to read from.Frasier: Yes. Quote: There once was a man, Frasier Crane, Who says he can feel your pain. But he acts like a snob, To the guys at his job,And I think he's totally lame.Niles: That's terrible! There's a tense shift, an approximate rhyme, the scansion leaves a lot to be desired...Frasier: Niles, you'remissing the point! I have always striven to be approachable, the embodiment of the words \"If you can talk with crowds and keep your virtue...\"Niles: \"Or walkwith kings, nor lose the common touch.\"Frasier: Exactly!The waiter brings Frasier's coffee and muffin.Frasier: Thank you. If maligner truly knew who I was, he'dhave found that a more apt characterization than \"snob.\"Niles: Assuming he's familiar with Kipling.They snicker.Frasier: What are the odds?Roz stops in thedoorway to kiss her boyfriend goodbye before he heads off.Frasier: Well, Roz. I'd ask you to join us, but I see you've already had happy hour. Well, here, please,join us.They rise and make room for her and they all sit.Frasier: So?Roz: Well, his name is Roger, and we've been kinda goin' out for the last couple ofweeks.Frasier: All right, tell us about him.Roz: He's very sweet - and he's a garbage man, so go ahead and make your jokes.Frasier: What jokes? Why doeseveryone assume I look down on the common man?Niles: Oh, I've got a good one: So, even in his off time, he's taking out the trash.Roz laughs along withhim.Frasier: Technically, that's really more about Roz. Now if I were to make a joke about him, which of course I wouldn't, I'd say he has a thing for Roz'scan.Roz: You two finished?They nod as she gets up.Roz: And don't worry, I won't get dumped. She turns and goes to the counter.Niles: I'd already passed onthat.Frasier: Yes, it's a bit on the nose.They laugh. FADE OUT.HE KICKED SPASSKY'SBUTT IN REYKJAVIKScene 2 - Frasier's ApartmentFade in. Daphne andMartin are in the living room, going through boxes. Niles comes in the front door.Niles: Dad, Daphne.Daphne: Hey. [she holds up a photo] Look what your fatherfound: a picture of you in a teddy bear costume.Niles: Why do you have all this out?Martin: Well, I was makin' room in the storage closet and I found some ofyour old stuff.Niles: What else is in here?Martin: Well, here's your cap and your blazer from Bryce academy.Niles sits next to Daphne.Daphne: Oh, I bet you werethe cutest thing in that.Niles: Oh, well, here's a picture of me in it.Daphne: [a bit flat] Oh.Niles: [picking up a plaque] Oh, oh, oh, oh. Bobby Fisher'sautograph.Martin: Well, son, it's been enough years, I can probably tell you the truth about that.Niles: [holding the plaque to his chest proudly] What?Martin:[covering] Oh, look! A picture of you in your first little league uniform. [wistfully] Don't know why I said \"first.\"Daphne: [taking it] Was that your game face?Niles:Oh, no, no. I'd just lost a tooth to an errant pitch.Martin: Tell her who was pitchin'.Niles: I was.Daphne puts her arm around him to comfort him and kisses hischeek.[SCENE_BREAK]Scene 3 - KACLFade in. Frasier is sitting at his desk, Roz comes in with a bouquet.Frasier: Flowers from your new beau?Roz: Yeah.Shecarries them over to her side.Frasier: Must be nice to be liked.Roz: [coming back] Are you still obsessing over that limerick?Frasier: People are making additions.Good lord, I've read anthologies with fewer contributing authors.Roz: I'm sure they'll all wash right off.Frasier: If only there were a solvent that could remove thestains they've left on my spirit.Roz heads back to her side.Roz: It was a joke. What's the big deal?Frasier: [following] Oh, yes, I know. Being written up on thebathroom wall is no big deal to you. But that limerick made a point, as all good limericks do. It seems to have resonated with everyone around here. I want thesepeople to know the real Frasier Crane.Roz: Wouldn't it be better if you tried to make them like you?Frasier: Yes. And to that end I was thinking along the linesof... oh, say a little party. For the entire staff, at my place. Hey, you could bring Roger!Roz: Thanks. But I think it's a little too soon. I don't want to put anypressure on him.Frasier: Oh, come on, Roz. You're always saying you don't have a date for these things.Roz: There's gonna be a lotta radio talk, and I'm not surehe's gonna be that comfortable with this crowd.Frasier: Who is? Come on, Roz, I'd like to meet him.Roz: I don't know. Maybe next party.Frasier: Does this haveanything to do with his occupation, you know, his being a refuse collector?Roz: No, I am completely comfortable with his job. I just don't want him to feelawkward around other people.Frasier: Okay.Roz: Not that he should. Or would.Frasier: Yes, all right, fine, fine. If you change your mind, he's more thanwelcome. It promises to be a real wing-ding. If being a snob is the reputation I've built around here, then this party will be the wrecking ball of congeniality thattears it down.Roz: Yeah, say stuff like that.Getting her point, he smirks and heads back to his side. FADE OUT. Scene 4 - Roz's Apartment Fade in. Roger comesin the front, carrying Alice and roller blades.[N.B. The first appearance of Ashley Thomas as Alice May Doyle.]Roger: Say \"Come on, Mom.\"Alice: Come on,Mom.Roger: Say \"Don't be a wuss.\"Alice: Don't be a wuss.Roz comes in.Roz: I'm not a wuss. Roger puts Alice down and collapses next to her.Roger: Ohh, I knowyou said you were gonna make dinner, but why not just open a can of something?Roz: How'd you think I was gonna make dinner? Alice, go pick out somePJs.Roger: [pulling a book from his backpack] When you're ready, I've got a special book for you. It's called \"Make Room for Monkeys.\" Now hurry up, get outtahere, go on.Alice hurries off. Roz picks the book up and sits down.Roz: \"Make Room for Monkeys\"? Where did you find this? You know it's out of print.Roger:Yeah, well, a certain very bad skater told me it was her favorite book when she was growing up, so I kept my eyes open and I found it in a pile of old books.Roz:[nervously] You mean like at the dump?Roger: No, not a dump! Please, it's a secret underground landfill accessible only to garbage men. And the Mole Peoplewho live there. I used to be one of them, but then I decided to join the surface dwellers and find my queen.Roz kisses him and leans against him.Roz: Thank you.That's very thoughtful.Roger: And you will make an excellent Mole Queen. Of course, after a year underground, your eyes will fuse shut. Your sense of smell willstick around...Roz: Okay, stop, stop, stop. Do you joke around about your career because you're uncomfortable talking about it?Roger: You mean deeply andutterly ashamed?Roz: Whatever, your words.Roger: I don't know, I've never really thought about it as a career. I mean, it's just a job to me. You know, it's gotgreat benefits, and afternoons off and... when I have a family, I'll get to spend a lot of time with them. How sweet will that be?Roz: Would you like to go to aparty with me on Saturday?Roger: I'd love to. I found a great pair of shoes this morning. They damn near match.She slaps him playfully and leans back againsthim. FADE OUT. Scene 5 - Frasier's ApartmentFade in. The staff of KACL is at the party and Frasier is greeting newcomers at the door.Frasier: Good to see you,glad you could come, make yourselves at home. Martin comes over.Martin: Hey, Fras, why don't you introduce me some of your friends?Frasier: I wish I could,Dad. I don't know any of these people myself.Martin: You don't? I better go hide my beer in the crisper.He heads to the kitchen as one of the employees walksup.Jason: Hey, Frasier, thanks for inviting me to your party.Frasier: Well, it's my pleasure... man.Jason: Did you see the game today?Frasier: Actually, I didnot.Jason: Aw, man, it was a real squeaker. U-Dub pulled it out at the end with a last minute field goal. It's all about special teams, am I right?Frasier: Ah, right.You know, I think they prefer the term \"challenged.\"The employee looks confused as Frasier notices Roz at the door.Frasier: Roz, Roz! Come on in, Good to seeyou. And you must be Roger.Roger: Yeah.Frasier: Lovely to meet you.Roger: Hey, Jason.Frasier: Right. Jason, this is Roger. Yeah, the ol' J-man here and I werejust shootin' the breeze, ya know. This guy. Okay, so enjoy yourself there. [He turns to Roz as Jason heads away.] So, Roz um... Roger, do you suppose I couldborrow Roz for just one minute?Roger: Yeah.Frasier: Thank you so much.He pulls Roz aside.Frasier: Roz, please, don't leave me alone here, I don't know any ofthese people's names.Roz: Frasier, I can't leave Roger alone in a room full of nosey strangers.Frasier: Oh, look, look, he's already met Dad. He knows as manypeople as I do.Roz: I'm sorry. You're gonna have to find yourself another patsy.She walks away.Frasier: Well where the hell am I supposed to find another...[noticing] ...Kenny!CUT TO: Roz as she walks by Martin's chair. Noel is sitting in it and gets up.Noel: Hey Roz! Lookin' su-weet!Roz: Hey, Noel.Noel: So, that's thecompetition? Or, are you just using him to make me jealous?Roz: Actually, I forgot you were gonna be here.Noel: I'll bet you regret bringing the arm candy now.So, uh, what's he do?Roz: He... works for the city.Noel: So, in a manner of speaking, I pay his salary. Which makes me his boss. Does that turn you on?Roz turnsaway with a very disturbed look. She goes up to Roger.Roz: Roger, would you like something to drink?Roger: Yeah, I'll come with you. Nice meeting you,Martin.They head for the drinks table and meet up with another worker, Cheryl.Cheryl: Hey, Roz.Roz: Hey, Cheryl.Cheryl: Introduce me to your friend.Roz:Roger, this is Cheryl.Roger: Hey, Cheryl, how you doing?Cheryl: Hi, nice to meet you. I think I know you from somewhere.Roger: Yeah? Maybe I work in yourneighborhood.Cheryl: Oh, what do you do?Roz: What doesn't he do? He sends me flowers and gives me massages and he's just great.Cheryl: Really? You knowshe has a kid, right?Roz: Okay, Cheryl!Cheryl takes the hint and walks away.Roger: So, uh, why didn't you tell her what I do?Roz: And have her stalking you atwork? I don't think so.CUT TO: Frasier talking to some guests, Dennis and Emily. Emily is a bit overweight. Kenny is behind him, whispering names.Dennis: Greatparty, Frasier.Frasier: Thanks. Glad you could come...Kenny: Dennis.Frasier: Dennis. You too...Kenny: Emily.Frasier: Emily. Say, when are you expecting?Kenny:NNNOOO!Frasier: ...this weather to change?CUT TO: Noel meeting up with Roger.Noel: Well, you're not the first rustler who's tried to cut my filly from theherd.Roger looks very confused.CUT TO: Frasier talking to Dennis and Emily.Frasier: So, did you guys happen to see the game today?Dennis: No, I missed that.Who won?Martin walks up behind him.Frasier: Actually, it was a real squeaker. U-Dub pulled it out at the last second with a real clutch field goal. Say Dad, what'sgoin' on?Martin: I don't know.CUT TO: Kenny talking to Roger.Kenny: Yeah, the station manager's sort of the head honcho. You know, the go-to guy. You could"}
+{"doc_id":"doc_251","qid":"","text":"Recap of the first half of the seriesEXT. CORN FIELD, DAYBirds are singing and suddenly a Mini drives through the stalks.INT. MORRIS MINI, DAYAMY is holdingwhat appears to be a map and gives directions to RORY.AMY: OK, left, sharp turn!EXT. CORN FIELD, DAYRORY turns and they cross a previous path.INT. MORRISMINI, DAYAMY: OK, right! No, no, no I mean left. (turns the map around) No, sorry right, right! I definitely meant right.EXT. CORN FIELD, DAYRORY continuesdriving.INT. MORRIS MINI, DAYAMY: Now loop the loop!EXT. CORN FIELD, DAYRORY drives.INT. MORRIS MINI, DAYAMY: Stop! Stop!RORY slams on thebrakes.EXT. CORN FIELD, DAYAMY and RORY get out of the car to see the DOCTOR and the TARDIS in the middle of the crop circle they just made. The DOCTORholds up the Leadworth paper with a headline that reads \"Leadworth's Crop Circle\".DOCTOR: Seriously?The camera pulls upwards and we get an aerial view of thefield. The \"circle\" reads \"Doctor\".RORY: You never answer your phone. (closes car door)AMY: (walks to the DOCTOR) OK, you've had all summer. Have you foundher? Have you found Melody?DOCTOR: (hands RORY the paper) Permission?RORY: Granted.DOCTOR: (hugs AMY) You know who she grows up to be, so youknow I WILL find her.AMY: (ends the hug) But you haven't yet?RORY: Hang on, what's this bit?The picture in the newspaper shows an extra line through theword.AMY: That wasn't us.The DOCTOR grabs the paper from RORY and tries to locate where it would be. The DOCTOR stops and lowers the paper, AMY andRORY standing behind him, as they hear an engine and see a red Corvette coming straight at them. They scream and dive out of the way. The car stops, inchesaway from the TARDIS. A young black woman steps out of the car. AMY and RORY stand and the DOCTOR is lying on the ground at her feet.WOMAN: You said hewas funny, you never said he was hot.RORY: Mels?AMY: What are you doing here?MELS: Following you, what do you think?The DOCTOR uses the car to standup.RORY: Um, where did you get the car?MELS: It's mine...Police sirens wail in the distance.MELS: ..ish.AMY: Oh, Mels, not again?RORY: You can't keep doingthis. You'll end up in prison.DOCTOR: Sorry, hello, Doctor not following this. Doctor very lost. You never said I was hot?!MELS: (points at the TARDIS) Is that thephone box! The bigger-on-the-inside phone box? (caresses the TARDIS) Time travel - that's just brilliant.The DOCTOR leans against the TARDIS next toMELS.MELS: Yeah, I've heard a lot about you. I'm their best mate.DOCTOR: Then why don't I know you? I danced with everyone at the wedding. The womenwere all brilliant, the men were a bit shy.MELS: I don't do weddings.The police sirens sound closer.MELS: And that's me out of time. (pulls a gun on theDoctor)AMY: Mels!RORY: For God's sake!AMY: What are you doing?MELS: I need out of here, now!DOCTOR: Anywhere in particular?MELS: Well, let's see! You'vegot a time machine, I've got a gun. What the hell - let's kill Hitler.[SCENE_BREAK]Matt Smith Karen Gillan Arthur Darvil\"Let's Kill Hitler\" by Steven MoffatProducerMarcus WilsonDirector Richard Senior[SCENE_BREAK]A LONG TIME AGO IN LEADWORTH....INT. AMELIA'S BEDROOM, DAYAMELIA is going through her box ofRaggedy Doctor crafts as MELS watches.MELS: Is he hot?AMELIA: No, he's funny.MELS: But how can he travel in time?AMELIA: Because he's got a time machine,stupid!RORY enters the room.RORY: I thought we were playing hide and seek. I've been hiding for hours!AMELIA: Well, we just haven't found you yet!RORY: OK.Hi, Mels.MELS: Hi, Rory.RORY leaves.INT. CLASSROOM, DAYMELS is standing as she is questioned by the teacher.TEACHER: Mels, did you not understand thequestion? I'm asking you why the Titanic sank.MELS: Because the DOCTOR didn't save it. Except you don't know about the Doctor because you're stupid!INT.SCHOOL HALLWAY, DAYMELS exits the Head Teacher's office. AMELIA is waiting and follows.EXT. SCHOOL PLAYGROUND, DAYAMELIA questions MELS as theywalk through the playground.AMELIA: Why are you always in trouble? You're the most in trouble in the whole school, except for boys.MELS: And you.AMELIA: Icount as a boy.They walk past a blindfolded RORY.RORY: Am I getting warm?AMELIA: Yes, Rory.INT. CLASSROOM, DAYMELS and AMY are now teenagers. MELSis standing being questioned by another teacher.TEACHER: Mels?MELS: A significant factor in Hitler's rise to power was the fact that the Doctor didn't stophim.INT. SCHOOL HALLWAY, DAYMELS exits the Head Teacher's office. AMY is waiting and follows.AMY: I can't keep doing this!INT. POLICE STATION, HALL,DAYMELS is released from her cell and AMY is waiting.AMY: Mels! (runs after her)INT. AMY'S BEDROOM, DAYMELS flops on the bed and picks up the toy TARDIS.RORY is sitting in a chair and AMY paces.MELS: It was late, I took a bus.RORY: No, you stole a bus.AMY: Who steals a BUS?MELS: I returned it.RORY: You droveit through the botanical garden.MELS: Shortcut.AMY: Why can't you just act like a person? Like a normal LEGAL person?MELS: I don't know, maybe I need aDoctor.AMY: (takes the TARDIS) Stop it!RORY: Er... I'd better go, I'm on earlies tomorrow. (packs schoolwork into bag and stands)MELS: It's all right for you.You've got Mr Perfect keeping you right.AMY: He's not even real. Just a stupid dream when I was a kid. (tosses the TARDIS to MELS)MELS: I wasn't talking abouthim. (looks at RORY as he opens the door)AMY: What, Rory? How have I GOT Rory?RORY: (stops at his name and turns) Yeah, how... how's she got me?AMY:He's not mine.RORY: No. No, I'm not hers.MELS: Oh, come on! Seriously, it's got to be you two. Oh, cut to the song, it's getting boring.AMY: Nice thought, OK?But completely impossible.RORY: (looks hurt) Yeah, impossible!AMY: I mean, I'd love to, he's gorgeous, he's my favourite guy, (pats him on the back) but he's,you know?RORY: A friend.AMY: Gay.RORY: (looks at AMY) I'm not gay.AMY: Yes, you are.RORY: No. No, I'm not.AMY: Course you are, don't be stupid!MELSwatches from the bed, amused.AMY: In the time I've known you, when've you shown the slightest interest in a GIRL?MELS: (softly) Penny in the air!AMY: I'veknown you for, what, 10 years? I've seen you practically every day. Name one girl you've paid the SLIGHTEST bit of attention to?RORY can't answer and runsfrom the room.AMY: (realizes) Oh, my God! Rory! (runs after him)MELS: And the penny drops! (gets up)AMY: (distant) Rory!MELS: Catch you later, Time Boy!(tosses the TARDIS into the air)EXT. DAYAbove the cornfield, the TARDIS spins out of control. There is a gunshot.DOCTOR: (V.O.) You've shot it!INT. TARDISTheDOCTOR is staring at a bullet hole in the time-rotor casing. AMY, RORY are clinging to the console and MELs is hanging onto the railing.DOCTOR: You shot myTARDIS! You shot the console!MELS: It's your fault!DOCTOR: Argh! How's it my fault?!MELS: You said guns didn't work in this place. You said we're in a state oftemporal grace.DOCTOR: (frantically works the controls)That was a clever lie, you idiot! Anyone could tell that was a clever lie!EXT. DAYThe TARDIS continues tospin out of control and AMY screams.EXT. REICH CHANCELLERY, BERLIN 1938, DAYThe imposing façade is adorned with a stylized eagle, wings outstretched,above a wreath inside which is a swastika. To either side of the main entrance are large, draping red banners bearing the black swastika within a white circle. Ageneral, ZIMMERMAN, enters the building.INT. REICH CHANCELLERY, CORRIDOR, DAYZIMMERMAN strides down the hall past a janitor mopping the floor. TheJANITOR stops and turns his head slowly and we hear mechanical whirring.INT. SHIP, BRIDGE, DAYWe see the OFFICER from the JANITOR'S POV as seen througha viewscreen. A computer scans him. The Captain, CARTER, watches.CARTER: OK, we like him.A female crewmember, ANITA listens to her headset.ANITA:Costume want to know about the suit.CARTER: Colour, shape, nothing detachable.Another crewmember, JIM, enters the bridge and heads to his station.JIM:Musculature good to go.CARTER: That was quick.JIM: Showing off. Art department want to talk skin tone.An older woman, HARRIET, enters the bridge.HARRIET:Yes, I do. I don't trust sensors, I want to take a look myself.JIM: We're in a hurry, we're not trying to win an award.HARRIET: That's what you said when wemade Rasputin green!CARTER: OK, get your fat one up there. Run!HARRIET: Yes, Captain. (leaves)CARTER: (sits in command chair) Harriet's going to eyeball.Everyone else, good to go, please!INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYZIMMERMAN is standing at his file cabinet looking through a file as thedoor opens and the JANITOR enters and closes the door behind him.ZIMMERMAN: What do you want?The JANITOR walks forward until he is face-to-face withZIMMERMAN.ZIMMERMAN: What are you doing?INT. SHIP, BRIDGE, DAYANITA: Musculature on line.JIM: Five foot 11, confirmed.INT. REICH CHANCELLERY,ZIMMERMAN'S OFFICE, DAYThe JANITOR grows until he is the same height as ZIMMERMAN. ZIMMERMAN stares, stunned.INT. SHIP, BRIDGE, DAYCARTERreaches up and grabs a microphone.CARTER: Harriet, are you up there yet?INT. SHIP, LIFT, DAYHARRIET stands in the lift. Just as the doors are about to open,the light on her wristlet changes from green to red and alarms begin to sound. The doors slide open.AUTOMATED VOICE: Welcome. You are unauthorised. Yourdeath will now be implemented.INT. SHIP, BRIDGE, DAYCARTER: Harriet, have you updated your privileges?INT. SHIP, LIFT, DAYHARRIET: Yes, of course I have!(presses buttons on wristlet until the light changes back to green) Look, I'm staff, see? Look, staff!AUTOMATED VOICE: You are authorised. Your existence willcontinue.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYZIMMERMAN: I don't understand.The JANITOR'S clothes change to ZIMMERMAN'S uniform likescales flipping over all the way down his body.INT. SHIP, CORRIDOR, DAYHARRIET runs along the hallway.CARTER: (over radio) Harriet, shift!HARRIET: (intoradio) Five seconds to eyeball.HARRIET reaches the end of the corridor and opens an iris by pressing her hand on a panel. She looks out.HARRIET: Shades 44 to89, peaking at 60. Standard density. He's sweating a bit, so compensate.The camera pulls out and we see that HARRIET is literally looking out of the JANITOR'Seye.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYZIMMERMAN: Wh-What are you?INT. SHIP, CORRIDOR, DAYThe iris closes behind HARRIET and wesee her walk slowly back. There are a number of corridors-which are more like enclosed catwalks-at different levels.CARTER: (over radio) All hands, prepare fortessellation. Prepare for tessellation.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYThe JANITOR'S face changes to a duplicate of ZIMMERMAN.ZIMMERMAN gasps and falls back against the cabinet. The duplicate reaches out a hand and takes his glasses putting them on its own face.INT. SHIP, BRIDGE,DAYCARTER: OK, clean up.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYA beam of light shoots out from the duplicate's right eye, miniaturizingZIMMERMAN.INT. SHIP, CORRIDOR, DAYZIMMERMAN falls to the floor just inside the iris.INT. SHIP, BRIDGE, DAYThe crew watches ZIMMERMAN on a"}
+{"doc_id":"doc_252","qid":"","text":"[PREVIOUSLY_ON]John: I thought you weren't done with me yet.Tituba: Depends on you, witch hunter, whether or not you can see how well our interests arealigned.John: It's hard to see what we've got in common.Tituba: Love and betrayal.Sebastian: My mother would have your father's book of shadows.Anne: Tellher the book is mine, and I will not give it to her until I choose.Cotton: Lay aside your science, Wainwright, and fall to your knees. This is what they plan forus.Wainwright: They? Who?Cotton: Witches.Wainwright: And this orrery, like some celestial clockwork, tracks the comet overhead?Mary: What is it you wantfrom me?Wainwright: I want in.Countess Marburg: My dark lord is already inside the boy. And come the comet... We shall let him out.Mercy: What kind of motherwould abandon her only child to the woods? The night is our playground.Mary: You said that once you were sure, you would tell me the secret tor destroyingCountess Marburg. You spoke of an object.Increase: She keeps it close.Mary: Where? On the ship?Increase: It is the ship.Sebastian: This is the boy who sets mymother's heart ablaze. It's time to meet your queen.[ Clicking ][ Bubbling ]Wainwright: I must have more of you and your unfathomable secrets.Mary: Mm, donot fear. You will in time. My dear doctor, I really thought that no man could find his way into my affections. But you have surprised me in so many ways. Inreturn, you have had a small taste of the ecstasy and insight that awaits you down the crooked way. I warn you... It leads far from the comfortable main roads ofcivilization.Wainwright: Well, then let me begin my journey at once.Mary: Patience. Before you can continue your journey, you must go before the dark powersand strike your own bargain. At the witching hour, at midnight... Your journey begins then. In the meantime, you must make yourself useful.Wainwright:Anything. I am your humble servant.Mary: Destroy all your work... Everything you have written or gathered on the plague. All of it must be burned.Wainwright: [Chuckles ] A scientist's notes are his life blood and the building blocks of all of his work.Mary: I told you last night... We are at war. Your observations on theplague are proof of my witchcraft. If Cotton Mather were to find it...Wainwright: You ask too much of me.Mary: But in return, you shall have so muchmore.Wainwright: [ Sighs ] It's true. Mather did all but promise to lead a crusade against the witches of Salem, and they would treat you far worse than theInquisition treated Galileo. They would burn you like Bruno.Mary: Well, then unless you wish to see me martyred for our science, there can be nothing that leadsback to me.Wainwright: It is not my papers that will lead him back to you but what we saw in the crags.Mary: Leave the crags to me.Wainwright: [ Sighs heavily][ Indistinct conversations ]Tituba: Shall I bring the young master his breakfast?Mary: No. No, I have another task for you.Tituba: Increase Mather!Mary: Theone and only. I used it to summon his soul.Tituba: Risking necromancy without my aid is dangerous enough, but to raise Increase Mather from the dead...Mary:Your aid? I have new allies. Do not worry your cowardly mind. I've already sent him back from whence he came. But his specter proved quite useful. Apparentlyour Countess has a weakness... Her ancient, rotting corpse is the secret to her longevity. Increase told me where to find it, and at the right moment, it and shewill be mine.Tituba: You trust him?Mary: Rather than you? I dare say. Now, for once, can you just do your job? You may start by disposing of that. Time to wake,John. Seize the day, my love. John?Countess Marburg: Lost something? How careless.[ \"Cupid carries a gun\" plays ]\u0000 Pound me the witch drums \u0000 \u0000 witchdrums \u0000 \u0000 pound me the witch drums \u0000 \u0000 pound me the witch drums \u0000 \u0000 the witch drums \u0000 \u0000 better pray for hell \u0000 \u0000 not hallelujah \u0000Mary: Where ishe?Countess Marburg: Our little lamb is safe and sound.Mary: Tell me what you've done with him or I will rip the truth from your heart.Countess Marburg: [Chuckles ] My heart? Better you should search your own.Mary: Oh, to hell with your riddles. Speak plainly or choke on my wrath. What have you done with myson?Countess Marburg: Perhaps it was the genius of those hags and your dusky caretaker to keep you in such ignorance.Mary: Ignorance? Of what?CountessMarburg: Poor dear. Of everything. Surely you knew that no great working can take place without a sacrifice.Mary: No.Countess Marburg: For this, the greatest ofall workings, only the greatest of all sacrifices will do. Your son was born precisely that he should be the vessel for the dark lord's return.Mary: You are lying. Itcannot be.Countess Marburg: I know this must seem... a terrible betrayal. Do you not think that the other Mary felt betrayal when she realized what Godintended for the son he gave her? The Angel of the annunciation failed to mention that she would end up weeping at the foot of the cross beneath her slaughteredson. Now, like that other Mary, you must look beyond the deceit and embrace the glorious gift. And what an honor to sacrifice one's own to such a cause. It's asacrifice I sought to make many years ago with my own son, Sebastian. I would have given anything for that honor, for him as well as for me. Alas, it was notmeant to be.Mary: [ Crying ] There must be another way.Countess Marburg: I'm afraid not. When the comet blazes overhead tomorrow night, little John will bebaptized in the river of hell-blood and granted the infinite honor of using his mortal frame to bear his dark force.Mary: [ Sobbing ] No. No, I won't do it.CountessMarburg: The choice is yours. Join us at the crags tomorrow and baptize him, allow our little prince to fulfill his destiny... Or I will bathe in his young blood as Ihave so many others.Mary: Kill him and the Grand Rite is over.Countess Marburg: For a time, yes. C'est la vie. But I am everlasting, unlike you, and when thestarry messenger returns, it will be I who completes the Grand Rite.Mary: So either way, if I do as you say, my boy dies.Countess Marburg: He was only born tobe a vessel. Do not deprive him or yourself of that honor.Mary: [ Crying ][ Indistinct conversations ][ Knocks on door ]Cotton: [ Groans ] Go away! I'm in no statefor visitors, especially the likes of you. How dare you.Hathorne: My god, man. If pigs could read, this is how they'd live.Cotton: I owe you no explanation. This ismy home. Now get out of it.Hathorne: I have this morning received a communication from Boston telling me of your banishment.Cotton: [ Laughs ]Hathorne: Ourelders forbade your returning to Salem.Cotton: It's of no consequence. I was... meant to come back.Hathorne: You believe the law does not apply to you.Cotton:I live by the law, sir... The highest law. God's calling far outweighs the rules of a few narrow-minded bostonians.Hathorne: So, you think you're divinelysummoned to be in our village?Cotton: For all our safety, I must be here to fight the witches. In my father's own words, save my very soul.Hathorne: Your fatherno longer breathes the air of Salem, and soon, neither shall you. Gentlemen, escort him away.Cotton: [ Scoffs ] Hathorne, listen to me. This is much bigger thanour rivalry over Anne Hale.Hathorne: I am not here as a man but as a magistrate... To do my duty.Cotton: Then let me stay here. As magistrate, it is your duty toprotect this village. I have proof that the witches spread this pox and will use it to damn all of our souls to Hell.Hathorne: What is your proof?Cotton: You knowthe dead were sent to the crags?Hathorne: Yes. Against my wishes.Cotton: There the cadavers have turned into a kind of... Evil black pitch. It forms a portal toHell.Hathorne: Hell? Sounds like the ramblings of a lunatic 'neath the full moon.Cotton: Or a man in terror who has seen it with his own eyes. I expect little trustfrom you. But put your faith in Dr. Wainwright. His reputation cannot be assailed. He was with me and witnessed the same. He will tell you that.[ Door opens]Wainwright: Mather. I'd no doubt enjoy one of our stimulating philosophical jousts, but my time at the moment is quite short.Cotton: Then I'll be brief. I needyou to relay our treacherous situation to the magistrate.Wainwright: Well, in fact, I have some surprisingly good news. Today marks the first 24-hour period sinceI arrived in Salem without a single new infection. I do believe the worst may be past and this pox may finally be dying down.Hathorne: [ Clears throat ]Cotton:I've, um, spoken to him of the horrors we witnessed yesterday.Wainwright: Yes, well, [Chuckles] It's not often that I allow a novice to join my research, butMather insisted on accompanying me to investigate the victims burry hell grounds.Wainwright: [ Sighs ] Little of any help. I had hoped to locate something tobetter fight off this parasitical pox.Cotton: Tell him about the black pitch.Wainwright: Black pitch?Cotton: What we both saw at the crags... Bodies disintegratinginto an ungodly black pitch. A most unnatural substance you said you'd never eyed before. For god's sake, man, it set a branch on fire.Inwright: My dear Mather,we'd both had a fair bit to drink the night before, and in the light of day, I can't really say what I saw.Cotton: You saw what I saw, and now I need you to tell themagistrate about it.Wainwright: Be reasonable, friend. We saw nothing that can't be explained by the condition of those who saw it. Gentlemen, this pox maynearly be over, but I still have much work to do.Hathorne: What say you about this discrepancy, Mather?Cotton: He's lying! For all we know, he is under somewitch's control!Wainwright: Mather, I like you, truly, but you go too far, and I've had enough. You have the word of a royally certified physician or a failed divineknown for his drunken rages who attacked even you, so believe who you will.Cotton: Or believe your own eyes. As magistrate, you owe it to the people of Salemto investigate yourself. Come with me to the crags and then decide who speaks the truth. You want to save this town. You want to be Salem's leader. All I ask isthat you see for yourself.Wainwright: I won't have any more of this nonsense.Hathorne: N-no, doctor. We shall go, all three of us.Wainwright: With all duerespect, Magistrate...Hathorne: As magistrate, it is not your respect I require but your obedience.Wainwright: As you will. The Angels of Revelation said: \"Come.See. Hell is here.\"Wainwright: Birds often die in a flock. It's grotesque, yes, but hardly unnatural.Cotton: God in Heaven...Wainwright: Just as I said.Hathorne:Where is your devilish black pitch?Cotton: It's the witches' doing. They've made it disappear.Hathorne: Or perhaps your gin consumption has finally caught upwith you.Wainwright: In all fairness, my dear friend has suffered much lately... The loss of a father, banishment. And the strains of life can sometimes make themind play vicious tricks.Cotton: It is not my mind playing vicious tricks but your lying mouth.Wainwright: My dear Mather, you said not two nights ago you'd seenyour dead father. You must recognize that that hallucination was brought on by your own distressed soul. And I believe this was just more of the same.Cotton:Who got to you? What did they offer you?!Hathorne: Take him away.Cotton: You've sold your soul! You will go to hell. Let go of me! [ Grunting, breathing heavily] You will burn in hell, Wainwright! Hell!![SCENE_BREAK]Sebastian: [ Claps ] Bravo. I always say a beautiful woman should break her mirror early.Mary: Come to"}
+{"doc_id":"doc_253","qid":"","text":"(Seattle Scenes)MVO: My college campus has a magic statue.(SGH Façade)MVO: It's a long-standing tradition for students to rub it's nose for good luck.(Doctoris writing on OR board)MVO: My freshman roommate really believed in the statue's power...(Meredith and Addison in scrub room)MVO: ...and insisted on visitingit to rub it's nose before every exam.(Meredith watches Addison take off her wedding ring and pin it to her scrubs. After pinning them on, Addison pats them forgood measure.)(Burke is speaking with a nurse.) Burke: Are you sure my scrub caps weren't in the laundry delivery?Nurse: I triple-checked.Burke: You'resure?Nurse: Yeah, I'm sure.MVO: Studying might have been a better idea. She flunked out her sophomore year. But the fact is we all have little superstitiousthings that we do.(Derek is getting ready to start operating)Derek: All right, everybody. It's a beautiful morning to save lives. Let's have some fun.MVO: If it's notbelieving in magic statues, it's avoiding sidewalk cracks, or always putting out left shoe on first.(Bailey is at an operating table, she takes a few breaths beforestarting)Bailey: Ok.MVO: Knock on wood.Bailey: Ten blade.(Addison and Meredith's surgery)MVO: Step on a crack, break your mother's back.(A blood vesselbursts and the monitor starts beeping)(Burke's OR)Burke: Paddles.(Cristina hands him the interior heart paddles)Burke: Ten joules.(The monitor startsbeeping)(Derek's OR)Anesthesiologist: He's having a reaction. I have to take him off.Derek: I'm in the middle of his brain.(Monitor starts beeping)(Bailey'sOR)Bailey: We're losing him.(Monitor starts beeping)(Derek's OR. A nurse is removing his head gear, the patient has obviously died.)(Burke's OR. A nurse isremoving his head gear, the patient has obviously died.)(Bailey's OR, the patient has obviously died)Bailey: Time of death...(Burke's OR)Burke: Time ofdeath...(Derek's OR)Derek: Time of death...(Addison's OR)Addison: Call it, Grey.MVO: The last thing we want to do is offend the gods.Meredith: Time of death8:17.(The interns are in the locker room, changing.)George: Four surgeries, four fatalities and the day has barely started. (To Cristina) Can I have a bite ofthat?Cristina: No. You're in my apartment, you don't get to be in my food.George: Dr. Burke gave me a protein bar, this morning.Cristina: Burke packs his lunchfor him. Did I mention?Izzie: I talked to the morgue guy this morning.Meredith: The one with the unibrow?Izzie: The one with the like teeth thing. And he saidthat surgical fatalities come in threes and sevens. Says there'll be three more before midnight.Cristina: Well, ok then. Since \"dead tooth\" morgue guy saidso.Izzie: He's the morgue guy. He knows things about death.(Meredith picks up something from the floor and tries to hand it to George)Meredith: You droppedthis. (George doesn't take it and walks away) He's still ignoring me.Cristina: Ignore him back.Meredith: Derek says I should apologize until he listens.Cristina:Derek says?Meredith: It's good advice. He's my friend. That's good friend advice.(Alex walks up and pulls Izzie aside)Izzie: What?Alex: Did you sneak out lastnight?Izzie: Yeah. I, um...I couldn't sleep.(Bailey enters)Bailey: Come on.Meredith: Where?Bailey: ER.George: All of us?Bailey: We've all had deaths. Let's all gosave a life.(They all begin walking through the hall, as they walk by the nurse's station Addison stops them.)Addison: Uh, Dr. Bailey. (Hands her a cup) Here yougo.Bailey: What's this?Addison: Hot cocoa. It's a little ritual we had in New York. Four surgeries, four deaths, I figure we could all use a little good juju.Bailey:And cocoa equals juju how?Addison: Hey, hey, hey. Don't question the cocoa. Carry on. (They all start to walk away, Meredith is trailing behind.) Meredith.(Hands her a cup) Thank you for your help this morning.Meredith: Oh. Thank you, Addison.Addison: Yeah. Thank you.(Derek observes the exchange betweenMeredith and Addison. After Meredith leaves he walks up.)Addison: Here you go. (She hands him a cup)Derek: Juju.Addison: Yep.Derek: You jujuedMeredith.Addison: I did. In the spirit of friendship.Derek: Hmm.Addison: What? Are we not being friends with Meredith anymore?Derek: No, no, we are. Meredithand I are friends.Addison: And you and I are married. So then, by proxy, Meredith and I are friends.Derek: That's very big of you.Addison: Yeah.Derek: You don'thave to do that. It's not like I'm gonna be friends with let's say, uh...Mark.Addison: Yeah, well, neither am I. Now finish your juju before somebody elsedies.Derek: Hmm.(Meredith enters a room where she throws away the cup of juju.)(Burke is walking through the hallway talking on his cell phone.)Burke: Thereare ten of them. Music notes. Colorful patterns. They were sent out last night.(Burke walks up to the OR board where Richard is standing)Richard: Sorry to hearabout your valve replacement, this morning.Burke: The laundry misplaced my scrub caps.Richard: You know, there's some foolish talk going around about fatalityclusters in threes and sevens.Burke (On phone): Look, are you sure they weren't sent to another hospital?Richard: (To Nurse who is erasing the OR board) Howmany electives have they canceled today?Nurse: This is our third.Richard: And what have the surgeons' been giving as their reasons?Burke (On phone): BecauseI prefer my own caps.Richard: You're not pushing your surgeries because you don't have your personal caps. You understand me?Burke (Looking confused): Ididn't push any surgeries. (On phone) No, no. The question is: when will you find them?(Burke walks away)Richard: No one changes that board unless they talkto me. No one.(Bailey and her interns are gathered around a silent ER)Cristina: Great. No blood, no guts, no lives to save. It's dead quiet.Bailey: Did you reallyjust say that?Izzie: Cristina...Cristina: What?George: You said the Q-word.Izzie: It's like saying Macbeth in theater.Cristina: Please. You think because someonesays it's quiet that it'll mean...(ER doors open)Woman: Can somebody help us here? She's coughing up blood.Bailey: O'Malley! Take that.(Everyone's pagers startbeeping)Alex: Denny Duquette.Izzie: I got it.Alex: He's my patient.Bailey: He's both your patients. Answer the call.Nurse: Two incoming.(Ambulance bay)Bailey:Ok, uh, Yang, first one's yours. Grey, take number two.Paramedic: Jesse Fannon, 32, unrestrained driver in a rear end collision. There was spider webbing on thefront windshield where his head hit. BP's 120 palp. Pulse 75.Bailey: Well, what do you want to do, Yang?(Man is counting on his fingers)Cristina: Primary andsecondary survey. Uh, head CT and X-ray.Bailey: Ok. Page Shepherd when you get there.Jesse: Wait! I'm counting the siren whoops. We can't go until it reaches33.Paramedic: He also seems to have a touch of OCD.(Other ambulance)Paramedic: Nikki Ratlin, 30, erratic BP in the field. Complaining of chest and legpain.Meredith: What happened?Nikki: I got struck by lightning.Cristina: Can anyone spell coincidence?(ER)Nikki: My horoscope said, \"Stay close to home today.\"Aries couldn't have been any clearer. Ok, I guess it could have said, \"Don't leave the house today unless you want to get struck by lightning.\" Ouch.Bailey: See,Ms. Ratlin, you have no sign of wounds from lightning.Nikki: It was a sign. Clearly getting struck by lightning is a sign. I sign that I shouldn't have left myhouse.Meredith: Nikki, normally people struck by lightning have a wound where the bolt entered and exited the body.Nikki: Well...well, I wasn't struck struck. Thetree was struck and it fell on me.Meredith: A tree fell on you?Nikki: A big, like, branch or limb, Whatever. Same difference.(Bailey scribbles on the paper that shehad been writing on and crumbles it up.)Bailey: No, actually, medically, it isn't the same difference. And it would be helpful if from now on you told us the wholetruth.Nikki: You want to know the truth? My boyfriend loves that tree. He's totally going to freak out. Ow.(George runs up to Richard in the hall)George: Chief?There's a Ms. Warner down in Admitting. She's asking for you.Richard: Who?(Richard and George get in the elevator)George: Um, Olive Warner? Fifties. Uh,blonde hair. She said she's known you for about 20 years.Richard: Are you talking about Ollie?George: Right. Ok. Uh, Ollie Warner. She presented with upper GIbleeding. And she had a TIPSS procedure last month for esophageal varices.(Richard and George exit the elevator, he walks up the woman who had beencoughing up blood.)Richard: I'll take this from here, O'Malley.George: Happy to help, sir.Richard: No, thank you. I got this myself. (To Woman) Ollie.Ollie: Hi,Richard. Good to see you.(Alex and Izzie are in Denny's room)Alex: Sinus tachycardia, low-grade fever, pulse ox 75.Izzie: I'm hearing rales in your lungs.Denny:Yeah. A freight train rolls through at noon.Izzie: How bad is the pain?Denny: I don't know. A five or six when I breathe.Alex: Which means a seven or eight whenyou're not trying to impress your doctor.Denny: Heard, uh, four people died in surgery this morning. Sid they were expecting three more.Alex: You get that froma nurse?Denny: Never reveal my sources. Just like to avoid the OR. (Alex and Izzie exchange looks) And I'm not liking that look.(Izzie sits on the edge of Denny'sbed)Izzie: This could be a pulmonary embolism, Denny. A complication from the LVAD surgery. We gonna have to talk to Dr. Burke.(Alex clears his throat andIzzie stands up)(Meredith and Cristina are in the elevator with their patients)Meredith: I got hot chocolated. The She-Shepherd hot chocolated me. It's herjuju.Cristina: I don't like people who say juju.Nikki: I say juju.Jesse: Juju, juju, juju. Juju, juju, juju. Juju, juju, juju.Meredith: I didn't drink it.Jesse: Juju, juju,juju.Nikki: You're not obligated to honor someone else's juju.Jesse: Juju, juju, juju.Cristina: Thought you were being friends.Jesse: Juju, juju, juju.Meredith: Iam. With him. Do I have to be friends with her too?Jesse: Juju, juju, juju.Nikki: Definitely not.Jesse: Juju, juju, juju.Cristina: Maybe.Jesse. Juju, juju,juju.Meredith: I'll, uh, call psych for you.Cristina: That'd be good. Thanks.Nikki (Screaming): Ow! Ow!(Callie is setting Nikki's broken leg.)Callie: All right. That'sthe worst of it.Nikki: Oh, I never should have gotten out of bed. But I really wanted to surprise my boyfriend before he left for school. He had a huge exam todayand I just, you know, I wanted to wish him luck.(George enters the room)George: Dr. Torres. Hey. Hi. Uh, can I give you a hand?Callie: You missed the boat,George.George: You mean on this case or...?Callie: Or...a hot chick gives you her number, you're supposed to call.Nikki: Yeah.George: I...I was...I mean, Iam.Callie: Too late.Nikki: Ouch. Don't give up. I mean, if you really like her.(Meredith enters)George: Uh...ok.(George leaves)Nikki: Ok, the plot thickens.Callie:Nikki, Dr. Grey here is going to take you upstairs for a CT. But before she does, I have to ask: you're bruised all up and down your left side. You sure a treebranch did all this?Nikki: You think my boyfriend did this? He would never hit a woman. Ever.Callie: Mm-hmm. The bruises doesn't look like a tree branch hityou.Nikki: Fine. Ok, you guys are going to think I'm really weird, but I was sort of up in the tree when the lightning hit. And...I fell.Callie: You climbed a tree in athunderstorm?Nikki: I really wanted it to be a surprise, you know, for my boyfriend. And...um, I just...I had to see if his psycho dog was in the yard because of,"}
+{"doc_id":"doc_254","qid":"","text":"Act One.Scene One - KACL Frasier and Roz are in Frasier's booth. Roz is sorting some carts, while Frasier opens his mail.Frasier: Oh look, Roz, Roz, my brochuresare here! Oh, god, very exciting! Vacation!Roz takes one of the brochures from Frasier.Roz: Wow! The Golden Door Spa!Frasier: Ooh, yes!Roz: Look at thoseaccommodations! That is nice!She gives the leaflet to Frasier.Frasier: I plan to leave Dad and Eddie to fend for themselves while I go off and spend an obsceneamount of money being pampered like a spoiled child. I know it's self-indulgent, but what else are vacations for? By the way, what are you doing for your weekoff?Roz: Oh, I'm taking my mom to Ireland to stay in the sod house where her mother was born.Frasier: Why don't you just write the words \"bad son\" on myforehead!Roz: Listen, there is nothing wrong with pampering yourself on your vacation. After all, you do work three hours a day.Frasier stands up, annoyed, turnshis back on her, and begins to sort through his brochures on the side bench of the studio.Roz: I'm sorry. That one even surprised me!She walks into the adjoiningproducer's suite. Frasier follows her through.Frasier: You know, it's just that when I think of the relationship I have with my dad I can't help but envy therelationship you have with your mother.Roz: Well, it didn't just happen. We work at it, spend time together...Frasier: Roz, are you forgetting that my father liveswith me? How much more time together could we spend!Roz: Day to day living is different. You know, there is nothing better than taking a trip together. You getto have a little fun, you get to relax... you get to see a whole different side to the other person.Frasier: You know, in his entire life, my dad has never been toEurope. It would be a way of connecting with him if I were the one to give him that. [looks questioningly at Roz] So, what would you charge me to take him toIreland with you?Roz looks at him with a wry smile on her face and shakes her head.[SCENE_BREAK]Scene Two - Frasier's Apartment Fade back in. Niles is sittingwith his face down on the table as Daphne massages his back. Martin is sitting in his chair with the paper in one hand, and is stroking Eddie with the other.Niles:[moaning with pleasure:] Ahh... I should have known this would happen. I always throw out my back when I try to lift Maris's luggage.Daphne: Why didn't youhire a skycap?Niles: Oh, we did for most of it, but Maris won't trust strangers with her makeup case, ever since a ham-handed porter dropped it and broke threevials of rare Swiss lamb placenta. On the upside, the calfskin lining of her case was never more soft and supple.Daphne lifts him to sit up straight, puts her armaround his neck and proceeds to massage his back with the fist of her right hand.Daphne: Where did Mrs. Crane go, anyway?Niles gives more moans of pleasure,and Martin looks round at him in amusement.Niles: She's making her annual pilgrimage to the holy land.Martin: I thought she was going to Dallas to visit hersister.Niles: That is her holy land. It's the site of the first Nieman- Marcus.Martin turns back to his paper, shaking his head. Niles produces more moans ofecstasy. Frasier enters the apartment, carrying his briefcase.Daphne: Oh, Dr. Crane...Niles: [still moaning] Oh, call me Niles!Frasier casts his usual look ofdisapproval and disappointment in Niles's direction, and Niles, noticing him, stands up.Niles: Thank you, Daphne.Frasier: Dad, I've had an idea and I hope you'reas excited about it as I am. [opens his briefcase and takes out the holiday brochures] I want to take you on vacation!Martin: [suspicious] Why?Frasier: Well, Ithought an adventure might do us good, give us a chance to have some fun, maybe get reacquainted, even do a little bonding.Martin: What'd you have inmind?Frasier: Well, this isn't about where I want to go, this is about where you want to go.Frasier fans out the leaflets and lays them on the table by his father inan extravagant gesture.Frasier: Dad, I give you the world!Martin: [reading one] The Galy-pay-gos islands, huh? \"Where iguanas, sea-lions and giant tortoises livein eternal harmony.\" [to Frasier] Is it important they get along?Frasier: No, I suppose not.Niles has also been looking through the leaflets.Niles: Oh, how aboutthis! India and Nepal! Trek the foothills of the Himalayas!Martin: [tapping his cane] I think you're forgetting about my old pal here.Niles: No problem. Frasier canjust hire a really tough little Sherpa to carry you on his back.Martin looks at him stupidly.Niles: They don't mind.Frasier: Well, we obviously haven't struck theright chord yet, but we will, we will. Dad, why don't you just suggest something?Martin: You really want to go on a trip with me?Frasier: Yes I do! I'll go anywhereyou want to! Anywhere!Martin: Okay. Well, maybe I'm not as sophisticated as you, but I think I should see America first!Frasier: Great! We're Americans, weshould see America!Martin: And I want to see it in a Winnebago!Frasier stands up in horror, but with feigned enthusiasm.Frasier: A Winnebago! Hot damn, thathas a real ring to it! He crosses to pour a drink.Martin: Yeah! It's something your mother and I always dreamed about doing when I retired.Frasier: Then that isexactly the trip we are going to take!Martin: You really mean it?Frasier: Absolutely!Daphne: This calls for a celebration!Daphne exits to kitchen, Frasier crosses tofire place and Martin also exits towards the kitchen.Martin: Yeah, let's pop open a couple of beers! I think I've got a bag of pork rinds in here too!Frasier: Oh, thefinal touch! I almost feel like I'm in a trailer park already!He hangs his head in horror, leaning on the mantelpiece in despair. Niles crosses the room towardshim.Niles: [mockingly] Oh, Winnebago Boy? Make sure to hang a lot of beach chairs on the back and give it a really cute name like... \"The Whoopin' Cranes!\"Hedissolves into laughter.Frasier: Oh, Niles. When I agreed to see America with Dad I thought we'd be staying in five-star resorts! When I said together I meantadjoining suites!Niles: Just tell him you think it's a bad idea.Frasier: I can't do that, he's counting on this trip too much. It was his dream, he was going to go onthis trip with Mom.Niles: Yeah, but she lucked out and died! [laughs]Frasier pulls Niles to the corner of the apartment to be sure they can't be heard from thekitchen.Frasier: [in desperation] Niles listen, listen. If Dad and I get into a Winnebago together only one of us will come out alive. You've got to come withus!Niles: Frasier, you're my brother. That entitles you to my bone marrow and one of my kidneys, but THIS is an imposition!Cut to Martin and Daphne in thekitchen. Daphne is chopping cheese, and Martin sits opposite her.Martin: You've got to come with us!Daphne: Why?Martin: Well, Frasier and I don't haveanything to talk about! I always feel more comfortable when there's someone else around, or the TV's blaring.Daphne: Then why did you suggest it?Martin: Well,it sounded like a good idea when it came out of my mouth, but the more I think about it... I mean, can you really see me and Frasier together all day and thencrawling into our bunks at Night, lying head to head... bonding? [shivers] Eew! I'll pay you! I've got pension money!Cut back to Niles and Frasier.Frasier: Iremember a car trip we took when I was nine? We drove from Seattle to Spokane. The only thing he said to me was, \"I think we've got a problem with yourbrother Frasier.\"Niles: Those were awful, those family driving vacations. Dad insisting on covering as many miles as possible in a day. The two of us tiny hostagesin the back seat, clutching our car sickness bags... straining to see something out of the window as the landscape whizzed by... I was thirteen before I realizedcows aren't blurry!Cut to Martin and Daphne.Daphne: Why don't you just tell him you don't want to go?Martin: Oh, you heard how he wants to go. I don't want todisappoint him!Cut to Niles and Frasier.Frasier: I don't want to disappoint him!!Niles: I'm sorry Frasier, I am not a Winnebago person.He begins to cross to refillhis drink.Niles: Whenever I see one on the highway I look into the driver's eyes, hoping to see something that would explain why in God's name he would everwant to do something like this! All I see is a death stare under the brim of a hat made out of Miller Lite cans. This is my final word: I'm-not-going.Martin andDaphne re-enter. Daphne is carrying some cheese chunks on a plate.Martin: Hey, great news, Daphne's coming too!Niles: And so am I!He eats a cheesechunk.[SCENE_BREAK]THE WHOOPIN' CRANESScene Three - A Winnebago. The Crane clan, plus Daphne, are traveling along in their rented Winnebago. Thenorth-western American countryside is visible out of the rear window. Frasier is driving, and Martin is in the passenger seat videotaping the view. Daphne issitting behind them. Niles appears to be absent from the scene.Martin: It's everything I'd hoped it'd be, only better! It's like sitting in your own living roomwatching TV! Only it isn't TV, it's America!Frasier: Yes Dad, it's the ultimate in virtual reality programming - actual reality.Martin: [Looking at map] Okay, we'vegot a turn-off coming up in about five miles, so start slowing down.Frasier: Righto, Dad.Daphne: How does it feel behind that wheel, Dr. Crane?Frasier: Manly!This is mine, and it's big!There is a flushing sound, and Niles appears from the back of the vehicle.Niles: Oh my God! It's like being sealed upright in a Formicacoffin!Martin: Remember the old days, Niles? [to Daphne] When they were kids, all they had in the back seat was a mayonnaise jar.Frasier: Yes, it took quite a bitof skill to use it successfully at seventy miles per hour! Never really been fond of mayonnaise since...Niles: Or speed bumps.Martin: Okay, turnoff's coming upnow, we're about four miles away, get ready, it's coming up! Alright, you're okay on the right! It's never to early to move over!Frasier: You know, Dad, I waswondering. What inspired you to choose that uniquely American man-made wonder, Mount Rushmore?Martin: Well, we've got a week off, right? That's as far aswe can go in three and a half days and still make it back. We get there, get out, walk around the Valley of the Presidents, drive back, boom! Another finelandmark under our belts!Daphne: Well, you've certainly got this trip well-planned, Mr. Crane! Whenever I take a holiday I just grab a fresh pair of knickers andsee where the wind takes me!At this comment Niles proceeds to look back at Daphne's backside.Frasier: [noticing] Niles... Niles!Frasier then pulls hard right onthe steering wheel making the vehicle swerve sharply left. Everyone else remains in the same place but Niles, caught off balance, crashes left into some overheadcupboards, right into a chair behind Daphne and then falls spectacularly onto the floor whilst clutching at the kitchen sideboard. He quickly attempts to retake hisplace behind Frasier, before Daphne and Martin notice.Unsuccessfully. Martin looks strangely at Niles, not realising why Frasier swerved, then looks curiously atFrasier as if to say, \"What the hell was that!\" Frasier, however, drives on happily with a large smile on his face.Frasier: You know, what Daphne is saying is whatwe should really be doing!Martin: What are you talking about?Frasier: Well, you know, why should we be so beholden to maps and schedules? We should roam!America has always been enchanted with the romance of the open highway. Jack Kerouac went \"on the road,\" Buzz and Todd got their \"kicks on Route 66!\" The"}
+{"doc_id":"doc_255","qid":"","text":"[Scene: Monica, Chandler, and Phoebe's, everyone is there having breakfast and Joey enters carrying a loaf of bread.]Joey: Hey!Ross: Hi!Joey: Who wants Frenchtoast?Ross: Oh, I'll have some!Joey: Good, me too. (Tosses him the loaf.) Eggs and milk are in the fridge. Thanks.Monica: (entering from her room)Oww!Chandler: What's the matter honey?Monica: I don't know, my hand feels weird. I guess it's because, I'm engaged! (Shows off the ring.) How long before itstarts getting annoying?Phoebe: It starts?Rachel: Yeah, so let's get started on the wedding plans!Monica: Okay! (Runs off.)Chandler: (incredulous)Already?!Rachel: Yeah, we got a lot to do! We gotta think about the flowers, the caterers, the music...Chandler: Oh, I got some thoughts on that.Rachel: Oh waitChandler, too many cooks...Ross: Take it from me, as the groom all you have to do is show up and try to say the right name.Monica: (returning) Okay! (Setsdown a huge 3\" 3-ring binder on the table.)Chandler: What in God's name is that?!Ross: Oh my God, the wedding book?! I haven't seen that since the forthgrade!Monica: This baby has got everything. Take y'know, locations for instance. (She opens up the binder to the locations chapter.) First, organizedalphabetically, then geographically, then by square footage.Phoebe: That is so smart! (To Chandler, under her breath) Break it off. Break it off now.OpeningCredits[Scene: A Classroom, Ross is giving a lecture.]Ross: And that should conclusively prove that I had the idea for Jurassic Park first! Now let's take a lookat... (Phoebe rushes in.)Phoebe: Hey! Ross!Ross: Phoebe, oh my God! Wh-wh-what are you doing here?Phoebe: I need to talk to you, it's pretty urgent. It'sabout Monica and Chandler.Ross: Oh my God! Of course, of course. (To the class.) Umm, would you please excuse me for a moment? Umm, do you know eachother's hometowns? Why don't you... (Motions that they should learn everyone's hometown.) (To Phoebe) Wh-what's going on?Phoebe: Well, umm, not much.But, I was just thinking that since those guys just got engaged that maybe it would be nice if they had some privacy, y'know? So, could I just move in with youfor a couple days?Ross: Umm, okay, yeah, sure. But wh-what's wrong with Monica and Chandler?Phoebe: Nothing-Why?!Ross: Phoebe, you said it wasurgent!Phoebe: Oh yeah it is! I'm going to the movies and it starts in like five minutes.Ross: Do you realize I have a classroom full of students?Phoebe: (to thestudents) Oh, I'm sorry. I'm so rude. Does anyone want to come to the movies?[Scene: Monica, Chandler, and Phoebe's, Rachel and Monica are pretty muchtelling Chandler what the wedding plans are.]Monica: All right, so I haven't cleared the budget with my parents yet, but tell me how this is for music.Rachel:Okay.Monica: All right umm, a string quartet for the procession.Rachel: Aw.Monica: A jazz trio for cocktails. The Bay City Rollers for dancing. Wait, that was frommy sixth grade wedding.Chandler: Well, you couldn't get them anyway. Ian doesn't play anymore and Derrick... (Off of Rachel and Monica's looks) And Derrick isa name I shouldn't know.Joey: (sitting up from the couch) Hey Mon, do you have another pillow? (Holds up one.) Y'know, something a little snugglyer?Chandler:Why are you napping over here instead of over at your place?Joey: Well, the duck...Rachel: What?! The duck?! What the hell did the damn duck do now?!Joey:Uh, well he did not get sick somewhere in there and it was immediately found and properly cleaned up!Chandler: Now, do I get to look at this book or is it just forpeople who are actually involved in the wedding?Monica: Of course you can look at it! Yeah, I want your opinion too!Chandler: Okay.Monica: Here you go! Whatdo you think about centerpieces?Chandler: Centerpieces!Monica: Yeah! Roses or Lilies? (Holds up a picture of each.)Chandler: Definitely roses. (Monica andRachel exchange a look.) Well, I just think they're a little more weddingy. (Monica holds the Lily picture closer to him.) But Lilies are the clear choice.Monica: Ohmy God! It's like one mind.Chandler: Uh-huh!Joey: (sitting up again) Guys! Guys!! You gotta let me nap! Ugh, I'm gonna get cranky!Rachel: Joey, there is aperfectly good couch across the hall!Joey: Yes it is perfectly good, and it is not one of the places the duck got sick!Rachel: What?!Joey: All right, I'm gonna go!(Gets up and heads for the door.)Rachel: Now Joey, what did the duck do?!Joey: I don't know! But he did not eat your face cream![Cut to Joey and Rachel's, Joeyenters and heads for his bedroom. He pushes open the door to find the duck.]Joey: Hey little buddy, how are you feeling? (The duck does not get sick and Joeyrecoils in horror and heads for the couch.) What the hell is in that face cream? (He's about to try out the couch but notices the bed in Rachel's room. He walks intoher room and feels the bed.) That's so soft. (He pulls back the comforter.) Pillowcases! (He climbs in and groans in delight. Suddenly, he feels something underhim and pulls out a little beat up paperback book. He opens it and starts to read from it.) (In his head.) Zelda looked at the chimney sweep. Her father, thevicar...(Stops reading and thinks.) The vicar? (Continues reading) ...wouldn't be home for hours. Her loins were burning. She threw caution to the wind andreached out and grabbed his...(Out loud.) Whoa! (Reads on in silence.) Whoa-ho-ho-ho! This is a dirty book! (Continues to read.)[Scene: Ross's apartment,Phoebe has moved in and has a massage client on the table she's set up in the living room. Ross enters and is shocked to see a naked man lying on thetable.]Ross: Uh, Phoebe...Phoebe: Oh Ross, hi.Ross: Phoebe, what are you doing?Phoebe: I'm sorry, I'm with a client right now.Ross: Phoebe!Phoebe: Okay, let'stalk outside.(They go into the hall.)Ross: Phoebe, you can't massage people in my apartment!Phoebe: What's the big deal? I did it at Monica and Chandler's!Ross:And they knew about it?Phoebe: (pause as she considers it) Okay, well Ross, what is this really about?Ross: Look, this is my home and I want to be able to comeand go whenever I want!Phoebe: Okay, I will find someplace else to do the rest of my appointments. I just don't know what the big deal is!Ross: The big deal is Idon't want naked, greasy strangers in my apartment when I want to kick back with a puzzle-beer! Cold beer.[Scene: Joey and Rachel's, Joey is sweeping up asRachel enters.]Rachel: Hey Joey, what 'cha doing?Joey: Sweepin'. Why? Turn you on?Rachel: No.Joey: Huh. What if I was sweeping a chimney?Rachel: Joey, didyou eat my face cream?(She walks into her bedroom.)Joey: Where are you going? The vicar won't be home for hours.(She comes back out.)Rachel: Joey,(nervously) where did you learn that word?Joey: Where do you think, (pause) Zelda?Rachel: (gasps) You found my book?!Joey: Yeah I did!Rachel: Joey,what-what are you doing going into my bedroom?!Joey: Okay, look I'm sorry, I went in there to take a nap and I know I shouldn't have, but you got p0rn!Rachel:Hey-hey, y'know what? I don't care! I'm not ashamed of my book. There's nothing wrong with a woman enjoying a little...erotica. It's just a healthy expression offemale sexuality, which by the way, you will never understand. (She goes into her room.)Joey: You got p0rn![Scene: Ross's apartment, Ross is coming out of theliving room carrying his salad and a puzzle-beer! Cold beer. And he decides to fold up Phoebe's massage table, but being Ross has trouble with it as there is aknock on the door. He sets the table back up and opens the door to reveal a beautiful woman.]Ross: Hello.Woman: Hi, is uh Phoebe here?Ross: Uh no-no,she-she's out for the night.Woman: Ohh great.Ross: Can I, can I help you with something?Woman: Well, I don't know. Are you a masseur?Ross: (deadpan) Yes Iam.Woman: Great! (Calls down the hall) Dad! (Her old father walks in.) Thank you so much, I'll be back to pick him up in an hour. (She walks away.)(Ross isn'thappy and closes the door slowly.)[Scene: A Restaurant, Monica and Chandler are having dinner with her parents.]Mrs. Geller: So Chandler, your parents must'vebeen thrilled when you told them you were engaged.Chandler: Oh yeah, I should probably call them.Mr. Geller: I remember when we first got engaged.Chandler:Oh, I don't think I ever heard that story.Monica: Oh dad, really you don't need to...Mr. Geller: (ignoring her) Well, I'd gotten Judy pregnant. I still don't know howthat happened.Mrs. Geller: (incredulous) You don't know how that happened?! Your dog thought my diaphragm was a chew toy!Chandler: What a sweetstory.Monica: Well, at least you're not hearing it for the first time at your fifth grade Halloween party.Mr. Geller: What?! They wanted a scary story!Monica:Anyway, we're really excited about our wedding plans, and well I guess pretty soon we'll be making a big withdrawal from the Monica wedding fund. (She andChandler laugh, but her parents don't.) What?Mrs. Geller: You tell her Jack, I can't do it.Monica: What happened? You still have the Monica wedding fund don'tyou?Mr. Geller: We have it. Only now, we call it the beach house.[SCENE_BREAK][Scene: A Restaurant, scene continued from before the break.]Monica: I don'tbelieve you spent my wedding fund on the beach house!Mrs. Geller: We're sorry honey, but we just assumed if you got married after you turned 30 you'd pay forit yourself.Monica: You bought the beach house when I was 23!Mr. Geller: Which means you had seven years of beach fun and you can't put a price on thatsweetie.Mrs. Geller: We really do feel bad about this though.Mr. Geller: We started saving again when you were dating Richard and then that went to hell, so weredid the kitchen.Monica: What about when I started dating Chandler?Mrs. Geller: Well it was Chandler! We didn't think he'd ever propose!Chandler: Clearly I didnot start drinking enough at the start of the meal. (Starts to make up for lost time and takes a big swig of his drink.)Monica: I can't believe it! That there is nomoney for my wedding?!Mrs. Geller: We might still have some money, if your father didn't think it was a good idea to sell ice over the Internet.Mr. Geller: Itseemed like such a simple idea.Mrs. Geller: Stupid Jack, the word is stupid.Mr. Geller: All right, enough! I don't want to hear about it anymore! (Under his breath)Good luck, Chandler. (Chandler takes another drink.)[Scene: Ross's apartment, his massage client is on the table and Ross is reluctantly starting his massage. Hespreads some lotion in his hands, and doesn't like it.]Ross: Okay! Now, I'm going to touch you. (He does so, very gingerly.) Ohh, that's soft. (He starts pokinghim and notices his salad spoons and starts to massage him with those.)[Scene: Monica, Chandler, and Phoebe's, Monica and Chandler are returning from dinner,Rachel is already there.]Monica: I can't believe this. Do you think that your parents could help pay for it?Chandler: I don't know, my mother spent most of hermoney on her fourth wedding. She's saving the rest for her divorce. And any extra cash my father has he saves for his yearly trips to (Pause) Dollywood.Rachel:Well what happened at dinner?Monica: My parents spent the money for our wedding!Phoebe: (gasps) My God! What did you order?!Rachel: Wait, but there's nomoney! Well this is terrible! You guys are gonna have to get married in like a, rec. center!Chandler: Honey, it's gonna be okay.Monica: No! No it's not! It's not"}
+{"doc_id":"doc_256","qid":"","text":"[PREVIOUSLY_ON]Julian : I decided not to produce the movie. There's this girl that... I'm kind of in love with, and... I couldn't be away from her for anotherday.Haley : I know the label's gonna run a lot smoother with you at the helm.Miranda : I'm not here to run the label. I'm here to close it.Mouth : You're madbecause I want you to move out, but it's only because I'm trying to step things up with Millie.Skills : You trying to get rid of me with your naked ass. It ain'tgonna work.Quinn : You know earlier when... when I said I miss David?Haley : What happened, Quinn? You said he...Quinn : I left him.Clay : Does that girl lookfamiliar to you?Nathan : Yeah, she was at the party today. Why?Clay : She says she slept with you on the road, Nate, and she's going public.AT BROOKE'SHOUSEMan : And where will you run... back to the life of a peasant harlot?Alex : Perhaps I will. But should I return to a life of more meager means, I will do sowith my dignity intact, my heart pure and true.Man : And yet you had no dignity nor purity in my bed a fortnight ago.Alex : Meager means, indeed.Man : Harlot!Leave the dress!Brooke : Millie was right. Alex Dupré is the perfect choice to be the face of the new campaign. She's smart. She's talented. She is crazy beautiful.Julian?Julian : I'm shaving!Brooke : How come this movie never came out?Julian : Because smart and talented and beautiful got all hopped up on goofballs andhad to be checked into rehab. By the way, those dailies are top secret. I had to call in about a dozen favors to get 'em.Brooke : Aww, my baby's so good to me.Damn. I am really gonna like this living-together thing. I want you to move your stuff in, okay? This is our house now, not just mine.Julian : Good. Well, then howwould you feel about going back to our bedroom for a little while?Brooke : I'd make a joke about meager means, but... it would simply be untrue.ON THEBEACHClay : Hey. You know I'm not judging you, right?Nathan : Clay, listen, man, you've known me for a long time now. I don't care what that woman says. Idid not sleep with her, all right?Clay : All right.Nathan : It's unbelievable to me that she could just show up and spout a bunch of lies, and the next thing youknow, I'm in the headlines, my family's in the headlines, and I'm guilty before I'm innocent.Clay : Don't freak out. You're not in the headlines yet. And believe itor not, this kind of thing, it happens a lot. You're a public figure, and they know you make a lot of money.Nathan : I'm in a contract year, Clay.Clay : I know. So,here's what you're gonna do. You're gonna stay in shape, you're gonna stay focused, and you're gonna let me handle it. All right?Nathan : All right.*yeah*ATSCOTT'S HOUSEHaley : It has been ringing off the hook.*waves crash along*Haley : Quinn, what happened? I mean, what actually happened between you andDavid?Quinn : He just changed, you know? I mean, he used to see the world exactly the way I saw it. He just doesn't anymore.Haley : But he still lovesyou.Quinn : I know. But I don't know if that's enough.Haley : I'm sorry. I got to go. I got to go down to the studio and take care of this whole \"shutting us down\"mess.Quinn : Do you need my help?Haley : No. You just stay here and enjoy your day. I'll see you later.Quinn : Okay.Haley : It's gonna be okay, Quinn.Quinn : Ilove you.Haley : I love you, too. *keep your hello* *don't think about it at all*AT MOUHT'S APPARTMENTMillicent : Is it okay?Skills : You're good.Millicent : Damnit, Skills!Skills : What up, Millie?Millicent : You and Marvin need to stop this ridiculous naked standoff!Skills : Hey, look, he started it, trying to get me to moveout.Millicent : Okay, look... I'm going to pick up Alex Dupré from the airport. I'm gonna work a full day, and when I get home, you two idiots better have yourpants on!IN THE CARJamie : So, what are you gonna do?Skills : I ain't moving out. That's for sure.Jamie : Why not? If Chester hopped around without his fur on,I'd probably move out.Skills : Yeah, well, it's a long story. So, you ready for the beach?Jamie : Totally. You think I can bury you and Miss Lauren in thesand?Skills : Cool with me. Oh, and, um, don't tell Miss Lauren about the whole moving-out stuff, all right?Jamie : Why not?Skills : Just don't. Wait. Uh-Oh, hereshe comes.Lauren : Hey, boys. Ready for the beach? What are you guys up to?Skills : Nothing.Jamie : Nothing.Lauren : Huh.*that girl's a genius* *whoa oh ohoh oh oh oh*TV BROADCASTDan : Never believe that you can deceive. You might think that you can get away with it. You might actually get away with it... for awhile. But your life is made up of choices and decisions.AT BROOKE'S HOUSEPaul : Hi, Julian.Julian : Dad. What are you doing here?Paul : I came to talk you outof the worst decision of your life.TV BROADCASTDan : Poor choices, poor life. Bad decisions... bad life.AT RED BEDROOM RECORDSHaley : Come on. Where isit?Miranda : Page 7, item 4... It's the part of the contract that basically says we can acquire the label whenever we'd like.TV BROADCASTDan : Wickedness... Asyou know, I've been there. I'm not alone. My wife was, too. She was deceptive and manipulative. She abused drink and drugs. She was promiscuous. But todayshe stands beside me a changed woman, a caring woman, a better woman. Ladies and gentlemen, my wife, and the love of my life.*my girl's ready to takecontrol* *she just blows my mind* *she only listens to the radio*Dan : I love you, honey.Rachel : I love you, honey. *yeah* *she wakes up scared of gettingold*AT BROOKE'S HOUSEJulian : I didn't make a bad decision, dad.Paul : Is that right? You walked away from a potential blockbuster movie days beforeproduction, and for what?Julian : For love.Paul : Love... with Brooke Davis.Julian : Be careful, dad.Paul : Julian, she's Brooke Davis! I read the tabloids. This is afling for her, and it could cost you your career!Julian : I think you need to leave.*behind the tv screen I've fallen to my knees*Paul : Your career was one movieaway from being prestigious... This movie. And you walk away. For what? A promiscuous fashion designer. *I need to get away* *blanket of silence* *makes mewant to sink my teeth in deep* *burn all the evidence*AT RED BEDROOM RECORDSMiranda : Oh, this glass is gonna look amazing in my loft in Los Angeles.Haley: All right, Miranda, I know that you have a legal right to shut down the label, but you don't have to be a total bitch about it.Miranda : You're the producer, Haley,and, potentially, a great artist, but you don't have time to record because you're running what is essentially a vanity label.Haley : Va... vanity la... You guyswould not have Mia Catalano if it wasn't for this label. You wouldn't have had the time or patience or interest to develop an artist like her. That's what small labelsdo. We develop and nurture artists. It's something corporate labels will never do.Miranda : I've always wanted a pool table.AT BROOKE'S HOUSEBrooke : I can'tbelieve your dad just came all this way to tell you he thinks you're making a mistake. He couldn't call or text or tweet that to you?Julian : He's a movie producer,Brooke. He loves the dramatic.Brooke : Well, what else did he say?Julian : He wanted to know what my game plan was... was I still actively producing, do I havea development staff finding me new properties, and...Brooke : That is some poster.Julian : What? Oh, right. You like it?Brooke : Yeah. It's... different for theliving room.Julian : He was just so crazy, my father.Brooke : Do you think maybe you would like that better in the spare bedroom or in your office? We could getyou an office for that.Julian : Look, my dad just flew five hours to ask me if I'm quitting the business and getting married.Brooke : What did you say?Julian : Iasked him to leave.Brooke : No, about the \"marriage\" part.Julian : I told him he was crazy. We're not getting married. We just moved in together. I... I don't... Idon't know what the hell got into him.*I ain't got no other place to hide* *chained down like a sitting duck* *just waiting for the fall*TV BROADCASTRachel :Hey, you.Dan : The clock... it was a good idea. I think it reminds people that every second counts.Rachel : It's easy. People don't have to work that hard to get it.We have that dinner tonight with the investment guys from Texas. I think you should tell them the whole \"phoenix rising from the ashes\" story. They'll love it.Dan: It was a good show today. I think we might have reached some people. Do you think it was a good show?Rachel : I'll let you know after I see the ratings. I gotto go.Dan : Hey. I love you.Rachel : I know, baby. Wear your gray suit tonight. You always look good in that suit.AT THE AEROPORTAlex : Guys.Fan : Righthere!Alex : Hey. There you go.Fan : One more.Tanya : Miss Dupré? Miss dupré? Could I get an autograph?Alex : Oh, yeah, sure, you pretty thing. What's yourname?Tanya : Tanya.Alex : Tanya?Tanya : I loved you in \"Heart so true\". You were so brave in that.Alex : Oh, thank you, sweetie. But that's just acting. You'rethe brave one.Tanya : Thanks.Alex : Bye. Bye bye.Millicent : Alex, Millicent Huxtable, Clothes Over Bros. Welcome to Tree Hill.Alex : Thank you.IN THECARMillicent : Can I just say that I am your biggest fan? And it's because of things like that... that you would take the time to inspire that poor girl in thewheelchair after such a long flight.Alex : They kind of creep me out.Millicent : What?Alex : Cripples and, like, retarded people. They're always, like, drooling andsmiling really weird. It's so gross. Water, water, water. Um, is there any wine in here?Millicent : Um, I thought you were sober. You just went to rehab.Alex :Ugh, do not remind me. They took my phone away. Besides, wine's not even alcohol. It's like grape. Ugh, it's so hot out there. Where the hell are we? It's like thedevil's ass in this place. When do I get paid?Millicent : I think your agent takes care of that.Alex : Can I just tell you... I hate that woman. She's like a completealcoholic, and her fingers look like chicken feet. Btw, I am starving. Is there any food?Millicent : Well, I read that you only eat organic food, so we have an entireorganic feast waiting at the hotel.Alex : Yeah, I just make that stuff up. Can you drive through a Mickey d's? I could totally eat the butt off a skunk rightnow.Millicent : Um, drive on... please.ON THE BEACHClay : Nate, it's gonna be okay. You know, we haven't heard from this woman since the one e-mail. So, untilit's real, it's not real. You know, and besides, who the hell would want to sleep with you, anyway? Okay, I know it's bad timing, but damn.Nathan : Dude, quitchecking out my sister-in-law.Quinn : Hey, dumb and dumber.Clay : Hey.Quinn : Nice day, huh?Nathan : I don't know. Maybe you're right. Maybe it'snothing.Clay : Actually, uh... now it is something.Lauren : Hey Jamie can you scratch my noze. Aah, thank you. Oh! My hat!Jamie : I'll get it.Lauren : Ohh.Skills :Can you move?Lauren : Not a muscle.Skills : Me neither. Man, I hope that knucklehead come back.AT RED BEDROOM RECORDSHaley : So, listen, Peyton, here'sthe thing... Uh, you know how I... insisted that you keep that 1 % of the label? Well, it... it kind of killed the label. But, Haley... Okay, okay, I'm sorry. I can seethat I'm upsetting you, and I don't want to do that. So, um, let me just, uh... Talk to Lucas. Geez, Haley, I... I... I... I... I don't know, you know? This has reallymeant a lot to... Peyton. I know. I know. I'm a terrible friend, and there's nothing that I can do unless I... You might be a genius, Haley. Thank you, Haley.* am I"}
+{"doc_id":"doc_257","qid":"","text":"EXT. - L.A. - WAREHOUSE BUILDING - DAY[The sound of slow breathing. The scene fades in with klezmer music. Jenny gets out of her car which is parked next toa warehouse by the freeway. Car traffic and police sirens are heard in the distance.][Title card: Los Angeles, California, present day][Jenny walks up to thewarehouse. A sign on the building reads \"Howling Coyote\".][Jenny goes in. The breathing sound in the background begins to speed up. Jenny walks through acorridor to a main area with a small stage. A woman sits at a table. A big man looking at a clipboard walks past.]Woman: Hey, Victor. She's here.[Victor looks atJenny.]Victor: Yeah. So? (shrugs)Woman: Trust me. She's a very sick girl.[The breathing stops. Jenny smiles.][Opening credits]INT. - SHANE AND JENNY'SHOUSE - JENNY'S ROOM - DAY[Jenny sings softly in Hebrew. She slowly flips through the pages of a sketchbook, wherein is drawn disturbing pictures of a nakedyoung woman: urinating in a bowl, being shouted at by a young man wearing a clown t-shirt, and standing on a stage in front of a crowd of cheering, shoutingmen, lifting her skirt. The title of one of the drawings reads \"Skokie, Illinois, 1989\". The sound of men cheering and whistling loudly is heard in thebackground.][The men in the crowd look vicious, like animals, as they shout at the young girl on stage. Jenny has drawn many of the men in the crowd withwarped, bizarre faces, as they jeer and show their teeth at the girl on the stage. Some of the men stare hard; others have their mouths open, shouting.][Cut tolive-action footage of men crowded around a small stage, shouting and banging on the stage animalistically. The men are almost uncontrollable. The scene goesback and forth between live-action shots and the drawings.][We see a drawing of a young Jenny, stripped down to her underwear, standing alone as hands reachfor her. The sounds of cheering and shouting finally drift away. Jenny still sings softly.]INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Deliverymen are bringing in ahospital bed for Melvin. Kit sits nearby. Bette moves furniture around.]Bette: Just right in the middle of the living room.Kit: Not a good decorating choice. You'regoing to be sorry.Bette: I just had to get him out of the hospital. It was killing him.Kit: Cancer's killing him.Bette: (to deliverymen) That's great. Right there. Canyou guys hook that up for me, please?Deliveryman: Really not our job, ma'am. Here are the instructions.[The deliveryman hands Bette a slip of paper beforeleaving. Bette reads it.]Kit: Do you have any idea what you're taking on? Are you prepared to watch our father die right here in your living room?Bette: He couldgo into remission, Kit. Don't put him in the ground quite yet.Kit: He's refusing treatment.Bette: His doctors give him four to six weeks. I give him as long as hewants to stay alive.Kit: And what about work?Bette: (sighs) Don't worry about work, Kit. I just... want to make sure that Daddy's set up. I'll figure somethingout.Kit: I don't think you know what you're in for. This is going to eat you alive.Bette: I didn't know that I would be taking it on all by myself.Kit: Then you shouldhave talked to me. You should have included me in this huge decision you made about how our father's going to leave this earth.INT. - SHANE AND JENNY'SHOUSE - JENNY'S ROOM - DAY[Jenny still sits, looking at the sketchbook, still singing softly in Hebrew. Shane walks in with coffee and a muffin and sits downnext to her.]Jenny: Thank you. That's nice.Shane: They're from Mark.Jenny: No, thank you.Shane: Look, he asked me to bring it.Jenny: I'm not going to let theb*st*rd redeem himself.Shane: Look, I doubt he thinks that coffee and a muffin's going to redeem him.[Jenny says nothing, continues looking at the sketchbook.Shane gets up and walks to the door.]Shane: Look, I hate to bring this up, but... we have rent -Jenny: No, no, no. I know.Shane: You know, Jen, I'd - I'd coveryou if I could -Jenny: No.Shane: You know, Mark offered -[Jenny turns around to Shane.]Jenny: No.[She turns back to her sketchbook.]Jenny: I'll pay my ownrent.Shane: Okay.[Shane leaves.]EXT. - BETTE'S HOUSE - FRONT PORCH - DAY[Shelly, the nurse, walks to the front door.]EXT. - SHANE AND JENNY'S HOUSE -FRONT PORCH - DAY[Mark is busy scraping old paint off the house with a paint scraper.]INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Bette is taking down someof the more suggestive art she has in her house. Shelly knocks at the door.]Bette: Come in.Shelly: (entering) Hi.Bette: Oh, thank God you're here. Can you figureout how to hook that thing up?Shelly: Oh, yeah, sure. (pointing to her bags) Is there anywhere that I can...Bette: Oh, there's a spare bedroom around thecorner, at the end of the hallway.Shelly: Okay.THE BABY'S ROOM -[Shelly walks into the spare bedroom and sees the glass mobile and a baby's crib. She setsdown her bag and walks back out to the living room.]LIVING ROOM -[Bette is now putting up pictures that were in a box of her and Tina. She looks at a picture amoment, and then sets it on the nightstand. Shelly enters.]Shelly: I see you have a baby.Bette: No, not yet. Maybe. I mean, yes, in 10 days. My ex. My ex, she'sdue in 10 days.Shelly: You have a lot on your plate.[Bette begins dialing a number on her phone.]Bette: That's nothing new to me.Shelly: Have you thoughtabout what's going to happen if your father's still alive when the baby's born?[Bette looks a little confused.]Bette: He will be. (phone) Hi, James, it's me.[Bettepaces as she talks. Shelly prepares the IV by the bed.]Bette: (phone) Can you call my father's housekeeper and have her send out my father's familyphotographs? Just have her overnight them to me. Okay. Okay, great. Thanks.[Bette hangs up and sighs, and turns to Shelly.]Bette: I was looking at my father'smedication chart. Why is he taking Prednisone? Isn't that some kind of steroid?Shelly: Yeah, it can help with mental clarity when there's inflammation or swellingaround the brain.[Bette stares at Shelly, seemingly struck by the gravity of the words.]Shelly: Towards the end, it'll get very... confusing and frightening. And notjust for the patient.[Bette looks sad.]INT. - THE PLANET - HELENA'S TABLE - DAY[Tina, Dana, and Alice walk in. They pass Helena and Leigh who are at a tabletogether, staring into each other's eyes and holding hands. Helena sees Tina.]Helena: Tina![They unclasp hands.]Helena: Dana, Alice. Do you know LeighOstin?[Leigh waves at the gang.]Dana: No, hi.Leigh: (re: Tina's belly) Oh, my God. You're so close. How are you feeling?Tina: Oh, hungry.[Everyone chuckles.Helena grins.]Leigh: Hey, is this Bette Porter's baby?Tina: Well, our baby.Leigh: Oh, I just met her recently. She is great.Helena: Didn't she ask you out?Leigh:(smiling uncomfortably) Yeah.[Helena smiles a bit vindictively at Tina. Tina gives a little laugh.]Tina: Uh, we're going to go sit down.Alice: Yeah.Helena: Seeyou.Dana: Bye.Helena: Oh, but I'll see you here later tonight, yeah?Tina: Oh, um, maybe. I just feel like a hot bath and my own bed tonight.Helena: Well, we'llmake it an early one.Tina: We'll see. (to Leigh) It was nice seeing you again.Leigh: You too.Helena: Bye.Leigh: Bye.Dana: Bye.[Helena watches after Tina as shegoes to another part of the cafe and sits down; she looks somber, somewhat hurt.]AT TINA'S TABLE -Dana: Okay...[Everybody picks up a menu and startslooking at it.]Dana: So... so you're okay with that, huh?Tina: What?Dana: (nodding head toward Helena) That.[Tina looks over. She doesn't seem upset oranything.]Tina: Oh. Yeah, I'm okay with it.Dana: Oh.[Alice looks distant.]Alice: I wouldn't be okay with it.[Lara suddenly appears out of nowhere.]Lara: (to Dana)I was wondering when I would see you in here. You haven't come in for dinner.Dana: (shocked) Oh, my God!Lara: Can I have a hug?Dana: Yeah![Dana gets upand they hug very happily.]Dana: (hugging) Hi, wow, look at you![Alice stares at them, dumbstruck. She looks a tad put off.]Tina: Hi, why don't you sitdown?[Dana and Lara sit down.]Lara: Yeah, okay, just until Kit gets here. We're planning a new lunch menu.Dana: (confused) You work here?Alice: Lunch! Wow!You're going to be here so much! And Gabby will probably be here, and -Lara: We're not together.[Silence. Alice nods absently, and then stares at her menu. Tinawatches Alice. Lara redirects her attention back to Dana.]Lara: I am so proud of you. You came out, big time.Dana: (grinning) Yeah. Well, sorry I didn't do it anysooner. (chuckles)[The two of them grin and stare at each other like a couple of lovesick teenagers. Lara looks off into the distance. Alice looks completelycrushed.]Lara: Oh, you know what? Kit's here. I should probably go, but... can we have dinner?[Alice cocks her head. Dana's seems a bit surprised. She carefullydefers to Alice.]Dana: Yeah - I'd love to. Would that be okay with you, babe?[Alice's mouth is frozen open.]Lara: Oh. Oh, you guys are dat...Alice: Well...(smiles)Lara: (laughs) Oh, my God. I'm sorry.[Lara, smiling, now seems as surprised as everyone else. She looks at Dana.]Alice: Um... (fidgeting) Dana, youdon't have to get permission from me to go out to dinner with your ex. You guys should be friends. (nods) Best, best friends.[Alice's smile is big and fake.]Lara:Okay, well.Alice: (smiling) Uh-huh!Lara: (to Dana) I'll, um... I'll talk to you after.Dana: Okay.Lara: Okay. It was good to see you guys.Alice: (super fake smile)Uh-huh, you too! Okay.Lara: Bye.[Lara gets up and walks off. Dana grins.]Dana: Wow.[Alice flips her menu over and blows out a breath, avoiding eye contactwith Dana.]Alice: Whew, okay.INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Shelly walks from the kitchen into the living room, with a handful of pill bottles and alarge days-of-the-week pill sorting box. Bette is in the living room, making her father's bed.]Shelly: So, I've organized his meds into times and dosages so youcan keep to the schedule when I'm not here, and I'll show you how to clean and insert the I.V. catheter.[Shelly sets the pill bottles on the nightstand next to thebed. Also on the nightstand is a picture of Bette hugging Tina. Bette looks at the picture, and at the pill bottles. Footsteps are heard on the porch.]Shelly: Speakof the devil. Here he is.[Melvin is wheeled into the house on an ambulance gurney by two paramedics.]Shelly: Welcome home, Mr. Porter.[Bette is a little takenaback at the scene. She closes the door.]Bette: How are you feeling, Daddy?Melvin: Who is this woman?Bette: Uh, that's... Shelly. She was in the hospital withyou yesterday. You remember? She's your nurse?[The paramedics move Melvin over to the hospice bed Bette's prepared. His IV and oxygen are in place. Melvinstares at the four people standing around his bed looking at him.]Melvin: Am I on display?[The paramedics leave with their gurney.]Melvin: (shouting) Can't aman have a bit of privacy?Shelly: (to Bette) I suggest hospital curtains. I can order them.[Shelly hangs up Melvin's IV.]Bette: Curtains are so ugly anddepressing. Get some of those Japanese screens and make a room within a room. Hey, why don't you pick some of those up at Ikea?Shelly: Um, maybe you canget your assistant to do that.[Bette looks confused.]INT. - JENNY & SHANE'S HOUSE - KITCHEN - DAY[Mark is working on the sink. Jenny is putting things in herpurse.]Mark: Seriously, Jenny, if you're short on rent this month, it's not a problem.Jenny: f*ck you.Mark: I don't expect that it would fix everything.Jenny:"}
+{"doc_id":"doc_258","qid":"","text":"\"The Intern in the Incinerator\"[SCENE_BREAK]TEASER(Interior - Day - Sirens are blaring and lights are flashing in a brick basement at the Jeffersonian. Two menin overalls enter and walk down the corridor)JANITOR #1: Smoke comes out of the vents in the first floor break rooms.JANITOR #2: You're sure you turned theflame down last night?JANITOR #1: Totally, one hundred percent guaranteed, positively sure. Alarms gone off before but the smoke was always gray.JANITOR#2: One time a possum got caught in the shaft, smoke came out like this.JANITOR #1: Dr. Addy was conducting an experiment on a pig yesterday. I told all themeggheads not to toss dead animals down the incinerator shaft.JANITOR #2: (They stop in front of the incinerator door) Since when do they listen to us. (Opensthe incinerator door)JANITOR #1: Holy crap! (Covers his mouth, coughing)JANITOR #2: (Looking inside) Definitely not pork!(Camera pans into the incinerator. Aburnt body lies inside above the flames. Cut to later, fire is out and Brennan and Cam are looking inside.)BRENNAN: At four hundred degrees, bone chars in sixhours and turns to ash in eight.CAM: Charring, no ash. Six to eight hours? Dumped into the incinerator between one and three a.m. (Booth enters behind Camand Brennan, who do not notice )BOOTH: Ugh. Alive or dead before he or she went into the incinerator?CAM: Can't tell yet.BRENNAN; (Turning to Booth andnotice a file in his hand) What's that?BOOTH: Guest log. ((Looking at the file) No visitors checked out after nine thirty-six last night, and no one checked in beforeeight o' two this morning.CAM: Meaning the victim probably works here.BRENNAN: Meaning the killer does too.(Interior - Day - Autopsy room at the Jeffersonian.Brennan is looking at the computer screen while Cam examines the remains.)BRENNAN: Pubic bone is female.CAM: There's no carbon in the trachea. (Pulls outthe trachea and unrolls it like a fruit rollup) She was dead before she was thrown down the chute.BRENNAN: Extensive fissures, fractures and breaks to the entireskeleton. I'll have Zack determine which were caused by heat and which by trauma. (Angela enters)ANGELA: Heads up, they called Bancroft in from a hearing onthe hill.BRENNAN: Who's Bancroft again?CAM: God.ANGELA: The supreme honcho of the Jeffersonian.BRENNAN: I think I met him once.ANGELA: Okay, I amready to start the facial reconstruction. (Brennan removes the skull from the rest of the remains and places it on a surgical tray)BRENNAN: I haven't put on tissuedepth markers yet.CAM: I haven't finished removing all the carbonized brain matter. (Angela comes to a halt in front of the skull, and stares at it intensly,horrified)BRENNAN: Once you've done that, Zack can clean the skull. (As Angela stares at the skull it changes from burnt to a whole, healthy female face.)Angela? Angela? Angela?ANGELA: Yeah?CAM: Are you alright?BRENNAN: What's wrong?ANGELA: (Looking anxiously at the skull) Um . . . Uh . . I'm fine. I'll startafter the tissue markers are . . . Let me know. (Angela exits.)CAM: What the hell was that about?ACT I(Interior - Day - Angela's office at the Jeffersonian. Angelais looking at an image of the skull on her computer. Brennan enters.)ANGELA: You won't like it.BRENNAN: Like what?ANGELA: I've ID'd the victim.BRENNAN:That's impossible.ANGELA: I told you you wouldn't like it.BRENNAN: There are no tissue markers, you can't just look at a skull and see the person.ANGELA:Sweetie, I've done hundreds of these reconstructions: the depressed labella, the narrow nasal aperture, the chipped lateral incisor.BRENNAN: You can see a facefrom that?ANGELA: The chipped tooth was from a skiing accident when she was sixteen.BRENNAN: Ange. You know the victim personally?ANGELA: (sighing andpulling up an image of an young, attractive blonde on the computer) Kristen Reardon. She's an intern, we had coffee a couple of times. (Walking over to thecouch) She didn't want to be a scientist. She wanted to go into design. She was jut here to make her father happy. She was young and eager and keen and . . .she was just really, really young.BRENNAN: Wait, Reardon. (Walking to Angela) As in Dr. Ted Reardon?ANGELA: Yeah, he used to work here. (Sitting down on thecouch)BRENNAN: I took a course from him in ancient pharmacology. (Sitting in the chair across from Angela)ANGELA: Look, I know that we can't say anythinguntil you do the tissue markers and we go through channels, but, I'm telling you, I know this is Kristen.BRENNAN: Poor Ted.ANGELA: You wanna know somethingelse? She was seeing somebody who worked here.BRENNAN: Is that relevant?ANGELA: Well, Booth will think so. Especially since it was a married man.BRENNAN:Well, did she tell you?ANGELA: No, just that they had had their first kiss at the opening of that Egyptian exhibit and that it had been hot and heavy eversince.BRENNAN: I'm sorry, Ange.ANGELA: No, I'm-I'm sorry. I'm just really freaked out by this one.BRENNAN: Because you know the victim.ANGELA: Well, andthe killer! I mean, look around! Do you like thinking that somebody we see every day could've thrown Kristen down the incinerator?(Interior - Day - Platformabove the Main Examination area at the Jeffersonian. Bancroft and Booth are standing across from each other, Booth leaning against the table.)BANCROFT: Howcan I aid your investigation?BOOTH: Well, Dr. Bancroft, I'd like print outs from the Jeffersonian's security detailing who was and was not in the buildingBANCROFT: Done.BOOTH: I'd also appreciate it if you'd tell your people to cooperate with the FBI. (Bancroft moves toward Booth)BANCROFT: Yes, of course,Agent Booth. I don't know if you've had much cause to work with scientists; difficult people, by nature, combative, skeptical, resistant.BOOTH: I'venoticed.BANCROFT: Have you identified the victim yet?BOOTH: Unofficially? (Bancroft nods) An intern by the name of Kristen Reardon.BANCROFT: No relation toTed Reardon?BOOTH: His daughter. Dr. Reardon left the Jeffersonian for George Town University?BANCROFT: In the interest of full disclosure I was instrumentalin that move.BOOTH: You fired him.BANCROFT: I facilitated a necessary change.BOOTH: Necessary change.BANCROFT: Excellent scientist, poor administrator.Does Reardon know about his daughter?BOOTH: Dr. Brennan is informing him now.BANCROFT: I'd like to be kept in the loop on this, within the constraints of thelaw of course. (Raises his hand for Booth to shake it.)BOOTH: (chuckling, and shaking hands) Sure.(Interior - Day - Main examination area of the Jeffersonian.Cam and Booth are watching through the window as Brennan tells Reardon about his daughter.)CAM: Ted Reardon? Victims's father?BOOTH: Yep, Bones is tellinghim his daughter's dead.CAM: Rumor has it, Bancroft banished Reardon from the Jeffersonian because he felt threatened, politically.BOOTH: I know. Let's leaveBones to it. (They walk away)CAM: Would it be insensitive to mention that my father's sixtieth birthday is coming up?BOOTH: Sixty already? Wow!CAM: Uh-huh.We're having a big birthday dinner for him on Thursday night.BOOTH: Alright, you give him my best!CAM: You do it yourself. You have to come with me!BOOTH:What? No! Not your family.CAM: I can't spend the night defending the fact that I still live alone to my family.BOOTH: You never told them we broke up?CAM: Youwanna' make a man miserable on his sixtieth birthday.BOOTH: You want me to pretend that I'm your boyfriend?CAM: Yes, between six-thirty and ten onThursday.BOOTH: (Groaning) Camille, you're an adult. You can't live your life afraid of what your family thinks!CAM: Seeley, it's not going to be like this forever.One day he'll die! (Cam exits)(Interior - Day - Bone storage room. Booth is standing outside the door, talking to Brennan who is going inside)BOOTH: Toughgoing in there?BRENNAN: I've never had to tell someone his child is dead. I mean, I've been there when you did it, but, to actually . . . it's extremelyunpleasant.BOOTH: Yeah. (Moving from the doorway into the room) Listen, did you get a change to, uh, ask him about his daughter's love life?BRENNAN: Yes, hesaid as far as he knew she wasn't seeing anyone.BOOTH: Kristen was lying to her father.KLIMKEW: (A slight man with glasses, Dr. Klimkew, enters) Dr. Brennan,is it true? Kristin Reardon is dead?BRENNAN: Evan, special agent Booth. He's in charge of the murder investigation. (To Booth) Dr. Evan Klimkew, KristenReardon's supervisor.KLIMKEW: Murder? Kristen was murdered?BOOTH: What does Kristen Reardon do?KLIMKEW: Authentications. Other museums and high endcollectors use us to authenticate their acquisitions.BOOTH: That a big department?KLIMKEW: Three to five interns, all doctoral candidates, my assistant andmyself. That's it.BOOTH: It's a competitive environment, right?KLIMKEW: Of course. You put a bunch of neurotic, Type-A overachievers together and you danglea prize over their head.BRENNAN: Dr. Klimkew is referring to the Bates fellowship.KLIMKEW: The top intern receives seventy-five thousand dollars and a gold staron their resume. Kristen was the frontrunner.BRENNAN: I had heard that her heart wasn't in it.KLIMKEW: Didn't show in her work. God, this is terrible. Does herfather know?BOOTH: Who was the main rival for the Bates money?KLIMKEW: Uh, that would be Neil Tyler.BOOTH: Neil Tyler. Where can I find him?KLIMKEW:We're authenticating the artifacts in you're serial killer vault.BOOTH: So, what does your wife think of these, uh, (pointing at Klimkew's wedding ring) you know,these late hours?KLIMKEW: (Puts his hands in his pockets) I'm separated. That's your answer.BOOTH: Seeing anyone now?KLIMKEW: Are you serious?BRENNAN:It's a murder investigation Evan.KLIMKEW: No, I'm not seeing anyone.BOOTH: Thank you, Dr. Klimkew.(Interior - Day - Serial killer vault (\"Gormogon\") at theJeffersonian. Neil Tyler, young, African-American, is bent over an artifact with a magnifying glass. Booth and Brennan are standing and watching)TYLER: Thespinner appears to be Masonic in origin: bloodstone, gold. What's interesting is, in the center, instead of the traditional \"G\" for God, there's a skull.BRENNAN:Gormogon iconography.TYLER: Strange, huh?BOOTH: Gormogon? Okay, what's that?BRENNAN: It's an eighteenth century . . .TYLER: It's an extinct group(standing) dedicated to eradicating the influence of the Free Masons and Illuminati in Europe in the eighteenth century. That could be the largest collection ofGormogon artifacts in the world.BOOTH: That's great. You and Kristen Reardon were here last night?TYLER: That's right. Kristen worked there. (Pointing toKristen's desk) I signed out around midnight. Kristen stayed longer, like always.BOOTH: Okay, a little resentful, there?TYLER: I worked my way though statecollege. I've got a second job, which is why I had to leave early. Kristen went to an Ivy League School and her dad's got connections. Who do you think neededthat Bates fellowship more?BOOTH: Well, the way I hear it, you're next in line for a big payday, pal.TYLER: I liked Kristen and she liked me. Check the logs, Iwasn't here. (Brennan moves to examine Kristen's desk)BRENNAN: Do you know who Kristen was seeing?TYLER: You mean like romantically? No. Only that it wasan older guy and she said I was gonna' be really surprised when I find out who it was.BOOTH: How about you? You married?TYLER: (Chuckles) I'm gay, Agent"}
+{"doc_id":"doc_259","qid":"","text":"Prologue: In every generation there is a Chosen One. She alone will stand against the vampires, the demons and the forces of darkness. She is the Slayer. Thecemetery. Buffy is sitting on top of the gravestone of Stephan Korshak playing with her yo-yo.Buffy: C'mon, Stephan, rise and shine. Some of us have a ton oftrig homework waiting. The camera cuts to her right and approaches her from behind.Angel: Hey. Buffy inhales a quick startled breath and turns around to faceher stalker.Angel: Is this a bad time?Buffy: Are you crazy? You don't just sneak up on people in a graveyard. You make noise when you walk. You stomp or...yodel.Angel: I heard you were on the hunt.Buffy: I'm supposed to be, but... lazy bones here doesn't wanna come out and play.Angel: When you first wake up it'sa little disorienting. He'll show.Buffy: It's weird to think of you going through that.Angel: It's weird to go through. So, uh, you're here alone?Buffy: Yeah!Why?Angel: I just thought you'd have somebody with you. Xander or someone.Buffy: Xander.Angel: Or someone.Buffy: Nope. (hops down off the gravestone)Why? Are you jealous?Angel: (chuckles) Of Xander? Please. He's just a kid.Buffy: Is it 'cause I danced with him?Angel: 'Danced with' is a pretty loose term.'Mated with' might be a little closer.Buffy: Don't you think you're being a little unfair? It was one little dance, which I only did to make you crazy, by the way.Behold my success.Angel: I am *not* jealous.Buffy: You're not jealous? What, vampires don't get jealous? Stephan has come out of the ground, and looks atthem from behind his gravestone.Angel: See? Whenever we fight you always bring up the vampire thing.Buffy: Well, I didn't come here to fight. The vampirelunges at her and knocks her into Angel. They fall to the ground, but Buffy quickly gets up.Buffy: Oh, right, I did. Stephan throws a few punches which Buffyeasily blocks. She punches him in the face several times and kicks him in the jaw, sending him stumbling into a large adjacent gravestone. She looks aroundfrantically.Buffy: Where's my stake? I-I know I had a stake!Angel: I didn't see a stake! The vampire grabs a shovel that was lying by the other gravestone andcomes at them again. Angel attacks, but Stephan brings the shovel up and hits him in the side of the face, knocking him onto his back. He leaves Angel lyingthere and steps toward Buffy. She meets him and jumps over the shovel when Stephan swings it at her legs. He swings it at her again, but she catches it, hitshim again and breaks the handle. She spins around with her half and jams the broken handle into his chest. He falls over backward and bursts into ashes as hehits the ground. Angel gets up holding the side of his head.Buffy: (out of breath) What do you mean he's just a kid? Does that mean I'm just a kid, too?Angel:Look, obviously I made a mistake coming here tonight. (turns and leaves)Buffy: Oh, no you don't. You can't just turn and walk away from me like that. (startsfollowing him determinedly) It takes more than that to get rid of me. She falls into an open grave with an open and empty coffin at the bottom.Buffy: Oof! Uhhh...Angel comes over and bends down to look.Angel: You okay?Buffy: I'm fine. (sits up and exhales) Gee, I wish people wouldn't leave open graves laying around likethis. (stands up slowly)Angel: So. Another vampire has risen tonight. She pokes her head out of the grave and looks across the grass.Buffy: I don't think so. Lookat those tracks. Whoever was buried here didn't rise from this grave. She climbs out of the grave and finds a girl's shoe.Buffy: She was dragged from it. Openingcredits roll. Buffy's theme plays. ~~~~~~~~~~ Part 1 ~~~~~~~~~~ Sunnydale High School. Cut to the library. Buffy and Xander walk in and see Giles sittingin a chair and talking to another empty chair across from him.Giles: (clears his throat) W-w-w-what I'm proposing is, um... and I-I don't mean to appearindecorous, is, is, um, a, a-a-a social engagement, um, a, a, a, a-a date, if you're amenable. Buffy and Xander stop and listen to him. Giles is displeased withhimself.Giles: You idiot!Buffy: Boy... Giles is startled and quickly gets up and faces them.Buffy: I guess we never realized how much you like that chair.Giles: I-I-Iwas just working on... (knocks over a few books)Buffy: Your pickup lines?Giles: (bends down) Um, in a manner of speaking, yes. (picks up the books)Buffy: Thenif you wouldn't mind a little Gene and Roger, you might wanna leave off the 'idiot' part. Being called an idiot tends to take people out of the dating mood.Xander:Hmm, it actually kinda turns me on. (looks at Buffy)Buffy: (to Xander) I fear you. (goes to the table) You also might wanna avoid words like 'amenable' and'indecorous', y'know. Speak English, not whatever they speak in, um...Giles: England?Buffy: Yeah. You just say, 'Hey, I got a thing, you maybe have a thing,maybe we could have a thing.'Giles: (sarcastically) Oh, thank you, Cyrano.Buffy: I'm not finished. Then you say, 'How do you feel about Mexican?'Giles: AboutMexicans?Buffy: Mexican. Food. You take her for food, for which you then pay.(sits at the table)Giles: Oh. Right.Xander: So this chair-woman. We are talking Ms.Calendar, right?Giles: W-what makes you think that?Xander: (sits) Simple deduction. Ms. Calendar is reasonably dollsome, especially for someone in your agebracket. She already knows that you're a school librarian, so you don't have to worry about how to break that embarrassing news to her.Buffy: And she's the onlywoman we've actually ever seen speak to you.Add it all up and it all spells 'duh'.Xander: Now, is it time to have a talk about the facts of life?Giles: You know, I'msuddenly deciding this is none of your business.(starts up the stairs)Xander: Y'know, because that whole stork thing is a smoke screen.Giles stops and looks backat him. Buffy laughs to herself.Giles: So, um, how did things go last night? Did Mr. Korshak show up on schedule?Buffy: More or less. Angel and I took care ofhim.Xander: Angel.Buffy: (gives Xander a look) There's something else, though. We found an empty grave.Giles: Another vampire?Buffy: No. No, this one wasdug up and the body was taken out.Giles: Grave robbing? That's new. Interesting. (comes back down to the table)Buffy: I *know* you meant to say gross anddisturbing.Giles: Yes, yes, yes of course. Uh, terrible thing. Must, must put a stop to it. Damn it.Xander: So. Why does someone want to dig up graves?Giles:Well, I'll, uh, collect some theories. Uh, it would help if we knew who the body belonged to.Buffy: Meredith Todd. Ring a bell?Xander: No.Buffy: She died recently.She was our age.Xander: Drawin' a blank.Giles: Why don't we ask Willow to, uh, fire (indicates the PC) this thing up and, uh, track Meredith down?Cut to thehalls. Sign-ups for the science fair are going on. Willow is writing in her entry. Eric comes up to her with a camera and points it at her.Eric: Smile! (takes herpicture)Willow: Hey! He turns around and sees another girl.Eric: Oh, look at those legs! (goes to take her picture)Willow: No, thank you. Chris comes up behindWillow.Chris: Eric, will you knock it off? Eric looks at him, upset to have his fun spoiled.Willow: (smiles) Hey, Chris!Chris: Hey. He picks up a sign-up sheet. Shewatches what he's writing. He looks up at her.Willow: Oh, I, I was just wondering what you were gonna do this year.Chris: Why?Willow: 'Cause every year youwin and I place second, so I just thought I'd see what I'm up against.Chris: You know what the key is? If Dr. Clark doesn't understand your experiment he givesyou higher marks so it looks like he understands your experiment. (reads Willow's entry) 'The Effects of Sub-Violet Light Spectrum Deprivation on theDevelopment of Fruit Flies'? (smirks) That should do the trick.Cordelia: (shows up and signs up) Okay, I'm doing this under protest. It is not fair that they'remaking participation in this year's science fair mandatory. I don't think anyone should have to do anything educational in school if they don't want to.Willow:(reads) 'The Tomato: Fruit or Vegetable'?Cordelia: I wanted to do something I could finish in a weekend, alright? Eric flashes a picture of Cordelia.Cordelia: Stopit! What are you doing? (Eric takes another picture) We are under florescent light, for God's sake.Eric: The camera loves you!Cordelia: I didn't think yearbooknerds came out of hibernation till spring.Eric: (snaps another picture) It's for my private collection. (winks)Chris: Eric! Will you quit it?Buffy: Comin' through.Sorry. (Eric takes her picture) Uh, sorry to interrupt, Willow, but it's the Bat Signal.Willow: Okay, sure. See you later, Chris. Thanks for the tip.Chris: Okay.Cordelia watches them go. Eric raises his eyebrows at her.Cordelia: (disgusted) Uhhh! (leaves)Eric: Cordelia's so fine. Y'know, she'd be just perfect for us.Chris:Don't be an idiot. She's alive.Cut to the library. Willow sits down in front of the PC.Willow: This shouldn't take long. I'm probably the only girl in school who hasthe coroner's office bookmarked as a favorite place.Cordelia: (coming in) Hi. Sorry to interrupt your little undead playgroup, but I need to ask Willow if she'll helpme with my science fair project.Willow: It's a fruit.Cordelia: I would've asked Chris to help me, but then that would've brought back too many memories ofDaryl.Willow: I found it! Meredith Todd died in a car accident last week.Cordelia: Of course I have learned to deal with my pain.Buffy: How was her neck?Willow:Fine, except for being broken. Giles comes out of his office.Cordelia: Hello! Can we deal with my pain, please?Giles: There, there. He pats her on the shoulder andcontinues up into the stacks.Willow: It says that Meredith and two other girls in the car were killed instantly. They were all on the Fondren High Pep Squad, on theway to a game.Buffy: You know what this means.Xander: That Fondren might actually beat Sunnydale in the cross-town body count competition this year?Buffy:She wasn't killed by vampires. Somebody did dig up her corpse.Cordelia: Eww! Why is it that every conversation you people have has the word 'corpse' init?Xander: Okay, so we got a body snatcher. What does that mean?Giles: Uh, h-here's what I've come up with. Demons who eat the flesh of the dead to absorbtheir souls. Or, i-i-it could obviously be a, a voodoo practitioner.Willow: You mean making a zombie?Giles: Uh, zombies, more likely. For most traditionalpurposes a voodoo priest would require more than one.Buffy: So, we should see if the other girls from the accident are AWOL, too. Maybe we can figure out whatthis creep has in mind if we know whether or not he's dealing in volume.Xander: So, we dig up some graves tonight?Willow: Oh, boy! A field trip! Are you gonnacall Angel?Buffy: I don't think so.Xander: Yeah, why bother him, huh?Buffy: Angel and I have been, um... Never mind. As far as Angel's concerned, I'm taking thenight off, okay?Xander: So, we're set then. Say, nineish? BYO shovel?Willow: And I'll pack some food. Who else likes those little powdered doughnuts?Xander:Me.Willow: Cordelia?Cordelia: Darn, I have cheerleader practice tonight. Boy, I wish I knew we were gonna be digging up dead people sooner. I would'vecanceled.Xander: Alright, but if you come across the army of zombies, can you page us before they eat your flesh? Cordelia huffs and leaves the library.Giles:Xander?Xander: Huh?Giles: Zombies don't eat the flesh of the living.Xander: Yeah, I knew that. But did you see the look on her face?Cut to the cemetery that"}
+{"doc_id":"doc_260","qid":"","text":"[The woods](Jules wakes up. She's naked. She gets up, walks and finds bodies mutilated. She dresses up with some of the camper's clothes and puts the limbstogether so she can make a fire. She's starting the fire when a policeman arrives. He gets out of his car and come towards her. She pretends to becrying)Policeman: good morning. Is everything alright here?Jules: It was an animal. Fragment (consider revising) He came at us at the nightPoliceman: Are youokay?Jules: Yes but my friends! They're all deadPoliceman: I'm calling item(He goes towards his car but Jules hits him really hard with a wooden stick two times.She kills him)[Salvatore's house](Elena enters Stefan's bedroom)Elena: Stefan? Stefan? You're standing right behind me, aren't you?Stefan: Yep(She turnsherself and kisses him)Stefan: Good morningElena: I don't want us to be apart anymore. NeverStefan: Me neither, but...Elena: Don't ruin the moment(They kissagain but Stefan stops)Elena: You're about to ruin the moment, aren't you?Stefan: I'm totally ruining the moment. Look, I can't just pretend like everything isokayElena: Katherine's locked away in the tombStefan: I know but we've still this pressing little issue of you being Klaus' human sacrifice(She opens one ofStefan's drawer and takes a foil with vervain and opens it)Elena: Yeah but Elijah promised to keep me and everyone else safe as long as we'd play by hisrulesStefan: Right. As long as you'll play by his rules(She puts the vervain in a glass)Elena: Please don't go after IsobelStefan: Katherine said Isobel could havesome answers and I just have a couple questions, that's all(She pours water in the glass with the vervain in it. She drinks)Elena: Stefan, I made a deal withElijahStefan: Right, you made a deal with him. I didn't make one. You should keep your dealElena: Stefan, I don't want anyone else to get hurtStefan: Whenhave I ever wanted somebody to get hurt?(She shows him the glass)Elena: Vervain. I made it late but are you sure? Just because Katherine build up atolerance...Stefan: Yes, bottoms up(He takes the glass and drinks but he coughs)Elena: Are you okay?Stefan: YeahElena: How can Elijah compel anothervampire?Stefan: He's an original. I don't really know what that means. I don't think anybody really knows what that means. Well, except maybe Isobel. I'll maybewe should ask her(He kisses her and leaves)(Rose is in the library, she seems sick. Damon rejoins her)Rose: I was born in 1450, that makes me 560 yearsoldDamon: Well, if you were a bottle of wine...Rose: So I can die. I've lived long enoughDamon: You know, if you're gonna be morn, I'm just gonna kill youmyself just to put me out of your misery.(He pours blood in a glass)Damon: Come on, it's just a little werewolf biteRose: Just a lethal, fatal to a vampire werewolfbiteDamon: Well, according to a legend which is notoriously unreliable source. Drink out(He gives her the glass of blood)Damon: Blood heals(She drinks)Rose:Yeah, it does feel like it's workingDamon: Let's have a look, come on. Let me see(he looks at the wounds but it's kind of infected and worse)Rose: How isit?Damon: Definitely better. Right, Elena?(Elena is in the room and seems chocked by Rose's wounds. Rose looks at her)Elena: Uh, it's not bad.Damon: Where'sStefan?Elena: He left. I need you to talk to him. He's convinced that he has to find Isobel but I think that's gonna upset ElijahDamon: No, can't do. I'm withStefan on this one but if you could play nurse for a little while...Rose: It's not necessaryDamon: It is necessary. Elena is a do-gooder. It's in her nature, she justcan't resist(He leaves the room. Elena looks at Rose and rejoins him)Elena: Damon. Is she gonna die?Damon: Probably. The wolf bite caused some kind ofinfection and it's getting worseElena: Like poison?Damon: I don't know, Elena. I'm not an expert in the fieldElena: I'm sorryDamon: Death happens. We come, wego. Sooner she dies will better. It's gloomy as hell in here[Mystic Falls' high school](Everyone is preparing the booster club barbecue. Caroline rejoinsTyler)Caroline: How are you feeling?Tyler: I'm okay. I'm sore, every muscle hakesCaroline: You did it. You know, you... your first full moon and you didn't hurtanyone. It'll get easier. You'll get better at it, you'll learn how to control it and it won't hurt so muchTyler: Well, we don't know any of that for sureCaroline: Nobut small victories, Tyler. Last night was a victory. You know, let's take itTyler: Look, I really want to thank you. I don't know what I would have done if youhadn't been there(She smiles)Caroline: Yeah, anyway, uh... next month we should probably reinforce the wall because you almost got me that one time and itjust would have been, uh...Tyler: What?Caroline: Never mind, it's...Tyler: Hey, no, hey. What is it?Caroline: Well, it's not a big thing, it's just that one bites andit's... you know, curtains for meTyler: What are you talking about?Caroline: The legend says that a bite from a werewolf can kill a vampireTyler: How do youknow that?Caroline: I... read it somewhere...(Matt rejoins them)Matt: Caroline, you got a second?Tyler: Hey, MattCaroline: Yeah, sureTyler: I'll see you guyslater(He leaves so they can be alone)Caroline: That was nothing, okay? There is nothing going on between Tyler and I, we were just talking...Matt: I believe you.Look, Caroline, you're a lot a things but you're not a liar. You've always been strait with me, I believe youCaroline: Well, goodMatt: And that's why I want to bestrait with you because I... I think we have some wires crossed hereCaroline: Oh, okayMatt: And you know how tauter I get and I don't like this. Whatever this isthat's going on between us and I... I just want to...(He kisses her )Caroline: Hey, you can'tMatt: Why?Caroline: That's just...Matt: But Carrie...Caroline: No Matt,okay?(She leaves)[Mystic Grill](Jules rejoins Sheriff Forbes at the bar)Jules: Sheriff Forbes, hi. I'm Mason Lockwood's friend from FloridaSheriff: Jules,right?Jules: Is there any news?Sheriff: No one's heard from him. I've opened an investigation. As soon as I hear anything I let you know(Alaric is looking at them.He calls Damon)Alaric: Hey, Damon. The wolf is at the grill(She sits down at a table. Stefan rejoins him)Stefan: Is it the....?Alaric: Yeah, yeah. I just left Damon amessageStefan: So you're doing his dirty work for him nowAlaric: She could have a cure for Rose. I couldn't find anything in Isobel's research except that it'sfatalStefan: Do you still have a way to get in touch wit Isobel?Alaric: Even if I did, she isn't gonna helpStefan: Katherine said that Isobel knew of KlausAlaric: Sothis isn't about Rose, it's about Elena. I have an old number, probably out of serviceStefan: No harm in giving it to me then?Alaric: You know you can't trustIsobel, even when it comes to ElenaStefan: I know thatAlaric: Alright. I'm gonna see if I can find the number. If I do, I'll text it to you(He leaves)[Salvatore'shouse](Rose and Elena are in Damon's bedroom. Elena puts her in the bed)Rose: I hate this. I'm a vampire, I've never had a cold in five centuriesElena: Just getin the bedRose: We don't get sick. When we die, it's fast and sudden and it's certainly not drawn out in illnessElena: You're not gonna dieRose: It's such a humanthing to say(Elena looks around her)Rose: You've never been in Damon's room before, have you?(She takes a book and looks at it. Its ''Gone with thewind'')Rose: Not what you expected?Elena: It's just a room with a bed. Maybe I expected them to be silk sheets(They smile)Rose: You're lucky, you know. Noone's ever love me the way you're lovedElena: I doubt thatRose: Trevor was my best friend. Nothing more. I spent all this years on the run from Elijah. I justnever thought it was a good idea to set up roots. The whole idea of family is not exactly compatible with being a vampire. Why are you so eager to give up?Elena:I'm not giving up on anything(She gives her a glass of blood)Rose: What do you call this all deal with Elijah?Elena: I call it my best optionRose: It's the easiestoptionElena: That's not fairRose: Do you really think that your witch friend destroyed the moonstone?Elena: I spoke with Bonnie. I know that she had the help ofanother witch; unless you mean it's Elijah's witch so no, I don'tRose: You really are determined to die, aren't you? At least I ran, you're not even trying(Shecloses her eyes)Rose: I'm so tired(Elena is leaving but Rose is talking in her sleep)Rose: No, stop, wait. Tell them to prepare the horsesElena: It's okay Rose. Justget some sleep. You'll feel better when you'll wake upRose: Trevor, don't be so stupid. You'll never going to make it there before the sun(Suddenly she sits down.She's in pain)Rose: Elena, Elena, I need more bloodElena: Yeah, of course, here(she gives her the glass of blood. Rose drinks but threw everything up)Elena: It'sokay, everything's gonna be alright(She rushes to the bathroom. When Elena comes back, Rose's not here anymore. When she turns herself, Rose is here andpushes her hardly against the wall)Rose: Everything's your fault, Katerina. You Katerina, you did thisElena: No Rose, I'm ElenaRose: You betrayed us!Elena: I'mnot Katherine!(Rose releases her)Rose: Elena?Elena: It's me, it's ElenaRose: Oh my god Elena. I'm so sorry. I don't know what's happening to me. I'msorryElena: You're gonna be alrightRose: My mind, I'm...Elena: It was just for a secondRose: I'm sorry, don't be scared of meElena: I'm not. I'm not but youneed to rest(Rose lays on the bed)Rose: I'm scaredElena: You're not alone. I'm right hereRose: Here, where's here?Elena: Damon's bedroom, you're in Damon'sbedroomRose: I want to go homeElena: Tell me about itRose: St.Austell, 30 kilometers of the south of London. With fields and trees and horsesElena: SoundsbeautifulRose: When you live long enough, everything disappears. So much time wasted, I just wish I wouldn't have been so afraid[Mystic grill](Jules is eating.Stefan's looking at her. He looks at his phone, Alaric's texted him the number. He calls but no one answers. He leaves a message.)Stefan: Isobel, it's StefanSalvatore. I need to speak with you, it's about Elena. Please know that it's important(He hangs up and sees Damon. He sees Jules and goes toward her but Stefanstops him)Damon: What are you doing here?Stefan: I was waiting for you. Listen, there's a lot of people hereDamon: Oh, damn. My plan was to rip her spleenthrough her backStefan: Hey, listen, I know you're upset about RoseDamon: Why does everyone think that I'm upset about Rose? I'm fine. I don't know if youknow this but sometimes, vampires die. I'm gonna have a friendly chat with lady wolf, brother. Ease up(He rejoins Jules. The number Stefan's called is calling. Heanswers and leaves)Jules: Well, if he doesn't the one I meant to kill...I'll have to get that right next timeDamon: You won't leave to see another full moonunless... unless you tell me how to cure a wolf bite and then I won't kill youJules: Promise?Damon: YesJules: Bite me(She gets up but Damon catches herarm)Jules: I'm not afraid of youDamon: Then you are very, very stupidJules: How's your friend? Rose, is that her name? have the chills started? The unbearablepain?Damon: If there's a cure, tell me or start watching your backJules: Did I mention the dementia? It'll eat away her brain. Soon she'll be rabid. You want acure? I'll tell you the only cure that exists: take a stake and drive it through her heart(She leaves)[Salvatore's house](Elena enters Damon's bedroom with new"}
+{"doc_id":"doc_261","qid":"","text":"•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen,with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site ifyou want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You can use my transcripts in your fanfiction stories;you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrotethe episode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use yourimagination.[SCENE_BREAK]GILES VOICEOVER: Previously on Buffy the Vampire Slayer...Dawn stealing a coin from the magic shop. Buffy and Dawn in Dawn'sbedroom.DAWN: You're never here. You can't even stand to be around me.BUFFY: That is not true.DAWN: You didn't want to come back. I know that. You wantto go away again. The demon poker game.SPIKE: I'm in.LOOSE-SKINNED DEMON: Ante up. Kittens mewing.BUFFY: You're gonna play cards?! Halfrek appearingin the living room.HALFREK: I have been called, and vengeance shall I wreak. Anya gasping.HALFREK: Hello.ANYA: Halfrek!HALFREK: Anyanka? Anya and Halfreksquealing and hugging.ANYA: How are you?XANDER: You two, you know each other?ANYA: Funny, Halfrek, I didn't summon you to kill Xander, I called to inviteyou to our wedding. Willow and Tara outside the magic shop.WILLOW: Tara. What are you doing here? Uh, it's okay for you to be here if you have things that ...you have to be here for. I'm doing better. No spells for 32 days. Tara and Buffy in the living room.TARA: Buffy, I promise, there's nothing wrong with you.BUFFY:There has to be. Why do I feel like this? Why do I let Spike do those things to me? Buffy and Spike kissing.TARA: Oh!BUFFY: Don't tell anyone, please.TARA: Iwon't.[SCENE_BREAK]Teaser[SCENE_BREAK]Open on a small table with several stakes and daggers on it. Reveal Buffy who begins putting the weapons into abag. We're in the Summers living room. Dawn stands behind Buffy.BUFFY: (sighs) I'm sorry.DAWN: It's okay.BUFFY: No, we're gonna sit down and have a realdinner. Someday. I hate having to run out in the middle, it's just, you know, there's this thing out there. Definitely non-vampire.DAWN: (smiling) I understand.Buffy picks up the bag, goes toward the door.DAWN: Well, maybe when you get back we can set up for your party tomorrow.BUFFY: Yeah. Uh, this could take awhile though, I-I wouldn't wait up. (putting on her coat) Besides, Willow promised to be on birthday patrol, so there's nothing left for us to do. (smiling)DAWN:Right.BUFFY: Okay, so, finish dinner, homework, and don't stay up too late, all right?DAWN: Okay.BUFFY: Okay. Buffy turns to go. Dawn watches with a smile. Assoon as the door closes behind Buffy, Dawn stops smiling. Stands there, alone, looking unhappy.Cut to graveyard, night. Buffy walks along holding a large axewith a metal handle. Suddenly a large demon with red skin and a spiny crest on its head leaps out behind her. Buffy whirls around. The demon swings a largesword at her. She ducks, then blocks with her axe. The demon's sword bends the axe handle, then pulls it out of Buffy's hand. It flies off and lands in the ground.The demon swings at Buffy again and she gets hold of his sword arm, twists it around behind his back. Suddenly the demon shimmers and disappears. Buffy looksaround in confusion. The demon reappears behind her. She kicks him in the face, punches him, kicks again. He falls back. His sword goes flying up into the air.Buffy catches the sword on its way down. The demon charges her. She stabs him right in the stomach. Blue light flashes out in a circle from the wound. Thedemon roars and grabs his stomach. Buffy pulls the sword out and falls back onto the ground. The sword lands point-down in the ground. The demon falls to hisknees, still roaring. He shimmers and turns into a bolt of silver light that shoots over to the sword and into it. We can see his face reflected in the sword's blade.Buffy is still on the ground, facing the other way.BUFFY: Run off, huh? Afraid to face a true warrior? She gets up and sees the sword.BUFFY: Ooh, shiny. Shesmiles, pulls the sword out of the ground and twirls it around. Walks off, holding it. Wolf howl, opening credits. Guest starring Kali Rocha, Ryan Browning, andAmber Benson as Tara. Written by Drew Z. Greenberg, directed by Michael Gershman.[SCENE_BREAK]Act I[SCENE_BREAK]Open in the magic shop. Anya standsby the shelves dusting statues.ANYA: Do you think we should set up lots of candles for Buffy's party tomorrow? Pan over to reveal Xander and Willow sitting at asmall round table doing paperwork.XANDER: Not if they're that horrible slug kind you keep trying to unload.ANYA: (walking past) I don't know why people get soturned off by slug.XANDER: Honey, slugs get turned off by slug. (to Willow) Oh, actually, I wanted to talk to you about that.WILLOW: Slugs?XANDER: No, theparty. Or, Tara ... at the party.WILLOW: Oh.XANDER: It's just ... Buffy really wants her there. It seems important to her, so I told her I'd ask you.WILLOW:(smiling) Oh ... yeah, of course, she should totally be there. It'll be great. Dawn enters. She wears a red t-shirt with a beige sweater over it, and has a red coatover her arm.DAWN: (smiling) Hey!WILLOW: Hey, Dawnie. Buffy, uh, out patrolling already? (Dawn nods)XANDER: So, uh, anything new about Warren and theNerd Herd?DAWN: No, just a big monster hunt.XANDER: Man, a nerd goes into hiding, he really goes into hiding.DAWN: Does anybody want to come to the mallwith me for birthday presents?WILLOW: Oh, I would, honey, but ... I've got my group. You know, the whole Spellcasters Anonymous thing? We're still looking fora better name.DAWN: Oh. Well, yeah, uh, no, that-that's good. You should ... do that. (beat) So what about you guys?ANYA: Stuck indoing-the-books-ville.XANDER: Aw, I'd love to go with you, but I gotta finish this new shift schedule for the crew by tomorrow morning. Dawn looksdisappointed.WILLOW: Sorry, it just looks like one of those nights. You know?DAWN: Yeah.WILLOW: You okay going on your own?DAWN: Yeah. Somehow I'll,uh, manage to pull it off. Willow gives her a little smile. Dawn grimaces, turns to leave.Cut to: overhead shot of Sunnydale, night.Cut to: exterior shot of theSummers house.Cut to inside. Dawn enters the front door, cautiously, looking around. She is wearing the red coat. Pan across the foyer into the empty diningroom.DAWN: Buffy? Dawn starts up the stairs.Cut to Dawn's bedroom. Overhead shot of Dawn as she enters, closes the door behind her, turns on the light. Sheputs her purse on the bed and reaches into her coat pockets.Cut to a closer shot as she pulls a handful of jewelry from the pockets, still with the price tagsattached. She looks at the handful for a moment, puts it on the bed, takes out another handful of jewelry and puts that on the bed too. She takes off her red coat,revealing a tight shiny leather jacket that she wears over the red t-shirt. She goes over to the closet, opens the door revealing a full-length mirror. She checksout the jacket in the mirror. We can see the price tag still hanging from the sleeve. She pulls the jacket tightly around her.Cut to: high school classroom, nextday. Pan across bored students.TEACHER: ...if we can come up with things Jim lost during his years in Shanghai, and things he gained. (Shot of Dawndoodling)STUDENT: Excuse me.TEACHER: Who wants to- A student comes in and gives the teacher a piece of paper.TEACHER: Dawn. Dawn looks up,alarmed.TEACHER: They need you in the guidance office. Dawn continues looking alarmed as she gathers up her stuff.Cut to: long shot of Dawn walking down anempty hall lined with lockers.GUIDANCE COUNSELOR VOICEOVER: I'm sorry, I didn't mean to scare you.Cut to the outside of the office. Through opened venetianblinds we can see Dawn sitting across the desk from the guidance counselor woman.GUIDANCE COUNSELOR: Just a follow-up after your ... your loss. And sinceI'm new here, I thought it would give us a chance to know each other.Cut to inside the office. The guidance counselor is a fairly young woman wearing a smallblue pendant around her neck.DAWN: Great.GUIDANCE COUNSELOR: So, I've been looking through your file (shuffling papers on her desk) and, um ... yourgrades have slipped a little.DAWN: I have really hard classes this quarter.GUIDANCE COUNSELOR: Yeah, still. Teachers say that you seem a little distractedlately.DAWN: I'm not. I-I'm fine.GUIDANCE COUNSELOR: Okay. It's just, you know, I know it must seem weird, (small laugh) talking to a stranger about stuff,but, um ... I want you to know that if something's going on, something's up, my job ... the most important part of my job ... is looking out for you. She smiles.Dawn looks surprised, returns a very small smile of her own.DAWN: I'm really okay. The counselor nods slowly, sits back.GUIDANCE COUNSELOR: I know there'sbeen ... a lot of loss. Dawn looks down.DAWN: (quietly) Yeah. Kinda. (looks up) I-I mean, yes. People keep ... people have a tendency to go away ... and, I missthem. And sometimes ... I wish I could just make them stop. Going away. The counselor smiles. Dawn pauses, waves her hands dismissively.DAWN: Butseriously, it's, it's no big deal. I'm fine.Cut to: close shot on a table laden with several trays of hors d'oeuvres.XANDER: (OS) We're feeding an army!BUFFY: (OS)No, they couldn't make it. Pan out to reveal that it's the island in Buffy's kitchen. Anya is preparing the food while Buffy sits opposite. Xander stands besideAnya.XANDER: So, who's coming, you invite anyone else?BUFFY: Just you guys. Willow, Tara. The gang. Oh, and Sophie from work. Xander and Anya look at her,exchange a look.BUFFY: What? Like I'm one of those losers who can't make friends outside her tight little circle? No. I'm friendly. We bonded instantly. Peas in apod. Bonded peas.ANYA: Really? Um, what's Sophie's last name? Buffy thinks for a moment, frowns.BUFFY: (pouting) Okay, shut up.XANDER: Don't worry aboutit, we're all over the new friend thing. (Anya smiling)BUFFY: What ... new friend thing?ANYA: (smiling) Well, well ... we invited someone for you. Buffy lookshorrified.ANYA: (whispers) A guy.DAWN: (entering) For Buffy? Really? (smiling)XANDER: Ahh, don't worry, it's not a setup.ANYA: (grinning) Right. No. Just anattractive single man, with whom we hope you find much in common. (Buffy looking annoyed) And if you happen to form-XANDER: Ahn-ANYA: -a romanticrelationship leading to babies-XANDER: Ahn-ANYA: -and many double dates with us so we have someone else to talk to, yay! Xander looks uncomfortable.BUFFY:I assume this was an act of kindness? (Xander looking embarrassed) That'll help with the not throttling. Buffy gives Xander a meaningful look. He gives a fakelaugh.XANDER: Hey, I'm just gonna get this stuff out there, people should be here soon. He picks up some of the food.Cut to the foyer, later. Buffy opens thedoor to reveal Tara, holding a small gift box.BUFFY: Hey! You made it! They smile and hug.TARA: Of course, sweetie. (pulls back) So, how're you doing?BUFFY:"}
+{"doc_id":"doc_262","qid":"","text":"THE BRAIN OF MORBIUSBY: \"ROBIN BLAND\" (TERRANCE DICKS REWRITTEN BY ROBERT HOLMES)Part OneRunning time: 25:25[SCENE_BREAK]SOLON: Youwere quick, Condo. Were there no survivors?CONDO: One, an oxygen breather.SOLON: Humanoid? Excellent. Let me see.SOLON: No, that won't do. Even if theganglia could be. No, the cranium's too narrow, the cerebrum undeveloped. That is an insect! Even a half-witted cannibal like you can see it won't do!CONDO: Butthe big head's not come, master. Not to Karn.SOLON: It must, Condo. One day, a true humanoid species, warm blooded, with a central nervous system. Onesuch specimen, just one, and I can complete my work here.[SCENE_BREAK]DOCTOR: Come out, meddlesome, interfering idiots. I know you're up there so comeon out and show yourselves!DOCTOR: Messing about with my TARDIS. Dragging us a thousand parsecs off course.SARAH: Oi, have you gone potty? Who are youshouting at?DOCTOR: The Time Lords, who else? Now, you see? You see? They haven't even got the common decency to come out and show their ears.SARAH:They're probably afraid of getting them boxed, the way you're carrying on.DOCTOR: It's intolerable. I won't stand for any more of it.SARAH: Oh look, why can't ithave just gone wrong again?DOCTOR: What?SARAH: The TARDIS.DOCTOR: What? Do you think I don't know the difference between an internal fault and anexternal influence? Oh, no, no, no. There's something going on here, some dirty work they won't touch with their lily white hands. Well, I won't do it, do youhear!SARAH: There's something ominous. Where are we, do you think?DOCTOR: I don't know and I don't really care.SARAH: Oh, come on. Come on, stop beingso childish.DOCTOR: I'm just going to sit here and do nothing.SARAH: So there.DOCTOR: Yes.SARAH: Look, Doctor. Oh, come on, have a look at it. I mean, youdon't know what you might be missing. Well, do you know what it is?DOCTOR: Yes. Ejection bubble.SARAH: A what?DOCTOR: A space parachute.SARAH:Pardon?SARAH: Hey, Doctor, quick. Come and look at this! There must be about a dozen wrecked spaceships out there. It's like the Sargasso Sea.DOCTOR:Fancy.SARAH: It's incredible. I mean, why should they all have crashed here?DOCTOR: I've no idea.SARAH: Well, I think you should take a look.Coming?DOCTOR: No, thanks. I'm just going to sit here and practise my double loops.SARAH: Well, please yourself. I'm going anyway. Are you sure?DOCTOR:Yes.SARAH: I suppose it was the crash?DOCTOR: Not the crash. Afterwards.SARAH: After? So it was deliberate?DOCTOR: Looks as if he escaped in the ejectionbubble, and while he was wandering around dazed someone or something attacked him. Poor Mutt.SARAH: Mutt?DOCTOR: Yes, a mutant insect species. Widelyestablished in the Nebula of Cyclops. I thought I recognised the stars.SARAH: You've been here before?DOCTOR: I was born in these parts.SARAH: Nearhere?DOCTOR: Well, within a couple of billion miles, yes.SARAH: Hey, look!SARAH: Come on. At least it's civilisation.SARAH: Oh god. Comeon.[SCENE_BREAK]SOLON: Motor reflexes seven tenths.SOLON: Condo! Condo, fetch some lamps.SOLON: Condo![SCENE_BREAK]MAREN: Two of them?OHICA:A male and a female, Maren, in the valley below.MAREN: Our senses reach beyond the five planets. They were notOHICA: They are here.MAREN: No ship canapproach Karn without detection. Even the silent gas dirigibles of the Hoothi are felt in our bones while still a million miles distant.OHICA: There was no ship,Maren. The last was the cruiser of the Mutts.MAREN: Then how? How, Ohica?OHICA: I do not know. I say only what my eyes have seen.MAREN: Is it as I feared?For months now I have had a dream that the Elixir of Life would be taken from us.OHICA: Taken?MAREN: Next to myself, Ohica, you are the oldest of oursisterhood. Come, let me show you.OHICA: The Flame of Life! Maren, what is wrong? Why is it so low?MAREN: The Flame dies, Ohica. Every month, every day, itsinks lower.OHICA: How can this be? At our ceremonies the Flame has burned brightly, higher than my shoulder.MAREN: A deception. For many months past,before each ceremony, I have secretly fed the Flame with powdered Rine Weed.OHICA: But if the Flame dies, there will be no more Elixir.MAREN: It has been lownow for over a year. The vessel remains empty.OHICA: Then we are doomed. Our sisterhood will perish.MAREN: We are only servants of the Flame. If the Flamedies, then so must we.OHICA: Maren, should not the others know?MAREN: Not until the end is certain. As you know, Ohica, the secret of the Life Elixir is knownonly to our sisterhood and the High Council of the Time Lords. Since the time of the stones we have shared the Elixir with them. Now there is none toshare.MAREN: The few phials that are left I have kept for ourselves. But for months I have felt the Time Lords would come to rob us of these last preciousdrops.OHICA: You think the two I saw have been sent to steal the Elixir?MAREN: If that is so, we must deal with them. Summon our sisters. We will form acircle.[SCENE_BREAK]SOLON: Where have you been?CONDO: Master.SOLON: I asked you, you stupid ox, where have you been?CONDO: I go find food,master.SOLON: You're lying. You can't deceive me, Condo. You've been looking for that arm again, haven't you. I've told you before. You get the arm back whenour task here is finished. You serve me well and I'll put it back as neatly as I took it off. But if you fail me, you'll keep this for the rest of your life. Do youunderstand?CONDO: Yes, master.CONDO: The door. Somebody ring.SOLON: Answer it, you fool.DOCTOR: Can you spare a glass of water?SARAH: Can we comein?SOLON: Humans. At last. Humans!SOLON: My dear sir. My dear, dear sir. You have no idea what a pleasure this is. It's so long since we've. Condo, take theirclothes.SARAH: Well, if we could just shelter for a while, that would be fine.SOLON: Great heavens, you can't go walking on a night like this. I wouldn't dream ofletting you proceed one step further. Condo, stir yourself. Our guests are cold and tired and wet and. Let me take your hat, sir. There. Oh. What a magnificenthead.SARAH: What?SOLON: Superb head.DOCTOR: Well, I'm glad you like it. I have had several. I used to have an old grey model before this. Some people likedit.SARAH: I did.SOLON: What?DOCTOR: I said, some people liked it, but I prefer this model.SOLON: Forgive me. What a surly host you must think me. Please,come in, come in. Make yourselves at home. Warm yourselves and sit down. Condo, pour the wine.SARAH: Oh, it's very kind of you. Thank you.SOLON: Not atall, not at all. It's an honour to offer you whatever comforts my humble abode can provide. As you see, the amenities here are rather antiquated.SARAH: Oh, no,I think it's veryDOCTOR: Interesting.SARAH: Oh, yes, yes.SOLON: Well then, tell me, tell me about your adventures.SOLON: It's so rare that anyone arrives hereon Karn.DOCTOR: Karn, is it? I should have known.SOLON: You mean you arrived here without knowing?SARAH: Oh well, we often go on a sort of mystery tour,don't we, Doctor? Doctor?DOCTOR: You seem very keen on heads, Mister er.SOLON: Solon.DOCTOR: Mister Solon.SOLON: Mehendri Solon.DOCTOR: It's verygood.SOLON: Yes, I. Modelling is one of my hobbies, you know, but unfortunately this is not a very good example.DOCTOR: Oh no, I thought I recognised theface.SOLON: No.DOCTOR: No?SOLON: You made a mistake.DOCTOR: Talking of heads, or their absence, we found a headless body lower down themountain.SOLON: How distressing.DOCTOR: Yes, it was.SOLON: It must have been from one of those crashed spacecraft, no doubt.DOCTOR: Yes, that's anotherthing. How many did we count, Sarah?SARAH: Fifteen.DOCTOR: Fifteen. The wreckage of fifteen ships all in this one area.SOLON: There's a belt of magneticradiation.DOCTOR: Magnetic radiation?SOLON: Oh, I don't know anything about it, but I believe that is the theory. In fact, Karn has become quitenotorious.SOLON: Ah, here we are. Now, let's hope that Condo has brought something special. Thank you. Condo, how many times have I told you the wine mustbe opened and allowed to breathe.DOCTOR: Oh, please, please.SOLON: No, no, no. So would you please do as you've been instructed? Hurry.SOLON: He's anexcellent fellow, very devoted to me, but his intelligence is not the highest.SARAH: What happened to his arm?SOLON: Oh I, er, many years ago I dragged himfrom the wreck of a Dravidian starship and his arm? Well, amputation was the only way of saving his life.[SCENE_BREAK]SISTERS: Flame. Sacred fire. SacredFlame. Sacred fire.SISTERS: Sacred.MAREN: I see it.SISTERS: Flame.MAREN: I see the machine of our enemy.SISTERS: Sacred fire. Sacred Flame.MAREN:Concentrate, sisters. More power!SISTERS: Sacred fire.MAREN: Bring the machine here.SISTERS: Sacred Flame. Sacred fire. Sacred Flame. Sacred fire. SacredFlame. Sacred fire. Sacred Flame. Sacred fire. SacredMAREN: Enough. Enough. It is done.MAREN: I was right, Ohica. It is a time machine.OHICA: Of thekindMAREN: A TARDIS. Only the Time Lords know the secret of such machines.OHICA: Then the one I saw is a Time Lord.MAREN: Sent here to steal theElixir.OHICA: Maren, what can we do? Alone among all the races in our galaxy, the Time Lords are our equals in mind power.MAREN: That is true, Ohica. Otherraces we can destroy from within. We can place death in the centre of their beings, send them mad with false visions. But with this one such powers would haveno effect. He would close his mind to us.OHICA: Then we are lost!MAREN: There are other ways. But first we must find him. Form a circle, sisters.SISTERS:Sacred fire. Sacred Flame.[SCENE_BREAK]SOLON: One never really overcomes the nostalgia for one's planet of origin. Sometimes at night I look up at the skyand I think, will I ever see Earth again?SARAH: I know the feeling.DOCTOR: What made you settle on Karn?SOLON: Well, nobody lives here. Nobody bothers me.I can get on with my work.SARAH: What kind of work is that?DOCTOR: Microsurgical techniques into tissue transplant. It was the title of the book youpublished.SOLON: You know something of my history, Doctor.DOCTOR: One of the foremost neurosurgeons of your time. Considerably after your time, Sarah.Yes, your disappearance caused quite a stir. It was said by some you'd joined the followers of the cult of Morbius.SOLON: Malice. Academic jealousy. I just had toget away.[SCENE_BREAK]SISTERS: Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire.MAREN: So, our enemy thinkshimself safe in Solon's castle.SISTERS: Sacred fire. Sacred Flame.[SCENE_BREAK]SOLON: You know, I always knew that one day I'd have a guest with a head forsuch a fine vintage.SARAH: What was that?SOLON: Oh, just a freak squall.DOCTOR: Or a telekinetic visit.SOLON: What?DOCTOR: From the Sisterhood ofKarn.SOLON: What do you know of the Sisterhood?DOCTOR: I know who that reminds me of now. One of the Time Lords. Morbius.SARAH: Doctor, are you allright?DOCTOR: One of the most despicable criminally minded wretches that ever lived.SARAH: Doctor!SOLON: There are some of us who would not agree with"}
+{"doc_id":"doc_263","qid":"","text":"SCENE: Storybrooke. Present time. Mines.[SCENE_BREAK](Men whistling \"Heigh-Ho\")Grumpy: Our yield's way down, boys. I know Dopey's a tree, but we got tobe more productive since he can't.Happy: He's producing oxygen. (Laughter)Grumpy: Hey. Let's stay focused.Emma: Yes. No one wants a nastysurprise.Grumpy: You're not getting any dust, sister.Emma: Actually, I'm shopping for something else today. Something with... edge.Happy: My axe.Emma: Oh,Happy, there's something I learned as the Dark One. If your name is on something, hold on to it.[SCENE_BREAK]SCENE: Camelot. Six weeks ago. Merlin'stower.[SCENE_BREAK]Regina: If we're going to free Merlin, we need witchbane.Belle: Yeah, but the labels are all faded.Emma: Forget the decloaking potion. It'snot a glamour anyway.Regina: You sure?Mary Margaret: If I'm getting this right, the tree could actually be him transfigured, right?Belle: We could find out with asample.Regina: Yeah, and when we snap off a twig and it turns into a finger, who's crying then? Come on, someone. Witchbane.Emma: You guys sure you don'twant me to just wiggle my nose and get him out of that tree?Mary Margaret: No.Regina: Your magic is dark now. It's not worth it. I'll just keep pretending to bethe savior destined to free him, and we can do this together.David: Regina's right, Emma.Arthur: I heard someone say a woman is right. That's always a safeassumption, isn't it, David?King Arthur: How are you progressing, Madame Savior?Regina: Um... progress. Slow but sure.Belle: It's, uh... marvelous havingMerlin's own books to work with. It's like talking with the master.Mary Margaret: Oh. What if we could talk to him?Emma: What?Regina: Yes. (Chuckles) Youare... very occasionally... a genius.Belle: Yes, if we talked to him, he can tell us how to get him out.David: A mushroom.Regina: Toadstool, actually. Deadlypoison. Extremely useful in communicating across barriers, even through spells. Says here it's called the Crimson Crown.King Arthur: Yes, I know this name. It'srumored to grow in Brocéliande, the Forest of Eternal Night. Its existence is the stuff of legend, though. Almost certainly fiction.David: People say the same thingabout us. How far?King Arthur: A half day's ride. But if it is there, it'll be protected by magical forces.Mary Margaret: You know what, David? Wait until we knowmore.David: It's not like I'm needed here. It's a chance.Mary Margaret: Oh. Aww.David: I'm taking it.(Indistinct conversations)King Arthur: Hold!David: YourMajesty. Don't try to talk me out of this.King Arthur: I wouldn't dream of it. I just wanted to propose, Prince David, if it's quite all right with you, that I comealong and lend aid. Come with me and we can get ourselves outfitted, and then we can quest together as brothers.[SCENE_BREAK]SCENE: Storybrooke. Presenttime. Sheriff's station.[SCENE_BREAK]Regina: This question mark... That's my handwriting. I must've marked this page in Camelot. I don't know if this is theright answer, but these books came from there. I think we were looking at this for answers.Grumpy: We've been violated!David: What's the problem?Grumpy:What do you think it is? Your kid.Happy: She took my axe.Regina: Uh, dwarfs are your department. I'll stay on this.Mary Margaret: What do you want us to doabout it, Leroy?Grumpy: Help us. We know she's your daughter, but you got to do something, 'cause if you won't, we will.Mary Margaret: Do not hurt her.David:It's okay. They can't.Grumpy: Like that's all that matters? Stop being a scared parent. Be our sheriff again. We need you.David: I'll see about getting the axeback. Thanks for letting us know.Grumpy: Looks like just another insult for us to swallow down. For now.(Sighs)(Indistinct conversations)Mary Margaret: Whydoes she need an axe? That's alarming, right?David: I don't know. I mean, what could she do with an axe that she couldn't just do with her powers?(David kicks achair)Mary Margaret: David!David: Just wish she'd talk to us.Mary Margaret: I know. Me, too.David: Worst part is... we can't save her.Mary Margaret: Yet. We'retrying.David: How? What am I doing?Mary Margaret: You're leading.David: Nobody seems to be following.Mary Margaret: Oh, don't worry about thedwarfs.David: I'm not. I'm worried about Emma and how this is my fault.Mary Margaret: She made the choice to save everyone.David: I should've stopped her. Iam her father, and now I'm... I'm paralyzed. There's nothing I can do, for her, for you, for anyone.Mary Margaret: You are doing something. You are helping ourpeople the best you can.David: That's kind of the problem.Mary Margaret: Hey. In any world, you are my hero. Remember?David: Of course. Go. I've got it.(Dooropens)King Arthur: Good morning to you, Sheriff.David: Your Majesty. How can I help you? Any luck finding your blade?King Arthur: No luck finding Excalibur,I'm afraid, but I'm coming to you with something far more urgent. Our reliquary's been robbed.David: I'm sorry, your what?King Arthur: Magical relics collectedby the Knights of the Round Table. They're all very precious. I had no idea it was here until it turned up in this land nearly empty.David: When you sayprecious...King Arthur: There was a magic bean inside. This bean can take my people home in an instant. I have to tell you I will find it if I have to search everyresidence in your city.David: You don't have to do anything alone.King Arthur: You can help?David: I'll get you back to Camelot. I promise.King Arthur: Thankyou.[SCENE_BREAK]SCENE: Storybrooke. Present time. Emma's house. Basement.[SCENE_BREAK](Emma goes to swing the dwarf axe at the Stone of Destinywhich is holding Excalibur.)Darkness: A dwarf axe. Now, that's a creative path to failure.Emma: Dwarf axes cut through everything.Darkness: Nothing cutsthrough magic. Except maybe a kiss. Have you thought about kissing it out?(Laughs as the axe breaks on the stone)Darkness: You're running out of options,deary. You see, we want you to, uh, snuff out the light. So, we need a hero to pull Excalibur from the stone. Now... and let's face facts that's not gonna be you.So, why don't you stop messing around and go get the hero we need? Oh, and, uh, you and I both know who that is.[SCENE_BREAK]SCENE: Camelot. Six weeksago. Merlin's tower.[SCENE_BREAK](Sighs)Robin Hood: It's all right. You'll get it. Perhaps it's time for a spot of tea. Calm nerves lead to clear thoughts.Regina:You're here so I can keep an eye on you, mute handmaiden. I don't need you rolling your eyes at me. We need to clear the air. Fine. (Whoosh)Zelena: Ah!(Laughs) Oh, there you are, my lovely voice. It's so... light and feminine.Regina: Enough. Now... let's have a little chat about you trying to escape back to Oz.Zelena... you know you can't take that child away from Robin.Zelena: Can you blame me? You're going to take it from me. This child could be my only chance forsomeone to truly love me, and... you got a second chance. Why can't I?Regina: Oh, I'm sorry. But you've had a second chance and a second second chance. Youcan't keep painting yourself as a victim. It's absurd.Zelena: You can tell me that life is fair all you want. All I can tell you is that from in here, I'm still seeing onesister with all the toys...(whoosh)Regina: Be quiet and listen for once in your life.Zelena: (Stomps foot)Regina: You forgot who I am. The Evil Queen. I can be afar greater nightmare than you can possibly imagine. But now... my gift to you is a promise. I will make sure your baby is fine and loved and safe. Just as Ipromise... The same will certainly not hold for you.[SCENE_BREAK]SCENE: Camelot. Six weeks ago. The Round Table.[SCENE_BREAK]David: Wow.King Arthur: Ilike to be prepared.David: Is that... Percival chair?King Arthur: Yes. But no need for more apologies. A leader does what needs to be done. I'll find a man worthyto fill that seat.(Arthur gestures to the tallest chair at the table.)King Arthur: This is the one that will stand empty forever.David: I assume that was your chair.Suitable for a king.King Arthur: No. Mine is no different than the others in the same way that the table is round. Many of our order are kings and princes in theirown realms. Nonetheless, happy to sit shoulder to shoulder with the rest of their knights. No one of us above the other. Except for this one. This is the SiegePerilous. Reserved for the knight with the purest heart, the one destined to carry out the most sacred quests. Belonged to a man I trusted more than a brother.But he betrayed me. It's been vacant since.David: Lancelot.King Arthur: You've heard of him.David: Well, all of you are kind of legends.King Arthur: Really? Ishudder to think what our tale must be.David: Oh, only one of the greatest romances of all time. Your love for Guinevere was ripped away by your best friend,Lancelot. It's a tragic story that clearly had a happy ending. The two of you seem like all that's in the past now.King Arthur: Yes. Lancelot was a good man. Thesituation was difficult.David: I understand. Actually, Snow... Mary Margaret and I, we met him.King Arthur: You did? How is he?David: I'm... very sorry to tell youthis, but we... learned that he died. I'm sorry.King Arthur: Lancelot failed to resist temptation, but he was a good knight. He tortured himself for his sins far morethan I would've done. I wished him happy. Just not with my wife.(Door opens)Arthur: (Clears throat)(Trunk thuds)King Arthur: Careful. This... is our reliquary,containing our sacred magical items our knights have recovered.David: I've never seen magic like that.King Arthur: It's the Unquenchable Flame. Said to be partof the burning bush itself. This will light our path, and where we're going, we're gonna need it.[SCENE_BREAK]SCENE: Storybrooke. Present time. Camelotcamp.[SCENE_BREAK]Squire: The reliquary, Your Majesty.David: So, you're the one who found this broken into? Any theories?Squire: Me? Oh, well, um...everyone speaks of the Dark One in this place. Perhaps...King Arthur: Stop being a fool, man.David: Arthur, to be honest, she did take a dwarf axe.King Arthur:And, as you're about to say, the Dark One doesn't need tools. This lock was pried open. You can see the scratches.David: You're right.King Arthur: This is yourland. What are you thinking?David: I'm thinking I may not know who did this. But I think I have a good idea of what their next move willbe.[SCENE_BREAK]SCENE: Storybrooke. Present time. Granny's.[SCENE_BREAK]Hook: Ah, I know that look. Button on the top turns it on.Robin Hood: I knowhow to use a phone.Hook: What's that, then?Robin Hood: It's a picture from up inside Zelena.Hook: Whoa, mate.Robin Hood: No, n-no. It's of the baby. They...they call it a sonogram.Hook: Oh. Mixed emotions, I bet.Robin Hood: (Sighs) I mean, I know it's painful for Regina. Her evil sister carrying my child. It's painfulfor me. And yet there's some part of me that can't help but feel happy. It's my child. And I sure don't want Regina to know that. I don't want her to misconstruemy happiness for, well...Hook: You got yourself a complex situation there, that's for sure.Robin Hood: Hmm. Unlike your simple love life.Hook: Ha. About that.She's not the same. Her new house, there's a door in there that she doesn't want me anywhere near. What do you suppose she's hiding? I was thinking thatmay...Granny: Order up.Hook: Order? I didn't order anything.Robin Hood: What does it say?Hook: \"Meet me on your ship. Emma.\"Robin Hood: You're right."}
+{"doc_id":"doc_264","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: INT. SPAR SHIP(KATARINA mutters to the Trojan Horse-god. The sound of the ship's engines start to rise...)KATARINA:Great One, don't leave us! Don't let the strange beings catch him!BRET VYON: He's been caught! We've got to leave!STEVEN: No! He said we had to...(VYON triesto operate the controls for take-off. STEVEN pulls him away.)BRET VYON: No!(He turns and knocks STEVEN to the floor, then resumes preparations fortake-off.)KATARINA: Stop! You can't leave him! He can't reach the place of perfection!BRET VYON: He won't! We're going without him!(BRET activates morecontrols and the ship starts to power up further.)BRET VYON: We're going into countdown!(BRET looks at a countdown indicator on the control panel which nearszero...)(Suddenly STEVEN points to a light winking on the hatch panel.)STEVEN: What's that light?BRET VYON: It's the outer door! It's not fully shut. Quick, orwe'll all be sucked out!(STEVEN rushes to the airlock and is pressing the switches to close the door when he sees someone outside. He yells back atBRET.)STEVEN: Hold countdown! It's the Doctor!(BRET holds the countdown sequence as STEVEN and KATARINA help the breathless DOCTOR up through theairlock and into the ship.)DOCTOR: Get us off, Bret! Get us off! Get us off!BRET VYON: Right.(He starts to resume the held countdown.)DOCTOR: Take off,man!BRET VYON: Stand by, everyone! Take off!(The airlock door closes. They all desperately grab hold of anything close as the ship rises swiftly into the air,leaving the planet of Kembel far below. The breathless DOCTOR eyes VYON with austere reproof.)DOCTOR: Oh! Oh! This is rather a violent acceleration, youngman! Hmm![SCENE_BREAK]2: SPACE(The SPAR shoots into space...)[SCENE_BREAK]3: INT. KEMBEL. DALEK CITY. CONTROL ROOM(The DALEK SUPREME entersthe DALEK control room. Normal scanners and consoles line the room which is dominated by a central piece of machinery. The DALEK SUPREME hovers in angeras the DALEKS report the readings off the consoles.)FIRST DALEK: Altitude: five sections. Speed: Three thousand.SECOND DALEK: Vessel attained gravitationalescape velocity.DALEK SUPREME: Cut in automatic trackers.SECOND DALEK: All is ready for their space extinction.DALEK SUPREME: Do not destroy! That vesselmust not be destroyed!SECOND DALEK: Trackers operating.DALEK SUPREME: Prepare neutronic randomiser.(The FIRST DALEK, at its console, obeys...)FIRSTDALEK: Stand by randomiser.DALEK SUPREME: The intruders must be caught alive![SCENE_BREAK]4: INT. SPAR SHIP(Things have calmed down somewhat onthe stolen SPAR ship.)DOCTOR: Well done, Bret, well done. You got us off very well.(He laughs to himself.)BRET VYON: Thanks. I thought you weren't going tomake it.DOCTOR: Of course I was. You're far too pessimistic. Now, where's that little box of mine, hmm?(STEVEN picks up the box holding up the TaraniumCore.)STEVEN: This one?DOCTOR: Yes.(The DOCTOR takes the box.)DOCTOR: Ah, splendid, splendid. The Daleks' plans are utterly useless without this.STEVEN:Why? What did you find out at the Council meeting?DOCTOR: They've allied themselves with the rulers of the outer galaxies... to take over the Universe!BRETVYON: (Shocked.) Universe?DOCTOR: Yes, their first objective being Earth and then... the solar system.STEVEN: Then we've got to warn Earth and fast!BRETVYON: But what about Mavic Chen?DOCTOR: Oh, he's one of them, my friend. By sacrificing the Solar System, he hopes to gain more power.BRET VYON: That'simpossible!DOCTOR: Oh, no it isn't, no it isn't. Therefore we must get back to Earth before him.KATARINA: (Timidly.) But how can we return to Earth? We'vealready left it.DOCTOR: Yes, I know, my dear, but this is not Earth... as we... think of it. It's something very different.(VYON is more puzzled than ever byKATARINA and speaks quietly to STEVEN.)BRET VYON: What's the matter with this girl? I mean, where's she from?STEVEN: (Casually.) Oh, it's quite all right -she helped us in Troy. She doesn't really understand.BRET VYON: (Puzzled.) Troy?STEVEN: (Smiles.) Yes.(He rejoins his companions.)STEVEN: Well, come on,Doctor, what's so special about that box?DOCTOR: Well, as I said before, my boy, the Daleks' plans are utterly useless without this.STEVEN: (Pleased.) Thenwe've won!(STEVEN picks up the box and is about to open it when the DOCTOR stops him.)DOCTOR: No, no, no, no! Don't open it, please.STEVEN: Whynot?DOCTOR: It'll burn your eyes - you'll go totally blind! That is a full emm of Taranium!BRET VYON: (Shocked.) What?(He steps forward.)DOCTOR:Taranium.BRET VYON: That can only be found on the planet Uranus. A full measure would take years to mine!DOCTOR: Fifty years, to be surprice... to be precise.And Mavic Chen has given this to the Daleks to complete one of the most evil weapons ever devised - their Time Destructor![SCENE_BREAK]5: INT. KEMBEL.DALEK CITY. CONTROL ROOM(ZEPHON stands before the DALEK SUPREME. MAVIC CHEN is also present, as are several other DALEKS.)DALEK SUPREME:Representative Zephon! You deny that your negligence caused the loss of the Taranium Core?ZEPHON: (Arrogantly.) Had the Daleks made full securityarrangements, the invaders would not have reached this city.MAVIC CHEN: Had the master of the Fifth Galaxy been less arrogant, he would have gone with me tothe meeting. Instead he preferred to keep us all waiting.ZEPHON: I believe the intruders came from the Solar System.MAVIC CHEN: Did you see them?ZEPHON:No.MAVIC CHEN: Did they speak and tell you so?ZEPHON: No.MAVIC CHEN: Then your accusation is preposterous.ZEPHON: How was it the intruders knew thatthe Taranium was here and that it was to be handed over, if they did not come from the Solar System? None of the others knew what it was that representativeMavic Chen was bringing here!(All eyes are now on MAVIC CHEN.)DALEK SUPREME: Have you nothing to say?MAVIC CHEN: Oh, this is absurd. Why should Iarrange that fifty years be spent secretly mining to acquire this mineral - only to have it stolen?ZEPHON: The quest for power. Perhaps you wanted to use theCore for yourself!MAVIC CHEN: How? Only the Daleks know how to assemble the Time Destructor. I only provided the vital ingredient - the core.ZEPHON: (To theDALEK SUPREME.) I did not know about the Core. How could I?DALEK SUPREME: You knew about the intruders.ZEPHON: We all did. You were going to deal withthem, or so you said.DALEK SUPREME: (Angrily.) Silence! It is agreed that you are guilty of negligence.(MAVIC CHEN moves and stands behind the DALEKSUPREME in a show of support.)ZEPHON: If I go, the Masters of Celation and Beaus go with me!DALEK SUPREME: (Warningly.) You threaten our unity?ZEPHON: Ihave nothing to say.(He turns for the door.)ZEPHON: I will leave now.(ZEPHON starts to walk from the room, but he is stopped by DALEKS closing in from eachside of the doorway. ZEPHON trembles violently as he looks round for an escape route.)DALEK SUPREME: Execute!(Caught in the crossfire at close range,ZEPHON crumples to the floor. The DALEK SUPREME turns and glides to one of its subordinates at a console.)DALEK SUPREME: Where is the ship?DALEK: Courseseven-oh-seven. It is approaching the influence of the planet Desperus.DALEK SUPREME: Prepare pursuit ships. Stand by randomiser.[SCENE_BREAK]6: INT.SPAR SHIP(Having found special guards for their eyes, the DOCTOR, STEVEN, KATARINA and BRET VYON are looking at the Taranium. A brilliant white flareshimmers around the mineral inside the open container causing them all obvious discomfort.)STEVEN: That is Taranium?DOCTOR: Yes, the rarest mineral in theuniverse.STEVEN: Funny, It makes your eyes feel strange even with these on.(STEVEN indicates their eye-guards.)STEVEN: It's like looking into the sun for toolong.(The DOCTOR closes the container. They all remove their glasses and rub their eyes.)DOCTOR: Oh, don't complain, young man. You're a very privilegedperson. Do you realise that very few people have seen this in this universe, hmm?STEVEN: All right, Doctor. But now that we've got it, what are we going to dowith it?DOCTOR: Well, for the moment, nothing.STEVEN: Well, that doesn't make sense. I mean, you said yourself that the Daleks have the most dangerousweapon ever devised.DOCTOR: We have the Taranium, so for the moment we do nothing. And by doing nothing, we do everything. Do I make myself clear?(Helaughs.)STEVEN: Come off it, Doctor. What's all that supposed to mean?DOCTOR: Oh, my dear young man, you ask so many questions.(He laughs and looks atKATARINA who is stood across the room looking over one of the consoles.)DOCTOR: Look at Katarina over there. She doesn't ask questions - she just looks andlearns. Now, why don't you try the same thing, hmm?(The DOCTOR takes a moment to look over the control room of the SPAR.)DOCTOR: You know, I find all thisextremely fascinating. Hmm! It's a little primitive, of course, but it's still very fascinating, hmm!(STEVEN tries to bring him back to the point.)STEVEN: Look,Doctor, I'm sorry, but can't we do anything?DOCTOR: Yes.(He turns to BRET at the main console.)DOCTOR: Bret, can you find me something to play a magnetictape, hmm?BRET VYON: Yes, Doctor. Here.(He points to part of the console.)DOCTOR: Well, my dear fellow, that's magnificent. Huh, it's all so convenient, isn'tit? (Laughs.) Now play that tape I gave you, before I went to the Daleks' conference.STEVEN: What tape's that?(VYON produces the capsule from his uniformpocket.)DOCTOR: Oh, I found a small tape beside a skeleton, and it, er, might be able to tell us something.(He notices KATARINA who is still looking over thecontrol room.)DOCTOR: Er, Katarina, come over here, my child.(She does so.)DOCTOR: Now, have a look at another wonder.(KATARINA looks abouther.)KATARINA: Everything is so strange. This isn't like your TARDIS.DOCTOR: No, my dear, no.STEVEN: Yes, but Doctor, surely, I mean, the Daleks aren't goingto leave a tape around with their plans on it?DOCTOR: No, no, no! Bret here was searching for someone and the skeleton I found was humanoid. Well, whoever itwas may have learned something that we haven't.BRET VYON: (Exclaiming.) Marc Cory! You found him? Well, Kert and I searched that jungle but we could findno trace.DOCTOR: Oh, and did you search that bearing twice, hmm?BRET VYON: How do you mean?DOCTOR: Well, it so happens that that kind of jungle is apt tolead you back to the same place more than once.BRET VYON: Yes, but we were methodical, or as methodical as the Daleks would...DOCTOR: (Interrupts,irritated.) Oh yes, no doubt you were, and I suppose I was lucky! Now play the tape. Come along, come along, stop all this talking!(YVON looks annoyed butactivates the tape as instructed. It begins to play and Marc Cory's long-dead voice comes from the speaker.)MARC CORY: (On tape.) This is Marc Cory, SpecialSecurity Agent, reporting from the planet Kembel.STEVEN: You've cracked it!MARC CORY: (On tape.) The Daleks are planning the complete destruction of ourgalaxy. Together with powers of the outer galaxies, a war force is being assembled and...(The tape and the voice break off.)STEVEN: That's all?BRET VYON: Poor"}
+{"doc_id":"doc_265","qid":"","text":"Originally written by Alexa Junge Transcribed by Josh Hodge.[Scene: Monica and Rachel's apartment. Rachel is on the phone.]RACHEL: Mom, would you relax.That was 10 blocks from here and, the, the woman was walking alone at night, I would never do that. Mom, c'mon, stop worrying. This is a safe street, this is asafe building, there's nothing [a pigeon flies in the window and lands on the table] OH MY GOOOD, oh my God, oh I gotta go, I gotta go, I gotta go. [hangs up]OK, that's fine, you just read the paper, I'm gonna get a pot, it's not for you. [grabs a pot and lid] OK, that's fine, read the Family Circus, enjoy the gentlecomedy. [puts pot over the pigeon] Aaahh, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, aaaaahh. [knock atthe door] It's open you guys.[a stranger enters with flowers]STRANGER: Hi.RACHEL: Hi, hi can I help you?STRANGER: Yeah, I'm looking for Phoebe, does she stilllive here?RACHEL: Uh, no she doesn't but I can, I can get a message to her.STRANGER: Great. Uhh, just tell her her husband stopped by. [leaves flowers onbar]RACHEL: What? [in surprise she forgets she has the pigeon in the pot and lets it get away]STRANGER: Hey, how, how did you do that?OPENINGTITLES[Scene: Monica and Rachels apartment. The whole gang is there.]JOEY: This is unbelievable Phoebs, how can you be married?PHOEBE: Well, I mean, I'mnot married married, ya know, he's just a friend and he's gay and he's just from Canada and he just needed a green card.MONICA: I can't believe you marriedDuncan. I mean how could you not tell me? We lived together, we told each other everything.PHOEBE: I'm sorry Monica but I knew if I told you, you'd get really,like, judgemental and you would not approve.MONICA: Of course I wouldn't approve, I mean, you were totally in love with this guy who, hello, was gay. I mean,what the hell were you thinking?ROSS: You see, and you thought she'd be judgemental.PHOEBE: OK, I wasn't in love with him and I was just helping out afriend.MONICA: Please, when he left town you stayed in your pajamas for a month and I saw you eat a cheeseburger.ALL: Huuh.MONICA: Well, didn'tyou?PHOEBE: I might have.MONICA: I can't believe you didn't tell me.PHOEBE: Oh, c'mon, like you tell me everything.MONICA: What have I not toldyou?PHOEBE: Oh, I don't know. Umm, how about the fact that the underwear out there on the telephone pole is yours from when you were having s*x with FunBobby out on the terrace.RACHEL: What!MONICA: Wait a minute, who told you? [turns to Chandler who's looking sheepish] You are dead meat.CHANDLER: Ididn't know it was a big secret.MONICA: Oh it's not big, not at all, you know, kinda the same lines as, say, oh I don't know, having a third nipple.PHOEBE: Youhave a third nipple?CHANDLER: You bitch.ROSS: Whip it out, whip it out.CHANDLER: C'mon, there's nothin' to see, it's just a tiny bump, it's totallyuseless.RACHEL: Oh as, as opposed to your other multi-functional nipples?JOEY: I can't believe you. You told me it was a nubbin.ROSS: Joey, what did you thinka nubbin was?JOEY: I don't know, you see somethin', you hear a word, I thought that's what it was. Let me see it again.ALL: Yeah, show it. Show it. The nubbin,the nubbin, the nubbin.CHANDLER: Joey was in a porno movie.ALL: Huuh.CHANDLER: If I'm goin' down, I'm takin' everybody with me.ROSS: You were in aporno?JOEY: Ahh, alright, alright, alright, I was young and I just wanted a job, OK. But at the last minute I couldn't go through with it so they let me be the guywho comes in to fix the copier but can't 'cause there's people havin' s*x on it.MONICA: That is wild.ROSS: [to Chandler] So what's it shaped like?PHOEBE: Yeah,is there a hair on it?JOEY: What happens if you flick it?[Scene: Central Perk. Chandler, Ross, and Julie are sitting on the couch.]ROSS: So, uh, does it doanything, you know, special?CHANDLER: Why yes Ross, pressing my third nipple opens the delivery entrance to the magical land of Narnia.JULIE: You know, insome cultures having a third nipple is actually a sign of virility. You get the best huts and women dance naked around you.CHANDLER: Huh? Are, uh, any of thesecultures, per chance, in the tri-state area?ROSS: You know, you are so amazing, is there anything you, you don't know?RACHEL: [to Monica at the counter] Ooh,Julie's so smart, Julie's so special.MONICA: Look honey, I wanted you to hook up with Ross as much as you did. But he's with her now and you're just gonna haveto get over it.RACHEL: Ohh, I'm gonna have to get over it. God, see I didn't know that's I had to do, I just have to get over it.[Phoebe enters all dressed up]ALL:Woah.JOEY: Foxy lady.JULIE: Where you goin'?PHOEBE: Um, I'm gonna go meet Duncan, he's skating tonight at the Garden, he's in the Capades.JOEY: The IceCapades?CHANDLER: No, no the gravel capades. Yeah, the turns aren't as fast but when Snoopy falls. . . funny.MONICA: I can't believe you're dressing up forhim. I mean, you're just, you're setting yourself up all over again.PHOEBE: OK, no. For your information I'm going to see him so I can put all those feeling behindme. OK, and the reason I'm dressed like this is because I think it's nice to look nice for your gay husband.ROSS: [holding cream pitcher] Oh, darnit, we're all outof milk. [holds pitcher in front of Chandler's chest and flips the lid] Hey Chandler, would you fill me up here?CHANDLER: Oh I see, I see, because of the thirdnipple thing. Ha ha ha ha. . .[Scene: Central Perk close to closing. Ross and Julie are still there. Rachel is cleaning tables.]ROSS: OK sweetie, I'll see youlater.JULIE: See you later Rach.RACHEL: Bye-bye Julie. [Julie leaves][Rachel is still cleaning, Ross is laying on the couch. Ross kicks Rachel in the butt.]RACHEL:Hey.ROSS: Hey.[Ross kicks her again]RACHEL: Hey, c'mon, cut it out.ROSS: Hey?RACHEL: What?ROSS: Can I ask you somethin'?RACHEL: Sure.ROSS:Naa.RACHEL: What? C'mon, talk to me.ROSS: OK, what's the longest you've been in the relationship before ha, have, having the s*x?RACHEL: Why? Who's nothaving. . . Are you and Julie not, are, are you and, are you and Julie not having s*x?ROSS: Technically, huh, no.RACHEL: Wow. Is it, is it 'cause she's so cold inbed. Or, or is it 'cause she's like, kinda bossy, makes it feel like school?ROSS: No, no, she's great and it's not like we haven't done anything. I mean, uh, uh, we,we do plenty of other stuff, lot's of other stuff, like uhh. . .RACHEL: No, no no no, don't need to know the details.ROSS: It's just, it's, it's me. You, you know I'veonly been with one woman my whole life and she turned out to be a lesbian. So now I've got myself all psyched out, you know, and it's become, like this, thisthing and I. . . Well, you just must think I'm weird.RACHEL: No, no, no, no I don't think it's weird, I think, I think umm, in fact, in fact you know what Ithink?ROSS: What?RACHEL: I think it's sexy.ROSS: Sexy?RACHEL: Let me tell you something. As a woman there is nothing sexier than a man who does not wantto have s*x.ROSS: No kidding?RACHEL: Oh yeah. In fact you know what I'd do?ROSS: What?RACHEL: I'd wait.ROSS: You'd wait?RACHEL: Yes, absolutely. Iwould wait and wait. . . then I'd wait some more.ROSS: Really?RACHEL: Oh yeah, I don't care how much she tells you she wants it, I don't care if begs, shepleads, she tells you she, she's gonna have s*x with, with another man. That just means it's working.ROSS: Women really want this?RACHEL: More than jewelry.[Rachel struts off, extremely pleased with herself][Scene: Madison Square Garden. Duncan's dressing room.]PHOEBE: Hi.DUNCAN: Phoebe!PHOEBE:Ta-da.DUNCAN: Hey.PHOEBE: Hi.DUNCAN: Ahh, look at you, you look great.PHOEBE: Do I? Thank you, so do you.DUNCAN: Thanks.PHOEBE: Sparkly. So, wow,this is pretty wonerful, huh. Mr. major capades guy. I, I remember when you were just, like, King Friday in Mr. Roger's Ice is Nice.DUNCAN: You always said I'dmake it.PHOEBE: Yeah, well, ya know, I'm kind of spooky that way. Wooo.DUNCAN: I missed you. [they hug] I'm gonna get changed.PHOEBE: OK.DUNCAN: Um,now. Phoebs.PHOEBE: Oh, right, OK. Ole.DUNCAN: What?PHOEBE: Um, the matador. [Duncan leaves] Ole, ha ha ha.[Scene: Ross's apartment. Ross and Julieare setting the table.]ROSS: Julie, can you hold this for a second, thanks. [hands her a bowl and kisses her][Chandler, Monica, Joey, and Rachel enter. Ross andJulie don't notice.]CHANDLER: Uh, Julie.JULIE: Yeah?CHANDLER: Sorry, you had a paleontologist on your face. But, uh, it's gone now, you're alright.ROSS: Hieveryone.ALL: Hi.ROSS: [pulls Rachel aside] I just, I wanted to thank you for our uh, our little talk before.RACHEL: Oh, God, no problem. So you're gonna go withthe uh, waiting thing?ROSS: Well, I was going to, but after I talked to you, I talked to Joey.RACHEL: What did, what did he say?ROSS: Basically he told me to getover myself and just do it, ya know. So I though about what you said and I though about what he said and, well, his way I get to have s*x tonight so. . .[Scene:Ross's apartment. After dinner. Chandler enters.]CHANDLER: What's this in my pocket? Why it's Joey's porno movie.ROSS: Pop it in.JOEY: I'm fine with it, Imean, if you're OK watching a video filled with two nippled people. [Chandler puts the tape in]RACHEL: Great, people having s*x, that's just what I need tosee.ROSS: What's wrong with people having s*x?RACHEL: Well, well um, you know, these movies are offensive and uh, degrading to women and females. Anduh, and the lighting's always unflattering. And, Monica help me out here.MONICA: Hell, I wanna see Joey.[video starts with the cheesy p0rn discomusic][SCENE_BREAK]JULIE: So is there like a story or do they just stard doing it right. . . oh, never mind.CHANDLER: OK, now wait a minute. That is thecraziest typing test I've ever seen.MONICA: All I say is, she better get the job.ROSS: Looks to me like he's the one getting the job.JOEY: Shh, OK, here I come,here I come. See I'm comin' to fix the copier, I can't get to the copier, I'm thinkin' what do I do, what do I do. . . so I just watch 'em have s*x. And then I say,wait, here's my line, [Joey from TV] you know that's bad fo r the paper tray.CHANDLER: Nice work my friend.JOEY: Thank you. Wait wait wait wait, you see meagain. Hang on, the guy's butt's blockin' me. There I am, there I am, there I am, there I am, there I am. . .[Scene: Madison Square Garden, Duncan's dressingroom. Phoebe is fixing her hair and Duncan enters.]PHOEBE: So um, so what's up, you came to see me yesterday.DUNCAN: Oh, yeah, um, alright, I kinda need adivorce.PHOEBE: Ohh. . .K. How come?DUNCAN: Umm, actually, I'm getting married again.PHOEBE: What?DUNCAN: Oh God, I don't know how to tell you this.I'm straight.PHOEBE: Huuh.DUNCAN: Yeah, I know, I.PHOEBE: I, I don't, I don't understand, how can you be straight? I mean, you're, you're so smart and funnyand you throw such great Academy Award parties.DUNCAN: I know, that's what I kept telling myself but you just reach a point where you can't live a lieanymore.PHOEBE: So how long have you known?DUNCAN: Well I guess on some level I always knew I was straight. I though I was supposed to be somethingelse, you know, I'm an ice dancer, all my friends are gay, I was just tryin' to fit in.PHOEBE: And um, and there's actually a, a woman?DUNCAN: Her name's"}
+{"doc_id":"doc_266","qid":"","text":"Mae: Previously on Mars.Hana Seung: When you believe in a goal the way we believed in Mars, conviction alone will sustain you through almost any test.LeslieRichardson: Robert! If you find evidence of a second genesis.Marta Kamen: Evolution can begin again.Ed Grann: I've got faith.Paul Richardson: You know, I usedto stand in the doorway of the farmhouse where I grew up looking at all of the crops, thinking about all the people they'd feed.Joon Seung: If you push too hardtoo fast, something's gonna break.Ed Grann: If they fail, everyone's out.Hana Seung: But faith doesn't guarantee success.Paul Richardson: Without plants we'renothing.Hana Seung: The real test is what happens when you fail.\u0000 [THEME MUSIC PLAYS] \u0000[SCENE_BREAK]Leslie Richardson: Richardson, Leslie. Phase 2,personal entry.[HEAVY BREATHING]Robert Foucault: Damn tragedy. Oh God.Hana Seung: The entire west section is destroyed.[SCENE_BREAK]Leslie Richardson:Paul was always late. He would get so caught up in his work that he would just lose time, completely forget about it. And then he would show up hours later,filthy, like a kid that had been playing out in the mud all day. And always with that look on his face, that look as if he knew that he was in trouble. But it was allworth it. There was this one night I remember, It was while we were living out in South America, he was still in the forest collecting samples. He was late, asusual. But somehow it was different. Morning came. Another day went by. Finally I could hear his footsteps approaching. So, I rushed out to meet him. And all ofthe sudden all of that fear and worry that I'd felt turned into anger, rage. I couldn't believe how selfish he'd been. And then he appeared.Javier Delgado: Victor.There he is.Leslie Richardson: Covered from top to bottom in mud. With that look on his face... that look. And all I could say was, \"I love you.\"Paul Richardson:Without plants we're nothing.Javier Delgado: We are not nothing, my friend.[SCENE_BREAK]Hana Seung: We'd lost seven of our own. The lab and thegreenhouse were destroyed. Olympus Town was on complete lock down until the nations of the IMSF decided on the fate of our mission. Was Mars going to be agiant leap forward, or just a passing novelty. It wasn't the first time humankind had faced this question.Ann Druyan: We accomplished the impossible by steppingon the Moon. This was, the first hop. And there would be a skip, and a jump afterwards. And we'd keep going and going and going, and the future would be one ofendless possibilities, where the Cosmos was ours.Man: What do you think about this Moon landing?Man 2: Well it's the beginning of a new frontier, a gateway toMars.Ann Druyan: That came to a very abrupt halt.Roger Launius: A major turning point for Apollo was the Apollo 13 mission in 1970.Man: Alright Houston, we'vegot a problem.Reporter: There is a bulletin from ABC news. The Apollo 13 spacecraft has had a serious power supply malfunction. A late report says thespacecraft now is operating on battery power alone, all unnecessary equipment is being turned off.Man: Let's everybody keep cool. Let's not make it any worse byguessing.Roger Launius: We came close to losing astronauts. And it scared the living daylights out of lots of people. And some leaders at NASA said we gotta stopthis. This is too risky.John Logsdon: We all lived through that in real time. We were all wrapped up with the fate of the astronauts. It was a close call to get themback and that really spooked Nixon. It soured him on the notion of sending humans away from Earth into deep space. So it was a catalytic turning point inattitudes towards space exploration.James A. Lovell: Jack and Fred and I are very proud and glad to be back here in Texas tonight. There were times when wereally didn't think that we'd make it back here. After the anomaly on 13, I thought that our space exploration would continue to go. But the extreme rate ofprogress slowed down.Peter Diamandis: Apollo was this massive promise of what was going to be going on, right? We were going to the Moon, not to stop. Therewere plans beyond the Moon but all this got killed as the political will petered out and was gone.Roger Launius: On a Mars mission there may be some loss of lifein the process, there may be failures along the road, but people will take it on. One of the things that you have to ask is: 'Are the rest of us willing to allow themto do that?' Space exploration is subject to public opinion, and political support. There's no question about that. If you send astronauts to Mars and they die there,I guarantee you, public opinion will prohibit you from ever doing it again.Hana Seung: As we buried our friends, the fate of the mission was back on Earth in thehands of my sister and the IMSF.Joon Seung: Hi Ed.Ed Grann: How long until we know?Joon Seung: I told the press everything I know; the nations are meetingto discuss how to proceed and then we'll make an official announcement.Ed Grann: You can't let them give up. You just can't. They knew something like this wasa possibility, we all did.Joon Seung: Seven of the world's most beloved scientists and astronauts are dead. Does that mean anything to you?Ed Grann: Of courseit means something to me. What are you talking about? It's a time to be strong, to make a statement that says we're here to stay.Joon Seung: You're not goingto influence my recommendation to the committee.Ed Grann: We've come too far Joon.Joon Seung: If the train is derailing, there's nothing I can do to keep it onthe tracks.Ed Grann: The nations respect you, they will listen to you; you can inspire them to stay the course.Joon Seung: Even if we can Ed, I'm not sure that weshould.Ed Grann: What?Joon Seung: I'm not sure that we should.Ed Grann: Me, I'm sure of one thing. I won't let go.John Logsdon: Dreamers of space havealways had their eyes, their hopes, their aspirations, on getting to Mars.Casey Dreier: Mars has been the goal since Wernher Von Braun got involved withNASA.Mission Control: Liftoff, we have a liftoff!Stephen Petranek: Von Braun overbuilt entirely the rocket to go to the Moon. Saturn 5 is the largest, longest, andheaviest machine ever built by humans. It's absolute overkill for going to the Moon. And the reason is, Von Braun didn't wanna go to the Moon. He wanted to goto Mars. The only reason he got involved in rocketry was because ever since he's a little kid, he's focused on this idea of getting to Mars. He invented the V2rocket when he was in his late twenties and it was the first thing that ever went into space from Earth.Man: Von Braun surrenders to US forces. He and his fellowrocket scientists actually welcomed by the Americans.Stephen Petranek: After the war, he writes a book called 'das Marsprojekt', which is basically a manual onhow to build a fleet of ships that can get to Mars and get humans back. He's worked out all the equations, all the details, of how it could actually be done. And itcaptured the mind of the world. Nobody was thinking about going to the Moon; they were all imagining going to Mars.Man: This closes a golden chapter in the ageof space exploration.Stephen Petranek: At the end of the Apollo program, NASA's beginning to lose its focus: what do we do next? And there are two proposals onRichard Nixon's desk. One proposal is that we build a spaceplane, called the Space Shuttle. The other proposal was from Von Braun and he was really stormingthe halls of Congress, to say that we can go to Mars.Interviewer: When would you see a man on Mars?Wernher Von Braun: We could land a man on Mars in alittle over 10 years if we really wanted to do it.Casey Dreier: Richard Nixon was never that big of a supporter of the space program. He came in wanting to cut thebudget to lower taxes, and space just was not a high priority for that administration. Basically they just wanted fewer leaps for mankind, right? small steps, smallsteps.Stephen Petranek: So Nixon chooses the Space Shuttle over going to Mars. Von Braun quits NASA, and within a few years has cancer and dies.Interviewer:It must have taken a great deal of determination to carry on and, in view of some the early failures that you've had.Von Braun: Well, yes uh, you just have to,shouldn't give up. It's very simple, something blows in your face, try again, try again, try again. One fine day you'll wind up on top.Hana Seung: After thedevastation to the west section we needed to scavenge from our other resources to rebuild, even the old workshop.Javier Delgado: Figure we use the housings topatch the corridor the best we can. If we can get the section sealed with scrap, my team can start working on the damage done to Olympus Town.Marta Kamen:Mm-hmm, Javier!Javier Delgado: What?Marta Kamen: Ven mira.Javier Delgado: Que, what is that, corrosion?Marta Kamen: It looks like, uh, aragonitecrystal.Javier Delgado: Possible the metal catalyzed perculate carried by the storm?Marta Kamen: Unless something reacted with the water that came out of thecondensation filter. It would be nice if I had a lab. It's getting dark. Let's get out of here. Phobos and Deimos.Javier Delgado: Fear and terror, good names for theMoons of Mars.Russian Member: We lost two of our finest cosmonauts to this catastrophe; the support of the Russian people is fading.American Member: We'veknown this since Apollo: once the novelty passes, so does public support, and no one ever died on the Moon.British Member: Is this not the time to make astatement that we're here to stay? We have committed resources, delivered speeches. Giving up now could be a great embarrassment.American Member: Moreembarrassing than another tragedy? We only accepted the risk in the 60s because it was a matter of national defense.Committee Member: People love space, butnot when it means watching heroes die.Russian Member: Secretary Seung, you are as personally invested as any of us. I would like to hear your recommendationto the committee.[SCENE_BREAK]Hana Seung: May I? I'm so sorry. Paul was my responsibility.Leslie Richardson: We don't need to do this.Hana Seung: They allwere.Leslie Richardson: You didn't kill them and neither did Paul.Hana Seung: And neither did you. I gave that order, not you. We didn't have a choiceLeslie.Leslie Richardson: Paul was right in front of me and I didn't see him.Hana Seung: If we have any chance in this place we need you with us.Joon Seung:Hana... they asked me to make a choice, whether to keep pushing, or to bring you home. I tried to go back to that feeling, that feeling we had, staring up atthose stars imagining what was beyond.Hana Seung: Unnie, do you remember that recurring dream I used to have? Walking along the regolith under the twinMoons before I even knew it was Mars I was dreaming about.Joon Seung: When I think about you up there, if it had been you in that corridor...Hana Seung: If ithad been me in that corridor, I only hope someone else would have done the same. This mission, it's bigger than all of us. I've made my peace, and I'd do itagain if I have to. That dream I used to have about Mars. I could never tell Mom why I would wake up crying every time. It wasn't because it was a nightmare. Itwas because the dream was over.Joon Seung: Hana, I told them to bring you home. I'm going to make a public announcement next week. I'm sorry.Hana Seung:The mission had failed, I'd failed the crew, I failed Ben.[HANA CRYING]Ben Sawyer: Oh man, this reminds me of a place I used to go with my father when I was a"}
+{"doc_id":"doc_267","qid":"","text":"Amy: Previously on \"Heartland\"...Wade: Your mom's a grown woman. She's the only one who can get herself out of this. I got her in the best rehab I could find.I'm gonna go see her in a couple days. I'll let you know how she's doing.Tim: I've decided that it's time for me to give back to the rodeo world. I'm starting arodeo school right here in Hudson.Jack: I support this.Tim: Thanks, buddy.Jack: Plus those kids are gonna eat you alive and I definitely support that. There it is.Thank you.Jade: Ungh!Tim: What the hell?(Horse whinnies) Tim: Jade!Jade: Oh!Jade: Ungh!Tim: Jade? Jade!Jade: Beat that, boys!(Truck rumbles to a halt)(Dooropens and bangs shut)(Phone rings)Ty: Hey, Wade.Next week? Uh... Well, it's a little short notice.(Birds chirp)Okay. Um... Yeah, I'll see what I can do. Okay. Talkto you soon.(Phone beeps off)(Spectators on video cheer and shout)Hey. You ready to go?Amy: Yeah... you okay? Yeah, yeah. I'm fine, I just uh... What- what'reyou watching? Oh, you gotta check this out. Commentator:...is my favourite part of the great plains relay.Commentator 2: Here they go, 'round the bend.Ty:Huh. Is one of those guys Scott's nephew?Amy: No. I'm just watching whatever I can find online. I thought I better see what the great plains relay actually lookslike.Ty: What're they doing?Amy: This the transition zone, where they switch horses.Ty: Looks like complete chaos. (Horse grunts loudly) Whoa! Well, that wasincredible.Amy: When it works. Watch this guy.Ty: Oh, geez, come on, buddy! Hold on. ...see that transition? They must have been working on that for ayear...Ty: Come on. Come on, you got it, you got it! Commentator:...so smooth.Ty: Oh! Ouch!Amy: Yeah, it's totally crazy.(Crowd cheers in the video)Man: He'sright off!Ty: Wow, I can't believe Scott used to do this.Amy: I know, right?Ty: So you think you can help his nephew?Amy: I hope so.Scott says he's havingtrouble with the exchange.Ty: Yeah, well, I don't blame him.Amy: Oh, wow. Okay. (Taps keyboard) Come on. Let's go.(Knock at the door)Georgie: Oh, he's here!And you know what he likes to do.Katie: Tickle!Georgie: Yeah!It's open. Oh, he's coming! You better run, Katie! Jade! What're you doing here?Jade: Nice to seeyou too. I was just taking my new car for a cruise, thought I'd drop by. What a coincidence, exactly when he's supposed to get here. He? Who's \"he\"? Give it up,Jade. You know exactly who's coming.Jade: Is that today?Georgie: Nice try. But I don't want you hanging around and drooling all over him.Jade: Oh, please.Jeff:Hello?!Georgie: (Gasps) Jeffie!Georgie: Hi!Katie: Jeffie!Jeff: Ooh, Katie - and you!Jade: Hi.Jeff: Hi.Jade: I'm Jade.Katie: She likes to drool.(Georgie laughs)Jeff:(Snorts softly)(Hard thump) Man: Whoa, Barega!Emmett: Hmph! Ungh!Somebody grab him. Emmett, you all right?Emmett: I'm so sick of screwing this up foreverybody. Hey, it's a team sport. Yeah, and I'm the weak link.Scott: C'mon, let's go back and try the exchange one more time.Emmett: I'm done.Scott: Fine.We'll call it a day.Emmett: No. I mean for good. I'm quitting the relay.S08E14\u0000 and at the break of day you sank into your dream \u0000 \u0000 you dreamer \u0000 \u0000 oh, oh,oh... \u0000 \u0000 You dreamer... \u0000 \u0000 You dreamer... \u0000Scott: Emmett, these are a couple of friends. Amy and Ty.Amy: Hi.Scott: Amy works with horses. She might beable to help you with your problem.Emmett: It's already fixed.Scott: Come on, you can't quit now. Finals are only a week away. And cause another wreck? I'mgonna get somebody killed out there. Emmett, what happened?(Birds chirp)(Sighs) I don't know. My legs are all spaghetti by the time I make the last exchange. Ijust can't get up on the horse clean.Amy: It's always the same horse?Emmett: Yeah. Barega. She's the fastest on the circuit, but she's wasted on me. Well, likeScott said, I'd be happy to give you a hand. What do you know about the relay?Scott: She knows enough about horses, and riders, that she might be able to helpyou get through this. Sure. You wanna waste your time, makes no difference to me.(Low hum of chatter, birds chirp)Ty: I'm gonna go talk to Scott for a bit.I'll beright back.Amy: Okay.(Door bangs shut)Hey, Scott.Scott: Hey, so you'll help out tomorrow?Ty: Yeah. Yeah, I'll be here. Um... things are pretty crazy at the clinicnext week, huh?Scott: No different than usual. Well, I mean, we got a couple of surgeries, and a ton of field calls, and... That big shipment of supplies coming in,right?Scott: Ty, what are you getting at?Ty: Uh... it's nothing. I was just... thinking about going to see my mom, but, you know, it's bad timing, so.Scott: Ty. Gosee your mom. We'll be fine.Ty: Are you sure?Scott: Yeah. Okay. Thanks.(Tailgate bangs shut)Tim: Well! Look who's back. The pride of Fort Mac.Casey: Hi, I'mCasey.Jeff: Jeff. Georgie's brother.Casey: Nice to meet you.Oh, sorry we're late. I had to sort out Tim's rodeo school schedule. He's got himself double booked allover the place.Tim: What can I say, I'm a big picture kind of guy.Casey: Yeah? Is that why you added private lessons into the mix?Ty: Private lessons? What kindof private lessons?Casey: Oh, some rich oil guy's kid. I thought you were only interested in serious up and comers?Tim: Like you?Jade: Yeah. You know, I rode abronc.Tim: I have not problem coaching some wannabe if his dad's gonna throw sponsorship money my way.Amy: But, dad, how are you gonna manage this? It'sjust you and Caleb.Tim: Caleb? Pfft! Kid's on the road twenty-four-seven.Ty: Well, Jesse's been riding him pretty hard to find some new stock, so.Tim: Caleb isuseless to me.Georgie: Well, Jack could help out. He's got some serious rodeo cred. I'm not interested in training the next generation of weekend cowboys. But ifyou need a hand with those real rodeo kids I would consider pitching in.Tim: Yeah, those kids'd be saying, when was that guy's last rodeo? When they werebucking dinosaurs?(Ty laughs) Jack: This coming from a guy who won his last buckle before these kids were even born. So you still raking in the cash upnorth?Jeff: Yeah. Same 'ol, same 'ol.Georgie: Come on, Jeff, tell 'em about your big promotion!Jeff: Honestly, it's no big deal.Georgie: No big deal? He's runninghis own crew...Jeff: Uh, Georgie, just... Let it go. I mean, come on, no one wants to hear a bunch of... boring work talk, right?Jade: Cute and modest.Ty: So I'llpick you up on my way to the track tomorrow?Amy: Yeah, that sounds great. It should be an interesting session.Ty: Yeah. Emmett doesn't seem too keen, doeshe?Amy: No. That's an understatement.Ty: Hmm.Amy: Hey... you okay?Ty: That's the second time you've asked me that today. Well, it's just... You seem a littlebit more... up in your head than normal. Uh... Wa... (Sighs) Wade called me this morning and um... Family day at the clinic is next week. You gonna go see yourmom?Ty: Yeah... I was kinda hoping Scott wouldn't give me the time off. I hate going to those places, Amy. She must be happy you're coming. Yeah, well, shedoesn't really know quite yet. I have to call Wade first thing in the morning. It'll be okay.(Brief kiss) Amy: Good night.Ty: Good night.(Receding footsteps)(Birdschirp)Emmett: (Blows out his breath)Ungh!Amy: And again.Emmett: Ungh.(Blows out his breath)Emmett: Ungh!Amy: Nice! Okay.One more time. One moretime. Ugh! Haven't you seen enough? I'm beat. Sorta like you are on the final exchange. But you're landing this perfectly every time.Ty: Barega's staying goodand still too.Amy: So far, you guys are totally in sync. I don't see anything that would cause you to miss in the exchange. So what's next?Amy: Let's try it forreal.Emmett: (Sighs heavily) (Barega snorts nervously) Easy, Barega. Easy. Easy...Amy: Okay, Emmett, bring him in.Emmett: Yah! (Hooves thunder)Ty: Whoa,whoa. Hey, hey, hey. Easy. Easy now! Come on!(Barega snorts nervously, hooves thunder)Emmett: (Breathing hard)(Barega snorts and grunts) Ty: Whoa, whoa!Emmett!Emmett, are you okay?Emmett: (Frustrated grunts) Why can't I land it?! You can't be so hard on yourself. I keep choking under the pressure. No! No, it'snot you. It's your horse. It's Barega.Emmett: (Sighs heavily)(Door bangs shut, engine rumbles nearby)(Tailgate thunks loudly)Tim: Hey! So guess who just gotapproved for a whole series of clinics at the high school rodeos.Jack: Well, good for you.So what did you want to talk to me about then? Oh. I've been thinkingabout your offer.Jack: My offer?Tim: To help lighten my workload.Jack: Well, I thought I was... too prehistoric to work at your rodeo school. Agh! And I knowCasey's been joking about how disorganized I am, but I got it all worked out. No, no. I need help with Maggie's.Jack: M-Maggie's?Tim: Well, Lou's still away. Theplace won't run itself. You want me to work at the diner? I need a watch dog. No. I-I need someone to oversee it.(Door bangs shut)Make sure things are runningsmoothly.(Engine rumbles)Amy: You did everything right.Your dismount was clean, and your approach was great.Emmett: Then why did I end up back in thedirt? Because Barega took off too soon.Ty: Yeah, I couldn't even hold her back.Amy: She sees the other horses lined up and she knows what's coming. Baregaloves to run so much that you can't hold her back. She just takes off.Scott: This is good news. Now that we know what the issue is we can deal with it.Emmett:How? She's a gamer. That's what makes her so good. We can't take the race out of the horse.Amy: Maybe you start the relay on her... And that way you don'thave to jump on Barega at all. No. Barega runs anchor. Your best horse always runs the last lap.Scott: Since you know everything, what do you think we shoulddo?Amy: Take off your jacket.Ty: What?Amy: I think I might have a way to hold Barega back in the exchange.Ty: You really think this is gonna work? Let hersmell it first.Ty: There you. Hey... Easy now... I'm just gonna put this over your head. Really slowly... Just like that.Amy: Okay, we're ready! Yah! (Hoovesthunder)Amy: Okay, wait for it... Now!(Barega snorts)Emmett: Yes!Amy: That's it!Scott: Woo! Nice exchange!Well, you finally got him out of bed. It's nice to beable to... sleep in for once. I thought you packed it in right after dinner last night? Ah, must be the country air.(Jack chuckles)So what do you two have plannedfor today?Jeff: Well, she's abandoning me for some trick riding practice.Georgie: Well, I told you, I could skip it.Jack: Have fun, whatever it is. No, that's fine. I'llhang out here until you get back.Georgie: Really? Yeah... what? Well, don't you usually go rent exotic cars and... rip around on your motorcycle? I guess I'vemellowed in my old age.(Knock at the door)Georgie: Oh, look who it is.Just happened to be in the neighborhood?Jade: Uh, I just left my jacket here lastnight.Georgie: Of course you did.Jade: Hey, Jeff.Jeff: Hey.Jade: Nice hair. Yeah, barn loft special.(Self-conscious chuckle)Don't you have somewhere to be? No.Actually, I'm gonna go to this arts and music festival. I thought you might wanna go. Uh... yeah, I got a little free time on my hands. Why not?Jade: Cool.Jeff:Well, I better run a comb through this though, huh?Georgie: Okay. (Sighs)Ty: Well, I can't believe what a difference that made. That was great.Scott: Yeah, theexchange was perfect every time. But Emmett's team can't be using your jacket during the race.Amy: No, that's why we'll use blinders for the real thing, right?That'll block out all the craziness that's happening around her.Scott: Well, looks like you're back on track for the championships.Amy: Hey, good luck at the finals."}
+{"doc_id":"doc_268","qid":"","text":"LUCAS (voiceover) : My name is Lucas Scott. Four years ago, I graduated from high school with my friends. Brooke Davis moved to New York City and foundsuccess. Peyton Sawyer went to Los Angeles. Success didn't come so easily. I wrote a novel and fell for my editor, Lindsey. My brother Nathan saw his dreamsvanish... leaving his wife, Haley, and their son, Jamie, more fractured than ever. Things have changed in four years. But in many ways, this is just thebeginning.BROOKE : I missed you, P. Sawyer. We're home now.PEYTON : Come on.LUCAS'S BEDROOMBrooke sneaks inside the room and jumps on thebedBROOKE : You're not Lucas!LINDSEY : You're Brooke Davis!BROOKE : Yeah. Hi. You're... wearing me. Clothes Over Bro's is my line.LINDSEY : Yeah, I loveit.BROOKE : Thanks.LINDSEY : And you are so pretty in person.BROOKE : Thanks. So are you.LINDSEY : Okay, this hasn't happened to me since college.BROOKE: Right. Okay.(Lucas walks in)LUCAS : Wow, this hasn't happened to me since college.BROOKE : Hi, Luke.LUCAS : Brooke Davis. Oh, I missed you.DOWNTOWNTREE HILLSkills is with JamieSKILLS : So, what do you want to do today?JAMIE : I don't know. Play, I guess.SKILLS : Yeah, me, too.JAMIE : Don't you have ajob?SKILLS : What are you, the man? I don't see you paying any rent.JAMIE : That's because I don't have any money.SKILLS : Well, that makes two of us. Now,let's just go over the drill. If we see any hot chicks today, who are you?JAMIE : I'm an orphan who needs surgery, and you're paying for it, 'cause you'rerich.SKILLS : Good man.JAMIE : Whoa...(Jamie sees a small racer)SKILLS : Soapbox Derby. Man, when I was a kid, I always wanted to do this.SKILLS : Me, too.It's a good thing you're still a kid, 'cause we got two days to pimp your ride.JAMIE : Can uncle Mouth help me pimp my ride?SKILLS : I don't think so. See, uncleMouth finally got a j-o-b.JAMIE : That spells \"job.\"SKILLS : Man, you're getting way too smart. It was a lot easier when you was 3.MOUTH'S NEW JOBMouth walksin a recording studio and sits behind the desk, like if he was the sports announcer.MOUTH : Good evening, ladies and gentlemen. I'm Marvin McFadden, andsports is coming up next.(a women walks in)ALICE : What, exactly, are you doing?MOUTH : Oh, the station called about the field-reporter position?ALICE : Fieldreporter... little ambitious, don't you think? The job that we called you about is an entry-level logger position. We could hire a monkey to do that but the freaks atPeta would more than likely picket.MOUTH : But I guess I assumed...ALICE : First door on the left. You watch the games, you highlight the best plays, and youleave thelog for on-air. If you cannot accomplish that, you are currently wasting my time.MOUTH : I'm sorry, but you are still looking for a reporter, aren'tyou?ALICE : The answer to your question, yes. Let us be honest... you don't really have the face for it, do you?CLASSROOM IN TREE HILL HIGHHaley is startingher classHALEY : All right, good morning. This is actually my first official day as a teacher, and you're my first official class. So, congratulations. My name is...Haley... James...QUENTIN : That is some fine ass.HALEY : All right, first of all, that's no way to talk to a girl, any girl, and second of all, that is absolutely no wayto speak to a teacher.QUENTIN : I'm sorry. It was me. Just trying to give you a compliment.HALEY : What's your name?QUENTIN : Quentin Fields.HALEY : Okay.Sit down, Quentin.QUENTIN : Yes, ma'am. Won't happen again, miss James.HALEY : Actually, it's Mrs. Scott.QUENTIN : Damn, that ass.HALEY : Okay, all right.Get out. You need to go to the office.QUENTIN : Oh, to the office. Maybe we could go together. Maybe you could just spank me right here.STUDENT : Yeah, Mrs.Scott!QUENTIN : Ooh, harder, Mrs. James-Scott!HALEY : All right, settle down.QUENTIN : Spank me, Mrs. James-Scott!HALEY : I said, \"settle down!\"HALEY :Class!STUDENTS : Class!HALEY : I have just...STUDENTS : I have just...(Haley leaves the classroom)QUENTIN : Baby, come back!RIVERWALKBrooke joinsPeytonBROOKE : HeyPEYTON : heyBROOKE : Hey, how much do you love me? I went to see Lindsey, Luke's girlfriend. I have good news and bad news.PEYTON :Luke and I haven't been together for three years. It's not why I'm home.BROOKE : I totally believe you. Fine.(Brooke's phone rings)BROOKE : Ooh, the office.They're just figuring out I'm not in Milan. I bet Victoria's having a cow.PEYTON : You think maybe you should call and let her know you're alive?BROOKE : No. No,I have a more important question to ask you. What happened after Lucas finished his book?FLASHBACK, 2 YEARS AGO, LOS ANGELES/ TREE HILLPeyton iswalking in the street, her cell phone rings. On the other side, Lucas is at home.PEYTON : Hello?LUCAS : Hey, it's Lucas. I know it's been awhile, but... I'm havinga book signing in L.A. on a couple of days.PEYTON : Yeah, I know. I mean, I read about it.LUCAS : Yeah, I've been pacing the house for the last hour wondering ifI should call, considering how we left things.PEYTON : No, it's okay. It's actually really good to hear your voice.LUCAS : Yours, too. Well, I was hoping... I'd loveto see you if you're not too busy.PEYTON : Yeah... yeah, okay. Sure, I'll be there.LUCAS : That's great, Peyton. Well, then, I... I'll see you soon, then.PEYTON :See you soon.END OF THE FLASHBACKINTERIOR TREE HILL GYMLucas is talking to the basketball players with SkillsLUCAS : My name is Lucas Scott. I'm the newhead basketball coach of the Tree Hill Ravens. This is Antwon Taylor. He's the new assistant head coach. You want our credentials? They're hanging right there.(showing the flag of their state championship victory) I must congratulate you. For some of you, it took only four years to destroy the legacy coach Durham took35 years to build. Nice work. So, as of today, all 12 roster spots are available. It doesn't matter if you played last year. In three days, we'll have our final roster. Ifyou want to be on it, then I would advise you go hard. Skills?SKILLS : I would definitely go hard.LUCAS : One-on-two drill.SKILLS : Everybody line up at halfcourt. Haley walks into the gym, takes Jamie who's sitting on the bench and walks to LucasJAMIE : Mama, I'm gonna race in a soap-opera derby.HALEY :What?LUCAS : How was your first day?HALEY : Um, horrible. My first class, like, attacked me, and I ran out in tears, and principal Turner had to finish the rest ofmy classes.LUCAS : I'm sorry, Hales.HALEY : They were awful, so mean... especially this one kid, who was, like, sexually harassing me.LUCAS : What? Who wasit?(Quentin enters the gym)HALEY : Him.QUENTIN : Hello, there, Mrs. James-Scott.HALEY : We'll see you later, okay?LUCAS (to Quentin) : You're late.QUENTIN :Yeah? I'm also your leading scorer.LUCAS : No, you might have been a leading scorer on a team that won three conference games all last season. But you are notmy leading scorer... not yet.(Quentin takes a ball and makes a dunk)OUTSIDE NATHAN AND HALEY'S HOUSENathan is alone, thinkingSPORTS ANNOUNCER(voiceover) : Seattle is on the clock right now. We'll get to the commissioner in regards to their pick. They going big? They going small? Somebody help!Somebody!(Peyton and Brooke walk in)PEYTON : Well...BROOKE : Well. Don't look away. The second and third greatest nights of your life just walked back intoyour world.PEYTON : You looking all rock star totally does it for me.BROOKE : Very heroin chic, Nate. I like it.NATHAN : What are you guys doing here?BROOKE :Well, Lucas tells me that you can walk, but you need a little incentive. So we have come up with a drill.PEYTON : For every step you take... we kiss.(They hughim)PEYTON : Hey, it's good to see you.BROOKE : We missed you.HALEY : Nathan...(Haley is coming outside with Jamie. She stops when she sees herfriends)PEYTON : HeyBROOKE : HiHALEY : Hi... What are you guys doing here?BROOKE : We came to see you and...HALEY : Oh, Jamie, sweetie, come here.There's people I want you to meet. Come on, it's okay. This is Brooke and Peyton, and this is our son, Jamie.PEYTON : Hey, Jamie. How are you?BROOKE : He isbeautiful(Nathan leaves)BROOKE : Nate?(The three girls hug)BROOKE : We missed you.BOYS APARTMENTLucas and Skills are with Jamie, taking care of hisracerLUCAS : Man, I've always wanted one of these things.SKILLS : Yeah, me, too.JAMIE : Me, too.SKILLS : I think we should paint it red. You know, the redracer. Yo, kid, talk to me about the cape. What's the real?JAMIE : I'm a superhero.SKILLS : Is that right? Why don't you fly to the kitchen and get me abeer?LUCAS : So, what's your take on the team's former leading scorer?SKILLS : Quentin? The kid's pretty good.LUCAS : The kid's really good. Now we just gotto figure out if we can get him to play a team game, you know?JAMIE : Can I have pudding?SKILLS : You can read, right?SKILLS : If the pudding says \"Junk\" or\"Fergie,\" you can have it.JAMIE : Thank you.LUCAS : Hey, and just one, okay? No, I mean, it's like, I don't know if they lost all those games because they didn'thave enough guys on the team like him.SKILLS : Or maybe they just lost because of him.LUCAS : You know who he reminds me of.SKILLS : Yeah.OUTSIDENATHAN AND HALEY'S HOUSEJamie and Haley join NathanJAMIE : Hi, daddy. Did you see my basketball?NATHAN : No.HALEY : You okay?(Nathan doesn'tanswer)HALEY : \"I'm fine, wife. How was your day? You know, husband, my day really sucked, but thanks for asking.\"NATHAN : And mine didn't?HALEY : That'sjust a little selfish, don't you think?NATHAN : No. No, I don't think. And I didn't see you lose your dream.HALEY : Maybe you need to open up your eyes.Where'sJamie? Jamie? Jamie!CARRIE (bringing Jamie back) : This belong to you?BOYS APARTMENTBrooke visits MouthBROOKE : Wine delivery from New YorkCity.MOUTH : Wow, I called for that wine two years ago. Get in here! Come on.INSIDE NATHAN AND HALEY'S HOUSEHaley's interviewing CarrieHALEY : Can Ijust ask why you decided to become a nanny?CARRIE : Honestly, because I get paid to work with some really great kids. Eventually, I'd like to maybe go back toschool and study to be a pediatrician... someday, when I have someone else's life and income. Look, Haley, I know when you go to interviews like this, both sidesare trying to figure out how crazy the other person is.HALEY : Are you doing that, too?CARRIE : I get it, but I've taken enough of your time. You have myreferences, and Jamie seems like a wonderful boy, so just let me know. Either way, it was great meeting you. It was great to meet you, too. Thank you somuch.(Jamie enters the kitchen with mud all over him)JAMIE : Look, mama! Me and daddy made mud!HALEY : I'm sorry. Who am I kidding? How soon could youstart?BOYS APARTMENTSkills sneaks inside Mouth's room, where Brooke and Mouth are sleeping, still dressed. He lies down beside Brooke and take a picture.That awakes Brooke.SKILLS : Well, imagine that. Brooke Davis.BROOKE : What time is it?SKILLS : Like, 8:30.BROOKE : Oh, no.(Brooke stand up)BROOKE : Itold Haley I'd take Jamie!(Mouth wakes up too)SKILLS (to Mouth) : That was some wild night, baby.MOUTH : What time is it?SKILLS : Like, 8:30.MOUTH : Oh,no, I'm late for work!BROOKE : Jamie, have you seen my shoes? I'm supposed to go and pick up... Jamie...What are you doing here?JAMIE : Mommy brought me"}
+{"doc_id":"doc_269","qid":"","text":"(Lorelai and Rory are sitting on the couch on the porch in front of the house. Lorelai is painting Rory's toenails red. Rory squirts whipped cream into hermouth.)Lorelai : (sarcastically) That's nice.Rory : Thank you.L : Don't move, please.R : So, Why are you insisting on doing this.L : Well, because you're going tobe starting private school tomorrow.R : Yes, but I'm going to be wearing shoes. Nobody's going to see my feet.L : Okay, But everybody knows that private schoolgirls are bad. And bad girls always wear red nail polish.(There is a lull in the conversation.)L : Are you nervous?R : About what?L : About starting Chilton.R : WellI wasn't until I heard about all those bad girls.(They both laugh.)(Lane Kim, Rory's friend runs up.)Lane : You guys! XTC. Apple Venus Volume 2.(Lorelai and Lanerun into the house.)R : But you only finished half my toes!L : Who cares?! You're going to be wearing shoes anyway!(Rory rolls her eyes and goes into thehouse.)(Opening Sequence Starts.)(Commercials)(Shows an opening shot of the house.)(Lorelai is sleeping. Rory, dressed in her Chilton clothes, opens the doorto her mom's bedroom.)R : Mom!L : (gasps) What? God! Hi. (in a whiny tone)R : What are you doing?L : Having a heart attack.R : I thought you were up. It's7:10!L : What?R : It's 7:10.(Rory grabs her pillow.)L : Stop it! It's a quarter to six. (grabs back pillow)R : No it's not!L : Yes it is! I set the clock for a quarter tosix so it's..(Rory grabs clock and shows her the time.)L : It's 7:10!(Lorelai jumps out of bed and stumbles around, disoriented. Rory slams down clock.)R : I can'tbe late on my first day of school. Do you know what happens to people when they're late on their first day?(Lorelai is rummaging franticly through her dresser forclothes.)L : It's shorter?R : They're labeled 'The late girl'.L : Ohh! So dramatic. Where's the bathroom?(Rory takes her by the shoulders and steers her throughthe door.)R : We have to go! What if there's traffic? Mom!(Lorelai runs into the bathroom and shuts the door.)L : I had this all planned. I was gonna get up early.I was gonna get coffee. I was gonna take a shower. I was gonna pick up my clothes from the dry cleaners.(Lorelai opens the door.)L : (sighs) Oh my god. Myclothes.R : What?!(Lorelai walks down the hall with Rory trailing after her.)L : I don't have any clean clothes.R : It's 7:15.L : All my nice things were dirty.R : It's7:16.(Lorelai look in her closet, then turns away.)L : I was gonna wear my blue suit with the flippy skirt. I look so great in the flippy skirt.R : It's 7:17.L : Youknow what, time lady? Why don't you go downstairs and warm up the car? That would be really super. Thank you.R : Just hurry!(Rory goes downstairs, Lorelairummages through a drawer.)L : This sucks! This sucks!R : It's 7:18 (Rory calls from below.)L : Oh, for the love of god! (sighs) She sits on the bed and puts onsocks. This is the last time I ever buy anything just because it's furry. (talking about clock)(scene changes)(Lorelai is running down the steps in cowboy boots,really short frayed shorts, and a bright pink tye-dyed tight tee-shirt. She's hurriedly putting her hair into a messy ponytail. Rory is standing at the foot of thestairs and looks up.)R : It's 7--L : Don't even think of finishing that sentence. (sighs) What?!R : Nothing. I just didn't know the rodeo was in town.L : All right,that's it. (grabs a picture frame) I'm bringing the baby pictures.(Lorelai runs out the door with Rory in pursuit.)R : No! I'm sorry! I love the rodeo! The rodeorules!(scene changes)(camera pans through town, finally settling on the jeep, and then the Stars Hollow sign.)L : I am so done with plans. I am never evermaking one again. It never works. I spend the day obsessing over why it didn't work and what I could've done differently.(scene changes)(inside jeep, Lorelai isdriving, Rory sitting in passenger seat.)L : I'm analyzing all my shortcomings when all I really need to be doing is vowing to never ever make a plan ever againwhich I'm doing now. Having, once again, been the innocent victim of my own stupid plans.(they go past her old school and Rory looks out at all the kids havingfun.)L : God, I need some coffee. (sighs)(screen shows Jeep driving down several different roads, and then a road sign that says Hartford, 14 miles.)(screenswitches to show different gargoyles, and then the outside of Chilton.)(Rory and Lorelai sit in Jeep, peering out at Chilton.)R : I remember it being smaller. (shelooks worried)L : Yeah. And less.. (she looks intimidated)R : Off with their heads.L : Ah. (tilts her head, peering up.)R: (glancing at her mom, does the same.)What are you looking at?L : I'm just trying to see if there's a hunchback up in that bell tower.R : So, how do I look?L : (sighs, sits back and beams with motherlypride.) You look great.R : Really? (skeptical)L : Really. You are an amazing kid. You have earned this. You just go in there and show them what smart really is. Ilove you. Call me if you need me. (reaches for gear)R: (looks worried) You're kidding, right?L : No! Call me if you need anything. I'm great at making up dirtycheers.R : You have to go in with me.L : Rory, come on. (looks at her clothes meaningfully.)R : You have to meet the headmaster.L : Well, look at me! I can'tmeet anyone who does anything in there. I look like that chick from the 'Dukes of Hazzard'.R : This is my first day. You are not getting out of going in there withme.(Rory and Lorelai get out of the jeep. Two moms walking by stare at Lorelai, who drops her coat. They scurry away.)L : Good morning!L : (to Rory) Oh, well,we're gonna be best friends.(Lorelai puts her coat on as they walk into the Chilton courtyard.)L : So, where do we go.R : (looks at paper in her hand) Uh, theAmbroise building.L : Which is?R : The big, scary one.L : Oh great! Thanks for the input.(man walking by looks over at them, especially with some interest toLorelai.)(they look around, slightly bewildered)Man : lost?L : Oh, yeah. We're looking for the headmaster's office in the Ambroise building.Man : Ah, okay. Well,this is it right here. (he points beside them) Down the stairs, make a left and the headmaster's office is at the end of the hall.L : Great. Thank you.Man : You'rewelcome.(Rory grabs Lorelai's arm to go, but the man extends a hand.)Man : Uh, I'm Ian Jack. My daughter Julia goes to school here. (they shake hands)L : Hi!I'm Lorelai Gilmore. This is my daughter, Rory. (Rory looks slightly uncomfortable.)Ian : Your daughter? Really. (surprised) Wow, that's great. Uh I mean,daughters are a great thing.L : We're big fans. (they're flirting)Ian : (laughing) Yeah. So, is your husband here? I'd love to meet him.L : Um, no. I'm not married.I'd love to meet your wife, though.Ian : I'm divorced.L : Shame.R : Excuse me. I really got to..L : (grabs Rory's arm) Right! We gotta go meet the big guy, and Igotta get back to work.(they rush off)Ian : (calls) Where do you work?L : (rushes back) At an inn. The Independence Inn. I run it.Ian : Really?L : In a differentoutfit, of course.Ian : Ha. Well, It was nice to meet you, Lorelai. Good luck in school, Rory. I'll tell Julia to look out for you.R : Great, thanks.Ian : See you.(Lorelaiwaves a little, smiles, mouths 'bye'.)L : What a nice, nice man.R : You're feeling pretty good about yourself right now, aren't you.L : Yeah (still smiling)R : Do youwant me to get you a mirror?L : I'm back. Let's go. (smile is gone, they rush off)(scene changes)(Lorelai and Rory are walking down the stairs in Chilton. Theylook around.)L : Oh, good. More big stuff. (sarcastically)R : Turn left.L : Oh(Rory and Lorelai walk out of the screen. The camera is on three sour looking girls,staring after them. They roll their eyes, look expressively at one another, and continue on their way.)(screen changes)(Lorelai and Rory are walking down ahallway, almost to the headmaster's office. They look at their surroundings with apprehension. They get to the door and stand in front of it, just staring.)L : Youready?R : No.L : You ready?R : Yes.(They open the doors, and step into a room that contains a desk with a strict looking woman wearing library glasses sitting atit. They stop in front of her.)L : (clears throat) Um.. Excuse me. (Secretary looks up suddenly. She jumps back slightly.) Oh! How.. Wow. Hi. I.. I'm LorelaiGilmore. This is my daughter, Lorelai Gilmore. I named her after me. I was in the hospital all whacked out on Demerol. (glances at Rory, realizes she's rambling.)Never mind. B-B-But we call her 'Rory'. It's short for Lorelai or even 'Hey, you' depending on the.. (Rory nudges her) Is the headmaster here?Secretary : (getsup, removes her glasses) One moment. (Walks briskly away.)(The Gilmores watch her until she closes the door.)L : (whispering) See, that's what happens whenyou go to bed with your makeup on.(Rory grins, Lorelai sighs)(Door opens behind them, Secretary stands there stiffly, as if announcing a guest.)Secretary :Headmaster Charleston will see you now.L : (clears throat) Great. Thanks.(They walk into room, secretary shuts door.)Headmaster : (extending hand) Ms.Gilmore, I'm headmaster Charleston.L : Hi. Wow. It's really nice to meet.. (looks around, looks again at corner, sees her mother on couch) Mom. Uh, ex.. Whatare you doing here?Grandmother : (sweeps past Lorelai) I came to wish my granddaughter luck on her first day of school. (Lorelai looks exasperated) Rory, youlook wonderful in that uniform!L : You didn't have to come all the way out here, Mom.Grandmother : This gave me a chance to make sure that Hanlin here takesgood care of Rory.L : (gestures to Headmaster) You're Hanlin.Headmaster : Hanlin Charleston.Grandmother : Hanlin's wife and I are on the symphony fundraisingcommittee together.L : Wow. That's great.Headmaster : Your father and I are golf rivals. We're still fighting it out to see which one is worse.Grandmother : Oh,yes. We're all old friends.L : Well, there's nothing like friends. Especially if they're old.(Everyone looks a tad oddly around at her remark.)Headmaster : Would youlike to take off your coat and have a seat?L : (looks frightened) Oh, no. No, I'm fine.Headmaster : I'm afraid they were a little overzealous with the furnace thismorning. It's quite warm in here.L : I like it warm. (nodding her head like an idiot)Grandmother : Lorelai, take off your coat and sit down. You don't want Hanlinto think you're rude. (commanding tone of voice)L : (looking extremely uncomfortable and embarrassed, takes off coat. Everyone stares, grandmother rolls hereyes. Exhales loudly.) Laundry day.Grandmother : Hanlin, did you know that Rory has a 4.0 grade point average?L : I'm sure he does, Mom.Grandmother : Thisis a very special girl. You take good care of her.Headmaster : We'll do our best, Emily.(everyone sits down)L : Rory's not going to be a problem. She's totally lowmaintenance. You know, like a Honda. You know, they're just easy, just.. (Rory looks embarrassed) Nice office.Grandmother : Well, I don't think we should takeup anymore of your precious time. It was lovely to see you. Give Bitty our love. (kisses cheeks with headmaster)Headmaster : Tell Richard I'll see him at the clubSunday.Grandmother : Have a wonderful day, Rory. I want to hear all about it. Do you need a ride or is your horse parked outside? (to Lorelai) (walks out ofroom)L : It's so nice to meet you. (shakes hands with headmaster, kisses Rory's forehead.) Have a great day.Headmaster : Oh, you don't want to forget yourcoat.L : (turns) Oh no, 'cause that would be embarrassing. (laughs, walks out of office.)(scene changes)(Lorelai and Grandmother are walking down the"}
+{"doc_id":"doc_270","qid":"","text":"(Capeside High School - Dawson and Joey are walking down the hallway talking.)Joey: Correct me if I'm wrong Dawson, but don't you already own acamera?Dawson: A video camera, yeah.Joey: And the difference is?Dawson: Well, imagine Schindler's List shot on a family camcorder. Alright, I mean, it... videois a great format to learn on, but the look and the feel is strictly amateur. Film is key, and if we can find her we can give it another spin.Joey: \"Her\"?(They enter aroom, not noticing Nikki, who is messing with a film camera.)Dawson: The Aeroflex. Capeside High's one and only 16mm camera.Nikki: She is a beauty,Dawson.Dawson: Nikki! Hey, what are you doing here?Nikki: Extra credit for joining this film class. Plus, I get to be near all the equipment.Dawson: Ah, how veryearnest of you.Nikki: Joey, right?Joey: Right. Hey. I heard wonderful things about your film.Nikki: Really? From who?Dawson: Um, speaking of equipment, handher over.Nikki: Sorry, Dawson, she's checked out.Dawson: That's highly unlikely...Nikki: Yet completely true.Dawson: Well, how long has it been checked outfor?Nikki: About seven days.Dawson: Then it's due back today.Nikki: Nope. She's checked out for the next four weeks straight.Dawson: There's a one weekmaximum.Nikki: I cleared it with Mr Jordan.Dawson: You did.Nikki: Hmm-mmm.Dawson: You checked out the camera?Nikki: Me checked out the camera,yes.Dawson: Well, there's a project I want to start working on.Nikki: There's a project that I AM working on.Dawson: OK. Well then when can I have the cameraback, exactly?Nikki: When I'm done.Dawson: And when will that be?Nikki: (rolling the camera out the door) Filmmaking is not fast food, Dawson. You can't rushit.(Commercial break. Grocery Store - Jack and Jen push a cart through the store, tossing items in as they walk down the aisle.)Jen: Wait a minute. Three boxesof cereal, Jack? You're gonna need an explanation before you put those in the cart.Jack: OK, fine. First, we have our Grape Nuts; combination of taste andsufficient nutrients to make the perfect day-starter. (tossing it in the cart) From there we move onto the premier afternoon snack. The, well, underrated, but, uh,ever-tasty, Cocoa Pebbles. (tossing it in the cart) And then, we round out the, uh, cereal lovers perfect day with a yummy, late-night staple... Captain Crunch!(tossing last box in)Jen: (removing the last two boxes) If there was ever a concern that you are not Andie McPhee's brother, it's been solved.Jack: Whoa! Whatare you...? Come on!Jen: You're a good man, Jackie Brown, but as a grocery shopper, you blow. I'm afraid I must leave you with the Grape Nuts.Jack:Fascist.Jen: (walking off to return the cereal) Pig.Ethan: (walking up) At least you fought the good fight. Hey Jack.Jack: Uh, Ethan. From the... from the trainEthan.Ethan: I prefer just plain Ethan.Jack: Wow, uh, what are you doing here?Ethan: Food shopping. I hear it's pretty standard in one of these places.Jack: Uh, Imeant, I thought you were going back to school last weekend?Ethan: I did. I came back for Capefest.Jack: Oh. Uh... what is that, I mean, is... is it like a, uh, afeed the poor type of thing?Ethan: Which one of us lives here year 'round? It's a concert. A free concert in the park.Jack: Oh, OK, so it's like a Lala Palooza typedeal?Ethan: Moshing, stage diving, overpriced bottled water. Anyway, umm, there's a camp site outside the concert where everyone hangs out. I'm going downto get a spot tomorrow.Jack: Oh, well cool, that sounds like a blast.Ethan: Well if you're a fan, you should come.Jack: Uh, yeah, I'm a total fan.Ethan: Telltale fanquiz: Who's your favourite Foo Fighter?Jack: Courtney Love.Ethan: You're in the alternative nation, just not quite in the right zipcode. (seeing Jack'sdissapointment) You should come anyway.(As Ethan leaves, Jen walks up.)Jen: Cute!Jack: Yeah.Jen: Aren't they all.(Capeside High school - Andie walks up to ateacher who is closing up his classroom.)Andie: Excuse me, Mr. Broderick, can I speak with you for a minute?Mr Broderick: (rudely) And you are?Andie: AndieMcPhee.Mr Broderick: And you want to waste my time about?Andie: The school play.Mr Broderick: I see. Auditions are after school, so if you don't mind...Andie:No, but if you can just give me a minute...Mr Broderick: I am not auditioning at this time, comprende? I am eating lunch. I assume you eat lunch on your planet,do you not?Andie: But I'm not here to audition.Mr Broderick: I know, you want to star in the show.Andie: (showing him the play flyer) Assistant Director.MrBroderick: I'm very familiar with the scenario.Andie: Look, Mr Broderick, I want to be Assistant Director. I'm smart, bossy, and super efficient. And the truth is,you need me.Mr Broderick: Why didn't you just say so?(Leery Residence - Dawson and Joey walk into the house.)Dawson: (acting like Nikki) Filmmaking is notfast food, Dawson.Joey: She's entitled to the equipment too.Dawson: Look, if you check out a camera, you return the camera in a timely fashion, that's all I'masking.(Joey follows Dawson into a family room empty of furniture. Gale is there picking up a box.)Dawson: Uh, mom? What's going on?Gale: Hey. Uh, look,honey, I'm going to be taking some furniture over to my place.Dawson: Oh, OK.Gale: Just from the family room and the guest room. It's part of the settlement. Iasked your dad not to say anything because I wanted to explain myself.Dawson: Mom, you don't have to explain yourself, that's how it works.Gale: I need you tokeep being as positive as you can be about this, honey. It's going to make it so much easier on all of us.Dawson: Well, I aim to please.Gale: Thank you forunderstanding.(Gale walks off with the box. Joey looks at Dawson, knowing he's very affected by this.)Joey: Do you want to talk?Dawson: (shrugs) What's thereto say?Joey: About what you're feeling.Dawson: I'm thinking my parents are divorced and I'm glad it's finally over.Joey: Dawson, I said what you'refeeling.Dawson: (walking away) I'm still working on that one.(Cape Fest - Jack and Jen are carrying their stuff, looking for a spot to camp out. Actually, Jack isjust looking for Ethan.)Jack: This is gonna be great, I mean, sleeping out under the stars, fresh breeze off the ocean, call of the wild...Jen: It's the call of natureI'm worried about. Jack, where are the chemical toilets?Jack: I dunno. What do you say we set up here?Jen: God, I thought I'd go to extreme measures to getinto some guy's pants.Jack: Whoa, whoa, whoa, I am not trying to get into his pants. For crying out loud, this is the first gay guy that I've actually conversedwith, excuse me for wanting to get to know him.Jen: Jack, I know. Just be aware that you're venturing into new territory here. And that before you take this greatbig emotional leap, Jack, you should be willing to admit that you're taking it. Don't just try and brush it off as simply wanting to get to know somebody.Jack: I'mtelling you, it's all it is.Jen: OK. Even still, take my advice - play it cool. Let him come to you.Jack: I think I'm gonna see if I can find him.(He walks off, leavingJen with all the equipment.) (Capeside High Auditorium - The audtions have started, and quite frankly, they are terrible. Mr. Broderick and Andie make faces asthe camera goes through various people reading lines off the script.)Student 1: (passionately) Okay Cory, maybe you're right, maybe love isn't enough, maybetwo people should have to take more than a blood test...Student 2: (monotone) ...maybe love isn't enough...Student 3: Okay Cory, maybe you're right, maybelove isn't enough... Student 1: (passionately)...maybe two people should have to take more than a blood test, maybe they should be checked for commonsense...Student 2: ...maybe they should be checked for common...Student 3: ...common sense, understanding...Student 1: ...maybe they should be checked forcommon sense, understanding, and emotional maturity.Student 4: (this one isn't nearly bad as the rest) Okay Cory, maybe you're right, maybe love isn't enough,maybe two people should have to take more than a blood test, maybe they should be checked for common sense, understanding and emotional maturity.Andie:(to Mr. Broderick) I like him. What do you think?Mr Broderick: I think I'm getting a migraine.Andie: I think he's got a certain dramatic flair.Mr Broderick: I've gotsomeone else in mind.Andie: Who 'someone else'? We are out of someone else's.Mr Broderick: Granted, the boy I know is a deplorable student and he has theethics of a billy goat.Andie: We've already cast our Cory and Valasgo, please don't let our only Paul slip away.Mr Broderick: Have no fear, Miss McPhee. I cut adeal with one of my students. The kid is a natural with comedy.Andie: Okay, Mr Broderick, if I may be so bold. From my limited perspective, I see but two kindsof actors - those with talent... and those with the ability to expand on that talent. Which requires maturity, which requires a sense of responsibility, which requiresthe ability to come both prepared and on time.Pacey: Hey you guys, I'm sorry I'm late. I'm here to read for the role of Paul. Pacey Witter.Mr Broderick: That'shim, that's our Paul.(Andie has this, 'you gotta be kidding' look on her face. Nikki's House - she is sitting on a porch swing reading when Dawson walks up.)Nikki:Dawson, tell me this isn't an attempt to repossess the camera.Dawson: I just want to reiterate something.Nikki: Reiterate away.Dawson: Okay, I get this littleego trip. I know you're the principal's daughter, but that does not give you the right to be selfish or rude...Nikki: Dawson. I didn't know you wanted to use thecamera. But... you're just gonna have to get used to it.Principal Greene: I thought I heard a familiar sounding voice. If it isn't my second favourite studentfilmmaker. How are you, Dawson?Dawson: Principal Greene. Good.Principal Greene: So I understand you and Nikki have become fast friends.Dawson: Yeah,yeah.Principal Greene: I had a feeling you two would hit it off. Hey listen, why don't you stay and join us for supper?Dawson: I couldn't, I gotta...Nikki: Oh,Daddy, I'm sure Dawson has other plans.Principal Greene: Now wait a minute. As your father and as your principal, I think I'm gonna have to pull rank here.Besides, how often do I get a chance to have a nice meal with one of my students? And I promise not to talk too much about my lovely little daughter. Comeon.(Dawson follows the two inside. Cape Fest - Jack is looking for Ethan.)Ethan: (up in a tree, what is now a hippy?) Hey there. So you decided to show.Jack: Onesmall step for man, one giant leap for mankind.Ethan: You here by yourself, or with?Jack: Um, with... a girl. She's, uh, a friend of mine. She's setting up our tent.What about you?Ethan: All by my lonesome.Jack: Umm, ah...Ethan: So, you want to go grab a bite to eat, take a walk, what?Jack: Yeah. Uh, to both.Whatever.Ethan: Come on, I'll lead the way.(Scene cuts to Jack and Ethan walking on the beach talking.)Ethan: After the train ride I thought for sure you'd askfor my number.Jack: Yeah well, typical paranoia set in. Hey, what can I say?Ethan: I figured as much.Jack: How come you didn't ask for mine?Ethan: Because Icould. It's more important that you learn to ask. You're the newbie, remember?Jack: Yeah, newbie. Barely 'outed' gay kid soon to have his heart broken,right?Ethan: Good recall!Jack: Well there's not much I'm gonna forget about that conversation, it was a first for me.Ethan: It was your first time talking to"}
+{"doc_id":"doc_271","qid":"","text":"[ The cafeteria ]Leonard: Have you guys heard about this research team that's trying to transgenically manipulate chicken DNA to create some sort of chickendinosaur?Sheldon: Oh, I think that sounds wonderful.Howard: What? You're afraid of both dinosaurs and chickens.Sheldon: Yes, but tell me a dinosaur chickensalad sandwich wouldn't hit the Mesozoic spot.Raj: Hey, guys.Howard: Hey.Sheldon: Hello.Raj: We still on for tomorrow night?Leonard: Yeah. I'm excited tofinally meet your girlfriend.Sheldon: Speaking of which, according to a recent study out of Oxford University, when someone takes on a new romantic partner,that person loses one or two close friends.Howard: Since when do you read social science?Sheldon: I go to the bathroom like everybody else.Raj: Why would Ilose friends just because I started dating someone?Leonard: Yeah, you didn't lose anyone when you met Amy. Yeah, well, no, this study refers to romanticpartners. Not the way I would categorize the two of us.Raj: You guys kiss and hold hands.Leonard: I've seen him do it. It's not romantic.Raj: Look, I'm not thekind of guy who drops his friends just because he's in a relationship.Leonard: What happens if she doesn't like us?Raj: Well, hey, you're my dear friends. You'llget a Christmas card for a couple of years, and then you're dead to me.[SCENE_BREAK]\u0000 Our whole universe was in a hot, dense state \u0000[SCENE_BREAK]\u0000Then nearly 14 billion years ago expansion started... Wait! \u0000[SCENE_BREAK]\u0000 The Earth began to cool \u0000[SCENE_BREAK]\u0000 The autotrophs began to drool,Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We built the Wall \u0000[SCENE_BREAK]We built the pyramids[SCENE_BREAK]\u0000 Math, Science, History,unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]Bang![SCENE_BREAK]\u0000 The Big Bang Theory 8x04 \u0000 Original AirDate on October 6, 2014[SCENE_BREAK][ The apartment ]Amy: So, Howard, is Stuart still living with your mom?Howard: I don't want to talk aboutit.Bernadette: But he's going to.Howard: My mom got him cable. In my whole life, growing up in that house, no cable. Do you know how many HBOs that leechhad my mother get him? Seven. Seven HBOs. Seven.Bernadette: Long story short, they have seven HBOs.(knocking)Raj: Hey, guys.Sheldon: Hello.Raj: Emily,you know almost everybody here.Emily: Hi.Raj: And this is Leonard, this is Penny.Emily: Oh, it's so nice to meet you.Leonard: Nice to finally meet you,too.Penny: Hi.Emily: Hello.Leonard: Wow, Raj, you were not lying about her.Raj: I told you she exists.Penny: Hey, I hear you're a dermatologist.Emily: Uh, yeah,I'm a resident at Huntington Hospital.Sheldon: Oh, I like their emergency room. Yeah, even if it turns out you don't have Dengue fever, they still let you take alollipop.Bernadette: You know, Penny just started training to be a pharmaceutical sales rep. Maybe she can practice on you some time.Penny: Oh, it would begreat to practice on a real doctor.Emily: Yeah. I'm sure that'd be fine.Sheldon: I have some odd freckles on my buttocks. Can I make an appointment for you tolook at them?Emily: Um, okay, I guess.Amy: I'm with him three years, nothing. She's with him two minutes, and he's taking his pants off.[SCENE_BREAK][Penny's apartment ]Bernadette: Last night was fun. What did you think of Emily?Penny: I don't know. I kind of got the sense she didn't like me.Bernadette: Didshe say she didn't like you?Penny: Of course not. No one ever says they don't like you straight to your face.Amy: We have led different lives.Bernadette: Youguys just met. Why would she feel that way?Penny: It's just this vibe I got.Bernadette: I'm sure you're worried about nothing.Penny: Yeah. You're probably right.I used to think my high school P.E. teacher didn't like me, but it turned out, she liked me a little too much.Bernadette: Really?Penny: Yeah. It was fine. We wentto a Melissa Etheridge concert, I got an A, it all worked out.Bernadette: When you go to Emily's office to practice, you'll see. It's fine.Penny: Yeah, I hope you'reright.Amy: You really went your entire life without anyone saying I hate you to your face?Penny: Yeah.Amy: I'd say it now, but look at thosecheekbones.[SCENE_BREAK][ Capital Comics ](rock music playing)Sheldon: I miss Stuart's place. All this loud music and exposed brick. What, is this a comicbook store, or a rave at the third little pig's house?Howard: Yep, I wish Stuart would reopen. I hate this place, too.Leonard: Okay, him I believe because he's an80-year-old man in a 15-year-old's tee shirt. But you're just upset about Stuart and your mom and all their HBOs.Howard: Yes, I am. You know, I can't evenwatch Game of Thrones now without thinking of mother saying, Stuart, which one is Thrones?Raj: You know, he might not reopen. He didn't get a lot of moneyfrom the insurance company.Sheldon: Oh, boy, if there is one thing that gets my goat, it's those dad-gum insurance companies.Leonard: Why? Because theywon't get off your lawn? Is Stuart trying to get a loan, or, or find investors?Howard: All I know is, he's got my mother buying four-ply toilet paper. I mean,four-ply. If his butt is so delicate, why doesn't he just use an angora rabbit?Sheldon: For starters, they shed and bite.Leonard: Hey, here's a thought. Why don'twe put up the rest of the money that Stuart needs?Raj: So, we'd be, like, owners of a comic book store?(all chuckling)Leonard: It's kind of a dream cometrue.Howard: That does sound fun.Raj: Ooh, maybe we could come up with a business plan to compete with this place.Sheldon: I'll give you a plan right now.Step one, open comic book store. Step two, start rumour this comic book store gives you genital warts. Step three, buy a big bag to put the money in.Leonard:It's not that bad.[SCENE_BREAK][ Emily's surgery ]Penny: Hey.Emily: Hi.Penny: Thank you so much for letting me practice my sales pitch on you. I reallyappreciate it.Emily: Sure.Penny: Um, I brought coffee. I wasn't sure what you like, so I got a regular, a cappuccino and a Chai tea. Since you like Raj, I thoughtyou might be into that.Emily: Thanks. If we could get started. I'm a little busy.Penny: Oh, yeah, sure. Let me just get out my materials. Leonard gave me thisbriefcase. He used to carry it around in high school. You can still see the dent where they whacked him with it. Okay, I would like to talk to you about our newbirth control pill, Femevra.Emily: Great.Penny: So, Femevra's triphasic design provides balanced hormonal exposure.Emily: All right.Penny: It has also beenshown to cause significantly fewer side effects than other oral contraceptives. Although it can cause acne, which, if you ask me, kind of increases its effectivenessas a contraceptive.Emily: Funny.Penny: Okay, I'm sorry. Did we get off on the wrong foot? Because since the other night, I kind of feel like you might have aproblem with me.Emily: No, it's fine.Penny: Are you sure, because it doesn't seem fine?Emily: Okay. If you really want to talk about this, I do have aproblem.Penny: Oh, my God. Tell me, what did I do?Emily: Look, it's nothing. It's just, Raj told me that a while ago, you two hooked up.Penny: What? Oh, whywould he say that?Emily: Did it not happen?Penny: Well, I wouldn't exactly call it a hook-up.Emily: Did you kiss?Penny: Yeah.Emily: Were you naked?Penny:Yeah.Emily: So, it was a hook-up.Penny: No. Yeah.[SCENE_BREAK][ The apartment ]Sheldon: So, what are some ways we could set our comic book store apartfrom the competition?Leonard: Oh, kids buy comic books. It would be great to figure out a way to get more kids in the store.Howard: You know, when I was akid, I loved going there, but I could never get a ride.Raj: Ooh, what if we got a van and drove around and picked kids up?Sheldon: Nice. You mean, like at parksand schools?Howard: Toy stores, puppet shows.Leonard: Hold on. So, your idea is to get a van and cruise the streets looking for kids to pick up?Sheldon:Yes.Leonard: And are you gonna use candy to lure them in?Raj: We are now.Penny: You told Emily we hooked up?Raj: Um, well, in my defence, I telleverybody.Penny: Why would you say that?Raj: We were having a conversation about past lovers.Penny: We weren't lovers. Come on. Everyone knows we didn'tsleep together. We got drunk and fooled around. Why couldn't you just leave me out of it?Raj: Well, we were being honest. You would leave me out of theconversation with the next guy if you dumped Leonard?Leonard: Why say it?Penny: Yes.Raj: Well, I would never leave you off my list, and not just because,without you, we're playing fast and loose with the word list.Penny: Well, good job. Now she hates me. Ugh.Raj: Great.Sheldon: On the bright side, that Oxfordstudy was right. One friend down. I wonder who you're going to lose next.Raj: You, okay? It's you. You're, you're next.Sheldon: No. You're crazy aboutme.[SCENE_BREAK][ Penny's apartment ]Penny: I don't know what Emily's so upset about anyway. Even if I had slept with him, so what? Everyone has apast.Amy: Hmm-hmm.Penny: Almost everyone has a past.Bernadette: Come on, look how pretty you are. I'm sure this isn't the first girl to hate you.Penny: It'snot.Bernadette: And I'm sure you can turn it around.Penny: How? You can't force someone to like you.Amy: What if you just hang around and act like her frienduntil you wear her down? I mean, next thing you know, you're in her home, you're eating her food, drinking her wine.Penny: No, that won't work.Amy: You'reright. Cheers.Bernadette: Oh, I know. Why don't you use your sales training to go back down there and sell yourself?Penny: What?Bernadette: Yeah. But insteadof selling a drug, you'd be selling Penny. it's cute.Penny: It's stupid.Bernadette: Well, maybe people would like you more if you didn't crap all over theirideas.Amy: I'm gonna go with Penny on this one. Then again, why wouldn't I? I mean, we go way back.Penny: Oh, my God. I didn't used to like you.Amy: Shh.Amy's here now.[SCENE_BREAK][ Capital Comics ]Sheldon: You know, the more I think about it, the more intrigued I am about having our own store.Howard:We'll get to see all the new stuff before it hits the shelves.Sheldon: And we'll get to have fun interactions with our customers. Like, this isn't a library, buy it or getout.Howard: You say things like that all the time.Sheldon: Yes, but as a store owner, I'll finally have a good comeback to, You don't work here, shut up.Leonard:Uh, do you know how Penny told Raj he should have left her off his list?Howard: Yeah.Leonard: Well, do you think when she and I had that conversation, she leftpeople off her list?Sheldon: I'm sure she did.Leonard: Why?Sheldon: Because if she hadn't, she'd still be wading through the list.Leonard: Will you stay out ofthis?Sheldon: If only Penny had said that once in a while.Howard: Hey, what difference does it make? You're the one she wants to marry.Leonard: That'strue.Howard: Yeah, and I'm not sure that complete honesty is always the best thing for a relationship.Sheldon: Yeah, he's right. Once, in a moment of candour, Itold Amy that her hair reminded me of a duck caught in an oil spill. She stormed out. Which was sad, because we were playing Scrabble, and I had all the lettersto spell persimmon.Leonard: Why are you even part of this conversation? You don't know anything about women.Sheldon: I know that if I had a wife or a fiancée,"}
+{"doc_id":"doc_272","qid":"","text":"Act 1Scene 1 - The Radio Station. Fade in. Frasier is on the air.Frasier: Go ahead, Sophie, I'm listening.Sophie: [v.o.] Hi, Dr. Crane. My husband's having some ofhis friends over to watch the game Sunday, and I think it'd be nice if I could have some of my girlfriends over too.Frasier: Sounds reasonable.Sophie: Exactly. Imean, it's just football.Larry: [in the background] Not football, Einstein, the Super Bowl.Frasier: Ah, that would be your doting husband now.Sophie: Larry, this isa private conversation. And for God's sake, use a plate!Frasier: Sophie, why don't you put your husband on the line?Sophie: Pick up.Larry: Ah, geez. [picks up,louder] Hello!Frasier: Larry, I gotta tell you, I'm afraid I side with your wife on this one.Larry: That just proves you don't know the first thing aboutfootball.Frasier: What I do or do not know about football has...Larry: OK, how's this: My wife's friends can come over if you can answer even one little footballquestion. Like...Frasier: Now, I don't see that that's in any...Larry: You're down by six, you're on your own forty, three seconds left, what do you do?Frasier: Well,all right, you would...Roz gets his attention and grabs two telephone handsets.Frasier: You would take your receivers, [Roz sets them together] and line them up,[she pretends to throw] and then throw a pass. [big throwing gesture] A long, long pass.Larry: Yeah, and what's the name for that?Roz gets down on her knees,crosses herself, and prays with an innocent look on her face.Frasier: A Hail Mary. [Roz gives him the thumbs up.] Sophie and Larry, I hope you enjoy the game.In the meanwhile, this is Coach Crane saying, I'm listening.Roz comes over to change some tapes on Frasier's console.Roz: I'm impressed you're so good atcharades.Frasier: I'm impressed you could mime a virgin. So, Roz, you walkin' out?Roz: No, I got stuff I gotta do. I've got some carts to rack, and I want to puttogether some Best of Crane tapes.Frasier: Oh, your mother's still in town?Roz: In town, in my apartment, and when I left this morning, in my refrigerator,smelling my milk!Frasier: Oh, lord.Roz: I, I love her, I just wish I could get a couple of hours to myself one night.Frasier: Well, why don't you just ask her? Shemight enjoy a little time to herself. I know my dad does.Roz: You are so lucky. I wish my mother drank alone.They walk over to Roz's side.Frasier: You know,Roz, your mom's about the same age as my dad, isn't she?Roz: Yeah, I guess.Frasier: Does she date much?Roz: Since my father left, practically never... no,hang on...Frasier: No, no, hear me out, Roz. Now, Dad hasn't dated anybody since he and Sherry broke up, I'm starting to worry he's lost his nerve. A date withyour mom could be a tremendous favor to him.Roz: I don't know.Frasier: Oh, come on, I'll tell you what: I know it's awkward but there's a way to minimize that.Niles and I are having dinner with him tonight. We'll take him to McGinty's, he'll feel comfortable, you and your mother can just happen by. We'll see whattranspires, you know, they'll never even know it's a fix-up.Roz: Oh, what the hell, I'll give it a shot, I guess. How's five sound?Frasier: Five? Your mother is readyfor dinner at five?Roz: I keep her on Wisconsin time, that way she's in bed by eight.Frasier walks out. FADE OUT.A.K.A THE LAST ONIONOUT OF POMPEIIScene 2- McGinty's Fade in. Niles and Frasier are sitting at a table, Martin brings a plate over.Martin: Hey, look what I got here, boys! A Funion Onion. The chef sent itover with his compliments.Frasier: I wonder what his insults are like.Martin: [to a waitress] Hey, Bonnie!Bonnie: Hey ya, Marty. Oh, you must be Frasier, the bigradio star.Frasier: Oh, yes. Hello.Bonnie: Your dad is so proud of you, he talks about you all the time. Who's your friend?Martin: Now, what's wrong with you? Itold you about my other son.Bonnie: [shaking Niles's hand] Oh, of course, what am I thinking? Nice to meet you, Eddie.Martin: This is Niles. How 'bout somebeers, Bonnie?Bonnie: Coming right up.Niles: Oh God, look. The group coming in the door, they're from the Shangri-La.A group of guys come over and punchNiles on the shoulder. He puts up his fists and weaves back and forth.Jimbo: Whoa, it's the Coyote!Niles: Evening, evening, Jimbo. Check you later.The guys goover to the bar.Martin: Wow, you got a nickname down there already. That's great! The Coyote?Niles: Yes.Frasier: And how did you earn that honorific?Niles: Oh,it was quite the merry road. Yes. It evolved from Niles to Nilesy to Niley to Nile E. Coyote and now simply \"The Coyote.\"The guys at the bar start howling athim.Niles: Oh, well, just when I thought it couldn't be refined any further.Roz and her mother, Joanna, come in.[N.B. Eva Marie Saint's first (and Oscar-winning)film role was as Edie Doyle, Marlon Brando's love interest in 1954's \"On the Waterfront.\"]Frasier: Oh, goodness, look who's here! Roz!Roz: What? We don't seeenough of each other during the day?Frasier: Hello, Joanna.Joanna: Nice to see you again, Frasier.Frasier: Nice to see you again, too. Please, won't you sit downand join us?Joanna: Oh, no, we don't want to intrude.Frasier: Oh, no, no, please, the more the merrier.Roz: All right. Mom, this is Frasier's dad, Martin Crane.This is my mom, Joanna Doyle.Martin: Very nice to meet you. And this is my other son, Niles.Niles: How do you do?Joanna: It's a pleasure.DISSOLVE TO: afterdinner. Martin and Joanna have cleaned their plates, while the others still have food.Frasier: Roz, will you just look at the two of them.Roz: How did you twomanage to finish all that?Joanna: Oh, please. This is how our generation ate every day. I used to live on cigarettes, whiskey sours and baconcheeseburgers.Martin: Yeah, and what about breakfast? Fried eggs, sausage patties, hash browns...Niles: My God, last night I ate a profiterole and lay awake 'tildawn waiting for my heart attack.Joanna: Those were simpler times, weren't they, Marty?Martin: Oh yeah, we didn't worry about dumb things like cholesterol.We worried about puttin' food on the table, keepin' the yard clean and the car shiny.Joanna: And the H-bomb.Martin: Well, yeah, that.Frasier: Say, Roz, webetter be going if we're going to get that work done tonight.Niles: Oh, I should be going too.Roz: Mom and me are going to that jazz club on Fifth.Frasier: But wepromised to finish those promos tonight.Roz: Oh, right. Mom, I'm sorry, I totally forgot.Joanna: It's OK.Frasier: Wait, I've got an idea. Uh, Dad, since I'mkidnapping Roz, why don't you take Joanna to the jazz club?Martin: Well, sure, I'd love to.Roz: Is that OK with you, Mom?Joanna: If Martin's game, I'mgame.Frasier: Oh, well, perfect. OK, you kids just have some coffee, we'll see you back at the apartment later, OK?Joanna: All right.Niles: Very, very nice to meetyou.Joanna: Thank you.Roz, Frasier and Niles go to pay the check.Joanna: Look at them. They think we don't know this is a setup.Martin: Well, how could wefigure it out? We're just a retired detective and an attorney general. [they laugh]CUT TO: Roz and Frasier by the bar.Roz: You were absolutely right, they didn'tsuspect a thing.Frasier: I told you Roz, just leave it to the master.[SCENE_BREAK]Scene 3 - Frasier's Apartment. Fade in. Daphne is sitting in Martin's chaireating popcorn and watching television. Roz brings another bowl in from the kitchen. Frasier is on the couch.Roz: God, I thought they'd be home by now.Frasier:Roz, will you please relax and watch the pageant with us? They're right in the middle of the talent competition.[She sits next to him.]Daphne: It's shameless theway they're sucking up to the international panel of judges. Miss Germany just played \"Lady of Spain\" on a French horn.Frasier: Roz, you're gonna chew that nailright off. Stop it.Roz: I can't help it. I'm nervous. Do you think it's gonna turn out OK?Frasier: Who cares?Daphne: Not for Miss Brazil. Look at the tree trunks onher. She's her own little rain forest.Roz: I just keep worrying that she's gonna have a lousy time, and it will be all my fault. Screwing up, like always.Frasier: Oh,come on, Roz. Your mother doesn't think you're a screwup.Roz: Oh, yeah? In high school, I ran my own informal shoplifting clinic. In college, I dropped out ofpre-law because it interfered with Bruce Springsteen's touring schedule. And now I'm an unwed mother. What would you call me?Daphne: Tramp.Frasier:Daphne!Daphne: It's Miss Venezuela. If that dress of hers was slit any higher, you could see Caracas.Frasier stares at the set, Roz has to nudge him to get hisattention.Frasier: Oh, oh, Roz. You know what? So what if they don't get along? So we made a mistake.Roz: [getting up for some sherry] You don't understand.My mother doesn't make mistakes. She does everything well. She's smart, successful, classy... oh, what the hell was I thinking?Frasier: [rising] About what?Setting her up with my father?Roz: No, that's not what I meant.Frasier: That is exactly what you meant!Roz: Well, OK, Frasier. No offense, your father is a veryniceman, but let's face it: My mother was the attorney general of Wisconsin.Frasier: Well I hope he remembers to curtsey before the Dairy Queen!Daphne:[getting up] This is ridiculous. I'm going to watch this in my room. Miss Finland just laid out her plan to end world hunger, and I missed it!She goes off to herroom. There is the sound of the key in the lock at the front door.Frasier: Oh, lord. He and Roz hurry to sit on the couch.Frasier: Oh, Roz, that is the best promo ofall.Roz: Oh, hi! How was your evening?Joanna: Oh, the jazz was first rate. But I'm afraid I talked Martin's ear off.Martin: Oh, you're crazy. Your mother tellswonderful stories, Roz. I could have listened to her all night.Joanna: You are either too kind or a little tipsy. But thank you. Come on, Lammy. I really had a lovelytime.Martin: Well, I can't remember when I had a better time. We're gonna have to do this again.Joanna: Bye, Frasier.Frasier: Goodnight, Joanna. Lammy.Theyleave and Frasier turns to Martin.Frasier: [grinning] So... Tell me all about it.Martin: Well, being a gentleman, I don't want to go into the details, so suffice it tosay, it STUNK!Frasier: What?Martin: [putting up his coat] That was the dullest evening of my life. The way she drones on and on. Do you know how many metrictons of eggs Wisconsin produces every year?Frasier: No.Martin: Well, I do!Frasier: Oh...Martin: Look, Frasier, I know you meant well, but if you ever set me upagain, I'll kill you in your sleep. Goodnight.He goes off to bed. There is a quiet but insistent knocking at the door. Frasier opens it to reveal Roz.Roz: [excited] Itold my mom to meet me downstairs. I just had to come up and tell you. She had the best time! She can't wait to go out with your father again. Will you tell himto call her tomorrow? Oh, Frasier, this whole thing worked out like a dream!Martin: [crossing to the kitchen] It's amazing! Her voice is still echoing in myhead!Frasier: Yes, it's like a fairy tale over here, too.Roz leaves. FADE OUT. End of Act 1 Act 2Scene 1 - Cafe Nervosa. Fade in. Frasier and Niles are standing atthe counter.Frasier: I've just got to find some way to tell Roz.Niles: Why? It's just going to hurt her mom's feelings.Frasier: Her feelings are going to be hurtanyway. She's here 'til Sunday. She's expecting him to call. Oh, dear God. At least this way Roz can let her down easy.Their coffees come.Niles: Looks like both ofus have difficult conversations ahead of us.Frasier: What's yours?Niles: All week long, I have been getting less coffee and more foam in my cappuccino. It's about"}
+{"doc_id":"doc_273","qid":"","text":"FLASH OPEN:[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) - NIGHT][HOLLYWOOD STREET SIGN]WHITE FLASH TO:[EXT. VARIOUS HOLLYWOOD(STREET) - NIGHT](Various shots of prostitutes walking the street in front of various establishments.)Dakota: Hey.\"JERSEY\" (ELLIE): Hey. You getanything?Dakota: No.(A car pulls up alongside them.)\"DAKOTA\": My, uh, knight in shining German armor has arrived.\"JERSEY\" (ELLIE): See if he has room fortwo.(Dakota sighs. They lock pinkies as Dakota heads for the car.)\"JERSEY\" (ELLIE): Careful.(Dakota leans over the curb and looks into the car.)Dakota: Hey. Youwanna party?(Dakota looks back at \"Jersey\". Dakota gets into the car and closes the door. She waves back at \"Jersey\".)(\"Jersey\" signals for Dakota to give her acall. The car drives away.)FLASH TO:[INT. POLICE DEPARTMENT - DESK - MORNING](\"Jersey\" is at the police station. The officer at the desk isn't too interestedin what she's saying.)Officer: It's only been a few hours.\"JERSEY\" (ELLIE): Dakota always calls me. We have a system. Something is wrong.Officer: Why don'tyou go home, Jersey? Eat something for once, get some sleep.(Disgusted, \"Jersey\" turns to leave. With a last look at the officer, she slaps her hand on thecounter in frustration, then leaves.)[SCENE_BREAK][EXT. SIDEWALK - DAY](Walking along the sidewalk, \"Jersey\" takes out her cell phone and dials.)INTERCUTWITH:[INT. (LAS VEGAS) POLICE DEPARTMENT - BRASS' OFFICE - DAY](Brass is working when his phone rings. He puts the pen down and answers it.)Brass: (tophone) Hello.Ellie Brass: Hello, Dad?Brass: Ellie. Are you okay?SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. LAS VEGAS CITY(STOCK) - DAY][INT. POLICE DEPARTMENT - HALLWAY -- DAY](Brass steps out of his office and looks both ways down the hallway. He sees the sheriff and headsover to him.)Brass: Oh, hey, Sheriff. I'm glad I caught you.(Brass stops in front of the sheriff.)Brass: Um ... I got to take some emergency leave. It's a ... it's afamily matter.Sheriff Burdick: I didn't know you had a family.Brass: Well, you're new. We haven't had a chance to talk. Um ... I, uh, briefed my lieutenant on mycases. He'll cover for me for a couple of days.Sheriff Burdick: This is not a good time for family problems. All the narco guys are at a HIDTA conference. I got nobackup. I'm still learning the ropes here.(Brass chuckles.)Brass: Well, it's never a good time to have a family problem, Sheriff. Look, I don't ask for time offnormally. I'd appreciate the courtesy.Sheriff Burdick: Do I have a choice here, Jim?(The sheriff continues down the hallway.)Sheriff Burdick: (over his shoulder)Get back here as soon as you can.(Brass watches the sheriff go.)[SCENE_BREAK][EXT. MIKE'S DINER (STOCK) -- DAY][INT. MIKE'S DINER - DAY](The waitresstakes the money off the counter. Brass stands in front of the small counter-top display and picks up a cellophane-wrapped gift with a small pink bear near theribbon tie on top.)(Brass puts the small gift on the counter. He counts out the bills and pays the cashier.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -DAY][HIGHWAY](Top view down of the highway.)[EXT. LAS VEGAS CITY (STOCK) - HIGHWAY - DAY][EXT. CITY (STOCK) - DAY][EXT. POLICE DEPARTMENTBUILDING - DAY](Brass walks up to the front of the building.)[INT. POLICE DEPARTMENT - OFFICE - DAY](Brass and Annie Kramer hug.)Annie Cramer: You lookgood, Jimmy.Brass: You do, too, Annie.(Annie Kramer goes to sit behind her desk.)Brass: L.A. seems to agree with you.Annie Cramer: Oh, yeah, well, I couldn'ttake another Jersey winter.(She sits down. Brass sits down across her desk.)Annie Cramer: Or another Jersey cop.Brass: You stay in touch with the oldcrew?Annie Cramer: You know, dirty cops don't like to hang with clean ones.Brass: So that's why they called me squeaky?Annie Cramer: I thought what you didtook a lot of guts. Integrity is, um, hard to come by in vice.Brass: Yeah, it's the only detail where you're told to drink, gamble and pick up hookers, all the whilecarrying a gun.Annie Cramer: Garden of Eden. Temptation kills you, or it compromises you.Brass: So, you got my message? My daughter Ellie and her friendDakota were out partying and Dakota got in some guy's car. Ellie was able to pull a partial. Something about a whale tail.(Brass hands Annie Kramer thenotebook paper with:CA PLATE1TA )Annie Cramer: California Coastal Commission specialty plates. I'll run it through DMV. Cross reference with BMWs. In themeantime, I pulled Dakota's rap sheet.Brass: She has a sheet?Annie Cramer: They both do.(Brass nods.)Annie Cramer: She, uh, works a stretch on HollywoodBoulevard between Highland and Vine.(She hands the file to Brass. He opens it and sees a photo of Dakota holding the ID numbers:POLICE DEPTAnnie Cramer:When was the last time you saw Ellie, Jimmy?Brass: About three years ago. Um, she got into some trouble in Vegas. Hanging around with a bad bunch.(Brasslooks at the rap sheet:REYNOLDS, SASHADOB: 03/04/83 s*x/F RAC/C WGT/120 EYE/BROAKA: 01 DAKOTAKNOWN ASSOCIATES: BRASS, ELLIEAKA: JERSEY)(Brass catches a glimpse of the name and looks away.)Brass: Looks like her taste in people hasn't changed much.(He shuts the file. Annie hands Brass a slip ofpaper.)Annie Cramer: Here. Last known address. In case you don't have it.[SCENE_BREAK][EXT. STREET -- DAY](Brass pulls up the front of a dingy apartmentbuilding. In the background, a dog barks. Brass gets out of the car and looks at the building. Graffiti litters the walls. He looks up and sees Ellie step up to theopen window.)(He reaches into the car and grabs his cell phone. We note the pink bear gift in the front seat. With his eye on the window, he makes thecall.)Brass: Ellie, it's your dad.Ellie Brass: (to phone) How'd you get this number?Brass: Relax, take it easy. I got it off caller I.D.Ellie Brass: (to phone) Oh, okay.So did you make the call?Brass: Yeah. LAPD's looking into it.Ellie Brass: (to phone) Thanks.Brass: Hey, how are you doing?Ellie Brass: (to phone) Great, actually.Livin' at the beach, temping, waiting tables. Got some really good friends.(As Brass watches, a man steps up to the window next to Ellie. He's smoking a pipe andoffers it to her. She inhales. He also inhales.)Ellie Brass: (to phone) It's a big bowl of cherries.(She smiles. The man puts his arm around her waist andlingers.)Brass: (to phone) Okay, um, I'll call you when I hear something, all right?(Brass hangs up.)[SCENE_BREAK][EXT. (KOREATOWN) - NIGHT](Cops areparked around an area. Brass gets out of his car and meets with Annie Kramer.)Annie Cramer: Hey, Jim.Brass: Hey.Annie Cramer: We found the beemer. Foundthese two kids trying to hotwire it. Whale tail license plate starting with One-T-A.Brass: Let's talk to them.Annie Cramer: I'll talk, you listen.(Annie and Brass walkup to the two kids.)Annie Cramer: All right, what the hell's the matter with you? You looking to die young? 'Cause you can do it inside in lock-up or outside withthis wanna-be gang banger stealing cars crap.Kid 1: We weren't stealing nothing. Window was already busted. Car wouldn't even start. We were just playingaround.Annie Cramer: You like playing with cars, huh? LAPD's having a car wash fund-raiser on Saturday. You just signed yourselves up. You're welcome.(Shesteps up and motions to the officer nearby.)Annie Cramer: Come on.(The officer unlocks the kids' handcuffs.)Brass: So, no Rudy Giuliani broken windows theoryhere, huh?Annie Cramer: Jimmy, windows are already broken. Someone's got to fix 'em.(They walk up to the BMW for a closer look. Brass notices a sticker on thebroken windshield.)Brass: Hey, check this out. B-H-G-C?Annie Cramer: Looks like a country club or something. Doesn't read like Koreatown. I'll have my guys runthe plates.Brass: Anybody checked the trunk?Annie Cramer: Not yet.(Brass opens the hood.)(The spare tire is missing.)Annie Cramer: Doesn't look good forEllie's friend.(Annie takes out her cell phone and dials.)INTERCUT WITH:[INT. LOBBY (HIDTA CONFERENCE) - NIGHT](Matt Glazer answers his phone.)MattGlazer: (to phone) Glazer. Yeah, we're just finishing up. No traffic. I'll be there in about twenty minutes. Okay.(He hangs up and taps Warrick on hisshoulder.)Matt Glazer: Vegas?(Warrick turns around.)Warrick: Hmm?Matt Glazer: You know a Jim Brass?[SCENE_BREAK][EXT. VARIOUS LOS ANGELES CITYLIGHTS (STOCK) -- NIGHT][EXT. (KOREATOWN) -- NIGHT](Warrick and Matt Glazer arrive at the site.)Warrick: Where he at?Matt Glazer: (points) (garbled) Overthere.(Warrick walks over to Brass.)Warrick: Jim.Brass: Rick. Rick, what are you doing here?Warrick: I'm here for the HIDTA conference. Buddy of mine fromL.A.P.D. told me there was a new captain in town, stirring things up. What are you doing here?Brass: Ah, it's a long, sad story, man.Warrick: Have anything to dowith a feisty little blonde named Ellie?Brass: She's not a blonde anymore. Let's check out the car.(Brass and Warrick head over to the car. Annie Kramer standsnear the trunk. Brass makes the introductions.)Brass: Captain Annie Kramer, this is Warrick Brown from Las Vegas.Annie Cramer: Good to meet you.(They shakehands.)Warrick: Good to meet you.Matt Glazer: (to Brass) Matt Glazer, L.A.P.D. Crime lab.Brass: Hey, Jim Brass.(They shake hands.)(Warrick looks at thecar.)Warrick: Well, I thought L.A. was all about car culture. This reminds me of home.Matt Glazer: Trunk's been stripped clean.Warrick: Too clean.Matt Glazer:Oh, they missed a spot.(Camera zooms in to the spot that was missed.)Matt Glazer: Looks like two large caliber bullet holes.Warrick: But a bullet hole wouldn'tmake those markings. What is that?Matt Glazer: I don't know.Warrick: It looks like a tool marking.(Quick flash of: A crowbar-like tool is in the hole being jammedin and twisted around, leaving the area scratched up. End of flash. Resume to present.)Matt Glazer: Let's haul it back to impound and find out.(Matt Glazer picksup his things and heads out. He looks at Annie Kramer.)Matt Glazer: I'll be in touch.Annie Cramer: Thanks.Warrick: Hey, you know, uh, Jim, I'm here allweekend. If you need anything, don't hesitate to call. (to Annie) Pleasure meeting you.Annie Cramer: Same here.(Warrick walks past Brass.)Warrick: (to Brass)Remember, what happens in L.A., stays in L.A.(Warrick leaves. Brass looks at Annie.)Annie Cramer: You still a scotch man?Brass: I'll take a rain check, okay.(Hesmiles and winks at her. Brass turns and walks away.)[SCENE_BREAK][EXT. HOLLYWOOD (STREET) - NIGHT](A car pulls up to the curb. Ellie gets out; the carleaves. She starts walking along the sidewalk.)(Another car pulls up to the curb. She walks up to the car and knocks on the glass.)Ellie Brass: Hey, baby, youwant to party?(Brass rolls down the window. Ellie looks at her dad.)Brass: Ellie ...Ellie Brass: Oh, I can't ever trust you. All I did was ask you to make a call.Brass:How's the beach house?Ellie Brass: Go to hell.Brass: I have information about your friend, Dakota. Get in.Ellie Brass: All right. But I'm not playing twentyquestions with you.(Ellie slips into the car.)(Just then, a cop car passes, lights flashing.)Ellie Brass: So, did you find her body?(Brass looks at Ellie.)Brass: No. Butwe found the car.Ellie Brass: So she could still be alive?Brass: We found blood in the trunk.Ellie Brass: No, no, no, she's alive. I can feel it.Brass: Look, do you"}
+{"doc_id":"doc_274","qid":"","text":"EXT, SEA, NIGHTA group of four pirates row the long boat back to their ship through still waters through dense fog. The ship is still as there is not enough wind tofill the sails though a small breeze blows the array of charms hanging like chimes.EXT. SHIP'S DECK, NIGHTThe pirates climb aboard and are greeted byanother.PIRATE 1: What's wrong?PIRATE 2: Man wounded.Stunned, PIRATE 1 looks at the wounded man even as he points to the aft of the ship.PIRATE 1: Wakehim.PIRATE 2 leaves.INT. SHIP, CAPTAIN'S CABIN, NIGHTWe see gold and jewels spilling over chests. The pirates are there, waiting on the CAPTAIN'Sdecision.PIRATE 1: He slipped in the bilge water, Cap'n, and fell on to the rigger. His hand... I don't know if he'll survive.The CAPTAIN turns around and looks atthe WOUNDED MAN'S hand. There is a small scratch on his finger.CAPTAIN: You're a dead man, McGrath.The CAPTAIN turns over McGRATH'S hand to reveal ablack spot on his palm.CAPTAIN: Same as all the others.A hypnotic woman's voice can be heard singing.CAPTAIN: She's here.PIRATE 1: Oh, save oursouls.McGRATH: I've got to escape! (runs from the cabin)PIRATE 1: Don't go out there! McGrath! Don't listen for God's sake. The siren is a-calling.EXT. SHIP'SDECK, NIGHTMcGRATH runs onto the deck, tripping on coiled rope.INT. SHIP, CAPTAIN'S CABIN, NIGHTThe CAPTAIN locks the cabin door. He then takes apendant from his neck and wraps the leather strap around the door handles. On one side of the pendant is a carved relief of a mermaid.EXT. SHIP'S DECK,NIGHTMcGRATH holds his knife in one hand, ready to strike. He uses his other hand to try and block out the singing.INT. SHIP, CAPTAIN'S CABIN, NIGHTTheothers hear his scream as the pendant slowly swings at the lock.EXT. SHIP'S DECK, NIGHTThe other pirates come out on deck. There is no sign of McGrath, onlyhis pistol.CAPTAIN: (picks up pistol) Same as all the others. No sign of a struggle. No bones or blood.PIRATE 1: We're shark bait, every single one of us. Stuck onthe ocean, waiting until the wind changes. There is a banging from one of the hatches.CAPTAIN: What's that?PIRATE 1: The creature, it's returned.The piratesapproach cautiously, the CAPTAIN aims the pistol. The hatch bursts open to reveal the DOCTOR, RORY and AMY.DOCTOR: Yo ho ho! Or does nobody actually saythat?[SCENE_BREAK]Matt Smith Karen Gillan Arthur Darvil\"The Curse of the Black Spot\" by Steve ThompsonProducer Marcus WilsonDirector JeremyWebb[SCENE_BREAK]INT. SHIP, HOLD, NIGHTThe TARDIS rests among the storage.INT. SHIP, CAPTAIN'S CABIN, NIGHTThe CAPTAIN is questioning thepresence of strangers on his ship.CAPTAIN: We made no signal.DOCTOR: Our sensors picked you up. Ship in distress.CAPTAIN: Sensors?DOCTOR: Yes. OK.Problem word. Seventeenth century. My ship automatically, er..noticed-ish... that your ship was having some bother.CAPTAIN: That big blue crate!?The DOCTORsnaps his fingers.PIRATE 1: Tis more magic, Captain Avery. They're spirits. How else would they have found their way below decks?DOCTOR: Well, I want to saymultidimensional engineering, but since you had a problem with sensors I won't go there. Look, I'm the Doctor, this is Amy, Rory. We're pirates, same as you.Arghhhhh!The DOCTOR turns to look at the pirates behind them and when he turns around, AVERY has a pistol aimed at his head.DOCTOR: Except for the gunthing. And the beardiness.AVERY: You're stowaways! Only explanation. Eight days, we've been stranded here. Becalmed. You must have stowed away before wesailed.PIRATE 1: What do we do with 'em?AVERY: Oh, I think they deserve our hospitality.EXT. SHIP'S DECK, NIGHTThe DOCTOR is standing at the edge of aplank jutting over the side of the ship. The pirates laugh.DOCTOR: I suppose that laughing like that is in the job description. \"Can you do the laugh?\" Check. Grabyourself a parrot. Welcome aboard.AVERY: Stocks are low. Only one barrel of water remains. We don't need three more empty bellies to fill. Take the doxy belowto the galley. Set her to work. She won't need much feeding.One of the pirates \"escorts\" AMY to the stairs that lead below-decks.AMY: Rory, a little help?RORY isbeing restrained by another pirate.RORY: Hey, listen right. She's not a doxy.AMY: I didn't mean just tell him off. Thanks anyway.The pirate forces herbelow.AVERY: If you're lucky you'll drown before the sharks can take a bite.DOCTOR: If this is just because I'm a captain too, you shouldn't feel threatened. Yourship is much bigger than mine. And I don't have the cool boots. Or a hat, even.AVERY: (aims pistol) Time to go.DOCTOR: A Bit more laughter, guys? (motionswith hand)INT. SHIP, BELOW-DECKS, NIGHTAMY opens a chest and finds it filled with swords. She takes one out and as she's testing the feel of it in her hand,she sees a long coat and a tricorne hanging on a peg.EXT. SHIP'S DECK, NIGHTDOCTOR: Where are the rest of the crew? This is a big ship. Big for five of you. Is'pose the rest of them are hiding some place (holds his nose) and they're going to jump out and shout \"boo\".AMY: Boo!The men turn around to see AMY wearingthe coat and hat, sword pointed at AVERY's throat.AMY: Throw the gun down.AVERY drops the gun to the deck and AMY kicks it away.AMY: The rest of you, onyour knees.DOCTOR: Amy? What are you doing?AMY: Saving your life. OK with that, are you?AVERY: Put down the sword. A sword could kill us all, girl.AMY: Yep,thanks. That is actually why I'm pointing it at you.One of the pirates comes at AMY with a wooden handle, surprising her and forcing her back from AVERY. Whenthe DOCTOR tries to intercede, AVERY pushes him back into the rigging. When AMY advances on the pirates with the sword, they back away, gasping in fear. AMYshows off a little, swishing the sword through the air. The pirates take advantage and push forward again. AMY fights them off. One advances on her with a rope,backing her into a corner. AMY swings through the air on a piece of rigging, swing her sword. She cuts one of them as she passes before landing on abarrel.PIRATE 3: You have killed me.AMY: No way. It's just a cut.A black spot appears on PIRATE 3's hand.AMY: What kind of rubbish pirates are you?AVERY: Onedrop, that's all it takes. One drop of blood and she will rise out of the ocean.AMY: Come on. I barely even scratched him. What are you all in such a huffabout?One of the pirates approaches her and she swings out on the rope. He stops her and the sword flies from her hand. RORY tries to catch it, but cuts hishand. A black spot appears on his palm.RORY: Doctor? What's happening to me?AVERY: She can smell the blood on your skin. She's marked you for death.RORY:She?AVERY: A demon, out there in the ocean.DOCTOR: OK. Groovy. So not just pirates today. We've managed to bagsy a ship where there's a demon popping in.(looks at RORY'S hand) Very efficient. I mean if something's going to kill you, it's nice that it drops you a note to remind you.The SIREN'S song startsagain.PIRATE 1: Quickly now. Block out the sound.The others put their hands over their ears.RORY: What?AVERY: The creature. She charms all her victims withthat song.RORY: Oh, great, so put my fingers in my ears. That's your plan? Doctor, come on let's go lets get back to the...back to the... (starts acting dopey andgiggles)PIRATE 1: The music. It's working on him. Look.RORY: (to AMY) You are so beautiful.AMY: What?RORY: I love your get up. That's great. You should dressas a pirate more often. Cuddle me, shipmate.AMY: Rory, stop.RORY: Everything is totally brilliant isn't it? Look at these brilliant pirates. Look at their brilliantbeards. I'd like a beard. I'm going to grow a beard.AMY: You're not.AVERY: The music turns them into fools.RORY and the other wounded pirate continue to actlike they're drunk or high.AMY: Oh, my God.Off the starboard side of the ship, a section of the water glows green. Everyone watches and soon a woman risesfrom the water. She, too, glows green. RORY'S jaw drops at the sight of her. AMY grabs his arm and holds him back as the SIREN floats down to the deck. PIRATE3 walks towards her and the others half-heartedly grab for him as they, too, are entranced. The SIREN has her arm outstretched and PIRATE 3 reaches for herhand. Still held back by AMY, RORY reaches for her. As soon as PIRATE 3's hand touches the SIREN, his body is dispersed. RORY breaks free of AMY.RORY: I haveto touch her. Let me touch her.AMY pushes her way past RORY and faces the SIREN.AMY: Sorry, but he is spoken for.The SIREN hisses and turns red. She sendsAMY flying backwards to land on the deck.DOCTOR: (goes to AMY) Amy! Everybody into the hold.The pirates head to the hold. RORY stands there, stillentranced.DOCTOR: Rory!The DOCTOR makes sure AMY is safe before grabbing RORY.RORY: Hey!INT. SHIP, HOLD, NIGHTThey make their way down into thehold, splashing through the gathered water.AMY: What is that thing?AVERY: The legend. The siren. Many a merchant ship, laden with treasure has fallen prey toher. She's been hunting us ever since we were becalmed. Picking off the injured.PIRATE 1: Like a shark. A shark can smell blood.DOCTOR: OK. Just like a shark.In a dress. And singing. And green. A green singing shark in an evening gown.AVERY: The ship is cursed.DOCTOR: Yeah right. 'Cursed' is big with humans. Meansbad things are happening but you can't be bothered to find an explanation.RORY: She's the most beautiful thing I've ever seen.AMY: Actually I think you'll findshe isn't. We have to leave. Right now.AVERY: That thing of yours really is a ship?DOCTOR: Well, it's not propelled by the wind.AVERY: Show me. Weigh anchor.Make it sail! (pulls gun)DOCTOR: And the gun's back. You're big on the gun thing aren't you? Freud would say you're compensating. Have you ever met Freud?No? Comfy sofa.PIRATE 4: Leave the cursed one, Captain. The creature can have him.RORY: Yes, please.AVERY: We don't want the siren coming after us.Thepirates cry out and one lifts his leg from the water. There's something on it.AMY: It's a leech!DOCTOR: Everyone out of the water!Everyone climbs out of thewater onto the crates. PIRATE 4 pulls the leech from his leg.PIRATE 4: It's bitten me, I'm bleeding. (the spot appears)DOCTOR: She wants blood. Why does shewant blood?AMY: What were you saying about leaving the cursed ones behind?DOCTOR: It's OK. We're safe down here. No 'curse' is getting through three solidinches of timber.The SIREN appears behind the DOCTOR and begins to sing.DOCTOR: Ah. Hello again.AMY holds back RORY but PIRATE 4 walks forward.AVERY &DOCTOR: No! No! No!PIRATE 4 touches the SIREN'S hand and disappears. His hat falls to the floor. Everyone rushes from the hold, the DOCTOR pushing RORY,PIRATE 4's hat in hand.INT. SHIP, BELOW-DECKS, NIGHTThe DOCTOR bolts the door behind him.AMY: Safe?DOCTOR: I have my good days and my baddays.AVERY: How did she get in?DOCTOR: (uses sonic on hat) The bilge water - she's using water like a portal, a door. She can materialise through a single drop.We need to go somewhere with no water.AMY: Well, thank God we're not in the middle of the ocean.The DOCTOR puts on the hat.RORY: Did you see her eyes?Like crystal pools.AMY: You are in enough trouble.AVERY: The magazine!AMY: What?DOCTOR: He means the armoury where the powder's stored.AVERY: It's dry"}
+{"doc_id":"doc_275","qid":"","text":"•I do not own the characters or situations of BTVS and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen,with help from the closed captions. •I prefer that you link to this transcript on the Psyche site rather than post it on your site, but you can post it on your site ifyou really want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. DO NOT POST MY TRANSCRIPT ON YOUR SITEWITHOUT MY NAME ON IT! • I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use yourimagination.[SCENE_BREAK]No teaser. Episode opens right where \"Two To Go\" left off.[SCENE_BREAK]Act I[SCENE_BREAK]Open on Buffy lying on the floor ofthe Magic Box. She lifts her head, sits up and stares toward the door.BUFFY: Giles? Giles just stands there with a grim expression. Anya, on the floor in anotherpart of the magic shop, also looks over as she stands up.ANYA: Giles? Giles still doesn't respond to either of them.WILLOW: (O.S.) Uh oh. Reveal Willow still lyingon the floor where Giles's blast of magic threw her.WILLOW: (sarcastic) Daddy's home. I'm in wicked trouble now. Willow sits up and wipes her bloody nose withher hand, looks at the blood, wipes again. Her hair is still black and her face still covered with dark veins, although her eyes are normal.GILES: You have no idea.(Willow sitting up) You have to stop what you're doing.WILLOW: (fake smile) Uhh, sorry. Can't do that. (Giles walking closer) I'm not finished yet. Willow startstrying to get up, somewhat shaky.GILES: Neither am I. Stay down. Giles gestures at Willow with one hand and she falls back onto the floor, wincing.ANYA: (softlyto Giles) How'd you do that? Giles ignores Anya, still completely focused on Willow.WILLOW: (small laugh) That's borrowed power. No way is it gonna be strongenough-GILES: I'm here to help you.WILLOW: (rolling eyes) Thanks, but I can kill a couple geeks all by myself. (Giles walking slowly closer) But, hey, if you'd liketo watch ... I mean, that's what you Watchers are good at, right? Watching? Butting in on things that don't concern you?GILES: You concern me, Willow. Stay onthis path and you'll wind up dead.BUFFY: Willow. Listen to him. I don't want to fight you anymore.WILLOW: I don't want to fight you either. (looking at Giles) Iwanna fight him. Willow starts to get up again, not normally but with magic, rising up to her feet without apparent effort.GILES: Stay down. Giles makes hisgesture again but Willow makes one of her own and blocks him.WILLOW: No. Giles looks a little alarmed. Buffy looks wary, moves over to stand besideGiles.WILLOW: Remember that little spat we had before you left? (shot of Anya watching nervously) When you were under the delusion that you were stillrelevant here? (walking closer) You called me a rank, arrogant amateur. Well buckle up, Rupert... Anya, Buffy, and Giles continue to watch Willow uneasily.Suddenly a magic light from nowhere begins to light up Willow's body, and her eyes go black again as a humming noise begins to rise in pitch andvolume.WILLOW: (deep resonant voice) 'Cause I've turned pro. The humming/whirring noise continues as Willow begins a spell.WILLOW: Asmodea, bringforth--GILES: (gesturing) Vincire! Green magic energy shoots from Giles's hand and forms a band around Willow's torso, pinning her arms against her body. Itglows with a green light that makes Willow's skin appear green too.WILLOW: What? No! Get off! (struggling) Solvo, libero... Giles continues holding out his handtoward her. Suddenly Willow throws back her head and closes her eyes, apparently unconscious. Her body floats up into the air and hovers about a foot off theground. The band of magic holding her changes to a more contained blue-grey color. Anya and Buffy watch warily. Buffy moves closer to Giles. Willow continuesto float in midair.BUFFY: What did you do?GILES: Contained her and her powers within a binding field. It puts her in a kind of ... stasis for the time- Giles looks atBuffy for the first time, pauses. Buffy continues staring at Willow.GILES: You cut your hair. Buffy looks at him, gets teary and hugs him. Anya watches themhugging. She walks up behind them and fidgets for a moment.ANYA: I'm blonde. Giles and Buffy look at her, still with their arms around each other.ANYA: I, Icolored my hair. (pauses) Again. I'm blonde.GILES: Yes, I noticed. Giles holds out one arm and Anya joins the hug. After a moment Giles disengages from Anyaand Buffy, looks at Willow again. He walks over to Willow who is still floating in the air, unconscious, with her head hanging back.GILES: I'm very sorry aboutTara. Giles looks sad, stands there for a moment, starts to walk away.WILLOW: This... Giles pauses, looks at her in surprise. Willow opens her eyes a little andcranes her neck toward him.WILLOW: ...won't hold me ... forever. Giles looks a bit alarmed. Buffy and Anya look grim.Cut to later. Buffy and Giles are in theworkout room at the back of the magic shop. Buffy stands by the pommel horse while Giles is picking nervously at the practice dummy in a corner.GILES: I cameas soon as I heard.BUFFY: The Council?GILES: The Council haven't a clue. About much of anything, really. (walking toward Buffy, leaning on the horse) No,there's an ... an extremely powerful coven in Devon. They sensed the rise of a dangerous magical force here in Sunnydale. A dark force, fueled by grief.BUFFY:Willow.GILES: I'd so hoped it wasn't her. (pauses) And then a seer in the coven told me about Tara. That's when the coven ... imbued me with theirpowers.BUFFY: And sent you here to bring Willow down.GILES: (looks at her) Buffy, what's happened here?BUFFY: (pacing) God. I don't even know where tostart.GILES: Well, Willow's clearly been abusing the magicks.BUFFY: (nods) She has. She was ... and I barely even noticed. Giles, everything's just been so...(sighs) Xander left Anya at the altar, and Anya's a vengeance demon again... (Giles looking shocked) Dawn's a total klepto ... money's been so tight that I'vebeen slinging burgers at the Doublemeat Palace ... (looks down at the floor) And I've been sleeping with Spike. Buffy pauses, looks up at Giles, looks as if shecan't believe she just said that. Giles stares at her. She looks away again, embarrassed. Suddenly Giles starts laughing. He covers his mouth with his hand butcan't stop. Buffy stares at him, pouty.GILES: (trying to calm down) Sorry. He bursts out laughing again. Buffy rolls her eyes, now just looks amused. Giles keepslaughing and slowly Buffy starts to laugh too. They both stand there laughing.Cut to the main Magic Box room. Anya is cleaning up some of the debris on thefloor. She puts a bunch of stuff into a small basket and carries it toward the counter, past the still floating Willow. Willow's eyes open slightly and she watchesAnya walk across the room. Her voice echoes between them although her mouth doesn't move.WILLOW: (telepathically) Anya... Anya turns around, looks atWillow nervously.ANYA: Willow.WILLOW: (telepathically) I need you, Anya. I need you to do something for me. Anya twists her hands together nervously, gathersher nerve and moves a little closer to Willow.ANYA: I know what you're trying to do. And I hate to burst your bubble, but that mind control mojo doesn't work onvengeance demons, so why don't you just-WILLOW: (telepathically) Stop talking and listen.ANYA: (nods) Okay.WILLOW: (telepathically)You need to freeme.ANYA: (uncertain) No. Anya turns and starts walking toward the back.WILLOW: (telepathically) You don't want to call out to them. (Anya stops) You want totake away this binding spell.ANYA: (turns back toward Willow) I don't know how.WILLOW: (telepathically) I do. Do you want me to tell you? Anya hesitates,looking anxious. Cut back to the workout room. Buffy and Giles are still laughing helplessly. Buffy is leaning over the pommel horse.GILES: (laughing) Ducttape?BUFFY: (laughing) On their mouths. So the demon could eat them...GILES: Because they were figments. More laughing.BUFFY: All of it! You, Sunnydale ...And I was just some nutcase in L.A.GILES: (still laughing) Of course. Why didn't we see it before? Slowly they stop laughing, and look much calmer than before.Buffy holds her stomach. GILES Can you forgive me?BUFFY: For what?GILES: I should never have left.BUFFY: No. You were right to leave. We're just ...stupid.GILES: I know you're all stupid. (Buffy smiling) I should never have abandoned you.BUFFY: No. Giles, you were right about everything. It is time I was anadult.GILES: Sometimes the most adult thing you can do is ... ask for help when you need it.BUFFY: Now you tell me. They smile. Giles chuckles a little.BUFFY:(quietly) I guess ... I wasn't ready before. It took a long time for that feeling to go away ... the feeling that I wasn't really here. It was like ... when I clawed myway out of that grave, I left something behind. Part of me. I just... (pauses, looks Giles in the eye) I don't understand ... why I'm back.GILES: You have acalling.BUFFY: But it was my time, Giles. Someone would have taken my place. (Giles grimacing) So why? Giles looks away, pensive, not answering.BUFFY: Right.(sighs) What's gonna happen to Willow? Giles looks at her, straightens up.GILES: Well, the coven is working on a ... way to extract her powers without ... killingher. And, uh, should she survive, you ought to know, Buffy, that there's no guarantee she'll ... be as she was. (Buffy looking concerned) Willow has killed ahuman being. How will she be able to live with herself?WILLOW: (O.S.) I wouldn't worry about that. Giles and Buffy turn toward the doorway. We see Anyahovering in the doorway, apparently unconscious. Giles and Buffy stare in alarm. Willow moves out from behind Anya. Her eyes are black again.WILLOW: Willowdoesn't live here anymore. Willow lets go of Anya and she falls to the floor. Zoom in on Buffy looking alarmed. Blackout.[SCENE_BREAK]ActII[SCENE_BREAK]Open on the same scene. Willow stands in the doorway over Anya's unconscious body. Buffy looks at Giles, then starts forward to attack Willow.Willow lifts her hand and sends a bolt of magic at Buffy, who flies back, crashes against the wall opposite, and falls to the ground. Giles watches this with alarm,then starts toward Willow himself.GILES: Vincire! Giles holds out a hand toward Willow, sending another binding spell toward her, but she waves her hand atit.WILLOW: Solutum. The binding field dissolves. Giles lowers his hand. Willow takes a few steps into the room.WILLOW: (small smile) Fool me once... On the wallbehind Willow we see a variety of knives and throwing-weapons hanging in a case. They suddenly lift off the wall and hover in the air.GILES: Willow...WILLOW:(shaking a finger) Shame on you. The knives begin to fly toward Giles. He looks to his left and yells something. The practice dummy flies over in front of Giles,and all the knives slam into it. Willow makes an angry face and waves her hand. The dummy falls aside. Giles looks determined, makes a ball of magic in his handand throws it at Willow.GILES: Excudo! Willow flies backward into the brick wall and through it into the main Magic Box room behind. She slams into a pillar thatsupports the upper loft, and falls to the floor in a shower of bricks, debris, etc.Cut to: exterior residential street, night. Dawn and Xander walk along, with"}
+{"doc_id":"doc_276","qid":"","text":"[Press conference](Alicia and Peter are walking in a hall and they are going into the press room. There are a lot of journalists.)Peter: Good morning. An hour ago,I resigned as State's Attorney of Cook Country. I did this with a heavy heart and a deep commitment to fight these scurrilous charges. I wanna be clear. I'venever abused my office. I've never traded lighter senses for financial or sexual favors. At the same time, I need to atone for my personal failings with my wife,Alicia, and our two children. The money used in these transactions was mine and mine alone. No public funds were ever utilized. But I do admit to the failure ofjudgment in my private dealings with these women. Alicia and I ask the press, please respect our privacy. Give us time to hear. With the love of God, and theforgiveness of my family, I know I can rebuild their trust. I wanna thank the people of Chicago; it has been an honor to serve you. And I pray that one day, I mayserve you again. Thank you.(Alicia and Peter leave)Journalists: Sir! Are you still involved with prostitutes, sir? How many were there, sir? Will you ever try to holdpublic office again? Sir! Answer the question![In a hall]Press agent: We have interviews set up with the Tribune and Channel Four.Peter: Absolutely not! I'm notdoing any more interviews. I want you to cancel all of them. That's it!Press agent: I'll tell Channel Two, we don't have a comment at the present time but weemphatically question the authenticity of this thing.(Press agents leave)Peter: Hey, you all right?(Alicia slaps Peter and then, leaves)Journalists: Mrs.Florrick, howlong have you know your husband was having an affair? How are you going to protect your children?[6 months later; in an office](Alicia is waiting and a girlpasses in the hall)Alicia: Oh excuse me, isn't the staff meeting at 9.30?The girl: You're in the wrong conference room. It's up one floor.Alicia: Oh, God!(Aliciatakes her stuff and runs to the other floor. She enters into a room)A voice (Will's voice): This is a major class action. A case that could propel us to the top rank offull service firms, and I don't think I need to remind you what that will do to your year-end bonuses. Anyway, Sheffrin-Marks fired their last firm because theytook their eyes off the ball. So, until further notice, your personal lives have been cancelled.Another voice (Diane's): So, we'll need some of you to help with thelower profile client work to free up our top litigators.Will: Ed, you take the witness prep on highway redistribution. Don, you take the Brighton criminal and Aliciawill take the pro bono. Everyone else, your task is to show Sheffrin-Marks our 'A' game, ok? Let's do this!(End of the meeting- Alicia and Will are in the hall andthey're walking)Alicia: Will.Will: Alicia.Alicia: Hey.Will: I'm sorry I didn't introduce you in there. Everything is moving real fast with this class action.Alicia: Well, Ijust wanted to say thank you for the opportunity. It's a real life saver.Will: No, glad you could come aboard. Hope you're all right with this pro bono. How'd itsound?Alicia: Interesting.Will: Good. Don't be nervous. You worried about the gunshot residue?Alicia: No...oh, god! (phone rings)Will: Nice ring tone. Who getsthat?Alicia: Oh, my mother-in-law. My daughter programmed it.Will: What's yours?Alicia: I don't wanna know! So, the gun residue.Will: Diane, you're briefingAlicia, right? Good. So you're in good hands. So, let's catch up, have dinner.(Diane arrives, Will leaves - Diane and Alicia walk in the halls)Diane: So, Will speakshighly of you. He says you graduated top of your class at Georgetown. When was this?Alicia: 15 years ago.Diane: Hum, hum...and you spent 2 years at?Alicia:Crozier, Abrams & Abbott.Diane: Good firm. Will says you clocked the highest billable hours there. Why did you leave?Alicia: Well, the kids and Peter'scareer.Diane: Hum...Brian, can you get Mrs. Florrick the files?Brian: Sure!Diane: I want you to think of me as a mentor, Alicia. It's the closest thing we have to anold boys' network in this town.[Diane's office]Diane: Women helping women, ok?Alicia: Ok.Diane: When I was starting out, I got one great piece of advice. Mencan be lazy, women can't. And I think that goes double for you. Not only, you're coming back to the workplace fairly late, but you've some very prominentbaggage. But, hey, she can do it, so can you!(Brian enters in the office)Diane: Thanks Brian! Like many law firms, we donate 5% of billable hours to pro bono.Sadly, I'm long past my quota on this one: Jennifer Lewis, 26 years old, taught second grade. Accused of killing her ex-husband. Prosecution thought it was aslam dunk 45 years, but the jury came back last week, deadlocked. 6 jurors voted to convict, 6 not; I'm not even sure why the State Attorney is re-trying excepthe wants...Justice! He wants to prove himself! So, stick with my strategy from the first trial. The police focused on Jennifer so early in the investigation, theynever even looked for the carjacker. Deadlock a jury a second time, they'll never re-try a third, ok? Ok, our investigator can get you up to speed for the bailhearing at 3. Cormac, I'm ready!Alicia: The hearing's today?Diane: Well, we could delay, but that would leave Jennifer incarcerated for another month. Don'tworry, you'll be fine! The ASA's not going to argue against a recognizance release. Let's go, meeting at 10.30.(Diane leaves and Alicia follows)[In the hall, Aliciahears the TV from Brian's office. It's the speech of Peter]Sound from the TV: But I do admit to a failure of judgment in my private dealings with thesewomen.Brian: Sorry.Sound from the TV: ...mine and mine alone. No public funds were ever utilized. The recent news...(Alicia leaves)[In the hall of theoffices]Cary: Hey, let me help.Alicia: No, I'm fine.Cary: I'm heading that way. I'm Cary, the other new associate.Alicia: Oh right, Alicia.Cary: Yeah, look, I knowwe should be hate each other's throats, but I just wanna say I really respect what you're doing here. Raising a family and then, jumping back into this. My mum,she's thinking of doing the same thing.Alicia: Great.Cary: Yeah. So, you're on the pro bono, right?Alicia: Humhum.Cary: Yeah, that's great! I interned lastsummer at the Innocence Project. My dad's best friend is Barry Scheck and it was just amazing: helping people. Here, they got me on the Sheffrin-Marks. I'msure it will be challenging, but at the end of the day, what have you really done? Saved a corporation of few billion dollars?Alicia: You wanna trade?Cary: I would,but I guess they have other plans, so...(An assistant arrives in the hall with some field)An assistant: I'm almost done, Cary. The last one is on your desk.Cary:Thank you.The assistant: Hi, Mrs. Florrick.Cary: Looks like we share an assistant, so tell me when I'm hogging her, ok? And let the best men win!Alicia: Excuseme?Cary: Let the...nothing! It's nothing. I...It's nothing![In Alicia's office]Alicia: Oops...(There is someone in her office)Kalinda: Don't worry. It's yours!Alicia:Oh!Kalinda: Kalinda Sharma. I'm the in-house.Alicia: Oh, the investigator.Kalinda: You're Peter Florrick's wife.Alicia: That's right!Kalinda: I worked with him atthe State's attorney's office three years. He fired me.Alicia: Ok.Kalinda: So what do you know?Alicia: The client is a second-grade school teacher,Jennifer.Kalinda: Lewis.Alicia: Arrested for killing her ex-husband.Kalinda: Making it look like a botched carjacking. Gunshot residue was found on Jennifer's faceand hands. (They walked outside the office) That's why the cops started to think it was a murder disguised as a carjacking. According to them, Jennifer shot herex-husband and wiped down the gun.Alicia: And the motive?Kalinda: He remarried and wanted custody of the 3 years-old. Witnesses saw them arguing a weekbefore the murder.(In an elevator - Alicia's phone rings)Rings: hey, mom, pick up the phone. Hey, mom, pick up the phone.Alicia: Sorry, it's my daughter.(On thephone)Alicia: Hi, Grace.Grace: Hey, mom. I want to ask you a question, but I don't want you to freak out, ok?Alicia: Oh, oh.Grace: Forget it! I'll ask Zach.Alicia:No, no! What?(See Grace on the phone)Grace: All right, well, some girl said that slept with a hooker my age. And I just...(Alicia is in the hall at the Court)Alicia:What?A guardian: Madam, you'll have to turn that off.Grace: They were playing the tape in the computer lab, and some girls said her dad's a cop and he said oneof the hookers was a teenager.Alicia: Ok, first of all, they were all over 20 and second, where is the teacher?Grace: It's no big deal, mom. Look I've gothomework. I'll talk to you later.(Alicia arrives in front of the door)Kalinda: What?Alicia: Last time, I was in court was 13 years ago.Kalinda: Wow, I was 12.Alicia:Thanks![In the court]A voice: The judge reaches into his pocket, pulls out a check, handing it to the plaintiff. I'm returning 5 grand and we're going to decide this.It's Florrick's wife. Alicia? My god. Matan, from the department Christmas party. You're at Stern, Lockhart & Gardner?Alicia: Yeah, first day.Matan: Oh, this isSandra Pai. She's new since Peter. How is he doing by the way?Alicia: Peter? Fine!Matan: Say hello for me, will you? Look at all this. You're gonna to bury us. Idon't know how you do it, Alicia. I'd be huddled up in a ball somewhere. Well, back to work.(The judge arrives)Matan: Good luck.(Jennifer, the client,arrives)Jennifer: Where's Diane?Alicia: Diane asks me to step in for her. Jennifer, I'm Alicia Florrick. I'm one of the other layers with the firm.Jennifer: Step in?For how long?Alicia: For the retrial.Jennifer: Oh my god!A voice: All right, man. The Criminal Court of Cook County is now in session, the honorable judge RichardCuesta presiding.The judge: Be seated! Ok, let's hear it!Alicia: Your honor, I just...Matan: Your Honor, just to refresh your memory, the accused was deemed aflight risk due to an earlier custody hearing in which she threatened to run off with her daughter.The judge: And yet just last week a jury deadlocked on thesemurder charges six to six, Mr.Brody. Now, I know our new state's attorney wants to look tough, but why are you fighting this?Alicia: Your Honor, I just wantedto...Matan: The people are prepared to retry this case right now, your Honor. If Mrs.Florrick is so intent on getting her client out, why doesn't she agree to aspeedy trial?The judge: Mrs. Florrick?Alicia: Yes, your Honor.The judge: The wife of the esteem Peter Florrick? You husband and I never quite saw eye to eye,madam.Alicia: Your Honor.The judge: Mrs.Florrick, don't talk! But if the prosecution thinks that this will in some way prejudice me against your client, he is sorelymistaken. Nice try, Matan. So Mrs. Lewis is granted pretrial release with an electronic monitoring. She is restricted to temporary housing attorney's offices, andtransit in between. And given that this is rerun, I'll set the trial date for the 25th. Now, are we all happy? Good!Jennifer: Thank you!Alicia: Sure.(Lockhart's office- meeting between Jennifer, Alicia and Kalinda)Jennifer: We had a nice time. Michael talked about missing his daughter; the life we had together. We were drivinghome and uh... We got a flat. He was getting out to fix it, and I saw...a red pickup truck. A man came up to Michael. I didn't see the gun until.(Flashbacks of themoment - we see Jennifer screaming)Jennifer: Michael!(In the office)Jennifer: And I saw Michael's face. It was, um...Alicia: Do you need to take a break?Jennifer:No, just...if there is some water.Alicia: Sure.(Alicia leaves - Kalinda and Jennifer stay in the office)(Alicia speaks to her assistant)Alicia: Sonia, we need some"}
+{"doc_id":"doc_277","qid":"","text":"Michael: Hup! [throws cheese puff to Ryan who catches it in his mouth][SCENE_BREAK]Pam: Things are a little slow here. And there's only so much cold-callingyou can do in a day. Turns out there's no limit to the number of cheese puffs you can throw at someone's face.Michael: Hup! [throws cheese puff to Pam whocatches it in her mouth]Pam: We're getting pretty good at it.[SCENE_BREAK][Pam and Ryan throw cheese puffs to Michael, Ryan and Michael throw cheese puffsat each other, Michael throws a cheese puff over his shoulder to Ryan, all three throw cheese puffs to one another, give high-fives][SCENE_BREAK][Pam yawns,two cheese puffs thrown at her, one sticks in her hair][SCENE_BREAK]Jim: Andy put down a bunch of deposits on stuff for his wedding with Angela, but then shewas sleeping with Dwight for... several years. Wait, no, that can't be right.Pam: The timeline's messy.Jim: Anyway, now we are going bargain hunting in thehaunted graveyard of their love.[SCENE_BREAK]Andy: This is my solo. [stereo plays Andy imitating bass guitar, a cappella starts singing 'You Can Call MeAl']Pam: I'm confused. Am I walking down the aisle to 'You Can Call Me Al?'Andy: Trust me. You will not be walking. You will be boogie-ing.Jim: I am extremelyinterested. So, how much will all of this cost?Andy: Well, 12 guys, airfare, three nights in a hotel, food per diem, table up front for merch... $9,000.Pam: I don'tknow. It seems like a lot for an a cappella group from a college we never went to.Andy: Did you even hear the music I just played for you?Pam:Mm-hmm.[SCENE_BREAK]Phyllis: What's wrong with you?Dwight: These sleeves are cutting off my circulation. Not enough blood getting to my hands.Phyllis: Ithink you look nice.Dwight: Doesn't Charles know he's compromising my attack readiness? It's not a dress code. It's a death sentence.Charles: Lookinggood.Dwight: 'Kay, thank you. It's a straight jacket! [knocks things off shelf with arms] Okay.[SCENE_BREAK]Dwight: When Michael was in charge, this placewas like the Roman Empire. And the Wild West. And war-torn Poland. And Poland. There was just a lot going on, so what you wore to work was the least ofanybody's worries. And in that chaos, I soared.[SCENE_BREAK]Michael: Hey.Dwight: Hey. Ed's Tires is thinking of making a change.Michael: [gestures to 'Bed &Breakfast' magazine] Is this good?Dwight: They have some great kitchen ideas.Michael: Oh. Okay. Ed's Tires, huh?Dwight: It's small, I know.Michael: I reallyappreciate it.Dwight: Thanks, Michael. [Michael palms Dwight cash in their handshake] Wait, what is this?Michael: It's for your trouble.Dwight: Wh- I don't need$6 to help a friend.Michael: No, no, listen, as a friend, I want you to have this.Dwight: Michael, you know I can't take this.Michael: Yes, I do.Dwight: But don'tforget you owe me $10.Michael: That was four years ago. Why don't you let it go?Dwight: Michael.[SCENE_BREAK]Andy: What was up with Pam being all pushyand negative in there?Jim: I think she just didn't want a crucifix cake.Andy: It scares me to see you going down a road that I went down.Jim: Am I going down aroad?Andy: When I see her bossing you around like that, it just makes me wonder if this thing really has the legs to go the distance.Jim: It's so scary how rightthe things you're saying are. And you're coming at it with almost no knowledge, so of course I trust your opinion on this.[SCENE_BREAK]Andy: I know a fewthings about love. Horrible, terrible, awful, awful things.[SCENE_BREAK]Jim: I was going to use today to purge my inbox, but now something much morepressing has come up.[SCENE_BREAK]Michael: Ed's Tires. Why don't you tell them that we have fewer clients, so we can spend more time with each of them.Also, try to discuss it over Indian food, and try to mention how you distrust women.Pam: I'm not gonna do that.Michael: That is smart. That would not seemgenuine. Ryan?Ryan: I can get there.Michael: Good, you take the lead on this one. Also, do not forget that he has just gone through a messy divorce.Ryan: Oh,awesome.Michael: Bring it in. Morning cheer. [clears throat]Michael, Pam & Ryan: U-G-L-Y, you ain't got no alibi! You ugly, huh huh, you ugly! You mama saysyou ugly! Hey! Go Michael Scott Paper Company![SCENE_BREAK]Pam: I'm here. I'm a part of this now.[SCENE_BREAK]Dwight: You needed to speak tome?Charles: Dwight, take a seat.Dwight: I prefer to stand. Less blood clots.Charles: Nah, that's weird. You're gonna sit. [Dwight sits] Great. You know, Dwight, ithas been quite a transition for all of us. Are you happy with the way things have been runnin' lately?Dwight: Do you mean compared to the ways things ran withother bosses? Comparisons are hard.Charles: I've just been impressed with your performance and I wanted to make sure good work doesn't gounnoticed.Dwight: Your concern is noted.Charles: Yeah, I like your work ethic. You're so... focused.Dwight: Like a wolf. Thank you.Charles: And I wanna startgivin' you more responsibility. What do you say you and I go out for a drink this week?Dwight: Really?Charles: Definitely.Dwight: [sighs] It'sfirm.[SCENE_BREAK]Michael: [on phone] I need you to get me the prices that you're charging Ed's tires so I can undercut Dunder Mifflin.Dwight: I don't knowthat I can do that now. You know, uh, something's come up.Michael: Oh n- Is it Mose? Did you put the cover on that well?Dwight: No, Mose is fine. I roped it off.It's not about Mose. Listen, things are changing here, Michael, they're changing fast.Michael: I'm not following you.Dwight: Imagine... Someone has a personalhero they really wanna help. But then there's this new guy. Very cool, very Will Smith-esque, who would not like it if he helped his hero.Michael: Personal hero,cool new guy. Okay, I think I'm getting your drift.Dwight: Good, do you see what I'm saying?Michael: Crystal clear. So is this for a movie that you'rewriting?Dwight: No.Michael: Can I use it? [Pam holds up note saying \"He's talking about you!\"]Dwight: No.Michael: [Michael dismisses note, Ryan and Pam pointto notepad] Dwight, are you talking about us?Dwight: It is possible that I could be talking about us.Michael: Someone could say that it is like the situation that weare in now?Dwight: It is the situation that we are in now.Michael: So I would say that the old boss has always been good to Dwight, and he was there first, so hehas dibs. You respect dibs, don't you?Dwight: I'm not a barbarian.Michael: Good. Will you meet me in 20 minutes at the spot?Dwight: I will.Michael:Dwight?Dwight: Yes?Michael: Is the cool new guy Charles?Dwight: I've said too much.Michael: Is it Stanley?[SCENE_BREAK]Jim: Hey, Andy. You know I've beenthinkin about what you said-Andy: 'Noishe.'Jim: -I just don't know if I can do it.Andy: That's interesting, because I hear what you're saying is that you want to doit, which means you can do it. Believe me, I broke up with Angela, and I'm like, the happiest guy ever. I mean, I'm so happy. I'm so happy. Like, total freedom,you know?Jim: It's just that Pam gets me through the day, you know? I really rely on her. I'm pretty emotionally needy.Andy: And you know what? I am here foryou. Let me be your traveling pants. [imitates punching on Jim's fist] Ah, what'd you do that for?Jim: [both laugh] You know that I was doin' this.Andy: [fistpound each other] Totally.Jim: Okay.[SCENE_BREAK]Michael: Hello, Dwight. What's with the shirt? Are you alright?Dwight: I'm sorry, MichaelCharles: [Charlescomes from around corner] Hi, Michael.Michael: Oh my God! Run! Run! It's a setup. Setup!Charles: No, Mich-Michael.Michael: Dwight, run!Charles: Michael, no,let's be cool, ok?Michael: You be cool.Charles: Yes.Michael: Just-what's going on?Charles: We need to talk about our two companies, and how we should behave.Dwight tells me you've been pestering him for company info.Michael: Mm-do... Dwight would not-Charles: He did.Dwight: I did, Michael. I was upset about theshirt sleeves at first, but now I'm okay with it.Charles: Michael, I want you to stop pestering my salesmen, and I want you to leave Dunder Mifflin alone. Do youunderstand?Michael: I. Understand. Nothing.[SCENE_BREAK]Michael: [Michael storms into office] Wow.Pam: Michael, are you alright?Michael: It was a setup.Dwight told Charles. He told him.Pam: Tell us what you're talking about.Ryan: Yeah.Michael: It's like, a girl says she'll make out with you, but then her boyfriendis waiting around the corner with a pee-filled balloon.Pam: We can't help you if you don't just tell us what happened.Michael: I got hit in the face with a pee-filledwater balloon, Pam, ok? I don't know how they did it. They filled the balloon with pee. A funnel? I don't know. Is that clear enough for you?[SCENE_BREAK]Andy:Hey, Jim.Jim: [Jim slams lunchbag on table] I just totally blew a sales call.Andy: Bro, I do that all the time.Jim: Yeah, well, with you it's different, okay? Cause Ijust- I just suck. I just- I suck!Andy: Tuna, be nice to my friend Jim, ok?Jim: Why? When I look in the mirror, I don't like the face that looks back.Andy: Well, sowhat? Your body's a ten.Jim: Forget it.Andy: Jim.Jim: I said forget it. [drop kicks lunch across room, stomps on it][SCENE_BREAK]Dwight: [on phone] DwightSchrute.Michael: Hello, traitor.Dwight: I think you have the wrong number, Michael.Michael: I want you to listen to me, friend, and I want you to listen to megood. I am going to come at you, and I am going to come at you hard. I am going to steal all of your clients, and then I am going to kill them in front of you.Pam:Michael!Michael: I'm just getting hardcore with him.Ryan: Finally.Michael: Yes, and hear me, Dwight, when I say I brought you into this world, and I can take youout. [hangs up] Bill Cosby.[SCENE_BREAK]Dwight: [on phone] Mr. Schofield, please?Secretary: He's in a meeting.Dwight: Dammit! [hangsup][SCENE_BREAK]Michael: [on phone] Is Mr. Schofield there?Automated phone voice: If you'd like to reach an outside line, please dial nine first. [Michael sighs,hangs up phone][SCENE_BREAK]Stanley: So, you think Michael's going after the whale, huh?Dwight: I have a long term relationship with Harper Collinspublishers and Mr. Schofield. I'm not worried.Phyllis: You sound worried.Dwight: And you have bad skin. Oh, look everyone, we're all making observations![gibberish sounds][SCENE_BREAK]Michael: [on phone] Well, if you could do me a big favor and tell Mr. Schofield that Michael Scott has tickets to theWilkes-Barre Penguins game this weekend, and if he would like to join me... Hello, Daniel. How are you? Uh-huh. I sure do. Yes. [referencing rolodex card]Wanted to ask, did Kathy ever make JV?Ryan: Look at that old dude and his rolodex go.Pam: I spent a month putting that rolodex on his Blackberry, which henow uses as a nightlight.Michael: Wow. High score?[SCENE_BREAK]Dwight: And no, I cannot lower my current prices. [phone rings] Hold on. Hello? Mr.Schofield, thank you so much for taking the time to talk. I wanted to discuss your contract with us- oh, you're considering him. I thought Michael Scott left thepaper business after his nervous breakdown.[SCENE_BREAK]Dwight: Michael has been talking to my biggest client. Master and apprentice pitted against oneanother for the fate of the greater Scranton area paper market. So it's not exactly like 'Highlander,' but still...[SCENE_BREAK]Michael: Hello, Dwight, I've been"}
+{"doc_id":"doc_278","qid":"","text":"\"DANCE\"CastDawson: James Van Der BeekGrams: Mary Beth PeilJoey: Kaite HolmesBessie: Nina RepetaPacey: Joshua JacksonMitch: John Wesely ShippJen:Michelle WilliamsGail: Mary-Margaret HumesAndie: Meredith MonroeJack: Kerr SmithHomecoming Dance*Dawson's room: Andie is dancing and watching\"Footloose\" on Dawson's TV while Pacey, Dawson, and Joey sit on the bed and watch her dance and laugh.*Andie: Oh my God! I love \"Footloose\"! Don't you guyslove to dance? I am so excited about the homecoming dance next weekend.Pacey: The homecoming dance? *Andie nods*Pacey: Oh my God, we're hanging outwith Marcia Brady.Andie: I don't understand. What's wrong with the school dance?Dawson: I think what Pacey's actually saying is that we're not exactly theschool dance type.Joey: We'd rather watch a movie about a high school dance than actually set foot in an over-decorated gym.Pacey: Actually, this enditement ofhigh school conventions isn't limited to dances. It covers the whole spectrum of school-sponsored events. Case-in-point: Joey, how many high school footballgames have you been to?Joey: None.Pacey: Mm-hm. And Dawson? How many pep rallies have you loyally attended?Dawson: Zero.Pacey: Mm-hm.Andie: Uh! Youguys are a bunch of cynics, you know that? I mean, what kind of memories are you going to have if all you did in high school is bitch and moan about it?Joey:Bitching memories.Dawson: Moaning memories. *Joey looks over and smiles at Dawson.*Andie: You guys are completely sabotaging your high schoolexperience.Pacey: Guilty as charged. Now, Dawson, if you don't mind, could you turn the video back on? 'Cause I really want to see who's responsible for KevinBacon's rougueish, devil-maker, hair do(?). *He smiles at Andie as the tape comes back on. Andie walks over and stands in front of the TV*Andie: You mean youwould rather watch a movie about something than doing it yourselves?Dawson and Joey: Correct. *Andie walks over and sits on the windowseat*Andie: Okay,what about s*x? *Dawson, Pacey, and Joey look over.*Andie: I mean, you guys are missing a major opportunity here. Why do you think the (?) were so adamentabout outlawing dancing? They believed it to be sinful.Dawson: Are you saying dancing equals s*x?Andie: No. But dancing could possibly be really great foreplay.*Joey looks at Dawson*Pacey: I love the way you think.Andie: So...who's going with me on Saturday?*Joey looks at Dawson again and scratches her head. Paceymakes a face like 'Whoa'**Cut to Bessie and Joey pulling up to Capeside High. Joey's getting out but she stops*Bessie: Okay. We're here. You gonna getout?Joey: I was thinking.. *Bessie rolls her eyes*Bessie: What is it this morning? General teen angst or something specific?Joey: If I tell you something will yourespond with nothing but sisterly advice and/or concern?Bessie: Of course.Joey: Okay...Jack kissed me. *Bessie starts laughing*Bessie: Oh my God!*laughing*Joey: Look I don't think cackling qualifies as concern or advice.Bessie: I'm sorry Joey, but Jack? Choreboy down at the Icehouse?Joey: Yes.Bessie: Hekissed you?Joey: It was nothing, really. It happened and then it was over.Bessie: So what's the problem then?Joey: Dawson?Bessie: Oh...you didn't tell him, didyou?Joey: No. I mean, here's the thing. I mean, this is a classic example of what I would tell Dawson, the friend, but since Dawson, the friend, has becomeDawson, the boyfriend, the concept of newsworthy events has become a little blurry.Bessie: Okay, look. Here's the way I see it. Jack kissed you, right? It was a 1way kiss, right?Joey: Yeah.Bessie: Surprise whenever(?), completely uninvited, all-in-all no big deal. You didn't do anything wrong. Don't beat yourself up over it.If you want my advice, just put it behind you, concentrate on Dawson, pretend it didn't happen.Joey: What didn't happen?Bessie: Exactly.Joey: Thanks, Bess.See ya!Bessie: Okay *She drives off* *Cut to Abby and Jen*Abby: No way those are real.Jen: What? You think those are man-made?Abby: Yes! Jen, please!Physical enhancement caters not only to size. It can improve shape, direction, perk factor..that girls had some work done.Jen: Yeah, well, Brett sure doesn't seemto mind.Abby: Oh, please. Brett Tompkins is just a dim bulb with good hair and tight pants. A classic him-bo. In other words, perfect.Jen: If that's yourtype.Abby: Aw, what's the matter, Jen? Brett's too much man not enough touchy-feely film amateur(?). Full market down(?). Come Saturday night, Brett andKristy will be history. Saturday, Brett will be mine.Jen: Abby, that's pathetic. You're going to the homecoming dance to hit on somebody else's boyfriend?Abby:Well, my guidance counselor told me to set goals for myself.Jen: You're on your own.Abby: Fine. Suit yourself. Stay at home and read Scripture with Grandma.Brett and I will drop you a line from Vegas. *Cut to Brett and Kristy.*Brett: Don't pull me away like I'm some stupid dog on a leash!Kristy: Well, how aboutacknowledging me when you see me outside, huh! *Dawson walks by listening to them heading towards Joey at her locker.*Dawson: Promise me we will neverair a relationship crisis about anything like that. I can't think of anything more embarressing and immature.Joey: Deal.Dawson: Okay. *They kiss*Dawson: Now,remind me again how Andie McPhee convinced us to go to this homecoming dance.Joey: I think by promising us that dancing always ends in taudrysmud-action(?).Dawson: Oh. Could that possibly be our first mention of s*x since we've been together?Joey: Possibly.Dawson: Why is that? When we werefriends we talked about s*x all the time.Joey: I think because we wanted to ease into the subject to make the transition from friend tolover..unconfusing.Dawson: Ah, if we are confused about the transition from friend to lover, I can only think of one thing that would truly cinch it.Joey: What doyou suggest?Dawson: That you put on your dancing shoes. *Joey smiles* *Jen and Abby walk by*Jen: Hey guys.Dawson: Hey Jen.Abby: Wipe the drool,Dawson.Joey: I don't like the two of them being so chummy. I mean, Abby is not a good influence for Jen.Dawson: *laughing* Is this genuine concern I'mhearing for Jen Lindley?Joey: Well, I feel sorry for her, I mean, her grandpa just died. Maybe we should invite her to the dance. I mean, we're going as a group.Might be fun for her.Dawson: Joey Potter, I applaude you. You earn major humanity points for this. *Joey smiles and shrugs*Dawson: But, um, don't you think itmay make her feel worse than she already does?Joey: I don't know. All I know is that it's really hard to lose a family member, Dawson, and I just think it mightbe fun for her. It's up to you. Your call.Dawson: I'll see you later.Joey: Okay. *They kiss* *Joey sees Jack enter the building and stares and then turns and walksaway.* *Cut to Andie and Pacey outside*Pacey: So since I'm in charge of transportation Saturday, would you like me to pick you up at your house or meetsomewhere.Andie: Let's meet somewhere.Pacey: Cool. How's your mother doing anyway?Andie: She's having a good week.Pacey: Listen, Andie, if there's everanything I can do, you can just ask me, right?Andie: So Witter. I hope you have your dancing moves polished and ready 'cause I plan on making a dancing fooloutta you.Pacey: Sorry, McPhee, no can do, I don't dance.Andie: What do you mean you don't dance?Pacey: I mean, I don't like it and I'm really not any good atit. I mean, it's bad enough that I'm just going on Saturday but don't expect me to get out there and start bustin' a move 'cause it's just not going tohappen.Andie: You don't dance. You are beyond immature.Pacey: You're overbearing.Andie: Boring.Pacey: Hyper-sensitive.Andie: Vulgar.Pacey: Pick you up at7?Andie: Great.Pacey: Okay. *Dawson walks up*Dawson: Are you two having a spat?Pacey: No, just our usual passive-aggressive banter.Dawson: Okay.Andie:No, actually we were talking about the dance, and, hey, if you guys don't mind, I'd really like to invite my brother Jack to come along. You know, he's kind of aloner and I think it would be good for him.Dawson: Actually, why don't we also invite Jen Lindley?Andie: Jack and Jen? A set-up.Dawson: I mean, I'm not surethey're a perfect match but they're both single.Andie: I like it.Pacey: No, guys. This is a bad idea.Dawson: You never know. It could work!Andie: Let's doit.Pacey: No, don't, come on. Whenever you fix up two people who don't even know each other, it's a recipe for disaster. This can only end badly. I promise you.Please.Andie: I'll set it up.Dawson: Great.Andie: Buh-bye.Pacey: Am I invisible? *Cut to Dawson's house. Dawson's parents are on the porch. Dawson walksin.*Dawson: Hi.Mitch: Dawson, have a seat.Dawson: Okay. What's going on?Mitch: Well, I know things got a little out of hand the other night, and, well, I'm notsure what the segway is here, but your mother and I, after much talk, after much consideration, have decided--Gail: Um, honey, sometimes you focus so hard onthe solution that when you step away and you pull back, only then does the solution truly appear.Mitch: Yes. Right. And as improbable as this approach mightseem, sometimes it's the only one left and, um, and in this case, it's the only one left.Gail: What we're trying to say is that...is thatMitch: Your mother and I havedecided to spend some time apart.Dawson: Well, it looks like you two have given this quite a bit of careful thought.Gail: Yes, we have.Dawson: And thesuggestion from me for you to go back to counseling wouldn't make any difference.Mitch: We've tried it.Dawson: So my suggestion that you make a moreconcerted effort at trying to find a solution. Maybe improve communication, possibly, family outings, truth syrum.Mitch: Dawson, your opinion is important to usand we love you. But we're not open to suggestions on this one. This is a conclusion. A conclusion that we've reached.Dawson: Yeah, well I conclude that yourconclusion sucks. *Dawson walks off* *Cut to Jack and Andie*Jack: Why didn't you just let Pacey pick us up at the house?Andie: You know why, Jack.Jack: Didyou strap Mom in for the evening?Andie: It's not funny.Jack: She's not getting any better, you know?Andie: You know, Jack, I want a night off. Just one night off.One attempt at fun. Can we do that please?Jack: Well, maybe I shouldn't be around, I'll just bring you down, Andie. I hate dances. I don't do good at thesethings.Andie: Don't be silly. It will be fun, okay? Besides, it's time we got you out and you met some of Capeside's cuties. And who knows? You might meet thewoman of your dreams tonight.Jack: Maybe. Maybe I already have.Andie: Oh good, here's Pacey. *Pacey pulls up in his cop car*Jack: Quite a car.Andie: It's hisdad's. They have a complex relationship. *Cut to Mitch loading suitcases into the jeep*Mitch: Look, I should get going. Gail, this is just a trial, okay? Onlytemporary.Gail: Absolutely. Only temporary. Um, look, are there rules? Can we talk to each other?Mitch: Of course we can talk to each other! You can call mewhenever you need to.Gail: Go.Mitch: Bye Gail. *He leaves and Gail starts crying* *Cut to Dawson coming down the stairs into the kitchen where his mom iscutting onions.*Dawson: Mom, are you alright?Gail: *with hints in her voice that she's been crying* Uh, yeah, Dawson, I'm fine. It's just the onions.Dawson:"}
+{"doc_id":"doc_279","qid":"","text":"[ The cafeteria ]Leonard: Oh, hey, oh, we ran into your mom at Benihana last night.Howard: Oh, yeah, she loves that place. Every time they flip a shrimp in theair, she practically leaps out of her seat to catch it. That's why I don't take her to SeaWorld.Leonard: I know you-you don't want to hear it, but she was there withStuart.Howard: That's fine. I don't care.Raj: It doesn't bug you when they go out on dates?Howard: They're not dating. They're just two friends who went out todinner.Raj: And then went back to the home they share where they probably fell asleep in the matching pajamas she got them because they both just lovepenguins.Howard: Hey, lots of people wear matching pajamas who aren't dating.Raj: Like who?Howard: Like you and your dog.Leonard: Don't rule out thedating.Howard: Fine, it bothers me. You happy?Sheldon: You think you've got problems. The gibbon is the only member of the ape family not classified as a greatape.Howard: How is this helpful?Sheldon: All the non-human apes are classified as great apes except one. That means taxonomists created the entire category oflesser ape just to single out the poor gibbon as the weird kid on the playground. Now there's a hairy little fellow with a genuine beef.Leonard: But the gibbondoesn't know what it's categorized as. It doesn't even know it's called a gibbon.Sheldon: True. Sorry, kid, you've got it worse than a gibbon.[SCENE_BREAK]\u0000Our whole universe was in a hot, dense state \u0000[SCENE_BREAK]\u0000 Then nearly 14 billion years ago expansion started... Wait! \u0000[SCENE_BREAK]\u0000 The Earthbegan to cool \u0000[SCENE_BREAK]\u0000 The autotrophs began to drool, Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We built the Wall \u0000[SCENE_BREAK]\u0000 Webuilt the pyramids \u0000[SCENE_BREAK]\u0000 Math, Science, History, unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]\u0000Bang! \u0000[SCENE_BREAK][ Penny's Apartment ]Amy: Hi.Penny: Hey.Bernadette: We brought snacks for movie night.Penny: Oh, great. I don't suppose you alsobrought napkins, clean bowls, utensils and a roll of toilet paper.Bernadette: Right here.Penny: Ah, You guys are the best.Amy: What's with the clothes?Penny:Well, with all the new stuff I bought for work, I needed to make room in my closet.Amy: I meant why are they folded? But whatever. Ooh, what's this?Penny:That, believe it or not, is my prom dress.Bernadette: Wow, you still have it? I just assumed it was balled up in the corner of a barn somewhere.Penny: What kindof teenager did you think I was?Bernadette: Slutty.Amy: Easy.Penny: The word is popular.Bernadette: How was your prom? Did you go?Amy: No, but I was onclean-up crew.Penny: Aw, that's sad.Amy: No, it was okay. The DJ let me dance one slow song with my mop before he shut down. Whenever I see a bucket ofdirty water, I still hear Lady in Red.Bernadette: My prom was pretty terrible, too. I was so excited about my date, but it turned out he only asked me 'cause heliked my friend. He spent the whole night talking about her.Amy: Okay, we get it, you had a friend and a date. Stop bragging.Penny: Doesn't matter. Prom is sillyanyways.Bernadette: Easy for you to say; you probably went with the captain of the football team.Penny: No. I just made out with him a little while his date waspuking.Amy: My date would've had to clean that up.Bernadette: Ooh, I have an idea. Maybe we can have, like, a prom do-over.Amy: Oh, that would be so muchfun. We could decorate the roof and make the guys wear tuxedos.Bernadette: Ooh, and get our hair done, and slow-dance.Penny: Okay, guys, trust me, assomeone who's been to, like, seven proms, it is never as good as you want it to be.Amy: You went to seven proms?Penny: Yeah, let's see. Uh, four Under theSeas, two Enchanted Evenings, and one Night to Remember that I cannot remember for the life of me.[SCENE_BREAK][ The apartment ]Howard: Hey.Raj:Hey.Leonard: Hey, where's Bernadette?Howard: She and Amy are out dress shopping for their prom thing.Raj: Oh, yeah, I got that Evite. Ever since I saw Prettyin Pink, I've wanted to go to an American prom. But then I saw Carrie, and I did not want to go to an American prom. But then I saw Never Been Kissed, and I'mback on the prom bandwagon. This prom thing's been a real roller coaster.Howard: Bernie's really excited. I could tell because her voice got so high, the beaglenext door started howling.Raj: Did you go to your prom?Sheldon: No. I had a date with a proper education. Instead of a tuxedo, I dressed myself in good habits.Instead of spiked punch, I enjoyed the intoxicating flavour of knowledge. Instead of dancing in a gym, I shook my bootyto the seductive rhythms...Penny: Okay,okay.Shldon: ...of AP Calculus.Raj: How come you're not shopping with Amy and Bernadette?Leonard: Let me guess, you think the whole idea is lame?Penny:Well, who cares what I think? What do you think?Leonard: Hmm, to be honest, it's kind of a dream come true to go to even a fake prom with a woman asbeautiful as you.Penny: Ugh, thanks a lot.Leonard: What?Penny: Well, now I can't blow this thing off without being a bitch.Raj: That sounds like ayes.[SCENE_BREAK][ Howard and Bernadette's apartment ]Bernadette: Ooh, every single person RSVP'd yes. This is so exciting. Isn't this exciting?Howard:Yep.Bernadette: Look, even Stuart's bringing a date. I wonder who it is.Howard: You know exactly who it is. He's gonna bring my mom. Why did you even invitehim?Bernadette: Because he's our friend, and you two need to get along. And why can't he take your mom? You took her to your prom.Howard: I didn't take her,she was a chaperone.Bernadette: I saw a picture of you two dancing together.Howard: What was I gonna do? They were playing our song. I can't take thisanymore.Stuart (on phone): Hello.Howard: Stuart, we have to talk. This thing with you and my mom, I hate it. It's making me crazy. You and I were friends foryears, and now you're bringing my mother to a party I'm going to? What the hell?Stuart: I'm not bringing your mother, I have a date.Howard: Oh, so now you'recheating on my mother?Stuart: Whoa, whoa, whoa, whoa, whoa. What are you talking about? There's nothing weird going on with me and your mother.MrsWolowitz (O.C.): Stewie, your bath is getting cold!Stuart: I got to go, bye.[SCENE_BREAK][ Penny's apartment ]Sheldon: (Knock, knock, knock) Penny? (Knock,knock, knock) Penny? (Knock, knock, knock) Penny? (Knock, knock, knock) Penny? (Knock, knock, knock) Penny?Penny: You knocked more than usual.Sheldon:Next time I might be in a rush, it's good to have a few in the bank.Penny: Okay, what's up?Sheldon: I'd like to discuss this party that Amy and Bernadette arethrowing. Since you and I are both reluctant to go, I think I've come up with a perfect way for us to enjoy it.Penny: Great, how?Sheldon: We pretend we'realiens. I'm not the best at reading facial cues, but I'm gonna say that you love it and want to hear more. Now, in the beloved novel Hitchhiker's Guide to theGalaxy, an alien named Ford Prefect pretended to be human in order to blend in so that he could write an entry about Earth for The Hitchhiker's Guide to theGalaxy, which is a travel book within the actual book, which is also called The Hitchhiker's Guide to the Galaxy.Penny: Okay, just one question. What?Sheldon: Mypoint is, pretending to be an alien is a valuable coping mechanism I've used many times. I did it the first time I went to see you in a play. You had no ideaCommander Umfrumf of Ceti Alpha Three was in the audience. Oh, don't worry, he gave you seven thumbs up.Penny: Here's a question, as an alien pretending tobe human, are you planning to engage in any post-prom mating rituals with Amy?Sheldon: There are post-prom mating rituals?Penny: Not always. Unless yourdate drives a van with an air mattress, then always.Sheldon: Well, if it's part of the prom experience, then I'm open to it.Penny: You're kidding.Sheldon: I may bean alien, but I have urges. If Amy wants to copulate by firing her eggs into space, well, then, I will happily catch them with the reproductive sac on my upperflermin. I'm not the best at reading facial cues, but I can see that you're a little turned on.[SCENE_BREAK][ The apartment ]Leonard: You know, if you're notgonna learn how to do this, they make some pretty good clip-ons.Sheldon: Bruce Wayne doesn't wear a clip-on.Leonard: Bruce Wayne doesn't make hisroommate tie it for him.Sheldon: His name is Alfred, and, yes, he does.Leonard: There, perfect.Sheldon: What, are you sure? It's my first prom, I want to do itcorrectly.Leonard: I thought you were gonna pretend to be an alien.Sheldon: I was, but Penny didn't want to. You didn't want to. Bernadette, Amy, Koothrappaliand Wolowitz didn't want to. And even I knew it was weird to hire somebody.Leonard: Was that a flask?Sheldon: Yes. I've decided to embrace all of the traditionsassociated with prom, including spiking the punch.Leonard: You're gonna put alcohol in the punch?Sheldon: Oh, no, this is pomegranate juice. It's all the fun ofhigh school high jinks with the cell-protecting zip of antioxidants.Leonard: If you had ripped jeans and a leather jacket, you'd be like the toughest kid on theDisney Channel. So, anything else planned for tonight?Sheldon: Oh, everything. Getting our picture taken, slow-dancing, being elected prom king. Pointing outthat kings aren't elected. It's gonna be off the hook.Leonard: And while you're at it, I know that at this age your hormones are raging, but just because all yourfriends are having s*x doesn't mean you have to.Sheldon: Why would you say that?Leonard: You know, 'cause, 'cause a lot of people lose their virginity on promnight.Sheldon: Penny implied the same thing. Is this true?Leonard: Just relax, it's a joke. You don't have hormones.[SCENE_BREAK][ Penny's apartment]Leonard: Wow, you look amazing.Penny: Thank you, so do you.Amy: Sheldon, you look so handsome.Sheldon: Thank you.Penny: Sheldon, doesn't Amy lookhot? That's got to put some starch in the upper flermin.Amy: What's that?Leonard: Oh, it's a scaly genital organ that grows between his shoulder blades. Try notto touch it when you're dancing.Sheldon: Excuse me.Amy: Where are you going?Sheldon: I can't do this. And for your information, Leonard, the upper flermindoesn't grow between my shoulder blades, it grows out of the belly button on my neck.Leonard: He's right, I was thinking of the lower flermin.[SCENE_BREAK][ Alimo ]Raj: Ooh, I'll, uh, text Stuart, let him know we're close.Bernadette: That's a neat tattoo.Emily: Oh, thanks, it's Sally from Nightmare beforeChristmas.Bernadette: Aw, that movie's so cute.Howard: Do you like her because you both have red hair?Emily: Uh, a little, but more that she's covered in scarsand can pull her own limbs off and sew them back on.Bernadette: I like Cinderella.Emily: Did you know, in the original book, the sisters cut off their toes withknives in order to fit in the glass slipper?Bernadette: I like Bibbidi-Bobbidi-Boo.Raj: Hey, here comes Stuart and his date.Emily: Oh, she's cute.Howard: Oh, myGod.Bernadette: What?Howard: That's Jeanie.Bernadette: That's Jeanie?Emily: Who's Jeanie?Howard: Don't say it.Raj: That's Howard's cousin that he had s*xwith.Howard: She is my second cousin. We were 15, I just said, don't say it.Emily: No, it's okay. He told me that story a long time ago.Howard: Raj.Raj: It was"}
+{"doc_id":"doc_280","qid":"","text":"Scene: The lobby.Penny: Oh, damn, they cancelled my Visa. Oh, yay, a new MasterCard!Sheldon: Uh-oh.Penny: What?Sheldon: I was going to get mymail.Penny: Okay. Are, are you hoping to get it telepathically?Sheldon: I think you mean telekinetically. And no, I just wasn't sure of the proper protocol now thatyou and Leonard are no longer having coitus.Penny: God, can we please just say no longer seeing each other?Sheldon: Well, we could if it were true. But as youlive in the same building, you see each other all the time. The variable which has changed is the coitus.Penny: Okay, here's the protocol, you and I are stillfriends, and you stop saying coitus.Sheldon: Good, good. I'm glad we're still friends.Penny: Really?Sheldon: Oh, yes. It was a lot of work to accommodate you inmy life. I'd hate for that effort to have been in vain.Penny: Right.Sheldon: Just to be clear do I have to stop saying coitus with everyone or just you?Penny:Everyone.Sheldon: Harsh terms. But all right, I'll just substitute intercourse.Penny: Great.Sheldon: Or fornication. Yeah. But that has judgmental overtones, soI'll hold that in reserve.Penny: So, how you been?Sheldon: Well, my existence is a continuum, so I've been what I am at each point in the implied timeperiod.Penny: You're just coitusing with me, aren't you?Sheldon: Bazinga.Penny: Mmm. How's Leonard doing?Sheldon: He seems all right. Although he doesspend a disturbing amount of time looking at photographs of you and smelling the pillow you slept on. Oh, but now that I think of it, he asked me not to tell youthat.Penny: I'll pretend I didn't hear it.Sheldon: I'd rather you pretend I didn't say it. I see you bought Mama Italia marinara spaghetti sauce.Penny:Yep.Sheldon: That's the sauce my mother uses. She likes cooking Italian because according to her, that's what the Romans made Jesus eat.Penny: Interesting.I'll have to have you over for spaghetti some night.Sheldon: I'm hungry now.Penny: Oh. Um, okay. Why don't you give me an hour and come over?Sheldon: Willyou cut up hot dogs into little chunks and mix them in with the sauce?Penny: I don't have hot dogs.Sheldon: Oh, it's all right, I do. Oh! You're in for what mymother calls a real Eye-talian treat. (Enters apartment).Leonard: Hey, where you been?Sheldon: I was talking with Penny.Howard: What's wrong with you? Youcan't hang out with your roommate's ex. That's totally uncool.Leonard: No, no, it's fine. I don't care. I'm over it.Raj: Yeah, he's over it, that's why he's beenwhining all day about trying to invent that memory-wiper gizmo from Men in Black.Sheldon: Is he making any progress? Because I'd like to erase Ben Affleck asDaredevil.Howard: So would Ben Affleck. The point is, in a situation like this you got to pick sides. You're either on Team Leonard or Team Penny.Sheldon: Whichone picks last?Howard: What?Sheldon: Well, usually I'm on the team that picks last. Unless there's a kid in a wheelchair.Leonard: Sheldon, I got you yourtangerine chicken. I hope you're hungry.Sheldon: Well, of course I'm hungry. And as I have no plans to eat with any other team, I will consume my tangerinechicken with the appropriate gusto. Mm, mm, mm!Leonard: Okay.Sheldon: Just out of curiosity, do we still have hot dogs?Leonard: I don't know. Why?Sheldon:Just making dinner conversation. Go, Team Leonard! Credits sequenceScene: A few moments later.Howard: Oh, God, this is good.Raj: Let me ask you a question.Do you believe you're going to go to hell for eating sweet and sour pork?Howard: Jews don't have hell. We have acid reflux.Leonard: Do you want the lastdumpling, Sheldon?Sheldon: Certainly. It's not like I have to moderate my food intake because I'm planning on eating again very shortly. Mm, mm, mm!Leonard:So, you guys want to do something tonight?Howard: Nah, I can't. I got to pick up my mom from her water aerobics class. 18 overweight women flapping theirarm fat in a swimming pool. Looks like the manatee tank at Sea World.Leonard: What about you, Raj?Raj: Oh, there it is, now that you don't have a girlfriend,you want to hang out with me again.Leonard: I never stopped hanging out with you.Raj: Oh, please, we all know I'm the friend you call when you have no otheroptions. If we were the Justice League, I'd be Aquaman.Howard: I wish you were Aquaman. Then I could send you to scoop my mom out of the old ladytank.Sheldon: Excuse me, I'm thirsty, so I'm going to go to the refrigerator and get myself a refreshing beverage.Leonard: You know what? I'll just spend theevening alone.Raj: What, suddenly I'm not good enough for you?Sheldon: Ah, I do so love beverages. Now I think I'll take my after-dinner walk.Leonard: Sincewhen do you take after-dinner walks?Howard: Yeah, since when do you take walks?Sheldon: I read a study online that walking after a meal not only aids indigestion, but increases serotonin, and you know me, if there's one thing I like more than a refreshing beverage, it's serotonin. Bye-bye.Howard: Hold on. I'll walkdown with you.Sheldon: Oh, that's not necessary. You can go first.Howard: Or we could go together.Sheldon: I can't think of a reason why not.Howard: Let'sgo.Sheldon: Hold on. Nope, no reason.Raj: I've missed you.Scene: The lobby.Sheldon: All right, say hello to your mother for me.Howard: Okay.Sheldon:What?Howard: You said you were going for a walk.Sheldon: I didn't say outside.Howard: So what, you're just gonna walk up and down the stairs?Sheldon: No, ofcourse not. That would be odd and suspicious behavior.Woman's voice: Here Bubbles. Here boy.Howard: Which way are you going?Sheldon: Which way are yougoing?Howard: I parked my scooter down the block.Sheldon: I'm going the other way. Bye.Howard: Bye. Actually, I'm this way. Do I smell hot dogs?Sheldon: No.I mean, I have no idea what you smell.Howard: I definitely smell raw hot dog.Sheldon: Perhaps you're getting a brain tumour.Howard: All right, have a nicewalk.Sheldon: I shall. Have a nice scoot.Howard: You might want to stand back. I'm sitting on top of 13 horses here.Sheldon: Oh. Hello, doggie. Nice doggie. Ibet you think you smell hot dogs. Look, a cat!Scene: Penny's apartment.Sheldon: (Knock, knock, knock) Penny, (knock, knock, knock) Penny. (Long pause,knock, knock, knock) Penny. (Penny opens door. A dishevelled Sheldon is holding up one hot dog.) Here. I had to trade the others for my life.Scene: Theapartment.Raj: Hey, Leonard?Leonard: Yeah?Raj: I haven't had s*x in a year.Leonard: Where you going with this, Raj?Raj: Don't flatter yourself, dude. I want togo out and meet a woman.Leonard: So, go.Raj: Well, I need a wingman. I don't want to come off like a lonely loser.Leonard: And you think my presence will helpwith that?Raj: Well, I do. Next to you, I'll look like a catch.Leonard: I'm not going out tonight, Raj.Raj: All right. Would you mind if I went to your room anddownloaded some Asian pornography?Leonard: Very much.Raj: Doesn't have to be Asian.Leonard: Don't worry. You'll meet a girl someday.Raj: No, Iwon't.Leonard: Yes, you will, and she'll be beautiful, and kind and sexy and funny and everything you ever wanted in a woman.Raj: You really think so?Leonard: Ido, and you'll fall hopelessly in love and give her your heart. And she'll take it and grind it into pathetic, little pieces.Raj: But we'll have s*x first, right?Scene:Penny's apartment.Sheldon: Mmm, mmm, mmm. That's Eye-talian.Penny: So, um, was Leonard okay with you coming over?Sheldon: Oh, yes. In fact, he said,I'm fine, I don't care. And he in no way said it in a manner which would lead one to believe that he was covering up feelings of anguish and betrayal.Penny: Well,good.Sheldon: I'm also pleased to report that he's all cried out over you.Penny: He's been crying?Sheldon: Oh, I believe that was something else I wasn'tsupposed to mention.Penny: Oh, God, I feel terrible.Sheldon: Do you have a stomach ache, too?Penny: No. Why, do you?Sheldon: No.Penny: Why did you ask if Ihad one, too?Sheldon: Just making polite dinner conversation. Your turn.Penny: All right. So, what's new in your life?Sheldon: Well, my new shoes are not madefor running.Penny: Have you been running?Sheldon: No. It's just a suspicion I have. Mmm, mmm, mmm.Penny: I'm so glad you like it.Sheldon: I do. Leonardnever cooks for me.Penny: Well, maybe that's 'cause Leonard can't cook.Sheldon: You can't cook and you made me this.Penny: Whatever. Ooh, I'm gonna getthe cheesecake out of the fridge.Sheldon: Oh, Lord, I'm in Jewish hell.[SCENE_BREAK]Scene: The apartment.Raj: Look at this. Do you think she's really doingthat or is it PhotoShop?Leonard: I'm pretty sure Martha Stewart never got naked with a room full of big, fat Japanese guys.Raj: You don't know that. Prisonchanges people.Leonard: Hey, where you been?Sheldon: I told you, walking.Leonard: For an hour and a half?Sheldon: I got lost.Leonard: How could you get lost?Your phone has GPS.Sheldon: Satellites are down. Solar flares.Raj: There are no solar flares right now.Sheldon: Yes, there are.Raj: Dude, I'm an astrophysicist.If there were solar flares, I'd be all up in it.Sheldon: I'm sorry. I misspoke. What I meant to say was my battery died.Leonard: What the hell was that about?Raj:I don't know. Do you think this is really Hillary Clinton doing it with Oprah?Leonard: Oh, we really need to get you a girl.Scene: Leonard's bedroom. Leonard isasleep.Sheldon: (Knock, knock, knock) Leonard, (knock, knock, knock) Leonard, (knock, knock, knock) Leonard.Leonard: Oh, just come in!Sheldon: Thanks forseeing me on such short notice.Leonard: What do you want, Sheldon?Sheldon: Maybe this isn't a good time.Leonard: Tell me why you woke me up or I swear toGod I will kill you.Sheldon: Do you really think death threats are an appropriate way to begin this conversation? Sometimes your lack of social skills astonishesme.Leonard: What do you want?Sheldon: You may want to sit down.Leonard: I'm in bed!Sheldon: Point taken. You may want to sit up.Leonard:Sheldon!Sheldon: I've been seeing Penny behind your back.Leonard: Okay, when you say seeing Penny, what exactly does that mean?Sheldon: We had dinnerlast night. She made me spaghetti with little hot dogs cut up in it. Well, little hot dog. I gave up the other five hot dogs to a real dog. A real, big dog. A hellhound. Tangential to the primary story. How about I circle back to it?Leonard: Fine. Why did you have dinner with Penny?Sheldon: I told you, she made spaghettiwith little hot dogs. I like spaghetti with little hot dogs.Leonard: Then why did you have Chinese food with us?Sheldon: I didn't want to upset you. Howard made itvery clear that my allegiance should be to male comrades before women who sell their bodies for money.Leonard: Is it possible he said Bros before Hos?Sheldon:Yes, but I rephrased it to avoid offending the hos.Leonard: Sheldon, I don't care if you want to be friends with Penny.Sheldon: Oh. Well, so the emotional turmoilthat's been keeping me from achieving REM sleep was entirely unjustified?Leonard: Yes.Sheldon: Well then as my meemaw would say, looks like we butchered apig, but nobody wanted bacon.Leonard: I guess not.Sheldon: And now, as promised, the tangent. Sheldon and the Hell Hound, or How I Lost My Hot Dogs.Scene:The laundry room.Penny: Oh, um, I, I can come back.Leonard: D-don't be silly. We're neighbours, we're going to run into each other, may as well get used to"}
+{"doc_id":"doc_281","qid":"","text":"MUSIC IN:EXT. STREET - DAY(SFX: SIRENS B.G.)RICK: Let's move! Let's go! Get those BAs up. Pull a cord and a half! Let's get ready to roll! Davis, get thoseutilities turned off, quickly! Move it!DAVIS: (MUFFLED) I'm on it, Sir!RICK: (V.O./MUFFLED) We're in front. You start in back!FIRE FIGHTER: (V.O./MUFFLED)Come on, Scotty. You're with me. Let's move.(KNOCK ON DOOR)RICK: (SHOUTS) Fire department! Let's go.(SFX: DOOR BURSTS OPEN)[SCENE_BREAK]INT.HOUSE - DAY(SFX: FLAMES B.G.)(SFX: SMOKE ALARM BEEPING B.G.)RICK: (V.O./MUFFLED) You two spread out. Clear the bedrooms! I'll take thekitchen!FIREFIGHTER: (V.O.) We'll cover these down here!(SFX: FIREFIGHTERS VOICES B.G.)(SFX: RICK BREATHES HEAVILY B.G.)[SCENE_BREAK]INT.KITCHEN - DAYRICK: (V.O./MUFFLED) Every damn time. False alarm, fellas. Just another overcooked bird. Or something. (ON CAMERA) Tough to tell after sixhours in the - oh dear.(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)MUSIC IN:INT. COFFEE HOUSE - DAY(SFX:ESPRESSO COFFEE MACHINE B.G.)LANDON: Double Americano for Thom. (BEAT) Aren't you Thom?MCGEE: Yes, thank you. Sorry.LANDON: You must need thatbadly. Don't even recognize your own name. Medium mocha coming up.MCGEE: It's my other name.LANDON: Two names, huh?MCGEE: Well, two jobs. It's Thomwhen I'm writing. Not that I've actually written anything in weeks.LANDON: Writer's block?MCGEE: Creative stifling. I am crumbling under the pressure ofexpectations.LANDON: Oh, you're Thom E. Gemcity! Your photo's on the back cover! I loved Deep Six.MCGEE: Thanks... Landon. Thank you.LANDON: Can't waitto see what happens next.MCGEE: You and me both. Two weeks until my deadline. I'm stuck here in chapter seven.LANDON: Well, it could be worse.MCGEE:How's that?LANDON: It could be chapter six. Okay, we've got a half caf percent latte and a medium double decaf for Whitney.(SFX: CELL PHONE RINGS)MCGEE:(INTO PHONE) McGee. Yeah. (TO LANDON) The other job.LANDON: Good luck.[SCENE_BREAK]INT. HOUSE - DAYTONY: Ferris Bueller's Day Off, a John Hughesmasterpiece. Now there's a guy that didn't have time for writer's block, Probie. Sixteen Candles, Uncle Buck, The Breakfast Club.MCGEE: I do not have... I'm juststruggling to find out the most efficient way to tell my next story.TONY: Now, do you think Hughes writes on a computer or does he use an old-fashionedtypewriter, like you?MCGEE: Well, I'm sure he uses a computer, Tony. Most writers do.TONY: Did you ever consider converting?MCGEE: I don't think that's thereason for my ...TONY: Were you going to say... writer's block?MCGEE: I like my typewriter.TONY: But it doesn't like you. It's a classic tale of unrequited lovebetween a boy and his machine. You can use that if you want. But remember, you've got to have a love story. I can see the poster already.[SCENE_BREAK]INT.KITCHEN - DAY(SFX: CUPBOARD DOOR OPENS)ZIVA: The house is leased to Petty Officer Darren Cove. No roommates, but according to the neighbors, he israrely alone.(DOOR CLOSES)GIBBS: I can tell. He's got a fridge full of beer. No hard alcohol.ZIVA: Except for this. Ooh! If smells could kill, I think we just foundour murder weapon.GIBBS: I'm more concerned with where they came from.ZIVA: Neighbors said this was a notorious party house. Maybe someone brought inthe mixers.GIBBS: And they left with them, too.ZIVA: Seems like a lot of effort for a couple of drinks. Wasted effort.[SCENE_BREAK]INT. LIVING ROOM -DAYMCGEE: (V.O.) The blood starts at the ping-pong table.TONY: Beer pong.MCGEE: Huh?TONY: This is tragic. Don't tell me you've never played beer pongbefore, Probie? What did you do at MIT?MCGEE: Studied.TONY: That figures. Well, beer pong is a drinking game, the object of which is to take the ping pong balland try to get it into the other team's cups.MCGEE: (BEAT) Show me how it's done.TONY: This is a crime scene, not a frat house. You hearing voices,Probie?MCGEE: I figured you saw Gibbs coming.TONY: I just don't think this is the time or the place to showcase my beer pong skills. (BEAT) What?MCGEE: Itseems out of character.TONY: (LAUGHS) Yeah. Yeah. No, you may not use me to get over your writer's block.ZIVA: McGee has writer's block?MCGEE: No, McGeedoes not.ZIVA: Just do what you did last time. Write about us.MCGEE: Okay, I've told you guys a million times. The book is not about you.TONY: No, of coursenot. It's about Special Agent Tommy.ZIVA: And Officer Lisa.GIBBS: (V.O.) Dinozzo.TONY: And L.J. Tibbs.MUSICAL BRIDGE TO:INT. BEDROOM - DAYGIBBS: Getthis.TONY: Looks like McGee wasn't the only writer here todayGIBBS: Bag it.NOTE: ONE DOWN, TWO TO GOMUSICAL BRIDGE TO:INT. SQUAD ROOM -DAYMCGEE: Petty Officer Cove joined the Navy three years ago, right out of high school. His C.O. says he's a little immature, but basically a good kid.TONY: Agood kid with a criminal record. Since enlisting, he's been arrested twice. Both misdemeanors. Public intox in oh-four, and a noise ordinance violation lastJuly.MCGEE: He works to live, and lives to party. It's his C.O.'s words.TONY: Guys in his Command call him Darren \"Diddy\" Cove.GIBBS: Why?MCGEE: Uh, it's areference to Sean \"Diddy\" Combs.TONY: The Puff Man. P-Diddy. Rap impresario. Went out with J-Lo. Petty Officer Cove was on duty yesterday.MCGEE: Left thebase at eighteen hundred. Hasn't been seen since.TONY: And neither has his blue Ford Ranger. It should be in his garage, but it's not.MCGEE: Which means hisattacker took it.GIBBS: Or Petty Officer Cove went for a drive.MCGEE: Well, with that amount of blood loss, it's doubtful he was conscious.GIBBS: If it was all hisblood.TONY: Well, Abby'll tell us, because Cove's blood sample is in his medical records.ZIVA: (V.O.) Thank you.MCGEE: I'm going to go check the BOLO, see ifhe's got a hit on the pickup.ZIVA: That's not necessary, McGee. Norfolk Police just found it abandoned along Highway Five.MUSICAL BRIDGE TO:EXT. RAVINE -DAYZIVA: I've noticed oversized dice like these in numerous vehicles. Do they serve a purpose? Hello? Tony?TONY: What?ZIVA: Do they serve a purpose?TONY:Fuzzy dice? Pretty good redneck indicator. Other than that, no. They don't serve a purpose. We've got a lot more blood back here, Boss. Think this was used tocover the body?GIBBS: Yeah. Or bodies.(SFX: CELL PHONE RINGS)GIBBS: (INTO PHONE) Yeah, Abs. I'm listening.(GIBBS WALKS O.S.)ZIVA: (LONG BEAT)McGee, you look like you've seen a goat.MCGEE: Huh? Oh, ghost. Seen a ghost. Yeah, do you know what déja vu is?ZIVA: Bien sur. My French is better than myEnglish.MCGEE: Right.ZIVA: So?MCGEE: What?ZIVA: The déja vu?MCGEE: I can't place it.ZIVA: (LONG BEAT) By any chance, did you start dating someone,McGee?MCGEE: Dating? Please. I spend every spare minute I have writing.GIBBS: Hang on a second. McGee, get this towed back to lock-up. (INTO PHONE)Yeah. Go on, Abs.TONY: Abby's got something.[SCENE_BREAK]INT. ABBY'S LAB - NIGHTTONY: Watch out! It's Halloween at Coyote Ugly. Piper Perabo!ABBY: Oh,if you liked that one you're going to love this. It's... it's a Sciuto original. I like to call it \"Bottoms Up.\"ZIVA: Oh! I had no idea you were a bartender, Abby.ABBY:Well, my Uncle Teddy used to own a bar on Canal Street. And I used to bartend on the weekends.GIBBS: The case, Abby.ABBY: Gibbs, you haven't even seen myfamous \"Fire Bomb!\" It can wait. So I tested the blood that was in Petty Officer Cove's house. Most of it was his, but one sample did not match.ZIVA: It couldhave been from a prior accident or an altercation at one of his parties.TONY: Or it could be the killer's.ABBY: I also removed prints from our mystery cocktails.One half of our drinking duo was definitely Petty Officer Cove.GIBBS: The other half?ABBY: Well, it's a work in progress, Gibbs.GIBBS: Tell me you have more tothis, Abby.ABBY: Have I ever let you down? Don't answer that. Um, I'm using my mass spectrometer to break down the molecular structure of the cocktails inquestion.TONY: Guessing that's where all these come in.ABBY: Well, you guess correctly. I think I've made over one hundred delightful beverages trying to find...the match. The weird thing is, this baby isn't in any bartending guide, anywhere. It's made out of Jagermeister...MCGEE: Cherry soda, vanilla vodka, lemon juice,and a plash of Tabasco. It's called a \"Hairy Hangover.\"TONY: And you came to know this how, McGee?MCGEE: I created it. Our missing Petty Officer is a characterin my next book.(MUSIC UP AND OUT)MUSIC IN:INT. SQUAD ROOM - DAYMCGEE: (READING) \"Cameron Meyer is a good old boy from Northern Virginia. He wasborn with not much, raised with even less. All he wants out of life is a good girl and a great truck. As of yesterday, he's halfway there. He dropped his life savingson a blue Ford Ranger.\"TONY: That's it?MCGEE: Tony, it's all here. The fuzzy dice, the cinnamon rolls, red track jacket. Petty Officer Cove is CameronMeyer.ZIVA: Uh, but how is that possible, McGee?MCGEE: My writing isn't entirely fiction, okay? My stories are...sometimes I base my characters on peopleI...TONY: Work with?MCGEE: See. People I see.GIBBS: You've seen Petty Officer Cove before?MCGEE: Every morning at my coffee shop.ZIVA: But how come youdidn't recognize his photograph?MCGEE: He only uses the drive-thru. To me he's just the \"large coffee, with the cinnamon roll\" guy in a blue pickup truck. I neversaw his face.TONY: Whoa, whoa, whoa. Wait a minute. Back up. Your coffee shop has a drive-thru? That's... that's not important.ZIVA: Just because you basedyour character on a person who is missing does not necessarily mean the two of them are related, McGee.GIBBS: Yeah, it does. You created the drink.MCGEE:Made it up about a month ago.GIBBS: How did two glasses of it get from your head to inside Petty Officer Cove's house?TONY: Someone's read your book.GIBBS:Are your papers under lock and key?MCGEE: Well, I sent my publisher a copy a couple weeks ago, but, you know, I'm sure she...GIBBS: Address.MCGEE: (BEAT)Um...Boss, there's more. After Deep Six hit stores, my publishing firm received a ton of emails addressed to Thom E. Gemcity.TONY: Tons?MCGEE: Most of themwere autograph requests, or feedback on the novel. But in the last couple weeks, my publisher says that we've gotten some really weird letters. Borderlineobsessive. I didn't say anything because I assumed they were harmless.GIBBS: Dinozzo, with me. McGee, you stay here with Ziva. Start going through yourbook.MCGEE: What exactly am I looking for?GIBBS: Answers, McGee!MUSICAL BRIDGE TO:INT. CRAWSHAW'S OFFICE - DAYRYDER: Miss Crawshaw will be withyou shortly.TONY: Oh, you've got to be kidding me!RYDER: Is there anything else I can get you while you wait?TONY: Yeah. A barf bag.RYDER: I'msorry?CRAWSHAW: Todd, black tea, lemon, crab salad, arugula. (TO GIBBS) You're Timothy's people.GIBBS: A few weeks ago, he sent you a draft of his nextbook.CRAWSHAW: Partial. It wasn't finished yet.TONY: Yeah, it still isn't, is it?GIBBS: How many of your people here have read the book?CRAWSHAW: Zero. Noone in my agency has access to advance material without the writer's consent.GIBBS: Except you.CRAWSHAW: Writers are notoriously insecure. Soft,"}
+{"doc_id":"doc_282","qid":"","text":"Teleplay by: Andrew Reich & Ted CohenStory by: Sherry Bilsing & Ellen Plummer[Scene: Monica and Chandler's, Monica, Chandler, Ross, and Rachel are sittingaround the table.]Monica: I'm glad you're here, we have a couple of things to ask you about the wedding ceremony.Rachel: (starting to cry) Ohh...Ross: What'sthe matter? You okay?Rachel: Yeah, it's just y'know...Chandler: (To Ross) Monica said wedding.Monica: Uh, so anyway, we thought one of you could readsomething during the ceremony.Rachel: Oh! I would love to read a poem.Chandler: Do you think you could get through a poem?Rachel: (crying) It'll be a shortone.Monica: Okay, so Ross will be doing the reading.Rachel: Ohhh...Ross: Okay. Yeah, I guess, I guess I could do that too.Chandler: Too?Ross: Yeah, I kind ofuh, have something else planned for you guys.Monica: Do you mind telling us what it is?Ross: Sorry, I'm kinda keeping this one on the Q.T.Chandler: Well,whatever it is, I hope it involves winking. (Winks in a spy-type manner.)Joey: (entering, excited) Hey!All: Hey!Joey: So I just talked to one of the DOOL writerstoday, and...Monica: What is DOOL?Joey: Days Of Our Lives. Anyway, you're not gonna believe it! My character is coming out of his coma!!All: Oh!!Chandler:That's great!Joey: And-and-and not only that, I'm gettin' a new brain!!Chandler: So great things are happening at work and in your personal life!Rachel: Wait,what do you mean you're getting a new brain?Joey: Oh well, they're killing off one of the characters on the show, and when she dies her brain is beingtransplanted into my body.Ross: What? A brain transplant?!Joey: (seriously) Yes, it's a highly controversial procedure.Ross: It's ridiculous!Joey: Well, I think it'sridiculous that you haven't had s*x in three and a half months.Ross: (to Monica and Rachel) It's winter, they are fewer people on the street. (Rachel and Monicasmile and nod, knowingly.)Monica: Who are they killing off?Joey: Uh Cecilia Monroe, she plays Jessica Lockhart.Rachel and Monica: Noo!!Monica: She's myfavorite character on DOOL.Joey: Nice.Rachel: She is so good at throwing drinks in people's faces, I mean I don't think I've ever seen her finish abeverage.Monica: And the way she slaps all the time!Rachel: Oh!Monica: Wouldn't you love to do it just once?! (Raises her hand towards Chandler.)Chandler:Don't do it.Rachel: Cecilia Monroe man, what a great actress.Joey: Oh, tell me about it. And she's been on the show forever, it's gonna be really hard to fill hershoes.Ross: Yeah-yeah, help me out here, when you come out of the \"brain transplant,\" you are going to be her?Joey: Yes, but in Drake Ramoray's body. (Rosslaughs unbelievably.) Why is this so hard for you to get? I thought you were a scientist!Opening Credits[Scene: Phoebe and Rachel sitting on the couch in CentralPerk]Phoebe: (Clears Throat) Rach, so, that guy there. Straight or gay?Rachel: (They both look behind them.) Well, I'd have to say gay.Phoebe: Yeah?Why?Rachel: Well mainly because he's kissing that other guy.Phoebe: Oh no not that guy there. That guy right there. (Pointing to an attractive man sitting at atable behind them.)Rachel: Oh yeah he's too cute to be straight.Phoebe: (A woman with large breasts walks in the door) Ohh knockers will help us figure it out.(She walks by and he checks her out.)Rachel: All right, straight, and not subtle. (The man gets up and leaves.)Phoebe: Ohh, he left his cell phone.Rachel: Oh,well, we can hand it to Gunther and he'll put it in lost and found.Phoebe: Or we could use it to call China. See how those guys are doing.Rachel: What if, um, if hecalls his own cell phone to find out who found it and I answer and we start talking and we fall in love. I mean wouldn't that be a great story? Kind of like a fairytale for the digital age.Phoebe: Yeah... That does sound great. I'm going to get the phone. (They both get up.)Rachel: What? Wait! Why...why do you get thestory?Phoebe: I don't know. I haven't been out on a date in so long.Rachel: Phoebe, you had a date three days ago.Phoebe: That wasn't a date! That was, thatwas just friends getting together...(quietly) having s*x.Rachel: Okay. Okay, see? I get the phone.Phoebe: No way! No way! You just broke with Tag a weekago.Rachel: Yeah! (Breaking up) And until now, I didn't think I'd love again.Phoebe: Nice try.Rachel: Oh hey-hey wait! How do we fairly decide who gets thephone?Phoebe: I don't know.(They edge closer to the phone on the table.)Rachel: Well umm, maybe we could uhh... (Grabs the phone) Ah-ha! Too slow!!(Sheholds the phone out and starts taunting Phoebe. Phoebe calming knocks the phone out of Rachel's hand and catches it.)Phoebe: Ah-ha! Too cocky![Scene:Silvercup Studios, Joey is watching Jessica Lockhart perform a scene.]Dina: I'm going to keep dating him Mother, and there's nothing you can do about it!JessicaLockhart: Oh yes there is!Dina: What are you going to do? Kill him? Like you did with Charles?!Jessica Lockhart: (gasps) That was an accident! And so wereyou.Dina: Well, at least I'm not a murderer! (Jessica slaps her.)Jessica Lockhart: (crying) Oh, my baby! (Hugs Dina, but moves Dina's head to her other shoulderso that she's the only one in the picture.)The Director: Cut!(Joey walks up to Cecilia Monroe who plays Jessica.)Joey: That was a great scene! And-and-and thatslap looks so real! How do you do that?Cecilia: Oh, just years of experience.Dina: (crying) Can I get some ice here?!Joey: Oh anyway, I just wanted to say howwonderful I think you are.Cecilia: You're not the fan who's dying are you?Joey: Say what?Cecilia: I'm supposed to meet and hug a fan who's dying, but that's notsupposed to be until (to no one in particular) later!Joey: No. No, I'm Joey Tribbiani; we did a scene together yesterday. I-I'm the guy in the coma!Cecilia: Oh thatwas a real person?!Joey: An-an-anyway I-I just wanted to say that since I'm getting your brain when you leave the show, I was wondering if there was any tipsyou can give me...Cecilia: I-I-I'm leaving the show?Joey: (quickly) I don't know. Why? Did you hear something?Cecilia: Who told you that?Joey: Oh uh, one ofthe writers.Cecilia: Which one? Was it bald or was it tall?Joey: Umm...Cecilia: Y'know what? It doesn't matter! Because it is not true!Joey: Okay.Cecilia: And if itwere true, how dare you come to me ask me for tips about a character that I've been playing for 20 years-I'll give you a tip! (She throws her drink in hisface.)Joey: Ms. Monroe... (She slaps him) Oh there you go. (She storms off, leaving Joey standing next to Dina. They share a nod at the ferocity of the slap theyjust received.)[Scene: Central Perk, Phoebe and Rachel are still arguing over the phone.]Rachel: No Phoebe! You cannot get the phone that way; that's not fair!Okay look, I have an idea. Why don't we, why don't we see what kind of number he has on his speed dial, and then from that we can tell who has more incommon with him. And then whoever does gets the phone.Phoebe: Or, we can decide by whose ever name is closer to the word phone.Rachel: I don't thinkso.Phoebe: (handing Rachel the phone) Fine all right, but I'd bet you'd be singing another tune if we were fighting over a ratchet.Rachel: (checking the speeddial) All right, first name on the speed dial is mom.Phoebe: Ohh, I lost my mom to suicide.Rachel: Okay no way, you cannot use that to get the cute guy and thelast blueberry muffin.Phoebe: Did I use that already today? I'm sorry.Rachel: Yes okay. (Checking the speed dial again.) Well now see this isn't telling usanything. (Reading the speed dial) Joe. Carlos. Peter. Ooh! Peter Luger! T hat's a steak house!Phoebe: Okay, a meat eater. Fine, that's one for you.Rachel:(looking at the speed dial) Oh, I win! He's got Barney's on his speed dial.Phoebe: So you don't know that's Barney's the store! That can be y'know his friend'shouse, or a bar. Who has Barney's the store on their speed dial?Rachel: (showing Phoebe her phone) His new girlfriend![Scene: Monica and Chandler's, Monicaand Chandler are eating lunch, when they start to hear a horrible screeching noise. It sounds like someone is skinning a cat.]Monica: What is that?Chandler: Ithink it's the dying cat parade.Monica: It sounds like it's coming from across the street.Chandler: (turning around and looking) Oh my God!Monica:What?Chandler: Y'know that thing that Ross was gonna do at our wedding?! He was hanging out with me yesterday and he turned to me and said, \"You're halfScottish right?\"Monica: Nooo!!Chandler: Yes!![Cut to Ross's apartment, he is playing the Bagpipes, badly. He's worse than that whole keyboard thing a few yearsago.][SCENE_BREAK][Scene: Monica and Chandler's, scene continued from earlier. They both get up and move to the window.]Monica: No, there is no way! Itcan not be Ross! (She looks through the window and sees Ross practicing and fumbling around with the pipes.) Unbelievable! Why is your familyScottish?!Chandler: Why is your family Ross?!Monica: He cannot play at our wedding! I mean everyone will leave! I mean come on, that is just noise! It's noteven a song!Chandler: If you listen very carefully, I think its Celebration by Cool and the Gang.[Scene: Phoebe's apartment, Phoebe is putting out someSunflower seeds as Rachel enters.]Rachel: Hi Pheebs!Phoebe: Hi!Rachel: How are ya?Phoebe: Good.Rachel: Umm Pheebs, remember when we were in the coffeehouse we decided that I was going to keep the uh, the cute guy's cell phone?Phoebe: Yeah.Rachel: And remember how I said I was going to keep it in my purseso that if it rang I could just pick it up?Phoebe: Yeah!Rachel: And do you remember going into my purse and stealing the phone?!Phoebe: Ooh, now you lostme.Rachel: You stole the phone!Phoebe: No I didn't!Rachel: No? So you're saying that if I called it, it wouldn't ring?Phoebe: No. Umm, okay. But while you dial,let me show you the features of my new ringing handbag. (Rachel dials her phone and Phoebe's bag starts to ring.) Oh, it does work! (Rachel grabs the phoneand takes it out of Phoebe's handbag.)Rachel: Phoebe!Phoebe: That is a different phone.Rachel: Oh is it?! (She answers the cute guy's phone.) Uhh, hello? (Onher phone) Yes hi, is Rachel there? (On the other phone) Yes she is, just one moment please. (To Phoebe, holding out both phones.) It's for me!Phoebe: That isdamning evidence.(The cute guy's phone rings.)Rachel: Oh my God! I bet that's him. My digital fairy tale is about to begin. I wonder how I should be? Should I beuh (In a sexy voice) Hello? Or should I be (Happily) Hi! It's Rach... (Phoebe knocks the phone out of Rachel's hand, catches it, and answers it.) Would you stopdoing that?!Phoebe: (on phone) Hello? (Listens) Yes, I'm the one who found your phone.Rachel: Phoebe! You can't do th...Phoebe: (To Rachel) Shhh! I'm on acall! (On phone) Umm well yeah, you can pick it up tonight, say 8:30? At-at my apartment. It's umm, it's umm 5 Morton Street, Apartment 14, umm and thenmaybe y'know after we can grab a bite to eat or whatever. (Listens) Okay, well okay I'll see you then. (Listens) Bye. (Hangs up.)Rachel: You do know that I willbe here when he comes over.Phoebe: Oh? And how will you know what time to come over?Rachel: You just said it!Phoebe: Oh. Okay, well I-I was kinda hopingthat I would just...be alone y'know to think about my mom and her suicide.Rachel: Oh Phoebe!Phoebe: What?! That's the first time today!Rachel: Ohh!"}
+{"doc_id":"doc_283","qid":"","text":"Moirira and Johnny: (Moans of passion) Oh yeah! Yeah. Yeah.David: Could you spare some a... Oh my go-oh my God!Moira: (Shrieks) David!Johnny: Where's myrobe?!David: Oh my God. Oh my God. Oh my God. Oh my God, what's happening? I saw hell is what's happening. Oh my God. What? (Door opens)David: Oh myGod.Johnny: David, what you just saw was your mother and me...David: I know what I saw.Johnny: having an intimate moment.David: I cannot unseethat!Alexis: Oh my God, you poor thing!Johnny: Okay, and I refuse to feel guilty about being in bed with my wife.Alexis: Ew! Ew! Ew!Moira: I hate to be the oneto tell you, but having s*x is not just about making children so they can grow up and make you feel bad about having s*x. Oh my God, can you stop thisplease?!Moira: I will not be shamed. Shame on you.David: Shame on you for attempting that position at 8 o'clock in the morning.Moira: John?Johnny: You knowwhat?David: Oh my God. Do you know how difficult it is for us to share a wall with you two?David: I do now.Johnny: Yes, well, if you don't mind, we are nowgoing back into our room and don't even think about opening that door!Moira: Are you serious?Johnny: Next time.David: (Under his breath) Oh my God.(Gags)Alexis: (Whimpers) No, no, no...S01E05 \"The Cabin\"Johnny: Roland, I just need the door fixed.Roland: Mm-hmm?Johnny: Okay? My family can't keepliving like this. My wife and I, we have no privacy. Okay, all right. I get what this is about. You and the wife wanna bump the old uglies, huh?Roland:(Laughs)Johnny: I have no idea what that means. Having a little problem down there below there, Johnny boy, huh? No, there's no problem, Roland, I just needthe locks fixed! It's okay, I get it. I get it, captain. You've been a out to sea for a while you wanna bring the boat into port and maybe... get your mast scrubbed.What're you guys down to now? Like... twice a day? Okay, this is a conversation you and I will never have, all right? I just need the door fixed. Well, how 'bout Ido you one better? We got a cabin up by the lake. It's just a little love nest for the lady and me. You know, when we wanna spark the old spark from time to time.My gift to you and yours for the night. So generous, but I'm gonna take a pass.Jocelyn: Hey, Johnny.Johnny: Jocelyn?Jocelyn: How are you?Johnny: Uh, good.Good.Roland: s*x life's in the crapper. I just offered him the cabin. That is so not true.Jocelyn: I knew something was wrong.Johnny: N-nothing is wrong. Youshould take the cabin. I wouldn't wanna see your relationship get any worse. No, our relationship is fine. It's just a privacy issue...Roland: Johnny, Johnny, comeon, come on, come on, come on. Take the cabin, okay? And feel free to use the restraints. We keep 'em under the bed, so...Johnny: Thank you. Thankyou.Jocelyn: Pick a safe word.Roland: Mm.Johnny: (Sighs) I, for one, think we should take them up on their offer. I can't believe what I'm hearing here. We'retalking about Roland's place. Who knows what the hell we're gonna find up there?Moira: Well, we can't share any real intimacy here in this internment camp,John, and I don't want to turn into my parents. Separate beds, separate rooms. Well, separate countries. Exactly! A bad marriage! Hey, if you're willing to givethis a shot, I'm game.Moira: You're game.Johnny: Yeah.Moira: Okay. I'll play. Actually, I have a good feeling about this, John.Johnny: You know, I'm starting toget a pretty good feeling myself. Are you?David: Oh my God! Am I being punished for something? David, are you dirty peeping tom? I don't' think parentingbooks would approve of you saying that to me. I'm here to grab a magazine, and go back and leave you guys to whatever disgusting...Moira: Stay.Johnny: Stickaround, stick around.Moira: Alexis?Johnny: Alexis! They're done! Your father and I have some very important news. If you tell me that you're pregnant, I'mgonna vomit on this floor right now.Moira: Oh, can you imagine?Johnny: We're planning a trip.David: Okay.Johnny: Just to a cabin, overnight... And we requestthat the two of you not try to contact us for the next 24 hours. I really appreciate you doing that for me. I'm doing it for us. Well, it's to my benefit.Alexis: Um,why don't you guys stay at the cabin for longer? Oh, I would never just abandon you two in a motel in the middle of nowhere.David: Didn't you once take thewrong baby home from preschool? Alexis looked Chinese as an infant. How many times must I defend myself? So we're good then? Thank you.David: No, thankyou.Johnny: No, thank you.David: Honestly, thank you.Johnny: Enough, David!Moira: Thank you so much for the loan of your cabin and your truck.Roland: Lookslike you folks got a lot of gear here, huh? Is that the tickle trunk? (Smarmy laugh) It's just clothes.Roland: Yeah, okay, but just keep in mind there's only 60 ampservice there, so don't be pluggin' a lot of gadgets in all at once, if you know what I mean. Yet another disturbing look into his world.Roland: All right, directions.Super easy, Johnny. Here's what I want you to do. Okay, I want you take highway 10 to Loon Lake Road north, okay? I want you to take a right there. There'sgonna be a split in the fence, I want you to go left at that split, and keep going. Go through the intersection of Loon Lake Road south, okay? And then you'regonna find Pine Road. Now you go up Pine Road, I want you take a right at that big oak tree, all right? It's old, it's big, you can't miss it. You go down the hill tothe left and we're the third cabin on the right, okay? The key's under the mat.Johnny: Got it.Moira: Really?Johnny: Key is under the mat. So I think I'm gonna gonext door because your mess is making me anxious. What mess?David: You know how clean my apartment was in New York. It was so clean. It was really clean.Well, it was very clean because you had a maid to keep it very clean for you. No. I kept it clean after Cecilia cleaned. Anyway, I think it's best if we just take somespace and um... I am looking forward to sleeping in a bed that his not... made for a toddler. Okay. I'll just chill here in my own space and...David: Yeah.Alexis:Maybe I'll do a mask or something and... check in with myself and see how I'm doing... Okay, so we're good?Alexis: Yeah.David: Okay. See you tomorrow. Okay.(Door closes)(Bedding rustles)(Relaxing sigh, book pages rustle)(Door creaks shut)I'm out of mask. I was so bored in there! I'm sorry to hear that.Alexis: Okay,so I think that we should take advantage of mom and dad being gone.David: I am.Alexis: Okay, but like throwing a party or something.David: No. Absolutelynot.Alexis: Just a tiny, little, casual motel party. Okay, Alexis, I have no interest in finding out what types of people are attracted to \"casual motel parties.\"Alexis:But you do have an interest in lounging on a bed that mom and dad have had s*x all over?David: Why would you do that to me right now? David, I just... I missmy life! And I miss doing things. And I miss being surrounded by loose acquaintances who think that I'm... funny, and smart, and charming. Will you? Just a fewpeople. Please. You can't tell me that you don't wanna hang out with people other than me.David: Obviously.Alexis: Okay, so...?David: Okay, fine. Somethingsmall.Alexis: Yes!David: Like a little games night. Yes, like a small, little games night party. No. Like a little games night period. Okay, fine. And then, if it turnsinto something else, it turns into something else. Well, it won't 'cause there's only six people invited. Any more and game play gets too yelly. It gets very yelly.Okay, this party is gonna be...David: It's not a party.Alexis: awesome!David: It's not a party.Alexis: So. Much. Fun! I'm so excited!(Door bangs shut)(Insectschirp, birds Twitter)(Truck rumbles to a stop)(Engine cuts out, doors creak open and bang shut)Johnny: Hey, not bad! Rustic but nice, huh?The great outdoors,Moira. I am shocked and delighted. Yes. I have to say I was nervous about this, but I've gotta hand it to Roland, he came through. He's moron!(Pots and dishesclatter)Key's under the mat, is it? The key is under the mat!(Ripping sound)Agh! That's great! Lying son-of-a...(pan crashes on floor)Agh! Idiot man! Moron! Ha!Oh, good.Moira: John?!Johnny: Yeah! Coming, honey! I'm coming.(Blows out his breath)(Lock clicks)Well hellooooo. Oh, my car broke down and it's raining, and Iwondered if I might spend the night. Well, first let's get you out of those... dry clothes and we'll see where the night takes us.David: So I need to flesh out thisgames night thing. Between you and my sister, and the barn guy and that girl in the restaurant, we have 5, and obviously we need an even 6 for ultimate gameplay.Stevie: Well, what if I'm not a games person?David: We're far too similar for you not to be, so... Options, please. Obviously they need to be funny, andsmart, and have well-rounded sense of humour and a wide range of knowledge. Oh, all those types of people move away from here.David: That's funny.Stevie:No, I'm serious.Stevie: Ooh, what about Eric?David: Hmm? He finished high school. I don't love his look. Oh, looks are important? Oh... Why don't we throw apageant? Trust me, if I had time, we would, but we don't, so... What about Sarah? She's cute and speaks english. Hmm? Mm... She get it?Stevie: Get what? Like\"get it\" get it. It, like the vibe. Understand that games night needs to run a certain way, otherwise it won't work. Can I be on your team? You sound reallyfun.David: Listen, you don't have to help me out if you don't want to.David: I can find someone else.Stevie: Really?David: Mm-hmm.Stevie: Okay.David: Well,it's-okay.Stevie: Have fun.David: Okay.Stevie: My money's on the other team.(Receding footsteps, cars rumble by)[SCENE_BREAK](door opens)David: Hi. (Doorclicks shut)Can I help you? Yeah, I just uh... Came to apologize. For what? For uninviting you to games night. You did not uninvite me. I uninvited myself.Mm-hmm. Okay, well, um... I would really like it if you came and I would really love it if you could bring... one other person of your choosing. So it doesn't matterif they don't blend? M-mm-mm. And this doesn't have anything to do with the fact that you couldn't find anybody else to come? (Scoffs) No. What? No. I... Youare a very bright, funny person, with a wide range of useful knowledge and the fact that we don't have an ideal number for team style game-play, is not... notwhy I'm here. You're such a liar. And I was bluffing when I said I wasn't coming. I just wanted to see you beg, so...David: Okay.Stevie: I'll put out some feelers,but, you know, such short notice, all the town hotties will have plans. I'll see you tonight! Yeah, thanks.David: Thank you.Stevie: Welcome.Moira: This place isalmost charming. Very rustic cottage. I was half expecting early unibomber.Johnny: Oh, look! Roland and Jocelyn.Moira: Who are the other two?Johnny: Well,that's Bob. He's on the town council.Moira: And his partner? Roland has gay friends! Again, shocked and delighted. I think that's his wife.Moira: No, they're bothcalled husband. Look at the them smiling away. What have they got to be so happy about?Johnny: Well, they have no money issues. That's why they're so happy.Yeah, they just don't know any better.(Birds sing, crickets chirp)David: So, Eric, how do you know Stevie?Eric: She used to be my babysitter.Great. Wow. Okay.And how are your... Trivia skills?Eric: My what?David: Oh my God. Okay. Good choice. Good choice.(Knock at the door)Alexis: (Squeals excitedly)(Door"}
+{"doc_id":"doc_284","qid":"","text":"[PREVIOUSLY_ON]Mulder (O.C.): My name is Fox Mulder. In the 1990s, I began investigating paranormal science cases through a unit of the FBI known as theX-Files. My partner in this pursuit was Agent Dana Scully, a medical doctor and scientist. In 2001, we had a child together...Scully (quietly): William.Mulder(O.C.): ...but had to put him up for adoption to hide him from those who wished him harm. In 2002, the FBI closed the X-Files. 14 years later, circumstanceshave arisen which demand new X-Files investigations...Mulder (O.C.): Are you saying you have alien DNA?Mulder (O.C.): ...bringing Scully and I backtogether.[SCENE_BREAK](electronic whirring)Female electronic voice: Good day, Dr. Sanjay.Sanjay: Yeah. Good morning.(scanner wand squeaking)Sanjay!(laughs) Oh. You okay? Rough weekend?Sanjay: A humdinger. Work or pleasure?Sanjay: I haven't known pleasure for quite some time.(wry laugh)(toneringing)Are you okay?Sanjay: It's nothing.[SCENE_BREAK]Hill: The Founder looked at the data. He sent a message this morning. \"Do over.\"Cynthia: That's it? Wespent months on those trials. We've tried every new source of pluripotent stem cells, including samples from amniotic fluids. We need more than justpronouncements from above. We need direction! What about a meeting with the man?Hill: You want the Founder to tell you how terrible your data isface-to-face? The guy is a recluse. No one here's even seen him for years. (distorted): For all we know, he didn't even read the stuff.Hill (distorted): I can assureyou that Augustus Goldman is (slows, distorts): fully engaged. But the Founder has other interests that keep him occupied. Yeah, what about that? Doesn't thatcreep you out, that he's referred to as \"The Founder\"?(Crows fluttering)(glass rattling)(Pencil snaps, cracks)(fingers thudding)(eyelids shudder andcrackle)Cynthia: ...do it.Hill: Now. It's necessary.Data... is the key.Hill: Don't hesitate. Go. Go now. Go!(tone ringing)(distorted): No... no!(glass rattling,clattering)Can't anyone hear that?(tone stops)Sanjay: (gasps) Sorry. Excuse me.[SCENE_BREAK](typing rapidly)Cynthia: Do it.Hill: Now.Rogers: Data... is thekey.(knock echoing)Rogers (muffled, distorted): Sanjay! Sanjay!Hill (O.C.): Sanjay, come on! Open up!(insistent banging on door)Hill (muffled): Open the door,Sanjay!Rogers (distorted): Sanjay! Sanjay, open the door!Hill: It's not opening!Rogers (O.C.): Open the door! Sanjay!Hill: Something's wrong with thesystem!Rogers: Sanjay, open the door!(tone ringing)(tone intensifies)(Sanjay whimpers)(gasping)(muffled): Sanjay?(muffled): Sanjay! Sanjay!(tonecontinues)(crackling, squishing)(brief whimper)[SCENE_BREAK](camera shutter clicking)Mulder: What do you make of this, Scully?Scully: Well, it seems that Dr.Sanjay had a psychotic break and committed suicide. Note the letter opener sticking out of his head.Mulder: Noted.Scully: All the witnesses I spoke to haveconsistent accounts.Mulder: I mean the room. He chose the most secured place in the building to kill himself. He was trying to access something. These areisolated servers, so the only way to get to the data is through this terminal, which is also protected.Scully: Is that why we're here? You're interested in theserver? What are you looking for, Mulder?Guard: Unhand the hard drive, sir.Mulder: This is evidence.Guard: It's classified.Scully: The reason why we'reinvestigating, rather than the local police is because we have security clearance.Guard: To be in the room. Not to look inside this. That is property Department ofDefense.Mulder: We need to conduct a few more interviews, then, before we conclude our investigation.Guard: The individuals pertinent to this incident havealready been interviewed by your colleague.Mulder: We'd like to talk to Augustus Goldman.Guard: That's impossible. Dr. Goldman was not even on campus whenthis happened.Mulder: Well, if you won't let me look at the drive, then I have to talk to Goldman about what the deceased was trying to access before hedied.Guard: I'm not authorized to confirm that I have knowledge of the whereabouts of the Founder.Scully: Can you confirm that you have security cameraswatching over the entire complex? There's that one, and I saw a few more out there.Guard: Yes.Scully: In that case, I'd like to see all of the tapes. As soon aspossible.Guard: All right. I'll have those sent over. But for now, remove this body so we can secure this room.Scully: Sorry, we're not finished--Mulder: Oh, weare finished. We are finished.[SCENE_BREAK]Scully: Mulder, that's not your phone.Mulder: You know me, Scully. I'm old-school.Scully: Riley vs. California. TheSupreme Court ruled that you needed a warrant to search a mobile phone.Mulder: That's for a suspect. Sanjay's the victim.Scully: Well, there is no victim. Hekilled himself.Mulder: Well, then, I'm sure he won't mind me talking to some of his friends. Here's someone he talked to every night. \"Gupta.\"Scully: Dr. Sanjay isfrom western India. Gupta's a Marathi word. It means \"secret.\"Mulder: How do you know that?Scully: I'm old-school, Mulder. Pre-Google.[SCENE_BREAK](bluessong playing in background)\u0000 tell me, baby... \u0000Mulder: Gupta? Thanks for meeting me. My name is...Gupta: No... no names, please. You're Sonny's friend?(novoice)Gupta: Is that guy bothering you?Mulder: Not yet.Gupta: What... do you... want?Mulder: I want to talk. Can we go somewhere more private?Gupta: Idon't... know you well enough.Mulder: I'm safe. You can trust me.Gupta: Come on.Mulder: Oh, whoa, whoa, no.Gupta: Well, you said you wanted to\"talk.\"Mulder: Yes. I-I don't think that means exactly what you think it means. Or... or I'm not...Gupta: You guys are all alike, you know? You say you want towalk on the wild side, but when it comes down to it... you're repressed. I finally let go of all that, that self-loathing and that judgment and I'm free. Stoptormenting yourself. The truth is in here.Mulder: Yeah, I've-I've heard something like that. Hey, listen, I-I-I gotta tell you... (clears throat) Sanjay isdead.[SCENE_BREAK][ FBI MORGUE WASHINGTON, D.C. ][SCENE_BREAK]Scully: Deceased is a male, 35 years old, five-foot-eight and three-quarters inches,180 pounds. (sighs) The probable cause of death is the introduction-- self-propelled-- of a letter opener into the cerebral cortex by way of the ear canal. (sighs,groans) I will now commence with my overall external examination.[SCENE_BREAK]Gupta: The last couple of weeks, he was... he was distant. He was... he wastroubled. I... I thought it was me, you know? We hadn't gotten together for a while. I mean, he'd call me every night, but nothing...Mulder: .. physical. Did hetalk to you about his problems? About work?Gupta: Yeah. Yeah, he said he was upset about his kids. He said they were dying.Mulder: His kids? He wassingle.Gupta: I didn't push it. I just tried to make him feel better.Mulder: Well, I saw where he lived. There was nothing there. He lived an antiseptic life.Gupta:He lived two lives. In two separate places.(phone buzzing)Mulder: Excuse me. Yeah.Scully: Mulder, you gotta see this.[SCENE_BREAK]Scully: I had to break hisfingers to pry them open. But he wrote that on the palm of his hand before he died.Mulder: \"Founder's Mutation.\"Scully: The Founder is what they called Dr.Goldman at Nugenics. Is that why you wanted to talk to him?Mulder: I don't think that's the mutation Sanjay was referring to. Did you find anything else on theautopsy?Scully: Well, there were no abnormalities in Dr. Sanjay's brain. The opener destroyed the acoustic nerve and then went into the cerebral cortex.Mulder:It's weird, because the opener goes in at 90 degrees and then it veers off at 60 degrees up into his brain, like he was hunting for something.Scully: Yeah. Itended up in the auditory cortex. You know... he blurted something out at the meeting, before his suicide. He said, \"Can't anyone hear that?\"Mulder: Hmm.Scully:But nobody else could hear a thing.Mulder: Well, ultimately, hearing is just nerve impulses interpreted by the brain. What if those same impulses could begenerated without actual vibrations striking the ear drum?Scully: Hmm.Mulder: Well, anyway. If he left a note on his hand, maybe he left other clues.Scully: Butwhere? We've checked out every square inch of his apartment.Mulder: Well, he leased a place that only Gupta knew about. I think we should go to where heactually lived.[SCENE_BREAK][ DUPONT CIRCLE WASHINGTON, D.C. ][SCENE_BREAK](indistinct conversations)Scully: It's hard to imagine, in 2016, that Sanjayhad to keep his lifestyle preferences a secret.Mulder: Being gay wasn't his only secret.(tires screech, man grunts)[SCENE_BREAK]Scully: Mulder? (distant): Ifound something.Mulder: His kids.Scully: Yeah.Mulder: Sanjay was afraid they were dying. These kids, they look so young. None of them look older than ten.Look at the backgrounds.Scully: It's a clinical setting. It looks like it might be a hospital.(car doors shut in distance)Scully: The police are coming up. We musthave triggered a silent alarm.Mulder: All right, look around-- he's bound to have kept some information on them somewhere.(tone ringing)Mulder:(groans)Scully: Mulder? Mulder, are you okay?(footsteps approach)Scully: They're coming. Mulder.Man (distant): Police officer!Officer (distorted): Lady, put yourhands where I can see 'em!Scully (distorted): FBI.(tone continues ringing)(nails scraping)(tone ringing, nails scraping, no voice)(tone stops)Scully: (distorted,indistinct, then:) ...find her.(distorted): Help me.(distorted): Find her. (echoing): Find her... Find her... Find her...(tone ringing, increasing inintensity)[SCENE_BREAK]Skinner: Do you have anything to add to this, Agent Scully?Scully: If you look at the files that we found in Dr. Sanjay'sapartment...Skinner: No, I can't look at those.Scully: They're right over there.Murphy: These files are classified. They're the property of the Department ofDefense.Mulder: Well, I've had a look at them. Those files are the medical records of children with grave genetic abnormalities. How those children relate to Dr.Sanjay's suicide is the object of our investigation.Skinner: Well, considering the fact that you just lost access to those files, your investigation is closed. I'll submitthe report on the suicide to the proper authorities. We're done here.Murphy: (clears throat) Let me remind you, Agents Mulder and Scully, dissemination of anyclassified material, either internally or publically, will be dealt with harshly.Mulder: I'm familiar with Edward Snowden.Skinner: I assume you made copies.Mulder:I managed some top sheets before the DoD took over. I think those children are failed experiments.Skinner: So you suspect the Department of Defense isexperimenting with genetic modification on humans? What do you think?Scully: I think there were many troubling details to this case, and, um... if Agent Mulderhas nothing more to add...Mulder: I don't.Scully: .. then I think we need time to prove his theory.Skinner: The bureaucracy in the FBI has become increasinglycomplex and inefficient. It might take days for your incident report and order to close the investigation to make it through the proper channels. Welcome back,you two.[SCENE_BREAK][ FOX MULDER - Special Agent (sign on office door) ][SCENE_BREAK]Mulder: Surveillance footage?Scully: Yeah, from Nugenics. I've"}
+{"doc_id":"doc_285","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. LAS VEGAS CITY (STOCK) - BARBARY COAST HOTEL-- NIGHT][SCENE_BREAK][INT. SUV - NIGHT](A speedingSUV peals around the corner.)(Cut to a train running on the tracks.)(Cut to the SUV speeding down the road. MEGAN TREADWELL, the driver of the SUV, looks tothe side and notices the train. She hears the train whistle blow. Still, she steps on the gas, hoping to beat the train across the track.)Megan Treadwell: (urgently)Come on, come on, come on, come on. Come on, come on!(The train crossing bell ring a warning. The train is approaching.)(The SUV brakes screech. The trainapproaches. MEGAN TREADWELL steps of the breaks again, the car tires screech and still her car moves forward. Her car moves forward slowly, slowly throughthe crossing guard rail.)(The SUV stops on the tracks. The train approaches. MEGAN TREADWELL looks out the car window and screams as the train smashes intoher car.)[SCENE_BREAK][EXT. TRAIN TRACKS - NIGHT](Scene opens with a close up of a power saw cutting through the SUV door.)(CATHERINE approaches thescene carrying her CSI kit. BRASS turns around when CATHERINE reaches him and starts filling her in on the case.)Brass: Paramedics pronounced twentyminutes ago. Megan Treadwell. I ran her plates. Thirty-three tomorrow.Catherine: One-on-one with a train. Did she think that she could beat it?(CATHERINElooks at BRASS, then heads toward GRISSOM, who is checking the train out. She puts her kit down.)Catherine: Hey.(GRISSOM is busy looking at something onthe front of the train. CATHERINE leans in for a better look.)Catherine: Door handle.Grissom: Point of impact: Passenger-side door.Catherine: Dead center.(Theylook on the side as Forensics carry the bagged body away on a gurney.)Grissom: Question is: Why did the SUV cross the tracks?Catherine: (deadpans) To get tothe other side.(GRISSOM looks at CATHERINE.)HARD CUT TO BLACK. END OF TEASER. ROLL TITLE CREDITS.[SCENE_BREAK][EXT. TRAIN TRACKS --NIGHT](CATHERINE walks down the steps of TRAIN #4009. When she gets to the ground, GRISSOM is on his cell phone. He hangs up.)Grissom: Sheriff sayswe're holding up trains all over the country. This entire railroad division depends on keeping the main line open.Catherine: Well, it's not like we can take this backto the garage.Grissom: Well, unfortunately, his priority is clearing this train from the tracks. You have two hours.(GRISSOM turns to leave. CATHERINE calls outto him.)Catherine: Where are you going?Grissom: Suspicious circs in town. This one's all yours.Catherine: Thanks, but you got to give me some guys.Grissom:Sara's all you get.Catherine: All I need.[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT](GRISSOM enters the library. He's metup by DET. RAY O'RILEY, who fills him in on the scene. In the background, the alarm continues to ring.)O'Riley: \"Burglary in progress\" call. Once we made entry,we found the victim downstairs. Never knew this place existed.(O'RILEY and GRISSOM continue down the stairs to the lower level.)Grissom: The Western StatesHistorical Society. It's not on a lot of tourist maps.(The alarm stops ringing.)Det. Ray O'Riley: I had them cut the wires.Grissom: We need to identify the source ofthe alarm, Ray. Security company said it was downstairs. The body's there, too.(DET. O'RILEY opens the door and walks in. GRISSOMfollows.)[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - NIGHT -- CONTINUOUS](O'RILEY and GRISSOM enter the lowerroom.)O'Riley: (looking up at the ceiling) Trying to get them to turn some more lights on in here.Grissom: There are no more lights, O'Riley. It's a controlledenvironment. Notice how you're not sweating? It's probably sixty-six degrees in here. Thirty-five percent relative humidity. Too much light, too much heatdegrades the books.(In front of them, two firemen cut try to cut the lock on the cage.)Grissom: What-- nobody's got a key?O'Riley: The curator's across town.He's on his way. She looks dead to me.(The firemen put the cutters away and one gets out a power saw. He starts cutting the lock.)(The door is unlocked. Thefireman opens the door and GRISSOM steps aside for the paramedics.)Grissom: You got first touch.(The two paramedics enter the cage. They put their casesdown and work on the woman on the floor. GRISSOM also walks inside after them and kneels in close to look at the body.)Medic: 10:48. MEDIC: Red foam, bluetint.Grissom: Foam could be from blood in her lungs. Edema. Skin is cyanotic. Maybe a blood disease. Leukemia. Meningitis. We'll know after the post.(GRISSOMstands and gets out his camera. He starts to take pictures of the body. The camera flashes several times. Behind GRISSOM, outside the cage, a young manprotests.)Aaron Pratt: Don't do that.Grissom: (turns around) Excuse me?Aaron Pratt: These are very rare books.Det. Ray O'Riley: Aaron Pratt. Librarian. Onlyother person here when the alarm sounded.Grissom: Did he tell you what he was doing here?O'Riley: Oh, yeah. Watching her. Set off the alarm, trying to get inthe cage.[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT](GRISSOM questions the Librarian, AARON PRATT.)Aaron Pratt: Iwasn't watching her. I always say \"good night\" to Veronica because I have to leave at 8:03 to catch the 8:10 bus. It's three blocks away. And sometimes the buscomes at 8:08, so I have to rush to catch it.Grissom: So you went down to the basement to say good night.Aaron Pratt: \"Good night, Veronica.\" \"Good night,Aaron.\" Sometimes she ... w-walks me to the bus.Grissom: Did she walk you to the bus tonight?Aaron Pratt: \"Are you coming?\" \"No. You go ahead without me. Ihave more work to do.\"(AARON gets very serious as he remembers what happens next.)Aaron Pratt: Then ... a uniball pen ...(Quick flashback to a camera closeup of VERONICA BRADLEY'S hand holding the pen and the pen slipping out from her fingers. This happens in slow motion. The pen falls. The pen rolls across thetable.)Aaron Pratt: (V.O.) rolled across the desk ... fell onto the chair ...(End of flashback. Resume to present.)Aaron Pratt: ... hit the floor ...(Quick flashback tothe pen still rolling in slow motion.)Aaron Pratt: (V.O.) and stopped rolling at the wastebasket.(The pen stops rolling. End of flashback. Resume to present.)AaronPratt: Then water ... water falls into her eyes.Grissom: You mean she was sweating?Aaron Pratt: From her forehead.(Quick flashback to a veil of water fallingfrom VERONICA'S forehead past her eyes.)Aaron Pratt: (V.O.) Lots ...(End of flashback. Resume to present.)Aaron Pratt: ... and then, she grabs her stomach ...with both hands.(Quick flashback to VERONICA BRADLEY dropping the book and clutching her abdomen.)Veronica Bradley: Aaron ...(End of flashback. Resume topresent.)Aaron Pratt: ... \"Aaron\" ... Then she put on her new face. Shelley's Frankenstein. Up and d-down ... flopping around like ...(Quick flashback to VERONICABRADLEY falling to the floor in seizures.)Aaron Pratt: (V.O.) ... a salmon on my uncle's fishing boat.(End of flashback. Resume to present.)Grissom: She wasconvulsing.Aaron Pratt: I ... couldn't help her ... because the cage is locked and I don't have a key.(NICK approaches the table.)Nick: Hey, there. Warrick's gotthree residential burglaries, so ...Grissom: Mr. Pratt, will you excuse me for a moment?(NICK and GRISSOM walk to the back of the room..)Nick: According toO'Riley this guy's body language says he's guilty.Grissom: I think he's autistic.Nick: Autistic? You mean like Rain Man?Grissom: Rain Man was a savant. Extremelyrare. Aaron Pratt is a high-functioning autistic man with superior right-brain ability.Nick: Kind of sounds like you.Grissom: The crime scene's in thebasement.(NICK leaves to go to the basement.)[SCENE_BREAK][EXT. ROADWAY BY CRASH SITE - NIGHT](CATHERINE and SARA walk side-by-side with theireyes glued to the road trying to look for evidence.)Sara: Man, I hate rushing through a crime scene. Two years from now, no one is going to care that the Sheriffturned this into a \"scoop and run.\"Catherine: Call was made above our heads. Just document the time in your notes.Sara: Yeah, well, I'll let you testify on thisone.Catherine: Thanks.(Off to the side of the road, a little dog comes running toward them. Both CATHERINE and SARA kneel to get the dog.)Catherine: Aw...Sara: Hey, little guy. Hey. Hey. Let's see.(SARA checks his collar.)Sara: His name is Maverick. He lives on Martingale Street in Henderson.Catherine: That's notthat far from here.Sara: Guess I'll go call animal control.Catherine: Okay.Sara: I'll be right back.(SARA picks up the dog.)Sara: Hey. Come on, boy. Let's get youhome.[SCENE_BREAK][EXT. ROADWAY BY CRASH SITE - NIGHT -- CONTINUOUS](BRASS questions the TRAIN ENGINEER.)Brass: So let me get this straight, allyou saw was a car trying to beat the signal?Train Engineer: I'm putting 55 miles an hour. It's dark. I got an oil leak, can't figure out where. I looked up and I sawsomething.Brass: The SUV.Train Engineer: Like I said, it was dark. I thought it was stopping. I turned my head for one second. Next thing I know, it's in themiddle of the tracks. With all due respect we've got the right of way out here.Brass: Thanks for your time.(BRASS nods. The TRAIN ENGINEER leaves. SARA walksup to BRASS carrying MAVERICK in her arms.)Brass: That's not yours, is it?Sara: I am collecting evidence. Do we have an address on the vic yet?Brass: 855Martingale.Sara: Vic had a passenger. Say hello to Maverick.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- NIGHT](GRISSOM walks into the room. ROBBINSis washing his hands. He turns off the faucet.)Grissom: Have you finished with our lady of the library?Robbins: As finished as I'm going to be. You were right.Cyanosis. Blood was unable to oxygenate her tissue.(Quick CGI POV as the camera travels to the deceased's face. The deceased's head rises and eyes open. Thecamera continues down her mouth as it opens slightly. It travels down her wind pipe where the muscles closes the passage. End of CGI POV. Resume topresent.)Grissom: Explains the blue face. Underlying cause?Robbins: With blood in her lungs, asphyxiation's out. I found vomit in her throat, bloody stool,hemolysis and some irritation of the mucous membrane on her tongue. I won't know more till I get the blood test back. Could be blood-borne disease.Grissom:I'm thinking about homicide.Robbins: Then you know more than I do.(ROBBINS looks at GRISSOM who's looking at the body. GRISSOM looks up atROBBINS.)[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT](NICK is in the cage dusting for prints on the books. Inthe background, a well-dressed man descends the stairs.)Officer: Excuse me, sir.Stanley Hunter: It's fine.Nick: Whoa, whoa, whoa. Sir, you can't come inhere.Stanley Hunter: I told the officer upstairs. I'm Stanley Hunter.(At NICK'S blank look, he continues.)Stanley Hunter: The curator. Do you have any idea thedamage you're causing? With your dust, flashbulbs. You see that?(STANLEY HUNTER points to a book behind NICK. He walks forward toward it to emphasize it'simportance.)Stanley Hunter: Right there, behind you. That is a 17th century text by Johannes Van Den Avelen. It's one of two volumes in the world. Now, do you"}
+{"doc_id":"doc_286","qid":"","text":"[PREVIOUSLY_ON]Wes: \"The host reads their souls, senses their futures.\"Cordy: \"Yes, but he can only do it when they sing Karaoke.\"Cordy: \"Imagine what couldhave happened if you'd gone nuts and slept with Darla!\" Angel throws Darla through the glass doors. Angel and Darla on the bed kissing and ripping each othersclothes offAngel: \"You know I would never do that.\" Angel wakes beside Darla and jerks upright in bed.Angel: \"Get dressed and get out, because the next time Isee you I will have to kill you.\"Shaman: \"I can not help you. No one can. This is not meant to be known.\"Darla rubbing her pregnant belly: \"Well, I guess there'sonly one thing left to do. Time to go visit daddy.\" Rome 1771 Some rats scurry along an underground sewer tunnel. Angelus runs by. He looks behind him andsees a group of monks carrying torches coming his way. Turns a corner, only to see other torch carrying groups of monks down a couple other branches. Angeluscomes up on a sewer grate. He pulls the center grating loose, steps through, then wedges it back in place behind him. As he turns, he stumbles, tumbles downthe slanting tunnel, crashes through another grate and lands on the floor of some underground chamber lit by torches. He is surrounded by monks withcrossbows aimed at him. A pair of double doors swing open behind him, letting in bright sunlight. Angelus throws himself to the ground out of the direct lightsurrounded by a thin cloud of smoke. A rider brings his horse to a stop just inside the doors and dismounts. One of the monks leads the horse away as the ridermakes his way over to a red robbed priest, while Angelus is picks himself up from the floor.Holtz: \"Mille grazie, Monsignore. Sono nel vostro debito.\"Subtitles:\"Thank you, Monsignor. I am in your debt.\"Monsignor (st): \"No, this animal murdered your family. (Points at Angelus) Hold the beast!\" Chains wrap aroundAngelus upper arms and chest.Holtz steps closer to Angelus: \"Monsignor Rivalli, performed the ceremony when Caroline and I were wed. You rememberCaroline?\"Angelus: \"Pretty lass. Hearty screamer.\"Holtz: \"The good monsignor has since then been excommunicated. The order he founded, Inquisitore, adheresto the old beliefs. They're traditionalists and quite good at their work. Let's get started, shall we?\" Holtz takes a sharp hook and some knives from one of themonks. We see the hook digging into the side of Angelus' neck, hear some cloth ripping.Angelus: \"Ah. Aah!\" We see the sun rise and set while hearing Angelus'screams in the background. The monsignor is walking cross the room, reading a book. Holtz is sitting on a bench, drinking from a cup. We hear some monksrecite in the background and Angelus gasping in pain.Holtz: \"You lost me in North Africa. I knew you'd come back to Europe, but *Rome* Angelus? (Gets up andwalks around Angelus, suspended from the ceiling by chains around his wrists) Why in Gods name would you come to the seat of all that's holy?\"Angelus: \"Darla -she loves the Sistine chapel.\"Holtz: \"Michelangelo?\"Angelus: \"Not him. She's mad about Botticelli's frescos. (Groans) The Temptation of Christ is her favorite -probably because of the leper. (Sighs) What do you want, Holtz?\" Holtz picks up a three-pronged claw and looks at it.Holtz: \"I don't want anything. My family isgone. I don't trust you to give me Darla, although I *will* find her, you know that. My only desire here - is to discover if a thing such as yourself can be made topay for its sins. (Holtz digs the claw-thingy in somewhere below Angelus waist (off screen) and Angelus groans in pain) You're a demon. It is your nature to maimand kill. But you were also once a man. If we beat and burn the demon out of your living flesh, will there be anything left? (Holtz digs the claw in again andAngelus groans in pain) Anything at all? I doubt it. But I'm willing to spend the next fortnight of my life finding out. - In either event - you have no soul, you cannot be saved.\" A flaming arrow streaks across the room and buries itself in one of the monks.Darla: \"Sorry it took me so long darling.\" Darla is standing in atunnel opening, holding a crossbow loaded with another flaming arrow. There are other vampires with her.Darla: \"Kill them.\" Darla fires her flaming bolt, hittingHoltz in the shoulder. The vampires streak past her and attack the monks. Several vampires get staked by the monks during the fight, but that doesn't slow therest of them down. Monsignor confronts Darla with a cross held in front of him.Monsignor: \"Vai' all inferno, demonio lordo! (caption) Go to hell foul demon!\" Darlapushes the cross aside, then sends the Monsignor flying into a wall.Darla: \"No, grazie, padre.\" The double doors that Holtz rode in through is pulled down and ahorse and carriage driven by a blanket shrouded vampire trot in. Darla unclips Angelus chains. Two other vampires catch him under the arms and drop him ontothe back of the cart. Holtz tries to get up. Darla knocks him across the chin, then joins a groaning Angelus on the cart.Angelus: \"Darlin'?\"Darla: \"What?\"Angelus:\"Shouldn't we be killing Holtz?\"Darla: \"I know, but it's just so much fun ruining his life. He's like family now.\" Angelus pulls Darla into a kiss as a vampire coversthem with a tarp. The wagon heads out into the sunlight, with the blanket shrouded vamp at the reins. A public bus (Downtown LA - Hollywood) pulls over to theside of a dark and deserted street in LA.Darla: \"Right here is fine. (To bus driver) Thanks for the lift. That didn't take long at all. (Gets off the bus) And they saythere is no public transportation in LA.\" The bus driver turns slowly and looks towards the back of the bus. Three passengers are slumped in their seats with twinpuncture wounds visible on their necks. Four other people are huddled down in the back of the bus. Bus driver fumbles out his radio: \"Help! We got a code twelveon the 5-8 line! We need help here now, for god's sake. Now!\" Darla walks away across the street. Intro Cordy is arranging some flowers in a vase down in thebasement of the Hyperion. Angel walks into the training area and sees that there are several vases of them scattered around the room.Angel: \"What'sthis?\"Cordy: \"Oh, it's just so dark and lifeless down here, I thought I'd brighten it up a little for you. (Angel picks up one of the vases) You can't exactly go outand enjoy the sunny fields of nature, but that doesn't mean we can't bring a little bloom into your darkness.\"Angel: \"They're fake.\"Cordy: \"Yeah. You putsomething real in this hellhole and it die (snaps her fingers) like that.\" Angel puts the flowers down, looking at Cordy.Cordy: \"Thank you, Cordelia?\"Angel: \"Youknow, I've been around a long time...\"Cordy: \"Which reminds me. Next birthday, you think we could skip the two-hundred and fifty odd candles on the cake andthe inevitable fire marshal and just go and just go with a little song?\"Angel: \"And I've never known anyone like you.\"Cordy: \"Well, duh! Times a wasting, big guy.Can we do it? (Takes on a stance) Hi-yeah!\"Angel chuckling: \"Okay. Last time we were working on not pulling your punches and your kicks. Right? Don't worryabout me. (Cordy hits him and he deflects the punch with his arm) That's good. (Cordy swipes at him again) Good! Where is your weight? (Angel looks down)Balls of your feet?\" Cordy swings and hits him across the face full force.Cordy: \"Oops! Oh god, you said that... (Angel straightens back up, smiling) Are youokay?\"Angel: \"I'm a vampire. You can't hurt me. Good.\" Angel turns away from her and makes a face, gingerly feeling his nose.Cordy: \"You're off your game. It'sbecause of the prophecy Wes and Gunn are trying to get their hands on. You think the end is coming.\" Angel turns back to face her: \"The end is not coming.Someone is always uncovering some ancient scroll, and they're always saying the same thing: that something terrible is coming. Do you know how many of thesethings I've seen in my very long life?\"Cordy: \"Four?\"Angel: \"Three. But there's nothing to worry about.\"Cordy: \"Then way are Gunn and Wesley breaking andentering right now?\"Angel: \"Breaking and entering is such a negative term. They are simply retrieving some missing pieces from the Nyazian Scroll. Just to makesure...\"Cordy: \"That the end is coming. - Well, all we can do is live each moment to the fullest and be grateful that we didn't throw too much money at theNASDAQ.\" Angel blinking his eyes and lifting a hand towards his face: \"Am I swelling?\" Camera sweeps over some big houses, surrounded by big gardens on asunny plateau with some mountains in the background. Pans past some old oil paintings and statuary to show Wes, dressed in black, sneaking up on the windowand look into the window from outside. Wes motions and Gunn walks up beside him.Wes: \"Step one: Dobermans are happily gnawing on the steak. Alarm and vidlines are disabled (pulls out a scanner and looks at its display) no infrared. Caught a break there. Step two: we cut a hole in the glass, snake in the mini-cam andscan the interior.\" Gunn walks over to look in the glass door while Wes pulls glasscutter with a suction cup out of his duffel bag and attaches it to thewindow.Wes: \"If it's all clear, we disable the locks and bolts on the side door thus completing... (Gunn tries the door and it swings open) ...step three.\" Wescloses up his duffel and moves over to follow Gunn inside, then hurries back to detach the suction cup from the window and stow it in his bag while Gunn waits forhim inside. Wes hurries in and motions for Gunn to close the patio door. They open the doors into an adjacent room, in which all sorts of things are on display.Gunn looks around and whistles.Wes: \"Can you believe this?\"Gunn looking around: \"Some guys collect old cars, some guys collect...\" Gunn flinches back as hespots a misshapen, one-eyed demon head in a glass case. Then he and Wes lean in for a closer look.Gunn: \"It's like - the eye follows you wherever you go.\" Weswalks over to a bottle sitting on a pedestal, pulls out the stopper and takes a sniff before closing it again.Wes: \"Alright. If you were the priceless remnants of thelost Nyazian Scroll, where would you be?\"Gunn: \"If I was priceless - I'd be in the vault.\"Wes: \"The vault? Your snitch never said anything about a vault!\"Gunn: \"Igot a bad feeling about this.\"Wes: \"We figure something out. It's just a - vault.\"Gunn: \"Actually my bad feeling is more about the man standing behind you withthe large revolver.\" Wes turns to see a guy standing in the door aiming a gun at them.Man: \"Move and I'll kill you. The man edges into the room and reaches forthe telephone with one hand while still aiming the gun at them with the other.Wes: \"I hope you're calling the police.\"Man: \"You bet I am.\"Wes: \"Good. You canexplain to them why you keep so much GHB on hand. (Wes walks over to the bottle on the pedestal) You know, Rohypnol, the date rape drug.\"Man: \"What?\"Wesindicates the bottle: \"Muslok Trancing Amalgam. Under the microscope it's virtually indistinguishable from GHB.\" The man slowly puts the receiver backdown.Man: \"Alright. I won't call the police.\"Wes: \"I'm glad we understand each other.\"Man: \"Until after I kill you.\"Wes: \"Oh.\" Gunn picks up four red glass ballsout of a bowl on another stand.Gunn: \"Hey, these worth a lot?\"Man: \"Yes. They're Cyopian conjuring spheres.\"Gunn: \"How much? Four figures each? Five?(Starts to juggle two of the balls with one hand) More?\"Man: \"Stop that!\"Gunn: \"Put the weapon down.\" When the man hesitates, Gunn lets one of the balls drop"}
+{"doc_id":"doc_287","qid":"","text":"Lucas: Do you ever wonder how long it takes to change your life? What measure of time is enough to be life altering? Is it four years like high school? One year?An eight-week rock tour? Can your life change in a month, or a week, or a single day? We're always in a hurry, to grow up, to go places, to get ahead. But whenyou're young, one hour can change everything.Karl: How are we doing this mornig seniors? Did anyone wake up with their clothes on from the night before stilldrunk with strange big hangover? Anyone? Well I guess that was just me. Actually last night was UNO night at my house, and it was a blood bath but I cannotdiscuss it with you right now, so we won't. But let me ask you guys a question: does today's class really matter? Or is it just a fifty-minute requirement designedto get your grades so you can go on to college or a job and the rest of your lives, anyone?Brooke: If we say yes, can we have the grade and go on with the rest ofour lives?Karl: Mouth, using one word describe how your classmates see you.Mouth: Ugh, awesome?Lucas: Yep!Karl: Ok. Let's say that there are five universalterms to describe everyone in high school, okay? Let's say jock, prom queen, geek, loaner, and ...?Brooke: Slut?Karl: Okay, considering that awesome is not acategory, Shelly Simon, describe Mouth in one word.Shelly: I don't really know him, but, nice, I guess.Karl: Nice. I suppose we could find 'nice' under friendly, butsince friendly doesn't mean friendly that would make Mouth a slut. You have four other choices.Shelly: Geek I guess.Karl: Geek? You're joining the club Mouth.Okay, class, Nathan five choices?Everyone: Jock.Karl: Lucas?Everyone: Jock.Karl: Brooke?Everyone: Prom queen.Karl: Rachel?Everyone: Friendly!Rachel:Hey!Karl: Peyton?Everyone: Prom queen.Peyton: Oh come on I am so a loaner!Glenda: Right, a loaner cheerleader who's dating a jock. No offence but I'm aloaner, you're a prom queen.Karl: Like it or not, you are who you classmates see you as. But here's the good news: that's gonna change soon. Because prett ysoon you're gonna be going out into that big, wild world and you can erase all those [...]. Now for some of you shading this image is gonna be a great thing. Andfor some of you, not such a great thing. But what matters is that you know who you really are. And you know how you want the world to see you. Well, you'vebeen together for what? For four years? Haley? What's Lucas' middle name?Haley: Eugene. Ohh, I'm sorry I'm so sorry.Karl: Lucas what's Glenda's lastname?Lucas: I don't know. Sorry.Karl: Okay everyone on this side of the room I want you to write your name on a piece of paper and put it in Nathan's cap.Okay, hurry up. Everyone on this side of the room is gonna draw a name. And the name that you draw will be the person that you will spend the rest of the classwith. Maybe we'll find out if fifty minutes can matter. Okay pass the hat around. Shelly who do you have?Shelly: Mouth.Karl: Karma's a funny thing isn't it?Haley?Haley: Skills...ington.Karl: Rachel?Rachel: Bevin.Karl: Glenda?Glenda: Gotta love karma... Lucas.Karl: Nora?Nora: Oh, I have Noriah.Karl: Emma?Emma:I've got Zach.Karl: Michael?Micheal: I got Fedde.Karl: Brooke?Brokke: I have Chase.Karl: Peyton?Peyton: I have... Nathan.Karl: Okay here's the deal, everyonepair up, you can leave the class but not the campus. At the door you'l find a camera, I want each of you, at the end of the class to take a picture of your partner.This picture represents how you see them. That picture is going into the year book for the rest of time. Now for some of you this is an opportunity to reinventyouself starting today.Brooke: Do we have to reinvent ouselves, cause I think most of my friends see me as fabulous!Karl: Maybe so. But my friend Mr Miller seesyou as the girl who's failing calculus. Okay everyone go and get a camera and get out of here. Oh wait one more thing, with the cameras a list of instructions atthe end of the class I want you to tell me what you learnt about your partner. You have fifty minutes, go.Mouth: Well I guess you're stuck with the geek.Skills:Okay Haley J.S. Let me make a deal with you, as long as you don't give birth early, we're good.Bevin: I don't get it.Lucas: I'm Lucas...Glenda: Scott. Right. Atleast i know your last name.Nathan: This is kinda like the Boy Trade, actually we won't be kissing and the partial nudity.Peyton: The hour is still young.Brooke: Soabout this whole calculus thing...Lucas: Glenda! Glenda. I'm sorry about not knowing your name. Can we just do the assignment? Look the first thing on the listit's huh... 'share something personal with your partner'.Glenda: Farell, my last name's Farell. Is that personal enough for you?Brooke: Will you just listen to meplease?Chase: So what? You accidently forgot to tell me that you were failing calculus when you started tutoring me... in calculus. How did you get that A I sawon your test anyway?Brooke: It's complicated trust me.Chase: Trust you... I already did that. And now I find that my tutor is doing worse in calculus thanI.Brooke: It's a long story okay?Chase: Well don't tell me other story Brooke! Tell me the truth. Or is that even possible for you to do?Brooke: Okay. Comeon.Mouth: You know you shouldn't judge people like that. You called me a geek!Shelly: It was the only category that fit. I called you nice first.Mouth: Well how doyou know I'm nice? Maybe I'm not nice.Shelly: I can see that.Mouth: We're supposed to tell each other something personal. Like... huh... my middle name isLeonardo, after my grandpa Leo. I guess that's kinda geeky.Shelly: Wow you really got personal there.Mouth: Well it's not like you're gonna tell me anything realeither right? It's just an assignment.Shelly: Before I started Clean Teens, I was in a serious relationship with this guy I met at summer camp. I was prettyintense. And then, we couldn't see each other for the rest of the summer. My parents, they wouldn't let me talk to him or... anything. But I knew I'd see himwhen we'd got back to school on the fall. And, the night before we got back I couldn't sleep. This is the spot I was standing at when I finally saw him again... withhis new girlfriend. He looked at me, you know, he looked right at me, and then he just walked away, without a word. It was just over. That's the moment Ithought of Clean Teens. Like you said, it's not like I'm actually gonna tell you anything real.Haley: Okay pregant girl on the roof!Skills: Come on, [...] we had adeel, no early delivers!Haley: Right!Skills: Now check it out you're gonna love this view, it's the [...]Haley: Wow, this view really is the [...].Skills: You see thatfactory way out there? I might possibly work in this [...] graduate in Tree Hill. Six days a week on [...]. So we're supposed to tell each other something personalright?Haley: Yeah.Skills: Ok, well, here's mine. There's a job waiting for me in that place, if I don't get a scholarship to college.Haley: It's not gonna happenSkills. I can feel it!Skills: I'm glad you're so sure.Haley: NO, the baby's kiking I can feel it! Here!Skills: It's like a step show.Haley: Something personalright?Skills: Yeah!Peyton: So I guess I was right about the partial nudity thing. Boys lockroom?Nathan: Just following the assignment.Peyton: Ok.Nathan: Yousee this [...]? The summer I decided t really dedicate myself to basketball, my dad said I was way too skinny to ever be a great player. He said I wasn't toughenough, that I wasn't stong enough. So to prove him wrong, I spent every single day in this training room. It was like a thousand degrees in it, but I wasn'tgonna let him be right.Peyton: Anger's motivation.Nathan: Anger and inspiration. Everytime I benched another ten pounds, I scratched two letters, under theplate.Peyton: What does it say? PS?Nathan: It was the same summer we started dating. We were pretty good together weren't we?Peyton: Gimme your hand.Ok, I want you to feel this.Nathan: Geez what happened?Peyton: I broke that neckle punching something after we've broken up for like the twentieth time! Wewere horrible together!Nathan: Yeah, I know, I was kinda hoping you forgot.Peyton: No.Bevin: Ok so I don't get it. We're supposed to do these stuff on the listand then take a picture for the year book.Rachel: That's the plan!Bevin: Well I already took my photo for the year book, and my hair looked really pretty thatday.Rachel: It's not that kind of photo... and anyway it doesn't matter because this assignment makes me wanna get high.Bevin: Seriously.Rachel: You're notlistening, see: this assignment makes me wanna get high.Brooke: I got a copy of the key and I stole the test.Chase: It's great Brooke, anything else?Brooke: Idon't really believe in Clean Teens I just stayed in it because of you. That's the one thing I was really truthful about: my feelings for you.Chase: Well it doesn'tmatter now does it?Mouth: Anyone for starting over?Shelly: Hey. I'm sorry about judging you. You seem like a really nice guy.Mouth: Ok you gotta stop sayingthat!Shelly: Why?Mouth: Because that's part of the problem! I hate being the nice guy, the little brother, the great friend. For just once, I'd like to be a littledangerous you know. Not so safe.Shelly: Yeah.Mouth: So, what's next on the list?Shelly: Ok: lighten up. Do an impression of a celebrity or a famouscharacter.Mouth: This is gonna be awesome baby! He's a [...], a [...] magician! It's Dick Vitale. He's a sports annoucer. He's really famous.Lucas: You seem sofamiliar love. Have I threatened you before? I'm captain Jack Sparrow.Haley: So my sister Mary Kate was like: Ashley, you really need to eat something.Lucas:Merry Christmas you [...]!Nathan: I like you, do you like me?Peyton: I like sexytime explosion!Haley: I'm sorry Dawson, it's just, I love Pacey.Brooke: HappyBirthday Mister President.Haley: Say hello to my little friend!Nathan: My wife, she's very nice. Hi 5!Lucas: My precious, oh my precious gotta keep it from thehobbitses, oh the hobbitses!Glenda: You do a really good Elmo.Shelly: Admit something that worries you or something you're afraid of.Mouth: You.Shelly: Me?Why?Mouth: Because you're really pretty. And it's kinda intimidating.Nathan: I walked a hundred times in the gim, thousands of fans screaming at me, tauntingme, I never flinched. I just take it all and [...]. No fear. But the thought of being a father scares the hell out of me.Haley: I love the idea of being a mom. I reallydo. But, I just, I still wanna leave my mark on this world.Skills: That what scares you? Not having the chance to do that?Haley: Yeah, a little. And clowns. Clownsreally scare me.Bevin: What are you afraid of Rachel? Rachel?Rachel: I'm afraid, I'm way too high to care.Brooke: I was worried I wouldn't be enough for you.That's why I lied. That's what I'm afraid of. Not being enough. Not good enough, not smart enough, not pretty enough, not...Chase: Brooke, you're the studentcouncil president, captain of the Cheerleaders and probably one of the most popular girls of the school! How is that not good enough?Brooke: I don't know youshould ask my parents, considering they haven't called in a month. A month and a half, actually. Not a single call, or texto, or email so what do you suppose thatsays about me?Chase: I think it says more about your parents.Brooke: You haven't told me what you're afraid of.Glenda: I'm afraid of my mom.Lucas: Come on,is she really that bad?Glenda: You see these diamond earings? I can only wear them at school because I stole them from her.Lucas: Why?Glenda: Because she"}
+{"doc_id":"doc_288","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: INT. THE RILL CENTRE. CENTRAL CHAMBERDOCTOR: I don't think he's quite awake yet!(VICKI laughs but the good mood isshattered as she lets out an ear piercing scream. From behind a frosted glass partition in the black spaceship wall, a pair of hideous round alien eyes are startingout at them...)[SCENE_BREAK]2: INT. THE RILL CENTRE. PASSAGEWAY(A CHUMBLEY moves along the passageway.)AIRLOCK(It reaches the end of thepassageway and turns the corner into another.)WILLIAM EMMS[SCENE_BREAK]3: INT. THE RILL CENTRE. CENTRAL CHAMBER(The DOCTOR and VICKI turn asthey hear the sound of the CHUMBLEY approaching.)DOCTOR: There's a Chumbley coming! Quickly!(They both rush toward one of the passageways and pull to ahalt as they see it is the one that the CHUMBLEY is moving down.)VICKI: Oh, Doctor!DOCTOR: Hurry! Quick!(They turn and flee down another passageway. TheCHUMBLEY enters the central chamber. It pauses and then goes down the passageway taken by the DOCTOR and VICKI.)[SCENE_BREAK]4: INT. THE RILLCENTRE. PASSAGEWAY(The DOCTOR and VICKI hurry along, the sound of pursuing CHUMBLIES not far behind them.)DOCTOR: Come on!VICKI: (Breathlessly.)Come on, Doctor!(The DOCTOR sees the exit to the outside.)DOCTOR: (Breathlessly.) This way out. Come on! We'll make it!(They reach the entrance. TheDOCTOR is a little way ahead of VICKI, who turns to look behind her.)[SCENE_BREAK]5: EXT. THE RILL CENTRE(The DOCTOR emerges and turns back to VICKI.As she is about to exit, a heavy iron grill slams down in front of her. She grips the bars frantically and looks out.)DOCTOR: Oh! Ah!VICKI: Oh! Doctor!(TheDOCTOR runs over and examines the bars.)DOCTOR: (Breathlessly) I can't move it! It's immovable! Wait, wait, wait! I have an idea.(The DOCTOR looks aroundand sees the mechanism on the wall he examined before.)DOCTOR: I might be able to sabotage them. Now be patient.(He moves across to the mechanism andtakes out a screwdriver from his pocket. VICKI waits, grasping the bars while looking behind her, expecting the CHUMBLEY at any minute. The DOCTOR quicklyexamines the air-converter unit.)DOCTOR: We know what this machine's for. This is to convert air into ammonia gas.VICKI: (With desperation) Doctor, hurryup!DOCTOR: Yes, now, have patience child.(He starts to take it apart.)DOCTOR: When I've finished with...this machine, I'm sure they will release you.VICKI:Never mind about that, release these bars!DOCTOR: No! No! That's the last thing we do. This is the thing that gives them the gas to breathe with.VICKI: Youdon't know that for certain!DOCTOR: My dear child, the Rills can't go outside. It's a foregone conclusion.(VICKI turns once more and looks down thepassageway.)[SCENE_BREAK]6: INT. THE RILL CENTRE. PASSAGEWAY(Two CHUMBLIES moves along the passageway and reach VICKI. The DOCTOR appears onthe other side of the bars and looks in. The CHUMBLIES make signs just as the one they first met did.)VICKI: (Fearfully.) Doctor! They...I think they...want me togo with them.DOCTOR: Well, I think you... you'd better do what they want, hmm?VICKI: (Nervously.) But Doctor, that thing in there - that thing looking out ofthe window, what...DOCTOR: Yes, that was one of the Rills, I suppose.VICKI: (Softly.) Doctor, I'm so scared.DOCTOR: Now, look, you go with them, quickly, butdon't cause any trouble. It'll give me time to see if I can help you. I think perhaps I can do something with that machine, but I must have time! Hmm? Yes?VICKI:All right. Be quick.DOCTOR: All right, don't worry. Goodbye!(VICKI eyes the CHUMBLEY and moves toward it. The CHUMBLEY backs away. VICKI moves down thepassageway followed by the CHUMBLEY. Another CHUMBLEY moves to meet her, and they nudge her toward the central chamber.)[SCENE_BREAK]7: EXT. THERILL CENTRE(Having watched her go, the DOCTOR moves away from the bars and resumes work on the air-converter with his screwdriver.)DOCTOR:Dah![SCENE_BREAK]8: INT. DRAHVIN SPACESHIP(STEVEN is still in the padded corner. He is lying down, apparently asleep.)DRAHVIN TWO: Maaga, shall wego?MAAGA: Where?DRAHVIN TWO: To patrol.MAAGA: I see no need.DRAHVIN TWO: To see what the other two are doing.MAAGA: No.DRAHVIN TWO: But,Maaga...MAAGA: Can you hear me?DRAHVIN TWO: We always go out on patrol at this time.MAAGA: Yes, but not now.(The three DRAHVINS look uneasily at oneanother.)MAAGA: Soldier Drahvins, you can't understand anything that's different, can you? You are made unintelligent, and you remain that way for the rest ofyour lives.(MAAGA turns away and sighs, talking almost to herself.)MAAGA: I told them soldiers were no good for space work. All they can do is kill. But theywouldn't listen. If you are to conquer space, they said, you will need soldiers. So here I am confronted with danger. I'm the only one able to think!(She turns backto the others.)MAAGA: Very well. I am your...commanding officer. I am your controller, am I not?DRAHVIN TWO: Yes, Maaga.MAAGA: And you obey myorders?DRAHVIN TWO: Yes, Maaga.MAAGA: Why?DRAHVIN TWO: Because you are our leader.MAAGA: And?DRAHVIN TWO: You think.MAAGA: And you don'tknow what that means.(The DRAHVINS are silent.)MAAGA: But because I think, I order that there will be no patrol now. We have a prisoner. In order to savehim, the other two must help us.(She looks towards STEVEN.)DRAHVIN ONE: I do not understand why they would want to help a friend.MAAGA: I know youdon't.DRAHVIN ONE: We would not. We would leave him here.MAAGA: Yes... (Laughs.) ...we would. But I have heard of creatures like these. They help oneanother.DRAHVIN THREE: Why, Maaga?MAAGA: I don't know. I have heard, that on occasions, they even die for one another.(The DRAHVINS lookconfused.)DRAHVIN THREE: Die? For their friends?MAAGA: There are many strange things in the universe.DRAHVIN TWO: I do not understand.MAAGA:(Harshly.) I know you don't. But, despite that, you will obey orders!(The three DRAHVINS bow their heads submissively. After a pause, MAAGA speaks softly,almost to herself.)MAAGA: It may be that we shall kill neither the Rills nor these Earth creatures. Not with our own hands, that is. It may be better for us toescape in the Rills' spaceship and leave them here. (Softly excited.) And then...when we are out in space, we can look back. We will see a vast, white, explodingplanet...and know that they have died with it!DRAHVIN ONE: But we will not see them die.MAAGA: (Softly.) You will not! But I, at least, have enough intelligenceto imagine it. The fear...the horror...the shuddering of a planet in its last moments of life! And then they die. (Sighs.) But that is for later.(She turns back to theDRAHVINS and issues instructions to them each, in turn.)MAAGA: Attention! (To DRAHVIN TWO.) You will rest. (To DRAHVIN THREE.) You will guard the prisoner.(To DRAHVIN ONE.) You will go out and look for the Earth creatures. Open the door.(DRAHVIN THREE moves round the table, picking up her gun as she does so.She crosses to a chair near STEVEN and sits down, the gun across her lap. DRAHVIN TWO goes into the inner room whilst ONE goes outside. MAAGA goes overand looks down at STEVEN.)DRAHVIN ONE: He sleeps.MAAGA: But you will not! He must not move!(MAAGA goes into the inner room. As she does so, STEVENopens his eyes slightly and squints up at DRAHVIN THREE, who is staring straight ahead.)[SCENE_BREAK]9: INT. THE RILL CENTRE. CENTRAL CHAMBER(ACHUMBLEY backs in followed by VICKI. She searches about her and looks nervously at the place where she saw the watching eyes. The shutter on the door isclosed. Another CHUMBLEY comes out of the passageway. The two CHUMBLIES chatter to themselves for a moment, then, from the CHUMBLEY facing VICKI,comes a high-pitched sound. VICKI stares at it blankly. It stops, twitters at her once or twice more, then falls silent. The CHUMBLEY behind VICKI nudges her.She puts up with this for a few moments then angrily reacts.)VICKI: Oh, stop doing that! What do you want, anyway?(At once, a series of varying sounds comesfrom the CHUMBLEY, which resolve into a repeat of VICKI'S question speeded up, then repeated but slower, over and over again...)RILL VOICE: What do youwant anyway? What do you want anyway? What do you want anyway? What do you want anyway?(Finally, the statement comes out of the CHUMBLEY at anormal rate in a deep sonorous male voice.)RILL VOICE: What do you want anyway?(Then from the CHUMBLEY, as though it has now deciphered VICKI'S words,comes intelligible speech.)RILL VOICE: We are sorry to separate you from your friend, but it was necessary.(VICKI is surprised. She jumps as the shutter in frontof the glass slides open. The eyes can be seen looking through at her and they are attached to a tusked creature which is wreathed in smoke. VICKI looks fromthe window to the CHUMBLEY.)VICKI: (Fearfully.) Who are you?RILL VOICE: Who are you?VICKI: (Fearfully.) We're, er...we're time travellers. From the planetEarth.RILL VOICE: (Suspiciously.) I see. You were sent here by the Drahvins?VICKI: Yes.RILL VOICE: (Threateningly.) To do us harm?VICKI: (Fearfully.) No! No,you see...the Drahvins are...keeping a friend of ours...prisoner. So, we had to do as they said.RILL VOICE: What was that?VICKI: (Reluctantly.) To capture yourspaceship.RILL VOICE: Why do they want to capture it? We have offered to take them with us.VICKI: They didn't tell us that!RILL VOICE: No. They would not.They would rather kill. They hate us.VICKI: Well, you did kill one of them.RILL VOICE: (Shouts.) We kill no one!VICKI: But they...(VICKI suddenly gathers hercourage.)VICKI: Look, who is talking? Is it...is it this Chumbley, or is it...(She looks toward the open shutter.)VICKI: ...someone else?RILL VOICE: You call themachines Chumblies?VICKI: Yes.RILL VOICE: The Chumblies have a speaker in them. They are transmitting our thoughts.VICKI: Your... your thoughts?RILLVOICE: We do not speak like you. We have no vocal chords. We communicate in thought.VICKI: Who are you?RILL VOICE: We are the Rills.VICKI: Why can't Isee you?RILL VOICE: It is better that you do not. Not all the dominant species in the universe look like humans. Our appearance might shock you as it shockedthe Drahvins.[SCENE_BREAK]10: EXT. THE RILL CENTRE(The DOCTOR has now removed some of the top plates from the air converter and is peering in. He ishard at work with his screwdriver.)DOCTOR: Hmm![SCENE_BREAK]11: INT. THE RILL CENTRE. CENTRAL CHAMBERVICKI: (Firmly.) The Drahvins said that youattacked them.RILL VOICE: That is short of the truth. We were investigating outer space when we encountered a strange ship. Rills do not attack or kill withoutgood reason, so we stopped our ship. Their ship also stopped. We hung in space facing each other. We could have turned and gone away, but we were afraid thatwe would be attacked.VICKI: Yes, what happened?RILL VOICE: For four dawns we hung there. Then we decided to turn. As we were doing so the Drahvins fired.Immediately we did the same, and both ships crashed. When we escaped from our ship we discovered that we could not breathe the atmosphere here, but we"}
+{"doc_id":"doc_289","qid":"","text":"Opening scene - We open on incredible aerial shots of the coast. then we stop outside the pool house to see Ryan and Seth walking outSeth: so you're saying youwon't help meRyan: I got a physics quiz, i'm kinda busySeth: Ryan!Ryan: what?Seth: please man this is a crisis ok Zach an Summer, there full on dating now anthat means I need a new girlfriend prontoRyan: so your gonna start dating someone jus to show up Summer(they are now inside the Cohen kitchen)Seth: thoseare not the reasons (Ryan looks at him) I can't think of em right now, listen, hold on a second let's break bread, let's discuss broads (throws a bagel toRyan)Ryan: (catches bagel) ooooh my graphing calculator, I left it in your roomSeth: you know what else is in my room(walking out of the kitchen)Ryan: what,what is in your room (throws the bagel up and catches it)Seth: my year book (Ryan frowns) full of new ideas for fresh faced loved ones what'do you say wewhittle down the list to like twenty finalists by homeroomRyan: that's a bad idea (?)Seth: and you can keep my left oversRyan: no, no thanks i'm not datin thisyear, that's the game plan(?) (goes up stairs)Seth: yes you areRyan: (off screen) nope!Seth: you absolutely are, i'm not entering this new era alone (follows)(inthe background Kirsten and Sandy are walking down the hall)Sandy: it is a new era, gettin the axe is the best thing that coulda happened to me, now the onlyperson I answer to (points to himself) is me(they are now entering the kitchen)Kirsten: and my father (Sandy groans) all i'm saying is that he's your only client,isn't heSandy: yeah, an you work for his wife (shakes his head) what was your father thinkinKirsten: you can ask him, you'll be hangin with him all daySandy: if Ican win this case get my practice off the groundKirsten: you can...spend your entire career defending (smirks) my father's rich clientsSandy: your not bringin medown honey, nope you heard Seth...it's a new era(Ryan and Seth come back into the kitchen, Ryan with his calculator and Seth holding his yearbook)Seth: sureis father an guess what, I jus think I found a new girlfriendKirsten: here in the kitchenRyan: ah no, in the new era Seth shops for girlfriends in the year bookSeth:(reading) Tina Woo member of the acapella group, co president of the improv team shenanigans (nods) she's musical she's witty hopefully she's free forlunchRyan: dude shenanigansSeth: (smiles) I knowKirsten: a-are you sure your ready to start dating sweetie, I mean after everything you've ben through withSummerSandy: o- better he should mope (to Seth) don't listen to them, if it was up to your mother id still be workin at Partridge, Savage an Con, comin homebitchin about high price law suitsSeth: (nods) totally, Ryan would you rather I go for the Woo or or keep talkin about Summer(Ryan and Kirsten look at eachother, Ryan smiles)Kirsten: (smiles) here's to the new era(they all clink coffee cups)Sandy: ah-menTheme Song - California by Phantom Planet Harbor school -Ryan and Seth are walking up the stairs outside, 'screening' girls that walk by themRyan: alright so the Tina Woo thing didn't happen, jus move onSeth: y'know asimple no from the Woo would've ben sufficient...I think the added laughter...was just unnecessary (to Tiffany) heyTiffany: hey SethRyan: (looks back) whatabout herSeth: Tiffany Rosenberg? no we have a history (Ryan looks at him) third grade a class field trip to sea world I tried to sort of talk to the dolphins sheover heard there was taunting, it was really bad, the bus ride home was a little boringRyan: ah-huh, how bout I point out a girl you tell me whether or not you'ddate herSeth: how bout I tell you whether or not she would date meRyan: yeah exactlySeth: okRyan: (looking) uhhhh got her, right there (points to 2 girls)Seth:(looks) uhhhh yeah, an noRyan: no? (nudges Seth in the elbow)Seth: uhhhh no, yeahRyan: yeah? (Seth shrugs)(Lindsay walks up)Lindsay: are you shopping forgirlfriends in the quadsame time:Seth: yeahRyan: noLindsay: (laughs) classy an (shakes her head) not remotely demeaningRyan: uh (points) Lindsay Seth, SethLindsaySeth: oooh heyLindsay: so how does this work, is there a ranking system or is each girl judged on her individual merits, an by merits I mean her rack andor assRyan: it's a simple yes no surveySeth: yes, no, surveyLindsay: I see, well in that case (looks at Seth) no (looks at Ryan) and no (Ryan nods) ill see you inclass (walks away)(Ryan smiles and waves)Seth: I can't believe I finally met herRyan: LindsaySeth: Lindsay Cohen, it's got a nice ring to it don't you think, willyou hook that up for meRyan: n-noSeth: why not, unless hey I mean d-do you like her?Ryan: oh n-n-n-n-n-no no its jus she's-she's argumentative, bossy,difficultSeth: yeah that's my type (nods)Ryan: yeah believe me, you should just hold out for somethin elseSeth: no absolutely not I need that one, an I need youto make that happen for me ok, can you make it happen, can you hook me up, help a brother outRyan: (closes his eyes) (reluctantly) I can hook it upSeth: that'swhat I like to hear, thankyou (makes fists at Ryan then walks off)CUT TO: Marissa and Summer walking togetherMarissa: this is a new era Summer, for the firsttime in my life I have like no boy dramaSummer: wait that is not possible, you are a magnet for boy dramaMarissa: i'm serious, Ryan an I just friendsSummer:hmm an DJ? (Marissa looks at her) (gasps) what with the deltoids an the trapazoids(?)Marissa: he...wants...nothing ta do with meSummer: well did youapologiseMarissa: (shrugs) I have no idea where he is, after he quit working for my parents he went totally MIASummer: he can't be that hard ta find (thinks)doesn't he work for the Henderson's...see totally addicted to boy dramaMarissa: like you don't have issuesSummer: (smug) actually right now my love life istotally trauma freeMarissa: so lunch went well with Zach an your dadSummer: amazing, none'a that manner Cohen chatter, or that incomprehensible Cohenmumbling, if Cohen is the virus Zach is the cure, he is the anti-CohenMarissa: hmm (looks) (gasps) speak'a the devil(Zach walks up behind Summer)Summer:Cohen?Marissa: ZachSummer: right, great, better (turns around) heyZach: hi (Summer hugs him) ooh (laughs) that's a firm hugSummer: (smiles) sorryduckyZach: ...ducky?Summer: (to Marissa) we have nicknames (Marissa looks at Zach)Zach: we do?Summer: yesssMarissa: (smirks) ducky, that's-that'scuteSummer: so anyways ducky, Marissa here is totally bumming out because she doesn't have anyone in her life as perfect as youMarissa: thanks, Sum (startswalking, Zach and Summer follow)Zach: well I know lots'a eligible bachelors, you want me to set you upMarissa: (laughs) oh no, that's ok, really, i'm fineCUT TO:Club (as its referred to in the ep guide) im assuming its like a country club - Caleb and Sandy are there togetherCaleb: y'know this is the start of a new era for ussandman, working together on the same side'a the law, over coming our differences, battling the oddsSandy: you're bringin a tear to my eye Cal, now let's talkabout what we know at this point in the gameCaleb: are you hungry, they do a delicious frittato here, you a frittato manSandy: i'm fine now you 've ben funnelingmoney every month to a trust, an the person who runs this trust happens to be an associate of the city councilman's office, the same city councilman that issuesbuilding permits to people who build lots of buildings (sits at the table, Caleb sits) people like youCaleb: I do build lots of buildings, i've done very well for myself,started off with nothing an still I strive for more never satisfied...what do they call thatSandy: greed, as you can see, on the face of it (shakes his head) this lookslike briberyCaleb: what about a round of drunks huh, what'do you say huh ManhattansSandy: its ten a.m, now focus, why did ya set up the trustCaleb: charity,tax benefitsSandy: right what about the woman who runs the trust... Renee WheelerCaleb: I don't know her, your very grumpy today, I think its cause yourhungry, frittato coming right upSandy: the DA wants you to spend your twilight years in a five by nine cell, an all you can think about are frittatasCaleb: no one isgoing to jail, this thing won't even make it to court... (frowns) PhyllisSandy: Phyllis?Caleb: yeah my-my old secretary she retired three years ago, she set up thetrustSandy: you couldnt'a told me this on the phoneCaleb: then I wouldnt'a gotten to see you (Sandy looks at him in disbelief) lets get you that frittata, scusemeCUT TO: Harbor school - Ryan and Lindsay are in class together. they are sitting at separate tables. Ryan turns and looks at Lindsay who is busy studying.Ryan turns back then gets up and walks over to her table and stands thereLindsay: you're lurkingRyan: right sorry um (crouches) look uh for all I know you havea boyfriend (Lindsay looks up from the book) (sighs) so there's no point in me even asking-Lindsay: I don't...um (Ryan looks at her) I don't have aboyfriendRyan: (a little too happy) oh you don'tLindsay: yeah don't rub it in!Ryan: right well I was wondering if you...would maybe wanna (Lindsay raises hereyebrows) m-maybe an-an feel free to say no... go out on a dateLindsay: (raises her eyebrows) ok, sureRyan: (suprised) yeah (smiles) uh great so you'll go outwith SethLindsay: (thrown) w-whatRyan: you uh you'll go on a date with SethLindsay: yes uh Seth you...want me to go out with Seth...and I said yes sooo yes(nods)Ryan: great, great (softly) great, you sure?Lindsay: I am positive, ah tomorrow night (laughs) the sooner the better rightRyan: (laughs) right(they bothstop smiling)Lindsay: uh thanks(Ryan looks down then walks away, Lindsay looks back at her book then looks up at Ryan who goes back to his seat and sitsdown. Ryan looks back over at Lindsay quickly)CUT TO: Kirsten's office - Kirsten is at her desk working and Julie walks in with a plantJulie: (cheery) look who hasa new ficusKirsten: uhhh I-I have a ton'a work to do if-if you couldJulie: I figure now that i'm in charge I could introduce a little more life into this place (puts ficusdown) y'know a ficus here an orchard there next thing you know we are-Kirsten: a rain forest, thanks for the plant but right now this company is one failed dealaway from total ruin, which means I have'to ficus (correcting herself) u- focusJulie: ficus focus oh honey you are all over the place but no need to worry the bossis here, let me lighten your load (walks over to Kirsten) what're you readingKirsten: (looks at Julie) ...budget projections for next year its-its very denseJulie:which you think I am, denseKirsten: no I-Julie n-no...look the key to good leadership is delegation so why don't you delegate this kinda stuff to me so that yourfree ta-Julie: continue being stupidKirsten: Julie...all i'm saying is that we have an extremely important presentation tomorrowJulie: yes, clearly I have alot ofreading up to do so I can be ready for the presentation (picks up ficus) y'know running this company is about more then just plant life Kirsten, even you shouldknow that(Julie leaves and Kirsten stares after her in disbelief)CUT TO: Henderson's garden - DJ is working and Marissa pulls up in her car. Marissa watches himfor a few seconds then goes over to himMarissa: hey (DJ looks at her, then away) I saw your truck an I thought id stop by an say hi, how are youDJ: (indifferent)busyMarissa: right...well you can't be busy all weekend long, the Killers are playing tomorrow night an there really goodDJ: so what, are we friends nowMarissa:"}
+{"doc_id":"doc_290","qid":"","text":"With adjustments by: Shay Fitzpatrick[SCENE_BREAK][Scene: P3.]Phoebe: Oh, I cannot believe this heat wave. It's 2 a.m. How can it be so hot when there's nosun.Piper: Tell me about it. (Phoebe gets an ice cube and rubs it it on her neck.) The Cranberries are playing an animal right benefit here on Saturday and it'sgonna be a million degrees in here. (Piper notices Phoebe with the ice.) Uh, Phoebe... you keep making like you're on red shoes diaries and I'm gonna have tobust out a can of man repellent. (Two guys are staring at Phoebe.) All right, people, move a long. Nothing to see here. Goodness. Am I going to have to hose youdown?Phoebe: I can't help it. It's not my fault. I'm in a highly excited state right now. Not that I'd mind being hosed down with water. I feel like I'm on fire. Feelmy forehead.(Piper touches Phoebe's forehead.)Piper: Phoebe, you're burning up.Phoebe: I know, tell me about it. (Piper gets a wet towel.) Something'shappening to me, Piper. Something really freaky.Piper: Sweetie, Uh, I think you need to call a Doctor.Phoebe: But I... I... I don't feel sick. (Piper hands the towelto Phoebe.) I just... I feel... I feel... hot, aroused. Uh... I've been having this dream, Piper. This... s*x dream. It's not like I haven't dreamt about s*x before,because I have, you know. But this... this is different. This feel real. Swank penthouse love den, candles, satin sheets...Piper: Okey-Dokey. I get thepoint.Phoebe: But every night it's with a different man... telling me that I'm irresistible and then we... lets just say we could win the golden medal in the hughhefner Olympics.Piper: And this is a bad thing?Piper: No. It's a good thing. It's... it's a very good thing. Until I kill them.Piper: That's how your dream ends? Youkill the guy?Phoebe: Each and every night, Piper. I told you, something is wrong with me.Piper: There's nothing wrong with you. It's a dream. A metaphor for aextreme sexual frustration. Trust me, I should know.(Prue comes in.)Prue: Oh, good. We're decoding men.Piper: Prue, what are you doing here?Prue: I can tellyou what I'm not doing. I'm not lighting candles. I'm not getting a back rub and I'm not running a hot bubble bath for two.Phoebe: Hmm. Things didn't go wellwith Alan?Prue: Well, see, that's the thing. I'm not really sure. I mean, third date, hot night, romantic dinner, and then he drops me off with barely even a kissgood night. I'm a little confuse.Piper: Well, that's not necessarily an officially rejection. I mean, when they say \"I'll call you\" that's the kiss of death. Maybe he justgot nervous.Prue: Yeah or maybe he's just not interested. I mean, I gave out all the signals for him to move forward and he ran away. Men don't just run awaywhen you give them all the signals, right? So, what gives?Phoebe: Okay. That's enough talk about men for me! I need to go home and take a long, cold showerand have a good night's sleep. I hope.Piper: Sweet dreams. Don't kill anyone (to Prue) Don't ask.(Phoebe leaves.)[Scene: Manor. Phoebe's bedroom. Phoebe'sasleep. We see her dream. We can see a guy laying on the bed.]Guy: I can't believe we're doing this. You've gotta be the most beautiful woman I've ever laideyes on. Either I'm dreaming or I'm falling in love. Oh, man, I'm definitely falling in love. Where have you been my entire life. You're irresistible.(As he says that,the woman's tongue goes down the man's mouth. Phoebe awakes and she screams.)Opening Credits[Scene: Bucklands. Prue walks in her office. She gets a littlemirror out of her purse and checks her hair and make-up. She walks back outside and looks at an auction item. She sees Alan.]Prue: Ooh, Alan, hi!Alan: Hi. Man,it's hot, huh? Bad day for the a/c to be on the fritz.Prue: Yeah, bad day. Uh, listen, Alan.Alan: Hey, Davis, can you hold the elevator, please? Thanks. Sorry, I'mlate for meeting.Prue: Okay, uh, Alan, just out of curiosity. Did something happen on our date last night to upset you... or something?Alan: Upset? No, no, not atall. Actually, I had a great time. We should do it again. I'll call you.(He leaves.)Prue: The kiss of death.(Morris comes in.)Morris: Speaking of deadly kisses, I needto speak to you, Prue.Prue: Sure, Darryl.Morris: Everything okay?Prue: You know, you're a guy. Maybe you can explain this to me. Why is it that one momentguys are sending out all these signals and then, the next, they just turn them off like a switch? What do you men want anyway? (They stand outside Prue'soffice.) Well, it's nice to see that while romance may be dead, chivalry isn't. So, what's up, Morris?Morris: Four men have been killed over the last four nights eversince this heat wave started. I think the murders are gonna continue but I don't have any suspects.Prue: Oh, I'm sorry to hear that.Morris: Look. You and I havegot this game we play, right? You know that I know you've got a secret. You also know I don't wanna know what it is. But if any way it can help stop this ...(Heshows her the pictures of the victims.)Prue: Oh my god. What happened to them?Morris: Severe cerebral trauma. Although the medical examiner can't figure outexactly how. He also can't figure out how of the men were drained of all their testosterone. That's not something you find everyday. I need help on this one, Prue.The kind of help I think only you can provide.Prue: Do the victims have anything else in common?Morris: They were each members of a dating service called \"FineRomance\". I've already got the place staked out. But they've got too many clients for me to watch and too many potential and too many potential suspects for meto track. If the pattern continues, somebody's gonna die tonight. I know it and I can't stop it.Prue: I'll see what I can do.Morris: I don't want you to get hurt. Findout what you can, slip it to me. The brass is watching me on this one. This can't turn out to be another unexplained case.[Scene: Manor. Living room. Phoebe'slying on the couch with the fan going. Piper brings Phoebe some juice.]Phoebe: I'm telling you, Piper. Last night's dream was no dream. Or premonition even. Itwas real. I felt it. I was so turned on and then.. and then... I killed him. (she drinks the juice)Piper: Phoebe, you didn't kill anyone.Phoebe: I could feel his bodyshake uncontrollably beneath mine.Piper: And now you're making me sick.Phoebe: How do you think I feel? I'm living it. I can still taste his blood.(Piper puts thethermometer in Phoebe's mouth.)Piper: Okay!(Prue walks in.)Prue: Is anybody home?Piper: In here. It's not lunch yet. What are you doing home?Prue: Morriscame to visit (She sees Phoebe with the thermometer). Pheebs, are you ok?Phoebe: I'm so hot. (Prue touches her forehead.) 100.5 degrees hot.Piper: But shewon't go see a Doctor. What did, uh, Morris want?Prue: Help.(She hands Piper the files with the victims' pictures.)Piper: Oh.(Phoebe recognizes the men in herdreams.)Phoebe: Oh my God. It's the guys. All of them.Piper: Phoebe, you were dreaming.Phoebe: Of each and every one of the victims? I don't think so. I couldsee them through my own eyes. Feel every touch, smell every smell.Prue: How long have you had this feeling?Phoebe: The last four nights.Prue: Since themurders began.Phoebe: Coincidence? I think not.Piper: Well, maybe your powers are growing. Maybe you can get premonitions in your sleep now.Prue: Ormaybe you're just psychically linked to the demon on its wavelength or something.Phoebe: Or maybe I'm the killer. Come on you guys. It's not like there's noprecedent. Piper turned into a werewolf once, remember?Piper: A Wendigo.Phoebe: Whatever.Prue: Look, if you are psychically connected, maybe you can go tothe dating service, touch some of the tapes of the potential suspects, see if you can get a psychic flash.Piper: It's worth to shot. Then I'll stay here and see if Ican find anything in the Book of ShadowsPhoebe: I'm sorry. Wait a minute. I tell you that maybe I'm some kind of man-killing demon and you want me to go tothe bachelor central?Prue: Phoebe, we have to do something. Otherwise someone else is going to die tonight.[SCENE_BREAK][Scene: Outside Fine Romance.Morris and his partner, Smith, are watching some suspects in the car. They see Prue and Phoebe and Smith starts taking photos of them.]Smith: Oh, man. Lookthe racks on those babes, huh?Morris: Just do your job, Smith, okay?Smith: I am doing my job, Morris. I'm taking pictures of potential suspects. And if you askme, those two suspects got a lot of potential.[Cut to inside Fine Romance.]Darla: Hi, welcome to Fine Romance. I'm Darla. How can I help you?Phoebe: My sisterPrue would like to sign up.Prue: I would?Phoebe: Yes you would while I look around.Prue: Right.(Phoebe walks away from her.)Darla: Well, Prue, today is yourlucky day. Because we are running a special. One year, unlimited access to our internet and video library, with a money-back guarantee, for only $3,500.Prue:3,500 bucks? Okay, I could buy a man for that.Darla: Oh, I can always tell the frustrated ones. You've been having man troubles lately, haven't you?[Cut toPhoebe. She bumps into a guy.]Phoebe: Oh... oh.Owen: I'm sorry. I'm so sorry.Phoebe: I'm sorry. I didn't... I didn't see you.Owen: Oh.. it's not a problem... it'snot a problem at all.Phoebe: Uh... uh... do you work here?Owen: No, actually I just, uh, I just signed up.(She laughs.)Phoebe: Really?Owen: Yeah.Phoebe: Imean, it's just that... you don't seem like the type that needs help finding date.Owen: Ditto. Oh, um, I'm Owen. Owen Grant.Phoebe: Phoebe .(As she touches hishand, she gets a premonition of him been killed.)Phoebe: Uh, uh... I have to... I have to go. Okay, I'm sorry. Excuse me.Owen: But, Phoebe.Phoebe: Sorry.[Cutback to Prue.]Darla: Congratulations, Prue. Your days of having trouble with men are over. See you at tonight's mixer?Prue: Okay, you know, for yourinformation, I do not have man troubles. Financial ones, now, yes. But definitely not man troubles.(Phoebe comes in.)Phoebe: We're out of here.Prue: She...you.Phoebe: Okay.. it's okay... it's all right.Prue: I don't. Honestly. (to Phoebe) Tell her.Phoebe: She doesn't.(They leave.)[Scene: Manor. Piper is watching Danwashing his car through the window. Prue and Phoebe walk inside.]Prue: Piper?Piper: You're back.Phoebe: Did you find anything in the Book?Piper: Thebook?Prue: Or were you too busy looking at something else?Piper: Uh, I was looking. You should see what I found.(Prue and Phoebe look out the window.)Prue:Oh, I see what you found, all right. Great tan, nice body.Piper: (reading the Book of Shadows) \"When a witch renounces all human emotions and makes a pactwith darkness to protect herself from heartbreak, she becomes a Succubus... a sexual predator.\"Phoebe: Let me see that (reading the book) \"She seeks outpowerful men who become helpless against her magic, then feeds on their testosterone with her razor-sharp tongue.\" So, this monster is an evil sexually-chargedwitch?Prue: Yeah, but it's not you, Phoebe. Because you didn't make a pact with Darkness, right?Piper: And as far as we know, you don't have a razor-sharptongue. Here's a spell to attract the Succubus and destroy it with fire.Phoebe: (reading the book) \"A flaming death for yours truly\"? I don't think so.Prue: Well, wehave to catch this thing, right? So, what if I cast a spell to attract it and if it turns out to be you who's attracted to me, then Piper will freeze the room and we'll gofrom there. Fair enough?[Cut to the attic. Drawn on the floor with chalk is the symbol for male. There's lit candles around it and Prue's sitting inside with the Book"}
+{"doc_id":"doc_291","qid":"","text":"Opens on a breathtakingly beautiful shot of the coast Cohen's house - Kitchen - Kirsten is pouring juice & Seth is sitting at the kitchen table.Kirsten: first day ofschool, are you excited? (Seth gives her a look) You know I ask you questions in the hopes of eliciting an actual responseSeth: I feel I convey more with a look(makes puppy dog eyes at her)Kirsten: you look adorable!Seth: noKirsten: cute?Seth: noKirsten: dope?Seth: noKirsten: RAD!Seth: PLEASE, please this is sopainfulKirsten: ah, I'm-I'm-sorry-sorry (Sandy walks in) How was surfing?Sandy: cut it short, I wanted to see the boys offKirsten: doesn't Seth look rad (Sandykisses her head)Sandy: oh you do look rad, bad props son(Seth is shaking his head in horror, Ryan walks in)Seth: thank god man, are you ready to goSandy: (toRyan) first day, are you excited?(Ryan gives him a look, like Seth tried to do earlier with Kirsten)Sandy: enough saidSeth: how do you do that by the way, how doyou convey everything with just a look(Ryan gives it to Seth)Seth: again!Kirsten: (to Ryan) how're you doin?...are you nervous?Ryan: why would I benervous?Seth: because we're going to school with like three hundred Luke's minus the redeeming social qualities (Ryan looks at him) I got it, sorry you make memore nervous (?)CUT TO: Jimmy's house - Marissa and Summer are sitting on the sofa, Jimmy walks in with French toastSummer: don't be nervousMarissa: uhI'm not nervous I'm just not goingSummer: Coop you have to go, you own the school and what about kick off carnival your still the social chairMarissa: hmm let'ssee, be humiliated in front of the entire school or hire someone to do balloon animalsSummer: Huh, you have to hire the guy who makes the balloon octopus(Marissa gives her a look) So your boyfriend cheated on you and yes you almost died in Mexico and, OK there is that whole scandal with your dadMarissa: Ifyou're trying to make me feel better...Summer: ok the point is there's no such thing as bad publicity(Marissa smells something)Marissa: Is that somethingburning?Jimmy: Ok so uh new oven, haven't quite figured out how to make French toastSummer: Not in the oven, would be a good place to start!Jimmy: since noone will hire me I've got plenty of time, I'm gonna go out and buy a cook book (Marissa smiles) come on, it's good its, there crunchy, seeMarissa: umm nothanksSummer: yeah...I don't know who I'm more worried about hereJimmy: well I think it's safe to say that this year is...going to be differentCUT TO: Cohenkitchen - Kirsten and Sandy are standing at the sink, Seth & Ryan are getting ready to leaveKirsten: you know maybe this year'll be different you know,betterSeth: yeah that's the mantra every year, and every year some big water polo player ends up uh peeing in one of my shoes (Sandy looks at him) nah I'mjust kidding, they pee in both. Ryan has Mr. Schmidt for uh pre cal(they all look at Ryan)Ryan: what's wrong with Mr. Schmidt?Seth: nothing, say hi to his momfor me!Sandy: well, at least you have each otherSeth: that is very wise dadSandy: thankyou sonRyan: (looks worried) we're doomedCUT TO: Theme Song -California by Phantom PlanetThe Harbor School - Seth & Ryan are walkingSeth: the master race, it's been perfected Ryan and they all go to our school (to passingjocks) Hey, fellas (the jocks knock into him as they walk passed, and say nothing) Alright, don't get your speedos in a bunchRyan: This is a nightmare Still HarborSchool, Summer & Marissa are walkingMarissa: This is a nightmareSummer: I bet like no one even knowsMarissa: are you kidding?(they walk passed a group ofgirls talking about Marissa)Girl: I heard she died down there; she looks pretty good for a dead girlSummer: Hey whores, why don't you go work anothercornerMarissa: Sum, (walking away) maybe I should just go home, you know help my dad unpackSummer: no Coop that is as bad as it's gonna get (sees Seth &Ryan walking towards them) I spoke to soonSeth: Hello Summer, what does your schedule look like todaySummer: FullSeth: oh really, ok, alrightCUT TO:Marissa & RyanRyan: Hey, a friendly faceMarissa: Hey, how's it goin?Ryan: not good, you?Marissa: oh worseRyan: so uh, why don't we just get outta here, rightnow just get in your car and go down to the pierMarissa: I can't dean Kim would call my dad, or worse my momRyan: ok, how about after school?Marissa: I'msuppose to help chair the kick off carnival committee...I know I've been looking for an excuse to get out of itRyan: well I think you've found oneMarissa: (smiles)ok, I'll meet you out frontRyan: something to look forward to(Summer walks up)Summer: Coop, can we go please(they both walk away from Ryan and notrealising, towards Luke)Luke: hey, could we maybe talk or(a shot of Ryan looking worried, Marissa backs away)Summer: stay away from her!Luke: how am Ispose to do that we all go to the same schoolSummer: oh well maybe you should of thought about that before hooking up with one of her best friends! Ass!(Ryancatches up to Marissa)Ryan: hey, are you ok?Marissa: yeah, I just have to get use to it...this I guessRyan: but, we're still on right?Marissa: yeah, something tolook forward to! (smiles and walks away)Summer: Coop (catching up to her)Seth: see ya Summer (to Ryan) slowly I thaw her icy heartCUT TO: Cohen house -Sandy & Kirsten's bedroom - Sandy is fixing his tie in the mirror, Kirsten is watchingKirsten: Look at you!Sandy: if I mustKirsten: new suit, new scent, mm newlookSandy: I feel like this is headin somewhereKirsten: new girlfriendSandy: ohh, and there it is, you still wont forge(Kirsten kisses him and pushes him backonto the bed)sandy & Kirsten: mm, ooh, mmSandy: oh god, I shoulda found an attractive co worker years ago (Kirsten looks at him) it was a figure ofspeechKirsten: Rachel's attractive?Sandy: is that her name? its context only you know in relation to which she invokes amorous feelings in my far more,extremely more attractive wifeKirsten: good answer (she kisses him again, they sit back up) mornings use to be our timeSandy: (with his head buried in herneck) oh I remember them wellKirsten: mm, what happened? (they kiss again)(mobile phone rings)Sandy: oh, work happened (he tries to get his phone out ofhis pants pocket) I can't get it just hang on one sec (lays back on the bed and rolls Kirsten to his side) just hold on, wait, I got itKirsten: (looks at the phone) howdid she know? (sighs) your not going to answer it are you(Kirsten's phone rings now)Kirsten: ooh, it's my dadSandy: Hey, RachelKirsten: Hi dad (sighs)CUT TO:Harbor school - Seth & Summer are walking inside, down stairsSeth: so Summer if you would care to join me for lunch today I can arrange to have an emptychair available at my tableSummer: there's nothing but empty chairs at your tableSeth: (gasps)(off screen)Anna: Seth Cohen!Seth: Anna! (gives her a hug) heyhow're you doinSummer: (looks jealous) um excuse me we were talking hereAnna: oh, so insulting him counts as conversationSeth: yeah well if it doesn't thenwe've never spoken, Summer you remember Anna right, she's moved here from PittsburghSummer: how could I forget (walks away)Seth: oh hey so we'regonna, we're gonna still be on for lunch today right... (to Anna) she probably didn't even hear meAnna: Seth, what are you doing? I thought you got passed thiswhole Summer thing at CatillionSeth: Right, and I know Anna that it seems like not alot of progress has been made but I have to tell you, well yeah not thatmuch progress has been made despite all my best judgements I cannot, not like herAnna: you are such a boy!Seth: well, whatever. I don't see what the problemis I'm nothing but available to that girlAnna: alright, right there, that's your problem. girls like to be chased by guys that aren't into themSeth: and that sounds alittle bit like a game to me Anna and I don't really like to play games ok, unless we're talking about a little-a little Saturday night jenga, a little-little magicgathering. LOVE magic gatherAnna: maybe you just don't know how to playSeth: well, your a gir...l rightAnna: yeahSeth: uh huh and we're friends rightAnna:sureSeth: ok awesome so then why don't you train me in the ways of women huh, give me a little adviceAnna: I don't understand the mind of chicks likeSummerSeth: ill teach ya how to play jengaAnna: (sighs) do you really like herSeth: (nods) since I was tenAnna: (giving in) fine...but I make no promisesSeth:trust me I cannot do any worse then I've been doingAnna: that I trustSeth: You're my girl!CUT TO: Sandy's office - Sandy is looking at case files, and Rachelwalks inRachel: heySandy: heyRachel: what were you doing this morning when I called you sound um, did I wake you?Sandy: uh, huh I was spending some timewith my wifeRachel: oh yeah, how'd that go?Sandy: well I got to work on time didn't I?Rachel: to bad, it might be a while before your wife is in the mood forloooveSandy: oh yeah, something you know I don'tRachel: well I know lots that you don't but in this case, are you familiar with the Balboa wetlandsSandy: yeah,it's the largest coastal wetlands in California, home to the blue heron and the brown pelican and my personal favourite something called the swamp roseRachel:right, the wetlands are key to water quality in the county and not to mention, they're kinda prettySandy: so naturally they must be destroyedRachel: The Balboaheights are 250 acres of land that sit above said wetlandsSandy: yeah, every developers been going after the heights for yearsRachel: well somebody got it, andthey're looking to tear it up, put in condos, a golf courseSandy: (sarcastically) oh thank god cause you know the lack of golf courses around here is, it'stragicRachel: This is a policy changing career making piece of litigation here, a tree hugging crusader like yourself would probably kill for a case like thisSandy:and you wanna share this with meRachel: yesSandy: why?(Rachel hands him the file)Sandy: oh, my wife's company is the plaintiffRachel: it's her fatherscompanySandy: so why even tempt me with this, it's a conflict of interest I, I'm not even sure it'd be ethicalRachel: well the client, the Balboa land trust not onlywaived the conflict of interest they insisted that you take the case. your politics, your passion, your severe dislike for your father in-law, your the idealadvocateSandy: I suspect my wife is gonna have a different spin on all thisRachel: look, you came to this firm because we have the resources to help you make adifference, they're gonna teach this in law school...so what's it gonna be? Your s*x life or the swamp roseCUT TO: Harbor school - Marissa walks into a class, andshe sees Holly & a group of girls gossiping and laughingHolly: (whispering) did you know that she overdosed on vicadin(Marissa tries to ignore it)CUT TO: Ryanwalking into his class, he sees Luke at the table, neither looks impressedCUT TO: Dr Kim's office - Marissa is talking to her about quitting social chairDr Kim: youare not quitting your post as social chair Marissa, you were elected by the students, you've held the position for 2 yearsMarissa: I know Dr Kim but that wasbefore everything that's happened this summerDr Kim: I understand you are going through alot of change right now but you're a leader here at Harbor thatdoesn't have to change. you're a wonderful example to your fellow students they look up to youMarissa: not anymore they don'tDr Kim: putting aside the issue of"}
+{"doc_id":"doc_292","qid":"","text":"[September 2007 - The appartment]Lily and Marshall (laughing): Oh my god!Ted (gets out of his bedroom): I have a tattoo!Barney: oh, that's not a tattoo. That,dear boy, is a tramp stamp!Ted: a tramp stamp?![Title: present day -in a tatto remote clinic]Narrator: kids, too often in life, we make decisions that we're notprepared to live with. (a man with a tattoo \"rex&evelyn forever\" cries) This is a story about those decisions, and the consequences that follow. (Ted is in theclinic, hidden derriere a newspaper)[the appartment - Ted/Marshall/Barney]Ted: Say goodbye, kids, 'cause it won't be around much longer. (He shows histattoo)Lily: oh, but Ted, if you get rid of the butterfly, how's everyone gonna know you're a stripper fron reno with daddy issues?Ted: yes, yes, enjoy these finalmoments of mockery because in just ten surprisingly expensive sessions, Stella is gonna zap that butterfly right off the face of my lower back.Lily: Stella?Ted: DrStella Zinman. She's the best in the business. And she's rather cute in fact. In fact... we're going to a movie together tonight.Barney: what?Ted: I asked herout.All: Ted, why would you do that?Barney: what's matter with you?Ted: What? What do you mean?Barney: Dude... don't poop where you eat.Ted: oh, no, thisdoesn't count.Marshall: If it's someone you see on a regular basis, and you can't avoid them...Lily: and in this case, you're paying them... then yes, itcounts.Barney: You've heard of the golden rule, right? \"love their neighbor?\"Ted: uh, actually, it's \"do unto others as you would have them do unto you.\" It's fromthe bible.Barney: Damn it Ted, i've worked out this whole thing where the golden rule is \"love thy neighbor\", ok?... Now the golden rule is \"love thy neigbor\". But,there's one rule above it: the platinum rule: \"never ever, ever, ever, love thy neighbor.\"Ted: Well, that's cute. But she's not my neighbor, she's my doctor. So ifyou'll excuse me...Robin: Wait, Ted, Barney has a point. Remember what happened with me and curt down at the station?Marshall: Oh, yeah, and rememberwhat happened with us and the gerards across the hall?Barney: Need i remind you about me and Wendy the waitress?Ted (combs his hair): yeah, i don't havetime for this. I'm out the door as soon as i'm finished with my hair.Barney: good, then we've got a solid half hour. And in that time, we will convince you not toset foot out that door. It's a story older than time, my friend, and it always plays out in the same eight steps. Step 1: Attraction.[TITLE: ATTRACTION - November2005- The bar- Barney/Robin/Lily/Marshall/Ted/Wendy the waitress]Barney: It's true.Marshall: That's not even possible.Barney: 12 of them.Marshall: There's noway.Wendy: Here's your gin and tonic.Barney: Thanks.wendy: O gosh! Look at that. (She leaves scrubing a stain in her shirt, Barney starves at her withinterest)[December 2006 -The hall- Lily/Marshall - They gets out of their apartment]A man: Oh, hey! You must be our new neighbors. I'm Michael.A women: andi'm laura.Marshall: Oh, hi, welcome to the building. Yeah.Laura: Do you guys know any good brunch places around here?Lily: We love brunch![October 2007 - setof Metro news 1 -Robin/a host]The host: You must be Robin.Robin: yeah!The host: Curt \"the iron man\" irons. I'm gonna be doing sports.Robin: Oh, welcome. Youlook really familiar. Are you a former athlete?Curt: Hockey.Barney (off voice): The attraction is instant and undeniable.[Present- The apartment]Barney: But youknow better. You've seen your friends make the same mistakes before. You've laughed smugly at them.(laughs) Idiots! But still, you think, \"this is different. Theplatinum rule doesn't apply to me.\" And that step 2! Bargaining.[TITLE: BARGAINING- 2007- The bar- All]Robin: I think i've got a little crush on our sportsguy.All: NO! no, no, don't do it!Robin: I know, i know but he used to play hockey, and i'm canadian. I can't help it. If he were missing some teeth, i probablywould have already hit that.Lily: Robin, it's a mistake. Remember what happened with me and Marshall? The Gerards across the hall?[2006- The bar- All]Lily:Michael and LAura. They're awesome. We're gonna invite them over for dinner.The others: Oh no, no guys guys! Are you insane?Ted: This is NYC.You don't getclose to the neighbors. You nod at them politely in the hall. You call the cops if you haven't seen them in a while and you smell something funny, and that isit.Lily: we're not gonna date them. We're just gonna be friends with them.Barney: That's the couples version of dating.Robin: And you've got the couples versionof the hots for them. Oh, yeah, you want to browse at pottery barn with them. You want to go antiquing with them, don't you? Oh, yeah, you want to antique thecrap out of them.Barney: Need i remind you what happened with me and Wendy the waitress?[2005- The bar- All]Barney: I've decided to seduce Wendy thewaitress.The others: No! Don't do it!Barney: Request denied! What rule is there that say's i can't seduce the waitress at my favorite bar?Lily: I don't know. I'dexpect you to have one already.Robin: Yeah, with some sort of catchy name.Barney: Well, i don't. I don't have one and i never will be because it's a great idea.Come on, guys! She's gullible. I'm bored. We're perfect for each other.Ted: Barney, we love this bar. If you screxw over Wendy the waitress, you're going to killthe bar.Robin: Bar killer.Marshall: Don't kill the bar, dude.Barney: yeah, well... I think it'll be okay.[2006- The bar- All]Barney (to Marshall and Lily): And it was ahuge mistake.Marshall: yeah, well, i think it'll be okay.[2007- The bar]Lily (to Robin): And it was a huge mistake.Robin: yeah, well... I think it'll be okay.[Presentday- The apartment]Robin: And it was a huge mistake.Ted: yeah, well... I think it'll be okay.[How i met your mother - Credits]Barney: Ted, trust me. You don'twant to do this.Ted: Look, Stella and i are adults; we're both smart, mature people capable of making good decisions.Robin: You have a butterfly trampstamp.Ted: We're just seeing a movie. If it seems at all weird, i'll back off.Barney: That's what everyone thinks and then along comes step 3: Submission.[TITLE:SUBMISSION- Closing of the bar- Barney/Wendy the waitress]Barney: Good night!Wendy: Hey Barney! Carl had to take off. You mind giving me a hand?Barney:Not at all.[Set of metro news 1- Robin/Curt]Curt: Robin! I got 2 tickets to the rangers. Center ice. Want to go?[The hall of the appartment-Marshall/Lily/Laura&Michael]Laura: and then we discover the movers lost all our kitchen boxes. We don't have a single pot or pan.Michael: Guess we're orderingtake-out.Lily: Want to have dinner with us tonight?[Barney kisses Wendy/ Robin and Curt are in the hockey match/ Lily&Marshall cook with Laura&Michael/Barney and wendy have s*x on the bar/ The 2 couples play mime/ Robin kisses Curt][Barney and Wendy, just after they had s*x]Wendy: That was an interstinguse of the beverage gun.Barney: Club soda can get anything off.Wendy: It finally happened, all this time, every drink i brought you... I always felt there was thisunspoken connection between us. And i was right!Barney: hey, can i get a gin and tonic?[Present day- the apartment]Ted: See, i bet you didn't pay for that ginand tonic.Barney: oh, i paid for it.Ted: But you got to admit, there is an upside to breaking the platinum rule. Like maybe as her boyfrien, i could get a discounton treatments.Barney: Oh, Ted, of course there's an upside. At first, that's step 4: Perks.[TITLE: PERKS- 2007 The bar]Robin: we can split a cab to worktogether. We always have a standing lunch date. And last night, at the hockey game, Curt got us into the locker room, and i met Mason Raymond. Left wing forthe Vancouver canucks.Barney: What the opposite of name-dropping?Robin: Damn it you guys, be psyched. Yes, we see each other every day, but i think it'sgoing really well.Lily: That's what we thought.[2006 - The bar]Lily: And it's so conveniant. They're right across the hall. Say it's sunday and we want to have abrunch double date with someone.Marshall: We just go across the hall.Lily: And say we want to have a dinner party exploring the wine and cuisine of France'sLoire Valley.Marshall: We just go across the hall.Lily: Say we want to play a game of charades...(Marshall mimes something)Barney (guessing): you just goacross the hall? (Marshall agreed)Lily: Come on people, get excited for us! We've got a great thing going here.Barney: That's what i thought.[2005 - Thebar]Marshall: Dude, you got to flick it.Barney: you don't have... (Wendy the waitress comes and serves food to Barney)Wendy: Hi, sweetie. I had the kitchenwhip these up, no charge. (They kiss) Okay. Bye. I mean, not bye. I'm not leaving. I'll be over there. okay. (She leaves)Barney: Come on, guys, free nachos.What?Ted: We like this bar.Marshall: Don't kill the bar, dude.Ted: Barney, we love this bar.Marshall: Don't kill the bar, dude.Ted: This bar is like home tous.Marshall(at the same time): Don't kill the bar.Lily: You're killing the bar.Barney: I'm not killing the bar. Wendy the waitress has seen how i operate in thisplace. It is perfectly clear to everyone involved that this is nothing more than a temporary fling. (Wendy starves him, lovely) It's fiiine.[2006 - The bar]Barney (toLily and Marshall): But it wasn't.Marshall: It's fine.[2007 -The bar]Lily (to Robin): But it wasn't.Robin: It's fine.[Present day -the appartment]Robin: But itwasn't.Barney: Which brings us to step 5: THE TIPPING POINT.[SCENE_BREAK][TITLE: THE TIPPING POINT- set of metro news 1- Curt/Robin]Curt:...but heshould be back on the mound by spring training and that's sport. Back to you, Robin.Robin: Thanks iron man we'll be right back.Productor: and clear.Robin: Soyou want to do something later?Curt: Oh, so you're talking to me now?Robin: What are you talking about?Curt: I'm talking about last night. You said you'd calland you didn't. I missed you and i waited up, but you didn't call. That really hurts.Robin: oh, um, i'm sorry, i-i guess i just forgot.Curt: I'm sorry Sweetie. I don'twant to fight tonight. It's our first weekiversary. (he hugs her)[2005- The bar- Barney/Ted/Marshall]Marshall: on my suggestion, you... (Barney looks at agirl)Barney: hey, Wendy, uh, do me a favor and send a glass of champagne to that pretty young girl over there.Wendy: What? (Ted and Marshall starve Barney,anxious)Barney: over there... YOU... you're the pretty young thing...is what i meant. Champagne? Would you? on me.Wendy: Oh, okay, thanks sweetie. (Shekisses him)Barney: okay. All right.[2006- The apartment- Lily/Marshall- They want to go out, lily opens the door]Michael: hey, neighbors.Laura: We bought allthe fixings for a mexican fiesta.Lily: um, well, we actually have tickets...Michael: and no fiesta would be complete withoutMarshall: Dude, actually, we made otherplans, so... okay (Michael mimes) one word. 2 syllables. Sounds like... parades: charades.Michael: charades!Laura: What do you say?[3 plans on the same time:Curts hugs Robin on the set/ Lily&Marshall sit down the couch, looking the couple mime/ Barney and Wendy at the bar]All: Oh no![Present day- Theapartment]Barney: which brings to step 6.Ted: Yeah, listen i'm leaving so if you want to write the rest of these down, i will read it tomorrow.(Ted wants to go out,Barney stops him)Barney: Don't do this Ted.Ted: You want to get out of the way?Ted: Don't do this Ted. Don't (He brushes his hair in a mess)Ted: Dude! ya! It"}
+{"doc_id":"doc_293","qid":"","text":"[CHARMED LOGO: TRIQUETRA]HOLLY MARIE COMBS (NARRATOR): Previously, on 'Charmed' ...FLASH TO:[Scenes from 8X01: Still Charmed and Kicking][INT.MANOR - ATTIC -- DAY](Phoebe throws something into the potions pot. The contents explode.)PHOEBE: Viola! New identities.VICTOR BENNETT: How is it you cansee your other selves reflected in themirror?PHOEBE: It's part of the spell.[MIRROR'S REFLECTION](They all look at their reflection in the mirror. They see their'new' selves.)PIPER: You know, this just might work.TRIQUETRA FLASH TO:[INT. MANOR - KITCHEN DOOR - DAY](Phoebe and Paige peer out the kitchen door.Phoebe's looking at Dex Lawson.)PAIGE: Who is he?PHOEBE: I don't know his name. It's some guy that I used to see in theelevator all the time atwork.[SCENE_BREAK][INT. THE BAY MIRROR - ELEVATOR - DAY](Phoebe introduces her new self to Dex Lawson.)PHOEBE: I'm Julie, Phoebe's cousin.DEXLAWSON: Dex. Dex Lawson.PHOEBE: Dex Lawson. Nice to meet you, Dex.DEX LAWSON: You, too.(They shake hands. Phoebe has a premonition.)(Quickpremonition of: [EXT. MANOR - FRONT PORCH - DAY] Phoebe is in a weddingdress; Dex is in a tux. And they're kissing. They look at each other and smile.)(Dexcarries Phoebe over the threshold and into the house.)(End of premonition. Resume to present.)TRIQUETRA FLASH TO:[INT. MANOR - MAIN HALL - NIGHT](Anew girl is fighting three demons. Paige shouts a warning to the new girl.)PAIGE: Behind you!PIPER: Shh!(Billie turns and throws the athame at Haas who flamesout. The athame misses him.)(Billie quickly runs out the front door, disappearing into the night.)HAAS: (v.o.) It could be ...[SCENE_BREAK][INT.UNDERWORLD]HAAS: ... that The Charmed Ones are still alive.[SCENE_BREAK]END OF PREVIOUSLY ON.[SCENE_BREAK][INT. MANOR - UPSTAIRS BATHROOM -DAY](Piper brushes her teeth.)PIPER: What if a demon attacks while I'm out?LEO: (o.s.) They're not going to attack, all right? They think you're dead.PIPER: No,I don't mean here, I mean anywhere, in general.(Leo walks into the bathroom.)LEO: What do you mean, like anywhere around the city?(She spits into thesink.)PIPER: Yeah. What am I supposed to do, just ignore it?(Leo looks at his reflection and notices how short he is compared to Piper.)LEO: I should've gonetaller. I always wanted to be taller.PIPER: Are you listening to me?LEO: Yes. Just ignore it. Why'd you go blonde?PIPER: I don't know. I didn't have a lot of time tothink about it. Besides,I kind of like it.(Paige walks into the bathroom.)PAIGE: (moans) Leo, the jingling is back. Can you help me get rid of it?LEO: Just ignoreit.PIPER: That's his advice for the day. Excuse me.(Piper walks out of the bathroom. Paige curls her eye lashes while Leo continues to try to make himselftaller.)PAIGE: I can't ignore it. It's relentless. What does that little witch want anyway?LEO: I don't know. Maybe she doesn't even know she's calling you. Youknow, sometimes new charges don't. Sometimes it's just subliminal.PAIGE: How am I supposed to get my life back, then?(Phoebe walks into thebathroom.)PHOEBE: Your life? What about my life?PAIGE: What about it?(Phoebe sits up on the sink counter.)PHOEBE: How am I supposed to marry a guy I justmet in an elevator?PAIGE: Excuse me, but I was obsessing first.(Piper returns to the bathroom with her lip gloss.)PIPER: No, no, no. Excuse me. No, actually Iwas.PHOEBE: I think marrying a complete stranger wins. I mean, he doesn't evenknow who I really am.PIPER: Ok, but he's a really, really cute stranger. And,you know what, guys, do you mind?PAIGE: At least he's not driving you crazy.LEO: Maybe you should try meditating.PHOEBE: I just got my life back. I don't wantto get hitched yet.PIPER: There's nothing wrong with getting hitched. Now, guys, really, okay? Back to my life.PAIGE: Maybe I should go to Magic School to getrid of it.PHOEBE: I mean, he is cute and all.PAIGE: But then again, you know, I could risk exposure.PHOEBE: I don't even know what he does.(Piper whistlesloudly, startling everyone silent.)PIPER: Family meeting now!(Piper leaves the bathroom.)PAIGE: If she didn't want to go to Magic School, all she had to do wastell me.PHOEBE: You're in trouble.PAIGE: What to do?(Everyone steps out of the bathroom.)WHITE FLASH TO:[INT. MAGIC SCHOOL - GREAT HALL -- DAY](Haaswalks through the hallway. He pushes the damaged double doors open and steps into the Great Hall. The Great Hall is damaged - furniture overturned andbroken, paper litters the floor. He meets up with other demons.)BLACK HEART: It's abandoned. No one's here. Although they could still be invisible. This is magicschool after all.HAAS: No. The magic here is all ours now.BLACK HEART: Are you sure?HAAS: Hah! (Haas throws a power ball at the large column. It explodes,leaving large black scorch marks on the structure.)HAAS: Hyah!(He throws another power ball at the table, splitting it clear in two.)HAAS: Hah!(He throwsanother power ball at the desk across the room, damaging the books stacked on it.)(Nothing happens. He turns and looks at Black Heart.)HAAS: Positive.(Haassmiles.)[SCENE_BREAK]END OF TEASERROLL TITLE CREDITS(COMMERCIAL SET)[SCENE_BREAK][EXT. HALLIWELL MANOR (STOCK) - DAY][INT. MANOR -LIVING ROOM -- DAY](Piper, Phoebe, Paige and Leo meet for a family meeting. Piper is pacing the floor as she talks.)PIPER: Okay, people, we got to get a griphere. Otherwise, what are we doing? We might as well just go back to fighting demons again.PAIGE: Even if they think we're dead?PIPER: It was a rhetoricalquestion.PAIGE: No, it wasn't.PIPER: Paige!PAIGE: What?LEO: Look, I think the point is that we need to take it slow, you know, be patient.PHOEBE: Yeah, well,tell that to my premonition.PAIGE: And my stupid charge.(Piper whistles loudly, startling everyone silent.)PHOEBE: Ohh. Uhh.PIPER: Don't even start.LEO: Youknow, you're gonna be late.PAIGE: Late for what?PIPER: My spa day. I'm supposed to be having a facial and a massage and aseaweed wrapping thing.PAIGE: I'mso jealous.PIPER: Well, it was Phoebe's idea. We were watching \"s*x and the City\" and ...PHOEBE: Speaking of which, did Carrie ever have to marry a man thatshe did not know, huh?LEO: Carrie?PAIGE: Don't ask. They're on \"s*x and the City\" again.PHOEBE: Yeah. No. The answer is no. She did not. (She picks up theDVD case and looks at it wistfully.) Why can't we live our lives like they did?PAIGE: Uh, didn't one of them sleep around a lot?PHOEBE: No. She was a free spirit,which, by the way, can only happen when you're free.(Piper whistles loudly, again.)PHOEBE: (annoyed) God, is that really necessary?PIPER: Apparently. Look.Okay. Nobody said this was gonna be easy. We needto get a little perspective here. How bad can things be when we don't have demons to worry about anymore?(Phoebe grudgingly nods in agreement.) Thank you. Look. (to Paige) You, you need to focus on something else. You got to get that charge off your mind.PAIGE:Well, people, I am open to suggestions.PIPER: Do what Gram said. Get out there. Ignore the signs of your old life and look for signs that lead you to your newlife. Try anything.(Piper whirls around to Phoebe.)PIPER: And you, you're all about signs. So, isn't that exactly what a visionis anyway?PHOEBE: Yeah, but--PIPER: (warns) Don't make me whistle. Last year you had a premonition that you were gonna have a daughter, which means then this year you're gonna haveto have a little s*x and get pregnant. And since Dex, which coincidentally rhymes with s*x, could be the father ...PHOEBE: God.PIPER: Look. I suggest you get toknow him ... well and fast. Because this may be the one sign you can't ignore. All right? Everybody good? People? Great. See you later. (Piper heads out. Leo andPaige head upstairs. Phoebe sits in her seat gazing at the \"s*x and the City\" DVD cover.)PHOEBE (THINKING): (v.o.) Maybe Piper's right. I mean, if there's onething we've learned, it's that we're being guided ... and signs always lead the way. The question is, where do you start looking for them?(Piper returns and walksacross the main hall to the front door.)PIPER: Start with Dex. See if you even like him.WHITE FLASH TO:[INT. MAGIC SCHOOL - GREAT HALL - DAY](Haas throwsa book down on the floor on top other books. The Great Hall is completely trashed.)BLACK HEART: Isn't the fact that we could take this place over proof enoughthat The Charmed Ones are really dead?HAAS: Unless they're in hiding.BLACK HEART: They would not leave magic school unprotected, or leave its powers for usto take.HAAS: Perhaps not, but then again, that's the mystery we're trying to solve. Isn't it? Speaking of which, any progress on that front?BLACK HEART: We'velured three teenagers so far, turned them all, and yet no sign of the witches.HAAS: They won't be able to ignore the cries for long. If the sisters are alive, theywill come to the rescue. It's in their blood.BLACK HEART: Unless your plan is too obscure for them to notice.(Haas finds a book and picks it up.)BLACK HEART:Maybe you give them too much credit.HAAS: Demons have used mortal fairy tales to trap them before.(He opens the book.)HAAS: It's in the textbooks - (Hegives Black Heart the book.) -- howCinderella nearly turned The Charmed Ones into pumpkins. Humans are raised on these insidious tales. They tap into universalthemes, common emotions, fears. That's why we can lure the victims so easily. Don't worry. Sooner or later, The Charmed Ones will follow, and when they do, wewill have them.BLACK HEART: But what if they don't take the bait? What if they live no more?HAAS: Well, then we mess up a few kids. And that's fun all by itself,isn't it?(They both laugh.)HAAS: Time to find our next \"Alice\".[SCENE_BREAK]PHOEBE: (v.o.) Signs, of course, can be good or bad. But they should neverbeignored.[EXT. UNIVERSITY (STOCK) - DAY]TAYLOR: (v.o.) I'm telling you, something really weird's going on.[INT. CAMPUS - BILLIE'S DORM ROOM -DAY](Billie is putting on her make-up as Taylor talks to her.)TAYLOR: I mean, come on, why aren't the cops doing something about this? It'stotallywhacked.BILLIE JENKINS: I don't know. They probably think it's just drugs or something.TAYLOR: It's not drugs. No way. This is something way more scary, butthey just don't care.BILLIE JENKINS: Nobody cares. We're teenagers.TAYLOR: No, that girl Allyson just turned twenty.BILLIE JENKINS: Who's Allyson?TAYLOR:Allyson. The sorority chick that went missing, then was later found walking around like her hard drive had just been erased.BILLIE JENKINS: Her harddrive?TAYLOR: This isn't funny, Billie. This is serious. Some creep's out there preying on kids like us, and nobody's doing jack about it. Don't you evencare?BILLIE JENKINS: Actually, what I care about right now is not being late for metaphysics, which I'm failing.(Billie gets up and picks up herbackpack.)TAYLOR: Unbelievable. Whatever. All I got to say is that somebody better dosomething before anyone else gets hurt.(Taylor leaves.)(Billie drops herbackpack down on her bed and closes the door. She goes to her desk drawer and takes out three newspaper clippings. The headlines read, \"Missing Teen Found,\"\"College Woman Missing,\" and \"Missing Teen Found, Catatonic.\")(Billie's been following the missing teens story.)(She picks up her athame in the desk drawer and"}
+{"doc_id":"doc_294","qid":"","text":"The Kerwin house - KitchenToby: Last Day of school, here I come. When he enters the kitchen, he takes from Ashley the muffin she was eating.Jeff: Ash, we'regoing to drop you and Toby off on our way, ok? (To Kate) You ready?Kate: I'll be there in a minute.Jeff: Ok. Come on Tobs. Oh, working the muscles I see? You'regoing to be such a girlie boy. (As they go out the door) Come with me! Let me eat you! Ashley laughsKate: Here's Mrs. Rehn's number, in case you needanything.Ashley: Stop worrying. Toby and I are going to be fine. You're just going overnight.Kate: I know. I'm a being a mother. Ok, so tonight...?Ashley: I know.One friend over each and no parties. I heard.Kate: Good for you for being so responsible. Degrassi - Ms. Kwan's ClassMs. Kwan: A student I'll never forget. Evenafter years and years of therapy. Who could that be? (Spinner gets up to get his award)Spinner: I'll never forget you either, Ms. Kwan.Ms. Kwan: Have a goodbreak, Mr. Mason Media ImmersionMr. Simpson: Well what can I say? It's been great teaching all of you. (Emma raises her hand) Emma?Emma: We're gonnamiss you too, Mr. Simpson. So, look at the screen. (Everyone crowds around) See the present icon? Click it. (When he does, we hear kids shout \"Thank you Mr.Simpson\" and the grade 7's heads pop up, saying great things about him)Mr. Simpson: This is incredible. Ms. Kwan's ClassMs. Kwan: This one needs noexplanation. The student of all students. Drumroll please. (Jimmy does one on the desk) Ashley Kerwin. (Ashley gets up to get it)Ashley: Thanks, Ms. Kwan.Ms.Kwan: (Hugs Ashley) I'm gonna miss you. (Ashley sits back down)Ashley: Student of all students? That is so lame.Terri: I think it's sweet. (Paige sticks out hertongue, puts her finger in her mouth pretending to gag, to Hazel)Ms. Kwan: This next award is for Dave, because he puts the capital G in good student. MediaImmersion Mr. Simpson is looking at what they gave him, very happy, when the bell rings.Mr. Simpson: Ok, go. Go clean out your lockers and have a great safevacation.Liberty: Bye Mr. Simpson.Mr. Simpson: Adios.Kid: Ciao, Mr. Simpson.Mr. Simpson: Bye-bye. Hall Ashley, Paige and Terri are cleaning out theirlockers.Paige: Wow, the Kerwin/Issacs prison. What's Jimmy gonna say when he finds out?Jimmy: Finds out what? (Kind of spins Ashley around)Ashley: That Ican only have one friend over tonight.Paige: And she invited Terri. Not you or me.Jimmy: Oh, ok.Ashley: I thought you'd be upset.Jimmy: (With his hand inAshley's hair) Rules are rules, right? We'll do something tomorrow. Jimmy leaves.Ashley: Ok, am I missing something here?Paige: No, just the chance to hangout w/ me + have way too much fun.Ashley: Paige, if you really want to come over, whatever. (She leaves. Paige shrugs and goes back to cleaning her locker)HallJT: So girls, what are your plans for this very momentous eve?Emma: Girls' night at my place. Meaning no boys allowed especially boys named Sean. (Hewalks by as she said that) Hall(Toby and JT are being a trash can to their lockers to clean them out)Toby: Maybe she's learned that bad boys only lead toheartache.JT: And now she's looking for a good boy? One named Toby? Not likely. What you need is a new approach. (Sean walks by) Sean's approach. HeySean! Toby here is having the boys over tonight. To play some cards, talk girls, guy stuff. Wanna come?Sean: No. (He starts to walk away)JT: You know Emma'sgonna be there.Sean: (As he turns around + stops walking) Emma?Toby: Yeah we're...JT: Having the girls over...later.Sean: Ok. (He leaves)Toby: (Pushes JT upagainst a locker) Are you insane?JT: After tonight's little tutoring session, Emma will be all yours. Trust me.Hall(Ashley and Terri are walking. Terri is throwingsome things out as they pass trashcans)Ashley: Do you think Jimmy's reaction was weird? About tonight?Terri: No I think he was just trying to be a goodboyfriend.Ashley: A good boyfriend would wanna come over no matter what. My parents are away... he should... never mind.Terri: Anyway I thought you werecooling on it.Ashley: Exactly the opposite. After you've been going out for awhile, things get deeper.Terri: Oh.Ashley: Unless he's cooling on me.Terri: I don'tthink that's how it is.Ashley's Paige and Hazel are outside. Ashley clears her throat to get their attention.Paige: Ok, before you go all parental on me, I forgot.Hazel and I had plans tonight. I didn't think it would be a problem.Ashley: No, it's fine. There is loud noise heard and Toby and JT come outside, all dirty fromwhatever it was. They are coughing. Toby wants to go back inside but JT stops him.Toby: Ash.Ashley: Ok, I know Mom + Jeff said only one friend each...JT: Butnothing Ashley. It's our pleasure to share this fine evening with such lovely young ladies. (Before going inside, he winks at Paige)Paige: Did that... THING... justwink at me? Everyone laughs. Inside Ashley They are watching a scary movie wearing 3-D glasses. Hazel screams and covers her eyes when somethinghappens.Terri: Guys I can't handle this.Paige: Do you really think the star's gonna die?Ashley: Paige, you're ruining the movie. There is a knock at thedoor.Paige: I didn't invite anyone else honest. Sean comes in. They all look.Ashley: Sean? What are you doing here?Sean: Toby invited me.Ashley: Toby? Littlescammer. They're upstairs. (He leaves) Ok, Toby's hanging out with Sean? That's weird.Paige: Has Sean become such a total babe since that fight or what? (Theylaugh then all scream because of the movie) Toby's Room Toby, JT, and Sean are playing cards.JT: So Sean girls. Care to share your expertise?Sean:Wh-what?JT: You know on how you score like Sundien.Sean: I don't.JT: Come on. Girls like drool over you.Sean: I don't know. I just act like myself, I guess.Why? Who do you like?Toby: So guys we gonna play or what?Sean: Emma knows I'm here, right?JT: Yup.Sean: And she's fine with this?JT: Of course. Even morefine is this. I brought us a little party favor boys. (He takes out of a bag a drug)Toby: Aspirin.Sean: Ecstasy.Toby: E? JT, what'd...JT: Ecstasy is the love drug,right? There's a whole room of girls down there needing some love.Sean: I don't know man. This stuff's pretty intense.JT: Better be, I paid my cousin 2 weeksallowance for it. Let's split it.Sean: Ok give me the pill. (JT hands it to Sean) I'll do it. (He leaves the room)JT: What?Toby: Not a good idea. Kitchen Ashley ispreparing food and drinks for her and her friends when Sean comes in.Ashley: Hey Sean. Having fun upstairs?Sean: A little too much fun. (Throws her E)Ashley:Is that...? Sean you brought drugs?Sean: Not me, JT.Ashley: JT? Toby? They're way too young to be experimenting with drugs. Sean gets an aspirin and cuts it inhalf with a knife.Sean: Flush it down the sink. They'll never know the difference. (He leaves) Ashley looks at the E. Toby's RoomJT: Toby, come on. Wanna be abad boy? Start acting like one.Sean: (Opens food) Bad boy?Toby: Ignore him. (Takes the aspirin) Let's just do it.JT: Sure you don't wanna join us?Sean: Yeah mysocial worker would kill me.JT: Ok. (Eats it)Sean: Hey wait. Chew it slowly. Gives you a better high. Kitchen Ashley picks up the E and sticks it in her apron. Shepicks up the food when Paige comes in the kitchen.Paige: Terri's slipping in video numero two. Sorry, but uh, this get together, is getting seriously lame.Ashley:Ok then. What do you wanna do?Paige: Invite Jimmy over. Just stop being boring and break a rule for once.Ashley: I already did.Paige: Then invite him again.Hun, you just need to live a little. 'Cause you're pretty cool when you do honest. (She leaves) Ashley sets the food down and calls Jimmy.Ashley: Jimmy comeover. We'll have fun, together. (Takes the E out of her apron as she talks. After she hangs up with Jimmy, she takes the E and gags from the taste after sheswallows it) Toby's RoomJT: Toby, I'm floating, on a fluffy white cloud.Toby: Right.JT: Can't you feel it? How can you not feel it?Toby: I'm starting to, I think. JTputs his hands on the lava lamp and makes buzzing sounds. Sean watches it and can't believe what JT is doing)Toby: Dude, this is incredible.JT: Dude, thisecstasy. I'm feeling the love. It's time to call.Sean: Emma? (Gives JT the phone)JT: (Has the phone upside down, but flips it and then dials) Girls say hello to yourdestiny. Downstairs Ashley enters and steps on Hazel's hands.Hazel: OW! Ash, my hand.Ashley: Sorry. (She lays down. She watches the movie and screamsreally loud)Paige: Ok now I'm officially deaf.Ashley: Oh that was so scary. I bet you they heard my scream al the way in China. (They look at her weird as shelaughs and then screams again) Outside Ashley's Emma, Liberty, and Manny are outside.Manny: Guys, this is gonna be great. A real party. But if my dad findsout I'm here, I'm gonna be grounded until my wedding day. Ashley comes out.Ashley: Hey you're not Jimmy and Spinner. Unless they had a s*x change. (Shelaughs) Liberty I didn't invite you. How did you know? Was I sending out psychic vibrations?Emma: Uh, no. JT and Toby called.Ashley: (Laughs) Yeah, one ininviting too many people. Liberty, I've wanted to tell you this for like forever. But I get you. You're like me only sorta not, you know?Liberty: Uh... InsideAshley'sAshley: You guys look who's here: Liberty. (Ashley shuts off the movie and turns on music)Terri: Ash... When she turns on music she starts dancing withLiberty.Ashley: Get down Liberty! (She laughs as she takes off her apron and whirls it around)Terri: Ash wanted to have fun tonight. I guess she's having fun. Asshe dances, Ashley breaks a vase. Paige starts to laugh, but stops.[SCENE_BREAK]Toby's Room JT is spinning around on a pole when there is a knock at thedoor. JT opens it.Emma: Hello. (JT moves his tongue around) Toby?JT: Welcome to the Issacs Zone of Invanite Love and Harmony. Sit.Manny: Thanks, uh, forinviting us. Toby sits next to Emma.JT: (Puts his hands as if he's praying) Shalom. Downstairs Jimmy and Spinner and some friends come in. Spinner has awatermelon.Jimmy: Hey. What's going on?Ashley: (Putting her hands in the air) Hey!Spinner: This is my kind of party.Ashley: Jimmy you're here, finally.Jimmy:When did you decide to have a party? I thought your parents...Ashley: Isn't this just incredible? (Hugs him)Jimmy: Ash you're burning up.Ashley: Oh I know. Sohot in here.Jimmy: Have you been drinking?Ashley: No. (Near his ear) A...B...C...D...E.Jimmy: Ecstasy? Where'd you get ecstasy?Ashley: Toby, JT. One ofthem.Jimmy: do you know how stupid that is?Ashley: Stop being so melodramatic. I'm having fun you can too.Jimmy: You need to drink water and lots of it.(Grabs her hand but she lets go) I can't believe you could take E.Ashley: Ok calm down Dad. Paige is right loosen up a little bit.Paige: (Whispers) Ecstasy?Jimmy:Ash what...?Ashley: I'm going upstairs to the bathroom. I'll drink some water from the toilet. (She laughs as she leaves the room. When she leaves everyonelaughs except Jimmy) Toby's Room Sean enters.Sean: Emma. Emma leaves.Sean: Emma. Emma.Emma: Sean, just leave me alone. If I knew you were gonna behere I would've stayed home.Manny: I'll go find Liberty. (She goes downstairs)Sean: Emma, can we talk, please?Emma: There's nothing to talk about.Sean:Emma you're not being fair.Emma: Sean you went too far. We're over, as in finished. (She goes downstairs) Ashley comes out the bathroom.Ashley: Sean. Are"}
+{"doc_id":"doc_295","qid":"","text":"Chick: It's not all kitchen scraps. It is one-third kitchen scraps. It is two-thirds browns, which are leaves, hay, straw, sawdust. But, you know, we're low onbrowns 'cause folks don't bring us browns. So who's our browns guy?Chick: Well, we get donations from the woodshop, but, you know, we're always in need ofbrowns. All right. Let's see what we can do about it.Chick: We used to have a compost guru. - Ernie. - Oh yeah? He set this whole operation up. He educated allthe gardeners, on greens, on browns, ratios, you know, all of that. And then, there was one Sunday and he was... He was comin' in and he was carrying thesecoffee grounds from the café across the street, and he stopped right there. Right there. And we just all said, \"What's the matter, Ernie? What's the matter?\" And,uh, he didn't say anything. He just looked at us with his bug eyes and then he just keeled over and died. Oh my God, that's so sad. Yeah. But you know what? Hewas very excited about being compost when he died, and he got his wish. - So that's nice. Yeah.- The Guy: Yeah, that's nice. - I didn't know you could do thatwith your remains. - Oh yeah. But he's not in this compost, is he? Oh. He's all over the garden! You're joking, right? Yeah. Yeah. I'm joking. - Okay. - Mm-hmm.I'm jokin'! - Funny. - (phone chimes) And so it begins. All right, Chick. I gotta go see a man about, um...- Chick: A horse? - Sellin' him some weed. - Oh. You'rewelcome. - Uh... Thank you, Chick. Is this your dog? Oh my gosh. Oh, you're a very sweet dog, aren't you? Oh, you're one of those.(laughs)I know your type. Allright, well. Listen, I'm gonna go, okay? See you around. Whoa, hey! Dude. Hey! What are you doin', dude? That's not safe. Hey. Why are you following me? [\u0000\u0000]Dude, why are you following me? - (barks)- (laughs): What are you doin'?[\u0000\u0000] (sighs)All right.(dog barks)You're the most presuming dog that a human couldknow. Come on, get out of the street. You're f*ckin' crazy.Ira Glass: How is she planning to?Nancy: ...including the composting, whatever sound that makes.Like, I don't know if we'd wanna watch her die, but the conflict with the family, that's a story, like... Have we done something like recycling, but in like a broadsense?- Ira: Recycling as a metaphor. - As a show.Emanuele Berry: Well, like, what about actual recycling stuff? Like, do you guys know about the recycling inthis building? - Wait. They don't recycle the recycling?- Nancy: There is none. No. I thought that was true. - There just isn't recycling. - It's sorted downstairs. -It's not! - (laughing)Sean Cole: We think we're recycling and we're not recycling. We're living a lie. We are all...Nancy: You're the only one who still thought thatthere was recycling.- Elna Baker: No, I didn't know that. - I've known this for a while. - I thought we all knew that?- Elna: I didn't know that. I thought we allknew that, but I do like that some people don't know. It feels like telling them that Father Christmas is, like, not real.Ira: Which is the one thing you can't say onthe radio. You can't say that Santa isn't real on the radio, we run across this every Christmas.Sean: Warnings before a Santa-is-not-real set. Well, screw thatthen!Elna: Wait. What if we did a \"It's Not Real\" show? - Yeah. - Yeah. Okay, so there's this test that's a BDSM test, like a kink test, uh, and I took it, and I foundout I'm a rope bunny. - (laughing) - Oh, God. You said that like it's a thing!(laughing)Zoe: What is a rope bunny?It's somebody who likes to be tied up durings*x.Zoe: I feel like that's like a lot of women.- Lily: It's like a personal...- Bim Adewunmi: You see?(laughing)But then anyway, it turns out none of it's real. Likethe BDSM community... Wait, wait, wait. But I just wanna understand. You're saying you took a test. It told you you're a rope bunny. Now you find out the test isnot real. So are you not a rope bunny? Um... I don't wanna... I don't know why I'm any saying any of this.(laughing)Ira: I'm going back to recycling.Okay, can Ijust pitch recycling. What about like, like, recycling a relationship? Like somebody who comes back to a relationship. I don't know what that's like at all.- Ira: Doyou have that story?- Sean: No, I'm not getting... Well, my, my, uh... My parents lied to me about getting divorced.- Ira: Wait. Seriously?- Yara: Yeah, yeah.Um... When I was 17, my mom and dad, they got legally divorced, but they didn't want to tell me until after I graduated high school, so... they pretended to staymarried. But wait. They still lived together?Yara: Yeah, they still lived together, and they pretended to stay together. Anyways, at my graduation, when I got mydiploma, and I was walking back to my chair, I look up to my parents, and they're sitting in the bleachers and, uh, they're not looking at me, they're fighting. Youknow, I don't even know if they saw me graduate. And, uh, all of a sudden I see my dad, he storms off away from my mom, and he goes up to the top of thebleachers. He says that he must've leaned against a railing that was loose because, uh, he ended up falling on to the cement, 30 feet.- Ira: What?!- Yara: Yeah,and he lived! He lived. He lived. Um, and my mom, who I felt like had completely given up on my dad, uh, she made the choice to nurse him back to recovery. -And, uh... and they remarried.- Woman: Oh wow, that's crazy.- Ira: Wait. That made them fall in love again? - Yeah. Yeah. - No! - Wow. - It had a happyending.- Woman: Yeah. - I like a happy ending. - Aw.Ira: Would they talk about it like on tape? - Do you think they would tell the story? - Yeah. - Sure, yeah.-Ira: Sold. Movin' on.Yara: Yeah, Dad, this is really exciting. It's a really big deal for me. It's my first story on the radio.Yara's Dad (over phone): Oh, what is it?Well, I wanna tell the story about when you fell off the bleachers.Yara's Dad: I don't think that's a good idea.Yara: Dad doesn't wanna talk. He asks me to talk toMom before talking to him, which leads me to believe that Mom has some information that I don't. - Maybe there's some...- Woman: We have to go! - (couplearguing) - Just, I... Stop! Stop. I really like the happy ending, period. So is this a story about how vulnerability opens us up to love, question mark. Or is it aboutaccepting, accepting people warts and all? - (keyboard clacking) - (Yara muttering) Mami, it's a really beautiful story.Yara's Mom (over phone): That's a verypainful time of my life, mija, and I don't wanna go there. Listen, I'm happy for you - but I like my privacy and respect that, okay? -(door buzzes)Yara: Please, canyou just think about it?Yara's Mom (over phone): The answer is no. I'm sorry. All right. I gotta go, I gotta go. He's here.Yara's Mom: Okay. Give Owen a kiss forme. - Have fun. - Okay. Bye. - Hi, Smoothie! - Hey, Smoothie. - How was your flight? - Good. - Ah. Thank you for these. - Yeah. - They're like five bucks a popout here. - Oh, my God. - Your place is really coming together.- Yara: Thanks, Smoothie. Oh, my God, I gotta tell you the coolest thing happened at work today.Oh, hey. Happy anniversary. Happy anniversary, Smoothie. - (Owen moaning)- Yara: Okay. Aah.(bed squeaking)Owen (panting): All right.- (Yara sighs)- Owen:Woo.(sighs)Oh, I think my mom regrets remarrying my dad. What makes you say that? Something she said on the phone. You need anything, Smoothie? Nah,I'm good, Smoothie. - How are we gonna celebrate tonight, dinner? - Sure. I don't want to get dressed up though. I'm fine with whatever you want. Uh... youwant to just get stoned and order in? Sounds very romantic. Cool. I'll text him. Honestly, I didn't even like the, the prequel. But I'm saying, if you're gonna, like,do that franchise, you should probably f*ckin' step it up. [\u0000\u0000] You're kind of heavy. You know that? Whew! How are you back there? Comfy? This isBushwick.[\u0000\u0000] (both howling)- Yara: Are you finished yet?- Owen: So many questions.\"I enjoy feeling like a prey hunted by a predator\"? What the f*ck is that?-Yara: (laughs) It's a thing. Don't knock it. - I don't get it. Uh, I think I'm done. - Uh, I am...- Yara: I can't wait for this. ...99 percent vanilla. - Mm-hmm. -Ninety-five percent daddy-mommy?- Yara: Okay, Daddy. - (both laugh) And 95 percent rope bunny. Elna got rope bunny too. - What about you? - (door buzzes)A hundred percent hunter-prey.- Owen: Really? - Mm-hmm. - Hello?- The Guy (over intercom): Hi. I got a dog with me, but she's nice. Is it okay? Oh yeah, sure!Bring her in. That's fine.- Owen: Really? - What? It's just a dog. This is why I go to dispensaries. - (dog barks)- Both: Hey. Oh, sorry about that. - Hey. Relax. -(dog barks)Yara: Hi. No, it's okay. Hi baby! What happened to her eye?The Guy: I don't know. She just started following me, - and then, uh... I don't know, I gotAnnie'd.- Yara: Aw. I got same old... indica, sativa, cartridges, edibles, all of which you like. I want a dog so bad. - Since when do you want a dog?- Yara: Sincealways! I've seriously been thinking about it.Owen: Yeah, but you work all the time, and this place is way too small for a dog. Oh, wait, you think I'd be a bad dogowner? No. I'm not saying that. I'm just saying that it's a cute dog and now you're having pet FOMO. - Fear of Missing Ohho. - (Owen laughs) - You like that?-Owen: Yeah, that's a good one.- The Guy: It's a terrible joke. - (Yara laughs) Um, do you have any, like, beef jerky or anything like that? I mean, it's highlyprocessed. I don't think, like, - it's good for a dog. - Right. Right. Cool. Cool. Cool.- Owen: Right. - Cool, cool, cool... Okay, a hundred and twenty.Owen: I knowI'm terrible at gifts, but I think this time, I... - nailed it. - (Yara chuckles) - Happy anniversary. Yep. - Mm-hmm. - Hey, I'll be the judge of that. - Yeah? I saw itand it totally reminded me of you, so. What's wrong? What?(laughs)What's wrong? - Oops. - Oh...(laughs)Is this why it reminded you of me? You're f*ckingkidding me?(both laughing)Actually, it's a really funny story. I'm sorry. Well, I'll take care of it. - What? - I'll take care of it. Take care of it... f*ck. - f*ck. Hold on.- What? No, I'm-I'm sorry. I'm just having like a... like a stoner moment. Um... Okay. Can I, can I tell you? - Uh...- Owen: Yeah. All right. So my-my mom... shedidn't have a choice, she had to take care of my dad because she's a woman, and she's supposed to be a caretaker. And if she didn't do it, then he would havebeen pissed at her, and then I would have been pissed at her too, and everyone would have been pissed at her. I mean, everyone may have been pissed for like alittle bit, but... No, no, no, no. Still... Listen. It makes total sense. If I take care of you, then no one will be mad at me. I'm... I mean, that's... I don't think that'show it is anymore, though... Owen, come on, please. That's how it is for women. You don't know how it is. Yeah. But, I mean, you and your mom are like... twototally different people. It's different times and... Yeah, but I was literally conditioned, my whole life, to believe that my purpose was to nurture and support ahusband. And the only way that I could justify not doing that was by... working really hard and making something really important. And so, I became thisworkaholic. And I'm pretty much the same as my mom then. Like, like, I have to... I have to do something so that people will love me. No, I mean, you don'thave to do anything for anyone to love you. I love you, Smoothie. Well, yeah, I know. I know, and that is totally on purpose like... God, you are... You are nothinglike... I mean, you don't even need me to take care of you, like... You're literally in nursing school, you're a natural caretaker. And your-your ambitions... Your"}
+{"doc_id":"doc_296","qid":"","text":"Act OneMAMMA MIA!Scene One - Café Nervosa. Frasier and Niles are sat chatting.Niles: Oh, I got your message about the wine club, Friday night, and yes, I willbe there.Frasier: Oh, good, Dad's kicking me out of the house that night so he and Sherry can have a little party. [laughs] Oh, I don't know. Life really is a circle,isn't it? I'm letting Dad use my place for his friends to get together, and just a few years ago it would have been Dad who'd have to leave his house for myparties.Niles: Yes, if you'd had any parties when we were young that would be filled with irony!Daphne enters and sits with them.Daphne: Thank goodness you'rehere, I've got some rather shocking news.Niles: What is it?Daphne: I found a ring in your father's underwear drawer.Frasier: [shocked] What on earth wouldleave a ring around his underwear drawer?Daphne: Not around, in! An engagement ring in a jewelry box.Niles: An engagement ring? Dad must be about to askSherry to marry him. Do you know what that means?Frasier: Yes, we're going to hear what Mendelssohn's \"Wedding March\" sounds like on [in horror] thebanjo!Niles: It means she's going to be our mother. What are we going to do?Frasier: Well, there's nothing we can do, Niles. It's what Dad wants.Niles: But...what do we even call her?Frasier: Well, I suppose she'll want us to call her \"mother.\" No, that's too formal. \"Mama\"... no, \"Ma!\"Niles: [in dread] Ooh, better still.\"Don't you look nice, Ma.\" \"Yes, I'd love another corn dog, Ma.\" \"Off to the roller derby, Ma'?\"Daphne: That's typical of you two. Your father is about to getmarried and all you two can think about is how it will affect you. [pause] What about me?!Frasier: What about you?Daphne: Sherry's never exactly liked me. Youdon't think she'll try to make your father get rid of me, do you?Frasier: Oh, Daphne, of course not. He'd be lost without you.Niles: Yes, and even if by somechance that were to happen, Daphne, I could always use you. [realizing innuendo] I, I would know of a position you could take... [digging into a hole] ...servicesthat you could perform. [holds himself, then:] I would know of an opening... [realizes the path he has taken and takes up the check] This is on me.Daphne nodsat him in confusion.[SCENE_BREAK]Scene Two - Frasier's Apartment. Niles and Frasier are sat on the sofa as Sherry and Martin prepare for their party.Sherry:Marty, you need to stir the dip more, it's got whole lumps of soup mix in it.Martin: Sorry.Frasier: My, my, my, quite a little shindig you two are planning fortonight. We have the cheese logs, the erotic fortune cookies. For after dinner, a bloopers tape: \"Too Hot For Hee-Haw.\"Niles: I see that Martha Stewart partybook I gave you really paid off.Sherry: Oh, this old crowd, they wouldn't go for that fru-fru stuff. Get 'em liquored up, put out some corn nuts and they can go allnight.Frasier: When you say all night-?Martin: [finishes stirring] There you go, smooth as silk.Sherry: [kisses him] Thank you.Niles: Who's going to be attendingthis soirée?Sherry: Oh, just some old friends I'm dying for Marty to meet. Now, let's see, there's Ray and Lola Sherwood - well, I worked with them in AtlanticCity when they had a knife-throwing act. Oh, now, Marty, try not to stare at her eyes, she gets self-conscious. And, let's see. Oh, and Edith's coming with her newfiancé.Martin: Oh, she finally met him, huh?Sherry: Mm, just this week.Niles: They're engaged and they just met this weekend?Sherry: Well, you see, up untilnow, it's been kind of a pen-pal relationship. He's been... detained the last few years.Frasier: Well, you know, you're going to need some room for those cornnuts, why don't I just get this pesky priceless sculpture out of your way!Frasier hurriedly removes the Chihuly to his room.[N.B. Since the Chihuly is a genuinework of art, valued at upwards of $75,000, it is always removed from the set before any scene that involves rough-housing in the living room.]Sherry: Marty, Inever heard back from Vic and Linda, did you get a message?Martin: No.Sherry: Oh, gee, maybe they left one on my machine.Sherry phones through to hermachine.Martin: So, what are you guys up to tonight?Niles has just read one of the fortune cookies, and is gaping when he suddenly realizes Martin'squestion.Niles: Em, our wine club is having a vertical tasting at the \"Opus One.\"Martin: Oh, well, don't drink too much.Niles: [laughs] It's not like that, Dad, youdon't actually drink the wine. You just swish it around and spit it out.Martin: We all did that at Duke's New Year's Eve party. Of course, it wasn't wine, it was eggsalad!Frasier enters as Sherry hangs up.Sherry: You know, that is so weird. I just got a message from my manager down at McGinty's. Some guy came in askinga lot of questions about me.Martin: What kind of questions?Sherry: Well, like where I used to work, the people I used to date, and the weirdest part is, myneighbor told me somebody came around asking her about me too.Martin: Sounds like somebody's checking up on ya'.Sherry: Like a detective?Martin: Oh no, it'sprobably a credit card company, something like that, I wouldn't worry about it.Martin gets up from the table and casually walks toward Frasier and Niles, asSherry goes into the kitchen.Sherry: Well, still, it is a little scary. I wish I knew who it was.Martin: Oh, forget about it, I've been through this before. Privateinvestigators never leave a trail. Really, it could be anyone.Sherry: If you think so.Once she's into the kitchen, Martin rounds on Frasier and Niles.Martin:[whispering furiously] Which one of you hired him?!Frasier: Well, that is just crazy!Martin: Oh, come on, who else would have the money to do something likethat?Frasier: I have no idea, we have nothing to do with it. Do you really think that we would hire someone to spy on Sherry? My God, I'm insulted!Niles: As amI!Martin: Well, all right. Maybe I was jumping to the wrong conclusion.Frasier: You most certainly have!Martin: I'm sorry, boys.Frasier: It's all right, Dad.Niles:Just forget about it.Martin exits to the kitchen. Frasier rounds on Niles.Frasier: [whispering furiously] You hired a detective, how could you?!Niles: I have neverbeen so insul-!Frasier: Niles!Niles: Okay, I'm sorry. I was just looking out for Dad here. I mean, what do we really know about this woman?Frasier: She makesDad happy, that's all we need to know.Niles: Is it? Some people do get married before they know all they should. Remember Cousin Donald? He was married twoyears before he found out his wife used to be a man.Frasier: Yes, well, Cousin Donald is a very rare case. First, most people don't have a hidden past; andsecond, most people have a better eye for details than Cousin Donald. For God's sake, the woman could pick up a watermelon with one hand!Niles: I was justsimply trying to get some background information.Frasier: Well, stop it. Call it off right now, Niles.Niles: Consider it done.Frasier: All right.Niles: We gottarun.Frasier: Yeah. [shouts through] Goodbye.Martin: [o.s] Bye, boys.Sherry: [o.s] Have a nice time you two, we'll save you some cake.Frasier: Thank you. [toNiles] You see that, how sweet she is? My God, I can't believe you're actually having that woman investigated. You know, try to have a little trust inpeople!Frasier quickly takes one of his precious African art sculptures from the table and into his jacket for safety before leaving with Niles.[SCENE_BREAK]SceneThree - Café Nervosa. Roz enters as she meets Frasier. Niles is sat on a front table discussing matters with a detective.Roz: You see someone followingme?Frasier: Yes, you can play along now.A female police officer enters as Roz and Frasier sit. The officer has a rather large stomach.Police: Ah, excuse me,ma'am, I saw you cross against the light. I'm going to have to write you a ticket.Roz: [winded voice] Oh, well, I'm really sorry about that. It's just that it's so coldout there and the pollution, I just didn't want to expose my unborn child to the elements any longer than I needed to. [Roz stands revealing her bump]Police:You're pregnant? Well, I know a little bit about that myself.Roz: Then you know exactly what I'm talking about. Society doesn't go easy on pregnant ladies, doesit? [pats officer's \"bump\"] So, when are you due?Police: I'm not pregnant!Roz: [submitting] That's Roz Doyle.Police: Would you step over here?Roz:R-O-Z.Frasier goes to Niles and the detective.Frasier: Hello, Niles.Niles: Oh, hello, Frasier. May I borrow your pen?Frasier: Certainly. [hands it over as he shakesthe detective's hand] How do you do?Niles: [writes check] I appreciate all your hard work and I am sorry to have to break off the investigation in themiddle.Detective: That's all right, people change their minds all the time.Niles: I'm sure they do. [hands it over] There you are.Detective: Thank you.Thedetective leaves.Frasier: There now, don't you feel better?Niles: I suppose so.Frasier: You have to admit, I was right on this one. There was absolutely nojustification for giving into your baser instincts of prying in Sherry's past.The detective comes back.Detective: I almost forgot. I wrote up a little report on what Ifound out so far. That's one interesting lady.He hands them a brown envelope and exits.Niles: Well, I should have just told him to drop that in the trash. After all,we're concerned with Dad's happiness. Sometimes, Frasier, you are like the beacon piercing the fog of my baser instincts. [to waitress] Excuse me, would youjust drop that in the...Frasier snatches it off of him as she disperses.Frasier: I see your point. [opens the envelope] I hate myself for what I'm doing.Niles:Frasier, we're doing it for Dad's own good.Frasier: [reads document] Oh, so far, so good: graduated from high school; almost paid off her Subaru; you know she'sbeen married.Niles: Yes, she mentioned that, to Johnny Dempsey.Frasier: There were two others. Ned Foley, Mark Wallace...Niles: That's a bit troubling, threeprevious marriages.Frasier: ...Vincent Mayhew, Guiltham Mandel, Waltz...Niles: Just give me the total!Frasier: Six that we know of. God, you had to go and firethat detective before he finishes reporting!Niles: Six? [reads them]Frasier: Yes, she's obviously incapable of remaining in a relationship. That doesn't bode wellfor the marriage, does it?Niles: And on the other hand, it does bode well for Dad getting a \"yes\" when he proposes. He has a right to know about this.Frasier: Butwe already told him we weren't involved in the investigation, we can't just tell him now we were lying!Niles: Maybe there's some way to impart the informationwithout explaining how we came by it. You know, just sort of drop it casually in the conversation.Frasier: And how would that go? [deadpan:] Oh, Dad, you goingto the Sherry Ex-Husband Convention this year? Besides that, you know, Dad may know everything already.Niles: I think we need to find that out. How would wefeel if we let Dad marry this woman, and in a year's time he's tossed aside like Danny Mitchell.Frasier: Who's that?Niles: Page five, engaged but nevermarried.[SCENE_BREAK]End of Act One[SCENE_BREAK]Act TwoScene One - Frasier's Apartment. Daphne and Niles are sat on the couch whilst Frasier is standingas Martin walks in wearing his best clothes from his room.Martin: Hey, boys. [they greet him] Daph', what do you think about this jacket? I don't know, it just -something doesn't quite feel right.Daphne: I think it's nice.Martin: Really?Daphne: Yes.Martin goes to the powder room to smarten himself.Frasier: You know,"}
+{"doc_id":"doc_297","qid":"","text":"Broadcast 23 November 1963Duration: 23 minutes 10 seconds[SCENE_BREAK]1: EXT. TOTTERS LANE (NIGHT)(On a dark foggy night a lone policeman patrolshis beat through the empty streets of London. Nearby a clock chimes 3 a.m. The policeman walks up to a pair of tall shabby wooden gates on which is paintedI.M.ForemanScrap Merchant Totters Lane The policeman shines his torch onto the gates then proceeds into the night. Behind him, one of the gates creaks openrevealing that hidden within the scrap and junk of yard is the incongruous shape of a London police box. That is strange enough in itself, but even stranger is thefact that the box is emitting a low electronic hum.)[SCENE_BREAK]2: INT. COAL HILL SCHOOL. CORRIDOR(The ringing of the bell brings an end to another day atthe school. The students spill out of the classrooms, chattering to each other. A woman, BARBARA WRIGHT, follows the students out, calling back into theclassroom.)BARBARA: Wait in here please, Susan. I won't be long.(Various pupils say \"Good night, Miss Wright as they walk past BARBARA. Two female studentswalk along the corridor, very interested in the paper they're reading. A young male student comes up, mocking their excited tones. The girls roll their eyes. Onewhispers something naughty to the other, they smile and move along. BARBARA walks up behind them up to another classroom door. With a quick knock, shewalks in.)[SCENE_BREAK]3: INT. COAL HILL SCHOOL. LABORATORY(Inside another teacher, IAN CHESTERTON sits at a lab bench, marking some papers. Helooks up as BARBARA enters.)IAN: Not gone yet?BARBARA: Obviously not.IAN: Ask a silly question...BARBARA: I'm sorry.IAN: It's all right. I'll forgive you thistime.(BARBARA walks up to the bench and sits.)BARBARA: Oh, I've had a terrible day. I don't know what to make of it.IAN: Oh? What's the trouble? Can Ihelp?BARBARA: Oh, it's one of the girls: Susan Foreman.IAN: Susan Foreman? Oh ho. She your problem too?BARBARA: Yes.IAN: And you don't know what tomake of her?BARBARA: No.IAN: How old is she, Barbara?BARBARA: fifteenIAN: Fifteen...she lets her knowledge out a bit at a time, so as not to embarrass me:that's what I feel about her. She knows more science than I'll ever know. She's a genius! Is that what she's doing with history?BARBARA: Something likethat.IAN: So, your problem is whether to stay in business or hand over the class to her.BARBARA: No, not quite.IAN: (Laughs.) what then?BARBARA: Ian, I musttalk to someone about this, but I don't want the girl to get into trouble. And I know you're going to tell me I'm imagining things.IAN: No, I'm not.BARBARA: Well,I told you how good she is at history. I had a talk with her, and I told her she ought to specialise. Well, she seemed quite interested 'till I said I'd be willing towork with her at her home. Then she said that would be \"absolutely impossible\" as her grandfather didn't like strangers.IAN: (Getting up and walking around to asink.) He's a doctor, isn't he? It's a bit of a lame excuse.BARBARA: Well, I didn't pursue the point. But then recently, her homework's been so bad.IAN: (Washinghis hands.) Yes, I know.BARBARA: Finally, I was so irritated with all her excuses, I decided to have a talk with this grandfather of hers and tell him to take someinterest in her.IAN: Oh, did you indeed? And what's the old boy like?BARBARA: Well, that's just it. I got her address from the secretary - 76 Totters Lane - and Iwent along there one evening.(IAN finishes washing his hands.)BARBARA: Oh Ian, do pay attention!(He walks across the room to dry his hands.)IAN: Sorry. Youwent along there one evening...BARBARA: Well, there isn't anything there. It's just an old junkyard.IAN: Well, you must've gone to the wrong place.BARBARA:Well that's the address the secretary gave me.IAN: Well the secretary got it wrong then...BARBARA: No. I checked. There's a big wall on one side, houses on theother, and nothing in the middle. And this 'nothing in the middle' is No. 76 Totters Lane!IAN: Mmm...that's a bit of mystery. Well, there must be a simple answersomewhere.BARBARA: Well, what?IAN: (Grins.) Well, we'll have to find out for ourselves, won't we?BARBARA: (Grins.) Thank you for the \"we\". She's waiting inone of the classrooms. I'm lending her a book on the French Revolution.IAN: What's she going to do - rewrite it?(BARBARA rolls her eyes, and the two teachersget up to leave.)IAN: Oh, all right! (He grabs his coat.) What do we do? Ask her point blank?BARBARA: No. I thought we could drive there, wait 'till she arrivesand see where she goes.IAN: (Puts his coat on.) Oh...all right.BARBARA: Well, that is, if you're not doing anything.IAN: No, I'm not. (He opens the door.) Afteryou...[SCENE_BREAK]4: INT. COAL HILL SCHOOL. CLASSROOM(15-year old SUSAN FOREMAN - the subject of the teacher's conversation - is listening to a littlepocket radio, putting it up to her ear. She's a slim beauty with elfin features, unusually short dark hair and unusual eyes. She dances strangely to the music bymaking abrupt movements with her right hand and fake strumming a guitar. Behind her, IAN and BARBARA walk in. She's oblivious to them. Both smile withamusement.)BARBARA: Susan?SUSAN: (Putting down the radio.) Oh, I-I'm sorry, Miss Wright! I didn't hear you coming in. Aren't they fabulous?BARBARA:Who?SUSAN: I-It's John Smith and the Common Men. They've gone from 19 to 2.BARBARA: (Not understanding a bit of it.) Hmm. (She looks puzzled.)IAN:(Laughing.) \"John Smith\" is the stage name of the honourable Aubrey Waites. He started his career as Chris Waites and the Carollers, didn't he, Susan?SUSAN:You are surprising, Mr. Chesterton. I wouldn't expect you to know things like that.IAN: I have an enquiring mind...(Motions to the loud radio.) and a verysensitive ear.SUSAN: Oh, (Turning the radio off, slightly flustered.) I'm sorry.IAN: Thank you.SUSAN: (Noticing the book that BARBARA is holding.) Is that thebook you promised me?BARBARA: (Hands it over.) Yes.SUSAN: Thank you very much. It will be interesting...I'll return it tomorrow.BARBARA: Oh, that's notnecessary. Keep it until you've finished it.SUSAN: (She picks up her school bag.) I'll have finished it.(IAN and BARBARA glance at each other in surprise.)IAN: Oh,where do you live, Susan? I'm giving Miss Wright a lift. I've room for one more.SUSAN: Er...no thank you, Mr. Chesterton. Er...I like walking through the dark.It's mysterious.BARBARA: Be careful, Susan. There'll probably be fog again tonight.SUSAN: (Arranging things in her school bag.) Hmm.BARBARA: See you in themorning.SUSAN: I expect so. Good night.BARBARA: Good night.IAN: Good night, Susan.(IAN and BARBARA leave the room. SUSAN looks behind her at theclosing door then picks up her book - \"The French Revolution,\" and starts to read a page at random. A moment later, she blinks at the book, startled.)SUSAN:That's not right...![SCENE_BREAK]5: EXT. TOTTERS LANE. (NIGHT)(IAN and BARBARA are in his car as it arrives in Totters Lane.)BARBARA: Over there!(The carcomes to a stop before the old wooden gate to the junkyard. The two teachers remain in the vehicle.)IAN: Lucky there was no fog. I'd never have foundthis.BARBARA: Well, she doesn't seem to have arrived yet. (She pauses nervously.) I suppose we are doing the right thing, aren't we?IAN: You can't justifycuriosity.BARBARA: But her homework...IAN: Bit of an excuse, really, isn't it? I've seen far worse. The truth is, we're both curious about Susan, and we won't behappy until we know some of the answers.BARBARA: Well, you can't just pass it off like that. If I thought I was just being a busybody, I'd go straight home! Ithought you agreed she was a bit of a mystery!IAN: Yes, but I think you'll find there's a very simple explanation to all this.BARBARA: Well, I don't know how youexplain the fact that a teenage girl does not know how many shillings there are in a pound.IAN: (Surprised.) Really?BARBARA: Really! She said she thought wewere on the decimal system.IAN: The decimal system?[SCENE_BREAK]6: INT. COAL HILL SCHOOL. BARBARA 'S CLASSROOM (FLASHBACK)(The whole ofBARBARA'S history class is laughing at SUSAN'S naiveté. A visibly stung SUSAN turns her back on the other students and stares directly at BARBARA - the sceneis seen from her point of view.)SUSAN: I'm sorry, Miss Wright.BARBARA: (OOV: Cross.) Don't be silly, Susan. The United States has a decimal system. You knowperfectly well that we do not.SUSAN: (In a shock of understanding.) Of course - the decimal system hasn't started yet![SCENE_BREAK]7: EXT. TOTTERS LANE.(CONTINUED)(IAN rubs his chin in thought.)IAN: I suppose she couldn't be a foreigner...no, it doesn't make sense! Nothing about this girl makes sense. Forinstance, just the other day, I was talking about chemical changes. I'd given out the litmus paper to show cause and effect...BARBARA: ...and she knew theanswer before you'd started.IAN: Well, not quite. The answer simply didn't interest her...[SCENE_BREAK]8: INT. COAL HILL SCHOOL. LABORATORY(FLASHBACK)(A nervous SUSAN at the lab bench, again surrounded by her fellow pupils, addresses IAN, who's walking toward her - again it is from the teacherspoint of view.)SUSAN: Yes, I can see red turns to blue, Mr. Chesterton, but that's because we're dealing with two inactive chemicals. They only act in relation toeach other.IAN: (OOV, Exasperated.) But that's the whole point of the experiment, Susan.SUSAN: Yes, it's a bit obvious, isn't it? Well, I-I'm not trying to be rude,but...couldn't we deal with two active chemicals? Then red could turn blue all by itself and we could get on with something else.(Her expression turns sheepish asshe glances at her fellow pupils and she speaks more quietly.)SUSAN: I'm sorry. It was just an idea.[SCENE_BREAK]9: EXT. TOTTERS LANE. (CONTINUED)IAN:She means it. These simple experiments are child's play to her.BARBARA: You know, it's almost got to the point where I want to deliberately trip her up.IAN:(Laughing quietly.) Yes...something like that happened the other day. I'd set the class a problem with A, B, and C as the three dimensions...[SCENE_BREAK]10:INT. COAL HILL SCHOOL. LABORATORY (FLASHBACK)(SUSAN is clearly upset. For the final time she faces IAN full on.)SUSAN: It's impossible unless you use Dand E!IAN: (OOV.) D and E? Whatever for? Do the problem that's set, Susan.SUSAN: I can't, Mr. Chesterton! You can't simply work on three of thedimensions!IAN: (OOV.) Three of them? Oh. Time being the fourth, I suppose. Then what do you need E for? What do you make the fifth dimension?SUSAN:(Quietly and somewhat mysteriously.) Space...[SCENE_BREAK]11: EXT. TOTTERS LANE. (CONTINUED)BARBARA: Too many questions and not enoughanswers.IAN: Too stupid...or just doesn't know. So, we have a fifteen-year old girl who is absolutely brilliant at some things and excruciatingly bad atothers.BARBARA: (Pointing out of the cars windscreen window.) There she is!(At the entrance to the junkyard, SUSAN, in her hat and coat with her bag over hershoulder, looks round furtively, then pushes open the gate and enters the yard.)BARBARA: Look, can we go in? I..I hate to think of her, alone in that place.IAN: Ifshe is alone. Look, she is fifteen...she might be meeting a boy. Didn't that occur to you?BARBARA: I almost hope she is.IAN: What do you mean?BARBARA: Well,"}
+{"doc_id":"doc_298","qid":"","text":"[Caroline wakes up. Her blow is covered with blood. Damon sleeps in her bed. She gets up and tries to leave the room, but Damon wakes up too.]DAMON: Goodmorning.CAROLINE: Please... Don't.DAMON: Don't do that. Ah, ah, ah.CAROLINE: No! No! No! Get away from me! No!DAMON: This could have gone a completelydifferent way.[Front of the school.]BONNIE: I'm not saying don't date the guy. I'm just saying take it slow.ELENA: You were the one who said to go for it.BONNIE:Now I'm saying take it slow.ELENA: Why the about-face?BONNIE: It's not an about-face. You're single for the first time in your entire high school career. It's theperfect time to play the field.ELENA: Oh, because I'm so that girl. Seriously, what are you not saying?BONNIE: It's stupid.ELENA: Bonnie...BONNIE: What?ELENA:Spit it out.BONNIE: I accidentally touched Stefan. And got a really bad feeling.ELENA: Is that it? Bonnie.BONNIE: It was bad bad!ELENA: Is the whole witch mojothing again?BONNIE: You know what? I'm just concerned. This is me expressing concern about my best friend's new boyfriend.ELENA: And I love you for it, I do.But I feel good. It's been a hard year, and I'm starting to kind of feel like things are getting back to normal again. And you know what? Stefan is a big part ofthat.VICKI: I rock. I scored 2 tickets to the Posers Saturday night. They're playing at the Rat.JEREMY: You and Tyler have fun.VICKI: Don't be like that. Come on.I want you to go.JEREMY: You're not worried everyone's going to know you're screwing the stoner geek? Oh, wait... everyone already knows.VICKI: Yeah. But it'snot like that anymore, so now we can be friends and just hang.JEREMY: Tell me something, was it the drugs? Were you sleeping with me because of thedrugs?VICKI: Screw you.JEREMY: No, if there's another reason, please, I'm all ears.STEFAN: Good morning, Elena. Good morning, Bonnie.BONNIE: Hey, um, Igotta find Caroline. She's not answering her phone. So I'll see you guys later.ELENA: Bonnie, wait...STEFAN: She doesn't like me very much.ELENA: She doesn'tknow you. She's my best friend. She's just looking out for me. But when she does, she will love you.TYLER: Look... there's Elena and her new boyfriend. Now,what are they doing? Oh, they're walking, walking, walking. Yep. Right into the sunset.MATT: You're a dick.TYLER: While you just stand there looking like one ofthose little yard trolls.MATT: Gnomes.ELENA: Here's what we're going to do. Are you free tonight?STEFAN: Yes.ELENA: Perfect. Dinner, my house. 8:00. You, me,and Bonnie. You two will spend some quality time and she'll get to see what a great guy you are. Mission accomplished.MATT: Hey, what am I supposed to do,Ty? She made her choice.TYLER: Let her know she made the wrong one.MATT: What are you doing? Ty, don't. Ty, don't! Ty! Don't!Tyler throws the ball onStefan, but Stefan catches it with an impresionnante speed. He throws the ball to Tyler who moves back under the shock.ELENA: That throw was insane. I didn'tknow you played football.STEFAN: I used to. It was a long time ago.ELENA: So why don't you try out for the team?STEFAN: Yeah, I don't think so.ELENA: So youdon't like football?STEFAN: No, I love football. I think it's a great sport. But in this case, I don't think football likes me. You saw Tyler over there, and we bothknow how Matt feels.ELENA: They don't know you. To them, you're mysterious loner guy. Wouldn't hurt to be part of. Make some friends.STEFAN: Says the girlwho spends her alone time writing in a cemetery.ELENA: Hey, come on. There's more to me than just gloomy graveyard girl. There's a whole other Elena that youhave yet to meet. She was into everything, very busy.STEFAN: Well, I look forward to meeting her. And when will that be?ELENA: Soon. She's working on it.[InHistory's class. Bonnie is writing numbers on her book. \"8\", \"14\", \"22\".]TANNER: World war II ended in... Anyone got anything? Miss Juan? 1945.ELENA: Psst.Fyi... Our team sucks. They could use you.STEFAN: Can't.TANNER: Pearl Harbor.STEFAN: I'm a loner.TANNER: Miss Gilbert?ELENA: Hmm? Pearl Harbor?TANNER:Um...STEFAN: December 7, 1941.TANNER: Thank you, Miss Gilbert.STEFAN: Anytime.TANNER: Very well. The fall of the Berlin wall.STEFAN: 1989. I'm good withdates, sir.TANNER: Are you? How good? Keep it to the year. Civil Rights Act.STEFAN: 1964.TANNER: John F. Kennedy assassination.STEFAN: 1963.TANNER:Martin luther King.STEFAN: '68.TANNER: Lincoln.STEFAN: 1865.TANNER: Roe vs. Wade.STEFAN: 1973.TANNER: Brown vs. Board.STEFAN: 1954.TANNER: Thebattle of Gettysburg.STEFAN: 1863.TANNER: Korean war.STEFAN: 1950 to 1953.TANNER: Ha! It ended in '52.STEFAN: Uh, actually, sir, it was '53.TANNER: Lookit up, somebody. Quickly.STUDENT: It was 19... 53.ELENA: How did you know all of that?STEFAN: Years and years of crossword puzzles. It's a loner thing.[TheSoccer field. Stefn looks the team. Elena is with the cheerleaders.]MATT: Nice job! Nice job!TANNER: Mr. Lockwood, is there anything you're good at? 'Cause itisn't history, and it sure as hell isn't defending the ball!TYLER: Yes, coach.TANNER: Now do it again!BONNIE: Oh, my God! You're here!ELENA: Yep. I can't be sadgirl forever. The only way to get things back to the way they were are to do things that were. Oh, and you're coming to dinner tonight.BONNIE: I am?ELENA:Mm-hmm. You, me and Stefan. You have to give him a chance.BONNIE: Tonight's no good. Have you seen Caroline? I texted her like a hundred times.ELENA:Don't change the subject, Bonnie Bennett. You're going to be there.BONNIE: Fine. I'll go.ELENA: Good.TANNER: Varsity trials were last spring, Mr.Salvatore.STEFAN: I wasn't here then, sir.TANNER: And you're not here now, as far as I'm concerned.STEFAN: Mr. Tanner, I realize that you and I didn't get offto the best start, And I want to apologize for that. I've played football before. Wide receiver, mostly, and I'm pretty good.TANNER: Well, I won't be asking youwho won the super bowl in '71.STEFAN: '71 was the... Sorry. I... I understand that, sir.TANNER: Just to see you get knocked on your ass. Borrow some gear. Go!Before I change my mind. Let's run it again!MATT: First my girlfriend, now the team?TYLER: Dude, this is an opportunity. Football's a contact sport. Sometimespeople get hurt. Whoo! Ha ha!BONNIE: Seriously, where is Caroline?ELENA: I don't know. It's not like her. Try her again.Caroline arrives in Damon's car.ELENA:Uh...BONNIE: Oh, my God. That must be the mystery guy from the grill.ELENA: That's not a mystery guy. That's Damon Salvatore.BONNIE: Salvatore, as inStefan?CAROLINE: I got the other brother. Hope you don't mind. Sorry I'm late, girls. I, uh, was busy. All right, let's start with the double pike herkey hurdler,what do you say? And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. Elena, sweetie, why don't you just observe today? Ok? Keep going! Ok. Do it againfrom the top. And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8.MATT: Blue lady! Blue lady! Set, hut! Go! Come on, Tyler, cover it! Let's do it.TANNER: Get it.MATT: Lineup!MATT: I hate to say it, but he's got skills.TYLER: I think he needs a buddy pass.MATT: Really? You don't get to walk on the field and act like you own the placeafter 5 minutes.TYLER: Just hang one up there and I'll take care of the rest.TANNER: Do it again.MATT: All right, let's huddle up. Set, hut!TYLER: Oh! Whoo!Welcome to the team, buddy.TANNER: You gonna live, Salvatore?STEFAN: Yeah.TANNER: Walk it off, son.MATT: Hey. That was my bad.STEFAN: It's allright.MATT: Hey.TANNER: All right.[Stefan's bedroom.]DAMON: How were tryouts? Did you make the team? Very Emerson, the way you reveal your soul with somany... Adjectives.STEFAN: What are you doing here?DAMON: I've come to apologize. I've been doing some thinking, some soul searching, and... I want us tostart over. We need to put the past behind us. You're my little brother, and if you want to live a normal, happy human life, then I want that for you. Maybe I cando it, too. That I can learn to be a non-living living person. Maybe there's hope for both of us.STEFAN: You know, it doesn't have to be this way, Damon.DAMON:Of course it doesn't. I saw Elena today, btw. That means \"by the way.\" She was at cheerleading practice. She looked so perky in her little short shorts. Just...simmer down, I didn't even go near her. I've got my own cheerleader now. Ooh, that reminds me... I gotta run. I have a date. Sweaty palms. Wish meluck.[Elena's kitchen.]BONNIE: You explain it. Last night, I'm watching Nine-o, a commercial breaks come on and I'm like, I bet it's that phone commercial. Andsure enough, it's that guy and the girl with the bench, he flies to Paris and he flies back. They take a picture.ELENA: Oh, come on. That commercial's on aconstant loop.BONNIE: Fine. Well, how about this? Today I'm obsessed with numbers. 3 numbers. I keep seeing 8, 14, and 22. How weird is that?ELENA: Maybewe should play the lottery. Have you talked to your grams?BONNIE: She's just gonna say it's because I'm a witch. I don't want to be a witch. Do you want to be awitch?ELENA: I don't want to be a witch.BONNIE: And putting it in a nice bowl isn't fooling anybody.ELENA: Ok, serving spoons. Where are the servingspoons?BONNIE: Little drawer on your left.ELENA: Ok, so you've been in this kitchen like a thousand times.BONNIE: Yeah, that's it.They hear the doorbell.ELENA:Ok, he's here. Don't be nervous. Just be your normal loving self. Bonnie stays alone in the kitchen.BONNIE: Birthday candles. She opens a drawer and find thecandles[Elena's living room.]ELENA: Did Tanner give you a hard time today?STEFAN: Well, he let me on the team, so I must have done something right.ELENA:Bonnie, you should have seen Stefan today. Tyler threw a ball right at him, and...BONNIE: Yeah, I heard.ELENA: Why don't you tell Stefan about yourfamily?BONNIE: Um, divorced. No mom. Live with my dad. Hmm.ELENA: No, about the witches. Bonnie's family has a lineage of witches. It's really cool.BONNIE:Cool isn't the word I'd use.STEFAN: Well, it's certainly interesting. I'm not too versed, but I do know that there's a history of celtic druids that migrated here inthe 1800s.BONNIE: My family came by way of Salem.STEFAN: Really? Salem witches?BONNIE: Yeah.STEFAN: I would say that's pretty cool.BONNIE: Really?Why?STEFAN: Salem witches are heroic examples of individualism and nonconformity.BONNIE: Yeah, they are.They hear the doorbelln, again.ELENA: I wonderwho that could be.CAROLINE: Surprise! Bonnie said you were doing dinner, so we brought dessert.ELENA: Oh.DAMON: Hope you don't mind.STEFAN: What areyou doing here?DAMON: Waiting for Elena to invite me in.ELENA: Oh, yeah, you can...STEFAN: No, no, no. He can't, uh... he can't stay. Can you,Damon?CAROLINE: Get in here.STEFAN: We're just... finishing up.ELENA: It's fine. Just come on in.DAMON: You have a beautiful home, Elena.ELENA: Thankyou.CAROLINE: I cannot believe that Mr. Tanner let you on the team. Tyler must be ceiling. But good for you. Go for it.DAMON: That's what I always tell him. Youhave to engage. You can't just sit there and wait for life to come to you. You have to go get it.CAROLINE: Yeah, Elena wasn't so lucky today. It's only because youmissed summer camp. God, I don't know how you're ever going to learn the routines.BONNIE: I'll work with her. She'll get it.CAROLINE: I guess we can put her"}
+{"doc_id":"doc_299","qid":"","text":"\"Surprise\" 25th Episode of RoswellProduction Code: 2ADA03[SCENE_BREAK](Episode begins with Isabel in an abandoned building. She finds Tess on the ground,badly beaten)Isabel: Oh, God! Tess! Oh, god, Tess! Tess! Tess, wake up! Oh, God. Wake up!Tess: Isabel?Isabel: Ok, come on. Come on, Tess. I'll get you out.It's ok. Ok. Ok. Come on. Come on. I'll get you out of here. It's ok. It's ok. We'll make it. I promise. We'll make it. Ok.(Isabel moves Tess into a room and boltsthe door)Isabel: Tess. Stay with me. Stay with me, damn it. Don't die on me now. Don't die on me now.(The door unlocks and swings open. Isabel recognizes theperson)Isabel: It's you.(Opening credits)(Isabel is on her way to the Crashdown, where her friends have prepared a surprise party. She's wearing a partydress)Everyone: Surprise!Mrs. Evans: Oh, happy birthday, sweetheart!Isabel: Oh, my God! Oh! I could kill you all.Mrs. Evans: Kill your brother. He's the one whoplanned the entire thing.Max: Happy birthday, old lady.Isabel: Max, I can't believe you did this with everything that's happening.Max: It's still yourbirthday.Isabel: Max, you're the worst, really. I don't know what to say.Maria: Say that you're surprised, 'cause he was totally, totally stressing that you'd figureit out.Isabel: I had no idea.Max: Really?Michael: Alex told you to come by so he could give you back a book. I mean, what a lame excuse. How could you notfigure that out?Isabel: Where is Alex, anyway?Maria: He's, um, he's still getting dressed.(We see Courtney using her alien power to fill some empty glasses withbeverages)Mrs. Evans: Can you believe your brother did all of this in, like, 3 days' time?Isabel: No.Courtney: Happy birthday to you.Isabel: Oh, thankyou.Courtney: Mm-hmm.Mrs. Evans: Oh, honey. You know, your dad is beside himself that he's still stuck in Minneapolis.Isabel: That's ok. Poor guy.Mrs. Evans:By the way, honey, why are you wearing that dress?Isabel: Um, oh...Michael: Yeah. If you really didn't know about the party, then how'd you know to dressup?Isabel: I...I didn't. I...actually, I had, um, other plans.Grant: Isabel. Sorry I'm late. I didn't know there was going to be a party.Isabel: Neither did I. Purpleare my favorite.Grant: So I heard.Michael: No, wait. Who's ever heard of purple roses? What, did you, like, dye them or something?Isabel: They're sterling roses,Michael. They're...they're really rare and expensive.Grant: Well, I'm impressed. No one's ever given me a surprise party.Mrs. Evans: Oh, when's yourbirthday?Grant: December 7th.Mrs. Evans: And what year might that be?Isabel: Mom!(Isabel notices some blood on the back of Grant's neck)Isabel: Oh,you...you're bleeding on your...Grant: I am?Isabel: Oh, here. Let me.Isabel (to Mom): Here, mom. Will you...(Isabel hands Mrs. Evans the glass the washolding)Grant: Must have happened when I slipped down the ravine on the dig today.(Isabel has an incoherent vision)Grant: What?Isabel: Nothing. No,nothing.Grant: Well, this obviously isn't a good time for a date.Isabel: Well, you're welcome to stay.Michael: Or go.Grant: Actually, I have some samples I shoulddrop off at the lab tonight anyway. I'll call you.Isabel: Ok.(Grant leaves and Mrs. Evans is visibly upset)Mrs. Evans: You know, honey, not now and not tonight,but pretty soon you and I are gonna have to have a little talk.Max: Ditto.(Isabel has a vision of Tess in an accident. She drops her drink)Isabel: Oh, God.Mrs.Evans: Are you all right?Isabel: I'm just so clumsy tonight.Courtney: I'll get that.Isabel: Are you sure? I can...I can get it.Courtney: This is your night.(InWhitaker's office, Liz is dancing a bit while organizing some files. Whitaker comes in and wonders what's going on)Liz: Oh! I'm sorry.Whitaker: Where'd you getthat?Liz: Oh...um, there were just some CDs out on your desk. I can put them back.(As Liz turns off the boombox, Whitaker locks one of the file cabinets. Liznotices this)Whitaker: No, it's fine. Run lola run, huh?Liz: It's a great soundtrack.Whitaker: Yeah. It's really cool. I loved this movie. Story of my life.Liz: I knowwhat you mean.Whitaker: It's after 7:00. What are you still doing here?Liz: Oh, um, I was just gonna finish up these reports.Whitaker: They'll be here tomorrow.Go home. Here, take Lola.Liz: Oh, really? That would be so great, because I have this party I want to get to.Whitaker: Oh, really? There's a party?Liz: Yeah. Um,it's just this small birthday party for a friend of mine at the Crashdown.Whitaker: That cafe your parents own. Oh, I adore that place.Liz: Thank you.Whitaker:You know, it would be great to finally meet them.Liz: Oh, I don't think that they're gonna be there.Whitaker: I'll just pop my head in for 5 minutes. Never hurts tomingle with my constituents.Liz: Yeah, sure. Uh, that'd be great.Whitaker: I'm just gonna hit the powder room...freshen my lipstick.(Liz uses a letter opener tounlock the cabinet that Whitaker locked. She finds a CD labeled \"Parker Liz, Date: Sep 6-19\". She puts the CD in the boombox and listens via headphones)Liz: Ican't just go to a movie in the middle of the day, Maria.Maria: Tell her you got a doctor's appointment.Liz: And anyway, I don't want to run into him anywhere.That's why I took this job.Maria: Him, him, him. Ever since you broke up, he's become this pronoun instead of a person.Liz: Let's keep it that way.(Liz hastilyturns off the boombox as Whitaker comes out of the powder room)(Max eavesdrops on Isabel as she calls Grant on her cell phone)Isabel: Listening to my privateconversations?Max: Why you calling him? He just left.Isabel: Uh, I was just leaving him a message to thank him for the flowers.Max: You already thankedhim.Isabel: Yeah, and you guys made him feel really welcome.Max: He wasn't invited.Isabel: I invited him before I ever knew there was a party.Max: Don't do itagain.Isabel: Excuse me? Are you forbidding me?Max: You can't let anyone new in. It's too dangerous.Isabel: Like it was too dangerous to let Liz Parker in.Max:That's different.Isabel: Yeah, it was. You want to know how? Because I can date someone and keep my mouth shut at the same time. You couldn't.Max: That wasthe past. We've got to think about the future, the one our mother talked about.Isabel: Right, right. The king. I'm sorry. How could I forget? All I know is...Max,you may be the king, but I am not bowing down to you, not in this lifetime.(Isabel sees some visions, among them a \"RED'S\" sign)Isabel: Uhh.Max: What isit?Isabel: Had this headache on and off all day.Max: You're sweating.Isabel: I'm fine. It's...(Maria interrupts)Maria: Ahem. Isabel, you better come out. There's apoliceman here to see you.Isabel: A policeman? What's going on?Maria: He's asking for you.Max: You better go.(Isabel enters the main Crashdown area, followedby Max and Maria. Alex has dressed up in a policeman uniform and starts removing his clothes)Alex: You love that!(Mrs. Evans is appalled by this striptease. Shewalks up to Alex)Alex: Hi, Ms. Evans. Great party.(In one of the back rooms, Courtney walks in as Michael is trying to finish making Isabel's cake)Courtney: So,did you, uh, make that all by yourself?Michael: No. Betty Crocker came on by and whipped it up.Courtney: Betty Crocker would've used eggs.Michael:Eggs.Courtney: Sorry.Michael: My first cake.Courtney: Well, guys don't make cakes for just anybody. In fact, guys don't make cakes at all.(Courtney sticks herfinger in the cake and tastes it)Michael: Hey.Courtney: What flavor is this anyway?Michael: It's a combination of a few things.Courtney: It tastes like Tabasco.Did you put Tabasco in a cake?Michael: Well, what if I did?Courtney: I like that.Michael: Just move.Courtney: So, what's a chick got to do to get a cake out of aguy like you?Michael: Nothing you could handle.(Courtney tastes the frosting)Courtney: That's too bad. Mmm. You gonna frost it or what?Michael: Yeah, I'mgonna frost it.(Maria stops by to check up on the cake)Maria: How's the cake coming?Courtney: It's coming.Michael (to Courtney): Maybe you should finishit.(Michael leaves and Maria and Courtney start arguing over him)Maria: Michael. Taken. Or haven't you noticed?Courtney: I noticed he didn't make this cake foryou.Maria: It's not my birthday.Courtney: Small detail.(Alex comes in and starts lamenting about how his striptease dance turned out)Alex: You know, I can'tbelieve I let you talk me into that!Maria: Me and Michael go way back.Alex: That was the most humiliating experience of my life!Courtney: You sew your nameinto the back of his jeans?Maria: You'll never find out.Alex: I did a striptease in front of her mother! Are you listening to me?Maria: One nipple does not constitutea striptease, Alex.Alex: She saw my nipple? Oh, God.Courtney: Chill out, NYPD blue.Alex: Chill out? Chill out? I spent $150 to rent this costume. And do you haveany idea how it feels to walk around all day with a thong up your ass?Maria & Courtney: Yes.(Back in the main Crashdown area, Kyle is complaining to his buddiesabout Tess)Kyle: Seriously. So, she's got her underwear and her bras and her girlie things all over the bathroom. Every time I go in to shave, I feel like I'mwalking into Victoria's Secret.Michael: So what's not to like?Isabel: Kyle, where is Tess?Kyle: She went to Jensen's to get your present. Anyway, she's taken overtelevision, the computer, my phone. If some chick's gonna be yelling at me about keeping the toilet seat down, she better at least be doing me.(Mrs. Evans walksby and reacts to Kyle's last words)Kyle: Doing me...a favor.Mrs. Evans: Hi. I'm, uh...I'm Isabel's mom.(Max grabs Michael)Max: I need to talk to you.Michael: Wehave nothing to talk about.Max: I need you to back me up on something.Michael: You make decisions without asking my opinion, and now you expect me to backyou up?Max: I think Isabel's getting serious with that Sorenson guy.(Michael apparently agrees with Max this time and talks to Isabel about it)Michael: He gaveyou an order.Isabel: I don't take orders from Max.Michael: He's our leader. He's right.Isabel: Since when? You two are barely speaking. And when you do talk,you don't even agree.Michael: Well, we agree on this.Isabel: I bet you do.Michael: What's that supposed to mean?Isabel: Am I supposed to be alone for the restof my...of my life...Michael: Isabel, you are not alone.Isabel: Not even talk to other guys?Michael: Works for me.Isabel: I don't think so.Michael: Isabel, you donot belong with him.Isabel: No. I belong with you. But I don't think either one of us wants to think about that too much.(Isabel sees more visions of Tess)Isabel:Unh!Michael: What's going on?Isabel: Nothing. Nothing. It's just my headache.(The cake is brought out. Everyone starts singing \"Happy Birthday\", but during thesong, Isabel sees Tess repeatedly asking her for help)Tess: Isabel! Help me, please help me! Isabel! Help me, Isabel! Please help me! Isabel!(Isabel explains hervision to Max and Michael in the back room)Isabel: It was like she was really here. She was hurt and crying for help.Max: Who was the last person to seeher?Michael: Kyle said she went to Jensen's to buy a present.Isabel: She's in danger.Michael: Yeah. It's got to be Nasedo's killer. He's after Tess.Courtney: Trustme, nobody's after Tess. All that blond hair and eye shadow? She's like Dolly Parton without the jugs.Michael: Could you just go refill the ketchups orsomething?Isabel: We've got to find her.Max: I think we should start with Sorenson. He showed up here bleeding. Could've been struggling with someone.Isabel:"}
+{"doc_id":"doc_300","qid":"","text":"(Someone throws a rock at the window of an abandonned house and shatters it. A young girl, Addie, standing on the front lawn of this house turns around.)Bryan: Hey, Troy. You're a dork.Troy : Hey, shut up. Hey, freak.(On his way to the front door, Bryan blow some kisses at Addie who stares back at him)Addie : Excuseme. You are going to die in there.Troy : Shut your mouth, or we're gonna kick your ass!Bryan : We got bats.Troy : I hate trees!(The boys enters the house)Addie: You're gonna regret it. You're gonna regret it. You're gonna regret it.Troy : Yeah!Bryan : Yeah!(While the boys smash everything they found inside with theirbats, a song sung by children can be heard)SONG: \u0000 I know / I know / You belong / To some / Body new / But tonight / You belong / To me /Although / Although/ We're apart / You're part / Of my heart / And tonight / You belong / To me / Just to little old me. \u0000Bryan : Troy.Troy : Awesome. (A door swings shut) Go.Bryan: No, you go, shithead.(The boys go down some stairs)Troy : Check it out.(They find a room full of jars filled with human's and animal's parts. Troy picks up a jarcontaining an ear and drops it. It shatters onto the ground)Troy : It stinks in here. It stinks like sh1t. You remember last summer when we get the raccoon stuckin our chimney? That's what it smells like. Let's go find it.Bryan : No, it smells bad... I'm getting out of here.(Troy go further into the room, poping his crackers,while Bryan turns around, up the stairs. Suddenly, the popping stops. Bryan stops his ascension)Bryan : Troy?(A bottle rolls across floor)Bryan : Troy? Who'sdown there? Cut it out, Troy. Cut it out.(Bryan finds Troy on the ground, his throat slashed. Troy is reaching out to him, unable to utter anything. Bryan turnsaround and sees a creature, Infantata, running in their direction. Bryan starts screaming. We are suddenly outside the house, Addie is still on the frontlawn)-[Today]-(A gynecologist, dr. Day is examining a woman, Vivien. A nurse is assisting)Dr. Day : So, are your periods regular again?Vivien : Every othermonth. Not that I'm really complaining. After all that blood. Ben hates blood.Dr. Day : You having issues with arousal?Vivien : Not when I'm by myself.Dr. Day :Lie back. Well, I've recently had some success with women your age using bioidentical treatments and hormones.Vivien : For what?Dr. Day : Well, it's a sort of apreemptive strike. See, your body is like a house... you can fix the tiles in the bathroom and the kitchen, but if the foundation is decaying, well, you're wastingyour time.Vivien : What are the side effects?Dr. Day : You can sit up. Well, the... BHRTs are great for your skin, organs. Most of the women I give these to tell methey make them feel ten years younger.Vivien : I don't know. You know, I don't even let my family drink out of plastic bottles. Taking a bunch of hormones whenI don't even know what the side effects are, I just...Dr. Day : Feel and look ten years younger.Vivien : I don't need hormones, Doctor. I'm just trying to getcontrol of my body again, after what happened.Dr. Day : And I'm offering you something to help you get that back.Vivien : I'm not a house.Dr. Day : Vivien, whatare you so afraid of?[SCENE_BREAK](Vivien comes home. She puts down her errands on the counters of the kitchen. She hears a soft thud coming from upstairs.She calls the police)Police Officer : 911.Vivien : I have an intruder in my house.Police Officer : Are you sure it's not a member of your family?Vivien : No. Nobodyis home.Police Officer : What's the address?Vivien : 35 Drummond Road.Police Officer : We're sending a patrol car.Vivien : Please hurry, please.(Vivien picks up akitchen knife and goes upstairs. We can hear something squeaking. Vivien slowly opens a door)Ben : Oh, my God. No, Viv. No, no.(Vivien stands still a fewseconds, watching inside the room, then turns around. A man, Ben, comes out of the room, trying to stop Vivien)Ben : Viv, I'm sorry. I'm sorry. No.(Vivienslashes his arm)Ben : Aah!Addie : You're going to regret it. You're going to regret it. You're going to regret it.-[OPENING CREDITS]-(Vivien, Ben and theirdaughter, Violet, are driving down a freeway)Vivien : The light is different out here. It's softer.Violet : It's called smog.Ben : You should be excited, Vi. You canstop sneaking cigarettes and just start taking deep breaths.Violet : I need to go to the bathroom.Ben : We're almost there.Violet : I need to go.Ben : Vi, it's afreeway. Really, where do you want me to pull over? Maybe the Honda next to us has a bathroom or something.Violet : Bet if the baby had to sh1t, you'd findsomewhere.Vivien : Really? Violet, I hate that word, unless I'm saying it.Ben : I'm really glad we named you Violet, instead of our second choice.Violet : Whichwas?Vivien : Sunshine.(They all start chuckling)Ben : It's funny. Come on, you gotta admit it's funny.(Ben trys to hold Vivien's hand, but she takes itback)[SCENE_BREAK](Ben rings a doorbell)Ben : I love it. Don't you love it, hon? I mean, it looks even better than it did online.(We have a view of the house, it'sthe abandonned house from 1978, but restored)Vivien : Yeah, it's interesting.Violet : Great. So we're the Addams Family now.Ben : Hey, crabby pants. Comehere.Vivien : What are you doing?Ben : Isn't this place amazing?(Marcy, the realtor, opens the door)Marcy : Welcome. It's a classic L.A. Victorian. Built around1920 by the doctor to the stars at the time. It's just fabulous. These are real Tiffany fixtures. As you can see, the previous owners really loved this place like achild. They restored everything.Vivien : Gay?Marcy : What do you think?Ben : Tiffany. Wow.Marcy : Do you cook?Ben : Viv is a great cook. I got her cookinglessons a few years ago, and she ended up teaching the teacher a few things.Marcy : Cooking lessons... romantic. Aren't you a psychologist?Ben : Psychiatrist.You said something on the phone about there being a study that I could use as a home office? I'm planning on seeing patients here, so I can spend more timewith the family.Marcy : How refreshing.(Vivien puts her dog down, and it goes running outside the kitchen, yapping)Vivien : Violet, honey, would you go seewhere Hayley went? Thank you.Violet : What are you yapping at?(after several unsuccesful attempts, Violet gets the door the dog was yapping at to open. Shegoes down the stairs. Our view changes, from behing some kind of grate, we can now watch Violet looking aroung the basement, then go backupstairs)[SCENE_BREAK](Marcy is still showing the house to Ben and Vivien)Ben : When I saw the pictures of this room online, I thought maybe you could use itas your music room.Marcy : Are you a musician?Vivien : I was. Cellist...Ben : very good one, in fact.Marcy : Why did you quit?Vivien : This wallpaper is peelingover here. Looks like maybe there's a mural underneath it.Marcy : The last owners probably covered it up. They were modernists. Speaking of the last owners,full disclosure requires that I tell you about what happened to them.Vivien : Oh, God... they didn't die in here or anything, did they?Marcy : Yes, actually, both ofthem. Murder-suicide. I sold them the house, too. They were just the sweetest couple. You never know, I guess.Ben : That explains why it's half the price ofevery other house in the neighborhood, I guess.Marcy : I do have a very nice mid-century ranch, but it's in the Valley, and you're going to get a third of thehouse for twice the price.Ben : Right.Violet : Where did it happen?Marcy : The basement.Violet : We'll take it.[SCENE_BREAK](A couple of movers carry a couchinto the house, while Marcy puts a \"Sold\" sign on the front lawn stand and sighs heavily)[SCENE_BREAK](Vivien and Ben are in their bedroom. She is stillunpacking)Ben: Come on, babe, let's go to bed. Leave that for the morning.Vivien : I'm a little bit worried about Violet, you know, these kids here are verydifferent. I don't know if she can handle another year of not fitting in.Ben : You mean... you can't?Vivien : Can't believe this place doesn't freak you out a little bit.'Cause of what happened here?Ben : My repulsion is tempered by the fact that this house is worth four times what we paid for it, so let's not think about it.Vivien: This is your professional advice, Doctor, just denial?Ben : Come on, let me give you a little love. Moving here, buying this house was the exact right thing to dofor us and our family. It's a good thing and we deserve some good after all the sh1t we've been through.Vivien : I've got some stuff I want to... unpack down inthe kitchen. I appreciate that you're trying. I'm trying, too.Ben : Okay.Vivien : It's just gonna take some time.(Vivien leaves the room)[SCENE_BREAK](Violet,smoking, is crossing the yard of her new high school. She walks past a group of girls talking)Leah: So I let him.Becca : You coke off your nipples?Leah : Theywere numb for, like, two days.(Leah sees Violet smoking and walks after her)Leah : Hey! Student council passed a rule against smoking in public spaces.Becca :Secondhand smoke kills.Violet : I'm new, I didn't know.(Violet drops her cigarette end and crushes it)Leah : What the hell is wrong with you? People sit here,they eat here.Violet : You don't know me. Why are you doing this?Becca : Leah's grandmother died of lung cancer. She takes this stuff pretty seriously.(Leahpicks the cigarette up)Leah : Eat it... eat it or I'm gonna kick the sh1t out of you.Violet : No. What?Abby : Come on, Leah, that's enough.Leah : No, no, no, I wantto see her eat it.Violet : No. No.Leah : Eat it, eat it.Becca : Leah, seriously, she's like 12.(Leah tries to force the cigarette into Violet's mouth, but Violet spits ather. Leah screams)Leah : You are dead! You are dead![SCENE_BREAK](Vivien is removing the living room's wallpaper)Vivien : Whoo!Addie : You're going to diein here.(Vivien, startled, screams)Vivien : Who are you? What are you doing? What are you doing here?(A woman, Constance, comes into the livingromm)Constance : Adelaide. Adelaide. Adelaide. Adelaide, I put on \"Dora the Explorer\" for you, so you would sit and watch it.Addie : It was \"Go, Diego, Go!\" Idon't like it.Constance : Oh, brown cartoon characters... you can't tell the difference.Vivien : Excuse me.Constance : Hi.Vivien : Hi.Constance : I'm Constance,your neighbor from next door, and this is my girl Adelaide.Vivien : Hello.Constance : Go home, Addy, now. That girl is a monster. I love her and I'm a goodChristian, but Jesus H. Christ. You know, if they had invented some of those tests a few years ago, I would have...Vivien : How'd you get into myhouse?Constance : You left your back door open. Although I have to tell you, Addie will always find a way in. She has a bug up her ass about this house, alwayshas. You have the loveliest things.Vivien : Thank you.Constance : Have you got a dog?Vivien : I-I do have a dog, yes.Constance : I run a little kennel out of myhouse, doggy day care kind of a thing.Vivien : How nice.Constance : Well, I prefer purebreds. I adore the beauty of a long line, but there's always room in myhome for mongrels. Oh... Oh, my. Look at those earrings. Are those real diamonds? Not that Home Shopping sh1t.Vivien : No.Constance : I used to havediamonds like that. Different pair for every day of the week. Did your husband give them to you?Vivien : He did.Constance : Hmm?Vivien : Mm-hmm.Constance :They always do when you're young and pretty.Vivien : Are you Southern?Constance : Proud Virginian. The Old Dominion, born and bred. Thank you for noticing. I"}
+{"doc_id":"doc_301","qid":"","text":"Open to dark deserted back street. A blond girl is running past looking behind her occasionally before ducking into an alley. She looks back around the corner,then steps back on the street to continue only to be grabbed by the shoulders and thrown back into a trash container.Rachel: \"Lenny... please... don't.\"Lenny:\"You think I'm not going to find you,... after you humiliated me... again ?\"Rachel: \"I didn't do anything ! I swear ! I'd never...\"Lenny: \"No ! I know what you do. Isee. The men,... the lies,... this is the last time, damn it !\" Rachel, stepping towards him with a smile: \"What are you on, Baby ? You only get like this whenyou...\" Lenny hits her with a growl.Rachel: \"What are you going to do ? Pulverize me right here ? Someone is going to hear me scream.\"Lenny, laughing: \"Indowntown LA at night ? Nobody is going to hear. Nobody who cares. Besides (pulls out a revolver and points it at her face) this will all be over fast. (cocks thegun)\"Rachel: \"Lenny.. please... no !\"Lenny: \"I'm sorry. (Rachel cowers back from him) I just can't take this anymore.\" Angel grabs him from behind and makeshim drop his gun.Angel: \"Poor Lenny. The burden of terrorizing your girlfriend too much for you ? (hits him) Lucky for you I can make it stop.\" Lenny grabs a 2x4and tried to hit Angel. Angel ducks and cold cocks him.Angel: \"Rachel, are you alright ?\"Rachel: \"Is he...\"Angel: \"It's okay. He's not getting up for a while.\"Rachel,getting up: \"I can't believe you actually showed up.\"Angel: \"Well, that was the deal, right ?\"(Camera pulls back to reveal Spike watching them from a rooftopabove them.)Spike in high voice: \"How can I thank you, you mysterious, black-clad hunk of a night thing ? (low voice) No need, little lady, your tears of gratitudeare enough for me. You see, I was once a badass vampire, but love and a pesky curse defanged me. Now I'm just a big, fluffy puppy with bad teeth. (Rachelsteps closer to Angel, and Angel steps back warding her off with his hands) No, not the hair! Never the hair! (high voice) But there must be someway I can showmy appreciation. (low voice) No, helping those in need's my job,... and working up a load of sexual tension, and prancing away like a magnificent poof is trulythanks enough ! (high voice) I understand. I have a nephew who is gay, so... (low voice) Say no more. Evil's still afoot ! And I'm almost out of that Nancy-boyhair-gel that I like so much. Quickly, to the Angel-mobile, away !\"Spike lights a cigarette while he watches Angel lead Rachel away.Spike: \"Go on with you. Playthe big, strapping hero while you can. You have a few surprises coming your way... The ring of Amarra... a visit from your old pal Spike,... and, oh yeah,... yourgruesome, horrible death.\" (He smiles.) *Intro.* ***** Cut to Oz driving his van through the night. ***** He pulls up in front of Angel's apartment.Radio:\"Another uninterrupted 40-minute-block. You are listening to LA's only alternative KLA-Rock. It's 11:05, do you know what your karma is ?\" ***** Cut to Angel'soffice. ***** Cordelia is typing away on the computer. Doyle lounges in the background reading a newspaper.Cordelia: \"This is so awesome. Our first walk-inclient. Everything is going according to plan ! See girl in distress,... see Angel save girl from druggy/stalker boyfriend,... and see (pulls a paper out of the printerand holds it up) Invoice ! Ta-da !\" She shows the invoice to Doyle who looks less then impressed.Cordelia: \"What ?\"Doyle: \"Nothing. You're doing a lovely jobthere. Looks very official.\"Cordelia: \"So why are you not rejoicing at out first paying client ?\" Doyle, getting up and walking over to her desk: \"Because that's notmoney you're holding in your hand there, darling, that's mail. There's a big difference between that and actually getting paid.\"Cordelia: \"But she has to pay !...Invoice ! That's the rule of our whole, like, society !\"Doyle, leaning on the desk: \"Defaulting ? That's another popular rule in our society... especially with thedown-and-outs. Not that I've perpetrated said heinousness myself...\"Cordelia: \"So what are you saying. Why bother ?\"Doyle: \"All I'm saying is that if we're evergoing to take that cruise to the Bahamas together, we're going to need a lot more clients of means.\"Cordelia: \"And an alternate reality in which you are MatthewMcConaughey.\"Oz, walking into the office: \"Hello, LA.\"Cordelia, getting up: \"Oz ? Oh, my god. (walks around the desk) Oz. It's so good to see you. (hugs himwhile Doyle watches askance) Good old Oz ! Oz. (turns to Doyle and points at Oz) Oz !\"Doyle: \"Let me just take a stab at it, you'd be Oz ?\"Oz: \"Goodguess.\"Cordelia: \"This is so cool! I mean, here you are in LA, and you're the total embodiment of all things Sunnydale.\"Oz: \"It's a burden, but Imanage.\"Cordelia: \"We have some serious catching up to do. How is everything ? How's... how's the bronze ?\"Oz: \"The same.\"Cordelia: \"And the gang ?\"Oz:\"They're good.\"Cordelia: \"Good ?... Good !... Good.\" They look at each other for a moment.Oz: \"Are we done ?\"Cordelia: \"Completely.\" (Doyle coughs.)Cordelia,going to sit down: \"Oh, this is Doyle. He... works here.\" Oz, reaching over and shaking Doyle's hand: \"Hey.\" Oz, sticking his hands in his pockets: \"So, I heard therumors, but you guys can fill me in on the real deal here. So you guys are... like detectives ?\"Cordelia: \"No, I'm an actress !\"Doyle: \"And quite a captivating oneat that.\"Cordelia: \"And between my many gigs, I sometimes choose to help Angel.\"Doyle: \"He's the detective.\"Oz: \"Does he have a hat and gun ?\"Cordelia: \"Justfangs.\"Oz: \"Well, that works... Where is he ?\" ***** Cut to Angel's apartment. ***** Angel walks through his downstairs apartment, looking through a book asthe three come down in the elevator. Angel, without looking up from his book: \"Hey guys.\"Angel, looking up: \"Oz.\"Oz: \"Hey.\"Angel: \"Nice surprise.\"Oz:\"Thanks.\"Angel: \"Staying long ?\"Oz: \"Few days.\"Doyle: \"Are they always like this ?\"Oz, to Doyle: \"No, we're usually laconic.\"Angel: \"Come on in. (they walkfurther into the apartment) So,... good to see you.\"Oz: \"I came primarily for a gig, but also to give you this.\" (Holds out a ring to him.) Doyle, going to take acloser look: \"Wait a minute, is that what I think it is ?\" Angel, making no move to take it: \"It's the gem of Amarra.\"Oz: \"One and the same. (tries to hand it toAngel, who after a moment accepts it) Buffy wanted you to have it.\"Cordelia: \"Hey, Buffy. How is good old Buffy anyway ?\"Oz: \"She is...\"Cordelia: \"What ? Stillthe brave little Slayer or is she moping around in the dark like... (gets a look from Angel) like nobody around here. (holds up a hand and shakes her head)Hm-mm.\" Angel turns and walks away form them looking at the ring in his hands.Oz: \"She is good... She is Buffy.\"Doyle, holding up a hand: \"And I'm sure we'llbe interested in that later, but right now can we concentrate on the mother-load Angel just hit ?\" Angel leans on the table turning the ring in his hand and lookingat it.Doyle: \"What are you waiting for, man ? Put it on !\"Cordelia: \"Okay, you're getting weird about this ring. Since when did you go all versace aboutaccessorizing ?\"Doyle: \"Since the accessory is priceless and renders it's wearer 100% unkillable if he's a vampire.\"Cordelia: \"Unkillable ? Whew. You mean noteven stakes ?\"Doyle: \"Not nothing. Not stakes, not fire, and the best thing is not even sunlight. (to Angel) I mean just think of it man. Poolside tanning, bargainmatinees,... plus I know a couple of strip clubs that have a fabulous luncheon buffet, I mean, it's... I've heard.\"Angel, still looking grave: \"And it's from Buffy.\"Oz:\"Yeah. Your buddy Spike dug up Sunnydale looking for it. He got a fist full of Buffy and left it behind. She wanted to be sure it was in good hands.\"Angel, lookingto the side: \"So she sent you.\"Oz: \"I was heading this way.\"Cordelia, to Oz: \"And she didn't even send a note ? Wow. That's really... (Angel looks at her)... this isone of those times when I should just shy away from the topic, isn't it ?\"Doyle, walking over to Angel: \"Come on I have something that will boost your spirits.(picks up a stake) Why don't you put it on and I'll stake you. It'll be fun !\" Angel, still playing with the ring in his hand and looking off to the side: \"Maybelater.\"Doyle: \"What, are you out of your mind ?\"Angel: \"I said, maybe later.\"Doyle: \"Yeah...\"Angel: \"Doyle.\"Doyle, walking towards the elevator: \"Okay, you haveit your way, man. But I'm still going to celebrate with a drink down at the pub.\"Cordelia, to Oz: \"He'd celebrate the opening of a mailbox with a drink at the pub.(waves at Angel as she follows Doyle) You coming, Oz ?\"Oz, still watching Angel: \"Yeah. I could eat something.\"Angel: \"Go ahead.\" After a beat Oz turns andfollows the others. Angel keeps looking at the ring. Finally sticks it in his pocket and goes down in the sewers. He takes it out of his pocket and hides it under aloose brick next to a pipe. ***** Cut to the office, the next day. ***** Cordelia is getting a cup of water for Doyle from the water cooler and sits down at thedesk across from him.Doyle, moaning: \"Oh, god. You know what would feel really good right now ? One of those mind-numbing, head-cracking visions that I getfrom time to time, (he struggles to get some pills out of a bottle) because that would really kill me now. Is there some kind of trick to this ?\" Cordelia, taking thebottle from him: \"I think the trick is laying of the ale (pulls out the cotton wad out of the bottle and shakes some pills into her hand) before you start quotingAngela's Ashes and weeping like a baby man.\" Doyle, accepting the pills and washing them down: \"Hey, that's a good book.\"Cordelia: \"So I've heard. But I doubtthat the main characters are Betty and Barney Rubble as you so vehemently insisted last night. Also I don't think Oz appreciated being called my little Bam-bamall night.\" ***** Cut to Angel's apartment. ***** Angel is doing some Tai-chi. The phone rings and he goes to pick it up after the second ring.Angel: \"Hello ?...Hello.\"Rachel: \"Angel ?\"Angel: \"Rachel. Are you alright ?\"Rachel: \"They let Lenny out... The lawyer said something about a technicality.\"Angel: \"I'll be rightthere.\" ***** Cut to the underground garage.***** Angel walks up to his car. As he reaches for the door handle a beam smashes into his head sending himtumbling back against the wall.Spike in vamp face: \"Angel. I believe you have something I'm looking for... a shiny, little bauble ?\"Angel, picking himself up:\"Might as well go home, Spike. The gem of Amarra stays with me.\" Spike swings at Angel with the board. Angel catches it, hits Spike across the chin, in thestomach, then kicks him to the floor. Spike slowly getting back up, board in hand: \"Why ? Because you are vampire detective now ? What's next ? Vampirecowboy ? Vampire fireman ? Oh, vampire ballerina.\" He charges Angel with the beam.Angel: \"I do like to work with my legs.\" He grabs an overhead pipe andswings both feet into Spike's chest. Spike quickly picks himself back up and keeps stabbing at Angel with the beam, while Angel dances around him like a boxer,dodging the board. Spike tries to pin him onto the hood of the car but Angel kicks him off, taking the beam a way form him in the process. Angel, twirling thebeam in his hands: \"We duke it out, huh ? Is this your big strategy to get the ring back ?\"Spike, attacking again: \"Hey, I had a plan !\" Angel, fending him off withthe beam, then pinning him onto the car: \"You ? A plan ?\"Spike: \"A good plan. Smart. Carefully laid out... But I got bored. (hits Angel and pins him up against the"}
+{"doc_id":"doc_302","qid":"","text":"Act One.Scene One - Café Nervosa. Frasier is flicking through some magazines when Roz comes to join him.Roz: [sitting] Oh hey, Frasier. Catalogues?Frasier:Yes. I'm trying to find the perfect wedding gift for Daphne and Donny.Roz: Oh, right. Well, I guess now that they've set a date, I'll be getting my bridesmaid draftnotice.Frasier: You know Roz, she might not even ask you.Roz: [positive] Oh, she'll ask me. They all do. The next thing I know I'm wearing some revoltingpuffy-sleeved dress made from the same material that keeps the space shuttle from burning up on re-entry.Frasier: You know, Roz, Daphne might just surpriseyou and pick a dress you like.Roz: Oh, impossible. They're always ugly; that's why the bride makes sure she's the prettiest one at the wedding.Frasier: That'sawfully cynical.Roz: Oh yeah, when was the last time you found yourself staring at the bridesmaid instead of the bride? [signals to the waitress]Frasier: Thatwould have been at my wedding to Lilith.Roz, not getting the attention of the waitress, heads over to the counter. Then Niles enters and sits with hisbrother.Niles: Hello Frasier.Frasier: Oh, Niles.Niles: Frasier, do you remember the time the Kreizel brothers tied me to their Great Dane and lobbed meatballsdown their gravel driveway?Frasier: I've told you Niles, I would have helped you, but their sister was holding me down.Niles: No, my point is - [to waitress]Cappuccino, please [to Frasier] - even that experience was less painful than the date I was just on. She was... [takes a cat hair from his jacket and puts it on thefloor] ...a cat person. She brought her cat on our date. Well, she had good reason, it was Mr. Waggles's birthday. Actually his birthday party. Actually, his surprisebirthday party.Frasier: I'm sorry, where on earth did you meet this woman?Niles: At Nordstroms. We both reached for the same cashmere throw and she said sheneeded something to keep her waggles warm. I thought it was a coy euphemism. [the waitress brings his coffee] Thank you.Frasier: Well, Niles, I certainlyunderstand your being upset, but you know, you've got to keep on looking.Niles: Well, trust me, with Daphne getting married, I have no choice but to press on.But I'm going to change my strategy. Do you recall, the other day at the health club, Tony Hubner gave me that phone number?Frasier: Dear God, Niles, not adating service?Niles: No, it's not a dating service. An \"Introduction Network\" for busy professionals. I've given them my vital statistics, there's an extensivescreening process, they bill me at the end of the month.Frasier: Niles, please. They are all money-grubbing con-artists who prey on the pathetic and the lonely.God's sakes, you sign up with visions of some Ph.D., and what do they deliver? A buck-toothed librarian who needs help washing her mother! Are you really thatdesperate?Niles: Half an hour ago, I had my back leg tethered to Mr. Waggles's forepaw and we came in third in the five-legged race.Frasier: Geez, you'd thinkthey'd let him win on his birthday.[SCENE_BREAK]Scene Two - Frasier's Apartment. As Frasier enters he hears Daphne on the phone to her mother.Daphne: Iknow, mum, but it is my wedding. I've given into you on so many things. Couldn't this one thing go my way? [pause] I just don't like those tiny corns in my salad.[pause] No, I don't hate you. [pause] Well, that's just not true. I'm glad you're alive. [pause] All right, all right, tiny corn it is. I've got to run now, cheery bye.[hangs up] That was mum, she had a thought about the salad.Frasier: Something tells me yesterday's crouton skirmish wasn't the end of it.Daphne: I supposeshe can be a bit overbearing. But as she often points out, she is paying for the wedding and I am her only daughter and giving birth to me was so painful she didbite through a kitchen spoon.Frasier: Daphne, just don't let you mother guilt you into having the wedding she wants instead of the wedding you want.Daphne:Oh, don't worry, mum already promised me I could have the wedding I want, as soon as I have a daughter who gets engaged.Daphne exits to her bedroom.Frasier enters the kitchen where he finds Martin with a box of jerky.Frasier: Hiya, Dad.Martin: Oh, Fras. You'll love this stuff I got from the farmer's market. Thisguy takes the juiciest cut of filet mignon, slices it real thin and makes jerky out of it.Frasier: Look Dad, I don't...Martin throws it into his mouth, you can tell he isdisgusted.Frasier: Yes, if only I had a nice powdered Cabernet to go with it. Listen, have you given any thought to Daphne's wedding present?Martin: NowFrasier, not everyone likes jerky as much as you and me.Frasier: No, I just want to get her something special, especially since her mother seems to be taking allthe joy out of it for her.Martin: Oh, well, how about a nice piece of luggage? You know, a good hard suitcase, like the kind people used to put stickers on to showeverybody where they've been. Remember your grandad's? His whole life was on it: Topeka, Sioux Falls, Biloxi... it was like a map of the world.Frasier: What aloss to us all that he failed to write his memoirs. I'm thinking of something that would matter to Daphne. [hiccups] Oh, something that shows her how we feel.[hiccups] Good Lord, that's a little spicy, isn't it? [gets a bottle of water from fridge] You know, maybe we should get something for her wedding.Martin: Likewhat?Frasier: Well, I don't know, her flowers, say? That's it, we could offer to pay for her wedding flowers.Martin: That's a bit pricy, isn't it?Frasier: Well don'tworry about it, Dad. [hiccups] You just donate what you can and I'll pay for the rest. [hiccups] God, what was in that jerky?Martin: Well, you just ate it too fast.Next time you have to savor it a little.Frasier: Dad, I'm never going to taste that vile stuff again. [hiccups] Oh, spoke too soon.Frasier enters the room to findDaphne.Frasier: Daphne, may I have a word with you, please?Daphne: What is it, Dr. Crane?Frasier: Well, it's about you wedding gift. Now, I know it's nottraditionally the role of a friend but we consider you family, so please don't say no. Dad and I would be honoured to pay for your wedding... [hiccups]Daphne:[taking it in] Pay for my wedding?Frasier: [holds out his hand but hiccups]Daphne: How wonderful! [hugs a hiccuping Frasier] I could never imagine.Martin enterswith the jerky.Martin: What's all the hubbub?Daphne: Dr. Crane, just told me about your incredible wedding present. You people are heaven-sent.Martin: Well,I'm glad you like it. You know what, we're going to throw in a piece of luggage as well.Daphne: [tearful] I'm just so overwhelmed.Daphne exits to thekitchen.Martin: See, I told you, everybody loves luggage.Frasier: Dad, she thinks we're paying for her whole wedding.Martin: What?Frasier: Well, I tried to saywedding flowers, but then I hiccuped.Martin: Well, I'm not paying for her wedding.Frasier: Of course not, I'm just going to clear this whole thing up right nowbefore it goes any further. [calls] Daphne!Daphne enters.Daphne: You know what this means, don't you? Now that mum's not paying, she can't make me have itin England. I can have my wedding how I want it, where I want it: right here. You've answered my prayers. [cries in delight and exits back to kitchen]Frasier andMartin look at each other. The doorbell sounds.Daphne: [o.s] Could someone let Donny in?Martin: Well look, Donny's a very traditional guy. He's not going to letus pay for his wedding.Frasier: Right, you saw how he proposed to her; on bended knee. He's nothing but a hopeless romantic.And so Frasier opens the door tohear Donny on the phone saying:Donny: Any idiot knows you've got to pay a hooker in cash! I'm at a meeting, I'll call you later, bye. [hangs up and greets therest] I've got this client, he's in the middle of a divorce, right, and his wife finds all these charges from this place called \"Executive Match.\" It turns out to be a callgirl service. When she gets through with him she'll have his house, his car, she'd have his beach house too if I hadn't already taken it. Women!Then Daphnebursts in and hugs Donny, still excited.Donny: Hi, honey.Daphne: Hi sweetie. [kisses him] Have they told you yet?Donny: Told me what?Daphne: You're notgoing to believe this, but Dr. Crane and his father have offered to pay for our entire wedding.Donny: [takes it in] Is this a joke?Frasier: It could be.Donny: Imean, it's one thing for us to let your family pay, they're your parents, it's traditional. But this is...Frasier: Going too far? Being presumptuous?Martin: Yeah, wedon't want to step on any toes.Daphne: I didn't think you'd be uncomfortable with this.Frasier: Well, he clearly is, Daphne.Martin: Donny's right! We're notfamily.Frasier and Martin try to get out of it until Donny realises his bad manners.Donny: Wait, wait, wait, what am I doing? Here you guys, you're making thislovely gesture and I'm just insulting you. I mean if you guys are not family to Daphne, then who is? Course you can pay for the wedding. Thank you, thankyou.Donny hugs Frasier and Martin who cringe at the thought of the cost.Daphne: I just knew he'd see how much this meant to you. I'm tearing up again.Donny:No, don't start with the water works because you're going to get me going. [notices jerky] What's this? Jerky? Can I have some of that?Martin: Helpyourself.Donny: [reads box] Made from filet mignon. How much did this stuff set you back?Frasier: You have no idea!End of Act One. Act Two.Scene One - CaféNervosa. Daphne is going through her plans for the wedding with Frasier.Daphne: Now, as far as the reception goes, I've narrowed it down to two places. I'mleaning towards \"Captain Jonah's.\" The view of the water's lovely. But you have to walk through a whale's mouth to get inside.Frasier: I hesitate to ask how youexit.Daphne: I've got to run. I've a meeting with the DJ.Daphne leaves. The woman seated behind Frasier, covering her head with a newspaper puts her readdown, revealing herself as Roz. She comes over.Roz: I thought she'd never leave!Frasier: Good God, Roz, how long have you been there?Roz: Since you twowalked in and trapped me.Frasier: Aren't you taking this a bit too far just trying to avoid an unflattering dress?Roz: Yeah, I thought you'd say that. That's whyI've been carrying around this picture of the last time I was a bridesmaid.Roz hands her photo to Frasier.Frasier: Good Lord, Roz, you look like you've been tentedfor termites. Roz whips the photo back again.Roz: Well, it sounds like she's having fun planning her wedding.Frasier: Yes, well, now that she can have things herway and not her mother's.Roz: She's lucky you came along.Frasier: Well, yes and no. You know, I sit here and let her make questionable choices and I saynothing because I know it's going to cost me less. I'm sorry, I've got to change my thinking about this whole thing. What good is my money, if I'm denying herthe best gift I have to offer: my taste and expertise? Frankly, what Daphne really deserves is the gift of Frasier.Roz: Suddenly that crock pot I'm giving themdoesn't sound so bad.Frasier: Oh, shut up!Roz exits as Niles appears from the back of the café with a delightful smile upon his face.Frasier: Hello, Niles. You looklike a man who's been waiting to be asked why he's grinning.Niles: Oh, I was just thinking about the other day when you said how you thought dating serviceswere all a big con. Well, I just got conned into meeting the most enchanting woman.Frasier: I don't know what to say.Niles: And I owe it all to \"Executive"}
+{"doc_id":"doc_303","qid":"","text":"[PREVIOUSLY_ON]John: Isaac?Isaac: Isaac, the fornicator. Coming home to Salem to get out of the war is like jumping in the ocean to get out of the rain.Isaac:You can't leave Salem just yet. Something you've got to see.Mr. Hale: Someone broke our circle.Mary: Who saw us?Mr. Hale: I do not know.Mary: I waited foryou. Years and years.John: Come with me.Mary: I can't. It's impossible.Tituba: The grand rite has begun, and the earth cries out for innocent blood.Mary: I knowwell my duties.George: [Grunts] The only thing that keeps me alive is the look on your face when John Alden finds out what you really are.Bridget:[Screaming]Anne: Father, you know Bridget. How could you think her guilty of this?Mr. Hale: It isn't a matter of what I think. What a mess you've made ofthings.Bridget: [Gasping]Anne: [Sobbing]Mary: I don't want you here.John: I almost believe you.[Insects chirping]Cotton: You're so beautiful.\"Fear no man'swar, for only a war from hell could destroy Salem.\" The devil was never going to let a promised land be built here without a battle.Mary: Do you know what killednearly every woman buried here? Love.Cotton: And witches armed with deadly malice...Mary: Most died in childbirth. So love is to a woman...Cotton: Are themost malignant and insidious weapons in that battle...Mary: What war is to a man. The most deadly thing, they'll do.Cotton: That war for the body and the soul ofa nation.Mary: Only a fool runs quickly to war...Cotton: Imagine a foe you can't see...Mary: Or love.Cotton: Armed with weapons unknown...Mary: I can teachyou...Cotton: And the ability to appear as anyone.Mary: About life and death and many things in between.Anne: Stop it! Just stop it! Stop.Cotton: Shh. Judgenot, lest ye be judged.[Gasps][Water splashes][Indistinct shouting][\"Cupid Carries a Gun\" plays]\u0000 Pound me the witch drums \u0000 \u0000 witch drums \u0000 \u0000 pound methe witch drums \u0000 \u0000 pound me the witch drums \u0000 \u0000 the witch drums \u0000 \u0000 better pray for hell \u0000 \u0000 not hallelujah \u0000[indistinct shouting]Man: Burn inhell![Shouting continues]Woman: Sin!Isaac: Be assured, Mrs. Bridget... ones that are weepin' far outnumber the ones that might spit or curse.Man: Burn in hell!Burn![Indistinct shouting]Tituba: You would do well to pay that boy extra to take them bodies a more circuitous route.Mary: Spectacle is fuel for our fire.Tituba:And doubt is indulged by the rich and spoiled only.Mind that you was born neither.Woman: \"Give me to die with thee that I may rise to a new life, \"for I wish tobe as dead and buried to sin, to selfishness...\"Mary: By all means, Reverend... do not offer prayer or comfort or words of encouragement. No, stand as abewildered statue amongst the people of Salem and offer them absolutely nothing.Cotton: What would you have me do?Mary: What I brought you here to do.Guide and support us in our great hour of need. Warm our hearts with your words of wisdom. Assure us it is God's will we do in ferreting out the devil. Or at thevery, very least... Pray.Mr. Hale: Tragic day.Mary: Tragic but necessary.Mr. Hale: Tragically necessary. Surely, the grieving of the masses gives you pause.Mary:Most spit and curse while summoning the burning flames of hell.Mr. Hale: There are also those who weep for her and find her hanging unfounded.Mary: Notenough to divert our intentions. A panic's success relies on its escalation. The grand rite has begun. We look to our next victim.Mr. Hale: And that I disagree, thatI strenuously and most vehemently oppose means nothing to you? We were seen at our sabbat. And you throw caution to the wind.Mary: And have you identifiedwho saw us? Perhaps your disagreements and vehement opposition might hold more weight if you could be relied on to complete a simple task. Good day,Hale.[Indistinct shouting]Cotton: What must I do to be saved?It is impossible to ask a more weighty question. Lest we perish eternally.John: How's it feel?Cotton:How does what feel?John: Killing two innocents in as many days.Cotton: The evidence against Miss bishop... woman: The orphanage! Help! They're looting theorphanage![Glass shatters]Anne: Get out!It's not yours![Baby crying]Get John: Next one's to your head.[Children crying]Are you okay?Anne: It's awful. It's tooawful.Mr. Hale: W-what's happened?John: Thieves have come to ransack the orphanage now that the town sees fit to hang its guardian.Mr. Hale: Easy, son.John:This is what comes of your witch panic.Mr. Hale: Are you all right?Anne: This is your fault! And his.Mr. Hale: [Sighs] Forgive her. She's distraught.Anne: I'm right!See me home.Mr. Hale: Captain, if you wouldn't mind, hmm?John: Yes. Of course.Anne: Where have they taken her?John: Foul spot where they rest theunwanted.Anne: Is it very terrible?John: Yes.[Bell tolling]Anne: Thank you...For your heroism and your candor.[Horse whinnies][Door opens]Petrus: [Laughs]Welcome, welcome, welcome!A cup of tea? A touch of port?Mr. Hale: No time. Who saw us in the woods?Petrus: It was... He who is marked. He of the \"F\" thatfurrows his brow.Mr. Hale: Isaac?Petrus: The fornicator.Mr. Hale: The idiot.Petrus: One more thing. Isaac was not alone.Mr. Hale: Who else was with him?Petrus:I don't know. I could not make out the face.Mr. Hale: You don't know. What good are you? A seer who can't see.Petrus: It's not an exact art.Mr. Hale: Evidentlynot.Petrus: [Chuckles]John: Hello?[Metal scraping][Crow caws]Hello?[Dog growling][Snarling][Grunts][Breathing heavily]John: What the hell was that place?Mr.Hale: The shack belongs to Petrus, an expert on creatures both feral and otherwise.John: Yeah, well, they looked dead... Until they didn't.Mr. Hale: No deadanimal could threaten a storied soldier such as yourself, Captain.John: It could, if powered by forces we don't understand.Mr. Hale: Such as?John: Witchcraft.Mr.Hale: Nonsense.John: Is it?You know him well, this Petrus?Mr. Hale: You'll find no man more ordinary than Petrus. To say that he's mundane is to overstate hispassion.John: And what ordinary task brought you deep into the forest to seek his mundane counsel?Mr. Hale: Easy, son... Or I might suspect your presence hereas more than a coincidence, that, perhaps, for reasons of your own about which I'm sure you'd rather I not inquire, you might have followed me here. And what ashame... To have suspicion overtake the grace I owe for the kindness you showed my daughter.John: Consider it repaid.Mr. Hale: Right.George: [Gagging]Mary:George, really. [Scoffs] You are worse than a child.George: [Groans]Mary: He serves at my behest, not yours. He won't come out for you. Ohh. There, there, littleman. Oh, pay the beast no mind. Rest now, and I'll see to your feeding later.Tituba: Isaac's brung the master's potions.Mary: Tell him to wait.[Sighs]Ohh,George. Your nightdress thoroughly drenched in sick. Stew in that for the day, my sweet.George: [Gurgles]Isaac: For Mr. Sibley.Mary: Oh, and not a moment toosoon. Just now, he suffered a fit of sorts.Isaac: If you don't mind me saying so, ma'am, it's a burden you've took on... a burden and load, carried out without cryor complaint.Mary: My burdens can't compare to that of Salem itself. How do you find the spirits on the square?Isaac: Low, ma'am. Awful low.Mary: Perhapsthere is solace to be found in remembrance of times when we've both shouldered worse. Who could have imagined that a single night could have consequence forso many? Not all scars can be seen. But they exist nonetheless.Isaac: Next morning, she was gone. Run away and disappeared.Mary: Oh, your sweet Abby.Isaac:I'll admit to wondering on occasion what it might be like to one day see her again or know of her or hear her fate. Would it be better or so much worse?Mary: Ican assure you, Isaac... if you were to see her again, you would find those feelings buried too deeply for hope of resurrection. Good afternoon, Isaac.Isaac:G'day, ma'am.[Indistinct conversations]Aah![Grunting][Insects buzzing]What is that? What is that? What are you... what are you doing? Please. Please.[Muffledscreaming][Gasps][Breathing heavily]Pigman: What did you see in the woods?Isaac: [Screams]Pigman: We knew you weren't alone.Woman: We know!We know!We know!Isaac: [Cries]Woman: Who was there?! Who was there?!Isaac: I was alone! I was alone!Mr. Hale: Get it all. Want no trace of our efforts. The fault mustlie with him alone.[Crow caws]And put these in his pockets. If he's to be found a witch, the good reverend will require proof... evidence to seal his fate, hmm?What is it? Is this sympathy that I'm sensing? One outcast to the other? Is that what you feel, you decrepit deformity?Ghoul: Mary!Mr. Hale: So now even youwould question me? Do as you're told! Does your great Mary know what it is to watch witches burn? Nothing of the old ways while she's whipping us toward thenew. A spell of vitae cupido, and then we send him to the one place in town that will certainly deny him entrance. That should get their attention.Gloriana:[Sniffles]Cotton: You're crying.Gloriana: [Chuckling] I'm not.Cotton: You are. What's wrong?Gloriana: If they can hang a woman like Miss bishop, what does thatmean for someone like me?Cotton: Nothing is going to happen to you.Gloriana: How can you be so sure? Just yesterday, it was me that they put before the Lewisgirl. Would you have come forward had I been accused?Cotton: I follow every protocol. I adhere to every letter of what my father taught me. No one is convictedwithout incontrovertible evidence.Gloriana: So you're certain Miss bishop was a witch?Cotton: I am certain... Of the evidence.Gloriana: Why do you do it?Cotton:Why?Gloriana: Is it that you believe that you're doing good? Or is it that you wish to please your father?[Screaming, glass shattering]Gloriana: It's Isaac! He'smad![Glass shatters][Screaming continues]Cotton: I can't be seen here.Isaac: [Laughs] Let me touch you![Women screaming]Get up!Woman: Isaac, no!Isaac:Ha ha! Ah ha ha![Women screaming]Isaac: [Laughing maniacally][Isaac screaming]Gloriana: Isaac, what are you doing?Isaac: What do you see?!Cotton:Isaac!Isaac: Oh, there you are!Cotton: Isaac![Women screaming]Isaac: Isaac the fornicator! Isaac the fornicator!Hide your wives! Hide all your sheep! Isaac thefornicator will get them when they sleep! Isaac the fornicator! Hide your wives! Hide your wives! Hide all your sheep! Isaac the fornicator! Hide your wives!John:Isaac!Isaac: Hide your sheep. Isaac the fornicator.John: Stop! Isaac!Isaac: Jonathan, it's no good. It's no good!John: What is no good?Isaac: They saw us. Theysaw us. They saw us in the woods. They saw us. They saw us in the woods. They saw us.John: Shut up.Mr. Hale: Take him to the jail.Isaac: They saw us in thewoods. They saw us.John: Shh.Mary: Magistrate.Mr. Hale: Mrs. Sibley.Mary: What have you done?Mr. Hale: The idiot saw us in the woods.Mary: Isaac. So, youdid this without consent?Mr. Hale: He wasn't alone. We'll find out who was with him, and he will burn.Mary: No, you will do nothing further.Mr. Hale: But...Mary:Nothing! Go home, Magistrate. You reek of the woods.[Horse neighs]Find me Rose.Isaac: [Groans]John: A drunken romp, that's all... a young man'sprerogative.Cotton: And yet no smell of spirits on him.John: Oh, well, burn him, then. Why wait?Cotton: If he was spelled, he's blameless in his actions.John: Yetyou still hold him. Why?Cotton: Found on his person. Likely stolen to cast a spell on its owner.John: One minute, he's speller. The next, he's bewitched. Make up"}
+{"doc_id":"doc_304","qid":"","text":"Kevin: To me, the Sixers are a five seed tops.Jim: I think they're going to the conference finals.Kevin: No.Jim: Bynum, obvious monster and the three pointshooting, don't even-... [Jim bites his lip][SCENE_BREAK]Jim: I bit my lip at lunch today.[SCENE_BREAK]Darryl: Sucks. Anyway, I just don't see it. The Knicksare tough.The Nets are tough.Kevin: Oh, the Nets are super tough. [Jim in pain from his lip][SCENE_BREAK]Jim: Now I have this big bump in my lip that hurts. Ihate it.[SCENE_BREAK]Kevin: The Hawks are terrible. They're always terrible.Jim: Okay, you need to think about it before you come with the... [Jim bites his lipagain and pounds on table][SCENE_BREAK]Jim: Whatever. It's not a big deal. You know I always tell my three year old, if this is the worst thing that's gonnahappen...[Jim bites his lip again] You gotta be kidding me! Ok! Pam! That's it, I'm going home![SCENE_BREAK]Erin: Good morning, Meredith.Pam: What?Erin:Oh, sorry, Pam. Yikes.[SCENE_BREAK]Pam: Jim's been spending a few days a week in Philly and I'm not gonna lie, it's been challenging. Yesterday, things took aturn for the worse. I found out Cece has lice. So I was up all night disinfecting every sheet, towel, toy, item of clothing in the entire house. I'm exhausted. Butdon't tell Jim. He has a huge meeting today, under a lot of pressure and he's doing it all for the family.[SCENE_BREAK]Jim: I am meeting Dr. J today, otherwiseknown as Julius Irving, famed 76er and my own personal hero. But i have to be careful not to rub it in Pam's face because let's be honest, how would I feel if Iwas at home stuck with the kids while she was go carting with John Stamos.[SCENE_BREAK]Jim: [talking on phone] You sound tired. Everything ok?Pam: Great.Everything's great. Hey are you nervous about your big meeting?Jim: Uhh, a little bit. It's a lot of pressure, you know, but that's what I signed up forright?Worker: Jim, limo's here.Jim: Uh, you know what, I gotta hop off because my, uh, taxi is here to take me to the meeting.Pam: Oh, call me later!Jim:OkPam: Good luck!Jim: Thanks!Pam: Love you.Jim: Love you too. Bye.[SCENE_BREAK]Val: How you doing?Darryl: Alright. I mean, it's what you want, so...Val:It's how it has to be.Darryl: I know, I know. It's just hard.[SCENE_BREAK]Darryl: Me and Val were going nowhere and if I'm gonna be working in Philly, I'mgonna need my freedom. So, I convinced Val to breakup with me. Here's how you do it. You say, \"What are you gonna do, breakup with me?\" Like it's a joke, andthen you gain a lot of weight.[SCENE_BREAK]Darryl: I'll never be sorry, not for a moment of it.Val: Me neither. Come here. [she hugs Darryl, and Darryl smilesbehind her back][SCENE_BREAK]Pam: Hey Meredith, I need your supplier requests today.Meredith: Jeez H. in the morning. Will you stop your nagging already?No wonder Jim left you.Pam: He didn't leave me. He just went part time. [Meredith scratches her head vigorously] Can you just fill out the form please?Meredith:Yes.[SCENE_BREAK]Pam: I'm sure she's just confused. People scratch their heads when they're confused. Not always like an ape, the way Meredith just did, butit happens.[SCENE_BREAK]Meredith: Hurry up already.Erin: [checking Meredith's head] Trust me, I know what I'm doing. Between the foster homes and theorphanage, I had lice 22 times.Erin: Holy wow, that's a big one. Alright, pencils down everyone, we got lice!Angela: Oh God, Meredith, lice? Did you not sign apledge to shower?Dwight: What? Lice? Oh my god. Lock the doors, we are on full quarantine.Pam: Dwight, relax. It's just lice. Maybe, possibly.Dwight: Just licePam?[SCENE_BREAK]Dwight: Of all of the vermin in God's great green kingdom, lice are the ones I detest the most. My first day of school, I had lice, and no onewould play with me. For 15 years, they called me freak and four eyes and sci-fi nerd and girl puncher. All because I had lice when I was7.[SCENE_BREAK]Dwight: Make way, nope, inspect me.Erin: Oh, this is the cleanest scalp I've ever seen. You are all clear.Dwight: Should be. I use lice shampooevery morning. [Dwight starts spraying everyone with disinfectant]Pam: Stop that!Angela: Dwight!Erin: Next!Angela: [getting her head checked] Geez Meredith,you know, this is an office not one of your bean bag orgies.Pam: Alright, let's give her a break. We don't know for sure this is Meredith's fault.Oscar: Pam, really?Come on.Meredith: Hey, what do you want? I know who I am. Nobody's taken Meredith Palmer to the opera to meet the queen.Erin: Lice. More lice. [Angelashrieks in disgust] Angela has lice.Angela: Ew! Oh.Erin: [checking Stanley's head] Ooh yabber, lice!Erin: [checking Pam's head] Yikers, lice.Pam: No! How? I'm soclean!Erin: [checking Oscar's head] Oh yeah, big time lice.[SCENE_BREAK]Oscar: I wash my hands at least six times a day. Toilet seat covers? Yes, thank you,even when I pee. Apparently, none of that is protection enough. Not when it comes to Meredith.[SCENE_BREAK]Phyllis: What are you wearing?Dwight: It's aHazmat suit. That stands for hazaderous materials men's suit wearing. If you rent more than four times a year, it just makes sense to buy. Is there anyone elsehere that is lice free? [Phyllis, Kevin, Darryl. and Nellie raise their hands] Excellent. Do you have your own hazmat suits?Nellie: No.Kevin: No.Dwight: Renters.Ok, I'm gonna need you to gather your belongings, retreat to the warehouse, conduct your business there until the infected have been deloused. Let's get going.I'm gonna stay here and fight. If you don't hear from me by lunch, call me. I might want lunch.[SCENE_BREAK]Darryl: Alright, we're going down to mywarehouse, that means we're playing by my rules. No messing with the baler and be cool in front of me and Val. We just broke up.Phyllis: You gotdumped?Darryl: Yeah, she ended things.Nellie: Breakups are the worst. The only thing that got me through mine are large amounts of shepard's pie and Brandy.The singer, not the drink.Kevin: Here man. [Kevin hands Daryll some chocolate] You need that more than me.Darryl: Thanks, man.Kevin: Yeah [kisses Darryl onthe cheek][SCENE_BREAK]Pam: Guys, I think we should all ease up on Meredith. This has got to be hard for her.Angela: Oh, no no no no no. I have not yetbegun to shame.Stanley: That's it. I'm getting my stuff. I'm leaving for the day.Erin: No! Stanley! If you leave now then you'll get it in your car and then you'llget it in your house! [Erin jumps on Stanley's back]Stanley: Get off me!Erin: I'm trying to save you from yourself!Stanley: Alright, I'll stay! There's a pencilbroken in my rolls.[SCENE_BREAK]Pam: Maybe it was Meredith. Maybe she brought in lice that are totally different than the lice that i got from Cece. So let's notjump to the simplest conclusion that she got her lice from me. That is how wars get started. Fine, I'll tell her it was me.[SCENE_BREAK]Jim: Oh man, that's freshsqueezed. And, uh are all the snacks complimentary?Limo Driver: Yeah, take some home if you want.Jim: Oh no, no, no. That's ok. [Jim shoves some snacks inhis pocket as he gets out of limo] Um I'm sorry, is this the conference center?Limo Driver: No, Mr. Irving called. Said he'd rather meet you at his privatecourt.Jim: You gotta be kidding me.[SCENE_BREAK]Pam: Hey, Meredith I need to tell you something.Meredith: [shaving her own head] Yes, Pam what do youwant?Pam: Oh my God, Meredith what are you doing!?Meredith: Baking a cake, what does it look like I'm doing? Getting rid of the lice.Pam: Oh stop! I am sosorry!Meredith: Oh, can you hold that thought? That's my wax. You know, I think these critters migrated from down south. What were you saying?Pam:Nothing.[SCENE_BREAK]Pam: I am going to tell her, but now is clearly not the time. I will buy her a wig, we'll have a few laughs. There's a right way to dothis.[SCENE_BREAK]Dwight: Scalp leeches, skull vampires, follicle gypsies, hair lawyers. One thing is clear, it's kill or be killed!Erin: No, no. It's more of anuisance really. It's not that big a deal. So, I collected your hats and your coats...Dwight: To be burned!Erin: To be washed.Angela: What do we do about ourheads?Dwight: I'm not gonna lie. Lye!Erin: No, all we need is mayonnaise.Angela: Excuse me?Pam: She's right, it works. I would imagine.Erin: Yes, it helps tosuffrocate the little buddies and it's a really healthy alternative to the chemicals found in most lice shampoos.Oscar: I can appreciate that. I also only eat local,organic produce.Meredith: [walks in conference room] Shaboom! How do you like me now!?Angela: Oh.Oscar: Wow.Meredith: Take a picture. It will lastlonger.Angela: We don't want it to last longer. It's horrible.Creed: Bald people make me sick.Meredith: Yeah, yeah, everybody pile on Meredith. But I'm the onlyone with the balls to show them lice who's boss.Erin: Ok, nobody panic. If everybody just follows my instructions, then nobody else needs to end up bald. Notthat it looks bad, Meredith. It looks...It looks awesome. You look like a baby who suddenly aged 50 years. A cute baby, but something sucked the life force out ofit. I'm so sorry. We need mayonnaise! We need it now.Pam: Oh! Uh, uh I'll go.Angela: Okay. Oh, thank you.Oscar: You're a saint, Pam.Pam: No, no, it's not a bigdeal, please. No. Um, Meredith can I get you something special while I'm at the store, candy, or...or one of those stylish turbans?Meredith: Thanks Pam! I'll takea pack of Nicorette gum and a pack of Kools.Pam: Okay.Dwight: Let's talk pubes, people.[SCENE_BREAK]Val: Hey, Darryl.Darryl: Oh, hey Val.Nellie: Oh, that wastragic, Oh, that was like a car crash. I couldn't look away. You two clearly still have feelings for each other.Darryl: Yeah.Phyllis: What's gonna make you feelbetter, big guy?Darryl: When I was a kid, my grandmother used to make me chocolate cake when I wasn't feeling good. She's not around to do that anymore.I'm sorry, I just need a moment to myself just to clear my head.Nellie: Aw, poor Darryl. I can't bear to see him suffer like this.Kevin: I think he needs some hugs,and maybe some chocolate cake.Phyllis: Mmm, this won't help him, it's a muffin, not cake.Nellie: Listen, let's try and get Darryl the one thing in the world heclearly wants and needs the most.Kevin: An Escalade.Nellie: Or what's her name.Phyllis: Val.Nellie: Let's get Darryl Val.[SCENE_BREAK]Julius Irving: I hope youdon't mind me bringing you out here. I can't get my knees under a desk.Jim: Are you kidding me? I can literally scalp tickets to this.Julius: Well, do you think youcan sink one from deep?Jim: Listen, I don't mean to intimidate you, but I did play a little high school ball.Julius: Okay. [Jim shoots the basket and it goes in]Wow, Halpert's got game.Jim: Alright. [Jim's phone rings] Oh, sorry. I'm so sorry. It's my wife, can I take this?Julius: It's your wife? You better take it.Jim: Right![Jim laughs as he answers the phone] Hey, what's up? Everything ok?Pam: Oh, no everything's great! Um, I was just calling to see how the meeting went.Jim:It's still happening right now actually, so uh...Pam: He's really making you work for it, huh?Jim: Yes, it is very stressful. You sure everything's okay?Pam: Great. Iam killing it over here. [drops mayonnaise on the ground] Jim, I gotta go.Jim: Okay, bye. [Jim turns back to Julius] So sorry about that.Julius: No problem. HeyJim, what size do you wear, man? I got a pair of japanese Nikes with your name on them. What do you think?Jim: I love it.[SCENE_BREAK]Erin: [handing out"}
+{"doc_id":"doc_305","qid":"","text":"ACT ONEScene One - Apartment The doorbell rings. Daphne opens the door to Roz, who is carrying Alice.Roz: Hey, Daphne.Daphne: Hello, Roz, Alice. Whatbrings you here?Roz: We're borrowing Frasier's car.Daphne: Oh, I see. And you're leaving Alice here as collateral.Roz: Actually, he's being very nice about it.Mine's in the shop, and I'm taking Alice and a few of her friends to an ice cream party.Frasier: [emerging from hallway] You told me it was your friends, and theScience Center!Roz: He said, she said, we'll never know what really happened. Frasier, don't be so uptight. I'm not gonna hurt your precious car.Frasier: I am notuptight, it's just that I've had some unfortunate experiences before loaning out my car.Daphne: [going to the hall] I left an umbrella in the trunk.Frasier: It was awet umbrella!Roz: Can I have the keys?Alice whines softly, prompting Frasier to take them out.Frasier: [sighs] Yes, yes. [drops them in her hand] After all, whatare fine possessions for if not to be used and enjoyed? [lugubrious] And who better to enjoy them than the delightful souls of small children?Roz: I'll put a tarp inthe backseat.Frasier: Oh, bless you.Roz turns to leave and runs into Niles.Niles: Hey Roz, hello Alice. What brings you here?Roz: Oh, Frasier loaned me his car, Ibacked mine into a telephone pole.Frasier: You said you were getting a tune-up!Roz: [as the elevator doors close] It needs one, trust me!Niles: Is, uh, Daphneready?Frasier: Uh, actually I think she's in her room. You two have plans?Niles: Yes, I am taking her to the botanical gardens. Can you believe she's never beenbefore?Frasier: Didn't Donny take her to the botanical gardens last year?Niles: Can you believe she's never been before?Daphne comes out with Eddie on aleash.Niles: Hey, Daphne!Daphne: Hello, Niles.Niles: Ready to go to the gardens?Daphne: Yeah, I'm afraid I'm gonna have to take Eddie for a walk first.[kisseshim]Niles: Where's Dad?Daphne: I don't know, he's been gone all morning.Niles: Oh well, here, I'll take him for a quick walk.Daphne: Oh no, he's gonna needmore than that, or he'll go stir-crazy. He's gonna need a full hour at the dog park.Niles: [checks his watch] We don't have time to go the dog park, the-the Tour ofSucculents starts promptly at twelve. Uh, hey, Frasier, can you take him?Frasier: No, I'm sorry, Niles. Roz has my car, you see, and Lana's coming by to pick meup for a tutoring session with Kirby.Daphne: I'll just get Eddie's toys. [leaves]Frasier: [on phone] Hello, this is Dr. Frasier Crane, I need to make an emergencyappointment tomorrow, for a complete cleaning of my BMW. June 10th?! But I've got a Clean Team Privileges Card! Yes, of course it's a platinum one! [takes itout and looks] No, no there are no diamonds on the corner. Well, then yes, I'd like to become a member of the Diamond Alliance immediately. Fine, put me onthe waiting list. I'll see you in June. [hangs up]Niles: [needling] You're not in the Diamond Alliance?Frasier: Don't do that![SCENE_BREAK]Scene Two - Park Nilesand Daphne are sitting together on a bench in the park, with Eddie. All around them are dogs playing with their owners.Niles: So this is it.Daphne:Mmm-hmm.Niles: I'd hardly call this a dog park. [looks around] It's more like a dog... orgy. Whose beagles are those?Daphne: Don't stare, it only encouragesthem.Niles: Well, hurry up, Eddie, there's lots of exciting depravity to explore. [Eddie doesn't move]Daphne: [takes out a short piece of thick rope] He wants toplay a little fetch.Niles: Oh.Daphne: Well here, you throw it.Niles: With my bare hands?Daphne: Oh come on, it's fun.Niles: [takes it] Ready? Here we go. And,fetch!He tosses the rope about two feet away. Eddie quickly picks it up and brings it back.Niles: All right, I didn't give you enough of a challenge. Here, ready,ready? And, ho! [throws it farther] Go get it! [Eddie runs after it] I'm sorry, I was a bit of a grouch. This is actually a fine way to spend the day.Daphne:Yeah...Niles: In fact, it's kind of...He trails off as a huge hound comes back with the end of the rope hanging from his jaws.Niles: Hello. Do you suppose the restof Eddie's in there?Jim, a tall, handsome, athletic man, follows the hound. Eddie follows him.Jim: Good boy, good boy! Sorry about that, Daphne, but what withthe organic vitamin paste I've been feeding Tank here, Eddie can't keep up with him.Daphne: It's no problem, Jim. Uh, Niles, this is Jim Grady and Tank. This isNiles, my boyfriend.Niles: [shaking hands] Pleasure.Jim: Boyfriend? Ah, I should have known. It seems like every time I'm single you're in a relationship, andevery time you're single I'm in a relationship.Daphne: Yeah, that's true.Jim: I guess we just don't have-Daphne: Timing!Jim: -good... [Daphne laughs] And I'm adrummer!Niles: Which, uh, makes it even more ironic!Tank starts climbing Niles's leg, to his horror.Jim: Tank, that's rude! Now, chill. [Tank obeys]Niles:Wow.Daphne: Wow, you've really got him trained. That's the problem with Eddie. He only listens when he thinks he's gonna get food.Niles: Or one of my socks![laughs, no one else does] But mostly food.Jim: Well, it's all in the voice tone, really. Any dog can learn to respond to it, even an old wheezer like Eddie. You, uh,want me to show you?Daphne: I'd love it.Jim: Come on. [she gets up]Niles: Yeah, we'd all love it!He gets up to follow them, but his cell phone rings.Niles: Oh uh,you guys, uh... [but they're gone] Be right back. [sits and answers] Hello?!SMASH CUT TO: A close-up of Martin, dressed in a dark suit and talking on amobile:Martin: Hi Niles, it's me. I just wanted to make sure Daphne took Eddie for a walk, I completely forgot about it this morning.Niles: Yeah, yeah, we're inthe dog park now. Uh, where are you, anyway?The camera widens to show Martin seated at a table in a nondescript room. It looks a little like a canteen. In thebackground are two people in suits, conferring.Martin: Uh, I'm at the track. Uh, had an itch for it when I woke up, and so just I dropped everything and went. Uh,I'm at the window... [puts the phone to his shoulder] I'll have a trifecta in the eighth. [into phone] All right, gotta run.Niles: Wait, uh-Martin hangs up. He looksvery pensive.[SCENE_BREAK]MR. HAPPY PANTSScene Three - House Lana opens the door to the house, and Frasier follows her in.Frasier: Well, I didn't realizethat I was going to be selling houses with you today! Why didn't you just drop me off and then come on your own?Lana: Stop whining! It'll only take a minute. Ihope we don't run into the sad sack who owns this place.She notices some framed family pictures on the otherwise bare shelves, and quickly removes them to abox on the floor.Lana: I've been trying to sell this house for over a year! But he keeps driving away every potential buyer.Frasier: How does he do that?Phillip,the world's saddest man (judging by his unshaven face and filthy clothes) lumbers in carrying a box.Phillip: Oh... hi. I heard a woman's voice, I thought it mightbe my wife coming back to me.Lana: [as if to a child] No. She lives in Portland now, with her new husband, Lamar, remember? [Phillip nods sadly] Oh, excuseme, Frasier Crane, Phillip Donovan, the current owner.Frasier: Hello.Phillip: Hi.Lana: Well, see you later Phillip!Not seeming to hear her, Phillip puts the box onthe floor and sinks onto the couch.Phillip: Anyway, my wife just left with the kids. No talking, no explanations, just ripped my heart out and threw it to the dogs -which she also took.Frasier: Well, uh, at least you're... getting out at the top of the market!Lana: Actually, this is a very good time, Phillip, and I think today isthe day!Phillip: [opening the box] Oh, no!Lana: Oh, God!Frasier: What's wrong?Phillip: The damn basement must have flooded again. Everything in this box isruined. Little Suzy's cap she wore home from the hospital, ruined; Danny's first soccer uniform, ruined!Frasier: Well, you know, I have an excellentdrycleaner-Lana: [hissed] No!Frasier drops his coat onto a chair and sits beside Phillip on the couch.Frasier: Once, actually, I spilled butter on a pair of whitevelvet pantaloons. [off their looks] Well, it's a long story. But, uh, he had it out in under a minute!Lana: Frasier, just give him the address.Frasier: Yes,yes...Phillip: [shows him some pictures] I have two sons and two daughters. The perfect American family... until that b*st*rd Lamar showed up to snake ourdrains. Now all I have left are weekend visits, and a few treasures from their childhood.He takes out a popsicle stick house and puts it on the coffee table.Phillip:Like this house little Danny and I made at day camp. Oh, thank goodness, it made it through unscathed. Just a little water damage in the basement. Just like thishouse...Frasier: Phillip, you are still their father. I mean, I know things seem difficult right now, but believe me, it'll get easier.Phillip: Oh, it's already easier. Imean, look at me, I'm dressed.Lana: Phillip, you know what would really cheer you up, is to make a killing on this house! Now, don't you think you should getback to work?Phillip: I guess. That air traffic isn't gonna control itself. [gets up]Lana: OK, here we go. [he heads toward the front] No, not the front door! Let's goout the side door. [steers him] It's good to see you again, Phillip, I'll call you when we sell the place, bye!She shoves him out.Frasier: Good lord, that man isobviously in pain, the least you could be is a little sympathetic!Lana: I have been sympathetic for fifteen months! I had him over for Thanksgiving! He got drunkthe first half-hour and cried himself to sleep in my coat closet! And I consider that one of our good days!Frasier: Well, so where are these so-called buyers ofyours? You told me they'd be here in a few minutes.Lana: Well, they're obviously running late, OK? It'll give us time to go over the plan.Frasier: What, what,there's a plan?Lana: Well, sure. When the Smolenskis get here, you act like you want the house. You know, a little competition, put a little pressure on thedeal.Frasier: You're asking me to be your shill?Lana: [slaps her forehead in mock surprise] That's the word! Yes, yes! Now listen, you don't have to sayanything!Frasier: I'm sorry, no!Lana: Well, why not?! Well, look, OK, all you have to do is walk around with an interested look on your face. You know, they'll fillin the rest!Frasier: I will do no such thing!Lana: Why won't you help me?!Frasier: Because I refuse to lie for you!Lana: Oh fine, then go wait in the car!Frasier: Inever wanted to leave the car!Lana: Oh, just get out!She grabs his coat and flings it at him, hitting the stick house and shattering it into a hundred pieces. Theyare both horrified.END OF ACT ONEACT TWOScene Four - House Lana is picking up the pieces. Frasier comes in the door with a grocery bag.Frasier: All right, Igot some cream-sicles, and fudge-sicles, and something they call, uh, \"Bomb Pops!\"Lana: I called the Smolenskis, I bought us a little extra time.Frasier: Right,good, good. All right, let's spread out some paper and then build us a house!Lana: So Frasier, with all your talk about honesty, how do you justify faking thisthing?Frasier: Well... we're simply protecting the feelings of an innocent man. Nothing dishonest about that.Lana: Uh-huh. [holds up a piece] So, uh, are yougonna write, \"I love you, Daddy\" or am I?Frasier: [It's a dirty job, but] I'll do it.[SCENE_BREAK]Scene Five - Park Daphne watches, delighted, as Tank obeysJim's every command.Jim: Sit. Wave, wave. All right, hide your eyes, hide your eyes. Hide 'em...Niles and Eddie are sitting on the bench watching them. In his"}
+{"doc_id":"doc_306","qid":"","text":"[Brian and Justin are in bed, kissing. Justin is straddling Brian. Looks like our s*x drought is about to end. Ummmm... not so fast. As they continue to kiss, Brianhas a sudden flashback to the surgery.]Woman: Relax and count backwards from ten, Mr. Kinney.[Brian tries to get down to the business at hand. He rolls Justinover and tears open a condom, which evokes an image of the incision. Obviously, this is not an actual memory; it's Brian's imagination, reminding him of what'sno longer there. He looks down, checks the equipment, which seems to be malfunctioning. The moans of pleasure are gone; on his face is a look of intenseconcentration, not to mention stress and aggravation. But he's not ready to concede defeat. He applies lube. At the moment he tries to push inside Justin, hevisualizes the diseased ball being sucked out of his body. Brian gives up. He slides off Justin and sits on the edge of the bed.]Brian: Don't say anything.Justin:Look, I'm sure it's just a temporary malfunction. It takes time for your body to heal itself and for you to regain your strength. Be patient. (Rubbing Brian'sshoulder). Everything'll be up and running again in no time.Brian: Thanks for not saying anything.[At the Novotny-Bruckner household, life proceeds as usual.Intent on spending Mikey's newfound riches before they're earned, Hunter nags for a new wardrobe.]Hunter: I wanna get those cool Pumas and a pair of Dieseljeans, maybe two.Michael: Hey, whaddaya think I am, made of money?Hunter: Like yeah! You're having a movie made.Michael: We hope. And I didn't work myass off so I can put expensive jeans on yours!Hunter: Ben. I wanna get a couple pairs of Diesel jeans.Ben: Pull up your pants. I can see your shorts!Hunter:That's the f*ckin' point!Michael: We're taking Hunter to buy some new clothes.Hunter: And have pizza and go to a movie.Michael: Not a Brett Keller movie. So -tomorrow night? The mall? The three of us?Ben: Sure, fine. (His cell rings) Must be Mark. He has the flu; he asked me to cover his class. (Talks into the phone)Hello? Hey! Uh-huh. Sure. Uh, breakfast, lunch, whatever. Yeah, see you then.Michael: For somebody who's laid up with the flu, he has a pretty healthyappetite.Ben: Oh yeah, that wasn't Mark, that was Anthony from the library. Remember I told you about him?Michael: Yeah, how could I forget? He only calls youevery hour!Ben: That's not true.Hunter: Maybe he has a crush on you!Ben: That's not true, either. He's just a nice kid who wants to be a writer. We get togetherand discuss books. That's ALL. So - tomorrow night, pizza, movie and Diesel jeans.Hunter: Tight!B: (eyeing Hunter's ghetto-fabulous baggy jeans) Yeah.Loose.[Emmett and Drew making the beast with two backs in a motel room.]Emmett: Touchdown![He rolls off Emmett and goes into the bathroom to toweloff.]Emmett: My, how the boy can score!Drew: I got a good kicker.Emmett: I'll say.Drew: That's a quarterback's secret weapon.Emmett: Speaking of secrets,does your fiancee know?Drew: Know what?Emmett: That you're -Drew: That I'm - ?Emmett: Do I really have to say it? That you're - the \"H\" word.Drew:Hard-bodied? Hot? Hung? Yeah, she knows all that.Emmett: I meant homosexual? Gay? Queer?Drew: I'm not a fag!Emmett: Did I use that word?Drew: A fag's asissy, a girl, a pansy. You think I'm that?Emmett: Hardly!Drew: A fag can't even throw a ball. You know how far I can throw?Emmett: I reckon a countrymile.Drew: I'm a hero to millions. Name one fag who's a hero. Name one fag who gets a call from the President saying, \"Great game!\" Name one fag that's f*ckedevery Dallas cheerleader - and I don't even play for Dallas. Name one fag who every kid wants to grow up to be.Emmett: Harvey Fierstein?Drew: (laughs) So whywould anyone think I was a fag?Emmett: Maybe cause you had your dick up my ass?Drew: So I like to f*ck guys. It doesn't mean that I love them, or want tokiss them or even know them. It's just for fun, to get off. No one's to ever hear about this. Understand?Emmett: Who'd believe me if I told them?[At the gallery,Auerbach is being interviewed by a perky girl reporter about his show which is opening tomorrow. Girl reporter is flirting with Sam. He flirts back. Lindsay lookson, plainly jealous.]Reporter: Tomorrow your exhibition opens here. Tell me, Mr.Auerbach, why did you use Pittsburgh?Sam: Well, I didn't know a goddamnreason to come here, either will be.Reporter: I think that's all we need. This was great. Thank you.Sam: [kisses her hand] Anytime, honey.Sam: How wasI?Lindsay: OK, I guess. I wasn't really listening. I was working.Sam: Glad I didn't distract you.Lindsay: Not hard.Sam: You know, I have a strange feeling thatI'm being ignored. Strange because I mean, let's face it, I'm not used to being ignored. In fact, I think the last time it happened I was 14, Susan Schroeder washer name. She ditched me at a Tastee-Freez for a guy with a triple scoop. Broke my heart.Lindsay: Well, you needn't worry. I haven't been to a Tastee-Freez inyears. So why don't you go over and flirt with that nice girl reporter and leave me to my work?[Brian is back in the saddle again - at Kinnetik, at least.]Brian:(phone rings) Harvey! When have I ever let you down? Name one time! OK, name a second. Hold on. Mr. DeCarlo, sorry to keep you. Right on schedule. Looksgreat. When? Hold on. (Talks into intercom) Tell Jacob that if the art for Dandy Lube isn't on my desk by 9 a.m. Friday, he'll be teaching remedial finger-paintingto kindergartners. (Back to phone) Mr. DeCarlo? How does 10 a.m. Friday sound? (Back to Harvey) Harvey, did you think of a second? See, I told you! Stopworrying, I'll get you the back cover![Ted walks in just as Brian is hanging up.]Ted: Jeez, with an act like that you should be in Vegas, making tigers vanish intothin air!Brian: Throw me a bone, I'm trying to juggle 15 balls at once![Ted throws Brian a look.]Brian: No remarks. That's a nice suit!Ted: Worked wonders onSon of Dandy Lube.Brian: You know, I like your new-found self-confidence, Theodore. Far preferable to your former lack thereof.Ted: So what's my nextassignment, Jim?Cynthia: Congrats! Brown Athletics is committing a cool mil to snag a model for their new underwear line.Ted: Well, as luck would have it, I'mavailable!Cynthia: Unfortunately, they're looking for someone with a higher profile.Brian: Not to mention a bigger basket!Cynthia: They want a famous sportsfigure.Ted: I happen to be Pittsburgh's 1986 junior class ping-pong champion! (A beat) Well, runner up.Brian: So at what hour of the day or night am I supposedto conduct this star search?Ted: I'll do it for you, Bri!Brian: You?Ted: Yeah! I landed Dandy Lube, didn't I? Look, I'll talk to some agents, a few managers, seewho's interested and put together a short list. Final draft choice, of course is yours!Brian: That sounds perfect, except for one itty-bitty detail. You don't know af*cking thing about sports.Ted: But I know about s*x, what looks good in a pair of shorts. After all, I am a gay man and s*x is our national pastime.[Justin andMichael.]Michael: These drawings of Rage and JT are hot. Why can't we ever see Zephyr in a fuck-fest with some great-looking guy?Justin: Because nobody buysour comics to see Zephyr get laid.Michael: That is so not true! Just because you don't want to see it -Justin: It's not that I don't want to see it. It's that I can'timagine it!Michael: Well, I can. When he and his hunky boyfriend, the world-famous paleontologist, Professor Ken Kirschner, get it on, they really rattle the olddinosaur bones! Except ever since the scientific community rejected the Professor's latest research findings, they haven't felt much like doing it.Justin: I knowwhat that's like. JT hasn't gotten a rise out of Rage since Ice Tina zapped him with her radiation gun.Michael: You mean -Justin: Not since the operation.Michael: Ithought the doctor said that -Justin: Nothing would be affected? Something sure as hell isn't working.Michael: Maybe he just needs some Viagra.Justin: You trytelling him that!Michael: Okay! So how about we take a little trip to Chinatown?Justin: I already ate.Michael: I meant to see Master Ni.Justin: Who's he?Michael:He's this herbalist Ben sees. He says he's a miracle worker. He gave him this stuff that actually helped lower his viral load.Justin: C'mon, you don't actuallybelieve that!Michael: Chinese medicine has been working for thousands of years, who am I to doubt it? Besides, if he can help lower Ben's count, maybe he'll beable to raise -Justin: The Titanic?[Ben and Anthony are strolling along what passes for the Carnegie Mellon campus.]Ben: Give them an assignment to critiqueone of Tennessee Williams' plays and what do they do? They rip them to shreds like a pack of jackals!Anthony: Oh, you know how some queers are. They're notcontent to criticize. They have to seek and destroy.Ben: All I know is, it's a lot harder to create something than it is to tear it apart.Anthony: Like your book! Thatmust have been like giving birth.Ben: Most people have no idea.Anthony: I do. Every sentence I write - or try to - is agony. I don't know why I do it.Ben:Probably for the same reason I do. You have no choice. If you ever want me to read anything, a story, chapter, sentence, just ask. I promise to begentle.Anthony: I'm sure you would be. So what do you think about Edmund White?Ben: His essays and articles on being positive influenced me tremendously.But I particularly love his autobiographical fiction. In fact, \"A Boy's Own Story\" influenced me to write \"Are You One\"Anthony: Then how about coming with me tohis lecture tomorrow night? I've got an extra ticket.Ben: I would love to, but I already made plans with my partner and our foster son.Anthony: That takespriority. But in case something changes, I'll save you the seat.Ben: OK.[Lesbian s*x. Mel blowing Lindsay. But she look bored]Lindsay: Honey, that feelswonderful. But do you mind if...Mel: What?[Lindsay take a dildo from the table.]Lindsay: If we used this?Mel: We're haven't used this since many years.Lindsay:It's just I don't feel in the mood for this. But if you don't want to...Mel: No, no, it's what you want. Just give it a try.[Mel turns on the dildo.][Deb's done with hershift for the night. She brushes right past Brian, who's at the register, paying for his take-out order.]Waitress: Here you go.Brian: Thanks.Waitress: Take it easy,Deb'!Debbie: Yeah, you too, Betty honey. See yo.[Brian follows her outside, he catches up.]Brian: In case you didn't notice, I was in the diner.Debbie: Inoticed.Brian: Walk you home?Debbie: No, that's OK.Brian: It's late.Debbie: I've been doin' it on my own for 20 years. I can take care of myself.Brian: Andyou've got a right hook to prove it.[He rubs his jaw. Deb's attitude softens, but only slightly.]Debbie: You're working late?Brian: Just gotta get the jobdone.Debbie: Used to be the only reason you'd stay up was because it was still up.Brian: A lot of things used to be.Debbie: You're telling me.Brian: I shouldn'thave said what I did. About Vic.Debbie: You're damn straight you shouldn't have! Not that you were wrong. He was lucky he got those extra years. But it's theway you said it, just tossing it off like it didn't mean a thing! Like his whole f*cking life didn't mean a thing!Brian: I can see your point.Debbie: Yeah? So whydidn't you see it then?Brian: Maybe because I didn't know I had cancer then.Debbie: What?Brian: You gonna make me say it twice?Debbie: I just wanted to be"}
+{"doc_id":"doc_307","qid":"","text":"[The Nelson House - Emma's room.](Emma (a blond girl of about 12) is sitting at her computer with her best friend Manny (a brunette girl of about 12))Emma:Read it again Manny.Manny: Again? I've read it six times.Emma: Just one more time. PleaseManny: Ok. \"Emma, you saved my heart and my project. If weprotect the wildlife refuge, I owe it all to you. Love you, Jordan.\"Emma. Love you. Love you. (They both squeal) Let me see his picture again. (She scrolls downthe screen on the computer and we see a cute brunette boy in several pictures) He gets cuter every time we see his face.Manny: Is that possible?Emma: HeyManny. Don't wreck that. I want Caitlin to autograph it. (We see a magazine with a blond woman on the cover, who must be Caitlin)[The Nelsons' HouseDownstairs](We see a photograph, which must be of Emma + her mom when Emma was little. The camera moves up and we see her mom put it in a box.)Spike(Emma's mom's nickname): Emma! Ready to go?Emma: Just a minute.Spike: We don't have a minute. J.T.'s waiting for us.(Emma minimizes her e-mail fromJordan. She is trying to close it. Her and Manny get nervous. Emma's mom enters the room.)[Emma's Room]Spike: Em, your room's a disaster. I thought youwere going to clean it up.Emma: I will.Spike: And turn off that computer.Emma: I was just showing Manny your reunion website.(Emma brings up the reunionsite. Spike takes the mouse and clicks on pictures of her and her classmates when they were at Degrassi.)Spike: (stops on a picture of a girl) I always knew she'dmade it big. (Keeps going and stops on a picture of herself with blond Mohawk hair) How's that for a hair-do? Could I have been any cooler?Emma: Uh,yeah.Spike: My ten year reunion. Wow. It's gonna be great seeing everyone again. I'm getting as bad as you guys. Come on, let's go (as she leaves, she takesthe hat off Manny's head)Manny: (to Spike) That's some pretty cool stuff you collected for the reunion.Spike: Thanks. Emma now! (Emma gets up to leave andsees she has a new e-mail) Emma! (Emma leaves)Theme song[Degrassi Community School]Spike: Thanks for dropping these off.Manny: No problem MissNelson. Gives us a chance to see the school.J.T.: Don't you think we'll be seeing enough of it over the next year?Spike: You sure you can handle that?J.T.: I'msmug, but strong. Like bull.Emma: Speaking of bull...Spike: Thanks again, guys. And Em...Emma: Yes, I'll clean my room. She rushed me out of the house sofast, I didn't get a chance to read my new e-mail. I hope it's from Jordan. 'Cause in the last e-mail he told me that... (Walks away talking to Manny)J.T.: Guys!Help![Inside Degrassi]Manny: That sucks about the e-mail.Emma: I know. But, Jordan e-mailed me last night too.Manny: Really? What'd he say?Emma: (closesher eyes) \"I got over 6,000 names on my petition to keep the polar wildlife refuge untouched. Thanks for all your help with all this, Em, and your great idea.You're the best.\"Manny: Wow.Emma: I suggested the petition, but Jordan did all the work. He's so committed.Manny: Too bad he lives in Yellowknife.J.T.: Help!(He drops the boxes)Emma: J.T.! (Emma + Manny run to help him)(They start to pick stuff up. Emma picks up a photo of three guys, who were probably friendsin a band.)Emma: People in the 80s' were weird.[Jeremiah Motors]Joey: This car is retro meets modernism, Lucy. It's got the zing of the past with the technologyof the future. It's even got that little bug vase that you put the flower in. It's like, Peace man, like a hippie.Lucy: Joey, ideally I'd like a car that's bigger than mylaptop. I've got to move to New Mexico in this thing.Joey: This car is bigger than it looks, Lucy, trust me, okay? Why don't we take her for a spin, we'll drop yourstuff off at Degrassi, and when we get back you'll be begging me to make a deal.Lucy: Alright, alright. Tell me that's not Angela. (A little girl of about five walksup to them)Joey: Yeah.Lucy: Hey, cutie, you're practically a teenager.Joey: Can you say, \"Hi Lucy\"?Angela: Hi. (She waves)Lucy: Hi. (She waves back)Joey: Shestarts kindergarten next week, can you believe it? It's gonna be great. She really needs to be around other people.Lucy: Speaking of needing other people, Ichecked the reunion website last night. You're not confirmed.Joey: I know. I know.Lucy: Joey, we're all really sorry your wife died, but, it's been a year. I thinkthat Julia would be upset if she thought you were cutting yourself off from people.Joey: Can we... uh... Why don't I go in, get the keys and we'll go out for a spin,okay? Angela, you wanna go for a spin? Yeah, we're gonna sell Lucy a car. Yeah, yeah, yeah. (Goes inside with Angela)[Degrassi]Emma: I really hope you're Mr.Simpson.Archie: I am. And you must be Emma. Wow. Wow. Wow. Spike found all of this stuff, it's amazing.Manny: Spike?Emma: My mom's nickname. Don't ask.(They put the Boxes down.)Archie: (Takes the hat off J.T.) And I can see Fedora's are making a comeback. (Puts the hat on his head) Great. Thanks a lot guys.Uh, listen, go and enjoy your last few days of freedom.J.T.: Spike? (Emma hits him) Ow! (They start to run)Archie: Hey guys, no running! No running! Norunning! Okay, just keep running. Don't listen to me. Alright.[Hallway](As they run, they hit the lockers. They stop running in front of the Media ImmersionLab.)Emma: Holy...Manny: Look at all the computers.(Manny and J.T. start to walk away, but Emma stays.)J.T.: Emma? Let's go. Oh, I see. Gonna e-mail Jordanfrom here?Emma: Shut up!J.T.: (mimicking Emma) Oh, he can read into my soul. (Emma punches him) Ow.Mr. Raditich: And the jewel on the Degrassi crown,the Media Immersion Lab. Every computer here is connected to the internet via high speed telephone access.Jeff: Oh, you see Toby? Didn't have that at your oldschool.J.T.; Toby?Toby: J.T.?(J. T. goes up to Toby.)J.T. and Toby: Mickey hickey wampum, Mickey hickey yeah, Mickey hickey wigwam, North Creek summercamp.J.T.: Dude, what are you doing here?Manny: I guess they're friends.Toby: My dad moved in with his girlfriend and Degrassi was the closest school so...Mr.R.: I think we'll let you two get reacquainted and your father and I will finish filling out the forms in my office.Jeff: So, Toby, you gonna need a...Toby: I'm gonnawalk home, ok?Jeff: Cool.J.T.: Oh, sorry. Manny, Emma, this is Toby. We were at camp together.Emma: No, really?Toby: Nice to meet youEmma: Yeah. Ok, thecoast is finally clear. Manny, you're coming in with me.Manny: No, no.Emma: You two stand guard.(Emma and Manny go inside the Media Immersion Lab soEmma can check her e-mail.)Toby: So is your friend always like that?J. T.: Always.Toby: Really?(Manny runs up to the door and scares them by hitting it.)Toby:Kids.[Another part of Degrassi](Archie is looking through photos.)[Inside a black limo. A blond woman (Caitlin Ryan) is talking on her cell phone)]Caitlin: Keith, Iknow you're really overworked right now. But this weekends really, really important to me. (As she talks they show her on a magazine, then her actually talking)Come on, it's just one weekend. I want to show you off. Show us off. Please? Yeah, that's perfect. Great. 5:00. Thanks babe. I love you too.(She closes her cellphone. When she does, we see an engagement ring on her hand, which means, Keith is her fiancé.)[Degrassi](Caitlin gets out of the limo and entersDegrassi.)Caitlin: Thanks. (To the driver opening the car door)Driver: You're welcome.[Inside Degrassi]Caitlin: Snake!Archie: Caitlin. Oh my... (Drops his boxhe's carrying and gives her a hug) Wow. Hey. Oh wow, it's great to see you.Caitlin: Likewise. So you're a teacher at Degrassi. Ok, here (gives him aheadband)Archie: Ok, now. This is your best memory of Degrassi?Caitlin: What? So I went through a headband phase. Come on, it was the 80s'. You werethere.Archie: Speaking of the 80s'... how about this? Joey's fedora.Caitlin: Ok. (Puts the hat on)Archie: Nice. Nice. It suits you.Caitlin: Where's the shirt?Archie: Idon't know. I think Joey's still wearing it, you know?[Outside Degrassi]Lucy: (Sees the limo) Oh, look at that. Why don't you sell a car like that, Jeremiah?(Joeylooks inside Degrassi. He sees her and she sees him. She walks slowly when she sees him. (You can tell that maybe they were once together))[Media ImmersionLab]Emma: Manny, would you calm down? If we're caught, I'll say I forced you.Manny: Ha, ha. What? What'd he say?Emma: Manny, Jordan's coming here. Andhe wants to meet me. Tomorrow.[Degrassi entrance]Caitlin: So what's your dinosaur's name?Angela: Ally.Caitlin: Ally?Joey: So you're getting married.Congratulations.Lucy: Yeah. When's the big day?Caitlin: Sometime next year. And we haven't narrowed it down yet, but, um, you are all invited.Archie: Great. Sowhen do we actually get to meet Keith?Caitlin: He's on an afternoon flight from L.A. He's dying to meet you guys.Joey: L.A. Is he in show business?Caitlin: He's adirector.Joey: I always knew you'd meet the guy.Caitlin: Well, I guess, um, I should probably go. Uh, check into my hotel. Uh, but, Joey, the reunion. You reallynot gonna go?Joey: No, I'm not.Caitlin: Well, then at least come out for drinks with us tonight.Joey: I, uh...Lucy: You know what? He'd love to. We'll both bethere.Caitlin: Great. So I'll see you guys later then. (Mr. Simpson takes the hat off her as she leaves)Lucy: By Caitlin.[Playground.](Emma and Manny are on atire swing.)Emma: I want to meet him. It's just I told him I was in high school.Manny: You almost are. Jordan's coming here. You have to meet him. It'sfate.Toby: Who's Jordan?J.T.: Some creep Emma met on the 'Net. I bet he lives in Scarbrough + works in a video store. I bet he's 40 and drools.Emma: You stillwet the bed and I'm friends with you.J.T.: Ha ha ha.Toby: Ok. If you're meeting a stranger you met off of the 'Net, that could be really dangerous.Emma: He'snot a stranger. He e-mailed me his picture. I've known Jordan a lot longer than I've known you.Manny: Guys, it's cool. Jordan's 16. He's coming here on a schooltrip.J.T.: School trip? It's summer.Emma: He organized it back in the spring. He got to go at the last minute. Stop making it into something it's not.(They startspraying each other with water guns.)[The Nelson's House - Emma house](Spike and Caitlin are looking at the reunion website.)Caitlin: Oh my god. Wait. Wait.Go back. I wanna see that one again. Don't try and speed past that one.Spike: (looking at Caitlin's engagement ring) I can't wait to meet Keith. He's got greattaste in jewelry. That's a good sign.Caitlin: Well, thank you. Um, actually, I picked it out myself. 'Cause, he, you know, was so busy with pre-production and allthat kind of stuff, he just gave me his card and said, \"Go crazy.\"Spike: Can't complain about crazy.(Emma enters with a sandwich and drink.)Emma: Why are youon my computer?Spike: Excuse me, our computer.Emma: You're on the reunion site again? Next time can we try asking before trespassing?Spike: Next time canwe be more polite to our guest? Em...Emma: Caitlin Ryan. Ryan's Planet! Birth date: March 2nd 1972. You're a Pisces right?Spike: And you're a stalker.Emma: Ican't believe you're actually here, in my really messy room.Caitlin: Don't worry about it. Oh my god, it's great to see you. All grown up.Spike: She wishes. So...expecting an e-mail from your boyfriend?Emma: Did you...you hacked my e-mail? Haven't you ever heard of privacy?Spike: Relax, I couldn't hack my way out of"}
+{"doc_id":"doc_308","qid":"","text":"[PREVIOUSLY_ON]Wesley: \"Angel's son is part of the prophecy.\"Linwood: \"The Nyazian scrolls said the child would never be born!\"Gavin: \"Darla died duringchildbirth.\" Darla dusts herself.Holtz: \"She sacrificed herself to save the child.\"Angel: \"I'm his only family. My job now is to be everything for him.\"Gavin: \"Wehave to get that baby.\"Gunn: \"Boogie at the back door!\"Wes: \"Everyone and everything will be coming for him.\"Angel: \"No one is gonna put their hands on thischild.\" Cordy gets thrown into the weapons cabinet by a vision.Cordy: \"These visions are killing me.\"Skip: \"Humans are not strong enough to harbor the visions!Demons are the only ones who can withstand them.\"Cordy: \"So - demonize me already.\"Cordy: \"Right now we have to solve my vision. The one I'm having rightnow.\"Angel: \"Cordy...\" Cordy, floating a foot above the ground: \"What?\"Files and Records: \"Holtz, Daniel, vampire killer, ca. Seventeen fifty four.\" Holtz showsJustine the obituary of her sister, Julia Cooper.Holtz: \"Justine, I know what it's like to grieve. I want to help you.\"Justine: \"I want you to stay the hell away fromme.\" Justine fights the vampire in the cemetery and Holtz stakes it before it can bite her.Holtz: \"I'm here to teach you how to fight.\"Justine: \"What's in it foryou?\"Holtz: \"You help me kill a vampire.\" Shot of Angel and the gang leaving the hospital with Connor in the stroller Gunn bought.Justine: \"You don't need me forthat.\"Holtz: \"I do. This vampire is strong.\" Angel is counting loose change as he puts it into a piggybank.Angel: \"Sixty, seventy, eighty. One, two, three.\"Cordy,holding Connor: \"Angel...\" Angel raises a hand to stop her as he picks up the piggy and locks it into the picture safe beside the desk. Fred looks up from herlaptop.Fred: \"How is the Connor fund?\"Angel: \"There was a dollar eighty three in the cushions out there. That's perfectly good money just lying around. (Closesthe safe) Now, how's it going?\"Fred: \"Moments away.\" Angel looks over Fred's shoulder at the new website for Angel Investigations and points at the 'No CaseToo Small' under the 'We Help The Helpless\" part.Angel: \"Ah. Can you make that bigger? Bold, but, you know, tasteful.\"Fred: \"Hmm. Tasteful. Sure.\"Cordy tobaby: \"You are so cute! Yes, you are. You are just the best little boy in the whole world.\" Angel comes up behind her and smiles down at Connor over hershoulder.Angel: \"How's my little man?\"Cordy: \"Oh, he wonders where his father's been.\"Angel: \"Papa's got mouths to feed.\"Cordy: \"Ah. I have a mouth, too.Always have had one. Kind of known for it and we've fed it fine for years. Yeah.\" Cordy puts Connor down in a baby carry-bed.Cordy: \"Angel - I'm glad you wannatake care of your son. I am. I just wanna make sure we don't lose sight of the mission.\"Angel: \"Well, we have to earn a living. I mean, not just for Connor, but forall of us.\"Cordy: \"I agree. But first and foremost we work for the Powers, help the helpless. Promise me we won't neglect that.\"Angel: \"I promise. (Sees Gunncoming in) I promise. (Turns to Gunn) Well?\"Gunn: \"Well, we hired some guys. Six thousand of these babies all over town.\" Gunn holds up a flyer with 'AngelInvestigations' and their logo on it. 'We help the helpless. No case too small. Paranormal Specialists. 313-555-0126'Angel: \"Nice! (To Cordy) I'd call me, wouldn'tyou?\"Fred: \"Hey! The website's up. We're live.\"Angel picks Connor up: \"We're live, little guy. Come on.\" Angel walks over to the desk and turns the laptop soeveryone can see the screen.Angel: \"There, beautiful. We're online. We got flyers, we got yellow pages. Ladies and Gentlemen, boys and girls, welcome to a newarea of Angel Investigations. All we have to do now is wait - for that phone to start ringing and the money to start rolling in. (To Baby) Because someone's got toclothe and feed and educate this little guy, yeah? (Connor yawns) Yep - all we have to do is wait. - Just a matter of time. (Connor fusses) Don't you worry, thistown is full of people who have problems.\" A man is running through the pouring rain. He looks back over his shoulder at some looming shadows following him onthe wall of the alley behind him, and runs right into a pile of trashcans. As he picks himself back up, he sees one of Angel's new flyers. AI is still standing aroundthe phone, waiting. The man, flyer in hand, runs over to a payphone, dials, listens to it ring.Man: \"Come on, come on, come on!\" Split screen - the phone at AI is*not* ringing. Triple split screen, a guy picks up the phone in what looks like a kitchen.Guy: \"Fabrizio's Pizza.\" Fred picks up a flyer form the desk and takes acloser look at it.Fred: \"Is this the right phone number?\" Everyone turns to look at Wesley. Intro Hyperion, day, Wes walks in, carrying a stack of flyers.Wes:\"That's the last of them. Six thousand new ones.\" Wes stops to see what has Gunn's attention so riveted. Fred is out in the lobby cuddling Connor.Wes:\"Adorable.\"Gunn: \"So sweet.\"Wes: \"I meant the baby.\"Gunn: \"I meant the hot mama.\" Gunn and Wes look at each other. Angel comes in.Wes: \"Sorry about themix up last night.\"Angel: \"It's not important. But we can't afford any more mistakes. Making mistakes cost money, and making money right now is our numberone priority. (Lorne comes down the stairs in a silk housecoat) Hey, Lorne.\"Lorne: \"If this is about the baby formula that I snagged from the fridge last night -sorry. I was feeling a little peckish and it was that or a glass of pig's blood. By the way, baby formula and Kaluha? Not as bad as it sounds.\"Angel: \"Lorne, I needyou to use your contacts to find out what Holtz is up to. He's out there somewhere. We can never forget that. Finding him is our number one priority.\"Gunn: \"Ithought you said...\"Angel: \"Finding Holtz and making money are our two number one priorities.\" Cordy walks by behind him and clears her throat.Angel: \"Helpingthe helpless, finding Holtz, and making money are out *three* number one priorities.\"Cordy: \"Hey, look! We got some hits on our website.\" The phone on Cordy'sdesk rings and Wes picks it up.Wes: \"Angel Investigations, may I help you?\" The phone on the counter rings and Gunn picks it up.Gunn: \"Angel Investigations,can I help you?\" Yet a third phone rings somewhere.Angel, smiling: \"We're in business!\" Justine is sitting at a small table in Holtz lair with Holtz pacing behindher.Justine: \"You should be thanking me.\"Holtz: \"For disobeying an order?\"Justine: \"For dusting two vamps!\"Holtz: \"Two vampires from whom I had told you towalk away.\"Justine: \"Guess I misunderstood.\"Holtz: \"Which is why we're here.\"Justine: \"And speaking of here, would a couple of light bulbs and indoor plumbingkill you?\"Holtz: \"We are here to determine whether or not - you - have the commitment necessary for the work at hand.\"Justine: \"At hand? -That's a joke,right?\"Holtz: \"Why are you wasting my time?\"Justine: \"What do you want from me?\"Holtz: \"I just told you: commitment. Something you must now convince meyou have.\" The camera pans down from Justine looking up at Holtz to reveal that her left hand is pinned to the desk with an awl.Holtz: \"So I've explained why I'mdoing this. Why are you?\"Justine: \"Let's just say, feeling something - is better than feeling nothing.\"Holtz: \"Take it out any time you like. If you're still here whenI return, we'll consider the next phase of our - partnership.\" Justine watches Holtz walk out and slide the grate shut behind him. The Hyperion lobby is full ofpeople (not all of them human). Fred takes a clipboard from one of the non-humans. Angel, holding Connor, walks up beside her.Fred: \"Welcome to AngelInvestigations Mr. (looks at the clipboard) Blee - Lee - Shushngrung. Uhm, please have a seat and one of our associates will be right with you.\"Angel: \"Hey,Lorne. Non-human on deck.\"Lorne: \"Coming.\" Lorne is talking to three gray aliens, wearing long robes and silver facemasks in a language that seems to bemostly clicks, whirrs, and popping sounds. He leaves them to talk to Angel.Lorne: \"Hey, the guys with the chrome faceplates, they're called Nahdrahs. I speaktheir lingo, sort of. If I understand them correctly they've got a job for our leader and a great deal of money.\"Angel: \"Oh, let's not keep them waiting,huh?\"Lorne: \"Well, our leader in this instance being Wesley. They saw his web articles on DNA fusion comparisons in Tri-ped demon populations.\" Angel sees Wescoming out of the office with some other people and flags him.Angel: \"Hey, Wes. Wes, talk to the Nahdrahs.\" Gunn comes up to Angel leading a youngblonde.Gunn: \"Hey, office free? It's kind of personal.\"Angel: \"Yeah. Go. (To Connor) If this keeps up, little guy, we may have to incorporate, huh?\" Cordy is sittingat the counter, phone in hand.Cordy: \"We're getting stretched a little thin here, Angel.\"Angel: \"Come on. Nonsense. We can handle it.\"Cordy: \"Really? Well, thenwhy don't you handle it by picking up lines two, three and four?\" Angel shrugs and walks towards the phones.Angel: \"Angel Investigations, your problems are ourproblems. - Okay. How urgent is it? Uh-huh. And what do you do for a living? That's a good company. You own it? Okay, hold on. (Puts down the receiver) Pen,paper, quick.\" Gunn is pouring some tea for the Blonde in the office.Ally: \"I don't sleep. I'm afraid to go out or answer the phone.\"Gunn: \"Yeah, I hate stalkers.Look, don't worry. We'll put a stop to it. (Hands her the tea) Have a seat.\"Ally: \"Thank you.\"Gunn: \"So, do you know who this guy is?\"Ally: \"Yeah, well, it's- it'sBrian, my ex-boyfriend.\"Gunn: \"Have you - been to the police?\"Ally: \"Yeah. They act like I'm some kind of nut. Just - like I'm making it all up.\"Gunn: \"Yeah, yougo to the cops for help they don't do a thing until somebody ends up dead.\"Ally: \"Somebody *is* dead.\"Gunn: \"Who?\"Ally: \"Brian. (Holds up the flyer) Isn't thatthe kind of stuff you guys deal with?\"(The number at the bottom of the flyer now ends in 0162)Gunn: \"Yeah. All the time. So - Brian, your dead boyfriend, isstalking you?\"Ally: \"Well, I mean, he's not my boyfriend *now.*\"Wes is talking to the Nahdrahs with Lorne translating.Wes: \"The Internet article I'm currentlywriting posits a formula for the genome mapping of creatures who don't have genes. - It's an exciting arena.\"Lorne: \"One I'm sure we can all download at 'I'llnever know the love of a woman dot com.' (Wes gives him a look) Ah, can we get down to business? They want to buy your head. - Little rusty with the language.I should probably clarify that.\" Lorne clicks away at the Nahdrahs. One of them holds up a metal suit case.Lorne: \"They want your mind. They're celebrating theirprince's, uh - it's - it's like a birthday, only they're not born so much as disgorged. They - they need you to solve one of their traditional puzzles so they can give itto him. It's quite an honor.\"Wes: \"Could be interesting.\" Fred has come up and looks at the Nahdrah's robes.Fred: \"Sure. These are puzzle people. Did you noticethe designs on their tunics? (Traces the design) Geometric shapes. Each a prime number, if you count their edges, arranged in ascending order of exponentialaccumulation.\"Wes, smiling at her: \"Yes, I did - not - notice that at all.\" Fred grins back at him, while the Nahdrahs start clicking away at Lorne.Lorne: \"Ah, theywanna know why your girlfriend was pointing at them. I better tell them what she said before we have an international incident.\"Wes: \"Ah, she's not my...\" Lotsof excited clicking going on by the Nahdrahs.Wes: \"Silly.\" The Nahrdahs leave in a hurry.Fred: \"Did I say something wrong?\"Lorne: \"No. No, they liked"}
+{"doc_id":"doc_309","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - LATE DAY][EXT. LAS VEGAS CITY - LATE DAY][SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE - LATE DAY](People areeating at the local grille.)(ELAINE ALCOTT walks out of the restroom.)(HANK PEDDIGREW sits at a table.)(Friends wave to each other from their tables in front ofthe large picture glass windows.)(FRED LYCHOCK, the Restaurant Manager, smiles at the waiter. He turns and sees a car heading toward the restaurant at a fastspeed. He stops smiling and watches the car.)(The car doesn't stop at the light, nor does it turn. It continues through the intersection and straight for thewindows. The Restaurant Manager takes note of it and watches the car approach the windows, helpless to do anything.)(The waiter drops the tray he's carrying,his eyes fixed on the speeding car. The beer glasses hit the floor and shatters.)(The car crosses the sidewalk and heads straight for the glass windows.)(The carhits the windows and doesn't stop. The people sitting at the tables in front of the windows crash to the floor. The car plows through the windows, tables andpeople.)(Patrons scream as they dive to get out of the way of the speeding car.)(The car crashes through the establishments' tables. The waiter hits his headagainst the car's windshield, blood spattering across the glass.)(The driver hits the car horn and it blares.)[SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE --NIGHT](The woman driver is slumped against the steering wheel. Fire personnel use a crowbar to get the door open.)(It's raining outside. GRISSOM, SARA andCATHERINE walk in to the restaurant through the broken glass windows. Emergency personnel cart away survivors on gurneys. ELAINE ALCOTT is on the gurney,her neck in a brace, as it passes the CSIs.)(BRASS speaks to someone on his cell phone as the CSI's make their way toward him.)Brass: (to phone) Yeah, yeah.No. All right. Yeah, hold on, hold on. (puts phone aside) Happy hour. Joint was packed. Two fatalities, four critical.(BRASS pushes his way past them. CATHERINEstops him.)Catherine: How about the driver?(BRASS turns around to answer her.)Brass: Non-responsive.(BRASS heads out. Behind, we hear HANK PEDDIGREWgiving instructions.)Hank Peddigrew: (b.g.) I've got a GCS of three. I need to intubate.(SARA turns around and sees HANK working on an injured patron on agurney.)Catherine: (to GRISSOM) That's Sara's boyfriend.Hank Peddigrew: (looks up) Hey, Sara. Typical Thursday.(SARA looks around and notices hisinjury.)Sara: Hank? Your wrist is broken.(HANK looks down at his wrist as if noticing it for the first time. He stops trying to intubate the patron.)Hank Peddigrew:Larry, take over, will you?Larry: I got it, Hank.[SCENE_BREAK](The Fireman gets the car door open with the crowbar.)Grissom: The car's dry. This must'vehappened right before the rain.(The Fireman checks out the old woman driver.)[SCENE_BREAK](HANK assists LARRY as he intubates the patron.)Sara: Whathappened?Hank Peddigrew: I was sitting at the table. Next thing I knew ...Fireman: (b.g.) I got a heartbeat!(HANK looks up and rushes to give aid. He hurriespast SARA and heads for the car.)Hank Peddigrew: Excuse me.(He runs past CATHERINE and GRISSOM. They both watch him as he pushes the Fireman aside tocheck on the old woman driver.)Catherine: Some happy hour, huh?Grissom: I think happy hour's over.HARD CUT TO END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE - NIGHT](It's dark and still raining outside. The EMT and other Personnel are still processing thescene.)(GRISSOM is on his cell phone looking into the car. CATHERINE takes pictures.)(LARRY is sitting down in front of HANK, attending to his brokenwrist.)Sara: (to LARRY) Mind if I take over?Larry: No, go ahead.(LARRY stands up and SARA takes his place. She sits in front of HANK and continues to tape uphis wrist.)Sara: You okay?Hank Peddigrew: Yeah. I didn't think I'd see you tonight.Sara: (smiling) So that's what all this is about.Hank Peddigrew: Thanks.Sara:Any time.Hank Peddigrew: Listen, I got to head over to the hospital, and I'm sure you got to get back to work.Sara: Yeah, but ... will you call me if you needanything? My cell will be on. Anything.(SARA and HANK stand. HANK leaves. SARA turns around and walks toward GRISSOM.)Grissom: You and Catherine arerunning the evidence on this. Warrick just got done with Internal Affairs. He's on his way.Sara: Okay.Grissom: You need to talk to the Restaurant Manager,too.Sara: Anything else?Grissom: No.Sara: Where are you going?Grissom: I got gas.Sara: (nods, but is still confused) Oh.(GRISSOM takes a step past SARA,stops, and explains over her shoulder.)Grissom: Residential gas leak in Henderson.(GRISSOM leaves. SARA heads for FRED LYCHOCK, The Restaurant Managerwho is finishing up with a PARAMEDIC.)Sara: Are you the Restaurant Manager?Fred Lychock (restaurant manager): Yes.Sara: I'm Sara Sidle, Crime Lab.(SARAholds out her hand. FRED LYCHOCK gets to his feet and extends his hand to grab hers, but stops when he sees she's still wearing latex gloves.)Fred Lychock(restaurant manager): Oh, hi. Fred Lychock. Ooh, sorry. Um ... your supervisor asked for a seating chart. (He unrolls the chart for SARA to look at.) Everything'scomputerized - software program. This here'll show you the number of people per table.(SARA takes the chart and looks at it.)Sara: Where were you during thecrash?Fred Lychock (restaurant manager): I was at the register, behind the bar.Sara: Did you see anything?Fred Lychock (restaurant manager): A blurry jaguarspeeding through the intersection.(Quick flashback to the car speeding head-on toward the glass windows. End of flashback. Resume to present.)Fred Lychock(restaurant manager): I thought the car would slow down, but it kept right on coming. If you ask me, that's the reason why old people don't belong behind thewheel.Sara: Yeah, I didn't ask you. Thanks for your time.(SARA walks away from FRED LYCHOCK and heads toward CATHERINE who is examining the car.)Sara:I'm sorry. I got wrapped up in ...Catherine: Hank.Sara: Yeah. (SARA kneels and looks inside the car.) An old jaguar with a GPS unit. That's strange.Catherine:Yeah, not your granny's oldsmobile.[SCENE_BREAK][EXT. LAS VEGAS RESIDENTIAL AREA -- NIGHT]Grissom (prelap): (V.O.) We're cleared to goin?[SCENE_BREAK][EXT./INT. ARNZ RESIDENCE -- NIGHT]Lockwood: Yeah. Gas company shut off the valve at the street. Paramedics aired out thescene.(LOCKWOOD escorts GRISSOM and NICK into the residence to the dead body.)Nick: Homicide radioed in a D.B.?Lockwood: Vanessa Arnz. She's in themaster bedroom next to the son's room.Grissom: Thanks.[SCENE_BREAK][INT. ARNZ RESIDENCE - HALLWAY/BEDROOM - NIGHT -- CONTINUOUS](GRISSOMand NICK make their way toward the master bedroom where the dead body is located. They walk through the hallway.)Grissom: The gas company spikes itsnatural gas with mercaptan - smells like rotten eggs.Nick: I don't smell anything.Grissom: All's I smell is mothballs and stale tobacco.(NICK looks into the son'sroom.)Nick: Science geek. (He looks back at GRISSOM and smiles.) Takes one to know one, I guess.(He turns and they both head into the masterbedroom.)[SCENE_BREAK][INT. ARNZ RESIDENCE - MASTER BEDROOM - NIGHT -- CONTINUOUS](GRISSOM and NICK enter the master bedroom. On the bed isVANESSA ARNZ. DAVID PHILLIPS is already inside with the dead body.)Grissom: Hello, David.David Phillips: Hey. She's hot pink, like a maraschino.Grissom:Makes our job easier.David Phillips: Death was not the result of natural gas inhalation.Grissom: No, but carbon monoxide's still gas.Nick: Right, when carbonmonoxide displaces oxygen in the blood, victim asphyxiates, turns ... pink.(Quick flashback to: VANESSA ARNZ is sleeping and inhaling gas. Her skin slowly turnspink. End of flashback. Return to present.)(NICK moves to get a closer look at the dead body.)Grissom: Was Mr. Arnz in bed with her?David Phillips: Uh, yeah.Paramedics said they found them both in here.Grissom: So why is she dead and he's alive?(NICK looks up at GRISSOM. DAVID turns and looks at NICK. NICKstands up and explains the answer to DAVID.)Nick: You know, Dave, when I was a CSI-1, I would've tried to answer that, but now I know \"where\" before \"why.\"First step, find the source of the C.O. I'll grab the nighthawk, fire it up.(NICK leaves the room. GRISSOM looks down at the body. LOCKWOOD appears in thedoorway.)Lockwood: Mr. Arnz has been stabilized. They're preparing him for transport.Grissom: I want to take a look at him.David Phillips:Yeah.[SCENE_BREAK][EXT. ARNZ RESIDENCE - NIGHT -- CONTINUOUS](GRISSOM and LOCKWOOD question MR. ARNZ. The paramedics are still checking himout.)Mr. Arnz: I wake up in the middle of the night sometimes, if I get cold. Vanessa steals the covers. Uh, I woke up and my head was spinning. I think I'mcoming down with something. Then I look over at her ...(Quick flashback to: MR. and MRS. ARNZ is in bed. MR. ARNZ wakes up gasping. He reaches over tocheck on his wife.)Mr. Arnz: Vanessa.(He realizes that she's not breathing. He reaches for the phone and dials 911.)Mr. Arnz: (to the OPERATOR) Tell them mywife isn't breathing.(End of flashback. Resume to present.)Lockwood: Do you remember anything else?Mr. Arnz: No, I don't remember hanging up the phone. Imust've passed out. Next thing I know the paramedics are taking me out.(GRISSOM turns and notices the young man leaning against the car in the garage. Hepresumes this is the son.)Paramedic: We got to roll. Patient will be at Desert Palm.Mr. Arnz: Wait a minute. What about my boy?Paramedic: Peter seems fine. Thekid's 18. Signed an AMA.(GRISSOM heads toward PETER ARNZ to talk with him. He ducks under the crime tape and stops in front of PETER ARNZ.)[INT. ARNZRESIDENCE - GARAGE - NIGHT - CONTINUOUS]Grissom: Peter ... my name's Gil Grissom. I'm with the Las Vegas Crime Lab.Peter Arnz: You want to ask mequestions. I was in my bedroom, asleep. I heard the doorbell. It was the paramedics. A few minutes later, the police showed up.Grissom: I'm very sorry aboutwhat happened to your mother.Peter Arnz: Why are you sorry? You're not responsible. You didn't know her. You don't know me.(Camera holds onGRISSOM.)[SCENE_BREAK][INT. HOSPITAL - HALLWAY/WAITING ROOM -- NIGHT](SARA walks through the hallway. She passes by a young man sitting outsidewaiting. She stops in front of the GUARD standing outside the room of the old woman who drove the car.)Sara: How's she doing?Guard: Doctors are working onher right now. Doesn't look good.(Looking inside the room, SARA notices the old woman in the hospital bed and the medical personnel working on her. She turnsher head toward the young man sitting outside in the hallway.)Sara: Relative?Guard: Driver's been I.D.'d as Diane Lambert, that's her grandson Corey.(SARAwalks up to COREY LAMBERT.)Sara: Hi, Corey? I'm, uh, Sara Sidle. I'm with the Las Vegas Crime Lab. Mind if I ask you a couple questions?Corey Lambert: I don'teven know why she was in Las Vegas. We live in Laughlin. She hates it here.Sara: Corey, um... did your grandmother own a Jaguar?Corey Lambert: Yeah ..."}
+{"doc_id":"doc_310","qid":"","text":"Barney's OfficeTed from 2030: Kids, as you know, I was designing Goliath National Bank's new headquarters on the site of this old hotel, The Arcadian. Problemwas, some people didn't want The Arcadian torn down. Even bigger problem, they were led by my girlfriend Zoey.(Outside, Zoey and her supporters areprotesting)Crowd: G-N-B is the e-ne-my!Zoey: (She sees Ted at the window) Oh, hang on, hang on, hang on! Hey, sweetie! Are we still on for dinner at 8:00 atValenzisi's? That's great! I can't wait!Crowd: That's great. I can't wait! That's great. I can't wait!Ted from 2030: But somehow, Zoey and I were making it work.Atthe BarBarney: Ted, why are you dating our arch-enemy?! I mean, Wile E. Coyote wasn't trying to sleep with the Roadrunner.Robin: Or maybe he was. Thinkabout it. The way that she bats her eyelashes and shakes her tail feathers in his face? (chuckles) She wants it.Lily: Isn't it hard for you guys to be on oppositesides of something like this?Ted: Of course you feel that way, Lily. You and Marshall have basically melded into one big hermaphroditic blob. And that's fine foryou guys. But some of us want a partner who challenges us to grow and evolve.Lily: You guys are in screaming matches all the time.Ted: Uh-uh, uh-uh, uh-uh.Growing matches.Ted from 2030: It was true. Zoey and I loved to challenge each other.[FLASHBACKS](Ted and Zoey are watching the TV)Ted: The maincharacter is a young spoiled prince thrust into leadership after the death of his father. It's obviously a modern-day retelling of Henry IV!Zoey:Are you kiddingme?! It's Don Quixote...the classic quest story with the hero-jester and his long-suffering manservant!Ted: Okay, clearly, when we're watching Tommy Boy, we'rewatching two different movies.(Later, Ted is on the phone with Zoey)Ted: No, you hang up.Zoey: No, you hang up.Ted: No, you hang up.Zoey: No, you hangup.Ted: No, you hang up! (Later) No, you hang up.Zoey: No, you hang up.Ted: No, you... (His phone starts beeping) Hold on. (beep) Hello?Robin: For the love ofGod, will one of you idiots hang up the phone?Ted: Why would you do that?!Zoey:I-I thought you'd like it.Ted: Who likes that? Zoey:I like it.Lily: Yourrelationship sounds exhausting.Ted: Well, maybe yours is a bit lazy.Lily: Marshall and I have been together 15 years, and the only debate we've had aboutTommy Boy is whether it's awesome or super awesome. That's love, bitch.[OPENING CREDITS]Ted from 2030: Now around this time, Marshall had truly come tohate his job. He hated the paperwork. He hated the coffee. He hated the dirty jokes. He hated everything.At the BarMarshall: I have to quit.Barney: Quit GNB?!Why?Marshall: I need to do better things with my life, okay? There's-There's an opening for an environmental lawyer at the National Resources Defense Council.Sure, it pays less, but I'd be saving the oceans, saving endangered species...Barney: Saving chicken bones and an old boot to make hobo soup? Marshall, youcan't pay your mortgage with Hacky Sacks and good vibes.Lily: Baby, you have my full support.Barney: Well, then, you're not going to be able to pay for that tripto Spain that you've been planning. (Barney snickers) Say good-bye to riding around in gondolas, and eating bratwurst and seeing the pyramids.Robin:I don'tthink you know what Spain is.Barney: Well, I know that a trip there costs some serious lira.Ted: It's dinero.Barney: Where? I want his autograph!Ted from 2030:So Marshall walked in the next morning all ready to quit. But then something weird happened. Suddenly, he didn't hate the paperwork. He didn't hate the coffee.He didn't even hate the dirty jokes. Out of nowhere, Marshall actually liked GNB.Robin: It's graduation goggles.Marshall: What? Robin:Graduation goggles, likewith high school. It's four years of bullies making fun of all the kids with braces, even after the braces come off and they can walk just fine. But then, ongraduation day, you suddenly get all misty because you realize you're never going to see those jerks again. I just had graduation goggles with that guy Scooby Idated.Lily: The guy who was basically a dog? Robin:He was the worst kisser I've ever been with. But the moment I decided to dump him...I suddenly got kind ofwistful. (as speaking to a dog): He was a good boy.Barney: Yeah. I've been there, too. Every time I'm done having s*x with a woman, at first,I never want to seeher again. No, that's pretty much it. Robin:The point is, you can't trust graduation goggles. They're just as misleading as beer goggles, bridesmaid goggles, andthat's-just-a-bulky, outdated-cell-phone in-his-front-pocket goggles. That one was a bummer.Marshall: You're right. Tomorrow, I'm quitting GNB.Barney: No! Youcan't quit tomorrow! The lady with the big nipples is coming back to give another sexual harassment seminar, and I bribed one of the maintenance guys to keepthe room at a brisk 55 degrees!Lily: Baby, more than ever, you have my full support. (Lily and Marshall kisses)Zoey and Ted are in bed, in Ted's appartment / Lilyand Marshall are in bed in their appartment / Barney is in bed with a girl in his appartmentTed: You know, sometimes I feel bad for Lily and Marshall.Lily: I'mstarting to feel bad for Ted and Zoey.Barney: It starts with an... \"L?\"Girl: How can you not remember my name?Ted: It's like they never challenge each other.They just automatically agree all the time.Zoey: Well, they don't do that all the time.Ted:Yes, they do.Zoey: No, they don't. Ted:Yes, they do. It's like they... Lilyand Marshall:... don't see eye-to-eye on anything! Totally.Girl: It rhymes with your name.Barney: And I said my name was...?At Lily and MArshall'sappartment(Marshall comes in)Marshall: Baby, I did it! I quit. And then I walked right over to the NRDC, and I took that job.Lily: Oh, good for you,sweetie.Marshall: Yeah. It's a little less money than I was expecting. I mean, compared to what I was making at GNB, it's nothing. Actually compared to anything,it's nothing. It's nothing. The paid position just got filled, so all I can do is-is volunteer right now. You're cool with that, right?Lily: Baby, if this is what you need todo, we'll figure it out. How's Barney handling you leaving?In Barney's office(Barney is burning a photo of Marshall; Ted enters)Ted: Hey, Barney, there's a bunchof models in the lobby, and the gossip is one of them is really a dude. You want to play \"Who's Hot and Who's Scott?\"Barney: It's always the one in theturtleneck, Ted. And no, I don't want to play. Stupid Marshall-... ruined everything.Ted: Oh, come on. Everything's not ruined.(A man enters)Man: Guys,everything's ruined.Ted: What? Why?Man: Your girlfriend somehow got the Landmark Preservation Committee to agree to a hearing. If they declare the Arcadiana landmark, the whole project is dead. The good news is, I just got the phone number of a husky-voiced hottie in a turtleneck.(The man leaves the room)At theBarRobin:...so, if the Landmarks Preservation Committee sides with Zoey, your whole project goes down the tubes? You must be furious.Ted: I'm furiouslyenjoying being challenged.Lily: Why don't you admit that your girlfriend challenging your every move is getting you a little murder-suicidey?Ted: Why don't youadmit that Marshall quitting his job and taking an unpaid internship is killing you?Lily: It's not.Ted: Lily, the downside to having giant, Japanese anime eyes isthat they're easy to read. And yours are screaming, \"What about my trip to Spain, deadbeat?\"Lily: Okay, Ted, the downside to having a woman's mouth is, yourfeminine pout gives away your true feelings. And yours is saying, \"Oh, Zoey, why can't I be on top just this once?\"Ted: We take turns! Sometimes.(Marshallcomes in)Marshall: Hey, guys. Thanks. Hey. I just had the best first day at the NRDC.(Barney starts laughing)Barney: I'm sorry. Sorry. Something Hershel said atwork today.Robin: Hershel?Barney: What, don't you guys know Hershel? Didn't I tell you? Oh, he's the new lawyer who replaced Marshall at GNB. He is soawesome and funny and tall... taller than Marshall... and he knows way more laws.Lily: Well, I'm glad you like your new co-worker.Barney: There's no Hershel! Iwas just saying that to make you jealous! Why do you insist we play these games?Marshall: Barney, I'm not playing...Barney: Just come back to GNBalready!Marshall: I'm really loving my new job.Lily: Oh, and I'm loving seeing you this happy.Marshall: I'm so glad to hear you say that because I volunteered ourapartment for a big NRDC fund-raiser tomorrow night. You're-You're cool with that, right?Lily: Baby, you have my full support.Marshall: Thanks, baby. (phonechirps) Oh. Ooh, I gotta go. The invitations are ready. The party's for a bunch of environmentalists, so I found a guy downtown who makes biodegradable partyinvitations that can also be used as toilet paper.(Marshall leaves)Barney: That's how I'm gonna use mine.Robin: Why in the world do you care so much whetherMarshall works at GNB?Barney: Care? I don't care. I'm like, whatever. Marshall who? He's stupid. Hershel's way better.Robin:Okay, Barney, is it possible that witheverything that's gone on with your dad lately, you might have some unresolved abandonment issues you're transferring onto Marshall?Barney: Oh! Ugh! You areworse than my shrink. \"Barney, we have to talk about your father.\" \"Barney, I'm not going to teach you how to hypnotize people. You'll only use it for evil.\"\"Barney, I am not going to conduct a couples session \"between you and this woman. She's obviously a prostitute.\" I don't need this![SCENE_BREAK]At Ted'sappartment(Lily arrives)Ted: Ah, Lily Aldrin, half of the world's most perfect couple! I was thinking about that woman's mouth comment, and I have three goodcomebacks. One: your mom didn't seem to mind it last night on her...Lily: Okay, look, Ted, I need a favor. Would you mind driving out to Kennedy with me topick up this famous ecologist for Marshall's fund-raiser? Apparently, he only speaks Spanish. And you speak Spanish, right? (Ted says something in spanish)Perfect. Let's go.At Barney's office(Barney is on the phone with Marshall)Barney: Hey, Marshall, it's me. Listen, I know I've been kind of a jerk about your leavingGNB. I just wanted to call and say I'm sorry. No apologies necessary. We're good. Good. Um, hey, any chance you might maybe... I don't know... if you're notbusy, uh, want to have lunch today?Marshall: Oh, buddy, I'd love to, but I can't.Barney: Oh, that's cool. No biggie. Another time.Robin: (Robin is standing at thedoor) Oh, my God!Barney: How long have you been there?Robin: You don't remember?[FLASHBACK]Robin: Hey. I was in the neighborhood. I just wanted tocheck in on you. You seemed, um, you seemed really upset the other day.Barney: Oh, no, I'm fine.Robin: Okay. Well, um, you want to go grab somelunch?Barney:Sure. Hey, are you okay if I invite Marshall to join us?Robin: Yeah.(Barney makes a call to Marshall)[END OF FLASHBACK]Barney:Right. So, um...Chinese?In Ted's carTed: You know, just because Zoey and I are a different kind of couple than you and Marshall doesn't make us a worse couple.Lily: You'reright. I-If you and Zoey are happy, then who am I to judge? I'm so sorry.Ted: Oh, my God, is that how support feels? It's so warm and wonderful. Oh, Lily, I'vebeen so unhappy.Lily: But I thought you liked being challenged.Ted: Nobody likes being challenged! Couldn't she agree with me just once, even on something"}
+{"doc_id":"doc_311","qid":"","text":"[PREVIOUSLY_ON]Zachariah: What about Boyd?Boyd ain't nothing like Bowman.Zachariah: Yeah, he's a Crowder. That's awful strange talk seeing as you're hereworking for him.Ava: My uncle ... you sure he couldn't have made it out of that mine?Carl: Even if he survived the blast, the rockfall cut him off from theentrance.Probably got turned around in the dark.Ava: Zachariah got turned around?Art: You want some advice? Bring Raylan in. See if you can confirm what yourgut is telling you.Rachel: Is that what you'd do? You'd let it go. Wouldn't risk the case just to save your own ass.Mike: When I asked you how long you'd beensnitching to the marshals, you said, \"this time.\" The other time was about Grady Hale, right?Duffy: You just figured that out all by yourself, Mikey?[laughs]Duffy:Aah![handcuffs click]Mike: Ms. Hale, please call me as soon as you get this.Boyd: Ripping you off ... that was her idea of payback for you murdering herhusband.I just thought you'd wanna know. Baby?[gunshot][grunts]Raylan: What did you do?Ava: I gave you what you always wanted, Raylan ...Boyd Crowderbleeding at your feet. I'm gonna come after you.Ava: I know.Rachel: I know your deputies just got back to Atlanta, but we need as many as you can spare. We'vegot a new number one. Ava Crowder. Jerry, I'm gonna have to call you back.Art: [exhales sharply][indistinct conversations]Rachel: How bad is it?Art: Well... Ishaved.The director called. Tried to tell her that I was the shot caller on this from my sickbed, that I just couldn't let it go, but apparently you'd already talked toher.Rachel: I'm the one who approved Ava as a C.I. and Raylan as her handler. It's only right I take the hit.Art: I wish you'd called me first.Rachel: Am Isuspended?Art: Hell, no. Not gonna sideline one of my best manhunters in the middle of a manhunt. What the hell's the status with Crowder?Rachel: Nelson'ssitting on him at Harlan regional medical until they get the bullet out and we can move him.Art: Well, you do realize you accomplished something that I was neverable to do all these years.Rachel: Let an untrustworthy C.I. get away with $10 million?Art: You got Boyd Crowder.Boyd: Aah! Aah, aah, aah.Doctor: Irrespectiveof you being shot, you are what doctors call one lucky son of a bitch.Yeah, well, I don't feel so lucky at the moment. [groans]Doctor: Slug splintered on yourcollarbone. Hair South, your lungs'd be torn to shreds. We got in there, tied things up. It could be worse.Raylan: You give us a minute, doc?Doctor: You're not theone shot him, are you?Raylan: No, I'm the one who got him here.Boyd: [exhaling deeply] Ain't exactly true, is it? What you told him about bringing me here.Well, I called it in, made sure they knew you were emergent.Boyd: You handcuffed me to a bumper, you left me there without so much as afare-thee-well.Raylan: You could hear the sirens on their way. Must have given you some solace.Boyd: I don't suppose you've come to tell me you've foundher.Raylan: I found her truck some down the road, abandoned. No sign beyond. Gotta suck, be that close to the prize, have it shot out of your hand. I kinda knowhow you feel.Boyd: No, you don't. I don't believe in a world where you know how I feel.Raylan: I didn't realize disappointment was a domain exclusive unto BoydCrowder. Well, Raylan, if we're gonna play it that simple, then let's talk about your disappointments. What disappoints you, Raylan Givens? The fact that youweren't the one who got to shoot me? Where is she goin'?Boyd: Well, you wheel me outta here, I'll take you straight to her. [chuckles] That's funny.Boyd: Oh,well, it doesn't have to be funny. Come on, Raylan. Me and you, one more ride together. See if we can't find a reasonable solution to our problem. But which isour problem, exactly? The money or Ava?Boyd: Well, ain't they the same problem, Raylan?Raylan: Are they to you?Boyd: I'm gonna get outta here,Raylan.Raylan: Mm-hmm.Boyd: Sooner or later, one way or another, I'm gonna get outta here, and when I do, I'm gonna go get that money.Raylan: Which setsme to thinking, How long you think she's got? Long enough for you to execute your great escape? Get to her before Markham and his boys do? Then I got towonderin' further what they're gonna do to her if they get there first.Boyd: Well, maybe she has whatever that is coming.Raylan: Oh. I see. And you're cool withthat? Them dishing out retribution however they see fit?Boyd: Are you?Raylan: My, my.Boyd: You know, Raylan...Zachariah Randolph.Raylan: Come again?Boyd:It's her uncle. I think that's the man you're looking for.[monitor beeping steadily]You think he's helping her?Boyd: Well, if he ain't died down one of those shafts,Raylan, then... I don't believe he has. That'd be my first stop.Raylan: See you at the arraignment.Tim: You get anything?Raylan: Maybe a place to start.Nelson:Heard she pulled Boyd's gun on you.Raylan: She did.Nelson: Man, I did not see that coming.Raylan: Anything changes here, drop me a line. You ever been downin a mine?Tim: I've been to Mordor, but not through the mines.Raylan: Is that a yes or a no?Tim: No.[music][birds calling]Zachariah: [grunts]Ava: Is that it?Way up there?Zachariah: Yeah!Ava: I thought you said it was close.Zachariah: [grunts][birds crying and chirping]Ava: How long's this place beenclosed?Zachariah: Oh, eight, nine years. They used it a... a supply station.Rescue would get the supplies in, trap miners as fast as possible. Regulations being sodamn lax, they didn't build this thing till after the '83 collapse.[both sigh]You think having closer supplies would have saved my daddy?Zachariah: God himselfcouldn't save your daddy on that day. That's why I stopped praying.Zachariah: [grunting] Yeah, yeah.[scraping and thudding]Ava: [coughs]Zachariah: Get someheat in here.And I got... this here radio for backup. We'll know they're coming before they do. Give us some time to hightail it outta here, which is exactly whatwe should be doing, so I'm gonna go over, see if I can get one of those old A.T.V.s running. Pack up these bags, and we be outta here by sundown! Now you doknow those old moonshine trails up there, they just roll through those mountains like a...Ava: Maze?Zachariah: Yeah, maze. Now this Grubes guy we're going tosee ... you sure he knows his way around?Ava: He knows the trails blindfolded.But I was thinkin'... Boyd knows Grubes.Zachariah: Ah.Ava: If he's alive...Zachariah: If he's alive, the marshals got him, and if he ain't... [claps hands] the more, the better.[title music]\u0000 On this lonely road, trying to make it home \u0000\u0000 doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul, god, get at your boy \u0000 \u0000 you try to bogard, fall back, I go hard \u0000 \u0000 onthis lonely road, trying to make it home \u0000 \u0000 doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Katherine:Where are you? Damn, I can't hear you.Mike: I'm in Richmond, close to E.K.U.Duffy: Give me the phone, Mikey. Let me talk to her.Katherine: I'll call when I getclose. Keep Duffy there.I just need to get my purse.[cell phone beeps]Markham: You know, I can usually smell a rotten bud before it blooms. But your scent, mydear, has always been presidential kush.... your questions. And all that on my. [sighs]Markham: Got yourself a new purse.Katherine: Yeah, before we go down awhole road, I think you might be interested in the phone call I just had, wherein I learned that Wynn Duffy killed Grady.Markham: I didn't know that littlecockroach was still alive.Katherine: Yeah. Well, I'm just going to change, then.Markham: How do you know this?Katherine: His bodyguard called me. Wynn Duffywas a rat 14 years ago, and he's a rat today.Markham: You know, I knew you'd never leave your home state.That's why I came back. Nothing else mattered.Youwere the prize. But now I wonder if I wasn't just a mark, someone for you to screw.Katherine: At first, yes, but... seeing you... being with you, - everything cameflying back.Markham: Oh, don't tell me. Love?Katherine: Well, was it not the same for you?Markham: Well, I've always loved you, Katherine. I just don't trustyou.Katherine: Well, I accepted your proposal, Avery. Would it be so bad for the two of us to... live together, not trusting each other, just like everybody else inthe whole wide world?Markham: You know, I understand your drive to avenge Grady's death, even when you thought it was me. And I hope when I'm yourhusband... you'd do the same for me.Katherine: [sighs] I'm gonna go shower. You wanna join me?Markham: Nothing I'd love more.But there's work to bedone.Katherine: Goin' after your 10 million?Markham: Our 10 million.You know, I'm gonna make sure Boyd Crowder doesn't see another day.Katherine: Well, I'mgonna do the same to Wynn Duffy.Markham: Let me handle Duffy. I'll bring you his head for a wedding present.Katherine: Goddamn, Avery Markham. I loveyou.Markham: Love you, too.[classical music playing on radio]Duffy: I never knew you liked classical, Mikey.Mike: You'd know if you let me pick the music everyonce in a while.Duffy: That can change.A lot can change. You want me to drive sometimes?You wanna be in charge of the TV? Mikey?What do you want,Mikey?Okay, point taken.You got a code. You're billy jack. I get it, okay?Can we end this? Mikey? I'll forget what happened and we'll go back to the way thingswere.[radio volume increases][loudly] Okay, Mikey?! Hey!Take these goddamn cuffs off, or I'm gonna take that code, and I will shove it up yourass![whack]Uhh!Mike: This isn't just about some code. You were as close to family as I ever had. I believed in you, Wynn. End of the day, you're a rat. And ratsget exterminated, period. And I hate being called \"Mikey.\"[door squeaks][bag thuds]Loretta: [sighs]Boon: Seat buckle.I'm just looking to keep my girlsafe.[squeaks]Boon: Are you looking for this? [chuckles] Come on.When I was a kid... can't tell you how many falls your daddy and I had, angry pricks, one andall. Lay three hots and a cot with a side of ass whupping.I come to rely solely on my own wherewithal at a tender age, not unlike yourself.I'm hearing tales aboutall this money you supposedly got, no doubt giving you a sense of confidence. But I can tell you what. Markham's got a lot more.Loretta: What's your point?Boon:Do you ever watch the History Channel?Days of yore, marriages weren't about love... or romance. Those sentiments didn't even factor in. They were aboutalliances to end wars, making each side stronger against enemies they had in common. You understand?Loretta: Man, I got no idea what in the hell you're talkingabout.Boon: I'm saying, if I'd had a Mr. Markham by my side back then, I'd have jumped on it as fast as a bullet. I wanna offer you an opportunity, tuck in withus. You say yes, we'll always be watching your back.Loretta: I don't need anybody watching my back ... least of all, you.Boon: Got fire in your belly. What I adoremost, girl. Be careful... lest it burn your brain, so you can't hear good reason.[music][indistinct conversations]Raylan: You got an escort down the mineshaft?Willits: He's on the way out now.Had to roust the owner out of the bed. He ... he was grumpy about it.Raylan: Well, you can tell him he can give me thewhat-for as soon as he gets us on a coal cart.Willits: You think she could have got down that mine shaft on her own?Tim: We think Ms. Crowder has an"}
+{"doc_id":"doc_312","qid":"","text":"TERMINUSBY: STEPHEN GALLAGHERPart ThreeFirst Air Date: 22 February 1983Running time: 24:39[SCENE_BREAK]DOCTOR: I'd appreciate some help.KARI: Isit a machine?DOCTOR: No. He's wearing radiation armour. Keep him covered.KARI: My power pack's dead.DOCTOR: Come on.[SCENE_BREAK]DOCTOR: Let mehave your radio.KARI: It's always the same pattern.DOCTOR: Well, at least the level's acceptable, for the time being. Come on.[SCENE_BREAK]NYSSA: Are youin charge?EIRAK: Be quiet.NYSSA: Please listen.EIRAK: Shut the door.INGA: You'll get nothing out of them. They're not interested.NYSSA: I've got to make themunderstand.INGA: You can't even bribe them. The only thing they care about is Hydromel, the drug that keeps them alive.NYSSA: What are they going to do withus?INGA: Supposedly cure us, but I rather think they're going to let us die.[SCENE_BREAK]SIGURD: Lazar assessment from tank three, Eirak.EIRAK: Colouredwater. They must think we're fools. They've even reduced the size of the consignment.SIGURD: Why the cutback?EIRAK: Maybe our performance isdown.SIGURD: But we process everyone who comes here. Why doesn't the Company send someone to see the conditions we work under?EIRAK: Maybe theyalready have. We are slaves. The Company doesn't need to tell us anything.VALGARD: Intruders. I saw two people down in the stockyard, a man and a girl. Theywent into the Forbidden Zone.EIRAK: Lazars?VALGARD: No. No, they were too fit. And they were armed.SIGURD: Agents from the Company.EIRAK: Why didn'tyou stop them?VALGARD: I tried.SIGURD: Why are they in the Forbidden Zone?EIRAK: The perfect place to hide. We never go there. As the Company hasdecided to cut back our supply of Hydromel, it is in our own interest to learn why. If the couple in the Forbidden Zone are from the Company, their knowledge isvital.VALGARD: How do we find them?EIRAK: Someone must go after them.VALGARD: Why don't you? You're supposed to be our honoured leader.EIRAK: I'mneeded here.VALGARD: So you keep telling us, although I sometimes wonder whether we need you at all.SIGURD: Valgard!EIRAK: You think you could bebetter?VALGARD: Yes.EIRAK: All right, I'll make you an offer. Bring back the spies and I'll step down in your favour.VALGARD: I have your word on that?EIRAK:You have the Vanir as your witness. Think of it as a bet. If you're ambitious enough, you'll accept it.VALGARD: All right, agreed.EIRAK: Then go!SIGURD: He'll diein the Forbidden Zone.EIRAK: He hates me. He'll succeed.SIGURD: And you will give him what you say?EIRAK: Of course.[SCENE_BREAK]INGA: There's no wayout, just as there's no cure. It's hopeless.NYSSA: Tell me about the Forbidden Zone.INGA: You don't give up, do you.NYSSA: Tell me.INGA: I only know what I'veheard. It's where the radiation's too strong for them, and where we're supposed to be cured.NYSSA: And what's the Garm?INGA: You'll find out soonenough.[SCENE_BREAK]SIGURD: They're starting to move the Lazars. Tank three.OLVIR: I'll be down in a moment.[SCENE_BREAK]SIGURD: I've just come fromthe equipment store. I think we have a third intruder.EIRAK: Excellent. Carry on with those.EIRAK: It seems Valgard's mission was unnecessary after all. Comeon, we'll apprehend this one ourselves.[SCENE_BREAK]DOCTOR: Why do the crew put up with such a radiation leak?KARI: It could be part of the cure.DOCTOR:Olvir said there wasn't one. So, why don't they repair it?KARI: They may not know how to.DOCTOR: Hmm. Radiation. Fallout. Now that's a thought.KARI:What?DOCTOR: Nothing. Just an idea worth pursuing.[SCENE_BREAK]EIRAK: You. Turn around.EIRAK: You fool.SIGURD: But it spoke.EIRAK: Perhaps you'redeveloping the Lazar disease.[SCENE_BREAK]VALGARD: I'm going.[SCENE_BREAK]EIRAK: It's hardly touched. Take her first, then.SIGURD: You.NYSSA: No. No,wait. Others are worse than me.EIRAK: The fit ones go first. Take her.NYSSA: No. No, please. No.[SCENE_BREAK]DOCTOR: What is it?KARI: I can hear someonesinging.[SCENE_BREAK]TURLOUGH: Tegan.TEGAN: What?TURLOUGH: If ever you had to kill someone, could you do it? Could you?TEGAN: No. I don't know. If itwas important, to save my friend, to defend myself.TURLOUGH: But cold-bloodedly?TEGAN: You're weird, Turlough. What a subject to bring up at a time like this.Come on, let's find the control room.GUARDIAN (OOV.): You are a fool, boy.[SCENE_BREAK]KARI: Who is it?DOCTOR: Well, he seems happy enough. Let's findout.KARI: No.DOCTOR: He's hurt. Hello, I'm the Doctor. Can I help?BOR: Most kind. Yes. A burden is a, er, something or other. Most kind. Thanks. This way.BOR:The cold ground. Rest in peace.[SCENE_BREAK]TURLOUGH: Curious. What do you make of this?TEGAN: It's a map. Like one of those diagrams when theythought the Earth was at the centre of the universe.TURLOUGH: Hmm. Strange, isn't it.[SCENE_BREAK]DOCTOR: Terminus entrance. At least we know where theradiation comes from.DOCTOR: Look at the damage. Easy now.BOR: Thank you. Most kind. Most kind. My name is, er, Bor. I. Haven't we met somewherebefore?DOCTOR: Indeed. I'm the Doctor.BOR: Short term memory's the first to go.KARI: He needs a medic.BOR: Do you know anything about engines?DOCTOR:A little.BOR: I tried to pull down the control cables. I picked the wrong ones. Power lines. As I couldn't stop the radiation, I had to try and wall it in. Now thingsare even worse.DOCTOR: In what way?BOR: The whole lot's unstable. Know what would happen if one of those exploded? It'd be more than just a loudbang.DOCTOR: Chain reaction.BOR: Nothing in the universe would be safe.KARI: What?BOR: Did I tell you? One of the engines has already exploded.DOCTOR:When?BOR: No, oh, it was a long time ago. It's all in the computer. That one will go next. I didn't find out why until I followed the control cables.KARI: Whywasn't Terminus destroyed in the explosion?BOR: Terminus is protected.VALGARD: Tell them nothing, Bor. They're Company spies.BOR: Really? They seemed sofriendly.VALGARD: You forget our last encounter. The power pack is exhausted. I'm taking you back, but not before I've beaten some respect into you.BOR: Mywall!KARI: Doctor![SCENE_BREAK]NYSSA: Let me go. Please, please, let me go.SIGURD: Don't you want to be cured? This is for your own good.NYSSA: Please,let me go.SIGURD: At least, that's what I'm told.[SCENE_BREAK]KARI: What's that?DOCTOR: Some sort of signal.DOCTOR: Come on.[SCENE_BREAK]NYSSA:No! What is that thing?SIGURD: Your cure. The Garm's found Bor.BOR: Most kind.SIGURD: Let's get him to Eirak while he can still talk.OLVIR: Let's see thatchain.NYSSA: No!OLVIR: It's me, Nyssa.NYSSA: Quickly! Quick.OLVIR: I can't, I'm not strong enough.NYSSA: Olvir![SCENE_BREAK]KARI: What are you lookingfor now?DOCTOR: The control lines. The ones Bor said he followed.[SCENE_BREAK]TURLOUGH: There must be a way to recreate the door we entered this shipby. Wait here.[SCENE_BREAK]KARI: This is a complete waste of time. Bor doesn't know what he's talking about. He's suffering from radiation sickness.DOCTOR:Yes, you're right about the sickness. I want to find out what he discovered.KARI: Does it matter?DOCTOR: I think it could be ratherimportant.[SCENE_BREAK]SIGURD: Bor, can you hear me?BOR: Sigurd?SIGURD: Why did you do it? You knew you couldn't survive in the Forbidden Zone.BOR:Worth a try. The pilot's dead, you know.SIGURD: Pilot?BOR: Of Terminus.SIGURD: What?BOR: But he's still there. He's going to fire up the engines again andthey won't take it and the big bang will happen all over again.EIRAK: Where's his helmet?SIGURD: He didn't have it. He's delirious. He needs Hydromel.EIRAK:There isn't any to spare.SIGURD: But he's dying.EIRAK: So why detain him?[SCENE_BREAK]GUARDIAN (OOV.): You have not destroyed the Doctor.TURLOUGH: Ihaven't found him yet.GUARDIAN (OOV.): Kill the Doctor.TURLOUGH: I will, I will. I have a plan.GUARDIAN (OOV.): You have nothing.TURLOUGH: I do! But Ineed to get back to the TARDIS.GUARDIAN (OOV.): Why?TURLOUGH: Trust me.TEGAN (OOV.): Turlough!TURLOUGH: How do I recreate the door?GUARDIAN(OOV.): Fail me againTURLOUGH: I won't, I promise.GUARDIAN (OOV.): Then search for an emergency bypass switch.TURLOUGH: Where?GUARDIAN (OOV.):You have skills. Use them. Look beneath your feet.TEGAN: What are you doing?TURLOUGH: Remember when we were underneath the floor? Well, I noticedsomething familiar. It's only just come to me what it was. Come on.[SCENE_BREAK]DOCTOR: Terminus control.KARI: Look.[SCENE_BREAK]NYSSA:Olvir![SCENE_BREAK]DOCTOR: Do you remember Bor saying one of the engines had exploded?KARI: Did he?DOCTOR: He was wrong. It didn't come to that.Look at this. Terminus was once capable of time travel.KARI: So?DOCTOR: Well, to push a ship of this size through time would require an enormous amount ofenergy.KARI: What are you getting at?DOCTOR: Well, think about what we've learnt. Terminus seems to be at the centre of the universe, yes? Now, imagine thisship in flight. Suddenly the pilot finds he has an enormous amount of unstable fuel on board. What would you do?KARI: Jettison it.DOCTOR: Perfectly normalprocedure. Unfortunately, he ejects his fuel into a void.KARI: And it exploded.DOCTOR: Starting a chain reaction.KARI: How big?DOCTOR: Enormous. Biggestexplosion of all time. Event One.KARI: The Big Bang?DOCTOR: Yes.KARI: It isn't possible.DOCTOR: A chemical reaction in a primeval swamp can create life on aplanet. Why couldn't the universe be created by a similar chance factor, hmm?KARI: But exploding fuel in space? It's almost too simple.DOCTOR: It only appearssimple because the circumstances were exactly right.KARI: Well, if what you're saying is right, why wasn't Terminus destroyed in the explosion?DOCTOR: Well,the pilot time-jumped the ship forward before realising how unstable the fuel was. The resulting shockwave must have caught up with him, boosting the shipbillions of years into the future.KARI: Killing the pilot and damaging the second engine.DOCTOR: Yes.KARI: If there was a second explosion, would it have thesame effect as the jettisoned fuel?DOCTOR: Not quite. Whereas the first explosion created the universe, the second would undoubtedly destroyit.[SCENE_BREAK]TURLOUGH: There it is. Emergency bypass. We'll soon have that door open.TEGAN: Where's the light coming from?TURLOUGH: It'snothing.[SCENE_BREAK]KARI: What's happening?DOCTOR: I don't know. Oh, no.KARI: What?DOCTOR: It wasn't the pilot's decision. The computer's just startedan automatic sequence to jettison the unstable fuel. If we don't do something quickly, the whole universe will be destroyed."}
+{"doc_id":"doc_313","qid":"","text":"Spike: Come on Twilight, you can do it!Twilight: Okay, here goes.(poof)Spike: Ha-HA! You did it!Growing magic. That's number ! Twenty-five different types oftricks and counting. (pleased) And I think this is the best trick so far. (suave) Hello, Rarity. What's that? Aw, it's nothin', just my AWESOMEmoustache!(chuckles)Twilight: Sorry, Romeo. As attractive and enticing as you look, it's just for practice and it's gotta go.Spike: Wait! (poof, crestfallen) Aw,rats...(Twilight giggles)(theme song begins) My Little Pony, My Little Pony, ah, ah, ah, ah,(My Little Pony) Twilight: I used to wonder what friendship could be (MyLittle Pony) Until you all shared its magic with meRainbow Dash: Big adventurePinkie Pie: Tons of funRarity: A beautiful heartApplejack: Faithful andstrongFluttershy: Sharing kindnessTwilight: It's an easy featAll: And magic makes it all complete, yeah (My Little Pony) Do you know, you're all my very bestfriendsSpike: Twenty-five, Twilight! Twenty-five different kinds of tricks and counting. I thought unicorns were only supposed to have a little magic that matchestheir special talent.Twilight: True, for ponies whose talents are for things like cooking or singing or math, but what if a unicorn's special talent IS magic?Spike:Like you, Twilight! And you know a TON of magic.Twilight: (embarrassed) Oh, Spike, stop. I'm sure there are lots of ponies right here in Ponyville that know justas much magic as me...Spike: Are you kiddin'?! I don't think there's another unicorn in all of Equestria with your kind of ability, Twilight.Snails: (heavy Canadianaccent) Gaaaangway! Comin' through!(Spike grunts)Spike: Snips...Snails...w-what's going on?!Snails: Why, haven't you heard?(Spike yelps, crashes)There's anew unicorn in town!Snips: (hyperventilating) Yeah! They say she's got more magical powers than any other unicorn EVER!Twilight: Really?Spike: Aw, no way.That honor goes to Twilight here!Twilight: Where is this unicorn?Trixie: (amplified) Come one! Come all! (trilling r's) Come and witness the amazing magic of theGrrreat and Powerrrful Trrrrixie!(ponies ooh and ahh)(theatrical) Watch in awe as the Great and Powerful Trixie performs the most spectacular feats of ponymagic ever witnessed by pony eyes!(pyrotechnics burst, fanfare plays)Rarity: (unimpressed) My, my, my! What boasting!Spike: Come on, no pony's as magicalas Twili- (flustered) Twi- Twi- O-oh! (clears throat)(bashful) Hey, Rarity, I, uh... MOUSTACHE!Twilight: There's nothing wrong with being talented, isthere?Applejack: Nothin' at all, 'ceptin' when someone goes around showin' it off like a school filly with fancy new ribbons.Rarity: Just because one has the abilityto perform lots of magic does not make one better than the rest of us.Rainbow Dash: Especially when ya got me around bein' better than the rest of us.(chuckles) Uh, I mean, (unconvincing) yeah, uh, magic-shmagic! Boo!Trixie: Well, well, well. It looks like we have some (neighing) neigh [nay] sayers in theaudience! Who is so IGNORANT as to challenge the magical ability of the Great and Powerful Trixie?! Do they not know that they're in the presence of the mostmagical unicorn in all of Equestria?!Rarity: (raspberry) Just WHO does she think she is?Spike: Yeah! Since we all know that Twilight here is-Twilight: (whispering)Spike! Shh!Spike: What? What's wrong?Twilight: Did you see how they reacted to Trixie? I don't want anyone thinking I'M a showoff!(drumroll, fanfare,pyrotechnics)Rainbow Dash: So, \"Great and Powerful Trixie,\" what makes you think you're so awesome, anyway?Trixie: (self-amused chuckle) Why, only theGreat and Powerful Trixie has magic strong enough to VANQUISH! THE DREADED!URSA MAJOR!(fanfare, pyrotechnics)(audience ahhs)Snips: What?! Snails: Noway!Trixie: When all hope was lost, the ponies of Hoofington [Huffington] had no one to turn to,(robotic growling) but the Great and Powerful Trixie steppedin,(mechanical growling) and with her awesome magic(static fizzle) vanquished the Ursa Major and sent it back to its cavedeep within the Everfree Forest!Snips:Aw, sweet!Snails: Sa-weet!Snips: That settles it.Snails: Trixie really is the most talented, most magical, most awesome unicorn in Ponyville.Snips: No! In all ofEquestria!Spike: How d'you know?! You didn't see it! And besides, Twi- (zip) Mmf! Mmf!(haughty chuckle)(stroking ego) It's true, my enthusiastic little admirer.Trixie is most certainly the best in Ponyville!(crickets chirping)Well then, I hereby challenge you, (derisively) Ponyvillians:(boastful) Anything you can do, I can dobetter. Any takers? Anyone?Or is Trixie destined to be the greatest equine that has EVER LIVED?!(fanfare, pyrotechnics)Spike: (unzips mouth, pleads)Ple-e-ease! She's unbearable! You gotta show her! You just gotta! (sobs)Twilight: (whispering) There's no way I'm gonna use my magic now, Spike! Especiallysince-Trixie: Hmm...how about...YOU!(Twilight gulps nervously)Trixie: Well, how about it? Hmm?(condescending) Is there anything YOU can do that the Greatand Powerful Trixie can't?!Twilight: (meekly) I...I...(banjo strumming)Trixie: Well, little hayseed?Applejack: That's it! I can't stand for no more o'this!Spike: Youshow her, AJ!Applejack: Can your magical powers do...THIS?!(spirited country music, rope twirling)(ponies ooh)(spirited country music, rope twirling)(spiritedcountry music)(chomps, gulps, music ends)(ponies cheer raucously)Applejack: Top THAT, missy.Trixie: (unfazed) Oh ye of little talent.Watch and be amazed atthe magic of Trixie!(Arabian music)Applejack: Whoa! (grunts, crashes into ground)(Arabian music)(ponies cheer)Trixie: Once again, the Great and Powerful Trixieprevails.Rainbow Dash: There's no need to go struttin' around and showin' off like that!Trixie: Oh?Rainbow Dash: That's MY job!(rock music)(windmillgrinds)(rock music)(repeated thumps)(rock music)(rock music)(rising pitch whoosh)(rock music)(whoosh, whoosh, whoosh)(rock music)(rising pitchwhoosh)(rock music)(windmill grinds)(rock music)(whoosh, brakes squeal)(rock music)(rock music ends)They don't call me \"Rainbow\" and \"Dash\" fornothin'!(ponies cheer)Trixie: When Trixie is through, the only thing they'll call you is loser.(magical humming)(Rainbow Dash screaming)(sped up calliopemusic)Rainbow Dash: (weakly) I think I'm gonna be...sick...Trixie: Seems like any pony with a [Rainbow] \"dash\" of good sense would think twice before tusslingwith the Great Trixie!(thunder, Rainbow Dash shrieks)(ponies laugh, Trixie laughs haughtily)Spike: What we need is another unicorn to challenge her!(hinting)Someone with some magic of her own?Rainbow Dash: Yeah! A unicorn to show THIS unicorn who's boss!Applejack: A real unicorn-to-unicorn tussle!Twilight:Uh...Rarity: Enough. Enough, all of you. I take your hint, but Rarity is above such nonsense. Rainbow Dash and Applejack may behave like ruffians, but Rarityconducts herself with beauty and grace.Trixie: (mocking) Ooh, what's the matter? (provoking) Afraid you'll get a hair out of place in that rat's nest you call amane?Rarity: Oh. It. Is. ON. You may think you're tough with all of your so-called \"powers,\" but there's more to magic than your brutish ways. A unicorn needs tobe more than just muscle.A unicorn needs to have style.(classical music)(classical music)A unicorn is not a unicorn without grace and beauty.(classical music,audience oohs)(magical humming)(classical music)Spike: Rarity won't let Trixie get the best of her!(classical music)She's strong, she's beautiful, she's-(poof)(classical music)(ponies gasp and recoil)Rarity: (panicked) QUICK! I NEED A MIRROR! GET ME A MIRROR!(squealing) What did she do to my hair?! I knowshe did something terrible to my hair!Twilight: (nervously) N-nothing!Rainbow Dash: (hastily) It's fine!Applejack: (dazed) It's gorgeous!Spike: (tactless) It'sgreen. What?Rarity: (tearing up) No! Green hair! Not green hair! (sobs theatrically) That's an awful, AWFUL color! (sobs)Pony: Well, I never![supposed to be agreen-haired female Carrot Top]Spike: Well, Twilight, I guess it's up to you. Come on, show her what you're made of!Twilight: (deflecting) What do you mean?I-I'm nothing special...Spike: Yes you ARE! You're better than her!Twilight: I'm not better than anyone!Trixie: Hah! You think you're better than the Great andPowerful Trixie? You think you have MORE magical talent? (provoking) Well, come on. Show Trixie what you've got. Show us all.Twilight: Who, me? I'm just yourrun-of-the-mill citizen of Ponyville! No powerful magic here. I, uh, think I hear my laundry calling. Sorry!Spike: Twilight?Trixie: Ha! Once again, the Great andPowerful Trixie has proven herself to be the most amazing unicorn in all of Equestria! (under breath) Was there ever any doubt?Snips: Here's the smoothie youasked for! With extra hay! Just how you like it.Snails: (slow, dull speech) Mm, hay.(slurping)Trixie: (annoyed) Yes?Snips: Oh! Tell us another story, Great andPowerful Trixie!Snails: Yeah, tell us about how you vanquished the Ursa Major!Trixie: (derisively) Hmph! TRIXIE is far too exhausted from performing featsbeyond imagination.BEGONE with you until morning.Snails: Oh, of course, Great and Powerful Trixie!Snips: Anything you say! We are at your beck and call!(sighshaughtily)Spike: What're YOU two doin'?Snips: Just bringin' the G. and P. T. a-Spike: ...The what?Snips: The Great and Powerful Trixie!Spike: Sheesh.Snips: Justbringin' her a smoothie!Spike: How can you fall for her lameness?! She's just a showoff.Spike: Unlike Twilight, who-Snips: The Great and Powerful Trixievanquished an Ursa Major.Can your \"Twilight\" claim that?Spike: Oh, really? Were you guys actually there?Snips: Well, eh...uh...no, but-Spike: But nothin'. Theproof is in the pudding!Snails: (slow-witted laughter) I like pudding.Spike: ...Look, unless an Ursa Major comes waltzing up the street for Trixie to vanquish, I amNOT gonna believe a word she says! And neither should you!Snips: Hmm! An Ursa walkin' up the street, eh? (a la Brain [Pinky and the Brain]) Snails, you thinkin'what I'm thinkin'?Snails: (a la Pinky) Why is it they call it a flea market when they don't really sell fleas?Snips: Yeah! Uh... (doubletakes) Oh, uh...come on!Spike:Twilight, would you put down that book and just listen to me?Twilight: Didn't you see how they hated Trixie's bragging, Spike? If I go out there and show off mymagic, I run the risk of losing them as friends.Spike: It's not the same thing, Twilight! You'd be using your magic to stand up for your friends!Twilight: No, Spike!It's exactly the same!Spike: Come on, Twilight. Any one of these tricks, even the teeniest, would be enough to show up Trixie.Twilight: I don't wanna be seen asa bragger like Trixie!(door slams shut)Spike: (opens door) But you're the BEST!Twilight: (exasperated sigh) Please, Spike! I said, \"No!\"Spike: (sighs) If that's theway you wanna be, fine. (slams door)(door opens)(spooky theremin music)(owl hoots)(spooky theremin music)Snips: (apprehensively) Oh, how we gonna findan Ursa Major when I can't even see my own hoof in front of my face?!Snails: Hold on!(grunts fiercely)Snips: Oh! Heh, that's better.(low growl)(growling)(Snailsscreams)(Snails and Snips scream)(Snails and Snips scream, Ursa roars)(Spike kicking rock)(melancholy harp music)(Snips screaming)Spike: Hey, guys.(Snailspanting) Where ya goin'?Snips: Can't talk now!Snails: Got a \"MAJOR\" problem!Snips: Yeah! URSA Major, to be exact!(roar)Spike: ...Huh?(paw impacts"}
+{"doc_id":"doc_314","qid":"","text":"PAUL ERICKSON & LESLEY SCOTT05:15pm-05:40pm[SCENE_BREAK]1: INT. ARK. CONTROL DECKZENTOS: (Shouts.) I invoke the special galactic law againstthem. Hold them! Take them into custody and later they will be made to answer for the crime that they have committed!STEVEN: Look, listen to us...ZENTOS:Take them away!(The travellers are dragged away. ZENTOS steps down and goes over to where MELLIUM is tending to her near-unconscious father. OtherGuardians surround them.)MELLIUM: What about my father?ZENTOS: He may well die, but then again, so might all of us.(The other Guardians react with shockto this statement.)ZENTOS: In which case, it was pointless leaving.(He turns and looks at the giant monitor screen on which is shown the Earth as it travels on toits doom...)[SCENE_BREAK]2: INT. ARK. TRAVELLER'S ROOM(The travellers have been placed in a basically furnished room. The DOCTOR is looking through asmall window in the locked door. STEVEN rests on a padded bench whilst DODO sits at a table.)STEVEN: What do you think they'll do to us Doctor?DOCTOR:(Turns.) Well, I'm not sure, dear boy. We shall just have to wait and see.DODO: (Upset.) It's all my fault. If I'd known it was going to be like this, I'd never havecome.DOCTOR: Well you did come, my dear, so it's too late to be worry about that - and stop sniffling!DODO: I'm not sniffling - it's me nose running again!Anyway, I'm feeling better now but I don't suppose anyone cares.DOCTOR: But of course they care, my dear. Now don't worry. It's not your fault at all. If it'sanybody's, it's mine.STEVEN: Look, do you think this has happened before? That we've carried an infection from one age to another, or even one planet toanother?DOCTOR: Oh, I don't want to think it...about it, too...dear boy, it's too horrifying. Though I must say that we're usually very healthy.(DODO coughs andsneezes behind him.)STEVEN: It'll spread through the whole ship, become an epidemic.DOCTOR: Well that depends on the strength of the virus infection.DODO:(Crying.) If it's half as bad as my cold was, it will.DOCTOR: Oh, do blow your nose child! It's running all over the place.DODO: No, it isn't. I'm crying thistime!(The DOCTOR is momentarily at a loss. Then he puts his arm and across the young girls shoulder and pats her gently.)DOCTOR: Well look, my dear, do tryand rest, you know you may be feeling better but your far from cured, hmm?(He crosses to the door.)DOCTOR: Oh, if only those wretched Guardians would let usout of here. I'd be able to help, mm? Hmm![SCENE_BREAK]3: INT. ARK. CONTROL DECK(MANYAK signs to a MONOID as ZENTOS looks at monitor screens on thecontrol desk.)ZENTOS: Look.(MANYAK signals to the MONOID to go, then he turns and joins ZENTOS in looking at a small monitor.)ZENTOS: That's anothervictim. It's not showing any signs of abating.(The monitor shows a MONOID on the transporter collapsing at the base of the statue. Two Guardians rush to assist.ZENTOS adjusts a control and the image changes.)ZENTOS: And look!(The image now shows the jungle outside the TARDIS. A MONOID collapses against theship...)[SCENE_BREAK]4: INT. ARK. JUNGLE(...and then falls on the jungle floor. It gives out agonised cries in its death throes, then lies still.)[SCENE_BREAK]5:INT. ARK. CONTROL DECKZENTOS: That's another victim...another death, and more human Guardians have also been taken ill. Thank heaven none of them hasdied yet.MANYAK: What will happen if one does?ZENTOS: It'll be disaster. Each man has his allotted task. No one had reckoned on this eventuality.MANYAK:There must be something we can do about it.ZENTOS: Our micro-virologists are trying to find the answer. One of them is with the Commander now.(They lookacross the control deck to a closed room, outside of which are two MONOIDS on guard.)[SCENE_BREAK]6: INT. ARK. COMMANDER'S ROOM(The COMMANDER liesdelirious on his bed. MELLIUM tends him watched by RHOS, a micro-virologist and a MONOID. All three wear perspex mouth masks to protect them from thegerms. RHOS takes MELLIUM to one side. They takes their masks off to speak.)MELLIUM: Is there nothing you can do?RHOS: Unfortunately, the data coveringthis type of fever was lost long ago. In the primal wars of the tenth segment.COMMANDER: (Weakly.) Mellium...(She puts her mask back on and crosses to herfather.)MELLIUM: Yes father?COMMANDER: (Weakly.) I seem to be drifting back and forth...unconsciousness...to moments of sudden clarity.MELLIUM: Perhapsit's better that you shouldn't talk.COMMANDER: No...must, I must... Promise me, Mellium, should anything happen to me...MELLIUM: Oh, you mustn't talk thisway!COMMANDER: Should anything happen, do all in you power, along with the others...to make sure the voyage continues.MELLIUM: Of course,father.COMMANDER: What...MELLIUM: But soon, you'll get well.COMMANDER: What happens to me is not so important. Or you for that matter, or any one ofus...but the voyage and the eventual landing of our descendants on the planet Refusis - that is! That's the only thing that's important. Remember that.MELLIUM:Yes father.(A slow drumbeat sounds starts up. RHOS and MELLIUM look round.)[SCENE_BREAK]7: INT. ARK. TRAVELLER'S ROOM(DODO, also hearing the sound,raises her head. She crosses over to the door where the DOCTOR watches.)DODO: What is it?DOCTOR: I don't know.DODO: It sounds likesavages.[SCENE_BREAK]8: INT. ARK. CORRIDOR(Four MONOIDS carry one of their kind wrapped in a burial shroud.)[SCENE_BREAK]9: INT. ARK. CONTROLDECK(They enter the control deck where Guardians watch in respectful silence. ZENTOS stands on the COMMANDER'S dais.)ZENTOS: Proceed with thepreparations for ejection. Commit the body to space burial.(MANYAK signals to the MONOIDS who take the body over to a transporter. Once the body has beenplaced on it, a MONDOID drives away. A door marked \"LAUNCHING BAY\" shuts behind it.)MANYAK: It is over.(He switches on a monitor on the instrument panel.The screen shows a door sliding open on the curved exterior of the Ark, then the body is ejected and spins off into space. ZENTOS addresses the crowd from thedais.)ZENTOS: Guardians, Monoids, before it is too late, before we are stricken by the fever ourselves, we must make the strangers answer for the terrible crimethey have committed.(The crowd agrees loudly, out of which can be heard the voice of one female GUARDIAN.)2nd GUARDIAN: Yes, they must be tried andpunished.ZENTOS: A hearing will commence at once. As Deputy Commander, I will preside. Baccu has undertaken to put the charges.(ZENTOS points at BACCU.The crowd mutters in approval.)1st GUARDIAN: ... best man for ...ZENTOS: Will anyone speak for the prisoners?(The Guardians look uncomfortably at eachother. Seeing this, MANYAK steps forward.)MANYAK: I will.(MELLIUM joins him.)MELLIUM: And I.(ZENTOS stares at her.)MELLIUM: My father would wishit.[SCENE_BREAK]10: INT. ARK. COMMANDER'S ROOM(A masked MONOID adjusts a wall monitor in the COMMANDER'S room in order that he can watchproceedings.)MELLIUM: (OOV: On monitor.) His only desire was that justice should be done and a sensible solution to this crisis be found.COMMANDER:Yes...yes...![SCENE_BREAK]11: INT. ARK. TRAVELLER'S ROOM(A similar wall monitor in the time travellers room shows an image of ZENTOS addressing theGuardians on the control deck. He reads a document.)ZENTOS: (OOV: On monitor.) The law that has been broken is the following...DODO: Look Doctor, they'veswitched the television on.ZENTOS: (OOV: On monitor.) In that the spaceship represents the only means by which Earth life may be extended and perpetuated,the Guardian for the time being in charge of the ship, shall have absolute power to punish or restrain any life-form that endangers...[SCENE_BREAK]12: INT.ARK. CONTROL DECKZENTOS: ...the success of its mission, by expulsion from the ship, miniaturisation or such lesser penalty as he shall deemfit.[SCENE_BREAK]13: INT. ARK. TRAVELLER'S ROOMDODO: Some sort of trial?(The DOCTOR considers.)ZENTOS: (OOV: On monitor.) I call on Baccu to detailthe charge.DOCTOR: Yes, my dear, and we are the accused, hmm!(MELLIUM appears on the monitor.)MELLIUM: (OOV: On monitor.) Doctor, Manyak and Ibelieve your story. We've offered to speak in your defence but at least one of you must give evidence.DOCTOR: Of course.STEVEN: I must go.DOCTOR:What?(STEVEN stands but he is breathing heavily.)STEVEN: Doctor, I must. I'm getting stifled in here. I must go and do something, even if it's only to show themhow stupid they are wasting time with trials and speeches. After all, the only important thing now is to let you organise finding a cure.DOCTOR: Very well then, ifonly they'll listen.MELLIUM: (OOV: On monitor.) They'll probably ask you to speak next, Doctor.DOCTOR: My dear, I only want to help!(The image vanishes. Thedoor to the room opens and a MONOID enters. It gestures and STEVEN leaves the room. The DOCTOR and DODO turn back to the monitor on which the controldeck is now shown, full of waiting Guardians.)[SCENE_BREAK]14: INT. ARK. CONTROL DECK(The hearing has begun. BACCU approaches STEVEN who is heldwithin a barred cage which is again covered with a plastic covering against the fever. ZENTOS presides from the COMMANDER'S dais.)BACCU: My contention isthat it was no accident that this disaster has happened. I say that you came here intentionally - to spread the disease...STEVEN: But that's utter nonsense. Imean how can you possibly...BACCU: ...and that you are agents of the planet towards which this spaceship is proceeding. That you came here to destroyus.STEVEN: Why? We're human beings like you are. Well, why should we?ZENTOS: (Shouts.) There is the crux of the matter. Do you expect us to believe thatnonsense, that you manage in that ridiculous machine called the TARDIS, have managed to travel through time? Guardians, Monoids, these beings, whateverthey are, place a heavy strain on our credulity.STEVEN: Well that's not very difficult! If your medical records are anything to go by, this segment of time, far frombeing one of the most advanced in knowledge, is one of the worst!ZENTOS: (Standing in anger.) We can cope with all things known to the fifty-seventh segmentof Earth life, but not with strange diseases brought by you - as agents of the intelligences that inhabit Refusis!STEVEN: Are you still on about that? I've told youbefore; we know nothing of that planet!ZENTOS: My instincts, every fibre of my being, tells me differently.STEVEN: And that, unfortunately, tells me only onething.ZENTOS: What's that?(STEVEN is now sweating heavily.)STEVEN: That the nature of man, even in this day and age, hasn't altered at all. You still fear...theunknown, like everyone else before you.[SCENE_BREAK]15: INT. ARK. COMMANDER'S ROOM(The proceedings are being watched in the COMMANDER'S room.The old man himself still lies weakly on his bed.)COMMANDER: That's true! True!ZENTOS: (OOV: On monitor.) That won't stop me from coping withit.[SCENE_BREAK]16: INT. ARK. CONTROL DECKSTEVEN: How? By destroying us? By ejecting us into space?ZENTOS: If that is the voted finding of this hearing -"}
+{"doc_id":"doc_315","qid":"","text":"CASTJames Van Der Beek: Dawson LeeryKaite Holmes: Joey PotterJoshua Jackson: Pacey WitterMichelle Williams: Jen LindleyMeredith Monroe: AndieMcPheeKerr Smith: Jack McPheeEvelyn \"Grams\" Ryan: Mary Beth PeilGareth Williams: Mike PotterGail Leery: Mary-Margaret HumesMitch Leery: John WeselyShippAbby Morgan: Monica KeenaWritten by Mike White Directed by David Semel(Outside Dawson's house -- Joey and Dawson are walking back from thewedding.)Joey: (laughing) Dawson...(He laughs and they kiss, heading towards the ladder.)Joey: 'K, are you sure this is a good idea?Dawson: Jo, don't analyzethis, okay?(They kiss again.)Joey: Right, don't analyze.Dawson: We don't need to discuss this.(They kiss again at the foot of the ladder, this time longer andmore passionately.)Dawson: K? Let's go upstairs.Joey: (smiles) Okay.(She starts climbing the ladder and Dawson stares up after her smiling. Cut to Joey climbingthrough his window and Dawson following, kissing and giggling the whole way, oblivious to Jen sitting on the bed. Dawson starts kissing Joey's neck and shenotices her.)Dawson: Jen?Joey: What's wrong?Jen: (mumbling..almost deliriously) Abby...and I were on the dock and ....and we were up there ...and we...wewere drinking ...and she ...fell back and hit her head ...and she ...she drowned. (pauses) Abby's dead.(Joey is shocked, as well as Dawson, and she goes and sitsnext to Jen on the bed and puts her arm around her as Jen starts crying.)(OPENING CREDITS)(Cut to Joey looking through an old photo album of pictures of herwith her mother. She has a tear rolling down her face. Her dad walks out.)Mr.Potter: (looking at the pictures) Seems like a lifetime ago. Your mother loved thatdress. I told her to take it back, too expensive. She went out and bought two of em just like it just despite me.(Joey cracks a small smile.)Mr.Potter: That wasyour mother. Why are you looking at this?Joey: This girl at my school died on Saturday night. She drowned.Mr.Potter: Joey, that's terrible. Were you twoclose?Joey: No, not particularly. She was sort of a nightmare. But it's, uh, sort of got me thinking...remembering.Mr.Potter: Joey, we, uh, never really talkedabout your mother or her death...Joey: (obviously avoiding) Well, uh, it's getting late and I have to be getting to school so...(She gets up and takes her cup backinto the kitchen and grabs her bag. Cut to Capeside High. Jen's walking through the hallway to her locker and everybody's staring at her. Cut to a group of kidssitting in a circle around a counselor. Pacey, Andie, Jack, and Jen are included.)Counselor: Hi, my name is Elizabeth, and I'm a grief counselor. I'm here tofacilitate a discussion about Abby. I know you've all be dealt a heavy blow, but by sharing your feelings with each other, it could aid in the long, and difficult,process we call grieving.(Pacey's biting his nails, obviously unconcerned about the whole thing as Andie stares around the room and Jack just looks bored.)Girl:I'd like to make an announcement. The Girls' Service League is distributing yellow arm bands that we're wearing in Abby's memory. If anyone would like an armband, please meet me in the cafeteria at lunchtime.(Jen just laughs unbelievably at the concern. Jack scratches his nose.)Counselor: Jennifer. I was told that youwere a close friend of Abigail's. Would you like to talk about some of the feelings your experiencing?Jen: No.Counselor: That's perfectly okay. I understand.Andie? Did you know Abigail?Andie: Yeah, I did.Counselor: Can you talk about your feelings?Andie: Well, um...I guess I'm feeling shocked. I mean she was soincredibly alive and she had such a great spirit. It's-it's really a tragedy.(Jen is disgusted by these fake feelings of concern so she grabs her things and stormsout.)Counselor: Jennifer?(Cut to the cafeteria. Dawson is watching the girl hand out the yellow arm bands.)Girl: Thank you so much for honoring Abby'smemory.(Joey comes over.)Joey: Hey.Dawson: (smiles) Hey.Joey: Listen, I know we have a lot to talk about concerning the other night but..Dawson: Listen,Joey, could we just not ...go there...right now? Because I mean there's ...a lot going on and we can analyze this to death later just...Joey: Right. (Joey kind oflooks around and scoots in closer.) Dawson, the truth is, I never really liked Abby.Dawson: Ditto.Joey: I actually despised her.Dawson: It's weird. I mean, Abbywas weird, that she died was weird, the way she died was weird. I can't even imagine what the funeral's going to be like.Joey: I'm not going.Dawson: You'renot?Joey: The last funeral I went to was my mom's. I mean, I haven't even gone to her gravesite. I think going to Abby's funeral would just open this Pandora'sBox of emotions that, frankly, I'd rather keep sealed tight.Dawson: (tentatively) Joey...your mother died three years ago. If you have these feelings you haven'tdealt with, how long were you planning on waiting?Joey: I don't know. I guess I'm just...there's a part of me that's still holding on. That little girl inside is justwaiting for her return. You know, that her death was just some cosmic error and eventually, God will realize he made a terrible mistake and he'll send her back tome like he did my dad. And ...(smiles) I'll have my mom again. (looks at Dawson) I know it sounds ridiculous.Dawson: No, no, it's-no. But, I mean, that's achild's false hope. Eventually, you're going to have to let it go.Joey: Yeah, but I don't want to let it go. (pauses) You don't know what it's like, Dawson.(Cut to Jen,in the bathroom, splashing water on her makeup-stained face. Andie enters.)Andie: Um, Jen? I've been looking all over for you. You just stormed out of class. Areyou okay?Jen: If dealing with Abby's death isn't hard enough, but to watch everybody parade around like Abby was their best friend, it's sickening. Aside fromme, Abby didn't have a single friend in Capeside.Andie: That's because she was a--(stops herself)Jen: A bitch! Come on, Andie, say it! Abby was a bitch.Andie:Well, I wouldn't go that far...Jen: Yeah, well, you would've three days ago, but now that she's dead you wax poetic about her great spirit. It's so insincere!Andie:Well, I don't think it's appropriate to maline her character after she's gone!Jen: It isn't malining if it's true! Believe me, it would have been easier for everybody ifAbby had just been this wonderful person with this virtuous qualities but she wasn't! She was mean! And the least we can do is acknowledge who she reallywas.(Jen exits out the bathroom, Andie follows.)Andie: Jen, listen, I know this must be hard for you.Jen: And I am so sick and tired of people treating me like I'msome kind of celebrity just because I happened to be at the scene of the crime. It's funny. Abby spent her entire life shattering our fragile egos and that's whypeople disliked her so intensely. Leave it to Abby. Even in her death she's still exposing hypocrisy.Andie: Well, I feel bad but I always tried to reach out to her andeverytime she rejected me.Jen: She rejected you?! If you hadn't rejected her at the wedding, none of this ever would have happened!Andie: What?Jen: Youkicked us out of the wedding, Andie. That's why we were at the docks in the first place.Andie: (slowly) Don't say that.Jen: I'm sorry, okay? I can't--I've got to gohome.(She leaves down the hall. Cut to Dawson coming in his front door, he spots his mom coming down the stairs.)Dawson: Hey!Gail: Hi honey! So...how wasschool?Dawson: Weird. Everybody's playing the beautiful mourners but underneath there's this weird sense they're all munchkins finally freed from the spell ofthe wicked witch of the east. (Kristin's note: Wasn't it the wicked witch of the west?)Gail: Well, honey, I know you're dealing with a lot right now, but I have somenews I need to share with you.Dawson: You sound serious.Gail: No, no, no, it's not bad news. It's good news. Remember the piece I did on the teenagegirls?Dawson: Yeah.Gail: Well, I won the Peil Vision Award for Excellence for News Broadcasting.(Dawson hugs her.)Dawson: That's incredible, Mom!Congratulations!Gail: Oh, but that's not the news. The news is that because of the award, I've been offered a job as network correspondent. It's a lot of money,it's high profile, it's...in Philadelphia.(Dawson's face drops.)Dawson: Oh. Are you going to take it?Gail: Well, professionally, it's a huge leap for me. It's what I'vealways worked for.Dawson: But I don't want to move to Philadelphia...Gail: Oh, I completely understand that. You're halfway through high school. No, I do notwant to uproot you. If I took the job, I assume your father would move back in and I would come home as often as I could...Dawson: S-So what about you andDad? Are you guys just throwing in the towel?Gail: Well, that's the last thing I want, but I'm hitting my head up against the wall here, honey. Your father doesn'tseem to have any interest in making things work. So if I walk away from this career opportunity, and I lose this marriage, what do I have?Dawson: You still haveme.(She smiles. Cut to Grams walking in to Jen's room where Jen's lying on her bed wrapped in a blanket.)Grams: Jennifer, I'm worried about you.Jen: Don't be.I'm just tired.Grams: You know, I can't say I was particularly fond of your friend, Abby. I always had the distinct impression that she was mocking me.(Jensmiles.)Grams: She was, wasn't she?Jen: Don't take it personally, Grams. Abby was mocking everyone.Grams: But she was your friend. It's so hard tounderstand why God would take someone so young...with so much left to learn, so much left to live. It really tests one's faith.Jen: Yeah, well, maybe I didn't haveany faith to begin with.Grams: Well, rest assured, God may work in mysterious ways but He has a plan.Jen: Well, if God had a plan for Abby, she certainly wasn'tfollowing it.Grams: God has a plan for everybody, including Abby. Including you.Jen: Grams, I really don't want to have a religious discussion right now.Grams:It's times like this that--Jen: Grams, please! Okay?Grams: Alright, but...I'm here for you. Whenever you need me.(Cut to Pacey and Andie in a deli-likerestaurant.)Pacey: I can't believe Jen would accuse you of being responsible. She was drunk, she fell, she drowned. End of story. It was nobody's fault, least ofall, yours.Andie: Yeah, but ...I was so mean to her.Pacey: Oh, come on, you've got to be kidding me! (to cashier) Thanks! (to Andie) Abby Morgan was one of themost hideous creatures to ever haunt the streets of Capeside and you bent over backwards to befriend her. You really shouldn't be taking this that hard,Andie.Andie: Don't tell me how I should be feeling. If I'm upset, then I'm upset. If I feel guilty, then I feel guilty. I think those are perfectly valid feelings.Pacey:You're right, I'm sorry. I just don't like seeing you like this, okay?(Two women walk by their table. Once they're out of earshot...)Andie: Oh, God, Pacey. Don'tlook now, but Abby's mother just walked in.(Abby's mother turns and spots Andie and walks towards her.)Abby's mother: Don't I know you?Andie: Yes, Mrs.Morgan, I'm Andie McPhee. You drove me home once.Abby's mother: Oh, that's right. You're a friend of Abby's. She talked a lot about you.(Andie looks at Pacey,confused.)Andie: She did? Oh, Mrs. Morgan, I am so sorry about what happened.Abby's mother: Will you be coming to the funeral?Andie: Oh, of course...ofcourse I will.Abby's mother: You know, no one's offered to give a eulogy...and I'm not really familiar with any of her other school friends, you will be saying a few"}
+{"doc_id":"doc_316","qid":"","text":"[Elena's car.]STEFAN (PHONE): Elena. It's Stefan. I know that picture must have confused you. But I can explain. I need to explain. Please, when you get this,call me.Elena has an accident. She collided a man. Her car is back to front but Elena has nothing. She sees the man getting up.ELENA: Aah! Aah! Aah! The mandisappears.DAMON: How ya doing in there?ELENA: Damon?DAMON: You look stuck.ELENA: My seat lt.DAMON: Let me get you out of there. I want you to putyour hands on the roof. Just like that. You ready? ...2, 3. I got you. Are you ok? Can you stand? Anything broken?ELENA: Uh-uh.DAMON: Whoa, you're fadingfast, Elena. Elena, look at me. Focus. Look at me. Ok.ELENA: I look like her.DAMON: What? Upsy-daisy. Damon leaves with Elena in his arms.[Alaric'sHouse.]ALARIC: I found one. After years of reseah and study, there it was right in front of me. I was terrified. As I stared it in the eyes, I drove a stake throughits heart. I was right about Mystic Falls. There is evil here. I can sense it. Feel it. It's everywhere.He is watching a photography of a youg woman, probably hisgirlfirend.[Flashback.]ALARIC'S GIRLFRIEND: Mmm. It's not even 7:00 yet.ALARIC: Which means you shouldn't be awake for at least 6 hours.ALARIC'SGIRLFRIEND: I hate morning people.ALARIC: I'm going to be home te tonight.ALARIC'S GIRLFRIEND: Mm love you.ALARIC: And I love you too.[Damon's car.Elena wakes up]DAMON: Morning.ELENA: Where are we?DAMON: Georgia.ELENA: Georgia? No, no. No, we're not. Seriously, Damon. Where are we?DAMON:Seriously, we're-- we're in Georgia. How ya feeling?ELENA: I--I--DAMON: There's broken bones. I checked.ELENA: But my car. There was a man. I hit a man. Butthen he got up and--who was that?DAMON: That's what I would like to know.ELENA: Where is my phone? Ok. We really need to go back. Nobody knows where Iam. Pull over. I mean it, damon. Pull over! Stop the car!DAMON: Oh you were so much more fun when you were asleep.He stops the car.DAMON: Hey.ELENA: I'mfine. We have to go back.DAMON: Oh come on. Look. We've already come this far.ELENA: Why are you doing this? I can't be in Georgia. I wrecked my car. I haveto go home. This is kidnapping.DAMON: That's a little melodramatic, don'you think?ELENA: You're not funny. You can't do this. I'm not going to Georgia.DAMON:You're in georgia. Without your magical necklace I might add. I can very easily make you...Agreeable.ELENA: What are you trying to prove?[Elena's cell phonerings.]ELENA: That's my phone.DAMON: Mmm. It's your boyfriend. I'll take it. Elena's phone.STEFAN: Where is she? Why do you have her phone? Is sheok?DAMON: Elena? She's right here. And, yes, she's fine.STEFAN: Where are you? Let me speak to her.DAMON: He wants to talk to you.ELENA: Uh-uh.DAMON:Yeah. I don't-- I don't think she wants to talk to you right now.STEFAN: Damon, I swear to god, if you touch her--DAMON: You have a good day. Mm-hmm.Bye-now.STEFAN: Argh!ELENA: Look. No one knows where I am. Can we please just go back?DAMON: We're almost there.ELENA: Where is there?!DAMON: Alittle place right outside of Atlanta. Oh, come on, Elena. You don't wanna go back right now. Do you? What's the rush? Time-out. Trust me. Your problems are stillgoing to be there when you get home. Look. Step away from your life for 5 minutes.ELENA: 5 minutes. Am I going to be safe with you?DAMON: Yes.ELENA: Willyou promise not to do that mind control thing with me?DAMON: Yes.ELENA: Can I trust you?DAMON: Get in the car. Come on.[Jeremy and Alaric.]JEREMY: Hey,Mr. Saltzman.ALARIC: Hey, Jeremy. I, uh--can't find my ring. I took it off for the gym and thought I put it-- there it is.JEREMY: Losing family heirlooms--bad.ALARIC: How's your extra credit coming? You pick a topic yet?JEREMY: Mystic Falls, the cil war era.ALARIC: What's the angle?JEREMY: My family-- I found ajournal of an anstor who lived in the 1800s. And the Gilberts were one of the original founding families of Mystic Falls. So...ALARIC: That sounds good.[Stefan andBonnie.]STEFAN: Bonnie.BONNIE: StefanSTEFAN: Hey.BONNIE: Hi.STEFAN: I haven't seen you lately. How are you doing with everything?BONNIE: I'm fine. It'sall fine.STEFAN: Good. YeahBONNIE: Are you back in school?STEFAN: No. Actually I came here to find you. I s hoping you could help me with something. Aspell.BONNIE: Stefan, look, I know Elena's ok with all of this, and I appreciate what you did to help me. But I'm not really ready to dive into it with you justyet.STEFAN: I understand. But I need your help. It's Elena. She's with Damon. I have Elena's necklace. I was just hoping you could use this to make some sort ofa connection. I just need to know that she's ok.BONNIE: How do you know I can do this?STEFAN: Because I've known a few witches over the years. I've seenwhat they can do.BONNIE: I'm still new at it.STEFAN: It's ok. Give it a shot.BONNIE: Ok. All right.She tries to feel something with the necklace.BONNIE: There'snothing. Nothing's happening. Usually there's an image or... Tell me if anyone's looking.STEFAN: Ok.BONNIE: All right. She takes a leaf and tries to fly it.STEFAN:What is it?BONNIE: Something's wrong.STEFAN: With Elena?BONNIE: With me. There's something wrong with me. I have to go. I'm sorry, Stefan. I can't helpyou.[Damon's car.]ELENA: So, where's my car?DAMON: I pulled it off on the side of the road. I don't think anyone will bother it.ELENA: At about that man in theroad? Was he a...?DAMON: From what I could tell. Yeah.ELENA: You don't know him?DAMON: If I've never met him, I wouldn't know him. I mean, it's not like weall hang out together at the vamp bar and grill.He stops the car in front of a bar.ELENA: You brought me to a bar? Damon, I'm not old enough. They're not goingto let me in.DAMON: Sure they will.WOMAN: No. No, it can't be. Damon. My honey pie. She kisses Damon.WOMAN: Listen up everybody! Here's to the man thatbroke my heart, crushed my soul, destroyed my life, and ruined any and all chances of happiness! Drink up! Ahh. Whoo!WOMAN: So, how'd he rope youin?ELENA: I'm not roped in. Actually, I'm dating his--WOMAN: Honey, if you're not roped, you're whipped. Either way, just enjoy the ride.ELENA: Ok. So, how didyou two meet?WOMAN: College.ELENA: You went to college?DAMON: I've been on a college campus, yes.WOMAN: About 20 years ago, when I was just a sweet,young freshman I met this butiful man, and fell in love. And then he told me about his littleecret, made me love him more. Because, you see, I had a little secretof my own that I was dying to share with somebody.DAMON: She's a witch.WOMAN: Changed my world.DAMON: I rocked your world.WOMAN: He is good in thesack, isn't he? But mostly he's just a walkawayoe. So, what is it that you want?[Jeremy in a library.]He looks at books when some books fall him above. A girlarrives.GIRL: Oh my god. I am so sorry. There was this one book wedged between the other. And I pulled and then kaplunk, kaboom. Are you ok?JEREMY: Yeah,I'm fine.GIRL: Ohh! I'm Anna.JEREMY: I'm Jeremy.[Grams' house.]BONNIE: Thank god you're back.GRAMS: And hello to you, too. What's the matter?BONNIE:Powers are gone, Grams. I can't do anything, even when I concentrate. And there's nothing in in any of these books that can tell me how to get themback.GRAMS: Hang on, now. Just calm down. Tell me what happened.BONNIE: I can't.GRAMS: We keeping secrets now?BONNIE: I have to. I'm sorry. Ipromised. Please help me.GRAMS: Well, first of all, there's nothing in any of these that's gonna help you. If you're blocked, it's in here. You gotta clear it out,then you're back in business.BONNIE: Clear what out?GRAMS: Whatever's got you so scared.[Elena phones.]ELENA: Hi, Jenna. I'm so sorry.JENNA: Where areyou? Why didn't you call?ELENA: I was so tired last night. I fell asleep at Bonnie's. And then this morning, I just wanted to get to school.JENNA: Are youok?ELENA: You know, Stefan and stuff.DAMON: Come on, there's gotta be another way.WOMAN: After all these years, it's still only Katherine. How do you evenknow she's still alive?DAMON: Well, you help me get into that tomb and we'll find out.WOMAN: I already did. 20 years ago. Remember? 3 easy steps-- Comet.Crystal. Spell.DAMON: There's a little problem with number 2. I don't have the crystal.WOMAN: That's it, damon. There is no other way. It's Emily's spell.DAMON:What about a new spell with a new crystal that overrides Emily's spell?WOMAN: It doesn't work that way, baby. Emily's spell is absolute. You can't get into thattomb.[Bonnie in the wood.]BONNIE: Hello? Anybody here?! Aah!Bonnie falls.[Front of the bar. Elena's cellphone ringing.]STEFAN: Elena, is th you?ELENA: I'mhere.STEFAN: Where are you?ELENA: You lied.STEFAN: Not until I explain, please.ELENA: So, you didn't lie?STEFAN: Just tell me where you are. So that I cancomeet you.ELENA: How am I connected to Katherine, stefan?STEFAN: I honestly don't know.ELENA: And I'm supposed to believe that?STEFAN: It's the truth. I--Listen--She hangs up. Damon is behind her.DAMON: You ok?ELENA: Don't pretend to care. I know you're gloating inside. Damon's friend phones.WOMAN: Hey,it's Bree. You'll never gonna guess who walked into my bar.[Bonnie, in the tomb.]BONNIE: Oww. Hello?! Anybody?! Ahh![Grams' house. Stefan isknocking.]STEFAN: Hi.GRAMS: Can I help you?STEFAN: I'm Stefan. I'm a friend of Bonnie's. Her dad told me that she might be here.GRAMS: She was. Notanymore.STEFAN: Do you know where she went?GRAMS: No. But you do.STEFAN: I'm sorry?GRAMS: I told her to face down her fear. And I'm sensing now thatyou know exactly why she was scared. You know what I am. And yet you offered me your hand, which means you wanted me to see that I can trust you.STEFAN:Can you?GRAMS: I just you'll keep her safe. You'd better be on your way, then. I'm not going to invite you in. I'm sure you understand why.[SCENE_BREAK][Atthe library.]ANNA: This aisle is local and state history. And civil war is one over. What do you need?JEREMY: Local. 1860s. Do you work here?ANNA: Nope. Youwant reference. This way. Uh, home-schooled. I study here for a moc school environment. Ah, here we go. Original settlers, town archives, founders stuff. It's allhere. So, what's your topic ?JEREMY: The town's fear and hysteria surrounding the war and how it influenced certain writers of the time.ANNA: You might want tofocus that.JEREMY: The origin of local folklore and myths.ANNA: You mean the vampires?[At the bar.]ELENA: Let's just say that I'm descended from Katherine--Does that make me part vampire?DAMON: Vampires can't procreate. But we love to try. No. If you are related, it would mean Katherine had a child before shewas turned.ELENA: Did Stefan think that he could use me to replace her?DAMON: Kinda creepy if you ask me. Come on, what? You don't like pickl? What's wrongwith you?ELENA: How can you even eat? If technically you're supposed to be...DAMON: Dead. It's not such a bad word. As long as I keep a healthy diet of bloodin my system, our body functions pretty normally.ELENA: This nice act. Is any of it real?BREE: Here you go, honey.DAMON: Thank you.ELENA: I'll have onetoo.DAMON: Hmm?ELENA: Time out, remember? For 5 minutes? Yeah, well that 5 minutes is going to need a beer.BREE: There you go.[In the library.]JEREMY:"}
+{"doc_id":"doc_317","qid":"","text":"[Scene: The Hospital, Phoebe is arriving with Ross, Joey, and Rachel in tow.]Phoebe: (to the nurse) Hi.Nurse: Hi.Phoebe: Hi, yeah, hi! I'm umm, Phoebe Buffay,and I have babies coming out of me.Nurse: Okay. Have you started having contractions?Phoebe: Not yet. Umm, I heard they really hurt, do they hurt?Nurse:Well...Phoebe: Oh my God!Ross: It's all right.Nurse: Now, which of you is the father? (Points to Joey and Ross)Phoebe: Oh no, none of them are the father. Thefather is my brother.Nurse: (not sure what to do with that) Okay...Rachel: I am so gonna miss watching you freak people out like that!Joey: Okay, uh Pheebs,quick. Look! This (His video camera) is for the babies to look at someday, so is-is there anything you want to say? Y'know before it all starts?Phoebe: Oh, okay,umm, hi kids! Um, it's me, Aunt Phoebe. I can't wait to see you. Please don't hurt me!(Monica and Chandler come running in.)Ross: Hey, what took you guys solong? Your cab left when ours did!(There's a pause as they figure out what to say.)Monica: Well, we-we had to go back because I forget my jacket.Chandler:That's right.(Both Rachel and Ross stare at her for a moment.)Rachel: You-you're not wearing a jacket.Monica: Oh man! I did it again!Phoebe: (standing up)Okay, so umm, somebody has to call Frank and Alice. (As she is talking Joey is sticking the camera under her skirt.) And then my mom wants to know-(noticesJoey)-Joey, what are you doing?!Joey: I gotta get the before shot!(She shakes her head no.)Opening Credits[Scene: The delivery room, Rachel and Ross areentering.]Rachel: Hi, Pheebs? Okay, so just spoke to the nurse and the reason that your doctor is late is because uh, she's not coming.Phoebe: What?!Ross:Apparently she fell in the shower and hit her head.Phoebe: Oh my God, she's so stupid!Ross: Look, Pheebs-Pheebs, it's gonna be okay.Phoebe: That's easy foryou to say, I don't see three kids coming out your v*g1n*!Rachel: Honey, listen, y'know what? The nurse said the doctor is wonderful.Ross: Yeah, he's head ofthe department.Phoebe: All right--Ooh! Oh dead God, save me!Monica: What?Phoebe: I'm having my first contraction!Chandler: Oh no.Phoebe: Ooh, it's notbad.Chandler: Okay.Joey: Oh! (In an announcer type voice) And so the miracle of life begins, and aaiiyyyeeee! (He grabs his side and doubles over inpain.)Chandler: Hey! You okay?Joey: Ooh, something hurts!Phoebe: Ooh, it's sympathy pains. Ohh, that's so sweet!Joey: Are they? I didn't know I cared thatmuch.(The doctor, Dr. Harad, enters.)Ross: Hello.Dr. Harad: Hi! Phoebe, I'm Dr. Harad, I'm going to be delivering your babies. I want you to know, you're gonnabe in good hands. I've been doing this for a long time. I'll be back in a minute to do your internal, in the meantime, just relax because everything here looksgreat. And also, I love Fonzie. (Exits)Chandler: Did he just say, he loves Fonzie?Monica: That's what it sounded like.Chandler: All right...Frank: (entering)Hey!All: Hey!Frank: (To Phoebe) Hey! Am I late? Am I late? Nobody came out yet, right?Phoebe: No-no-no! We haven't started yet. Where's Alice?Frank: Uh,Delaware. She's on her way though, so until she gets here, I'm gonna be your coach. But don't worry, she told me all about the la-Mazada stuff.Chandler: Yeah,that's when if you get the babies out by the end of the month, they give you 2% financing.Frank: Yeah.[Scene: The waiting room, Monica and Joey are sittingthere.]Rachel: (entering) Monica? You gonna be very proud of me. I just got us dates with two unbelievably cute nurses.Joey: Oh my!Rachel: They're malenurses.Joey: Not in my head.Rachel: Anyway, they want to take us out Saturday night! What do you say?Monica: Umm. (Looks at Chandler who is using thephone.) Umm. Umm. I don't think so.Rachel: What? What are you talking about?! You-you're the one who's been telling me to get over Ross and move on. I'mmoving on, and you're moving on with me. Come on, give me one good reason why you don't wanna go.Monica: Umm, why don't you give me something thatwould be a good reason and-and then I'll tell you if it's true.Rachel: What?Monica: Harder than it sounds. Isn't it?Rachel: Okay, you're coming with me, and I alsotold them that if we're still here when they get off that we'll go down to the cafeteria and have some Jell-O with them.Joey: (in a sexy voice) Yep! There's alwaysroom for Jell-O...Rachel: Joey, how do you make that dirty?Joey: Oh, it's easy. Yeah, I-I can do it with anything. Watch uh, (snaps his fingers and in a sexy voice)Grandma's chicken salad...[Scene: The delivery room, Chandler, Frank, and Ross are with Phoebe.]Joey: (entering) Ross! Get a shot of this. (He's carrying anissue of the USA Today and hands Ross the camera.) Hey babies! These are the headlines on the day you were born! Okay, now girl baby turn away and boybabies... (Throws the paper away to reveal a copy of Playpen, which is the TV version of Playboy Magazine.) Check it out, huh?! This is what naked women lookedlike the month you were born. All right, now let's dive right into the good stuff. (Joey opens the magazine and Ross sticks the camera in it.)Phoebe: Oh, okay, I'mhaving another one! This one doesn't hurt either--Ooh, yes it does! Ow! Ow! Ow! Ow! Ooh! (Checks under the blanket.) Oh, I was kinda hoping that was it.Ross:Hey, where are Monica and Rachel anyway?Joey: Oh, a couple of nurses asked them out. Maybe they're with them.Chandler: Really? Male nurses?Joey: Yeah, Iwas bummed too.Chandler: So they're going on dates? When?Joey: I think Saturday--(groans in pain again).Frank: (To Phoebe) What's with him?Phoebe: Umm,sympathy pains. I thought it was really sweet at first, but now I think he's just trying to steal my thunder.Dr. Harad: (entering) Okay!Phoebe: Hey.Dr. Harad:Let's see what we got here. Ohh, y'know, Fonzie dated triplets.Chandler: This-this Fonzie person you keep referring too, is that uh, is that another doctor?Dr.Harad: Oh no-no-no. Fonzie is the nickname of Arthur Fonzerelli. The Fonz.Chandler: All right.(Dr. Harad exits.)Frank: It's not that weird, is it?Phoebe: It's veryweird! I don't want some guy down there telling me, I'm y'know, dilatedamundo!Ross: To be fair, he doesn't seem to be impersonating Fonzie...Phoebe:(interrupting) What are you doing?!! Why are you defending him?! Just get me another doctor! One who is not crazy and who is not Fonzie!Ross: Again, it's notthat he...(Phoebe fakes pain to get Ross looking for another doctor.)[Scene: The waiting room, Chandler is looking for Monica.]Chandler: (spotting her)Oh-hey-hey-hey! There you are!Monica: Umm, listen there's something I think you should know.Chandler: Oh, is this about you-you dating the nurse? Yeah, Joeyalready told me, and I am so-so fine. I mean, you and I we're just, y'know, we're nothing, we're goofin' around.Monica: Umm, actually I was about to tell youthat I was, I was going to get out of it, but hey, if we're just goofing around then uh, maybe I will go out with him.Chandler: Fine! Maybe I will too!Joey: (enteringfrom the elevator caring gifts for the kids) Hey, you guys! Look what I found in the giiiiiiift shop. (He doubles over in pain in front an old man in a wheel chair.)Get up! Get up! Get up! (The old man waves him away.)[Scene: The delivery room, Ross has returned with another doctor. This one, is well, younger.]Ross:Okay, Phoebe, this Dr. Oberman. He has no strong feelings about Fonzie or any of the Happy Days gang.Phoebe: Hi! And you're going into what grade?Dr.Oberman: Umm, I'm actually a first year resident, but I get that a lot, you see, I-I graduated early...Phoebe: (interrupting) Uh-huh, me too. Ross, maybe Ishould've specified that I'd be needing a grown up doctor.Dr. Oberman: Oh no, I'm fully qualified to...Phoebe: Shh! Doogie, shh! Doesn't anybody understandthat I'm gonna be having babies soon? Huh? Go! Go little boy, go!(He runs out and Frank watches him go.)Frank: Oh cool! You made him cry![Scene: Anotherhospital room, Joey has now been admitted and his doctor is about to break the bad news to him, Monica, and Chandler.]Joey's Doctor: Mr. Tribbiani, I'm afraidyou've got kidney stones.Joey: Umm, well, what else could it be?Joey's Doctor: It's kidney stones.Joey: Or?Joey's Doctor: Kidney stones![Scene: The deliveryroom, Dr. Harad is back and checking on Phoebe.]Dr. Harad: All right, you're getting there. Oh, and y'know, these babies are very, very lucky.Phoebe: They are.Why?Dr. Harad: They have the honor of being born on The Fonz's half-birthday.Phoebe: Happy birthday!Dr. Harad: Just-just to clarify, I'm not Fonzie. (Phoebenods in agreement as he leaves.)Rachel: Honey, y'know I just gotta tell you, I think this is such a terrific thing you're having these babies for Frank andAlice.Phoebe: I know, it is.Rachel: Yeah!Phoebe: Can I tell you a little secret?Rachel: Yeah!Phoebe: I want to keep one. (Giggles in excitement.)Rachel: Ohh, I'mgonna be on the news![SCENE_BREAK][Scene: The delivery room, continued from earlier.]Rachel: Okay, Phoebe, honey, you gotta be kidding. I mean, you knowyou cannot keep one of these babies!Phoebe: Why not?! Maybe I can, you don't know!Rachel: Yes! Yes! Yes, I do! I do know! Frank and Alice are gonna want tokeep all of their children!Phoebe: Maybe not! Y'know? Seriously, three babies are a handful maybe they're y'know, looking for a chance to unload one of them.Listen, I-I hate to miss an opportunity just because I didn't ask! Y'know?Rachel: Phoebe, no! This is, this is insane.Phoebe: Oh, just ask him!Rachel: Me?!Phoebe:I can't ask him! Do you have any idea how inappropriate that would be?! All I'm saying is just talk to Frank. Okay? Just, y'know, feel him out!Rachel: No! Forgetit! I am not gonna ask Frank to give you one of his kids!!Phoebe: You're right.(There's an awkward silence then suddenly Phoebe gets an idea.)Phoebe: Tell himit's for you.[Scene: Joey's room, his doctor, Chandler, and Monica are there.]Monica: Feeling a little better sweetie?Joey: Well, maybe a little. I wish you hadn'tseen me throw up.Monica: Me too.Ross: (entering) Hey! I just heard. What's up?Joey's Doctor: Kidney stones! Now, ordinarily Mr. Tribbiani, we try to break upthe stones up with shock waves, but they're to close to the bladder now. Which means we can either wait for you to pass them or else go up the urethra...Joey:(interrupting) Whoa-whoa! No-no-no-no-no, nothing is going up! Okay? Up, up is not an option--what's a urethra? (Monica whispers what it is in his ear.) Are youcrazy?![Scene: The delivery room, Rachel and Frank are there.]Phoebe: (To Rachel) So did you ask him?Rachel: No, I haven't had a chance to be alone with himyet.Phoebe: Well, I'm kinda on a clock here.Dr. Harad: (laughing) Oh Fonzie.Rachel: Y'know who I always liked? Mork.(Dr. Harad drops what he's doing andstares at her.)Phoebe: Undo it. Undo it. Undo it.Dr. Harad: Fonzie met Mork. Mork froze Fonzie.Rachel: Yeah, but umm... Yes, but, Fonzie was already cool, so hewasn't hurt, right?Dr. Harad: Yeah, that's right.Monica: (entering with Chandler) Hey!Phoebe: Hi!Monica: (To Phoebe) How are you doing?Phoebe: Okay, doctorsays any minute now.Frank: Hey, y'know, Alice is gonna be here so soon, you couldn't just like do me a favor and like, like hold them in?Phoebe: Sorry Frank, I'mkinda in the middle of the last favor you asked me to do.(A male nurse enters.)Male Nurse: Hey!Rachel: Hi!Male Nurse: Rachel.Rachel: Monica, this is Dan (points"}
+{"doc_id":"doc_318","qid":"","text":"PARADISE TOWERSPART FOURRun time: 24:21[SCENE_BREAK]1. EXT. PARADISE TOWERS[SCENE_BREAK](An exterior view of the Towers, high up in the sky.The glass walls and windows of the Towers reflect the fluffy white clouds hanging in the sky.)[SCENE_BREAK]2. INT. THE BASEMENT[SCENE_BREAK](The Cleanerpushes the Chief Caretaker towards his \"pet\" represented by the neon lights through the \"No Entry\" door.)VOICE: You have no choice. I am Kroagnon, the GreatArchitect, and I will put an end to you and everyone in Paradise Towers.(The Chief is pushed forward by the Cleaner and into a machine. An opaque cylinderbegins to descend on him and obscures him from view. As it does so, he lets out a loud scream. The Doctor and the Kangs come out from their hiding place andwatch this happen.)BIN LINER: Ware Cleaners!THE DOCTOR: Back to the lift.(Fire Escape is hesitant, thinking she can use her weapon on a Kang, but the Doctorgestures for them to run.)FIRE ESCAPE: Wait, Doctor.THE DOCTOR: Back!(Fire Escape fires her weapon, hitting a Cleaner, but it has no effect on it. Taken offguard, another Cleaner appears. With its claw it grabs the Doctor by the throat and proceeds to strangle him.)DRINKING FOUNTAIN: Doctor! Now.(She fires herweapon and the arrow hits the Cleaner, causing a malfunction, and thus it loses its grip on the Doctor. The Doctor and the Kangs quickly run for the exit door andit closes, placing a barrier between them and the Cleaners. Back in Kroagnon's lair, the large opaque cylinder rises, revealing what used to be the Chief Caretaker.His skin now has a silvery sheen and his clothing looks clean and shiny. Kroagnon now inhabits the Chief's body. He steps out from the machinery and moves toaddress the Cleaners who gather around him.)KROAGNON: Attention all Robotic Cleaners. Attention all Robotic Cleaners. At last Kroagnon can leave thebasement prison they trapped his bodiless brain in and return in this borrowed body to the corridors and lifts of his own creation. They buried me away because Iwanted to stop them using the Towers. And now you and I will destroy them.[SCENE_BREAK]3. INT. THE STREET[SCENE_BREAK](The Doctor and the mixture ofKangs race down the street. The Doctor is clearly out of breath lagging behind.)THE DOCTOR: Just a moment, please stop! Please! The immediate danger's over.And I wouldn't mind getting my breath back.(The Doctor sits down on an old crate at the side of the corridor. The three Kangs - Drinking Fountain (Blue KangLeader), Fire Escape (Red Kang Leader) and Bin Liner (Red Kang) - kneel down beside him. A fourth Red Kang stands guard at the end of the corridor.)DRINKINGFOUNTAIN: The Doctor really is ice hot.THE DOCTOR: Very hot!DRINKING FOUNTAIN: Not a yawny Oldster.THE DOCTOR: Now, you understand the dangerousposition we're in. We must gather all the Kangs together.FIRE ESCAPE: And is the Chief Caretaker really unalive?THE DOCTOR: As himself, yes. But you saw whathappened. Up till now Kroagnon's simply been a mind without a body, as your parents must have left him. However, I fear he may have spent his time downthere devising a way of performing Corpoelectroscopy - a way of transplanting his brilliant brain to some host body.BIN LINER: And what's the come out,Doctor?THE DOCTOR: Oh, I can't be certain. But Kroagnon won't want to stay locked up in his basement much longer. He's bound to show himself in one form oranother.[SCENE_BREAK]4. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](Pex is sitting at the side of the pool whilst Mel bobs around in the water, enjoyingherself.)MEL: Oh, the water's really lovely. You really ought to come and join me, Pex. It'll do you the world of good. There's really nothing to be frightenedof.(Mel fails to see the Yellow Robotic Crab-like Pool Cleaner as it comes up behind her. It grabs hold of her and she lets out a scream. Pex is alerted and jumps tohis feet, uncertain of what to do.)[SCENE_BREAK]5. INT. RED KANG HEADQUARTERS[SCENE_BREAK](The hideout is bustling with activity. The Doctor restsagainst a large blue barrel. The Red and Blue Kangs are present.)THE DOCTOR: It's taking over the building floor by floor.(Bin Liner is on the Talky phone.)BINLINER: Return to Red Kang Base and Ware Cleaners! Build High for Happiness.(She replaces the receiver onto it's position on the Drinking Machine.)THEDOCTOR: Is Fire Escape going to join us?(Bin Liner nods.)THE DOCTOR: Are all the Kangs here? Red? Blue?DRINKING FOUNTAIN: Yes. Except for those...THEDOCTOR: Those who've been made unalive. Yes. Well, when Fire Escape gets here we must all make for the Great Pool in the Sky.[SCENE_BREAK]6. EXT. FLOOR304 / THE POOL[SCENE_BREAK](The Yellow Pool Cleaner is attempting to drag Mel under the water. Her head goes under a few times but she struggles to remainabove the surface of the water. Pex runs around the side of the pool in a state of confusion and panic.)MEL: Pex, do something!PEX: But what should I do?MEL:Anything!(The Cleaner bobs up and down in the water threatening Mel with its claws and mechanical tendrils that are wrapped around Mel's body.)PEX: Help!Help!MEL: Can't you think of anything else?(Again the Cleaner pulls Mel beneath to the surface of the water. When she struggles back up again, she makes alunge in the direction of Pex, reaching for his gun.)MEL: Quick. Give me that!(She takes the gun from Pex and splashes her way out of the pool as the Cleaneradvances after her. She turns and fires directly at it causing an explosion. The Cleaner buzzes and crackle and sinks to the bottom of the pool. Mel stands pantingon the edge of the pool with Pex.)PEX: Mel, I did warn you.(Mel turns to look at Pex in frustrated disbelief.)[SCENE_BREAK]7. INT. THE CARETAKERS'HEADQUARTERS[SCENE_BREAK](The Deputy Chief Caretaker stands in front of the bank of monitor screens as he addresses his fellow caretakers.)DEPUTY CHIEFCARETAKER: Attention all Caretakers. Regulation ZZZ is now in operation. This overrides all other rules and regulations. I repeat, this overrides all other rules andregulations. All Caretakers to act with extreme caution and get back here as fast as they can.(The monitor screens display various Caretakers running down thecorridors in response to his instructions.)[SCENE_BREAK]8. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](Mel and Pex are sitting on a lounger at the side of thepool. Mel has dried off and put her clothes back on. Pex looks very glum.)MEL: Pex.PEX: What?MEL: I'm sorry.(She is distracted by a sound coming from theother end of the pool - behind a curtain.)MEL: What's that?PEX: Where?MEL: Well there's a rustling sound coming from over there.PEX: I only checked it a fewminutes ago.MEL: Shall I go?PEX: If you want.(Taking a deep breath, Mel puts her towel aside and walks as nonchalantly as possible towards the curtained-offarea. Pex cautiously follows her, getting his gun out just in case. She pulls aside the curtains to see nothing there.)PEX: Nothing there?MEL: No.PEX: Sure?MEL:Of course. See for yourself.(Suddenly the Doctor bursts through the curtain, startling both Pex and Mel. Mel gasps but is then relieved.)MEL: Doctor!THEDOCTOR: I'm sorry to give you such a shock, Mel, but this is where the Cleaner service lift appears to come out.MEL: Oh, Doctor, it's so good to see you!THEDOCTOR: And you, Mel, and you!(The Doctor and Mel hug. The Doctor notices Pex and reaches out his hand and doffs his hat.)THE DOCTOR: Um, how d'youdo?MEL: This is Pex.THE DOCTOR: Ah. I believe you've met my friends before.(The Doctor steps back and pulls the curtain back to reveal the Kangs. Pex takes upa defensive stance and eyes them suspiciously.)[SCENE_BREAK]9. INT. THE STREET[SCENE_BREAK](Smoke starts to fill the corridor. A Caretaker appears at theend of it, clutching his throat and coughing. He falls to the ground dead. Kroagnon, inhabiting the Chief Caretaker's body, walks awkwardly down the corridorfollowed by a Cleaner that belches out smoke.)KROAGNON: Search hard, My Cleaners, search hard. Bring them all out! All the nasty human beings! TheCaretakers! The Residents! The Kangs! All of them! We'll be back to collect the rubbish later.[SCENE_BREAK]10. EXT. FLOOR 304 / THEPOOL[SCENE_BREAK](The Kangs are sitting in a united group along the side of the pool with Pex alone at the end. The Doctor and Mel are pacing up and down atthe head of the pool.)MEL: Imagine building this beautiful pool and filling it with mechanical killers.THE DOCTOR: The rest of the Towers would have been like thispool if he'd had his way. A killer in every corner.MEL: And you're sure Kroagnon's been let loose again?THE DOCTOR: Oh, very much so. But we know so littleabout his plans. He had years to brood over what he wants to do. But we've no time to come up with a counter plan.(Fire Escape moves over to Pex to taunt him,with the other seated Red and Blue Kangs willing her on.)FIRE ESCAPE: Did Mel make the creature unalive for you?DRINKING FOUNTAIN: And stop you beingtaken to the cleaners?(Pex nods his head shamefully.)FIRE ESCAPE: Then Mel is a Kang after all.(They all look around at the Doctor and Mel conversing at theother end of the Pool.)PEX: I'll show you all. I will put the world of Paradise Towers to rights.BIN LINER: Oh, yes?PEX: Yes!FIRE ESCAPE: You're a cowardly cutlet,Pex. You will always hide, always.(All the Kangs laugh at Pex. Mel and the Doctor watch the unruly group.)MEL: They shouldn't treat him like that.THE DOCTOR:That's Paradise Towers in a nutshell, I'm afraid. The Red Kangs didn't trust the Blue Kangs. And none of them trusted the Caretakers. And the Rezzies, from youraccount, prey on whoever they can and trust no one either. And all of them despise poor old Pex. Oh, the Great Architect must be delighted. How are we going tounite the people of Paradise Towers to defeat him?MEL: We'll find a way. We have to.(The Doctor looks despairingly at Mel. All through their conversation, theKang chants of \"He's a Cowardly Cutlet\" have been building, directed at Pex. Unable to take anymore, Pex storms off in the direction of the way out. He walkspast the Doctor and Mel. She goes to follow him.)MEL: Pex, don't go. Pex!(All of those gathered around the pool are stunned into silence and stillness at theunexpected arrival of three Rezzies, lead by Maddy. She steps timidly forward to address them all.)MADDY: I... that is we... we the Rezzies... the remainingRezzies that is, want to talk to you all. I think we may need your help.[SCENE_BREAK]11. INT. THE CARETAKERS' HEADQUARTERS[SCENE_BREAK](The DeputyChief Caretaker sits alone, solemnly staring at the floor. The main door to the room opens with a hum and what the Deputy thinks is the Chief walks in -Kroagnon. The Deputy jumps up looking pleased.)DEPUTY CHIEF CARETAKER: Well, Chiefy, I thought you were lost. I...(He stops as he sees two Cleanersthrough the doorway behind the Chief (Kroagnon). He notices the Chief's slightly odd appearance - he has a silvery sheen to his face and clothing. He starts toadvance awkwardly towards the Deputy.)KROAGNON: The Towers have become appallingly dirty.DEPUTY CHIEF CARETAKER: Sorry?KROAGNON: The whole placeis polluted with flesh, living flesh.DEPUTY CHIEF CARETAKER: Flesh? Did you say living flesh?KROAGNON: Yes.DEPUTY CHIEF CARETAKER: But Chief,"}
+{"doc_id":"doc_319","qid":"","text":"[Woody's. Brian's playing pool. Justin rubs his dick over the corner pocket.]Brian: Would you move your dick? I can't concentrate.[Justin turns around and rubshis ass over the corner pocket instead.]Emmett: You shouldn't have any trouble sinking into that hole.[Brian makes the shot and Justin moans with glee.]Ben: [toMichael] What given you me to concentrate at?[Ted is handing out flyers for a charity event, but nobody cares.]Ted: Come to the angel ball. f*ck you,too!Emmett: That wasn't very angelic.Ted: Who even take a goddamn flyer?Brian: Four hundred bucks for another boring fundraiser.Michael: Angels OverPittsburgh isn't just another charity; when Vic was sick they brought a meal practically every day. My mom and I couldn't done without that.Ted: Unfortunatelythat's not what these guys doin'.Brian: They need a big attraction.Justin: Like Madonna. Or the Backstreet Boys.Ted: Yeah, it's just Pittsburgh, sunshine. Not yourwildest dreams.Emmett: Hot about Pittsburgh's own Divina Devore? She's in town.Brian: Oh yeah, that's good. Another worn-out old drag queen.Emmett: Whatkind of homosexual are you?Brian: The kind that f*cks men.Emmett: Divina Devore it's a legend. She's performed before presidents.Brian: Ulysses S. Grant orChester A. Arthur?Michael: Go got her. But you won't have trouble with your tickets.Ben: It's worth a shot.[Michael squats in front of the corner pocket. Benshoots and the ball rolls towards Michael's mouth. Ben misses. Michael pouts. The boys laugh.]Michael: Oh.[The kindergarten! We're at a center for earlyeducation/day care/fancy-pants place.]women: Here in center for early development we offered an unique education parently. Which creates a save andsupportive enviroment which are our degree candidates can inquire an invaluable learning and social skills.Mel: Degree candidates? There arepre-schoolers.woman: Therefore as much we would like to accept all applicants in order to ensure maximum focus and individual attention we can only admit aselect few.[Lindsay raises her hand]Lindsay: May I ask what determines the final decision?woman: The child's own unique talents and abilities will play a big part,but we're also trying to create the full spectrum of human diversity. Race, religion, socio-economic background.Mel: What about sexual orientation?woman: Ohyes, that too.Lindsay: Are any same-sex-parented children currently enrolled?woman: Not yet, but we're entend to make every afford to change that.[The dinerwall changes artwork. Now it's all Justin's.]Debbie: [to a customer] The master piece that's what it is. For 50 bucks you'll buy the next Michael Angelo.[The guyjust rudely walks off]Debbie: Ignorier miss.His does not know dick about art.Justin: It doesn't matter. You do.Jen: Justin, you didn't tell me you has your ownshow.Justin: It's not exactly the Museum of Modern Art.Debbie: That's next![Justin and Jennifer hug.]Justin: You want something to eat?Jen: Uh, thanks honey. Ijust had lunch. I'm with your father.Justin: I don't talk about him.Jen: Well, I just wanna talk either, but we'll do. He says he's not gonna pay for your schoolanymore.Justin: Wha... That lame-ass sh1t. What's his feeble excuse?Jen: The stock market and supporting two households. And he's a lame-ass sh1t. I don'twant you to worry. I spoke to the accountant, I got a little of my savings, I can cash my IAR...Justin: I don't takin' your money. You and Molly had to live.Jen:You're sister and I'll be just... fine.Justin: No, forget it. I'll take care of myself.[Woody's. Divina Devore performing live at stage. Emmett, Ted, and Michael prancebackstage right behind the stage manager. (S)he finished.]Emmett: If you ask me, nobody makes a better woman than a gay man.Michael: What woman lookslike that? Big, red wig, tons of jewelry, gaudy clothes?[Emmett, Ted, and the stage manager all turn slowly to the screen.]Michael: My mother doesn't look likethat![Divina leans back on the curtain as the audience politely applauds.]Divina: Thank you, Pittsburgh! For reminding me why I left!Ted: I hope she's not be oneof those maniac divas who thinks she's the center of the universe -- you know, snapping her fingers bossing people around.[Divina comes backstage.]Divina: [tothe stage manager] Hey, you. Tell the idiot, the one whos the lights the spot is suppose to be at my face. Not the left tit!Stage manager: Yes, ma'am. I mean,sir.Ted: Excuse me, Miss Devore.Divina: Yes?Ted: I just want to say... your performance tonight was... sparkling.Emmett: Bubbling.Ted: Effervescent.Divina:Stop, you'll make me burp.Michael: Miss Devore? Hi, I want to tell you your performance was really great.Divina: I'm flattering for receive so much praise from soa handsome young men. Now, if you excuse me.Ted: Wait. Uh, we wanted to ask you...Divina: ...for my autograph.Ted: And for your help. See, I'm organising acharity event...Emmett: It's for a very good cause.Divina: Is it ever a bad one?Ted: It's for Angels Over Pittsburgh.Michael: They prepare home cook meals forhomeless people who have AIDS.Ted: And I was hoping you were might...Divina: Perform? Oh, I'd love to!Emmett and Ted: You would?Divina: If I didn't alreadyspend half my life doing benefits. If I do any more, they'll have to throw one for me.[Brian and Justin sit in a jeep.]Justin: I told you, I can pay for this.Brian: Withyour secrets money?Justin: I'll get another job, a real job where I actually pay for it.Brian: They pay for a hundred a week?Justin: I still apply for a scholarship allalone.Brian: What are you use for collection? Your ass? Stop being such a twat. I just trying to help you.Justin: You've helped enough. You did practically myentire life.Brian: What do you mean 'practically' ?Justin: Look, I don't want you feel like you have always take care of me. And I don't want me to.Brian: Fine,then go ahead. Don't come claim to me when it's didn't work.Justin: I love that you do anything for me.Brian: Who said it was for you? I made an investment, Iwant to pay off.[Justin pulls off his seatbelt and gives Brian a blowjob at a red light. The man in the car next to Brian watches. Brian watches him back. Brian revshis engine.][Angels Over Pittsburgh sign on the refrigerator.]Ted: Who the f*ck wants to see some worn-out old drag queen, anyway?Emmett: Honey, you findsomeone else.Michael: It's like Ben always says \"You have to be a positive energy for.\"Ted: What did Ben do in this new google-dee gook?[Michael trows eat toTed.]Ted: You know, I woldn't been Divina Devore in the Benefit even if I could her.Vic: Dvina Devore? Is she in town?Michael: Yeah, we beg her to perform atthe benefit but she turn us down.Vic: She always was a selfish prick.Emmett: You know her?Vic: Honey, I knew her when she was a him. He was Danny Devorethen. We went to highschool together.Emmett: NO!Ted: You know, maybe if you use the personal connection we can convince her mind.Michael: Me?Ted: You'reour only hope.Emmett: I thought you didn't even want her.Ted: Well, that was before I know that she is a friend of the family.Vic: I'm sure she wouldn'tremember me.[Lindsay's in pigtails, shouting to Mel from the porch.]Lindsay: Mel! Mel!Mel: What's the matter?Lindsay: Look, a letter.Mel: Haven't you've seenthis before?Lindsay: It's from Gus new school.Mel: Hey, today the universe could be more to Harvert.Lindsay: Who said anything about Harvert?Mel: I thoughedeveryone want a kid go to Harvert.Lindsay: I feel we should considered at least Brown.Mel: We'll continue this in 16 years. Just read the letter. What does shesays?Lindsay: He didn't get in.Mel: What?! [she reads the letter] It's bullshit. They always made such a big deal about all different kinds of people.Lindsay:Apparently not our kind of people.Mel: What was all this crap about looking for a kid from same s*x parents?Lindsay: She didn't mean us.Mel: It's discrimination.That's what it is.Lindsay: Against our son. For something that has nothing to do with him.[Fotoshooting with Divina Devore! The photographer's talking in avoice-over.]Michael: I know your busy, Mrs.Devore.Divina: Then why are you here?Michael: Well, I was hoping you were change your mind.Divina: I don't changemy mind! Only my underwear. Now, if you kindly show yourself out!Michael: Guess my uncle was right.Divina: Excuse me?Michael: Nothing. Just something hesaid. He knew you back in Highschool.Divina: Oh really and who was that?Michael: You wouldn't remember. Vic Grassi?[Camera zooms in her face.]Divina: VicGrassi. Oh, my god, I remember Vic. I hear that he was sick.Michael: Yeah, he's doin' a lot better now. Now he's on a cocktail.Divina: I'm glad to hear it. Tell himI say hello. So, if Vic is your uncle then Debbie must be your mother.Michael: Knew her?Divina: Knew her? I dated her!Michael: You? I mean...?Divina: Oh, backthen I was a male impersonator. I did a really convincing act, too. How's she doin'?Michael: Practically undestructable.Divina: Did she became a nurse like shealways wanted?Michael: I never knew that. Just a waitress.Divina: Jesus, I can still hear that laugh of her. She bring down a house. I wish she was in front of melast night. Oh, not complaint, I tell you kid, your momma was a real looker.Michael: Still is. Just, now there's more to look at.Divina: This benefit of yours, whenis it?Michael: Friday night.Divina: I tell you what. I'll be there after my show.Michael: That's so cool. You're doin' a really good deed. Thank you.Divina: Don'tthank me, pay me.Michael: So how long's been you saw my mom?Divina: Not since the summer of my graduation. I... I left town after that.Michael: I bet youhave some interesting stories about the two of you.Divina: Gentlemen don't reveal such themes. Especially gentlemens who are ladies.[Liberty Diner. Michael puton a sign of the poster with Divina Devore.]Ted: Where is he? Michael! [Ted kisses Michael] I cannot believe you got her change her mind.Brian: I can't believeDeb dated a drag queen. How anyone could tell them apart.Emmett: At least now we know who taught her how to do her hair.Brian: You realize it's makes yourmother officially fag hag of all time. Then Vic, then you. Hey Debbie.Debbie: Hey guys. Hi baby.Brian: I hear your boyfriend is in town.Debbie: Michael, aboutwho's he talking about it?Michael: It's someone you used to go...Debbie: Yeah? Who?Michael: Danny Devore.[Debbie is shocked, angry, and grumpy.]Debbie:Danny Devore.Emmett: Better known as Divina Devore.Ted: Michael got her agreement to perform on the Angel Ball.Emmett: Yeah, thanks to you.Debbie: Whathave I to do with it?Brian: She said she couldn't possible turn down the son of a former flame.Debbie: You shout your mouth! He had no right talk to my kidabout my personal life.Michael: We didn't say anything. He only said you two used to go out.Debbie: Yeah, it was like a million years ago. I should be overhim.[Debbie walks away.][Babylon. Naked dancing boys. Sweet, toned flesh. Good flesh. Good music. Justin sticks a dollar in the g-string of a dancing boy. Briansnaps a dollar out of a different stripper's g-string.]Brian: Shouldn't you been holding on on that?Justin: It doesn't much matter since it's my last one.Brian: Sortof like infections in the 19th century french noble been revive.Justin: f*ck off.Brian: Find a job.Justin: I must have tried twenty restaurants and nobodyhired.Brian: What does the financial aid office said?Justin: My f*cking father makes to much money.Brian: Well, my offer still stands.Justin: So does my answer."}
+{"doc_id":"doc_320","qid":"","text":"EXT. MOUNTAIN ROAD - NIGHT(MUSIC OVER ACTION/CAR SPEEDS ALONG THE ROAD AND INTO THE WATER)(SFX: HUGESPLASH)[SCENE_BREAK]UNDERWATER - NIGHT(MUSIC OVER ACTION/CAR SINKS TO THE LAKE FLOOR)(FADE OUT)(THEME MUSIC UP OVER OPENINGTITLE/SCENES/ CREDITS AND OUT)MUSIC IN:INT. SQUAD ROOM - DAY(SFX: CELL PHONE RINGS)TONY: No, for the twenty third time.(SFX: CELL PHONERINGS)KATE: Are you going to answer that?TONY: I'm in hell, Kate.KATE: Well, do they have money there? Because you owe me... forty three dollars and eightysix cents for lunch this week.TONY: I will gladly pay you today if you'll answer this call for me.KATE: Yeah? Who is it?TONY: Crazy ex-girlfriend. Haven't seen hersince college.KATE: Stalker?TONY: More like a stalk-him.KATE: What do you want me to say to her?TONY: I don't know. Tell her you're my wife or something.She's been calling nonstop for two days. So I'm begging you here, Kate. Please.KATE: You pay me back today.TONY: Sure.KATE: (INTO PHONE) Hello? Me? Oh, Iam Tony's wife. Uh, yes. We got married a few years ago. (WHISPERS TO TONY) We have kids? (INTO PHONE) Two. Yes. And we're very, very happy. So pleasedon't call back again. (TO TONY) I feel like I need a shower.(HANGS UP PHONE)TONY: Pay the lady, Probie.MCGEE: He bet me forty dollars he could get you tosay you're his wife today.KATE: Tony, I'm going to kill you.GIBBS: DiNozzo, pull the case file on Lieutenant Brian McAllister.TONY: McAllister? We going aftermore treasure hunters, boss?MCGEE: Treasure hunters?TONY: Before your time, Probie. McAllister disappeared two years ago. His family offered a million dollarreward to anyone who could find him.KATE: I had a few friends in the Secret Service who used to work that case on the weekends.TONY: It was the Holy Grail forevery amateur detective on the East coast, Kate.MCGEE: So what happened?TONY: Nothing - cold case.GIBBS: Not anymore.CINDY AMES: (ON TV) Thousandshave searched for the heir to the McAllister Industries' fortune. Each hoping to collect the one million dollar reward offered by his famous family. Today, privateinvestigator Monroe Cooper believes he's one step closer to solving the mystery. Mister Cooper, is it true that you have finally found Brian McAllister?(SFX: TVCLICKS OFF)MCGEE: Whoa. Whoa. Boss, that was... that was Monroe Cooper! The man who can solve the unsolvable. He's a... a famous detective.GIBBS: Do Ilook like I care, McGee?MCGEE: No.GIBBS: Grab your gear. We're going to Black Lake.[SCENE_BREAK]INT. VAN - MOVINGKATE: Lieutenant Brian McAllister,graduated Annapolis in ninety-seven, third in his class. He vanished somewhere between October fourth and the seventh, two thousand and two. No leads.TONY:Thing I don't get is why a guy worth millions would join the military in the first place.GIBBS: You think money has anything to do with patriotism, DiNozzo?TONY:No, I'm just saying if I were rich, you know, I would do nothing.KATE: I thought your parents were loaded.TONY: They are.KATE: So why do you work for thegovernment then?GIBBS: Because they know what their son would do with the money.TONY: I can't even get an advance on the will, Kate.GIBBS: Hey,McGee!MCGEE: Yeah, boss?GIBBS: What about that private dick, Cooper?MCGEE: Yeah. Uh... he's a former NYPD detective, works mostly for insurancecompanies and celebrities now. He makes a lot of money solving cases like this. Guy's a... he's kind of a cross between Columbo and Sherlock Holmes.(SFX: VANHITS A POTHOLE)KATE: You know, we really should get a seat belt back there. Hey! What the hell are you doing?TONY: I'm looking for my fork.KATE: Well I canguarantee you...it is not there![SCENE_BREAK]EXT. BLACK LAKE - DAYGIBBS: Tony, grab the gear. See if McGee's still alive.TONY: On it, Boss.GIBBS: SpecialAgent Gibbs, Todd, NCIS.LESTER: We've been waiting for you to show up. Sheriff Deke Lester. That detective fella, Cooper, he thinks that missing McAllister kid'sin there somewhere.GIBBS: Yeah. Is he?LESTER: I can't say, but my divers found a Chrysler convertible sitting on the bottom.KATE: Lieutenant McAllister owneda Chrysler convertible. Disappeared with him, Gibbs.LESTER: I'm fixing to pull it out. Once we ID the vehicle we can decide on who's got jurisdiction.GIBBS:Works for me, Sheriff. Where is Cooper?LESTER: I don't rightly know. I imagine he's off detecting or something.RADIO: (V.O./FILTERED) Hey Deke, we've got thechains set here.LESTER: Let's haul her up.RADIO: (V.O./FILTERED) Yes, Sir.LESTER: You ready to see what we caught, Agent Gibbs?[SCENE_BREAK]EXT. TRUCK- DAYTONY: Hurry it up, Probie.MCGEE: You sure this is necessary? I kind of feel like a dork.TONY: You are a dork. No no no no. Bad move.MCGEE: What?TONY:If Gibbs catches you reading instead of working, you're history.MCGEE: It's not for reading. I'm hoping I can get Detective Cooper to sign it. The lead character inthe book is based on him.TONY: \"Celebrity P.I.?\" Never heard of it. No!MCGEE: I'm not surprised you haven't heard of it. There's no pictures in it.TONY: Did yousay something, Probie?MCGEE: Yeah. I'm not a dork.TONY: Whatever you say, Sponge Bob.(SFX: HOIST)LESTER: Take it slow now, Charlie!TONY: I think it'ssafe to say that car's not going to run again.LESTER: All right, hold it right there.GIBBS: All right, Kate.KATE: The Lieutenant's tags, Gibbs.LESTER:Congratulations, looks like you found your missing sailor.GIBBS: Not yet.COOPER: I think you'll find that pile of bones is McAllister, Special Agent...GIBBS: Gibbs.And I'll wait for my M.E. to determine that.COOPER: Oh of course. Monroe Cooper.GIBBS: (READS) The man who solves the unsolvable.COOPER: So you've heardof me?GIBBS: No. It's on your card.COOPER: My publicist's idea. Works great with the yokels.GIBBS: How'd you track this vehicle to Black Lake?COOPER: Legwork. Luck. My gut.GIBBS: Does it say that on your card, too?COOPER: I have a policy, Agent Gibbs. You share information with me, and I share it with you. Wehave a deal?GIBBS: That kind of goes against my policy, Cooper.COOPER: Which is?GIBBS: Throw people in jail who obstruct my investigations.COOPER:Uh-huh. I'll try to keep that in mind.MUSICAL BRIDGE TO:INT. NCIS AUTOPSY ROOM - NIGHTDUCKY: Well the dental records are conclusive, Jethro. This is ourmissing Lieutenant.GIBBS: Any idea how he died?DUCKY: After two years in the water? Difficult to say. Do you suspect foul play?GIBBS: Oh, you know me, Duck.I suspect everything.DUCKY: Yes, an admirable trait in an investigator. And also the reason your three marriages ended in divorce.GIBBS: Oh yeah? All theseyears I thought it was because I was a b*st*rd.DUCKY: Well, of course, that didn't help. There is evidence of hairline fracture on the frontal lobe of theskull.GIBBS: Cause?DUCKY: Well, it's consistent with most vehicle accidents, possibly from contact with the steering column.GIBBS: What about drugs?DUCKY:Well, in this state, a toxicological screen would be useless. However, drugs are a possibility.GIBBS: Too many of those, Duck. Too many.DUCKY: Well, my currentopinion is that Lieutenant McAllister met with a tragic accident. Most likely he drowned.GIBBS: Keep looking.(SFX: DOORS SLIDE OPEN/ CLOSED)DUCKY: Yourlast boy, Yurich.JIMMY: Did you meet any of his wives?DUCKY: I introduced him to the last one.JIMMY: Really? What went wrong?DUCKY: It's difficult to say,Mister Palmer. She doesn't talk to me anymore.[SCENE_BREAK]INT. NCIS GARAGE - DAYTONY: (LAUGHS LIGHTLY) You know what movie this reminds me of,Kate?KATE: The Wizard of Oz?ABBY: I'll get you, my pretty!TONY: No. I meant the one they make you watch in high school. Thirty minutes of cops pulling deadteenagers out of car wrecks.ABBY: Oh, my god! I love those! Blood on the Highway. Drink, Drive, Die! I keep hoping they're going to release them on DVD.TONY:Yeah, me too.ABBY: Yeah.(SFX: DOORS SLIDE OPEN)GIBBS: What do we have?TONY: Ah hey boss. I found a suitcase in back. Looks like he packed enough forabout a weekend. Dive team will be back with the stuff from the debris field in a few hours.GIBBS: Abs?ABBY: The brake lines are corroded, but they're intact.Something's stuck. Whoa. Hey, Kate. I've got a present for you. I think it's one of your ex-boyfriends.TONY: It's a cold fish! Get it, Kate?MCGEE: I don't think thiswas an accident. It's a bullet.GIBBS: McAllister was murdered.(FADE OUT)MUSIC IN:INT. LAB - DAY(SFX: MUSIC PLAYS LOUDLY B.G.)(MUSIC CLICKSOFF)GIBBS: Your speakers are broken.ABBY: Oh, Gibbs. That was the best part of the song.GIBBS: Correction. Your ears are broken. What did the diversfind?ABBY: Actually, it's more like what didn't they find. My theory is they're getting paid by the piece. They recovered everything within a twenty meter radius ofthe vehicle. Sunglasses, golfballs, Rick James eight-track, typewriter. I didn't see any point in bringing the Maytag up from the evidence lockup.GIBBS: Anythingto do with the case?ABBY: As a matter of fact, found directly beneath the vehicle... can you hear me now? I might be able to recover some data from the memorychip.GIBBS: What about the bullet we brought up from the wreck last night?ABBY: Forty five caliber, two hundred and thirty grain hardball. Lots and lots ofstopping power. The grooving matches a Colt forty-five, old-school military version.GIBBS: Did you work up a trajectory, yet?ABBY: Of course. The bullet's entryangle into the side of the door is obvious as Anna Nicole's implants.GIBBS: Who?ABBY: You know, married that old guy? Had a TV show? Got fat, got thin, got fat,got thin, fat, thin--GIBBS: Stop!ABBY: So using that angle, I back-traced the trajectory. The bullet traveled on this path. So unless he was driving with his feetfrom the backseat, which is something that I have tried but do not recommend...GIBBS: Abby?ABBY: The round had to have gone through McAllister'sbody.[SCENE_BREAK]INT. LAB - DAYDUCKY: It's entirely possible, Jethro, but if Abby's animation is correct, the bullet passed clean through the thoracic cavity.Unfortunately, without leaving any evidence of its passing.GIBBS: Hell of a shot.DUCKY: Yeah.GIBBS: The vehicle had to be going over seventy to end up wherewe found it in the lake.DUCKY: Well, at that speed a bullet passing through the ribcage without so much as glancing a single bone... huh! A hell of a shot,indeed.GIBBS: More like impossible. Thank you, Duck.(SFX: DOORS SLIDE OPEN)JIMMY: Doctor?DUCKY: He means the vehicle was stationary when LieutenantMcAllister was shot, Mister Palmer.MUSICAL BRIDGE TO:INT. SQUAD ROOM - DAYKATE: (V.O.) Lieutenant McAllister was last seen in Norfolk on a Friday. Thenfound three hundred miles away in Black Lake, Virginia. (ON CAMERA) Which would make sense if he was heading here to the McAllister Family compound inShenandoah.MCGEE: So he was heading home for the weekend?KATE: Another twenty miles and he would have made it, McGee.GIBBS: DiNozzo?TONY:TONY:McAllister's military records are spotless, Boss. Been running background on his family. Mother died in ninety three. Father passed away in two thousand two...three months after the Lieutenant disappeared. The only surviving next of kin is this guy. Thomas McAllister, his younger brother. (CONT.) Washed out of"}
+{"doc_id":"doc_321","qid":"","text":"ACT ONEScene One \u0000 Hallway Outside Frasier's Apartment[SCENE_BREAK]Roz is standing at the door to Frasier's apartment when the elevator opens andFrasier, Daphne, Niles and Mel get off. All four are dressed in black.Frasier: Oh, hi, Roz.Roz: Oh, there you are. I brought something for Daphne and I was justgonna leave it with the doorman. [Daphne begins to cry]Frasier: Oh, lord.Reset to: Living Room They go in. Daphne heads into the powder room.Roz: Did I saysomething?Frasier: Well, actually our doorman, Morrie, passed away this week. We just got back from the funeral.Roz: Oh, my gosh, I'm so sorry. Is she going tobe all right?Frasier: Well, you know, she's been a little high-strung all week, even before he died. I guess it's just wedding stuff, you know.Roz: Yeah.Daphnecomes back.Daphne: Ooh, sorry 'bout that. So, you brought me something, Roz?Roz: Well, yeah. I figured you couldn't get married without wearing somethingborrowed. [Hands her a small box]Daphne: Oh! What a beautiful garter! Look at all the lovely detail.Niles: I especially like the little odometer.Roz backhands himin the stomach as he grins.Daphne: Thank you so much, Roz.Mel: Does anybody besides me feel like a cup of coffee?Frasier: Oh, I'll brew a pot.Mel: Oh, don't besilly. I've been here enough times to know how to get the coffee made. Daphne, make us some coffee. [Then] Kidding!Niles laughs. She heads for thekitchen.Roz: [picking up a folder] The Wayside Inn. This is where you're having your wedding? Oh gosh, it's just so beautiful.Daphne: I hope it is, the planning'sbeen a nightmare. I spent an hour today on the seating charts. Everyone has some demand. \"Don't sit me near the band\", \"Do you mind if I bring afriend?\"...Roz: Oh my God, you can't seat me next to him.Daphne: Exactly! Every selfish, whiny little thing...Roz: No, you cannot seat me next to Tim Walsh. Idated him all last summer and he dumped me.Daphne: He's going with my bridesmaid Annie. I have to seat the bridesmaids together.Roz: This always happensto me. Is there no place I can go without running into some guy I've dated?Niles: I was reading about a Trappist monastery in the Amazon that they somehowbuilt into the treetop.Roz: Shut up, ya big doily! This is gonna be awful! Here I am at a wedding, sitting next to a guy who dumped me!Frasier: Oh, come on Roz,you won't be alone. You'll be on the arm of a well-known Seattle boulevardier and radio star.Roz: Frasier, I can't go with you. I mean, going to a wedding withyour boss is like going to the prom with your brother.Frasier: Niles and I did not go to the prom together! Our dates were sick and we went stag!Niles: Inretrospect, yes, we should have canceled the horse-drawn carriage, but hindsight is 20/20.[SCENE_BREAK]MEMENTO MORRIEScene Two - Frasier's LivingRoom[SCENE_BREAK]Martin enters carrying a gift bag.Martin: Hey, Roz.Roz: Hi, Martin. I'm really sorry to hear about your friend Morrie.Martin: Oh, thanks.Yeah, his wife just did the nicest thing. I guess she knew Eddie and I'd stop by and shoot the breeze with him, so she gave us something to remember himby.Frasier: Oh, well. [Reading the tag] \"For Martin and Eddie.\" Gee, isn't that nice?Martin: Yeah, I think it's some kinda wine.Frasier: Well, yes I'd say so, but...Hepulls out the bottle, reads the label, and gasps.Frasier: My God, Dad! This is a 1945 Chateau Petrus!Martin: Oh, yeah? She said he got it from his uncle who wasin France after the war.Frasier: Well, it's one of the rarest bottles in the world!Martin: Well, if you're good, maybe Eddie'll give you a glass out of his half.Martinexits to the kitchen as Niles comes over to examine the bottle.Niles: I've never even seen a '45 Petrus!Roz: Oh, poor Morrie. He probably waited his whole life foran occasion special enough to open that bottle.Frasier: Yes. Perhaps this should be a lesson for us all. Morrie might be standing guard at the door to heaven rightnow, but he's buzzing us with one last message: Live life now. I'm reminded of a parable...Knock on the door.Daphne/Niles/Roz: Come in!The door opens andSimon (Daphne's obnoxious brother) enters with a duffel bag.Daphne: Simon!Simon: Hello, sis.Daphne: I thought you were in California.Simon: Yeah, well, thosefriends I went to surprise were out of town. So I decided to housesit for 'em, which was lovely. 'Til they came home last night. I don't know what all thescreaming was about, I was the one in the tub! Where should I put this bag?Frasier: By the door so you don't forget it when you leave.Simon: Right. I think Iknow everyone here. [spots Roz] Or do I? And what would your name be then, Miss?Roz: Simon, you low-life idiot! You made a date with me last week and youstood me up!She crosses toward the door.Simon: Sorry, love, I need a bit more to go on.Roz: Maybe this'll refresh your memory.She slams the door in hisface.Simon: Roz! Of course!Martin: [entering from kitchen] Well, look who's back!Simon: Well, who's this then? I'd say it was Marty Crane, but he's a bit tooyoung and trim, eh?Martin: Oh, go on! Can I offer you a beer?Simon: Oh, I hate to drink alone, could I have a sandwich with that?Martin and Simon exit to thekitchen.Frasier: If that beer-swilling boomerang thinks he's staying here, he's got another thing coming.Niles: Better get a move on, he's already got youraddress on his duffel bag.The phone rings, Daphne gets it and goes to her room. Mel enters from the kitchen with a cup of coffee.Mel: We'd better get going ifwe're going to reach the cabin by dark.Frasier: Cabin?Niles: Yes, Mel and I are celebrating our six-month anniversary by taking a little mid-week getaway to herfriend's country place.Mel: Yes, no phones, no stress, just two days of rest and relaxation. I do have to pick up a little anniversary gift, though, so give me nineminutes and pick me up at the northwest corner of Pike and Elm at 4:42.Mel and Niles refer to their watches.Mel: Coming up on 4:33...Niles: Synchronizing...Mel:Now! [Then] Good, I'm relaxing already.She kisses Niles and leaves. Martin and Simon enter from the kitchen.Simon: Thank you Marty, it's most hospitable ofyou.Martin: Well, you gotta have a place to stay...Frasier: Stop right there! He cannot stay here! The man is loud, ill-mannered, and the last time he stayed herehe killed a ficus tree on the downstairs neighbor's balcony by means which are best left to the imagination!Martin: Frasier, I invited Simon to stay in myWinnebago! Come on Simon, I'll show you your new digs.Frasier: Oh, lord. Simon, you know I...Simon: Oh, no, forget about it. It's no worse than what I was justsayin' about you in the kitchen.Frasier: [chuckles] Good one.Simon: [sotto to Martin] He thinks I'm joking.Simon and Martin leave.Niles: Join me in a sherry,Frasier?Frasier: Oh, I think I will, Niles.Niles: You know, I have to admit, I'm a little bit nervous about this trip. I have a feeling Mel may make another push for usto live together.Frasier: Oh, my.Niles: She's been bringing it up quite a bit lately. She says it's a good way for us to test our relationship.Frasier: You're afraidyou'll discover things about each other that you won't like?Niles: Oh, no. No, no. We're past that stage. She knows my likes and dislikes. I've come attuned to hervarious quirks... eccentricities... bugaboos.... bκte noirs... night terrors. It's the fun of being in love. I don't know what's bothering me.Frasier: Is it possible thatyour foot-dragging might have anything to do with some lingering feelings for Daphne?Niles: Frasier, uh, you must realize I put that behind me monthsago.Frasier: Just asking.Niles: I'm very happy with Mel.Frasier: Well then, what's your problem?Niles: Uh, well, let's see. I just got through with a rough divorce.I do have a tendency to be overly cautious...Frasier: This could be a chance to change all that.Niles: So you're in favor of it?Frasier: Well, I've never really beenthe president of the Mel fan club, but she does seem to make you happy. And as we were reminded this morning, life is not to be taken in baby steps. Ask not forwhom the doorman buzzes...Niles: Thank you. All right. That was much-needed therapy.He gets up to leave.Frasier: Well, it was my pleasure. You're my brother,you get the family rate.Martin comes in as Niles gets to the door.Martin: Hey, guys. Got all the way down to the Winnebago and realized I had the wrongkeys.Niles: See you guys in a couple of days.Martin: All right.Niles leaves, Daphne enters from her room on the phone.Daphne: You don't say, mum. Yourphlebitis again? She looks pleadingly at Frasier and holds the phone out.Frasier: [bellowing] Daphne!Daphne: Got to go now, mum, Dr. Crane's on the warpathagain. Bye. [Hangs up, then to Frasier] Thank you!Martin: Daph, I'm glad you're here, because I was thinking about that wine of Morrie's. You know, that'ssomething really for a special occasion. So, I'd like you to have for the wedding, enjoy it on your honeymoon.Daphne: [starting to cry] Oh, Mr. Crane!She hugshim and cries on his shoulder.Martin: Oh, Daphne, come on. Come on now, it's only a bottle of wine. I don't even know that much about it. Frasier? Help me outhere, will you?Frasier: Well Dad, Chateau Petrus is a premier crux Bordeaux...Martin: No, no, no. No, I mean with Daphne.Frasier comes over and holdsDaphne.Martin: There you go.Frasier: Oh, Daphne.Martin leaves.Daphne: I'm sorry to get so emotional like this.Frasier: It's all right. The funeral must've reallyupset you.Daphne: It's not that. Dr. Crane? I've wanted to talk to you about this all week, but I haven't known what to say. You promise you'll keep this justbetween us?Frasier: Of course.Daphne: It's about your brother. You see, I know.Frasier: Know what?Daphne: I know about his feelings for me.Frasier: My God!How did you find out?Daphne: It's not important.Frasier: Somebody blabbed, didn't they? Why can't people just mind their own business? Who was the natteringgossip? Roz? Dad?Daphne: You.Frasier: What?Daphne: You were taking those pills for your back and you blurted it out while I was giving you a massage.Frasier:Oh, well, they were very strong pills, you see...Daphne: Needless to say, it completely took my breath away. At first, I tried to forget about it, put it out of mymind.Frasier: Well, the bottle said just to take one, but I'm a big man...Daphne: Oh, will you shut up about those pills?!Frasier: I'm sorry. I'm sorry.Daphne:Anyway, after a while, I couldn't put it out of my mind anymore. I find myself thinking about him all the time.Frasier: Daphne... are you saying that you havefeelings for Niles?Daphne: I think I do. Oh, I don't know! Even if I did, he may not feel that way about me anymore, he's with Mel now!Frasier: I-I don't knowwhat to tell you, Daph. Uh, I, I, think the best thing is for you to, to try to find a way to talk with Niles.Daphne: Ugh. That's not an easy conversation tohave.Frasier: It's easier now than after you're married.Daphne: You're right, I have to talk to him. And right away. I'm already making myself sick over this. If Ileave it any longer, I'll be a complete basket case. Uh, did he mention if he was going home?Frasier: Well, ah, actually, um, ah, he's going, ah, somewhere elsefirst. Um...Daphne: Where?CUT TO: the hallway. Martin and Simon are getting off the elevator.Martin: Get you some towels and you'll be all set downthere.Simon: Right.They enter the apartment, Daphne is again sobbing on Frasier's shoulder.Martin: Oh, geez, Daphne! It's just a bottle of wine!END OF ACT"}
+{"doc_id":"doc_322","qid":"","text":"Andy: Alright everybody, great season of softball, I'm super proud of you guys and I think you're gonna like this little highlight reel that I put together. [Andyplays video]Group: Dunder Mifflin!Andy: Andy Bernard presents: Summer Softball Epic Fails! [Kevin swings bat on screen, fart noise follows] Fail. [repeats]Fail.Kevin: That's me. [repeats]Andy: Fail.Oscar: Is this like a blooper reel?Andy: A blooper reel? What is this, 2005? I look like Bob Saget? Fail! [Points to video]Who's this guy? [Jim steps back and forth from plate on video as Andy sings Meow Mix theme]Look at him dance. Fail!Dwight: Fail!Jim: I deserved that.Andy:[Darryl runs in slow motion on video] Do do do do do do do.Darryl: That was a triple.Andy: Can't take the fail? Get out of the fail video!Darryl: My pleasure.[Clarkand Pete are shown on screen]Video Andy: Hey, I'm Pete, puberty is such a drag, man. And I'm Clark! I like to eat toilet paper. [Clark and Pete wave at camera]We fail! [Video shows memorial of Jerry]Andy: I'd like to take a solemn moment to remember Jerry in the warehouse who passed away this year. [Screen flashes'FAIL' over Jerry's face, accompanied by fart noise, repeats twice.] Well, that's all folks. [photo of Andy watersking shows on screen] Ski ya later everybody.Thanks for a great season. [Group claps halfheartedly]Oscar: What was that? That was just a normal video with you making vulgar noises.Andy: Well, I workedwith what I had, Oscar. Next time do more failure stuff, OK?Jim: Uh, what happened to that video I sent you?Andy: Oh that wasn't...that didn't work. That wasnot the right..[Group protests]Jim: I think I got it right here. [Cheering on screen, Andy struggles with lifting water cooler, then falls over dumping the fluids onhimself][Group laughs]Andy: That was not a fail.Group: Fail! Fail! Fail!...Andy: [Group continues chanting \"Fail!\"]That was actually a serious accident that couldhave resulted in severe bodily harm. [Group keeps chanting] You're all failing right now. [Group continues] Congratulations on your epic fail of the use of theword fail! [Group claps and chants][SCENE_BREAK]Dwight: [Toby uses tester on wall as Erin marks wall with red tape X] Oh, god.Phyllis: What's goingon?Dwight: Nothing! Nothing is going on. Keep moving please.Stanley: What's he measuring?Dwight: OK, excuse me. I am the landlord. This is between me andthe management, no one else. Please.Toby: It's an EMF hotspot.Phyllis: [Gasps] Oh my god!Oscar: It stands for electromagnetic field. Generally cause by aconcentration of wiring in one area [Erin marks red tape X on the floor] Especially if they're poorly insulated. Dwight.Andy: Um, OK I'm just walking into this. AmI to understand there is a bee hive in the wall?Toby: You think I have a machine for measuring bee hives?Andy: I was just asking a question, Toby. How are younot murdered every hour?Stanley: Well I'm not getting paid to work in a microwave oven.Dwight: OK, listen. Everything here is up tocode.[SCENE_BREAK]Dwight: [mocking] Oh, the wires need insulation. [normal voice] It's a wire people. I'm not buying it a fur coat.[SCENE_BREAK]Pam: [Jimrushes to open door for her] Thank you.Jim: You got it.[SCENE_BREAK]Jim: Last week, I finally told Pam about the other job I took in Philly...the side job. Andshe was so incredibly cool about it. And now I just wanna do something huge for her. Like if we were in some biker bar and she mouthed off to some bikers andthey came lumbering over and I was like wham! [mimes punch] Gotta go through me first.[SCENE_BREAK]Nellie: Andy, could I have a word please? Um, it won'ttake a moment. It's extremely important and it really has to happen now.Andy: Fine. I will give you one minute.Nellie: Oh, please don't use the hourglass.Andy:You have one minute and your minute has begun and no time will be added at the end, even to accommodate this sentence with all of it's baroque dependentclauses and cascading turns of phrase.Nellie: I'm trying to adopt a baby.Andy: A baby what? A human?!Nellie: And the...agency require a character referencefrom my employer.Andy: Oh.Nellie: You wouldn't have to do anything. I would write the letter myself and you just simply sign it. So.Andy: Oh, OK. And fall rightinto your plagiarism entrapment scheme? I don't think so.Nellie: It's not..it's-Andy: And I happen to notice you're down to about thirty seconds here.Nellie: Wellthen if I could just convince...Andy: And those sand grains are tumbling..Nellie: You.Andy: With fury...Nellie: It's not..it's notAndy: Down the sides..Nellie:Entrapment if I'm..Andy: Of the hourglass..Nellie: ..writing..Andy: Time's up!Nellie: Fine.[SCENE_BREAK]Andy: Sure. I'll read her letter. And if she tells the truthabout how evil and unfit to be a mother she is, then yeah. I'll sign that.[SCENE_BREAK]Dwight: [Reading from computer] \"Statistical correlations exist betweenEMF radiation and various health hazards. But mainstream studies are inconclusive!\" That means you can't make me do squat.Meredith: You better fix this. Ialready ditched my uterus and I ain't losing any more good parts.Dwight: You people don't realize what you're asking. I'd have to rip open the walls. We'd have toshut this place down for a week.Pam: Week off. That'd be great.[SCENE_BREAK]Darryl: [Jim puts popcorn bag in microwave] Hey, if you don't want to teach mePower Point, just say so.Clark: I don't want to teach you Power Point.Darryl: Come on! Just show me the Power Point.Clark: Just do the tutorial.Darryl: You're thetutorial.Clark: No, dude, I'm not. I'm not the tutorial.Darryl: You could be.Clark: Mm-mm.Darryl: [to Jim] What are you doing?Jim: Getting my wife a week offfrom work.Darryl: You popped one kernel.Jim: Awesome, right? [leaves]Clark: So Creed is that dude's step dad?Darryl: Correct.[SCENE_BREAK]Jim: Well, I don'tknow about the rest of you but I'm just gonna say it. I'm nervous. I have no idea what health problems this is all gonna cause. [group agrees, protests]Dwight:What? Come on.Creed: I'm getting older. I'm losing my hair...Meredith: I'm not gonna grow a third arm![SCENE_BREAK]Dwight: I know what Jim is trying to do.He's trying to get big bad Dwight to shell out for a huge repair job while lucky Jimbo gets a paid vacation. Well sorry, lucky Jimbo, I can live very happily in amagnetic field. Most of my childhood heroes got their power that way.[SCENE_BREAK]Jim: [reading from computer] \"Side effects of EMF include:headaches...\"Dwight: Had 'em all my life.Jim:\"..breast pain...\"Dwight: No nobbies, no probbies. Nice try Jim.Jim: Oof. \"Infertility.\"Dwight: [scoffs] Yeah right.[Dwight moves mouse pad over his crotch]Jim: Ah! There's my popcorn. Can you just grab that for me?Dwight: Psh. Keep your snacks on your side, Jim. Idiot.[notices popped kernels in the bag] What the?Jim: What?Dwight: Some of these kernels have crowned.Jim: That's impossible, cause that's a brand newbag...[looks up to ceiling where there is a red tape X over Dwight's chair] Oh my god.Dwight: Andy! [Jim mimes basketball shot][SCENE_BREAK]Jim: I'm gonnadrive you up to the lake, give you a whole week on the water. Just you, me and the kids.Pam: Oh, can we stop by that pie stand on the way?Jim: You meanLaverne's Pies Tires Fixed Also? [Pam nods] Yes we will be doing that. We'll be getting a dozen.Pam: A dozen different pies? Cause that means rhubarb.Jim: Whywould you say that? I meant 4 apple, 4 blueberry, 2 cherry, 1 peach and 1 chocolate. I thought that was implied.Pam: Yeah, OK then.Andy: Ladies andgentlemen, I have heard your complaints and we reached a settlement.Dwight: So, we will be leaving the office for one whole week.Meredith: Nice job.Dwight: Inmy contract, it is stipulated that I provide a temporary work space. It will arrive in one hour.Jim: What?[SCENE_BREAK]Pam: What's this?Andy: Whoa!Jim:What?Dwight: [Bus pulls into lot] Bring it in![SCENE_BREAK]Dwight: Roll into the future with Work Bus. Say goodbye to wasteful buildings. These days a mobileoffice isn't just for hotshot politicians. Now anyone can rent a work bus. [Meredith and Kevin bump chairs in bus angrily] If you've got a parking lot, a work spaceis just a phone call away. [Erin tapes candy dish to pole] In this age of belt tightening and less empowered workers, a work bus is how tomorrow gets thingsdone.[SCENE_BREAK]Stanley: [on phone] There are a hundred packs..Oscar: [On phone] No six after the eight, no....Stanley: Shh!Oscar: Shh!Stanley: Ninetynine cases..yeah.Oscar: Six. [Pete opens air vent over Angela, papers go flying]Angela: Ooh!Pete: Oh sorry! Sorry.Angela: Oh my god![SCENE_BREAK]Erin:[bumps into Meredith] Sorry.Meredith: Lose weight.Erin: I'm trying. Sorry.[SCENE_BREAK]Erin: [handing Nelly envelope] Oh, the Pennsylvania Department ofPublic Welfare Pre-Adoption Standard.Nellie: Oh of course, you were adopted.Erin: [laughs] I wish! No, I um, I made some short lists. I had a couple sleepovers,but I never managed to get in the end zone. I don't know what it was. Not loveable maybe? [laughs] Oh well.Nellie: Listen, I'm really struggling with this form.But as you know the system, you think maybe you could..?Erin: Absolutely. I know exactly what they want to hear. I would love to help.Nellie: Oh thank you somuch!Erin: [whispers] Just don't tell Andy, because..Nellie: He hates me and thinks I'm a monster. Should go back to Loch Ness. [Erinnods][SCENE_BREAK]Clark: Stretch. Alright.Stanley: How many times do you need to take a stroll?Clark: I, my legs cramp up! Ok, it's a circulationissue.Stanley: Boy, I will hammer spank your rear.Jim: Alright, alright, gang. Let's just settle down. You're yelling in her face.Clark: It's a medical thing.Jim:Just...you good?Clark: I'm good. I..Jim: [to Pam] I'm so sorry for all of this.Pam: It's OK. You know what they say, a change is as good as a rest.Angela: I, I needto get to the paper please. [Reaching for overhead bin above Pam, papers fall and Pam has liquid spilled on her]Pam: Oh my god! Ah!Jim: I'll get you a napkin.Someone get napkins please!Pam: You know what? It's fine, it's fine. Let me just...it's fine. [Pam leaves work bus]Jim: Pam, I'm really sorry. I- I'm really sorryabout...all that. [Dwight smiles at Jim] Really? Smirking?Dwight: What can I say? I love justice. You forced me to spend money on needless repairs, and uh nowyou're locked in a prison bus and your woman drips with beverage.Jim: Hey, Dwight. I was trying to do something nice for Pam. Can you just, help me out? Canwe maybe take this thing somewhere? Or do something to not make this the worst day ever?Dwight: It's not my responsibility to solve your marriage problemsby spending my money on gas.Jim: Andy!Andy: Yo. Dudeces.Jim: You're the boss. Don't you think we'd all be a lot more productive if while we were doing workwe looked up and saw the best rural pie stand in Pennsylvania?Phyllis: Oh, I know I'd be more productive.Kevin: As would I.Stanley: No question.Dwight: No. No!This is a work bus. The wheels are for transporting the work space to and from the work site.Jim: What are you talking about? You're not the boss. Andy is.Andy?Phyllis, Kevin & Stanley: Pies! Pies! Pies! Pies! Pies!Andy: Alright! The fat people have spoken! Dwight, get this bus moving.Erin: Yes! [Group cheers]Jim:Next stop: Laverne's Pies Tires Fixed Also.Pam: Oh! Yes! [Group cheers, Dwight moves to driver seat]Jim: [To Dwight] So it looks like this work bus was a pretty"}
+{"doc_id":"doc_323","qid":"","text":"Genesis of the Daleksby: Terry Nation Part FiveRunning time: 23:27[SCENE_BREAK]HARRY: Doctor, please, don't tell. Doctor.DOCTOR: All right, all right! Justleave them alone.DOCTOR: The Dalek invasion of the Earth in the year 2000 was foiled because of an attempt by the Daleks to mine the core of the planet. Themagnetic properties of the Earth were... Mars... the Daleks were defeated by a virus that attacked the insulation on the cables in their electrical systems. ...In thespace year seventeen thousand was halted by the intervention of a fleet of war rockets from the planet Hyperon. The rockets were made of a metal that wascompletely resistant to Dalek firepower. The Dalek Task Force was completely destroyed.DAVROS: This seems an opportune moment to end this session. Nyder.Release the prisoners. Take them to the detention area.DAVROS: Interrogation will continue later. And I must thank you, Doctor. What you have told me will beinvaluable.DAVROS: All this information, this foreknowledge, will be programmed into the Dalek memory banks. Take them away.DAVROS: Doctor, stay amoment. Sit down. Let us talk together now, not as prisoner and captor, but as men of science. There is so much I wish to know. Nyder, take charge of thetape.NYDER: Immediately, Davros.DAVROS: It will be your responsibility, and remember, it is priceless. It's value beyond computation.[SCENE_BREAK]SARAH:Ah, thank you.HARRY: Who are you?GHARMAN: My name's Gharman.HARRY: Gharman?GHARMAN: Until a few hours ago I was head of the Military Elite ScientificCorps.SARAH: And now you're a prisoner like us? What happened?GHARMAN: Wait.GHARMAN: I was trying to organise a movement against Davros. He foundout. Now, what's happening out there? Has there been any attempt to take away control from Davros?SARAH: Not that we know of.GHARMAN: Nothing?HARRY:He's still very much in charge.GHARMAN: I don't understand. You see, Davros tricked me into giving him the names of the group who were plotting against him.Have there not been mass arrests by now? Executions?SARAH: It all seemed pretty quiet out there.GHARMAN: But Davros knows that we're planning actionagainst him. Why hasn't he moved to stop it? Why?HARRY: Perhaps that'd be too obvious, even for Davros.GHARMAN: Well, if that's true, he's being too cleverfor his own good. Every moment he delays, our movement grows in strength.SARAH: I hope you're right.GHARMAN: I know I am. Many of us believe thatproduction of the Daleks must end. I believe now that we are in the majority. If we act soon, we can break his power.HARRY: We're not in much of a position toact at the moment, are we.GHARMAN: If only I could get word to them now.[SCENE_BREAK]SOLDIER: Halt! State your business.KAVELL: I wish to question theprisoners.SOLDIER: Nobody is allowed to communicate with the prisoners unless they have a pass signed by Davros.SOLDIER: Stay where you are!KAVELL: Iseem to have mislaid it. I'll come back later.[SCENE_BREAK]DAVROS: Now, future errors will be eradicated. Defeats will become victories. You have changed thefuture of the universe, Doctor.DOCTOR: I have betrayed the future. Davros, for the last time, consider what you're doing. Stop the development of theDaleks.DAVROS: Impossible. It is beyond my control. The workshops are already fully automated to produce the Dalek machines.DOCTOR: It's not the machines,it's the minds of the creatures inside them. Minds that you created. They are totally evil.DAVROS: Evil? No. No, I will not accept that. They are conditioned simplyto survive. They can survive only by becoming the dominant species. When all other life forms are suppressed, when the Daleks are the supreme rulers of theuniverse, then you will have peace. Wars will end. They are the power not of evil, but of good.DOCTOR: Davros, if you had created a virus in your laboratory,something contagious and infectious that killed on contact, a virus that would destroy all other forms of life, would you allow its use?DAVROS: It is an interestingconjecture.DOCTOR: Would you do it?DAVROS: The only living thing, a microscopic organism reigning supreme. A fascinating idea.DOCTOR: But would you doit?DAVROS: Yes. Yes. To hold in my hand a capsule that contains such power, to know that life and death on such a scale was my choice. To know that the tinypressure on my thumb, enough to break the glass, would end everything. Yes, I would do it! That power would set me up above the gods. And through theDaleks, I shall have that power!DAVROS: Release me.DOCTOR: No, Davros.DAVROS: Don't touch that switch.DOCTOR: Why not?DAVROS: It controls my lifesupport systems. I could not survive thirty seconds without them.DOCTOR: Order the destruction of the incubator section.DAVROS: Destroy the Daleks?Never.DOCTOR: I mean it, Davros. Next time I press that switch, it stays pressed. Now give the order!DAVROS: Even if I do this, there will be no escape foryou.DOCTOR: I'll take that chance. Now give the order.DAVROS: Press the communicator switch.DAVROS: This is Davros. Elite unit seven will go to the incubatorroom. All survival maintenance systems are to be closed down. The Dalek creatures are to be destroyed.DOCTOR: Tell them the order cannot becountermanded.DAVROS: This order cannotDAVROS: This is Davros, this is Davros. My last order is cancelled, repeat, cancelled. No action is to be taken.NYDER:What do you want done with this?DAVROS: For the moment he must be kept alive. He has knowledge that is vital to our future, and I will drain every last detail ofit from his mind. And then, he will learn the true meaning of pain.NYDER: I will take him to the detention room.DAVROS: The dissidents. What progress are theymaking?NYDER: Feeling against you is rising. Many of the scientific corps are openly speaking against you. Even some of the military are joining them.DAVROS:As I expected.DAVROS: They will take action soon?NYDER: Almost certainly. They outnumber those of us who are loyal. Davros, why don't you let me take asquad of Elite men I can trust? In an hour, I could wipe out their leaders.DAVROS: You think like a soldier, Nyder. Rebellion is an idea in the mind. Suppress it,and it hides away and festers. No. My way is best.NYDER: As you wish. On your feet!DAVROS: All Dalek units! All Dalek units![SCENE_BREAK]DALEK: Davros hascommanded all Dalek units to disengage and return to the bunker immediately.DALEK 2: I obey.[SCENE_BREAK]BETTAN: Shush. There's something moving outthere.SEVRIN: The whole of the Thal city is burning. The Daleks are moving through it, section by section, hunting down the survivors.BETTAN: Then there's noone left?SEVRIN: No, I covered a fairly large area and found no one. No one living, that is.BETTAN: So we're on our own.SEVRIN: You're still going to attack themain entrance though, aren't you?BETTAN: There's no point in delaying any longer. We'll move more safely under the cover of darkness. Come on, get ready,we're moving out.[SCENE_BREAK]NYDER: Open up.HARRY: Not exactly as planned, Sarah.[SCENE_BREAK]HARRY: How's the Doctor?SARAH: I don'tknow.HARRY: He's a bit groggy but he'll be all right.GHARMAN: Come on, Kavell, we've a lot to do.KAVELL: What about the guards? Suppose they won't comeover to our side?GHARMAN: They'll be disarmed and held in custody until we've presented our ultimatum to Davros.DOCTOR: No, wait, wait. Davros knows whatyou're planning. I heard him talking to Nyder.GHARMAN: If he knows, why hasn't he taken action against us?KAVELL: Perhaps because he knows its futile. Thereare too many of us.DOCTOR: No, it's not that. I don't know what he's got prepared for you, but believe me, he's ready.GHARMAN: Well, even so, there'll still betoo many for him.DOCTOR: Just be careful. Be careful.KAVELL: I think we can take care of things. Thanks for the warning.SARAH: No point in telling you to rest, Isuppose?DOCTOR: No, there isn't. We've got to recover that Time Ring.SARAH: Because without it, we'll never get off this planet. But where is it?DOCTOR: It'son the desk in the main laboratory. And then there's that tape recording that Nyder took. We've got to get it back at all costs. It would make the Daleksinvincible. Come on.[SCENE_BREAK]GHARMAN: Ready? Now remember, we resort to violence only if there is no other way.GHARMAN: Stay perfectly still. Taketheir weapons.GHARMAN: No! That was stupid. A stupid waste of life. Our intention has always been to make a bloodless revolution. There's been enough ofkilling and violence. All right, take him away and lock him up with the others.GHARMAN: Start passing these out to our people.KAVELL: Gharman. Gharman,they're coming over to our side in droves. We've the backing of a good eighty percent now.GHARMAN: Good. Good. What about the hard core Davrospeople?KAVELL: They've all been rounded up. We're winning, Gharman. We're winning.GHARMAN: Then let's finish it off.[SCENE_BREAK]NYDER: Davros, they'retaking over. We must act quickly. In another hour they could be totally in control. Do you hear me, Davros? I have a dozen crack men hiding in section nine. Letme order them into action. Davros!DAVROS: I hear you.NYDER: Then what are we going to do?DAVROS: I want you to find their leaders and hand over yourweapons to them.NYDER: Surrender?DAVROS: Order all members of the Elite guards still at liberty to do the same.NYDER: Do you know what you'resaying?DAVROS: I know precisely what I am saying. Now, I will command and you will obey. You will do as I order! You will inform the rebel leaders that I havegiven these orders to avoid bloodshed. Tell them I submit, and will listen to their demands. That is all.NYDER: Then we are admitting that we're beaten.DAVROS:That is what they will believe.NYDER: You mean thatDAVROS: You and they will find out exactly what I mean all in good time. Now carry out myorders.[SCENE_BREAK]DOCTOR: Shush.DOCTOR: Useful. Ah. This is something rather more useful.SARAH: They're explosives, aren't they?DOCTOR: Yes.Explosives and detonators. It seems almost providential.SARAH: Why? What are you going to use them for?DOCTOR: The Time Lord gave me three options.There's only one still open. Genocide.HARRY: Genocide?DOCTOR: Yes. I'm going to kill everything in the incubation room. I'm going to destroy the Daleksforever.[SCENE_BREAK]GHARMAN: Where is Davros?KAVELL: You said that Davros had agreed to meet us here.NYDER: He'll be here.DAVROS: You havesomething to say to me?GHARMAN: Davros, we wish to make our views plain to you concerning our work here.DAVROS: With what authority do you speak? Withwhose backing?GHARMAN: We speak for virtually all the Elite scientific corps and many of the military. We represent the majority.DAVROS: Very well.Continue.GHARMAN: Nobody disputes that in the past, under your guidance, we've made incredible progress in many fields of science.DAVROS: You did not comehere to flatter me. You came to offer an ultimatum. Confine yourself to the terms of that ultimatum.GHARMAN: Very well. The initial concept of the Dalek was tobuild a life support system and a travel machine for the creature that we know our race will ultimately evolve into.DAVROS: You disapprove of that?GHARMAN:"}
+{"doc_id":"doc_324","qid":"","text":"THE TWIN DILEMMABY: ANTHONY STEVENPart ThreeRunning time: 24:27[SCENE_BREAK](The Doctor appears. A bit.)PERI: Did you see that?LT HUGO LANG: Ithink so.PERI: Do Doctor, I ahhh are you here?LT HUGO LANG: What in heaven's name is going on? You're flesh and blood at least.PERI: Leave mealone.DOCTOR: Oh, that stupid girl's watch. How I hate these hit or miss performances.PERI: Doctor, thank heavens, whatever happened?DOCTOR: Your watchstopped. I overcompensated, ended up in the wrong time zone. Ten seconds into your future.PERI: I thought you'd been killed.DOCTOR: You cared?PERI: Ofcourse I did.DOCTOR: You know I'll never understand the people of earth. I have spent the day using, abusing, even tried to kill you. If you'd behaved as I have,I should have been pleased at your demise.PERI: It's called compassion, Doctor. It's the difference that remains between us.DOCTOR: Earthlings.LT HUGO LANG:Would someone like to tell me what is going on?DOCTOR: Ah, Corporal Lang, how are you?LT HUGO LANG: Lieutenant. I was fine, I'm not sure any more. Myship.DOCTOR: You were lucky to escape, no one else did.PERI: I'm sorry. What went wrong?LT HUGO LANG: I don't know, the controls seized, after that I don'tremember anything til I came to in here. What is this place, who are you?PERI: I'm Peri, and this is the Doctor. He saved your life.DOCTOR: And we did notabduct the twins.LT HUGO LANG: Twins, what do you know about them?DOCTOR: Never mind about that now, look, do put that thing away will you? If you everhope to see them again your only chance is to come with us.LT HUGO LANG: Where to?DOCTOR At a guess, Jaconda.LT HUGO LANG: All right, you don't leave meany choice, do you?DOCTOR: Not really.(On Jaconda.)ROMULUS: He was your friend.REMUS: That girl did you no harm.ROMULUS: You've left them there todie.AZMAEL: They will survive. Now if you don't mind.REMUS: And your name isn't EdgeworthROMULUS It's Azmael.AZMAEL: Yes, yes, I agree, a smalldeception, now be patient and sensible.DRAK: Master.AZMAEL: What is it?DRAK: That blip on the scanner.AZMAEL: Yes. Very far ahead.DRAK: We're on the samecourse.AZMAEL: Oh, some merchant man. No concern of ours.NOMA: They will not survive. AZMAEL I don't understand.NOMA: The safe house. I set it to selfdestruct.AZMAEL: You madman, I gave no orders!NOMA: That is perfectly correct.AZMAEL: But it's murder! Why, Noma, why?NOMA: It is what the lord Mestorwould have wished.(Back to the TARDIS.)PERI: But why would he want to kill us?DOCTOR: I don't know.PERI: And if he's going to Jaconda, why stop off TitanThree?LT HUGO LANG: Oh, that was just to put us off the scent.DOCTOR: No no no no no. No, no. No no nononono. No, consider what we know. Azmael, orwhatever he happens to call himself needs the genius of the twins, he crosses galaxies to possess their minds. He says he's no longer master of his planet, but hewants to save his people. And that I cannot help him to do so. Even if he does believe such unimaginable rubbish he must be faced by some unimaginabledisaster which has unhinged his mind. Well. We shall soon discover what it is.(On Jaconda.)MESTOR: Who is this creature?CHAMBERLAIN: A porter from the royalhatcheries, Master.MESTOR: What is his crime?CHAMBERLAIN: After routine search following his tour of duty, he was found to have this concealed on hisperson.MESTOR: What does it contain?CHAMBERLAIN: Vegetables from the royal hatcheries, MasterMESTOR: The penalty is death. Have you anything tosay?PRISONER: Mercy, great Master, mercy! My family is starving.MESTOR: Many are starving, it is no difference. Now your family will have to starve withoutyour company. Stand aside, guards. You will suffer the maximum penalty - death by embolism.PRISONER: No, no not that. Shoot me! Ah! Aaaaaagghh!MESTOR:Cold storage. ** CLAP ON! ** The carcass may be of use to our slaves if this famine continues. Azmael will soon be here?CHAMBERLAIN: Yes, Master.MESTOR:When he arrives, have him escorted to his laboratory with the earthlings. I will see him there.(On the surface. The TARDIS materializes.)DOCTOR: Haaaa.Jaconda the beautiful.PERI: You call this beautiful? Doctor, it's absolutely ghastly!DOCTOR: Oh no. It should not be true. The giant gastropods.LT HUGO LANG:What are you talking about?DOCTOR: Half humanoid, half slug, part of Jacondan mythology.PERI: So?DOCTOR: Well, just look around you, look at thedevastation.PERI: Gastropods did this?DOCTOR What else?PERI: Are you sure your mind isn't wandering again?DOCTOR: Of course not. So, it wasn't a myth afterall. Somewhere somehow their seed survived. Now they have returned.LT HUGO LANG: Nonsense.DOCTOR: You think so?LT HUGO LANG: Well of course itis.DOCTOR: I wish I could agree with you. This was once a forest grove. Look at the trees! No trace of foliage. The very bark stripped of the trunks. And the soil!Barren. Nothing but these telltale tracks. The slime trails of the giant gastropods. I fear the evidence is quite conclusive.PERI: Doctor. You're beginning to scareme.DOCTOR: I'm beginning to scare myself, Peri.PERI: Now what?DOCTOR: Into the TARDIS. I must think.(On the freighter.)AZMAEL: Freighter to Jacondacontrol. Freight to Jaconda control.FLIGHT CONTROLLER: Receiving you freighter.AZMAEL: Approaching re-entry, permission to touch down at omegaintersection.FLIGHT CONTROLLER: You are clear to approach.AZMAEL: Thank you control.FLIGHT CONTROLLER: On arrival report to palace. Transport will bewaiting. Out.(In the TARDIS.)PERI: What are you gonna do?DOCTOR: Panic at any moment.LT HUGO LANG: Where is Edgeworth likely to have taken thetwins?DOCTOR: The palace.LT HUGO LANG: Well shouldn't we go there?DOCTOR: And be killed?LT HUGO LANG: Just give me directions and I'll go alone, if you'reafraid.DOCTOR: Me, afraid?LT HUGO LANG Well, aren't you?DOCTOR: You have a nasty habit of pinpointing the truth, young man.PERI: We we we can't let himgo alone! DOCTOR Watch me.PERI: Well you know what's out there, he doesn't!DOCTOR: Well then let him go to the palace, and he'll know as much as Ido.PERI: Oh Doctor you must help.DOCTOR: Is this another attempt to teach me compassion?LT HUGO LANG: Just tell me where it is and I'll be happy to goalone.DOCTOR: It's all right for you! You're young, strong, fit of limb.You're confident in your mission,your energy's boundless, you're highly motivated tosuccess. You even have a gun to enforce your will upon others. Look at me, I'm old, lacking in vigour, my mind's in a turmoil, I no longer know if I'm coming,have gone or even been. I'm falling to pieces! I no longer even have any clothes sense!PERI: Oh, stop feeling sorry for yourself!DOCTOR: Self pity is all I haveleft.PERI: You've got the TARDIS. You still know how to operate it. Take the Lieutenant to the palace!LT HUGO LANG: Now, if you please.DOCTOR: As youwish.(Underground.)PERI: That's the seediest looking stately home I've ever seen.DOCTOR: Well you didn't expect me to materialise in the throne room.LT HUGOLANG: Where are the twins likely to be?DOCTOR: Anywhere.LT HUGO LANG: Well, I won't find them waiting around here.DOCTOR: I'll come with you.LT HUGOLANG: No need, thank you for bringing me here.DOCTOR: You didn't give me much choice! Now look, Sergeant -PERI: Lieutenant.DOCTOR AND LT HUGO LANGLieutenant.DOCTOR: Don't be smug with me. Now I've already explained my condition, I may be behaving like a manic barometer, but don't shrug off help whenit's offered. You can't afford to.LT HUGO LANG: I thank you for your offer, but frankly I find you unreliable.DOCTOR: So is most currency. Doesn't stop peoplefrom spending money wisely.PERI: The Doctor might be useful.LT HUGO LANG: Well, all right. But if you become unstable again, Doctor, I won't hesitate to killyou.(After the freighter lands.)ROMULUS: Where are you taking us?AZMAEL: You'll see.REMUS: Why do you like to play the man of mystery?ROMULUS: It's a roleyou play very badly.REMUS It's so blatantly transparent.AZMAEL: Continue to provoke me and the matter that contains your genius will finish up as so muchanimal fodder!(Back to the Doctor.)DOCTOR: Hideous. Utterly hideous!PERI: Are you sure this is the right place?DOCTOR: Hm? Absolutely. Azmael showed meonce. This passage leads to the center of the palace. Used to be an underground bolthole in times of danger. Ah, seems to be clear. Shall we go?PERI: I just hopeyou don't get us lost.(To Azmael.)DOCTOR: Oh, definite possibility that.AZMAEL: This is where I work. The palace laboratory.CHAMBERLAIN: Greetings.ROMULUSWhat's in there?AZMAEL: Eggs. You're looking at Lord Mestor's incubator. The future citizens of Jaconda.REMUS: They're gastropod eggs.CHAMBERLAIN: Suchknowledge.ROMULUS: Who is this?AZMAEL: One of Lord Mestor's lackeys.CHAMBERLAIN: Not quite, Azmael. I am a humble servant of the Lord Mestor. I am hisChamberlain. Welcome to the planet Jaconda. I will inform the Lord Mestor of your safe arrival.AZMAEL: If you must, do so.CHAMBERLAIN: It's my duty, he'scommanded me.AZMAEL: Well hurry then. And you too, Noma.NOMA: No I must remain, I too have been commanded.AZMAEL: One day you will discover foryourselves that treason is universal. Let it not concern you now. And don't be afraid of what lies in store for us.(Back to the Doctor.)DOCTOR: This way. Comealong. Ah, there they are. I don't know how old they are, but they tell the whole story. The Queen of Jaconda offended the sun god. This way. He inflicted aterrible revenge. He sent a creature, half humanoid, half slug. This creature's offspring were numberless. They ravaged the planet, the population starved. Whenhe saw what he'd done the sun god relented. He sent a drought which destroyed the slugs. The people of Jaconda survived. That's the story as Azmael relatedit.PERI: Now what do you think?DOCTOR: It was more truth than myth. I think some dormant eggs survived.PERI: For how long?DOCTOR: Too long, it seems.Shut off the torch. Listen.PERI: What is it?DOCTOR: The sound of giant slugs.LT HUGO LANG: What a stench!DOCTOR: Their gastric tracts. Rottingvegetables.PERI: Or rotting flesh.LT HUGO LANG: Doctor.DOCTOR: Whatever is it now?LT HUGO LANG: I'm ... I'm stuck!DOCTOR: Oh no, I should have thoughtof that! Their slime trails harden like concrete, only far faster.LT HUGO LANG: Well never mind that, just get me out of it, you!DOCTOR: Easier said thandone.PERI Well we can't leave him here.LT HUGO LANG: Maybe if I turn my gun down low I can melt the stuff.DOCTOR: Oh, if you like, but try not to burn yourfeet off.(To Azmael.)MESTOR: So these are your prodigies. They seem quite insignificant.AZMAEL: Their brains are not.MESTOR: We shall see. Have you toldthem why we need them?AZMAEL: Not in detail. So far they've simply worked to orders.MESTOR: I suggest that you do tell them. If they know that our purposeis benevolent, they may prove to be less intransigent.AZMAEL: Very well.MESTOR: How far advanced are you?AZMAEL: We need another day.MESTOR: Very well,I will leave you.AZMAEL: Mestor. Do not monitor my thoughts.MESTOR: Why not?AZMAEL: It interferes with my concentration.MESTOR: They may be treasonable"}
+{"doc_id":"doc_325","qid":"","text":"Michael: Jim, could you come in here please?Harvey: Hi, Jim.Jim: Hello.Harvey: I am Harvey, a computer. Jim sucks.Michael: Sorry, oh wow, that's so rude. I'msorry, I can't control him.Jim: Yeah, you can.Michael: You know what? Get Pam.Jim: For this?Michael: Pam.Harvey: Pam, you look very hot today.Jim: Pam, meetHarvey. This is Michael's new friend.Pam: Great.Harvey: Me so horny. Me love you long tim.Michael: Oh, that is gross.Pam: Who is 'Long Tim'?Michael: Damnit.Harvey: Long time. Me lobe yoy long time.Jim: Oh well, 'Yoy' should bring in 'Long Tim' in one day. Shouldn't he?Pam: I would love to meet Long Tim.Jim:Yeah. Right?Pam: Yeah.Harvey: You ruined a funny joke, you. Get out of my offive.Jim: Ok.Pam: Ok. Bye Harvey.Harvey: Boobs.[SCENE_BREAK]Kevin:Angela.Angela: What?Kevin: That was a voicemail that corporate left last night. They did not get our tax forms. Did you send them?Angela: They arrived thismorning.Kevin: Are you sure? It is a big deal.Angela: Is it a big deal? Is it Kevin?Kevin: ... Do you really not know? Because it is a big deal.[SCENE_BREAK]Andy:Five of us transferred from Stamford. There are two of us left. Me and Karen. It's like we are touring Willy Wonka's Chocolate Factory and dropping off one byone. Well, guess what? I am not falling in a chocolate river.[SCENE_BREAK]Angela: Everything ok? [Takes candy from Pam's desk]Dwight: Everything is fine. Youare in the clear.Angela: Thank you. [Puts candy back] I... I don't want those.[SCENE_BREAK]Michael: Dwight, care to join us, finally? Thank you.Andy: HeyDwight, pass the tardy sauce. Get it Michael?Michael: Yes. Ok, here is the dream team. My sales dream team. Today we are going to team up for sales calls.Andy, since this was your idea, you get to pick first.Andy: Hmmm, well... let me think about this for a minute. Oh, I don't know. Michael Scott.Michael: Oh.Andy:Ph. D. Doctor of Sales.Michael: Well, I appreciate that. That is very gracious of you.Andy: Well, it is very gracious of you to accept.Michael: Well, thank you sir.Ok, now going by seniority. Phyllis, our resident senior.Phyllis: We're the same age and I'll pick... Karen.Karen: Oh, uh, thanks.Michael: Good. Next up, Superflyhimself, Stanley.Stanley: Pass.Michael: You can't pass. You've got to pick somebody.Stanley: ... I'll take the kid.[SCENE_BREAK]Ryan: I am very flattered. I washis second choice after \"Pass.\"[SCENE_BREAK]Michael: So that just leaves Dwight and Jim.Dwight: Ok, wait. Does anyone want to trade?Jim: Yup. I'lltrade.[SCENE_BREAK]Jim: Dwight and I used to go on sales calls all the time. In fact, I have a picture to remember that time. Oh young Jim. There is just somuch I need to warn you about. And yet, tragically, I cannot.[SCENE_BREAK]Andy: Sebring by Chrysler. Heck of a... motor... carriage.Michael: Dwight?Dwight:Yup?Michael: Here ya go. [throws laundry]Dwight: Yeah! You want shirts on hangers?Michael: Please.Andy: He does your laundry?Michael: Long story. All righteverybody, circle up. Here we go. You know what this is? This is the \"Amazing Race.\" [To Ryan and Stanley] And you guys are the retired marines. [To Phyllis andKaren] And you guys are the mother and daughter. [To Dwight and Jim] And you guys are the gay couple. And we are the firefighter heroes. Are we ready togo?Karen: Wait, \"Amazing Race\" like, the biggest sale wins?Michael: No, we're just going to rush out, do the sales thing, and come back.Ryan: Is there aprize?Michael: Just bragging rights.Phyllis: Then how is this \"Amazing Race\"?Michael: It's just... brrrrrr... It's \"Amazing Race,\" Phyllis. Okay? We're in teams oftwo and we are on a mission. All right, so, on your mark, get set, go. Let's do it.Dwight: Come on!!Phyllis: Michael. [Michael throws Phyllis' keys under thecar.]Michael: Whoah, whoah. Oh hahahaha. Vamanos!Andy: Bueno.Phyllis: Do you have a pole?Karen: Let's go get a broom.[SCENE_BREAK]Jim: Seriously?You're going to sit in the back?Dwight: Uh, yeah. It's the safest part of the car. In the event of a crash, the driver always protects his side of the carfirst.[SCENE_BREAK]Michael: Here we go.[SCENE_BREAK]Andy: In order to take down Dwight, I have to chip away at his ally, which, in this case, is Michael.Here's the good news. Every success I've ever had at my job or with the lady-folk has come from my ability to slowly and painfully wear someonedown.[SCENE_BREAK]Andy: What's the deal with Dwight doing your laundry?Michael: Ugh... that is a long story. Um, couple of months ago, Dwight tried to gobehind my back with Jan and get my job and I am now having him do my laundry as punishment.Andy: Wow, that is a long story, but quite well told, Michael. Ifind it very interesting. Especially about the part Dwight going behind your back and basically, like, being a terrible person. You know if you want your laundrydone right? I used to work at Abercrombie. So, pretty good folder.[SCENE_BREAK]Angela: Hey Pam. Would you like to go with me to grab a coffee?Pam:Really?Angela: Yeah, I could use some fresh air. Might be fun.Pam: Ok. Sure.Angela: Ok.[SCENE_BREAK]Karen: Why are we turning in here, this is a beautysalon?Phyllis: Um-hmmm.[SCENE_BREAK]Ryan: Hey, do you mind if I take the lead on this one and then you can critique me after?Stanley: You want thelead?Ryan: Yeah, if you don't mind.Stanley: Mind? Nothing would delight me more.[SCENE_BREAK]Dwight: Leave the keys.Jim: You still do that thing?Dwight:Leave the keys![SCENE_BREAK]Andy: I think you have assembled an amazing team at Scranton. It's really a pleasure to be a part of it. It's like, everyone hastheir own special skill, you know, just like the Superfriends. Except for Dwight, who is more like a SuperDud. I mean, he would be a Superfriend if there was aSuperfriend whose super power was always being late. You know?Michael: Hawkman.[SCENE_BREAK]Andy: My plan is taking longer than I thought but I don'tgive up easily. I have walked two marathons.Michael: [Walks out of the Ladies' Restroom] Let's go. The men's room was disgusting.[SCENE_BREAK]Jim: Afteryou sir.Dwight: No thank you, I never let anyone walk behind me. Seven out of ten attacks are from the rear.Jim: Ok, well, that still leaves a 30% chance that Iwill attack you from the front.Dwight: Uh, yeah, but it will be easier to stop. I can always block the blow. I can counter it with... [Jim slapsDwight][SCENE_BREAK]Pam: Angela, you seem so happy. I bet you wish you were like this all the time.Angela: This friend of mine - let's call her Noelle - shemissed this deadline turning something in to Corporate in New York. But then this gallant gentleman - we'll call him Kurt - he drove all the way to New York andhanded it in for her. That's... I don't know. I guess he really just likes her a lot.Pam: That's great.Angela: Yes, it is. [Walks up to the counter where there is noemployee] Hello?[SCENE_BREAK]Michael: Hey, did you catch that up at Lake Wallenpaupack?Buyer: Yep.Michael: You know, I used to go up there all the timewith my step-dad, and I never caught anything that big.Andy: Caught an eighty-pound shark off of Montauk. It's in the Hamptons. My dad's got a 42-ft Bayliner.Sniped it with a rifle from the crow's nest. Also shot a deer once.Michael: You know what? Let's get right down to it. Dunder-Mifflin may be just two rooms and awarehouse, but what we lack in flash, we will make up for with hardwork and decency.Andy: Ok, this is the classic undersell because you should know we don'twork out of a log cabin. We trade on the New York Stock Exchange. Ever heard of it? It's in New York.Buyer: Uh, I have to say I am a little wary with gettinginvolved with a big company. We've had some problems in the past.Michael: I think what Andy is trying to express is that while we have the resources of a largecompany, we will give you the care and attention of a small company.Andy: Oh, man, that is, like, poetry.Michael: No.Andy: I swear, this guy could sell paper toa tree.Michael: Stop it. [Puts his hand on Andy's shoulder] Stop it.Andy: Ow.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Pam: Dunder Mifflin, this is Pam.[excited] This is Pam. I did?[SCENE_BREAK]Andy: Oh man. Talk about your classic \"Lame dash O.\" Do we even want that guy buying our paper?Michael:Yes.[SCENE_BREAK]Andy: I... I'm so sorry man. I really screwed that up.Michael: Ah, no. Don't worry about it.Andy: I really 'Schruted' it.Michael: What?Andy:'Schruted' it. It's just this thing that people say around your office all the time. Like, when you screw something up in a really irreversible way, you 'Schruted' it. Idon't know where it comes from though. Do you think it comes from Dwight Schrute?Michael: I don't know. Who knows how words areformed.[SCENE_BREAK]Phyllis: It's a big order. Thanks Kenny.Karen: Yeah, thank you.Phyllis: Hey, how's Annie?Kenny: Oh, she's great. This is us last year inBermuda. Lovely place. You ever been to Bermuda?[SCENE_BREAK]Julius: Stanley Hudson.Stanley: Ah, Julius, how's it goin'?Julius: Great, great, great.Guy:Stanley.Stanley: So good to see you too. I'd like you fellas to meet Ryan Howard.Ryan: Hi.Stanley: I'm gonna let Ryan do a little pitch for you while I do mycrossword. Ryan?Ryan: Um... [To the Buyers] Hi. Hi. Hi. Hi.Julius: Hello, Ryan. What do you have for us?Ryan: Oh...[SCENE_BREAK]Jim: We can offer ourbiggest discounts on 30% recycled and ultra-premium laser.Man: 'Kay. 'Kay.Dwight: Can I use your phone?Man: Yeah, sure, go ahead.Dwight: Thanks.Jim: Letme talk to you about a few of the other things we can offer. Namely, we know the tax season is coming up, so by April 1st we can have you fully stocked.Dwight:[On Phone] One...Jim: We have discount prices on ink cartridges...Dwight: Three...Jim: And, also, any forms that you are going to need...Dwight: Seven...Jim:We can custom make them.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Pam: Yeah I did a watercolor of Frances Willard Elementary School for a contestthey were having. They were calling with the results. And I won. I won! My painting won. So I like to thank my mom for always encouraging me. And I like tothank my dad for buying me my first set of art pencils. And I'd like to thank the sixth grade class that picked me.[SCENE_BREAK][ Newpeat Quote][SCENE_BREAK]Pam: Hey Kev, guess what. I won an art contest today.Kevin: How much did you win?Pam: $100.Kevin: I won $400 bucks on the Celtics gamelast night.Pam: Cool. Congratulations.Kevin: Thanks, so sweet.[SCENE_BREAK]Stanley: Ha ha ha! And you just said, \"Hi! Hi! Hi!\" Ha heh ha! You sounded like myniece, and she's six months old![SCENE_BREAK]Man: We'll I appreciate what you guys are saying but it, uh, makes more fiscal sense to go with one of the bigguys.Dwight: Sure.Jim: Sure, that's true we can't compete with their prices. But let me ask you something. How important to you is customer service?Man: It'svery.Phone: Please keep holding, your call is very important to us.Dwight: Erm, that's one of the 'Big guys.' Been on hold this whole time.Jim: [Dials cell Phone]And this is Dunder-Mifflin.Kelly: Dunder-Mifflin customer service, this is Kelly.Jim: Hey, Kelly, it's Jim.Kelly: Oh my god, Jim. How are you ? I wanted to tell you .... [Jim hangs up]Dwight: Here is my card. It's got my Cell number, my pager number, my home number, and my other pager number. I never take vacations, I"}
+{"doc_id":"doc_326","qid":"","text":"BLACK SCREEN: Previously OnGIBBS: (V.O.) Previously on NCIS. MUSIC IN:EXT. ROOFTOP - DAY(BEGIN FLASHBACK SCENES)ARI: Sorry, Caitlin.(SCENECUT)GIBBS: Ari!(SCENE CUT)TONY: I found Ari's sniper's nest, Boss. Didn't police his brass.(SCENE CUT)KATE: I'm dead now, Ducky. Shouldn't be. I could havekilled Ari right here.(SCENE CUT)GIBBS: Are you okay?ABBY: Yeah.(SCENE CUT)GIBBS: His sniping Abby means he's after my people.(SCENE CUT)MORROW:I've been offered a Deputy Director's position with Homeland Security.GIBBS: Well who will be replacing you, Sir?SHEPARD: Hello, Jethro.(SCENE CUT)SHEPARD:On the job it is Director Shepard or Ma'am.(SCENE CUT)ZIVA: I'm here to see Special Agent Gibbs.(SCENE CUT)GIBBS: You first.TONY: Ziva David. Mossad.She's here to stop you from whacking Ari.GIBBS: Director Jenny Sheppard, same mission.(SCENE CUT)ZIVA: Ari Haswari is a Mossad operative undercover inHamas. He hasn't turned on us or you.(SCENE CUT)ARI: (IN HEBREW) Do you have the passport and money?(SCENE CUT)ZIVA: (IN HEBREW) Yes.(SCENECUT)ARI: (IN HEBREW) Use the drop.(SCENE CUT)ARI: (INTO PHONE) Doctor Mallard, I want to prove I didn't kill Caitlin.(SCENE CUT)DUCKY: (INTO PHONE) Bytaking Gerald hostage?ARI: (V.O./FILTERED) Gerald is free to go.(SCENE CUT)ARI: (INTO PHONE) Come alone, and you can exchange places.(MUSIC OVERACTION/DUCKY WALKS IN THE STREET)(MUSIC OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)[SCENE_BREAK]EXT. STREET -FLASHBACKGERALD: You shouldn't have come, Doctor.DUCKY: Couldn't let the b*st*rd put a bullet in your good shoulder or you'd never return to work. Do youhave your cell phone?GERALD: Ari took it.DUCKY: Keep walking. Don't turn back until you're behind the wheel. Where is Ari?GERALD: In the back seat.DUCKY:Well, when I reach your car, I'll lean in through the open window. That's your cue to drive off, fast!GERALD: Doctor Mallard...DUCKY: Go straight to NCIS. TellGibbs everything that's happened.[SCENE_BREAK]INT. SQUAD ROOM - NIGHTDUCKY: (RECORDED VOICE) You've reached Doctor Donald Mallard. Please leave amessage and I'll get back to you as soon as I can.(SFX: BEEP TONE)GIBBS: (INTO PHONE) I said no one was to leave the building!ABBY: (INTO PHONE) Ducky,please call, okay? We're really worried--GIBBS: (LOUDLY INTO PHONE) No one includes you, Doctor Mallard!ABBY: (INTO PHONE) We're worried includingGibbs.... or he wouldn't be yelling. (TO GIBBS) Look Gibbs, it's not Ducky's fault, okay? He probably did Kate's autopsy on auto pilot and then just drove himselfhome the same way.MCGEE: Boss! An outside call came into autopsy twenty three minutes ago. I'm tracing the number![SCENE_BREAK]EXT. STREET -NIGHT(MUSIC OVER ACTION/GERALD RUSHES TO THE MORGAN/ DUCKY WALKS TO ARI'S CAR)(GERALD CLIMBS IN AND OUT OF THE CAR)ARI: You looksurprised.DUCKY: I expected to be shot.ARI: Doctor, please. I would never harm a fellow physician.(MUSIC OVER ACTION/GERALD ATTEMPTS TO DRIVE THEMORGAN)DUCKY: (SHOUTS) Use the clutch! Good God, man!! Use the clutch! You're stripping the gears!(SFX: GEARS GRINDING B.G.)ARI: This is too painful,Doctor.DUCKY: (SHOUTS) Gerald, turn it off!ARI: Obviously Gerald does not have an intimate relationship with a standard transmission.DUCKY:Unbelievable.ARI: The price of growing up in America. That was so unnecessary, Doctor. Gerald is free to leave... in his own car.MUSICAL BRIDGE TO:INT.SQUAD ROOM - NIGHTMCGEE: Boss, that call came from Gerald Jackson's cell phone!ABBY: I'd almost forgot about Gerald.MCGEE: He's been in rehab ayear.ABBY: Maybe he heard about Kate and he called Ducky.MCGEE: They're in a pub somewhere consoling each other.ABBY: Yes!GIBBS: I don't like it.ABBY:Why?MCGEE: (OVERLAP) Why?GIBBS: I don't need a reason why![SCENE_BREAK]EXT. STREET - NIGHTARI: Did you buy it in such pristine condition?DUCKY:God, no. The frame had severe termite damage.ARI: That's right. The Morgan has a wood frame.DUCKY: Mm-hmm. The top was in rags. The body dented. Therocker panels rusted out. It was a disgrace.ARI: Who did the restoration?DUCKY: I did.ARI: Of course you did.DUCKY: Do you doubt me?ARI: Not at all, Doctor. Iwas thinking of the irony. That hands so skilled at dissecting the dead are also capable of restoring life... at least to a machine.DUCKY: What do you want,Ari?ARI: A test drive.(PHONE RINGS)ARI: Now who at NCIS could be calling Gerald at this hour? Hmm? Oh well... Gerald is sure to arrive there shortly. Doctor?Oh, your cell phone. Now buckle up, Doctor. It's a dangerous night.(SFX: CAR ENGINE STARTS)[SCENE_BREAK]INT. SQUAD ROOM - NIGHTMCGEE: I'm gettingvoice mail.ABBY: They probably can't hear their phones because they're in a pub.MCGEE: Do you want to leave a message?GIBBS: No. Get a GPS fix.(BEAT) Snapit up, McGee!MCGEE: One second, Boss. Got it.GIBBS: Georgetown. Olive and Twenty-ninth. I know that street. That's mostly residential. Locate Ducky'scell.ABBY: See. They're together.GIBBS: There's no pub there.ABBY: Well maybe Gerald lives there.MCGEE: That's negative. He lives on Peabody.ABBY: Sothey're parked. They're talking.MCGEE: Want me to go with you, Boss?GIBBS: No. Tony's out. Stay here with Abby.ABBY: For nobody leaving the building, thereare a lot of people leaving the building.[SCENE_BREAK]INT. SWIMMING POOL - NIGHT(MUSIC PLAYS B.G.)KATE: Why don't you visualize her naked? Does sheintimidate you?TONY: A woman hasn't been born yet who can intimidate Anthony DiNozzo.KATE: You're forgetting your mother.TONY: Mothers don't count.KATE:And that lawyer. Marla?TONY: Divorce attorney. Worse than mothers.KATE: Well, Ziva's not your mother. She's not a divorce lawyer. She definitely intimidatesyou.TONY: Does not.KATE: Does too.TONY: Does not.KATE: Does too.[SCENE_BREAK]EXT. GEORGETOWN STREET - NIGHT(SFX: RAIN FALLING B.G.)GIBBS:Okay, where are they now?(BEGIN TELEPHONE INTERCUTS)MCGEE: (V.O./FILTERED) Same place, Boss.(SCENE CUT)MCGEE: (INTO PHONE) Olive and Twentyninth.GIBBS: (INTO PHONE) Get a fix on my cell.(SCENE CUT)MCGEE: (INTO PHONE) Okay.(SCENE CUT)MCGEE: (V.O./FILTERED) You're right on top ofthem!GIBBS: (INTO PHONE) Damn it, McGee! They are not here!MCGEE: (V.O./FILTERED) They have to be, Boss.(SCENE CUT)ABBY: (INTO PHONE) Gibbs. Isthere a pub?GIBBS: (V.O./FILTERED) No!(SCENE CUT)GIBBS: (INTO PHONE) There is no pub! No people - there are no cars!(SCENE CUT)ABBY: (INTO PHONE)Okay, I was just checking.(SCENE CUT)GIBBS: (INTO PHONE) How accurate is this fix, McGee?MCGEE: (V.O./FILTERED) Within twenty five meters.(MUSIC OVERACTION/KATE: It's going to happen again, isn't it? Ducky's going to take a bullet for you.GIBBS: He won't kill Ducky.KATE: Why not? Because you couldn't livewith the guilt? Maybe Ari knows that. Maybe that's his plan. Maybe the only way to save Ducky, Abby, and McGee is to kill yourself.(MUSIC OUT)MUSIC IN:EXT.PARK - NIGHT(SFX: TELEPHONE BEEP TONES/ CELL PHONE RING TONE)[SCENE_BREAK]INT. SQUAD ROOM - NIGHT(PHONE RINGS)MCGEE: (INTO PHONE)Special Agent McGee.(BEGIN TELEPHONE INTERCUTS)(SCENE CUT)GIBBS: (INTO PHONE) I found Ducky and Gerald's cell phone in the park.(SCENECUT)MCGEE: (INTO PHONE) Why would they leave their cell phones in the park?GIBBS: (V.O./FILTERED) They wouldn't McGee!(SCENE CUT)MCGEE: (INTOPHONE) Do you want me to come down there?GIBBS: (V.O./FILTERED) If I wanted you to....(SCENE CUT)GIBBS: (INTO PHONE) ... come down here, I wouldhave told you so. Put a BOLO out on Ducky's Morgan. Get his license plate from his file.(SCENE CUT)ABBY: (INTO PHONE) Gibbs, Ari has Gerald andDucky.(SCENE CUT)GIBBS: (INTO PHONE) They're not dead, Abs.(SCENE CUT)ABBY: (INTO PHONE) How do you know?(SCENE CUT)GIBBS: (INTO PHONE)Because Ari dumped their cell phones in the park, not their bodies.(SCENE CUT)MCGEE: (INTO PHONE) Ah... Boss? Gerald's here.GERALD: Ari's got....(SCENECUT)GERALD: (V.O./FILTERED) ...Doctor Mallard.(SCENE CUT)GIBBS: (INTO PHONE) How'd you get away?!GERALD: (V.O./FILTERED) I didn't.(SCENECUT)GERALD: (INTO PHONE) Ari let me go.(END TELEPHONE INTERCUTS)[SCENE_BREAK]INT. SWIMMING POOL HOUSE - NIGHT(MUSIC OVER ACTION/TONYSEARCHES THE POCKET)DANA: Excuse me. May I?TONY: You certainly may.(DOOR OPENS/ CLOSES)[SCENE_BREAK]INT. NCIS SQUAD ROOM - NIGHTGERALD:I've never driven a stick.ABBY: Are you serious?MCGEE: What? You can drive a stick?ABBY: Yeah, since I was like ten.GERALD: What were you driving when youwere ten?ABBY: A red forty-seven Ford half-ton pickup with four on the floor and Bubba riding shotgun.MCGEE: Bubba?ABBY: Ah, best damn coon dog inJefferson Parish.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN)(BEGIN TELEPHONE INTERCUTS)GIBBS: (INTO PHONE) I don't believe in coincidences,Tony.(SCENE CUT)TONY: (INTO PHONE) I know, Boss.(SCENE CUT)TONY: (V.O./FILTERED/MUFFLED) You've beat that into me.GIBBS: (INTO PHONE) Haven't Ibeat that into you?(SCENE CUT)TONY: (INTO PHONE) That's what I said.GIBBS: (V.O./FILTERED) What did you say?TONY: (INTO PHONE) I said the receptionsucks!(SCENE CUT)GIBBS: (INTO PHONE) Stay with them. I'm on my way.(SCENE CUT)TONY: (INTO PHONE) What if they split up?(SCENE CUT)GIBBS: (INTOPHONE) What about your gut?(SCENE CUT)TONY: (INTO PHONE) It wants a pizza. (END TELEPHONE INTERCUTS)[SCENE_BREAK]INT. SQUAD ROOM -NIGHTGIBBS: Oh, god. What do we have?MCGEE: Ari picked up Gerald to force Ducky into a meet.GIBBS: You warn him?GERALD: I did. But you know DoctorMallard. He came anyway.GIBBS: It's not your fault, Gerald. Ari's the b*st*rd. Ducky made the decision to go, not you. Debrief him. Write it up. I'll be with Tonyat the Embassy Hotel.ABBY: Um, Tony's at the Embasero.GIBBS: Why did he say the Embassy?ABBY: Cell phone garble.GIBBS: All right, from now on everyoneis using phonetics, like we did in the Corps.ABBY: Um... golf-India-bravo-bravo-sierra. Can I please go back to my lab? I'm flipping out here with nothing todo.GIBBS: Okay, but don't leave...ABBY: Don't leave the building. I know. Bravo. Yankee. Echo.(SFX: ELEVATOR DOORS SLIDE CLOSED)[SCENE_BREAK]INT.POOL HOUSE - NIGHTDANA: Mind if I join you?ZIVA: One more lap and you'll have it all to yourself.DANA: How's the water?ZIVA: Lovely. Have a niceswim.DANA: Thank you.(MUSIC OVER ACTION/TONY TAKES PICTURES)(ZIVA WALKS FROM THE POOL HOUSE/TONY WATCHES DANA)TONY: (SOFTLY) They'reswitching robes.(TONY RUSHES TO THE ROBE AND SEARCHES THE POCKET)DANA: Hey! What are you doing?TONY: Going for a swim.DANA: There's a lockerroom.TONY: I'm fine.DANA: Where's your swimsuit?TONY: Don't have one.DANA: I should call security.TONY: You didn't see the sign.DANA: What sign?TONY: Imust have been blocking it. Uh... remember I was waiting outside and you wanted to come in?DANA: Oh, I remember.TONY: The Hackensack Nudist Society."}
+{"doc_id":"doc_327","qid":"","text":"In the gymnasium during tryoutsKendra: Over here Liberty! Pass!(Ms Hatzilakos is watching the girls and jotting down notes when Kendra scores.)Kendra:Yes!Ms. Hatzilakos: Great stuff girls. Bring it in. Alright the final roster will be posted tomorrow. Not everyone made the cut, but today I was really impressed withall your effort. Good stuff everyone.(Everyone starts to leave.)Emma: You ready?Liberty: Yeah.Ms. Hatzilakos: Uh Liberty nice effort out there.Liberty: I waspleased with my stick handling, though my scoring could have been better.Ms. Hatzilakos: You didn't score.Liberty: We'll need to work on that if I'm gonna leadour team to victory.Ms. Hatzilakos: I know how much this means to you, but I'm sorry Liberty you didn't make the cut.Liberty: There must be a mistake. I'venever lost anything in my life.Ms. Hatzilakos: Well you haven't lost because I do want you on the team.Liberty: To do what?Ms. Hatzilakos: The role of teammanager. This team really needs you.Liberty: The team needs me, then I'm there.Ms. Hatzilakos: Great.In the hallway, the roster has been postedManny:Awesome I made it.Kendra: Great. Now for the initiation.Manny: Initiation?(Kendra and Emma start spraying Manny with silly string when Liberty walksover.)Liberty: Congratulations one and all.Emma: Thanks. Sorry you didn't make the team.Manny: But you're manager. That's good.Liberty: That's great andbelieve me I'm gonna keep you girls in line.In history classTeacher: The outline for your essay is strong and thought-provoking.Liberty: Napoleon was fascinating.I only hope my essay does him justice.Teacher: I'm sure it will. You always accomplish what you set out to do.Liberty: Not always, but thank you sir. In aclassroomTerri: A strong fate line means you know what you want to do.Hazel: But my lifeline's so faint.Terri: Your quest for meaning will be an eternalone.Ashley: Didn't you learn anything last year about playing with dark magic?Paige: Wow. Déjà vu. Freaky occult and Ash freaking out.Ashley: You have to havea little respect.Paige: And I have to have a little fun, so Ter, read the palm.(Terri starts looking at Paige's palm and stops suddenly.)Paige: What's it say mysticoracle?Terri: It's, it's great. Your palm's perfect.Paige: Um hon. I was kind of looking for a reading.Mr. Armstrong: Morning class. Let's open our textbooks tochapter 12, polynomials.Paige: What do you see Terri?Mr. Armstrong: I see Paige Michalchuk in detention after school.Outside the schoolHazel: Ter! You've beenavoiding me all day.Terri: Not you. Paige.Hazel: Why?Terri: Your fate line was really faint. Paige's lifeline doesn't exist.Hazel: Her days are numbered?Paige:Whose days are numbered? Either you tell me what you saw in my palm or my nails get up close and personal with your face.Terri: Okay your palm...no lifeline.You're gonna die. In the locker room Liberty is doing the team's laundry(She has a daydream about her leading the team to victory and everyone is cheering forher.)Mr. Armstrong: So Liberty, how do you like being team manager?Liberty: Great. I love it. How come the girls get to wear these ratty things and the boys getuniforms?Mr. Armstrong: That's because we didn't budget for a girls floor hockey team. We didn't think there would so much interest.Liberty: You do know boysteams get 80% of the athletics budget.Mr. Armstrong: That's because there's more boys teams. Money is tight for all teams these days.Liberty: There must be away around it. What about fundraisers or sponsorships?Mr. Armstrong: Sure. That takes a lot of work.Liberty: Mr. Armstrong, work's my forte and I know exactlywhere to start.Outside Joey's houseLiberty: Plus you can write the sponsorship off as a tax credit.Joey: Yes I know, but the boys have already asked me tosponsor their basketball team.Liberty: They don't need your help Mr. Jeremiah. We do!Joey: But the Panther's have done awesome all year.Liberty: Yes and wecan too if we get the same full support. Look, say your daughter was on our team. Would you want her wearing this? We need this Mr. Jeremiah.(She shows himthe uniform the girls have to wear.)Joey: Okay look. I can't sponsor both teams, but I'll think about it okay?-In the gymnasium-Liberty: Our New Jerseydesign.Manny: Wow. That's awesome Liberty.Emma: Yeah. That's really good.Liberty: Thanks. We do have to convince Mr. Jeremiah to sponsor us and not boysbasketball, but a minor detail.Emma: Yeah like the boys need funding.Ms. Hatzilakos: I know girls you're excited about this, but even with sponsorship we're notgonna win anything unless we practice, okay? So take your positions. We're gonna do passing drills.(The girls get ready to practice.)Ms. Hatzilakos: Oh and canyou clean the pinnies? They need washing.Liberty: I just washed them the other day.Ms. Hatzilakos: I know. They're dirty again. Okay girls come on! Can wefocus please!In the media immersion lab, Hazel and Paige are on the computerHazel: Here. In palmistry no one indicator by itself is conclusive.Paige: Okay.Hazel:Which hand did she read?Paige: Um my left.Hazel: And you're right handed.Paige: And your point is?Hazel: You're supposed to read someone's dominant hand.The one you use.Paige: Hey! I do have a lifeline.Terri: Here Paige. To express my grief.(Terri hands Paige flowers.)Paige: Um thanks.Terri: Anything I can do foryou in your time of need, let me know. Anything.Hazel: So when are you gonna tell her?Paige: About my miraculous recovery from the brink of death? Hmm Idon't know.Outside the schoolEmma: Liberty we just wanted to say that we really appreciate what you tried to do.Liberty: Thanks, but Ms. H put me in myrightful place, the laundry room.Jimmy: Van Zandt, what's up with trying to steal our sponsorship?Spinner: Yeah. Who cares about girls sports? Except of coursemud wrestling.Jimmy: Look you girls are crazy. Jeremiah's gonna back us because we're a winning team.Liberty: You really think you're better than us?Spinner:Uh welcome to the conversation. Yeah.Liberty: Then prove it. Floor hockey. Girls versus boys.Manny: Uh Liberty.Jimmy: Okay. Say um winner gets thesponsorship?Liberty: And loser does the other team's laundry for a week.Spinner: Awesome. I sweat like a pig. Outside the schoolMs. Hatzilakos: So whose ideawas this again?(The girls look at Liberty.)Ms. Hatzilakos: Well I'm not coaching you guys so you can get into a grudge match with the boys over braggingrights.Liberty: It's not about bragging right. It's about a sponsorship.Ms. Hatzilakos: Well why gamble for it? Let Mr. Jeremiah decide.Liberty: He can't so we haveto do this.Ms. Hatzilakos: Look I know this is very important for you, but between school and preparing you girls for the actual competition, I can't help you withthis. I'm sorry.Liberty: But we need a supervisor.Ms. Hatzilakos: Yes. Yes you do.Manny: Great. Now who's gonna coach us?Liberty: I will and I'll lead us tovictory like Napoleon in the battle of Leipzig.In a classroom, Liberty tosses a huge book on the tableEmma: 100 Days To Glory?Liberty: Our strategy. It outlineswhat we have to do to win the regionals.Manny: Yoga. Meditation...and no junk food?Liberty: To achieve perfection, one must envision perfection. Envision,achieve, win. A simple formula. In the gymnasium, the girls are complaining about Liberty's rules(Liberty walks in wearing an outfit like Napoleon's and they allstop talking.)Liberty: Napoleon said if you want authority you must dress the part. I look regal, commanding-Kendra: Stupid.(The girls laugh and Liberty blowsher whistle.)Liberty: Silence!Manny: Liberty I can't practice today. I sort of have my period.Liberty: Manny a true champion doesn't let a silly, little monthlyvisitor stand between her and victory.(Liberty hands Manny a tampon.)Liberty: Now lets get started. Fall in positions!In the hallwayPaige: And then I realized I'llnever have a driver's license or a senior prom. Ter I am too young to die.Terri: Don't cry. Can I get you anything?Paige: Sure and maybe you could even do mybook report for Kwan. With all this stress you brought me how am I supposed to concentrate?Terri: You're right. I'm there. In the gymnasium, Liberty is goingover the plays(Spinner and Jimmy are outside the gym watching the girls and laughing.)Liberty: You stay on the left wing allowing the fore-checkers to go deep inthe offensive zone.Kendra: What's this play called again?Liberty: The left wing lock. It limits break out space and forces the opposition's defense to carry the puckor bank it up on the boards. Girls this is child's play.(Manny starts giggling.)Liberty: Hey little Ms. Happyface. What's a neutral zone trap, huh?Manny: I don'tknow.Liberty: Page 16. Did you read it? Maybe you don't know how to read!Manny: Why are you picking on me?Liberty: Because you're the weakest link.In thehallwayLiberty: Don't test me Kendra.Kendra: Why not Napoleon?Liberty: If you want to win, you players need to pull together.Kendra: We're not going to winLiberty, not with you barking orders!Liberty: They're not orders. They're plays.Kendra: We don't understand them. They're useless, kind of like you ascoach.(Kendra leaves and Liberty sees a boys jock string taped to her locker.)Liberty: Ew![SCENE_BREAK]In the media immersion roomTerri: Finished.Paige: Teryour head.Terri: Oh I get zits when I'm stressed. I just e-mailed your report. I didn't get mine done, but that's okay. I only lose 10%.Paige: Are you sure?Thanks.Hazel: Who said dying wasn't any fun?(Ashley overhears them.)In the hallwayAshley: Hey Terri. What's up?Terri: Trying to figure out when I can getsome sleep. Being Terri and Paige is hard work.Ashley: Can I talk to you about that?Terri: What?Ashley: Well let's just say when I tell you, you're gonna want tokill someone who's technically already dying. In the gymnasiumSpinner: Some girls team, eh? What are they doing, putting on their makeup?(The girls marchin.)Liberty: Closed set. Everybody out.Spinner: Um it's just a hockey game, Liberty.Liberty: No Spinner it's your funeral. Last time, out!(Everyone starts toleave.)Liberty: You, Panther, scoreboard.JT: Ai captain!Liberty: Okay girls remember what Napoleon said. One must know when to leave the skin of a lion to takethe skin of a fox(Nobody says anything.)Liberty: So get out there and give it to them, right?!The girls: Right!(Joey blows his whistle to get the teams ready.)Joey:You ready? Ready? Let's go!(They start playing as Liberty watches and JT keeps score.)Outside DegrassiHazel: We should totally go to that movie tonight seeingas your homework's already done.Paige: And maybe we could even get Terri to pay.(The girls see Ashley and Terri with a Ouija board.)Paige: Ashley on a Ouijaboard?Ashley: Terri told me the sad news. I thought that we should get a second opinion. Hey Terri wouldn't it work better if Paige was sitting here?Terri: Yes itwould.Paige: Do I have to do anything?Terri: No. Just watch and read. Mystic oracle, is it true?(Terri makes the Ouija pointer move to 'yes'.)Paige: Is whattrue?Terri: That you and Hazel played me for a fool.(Terri makes the Ouija pointer move to 'yes'.)Paige: Wow. I, I really better get going.Terri: You're deadMichalchuk. I'm gonna get you! Get back here!(Terri starts chasing after Paige.)During the game, the score is 4-1 for the boysLiberty: Manny take it in. Take itin!Manny: I can't!Liberty: Take it in now.(Spinner and Manny bump into each other and Manny falls down.)Joey: Hold on guys. Hold on. You okay? Help me get"}
+{"doc_id":"doc_328","qid":"","text":"(Izzie is laying in bed with George. She quietly tries to sneak out.)MVO: Surgeons always have a plan, where to cut, where to clamp, where to stitch. But evenwith the best plans, complications can arise, things can arise and suddenly you're caught with your pants down.(Izzie is in the kitchen at the sink when Cristinaand Meredith walk in)Meredith: Wow, you and George were really going at it last night.Izzie: What?Cristina: The laughing, the drinking, the music. Nobody, Imean me, needs to hear George's rendition of \"Sexy Back\" at three in the morning.Izzie: Yeah, yeah. You should have said something or you know, banged onthe wall.Cristina: It's like living in a youth hostel.Meredith: Well, the important thing is that she and George made up. You did right?(Alex walks in)Alex: I need touse your bathroom.Meredith: Why?Alex: Cause O'Malley's puking in mine.Cristina: Ok, youth hostel.Meredith: George is still here?Izzie: Yes. Yes. But onlybecause he was too drunk to drive home. You know, just totally impaired. Like no heavy machinery drunk.Alex: What's her problem?Cristina: Still drunk.Alex:What's she doing here?Meredith: She's afraid she's ruining her engagement to Burke, so she's hiding from him.Cristina: I'm not anymore. I have a plan. Burkedoesn't want me to marry him just to appease him...Meredith: Which you are.Cristina: So...we don't get married. Simple, we go back to the way it was. Be kind,rewind. My plan has a name.Izzie: I gotta go. I gotta get to work. See you guys later.(She goes to leave and puking can be heard from the downstairsbathroom)Izzie: Is that George? You said he was upstairs, puking.Alex: So, now he's downstairs puking.(Izzie walks into the hall where George is)George:Izzie.Izzie: George.George: What the hell happened last night? Callie is gonna kill me. Did I at least call her before I passed out?Izzie: No. you don't...you don'tremember?George: I remember the bourbon and the...I...where did you sleep?(Richard is walking through the hall with Colin)Richard: Big day. What time's yourinterview with the board?Colin: Three o'clock.Richard: Well if you have any questions, please...Colin: Yes, thank you. I think I have everything well inhand.Richard: That's a big folder. (Referring to the one Colin is carrying)Colin: It's nothing...it's just a few ideas I have for Seattle Grace. A ten-year plan. Whichreally is just a few, ah, tweaks. What did Einstein say? \"Newton did the work, I'm merely standing in his shoulders.\"Richard: And in this scenario I'mNewton.(George is in the locker room looking very nauseous when Callie enters)Callie: George. Hey.George: Hey. You look, uh, nice.Callie: I look insane. I'mwearing pearls. Listen...George: Listen, about last night, uh...Callie: Yeah. Well we're good enough for now because as of right now you and I, we're the perfectcouple. Ok, we are the perfect happily married couple who are perfect and, and never fight because my dad's in town.George: What?Callie: Yeah, my dad's intown and, uh, he wants to meet my husband.(Izzie enters)Izzie: Oh, hey. Hey, O'Malleys. Carry on, do your stuff, your married stuff. Yay!Callie: You told herabout our fight.George: Just when exactly is he coming?Callie: Today, lunch, cafeteria. You know what, I think I might change it to Joe's so he might not be ableto tell that stinks coming from you.George: No, it's ok. It's ok. Uh, I'm good with parents. Parents love me.Callie: Funny little man. Funny, funny little man. Funnylittle man who stinks. Just get in the shower, get in the shower, ok?George: I know it'll be ok. You'll see, he's gonna love me. Oh.(Cristina walks up to Burke at anurse's station)Burke: Oh, what's this?Cristina: We bring each other coffee. This is what we do.Burke: No, this is what we used to do. Before you moved in andwe started making coffee at home. You know, I'm not really interested in going back to the way it used to be so unless you have something else to say tome...I've already had my coffee.(Burke walks away and she sees Colin in the hall. Cristina walks away and Colin comes down the stairs and sees Derek, Addisonand Burke standing near the OR board.)Colin: Ahh, good morning, doctors.Derek: Good morning. How you doing?Colin: Big day today. Good luck to all andsundry.(Colin walks away and Richard walks up)Richard: He has a ten-year plan.Burke: What?Richard: He's presenting the board with a ten-year plan for thesurgical wing.Derek: He's only been here a day.Richard: Did you see that folder? It's full of plans...tweaks for my hospital.(Seattle scenes)(Jane Doe's room, Markis showing her images on a computer screen.)Mark: This is a computer approximation of your original facial structure. Based on the 3D CT scans we did, it's whatyou could look like after reconstructive surgery. Or you could look like this...or this. You don't like them?Jane: It's not that...(Looks at Alex) How does this workexactly?Alex: He'll make an incision along your hairline and then...Jane: It's ok, I can take it.Alex: He'll literally pull your face off.Mark: It sounds a lot worse thanit is. Your face is extremely elastic and pulling it down will allow me to correct the bone fractures underneath without any scarring. And once you've healed, noone will ever know you had the surgery. I'm that good.Addison: He is! It's annoying.Jane: The surgery won't affect my baby?Addison: I'll be monitoring the babythroughout, ok?Jane: Ok. So...then I just have to pick one. Do I have to pick one now?Mark: Take a couple hours and think about it.Jane: Couple hours,yeah.(Bailey and her interns walk into the hall and up to Richard)Richard: Dr. Bailey.Bailey: Chief, Jane Doe's getting a new face today.Richard: Well, that'sexciting. (To Meredith) How are you doing, Mer. You didn't take to much time off after...Meredith: I'm fine, sir. Really. I think working's the best thing I cando.Richard: Like mother, like daughter, huh?Mark: Dr. Grey, what can you tell me about reconstructive neuro floor?Meredith: Uh, you can create a new base fromthe eye socket by harvesting bone from the skull. Dr. Bailey, Dr Grey will be scrubbing in on the Jane Doe case. Come on, I'll show you how to do it withoutbreaking the bone graft into a million pieces.Richard: Congratulations, Dr. Grey.Bailey: Come on, lets go people.(Bailey and her interns walk past a nurse'sstation where Callie is)Callie: Wait, wait, wait, I need to talk to you.Izzie: Why?Callie: To prepare you guys for what you're about to see.Izzie: You meant...youmeant you like us, not me. You don't want to talk to me. You wanna talk to us, about a patient.Callie: That what I just said. This patient has a disease so rare thatyou'll probably never see it again. FOP.Izzie: Oh, Fibrodysplasia ossificans progressiva.Callie: Uh, yeah. It's a skeletal disease. It turns muscle into bone, it turnsyou into a human statue. So just try to learn and not to stare. Ok?Nina: If you people are interns, you need to stand back.Cathy: Nina, please don't be rude.Nine:My mother still has movement in her face and hands. I'd like to keep it that way, so, please be careful. You press to hard during an exam or bump into heraccidentally it causes a bone to grow where a bone shouldn't grow. So there can be no accidents.Callie: Ok, remember that when you're dealing with hertoday.Cathy: It's just a stomach virus or the flu. I'm sure it's nothing. Nina insisted that I come in...Nina: She was vomiting blood. And going through her painmeds like they were candy. And she has new growths, on her back. No doubt caused by come clumsy interns on her last hospital stay.Callie: Obviously, you'rehaving a flare up of the FOP but really concerns me is the vomiting. So I'm gonna need a CT and see what's going on. (Sees a dollhouse) Oh, did you buildthat?Nina: My mom did.Cathy: No, Nina did it. I used to do it, I'm not able to.Nina: Keeps her active. When she's active she has fewer flare-ups. Plus it keeps herhappy and relaxed.Callie: Good, ok.(Outside Nina's room)Izzie: Can I work in the clinic today?Alex: You don't want the FOP case?Cristina: Clinic, why? What'sgoing on in the clinic?Izzie: Nothing. I just feel clinicy.Cristina: That's not a word. I'll take the clinic.Izzie: Cristina!Bailey: You both can go to the clinic.(Callie isnearby smelling George)Bailey: The board's interviewing chief candidates all day today so were light on surgeries. O'Malley?George: Yes?Bailey: You're with Dr.O'Malley.George: Ok.Alex: What am I supposed to do?Bailey: Find Dr. Montgomery, see if you can help with Jane Doe.George: I showered twice.Callie: It'scoming out of your pores, George. You, reek, you're trembling and there's no way I'm letting you near my patient right now. Dr. Bailey?George: Don't tell Bailey,don't tell Bailey.Callie: Bailey, with Mrs. Rogerson's limited mobility I'm gonna need an extra set of hands.Bailey: Fine, Stevens. Yang will handle the clinic, you'llbe with the O'Malleys today.(Izzie gets out of the elevator. Callie looks annoyed, Izzie looks terrified and George gives her a thumbs up)(Cristina is in the clinicwith Doug Kendry)Doug: It's my foot. It hurts like crazy. I'm gonna need a pain killer, I can't spend the whole day propped on an ice pack.Cristina: You're gonnaneed to take off your shoe.Doug: No, no, no. I've been down this route before. Just slip me a couple pain killers and I'll be on my way.Cristina: Sir, did you, uh,go to medical school? I did. Take off your shoe. You have type two diabetes.Doug: Ten years now.Cristina: Well, you inspect your foot every day, have younoticed anything?Doug: I noticed it hurts. Look, I've got ten guys sitting on their ass waiting for me to show up...Cristina: Sir, I get it. You're in a hurry. Thatmakes two of us. Sock.(Doug takes off his sock to reveal a very nasty sore)Cristina: You need to call your guys and tell them you're not coming in.(Jane Doe'sroom)Meredith: Did you choose a face?Jane: Not yet. I was hoping I'd see one of them and I don't know, recognize myself. I don't recognize any of these women.What if I choose the wrong one? What if my husband or boyfriend or whose ever baby this is, shows up tomorrow with a picture of what I'm supposed to look likebut it's too late, and I'm stuck with the wrong face for the rest of my life?Alex: Ok, that would suck but if you don't pick one...(He holds up a mirror)...this isgonna be your face the rest of your life.(Derek is watching Meredith, who is at a computer)Meredith: Hey.Derek: Hey.Meredith: Shouldn't you be preparing foryour board interview?Derek: I am.(He leans over her shoulder and he smells her hair)Meredith: You're hovering.Derek: No, I'm breathing you in.Meredith: You'rehovering.Derek: Fine, I'm hovering. If Cristina would sleep in her own bed, I wouldn't have to hover at work. I could hover in bed. A different type of hoveringperhaps. How bad is it today? On a scale of one to ten?Meredith: Seven maybe a six.Derek: Good.Meredith: You know what's gonna make it even better thanthat?Derek: Uh-huh, what?Meredith: Calverian bone harvest I get to do on Sloan's Jane Doe later.Derek: Sloan's gonna let you do a harvest? Byyourself?Meredith: By myself. Which makes me very cool in the eyes of my dead mother, by the way.Derek: Ok, then. I better let you study.Meredith: Better stopdistracting me. I will not be cool in the eyes of my dead mother if I mame Jane Doe.(CT Room)George: We're gonna need you to lie very still Mrs.Rogerson.Cathy: I think I can do that Dr. O'Malley.George: Sorry about that, Mrs. Rogerson. I'm never gonna drink again. I can't believe I have to be presentable"}
+{"doc_id":"doc_329","qid":"","text":"Act OneScene One - A Seedy Motel Room. Frasier is lying in bed, asleep, in the motel room. He awakens and finds that he has a tattoo on his arm that reads\"Chesty.\" There is a half-empty bottle of tequila on a table across from the bed. A shower is running, but then stops suddenly. Frasier props himself up on somepillows and folds him arms behind his head, expectantly.Out from the bathroom steps Gil Chesterton - wearing only a towel.Gil: Well, look who's up!SMASH CUTTO: Frasier sits up in bed - his own bed. The previous scene had been a dream - or a nightmare, considering Frasier's panic-strickenreaction.[SCENE_BREAK]WHY GIL? WHY NOW?Scene Two - KACL. Frasier is listening to a young male caller, Jimmy.Jimmy: [v.o.] So it's my parents. I don'tknow, they're just like, really stupid.Frasier: [bored] May I ask how old you are?Jimmy: Fourteen.Frasier: Well, hang on, Jimmy. Your parents are going to bestupid for another seven years.Jimmy: Whoa! Seven years? That's like, longer than I'll be in high school!Frasier: I salute your optimism. [disconnects] We'll beright back after this.He goes off air as Roz enters his booth.Frasier: Oh god, Roz. A teenager who's embarrassed by his parents? I mean, please. Can't you comeup with something a little more challenging for me?Roz: Well, it was either him or our old pal, Rudy the Crier.Frasier: Oh, Rudy the Crier. Oh God. He's been onthree times in the last month. You put him on again, he won't be the only one who's crying. God, I'm in a dry spell. Where are the souls in genuine torment? Thepeople teetering on the brink of genuine despair?Roz: Oh, they'll be back. The holidays are just around the corner.Frasier: Well, perhaps you're right. Oh, Roz,I've got a question I'd like to ask you.Roz: Shoot.Frasier: Have you ever had a recurring dream of an intimate nature about someone... oh, a... well, aco-worker?Roz: [disgusted] Oh, no. Why'd you tell me?Frasier: Oh, Roz!Roz: Oh, now it's gonna be creepy everytime you look at me through the glass!Frasier:Roz, not you!Roz: [intrigued] So who is it then?Frasier: Oh, I'm not going to go into the specifics.Roz: Gina in accounting?Frasier: Look, I'm not gonna dothis!Roz: Sheila, the slow intern?Frasier: Forget I even mentioned it.Gil enters. He's hiding something behind his back.Gil: Knock knock...Frasier: [suddenlynervous] Gil? [Roz eyes Frasier suspiciously]Gil: Frasier, I've come to tempt you.Frasier: [scared] Really?Gil: I'm reviewing the new pastry chef at Chez Shea.[reveals aneclair] And I quote: \"His amaretto eclair is so sinful, it will send you scurrying to your local padre for absolution.\"Frasier: Uh... no, thank you, Gil. I'mon a diet.Gil: Oh, come now! You know you want it...Frasier: [jumping up] Oh, no no no... I really don't! [shoos Gil out the door] Off you go. Bye-bye.Roz:[excited] Oh, my god!Frasier: What?Roz: It was Gil!Frasier: I never said that!Roz: Then why are you blushing?Frasier: Oh, don't be ridiculous!Roz: Your ears areturning bright red!Frasier: I am not blushing!Roz: You are!Gil then knocks on one of the windows. As they look at him he takes a big bite out of the eclair. Frasierhurriedly closes the blinds as Roz laughs.Frasier: Still not blushing! The scene DISSOLVES to another caller - Rudy the Crier.Rudy: [v.o.] ...just lying there in thehospital bed. She lifted her head off the pillow, looked up and said, \"I love you,\" and then she was gone. [cries]Frasier: Rudy, stop crying. We've gone over thisbefore. What was our agreement about sad movies?Rudy: I shouldn't watch them. [cries]Frasier: Exactly. Now go get a cool washcloth and try to bring down thepuffiness around your eyes. Please... stay away from sad or depressing things... which, at this moment, includes listening to the Dr. Frasier Crane Show.[disconnects] Well, let's shoot it to the news. That's it for today. This is Dr. Frasier Crane. [he goes off air and Roz enters] Oh, my God! Well, close the recordbooks. That was just the dullest three hours in the history of the Frasier Crane Show!Roz: Oh, come on. It wasn't so bad. What about that woman who was soconcerned about her appearance she wouldn't leave the house?Frasier: That was a commercial! I believe Miss Clairol solved the problem! Well, I'll see youtomorrow. [he moves to exit, then turns back] Oh! Oh, Roz... about that dream I mentioned to you earlier... uh... this goes without saying, but I'd rather youdidn't share that with anyone else.Roz: Oh, sure.Betty: [passing by] Hi, dreamboy!Frasier: [to Roz] I hate you! Couldn't keep your big mouth shut, could you?Just exactly when did you find the time to spread the news?Roz: You don't think I was listening to your show, do you?Bulldog enters.Bulldog: Comin' through! Oh,Doc... I got to rub this one in a little...Frasier: All right, look, Bulldog... before you start to ridicule me, yes, yes I had a dream about Gil. And yes, it had someerotic elements, but... [notices Bulldog's surprised expression] You have absolutely no idea what I'm talking about, do you?Bulldog: I do now! Whoa![laughs]Frasier: Look, let's just forget it. What delightful little jibe did you have prepared for me?Bulldog: Oh, I was gonna tell you your show today just broke thesnooze meter, but now I want to hear about you greasin' Gil's cookie sheet! [honks horn]Frasier: I'm on a bus toHell.[SCENE_BREAK]PSYCHIATRIST...CRANE...FRASIER...NILES...IDIOTSScene Three - Cafe Nervosa. Frasier and Niles are standing at the counter. Niles isrelaying a story to a bored Frasier.Niles: So I returned to the dry-cleaners yet a third time. I hardly need to tell you how the story ends.Frasier: Just tell me whenthe story ends.Niles: [miffed] Fine. They realigned my pleats, The End.Frasier: Sorry, Niles. [they get their coffees and sit at a nearby table] I'm just a bitdistracted today. You see, this morning, a... a man from my building approached me with a very intriguing problem. It seems he's been having a recurringdream.Niles: Oh, please. That little gambit didn't work when we were in knee socks. What was your dream, Frasier?Frasier: Oh, all right! It's been tormentingme. I haven't been able to sleep in weeks now. It's a bit hazy but... it starts out in a seedy motel room. I'm naked.Niles: Interesting.Frasier: Yes, well... I roll overand discover on my forearm a tattoo: the word \"Chesty.\"Niles: Interesting.Frasier: Then the shower turns off and out from the bathroom steps... a man. [pause]All right, go ahead, let me have it!Niles: Are you saying that now, or is that a quote from the dream?Frasier: [annoyed] Please? We're both too intelligent towaste time on the obvious interpretation.Niles: Yes. But you must admit, it's rather intriguing. [chuckles]Frasier: Would you stop? It's obviously screaming for aJungian interpretation. The sexuality in the dream is surely symbolic of some deeper, non-sexual conflict.Niles: All right.Gil approaches the table with a smug grinon his face.Gil: Good afternoon, Frasier.Frasier: Gil.Gil: A little birdie tells me I was featured in your midnight movie.Frasier: That's very clever. Off you go.Gil:Very well. I'll see you tomorrow. Or should I say, \"See you in your dreams\"? [exits]Niles: In this dream of yours, were there any cigars, bananas or short, bluntswords?Frasier: Would you stop it?! I'm 43 - a little late for latency.Rebecca, the waitress, comes over.Rebecca: You guys okay over here?Niles: Oh, we'refine.Frasier: [flirting] Well... you must be new here. I surely would have remembered such a pretty face as yours.Niles: You're overcompensating.Frasier: Right.We're fine. Bye-bye. [she leaves] I'm just baffled, Niles. Obviously, Gil Chesterton explains \"Chesty\" but little else.Niles: Perhaps you should tackle this from afree-association standpoint.Frasier: God, must we?Niles: Well, now... focus on any detail in the motel room. What's the first thing that pops into yourmind?Frasier: Uh... a crescent-shaped lamp.Niles: Perfect - crescent-shaped lamp. Run with that. Crescent... moon... Daphne Moon... French maid... brass bed...satin robe...Frasier: Niles! This is my dream!Niles: I was just showing you the process.Frasier: You were three words away from a cigarette!Niles: [outraged] Yourturn!Frasier: All right.Niles: Crescent lamp.Frasier: Crescent... croissant... butter... apricot jam... hunger... food... diet! My God, I've been on a diet. Do you thinkthat's useful?Niles: You could stand to lose a few pounds.Frasier: Just wait a minute. Gil is a restaraunt critic - a gourmet. Perhaps he's symbolic of the food I'vebeen denying myself.Niles: That would explain why you're naked in the dream. It's when we're naked that we're most self-conscious about our bodies.Frasier:Yes, and most vulnerable to the way society \"tattoos\" us with labels about our appearance! God, that's it, Niles! The dream is simply telling me that I've been toorigid about my diet!Niles: Well, you'll know tonight. If this is the correct interpretation, the conflict will have passed from your unconscious to your consciousmind.Frasier: Yes, the dream will have served its purpose.Niles: And you will no longer be plagued by it.Frasier: Oh, God, Niles. I've nailed it all right. I reallyhave. Finally, for the first time in weeks they'll be no tequila bottles, no tattoo, no half-naked man in my bed. [he looks up to see Rebecca standing at their table]So then, the Rabbi says...[SCENE_BREAK]Scene Four - The Motel Room. Once again, Frasier is in bed. The tequila bottle is still there, and he still has the tattoo.The shower turns off and out from the bathroom steps a rather buxom woman wearing only a towel. Frasier looks pleasantly surprised.Woman: Oh, I'm sorry...wrong room. [leaves]Frasier's expression turns to disappointment. Gil suddenly appears lying next to Frasier in bed.Gil: That does it. We're finding anothermotel.SMASH CUT TO: Frasier again wakes up from his dream in a panic. He notices something under the covers next to him. He cautiously pulls back the coversto reveal Eddie. He isn't any more pleased about this.End of Act One. Act Two.Scene One - The elevator at the Elliot Bay Towers. Daphne and Martin are in theback of the elevator. The doors open and a woman gets on, standing in front of Daphne and Martin. Daphne says hello and they lapse into silence for a moment.She and Martin then begin to speak to each other in a conspiratorial tone.Daphne: Someone followed me again last night.Martin: Ah, you're just beingparanoid.Daphne: I'm telling you, they're onto me.Martin: Come on. Nobody could recognize you after all that plastic surgery.The woman becomes alarmed atthis.Daphne: That's what Marlena thought.Martin: Marlena got sloppy. She never should have gone back to Zurich.Daphne: I just don't want any morebloodshed.Martin: Relax. You're home free.Daphne: You don't know the Woodchuck and his ways.The doors open and the woman rushes out in fear. Martin andDaphne break down laughing.Daphne: Oh, we're terrible!Martin: We are? You are! \"The Woodchuck and his ways\"?Daphne: You know, we really should stopdoing this. It's not nice.Martin: Ah, you're right. We won't do it anymore.The doors open and a man enters.Daphne: [as soon as the doors close, to Martin] How'dyou get the stuff through Customs?Martin: They never check the wooden leg.CUT TO: Frasier's apartment. Frasier is pacing the living room as Niles sits at thecouch, poring over psychology textbooks.Frasier: The answer has got to be in there somewhere!Niles: Here's something. [reads] \"Dreams as an expression of"}
+{"doc_id":"doc_330","qid":"","text":"Scene: The apartment. The guys are studying a complex chart on the whiteboard.Leonard: Hmmm.Sheldon: The problem appears to be unsolvable.Raj: Maybeyou could run some computer simulations.Howard: There are too many variables. It would take forever.Leonard: We've got to be missing something. Let's startagain. The movie is playing here at 7:20, here at 7:40, here at 8:10 and here at 8:45.Sheldon: Right, these theatres have to be eliminated.Leonard: Why?They're state-of-the-art digital projection, 20-channel surround sound.Sheldon: Yes, but they have no Icee machines. Despite my aggressive letter-writingcampaign, I might add.Raj: What about the multiplex here? The seats are terrific.Sheldon: They have Twizzlers instead of Red Vines. No amount of lumbarsupport can compensate for that.Leonard: Well, it's gonna take at least an hour to eat, and I don't see a Sheldon-approved restaurant proximate to aSheldon-approved theatre.Raj: We could eat after the movie.Sheldon: Unacceptable, the delay would result in tomorrow morning's bowel movement occurring atwork.Raj: Hang on, hang on. There's a 7-Eleven here. We smuggle Slurpies, which are essentially Icees, in under our coats, after having a pleasant meal eitherhere, here or here.Howard: Wow. I don't see how we missed that.Sheldon: Excuse me, in what universe are Slurpies Icees?Raj: That's how we missed it.Leonard:Sheldon, would you be prepared, on a non-precedential basis, to create an emergency ad-hoc Slurpie-Icee equivalency?Sheldon: Oh, Leonard, you know I can'tdo that.Howard: Okay, I guess we only have one option.Raj: Yep, I don't see any way around it.Leonard: Bye, Sheldon.Howard: See ya.Raj: Later, dude.Sheldon:They're right, it was the only option. Credits sequence.Scene: The hallway. Sheldon is opening the apartment door. Penny comes running up stairs.Penny: Ooh,ooh, shut the door, shut the door.Sheldon: Why?Penny: Just do it! (Penny runs in. Sheldon shuts door. Penny opens door again) Get inside and shut thedoor.Sheldon: Well, you didn't specify.Penny: Is Leonard around?Sheldon: He went to the movies without me. It was the only option. I'm sorry, I don'tunderstand which social situation this is. Could you give me some guidance as to how to proceed?Penny: The building manager's showing an apartmentdownstairs, and I haven't paid my rent.Sheldon: Oh, I see. Penny, I'm not sure I'm comfortable harbouring a fugitive from the 2311 North Los RoblesCorporation.Penny: It's no big deal. I'm just a little behind on my bills because they cut back my hours at the restaurant and my car broke down.Sheldon: If yourecall, I pointed out the \"check engine\" light to you several months ago.Penny: Well the \"check engine\" light is fine. It's still blinking away. It's the stupid enginethat stopped working. It cost me like twelve hundred dollars to fix it.Sheldon: You know, it occurs to me you could solve all your problems by obtaining moremoney.Penny: Yes, it occurs to me, too.Sheldon: Hang on a moment. (He opens a jar. Snakes jump out. He then pulls out a large wedge of money) Here. Takesome. Pay me back when you can.Penny: Wow, you got a lot of money in there.Sheldon: That's why it's guarded by snakes. Take some.Penny: Don't besilly.Sheldon: I'm never silly. Here.Penny: No, I can't.Sheldon: Don't you need money?Penny: Well, yeah, but...Sheldon: This is money I'm not using.Penny: Butwhat if you need it?Sheldon: My expenses account for 46.9% of my after-tax income. The rest is divvied up between a small savings account, this deceptivecontainer of peanut brittle and the hollowed-out buttocks of a superhero action figure who shall remain nameless for his own protection. Or her own protection.Take some.Penny: Really? I mean, are you sure?Sheldon: I see no large upcoming expenditures unless they develop an affordable technology to fuse my skeletonwith adamantium like Wolverine.Penny: Are they working on that?Sheldon: I sincerely hope so.Penny: Okay. Well, thank you. Oh, God, no, I can't. Sheldonhoney, I don't want things to be weird between us.Sheldon: Won't it also be weird if I have to say hello to you every morning on my way to work and you're livingin a refrigerator box and washing your hair with rain water?Penny: I'll pay you back as soon as I can.Sheldon: Of course you will. It's impossible to pay me backsooner than you can. Assuming you subscribe to a linear understanding of time and causality.Penny: I'm regretting this already.Scene: Entering the lobby of thebuilding.Sheldon: You know, I've given the matter some thought, and I think I'd be willing to be a house pet to a race of super-intelligent aliens.Leonard:Interesting.Sheldon: Ask me why.Leonard: Do I have to?Sheldon: Of course. That's how you move a conversation forward.Leonard: Why?Sheldon: The learningopportunities would be abundant. Additionally, I like having my belly scratched.Leonard: Hey, Penny. How was work?Penny: Great. I hope I'm a waitress at theCheesecake Factory for my whole life.Sheldon: Was that sarcasm?Penny: No.Sheldon: Was that sarcasm?Penny: Yes.Sheldon: Was that sarca..Leonard: Stopit!Sheldon: Penny, you appear to have a package here.Penny: Oh, thanks. This must be the beret I ordered. A couple of months ago. It wasback-ordered.Sheldon: Did you know the beret is an example of piece of women's fashion adapted from male military uniforms? Another fascinating example isthe epaulet.Leonard: He's not lying, he does find that fascinating.Penny: Okay, whatever. It's not like I'm running up and down the streets just buying myselfberets. I bought one, like, a month ago, and it was back-ordered, look, it finally arrived, all right?Sheldon: All right.Penny: Oh, my God, would you just get off mycase?Leonard: Weird.Sheldon: Oh, good, that was an unusual interaction. I wasn't sure.Leonard: Did you guys have an argument?Sheldon: No.Leonard: Well,you clearly did something to aggravate her.Sheldon: I'm at a loss. If you like, you can review my daily log of social interactions and see if there's a blunder Ioverlooked.Scene: The apartment.Leonard: Here you go. Oh, you owe me another two dollars. The price of mu-shu pork went up.Howard: It's getting tougherand tougher to be a bad Jew.Leonard: Here you go, Penny. Shrimp with lobster sauce.Penny: Thank you, Leonard. What's my share?Leonard: Don't worry aboutit. It's my treat.Penny: No, really, how much?Leonard: It's, whatever. Ten, eleven dollars.Penny: Well, which is it, ten or eleven?Leonard: Fourteen fifty, but it'sno biggie, you'll get the next one. (Raj whispers something to Howard)Penny: What?Howard: He was just wondering if he wore skintight jeans and a tank top ifhe'd get his shrimp lo mein for free.Penny: What are you saying? That I'm using my body to get dinner? That I'm some kind of Chinese food prostitute?Howard:Yeah, Raj, what are you saying?Penny: 'Cause let me tell you something, buddy, I pay my own way in this world, okay? I don't rely on anybody! (Raj runs out ofthe room) What was that about?Howard: He has a nervous bladder when he's stressed out. Kind of like a puppy.Penny: Here, Leonard, ten, eleven, twelve, uh,fourteen dollars.Leonard: It was fourteen fifty, but it's okay.Sheldon: Oh, good. Dinner's here.Penny: Yes, dinner's here, and I'm having some. I'm having takeoutfood.Sheldon: Okay.Penny: You're damn right it's okay. I've been having leftovers at the restaurant for like four days, and I wanted something different. So sueme.Sheldon: Forgive me, Penny, but that would be the very definition of a frivolous lawsuit.Penny: Sheldon, look, I will pay you back as soon as I can. You justhave to give me more time.Leonard: Oh, wait, you lent her money?Penny: She needed money. You seem under pressure. Did I not lend you a sufficient amount?Because I can give you more.Penny: Oh, you know, you would just love that, wouldn't you? Yeah. You would just love to open up your little snake can and throwsome money at the girl who can't pay her bills.Leonard: Where are you going?Penny: Going home, where I won't be interrogated like a criminal. I forgot myfortune cookie.Sheldon: In case either of you have larceny in your heart, you should know that I've moved my money out of the snake can.Leonard: But if you'reever short, there's always a couple of fifties in Green Lantern's ass.Scene: Penny's apartment.Leonard: Hey.Penny: Hey.Leonard: A little mood lighting,huh?Penny: Yeah. When I didn't pay my bill, the Department of Water and Power thought I would enjoy the ambience.Leonard: Yeah, they're very consideratethat way.Penny: I used Sheldon's money to pay my rent, then I had like fourteen dollars left over.Leonard: Fourteen dollars, huh?Penny: Put it back in yourpocket, or I'll find some other place to put it.Leonard: Back in the pocket it goes. Look, you do understand that Sheldon really doesn't care when he gets themoney back. It's actually one of the few idiosyncrasies that doesn't make you want to, you know, kill him.Penny: Yeah, well, that's not really my bigproblem.Leonard: So you're a little behind on your bills. Everybody gets behind on their bills.Penny: Yeah, I know, it's just, this wasn't the plan, it wasn'tsupposed to go this way.Leonard: Well, what was the plan?Penny: Um, waitress for six months and then become a movie star.Leonard: Was there a planB?Penny: TV star.Leonard: It's probably not as bad as you think. Let's take a look. Maybe we can find some corners to cut. Oh, here's something, if you don'thave electricity, then you probably don't need cable. Just a suggestion. 170 dollars for acting classes?Penny: Oh, no, I can't give up my acting classes. I'm aprofessional actress.Leonard: You've had an acting job where you got paid?Penny: That is not the definition of professional.Leonard: Actually, it kind of... let'skeep looking. Whoa, what's eighteen hundred dollars to the Los Angeles County Superior Court?Penny: Oh, that's nothing.Leonard: Nothing? It sounds like yougot caught speeding going 4,000 miles an hour.Penny: Well, remember Kurt?Leonard: Your ex-boyfriend?Penny: Yeah. He got arrested for taking a whiz on a copcar.Leonard: What?Penny: He was drunk.Leonard: I would hope so.Penny: Anyway, he had a bunch of outstanding tickets and a bench warrant, so I, you know, Ipaid his fines.Leonard: Did he pay you back?Penny: No, but he will.Leonard: And that's based on the inherent credit-worthiness of people who get drunk andurinate on police vehicles?Penny: Leonard, I'm not gonna call up Kurt and ask him for money.Leonard: Well what are you gonna do?Penny: I don't know, but Imay have to find a cheaper place to live.Leonard: Oh, no. Oh, you don't want to do that.Penny: Why not?Leonard: Well, moving is a big deal. You have to go tothe supermarket and get boxes, and if they're not clean, then your books smell like melons, and it's just, like... Why don't you just get a roommate and stayhere?Penny: Well, do you know anybody?Leonard: Well, I'm sure the guy living with Sheldon wouldn't mind moving in with you.Penny: Oh, Leonard, honey, if westarted living together, I wouldn't be able to keep my hands off you.Leonard: Really?Penny: And you thought my acting lessons were a waste ofmoney.[SCENE_BREAK]Scene: The apartment.Howard: Ugh. This mu-shu pork's burning a hole through my duodenum.Raj: Leviticus 11:3: \"Only that which"}
+{"doc_id":"doc_331","qid":"","text":"[Scene: The Capeside High Cafeteria. Jen and Jack are sitting at a table eating their lunch together.]Jen: Ok, please, just give me something. Anything. A smalljuicy little morsel just to tide me over so I can keep on living vicariously through you.Jack: First of all, when discussing my love life, try not to use the word juicyor morsel. Ok? It cheapens me.Jen: Fine. Fine. But you and Tobey are going out again, right?Jack: Yes, we are going out again.Jen: And?Jack: And that's allyou're getting.Jen: Might I remind you that it was me that got the 2 of you together?Jack: Mm-hmm.Jen: Don't make me beg. Because I'll do it and it won't bepretty.[Drue comes up and takes a seat at their table.]Drue: Actually, begging happens to be a great look for you. Especially when you stick out that pouty lowerlip. It's very sexy.Jen: Well, I must be off my game, Drue. Normally I can smell you coming a mile away.Drue: Be nice or you won't get your yearbooks.[He handsthem each a yearbook.]Jen: Ooh!Jack: Nice.Jen: That is uncharacteristically nice of you. What's going on?Drue: Hey, how many prom drownings do I have torescue you from before you accept the new me?Jen: Maybe one...or two.Drue: Hmm. If we can all turn to page 53 in our prayer books, I think we should bow ourheads in a moment of silence.[They open the books to see the picture of Pacey and Joey, Class Couple.]Jen: I wonder if they've seen this yet?Jack: Or if they'retalking yet?Drue: I wonder if anyone besides you 2 cares?Jen: Well, as far as I know, they haven't said so much as a hello since the prom debacle.Jack: Samegoes for Dawson and Gretchen.Jen: See, that confuses me. I mean, I was sure that they would've gotten back together by now. They're so good for eachother.Jack: Well, you know, long distance relationships can be tough. He's gonna be in L.A. You know, the way I see it, if anybody's getting back together, Joeyand Pacey.Drue: Blah, blah, blah. All you guys do is talk. You know what? I say it's time we take some action.[Takes out some money and holds it in front ofthem.]Drue: [Chuckles] Who will live to suck face another day? Will it be Joey and Pacey? Gretchen and Dawson? Both...or neither?Jack: It's disgusting.Jen:Yeah, it's really inappropriate, Drue.Jack: Jen, spot me 2 bucks.Jen: I can do that. I got it here. I have a 20. Take it all the way, baby.[Dawson and Joey walk upand they quickly hide the money.]Dawson: Hey, guys, what's up?Jack: Whoa!Jen: Dawson, Joey.Jack: You guys eaten?[Jen shows Joey a picture]Jen: Cute,huh?Joey: Aw.[Opening Credits][SCENE_BREAK][Scene: Dawson's Bedroom. Dawson is working on his computer when his mother comes into the room]Gale:[Knock on door] Busy?Dawson: Oh, yeah. I'm just doing some last looks on this Brooks film before I send it off to USC. If I got any chance at all of getting in theirsummer program this has to be out by tomorrow.Gale: Honey, have you talked to Gretchen yet?Dawson: [Sigh] There's not really much to talk about.Gale: Butare you ok with the way things were left between the 2 of you?Dawson: Well, I'm not doing cartwheels. But, you know, what do you expect? I'm sure we'lleventually find a way to restore our friendship.Gale: Well, I don't see how you're gonna restore your friendship if you're not speaking.Dawson: Well, it's myfriendship so I'll handle it.[Gale gets up to go but turns back to him]Gale: Gretchen's leaving town.Dawson: When? How do you know?Gale: She gave her notice acouple days ago. Today's her last day at the restaurant. So it must be soon then. I just thought you'd want to know if you want to say good-bye.Dawson: Well,she didn't tell me she was leaving. So obviously she doesn't want me to know.Gale: No. No, the truth is, Dawson, you don't know what Gretchen's thinking rightnow. So why don't you go over there and find out? You could, uh...ask her to sign your yearbook, that's always a good way to start a conversation.Dawson: Mom,I appreciate the effort, but aside from that being a painfully lame idea, that's such a thinly veiled attempt at a reconciliation I'm not even sure there's a veilthere.Gale: Well, then I'm sure you'll think of something better. But if you want to keep Gretchen in your life, honey, you're gonna have to talk to her, and you'regonna have to do it soon.[Scene: Outside Pacey and Gretchen's Place. Pacey is fixing her car, when she comes out carrying a pop and a sandwich.]Gretchen: Hey.How's it going?Pacey: This baby should run for another 2,000-3,000 miles, easy. Though it wouldn't kill you to change the oil every once in amillennium.Gretchen: I'll try and remember that. Oh, I talked to the landlord, and we're officially paid up till the end of next month. And after that the lease isup.Pacey: Thanks for doing that.Gretchen: No problem.Pacey: Consider it payment for the work you've done on my car.Gretchen: You want this?[She hands himthe sandwich]Pacey: Thanks.Gretchen: [Sigh] So how are you?Pacey: Uh...to tell you the truth, I've had better days. How about yourself? You talked to Dawsonlately?Gretchen: No. I don't know if I'm avoiding him or he's avoiding me.Pacey: Yeah, I know what you mean.Gretchen: Joey?Pacey: Same thing.Gretchen: I'mreally sorry, Pace.Pacey: Do you think it's possible that you and I might actually feel better if we were to deal with our significant exs instead of just holing up inthis cozy little beach house?Gretchen: Probably. But that doesn't mean I'm actually ready to go out there and cope.Pacey: Me neither. [Sigh] Maybe it'sgenetic.Gretchen: Mm-hmm.[Scene: Grams' House. A realtor is showing a man and woman around the house when Jen comes inside.]Realtor: The House justwent onto the Market a few days ago, and I don't think it will be on it for very long.Man: You know, I think if we tore apart that upstairs room, it would make agreat gym.Woman: Mmm. I was thinking the exact same thing. Lots of steel, maybe\u0000Jen: That's my room.Woman: And all this wallpaper would have togo.Realtor: Well, there's tons of possibilities. Why don't you take another look around? [The couple leave] You must be Jennifer. I've heard so much about you.And congratulations on Boston Bay College, by the way.Jen: I'm sorry, but who are you?Realtor: I'm Dana Borkow. I'm the realtor. Didn't you know? Yourgrandmother's selling her house.[Scene: The Capeside Yacht Club. Joey is setting a table, when Mr. Kubelik comes walking up to her.]Mr. Kubelik: Joey Potter. Iwas hoping to run into you.Joey: It's nice to see you again, Mr. Kubelik.Mr. Kubelik: You're coming to my party tomorrow night, yes?Joey: I wouldn't miss it.Mr.Kubelik: And I hope that you're bringing that charming boyfriend of yours. Pacey, was it? He certainly did liven up the last party.Joey: Oh, uh-- well, actually,um-- certain things have kind of changed since the last party. Um, Pacey and I, uh... we, uh... well, we-- we kind of broke up.Mr. Kubelik: Oh. Well, I'm sorry tohear that. Well, I take it you're still on good terms, huh?Joey: Yeah, sure. We talk all the time.Mr. Kubelik: I'm glad to hear that, because Dean Newman and Iwere hoping to chat with him tomorrow night about a rather pressing matter.Joey: The Dean of admissions?Mr. Kubelik: Yeah, we have an offer we want todiscuss with him.Joey: Yeah, sure. I'm--I'm sure that Pacey would like to talk to you.Mr. Kubelik: Ok. Well, then I'll see you both tomorrow night then.Joey:Ok.Mr. Kubelik: Have a good day.Joey: You, too.[Scene: Grams' House. Grams and Jen are having a discussion about selling the house.]Grams: Forgive me,Jennifer, I didn't realize I needed your permission to sell my own house.Jen: Well, it's not about permission, but since you're basically doing this for me, whyshouldn't I have a say in the matter?Grams: What makes you think I'm doing this for you?Jen: Ok. I want you to look me in the eyes and tell me that this is notabout sending me to college.Grams: Look, I admit that money from the house will primarily go towards your tuition. But that is not the only reason for mydecision.Jen: All right. Well, then by all means, enlighten me.Grams: [Sigh] You are moving on to the next phase in your life, and I need to do the same. Which iswhy I've decided to move to La Brea Park.Jen: Ok. Run that by me one more time because when you say La Brea Park, I think retirement community withbunnies and lawn bowling tournaments, and aside from your habitual knitting and your penchant for Metamucil, you-- you're far too young and far too hip to beliving in a place like that.Grams: Jennifer, just because a community has the word retirement in front of it doesn't automatically mean it's a bad place. Oh,honestly, Jennifer, I didn't realize you were such an ageist.Jen: Oh, I'm not an ageist. I'm not an age-- an \"ist\" anything. I wanna go see this fabulous park ofyours.[Scene: The Leery Fish House. Gretchen is working at the bar, when Dawson comes in and slowly walks up to the bar carrying his yearbook.]Gretchen:Hey, you.Dawson: Hey. I thought you might want to sign that. [hands her the book]Before you leave town.Gretchen: Well, you're nothing if not direct.Dawson:Were you really just gonna slip out of town without even saying good-bye?Gretchen: I was thinking about it, yeah. Maybe.Dawson: You know what? Then in thatcase, just pretend I never did stop by.[He grabs the book and begins to leave]Gretchen: Or maybe I was thinking about how to say good-bye to you allweek.Dawson: So where are you going?Gretchen: Back to school. I signed up for some summer classes to make up some of the units I missed this year.Dawson:[Deep breath] How soon do classes start?Gretchen: Not for over a month.Dawson: Ok.Gretchen: But I'm gonna take a little road trip before that. Do sometraveling while I still have the time.Dawson: It, uh...sounds like fun.Gretchen: I leave the day after tomorrow.Dawson: Do you? That soon?Gretchen: Iknow.Dawson: That's--that's... that's really soon. I feel ill-prepared.Gretchen: Well, you still have a whole day and a half to come up with some fantastic goingaway speech for me.Dawson: All right.[Dawson turns to leave]Gretchen: But I would like to sign that. Can I? [Dawson slides the book to her] Can I have sometime with it?Dawson: Sure. Yeah. Just as long as you realize that the longer you have it, the less acceptable \"have a bitchin' summer\" is gonna be.Gretchen:Ok.Dawson: Ok.[Scene: Pacey and Gretchen's Place. Joey is standing outside the door, and finally knocks. Pacey comes to answer the door.]Joey: [Sigh]Hey.Pacey: I was beginning to wonder if you were ever gonna knock.Joey: You saw me standing out here?Pacey: No.Joey: Ok, um...[Clears throat] Here's thething. Um... I ran into Mr. Kubelik today. Remember him? He's the Worthington guy and he remembered you, and he asked me to bring you to this party thatthey're having tomorrow night for all the new freshmen. And he thought that we were still together, and I said that things were weird between us. But then hesaid he had this offer for you and he mentioned the Dean of admissions, and I'm thinking what else could he be talking about other than Worthington and you.And, you know, maybe there's some loophole or he-- there's some special program and I\u0000Pacey: I miss you, Jo.Joey: I miss you, too.Pacey: You know, I'vebeen... replaying everything that happened at that stupid prom. Wasn't supposed to end like that. We're not supposed to end like that. Right?Joey: I wish you'd"}
+{"doc_id":"doc_332","qid":"","text":"[Scene: Mausoleum. Prue walks in.]Prue: Phoebe? Phoebe, are you in here? (She sees Phoebe asleep next to a crypt.) Hey, sweetie, wake up.(Phoebe wakesup.)Phoebe: Cole?Prue: No, it's just me. Come on, let's go home.Phoebe: No, I have to wait here for Cole.Prue: Phoebe, you can't just wait here, alright. He willknow where to find you. Come on.(Phoebe stands up.)Phoebe: I don't understand. He was supposed to go back under so that they wouldn't be suspicious of him,but it's been over a week.Prue: He probably just hasn't found a safe way out yet, that's all.Phoebe: But what if he can't? What is the brotherhood found himout?Prue: Look, even if they did, he would put some sort of a spin on it to, you know, get out of it. Come on, you know Cole, he knows what he's doing. You don'tmake demon of the century without having a few tricks up your sleeve.Phoebe: I just hope he's okay, Prue.(They walk out of the mausoleum.)[Scene: A cave inthe underworld. Cole is lying on a large rock. Raynor and Tarkin are standing beside him. Raynor has his hand held out above Cole's head, reading histhoughts.]Raynor: Seems our brother's suspicions are well founded.Tarkin: Why? What do you see?Raynor: Sickness. The kind that only comes from being underthe world of light for too long. It's contaminated him.Tarkin: That's impossible, Raynor. A demon as great as Belthazor.Raynor: It's not his demon half that's beeninfected, it's his human half. He's in love.Tarkin: The witch.Raynor: Not just any witch, one of the Charmed Ones. But she's only loved him, she's turned himagainst us, sent him here to destroy us.Tarkin: Well, then we must destroy him.Raynor: You still have so much to learn, Tarkin. You don't just kill a demon likeBelthazor.Tarkin: But he betrayed us.Raynor: And in so doing, he's acquired the knowledge of how to kill the Charmed Ones. Something no other demon's beenable to accomplish. That with his power makes a very precious commodity for us, one worthy of saving.Tarkin: But how can...?Raynor: How can we save him?Simple. We remove the only thing that's re-awakened his human half. His only foot hole to good. The witch's love for him.Opening Credits[Scene: Manor. Kitchen.Piper is sitting at the table. She pours dozens of books and and papers from a box onto the table, and starts looking through them.]Piper: Okay.(Leo walks inholding a French/English dictionary.)Leo: Oú est l' tour Eiffel. That is 'Where is the Eiffel Tower?'Piper: In my dreams if we don't get you a passport.Leo: Honey,we don't need a passport to honeymoon in Paris. With a blink of an orb, we can be sipping champagne at the Champs Sel Seasay.(Piper giggles.)Piper: Yes, asromantic as you make that sound, I would rather fly Air France, than Air Leo. Just like every other normal newlywed.Leo: Well, great, except that we're not.Piper:Well, a passport for you could change all that, if I could just find... voila! Birth certificate. (She holds it up.)Leo: Where did you get that?Piper: From Dan's old file,the one he put together when he was suspicious of you. You remember him, don't ya?Leo: Let's see, perfect hair, cleft chin, tried to steal you away from me?Vaguely, vaguely. (Leo snatches the birth certificate off of Piper.) This isn't gonna work, I was born in 1924.Piper: No, you weren't. (She snatches it back.) Okay,off-white background, black ink... Little trick I learned in high school.Leo: You're gonna forge my birth certificate.Piper: No. Just going to change one littlenumber. (She white outs the number.) So, 1924 becomes 1974. And just like that, you are fifty years younger. (She writes in the seven.) Wait a minute, thatmakes you 27. That's younger than me. Maybe I should change another number.Leo: Piper, this is completely illegal.Piper: Yeah? Well, so is marrying a deadguy, okay? (She holds up his death certificate.) Let's not get technical now.(Prue walks in.)Prue: Morning. What's up?Leo: Well, probably three to five years jail ifwe're lucky.(Prue gives a confused look.)Piper: Never mind. Were you up late working again?Prue: No, I was up looking for Phoebe. Three guesses where shewas.Piper: Hmm, the mausoleum?Prue: Yeah, it's become like her second home.Leo: Still no word from Cole?Prue: No, and you know what? You would think hecould take three lousy seconds just to shimmer and let all of us know that he's okay.Leo: Maybe he can't, maybe he's afraid he'll get caught.Piper: Maybe healready has.[Scene: Cave in the underworld. Raynor and Tarkin walk over to Cole.]Raynor: Just follow my lead.(Raynor wakes up Cole.)Cole: Raynor.(He sitsup.)Raynor: Good to see you're still with us, Belthazor.Cole: What happened?Raynor: I tried to kill you. Accidentally, of course. I didn't recognise you in yourhuman form, my mistake.Tarkin: Not many are strong enough to survive an energy bolt, Belthazor. You're lucky.Raynor: Forgive me.(Ranor holds out his hand.Cole hesitates for a moment, then shakes it.)Cole: How could I not? After all, you taught me everything I know.Raynor: Well, not everything.Cole: How long wasI out?Raynor: Long enough for us to investigate reports that you crossed over to the other side.(Cole walks over to some water.)Cole: Rumours, notreports.Tarkin: Don't worry, we don't blame you for the failed hit last week. Even if you were seduced by one of the witches that thwarted our plan.(Cole wipessome water on his neck.)Cole: I already explained to you that I was over her.Tarkin: Yeah, but you didn't explain that she was one of the Charmed Ones.Raynor:It doesn't matter that you're straight, Belthazor, as long as you're back. To that end, I have an assignment for you. Something that only your powers can achieve.I need you to get me a magical amulet, one that's hanging from the neck of a witch. Problem?Cole: Just that it's a little bit risky, don't you think? Sending meafter a witch with the Charmed Ones on my trail?Raynor: Tarkin will provide backup. That way if they show up you can catch them by surprise. That should takecare of all our problems now, shouldn't it?Cole: Where do I get the amulet? (Raynor waves his hand in front of Cole's face.) This shouldn't take long.(Coleshimmers out.)Tarkin: Think he'll actually get the amulet?Raynor: Yes, but not before he tells his beloved witch what he's about to do. Then that should plant thefirst seed of suspicion in her heart.[Scene: Manor. Phoebe's room. Phoebe is sitting in front of the mirror putting on makeup. Cole shimmers in behind her. Shesees his reflection in the mirror.]Phoebe: Promise me when I turn around you'll still be there.(She quickly turns around. She walks over to him and they kisspassionately.)Cole: I've missed you so much.Phoebe: I've missed you too.Cole: They've given me an assignment. One that if I turn down...Phoebe: What do youmean an assignment? What kind of assignment?Cole: I can't tell you.Phoebe: Wh--(Cole sits down on the bed.)Cole: They've asked me to steal an amulet from awitch.Phoebe: A witch?Cole: Don't worry, I won't hurt her.Phoebe: Oh, well, that's good news, Cole. You can't do this!Cole: You think I want to, damn it! (He getsback up and walks across the room.) Phoebe, I just have to buy some time so I can figure a way out. In the mean time, I have to at least pretend like I'mevil.Phoebe: No, but don't you see? If you turn into Belthazor, then you will be evil.Cole: What makes you think I'll have to?Phoebe: Well, because an amuletprotects. It takes someone of great strength to overcome that. Why do you think they choose you?Cole: To set me up perhaps. (He sits back on the bed.) Raynormay be on to me.Phoebe: Who's Raynor?Cole: He's the head of the brotherhood. And my old mentor. He has the power to read thoughts, and if he's readmine...(Phoebe kneels beside him.)Phoebe: Prue and I will come with you, and watch your back.Cole: No, no, no, you can't. That could be exactly what Raynor'sexpecting you do. He could be setting me up to get to you. I have to do this alone.Phoebe: Cole, I...(He pulls her up on the bed and puts his arms aroundher.)Cole: Trust me, okay? I know what I am doing. Just concentrate on finishing the potion. If it works, Belthazor will disappear and Raynor won't be able totrack me. Then, (they kiss) we can be together.(They kiss again and Cole shimmers out in the middle. Phoebe sighs.)[Cut to the stairs. Phoebe runs downthem.]Phoebe: Prue? Prue?(Prue runs in.)Prue: Hey, what's wrong?Phoebe: Cole's in trouble, I need your help.Prue: Uh, okay, anything.Phoebe: We need to scryfor a witch, fast.Prue: Alright.(They run up the stairs.)[Cut to a Wicca shop. A witch is there. Cole shimmers in.]Witch: Who are you? How did you get inhere?Cole: Just do exactly as I say and I won't hurt you. Just take off the amulet and put it down.Witch: I've been sworn to protect it.Cole: And I've been orderedto steal it. (She backs away.) Don't fight me. I beg you.(He reaches out for the amulet. A blue light shoots out of it and he is thrown back into boxes. He getsback up.)Witch: You can't take it from me.Cole: Maybe I can't.(He changes into Belthazor.)Belthazor: But I can. (He walks over to the witch. A bright blue lightshields the witch. He reaches through the shield and takes the amulet from around her neck. The shield disappears. He grabs her, then realises what he's doingand lets go.) Tell no one about the amulet. Not even your Whitelighter.(He shimmers out.)[Scene: Passport Agency. Piper and Leo are waiting in line. Leo is fillingout a form.]Leo: Whitelighter. Is that my occupation or should I just put guardian angel?(An elderly lady waiting in the line in front of them turns around.)Piper:Hi, how you doing? (She turns back around.) (to Leo) What's the matter with you?Leo: We shouldn't be here, Piper, this is wrong.Piper: Wanting a normal life isnot wrong, okay? In fact, it couldn't be anymore right. For crying out loud, stop being so good all the time. (The lady gives her a look.) Ha, newlyweds, first fight.Eyes front.(The lady turns back to the front.)Leo: Piper...Piper: Leo, look, I love you, but I'm getting a migraine here, okay? Just, look, we're not hurting anyone,we're not breaking any commandments, okay? We just changed a lousy two to a lousy seven. So let go before I blow. (The line moves.) Okay, we're almostthere.(The Elders call Leo.)Leo: Uh-oh.Piper: What? Oh no. No-no-no-no-no, no. You can not leave right now, okay. Pretend you're, pretend you're out.Leo: Ican't do that.Piper: Yes, you can. Come on.Leo: I've gotta go.Piper: Leo, you can't go right now, okay. We've been in this line for two and a half freakin' hours!(She points at the clock and it blows up. Everyone in the line ducks. Piper looks around.) Uh-oh.[Cut to the Wicca shop. Raynor appears. He looks around andsees the witch hiding in the corner.]Witch: Who are you? If you've come for the amulet, it's gone.Raynor: And yet you're still here. Living proof that Belthazor hasindeed gone soft.Witch: Belthazor?Raynor: The demon that'll be blamed for your death.(He throws an energy bolt at her. She screams anddisappears.)[SCENE_BREAK][Scene: Wicca Shop. Prue and Phoebe walk in. They look around.]Phoebe: Anything?Prue: No.Phoebe: Do you think maybe wescryed for the wrong witch?Prue: I don't think so.(Prue sees burnt curtains and black marks on the wall.)Phoebe: Scorch marks. Oh my god, do you think she'sdead?Prue: Unfortunately, I don't know what else to think.Phoebe: That doesn't make any sense. Cole said she wouldn't get hurt.Prue: Yeah, well, somebody sure"}
+{"doc_id":"doc_333","qid":"","text":"INT. TARDISPicking up where the last episode left off - Rose runs into the TARDIS and joins the Doctor.THE DOCTOR: Right then, Rose Tyler, you tell me, wheredo you want to go? Backwards or forwards in time. What's it going to be?ROSE: Forwards.The Doctor presses a few buttons.THE DOCTOR: How far?ROSE (pickingrandom number): One hundred years.He pulls a lever and turns a knob. The engines lurch and then stop after a few seconds.THE DOCTOR: There you go, stepoutside those doors, it's the twenty-second century.ROSE: You're kidding.THE DOCTOR: That's a bit boring though, do you want to go further?ROSE: Fine byme!The Doctor starts up the engines again. When they stop, he looks at her.THE DOCTOR: Ten thousand years in the future. Step outside, it's the year 12005,the New Roman Empire.ROSE (teasingly): You think you're so impressive.THE DOCTOR: I AM so impressive!ROSE: You wish!THE DOCTOR: Right then, you askedfor it. I know exactly where to go. (Revs up the engine, pumps a lever furiously). Hold on!The TARDIS hurtles through the time vortex. With a pinging noise, theTARDIS stops.ROSE: Where are we?The Doctor gestures towards the doors. Rose smiles excitedly.ROSE (CONT'D): What's out there?The Doctor gestures again.Rose steps outside the doors.INT. VIEWING GALLERYRose finds herself in some kind of wooden room. The Doctor follows her and with his sonic screwdriver,opens the shutters of an enormous window. They go down the stairs and find themselves looking down on the planet Earth.THE DOCTOR: You lot. You spend allyour time thinking about dying. Like you're going to get killed by eggs or beef or global warming or asteroids. But you never take time to imagine the impossible.Maybe you survive. This is the year 5.5/apple/26. Five billion years in your future. This is the day... hold on... (Looks at his watch). This is the day the sunexpands. Welcome to the end of the world.OPENING CREDITSEXT. PLATFORM ONETwo space shuttles zoom towards Platform One, essentially a huge spacestation.COMPUTER VOICE: Shuttles 5 and 6 now docking. Guests are reminded that platform 1 forbids the use of weapons, teleportation and religion. Earth Deathis scheduled for 15:39, followed by drinks in the Manchester Suite.INT. PLATFORM ONE, CORRIDORRose and the Doctor are walking down a corridor.ROSE: So,when it says 'guests' does that mean people?THE DOCTOR: Depends what you mean by people.ROSE: I mean people. What do you mean?THE DOCTOR:Aliens.ROSE: What are they doing on board this spaceship? What's it all for?The Doctor starts to open a door with his sonic screwdriver.THE DOCTOR: It's notreally a spaceship. More like an observation deck. The great and the good are gathering to watch the planet burn.ROSE: What for?THE DOCTOR: Fun.INT. THEMANCHESTER SUITEThey enter a large observation gallery.THE DOCTOR: Mind you, when I said the great and the good, what I mean is, the rich.ROSE: But, holdon, they did this once on \"Newsround Extra\", the sun expanding, that takes hundreds of years.THE DOCTOR: Millions. But the planet's now property of theNational Trust. They've been keeping it preserved. See down there? (Points out of the window at tiny glints of light orbiting the Earth). Gravity satellite. That'sholding back the sun.ROSE (peering out of the window at Earth). The planet looks the same as ever. I thought the continents shifted and things.THE DOCTOR:They did. And the trust shifted them back. That's a classic Earth. But now the money's run out, nature takes over!ROSE: How long has it got?The Doctor looks athis watch.THE DOCTOR: About half an hour. And the planet gets roasted.ROSE: Is that why we're here? I mean, is that what you do? Jump in at the last minuteand save the Earth?THE DOCTOR: I'm not saving it. Time's up.ROSE: But what about the people?THE DOCTOR: It's empty! They're all gone. All left.Rose looksback to the window, realization spreading across her face.ROSE: Just me then.The Steward hurries towards them.STEWARD: Who the hell are you?THE DOCTOR:Oh! That's nice, thanks.STEWARD: But how did you get in? This is a maximum hospitality zone. The guests have disembarked! They're on their way any secondnow!THE DOCTOR: That's me, I'm a guest, look! I've got an invitation! (Flashes a small leather wallet at the Steward). Look, there you see? It's fine, see? TheDoctor plus one. I'm the Doctor, this is Rose Tyler. She's my plus one. That all right?STEWARD: Well... obviously. (Doctor grins). Apologies, et cetera. If you'reon-board, we'd better start. Enjoy.The Doctor nods at him. After the steward walks off, the Doctor shows Rose the card he had flashed at the steward. It iscompletely blank.THE DOCTOR: The paper's slightly psychic. Shows them whatever I want them to see. Saves a lot of time.ROSE: He's blue.THE DOCTOR:Yeah.ROSE: Okay...The steward is now speaking through a microphone at the other end of the suite.STEWARD: We have in attendance, the Doctor and RoseTyler. Thank you! All staff to their positions.He claps his hands and a lot of little blue people (the staff) start scurrying around.STEWARD (CONT'D): Hurry now!Thank you, as quick as we can! Come along, come along! And now, might I introduce the next honoured guest, representing the forest of Cheem, we have Trees.Namely, Jabe, Lute and Coffa.Jabe, Lute and Coffa walk through the doors.STEWARD (CONT'D): There will be an exchange of gifts representing peace. If you cankeep the room circulating, thank you. Next, from the solicitors Jolco and Jolco, the Moxx of Balhoon.The Doctor smiles cheerily, as Rose looks onbewildered.STEWARD (CONT'D): And next, from Financial Family Seven, we have the Adherents of the Repeated Meme.The Doctor chuckles at the look on Rose'sface.STEWARD (CONT'D): The inventors of hyposlip travel systems, the brothers Hop Pyleen. Thank you!Enter new aliens.STEWARD (CONT'D): Cal 'SparkPlug'.Enter new aliens.STEWARD (CONT'D): Mr. and Mrs. Pakoo.Enter new aliens.STEWARD (CONT'D): The Ambassadors from the City State of Binding Light.Jabeapproaches the Doctor. Either side of her, her companions are holding plant trays with little shoots in them.JABE: The Gift of Peace. (Takes a cutting, hands it tothe Doctor). I bring you a cutting of my Grandfather.THE DOCTOR: Thank you! (Gives it to Rose). Yes, gifts... erm...He clears his throat and starts feeling hisjacket for something, finding nothing, he says :THE DOCTOR (CONT'D): I give you in return, air from my lungs.He blows gently onto Jabe's face, who closes hereyes briefly.JABE: How... intimate.THE DOCTOR (flirtatiously): There's more where that came from.JABE: I bet there is...Rose has the sort of look on her facethat is to be expected of someone who has just witnessed their companion flirting with a tree.STEWARD: Sponsor of the main event, please welcome the Face ofBoe.A huge head in an equally huge jar is wheeled through the doors. The Moxx of Balhoon approaches the Doctor and Rose.THE DOCTOR: The Moxx ofBalhoon.MOXX OF BALHOON: My felicitations on this historical happenstance. I give you the gift of bodily saliva.He spits accurately into Rose's left eye.THEDOCTOR (laughs): Thank you very much.Rose rubs the spit out of her eye. Next, the Adherents of the Repeated Meme approach them.THE DOCTOR (CONT'D):Ah! The Adherents of the Repeated Meme. I bring you air from my lungs.He breathes heavily over them all.ADHERENT: A gift of peace in all good faith.He holdsout a large silver egg, which the Doctor takes, throws up into the air, catches, and hands to Rose.STEWARD: And last but not least, our very special guest. Ladiesand Gentlemen, and Trees and Multiforms. Consider the Earth below. In memory of this dying world, we call forth The Last Human.The Doctor looks at Rose tosee her reaction. The sliding doors open and what looks like a vertical trampoline made of human skin is wheeled through. It has eyes and a mouth, and wearslipstick.STEWARD: The Lady Cassandra O'Brien Dot Delta Seventeen.CASSANDRA: Oh, now, don't stare. I know, I know it's shocking, isn't it? I've had my chincompletely taken away and look at the difference! Look how thin I am.The Doctor laughs silently but heartily and looks at Rose, who looks shocked.CASSANDRA(CONT'D): Thin and dainty! I don't look a day over two thousand. Moisturize me, moisturize me.One of the two men in white body suits who wheeled her in isholding a canister, which he sprays onto Cassandra.CASSANDRA (CONT'D): Truly, I am The Last Human.Rose creeps closer for a better look.CASSANDRA: Myfather was a Texan. My mother was from the Arctic Desert. They were born on the Earth and were the last to be buried in the soil.Rose has been walking aroundto the other side of Cassandra, to get a good view of her from all angels. She is completely flat.CASSANDRA: I have come to honour them and... (Sniffs)...saygoodbye. Oh, no tears. (Bodyguard wipes her eyes). No tears. I'm sorry. But behold! I bring gifts. From Earth itself, the last remaining ostrich egg.One of thestaff comes in and displays the egg to the room.CASSANDRA (CONT'D): Legend says it had a wingspan of 50 feet and blew fire from its nostrils.Rose looks mildlyconfused.CASSANDRA (CONT'D): Or was that my third husband?Rose rolls her eyes but the Doctor laughs.CASSANDRA: Who knows! Oh don't laugh. I'll getlaughter lines!She laughs and mumbles to herself for a few seconds. Behind her, a large jukebox is wheeled into the room.CASSANDRA (CONT'D): And here,another rarity. According to the archives, this was called an iPod. It stores classical music from humanity's greatest composers.Rose looks amazed.CASSANDRA(CONT'D): Play on!One of the staff presses a button and a record falls into place. The 'iPod' starts playing Tainted Love by Soft Cell. The Doctor bops aroundappreciatively.STEWARD: Refreshments will now be served. Earth Death in 30 minutes.Rose has a lost, overwhelmed expression on her face. Everywhere shelooks there are aliens, but no other humans. She rushes from the gallery. Concerned, the Doctor starts to follow her, but is stopped by Jabe.JABE: Doctor? (Shesnaps a photo of him when he pauses). Thank you.The Doctor proceeds on. Jabe walks in the opposite direction. The Adherents of the Repeated Meme areoffering the Steward a silver egg.ADHERENT: A gift of peace in all good faith.STEWARD: No, you're very kind, but I'm just the Steward.The Adherents of theRepeated Meme holds the egg out more persistently.ADHERENT: A gift of peace in all good faith.STEWARD: Oh, yes. Thank you. Of course.He takes the egg.Meanwhile, Jabe is trying to get her computer to identify the Doctor's species.JABE: Identify species. Please identify species.The computer makes a smallwhistling noise.JABE (CONT'D): Now, stop it. Identify his race. Where's he from? (After a moment, stares at the computer in disbelief, hushed). It's impossible.Ina nearby glass cabinet, a metal robotic spider climbs out of one of the metal eggs that the Adherents of the Repeated Meme had been handing out.INT.PLATFORM ONE ROOM, SHAFTRose, in another part of the ship, looks out of a window at the raging sun. She jumps when another one of the staff comes into theroom, this one female. Her name is Raffalo.ROSE: Sorry, am I allowed to be in here?The employee looks around uneasily.RAFFALO: You have to give us"}
+{"doc_id":"doc_334","qid":"","text":"TERMINUSBY: STEPHEN GALLAGHERPart OneFirst Air Date: 15 February 1983Running time: 24:58[SCENE_BREAK]TURLOUGH: I'm scared. This place is like amaze. Where am I supposed to be going?GUARDIAN (OOV.): Your function is to obey, not question.TURLOUGH: I may not have must time. I don't think theytrust me, especially Tegan.GUARDIAN (OOV.): The roundel behind you.GUARDIAN (OOV.): That one. Open it.GUARDIAN (OOV.): Operate the blue switches. Nowyou'll be able to remove the space-time element from beneath the console.TURLOUGH: Which switches will release the TARDIS to my control?GUARDIAN (OOV.):Do only as I say.TEGAN (OOV.): Turlough!GUARDIAN (OOV.): Quickly, close the roundel.TURLOUGH: Now what do I do?GUARDIAN (OOV.): Go to the consoleroom.TURLOUGH: And? Where have you gone?TEGAN: Who were you talking to?TURLOUGH: Oh, no one. I was singing. Not very well, I'm afraid.TEGAN: Whydidn't you answer when I called?TURLOUGH: I'm very sorry, I didn't hear you.TEGAN: You're up to something, I can feel it.TURLOUGH: I'm simply lookingaround. The TARDIS is so very large.TEGAN: What have you been doing? Have you touched anything?TURLOUGH: You look so sweet when you get angry.TEGAN:I'm being serious. What have you been doing?TURLOUGH: Nothing. You're being foolishly and unjustifiably suspicious. Tegan, why do you dislike me somuch?TEGAN: You're unreliable.TURLOUGH: You hardly know me.TEGAN: I heard the way you were talking to the Doctor.TURLOUGH: Being friendly hardlymakes me unreliable.TEGAN: It's the way you were doing it.TURLOUGH: Oh, you would prefer I used your sledgehammer tactics?TEGAN: At least I'mhonest.TURLOUGH: Being rude isn't honest. Neither is overreacting. If I choose to smooth the way with a smile and a soft phrase, that doesn't make meunreliable. Charm, the way I use it, is to disagree agreeably.TEGAN: You were using it to deceive.TURLOUGH: Oh, you're so typical of your planet, reduced toshouting if you can't have your own way.TEGAN: I am not!TURLOUGH: No? You seem unable to grasp that there are other approaches. To smile beforeasking.TEGAN: Don't patronise me, Turlough.TURLOUGH: I'm simply relating what I think.TEGAN: Turning an argument around is something you're very goodat.TURLOUGH: Listen to yourself. You're so concrete in the way you think. Why can't you just agree to differ?TEGAN: I think you're dangerous.TURLOUGH: I thinkwe should try and be friends.TEGAN: I'm going to tell the Doctor about the roundel.TURLOUGH: Do so, but you'd only make a fool of yourself. I travel in theTARDIS too, now. I have no desire to kill myself. I had no reason to open that roundel. Where are you going?TEGAN: To show you to your room.TURLOUGH:We're friends?TEGAN: Not yet.[SCENE_BREAK]TURLOUGH: Looks like a kid's room.TEGAN: It was Adric's.TURLOUGH: Who?TEGAN: Doesn't matter.TURLOUGH:I've had enough of children, what with that awful school on Earth.TEGAN: You can change things if you want.TURLOUGH: Right, all this can go for a start.TEGAN:It's your room. Do what you like.[SCENE_BREAK]TEGAN: He's got the manners of a pig.NYSSA: The Doctor?TEGAN: The brat, Turlough.NYSSA: He'll settledown.[SCENE_BREAK]TURLOUGH: It's repaired itself.GUARDIAN (on scanner): Concentrate. You have work to do.[SCENE_BREAK]TEGAN: What are youdoing?NYSSA: Synthesising an enzyme. I seem to need the practice.TEGAN: You've done it before.NYSSA: Adric did the calculation for me. My own figures aren'tas good, as you can see.TEGAN: I'll see if I can find his notes, before Turlough destroys them.[SCENE_BREAK]TURLOUGH: What will this do?GUARDIAN (onscanner): You are touching the heart of the TARDIS. Rip it free!TURLOUGH: What happens to me?GUARDIAN (on scanner): You will be safe. I am ready to lift youaway.[SCENE_BREAK]TEGAN: Turlough?[SCENE_BREAK]TEGAN: Turlough?[SCENE_BREAK]TURLOUGH: It's stuck.GUARDIAN (on scanner):Continue.TURLOUGH: I'm trying. It won't move.GUARDIAN (on scanner): The break-up is beginning. I can sense it. Remove the space-time element!TEGAN(OOV.): Turlough?[SCENE_BREAK]TEGAN: Turlough? Oh, no. Doctor!DOCTOR: What is it?TEGAN: Quickly!TEGAN: What is it?DOCTOR: We're in trouble. I'llexplain later.[SCENE_BREAK]DOCTOR: What was Nyssa working on?TEGAN: Nothing that could have caused this.DOCTOR: The rotor's jamming. Well, there's asafety cut out.TURLOUGH: Is Nyssa safe?DOCTOR: Well, we'll see. I'm trying to refocus the exterior viewer on the interior of the TARDIS.TEGAN: It's just amess.DOCTOR: Dimensional instability, that's the danger. Nyssa![SCENE_BREAK]DOCTOR (OOV.): Nyssa, can you hear me?NYSSA: Yes!DOCTOR (OOV.): Staywell back. There's nothing you can do. Nyssa?[SCENE_BREAK]TEGAN: What's that? I saw something just for a moment.DOCTOR: Oh, no. The outside universe isbreaking through.TEGAN: Look![SCENE_BREAK]DOCTOR (OOV.): Look behind you, Nyssa.[SCENE_BREAK]DOCTOR: Go through, Nyssa. It's your onlychance.TEGAN: Where are you sending her?DOCTOR: I don't know, but if she stays in the room, she'll die.DOCTOR: Nyssa, if you can hearme,[SCENE_BREAK]DOCTOR (OOV.): Keep moving. Keep moving, Nyssa. Stay ahead of it. If you don't, it will kill you.[SCENE_BREAK]TEGAN: What'sthat?DOCTOR: I don't know.TURLOUGH: Where does that door lead to?DOCTOR: Another spacecraft.TEGAN: Look![SCENE_BREAK]TEGAN: Where did the otherspacecraft come from?DOCTOR: The TARDIS found it. There's a fail-safe. On impending break-up, it seeks out and locks onto the nearest spacecraft.TEGAN: Younever mentioned it before.DOCTOR: Well, it never worked before.[SCENE_BREAK]TEGAN: Well?DOCTOR: She's gone. Stay there.[SCENE_BREAK]TEGAN: Nyssa'sgone.TURLOUGH: What was that?TEGAN: The Doctor![SCENE_BREAK]TEGAN: Doctor? Doctor?[SCENE_BREAK]GUARDIAN: Follow them.TURLOUGH: Ican't.GUARDIAN: Follow, and kill him![SCENE_BREAK]TURLOUGH (OOV.): Tegan?TURLOUGH: I wonder how that happened.TEGAN: It seems we have no choice.We go on.DOCTOR: What have I sent you into, Nyssa?TEGAN: Come on, we can catch up with the Doctor. Come on!DOCTOR: Nyssa.NYSSA: Doctor!NYSSA:Where are we?DOCTOR: I think it's some sort of old passenger liner.NYSSA: And those things?DOCTOR: Yes, well, some people have the strangest ideas aboutdecor. Come on, let's get back to the TARDIS.KARI: Check the air seal.OLVIR: Secure.TEGAN: I'm positive that was Nyssa calling.TURLOUGH: You heardsomething. Your imagination did the rest.TEGAN: Maybe.TURLOUGH: Let's go back.TEGAN: No!TURLOUGH: Oh, no.[SCENE_BREAK]KARI: The whole ship's riggedto run on automatic, yet there's atmosphere. It doesn't fit the briefing at all.OLVIR: So what? We're only here for the cargo.KARI: Would it really surprise you ifthere weren't any? This ship is dead.[SCENE_BREAK]DOCTOR: Ah. I don't remember this. We must have taken a wrong turn.NYSSA: What is it?DOCTOR: Amassive plug. The hull must have been damaged at some time.NYSSA: It's still soft.DOCTOR: Yes, I know. Come on, we'll try, er, this way.[SCENE_BREAK]KARI:Advance party to raider. We're coming back. This isn't the ship you described.OLVIR: We can't go back if he doesn't link with the airlock.DOCTOR (OOV.): Er, thisway.[SCENE_BREAK]NYSSA: We're lost, aren't we.DOCTOR: Certainly not.[SCENE_BREAK]DOCTOR: Oh, dear. So sorry, I didn't know it was private.KARI: That'sall right. We're in the mood for company.[SCENE_BREAK]VOICE (OOV.): Help me.TURLOUGH: Over there.VOICE (OOV.): Help me.TEGAN: That'sNyssa![SCENE_BREAK]OLVIR: Kill them. We've enough problems.KARI: Be quiet. If you're not members of the crew, how did you get here?DOCTOR: We have aship of our own.OLVIR: So they're after the cargo, too.KARI: Are you?DOCTOR: Unarmed?OLVIR: Kari.KARI: Watch them.OLVIR: That's our ship! He's runningout on us!KARI: Shut up.KARI: Advance party to raider. Come in, raider. Come in. ... Is this your work?DOCTOR: Hardly.DOCTOR: Neither isthat.[SCENE_BREAK]TURLOUGH: Engines.VOICE (OOV.): Please help me.TEGAN: Hold on, Nyssa. We must find something to lever the door open.TURLOUGH:Let's get out of here.TEGAN: Find a pry bar. Now!TEGAN (OOV.): Turlough, it's moving!TURLOUGH: On my way.TEGAN (OOV.): Turlough!TURLOUGH: I'mcoming!TEGAN (OOV.): Turlough!TEGAN: TurloughTEGAN: Help me!TURLOUGH: Are you all right? I found the doorway to the TARDIS.TEGAN:Where?TURLOUGH: This way. Come on.[SCENE_BREAK]NYSSA: Who are they?DOCTOR: Raiders, by the look of it. Probably an advance party to open theairlocks.KARI: You say you have a ship?DOCTOR: Yes.KARI: I'm commandeering it.DOCTOR: I think not.DOCTOR: Stop bluffing. You haven't got a chance. Listento the engines. Alignment manoeuvres. We're docking with another ship.KARI: Then I'm asking you, will you take us off this ship?DOCTOR: If you put the gunsaway, please.DOCTOR: Thank you.TANNOY: All decks stand by. All decks stand by. This is a special announcement from Terminus Incorporated.DOCTOR: I thinkwe should get out of here. Follow me.TANNOY: Primary docking alignment procedures are now complete. Passengers with mobility should prepare todisembark.[SCENE_BREAK]TANNOY: Anyone failing to disembark will be removed. Sterilisation procedures will then follow.TANNOY: There is no return. This isTerminus.OLVIR: Wait a minute.KARI: Olvir?OLVIR: I know where we are.KARI: Where?TEGAN: They're everywhere.TURLOUGH: Give me a hand. Come on,quickly.OLVIR: Now we know, don't we? Now we know what its all about.[SCENE_BREAK]OLVIR: This is Terminus, where all the lazars come todie.[SCENE_BREAK]OLVIR (OOV.): We're on a leper ship! We're all going to die!"}
+{"doc_id":"doc_335","qid":"","text":"Scene: The Cheesecake FactoryPenny: Hey, you guys ready to order?Howard: Uh..Leonard: SurePenny: Okay, Priya?Priya: Uh, I'll have the Shepherd's Pie. Youwant to split that with me?Leonard: Oh, no, no, no, he doesn't.Priya: Why not?Leonard: Well, you have milk in the taters, milk in the gravy, parmesan crust. Yourlactose-intolerant boyfriend will turn into a gas-filled Macy's Day balloon.Sheldon: Not quite accurate. The Macy's balloons are filled with helium, whereas Leonardproduces copious amounts of methane.Leonard: So, no, on the Shepherd's Pie. Can we move on?Penny: Yeah, a little tip: he says he can eat frozen yoghurt. Donot believe it.Leonard: Sea bass. I'll have the sea bass.Howard: You gotta like this, the girlfriend and the ex-girlfriend bonding over your rooty-tooty stinkybooty.Leonard: Kill me.Sheldon: It wouldn'help. The human body is capable of being flatulent for hours after death.Bernadette: Guys, sorry I'm late. I haveamazing news.Sheldon: Bernadette, before you change the subject, does anyone have any final comments on Leonard's faulty digestive system?Leonard: So,what's your news, Bernadette?Bernadette: The thesis committee accepted my doctoral dissertation. I'm getting my PhD.Penny: Oh!Sheldon: Oh,congratulations.Penny: Wow, so that means you're a doctor, you're a doctor, you're a doctor, you're a doctor, and Howard, you know a lot of doctors.Howard:Congratulations, honey.Bernadette: Thank you.Leonard: So, Howard, tell us, how's it feel knowing that when you two get married, you'll be referred to as Mr. andDr. Wolowitz?Sheldon: Unless he takes Bernadette's last name. And considering her advanced status, that could open some doors for him.Howard: Please, thisisn't about me. I'm proud of you.Bernadette: Well, you'll be really be proud of this. I was headhunted by a big pharmaceutical company. They're gonna pay me abuttload of money!Howard: What?Leonard: Bernadette, that's great. Howard, do you make a buttload?Howard: Better than what you've got a buttloadof.Leonard: Hey, if I roll down the windows in the car, everything's peachy. If you do it, you're still not a doctor.Penny: Yeah, just a heads-up on the car windowdeal. It helps, but everything is not peachy. Credits sequence.Scene: Raj's apartment.Raj (earphones in, singing): Oh, if there was a problem, you can't solve it,check out the hook while my DJ revolves it. Ice, Ice, baby. Ice, Ice, baby. (Removes headphones and goes to refrigerator).Priya (off): Oh, God, I feel ridiculous inthis dress.Leonard (off): You look beautiful, Lieutenant Uhura. Now prepare for inspection.Priya (off): Shh, my brother's going to hear you.Leonard (off): Relax,he's got headphones on. And we're ten miles above Earth in a starship.Raj: Really, ten miles? You're orbiting inside the atmosphere? Moron.Priya (off): I can'tbelieve I'm wearing my brother's Halloween costume.Leonard (off): I can't believe you think he only wears it on Halloween. Open the landing bay doors, shuttlecraft approaching.Raj: Okay, gotta go.Scene: Howard's house.Howard: Hey, what's up?Mrs Wolowitz (off): Is that my future daughter-in-law, the doctor?Howard:No, Ma! It's Raj!Mrs Wolowitz (off): He's a doctor too, right?Howard: Yes!Mrs Wolowitz (off): Like Leonard and the skinny weirdo!Howard: Sheldon, yes!Everybody's a doctor but me!Mrs Wolowitz (off): Well, whose fault is that?Howard: What's up?Raj: Leonard's putting disgusting memories in my memory foammattress. Can I stay here tonight?Howard: Sure, but I'm going out with Bernadette. It'll just be you and my mother.Raj: I guess that's okay.Howard: Ma, canRajesh sleep over?!Mrs Wolowitz (off): Of course, he and I can play doctor!Raj: She's kidding, right?Howard: I don't know, she's pretty feisty since they put heron hormone-replacement therapy.Mrs Wolowitz (off): Paging Dr. Cutie Pie!Scene: The apartment. Sheldon is talking to Amy on webcam.Sheldon: I must say,Amy, I was very impressed to see that Bernadette got her PhD.Amy: It's indeed admirable. Although, it is microbiology.Sheldon: Your doctorate is inneurobiology. I fail to see the distinction.Amy: I'll make it simple for you. I study the brain, the organ responsible for Beethoven's Fifth Symphony. Bernadettestudies yeast, the organism responsible for Michelob Lite. Is there something wrong with your neck?Sheldon: It's a little stiff. What a remarkably fragile structureto support such a valuable payload. Not unlike balancing a Faberge egg on a Pixie Stick.Amy: Have you considered massage?Sheldon: I'd like to respond to thatsarcastically. Yes, I relish the thought of a stranger covering my body with oil and rubbing it.Amy: I was proposing you massage your muscles with your ownhands.Sheldon: Still sounds like a lot of unnecessary touching.Amy: Trust me. With your right hand, locate the spot where the scapula meets the acromionprocess.Sheldon: All right.Amy: Now push your third finger along the ridge of the shoulder blade, making a small rotation as you do so.Sheldon: Rotating.Amy:You should feel a small node-like object rolling back and forth along the bone.Sheldon: You mean the myofascial point?Amy: Obviously. Now bear down on it likethe seventh grade noogies we all know too well.Sheldon: Oh, dear Lord, yes, yes, oh, yes! Amy, I've never been touched like this before! Oh! Oh, my hands aremagic!Amy: Don't flatter yourself. Your hands are blunt tools guided by my knowledge of the nervous system. I could just as easily have paralyzed you.Sheldon:There's someone at my door.Amy: That doesn't interest me. Goodbye.Raj (at door): Can I sleep here tonight?Sheldon: Why?Raj: Leonard's having astronomicallyinaccurate Star Trek s*x with my sister.Sheldon: I can see how that would be upsetting. Come in. I'll get the sheets and blankets for the couch.Raj: Oh, don'tbother. I'll just sleep in Leonard's room.Sheldon: No, I can't authorize that.Raj: Well, he's in my bed. Why can't I be in his?Sheldon: The Hammurabic Code is aneye for an eye, not a bed for a bed.Raj: Come on, dude, I'm exhausted, and Tyra Banks says the most important item in your makeup bag is a good night'ssleep.Sheldon: All right. This is a form indemnifying me from your use of Leonard's bedroom. Sign here, indicating that I tried to stop you and did so using a sternfacial expression.Raj: Good night, Sheldon.Sheldon: Wait. Not yet. We still have to go over safety procedures. Now, the apartment has three emergency exitslocated here, here, and here. In the event of a power outage, luminous paint will guide you to the nearest exit.Raj: You're kidding.Sheldon: I never kid aboutsafety.Scene: Leonard's bedroom. Leonard enters, and accidentally sits on Raj. Both exclaim.Leonard: What are you doing here?Raj: I was sleeping.Leonard: Inmy bed?Raj: Well, I would've slept in my own bed, but it was being used to bring shame to my family. And the memory of Gene Roddenberry.Leonard: Oh, youheard?Raj: Scotty, I need more power.Leonard: Sorry. Does Sheldon know you're sleeping in here?Raj: Are you kidding? He made me sign a waiver, participatein an emergency fire drill and take a refresher course in CPR. Thank God he had a dummy.Leonard: Oh, yeah. Mouth-to-Mouth Mona. You know, she used to dateHoward?Raj: Oh, my God, she's that Mona? Why can't you and my sister spend your nights here?Leonard: We tried. She doesn't get along with Sheldon.Raj:Sheldon doesn't get along with Sheldon. It's still no reason for me to have to listen to you arm your photon torpedoes every night.Leonard: Okay, well, how aboutthis. Until Priya gets her own place, you stay here and I'll stay at your apartment.Raj: Can I bring girls here?Leonard: You? Sure. Bring as many as you want.Raj:Okay, deal.Leonard: Just not against their will.Scene: The cafeteria.Leonard: Do you really think you should be eating that cake?Howard: Why?Leonard: If you'regonna be a trophy husband for a rich wife, you might want to watch your waistline.Raj: He's right. A minute on the lips, a lifetime on the hips.Howard: Yeah,ha-ha. First of all, I'm not threatened by my fiancée's success. I'm proud of her. And secondly, I have my own career.Leonard: Until you have kids.Sheldon: Goodnews, Raj. I got the blood work back from the lab. You're okay to stay for a while.Raj: When did you take my blood?Sheldon: Not important. Your sugar was alittle high. I'd follow up with your regular physician. In the meantime, I have some paperwork here for you to go over.Raj: What the hell is this?Sheldon:Boilerplate stuff. A modified roommate agreement for a temporary house guest. And a living will and durable power of attorney.Raj: This says you can make endof life decisions for me.Sheldon: As your friend, let's hope it doesn't come to that. Please sign.Raj: Did you sign this?Leonard: There's a reciprocity clause. You getto pull the plug on him, too.Raj: Well, that seems fair.Sheldon: Congratulations and welcome temporarily aboard. Here's your I.D. Card, your key and your lapelpin. Which Leonard was too cool to wear. FYI, part of your responsibilities as roommate pro tem will be to drive me to and from work, the comic book store, thebarbershop and the park for one hour every other Sunday for fresh air.Leonard: Bring a ball or a Frisbee, you know, something he can chase.Sheldon: Also,you're tasked with bringing home all takeout dinners. Tonight is Thai food. You'll find the standard order in appendix B or downloadable from my FTP server. Ifyou have any questions, here's the FAQ sheet, or if you prefer the human touch, I do a live web chat called Apartment Talk on Tuesday nights.Leonard: Nobacksies.[SCENE_BREAK]Scene: The apartment.Raj: Sheldon, dinner!Sheldon: What is this?Raj: This is the difference between eating and dining.Sheldon:Remarkable. I'm just realizing how much Leonard's been skating by all these years.Raj: It's not a big thing. Just think of me as a brown Martha Stewart.Penny (atdoor): Hey, Sheldon, did you change your Wi-Fi password again?Sheldon: Yes, it's \"Penny, get your own Wi-Fi.\" No spaces.Penny: Thanks. Wow! What's with thefancy spread?Sheldon: My new roommate is bending over backwards to ingratiate himself to me. (Pointing to lapel badge) Uh, nice touch, by the way.Penny:What do you mean, new roommate? What happened to Leonard?Sheldon: The same thing that happened to Homo Erectus. He was replaced by a superiorspecies.Raj: I'm the new Homo in town. That came out wrong.Penny: All right, let me try this again. Where's Leonard?Raj: He's living at my place, so I'm livinghere.Sheldon: You're living here provisionally. But I must say it's looking good.Penny: Woah, Leonard and Priya are living together? That's big.Sheldon: No.Origami napkin swans, that's the headline.Raj: It's a good thing.Scene: Bernadette's bedroom.Howard: So do you know what kind of research you'll be doing atthis pharmaceutical company?Bernadette: Well, there are a couple of opportunities available, but I volunteered for the premature ejaculation project. I mean, it'snot like either one of us has heart disease. Oh, I almost forgot. I got you a little present.Howard: Oh, Bernie, no. You didn't have to.Bernadette: I wanted to.Come on, open it.Howard: You bought me a Rolex? How much did this cost?Bernadette: Oh, you let me worry about the money. I just want my baby to havepretty things.Scene: The apartment.Raj: More wine?Penny: Oh, no, no, no. I've had way too much already.Sheldon: Here's an interesting fact about"}
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